Whereas the etymon of "cantare" in Italian is unequivocally in the stone - cantiere, decantare, incantare - because the stone gods in the temples can only be fed by sounds and prayers (thank you, Marius Schneider, for Singende Steinen),

the etymon of "to sing" is absolutely non convincing, the way I see it, as commonly found in dictionaries.

The only way it reconnects to the Italian stone is via the sinking, hence the thinking: denken.

(Quite onomatopoeic, must say: ZZZinnnGG, DDeNNggg...)

I've always, clearly seen certain forms of depression

and suicidal states as forms of mere intelligence impairments,

no matter the quality, type or amount of intelligence lying underneath.

(And as for the level of education, that usually works against the person:

educated people have tons of deeply rooted false beliefs to overcome -

and the more money were spent on their education, the deeper.)

For, when you can't see a solution, you're obviously just not seeing right.

Both as in "you're not being able to see it"

and as in "you don't know how to see" - tout court.

We daily exchange our assumption of what the landscape outside our window looks like

with the landscape itself.

Narrations and emotional states we become used to and addicted to

can slowly swallow up and destroy the most beautiful minds.

And voices.

Singing is for smart people - that is a given.

In fact, composers often signify the intelligence of a character through the complexity and wilderness of their coloratura -

for coloratura is rapidity of linguistic thought and is purely mental,

whereas hardcore legato is for strong hearts that can stay open in the appoggio for as long as possible.

Most people sing out of assumptions, they seem to open the window on their morning warm up, but that window hasn't been real for a long time now...

like the ones they paint on old buildings after the real ones have been walled up.

Singing is contemplation:

of a sound object - still non local and non spacial, in the mind's eye.

Singing is pondering a weight you'll have to carry.

Singing is letting it teach you how it needs to be carried.

Singing is carrying it in its endless possibilities before it is out there,

waiting till the simplest way out manifests itself in the form of a physical input.

Singing is the magic of lingering in the unknown.

Singing is the nine months dolce attesa. 

Singing is the purest philosophical and physical form of concept creation that was given to the human kind.

Singing is sinking deep in otherworldly wonders by thinking of them and then thanking for the amount of grace you have received.

Singing is surrendering your ego forever.

Singing is understanding that the Monna Lisa created Leonardo, not vice versa.

I am leaving this FALL! offer out for two more days because I am not sure you have sufficiently pondered its importance and unvaluable value.

If you still haven't seen in me a real Maestro, of the rarest kind, you're not seeing right.

I give you 48 hours to wake up.

Keep your mind open, maybe you'll see it.

If you don't work with me, you're not being smart.

Think twice, sing well.

La Maestra

“extremely good at this” (Graham Vick)

"a fantastic coach, extremely helpful for young singers as well as experienced ones" (Barbara Hannigan)

“bringing the language, the music and the characters to life” (Paul Nilon)

“the foundation of a role” (Jennifer Rowley)

“magic conjunction of vocal technique, musical interpretation and building of the character: a radical rethinking of the act of singing” (Anna Piroli)

“incredible breadth of knowledge” (Heather Lowe)

“magic effect on the voice and our art form” (Jessica Harper)

“opened up a world” (Giulia Zaniboni)

“180 degree turn in my work with the singers” (Theophilos Lambrianidis)

“invaluable: she’ll make a role really succeed on stage” (Ariadne Greif)

“potentially life-changing” (Amy Payne)

“brings life to operatic drama” (Maria Sanner)

“enlightening, professionally and humanly” (Clara La Licata)

“thoroughly prepared and professional” (Marie Kuijken)

“truly unique method and insights” (Jasmine Law)

“a lingual and linguistic genius” (Peter Tantsits)

“entirely devoted to the art of Opera singing” (Ida Falk Winland)

“incredibly informed, consistent, knowledgeable” (Michael Corvino)

“carrying the torch of finest Italian Opera” (Nathaniel Kondrat)

“a crucial basis for all the singers” (David Cowan)

“a cure and a respect of the Music and the words’ musicality that can be learnt so deeply nowhere else in the world” (Matilde Bianchi)