Welcome to Pablo Torre finds out.

I am Pablo Torre, and today we're going to find out what this sound is.

Sure, win, the wine in golden polo,

but drinked not,

first sing I you a song. Right after this ad.

One of the basic things that I did not appreciate about opera until I was doing some amount of research into it

was that you guys don't get to use the thing that we're talking into right now. Right. And I felt like such a fucking idiot. I've talked to singers before. The microphone does a lot of the work. And then I'm realizing, oh, traditionally in opera, you guys don't use microphones. It's just projection, just all voice, man. And your body's kind of one big resonating space. And, you know, if you have a larger head, it helps a little bit because that sound bounces around. Wait, is that right? Like the skull actually creates an amplifying? As far as I'm concerned, that's a fact. I'm now going to measure Pavarotti's skull shape now. I'm like, you... Don't be wrong. I know there's some smaller. I know there's some people don't have the largest heads, but I know that when you start singing the bigger rep, everyone that I talk to seems to have a big old noggin. So, yeah. I love that the opera combine where they measure the prospects. They're like, yeah, this guy's skulls a little small.

Gonna pass. I'll pass on that. But just even upkeep of your voice? I was joking to you in the

kitchen, but like, that is the moneymaker. I mean, it's a whole body thing because singing starts with

the breath. So you need to have really fantastic breath support. If you have really large lungs, that helps, you know, that helps tremendously. I don't. It's the craziest thing. You have mediocre lungs? Yeah, like I have, yeah, exactly. It's the craziest thing. But I know how to use the diaphragm and stuff. So, because you train so much that you, like walking, you don't think about walking how to step and put the foot down and stuff. But when you start singing, you have to think that way. And then you just use that more and more and more. And then all of a sudden you're singing and you don't have to think about the technique anymore. I want to get eventually to your actual past life as a football player okay i do i don't just want to

metaphorically talk about football i want to talk about that in real terms but your scouting report

as an opera singer yeah what is it frandon jiovanovitch and thank you for being here by the way

oh please please please my pleasure my pleasure what position do you play play? So I'm a, I'm a tenor.

Yeah, there's, there's, there's, there's all these subcategories. So there's a soprano, metzo-soprano. There's something called a counter-tenor. There's a tenor, baritone bass. And there's other, there's a bunch of different little categories than that. But I do a lot of analogies with bikes or automobile.

So with somebody's maybe a speed bike, there's a bunch of different little categories than that, but I do a lot of analogies with bikes or, or, or automobile.

So with somebody's maybe a speed bike, somebody's maybe more of a Harley, somebody's maybe more

of a race car, somebody's made a monster truck, a semi-truck.

I'm more of probably the semi-truck or monster truck variety, you know.

I've got to do these long haul operas that last, you know, some of them. The longest one, I think, with intermissions is about six hours. And there's a couple, you know, two breaks in there, but it's just, you know, it's a huge orchestra pumping out this sound, and you kind of have to learn to ride right over that. The physical upkeep.

Yeah.

The power that the monster truck needs to generate.

Oh, sure.

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