"Don't call me Maestro" is a book about singing, but not just any book! It consists of two parts, the first is idiosyncratic aphorisms about singing, the second is transcriptions of lessons that Pete gave to Bill and Jane Halsey, the baritone and soprano referred to in the book. The vocal principles that Pete used were derived from the technique he learned from Alma Michelini, who was a student of Marcella Sembrich. Pete had a big balky voice (a spinto tenor) and when he started singing he cracked on low F; when he finished studying he could sing arias with high D in them, like the Postillion aria or the duet "Vieni fra queste braccia" from Bellini's Puritani. Bill Halsey currently lives in New York City and runs a small opera workshop. We are looking for a Sparafucile and a Male Chorus for Verdi's opera Rigoletto. If you audition and are picked for the chorus, you would learn these principles of correct vocal technique, which are based on common sense not buzzwords and touchy-feely navel gazing. To get an audition or to order Pete's Book call Bill Halsey, (718)648-7124.
The basic principles of Pete's teaching: (Quotation from Don't Call Me Maestro, introduction to the "Narrativo" section. 1- Consonants and vowels are the key to developing placement. 2- Placement is the key to developing the range. 3- Developing the range is the key to developing the resonance. 4- The operatic voice is just a voice with fully developed resonance. 5- Operatic technique is the awareness of how resonance is developed.
Does Pete believe in "diaphragmatic breathing"? NOT ON YOUR LIFE! This snakeoil has been responsible for more vocal problems in both opera singers and amateur choirs than almost any other vocal buzzword. The key to correct breathing is to stand tall, like a soldier, and speak. The breathing apparatus is an involuntary reflex muscle, and although a stressful form of pushing may have its place in the technique of some wind instruments, using it in singing creates too much pressure and damages the vocal chords, creating the wobble that aflicts so many of today's ageing singers. The key to projection in to willfully enhance nasal resonance by consciously opening the nose. Certain languages are more helpful than others in doing this; for instance Spanish-speakers tend to have good natural resonance. Even closely related languages may differ wildly in respect of how "open" they are nasally. This is usually a function of the consonants typical of the language; for instance, Polish consonants are much less throaty than Russian consonants, which perhaps explains why so many great singers came from Poland.
Interested in more information? Check out Pete's Web Site Don't Call Me Maestro" by Filip Peterson
photo: Chris Peterson
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