Teacher of singing
Classical (art song, concert rep)
Musical theatre (legit)
Diction and language coaching in English, French, Italian, German
Beginner, Intermediate, Artist-level
Male & female, 14 and up
Teaching Since: 1995
Manhattan, West Side (midtown, near Carnegie Hall)
Singing with an open heart...
The capacity to sing is given by nature to every healthy human being.
My teaching is grounded in principles of Italian bel canto and modern voice science, and informed by the Szamosi Libero Canto approach. This leads to insights that apply to singing across many musical styles and genres.
A fundamental principal is to sing with released flow of breath, without pushing, interfering, holding back the breath or darkening the voice.
Students are guided to let go of compensatory tensions in the body; to perceive subtler physical sensations associated with singing, along with enhanced ease and spontaneity, the feeling that one’s singing is personal.
A sense of playfulness helps to keep things in balance.
Singing is a human behavior which blends imagination, intention, musical artistry, and physicality. Singing enhances personal growth and self knowledge.
My studio includes students of varying age and proficiency, from beginner to artist level. Current students are performing classical, operatic, Broadway, tango, and pop.
Who has answers to my vocal concerns and problems?
You do. I can help you find these answers., and recognize what you've found.
What is a typical lesson like?
Lessons are generally once a week, an hour long; beginning with easy vocal exercises and stretching, followed perhaps by songs from the Italian Anthology, then proceeding to repertoire selected to enhance the student’s skills. Lessons do not follow a rigid format; working through issues that arise in encountering actual music enhances the student’s (and teacher’s) skill set.
What musical styles do you teach?
My students perform in all styles of music; my own starting point is in classical bel canto vocal technique, in a way of working that employs release and relaxation, that leads a student to deep insights about singing and voice. These apply to singing in many different styles and genres.
Is there a difference between a singing teacher and a vocal coach?
A singing teacher focuses on the basics of singing, while a coach works on repertory. Professional singers often have both a singing teacher and a coach. There is a big area of overlap, and often I may act in both capacities.
Full hour lessons; discount for blocs of four lessons, paid in advance.
Cancellations should be made 24-hours in advance; lessons should be rebooked.
I've had a studio in New York for over twenty years.
I served on the faculties of the 92nd Street Y School of Music, LaGuardia High School of the Arts (the “Fame” school), and taught workshops and MC’s for singers and actors in Greece.
At LaGuardia HS, I taught singing and directed the Opera Workshop; students have gone on to leading conservatories, and to distinguished performing careers at the Metropolitan Opera, Royal Opera, on Broadway, and other venues.
Education and training
I’m a graduate of the Juilliard School (BS) and NYU (MS), and studied privately with Antonia Lavanne, Edvin Sazamosi, Richard Torigi, Renato Capecchi, and others. I attended the Oberlin College Vocal Pedagogy Institute, Centro Studi Italiani (Urbania, Italy), and Montclair College Voice Science Workshop.
I am a NYSTA Distinguished Voice Professional, having completed the Oren L. Brown Professional Development Program core curriculum of Vocal Anatomy, Voice Acoustics, Developmental Repertoire, Vocal Health, and Comparative Voice Pedagogy.
I worked intensively with Dr. Alma Thomas, learning techniques of performance enhancement.
NATS (National Association of Teachers of Singing)
NYSTA (NY Singing Teachers’ Association)
NOA (National Opera Association)
OA (Opera America)
The Voice Foundation
I graduated from the Juilliard School, and was a Finalist in the competition of the Center for Contemporary Opera.
I’ve sung principal roles with Vineyard Theater, Encompass Theater, Stonington Opera Arts, VPR Opera, Pensacola Opera, Chattanooga Opera, Rockland Opera, Bronx Opera, and others. Soloist at Carnegie Hall (Stern Auditorium and Weill Recital Hall), the 92nd Street Y, Austrian Cultural Forum, the Actors Studio, and other venues in the United States, Italy, and Switzerland.
I have performed in nine world or US premieres. Press reviews have cited my "warm and persuasive singing,” and described me as "a wonderful singing actor."
“I started studying with Peter after 13 years of not singing. What impressed me the most (still does!) was his ability to take each student's voice and help them develop their own, unique vocal potential. There was no cookie cutter "this is what your voice needs/should sound like." Peter specializes in a healthy vocal technique that is free of tension and "vocal tricks," and his studio is a supportive and inviting place to learn.Traci Schanke
Through my work with Peter, I have discovered my own true and unique voice and rediscovered my love of singing. I have been able to sing opera roles (even one at Carnegie Hall!), in master classes for the New York Singing Teacher's Association and the Chamber Music Society of Lincoln Center, singing in recitals and choirs, as well as being a church choir section leader.
For all of these reasons, I highly recommend Peter Ludwig as a voice teacher for all levels from beginner to established professional! ”
“Peter was the person who helped me break out of a total confusion with my singing. When I met him I had just arrived to NY from Munich. I had such high expectations from my singing teacher in Germany but things did not turn out the way I expected. I had become a mess of tension and force but Peter worked with me so patiently that slowly my body's resistance fell apart. Nowadays, I get invited to sing in music festivals in the US and Europe. I am the band leader of a New York tango trio, about to release our first album. Peter is a true mentor and much more. ”Stratos Ahlatis
“I started to take singing lessons with Peter Ludwig in 2017. Peter immediately recognized what needed to be improved with my singing and we have been working on these issues since then with great success. Peter suggested to change my register from tenor to baritone which improved my singing tremendously. I am singing now with much more ease and much improved tone and in much better control of timbre and color. Peter’s advice on musical questions and interpretation are very helpful as well and have helped to make my performances a success. Thanks Peter!”Ferdinand Willeke
- Mozart Requiem | Carnegie Hall
Bass-baritone Peter Ludwig was cited for his “warm and persuasive singing” and “his skills as a wonderful singing actor” (The New York Concert Review ), while the Bangor Daily News praised his “rich, deep baritone.” Recent appearances include Horace Giddens in Regina (Marc Blitzstein), Doctor Bartolo in Il Barbiere di Siviglia (Rossini), Abbot/Astrologer in The Burning Fiery Furnace (Britten), Pistol in Sir John in Love (Vaughan Williams), Re d’Egitto in Aida (Verdi), and Don Sebastiano in La Zingara (Donizetti).
His repertoire includes comic and dramatic character roles: Drs. Bartolo and Dulcamara, Don Basilio, the Seneschal (Donizetti's Gianni di Parigi, American premiere), Dick Deadeye (HMS Pinafore), Talpa (Il Tabarro), the Sacristan (Tosca), and ten world or US premieres of new works.
Peter has sung at Carnegie Hall as bass soloist in the Mozart Requiem and Coronation Mass, Vaughan Williams' Dona Nobis Pacem, and the world premiere of Gerald Busby's song cycle Creatures Like Us (Weill Hall). He sang the world premiere of Mein Lebenslauf by Georg Schoenberg (son of Arnold Schoenberg) at the Austrian Cultural Forum, NY. He was bass soloist in the American premiere of Rossini's Messa di Gloria, and has appeared in recital and concert in Kaufman and Buttenwieser Halls (92nd Street Y), and other venues in the U.S., Italy, and Switzerland.
He has sung principal roles with Pensacola Opera, Chattanooga Opera, Stonington (ME) Opera Arts, Encompass Theater, Vineyard Theater, and at the historic Smith Opera House, Geneva, NY. As an actor, he portrayed Alan in No Moves Back by Martin Halpern (Equity Workshop production), and Moloch in Lark Ascending’s dramatization of Milton's Paradise Lost.
Peter maintains a voice studio in New York, and is Treasurer of the New York Singing Teachers’ Association. He taught at the 92nd Street Y, master classes in Greece, and at La Guardia HS of the Arts, where he directed the Opera Workshop; alumni and students pursue distinguished performing careers at the Met, Covent Garden, on Broadway, etc.