Susan Mardinly, Voice
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Susan Mardinly

Voice

Susan Mardinly, VoiceSusan Mardinly, Ph.D., has been teaching voice for over 30 years, at the University of Connecticut, Post University, and at Hartford Conservatory, where she was Chair of the Voice Department. After winning the National Association of Teachers of Singing Artist Award, Mardinly enjoyed operatic roles such as Gingerbread Witch (Hansel and Gretel) for Connecticut Opera and Opera Theatre of Connecticut; Rosina (Barber of Seville); Susanna (Marriage of Figaro); Pappagena (Magic Flute); Dido (Dido and Aeneas); and Estella (La Perichole). She has sung roles opposite Jennifer Larmore and Jacques Trussel of Metropolitan Opera and David Rae Smith of New York City Opera. A soloist on public radio and TV, in Carnegie Hall, and as a Connecticut Commission on the Arts Touring Artist, Mardinly has sung jazz, Broadway cabarets, and on concert series throughout the Northeast. A stage hand for the Metropolitan and Boston Operas, she has also directed/coached musical theatre, winning Best Musical Director for Into The Woods.

Mardinly has received grants to research Fanny Mendelssohn, Amy Beach, and Barbara Strozzi, resulting in feature journal articles, publication of 60 scores, and lecture/recitals throughout the world including Venice, Boston, and New York. Mardinly is also a published poet, nominated for a Pushcart Prize. Elected to Pi Kappa Lambda, Who's Who in America, Women and the World, she holds a B.Music degree from New England Conservatory, MM from the University of Hartford's The Hartt School, and a Ph.D. from the University of Connecticut.

Mardinly has been a Hartt Community Division faculty member since 2005.

Teaching Philosophy

In my 50 years of teaching, my focus has always been to help students fulfill their dreams. Each student is a completely unique individual. Through vocal technique, breathing, diction, facial and theatrical expression, students discover who they are as a singer. They develop confidence in their gifts, become able to give themselves to an audience, experiencing the connection that radiates back to the singer. Building joy in their special abilities should inform and lend fulfillment to every aspect of their life. Trust between teacher and student is essential. I have found a truthful ‘sliding scale’ of ranging from ‘acceptable’ to ‘superb’ work best. With students who aspire to become professionals, I tenderly urge discipline. I am more gentle with avocational students. I have also found that becoming friends with parents and introducing students to each other creates a support system.