Training Soprano Voices Review

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Training Soprano Voices ReviewI am a master's student currently preparing for an operatic stage career. If you are seriously persuing a pedagody degree and hope to teach or if you a soprano persuing a performance career, this book is an essential for your library. However, I don't recommend this book to novice singers -- the voice is a fragile instrument and a beginner can't tell what s/he sounds like (if the voice is tight, pushed, or out of tune, you won't know). It's best to begin study under a good teacher than with a book.Training Soprano Voices OverviewTraining Soprano Voices provides a complete and reliable system for training each type of soprano voice. Designed as a practical program for singers, teachers, and voice professionals, it couples historic vocal pedagogy with the latest research on the singing voice, emphasizing the special nature of the soprano voice and the proper physiological functioning for vocal proficiency. Renowned singing teacher Richard Miller supplies a detailed description for each of the nine categories of soprano voices. For each category he then surveys the appropriate literature and provides an effective system for voice building, including techniques for breath management, vibratory response, resonance balancing, language articulation, vocal agility, sostenuto, proper vocal registration, and dynamic control. The book concludes with a daily regimen of vocal development for healthy singing and artistic performance. It also features dozens of technical exercises, vocalization material taken from the performance literature, and numerous anatomical illustrations. Unique in its focus on a single voice, Training Soprano Voices is likely to set the standard in voice training for years to come.

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The Autumn of Italian Opera: From Verismo to Modernism, 1890-1915 Review

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The Autumn of Italian Opera: From Verismo to Modernism, 1890-1915 ReviewOpera during the late nineteenth/early twentieth century was, if nothing else, passionate. It was one of opera's golden ages, if not The Golden Age, when many of opera's greatest performers and conductors were in their prime. Italian opera, particularlyVerismo opera, championed by the likes of Puccini, Mascagni, and Leoncavallo to name a few, was a major part of the mix, and Alan Mallach's THE AUTUMN OF ITALIAN OPERA tells the story of what he considers, opera's last great period.
For Mallach, the story of opera during this time is more than just a story of music and the few composers of this time whose music is regularly performed today. He begins by looking at the political situation of Italy as a whole and the role opera played in the country, especially during the period of unification. In most Italian states, opera was the one thing all shared in common, and when the country went from small states to a larger whole, opera became not only a unifying force but a major export as well. He then tells of the last years of the composer many would argue was Italy's master, Giuseppe Verdi and the role he played din the hearts of the people, and the rich variety of music that came to be in his later years and after his death. He looks not just at the composers, but the story of opera during this period deals more than with the composers. He also pays attention to the librettists, publishers, singers, conductors and opera houses booth national and local, and presents a complex and fascinating tale. While he could have focused on Puccini alone with a smattering of footnotes about other composers, he seems to look at the entire musical scene. Since the majority of works from this period are not frequently performed, readers are bound to discover a wealth of new information.
THE AUTUMN OF ITALIAN OPERA is well researched, and Mallach presents a great deal of information in the book. The danger of so munch information is a dense and dry work, however Mallach avoids this pitfall in a work that is well written, organized, and at times reads like a novel. It also provides a great service for anyone who loves the music of this period. There are a number of biographies available about the major players of this period, and liner notes from recordings often provide the information in this book, but we often read them in isolation. Mallach puts the information together and readers cannot help but come away from the book with a new appreciation of this rich and interesting period in musical history. He also includes a number of notes and a copious bibliography for anyone who wishes to read more about the subject.
The Autumn of Italian Opera: From Verismo to Modernism, 1890-1915 Overview

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A Short History of Opera, Fourth Edition Review

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A Short History of Opera, Fourth Edition ReviewIt seems that this was the standard textbook for most university opera history courses at one time (at least it was when I took the course in the early 80's). However, it seems to have fallen out of favor because those of us who read the earlier editions and are now teaching opera history courses recall the writing to be confusing, if not outright dull. In my opinion this lastest edition, written with Hermione Weigel Williams, is an improvement, and I think the book deserves a second reading. After teaching our opera history course using another text, I returned to this one because I feel it provides a better narrative: there seems to be more of an effort to relate the various movements in opera to one another. This cause and effect relationship is helpful to the student in their attempt to retain the information, and as well as understand the significance of each operatic movement. Give it another chance!A Short History of Opera, Fourth Edition Overview

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Solutions for Singers: Tools for Performers and Teachers Review

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Solutions for Singers: Tools for Performers and Teachers ReviewThis book is not really a manual for voice teaching but a book of oft-asked questions and answers written by Richard Miller, noted voice teacher and author. Miller has written several books on singing and voice teaching, and all of them have been generally well received. This book is no exception.
The questions are grouped in sections of subjects beginning with breath management. Following chapters address posture, laryngeal functions, resonance, nasals and consonants, vibrato, registration, healthy singing, pedagogy issues, and performance concerns. As one can see, this layout of the book ensures that while Miller does skip from question to question, the book does flow similarly to great treatises on singing and voice instruction.
If one has never read a book by Richard Miller, one should know that his books can be technical and perhaps even...er, boring. Miller has certainly taken great care that each question be answered thoroughly and accurately (not with a simple yes or no). This is not the best book for a novice trying to learn about the voice. Try books by Oren Brown or Clifton Ware first, or be prepared to look it up if you don't know exactly where the zygomatic muscles are or how the thyroid cartilage works.
That being said, this book covers so many of the questions that people have about singing, even the questions that most voice teachers do not know. Miller also includes a wonderful repertoire list for younger or beginning singers in the back, and his select bibliography is also as rigorous as I've seen anywhere else. You may have to reread some answers, but it is clear that you are getting a well-researched answer.
I strongly recommend this book to any voice teacher. As long as they are prepared for technical answers, I think they will find it to be an invaluable resource.
Solutions for Singers: Tools for Performers and Teachers OverviewWhile many texts and courses on the art of singing offer comprehensive overviews of technique and performance, few have time to delve into the specific questions they spawn. Solutions for Singers explores these unanswered questions, filling in gaps that professional performers, students of singing, and voice teachers have long sought to close.Fielding over 200 questions, distinguished teacher and performer Richard Miller tackles problems raised during hundreds of his master classes and pedagogy courses. He deliberately avoids abstract generalities, concentrating instead on specific, recurring questions: What are some good exercises to loosen or relax tension in the back of the tongue? Do you apply the same principles regarding breathing to a younger student that you do to older students? What is meant by voiced and unvoiced consonants? Is there a female falsetto? Through such specialized questions, Miller probes the very essence of artistic expression.The questions are organized under ten broad topics, which Miller considers from various angles. He couples traditional and modern philosophies to present the most relevant and precise solutions. The result is an invaluable handbook for singers, which, read either sequentially or selectively, provides a unique and pragmatic approach to vocal artistry and technique.

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