A Quote by Robert Davi

There was something in the bel canto, not just opera, but a certain style of Italian singing that I responded to deeply. — © Robert Davi
There was something in the bel canto, not just opera, but a certain style of Italian singing that I responded to deeply.
My vocal style is called bel canto, which is an old Italian vocal style going back hundreds of years.
I want to be known by people who are knowledgeable about opera, who appreciate bel canto singing, people who have more sensitivity.
Bel canto is to opera what pole-vaulting is to ballet.
Singing bel canto is like walking on a tightrope - especially with a larger voice like mine.
When I'm doing sports, I always think of how it's related to singing, and when I watch tennis, I learn a lot for my singing: how the players are focused, how they use their technique, and, in the case of Roger Federer, how effortless it is and how beautiful it is to watch - like bel canto, in a way. That's how singing should be.
Instead of Otello being an Italian opera written in the style of Shakespeare, Othello is a play written by Shakespeare in the style of Italian opera.
I wouldn't be me if my repertoire wasn't bel canto.
For me, bel canto is medicine for the voice.
My voice is not so much 'bel canto' as 'can belto'.
One of my sisters wanted to be an opera singer. So, we spent a few dollars to try to train her, because Italian people would like to have an opera singer in the family. But she's got trouble coughing, let alone singing. One day, she was in the shower singing 'Madame Butterfly,' three days later the Japs attacked Pearl Harbor.
They both changed the way we hear the sound of the piano, both of them inventors of sonority: Chopin took bel canto singing lines and reproduced them on the keyboard above richly upholstered counterpoint; Debussy somehow preserved vibrations in the air, blending their ephemeral magic into music that reaches far back into deep memory.
I studied classical opera, so I was always singing in Italian and German and French.
When you do a 'messa di voce,' that means you start soft, you crescendo into loud - and then you go back to soft again. Some people call it circus tricks, but in bel canto, it's really written into the music.
I've been singing my whole life, since I was a kid; but never formally as a career. I did it in plays when I was younger, and I sang all styles of music: everything from Italian opera to blues.
That was my way, and I also use the music after five years, I started hearing opera, opera, it was very good instrument to keep the spirit very strong because you feel like you are yourself singing opera, and I used to hear a lot of opera, they send me tapes.
I prefer it when the conductor follows me. It is more difficult to work with a conductor who does not listen - even if I understand that sometimes it makes sense when one person is ruling everything. But for bel canto, I have to have a conductor who listens and supports me.
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