About Amy

Amy brings over thirty years of professional experience to her voice studio. She holds a bachelor of music in vocal performance and choral music, with extensive post-baccalaureate training in vocal performance, conducting, theatre, and music theatre. She has an active full-time studio with students from fifth grade to professional adults, while she continues to direct musicals and vocal direct musicals for youths and adults in the Bay Area. Her past experience contains twenty years of directing public middle and high school choirs; youth and adult church choirs, theatre camps and classes for youth, and daily music theatre classes as part of a middle school curriculum. She has also found time to participate in music theatre productions around the Bay Area.


Amy's story:
In the world of vocal performance, the focus is often on the achievements of the voice teacher as a performer, rather than as a master teacher. 
Although I studied Vocal Performance, I knew early on that I wanted to pursue performing in musicals and operas avocationally rather that professionally. I love teaching and it is far more gratifying to me than being on stage. My love, devotion, and innate sense of what a singer needs parallels the road of the serious performer. I have a talent for listening and watching, analyzing and diagnosing; then setting up a regime to nurture voices and spirits.

I have had many voice teachers over the years, gaining with each a greater understanding of technique; however, it wasn't until I trained with an extraordinary teacher who focused on the physiology of the vocal mechanism, and used very specific exercises to ensure that I gained a true understanding of how the voice worked, that I considered myself qualified to train serious singers in classical voice and music theatre.I had the opportunity to study with a voice teacher. Virtually every singer in her studio exhibited huge growth in tone quality, technique, and artistry. Her students won National Association of Teachers of Singers competitions, and Metropolitan Opera Auditions. Many of them went on to study at top conservatories and universities. As I studied with her, I learned the secrets behind this success that I too experienced. She used a technique designed by an opera singer and laryngologist to train the classical voice. It focuses on vocal health; clear, straight-forward exercises; and a thorough understanding of the physiology and physics of the voice. This technique teaches a singer to understand how to use the entire body to become a beautiful singer.
After this training, I felt qualified to train serious singers in classical voice and music theatre singing.

Music Theatre occupies a large part of my heart. 
I believe that down to the smallest hamlet, within any community there is enough talent and love for theatre that excellent productions of plays and musicals delight and enrich the performers and their audiences. That is the way society is designed. In all functioning communities, there are the leaders, the bean-counters, the builders, the healers, the teachers, and the artists. It is difficult for me to witness the worship and exaltation of Broadway or the Met as being the only avenue to success. To that end I have a visceral reaction to performers who lose sight of this and somehow begin thinking that because they have been gifted with a bigger talent, they are experiencing something greater than other practitioners of the arts. 

Additionally, choral music has been a big part of my life, this is why I got a degree in choral conducting. 
The feeling of being part of a whole, and bringing big works to life through a communal effort is spiritually moving to me. It is important to me that people experience what it is to be something bigger than themselves.