The clarinet has been favorably compared to the human singing voice since its invention and continues to be sought after for its expressive, singing qualities. How is the clarinet like the human singing voice? What facets of singing do clarinetists strive to imitate? Can voice pedagogy inform clarinet playing to improve technique and artistry? This study begins with a brief historical investigation into the origins of modern voice technique, bel canto, and highlights the way it influenced the development of the clarinet. Bel canto set the standards for tone, expression, and pedagogy in classical western singing which was reflected in the clarinet tradition a hundred years later. Present day clarinetists still use bel canto principles, implying the potential relevance of other facets of modern voice pedagogy. Singing techniques for breathing, tone conceptualization, registration, and timbral nuance are explored along with their possible relevance to clarinet performance. The singer `in action’ is presented through an analysis of the phrasing used by Maria Callas in a portion of `Donde lieta’ from Puccini’s La Boheme. This demonstrates the influence of text on interpretation for singers. Together, these points suggest that voice pedagogy may be used to positively influence clarinet performance and pedagogy, ensuring that clarinetists will continue the tradition of `making the clarinet sing.’