Knowing ABOUT old school technique, is NOT THE SAME AS knowing [the whole of] old school techniques. What you are talking about is the rediscovery of those techniques, but it is a process of reconstruction, not just opening up some old-forgotten locked drawers. Besides, it is not about reaching a particular, definite point, corresponding to a genuine, single original standard. And even so, once those techniques are more or less mastered, you can not pretend that it automatically leads you to a better, more genuine rendition of the original scores, just like Savall is not the same as Brüggen, as much as they are using period instruments and similar performing techniques. Notice how I insist on "score". You may be familiar with that "This Is Opera" channel, in which the guy running it insisted on the production of the sound, the vocal technique taking for granted, both how that vocal technique develops into the actual performance of the whole score, and the actual aesthetic differences between, say Verdi or verismo and Mozart or baroque opera: so that, for him, singing Mozart would be the same as singing Verdi or Puccini, or even Monteverdi, because "they were all part of the same Western musical tradition"...(just like Kanye West, right) and Franco Corelli performing "Ombra mai fu" like a grieving Canio is supposed to be, according to that view, pure XVIIIth century bel canto.
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I can’t argue with your comment , as on the most part I tend to agree with it.
I’ve been researching the techniques of the early Bel Canto and find it fascinating just how different it is compared to modern classical technique.
Using “old school bel canto” technique cracking on high C’s is practically impossible because the trained integration of the pharyngeal-voice. Yet the power and tone created can be equally as powerful and you still have the facility to sing much higher, whilst still keeping power in the voice. There’s even a video here on YouTube demonstrating it. Here:
I’ve just ordered an old book called “The Voice Of The Mind,” as it was highly recommended for anyone interested in early Bel Canto techniques.