Maria Blahutova soprano drammatico d’’agilità
... It can help to think in opposite terms - instead of thinking to „do“ things ... (Douglas Stanley)  ... We breath from the lungs, but not with the lungs ... (Giovanni Battista Lamperti)   ... All control of the voice is lost once the cords become vibratile ... (Manuel García II)  ... Beauty and power of tone depend, not simply upon a correct tone-attack, but also on the resonance of the voice both in chest and head. With a well-opened throat, the tone should sound out steady, free and sonorous, like that of a violin or violoncello. One ought to feel the appoggio (point of support). Only a voice thus solidly founded will „carry“ and always be plainly audible even in pianissimo ... (Giovanni Battista Lamperti)   ... The problem is to keep your throat open. No vocalist can harmfully strain his voice mechanism so long as his throat is freely open. It must be realized that any tone, loud or soft, made when the throat is constricted, will cause strain and build up interfering muscle-reflexes. To succeed in maintaning the open throat established at the time of inhalation there must be continued energizing of the muscles involved in the act of deep breathing ...  (John Wilcox)  ... Chi sa respirare, sa cantare ... (Anna Maria Pellegrini Celoni)  ... Good fundamental technique applies to any style. Good tecnique doesn´t „belong“ to classical. You can´t be great broadway singer without the same fundamentals as a great opera singer, because all great singing functions on the same aspects of efficiency, good breathing, muscular balance, release of unnecessary tension etc. There´s nothing „classical“ about good breathing and vocal efficiency, that´s just a hallmark aspect of why we listen to some singers and we think „wow“ instead of „it sounds kind of not so good“ ... (Douglas Stanley)  ... Few singers realize that the vowel is the soul of voice, the soul of the world, and that a vowel is shaped vibration. The consonants should never outweigh the vowelled tone. The relation of consonant to vowel is that of bow to violin, their work separate but united, the action of the one invariably helping and never disturbing the work of the other. The vowelled tone must always be allowed to flow ... (Edgar Herbert - Caesari)  ... Oh! how great a master is the heart! Confess it, my beloved singers, and gratefully own, that you would not have arrived at the highest rank of the profession if you had not been its scholars; own, that in a few lessons from it, you learned the most beautiful expressions, the most refined taste, the most noble action, and the most exquisite graces: Own, (though it be hardly credible) that the heart corrects the defects of nature, since it softens a voice that´s harsh, betters an indifferent one, and perfects a good one: Own, when the heart sings you cannot dissemble, nor has truth a greater power of persuading: And, lastly, do you convince the world, (what is not in my power to do) that from the heart alone you have learned that Je ne sais qoui, that pleasing charm, that so subtily passes from vein to vein, and makes its way to the very soul ...              (Pier Francesco Tosi)  ... My ideal was (and is) so high, that no mortal was to be found who, in the least degree, could satisfy my demands; therefore I sing after no one´s „méthode“ - only after that of the birds (as far as I am able); for their Teacher was the only one who responded to my requirements for truth, clearness and expression ... (one of history´s greatest divas, Jenny Lind)