We asked Classical Singer readers who are also teachers to talk about how they decided to become a voice teacher and discuss the joys and disappointments of the profession. The response was overwhelming, and ranged from those who had taught for only six months to those with 40-plus years of experience in the studio. Their answers offer a host of insights for the current teacher, the prospective teacher, and the student of singing alike.
When asked how they decided to become a voice teacher, many teachers responded that they fell into it, almost by accident, and then discovered how much they loved it:
“I was singing at Radio City Music Hall in the stage shows. Between shows I’d go up to the rehearsal hall to work on my music and would ask my fellow singers if they’d like to work through their material as well. I’d play for them and make suggestions. I loved it!” —Neil Semer, New York, N.Y., 25 yrs. teaching
“I knew what a difference voice lessons made in my life, and I started giving them to a family friend to help her. In doing that, I discovered my own love for being the teacher, and it grew from there.” —Deborah Pruitt, Ocean City, N.J., 7 yrs. teaching
“I had the great privilege of being an accompanist for all the voice studios at New England Conservatory when I was a voice grad student there. I was fascinated by the different approaches I heard, and gained both respect for and a sense of engagement with the process of training voices.” —Mimmi Fulmer, Madison, Wis., 32 yrs. teaching
“Someone asked me to help them after they heard me sing a recital. After that lesson, I knew I loved teaching as much as I loved performing. Then I began to study the pedagogy and biology needed to be a complete and thorough teacher. I’m so glad I did!”—Susan Kane, Los Angeles, Calif., 14 yrs. teaching
For others, they always knew teaching was where they belonged:
“It just came naturally. I started teaching during summer breaks from college, then a graduate teaching assistantship, then private teaching, [then] college teaching. I remember telling people that I was going to be a music teacher before I even started junior high. I never considered anything else.” —Lila Olson, Minneapolis, Minn., 38 yrs. teaching
“I have a degree in choral vocal music from Indiana University, and knew from an early age that I wanted to teach. I also had good opportunities with a number of schools throughout my education and professional life to help build voices which supported my decision to concentrate on instruction rather than specifically performance.” —Michael J. Peterson, Frankfort and Lafayette, Ind., 25 yrs. teaching
Sometimes life circumstances led to a conscious career change:
“I had a new baby (my first) and since I couldn’t type, I figured it was much better for me than waiting tables, because I could be surrounded by singers, singing, and repertoire all the time. I was right.” —Lynn Helding, Carlisle, Pa., 19 yrs. teaching
“I decided to stay home with my kids, so I left my high school job and started a home studio.” —Laura Seale, Garland, Tex., 29 yrs. teaching
“Two things happened very close together: my husband was diagnosed with brain cancer, and I was approached by a community music school to create an opera company and strengthen their voice department. Fate had a different life in mind for me than the one I envisioned, but in going with that, my life is so full and enriched.” —Beth Macleod, Duxbury and Hingham, Mass., 8 yrs. teaching
Former teachers and mentors inspired many to join the profession:
“My teachers (Judith Haddon, Max van Egmond) told me it was time to pass on what they had given me. When I said that I did not feel ready, they told me that they were here to help me learn to teach the same way that they taught me to sing.” —Mark Crayton, Chicago, Ill., 6 yrs. teaching
“I have been fortunate to have had three wonderful and influential voice teachers throughout my singing career: Helene Joseph-Weil, Janet Parlova, and Dr. Robert C. White, Jr. It was because of them that I was inspired to share my knowledge and ideas about singing with others.” —Enrique Toral, San Diego, Calif., 13 yrs. teaching
Some saw a need for good teaching, and set out to fill the need:
“As a ‘once singer’ turned stage director I was frustrated that many singers were not able to express with their voices because they didn’t have a technique that would allow them the consistency, control, and freedom to do so. In my early vocal training I worked with teachers who essentially didn’t know a technique to teach so when I was fortunate enough to work for Renata Scotto one season I made a point to understand the voice as an instrument and the singer as an artist. Once learned the logical next step was to share that knowledge.” —Carol Castel, New York, N.Y., 15 yrs. teaching
“My voice began to fail me. I began to feel tension in my throat, the high notes were weakening, the low notes were disappearing, and I could not sustain a long phrase. I swore to myself that when I discovered the reasons that my voice failed me, I would teach so that no one had to go through what I did. Today, my voice is stronger than when I was on the career path.” —Chrissellene G. Petropoulos, Potomac, Md., 18 yrs. teaching
“When I was in college, I decided there had to be a better, clearer, simpler way to teach voice than what I was reading and hearing. I always said that my ultimate goal was to revolutionize the way voice is taught.” —Ruth Williams Hennessy, New York, N.Y.
For some, it was a matter of practicality:
“I always knew I could never work as a waiter or in an office, so I planned to teach while I developed my performing career. It ultimately turned out that teaching suited my lifestyle far more than performing.” —John Nicholas Peters, Philadelphia, Pa., 24 yrs. teaching
“I wanted to save some money to go to New York and further my singing career, and I felt pretty sure I would be a good voice teacher. I guess I was, because I didn’t get to New York to live for another 15 years.” —Karen Peeler, Columbus, Ohio, 35 yrs. teaching
“It was a convenient schedule for me at the time, and a portable career.” —Martha Dahlberg, Rockford, Ill., 29 yrs. teaching
“I didn’t want to be one of those singers who resented that I had to teach in order to supplement my income and thus resent my students. I didn’t want to teach until I felt like I really understood vocal technique. The straw that broke the camel’s back though was my last temp job. I was temping in the investment department of a non-profit where my boss was a woman who, shall we say, had some issues. I thought,
‘I have my master’s degree and years of experience in vocal music. Why am I not working in my field of expertise?’” —Grace Gori, Kensington, Md., 11 yrs. teaching
When asked about the joys of being a voice teacher, the majority of teachers responded that they love the “a-ha” moments when a singer understands a critical concept that results in better singing:
“My favorite part of teaching voice is seeing the light come into a student’s eyes that tells me he or she really gets it. It happened again yesterday morning when a student finally connected the body coordination to her instrument.” —Constance Jessup, Raleigh, N.C., 50 yrs. teaching and still singing
Others said they love experiencing the music with their students:
“I love exposing my students to music they would not have otherwise tried. The music that is beneficial for their voices is rarely the kind of music they listen to on their own time. It is a joy to see them start to love it in spite of themselves.”—Caitlin Gallacher-Turner, Portland, Ore., 6 yrs. teaching
“I love the excitement of teaching great repertoire and explaining it to the students.” —Mark Innes, Palmetto, Fla. and New York, N.Y., 38 yrs. teaching
“The great joy in teaching is making beautiful music, learning how to be a better teacher, sharing the excitement of progress with a younger student, and exploring repertoire that I wouldn’t sing.” —Steven Spears, Appleton, Wis., 16 yrs. teaching
Many teachers talked about the joy that comes because of the individuality of each student, from their voice to their personality to their life circumstances.
“I love all the different voices and their specific beauties and challenges. Each student is different and I never get bored when I am working.” —Maryann Sewell, Washington, D.C., 35 yrs. teaching
“I enjoy the challenge of diagnosing the problems and making suggestions for how to correct them.”—Loraine Sims, Baton Rouge, La., 27 yrs. teaching
When asked about their least favorite part of teaching voice, many succinctly voiced their frustrations:
“Money.” —Steven Ebel, New York, N.Y., 2 yrs. teaching
“Cancellations.” —Rebekkah Hilgraves, Maryville, Tenn., 15 yrs teaching
“The endless paper work.” —Stella McKnight, Clarksville, Tenn., 8 yrs. teaching
“Administrative headaches.” —Karel Bouse, Sweetwater, Tenn., 6 yrs. teaching
“Cleaning the house.”—Susan Dora-Owens, Denver, Colo., 25 yrs. teaching
The most oft-echoed frustration, however, was with talented students who don’t practice:
“My greatest disappointment was with a particular student. She has a beautiful raw instrument, and I couldn’t wait to start working with her. But she won’t help herself. I correct the same things every week because she doesn’t practice or focus, and therefore she will never improve. That is infinitely frustrating.” —Heather Hunnicutt, Georgetown, Ky., 3 years teaching
Several teachers commented on how current pop culture affects their job as teachers:
“My least favorite part about teaching is needing to overcome misconceptions about singing that come out of the current American Idol scene.” —Kathleen Arecchi, Hebron, N.H., 34 years teaching
“There is a definite ‘dumbing down’ in the field of singing, due to the American Idol phenomenon. Everyone believes they can sing and so the student comes to the teacher unwilling to learn the art of singing. There is a general unwillingness to strive for knowledge and excellence in technique, styles, and theoretical knowledge.” —Lisa Foerster, Orangeburg, S.C., 16 yrs. teaching
Teachers also shared additional words of wisdom for those considering the profession:
“Be honest without being hurtful to the student about their abilities. Encourage them anyway you can, but don’t lie to them just to take their money.” —Stephen White, Bartlett, Tenn., 15 yrs. teaching
“The art of teaching voice is to be able to correctly engage the imagination of the student. It is the responsibility of the teacher to figure out how this person is hearing what you are trying to say and to adapt your words, demonstration, and instruction accordingly.”—Marya Basaraba, Los Angeles, Calif., 30 yrs. teaching
“Voice science, as fascinating as it is, is no substitute for a good ear.”—Myron Myers, DeKalb and Chicago, Ill., 35 yrs. teaching
“Voice teachers have a duty to be respectful of all singers, at every level. I have students studying at major conservatories who tell me horror stories about being screamed at, demeaned, or belittled. When they bring this to the administration, they are told this is simply a part of life. I disagree! You deserve respect and 100 percent decency from any voice teacher. No teacher’s ‘connections’ are worth the belittling of your instrument and ego.” —Beth Macleod, Duxbury and Hingham, Mass., 8 yrs. teaching
“Each student has their own goals, and not everyone wants to make their Met debut before they are 30. Some students are motivated in that way, but others are not. When I learned to tailor my approach to individual needs the student was happier, I was not nearly as frustrated with them, and we accomplished a lot more.”—Jeffrey L. Jones, Conway, S.C., 6 yrs. teaching
“Instruct less, listen more.”—Thomas Jones, Phoenix, Ariz., 30 yrs. teaching
“There are no fast tracks to becoming a good voice teacher. It is a field that requires time, patience, endless learning and study, humility and care of your own instrument.” —Cathryn Frazier-Neely, Silver Spring, Md., 27 yrs. teaching
“Assume that your students can do more than you can foresee, and more often than not, they will!”—Elizabeth Saunders, Hartford, Conn., 13 yrs. teaching
