A versatile artist, Casey Kunmann, soprano, is equally at home singing oratorio, chamber music, art song, and musical theatre repertoire ranging from renaissance to contemporary music.
As a soloist, Ms. Kunmann has performed with the Master Chorale of South Florida, Marsh Chapel Choir, Palm Beach Atlantic University Women’s Chorale, and the Symphonic Band of the Palm Beaches. This December, she is scheduled to make her solo debut with the Masterworks Chorus of the Palm Beaches in Handel's Messiah. Her operatic experience includes roles in Janáček’s The Cunning Little Vixen (Frog), Purcell’s Dido and Aeneas (Belinda), and Poulenc’s Dialogues des Carmélites (chorus.) She has also participated in scenes from the operas Carmen (Frasquita) by Bizet and Hansel and Gretel (Gretel) by Humperdinck. In the 2021 season, she will join the Palm Beach Opera chorus for their production of Mozart's Die Zauberflöte. In 2016, she won second place at the Florida Gold Coast NATS competition and was a finalist in the 2020 Classical Singer Online Fall Competition . She recently attended the Seraphic Fire Professional Choral Institute at the Aspen Music Festival and School.
Ms. Kunmann holds a B.A. in voice from Palm Beach Atlantic University and a M.M. in Vocal Pedagogy from Boston Conservatory at Berklee. She is a member of the Royal Poinciana Chapel Chorale and serves as a section leader of the Master Chorale of South Florida. Ms. Kunmann has a private voice studio in West Palm Beach, Florida. She currently studies under the tutelage of Amy Burton and is an Emerging Artist with Vocal Artist Management Services.
There is no “one size fits all” approach to singing. Therefore, I believe that every student should be treated as an individual. In my teaching, I cater to the students’ specific pedagogical needs, and I am sensitive to each student’s learning style, whether it be cognitive, visual, auditory, or kinesthetic.
As a teacher of singing, my approach is based in the bel canto tradition. My goal as a teacher is that my students achieve and maintain balance in respiration, registration, resonance, and articulation. I incorporate a variety of pedagogical tools to aid in this process. Singing is an extension of the speaking voice, and I use sighing and calling exercises to help students experience what it feels like to make an organic, balanced sound. Healthy, balanced singing involves the entire body. Each lesson begins with stretching, and I incorporate movement to ensure proper breath and emotional “connection” to the body.
I teach both classical and musical theatre styles of singing, incorporating pedagogical information into each lesson so that my students will eventually find independence and be able to teach themselves. As an educator, I believe that it is my duty to help my students develop musicianship skills, performance practice, and musicality so that they will have the tools necessary for historically informed, expressive, and honest music-making. In my studio, I emphasize the importance of being a versatile artist. It is important that my students learn a flexible technique that allows them to explore all the different sounds they can make in a healthy way.
Singing is one of the most vulnerable forms of self-expression, and it is important that my students know that my studio is a safe place. Learning to sing requires a great deal of trust and patience. I am committed to providing a judgment-free environment so that my students have the freedom to explore and take risks without feeling self-conscious. My students should feel confident in their technique so that, when performing, they will have the freedom to immerse themselves in the text and artistic expression. Ultimately, it is my goal to help my students learn how to create the most healthy, effortless, efficient sound possible so that they can accomplish their musical goals, enjoy the gift of singing, and share their gifts with others.
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