As a teacher, I enjoy taking a vocal journey with each of my students. They come with very specific goals and desires, which may or may not change during that journey. Looking at a student and seeing them as unique individual, I explore their abilities, strengths and weaknesses so that I can help them achieve what they hope to accomplish and beyond. Exercises are used to enhance vocal comprehension and coordination, but customized according to how the student absorbs and processes information. There are many roads to Rome and not everyone goes by the same route. For that matter, some people have no desire to visit Rome at all! Concentration on physical production and coordination, phonation, resonance, articulation and expression are explored aurally, visually and kinesthetically.Registration is the key to maintaining a healthy, comfortable, flexible instrument. Focus on head voice, chest voice and the variables involved in mixing the two is crucial to a student’s understanding of their instrument and needs to be investigated before a student is able to master their vocal production in any genre. I do not believe that all voices need to be trained classically in order for them to master their desired musical genre. If anything, I believe that approach can be harmful and send a student down a path that takes them further away from the type of music they love. Music that instills passion and joy will keep a student inspired and creatively motivated.I believe everyone is capable of singing well and comfortably with his or her own unique, special, beautiful, expressive sound. Everyone! It is a pleasure and privilege to have the opportunity to teach students of all levels and all varieties of musical styles to help them sing the type of music that inspires them. To see a person light up and know the sound they created was amazing and to share that moment with them is a moment I always strive for in my teaching. It is why I love to teach.
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Jennifer-Suess
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Jennifer Suess has performed as a soloist in such prestigious venues as the Kennedy Center, the Washington National Cathedral, Constitution Hall, Merkin Hall in New York, Saunders Theatre in Boston as well as Europe including the Dom and Universitätkirche in Salzburg. Opera audiences have enjoyed her portrayals of operatic roles including Electra in Idomeneo, Fiordiligi in Così fan tutte, Santuzza in Cavalleria Rusticana, Violetta in La Traviata, Rosalinda in Die Fledermaus, Anna in Puccini’s Le Villi, Seleuce in Handel’s Tolomeo with Nicholas McGegan conducting, Abigail in Ward’s The Crucible and a special performance as First Lady in The Magic Flute with Victor Borge conducting. As an oratorio soloist, Ms. Suess’s highlighted performances include Dvorák’s TeDeum: Mahler’s Symphony No. 2; Mozart’s Requiem, Mass in C minor, Te Deum and Litanie K. 195, Bach’s Magnificat, Beethoven’s Missa Solemnus, Faure’s Requiem: Handel’s Messiah and Ode to St. Cecelia; Vivaldi’s Beatus Vir and Gloria, Howell’s Hymnus Paradisi and Barber’s Knoxville: Summer of 1915. Recital programs have been performed at the Merriweather-Post Hillwood Estate, Levine School of Music, Embassy of Switzerland, Audubon Naturalist Society Mansion, Woodrow Wilson Plaza in Washington, DC, Austrian Embassy and the Danish Embassy. While living in California, Ms. Suess premiered and received critical acclaim for a 30-minute solo piece with orchestra entitled The Fireman’s Wife written by film composer and orchestrator Conrade Pope depicting a pregnant wife waiting to hear news about her husband who was at the 9/11 attacks. She also portrayed Lucia, singing the famous sextet as a homeless woman in a film written and directed by J.F. Lawton entitled Jackson. She has received honors from many esteemed competitions, including First Prize from the National Society of Arts and Letters as well as First Place in the National Symphony Orchestra’s Young Soloist’s Competition. As part of her prize, she performed opera excerpts with the National Symphony under the baton of Marin Alsop.