Education
DMA, University of Connecticut
MM, The Hartt School, University of Hartford
BA, Brandeis University
Lyric soprano Dr. Lisabeth Miller is sought after for her musically sensitive and dramatically compelling performances of diverse repertoire on the opera, concert, and recital stages, and for her expertise as a voice pedagogue. She has appeared as a soloist with the Hartford Symphony, Farmington Valley Symphony, Farmington Valley Chorale, Manchester Symphony and Chorale, Nutmeg Symphony and Waterbury Chorale, Con Brio Choral Society, the Shoreline Chorale, and the University of Connecticut Festival Chorus. Operatic roles include the Mother (Amahl and the Night Visitors), First Lady (Die Zauberflöte), and the title role in Handel’s Alcina, in addition to numerous leading and supporting roles with Opera Connecticut, Opera Theater of Connecticut, Hillhouse Opera, Hartford Opera Theater, and UConn Opera Theater.
An enthusiastic interpreter of art song and chamber music, Miller is an active recitalist interested in the intersection of music of the past and present. She has performed in Hartt’s American Song Festival, singing songs by Lori Laitman and Kurt Erickson, and has also recently collaborated with pianist Eric Trudel, guitarist Christopher Ladd, the West End String Quartet, and Oboe Duo Agosto in music spanning J. S. Bach to Reena Esmail. She was a frequent performer in Hartford Opera Theater’s New in November festival of new works, and created roles in the world premieres of The Faith Operas by David Wolfson, and Hannah and Her Daughters by Leonard Raybon.
Since 2019, Miller has served on the faculty of The Hartt School, University of Hartford, where she teaches applied voice to undergraduate and graduate students and courses in lyric diction, vocal literature, and voice methods. She earned her Certificate in Vocology from New York University in 2025 and brings the latest research on vocal health and voice science into her studio teaching. Each summer she teaches voice and conducts the chamber choir at New England Music Camp in Sidney, Maine, where she will become coordinator of the new Classical Voice Concentration in 2026. She previously directed the Summer Vocal Institute for the Hartt Community Division (2023–2025) and has taught at the University of Connecticut, the University of St. Joseph, and several Connecticut community colleges. She is also in demand as a clinician and masterclass teacher, having recently presented at the University of Connecticut, Schwob School of Music at Columbus State University (GA), Troy University (AL), Butler University (IN), and the Hartt Community Division Vocal Honors program.
Miller’s teaching philosophy centers on the belief that every voice is unique and inseparably linked to the whole person behind it. She fosters a studio environment rooted in gratitude, respect, honesty, and acceptance, where students feel safe to take risks, explore new technical ideas, and grow as both singers and artists. She is committed to vocal health, stylistic versatility, inclusive repertoire, and community-building, preparing students to become confident performers, flexible collaborators, and thoughtful, independent musicians.
She earned her Doctor of Musical Arts degree from the University of Connecticut, where she studied with Dr. Constance Rock and Willie Anthony Waters. Her dissertation, A Lyric Soprano in Handel’s London: A Vocal Portrait of Francesca Cuzzoni, reflects her scholarly interest in vocal pedagogy and historical performance practice. She also holds a Master of Music degree in voice performance from The Hartt School, a Bachelor of Arts in music from Brandeis University, and the Certificate in Vocology from NYU. She is a member of the National Association of Teachers of Singing (NATS) and the Pan American Vocology Association.
Every voice is unique, as is the whole person with whom the voice is inextricably linked. All of a singer’s life experiences inform our ability to utilize our instruments and perform at our best. My teaching philosophy begins with immense gratitude for each singer that walks into my studio; I believe that this is a necessary ingredient to my approach as a teacher of singing because gratitude, combined with respect, honesty, positivity, and acceptance are all essential in creating an environment where all singers can thrive. The study of singing requires intense vulnerability; it is of paramount importance that students feel at ease to explore new technical ideas, freedom to experiment with sound, and to create magical moments of storytelling in their performances. These discoveries can only happen when singers feel safe to be vulnerable. I feel so grateful to have the opportunity each day to be trusted with everything that students bring with them into the studio in pursuit of singing excellence.
As an educator I’m passionate about vocal health, instilling a strong understanding of a healthy singing technique, keeping abreast of the newest research on voice science, learning and programming diverse and inclusive repertoire – and sharing all of my knowledge in these areas enthusiastically with my students. Today’s singers need to be well versed in diverse musical styles, to be confident performers, flexible collaborators, and superior musicians, and it is my job to help them build multifaceted toolboxes so that they have a wide swath of skills on which to draw. Because all voices are unique, it is most important that students are taught a healthy technique that will help them succeed in whatever style of music or profession that they might choose to pursue. Sopranos, mezzo-sopranos, tenors, and baritones are not monoliths, and an approach that works for one may not work for another. My job is to meet every student where they are when they enter the studio and collaborate with them to determine the best approach for them.
In both my voice studio, and my diction and literature classrooms, I wholeheartedly denounce racism in all forms; I strive to be antiracist and to continually educate myself on how I can grow and evolve as an antiracist and advocate for marginalized groups. I am an ally to students from all walks of life, and actively work to make sure that my studio and classrooms are places where all feel welcome and valued as well as musically and academically challenged. Building community is one of my favorite aspects of teaching, and I have seen firsthand the benefits of creating a strong studio and classroom culture; it makes perfect sense to me that students who feel supported by both their mentor and student colleagues make more technical progress, make braver choices in performance, and more enthusiastically participate in their own education.