Study singing remotely with working opera singers. Sarah Nordin and Tyler Putnam are both traveling opera singers based in New York City. Read below to find out more about their performing experience and teaching styles. Lessons are $105 for one hour.
Tyler Putnam, Bass-Baritone
Possessing a voice described as “robust and resonant” by TheatreMania and deemed a “standout” by Opera Magazine, bass-baritone Tyler Putnam is in demand in a variety of repertoire. Upcoming engagements include a role debut as Escamillo in Carmen with Gulfshore Opera and a return to St Petersburg Opera as Achilla in Handel’s Giulio Cesare.
Recent performances include Oroveso in Norma with Opera på Skäret in Sweden, Vodnik in Rusalka with Gulfshore Opera, Don Alfonso in Così fan tutte with Opera Ithaca and Cura Viejo in the world premiere of Behold the Man with Opera Las Vegas. An apprentice at The Santa Fe Opera for two seasons, Tyler debuted the role of Kobun in a workshop performance of Mark Campbell and Mason Bates’ The (R)evolution of Steve Jobs and originated the role of Thomas in the world premiere of Jennifer Higdon’s Cold Mountain. Originally from Chebeague Island, Maine, Tyler Putnam is a graduate of Dartmouth College. (Updated July 2025) 1) Assessment of Strengths and Weaknesses Artists need encouragement. If I fail to encourage you, do not take another lesson from me. That said, I will never simply tell you what you want to hear. I will help you navigate the incredibly difficult challenge of accepting critique and becoming stronger through that process. As an artist, you strive for affirmation and encouragement while simultaneously seeking out guidance and correction of your flaws. I strive to provide both things in equal parts. My goal is your growth and your quickest possible progress. 2) How to Sound More (or Less) Operatic One of the most frustrating forms of feedback I have heard in my singing career is, "that sounds a little too operatic" or "that sounds a little too musical theater." What do these general comments mean on a technical level? One way to navigate this subjective world of taste and personal preference is by leaning into the technical details of singing and focusing on one aspect at a time: articulation of text, breath support, legato, and vibrato. One of the biggest issues of taste is how we pronounce words, both consonants and vowels. Another is how legato do we sing. Thirdly, where should we place the resonance, in the mask or in the throat? It's important to understand that an opera singer's understanding of "throaty" is very different than a layman's understanding of the exact same word. A general listener may well confuse an open-throated operatic sound with a throaty sound, since they are so unaccustomed to hearing such sounds. 3) How to "cover" your voice in order to sing high notes comfortably and beautifully. One of the greatest achievements a singer can acquire is the ability to sing high notes in a healthy, powerful and beautiful way. Although one can read about this technique, it must be heard, observed, and mimicked in order to be fully understood and replicated. |
SARAH NORDIN, Mezz0-Soprano
Praised by Opera News for the “clear beauty” of her voice and her “spot-on comic timing,” mezzo-soprano Sarah Nordin brings an exquisite blend of vocal artistry and strong dramatic instincts to a broad range of repertoire.
Known for her interpretations of Rossini and Mozart, Sarah has received accolades for possessing “a voice that fits Mozart like a glove.” She has been featured in recent seasons as Rosina in Il Barbiere di Siviglia with Opera Orlando and Gulf Coast Symphony as well as the title role in La Cenerentola with Geneva Light Opera. Likewise, her Cherubino and Marcelina in Le Nozze di Figaro, Zerlina and Elvira in Don Giovanni, Isabella in L’Italiana in Algeri and Dorabella in Cosi fan Tutte have charmed audiences at Opera Tampa, Long Island Lyric Opera, Opera Orlando, Gulf Shore Opera, St. Petersburg Opera and Winter Opera of St. Louis. This season she sang Rosina with First Coast Opera and Dorabella with Opera Ithaca. Additionally, Ms. Nordin has received great acclaim for her numerous performances in the title role of Carmen, most recently with Bel Cantanti Opera, the Missouri Symphony, and Gulfshore Opera. Opera News praised her performance stating, “Sarah Nordin demonstrated in this role, as in previous productions, that her voice can hold its own with the big guns, it's clear beauty resounded effortlessly as she captured the ferocious nature of the iconic Carmen during her sizzling rendition.” Other notable roles include Maddalena in Rigoletto, Charlotte in Werther, Nicklausse in Tales of Hoffmann, Suzuki in Madama Butterfly, Komponist in Ariadne auf Naxos and Orlofsky in Die Fledermaus. She has also appeared in six productions, La Boheme, Boris Godenov, Parsifal, Les Troyens, Don Carlos and Nabucco with The Metropolitan Opera as a member of the ensemble. These performances include three Met Live in HD Broadcasts and a tour with The Met to Japan. New works and Musicals comprise a significant part of Sarah Nordin’s career. Most notably, she premiered the role of Mary Eden Thompson in The Circuit Rider’s Wife, which included a three-year tour and original cast recording, Lydia in Penelope Ann’s Revenge, a sequel to Arthur Sullivan’s Cox and Box, The Conductress in the world premiere of In bocca al lupo and she premiered the role of Annie Jump Cannon in Galaxies in her Eyes. Her favorite classic Musical Theater roles performed are Maria in Sound of Music, Sandy in Grease, Evangeline Harcourt in Anything Goes and Tzeital in Fiddler on the Roof. 2025 engagements include Charlotte in A Little Night Music with St Petersburg Opera, Sorrine Olsa in Giants in the Earth with the South Dakota Symphony, the world premiere of The Worldwide Requiem by Erica Glenn at Carnegie Hall and Nellie in South Pacific with the MacBeth Concert Series. Sarah was a Young Artist with Opera Theatre of St Louis, Central City Opera and Opera North, a Professional Artist in Residence with Gulf Shore Opera and spent two years as a member of the Studio Artist Programs at both Orlando Opera and Knoxville Opera. Ms. Nordin holds a Master of Music degree from the University of Tennessee. She also excels as an award-winning ballroom dancer and an accomplished french horn player. |