Private Audition Coaching

Bettering the audition experience is a specialty in my curriculum. I strive to provide singers the tools they need to prepare audition material that is both grounded in tradition and that dares to create a unique, honest and motivated performance.The specificity of this work enlivens the audition material with bold acting choices, helping singers generate the confidence to do their best moment-to-moment work in the audition room itself.

I have created a 3 Dimensional Technique designed to “sculpt the space” around solo performance and I have successfully employed these concepts with singers over the past 20 years. It is the “bang for the buck” part of my instruction that helps the singer to stand out from the herd, to gain control over the pieces no matter where they are performed, and to truly enjoy performing them again.

The Cube of Space Technique provides a genuine multi-dimensional structure that helps performers make the invisible visible by creating a grounded, motivated and honest performance. By focusing imagery in a way that imprints the voice with specific dramatic action, The 5 points of the Space, the 3 Levels of Consciousness, and the 5 Movements of Pure Thought combine to create a tangible and reliable foundation, freeing singers to make bold and active choices, and to become more physically expressive during the audition.

Far too few programs offer this sort of training which is particularly evident when we send younger artists to audition in Europe. We often get the feedback from EU presenters that “the voice is beautiful and the technique is flawless, but the artist is so boring!” Thanks for doing your part in combating that. –A.C. at IMG Artists San Francisco / NYC

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, Vienna

Everyone I’ve talked to or exchanged messages with so far has mentioned the magical power of your coaching. -David Littlejohn, THE WALL STREET JOURNAL.

Private Coachings in NYC

Please read the following information in full, and then contact Chuck Hudson to arrange dates and times.

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To Arrange Coachings in NYC:

Please read the following instructions for preparation and then contact Chuck Hudson to discuss dates and times.

My coachings take place at NEW YORK SPACES–Ripley-Grier Studios located on 8th Ave and 37th St, 16th floor. You can find them on the web at or by calling (212) 799-5433. You will rent the studio time in advance, and you want a studio no smaller than 16-I.

  • The following studios are too small for this work, so please do not use 16-A, B, C, R, S, V, W or X ; 17-G, J, K, or L; 10-B. You may find a map of the studios here.
  • $60.00 per hour for the coaching
  • It is your responsibility to arrange the studio space in your name and the accompanist separately. Once you confirm the studio space with me, you will pay for all the arranged coachings on the first day we work. If you arrange and pay in advance for 6 sessions or more, I can offer a 10% discount.
  • You must arrange to have an accompanist with you for each coaching if you are singing. I will suggest some coach/accompanists to you if you have difficulty finding one.
  • Please allow about 1 hour for each aria, song, or monologue you want to work. Some arias with lengthier recits take about 90 minutes.
  • Your aria must be memorized “off book.” For monologues we can work with the text in front of you.
  • I need 48 hours to cancel or move a coaching time, as it will take me that long to replace the hour with another artist. You may cancel or re-arrange times after that, but it will not affect any fees paid or owing. Please note: due to limited availability, there are NO cancellations for Saturday coachings: once confirmed, you must pay for that time.
  • Please bring 2 copies of the music or monologue: one for the accompanist and one for me. Please do not bring your bound score or a copy with lots of music notes on it, but a clean copy. If your piece is not in French or English, I will need a legibly written word-for-word translation 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. I prefer my copy to be “loose pages” and not taped together as you would for an accompanist.
  • Please be familiar with the entire opera or play and not just the aria or monologue. Our work of creating Action will be informed by the context of the selection within the entire work.
  • PLEASE NOTE Singers who wish 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, Non monsiuer mon mari from LES MAMMELLES de TIRESIAS, or Zerbinetta’s Aria from ARIADNE: these pieces generally require me to stage the aria rather than coach the aria. If you would like to work on these pieces, please let me know in advance as they require special considerations and will require a longer period of time or number of sessions.

See photos of Chuck’s Coachings at San Francisco Opera’s Merola Program

Read what performers say about coaching with Chuck Hudson.