Abstract: The study of opera art at the turn of the 18th–19th centuries is currently a topical research. At the beginning of the 19th century, many cardinal changes took place in the field of vocal performance: new types of singing voices and dramatic roles were formed, the manner of ornamentation of parts underwent changes. Many works of domestic and foreign musicologists are mainly devoted to the study of the operatic performance of tenors, basses, contraltos and sopranos. Occasionally, they mention the baritones of the Verdi period, and the period of the birth of the baritone role, unfortunately, remains unexplored.
The subject of this study is the operatic and vocal work of the Italian baritone Antonio Tamburini. The object of the study is the baritone roles created for the singer.
The theoretical and methodological basis of the study was the works of modern domestic and foreign musicologists devoted to the art of vocal masters of the early 19th century, reviews of Tamburini's contemporary music critics and his creative biography.
The novelty of the study lies in the identification of causal relationships between the performance of the singer and the evolutionary processes that occurred in the opera art of the early 19th century. The main conclusion of the study is to identify the role of Tamburini in the formation of the role of the baritone.

Abstract: The article describes Manuel Patricio Rodríguez García’s pedagogical activity focusing on his theoretical work Traité complet de l’art du chant which evoked continuous debates among singers and vocal teachers. The researcher analyzes and substantiates the difference between the editions of 1840-1847 and 1856. Actually, García recommended different types of respiration in the treatise of 1840-1847 and 1856, and the researcher tries to understand his motives. The research methodology involves the analysis of musical and pedagogical problems, the cultural-historical analysis, the comparative analysis. In the middle of the XIX century vocal pedagogics developed according to the performing practice and new esthetic requirements of the Romanticism epoch, that’s why the author of the treatise Manuel García the Junior developed his previous work in 1856 and recommended singers to use diaphragmal respiration instead of the clavicular one described in 1840-1847. The author concludes that García’s alleged “mistake” can be explained by the necessity to consider new tendencies in the development of vocal art. The study proposes a non-traditional approach to Manuel García’s pedagogical heritage, such an approach may be of interest for musicologists, singers, vocal teachers.

Abstract: The article describes Manuel Patricio Rodríguez García’s pedagogical activity focusing on his theoretical work Traité complet de l’art du chant which evoked continuous debates among singers and vocal teachers. The researcher analyzes and substantiates the difference between the editions of 1840-1847 and 1856. Actually, García recommended different types of respiration in the treatise of 1840-1847 and 1856, and the researcher tries to understand his motives. The research methodology involves the analysis of musical and pedagogical problems, the cultural-historical analysis, the comparative analysis. In the middle of the XIX century vocal pedagogics developed according to the performing practice and new esthetic requirements of the Romanticism epoch, that’s why the author of the treatise Manuel García the Junior developed his previous work in 1856 and recommended singers to use diaphragmal respiration instead of the clavicular one described in 1840-1847. The author concludes that García’s alleged “mistake” can be explained by the necessity to consider new tendencies in the development of vocal art. The study proposes a non-traditional approach to Manuel García’s pedagogical heritage, such an approach may be of interest for musicologists, singers, vocal teachers.

Abstract: This article explores the pedagogical activity of Manuel Patricio Rodríguez García, analyses and substantiates the difference between the versions of edition of the work "The Complete Treatise on the Art of Singing" of 1840-1847 and 1856, which has raised questions among singers and vocal pedagogues over a long period of time. Despite the fact that the work "The Complete Treatise on the Art of Singing" has been repeatedly published in Russian, the disputes about its principles continue unabated up to now even in the media. The theoretical and methodological basis of this study is as follows:  analysis of musical and pedagogical problems, cultural and historical analysis, comparative analysis. This article clarifies the author's recommendation on the use of various types of breathing stated in the treatise of 1840-1847 and 1856. In the middle of the XIX century vocal pedagogy developed in accordance with the performance practice of the era of Romanticism and new aesthetic intentions, that's why Manuel Garcia Junior, the author of the treatise, improved his treatise and recommended singers to use chest-diaphragmatic breathing instead of small (clavicular) one.

Abstract: This article explores the pedagogical activity of Manuel Patricio Rodríguez García, analyses and substantiates the difference between the versions of edition of the work "The Complete Treatise on the Art of Singing" of 1840-1847 and 1856, which has raised questions among singers and vocal pedagogues over a long period of time. Despite the fact that the work "The Complete Treatise on the Art of Singing" has been repeatedly published in Russian, the disputes about its principles continue unabated up to now even in the media. The theoretical and methodological basis of this study is as follows:  analysis of musical and pedagogical problems, cultural and historical analysis, comparative analysis. This article clarifies the author's recommendation on the use of various types of breathing stated in the treatise of 1840-1847 and 1856. In the middle of the XIX century vocal pedagogy developed in accordance with the performance practice of the era of Romanticism and new aesthetic intentions, that's why Manuel Garcia Junior, the author of the treatise, improved his treatise and recommended singers to use chest-diaphragmatic breathing instead of small (clavicular) one.