I am available to teach beginning opera voice. Hour sessions are available but count as two 30 minute sessions back to back.
I love working with students of all ages and levels in person and online. I've worked with professionals on TV, Broadway, MTV as well as students 3 years old to 97 just studying for fun.
Adam runs successful teaching studios in New York City, Watchung, New Jersey, and online.
*** Lesson Details *** 30 minute singing lessons - Typically do 10 to 12 minutes of warmup and the rest of the time is devoted to practical application of technique to your songs, as well as, performance aspects. I also offer hour lessons.
30 minute acting lessons - Typically work on monologues or scenes that I or they provide. We can also work on sides provides for auditions for TV, film, & stage. I also offer hour lessons.
30 minute reading coaching - Typically work on our alphabet, the different sounds, sight words, and reading a book of choice.
I also offer hour lessons
30 minute voice/speech session - Typically work improving your voice through various exercises and strategies. I also offer hour lessons
*** Studio Equipment *** I use my Macbook Pro to record lessons and distribute them to students via a free Dropbox account. IN PERSON LESSONS ONLY.
Stephen made his operatic debut in the title role of Gluck's Orfeo in Santa Barbara, CA. Other roles performed in the United States have been Oberon in Britten's A Midsummer Night's Dream, the title role in John Eccles' The Judgement of Paris and Sesto in La Clemenza di Tito by Mozart. Among the roles sung in Europe were Orlolsky in Fledermaus, Bertarido in Rodelinda and Oberon in Sommernachtstraum. He has been a soloist in many Churches and Synagogues in the United States and Europe. Highlights have been Messiah, Elijah, St. Mathew Passion and Cantorial soloist for the Jewish High Holidays. He appeared in Summer Stock and played the guitar in a number of bands. Reviewers have cited Stephen's naturally full and warm timbre and his unforced agility.
Stephen has a strong interest and knowledge in vocal technique and maintains a s
tudio in Manhattan. He has given many workshops on vocal technique and had a large studio in Amsterdam, Holland, where lived for six years. He taught music at the International School of Amsterdam and has taught voice, piano and guitar privately for more than twenty years. He has a master's degree from Manhattan School of Music and presently teaches voice, piano and guitar and also works with learning challenged adults and children in the Music School in New York City. He can coach broadway songs and diction for Opera arias in Italian, French and German!
*** Lesson Details *** I'm pretty laid back and try to inspire my students to enjoy practicing and get excited about their progress. I tailor the lessons to the individual students interests and desires.
*** Studio Equipment *** He has a piano, and guitar of course for guitar lessons.
*** Travel Equipment *** small traveling keyboard available for voice lessons
*** Specialties *** music, voice, Opera, piano, guitar All levels, Really enjoy working with Beginners ...guitar, piano, singing classical, opera, Broadway, pop, jazz, I'm a good voice builder! and motivator.
My 10 year old son has no musical knowledge what-so-ever. We wanted him to have some basics, and he was curious about the guitar. Sadly our family isn't musical and it's hard to know where to start. We were lucky to have engaged Stephen. His calm, patient, encouraging approach has been the perfect complement to my son's temperament.
When I overhear snippets of exchanges during their lesson I am excited that my son is making connections and having a conversation about what he's learning. I can't support his instruction because of my complete inability to read sheet music—so I am particularly pleased that he seems to be making observations and taking small steps towards understanding something that confounds me.
My son looks forward to his time with teacher and (so far) is interested in practicing too. Of course we'd recommend Stephen!
February 28, 2018
Stephen is great!!!
January 6, 2018
My first session with Stephen was both technically and emotionally rewarding. He was both able to pass-on his musical expertise (his tips) and patiently encouraging my understanding of vocal technique.
Working with you on all aspects of musical preparation and performance skills in song, melody, lieder, opera and oratorio repertoire.
Ready to try something new or build on your skills? My lessons are fun, engaging and productive! We will work on:
*breathing for singers *vocal range *pitch *jaw, neck, shoulder and/or tongue tension *dynamic range *confidence *musicality...and so much more!
As a graduate of the Juilliard School and having performed worldwide, I want to share how fun, healthy and effective sing is possible with consistence and informed work! No matter your goals, lets build on the skills you already poses and confidence in your own abilities. Let's sing!
The key to great singing is enthusiasm, focus and some hard work. I have worked with students of all ages and my goal is to get you singing the right way and take you from shower diva to confident performer.
A LITTLE ABOUT ME:
As a professional singer and graduate of The Juilliard Sch
ool and working Opera singer, I have had the great fortune of training and performing with some of the best in the business.
With performances at Carnegie Hall and with major orchestras such as the Toronto, Vancouver and Seattle Symphonies and around the world, I feel this gives me a unique perspective on the challenges and successes that are possible with a fun, yet focused and healthy technique based approach. Whether a beginners, intermediate or advanced singers looking to hone your skills in musical theatre classical, jazz and even pop voice.
My goal is a well rounded, relaxed yet supported vocal tone with a focus on breath, and feeling rather than by ear. This ensures that no matter what the repertoire, the situation, or the acoustics of the room, you are always focused on healthy, articulate and projected singing.
Jonathan is a fantastic teacher! Having little prior singing experience, he made me feel at ease and comfortable starting out. He also really listened to my specific goals and what I was looking to achieve with these lessons and tailored the lesson to my individual needs. I would easily recommend Jonathan to anyone looking to work on their singing technique and confidence!
January 17, 2018
Lessons are fun and interesting with John! I have learned so many useful tips with John. He is the best and beyond. Take lessons with him!
January 16, 2018
Jonathan is a fantastic voice teacher. Not only can he sing incredibly well but he can teach incredibly well too. He has a very strong background in vocal technique with an Undergrad and Masters degree in voice. Can't wait to continue to progress with Jonathan's help.
Classical singing/opera Singing Performance degree in XingHai Conservatory of Music GuangZhou
Learn singing in Mandarin/Cantonese/English with Yun!! Yun H started recording as a singer at a very young age. She has recorded and released 9 albums as a member of “Green Swallows” from 1999 to 2005 and two solo albums in 2004 and 2005. To further broaden her musicianship, she studied composition, arranging and performance at the Berklee College of Music, and completed a Performance Degree. As a versatile performer, she sings in English, Mandarin and Cantonese. Her sound is a blend traditional Chinese folk and contemporary jazz / soul music. Yun has performed in music events in New England and beyond, including “Roots and Gospel in Gardner Museum”, “2013 Lunar New Year Concert in Berklee Performance Center”,“Newport Folk Festival 2013”, “Newport Folk Festival 2014”, “Ivy League Spring Festival Gala 2014” and shared stage with Yo-Yo Ma
, Eugene Friesen (four-time Grammy Award-winner), Sandeep Das (two-time Grammy nominee), Mike Block, and Hozier (2015 Grammy Nominee).
Students will learn the proper Italian traditions of the Bel Canto style first and eventually how to appropriately apply these traditions to the later Verismo style of singing opera if vocally appropriate for the student.
These lessons will start with the same approach as the classical voice lessons since the same bel canto technique is fundamental and necessary to performing Verismo. We will go over what is appropriate to the various opera styles.
All singing lessons begin at age 13.
The Exquisite Voice, Inc.
Christine is a professional vocal coach with an exceptional reputation. She is the owner of The Exquisite Voice, Inc. Currently home in Springfield Va.
As a D.C. native, Christine has taught extensively in the DMV area for 10 years and is now taking her business/work to New York.
She is considered an expert in her field for achieving high quality vocal technique that can be implemented in all legitimate singing styles.
Christine is a fearless technician in the vocal arts, willing to put her knowledge and know how against the best in the field.
Achievable, high quality, professional results that captures and highlights a singer’s natural voice is what I am after because it brings the most joy to ourselves and to others.
Straightforward technique that removes uncertainty and doubt.
Learning to have authori
ty over your instrument to really grow into an individual artist and communicator.
Always honoring the instrument that a person has by guiding them to really learn the fullness of their abilities.
There is nothing more compelling than a voice that is natural and confident in their ability and accessing technique consistently is vital to creating this assurance and peace.
I am able to rapidly diagnosis a full range of vocal issues and begin to work towards strengthening deficient elements in relation and respect to the singer’s entire technique.
This will take time, but I make it clear exactly why this is the focus so we can work efficiently and cooperatively together.
It is important to reveal issues in a highly apparent manner, yet to be supportive and respectful of the student’s voice while motivating change to take place. I try to make it extremely clear through the exercises and rep I personally select to highlight a capability that is lacking by giving a student the right challenges where they can see they are not fully demonstrating a vocal element.
It often times is things they have been told in the past, but aren’t able to identify the problem due to lack of clarity clouded by other elements from past instruction or not provided the right tools to overcome their vocal issues in a realistic way that leads to continue success in their process. Meaning I really isolate and get to the heart of issues.
I have a signature method of highlighting issues and making corrections. I am very particular about explaining the process so that it makes sense to each student and can be accessible for them.
Another strength I have is I am able to identify the student’s learning style and am resourceful in the way I teach.
Together we will learn to develop a practical process and routine that works consistently for you based on your own personal needs as an artist.
The goal is that you will be able to instruct yourself successfully every time by thoroughly learning your instrument’s capabilities through care and guidance provided in our lessons.
I expect this from each student in their time, so that they can become confident in the choices they make to direct themselves. It is important to become independent since you are the one in control of your voice alone, and I intend to get you closer to that goal every lesson by making your voice more relatable to you by providing the proper understanding and resources to achieve this.
This is how world class musicians think, that they will be able to lead themselves in their process and trust their choices without too much worry after because the foundation and thoughtfulness to their decisions have already been made over time to where it is now intuitively inspired while performing. You can only access what you have trained (technical) or allowed (emotional).
Not only trust, but enjoy the freedom to do so. It might be a freighting concept to many, it was for me to think I must take full control, but you must eventually be assured about who you are and that you have more than enough to manage.
Something we will discuss a lot from the emotional standpoint, not allowing our fears or need/expectation to be perfect stand in our way of the bigger picture. We will develop a healthy relationship with our voice.
Every necessary element required for excellent singing will be explained. It is not possible in one or two lessons however.
It is real time and work. I do require you trust the process to a reasonable degree and know that I will always have your best intentions at heart. I have worked with many issues and types of people and have a lot of insight to pull from. Mostly people think their issues are unique, when in reality they are common. Nor do I get easily confused. So rest assure that your voice is always inspiring to me and I love to help people find more meaning in their art.
I can confidently say, almost more than any other instructor you have had we will thoroughly go over every element.
It is necessary that a student knows what is already amazing about their technique so they do not expel or replace it while working on their challenges. I cannot emphasis this enough. I have found this to be the biggest issue with passing on good instruction in the last 40 years from all institutes of voice.
Every voice comes in with something to build upon. There is not one voice, even the most challenging that doesn’t have an element right, it just might not be used appropriately while lacking all the other supportive elements, however it is there and that’s where we will start if that’s the case.
That’s why so many students, particularly very talented ones get lost in their training, because they do not realize that this has happened, so their natural abilities they cannot explain if they become teachers or professionals, which you must be able to explain everything or worst, they lose their natural ability and do not understand why.
This is also another fear of people who have natural ability, but if you have an instructor who understands you and these factors, you will be in good hands to find greater success vocally.
We need to identify our technique simply and readily every time in a way that we can articulate to ourselves.
This is a process and hard work (particularly emotional/reasonable expectation) is required on your end. More importantly developing trust for the process because what you do with your voice is up to you in the end alone and to displace that is neither helpful or honest. It is your voice! Always.
We will be doing honest work, look forward to it:D 💗💗💗
I am extremely generous as a teacher, you will come to find this is true. I promise to do my end of the deal and give you everything I have got in terms of my knowledge and insight, you just have to give yourself the opportunity to really commit to trying full heartedly. The lesson is for you. If I do not know something I say it.
I am a dramatic soprano and I have continued my vocal studies vigorously with Mrs. Fabian Bravo, a long term principal singer at The Met, who was taught formerly by Mr. Luciano Pavarotti.
I am very confident in the Italian Bel Canto technique and extensively in all popular genres, including jazz, ballads, R&B, Broadway, traditional, etc.
Technique I cover is creating legitimate support via fully integrating the body, while from the body’s relative support, applying highly efficient/directed air that is responsible for the quality of the voice’s capabilities and range of elements. Everything is created from these two fundamental elements.
We will also cover muscle release (throat, spine, tongue, facial, soft palate and accessing resonators directly, releasing the larynx and closing the vocal folds genuinely and appropriate air and relative use to the other elements, accessing legitimate chest and head voice, mixing/centering the voice appropriately with highly disciplined air and body support) legitimate dynamics with muscles released/throat open, accessing internal naturally covered space that can thoroughly release the voice through the skull and centered in which the air pressure/direction determines the dynamics, while not improperly closing the muscles or inappropriately moving the larynx/overly directing and dropping into one register, proper articulation that enhances/does not interrupt or cut off breath support/the body inappropriately/use of compressed air and direction that directly effects head voice, chest, middle mix access that most professionals do not have disciplined and create through other secondary means. This is more all equates to flexibility, strength and freedom to be endlessly expressive. Everything in balance and relation to become competent and proficient. The best part is really being able to enjoy your singing in the moment.
I have been singing opera for 7 years now, and Christine had the most thorough teaching process by far! I found my real voice underneath all the conformity I had been taught through choir and am now moving through singing more powerful and with my "real voice." She is open to workshopping repertoire that you are interested in, and suggests things that will help you grow your voice while not pushing an agenda, so you feel as though you have lots of artistic freedom.
Also just a super warm and authentic person. Overall a great experience!
May 12, 2019
Christine is extremely talented and provided me with positive yet technical feedback each practice.
February 17, 2019
Christine is a Godsend! Prior to working with her, I studied classical voice and opera with several instructors. Christine is by far the best teacher and wish I had met her sooner!
As an accomplished singer herself, she is able to identify challenging areas and help improve technique. I’m now attempting pieces with confidence that I never would have attempted previously. And, I find the sessions very relaxing and enjoyable. She inspired me to push myself further and feel like I’m getting great results! Well worth the investment.
I am studying to become a professional classical singer. Through my own training, I have discovered that having an amazing teacher – one who is supportive, caring, and hard working, and who will push you and work with you to be better – is the most important tool an aspiring musician can have. I believe that every student is different, as no person's body is the same, and no vocal instrument is the same. Based on my performance in the Teaching of Singing course at Oberlin Conservatory of Music, I was selected to be a voice teacher to non-Conservatory students at Oberlin College. I have now had several students, two of whom, with my assistance, have just been accepted to prestigious summer programs in classical voice. Though I have only been teaching voice to others for a year now, I have been teaching myself alongside my own teachers through practice and independent work for the past nine years, and I have discovered countless techniques and tricks to help every aspect of singing.
I am studying to become a professional classical singer, and am enrolled as a Masters degree candidate in Voice and Opera at Mannes School of Music. Through my own training, I have discovered that having an amazing teacher – one who is supportive, caring, and hard working, and who will push you and work with you to be better – is the most important tool an aspiring musician can have. I believe that every student is different; no person's body is the same, and no vocal instrument is the same.
Based on my performance in the Teaching of Singing course at Oberlin Conservatory of Music, where I just graduated with my Bachelors in Music as a Voice Performance major with a Music History minor, I was selected to be a voice teacher to non-Conservatory students at Oberlin College. I have now had several students, two of whom, with my assistan
ce, have just been accepted to prestigious summer programs in classical voice.
I am a native New Yorker, and I am a proud alum of LaGuardia High School, the Brooklyn Youth Chorus, Manhattan School of Music's Pre-College program, and the Boston University Tanglewood Institute. I am also proud to have received the Graduation award for top vocalist in my year at LaGuardia. All of these programs helped to shape who I am, both as a performer and as a teacher, and I am excited to pass on what I learned.
As a singer myself, I have discovered countless techniques and tricks to help every aspect of singing, as well as the discovery that what works for some people does not necessarily work for others, and that's ok! The voice is individual because it is inherently unique to the person it belongs to. It is the exciting, demanding, and amazing work of a teacher to bring out each individual's voice, and I love discovering a person's voice with them. I can't wait to work with you and find your voice!
Rachel is a great vocal instructor and gave me the confidence to learn and discover my own voice. As a beginner with no experience in vocal training, I was able to learn the basics of posture, setup and breath and of course singing. I enjoyed lessons with Rachel and would highly recommend working with her.
September 15, 2018
Rachel is absolutely awesome. Makes me feel so comfortable which helps me to be 100% myself including my funny mistakes. I feel that I am learning and understanding music and singing a lot.
July 8, 2018
Rachel was extremely patient and could figure out how to help a new singer like me navigate their body and find a true sound. Her positive feedback encouraged me to do better along with her comforting wit and humorous exercises that really made me open up. I believe she was the absolute best person to help me along and open up more than I had ever before and I think if she continues educating that she will do amazing things, and have fun all the while!
In my studio, you will learn to take your space vocally and physically as a performer! We will work on a relaxed and engaged posture (through my experience work with Alexander and Feldenkrais technicians), singing/speaking the truth of the text, and a healthy, bright but warm sound that will wow any audience and audition panel. I also specialize in character work, through my own experience performing Opera and Musical Theatre with such companies as Santa Fe Opera, Sarasota Opera, Opera Idaho, Utah Festival Opera and Musical Theatre, and Carnegie Hall to name a few. Come join me to have a positive, exciting, and long-lasting vocal journey!
Lauded by Opera News as having “showed vocal confidence [...] his luminous head voice blooming with expansive and penetrating phrases“, and by Opera Today as bringing "the performance to an awestruck standstill with his exquisitely sung (aria)... He cuts a fine figure throughout the performance, with an intense stage presence” Peter has performed such roles as Rodolfo (La Bohème), Alfredo (La Traviata), Il Duca di Mantova (Rigoletto), Macduff (Macbeth), Nemorino (l'elisir d'amore), Turiddu (Cavalleria Rusticana), and Justice Scalia in Derrick Wang’s Scalia/Ginsburg, performed at the Supreme Court and featured on NPR’s All Things Considered. Peter has performed in such venues as Santa Fe Opera, Sarasota Opera, Opera Idaho, Anchorage Opera, Maryland Opera, Lancaster Symphony, Richmond Symphony, Helena Symphony, and Carnegie Hall.
As a t
eacher, students have said about Mr. Peter: “Peter helped me get to my high notes with a bright sound that felt relaxed and easy” -Brett Andrews, Tenor/Dancer “Peter’s experience as a performer helped me not only achieve a healthy full sound, but a strong connection to the role through body work and character analysis.” -Abigail Lawsonn, Operatic Soprano My technique is based on a relaxed but engaged posture, the management of air instead of "pushing" or "shoving" air, a bright but warm sound, and taking your space as a performer, a singer, and a human being.
Hi! My name is Lilla, I'm a Juilliard graduate (BM & MM) and Voice/Vocal Performance and Piano Teacher who specializes with all levels, ages and styles! I've performed at places like Carnegie Hall and have been featured in The New York Times, Business Insider, WQXR Radio, truTV, Alive Magazine, Opera Today, and Seen & Heard International.
My unique approach to vocal arts learning is designed to help you overcome your individual obstacles and leverage YOUR unique strengths! Together we'll work towards developing healthy vocal technique and learn how to:
- Optimize breath support - Dramatically increase vocal range - Remove vocal breaks - Reduce straining - Gain incredible flexibility - Have better tone quality - Unlock vocal power - Have complete vocal freedom - Increase confidence - Become a dynamic performer!
Topics Include: Vocal Registration, Breath Management, Chest Voice, Head Voice, Pharyngeal Resonance, Mixed Voice & Twang, Balancing of Resonances, Vowel
Lilla's been featured in Business Insider, WQXR Radio, truTV, Alive Magazine, Opera Today, Seen & Heard International, and has won critical and international acclaim for her "appealing sound, agile coloratura and oversize wit." - The New York Times
Lilla holds her Master's and Bachelor's degrees from The Juilliard School, where she was winner of the Juilliard Honors Recital Competition and studied music pedagogy under Marlena Malas, vocal coach and mentor of Pavarotti.
She's performed on stage at Carnegie Hall, Alice Tully Hall, Merkin Concert Hall, and has traveled around the globe with the Saint Louis Symphony, Wallingford Symphony Orchestra, Juilliard Jazz Orchestra, Israeli Chamber Orchestra and Juilliard Orchestra led by Maestro Alan Gilbert to name a few.
She received Recognition of Excellence from the Tri-M Music Honors Society,
and has won the American Prize Competition (1st Prize), Joy in Singing Competition, Metropolitan Opera National Council Eastern District Competition, Giulio Gari International Competition, NJ Teachers Association Competition (1st Place), Music Teacher's National Association Competition (1st Place), among many others.
Previous roles include Lucinde in Gluck’s Armide in a Metropolitan Opera and Juilliard co-production, Susanna in Le Nozze di Figaro at Opera on the Avalon, Ella Burling in Tobias Picker’s Emmeline with the Opera Theatre of Saint Louis, Noémie in Cendrillon with Juilliard Opera under the baton of Emmanuel Villaume, Belinda in Dido and Aeneas, Helena in A Midsummer Night’s Dream, and Laetitia in The Old Maid and the Thief – all with Juilliard Opera. Additionally, she has covered Georgette in La Rondine and Costanza in Riccardo Primo (Opera Theatre of Saint Louis), Sophie in Der Rosenkavalier and Adina in L’Elisir d’Amore (Chautauqua), Donna Elvira in Don Giovanni, Zhou in Kommilitonen, and Drusilla in L’Incoronazione di Poppea (Juilliard).
"Fawn has studied at the best schools in the world, with the best teachers. She has industry, teaching and performance experience. She asks for your goals
and tailors the lessons to you, your voice and aspirations. No cookie-cutter lessons here. My voice has improved exponentially. Her voice exercises are spot-on. I am so blessed to have her as my vocal instructor."
"I've had 5 lessons with Benedetta and she is fantastic. She focuses on technique which is so important for singers to master. I made progress after my f
irst lesson and each week she teaches me something new. I highly recommend her and if you want results, she'll help you get to the level you want to achieve!"
"Extremely talented and personable
I took lessons with Stacey during my senior year of high school. Studying voice with her improved not only my overall m
usicianship, but my confidence in what I specifically had to offer as a musician. Stacey helped prepare me for my college voice auditions. So, if you're looking for a teacher who is extremely talented, personable, and will push you to succeed, I highly recommend studying with Stacey."
"Sarah is an amazing person, teacher, and vocal coach. She is extremely experienced and well prepared. She is pacient and motivating. Words arents enough t
o describe how great sarah is! Best instructor ever to be honest. You'll notice change in the very first class and every other class after that!"
"She’s very nice and good"
"On behalf of my son who is 15. Before finding Asuka, Lukas had taken voice lessons from several very good teachers (between breaks we would experiment wit
h teachers). Now with Asuka he feels most comfortable and feels he learns more per lesson with Asuka. More progress with all aspects of voice. She helps prepare for auditions with Broadway vocals and advance on the more serious and challenging Opera selections. So the actual lessons are great and Asuka is also a charm; engaging and personable. As the parent I very much like she remains a professional singer as her career. So we are staying with Asuka through the breaks and may even extend into piano lessons as well. I would recommend Asuka without hesitation."
"Very helpful and encouraging!"
"Perfect instructor for me! Stacey is so much fun to work with. She really listens to what it is I want to work on and explains things in an easy to unders
tand way. I can feel a big difference in my voice already!"
"Dani is a really special instructor for me! She helped me realize how big my passion for singing was because, since the beginning, she has inspired me wit
h her singing, passion, and knowledge. She was my teacher for 4 years and she prepared me to get into CU Boulder’s School of Music. With her guidance I improved not only my vocal technique, but my musicality, acting skills, languages, and every single aspect that a singer needs to be a professional artist. She was really specific and patient about my growth as an opera singer and she always helped me find the perfect repertoire for me. I can say that I wouldn’t be where I am today if it wasn’t for her. Dani saw the best in me even when I didn’t, and I am still learning a lot from her."
It is always exciting when a vocal student is ready to start studying his or her first operatic aria! One of the best things about being a classical singer is knowing you have so many great years ahead of you. After all, you’re considered in your prime in your 40s.
That being said, realize that the voice you have now and the repertoire you’ll first study will be very, very different from what you sing later on in your career. It’s absolutely crucial that you sing repertoire that is …