Classical/Opera Singing Lessons in Paris and Online
Welcome. Whether you are taking your first steps in classical singing, aiming for a professional career, or already singing professionally, here is how I teach and what you can expect from lessons with me, in Paris or online.
I teach technique, expression, and musicianship in classical singing and opera, to singers who want a technique that works, a clear understanding of their instrument, and steady progress towards their goals. Those goals might be the simple enjoyment of this art form or a professional career that fits the industry as it is today.
I am a New Zealand-born contralto with a Master of Music in classical singing. I have sung professionally for over a decade, moving from mezzo-soprano to contralto along the way, and I have taught for a similar length of time. I now work as both a voice teacher and a freelance professional classical contralto, and I am equally passionate about each.
My lessons draw on the established classical tradition and its terminology, and on what voice science tells us about how the voice functions. I uphold the musical standards expected in classical singing with a trauma-informed approach, I leave out the hierarchies this field has historically carried, and I welcome singers who have not always found training that worked for them.
For beginners and amateur singers, that means a supportive place to build skills at your own pace.
For professionals, it means practical support for building a sustainable, multifaceted career.
At a glance
Teacher: Kayla Collingwood, contralto, Master of Music in classical singing, Graduate Certificate in Theatre Studies, ongoing PD in vocal anatomy, trauma-informed care, and other skills
Experience: over a decade of professional singing and teaching
Lessons: classical singing (opera, oratorio, art song, concert, contemporary classical)
Levels: beginner to professional, teens and adults (lessons for children draw from a range of genres)
Languages: English or French
Where: My private studio in the Paris area, or online
Approach: My approach is trauma-informed and grounded in voice science
About me
I am Kayla Collingwood, a contralto and voice teacher from New Zealand. I have lived in France since 2020 and am based in Paris.
I completed a Master of Music in classical singing at the University of Auckland and made my professional operatic debut in 2016. Since then I have sung as a soloist in recital, oratorio, opera, and at events in New Zealand, France, and beyond.
As a contralto, my repertoire now centres largely on art song and concert works, though opera was my main area as a mezzo-soprano. I have a wide knowledge of the classical repertoire (both vocal and instrumental), music history, and stylistic elements, as well as the technical demands of each style. That knowledge informs how we choose, learn, and perform repertoire in every lesson.
I also hold a Graduate Certificate in Theatre Studies, centred on somatic bodywork methods in performance training, and I continue my professional development in the ever-evolving fields of voice science and trauma-informed practice. Alongside private lessons, I run group workshops in Paris.
Why work with me?
There are many excellent classical singing teachers out there. Here is what I offer, so you can decide whether we are a good fit.
Experience on both sides of the studio. I have forged a professional career that works for me as both a singer and voice teacher. I know the realities of the industry as it currently stands, not how it worked 50 years ago, and will work with you to shape goals that work for you, whether you are singing for fun or building a career!
Fach from the inside. My own Fach journey was complex, so I know where voice categories help and where they fall short. My Voice Category Spectrum gives us a more flexible way to describe voices that are harder to categorise.
Tradition and voice science together. You learn the classical vocabulary and style, explained with up-to-date anatomical function as appropriate.
High standards, with consent and equal respect. Assuming initial technical skills are in place, we refine your musical accuracy and your technical and expressive approach to repertoire with precision and care. You are encouraged to build autonomy over time and advocate for yourself.
Realistic career support. I live the freelance reality myself, so we can work on recital programmes, audition videos, and artistic identity as well as technique.
Flexible options. Flexible or weekly lessons (subject to availability), beginners to professionals, in English or French, in the Paris area or online.
If that sounds like a good fit, send an enquiry through my teaching page. Le me know about your vocal history, experience, and goals.
The classical tradition and its terminology
Classical vocal music is a living tradition, shaped by historical tastes and modern demands. The bel canto ideals endure: a smooth, connected line (legato), evenness across the range, flexibility, well-shaped dynamics, and clear, expressive text.
We work with the vocabulary of the tradition (such as tessitura, passaggio, appoggio, vowel modification, coloratura...). We match it with what we now understand about what is happening in the body, while recognising that the research is still evolving. We also work on style, historically informed ornamentation, and the conventions of different periods and genres.
We apply all of this across art song, oratorio, opera, and other works of the classical tradition, and beyond for those who want to explore other genres. Text and diction matter in every language you sing, most often Italian, German, French, and English, and I help you build the tools and resources you need for each.
As a contralto, I know how few standard operatic roles exist for low voices and how much of our repertoire lives in song and oratorio. I help singers find repertoire that suits their voice and artistic identity, whatever their voice type.
Understanding Fach, and its limits
The Fach system is a useful shorthand for casting and for finding repertoire. It describes roles, though, not the full capacity of a voice, and voices change over time. My own voice began as a mezzo-soprano and settled into the contralto, and I was given many different voice type and subcategory labels along the way. I know how a label can open doors and close them.
Helping singers understand Fach, and where it stops being useful, is important to me. We look at tessitura, timbre, flexibility, stamina, and how your voice is developing, then choose repertoire that serves you now and leaves room for growth.
For a classical career, it is important to understand how the Fach system works, because it is the language of casting. Alongside it, I use my own Voice Category Spectrum, a model I developed for describing voice types. It works well across genres, not only classical, and is especially helpful for voices that are harder to categorise.
Grounded in how the voice functions
Images and sensations are powerful teaching tools, and the classical tradition is rich with them. I use them as a doorway into the mechanism, and I explain to the best of my ability what is happening anatomically, so that you understand your own instrument and can make your own choices.
In practice, that means plain, accurate language about the larynx, the vocal folds, the shape of the vocal tract, and how the breath and body coordinate to help us to create and refine sound. Registers, vowels, and dynamics are understood through what the voice is physically doing. This can feel like a lot at first, but many singers find that clarity helps them progress faster.
High standards, without the hierarchy
Classical singing asks for a great deal: secure intonation and rhythm, clear text, stylistic fluency, performance and storytelling skills, and the discipline to prepare serious repertoire with precision. I uphold those standards.
The field has also historically relied on steep hierarchies between teacher and student, and many singers have been in environments where their voice (beyond singing) was not valued and where unhealthy dynamics and even abuse were present.
I do not teach that way. My approach is trauma-informed: I explain what we are doing and why, we work at a pace that honours you and your experiences, and everything is seen through a lens of consent and equal respect. We work as a team, and you are encouraged to develop autonomy and advocate for yourself. High standards and respect work together.
Preparing for the industry as it is now
A classical career today rarely involves performing exclusively, so lessons need to look beyond performance too. Most of the professional and semi-professional singers I work with, across genres, combine performing and recording with other work, which may or may not be related to singing. Even at a high level, it is common for singers to work in restaurants, cafés, or temporary jobs between contracts. Few opportunities arrive unprompted, so we work on creating them.
Depending on your goals, that can include:
Building a recital programme that suits your voice and says something about you
Preparing for auditions, including self-recorded audition videos
Finding and approaching pianists, composers, and ensembles to collaborate with
Writing a bio and shaping a simple, honest online presence
Developing an artistic identity through your repertoire, your voice, and your story
I live this reality myself. I am a freelance singer, I teach, I run workshops, and I create my own projects. That experience shapes the practical side of every lesson.
Who I teach
I teach advanced and pre-professional singers, amateurs, people returning to singing, and beginners who want to start with a solid foundation, as well as anyone who simply wants to sing for the love of the art form. All you need is a willingness to try new things, take on new information, and put in the time and effort needed to progress towards your own goals.
I work with every voice type. If you have been given a Fach label in the past, we assess it for accuracy and look more broadly at the specific qualities your voice shows, so you can find repertoire in which it can shine.
Lessons are tailored to you and usually include technical work, repertoire, text and musicianship, and a clear plan for your practice between lessons. If you do not already have a good level of music theory, we include it in lesson time, as reading the written language of music is essential for classical singing.
What happens in a first classical singing lesson
Your first lesson follows the same shape whether you are a beginner or a professional singer.
A vocal anatomy crash course. Every singer, at every level, starts with a short, clear presentation of how the voice works. This ensures that you have an accurate understanding of the physical anatomy and mechanisms involved, and we clear up any misinformation you may have heard (there is a lot out there!).
A warm-up and vocal exercises. We warm up the voice with a simple exercise, which I adapt according to your level of voice use ability. This shows me what is happening in your voice, so I can hear what it does well, where we need to focus our technical work, and it also ensures your voice is ready for applying technique to repertoire.
A music theory check. I assess your current level of music theory. The aim is to work towards ABRSM Grade 5 theory, after which you can continue learning on your own, although I am happy to keep guiding you.
Repertoire. If you are at that level, bring your own repertoire and we begin working on it. If not, we start with something accessible, such as a folk song.
Beginners start with a folk song and often an early Italian song. These allow us to start developing technique, Italian language skills, and to begin becoming familiar with the stylistic needs needed for this repertoire.
Classical singing lessons in the Paris area and online
Private lessons take place in my studio in the Paris area or online, in English or French. Online lessons work well for singers anywhere, and for anyone who prefers to learn from home. A hybrid is also possible, if you live a little far from my studio.
I also offer group workshops throughout the year: https://www.kaylacollingwood.com/post/singing-workshops-paris
Frequently asked questions
What languages do you teach in for classical singing and opera technique?
The instruction language is English or French. I am able to teach you the pronunciation and diction for the main languages of singing: English, French, German, Italian. I am also able to teach Spanish, Greek, and Te reo Māori for singing, as well as skills for learning to sing in other languages I am less familiar with.
Can I start classical singing as an adult beginner in Paris?
Yes. Many of my students begin as adults. Developing classical technique, skills, and knowledge takes time, so it can seem overwhelming and progress may seem slow at first. Professional classical singers train for years and continue learning even at the highest levels, so be gentle with yourself and enjoy the process!
Do I need to read music to start classical singing?
No, you can begin without it. I assess your music theory in the first lesson and build it into our time together as needed. The aim is to work towards ABRSM Grade 5 theory, after which you can continue on your own, and I am happy to keep guiding you.
What genres do you teach?
In classical singing, I teach all the main genres such as opera, art song (Lied, mélodie...), oratorio, concert works, right through to music by living composers. Outside classical, I also teach musical theatre and contemporary genres.
I am (or think I am) a contralto, mezzo-soprano, or bass. Can you help?
Yes. I am a contralto myself, and I began professionally as a mezzo-soprano. I enjoy helping low voices find repertoire and a technique that suit them. Sometimes lower voices (or suspected) are indeed lower voices, other times they are not, and we find what works for you!
What is Fach, and do I need to know mine?
Fach is the German system of categorising voices by repertoire and role. If you want to sing professionally, it is essential to know. No matter what your goals are, we will talk about voice types and Fach as necessary to help you to understand your voice and to select appropriate repertoire.
Can a voice type change over time?
Yes. Voices change with age, training, and life, so we follow the evolution of your voice. It is also very common for people to have sung as a voice type which didn't feel right at some point in their life, and I do my absolute best to help you to find the best match for your voice, as it is truly such an empowering thing (and when not accurate, disempowering)!
Do you work with professional and pre-professional singers?
Yes. We can work on repertoire and programme planning, audition preparation, and the practical side of building a career (including branding), alongside technical, expressive, and musicianship skills.
Why should I choose you as my classical singing teacher in Paris?
You will work with a professional contralto who is passionate about voices and helping people to grow through voicework. I combine the classical tradition and its terminology with voice science and a trauma-informed approach, hold high standards with equal respect, and offer practical support for building a career in today’s industry.
What happens in a first lesson?
We start with a vocal anatomy crash course, then a warm-up and vocal exercises so I can hear what is happening in your voice. I also assess your level of music theory. If you are at repertoire level, we work on your own pieces. Beginners start with a folk song, and we add an early Italian song once you are ready for that.
What should I bring to a first lesson?
If you are a beginner, just yourself. If you already sing repertoire, bring a sheet music copy for anything you might like to sing (bring a few options if you aren't sure).
Where do lessons take place?
In my private studio in the Paris area or online.
How do I book a first lesson?
Send me a message using the enquiry form on my teaching page with a few words about your experience, your repertoire, and your goals, and we will find a time.
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