voice and opera specialist
voice mentorship for singers
If you're like many singers, you might find yourself lost at sea in between voice lessons wondering if you're actually making any progress and feeling uncertain how to get the most out of your home practice time. You're not alone! If you're not enrolled in a full time conservatory program, you might not be getting the kind of support you need to get the most out of your vocal study. I'm happy to offer Voice Mentorship Packages for students committed to improving their vocal artistry over a period of three to nine months. In addition to a deep discount over the normal per-session price, these packages give you access to All the Things—stuff like text message and email support, 24/7 online scheduling, personalized Spotify or YouTube playlists, access to the classical and musical theater accompaniment libraries in AppCompanist, an Evernote virtual notebook to keep track of goals, lessons notes, and exercises, group performances classes and studio recitals, and much more! To learn more, click the button above to schedule a free online consultation.
I taught singing at the New England Conservatory of Music (voice class and individual lessons) and the Franklin School for the Performing Arts before moving to the San Francisco Bay Area in 2005. I am a Teaching Artist with SF Opera, Voice Mentor and Director of Vocal Curriculum for ArtSmart, and on the voice faculty for the Festival Opera Summer Opera Institute. I have been a guest clinician for the Cal-Western Regional Conference of the National Association of Teachers of Singing (NATS) in Salt Lake City and will receive the Joan Frey Boytim Award for independent teachers at the 2018 National Conference in Las Vegas. I am the Vice President of Programs for the San Francisco Bay Area Chapter of NATS and have served as a finalist judge for the Classical Song Festival. I teach individual voice lessons in my San Francisco studio in Lower Haight.
I studied singing with Patricia Craig and Maria Spacagna—two sopranos who enjoyed substantial careers at the Metropolitan Opera and beyond. I learned a lot about singing from them—including performing traditions, interpretation, and what it takes to build a career as an opera singer. But shortly after I finished my conservatory training and started singing full opera roles, I was in a car accident that kept me from performing on stage for three years. Although I had already earned a Master of Music in Voice Pedagogy (teaching) and had studied vocal anatomy and function, it was in the process of rehabilitating and rebuilding my own voice that I really developed my own personal style of teaching singing technique. I not only studied the latest science in vocology and acoustics, but I also researched various traditional schools of singing from the Bel Canto period and the international Italian school. Now over a decade later, I combine a somatic approach to singing ("How does it feel?") with concrete knowledge of the physical action that creates both the vocal sound and the accompanying sensation.
I work with graduate students preparing for a professional career, middle school students just beginning their studies, and adult choral singers. I believe everyone should have high quality training at every point in their vocal studies—not just when they've reached the conservatory level. I work best with students who take their studies seriously and are willing to progress slowly and systematically with an absolute minimum of one hour of at-home practice between lessons.