Column: Meet the voice coach who’s become a ‘spiritual guru’ to Hollywood’s biggest stars

In reflecting upon the life and career of Eric Vetro, I find myself utterly captivated by his remarkable journey and unwavering passion for his craft. A master vocal coach with an extraordinary knack for nurturing raw talent, Vetro’s story is one that resonates deeply with me – a fellow lifelong learner who finds immense joy in helping others reach their full potential.

A secret center of the musical theater universe lies almost 3,000 miles from Broadway in a modestly grand house in Toluca Lake. On a late summer day, the home’s most striking feature was the figure of a white standard French poodle. Visible through one of the windows flanking the front door, she sat so still that she might have been mistaken for a statue, like the lion-dogs that guard the entrance to a Shinto shrine.

In a hypothetical scenario, if musical theater had a watchdog, it might be a standard French poodle. However, this isn’t the case. When the door was opened, the dog, Belle, showed polite curiosity before venturing further into the house, her nails, brightly painted neon green, glinting. She momentarily halted beside her owner: Eric Vetro, a renowned vocal coach and trainer for many high-profile stage and screen performers, including several of the main actors in the upcoming film version of “Wicked.

Ariana Grande, known for portraying Galinda, frequently discusses the extensive time and intense effort she dedicated to improving her vocal range and tone prior to trying out for her coveted role. It was Vetro who served as her coach during this period.

Similar to how he guided Jonathan Bailey in his portrayal of Fieyro, he also collaborated with Jeremy Allen White for his acting as Bruce Springsteen in the upcoming “Deliver Me From Nowhere,” Timothée Chalamet for “Willy Wonka” and an upcoming Bob Dylan biopic, “A Complete Unknown.” The same goes for Renée Zellweger’s Oscar-winning performance as Judy Garland in “Judy,” Lea Michele for “Funny Girl,” Austin Butler for “Elvis,” Josh Gad for “The Book of Mormon” and “Frozen,” Emily Blunt for “Into the Woods” and “Mary Poppins Returns,” Emma Stone and Ryan Gosling for “La La Land,” and Halle Bailey and Melissa McCarthy in the upcoming “The Little Mermaid.” In each case, he assisted these actors with their respective roles.

The list goes on and on and on. It also includes plenty of equally well-known recording artists, such as John Legend, Shawn Mendes, Katy Perry and Pink. Indeed, if a famous actor or singer refers to the work they’ve done with a vocal coach, there’s a very good chance they are talking about Vetro. Invariably in very glowing terms.

As a movie critic, I’d rephrase it as follows: Although I’ve always been known for my high soprano range in pop music, portraying Galinda called for an entirely new approach. This character’s voice is classical and operatic, and I was fortunate enough to collaborate with Eric daily to perfect this new sound. He would add a touch of pink and green nail polish and adorn my hair with little pink ribbons before each audition or callback, making me feel both prepared and cherished. There’s no doubt that he’s an exceptional professional, but beyond his talent, he’s also one of the kindest individuals I’ve ever met.

Today, Vetro, aged 68, adorned in a sleek black Prada jacket and footwear that harmonize with his neatly trimmed beard and hair, presents an impressive sight. He flashes a captivating, radiant smile and possesses the slender, eloquent hands of a proficient pianist. It was through music that he found his way in; he’s been playing piano since he was just five years old. As a vocal major at New York University, Vetro spent numerous years performing in cabarets, an experience he credits for teaching him two important lessons: understanding the capabilities of a voice and discerning what it ought to express.

Instead of emphasizing the loudness of their voices, it’s essential to recognize and nurture the beauty in the softer tones of young female singers. They should be encouraged to refine their vocals rather than focusing solely on volume.

Through his career as a musician, instructor, and consultant, he found himself in Los Angeles, a city where he often encountered individuals offering him coaching opportunities. Immersing oneself fully, he asserted, would inevitably draw attention.

Initially, the majority of his clients were not from the entertainment world; they included nurses, waiters, and individuals who aspired to improve their singing abilities. However, he landed a job with Craig Zaden and Neil Marin for the 1999 remake of “Annie,” which subsequently led to projects like “Chicago,” “Hairspray,” and “Hairspray Live.” His career then took off as he collaborated with Bette Midler during her Vegas residency, Hugh Jackman on “Boy From Oz,” and Ariana Grande when she was just 23. As Vetro puts it, once the ball started rolling, it simply gathered momentum. Now, he no longer works with ‘ordinary’ people at all.

Currently, he’s engaged in diverse projects spanning films, stage performances, concert tours, all under the supervision of directors, producers, and music directors. He collaborates with performers at different skill levels and requirements – vocalists like Grande transitioning into musical roles, actors such as Blunt stepping into singing for the first time, artists embarking on tours, and singers striving to expand their vocal range or achieve a particular sound.

To effectively portray characters similar to Butler, White, Zellweger, and Chalamet, who require mimicking familiar voices, the initial stage involves recognizing their own unique vocal qualities.

Vetro begins by teaching students to recognize their own voice first. After that, we explore different voices – perhaps pronunciation, breathing techniques, or accents. We then engage in vocal exercises as if embodying a character, I asked Renee, ‘What would Judy think of this approach?’

The aim here is to truly represent the individual’s character, as he points out. It should not be a mere imitation.

Vetro says he has only turned one client away — a well-known model who had been offered a role on Broadway. “He was very good-looking, charming. And then he opened his mouth. I said, ‘If this were a movie, maybe, but for you to sing on Broadway is never going to happen.’ His girlfriend called me later to thank me.”

With the debut of a fresh BBC Maestro program, everyday individuals now have an opportunity to receive the Vetro treatment. On this specific summer day, his residence is bustling with more than just two pianos and numerous keyboards; it’s also filled with lighting, cameras, microphones, and other recording equipment.

For roughly half an hour, he collaborates with his seasoned students, performer Heidi Webster and actor-singer David Burnham. Notably, Burnham commenced working with Vetro following his casting in a Universal Studios theme park production. As Burnham, who portrayed “Wicked’s” Fiyero on Broadway, expresses, “Eric fine-tuned my voice.” He has recordings of their lessons that he reviews prior to every Broadway performance.

Lessons involve singing scales while your hands are raised above you, diving on the highest pitch, or leaning forward and being lifted up as the notes climb higher.

“We’re like athletes,” Burnham says. “Runners don’t race without warming up.”

Additionally, you’ll find various breath exercises such as the well-known “ha-ha-ha-ha,” with jaw jolts, facial twitches, and arm movements, occasionally accompanied by humming through a straw, even into a water-filled cup at times.

Jonathan Bailey expressed admiration via email: ‘It’s astounding what one can accomplish with a straw!’ He found it particularly refined when they switched from a regular water cup to champagne flutes, which he considered the epitome of elegance. There was always a mischievous sparkle in his eye, and we shared countless moments of joyful laughter.

To get ready for “Wicked,” Bailey started collaborating with Vetro frequently via Zoom, all the while continuing with the filming of “Fellow Travelers.

The actor found it particularly difficult to juggle shooting scenes in Canada and London, frequently traveling between the two cities. In the movie “Fellow Travelers,” his workdays would stretch up to 21 hours long, requiring him to either yell or smoke at times. Eric, the character he played, was filmed at various times of day and levels of excitement, creating a unique experience. Starting in a home setting with Eric, the actor developed such a strong bond that by the end, Eric seemed like a spiritual guide.

Vetro’s affection for his clients and his craft is evident. His studio is adorned with photos of his students (alongside their numerous accolades), and the warmth in which he discusses them seems boundless and utterly genuine; he exudes a strong positive aura. This is necessary, given that Vetro is the vocal coach frequently sought by the entertainment industry. His job doesn’t conform to the typical 9-to-5 schedule. Instead, he works throughout the day, often consulting across multiple time zones. After completing the BBC piece and this interview, he will collaborate with a student in Australia at 5 PM and another in London at 11 PM.

His friends often advise him to go on a vacation occasionally, yet he shows no inclination towards it. Instead, he always seems to find more performances, new productions to attend, as if there’s an endless stream of them.

“I just love it so much,” he says. “It does not feel like work. I’d rather do this than anything.”

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2024-11-18 14:33