Ashley Larkin


Ashley Rose Larkin is a Washington D.C. based soprano who is a recent 1 st place winner of the National Association of Teachers of Singing, Mid-Atlantic Regional Competition, and has been selected to compete at National NATS this summer. She has also been selected as a semi-finalist in the Washington International Competition.

Ms. Larkin cantors regularly at The Church of The Little Flower in Bethesda, MD, and was most recently seen as the Soprano Soloist in Bob Chilcott’s St. John Passion at St. Luke’s Lutheran. Other credits of hers include Aurora in the Chicago premiere of High Fidelity, with ColorBox Theatre, the title role in Seymour Barab’s Little Red Riding Hood with Annapolis Opera, Fiammetta in Gilbert & Sullivan’s Gondoliers with Young Victorian Theatre Company, and Barbarina in Mozart’s Le nozze di Figaro with Bel Cantanti Summer Opera.

Ms. Larkin received her Masters of Music at Chicago College of Performing Arts, Roosevelt University where she studied with Judith Haddon During her tenure at CCPA, she performed the roles of Madame Herz in Mozart’s Impresario, and Le Feu/ Le Rossignol in Ravel’s L’enfant et les sortiléges.

She received a Bachelor of Science Degree in Music from Towson University where she studied with Dr. Theresa Bickham. While at Towson, she performed Königin der Nacht in Mozart’s Die Zauberflöte, Susanna in the second act of Mozart’s Le nozze di Figaro, and Jody the Juggler in Malcolm Fox’s Sid the Serpent Who Wanted to Sing.

She currently studies with Elizabeth Daniels and coaches with Joy Schreier.


1st place, NATS mid-Atlantic region

2nd place, NATS Chicago

1st place, Baltimore Music Club Competition

1st place, Henry Sanborn Music Competition

2nd place, Peggy Friedmann-Gordon Music Competition

1st place, Sidney Liebermann Music Competition

Semi-finalist, Maryland Distinguished Scholar

Teaching Philosophy

“My goal as a teacher is to guide my students into finding their own unique voice through vocal technique, music history, and musicality in a compassionate manner to produce a well-rounded performer. It’s the role of the teacher to create a safe studio space that allows students to take risks, make mistakes and push boundaries. In my own studies I have found that I grow the most when encouraged to stretch the bounds of what I thought possible, not only as a vocalist, but as a person. I strive to create the same environment in my studio. In order to allow for each of my students to grow to their highest potential, I believe it is imperative to tailor lessons to the individual student as they are in that moment.

The voice is a part of our bodies, and therefore we have to think of it as part of our whole being. Because our bodies are affected by emotional and environmental conditions, so is our sound. As a teacher I believe that by focusing on breath support, we can minimize and even utilize those effects to our advantage. In order to facilitate this, we must start with a strong foundation for sound: breath. As the foundation of healthy singing, breath is the core of what I work on as a teacher, and I try to cultivate a strong relationship between my students and their breath.

Once our foundation is solid, we are able grow as communicators, our main job as singers. This is why I believe it is very important for vocalists to have an understanding of musical language, so teaching style, diction, and musicality are all aspects of singing that I work on specifically with my students.

Just as our voices change as we age, so do we as people and I am always looking to grow as a vocalist and educator. As an educator, I welcome learning from my peers as well as my students. Teaching gives me the opportunity to share my passion for this art form and give my students the power to explore it on their own.”



Masters Recital Performance- browse through for various song selections

See what Ashley’s up to!