Giuseppe Giacomini on technique
"The 'affondo,' the search for the sinking of the sound, is nothing else but the accelerator, the motor. If you push the accelerator and remain there, the motor will always work. The sound must be evaluated always in a vertical sense, never horizontal (showing a vertical gesture with his hands). The support should be as low as possible physically. If you open the mouth a bit, don’t open it because you want to, it has to come from the diaphragm, giving you the possibility to open it a bit more or close it. But it is mainly inside that you have to coordinate the musculature—let’s leave the vocal cords alone. The larynx should be low, but we can’t study the vocal cords themselves as a surgeon would. I know that they vibrate, and it’s enough to know that, but we need to make them vibrate in the correct way and to find this coordination (showing a back and down motion towards the larynx) down to the lower groin. From there up, everything has to vibrate. The force lies in the coordination of this musculature. This is the way the voice has to sink down (affondare) because you get more colors. The color of the voices does not come from high resonances but from the low ones, the lower part of the face. From the face up, you get the projection of the voice, but it’s always bright; it doesn’t have color. The color comes from the lower part. It is also very wrong to try to imitate someone else. I liked many tenors, but my structure was different, so it was wrong for me to copy someone else. It also depends on the bone structure that helps us get a good sound. If we have a bone structure that resonates, is strong and healthy, or a specific type of bone, and if the bone were made of cloth, we would lack resonance. You should never force the sound because it is also a result of your facial structure, bone structure, and resonance."
Taken and translated from an interview with Giuseppe Giacomini
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