PHILOSOPHY
It takes talent, patience, perseverance, persistence, hard work and above all correct guidance in order to become a great singer.

Those with the most successful singing careers are the ones who stay focused, positive and love to sing.

VOCAL TRAINING
Are you looking to bring your singing to the next level and discover the voice you never knew you had?

I teach a solid foundation of healthy vocal technique mainly in the Bel Canto style that can be applied to any genre of music including musical theater, pop, rock and folkloric music for singers of all ages (as young as 11 or 12 from beginners to advanced).

Lessons are tailored to the needs of each individual singer using one's vocal instrument in the healthiest, most powerful and musical way possible:

  • Dramatic and stylistic interpretation.
  • Extending pitch range and improving pitch accuracy.
  • Diction, repertoire and audition preparation and evaluation specializing in the         Greek repertoire.
  • Eliminating of register breaks and increasing the fullness and richness of tone.
  • Gaining confidence and eliminating stage fright.
  • With proper vocal technique you too can sing with more ease, agility, resonance, and increased endurance, range and power without strain.

    By learning how to free your voice, you can obtain glorious pianissimos.

    By strengthening the muscles and ligaments in your voice, you can sing freely, easily and effortlessly with power and control, thus preserving and prolonging vocal health.


    METHOD OF TEACHING
    Each lesson generally starts with a physical and vocal warm-up. This is followed by vocal exercises, arpeggios, scales and various other exercises that will develop flexibility, breath control in the voice, as well as expanding the vocal range. The last part of the lesson will most often include a selection of music thus incorporating the technical and artistic elements that have been studied.


    SIGHT SINGING, EAR TRAINING & SOLFEGE
    I have developed a system that will enable you to recognize the different tonalities in 5 easy lessons and sing a piece of music without the use of a piano.


    2012 RATES
    The following rates apply for regular lessons taught at my studios in Manhattan and Queens:

    1 hr. - $75.00
    ¾ hr - $60.00
    ½ hr - $40.00

    Payment in advance for 5 lessons or more will result in discounted rates.


    LOCATION
    My studios are conveniently located in Manhattan NYC near Lincoln Center and in Astoria, Queens, NY near Ditmars Blvd.

    CANCELLATION POLICY
    Lessons must be cancelled 24 hrs in advance (unless there is an emergency). Students will be charged for a full lesson if they fail to give a 24 hr. notice of cancellation. Please let me know if you are running late and I will do my best to accommodate you.

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    BIOGRAPHY
    I am an accomplished opera singer, recording artist, composer, songwriter and co-author of the article The Truth of Bel Canto. I hold a Bachelor of Music degree in Vocal Performance from Hunter College in New York City and I am also the president and founder of the Hellenic Music Foundation. (www.HellenicMusic.org) For more information, please see my detailed bio.

    During my musical studies at Hunter College, I was fortunate to have studied voice with the renowned vocal coach and author Shirlee Emmons and I am happy to pass on her legacy to my students.

    For a FREE consultation call 917-371-1588 or
    E-mail: KatiaZallas@gmail.com

     


    THE TRUTH OF BEL CANTO

    By Frank A. Rosati, Sr.
    and
    Katia Zallas

    Bel Canto means "Beautiful Singing" which is achieved by a high placed speaking voice (placement should not be confused with pitch), where the singing is an extension of the speaking voice. This produces seemingly effortless natural singing, wide range, flexibility, musicality, ability to modulate the voice (mezza-voce to full-voice), expressiveness, clarity of diction and sound, brightness, smoothness and consistency of tone. Consequently, one attains full control of the voice, thereby extending the longevity of the singer's career. The fact that the Italian language has helped form the basis for the Bel Canto style, also described as the "Italianate Sound" is further proof of the relationship of the speaking voice.

    The study of voice is the seeking of overtones by freeing the emission. The sound of the violin seems small in a room but it resonates in a theatre. The same holds true for the human voice when the sound is projected freely into the theatre with a high, forward, focused emission (as in a sigh), using flexible diaphragmatic support that causes a column of air to pass through the vocal chords without impediment. The three resonating bodies are the head, chest and theatre. But the theatre has to receive the sound; therefore, constrictions of the tongue, jaw and neck have to be eliminated. A perfect example of the head voice is a baby crying free of constriction. As a result, three things are evident: diaphragmatic breathing; resonance and carrying ability of the voice; and the lack of hoarseness.

    In growing-up, one develops bad habits caused by language, yelling, "Macho" complexes and incorrect muscle development as a result of sports activity, thus losing the head voice. Most singers, especially men, tend to press down the larynx which constricts the tongue, producing a bigger, darker and more masculine sound to their own ears. The so-called chest tone is one of the most misused terms in vocal technique. It is produced, again, by pressing down the larynx or actually going in the throat, changing the quality of the sound. No matter how low the pitch, the placement must always be high. This will retain overtones, facilitate the attainment of the upper register, and produce a spinning effect of the sound resonating freely in the head cavities, known as "the mask".

    In conclusion, with consistency there is profundity. Bel Canto singing is very simple, but we humans make it complicated.