The Voice: a Spiritual Approach to Singing, Speaking and Communicating - The Kabbalah of the Voice

The Voice: a Spiritual Approach to Singing, Speaking and Communicating - The Kabbalah of the Voice

by Miriam Jaskierowicz Arman

ISBN: 9781453607640

Publisher CreateSpace Independent Publishing Platform

Published in Arts & Photography/Performing Arts, Entertainment/Music, Arts & Photography, Religion & Spirituality, Reference, Nonfiction

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Book Description

"Dare to be Great" should be the title of this book. Bel Canto Vocal Technique above All others!! - for the real Singer who is intent on having complete and perfect use of his vocal instrument for a lifetime - insuring a voice that is free from force and strain, a voice that responds to every thought and a process that will grow and grow without limit, never ruining, hurting or stressing the instrument. Everything is explained without holding back anything - the three previous editions of the "Voice" are expanded here ....

Sample Chapter




For those familiar with Opera, the Tenor Enrico Caruso, was and will always be 

the greatest singer of all time…bar none! 


For those of you who do not know him, read up and listen to some recordings 

on the Internet. It’s worth the trouble. [His recordings are basically done with a 

megaphone – Imagine if he had had a digital soundboard.]



of the most guarded secrets of the Voice.


Perhaps 13 years ago, I purchased a complete set of Caruso’s recordings on 78 

records. The magazine which accompanied the recordings was published by the 

Metropolitan Opera in 1975 and in it I found the article “Caruso, The Mouth that 

Could Cradle and Egg. ” 


I had listened to the recordings hundreds of times – there is no Voice that 

compares to Caruso’s in brilliance, in technique in color, in beauty…NONE. His 

Voice and what he achieved with his Voice was and remains amazingly unique and 

enrapturing. He is unequaled.


The magazine part which accompanied the recording was obviously always 

there - I just never took the time to read it until one day, I thumbed through it, and 

all that I have ever taught about the Voice over the past thirty years was validated, 

vindicated and cleared. 


WHY no one knows this, teaches this, examines this, I have no idea, but to me and 

to my students this is the one of the greatest SECRETS of all time to unlocking the 



In the Chapter on the Egg, I will explain everything to you in great detail. Please 

DO NOT SKIP any part of the book, otherwise you miss important steps…no rush, 

all in good time.





The above-mentioned magazine has various articles about Caruso, his drawings, 

photographs, etc.,-interesting tidbits about the greatest singing icon of our time, 

the Voice which set the standard for excellence and production. 


On the last page of the magazine there is this obscure article titled “The Mouth 

That Could Cradle an Egg”.


When I began using and teaching with the Egg in 1996 or 1997, I do not quite 

remember the auspicious day, but for certain, I had no idea that Caruso used the Egg.


The reason I “conceived the Egg” was because one of my student had a serious 

problem with a retractile Tongue. I desperately tried to help her (with the Spoon), 

but the moment she tried to put the Spoon into her mouth the Tongue pulled back. 

Suddenly I had the most powerful inspiration, jumped up and ran to the fridge to 

get an Egg. “You are not going to put a raw Egg into my mouth” she pleaded. “Yes 

I will!”


That was the day it all began with the Egg and from the first day it has been a 

revelation and enormously important to all of my students, whether they loved it or 

hated it, the EGG always wins! And When the Egg wins, my students Win!


The “Egg” is not mentioned in any of Caruso’s publications on vocal 

technique. I do not think that the Author, Quaintance Eaton, who wrote the 

article in reference, was aware of the incredible significance her words would 

have on the world of singing when she wrote the following account:


“Evidence exists in Boston of one aspect of Caruso’s vocal apparatus. A dentist 

who practiced there in the early part of the century took plaster casts of the mouth 

cavities of many Opera singers to prove that the size and shape of the mouth 

chamber has a great influence on the size and the quality of the Voice.


The inside of Galli-Curci’s mouth, for example, proved to be narrow and high, 

rather like a gothic arched roof. Caruso’s, on the other hand, was a great, 

round sphere, as big as an orange. Dorothy Benjamin, Caruso’s wife 

and no relation to Dr. Harry said once that he (Caruso) could put a 

large Egg in his mouth and close his Lips over it without cracking the 



By the time you get to the Chapter on the Egg you will understand how and why 

he used the Egg and the extraordinary “coincidence” of the work we are doing here. 

Only when you have gone through all the work will this make sense…but SENSE it 

will make!


Excerpted from "The Voice: a Spiritual Approach to Singing, Speaking and Communicating - The Kabbalah of the Voice" by Miriam Jaskierowicz Arman. Copyright © 2010 by Miriam Jaskierowicz Arman. Excerpted by permission. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher. Excerpts are provided solely for the personal use of visitors to this web site.
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