Head First

Denes Striny's international singing career brought him to the major opera houses of the world in leading roles. At the same time, he was evolving his vocal technique in a quest to find his full vocal potential. This book documents his struggles and successes with himself, teachers, coaches, and other singers. Striny, while maintaining his singing career, also had a full studio of singers studying with him in New York City.
In this his first book, Striny confronts and explains the universal problem in singing today. This problem is at the center of an important dilemma in the world of opera today-namely, where have all the great operatic voices gone? Striny dissects the problem and offers the solution, which is a return to singing in the "Head Voice," the only true operatic sound. For the past sixty years, the knowledge that there are thirty-two muscles, bones, ligaments, and sinewy masses of tissue located around the larynx led teachers and students to chase this anatomical knowledge in search of answers to vocal theories. However, they have not learned the basic fundamental truth-those who sing in the head voice are the only true operatic voices.
The late Birgit Nilsson, international opera legend and long-time friend, mentor, and teacher to Striny, shares her insights with Striny and the reader throughout the book. Head First is a must for teachers, students, professional singers, and opera lovers who will gain valuable insight into the "voice of opera."

Denes Striny is an international operatic tenor and maintains one of New York City's most prominent voice studios. He most recently conducted the London Philharmonia Orchestra in a CD of Italian arias with Matthew Wolff, tenor.

Part 1 Dedication: In Remembrance (of Birgit Nilsson ) Part 2 Foreword: A Letter from Birgit Nilsson Part 3 Preface Chapter 4 Introduction Part 5 Choices Chapter 6 Head Voice and Chest Voice: Registers and Voices Chapter 7 Breathing-No Big Deal Chapter 8 All the Stuff You Want: Pitch, Text, Musicality, Carrying Power Chapter 9 Vocal Constriction and Health Part 10 Getting There Chapter 11 Bel Canto and Head Voice: What Happened? Chapter 12 The Passaggio: From What? To What? Chapter 13 Finding a Voice Chapter 14 About Teachers Chapter 15 Getting in the Zone Chapter 16 The Final Analysis, Do You Deserve It? Chapter 17 The Learning Process and the Exercises Part 18 Exercises Part 19 Appendix Part 20 Index