Dr. Mark Alan Stingley Voice Studio
Mark Stingley is highly regarded for his impressive musical background. "The solo vocal parts were taken to fine effect and beautifully sung," The New York Times wrote of Mr. Stingley. The Chicago Tribune said, "He has a clear, pure voice that never waivers." He received his Bachelors Degree at the University of Kansas and continued his education at both the St. Louis Conservatory of Music and Universität für Musik und darstellende Kunst in Vienna, Austria. Prior to his tenure in Vienna, he twice received vocal fellowships from the Tanglewood Festival. While at Tanglewood, he was the recipient of the High Fidelity/Musical America Award and performed a Stephen Paulus world premiere with the Boston Symphony Orchestra. He recorded an Austrian National Radio broadcast singing Italian arias and was the soloist for numerous concerts and recitals, including a performance of Schumann's Dichterliebe with pianist Jorg Demus. He has sung roles with Aspen Opera Theater Center, Lake George Opera Festival, Opera Theatre of St. Louis, Knoxville Civic Opera, Mississippi Opera, Lyric Theatre @ Illinois, Chicago Opera Theater and sang a recital series in Boston and Chicago for UNICEF. Mr. Stingley has been soloist with many orchestras including the Boston Symphony Orchestra, St. Louis Symphony Orchestra, New York Chamber Orchestra, Aspen Music Festival Orchestra, Grand Rapids Symphony Orchestra and Elgin Symphony Orchestra to name a few. Among Mark Stingley's numerous awards and honors are a winner of the Nakamichi Vocal Competition, NATS Regional Grand Prize winner and finalist in the MacAllister Opera Awards among others. Concerts and recitals always have a major place on Mark's calendar. In addition to a solo concert in Paris, France, he most recently sang a recital on Chicago's Fourth Presbyterian Concert Series followed by the Lyric Opera of Chicago Chorus. Mr. Stingley has been a featured soloist with Grand Rapids Symphony, Elmhurst Symphony, Lafayette Symphony, Park Ridge Symphony, DuPage Symphony, Elgin Symphony Orchestra and was a soloist for the world premieres of Novena and Lumen Christi by composer Nancy Galbraith. He also received rave reviews for a solo concert with orchestra and the Downers Grove Choral Society titled "An American Journey: The Songs We Love" at the Tivoli Theater in Downers Grove, IL. Upcoming engagements include a role in the world premiere workshop of Mohammed Fairouz's new opera "Bhutto" with Pittsburgh Opera and a premiere of five new lieder by Austrian composer, Herwig Reiter in Vienna. In addition, Mr. Stingley is highly acclaimed as a National Anthem soloist for the Chicago Bulls and Chicago Bears, maintains a very successful private voice studio, in demand as a clinician, adjudicator and teacher and is pursuing his DMA at the University of Illinois.
Tanglewood Festival: World Premiere of Stephen Paulus' Letters for the Times -
"The performances were again superior. The solo vocal parts were taken to fine effect and beautifully sung by Mark Stingley."
New York Times
Gilbert & Sullivan Opera: Gilbert & Sullivans' Princess Ida -
"Mark Stingley has a clear, pure voice that never wavers."
Able to read music
Frequently asked questions
What is your typical process for working with a new student?
I have been very privileged to have had numerous wonderful teachers in my life and strive to incorporate their strong influences and concepts into my own teaching. Having a professional singing career in Europe and the United States, combined with over 20 years of teaching experience has enabled me to have a broad insight into the development of young singing actors. Major influences include:
Ø W. Stephen Smith, Edward Zambara, Jerold Siena - voice teachers
Ø John Wustman, Walter Moore (Vienna), Dr. Julie Gunn - vocal coaches
Ø Christian Thielemann, Claudio Scimone, Stephen Lord - conductors
Ø Colin Graham, Edward Berkley, Frank Corsaro - stage directors
The most important goal of a singer should be to express the text and to evoke an emotional empathy and understanding by the audience. A singer's vocal technique is of course a vital tool used to achieve that goal, but it is only a tool that allows the singer to express the music and text of the music most effectively.
I employ a holistic approach with my students, engaging them in a physiological and mental awareness of their unique voice with expectations and goals clearly defined. Students are taught vocal technique through a precise sequence of vocalises and then those objects are realized throughout a student's repertoire. Administering repertoire that is significantly beyond that student's capabilities may harm his or her development and confidence. Conversely, giving a student consistently overly simple repertoire most certainly will impede or delay their vocal progress. Suitable literature should be chosen in a series of steps that lead the student to more complex material gradually, methodically, and with great discernment. Simultaneously, increasing their confidence and establishing enthusiasm for knowledge and a love of music. Addressing proper posture, inhalation, exhalation, clarity, and vibrancy of vowels without compression and tension are fundamental. A teacher must coalesce an expert and evolving understanding of vocal pedagogy with the ability to discern and direct a program of study that is ideally suited to the individual student. By fostering critical thinking and a continued study of these principles in the practice room and voice studio, students acquire a more instinctual approach to their vocal technique in performance. This leads to the singer being able to deliver the text and music with the utmost emotion, expressiveness, musicality, and artistry using their "unique voice"; their voice without manipulations. A healthy instrument, vibrant with ease of production is the culmination. Furthermore, it is my role as a teacher to help the singing actor find artistry in the music, refine their language skills, and motivate the student to pursue a scholarly approach to singing.
We as musicians, faculty, and students, like our nation and a compassionate society, are made up of men and women of diverse racial, religious, and ethnic backgrounds, with varied lifestyles and approaches to life. Instead of trying to make everyone fit one mold, diversity acknowledges people's differences and works with those differences to create a fairer and more productive learning environment. The notion of diversity integrates awareness of, and respect for, differences in the way people communicate and interact both academically and musically. I have always enjoyed and thrived on having a very diverse voice studio. Students of mine continuously bless me with their innate interests in different nationalities, languages, and cultures.
Before pursuing my DMA in vocal performance and being the administrative assistant at Lyric Theatre @ Illinois/Opera Department, I taught voice at the collegiate level for 14 years as well as classes in vocal diction, vocal pedagogy, and vocal literature. At the same time, maintaining a thriving private voice studio with students pursuing careers in a wide variety of styles and genres. I have worked diligently to become a professional singer and vocal pedagogue in addition to having a strong passion to empower every young student to progress beyond that which is expected to that which is distinctive and exceptional.
What education and/or training do you have that relates to your work?
I have a doctorate (D.M.A.) in Vocal Performance and Literature.