Lucie Man�n, one of the most influential and admired vocal teachers of our time, presents the history of Bel Canto singing and details the physiological aspects of voice production, including posture, breathing, messa di voce, and coloratura. Illustrated with exercises from original Bel Canto manuals, this book is an invaluable guide for singers who wish to master this important style.
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Editorial Reviews
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`The publication of this book must surely herald a change of attitude. Lucie Manen's clear exposition of her solidly grounded theroies and well-tried practice will prompt wise, healthy, and positive questioning of established methods, and should
`it is a synthesis of a life's work and is written with style and considerable insight ... It will provide a focus for much debate ... the book allows the reader a fascinating insight into a significant cultural definition of singing as art Graham Welch,
`Lucie Manen had a unique knowledge of singing: she did more research on the origins of singing, it history and its physical form, than any other person I know of; she was a singer herself (pre-war Glyndebourne) and she was a constructive and penetrating teacher. Bel Canto is a brilliant synthesis, guide and vademecum for any singer and it is mercifully brief and comparatively free of jargon. An interesting sidelight on her work is that, without her help, Peter Pears would have given up singing before Benjamin Britten wrote his last opera `Death in Venice'. So, in a way, we owe Lucie for Britten's last masterpiece composed especially for Peter Pears' extra lease of singing life.' John Amis --This text refers to the Paperback edition.
`it is a synthesis of a life's work and is written with style and considerable insight ... It will provide a focus for much debate ... the book allows the reader a fascinating insight into a significant cultural definition of singing as art Graham Welch,
`Lucie Manen had a unique knowledge of singing: she did more research on the origins of singing, it history and its physical form, than any other person I know of; she was a singer herself (pre-war Glyndebourne) and she was a constructive and penetrating teacher. Bel Canto is a brilliant synthesis, guide and vademecum for any singer and it is mercifully brief and comparatively free of jargon. An interesting sidelight on her work is that, without her help, Peter Pears would have given up singing before Benjamin Britten wrote his last opera `Death in Venice'. So, in a way, we owe Lucie for Britten's last masterpiece composed especially for Peter Pears' extra lease of singing life.' John Amis --This text refers to the Paperback edition.
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