general, the best that can be said about endorsements is that they reflect
the outcome of the exchange between teacher and performer. I don't
appreciate it when an artist lists me on their resume when they have taken
only a lesson or two with me, even though we might have made great advances
on their issues, and, I'm sure, vice versa. Work in the studio is not a
performance nor is it a public relations exercise; it is the enactment of a
partnership, a virtual team effort.
The issue isn't what I did for someone who has already "made it", but what you can expect of your voice when you are engaged in a solid building and development program with me. It is your voice we need to focus on. Most of my practice is based on referrals, as it has been for twenty-five years, not on advertisements. I very seldom accept someone who hasn't been referred to me by one my students. Yet, I do realize the need to research teachers.
With that in mind, and while still trying to bridge the gap between their and my privacy, I offer these comments about my teaching and students from a mixed forum of public and private figures.
Lara Teeter, Tony Award nominee:
"Eric, you are a total master. After all these years I can't believe my voice feels youthful again. And it has really started to grow."
"Eric, you are the best."
"Oh, my God. Her voice is perfection."
—Oprah Magazine giving a review on one of Eric's Operatic Protégées.
"The most beautiful voices I have ever heard."
—Walter Cronkite speaking about Eric's students
"You can't teach people how to sing that well!"
—Dr. Laura Schlesinger talking about a group of Eric's students
Dr. Edward Kantor, Laryngologist:
"Eric has the best diagnostic ears in the business."
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