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MAY 1-2

(Sat & Sun)

1pm - 3pm



Tongue Symposium

Undetected tongue-ties,

lip-ties, face posture & singing:

WHat you NEED to know

(what you don't know may shock you)

A Free 2-day Event for Singers & Teachers


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May 1-2, 2021

1pm-3pm EST


(10am PST/11am CST/ 18:00 GST/19:00 CEST)

Do YOU or your students Experience...?

  • Trouble with high notes

  • Feelings of constant constriction

  • Trouble with consonants and diction

  • Vocal inconsistency

  • Jaw tension

  • Tongue tension

  • Passaggio issues

  • Neck tension

  • Inability to control dynamics

  • Battles with acid reflux & allergies that affect your singing

  • Difficulty accessing your lighter mechanism

  • Increasing vocal difficulty with age

  • Sleep Apnea/Snoring

  • Unresolved body tension

BUT I DON'T HAVE A Tongue-Tie...

You sure about that?

“Why can others do it so easily, but for me everything is difficult?”, you think. Even the small gains you make come with huge effort, and still things don’t feel quite right. You think you are just less than. Other people are more talented. You’ve spent literal YEARS of your life and $$$ trying to fix your singing, and it just doesn’t work. You’ve resorted to the idea that it’s all in your head. If you could just “think” positively, you would singer better, easier, freer. While I am a huge proponent of cultivating a positive mental attitude, what if all of these feelings weren’t all in your head…. Er…. Or rather, what if they were?


But, I don’t mean in the esoteric sense.


What if there were actual physical restrictions in your tongue and lips that have gone undetected for years?


What if there were years of chronic misuse and gradual atrophy of important tongue and face musculature that have affected your singing?


On May 1 and 2, 2021….. We will be presenting a GROUNDBREAKING workshop in which we address an area of pedagogy that has not yet been discussed!

I will join Oro-myologist/Soprano Jessica Luffey, Soprano/Voice Teacher Leah Stewart-Hill, and Tenor/Voice Teacher Bryce Lupoli in discussing the affects of tongue-ties, lip-ties, tongue and lip weakness, and face posture on the voice.

(All 4 of us have undergone tongue-tie and/or lip-tie release procedures, and thus are uniquely positioned to discuss the before and after effects on singing.)

What you will learn

​​Tongue-Ties and Lip-Ties and their effect vocal color, vowel production, and function

The difference between Tongue Tension and being tongue-tied

The distinction between Tongue Tension and Tongue WEAKNESS

Simple ways to self-diagnose a tongue-tie and/or lip-tie in yourself or your students

The importance of diagnosing and fixing a tongue-tie/lip-tie in a singer

How Face Shape contributes to vocal color and the importance of Face Posture

How Teeth play a role in your singing

The Importance of breathing WELL

What can be done, and resources for you!

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Julia Radosz 

Soprano/Voice Technician

I help singers break through vocal limitations to expand their vocal range beauty & power.

I believe within each of us, there is a little voice that knows innately what we are capable of achieving. It is up to us to explore and develop our potential. 


I love to meet singers on their journey and help them gain autonomy over their vocal process and achieve vocal results they never dreamed were possible. 

Along with my career as an opera singer, I have been teaching private voice for over 15 years. 

My clients have performed with companies such as Houston Grand Opera, Salzburger Festspiele, Sarasota Opera, Deutsche Oper, and Chautauqua Opera. Additionally, they have been seen in National Tours of Musicals including Phantom of the Opera and Wicked. They have received many honors including advancements at the Metropolitan Opera National Council Competition, final selections for NBC's The Voice, Miss America pageants, Classical Singer competitions, and Vocal Scholarships for conservatories and universities.


As an opera singer, I have performed with companies such as National Moravian-Silesian Theater, Opera Orlando, Opera Naples, Annapolis Opera, Wichita Grand Opera, Gulfshore Opera, and Tri-Cities Opera. Major roles include Marietta (Die tote Stadt), Rosalinde (Die Fledermaus), Donna Elvira/Anna (Don Giovanni), Violetta (La Traviata), Fiordiligi (Cosí fan tutte), Susannah, and Suor Angelica.


I have won a few competitions, including The Jenny Lind Competition, Connecticut Concert Opera Competition, and the The Marcella Kochanska Sembrich Competition. Additionally, I was 2nd prize winner of the Kosciuszko Foundation Competition and the National Federation of Music Clubs Biennial Young Artist Awards, 3rd prize winner of the New Jersey State Opera Competition, as well as a grant recipient from CareerBridges Foundation.  


I currently live in Bratislava, Slovakia with my fiance who is a Slovak conductor, and I miss my dog, Fifi, who is keeping my Mom company in Florida. 

Jessica Luffey 

Certified Specialist in Orofacial Myology/Soprano

A native of the Southwest, Ms. Luffey grew up immersed in the dental and medical fields. While pursuing a career as a professional opera singer, she became fascinated with the connection between a singer’s face-shape and its correlations to specific, predictable technique issues. She is now the only CSOM/Singer professional-combo in the world, and has since used her unique set of skills and insights to bridge new ideas between the art and science worlds.

Ms. Luffey holds a CSOM from the Graduate School of Breathing Sciences and a Master of Music from Georgia State University. She has been taught and trained by numerous top-experts in both the dental and body-integration fields across the country including: Myofunctional Therapy with Sandra Coulson, The Breathe-Sleep Course in Sleep Apnea and Functional Frenuplasty with Dr. Zaghi, and The Postural Restoration Institute, and is an avid student of dental-alignment and occlusion experts, Dr.s Mew, Lin, Broderson, and Gelb.

This past summer, Ms. Luffey made her professional debut as the title role of Leonore in Beethoven's Fidelio at Glow Lyric Theater. She was also recently seen as First Lady in Die Zauberflöte with the prestigious Seagle Music Colony in New York. Ms. Luffey has performed many of the opera world’s most well-known and loved leading women, both nationally and internationally, including: Tatyana, Eugene Onegin; Fiordiligi, Cosi fan tutte, Countess, Le nozze di Figaro, Alice in Falstaff, Musetta in La Bohème, Mimi, La Bohème, Donna Elvira, Don Giovanni, and Helena, A Midsummer Night’s Dream, among others. She has won or placed in the Finals of numerous national competitions including: Delta Symphony Orchestra Concerto Compeition, Harold Haugh Comic Opera Competition, Orpheus Vocal Competition, Charleston Symphony Orchestra Competition, and has been a consecutive Semi-Finalist and Finalist in numerous other national competitions including: Shreveport Opera Singer of the Year Competition, Opera Foundation Scholarship auditions, and the Brumby Concerto Competition.


Ms. Luffey is currently actively researching lip-ties and their relation to lip mobility, and the direct correlations between oral-cavity space/shape as it pertains to resonance changes, range, and vocal color in professional singers. She works with both singers and non-singing clients of all ages across the country and world and is based out of Atlanta, GA.

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Leah Stewart-Hill 

Soprano/Voice Technician

Leah Stewart-Hill, soprano, is a vocalist and voice teacher based in Central Louisiana. She has more than nine years of experience teaching voice on the university level. Her students have won numerous awards for excellence in singing and been accepted into undergraduate and graduate voice programs across the United States. 

In addition to teaching, Leah maintains an active performing schedule, appearing in recitals, concerts, and opera/musical theater productions. Her roles in the U.S. include Betsie, in Stephen Burke’s original musical, The Hiding Place, the title role in Puccini’s Suor Angelica with Bel Cantanti Opera, Mimì in Puccini’s La bohème, Adina in Donizetti’s L’elisir d’amore, Micaela in Bizet’s Carmen, Principal Female Soloist in the New York City premier of Jeremy Beck’s award winning opera, Review, The Countess in Mozart’s Le Nozze di Figaro, and Young Psyche, a role written for her, in Larry Taylor’s contemporary opera, Eros and Psyche. 

Leah is an alumnus of James Madison University’s German Opera Experience. While a member of the program, she made her European operatic debut with the Mittelsächsisches Theater in Freiberg, Germany singing the role of Erste Dame in Mozart’s Die Zauberflöte. Leah also sang Dido in Purcell’s Dido and Aeneas and Angelica in Puccini’s Suor Angelica in connection with JMU’s GOE and the Mittelsächsisches Theater.  Additionally, she has appeared in concert with the Mittelsächsisches Theater, the Landesbühnen Sachsen Theater in Radebeul, Germany and the Zwichau-Plauen Opera Theater in Zwickau, Germany.


Leah holds a Bachelor of Arts and a Master of Arts in Voice Performance from Pensacola Christian College. She received her Master of Music in Voice Performance from James Madison University, where she studied with Dr. Dorothy Maddison. She is a member of MTNA and LMTA.

Bryce Lupoli 

Tenor, Breath Facilitator & Meditation Teacher

Bryce Lupoli is a breathwork facilitator, sheng zhen meditation teacher, and tenor. His calling is towards union: the state of being in which body, mind, heart, soul, and world are one harmonious whole.

Bryce was first driven to this path by necessity, when his health started eroding at a young age. Now he shares the skills that have healed and enriched his life, as he continues to deepen his own practice and understanding.


An outline of Bryce’s pertinent bio-psychospiritual challenges/gifts:


  • Age 16: Onset of clinical depression, suicidal and existential in degree and nature. Chronic fatigue and food sensitivities soon followed.

  • Age 19: An adverse reaction to medication caused significant cognitive impairment. This forced Bryce to take a leave of absence from college for 3 months due to losses in memory, processing speed, focus, emotional association, physical coordination, and depth perception.

  • Age 22: Appearance of dupuytren contacture (an auto-immune related growth and contraction of tissue in the hand and fingers). Bryce had to stop pursuing his passions in piano, rock climb, lift weights, and other activities that require strenuous or dexterous use of his right hand.

  • Age 23: Systemic auto-immune related pseudo-arthritis, which inflamed, weakened, and sensitized most of the joints in his body.


After nearly two years of living with debilitating pseudo-arthritis, during which his life was defined by grief and searching for medical solutions, Bryce decided it was time to accept the fact that he would probably be handicapped indefinitely.


With the intention of learning how to be at peace with his illness, Bryce devoted himself to meditation. He briefly attended Deer Park Monastery in California, then was accepted to live at Monte Sahaja Ashram in Portugal for five weeks.


In Monte Sahaja, Bryce discovered what he had been looking for during the previous eight long years. To his amazement, when his mind was quiet and his heart was open, meaning and joy came flooding in. He discovered that he didn’t need to do anything in order to be happy; joy and connection to life would arise of their own accord, if he only created the right conditions for them. 


After Monte Sahaja, Bryce sought a practice that could bring more peace and health into his body, now that his mind and emotions felt nourished. He discovered Sheng Zhen Meditation (a beautiful practice of moving meditation that involves qi gong) and attended a 36 day retreat. At the retreat, he was encouraged by the founder of Sheng Zhen, Master Li, to begin teaching. He completed a teacher training program several months later and began sharing Sheng Zhen with the world.


Bryce began studying the breath when he noticed that it was hard for him to focus on his breath in meditation. Something about breathing didn’t feel good, didn’t feel right. Little did he know, his discomfort was associated with a tongue tie and related breathing dysfunction.


He threw himself into the art and science of breath when he experienced how it could improve his sleep, increase his energy levels, calm him before public speaking or performing, prevent sore throats, strengthen his immune system, relieve his chronically cold hands and feet, and more.


Through meditation, Sheng Zhen, and breathing practices, Bryce’s depression dissolved and his auto-immune conditions have mostly healed or gone into remission. He can now go for long beach walks, trail run, surf, and do many of the activities that he had enjoyed as a teenager. He feels happier, healthier, and more free than ever before.


Bryce has trained under Master Buteyko Instructor Patrick McKeown, founder of the Oxygen Advantage. He has completed the Breatheology Fundamentals Course, created by world record freediver Stig Severinsen. He has completed the Breathwork Intensive Course, created by Our Breath Collective, and he is soon to receive a teacher certification through OBC.


Bryce has given lectures at University of California Northridge, University of California Santa Barbara, The Breathe Institute, and taught a workshop at the International Vocal Artist Academy of Payerbach. He has led multiple breathwork sessions for the worldwide breathing app Re/Mind. He frequently teaches at Santa Barbara’s favorite yoga center, Yoga Soup. He leads weekly classes in via Zoom, where he combines breathwork with Sheng Zhen Meditation. Bryce also works 1:1 with visual artists, coaches, CEO’s, corporate consultants, opera singers, school teachers, and others to help them discover peace in their minds, love in their hearts, and strength in their bodies.


In addition, Bryce is a classically trained tenor. He began singing when he joined the high school choir, then started studying classical voice at the Music Academy Of The West with Agatha Carubia. He received a BA in Music from Hamilton College, with a focus in Vocal Performance. At Hamilton he performed the role of Randy Curtis in Kurt Weill’s Lady In The Dark. He has performed in the chorus of The Bartered Bride with The Music Academy of The West. He attended the International Vocal Artists Academy of Payerbach from 2017-2019. Bryce studied under the great Russian baritone Vladimir Chernov and his masterful wife Olga Toporkova from 2016-2020. He has taken notes during hundreds of their vocal lessons, apprenticed under them, and in 2018 received their encouragement to begin teaching voice.”



Laura Deluca, Soprano

"I am incredibly thankful to Julia. She has completely changed my voice in range, tone, and overall quality. Julia has been a saving grace for my voice, and has given me confidence that I didn't think was possible"

Kristina Costello, Soprano

I have more freedom in my sound. I have learned to think about singing in a whole new way!

Jill Enders, Soprano

This course is one of the best investments I have made!

Shannon Roberts, Soprano

In these uncertain and empty times I am so glad I chose to be a part of the Fearless Singer. It gave me structure and discipline along with support. Julia is studied, practiced and informed, she shares it all in an extremely supportive environment. The Fearless Singer pushes you past your comfort zone on several levels, like a great trainer- you get results! I grew as an artist, I grew in confidence, I found a better practice ethic along with adding some new tools. I surprised myself.

I found answers to long time issues but more importantly- solutions!

Dana Zeimer, Soprano

This course is a must for any singer who feels they need to improve. I gained so much knowledge of how to improve my technique, my breathing and my mindset! An all-rounded course for all-rounded improvement. Thank you Julia! 

Triona Walsh, Soprano

I have immediately adjusted my embouchure and it has led to a whole new level of access. I am adjusting to the new aesthetic and am consistently surprised by the sounds that I can make with ease and confidence!

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