Private Aria Coachings in Australia

Chuck Hudson’s 7th Season in Australia: August 2018

2018 Coaching Schedule: Sydney

I am only coaching for a few days in Sydney this season, making the number of coaching times very limited. Coaching hours are partially subsidized by Pacific Opera this season, and so I am able to keep the cost as low as possible.

1 hour sessions available in August as follows:

Tuesday August 142:00pm-5:00pmTimes on Hold
2:00-3:00On Hold
3:00-4:00On Hold
4:00-5:00On Hold
Thursday August 166:00pm-9:00pm
6:00-7:00Time Taken
7:00-8:00Time Taken
8:00-9:00
Friday August 172:00pm-5:00pm
2:00-3:00
3:00-4:00Time Taken
4:00-5:00
Saturday August 1811:00am-2:00pm
11:00-12:00
12:00-1:00
1:00-2:00
Saturday August 183:00pm-6:00pm
3:00-4:00
4:00-5:00
5:00-6:00

Coaching Details

To arrange your coaching in Sydney, or to sign up to be on the waiting list:

Please email Pamela Andrews at Pacific Opera, who will send you all of the details. Coaching hours will fill up very fast.

The cost of the coaching is AUS $160.00 per hour, which includes the cost of the Accompanist and Studio.

Payment must be received IN FULL by Friday August 10th to confirm your hour.
* Unpaid spaces will be released to singers on the waiting list who have paid in full.
* On August 13th, the cost of the coaching will increase to AUS $180.00 per hour.

How to Prepare for your Coaching

  • Dress comfortably-rehearsal clothes or casual wear is fine; you do not need to be in “Audition Attire”.
  • You must be memorized “off book” for this work.
  • Please bring 2 clean copies of the music: one for the accompanist and one for me—please do not bring a bound score or a copy with lots of your notes already on it. I prefer loose pages rather than taped together as you would for an accompanist.
  • If your aria is not in French or English, I will need a word-for-word translation written legibly on the line of music: not a translation on another page, and not the existing English translation of the piece which is not word specific.
  • Please come to each session with more than one piece just in case we work quickly.

Please note: I prefer NOT to work on The Doll Song from HOFFMAN, Glitter and Be Gay from CANDIDE, or “scenas” like Ophelia’s Mad Scene from HAMLET, Max’s Aria from DER FREISCHUTZ, or Zerbinetta’s Aria from ARIADNE: they generally require me to stage the aria rather than coach the aria. If you would like to work on these pieces, they will require a longer period of time or number of sessions.

CANCELLATION POLICY

Coaching times are very limited.

  • If you must cancel your coaching, please do so within 48 hours of your scheduled time in order to receive a refund. A $25.00 cancellation fee will not be refunded.
  • We may not be able to move you to another coaching time if they are all filled at the time that you cancel. If you must cancel after the 48 hour period, no funds will be refunded.

2018

Australian Press on Chuck Hudson’s production of DON PASQUALE

Fabulous singing and full of laughs, Don Pasquale entertains in 50s Hollywood style at Fort Worth Opera.
The comic madness that accompanies Donizetti’s effervescent score in his 1843 premiered Don Pasquale comes with a jolly good 1950s Hollywood update from director Chuck Hudson in a production from Arizona Opera that was first seen in 2014…Hudson’s concept imaginatively incorporates the black and white celluloid world of the silent film era to identify Don Pasquale as “The Sovereign of the Silver Screen”. When the vibrant overture began, Hudson gave his audience black and white movie magic with Don Pasquale starring in the title role of his most celebrated film, “The Sheik of Arabia”, a hoot of a start using old footage and fake superimposed characters. More of those celluloid divertissements popped up later and kept up the fun act. -Paul Selar, The Australian Herald Sun

2016

After working his arias with Chuck Hudson in April, tenor Michael Petruccelli was selected as one of the six finalists for the 2016 Lady Fairfax New York Study Scholarship through the Opera Foundation for Young Australians. Soprano Zoe Drummond, counter-tenor Nicholas Tolputt, and mezzo Bronwyn Douglas advanced to the quarter-finals of the Sydney Eisteddfod competition.

After working their arias with Chuck Hudson, Counter tenor Nicholas Tolputt won the Marianne Mathy Scholarship, the Merenda Legacy Prize and The Sydney Symphony Orchestra Award at the IFAC Australian Singing Competition, and the 2016 Sydney Eisteddfod Opera Scholarship; Soprano Sarah Wang won the Australian Singing Competition, and was awarded SAARBRÜCKEN Opera House prize including a full scholarship to a Young Artist Program in Europe; Mezzo Soprano Bronwyn Douglass placed third in the Joan Sutherland & Richard Bonynge Bel Canto Award; Soprano Jessica Harper won Best German Language Song or Aria at the Sydney Eisteddfod; Bronwyn Douglass and Jessica Harper also moved on to the Final round of Australia’s Best Emerging Singer Competition; and soprano Kate Amos was awarded a prestigious scholarship from Melbourne University to assist her to travel to Cardiff, Wales where she received a scholarship to attend the Welsh International Academy of Voice.

I came third in the International Classical Singer Competition (emerging professional division) in Chicago from a very big group and very competitive field of singers. I performed in over five rounds for the podium finish. Thanks very much for the coaching and insights, it made a big difference to the dramatic delivery. -Max R: Counter-Tenor (Melbourne)

2015

After working their Arias with Chuck Hudson the following Australian singers won various awards and competitions: Morgan Balfour was a Finalist and 3rd Place Winner of the Bel Canto Award and won a Scholarship to the San Francisco Conservatory of Music; Soprano Sarah Wang won a scholarship to the University of Southern California’s Thornton School of Music; Jeremy Kleeman advanced as a Finalist in the Australian Singing Competition 2015 (winning the Merenda Prize, the Bel Canto Voice Program Scholarship, and the Christine Leaves Award); Kate Amos, Nathan Lay, Matthew Tng advanced to the Semi-Finals of the Herald Sun Aria Competition and Nathan Lay advanced again to the Finals; Laura Scandizzo won the German Singing prize in the Sydney Eisteddfod; Pamela Andrews and Rhian Saunders won multiple awards and prizes at the Orange Eisteddford; Elizabeth Lewis was a finalist in the Lady Fairfax New York Scholarship and a semi-finalist in the German-Australian Opera Grant. She went on to win First Place for the Opera Foundation Australia Lady Fairfax New York Scholarship.

They chose Porgi amor as the panel choice so I “Chucked it” like nobody’s business. Thank you so much for your help. The prize means I will go to New York for 6 weeks to work with coaches and teachers. I would love to work with you when I am there if you are available. –Libby Lewis, Soprano (Melbourne, Australia)

Additionally, American Soprano Julie Adams (San Francisco Opera MEROLA and ADLER PROGRAMS) won First Place at the 2015 Elizabeth Connell Prize International Singing Competition in Sydney.

2014

After working their aria packages with Chuck Hudson in 2014, the following Australian Singers immediately won the following awards: Margaret Plummer (Sydney) won the Opera Foundation Australia’s Vienna State Opera Award, Jeremy Kleeman (Melbourne) won the Melbourne Welsh Male Choir Singer of the Year Award, Morgan Balfour (Sydney) won a place in the Hawaii Performing Arts Festival for 2015 through the Joan Sutherland Richard Bonynge Bel Canto Awards, and and Thomas Strong (Sydney) won the Opera Foundation Australia’s New York Opera Award.

Several of the singers advanced to the final rounds of national and international competitions in 2014, such as Corinne Cowling (Perth), Kate Amos (Sydney), and Anna Voshege (Melbourne) all of whom sang in the IFAC Australian Singing Competition Finals in Sydney. Sam Roberts-Smith (Sydney) and Thomas Strong (Sydney) were selected as a Finalist in Opera Foundation Australia’s Lady Fairfax New York Scholarship.

2013

I just wanted to thank you again for the incredible week of masterclasses you held in Melbourne. Since then I have been making real improvements in presenting my arias and songs.This concept of specificity is so strong. Since the masterclasses I had a call back audition for a USA/Canada tour with a group called The Ten Tenors. I have now been offered the 4 month tour from Jan to May 2014. -R.B., Tenor. Melbourne (Australia)