My name is Moran Cohen Talmor, and I am from Israel. I am a vocalist and songwriter, and I have been teaching voice for 11 years. In my 39 years of life, I have practiced martial arts, hydrotherapy, Rei-ki, Qui-gong, Alexander technique, and swimming. And so, it is only natural that I have always been interested in voice production approaches that are based on bodywork. My life was changed five years ago when I had the privilege to meet Ms. Jeanie LoVetri. I took her SVW™ courses levels 1, 2 and 3, and since then have become 100% a SVW™ teacher. In the following years, Jeanie has been a mentor, and a professional as much as a spiritual inspiration to me. I try my best to come to America every year to deepen my understanding of her work.
After practicing Jeanie`s method for 5 years, and daily witnessing the powerful impact it has on people`s voices, I felt a deep calling to step up to the next level, and start creating voice pedagogy in Israel that is based on the LoVetri Method.
Jeanie was of course incredibly supportive. She spent so much time and effort guiding me both before and throughout the process, asking me all the right questions, and giving profoundly detailed answers to mine. I wasn`t alone in this, and so, my first 3 months journey as the leader of a “teacher`s course” has begun. [Read more…] about First Teacher’s Course in Israel based on SVW principles
A Transgender Voice Teacher’s Recommendations for Working with Transgender Singers
By Eli Conley
I’ve talked to many voice teachers in recent years who are seeking guidance about how to work with transgender and non-binary singers.
This is a topic that is near and dear to my heart. I’m a private voice teacher in the San Francisco Bay Area, and a transgender man who has worked with many transgender and non-binary voice students. I also lead community singing classes for lesbian, gay, bisexual, transgender, queer, intersex, and asexual people and allies. I’ve sung in many choirs, and taken voice lessons from some wonderful teachers. I’m also a performing singer-songwriter who records and tours regularly.
All of these experiences have led me to believe that voice teachers, choir directors, and other voice professionals can do a lot to shift the culture of singing spaces, transforming them from spaces that are often unintentionally hostile to transgender and non-binary singers into spaces of support and gender liberation.
I was inspired to write this article after a discussion about working with transgender singers came up on an online listserv for teachers trained in Somatic Voicework™, the body-based voice training program created by Jeanie LoVetri.
One of the things I love about Somatic Voicework™ The LoVetri Method is that Jeanie LoVetri teaches that to achieve a healthy, versatile voice, singers of all genders and genres of music must strengthen both their head and chest registers, and learn to blend them together into a coordinated mix in the middle voice. Watching her teach a cisgender baritone to access his head register for the first time in order to make his whole voice stronger made so much sense to me as a transgender singer. I had to burst open the gender boxes that people placed on me as a young person, and I know the emotional and vocal freedom that has come from that. Why should singers let gender expectations hold them back from using the full range of their voices? [Read more…] about Creating Gender Liberatory Singing Spaces
Photographed Above: Somatic Voicework™ Teachers, Andrea Luyites & Katharine Randolph
Hi Katharine, thanks so much for taking the time to meet with us today. You are a very busy voice teacher in Houston; can you tell us about your studio?
My studio is predominantly made up of high school students who perform in musical theatre. I have a handful of students who are more into pop and rock, and recently I have had an influx of young ones! (9 and 10 year olds). Most of my students dance, act, and play instruments so we have found ways to encourage and highlight all that they do.
As a seasoned performer, having trained and worked in both Musical Theatre and Classical settings, what do you think the important differences are between successes in the Operatic world vs. the Musical Theatre world, vocally speaking? [Read more…] about Spotlight On Somatic Voicework™ Teacher Katharine Randolph
Thank you for the interest in my work! Yes, I’m very busy these days teaching between 30-40 voice lesson hours per week, and enjoy every minute of my time with each client!
(Photographed below: Martin C. Hurt in Promises, Promises)
I have been a private voice instructor here in New York City and in New Jersey since 2006. My busy NYC studio consists primarily of musical theatre professionals, as well as a number of singer/songwriter and jazz artist. My New Jersey clients include adult semi-professional and avocational singers, older singers who have found me in their search for help in regaining lost or challenged vocal ability, and adolescent singers of all levels.
I teach Individual Voice at The American Musical and Dramatic Academy (NYC), a theatre arts conservatory program offering both a two year certificate degree and a BFA. My students there are enrolled in either the integrated (musical theatre), studio (acting), or dance programs.
I teach private voice for the theatre programs at Kean University (Union, NJ) and Fairleigh Dickinson University (Madison, NJ). These programs offer both BFA and BA theatre degrees and include up to two musicals and numerous plays per academic year as part of their offerings. [Read more…] about Spotlight On Somatic Voicework™ Teacher Martin C. Hurt
(Photographed Above: Dr. Darren Wicks, Brenda Earle Stokes, Jeanie LoVetri, Dale Cox, & Dr. Melissa Forbes, all faculty at the first LoVetri Institute held in Australia, 2016)
Hi Brenda, thanks so much for taking the time to meet with us today.
In January, you’re headed back to Toowoomba, Australia to teach a CCM voice course, what can you tell us about your upcoming class?
I created a course directed at teaching singers, singing teachers and choral conductors how to sing and teach jazz, pop and rock. In my travels I noticed there were courses on the voice and acting, but no offerings on how to stylistically approach the musical elements of these genres. As a jazz pianist (both of my degrees are in jazz piano), who has played in many jazz, pop and rock rhythm sections, I want to take this area of expertise and combine it with my knowledge of the voice and singing. The result is a soup-to-nuts course, where we address groove, improvisation, rhythm, stylistic inflections, as well as vocal technique. We will be singing our way through all of these styles and there will be a jazz trio in residence for an entire day! [Read more…] about Spotlight On Somatic Voicework™ Teacher Brenda Earle-Stokes
(Photographed: Jeanie LoVetri and Beth Amin)
In January, Jeanie is headed back to Brazil to teach Levels I and II of Somatic Voicework™. What has the reception of Somatic Voicework™ in Brazil been since Jeanie was there last January?
Jeanie is very known here and year after year more people want to know about her method. Since 2005, when I met her and got my first impression of her work, we started and have been developing a community of teachers who are very interested in knowing more about Somatic Voicework™.
As someone who has served as faculty in the Somatic Voicework™ trainings and has worked with Jeanie for a long time, how has Somatic Voicework™ helped you as a singer and a teacher? [Read more…] about Spotlight On Somatic Voicework™ Teacher Beth Amin
(Photographed Above: Jeanie LoVetri and Heather Keens)
Your work as both a singer and pedagogue has spanned several continents; can you tell us about your work in the U.K. and how this compares with the work you are currently doing in Australia?
Having been born in the UK, after Music & Opera training I acquired work in a Contemporary Opera, where I met my husband, who was the composer of the piece. He is from Australia. I worked in a subsequent five shows, which in the 80’s were considered ground breaking experimental theatre shows with music & singing. They might be termed Music Theatre as opposed to the commercial title Musical Theatre. I also toured Italian Opera in between working these shows. I did very little teaching then. The teaching work I was involved with was usually because I’d been approached for help from fellow peers who were also performing. I worked with a couple of successful pop stars on technique, etc.
I arrived in Australia in 1985 for a holiday and ended up singing with a prominent opera company as a ‘cover’ (Suzanna in Figaro). A year later we moved to Australia with the intention of staying for two years. We ended up staying for 13 years. This is where I began casually teaching singing at Universities, between shows and contracts. I taught on the first ever Contemporary Popular music course in Australia. I’ve always listened to and sung all styles of music from a young age and was able to adapt my classical teaching for other styles, focusing on technique. From there we moved to a leading Conservatorium in Brisbane, where I became a casual singing teacher on the newly re-vamped Jazz and CPM course.
On returning to the UK in 1998, I continued teaching as a part time singing teacher at a couple of leading Universities while shuffling performance work. I found that specialization in any one style or genre had become more difficult due to Arts budget cuts. I was teaching everything from classical, jazz, music theatre and pop. I decided to study again and completed a Masters of Voice in London to increase my pedagogical knowledge.
I returned to Australia in 2013, where I’ve continued performing, teaching, running workshops and being an adjudicator. It’s a very creative environment, however, with as much talent as anywhere else in the world. [Read more…] about Spotlight on Somatic Voicework™ Teacher Heather Keens
(Photographed Above: Jeanie LoVetri and Dr. Elizabeth Ann Benson)
You are currently writing a book, what can you tell us about your upcoming release?
I have been interested in different vocal pedagogy methods ever since I started teaching. I started at an excellent community music school, and my students really wd at an excellent community music school, and my students really wanted musical theatre. I had three lovely degrees in classical singing, and had only really taught classical previously. Because I worked for a school, I had to teach any student that they put in front of me in the style that each student wanted to study. I learned very quickly that I didn’t know enough, and I set off on an adventure to figure out how to belt and how to provide solid technique for my students in any genre of music. It took some time, but I found my way. I have formally trained in three major methods. As I studied these three methods in detail, I began to see common threads among them, but also some significant areas in which they differed. I believe that a book that identifies these commonalities and differences among major methods would be really valuable to the voice teaching community. I have gathered a huge amount of data from exemplary teachers about what they are actually doing in the studio, particularly when it comes to CCM singing. Many of the CCM books that are available are vague about how people are teaching vocal technique. Moreover, there are many different approaches. I am interested in the nitty-gritty details, and I think other teachers are too. My hope is that it will be published sometime next year. [Read more…] about Spotlight on Somatic Voicework Teacher Dr. Elisabeth Ann Benson
Somatic VoiceWork™ Teacher Jamie Leonhart talks about her upcoming performance and more!
You must be getting very excited for your upcoming performance of Estuary at Feinstein’s 54 Below (Tuesday, September 26th at 9:30 PM). What inspired you to write this story?
I’m so happy to talk with you. And yes, I amreally excited to perform ESTUARY at Feinstein’s 54 Below.
In a way, I backed into writing ESTUARY. Soon after my son Milo was born I started feeling “different” about performing; I was having a hard time focusing as an artist, even while songwriting, and it was very upsetting – as if my equilibrium was off and I couldn’t figure out how to rebalance. I was functionally working as a singer, but not moving forward with my own music, and honestly, I was losing the sense of joy in performance that I’d had for so long. [Read more…] about Spotlight on Somatic VoiceWork™ Teacher Jamie Leonhart