Private Coachings via ZOOM and SKYPE

Due to public health concerns and developments with the coronavirus (COVID-19), I am re-envisioning how to manage On-Line Coachings for Audition Arias, Spoken Monologues, and Complete Role Preparation.

Please read through the information below and then Contact Me to arrange your coaching.

I thought you were brilliant in managing the Skype session….pacing, getting your point across even though you were on a laptop screen on a barstool across the room.   I felt you really connected even thru that medium and honestly it felt like you were in the room.   -Dean Williamson, Conductor–Music Director of Nashville Opera

This is great, thank you! It was really fun working with you today. I am a little surprised at how well it went from an technology standpoint-pleasantly surprised, that is. I feel 100% more confident and relaxed going into this audition. -Michael Drumheller, Bass-Baritone

Nothing replaces a One-on-One Coaching in person, but Coaching On-line is the only way to work right now. It does allow for flexibility in scheduling, especially when we are not in the same cities, and financial flexibility since you are not responsible for renting a rehearsal studio for us to work. I am always committed to keeping my own fee affordable for you.


Everyone seems to agree the best way to work online when the accompanist and singer cannot be in the same space is for the singer to use a pre-recorded accompaniment.

What this means, of course, is having singers work with an accompanist first to be certain everything is happening the way they need for their own performance, then recording that accompaniment, then working with me using that recording.


  • Several companies ask for spoken monologues as part of the audition package, and many singers have asked to work with me on spoken texts. We will analyze the monologue with dramatic tools and then tweak the presentation so you can perform it on camera or in a larger space.
  • There is no need for musical accompaniment. There will be an additional charge if you would like me to provide a monologue for you.

Role Preparation:

  • I help the singer to create the entire dramatic arc in a role by mining the text to create Character and Action. We will also approach the arias in order, ensembles and any recits or spoken dialogue. This work is directly applicable to presenting an audition aria and for preparing to realize a full production.
  • There is no need for musical accompaniment.
Available by appointment:

Weekday times vary per day–afternoons EST preferred. Weekend & Evening Hours TBA.

Please read the following instructions for preparation and then contact Chuck Hudson to arrange dates and times for your private coaching via ZOOM and SKYPE.

  • I am continuing to charge my low fee of $60.00 per hour for all of the various coachings listed above. Once you confirm with me you will pay for all the arranged coachings in advance.
  • Payment must be received 48 hours in advance. I prefer VENMO or ZELLE for payments. I am able to discuss payment options as we all deal with isolation and a lack of work.
  • Please email me a pdf of a clean copy of the music or monologue 48 hours in advance.
  • If your aria is not in French or English, I will also need a legibly written word-for-word translation on the line of music: not a translation on another page, and not the existing English translation of the piece which is not word specific. Monologues must be in English.
  • I need 48 hours to cancel or move a coaching time at no cost to you, since it will take me that long to replace the hour with another artist. You may cancel or re-arrange coachings after that, but it will not affect any fees paid or owing. Please note: due to limited availability, there are NO cancellations for Weekend coachings: once confirmed, you must pay for that time.
  • Please allow about 1 hour for each aria, song, or monologue you want to work.

    • Some arias with lengthier recits take about 90 minutes.

    • Monologues generally take at least 2 sessions before you are confident performing them on your own.

    • Role Preparation work will be spread out over several sessions.

  • Please see the above information about recorded accompaniment if you are singing an aria.
  • I need to be able to see your entire body as you are singing, so please place your camera at that distance.
  • Your aria must be memorized “off book.” For monologues we can work with the text in front of you for the first session.
  • Please be familiar with the entire opera or play and not just the aria or monologue. Our work of creating Action will be informed by the context of the selection within the entire work.
  • We will work on Audition Material such as an Aria from and Opera or Song from a Musical. We will not work on Art Song or Lieder unless agreed in advance.
  • PLEASE NOTE Singers who wish to work on The Doll Song from HOFFMAN, Glitter and Be Gay from CANDIDE, Mein Herr Marquis from DIE FLEDERMAUS, or “scenas” like Ophelia’s Mad Scene from HAMLET, Max’s Aria from DER FREISCHUTZ, Non monsiuer mon mari from LES MAMMELLES de TIRESIAS, or Zerbinetta’s Aria from ARIADNE: these pieces generally require me to stage the aria rather than coach the aria. If you would like to work on these pieces, please let me know in advance as they require special considerations and will require a longer period of time or number of sessions.

See photos of Chuck’s Coachings at San Francisco Opera’s Merola Program

Read what performers say about coaching with Chuck Hudson.