As a longtime observer and mentor of some of Hollywood’s most talented singers and actors, I find myself constantly amazed by the sheer magnitude of their drive, passion, and unparalleled talent. Eric Vetro, with his third-grade roots in teaching fellow students “The Star-Spangled Banner” and playing piano for school musicals, has found his life’s calling in helping others discover their unique voices and embark on their own creative journeys.
As a film enthusiast, I’ve noticed an interesting connection among some captivating performances: Ariana Grande in “Wicked,” Timothée Chalamet in “A Complete Unknown,” and Angelina Jolie in “Maria.” What makes these performances stand out – apart from the strong possibility of Oscar nominations – is the common factor of a highly esteemed vocal coach, Eric Vetro from Los Angeles, who guided each of their voices to reach unprecedented heights.
Eric Vetro has previously guided award-winning journeys along the yellow brick road, working with both singers and actors, notably on musical biographies. Among his accomplishments, he coached Renée Zellweger to an Oscar win as Judy Garland in “Judy,” Hugh Jackman to a Tony Award as Peter Allen in “The Boy from Oz,” Austin Butler for his Oscar-nominated portrayal of Elvis, and Riley Keough for her Emmy-nominated role in “Daisy Jones & the Six.” Currently, he is training Jeremy Allen White for his Bruce Springsteen “Nebraska”-era biopic “Deliver Me from Nowhere” and KJ Apa as Sublime singer Bradley Nowell in an unnamed film.
Vetro isn’t only involved with on-stage performances; renowned artists such as Sabrina Carpenter, Pink, Lorde, Rosalía, Juanes, John Legend, and Camilla Cabello have sought his guidance. Notably, he has been instrumental in guiding Ariana Grande since her early days, even before she moved to New York or L.A., coaching her remotely via Skype from her home in Boca Raton when she was just 13. In 2008, she was cast in “13,” a Broadway musical by composer Jason Robert Brown, and Vetro was already working with the male lead, Graham Phillips. Ariana’s mother was initially apprehensive due to a previous vocal lesson that turned out too operatic, but after hearing how natural and effortless Graham’s voice sounded with Vetro, she allowed Ariana to work with him. After “13,” their collaboration continued.
For the character of Glinda, Grande had to shift from her soulful, soprano tones and whistle range to the more grandiose, operatic style required by “Wicked”. This was a source of amusement for Vetro as he observed the transformation.
Stephen Schwartz’s music for ‘Wicked’ required a different approach for Ariana Grande’s voice, moving towards a more traditional Broadway legit soprano style with operatic elements,” Vetro explains. “We found this fit comfortably within Ariana’s capabilities as she possesses an incredible ability to mimic. She was determined to develop an authentic voice for the character Glinda that felt genuine and unforced. Ariana aimed to create her unique sound, a goal she achieved even before her first audition.
Ariana Grande and Alexis Vetro spent several months preparing for their roles in “Wicked” in Los Angeles, with some of their rehearsals taking place over video calls due to London-based filming. Meanwhile, Vetro also tutored Jonathan Bailey (Fiyero Tigelaar) remotely while he juggled filming “Wicked,” “Fellow Travellers,” and his popular role in “Bridgerton.” Additionally, Timothée Chalamet recently collaborated with Vetro for the role of an enigmatic 19-year-old Bob Dylan in “A Complete Unknown,” a character who moved from Minnesota to NYC’s West Village at the start of the 1960s. Chalamet had previously worked with Vetro on “Wonka,” where he received a Golden Globe nomination for best actor in a musical or comedy despite portraying a character with a voice very different from Dylan’s.
Vetro praises Timmy, the 28-year-old actor, by likening him to a unicorn. In “A Complete Unknown,” Timmy portrays a character named Dylan, who, contrary to typical impressions, didn’t sound like the overly nasal caricature often mimicked. Vetro points out that people tend to overlook how multilayered and nuanced Dylan’s voice is, especially in his youth, which is the time period relevant to “A Complete Unknown.
Timeless interviews and live performances inspired Chalamet and Vetro to develop a sound that encapsulates Dylan’s spirit, not just an imitation. As Vetro explains, “It’s simpler to mimic, but it doesn’t honor these artists’ creativity.” He continues, “When Dylan first emerged, people didn’t go to hear his voice; they went for the powerful lyrics that resonated with troubled times and youth engaged in politics. His music spoke to so many because it expressed what they felt.
As you grow older, your breath tends to become deeper and more powerful, reflecting the increased confidence that comes with age, according to Vetro. Initially, when you’re young, your breathing is often shallow due to a mix of inexperience and anxiety. In Jeremy Allen White’s portrayal of Springsteen for “Deliver Me from Nowhere,” we find Bruce undergoing a transformation, both artistically and personally, as he records the introspective songs of “Nebraska” towards the end of 1981 and into early 1982.
According to Vetro, these songs by Springsteen are more subdued, melancholic, and gentle compared to the high-energy rock tunes often associated with him. Instead of the bold, larger-than-life Bruce that comes to mind, we have a collection of quieter ballads here. However, Jeremy manages to equally capture the powerful live numbers in his film. All of these transitions are thrilling to observe.
In the movie “Maria,” Angelina Jolie played the renowned opera singer Maria Callas, depicting her from her glorious soprano years in the 1940s and early 1950s, as well as her struggles with vocal decline in the mid-50s. For this role, Vetro gathered a trio of opera singers to help Jolie for seven months. “I may be able to sing,” he jokes, “but I’m no Maria Callas when it comes to her unique talent. And my Italian pronunciation could use some work.
As a movie critic, I must admit that Angelina Jolie leaves me spellbound throughout her performance in “Maria.” Her portrayal of opera legend Maria Callas is nothing short of extraordinary. Interestingly, the filmmakers have utilized a unique vocal process for this biopic, blending elements of Callas’ voice with Jolie’s, as was done with Austin Butler and Elvis Presley in “Elvis.
One remarkable aspect of Jolie singing alongside Maria Callas is that the actress had to mimic the diva’s stage presence, as their performances were later combined. Unlike pop music, opera lacks a constant rhythm or click track. Instead, it has its unique rhythm and tempo, known as rubato. Many might wonder how Angelina could replicate this. However, upon observing her sing… Jolie pulled it off flawlessly.
………..
The reason why baritone Vetro, who was trained at both NYU and Julliard, hasn’t taken center stage on Broadway or climbed up Billboard’s charts isn’t due to a lack of talent. Instead, it seems that this path isn’t his personal choice.
He expresses his heartfelt gratitude for having discovered his passion for teaching at a young age, when he started instructing third graders to sing ‘The Star-Spangled Banner’ and played piano for school plays. He recalls giving voice lessons to others and applying the methods he learned to them from the get-go. From the very outset, he was always ready to lend a hand to anyone who asked.
Initially, Vetro held his voice, piano, and music instructors in high regard, viewing them as magical figures. Somewhere deep within him, there existed an aspiration to emulate their roles. Later, when he was compensated for playing the piano for the school choir or when children began paying him to tutor them, this was a surprise. He found himself repeatedly asking, “Who should I make this payment out to?”, puzzled about the nature of these payments.
Regarding his own career history, Vetro chuckles at the thought of performing in lesser-known Broadway productions like “If This Be Madness” and collaborating with the Light Opera Company of Manhattan on Gilbert and Sullivan pieces. However, he soon found that a life on stage wasn’t what he desired. He recalled the songs effortlessly, but struggled with remembering his lines, an experience that turned him off from acting. From then on, he decided to focus on assisting others in their personal growth instead.
1980 found me bidding farewell to New York City, hitting the road as Samantha Samuels’ piano player for a cabaret act. When we landed an extended opening stint for comedian Joan Rivers, my connections multiplied, and I became smitten with showbiz. “Six months in LA transformed into six years, and I never looked back.
What Vetro found himself deeply attracted to and continued to cherish was the concept of aiding fellow singers and actors on their personal journeys, discovering their unique voices, as well as uncovering the voices of renowned figures for biopics and live stage musicals based on real life.
Vetro emphasizes, “Every one of these individuals – Ariana, Angelina, Timothée, Jeremy – share an extraordinary determination and a fervor for their craft. I’m convinced of it. I spot it instantly. People often don’t believe me, but before I even heard Ariana Grande sing a single note, I was certain she would become a massive pop sensation. I just knew it. Her vitality, the way she laughed and carried herself… when she eventually began to sing, it was astonishing how gifted she was. I can hardly believe that I’m fortunate enough to be in their presence.
Eric Vetro considers himself incredibly lucky with his circumstances, to such an extent that he wouldn’t be able to pen a scandalous tell-all, even if prompted. Instead, he jokes, he’d have to write a “tell-a-little”. He explains that there would never be anything negative to share because everyone he has collaborated with has been kind and immensely talented. Listening to the first song of Ariana in ‘Wicked’ or Timothée in ‘A Complete Unknown’, you’ll understand what he means.
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2024-12-20 21:17