- Levels Taught:
- Beginner, Intermediate, Advanced
I have built a private studio on the foundations of traditional bel canto technique with a strong emphasis on the Italian School. I believe in consistent practice with scales, arpeggios and other exercises that help students build and strengthen their voices and navigate their registers. Correct breath support is too often a mystery for students, something we will demystify in our sessions. With correct breath engagement (appoggia) students will learn how to move effortlessly through their passaggio (transition to their high notes).
- Teaches students:
- Ages 16+
- Teaching since:
I'm a passionate and enthusiastic instructor with over ten years of professional Operatic and Musical Theater experience. I graduated with my Masters in Music from the Juilliard School in 2007, was a member of the Juilliard Opera Center from '07-'09 and then joined the Patrick G. and Shirley W. Ryan Opera Center at the Lyric Opera of Chicago.
I was an Apprentice at Merola with the San Francisco Opera and at Glimmerglass in '07 and '08 respectively. In the subsequent 10 years I have worked both at home and abroad with some of the world's great conductors (ex. Lorin Maazel, James Conlon, Sir Andrew Davis) and companies (ex. Lyric Opera of Chicago, LA Opera, San Diego Opera, Lyric Opera of Kansas City, Academia Nazionale di Santa Cecilia, Sinfonica de Galicia, The Boston Symphony Orchestra).
I have always had a love of teaching and for the intricacies of Vocal Technique. I have built a private studio on the foundations of traditional bel canto technique with a strong emphasis on the Italian School. I believe in consistent practice with scales, arpeggios and other exercises that help students build and strengthen their voices and navigate their registers. Correct breath support is too often a mystery for students, something we will demystify in our sessions. With correct breath engagement (appoggia) students will learn how to move effortlessly through their passaggio (transition to their high notes).
American baritone Paul continues to gain recognition on the strengths of his vocal appeal and charismatic stage presence. He has earned critical praise for "a wonderful touch for physical comedy, a strong and beautiful voice, and the dancing skills that one typically encounters on Broadway". 2018 witnesses Paul's return to San Diego Opera and his debut with Eugene Opera, for the respective company premieres of Piazzolla's tango-opera María de Buenos Aires, in the role of El Payador, and his Princeton Festival debut as Sharpless in Madama Butterfly. Paul looks forward to his 2019 role and company debuts with Gulfshore Opera (Malatesta in Don Pasquale and Vermont in La Traviata) as well as his Fort Worth Opera debut reprising the role of Enrique in Martinez's El pasado nunca se termina, which he created in 2015.
In the summer of 2017, Paul made his debut with the Brooklyn Art Song Society at the Marcella Sembrich Opera Museum in Bolton Landing, NY, performing excerpts from Mahler's Das Knaben Wunderhorn. Throughout the autumn, Paul rejoined Brooklyn Art Song Society for a French mélodie program dedicated to Chausson and Duparc, and bowed his debut with New York's Bare Opera as Figaro in the two-hour Mozart / Rossini pastiche Figaro/Figaro!
Recent seasons have witnessed return engagements with Lyric Opera of Chicago (Cascada in The Merry Widow, Jud Fry in Oklahoma!) and Chicago Opera Theater (Boris in Shostakovitch's Moscow, Cheryomushki), in addition to debuts with Los Angeles Opera (First Mate in Billy Budd, directed by Francesca Zambello), Lyric Opera of Kansas City (Falke in Die Fledermaus, directed by Tomer Zvulun), and Central City Opera (Jud Fry in Oklahoma!). As Enrique in the world premiere production of José "Pepe" Martinez's El pasado nunca se termina, he appeared at Lyric Opera of Chicago and made his company debuts with both San Diego Opera and Houston Grand Opera.
Committed to the performance of new works as well as to the revival of long-unheard works, in 2011 Paul made his debut with Chicago Opera Theater as Oronte in the Midwest premiere of Charpentier's 1693 masterpiece Médée and his debut with Opera Theater of St. Louis as Rambo and First Officer in the second fully staged US production of John Adams' The Death of Klinghoffer.
Paul enjoyed a long association with the late Lorin Maazel, and was a frequent guest artist at Maestro Maazel's Castleton Festival for several seasons. Under the Festival's auspices, Paul performed the roles of Le fauteuil in L'enfant et les sortilèges, Don Quixote in de Falla's El retablo de maese Pedro, Jack Rance in La fanciulla del West (all under the maestro's baton), and Mercutio in Roméo et Juliette. Concert appearances with Maestro Maazel include Paul's role debut as Jack Rance at Spain's Palacio de la Ópera de A Coruña and his Roman debut as the baritone soloist in Brahms' Ein deutsches Requiem with the Orchestra della Svizzera Italiana at Rome's historic Accademia Nazionale di Santa Cecilia.
Additional concert credits include debuts with the Boston Symphony Orchestra at the Tanglewood Festival, the Los Angeles Philharmonic at the Hollywood Bowl (both as Maximilian in Candide), and the Cleveland Orchestra both in Cleveland and at Miami's Adrienne Arsht Center for the Performing Arts (in a program of Aaron Copland's Old American Songs).
Paul initially came to national attention through America's most prestigious training programs. Between 2009 and 2012 he fulfilled a young artist residency in the Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago, where his responsibilities included performing Hermann in Les contes d'Hoffmann, Bello in La fanciulla del West, Silvano in Un ballo in maschera, Moralès in Carmen(conducted by Alain Altinoglu), Cascada in The Merry Widow (conducted by Emmanuel Villaume), and Kuligin in Katya Kabanovà (his company debut, conducted by Markus Stenz), as well as covering Ravenal in Show Boat, Papageno in Die Zauberflöte, Harlekin in Ariadne auf Naxos, Demetrius in A Midsummer Night's Dream and Le Dancaïre in Carmen.
Paul has also apprenticed with Glimmerglass Opera (performing Curio and covering Achilla in Giulio Cesare in Egitto), San Francisco Opera's Merola Opera Program (Dandini in La Cenerentola), and the Juilliard Opera Center, where he trained between 2007 and 2009. As a member of the Juilliard Opera Center, Paul appeared as the boxer Adam Ochsenschwanz in Ernst
Krenek's Schwergewicht oder die Ehre der Nation under the baton of James Conlon, as Ford in Falstaff in a production by Stephen Wadsworth conducted by Keri-Lynn Wilson, as Rambo in The Death of Klinghoffer under the baton of the composer, and as Raimbaud in Le comte Ory.
Paul earned both his Master of Music and Artist Diploma from the Juilliard School and a Bachelor of Arts from Williams College, where he double majored in Philosophy and English.