First of all a HEADS UP TO MY STUDENTS AND SUBSCRIBERS: READ TILL THE END, IMPORTANT COMMUNICATIONS BELOW!

OMG... Where have I been?!

And most importantly, HOW have YOU guys been?

(Thanks to all those of you who take time to reply to my newsletters, I love to hear from you always!)

Sorry about the prolonged silence, I've been working like crazy on many fronts: another session of Accademia del Belcanto in Martina Franca, which reminded me of how beautiful it is to live amongst, and work with, actual flesh and blood...

Four intense days which gave me the opportunity to span through ALL the aspects and entanglements of my work - the music writing, the vocal technique, the mind-body management, the character.

Plus, I was asked and got to successfully and fully recover the troubled voice of a student: so quite a lot was accomplished in very little time.

Russia, Ucraina, Portugal, Australia, Japan, Chile, Iceland, Spain, USA, Italy - and I sense I am forgetting somebody, I only remember to take pictures when people have already left the room - united under the flag of the State of Opera.

But, again, I am still waiting for and looking forward to Africa coming to knock at my magistral door. WHERE is Africa, when it comes to Opera?

Many hours of online sessions were held throughout June, Salvadanaio-related and not.

Plus tons of work on all my houses:

- the Apulian one I'm leaving in September to move to Milan (if someone out there has been dreaming to move to Puglia, just let me know, this perwinkle-blue bohème will be for rent soon);

- the one I am searching in Milan (I may have just found the Maestra apartment - fingers crossed - 5' away from the central train station, so you'll have no excuses not to come visit me to work together in person!) and, finally,

- the virtual one, my website, now up to date and featuring two ARKive pages.

One that is PUBLIC (below), featuring 30' previews and finally a detailed PDF SUMMARY of all 250+ audio recordings contained in the ARKive: from this public page anybody can now PURCHASE hence DOWNLOAD the recordings they need for a standard fee (of €10 per file, no matter the length: this was purposely meant to discourage the purchase in favour of a subscription: you'd end up losing the files anyway eventually!);

The other one is instead FOR SUBSCRIBERS ONLY (below): from this page you can access the whole ARKive content unlimitedly, provided that you are already subscribed to a plan (like the Salvadanaio itself, for instance) as well as logged in the website.

You can find all available plans involving the ARKive HERE.

Subscribing to a plan, other than being immensely cheaper and more secure than buying the single files (let me pay for the storage, guys!), will all also allow you to ask me for new recordings whenever you need them.

And if you are familiar with my work and method, you know how working on a recording beforehand saves you half the time of a session, if not more, and guarantees a far better result.

IMPORTANT, PLEASE NOTE:

The SALVADANAIO and ARKive plans, terms, fees and conditions will be locked till the end of July, for all those who have already subscribed to a plan or will subscribe to one by July 31st 2022 at 23.59 Italian time.

From August 1st - whereas it will still be possible for any student to record their sessions - it will no longer be possible for anybody, be them new subscribers or regular students, to own a clean diction file I've made during such sessions, or that they have requested in virtue of a subscription.

All recordings will be made for the ARKive and included in the ARKive;

the ARKive will be the only way to access them,

for it was conceived and created with this specific purpose, with not little effort on my side (and it requires constant maintenance and updates).

Plans subscribers will be entitled to request new files to add to the ARKive,

but no physical files will be sent around via email or WhatsApp any longer.

This new rule will apply to everybody, in every case, starting August 1st.

Also, the Salvadanaio plan for those who will subscribe after July 31st 

will be a 12 months minimum commitment, not a 6 months one as it is now.

So if you want to grant yourself:

- unlimited access to the whole ARKive for the next 6 months;

- the right to request new files for the ARKive during such spell of time;

- the right to own such files,

please go ahead and

ALSO OF THE HIGHEST IMPORTANCE:

I will be away for most of July and August, so I need to plan for the Black Friday packs sessions and the Salvadanaio sessions way ahead:

the July deadline to book your July session is this coming Friday, July 8th.

All sessions booked after July 8th cannot be guaranteed and will be lost.

Finally, FYI as of today I have

TWO AVAILABLE SALVADANAIO FREE SLOTS in July and TWO in AUGUST:

FIRST COME, FIRST SERVE.

They will be assigned to the first people who will reply to this email and claim them,

giving precedence to those who have never requested or had one so far.

That said...

Happy Independence Day, my beloved Land of the Free 🇺🇸🎆🎇

and...

 Happy Birthday To Me in two days!

#41 🥳🎂🥂

(I may launch a flash promotion for the occasion -

on loose sessions, or possibly a new slots-pack option,

so it will not be regarding the ARKive or any of the plans, included the Salvadanaio

...stay tunedissimi!)

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)