My time in Anúna continues to shape how I sing, how I connect, conduct, and teach my students."Unicornis CaptiIvatur" is an exciting, adventurous piece sets an unusual Latin text to music that ranges in style from renaissance dance to shimmering chorales to chant, and in texture from unison to an expansive eight parts. It’s about the essence of the story, not about avoiding mistakes. It’s not about getting it “right”, but truly singing from the heart instead of just making sounds. My tendency had always been to make the most beautiful sound I could, but not use my authentic natural voice. Michael reminded me that singing should be simple and should always be brought back to the basics.
In this journey, I have learned how to breathe, to be truly present and connected to the others, and how to stop thinking so much (this one is a work in progress!). Singing in Anúna has pushed me to see beyond what is on the page. The tour was exhilarating, and marked the beginning of my journey within the group, and personally, as an artist.
In typical Irish hospitality, they all welcomed me with open arms. I got off the plane and had one rehearsal and sound check before the first concert. I was terrified! There was so much music to learn and memorize.
My very first tour with Anúna was in China. I was beyond thrilled when I got the call in 2012.
Michael invited me to join in his hauntingly beautiful When the War is Over, which later resulted in an invitation to tour with them. Years later I attended an Anúna rehearsal in Ireland, when I was on vacation. It was the first time I heard Wild Song, ‘S Í Do Mhaimeo Í, Fionnghuala and I still remember them to this day.
What struck me was their freedom of singing and connecting with each other and the audience, and they were having a blast on stage, not hiding behind a conductor or a folder full of music. The singers seemed to float across the stage with such grace and poise, transporting us to this world of gorgeous music and stories.
At that time, I was also performing choral music at the professional level with the Phoenix Chorale, and felt that I had heard/seen it all - but I wasn’t prepared for what I was about to experience. I was pursuing a graduate degree in choral conducting and was obsessed with hearing as many choirs as possible. I first heard Anúna in their “Celtic Origins” tour in Mesa, AZ in 2007. Laura has sung on three Grammy Award-winning albums under Charles Bruffy - with the Phoenix Chorale (Gretchaninoff Passion Week and Spotless Rose: Hymns to the Virgin Mary) and the Kansas City Chorale (Life and Breath, Choral Works of René Clausen). She holds degrees in Voice and Music Education from University of Louisville and Arizona State University, where she also completed her DMA in Conducting. She has also served as Assistant Professor of Music at Georgia Institute of Technology, Guest Artistic Director of Tennessee Chamber Chorus, vocal instructor at International Music Sessions (La Jolla and East Hampton), Assistant Choir Master of the Phoenix Symphony Chorus, and was Anúna’s 2014 Education Outreach artist, leading choral workshops and masterclasses throughout Japan. She was the founding Executive Director of the Manhattan Chorale, overseeing projects such as the world premiere of Ola Gjeilo’s Dreamweaver at Carnegie Hall.
She is currently a soloist/chorister in the Bach Vespers series at Holy Trinity Lutheran Church in Manhattan, and on faculty at the Professional Children’s School as head of the Music Department. A native of Arkansas, her love of ensemble singing has led her to work with some of the most prestigious groups and artists of today. Laura Inman is a soprano, conductor and educator based in New York City.