Teaching Philosophy and Influences

Lucy Shelton, one of my first voice teachers, emphasized musicianship and an ability to explore the voice in uninhibited ways. She encouraged fearlessness when tackling un-chartered musical territory. She introduced me to her teacher, Jan DeGaetani, who later became one of the most powerful artistic influences on my musical development.

Jan DeGaetani had an uncanny ability to sound spontaneous, simple, unpretentious and yet sophisticated and profound. Jan taught by creating a fertile environment in which questions stimulated the imagination.  Through this process the student arrived with his or her own insight. It took time to articulate these things, although it seemed effortless for her.  But she took time so that the student could experience the discovery. She used words in a way that allowed you to understand musical concepts and what your task was at any given moment She had a talent for clarity.  I think that in her attraction to certain types of students, she sought people of a similar philosophy. I have found it most challenging to teach students who don’t “fit” this approach. Part of my development as a teacher has been finding ways to bring such students into this vocal tradition.

Milagro Vargas in a lesson with Jan DeGaetani at Aspen Music Festival, 1977

Employing what one might call a highly experiential approach to singing has been central part of my teaching and a tradition learned from Jan and passed on to my students.

This “experiential approach” only works when combined with the traditional work in vocal basics. My foundation in this regard came from Helen Hodam at the Oberlin Conservatory. Hodam was very strong on vocal technique. My students begin with this kind of training.  While some teachers dread the initial stages of taking a young singer through the paces of establishing a good tone, legato and register blending, I find it fascinating. There is a great reward in refining purely technical issues for both student and teacher.

In summary, my teaching is described broadly as three over-lapping processes: the psychological and physical experience of self-discovery, the pursuit of traditional vocal technique, and ultimately bringing all technical and musical issues into a musical context.  I believe that passing on the legacy of my teachers through my students and beyond them to their students to be profoundly meaningful in my life.

I consider also my experiences with various conductors, stage directors and other musicians with whom I’ve worked with over the years as critical to my teaching style. Two important examples are conductor Dennis Russell Davies at the Stuttgart Opera and stage director Harry Kupfer, with whom I worked at Stuttgart and Berlin’s Komische Oper. Each of these artists requires of one, confidence and individuality, to perform. These are difficult qualities to quantify, but are tangible to me as essential qualities that I pursue with my students.