by Michael Mayer | Oct 20, 2010 | Balanced Function, Breathing, Larynx, Q&A, Vibrato
I’ve observed that a vast majority of opera singers and even contemporary singers have a constant quiver in their tongue as they sing, it tends to quiver more so when they sing the higher notes. how does this happen? my singing teacher does it, and when I asked...
by Michael Mayer | Sep 6, 2010 | Coup de Glotte, Lamperti, Larynx, Manuel Garcia, Perfect Attack, Q&A
Thank you for your response! I appreciate you taking the time and effort to help me. Being a string player since a young age, I can associate with the eloquent image you presented of “switching strings” at appropriate places. “So make sure your...
by Michael Mayer | Aug 1, 2010 | Larynx, Passaggio, Perfect Attack
Thank you for the detailed response to my previous question. It was quite a pleasure to be able to read something of a scientific and analytical approach. I was wondering if you could give me advice on a more personal vocal problem. It seems that I am unable to sing...
by Michael Mayer | Mar 25, 2010 | Glottis, Larynx, Perfect Attack, Singing
What puzzles me is…how does she [DiDonato] has control on her voice if she, in your opinion, sings with looseness of air? I mean, her voice would collapse because of the lack of air, or sound strained, and it doesn’t sound strained, nor she has any...
by Michael Mayer | Mar 20, 2010 | breath, Glottis, Larynx
Sayão didn’t have a great voice, no matter how she sang and if she passed over the orchestra. Her sound was always one of a lirico-leggiero and excelled in soubrette parts. As a full lyric she was not so sucessful, except in the French repertoire.Also, her...
by Michael Mayer | Mar 4, 2010 | Glottis, Larynx, Perfect Attack
“The larynx as a platform of resistance”: I think I get that, rationally. But I can’t really comment until I learn how it works and feel it working. You said so yourself, it’s not a widespread concept – none of the other teachers I have...
