La Vecchia Scuola and logic singing facts.
The blending, correct use and combination of the fundamental methods, mecanics and techniques of the Vecchia Scuola as the Garcia School, the Melocchi Method and the Ettore Campogalliani School gave life to the Monsalve Leyton Method ™
The Monsalve Leyton Method ™ is formed directly by three of the most important singing schools in history. Giancarlo Monsalve is a direct connection line of the legenrady "Vecchia Scuola di Canto" inherited and passed on from generation to generation.
The Monsalve Leyton Method™ is formed directly by three of the most important singing schools in history. Giancarlo Monsalve is a direct connection line of the legenrady "Vecchia Scuola di Canto" inherited and passed on from generation to generation.
Here a resumed version about the methods and techniques that Giancarlo Monsalve will teach you to master: Monsalve is a direct 4th Generation of the Manuel Garcia School that influenced the voice and powerful high notes of Giacomo Lauri-Volpi who learned this method with his wife who was a student of the Manuel Garcia School. Monsalve learned this Method directly from his very first teacher, Nora Lopez Von Briessen, 3rd Generation of the Garcia School.
Monsalve is also a direct 2nd generation of the Arturo Melocchi Method School, following the advices of Giancarlo Del Monaco, Monsalve learned the real Melocchi Method in Rome with Leodino Ferri, direct student of Melocchi and a very good friend of Mario Del Monaco.
Monsalve studied also with 2 fabulous Sopranos, Montserrat Caballé, learning her techniques of breathing support - that by the way are a big confirmation of the Garcia teachings about “(respirazione e supporto diaframmatico-intercostale)” - and with Mirella Freni, becoming a second generation of the Ettore Campogalliani school.
Campogalliani was also teacher of Reanata Tebaldi and Luciano Pavarotti among other fabulous singers.
After Maestro Ferri passed away Monsalve continued to learn the Melocchi Method with students of Del Monaco: Nicola Martinucci, Gianfranco Cecchele and Corneliu Murgu, becoming a direct second generation of the Melocchi/Del Monaco School.
The Monsalve Leyton Method™ All Rights Reserved.
“The admirable technique of Monsalve, a technique from the old school that allows him to prop his vocal emission firmly to build a vibrant sound, ample, safe and that runs with brightness, despite its natural baritone dark accents.”
Pro Opera Mexico. www.proopera.org.mx
“Giancarlo Monsalve, whose voice of strength left to underlie an acquired technique skill of the Italian traditional school (Del Monaco. Cecchele, Corelli) But capable of precious mezze voici in the spirit of the character that should not just be 'noisy '(as is often heard in the past, and not only) for example, the closed end of the romance "La fleur que tu m'avais jetée.”
“He was very good at showing his trembling emotions with the finest techniques that let him sang from fortissimo to pianissimo. Acts 1 and 2 he showed de indecisive conflicts, so there was a good contrast with the developing to the acts 3 and 4 provoking tension.
Oh My Star”
“This is a true spinto Tenor, from a good school, with timbral flashes of ilk singers as Mario Del Monaco and with full awareness of his instrument and what he can achieve with it, giving him a personal identity that seeks no imitation. Monsalve sings with such commitment, emotional strength and vocal orthodoxy that any possible criticism would be ancillary being the simple delight.”
Pro Opera Mexico. www.proopera.org.mx
“Giancarlo Monsalve, singer with proven technical skills and interpretive revived the fibrillating emotions of Cavaradossi up to the killing of this, on top of the highest boulder and where, in despair, was cast into the void Tosca, while on the marble wall appeared the image of Castel Sant Angelo.”
“Monsalve collects the expressive force of some reference Otellos to draw his own: the animality and torment of Ramon Vinay, the strength and sonorous brilliance of Mario Del Monaco (with that steady emission and blade cutting sonorous trebles) and the scenic ductility of Plácido Domingo.”
Toda la Cultura