The Singer's Fountain of Youth The Zhorella Method
Ask Maria Zhorella what about her teaching differs from that of other vocal trainers and she is quick to answer, "Nothing. Many good teachers teach the same things." While watching her in action, however, it becomes clear that she is referring to the principles of good singing. What she has neglected to mention is her uncanny ability, Highest Paid Female Singers 2017 to bring those principles alive for those with whom she works.
Often, in the first session, a high C is effortlessly achieved, to the astonishment of a new singer she is training, and at age ninety-nine she has a clear soprano voice that she can still take to the highest registers. About Maria Zhorella: In 1915, she was born in Vienna, Austria to Luise Hubicki-Sas and Frank Brandstetter. When she was five, her strong-willed mother divorced her father despite society and the Catholic Church she attended forbidding it. And Maria was raised by Emil Prat, a step-father whom she adored. Vienna, " City of Music" resounded with waltzes and symphonies; but as a child there was another music that also enchanted her, the trilling of birds.
Their melodies would prompt her to get up, "when everybody was sleeping" and walk out onto her bedroom balcony where she would stand in the moonlight mesmerized by "the ideal, the singing of nightingales and other winged creatures... I was thinking about singing all the time... also Galli-Curci's voice was always on my mind- the sweetness, the lightness, the emotion... " As a young woman, she began training as a singer with Wolfgang Steinbruch, who "had the upper tones- I loved the sound. He taught me to sing with proper vocal technique- but with emotion! And he focused on the resonance, the vibration, and to always find the support. I loved this. He allowed me to fly!" Soon she was appearing on the radio performing Lieder and a cosmopolitan repertoire including folk songs in Slovakian, German, Hungarian and Czech.
She also married Eugen Fodor, and transformed Fodor into the mellifluous stage name, Fedorova... It was becoming dangerous to be a Jew and although her husband had a high position in the Slovakian commerce and tourist bureau, his father was Jewish, therefore he soon had to flee their home in Bratislava for Sweden. And at the end of the war, while making his way back to Bratislava, by train, he was shot in the back and killed... At the age of twenty-nine, she was invited to join the Vienna State Opera, one of the premier opera houses in the world.
At first she played small roles. Among those she most enjoyed was Lola in Mascagni's Cavalleria Rusticana, and particularly the fat, ugly cook with big bosoms and false teeth in Eugen d'Albert's Tiefland (The Lowlands). Soon the Austro- Hungarian composer, Franz Lehar cast her in the title role of The Merry Widow; and when she played Angele in Lehar's Count of Luxembourg the critics declared it her great breakthrough, praising her tremendous success in the role... From the onset of World War II, she had also been part of the underground, hiding Jews in her basement and providing them with forged papers. Article Source: http://EzineArticles.com/9009731
Often, in the first session, a high C is effortlessly achieved, to the astonishment of a new singer she is training, and at age ninety-nine she has a clear soprano voice that she can still take to the highest registers. About Maria Zhorella: In 1915, she was born in Vienna, Austria to Luise Hubicki-Sas and Frank Brandstetter. When she was five, her strong-willed mother divorced her father despite society and the Catholic Church she attended forbidding it. And Maria was raised by Emil Prat, a step-father whom she adored. Vienna, " City of Music" resounded with waltzes and symphonies; but as a child there was another music that also enchanted her, the trilling of birds.
Their melodies would prompt her to get up, "when everybody was sleeping" and walk out onto her bedroom balcony where she would stand in the moonlight mesmerized by "the ideal, the singing of nightingales and other winged creatures... I was thinking about singing all the time... also Galli-Curci's voice was always on my mind- the sweetness, the lightness, the emotion... " As a young woman, she began training as a singer with Wolfgang Steinbruch, who "had the upper tones- I loved the sound. He taught me to sing with proper vocal technique- but with emotion! And he focused on the resonance, the vibration, and to always find the support. I loved this. He allowed me to fly!" Soon she was appearing on the radio performing Lieder and a cosmopolitan repertoire including folk songs in Slovakian, German, Hungarian and Czech.
She also married Eugen Fodor, and transformed Fodor into the mellifluous stage name, Fedorova... It was becoming dangerous to be a Jew and although her husband had a high position in the Slovakian commerce and tourist bureau, his father was Jewish, therefore he soon had to flee their home in Bratislava for Sweden. And at the end of the war, while making his way back to Bratislava, by train, he was shot in the back and killed... At the age of twenty-nine, she was invited to join the Vienna State Opera, one of the premier opera houses in the world.
At first she played small roles. Among those she most enjoyed was Lola in Mascagni's Cavalleria Rusticana, and particularly the fat, ugly cook with big bosoms and false teeth in Eugen d'Albert's Tiefland (The Lowlands). Soon the Austro- Hungarian composer, Franz Lehar cast her in the title role of The Merry Widow; and when she played Angele in Lehar's Count of Luxembourg the critics declared it her great breakthrough, praising her tremendous success in the role... From the onset of World War II, she had also been part of the underground, hiding Jews in her basement and providing them with forged papers. Article Source: http://EzineArticles.com/9009731
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