"
Three great mysteries there are in the lives of mortal beings: the mystery of birth at the beginning; the mystery of death at the end; and, greater than either, the mystery of love. Everything that is most precious in life is a form of love. Art is a form of love, if it be noble; labor is a form of love, if it be worthy; thought is a form of love, if it be inspired.

Benjamin Cardoza (great American jurist)
"

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Di Fabrizia (del 30/05/2006 @ 20:40:59, in Seminars and Biography, linkato 7065 volte)



Il mio sito web ufficiale! www.fabriziabarresi.com

Il mio bravissimo webmaster ha fatto un lavoro veramente bellissimissimo!




(post inserito dal webmaster)


 
Di Fabrizia (del 26/04/2006 @ 00:00:01, in Seminars and Biography, linkato 1240 volte)
buon compleanno


Questa è un'incursione del webmaster, che ha preso possesso del login di Fabrizia e ne approfitta per svelare al mondo un avvenimento straordinario!

 
Di Fabrizia (del 19/04/2006 @ 22:33:30, in Seminars and Biography, linkato 1011 volte)
RESUME FOR FABRIZIA BARRESI

I was born in Rome, Italy, in 1959. After completing bilingual studies in Italy at the Lycée Chateaubriand in Rome, I received a diploma in “Baccalauréat ès Lettres et Philosophie” from the Université de Grenoble (France). After graduation I began my studies in classical piano, classical (opera) voice as a “soprano lirico-leggero”, and other vocal techniques (Arabian music, Pigmies singing techniques, Indian classical music, overtone singing and Nada Yoga). My work focused very soon on bone resonance, body voice and the re-education of verticalization and the ability to listen to special frequencies based on the studies made by the famous French otorhinolaryngologist Dr. Alfred Tomatis.

I also studied jazz harmony, piano, alto saxophone and drums and created my own personal method of research regarding the sound of the vocal instrument and improvisation, by working on jazz standards and original compositions. In 2004 I studied with Jerry Coker his special program “Jazz keyboards for pianists and non-pianists”, and I now teach it in Italy with his personal authorization.

One of the main points of my method is to use our physical memory in its entirety, unlocking muscles, articulations, senses interrelations and therefore special natural movements to obtain the best performance with a little amount of conscious, technical effort, so that the focus stays on both artistry and feeling, and the quality of the vocal sound remains natural, and personal.

Being a teacher as well as a performer I received a diploma as a Consultant Facilitator and Instructor from 3in1Concepts (Burbanks, CA). This technique helps to resolve motor and learning dyslexia. I frequently work together with psychologists and therapeutists, on vocal re-education and many other psychologic and physical unbalances related to vocal expression.

My work with singers and actors and in personal study, is concentrated as much on feeling as on the study of technique. It’s a discovery of an emotional sound hidden between the lines of physical sensation and tied to the vibration of sound, timbre, and emotion. It departs from the art of scat singing but moves towards a less syllabic territory: the new sounds/colors and dynamics are therefore purely instrumental. The group work begins with the construction of a vocal warm-up and is created specifically for the participants. It utilizes various techniques of vocal emission from the classical techniques of lyric (opera) singers to ethnic tec
hniques from various parts of the world as well as the vocality tied to blues and gospel. The search for the most authentic personal vocal sound is the fundamental goal of the study, so that the singer can release by choice his/her models of imitation, preconceptions of personal capacity, and preconceptions of timbre and vocal potential. The objective of the seminars is to develop an ability to listen that is personally, as well as globally, open. In this way the individual’s sound fuses perfectly with the collective sound, developing the gestation, projection and extension of personal colors within the sound/improvisation of the group.

I am a member of several jazz groups in Italy and the U.S. as well as working free-lance. I’ve made two recordings in Italy: Pithecanthropus e Altre Storie (original music and arrangements of compositions by Charles Mingus recorded with bassist and arranger Andrea Avena) and the suite Estrela da Tarde (original compositions by Andrea Avena based on poems by Pablo Neruda and Manuel Bandeira, with the M.J.Urkestra conducted by Roberto Spadoni).

In 1992 I participated at Knoxville Jazz and Blues Festival (TN) with various American combos, pianist Donald Brown and saxophonist Joe Donato. During the festival, I also participated in the “Singers’ Summit” – an octet of singers including Bob Dorough, Janet Lawson, April Arabian, and Patty Coker.

My first American CD, named CHOICE, has been released in 2006. The band features Mark Boling on guitar, Rusty Holloway on bass, Keith Brown on drums, Carlos Fernandez on percussions, and Ira Sullivan and Jerry Coker as special guests on horns.

In 1993 I was invited by the Berklee College of Music in Boston to hold a seminar on improvisation focusing on the use of specific techniques used to create bone resonance, and special creative warm-ups. Having created a method of study for vocal technique and improvisation, I teach these techniques in workshops both in Italy and abroad for singers, actors, and dancers, dedicated to the relationship between sound, space and movement.

Since 1994 I’ve been the director of the Voice Program and Improvisational Techniques in Siena, Italy (Fondazione Siena Jazz – Accademia Nazionale del Jazz), where I teach vocal technique, interpretation, improvisation, and I lead a Gospel choir and a combo class for singers. The Siena Jazz jazz school is internationally wellknown for its distinctive creative approach directed towards the development of artistic and stylistic personality. Its seminars have produced many international talents.

Since 2001 I’ve been leading workshops for professional training at the “Teatro Eliseo” in Rome (a project led by the opera and theatre director Marco Carniti). I’ve also collaborated with the actor, author, and theatre director Leo de Bernardinis, who used to perform as an actor together with jazz improvisors as Steve Lacy, Jean-Jacques Avenel and John Betsch, on the research project “L’Attore Jazzista”. In relation to this project, I worked with professional actors teaching correct vocal projection in relation to the character portrayed and each actor’s expressive color in response to the dramatic choices of the director; we also worked special jazz exercises and warm-ups in order to enhance certain musical skills, as listening, rhythm, right pitch intonation and harmonization; the final goal of this project was to bring the actors to act their pre-written lines as if they were in fact improvising in a jam session, making each single performance a unique theatrical event.

In 2002 I was invited to participate in a project by the French composer Hector Zazou where I did a live performance with a septet for the 1956 film Le Mystère Picasso, where Pablo Picasso himself is painting and the director Henri-Georges Clouzot shows how the paintings are created, layer after layer, in subsequent flows of improvisational energy; the original soundtrack having been removed for this special performance, to allow brand new compositions (both written and improvised) to serve Picasso’s powerful images, artistry and genius thru the experience of jazz improvisation and contemporary sounds and rhythms.

At present I’m working with the researcher Alberto Tedeschi on an experimental study begun in Milan in 2003 on the effect Holographic Bioresonance“ has on vocal sound and artistic performance. I’ve regularly participated with a cappella vocal improvisation and the use of a technology created specifically for the occasion (Wide Holographic Intensified Transferred Energy, W.H.I.T.E.“ technology) as well as participating in lectures on quantum physics and water physics held by various researchers of Q.E.D. (Quanti
c Electro Dynamics), among them Professor Emilio Del Giudice of the National Institute of Nuclear Physics, in Italy.



Quantum Jazz, it’s like a splinter of jazz in the free music of life as it flows; a quantic jazz to infuse depth into speed; well, a little something that just changes everything - a delicate butterfly that sets into motion the big engine of life with her subtle force.

Life in Mo
tion, always. Because I like so much to live in a suitcase – well, maybe two… Because life means movement, even when other people see you quiet and still from outside. It’s a dynamic equilibrium, which in fact means you have to be able to dare, and fly high…

A Blog instead of a regular old style web site, because I yearn for, and need, more and more open sources and templates: for my incessantly in and out moving thoughts, and for the magically spun thread of my hypertextual ideas.

 
Di Fabrizia (del 18/04/2006 @ 01:14:03, in Seminars and Biography, linkato 911 volte)
Fabrizia Barresi
presents


Seminars for Singers

Sound, Space, Movement

Vocal technique, interpretation, improvisation
for singers, instrumentalists, actors and dancers.

Program

Preparation of the vocal instrument involves techniques for:
relaxation, breathing, free emission, centering,
posture, balance, listening,
energy, volume, direction,
self-perception of anatomy and physiology.

Presentation of the method for daily work:
exercises and vocalises: how to use them,
force, strain and muscular work,
anchoring and support,
warm up, loosening, agility,
hints for vocal re-education (spoken and sung),
Why do we practice vocalisesà

Ancient, classical or modern:
falsetto and chest voice,
extension, registers, passages,
timbres,
speaking, acting, singing.

One voice, many voices:
antagonism and conciliation,
emotions and emotivity,
the voice and the stage,
the characters and their voices,
creating a style.



These seminars propose a program created to address the doubts of the singer:

1. which technique to use

2. are different vocalities (and therefore techniques) reconciliable

3. how do we imitate a famous singer

4. why do we tire in rehearsal

5. how do we sing in falsetto

6. how to avoid the difference in timbre in the “passaggio”

7. how do we reach the stratospheric high notes to deep bass notes

8. strength (volume, intensity and quality of the timbre)

9. lightness and ease

10. resistence without losing our much loved vocal identity

11. correct use of dynamics

The answers given will refer to a new METHOD of learning and re-education of the voice and to guided listenings. These topics, or part of them, can be presented in 2 – 4 hour lessons, or seminars of several days or weeks.

Contact: fabrizia.barresi@gmail.com
 
Di Fabrizia (del 02/04/2006 @ 00:07:58, in Seminars and Biography, linkato 1101 volte)
Castle Coldrano This year as well as the last ones the Vocalists Le Pleiadi organized the usual stage in Castle Goldrain, where they ate like hungry Wisents and sang like wild Coyotes. The “Serail of Stars” went to the now familiar Castle to enjoy a week-end of Jazz Improvisation under the sunny leadership of a very competent and funny teacher: Fabrizia Barresi and her magic stitch. After some basic notions and relaxing exercises we started vocal experimentation during which some of the bravest started improvisations on recorded bases – first step.
   The next step consisted in working with real musicians, such as Michl Lösch at the piano and Gianni Casalnuovo at the bass, who enjojed the funny situations that happened while trying the new lessons. Saturday evening, after the heavy work we´d done, we got an enjoyable gift: an evening with the sound of music (remember the musical?
   The feeling was the same concerning joy of life and fun). While the Vocalists Le Pleiadi enjoyed the performances of Fiorenzo Zeni (sax), Carlo Cannevali (drums), Gianni Casalnuovo (brass), Michl Lösch (piano) and Fabrizia Barresi (voice) the room behind the door of the chavalier´s room got filled with people. Imagine our surprise in hearing applause after having sung and noticing that a lot of people had entered the room behind us listening to our music and enjoying the whole performance. Anyway our request for new singers could not find open ears as those people came from Bavaria and, though they enjoyed the evening, the way to our rehearsal room would be surely too far twice a week…
   The proof that all of us enjoyed the stage very much was given the following morning when, although having had really less time to sleep, everybody came to breakfast at 8 o´clock in the morning eager to go on with the lessons of never tired Fabrizia and our choirmaster Lucia, both full of energy…
   When the week-end was getting over we all noticed once more how much these annual meetings give us.
 
 
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