• Bachelor of Arts in Music, minor in English, summa cum laude, Susquehanna University
• Master of Music, Boston University
• Doctor of Musical Arts, Boston University

Emily Jaworski Koriath (DMA, RYT-200, PSEP) is Assistant Professor of Music at the University of Alabama at Birmingham, where she focuses on undergraduate voice lessons. In her private practice, she combines her training in Somatic Experiencing with body awareness and functional pedagogy to help artists find more joy and creativity in their work and in their lives. Prior to her appointment at UAB, she taught diction, vocal pedagogy, and conducted mainstage musicals at Plymouth State University in New Hampshire.

Hailed as the “consummate storyteller, musician, and artist” by Classical Voice of New England, Emily enjoys a multi-faceted international performing career. Appearances include the multidisciplinary devised work Brilliant Being at the Prague Quadrennial of Performance Design and Space, Dorabella in Mozart’s Così fan tutte in Korea, the European premiere of John Ratledge’s cantata La Divina Serena in Italy, opera scenes and arias as an artist-in-residence in Sweden, and solos throughout Israel with the social justice choir Voices 21C.

As a passionate advocate for new music, Dr. Koriath has premiered three choral-orchestral works written for her by Jonathan Santore, as well as music by Rosśa Crean, Craig Brandwein, and Jessica Rudman. These Distances Between Us, her debut album of 21st-century art songs was released by NAXOS in 2022. Previous recordings include There Are Many Other Legends, a compilation of Santore’s works, and Full Fathom Five, from the Shakespeare Concerts, both on Navona Records.

Recent seasons have featured appearances with the Alabama Symphony Orchestra, New Hampshire Music Festival, Symphony New Hampshire, and the Pioneer Valley Symphony, and in 2022, Emily premiered the role of visionary Swedish artist Hilma af Klint in Daniel Zlatkin’s opera Hilma. Her orchestral repertoire includes the works of Bach, Handel, Haydn, and Mozart through twenty-first century compositions. She has appeared on the opera stage as Carmen, Idamante (Idomeneo)¸Donna Elvira (Don Giovanni), and Meg Page (Falstaff).

Through her work as a Unitarian Universalist music minister, she has completed training in Systems Theory, Ethics, Multicultural Competency, and Examining White Supremacy Culture. She participated in "Undoing Racism for Community Organizers" presented by the People's Institute for Survival and Beyond in New Orleans. During her doctoral coursework at Boston University, she worked closely with choral conductor and human rights activist Andre de Quadros, studying his method of Empowering Song for choral organizations and disenfranchised populations, teaching music to incarcerated youth in Massachusetts. At BU, she studied with Dr. Lynn Eustis, author of The Singer's Ego, The Teacher's Ego, and The Singer's Epiphany. Emily was a member of the NATS Intern Program in 2018, under the mentorship of Matt Edwards, and has been studying the Alexander Technique since 2013 with Betsy Polatin, Kate Conklin, Peter Jacobsen, and Michael Hanko.