I first discovered Lili Boulanger’s “Clairières dans le ciel” sitting in my freshman dorm room on one of my art song deep dives (a.k.a. going on YouTube, starting at one video and clicking through the recommendations). It was love at first listen. I didn’t know the texts, but it touched me like no other music I had ever heard.

I had a similar experience with Handel’s “Tu del ciel ministro eletto” from Il Trionfo del Tempo e del Disinganno. I distinctly remember stopping my homework after Sabine Devielhe’s first heavenly phrase to watch the piece unfold. She, Bellezza, sang, clothes tattered, mascara running down her face, and in the depths of my depression, I found hope. I knew that this was the music I wanted to sing for the rest of my life, and I knew that this was the way I wanted to affect people when I sang.

I…