Given its huge success in 2021 (the yearly plans were completed last month), we are doing this again, OK.

My offering this year features the most convenient yearly plan, a renewable 6 months plan, a 4-session-pack (in one or two instalments) and for the first time an IMPRESARIO PLAN which, upon request, I addressed to the many agents, company managers and Heads of Music that kindly and regularly read my newsletters:

now you no longer have to send your best singers on stage in a poorly ironed Armani suit or gown - if you know what I mean - not even if the tempi and soldi of a production are as tight as we know that they can be.

To be clear: this is a plan, on both sides, not a sale.

Value doesn't go on sale: mine is an investment on you, as yours is on me.

Those of you who joined in last year got jobs, won competitions, some made it to their international debuts and even the hardest to deal with went through a paradigm shift and irreversible metamorphosis - so it was worth it, ultimately.

But since I could never recommend anybody a venerdì nero, ours is going to be one of croce e delizia, which also makes sense considered the pros and cons of the adorable B**** F***** psychosis:

find the offer by clicking on the yellow buttons below and, if you need to inquire further, simply reply to this email, but not before you have read it thoroughly, please.

GRAZIE!

WHY DOING IT

Whereas throughout my global 19 years of teaching (celebrations already in order for next year) together with Opera stars I've also coached hoards of students and seldom amateurs,

during the past twelve months I've happened to prepare professionals exclusively: soloist singers, choir artists, accompanists, voice teachers, vocal and diction coaches who work for big Opera Houses and in Conservatories across four continents (Africa still missing, alas).

And the average report I got from them, spoken in an unfailingly resigned tone, was:

«You know, this work that you do...

this is NOT what we get to do at work.

I am mostly doing this for myself.»

Well, dear ones, that is exactly why our Johann Sebastian wrote Die Kunst der Fuge and all that musica speculativa for which he is the BACH™ whose records we send to outer space:

for himself; to keep himself sane and delighted throughout the insane and excruciating mass production of Masses he had to stand for a living.

As the huge nerd who, during an examination, once got to spot and signal that the assigned choral was not an original J.S. Bach by the unlikely way in which a 7th was treated (and I was proven right: the piece had been extracted from an anthology and it turned out to be by one of his sons) - I assure you:

details you cannot even see or imagine yet will safely carry your messages across the seven seas and in spite of any tempest.

The world will be falling apart, you will be working: in deep knowledge, freed of any imposter syndrome and at peace with yourselves.

And if some old lady farmer will end up packing eggs at the market with your Passion, it'll be Felix Mendelsshon who will buy those eggs (this episode probably never happened, but you get my point).

Keep reading, please.

12 THINGS I AM GOOD AT,

AND AT TEACHING.

1. SIGNS: accurate score reading and deep understanding of every detail for an easier, more informed and informing, consequential rendition.

2. FOCUS: zero self-commenting, or codependent self-judgement, while singing; listening to what is in the mind's ear only, because what comes out of the mouth is not for who sings (and gone forever anyways).

3. SILENCE: securing ourselves that quiet mental space which is crucial to receive and implement the necessary information in real time when performing (we must neither act, nor react: we must be inspired -and acted by- clear instructions).

4. STILLNESS: physical and facial, in all its immense power that is ultimate key to legato, suono coperto, appoggio - you name it.

5. HUMANITY: using every clue in the score to build a relationship with the characters, till we can shake their hands and smell their clothes; till they'll lend us their voices and we all we have to do is tune in.

6. CHIAROSCURO: those quintessentially Italian acoustic infrastructures that never fail to draw an elegant phrase and deliver an internationally comprehensible, universally computable message.

7. METHOD OF STUDY: how to approach the new scores and resuscitate the old ones (it wasn't them, honey, it was you).

8. PATTERN: detecting and highlighting in the text from the more evident to the most hidden spells; plus the ambiguities, the cross-references of meaning, the hooks between words and ornaments, or words and vocal technique, and so on; all finalised to sing better and easier, to feel righteously entitled, prepared, confident.

9. TIME MANIPULATION: the human ear doesn't listen linearly -left to right, past to future- it mostly reconstructs structures backwards, while at the same predicting, hallucinating what's coming "next"; we need to learn how to deal with such fact in any given tempo.

10. HOLY(stic)NESS: inner congruence, consistency, wholeness, inspiration and sacrality of the act of singing.
    11. VOCAL HEALTH: throughout the years I proved really good at treating problematic or fatigued voices (healing nodules, post surgery recovery, avoiding surgery at all).

    12. DICTION: non local, non spacial; it generates, embraces, ensures and is included in all 11 points above.

Now that you know what you are getting into, and why, on to the offer.

The CROCE E DELIZIA offer allows a

25% OFF ALL AVAILABLE PLANS

if booked by Sunday, Nov 27th.

You are welcome.
 

HOW

1. Click on any of the yellow buttons in this email;

2. check out each plan's content and duration accurately (by clicking on the arrows below each title, if you're viewing from mobile);

3. select the plan you are interested in;

4. proceed to checkout and type CROCEDELIZIA as a coupon code;

5. pick your preferred payment method (making sure it's be valid till the expiration of the plan) - DONE!

ACCEPTED PAYMENTS

• credit card or PayPal if you purchase the offer via the website (you will be invoiced instantly);

• bank transfer or PayPal to maestra@cantareitaliano.org) if you book by replying to this email (in which case you will be invoiced by me within 48 hours, and given bank transfer instructions upon request, if needed).

   

  Just hit "reply" to this email for any concerns/doubts/questions, as well as to schedule your sessions after you've completed the booking.

HAVE FUN!

POST SCRIPTUM:

I believe that Music is one of the few things that are absolutely real: material, tangible, indisputably existing.

Brahms claimed that he literally stumbled upon melodies: they were just THERE.

Like an archaeologic site, a buried city that hasn't been discovered and awaits to be found, dwelling in a place where it doesn't belong to the past anymore, is invisible to the present and cannot be foreseen for the future yet,

I believe that every true work of Art is really THERE, since ever and forever -

awaiting in the darkness of eternity till it finds its human match to find it. 

Till it trobes its trovatore.

Same can be said for those unique pieces of art that are the voix humaines: they dwell in the forever and knight us their trovatori; calling us, awaiting to be found.

Poetry, Music - the very matter of singing - are real; and out there looking for us.

I am ever so grateful that Music somehow got to find me, and that we got to find each other.

Much Love and a sparkling beginning of the Holiday Season to you all.

I am looking forward to working with you.

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)