When I coach singers, I work systematically towards phonetic clarity and a synthesis of language, music, and meaning. I must be able to inform the singer about stylistic, social, cultural, and dramaturgical matters. There is much to do, and I must manage time well, rehearse efficiently, and provide depth and breadth of perspective. But most importantly, I must work with understanding and empathy for the singer as an individual.

Early in my career I was fortunate to study and collaborate with some of the foremost French, Italian, English, German, and Czech language coaches of the major western European opera houses. These experiences were bolstered by systematic study of lyric diction in the US, including Russian. As a graduate of one of the very few distinguished and well-established opera coaching programs in the United States, I also enjoy sharing these perspectives with aspiring collaborative pianists, coaches, and conductors.