Singing with Nancy B.

I have had the incredible honor to have studied with incredible teachers and coaches,alike Every so often, I, myself go to a voice coach to keep my technique fresh and current. I would also like to mention that quite earlier on I did study under the tutelage of Helen Yorke. She was a concert pianist for the renowned soprano Renee Fleming.Ms. Fleming is the reigning diva on the Met stage at present. How I discovered Helen I can't recall. By my early thirties I had derived incredible amounts of vocal knowledge. Performing on stage is like nothing else I have ever done before and it helped enormously to create desperately needed exposure...High school launched me into music performance where I immersed myself in all kinds of special choirs contingent upon a rigorous audition. I attended the All Nassau Chorus as well as the All State Choir. Unfortunately for me, my choral director did not fill my application to attend All Eastern Choir in time. Oh well. Nevertheless, I was achieving vast amounts of vocal technique exponentially as I studied voraciously with top vocal instructor on a weekly basis. Studying operatic form meant learning how to sing in different languages which took a great deal of patience and time, I might add. My mother was the sole contributor when it came to who was funding my lessons. She paid throughout otherwise I could have never taken as many voice lessons as I did. NYSSMA was the organization which funded these extra-curricular activities for the performing arts. Finally the spark was ignited. As I mentioned I have had the great fortune to have studied under the so called creme de la creme when it came to voice teachers. All were situated on the west side of Manhattan. There is a veritable mecca of voice teachers and coaches all clustered in that particular area...that is just the way it was and still is today.When I was in my teens I studied under Cynthia Hoffman at the preparatory division of the Manhattan School of Music. Sadly I had to leave for personal reasons. I could have attended the Mannes School of Music but decided against it. Anyway, I was also lucky to have had the privilege of studying amongst opera instructors on the roster of the Juilliard faculty as well; in essence a culmination of the mediocre to the exceptional.. Despite it all, I learned and I developed what I know to be a flawless technique which has taken me far when it comes to performing for audiences. I had the esteemed privilege to work with Joan Dornemann whose affiliation is that with the Metropolitan Opera. She has great clout with the faculty and is highly regarded by many who make up the opera community at large. *** Specialties*** Just to reiterate I have had an extensive teaching background working with students over the age of fifteen. In many instances it is better to work with this age group because they are able to focus their attention on the lesson at hand whereas a child of for example six or seven for the most part usually has a much harder time holding a minimal attention span, at best. At times I have taught chilldren under the age of fifteen. . Even when I auditioned for JUilliard at sixteen I was, at first dismissed because the faculty of jurors felt that I needed to mature first in other words, physiologically they felt that I needed more time to develop physical maturity. So I took their advice, auditioned the next year and got accepted. That one year made all the difference. Thank you for listening. Good luck, one and all.