The Peytchinov Approach is a simple and systemic approach to singing based on the optimization of the acoustic spaces in the body.

Valentin Peytchinov had recently begun working as a Principal Artist at the Metropolitan Opera, when a terrible accident cut his contract short. The recovery spanned almost two years, and he was forced to cancel numerous contracts with various opera houses. His life was never the same after that, but as is often said, when one door closes, another opens. Full of an unyielding passion for his craft, Peytchinov redirected his efforts into passing on his knowledge as a teacher. So, he began sharing the knowledge he had gathered over the years from his instructors and mentors, among whom were the legendary singers Ghena Dimitrova, Nicolai Ghiaurov, Mirella Freni, Peter Gougaloff, Franco Corelli and Renata Scotto, and various coaches and conductors such as Alberta Masiello, Gian Carlo Menotti, Irina Stiglich, Zlatina Mishakova, and Jane Klaviter. 

However, even with such an incredible sphere of influence, he found that sometimes he couldn’t get exactly the result he was looking for from his students. These students were smart, consistent, and hardworking. So he began to question himself- what did he not yet know? Surely, if a good student cannot comprehend the content, it is a failing on the part of the teacher. Peytchinov could not sleep soundly until he found a solution for his students. He threw himself wholly into research, studying all of the historic treatises on bel canto singing, reading every book on vocal pedagogy he could find, and experimenting with vocal production, until he finally came to develop a system which worked extremely well, which was utterly simple, and which was easily received by students at all levels of vocal development. 

Today, Peytchinov and his apprentices continue to teach his approach to singing. It has been used to cure the most distressing of vocal defects and injuries, including vocal nodules, wobbles, vocal pain, and vocal fatigue. Outside of curing injuries and fatigue, the approach also has the following benefits:

-gives the student access to their full range of pitches, both high and low

-increases dynamic range both soft and loud, and maximizes the power of the voice

-eliminates the passaggio(s), or the “break” in the voice between registers

-maximizes breath control, and significantly lengthens the singer’s phrases

-gives the singer incredible accuracy when singing trills, riffs, coloratura, and all kinds of other articulations seen in all genres of music