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.
David Adams, lyric tenor, is Professor of Voice and Head of the Performance Studies Division for the University of Cincinnati's College-Conservatory of Music. His operatic and concert performances have taken him throughout Italy, Austria, Germany, Luxembourg, and the United States. He has appeared as a tenor soloist with the Dayton Bach Society, Dayton Philharmonic, Cincinnati Chamber Orchestra, Pittsburgh Bach Society, Akron Symphony, Savannah Symphony, Des Moines Symphony, New Mexico Symphony, Orchestra of Santa Fe, Aspen Music Festival, Great Lakes Chamber Music Festival, and in New York's Merkin Hall. He has served on the faculty of the Aspen Music School, and is currently co-artistic director of the Opera Theater and Music Festival of Lucca (Italy). Mr. Adams is the author of A Handbook of Diction for Singers, and The Song and Duet Texts of Antonín Dvorák. His students have reached the finals of the Metropolitan Opera Auditions; others have won competitions at Houston Grand Opera and the National Federation of Music Clubs.
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.
Mezzo-soprano Penelope Bitzas is an Associate Professor of Music at Boston University. In 2007 she received the prestigious Metcalf Award, which is Boston University's highest honor for excellence in teaching. Her solo performance career included opera, contemporary music, solo recital and orchestral performances under such notable conductors as Kurt Masur, Seiji Ozawa, Gustav Meier, Luciano Berio, Richard Westenberg and George Tsontakis. She has concertized in the United States, Germany, Cyprus, Turkey and Venezuela. Ms. Bitzas was a National Semi-Finalist in the Metropolitan Opera National Council Auditions, a member of the Minnesota Opera Studio, the New Music Ensemble at the Banff Centre, the Blossom Music Festival and was a recipient of two fellowships to the Tanglewood Music Center. Her students have been winners and finalists of numerous competitions including the Metropolitan Opera Council Auditions, George London Competition, Jose Iturbi Competition, Gerda Lissner Foundation, Opera Index, Reyfuss Competition, Loren Zachary Competition, MacAllister Awards, Joy in Singing, Montreal Competition and Jensen Foundation Vocal Competition. Her students have gone on to perform roles with New York City Opera, Florida Grand Opera, Chicago Lyric, Houston Grand Opera, Opera Theater of St. Louis, Boston Lyric Opera, Opera Colorado, Santa Fe Opera, Des Moines Opera, Virginia Opera, Michigan Opera Theater, Orlando Opera, Sarasota Opera, Nashiville Opera. Her students have also participated in opera apprenticeships including Santa Fe Opera, Opera Theater of St. Louis, Merola, Ashlawn Opera, Des Moines Opera and Anchorage Opera. Ms. Bitzas has taught at the Amalfi Coast Music Festival, the Bel Canto Institute as well as having been a master class presenter around the country. She is now the Director of the Young Artist Vocal Program at the Boston University Tanglewood Institute and has been on the faculty of Boston University since 1993.
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.
John David De Haan has performed to international acclaim throughout the world singing both traditional and contemporary music. Notable recent engagements include appearances in Stephen Hartke’s The Greater Good for Glimmerglass Opera (a recording of this world premiere is available on Naxos Records), as the Drum Major in Wozzeck, and as Caliban in Lee Hoiby’s The Tempest for Pacific Opera, Victoria, and as King Arthur in the first ever performance of Merlin by Albeniz with the Teatro Real Opera Orchestra in Madrid. Formerly a principal artist with the Deutsche Oper Berlin, Mr. De Haan sang Florestan in Fidelio, Erik in Der Fliegende Hollander, Macduff in Macbeth, Hans Schwalb in Mathis der Maler, and as the tenor soloist in Beethoven’s Ninth Symphony. Elsewhere in Europe, he performed in Lubeck as Jimmy Mahoney in Mahagonny, the Netherlands Opera as Arbace in Idomeneo, the Scottish Opera as Pinkerton in Madama Butterfly and in Mannheim as Tamino in Die Zauberflote and Florestan in Fidelio. In North America, he appeared as Erik in Der Fliegende Hollander with Opera Carolina, and L’Opera Montreal. John David De Haan has also achieved success and recognition as a teacher. His students have been selected by highly regarded young artist training and apprenticeship programs including the Merola Opera Program, Santa Fe Opera, Glimmerglass Opera and Minnesota Opera. They have successfully competed on all levels of the Metropolitan Opera National Council Auditions with several advancing to the finals in New York. Many of his students enjoy successful operatic, concert and recording careers both in North America and Europe. John David De Haan is a native of Kansas and a graduate of Union College and of the University of Nebraska where he earned his Master of Music degree. He is a winner of the prestigious Eleanor Steber Music Foundation Mozart Award and a former Adler Fellow with the San Francisco Opera. He has received life-time achievement awards from the University of Nebraska and from the Adventist Alumni Association. He is currently on the voice and opera faculty at University of Minnesota’s School of Music in Minneapolis where he resides with his wife and two daughters.
Mezzo-soprano Gail Dubinbaum has performed both opera and concert works internationally. She has sung leading roles with some of the world's most prestigious opera companies including the Metropolitan Opera, Vienna Staatsoper, Israel Opera and L'Opera de Montreal. Nationally, she has appeared with Opera Pacific, Detroit Opera, Portland Opera and Phoenix Opera. On the concert stage, Ms. Dubinbaum has sung with the Los Angeles, Israel, New York, Boston, Cleveland and San Francisco Orchestras ... and with such renowned conductors as Zubin Mehta, James Levine, Michael Tilson Thomas, Gerard Schwarz, Carlo Maria Giulini and Leonard Bernstein. Known for her portrayals of Rossini and Mozart heroines, Ms. Dubinbaum has also distinguished herself in recital, having worked closely with the legendary soprano, Elisabeth Schwarzkopf. Beginning her studies with her mother, Ruth Dubinbaum, she continued her private studies with the great German mezzo, Mme. Herta Glaz. Her credits include the Ann Arbor May Festival, Blossom Festival, Hollywood Bowl, Tanglewood and Aspen Music Festival, where she was also an instructor. She appeared on television in the series "In Performance at the White House" and "Live from the Met." Her DVD recordings include "Francesca da Rimini" with the Metropolitan Opera and the "Met Centennial Gala." For more than a decade, her private studio in Phoenix has produced singers who consistently win national competitions and land leading roles with major opera companies.
William Florescu has been General Director of the Florentine Opera Company since 2005. Prior to that, he was General Director of the Lake George Opera from 1999-2005, and the Columbus Light Opera from 1993-1999. Companies he has guest directed for include Hawaii Opera Theatre, Nashville Opera, Opera Columbus, Lake George Opera, and Opera Birmingham. He is also active as an adjudicator and master teacher for such institutions as The Metropolitan Opera National Council, Fort Worth Opera, University of Michigan, Eastman School of Music, Westminster Choir College, Shreveport Opera, Opera Birmingham, Opera Columbus, Rutgers University, The University of Wisconsin-Milwaukee and the Classical Singer Convention. He is committed to new opera, having been a co-commissioner of Ned Rorem's Our Town for Lake George Opera (now Opera Saratoga). In March of 2010, he produced the Midwest premiere of Robert Aldridge's Elmer Gantry. This production was commercially released on the Naxos label this past July. The Florentine's recording of Gantry won two Grammy awards in February, and was recently named to the Opera News Top 10 recordings of 2011 list. In October 2010, the Florentine produced the world premiere of Rio de Sangre by Don Davis (the composer of the music for all three of The Matrix films). This was commercially released on the Albany Records Label, and was also a Grammy winner. Active also as a writer, he has had articles published in Classical Singer Magazine, and in several Opera America publications. He also publishes an active blog, The Opera Audition. Over the past two seasons Mr. Florescu has directed Albert Herring, Susannah, and La Traviata for the Florentine. In 2014, he directs Candide at Rutgers University, La Boheme for the Florentine, and La Rondine for La Musica Lirica in Novafeltria, Italy. Mr. Florescu serves on the Board of Directors for Opera America, as well their Strategic Planning Committee and New Works Forum.
A native of Memphis, Tennessee, Carroll Freeman joins the Georgia State University School of Music as the Valerie Adams Distinguished Professor in Opera, after most recently serving as director of opera at the University of Tennessee School of Music and artistic director of the Knoxville Opera Studio. Mr. Freeman has performed with Houston Grand Opera, Baltimore Opera, San Diego Opera, Florida Grand Opera, Atlanta Opera, New Orleans Opera, Minnesota Opera, Michigan Opera Theater, Opera Pacific and Kentucky Opera, and many others. He has appeared with the festivals of Wolf Trap Farm Park, Pepsico Summerfare, Saratoga Springs, Lake George Opera, Chautauqua, Central City Opera, ArtPark and Des Moines Metro Opera. He has soloed with Eduardo Mata and the Dallas Symphony; Leonard Slatkin and the St. Louis Symphony; Sergiù Comissiona and the Houston Symphony; Philadelphia Orchestra; Minnesota Symphony; National Symphony; Saint Paul Chamber Orchestra; and made several appearances at Carnegie Hall and Avery Fisher Hall. Mr. Freeman received his BM in vocal performance from the University of Southern Mississippi and his MPA in opera performance from Oklahoma City University. He is past artistic director of Mississippi Opera and Opera in the Ozarks and a past co-director of the Des Moines Metro Opera Apprentice Program. He currently directs the Young Artist and Studio programs at La Musica Lirica (Novafeltria, Italy).
New York City native RoseMarie Freni attended the New York College of Music and the Juilliard School of Music Preparatory division. Her opera debut was at the State Opera in Munich, Germany where she remained as resident artist for 2 years. Her 35 year stage career took her to major opera houses of Europe and the United States. Her American concert debut was with the National Symphony Orchestra in Washington D.C. under the baton of the then music director Antal Dorati. Her American opera debut was with the San Antonio Opera in Texas. In 1977 she debuted at New York City Opera and remained a leading artist there for 22 years performing in Mezzo-soprano and soprano repertoire. Her concert work has been with the National Symphony Orchestra, The Brooklyn Philharmonic, The Minneapolis Symphony, The Israel Philharmonic, The Munich Philharmonic to name a few. She has sung two Asian concert tours and performed with leading opera houses in the United States and Europe. She has taught the Sarasota Opera Apprentice Artist Program and Youth Opera Program since 2000. She also currently has her own vocal studio.
Lyric Coloratura Soprano, Carole Haber, won the N. Meyer Baker Award and the Eleanor Steber Music Foundation Award at the 1989 Washington International Voice Competition at the Kennedy Center. She is well known for her interpretations in the Mozartean and Bel Canto styles. She made her operatic debut as the Queen of the Night in The Magic Flute. Her performances of this role throughout the East Coast have been highly acclaimed by the New York Times, High Fidelity, Opera News and The Boston Globe, among others. Haber has sung with leading orchestras and choral groups throughout the United States, with such conductors as Robert Shaw, Christopher Hogwood, Roger Norrington, Andrew Parrott, Keith Lockhart, and Sarah Caldwell. In 1996, Haber premiered Daniel Pinkham's The White Rven and Robert Kyr's Passion According to Four Evangelists. She has recorded the latter work on the New Albion label. In 1997, haber made her Carnegie Hall debut with the Orchestra of St. Luke's in Brahms's Requiem. She remains an active performer in concerts and recitals. Haber's students have, and are currently singing with Chicago Lyric Opera, Opera Boston, Boston Lyric Opera, Zurich Opera Studio, New York City Opera, Handel and Haydn Society, Boston Baroque, Glimmerglass Opera, Santa Fe Opera, Carmel Bach Festival, Lyric Opera of New Jersey, Pittsburg Opera, St. Louis Opera, Virginia Opera, Connecticut Lyric Opera, Caramoor Festival, Cincinnati Young Artist Program, and at Tanglewood.
Dr. Kathleen Hacker, soprano, is Chair of the Music Department, Director of Vocal Studies and Associate Professor of Music at the University of Indianapolis. In addition to her duties at the University, she pursues a very active singing career around the country. She made her New York debut as soloist with the American Symphony Orchestra at Alice Tully Hall and has sung with major symphony orchestras around the United States including the symphonies of Baltimore, Detroit, Pittsburgh and Indianapolis. Kathleen has been a regular featured soloist with the Indianapolis Baroque Orchestra, has been featured in chamber repertoire concerts at the Music Festivals of Marlboro, Aspen and Bard, on Concert Artist Series throughout the country, and on many concert series close to home including the University of Indianapolis Faculty Artist Series, Music at the Museum of Art, The Meridian Song Project, the Indianapolis Symphonic Choir, the Festival Series at Christ Church Cathedral, the Ft. Wayne Bach Society, the Indianapolis Baroque Singers, The Baroque Artists of Champagne - Urbana, the Anderson Symphony Orchestra, Peaceful Valley Chamber Players and the Ronen Chamber Ensemble. In addition, her eclectic career has allowed her to sing with the Indianapolis Opera and Opera Memphis. Kathleen holds degrees from Eastman School of Music where she studied with the late Jan DeGaetani and received the coveted Performers Certificate in two areas. She received her doctorate from Indiana University. In the summer of 2004, Kathleen was a featured clinician at the National Association of Teachers of Singing National Convention in New Orleans where she was invited to present on the vocal chamber music of Joseph Marx. In addition, she was assistant to Maestro Jack Everly in preparing the touring production of the Indianapolis Symphony Orchestra's Yuletide Celebration.
Soprano Judith Haddon brings to her teaching the experience and knowledge of a major international career. She has sung at the Metropolitan Opera, Covent Garden, Chicago Lyric, San Francisco, Barcelona Liceo, Hamburg Stadtsoper, New York City Opera, Israel Philharmonic, Seattle Opera and Houston Grand Opera. She has performed under the baton of James Levine, Zubin Mehta, Sir Charles Mackerras, Nello Santi, James Conlon, Christopher Keene, and Christoff Perek, and has been directed by Zefferelli, Ponelle, Hal Prince, and Jonathan Miller. Dubbed by her colleagues as "a singer's singer," she has shared the stage with some of the world's great singers: Pavarotti, Freni, Ghiaurov, Hadley, Ramey, Shicoff, Van Dam, von Stade, Hakegaard, Hampson, Talvela, and Rysanek, to name a few. Her teaching promotes a strong foundation based on her own international education; her teachers include the legendary Marlena Malas, and she has coached with such greats as Peter Herman Adler, Janine Reis, Joan Dornemann, Walter Tausig, John Wustman, Luigi Ricci, Mirella Freni, Renata Scotto, and Ileana Cotrubas. In addition to her students at CCPA, she teaches privately and has done master classes in Chicago, New York, Wisconsin, Michigan, Santa Fe, Italy, England and Japan. Her students are performing in opera houses and concert venues around the world.
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.
Kathryn Hartgrove has been described as a mezzo-soprano of precision, range and sheer splendor and has been heard throughout the United States, South America and Europe. Her many roles have included Judith in Bluebeard s Castle, Suzuki in Madame Butterfly, Thisbe in La Cenerentola, Siebel in Faust, Emilia in Otello and Santuzza in Cavalleria Rusticana with such companies as Lyric Opera of Kansas City, San Francisco Opera, New York City Opera's National Tour, Chicago Opera Theater, Lodz National Opera of Poland, Chamber Opera of Chicago, Piedmont Opera Theater and Opera Maine. She has performed as Soloist with the Istanbul National Symphony, the Pesaro Chamber Orchestra and Choir in Italy, the Grant Park Symphony of Chicago, the Hinsdale Chamber Orchestra, the Lake Shore Symphony, the Millikin-Decatur Symphony and the Beloit-Janesville Symphony. She has performed solo recitals in Europe, South America and the United States and has been heard on radio and television in Brazil, Turkey and the United States. Ms. Hartgrove is the co-founder and artistic director of La Musica Lirica in Italia and is one of the program coordinators and voice teachers. She is also an Associate Professor of voice and the voice coordinator at Georgia State University.
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.
Soprano Hope Koehler has appeared with numerous opera companies and orchestras, such as the Nashville Opera, Tennessee Opera Theatre, Lyric Opera of the North, Tuscaloosa Symphony Orchestra, Duluth-Superior Symphony Orchestra, Lake Superior Chamber Orchestra, and the Lexington Philharmonic Orchestra, to name a few. She has appeared as the title roles in Tosca, Carmen, Fidelio, and Madama Butterfly. Hope is a member and featured soloist with the American Spiritual Ensemble. In 2006 and 2010 she was a member of the voice faculty at the American Institute of Musical Studies (AIMS) in Graz, Austria. In June of 2008 Albany Records released Koehler's recording of John Jacob Niles songs titled The Lass from the Low Countree, performed with James Douglass at the piano. Koehler received her bachelor of arts degree in vocal performance and music education at Lipscomb University in Nashville, Tennessee, and her master of music degree in vocal performance at the University of Alabama. She earned a DMA degree from the University of Kentucky and currently serves on the voice faculty at West Virginia University.
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.
The career of soprano Audrey Luna in opera, oratorio, recital and chamber music has taken her to many of the most prestigious international festivals and concert halls: included are the Salzburger Festspiel, Schleswig-Holstein Festival, the Ludwigsburg Schlossfestspiel, Mettlach Chamber Music Festival, Jerusalem Festival, Lexington Bach Festival, Konzerthaus Wien, Berlin Philharmonie, Wigmore Hall, Queens Hall, the Louvre, St. John the Divine and the Kennedy Center to name a few. She has been heard on radio on 5 continents and been seen nation wide on PBS as one of the soloists for Ms. Luna’s love of chamber music has led to collaborations with not only the Hagen Quartet, but also the Artis Quartet, Baseler Quartet, Ciompi Quartet, Amernet Quartet and the Bennewitz Quartet. She works regularly with renowned percussionist Allen Otte in recital and experimental theater and recently performed at the Lucerne Festival with Walter Levin (of the legendary LaSalle Quartet) in his lecture recitals. Ms. Luna has sung dozens of operatic roles in Europe and the U.S. including Susanna (Le Nozze di Figaro), Rosina (Il Barbiere di Seviglia) Gilda (Rigoletto), Adina (L’Elisir D’Amore), Sophie (Der Rosenkavalier), Zdenka (Arabella), Norina (Don Pasquale), Lauretta (Gianni Schicchi), Zerlina (Don Giovanni), Despina (Cosi fan Tutte), among others. Ms. Luna has sung for some of the worlds most renowned conductors including Niklaus Harnoncourt, Marcello Viotti, Anthony Pappano, Jesús López-Cobos, Helmut Rilling, José-Luis Novo, Stephen Cleobury and Stephanie Gonley. She has performed with the English Chamber Orchestra, the Cincinnati Symphony, Orquestra Sinfonica de Sevilla, Bremer Philharmonie. Recent performances include the Annapolis Philharmonic, Binghamton Philharmonic, Ridgefield Symphony, and Opera Theater Pittsburgh. Ms. Luna maintains an active recital schedule performing throughout the US with pianist Brad Caldwell.
Dr. 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.
Mezzo-soprano Karen Lykes has performed extensively throughout the U.S., Europe, Japan and Central America with orchestras and choral societies such as the Boston Symphony Orchestra, Handel & Haydn Society, New Japan Philharmonic, Shinsei Nihon Symphony, Baltimore Choral Arts Society and the National Chamber Orchestra Society. She has worked with an array of conductors including Kazuyoshi Akiyama, Petr Altrichter, Luciano Berio, Carl St. Clair, Thomas Dunn, Gustav Meier, Seiji Ozawa and Maxim Shostakovich. Ms. Lykes' students have performed with Chanticleer, New York City Opera, Lyric Opera of Chicago, Washington Opera, Glyndebourne Festival Opera, Opera Theatre of St. Louis, Essen Opera, Florida Grand Opera, Houston Grand Opera, Glimmerglass Opera, Dallas Opera, Portland Opera, Los Angeles Opera and the Metropolitan Opera; as well as in numerous regional theaters and national tours. Her students include nominees for the Grammy Award for Best Classical Vocal Performance, the Tony Award for Outstanding Actor and Actress in a Musical, Drama Desk and Outer Critics Awards and the Lucille Lortel Award for Outstanding Achievement Off-Broadway. Ms. Lykes has served on the voice faculties of the University of Michigan, New York University and Bel Canto Northwest Vocal Institute in Oregon. She has also served as a Vocal Consultant to the Young American Artist Program at Glimmerglass Opera. Ms. Lykes is currently Professor of Voice at the Cincinnati College-Conservatory of Music.
John Massaro is the Principal Conductor for Phoenix Opera where he has led productions of La Boheme, Tosca, Aida, Carmen, Madama Butterfly, Magic Flute and La Traviata. Most recently, he conducted opera Galas with world renowned opera superstars Dmitri Hvorostovsky and Jonas Kaufmann. Mr. Massaro served as an assistant to Leonard Bernstein during the creation of A Quiet Place and to Zubin Mehta for the Israel Philharmonic's production of Madama Butterfly in Tel Aviv, Haifa and Jerusalem. He worked extensively with the great German soprano, Elisabeth Schwarzkopf, with whom he coached both Opera and Art Song repertoire. Mr. Massaro made his Carnegie Hall debut conducting the Mozart Requiem which led to a distinguished European tour to Budapest, Krakow, Prague, Salzburg and Vienna, where he conducted several additional Mozart masterpieces in a 250th anniversary celebration of the composer's birth. He debuted with the Phoenix Symphony in 2002, conducting a 9/11 memorial concert, which included his own arrangement of the National Anthem. He has also served as Musical Director for the Phoenix Theater and the Black Theatre Troupe (BTT), where he received an AriZoni Award for BTT's production of Blues in the Night. As the first Music Director for the Arizona Broadway Theatre, Mr. Massaro conducted numerous stage productions including: Anything Goes, Man of La Mancha, Damn Yankees, HMS Pinafore, The World Goes Round, How to Succeed in Business Without Really Trying and South Pacific winning awards for his work there. Mr. Massaro began his career in Los Angeles as a vocal coach and conductor later moving to New York City to coach and accompany several artists from the Metropolitan Opera. In addition, he is an award winning composer and arranger.
A native of Montgomery, Alabama, Dr. Everett McCorvey received his degrees from the University of Alabama. Dr. McCorvey holds the rank of Professor of Voice and the Lexington Opera Society Endowed Chair in Opera Studies, and is the Director and Executive Producer of University of Kentucky Opera Theatre. As a tenor soloist, he has enjoyed critical acclaim and has performed in many prestigious venues around the globe, including the Kennedy Center, Radio City Music Hall, the Metropolitan Opera, and Italy's Teatro Comunale. He established and directs the American Spiritual Ensemble, a group of 24 professional singers who tour annually throughout the United States and abroad. Dr. McCorvey is vice-chairman of the Kentucky Arts Council for the Commonwealth of Kentucky, serves on the board of the National Association of State Arts Agencies, and was recently elected as faculty representative to the UK Board of Trustees. Most recently he was named Executive Producer of the Opening and Closing Ceremonies of the Alltech FEI World Equestrian Games in 2010, the largest equestrian event in the history of the United States.
Sherrill Milnes is universally acclaimed as the foremost operatic baritone of his generation. Mr. Milnes has conquered all of the great opera capitals of the world: the Royal Opera, Covent Garden; La Scala, Milan; Berlin's Deutsche Oper; the Paris Opera; Buenos Aires' famed Teatro Colon; the Liceu in Barcelona; the Bavarian State Opera in Munich; the Salzburg Festival; the Hamburg Opera and Moscow's Bolshoi Theatre. He has also appeared with the San Francisco Opera, Lyric Opera of Chicago and the opera companies of Pittsburgh, San Diego, Miami and Denver, among others in the United States. At the Metropolitan Opera he has been honored with 16 new productions, seven opening nights, and ten national telecasts, and he also performed at the 25th anniversary gala honoring James Levine. Mr. Milnes was also in great demand as a recitalist and in concert, appearing on the world's major recital stages and with the great orchestras of North America and Europe. He had the honor of performing for every United States president since Gerald Ford, and has appeared in recital at the White House at the request of Presidents Gerald Ford, Ronald Reagan, and George Bush. His recordings of Così fan tutte, Aida, and La bohème had the distinction of receiving Grammy Awards, and his recordings of Brahms's Four Serious Songs (with Erich Leinsdorf at the piano) and the sacred recording Amazing Grace received Grammy Award nominations. Sherrill Milnes has worked extensively with young singers throughout his career, including master classes and more extensive teaching during his concert and opera tours. He has led master classes at the Juilliard and Manhattan Schools in New York, at major universities throughout the country, and at the Mozarteum in Salzburg. In 2000, Mr. Milnes with his wife Maria Zouves, founded VOICExperience, a not for profit organization. VOICExperience helps young singers develop and pursue their careers with programming throughout the country.
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.
Nic Muni has directed over two hundred productions in North America, Europe, and Australia with companies such as San Francisco Opera, New York City Opera, Canadian Opera Company in Toronto, Houston Grand Opera, Seattle Opera, Los Angeles Opera, Glimmerglass Opera and Opera Theater of St. Louis. In Europe he has directed for the Prague National Opera, the Kurt Weill International Festival, Theater Erfurt, Tirolerlandestheater in Innsbruck, Stadttheater Bern and Stadttheater Giessen. His revival of Jenufa at the Canadian Opera Company in winter 2003 received the prestigious DORA award for best theater production of the year. In addition, he has served as Artistic Director for the Tulsa Opera (1987-93) and Cincinnati Opera (1996-2005). Recent productions: Das Liebesverbot at Glimmerglass Opera, L'amico Fritz at San Francisco Opera Merola; Carmen at Boston Lyric Opera, Ballo delle ingrate/Combattimento di Tancredi e Clorinda/Trouble in Tahiti at Portland Opera. Upcoming productions: Cendrillon at Miami University; Cardillac at Opera Boston, La Vida Breve at Manhattan School of Music, Giulio Cesare at Cincinnati Conservatory of Music. He is currently the Director of the A.J. Fletcher Opera Institute at the North Carolina School for the Arts.
Mari Opatz-Muni, mezzo-soprano, has appeared with numerous opera companies in the United States and Europe including Houston Opera, where she was in the original cast of the world premiere of Nixon in China by John Adams. The audio recording won a Grammy Award and the opera's national PBS television broadcast was honored with an Emmy. Ms. Opatz-Muni reprised the role of Nancy T'ang in performances at Washington's Kennedy Center, The Brooklyn Academy of Music, The Netherlands Opera and at the Edinburgh Festival in Scotland. In addition, Ms. Opatz-Muni has appeared with New York City Opera, Atlanta Opera, Tulsa Opera, Chautauqua Opera, Portland Opera, Santa Fe Opera, Toledo Opera, Des Moines Opera and Mobile Opera. Along with the Emmy and Grammy, Ms. Opatz-Muni is the recipient of other prestigious awards including grants from the William Matheus Sullivan Foundation, the National Institute for Music Theatre, the National Federation of Music Clubs and the Beethoven Club. She was a semifinalist in the Metropolitan Opera auditions in both New York City and in her home state of Iowa. Ms. Opatz-Muni currently serves on the faculty of Miami University (Ohio) as Associate Professor in Music and former Director of the Opera Program.
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.
Cindy C. Oxberry has over 20 years experience in the opera world. After a successful career as a singer, Ms. Oxberry decided to parlay her experience into directing and mentoring young performers. Her passion is opera education, whether it be working with young artists on the verge of a professional career or young singers just learning about the art form. Ms. Oxberry got her start as a director when she was invited to work at several summer opera festivals. Her official directorial debut was with a production of THE FACE ON THE BARROOM FLOOR at Opera North (Vermont) followed by two summers as an assistant director for the Central City Opera (Colorado) for the productions of THE BALLAD OF BABY DOE and SUSANNAH. For the past 15 years she has served as a house assistant director for Washington National Opera. She was most proud to be invited by Placido Domingo to Mexico City to celebrate his 40th anniversary as an international artist. She had the honor of directing the production of FEDORA for the International Opera Company of Mexico at the Palacio de Bellas Artes. For the past 13 summers, she has worked for the Education Department of the Washington National Opera as head director, stage director and instructor for Opera Institute. She also works at the Baltimore School for Performing Arts as director for their opera scenes program. A frequent giver of master classes, Ms. Oxberry has worked with young artists with Los Angeles Opera, Washington National Opera, Florida Grand Opera, Baldwin Wallace College, The Baltimore School for the Performing Arts and The Catholic University of America. Ms. Oxberry is a native of New York and earned her Bachelors degree in Opera Theater at the Hartt School and her Master's degree in Voice from the Manhattan School of Music. She sang a diversity of roles with such companies as New York City Opera, Texas Opera Theater, Chautauqua Opera, Opera Omaha, Central City Opera, Skylight Comic Opera, Boston Lyric Opera, New Jersey Opera Association, and the Connecticut Opera Association.
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.
American bass-baritone Kenneth Shaw, who has been hailed for his "strong, impassioned and lyrical" voice (Opera News), long ago established himself as one of America's most talented and versatile artists. He has performed with opera companies throughout North America to critical acclaim. He has sung nearly 70 leading roles in over 50 operas, as well as concerts and recitals across America, Southeast Asia, Brazil, Canada and the United Kingdom. In 1996, he joined the voice faculty of the Petrie School of Music at Converse College in Spartanburg, SC, and served as Artistic Director of Converse Opera Theater. In 1999, Kenneth Shaw joined the faculty of CCM where he serves as Professor of Voice and Artistic Director of Opera d'arte, the CCM Undergraduate Opera. Mr. Shaw continues to sing professionally on balance with his teaching and master classes. Kenneth Shaw's students have gone on to young artist programs and leading roles in opera houses across the country including the Metropolitan Opera and Seattle Opera, and in leading roles on Broadway. His students have also found great success in university voice and choral positions nationwide. An accomplished stage director, designer and producer, Kenneth Shaw has directed at regional opera companies and universities.
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.
Benjamin Smolder, bass-baritone, is Associate Professor of Voice, Director of Miami University Opera and the National Director for the Schmidt Youth Vocal Competition. He has enjoyed a varied career as a singer, conductor and producer of opera, musical theater and cabaret programs of the Great American Songbook. As a soloist he has performed with such notable organizations as the Spoleto Festival, Festival Internacional de Música Pau Casals, Festival de Mao, Teatro Municipal of San Feliú de Guixols Festival, Almudena Cathedral, Teatre Principal de Mao, Festival de Moiá de Valles, Voces Para la Liturgia, Castell de Belver, and at El Escorial. Smolder has sung principal operatic roles internationally with opera companies in Prague, Vienna, Cairo and Rome. In this country he has performed in concert with the Detroit Symphony, The National Symphony Orchestra at the Kennedy Center, Cincinnati Symphony, Cincinnati Opera, Nevada Opera, Des Moines Opera, Central City, Columbus Opera and Dayton Opera. He has also performed as soloist at the Kennedy Center, Carnegie Hall, in the Detroit Institute of Art Artist Series, with the Cincinnati May Festival and for the National Association of Choral Directors Conference. Smolder can be heard on a number of recordings including The Tenderland released by Albany Records, American Tapestry with the Vocal Arts Ensemble and in two albums with The American Spiritual Ensemble. As conductor and producer of Miami Opera, Smolder has conducted operas that have received two awards from the National Opera Association for Best Collegiate Production. During the summers, he serves as a conductor and faculty member for the Festival of International Opera of the Americas in San Paulo Brazil. As an advocate for the Great American Songbook, Smolder has commissioned new arrangements and founded an ensemble and jazz orchestra that presents concerts. He is the co-founder of S&L Productions whose mission is to produce American-style variety shows to support non-profit arts organizations.
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.
Stephanie Sundine's career as a soprano took her to three continents and many of the world's leading opera houses in major roles with some of opera's most prominent directors and conductors. After retiring from her distinguished singing career, she began directing opera 12 years ago. She has directed productions in many regional theaters, as well as working with numerous young artists in master classes and acting workshops across the U.S. She has judged several competitions, including the Metropolitan Opera National Council Auditions. Ms. Sundine has written supertitles for many productions and is a partner in the supertitle company, Words for Music.
Randell Umstead, tenor, has performed widely in both operatic roles and in concert music. In 2001 and 2006, he was named a fellow at the Tanglewood Music Center. He has an extensive oratorio repertory, having participated in Tanglewood's Bach Institute, as well as having sung with Bach Society Houston, the Bach Society of Dayton, Cincinnati Baroque, the Johannesburg Festival Orchestra, and will appear in December 2012 with the Colorado Bach Ensemble. Dr. Umstead was as a quarterfinalist in the 2010 International Vocal Competition 's-Hertogenbosch, and was a finalist in the American Bach Society's 5th Biennial Vocal Competition. Dr. Umstead currently serves as Chair of the Vocal Studies Division of Baylor University, where he holds the rank of Associate Professor, in addition to serving as treasurer and registrar for the Texoma region of NATS (National Association of Teachers of Singing). He holds a Doctor of Musical Arts and a Master of Music degree from the University of Cincinnati College-Conservatory of Music, both in voice, where he was a student of Barbara Honn. He also holds a Bachelor of Music degree in voice from Oklahoma Baptist University.
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.
Stella Zambalis, Soprano, is a regular guest of leading opera companies throughout the United States, Canada, Europe and South America, as well as frequenting the recital and concert stage. She has created several new roles for the Metropolitan Opera, Houston Grand Opera and for La Scala in Milan to name a few. She has sung with the Houston Symphony, Radio Symphony Orchestra of Berlin, the Rundfunk Symphony Orchestra in Berlin, and the Moscow Radio and Television Orchestra, to name a few. On recordings, Ms. Zambalis may be heard as Juliet in Tchaikovsky's unfinished work: Romeo and Juliet: Overture Fantasy (completed by Taneyev) with the Moscow Radio and Television Orchestra for Bridge Records (a division of Koch International) sung in Russian, and a solo album featuring three complete solo song cycles by Dvorak (Gypsy Songs, Biblical Songs and Love Songs) sung in Czech for the Opus label. Ms. Zambalis was the first to record Dvorak's Love Songs.
American mezzo-soprano, Delores Ziegler, studied at the University of Tennessee. After beginning her career with concert engagements, Delores Ziegler made her operatic stage debut in Knoxville as Verdi's Flora She made her European operatic debut in Bonn as Dorabella. With a repertoire that extends from bel canto to verismo, Delores Ziegler has appeared in the world's greatest opera houses. With numerous companies including the Metropolitan Opera, Lyric Opera of Chicago, San Francisco Opera, Vienna Staatsoper, Teatro La Scala, Dresden and Cologne Opera, and the Bolshoi Opera, she has sung leading roles in Ariadne auf Naxos; Idomeneo; Così fan tutte; Le nozze di Figaro; Der Rosenkavalier; I Capuleti e i Montecchi; Orfeo; Faust; La clemenza di Tito; La damnation de Faust; and Falstaff. Her festival credits include the Salzburg Festival, the Glyndebourne Festival, Aix-en-Provence, Athens Festival, and the Florence May Festival. Delores Ziegler is the most recorded Dorabella in operatic history. She has recorded Così fan tutte and many other works under the distinguished batons of Riccardo Muti, Nikolaus Harnoncourt, Bernard Haitink, James Levine, Robert Shaw, James Conlon, Claudio Schimone, and Armen Jordan. She recently recorded Sara in Roberto Devereux, Giovanna Seymour in Anna Bolena, and Ned Rorem's song cycle, Evidence of Things Not Seen.