Tenor Gioacchino Lauro Li Vigni is an internationally widely sought out vocal instructor. Some of his students are among the highest calibre and popular opera singers in the world today, like for example Joseph Calleja, Michael Fabiano, Giuseppe Filianoti, Andrew Owens, and Tanja Ariane Baumgartner – along with many extremely talented, dedicated, less famous ones. He works principally in New York.
Jack is also a guest instructor at Royal Opera House Covent Garden’s Jette Parker Young Artist Program, and is the General Director of Mediterranean Opera Studio and Festival in Sicily. As a teacher Gioacchino is widely recognized as having the sharpest of ears in identifying vocal issues, explaining their impact, and helping singing professionals discern technical solutions.
Jack effectively demonstrates how to execute exercises that address identified technical flaws, explains why changes are beneficial, accurately imitates a singer’s incorrect vocal set up, migrating slowly to the correct way, explaining the technical principles involved, and giving the student immediate auditory examples along with technical instructions relating to execution.
A native of Brooklyn, New York, as a young child moved to and was raised in Palermo, Italy. Mr. Li Vigni’s father, the late Salvatore Lauro Li Vigni, was Gioacchino’s first mentor and himself a celebrated tenor. Salvatore studied for many years in Rome with a maestro of the teaching line of Antonio Cotogni teacher of Lauri Volpi, Gigli, Battistini, etc. We do not have record of the name of the maestro but have only a photo (shown here) which has been identified as possibly being Mario Basiola, the celebrated baritone and student of Cotogni. Salvatore eventually studied in Pesaro with Arturo Melocchi (teacher of Mario Del Monaco, Franco Corelli, etc).
Jack also coached and studied with many legendary singers and teachers, the most influential being Franco Corelli, Carlo Bergonzi, Arrigo Pola, Gianni Raimondi, and most recently with the outstanding Salvatore Fisichella.
Jack’s principle work with singers is helping them identify the correct “impostazione” or vocal set up yielding correct tuning and reinforcing of harmonics throughout registers. The process of approaching registration is based on harmonic tuning and not just mere efficiency. The legato line is addressed globally (physical, and acoustic adjustments) and stylistic choices are put into reach.
Jack teaches students at all levels and believes that learning to sing requires time, patience, determination, consistency, and significant talent.