Collaborative pianist and vocal coach
Integrated musical, linguistic and vocal preparation for opera singers.
My approach
A coach is a mirror for the singer
Having a background as an opera singer myself, it is easy for me to be the collaborative pianist I would have wanted to work with during my own professional journey: competent and precise, yet attentive, reliable, and respectful of each singer's individual process.
The singer who enters my studio often needs a mirror — not judgment, but clarity.
In my work, this mirror is three-dimensional: musical, linguistic, and vocal. Addressing these three levels in an integrated way allows the repertoire to settle in a more natural, coherent, and lasting manner.
Music, language and vocal technique
Music, language and vocal gesture exist in a relationship of mutual dependence.
When the breath is interrupted, the musical phrase loses continuity; when the text is unclear, the musical flow is affected as well.
Many musical or intonational uncertainties do not arise from isolated technical issues, but from a lack of integration between the rhythm of the text, linguistic stress, and musical structure. This is particularly evident in the operatic repertoire, where language is not an accessory element, but an integral part of the musical writing.
In my work, the Italian and German repertoire plays a central role. A deep understanding of prosody, accentuation, and linguistic structure often allows musical and interpretative issues to be resolved in a more natural and effective way, without direct intervention on the voice.
Very often, the most lasting solutions emerge through careful work on the text and its articulation, when music and language return to supporting each other.
Respect for individuality
Each singer represents a distinct artistic and vocal identity.
Respect for this individuality is a central principle of my work.
I do not intervene in vocal technique unless explicitly requested. Experience has taught me that a collaborative pianist must know when to intervene and when not to: unnecessary intervention can be harmful and counterproductive, compromising both the singer's time and energy.
Often, the music itself suggests the solution.
Breath as a foundation
As I conceive musical work, the essence of music lies in breath — the continuous movement of air.
Even the most expressive musical intention cannot emerge if this flow is interrupted.
Rediscovering the naturalness of breath and developing awareness of it allows singers to reconnect with their voice and musicality in a free, stable, and authentic way.
The psychological dimension of performance
Operatic performance implies exposure, responsibility, and pressure.
The quality of the result depends not only on musical preparation, but also on the mental and emotional conditions with which singers approach practice, rehearsals, and the stage.
In my work, particular attention is given to managing pressure, maintaining presence, and building a stable sense of trust in one's own work.
Many blocks that emerge in performance are not technical in nature, but arise from tension, expectations, or excessive control.
Creating a clear, reliable, and non-judgmental working environment allows singers to regain focus, calm, and expressive freedom, so that the music can flow without unnecessary obstacles.
Preparation and responsibility
Sight-reading is one of the fundamental tools of my work and allows me to operate immediately on a large part of the repertoire.
Nevertheless, I always prefer to study the scores in advance of meeting the singer.
This approach ensures an effective use of working time and allows the singer to gain the maximum benefit from each coaching session.
Profile
Toomas Kaldaru is an Estonian collaborative pianist and opera coach, naturalized Italian, whose work unfolds across theatres, productions, and diverse professional contexts.
Trained at the Estonian Academy of Music and Theatre and the Santa Cecilia Conservatory in Rome, he works regularly with professional singers in rehearsal, production, and coaching settings, collaborating with theatres, festivals, and musical institutions across Europe and beyond.
His linguistic and musical background enables him to work across a wide repertoire, from Monteverdi to Strauss.
He is currently Chief répétiteur at the Vanemuine Theatre in Tartu and a guest faculty member at the Estonian Academy of Music and Theatre.
He lives and works in Rome.
My work
The work of a collaborative pianist and vocal coach is known by different names depending on traditions and contexts: collaborative pianist, répétiteur, chef de chant, Korrepetitor, maestro collaboratore, maestro sostituto.
Beyond definitions, it is a complex profession that combines musical, linguistic and human skills, and unfolds primarily in rehearsal, preparation and production contexts.
This role does not coincide with that of a singing teacher or a solo pianist. It is a form of musical support that serves the singer and the operatic work itself, offering structure, clarity and artistic grounding throughout the preparation process.