Masterclass
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Lisette will be giving a masterclass with LSU School of Music
Baton Rouge,
2026
April
14
16:00
About
Lisette was invited to give a masterclass at the LSU College of Music & Dramatic Arts in Baton Rouge, Louisiana. Joined by collaborative pianist Jeong-Eun Lee, Lisette worked with seven talented students from the LSU School of Music, covering repertoire spanning from Baroque to the 20th century.
Singers & Repertoire
| Sarah Janelle Curtis, Soprano – MM Studio of Lindsay Kate Brown |
“Io son l’umile ancella” from Adriana Lecouvreur Francesco Cilea (1866–1950) |
| Brayden Guitreau, Baritone – MM Studio of Dennis Jesse |
“Hai già vinta la causa...Vedrò ment’io sospiro” from Le Nozze di Figaro W.A. Mozart (1756–1791) |
| Amyri Cheneau, Soprano – BM Studio of Sandra Moon |
“My Man’s Gone Now” from Porgy and Bess George Gershwin (1898–1937) |
| Anthony Voiers, Tenor – MM Studio of Robert Grayson and Paul Groves |
“A te, o cara” from I Puritani Vincenzo Bellini (1801–1835) |
| Eva Arena, Soprano – BME Studio of Patricia Vigil |
Charmant Papillon André Campra (1660–1744) |
| Hyo Won Chun, Tenor – DMA Studio of Brandon Hendrickson |
Ein Traum Edvard Grieg (1843–1907) |
| Sophie Romano, Soprano – BA Studio of Terry Patrick-Harris |
“Sul fil d’un soffio etesio” from Falstaff Giuseppe Verdi (1813–1901) |
Teaching Highlights
Throughout the masterclass, Lisette emphasized several core principles of vocal artistry:
On vowel integrity: “Be very aware whenever you’re singing an O or an A vowel that you maintain the integrity of the vowel and don’t let it shift at the very last second. The closed sound just brings focus — it’s something so simple, a simple fix.”
On dynamics and expression: “The simpler your general phrasing is, the more exaggerated your dynamic shifts have to be. Otherwise, it all sounds like one color. It doesn’t mean you have to push — it just means you have to come from softer in order to get louder.”
On technique and emotion: “Technique only gets you to the point that it needs emotion. After that, emotion does the rest of the work. Technique is not a complete performance of anything. Neither is emotion a complete performance of anything. Without technique, emotion can’t come through.”
On knowing your own instrument: “A lot of times when I ask you, ‘What did you just do?’ — you need to know. That’s how you build technique.”
On bel canto singing: “What makes an excellent bel canto singer is your ability to express the text and the emotion of the moment, even in a melody that repeats itself. Ask yourself ‘why?’ — why are the dynamics what they are? If you don’t know, pick a reason. That’s the joy of being an actor on stage.”
On German repertoire: “Strauss is all text. It’s just text and rhythm. If you stick to the articulation, trust the text, and trust in the rhythms — you’re going to find the way. Believe me, you will never exaggerate enough for the Germans. Ever. The text, ever.”
On efficiency: “No matter how intensely you have to sing, you don’t ever have to sing louder. You have to sing efficiently. Efficiency is everything.”
On vocal registers: “Every register has to be respected in its relative space. You are not meant to sing with everything in the same position. Let your voice open when it’s high, because that’s what it wants to do. Close when you’re in the passaggio. The seamlessness will happen once you respect each register’s structure.”