Richard Lissemore 499 Fort Washington Avenue #4F New York, NY 10033 [email protected] 917.969.0506

December 1, 2018

To the Van Lawrence Fellowship Committee,

I am delighted to submit my materials for consideration for the Van Lawrence Fellowship. As a member of NATS (New York chapter) for 25 years, I have had a successful private and academic voice teaching career in New York City since 1993. Since my undergraduate days as a Microbiology major, I have always had a deep interest in science, and later in particular, in voice science. My introduction to Dr. Donald Gray Miller then led to a serious interest in his VoceVista voice feedback system and I began to experiment with acoustic and physiological feedback for singers in my private voice studio. This led to a desire for even more intense study, and in September of 2013, I matriculated as a full-time Ph.D. student in the Speech-Language-Hearing Sciences Program at The City University of New York (CUNY). Since that time, I have completed all required course work, a pre-dissertation research project, a comprehensive oral exam, and the dissertation experiment. During this time of advanced academic study and research, I have continued to teach privately on a part-time basis and have been employing my research results in my day-to-day teaching. Having earned a Master of Philosophy (M. Phil. Degree) in Speech-Language-Hearing Sciences, I am presently a doctoral candidate and am in the final process of analyzing experimental data, modeling statistics, and writing the dissertation document. My committee consists of Douglas Whalen, Ph.D. (CUNY, Haskins Laboratories, and Yale University), Mira Goral, Ph.D. (CUNY), Christine Shadle, Ph.D. (Haskins Laboratories), and Ronald Scherer, Ph.D. (Bowling Green State University). The expected date of dissertation defense is April of 2019. My dissertation research, an acoustic and articulatory examination of the second passaggio (transition from D5♮ to F5♮) in professional sopranos, involves spectrographic analysis, quantitative acoustics, and head-corrected (via optical tracking) ultrasound of the tongue. Both acoustic quantification and head-corrected tongue contours have heretofore not been employed in scientific examinations of the human singing voice, though both have been used in speech studies. Pilot work with a single participant revealed a measurable acoustic event, the amplitude difference between the first two harmonics (fo and 2fo), that quantifies the acoustic change perceived in the soprano passaggio on an /a/ vowel. This measure, known as A1-A2, changed from negative to positive values at a pivot point between E5♭ and E5♮ on three trials at three different sound levels (normal, soft, and loud). When the same singer deliberately did not make the acoustic change, resulting in a harsh and unpleasant vocal quality, the A1-A2 values did not make the change from negative to positive. The ability of the singer to successfully change A1-A2 values from negative to positive suggests empirical evidence for a quantitative difference between techniqued and un-techniqued singing in this area of the voice. Additional analysis of the vibrato cycle revealed that the acoustic change from negative to positive values of A1-A2 occurred earlier (between D5♮ and E5♭) at vibrato maxima and later at vibrato minima (E5♮ and F5♮), perhaps offering an explanation as to why singers and singing teachers perceive the change as happening over an area of notes instead of at a pivot point. These acoustic data and results were presented at The Voice Foundation’s 2018 Symposium and will soon be submitted for publication in The Journal of Voice. Pilot articulatory data with the same participant showed clear differences in head-corrected lingual contours from C5♮ to G5♮. In particular, singing examples that exhibited the change from negative to positive values of A1-A2 (techniqued singing) revealed contours with a higher posterior arch, lower apex, and advanced tongue root at post-transition musical notes (F5♮, G5♭, and G5♮) when compared to pre-transition notes (C5♮, D5♭, and D5♮). Singing examples that did not exhibit the change from negative Lissemore Van Lawrence Fellowship Application 1 to positive values of A1-A2 (un-techniqued singing) revealed tongue contours that were relatively similar throughout 8-note chromatic scale. In short, techniqued singing exhibited a measurable acoustic change that could be correlated with clear articulatory changes in the tongue position. The pilot work with a single soprano was subsequently expanded to two other sopranos, one who successfully made the change from negative to positive values of A1-A2 (a professional classical soprano) and one who did not (a beginning musical theater soprano). The acoustic and articulatory data of these other participants was analyzed and presented as an oral paper at the Acoustical Society of America’s meeting in Minnesota in May 2018 and is being prepared for publication in The Journal of the Acoustical Society of America. Results showed a similar pattern of tongue contour changes associated with the acoustic change from negative to positive values of A1-A2 in the techniqued singer of the earlier study. Additionally, the inexperienced musical theater soprano did not make the acoustic change from negative to positive values of A1-A2, and as hypothesized, her corrected tongue contours did not exhibit the higher posterior arch, lower apex, and advanced tongue root that was observed in the techniqued classical sopranos. The dissertation experiment takes this work even farther by extending it to a larger group of sopranos (who make the A1-A2 acoustic change) from New York City’s best regarded classical conservatories and compares them to a group of musical theater singers (who do not make the A1-A2 acoustic change). All participants were pre-screened and separated into two groups based on the ability or inability to make the A1-A2 acoustic change in the passaggio region. The study thus investigated the role that lingual, lip, and jaw articulation play in the ability to successfully negotiate the second passaggio region in a large number of singers with the hope of making inferential conclusions for the general population. Much of this research work is now beginning to translate into my own private teaching studio. In particular, knowledge of the interplay between the articulation and acoustics of singers has caused me to rethink how singing teachers might better train sopranos to successfully negotiate the second passaggio, especially on the /a/ vowel, which is often most challenging. Knowing that the tongue may exhibit a posterior arch through the passaggio region has led me to develop a series of vocal exercises that now include the use of velar consonants and varying vowel shapes to assist in creating a favorable, complex tongue shape for successful resonance negotiation in this area of the voice. Additionally, it appears that top down exercises, which are regularly employed by singing teachers to favor a lighter laryngeal mechanism, may also assist by setting up the articulatory position of the resonator for post-passaggio notes. Further translational research on the acoustic and articulatory activity of soprano singing in the second passaggio region would be necessary to explore the practical efficacy of this work in voice training. VoceVista, the voice feedback program with which I am intimately familiar, might just allow this sort of translational research in the articulatory/acoustic realm to begin in the voice teaching studio. The acoustic analysis features of VoceVista are equipped to clearly show the ability of the singer to make the acoustic change, or not, and the electroglottographic (EGG) component allows for an examination of the vocal fold contact quotient (CQ), which can be informative. The most recent version of the program, known as VoceVistaVideo, allows for concurrent video of the student singing during both acoustic and EGG analysis. But there is no mechanism in the VoceVistaVideo system for analysis of articulatory behavior, in particular regarding tongue position. If we could devise a method for ultrasonic analysis of the tongue concurrent with EGG and acoustic analysis, we could potentially conduct practical, translational research of the intersection between articulation and acoustics of singers in the voice studio. After all, serious scientific research of the singing voice is likely to have little currency with singing teachers if there is no connection made between important research results and practical voice teaching methodologies. If I were fortunate to be awarded the Van Lawrence Fellowship, my proposed project would be to work with the designers of VoceVistaVideo and an ultrasound probe engineer to devise an affordable, hand-held ultrasound probe that could be employed using the video input of the VoceVista system. This would allow singing teachers throughout the world to demonstrate the interplay between articulation and acoustics in the voice studio. At the annual Singing Voice Science Workshop, where I serve as director, we have been able to show both acoustic analysis (through VoceVista) and tongue articulatory activity Lissemore Van Lawrence Fellowship Application 2 using a separate ultrasound system. Employing two different projection screens, we showed the interplay between acoustics and tongue activity in real time, to the fascination and delight of the workshop participants. But the higher goal would be the ability to concurrently analyze the voice acoustics and the ultrasound tongue activity within the VoceVistaVideo system. Once this is accomplished, hand-held ultrasound probes could be merchandised with the VoceVistaVideo system thus allowing singing teachers to visually demonstrate this interaction between articulation and acoustics of the singing voice. Both Don Miller and Bodo Maas are very interested in and excited by this prospect, and contact has been made with an experienced ultrasound engineer. At present, hand-held probes cost about $1200, an amount that is likely too high for the budget of the average singing teacher or even a university voice department. But I have begun discussions with the ultrasound engineer about the possibility of designing a non-medical-grade probe, which could clearly demonstrate tongue activity while singing, for less than $600. Because I have worked so closely with the VoceVistaVideo designers for almost a decade, I am confident the goal can be accomplished in the very near future. This would be an extraordinary advance in practical voice science and would open the door to translational research into the relationship between acoustics and articulation in the pedagogy of singing voice. More specifically, this development would allow me to extend my dissertation research into a series of practical experiments in the voice studio to see if my articulatory and acoustic research findings could result in new pedagogical tools for voice teachers throughout the world. A detailed curriculum vitae is also attached for your consideration. Thank you for taking the time to review my nomination for the Van Lawrence Fellowship.

Sincerely Yours,

Richard Lissemore

Richard Lissemore Lissemore Van Lawrence Fellowship Application 3

499 Fort Washington Avenue #4F New York, NY 10033 917.969.0506 [email protected]

Research Interests: Multiple aspects of human voice production and perception, including singing voice, injured voice, disordered voice, transgender voice, voice in speech, and voice as linguistic contrast.

Protocol expertise: Voice recording, spectrographic analysis, quantitative acoustics, head-corrected ultrasound (HOCUS) with optical tracking (Optotrak), and electroglottography (EGG).

Software fluency: Labchart, PRAAT, VoiceSauce, vMix (ultrasound), First Principles (NDI Optotrak), GetContours (Mark Tiede’s program for tongue contouring), EGGWorks, Matlab, and R.

EDUCATION AND TRAINING

Present : Ph.D. Candidate in the Speech-Language-Hearing-Sciences Program at The Graduate Center at The City University Of New York. Dissertation research focuses on the relationship between articulation and acoustics in the second passaggio transition of professional sopranos. Experimental protocol includes voice recording, spectrographic analysis, quantitative acoustics, and head-corrected ultrasound (HOCUS) of the tongue with optical tracking (Optotrak). Doctoral student affiliate at Haskins Laboratories, New Haven, CT.

Advisor: Douglas Whalen, Ph.D. Received IRB approval as the PI for this dissertation research funded by NIH grant DC-002717 (Douglas Whalen, grant PI).

Recipient of a 5-year Graduate Teaching Fellowship (2013-18) and a prestigious Graduate Center Dissertation Fellowship (2018-19).

Expected date of completion: March 2019

2016: Master of Philosophy in Speech-Language-Hearing Sciences; The Graduate Center at The City University of New York

1990-1992: Post-graduate Fellow; Opera Music Theatre International; full-scholarship

1988-1990: Professional Certificate; The Juilliard School Opera Center; full-scholarship

1988: Master of Music in Vocal Performance; College-Conservatory of Music at the University of Cincinnati; full-scholarship

1986: Bachelor of Arts in Microbiology and Music; Rutgers University; Phi Beta Kappa; Magna cum Laude

PROFESSIONAL UNIVERSITY EXPERIENCE

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September 2017 - May 2018 CUNY Writing Across the Curriculum Fellow Designed and implemented a program to examine and improve the clinical and scientific writing of undergraduate and graduate students in the department of Speech, Language, Hearing Sciences at Lehman College, a 4-year senior college of The City University of New York. Also designed and implemented workshops with faculty members with the purpose of re-designing course content and syllabi to incorporate writing as a central element of both scientific and clinical courses.

September 2014 - May 2017 CUNY Graduate Teaching Fellow Taught undergraduate Anatomy & Physiology in the department of Speech, Language, Hearing Sciences at Lehman College. Designed a curriculum that incorporated a contemporary, student-centered pedagogical approach to this challenging course.

2014 - present The Singing Voice Science Workshop (Director and Co-Founder) Administer all aspects of this annual 3-day voice science gathering at Montclair State University, including course content, scheduling of presenters, website supervision, participant registration, hotel reservations, and daily food service. The workshop, which features VoceVista as a real-time voice feedback tool, is geared towards singing teachers and speech pathologists who have serious interest in the science of the singing voice. More information is available at www.singingvoicescience.com

September 1996 - January 2001 Adjunct Voice Faculty at CAP 21/New York University/Tisch School of the Arts Taught private voice, first-year vocal technique class, and music theory class to undergraduate music theatre majors.

September 1998 - June 1999 Adjunct Voice Faculty at Rutgers University/Mason Gross School of the Arts Taught the required BM voice pedagogy course and private vocal instruction to undergraduate students. This was a one-year replacement appointment.

October 1994 - June 1996 Voice Faculty of the American Musical and Dramatic Academy Taught private voice and class music theory; prepared and coached musical theater repertoire.

OTHER PROFESSIONAL TEACHING EXPERIENCE

2002 - present Richard Lissemore Performance Masterclasses Teach vocal technique and musical theater performance to professionals in masterclass settings in New York City, Germany, Korea, Canada, Mexico, and throughout the United States.

June 1990 - present Richard Lissemore Vocal Studio (New York, NY) Teach vocal technique and musical theatre performance to conservatory graduates and professionals who aspire to perform on Broadway and in the recording industry.

November 1999 - present Lissemore Music Studios, Owner (New York, NY) Lissemore Van Lawrence Fellowship Application 5

Rent hourly studios to teachers and professional performers in addition to employing faculty who teach voice, piano and guitar to young people and amateur adults. Responsible for all aspects of studio management including payroll, accounts, marketing, website, and scheduling.

October 2009 - May 2013 Musical Supervisor for Susan Chambers Dance Company (Atlanta, GA) Served as musical supervisor for this semi-professional dance company. Taught voice technique and musical theater performance to more than 200 young women over a four-year period.

June 1996 - June 2000 Pulmonary Rehabilitation Staff of Beth Israel Medical Center (New York, NY) Taught breathing techniques and singing to patients suffering from chronic obstructive pulmonary disease (COPD). Featured on CBS-TV nationally for this ground-breaking work.

January 1992 - June 1994 Acting Faculty of Opera Music Theatre International, Jerome Hines, General Manager Taught method acting techniques and operatic interpretation to advanced singers on the verge of professional careers and directed two musical revues for the educational outreach arm of OMTI.

AWARDS and HONORS

The Van Lawrence Award – Honorable Mention 2018 This award is given annually by The Voice Foundation and The National Association of Teachers of Singing to a singing teacher who exhibits serious interest in voice research.

Best Student Paper (2nd Place Tie) in Musical Acoustics 2018 Awarded by The Acoustical Society of America at their 175th meeting in Minneapolis, MN.

Graduate Center Anniversary Award 2018 Cash award of $25K given by the CUNY Graduate Center to a third-level doctoral student for academic excellence.

New York Singing Teachers’ Association Musical Theater Competition- First Place 1989

Magna cum laude, Rutgers University 1986

Phi Beta Kappa, Rutgers University 1984 Awarded in the junior year of undergraduate study.

POSTERS, TALKS, and PUBLICATIONS

Oral paper presentation: The Voice Foundation Symposium; Philadelphia, May 2018; Funded by NIH grant DC-002717. (Article in preparation for submission to The Journal of Voice)

Acoustic Quantification and Roles of Vibrato and Sound Level on Formant Tuning During the Second Passaggio of a Professional Female Singer

Oral paper presentation: The Acoustical Society of America; Minneapolis, MN, May 2018; Funded by NIH grant DC-002717. Winner: Best Student paper: 2nd place tie. Lissemore Van Lawrence Fellowship Application 6

Articulatory correlates of the acoustic transition during the second passaggio of sopranos (Article in preparation for submission to The Journal of the Acoustical Society of America)

Poster: The Acoustical Society of America; June 2017; Funded by NIH grant DC-002717

Use of H1-H2 to quantify formant tuning for notes and portions of the vibrato cycle in the second passaggio of a professional female singer

LECTURES, PRESENTATIONS, AND MASTERCLASSES (partial list)

October 17-20, 2018: International Voice Teachers of Mix; Salt Lake City, UT

Title: Introduction to the Science of the Singing Voice

Title: Articulatory and Vibrato Effects on the Acoustics of the Second Passaggio in Female Classical Voice

Title: Falsetto Nation: Building a Flexible Head Voice in the Male Singer (plus masterclass)

Title: Standard Pedagogy and Technique for the Female Belt Voice (plus masterclass)

June 6-8, 2018: The Singing Voice Science Workshop; Montclair State University

Title: Fundamentals of Voice Science

Title: Electroglottography: Principles and Practice

Title: Articulatory Correlates (Ultrasound Tongue Contours) of the Second Passaggio Acoustic Change in Classical Female Voice

Title: Ultrasound Images of the Tongue and Concomitant Acoustic Effects on the Voice (with Kevin Roon)

Title: Physiology (EGG), Articulation (Ultrasound), & Acoustics in Popular Singing (with Kelley Hijleh)

June 7-9, 2017: The Singing Voice Science Workshop; Montclair State University

Title: Intro to Basic Voice Science

Title: Articulatory and Vibrato Effects on the Acoustics of the Second Passaggio in Female Classical Voice

Title: Ultrasound Images of the Tongue and Concomitant Acoustic Effects on the Voice (with Kevin Roon)

Title: Teaching Strategies Using VoceVista for Popular Voice in Females (with Kelley Hijleh)

April 13, 2017: Haskins Laboratories; Guest Lecture

Title: Use of H1-H2 to quantify formant tuning for notes and portions of the vibrato cycle in the second passaggio of a professional female singer

October 15, 2016: National Association of Teachers of Singing (NATS) Tampa Bay: Guest Speaker and Master Clinician

Title: Falsetto Nation: Building a Flexible Head Voice in the Male Singer

Title: A Modern Pedagogy for the Female Singer

June 7-10, 2016: The Singing Voice Science Workshop; Montclair State University

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Title: Basic Acoustics of the Singing Voice

Title: Intro to VoceVista and Electroglottography

Title: A Modern Pedagogy for the Contemporary Singing Teacher

March 11-12, 2016: NATS Eastern Region; Montclair State University; Plenary Speaker and Master Clinician

Title: Vocal Technique for Classical and Popular Vocal Styles: Where Are We Now?

Title: Falsetto Integration into Male Chest Voice

September 26, 2015: SUNY-Cortland Department of Performing Arts; Guest Speaker and Master Clinician

Title: Integrating Falsetto into Male Chest Voice

Title: Standard Pedagogy and Technique for the Female Belt Voice

June 1, 2015: The Voice Foundation Symposium Workshop, Philadelphia, PA

Title: Successful Rock Technique: Optimizing Frequency Tuning and Resonance Tracking in Lower Modal Voice (with Melissa Cross)

June 5-8, 2015: The Singing Voice Science Workshop, Montclair State University

Title: Intro to Voice Science and Intro to Electroglottography

Title: Intro to Technology for VoceVista: Boot Camp and VMware Fusion 7

Title: Physiologic and Acoustic Phenomena of Female Musical Theatre Voice

March 9, 2015: The Graduate Center at CUNY; Student Colloquium Speaker

Title: Vibratory characteristics of the vocal folds in different modes of the female singing voice: a single- subject study

February 28, 2015: NATS-LA; Guest Speaker and Master Clinician

Title: Integrating Falsetto into Male Chest Voice

Title: Standard Pedagogy and Technique for the Female Belt Voice

August 6-13, 2014: Korean Musical Theatre Festival; Master Teacher This was a one-week series of daily masterclasses and private coaching for music theater professionals in Seoul, Korea.

July 7, 2014: NATS National Conference, Boston, MA; Presenter

Title: Standard Pedagogy and Technique for the Female Belt Voice

May 30, 2014: The Voice Foundation Symposium Workshop, Philadelphia, PA; Presenter

Title: A Wired Demonstration of Female Belt Voice Phenomena

VOLUNTEER SERVICE EXPERIENCE Lissemore Van Lawrence Fellowship Application 8

May 2016 – present Peer reviewer for the Journal of Voice Areas of expertise include voice science and science-informed pedagogy

March 2015 – May 2018 Coordinator of Student Colloquia for the Speech-Language-Hearing Sciences Program at the CUNY Graduate Center. Recruited doctoral student presenters for public presentations of their work each semester.

September 2017 – May 2018 Executive Committee member for the Speech-Language-Hearing Sciences program at the CUNY Graduate Center Acted as a liaison between the Office of the Provost and the S-L-H Program; coordinated alumni events and other special events.

September 2010 – December 2017 Executive Producer and Treasurer of the Board of Directors of SHUFFLE Concert Handled all financial transactions, including payroll, venue contracts, presenter payments, and liability insurance for this 6-member musical ensemble that performed throughout the world.

June 2001 - June 2008 Chairperson of the Board of Trustees of Mother Cabrini High School Oversaw all aspects of this $3.8 million per year non-profit educational corporation. Responsibilities included budgeting, negotiating union contracts, advancement and fundraising, mission integration, and the evaluation and hiring of the CEO.

April 1996 - April 2001 Producing Director of SINGFEST Conceived, wrote, and directed these gala performances for Mother Cabrini High School for seven years; coordinated 30 professional performers, hired a celebrity emcee, and oversaw all aspects of this production.

RECORDINGS

Desiree Sang the role of Count de Courville in John Philip Sousa’s operetta; recorded live in performance; Albany Records

Soon And Very Soon, the Cabrini Singers Producer and soloist for this CD, New York, NY

O Come Let Us Sing Soloist on this CD made with the choir of St. Patrick’s Cathedral, New York, NY

The Famine Remembrance Soloist on this CD made with the choir of St. Patrick’s Cathedral, New York, NY

BIOGRAPHY

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Richard Lissemore is a collaborative researcher, teacher, and performer of voice. He is equally adept at teaching vocal technique and performance for both classical and popular vocal styles as well as lecturing on voice science and research. His myriad students perform on Broadway, at Carnegie Hall, at New York’s Radio City Music Hall, in both American and International touring productions, and in theaters throughout the world. He has worked extensively with recording artists from many of the top record labels in the United States. In addition, he has taught on the faculties of CAP 21, the musical theater conservatory of New York University, at the American Musical and Dramatic Academy, at Rutgers University, and at Music Theatre International, an opera training program founded by famed Metropolitan Opera singers, Jerome Hines and Marilyn Horne. He is especially well known for his innovative and entertaining master classes in vocal technique and performance, which have been presented regularly in New York, Canada, Korea, Mexico, and Germany. As a guest lecturer and clinician, he has taught workshops and masterclasses in voice pedagogy and voice science for The Voice Foundation, the National Association of Teachers of Singing, Columbia University, the University of Cincinnati’s College-Conservatory of Music, SUNY Cortland, and The British Voice Association at London’s Royal Academy of Music. Additionally, he is the co-founder and director of The Singing Voice Science Workshop, an annual gathering of voice researchers, singing teachers, and speech-language pathologists at Montclair State University. He is a Ph.D. candidate in Speech, Language, Hearing Science at The City University of New York, and recently completed a 5-year Graduate Teaching Fellowship at Lehman College. For the 2018-19 academic year, he was awarded a prestigious Graduate Center Dissertation Fellowship and is expected to defend his thesis in March 2019. His research, which focuses on the intersection of articulation and acoustics in professional sopranos, is based in the Speech Production, Acoustics, & Perception Laboratory, directed by Dr. Douglas Whalen. Please visit www.RichardLissemore.com and www.SingingVoiceScience.com for more information. As a versatile performing artist, Mr. Lissemore has been equally at home performing opera, musical theatre and concert repertoire. He has appeared with Cincinnati Opera, Central City Opera, National Grand Opera, the Opera Festival of New Jersey, the Juilliard Opera Center, and as a guest artist for Opera at Rutgers in roles such as Mozart’s Papageno, Figaro and Masetto, Morales in Carmen, Thomas Putnam in The Crucible, Albert in Werther, Valentin in Faust, Sid in Albert Herring, Owen in Britten’s Owen Wingrave, and Dr. Blind in Die Fledermaus. Mr. Lissemore’s musical theatre credits include the title roles in Phantom (Kopit/Yeston) at the Jupiter Theatre, the National Tour of Phantom of the Opera (Hochman/Madden) and The Stephen Foster Story in Bardstown, KY. Other performances include The King and I in Japan with Stacey Keach, Fred Graham in Kiss Me Kate at Miami’s Ring Theatre, Ramon Novarro in Lover, The Valentino Musical at the Westport Country Playhouse and the Pirate King in The Pirates of Penzance with the Masterworks Chorale and Orchestra. Concert and Oratorio appearances include Messiah, Faure’s Requiem, Bernstein’s Chichester Psalms and Mendelssohn’s Elijah at churches and synagogues throughout the New York City area. Mr. Lissemore has performed the solos in Puccini’s Messa di Gloria at St. Patrick’s Cathedral, where he was the resident baritone soloist for two years and where he recorded two CDs, O Come Let Us Sing and The Famine Remembrance. His solo debut recorded on CD is the role of the Count de Courville in John Philip Sousa’s Desiree, which was released on Albany Records. Released in 1998 is Soon and Very Soon…The Cabrini Singers, for which Mr. Lissemore served as soloist and producer. Educated at two of America’s finest conservatories, Mr. Lissemore was a full-scholarship Young Artist at the Juilliard Opera Center and a full-scholarship Master of Music student at Cincinnati’s College-Conservatory of Music. He is also a Phi Beta Kappa, magna cum laude Lissemore Van Lawrence Fellowship Application 10 graduate of Rutgers University with a degree in Microbiology and Music. In addition, he has been featured nationally on CBS television news for his innovative work in pulmonary rehabilitation at Beth Israel Medical Center and his speaking voice has been heard in dozens of television and radio commercials throughout the United States. His professional affiliations include Actors’ Equity Association (AEA), the National Association of Teachers of Singing (NATS), The Voice Foundation, and The Acoustical Society of America. Mr. Lissemore presently owns Lissemore Music Studios in New York City where he teaches his many students who perform throughout the world.

STUDENT ACCOMLISHMENTS (abridged)

Matthew Morrison: Will Schuester on Glee (Fox TV), J.M Barrie in Finding Neverland (Broadway), Joe Cable in South Pacific (Broadway), Fabrizio in The Light in The Piazza (Broadway; Tony nomination), Link Larkin in Hairspray (Broadway and National Tour); Sir Harry in Once Upon A Mattress (TV movie)

Javier Munoz: Hamilton in Hamilton (Broadway); In The Heights (Broadway)

Adam Jacobs: Aladdin in Aladdin (Broadway and National Tour), Marius in Les Miserables (Broadway), Sky in Mamma Mia! (Broadway), Simba in The Lion King (Broadway)

Christopher Jackson: George Washington in Hamilton (Broadway; Tony nomination), In The Heights (Broadway), The Lion King (Broadway), Memphis (Broadway)

Alli Mauzey: Glinda in Wicked (Broadway); Ellie in Showboat (New York Philharmonic)

Melissa Mahon: Velma and Roxie u/s in Chicago (Broadway); Ulla u/s in The Producers (Broadway and National Tour); 42nd Street (Broadway)

Dylan Riley Snyder: Kickin’ It! (Disney XL), Baby John in West Side Story (Broadway); Young Tarzan in Tarzan (Broadway)

Sean McCourt Dr. Dillemand in Wicked (Broadway); Mr. Banks u/s in Mary Poppins (Broadway); Titanic (Broadway; A Man of No Importance (LCT/Broadway); Dr. Parker in Batboy (Off-Broadway)

Jonathan Root: Rod/Princeton in Avenue Q (Broadway and Las Vegas), White Dude in Toxic Avenger (Off-Broadway)

Jacob Ben Widmar: Xanadu (Broadway); White Christmas (Broadway)

Laurie Wells: Donna in Mamma Mia (Broadway and National Tour) James T. Lane Richie in A Chorus Line (Broadway); Amos u/s in Chicago (Broadway)

Kristin Johnson Young Frankenstein (Broadway and National Tour)

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Matthew LaBanca Dr. Frankenstein u/s in Young Frankenstein (Broadway)

Sara Inbar: Olive in Spelling Bee (Broadway and National Tour); Mamma Mia (Broadway)

Stanley Behorek: Leaf in Spelling Bee (Broadway and National Tour); Huck in Big River (National Tour)

Callie Carter: Something Rotten (Broadway), Rock of Ages (Broadway), Spamalot (Broadway and National Tour); 42nd Street (Broadway); Radio City Rockettes

Beth Curry: Legally Blonde (Broadway), Curtains (Broadway); Dirty Rotten Scoundrels (National Tour)

Eddy Bowles: Pirate Queen (Broadway); Chitty Chitty Bang Bang (Broadway); Mary Poppins (National Tour)

Randy Bobish: Perchik u/s in Fiddler on The Roof (Broadway); Kiss Me Kate (Broadway)

Joey Dowling: Sweet Charity (Broadway); Radio City Rockettes

Abby O'Brien: Spamalot (Broadway); Radio City Rockettes

Jennifer Dunne: Curtains, (Broadway); Spamalot (Germany)

Meg Dreyfuss: Sophie u/s in Mamma Mia (Broadway)

Jessica Brown: Follies (Broadway); Dr. Dolittle starring Tommy Tune (National Tour); Radio City Rockettes

Kandice Pelletier: TV’s "The Amazing Race"; Radio City Rockette; Miss New York 2007

TESTIMONIALS (abridged)

Richard Lissemore is the teacher I would send my voice students to.

Adrienne Angel, teacher of Cher, Bernadette Peters, Ann Reinking, and many others

Richard has helped me keep my voice in tip-top condition to match the grueling, eight-show-a- week schedule. His knowledge reaches beyond the Broadway or Classical realm as well. Whatever style of music you sing, Richard is the teacher for the universal voice!

Matthew Morrison: Will Schuester on Glee (Fox TV), J.M Barrie in Finding Neverland (Broadway), Joe Cable in South Pacific (Broadway), Fabrizio in The Light in The Piazza (Broadway; Tony nomination), Link Larkin in Hairspray (Broadway and National Tour); Sir Harry in Once Upon A Mattress (TV movie)

I highly recommend Richard's honest approach. He doesn't let you get away with anything. I went from squeaking by the vocal audition for the chorus to playing principal roles with confidence. I finally feel that I have the technique to make smart vocal choices. The days of crossing my fingers and hoping for the best are over. Thanks Richard!

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Melissa Rae Mahon: Velma and Roxie in Chicago (Broadway), Ulla understudy in The Producers (Broadway), 42nd Street (Broadway), Radio City Rockette

Richard helped me make a cleaner sound with considerably less effort. He also gave me the confidence to trust that sound, which I have found is half the battle.

Sean McCourt: Mary Poppins (Broadway), Dr. Dillemand in Wicked (Broadway), Titanic (Broadway), A Man of No Importance (Broadway), Bat Boy (Off-Broadway)

From a dancer's perspective, Richard made sense of a vocal audition. Not only has he helped my voice and its sound, but his understanding of the audition process significantly increased my confidence as a dancer who sings. Eddie Bowles: The Pirate Queen (Broadway), Chitty Chitty Bang Bang (Broadway), Mary Poppins (National Tour)

His obvious command of the many aspects of our art and craft were not only impressive but entertaining as well. And his focus on the individual needs of each student and his ability to work at each person’s level was truly masterful.

Josephine Mongiardo: Former President New York Singing Teachers’ Association (NYSTA)

Richard is the best teacher I've ever had! Finally, someone who caters to dancers who are trying to make a break into the singing world! I wouldn't have been able to do it without him.

Callie Carter: Something Rotten (Broadway, Rock of Ages (Broadway), Spamalot (Broadway and National Tour), 42nd Street (Broadway), Radio City Rockette

Wow, what can I say about you? What can't I say? You ARE the reason I progressed and worked!!! You are the reason that I got the chance to go on for Ulla with Nathan Lane and Matthew Broderick on Broadway!

Jennifer Paige Chambers: The Producers (Broadway and National Tour), Cats (National Tour), Copa Cabana (National Tour), Radio City Rockette

Finding Richard was like finding the needle in the haystack. He offers a pure and simple technique that works for any style of singing.

Anya Turner: Greetings from Yorkville (Off-Broadway), Singer/Songwriter, NYC

Richard has such a strong foundation in technique and is particularly good at identifying and breaking all those bad, little habits that you don't even realize have become second nature to yourself. Because he has stood in front of those casting tables just like us, he knows what we go through at auditions. He's been there.

Randy Bobish: Perchik u/s in Fiddler on The Roof (Broadway), Billy u/s in 42nd Street (Broadway), Bill u/s in Kiss Me Kate (Broadway)

Richard has a 'no-nonsense' policy that he applies in his teaching. If you want someone to be honest and up front, Richard is always there for you. He gets right to the problem and approaches his work with both a technical and business savvy.

Stephanie Waters: Cosette in Les Misérables (Broadway and National Tour)

Like a triage nurse at one of America's busiest emergency rooms, Richard Lissemore instantaneously diagnoses his patients' vocal problems. Then, with skill and alacrity he stabilizes his student with knowledge, compassion, and great humor. The singer, with a class of witnesses, improves immediately. In my opinion, his technique and speed are unmatched, and his results are undeniable.

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Kevin T. Collins: NYU, Tisch School of the Arts: Regional theatre and independent films

Thank you for holding my hand, showing me trust and teaching me to know that the best place 'to be' when I sing is in total honesty -- not to perform it, but to be it. I would have never found that special place without you!

Patricia Gressley: Cats (Hamburg), Les Misérables (Berlin)

Richard has very simply revolutionized the way I approach singing. He truly understands the science of the voice and is quickly able to pinpoint the subtle bad habits that keep us all from our best voice. He has made me a stronger, more confident performer and I don't know what I would do without him!

Kate Bartholdus, Regional performances, NYU, Tisch School of the Arts and Swing band singer

Such a shame Richard Lissemore doesn´t live in Munich…he´d be my favorite singing teacher! His knowledge about voice, singing technique and repertoire are amazing. He teaches you how to be the best you can be in an audition as well as during a performance. Attending Richard´s workshops and working privately with him has been such a pleasure and an enrichment to my life. I can't wait for my next lesson!

Veronika Benning, performances throughout Germany

Richard has taught me how to vocally “get out of my own way”. His approach to singing as ‘speaking on pitch’ really helps get the most power out of my voice, with the least amount of effort.

Buck Hujabre: Jersey Boys (National Tour, Las Vegas), AMDA

Astounding. Amazing. A-1!! You simply knocked me out at your masterclass last night. You always do. Each and every time I leave one of your classes, I am reeling and wowed with your abilities. How grateful I feel to have the opportunity to watch you work and how envious I am at your ability. Words cannot express my emotions. Thanks again, and again.

Trudi Mann: Cabaret chanteuse, NYC

I worked with Richard in Stuttgart, Germany and he really gave me some new and wonderful ideas about presenting myself in an audition. He helped me so much in the development of my voice and has been a very strong influence in my career. I hope to work with him again as soon as possible!

Hans Piesbergen: Lion King (Hamburg) and leading roles in theatre and film throughout the world.

PRESS

As the Phantom

Lissemore’s soaring, yearning baritone is the best thing in the show.

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Alan Stern, Denver Post

Phantom Richard Lissemore presented the fiendish power and boldness we expect from the opera ghost. His voice demonstrated operatic training and dramatic deftness. His grief showed through his every move. Terra Ashley Grey, The Idaho Statesman

....a fine romantic leading man in Richard Lissemore. It is a carefully honed performance. Jack Zink, The Fort Lauderdale Sun-Sentinel

...a mesmerizing portrayal of the phantom. Jay Worsham, The Town-Crier

In the title role, Richard Lissemore is unpretentious and direct. He slips between song and text masterfully, performing with total believability. Edmond Dante, Theatre magazine

Richard Lissemore as the Phantom is nothing short of marvelous in the lead role. Jeff Alexander, The Jupiter Courier

Richard Lissemore turns in an exceptional performance as the Phantom. [His] solo numbers are showstoppers. Barbara DiObilda, The Stuart News

He is a powerful and subtle singer who uses body language to shape the character. Peter Smith, Palm Beach Post

Lissemore has a strong enough voice to ring the rafters. His renditions are most stirring. This is a Phantom who acts out of a broken heart, not rage: as a result, the show’s conclusion is the most moving of any version. Skip Sheffield, Boca Raton News

New Yearʼs Gala at New Brunswickʼs State Theatre

The sensation of the evening was a “Merry Widow” set with Judith Burbank as a regal Hannah and Richard Lissemore as an elegant Danilo. Each was electrifying, and together they left no one in any doubt what Viennese romance is all about. Michael Redmond, The Newark Star-Ledger

As Ramon Novarro in “Lover, the Valentino Musical”

Lissemore with a thrilling voice and charismatic presence... Irene Backalenick, Westport (CT) News

As Mozartʼs Figaro

Lissemore gave an extraordinary and flawless performance with superb, confident dramatic portrayals, outstanding intonation and a genuine flair for the comedy required. Rena Fruchter, The Home News

Richard Lissemore has a fine basso as Figaro. He proved that he is also an actor of fine talent. Mirko Tuma, The News Tribune

As Ravenal in Showboat

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See “Showboat” just to hear him sing. Whether solo or in his duets, [Lissemore] has one of the best voices ever to grace the Wagon Wheel stage. And he’s a fine actor in the bargain. Marcia Fulmer, The Elkhart Truth

Richard Lissemore, who could add class to the phone book set to music, plays the dashing, but irresponsible Gaylord Ravenal. Dee Jaynes, The Paper

As Sid Sorokin in The Pajama Game

Lissemore is outstanding as Sorokin. His dark features suit him well for the romantic lead. But his striking voice is the icing on the cake. Liz Cutler, The Warsaw Times Union

His excellent solo work is more than just technically fine, conveying the character’s emotional evolution vocally as well as through actions and spoken dialogue. Marcia Fulmer, The Elkhart Truth

As Albert in Werther

Vocally and dramatically, Richard Lissemore is the strongest member of the cast. His portrayal of Albert is superb; his baritone is rich and clear, his diction excellent. Rena Fruchter, The Home News

As Emile DeBecque in South Pacific

As for Lissemore, run, do not walk for any available seats just to hear him sing “Some Enchanted Evening” and “This Nearly Was Mine”. Marcia Fulmer, The Elkhart Truth

As Stephen Foster

Richard Lissemore was born to be Stephen Foster. [His] smooth, rich voice and spirited performance brought a standing ovation amid cries of “Bravo” from the audience as the final scene ended. David Greer, The Kentucky Standard

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