It truly amazes me the vocal coordination required by Verdi. The middle range has to be perfectly in balance—with both laryngeal tilt and total body coordination—for the entire range to pull together. This is somewhat true in most operatic music, but Verdi's approach to the middle voice is merciless. If your voice isn't completely and totally in the body, the voice will become heavier and heavier as you sing, and the top will completely shut down.
Lately, I have been finding a very exact posture balance that allows my ribcage to expand freely without fighting gravity. When this happens, the voice instantly drops, and the vocal cords instantly close cleanly and completely. But so much is prerequisite to this, particularly vibrating deep in the trachea and widening at the muscles below the larynx.
This aria is so fulfilling to sing when the voice connects to the body! I am so thankful every day for my training and the tools I've received. Not everyone gets the opportunity to find their total voice, even though everyone should have the material available to them, particularly since so many individuals claim to have the answers. I am more and more grateful every day for what I'm in possession of. Enjoy segment 2 in my 100 days of practice challenge. Will update at the end of the day with my total practice times for the day.
More Verdi coming tomorrow, so Follow and stay tuned! Love and light on your own journey, and God bless.
“Pietà, rispetto, amore…” from Macbeth by G. Verdi
🌚 Day: 2 of 100
Vocalization: 26m 38s
“L'orage s'est calmé . . . O Nadir, tendre ami…:” 10m 35s
“Dagl'immortali vertici…:” 9m 40s
“Wo ist er, dessen Sündenbecher jetzt voll ist…:” 7m 24s
Time Today: 54m 17s
️ Total Time: 2h 3m 25s
🌚 Current Date: January 24, 2019
🌞 Start Date: January 23, 2019
Serious singer for over 10 years
Following significant vocal breakthroughs, I decided to do the 10,000 hours of practice and 100 days of practice challenges, sharing clips to motivate myself to practice (at least almost) every day! - 25 days ago