There's a moment in every performance I strive for—when the room goes completely still. Not applause, not standing ovations. Just silence. That intensity where you know people are actually taking a moment to reflect, to soak in what they just experienced. That, to me, is the highest form of audience appreciation.

There's a moment in every performance I strive for—when the room goes completely still. Not applause, not standing ovations. Just silence. That intensity where you know people are actually taking a moment to reflect, to soak in what they just experienced. That, to me, is the highest form of audience appreciation.

This season brings me to some of the country’s most respected stages. I return to the Colorado Symphony for Haydn’s Mass in Time of War, sing Handel’s Messiah with the American Bach Soloists, the National Philharmonic, and the Charleston Symphony, and make my debut with the Savannah Philharmonic in Mozart’s Requiem. I’ll also join the San Antonio Philharmonic, Boise Philharmonic, Vermont Symphony, and the Cathedral Choral Society for performances of Orff’s Carmina Burana.