Vocal Technique

Vocal Technique

The Cuperto Exercise - Vocal Health

In a treatise written in 1710 by the singer and professor Mancini one can read:

"in vocal training, one should divide the voice between its two natural elements - pure chest voice and small head voice. Exercise and strengthen each part separately, then join them in mixing the head voice with the chest voice".

This method finds an indispensable educational tool in the exercise of the Cuperto. It is difficult for voice pupils, especially at the beginning of this specific training, to understand the utility and the benefits of the Cuperto. We have the tendency to favour the rapid "artistic" production rather than the slow maturation. Those who mould their instrument by using the Cuperto gradually notice its value because it reveals the thin edges of the vocal cords, their strengthening, and then their use at will. The vocal health and the performances of the singers are quite naturally improved

[This technique works equally well for both male and female voices - Bruce]

Falsetto

The treble range produced by most adult male singers. The voice commonly used by counter-tenors. When Falsetto is brought into use, only the thin edges seem to be used during the vibration; the internal mass of the vocalis muscles seem to be motionless. Singers who train their voices with the Cuperto use Falsetto downwards to the lowest notes of their tessitura. In time, this Falsetto, typically pale and fragile strengthens itself. We then call it "reinforced or strengthened Falsetto". In the case of light lyric tenors, this reinforced Falsetto presents one very characteristic tone and a consistency which authorizes the use of this type of voice in the extreme notes of the tenor range.

The art consists in homogenizing registers to include this Falsetto in the high range of the light lyric tenor. In a previous article, we related the work with a young light lyric tenor of the Paris OPERALAB Studio. During our first session, his top note was high A. On the second lesson, after training for a month with specific exercises, he easily sustained the high C sharp. One year later, he sings rich and intense high Fs (above high C) in full voice, without resorting to the typical nasality of certain contemporary Rossini tenors.