Another one from my archives. This was such a fun production and one of my favorite roles. This is from the last couple of scenes of the first act. Enjoy!

I've been digging around in my archives and found some old recordings that I think you would enjoy. This one is from the opera "La Rondine" by Puccini and a beautiful example of long floating soprano melody-lines.

Knowing what it is that's actually holding you back from getting better is the first step toward solving your problems. Here are some thoughts I would like to share about what I've learned over the course of almost 20 years of teaching and more than 30 years of performing.

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Is it even worth it to take lessons? Can you actually learn how to sing if you're not naturally talented? And what if you're already pretty good? Are singing lessons going to do anything for you?
I'm answering all of these questions in this video.

Has anyone ever said anything that made you doubt if you should even sing? Don't let them tell you "no". Here's why.

Susanna sings "Deh vieni, non tardar" in Mozart's opera "Le Nozze di Figaro". It sounds deceptively easy, but is really one of the more challenging pieces to sing beautifully and consistently with spin and resonance.

Please check out this video about the correct diction: ...

Did you know that breathing isn't just a necessity when you sing, but it can also make your songs sound better? There are some secrets about breathing you may never have thought about that will revolutionize the way you approach singing.

Pressed for time? Yes, it can be done: a warm-up that only takes 3 minutes. If you're focused, you can be efficient and get ready for performance very quickly.

You need dynamics in order to sing with more expressiveness. But how do you crescendo without going flat? Here is the solution to staying on pitch even when you change volume levels.

I see so many students struggling with breathing and the concept of dynamic support. They're either too relaxed or too tense. As so often, the truth lies somewhere in the middle.

One of the most common problems is the high pitches for classical sopranos. They're important but often problematic because they don't have spin and sound/feel tense. Here's how to approach it the right way.

This warm-up is for classical sopranos specifically. So, if you're getting ready to sing some opera, art song, or oratorio, you should properly warm up first. Here's a complete warm-up routine you can use.