I-TÀ-LIA is a spell.
Way before being a republic, a country or even a word.

A spell is, of course, a rhythmic (and possibly melodic) formula that, pronounced at a certain pace, will produce certain results.

But even before that, spell is an immaculate concept, that hasn't been translated into an audible reality yet.
It's the lògos, the dna, the blueprint of a word.
It's a word under X rays, its timeless essence, origin, brand and trademark.

Goffredo Mameli and Michele Novaro detected and then got to perfectly conjugate the "I-tà-lia" spell, at different martial paces, in a national anthem that I personally like very much.

Here below you can see me making a clean vocal recording of such anthem's correct diction -explicited and explained syllable by syllable- for a student who's singing it today at her local embassy, providing her with my most valid tools to perfectly accomplish such uneasy task.

I have now achieved about 40 hours of these diction recordings, that I keep stored on my website, in that beautiful sound garden that I have named The Cantare Italiano ARKIVE, for I meant it as an ark where to store the necessary seeds to replant Italian Opera after the globalization flood.

You can access such ever-expanding ARKive by subscribing to any of the plans available on my website (check them out at the red button's link below).

All listed plans are on a very special offer typing the code STRINGIAMCIACOORTE at the checkout (hard one this time, I know, but totally worth the trouble!) ***till Sunday, June 4th, at midnight, Italian time***

(Yes, you can as well reply to this email and proceed analogically to book whatever you need.)

Buona Festa della Repubblica,

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 rethink of the act of singing” (Anna Piroli)

“her incredible breadth of knowledge makes me feel entirely prepared” (Heather Lowe)

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

“opened up my voice, and a world” (Giulia Zaniboni)

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

"like four professionals in one" (Yiselle Blum)

“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)

"an unconventional guardian angel"

(Giulia Ferraldeschi)