Joel Jameson, bass, enjoyed a prolific performing career. As a leading operatic Bass he has performed a
wide range of Verdi roles including: Ramfis and the King in Aida; Sparafucile in Rigoletto; Padre Guardiano in La Forza del destino; the Friar in Don Carlo; Wurm in Luisa Miller; Dr. Grenvil and Marquis in La Traviata. Other Bass roles he has performed include Sarastro in Die Zauberflote; Figaro in Le Nozze di Figaro; Leporello, Il Commendatore, Masetto in Don Giovanni; Colline in La
Boheme; and Ralph in La Jolie de Perth. Noted debuts include the prestigious Caramoor Opera Festival in Katonah, New York singing the role of Gazella with Will Crutchfield conducting Lucrezia Borgia; Houston Grand Opera singing the Fifth Jew
in Salome conducted by Maestro Christoph Eschenbach with the Houston Symphony; Minnesota Opera and Opera North Carolina singing the role of the King in Aida conducted by Richard Buckley and Karen Keltner. Other performances
include Pittsburgh Opera, Sarasota Opera, Opera, Cleveland Opera, Opera Festival of
New York, Long Island Opera, West Side Opera and Opera Illinois.
Mr. Jameson studied voice with Ms. Dodi Protero, New York City; Metropolita
Opera Bass Jerome Hines, Newark, New Jersey and Dr. Thomas Cleveland, Director of Vocology at Vanderbilt Universities Voice center. He participated in Mr. Hines Young Artist Development Program, Opera Music Theater International, (OMTI) of
Newark, New Jersey where he was introduced to Mr. Hines opera, I AM THE WAY. Mr. Jameson had the privilege of performing the role of Jesus in the Resurrection of Lazarus scene and holds the distinction of the only Bass who has performed the role
of Jesus in this scene since the death of Mr. Hines. He made his Carnegie Hall debut with the New England Symphonic Ensemble as Bass soloist in Mozart’s Coronation Mass. Other concert performances include Beethoven’s 9th Symphony and Choral
Fantasy, Mozart’s Requiem, Verdi’s Requiem, and Handel’s Messiah. He performed as Bass soloist in selections
from the Verdi Requiem at David Geffin Hall, Lincoln Center, NY.
A specialist in Germen Lieder, he studied with Ms. Margo Garrett at the Juilliard
School of Music. His studies culminated in in a recital tour of Franz Schubert’s Winterreise with Ms. Eunice Kim, accompanist.
The tour ended with his debut at Paul Recital Hall, Juilliard School of Music.
In 2014 Mr. Jameson founded the Nyack Civic Orchestra and Nyack Chamber
Orchestra. At that time he held the position of Associate Professor of Music, Vocal department chair and
Director of Choral Activities at Nyack College in Nyack, NY. He produced several orchestral concerts where he co-conducted and performed the Bass soli in Mozart’s Requiem; Bass soloist in Beethoven’s 9th Symphony and Choral Fantasy and performed the role of Dr. Grenvil in Verdi’s La Traviata. As Principal Conductor and Vocal Coach of the Nyack College Opera Workshop he conducted the operas Carmen, La Bohème, La Traviata, Il trittico, Die Zauberflöte, The Merry Widow, and Die Fledermaus. As conductor of the Nyack College Chorale he programmed many concerts, participated in performances with Mid-America
Productions at Carnegie Hall and took domestic tours throughout the United States and one international tour to England. He held the position of Director of Choirs at several churches where he conducted Handel’s Messiah, Mendelssohn’s Hear My
Prayer and Mozart’s Requiem as well as programmed countless individual motets
from the 16th-21st centuries.
Mr. Jameson received his Bachelor of Music degree in Vocal Performance from Illinois Wesleyan University, Masters degree in Vocal Performance from the University of Southern California, and an Artist’s Diploma in Professional Operatic
Studies from the Pittsburgh Opera Young Artist development program, Tito Capobianco, General Director. He participated as a Studio Artist with the Sarasota Opera co.
Mr. Jameson continues to perform in the New York area and maintains a
private voice studio in New York City and Rockland county NY. JamesonVocalStudio.com He is also co-founder with his wife, Shelley Jameson of BRAMASOLE-an Operatic
Training and Performing Institute for emerging artists.
I strongly believe great teaching begins from having studied
with great teachers. During my graduate school years at the University of Southern
California I studied with Dr. Tom Cleveland, PhD in Voice Science.
Tom is currently one of the nations leading voice scientists having recently retired from a distinguished career as Director of Vocology at Vanderbilt University Voice Center. A student of William Vennard, Tom instilled in me the belief that a singer needs to know exactly what the
vocal instrument does through practical, scientific explanation and technical study.
In my teaching I work on developing the singers technique by first having them
relax their jaw as you would for an [a] vowel, inhale silently through the mouth in an
open throat position maintaining good posture. I explain how the diaphragm lowers
creating a “down and out” feeling in the abdominal muscles and the need to
maintain that expansion for support as they sing. I teach the correct use of
articulators-tongue placement and lips, while maintaining a dropped, relaxed jaw an
open throat, low laryngeal position and raised soft palate. Breath management,
correct inhalation and exhalation, are the foundation of great singing. While correct
breath management may not cure every problem a singer has, it will definitely help
every problem. I believe a great teacher should emphasize the application of breath
management in every lesson.
Upon moving to New York, Dodi Protero became my permanent voice teacher. Ms.
Protero, was a specialist in the bel canto tradition of singing and training of the
voice. Dodi studied with the great Italian coloratura, Toti Dal Monte. Dodi taught
me the importance of singing a legato line and how it allowed for the full expression
of the voice. I learned how to use my technique in a more expressive way and began
studying the great operatic bass arias and roles.
During my initial years of study with Dodi, I also had the tremendous honor of
studying and coaching with Mr. Jerome Hines, the great operatic bass who sang at
the Metropolitan Opera for 41 consecutive years. Mr. Hines was the founder and
director of OMTI (Opera Music Theater International) where I was awarded a
Fellowship. From him, I learned countless details of vocal technique and character
development that I needed to enter the performing world of opera, as a confident
singing actor. The principals of solid technique, beautiful legato singing, great acting
and character development are the cornerstones of my teaching beliefs.
The development of a singer is a multi-faceted project that requires mastery of
many skills. Studying the principals of acting, expression of text, language skills,
stage movement, technique and much more requires a patient and determined
attitude. In my teaching I realize that my students need a variety of experiences to
help refine their skills. I believe the stage is one of the greatest teachers. Singers
need to perform. They need an environment where they can practice their craft and
work to diminish their fears of failure. I also believe performing in a group setting
helps singers not take themselves too seriously. I offer my students an extended
studio class where they perform for each other. In this setting I ask them to first
compliment and then critique each performance. Singers who perform in a group
setting are given the opportunity to laugh at their mistakes and receive the support
and encouragement they need from their peers to help build confidence in
performing. I love creating opportunities that challenge singers to expand their
ideas of what they can accomplish by helping them take risks they never thought
Singing is the greatest expression of life’s journey. Simply stated, teaching singing is
an opportunity for me to collaborate with my students and help them achieve their
dreams. My ultimate goal is to bring with joy and enthusiasm my knowledge and
experience I received from my great teachers to the next generation of singers.
Joel singing "O freunde nicht diese töne" from Beethoven's ninth symphony