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Sergey has experience working with all ages and experience levels (from children to adults, beginners to advanced singers). Studies include Vocal Pedagogy at UCLA with Juliana Gondek and at the San Francisco Conservatory of Music with Dr. Rebecca Plack, Vocal Physiology at the San Francisco Conservatory of Music with Dr. Krysztof Izdebski, Summer Vocal Intensives in Payerbach, Austria with Bel Canto experts Vladimir Chernov and Olga Toporkova, has over ten years of private vocal instruction. Sergey holds a B.A. in Music/Voice from UCLA and M.M. in Vocal Performance from the San Francisco Conservatory. He is completing his Post Gradudate Diploma at SFCM.
Sergey Khalikulov was born in Tashkent, Uzbekistan, immigrating to the United States with his family in 1990. He grew up in San Francisco and attended the San Francisco School of the Arts in the vocal department. While at SOTA he participated in many musical productions including: Fiddler on the Roof, City of Angels, Follies, The Apple Tree, and Jekyll and Hyde.
A dean’s honor roll graduate from the UCLA Herb Alpert School of Music, he received his B.A. in music, studying voice with Vladimir Chernov. Some past productions with Opera UCLA include Menotti’s The Medium (Mr. Gobineau), Mozart’s Le nozze Di Figaro (Antonio), Handel’s Agrippina (Pallante), and UCLA’s west coast premieres of Cavalli’s Giasone (Hercules) and Jonathan Dove’s Flight (Immigration Officer).
Sergey holds a Master of Music degree from the San Francisco Conservatory of Music, studying voice with César Ulloa. Past SFCM productions include Puccini’s Gianni Schicchi (Betto), Sondheim’s Into the Woods (Narrator/Mysterious Man), Kander and Ebb’s And the World Goes Round (Man Two), Bernstein’s Trouble in Tahiti (Sam), Adamo’s Little Women (Friedrich Bhaer), Handel’s Serse (Ariodate), Argento’s Postcard from Morocco (Man with the Cornet Case), a co-production with Portland Opera and the San Francisco Conservatory of Music, and the title role in Mozart’s Le nozze di Figaro.
Professional engagements include, the title role in Don Giovanni with Waffle Opera, Uberto in La Serva Padrona with Livermore Valley Opera and Waffle Opera, Mr. Page in the Merry Wives of Windsor with Pocket Opera, originating the role of the Father in Opera Parallele’s world premiere of My Head is Full of Colors, Fortitude in The Woman in the Wall with Overtone Industries, and Lieutenant Cable in Foothill Music Theater’s production of South Pacific for which he was nominated by BATCC for best principle actor in a musical 2014.
Sergey has received numerous awards and prizes including : Scholarship Recipient from Opera Buffs, inc, Scholarship recipient from the Pacific Musical Society, the Bev Sellers Memorial Scholarship for Singers (including performing on an international live stream from the Honolulu convention center), prize winner from the East Bay Opera League, Sarlo Émigré Youth Scholarship, James H. Schwabacher, Jr. Scholarship, and the Wise Iphegenia Scholarship (full merit scholarship to attend SFCM’s Post Graduate Diploma program).
Upcoming, Sergey will play George in Sondheim's Sunday in the Park with George at Foothill Music Theater, Superintendent Budd in Albert Herring with SFCM, Freddy in My Fair Lady with Broadway by the Bay, and Dulcamara in Donizetti's L'elisir d'amore with SFCM including special performances at the Napa Valley Opera House and Kennedy Center in Washington, D.C
Why do we sing? Singing allows us to communicate in a way that speech simply cannot. Finding the most natural way to sing allows us to communicate not only intellectually, but also physically. What we can perceive as sound is only the start. The complete sound of a human voice cannot be fully identified by the conscious mind, and we mustn’t try to. Instead we must revert back to what our bodies already do naturally.
Our bodies are already set up to literally project our emotional state. When one produces an honest sound, the most precise communication will occur from person to person, regardless of age, race, or sex.
Thus, it is of the utmost importance that each singer finds out what his or her own voice really is, allowing the entire body to be an integral part of producing sound. It is not important to categorize a voice as much as it is important to allow the voice to function in its most natural state.
Therefore, anyone can sing. It is not something meant for people with “good voices,” but rather singing is something that allows anyone to communicate on a more intimate level. The path to the final result of “singing” is not correcting the sound but allowing ones voice to function naturally, free of preconceived notions of what “good” singing really is.
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