Teaching is one of my passions. The honor of facilitating a student's transformation of artistic potential into professional artistry is humbling. I love this work and believe I was born to it. My training includes classical music, acting, movement study, and personal research; therefore, my teaching is eclectic and ever new as I continue to learn. 

 

I believe authenticity is born from embracing the uniqueness of each performing artist. Discovering authenticity is the secret to learning what we have to offer the world as artists. 

 

My singing methods are drawn from influences ranging from the oldest bel canto singing techniques to contemporary voice techniques for stage. Many of my techniques are of my own invention. The work of neurologist Guy McKahnn, founder of the Zanvyl Krieger Mind/Brain Institute at Johns Hopkins, has forever changed my teaching. My discussions with Dr. McKahnn on his work with intrinsic and extrinsic neurological pathways illuminated how transformative externalizing an internal physical movement can be. I also draw from the teachings of Laban, Alexander, and Chekhov in approaching singing as holistic communication. I am a devoted fan of the immediacy of communication and the artful engagement of language as discussed by Cicely Berry and Patsy Rodenburg. Above all—a healthy, informed means of producing desired sounds is essential in achieving any lasting vocal success. 

 

In addition to the musicianship skills to recreate a composer’s notated intentions, a singer must have skills in musical interpretation. Musical genres from jazz to rock to country and so many more are present in the ever-expanding range of contemporary vocal repertoire. In addition to addressing interpretation, singers need to become skilled in producing sounds ranging from legit to belting with as many varied mixes as a musical style may demand. Finally, to sing beautifully and interpret music with stylistic nuance is not enough. A singer's ability to communicate believably with an audience can determine a career. Integrating acting, movement, and singing is a constant in my teaching. Student-singers need opportunities to learn how the three artistic disciplines influence one another and weave into the fabric of performance. I nurture and train professional performing artists, who have a unique and valuable art to offer an audience through their singing, acting, and movement synthesis on stage or screen.