Period I:    Lyric bass-baritone; songs, piano pieces and chamber music:

Both of my parents were professional musicians and college professors. My mother was a prize winning lyric soprano; and my father a concert organist who performed about one concert a week. He was also the organist and choir director at several important churches in NYC.  At The Church of The Resurrection in NYC the choir performed a major cantata a month. The minister was the grandson of Leopold Damracch, who had been the director of the New York Philharmonic. My mother and I sang in the choir. I eventually became the bass soloist. The choir did several of my pieces culminating in my "St. Mark Passion."  The three of us performed countless concerts together. I sang the Brahms Requiem solos for the first time here. I sang mostly light songs and aria. I founded "Music Now"  and eventually "Music Now and Now Dance" which featured my chamber pieces along with other composers: notably: Merton Brown and Charles Turner; and quest composers: Daniel Pinkham, David Swerdlove, and my father, Sam Walter. This lead to "Scrooge" performed under The Copley Square Ballet under David Drummond. I became the composer in residence and guest vocalist with "The Putnam Court Musicians" soprano, Mary Saunders; flute, Kristin Webb, and Russell Southcott, guitar. This led to my "Pinocchio" with PCM and the Marblehead Ballet under Florence Whipple. Also "Crazy Dinosaurs" and videos of "Off-Nights at The Sometimes Cafe'" and the Bishop's scene from "The Balcony. 

Period II:   Dramatic bass-baritone; Longer operas and orchestral pieces:

 I discovered that I had a dramatic voice when dramatic mezzo-soprano, Angelique Theoharis and I sang in The Holy Trinity Armenian Church in Cambridge, MA under Father Minassian. She was able to sing over the choir...  and I realized that I could too. This choir paid  musicians from the various conservatories and colleges in Boston to sing with them. Sometimes Father M paid us extra with groceries. The choir was HUGE...  and they were all LOUD (and untrained). My vocal interests switched to more dramatic roles by Wagner, Verdi, Mussorgsky...  My compositions reflected this, as I wrote longer operas and other orchestral pieces. I founded "The Acting Singers Project Inc." Singers include: sopranos: Carol Millard, Noone Karapetian, and Adrianna Repetto, mezzos/altos: Danute' Milenka, and tenor: David Thorne Scott; with pianists: Carla Kelley, Tanja Shrago, and Shu'ann Chai and Leah Korch.
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Period III:  Dramatic low bass; Making final copies of all of my words; and recordings of my songs, operatic and music theater roles.
​I will also be singing "Si la rigueur" from Halévy's opera "La Juive" (with cadenzas to low C and the A below it).I will also be singing both arias of Sarastro, from "Die Zauberflöte" by Mozart. Ironically when I first sang "In diesen heil'gen hallen" in John Moriarty's opera class, I did it up a step. It was announced as "jacked up version of Sarastro." Ironically, I now need to sing it down a step (with low D at the end). Gone are the days of Wotan and Boris...  I can't sing much above middle C, but I'm not sure low I can sing... I'll let you know.