Broadway Singing Lessons

in Passaic.

Amazing Teachers.

ic Hall and recently the Academy Awards. She also enjoys working with beginners and those who want to explore their vocal potential for their own enjoyment.

As a performer herself, Rebecca’s career as an Operatic Soprano as well as a performer of Musical Theatre, New Works and Spiritual Music has taken her all over the United States, Europe and the Middle East. Favorite credits include Rosalinda (Die Fledermaus), Nedda (I Pagliacci), Micaëla (La Tragedie de Carmen) and a world premiere reading of Billy Blythe, a folk opera about the early years of Bill Clinton.

Rebecca’s knowledge of the music business, experience as a performer, and technical, supportive teaching method make her a sought-after voice teacher for students of all levels, backgrounds and vocal styles.

"My TEACHING PHILOSOPHY leads me to work with each student individually to help them find a tailored technique that works for them. No two voices are exactly alike, therefore I believe that there is not one rigid method that works for everyone. My ultimate goal is to help my students find their own unique sound, free of tension and full of confidence. Every student who comes to me started singing for a reason — because it felt good. And it should always feel good, restorative, and empowering!

In lessons I aim to keep this positive energy at the forefront and focus on making singing easier. My students and I work together to eliminate unnecessary effort and complications — those things that take away from the enjoyment that comes from singing. I take a healthy, classical vocal approach to encourage freedom, ease and power in the voice. As a student of such methods as Bel Canto, Alexander Technique and Yoga, I incorporate a full body approach to singing. I also encourage my students to find ways of improving their voices and the use of their bodies in all aspects of their lives, both in and outside the studio. In today’s busy world (and especially here in New York City) maximizing time, while learning to take a beat and focus, is a huge part of vocal technique. The voice reflects what is going on in the mind and body. In addition to their vocal work, I encourage all my students to spend time doing things that keep them happy and feeling good. Yoga, running, dancing, attending that concert or play — these activities help keep us in balance.

In my work with children and teenagers, I take special care to nurture their developing voices, encourage strong practice habits and sing with joy every day. Depending on their level of skill and their individual goals, we incorporate musicianship and music theory into technical work so that each student has the practical skills to pursue music in their life however they choose.

Whether it is nailing that next key audition or speaking with more confidence at your next big board meeting, I look forward to working with you to give you the tools, training and support to succeed!

See you in the studio! —Rebecca"

er of Music in Vocal Performance where I maintained a full studio of undergraduate voice minors as a Graduate Teaching assistant.

I took my first pedagogy class at UD and began teaching voice lessons at the Community Music School during my junior year. My experience as a teaching assistant shaped me into the teacher that I am today. I love teaching and helping students reach goals! With my thorough pedagogical training and varied performance experience, I have a great deal to offer my students.

*** Lesson Details ***
I strive to help students find a sense of freedom in order to share their uniqueness.

During my time with you, I strive to assist you in taking risks, discovering the joy of music, and making progress with your singing. No matter what your goals are - All-State Choir, opera, musical theatre, or just having fun, I love helping you reach them. By looking at different genres of vocal music, we will focus on many different aspects of singing, from music theory, to expressive performance, to the foundation of healthy singing.

I believe that every student is unique and learns in his or her own way. Therefore, I tailor the pace and focus of lessons on your interests and abilities. I believe it is integral for all students to have an understanding of music theory and therefore, work on theory and sight-reading. In addition, I think a well-rounded musical education is key, and will work on an array of genres with you including folk songs, art songs, and musical theatre. We will work on 2-5 songs at once, and will consider a song "learned" once you can perform a song from memory.

Words are what separate the voice from any other instrument. Therefore, I will work with you on ways to examine the poetry and lyrics of each song in order to portray the message of the words.

*** Specialties ***
I feel equally at home working on musical theatre and classical styles with students. I have experience working on both with students.

merglass Opera and the Aspen Music Festival. I also have undergraduate and master's degrees from Brown University and the Manhattan School of Music.

But don't let the fact that I'm an "opera singer" give you the wrong idea. Yes, strict classical training gives me in-depth understanding of how the human voice works, but I love and teach music of all genres. My students include professional opera singers, yes, but also rock and Broadway-style singers, college and conservatory students, teenagers singing in their school musicals, doing All-State chorus, or preparing for NYSSMA, as well as adults who are taking voice for the love of singing, the fun of the challenge and so they can join their local chorus or sound great on karaoke night.

Above all, the most important qualities I offer as a teacher are the simple human ones: understanding, patience, imagination, kindness, enthusiasm, respectfulness and absolute commitment to helping you meet your vocal goals.

*** Lesson Details ***

I tailor my lessons to each singer's particular interests, goals and challenges. Some students thrive with a highly technical approach; some thrive in a less formal, more supportive environment; most singers do best with an approach that mixes the two. The important thing to know is that you will receive lessons that are specifically tailored to you. There's no single template.

*** Specialties ***

For advanced classical singers I have a great depth of experience and wide knowledge of oratorio, opera, German lied and French, English and American art songs. I also have a specialized background in "performance practice" baroque and classical vocal ornamentation.

For all singers, I am also a superb acting coach!

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.

Looking forward to working together!

Very warmly,
Christine Padua

Bio

Tenor Steven T is distinguishing himself as a versatile leading man singing roles from Rodolfo in Puccini’s La Bohème to Argento’s The Man With A Paint Box in Postcard from Morocco. Known for his clear ringing top, OperaNews described his voice as possessing an “All-American sweetness… that blossomed heroically in the role’s highest phrases.”The Naples (Florida) Sun Times describes his voice as “fused with power and passion.”The Ann Arbor News simply calls his voice “outstanding.”

Mr T has performed extensively through out the United States and Europe singing the title roles of Faust, Fritz in L’amico Fritz, and Albert in Albert Herring. Other lead roles include Alfredo in La Traviata, Pinkerton in Madama Butterfly, Jeník in Prodana Nevesta, Tamino in Die Zauberflöte, Macduff in Macbeth, Don Ottavio in Don Giovanni, and Don José in Peter Brook’s adaptation of Bizet’s Carmen. Noted venues include Carnegie Hall, Opera Santa Barbara, Fresno Grand Opera, Caramoor, Mercury Opera, Amore Opera, The Eastman Kodak Theater, The Sheen Center, WQXR The Green Space, Trealto Bramante, Opera in the Ozarks, The Connelly Theater, Teatro Caio Melisso, and The Garden State Opera.

Oratorio and Concert works include Handel’s Messiah, Beethoveen’s 9th Symphony, Bach’s St John’s Passion and Cantata No.4, and both Schütz and Dubois’s The Seven Last Words Of Christ with The International Symphony Orchestra, The Life Science Orchestra, and the Michigan Sinfonietta among others

Mr. T received his Masters of Music and Artist Diploma from the University of Michigan of full merit scholarship and his Bachelors of Science in Vocal Performance from Roberts Wesleyan College. As well as performing Mr. T maintains an active teaching studio in NYC, Long Island, and Berlin. Students with whom he has worked with have booked leads in Musical Theater and Opera both professionally and regionally as well as going on to conservatory

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.

a Ticketmaster. Come see a fantastic show!!

Hi Everyone! I will doing a one- woman cabaret show entitled Love Through The Seasons at the Duplex on Friday night Nov.8th at 7pm. Tickets are $25 cover + a 2 drink mix. Come for a great night of Broadway music