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Subject: Re: Vocal Training and Two Great Tenors
From: Les Mitnick <[log in to unmask]>
Reply-To:Les Mitnick <[log in to unmask]>
Date:Tue, 6 Mar 2018 00:05:55 -0600
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Max:
  The sad part of this Flagstad miracle voice is that she herself never knew HOW this vocal change came about. In "The Flagstad Manuscript", she plainly says that her voice was small and light when she started, and over time (after studying with Dr. Gillis Bratt), her voice kept growing and growing.  She also said that while she hadn't gained any weight, her chest muscles expanded to the point where she found that she was producing tremendous volume.  When she sang her first Isolde in 1934, she said that it was amazingly easy for her.  She was also singing Siegliende in "Walkure".  Her Met debut as Seigliende
followed by her Isolde a few days later had critics claiming her the greatest Wagnerian soprano of their lifetime. Within two seasons, she had mastered the entire Wagnerian repertoire, excluding Eva.
  The passage of time shaved off her top Cs, but her lower register gained such beauty and resonance that it made little difference.  To the very end, her voice remained rock solid without a hint of unsteadiness.  It was a miracle voice.....period.
> On March 5, 2018 at 11:28 PM Maxwell Paley <[log in to unmask]> wrote:
> 
> 
> Sorry to drift the thread from its tenor subjects, but the vocal pedagogy story I’d really love to hear in more detail  (and again, sorry, I’ve mentioned this before) are the lessons that transpired with a soprano with, in her words, a “thin light voice” who, after studying with a Dr. Gillis Bratt, who taughf her to “close her vocal cords” emerged as Kirsten Flagstad.
> 
> Whatever happened produced a singer who, in later years, lost a few top notes but gained  a contralto richness in her lower register (not something that happens to very many aging sopranos) and who never, ever demonstrated the slightest hint of a wobble.
> 
> Max Paley
> 
> 
> 
> Sent from my iPhone
> 
> > On Mar 5, 2018, at 20:43, Tom Wikman <[log in to unmask]> wrote:
> > 
> > "By his own account Corelli took lessons from half the voice teachers in Italy, including some famous singers."
> > Obviously, you know something that I didn't. Every interview I ever saw with Corellihe maintained that he took a couple of lessons with Melocchi, and worked somewith Lauri-Volpi. He never mentioned "half the voice teachers in Italy." In any event,it didn't sound like he had any sustained relationship with anybody besides Lauri-Volpi, and he was careful to not call those encounters "voice lessons." 
> > 
> >    On Monday, March 5, 2018 9:31 PM, Stefan Zucker <[log in to unmask]> wrote:
> > 
> > 
> > By his own account Corelli took lessons from half the voice teachers in Italy, including some famous singers. For particulars see Franco Corelli and a Revolution in Singing: Fifty-Four Tenors Spanning 200 Years, vol. 2.
> > 
> > Stefan
> > 
> >> On Mar 5, 2018, at 8:38 PM, Tom Wikman <[log in to unmask]> wrote:
> >> 
> >> Corelli took a couple of lessons with Melocchi, and later worked with Giacomo Lauri-Volpi, but was largely self trained. 
> >> Pavarotti took a lesson every day from Arrigo Pola, andthen went to Ettore Campogalliani. 6-7 years of lessons. Pola taughtin his own home. I don't know about Campogalliani, but in any event,neither tenor went to conservatory. They were great students of singing,however. 
> >> 
> >>     On Monday, March 5, 2018 6:30 PM, David Kubiak <[log in to unmask]> wrote:
> >> 
> >> 
> >> Someone asked me recently and I want to check to be sure I was right in
> >> telling him that both Corelli and Pavarotti never attended a conservatory
> >> but learned to sing from private lessons and listening to records.
> >> 
> >> Thanks.
> >> 
> >> David Kubiak
> >> 
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