Workshops for singers and actors.

Workshops of max 8 participants, 90 minutes  10£ , W14 London

Every week two small classes for professionals or advanced.

Monday   2 pm
Thursday  12 noon

Those classes are specific for advanced, are practical technical classes, every week a different subject. I will propose the questions in here but they can also be something that one of the participants brings and  we can decide to make the week after the workshop on that so that I will give some ideas of work if necessary. My propositions will be on central questions of vocal technique, like how to find a sustain for specific voice, how and when apply copertura (on what purpose and style of sound), tips and exercises and strategies to improve or to maintain the voice, in what extension and how doing some of the more usual vocalisations, how to work with appoggio or sustain in different styles, how to build our voice respecting the instrument we have but looking for a more personal signature, how to warm up or vocalise before or after gigs. It is not thought as classes to be always followed, you can come on a subject and come back to make the point when the same subject is again at the agenda.
To book that write to me in the form below or at
If some cannot on those hours I am thinking about an evening class, write to me if interested and we can manage the thing, just it will not be at my place and I will need a minimum of confirmed 6 participants every time to look for a place. In this case the place can also be east or north. 

Monday 10 December  The five notes scales vocalisation and lip trills on arpeggi. 

Thursday 13 December Sustain 1,  what it is and how to develop it. 

Monday 17 December Bridges, register passages

Thursday 20 December How to think vocalisation and a routine 1 
Monday 24  December no class 
Thursday 27 December Copertura, why and how 

Talks on Cossu method

What nice to talk with a former student who has an interesting view on our work and my method from his medical job; and so nice that not only he is smart as he was but his band will get back rehearsing. Thank you Alex, still pleased of having had you between my students.

What means in sound the proper diaphragm connection in yet good singer.

Singer since very young, it is twelve months she studies with me. You will hear that she is quite in order but there is a huge difference in bewteen the Dianne Reeves and Alicia Keys’s songs and Withney Houston’s one: this is the diaphragm connection that I long looked for her, not perfect yet in all the passages but connected and so it will be possible to train it and have those passages perfects just by using it and remaining connected. Enjoy!

Vocal technique: some talks on fundamental questions.

My first two talks on some fundamental questions of vocale technique, often not so clear in students and singers and not clearly explained through their effects and consequencies so that they remain scary and refused in the first step. Often they are related as the fact that when you cover the sounds you will have in your sound not the effect of copertura but the disclosure of the state of your sustain and appoggio. I mean that not covered sounds have a different kind of pressure from the effective and true sustain (a true sustain always have a copertura effect), so you cover and the vocal folds do not respond anymore to the excess of pressure not correct. You will immediately hear how much the correct and true sustain is developed and the really good news is that with copertura it is safe and not tricky to develop the effective and true sustain. So if you refuse covering you will probably never develop a real and effective sustain, and this just because you were scared by the sound after copertura that was just the first step of the process and not the arriving point of the process. Many things in vocal technique present this two step process, I will try to clarify some of those for you on Istagram in my IGTV.
And the first is on copertura. 🙂