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Shelly Wade
Shelly Wade (Mezzo-soprano) is an accomplished singer and teacher based New York, NY. She holds a Masters Degree in Voice Performance from Manhattan School of Music. Some of her operatic roles include 'Cherubino' in LE NOZZE DI FIGARO, 'Jenny Hildebrand' in Kurt Weil's STREET SCENE, 'Little Boy' in Lucas Foss' GRIFFELKIN, and 'Doatsy Mae' in the musical BEST LITTLE WHOREHOUSE IN TEXAS. She has studied classical voice with highly recognized teachers such as Dr. Cynthia Hoffman, Arthur Levy, and Chloe Owen.
Shelly has taught voice lessons and music lessons to all age groups since 2003. In addition to her experience with the voice, she also has a B.M. in Music Education. She now teaches piano, theory, acting, and other subjects as well. She loves teaching and continues to study pedagogy and methods in order to give her studies the best possible learning opportunities.
I strongly incorporate Feldenkrais' 'Awareness through Movement' exercises into my teaching, as well as Alexander Technique and Yoga. I firmly believe that body awareness is the basis for a healthy and solid technique. (A student cannot fix a problem such as jaw tension, (or wrist tension for pianists) until they are fully aware of it, and can feel it themselves.) In addition to body work, I also incorporate a more technical approach by teaching anatomy of the voice and body. In order to become 'aware', one must first have knowledge of how their entire instrument operates. This is taught on a sliding scale, based upon age and experience.
Over the past eight years, have studied voice with several great teachers and through each of them, I have learned several different methods and techniques. Each teacher has given me different tools and ways of communicating. I am very good at tailoring these method and tools for each individual student's needs. I feel that it is very important have a myriad of methods to share with students.
My teaching is based upon a high level of expectations, but never pushing a student beyond where I believe they can excel. It is not about being perfect; perfection is boring. It is not about the artist, it is about the music. I teach singing as theater first and technique second. I focus heavily on incorporating the speaking voice and breath support into singing. I like to think of 'technique' as Alexander once defined it: 'an applied use of the self'. I teach that control is a result, not a process. To think of it as a process is to 'end-gain', in which one loses control by trying to gain it. I also work with my students on not judging themselves. Judging leads to hesitation and hesitation leads to lack of control. True control comes from letting go. Technique depends not only on the body, but the body's connection to the brain. This calls for preparation to sing. Necessary steps include 'think, prepare, and act (without judgement or hesitation)'. To solve problems, I like to 'become aware', 'inhibit', and 're-establish'. I work with students to work on technique as both a basis and a detail. This meaning, 'practice mode' and 'performance mode'. In performance mode, technique should be completely passive and the focus should be on dramatic interpretation.
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