Stefano Lenzi
About
I am a professional vocal coach, singer, and musician with over twenty years of international experience in performance, recording, and higher-level music education. Today, my work focuses on helping singers develop a healthy, flexible, and expressive voice for modern styles, particularly pop and jazz, while building strong technical foundations and artistic awareness. I combine deep practical experience as a performer with a structured, research-based approach to vocal training, making my lessons suitable for both serious students and working professionals.
I hold a Master’s Degree in Jazz from the National Conservatory of Santa Cecilia in Rome as a Voice Major and a Professional Music Degree in Voice from Berklee College of Music in Boston. Alongside my formal education, I have pursued extensive professional training in vocal technique, jazz improvisation, piano, and composition, including Estill Voice Training certification and long-term study with internationally recognized teachers. As a performer, I have appeared in jazz festivals, theaters, and music venues across Italy, Europe, and the United States. I am also active as a producer and arranger, and I contributed to the double-platinum album Stonata by Giorgia (Sony Music Italy). My own album Re-Gudu, released with the Stefano Lenzi Quintet, was published by JazzIt magazine and received strong critical acclaim.
Teaching has always been a central part of my career. I have taught voice, vocal ensembles, and improvisation at leading institutions in Rome, including Saint Louis College of Music, the Santa Cecilia Conservatory, and New Voice Studio Brilla Paglin, where I also lead masterclasses in pop and jazz vocal technique. In 2020, I founded my own voice studio, and my ongoing pedagogical research led to the creation of the Voice Training Music project. This work has been presented at the annual conference of the Association Européenne des Conservatoires (AEC) and is currently adopted by several conservatories as preparatory repertoire for jazz and pop vocal studies at both undergraduate and postgraduate levels.
Teaching Style
My teaching style is structured, personalized, and strongly connected to real musical practice. I believe that vocal technique should always serve expression, style, and artistic identity, rather than exist as an abstract set of exercises. Lessons are tailored to each student’s voice, goals, and musical background, whether they are beginners building fundamentals or advanced singers refining control, flexibility, and stylistic confidence.
In my lessons, we work on vocal balance, breath coordination, range development, tone color, and stylistic interpretation, with particular attention to jazz and pop repertoire. I often use specially designed preparatory songs and exercises drawn from my own pedagogical research to bridge the gap between technique and repertoire. My goal is to help students develop not only a reliable and healthy instrument, but also musical independence, awareness, and a clear artistic voice.
Curriculum
My teaching method is based on the development of vocal balance through a technique that respects the natural physiology of the voice. Rather than imposing a fixed sound or stylistic model, I guide students toward efficient coordination, freedom, and awareness, allowing the voice to function in a healthy and sustainable way across different modern genres, especially jazz and pop.
A central element of my work is the use of a graded and progressive preparatory repertoire. Before approaching the student’s chosen songs, we work through a specific set of short, musically engaging pieces designed to isolate and address individual technical and expressive elements. This repertoire allows for gradual development, focusing on balance, range, coordination, articulation, and musical intention, while remaining stylistically compatible with contemporary vocal aesthetics. Technique is always applied directly to music, so technical work and repertoire evolve together rather than being treated as separate stages.
Once a stable vocal balance is established, the same principles are applied to the student’s personal repertoire. In this way, students learn how to transfer technical solutions into real musical contexts, gaining independence and confidence. My goal is to help singers build a reliable instrument, deepen their musical understanding, and develop an expressive voice that feels natural, flexible, and responsive.
In my teaching, I draw inspiration from the historical tradition of preparatory repertoire used in classical vocal and instrumental pedagogy, where short, progressive musical forms were designed to integrate technique and musical expression. This approach informs my own pedagogical materials, particularly the Songs for the Voice collection, which I created specifically for modern vocal training.
Songs for the Voice, Vol. 1 consists of short, progressive songs with meaningful lyrics in English and Italian, written within a comfortable vocal range and designed to address specific technical and expressive goals. These pieces function as a bridge between vocal exercises and full repertoire, allowing students to work musically while developing coordination, balance, and stylistic awareness. The collection is currently used as preparatory repertoire in several conservatories for jazz and pop vocal studies.
Depending on the student’s level and background, I may also reference selected traditional vocalises and historical methods as supplementary material, always adapting them to modern stylistic contexts and individual vocal needs. All materials are used flexibly, with the goal of supporting healthy vocal development, musical curiosity, and long-term artistic growth.