Most voice lessons are nothing but a MASSACRE of repeated false attempts, that mortify and exhaust you, as well as your Maestro's ears and willpower.

Sadly, whatever you keep repeating, you learn.

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Most practice sessions are disrespectful, or better frankly rude: towards yourself and your self-esteem, towards your teachers' and your neighbours' acoustic tolerance (hence attitude, and mental health) - but most importantly towards Music itself.

No fee can make up for such nonsensical fatigue and waste of time and energies (on all parts), although I'm sure that, had you to pull out a $50 bill for each of those countless, thoughtless, predictably false attempts that you make during one lesson, you'd become better singers on the spot. 

(FYI, those false attempts cost you WAY more than that.)

Yet, it's not your fault.

Simply, no one taught you how to learn (unless you're one my students, for I do, teach that).

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No one taught you to avoid false attempts and WAIT, SIT, LINGER - in other words

STOP!

to clear all body memories and tension, as well as all mental noise and chatter - before giving way to any new sound.

NEW, being our key word.

After all, what we call classical music is such for it's always contemporary, always NEW.

Happening now. Right now.

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So here are my new plans, to suit your new plans, presented today with a launch offer:

you will get a discount of 15% (valid on all of them, and all of their instalments)

typing "SIPUÒ!" as a coupon code at the checkout.

Lasts till Sunday, March 3rd, 2024, at midnight.

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BUT WHICH PLAN SHOULD YOU GET,

AND WHY?

Find out below.

FIATO My best-seller, for it is a no-brainer, a win-win solution: you support and expand the free material you're already using, plus you get a discount on any other plan and the free admission to all masterclasses.

PORTAMENTO It's either your first session with me, or we've already met, but you need to fine-tune and polish that one piece for some special occasion. And if you need a diction recording that is still not available on The Cantare Italiano ARKive, you can ask for it in advance!

APPOGGIO Exceptional value and ideal follow-up to your first PORTAMENTO: in five months you'll end up with ONE FREE 70' SESSION no matter what - just sayin'!

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STACCATO Twin brother of the Legato (see below), but in two instalments, at basically the same price.

LEGATO you have a small role or an audition coming up and you have made the firm decision to stand out.

IMPRESARIO You have a concert with mixed rep coming up, or a grown-up, medium-to-big role to pull off; also, your vocal technique no longer supports your ambition.

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BIG IMPRESARIO! You're all in, and have many roles ahead, be them signed or not signed for - yet.

RUOLO IDEAL ALSO FOR VOCAL/DICTION COACHES!

Booking free of charge: when the sufficient number of participants that are interested in coaching the same role will be reached, you'll be contacted and offered the conditions, which you'll choose whether to accept. Free of charge for the Fiato subscribers who want to partake it as listeners.

SCHICCHI masterclass IDEAL ALSO FOR VOCAL/DICTION COACHES!

Booking free of charge: when the sufficient number of participants that are interested in the masterclass will be reached, you'll be contacted and offered the conditions, which you'll choose whether to accept. Free of charge for the Fiato subscribers who want to partake it as listeners.

Click on the picture to be redirected to the plans!

Remember:

STARS

are amongst those things who need the longest exposures,

in total darkness and stillness,

to be finally seen.

La Maestra,

who says that, FOR SURE,

“Sara is extremely good at this; we're working in extremely good Italian”
Graham Vick

"a fantastic coach, extremely helpful for young singers as well as experienced ones"
Barbara Hannigan

“bringing the language, the music and the characters to life; results of the very highest quality”
Paul Nilon

“a lingual and linguistic genius, almighty for vowel purity”
Peter Tantsits

“the foundation of a role; it doesn't go on stage if she hasn't worked with me on it”
Jennifer Rowley

“magic conjunction of vocal technique, musical interpretation and building of the character:
a radical rethink of the act of singing”
Anna Piroli

“an incredible breadth of knowledge: after we've worked I feel entirely prepared”
Heather Lowe

“Sara opened up my voice, and a world to my eyes”
Giulia Zaniboni

“I was able to improve my coaching skills, with obvious results for the singers: a 180° turn in my work”
Theophilos Lambrianidis

"unparalleled with how she teaches the unification of an idea;

she's like four professionals in one: taking all those details and putting them into one intention"
Yiselle Blum

“invaluable: she’ll make a role really succeed on stage”
Ariadne Greif

"potentially life-changing”
Amy Payne

“brings life to operatic drama”
Maria Sanner

“enlightening, professionally and humanly”
Clara La Licata

“thoroughly prepared and professional”
Marie Kuijken

“truly unique method and insights”
Jasmine Law

“entirely devoted to the art of Opera singing, and her stuents"
Ida Falk Winland

“incredibly informed, consistent, knowledgeable Maestra”
Michael Corvino

“a lifeboat, a light-bearer: carrying the torch of finest Italian Opera”
Nathaniel Kondrat

“a cure and a respect of the Music and the words’ musicality that can be learnt so deeply nowhere else in the world” Matilde Bianchi

"an unconventional guardian angel"

Giulia Ferraldeschi

“a true Maestra, engaged and engaging; magic effect on the voice and our art form”
Jessica Harper

“those who pursue the ultimate depths and meaning of the human voice, MUST follow her”
Andrea Tosi