Introduction
Lifting this subject, I understand, that it is quite probable will cause indignation of huge quantity of the classical singers and vocal teachers. But, nevertheless, problem remains open.
So, in what essence. Try to look at modern classical vocal by eyes of the extraneous not professional man. What impression is created at the man, for the first time its heard. I do not want to be biassed, but my personal interrogation of the people (not of the professionals) has shown, that none(!!!) from them classical vocal does not cause an especially positive rating. Do not hasten to speak, that classics it elite art. It so, whether but threatens to it to become art only for performers? The reasons that has a lot of, and many from them objective and do not depend on the performers, BUT, at interrogation of the same not professional mans, that at them causes greatest antipathy in classical singing, was found out, that it is a unnatural, lifeless timbre of a vote of the performers. Here again it is necessary to agree. (Even on own experience, though I am by the classical singer and vocal teacher with the long-term experience, I shall tell, that in childhood and youth, when I heard vocal classics, that, first of all sounding a vote was completely unpleasant to me, it timbre characteristic)
Project "Russian voice"
The project "Russian Voice" is created in order to familiarize musicians from around the world with traditions and secrets of the old classical Russian vocal school. Any interested person will be able not only to get unique knowledge, but also to receive a trial of the classical Russian vocal school. The project have the three variants offers a month-long program, two week-long program and week-long program in SAINT PETERSBURG, Russia.
The month-long program Included are:
1. Seminars on the Russian school of classical vocal (History of Russian vocal schools, great Russian singers, theory and analysis of technique )
2. Seminars on Russian church vocal (History, theory, performance, with visits to Orthodox Churches to hear liturgies)
3. Master-class on Russian classical vocal.
4. Familiarization with modern strategies of teaching singing in the conservatories of SAINT PETERSBURG (on-site visits with leading specialists)
5. Visit the theatres (Mariinskij, Small opera, Musical-comedies).
6. Informal meetings with leading composers of St-Peterburg and singers.In addition, it is possible to visit St. Petersburg sound Studios.
The nearest seminar by duration per 1 month will pass since September 25, 2003
Cost of program (with residence, meals, but without cost of visa and airfare) - 2000$ US.
The two week-long program Included are:
1. Seminars on the Russian school of classical vocal (History of Russian vocal schools, great Russian singers, theory and analysis of technique )
3. Master-class on Russian classical vocal.
4. Familiarization with modern strategies of teaching singing in the conservatories of SAINT PETERSBURG (on-site visits with leading specialists)
5. Visit the theatres (Mariinskij, Small opera).
6. Informal meetings with leading composers of St-Peterburg and singers.The nearest seminar will pass from September 25 till October 9, 2003. It is a fortnight seminar.
Cost of program (with residence, meals, but without cost of visa and airfare) - 1500$ US.
The week-long program Included are:1. Seminars on the Russian school of classical vocal (History of Russian vocal schools, great Russian singers, theory and analysis of technique )
4. Familiarization with modern strategies of teaching singing in the conservatories of SAINT PETERSBURG (on-site visits with leading specialists)
5. Visit the Mariinskij theatre.
6. Informal meetings with leading composers of St-Peterburg and singers.Cost of program (with residence, meals, but without cost of visa and airfare) - 1000$ US.
The nearest seminar will pass September 25, 2003.
The reception of the orders stops for two weeks prior to the beginning a seminar.
On successful completion of the program, trainees will receive a Certificate stating that they have passed a basic course in classical Russian Voice, and will receive a CD with great Russian vocal masters.
Language of instruction - English.
Try to lead small experiment. Whether many classical singers of middle class (even familiar) you easily can distinguish on a vote. Is sure, that is not present. Though we without effort in life distinguish a familiar vote from thousand other votes. One of problems modern classical vocal means is a loss of individuality of a vote, his natural timbre. I hear objections, but you see the school classical vocal, is the special school, which requires enough strong sounding of a vote (without microphone) in conditions of the large concert and opera halls. And the special receptions for strengthening loudness of a vote, naturally, give to it characteristic sounding, but it as though that payment for loudness of a sound. Here deepest error also lays. Listen to the old Russian singers L.Sobinov, D.Smirnov, F.Shalyapin, I.Ershov etc. We shall hear completely other sounding. It is not enough of that everyone has them of these singers characteristic and familiar an alive timbre of a vote, but that more all amazes, is that ease of sounding, from which they perform romances. Sometimes, even, the impression is created, that they simply lightly sing. But it soft singing perfectly sounded such vast opera halls as Mariinski in St.Petersburg and Large in Moscow. In what a secret? Can be, it were any supergenius with unique votes. Certainly, they were ingenious, but business not only in it, and in that special vocal engineering, with which they used. Is sure, that many modern singers have not the worse natural vote, but the wrong engineering does not allow to reveal all of its advantage.
My long-term study of old Russian vocal school and the experience of application
of rediscovered receptions on itself, has shown a fidelity of the found way.
Having from a nature powerful enough, but motionless and heavy vote (tenor),
with the help of this engineering I have achieved an opportunity to perform
completely lyrical romances, keeping thus all naturalness of the natural timbre.
Moreover, this engineering has allowed to expand a range chest voice (not
resorting to head voice) down to G2, that has given to a vote the special
ease.
If you are interested in this engineering, I offer seminars in St.-Petersburg on old Russian school of singing.