WHO ELSE could have been born on a February the 29th - WHO.

No one but him, my bissex-tile, adored one.

"They call me il ZIGNO di Pesaro" - the swan from Pesaro - "but I'd rather say I am il ZIGNALE di Lugo" - the boar from Lugo di Romagna.

Do you see the Romagna in his traits? Can you hear the romagnolo in his speech?

Those piercing eyes, that indelible Cheshire Cat smile - God, how I love him!

(I mean LOOK AT HIM: don't you just wanna squeeze him?)

Every time I coach his works, I feel him smiling at me from a corner of my studio, in flesh and blood. Flesh and blood - is what he is, to me.

For flesh and blood is what he brought back in Italian Opera, remaking it from that local dirt (as in soil, accent, inflection, comedy, humanity, sweat) that had been subtracted by the composers and librettists from the opera seria.

Not by chance, in his Brera portrait, painter Francisco Hayez put in his hands a music score titled "Musica dell'Avvenire": avvenire in Italian meaning both future and happening - something that truly happens.

For that is what Rossini's holographic, psychedelic Music does: it HAPPENS, and MAKES HAPPEN.

In kindly reminding you, Ladies and Gentlemen,

that the -15% launch offer on my new session fees, plans and bundles

is still happening

and will be valid till this coming Sunday, March 3rd,

at midnight (Romagna time);

that you can find it clicking on the button below,

that there will be no other offer till the summer

and that you can reply to this email for bookings or any other inquiries...

...I wish you all the happiest of Rossini's birthdays

and hope you have the funniest, most bissextile of days.

 Here's to You, my Beloved One, my Maestro,

and here's to You All, too, my beloved Ones:

to our radiant AVVENIRE.

To celebrate together, find here below a playlist of 10 little Rossinian coaching masterpieces

("don't believe me, just watch" - and YOU MUST, WATCH!)

made throughout the last few years by the

Truthfully Yours,

Maestra

Remember to activate automatic subtitles in whichever your language is, on each of them. And remember that una voce, poco fa - or, better, UNA VOCE, FA POCO!

extremely good at this (Graham Vick)

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

lingual and linguistic genius, almighty for vowel purity (Peter Tantsits)

bringing the language, the music and the characters to life; results of the very highes quality (Paul Nilon)

the foundation of a role, doesn't go on stage if she hasn't worked with me on it (Jennifer Rowley)

magic keystone 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)

opened up my voice, and a world before my eyes; every Conservatory should benefit of her teachings (Giulia Zaniboni)

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

like four professionals in one: taking all those elements and conveying them into one single intention (Yiselle Blum)

invaluable to make a role really succeed on stage (Ariadne Greif)

thoroughly prepared and professional (Marie Kuijken)

her work favours deep understanding, which makes the phrasing and vocal line.

she is entirely devoted to the art of Opera singing, and her students (Ida Falk Winland)

incredibly informed, consistent, knowledgeable Maestro (Michael Corvino)

a lifeboat; carrying the torch of finest Italian Opera (Nathaniel Kondrat)

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)