McCray Studio

Voice development for classical singers
we want to hear you
welcome to the
McCray Studio
International Studio of Vocal Arts

Gioacchino Rossini was once asked:

“What do you need to be a good opera singer?”

His answer was:

“Voce, voce, voce!”

McCray Studio for vocal arts


Founded by the great American tenor James McCray, the McCray Studio for vocal arts is one of the most worldwide renowned studios for voice development. Influenced by the singing and teachings of Riccardo Stracciari, Robert Buckingham, Mario Del Monaco, with James McCray himself and Prizrenka McCray as teachers, the studio has among its most famous students soprano Eva-Maria Westbroek, tenor Frank Van Akken, baritone Anooshah Golesorkhi, bass Jaco Huipen, baritone Bastiaan Everink and baritone Mark Morouse.

What our students have to say…

James McCray opened the door to my voice, and therefore made it possible for me to live my biggest dream! Covent Garden, The Metropolitan Opera, La Scala di Milano, Opera de Paris, San Francisco Opera, Wiener Staatsoper, Liceo de Barcelona, Dutch Opera, Teatro Real Madrid, Frankfurt Am Main, Saltzburger Festspiele, Bayreuter Festspiele, etc.
Eva Maria Westbroek


With all of his experience as a singer, and especially as a tenor, in addition to knowing all there is to know about the function of the human voice, James McCray’s help for me was, and still is of immeasurable value, and makes him my vocal father. Frankfurt, Stuttgart, Covent Garden, Dusseldorf, Bayreuther Festspiele, Bayerische Staatsoper, The Metropolitan Opera, La Scala etc.
Frank van Aken


James McCray is one of the only vocal pedagogues whose teaching maintains the link to the golden age of opera and singing. If one desires to learn the kind of vocal technique used by virtually all of the truly great of Italian opera singers one need look no further! The Metropolitan Opera, San Francisco Opera, The Deustch Oper, Bayerische Staatsoper, Vienna Staatsoper etc.
Anooshah Golesorkhi


The voice blog

From opera singers for opera singers

How Well Does the “Fat Lady” Sing?

It ain’t over until the fat lady sings or so goes the saying…and with it the generalization that all opera singers are fat or better yet: that in order to be a good opera singer you need to gain a lot of weight.

Can I become an opera singer later in life?

For anyone considering to become a classical singer at any point in their lives, one question applies: ARE YOU CERTAIN YOU WANNA DO THIS?


In July of 1966, my family and I moved from New York City to Tel Aviv, Israel, in order for me to rehearse the tenor role of Riccardo in Giuseppe Verdi’s opera “Un Ballo in Maschera“, for the opening of the Israeli National Opera’s 20 th anniversary season,

How to practice singing at home

Your voice is an instrument you carry with you everywhere. Here are 6 tips to help you out on your regular home practicing.

Can I become an opera singer later in life?

For anyone considering to become a classical singer at any point in their lives, one question applies: ARE YOU CERTAIN YOU WANNA DO THIS?

Why should we transpose operatic music?

Are there any reasons not to transpose some operatic music? Why should singers not be allowed to transpose an opera aria?

Lyric or dramatic? How to determine your voice type

Likely the most important decision in a singer’s career: what’s your voice type? Are you a lyric voice or a dramatic voice? How can you determine it?

How to sing high notes?

How do I sing high notes?! Is a question that rates number 1 on most singer forums. There are too many theories on the topic. Do be careful….

How acoustic affects a singer’s performance

How does the acoustic of a room or hall affect your voice? How can it affect your performance while auditioning or in concert?

5 Tips to win stage fright

Stage fright? Performances anxiety? Fear of audience? Problems common to most performers that can be easily solved. Tip: let’s start with a few check points

The art of training and developing the voice

How to train the human voice – vocal technique to develop a complete operatic voice: from mask to breathing, from the larynx to chest voice

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