I have been studying The Rabine Method since 2017 and it has opened new possibilities for me, both technically and in my interpretive power as a vocalist and as a teacher. Starting in this approach as a professional opera singer, I was impressed by the method’s depth and precision especially when addressing advanced topics, such as singing in the upper register in a pianissimo dynamic and messa di voce. Mastery over some of these difficult technical aspects can be successfully achieved when issues related to body, breath, alignment are coupled with knowledge pertaining to vocal fold function, vowel shapes with their associated muscle groups and registers. Your mind and your body become equal partners in creating sound! Cultivating respect for your unique and precious instrument seems to be a cornerstone of this method’s philosophy.

Backed by science and detailed anatomical knowledge, Eugene Rabine’s quest for a superior vocal instrument that is both free and capable of precision has led to a method that takes all the body’s system into account, including the nervous system and all its complex responses.

From the outside, the body exercises that are a major feature of the method may seem simple, but when correctly instructed by certified teachers, they trigger complex muscle chains, skeletal responses and involvement with the autonomic nervous system in ways that create wonderful results. The innate wisdom of our body is fully employed. As any athlete or dancer will attest to, when the efficient responses are practiced, programmed and you trust in the body’s wisdom, amazing things can be achieved.

It has been wonderful to work with Uwe Götz and his team of amazing instructors that are actively carrying on great work in the field of vocal pedagogy. Not only is this method sound and effective, I’m happy to report that I’ve found it to be quite approachable, even for students with limited experience and it is also appropriate for older singers. My students in their 60’s, 70’s and 80’s have improved dramatically, recovering ranges they had thought lost to age and breath control they thought was out of their reach. This system safely addresses the whole instrument you live in. There are real answers here. Breathing and phonation are all part of the artist’s palate. Vocal folds are not just for singing but a vital part of the respiratory system. The nervous system is also part of our singing (whether we want it to be or not!) so issues surrounding anxiety and stage fright can be overcome. It’s all tied together in this holistic approach.

As the first American to graduate from the institute as a CRT, I am happy to have the continued support of a wonderful network of instructors and colleagues. During the last year of my training, I also had the pleasure of working with a CRS candidate. Now a mentor and a CRS, Elisa is extremely experienced and knowledgeable and continues to be an invaluable resource.

My experience with this method has taught me that we are not just singers, but worlds of sound and expression. I am thrilled to bring this method to the USA. Start a beautiful collaboration with your instrument with The Rabine Method!