2025 CLA Italy Perspectives: Elizabeth Hamilton

“There was not a single coaching or lesson where I did not learn something new-- I left every meeting feeling more inspired than the last.”

Libby Hamilton at a local caffé

My time at CLA Italy was one of the most rewarding experiences of my life, and one that I surely will not forget. I am not embarrassed to admit that, prior to this program, I was beginning to feel a little lost. Being in academia for so long, I was starting to feel burnt out and tired, and my passion for music was being called into question. My time in Novafeltria opened the doors to rediscover what music meant to me on the deepest levels.

As soon as I began to meet my new peers at the Bologna airport, I could tell that this program was like no other. Glenn and John, the program coordinators, were there to greet us, and everyone began to get to know each other while we waited for the bus to Novafeltria. Before we even started the program, community was being fostered, not just between the students, but with the faculty as well.

The 2025 CLA Italy Artists after their concert in Ravenna

Unlike other programs, each student got the chance to have coachings and lessons with every single faculty member at the program multiple times a week. We were treated as their professional peers instead of just students, and through this, I was able to throw away my fears of not being “good enough” and, instead, just enjoy singing. I was able to find freedom and passion in my voice that I had not felt in months. I can say with the utmost confidence that there was not a single coaching or lesson where I did not learn something new-- I left every meeting feeling more inspired than the last. Every single teacher in this program made us feel welcome, seen, appreciated, and cared for. Within just two weeks, it was extremely clear that every student was making immense improvements.

Although our schedules were busy, we were still able to find time to socialize. The program was short, but the friendships that were fostered at CLA Italy are some that I will cherish forever. The support that everyone was so willing to give was infectious, and the community we created was one of trust in both ourselves and in each other. I was no longer afraid to be my authentic self, both on and off the stage. I had no fear of embarrassing myself, because I knew that I would be supported no matter what.

2025 CLA Italy Artists at Ristorante Saffi

The accommodations provided during the program were my favorite touch. We were each given apartments sprinkled throughout the small town, which really made us a part of the community. The town of Novafeltria is beautiful, small, and might just be the most welcoming place on Earth. Waking up every morning to the sunrise and walking to Lattevino (a local caffé) for my morning pastry and coffee before my first class became my routine. About halfway through the first week, we discovered a hidden gem-- a tiny, family-owned restaurant with a different daily menu. Most of us ended up dining here for lunch every single day, and the couple that owns the place adopted us as one of their own. They even made us a goodbye meal on our last day of the program, and opened the restaurant just for us on a national holiday- Ferragosto.

A song written by CLA Faculty Member, Raphael Fusco to thank Ristorante Saffi for their hospitality

I am so thankful that I chose to attend Classic Lyric Arts in Italy. Connecting with the culture and the language opened doors for me in my music-making that I never thought were possible with my voice. I was able to find my passion for music again through seeing the love and connection it created within the beautiful community that I was so lucky to call home for two-and-a-half weeks. I made life-long friends and learned life-long lessons about the Italian language, music, myself, and everything in between.

2025 CLA Italy Perspectives: Justin Hong

“Whether it was rethinking how I approached consonants in my Italian arias or developing deeper emotional connections in performance, the guidance I received at CLA made me more refined, more confident, and more in touch with my unique sound.”

Eva Maria Summerer, Justin Hong, and Raphael Fusco

CLA Italy was the perfect program for immersing myself in the Italian language while deepening my identity as an artist. Having never been abroad before, and fresh off my very first Young Artist Program just a month prior, I arrived in Novafeltria with a mix of anxiousness and excitement, ready for whatever the next three weeks would bring.

I’ll admit—I was nervous. New coaches and faculty can be daunting, especially after past experiences where some coachings left me feeling more confused than vocally secure. But at CLA, that fear quickly dissolved. Every single faculty member, from acting coaches to language specialists, contributed to my growth—technically, artistically, and personally. Whether it was rethinking how I approached consonants in my Italian arias or developing deeper emotional connections in performance, the guidance I received at CLA made me more refined, more confident, and more in touch with my unique sound.

Glenn Morton and Justin Hong

Beyond vocal technique, the conversations I had about career development and navigating the performing arts world were invaluable—especially as a young tenor entering the final year of my master’s degree. The faculty's genuine care, encouragement, and passion for teaching created an environment where every singer felt truly seen, heard, and supported.

Outside the rehearsal room, the experience was just as impactful. Novafeltria quickly became my Italian home-away-from-home. The hospitality, the warmth of the community, and the connections I made—both with fellow artists and local residents—were unforgettable. From daily gelato binges to dancing in the piazza, I found joy in the little moments that made each day special. I’m not ashamed to admit that I shed a tear during my final meal at my favorite local restaurant.

2025 CLA Italy Artists (

Performing in Italy was equally unforgettable. Singing in a place where opera originated gave everything a deeper resonance. Whether we were visiting Dante’s tomb in Ravenna or performing at the breathtaking Castello di Gradara, I felt the soul of the art form surrounding us. Italians love opera—you can feel it—and that love reaffirmed why I chose this path.

To say I’m grateful for CLA Italy would be an understatement. This program changed me. If you're lucky enough to participate, I’m confident it will change you, too.

2025 CLA Berkshires Perspectives: Kaya

“By the first concert, I noticed I was excited to sing and had fewer of the feelings I associated with my stage fright. With every concert, I felt more ease, joy, and excitement to be on stage.”

Kaya in the Kellogg Center at CLA Berkshires

Upon arriving at CLA Berkshires, I was experiencing some complicated feelings around singing. On one hand, I was so excited to be accepted and join a program I thought so highly of. On the other hand, I was working through some difficult feelings of stage fright that had started to eat away at the joy of my performing. So, when I stepped off the bus at Great Barrington to see the warm, welcoming faces of Glenn Morton, Daniel Isengart, and John Viscardi, I saw an opportunity to address this fear head-on, even though it scared me.

2025 CLA Berkshires Artists backstage

I knew there was something unique about CLA from our first music rehearsal with the conductor for CLA Berkshires, Mina Kim. She set the tone for a high level of artistry while giving us a clear, kind, and encouraging path to achieve it. I walked away from that first rehearsal realizing I had just experienced a true safe space in music making. This feeling of being in a safe and supportive space would continue through all of my coachings during the program, slowly but surely allowing me to feel joy in the rehearsal process and to let go of fear.

The frog pond at the CLA Berkshires campus

A big turning point for me was working with Glenn. Glenn offers a wealth of knowledge while embracing exactly where you are. He helped me discover things about my voice no one else had up until then. He worked with me on my physical and vocal coordination, which brought more freedom and new colors to my voice. In a way, he gave me the space to be brave and not fear the unknown or possible mistakes. Singing started to feel fun again- like an amusement park of endless possibilities. I eagerly awaited each coaching as they helped me learn more about myself, not only as an artist, but also as an instrument.

Yvonne You and Kaya after a performance

The beauty at CLA Berkshires had a way of pulling you into the present moment, be it the open fields of green where golden light shone through, the sound of frogs making their own music, the stunning colors of the lilies, or the breathtaking sunsets. I loved taking it all in from the wooden swing on campus as I would sync my inhales and exhales to its rise and fall. This environment was really calming and helped me to let go of nerves and overthinking. One of my favorite things was to warm up in the woods. It was just a wide-open space to let my voice ring out.

During my time at CLA we had daily coachings with one of the four pianists and Italian class with Ennio Brugnolo! This gave us ample opportunity to dig deeper into the style, interpretation, and language of Mozart’s operas. Ennio’s expertise helped me get a better understanding of how I can use the Italian language to further my dramatic interpretation. And his sense of humor made every class one to look forward to.

Juan Angel Johnston-Chavez, Enes Pektas, Kaya, and Sofia Durante

One of the coolest aspects about CLA is getting to work on your acting with the brilliant mind of Daniel Isengart. His vast knowledge and understanding of opera- from his dance and theater background- make him an invaluable resource for interpretation on the stage. He has the ability to draw out your authenticity while creating space for you to imagine a bigger and better to make your body a part of music and story that elevates your stagecraft. I loved getting to explore more about acting in the environment that Daniel created. I am also so grateful for my time with John Viscardi, CLA’s Executive Director, as it set me up for success both during and after my time at CLA. John helped open my eyes to the power I have on and off the stage. With his knowledge, book recommendations, and support, I started to think differently about singing. By the first concert, I noticed I was excited to sing and had fewer of the feelings I associated with my stage fright. With every concert, I felt more ease, joy, and excitement to be on stage. I continue to do the work that John and I started at CLA, which has led to a very successful run of singing Zerlina in Don Giovanni in Europe.

Kaya during the CLA Berkshires Grand Finale at the Adams Theatre

It was truly a gift to learn from every teacher there, as they all brought an informed and unique perspective to the music of Mozart. During this program, I also met many wonderful people and made lifelong friends. The supportive environment didn’t just come from the faculty but the students as well, which I think speaks to the overall values of CLA.

I am so thankful to the faculty at CLA Berkshires. Thanks to them, I grew in ways I didn’t imagine were possible. Entering the program, working through stage fright, and then having five performances on stage that I felt good about were all really big for me. These experiences were a catalyst for where I am now.

2025 CLA France Perspectives: Fernando Silva Gorbea

“CLA France was an enriching experience that I will treasure for the rest of my life, whose values I hope to find and experience again throughout my career.”

Fernando Silva Gorbea & 2025 CLA France Artists

Many a morning, I would wake up to go for a run and start my day, only to see a beautiful orange sun rise upon the mountains and wheat-covered fields of the French countryside. The dewed gold that surrounded the farm was soon to be permeated with beautiful music and singing. As I took a deep breath in sheer wonderment, I immediately thought of all the amazing things I was about to learn that day, and how thankful I was for this to be my very first time in Europe.

Sunrise in the Périgord Region

This is what it was like for me during my time in CLA France. Coming into this program, I had a good idea of what I wanted to take away from it. I needed to become more comfortable with the French language, find more precise ways to sing French vowels, and, in the process, be able to develop a more tailored French aria for my audition package. The result exceeded my expectations. For in the initial attempt to complete a certain “checklist” of what I wanted to achieve during the program, I was reminded during my time in France that there is so much more to be found as an artist with CLA. Raphaël Treiner, Hélène Blanic, Gaspard Brécourt, and Glenn Morton, like the four cardinal points on a map, were excellent guides for all of us trying to find our way in this ever more difficult career.

A local market during a group excursion

Raphaël’s kind and eager methods of teaching us French language and diction were a very refreshing way to start our day. The dynamic with him, as with everyone else, was one of connection and understanding. More than teaching us the knowledge, he would share it. We would show each other examples of great French singers and discuss their diction, while becoming increasingly aware of their love for text, which in turn inspired us to take our singing to greater heights.

Hélène took great care to make sure I felt the music and the text of a piece together as one. And at a time when I feel the pressure to simply “get things done” quickly and efficiently, Hélène gave me a welcome reminder that singing is an innately human art form.

Her emphasis on “the slow work, ” as she called it (reviewing the text, relating to the words, and developing a personal relationship through the process of learning a piece) allowed me to focus on the passion and humanity of singing through a much more honest approach. Remembering to ground myself in the artful humanity of singing is all well and good, but there are notes and rhythms on the page that put the “form” in “art form.”

Loella Grahn and Fernando Silva Gorbea

Gaspard was excellent at keeping me honest on that same front. Moreover, as a conductor, he was adamant on showing me different ways to interpret a piece based on its context in the opera, and how the intricacies between the language and the music can be consciously brought out in performances.

Too often, I feel pressure as an artist to function like clockwork. Working to understand myself and my voice can feel very overwhelming. During my time in CLA France, Glenn Morton helped me find tools to be able to clear a path towards better understanding myself. Glenn taught me volumes on how to work with the French language and how it naturally resonates in my voice, while also taking the time to understand my own wild verbalizations as I worked to apply his teachings. Even if we could not find the answer to something immediately, he would listen and work with me to find the answer that worked for me. As with the rest of the CLA team, the knowledge was not simply taught but truly shared.

A flower shop at one of the local markets

The overall dynamic in CLA France was very “horizontal,” in that there was never a hierarchical relationship between coaches and students, much less among the students themselves. We shared food, experiences, thoughts, ideas…all given freely amongst ourselves as artists, as equals. Among those experiences, as well as being my first time in Europe, CLA France couldn’t have been a better fit for me this past summer. The image of the beautiful art-loving country that I grew up hearing about was very accurate, but not in the way I had expected. The true beauty came from sharing all of it with other like-minded individuals who wanted nothing more than to connect, learn, and grow as bountiful as the beautiful produce in the markets that we had the privilege of visiting during our days off. Or to develop relationships as stable and strong as one of the thousands of castles in the region.

Fernando Silva Gorbea performing in the Périgord Region

CLA France was a beautiful experience where we were provided a space to make mistakes, to learn, to share dreams and struggles, and to be vulnerable…It was an enriching experience that I will treasure for the rest of my life, whose values I hope to find and experience again throughout my career.

2025 CLA France Perspectives: Jin-Hee Lee

“Without a doubt, each faculty member was invested in my growth as a performer and technician; I stepped into every performance knowing they, and my peers, completely had my back.”

Jin-Hee Lee and Clark Xiong performing

It sounds like a dream: three weeks in the beautiful French countryside, intimately studying the French repertoire that I have always wanted to know more closely, but didn’t know how to approach. How surreal that I can say this was my reality at CLA France this summer.

There is so much I could say about this summer, but the feelings of awe, surprise, and connection are the three threads that tied this experience together for me. Time and time again, these feelings found me as I dove headfirst into French mélodie and opera, learned from and alongside my peers, and became closer with the French language.

2025 CLA France Artists discussing poetry with Raphaël Treiner

Let me first reflect on awe. Snapshots of this feeling: stepping into the church at Monpazier, hearing the church bells ring perfectly in time with the final note of a divinely sung “Je dis que rien m'epouvante.” Exploring every corner of Louise de Vilmorin’s poetry through music after dissecting the diction with Raphaël. Watching a peer ring out a high E as clear as a bell after a coaching with Glenn. Opera is no stranger to awe, so perhaps I shouldn’t have been surprised that it found me everywhere throughout an immersive summer with CLA.

Glenn Morton and Giancarlo Llerena with one of the horses at La Ferme d’Hermance

Speaking of surprise, I experienced this the most with myself. Rather than overcalculating my singing left and right, I did my best to let the text and music guide me, to go with what felt natural - I especially tapped into this sensation in my coachings with Gaspard. It’s a wonderful phenomenon when you experience surprise, and a feeling of newness, around something you’ve known for a long time. Some of the repertoire that I’ve listened to for years gained new dimension and sparkle as a result of studying with Hélène. I was delightfully surprised by little secrets left in by the composers I hadn’t noticed before, at the double meaning of the text, and at my own capacity for growth and expression.

2025 CLA France Artists enjoying dinner together

As for connection, there’s one memory burned vividly into my mind that I’d like to share. Throughout the program, we had the chance to visit several local open-air markets in the different towns around our gîte. In a period of intense rehearsals for one of our ensembles, my duet partner and I found ourselves humming the tune everywhere we went, including the markets. We found ourselves humming in harmony at one of the stalls, and the owner’s eyes lit up with joy; she asked if we would sing for her. With a bit of shyness and excitement, we sang our rendition of Saint-Saëns’ “Pastorale.” Most unexpectedly, this kind woman was in tears by the end of our brief performance, embracing us and sharing how touched she felt by the music – our music. What other force in our world can connect people from across the globe in such an intense, personal way?

A selfie with some of the 2025 CLA France Artists

I’ve heard a few times that CLA “meets every artist where they are”. That could not have felt truer this summer. Without a doubt, each faculty member was invested in my growth as a performer and technician; I stepped into every performance knowing they, and my peers, completely had my back. Each of our four performances was held in breathtaking churches around the region and was a true celebration of our hard work and dedication.

It takes graceful and courageous audacity to step foot into a new country and deliver music in their language. It was through the mentorship of the CLA France faculty and the inspiration from my peers that I was able to garner enough grace, courage, and even a bit of audacity to take on our performances this summer and discover more about myself as an artist.