I am inspired by people who lean into their authenticity.
When a person aspires to something out of the ordinary, I'm intrigued.
When the underdog uses its hard work and triumphs over the one with more talent, I cry because I KNOW this to be the TRUTH!
Because singing is vulnerable, I am moved most by those who take risks and are willing to fail and because I think there is no greater reward than using your voice for expression to move others towards change, I'M ALL IN.
Having the desire to perform is a gift and I have made it my life's work to perform with my entire voice and heart, to guide others to find their unique path, and to continue to grow in all my creative pursuits.
Learning and creativity are my passions.
And let's tell the truth...the path there isn't always easy...
I got started in the music business because I knew I wanted to be either a singer or solid gold dancer at a young age, and well, my parents found piano lessons before dance lessons.
Growing up, I sang gospel, pop, and country and dabbled in classical. At the time, the only music degree offered was in classical music. I learned some Italian songs and was on my way! A few scholarships later, I had two music degrees and a desire to sing opera. I had become fascinated by the acrobatics of the singing voice. Why the voice and how the voice could make such sounds that could soar over a loud orchestra were compelling and consumed my thoughts. I devoted myself to learning the history of the voice, styles of the operas, nuance of languages, and how to act for large stages.
But once I found myself about five years into my career, I felt like a fake. Constantly trying to please others and land role after role, I had stripped myself bare. I had no idea of my authentic voice anymore. Every conductor, director, teacher, manager, and general director had an idea, but I certainly did not. Trying to meld me into everyone’s expectations had weakened me, and I was on the verge of quitting. Fear of performing was setting in, and the gremlin on my shoulder grew louder and louder. Performances were becoming unbearable.
Luckily, I found the right teacher and mentors and shifted into a new identity for myself - one of self-love and learning to be my biggest cheerleader. Now 20 years into my career, I am setting out to teach the next generation of singers how to OWN their process, advocate for their needs, and champion their inner, triumphant voices.
HERE'S THE THING...
You don’t have to navigate becoming the performer you want to be all by yourself. And you should not try to do it all alone. Trust me. You need to invest in your product which is YOU and you need outside ears.
If you are new to music and are learning your first notes and learning how to breathe, and all the layers of a good vocal technique, you need some foundational guidance to get it right from the start.
If you have been performing for some years, you need to build a team. If you want a music career, your team will consist of a voice teacher, an acting coach, a manager, and possibly a publicist. Your team must understand the rigors of the music business and the emotional weight often associated with good decision-making and advocating for yourself while also trying to please an arts organization.
This is where I can help. I’ve sung in over 50 productions in 20 years. I can’t even imagine how many auditions I’ve completed getting into those performances! I have certainly lost more auditions than I’ve won, and I’m still going strong. I have negotiated contracts and started and ended relationships with managers. I have worked with great and not-so-great conductors. I have worked with some brilliant directors, and I have worked with that one where I ended up staging myself and half of my colleagues, too. I’ve worked in academia, and I’ve started my own business.
Let me help you get quicker results by using the knowledge I've attained in my studies, performances, and in my teaching.
SOME FAVORITE STAGE MOMENTS
L'arbore di Diana with Minnesota Opera
I MEAN LOOK at this dress! What is not to love about a new production ESPECIALLY when you get custom-made costumes and they are as exquisite as these.
This role was a tour-de-force. Written by Martín y Soler and a libretto by Da Ponte, this obscure Mozart-like opera gave me the opportunity to sing vocal pyrotechnics while mixing a martini.
I Pagliacci with Opera Omaha
The first opera I ever saw on PBS was I Pagliacci with Luciano Pavarotti and Teresa Stratas and I have never been the same since. I mean, watch the ending scene and you'll see the most hair-raising verismo acting you can find.
I was overjoyed to be cast in I Pagliacci with Opera Omaha in 2018. This production was set in the mid-1940s and gave me the chance to wear clothing and hairstyles I love while singing some of the most exquisite music in all of opera.
Sweeney Todd with The Atlanta Opera
In recent years I have been longing for roles that push me as an actor. I've sung many roles that require bel canto technique and beautiful costumes, and I love them. However, becoming the Beggar Woman gave me the opportunity to use a broader acting skill set and to abandon my bel canto technique except for one moment when she sings the lullaby. It was a transformation I'll never forget!
I am currently auditioning for more roles in musical theater so that I can expand on this layer of theatrical expression. I also love attending shows that my students perform in around the Atlanta area.