Ph.D.ネリ・コイチェヴァ講座  第2回

About the voice

Voice – a musical instrument everyone has

With the current publication, we will expand the readers knowledge more about the singer‘s voice. With a scientific, but in the same time accessible for understanding of the main principles for work

We, the singers are born with our instrument. Ever since childhood, the voice is revealing its own qualities, power, timber, beautiful voice, and correct intonation. If some parents direct their child to a choir, vocal band or to some individual studies, they should be very precise in selecting the pedagogue or the conductor. About the child’s voice, it is ought to be working delicately, without forcing the fragile voice. The voice’ training of a child is different than that of a professional singer.

After the teenage mutation process has finished, which happens around 17-18 years old, the professional training of the voice may start.

Dear singers, please be careful, while selecting your vocal pedagogue. Have a look of how their past students had realized themselves, awards of competitions, they’ve been at. If he/she is a real vocal pedagogue, just to be a singer is not enough, even if they are famous. Because, for the pedagogue, except being able to sing, they should be able to teach, be aware of the anatomy, and physiology of the voice, and also psychology as well as many other theoretical science, which are studied in the pedagogue major. Allthough, it is what is not included in the singing Major usually.  Except being a professional, for the teacher is good to have a steady character, not to be nervous but to work methodically, without pressing the student.

If your pedagogue, during the study course, requires of you only to imitate him, without developing your individual singing qualities and properties, or experimenting with your voice, without having own method of work and style, then it is good for you to switch your teacher with someone else. And if the teacher use to try some other pedagogical skills which he heard from here and there and not based on methodical program you have to run away of him.

I am explaining now in detail the choice of the lecturer, because the first lecturer is the most important for the development of a singer. From the very beginning, the main habits as a singer are laid, and if they happen not to be proper ones, after that it is very difficult, if not even impossible, to be corrected later on.

The voice is the only musical instrument that has neither spare materials, nor can ever be repaired.

If it gets damaged due to incorrect singing, it can never get restored completely.

Even more, if we are using our instrument during the whole time, even in our daily life, we are talking. It is subjected on virus infections, inflammations, or tiredness. We can not put it in a case or a box, and thus give it a rest until the next repetition or a concert.

That is why the responsibility of the singers to their own voices is huge.

The singers voice is the most difficult instrument there is. The reason of this is, that we can never hold it in our hands, examine and observe it’s work. We can not use our optical perceptions. With the help of our teacher, slowly, but patiently with love, and thus, we are ought to obtain habits, auditory estimation, intuition and control over the whole body.

Along with the singing study, we should learn to take care of our voice.

The voice is a nature gift, that is superb, and unique. If we get used to the knowledge of controlling and working with it correctly, we can set up a long-lived and successful singing career.


Ph.D.ネリ・コイチェヴァ講座 第1回


Dear readers,

I thank you for your interest towards my theoretical publications upon the base of the classical singing. Before we start either theory part, I would like to bring you forward this first publication, with my story as a musician and a performer. I graduated the Academy of music, dance, and fine arts in Bulgaria, Plovdiv. My bachelor degree is classical singing speciality where my teacher used to be the Vocal pedagogue, the famous opera actress Elena Baldjieva – a student of the founder of Bulgarian national operatic style – Prof. Hristo Brambarov. And also, I have completed the full course of study a Musical pedagogy degree. I have Magister of Classical singing, and a Magister of musical pedagogy and Doctor of performing art and Musicology. My dissertation for doctoral degree is “Songs of Charles Ives. Creative philosophy and performer’s problems”, published in Bulgaria, as a monograph of the Publishing Company ‘Technointelexpert’. I am glad that along with preparing the dissertation, I managed to perform in Bulgaria for the first time the songs of the American composer Charles Ives, not just via theoretical examination, but also accomplishing 10 consents in various cities in Bulgaria, as well as one in Vienna.
I have Speciality of Vocal method, and Speciality of a Work with a conductor, with Bulgaria’s best conductor – Maestro Geordi Dimitrov.
Master classes with: Prof. Margarita Lilova, Prof. Brian Mol, Prof. Andreas Lebeda . Prof. Irina Shtiglich, Prof. Norman Shetlard, Aoyama Sensei , and others.
In the extension of 10 years, I have visited the interpretation classes of Irina Shtigich – an expert in the cycle of German music, a famous and highly respected musician and pedagogue. In my student years, and even at present, I am visiting the master classes of Professor Norman Shetlard – a teacher of the musical high-leveled school of Vienna with interpretation of the various styles in the classical music. When I graduated my speciality of classical singing lecturer, I had my belief that I will be singing on the opera stage, and later on, I will be teaching. Though, life itself decided instead of me something completely different. When I was departing with my teacher – doc. Elena Balgjieva, her last words toward me were: “You will sing, and you will teach.” Though back then I didn’t know that it would be our last meeting ever. It was just three days afterwards when she left the world forever. We all, her students were in shock. It wasn’t just losing our classical music teacher, but it also meant that the teacher, to whom we had intrusted our future, and belief to whom most dearly. She was a fine, artistical and noble human, with a big heart, fabulous singer, and a pedagogue. Her voice was just so much beautiful, and easy to remember. Also the technique, with which she was controlling her voice was brilliant and perfect. And because of the fact I had specialized vocal method two years, and had worked with all of her students, after her decease, all of them gave to the president of the music academy, a petition, that they wish to continue their training under my guidance. It was a giant shock to me. I was just 26 years old, and yet I had to take up the responsibility for a part of the class of Elena Baldjieva’s students. The students used to be of the musical academy, and in the national musical school in Plovdiv. Thus, the wheel of my professional life started turning. Instead of the stage, I turned out to be behind the piano in the classical singing study as a teacher. The same place, where recently enough, I was a student. A lot of years passed by since then, so many students of mine graduated and flew as if in different parts of the world. Some of them are worldwide famous, on the top of the opera classics. Others are Solists of opera theaters in Bulgaria, and throughout the world. And some of my students became teachers in various music schools and universities. I managed to lead an interesting, but hard also professional road. At one side, it was a challenge for me to work with so many and various, talented young people with complicated characters in the hardest youthful age, and on the other side, it was a combat with elder than my colleagues, filled with distrust, and also to a big extent with jealousy of the big successes and prices of my students in various competitions. Though, throughout the whole time, it was the one and only purpose of mine: to preserve what I have been thought of my teachers, to enrich and develop further. I was always running away of people who were trying to change me. Of course, alongside, I have met gorgeous, extremely talented colleagues, with whom, we used to help and support each other. In order to be the most helpful of my students, I was learning, and learning, and learning. Performed many concerts, solo parts in oratorios. But the most of all, I was a teacher, tracking out young talents, teaching them, sending them to competitions, directing them where to continue their study or professional road. Thus they graduated, starting their own professional road. I had a vision of every single student of mine, wanted to inspire them, give them knowledge, self confidence, and individuality. I have never supported teaching by the imitation manner. A style, of which the students are being equalized, but the individual opportunities of each one are being restricted.
Ten years ago, in my life, a big and unexpected change occurred. Circumstances lead me to the far away, beautiful and mystical Japan. At first, I was believing that I will be in Japan for one year, and I will go back to Bulgaria, but as always, I was thinking that I was planning one thing, but life, completely reversed it to the opposite. And here I am yet ten years teaching classical singing and giving concerts in the fabulous Japanese halls, to the noble Japanese audience. I am extremely glad of meeting the fabulous musician and artist, Missis Michiko Hanibuchi – a pianist and singer, who trusted me and we both lead together quite a lot of concerts. Together, with Missis Tae Nakano – voice soprano, and Missis Emiko Nomura – piano and cembalo, we created the Rameau Collegioum Kobe, where we founded a School for singers, who are being thought under my guidance. Every year we are conducting the festival of Baroque music, with master class, and a concert of singers, accompaniment of harpsichord, lute, and viola da gamba. In our school, students are being lead by begginers and professional singers who strive to be professional singers. Three years ago, I have been invited to teach vocal techniques and interpretation in the Studiobelcanto -Tokio, where my lectures are being visited mainly of professional singers, preparing roles, concerts, or going to competitions.
I give my gratitude to everyone, who provided me with the honor and the trust to work with me.
Thus, even today I am fulfilling the words of my own teacher: to sing and to teach.
In my next publications I will present you to some important and main theoretical knowledge about the beautiful classical singing.


Honey Cocky Live!盛況に幕を閉じました。

13時の開場からお客様が続々入場され、welcomeドリンクと、Oneプレート料理で和やかに賑わい、開演はDJ小山乃里子さんのMCでスタート!まずはHoneyこと埴淵みち子とJimmyi宮本オーケストラの演奏♬ 次いで河田健カルテットとの共演♬ ネリ・コイチェヴァも応援に駆けつけてサプライズ演奏を。音楽ジャンルの垣根を超えたイベントも何か良い兆しになりました。伝承を大事にしつつ融合して進化するす体現者でもありたいですね。


Come Again (John Dowland) by collegium rameau KOBE


Flow, my tears(John Dowland) by collegium rameau KOBE


Strike the viol(Henry Purcell) by collegium rameau KOBE


Usurpator tiranno(Giovanni Felice Sances) by collegium rameau KOBE


ヨーロッパ文化首都演奏会@プロブディフ ブルガリア コンサートプログラム「Japanese song meets Bulgarian song」ダイジェスト版

01. 島原の子守歌
02. 深川
07.The blackberry
08.Grozdana Girl
10.No whif to waft over field
11.Wild youth



野村恵美子が講師を勤めるスガナミ西明石ミュージックセンターのface book にブルガリア遠征の様子がコラム紹介されました。

ピアノ科 野村恵美子先生にちょこっとインタビュー🎤
野村先生は6月初旬、ブルガリア共和国 Plovdiv(プロブディフ)2019音楽祭に参加されました。その時の様子をおききしました😄



ヨーロッパ文化首都演奏会@プロブディフ ブルガリア 2019.6.6. 報告

ブルガリア プロブディフ旧市街の考古学博物館ホールにて、コレギウム·ラモー神戸提供のコンサートプログラム「Japanese song meets Bulgarian song」は無事盛況に終えることができました。

※写真は、ヨーロッパ文化首都ホームページより掲載 ©Evgeniya Dimitrova