Shifting Gears from Classical to Broadway: Making the Vocal Switch!
Wednesday 11th February 2026, 5:00 PM - 7:00 PM (London Time)
As stylistic demands in the vocal world continue to evolve, classical singers are increasingly expected to perform in genres such as Musical Theatre and Commercial Music (CM). Yet, for many classically trained singers, the transition from operatic technique to speech-based, microphone-amplified styles can present significant technical and artistic challenges.
This session—led by an internationally known pedagogue specializing in Musical Theatre and CM who herself performed professionaly in both opera and musical theatre —bridges these two vocal worlds to provide singers and teachers with practical, research-informed strategies for healthy, authentic crossover. The presenter offers a multifaceted exploration of how the classical voice can be thoughtfully adapted to meet the stylistic and expressive demands of modern genres without sacrificing technical integrity.
Rather than viewing crossover as a departure from classical technique, this session reframes it as an expansion—an opportunity for singers to build stylistic fluency while maintaining healthy, efficient vocal production. Designed for both performers and pedagogues, the session provides actionable exercises, diagnostic tools, and teaching strategies for integrating crossover training into both private studios and academic settings.
The class will explore how resonance is shaped by the vocal tract and how conscious adjustments in the jaw, tongue, soft palate, and articulators can create the tonal colors and acoustic qualities demanded by different genres.
Additionally, participants will be introduced to vocal Stylisms and riffing patterns that enhance stylistic freedom, agility, and creativity. These elements encourage the development of expressive versatility—essential for adapting the classical instrument to contemporary musical styles.
Attendees will leave with greater confidence in guiding classically trained singers toward versatile, expressive, and genre-appropriate performance—equipped with the knowledge and resources to navigate today’s diverse and evolving vocal marketplace.
🏷️ Price £30 (UK VAT inclusive)
🎥 Recording automatically sent to all who book (even if you cannot attend live)
▶️ Rewatch as many times as you like
📜 Certificate of attendance available
Edrie Means Weekly
Edrie Means Weekly, Co-Founder of the CCM Vocal Pedagogy Institute, is an associate professor of voice and voice pedagogy at Shenandoah Conservatory and professor of voice at George Mason University. A 2021 Van Lawrence Fellowship Awardee, and a recognized expert in training singers in all vocal styles. An active professional singer, Edrie has presented numerous papers, countless workshops and master classes at national and international conferences.
Attend this course for as little as £22 as part of the Voice Professional Training CPD Award Scheme.
Learn MoreSorry, this is an archived short course...
We have plenty of upcoming short courses coming soon. See details of some of them below or look at the full list of short courses.
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Thursday 14th May 2026
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5:00 PM - 7:00 PM
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Two part course! Vocal health principles are inextricably and symbiotically linked with singing and acting voice pedagogy: Good vocal health allows the singer and actor to more easily and effectively achieve their technical and artistic goals, and good teaching reinforces vocal technique that diminishes the risk of vocal injury. We now also recognize the necessity for singers and actors to understand how their instruments work, how to take care of their voices, and what to do when something goes wrong. Singing and acting teachers are indeed on the front lines of vocal health!
Tuesday 19th May 2026
5:00 PM - 7:00 PM
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Kourtney Austin
Historical vocal pedagogy, voice science, voice health, and performance practice come together in this presentation from Kourtney Austin! The session addresses the historical context for teaching the onset as a fundamental skill, along with a review of a recent publication examining the acoustic effects of different types of onset, and practical studio implementation of onset training. The aforementioned publication is the first known research to objectively measure the acoustic implications of the coup de la glotte, and delineate it from the hard glottal attack.