Bio

Lisa Rochelle is a NYC-based Voice Teacher and Vocal Health Specialist (SVS*) training performers since 1993. Specializing in technique-building for versatility, optimal vocal health and longevity, Lisa helps actors and singers achieve one seamless voice that can move easily between Classical, Musical Theatre and Pop styles while meeting the demands of an 8-show week, rigorous tour or long studio hours. Lisa’s students are professional performers (Broadway, Off Broadway, regional, film, television, and voiceover artists), committed young performers and other professional voice users (voice teachers, music educators, public speakers).  With specialized training in vocology (vocal pedagogy and habilitation), she often works as a *Singing Voice Specialist (SVS) in conjunction with medical professionals in the re-training of injured voices.

Lisa’s extensive performing career includes leading roles on Broadway and Off-Broadway, national tour, regional theatre, featured television, commercial and voiceover work. With favorite roles ranging from Fanny Brice in Funny Girl to Amalia in She Loves Me, Lisa’s first-hand understanding of performers’ needs allows her to provide her students with real-world perspective and career support. Beginning her professional career at age 14 (Broadway, television), Lisa brings to her decades of pedagogical experience a unique and special affinity for working with young actors and singers.

As the ‘go-to’ vocal consultant for Drama department musicals at La Guardia High School of the Performing Arts since 2010, Lisa’s continued work with LaGuardia students remains a great source of joy and is her way of giving back the cherished support she received as a young professional.
           
Conservatory, College Faculty and Private consulting positions include Marymount Manhattan College (2003-2016), NTI National Theatre Institute at Eugene O’Neill Center (1999-2006), The Institute for the Alexander Technique (teacher training program), and Artsbridge Performing Arts College Specialty Consultants, among others. Lisa has been a Guest Presenter for the New York Singing Teachers' Association's Comparative Pedagogy Program, has taught Master Classes in NYC in Belting, Vocal Health and Audition Technique at Playwright’s Horizons, The Neighborhood Playhouse, The Broadway Experience, Marymount Manhattan College, The Chapin School, and others.
             
Lisa’s whole-body approach to voice training encompasses aspects of many disciplines, providing a diverse toolbox from which she can tailor lessons to meet the unique needs of individual clients.  These disciplines include a strong emphasis on the Alexander Technique and Lessac Voicework. Lisa’s lessons also integrate revelatory self-massage techniques that were developed by her early teacher and pioneer vocologist, Ron Clairmont.  It was his mentoring that inspired Lisa’s subsequent vocology training while maintaining her acting career. Deeply influenced by her extraordinary early teachers (Clairmont, Stella Adler and Arthur Lessac), Lisa is a confessed life-long learner. Her ongoing work with leading voice therapists and specialists  Shirley Tennyson,  Joan Lader and David Jones informs her teaching on a daily basis.  Lisa has recently codified Throat Tension Release (TTR), a series of vocal self-massaging exercises (developed by mentor Ron Clairmont) that have helped hundreds of actors and singers over the years.

Lisa’s tenure on the Board of Directors of the New York Singing Teachers’ Association as Co-Director of the Professional Development Program (2006-2011) established her as a mentor to esteemed colleagues, and she continues to guide and support other teachers in their own processes. Other Affiliations include National Association of Teachers of Singing, The Voice Foundation, Actors’ Equity Association, and SAG-AFTRA. Lisa is certified in all 3 levels of Somatic Voicework™/LoVetri Method for CCM Pedagogy, has completed the full core curriculum of NYSTA’s Professional Development Program, has completed hundreds of specialty/vocology coursework hours and internships (Mt. Sinai/NYC; Anat Keidar, NYC/Westminster Choir College, and others) and holds a degree in Vocal Pedagogy and Musical Theatre Performance.

Lisa’s work is dedicated to helping performers achieve their goals by de-mystifying the remarkable act of singing.  She empowers performers with the skills needed to master their unique instruments and render technique invisible, so that they can be free to be ‘in the moment’.

Lisa’s teaching has been represented on Broadway with students in dozens of shows, many marking their Broadway debuts in:

Philosophy & Approach

Philosophy

Reliable technique is what paves the way to vocal freedom.
   

Vocal freedom emerges from a combination of consistent and dedicated practice, a free larynx and the subsequent letting go of the technical, allowing your unique voice to manifest as a result.  My goal is to provide you with the tools for technical vocal mastery that are meant to be ‘thrown away’, become ‘invisible’, imprinted in your muscle memory, leaving your mind, emotions and muscles free to be in the moment of your performance.  Compare this to a tennis player’s serve, a dancer’s pirouette, a pro golfer’s swing – all of which seem easy in performance, yet are the results of dedicated and consistent technical practice. The ‘magic’ occurs in the moments when something even better and more beautiful than what we’ve practiced has taken over; we have let go of mechanics. Martha Graham, the mother of Modern Dance, says it best -      

“I believe that we learn by practice.  It is the performance of a dedicated, precise set of acts, physical or intellectual, from which comes shape of achievement, a sense of one’s being, a satisfaction of spirit.  There are times of complete frustration - then I need all the comfort that practice has stored in my memory, and a tenacity of faith. Practice is the means of inviting the perfection desired.”

That said, I believe that one of the most important aspects of my helping direct you through your process is to identify what, how and how much you need to practice in order to achieve your goals.

I also believe that if you understand the purpose of an exercise, it will allow you to participate more fully in your own learning process, enabling more productive practice at home and helping you to ‘own’ your technique. By empowering you in this way, practice becomes a huge confidence builder, particularly for those for whom singing technique has always seemed vague or for whom singing may not be the ‘first language’.  It’s true that the racing car driver doesn’t need to be a car mechanic, but it sure helps while in the midst of a race when the car isn’t performing at its best.

The human voice is wondrous. It is exquisitely personal, yet it is capable of evoking universal emotions that create powerful and often thrilling experiences for singer and listener alike. As human beings, we crave these experiences.  As professional voice users, it’s our job to create and re-create these ecstatic experiences on demand.
 
It is my life’s work and great passion to de-mystify the ‘how to’ of helping you create these experiences.

Approach


In order to meet the unique needs of individual clients, my teaching draws on multiple disciplines and sources that have been integrated over decades of experience. I’m always learning and developing ways to help my students, particularly as vocal and performance demands change over time.  My goal is to provide an arsenal of tools for helping you master the aspects of voice and auditioning that you can control.

We’ll directly address the mechanics of singing - no vague concepts, no mystery

You'll sing something for me. I’ll identify what I hear and see from a functional point of view and explain why we’re doing what we’re doing; any imagery I use will be consistent with fact-based pedagogy. Rooted in both classical ideology and therapeutic strategies for contemporary singing, my work has evolved into a hybrid of vocal techniques; these have been shaped over time by the influence of my revered and eclectic group of beloved teachers and mentors and filtered through my sensibilities as teacher and singer. Each a master and exceptional in their arena, these include my earlier studies with pioneer vocologist Ron Clairmont, Jeanie LoVetri (Somatic Voicework) and Anat Keidar, and more recent work with Joan Lader, Shirley Tennyson and David Jones. My approach to all voicework is heavily influenced by an extensive Alexander technique background, Lessac Voicework (& related LMRVT) and core bodywork.

We'll approach technique from the inside-out; that is FUNCTION FIRST

Let’s get all the anatomical and mechanical parts of your instrument working well and working well together, then make aesthetic, style, period, genre choices from a well-coordinated mechanism. You’ll then have freedom to sing as you choose because technique provides you with skills to make choices.

We’ll approach your vocal goals from the standpoint of your WHOLE VOICE

We have one pair of magnificent vocal folds that create all of our singing and speaking sounds. The habits you’ve established in your lower range affect the way you set up your higher range, and vise versa. We’ll build strength, balance and flexibility throughout the whole voice; belters and CCM singers will work on their head voice, legit singers on their chest/modal voice, and all work to develop balance throughout the entire vocal range, enabling an ease and versatility to move effortlessly between styles.

Healthy vocal function is healthy vocal function.  Even the most 'belty' theatre, rock and pop singers work on their entire instrument as a way of maintaining the health and stamina of their voices.

For more on Belting, Click here.

We’ll approach your vocal goals from the standpoint of your WHOLE BODY

Singing is a highly athletic, skilled activity with many simultaneously working parts. We can’t separate the voice from the body; proper training and coordination of the entire mechanism (your body!) is the key to developing reliable vocal technique and a long-lasting, balanced instrument.  By asking you to be attentive to physical sensations while working technically in a lesson, we’re sharpening your body mapping (kinesthetic feedback) mechanism to help hard-wire the desired muscle memory until it becomes automatic and habitual.  We’ll look at your workout and exercise regimens and assess what’s contributing and what may be counterproductive to your singing process.

You’ll be building stamina, strength, flexibility and new brain tracks all at once.

You’ll develop a repertoire of multi-purpose self massage techniques

These techniques serve as tension busters, phlegm busters (…the favorites of allergy and sinus sufferers…), as pre-warm up stretches and impactful vocal exercises that help to line up your voice as you vocalize.

You’ll develop tools to master the audition room

I will teach you time-tested, nuts and bolts techniques that have helped students win callbacks and garner jobs on Broadway, National Tours, regional theatres and in television. Whether you need quick fix cold reading techniques, monologue technique or in-depth preparatory acting work, you’ll have reliable and methodical approaches to work on material in all genres. These step-by-step procedures are dedicated to elevating your material to performance level and can be used in role preparation, as well.  Once you hit your marks with consistency, the emphasis on the technical is thrown away, leaving you free to ACT.

Conquer audition nerves by crafting repeatable performances

LEARN

  1. How to establish the structure and arc of your pieces, aka the mechanics of creating a meaningful ‘journey'
  2. How to make specific, compelling choices that directors and casting directors consistently ask for
  3. Body language techniques that evoke and create honest emotional connections
  4. How to free your expression through a disciplined approach to text

STOP AUDITIONING.

START PERFORMING.

Build technique so solid your voice will be there even on a 'bad day'

© Copyright 2018 Chisholm Designs

Answer to a Belter’s Prayer

Barbra Streisand was my voice teacher.  Well… not literally.

Back then it was ‘Don’t Rain on My Parade’ - now it’s ‘Defying Gravity’; the belter’s dream. Sing along, and belt your heart out.

Even after having done a featured role on Broadway (at 14 – without a mic) and studying with the singing teachers ‘to the stars’, belting that D (today’s version – F, G…) eluded me – it wasn’t consistent or reliable. Teachers would tell me that I had a great instrument and offered some tips and exercises, but there was nothing substantive or specific – nothing that had a ‘cause and effect’ result. Just more scales.

Enter Ron Clairmont. Within 7 minutes of my first lesson I had more specific feedback and information than I knew what to do with; observations about my tight tongue, my neck tension, my elevated larynx.  My elevated …WHAT?
   
“Do you mean I can work on individual anatomical parts to improve my singing? There is something that I can DO to make specific changes in my voice?”

That was the moment that changed my life - the moment of ecstatic relief that singing was not just ‘magic’. That meant I could DO something; that I might have some control, some input regarding my ‘talent’. Then I can learn to do it BETTER, then I can FIX what I don’t like!!

Fast forward a few dream roles in regional theatres, some television roles and  1st National Tour of Les Miserables, to an Off-Bwy show that ran longer than anyone had anticipated; hence the need for additional income. With Ron’s blessing I began to teach, and from then on life was not the same. Fulfillment.  The exchange between teacher and student was deeply satisfying and in many ways more thrilling than being on stage. Ultimately there was no contest.

Thus began the journey into studies of anatomy-based vocal pedagogy and vocal health. Hundreds of hours of workshops, courses, internships in medical offices – specialized training that had begun with Ron. The rest, as they say, is history.

And back to the Streisand thread – When I eventually booked the coveted role of Fanny Brice in Funny Girl, I worked on the material with Ron before rehearsals began, of course.  At some point during tech week between the 10 songs and 18 costume changes, a startling moment of awareness came; it occurred to me that through the entire Funny Girl experience, I never once worried about my voice.

I remember the shiver that went up my spine; this is what I want to give to others.

That is my story.

credentials

CONSERVATORY and COLLEGE FACULTY

CONSULTING

VOCOLOGY INTERNSHIPS  and PROFESSIONAL DEVELOPMENT

CONSERVATORY, COLLEGE FACULTY and  PROFESSIONAL AFFILIATIONS  & MENTORING

Lisa’s tenure on the Board of Directors of the NY Singing Teachers’ Assn ( 2006-2011) established her as a mentor to esteemed colleagues, and she continues to guide and support teachers – some of  whom include her own current and former students - in their own processes. Affiliations include:

Studio Information

Lisa Rochelle Voice Studio
170 West 74th St, # 603/Amsterdam Ave
The studio is located on Manhattan’s Upper West Side,
2 short blocks from 1,2,3 train, W 72nd St Stop

Teaching Hours:

Mon-Thurs 11:30 - 7:30
Fri 11:30 - 5:30

To Schedule:

*Landline - No Texts

$120.00 - 1 Hour Lesson
$110.00 - 45 Minute(Or Discounted*) Lesson
$500.00 - 5 Lesson Series

First Lessons must be paid via PayPal through website 24 hours in advance of the scheduled time to hold the lesson. Checks/Cash are accepted after the first lesson; No Venmo at this time.

Payment is expected at the time of your lesson, with the exception of advance payment for all first lessons and series lessons.

Prepaid series of lessons must be used within 8 weeks of the first lesson. Arrangements can be made if travel out of town is required due to work.

*Discounts for AEA, SAG/AFTRA, AGMA, AGVA members, LaGuardia High School Students, NTI Alum, Marymount Manhattan College Alum, LoVetri SVW referrals and clients referred by Voice Therapists and MD's

Cancellation Policy

Your private lesson time has been reserved exclusively for you. If you need to cancel, a minimum of 24 hours notice by phone and email is required, or you will be responsible to pay for the missed lesson. If cancelling or running late, please note that the studio phone (212-724-3470) does not receive texts, so please leave a voice mail.

Not Sure Whether to Cancel?

If it is close to 24 hours before your lesson and you think you may be getting sick or anticipated a possible conflict, but don't want to cancel yet, call the studio phone to cover yourself, and we will go from there. That gives an opportunity to get someone "in the wings" and you're off the hook.

Running Late?

The studio phone does not accept texts. Please email and leave a message at 212-724-3470. Both will be checked on a break or if you are not on time.

For those travelling outside Manhattan, I strongly recommend using mass transportation in order to avoid traffic delays. I cannot extend the reserved lesson time or make-up lessons missed due to unreliable traffic conditions.

Location
The studio is located on the Upper West Side.

2 short blocks 1,2,3 train (W 72 St)

2 long blocks B, C train

Rates & Payment

$130.00
- 1 Hour Lesson
$120.00 - 45 Minute(Or Discounted*) Lesson
$550.00 - 5 Lesson Series

Payment is s expected at the time of your lesson, with the exception of 24 hr. advance online payment for the first lesson. Checks/cash are fine after first lesson; no Venmo at this time. Prepaid series must be used within 10 weeks of the first lesson, however arrangements can be made if travel out of town is required due to work. *AEA, SAG/AFTRA, AGMA, AGVA, LaGuardia HS, NTI & MMC Alum, Voice Therapy and MD referrals, LoVetri SVW referrals

First Lesson

First lessons must be paid via Paypal through the website 24 hrs. in advance of the scheduled time, to hold the lesson.

Pay for Lesson

Cancellations/Lateness

Your private lesson time has been reserved exclusively for you. If you need to cancel, I require a minimum of 24 hours notice by phone and email, or you’ll be responsible to pay for the missed lesson. If canceling or running late, please note that the studio phone (212-724-3470) does not receive texts, so please leave a voice message.

Not Sure Whether to Cancel?

If it’s close to 24 hrs. before your lesson & you think you may be getting sick or anticipate a possible conflict but don’t want to cancel yet, call me at 212-724-3470  as a ‘head’s up’ to COVER YOURSELF, & we’ll go from there. That gives me an opportunity to get someone on deck, and you’re off the hook. ☺

Running Late?

The Studio phone does not accept texts. Please e-mail AND leave a message at 212-724-3470. Both will be checked on a break or if you’re not on time. If you’re traveling from outside Manhattan, I strongly recommend using mass transportation in order to avoid traffic delays. I’m unable to extend the reserved lesson time or make-up lessons missed due to unreliable traffic conditions.                                          

Your question not answered here?  Please contact me at 212-724-3470 or at lisa@lisarochelle.com.

Thank you!

Your submission has been received!
We’ll get back to you shortly.

Oops! Something went wrong while submitting the form :(

COntact lisa

Use this form to get in touch with Lisa about lessons and coaching.

(212) 724-3470

lisa@lisarochelle.com