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Valter Carignano 
Opera singer (bass-bariton), teacher of singing. Actor and writer.

Teacher of Singing

Valter Carignano has been for many years a Teacher of Classical Singing (Opera) and Modern Singing (jazz, pop, rock, metal, etc.), from basic level to high improvement .
There are really many of his students that have become professionals, you can find here some of the most recent.
 He has published articles on specific sites (Cantarelopera and other) in order to help singing students orienting themselves and answering most of their common questions.

He has graduated with honors at the Italian Conservatory in Classical Singing, but he also deepened the technique and teaching of Modern Singing with specialists from the US (in particular W.Blazer).
He is one of the very few Italian singing teachers that has been admitted as a full member of the National Association of Teacher of Singing (USA), the world's largest and most prestigious singing association, from which he has also received a mention for the research of 'THE HIGHEST STANDARD IN VOCAL ART AND ETHICS IN SINGING TEACHING '.

He regularly holds masterclasses of vocal technique and interpretation in Italy and abroad.
He has held and still holds high singing specialization courses in Italy and in Korea. 
He has collaborated for years as a lecturer and popularizer of music and theater with La Feltrinelli.

He uses a specific method of teaching singing, which starts from relaxation and physiology, according to the vocal needs of different genres and singing styles.
This allows to obtain clear results in a short time, and constant improvements.
 Every problem or doubt is directly faced and explained to the student in clear, univocal and understandable terms.

This is his YouTube channel, with his recordings and also recordings of his students of classical or modern singing, both professional or intermediate level.

He collaborates with phonologists and speech therapists, doing singing lessons and vocal reeducation classes as a support for rehabilitative vocal techniques in cases of vocal fatigue, loss of voice, nodules.

Opera Singer 

Bass-baritone, he is currently in career and he has played leading roles in Italy, France, Spain, Germany, Switzerland, South America and Korea. with artists such as Carlo Colombara, Fabio Armigliato, Dimitra Teodossiu, Garbis Boyagian, Alessandro Corbelli, Stefano Secco.

Among the roles that he has interpreted most frequently: Alfio in Cavalleria Rusticana, Scarpia in Tosca, Marcello and Schaunard in Bohème, Monterone in Rigoletto, Banco in Macbeth, Bartolo and Basilio in Barbiere di Siviglia, Don Magnifico in Cenerentola, Dulcamara in Elisir d'Amore, Figaro in Nozze di Figaro, Don Giovanni and Leporello in Don Giovanni.

In chamber repertoire he has interpreted on several occasions the cycles Winterreise by F. Schubert, Don Quichotte à Dulcinée by M. Ravel, Folk American Songs by A. Copland.
 He has recorded two complete CDs for Ricordi publishing house and, together with the pianist Michela Varda, a CD dedicated to F.P. Tosti based on poetries by G. D'Annunzio.

He has become finalist or winner of numerous international competitions, including Cascina Lirica (Cascina), Toti Dal Monte (Treviso), Johannes Brahms (Acqui Terme), Chamber Music Competition of Conegliano Veneto, Re Se Jong (Milan), Jupiter ( Genova). 

He has been in the jury of important national and international competitions, both of modern and lyrical singing (Sanremo Giovani, TourMusic Fest, NovaMusica, 'Terre dei Fieschi' Lyric Competition, Opera Rinata Competition).

Singing teaching method

His method of singing teaching is based on relaxation, on the harmonic use of the muscular mechanisms that allow us to sing, and on the knowledge of different necessities and specific vocal needs of each musical genre.

Each student is followed individually.

We asked Valter Carignano which are the bases for teaching singing.

"In my opinion, First of all, we need to explain things clearly, without relying on 'magical' terms and definitions such as 'the voice coming out of the head', 'the anchorage ','the sound forward or backward ', those expressions can mean everything and the opposite of everything.

Then, work on removing muscular tensions as much as possible. This is a principle that applies to every discipline and also in everyday life, as everyone knows; unfortunately, many singing teaching methodologies not only forget this fundamental fact, but also base their own technique on creating tensions. Those Tensions will cause less control of your own voice, limitation of expressiveness and - sooner or later - also tiredness and loss of the voice. 

The knowledge of our vocal organ's physiology, of how our body works while we are singing, helps us understanding with certainty the correct way to sing.
 But we must never forget that our brain does millions operations without needing our direct control, and actually this control is in fact impossible. For example, I am writing on the keyboard, but I do not think of any tendon of my arm and fingers, nor about the eye-hand coordination and so on.

Luckly, my brain does all this alone.
This is also very important for singing, and the attempt to directly control muscles on which we do not actually have such control will inevitably develop strong tensions, that will prevent us from singing at our best and - in the most serious cases - will lead to vocal pathologies.
These general principles apply to any type of singing you would decide to dedicate yourself at, even though the path and the study will be different and personalized, because different is the sound that singers of different genres (for example lyrical, pop, metal or blues) want and must get. ' (Valter Carignano)

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