Soprano Alison Acord has performed more than 40 operatic roles in the United States and abroad. She has received critical acclaim as the title role in Ariadne auf Naxos. Her operatic repertoire encompasses other roles such as Lady Billows in Albert Herring, the Mother in Hänsel und Gretel, Alice Ford in Falstaff, Mimì in La Bohème, Micaëla in Carmen, La Contessa di Almaviva in Le nozze di Figaro, Hanna Glawari in The Merry Widow, and Fiordiligi in Così fan tutte. Miss Acord has been heard as soloist in orchestra concerts both in the United States and Europe in Saint-Saëns’ Christmas Oratorio, Handel’s Messiah, Beethoven’s Symphony No. 9, Vaughan Williams’ Dona Nobis Pacem, Ravel’s Shehèrazade and in Fikret Amirov's A Thousand and One Nights. Alison has received prestigious grant awards in the United States and Europe for championing the work of living composers. The International School of Performing Arts, The Recording Industries' Music Performance Trust Fund, Grismer Fine Arts Fund, Havighurst Center for Russian and Post Studies and Doblinger Publishers Wien have all afforded her opportunities to perform and lecture on composers living and writing art song in America, Moldova, Ukraine, Latvia, Belarus, Russia, Great Britain, and Austria.
Dr. Alfonse Anderson, tenor and Professor of Voice is currently Vocal Coordinator at the University of Nevada Las Vegas. He has performed in opera, recital and concerts for over 40 years. In the United States and Europe he has performed with such notable organizations as the Houston Grand Opera, Teatro Colon Buenos Aires, Teatro Municipal Sao Paulo, Teatro Sols Montevideo, Arizona Opera, Des Moines Metro Opera, Minnesota Opera, Chicago Opera Theatre, Oakland Opera, Virginia Opera, Opera Francais, Opera South, Opera Columbus, Opera North and Opera Las Vegas. Anderson has performed in concert and oratorio with the National Symphony Orchestra at the Kennedy Center and in the National Cathedral in Washington DC, Chautauqua Symphony, Illinois Symphony, Grant Park Orchestra in Chicago, Warsaw Symphony and Krakow Symphony in Poland, Las Vegas Philharmonic and the Henderson Symphony. He also performs frequently in recitals, concerts and master classes throughout the US. The World premier of the opera Bandana by Daron Hagen was released in summer of 2006 on Albany Records with Anderson singing the role of the “Leader”. Anderson can be heard on various recordings with the American Spiritual Ensemble and on the Nationally acclaimed DVD titled “The Spiritual” airing throughout the US on PBS. Also in 2008/09 the CD from the German recording label Klavier singing " Nessun dorma" from the opera Turandot. He has taught voice for over 30 years and in that time his students have won international, national and regional vocal competitions with such notable organizations as the MET Opera, NATSAA, Leontyne Price, Marian Anderson, Mario Lanza, Montserrat Cabellé, Meistersinger, Opera Index, Belvedere and Palm Spring Vocal Competition to name a few. Many of his students have performed in young Artist Programs such as the internationally recognized Academy of Vocal Arts in Philadelphia, Aspen Musical Festival, San Francisco Opera, Florida Grand, American Institute of Musical Studies, Opera Theatre of St. Louis, LA Opera, Miami, Chautauqua Opera, Des Moines Opera, Opera North, Sarasota Opera, Mirella Freni CUBEC program. Many of his students and former students are performing with opera companies in the US, Europe and China. Anderson also serves as a master vocal clinician throughout the US and Europe.
Noted for her radiant, crystalline voice and superb musicianship, soprano Christine Brandes brings her committed artistry to repertoire ranging from the 17th century to newly composed works and enjoys an active career in North America and abroad, performing at many of the world’s most distinguished festivals and concert series in programs spanning from recitals and chamber music to oratorio and opera. In the 2014-15 season, Christine Brandes returns to Seattle Opera as Donna Elvira in Don Giovanni, conducted by Gary Thor Wedow. She also joins the Boston Symphony Chamber Players for György Kurtág’s Scenes from a Novel, and sings Bach’s Mass in B minor with the American Classical Orchestra at Lincoln Center. The 2013-14 season included Debussy’s La Damoiselle élue with the Indianapolis Symphony Orchestra conducted by Carlo Rizzi, a program of Bernstein’s Symphony No. 1 Jeremiah and Haydn’s Mass No. 10 in C major Paukenmesse with the Santa Rosa Symphony led by Bruno Ferrandis, and performances at the 92nd Street Y in New York City with the Brentano String Quartet. During recent seasons, Ms. Brandes gave a series of important premieres including an Eric Moe commission entitled Of Color Braided All Desire with the Brentano String Quartet as part of the South Mountain Concert Series, and Jennifer Higdon’s In the Shadow of Sirius, based on poetry of former American Poet Laureate, W.S. Merwin with the Cypress String Quartet at the Herbst Theatre in San Francisco. Ms. Brandes appeared at Washington National Opera as Despina in Così fan tutte conducted by Philippe Auguin and as Catherine in William Bolcom’s A View from the Bridge and made returns to Portland Opera in Così fan tutte, to Central City Opera as Maria Corona in Gian Carlo Menotti’s The Saint of Bleecker Street, and to Seattle Opera as Pamina in Mozart’s Die Zauberflöte under the baton of Gary Thor Wedow in a new production directed by Chris Alexander. She also bowed with Arizona Opera as the title role in Gluck’s Orfeo ed Euridice, conducted by Joel Revzen, , and Mahler’s Symphony No. 4 with Andreas Delfs and the Milwaukee Symphony, the Canton Symphony, and paired with Berg’s Lulu Suite with the Santa Rosa Symphony. She also has bowed at Lincoln Center’s Mostly Mozart Festival and at the Ravinia Festival with the Philharmonia Baroque Orchestra as well as with the Orpheus Chamber Orchestra, Ensemble Orchestral de Paris, Chamber Music Society of Lincoln Center, a semi-staged version of Honegger’s Jeanne d’Arc under the batons of Helmuth Rilling and Marin Alsop respectively, among others. Christine Brandes’ operatic career has been highlighted by engagements at Houston Grand Opera in Ariodante with Christopher Hogwood and in Falstaff with Patrick Summers, at Seattle Opera in Giulio Cesare, and at the Los Angeles Opera in L’Incoronazione di Poppea with Harry Bicket and in Hänsel und Gretel with Alan Gilbert. Additional performances of the artist’s distinguished career have brought her to San Diego Opera in Ariodante, Central City Opera in L’Incoronazione di Poppea, Lisbon’s Gulbenkian Foundation in Così fan tutte, Opera Theatre of St. Louis in Cimarosa’s The Secret Marriage, Portland Opera in Così fan tutte, Glimmerglass Opera both in Handel’s Orlando and Acis and Galatea, San Francisco Opera in Semele under the baton of Sir Charles Mackerras, the Opéra de Nancy in Alcina, New York City Opera in Acis and Galatea and Platée, and to the Opera Company of Philadelphia in Die Zauberflöte, L’Elisir d’amore, and Don Giovanni. Ms. Brandes has performed with New York City Opera, Seattle Opera, Opera Pacific, and with the opera companies of Minnesota, Montréal, Philadelphia, and Québec. Christine Brandes has recorded for EMI, BMG/Conifer Classics, Dorian, Harmonia Mundi USA, Virgin Classics, and Koch International.
Matthew Chellis is considered one of America’s most versatile singing actors. He has appeared with opera companies, orchestras and theatre companies in North and South America and Europe. Chellis has sung over twenty principal roles with New York City Opera and sung with Washington National Opera, Frankfurt Opera, Atlanta Opera, Opera Bogata, and Calgary Opera to name a few. Concert performances include numerous appearances at the Kennedy Center, Carnegie Hall, Avery Fisher Hall, and Boston Symphony Hall. Mr. Chellis has taught at New York University and Roosevelt University’s Chicago College of Performing Arts prior to his appointment at UC Boulder. He is the founder and executive director of the Up North Vocal Institute – an intensive four week vocal training program located in northern Michigan. Please visit MatthewChellis.com for a full vitae.
Hailed by Opera News for her “potent presence” as Mrs. Clemm in Argento’s Voyage of Edgar Allan Poe, lyric mezzo-soprano
Soon Cho has gained recognition as a versatile performer. As a recitalist, chamber musician, oratorio and concert soloist, and equally at home on the opera stage, Ms. Cho began her professional singing career under the batons of world-renowned conductors such as Alan Gilbert, Kristjan Järvi, Paavo Järvi, Erich Kunzel, Julius Rudel, Mischa Santora, and David Zinman. Deeply committed to education as an artist teacher, Ms. Cho joined the voice faculty at Texas State University in 2014, having taught previously for seven years at Baylor University. She is also on the faculty at Cornish-American Song Institute, a three-week intensive study of Art Song in Oxford and Falmouth in England. As Dido in Purcell’s Dido and Aeneas, Cincinnati Post praised her performance as “regal in bearing, with vocal endowments to match. The tears were listener response to her heart-wrenching performance of When I Am Laid in Earth.” Opera credits include Costanza in Haydn’s L’isola disabitata with New York Philomusica, Komponist in Ariadne auf Naxos at the Seongnam Arts Center in Korea, Mao’s 2nd Secretary in Nixon in China with Cincinnati Opera, a “delightfully melodramatic” Dorabella in Cosi fan tutte with the CCO and at the Astoria Music Festival, Adalgisa in Norma with Opera in the Heights, Mercedes in Carmen with Dayton Opera, Zita in Gianni Schicchi at the Opera Festival of Lucca with a repeat performance at the 50th Puccini Festival in Torre del Lago in Italy, Mother Goose in the National Public Radio broadcasted performance of The Rake’s Progress with the Aspen Music Festival, La Pucelle in Belladonna (world premiere) with the Aspen Opera Theater Center, Hansel in Hansel and Gretel at College-Conservatory of Music in Cincinnati (CCM) and Houston Grand Opera’s Opera-to-Go, L’Enfant in L’enfant et les sortileges, Mother Marie in Dialogues of the Carmelites, Hermia in A Midsummer Night’s Dream, and Vera Boronel in The Consul. Ms. Cho has sung with many young artist programs, including Cincinnati Opera Young Artist Program, Dayton Opera Artist-in-Residence, Seattle Opera Educational Outreach Program, Houston Grand Opera's Opera-to-Go, and the Aspen Opera Theater Center. On the concert stage as a mezzo-soprano soloist, Ms. Cho has performed Verdi’s Requiem with the Honolulu Symphony Chorus, Mahler’s Kindertotenlieder with the Breckenridge Music Festival Orchestra, St. Matthew Passion, Magnificat; Falla’s Three Cornered Hat and Mahler’s Symphony No. 2 with CCM Philharmonia Orchestra and Combined Choruses, Mozart’s Requiem at St. Peter in Chains Cathedral, Rossini’s Pettite Messe Solennel, Saint Saëns’s Messe, and Vivaldi’s Gloria.
Soprano Barbara Clark is an Associate Professor of Voice at the Shepherd School of Music at Rice University, having taught previously for nine years at the University of Cincinnati College-Conservatory of Music (CCM). Ms. Clark enjoys an active career as a recitalist, clinician, and teacher. Recent performances include Mahler’s Fourth Symphony with the Southern Illinois Symphony, Canteloube’s Chants d’Auvergne with the Cincinnati Concert Orchestra and Beethoven’s Ninth Symphony with the Rochester Symphony. As a clinician, Ms. Clark has served on a panel for the Cincinnati Voice Consortium, an interdisciplinary group uniting vocal pedagogues with voice science professionals. Internationally, Ms. Clark has taught at Opera Theater of Lucca, CCM’s Spoleto Festival in Italy, and The Vianden Festival in Luxembourg. Ms. Clark’s students sing with many young artist programs across the country, including Merola, Seattle Opera, Portland Opera, St. Louis Opera, Wolftrap, Glimmerglass, Central City, Arizona Opera, Opera Saratoga, Chautauqua, Music Academy of the West, and Tanglewood. Her students consistently place in the district and regional finals of the Metropolitan Opera National Council Auditions. Her professional students perform nationally and internationally, including students in seven different Broadway productions. Ms. Clark received her Bachelor of Music degree from University of Arizona, and her Master’s and Doctorate from the University of Cincinnati College-Conservatory of Music.
Thomas Harper is Associate Professor of Voice and Director of the Opera Theater at the University of Washington. In addition to voice instruction and direction of opera productions, he holds classes in Diction, Vocal Pedagogy, and Art-Song Repertoire. He has performed for three decades in opera houses and concert halls in Europe and the Americas, including Deutsche Oper Berlin, Hamburgische Staatsoper, Grand Théâtre de Genève, RAI Torino, Orchestre de la Suisse Romande, Dallas Opera, Seattle Opera, Téatro Municipal de Santiago, Chile, and many others. He has amassed a wide and varied repertoire of over fifty roles including the “Duke” in Rigoletto, “Rodolfo” in La Bohème, “Radames” in Aida, “Canio” in I Pagliacci, “Eléazar” in La Juive, “Florestan” in Fidelio, “Erik” in Der Fliegende Holländer, “Parsifal” in Parsifal, “Alwa” in Alban Berg’s Lulu, “Gregor” in Leoš Janácek’s Makropoulos Affair and “Mime” in Richard Wagner’s Der Ring des Nibelungen, which he also recorded on the Arte Nova label. He has won enthusiastic praise for the role of “Fritz” on the Naxos recording of Franz Schreker’s opera Der Ferne Klang and for his definitive interpretation of “Mime” in Der Ring des Nibelungen in numerous European and American opera houses. He may also be heard on the Naxos label singing Famous Tenor Arias from the Italian repertoire as well as Gustav Mahler’s Lied von der Erde with the Irish National Orchestra.
Barbara Honn, soprano, has performed extensively in opera houses and concert halls throughout Europe and the United States. Professor of Voice at the University of Cincinnati College-Conservatory of Music from 1986 to 2010, Ms. Honn now is a member of the voice faculty of San Francisco Conservatory and maintains a private voice studio in Arizona. During her singing career, Ms. Honn appeared in the opera houses of Germany, Portugal, Spain, Hungary, Switzerland, Austria, Belgium, the Netherlands and the United States. A few of the roles she has sung to critical acclaim are: Donna Anna, Don Giovanni; Amelia, Un Ballo in Maschera; Ariadne, Ariadne auf Naxos; Marie, Wozzeck; and Elizabeth, Tannhäuser. A recipient of the West Deutscher Rundfunk Award, she has been heard in radio performances of the Verdi Requiem, Brahms’s Ein Deutsches Requiem, Dvorak’s Requiem, Beethoven’s Symphony No. 9, and Mahler’s Symphony No. 2 and Symphony No. 8 (Symphony of a Thousand). She was also awarded the Rheinisches Westfallen Medale die Kunst. Ms. Honn has served as director of the Grandin Festival, an annual vocal and instrumental chamber music festival in Cincinnati. She has been a voice faculty member of many summer, apprenticeship and university programs, including the Israel Vocal Arts Institute in Tel Aviv, Israel, L’Opera Bastille in Paris, France, The American Institute of Musical Studies in Graz, Austria, Lucca Opera Theater in Lucca, Italy, The Institute of Vocal Arts in Chiari, Italy, Canta in Italy in Florence, Italy, Instituto Superiore del Arte in Buenos Aires, Argentina, The Academy of Vocal Arts in Philadelphia, Pennsylvania, Bel Canto Northwest in Portland, Oregan, Westminster Choir College in Princeton, New Jersey, Wichita State University in Wichita, Kansas, The University of Texas in Austin, Texas, Glimmerglass Opera in New York, and has also given many master classes, concerts and recitals worldwide. Ms. Honn’s students are teaching in universities and conservatories in the United States, Puerto Rico, Korea, Spain, China, Canada and Belgium. She also has students performing in opera houses around the world, including The Metropolitan Opera, Houston Grand Opera, Florida Grand Opera, San Francisco Opera, Chicago Lyric Opera, the Spoleto Festival in the United States and in Italy, Hamburg Staatsoper, Cologne Opernhaus, Frankfurter Opernhaus, Vienna Staatsoper, London’s Covent Garden, and Milan’s La Scala.
Liza Kelly, mezzo soprano, is Assistant Professor of Music at Western Kentucky University where she teaches voice and language diction. Dr. Kelly actively performs opera, musical theater, oratorio, concert works and recitals. She has been a featured performer with Cincinnati Opera, Glimmerglass Opera, Opera Theater and Festival of Lucca, Teatro Nacional Sucre, Cincinnati Symphony Orchestra, Cincinnati May Festival, Cincinnati Chamber Orchestra, Dayton Philharmonic, Bowling Green Western Symphony Orchestra, and Dayton Bach Society. As an avid recitalist of art song and chamber works, Dr. Kelly has collaborated in recitals with the prestigious New York Festival of Song, Caramoor Festival, New York University, Mercer University, Peru State University, Murray State University and Western Kentucky University. She has taught classical voice and musical theater technique at both high school and university levels at Loveland Music Academy and the University of Cincinnati College-Conservatory of Music. Dr. Kelly can also be heard on Telarc's world premiere recording of Liszt's St. Stanislaus and Hal Leonard Publication's Opera Anthology of Gian Carlo Menotti. She holds a D.M.A and M.M. in Voice Performance from the University of Cincinnati College-Conservatory of Music where she studied with Mr. William McGraw. Her undergraduate degree was attained from Georgia State University where she studied with Mrs. Betty T. Boone. (Her operatic and theatrical roles include Flora, La Traviata, Hattie in Kiss Me Kate, Nireno in Giulio Cesare, Dido in Dido and Aeneas, the Sorceress in Dido and Aeneas, Chairman Mao's Secretary in Nixon in China, the Widow in The Boor, Theresa in Casanova's Homecoming, Mary Warren in The Crucible, Ma Moss in Tenderland, Hattie in Kiss me Kate, Cousin Hebe in H. M. S. Pinafore, Mrs. Malloy in Hello, Dolly!, and many more.) Dr. Kelly and her Husband, who works nationally and internationally as a professional opera singer, reside in Bowling Green.
Anne Elgar Kopta, soprano and associate professor of Music in voice, comes to the ASU Herberger College School of Music with a distinguished record of performing and teaching that spans the world of Broadway and opera, and that of teaching at major universities and at summer music schools both here and abroad. As a principal artist singing under the stage name of Anne Elgar, she regularly appeared in leading roles with the New York City Opera and the opera companies of San Francisco, San Diego, Houston, Philadelphia, Cincinnati, Cleveland and Wichita. Her credits include Violetta in La Traviata, Gilda in Rigoletto, Mimi in La Boheme, Sophie in Der Rosenkavalier, Susanna in The Marriage of Figaro, Blonde in The Abduction from the Seraglio, Pamina in The Magic Flute, Rosina in Barber of Seville, Baby Doe in The Ballad of Baby Doe, Abigail in The Crucible, and Sister Blanche in Dialogues of the Carmelites, among many others. She created the role of Margaret in the world premier of Lizzie Borden by Jack Beeson, a work commissioned by the New York City Opera. The original cast album released on Desto Records has recently been reissued on CDs by Composers Recordings, Inc./CRI. Miss Anne Elgar has also recorded opera by Rossini and Meyerbeer on the Vanguard (reissued on CDs) and the HRE labels. As a soloist, she appeared frequently with orchestras such as the Boston Symphony conducted by Eric Leinsdorf, with whom she sang Mahler's Symphony No. 4 and the world premier of Roger Sessions' Psalm 140 in the orchestral setting commissioned by Maestro Leinsdorf. Other major orchestras that engaged her include the Philadelphia Orchestra, the Chicago Symphony, the Buffalo Philharmonic, the Pittsburgh Symphony and the San Antonio Symphony. Miss Elgar’s international appearances include performing with the Montreal Symphony, the Orchestra of Mexico City, the National Theater of Croatia and the Orchestra of The Hague, Holland. Under the sponsorship of Columbia Artists' Community Concerts Series, she was a popular recitalist. There were also many guest appearances at Tanglewood, Chautauqua, Caramoor, Newport, Saratoga and other summer music festivals. At the beginning of her career, she won the Metropolitan Opera Guild Scholarship and sang with the Metropolitan Opera Studio in New York and on national tours. Prior to her operatic career, she was in the original Broadway cast of The Sound of Music. In the academic setting, Professor Kopta, a native of Kansas, brings her knowledge of vocal technique and her performing experience to her studio teaching. For more than 20 years, she has taught at major universities during the academic year and devoted the other months to summer music schools in Austria, Italy, Israel, Pennsylvania and North Carolina. Formerly, Professor Kopta was a regular faculty member of the American Institute of Musical Studies in Graz, Austria. Currently, she is working with the Tyrolean Opera Program, a summer music program in Maurach, Austria.Her master classes at Mexico's National Conservatory of Music have become an annual event, and have resulted in special appreciation of ASU’s School of Music among students and faculty there.
Tedrin Blair Lindsay, pianist and musicologist, was raised in Rome, Italy and has been a professional accompanist since the age of ten. He performs well over one hundred concerts annually, boasting a huge repertoire of vocal and instrumental chamber works, and of his own virtuosic compositions and arrangements for both piano and voices with orchestra. Dr. Lindsay is presently on the opera faculty at the University of Kentucky, where he works as vocal coach and musical director. His UK productions have included Aaron Copland’s The Tender Land, Stephen Sondheim’s A Little Night Music, Gian Carlo Menotti’s Amahl and the Night Visitors, André Previn’s A Streetcar Named Desire, Rachel Portman’s The Little Prince, Rodgers and Hammerstein’s Carousel, Thomas Pasatieri’s The Hotel Casablanca (which he also musical directed for the Seagle Music Colony in July 2009), the world premiere of Joseph Baber’s River of Time, and eleven incarnations of UK’s annual Broadway revue It’s a Grand Night for Singing. Of these productions, two have been released as studio recordings on the Albany label, The Tender Land and The Hotel Casablanca, and the National Opera Association honored The Little Prince as Best Opera Production for 2004-2005. Dr. Lindsay also teaches the popular Lexington Opera Society Lecture Series, and for many years has entertained during the intermission feature for the Metropolitan Opera Council Auditions at both the district and regional levels. In 2007, he played in Carnegie Hall with Arlo Guthrie and the UK Symphony, in 2009 he performed in the celebration Our Lincoln at the Kennedy Center, and in 2010, he played in both the opening and closing ceremonies of the Alltech FEI World Equestrian Games. In December 2010, he participated as vocal director and orchestral pianist for the world premiere of Pasatieri’s God Bless Us Every One at Dicapo Opera in New York City, and for the subsequent recording on the Albany label. In addition to all these activities, Dr. Lindsay is a music and theatre critic for the Lexington Herald-Leader. While in Kentucky, Dr. Lindsay has collaborated several times with Actors’ Guild of Lexington – as award-winning musical director for Sondheim’s Assassins and William Finn’s Falsettos, and as composer of an elaborate score for Angels in America: Perestroika by Tony Kushner. Additionally, he performs throughout Europe and North America several times a year as pianist with the American Spiritual Ensemble under the direction of Dr. Everett McCorvey, and is on the board of that organization. Dr. Lindsay has also worked with such New York companies as Bel Canto Opera, Golden Fleece Opera, Westchester Opera, Rockwell Productions, and the off-Broadway Lamb’s Theatre Company. In the early 1990s, he traveled as musical director of the first two national tours of Randy Courts and Mark St. Germain’s The Gifts of the Magi, and another national tour of Roger Miller’s Big River. Additionally, he has performed as an actor in select roles, including John Merrick in The Elephant Man, Axel in The Nerd, Steven Kodaly in She Loves Me, and a small featured role in Bernardo Bertolucci’s 1978 film Luna. Dr. Lindsay earned a Ph.D. in Musicology at UK in May 2009, with a dissertation on the topic of mid-20th century American opera. In 2008, he was named Kentucky Arts Educator of the Year by the National Society of Arts and Letters. He is also a 1984 graduate of Asbury University, B.A. in Piano Performance, and a 1987 graduate of Regent University, M.A. in Communication.
Christine Meadows has distinguished herself in opera roles and concerts throughout the U.S.A. She made her professional debut with Portland Opera as Cherubino in The Marriage of Figaro (1986) and has since appeared in more than 20 productions with Portland Opera. She also performed in two seasons at New York City Opera and with numerous other American opera companies. Ms. Meadow directs PSU’s opera program and teaches voice, vocal pedagogy, and opera workshop. Her students are frequent winners of scholarships and competitions, and many have begun their own professional careers.
Marilyn Mims debuted during the 1987-88 season as leading lady with the New York City Opera in La Traviata, at Carnegie Hall with the Opera Orchestra of New York in Meyerbeer's Robert le Diable, and with the Metropolitan Opera in Die Fledermaus. During the next seven seasons she sang seven major roles at the Metropolitan Opera (Violetta, Fiordiligi, Konstanze, Gilda, Lucia, Rosalinde, and Donna Anna) including two live Saturday afternoon broadcasts as Violetta and Fiordiligi, with James Levine conducting. Her performance of Ortlinde in Levine’s recording of Wagner’s Die Walküre earned her a “Grammy” Award. Her career as a professional operatic soprano included appearances with major opera companies and orchestras spanning five continents including major appearances with San Francisco Opera, Santa Fe Opera, Grand Theatre of Geneva, Teatro Colon of Buenos Aires, Canadian Opera, and the New Israeli Opera. In 1995 she retired from full-time professional stage pursuits to start a family; and prior to coming to PBA she taught voice at The Southern Baptist Theological Seminary in Louisville, Kentucky. She is a member of Mu Phi Epsilon, the National Association of Teachers of Singing and the National Opera Association. She is a judge and master class clinician for numerous vocal events; she presently serves as a master teacher for Intermezzo Opera and presented a Master Class at the Classical Singer Convention in New York City in 2008. At Palm Beach Atlantic she teaches voice and is producing director of the Opera Workshop program; recent productions include Gianni Schicchi, Amahl and the Night Visitors, and Hansel and Gretel. She has students who perform with New York City Opera, the Metropolitan Opera, and numerous other companies. Former students have gone to graduate school at Juilliard and other prestigious institutions. She and her husband, Lloyd, along with their daughter, Virginia, are participants in the music program of Royal Poinciana Chapel in Palm Beach.
Magdalena Moulson, soprano, was born in Poland where she received the Master of Arts degrees at the State University of Music in Warsaw. She started her career at Warsaw Opera and Operetta and Komische Oper Berlin where she regularly worked with director Walter Felsenstein. Her debut was Oscar in A Masked Ball by Verdi and her American debut was at Wolf Trap Summer Music Festival. During the 25 years of her career she appeared in numerous roles, including Pamina in The Magic Flute, Marzelina in Fidelio, the Countess in The Marriage of Figaro, Elvira inDon Giovanni, Tatyanta in Eugene Onegin, Michaela in Carmen and others. She is also active as a concert soloist and has performed with Kurt Masur and Gewandhaus Orchestra Leipzig. She currently serves as an adjunct professor in voice at the Georgia State University School of Music.
Distinguished American tenor Stanford Olsen joins the faculty of the University of Michigan School of Music, Theater, and Dance as Professor of Voice after 15 years as Artist-in-Residence and holder of the Shelfer Eminent Scholar in Music Chair at Florida State University. One of this generation’s most successful and versatile artists, his career spans more than 1,200 performances on five continents over the course of 30 years. Since his professional operatic debut there in 1986, opposite Dame Joan Sutherland in Bellini’s I Puritani, Stanford Olsen has performed more than 160 times with New York’s Metropolitan Opera. Acclaimed for his performances of the leading tenor roles in the operas of Mozart, Rossini, Donizetti, and Bellini, Olsen enjoys an international reputation as a Mozartean of style and elegance, cited by The New York Times in 1990 in an article entitled “A Golden Age of Mozart Tenors.” Highly regarded for his interpretations of the bel canto roles of Nemorino, Almaviva, and Arturo, Olsen has been heard in this repertoire throughout the world at venues such as San Francisco Opera, Houston Grand Opera, Miami Opera, La Scala di Milano, Landestheater Stuttgart, Theatre du Chatelet, Teatro Bellini di Catania, Theatre La Monnaie, Australian Opera, Deutsche Oper Berlin, Nederlandse Oper, Tokyo Opera City, and most other significant opera companies in the USA and Europe. His recording of the fiendishly difficult role of Argirio in Rossini’s Tancredi (Naxos/Alberto Zedda) netted a Grammy nomination. Since his professional concert debut as tenor soloist in Beethoven’s Ninth Symphony in 1983, Stanford Olsen has performed with most of the world’s great orchestras, in repertoire from Bach to Bartok. He has been a frequent guest with the Boston Symphony, Chicago Symphony, Cleveland Orchestra, Houston Symphony, Los Angeles Philharmonic, New York Philharmonic, Philadelphia Orchestra, San Francisco Symphony, St. Louis Symphony, and most other major American orchestras. Outside the U.S. Olsen, has often performed with the Berlin Philharmoniker, Concertgebouw, Internationale Bachakademie Stuttgart, L’Orchestre de Paris, L’Orchestre National de France, Philharmonia Orchestra, Israeli Philharmonic, Orchestre de Montréal, Oslo Symphony Orchestra, and Tokyo’s NHK Symphony. Olsen has performed and recorded with many of the leading conductors of our time, such as Pierre Boulez, Sir Colin Davis, Charles Dutoit, Christoph Eschenbach, John-Eliot Gardner, Alan Gilbert, Carlos Kleiber, James Levine, Kurt Masur, Sir Neville Marriner, Seiji Ozawa, Robert Shaw, and Michael Tilson-Thomas, among others. He counts among his credits more than 100 performances each of Beethoven’s 9th, Handel’s Messiah, and Orff’s Carmina Burana. One of this country’s most successful recitalists, Olsen was declared First Place Winner of the 1989 Walter W. Naumburg Award for recitalists, the only tenor to do so in nearly 60 years. His New York recital debut was in Alice Tully Hall in 1989, singing Schubert’s Die Schöne Müllerin, a piece he repeated in 1997 in the concluding season of the 92nd Street Y’s 10-year “Schubertiade” project, this time accompanied by Maestro James Levine. His European recital debut at Paris’ Theatre du Chatelet in 1993 was quickly followed by engagements at Brussells’ La Monnaie and Italy’s Maggio Musicale di Firenze. He continues to be a sought after recitalist in the USA and Europe, particularly singing repertoire of Schubert, Wolf, and Britten. Olsen graduated with the Bachelor of Music degree in vocal performance from the University of Utah, where he studied voice with Naomi Farr. He was an Opera Fellow at the Aspen Music Festival where he studied voice with Thomas Paul and Lieder with Brookes Smith. He received the Artist Diploma in Opera from the University of Cincinnati’s College-Conservatory of Music, studying opera with Italo Tajo and John Alexander, as well as Lieder with Kenneth Griffiths. In addition to the Naumburg Award, Olsen won the Metropolitan Opera National Council Auditions in 1986, was a Richard Tucker Foundation Career Grant winner in 1989, and also has received wards from Opera America and Opera Index. He is a four-time Grammy nominee, and winner of an Emmy for the PBS broadcast of Sondheim’s Sweeney Todd with the New York Philharmonic, featuring George Hearn and Patti Lupone. Winner of the University of Cincinnati’s College-Conservatory of Music’s “Alumnus of the Year” award in 1989, Olsen also received the first ever “Alumnus of the Year” award from the University of Utah College of Fine Arts in 2010. A sought after clinician and adjudicator, Stanford Olsen has been a frequent judge for the Metropolitan Opera’s National Council Auditions. He has given masterclasses to students at most of the country’s significant universities and conservatories, including CCM, Curtis, Eastman, Oberlin, Manhattan School of Music, Rice University, University of Illinois, University of Houston, USC, and dozens of others. He has also worked with the apprentices at the Tanglewood Festival, Opera Theater of St. Louis, Santa Fe Opera, Ravinia Festival, Cleveland Art Song Institute, the Aspen Music Festival, the Utah Opera, and the Metropolitan’s Lindemann Young Artist Program. Olsen’s students are frequent participants in the highly competitive apprentice programs at Central City, St. Louis, Santa Fe, Wolftrap, and Merola. His students include Grammy and Emmy award winners; Metropolitan Opera, George London Foundation, Marilyn Horne Foundation, and Richard Tucker foundation grant winners; and artists regularly heard at such venues as the Met, San Francisco Opera, Chicago Lyric Opera, Covent Garden, Frankfurt Opera, Nederlandse Oper, and others throughout Europe and the U.S. In addition to his duties at the University of Michigan, Olsen spends his summers as a principal vocal instructor at the prestigious Castelton Festival, under the direction of Loren Maazel.
American soprano Cyndia Sieden moves easily among the Baroque, classical, romantic and contemporary repertoires to worldwide acclaim. In addition, her performances and recordings of his works affirm her status as one of the sovereign Mozart interpreters of the present day. Highlights of 2011 included performances in Morton Feldman's monodrama Neither for New York City Opera, Ariadne in Wolfgang Rihm's Dionysos at the Netherlands Opera and Soprano I in Luigi Nono's Prometeo at the Salzburg and Berlin Festivals. In contrast to these knotty modern works, she returned to Blondchen in Mozart's Abduction with Frans Brüggen and the Orchestra of the 18th Century at the Concertgebouw in Amsterdam, and on tour throughout Holland. Sieden has starred at most of the world's great opera houses, including the Munich Bayerische Staatsoper, the New York Met, Paris's Opéra Bastille, the Wiener Staatsoper, Barcelona's Gran Teatre de Liceu, Brussels's La Monnaie, and London's Covent Garden and English National, as well as in Beijing and Australia. Her highly-praised Metropolitan Opera debut was as Berg's Lulu, and her success quickly led to reengagement in 2008 for Die Zauberflöte's Queen of the Night, one of her signature roles. She is a brilliantly idiomatic interpreter of the works of Richard Strauss. She frequently performs Zerbinetta in Ariadne auf Naxos (Munich, Japan, Vienna), as well as Sophie in Der Rosenkavalier (Paris Châtelet) and Aminta in Die schweigsame Frau (Palermo and Munich). Her performances in the high-flying role of Ariel in the premiere of Thomas Adès's The Tempest at the Royal Opera House, Covent Garden, ignited rave reviews and an astonished public. She has garnered equal enthusiasm and devotion for her Queen of the Night in Mozart's Die Zauberflöte and Blondchen in Die Entführung aus dem Serail, all over the world. Other specialties are Cunegonde in Leonard Bernstein's Candide, and the operas of Handel. Sieden is much in demand for Orff's Carmina Burana, the oratorios and masses of Handel, Mozart, and Haydn, and works of Bach, Strauss and Mahler. She has sung with many of the most renowned symphony orchestras in the world, including the Royal Concertgebouw Orchestra, the Los Angeles Philharmonic, the Cleveland Orchestra, the Atlanta Symphony, the Chicago Symphony Orchestra, the London Symphony Orchestra, and at New York's Mostly Mozart Festival. In addition, her Lieder recitals are always highly-anticipated events. Cyndia Sieden was born in California, USA, and received her first vocal instruction there. The significant milestone in her studies was work with Elisabeth Schwarzkopf in master classes in Carmel Valley, CA in 1982. Schwarzkopf then invited Sieden to become her private student, and also to work with her in master classes at the 1983 Salzburg Mozarteum. Sieden sang in the culminating concert/competition and won first place, the springboard for her first professional engagements. In 1984, Cyndia Sieden made her European debut in Il Barbiere at the Bavarian State Opera; her American debut also took place in 1984, in La Fille du Regiment, in Tampa, Florida.
Soprano Barbara Paver is an Associate Professor of Voice at the Shepherd School of Music at Rice University, having taught previously for nine years at the University of Cincinnati College-Conservatory of Music (CCM). Ms. Paver enjoys an active career as a recitalist, clinician, and teacher. Recent performances include Mahler’s Fourth Symphony with the Southern Illinois Symphony, Canteloube’s Chants d’Auvergne with the Cincinnati Concert Orchestra and Beethoven’s Ninth Symphony with the Rochester Symphony. As a clinician, Ms. Paver has served on a panel for the Cincinnati Voice Consortium, an interdisciplinary group uniting vocal pedagogues with voice science professionals. Internationally, Ms. Paver has taught at Opera Theater of Lucca, CCM’s Spoleto Festival in Italy, and The Vianden Festival in Luxembourg. Ms. Paver’s students sing with many young artist programs across the country, including Merola, Seattle Opera, Portland Opera, St. Louis Opera, Wolftrap, Glimmerglass, Central City, Arizona Opera, Opera Saratoga, Chautauqua, Music Academy of the West, and Tanglewood. Her students consistently place in the district and regional finals of the Metropolitan Opera National Council Auditions. Her professional students perform nationally and internationally, including students in seven different Broadway productions. Ms. Paver received her Bachelor of Music degree from University of Arizona, and her Master’s and Doctorate from the University of Cincinnati College-Conservatory of Music.
Born in Pittsburgh, Pennsylvania, Michael Pegher is currently employed in the ensemble of the Staatstheater Darmstadt. His first season at the house will include a reprisal of Count Almaviva in Il Barbiere di Siviglia, The Schoolmaster in Janacek's Das Schlaue Füchslein, the MC (Conferencier) in Cabaret, and Tiger in Oh, wie schön ist Panama. For the 2014/15 season, Michael was an ensemble member of the Staatstheater Mainz, where his roles included Count Almaviva in Il Barbiere di Siviglia and Tenor soloist in Purcell's Fairy Queen. Most notably, Michael made his role debut as David in Die Meistersinger von Nürnberg. He was first engaged at the Staatstheater Oldenburg in 2009 as Frederick in Pirates of Penzance, and was a member of the ensemble from the 2010/11 season until 2014. Notable roles in Oldenburg include Harlekin in Kaiser von Atlantis, Die Hexe in Hänsel und Gretel, Monostatos in Die Zauberflöte, Jean in Fräulein Julie, Kudrjáš in Kátja Kabanová, Hilarion in the world premier of Die Versuchungen des heiligen Antonius, Jonathan in a staged version of Händel’s Saul, Count Almaviva in Il Barbiere di Siviglia, and Albert in Albert Herring. Prior to his time in Oldenburg, Michael performed such roles as Tamino in Die Zauberflöte, Ferrando in Cosi fan Tutte, Johnny Inkslinger in Britten’s Paul Bunyan, the Snowman in Rorem’s A Childhood Miracle, Le Mari in Poulenc’s Les Mamelles de Tiresias, Arithetique in Ravel’s L’Enfant et les Sortileges. Michael was the recipient of a 2012 stipend from the Richard Wagner Verband Bremen. He received his BM from the University of Cincinnati College-Conservatory of Music and his MM from Miami University. He studied with such notable teachers and coaches as David Adams, Benjamin Smolder, Sylvia Plyler, Donna Brunsma, and Maestro Lorenzo Malfatti. He began his career with work at the Cincinnati Opera, Cincinnati May Festival, Opera du Perigord, and the Opera Theater and Music Festival in Lucca. Along with his operatic career, Michael is co-founder and Head of Artist Acquisition and Promotion for Künstlermeile, an artist agency dedicated to representing highly qualified artists for supplementary jobs and recitals.
Soprano Pamela South has sung leading roles with almost every major opera company, including New York City Opera, San Francisco Opera and L’Opera Montreal in Quebec. Ms. South is well known for her interpretations of Tosca, Lady Macbeth in Macbeth and Minnie in La Fanciulla Del West and has sung opposite such great artists as Placido Domingo, Luciano Pavarotti, Leontyne Price and Beverly Sills. Pamela South is also an established interpreter of American opera roles, including those from The Postman Always Rings Twice, A Streetcar Named Desire, Street Scene and A View from the Bridge. Ms. South has the distinction of having sung fourteen leading roles with the Portland Opera since 1979.
Dean Southern, baritone, has performed in opera, oratorio and recital throughout the United States and Europe, including Carnegie Hall’s Weill Recital Hall in New York, Kennedy Center in Washington, D.C., and the Festival dei Due Mondi in Spoleto, Italy. He regularly gives master classes at universities and conservatories in the US and abroad. Dr. Southern’s students have been accepted to prestigious young artist programs and graduate schools and awarded the Fulbright grant, and they have gone on to successful careers as performers and voice teachers.
Mary Henderson Stucky studied with Julius Huehn and Helen Boatwright and she coached with Elly Ameling and Hugues Cuenod. She received the University of Rochester/University of Cologne Exchange Fellowship and a Fulbright Travel Grant in 1972. Her European recital debut was at Bordeaux, France in 1973. She sang over thirty operatic roles at Rochester's 'Opera Under the Stars,' Chautauqua, Opera South, Hagen and Oldenburg (Germany), Bern (Switzerland), Ghent (Belgium). Furthermore, she recorded songs for Deutshlandfunk, Hessische Rundfunk, S.C. ETV and Centaur Records. As a soloist she performed at Piccolo Spoleto Festival in Charleston, St. Louis New Music Circle, St. Louis Symphony's 'On Stage Series,' and the Dame Myra Hess Concert Series in Chicago. From 1982-1990 she was the artist-in-residence in voice at Washington University in St. Louis. She taught voice at the St. Louis Conservatory of Music from 1985-1990 and was an instructor at Syracuse University and L'École Hindemith in Switzerland. Since 1990 she has been the associate director of the Institute for Advanced Vocal Studies in France.
Soprano Edith Weins is a member of the voice faculty at the Juilliard School in New York. With a vast repertoire from the Baroque to the contemporary, has collaborated with the world’s foremost conductors and orchestras, including the New York, Berlin, London, Munich and Israel Philharmonic Orchestras; Boston, Chicago, Toronto, Montreal and San Francisco Symphonies, the London Philharmonia, Dresden Staatskapelle and Cleveland Orchestras, the Academy of St Martin-in-the-Fields, Orchestre National de France and Orchestre de Paris; under such conductors as Daniel Barenboim, Sir Colin Davis, Charles Dutoit, Bernard Haitink, Sir Neville Marriner, Kurt Masur, Seiji Ozawa, Wolfgang Sawallisch, and Sir Georg Solti. Festivals: Salzburg, Lucerne, Tanglewood, Dresden, Berlin and Vienna Festivals, and the London Proms. Lieder recitals in London (Wigmore Hall), Paris, Toronto, New York, Moscow, Amsterdam (Concertgebouw), Buenos Aires, Frankfurt, Florence, Munich and Berlin, and has been repeatedly invited to Vienna’s Musikverein. Operatic appearances included principal Mozart roles at Glyndebourne, La Scala, the Santa Fe Opera, Amsterdam Opera, Tokyo, and Buenos Aires’ Teatro Colon. Recipient of both the Grammy and Diapason d’Or Awards, her discography, on the EMI, Erato and Philips Labels, includes works of Bach, Mozart, Haydn, Grieg, Mendelssohn, Mahler, Zemlinsky, Schumann and Wagner as well as four CDs of Lieder by Schubert, Schumann, Brahms and Strauss, and Zemlinsky’s Lyrical Symphony with the Orchestre de la Suisse Romande. Officer of the Order of Canada and a recipient of several honorary doctorate degrees, including a Doctor of Music from her alma mater, Oberlin College. Jury member of various international competitions such as ARD Munich, Bertelsmann Neue Stimmen, Montreal and Geneva. Regularly holds master classes in Europe and North America, including the Royal College of Music and the Guildhall School in London, the Young Ensembles of the Munich, Frankfurt and Dresden opera houses, in Salzburg and Vienna, and at Ravinia. Artistic director of the summer Internationale Meistersinger Akademie, created for emerging artists.
THE WILLIAM E. SCHMIDT FOUNDATION
As part of its mission the William E. Schmidt Foundation provides support and encouragement to youth in the arts. Annually the Foundation provides scholarships and support to over one hundred and fifty students in the arts. The William E. Schmidt Foundation does not and shall not discriminate on the basis of race, color, religion (creed), gender, gender expression, age, national origin (ancestry), disability, marital status, sexual orientation, or military status, in any of its activities or operations.
Schmidt Youth Vocal Competition
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Telephone: (513) 529-3046
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