“STAGE FRIGHT — THE DIFFICULT THING IS TO BE ABLE TO HIDE IT. BUT IT MUST BE DONE. THE AUDIENCE IMMEDIATELY FEELS THE EMOTION YOU ARE FEELING. FEAR IS AN EMOTION. DONT INFECT THEM WITH IT. SHOW EXUBERANCE, SHARE YOUR JOY OF SINGING AND ITS EMOTIONAL FULFILLMENT FOR YOU AND YOUR AUDIENCE. GIVING INTO FEAR STOPS WHAT YOU HAVE BEEN WORKING FOR. ” (Janet Baker, Mezzo Soprano)

THE AUDIENCE HEARS WHAT CHOICES YOU HAVE ALREADY MADE BEORE YOU SING.

When the singer already has the first pitch and vowel in their inner ear and the gesture of each phrase in their inner eye the first tone will always be spontaneous, solid and in tune.. The vowel will already be formed and the legato energy will carry the phrase to a firm, noiseless release of the final tone.

“TO BE A WELL TRAINED SINGER AND ARTIST ONE MUST ALSO BE A STRATEGIST” (Kevin Lee, tenor)

A singer`s course of develment must be well planned and followed in order to organize the essential elements both vocally and musically that make up the Classical Vocal Repertoire. There are no short cuts.

“THE PUBLIC ALWAYS KNOWS WHEN THE SINGER IS FULLY AWARE OF WHAT THEY WANT TO SHARE” (Lawrence Brownelee, Tenor — Master Class at MSM 3/30/25

THE ART AND CRAFT OF BEL CANTO WAS DISCOVERED, DEVELOPED AND NURTURED SPECIFICALLY FOR THE SOLO CLASSICAL SINGER –

it encompasses a profound understanding of vocal technique, emphasizing the beauty of tone, agility, and emotional expression. By cultivating the singer’s natural abilities through rigorous training and practice, this method allows for a seamless blend of vocal prowess and artistry. Bel canto not only highlights the technical aspects of singing but also fosters a deeper connection between the performer and the audience, creating a captivating experience that transcends the mere act of singing.

“DON’T SING TO BE JUDGED – YOUR IMPORTANT GOAL MUST BE TO TELL A STORY” (Licia Albanese, Metropolitan Opera)

(When auditioning, competing or performing – do not go out there hoping to be liked – go out to share your love and emotional committment to the words and music . The listners will feel the difference. )

“DON`T PHYSICAlIZE A PHRASE AS YOU SING it — INTERNALIZE IT BEFORE YOU SING”

Mental preparation of each phrase as you prepare to sing it allows the body to physicalize it as it obeys the direction of the imagination. .

ALWAYS FIND THE “SOUND” AND “THE SENSE” OF THE WORDS YOU SING

The emotional meaning of a word is so often in the sound of the word. Developing this skill is an important part of your technic and your artistry.

“OVER-EMPHASIS ON DIRECT MUSCULAR CONTROL IS INVARIABLY THE CAUSE OF TENSION IN YOUNG SINGERS. ” (Sergius Kagen – ‘On Sudying Singing’)

The body obeys the mind. It is imperative to have simple, organized thoughts in order to sing freely, healthfully, musically, spontaneiously.

“HEAR IT – SEE IT – SING IT “

LISTENING TO YOURSELF AS YOU SING IS SELF DEFEATING. THE MUSCLES OF THE THROAT TIGHTEN IF YOU DO.