Tenor Blayne Ziegenfuss is a graduate of the University of North Carolina at Greensboro, where he received his Bachelor of Music in Vocal Performance and his Master of Music in Vocal Pedagogy.
Mr. Ziegenfuss has extensive stage and recital experience in both musical theater and operatic repertoire. His musical theater experience includes roles such as Sky Masterson in Guys and Dolls and Senex in A Funny Thing Happened on the Way to the Forum. While at UNCG Mr. Ziegenfuss sang the roles of Kaspar in Amahl and the Night Visitors, which he also sang with Durham Children’s Choir, Gabriel Von Eisenstein in Die Fledermaus, The Defendant in Gilbert and Sullivan’s Trial by Jury, along with participating in numerous ensembles in The Mikado, L’Enfant et les Sortilege, L’Enfant Prodigue, and Cendrillion. He has also sang Timothy in Help, Help, The Globolinks!, the First Slave in The Magic Flute, and participated in the ensemble of La Traviata with Greensboro Opera. Mr. Ziegenfuss has studied voice with Ms. Cheryl Dobson, Dr. Donald Hartmann, and Dr. Robert Wells.
Blayne Ziegenfuss has taught privately for the past three years with students being admitted into special high school musical arts programs. He was also on the faculty of the Chapel Hill School of Musical Arts for the 2013-2014 school year. Mr. Ziegenfuss’ research interests are largely based in vocal science, particularly in nutrition and exercise for the professional voice user. He is also interested in movement and body awareness for singers and has had some training in the Alexander Technique. Mr. Ziegenfuss has experience teaching classical, musical theater, and contemporary singing. He is an active member of the National Association of Teachers of Singing (NATS).
If you are interested in hiring Blayne as a teacher for a master class or for a singing engagement, please fill out the form on the Contact Us page.
As a teacher and mentor, I strive to teach each of my students to be a complete vocal musician. By this, I mean a vocal musician who has complete mastery of all aspects of a fully trained, confident, and competent musician. This includes knowledge of vocal production, musicianship, music history, and music theory. It is my job as a teacher to teach each student how to control their instrument and make the most beautiful sound. I also strive to engage each student in the history and theory of music. These tools are the fundamentals of music and therefore must be a component of a complete vocal musicians training. Musicianship is the creative aspect of each musical artist. It is developed and discovered throughout the training process. I believe that discovery is the greatest tool I have to help unlock the innate creativity in each student. Discovery is beneficial to both the student and teacher because through discovery we can only continue to learn how to sing and how to teach.