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Anneliese Klenetsky

Classical Voice. Musical Theater.


Praised for her “distinct canvas of vocal colors” (operawire) and “attractive, luminous-voice” (Gay City News), Anneliese Klenetsky is quickly making a name for herself in the music world. Her versatile soprano voice and musical intelligence has allowed her to explore and perform a wide range of repertoire, spanning Baroque through 21st-century music. She is currently earning her Master’s degree at The Juilliard School under the tutelage of Sanford Sylvan. Season highlights include the Governess in Britten’s Turn of the Screw, Clori in Handel’s Clori, Tirsi e Fileno, and a featured soloist in NYFOS’s “Kurt Weill’s Berlin.”

Reflecting her interest in expanding musical frontiers, Anneliese has recently debuted a number of contemporary compositions, including the world premiere of Jonathan Dawe’s Oroborium at Alice Tully Hall. In 2018, she performed the New York premiere of James Primosch’s A Sibyl at the Museum of Modern Art and Let Them Eat Cake by Trey Makler at National Sawdust. Ms. Klenetsky also sang the world premiere of Theo Chandler's Songs for Brooches at Alice Tully Hall.

Equally at home with Baroque repertoire as she is with Contemporary compositions, Anneliese recently collaborated with renowned Belgian early music ensemble Vox Luminis as the soloist in Handel’s soprano cantata Laudate Pueri Dominum, HWV 237. She also performed with Juilliard415 in a performance of Handel’s Tra le Fiamme HWV 170, and Bach’s Mein Herze Schwimmt Im Blut, BWV 199.

Anneliese started her musical education at The Juilliard Pre-College division while attending high school. During her time there, she was a finalist in The National YoungArts Foundation, where she performed at the New World Center in Miami. There she was nominated as a Presidential Scholar of the Arts. She received her Bachelor’s degree from The Juilliard School in 2017.

She believes that artists are given a gift that demands to be shared as widely as possible. To that end, she has been a Gluck Fellow at Juilliard for four years, which has enabled her to bring performances and music education to audiences in hospitals, nursing homes, schools and other underserved communities. Above all, Anneliese believes that cultivating the voice in a healthy, fun and accessible way is the key to building a good foundation for all musical genres. Her technical and musical approaches are tailor-made to fit each student’s individual goals.

Matthew Payne

Classical Voice. Musical Theater.

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Matthew Payne is a rising 5th year at Oberlin Conservatory and College. This summer, Matthew was delighted to perform in three solo concerts at the Chautauqua Institution. Recently, Matthew performed in concerts with singers and pianists from institutions such as the Metropolitan Opera, Juilliard School of Music and the Curtis Institute of Music.

Matthew has performed in numerous operas and musical theater shows. Most recently, he was seen in Cleveland Opera’s production of Moniuszko’sStraszny dwór and as Mr. Gobineau in Oberlin Opera Theater’s production of Menotti’s The Medium. In the fall, Matthew will be singing in Oberlin Opera Theater’s Bernstein Review and in Oberlin Musical Theater Association’s production of Cabaret. Matthew has also performed as a solo recitalist with the Society for New Music and as a concert singer with the Oberlin Cantata Project and Oberlin Baroque.

Olivia Cosio

Classical Voice. Musical Theater.


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Olivia Cosio has been recognized for her diverse abilities in both concert and opera repertoire. She is currently earning her Master’s degree in Vocal Arts from The Juilliard School, where she studies with Sanford Sylvan. Recent engagements include her work as a Vocal Fellow with the Tanglewood Music Center, where she performed Susie in Bernstein’s A Quiet Place, sang in the world-premiere of Michael Gandolfi’s In America, and worked with world-renowned artists such as Dawn Upshaw, Stephanie Blythe, Margo Garrett, and John Harbison.

In May of 2018, Olivia completed her Bachelor of Music degree from the Oberlin Conservatory, where she performed three fully-staged operatic roles, went on tour with the Oberlin Sinfonietta to the Bang on a Can Festival in Brooklyn, and sang in masterclasses for esteemed artists such as Marilyn Horne. 

She is a former Teaching Fellow at Breakthrough San Francisco, a national non-profit that provides educational resources and instruction to underserved students. She taught music, 7th-grade writing, and 6th-grade literature in 2015 and 2016. She believes in developing the right approach for each of her music students, with healthy singing being the focus of any genre.

Tayte Mitchell

Classical Voice. Musical Theater. Pop.


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Tayte Mitchell is currently pursuing his Master’s degree in Voice Performance at the Cincinnati Conservatory-College of Music under the tutelage of William E. McGraw. Recently, Tayte was a Vocal Fellow for at the Music Academy of the West located in Santa Barbara, California. Tayte’s operatic engagements include Ben in Menotti's The Telephone, The Son in Michael Torke's Strawberry Fields, Oronte in Handel's Alcina, Le Prince Charmant in Massenet’s Cendrillon, the title role in Britten’s Albert Herring, and Satirino in Cavalli’s La Calisto. Tayte was named an Albert Rees Davis Scholar by the Singer’s Club of Cleveland’s S. Livingston Mather Competition, was awarded Honourable Mention from the Hal Leonard Art Song Competition, and has received the Arts Graduate Scholarship from the Government of Alberta. Tayte has been apart of the Calgary Opera Chorus for their all Verdi season (2012-2013) as well as in their Opera in the Village productions of Gilbert and Sullivan’s Pirates of Penzance (2013) and The Mikado (2015).

Tayte has sung in many different genres ranging from musical theatre to pop (namely his own original work). Tayte Mitchell received his Bachelors of Music at the Oberlin Conservatory, dual majoring in Voice Performance under Lorraine Manz and Opera Directing under Jonathon Field.

As a stage director, Tayte has directed Woody Allen’s comedic play Central Park West as part of the Oberlin Theatre Lab Series, Menotti’s The Medium with Oberlin Opera Theatre, Puccini’s Suor Angelica with Rezonanz Opera Company in Mentor, Ohio, and was awarded first place by the National Opera Association Opera Production Competition for his 2016 production of Poulenc’s La Voix Humaine with Oberlin Chamber Opera.

With both his vocal and directorial experience, Tayte feels strongly about the voice not just being about singing but expressing one's own authenticity. Singing is ultimately about having fun and enjoying music, no matter if you have taken lessons for years or are just about to start.

Micah Gleason



Micah Gleason is currently finishing her undergraduate studies at the Chicago College of Performing Arts. She will graduate with a Bachelors of Music in Vocal Performance and Music Education, with a choral emphasis. Michaela studies voice under the tutelage of Judith Haddon, and conducting under the tutelage of Stephen Squires. Micah has performed as a vocalist in a variety of settings, both as a soloist and an ensemble member. Highlights include Alto Soloist in the Mozart Requiem, Bach Magnificat, and Buxtehude Membra Jesu Nostri; the role of Polly Peachum in Britten’s The Beggar’s Opera and Ms. Nolan in Menotti’s The Medium; and a great variety of art song repertoire ranging from Lieder to Melodie, to Spanish and Russian folk songs. Recent performances have included performing Brahms Op. 91, Manuel de Falla’s Siete Canciones Populaires Españolas; as well as conducting choral works both in Chicago and abroad in Oxford.  She currently serves as the Alto Artist in Residence with the Rockefeller Chapel Choir at the University of Chicago, and the Alto Section Leader at the United Church of Hyde Park.

Virtu.Academy connects you or your child with musicians from top conservatories for live, online music lessons.

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