Paul La Rosa is an Artist Associate teaching voice and Director of the Williams Opera Workshop at Williams College. He teaches a traditional Bel Canto technique acquired during his studies at The Juilliard School, heavily influenced by the Roman Cotogni tradition via his work with Jack Livigni, and having worked with such masters as Luciano Pavarotti and Renata Scotto.

I believe it is imperative for young singers to learn the fundamentals of good breath control, appoggia, an open throat, laryngeal tilt, cord adduction, and recognition of the harmonic partials they generate.  I believe they should learn where their passaggios are, how to identify and navigate their registers, and finally blend them by tracking their squillo (singer’s formant) throughout their range.

Each singer learns and understands their instruments differently and so I believe a multifaceted approach is required.  The instrument can be understood mechanically, yet for many students this can result in an overly controlled engagement.  And while it is important for singers to know how, physically, their instruments work, the daily teaching and their understanding of how to engage with their sound needs to proceed based on intention, sensation, sound, and, where appropriate, corresponding imagery.  The development of their own proprioception is also stressed.  I am constantly asking my students “How did that feel?  Describe that.  What was your intention?  What was the process?” in order to help them gain awareness and better self diagnose when they are alone in the practice room.  My goal is for my students to become self-sufficient independent learners.

Additionally I incorporate musical coaching, expression, legato, declamation, etc. and aspects of performance practice in order to familiarize my students with the important traditions that have come down to us through the history of this artform.  Likewise I stress listening to the great singers.  Not to copy their voices, but to “hear” the function of what they do and to better understand why they do it.

This is not limited solely to classical singing.  Many of my students have been interested in musical theater, choir, and different contemporary styles.  I am well versed in many of these areas having performed in many MT productions, mariachi, tango, choirs, choruses, and folk and rock bands.  I do believe, however, that a strong classical foundation and awareness of the vocal mechanism is a boon to any style of singing and should be studied yet employed appropriately in whichever area the student’s interests and talents lie.  It is in these styles that I have found students most at risk of pushing their voices beyond their healthy limits.  Having a knowledge of and technique grounded in bel canto singing not only helps these students take better care of their instruments, but it gives them the tools to expand their ranges and expressive capabilities through the added control they gain.

Ultimately I believe the most important aspect of teaching is how this knowledge and these principles are delivered to “this” particular student at “this” particular moment in their development.  Hearing the “right” information at the “wrong” time does not help anyone learn.  And so while always providing students with the correct overview of where they’re headed, it is of paramount importance to focus on what they need at this moment to assist them in taking the next step forward. 

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