Jared Trudeau

Assistant Professor of Voice
Affiliated Departments
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Jared Trudeau joined the Conservatory in 2017 as an assistant professor of voice for musical theater.

Trudeau is the second-ever graduate of Penn State's M.F.A. program in voice pedagogy for musical theater. Prior to receiving his M.F.A., he graduated summa cum laude from Tufts University with degrees in music and psychology, receiving the Outstanding Achievement Award from the Department of Music as well as the Sal Soraci Prize for Excellence in Psychology. His honors thesis, “Belting Beauties and Soaring Sopranos: Voice Pedagogy to Address the Wide-Ranging Needs of Women in Musical Theatre,” received highest thesis honors. Through his research, he met Mary Saunders-Barton, who became his mentor in graduate school.

Trudeau has quickly become a sought-after pedagogue due to his integration of practical studio skills and the most current voice science. He has served on the voice faculty of Molloy College’s CAP21 Theatre Arts Program and is a visiting faculty member at Penn State. Each summer, he serves as the head of voice for S.T.A.T.E., Penn State’s summer high school musical theater training program.

Trudeau’s work as a researcher and guest clinician has brought him all over the United States. Recently, he and Conservatory colleague Michael Hanley presented “Bridging the Gap Between Theatre Voice Training and the Male Singing Voice” at the Fall Voice Conference in Pittsburgh. Additionally, he and Amanda Flynn presented “Perception vs Reality: Investigating the Female Belt in Broadway’s Leading Actresses” at both Fall Voice (Arizona) and the Pan-American Vocology Association national conference.

As a performer, Trudeau has taken on lead roles in both opera and musical theater productions. In addition to his faculty post, Trudeau maintains an active private studio in New York City. His professional students can currently be seen in various Broadway, off-Broadway, national tour, and regional productions.

In Their Own Words

My job is to condition the body and voice to respond to the dramatic impulses of the singing actor. To do this, I combine singing pedagogy, voice and speech, somatics, and acting to foster compelling vocalism.