What if... on stage, you could actually enjoy singing, and move the audience?

After this course you'll know how to counter negative thoughts on stage, and how to be as expressive as a professional singer.

$167 $127 Launch price

(and VAT where applicable)

Your technique doesn’t have to be splendid to move the audience

But you have to (l)earn your place on stage

When I went on stage in the beginning of my musical education, at the age of 22 or so, I could not control the voice that came out of me.

That was disappointing, but all of us go through this. So I prioritized the mood, the musicianship, the expression.

So this way, even before I actually learned how to sing, I would get compliments from the audience. In my second year of college people would already come to me after a show and say I gave them goose bumps, or even made them cry! God knows my vocal abilities were limited.

So regardless of vocal abilities, one can work on their performances and get them to a presentable level. 

I only wish I had taken this lesson - go on stage before you think you are ready - to heart later in my music education. Because this is what happened.

After gruaduating from Music Academy a few years later, I went to Berlin. I found a teacher there that I liked a lot. In the course of my first lesson I got a glimpse of what my potential could be. She cracked my voice open: it turned out that I could have a significantly more powerful and richer, more impressive voice that I thought I had.

But, of course, after one lesson I couldn’t just recreate this potential with the snap of a finger: I knew that it would take time till I got there. I realized I had so much to learn.

In fact, I felt like a complete beginner. And I decided that I was not ready to perform until I reached a new level, with this desired upgraded voice I knew I could have.

Instead, I worked on my technique. I did that for two years. 

After these two years of practice I felt I was ready to finally audition again. During my first audition it dawned on me what I had done. I had made a huge mistake. In the auditions, I was a beginner again. 

See, before this two years hiatus, my body had gradually gotten used to functioning under these stage circumstances. I finally reached the point where I could actually do quite well on stage. And then boom, two years of desert.

Singing in front of a teacher or alone at home is completely different from singing in front of other people. On stage it’s a different beast. Especially for me, with my history of stage fright. 

The body behaves differently when we’re on stage. For some it will be more nerve-wrecking than for others - but it is different.

Therefore, you can’t expect your voice to come out in the same way in both situations. And in some cases - I dare say in most cases - the results in front of an audience will be less satisfying than what you muster on your own.

That means that you have two sets of practicing to do: one at home and one on stage. And you should always try to do both. I have created a system for the latter. Yes, like everything, there is a system to learning singing on stage.

Your mindset on stage is crucial, and this mindset is fortunately not some magical talent that you have or don’t have - but something that consists of different components, each of which you will practice and master. Enter my online course SingWell on Stage

SingWell on Stage

My online course SingWell on Stage is a series of 34 video lessons where you can ask questions in the comments that I answer personally. As far as I know, it's the only systematic approach to learning how to sing on stage.

..and get immediate access

$167 $127 launch price

(and VAT where applicable)

The modules of SingWell on Stage


Module 1: How to get ready for the stage
  • Why stepping on stage with this newly learned mindset of a performer will not only bring out your personality, but will feel like earning your place in the world. Even if this seems a long way from where you are now. Ask my student Coco, who couldn’t sing for me when she came to me and performed and auditioned a year later.
  • How practice for the stage will rekindle the passion you feel for singing, and will remind you why you love this. You might have lost the joy because of unpleasant stage experiences or narrow focus on vocal technique perfectionism. You will want to start putting this ingredient in any singing practice, regardless if you have a show upcoming.
  • How exactly knowing at what point to close the book of your normal singing practice shut is crucial - and how it will liberate you from your usual worries about vocal technique. This new practice habit and mentality will make you sing better on stage and - paradoxically - also improve your vocal technique.
  • You’ll find out which key performance habit separates professional from amateur singers (no it’s not the level of their vocal abilities!) How sticking to this principle is like a multi-stage rocket, which boosts your confidence, charisma, fun in the art, and smoothes out mistakes in the mind of the audience.
  • How knowing how to time your next performance (be it karaoke, an open mic, or an audition) is crucial in catapulting you forward. I’ll provide you with detailed suggestions and an exercise plan, depending on if you are a beginner or more advanced.
  • What we as singers can learn from actors, which is the key to being expressive. And how toying with these techniques in your sing-through session will help you discover the elements that will make your performance authentic and moving.
  • Are you one of those who tend to think that everything seems terrible when they perform? Welcome to the club. But I will gently lead you away from this counterproductive mental habit, by introducing you to three types of illusion-breaking feedback techniques. It will save you a lot of heartache in the process of becoming a better performer.
  • How to reach the level of conviction that professional or even famous singers have who are actually not that good vocally. I’ll show you how mantras can be tools that save you in the beginning stages of this new mindset, but also later in your career on stage.
  • Why it’s easier than you might think to deal with that inner voice that whispers nasty things in your ear when you perform. Without force, but with gentle nudging it will slowly lose its power over you. Even if these thoughts have been ingrained since long. (you will benefit from this in other areas of your life as well).


Module 2: Stage fright: for humans only
  • How keeping in mind that it is ok to sing with stage fright, but just knowing how to deal with it, will set you free. It’s not our goal of course to keep singing with nerves, but you will lose your fear of the beast and will discover that a bit of stage fright could even lead you to unexpected places in a show. A spice rather than a toxin.
  • Stage fright comes in shapes and sizes and that’s why I don’t give generic advice, but a plan that is dependent on where you are in your stage fright journey. By executing the plan baby step by baby step, you will move down the stage fright ladder from the highest levels to the most manageable, or even get rid of it.
  • Why executing your plan in the right order is essential for stage fright practice. Trying things randomly could throw you back and mess up your confidence. I’ll make sure you only go to the next step when you’re ready for it. It’s pretty smooth sailing, as long as you follow this map.
  • Positive thinking has its dangers in these situations, and can be counterproductive if it’s not done right. With my mantra monkey approach you’ll be sure that you have the right angle to your positive thinking. Without force feeding yourself messages that feel insincere or not right for the place where you are right now. We’ll find the silver bullets that work for you and will carry you through performances in tough times.


Module 3: That moment before you step on
  • Why a rehearsed routine to prepare for the day will help you feel more at ease before a performance. How and which type of bodywork will help you in this.
  • The performance itself: how to step on and off, where to look, how to compose yourself after the song is finished and you receive the applause: this is where you will tell the pro’s from the amateurs 
  • Backstage toolkit: backstage you can feel lost and all-over the place. My toolkit solves this. It’s a set of mental and physical tools that we’ll assemble that are especially suited for your situation. You will (relatively) cruise through this phase instead of suffer. 


Module 4: Performance exercises for home and stage
  • Why violinist Itzhak Perlman thought of a hamburger during a show and how this kept the audience entertained, and how we’ll figure out performance exercises that will help you deliver a moving performance.
  • Why performance exercises are gold, in the sense that their effect is immediate on your expression on stage
  • Why thinking of the lyrics will not only have the effect of a more expressive delivery but also a better vocal quality
  • Toy with scenarios like 'Your confident self', 'The silliness competition'
    and 'The FBI investigation': performance exercises that will make you more expressive each in a different way.
  • How to turn around the distractions that happen on and off stage during a performance to your advantage, and how this will make your performances even better


What really, really helped me, was the lesson about going on stage and how to leave the stage and where to look! As a dancer, I danced many, many times in front of audiences. And lots of people got the creepy gaze from me. I really never knew what to do and no-one told me! I played a lot of theater, was in dancing classes and no-one ever told me these things! Thank you SO much Linor!

Antje Gebhart singer and dancer

BONUS chapter: dealing with an off-day

how to turn the day around -> how to pull off a decent or even great show on those days that the show must go on, but you don’t feel like it

About me as a performer

“In a difficult tour of over 60 performances of the Phantom of the Opera, in two-and-a-half months, Linor maintained a high level of energy and professionalism combined with a refreshing sense of humour. I believe Linor to be an asset to any company or opera house.”

Deborah Sasson, renowned opera singer

Here’s what my students are saying about me



'Imagine what is possible!'

“The final exercise of Linor's stage fright workshop evening was a short, quickly prepared presentation. Incredibly, I could do it. Something I would never have guessed at the beginning of the evening. That’s when it struck me: if I can make such progress in a short period of time – imagine what else is possible? That was such a liberating feeling.”

Carla Paping

Singing student

'The performance exercises saved me on stage at my brother’s wedding'

“When performing with my ukulele club, I used to be nervous and couldn’t play with conviction. I followed one of Linor’s stage fright workshops. Meeting her triggered the desire in me to take up singing.

It used to be my conviction that singing is something that other people do, not me. I trusted Linor, I felt comfortable with her. At first the exercises felt a bit unnatural. But as the results came, singing started to get actually really fun.

When my brother prepared for his wedding, I let myself be persuaded to perform. Linor gave me performance exercises. For example, in one exercise I had to sing for her while she as an audience member played distracted. My task was to draw her back in. This turned out to be a life saving exercises. At the wedding, as I started my song, many people were talking. Without the exercise I might have gotten discouraged or silent. Now I just kept singing and drew them in.

After the performance I got nice compliments but what I care most about is putting my feeling into something that I care about."

Radha Natasha Kadic

amateur opera singer

'I sang like a resurrected being.'

'During my performances in the past, nerves would take over, and I could not deliver the aria from a place of confidence and know-how. But in a recent performance, thanks to Linors course Make singing click and classes, I sang like a resurrected being! The exact tricks from her course, elaborated in private Skype lessons, and her support as a teacher, made the performance stellar - internally and for the audience as well.'

Quality instead of quantity

Singing on stage is a different beast altogether. You won't improve the most by simply doing it a ton of times. Instead, if you know a set of tools and exercises, you can get better at those, which will leverage your stage performance. It's knowing what to practice.

..and get immediate access

$167 $127 launch price 

(and VAT where applicable)

100% Satisfaction Guarantee for 90 days

You are fully protected by my 100% Satisfaction-Guarantee. If you don't feel happy after buying and trying out this course, don't hesitate to let me know and I'll send you a prompt refund.

Linor Oren, SingWell

If you're all in, I'm all in

What expresses you better than your voice? What does it mean if you are afraid to use it? What would it mean if you didn’t hide it?

I’ve had singing students come to me: "I am afraid my voice would be too loud and my neighbors would hear it." Or: "I wanted to sing all my life but didn’t, because I was told not to sing."

Your voice is a significant part of you. So you are entitled to have a voice, both literally and figuratively. That is why singing students and professional singers will testify one by one how learning to sing brought out their personality.

You flourish by singing. And if you decide to share it and display yourself, as in, perform: it makes you work on your confidence, on your right of self expression. That’s deeper than just singing. That's earning your place in the world.


Frequently Asked Questions

I don't have stage experience. Is it useful to do the course?

Why should I spend money on something I probably won't make money with?

Can this work online? How do I know it will work for me?

I'm simply not good enough for the stage, am I not?