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Subject: Re: Selva opaca and a favorite Tebaldi recital
From: "Takis Pavl." <[log in to unmask]>
Reply-To:Takis Pavl.
Date:Tue, 21 Mar 2017 18:16:57 +0000
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hehe, this is a bit ironic but (if it's true) it's not unusual for vocal teachers to talk about someone else's problems rather than their own. Bergonzi studied in the same class as Tebaldi with Maestro Ettore Campogalliani before she went to Melis for refinement. Bergonzi more or less used the same approach as Tebaldi for the top notes but his were just never as resonant. He also eventually developed similar problems on the top. So maybe he was (or should have been) thinking of his own problems when he was advising his students. lol. 
Despite the shorter top, both Tebaldi and Bergonzi were, at the end of their careers able to sustain a beautiful vocal line in the middle register and go smoothly through their passaggio. That's not just natural endowment. That's technique my friends. Tebaldi once said in an interview that singers work a long time on this and I recall M. Horne also saying that it's all about the middle register. 
Takis


      From: David Kubiak <[log in to unmask]>
 To: [log in to unmask] 
 Sent: Tuesday, 21 March 2017, 17:54
 Subject: Re: Selva opaca and a favorite Tebaldi recital
   
I think it was Conrad Osborne who said that he thought WW II disrupted the
complete technical training of many singers in Tebaldi's generation, so they
sang mostly on natural endowment and instinct until their youth ran out. 
Tebaldi's case is particularly interesting, since one of the things that
made her so extraordinary -- her taking the natural weight of the voice as
high as her wall-shaking B flats, is what eventually got her into trouble. 
( I also have a recollection of reading about Bergonzi warning his students
about this issue without ever mentioning his friend's name, but making it
pretty clear who he was talking about.)

David Kubiak

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