This is a term that originates from the great teacher, Giovanni Battista Lamperti, 1839-1910. Inhalare la voce means: inhaling the voice. The feeling of inhalation of tone assists the entire breath support in keeping the muscles of the body from collapsing. As we know from my entry on breath support, the body, and not the throat or larynx, controls the tone. Should, however, the singer not have the feeling of inhalation, he will, logically, exhale while he sings. The result is that the tone becomes breathy and the throat, lower jaw and larynx become tight, tense, and the voice unresponsive. He cannot keep his strong body support.

“Inhalare la voce” is the feeling that the tones come to the singer and not be blown-out. This feeling is in the upper head and upper pharyngeal area and is always in motion. “A tone must be self-starting, self-prolonging, and self-stopping.” Lamperti Vocal Wisdom: Maxims of Giovanni Battista Lamperti, William Earl Brown 1931 Enlarged ed. By Lillian Strongin, New York: Taplinger 1957.

Often one speaks incorrectly of “drinking in” the tones. I believe that this concept actually leads to tension because one seeks the feeling in the lower throat and pharyngeal areas. Often this is the concept that creates misunderstandings.

The feeling of “inhaling the tone” allows the singer to produce a soft onset and a freely-swinging tone.
Head resonance is activated.

Absolutely necessary is that the singer consciously refuses to allow tension in the throat and lower jaw. He must strive for complete relaxation in the lower jaw which allows the larynx also to relax.
Perhaps this sounds amusing – for who wants a tight throat – but it is very important for the singer to seek the strongest body support, optimal relaxation in the throat, and inhalation of tone.

Having courage to strive for total relaxation in the throat, tongue and lower jaw, and using the muscles of the body to take-over fully its function of support, is a necessary decision.

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    • Brenda Roberts

      Thank you so much! My website is being worked-over, but I will comment soon again!

      • HandsomeMrToad

        Hi Ms Roberts, I just heard your performance from Bayreuth 1974 as
        Brunhilde in SIEGFRIED under Horst Stein, Sweet! Most impressive. I
        originally bought the recording from OperaDepot because I love Franz
        Mazura so much, and your performance was a revelation.

        You say you performed as Ortrud? Is there any way I can obtain or hear a recording of that?

        • Brenda Roberts

          Thank you so very much for your kind words! I do not have a recording of Ortrud, but if I get one, I will contact you again.

          • HandsomeMrToad

            Really an exceptional performance. Besides yourself, Zednik and the Big Mac both on top of their games, and Mazura is the only Alberich I have ever heard who deserves to be mentioned in the same breath as Gustav Neidlinger (PeaceBeUponHim). And HORST STEIN! Amazing grit, liveliness, and sensitivity. Jean Cox does not sound huge or overwhelming but he makes up for it with brain and sweetness of tone.

            Speaking of Heinz Zednik (super-genius), I hope this isn’t too weird a question and please don’t be freaked out or offended by it, I’ve been curious about it for a long time and I can’t find an answer online: do you know whether or not he is Jewish? His performance as Mime from the Met, broadcast by PBS, seemed like the way Woody Allen might have played the role if he had been a singer instead of a night-club comedian and movie actor/director. (I myself am Jewish.)

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