YOU ARE A SAINT!

(Acid reflux will damage thevocal cords.) You don't have the stamina to stay in this tessitura yet. The vocal cords are tight and exhausted. Develop a beautiful sound at a lower lyrical range then slowly introduce higher repertoire. The voice must be be lower centered to be truly relaxed. Try not to lift at all until high B natural. It takes stamina and strength to do this. To sing a high G above C you must be able to vocalize to Bb above it. If you can't you can not sing the piece.

Fews advices: You can't try to sing this kind of extremly hard arias, it's technically too difficult for your level, it could be really really damaging for the any voice. You need to pratice the most on the breath for the next 6 months, because actually your breath don't support your voice for helping to sing the notes, you create the notes directly on your vocal chords, you must never do that ! And it's also the reason why your voice dind't sound full and open like actual opera voice, because the breath is not supporting the flow of the sound. Just do that for the next 6 months and don't sing things more complicated than voi che sapete, sposa son disprezatta, laudate dominum, Pie Jesu by Fauré and try to have the most continue vibrato, with large space in the chest allouer to the breath. If you continue to sing things that is way way too much for your breath support (EVEN IF you CAN sing these high notes, when you over-use your vocal chords) you will really damaging your voice.

It has been suggested that I sing with a smaller part of the voice and I think it is true that it would help. I can here that as I get tired, my sound gets sloppier and more disbursed. Probably does not help to expect a functional range of Bb3 and G6.

The lesson is also that when you sing larger voices pieces, you end up stretching the apparatus to over 100%. One need to learn to use a much smaller part of the voice.

I don't ask, eternal gods all the sky for me is clear. But my grief consoles at least, some ray of pity. He does not understand my ills nor the terror that fills my chest, who of a wife the keen affection, who does not have the heart of a mother. Io non chiedo, eterni dei tutto il ciel per me sereno. Ma il mio duol consoli almeno, qualche raggio di pietà. Non comprende mali miei né il terror che m’empie il petto, chi di moglie il vivo affetto, chi di madre il cor non ha.

Why do I take the tempo so fast in the second part? Because it is supposed to be a mother's expression of frustration and grief, not of beauty (and it sounds very boring when sung slowly). Why would a composer compose a sequence of notes and then put triplets on it the second time for emphasis? Because Mozart wanted to express torment, which requires a fiery approach as opposed to something pretty.

So the piano part is uber-edited and the voice has nothing... it is exported straight out iPhone 12 Pro video (the most true sound I have gotten out of any type of recording equipment, including the cheaper recording interfaces).

Haha, someone suggested I play the piano accompaniment while singing this. My response is that if I were that competent at piano (a lot of editing of the piano part in Logic Pro X, thanks Tim) and did not have a hand injury, any one in fact who could do that, would be conducting.

Very pretty

Thank you so much for everything :’) This account has everything i need and more! You definitely deserve more recognition ❤️