978-0-7618-3671-1 • Paperback • February 2007 • $47.99 • (£37.00)
978-1-4616-2652-7 • eBook • February 2007 • $45.50 • (£35.00)
is the Founder and Artistic Director of the Shaker Mountain Opera. He has sung leading tenor roles in many of the major opera houses in the United States, Europe, Australia, and Japan. His vocal studio is producing some of America's most exciting young singers. His students frequently capture major roles at the Metropolitan Opera, New York City Opera, and other major opera houses throughout the world. For additional information and to order the companion CD to Head First
, please visit Denes Striny's website at www.denesstriny.com
Part 1 Dedication: In Remembrance (of Birgit Nilsson )
Part 2 Foreword: A Letter from Birgit Nilsson
Part 3 Preface
Chapter 4 Introduction
Part 5 Choices
Chapter 6 Head Voice and Chest Voice: Registers and Voices
Chapter 7 Breathing—No Big Deal
Chapter 8 All the Stuff You Want: Pitch, Text, Musicality, Carrying Power
Chapter 9 Vocal Constriction and Health
Part 10 Getting There
Chapter 11 Bel Canto and Head Voice: What Happened?
Chapter 12 The Passaggio: From What? To What?
Chapter 13 Finding a Voice
Chapter 14 About Teachers
Chapter 15 Getting in the Zone
Chapter 16 The Final Analysis, Do You Deserve It?
Chapter 17 The Learning Process and the Exercises
Part 18 Exercises
Part 19 Appendix
Part 20 Index
WOW! I must say that you have done a fabulous job....A great piece of work.
— Birgit Nilsson, Swedish opera legend, Soprano. (b. 1918 - d.2005)
Denes Striny has been my teacher for over fourteen years now, and his incredible teaching has been invaluable in my success performing roles from the bel canto to Berio.
— Lauren Flanigan
The book is remarkable, everything you write on the Head Voice is interesting and good. Thanks!
— Christa Ludwig, German opera legend, Mezzo-Soprano
I am impressed with the clarity of his thoughts and the wisdom of his ideas. His book is an important addition to the field of vocal pedagogy and it is especially timely today when the art of good sining is limited to so few people.
— Michael Cordovana, Dallas Opera - 25 years, Retired
And I am sorry to say...I spoiled what could have been a successful career with wrong ideas...with the assistance of teachers that made that happen. When I read your book, I could...remember what my voice had wanted to do and was able to do when everything felt easy and joyful. Well, it's too late for a career, but it's not too late for searching and (returning) to something that brought so much joy and happiness.
— Rolf Knapper, Hedmark University College
I am so excited by the principles that Mr. Striny puts forth in his book that I have incorporated them into my own teaching and am recommending him and his book to everyone who is serious about 'singing smart' and having a long, healthy and prosperous singing career. Finally I can say 'Thank You' for finding the way.
— Carmen Balthrop, Chair, Voice/Opera Division, School of Music, University of Maryland
What I've read is always engaging, clearly expressed, and well phrased-a reader wants to read on. You have much to be proud of.
— Peter G. Davis, Music Critic; New York Magazine
...passionate and direct. Vocal students and teachers will have much to chew on, and even part-time opera fans will find food for thought.
— Joseph Dalton; Albany Times Union
Striny neatly encapsulates his directives for singing...the exercises, and Striny's directions, are excellent...What Striny has to say...will resonate with pedagogues who wonder why there are fewer singers with long careers.
— Debra Greschner, Lecturer of Voice at Lamar University in Beaumont, TX; National Association Of Teachers Of Singing
I consider your book a masterpiece in the genre of vocal literature...Your book should be required reading for all voice students and voice faculties across America.
— Robin Hendrix