Grants and Awards

NATS-LA offers Teacher Professional Development Grants and Student Summer Study Awards of up to $1000 for our members and our members' students who are attending workshops, conferences and summer programs.

Membership dues to our chapter help us bring our events, grants and awards to our members and their students. If you'd like to help us bring even more support to voice teachers and students, please donate via Paypal. Thank you!

We are a 501c3 non-profit, so your donations are tax deductible. You may also wish to set up planned giving to include NATS-LA as a part of your will or trust.

Reports from Recent Winners of Grants

Dr. Janelle DeStefano, Winner of the Teacher Award in 2023

Program: NATS Science Informed Pedagogy Institute, June 25 - July 1, 2023

Thank you, NATS Los Angeles Chapter, for your support in attending the inaugural Science Informed Voice Pedagogy Institute (NATS Sci-Pi) at the beautiful Utah State University campus in Logan last summer.  This one-week intensive workshop is packed full of information and presented by some of the best teachers in our field.  It was an honor and a pleasure to share this experience with wonderful NATS colleagues and leaders.

For years, I have hoped for a workshop like this - for those of us who have a pedagogy background, but could use an update with current science.  I completed a Master of Music in Voice Pedagogy and Performance at Westminster Choir College in the 1990’s under Marvin Keenze, and have tried to update my knowledge over the years through reading, workshops and seminars.  The NATS Sci-Pi was a perfect fit for what I wanted.  Rather than promoting a particular approach or style, it honored the many ways we voice professionals can achieve results with our students, and offered current research, creative ideas and well-designed structures in support of what we do.  

Daily sessions began with warm-ups lead by John Nix.  We learned a lot about semi-occluded vocal tract (SOVT) exercises and formants in fun, creative exercises.  Lectures on alignment, respiration, phonation, acoustics and resonance, registration, articulation and cognitive science were given by John Nix, Lynn Helding, Allen Henderson and Amelia Rollings Bigler.  The approach assumed a certain level of knowledge and moved quickly, but provided lots of resources for us to spend more time on subjects we wanted to dig into.

Rachel Steinke, Winner of the College Award in 2023

Program: Operation Opera by the Four Corners Ensemble, June 5-11, 2023

It Was Really Hard, But I Did It: NATS-LA Summer Study Award Reflection Essay

In all honesty, I should have quit the Operation Opera program, gone home, and recovered from my horrible cold. This summer, I spent seven days in an operatic new music festival called Operation Opera at Sacramento State University, put on by the Four Corners Ensemble. This program brings composers and vocalists together to premiere new art songs and opera scenes. It is headed by Dr. Shuying Li, one of the best living composers I’ve worked with. The Four Corners Ensemble spends the week accompanying the concerts and providing instrumental expertise while the voice and composition faculty provide guidance to the composition and vocal students. It is a great program led by great artists, and their kindness and love of new music are so encouraging.

I was excited to attend Operation Opera this year because I attended 2022 Operation Opera and had a fantastic and inspiring time. This year, I was determined to go again, and the NATS-LA scholarship with existing Operation Opera scholarship made that dream a reality. Another obstacle to attending 2023 Operation Opera was the fact that I committed to travel to Italy and Slovenia with the CSU Long Beach Bob Cole Chamber Choir, and that trip overlapped with Operation Opera by a few days. But because of the grace of Dr. Shuying Li, I was able to arrive late to the 10 day festival and still participate. So, I arrived to Operation Opera three days late with a few days to prepare 2 opera scenes and 4 art songs. I also arrived with jet lag, and a terrible, terrible cold (caught with the choir in Europe of course).

After arriving to Operation Opera, I was in need of rest but jumped into rehearsal immediately. I put a lot of pressure on myself during this week because there were no covers and the other singers were already overworked. While I love the Four Corners Ensemble and Dr. Shuying Li, this summer’s program had the performers stretched thin in terms of workload. So, every day during this week I went to rehearsals, stopped by the CSU Sacramento student store for tissues and medicine, and then went immediately to bed. It was a hard week. I had no desire to perform, but I was still capable of singing, so I made it work. Again, I probably should have called it quits and gone home to recover, but I really was determined to do a decent job for the student composers whose work I was representing. One composer was Aria Gittelson, my dear friend and collaborator, so I could not let Aria down by not singing their 2 art songs. Also, I had fallen in love with the opera scene I was in called Juvenilia by Zachary Dietrick, a Julliard graduate. Zachary’s opera scene was about the Bronte sisters, and I was playing the lead character Charlotte Brontë, with about 18 minutes of solo singing, ending in an emotional aria. I was very sick during this week, but I loved the music and I wanted to sing it.

Despite what might have been a healthier decision, I pushed through and did my very best in performing the 4 art songs and 2 opera scenes that week. I was exhausted and had less breath energy than I was used to, and my voice felt very tired by the end of it all. However, I was really proud of my ability to still sing decently despite the circumstances. I learned my vocal and physical limits during Operation Opera, and learned that if I can help it, I will not be putting myself or my voice in that position again. I also learned that while I should not push myself that far again, I am able to perform well under difficult circumstances. Additionally, I made some wonderful friendships and learned a lot from faculty member Julie Miller in my masterclass with her. I also loved getting to sing the music of Zachary Dietrick and Aria Gittelson.

Lastly, but most definitely not least, I am so very grateful to have had this experience because NATS-LA members sponsored me to sing at Operation Opera. I would not have been able to go and learn the important lessons I learned without the support of NATS-LA’s Summer Study Award. Thank you very much!

Sakeena Godfrey, Winner of the College Award in 2023

Program: Neil Semer Summer Vocal Institute, June 21st - July 5th, 2023

This summer I had the privilege of attending Neil Semer’s Summer Vocal Institute (NSVI). Hosted at the Villa Medici-Giulini, just outside of Milan, Italy, the experience was life-changing, both vocally and personally. I am so grateful to say that NATS’ generous scholarship made my attendance possible! This program gave me the opportunity to observe and sing in masterclasses with inspiring artists from all over the world, as well as the opportunity to participate in coachings with brilliant piano accompanists, practice auditioning, and workshop my acting. The singers at NSVI were in various stages of their vocal journeys, and there were singers of numerous different genres in attendance (e.g. opera, musical theater, jazz, spirituals). Despite our many differences, we all shared one common goal: to leave singing healthier and more authentically than when we arrived. I am pleased to share that this goal came to fruition for me within a timespan of just under two weeks! I now have a clearer understanding of my voice type, what qualifies as appropriate repertoire for me, and what my next steps as a pre-professional singer might look like. Neil Semer’s teaching style is just as holistic as the act of singing is. Everyday, we practiced and discussed connecting our singing fully to our bodies, breath, and emotions. My work with Neil gave me a more practical understanding of what it means to sing with support, to sing “on the breath,” and for the vocal cords to successfully come together, etc. My singing has never felt so free and natural (especially in my high register). Several people have commented on the positive difference they hear in my singing. And I have a newfound confidence in my voice. It’s an exciting and freeing feeling! Finally, one of the most important and practical lessons I will take away from NSVI is that there is no need to intellectualize singing, a primarily physical activity. As singers, we often attempt to think and analyze our way into being great, especially after years of training in an academic setting. But ultimately, good singing spawns out of a willingness to learn and fail like an infant by doing, not thinking.

Kobe Burton, Winner of the College Award in 2023

Program: Luke A. Housner Summer Opera Workshop, Philadelphia, July 10th - 23rd, 2023

My time at the Luke A. Housner Summer Opera Workshop (LAH-SOW) in Philadelphia proved to be an excellent educational experience this season. As someone who had not yet participated in a full, true opera (i.e. not an operetta and not a scenes program), I accepted the role of Guglielmo in Così fan tutte last December, not knowing fully what to expect from the program but ready to garner what information I could. At the conclusion of the two-week program last month, not only had I developed my artistic abilities, but I also gained valuable insight into what the art form truly is and how it feels to be a part of one.

Prior to the actual program itself, though, was the matter of learning the opera entirely on my own. My stage experience was limited to musicals, a couple operettas, and an opera scenes program, and all but one of those productions took place in a multi-month rehearsal process. To prepare an entire opera by myself before a first rehearsal proved to be a challenge, especially considering the busy schedule I already had this summer. We would be performing with our scores, offering some comfort. However, there was still an immense amount of work to be done. Nevertheless, the piano and I quickly became very well acquainted as I spent many hours learning the arias and group numbers and refining my recitative delivery. The day before my departure, I remember feeling somewhat confident in my preparation. The real test, though, would be putting it all together.

At my first coaching, I was admittedly a tad nervous. Nervous to see how prepared I really was, how skilled my Guglielmo counterpart, John, in the other cast was, and what it would be like to work with Luke. Would he be merciless or amicable? He was an imposing figure of at least 6’ 5”, although he seemed more approachable when sitting down at the piano. After the three of us greeted one another, we got right to work. I quickly found that I was prepared, John was great, and Luke, while being incredibly particular about what he wanted, was very kind. He had a very clear vision for every phrase, dynamic, and word pronunciation and would call me out on any error he heard (which was not just a few). However he did so with both directness and gentleness. He noted all mistakes, but it also was not the end of the world when they occurred. Not only did I appreciate his kindness, but his acute hearing made me conscious of my own inattentiveness to every issue he caught. Did I make sure that I doubled that ‘t’ or flipped that ‘r’ instead of rolling it? Did I lift in this phrase to reflect the punctuation or did I plow straight through without a thought other than getting to the end of the line? While I was previously aware of such nuances in diction and phrasing, I had not been in the habit of practicing them with such exactitude. What Luke demonstrated to me in his coachings was that perfecting these subtle performance characteristics was a key component of producing an authentic opera, not just an optional “cherry on top,” so to speak. Getting it right matters. It transformed my approach to classical singing, particularly in a foreign language.

When we began putting the individual parts together, it was more of the same drilling, just with more people, and with more great people, I might add. In my program last year, there were unfortunately more than a handful of sour grapes in the cast. Not this time. It was consistently a joy to work with such congenial, talented singers throughout all the rehearsals and into the performances. Everyone practiced hard to make sure they were prepared both in terms of music and staging, and this was evident in the performances which went quite well. I felt at ease, confident in my own preparation and everyone else’s as well. In fact, in the end my greatest fear was not muddling up the notes or staging, but instead it was losing my spot in my score and causing the action to come to a screeching halt. Thankfully I can report that my sticky notes and paper clips did not fail me, and our performances were train-wreck free.

Overall, this experience gave me a great opportunity to take part in an opera in a safe environment. I learned about what techniques and subtleties are involved in recreating an authentic production from a music tradition differing considerably from our modern one. It also granted me a chance to truly feel what performing in an opera is like before pursuing it any further. I am incredibly grateful to Luke and my castmates for such a wonderful experience, and I am just as immensely appreciative to NATS-LA for contributing to make this possible. It is an opportunity I will not soon forget.

Alexandra Reyna, Winner of the College Award in 2023

Program: N.E.O Voice Festival, June 24 - July 1, 2023

With my NATS scholarship, I had the privilege to attend the 2023 N.E.O Voice Festival under the direction of David Harris, Laurel Irene, and Fahad Siadat. Having prior classical training in voice and a strong interest in the new music field, I wanted to delve into the experimental side of the human voice and its full capabilities. Not only was I able to fully immerse myself in the logistics of voice science, but I was able to make lasting connections with other musicians, experiment with tonal qualities, and expand my breadth of repertoire by hearing pieces written by my talented peers.

The format of the N.E.O Voice Festival was extremely conducive to my learning style: I found the lectures palatable but accessible to every type of learning style, as well as an overall inviting sense of acceptance that underlined every seminar. We were challenged to look at our own biases or associations with certain vocal topics in order to change our relationship with our bodies to become more intuitive and relaxed. One of the most profound exercises we did at N.E.O. was a morning meditation in which we sat in a circle and produced any sound with our articulators and vocal cords that we chose. It was a very freeing exercise, as I find that I usually am trying to “mimic” a certain resonance or tone when I practice, and this allowed me to make a choice about the sounds my body could produce.

I had the privilege to perform and rehearse in the First Congregational Church of Los Angeles, which provided beautiful architecture and acoustics for me to explore resonance with. Another aspect of N.E.O. that was refreshing and conducive to growth was the range of different artists that participated in the festival, in terms of geographical location, age, identity, compositional style, and performance history. In performing everyone’s unique piece, I was able to incorporate kinesthetic properties into my music-making that allowed me to hear overtones in a new way. This program not only helped me become a better performer, but it also taught me the importance of active listening and improved my musicianship and self-confidence greatly.

Lilliana Mindel, Winner of the High School Award, 2023

Program: University of Michigan Vocal Arts Institute in the (Vocal Solo Track), July 23 - 29, 2023

This summer I had the privilege of attending the University of Michigan’s Vocal Arts Institute in the Vocal Solo Track. It was hosted for one week at the University of Michigan’s beautiful North Campus. During my time there I got to experience the most beautiful scenery and weather (yes there were summer storms) Michigan had to offer. I was given a full tuition scholarship but NATS-LA made it possible for me to attend with aiding travel expenses.

During the program I had the opportunity to work with Professors Stanford Olsen and Amanda Majeski. I was extremely excited to work with Professor Olsen and I have to say he did not disappoint! His instruction helped me grow so much. I appreciated his attention to detail and his kind spirit. He treated his high school students like they were professionals and in result he was able to bring a lot out of me. Professor Majeski was my main vocal teacher during my time there. She is kind, collaborative, and just an amazing person.

Our days were jammed packed. We started our days with an Alexander Technique movement class. Then we usually had a choir rehearsal. I had so much fun in choir. It was really cool because I finally got to sing the soprano line on the piece Measure Me Sky and last year with my school choir I sang alto. Classes in the afternoon consisted of diction, acting, private voice lessons, and piano coachings.

I had the honor of watching a Louise Toppin masterclass. It was fascinating learning about African American Art Song and learning about artists that I haven’t heard of before. Her perspective on storytelling and her patience with our group explaining in depth the importance of African American Art song was truly remarkable. She sparked my passion for finding interesting pieces written by underrepresented composers.

We had two performances. A soloist concert on Friday night and a choir concert that Saturday morning. On Friday I decided to sing “Del Cabello Mas Sutil” by Obradors. I had this piece for about a week and a half but Professor Majeski was extremely encouraging and helped my learning process. I thought it was pretty exciting as well to be one of three chosen to sing an additional art song. I sang “Will There Really be a Morning” by Ricky Ian Gordon for the choir showcase.

I would like to conclude by saying thank you NATS-LA again for your support of my summer study!

Antonio Serrano, Winner of the College Award in 2022

Program: Chicago Summer Opera, July 19th - August 14th, 2022

My Summer at Chicago Summer Opera

Last summer, I had the opportunity to attend the second session of Chicago Summer Opera. The program holds two sessions in the summer and produces three operas each session. Participants have the opportunity to work with conductors, voice teachers, coaches, and other singers.

I was given the opportunity to perform the roles of Primo Soldato Pretoriano, Secondo Famigliari, and Lucano, in the full production of L'incoronazione di Poppea by Monteverdi. Additionally, I sang the role of Mr. Splinters in the full production of The Tender Land by Aaron Copland. Although I had already participated in many college productions of opera scenes, this was my first time singing in full productions, with orchestra.

Chicago Summer Opera held six-hour rehearsals daily for each opera. Rehearsals were conducted professionally and the schedule was arranged in a way that allowed me to rehearse for both operas. I relished the opportunity to work with many talented singers. Seeing them work has influenced my singing and acting. As rehearsals went along, I became more and more excited, as I realized the potential the shows had to be truly great experiences for our audience.

Every singer was given the opportunity to sing in a masterclass with an esteemed voice teacher or opera singer. I appreciated the opportunity to participate in a masterclass with renowned baritone, Franco Pomponi. I worked with him on my audition aria for CSU Long Beach's opera program. His suggestions were helpful and I was able to sing a successful audition and was granted admission to the program.

I also loved attending the other master classes because it was an opportunity to see singers around my level of experience work with reputable clinicians. Singers were offered weekly coaching with an array of seasoned collaborative artists. I had the pleasure of working on my audition pieces with Curtis Serafin. I appreciated Mr. Serafin's coaching method; he made sure I understood why a certain choice would be better, so I would actually want to do it, and so I would apply it to other pieces in the future. Even if my personal choice was fine, he would offer me alternatives to consider! Mr. Serafin offered me valuable instruction which helped me sing a successful audition recently.

I requested to study with Allan Glassman and my request was granted. Studying with Allan Glassman proved to be an invaluable experience. While it has been over a month since our first lesson, I still listen to my recordings, think about his advice, and use his exercises. He even recommended some great arias that fit me. I appreciated that he would generously demonstrate how he would like me to sing certain phrases or vocalises. From what I've heard, he maintained this energy with all his students. Studying with Mr. Glassman this summer gave me more confidence in my singing and I would love to have the opportunity to study with him again in the future. Allan Glassman was a key reason why my experience at the Chicago Summer Opera was so enriching!

At Chicago Summer Opera, I worked with and met many coaches, stage directors, conductors, and passionate singers. Meeting these individuals is helping me decide where to pursue my master's degree. This was such a wonderful program and I gained so much knowledge and experience that I would love to participate in it again in the future. I would recommend it to all of my friends who are aspiring opera singers.