The previous post on warming up has to do primarily with creating physical readiness. Know that the “warming up of the brain” is more important.
The initial approach to the singing voice must be characterized by thought and attitude that emphasize coordination and integration, fluidity of motion and stability of body, devoid of unnecessary tension. Anything that feels like tension or pressure is too much.
Spend a few minutes gently (not tentatively or guardedly) waking up the voice while placing operative concepts of balance and freedom into the conciousness. The ultimate goal is to be “thoughtless,” but directed and helpful thoughts will allow the warm-up to be effective.
Kavbar's Blog 
Thank you so much for these wonderful videos. I hope you are still keeping up with this site as I see you have not posted since Feb.
If you do listen to my recordings my voice will not sound anything like theirs. I guess I will never acheive what they have. I do notice they had some great advantage in that they all start as children and have parents to guide them who are themselves fine singers. In the theatre it is the same. The great actors John Gilgud and Lawrence Oliver both had the same advantage.
A few notes: Horne mentions “natural Placement”. I wish I knew what that was. I hear all of them singing in the head, and they do talk about “taking off the weight” or not taking the chest voice up with you.
Pavoritti talks about learning from birds and then he whistles. Well, it is interesting as I do notice I hear the sound “forward” when I whistle and I wonder if this may not be a clue.
Notice Horne also mentions that over time her technique became natural to her. I have so much to say on this in my diary, not only for singing but for speaking as I changed my American Accent because I lived in England for 30 years. That is another story, but it does bring up the issue of what is natural.
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