Of course there's a difference between French and German consonants and vowels just as there's a difference between Italian and English. There are about 35 phonemes in Italian and 48 in English (and that's not exact and that's not merely mathematical, but also a difference between the 35). That's the basic, massive flaw in the British music conservatory system. They copied the Italian system without realizing that the Italian system quantizes the Italian language spoken loudly with resonance tuning. The the Brits sing English like Italian immigrants pronouncing a dead dialect (RBP - which has migrated to a different pronunciation system). Also, the German resting place is more velar and the French more palatal, so the French move forward on ending consonants (Margarite-u) and the Germans more back (like Margarite-uh). Also, the English mess up the glides between the vowels and consonants, not realizing that they're connected and that there's a time-frame wherein they have to be elided. Why don't singers just study linguistics (Indo-European) and it will all be clearly explained? The British phonetics are wrong as are their phonemics. The whole system is based on a pig-headed imitation of Italian that makes absolutely no sense. Understand your own language and then resonance tune within that system.
![[INTERVIEW] Gerald Finley about LE NOZZE DI FIGARO - Il conte di Almaviva](/img/1.gif)
Of course there's a difference between French and German consonants and vowels just as there's a difference between Italian and English. There are about 35 phonemes in Italian and 48 in English (and that's not exact and that's not merely mathematical, but also a difference between the 35). That's the basic, massive flaw in the British music conservatory system. They copied the Italian system without realizing that the Italian system quantizes the Italian language spoken loudly with resonance tuning. The the Brits sing English like Italian immigrants pronouncing a dead dialect (RBP - which has migrated to a different pronunciation system). Also, the German resting place is more velar and the French more palatal, so the French move forward on ending consonants (Margarite-u) and the Germans more back (like Margarite-uh). Also, the English mess up the glides between the vowels and consonants, not realizing that they're connected and that there's a time-frame wherein they have to be elided. Why don't singers just study linguistics (Indo-European) and it will all be clearly explained? The British phonetics are wrong as are their phonemics. The whole system is based on a pig-headed imitation of Italian that makes absolutely no sense. Understand your own language and then resonance tune within that system.