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Critics have described Clayne Robison's performances as “authoritative, filled with conviction,” “projecting inner strength,” “he seems to sing from the bottom of his soul,” and “a labor of love.” His singing has been heard as “vocally resplendent,” “clear, large, rich, vital, warm,” and “pealed out like a big black bell.” He performs regularly with leading musical organizations throughout the United States, including many performances with the Mormon Tabernacle Choir. Recently, the Public Broadcasting System released his performance of Mendelssohn's Elijah with the Calvin Oratorio Society, and he also performed the Fauré Requiem with the St. Petersburg and Moscow Philharmonic orchestras in their respective Russian home venues. As a young man, while completing his juris doctor degree at Harvard Law School, he spent his evenings singing with the Boston Opera Group and the Harvard Glee Club.	After subsequently spending several years as a lawyer and management consultant in San Francisco, he decided to yield to the more creative side of his nature, completing an additional bachelor’s degree in voice and a master’s degree in orchestral conducting, both from Brigham Young University, and a DMA degree in opera production at the University of Washington. In 1973 he joined the BYU music faculty, where he served for more than twenty years as director of opera. Other assignments while at BYU have included Oratorio Choir conductor, Vocal Area head, and associate director of the Honors Program. He has conducted vocal workshops at music conservatories across the world from Australia to Russia. His 25-minute demonstration video “10-Fold Teacher Efficiency through Vocal Boot Camps” was featured at both the MTNA and NATS conventions in 2000. His frequent publications in the Journal of Singing include the lead article in its Sept./Oct. 2001 issue: “Beautiful Singing: What It Is and How to Do It, implications of the new interactivity (chaos) paradigm in physics,” which was also the subject of his lecture at the 2001 International Congress of Voice Teachers in Helsinki in August. In the last five years of Metropolitan Opera auditions, eight of his students have been cited as district winners, five have advanced to the regional level, and in 2000, one of them, his daughter Lindsay Robison-Killian, was a Grand National winner.

Critics have described Clayne Robison's performances as “authoritative, filled with conviction,” “projecting inner strength,” “he seems to sing from the bottom of his soul,” and “a labor of love.” His singing has been heard as “vocally resplendent,” “clear, large, rich, vital, warm,” and “pealed out like a big black bell.”

He performs regularly with leading musical organizations throughout the United States, including many performances with the Mormon Tabernacle Choir. Recently, the Public Broadcasting System released his performance of Mendelssohn's Elijah with the Calvin Oratorio Society, and he also performed the Fauré Requiem with the St. Petersburg and Moscow Philharmonic orchestras in their respective Russian home venues.

As a young man, while completing his juris doctor degree at Harvard Law School, he spent his evenings singing with the Boston Opera Group and the Harvard Glee Club.

After subsequently spending several years as a lawyer and management consultant in San Francisco, he decided to yield to the more creative side of his nature, completing an additional bachelor’s degree in voice and a master’s degree in orchestral conducting, both from Brigham Young University, and a DMA degree in opera production at the University of Washington. In 1973 he joined the BYU music faculty, where he served for more than twenty years as director of opera. Other assignments while at BYU have included Oratorio Choir conductor, Vocal Area head, and associate director of the Honors Program.

He has conducted vocal workshops at music conservatories across the world from Australia to Russia. His 25-minute demonstration video “10-Fold Teacher Efficiency through Vocal Boot Camps” was featured at both the MTNA and NATS conventions in 2000. His frequent publications in the Journal of Singing include the lead article in its Sept./Oct. 2001 issue: “Beautiful Singing: What It Is and How to Do It, implications of the new interactivity (chaos) paradigm in physics,” which was also the subject of his lecture at the 2001 International Congress of Voice Teachers in Helsinki in August.

In the last five years of Metropolitan Opera auditions, eight of his students have been cited as district winners, five have advanced to the regional level, and in 2000, one of them, his daughter Lindsay Robison-Killian, was a Grand National winner.

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