Singer, Teacher, Artistic Producer
BSc Human Physiology, ARCT Singing Diploma, MA Community Music
Her 30+ year international performance career has put her at home on the concert, opera, and theatre stages.
Her most recent major appearances in Toronto have been as Monisha in the Nathaniel Dett Chorale’s concert performance of Treemonisha at Koerner Hall, and as an ensemble member in Mirvish’s North American premiere of The Sound of Music at the Princess of Wales Theatre.
Denise concentrates her time on performance education, and has founded No Strings Theatre with a desire to aid youth in developing their skills in music theatre as well as grow in their team skills for life. She was music director of NST’s first few years for Cinderella, Bye Bye Birdie, Seussical, Into The Woods, and Once on This Island.
Denise has been a private voice teacher for over 30 years, as well as RCM examiner and national adjudicator for over 20 years. She is a certified advanced voice teacher for the RCM and is on the Voice Faculty at Sheridan College’s Musical Theatre Department.
Professional memberships include President of The Ontario Registered Music Teachers Association (ORMTA), executive of the National Association for Teachers of Singing (NATS), as well as The Canadian Actors Equity Association (CAEA). With a Masters in Community Music from Wilfrid Laurier University, Denise has participated in international symposiums, particularly addressing cross-cultural sharing of music traditions involving the African Diaspora.
TEACHING PHILOSOPHY
Equally at home on the concert, opera, to the theatre and cabaret stages, I am best described as a self-produced, crossover soprano.
Reflecting on over 30 years of teaching and singing experience, scholarship and lived experience, I have been privileged to work with diverse students of spoken word/rap, gospel, contemporary, music theatre to the classics of crossover, art song, and opera styles.
I feel it is highly important, and I strive to practice a pedagogy that fosters a balanced technique, allows for singing ease, stylistic flexibility, and voice longevity, and desired artistic expression. As no two people have the same voice/instrument or presentation, I practice an individualized, tailored approach to teaching with the desire to meet people where they are at.
This implies working with them not just from their level of learning or education but also considering their needs and desires. Honing a student’s own natural and unique vocal colour, void of manipulative impositions to sound or be like anyone else, promotes singing with more ease, freedom and identity.
Whether in my studio or in a college setting, I encourage students to understand who they are and work from a state of inner knowledge, security, and uniqueness. I believe that taking time to understand and connect with students gives them a sense of comfort and trust which aids them in reaching their potential goals.
THE VOICE AS AN INSTRUMENT
Yes, the voice can actually be viewed as an instrument. The science of it all includes body alignment, the diaphragm, breathing management, the shortening, lengthening and adduction of vocal folds, and the creation resonance spaces.
In the end we can be viewed as both wind and string instruments and quite far away from a percussive instrument, like the piano. Also the pitching as we cannot see it, is something that is very miraculously achieved. So what came first, the winds, the strings, the percussion, or the voice?
Let’s Play our Voice!