LIVIA BRASH M.Mus.Stud, B.Mus
As a singing teacher with over a decade of teaching experience, I've come to understand that a purely technical approach to singing has its limitations. While technical issues are important, they often stem from psychological factors that are beneath the surface. Therefore, my aim is to create a supportive and empowering environment where singers can fully explore their voices without judgment. After all, singing is an art form that revolves around expression, communication, and emotion, and feeling safe is crucial for achieving this.
I'm enthusiastic about staying informed about the latest scientific developments in vocal pedagogy and voice science, but I also recognize the value of past teachings. As a singer myself, I study the techniques of Arturo Melocchi, a prominent teacher of the old Italian school who trained some of the greatest singers in the early 20th century, such as Mario Del Monaco and Franco Corelli. Preserving this knowledge is crucial to prevent it from being lost to time.
I strongly believe that intention and understanding are the key to making progress in singing. Whether you are looking to correct a specific technical issue or express yourself emotionally, having clarity about your goals is essential. This clarity empowers the singer and enables them to troubleshoot issues independently, eventually becoming self-sufficient.
In addition, I encourage my singers to focus on the physical sensations of singing, rather than listening to their voices. This approach not only provides a more accurate indication of what is happening technically, but it also helps singers move away from self-criticism and analysis paralysis. Singing becomes a form of meditation in movement, allowing us to explore technique without fear of making mistakes. By understanding the detailed sensations of singing, singers can sound like themselves, rather than trying to emulate someone else's sound.
While my students are usually intermediate to advanced contemporary and classical singers, including Diploma and Bachelor of Music students, professional singers and other voice teachers, I still regularly teach beginner students and I love it!
Masters of Music Studies (Opera)- Sydney University (Joan Bonamy & Geoffrey Rothwell Scholarships)
Bachelor of Music (Classical Voice)- Australian National University
American Institute of Musical Studies in Graz (full scholarship)
George Solti Accademia (full scholarship)
Pacific Opera Young Artist (fully sponsored)
Performed in masterclasses for Richard Bonynge AC CBE, Barbara Frittoli, Grace Bumbry, Roberto Frontali, Bruce Ford, Nelly Miriciou, Linda Watson, Yvonne Kenny, Bernadette Cullen.
Estill Method for Voice Training Certificate 1 and 2
Vocal Hygiene- Dr Jonathan Liversey (facilitated by the Sydney Conservatorium)
Accent Breathing- Dr Ron Morris (facilitated through ANATS)
Understanding Alignment- Sarah Whitten (facilitated by Opera Programs Berlin*)
The Acoustic Landscape- Kenneth Bozeman*
Effective Acoustic Training Strategies for Treble and Non-Treble Passaggi- Kenneth Bozeman*
The Voice Teacher as Fitness Trainer- Dr Claudia Friedlander*
Anatomy in Action- Dr Claudia Friedlander*
Training Spinto, Dramatic and Zwischen Voices- Dr Stephanie Weiss*
Crossover and the Classical Singer- Susan Eichhorn Young*
Training Transgender Voices- Dr Stephanie Weiss*
Training Singers with Visual Impairments- Jennie O'Brian*
Hormones and the Female Voice- Joanne Hayes Bozeman*
Post-Vocal Trauma Training- Carol Mastrodomenico*
Laban Movement- Wild Voices Theatre
Feldenkreis for Singers- Zoran Kovich
Professional Counselling Diploma- Complementary Therapists Accredited Association
Psychological First Aid - John Hopkins University
Music and Wellness- Berklee College of Music
Healing and the Arts- University of Florida
Diploma of Music Therapy- Centre of Excellence