Studio Policy 2019 - 2020
Lessons are 55 minutes in length.
Consistent daily practice is essential to success when you are developing your voice. To help develop self-discipline and good work habits, a regular time for practice should be set aside each day.
I encourage every student to record their lessons. This is a wonderful way to evaluate your progress and organize your weekly practice sessions. I will make practice tapes for students, as necessary, in order to facilitate daily practice.
The studio will host soirees (private recitals) throughout the year. The soirees are intended to be casual gatherings where the studio comes together to sing for one another. It is an opportunity for students to present repertoire that they have been working on in front of a supportive audience. Family and friends are welcome!
I have set up a waiting list for those of you who have not yet been able to secure a regular time slot. As time slots become available I will refer to the waiting list, and schedule lessons accordingly. If you are currently on the waiting list and unable to secure a regular time slot please consider joining the studio Voice Class. The class is a great introduction to vocal technique and performance opportunities and will prepare you for a time slot as they becomes available.
Students will be dismissed from the studio for nonpayment, lack of preparation, perpetual cancelations and practice, or behavior unbecoming a professional artist.
Lessons will be scheduled by the semester. There will be three semesters in the year; Fall, Spring and Summer. Please make sure that your schedule is able to accommodate the studios semester schedule.
Arrivals and Departures:
Please plan to arrive and enter the studio on the hour of your designated time slot. Please do not enter the studio early. It is disconcerting when students enter while another student is taking their lesson. Also,the waiting area in the studio is very small and can only comfortably hold the family and friends of those taking
their lessons. Lessons are 55 minutes long which should allow plenty of time at the top of the hour for the transition from one time slot to the next.
The waiting area offers: spring water, coffee, tea, sodas and a variety of snacks. Please help yourself to these amenities. However, take the time to clean the area of any wrappers, cups etc that you use. The waiting area also offers free internet. If your are interested in the using the internet I will provide you with the password.
Posting of studio activities on social media without my knowledge and consent is strictly prohibited. What happens in lessons whether it be technical study or performances of repertoire is intended for the private use of the student. Only under certain circumstances and with my consent are posting allowed. This is intended to protect the privacy of my students as well as to protect my own privacy.
Fall Semester 2019
Fee Structure If You Pay:
Hourly Fee: $110.00 10% increase
Monthly Fee: $105.00 5% increase
Semester Fee: $100.00 No increase
(Waiting List Fee: $110.00)
How to remit payment:
The Craig Wich Studios accept payment via: Cash, Check or Zelle. Please make checks payable to Craig Wich. For Zelle please use my email address: firstname.lastname@example.org
All cancellations require a minimum of 48 hours. Without 48 hours notice the student will be charged for hour missed. Please review the Studio Policy which can be found on The Studio web page by clicking on the link below.
Make Up Lessons:
Hourly: Lessons will be made up if canceled with 48 hours notice and if schedule permits.
Monthly: 1 cancellation per month will be made up with 48 hours notice.
Semester: 4 cancellation per semester will be made up with 48 hours notice.
All make up lessons need to be made up before the end of the semester. Please note that excessive cancelations will jeopordize your regular standing in studio schedule.
- If your lesson should fall on a National Holiday then a make up lesson will be offered.
- Exceptions to the cancellation policy will be considered for professional commitments and other circumstances at the studios discretion.
Craig Wich Studios reserves the right to make changes in the scheduling and studio policy, as necessary.
“...Kudos should go to
Craig Wich. Craig Wich has been doing striking work... innovative... astonishing and brilliantly executed...”
— The Boston Globe.
“Peter Sellars isn’t the only innovative director in this town…For years, Craig Wich, through his Opera Laboratory Theater Company, has been doing striking work.”
“clever and brilliantly executed…strongly sung and superbly acted…”
— Richard Dyer, Boston Globe
“The Opera Lab is such an attractive, enterprising outfit, you can’t help admiring its pluck and inventiveness. Open minded audiences are being exposed to some fresh and valuable new ideas.”
– Lloyd Schwartz, Boston Phoenix
“Robin Hood proved a brash bawdy affair…the production was simply and skillfully directed by
— Tim Page, New York Times
“Successful right from the start…the production bespoke enormous care in every respect.”
— Derrick Henry, Boston Globe
“…burgeoning authentic performance… deftness…served by exclusive concentration…”
— Lon Tuck, Washington Post
“I have given seminars all over the country and directed in most of the major opera houses, and what Craig Wich and his ensemble are creating is truly unique. It embodies organic developmental principles relating to the training of the performer, the creation of new pieces and new ways of performing (as well as providing a firm basis for traditional performance). Most importantly, it is establishing the nurturing environment in which all this can most fruitfully take place. The work being done at The Opera Lab is genuinely significant, and has import beyond its location in Boston. Nurturing such efforts is vital to the health of opera and music-theater in America.”
— H. Wesley Balk, Professor: University of Minnesota, Director of Performer Development: Minnesota Opera Company
“I have great respect for the work of Craig Wich. He is a talented Director and a very inspired teacher. I endorse any support that might help him continue his efforts.”
— Theadore Antoniou, Music Director: Alea III
“Craig Wich is one of the brightest talents I’ve encountered in opera. He is a first class musician and a stage director who combines insight and wit. He has a rare understanding of music on the stage. I expect great things from him.”
— Scott Wheeler, Artistic Director: Dinosaur Annex Music Ensemble
“I worked closely with Craig Wich when he directed my opera, Embers, and I have first-hand experience of the unique combination of musicianship and theatrical expertise that he brings to the direction of opera.”
— Peter Child, Composer, Assistant Professor of Music: MIT
“Craig Wich’s work is not only innovative, creative, and challenging, it is work of the highest quality, substance, and integrity, and this makes all the difference. What Craig Wich can add to a person is immeasurable. He is original, he knows his art, he knows how to teach, and his contributions and insights are of genuine importance.”
— Sam Headrick, Composer, Professor: Boston University