Fragments of life
and vocal technique
The sound travels fluently through the mind and heart like a breath,
like a gentle life partner, a valuable tool that dwells in our being.
The voice is the whole person, his/her’ level of maturation, the upsets,
the unhappiness, impulses, anxieties, its human experience.
While singing the heart gets into the river of soul.
Learning to sing is a mission and a duty.
I consider singing an additional expression, and this conviction gets stronger with me day after day. All received the gift of sound which we express through the language: a tool that, consciously or not, we keep within us. I believe that singing with a bright mind and an open heart can be one of the most beautiful and exciting practices we can aim. The mind, even though essential to our earthly life, often is a real obstacle to the preservation of our inner calmness. Conditionings, fears, obsessions, unhappiness are products from the mind. Singing the mental body joins to the heart of the soul.
When I was a child, I loved repeating by ear songs ranging from the radio. An experience that many children do and it’s one of the most beautiful things about that time that I keep inside.
It was natural for me to remember the melody and the rhythm of the songs, as natural as breathing, yawning, sleeping. I never thought it could be regarded as a precious gift.
The voice has always remained alive and lucid in my mind, and I never stopped listening to it. Over time the singing remained a loyal companion from whom I also moved away for some time. I didn’t think it might be useful or indispensable to study something which I thought I already knew to do alone.
Of course, at that time, I had no idea to sing for a living, my audiences were family and friends so I could not see the usefulness of spending over it my time. In Bologna, a friend who heard me sing encouraged me to take singing lessons. Then I began to gain knowledge of the first rudiments of vocal technique.
The Academy proposed mainly opera singing classes, and at first, I felt some hesitation because I wasn’t sure what to expect. There was undoubtedly in me a strong desire to play in a role that I hadn’t yet experienced: that of a student of singing.
My first listeners often associated my voice to that of other famous singers. IIf in the first time this was a pleasure for me, then I realized how long it was the run to reach a personal style. Through the study of singing, I was also hoping to acquire a musical character.
My teacher considered me in possession of a kind voice with an attracting timbre. I started practicing on support, breathing, dynamics, and interpretation. The times of learning that in perspective, I thought were short, in reality, they became much longer because of the subject matter and techniques related to the study and understanding of my instrument.
The amount of knowledge required by the course was remarkable. I felt as if it had opened a world until then unexplored. I had always sung spontaneously, and I realized the gaps that I would have had to fill for learning the techniques of bel canto singing. But I was sure that this practice would make me figure out if this path would have been functional to express better what I had inside.
I didn’t know whether to be happy or not. Indeed, it’s not too easy to get into the game. It is a bit like emptying your cup of certainties and fill it with uncertainties.
The number of things I had to learn was such that I felt as if it had open a sinkhole in a place hitherto virtually unexplored.
I had always sung with delight and transport, so in one way, I was amazed by the limits that had seen in me, although they could, of course, have been real. On the other side, of course, I still had to do a bit of practice to understand whether the study would be useful to better express myself.
I found myself having to deal with a new reality. I had no professional or career goals in mind. For me singing until then, had a completely different meaning. The first lessons, instead of uploading my enthusiasm, had the effect of letting me try some discomfort. The directions given by my teacher during the lessons didn’t do anything else other than to accumulate uncertainties and doubts. Having to call into question something you already practiced with ease made me lose safety. This way, I changed school of music.
.. It follows