Singing From Hell Through Heaven is a performative, compositional, and experimental project centered on the operatic voice as a dynamic and unstable sonic force. It investigates the voice’s capacity to occupy emotional, poetic, and metaphysical extremes—and proposes a reimagining of operatic technique within contemporary vocal and electronic practice.

Rooted in my background in classical singing, this project explores how the tools of opera—vibrato, timbral richness, sustained breath, and dramatic ornamentation—can be dismantled and recomposed in dialogue with electronic sound. Through minimal yet expressive digital processing (via Ableton Live, Melodyne, and loop-based performance tools), the operatic voice will be expanded, stretched, and fractured—multiplied into choral textures, destabilized through microtonal shifts, or pulled into grainy disintegration.

This voice is not polished or purified. It is tender, mythic, cracked, wounded, immense. It holds grief, pleasure, gender, transformation, and sound in the same breath.

Singing From Hell Through Heaven will unfold as a body of electroacoustic vocal compositions and a modular performance format, developed during an intensive residency period in Quebec. It aims to bring the voice to the center—not as subject, but as sonic terrain: operatic, electronic,
somatic, and broken open.