Astonishing blending of textures.

I eventually completed my Indiana University Masters degree  in Piano Performance with the help of Clarke Remington, Gyorgy Sandor, and Joseph Rezits.  

I've worked with renowned teachers who began in the glory days of opera (when voices needed to ring effortlessly without the aid of microphones) including  
Virginia Zeani, Margaret Harshaw, and in my first years in New York - Ellen Repp and later, Ruth Falcon.

I've also also spent two decades learning many bel canto operatic masterpieces, meeting wonderful opera singers, and playing rehearsals for perhaps the greatest conductor for nurturing and supporting voices in the later 20th and early 21st centuries: Eve Queler.  

Many ideas  that I use in coachings today are a reflection of  a working relationship of two decades with Deborah Carmichael, one of the founders with Kinga Cserjesi of the Libero Canto School of Singing in New York City.  Deborah is a protege of the late Edvin Szamosi of Vienna, Austria.  

Observing Deborah's teaching led me to guide singers to free the body and breath, to bypass conscious control while turning one's attention to musical values at hand, to allow singing which seems to come from the "beyond",  seems transcendental, becomes sacred - the universe of music behind the printed score.   

Although I am not a certified Libero Canto™ instructor I use transformative ideas from it's philosophy as part of my own unique approach as a conductor of singers of all kinds.  

 * ​The third video from the top right of this page is my client Debra Patchell. The other two videos are favorite YouTube videos.


               Floating richness.

​Change hearts with your voice

Following love, after a summer way over my head at Santa Fe Opera in 1982,  I  moved to NYC with set-designer Bill Clarke whom I would marry 31 years later.  ​I returned to Santa Fe Opera as often as I could get hired there in 1983, 88, 89, and 1990.  

​From 1983-86 I served as  Associate Instructor/rehearsal pianist at the Juilliard School for the American Opera Center.   When I first arrived I learned I had no idea how to follow a conductor (my apologies to George Mester), I began to work in Italian with the glorious Corradina Caporello, took a few English Diction classes with Madeleine Marshall, French  Diction from Thomas Grubb, and played  Lady Macbeth from Mtsensk rehearsals for
the son of it's composer - Maxim Shostakovich.

  Unexpected ease at any age.                             

Vocal Coach - Why Me?  Listen and guess my client*

​​​​​​​​​​​​​​​I've been at the intersection of Grand Opera, Recital, Broadway, Cabaret, and Church Music for almost 40 years.  Singing and the human voice was and is everything to me - the source of my music making.  

My childhood neighbors, as well as my family and I - sang in church. Whether a farmer, housewife, school teacher, plumber, truck driver - each knew whether they were a soprano, alto, tenor, or bass.  And each part was important to create 4-part harmony, often acapella.   

I decided to attend Indiana University, Bloomington after getting a Performer's Certificate in Piano, and a Bachelor's Degree in Choral Music Education from SUNY Fredonia.

At  Indiana University I became an Associate Instructor  for the famed Opera Theater working on shows like, Wozzeck and Love for Three Oranges while trying to begin a Master's Degree in piano.  I remember sharing a piano bench with Virginia Zeani, Voice Professor, as she sang Desdemona's love duet from Verdi's Otello with her student tenor  -  not that many years after she had probably sung the role in major theaters all over the world.