“Music and song have always been a part of my life, whether I was singing Lithuanian songs with my grandmother in Hartford, Connecticut, or singing with the whole family at gatherings.”

Diana's mother was a trained singer, and her first inspiration. Ever since she was a toddler, she was performing either on her grandmother’s wash tub in the back yard to the delight or chagrin of all the neighbors, or in her Daddy’s tavern, sitting on the bar.

Vytell studied voice formally since she was 13, and continued through her college years performing in solo recitals, concerts and plays. She was a featured soloist for the Hartford Times Christmas concerts. She attended Hartt College of Music to study opera, while continuing to explore musical theatre, as well as straight acting. She appeared regionally throughout Connecticut and New York. Her first professional opera experience was singing in the chorus of Aida, with the Connecticut Opera, animals and all!


After college graduation, Diana's mother said she would send her to The Big Apple to study, but she did not choose that route. Instead, she became an

educator, teaching French and English, and counseling high school students, BUT she never let go of her performing, honing her skills after hours. She actually performed the role of Tosca with the Connecticut Opera while continuing to teach. Her students learned to keep quiet on those days. Her summers were spent performing throughout the U.S. and Europe in opera, musical theatre and concert with members of the New York Philharmonic. Diana made her European debut on Greek National Television in La Traviata with the Philharmonic.

The Vagina Monologues

Her performing life has been diverse, ranging from singing the mother in New York Opera at the Academy’s Tales of Hoffman, acting in The Vagina Monologues, with the Venice Little Theater, in Sarasota Florida, and playing Kate in The Taming of the Shrew with the Southern Connecticut Summer Theatre.

Her eclectic background, which includes speaking four languages, led her to psychotherapy. After leaving the field of education, she received more training in psychology with an emphasis on integrative mind body techniques. You might now call her “the singing shrink!”

“To me, my diverse experiences can only lead me to a richer performing life.”

Diana has had many excellent teachers, among them Betty MacDonald, Nancy Milnes, Tito Gobbi, Willy Waters, to name a few. After a hiatus from singing and opening a psychotherapy practice, she was drawn to cabaret, which is “the ultimate process.” “What better challenge is there, than sharing one’s view of the world, and communicating to bring pleasure and joy to others?”

Cabaret Performance Group

Obviously she was no stranger to performing, but needed some guidance with the transition to cabaret work. So, she went to NYC to study with Helen Baldassare’s Cabaret Performance Group. “Baldassare, along with Marianne Challis, New York vocal coach and performer, taught me how to use my speaking voice for the intimate atmosphere of the clubs in New York, like Don’t Tell Mama and Rose’s Turn.Louis Pietig helped me weave the flow of a show. I have learned from great pianist/arrangers like Gregory Toroian, Michael Sebastian, Chris Coogan andDavid Brunetti.” Most recently she spent one intensive week at the Perry-Mansfield Art of Cabaret for professional singers in Steamboat, Colorado. “It was magical and hard work, and I was fortunate to have worked with such luminaries as Andrea Marcovicci, Karen Mason, Barry Kleinbort, Shelly Markam, Christopher Denny, and other greats. It brought me to a whole new level of understanding and performance, in this art of cabaret.”

Diana firmly believes that music and singing are healing arts, and that we as performers have the wonderful privilege of moving people in extraordinary ways.

“I hope some of my songs make you smile. It’s especially lovely if some of them help you reflect on your life. Through music, you and I share a special connection. It is a wonderful feeling!”

Sweet singing!