Concert Pitch A=432hz

by ...Brian T' Collins

Photo Courtesy of: John S. Reid, Cymascope

"Music based on C=128hz (C note in concert A=432hz) will support humanity on its way towards spiritual freedom. The inner ear of the human being is built on C=128 hz"

-Rudolph Steiner

"When Concert Pitch is tuned to A=432 hz, then middle C is primed at 256 hz, the optimal pitch for propagation of mechanical sound waves through air pressure density. 432hz and its harmonic partials, are key fundamentals of the Origin Ratio of the universe, connecting consciousness with omnipresent spirit"

-Brian T' Collins

"You see more and more why healing is happening through music.

It's because music causes a reorganization of the tonal structure, and Man in essence is a vibration"

-Kenneth.G.Mills

EDITORS NOTE*** I will compile some information from other sources as well as my own regarding why I believe concert pitch should be lowered back to a central spiritual pitch that has an optimum numbers of harmonics found in nature. This concert pitch is A=432 hz.

What is this thing, Called Heart?

There is a noticable difference in the sensation of perception and consciousness when you change concert pitch of music.

From inner space sounds the cosmic music of life

by ...Brian T' Collins
Music from the beginning of antiquity was not intended as a form of entertainment and instead, was the focal point of spiritual connection.
In ancient times, schools of knowledge taught about the harmonic principals of cosmic influence upon natural systems and the development of man. It was believed that the gods or planets has a direct influence upon man.
Man's inner ability to inter-connect with the vibrant resonant environment has always played an integral role in the development of civilizations and role of behaviors from one type of conscious awareness to the other.
It is well documented that the push and pull of magnetic and electromagnetic cosmic forces play an important role in the development of man and rise and fall of civilizations.
The subtle push and pull from the moon on the tides and inner waters of our bodies or the squaring or retrograde of planetary influence upon our energetic bodies can literally create a marionette of emotions in the conscious awareness of man. Most have heard of the phrase "full moon madness" but few understand the push and pull of apogee and perigee that moons influence plays upon consciousness and emotion, or how such influences of the planetary spheres are based on a symphony of ratio.
Such skips and wobbles in the spiral orbits of planets can produce ultra-low electromagnetic oscillations.
This song and dance of the cosmos can create a constant pressure on the metallic compounds of the body thus creating possible magnetic stress upon the condensed atomic structures of the body, which ultimately, can influence the emotions. Mastery of the emotions and transformation of the body's metallic alchemy through proper sun gazing techniques and hansa yoga can assist with the stresses of transits of the planets.
A solid music foundation based on natural spiral progressions and ratios of the planets and earth can alleviate such conditions, as a constant tug of war between artificial centers of pitch may create a dissonance relationship between nature and man, which may effect the waters of the body and ultimately, consciousness.
Built up dissonance can create electrical stress which can be conducted or transmitted by the nervous system and the skeleton. Bone for an example is a mineral based peizo electric transmitter/receiver that needs to discharge the built up piezoelectric charge properly to the earth. Bone is "tuned" to nature and most doctors are unfortunately taught only procedure and do not question why they use a C=256 hz (C note in concert A=432 hz) tuning fork to find bone fractures.

Time Keeps on Ticking with 432

How we perceive time as spirit mind force in human form is through the platonic year. A platonic year the the time it takes for the sun to rise in the spring equinox to move through one degree every 72 years to complete one full spiral arc of 25,920 years through the zodiac. The average numbers of breaths a healthy adult takes in a 24 hour period at 18 breaths per minute x 60 minutes x 24 hours = 25,920 breaths. Certain esoteric mystery schools taught that the development of the human span of spirit is 360 x 72 = 25, 920 days, achieved through the teaching of "the fire and the bellows" breath. (advanced alchemy)
The Sun's diameter and movement of Saturn is closely related to the measurement 864 (432x2) both in size and time of orbit whilst the moon is related to 216. (half 432) Our system of time keeping of an earth day was based on a 360 degree sphere with 864 thousand seconds in 24 hours 432 thousand seconds in 12 hours and 216 thousand seconds in 6 hour counts. The synchronicity between these mathematical values show up time and time again throughout antiquity and the natural world. In the Holy Book of the Upanishads/Geeta, the traditional count of brahma is 4,320 million years.
As a musician and composer having spent the better half of thirty years of my life, in and out of recording studios through the transition from analog recording to digital, most recording computer systems hard wire recording software tuning at default 440 hz settings. Modern recording systems still have to rely on clock rates based on the square root of light (432) to encode information properly. If you examine most clock speed sample rates, you will notice they are usually based from "C" prime with sample clock rates of 64 128 256 512, all are octaves of "C" in you guessed it, 432. As a professional musician, this speaks volumes to me that the music industry has always known about the use of 440 hz pitch as a medium of false light control of consciousness but yet is still thwarted by natural law of using time of orbital procession.

Light, Light, Light

Everything is made of light, we appear to be existing within relative true light already and what is called visible light speed is actually the latency of the flashline sequence of the boundary dimension layers of perception. Each dimension appears as a trinity flash line sequence based on ratios of frequency dampening.
According to Bruce Cathie Light spirals at 144,000 minutes of arc per earth grid second with 432 as the square root of light. Sometime ago, I mentioned that sound and light are the same and interconnected. I based that statement purely on the amount of spiritual study on the subject. Mainstream logic zealots may dispute this, as "textbooks" state there is no connection between mechanical sound waves and visible electromagnetic light waves, but i assure you that they have a transference nonlocal medium that encodes properties onto both mechanical and electromagnetic perception according to strong and weak forces of relative bonding and infra red transition. If they were not inter-related then NASA could not take the background electromagnetic symphony of cosmic compression waves from stars and planets and convert them to sound. Both mechanical sound pressure waves and electromagnetic light waves are only linear perception connected through interference patterns of the interactive boundary layers or nodal points of spherical intercecting grid points that appear as scalar waves. Electrons form in the nodal interference crossroads between phase and anti phase spheres to create the trinity of matter through the perception of dimension of frequency.
Scalar waves although linear in appearance of perception, are never absorbed by the environment and exist out of space time/time space, we perceive the visible realm as latency of the spherical interferance flash line sequence via Fibonacci dampening causing the formation of boundary layers that interfere with one another and create the illusion of particles in motion, sort of like Christmas lights flashing on and off in series creating the illusion of movement. The Fibonacci spiral series or PHI is nature's way of dampening infinite spherical patterns into finite boundary layers of linear inferferance of perception, otherwise the universe would just jumble all together. These dampened patterns create the illusion of particle wave spin, motion, rotation, decay, light speed(latency) and Doppler redshift. We observe only one side of a parallax view of reality classifying the universe objectively from a relativistic subjective perception of consciousness. I truly believe in my own spiritual opinion we experience the universe as the compressed relative consciousness of the divine creator and that creation is intelligently designed as ratio. We are living in a true musical universe so it makes sense to connect with what we observe in nature.There are two tonal spirals of ratio that create harmonic overtones and undertones.
When we add unnatural forced equal temperament choices for the sensations of tone and concert pitch and using A=440 hz - A=460 hz to our daily lives, we can create the conditions of closed system disharmony and piezoelectric stress within the temple of the body and chambers of compassion in the heart which can alter the natural resonance of the morphogenetic fields of consciousness which may ultimately disconnect us us from spiritual evolution.
A=432 hz is part of the "Origin Ratio" of intelligent universal design, so the return to natural choices for concert pitch such as A=432 hz, puts black and white division aside and can allow us in the spirit of co-operation to do greater things together... Blessings to you all.

Rudolph Steiner November Lecture 1923

"if we want to describe the human being up to the stage of the Sun existence we must fix our attention on his spirit-form or figure, and describe that. But having entered the Sun region man undergoes an experience which I called living his way into the Cosmic Music, the Music of the Spheres. He hears, in cosmic harmony and cosmic melody, the meaning, as it were, of all the inter working of the starry worlds. For this working together of the stars, which is at the same time an expression of the working together of the Spiritual Beings that are in these regions — this it is, ultimately, that comes to revelation in cosmic harmony and cosmic melody. It is chiefly the life of feeling in its spiritual metamorphosis that is quickened and stimulated in the Sun existence. Every experience man has is like cosmic melody and cosmic harmony vibrating through his entire being. What we need at this stage of life between death and a new birth is not anything of the nature of theory, nor indeed anything that lends itself at all to expression in words. What we need is to feel — with a universal feeling that fills our being through and through — the harmonies and melodies born from the inter-workings of the different orders of Beings in the Cosmos."

The Maria Renold Studies on Concert Pitch

by: Amazon review
MARIA RENOLD (1917-2003) spent her childhood in the United States, where her parents emigrated to found a eurythmy school in New York. She studied eurythmy and later violin and viola and toured with the Bush Chamber Orchestra and the Bush String Quartet. One of Maria Renold’s deeply-felt questions concerned the correct concert pitch. When she heard of Rudolf Steiner’s concert pitch suggestion of C=128 hz she put it into practice immediately, and experimented with it over many years in America and Europe. She also discovered a new method of tuning the piano, closer to the tuning of stringed instruments, arriving at the concert pitch of A=432 hz.
The results of her work include the following discoveries: that the octave has two sizes (a ‘genuine’ sounding octave is bigger than the ‘perfect’ octave); that there are three sizes of ‘perfect’ fifths; that an underlying ‘form principle’ for all scales can be found; and, most importantly, the discovery of a method of tuning the piano which is more satisfactory than equal temperament. She also gives foundation to some of Rudolf Steiner’s statements such as: ‘c is always prime’ and ‘C=128 hz = Sun’.
The following excepts are direct transcriptions from her book called "Intervals, Scales, Tones and the Concert Pitch C=128" Her incredible research sheds light on the choice of frequencies to achieve spiritual connection through music: From page 79:
"An English curative teacher who did a lot of unaccompanied singing with about 400 children and adolescents noticed that all his pupils managed the melodies without difficulty and returned correctly to the beginning tone when it was C1=256 hz, which was by no means the case when the tone was A1=440 hz.
Our experiments show that tones have a moral value also for modern people. A tone such as A1=440, though beautiful, has a goading and antisocial effect. such an effect can only be described as the antithesis of good. Other tones, such as C1=256 hz, have a harmonizing and beneficial effect and may therefore be called 'good'.
The tendency to raise the concert pitch to 448-60 hz, which has developed in most Central European orchestras since the last war, can have grave consequences".

The Classical Revolution

by ...Brian T' Collins "archived article circling the internet"
The Schiller Institute campaign for a change to concert pitch from A=440 hz back to A=432 hz has valid merit as an International Standard of Concert Pitch.
The harmonic overtone partials of 432 appear to be in harmony with natural patterns and even planetary orbits.
We can easily observe ratios and mathematics of 64 108 128 144 216 432 864 partials in nature.
We can find these measurements based on time and dimension of planetary movement
frequencies affect DNA and consciousness as we are in a musical universal medium of dimension through the motion of frequency oscillation.
The issue is as far as Concert pitch goes, the farther up you go from "C Prime" C=128 hz (A=432 hz) then the farther you remove the natural patterns that imprints memory on the water in your cells. There is a range of dead or dampened undertone harmonics that lie within a 440-460hz range. This perhaps is possibly why 440 hz and higher concert pitches can be experienced up and to the side of the head as cerebral experience or "luciferic brightness" Whereas 432 hz can be experienced in the body at the spine and heart as "Sun Tone".
Certainly this was known as Maria Renold's book "Intervals Scales tones and the concert Pitch C=128" claims conclusive evidence that 440 hz disassociates the connection of consciousness in the body and creates anti-social conditions.
If we look at the 20th century and the use of 440 hz - 460hz as mind control in mass media pushed through the "British Invasion" of Rock & Roll in the 50s & 60s we see the dangers of using higher and higher pitches as central references for music in the collective consciousness of social behavior.
This information was well known over a hundred years ago and Rudolf Steiner warned mankind that using such "luciferic" and "Arhimanic" bright tones would bring a condensing of the greed satanic forces in the west instead of C=128 hz A=432 hz which he mentioned was related to sun Christ conscious awareness in the evolution of man.
Unfortunately most western music, including popular new age healing music is still tuned at unnatural A=440 hz tuning. The difference between A=440 hz and A=432 hz is only 8 vibrations per second, but it is a perceptible difference in the experience of unique conscious awareness.

Tuning Pitch A= 432 hz

By retuning musical instruments and using Concert Pitch at A=432 hz, you can feel the difference of awareness...

I am delighted to see Concert pitch A=432 hz now climbing in popularity and more information being reported and confirmed by others in recent years.
There are many natural choices for concert pitch,
As far as concert tuning goes: 428 hz - 438 hz is the optimum choice for vocals and instruments.
A=432 hz (C=128 hz) appears to be a tuning center with the most observable harmonic partials found in nature. -Brian T' Collins

The Schiller Institute

Return to the Verdi tuning, ‘or opera could be finished!’ -Maestro Carlo Bergonzi

Article from The fall 1993 issue of Fidelio Magazine from the Schiller institute

Born at Polisene, near Parma, Italy, Carlo Bergonzi debuted in Italy as a baritone in 1948, and as a tenor in 1951, and in the U.S. at the Metropolitan Opera in 1956 as Radames in “Aida.” During his 45-year world career, the beloved tenor has championed bel canto, and fought against the modern rise in pitch.

Following his farewell performance of “L’Elisir d’Amore” at the Baltimore Opera in March, 1993, Maestro Bergonzi traveled to New York to help bring out the Schiller Institute’s new textbook, “A Manual on Tuning and Registration,” which documents the need to return to Guiseppe Verdi’s A of 432 Hz. On April 6, he taped a master class and interview on the Verdi A at WQXR-Radio FM in New York (which aired later on June 9), and on April 8, he gave a sold-out public master class, “Return to the Verdi Tuning!” at Weill Recital Hall at Carnegie Hall. On April 6, Maestro Bergonzi spoke with Fidelio’s Kathy Wolfe and Nora Hamerman.

Fidelio: Maestro, you have stressed that the “Verdi A-432” is the only scientific tuning. Can you tell our new readers why it’s “scientific?”

Bergonzi: Certainly: Because it is the most natural one, because this A is the most natural for the human voice. Not only for Verdi’s operas—but for the whole repertoire. The A-432 tuning is ideal for voices, because Verdi wrote for the registral passage. If the tuning is raised higher, this passagio is moved around.

I have a letter from Verdi in 1884, in which he placed his own A at 432 Hz. He said, “this A must be the A for opera.” This is why today we no longer have truly Verdian voices, because of today’s overly high tuning.

Fidelio: Do you think that the Schiller Institute’s new textbook will help to lower the pitch to the Verdi A?

Bergonzi: I think so. I can only compliment the Schiller Institute for this initiative, because it is not understood that we are facing a very frightening situation. If we don’t return to the natural lower tuning, we will no longer have the voices for singing opera! People have to understand this. They can insist on A-442, 446, 448—but remember, that we are losing a great, enormous cultural heritage, because today in 1993 we already can hear that the voices are really starting to be missing, absolutely.

Today you can no longer put together a cast as you should, for Verdi, or even for Donizetti, even Puccini, if the tuning does not come down. This is very important. I admire this initiative of the Schiller Institute. In fact, if it had not been for the Schiller Institute initiative, just fighting to at least put a damper on this situation, today we’d be at A-450, or A-455!

Fidelio: Do you think it would be helpful to use the Schiller Institute’s Manual on Tuning in the singing schools or high schools?

Bergonzi: Certainly. The Schiller Institute’s Music Manual is, without any doubt, an excellent initiative. It is particularly important to raise the question of tuning in connection with bel canto technique, since today’s high tuning misplaces all register shifts, and makes it very difficult for a singer to let the sound pass above the breath. The sound does not have enough space. When an F♯ becomes a G, an A♭ becomes an A♮, a B♭ becomes a B♮, and a C becomes a D♭, what comes out is a false sound. It is difficult to distribute the sound, and to support it, because everything is misplaced almost half a tone—and the technique fails.This is why it is correct to raise the issue of the Verdi tuning in connection with bel canto technique. Young voices coming to my Bel Canto Academy in Busseto, face serious problems later, when they start singing in the public opera theatres.

I also like the hypothesis inYour Music Manual that instrumental music is an imitation, a derivation, of vocal music. Instrumental music, too, sounds false, when played at a high tuning. The sound is as unnatural in instruments, as it is in voices. A violin can play a high tone which is as dull and flat, as a sung high tone. In the attempt to sound more brilliant, a violin can produce a sound which is too tight, and not soft. What is true for the voice, is also true for instruments.

Fidelio: You’ve said that in the 1950’s you regularly sang the original duet cadenza with the tenor’s D above high C from Lucia di Lamermoor, which is not sung anymore. Many who sang at the Met in the 1950’s remember the pitch at around A-435. They say voices were much richer. Do you remember the pitch being lower then?

Bergonzi: Yes, yes it was lower in the 1950’s. Yes, I think it was around A-435 or A-438. We are saying that the composers are wrong—but we’re the ones making the mistake!

Fidelio: Now, in Europe how high does it go? You said that in Vienna they were at A-450 a few years ago.

Bergonzi: Yes, yes! There are opera houses which even have A-452. La Scala is at A-442. Florence is very high, A-448. Because in Italian concert halls they don’t have separate orchestras, the orchestra that plays symphonies also plays for the opera. So they tune their instruments up for the symphonies, to make the violin “vibrant.”

For example, “Celeste Aida.” This aria right at the beginning of Aida is frightful for the tenor because it is one of the most beautiful arias, yet so difficult. At the Verdi A, you can still sing this aria at age seventy. At A-442, when you get to be about forty-five, you start thinking it over very carefully.

When Verdi wrote Aida, he wrote it for the lower pitch. He respected the passagios of the voices, and the human vocal chords. That explains why Giuseppe Verdi has written so many things, which today seem to hover right around the passagio—because he actually wrote them at the lower pitch. If he’d been at a tuning of A-442 or 444, he would never have written so much in this tessitura.

I explain this because it’s our young people who are at stake. If you are studying singing at this high tuning, you have changed the entire vocal spectrum. If you sing on the passagio at F, you are actually singing an F♯. That shifts the entire technique by a half-tone, from the low notes to the middle notes to the high notes. It is not the natural position.

The great conductor Tullio Serafin once said during the intermission of Il Trovatore, in a debate among friends, “They are starting to raise the tuning, and I’m sorry about one thing: the day will arrive, when true singers will no longer be heard. Instead of tenors, they will hear castrati!” I think that Maestro Serafin was a prophet.

The Verdi tuning is the one we need to develop young voices, and if we return to it, we will hear the great voices which existed at one time. If not, it could be that opera will be finished.

When I debuted, there were 100 tenors of the first category, and 100 of second rank, and those of the second rank at that time were better than the first rank tenors of today, because of the tuning question.

I don’t say this to insult anyone today, but to point out: What has changed today? It’s the tuning! In 1951, there were 200 great tenors. Today, there are two and a half!

Fidelio: Have you tried the Verdi A-432 at your Bel Canto Academy in Italy?

Bergonzi: For the moment, in my Academy I am using 440. I cannot use the lower tuning, because afterward the students will go to sing elsewhere, and they will hurt themselves. What can one do? You are giving singing lessons. You use 432—then the poor fellow goes out to sing at 442, and what will he do? I use 440 or even a little lower, but lower than that I cannot use, for now.

Fidelio: What if we succeed in implementing the Verdi tuning, however, at the major conservatories?

Bergonzi: Yes, that’s the point! Whenever I speak publicly about singing, I always say we have too high a tuning. At all the conservatories, at Boston [University School of Music], at Yale [School of Music], I always say, “We are tuning too high, and we don’t have the natural voices. We can teach all we want, but if the tuning fork here does not come down, there is nothing we can do.”

Fidelio: We must lower the pitch first at the major music schools, that’s where the high pitch is imposed?

Bergonzi: Yes, necessarily. What’s the use of teaching singing, if the big schools go on teaching at A-442? If their standard pitch does not come down, it’s worthless. Students must study from the beginning at the natural tuning, that’s the point!

The Schiller Institute should do these lectures in all the singing schools and conservatories in America! This is important. And we should give demonstrations, such as we did today on the radio, and as we will do April 8 at Weill Recital Hall at Carnegie Hall. You have to take this right into the singing schools, not just to the opera halls and the conductors.

For example, next month we’d go to Boston University and to Yale School of Music. The month after that, we’d go to Chicago, and then—wherever there are singing schools! And then invite all the singing teachers. We should hold a conference for the singing teachers, and show the musical examples at A-442, and A-432. This is very important.

Fidelio: We had the petition to the Italian Senate to lower the pitch. Is it possible to re-start this now?

Bergonzi: Yes—insist, and never back down. Because you will end up losing your cause. If we want to save the vocal heritage, in which Italy is still in the first rank, we must adhere to the A-432 tuning. Italy has always been an exporter of voices and even though all the other nations are in difficulty like us, we are still the fatherland of bel canto, and I think that it’s also in the government’s interest to safeguard this heritage.

Fidelio: Would it be good for those who signed the petition to endorse the Manual on Tuning for use in schools?

Bergonzi: : That would be great. You could bring out a little booklet which would relate the tuning question totally to vocal technique.

You should send the Manual on Tuning book, and also send leaflets with a few of these musical examples, to the European singing schools. Not just to schools in America. This is universal.

Most important is to make the singing schools understand these things. Then even the orchestra conductors will have to follow your advice. But if you don’t insist on the singing schools, they don’t give a hoot.

Fidelio: Italy, the fatherland of bel canto, is right now as a nation itself in a serious crisis. People are afraid for the republic. Do you believe that we can use the revival of the Verdi tuning, of great music, to save Italy? Is the political situation more open now?

Bergonzi: It would be good for politics. It would be a beautiful thing, because the public needs this, needs beautiful music. The public needs art. The public needs something, not “new,” but “renewed.” We are talking about the tuning fork. This is something that we have to renew, because it already exists—right? It’s higher but it exists. We want to go back to the lower tuning, the right tuning. So also in political life, we need a renewal, we need to get back to something honest, and clean, in politics as well.

Fidelio: Without great culture it is hard to have a good society. Do you think that if we improve the quality of music, we’ll improve society?

Bergonzi: Without doubt! There is not the slightest doubt. Surely.

Fidelio: Do you think that it is right for a political statesman like Lyndon LaRouche to try to help art in the way that he has, with the lowering of the pitch?

Bergonzi: Of course. Moreover, it’s very important. LaRouche deserves to be complimented for his insisting on this matter, and who feels it, and who does it with his heart, and doesn’t do it so he can show off, but because he feels strongly about and wants to carry it forward.

Fidelio: Some people say you can’t mix art and politics.

Bergonzi: : This does not mean mixing art and politics. In this, he speaks of art, and politics is something else. If LaRouche talks about bringing the tuning fork to normalcy, to help the whole sound, to help the voices, then you have to compliment him. You have to say that he is a person for whom one must have great esteem and approve that for which he is campaigning. And you have to insist and campaign to carry forward his discussion.

Fidelio: The Schiller Institute and Mr. and Mrs. LaRouche are concerned especially about the children. How do you see the future of children in the schools today without classical music?

Bergonzi: That’s bad. Classical music ought to be put into the elementary schools to give the youngster a culture. We have to start from when the child first goes to school. If you change him there, you can give him a culture. You can’t take an adult who likes rock, and tell him he has to listen to symphonies. He won’t go any more at his age. You have to catch the children in elementary school and give them this instruction, and teach them solfeggio so they get excited about music.

Fidelio: And you were a singer as a boy?

Bergonzi: I sang in church, and I had a darker voice always, and sang as a contralto.

Fidelio: Do you think this is a good experience for children?

Bergonzi: For sure. It is a great experience to sing in church, to get a passion for it. A singer is born with an innate passion for singing. In school, you can teach, but if there is no passion, it’s hard.

Fidelio: The fact that you at 68 are still singing, and still singing well, is a proof of a certain technical basis which in many cases today is missing. Many singers start well but end after a very short career.

Bergonzi: One cause is the tuning fork, which strains the voices. Second, they are in too big a hurry to debut, to make money singing, singing works not suited to their voices, wrong repertoire. The third is the fault of theater directors who cast voices which are not right for the repertory they give them to sing. They take the light tenor who should sing the Conte D’Almaviva in the Barber of Seville, who has a high C, and they say, “We have found a Manrico” [the dramatic tenor in Il Trovatore]. No matter that the voice is small, large, or medium. For them, he has a high C♮, and so he’s Manrico.

Fidelio: So to sum up, you’re concentrating now on future generations?

Bergonzi: This is not a battle which I’m carrying forward because I’m trying to make a career! My career is coming to an end. I’m doing this for the young people.

The people singing when my career was born, included Tito Schipa, Lauri Volpi. But don’t tell me that there are no longer being born voices such as these, voices like those of De Stefano, Corelli, del Monaco, Jussi Bjorling, Richard Tucker. There are many beautiful voices here in America and many excellent teachers, although there are some bad ones.

But the singing teachers have to carry forward this battle, to save the voices of the young singers, to save the future of opera, and to return again to the true opera of former times.

If we receive support for this initiative, we can save this entire heritage. If we go back to the right tuning, you will see, that within five years there will be a major change in improvement of the voices.

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