Vocal Coach Bristol | Singing & Professional Speech Training

My Approach

Beyond the Mechanics

When you take the stage, vocal technique must be so internalized that it fades into the background, allowing your performance to take the lead. Because our own internal resonance distorts how we hear ourselves, achieving an instinctive sound requires the objective ears of a seasoned voice coach to bridge the gap between sensation and reality.

The Foundation of Excellence

My mission is to eliminate ingrained habits through disciplined voice training. This requires a period of earnest, repetitive toil—the bedrock of vocal excellence for both singers and speakers. We build this foundation without rushing, knowing that the quiet, rigorous voice work of today is the wings of your artistic expression tomorrow.

Trust the process; once your vocal production is solid, the mechanics vanish, leaving only your authentic voice to command the stage. Whether in song or speech, your hard work grants you the ultimate freedom: to stop thinking and start performing.

The Italian Secret and Articulation

The Italian language remains the timeless secret of vocal mastery; its pure vowels provide the perfect framework for resonant vocal production. My approach focuses on this classical foundation, refining your articulation to ensure every word is delivered with clarity and elegance—unveiling the natural beauty of your voice. I help you master everything from the most delicate pianissimos to powerful resonance, expanding your range across brilliant highs and rich depths, whether you speak or sing.

Preserving Your Unique Identity

* Many singers and voice professionals build their careers on a signature sound—a specific quality or "habit" that defines their artistic identity. My goal is never to strip away what makes your voice characteristic. Instead, my approach respects your unique vocal identity while providing the technical freedom to enhance it. Proper vocal technique should serve you, not change you.

Breathing: The Second Big Secret

To master proper vocal technique, we must return to our most natural state. We need only remember how we breathed as newborns—deeply and freely into the diaphragm. As we grow, the stresses of life subconsciously shorten our breath, leading us to neglect the diaphragm almost entirely. Today, most of us only engage it when sneezing or laughing heartily, rather than using it to support our voice. To truly sing or speak with power, we must reclaim this lost natural rhythm. This allows us to fully engage the sub-abdominal muscles, harnessing a foundation that ensures vocal quality, natural beauty, and health, not only in moments of great strength but also during the most delicate piana.

Embrace the Voice: Why There’s No Need to Fear Bel Canto

Bel canto, literally translated, means "beautiful singing". Yet, this ancient Italian technique is far from some detached, artificial science; at its very core, it stems from perfectly natural, healthy, and resonant Italian speech. It is an art that celebrates lightness, clarity, and the true essence of the human voice.

It is essential to be clear: true bel canto has nothing in common with those unnatural, often unpleasant sounds produced by some so-called opera singers today. Wherever vocal strain, artificial pressure, or dark, throaty tones appear—or conversely, those shrill and contrived "sonorous" fakes of resonance—that is where bel canto ends.

The authentic Italian school teaches us that the voice must sound free. It should not be "manufactured" through force but allowed to soar on the breath, just as when one speaks with joy and vigour. This is why this path is ideal not only for singers but for every vocal professional—actors, voice-over artists, and public speakers alike. Bel canto is not an unattainable goal; it is a return to your voice in its healthiest, most intelligible, and most natural form.

From Core to Clarity:
Mastering Vocal Strength with Effortless Grace

The Art of Expression: From Resonant Piana to Effortless Power

True vocal mastery is found in the ability to express the full spectrum of human emotion—from a powerful, ringing forte to a delicate, intimate piano. Whether you are channelling the dramatic intensity of Cyrano de Bergerac or delivering a high-stakes keynote at a business conference, building exceptional vocal stamina is essential. I help vocal professionals develop the technique to deliver quiet passages with clarity, avoiding the common trap of breathy whispering which can damage the vocal folds. Conversely, when the moment calls for maximum impact, you will learn to "open up" the voice safely, replacing forced shouting with a free and vibrant tone. This ensures a resonant, healthy sound that carries beautifully, allowing you to sustain your performance with unwavering stamina and longevity.

The Universal Instrument: Speaking is Singing, Singing is Speaking

Whether you are delivering a speech or performing an aria, the physiological mechanism of your voice remains the same. The only true difference lies in the range of pitch and the intensity of the sustain. Many speakers fall into the trap of a monotonous, robotic delivery, yet a truly engaging voice relies on the same melodic intonation and resonance used by professional singers. By mastering this shared foundation, speakers gain a dynamic presence that captivates an audience, while singers find a level of natural ease and clarity that only the spoken word can provide. My approach treats the voice as a single, versatile instrument, unlocking its full potential for every professional need.

Vocal Mastery for Singers:
Where singing meets the spoken word, the truest heart is heard

Don't be afraid of Bel Canto - Empowering Your Voice with Precision and Freedom

Unlocking Vocal Range: Brilliance and Ease Across the Whole Voice

For the professional singer, true freedom is the ability to navigate your entire range without hitting a ceiling or feeling a squeeze in the throat. My approach focuses on achieving a seamless, unified sound, ensuring that your high notes possess the same brilliance and ring as your middle and lower tones. By anchoring your technique in the sub-abdominal muscles, you eliminate the need for muscular compensation in the larynx. This results in a voice that is not only larger and more resonant but also remains agile and responsive, allowing you to focus entirely on your artistry rather than technical limitations.

The Foundation of Song: Singing as an Extension of Speech

The secret to effortless singing lies in the simplicity of the spoken word. In my approach, we treat singing not as a separate, complex task, but as a natural extension of speech, amplified by a broader melodic range and sustained resonance. By mastering the fundamentals of healthy speaking, you unlock a level of vocal authenticity that eliminates tension and artificial effort. This connection to your natural speaking voice ensures that your singing remains fluid and grounded, allowing you to bridge the gap between communication and artistry with ease. Whether you are sustaining a long phrase or reaching for the heights of your range, the voice remains as free and organic as a conversation.

My Own Daily Vocal Practice

There is no need to disturb the neighbours with endless attempts at singing high, powerful passages during practice. My teaching is not about mindlessly repeating difficult high notes and simply hoping they will come out right this time.

Instead, my training method is based on reciting the lyrics of the songs or arias I am studying. I always begin my morning warm-up by reciting the entire text on a single, monotonous pitch. I then repeat this process, gradually raising the pitch by semitones to gently warm up the voice. Throughout this, I maintain a low volume, ranging from piano to a maximum of mezzo-forte.

Later, I transition into singing, which I view simply as a form of recitation within the specific melodic range and pitches written in the score.

Tone Deaf?

Well, I am nearly certained that you are not!

Do you think you have no musical ear? You are likely not part of the 1.5% to 4% who suffer from true congenital amusia. For everyone else, "tone deafness" is often just a subconscious lack of focus on controlling the pitch - lack of controling how does it feel to be in tune.

It is far easier to mirror the human voice than a guitar or piano, as the rich overtones (harmonics) of a voice are what you likely be able to copy much easier than any other sound.

Most people struggle simply because they haven't been trained to recognise when they are singing in unison with the pitch they hear just yet.

Interestingly, those who believe they are 'tone deaf' often instinctively sing a perfect fifth above (or a perfect fourth below), instead of the actual pitch. This only confirms my theory that overtones are involved.

If you are willing to cooperate, I can prove to you within 20 minutes that you can sing nicely in tune. Anyone can learn to sing as beautifully as beautiful theire natural voice is.

Vocal Hygiene

Your Starting Point for a Healthy, Lasting Voice

Never force it: Stop if your voice feels off

Whenever you feel that something isn’t right, if your voice has changed, or if your throat feels sore, follow these rules immediately:

- Silence is golden: Speak as little as possible.

- Lower the volume, but NEVER whisper! (Whispering puts even more strain on your vocal folds).

- Do not ‘perform’: Whether it's singing or public speaking, stop immediately. Limit the voice production to real necessary minimum.

- Increase your fluid intake: Stick to lukewarm liquids and avoid extremes like ice-cold or hot drinks, as well as alcohol, which can dry out your vocal folds.

However, should you experience persistent mucus (or vocal strain) for more than one week, please consult an ENT specialist.

I could tell you countless stories about the permanent damage caused by pushing through a sore throat. Don't let your career be one of them.

Do Not Clear Your Throat – Sip Lukewarm Water Instead

Mucus in the throat is a natural sign of healing and, in a healthy voice, it acts as lubrication and a thin protective film that helps shield the vocal folds from bacteria. If you feel there is too much mucus, do not try to remove it by force. Frequent throat clearing pulls the vocal folds apart, increases irritation, and triggers the production of even more mucus. Instead of clearing your throat, sip lukewarm liquids (not alcohol).

However, should you experience persistent mucus (or vocal strain) for more than one week, please consult an ENT specialist.

Stay Well Hydrated

Proper hydration is essential for healthy voice function. The vocal folds need moisture to remain flexible and resilient. Drink water regularly throughout the day, especially before any vocal performance. Avoid excessive heat and prolonged exposure to strong sunlight, as both contribute to dehydration and vocal fatigue. In hot conditions, increase fluid intake and protect the voice accordingly.

Warm Up Before Vocal Load

The voice should always be gently warmed up before any vocal load, whether speaking or singing. Using the voice without preparation increases the risk of strain, fatigue and functional voice disorders. A proper warm-up helps activate the vocal mechanism, improves coordination, and prepares the voice for safe and efficient use. Never place vocal demands on a cold voice. Of course. I can teach you how to warm up your voice properly.

Rest is part of training

Whether it is during your training sessions or your warm-up routine, and especially before a performance, always allow your voice sufficient rest.

See your ENT specialist in time

If you feel that something is wrong with your voice and the problems persist for more than seven days, please consult your ENT specialist.

What They Say

What Industry Professionals Say

"I first met Pavel in 2006, when I was working as Director of Music at Clifton High School in Bristol. My job entailed the running of a large Music Department in what was then a Girls’ School; I had a full-time assistant and there was a team of visiting instrumental and vocal teachers.

Knowing that the year 2006-2007 was going to be my final one before I retired, I managed to persuade the school to take on a large ambitious project that meant performing Carl Orff’s Carmina Burana in the Colston Hall (now ‘Bristol Beacon’). The combined singers in the chorus numbered over a 100 and there was a full orchestra. One of the most famous parts of Carmina Burana is the tenor solo: ‘Olim lacus colueram’, ("Roasted Swan"). It is part of the central "In the Tavern" section and serves as a darkly humorous, plaintive lament of a swan as it roasts on a spit, contemplating its miserable end. I clearly needed a special singer who would understand the music and be prepared to submit to the dramatic demands of the text. As soon as Pavel auditioned for the role, I knew that he was the right person and would perform it in a spectacular way, not with falsetto but displaying his unusually high range with a full, natural head voice. I believe that he continued to perform as a tenor soloist in a number of local concerts.

After that period of time, I left the school and we lost contact. I believe he is still active, teaching singing. I know that his philosophy is based on Italian Bel Canto, and that he is currently preparing a website in which he explains his method."

Dr Jonathan Palmer
BA (Reading), PhD (Bristol), FTCL, ARCM, Cert. Ed

Former Director of Music at Clifton High School in Bristol

newlandmusic.uk

Bristol, January 2026

Pavel and I have been professional colleagues for many years, our paths often crossing in the inspiring atmosphere of the Brno Opera or during concerts with the Brno Philharmonic. Our close artistic collaboration began in the spring of 2006, when Pavel contacted me from England with a vision for a concert tour across Bohemia and Moravia.

The centrepiece of our programme at that time was the "Ave Maria" cycle, exploring its transformations through various eras and styles. Together, we performed works by masters such as Antonín Dvořák, Bedřich Smetana, Leoš Janáček, Franz Schubert, and Bach-Gounod. We also included Pavel's own composition, Ave Maria for tenor, cello, and organ. The series of concerts in May 2006—including performances at St. Lawrence Church in his native Bystřice nad Pernštejnem, the Baroque gem in Křtiny, and the Cathedral in České Budějovice—remains among my most cherished musical memories.

Pavel is a performer with an extraordinary sensitivity to the spiritual essence of the vocal text. His singing has always been characterised by technical assurance, a refined tone, and the ability to fill a sacred space with profound emotion, entirely free from unnecessary artifice. Our musical rapport was always intuitive and professionally seamless, which is essential for an organist when accompanying a soloist.

Although Pavel’s promising career was interrupted in 2014 by serious health challenges, which necessitated his return to the Czech Republic from England, we remained in close contact throughout his enforced hiatus.

Now, after more than a decade, Pavel stands on the threshold of his artistic comeback. I believe that his life experiences and newfound maturity will bring an even deeper dimension to his performances. It is an honour to support him on this journey, and I wholeheartedly welcome his return to the concert stage.

Mgr. Martin Jakubíček

Accomplished organist, composer and artistic director

frequently collaborating with world-renowned mezzo-soprano Magdalena Kožená and acclaimed ensembles such as Musica Aeterna and Capella Istropolitana

martinjakubicek.cz

Brno, January 2026

My path first crossed with Pavel’s in the spring of 2004, when my bandmates brought him to our rehearsal room. Apparently, he had been singing some of his own material to them on the guitar and they were thrilled with him. I, however, was not; his delivery was far too soft and 'bel canto' for our progressive rock project. I believe we met in the rehearsal room two or three times back then. Pavel came across as reliable. He tried to arrange his own vocal lines and had some ideas for lyrics. Eventually, he came to us with an apology, saying he was leaving for England. So, the matter was settled.

After his ten-year hiatus caused by serious health issues, I wish Pavel a heartfelt return to his beloved work and who knows, perhaps our professions will one day meet again.

Marek Ashok Šmerda

Guitarist, Composer, and Songwriter

Formerly of Cradle of Filth; also known for his work with Czech bands Root and Titanic

Featured at major festivals including Wacken, Hellfest, Graspop, Download, Bloodstock, and Brutal Assault

Official Facebook Page

Brno, January 2026

Voices of My Students

"I am a professional speaker, and I really wanted to learn how to use my voice more effectively both for singing and in my career. I often have to speak to groups of hundreds, and I found I regularly strained my voice or lost its natural quality when trying to project.

Working with Pavel, I learnt how to use my voice without damaging it and how to speak and sing in a way that feels completely natural. He has a genuine enthusiasm for the subject, and I loved the creative ways we practiced together. I still use his techniques every time I am speaking."

Chris Atkinson

Professional Speaker and Author, Bristol

www.chris-atkinson.co.uk

"In three weeks of sessions with Pavel, I learnt more about voice than I did in three years at Drama School. We worked together on a role, exploring the audition material using several different British accents. Pavel was an incredible help; I would wholeheartedly recommend him to anyone."

Malcolm Hamilton

Actor, Bristol

pmstudio.co.uk

Before choosing Pavel to be my singing teacher, I had worked through the classical signing grades (up to Grade 8) whilst at school but I had not sung much in the last 10 years. I was hoping to find a teacher who could help me "get my voice back" and to rekindle my enjoyment of singing and I opted for Pavel because of his snazzy website and promising reviews from his pupils.

Having now been taught by Pavel for over half a year, I'm very pleased I chose Pavel! He has taught me to change my classical sounding, and at times rather "thin" voice (especially in the top register), to a much more powerful "natural" voice and we are gradually expanding into my register using this singing style. I feel like my voice has really transformed for the better! Pavel's lessons are always a lot of fun as he has a wicked sense of humour and he encourages trying all types of music (I have sung classical, musical, pop and rock songs so far). I would really recommend Pavel if you want to increase the power and quality of your singing whilst also having an entertaining time learning to do so!

Georgie Collett

a singer, Bristol

"A very patient teacher"
"I was a complete beginner but Pavel is a very patient and knowledgeable teacher. His encyclopaedic knowledge of the physical process of singing has given me a much wider range, and helped me sing louder and more confidently.”

Rhiannon Buck

a singer and instrumentalist, Bristol

''I receive compliments''
''As a songwriter I always wanted to be able to perform my own songs although my singing technique was terrible and I severely lacked confidence. I used to have to make sure that gigs were always spaced a few nights apart to give me time to recover, but am now able to sing night after night without any discomfort. Since then I've continued to improve steadily, have never lost confi-dence and even receive compliments on my voice."

Richie Steadman

a singer, THE DAYLIGHT FIREWORKS, Bristol

When I started seeing Pavel I was a complete beginner… His lessons really helped to improve both my confidence and the quality of my voice! He has a brilliant knowledge of how the voice works and the techniques to help you produce your best and purist sound. It was really satisfying to follow a direction in my singing from Pavel and suddenly hear and feel the improvement in my voice. I enjoyed his direct no nonsense approach, he didn’t sugar coat it when It didn’t sound good… But he really motivated me to push myself and take my voice to a higher level. We did a mixture of classical and modern singing. The lessons gave me a unexpected and new found love of classical music and singing and it was in this that I felt my voice progressed the most.

Imogen Martin

a singer, Bristol

‘He taught me to sing 3 octaves’
''I've been singing with Pavel for about a year - I started from scratch. In the past year Pavel has taught me to sing over three octaves with a smooth tone (especially in the top octave). Most importantly I now sing confidently. Pavel's a hard task master, but he's great fun too.''

Mark Viney

Professor of Biology at University of Bristol, a keen amateur musician

'This is exactly what I needed''
“I always wanted to sing, but could never seem to use my voice in the right way. I feel that des-tiny brought me Pavel – he is able to explain everything I need to do in several different ways so I can always understand. The atmosphere of the lessons is very friendly and casual which is exactly what I need.”

Tereza Valentová

an amateur singer, Bristol

''Pavel is knowledgeable, patient and brutally honest''
"Before meeting Pavel, I constantly suffered from sore throats and a hoarse voice. Only now do I realise this was because of a poor vocal technique. By the end of my first lesson, the tremolo in my voice had been removed. My voice now feels much more freer, I rarely suffer from the throat or voice problems that plagued me before. Pavel is knowledgeable, patient and brutally honest."

Manveer Munde

an amateur singer, Bristol

Vocal Coach - Singing Teacher in Bristol

Meet Your Vocal Coach

Pavel Michael Josifek
Vocal Coach for Bristol

I am a professional vocal coach helping singers and voice professionals unlock their true potential through natural rhythm and healthy technique. My approach is based on the traditional Italian school of Bel Canto, which is fundamentally rooted in the principles of natural Italian speech.

My musical journey began with writing my own songs on the guitar, inspired by 70s rock, continued through solo performances in churches, and eventually led me to the stage of the National Theatre in Brno. As a member of the opera and later a concert choir, I spent a decade touring nearly all of Western Europe, performing in the most prestigious concert halls.

My teaching career began with tutoring children and school-age students on the guitar. Later on, I started taking on singing students, teaching them in our rehearsal space where I used to practise with my rock band.

However, my solo career truly took off after I moved to Bristol, England, in the spring of 2004. There, I connected with many professional musicians and collaborated with them on various solo projects, including Rossini’s Stabat Mater and Petite Messe Solennelle, Mozart's Requiem, Orff's Carmina Burana, Janáček's Otče Náš.

As soon as I had reached a sufficient level of English, I began teaching again. My students included singers from a wide range of genres and members of cathedral and boys' choirs, as well as professional speakers such as Chris Atkinson and actors like Malcolm Hamilton.

One of my greatest choral achievements was a month-long tour of European capital cities with the Cambridge-based choir English Voices, conducted by Timothy Brown in summer 2007. We performed Rossini’s opera Tancredi under the baton of René Jacobs, alongside soloists such as Bernarda Fink and Lawrence Brownlee.

In the autumn of 2014, however, due to serious health reasons, I was forced to leave England for my home country and step away from my career as both a singer and a teacher for more than a decade.

Now, after two years of recovery and a series of medical procedures, I am returning to my profession. I am currently based at home in Brno, Czech Republic, but I am looking for opportunities to relaunch my career in England.

Hello, my name is Pavel—the Czech version of the ancient Roman name Paulus, or simply Paul in English. In my life and work, I find myself navigating a path between tradition and raw energy. Although I carry the confirmation name Michael—a nod to my Christian heritage—I often jokingly describe myself as a 'Moravian Viking Tenor'. This duality, a blend of historical solemnity and pagan power, is a spirit that I strive to channel into every one of my performances. I come from Moravia, the eastern part of the Czech Republic, and I grew up not far from the stunning 13th-century Pernštejn Castle, which is a place you truly must visit. I teach people how to unlock the true potential of their voice by reclaiming its natural rhythm and foundation using the traditional Italian school of Bel Canto, which is fundamentally rooted in the principles of natural Italian speech. My mission is to help you develop a powerful, resonant sound that remains healthy and effortless, whether you are performing on a grand stage or speaking in a professional boardroom.

The Early Years & First Chords

My journey began in childhood, sitting by an old gramophone. I remember my mother patiently transcribing lyrics of pop songs for me, so I could imitate my heroes of that time. Back then, it was just a child's joy, later joined by the guitar and composing my own songs – pieces that, by the way, I still keep today and occasionally play for pleasure.

A Turning Point on the Choir Loft

Everything changed when I was invited to join a group of musicians in a church choir loft. Singing at masses and weddings was my first real school of solo performance and provided my first earnings. I also used to perform in local pubs, accompanied by my friend Karel, a phenomenal guitar player. A major turning point came when I was twenty-four. The renowned local choirmaster Mr Kšica, who was based in my home town (and whose son later rose to the position of Choirmaster of St Vitus Cathedral in Praha), saw something in me that I did not see in myself. He was enthusiastic about my talent and introduced me to Mr Babák, a singing teacher and former member of the Brno Opera.

Mr Babák completely captivated me, sparking a deep passion for the music of the Puccini era and Romantic opera in general. He also taught me the proper breathing techniques essential for the bel canto style. Until then, I had felt no desire to listen to opera at all; my mind had been entirely occupied by big beat and heavy metal.

From Rock to the Opera Stage

After a year of intensive lessons, Mr Babák took me to see the chorus master of the National Theatre Brno, who accepted me as a second tenor. The drive to improve my singing pushed me even further. I was being taught by the Italian singer Giancarlo Ruggieri, and later, the excellent baritone Vladimír Chmelo heard me perform and recommended me to his own teacher, the Italian master Paolo de Napoli.

But after only a few lessons, Paolo kicked me out. He had discovered I was singing in a hard rock band and told me he 'would not waste time with someone who ruins their voice with rock' "

Starting Out as a Teacher

I was twenty-five when I first started teaching guitar to both schoolchildren and adults. I had developed my own methodology, which was even endorsed by experienced teachers among my friends. I found the whole experience captivating—sharing my knowledge and having the realisation that I was capable of teaching others, and more importantly, that it was producing real results.

Only after several years of intensive self-study and performing with the Brno National Theatre Opera Chorus did I feel ready to start taking on my own singing students. There was a considerable amount of interest from vocalists across many different musical genres. I believe I was quite successful in this regard. We often worked together right there in our rehearsal room, amidst the raw energy of my rock band, where I spent my time songwriting and exploring a sound inspired by the classic rock of the 70s.

European Stages

I moved from the theatre to a professional concert choir, the Czech Philharmonic Choir Brno. With them, I spent over a decade touring the most prestigious venues across Europe, including the Beethovenhalle in Bonn, the Alte Oper in Frankfurt, and the Gasteig in Munich. My performances also took me to the Festspielhaus Baden-Baden, the Sala Verdi in Milan, the Congress Centrum Heidenheim, major concert halls in Salzburg, and many others.

In the rehearsal room with the phenomenal guitarist Marek Ashok Šmerda

I recall a pivotal moment when I was literally rushing from a rehearsal room with Marek "Ashok" Šmerda—the virtuoso guitarist who played with Brno legends Root and Titanic before joining the world-famous British band Cradle of Filth—straight to the airport to catch a flight to Bristol. We were working on a progressive rock project together, but even then, he felt my voice was perhaps a little too "velvety" for his sonic vision. It was a clear sign that my journey was meant to lead me toward the world of Bel canto, opera, and the vocal coaching career I build today in England.

A New Chapter in Bristol

My move to Bristol, England, in the summer of 2004 opened a new chapter for me as both a singer and a vocal coach: from local choirs to solo performances. Improving my English opened up a bottomless treasury of knowledge about the human voice and the opportunity to sing and teach even better. My students in Bristol include singers of various genres and ages – I have taught young members of the cathedral choir, adults, and enthusiastic retirees, as well as frontmen of rock bands. I also help public speakers and actors with their voices. Among my students was the Bristol-based actor Malcolm Hamilton, who is quite well-known today.

Career Highlights: Performing on the World Stage

The pinnacle of my choral career so far began with a successful audition in the Clare College Chapel in Cambridge. Performing for Timothy Brown, I took on the demanding "Cujus animam" from Rossini's Stabat Mater—complete with its signature high D-flat. This led to an engagement with the renowned ensemble English Voices for a major European tour in the summer of 2007. Performing Rossini's opera Tancredi under the baton of the legendary René Jacobs, we graced the stages of Europe’s most prestigious capitals.

This experience was more than just professional; it was a masterclass in artistry, sharing the stage with world-class stars such as the phenomenal Bernarda Fink or tenor Lawrence Brownlee.

Strolling through Valencia with the great Bernarda Fink

I also fondly treasure the memory of a long walk through the streets of Florence with Bernarda. Despite her international acclaim, we spent hours in wonderful conversation—helped by her fluent Czech, which she speaks thanks to her husband’s diplomatic career in Praha."It was a beautiful reminder that even the greatest stars remain incredibly humble, kind-hearted people. They didn't hesitate to invite a lad from Moravia to the bar for a pint and a chat, showing that they were just as happy to share a moment as they were to share a stroll.

Solo Repertoire & Career Highlights

While I’ve accepted that a career in a rock band is likely no longer in the stars for me (and my future bandmates are probably grateful for it!), my true passion remains rooted in the profound depth of the classical repertoire. That being said, the "old rocker" in me hasn't completely retired; every now and then, I still quietly tune my guitar at home and revisit the songs I used to write for my band back in Brno. It’s a little piece of my Moravian roots that I’ll always carry with me, even if it’s now performed for a much smaller (and perhaps more forgiving) audience.

Carmina Burana at the Bristol Colston Hall

My solo journey has been defined by works that demand both technical precision and a bit of "vocal bravery." A fond memory takes me back to 2006 at the Colston Hall in Bristol (now Bristol Beacon), where I performed the notoriously difficult tenor solo in Orff’s "Carmina Burana". Under the direct instruction of the conductor, I was asked to sing the part using my full, natural voice rather than the conventional falsetto. I managed to power through almost every one of those sky-high high Ds with natural resonance—except for the very last one, where I finally had to give in to falsetto. My dear friend Jonathan Price, Director of Music at Christ Church in Bristol, came backstage afterwards with a grin, teasing: "You were so close! You could have just held on for that last one!"

Under the baton of Adrian Partington

A significant highlight of my professional career was a fruitful collaboration with Adrian Partington, the long-standing Director of Music at Gloucester Cathedral. At his invitation, I participated in the 'Come and Sing' project with the Bristol Choral Society. During this production of Verdi’s Requiem, I performed the tenor solo parts, including the renowned aria Ingemisco.

Italian Bel canto

Beyond such vocal challenges, my heart truly belongs to the emotional richness of the Romantic era. I have a deep-seated love for the bel canto tradition and the sweeping melodies of the Italian masters Verdi and Puccini, the lyricism of the French Gounod, and the emotional depth of the Russian Tchaikovsky, as well as the charm of Italian serenades and Neapolitan love songs.

Whether it is the sacred intimacy of Janáček’s Otčenáš and Rachmaninoff’s Vespers, the grand scale of Rossini’s Stabat Mater and Petite Messe Solennelle, or the Requiems of Mozart and Verdi, I strive to bring authenticity and passion to every note of my repertoire to date.

Ranging from heavy metal to Romantic-era opera

I am fascinated by the voices of today’s greatest masters, such as Juan Diego Flórez, Andrea Bocelli, Rolando Villazón or Roberto Alagna. Their artistry is a constant source of inspiration to me. Yet, my heart never forgets where it all began—my musical roots. I still love to return to the legends like Iron Maiden, Helloween, Deep Purple, Led Zeppelin, and Jethro Tull or the slightly younger Finnish Nightwish for example, along with many others who will always hold a vital place in my soul.

FAQs

Common Questions & How I Can Help

For Singers (Beginners to Advanced)

Is it a problem that I have no experience with this?

Not at all. In fact, it’s often better that way. You’re a clean slate, which is a huge advantage because you haven’t developed the bad habits that many singers pick up after years of performing without any professional training.

Can you help me expand my vocal range without strain?

Yes, by using the correct technique that I can teach you, you’ll be able to reach those high notes with power or, conversely, in piano as required, without any strain.

How do I get rid of stage fright and a tight throat before a performance?

You need to learn the correct technique. You need to learn how to conduct yourself on stage and in front of your audience, leaving nothing to chance—learning it just as you once learned to read or write. That way, you won't have to worry about stage fright or a stiff neck. It shouldn't be a matter of luck; you need to be certain of everything you do.

Can you teach me how to sing rock or contemporary styles
without damaging my vocal cords?

Even if your unique technique or vocal personality means that you tend to constrict or tighten your throat on the high notes, I can help. I can show you how to shift that tension higher to reach those top notes with less wear and tear or, if you agree, we can work on removing that constriction entirely. The key is to ensure you don’t lose the vocal individuality that your audience loves you for.

How can I connect my chest and head voice to avoid that "break" in the middle?

I can teach you to sing in a way that does away with the need for terms like 'chest voice' or 'head voice', and you will no longer have to worry about a break in the middle of your range.

Can we work on phrasing and rhythm for my own original songs?

Yes, I love working with singer-songwriters to find the best emotional and technical delivery for their own material. At the same time, I always make sure that your original ideas, emotions and artistic voice remain at the heart of the song. My role is not to rewrite your music, but to support you as an advisor and guide — so that the final result is truly yours.

Do you teach growling?

Growling and extreme metal vocal techniques have their own specific physiological foundations and are the subject of professional voice research. However, they do not stem from natural voice production nor from the principles of bel canto, which form the basis of my work with healthy, functional voice technique. For this reason, I do not specialise in growling and instead refer students to my colleagues who specialise in these techniques.

Based on my professional knowledge, there is a very fine line between healthy and unhealthy so called growling. One form can be produced safely and is even used by voice professionals for releasing tension in the neck and laryngeal area, while the other may lead to vocal strain and long-term voice problems. If you sing using these techniques and experience any discomfort, hoarseness or vocal fatigue, I strongly recommend first consulting an ENT specialist and only then working with a qualified vocal professional.

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Do I need to be fluent in Italian to study with you

Certainly not. I don’t speak Italian myself, though I’ve mastered the pronunciation and key phrases through years of singing and studying the repertoire. We will work extensively with the Italian language, and we can always look up translations if needed, but you definitely don't need to be fluent.

Would you be able to help a rapper with their vocal technique to improve their projection and stamina?

Yes, absolutely. Even though I don't listen to that genre myself, I have a lot of respect for rappers. Helping a rapper is no problem at all, because rapping is essentially just recitation or speaking on specific pitches—much like ordinary speech or singing.

For Voice Professionals & Public Speakers

How can I speak for hours at a conference without getting hoarse?

I will teach you vocal endurance and how to support your speaking voice just like a professional singer.

Can I change my vocal tone to sound more authoritative and confident?

It's often just a habit, perhaps caused by nerves or tension, which makes the voice sound shrill. We can certainly work on breaking those habits to find a deeper, more grounded sound. Everything can be trained. We must ensure that you don't unnaturally push your voice deep into your throat; that results in a "lump in the throat" sound which is unnatural, can sound comical, and above all, isn't healthy.

How do I control my breath when I’m stressed and speaking too fast?

Much like the singers I work with extensively, we will work on your technique together. You will gain confidence and no longer have to feel stressed because, once you know the technique, you won't have to leave anything to chance.

Can you help me with clarity and articulation so I don’t sound muffled?

we will start by working with Italian. Through this, we will learn the absolute purity of vowels and consonants, so that your voice sounds clear and free from any mumbling.

How can I use body resonance to fill a room without a microphone?

Just as I do with singers, I will teach you the 'why' behind the voice. I will show you the technique of how to harness and multiply the resonance of the air passing through you, allowing you to fill a room with ease—without a microphone. You will gain the stamina and the ability to pour more expression into your speech. It’s like an actor, like Cyrano de Bergerac tossing his plumed hat aside; you won't just be shouting, you will be truly calling out with power and intent.

Contact your Vocal Coach

Get in touch and start your vocal journey in Bristol

Refined Vocal Training for Singersand Voice Professionals in Bristol, England

Believe it or not, your voice is the most beautiful musical instrument ever created. It deserves to be used wisely and freely, without unwanted* tension.

I can help you achieve it,