
LoVetri Institute for Somatic Voicework™
The LoVetri Institute in partnership with Baldwin Wallace University Conservatory of Music
July 9 - 17, 2022
Somatic Voicework⢠Levels I - III
July 9 - 11, 2022: Level I
July 12 - 14, 2022: Level II
July 15 - 17, 2022: Level III
Post-Level Courses
July 9 - 11, 2022: Singing & Speaking for the Transgender or Gender Non-Binary Client
July 15 - 17, 2022: When Science Meets Soul: Level I - Introduction to Soul IngredientsÂŽÂ Methodology
July 15 - 16, 2022: Vocal Health Intensive
July 22 - 24, 2022: When Science Meets Soul: Level II - Developing the Artist
Registration Deadline: July 3, 2022
Soul IngredientsÂŽ Registration Deadline: July 10 (Level I) & July 15 (Level II)
U.S. participants: register by June 28, 2022 to receive your books prior to the course.
International participants: register as soon as possible; we will begin sending books mid-April. Due to international mail constraints, we will send books early.
A physical copy of each Level's Somatic Voicework⢠course book will automatically be added to your registration for $25.00. Course books are required for all new participants and those who have a previous version of the book (printed prior to 2018).
An electronic, non-downloadable, version of the course book will also be available to all participants on Google Classroom during the course.
Somatic Voicework⢠is a body-based method of vocal pedagogy that incorporates physical awareness, aural acuity, kinesthetic development and vocal freedom. It is supported by voice science, vocal hygiene and medical information. It promotes technical security, stylistic accuracy and personal satisfaction. It honors the wholeness of healthy vocal use and the individuality of every vocal artist. It was developed to address contemporary commercial music but encompasses all styles. Past participants have come from all vocal disciplines and nearly every state as well as 13 foreign countries. Participants have remarked that the work is different, new, unique, powerful, honest and open-hearted.
The three-tiered course of LoVetriâs method, Somatic Voiceworkâ˘, is comprehensive but accessible to everyone from singers not yet teaching to those with decades of experience. Vocal function is clearly explained, and the exercises presented are designed to empower teachers to create solutions for a wide variety of pedagogical needs. Since 21st-century music continues to diversify, the need to understand vocal function, vocal health and voice science has never been greater, and new tools are needed to supplement those that were used for the past two hundred years. These tools are found in Somatic Voiceworkâ˘. There is no special jargon, nothing to prepare, and it avoids any direct manipulation of the structures in the throat. It has the honor of having had 12 nationally recognized laryngologists as lecturers and four highly acknowledged speech language pathologists as faculty over the past decade. The training days are filled with information, demonstration and application balanced with camaraderie, networking and social interaction among participants at all levels.


Tuition & Registration
Online Tuition: $350.00 per Course, plus $25.00 required course book for Levels I - III
Online Re-certification: Participants who have completed any Course and plan to retake it are eligible for a discounted rate of $200.00 per Level. To obtain the discount code, email cas@bw.edu and indicate where and when you were previously certified.
Limited automatic payment plans are available.
Registration Deadline: July 3, 2022
To receive a hard copy of the Levels I - III Somatic Voicework course book(s) prior to the course, register by June 28, 2022.
Soul IngredientsÂŽ Registration Deadline: July 10 (Level I) & July 15 (Level II)
Somatic Voicework⢠Course Descriptions
Level I is called âBasic Applicationâ and includes the following: introduction to functional principles of voice science and medicine. It guides singing teachers to enhance their own qualities as the âbuilding blocksâ of The LoVetri Method. It looks at terminology and at objectively describing vocal behavior. It also addresses attitude, intention and appropriateness of the interaction between student and teacher. Level I states that the teacher must have a clear intention for the vocal exercise when it is given. The teacher must know (a) either what is missing and needs to be added or (b) what is wrong and needs to be corrected, such that the studentâs singing will somehow improve. It rests on vocal function, vocal health and on traditional pedagogy, but it is also meant to help singers be marketable. There will be a vocal health lecture to instruct the teacher how to listen functionally, to hear aural distinctions and relate them to responses.
Level 1 Learning Objectives:
- Participants will be able to describe methods for effective communication with singers and singing teachers.
- Participants will be able to describe musical vocal production, the way in which stylistic parameters impact voice production, the relationship between speaking and singing voice production, music industry terminology, and industry expectations for voicing style and vocal load.
- Participants will demonstrate that they are able to listen âfunctionallyâ to singersâ voices both from a vocal health and a musical perspective, including the distinction between hypo- and hyper-functional singing in Contemporary Commercial Music (CCM).
- Participants will demonstrate the ability to assess the intention/purpose for any given sung vocal exercise.
*Graduate level CEUs are available for music educators through Baldwin Wallace University School of Education for this course.
Level II is called âAdvanced Applicationâ and is largely devoted to exploring how singing exercises work, what they do and why. It examines the age, background and desires of the students and how those things relate to the teaching process. It enhances the teacherâs ability to evaluate the students in terms of vocal behavior and aptitude. In Level II, the teacher acquires greater skill in choosing exercises that are appropriate and adjusting them to meet the level of ability of the student at any given point. There is also greater exploration of the many CCM styles, examining performance aspects that may impact vocal health. The main objective of Level II is understanding how to use vocal exercises functionally.
Level 2 Learning Objectives:
- Participants will be able to describe teachersâ rationales for choosing specific voice exercises in the singing environment and also how to evaluate the functional appropriateness of those exercises for individual patients.
- Participants will be able to evaluate singersâ vocal responses in the context of age, background, past vocal training, and natural aptitude.
- Participants will be able to verbalize at least two distinct ways in which specific Contemporary Commercial Music singing styles interact with vocal health.
- Participants will demonstrate basic competence in guiding a sample student through a sequence of Somatic Voicework⢠singing exercises with supervision by LoVetri Institute faculty.
*Graduate level CEUs are available for music educators through Baldwin Wallace University School of Education for this course.
Level III addresses âRepertoire, Problem Solving and Voice Medicineâ. It features a noted music theater expert from New York City, Carmel Dean, Music Director of multiple Broadway shows, who will conduct a master class in audition skills with chosen participants. Level III also touches upon acting for Music Theater and provides an excellent and quick approach to teach pitch matching for anyone with that problem. It promotes interdisciplinary interchange, i.e., the need for fellowship with Speech Language Pathologists and Medical Doctors. It also supports the idea that teachers should acquire the ability to read, understand and possibly even undertake research of interest to those in voice disciplines.
Level 3 Learning Objectives:
- Participants will be able to verbalize at least two considerations for communicating and collaborating with their patientsâ singing teachers to support their progress during therapy and transition back to the lesson environment on discharge
- Participants will be able to state at least two potential impacts of vocal disease processes, injuries, medications, and phonosurgery on singing voice function.
- Participants will be able to verbalize at least two physiologic voicing demands that are specific to singing at the professional level in the Broadway environment.
*Graduate level CEUs are available for music educators through Baldwin Wallace University School of Education for this course.
July 9 - 11, 2022
Transgender and gender non-binary clients are seeking services from speech and language pathologists and from teachers of singing with increasing frequency, both for the singing voice and the speaking voice. This three-day intensive course is open to all graduates of Level III of Somatic VoiceworkTM, regardless of areas of professional practice or knowledge levels of teaching and therapy techniques for the transgender singing and speaking voice.
This course will combine lectures, demonstrations and videos with opportunities for experiential learning. Guest lectures and demonstrations will be given by transgender, gender non-binary and cisgender individuals. Topics include appropriate language usage, best practice standards for teachers and therapists, and becoming an ally to the transgender and gender non-binary community. Dr. Kozan will also discuss special concerns as a cisgender person providing services to transgender and gender non-binary clients, challenges faced by trans and gender non-binary singers and speakers, experiences using Somatic VoiceworkTMÂ principles with clients, use of voice therapy techniques, and techniques for helping change the clientâs internal self-talk. Kozan will present excerpts from The Singing Voice chapter (authored by Kozan and Sandi Hammond in Adler, Hirsch and Pickeringâs Voice and Communication Therapy for the Transgender/Gender Diverse Client: A Comprehensive Clinical Guide, Third Ed., 2019). Time for questions will be scheduled and welcomed during each session throughout the three-day course.
What is Soul IngredientsÂŽ Methodology?
Soul IngredientsÂŽ is a voice teaching method created by Dr. Trineice Robinson-Martin for developing the voice while fostering personal style and soul expression. The methodology is a strategic combination of science-based voice pedagogy and standard pedagogic concepts found within the oral teaching tradition of African American folk-based music styles (gospel, jazz, soul, hip-hop) to develop unique artists and musical storytellers regardless of musical genre.
Soul IngredientsÂŽ is voice pedagogy according to science; voice training according to style; and artist development rooted in soul expression.Â
When Science Meets Soul: Level I
Introduction to Soul IngredientsÂŽ Methodology
(for Somatic Voicework⢠Level II Graduates)
July 15 - 17, 2022
When Science Meets Soul Level I: Soul ingredientsÂŽ Methodology is the 3-day intensive course that introduces professional voice users, teachers, and SLP to a vocabulary for teaching music and working with singers and musical styles rooted in, and influenced by, African American folk-based music styles and music traditions. Each day presents a focused area in Soul IngredientsÂŽ Methodology: Developing the Sound, Developing the Style, Developing the Story.
*Graduate level CEUs are available for music educators through Baldwin Wallace University School of Education for this course.
July 15 - 16, 2022
This day-and-a-half intensive vocal health course for graduates of Level III of Somatic Voicework⢠in any year prior to 2022. Dr. Claudio Milstein will cover a review of basic vocal anatomy and physiology, refreshing the definitions of terms used in clinical and medical discussion of vocal problems. It will present typical problems, through audio and visual examples, of various types of vocal pathology and vocal illness or injury and help singing teachers identify their studentâs auditory cues for suspicious vocal qualities and behaviors. Recommendations for referring to a voice care team will be discussed, as well as suggestions on how to interact with these medical professionals to assist in the vocal health of the students. Other topics will be addressed at his discretion. Singing teachers will be free to interact with Dr. Milstein to clarify various issues or questions.
Participants will be welcome to join and re-take the remaining Level III course sessions when the 1.5 day Vocal Health Intensive concludes at 2:oo p.m. EDT on July 16.
What is Soul IngredientsÂŽ Methodology?
Soul ingredientsÂŽ is a voice teaching method created by Dr. Trineice Robinson-Martin for developing the voice while fostering personal style and soul expression. The methodology is a strategic combination of science-based voice pedagogy and standard pedagogic concepts found within the oral teaching tradition of African American folk-based music styles (gospel, jazz, soul, hip-hop) to develop unique artists and musical storytellers regardless of musical genre.
Soul IngredientsÂŽ is voice pedagogy according to science; voice training according to style; and artist development rooted in soul expression.
When Science Meets Soul: Level II
Developing the Artist: Developing Personalized Plans
(for Somatic Voicework⢠Level II & Soul IngredientsŽ Level I Graduates)
July 22 - 24, 2022
When Science Meets Soul Level II provides next-level strategies for developing authentic creative vocal artists. Using the Soul IngredientsÂŽ Method, teachers and singers learn to use a customizable framework that identifies parameters of excellence that are both unique for each student yet culturally viable for the style the artist performs. Fostering next-level performers, When Science Meets Soul Level II explores the voice, the sound, and the story from the perspective of intermediate to advanced level singers and creative musical artists.
*Graduate level CEUs are available for music educators through Baldwin Wallace University School of Education for this course.
Daily Schedule
The Institute will be presented live, online, 11:00 a.m. - 8:00 p.m. EDT daily, with some optional office hours available in the morning and evening.
Daily Schedules:
Somatic Voicework Level I - Daily Schedule
Somatic Voicework Level II - Daily Schedule
Somatic Voicework Level III - Daily Schedule
Participating from a Different Time Zone
For those with scheduling challenges, or who live in a time zone where completing the institute in real-time will present challenges, there is an option to complete any Level of the Institute in a time-adjusted format.
Those not able to complete the institute in real-time will have 48-hours to review video material from each day, along with special required daily tests to confirm attendance.
Breakout sessions that require âliveâ participation will be set up with Somatic Voicework⢠faculty to review foundational materials in real-time; and for these special participants, multiple times will be offered to facilitate all aspects of the work of the Institute.
There will be a quiz or a test at the end of each Day for all participants to confirm understanding and attendance. Participants watching the recordings and participating in the alternative breakout sessions will have 48 hours to complete their work.

Senior Faculty
The senior faculty are both experts in the method and are excellent examples of how this work, which started out as being unique to Jeannette LoVetri, can be used effectively by everyone. They bring decades of experience as educators and vocalists to Somatic Voicework⢠and understand the open-hearted philosophy which brings together science and art, pedagogy and personal expression, and a trust of the bodyâs ability to produce beautiful, authentic sound in any voice and in any style.
Jeannette LoVetri is founder and director of The Voice Workshopâ˘, creator of Somatic Voicework⢠and creator of the original course for Contemporary Commercial Music Vocal Pedagogy, which for 13 years garnered over 1200 participants from all over the USA and 12 foreign countries.The work is unique, practical and based on voice science, vocal health and vocal function. It has received rave reviews from vocal experts in every discipline and has had a significant influence on vocal pedagogy worldwide.
For 45 years LoVetri has delved into every aspect of singing as both teacher and vocalist. Her studies took her to the worldâs greatest voice experts and through all manner of vocal investigation. Her work with laryngologists and speech language pathologists, and her broad base of experience teaching all levels of singers from beginners to international celebrities, has allowed her to develop an approach to teaching singing that is effective with all of todayâs Contemporary Commercial Music styles.



Faculty
Amanda Chmela received her BFA in Musical Theatre from SUNY Fredonia and her MM in Opera Performance from Binghamton University.  She is a member of NATS, NYSTA, NAfME, The Voice Foundation, and is Certified in Somatic Voiceworkâ˘, The LoVetri Method.  Ms. Chmela is on the voice faculty at LIU C.W. Post within their Fine and Performing Arts Department and served on voice faculty at Rider University from 2014-2018. She also maintains a private voice studio on Long Island where she specializes in teaching Contemporary Commercial Music with a strong focus on musical theatre and pop/rock styles.
Ms. Chmela has participated in the Westchester Summer Vocal Institute and is an alumnus of Tri-Cities Operaâs Resident Artist Training Program.  She has been the female vocalist for the Savoy Swing Band since August of 2013.   Performance highlights include Lucille (Parade), Anne (A Little Night Music), Nancy (Oliver!), Gretel (Hansel and Gretel), Josephine (H.M.S. Pinafore), Beth (Little Women), Hodel/Fruma Sarah (Fiddler on the Roof), Alice (Addamâs Family) , Mrs. Cratchit (A Christmas Carol), Despina (Cosi fan tutti), Barbarina (Le Nozze di Figaro), Latitia & Ms. Pinkerton (The Old Maid and the Thief), Fire Cover/Chorus (Lâenfant et les sortilege), and Poppea (Lâincoronazione di Poppea). www.amandachmela.com         www.longislandvoicelessons.com
Moran Cohen Talmor is an acclaimed singer and voice coach. Born and raised in Israel, with a rich background in martial-art studies, yoga, swimming, hydrotherapy Paula and Alexander techniques, Moranâs view of singing is deeply rooted in a mind-body approach.
Moranâs singing career was launched at the age of 15 when she joined a well-known Israeli A-cappella sextet advancing to the sought-after role of Israeli Defense Force performing artist. Moranâs Karate studies presented a unique invitation to train with a U.S. Karate team in Philadelphia, where she completed her 3rd degree black belt. While in Philadelphia, Moran served as the official representative singer of the Israeli Embassy in Philadelphia, and founded a program for teaching Hebrew through music which she introduced to the local Jewish community.
Upon returning to Israel, Moran recorded her debut original album âNatural Awakening", followed immediately by a second album along with the fabulous guitar artist Rami Yosifov.
Today, Moran is the creator and singer of âBoth Sidesâ, a Joni Mitchell Tribute, which was applauded by Ms. Mitchell herself. The group was extended an open invitation by Ms. Mitchell to perform a private concert in her home, a plan stopped short by the COVID-19 virus.
At 27, Moran was introduced to voice lessons. It was only natural that her experience and knowledge in bodywork would fuse with vocal methodology. However, it was only several years after being a successful teacher in Israel that Moran was introduced to SVW, an experience Moran describes as âcoming homeâ. Moran has been a dedicated teacher of SVW for the past 7 years managing her own private studio with dozens of students . Four years ago she founded "Calling"- a high Academy for voice in Israel. Since then, Calling has had great success, offering special programs for voice teachers based on the LoVetri Method.

Benjamin Czarnota is currently on the voice faculties of Ashland and Heidelberg Universities, Czarnota was the Coordinator of Musical Theatre Voice at the University of the Arts in Philadelphia and a voice faculty member at the Baldwin Wallace Conservatory of Music for over ten years. Students have performed leading roles on Broadway in the casts of American Psycho, Anastasia, Godspell, Hands on a Hard Body, Kinky Boots, Les MisĂŠrables, The Lightning Thief, ONCE. Private studio members range from a Tony award-winning singing actress to a speaking actor in a one-person play portraying dozens of uniquely voiced characters across the full spectrum of gender, age, and origin.
Czarnota originated the role of Mr. Webb in the world premiere of Ned Rorem's operatic setting of the iconic Thornton Wilder play Our Town. Other notable roles include Stanley Kowalski in Previnâs A Streetcar Named Desire, Guglielmo in CosĂŹ fan tutte, Schaunard in La Bohème, and Count Almaviva in Le nozze di Figaro. Regional music theatre roles include the title role in Sweeney Todd, Marcus Lycus in A Funny Thing Happened on the Way to the Forum, Freddy in My Fair Lady, the Father in Children of Eden and, most recently, Emile de Beque in South Pacific.
Billy Gollner is a singer, musician, voice teacher, and piano teacher currently based in Vancouver, Canada. Billy recently returned to Vancouver from London, UK where he was working as a singer and voice teacher.
Billy has been working full time as a voice and music teacher since 2012. In London, Billy had the honour of teaching singing at the Urdang Academy (a London-based Performing Arts University) in their Bachelorâs of Musical Theatre Program. The program is very intensive and competitive, providing students with the requisite skills for success in Londonâs highly competitive West End. In addition, Billy managed his private voice studio in Vancouver, Canada, and continued to teach students from all over the world online, from London to Australia, Singapore to Alaska, Brazil to Japan.
Billy holds a Master of Arts degree from The Royal Conservatoire of Scotland in Musical Theatre Performance, a Bachelor of Music in Voice from Vancouver Community College, a Bachelor of Arts in Communications, Art, and Technology from Simon Fraser University, and a Certificate of Liberal Arts from Simon Fraser University. For his Bachelor of Music, Billy was honoured to be named the valedictorian of his graduating class. While attending Simon Fraser University, Billy received the Communications Alumni Endowment Award for excellence and creativity in writing; in addition, he was a member of the Golden Key Honour Society and on the Deanâs List.
Jamie Leonhart is a New York City based singer/songwriter and educator, with a focus on pop, jazz and other CCM styles. Leonhartâs private studio clients range from karaoke novices to touring artists, ages 9 to 81. She works with independent middle and high schools in New York, coaching jazz and contemporary band singers and private students, as well as college-level singers at the New School.
She has directed, written for, and performed as a soloist and ensemble member of vocal jazz ensembles, a cappella groups, gospel choirs, and Off-Broadway musicals. She is an accomplished vocal arranger and songwriter.Â
Leonhart is a Certified Somatic Voicework⢠the Lovetri Method teacher, trained to teach in a curious, mindful, science-based manner. Her goal is to help singers find their voices and give them the tools needed to strengthen and free their instruments both physically and emotionally.
Leonhart leads performance and creative workshops and works with theater groups, choruses and small vocal groups. She works in collaboration with body workers and Speech Language Pathologists to serve her students holistically.
Leonhart is employed as both a commercial voiceover artist and vocalist (Trulia, TresemmĂŠ, Kohlâs, Betty Crocker, Neutrogena brand, and more) and also works extensively as a touring and recording background and session singer (Steely Dan, Donald Fagen, St.Vincent, Judy Kuhn, Paul Brill.)Â She was a soloist in the Metro Mass Gospel Choir and has performed in leading roles at the 92nd street Y Lyrics and Lyricists series. Her debut record, the truth about suffering was released on Sunnyside Records. Leonhart is a 2015 commissioned NEW YORK VOICES artist of The Public Theater/Joeâs Pub, under which she created her one-woman musical narrative, Estuary: an artist | mother story. Leonhartâs sophomore recording, the illusion of blue, will be released fall 2021.Â

With over twenty years of teaching experience, Andrea Randall-Luyties owns a successful private studio in Houston, Texas where students focus on training in music theatre. Her studio is made up of highly competitive high school students, professional child performers, and adults working through vocal pathologies. Current students and studio graduates can be found on local, professional, regional, and touring stages as well as performing on cruise ships across the globe.
In addition to her work with musical theatre students, Andrea has had success working with adult survivors of trauma in tandem with a licensed psychologist using singing and the principals of Somatic Voicework⢠as a healing modality. She has training in Somatic ExperiencingŽ and is certified in Emotional Freedom Technique and Thought Field Therapy. Andrea studied vocal performance at California State University at Los Angeles and the University of La Verne, and holds a Bachelor of Arts in Psychology and a Master of Arts in Theatre. Although currently working towards a second Master of Arts degree in Music Psychology in Education, Performance, and Well-Being at the University of Sheffield in England, she remains active in her local and regional NATS chapters, PAVA, and MTEA. Andrea and her students have been enjoying the Somatic Voicework⢠methodology since 2015.
As an internationally recognized voice pedagogue in contemporary music, Dr. Trineice Robinson-Martin has dedicated her career to performing and developing resources for teaching jazz, gospel/Christian, R&B, rock, country and pop singing styles in an applied/private voice lesson setting. She maintains faculty positions as a lecturer, voice teacher, and ensemble director at Princeton University, and newly formed in Fall 2021, Roc Nation School of Music, Sports, and Entertainment at Long Island University-Brooklyn Campus. In addition to her academic appointments, Dr. Trineice is a certified instructor and faculty member of the LoVetri Institute for Somatic Voicework⢠at Baldwin Wallace; serves on the National Faculty in the academic division of Gospel Music Workshop of America, serves as the Executive Director of the African American Jazz Caucus Inc., serves as a Board of Director for the Jazz Education Network, serves on the Editorial Board of the Journal of Singing, and is a member of the distinguished American Academy of Teachers of Singing.
As creator of Soul IngredientsÂŽ Methodology, Robinson offers virtual and in-person Teacher Training courses in Soul IngredientsÂŽ Voice Teacher Training Academy and LoVetri Institute and in is the founder of Soul IngredientsÂŽ Voice Studio. Soul IngredientsÂŽ methodology shows students how to take their personal experiences, musical influences, and models, and execute the various components in a manner that is personal to the singer/performerâs own expression.
The title of Dr. Trineiceâs 2021 debut album, All Or Nothing, billed under âTrineice Robinsonâ reflects the whole-hearted spirit with which sheâs approached every facet of her wide-ranging career. It captures the passion, confidence, and dazzling scope of her rich, expressive voice, which DownBeat Magazine hails as âredolent with power⌠stunning.â But it also represents the dedication and commitment that sheâs brought to an impressive career as a renowned educator, researcher, scholar, and clinician. Sheâs recorded with such jazz greats as Cyrus Chestnut, Nnenna Freelon, Kenny Davis, and Vince Ector, and was part of the âStanding in the Shadows of Motownâ tour along with Peabo Bryson, Leela James, and James Jamerson Jr. New York Music Daily praised Robinson as âan individualist who defies categorization: thereâs the immediacy of classic soul music here, coupled to jazz sophistication, gospel rapture and fervor.â
More information on Dr. Trineice Robinson-Martin and Soul IngredientsÂŽ methodology can be found at www.DrTrineice.com.


Guest Faculty
Janis Brenner is a multi-award-winning dancer/choreographer/singer/teacher/collagist and Artistic Director of Janis Brenner & Dancers in NYC. Known for âmeticulous artistry," she has toured in 36 countries and received âBest Performanceâ (2018) and the Criticsâ Choice Award (2019) at the United Solo Theatre Festival Off-Broadway for the interdisciplinary, one-woman show Inheritance: A Litany, a âBessie" Award in Meredith Monkâs work The Politics of Quiet, Lester Horton Award in L.A., major grants from the Fund for US Artists at International Festivals, Asian Cultural Council, Trust for Mutual Understanding, O'Donnell Green Music & Dance Foundation, US Embassies in Moscow, Bosnia, Jakarta and Dakar, and a commission for The Memory Project from the Whitney Museum of American Art.
Her work has been commissioned/restaged on more than 50 companies and colleges worldwide. Ms. Brenner was with Meredith Monk and Vocal Ensemble from 1990 - 2005, 2014, recording on ECM Records, and she teaches improvisation, composition, repertory, and movement/voice workshops worldwide. She danced with the Murray Louis Dance Company working with Rudolf Nureyev, Placido Domingo, Dave Brubeck Quartet, Bat Sheva Dance Company, and Alwin Nikolais. She was on faculty at The Juilliard School from 2009-21. Janis Brenner & Dancers has performed throughout the world since 1989 and served as Cultural Ambassadors on numerous tours.

Poetic and passionate, American vocalist, composer and improviser Dominique Eade blends musical virtuosity with a songwriterâs straightforward emotional sensibility, creating music that has garnered critical acclaim, inspired audiences, and served as a creative signpost for generations of singers.  The New York Times called Eade âan exceptional singerâ with a âwide vocal range and a grasp on the intricacies of style,â one âwho weighs a chanteuseâs coolness against a jazz musicianâs exploratory instincts.â  The Atlantic Monthly recognized Eade for her ârich voice and effortless deliveryâ while the Boston Phoenix called her music âsublime and daring.â Eadeâs performances throughout the United States, Latin America and Europe include the Buenos Aires Jazz Festival, the Bell Atlantic Jazz Festival, Mountain Stage, the Rigas Ritma Jazz Festival, the Panama Jazz Festival, the Molde International Jazz Festival, and the What is Jazz Festival, and clubs such as Los Angelesâ The Jazz Bakery, New Yorkâs The Blue Note, The Five Spot and The Jazz Standard, D.C.âs Jazz Alley and Bostonâs RegattaBar. Eade was signed to RCA Victor in 1998, recording with jazz luminaries Dave Holland, Victor Lewis and Benny Golson.
Deemed âa fearless collaboratorâ by pianist Fred Hersch, Eadeâs musical associations have ranged from Alan Dawson and Stanley Cowell to MacArthur grant recipients Ran Blake and Anthony Braxton. Â In 2017, NPR Critic Nate Chinen listed Blake and Eadeâs performance of music from their critically acclaimed Town and Country (Sunnyside) at New Yorkâs Park Avenue Armory as one of the Top Ten Jazz Performances of the year. Eade has recorded and co-produced 7 CDâs under her name, landing her on top ten lists at Billboard, NPR, Entertainment Weekly, DownBeat magazine, the Jazz Journalist Association, and elsewhere. Appearing as a guest in jazz and contemporary classical ensembles including the Either Orchestra and Boston Musica Viva, Eade is the featured vocalist on the 2020 Dave Douglas/Elan Mehler album, If There Are Mountains (Newvelle). Eade was nominated for Best Debut Artist in the 1998 First Annual Jazz Awards in New York City, and received the 2006 Outstanding Alumni Award at New England Conservatory, where as a teacher for over 3 decades, she has mentored an array of talented musicians including Roberta Gambarini, Michael Mayo, Rachel Price, Sofia Rei, Jorge Roeder, Sara Serpa, Sarah Jarosz, Darynn Dean, Luciana Souza, Akenya Seymour, Jo Lawry, Aoife OâDonovan, and many others.
âAn immensely appealing sound. (The New York Times)
âHer voice was rich and clear and strong in all ranges; she had musicianship and cool intelligenceâŚshe had absorbed some of Sarah Vaughanâs fearsome technique.â (The New York Times)
 âFor all her virtuosity, itâs her sound that carries the performance.â (The New York Times)
âEadeâs singing was marvelous, whether singing actual words or applying her voice to instrumental lines.â (The Boston Globe)

Claudio F. Milstein is the Director of the Voice Center at the Cleveland Clinic, and the coordinator for the area of Voice and Voice Disorders at the American Speech and Hearing Association. He is an associate Professor of Surgery at the Cleveland Clinic Lerner College of Medicine, and holds an Affiliate Scholar appointment at Oberlin College. Originally from Buenos Aires, Argentina, he completed his Masters in Speech Language Pathology at the Medical School of the University of Buenos Aires, and was a professor at the National Conservatory for Dramatic Arts in Buenos Aires, specializing in voice for stage. After relocating to the USA, he received his doctorate in Speech Sciences from the University of Arizona, interned at the Massachusetts Eye and Ear Infirmary at Harvard Medical School, and at the Speech Research Laboratory, Massachusetts Institute of Technology (MIT).
His clinical interests are in laryngology and voice disorders. He has been actively involved in the clinical management of voice patients for over 20 years, has authored numerous publications related to the human voice and its disorders, and is frequently invited as a lecturer at national and international meetings. His expertise in voice, particularly in the treatment of Functional Dysphonias and Paradoxical Vocal Fold Motion and related disorders has garnered media interest, with radio, newspaper and television interviews across the United States and South America, including National Public Radio (NPR), ABC World News, Fox News and MSNBC. Through the media outlets, he has been able to reach, educate, and advise thousands of patients with voice disorders and healthcare providers across America. His current areas of interest include laryngeal hyper-reactivity, functional voice disorders, upper airway dysfunction, and care of the professional voice.

Best known for his years on Broadway, as the co-starring role of âMary Sunshine,â in the 1996 revival of CHICAGO with Bebe Neuwirth, Ann Reinking, and Joel Grey, David Sabella made history during the 1995 Luciano Pavarotti International Voice Competition when Maestro Pavarotti publicly declared him to be âExcellent⌠not good, Excellent!â In addition to Broadway, Sabella appeared with Chita Rivera at Mandalay Bay (Las Vegas) and later returned to the Broadway company with Melanie Griffith as Roxie Hart, where he remained until 2004. He worked on The Visit, Kander & Ebbâs last collaboration, for which John Kander wrote the role of Luis Perch especially for him.
Off-Broadway Sabella received an âOutstanding Lead Actor in a Playâ award for his work in The Phillie Trilogy. He also starred as Julian Eltinge in Jules, and as dazzled audiences in a double role in Kiss and Make Up (written specifically for him, Lucille Lortel Theater).
As a concert artist he has appeared in NYC at both Carnegie Hall and Lincoln Center (Avery Fisher Hall AKA David Geffin hall), as well as Feinsteinâs/54 Below, Jazz at Lincoln Center (Mabel Mercer), Birdland Theater, The Laurie Beechman Theater, Urban Stages, Pangea, Judyâs Chelsea, Donât Tell Mama, and at numerous venues across the country.
As a voiceover artist, Sabella appeared on several network television cartoon series, including Peter Pan and the Pirates for FOX, with Tim Curry, and Teacherâs Pet for Disney, with Nathan Lane. And, as a classical singer, Sabella starred as the title role in Handelâs Giulio Cesare (Virginia Opera, recorded on Koch International Label), Monteverdiâs Lâincoronazione di Poppea (Utah Opera), and Straussâ Die Fledermaus (Lincoln Center). He was a winner of The New York Oratorio Society Competition at Carnegie Hall, and The Luciano Pavarotti International Voice Competition.

Continuing Education
Baldwin Wallace University School of Education CEUs
Graduate level credits are available for music educators teaching in the United States through Baldwin Wallace University School of Education for this course. One CEU is available for LoVetri Institute for Somatic Voicework Levels I, II & III and Soul ingredientsÂŽ Levels I & II, each with an additional fee of $208.00. Registration for CEUs can be added to your regular attendance fees when you register online.
- Lovetri Level I: Baldwin Wallace EDU-565-PM8
- Lovetri Level II: Baldwin Wallace EDU-565-PM9
- Lovetri Level III: Baldwin Wallace EDU-565-PM10
- Introduction to Soul ingredientsÂŽ: Baldwin Wallace EDU-565-PM11
- Soul ingredientsÂŽ, Developing the Artist: Baldwin Wallace EDU-565-PM12
The LoVetri Institute Scholarship offers financial aid to vocalists and artists attending The LoVetri Institute for Somatic Voiceworkâ˘.
To donate to the fund, use this link.
Make sure to select the Designation as "Other" and then enter "LoVetri Scholarship" in the box (see example below).
On-Campus Housing
Limited on-campus housing is available on a first-come, first-served basis. Once you have registered for the Institute, reserve housing online.
Rate: $99 per night/per person (includes linens, lunch and dinner each day)
Off-Campus Housing
Sonesta ES Suites Cleveland Airport: $95 per night with the Group Code â0717BWLOVEâ, includes complimentary breakfast buffet. Airport and Institute shuttle service will be available for hotel guests.
More housing information is available here.
On-campus Meal Plan
Attendees staying off-campus may purchase a meal plan for $24/day which includes lunch and dinner at the University restaurant on the days of the Institute. Reserve your meal plan here.
The University restaurant meals will be open to any attendee throughout the Institute; payment will be accepted at the door.
Travel
The LoVetri Institute will take place at the Boesel Musical Arts Center, Baldwin Wallace University, 49 Seminary Street, Berea OH 44017.
Air Travel: Cleveland Hopkins International Airport (CLE) is located 3 miles from campus. Shuttle service is available to the Institute hotel, Sonesta ES Suites.
Driving: Free parking is available on campus.
Somatic Voicework™ changed my teaching by giving me tools to help students understand the anatomy and physiology of their own voices, how they make sound, eventually how to recognize and control it in a performance situation. My students enjoy discovering these “superpowers” in their voices. It’s exciting to empower singers (and speakers) with the tools they can use to develop their voices and reach their goals.
-Cymber Quinn, Teacher
Denver, CO
This is the most accurate voice course I’ve ever been to!
-Karin Bengmark, Singer, Voice Teacher
The Academy of Music and Drama, Gothenburg University, Sweden
Studying Somatic Voicework™ has had an undeniably positive impact on both my singing and my teaching. Singers from all around the world, representing a wide variety of musical genres, quickly form bonds of friendship and mutual support. My only regret about studying Somatic Voicework™ is that I didn't start sooner!
-Andrea Wolper, Jazz Vocalist, Songwriter, Teacher
New York, NY
Attending The LoVetri Institute for Somatic Voicework™ has completely changed my teaching and singing. Jeanie’s Solution Sequences are very helpful and I have learned to really hear and see what’s working with my students and what isn't working, and how to get to the solution! Jeanie is passionate, patient, and knows how to diagnose the problem, and work with you to the solution. I really loved working with vocalists who sing opposite styles and us teaching one another.
-Karen Carr, Assistant Professor, Voice
Berklee College of Music, Georgetown, MA
I LOVED watching Jeanie work … and hearing from a working Broadway Music Director about what is actually happening in New York is priceless!
-Deborah Conquest, Voice Faculty
Nazareth College, Rochester, NY
The most comprehensive and compassionate vocal pedagogy!
-Kaoruko Pilkington, Voice Faculty
Berklee College of Music, Georgetown, MA
Somatic Voicework™ has changed the way I teach and the way I approach the voice in general. My language and direction [in lessons] has become clearer, long and short term goals have become more refined, exercises are more purposeful and effective, and the student leaves each lesson in better voice than they walked in with…It is the kind of work that one summer of study does not suffice due to its deep, holistic and interdisciplinary nature. I can't wait to come back for more.
-Elana Hedrych, Vocal Artist, Composer, Teacher
New York, NY
The program gave me a set of tools that takes the guess work out of working in multiple styles.
-Jay Gardner, Professor of Voice
Collin College, Plano, TX
Somatic Voicework™ fundamentally changed the way I approach my teaching. With a more complete understanding of voice science and functional training, I am more capable in my work. Jeanie’s approach is scientifically sound and so accessible. It has surpassed my expectations.
-Michael Walsh, Professor of Music
Lone Star College-Montgomery, Houston, TX
Every summer spent at Baldwin Wallace with this amazing work is another year I become a more intuitive teacher, a better listener, and a healthier singer. Somatic Voicework™ is so much more than just a pedagogical method, it's a gateway leading to the heart of connection through the voice.
-Andrea Randall-Luyties MA., BA., Private Voice Teacher
Houston, TX
The grounded, practical approach I have been looking for. This is bodywork for the voice.
-May Oskan, Associate Vocal Coach
Songbird Studios, Bay Area, CA
Not only is Somatic Voicework™ a clear method for understanding and teaching singing, it is a method steeped in patience, kindness and continual learning.
-Alexandra Platos Sulack, Performer, Voice Teacher
Chicago, IL