Humpty Dumpty sat on a wall

Humpty Dumpty had a great fall...

Humpty Dumpty was an egg.

And an egg, no matter if you shake it or capsize it, will keep at all times its positive charge on the tip and its negative charge on the bottom, creating a constant magnetic field around itself.

The only way to break that magnetic field is if you crack the egg.

And, once the egg is broken...

All the King's horses and all the King's men

Couldn't put Humpty together again.

Alas! (Which comes from the Italian "Ahi, lasso!" ... or viceversa?)

When it comes to singing, it is entirely up to us deciding whether an egg will break when still in our grocery store's bag, crapping our car,

or in a perfectly heated pan on the perfect Sunday morning while coffee is almost ready and the perfect September morning light is filling our soul with hope and thrill for the future ahead.

You know what I mean?

An event falling into spacetime is a kind of death (even when it is a birth):

a fulfilment, a deadline, the final threshold of any living process.

Just like the stars we see are only ghosts of long gone events.

Well, a vocal sound is an event, too, and a dead one:

the final part of a non-local process where endless parameters converge.

Once it is audible, it's dead and gone, it no longer belongs to us.

In other words, an audible vocal sound is always in the past.

A vocal sound IS, the past.

And the past is for others to witness, not for us to care about.

If you need help with setting those ideal parameters for the Fall you heart longs for,

if you need someone to check on you,

to make sure that you fall in Love, when you sing,

and no place else,

I AM THAT SOMEONE.

This below is what I am offering, deadline is September 30th.

May this Fall of yours be the timeliest, happiest, luckiest.

Your choice. Entirely up to you, and your awareness.

At your service with devotion,

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)