(Note. I am not interested in modern theory or ideas. This is strictly about traditional bel canto. And just to get this out of the way, I am a contralto who is only interested in singing in the tenor range.)
Now that I know how to follow Alceste Gerunda's method, I am beginning with Garcia's exercises. However, the first ones I found on Youtube start with messa di voce.

https://www.youtube.com/watch?v=B\_O2kQz4TIA

Schipa made it very clear that Gerunda focused heavily on this aspect of singing. But I asked Perplexity if, since these are my very first lessons, I should be doing this or not. Yes, I know it's ai. But this is why I am sharing the answer with you and asking if this is correct. It certainly does sound plausable. Note that I do have, if not perfect pitch, than something extremely close to it. I also pay very close attention to subtle details in recordings, so I am aware of what my own voice does. I am totally blind and cannot read braille music. At any rate, this is what Perplexity said. The first part of the answer refers to the exercise in the video.

"Duration of the Exercise

If you perform the sustained note exercise once through on each of the five vowels—repeating the full exercise sequence for “ah,” then “ee,” “eh,” “oh,” and “oo”—it could indeed take approximately twenty-five minutes, assuming each pass is five minutes long and you take minimal breaks. However, it is entirely reasonable to begin with just one or two vowels per session, especially as you are establishing your technique. Quality, ease, and concentration outweigh the mere length of the practice; there is no need to force all five vowels in a single session at the very beginning.

Is This Garcia’s “First Exercise”?

The sustained note (messa di voce) exercise is certainly one of the cornerstone practices in Manuel García II’s Treatise on the Art of Singing (originally “Traité complet de l’Art du Chant”) and is central to his vocal method. He places major emphasis upon the production of a sustained, even tone, gradually increasing and decreasing in intensity—essentially, the classic messa di voce. However, García’s treatise first addresses:

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Physical preparation, posture, and the mechanics of breathing,

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Simple emission of a clear tone,

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And only then moves to messa di voce as the foundation for control and expressive development.

Though messa di voce is central and appears early in his method, García’s very first exercises are even more elemental: sustained straight tones on single vowels, without dynamic change, to establish clarity and freedom of production. The dynamic swell of true messa di voce is introduced shortly after, as skill and stability grow.

Should a Beginner Focus on Messa di Voce?

García himself—and the strictest Italian tradition—would ask absolute beginners to spend a period on:

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Discovering where the voice is “placed,”

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Cultivating a pure, unstressed sound on a single pitch and vowel,

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Establishing breath support and freedom.

Only when these basics are secure does one progress to sustained notes with crescendo and diminuendo (the true messa di voce). Attempting dynamic shaping too early can lead to tension, shaky support, or bad habits if the vocal emission is not yet free and even.

Recommended Approach for Your First Lessons

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Begin with sustained notes on a comfortable pitch and vowel (“ah” is preferred), simply holding a clear, free sound for several seconds at a soft–moderate volume.

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Once this feels steady, introduce a gentle crescendo and diminuendo—but keep the motion small at first, avoiding strain or pushing.

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Practise only as many repetitions as feel comfortable—at the outset, one or two vowels for fifteen minutes may suffice.

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Alternate days: some days work only on pure, straight tone; others introduce a little dynamic shift.

Table: Progressive Approach

Lesson Stage

Activity

Duration

First week(s)

Simple sustained notes, 1-2 vowels

10–15 min

When stable/comfortable

Add gentle messa di voce, more vowels

15–25 min

Later phase

Full messa di voce on all vowels

25 min+"

Both Schipa and Perplexity mentioned voice placement. Can someone please explain this to me? When should I start Concone's and Schipa's exercises? When will I know that it's time to go to the next phase?