The past week I have been paying much more attention to my practice ljournal, and I thought I would post them here.
Good warm up for about twenty minutes. I went into practicing the end of Carmen from "Puis, je m'accusez." I found that with the word "chose", if the vowel has that constricted (Which means a real [O]) feeling to it, the "a toi" is lined up and a piece of cake. I can morrendo the end of the pitch.
I also practiced the recit beginning of Celeste Aida. That was pretty smooth. I kept a close attention to just waht Verdi asked for musically and dynamically. The "Ergerti un trono" was really easy, as was econd one. But I was most pleased with the last Bflat. As stated in the Carmen, if the O is correct, the Bflat will line up and I can morrendo on the pitch.
I also sang through "Vesti la giubba" (Pretty easy), and "addio fiorito asil" from Butterfly. All I can say is wow. And it was all during the 1:00 hour!
Today had my thirty minute vocalise warm-up, then I spent my time on Non piangere Liu from Turandot. Talk about being easy. Especially the Bflat at the end. Most of that comes from not sprading the [O] vowel as I ascend through the passaggio into the top. Keeps the F nat to A Flat corridor at rest, allowing the A Nat to C nat to just flip over and out, consistently. Pretty awesome!
I spent time on Celeste Aida again. This time I worked on the aria proper. I found many more spots for real portamenti throughout, and I paid real attention to the dynamic. That is something I am not used to hearing other guys do. I will say this: keeping the pp at the repeat of "Il tuo bel cielo" makes that last B flat at "ergerti" just like child's play. And keeping a real [o] fpr the "un trono vicini al sol" allows the voice to set correctly, and morrendo to occur.