On projection and Opera technique by Franco Tenelli

[@johnblasiak2499]

My father wasn’t a big man but when I was a kid you could hear him 3 blocks away When he sang the furniture vibrated he was a bass but his speaking voice wasn’t loud but if you heard him on the phone his voice was clear resonating and accented he was Polish He could sing over an amplified band Amazingly Good and mind boggling

[@AntW11]

This is so correct when speaking of big voices. I worked with a tenor who sounded incredibly resonant. It was dark, resonant, but it didn't ring out in the theatre. There was another tenor working with him who considered seeing the dark tenor's voice teacher. He was unhappy with his small voice and the light lyrical parts he was getting.

[@SoLNaTaL555]

It took you a long time to put new videos, I as waiting for more knowledge.. I hope you're well.

[@johnblasiak2499]

Tito Schipa had a small voice but could be heard in the biggest theatre in the world Google his voice lessons all ten it’s such an eye ear opener his voice sounds irrelevant but my God No wonder Gigli said you must take your hat off when you hear Schipa True story

[@marcelyuda]

Thank you for the lesson ! I have tried the exercises in your videos,and I'm very happy with the result since now I feel no passagio anymore. However,since I no longer have a teacher since my previous teacher died, I have nobody to check wether my voice projects or not. How can we realise ourself if our voice projects or not?

[@samuelkarlberg7773]

I have a question that you probably think is strange but I ask you anyway. I have listened to a lot of recordings from the past and think that singers like Corelli, Del Monaco or Filippeschi used more mouth resonance then tenors do today. The sound in my ears were more focused and less back then most tenors of today. To lift the sound into the head in and above the passagio is a most atleast to me but if the attack is smaller and more in the mouth it will have more presence and acuti. This is my experience, what do you think?

[@TenelliVoiceGuru]

@mojopum 1 question: yes I do November 28 Peterson Hall, Montreal, December 3rd, New York Metropolitan stars and legends Gala with Samuel Ramey, Paul Plishka etc. 2nd, students shown in the programs are good but they are begginers(I don't show all of my students, especialy professional I coached(Like Ben Happner-Wagnerian tenor). All of my students show improvment:)

[@TenelliVoiceGuru]

@marcelyuda Good for you:) For projection one needs squillo or chiaro, brighness in the voice. The only way to check out the projection is to sing a a big hall and ask people who know:)

[@TenelliVoiceGuru]

@Belcantormail correct! all the sounds have "chiaro scuro" in classical voice production. Correct ballance between them forms so called classical voice emmission. Too much chiaro makes voice projective but far from beeing beautiful and too much scuro makes it woofy-hardly projective. We don't hear that in some new opera singers who use personal mikes for projection:we can hear darker then Caruso's voice scuro and wonder what happened to accoustic emmission?

[@SHA8UTIE]

That is my exact same problem. When get a very open throat my sound gets completely swallowed.

[@TenelliVoiceGuru]

@grinvaldsjanis Good ballance between chest and head resonance will make one's voice beautiful but may not improve a projection. Projection in big opera houses will depend both on technique and natural qualities of the voice. Not evry projective voice is beautiful. Those who have powerful squillo will project but beautifuly if they lack the ballance I talked about

[@TenelliVoiceGuru]

@yongsua1989 Any vowel can be sung with an open throat(stable lowered larinx position), I'm sure you are not mixing open throat with open mouth:). Open throat form neutral resonant sound like and wind intrument would do. Vowels and consonants form in the mouth. as for your question about how you should feel, the question is not for me but for you:) When you produce an appoggio sound, teacher tells you so, and you try to memorize the sensation.

[@TenelliVoiceGuru]

Good question:) I promise I will publish a video with an add

[@yongsua1989]

@TenelliVoiceGuru Thanks.One more question.I don't know if I am very annoying for you.If appggio technique is require open throat singing then that's means that I do not have any more choices for my other classic genre other than opera?Other than opera,I don't see most of the singers all the time open their throat to sing but when they come to belt.I only know singer that always sing wit open throat is Barbra streisand.I hope this is my last question.Thanks.

[@marcelyuda]

@TenelliVoiceGuru Thnx for your reply. I'll try to sing in a big hall and ask somebody who knows to listen. Btw,how big should the hall be?

[@yongsua1989]

@TenelliVoiceGuru I remember what you said that we should not use appoggio technique with placement technique if not we are not singing pure appoggio anymore.If we don't use placement technique the project our voice then what technique we should use to project our voice?Besides,I had emailed to you but did not get any reply yet.

[@mojopum]

Mr Tenelli. You really have good advises here, am a singer myself. 2 questions: Do you still sing opera professionally, if not why, if yes, where? also, how come your students are not so good? are they beginners? Do you have good students or voices you've been training for some time which showed improvement? Thank you.

[@skbnvacaville]

@Tenelli Just browsing while listening.... if Barbra is the only singer who always sings with an "open throat" then there ya have it. Perhaps that is why she is so spectacular?

[@NBDYSPCL]

in west midlands and have had few singing lessons, does anyone know where to find a good opera teacher and if so how much?

[@TenelliVoiceGuru]

well, it' determined by the sound I want to use.More powerful sounds need more precision with handling dynamics

[@TenelliVoiceGuru]

@rubenfabrizio it's not the question of what, but how? any excercise can do the job if you do it correctly:)

[@Belcantormail]

The oscuro waves carry the chiaro by the law of resonance of harmonic waves, pure chiaro does not carry because harmonics are only multiplous divisibles by the basic wave... Hope it helped to the theme. Please confirm if I made myself clear on this.

[@TenelliVoiceGuru]

yes but with proper support

[@yongsua1989]

@TenelliVoiceGuru Thanks for ur reply.I have some question here.Is appoggio technique require open throat singing?I just watch your "Perfect support for opera singers-Appoggio in sensations and action-Singing in one" and I am having interest to learn.My questions are may I use open throat technique to sing the ee vowel?If not,my voice easily get hurt.Besides,if I sing the B flat "a" vowel,how should I feel?Thanks.

[@TenelliVoiceGuru]

@LeeanneTracy Appoggio technique in it's pure version doesn't like vowel modifications, it likes it round all the time. YOU HAVE 2 voices because you have obvious divisions in registers. Watch my "Appoggio step by step" it will give you some ideas, or you have to come to Montreal:)

[@yongsua1989]

@TenelliVoiceGuru Thanks for your reply and you still didn't reply my first question yet.Is appggio technique require open throat singing?I do not want to sing opera with appggio but other classic genre.I would prefer to use open throat singing when necessary.

[@cikaspasoje]

Thank you! I'm also doing 99SingingLessons exercises and they help a lot!

[@TenelliVoiceGuru]

One great singer once used this expression:to send one's voice away, to the last raw. that suggestion works with some limited singers but it's a wrong suggestion if it comes as a rule because it's has only imaginative value and tottaly wrong scientificaly and not only:it brings more trouble especialy in the hands of the ignorants(Directors). I don't like expression "My voice will get locked..." because when one prejects properly voice is locked inside but properly and produces great resonance

[@operaants]

Thank you very much

[@AntW11]

However, in the theatre, the tenor with the 'smaller' voice had a beautiful round voice which reached every part of the theatre, as if it floated through the air, whereas the other's voice was muffled out by the orchestra.

[@TenelliVoiceGuru]

@LeeanneTracy yes, I will soon:)

[@TenelliVoiceGuru]

@yongsua1989 If you watch my programm on placement and placements it will be more clear. Placement is simply a particular position of the throat(larinx) during singing. Of course appoggio singer has larinx placement like anybody else but s(h)e uses only one position, one ambiance. Non appoggio singer compromises this one placement and uses more then one. More placements he uses less integrity in his voice. I said :"appoggio and placements" not placement a little nuance:)

[@Mr19841504]

caro maestro,can you please watch one ofm y video an tellm e what kind of voice i have: tenor or baritone? i have no training,thank you!

[@TenelliVoiceGuru]

@yongsua1989 first, I answered this questions, clearly in my other programms, watch them:), short answere is yes, but watch the programm:)

[@TenelliVoiceGuru]

Scientificaly ignorant singers(99% of all singers) take the above mentioned suggestion(send away) because they have no idea sound distribution as a wave and not as a stream of air. Coming from this absolutly wrong foundation they form a suggestion that in most cases causes bad support.