Having the opportunity to study voice under Mr. Livigni has been a revelation for me. Going from teacher to teacher for years, I was searching for a vocal instructor who not only possessed an expansive knowledge of the vocal mechanism, but also one who had mastered singing himself. After my first lesson with Mr. Livigni, I knew I had found what I was looking for. His vocal exercises, engaging teaching style, and trustworthy ear have guided and to continue to guide my singing towards achieving the fullest potential of my voice.
M. B. – Lyric Tenor
I have been fortunate to work with several great teachers during my singing journey, and among the greatest is Jack Li Vigni. Jack is passionate about beautiful, thrilling singing, has a deep understanding of the technical workings of the voice, and he imparts his knowledge to the singer in a way that is immediately useful in rehearsal and on stage. I feel I have grown by leaps and bounds during my work with Jack. He is a true link to the great singing tradition of the past and I expect he will be a very sought-after teacher in the near future. He is also a wonderfully kind and generous man, always positive and supportive while at the same time motivating the singer to reach their potential. I give him my highest recommendation, without hesitation.
Jack Li Vigni is a rare breed of Voice Teacher. He possesses talent in listening, communication, acute understanding of great singing, and an uncanny intuition of each singers personal artistic, and technical advancement.
He will put you on a path that will not only make you sing to your full potential, but give you a road map to be able to go out on your own and handle the challenge of bringing the performance of the studio to performance on stage. I feel lucky to work with Jack, and would recommend him to anyone who desires to further their development as a singer and artist.
I studied privately with a teacher for two years (and one year in
college), but in early 2011, I became dissatisfied with the progress
of my voice. I could not sing for over 30 minutes without experiencing
vocal fatigue and despite practicing diligently over the past two
years, I still do not have any of the tenor high notes. I also didn’t
like the sound I was hearing from recordings of my lesson; something
wasn’t quite right. I arranged a lesson with Jack in February to see
if he can offer some advice. In this lesson, Jack pointed out my
problems: singing with a flat tongue that is aggressively depressing
the larynx, singing without correct intercostal support (I was
supporting with the lower abs continuously pushing down and out), and
singing loosely, with inefficient cord closure. Under Jack’s careful
guidance, my voice has made significant improvement over the past six
months. By focusing on proper support and using the breath as the sole
mechanism to lower the larynx, the problem of tongue tension has been
mostly alleviated. But the most important thing that Jack has taught
me is that singing is about the vocal cords. No matter how open your
throat is or how well you can support your sound, if the cords are not
working properly, you cannot sing. Rather than going into full detail
about how Jack trained me, I will simply defer the technical things to
his online blog and to the man himself. But I have to say that his
teachings of the deep “oo” to stretch the cords, embedding the “eh”
sound in all vowels to close the cords, and to “sing more boyish (boy
in a cave)” in the passagio and higher have helped me tremendously. My
vocal development is still in its early stages, but with Jack’s
tutelage I believe I am on the right track. I look forward to working
with him in the coming years to complete my training.
I was privileged to study with Jack over the course of five weeks using an intensive format. Over the course of that month Jack expertly guided me as I began to explore the method of Italian singing. While I have by no means conquered all the technical hurdles of my voice, I have most definitely inherited principles that will guide me forever in my pursuit of mastering this art. I use the word inherited very intentionally because Jack isn’t just an instructor passing on information. In my experience he serves more as a vocal mentor. Whether you fly in for a single lesson or are a regular student, Jack takes you seriously, connects with your vocal struggles, and honestly yet humbly guides you on your path. There is no ego here, merely an honest love of the vocal art which strives to pass on a tradition firmly grounded in the great singers of the past.
I travel from Boston at least several times a month in order to take lessons with Jack. There are certainly plenty of voice teachers in Boston, and it’s no fun sitting in a bus for 9 hours simply for an hour lesson. The fact that I’m willing to do this speaks volumes about the worth of Jack’s teaching to me. Jack has an extraordinary set of ears, and a deep understanding of the capabilities of the human voice. He is very generous with demonstrating the correct sound in lessons, and he also has an uncanny ability to accurately imitate what a student is doing wrong, both of which are extremely helpful in improving your technique. Jack is also a nice human being, which matters to me, anyway.
I, like many singers, became an avid reader of ‘Tenor Talk’, a blog so insightful and full of vocal wisdom that it should require a monthly subscription fee. I contacted Maestro Li Vigni and met for a lesson and was blown away by what he had to offer. Li Vigni’s ear is so astute that he was able to identify a problem that had been plaguing me for some time, namely an overly-high laryngeal position. It had gone largely ignored, and at times encouraged, during my formal education. In that lesson, I was making sounds that took me by surprise initially. Fuller, rounder sounds, free of the ‘scraping’ sound that came with my larynx riding so high. I was cautious at first, since these concepts were so new to me. I left that lesson with mixed emotions: thrilled because I felt I was on to something, disappointed because I was about to leave for Europe for a couple years, relieved because these new sounds required half of the effort and energy I was expending previously, upset because I had gone so long without proper instruction like this. I demonstrated this new sound to some coaches and colleagues whose opinions I value and they all agreed it was a more balanced and complete sound. In my studies over the last few months in Europe, I have encountered similar approaches to this method of singing, from both instructors as well as two rather famous tenors, but no one has been able to explain it as clearly as Maestro Li Vigni. My only regret is that I am not able to pursue these new developments with him at home, but I know that I plan to schedule appointments with him for when I return. My only hope is that there is still room in his schedule for when I do!