ACADEMY     OF MUSIC

For many years he has been working on the vocal preparation of television and theater actors and of opera, pop and musical singers. His students have participated in various national shows including "Friends" by Maria De Filippi, "Juliet and Romeo" by Riccardo Cocciante, "I leave you a song" by Antonella Clerici and "Io Canto" by Roberto Cenci. Vocal coach of Moses, Enzo Iacchetti, Simona Samarelli. He has participated and collaborated with international concert events in Los Angeles and with Maestro Vessicchio. He collaborates with the "OFFICINE MUSICALI" of Lecce: musical academy directed by Danilo Tasco, drummer of Negramaro. GENERAL COURSE TOPICS: Teatro Canzone, Chanson Francaise, Kurt Weill, Operetta, Pop MORE INFORMATION TOPICS OF THE COURSE - The Russian breathing techniques of Prof. Ekaterina Koltcheva: simple, easy and safe. - The emission of sound. How to exploit the resonance chamber of the "human body" and not the force or the "effort", to infuse the voice with power. - The phrasing of the tradition of Italian bel canto, the tradition. - How to "embellish" one's color and vocal timbre, without putting harmful pressure on the "throat" - The easy and clear articulation of each sound. - The "Total Body" study for the use of the advantages brought about by the constant use of the abdominal muscles.

- We then proceed with the application of this technical work to the lyric repertoire, also focusing on the recitative and the nuances of recitar singing and chamber music, with the great Maestro Franco Mezzena also teacher of chamber music. - Being able to create a balance between "inner ear" and "outer ear". - Perceive the difference between "beautiful" and "ugly" sounds, then create a historical-musical memory that creates a personal "taste" to help the singer and actor recognize the beauty of a correct vocal production. - Public speaking, the diaphragmatic technique "equipped" with perfect diction that allows us to speak in public, using timbral variations appropriate to the context and the topics covered. - Implementation between "intention and voice", how to convey one's thoughts through an appropriate tone of voice or how to understand or discover the true intentions of whoever is speaking to us. - In-depth study of the perfect pitch in the right situation, especially for managers and professionals. CURRICULUM VITAE IDA DECENVIRAL Author of the book "I Segreti della Voce" from 2011, she began her career as a chorister in various Rai programs. - Vocal Coach of various characters of the show - Musician graduated from the "Niccolo’ Piccinni "Conservatory of Bari

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He made his debut as a professional singer at the Valle d’Itria International Festival in 1999 under the guidance of Sergio Segalini as part of the music festival dedicated to Kurt Weill and in the same period he worked as a soprano in the choir of the Petruzzelli Theater in Bari. In 2002 she made her debut in a 36-episode sit-com alongside Fabio and Mingo (Striscia la Notizia) as co-star actress-singer. For many years he has been working on the vocal preparation of television and theater actors and of opera, pop and musical singers. His students have participated in various national shows including "Friends" by Maria De Filippi, "Juliet and Romeo" by Riccardo Cocciante, "I leave you a song" by Antonella Clerici and "Io Canto" by Roberto Cenci. He always participates as a singer in the television program "David di Donatello" on Rai Uno from 2005 to 2009 interpreting the great hits of Ennio Morricone with the RAI orchestra, conducted by Maestro Federico Capranica. He has curated artists such as Enzo Iacchetti in “IL VIZIETTO” with Marco Columbro, Simona Samarelli well-known Italian performer, Moses protagonist of “10 COMENDAMENTI: IL MUSICAL”.

THE DECENVIRAL IDA TECHNIQUE The stages held by the “Vocal Personal Trainer” Ida Decenvirale (soprano and piano accompanist) are unique of their kind. Specialized in acoustics, thanks to the two-year course followed at the Bari Conservatory of Music, “N. Piccinni ”, graduated in opera singing, uses the Russian technique to solve technical problems on vocality. After 15 years of research, on the scientific principles of phonetics and acoustics "expressly of the vox humana", and a profound study on the great cultural tradition of Italian singing and the highly efficient Russian technique, thanks to the singing diploma obtained in the "Niccolò Piccinni ", with Prof. Ekaterina Koltcheva, offers singers, actors, performers (bellerini-singers) and radio and television speakers, true, concrete and clear answers, allowing singers to" use "their voices, without disguising or imitating, and being themselves, making available her personal experience as a singer-actress. Furthermore, Ida Decenvirale has a careful and detailed care of intonation as an instrumentalist, and this falls on a detailed analysis of the "musical phrase" and "Phrasing", which always accompanies both singers and instrumentalists, and without which it becomes impossible to make good music. Thanks to the vocal technique and interpretation courses, followed with the Masters Sergio Bertocchi, Antonella Muscente, Sergio Segalini, Paolo Ruggiero and many other great artists. The stages aim at spontaneous singing, at the full and free voice, at the awareness of the diaphragmatic "support", in search of a soft and variable vibrato, depending on the styles addressed, aims to understand the importance of apnea, that is the moment included. inhalation and exhalation, the moment in which the lower abdominals set in motion, swelling the belly, and prepare to support the sound to be intoned and offers an orientation that is never invasive, but based on the latest and advanced research techniques, on sound, on breath and on the word, through the choice of a repertoire, always adequate and to one's sensitivity and vocal need.

This new way of relating to vocal technique always respects the vocal qualities, talent, personality, temperament, aspirations and sensibilities of each singer and actor. Furthermore, this type of technique allows you to apply the same principles of breathing and support both for opera singing and for modern singing, with the only and substantial difference that, while for opera singing, a continuous opening of the oral cavity will be used. and homogeneous that will allow the singer to dose the passage of the breath, through a particular inclination of the soft palate, for modern singing, it will be substantial to reduce the opening of the oral cavity and manage the phonetics, with an articulation of the sound, through the oral cavity , more detailed. All this without making the slightest effort and using only the abdominal muscle contribution, typical of the Russian school which provides for "total body" participation, to make the production, the path and the emission of air as natural as possible. The Russian technique lends itself very well "dulcis in fundo" to the refined Italian interpretation that can perform a double function also in the American musical field, which in any case has always addresses and works to emulate the Italian one.