What is it?

Open to all non-professional singers of any age, whether enthusiastic amateurs or budding students, our voice clinics are designed for singers looking to brush up their skills and hone their technique. Perhaps you’ve always wanted to hit that high note that’s just out of reach? Perhaps you want to know how best to sing Bach, or how to prepare for an audition? Or maybe you’d just like the chance to sing one-on-one with one of the Dunedin Consort regulars.

Who is it?

Each session will be led by one of our soloists or directors, who will help you build confidence, work on niggles, and give you targeted one-to-one coaching. This year sessions will be led by Matthew Brook, Julia Doyle, Jess Dandy and Mhairi Lawson.

Interested?

Each singer will be allocated a 20-minute slot to look at a piece of music of their choice, or to work on a particular aspect of their voice. These sessions are free of charge. Dates for our next Voice Clinics will be made available shortly.

Given current Covid-19 restrictions, our Spring 2021 sessions will take place online over Zoom. We have experimented with this new online format and found it works remarkably well. Indeed, it means we can accept applications from musicians all across the UK and even internationally. Our team will be on hand to help you with any technological questions in advance and to ensure the whole process works smoothly.

This sessions will be open to a maximum of 8 singers, each of whom will be allocated a 20-minute slot. While these online Clinics are not open to the general public, all participants are invited to join for the duration of the session in order to listen to the other singers and pick up new ideas.

How to Apply

Applications for our Spring 2021 Voice Clinics will open on Monday 25 January.

Questions

If you have any questions regarding the Voice Clinics, please email our Learning & Participation Manager, Lucia Capellaro on lucia@dunedin-consort.org.uk.

‘It exceeded my expectations, Nicholas was extremely supportive and constructive with his criticism and advice. I felt like I had a new, practical approach to various aspects of the piece, in particular with my breathing.’