Fisherville, KY Opera Voice Lessons

ts have paid for them. They should have their own instrument to work with.

*** Specialties ***
I use the Alfred method for piano.

actice. They are then empowered by experiencing the connections between inspiration, work, and pleasure.
He performs, as a solo entertainer, an unusually wide ranging repertoire because of his versatility on guitar, piano, and vocals. Being an accomplished arranger with a vast library of charts also allows him to lead a ten piece orchestra as competently as a trio or quartet. He has performed extensively in New York, Chicago, Cape Cod, and Florida.

*** Lesson Details ***
I always try to make lessons as comfortable and enjoyable as possible yet challenging enough to maintain interest. I build lessons around the student's individual interests (specific songs or styles) so that he or she can learn the technical fundamentals in a relevant context.
My own curriculum is supplemented by the following:
Guitar: Hal Leonard Guitar Method, Aaron Shearer Classical Guitar Method
Piano: Alfred's Basic Piano Course , John W. Schaum Piano Course
Voice: Jeffrey Allen's Secrets of Singing, Nicola Vaccai Practical Method

*** Studio Equipment ***
Hardman baby grand acoustic piano
OptimusMD1600 electronic keyboard
Crate TX50D guitar amplifer

*** Specialties ***
- Singing lesson time is generally divided 50/50 between voice building and repertoire. I accompany vocalists on both piano and guitar, teaching the melody notes as they are sung along with the piano. Then, once the melody is learned, I often switch to the guitar with just chordal backing. The acoustic guitar is also softer than the piano and lets the singer hear their own voice better. For voice building, I use my own concepts plus approaches of famous voice teachers like Jeffrey Allen, Seth Riggs, and Anthony Frissel.
- I am very experienced performing all styles of guitar and can cater to the student's specific area of interest, whether it be rock, folk, classical, or jazz.
- With piano, I work on fundamentals of reading and technique. Learning basic harmony and chord construction starting with triads (3 note chords), the student can soon read single stave lead sheets (a form of music notation widely utilized by professional musicians) as well as the grand staff. This approach trains the ear and makes learning how to play popular songs much easier.

which encompasses the vocal onset and the closure of the vocal folds. Students realize that proper breath management and producing tone go hand in hand. The ideal that the student and I work towards is a balance between superfluous air flow and and pressed pressure. This concept leads to a clean onset in which the edges of the vocal folds cleanly come together and stay closed during singing.

Students also learn how to negotiate and coordinate the vocal registers. This means that every student who walks into my studio learns where and what the larynx is. It is my job to be a second set of ears to help the student optimize his or her tone quality by maximizing vocal resonance. This concept may be different across genres, however every student learns how to begin coordinating the vocal process.

HOW I TEACH
My aim as a teacher of voice is to be flexible and innovative, and provide students with a clear and honest assessment. I strive to explain to each singer exactly how to complete a task, whether maintaining the position of inhalation or correcting posture. In lessons, I refrain from being demonstrative so that the student can find his or her own unique sound without attempting to copy my sound. I use this method so that the student learns how to be her own teacher. This way, the student will be able to identify and correct her own vocal problems. When I am not present, the student will have confidence in her skills and can make educated corrections in practice, rehearsals, and in performances.

TECHNIQUE
Throughout the course of lessons, it is my job to identify the most effective resonating space for the student and give her the skills to maintain that space. It is through the combination of effective breath management using appoggio and flow-phonation that the student becomes most efficient. Finding the most efficient technique for the student involves discovering the proper laryngeal position for the student’s voice type and by practicing continuity through all of the registers.

As all of the aspects of technique are being built in the studio, it is my job to ensure that I am building a musician. This means that I go over how the student needs to learn a piece and how to perform a piece. Often times with young students, they do not have the musical skills to teach themselves the pieces assigned. Sometimes the voice teacher’s job is to “plunk out the notes.” I highly encourage my students to take piano lessons and to use technology resources to aid them in building musicianship so they feel confident reading music. This process takes time, but it is the first step in building a competent performer.

MY GOALS
I always cater to the students tastes while still meeting requirements, if any. I believe that this fosters joy and excitement in music. My goal as a voice teacher not only involves building a good singer, but creating a performer. I make sure that I not only find performing opportunities for my students, but also I create them. Every semester I hold a studio recital for my students to perform their repertoire in front of an audience. In the Fall of 2015 I founded a local opera company in order to bring classical music to the community. My students made up the chorus of Handel’s Messiah that we performed that December. In addition, I have invited my students to participate in the church choir I direct every week. I believe that learning how to sing must take place in the studio, but the most important thing that I can do as a teacher is to make sure that the student knows how to transfer the skills learned in the classroom to real-world performing experiences.

APPROACH
I believe in a holistic approach to teaching, which involves connection to the text and acting. Though I cover many of these aspects in the studio, it is extremely beneficial for students to go outside of the studio and engage in physical courses such as yoga, Alexander technique, acting and dance. I personally engage in these activities to relate to my students and to be able to explain how we need to engage the body in singing. I also encourage my students to have coachings with other professionals to gain more insight into their repertoire.

Not every student who comes to my studio wants to sing opera. Many students want to sing in choir, in church, or just for fun. Overall, I always come from a place of acceptance and non judgement. Every voice is unique and I strive to help my students not only reach their goals, but surpass them.

ABOUT ME
I have been teaching voice and piano since 2010. Not only an avid teacher, I have performed in music festivals all over the world including The American Institute of Musical Studies in Graz, Austria, Accademia Europa dell’Opera in Lucca, Italy, Angel Vocal Art in Los Angeles, CA, Russian Opera Workshop in Philadelphia, PA, and Highlands Opera Studio in Haliburton, Ontario. I have also performed with companies including Opera San Jose, The Napa Valley Music Association, The San Francisco Youth Chamber Orchestra, Opera on the Spot, and The Solano Chamber Society.

I earned my Doctorate of Musical Arts in Vocal Performance, Pedagogy, and Literature from James Madison University in Harrisonburg, VA with Kevin McMillan. During my time in Harrisonburg, I founded Harrisonburg Opera Theatre and was the church choir director at Sunnyside Retirement Community Meredith Chapel.
I completed my Post-Graduate Artist Diploma in Voice at the San Francisco Conservatory of Music under the tutelage of acclaimed opera singer, Deborah Voigt. While in San Francisco, I interned in the Education Department of San Francisco Opera and taught Kindergarten and First grade music with the San Francisco Conservatory in the Schools mentor-ship program. I also received a full scholarship to attend the Rubin Institute for Music Criticism.

I earned my Masters of Fine Arts in Vocal Performance from the University of California, Irvine at the Claire Trevor School of the Arts where she sang the National Anthem for President Barack Obama at the school’s 50th Anniversary Celebration. At UC Irvine, I received critical acclaim for my portrayal of Euridice in Gluck's Orfeo ed Euridice, and as the Soprano in Pergolesi's Stabat Mater.

I specialize in the Alfred Series for piano and My First Piano Adventure for young students. This approach focuses on ear training and reading music. Custom exercises and choice of material is based on the student's level and field of study. Lessons are scheduled at the student's convenience as per availability. Frequency and length of lessons is based on the students needs.

Young voice students are taught general concepts, music theory, and ear training. After the voice is more mature, advanced and serious vocal study can be pursued. Melissa's students receive a well-rounded training in the style of their choice: Classical, Popular, Musical Theatre, and Jazz.

I emphasize solid technique, posture, breathing, and control, in addition to music fundamentals.

ormance and minored in conducting, continuing his education at LSU's school of music where he earned his Master's degree in orchestral conducting. In Austin, he conducted works by Stephen Sondheim (Into the Woods) and Dan Studney (Reefer Madness.)
​As a voice performer, he has sung the roles of Papageno (The Magic Flute), Ramon (La Curandera), King Balthazar (Amahl and the Night Visitors), Rigoletto (Rigoletto by Verdi), Belcore (Elixir of Love), Warrick (Plump Jack), The Phantom (Phantom of the Opera) among others. He has been heard regularly as a recitalist both in Mexico and throughout the US.
He earned his bachelors degree from the University of Texas at Austin where he majored in voice performance and minored in conducting, continuing his education at LSU's school of music where he earned his Master's degree in orchestral conducting. In Austin, he conducted works by Stephen Sondheim (Into the Woods) and Dan Studney (Reefer Madness.)
He currently serves as cover conductor for the Plano Symphony Orchestra, as well as administrator and librarian for the Irving Symphony.

guitar, ukulele, and everyone's favorite - the recorder.

e variety of students. Aspiring professionals, hobbyists, young children, even frontmen from rock bands have entered my studio and left feeling a healthier approach to their vocal production. I am keenly aware of the vocal stress that some pop music places on voices, and am very good at helping aspiring singers sing naturally and healthily.

In short, I will help you find YOUR voice, and we will have a blast doing it, I guarantee it.

I teach out of my home in Malden, MA, just outside of Boston, still accessible via the Orange Line, and I also offer online lessons.