The Art of Enrico Caruso, Vol. I:
Vol. I - Part 2: The [o] and [u] vowel demonstrated in "T[u] sei Pagliacci[o]" confirms a tenor inclination; nonetheless, this [o] and [u] vowel structure is good for all categories of voice. The singer's interest in the info presented prove words superfluous. They can neither add to nor detract from your impressions. That said, it was this lesson that piqued my attention and motivated me to work--and why I bring it.
Vol, I - Part 3: The [o] vowel structure and the [u] vowel through it, as demonstrated, are foreign to all most all Americans and why we have a hard time with them. We soon learn we are fighting "muscle memory." We sing as we speak and our throats know no other [o] and [u] vowel. This [o] and [u] structure will erase all that in time, while the throat develops with its walls expanded: throat open.
Vol. I - Part 4: The 9- and 11-tone scales demonstrated are the best vocalizations Mme Sharnova taught me; they develop the throat/voice throughout a singer's normal two and one-half octave range. The goal is to run those vocalizations as demonstrated. .
Vol. I - Part 5: The relaxing release of the (lips) [u] vowel as pitch ascends is the goal of, and difficult logistic in, the 9- and 11-tone scale. These suggestions may help, but it's the work in the mirror that's going to do it. You can't trust your sensations to guide you; correct sensations have yet to be established. But you may trust your eyes..
Vol. I - Part 6: Review [o] and [u] vowel structure. I am sorry I didn't spend some time with the [a] vowel, but then, as now, the [u] vowel through an [a] vowel structure on top is paramount. In the next viceo (video II) I fully address the [a] vowel.
Vol. I - Part 7: I apologize for the sloppy edit. Having just reviewed this, I'm not happy with my performance. I neglected to mention my teacher never, ever mentioned "smile." Her [o] vowel identifies the structure better than "smile" ever could, and it never lets go in the vocalizations; it gets worked-in. It happens to be what Caruso is saying, but I never thought smile when I sang. When I tried it, foreign as it was, I began to get the idea. On Home page is Caruso's recording of F. P. Tosti's "L'alba separa dalla luce l'ombra." Continued: clip 8.
Vol. I - Part 8 of 8: "The mold must be there before voice begins" (E H-C) is a powerful statement. Caruso doesn't sing to a vowel. The vowel/word begins fully formed just as the notes to piano Sonata begin fully sounded/formed. And if a vowel releases a phrase, as is every phrase of "L'alba . . . ," the vowel/word is released fully formed. Few do that today. I said I wouldn't engage the smile because it's rough on the voice, and it is; once the voice is developed, however, you may do as you wish. I will return with Caruso: Vol II, and go over the [a] vowel, the singing stance, and how to develop the voice. But if I never get to it, the best I have to offer has all ready been sung: the 9- and 11-tone scale as demonstrated in Video I, eight clips.