My musical background is quite varied, perhaps even crazy to some people. I now prefer to think of it as “broad and enriching”. I was always circling back to singing, and found that my greatest teachers, regardless of instrument, referred to singing as the basis of music-making.

In my teen years I began working as an accompanist and coach for vocalists. I also taught myself to play several instruments, and before college had lessons in piano, oboe, and a few in singing. Although I was eager to leave my small hometown in Iowa for college and adult life, I was lucky to have the freedom to explore many different things musically at a young age. I played flute and oboe in the concert band, lead alto sax in the jazz band, accompanied groups, church, and soloists at the piano, and sang in choirs. In college I studied flute, oboe, saxophone, and voice, and accompanied singers, instrumentalists, and ballet classes. I did not consider singing to be my strong suit, but I always admired fine singing, and liked to be around it whenever possible.

After studying voice in college, there were still many gaps in my technique. The vague advice of some teachers such as “darken the tone”, “support more”, and “bring the falsetto down into the chest” didn’t help me to negotiate the break between chest and falsetto/head voice, to increase range and power, or to sing without fatigue. After abandoning singing for some years, my heart pulled me back to it again, so I went back to the musical theatre stage, where I felt the safest. After a few years, I began to revisit my classical roots. Now my singing is a mixture of song recitals and occasional excursions into opera, musical theatre, cabaret, and contemporary commercial music.

My search for a better vocal technique after my college years eventually led me to a functional approach, based on physiology and the idea that one’s freest voice is the voice one should sing with. I have worked with wonderful mentors who have a vast knowledge of how the voice works. I enjoy working to stay informed of the latest developments in the areas of voice science and pedagogy, and I still practice, study, and perform in order to continue to explore vocal freedom and expression.

My studio has singers from widely varying backgrounds and ages. The music these people sing comes from many genres. Helping them to perform their music with maximum ease and authenticity is my work.

Education:

• Level III Certification, Somatic Voicework™
• M.M., Music Performance, Bowling Green State University
• M.A., Instructional Systems Design, University of Maryland, Baltimore County
• B.M., Music Performance, University of Iowa
• B.S., Music Education, University of Maryland, College Park
• Graduate coursework in Vocal Pedagogy, Shenandoah Conservatory
• Vocal Study with David Christopher, George Gibson, J. Arden Hopkin, Mary Walkley
• Coaching with Gillian Cookson, Jorge Robaina, Richard Crittenden

Performances:

• Tenor soloist in recitals in the Washington, DC area.
• Substitute Tenor section leader at churches and cathedrals throughout DC Metro area.
• Comprimario roles in local opera productions.
• Musical theatre roles in local productions.
• Piano accompanist for auditions, seminars, and recitals.
• Professional performances on flute, bass, and viola.