Will Pazdziora
William Pazdziora is a musical theater performer and voice teacher based in Connecticut and New York City. He specializes in helping singers build voices that feel easy, reliable, and sustainable, especially singers who feel stuck, frustrated, or are recovering from vocal injuries.
William became a voice teacher out of necessity. As a young actor, he struggled to find teachers who truly understood his instrument or could explain vocal technique in a clear, evidence-based way. That search sparked a deep curiosity about how the voice actually works. Through anatomy, biomechanics, and motor learning, William found the tools he had been missing and now uses those same tools to help singers make sense of their voices without fear, confusion, or guesswork.
His teaching focuses on efficient vocal function, long-term vocal health, and building technique that holds up under real performance demands. He is especially passionate about working with singers who feel vocally unreliable, are coming back from injury, or have lost trust in their voice. His goal is always the same: to help singers feel confident, supported, and at home in their instrument again.
William also has a special passion for working with dancers who sing. As a triple-threat performer himself, he knows firsthand what it is like to sing demanding material while dancing elite, original Broadway choreography. His MFA thesis explored the integration of voice and dance pedagogy, and this work continues to inform his approach to training performers who need their voices to function at a high level while moving.
William holds an MFA in Musical Theater Vocal Pedagogy from The Boston Conservatory at Berklee and a BA in Theater with a concentration in Musical Theater and a minor in Dance from Temple University, where he graduated summa cum laude. He is a proud member of Actors’ Equity Association and has performed internationally with the tour of Shrek The Musical, as well as in regional productions including Evita, Jesus Christ Superstar, Rock of Ages, and Spamalot.
As an educator, William has served on the voice faculty at Berklee College of Music and currently teaches at the American Academy of Dramatic Arts in Manhattan. He works with singers performing on national tours, cruise ships, and regional stages across the country, as well as artists releasing original music.
Outside the studio, William lives in Connecticut with his wife Rebecca and their two daughters, Magnolia and Scarlett. While the commute into the city is long, he loves their quiet life at home, tending their vegetable garden, and soaking up time with his family.
William believes that no voice is broken and no singer is behind. He believes learning to sing should feel supportive, empowering, and even joyful, and he is deeply committed to helping singers build voices they can trust.
Teaching
Philosophy
Singing is magic. Singing transforms unbelievably complex biomechanical coordinations into visceral emotional experiences for both the singer and the listener. Our need to communicate and tell stories is inherently and beautifully human. Every singer who enters the studio has their own stories to share and thus their own unique path to authentic, embodied, and impactful singing.
Singing may be magic, but despite all my prayers as a young and misguided singer, there is no wand to wave for expert muscular coordination. Singing is a motor skill. It requires precision to balance the volume and velocity of air with the intricate actions of the vocal cords, pharynx, resonating cavities, and articulators. We coordinate this skill over time with repetition and practice. I believe that learning to sing most often benefits from a slow and systematic process. Establishing a functional foundation is the key to unlocking efficient, versatile, and impactful singing.
Kirstin Linklater wisely states in her book Freeing the Natural Voice - “To free the voice is to free the person.” I resonate deeply with this sentiment. As audience members, we are most moved by authentic and open-hearted performances. I believe that all technical training should serve freedom of expression. Through the understanding and integration of the technical aspects of singing, a performer begins to have agency and flexibility in their storytelling. Because every singer has their own unique experience and stories to tell, student individuality is at the heart of my personal pedagogy.
It is an incredible honor to be welcomed into a young singer's journey, and I don’t take it lightly. If you are my student, I seek to center you. I teach through a collaborative process that champions your strengths, nourishes your development, and is always in service of your aspirations. As intuitive and empathetic as I am, I’ll never know exactly what or how my students feel. Our time together must be led by the students’ individual needs and learning process. My job is to create a studio space where my students feel safe enough to explore their voices with vulnerability and wonder while empowering them with the agency to set the limits for that exploration.
I measure my success as a teacher in direct relationship to my students’ goals. Every step made toward efficient, authentic, and impactful singing is a success. I bring my distinctive blend of professional performing experience and vocal pedagogy expertise to every lesson in hopes that my students may too believe that singing is, in fact, magic.
Check out His Singing
Flight - Craig Carnelia
Who Wants to Live Forever - Queen
Who I'd Be - Shrek the Musical
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