On April 25th, 1926, the premiere of Turandot was given at La Scala.

On April 25th, 1946, Italy was liberated from Nazi-Fascism.

Coincidence?
I don't think so.

Have you ever heard a speech from Mussolini?

He possibly had the worst legato ever.

In fact, in spite of his tenor-ish appearance, he had none.

He was spinto in the worst way.

That, should raised our suspicion immediately, about him being a bigot, a fake.

When you meet someone with poor legato, or none,

who's pushing like a dog and making faces when he sings,

who has no depth, phrasing, chiaroscuro, or perspective -

send them to me.

I have instruments of liberation from pseudo-Italian, from bigotry, and bijouterie, that proved to work in 100% of cases, on 5 continents, across 20 years of relentless work.

(One of them is Skype itself: launched in 2003, one month before I gave my first lesson ever. Coincidence? I don't think so!)

USE THEM INSTRUMENTS! And have them be used.
 

And, if you like what I'm doing, take a Fiato.

No worries, you won't hear from me for a while, because next week I'll be teaching in person at the Accademia del Belcanto in Martina Franca (for the 7th year in a row!)

and then will hopefully get a few days off.

April 25th, such a good day for Italy.
Happy Liberation.

Vincerò!

La Maestra

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)