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Juanita Lascarro studied in Cologne with Klesie Kelly-Moog, and continued with Patricia McCaffrey in NY.
As a member of the ensemble of Oper Frankfurt, Juanita Lascarro has become one of the company's finest assets, earning critical acclaim for her performances as Contessa, (Le Nozze di Figaro), Pamina (Die Zauberflöte), Manon, Lulú, Suor Angelica, Violetta, Agrippina, the three women in Mr. Broucek by Janacek, Zdenka (Arabella), Musetta, Lucia di Lamermoor, Ninetta (La Gazza Ladra), Micaela (Carmen), Donna Elvira, Antonia (Les Contes d'Hoffmann), Ilia (Idomeneo), Agilea (Teseo), and Daphne, Martha, Juliette, Martinu, amongst many others.
The title role of Richard Strauss' Daphne has been particularly significant in Juanita Lascarro's career. After making her British debut in the British stage-premiere of the opera for Garsington Opera, she has since sung the part for the Deutsche Oper Berlin under Christian Thielemann, for De Nederlandse Oper under Ingo Metzmacher, for Frankfurt with Sebastian Weigle and in concert with Edo de Waart at the Amsterdam Concertgebouw.
Other notable appearances have included debuts at the Wiener Staatsoper and Bayerische Staatsoper as Juliette (Romeo and Juliette); as Susanna (Figaro) and Oberto (Alcina) at Opera Bastille and Teatre Garnier in Paris; as Fiorilla (Turco in Italia), Melisande (Pelleas et Melisande), Musica and Eurydice (Orfeo) at La Monnaie, Brüssel; as Poppea at Opernhaus Zürich; as Poppea, Antonia, Mimi (Leoncavallo) and Adele (Fledermaus) at Theater an der Wien; as Marguerite (Faust) in Opera Leeds; as Henze' s Manon (Boulevard Solitude) at the Gran Teatre del Liceu, Barcelona; at the Laoula in L'Étoile under Sir Simon Rattle; Aura at Teatro Real, Madrid, and Lenio Martinu's The Greek Passion at the Royal Opera House, Covent Garden.
In concert her performances include appearances with Gewandhausorchester Leipzig under Lothar Zagrozek, Deutsches Symphonie Orchester Berlin under Vladimir Ashkenazy; the Israel Philharmonic Orchestra under Antonio Pappano; the Gürzenich Orchestra under James Conlon; la Orquesta Sinfónica Nacional under Carlos Prieto; and the Danish Radio Symphony Orchestra under Jesus Lopez Cobos; the London Philharmonic Orchestra at the Proms under Michiyoshi Inoue; the Finish Radio Symphony Orchestra under Sakari Oramo; The London Sinfonietta (BBC Prom) under Markus Stenz, the Bachiana Brasileira with the 12 cellist of the Berliner Philharmoniker at The Royal Albert Hall at The Proms, Berlin and the Salzburger Festspiele.
Her discography include Les Contes d'Hoffman and Alcina for Erato, Der Silbersee for BMG, Die Verlobung im Traum for Decca, Der Zwerg for EMI, La Senna Festeggiante for Opus 111, Arcadian Duets from Händel for Virgin, a selection of Spanish songs for Opera Tres, with the Katona brothers, a selection of De Falla works for Channel Music; Il Medonte for Deutsche Hamonia Mundi, Julietta (Martinu) for Oehms and Haydn Opera Gala for Capriccio.
Lascarro has been teaching singing for the past ten years, and has given master classes in Universidad de los Andes, and Teatro Mayor, Bogotá; EAFIT and UDEA, Medellin; Music am Fronhof, Augsburg; Hochschule für Musik und Tanz, Köln.
breathing technique specialist
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Ralf Simon studied opera singing at the University of Music and Performing Arts in Frankfurt-Main with Prof. Martin Gründler.
There he received a scholarship for the Handel Academy in Karlsruhe with Paul Esswood. He was in Charles Spencer's song class and worked on his skills in the Lied-Fach with Schumann's “Dichterliebe”.
Afterwards he was a member of the opera studio of the Deutsche Oper am Rhein, Düsseldorf and from 1997-99 a member of the ensemble at the Theater Bremen and became then freelanced.
Simon continued his vocal studies with Patricia McCaffrey and Neil Semer in London, New York and Frankfurt.
The versatile tenor made guest appearances at the Frankfurt Opera, Cologne Opera, Cologne Philharmonic, Berlin, Bern, Düsseldorf, Dortmund, Darmstadt, Nuremberg, Magdeburg, Baden near Vienna, Halle, Gießen, Mainz, Wiesbaden, Schleswig Holstein and the Schwetzinge Festspiele. In addition to his star roles, Tamino in Mozart's “Magic Flute”, Lenski in Tchaikovsky's “Eugene Onegin” and Hoffmann in Offenbach's “Tales of Hoffmann”, he has a broad repertoire from early music, the baroque, Mozart, Donizetti, Rossini, Verdi, and Wagner up to and including to many operettas and world premieres (Panni, Kalitzke).
His lively concert activities in Germany and abroad have taken him to Zurich, Basel, Israel, Alte Oper Frankfurt, Paris, Versailles, Munich's Prinzregenten Theater and Herkulessaal, Riga, Tallin and Portugal. Recitals in Baden-Baden, Abbottsbury, Dorset and Frankfurt with the song cycles “Dichterliebe” by Schumann, Benjamin Britten's “Winter Words” or Schubert's “Schöne Müllerin” are important creative stops in his career.
Live radio broadcasts (NDR Hannover, BR Munich, HR Frankfurt) and CD recordings (label cpo: Johann Strauss' "Das Spitzentuch der Königin", Offenbach's "La Perichole", by Franz Lehar "Das Fürstenkind", Leo Fall "Die Dollar Prinzessin ”, Gustave Kerker“ Die oberen Zehntausend”and von Lortzing“ Regina ”) complete his oeuvre.
At the Association of German Singing Pedagogues (BDG), he successfully completed the training for the vocal pedagogy certificate. He developed a Personal Online Coaching for breathing and vocal technique.
We cater to you individually. Because as individual as each person's body is, so is their instrument and voice.
We will accompany you on your way so that you can expand your experience with yourself and your voice in a controlled manner.
The didactic goal is an understanding of yourself in relation to your craft as a singer. Your projects, whether amateur or professional, are in excellent hands and ears.
Our method is based on three main circles that we use when we are speaking or singing. The training around:
- the diaphragm and the muscles involved
- the larynx and vocal cords
- the upper respiratory tract
is the craft that you have to learn to understand and feel in order to withstand the high challenges when you use your voice on any stage.
The first column of an excellent voice technique is the respiratory tract and of utmost importance is the way you control the breath flowing. Endurance, volume and control are at home here.
The Larynx is where, in combination with the controlled air, sound waves are produced. Your highest and lowest notes and every note in between.
The space above the larynx is critical to your sound strategy. Colors and articulation and the seat of your voice are defined here.
With 25 years of experience on the theater stage, on the concert podium and as singing teachers, we are dying to teach you and pass on our knowledge to you.
We have got to know the passion to sing in all its shades and thus combine theory with practice in class. Likewise, the vocal pedagogical and vocal physiological findings of the last 135 years from experience with different methods and views have flowed into a modern, also interdisciplinary, vocal study.
We apply all meaningful and necessary parts to the current knowledge of didactics and methodology of vocal pedagogy in order to do justice to the individual sound and its development.