True. Like in this case.....

I think that’s a false statement imo. You learn more from hearing it done correctly over and over than some teacher telling you to use a straw and can’t sing the phrase themselves

No, it is not. Where did the shades go? I wrote GRAND opera singers.@@danielformica-yourvocalteacher

@@danielformica-yourvocalteacherit take both of those things. You can hear it done correctly all you want. But that doesn’t automatically mean you’ll do it correctly. It takes demonstration, & a proper guide to tell you the mechanisms, ideas & correct technical formats to do it without hurting your voice. You can’t possibly think just by listening, it’ll be enough.

@@geminikid1617 I think singers were doing fine before all the talk of formants starting dominating the conversation. It’s great to know which frequency is being boosted here and there but if the teacher can’t demonstrate it the student is lost. I can tell you what finger tapping is on guitar but if I don’t show you the string and the note pattern you will be pressing and pulling all over the neck . But if I show you bam you can practice it over and over till you get it to sound correct. And with my guidance because I do it well it will get you there much faster. For some reason singing is the art where the teacher needs no technical ability and singers think that’s ok. Strange.

Bergonzi's top notes had a covered sound most of the time, he was rarely able to bring squillo into his B's and C's. When you compare his "O tu che in seno agli angeli" recordings, only in the 68 and 72 recordings does he manage to bring squillo into the final "Pieta" top note. The student has an even more head-heavy sound, he really struggles to bring more chest into the top. Bergonzi used true "A" pronunciation below high B but for B and above it devolved into a "O" sound. As a bartinone, I often find it can be difficult to bring that squilo into the top notes of my range. I always appreciate it when a baritone or tenor manages to do this well.

I don’t think that’s what he’s doing. It seems he’s teaching the student not to sing with voce ingolata; to get him from swallowing or over darkening the voice, along w/a slight cover over the passagio & different dynamics in this piece.