The Studio: Voice & Piano

I enjoy teaching singing because the impulse to make music is universal. The use of one’s own voice as an expressive instrument is the most fundamental form of music-making. Each voice is as distinct as our lived experiences and bodies. The elements that make us who we are combine with breath and attention to produce a sound that is uniquely ours.

In contrast to the production of instrumental music, singing involves an instrument that is not fixed but dynamically formed in the moment of sound production. The conditions of breath, posture, and resonance must align through focused engagement to “tune” the instrument-body, making singing a continual act of creation as well as expression.

Learning to sing is essentially about developing an understanding of the dynamic relationship between breath and the body’s natural resonance systems.  Because the body itself is the instrument, singing requires a conversation between intellect and felt sensation—a state of clear intention and receptivity.  The process is self-confrontational by nature, one that requires a great deal of self-awareness, self-acceptance, curiosity, and patience.

The reality of singing as a living practice carries an implicit invitation to growth and a requirement that we meet the present moment on its own terms, evolving in response to what the voice reveals.

My teaching approach places the voice itself at the center of the work. Rather than imposing external ideals or expectations, I focus on deep listening and observation—helping singers recognize what their own instrument needs in order to function freely and sustainably. Technique serves the voice, not the other way around. Over time, questions of range, fach, and repertoire emerge naturally when foundational coordination is approached with patience and consistency, allowing the voice to sing according to its own design.

A good teacher creates a container that facilitates self-discovery—guiding with feedback while allowing the voice and body to lead naturally.  My work is rooted in the bel canto tradition and informed by extensive study and clinical experience, particularly through my work with Michelle Wegwart. This training has shaped my commitment to practical pedagogy that prioritizes vocal health, clarity of function, and expressive integrity.