Under Kathleen Kasdorf's direction, I have advanced more in my vocal development in one year, than in the previous twenty. She has a remarkable gift for listening to a singer and knowing where the tension and other problems lie. She is a talented pianist as well, a very useful skill in a voice teacher. She is continuously reading, studying, attending conferences and classes, etc., to improve her repertoire of pedagogical techniques; and as a result, she has an unending supply of suggestions, integrated from a myriad of sources, so if one approach doesn't work, there are always ten more things to try. I heartily recommend her to any serious student of voice.
—Greg Ferrar
Kathleen is superb at tailoring her teaching style to match each student. She teaches the novice and the advanced singer with equal amounts of expertise and care. She provides ample amounts of encouragement and motivation to keep her students improving their technique and expanding their repertoire. Kathleen also makes sure that her students know about opportunities such as auditions, concerts, and classes, that they might want to take advantage of. All-in-all, Kathleen is an excellent voice teacher.
—Jan Clayton
Kathleen has truly done wonders for me. I have sung all my life in musical theatre, pop and other styles, but through Kathleen's lessons I've realized I was just getting by on a bit of natural talent. Kathleen grounded me in proper technique, starting from my posture and breathing to the release of tension and all the other intricacies and difficulties of my tenor voice. Through Kathleen I have become very aware of what works and is healthy, and what doesn't. Things I once struggled through, I now do much more easily, and properly. Better yet, I can reach higher notes, am stronger and more confident throughout my range, and make fewer errors. And I know there is much farther I can go with her help. I recommend Kathleen to anyone who is serious about singing well.
—Peter Owen
Kathleen’s vast technical knowledge as well as her supportive and intuitive abilities have been so valuable to me. I wouldn’t hesitate to recommend her to anyone interested in improving their singing experience, whether as a soloist or as a member of an ensemble.
—Michael McDonald
Kathleen truly cares about her students. She takes the time to individually address "my" issues - each lesson flows with who/where I am that day. I have been her student for over 10 years and am getting just what I want out of her lessons.
—Anita Lande
I attended a 10-session voice lesson with Kathleen to prepare for a show. She gave me more than singing lessons! When I went to my lessons, it felt like I was seeing a therapist - Kathleen exudes warmth, enthusiasm and a sincere curiosity to get to know her students well. In so doing, she helped me not only to recognize how I can improve as a singer, she also provided me with a safe and welcoming place to learn about myself and how I can better relate to my audience. A friend of mine referred me to Kathleen; since finishing with my voice lessons, I have referred another friend to Kathleen as well. We're all satisfied customers!
—Ronald (Onat) Sanchez
(Camphill Communities California)
www.camphillca.org
I have been with Kathleen for 9 years. Singing is such a personal and emotional journey and she has always been the constant throughout an ever-changing process. She is highly skilled, compassionate, patient and infinitely wise. She gets me through.
—Amanda Mendon
I am a voice teacher and a former opera colleague of Kathleen Kasdorf. I have studied with her for over 5 years, and each time I have a lesson with her, I learn something new. She has such drive to "know", and does an enormous amount of research regarding the vocal instrument. Along with my vocal lessons, Kathleen gives me a lot of insight into vocal pedagogy. I always feel as though I am getting two lessons in one.
As a performer, Kathleen is such a wonderful musician. She is a soloist for the San Francisco Bay Area Branch of NACUSA, and is often called upon to perform extremely difficult pieces, which she is always able to master. She is an actress, and brings wonderful interpretive tools to her performances. I seldom come away from one of her performances unmoved.
I highly recommend this amazing woman as your voice teacher.
—Mary Elizabeth Enmann
Barack…and Nitz (armed with splendid German diction) lent uncommon tang to their assignments.
—San Francisco Examiner, March 13, 1990
(Mahogonny Songspiel, Kurt Weill)
Nitz sang beautifully in the ‘Alabama Song,’ and brought the piece to a chillingly sardonic conclusion.
—San Francisco Chronicle, March 14, 1990
(Mahagonny Songspiel, Kurt Weill)
The production glows with the exceptional voices of Kathleen Nitz as Adina… Nitz’ voice is worth the price of admission. Her pure tones effortlessly rang in the rafters of the old Andrews Hall during a buoyant Sunday afternoon performance.
—The Sonoma Index-Tribune, July 17, 1985
Kathleen Nitz as Adina…is equally adept with the coloratura.
—The Press Demoncrat, July 15, 1985, Meg McConahey
(The Elixer of Love, Donizetti)
Harrison could also manipulate 12-tone music to sound lyrical and near-tonal, especially in his powerful “Air from ‘Rapunzel’” (1952). …this dramatic scene for solo soprano was premiered by Leontyne Price, then largely forgotten until Kathleen Nitz’s exceptional interpretation Sunday, with sextet accompaniment.
—San Jose Mercury News, May 19, 1987, Paul Hertelendy
(Concert for Lou Harrison's 70th Birthday)
