Vocal Health

Most people don’t think about ‘Vocal Health’ until they have a problem.

“I open/begin rehearsals in 3 days, and I’m having vocal trouble.”

“My high notes are going/I’m hoarse, and my callback/concert is tomorrow!”

Don’t let this be YOU.
BE PROACTIVELearn to take control of the vocal challenges that you can.

Much of my work of the past 2 decades has been devoted to helping performers prevent or recover from vocal injury. I frequently work with medical professionals in the re-training of compromised singing and speaking voices, drawing on many years of specialized training along with decades of both teaching and high-level performing careers. This experience informs my work with all clients and is an integral part of what I do.  

After ruling out medical issues, we’ll create a regimen that works best for your lifestyle. You’ll have the tools to rise to the occasion when the audition, callback, or job comes along, and you’ll have your voice for a long time after this job is over.  If there are medical conditions or pathologies  requiring attention and treatment, we’ll work alongside your doctor and/or voice therapist in developing strategies best suited to your needs. You’ll have established a sustainable practice for a rigorous touring or rehearsal schedule so that

You can focus on your performance – not on your voice.

You can focus on your performance –
not on your voice.

We’ll address issues relating to:

Vocal Strain
Vocal Fatigue
Hoarseness
Loss of Vocal Range
Raspiness
Breathiness
Nodules
Polyps
Pseudocysts
Vocal Fold Swellings
Mucus (Sinus, Allergy)
Muscle Tension Dysphonia (MTD)
Acid Reflux (GERD & LPR)

Female Belting

Avoid Vocal Injury - Train Your High Belt


A recurring theme I’ve seen over decades of teaching is the presumption by many singers - even natural belters - that they should be able to belt above C5*naturally and with ease (*octave above middle C).  Many are self-taught and can’t figure out why belting above C/D5 is not consistent for auditions or for all songs, why it’s tight or strained, etc.


Belters who have voices that last have developed techniques for mixing that sound like belting; they have learned to pick and choose when to ‘belt’.

In the early days of belting to C5 and the occasional D5, one could get away with minimal belt training and maintain 8 shows a week. Musical theatre today demands that we sing with everything from deliberate rasp and breathiness for style purposes to also singing with thrilling, open, powerful and sustained sounds past the upper break (E5). While nature intended those high ‘shouty’ sounds as cries for help while being pursued by lions, tigers and bears, musical theatre now requires that particular laryngeal function be made to sound thrilling and oh – for 8 shows a week (often after six 7-hour rehearsal days for several weeks) for months or even years at a time, during the run of a show.


High Belting is a skill that requires technique and training.

This is not to say that you won’t sound good or couldn’t get away with minimal high-belt technique for an audition or job. But if consistent, reliable singing and maintaining longevity are a priority for you, consider learning a great mix. In my experience as both teacher and high belter,  all healthy singing employs some form of mix to allow for variety and ease of register transitions and, most importantly, for long term vocal health.

Take a listen.

At the time of recording, each of the singers above had been studying technique exclusively with Lisa for at least 2 years.

Specialty Workshops
Tips and Useful Information

Your body is your instrument. Your speaking & singing voice use the same muscles.
Establishing healthy habits is one of the best ways to take care of your instrument.
Cherish your voice – it’s the only one you’ve got!

I offer seminars in Vocal Health Management that can be tailored to the specific needs of your school or group.
Seminars in NYC have included  the Broadway Experience, La Guardia High School, The Neighborhood Playhouse, Marymount Manhattan College

"I can say without any hint of exaggeration that Lisa Rochelle is a miraculous voice teacher. Having gone to a prestigious and competitive music conservatory years ago, I considered myself to have had solid technique before studying with Lisa. I had no idea of the potential for growth my instrument had or the unlocking that was possible through studying with her. Her knowledge of the vocal mechanism is limitless, and her kind but pragmatic demeanor makes her a powerful mentor; you can count on having a meaningful and dynamic lesson each and every time. I wouldn’t trust my voice with anyone else."

Jenna Dellacco - AEA Actor, Singer, Voice Teacher

"I have had numerous vocal technicians and coaches through the years.  No one comes close to the expertise and talent of Lisa Rochelle; she is the most knowledgeable voice specialist I have ever encountered. As a Cantor and singer with a 20-year career, I sing for my living and I need to be in top vocal shape all the time. Lisa is freeing my voice and giving me the tools I need right now, as well as for my longevity as a singer.  She is a consummate professional and a warm, kind, encouraging and loving soul; I trust her with my voice and my spirit and feel blessed to be studying regularly with her.  , Lisa offers invaluable performance guidance when I have a specific song to work on for a concert. I am so grateful to Lisa Rochelle, and you will be too."

Deborah Jacobson - Cantor and Singer

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COntact lisa

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

(212) 724-3470

lisa@lisarochelle.com