Immersive Artistic Formation

Organizes and hosts the Joy In Singing International Art Song Competition, which identifies and awards outstanding vocal talent, such as mezzo-soprano Anna Kelly who won first place in 2026, followed by a recital performance at Carnegie Hall.

Conducts in-person music and language education sessions for grammar school students, integrating art songs with foreign language instruction and emotional literacy, delivered in multiple languages including Italian, French, German, Spanish, and Polish across schools in New York, New Jersey, Pennsylvania, Florida, and beyond.

Organizes annual award recitals and master classes for vocalists, initially held at Town Hall and later hosted at prominent venues including Lincoln Center's Library and Museum of the Performing Arts, Alice Tully Hall, and Weill Recital Hall at Carnegie Hall.

Organizes and presents regular SongSalon events—intimate chamber music performances for audiences of 25–50 attendees—that routinely sell out and are supported by allocated funds for artist fees and program costs.

Produces an annual concert dedicated to the work of two American composers significant to the art song repertoire, promoting their contributions to the genre.

Supports the performance and appreciation of art song recitals as a vital musical tradition, promoting vocal artists through programs like Song as a Second Language and SongSalon, and presenting over fifty singers in their New York City recital debut.

Offers workshops, training, and lifelong learning opportunities in vocal history, technique, interpretation, and deportment through programs such as the Dalton Baldwin Art Song Institute and Alexander Technique lessons in Manhattan.

Prepares critical editions of vocal chamber music, reconstructs lost or incomplete orchestral scores, and completes full editions of neglected operas such as Carolina Uccelli's _Anna di Resburgo_, supporting historically accurate performances.

Publishes biographical and recording material on significant cross-cultural partnerships in classical music, such as the collaboration between Alfonso Ortiz Tirado and Pedro Vargas.

Presents curated content showcasing the work of Black classical musicians such as Roland Hayes, Harry T. Burleigh, Florence Cole-Talbert, and Anita Patti Brown, emphasizing their historical significance and artistic legacy.

Organizes public programs such as "Bel Canto in Thirty Minutes" and narrative presentations on historical topics like the García family’s American tour, using music, memoirs, letters, and press reports to contextualize performances.

Runs an annual summer training program combining a nine-day festival with a six-week curriculum focused on historically informed interpretation of Bel Canto and classic Italian operatic repertory for singers and orchestral musicians.

Produces public performances of 19th-century Italian operas using period-instrument orchestras and historical performance practices, including works by Mozart, Rossini, and others. Performances incorporate research-based techniques such as portamento, free ornamentation, puntatura, and rejection of mid-20th-century vocal conventions.

Creates and releases recordings that explore historical performance styles and underrepresented artists in classical music, featuring early sound recordings and specific vocalists from the pre-1925 era. Titles include "Saving Time," "Queen of Song," "Teenagers," and "Les adieux de Verdi."

Generates revenue through the sale of branded items including t-shirts, tote bags, mugs, hats, water bottles, and blankets featuring opera-themed designs and organizational branding.

Perpetuates, teaches, and maintains the performance style and tradition of 19th and 20th century Italian opera through instruction, performance, and historical documentation.

Organizes and presents public concert performances in the United States, including award recipient recitals at the Marcella Sembrich Opera Museum in Lake George, NY, and Redeemer Evangelical Lutheran Church in New Paltz, NY, as well as orchestral performances with the Vermont Philharmonic in Central Vermont.

Conducts scholarly research and maintains a comprehensive notated archive of 19th-century vocal performance traditions, initiated under Antonio Cotogni and continued throughout the founder’s life. Includes authorship of four volumes on variations, cadenzas, and traditions, and two books on Puccini and Mascagni.