Jane has been singing her entire life, growing up in a musical household and studied piano, violin, organ and guitar. Her parents met through their singing and made it a family affair as they sang together as a duet team for many years, in addition to their own solo performances. Her brother is a pianist, singer and organist who works as a church musician. Her children are musical as they both sing and play instruments.
Jane attended the renowned University of Michigan as a Voice Performance Major and earned her Bachelor of Music, studying voice with Leonard Johnson. During her senior year, she took Masters Level courses in Voice Pedagogy, German Lieder, Oratorio, and Interpretation of Song with Eugene Bossart. Following her graduation, she continued her vocal studies with the respected New York City opera soprano, Eva Likova, and later moved to New York City to continue her operatic training.
After a time, she worked with the Metropolitan Opera soprano, Sherry Zannoth. When Sherry received a contract to sing in Germany, Jane went to her teacher, Maria Farnworth. Her vocal coaches in New York included Benton Hess, Julie Kuipers, and acting with Jay Lesenger.
Jane has performed with opera companies in New York City, as well as a participating in an opera workshop at the Juillard School, and seminars at the Manhattan School of Music. During this time, Jane performed leading roles of Rosalinda in Die Fledermaus, Violetta in La Traviata, and Leonora in Il Trovatore.
She has performed as a soloist with symphony orchestras and choruses under the direction such conductors as Christof Perick, David Tang, Scott Jarrett and Peter McCoppin, as well as presenting a number of recitals and concerts. She has appeared as a soprano soloist in concert with the Charlotte Symphony Orchestra in Rachmaninoff’s The Bells, Mozart’s Coronation Mass, and the opera Der Freischütz.
Jane has taught voice throughout her singing career, and has embraced teaching singers of all different styles and genres. She has many years of experience the teaching concepts learned from her rich background as a classical opera singer. She is proud to teach the best aspects of healthy vocal technique to popular music singers to help them navigate the demands placed on their voices. Her studio includes students who sing pop, rock, jazz, musical theater, contemporary Christian, folk, country, and classical.
Many of her students are working, professional performers pursuing singing careers as solo artists, or with bands. Three of her students have made it through the first, second and third rounds of two different television reality singing shows, while others have released their own albums. She was the vocal coach for the Christian rock band, Philmont, and for John Mark McMillan.
Jane studied voice with seven different teachers, as well as many vocal coaches. Each one of them brought their own special gifts to the table and helped her to develop her abilities as she gained knowledge and artistry from their teaching. Along the way, experiencing different perspectives and various approaches taught her both how to sing and how not to sing. Her teachers always encouraged Jane to teach voice, and she has done so throughout her singing career.
As the years progressed, and as she gained a wealth of experience teaching, she began to refine the way she presents information to her students. Many nonclassical singers joined her studio with little or no vocal training, and it became evident to her that their vocal lessons required a new approach. They needed clear and easily understood instruction to give them enough information about the voice without overwhelming them with too much technical detail.
Initially, many were concerned that they would learn vocal technique that would give them a classical sound, but the exercises and approach in the technique Jane teaches are not specific to any particular singing style (although they certainly are robust enough to develop a classical voice). Rather, following her progressive curriculum of vocal training gives singers a reliable foundation and helps to create sounds that are strong, pure, and healthy.
Jane also has twelve years of experience teaching children both in her studio, and as the director of a children’s choir program at one of the largest Lutheran churches in the Southeast, in addition to teaching Kindermusik for seven years. Jane has a firm understanding of the child’s voice and is very particular about the training of young voices.
Jane has taken her teaching experience and written a book on basic vocal training for the low, medium and medium high voice in three editions: Teach Yourself to Sing! 20 Singing Lessons to Improve Your Voice, Sing! Teacher’s Edition: 16 Singing Lessons to Teach Your Students, and its companion student book, Sing!: Vocal Theory and Exercise Instructions. She has sold over 500 copies of the Sing! series of books and is currently working on the next book on extending the medium-high and high ranges and developing vocal flexibility, due to be published in mid 2020.
For any level of singer, the Sing! books and modules present basic tools to help you learn to sing with a healthy vocal production through a series of progressive exercises designed to improve your vocal fitness. This technique teaches basic, healthy, and reliable skills for any style of music, with systematic instructions and practicing guidelines that provide a progressive and successful course of vocal study.
All Sing! editions are available in a print version through the Amazon bookstore, and the Teach Yourself to Sing! and Teacher’s Edition are also available in a Kindle version which allows you to access resources directly from your mobile device or home computer through interactive embedded links.
Jane Edgren sings with a clear, warm and inviting voice that draws the listener in from the very first note. Her musicality and attention to words and poetry reveal her as an artist who brings relevance and beauty to the music she sings.
As a Lyric Spinto Soprano, Ms. Edgren specializes in classical concert repertoire particularly suited to her fach, including the Britten War Requiem, Barber’s Knoxville: Summer of 1915, the Mozart and Verdi Requiems, Vaughn Williams Dona Nobis Pacem, and Rossini’s Stabat Mater.