The challenge of singing vowel “e”

Many of you probably, faced that challenge of singing vowel “e”. By releasing tension during singing it and creating extra space in the area of your throat you increase immensely your potential of extending  your vocal range, fixing your pitch and adding lots of freedom to your singing. This is one of the common problems amongst singers which I am facing. Singers tend to sing this sound in the way they are saying it. Unfortunately, it doesn’t work this way.. This was a problem for me as well for many years. But not anymore:-)

Amazing solution of the vocal problem

I am going to offer you a great solution of this problem. Here below is the translation of the advice from one of the most successful operatic singers of 20 century Giacomo Lauri- Volpi, his career was very long- 40years, there was no ending to the upper range of his voice. At the age of 90 he could easily sing famous Nessun Dorma. He successfully educated many of other singers. I applied multiple times during my sessions with pupils his advice, again and again it was bringing fantastic result. It is a very simple advice which gives so much freedom to the voice. Normally, my students were facing instant change, just after one session. I should admit- definitely, it was making me super happy and was clearly showing that it’s working. This technique is applicable towards any type of singing-classical, pop, etc

I have hired a  professional translator in Italy, so you will get the very essence of this advice. Enjoy it!


Lauri- Volpi about sound “e” 

( English version )

  • Tell me, how do you manage to make those terrible “I” in such a clear way?
  • You need to pronounce the “I” ( English “e”) keeping the throat open, otherwise you will instinctively close the throat; if you keep/maintain the “I” at the right cervical position/spot then the airflow and the sound will be independent from the vowel but, if the vowel is “trapped” during the emission then you tend to close/narrow your throat. It is necessary that that the throat is independent from the articulation (complex of muscles around the throat) so that the “I” comes out resonant and round still keeping the its own physiognomy.
  • We have to say/express all the vowels and all the words; if you can manage to master your throat, in other words you always have the same sound, the sound vibrations are projected on the skull and they become independent from the articulation.
    Rossini was used to say that “A” is the queen of he vowels. French do not have an “A” as resonant as our neither any other language do have. Rossini said the that the “A” vowel was music itself when well played.
  • As a matter of fact, if you pronounce the “I” thinking about the “A” you will notice that the “I” will be wide and resonant, and thinking about the “A”, while pronouncing the “I”, will keep and maintain the throat open.


Italian version

Lauri Volpi sul ‘I’

  • E mi dica un po’, quegli “I” che sono tremendi come fa a farli uscire fuori così limpidi?
  • Bisogna pronunciare la “I” tenendo aperta la gola, se no istintivamente si chiude la gola, se invece Lei la “I” l’appoggia come si deve al punto di risonanza giusto cervicale allora il flusso d’aria, e il flusso sonoro, è indipendente dalla vocale, ma se la vocale s’impiglia nella emissione allora la vocale stringe la gola, bisogna che la gola sia indipendente dall’articolazione e allora viene la “I” sonora e rotonda, sempre mantenendo la fisionomia della “I”.
  • Tutte bisogna dirle le vocali, tutte le parole; se uno domina la gola, vale a dire che la colonna sonora è sempre quella intatta, i raggi sonori si proiettano sulla cassa cranica e allora sono indipendenti dalla articolazione. La vocale “A”, diceva Rossini, è la regina delle vocali. I francesi non hanno un’ “A” sonora come la nostra, nessuna lingua; la vocale A italiana ben messa è di per sé stessa una musica, diceva Rossini.
  • Infatti se Lei dice la “I” pensando alla “A” Lei vedrà che la “I” viene ampia e sonora, bisogna pensare alla “A” nel dire la “I”, perché la “A” tiene tutto il condotto aperto.

Brilliant vocal exercise from one of the greatest opera singers Mario del Monaco, which will improve your voice enormously!

Advice regarding freedom in singing

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