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Opera Italiana Academy

Italian Opera singing technique and interpretation
1.5
1.5/5
(1 reviews)
1 students
Created by Opera Italiana Academy

9.1

CourseMarks Score®

10.0

Freshness

8.0

Feedback

8.7

Content

Platform: Udemy
Price: $11.99
Video: 35m
Language: English
Next start: On Demand

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CourseMarks Score®

9.1 / 10

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10.0 / 10
This course was last updated on 2/2021.

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8.0 / 10
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Content Score

8.7 / 10
Video Score: 7.6 / 10
The course includes 35m video content. Courses with more videos usually have a higher average rating. We have found that the sweet spot is 16 hours of video, which is long enough to teach a topic comprehensively, but not overwhelming. Courses over 16 hours of video gets the maximum score.
Detail Score: 9.0 / 10

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Extra Content Score: 9.5 / 10

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This course contains:

5 articles.
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Table of contents

Description

ITALIAN TECHNIQUE OF SINGING
For us, practice before the stage is of paramount importance. There are numerous things that we have to be careful about on the stage. Therefore, having a healthy and a correct technique of singing will help us immensely. The basis of Italian technique of san is the correct use of diaphragm, the production of high positioned voice (suono), and the natural match of these two. With a proper technique of san, we can both extend our artistic life span, and maintain the health of our vocal cords, keeping them fresh. A good portion of voice and throat related sicknesses are caused by improper use of our vocal cords and the muscles surrounding them. The voice we produce must be “brillante” or shinny at all times. And the breath, as supported by the diaphragm, must be at the right dosage that would vibrate the vocal cords without a strain on the cords. Most san trainings advise you not to push the voice, and this is of course the right thing to say. Yet, if we do not know how to utilize this mechanism properly, it is inevitable for us to push the voice. For this reason, it is important to use the Italian technique on voice.
INTERPRETATION
Interpretation is the most important topic of opera. It is the theatrical key stone within the the art of opera. Knowing HOW to say what you are saying. As opposed to the theatre of the prose, we are tied to the music, specifically in terms of time due to the ongoing music. Therefore, we must act in full harmony with musical phrases. Contrary to what is generally exercised, opera is not the art of producing high pitched voice; instead it is the art of interpretation. Both in the history of opera, and in contemporary scenes, we can see many singers that have achieved wonders thanks to their ability to interpret, despite not having the advantage of voice. furthermore, many singers with great voices have underestimated the importance of making music and interpretation, which ended their musical carriers after a certain limit. If music, theatre and interpretation are at the core since the early stages, technical challenges can be overcome.
PHONETICS IN ITALIAN AND DICTATION
The correct usage of language gives a significant edge to the singer. When combined with the correct use of language, an above-the-breath style of singing that is supported by the diaphragm, the issue of not being able to understand what is said – a common complaint by the audience – is eliminated. Correct pronunciation of Italian is not enough on its own. Correct use of accent and an in-depth study of Italian phonetics are also necessary. The correct use of open and close vowels, and the correct use of consonants without impeding the legato add to the quality of the opera singer. As Alfredo Kraus, who is an expert on these topics as well being a perfect tenor himself, says the members of the audience who is sitting in the back rows has equal right to hearing and understanding words. It is worth noting that the stage is a magical platform. With little effort, correct breath technique and good pronunciation, our voice transcends all boundaries towards hearts. Italian is the language of drama; musical terminology derives from Italian; and there is always someone who speaks Italian in operas around the world. Our advice to people who wish to perform this form of art is that they should be ope singers who are competent in Italian language.
COMPOSERS OF THE 18TH CENTURY AND ” RECITATIVO SECCO”
18th century composers are at the core of Italian opera singing. In general, operas had basic melodic structure; the story line and the theathrical timings were given through “recitativo”s, and the characters expressed their emotions through arya’s, duet’s and konsertant’s. Operas and the characters were derived from Commedia dell’arte, the traditional Italian art theatre. For example, Figaro as a character is “Arlecchino”, while Bartolo is “Pantalone” and Susanna is “Colombina”. Each one has its own characteristics. Figaro / Arlecchino plays a big role is in parts that display change such as introduction, development and resolution. Susanna / Colombina is the young girl in love. Bartolo / Pantalone is the gentleman who gets ridiculed for his sternness and stubbornness. Puccine, in contrast to operas of Verdi, may appear to be simpler in terms of vocalization, but requires great attention. Recitativo stems from the Italian verb “recitare”. Recitare means to act. Recitativo’s are the spots that the play is highly dense with theatrical elements. In order to recitativo properly, one must avoid undue darkening of the voice and one must sign from the natural spot of speech with the support of the diaphragm. In the simplest explanation, a recitativo is a musical speech. 18th century composers such as Baldassare Galuppi, Giovanni Battista Pergolesi,Giovanni Paisiello and W.A.Mozart reflected the natural melody of the Italian daily spoken language via their recitativo’s. a singer who can sing the 18th century operas has high advantage for intonation, interpretation and musicality.

CHARACTER ANALYSIS
Character analysis is commonly neglected. In important theaters of Europe, rejisor sits with the singers to analyze characters prior to rehearsals.Personality traits, the socio-economic status, psychology of the the character that you are acting, and the sociology of the era that the character lived needs to be analyzed to attain a proper interpretation. For example, when singing the Figaro in Rossine, Seville Barber we have to be “brillante” which manful of life and joyful. When interpreting Violetta, the main character of La Traviata of G. Verdi, we must be aware of the requirements of interpreting a high end prostitute who perhaps for the first time in her life falls in love so as not to end up with an average performance. Similarly, Cavaradossi in Tosca by G.Puccini is a rebellious artist who does not relinquish the ideals at the risk of losing his life while Scarpia is a merciless yet elegant member of the Sicilian aristocracy. And all these personality traits must be conveyed in our voice and interpretation.

A succesfull Opera singer is good at using these three tools;
Language , Music and drama!
Cuneyt Unsal

Requirements

• Everyone can join the course

You will learn

✓ Italian Opera singing
✓ Interpretation and style

This course is for

• Everyone can join our courses

How much does the Opera Italiana Academy course cost? Is it worth it?

The course costs $11.99. And currently there is a 60% discount on the original price of the course, which was $29.99. So you save $18 if you enroll the course now.

Does the Opera Italiana Academy course have a money back guarantee or refund policy?

YES, Opera Italiana Academy has a 30-day money back guarantee. The 30-day refund policy is designed to allow students to study without risk.

Are there any SCHOLARSHIPS for this course?

Currently we could not find a scholarship for the Opera Italiana Academy course, but there is a $18 discount from the original price ($29.99). So the current price is just $11.99.

Who is the instructor? Is Opera Italiana Academy a SCAM or a TRUSTED instructor?

Opera Italiana Academy has created 1 courses that got 1 reviews which are generally positive. Opera Italiana Academy has taught 1 students and received a 1.5 average review out of 1 reviews. Depending on the information available, Opera Italiana Academy is a TRUSTED instructor.

More info about the instructor, Opera Italiana Academy

Italian Opera singing technique and interpretation
CÜNEYT ÜNSAL – BaritoneCüneyt Ünsal was born in Smyrne in 1977 and graduated in music with a specialization in vocal music at Dokuz Eylül University in Smyrne. He began his career as baritone very young after a competitive selection of young singers at the Smyrne State Theatre in 1998. Here he debuted in different roles, including Figaro in the Barber of Seville, Giorgio Germont in La traviata, Ford in Falstaff, Escamillo in Carmen and Valentino in Faust. He participated in many music festivals in Turkey, always with acclaim from both the audience and critics.In Italy he made his debut in Dandini in collaboration with the Teatro della Fenice in Venice. He also appeared in a contemporary work, Roberto Molinelli’s Processo a Babbo Natale. He interpreted the Roberto Molinelli’s oratory Pope Wojtyla on the first anniversary of Pope John Paul’s death for the Teatro Giordano in Foggia, the Teatro Rossini in Pesaro and the Theatre in Ortona. He has performed in Carmina Burana. Following his success in the role of Dandini, he sang the role of Don Giovanni of W. A. Mozart in a collaboration between the Conservatorio Benedetto Marcello and La Fenice. In October 2006 he toured in prestigious theaters in Germany, Switzerland, Austria, Norway, Denmark and Holland, interpreting Marcello in La bohème and Giorgio Germont in La traviata. In December 2006 he performed the role of Alfio in Mascagni’s Cavalleria Rusticana at the Donizetti Theater in Bergamo and in 2008 played Figaro in the Barber of Seville at the Olympic Theatre in Vicenza, a role he repeated in Paisiello’s version in 2008 conducted by Donato Renzetti. He sang the role of Jago in Otello, directed by Renato Bruson in the Abruzzo opera circuit. In 2009 he sang Ford in Falstaff and Michele in Il tabarro in Tirana conducted by Gianna Fratta and Sharpless in Madame Butterfly conducted by Mariano Rivas at the Gijon Festival in Spain. In 2010 he performed the demanding role of Enrico in Donizetti’s Il Campanello dello Speziale at the Politeama Greek Theater in Lecce conducted by Alessandro Sangiorgi and directed by Tito Schipa Jr. and sang Marcello in La bohème at the Francesco Cilea Theater in Reggio Calabria.In august 2016 he entered in academy of Teatro Comunale di Bologna and was chosen for the very difficult role of Francescoof I masnadieri of G. Verdi for the Festival Verdi 2016 of Parma. He performed at the Theater of Busseto in October 2016. In April 2018 he sang “Figaro” of Rossini’s Barber of Seville at the Teatro Comunale “Luciano Pavarotti” Modena conducted by Angelo Gabrielli. In july 2018 he sang the role of Giorgio Germont in La traviata directed by Katia Ricciarelli at Noicattaro Opera Festival. In 2020 he debuted the role Miller in Luisa Miller of G. Verdi at Ljubljana Opera Theater directed by Lutz Hochstraate.He has recorded two CDs with the Ensemble Giordano: “All’opera dopo l’opera” and “Songs of Ludwig” published by the magazine Amadeus, and recently the dvd “ Il Filosofo di Campagna” of B. Galuppi from Bongiovanni with the title role “Nardo”.He has attended numerous master classes in opera with teachers such as Renato Bruson, Maurizio Arena, Mauro Trombetta, Bruno de Simone, Sonia Ganassi, Alessandra Rossi.He’s the artistic director of Opera Italiana Academy.

9.1

CourseMarks Score®

10.0

Freshness

8.0

Feedback

8.7

Content

Platform: Udemy
Price: $11.99
Video: 35m
Language: English
Next start: On Demand

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