Hello there! Thank you for checking out my page.

My name is Daniel Isengart, and my last name is pronounced like this: ease ‘n guard. That’s what my work – and life – is all about. Ease and guard – freedom and control. Just the right mix of it.

Let’s find it together.

I am an autodidact. Everything I do, I learned by affinity, by paying close attention, and by just doing it. I grew up in France and Germany and moved to NYC in my early 20s. I have dedicated my adult life to the ephemeral arts – live performance, art installation (working with my partner), and food. I also recorded two now out-of print-indie albums and an audiobook of my own translation of a Thomas Mann novella, published a stylized culinary memoir (buy the book here), and wrote articles about cooking for Slate.com.  For me, the greatest thrill in life is to be fully in the moment – immersed in an immediate dialogue with art, music, other artists, friends, students, or an audience.

Singing, at least singing in front of a live audience, is performing, and performing, just like singing, is a craft. For most singers, this does not come naturally – it must be learned. And there is a technique to it. Unfortunately, this aspect is not taught in a classical singer’s training and rarely addressed in the common rehearsal process. Most singers must painstakingly find solutions that work for them on their own, and it can take years to find them.

As a trained dancer who moved on to becoming an entertainer, performing in clubs, cabarets, art museums and concert halls, I understand the importance of one’s physical expressiveness onstage. Now, with a good fifteen years of performing under my belt, I love passing on what I have learned. Why? Because I love singers. Nothing gives me more pleasure than to witness them exalt in their noble art form. And the concert stage, the one-man show, is the format I have always gravitated towards. Because performing in concert is one of the last art forms that has not changed. Here, the same laws apply as always – it’s an ancient, unadulterated, pure communion between the singer, the musicians, the repertoire, and the audience. Here, time and space are condensed, which is why it demands the highest level of cast and artistry.

My work as a performance coach is focussed on instilling in singers a keen awareness of their posture, body language and facial expressiveness and to help them take charge of these elements, connecting them to their specific choices in their vocal interpretation. [Note: I am not a vocal coach!] This is all the more important for the concert stage, where singers are left to their own devices and cannot rely on a director’s instructions, costumes, sets, lighting, singing partners, and a linear narrative. The goal is to help them create a physical aura that is the same artistic level as their singing, finding what in the dance world is called controlled abandon.

If you work with me, I guarantee that you will find a new sense of freedom and joy in your work, build up confidence and, down the road, become a better artist.

For now:  Break a leg, in bocca al lupo, toi toi toi, and of course, merde

For inquiries about my rates and availability, click here.

PS: To get to know me and my take on things a bit, you can browse through my fragmented thoughts on and reviews of concerts, recitals and opera performances I have attended in the past, posted in my blog, right here.

Photo: Gene Reed

Photo: Gene Reed