Customer Reviews

Caruso's Method of Voice Production: The Scientific Culture of the Voice (Dover Books on Music)

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I purchased this title because I am studying voice. It is rather dated (correction, 1922!), but the information is very useful to anyone who is studying, teaching, or interested in voice production. Marafioti focuses most of the book on the relationship between speaking and singing - natural singing (using Caruso as the perfect example). He includes vocal exercises in the back of the book, as well as several diagrams and pictures. The diagrams of the organs involved in voice production are particularly useful. At times, it's a little repetitive, and several passages were difficult to understand, so reading the book a second time helped clarify what I had not clearly grasped the first time. Marafioti presents new ideas and always supports his opinions. I think anyone interested in voice will appreciate the information and examples in this book.

What Marafioti discusses, with complete support and input from Caruso himself as citations from his many letters proves, is the simplest, easiest and most sensible vocal method out there. Moreover, it makes perfect sense to even a non-singer. Don't force. Measure the breath with the diaphragm, this being the support that so many singers today couldn't even begin to define. OPEN YOUR MOUTH. WHY is that not taught across the board?? I would challenge any reviewer who wants to attack this superb and hugely important work to actually say what they find wrong with the technique set forth by the author, rather than just some ad hominem nonsense that doesn't help anyone. Also, they should be a classical singer, which the one negative reviewer is not. There is no reason why there can't be some fundamental rules for teaching voice, despite the ridiculous claims that no one technique is better than the other. PLEASE read this book if you are interesting in the study of voice, as it may well be the only work on subject you'll ever need. Read it BEFORE finding a voice teacher, so you can better know what to look for in a teacher and how to select one. As Marafioti points out, there are many, many charlatans out there, ruining classical singing. With the knowledge gained from this book, you should be able to avoid them and find one who truly can help you develop your voice to its fullest potential.

This is indeed the most superb book on correct singing technique. I, myself, studied for many years under teachers who taught me vowel modification and other such nonsense. I was told by many teachers that, although beautiful, my voice was too small to fill an opera house. They suggested I find other venues for singing. Then, I began studying with a teacher who was a master at the technique outlined in this book. I have never, in my life, heard anyone whose voice came close to the clarity, resonance, and overall production of this man. In time, with the careful study of Marafioti's book and excellent instruction of my teacher, my voice too gained a resonance that fills a very large house (without a microphone). Any serious vocal student should view this book as the bible of proper vocal technique. There are many teachers out there, each with their own technique. Let me assure you, if it does follow what is outlined in this book...Run!

What can I say? The singing method explained by Marafioti was endorsed by Caruso himself, by Titta Ruffo (a huge baritone) and other great singers of the past. It was published shortly after Caruso's death, yet the information is relevant to any singer today. Indeed a fascinating document.

Fifty years ago I came upon a most remarkable book: "Caruso's Method of Voice Production", and wanted to know more about singing. I had just started to become active in school and church music and wanted to know how best to sing. I came to regard the principles in this book as biblical truth. I practiced diligently, and become known for a voice that was always on pitch, fully resonant and with outstanding quality. My difficulties came when I ventured outside of the normal outlet for this type of singing: ballads, pop music and opera. Once outside this realm, most of the techniques no longer made sense, and I was forced into breathing for effect rather than support, with a thin and forceful voice for singing show tunes, rock and blues. I began to lose the quality and timber of my earlier days and began to sound like the other students who were able to get the available jobs. About that time, I began taking voice lessons from a former opera singer who introduced me to breath pressure and singing only in the "upper" register. This produced so much strain, I had to give it up, and abandon my earlier quest for singing. Twenty years later, I became interesed in "Karoke" singing and began to follow the earlier principles in the "Caruso" book. This took a considerable period of time to redevelop the voice, but what I finally rediscovered was my old voice filled with great quality, loud volume and accurate pitch. But the people around me started to sabotage my efforts, because I could sing better than them. I finally found my niche in inspirational singing, becoming a church soloist. When I ventured outside of this realm, I experienced a lot of criticism for a voice that was "unblended", too loud, too broad, and too focused. In other words, I wasn't singing like the others and was told to leave. My point is that the principles in this book are ideal if you want to develop a voice that is better than anybody else around. You will find your voice becoming well rounded, with exceptional range and power. But you will also find much opposition from people who sing with a different method which forces them to scream, shout and otherwise ruin their tone with falsetto and other gimmicks. If you want to fully enjoy the art of singing, this book is for you. But it can also turn you into an outcast once you become better than your competition.

This is the first book on voice that I ever read. That was several years ago and I still love it. It's more philosophical than it is technical but Marafioti's principles of voice are sound, and both educational and inspirational. It's a good book for the serious student of voice to read.

Hello there!!!!
I just want to share my thoughts about Mario Marafioti and let me star telling you something about me: I had experience what it's called classical training: thought about breathing, diaphragm, support the tone, breath low, voice placement, keep larynx low and so on. None of them really works for me, it was painful and besides that expensive, because each teacher charge at least $60/hr, so listen to my lessons tape, I rely on what's going on, my sound was not me, too much hard work, too much support, too dark "covering" and so on...., so what I did. First at all, pay attention to my normal speaking voice and carefully understand that I could speak really hight as well as low even so my voice at those was very weak, but the notes were there, so what I need to do!!! (see seventh principle/Mario Marafioti).
If you are open to new ideas, I sincerely recomend this book, you should study it very carefully and probably you will get the idea " Singing should be......"

because the bottom line is: We are not musical instruments, we are singers, who convey feelings and emotions trought the correct use of the speaking voice and the clearly/easy it's production the better it will.

feel free to contact me at ahtenor@hotmail.com

The book is really bad and has nothing to do with what Caruso did. Marafioti just knew him and abused his name. If you want to learn how Caruso sang, get yourself his recordings (best one is Complete recordings by RCA, the new Naxos series are said to be good or also Pearl). Than just sit back, relax and - hear!