Kalenda Maya, Raimbaut de Vaqueiras (honored member of club 27, like Hendrix and Cobain - Dante was his insane fan): try to rap it out loud e you'll see how quello e questo (💘🔥💧) are one and the same.

Disfide e dissing ai colleghi are back, come usava quando la rima si faceva a punta di coltello proprio come la salsiccia a Martina Franca: siamo ad una new dawn e all'alba, si sa, si vince sempre. Io vincerò, vincerò, vincerò di sicuro.

La lingua per tenersi viva del resto deve ricercare, trobare, skopare*, essere toccata e rimabaciata, per essere fecondata.
 

*dal Greco skopèo: esploro, indago, ricerco.

E chi non si farebbe fecondare da quest'uomo:

[Not by chance the disfida between Duphol and Alfredo starts off on the poetry field,

for pens and spears look very much alike!

GASTONE: O Barone, né un verso né un viva troverete in quest'ora giuliva?(Il Barone fa cenno di no. Quindi, ad Alfredo.) Dunque a te...

TUTTI: Sì sì, un brindisi!

ALFREDO: L'estro non m'arride.

GASTONE: E non sei tu Maestro?

ALFREDO (a Violetta): Vi fia grato?

VIOLETTA: Sì.

ALFREDO: Sì? L'ho già in cor.

E chi la cerca meglio, la troba.]

That said....

I'm feeling SOOO much better and I'm back from our first session at the Accademia del Belcanto in Martina Franca, where I met friends old and new (this is my fifth year there):

IMPORTANT, PLEASE NOTE:

There is a 99,9% possibility that I will stop being able to invoice after June 30th 2022, due to the introduction, by the Italian government, of some sort of tax-green-pass named fatturazione elettronica for freelancers and small entrepreneurs, a procedure deliberately meant to make our already hard lives simply impossible and shut us down.

I am one of the veeery few vocal coaches in the world who actually invoices and pays taxes on her entire income

(and in spite of that I've been deprived of civil rights for months recently - yay),

so this may be the occasion to stand up for myself and my work,

as already in my plans for several reasons.

If you need me,

make sure you book whatever you need 

before this coming June 30th

(to do that, just hit "reply" to this email or contact

maestra@cantareitaliano.org).

These are my average fees and there will be no discounts this time: if you need me and can't afford me I'll be happy to schedule you for a free session: I am sick of taking money from those who have a hard time meeting their ends. I'll do whatever's possible to maintain what I consider to be, and should considered to be, public service.

You will then have the booked session(-s) whenever you need them, within the end of 2022.

TELL YOUR FRIENDS AND COLLEAGUES, this email can be easily forwarded with a click. THANK YOU.

After June 30th my tax profile will go back to that of an artist (currently I am configured as a freelance consultant), I have no idea what will happen and, frankly, I don't give a damn.

After all, tomorrow is another May day.

By the way,

Buona Festa del LahahaHAHAHAHAHAHHAHAAA...

...a Maestra

(mi sono ripresa, OK, sono pronta: again, quote)

“extremely good at this” (Graham Vick)

“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)