Soprano
Artist Statement
The line which threads my artistic journey is this: I am deeply attuned to my own desires and dreams. In fact, I find them impossible to ignore. It is this inner drive that compels me toward creative expression and continued exploration within the world of performing arts. I feel most myself when bringing to life a character in a story, to befriend them and inhabit their world through the vehicle of music, allowing for expression to bloom when words alone fall short. To me, it’s beyond passion or profession, it’s breathing. To share this art with others, through collaboration, community, and audience, is my soul's deepest treasure.
Teaching Philosophy
I believe meaningful transformation takes place when students have an empowered and autonomous relationship to their art. In my studio, students are encouraged to become clear with their musical goals and develop an artistic voice of their own. My job as a teacher is not to “fix” the voice or impose my opinion of one’s artistic path, but rather to mentor my students, providing the knowledge and feedback to build vocal technique and skill necessary for an expressive and efficient instrument, as they move toward development of their artistic point of view and the singing that most satisfies their musical desires.
My professional work centers on operatic repertoire, but I have a deep appreciation for all styles and specialize in cross-training. I believe a flexible, adaptable voice provides singers with agency over their instruments and expressivity. As a teacher, I help to access the range of one’s vocal instrument, empowering them to make the aesthetic choices that align with what they want out of music.
My teaching centers on the development of three related faculties: vocal technique, musicianship, and artistry. Vocal technique refers to use of the vocal mechanism, consisting of breath, phonation, and resonance. Cooperative and intentional configuration of these three elements is necessary for efficient, healthy technique. The second area is musicianship which, in my definition, encompasses the application of literacy, theoretical proficiency, and historical and contextual understandings. The third and final element is artistry, which arises out of the first two elements and their connection to something unteachable. Intrinsic and inimitable is a singer’s artistic voice. My thoughts are this: A good singer is proficient in vocal technique and musicianship. An artist is a good singer with something to say.
Students can expect for us to define a vocal and musical development plan that suits their individual needs. This includes, but is not limited to, targeted warm-ups and vocalises, repertoire study practices, historical and contextual research, reflection exercises, and utilization of recordings to monitor progress and recall learning moments.
My studio lineage descends from Manuel García, widely regarded as the father of modern vocal pedagogy, to me by way of a profoundly influential instructor of mine, Dr. Malinda Haslett. I have completed Estill Voice Training Foundations, Level 1, and Level 2. Additionally, I have taken vocal pedagogy courses and graduate level voice lessons at the University of Illinois-Urbana Champaign under the direction of Professor Yvonne Rodman who has studied with experts in this field such as Dr. Ingo Tize and Dr. Katherine Verdolini. I hold a bachelor's degree in Music Education from the University of Southern Maine and a master's degree in Vocal Performance and Literature from the University of Illinois Urbana-Champaign.