Jennifer LaRocco



Wow! What A Transformative Summer!

I had the great fortune to participate in a week long intensive study in Greve in Chianti, Tuscany with BelCanto in Tuscany!  

I was so lucky to work with world class coaches and teachers delving into the history and technique of the Bel Canto style.

It was a game changer for me! I am now armed with tools to take my singing to the next level for me - one step closer to the Big Leagues!

I am deeply grateful every day I wake and get to work on my beloved craft!

I am doubling down on my studies and polishing this Fall amid auditions and I look forward to sharing more good news as things unfold.

Thank you to everyone for supporting me along this path - 

I hope to have some wonderful things to share with you very soon!

Stay well and never give up on your dreams!



Jennifer’s career is being built on her prowess of singing a wide range of musical styles, from Musical Theater to Operetta, Opera and Oratorio. 

Blessed with a lithe Lyric Soprano and a gift for moving the heart she has crafted a considerable repertoire of Musical Theater jewels like, “Dividing Day” (The Light In The Piazza); “Children Of The Wind” & “Blame It On The Summer Night” (Rags); “Never” (On The Twentieth Century); “How Could I Ever Know” (The Secret Garden); “Send In The Clowns” (A Little Night Music); “One More Kiss" (Follies); and more.

On the Classical side, she's captivating in Orff's Carmina Burana, singing it often and delighted to have been part of 3 fully staged Ballet versions with Pittsburgh Ballet Theater. Operetta offerings include “The Merry Widow” "Die Fledermaus" and “The Enchantress”. Her Opera offerings include “I Want Magic” and “Sea Air” (A Streetcar Named Desire), “Embroidery Aria” (Peter Grimes), and “Ain’t It A Pretty Night” (Susannah) and she's delighted to be moving into roles like the Countess Almaviva in Le Nozze di Figaro, Musetta in La Boheme and Magda in La Rondine. Oratorio Highlights include The Brahms Requiem, Mendelssohn's Elijah, Rossini's Stabat Mater, Handel’s Messiah, The Beethoven Mass in C, Mozart's Exultante Jubilate, and Poulenc's Gloria among others.

"The best compliment I can get is when I hear from a patron that my performance helped them forget their troubles and lighten their hearts. That's what it's all about”