Alright – so today we’ve got the honor of introducing you to Amy Shoremount-Obra. We think you’ll enjoy our conversation, we’ve shared it below.

Alright, Amy thanks for taking the time to share your stories and insights with us today. Can you talk to us about how you learned to do what you do?

My life in music began at a young age, around five years old. I vividly remember the moment my dad and uncle brought my grandparents’ piano to our house- a gift for me because I had shown an early interest and talent for music. I was in bed pretending to be asleep, and as soon as they finished setting up the piano in my room and left, I eagerly got up to play. A few years later, I developed an interest in theater, studying acting over the summer and performing at two local theaters.
As my teenage years unfolded, it became increasingly evident that I had a talent for singing. My voice was maturing, and I began to focus mainly on singing and acting. (although piano remained a significant part of my life and I also played the trombone and xylophone in the school band). I sang in choirs and competed for spots in the Regional, All-State (NJ), and All-Eastern Choirs. I was fortunate to have a high school choir teacher who taught me to sight-read exceptionally well and encouraged my growth.
Overall, these early experiences helped me train my ear and develop my overall musicality. At sixteen, I discovered operatic music for the first time—specifically, the music of Mozart. I fell in love with it and the challenge it presented. Challenges have always motivated me, and I became determined to pursue classical vocal performance in college.

I went on to study at both Manhattan School of Music and The Juilliard School. It was during these years that I really began working technically on my instrument. In hindsight, there is absolutely nothing I would have done to speed up my learning process but in fact- I would have slowed it down and wanted time for much more detailed “precision work” on my technique.

A challenge of life in present times is the societal pressure to be something and do something by a certain time. While this isn’t always a bad thing (motivation is good!) -in the arts and in vocal music in general- it limits us. We lose time to explore, to develop at our own pace and to do so thoroughly. If I could go back, I would have devoted several years to building technique through specific exercises and not rushed into repertoire so quickly. (of course I had no choice in all of this- this is how the current system is set up)

There are essential skills in singing that I would have loved to spend a great deal of time in music school developing- for instance- singing one sustained pitch and creating a beautiful messa di voce (crescendo and diminuendo) with an even and steady tone. Another skill would be learning how to sing from one note to the next- two pitches- with perfect legato! This sounds simple- but in order to do this with incredible legato and an even vibrato on a thread of air is harder than you think! These are the types of skills that I would have loved to spend years working on before even singing one song or aria.

Interestingly, this slower, process-oriented way of working was the approach of singers two hundred years ago. I would love to see a massive shift back to this detailed and slower way of working in the musical world. It ultimately produces better singers and musicians. I try to instill this way of working as best I can with my current students and I work this way, myself. I ultimately did take an 8 month break from performing (about fifteen years ago) and retrained my voice. I devoted that time to the detailed work that was missing from my formative years. It paid off tenfold as I gained an even better technique than I ever thought possible.

Amy, love having you share your insights with us. Before we ask you more questions, maybe you can take a moment to introduce yourself to our readers who might have missed our earlier conversations?

My name is Amy Shoremount-Obra and I am an operatic Soprano and a Professor of Voice. I have had the honor of performing on some of the world’s greatest stages- from The Metropolitan Opera to Carnegie Hall to David Geffen Hall in New York City- to concert halls and operatic stages throughout North America and Europe. My career has been unique in that since the very start, I have also had an immense interest in the technical aspects of singing and have been teaching since a very early age. I love dissecting the art of singing and analyzing sounds, studying the history of the technique and sharing this knowledge with others.

I am most proud of two things: Firstly- my own technical abilities and level of singing- which were by no means easy to achieve. I learned by making every mistake in the book and I am so grateful for these mistakes because they ultimately led me to work things out in my own voice and to essentially be able to sing anything. This leads me to the second thing I am most proud of- which is my ability to identify sounds that a singer makes and to immediately be able to tell what steps need to be taken to make these sounds even more beautiful and consistent. Without my own often times- arduous- technical journey, I can assuredly tell you that this ability of mine would not be as finely tuned.

Is there mission driving your creative journey?

Yes! It’s the love and importance of process! In our society, we often focus too much on the final product, overlooking the importance of the journey. The true magic lies in discovering yourself along that journey, not just in the end result. This realization inspired me to establish my vocal workshop, “The García School,” in Hawaii, which is part of my nonprofit, Hawaii International Music Festival. Named after the renowned (process-focused) vocal teacher of the 1800s, Manuel García, the workshop provides singers with a week to delve deeply into their craft without the pressure of preparing for a concert or meeting a final deadline. This environment allows singers to explore, take their time, and engage in the detailed work necessary for their growth. Ultimately, this approach helps them become their absolute best and feel confident in their abilities.

For you, what’s the most rewarding aspect of being a creative?

The most rewarding aspect is to have such a secure technique that I am physically able to now musically express every single ounce of nuance possible in a piece of music. I remember the first time I finally was able to do this too- I was in a voice lesson with my teacher and she had me try something that freed up my sound so much that I finally felt able to sing it the way I heard it in my head. This was such an incredible gift! Impeccable technique is a true gift! I am grateful to have fallen into the right hands who were able to guide me. It’s a wonderful feeling to be able to sing such incredible music and share it with others to the absolute best of your ability.

Contact Info:

• Website: https://www.amyshoremount-obra.com
• Instagram: @AmyShoremountObra
• Facebook: https://www.facebook.com/amyshoremountobrasoprano
• Youtube: @amykso

Image Credits

Anastassiya Neznanova (Anzart Photo)
Leonel De la Rosa
Varna International
Opera Grand Rapids