The Star-Maker Behind Ariana Grande and Timothée Chalamet’s Vocal Transformations

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It’s been a great year for theater kids in Hollywood.

Ariana Grande and Timothée Chalamet are among the most recognized names to receive Oscar nominations this awards season, with many attributing their success in part – or entirely, according to some – to their outstanding vocal performances in “Wicked” and “A Complete Unknown.” However, you might not be aware that these two stars actually had a shared singing coach for their critically acclaimed roles.

According to Eric Vetro in an interview with The Hollywood Reporter, when Ariana or Timothée enter a room, the atmosphere transforms noticeably. Even if someone was unaware of their identity, they would sense, “Wow, there’s something extraordinary about these individuals.

Vetro serves as a vocal coach to some of the most celebrated stars in Hollywood. A brief look at his impressive resume speaks volumes: this New York native has collaborated with Angelina Jolie (“Maria”), Renée Zellweger, Emma Stone (in their Academy Award-winning performances in “Judy” and “La La Land”), Monica Barbaro (“A Complete Unknown”) and Austin Butler (“Elvis”). By word of mouth, Vetro has earned the reputation as Hollywood’s preferred musical guide.

He’s been collaborating with Grande since she was just 13 years old, and he previously worked with Chalamet on this year’s “Wonka.” Given their past work together and the prospect of their largest roles yet in their careers, it made perfect sense to bring him aboard. Rehearsal periods can range from three to nine months due to the adaptability required when dealing with studio schedules. However, a significant part of Vetro’s approach is dedicating several weeks to enhancing an actor’s own voice before they start adopting their character’s.

Vetro chuckles as he admits to being rather fussy, frequently causing a commotion by insisting on specific conditions for his students’ dressing rooms – no scented flowers, unlit candles, and a humidifier for moisture. He emphasizes the impact of diet, hydration, and exercise on one’s voice, giving examples such as advising against loud cheering at a ball game or singing along at a concert to avoid straining his students’ vocal cords.

Initially, Grande’s objective was to infuse an operatic tone into her voice for the musical ‘Wicked’. While she already had a successful music career behind her, portraying Glinda required a different level of effort. According to Vetro, they dedicated five days every week for three months just to get her ready for her audition. “She’s incredibly dedicated,” Vetro notes. He likens this process to his coaching sessions with Jonathan Bailey, who played the charming Fiyero in the film. Just before shooting scenes where Bailey had to sing, they would warm up over FaceTime. For Grande, however, she could easily sing a high note straight out of bed. Her voice was naturally equipped for those songs; it felt like second nature to her.

Vetro mentioned that many people were unaware of Grande’s comedic abilities, which were evident in the movie Wicked. He explained that while some might find this surprising since they only know her as a musician, those close to her are aware of her constant humor. He suggested that her comedic performance was so effective in the film because she didn’t have to focus on her singing or voice during the production. Vetro stated that Grande had been meticulously preparing for months prior to filming and as a result, she was very confident. This allowed her to freely express her comedy without any reservations.

Vetro expresses to THR that he sees Grande as the equivalent of Judy Garland for this generation: “She has an unprecedented vocal range. Her ear for pitch is unparalleled among those I know. I used to watch The Ed Sullivan Show… I didn’t have the opportunity to collaborate with Judy Garland or Elvis Presley, but I did work on movies based on their lives. I felt as though I was working with today’s Judy Garland. I would often tell her this, and she would humbly brush it off, waving her hand and saying, ‘Oh, stop it.’

Regarding Timothée Chalamet, it’s no wonder that prior to his meeting with director Vetro, he had already put in considerable effort. As one might expect, Chalamet was so immersed in the role that it seemed as though he had become the character himself. What struck many as remarkable about his performance was not just his portrayal of Bob Dylan, but rather how he brought this iconic figure to life in a way that was authentic yet distinct from mere imitation or copying. Instead, he infused the character with a living spirit.

Prior to practicing, the duo often pondered: Does Bob Dylan prepare his vocal cords? Chalamet mostly learned his lines while in character. This approach proved beneficial. “Timothée had an exceptional grasp of when to emphasize a consonant and when not to. The rhythm was slightly adjusted, the way he read a sentence… Even if he’d never heard Bob Dylan utter any of the scripted lines, he instinctively knew where Bob Dylan would emphasize a specific word. Such ability demonstrates a true, authentic artistic talent.

Vetro was contacted by BBC Maestro, an online music school known for its renowned instructors like Mark Ronson and Tim Rice, to share his expertise globally instead of just teaching A-list celebrities on the verge of an Oscar. In this online course, he offers lessons in manageable chunks, focusing on warm-up exercises, building vocal strength and flexibility, expanding vocal range, singing accurately, correct vocal postures, and effectively conveying lyrics.

Vetro expresses, “It’s not possible for me to collaborate with everyone who desires to work alongside me due to certain constraints. Additionally, some individuals are timid when it comes to singing and prefer not to be heard. This platform now allows them to perform without an audience. I was truly delighted by this development; it feels like a wonderful opportunity to assist so many people… I feel incredibly fortunate.

You can find Vetro’s “Sing Like the Stars” on BBC Maestro by clicking [here](link). This story was previously published in The Hollywood Reporter magazine, which you can subscribe to by clicking [here](subscription link).

In this version, I’ve added links for easy access and made the language more conversational.

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2025-02-28 22:56