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Owned by Eva
A focused opera singing community with guided training, expert feedback, practical exercises, and support to build your voice step by step.
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92 contributions to Evateachingopera
4d •
Want me to analyse a real singing problem?
FREE MINI VOICE ANALYSIS ! Tell me your biggest vocal problem in ONE SENTENCE. I’ll choose ONE SINGER to send me a short video. With their permission, I’ll analyse it here in the Community so everyone can learn from it.
0 likes • 3d
@Sanna Teivaala-Luck Thank you, Sanna. I’m very happy to hear that the Online Masterclass feels so clear and practical for you, and especially that the filmed lessons, Lidia’s and Anatol’s perspectives, and the little practical “tricks” are helping you while working on your own. Your passaggio question is a very good one. For the free mini Voice Analysis, I would need a short video of your singing so I can hear what is happening through the passaggio. Just to be clear: if I choose your example, the short video and my mini analysis would be shared here in the Community so the other singers can learn from it as well. If you’re comfortable with that, you’re very welcome to send me a short clip for consideration. 🎵🎶 Eva
0 likes • 23h
@Avril Carpentier Avril, this is such a good question, and choosing the right repertoire is much more complex than simply asking, “Can I sing the notes?” The feeling you describe, “it felt right while I was singing, but when I listened back it didn’t sound like what I imagined”, is actually very interesting. Voice type, vocal colour, tessitura, technical development and also your natural artistic personality all play a role. This could be a very good example for the free mini Voice Analysis I mentioned in my post. If you would like to be considered, please send me a short video via WhatsApp: +43 699 11966888 Please choose a piece where you experience exactly this problem. If I choose your example, the video and my mini analysis would be shared publicly here in the Community, so everyone can learn from it. 🎵🎶 Eva
8d •
What’s Your Vocal Mystery?
Every singer has something that just doesn’t make sense. A high note that works one day and disappears the next. An exercise that feels easy, but falls apart in repertoire. A voice that feels free at home and suddenly tight in a lesson or audition. I’m starting a new short Classroom series: THE VOCAL TROUBLESHOOTER Real singing problems. Possible causes. What I would check first. And one practical thing to try. But I’d like to start with your questions. What is ONE thing your voice does that you simply don’t understand? One sentence is enough. I’ll choose some of your questions, answer one here in the Community, and turn others into new Vocal Troubleshooter cases for the Classroom.
0 likes • 4d
@Inessa Hovsepyan Dear Inessa, Thank you for sharing this. I still remember what happened to you, and I've often wondered whether the accident may have affected your voice in ways that go beyond the purely technical. This may sound unusual, but over the years I've occasionally seen singers whose voices seemed to hold on to certain protective patterns after a traumatic experience. Sometimes these patterns appear in very specific parts of the range, and that can make them difficult to understand from a purely technical perspective. Of course, I can't say whether this applies in your case, but it is one possibility I would keep in mind. If it does, it could also explain why several teachers have found it difficult to solve. I hope you'll eventually find the key to unlocking it. ❤️
14d •
What Do You Wish You’d Known Earlier?
Many singers spend years trying to solve something that suddenly becomes much easier when it is explained in the right way. Maybe it’s breath support. High notes. Vowels. Passaggio. How to practise. Or something completely different. What was it for you? One word or one sentence is enough. And if you are still looking for clear, step-by-step explanations, this is exactly what I teach in The Golden Path into Classical Singing Masterclass: 👉 https://singing.eva-lindqvist.com
1 like • 14d
@Samuel Colina I know exactly what you mean. As a soprano, I often had to walk on stage, swing a sword as Brünnhilde, and sing high Cs over a full Wagner orchestra. Staying calm and connected is a skill in itself. The good news is that it can be trained, just like vocal technique. 🎶
28d •
What are you working on this autumn?
New season, new focus. 🍂 What is ONE thing you want to improve in your singing this autumn? High notes? Breath? A new aria? More confidence? Stage presence? Something completely different? One word is enough. I’ll start: consistency.
0 likes • 20d
@Sanna Teivaala-Luck Thank you for giving us insights into your work with the Classical Singing Masterclass! Feel free to ask in case specific questions arise!
1 like • 14d
@Samuel Colina A wonderful choice, Samuel. German repertoire and especially Lieder are among my favourite things to coach. If you ever decide to explore them in more depth, I'd be very happy to work with you. 🎶
Sep 11 •
Bring Our Community to life! 💃
Maybe it was the summer heat. Maybe everyone simply needed a break. 😄 I’m very happy to keep offering ideas, vocal tips, challenges, live sessions, student examples and new material here. But this Community was never meant to be just a place where I post and everyone else reads. It should also be a place where singers talk to each other, exchange experiences, encourage each other, share discoveries, ask questions and inspire one another. OR....SIMPLY JUMP IN !!! 💃 Post a thought, a question, a little discovery from your own singing — or reply to something another member has shared. P.S. I’ll start: This summer I hurt my back, and I found it surprisingly difficult to get my singing voice to cooperate when my body was in pain. It really reminded me how closely voice and body are connected. Have you ever experienced something similar?
1 like • Sep 12
@Guinle Francis Thank you for sharing this, Francis. I think you've described something that many singers experience but rarely talk about. Pain and extreme heat can consume an enormous amount of physical and mental energy, leaving very little for singing. That's one of the reasons why I always encourage singers to listen to their bodies. Sometimes the most productive thing we can do is recover first, then return to singing with renewed energy rather than forcing our way through. I hope your back is feeling better now. 🎶
2 likes • 14d
@Samuel Colina That's a fascinating point, Samuel. Musical theatre places very different demands on the body than opera, especially when singing and dancing have to work together. I think the retraining afterwards is incredibly important, so the body can let go of unnecessary tension and return to a freer vocal coordination. Thank you for sharing your experience! 🎶
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@eva-lindqvist-5871
Opera singing, vocal technique and mental coaching for singers who want clarity, control and confidence on stage.
Active 23h ago
Joined Feb 5, 2026