Today we’d like to introduce you to Alyssa.
Alright, so thank you so much for sharing your story and insight with our readers. To kick things off, can you tell us a bit about how you got started?
I was born and raised in Hialeah, Florida, in a Cuban family, and I’m a first-generation American. Music was always part of my life growing up. My siblings were both musicians, so I was constantly going to their concerts and recitals. My abuelo, Kiko, also played an important role in that early influence. He loved classical music and shared that with us from a young age.
I knew early on that I wanted to be involved in music too. I first explored that through ballet, then started piano at eight years old, and when I joined beginning band in middle school, I chose the flute almost instinctively. I had never really considered the flute before, but I loved the sound and couldn’t stop staring at it. When I picked it up, I was able to make a sound right away, and from there, it was history.
Both of my siblings attended New World School of the Arts, so I set a goal to get in as well. With the help of my uncle Tata, who supported my private lessons, I began studying seriously and was eventually accepted. With the encouragement of my teacher, Suzan DeGooyer, I performed a full recital every year starting as a freshman, which gave me a strong foundation early on.
A pivotal moment came when I was 15. My family couldn’t afford a quinceañera, but I received a scholarship to attend Interlochen Arts Camp instead. That experience changed everything for me — it was the first time I truly felt the sense of community that music can create, and it’s when I realized I wanted to pursue music professionally. I also knew I had a long way to go, which pushed me to work hard and develop disciplined practice habits.
The following school year, I won my school’s concerto competition performing the first movement of the Ibert Flute Concerto. Around that same time, I had my first lesson with Trudy Kane, former principal flutist of the Metropolitan Opera. That connection ultimately led me to the Frost School of Music at the University of Miami, where I studied with her and received a full scholarship as a member of the Stamps Woodwind Quintet, Class of 2019.
At Frost, I was immersed in a high-level musical environment that pushed me to grow technically, musically, and personally. Chamber music became a huge part of my identity, teaching me how to listen deeply, blend, and collaborate. During this time, I also met composer and flutist Valerie Coleman, who later became my first arranging teacher and the first person to recognize my potential in composition.
I continued my studies at the University of Southern California for my Master’s degree with Jim Walker. During that time, COVID hit, which was a difficult and isolating period for musicians. With fewer opportunities to perform, I began exploring composition more seriously. Under the guidance of Dr. Veronika Krausas, I wrote my first major work, Hasta la Raíz for solo alto flute — a piece that came out of both necessity and personal expression.
After graduating, I moved to New York City and worked full-time at a renowned flute company while freelancing and teaching. Although I wasn’t performing as much as I wanted, I stayed connected to music and began curating my own projects. One of those, an all-Latin chamber music recital with the Sugar Hill Salon Collective, became a turning point and helped me realize how important it was to center my identity and heritage in my work.
Eventually, I returned to Miami to pursue my Doctor of Musical Arts at the Frost School of Music, where I am currently studying flute with Dr. Jennifer Grim, whose mentorship has been an integral part of my journey. I also began composition lessons with Dr. Shawn Crouch and Dr. Charles Mason, whose guidance has been incredibly inspiring. Since returning, I’ve experienced a significant period of growth. I’ve performed with ensembles such as Nu Deco Ensemble, Florida Grand Opera, South Florida Symphony Orchestra, and the Palm Beach Symphony, while also receiving several composition commissions, including one from the Seattle Symphony.
In 2025, I won First Prize in the Mid-Atlantic Flute Competition, my piece Hasta la Raíz for solo alto flute won the National Flute Association Newly Published Music Competition, and I placed second in the NFA Low Flute Artist Competition. Alongside performing, I continue to compose, teach, and do community outreach.
As a Cuban-American artist, my identity is deeply connected to everything I do. Growing up, I didn’t always see myself reflected in the classical music world, and now I feel a strong responsibility to help change that by creating, performing, and uplifting music that reflects diverse voices and experiences.
I’m currently in my second year of my doctorate, and I will be the first “Dr. Mena” in my family. It means everything to me, especially knowing the sacrifices my family made to make this path possible. I’m deeply grateful to my mentors, whose guidance has been invaluable, and to my family for always believing in me. I feel incredibly fortunate that my life is now filled with the music and career I once dreamed of — one that I didn’t know would be possible — and it truly feels like just the beginning.
I’m sure it wasn’t obstacle-free, but would you say the journey has been fairly smooth so far?
It definitely hasn’t been a smooth road, but it is the road that has shaped me. I’ve been fortunate to have incredible opportunities, but there have also been many challenges along the way, especially around finances, access, identity, and finding my place in this field.
Growing up, my family was very supportive of music, but like many immigrant families, there wasn’t always a clear understanding of how it could become a stable career. Financially, things were not always easy, and I learned early on that I would have to work hard to create opportunities for myself.
One of the most difficult periods came during COVID while I was in graduate school. Overnight, performance opportunities disappeared, and I lost a significant portion of my income from teaching and performing. It took a long time to recover, and I had to find other ways to support myself outside of music. That time was emotionally challenging, and I felt disconnected from playing for a while. At the same time, it pushed me in a new direction. That’s when I began seriously exploring composition as another artistic outlet, which has since become a huge part of my artistic voice.
After my master’s, I moved to New York City and worked full-time at a renowned flute company. I learned so much in that role and built meaningful connections. I genuinely loved working with the flute community and supporting flutists, and I discovered skills I didn’t even know I had. At the same time, I was figuring out how to stay connected to performing while working full-time, which led me to be more intentional about rebuilding that part of my career.
There were also moments of rejection and uncertainty along the way — times when I wasn’t accepted into programs, fellowships, competitions, or festivals, or when I was accepted but didn’t have the funding to attend. There were also moments of self-doubt, burnout, and exhaustion, especially while trying to navigate everything happening around me. As I began composing more seriously, I struggled to get my music out into the world. Learning how to advocate for my work, stay resilient through rejection, and trust my artistic instincts wasn’t always easy, but it became an important part of my growth. I’ve learned to be strong because of it.
Another ongoing challenge has been learning how to balance everything that comes with this career. As a musician, you’re often juggling multiple roles at once: performing, teaching, freelancing, studying, and maintaining a personal life, all while navigating financial stability. It can feel overwhelming at times, but over time I’ve learned to manage my time more intentionally, set boundaries, and prioritize what matters most. I’m still actively working on it every day.
Another layer has been navigating a field where I didn’t always see myself represented. That came with its own challenges, but it also became a source of motivation. It pushed me to think more deeply about the kind of artist I want to be and the work I want to create.
Looking back, none of these challenges were easy in the moment, but each one shaped me in a meaningful way. They pushed me to grow, adapt, and stay committed to my path, even when it wasn’t clear. Now, I feel more grounded in who I am as an artist, and I carry those experiences with me in everything I do.
Thanks – so what else should our readers know about your work and what you’re currently focused on?
I’m a flutist, composer, and educator based in Miami, and my work lives at the intersection of performance, composition, storytelling, and mentorship. As a performer, I specialize not only in the C flute, but also in auxiliary flutes such as piccolo, alto, and bass flute, which have become a significant part of my artistic voice. I’ve been fortunate to perform with ensembles such as Nu Deco Ensemble, Florida Grand Opera, South Florida Symphony, and the Palm Beach Symphony, and to collaborate with a wide range of artists across different settings. A recent highlight was winning the Frost Wind Ensemble Concerto Competition, where I performed Lowell Liebermann’s Flute Concerto No. 1 in November 2025.
As a composer, my work is deeply rooted in identity, heritage, and personal narrative. I’m especially interested in expanding the repertoire for low flutes, which are often underrepresented in solo and chamber music. My piece Hasta la Raíz for solo alto flute is one example of that. It explores themes of ancestry, identity, and connection, and has been recognized through national competitions and publication with Coleman Page Publishing.
What sets my work apart is the way these different parts of my identity come together. My performance and composition constantly inform and shape one another. As a performer, I have a deep understanding of the instrument, which directly influences how I write. As a composer, I approach music through storytelling and emotional connection, which in turn shapes how I perform. I’m especially interested in creating work that feels relatable and connects with people on a deeper level.
I’m also very intentional about centering my Cuban heritage and broader Latin identity in my work. Growing up, I didn’t always see that reflected in classical music spaces, so it’s important to me to create and program music that feels representative, relevant, and connected to real experiences. I’m especially passionate about elevating immigrant voices and sharing stories that reflect the complexity, resilience, and richness of those experiences.
Alongside performing and composing, I’m also an educator and mentor. Through my teaching and outreach work, I work with students of all ages and backgrounds, and I strive to create a space that is both supportive and inclusive while helping each student develop their own artistic voice.
What I’m most proud of is not just any one performance or award, but the path I’ve built so far, especially after moments where I felt disconnected from music or unsure of where I was headed. Being able to return to this work with a stronger sense of purpose, and to begin building a career that fully reflects who I am, is something I don’t take for granted.
How do you define success?
For me, success has definitely changed over time. Earlier on, when I was younger, I measured it more through external validation — recognition, competitions, festivals, auditions, schools, and milestones. Those things still carry some value, but they’re certainly not the full picture.
Now, success feels more like being able to build a life that actually feels aligned with who I am. Being able to create, perform, and share work that reflects my identity and my experiences is really important to me. And just feeling connected to people through that work, whether that’s through performing, composing, or teaching — that in itself is priceless. It’s what I’m working toward every day.
I also think success is about growth — continuing to evolve, staying curious, and being open to where things go, even when it’s uncertain. And just being able to keep going through the harder moments while still feeling grounded in why I do this. That kind of consistency isn’t always easy, but it’s worth the effort.
At this point, success feels like having a sense of purpose in my work, feeling fulfilled by what I’m creating, and knowing that it means something to someone else, not just to me.
I want to give back to music what it’s given to me.
Contact Info:
- Website: https://alyssamena.com
- Instagram: alyssamenaflute
- Youtube: alyssamenaflute
Image Credits
Kevin Joseph
