Voice lessons
grounded in
release, not effort.
Stop fighting your voice. Build freedom, consistency,
and expressive technique through conversation,
curiosity, and body-led work.
Let your instrument support what you want to say.
If singing feels harder than it should…
Tension builds, the throat closes, and the voice won’t move.
You’re pushing instead of coordinating.
How I teach
A lesson with me is a conversation — between you, your instrument, and what the music is asking for.
I use the full vocabulary of vocal technique: breath support, open throat, registration, resonance. But I've come to believe that most singers, when given a technical instruction, try to achieve it by engaging — by doing more. And more often than not, that engagement is exactly what gets in the way.
Open your throat. Most singers hear that and actively try to create openness, which creates tension, which closes the throat. Support more. Most singers brace, which locks the breath rather than freeing it. The instruction isn't wrong — the execution is. And the execution is wrong because the mind is trying to manufacture a result instead of allowing one.
So my work is largely about helping singers find the release that lets the technique happen — rather than the effort that prevents it. That might look like imagery, physical awareness, questions about what you're feeling, exercises designed to remove the idea of making a good sound entirely. It might also look like a scale with a very specific conversation about what "support" actually means in the body and why trying harder isn't the path to it.
The form changes. The principle doesn't: a singer who isn't fighting themselves can do anything the music asks.
You over-manage and overthink.
Too much focus on technique gets in the way of sound.
Your range and registers feel inconsistent.
Shifts are unreliable and the upper voice feels out of reach.
You second-guess your technique.
What you’re told in lessons and what your body does
don’t always line up.
Who I teach
I work with committed singers who are serious about their development — performers at the pre-professional and professional level who are curious about their instrument and ready to do real work. Students who want to understand not just how they sing, but why.
My students include performers who have sung on Broadway and Off-Broadway, members of professional choral ensembles including the New York Philharmonic Chorus and the American Symphony Orchestra Chorus, and musical theater writers who have won the Jonathan Larson Grant and the Stephen Schwartz Award, including members of the BMI Musical Theater Writing Workshop.
If you want to build a freer, more consistent instrument and understand what's actually getting in your way — this is the right place.
Where I teach
Over fifteen years I've worked with singers and musicians in a wide range of contexts — private voice lessons, audition preparation, music theory, songwriting, composition, and music production. I've taught at The New School — Mannes Opera, The Neighborhood Playhouse, and the University of Cincinnati — CCM. That breadth informs how I work now: I understand what singers need across the full scope of a musical life, not just in the practice room.
As a performer, my career spans the New York Philharmonic, Boston Pops, Tanglewood, Choir of Trinity Wall Street, and the Mark Morris Dance Group. My voice appears on Last Week Tonight's Emmy-nominated Eat Shit Bob: The Musical and on two Grammy-nominated recordings with The Crossing — The Arc in the Sky (2019) and Rising with The Crossing (2022).
As a working music director, I've developed new musicals from workshop to world premiere at the American Repertory Theater, Ars Nova, and MetLiveArts, among others.
What I teach
Lessons are built around what each singer actually needs — not a fixed curriculum. That said, the work tends to live in a few consistent areas:
The instrument itself — breath, registration, resonance, and the release of habitual tension. Building a voice that's consistent, free, and sustainable under the demands of professional performance.
Musical theater — belt, mix, legit, and the transitions between them. Stylistic fluency across the full range of the MT canon, from Golden Age to new work. Understanding what a contemporary score is actually asking for physiologically.
Classical and operatic repertoire — art song, opera, and oratorio. Grounded in the Italian school, applied to the specific demands of each singer's voice and goals.
Choral and ensemble singing — blend, intonation, and the skills of being a strong ensemble singer. Essential for working singers in any genre, and often the place where the deepest technical habits reveal themselves.
When I teach
I'm currently based in New York City and available for in-person lessons. During production periods my availability is limited to evenings — typically two evenings per week. I'm most available between productions. If you're interested in working together, reach out and we'll find a time that works.
Currently accepting a limited number of new students.
Lessons are in person in New York City. Reach out with a bit about where you are and what you're working toward.