Sara Allegretta: "Music has no boundaries"

Sara Allegretta , soloist at La Scala , professor at the Conservatorio di Musica Niccolò Piccinni in Bari and a bearer of the Italian bel canto tradition, has arrived in Moscow .

From June 23rd to 27th, she is holding a vocal intensive for singers , featuring open master classes, individual lessons, and separate work with an orchestra. For Moscow's vocal community, this is a rare opportunity to see how the Italian school works not just in theory, but in live teaching: with breathing, body language, phrasing, pronunciation, and stage freedom.

Before the intensive, we asked Sara Allegretta a few questions: about bel canto today, about freedom of the voice, about why the singing instrument cannot be separated from the body, and about music as a language that knows no boundaries.

This is your first time in a while bringing an intensive course to Moscow. Why is it important for you to work with vocalists here now?

SA: I was fortunate to come to Moscow for the first time in 2016. Then I met many amazing Russian singers with beautiful, rich voices. I've always loved working with Russian vocalists and passing on the bel canto tradition here.

I see a great deal of interest in Italian culture and music. To perform this repertoire truly well, it's important for Russian singers to become thoroughly familiar with both the technique and style of bel canto. This is precisely my vision for my role.

These are difficult times, but despite any political tensions, music remains a wonderful cultural bridge. It's a language people can speak. It's a path to harmony and mutual understanding. Music knows no boundaries.

What does bel canto mean to you today: a historical style, a vocal technique, or a special way of hearing and leading a musical phrase?

SA: Bel canto is primarily a style that originated and developed in Italy in the 19th century. This is the music of Bellini, Donizetti, and Rossini.

But in order to sing this music, of course, a special technique is needed: mastery, control of breathing, the ability to hold long phrases, perform coloraturas, find the right strokes and phrasing.

The intensive description includes the phrase, "Breathe freely—sing easily." What most often prevents a singer from singing freely?

SA: Breathing is fundamental for a singer. It's important in any repertoire, not just bel canto. For me, breathing is the foundation of vocal control.

Our instrument is inside our body. It's not like a piano that you can just walk up to, tune, and play. We must master the instrument that resides within us.

Why can't the voice be separated from the body?

SA: Sound creation involves not only breathing but also other parts of the body, including the resonators. Therefore, it is necessary to harmonize not only the breath but also the entire body, which participates in the generation of sound.

What vocal blockages do you encounter most often? Can you quickly feel the first results from working on them?

SA: Tension needs to be addressed, of course. Primarily through proper breathing. Sometimes I use the simplest movements: arms, legs, head. They help the singer release tension, and the voice begins to sound completely different.

What distinguishes true Italian phrasing from simply performing the notes and words correctly?

SA: When working on a phrase, you need to rely primarily on the text. Words already have their own natural stress patterns, their own movement, their own logic.

Furthermore, it's important to understand the work's subtext, its emotional side, and the character of the music. Only then can the singer convey the exact emotion intended by the composer.

How important is vocal phonetics for a singer performing Italian repertoire?

SA: Pronunciation is very important in any language, and especially in Italian when it comes to bel canto. Correct pronunciation helps the singer find the right vocal position.

When we pronounce words precisely, we immediately hit the right sound point. For example, an open or closed vowel can help create a precise sound.

Working with an orchestra is a separate stage of the intensive. What does the singer learn during this stage?

SA: The experience of singing with an orchestra is very important for a singer. It cannot be replaced by regular piano lessons.

It's a fundamentally different experience: an orchestra is made up of a multitude of sounds, and the singer must find their voice within this sound. They must find harmony with the orchestra while simultaneously projecting their sound correctly into the audience.

What would you say to a vocalist who is unsure whether to be an active participant, a passive listener, or a private lesson?

SA: Of course, I would advise active participation. A singer can't learn just by listening. They learn by experimenting with their voice and singing.

On June 25, from 12:00 to 3:00 PM, a master class with the Internum Sonus orchestra (directed by Dmitry Korolev) will be held as part of the intensive course at St. Andrew's Anglican Cathedral (8/5 Voznesensky Lane). Attendees will be able to see vocalists working with the maestro and orchestra—a format that is especially valuable for those seeking a better understanding of professional opera practice and a rare opportunity to see a vocalist working with the maestro and orchestra in real time.

Tickets : https://qtickets.ru/event/237480

!! For readers and friends of Voci dell'Opera, use the promo code "ВОЧИ" for a 50% discount on tickets to the Anglican Cathedral on June 25th!

Questions: +7 991 858-15-08

Organizer: Neskuchnaya School of Vocals