Growing up in Washington, DC in a musical family, Infinity had her hands on instruments before she could speak. At five years old, she found her love for guitar under the mentorship of famed punk rocker, Mary Timony. The spirit of rock runs through her playing to this day. At eight years old, she was drawn toward the classical music realm and began her work with Magdalena Duhagon. At the young age of fourteen, she connected with Julian Gray, professor of Guitar at Peabody Conservatory, and began her studies under his esteemed tutelage. By sixteen, she graduated high school a year early in order to attend the Peabody Conservatory of Johns Hopkins University as a full-time student.
In her competition career, Infinity won first place in the Junior Division and Grand Prize in the Beatty Youth Scholarship Competition for Classical Guitar, second place in the international guitar competition at Le Domaine Forget, and first place in the Eastern Music Festival guitar competition.
In addition to her performing career, Infinity was recognized as a 2017 YoungArts Foundation winner, having been selected as one of seven hundred winners through a rigorous audition process which received over eight thousand applications from American artists of all disciplines between the ages of fifteen and eighteen. Through this program, Infinity had the opportunity to attend the YoungArts New York weeklong intensive. While in New York, she had the privilege to work with well-respected musicians such as David Eggar, Christian Hebel, Lance Horne, Elizabeth Roe, Julian Wachner, and members of the ETHEL String Quartet. She was also part of a collaborative performance with the winners in Creative Writing and Poetry, in which she performed with cellist Isaiah Kim and poet Jessica Sommerville in an improvisatory accompaniment behind Jessica’s spoken word piece, “Road Trip.”
Infinity has participated in Master Classes with highly regarded musicians from around the world including Olivier Chassain, John Feeley, Martha Masters, Ronald Pearl, Kim Perlak, Pepe Romero, David Russell, Kami Rowan, and Jason Vieaux. She is currently pursuing a Bachelors of Music in Guitar Performance at the Peabody Conservatory of Johns Hopkins University and remains in Julian Gray’s studio today.
Infinity plays a 2012 Michael O’Leary guitar named Fergus.
Q: Why classical guitar?
A: Specifically, I chose to play guitar when I was five years old because it was an instrument that my dad didn’t play. I moved toward classical guitar when I was eight years old because I wanted the discipline that classical music can provide to a musician. Also, I got an excuse to have one hand with really short nails and the other with really long nails, so I get to walk around with a claw.
Q: What is it like attending a music conservatory?
A: I live and breathe music all the time at school. My courses are all geared toward helping musicians with their future careers. Our elevator conversations are more often about how much we love or hate Richard Wagner or whether we should use fixed do or movable do when learning solfege than how our weekends were.
Q: What do you see as the future of classical music?
A: I see classical music moving toward more of a dichotomous nature than where it already is. Tradition will continue and orchestras will maintain. However, more pop artists will continue to seek out classically trained musicians. “Crossover artists” will be the new norm one day. Genre lines will be blurred in music, like they are today, but also more clearly defined.
Q: How do you see yourself in your future career?
A: In the future, I intend to teach at a well-respected conservatory and to have my own studio of students. In addition, I would love to perform and tour as a solo performer as well as with small ensembles. I plan to continue arranging and transcribing music for classical guitar, as well as continuing to work with composers and commissioning new works to expand the classical guitar repertoire.
Q: What is your favorite music to listen to and why?
A: I listen to lot of Broadway musical soundtracks, indie pop/indie folk albums, and minimalist classical music. I love music that is able to evoke the mood I am in better than I can even verbalize those moods sometimes.
Q: How does collaboration differ from solo work?
A: In collaboration with other musicians, the preparation for a performance is entirely different. I can practice alone in my apartment if I want at 3 AM. However, if I’m collaborating with other musicians, rehearsal time is exponentially more vital than solo practice. Also, in collaborative work, music selection relies on the preferences of more than one individual, so there is more of an element of compromise involved. Last, in order to be together in music, one must clearly focus on breathing in sync and cuing each other. Those little nods at the beginning of each musical section are not just coincidental happenings. They are clearly planned so that musicians can play together and breathe together.
Q: Which zoo animal would you like to snuggle with?
A: Baby elephants!
Q: What is your favorite kind of potato?
A: This is definitely my favorite kind of potato
Q: Would you rather have fingers that are onion rings or toes that taste like pickles?
A: Toes that taste like pickles!
Q: Coffee or Tea?
A: Green tea
Q: What are your top four emojis?
A: Red heart, side eyes, peace sign hand, upside down smiley face