FAQs.
Your Questions: Answered
Q: What are you currently working on?
A: Since early 2019, I have been building my private practice with clients in a combination of virtual and in-person sessions. Additionally, I am happy to serve as a designated resource for the Met Lindemann Artists, the Ryan Opera Center Artists, and the Academy of Vocal Arts (AVA) in Philadelphia. In the current season, I will also work with the Cafritz Artists of Washington National Opera in a concentrated week of both individual and group sessions.
My sessions range from a more traditional format of strictly talk therapy to those that offer a client-centered combination of applied performance strategies--which is the origin of my saying that sometimes 'a lesson becomes a session or a session becomes a lesson!' My aim (with singers specifically) is never to infringe on the role of voice teacher or primary coach but rather to offer a neutral perspective for problem-solving and confidence building in a less pressured environment. I often say to clients that I may not be able to give you a job, but I can certainly help you get one!
Q: Are you still singing?
A: No, I officially sang my last job in late February of 2014 after completing the run of the world premiere of Lembit Beecher's "I have no stories to tell" for Gotham Chamber Opera at the Metropolitan Museum of Art. It was both cathartic and sad for me to think of that being the last time I would perform in that context--never say never, but any of us who know the world of performance also know that you can't really have one foot in the door and one foot out--it's just too competitive and demanding! For some time I had been feeling like something was missing for me--that singing was not enough for me. During my singing career, I so often fell into the role of the empathizer and problem-solver. I played many roles in my years on the stage, but there is a different sense of satisfaction and purpose in this new role! I want to be of service. But in terms of my own identity, I will always be a singer, a musician, and a passionate believer in the arts.
Q: What is Clinical Mental Health Counseling [CMHC] anyway?!
A: I thought the same thing when I began my journey into the academic world of psychology and counseling! I believe that the main distinction is really this: a Master's Degree in CMHC is 'applied' psychology whereas clinical psychology is what its name implies: more clinical. The foundation of both degrees is very similar, but clinical psychologists' training leans toward more focus on testing, assessments, and diagnostics. While I studied those subjects as part of my curriculum, my main interest was/is to find application for the fundamentals of counseling as it applies to the brain and psyche of performers and, in some cases, 'applying' it to the actual craft of the artist.
Q: Are you mainly looking to help manage performance anxiety and stress?
A: While I think it's safe to say that anxiety and stress are present in most people's lives to some extent, for the performing artist, those everyday stresses can be heightened by the complicated facets of leading a life that requires constantly honed skill, a high-risk tolerance, distance from loved ones on a regular basis, and constant subjection to criticism and evaluation--to name a few aspects! So, YES, to some extent, managing stress and anxiety is absolutely one facet of what I strive to help people mitigate. The ups and downs of performing can be overwhelming as well as exhilarating. Helping clients find that balance and maximize his or her 'personal best' is what inspires me.
Q: Do you think working online feels less personal?
A: Absolutely not. In my experience thus far, one quickly forgets that the client and I are not in the same room, as it were. I find that there is also the benefit of not just being in one's own comfort zone but also allowing the creation of a safe space to either work through issues verbally or vocally...or BOTH!
Q: Are you only hoping to continue work with singers?
