Technique in the Voice Studio of Cathy Pope.

My work here is based on my own experience from my career as a singer, from over ten years of teaching and of using old world techniques.

Singers seek accurate information and means to encourage their particular vocal instrument to work well for them. Some singers are familiar with some of the concepts of the Old Italian school to a greater or lesser degree. Intellectual knowledge of old world concepts and what this actually physically means for you as a singer and then closing the gap between these two things; well, that is rather a different thing. The information as to how to do this seems to have become to put it plainly – rather lost. Can one even find a workable language to communicate the subtle internal bodily strings and pulleys that a singer needs? That is what old world vocal exercises were designed for. They are extremely effective, full of simple, healthy vocal common sense. Accurate explanations and appropriate sequences designed by the teacher will slip the singer into a more appropriate co-ordination of body and voice and mind.

This technical work has its roots in the work of Alan Lindquest, himself an outstanding tenor, whose life spanned most of the last century. He was trained by students of Manuel Garcia who was one of the last great master teachers of the nineteenth century. Lindquest was American with Swedish parents and later he went to study the Swedish Italian School of singing in Stockholm which produced many of the greatest singers of the time. To name a few - Flagstad, Bergland, and the young as yet not famous Bjoerling who became a great friend with whom to discuss technique. Lindquest also coached the young Birgit Nilsson. The Swedish/Italian school was the work of Dr Bratt and his pupils Joseph Hislop and Madame Ingebjart-Isene. Dr Bratt, who was Garcia trained, was a legend in his life time. He studied in Italy and took his knowledge back to Sweden which produced this golden age of great singers.

David Jones, who realised the breadth of Alan Lindquest’s work when he met him not long before he died, studied hours of Linquest’s teaching tapes. he gathered the information together and researched the accuracy of the concepts carefully. Through his study and subsequent 30 years teaching experience he has carried on this work, bringing alive this extraordinarily comprehensive and accurate technical knowledge for a whole new generation of singers of which I am one.

In this work there needs to be accurate and gentle guidance of the pupil using the vocal exercises and explanation of what is happening and why. Questions should be answered. Progress should be obvious to the student. These things should be evident when working with a good teacher.

Lindquest did not discriminate between amateur and professional; all with a passionate desire to sing were welcome and had his full attention. I try follow his example in my studio.

This studio is associated to David Jones’ studio in New York - see