#127. Ataques comprometidos en Arias de ópera y CÓMO solucionarlos

It's very likely that in your singing career you'll encounter arias where everything hinges on the first note, right at the start, in the attack of the first sound. To help you with this, I'm going to suggest some exercises on mezzo-voce that will surely help, if not solve, these tracking problems that often arise at these moments. I'll give you three paradigmatic examples for the tenor voice: "Una furtiva lagrima" from L'elisir d'amore" (Gaetano Donizetti) 1832 "Gott, welch Dunkel hier" from Fidelio (Ludwig van Beethoven) 1805 "Parmi veder le lagrime" from Rigoletto (Giuseppe Verdi) 1851