--- product_id: 9177075 title: "Great Singers on Great Singing: A Famous Opera Star Interviews 40 Famous Opera Singers on the Technique of Singing (Limelight)" price: "£21.17" currency: GBP in_stock: true reviews_count: 8 url: https://www.desertcart.co.uk/products/9177075-great-singers-on-great-singing-a-famous-opera-star-interviews store_origin: GB region: United Kingdom --- # Great Singers on Great Singing: A Famous Opera Star Interviews 40 Famous Opera Singers on the Technique of Singing (Limelight) **Price:** £21.17 **Availability:** ✅ In Stock ## Quick Answers - **What is this?** Great Singers on Great Singing: A Famous Opera Star Interviews 40 Famous Opera Singers on the Technique of Singing (Limelight) - **How much does it cost?** £21.17 with free shipping - **Is it available?** Yes, in stock and ready to ship - **Where can I buy it?** [www.desertcart.co.uk](https://www.desertcart.co.uk/products/9177075-great-singers-on-great-singing-a-famous-opera-star-interviews) ## Best For - Customers looking for quality international products ## Why This Product - Free international shipping included - Worldwide delivery with tracking - 15-day hassle-free returns ## Description Great Singers on Great Singing: A Famous Opera Star Interviews 40 Famous Opera Singers on the Technique of Singing (Limelight) [Hines, Jerome] on desertcart.com. *FREE* shipping on qualifying offers. Great Singers on Great Singing: A Famous Opera Star Interviews 40 Famous Opera Singers on the Technique of Singing (Limelight) Review: Excellent book about singing by singers who do it! - Having sung myself in Europe, studied with Maestro Arrigo Pola in Italy and researched the vocal phenomena for many years, I found this book quite valuable, because the singers themselves are asked of what they are aware. Jerome Hines did a good job of interviewing the singers. However his questions are all oriented toward the accepted concepts of the instrument. Thus, the singers attempt to describe their perceptions to fit in with the popular theory, which by the way has never been proven. It was merely an assumption. No instrument based on the wind driven theory has ever been created that produced the simultaneous multiple frequencies of which the human vocal instrument is capable. In other words, Hines' questions confine the singer's answers to a prescribed box. And he artfully steers their answers into the grooves that he wants them to follow. Nothing wrong in that. I got the impression that Mr. Hines was endeavoring to understand finally for himself how the vocal instrument works. He was trying to explain, or get others to clarify, how all of the subjective sensations, we singers and speakers perceive, fit together to produce a voice. I admire his curiosity. And he reports in a friendly and engaging manner. Had Jerry Hines read my first book, "The Book of Singing, A Manual", which I published as a manuscript on a very limited scale in 1975, and later republished as, "How To Speak With Power", he might have asked some different questions. Trying to apply the tenants of the popularly accepted theory: air passing through the vocal cords is resonated somewhere in the masque, or head, can make a naturally balanced instrument sick and ruin it. I had experienced that first hand for fourteen years as my own beautiful natural voice was ruined by well meaning, but ill-informed teachers.That's why I began researching the voice. I was not hampered by trying to fit what I found into the existing theory. I knew that didn't work so I dared to think outside of the box. The popular theory was assumed a couple hundred years ago. Our scientific knowledge has greatly increased since then. Quantum theory deals with the very tiny, which is where the voice originates. This enabled me to contemplate how the voice worked from a whole new perspective and ask greater questions that did not have to agree with the "accepted" theories of classical science. I wasn't trying to prove someone else's theory, I was only trying to figure how my own voice worked so I could rebuild my broken instrument and accomplish my dream of singing opera. I discovered there are more components to the vocal instrument than just a diaphragm, vocal cords and some ill-defined "resonators". In Hines' otherwise excellent book, the singers often talk about solutions as if they applied to the whole range, and not just to a specific register. Obviously the confusion around the subject of registers did not originate with Hines. In my second book, which I am compiling now, I resolve the riddle of the registers. There are different solutions for different registers (there are more than three). Once you have that information you can make sense of the seeming contradictory statements made by the various singers in Hines's excellent book. Would I recommend Hines' book? Of course! Wholeheartedly. Singers need to be aware of exactly what they are doing. Putting energy in the wrong places can make an instrument sick and take it apart. On stage one is all alone, so one must be able to self correct. And in order to self correct one has to know of what the instrument is composed and how it operates. To be a great singer one must become a great athlete and learn to control the components of the instrument by her/his thoughts. Review: Narrow in scope, rich in content - It would be worth the price of this book just for the interview with the distinguished operatic soprano Magda Olivero. Hers was a case of having the wrong teacher, failing miserably, then being guided to the right teacher who rebuilt her technique for singing; she sang professionally well into her seventies and could still give master classes in her nineties. She gives a riveting description of how the right teacher took her from the nadir, slowly and impatienly (hey, he was a very emotional Italian!), to a level at which she mastered verismo operatic roles. She was so good that even Renee Fleming was humbled by a demonstration of her breathing technique. Madame Olivero is one of many singers interviewed for this book; all of them had worthy, some had stellar, careers. Jerome Hines was a real character, and his character, warts and all, comes across in every page of this book. This is off-putting to people who are not entertained by his outsized personality, but again, what do you expect -- he was a larger-than-life operatic figure. Some of these singers, plainly, are characters themselves! The book is best taken with a grain of salt, I believe; but the sanity and down-to-earth practicality of Olivero made it a worthwhile purchase for me. ## Technical Specifications | Specification | Value | |---------------|-------| | Best Sellers Rank | #292,943 in Books ( See Top 100 in Books ) #71 in Vocal & Singing #350 in Opera Music (Books) #925 in Music Instruction & Study (Books) | | Customer Reviews | 4.8 out of 5 stars 198 Reviews | ## Images ![Great Singers on Great Singing: A Famous Opera Star Interviews 40 Famous Opera Singers on the Technique of Singing (Limelight) - Image 1](https://m.media-amazon.com/images/I/71VWqxStx6L.jpg) ## Customer Reviews ### ⭐⭐⭐⭐⭐ Excellent book about singing by singers who do it! *by R***A on July 1, 2013* Having sung myself in Europe, studied with Maestro Arrigo Pola in Italy and researched the vocal phenomena for many years, I found this book quite valuable, because the singers themselves are asked of what they are aware. Jerome Hines did a good job of interviewing the singers. However his questions are all oriented toward the accepted concepts of the instrument. Thus, the singers attempt to describe their perceptions to fit in with the popular theory, which by the way has never been proven. It was merely an assumption. No instrument based on the wind driven theory has ever been created that produced the simultaneous multiple frequencies of which the human vocal instrument is capable. In other words, Hines' questions confine the singer's answers to a prescribed box. And he artfully steers their answers into the grooves that he wants them to follow. Nothing wrong in that. I got the impression that Mr. Hines was endeavoring to understand finally for himself how the vocal instrument works. He was trying to explain, or get others to clarify, how all of the subjective sensations, we singers and speakers perceive, fit together to produce a voice. I admire his curiosity. And he reports in a friendly and engaging manner. Had Jerry Hines read my first book, "The Book of Singing, A Manual", which I published as a manuscript on a very limited scale in 1975, and later republished as, "How To Speak With Power", he might have asked some different questions. Trying to apply the tenants of the popularly accepted theory: air passing through the vocal cords is resonated somewhere in the masque, or head, can make a naturally balanced instrument sick and ruin it. I had experienced that first hand for fourteen years as my own beautiful natural voice was ruined by well meaning, but ill-informed teachers.That's why I began researching the voice. I was not hampered by trying to fit what I found into the existing theory. I knew that didn't work so I dared to think outside of the box. The popular theory was assumed a couple hundred years ago. Our scientific knowledge has greatly increased since then. Quantum theory deals with the very tiny, which is where the voice originates. This enabled me to contemplate how the voice worked from a whole new perspective and ask greater questions that did not have to agree with the "accepted" theories of classical science. I wasn't trying to prove someone else's theory, I was only trying to figure how my own voice worked so I could rebuild my broken instrument and accomplish my dream of singing opera. I discovered there are more components to the vocal instrument than just a diaphragm, vocal cords and some ill-defined "resonators". In Hines' otherwise excellent book, the singers often talk about solutions as if they applied to the whole range, and not just to a specific register. Obviously the confusion around the subject of registers did not originate with Hines. In my second book, which I am compiling now, I resolve the riddle of the registers. There are different solutions for different registers (there are more than three). Once you have that information you can make sense of the seeming contradictory statements made by the various singers in Hines's excellent book. Would I recommend Hines' book? Of course! Wholeheartedly. Singers need to be aware of exactly what they are doing. Putting energy in the wrong places can make an instrument sick and take it apart. On stage one is all alone, so one must be able to self correct. And in order to self correct one has to know of what the instrument is composed and how it operates. To be a great singer one must become a great athlete and learn to control the components of the instrument by her/his thoughts. ### ⭐⭐⭐⭐⭐ Narrow in scope, rich in content *by B***E on December 15, 2025* It would be worth the price of this book just for the interview with the distinguished operatic soprano Magda Olivero. Hers was a case of having the wrong teacher, failing miserably, then being guided to the right teacher who rebuilt her technique for singing; she sang professionally well into her seventies and could still give master classes in her nineties. She gives a riveting description of how the right teacher took her from the nadir, slowly and impatienly (hey, he was a very emotional Italian!), to a level at which she mastered verismo operatic roles. She was so good that even Renee Fleming was humbled by a demonstration of her breathing technique. Madame Olivero is one of many singers interviewed for this book; all of them had worthy, some had stellar, careers. Jerome Hines was a real character, and his character, warts and all, comes across in every page of this book. This is off-putting to people who are not entertained by his outsized personality, but again, what do you expect -- he was a larger-than-life operatic figure. Some of these singers, plainly, are characters themselves! The book is best taken with a grain of salt, I believe; but the sanity and down-to-earth practicality of Olivero made it a worthwhile purchase for me. ### ⭐⭐⭐⭐⭐ Interesting and helpful *by S***M on July 24, 2023* This is a great book for voice students because it includes a lot of information about good singing technique from many different successful singers. The short chapters make it easy for students to read and digest. Highly recommend it. --- ## Why Shop on Desertcart? - 🛒 **Trusted by 1.3+ Million Shoppers** — Serving international shoppers since 2016 - 🌍 **Shop Globally** — Access 737+ million products across 21 categories - 💰 **No Hidden Fees** — All customs, duties, and taxes included in the price - 🔄 **15-Day Free Returns** — Hassle-free returns (30 days for PRO members) - 🔒 **Secure Payments** — Trusted payment options with buyer protection - ⭐ **TrustPilot Rated 4.5/5** — Based on 8,000+ happy customer reviews **Shop now:** [https://www.desertcart.co.uk/products/9177075-great-singers-on-great-singing-a-famous-opera-star-interviews](https://www.desertcart.co.uk/products/9177075-great-singers-on-great-singing-a-famous-opera-star-interviews) --- *Product available on Desertcart United Kingdom* *Store origin: GB* *Last updated: 2026-06-06*