LAURA CLAYCOMB
Grammy® Award winning soprano Laura Claycomb has firmly established herself as one of the finest operatic coloratura sopranos of her generation, best known for her ethereal high notes, impeccable musicianship, and dramatic stage presence. Ms. Claycomb has appeared repeatedly with the Paris Opera, San Francisco Opera, Houston Grand Opera, Los Angeles Opera, Grand Théâtre de Genève, Théâtre de la Monnaie, the London Symphony Orchestra, the San Francisco Symphony, the Los Angeles Philharmonic, Le Concert d’Astrée, and the Cleveland Orchestra. Further career highlights range from engagements at the Salzburg Festival and the Lucerne Festival, to the BBC Proms and the title role of Linda di Chamounix at Teatro alla Scala in Milan.
2018 and beyond finds her in Dallas for her first Donna Anna in Don Giovanni, in Paris for Stabat Maters by Scarlatti and Pergolesi with Speranza Scappucci and Il Pomo D’Oro, in Israel for Mozart with Alexander Bernstein and the Israel Camerata, in a recital and masterclass tour in the U.S., and with the Houston Symphony for Carmina Burana.
2016/17 found Laura in Beijing, China as Tytania in A Midsummer Night’s Dream, in Geneva as Malwina in Marschner’s Der Vampyr, in concerts led by Emmanuelle Haïm with Le Concert D’Astrée at Paris’ Théâtre des Champs-Elysées and with the Los Angeles Philharmonic in Disney Hall, as well as in Bernstein’s Symphony No. 3 (Kaddish) with Marin Alsop and the London Symphony Orchestra at the Barbican.
2015/16 saw Laura as Tytania with the Bergen National Opera, as Ophélie in a concert version of Hamlet in Moscow, as well as Strauss’ Brentano Lieder with the San Francisco Symphony and Michael Tilson-Thomas, the title role in the world premiere of Lori Laitman’s The Scarlet Letter and galas in Israel.
The 2014-2015 season saw her as Amina in La sonnambula at the Bolshoi Theater, concert engagements with the Oregon Symphony and Palermo Opera for Carmina Burana, Mercury Baroque in a performance with David Daniels, as Lucia di Lammermoor with New Orleans Opera, Cunegonde in Candide with Maggio Musicale Fiorentino, and in Pergolesi’s Stabat Mater with Maestra Speranza Scapucci, likewise in Florence.
In the 2013-2014 season Ms. Claycomb made her Glyndebourne debut as Zerbinetta in Ariadne auf Naxos with music director Vladimir Jurowsky conducting, which was released on DVD/BlueRay. Additionally, she sang her first Queen of the Night in Die Zauberflöte and Mozart’s Der Schauspieldirektor with the Bregenz Festival, reprised her Adele in Die Fledermaus at Houston Grand Opera, returned to the Israeli Philharmonic for Carmina Burana and to the San Francisco Symphony for Beethoven’s Missa Solemnis, debuted the role of the Czarina of Shemakha in Rimsky-Korsakov’s The Golden Cockerel with Bergen Opera, and returned to the Los Angeles Philharmonic and the Swedish Radio Orchestra in Lutoslawski’s Chantefleurs et Chantefables with Lionel Bringuier.
Ms. Claycomb began her career as an Adler Fellow at San Francisco Opera, where she performed over a dozen roles including Papagena in Die Zauberflöte, Zerbinetta in Ariadne auf Naxos, and Marie in La fille du régiment. She first captured international attention at the age of 24, when she assumed the role of Giulietta in Bellini’s I Capuleti e i Montecchi at the Grand Théâtre de Genève. She has since sung Giulietta with the Bastille Opera, Los Angeles Opera, Pittsburgh Opera and the Bayerischer Rundfunk Orchester in Munich. Since her meteoric rise to prominence, Ms. Claycomb has proven herself to be an exceptionally versatile soprano, performing more than 75 roles in dozens of works by composers from Monteverdi to Messiaen.
In recent years, Ms. Claycomb performed her signature roles of Gilda in Rigoletto with Dallas Opera (earning her the Dallas Opera’s Maria Callas Debut Artist Award) and Zerbinetta in Ariadne auf Naxos with the Houston Grand Opera, Konstanze in Die Entführung aus dem Serail at the Grand Théâtre de Genève and with Sebastian Weigle at the Berlin Staatsoper Unter den Linden, the title role in Donizetti’s Lucia di Lammermoor with Pittsburgh Opera and in Tel Aviv with Daniel Oren conducting, Romilda in Handel’s Serse with Houston Grand Opera, the heroines in Offenbach’s Les contes d’Hoffmann in Moscow, and Anne Trulove in Stravinsky’s The Rake’s Progress in Lyon, Brussels, and the Opéra National de Paris.
Ms. Claycomb has emerged as a concert repertoire powerhouse, having performed with the Philadelphia Orchestra, Rotterdam Philharmonic and Les Arts Florissants, among those already mentioned. She has tackled soloist roles in Orff’s Carmina burana (National Symphony, LA Philharmonic and Danish Radio Symphony with the late Frühbeck de Burgos), Brahms’ Deutsches Requiem, Handel’s Messiah, Faure’s Requiem, Beethoven’s Missa solemnis and oratorio Christus am Ölberge, the latter with the Accademia di Santa Cecilia in Rome. Ms. Claycomb is among today’s foremost Mahler sopranos, having sung solos in the composer’s Symphonies Nos. 2, 4, and 8 with the San Francisco Symphony Orchestra, London Symphony Orchestra, Pittsburgh Symphony, Maggio Musicale di Firenze, and Simón Bolívar Youth Orchestra of Venezuela, with Tilson-Thomas, Gergiev, Honeck, Inkinen, and Abbado/Mattheuz. She appeared to great acclaim in Mahler’s Symphony No. 2 at Carnegie Hall and on a European tour with Michael Tilson Thomas and the SFSO. She has been featured on San Francisco Symphony/Michael Tilson Thomas albums of Mahler’s Symphony Nos. 4and 8, the latter of which was awarded three Grammy® awards in 2009. She also recorded Mahler’s Symphony No. 4 with Valery Gergiev and the London Symphony Orchestra.
High-profile productions starring Ms. Claycomb that led to live recordings include Katharina Thoma’s 2013 Glyndebourne production of Ariadne auf Naxos, Alan Platel and Fabrizio Cassol’s Pitié with Cypres Records, Berlioz’s Benvenuto Cellini with the London Symphony Orchestra under the baton of Sir Colin Davis as well as with Roger Norrington and the Radio-Sinfonieorchester Stuttgart des SWR, and Robert LePage’s production of Stravinsky’s The Rake’s Progress in Brussels.
Ms. Claycomb’s extensive recording catalog includes numerous albums of bel canto operas and chamber music with Britain’s Opera Rara label such as Handel’s Arcadian Duets with Emmanuelle Haïm and Le Concert D’Astrée, Ligeti’s Le grand macabre with Esa-Pekka Salonen and the London Sinfonietta, Carmina burana with the London Symphony Orchestra and Richard Hickox (Chandos) as well as Fauré’s Requiem with the San Francisco Boys’ Choir and Ian Robertson.
Ms. Claycomb has collaborated with renowned conductors Pierre Boulez, Patrick Summers, Richard Hickox, Yannick Nezet-Seguin, Daniel Oren, Pinchas Steinberg, Paavo Järvi, and Sir Colin Davis and has originated many new productions with high-profile stage directors including Peter Sellars, Julie Taymor, Katharina Thoma, James Robinson, and David Alden. Early in her career, she earned the Silver Medal at the International Tchaikovsky Competition in Moscow, the Pegasus Prize at Spoleto Festival in Italy, the Operetta Prize at the Belvedere Competition in Vienna, and first prize in the National Opera Association Competition in the U.S. She has developed a strong interest in the training and nurturing of the next generation of operatic artists and currently serves as consultant for the Bolshoi Young Artist Program, giving master classes there and at the Centre for Operatic Studies in Sulmona, Italy. A native of Texas, Ms. Claycomb resides with her husband and son in Italy.
Grammy® Award winning soprano Laura Claycomb has firmly established herself as one of the finest operatic coloratura sopranos of her generation, best known for her ethereal high notes, impeccable musicianship, and dramatic stage presence. Ms. Claycomb has appeared repeatedly with the Paris Opera, San Francisco Opera, Houston Grand Opera, Los Angeles Opera, Grand Théâtre de Genève, Théâtre de la Monnaie, the London Symphony Orchestra, the San Francisco Symphony, the Los Angeles Philharmonic, Le Concert d’Astrée, and the Cleveland Orchestra. Further career highlights range from engagements at the Salzburg Festival and the Lucerne Festival, to the BBC Proms and the title role of Linda di Chamounix at Teatro alla Scala in Milan.
2018 and beyond finds her in Dallas for her first Donna Anna in Don Giovanni, in Paris for Stabat Maters by Scarlatti and Pergolesi with Speranza Scappucci and Il Pomo D’Oro, in Israel for Mozart with Alexander Bernstein and the Israel Camerata, in a recital and masterclass tour in the U.S., and with the Houston Symphony for Carmina Burana.
2016/17 found Laura in Beijing, China as Tytania in A Midsummer Night’s Dream, in Geneva as Malwina in Marschner’s Der Vampyr, in concerts led by Emmanuelle Haïm with Le Concert D’Astrée at Paris’ Théâtre des Champs-Elysées and with the Los Angeles Philharmonic in Disney Hall, as well as in Bernstein’s Symphony No. 3 (Kaddish) with Marin Alsop and the London Symphony Orchestra at the Barbican.
2015/16 saw Laura as Tytania with the Bergen National Opera, as Ophélie in a concert version of Hamlet in Moscow, as well as Strauss’ Brentano Lieder with the San Francisco Symphony and Michael Tilson-Thomas, the title role in the world premiere of Lori Laitman’s The Scarlet Letter and galas in Israel.
The 2014-2015 season saw her as Amina in La sonnambula at the Bolshoi Theater, concert engagements with the Oregon Symphony and Palermo Opera for Carmina Burana, Mercury Baroque in a performance with David Daniels, as Lucia di Lammermoor with New Orleans Opera, Cunegonde in Candide with Maggio Musicale Fiorentino, and in Pergolesi’s Stabat Mater with Maestra Speranza Scapucci, likewise in Florence.
In the 2013-2014 season Ms. Claycomb made her Glyndebourne debut as Zerbinetta in Ariadne auf Naxos with music director Vladimir Jurowsky conducting, which was released on DVD/BlueRay. Additionally, she sang her first Queen of the Night in Die Zauberflöte and Mozart’s Der Schauspieldirektor with the Bregenz Festival, reprised her Adele in Die Fledermaus at Houston Grand Opera, returned to the Israeli Philharmonic for Carmina Burana and to the San Francisco Symphony for Beethoven’s Missa Solemnis, debuted the role of the Czarina of Shemakha in Rimsky-Korsakov’s The Golden Cockerel with Bergen Opera, and returned to the Los Angeles Philharmonic and the Swedish Radio Orchestra in Lutoslawski’s Chantefleurs et Chantefables with Lionel Bringuier.
Ms. Claycomb began her career as an Adler Fellow at San Francisco Opera, where she performed over a dozen roles including Papagena in Die Zauberflöte, Zerbinetta in Ariadne auf Naxos, and Marie in La fille du régiment. She first captured international attention at the age of 24, when she assumed the role of Giulietta in Bellini’s I Capuleti e i Montecchi at the Grand Théâtre de Genève. She has since sung Giulietta with the Bastille Opera, Los Angeles Opera, Pittsburgh Opera and the Bayerischer Rundfunk Orchester in Munich. Since her meteoric rise to prominence, Ms. Claycomb has proven herself to be an exceptionally versatile soprano, performing more than 75 roles in dozens of works by composers from Monteverdi to Messiaen.
In recent years, Ms. Claycomb performed her signature roles of Gilda in Rigoletto with Dallas Opera (earning her the Dallas Opera’s Maria Callas Debut Artist Award) and Zerbinetta in Ariadne auf Naxos with the Houston Grand Opera, Konstanze in Die Entführung aus dem Serail at the Grand Théâtre de Genève and with Sebastian Weigle at the Berlin Staatsoper Unter den Linden, the title role in Donizetti’s Lucia di Lammermoor with Pittsburgh Opera and in Tel Aviv with Daniel Oren conducting, Romilda in Handel’s Serse with Houston Grand Opera, the heroines in Offenbach’s Les contes d’Hoffmann in Moscow, and Anne Trulove in Stravinsky’s The Rake’s Progress in Lyon, Brussels, and the Opéra National de Paris.
Ms. Claycomb has emerged as a concert repertoire powerhouse, having performed with the Philadelphia Orchestra, Rotterdam Philharmonic and Les Arts Florissants, among those already mentioned. She has tackled soloist roles in Orff’s Carmina burana (National Symphony, LA Philharmonic and Danish Radio Symphony with the late Frühbeck de Burgos), Brahms’ Deutsches Requiem, Handel’s Messiah, Faure’s Requiem, Beethoven’s Missa solemnis and oratorio Christus am Ölberge, the latter with the Accademia di Santa Cecilia in Rome. Ms. Claycomb is among today’s foremost Mahler sopranos, having sung solos in the composer’s Symphonies Nos. 2, 4, and 8 with the San Francisco Symphony Orchestra, London Symphony Orchestra, Pittsburgh Symphony, Maggio Musicale di Firenze, and Simón Bolívar Youth Orchestra of Venezuela, with Tilson-Thomas, Gergiev, Honeck, Inkinen, and Abbado/Mattheuz. She appeared to great acclaim in Mahler’s Symphony No. 2 at Carnegie Hall and on a European tour with Michael Tilson Thomas and the SFSO. She has been featured on San Francisco Symphony/Michael Tilson Thomas albums of Mahler’s Symphony Nos. 4and 8, the latter of which was awarded three Grammy® awards in 2009. She also recorded Mahler’s Symphony No. 4 with Valery Gergiev and the London Symphony Orchestra.
High-profile productions starring Ms. Claycomb that led to live recordings include Katharina Thoma’s 2013 Glyndebourne production of Ariadne auf Naxos, Alan Platel and Fabrizio Cassol’s Pitié with Cypres Records, Berlioz’s Benvenuto Cellini with the London Symphony Orchestra under the baton of Sir Colin Davis as well as with Roger Norrington and the Radio-Sinfonieorchester Stuttgart des SWR, and Robert LePage’s production of Stravinsky’s The Rake’s Progress in Brussels.
Ms. Claycomb’s extensive recording catalog includes numerous albums of bel canto operas and chamber music with Britain’s Opera Rara label such as Handel’s Arcadian Duets with Emmanuelle Haïm and Le Concert D’Astrée, Ligeti’s Le grand macabre with Esa-Pekka Salonen and the London Sinfonietta, Carmina burana with the London Symphony Orchestra and Richard Hickox (Chandos) as well as Fauré’s Requiem with the San Francisco Boys’ Choir and Ian Robertson.
Ms. Claycomb has collaborated with renowned conductors Pierre Boulez, Patrick Summers, Richard Hickox, Yannick Nezet-Seguin, Daniel Oren, Pinchas Steinberg, Paavo Järvi, and Sir Colin Davis and has originated many new productions with high-profile stage directors including Peter Sellars, Julie Taymor, Katharina Thoma, James Robinson, and David Alden. Early in her career, she earned the Silver Medal at the International Tchaikovsky Competition in Moscow, the Pegasus Prize at Spoleto Festival in Italy, the Operetta Prize at the Belvedere Competition in Vienna, and first prize in the National Opera Association Competition in the U.S. She has developed a strong interest in the training and nurturing of the next generation of operatic artists and currently serves as consultant for the Bolshoi Young Artist Program, giving master classes there and at the Centre for Operatic Studies in Sulmona, Italy. A native of Texas, Ms. Claycomb resides with her husband and son in Italy.
CAROL VANESS
Born in San Diego, CA, Carol Vaness launched her professional singing career at the New York City Opera, where she appeared regularly from 1979 to 1983. Since then, she has sung on the world's biggest stages and at premier music festivals, collaborated with today's foremost conductors in operatic and symphonic repertoires, appeared on numerous television broadcasts throughout North America and Europe, and compiled a distinguished catalog of recordings.
Her interpretations of Mozart's dramatic heroines, including Fiordiligi in 'Così fan tutte', Donna Anna and Donna Elvira in 'Don Giovanni', Elettra in 'Idomeneo', and Vitellia in 'La Clemenza di Tito', have been hailed as definitive, and she has become especially identifiable with the role of Floria Tosca. She performed the title role of Puccini's Tosca at the Metropolitan Opera in 2004 opposite Pavarotti in the legendary tenor's final operatic performance.
Vaness made her professional debut as Vitellia for the San Francisco Spring Opera and has been acknowledged as the world's leading interpreter of this role. She has appeared as Vitellia at the Metropolitan Opera, Paris Opera, Royal Opera, Covent Garden, Chicago Lyric Opera and Gran Teatro del Liceo and at the Salzburg Festival and other leading theaters.
Among her many celebrated television appearances, she has been featured on the Pavarotti Plus and Pavarotti and Friends telecasts from Lincoln Center, as well as the Richard Tucker Gala and In Performance at the White House with members of the New York City Opera.
Born in San Diego, CA, Carol Vaness launched her professional singing career at the New York City Opera, where she appeared regularly from 1979 to 1983. Since then, she has sung on the world's biggest stages and at premier music festivals, collaborated with today's foremost conductors in operatic and symphonic repertoires, appeared on numerous television broadcasts throughout North America and Europe, and compiled a distinguished catalog of recordings.
Her interpretations of Mozart's dramatic heroines, including Fiordiligi in 'Così fan tutte', Donna Anna and Donna Elvira in 'Don Giovanni', Elettra in 'Idomeneo', and Vitellia in 'La Clemenza di Tito', have been hailed as definitive, and she has become especially identifiable with the role of Floria Tosca. She performed the title role of Puccini's Tosca at the Metropolitan Opera in 2004 opposite Pavarotti in the legendary tenor's final operatic performance.
Vaness made her professional debut as Vitellia for the San Francisco Spring Opera and has been acknowledged as the world's leading interpreter of this role. She has appeared as Vitellia at the Metropolitan Opera, Paris Opera, Royal Opera, Covent Garden, Chicago Lyric Opera and Gran Teatro del Liceo and at the Salzburg Festival and other leading theaters.
Among her many celebrated television appearances, she has been featured on the Pavarotti Plus and Pavarotti and Friends telecasts from Lincoln Center, as well as the Richard Tucker Gala and In Performance at the White House with members of the New York City Opera.
SHERI GREENAWALD
Internationally renowned soprano Sheri Greenawald has been director of San Francisco Opera Center since 2002 and is the artistic director of the Merola Opera Program, two lauded organizations that recognize, cultivate and nurture the finest young operatic talent. She has performed leading roles with San Francisco Opera, the Metropolitan Opera, Lyric Opera of Chicago, Venice’s La Fenice, the Munich Bavarian State Opera, the Paris Théâtre du Châtelet, Welsh National Opera, Seattle Opera, Houston Grand Opera, the Netherlands Opera, Santa Fe Opera, Los Angeles Opera, Naples’s Teatro San Carlos and Opera Theatre of St. Louis, among others. She is featured on several recordings, including singing the title role of Blitzstein’s Regina conducted by John Mauceri and recorded for Decca.
A graduate of the University of Northern Iowa and the Juilliard School of Music, Greenawald has been a recipient of a Rockefeller Grant, NEA Grant, and was named Seattle Opera Association’s “Artist of the Year” in 1998. She served as a professor of voice and opera at the Boston Conservatory, was a visiting artist at the University of Charleston, an artist-in-residence at the University of Northern Iowa, was the vocal coach of the Santa Fe Apprentice Program in 1999 and opera director of the program in 2000, and has given master classes with the Lyric Opera of Chicago, Opera Theatre of St. Louis, Arizona Opera, Boston Conservatory, New England Conservatory, Boston University, Longy School of Music, Mannes School of Music and Manhattan School of Music.
Internationally renowned soprano Sheri Greenawald has been director of San Francisco Opera Center since 2002 and is the artistic director of the Merola Opera Program, two lauded organizations that recognize, cultivate and nurture the finest young operatic talent. She has performed leading roles with San Francisco Opera, the Metropolitan Opera, Lyric Opera of Chicago, Venice’s La Fenice, the Munich Bavarian State Opera, the Paris Théâtre du Châtelet, Welsh National Opera, Seattle Opera, Houston Grand Opera, the Netherlands Opera, Santa Fe Opera, Los Angeles Opera, Naples’s Teatro San Carlos and Opera Theatre of St. Louis, among others. She is featured on several recordings, including singing the title role of Blitzstein’s Regina conducted by John Mauceri and recorded for Decca.
A graduate of the University of Northern Iowa and the Juilliard School of Music, Greenawald has been a recipient of a Rockefeller Grant, NEA Grant, and was named Seattle Opera Association’s “Artist of the Year” in 1998. She served as a professor of voice and opera at the Boston Conservatory, was a visiting artist at the University of Charleston, an artist-in-residence at the University of Northern Iowa, was the vocal coach of the Santa Fe Apprentice Program in 1999 and opera director of the program in 2000, and has given master classes with the Lyric Opera of Chicago, Opera Theatre of St. Louis, Arizona Opera, Boston Conservatory, New England Conservatory, Boston University, Longy School of Music, Mannes School of Music and Manhattan School of Music.
DERRICK BALLARD
Derrick Ballard has established himself in German speaking Europe as a versatile singer with numerous dramatic bass-baritone roles in his repertoire, such as Holländer, Wotan, Hans Sachs, Kaspar, Jochanaan and Scarpia. In 2021, he undertakes his first complete Der Ring des Nibelungen as Wotan/Wanderer at the Hessisches Staatstheater Wiesbaden, and will make his debut as Baron Ochs in Der Rosenkavalier with Garsington Opera.
Until the 2019-20 season, Derrick Ballard was a member of the Staatstheater Mainz, where his roles encompassed Scarpia, Hans Sachs, Méphistophélès, Bottom (A Midsummer Night’s Dream), Wotan/Wanderer (Der Ring an einem Abend), Filippo II (Don Carlo), Figaro (Le nozze di Figaro), Fiesco (Simon Boccanegra), Dikój (Kátja Kabanová) as well as the title characters in Der fliegende Holländer, Mathis der Maler, Saul and Boris Godunov.
During his time in Mainz, he appeared regularly as a guest at the Oper Leipzig (Scarpia, Kaspar), the Hessisches Staatstheater Wiesbaden (Scarpia, Hans Sachs, Holländer), the Staatsoper Hannover (Kezal), the Staatsoper Hamburg under Kent Nagano (First Nazarene in Salome), the Theater Bremerhaven (Pizarro in Fidelio), the Theater Detmold (Hans Sachs) and he took over performances on short notice at the Theater Chemnitz (Hans Sachs) and Theater an der Wien – Kammeroper (Mephisto).
He had already performed more than 50 roles in the US before making his European debut in 2005 as Biterolf in Tannhäuser at Berlin’s Staatsoper Unter den Linden. Subsequently, he joined the house ensembles of the Staatstheater Kassel (2005 to 2009), the Oldenburgisches Staatstheater (2009 to 2011) and Munich’s Staatstheater am Gärtnerplatz (2010 to 2012), where his repertoire included Figaro in Le nozze di Figaro, Mustafà in L’italiana in Algeri, Dulcamara in L’elisir d‘amore, Leporello in Don Giovanni, Raimondo in Lucia di Lammermoor, Sarastro in Die Zauberflöte, Kaspar in Der Freischütz, Kezal in Die verkaufte Braut, Forester in Cunning Little Vixen, Méphistophélès in Faust and Wotan in Die Walküre. Guest engagements at that time brought him to the Oper Leipzig (bass soloist in Pax Questuosa), the Oper Graz (König Heinrich in Lohengrin, Gessler in Guillaume Tell), the Aalto-Theater Essen (Dulcamara; Prince Gremin in Eugen Onegin), the Staatstheater Mannheim (Dulcamara), the Staatstheater Cottbus (bass soloist in Mahler’s 8th), the Theater Bremen (Sarastro) as well as the Staatsoper Hannover, the Deutsche Oper am Rhein and the Theater Dortmund (all as Mustafà).
Derrick Ballard has also triumphed with baroque repertoire in roles such as Joas in Il Gedeone (Staatstheater Kassel), Achilla in Giulio Cesare (Florentine Opera Milwaukee), the title roles in Handel’s Hercules (Aalto-Musiktheater Essen, Staatheater Kassel, Theater Gera) and Saul (Staatstheater Oldenburg). In 2011 he performed in An Occasional Oratorio at the Händel-Festspiele Halle.
Derrick Ballard studied at the University of Denver and continued his training with Mark Oswald in New York. He began his career as an apprentice with Santa Fe Opera and in the renowned Merola Opera Program of San Francisco Opera. In addition, he has won several prizes at the Metropolitan Opera Auditions.
Derrick Ballard has established himself in German speaking Europe as a versatile singer with numerous dramatic bass-baritone roles in his repertoire, such as Holländer, Wotan, Hans Sachs, Kaspar, Jochanaan and Scarpia. In 2021, he undertakes his first complete Der Ring des Nibelungen as Wotan/Wanderer at the Hessisches Staatstheater Wiesbaden, and will make his debut as Baron Ochs in Der Rosenkavalier with Garsington Opera.
Until the 2019-20 season, Derrick Ballard was a member of the Staatstheater Mainz, where his roles encompassed Scarpia, Hans Sachs, Méphistophélès, Bottom (A Midsummer Night’s Dream), Wotan/Wanderer (Der Ring an einem Abend), Filippo II (Don Carlo), Figaro (Le nozze di Figaro), Fiesco (Simon Boccanegra), Dikój (Kátja Kabanová) as well as the title characters in Der fliegende Holländer, Mathis der Maler, Saul and Boris Godunov.
During his time in Mainz, he appeared regularly as a guest at the Oper Leipzig (Scarpia, Kaspar), the Hessisches Staatstheater Wiesbaden (Scarpia, Hans Sachs, Holländer), the Staatsoper Hannover (Kezal), the Staatsoper Hamburg under Kent Nagano (First Nazarene in Salome), the Theater Bremerhaven (Pizarro in Fidelio), the Theater Detmold (Hans Sachs) and he took over performances on short notice at the Theater Chemnitz (Hans Sachs) and Theater an der Wien – Kammeroper (Mephisto).
He had already performed more than 50 roles in the US before making his European debut in 2005 as Biterolf in Tannhäuser at Berlin’s Staatsoper Unter den Linden. Subsequently, he joined the house ensembles of the Staatstheater Kassel (2005 to 2009), the Oldenburgisches Staatstheater (2009 to 2011) and Munich’s Staatstheater am Gärtnerplatz (2010 to 2012), where his repertoire included Figaro in Le nozze di Figaro, Mustafà in L’italiana in Algeri, Dulcamara in L’elisir d‘amore, Leporello in Don Giovanni, Raimondo in Lucia di Lammermoor, Sarastro in Die Zauberflöte, Kaspar in Der Freischütz, Kezal in Die verkaufte Braut, Forester in Cunning Little Vixen, Méphistophélès in Faust and Wotan in Die Walküre. Guest engagements at that time brought him to the Oper Leipzig (bass soloist in Pax Questuosa), the Oper Graz (König Heinrich in Lohengrin, Gessler in Guillaume Tell), the Aalto-Theater Essen (Dulcamara; Prince Gremin in Eugen Onegin), the Staatstheater Mannheim (Dulcamara), the Staatstheater Cottbus (bass soloist in Mahler’s 8th), the Theater Bremen (Sarastro) as well as the Staatsoper Hannover, the Deutsche Oper am Rhein and the Theater Dortmund (all as Mustafà).
Derrick Ballard has also triumphed with baroque repertoire in roles such as Joas in Il Gedeone (Staatstheater Kassel), Achilla in Giulio Cesare (Florentine Opera Milwaukee), the title roles in Handel’s Hercules (Aalto-Musiktheater Essen, Staatheater Kassel, Theater Gera) and Saul (Staatstheater Oldenburg). In 2011 he performed in An Occasional Oratorio at the Händel-Festspiele Halle.
Derrick Ballard studied at the University of Denver and continued his training with Mark Oswald in New York. He began his career as an apprentice with Santa Fe Opera and in the renowned Merola Opera Program of San Francisco Opera. In addition, he has won several prizes at the Metropolitan Opera Auditions.
ALAN HELD
Well into his fourth decade of being recognized internationally as “one of the leading singing actors today”, American bass-baritone, Alan Held, has appeared in major roles in the world’s finest opera houses, including The Metropolitan Opera, The Vienna State Opera, The Royal Opera House Covent Garden, The Paris Opera, The Bavarian State Opera, Teatro alla Scala, Teatre del Liceu, Hamburg State Opera, Lyric Opera of Chicago, San Francisco Opera, Washington National Opera, Netherlands Opera, Theatre Royal de la Monnaie, The Canadian Opera Company, and Teatro de la Maestranza.
His many roles include Wotan in Wagner’s “Der Ring Des Nibelungen”, Amfortas in “Parsifal”, Scarpia in “Tosca”, The Four Villains in “Les Contes d’Hoffmann”, Jochanaan in “Salome”, Kurwenal in “Tristan und Isolde”, Don Pizzaro in “Fidelio”, Orestes in “Elektra”, Balstrode in Peter Grimes, and the title roles in “Gianni Schicchi”, “Der Fliegende Holländer”, “Wozzeck”, and “Cardillac”.
Equally at home on the concert stage, he has performed with the world’s leading orchestras including The Berlin Philharmonic, The Chicago Symphony Orchestra, The Cleveland Orchestra, The Pittsburgh Symphony, The National Symphony Orchestra, The Metropolitan Opera Orchestra, The Los Angeles Philharmonic, The BBC-Scottish Symphony Orchestra, The Paris Orchestra, The Kirov Opera Orchestra, and The Montreal Symphony Orchestra. He has also appeared at the Salzburg and Tanglewood Festivals as well as the BBC Proms.
He has worked with the such distinguished conductors as Sir Andrew Davis, Sir Colin Davis, Christoph von Dohnányi, Yannick Nézet-Séguin, James Levine, Charles Dutoit, Kirill Petrenko, Christoph Eschenbach, Valery Gergiev, Bernard Haitink, Mariss Jansons, James Conlon, Sir Charles Mackerras, Zubin Mehta, Franz Welser-Möst, Kent Nagano, Sir Simon Rattle, David Robertson, Donald Runnicles, Esa-Pekka Salonen, and Jeffrey Tate.
The 2019-2020 season has had Mr. Held returning to the Wiener Staatsoper to sing one of his most performed roles, Jochanaan (“Salome”). He also appearedbwith the Orchestre de Métropolitan in “Fidelio” under the baton of Yannick Nézet-Séguin. Recent additions include Mr. Held joining the cast of “Die Walküre” and “Siegfried” as Wotan/Der Wanderer in the Lyric Opera of Chicago’s “Der Ring des Nibelungen” in the Spring of 2020. He will sing for the first time in the summer opera season at Chautauqua Opera as Baron Scarpia in “Tosca” as well as Daniel Webster in Virgil Thomson’s, “The Mother of us All”.
The 2018-2019 season had Mr. Held returning to the Washington National Opera as Scarpia in “Tosca”. He has appeared with the company in nearly 25 productions in the past 31 years at the John F. Kennedy Center for the Performing Arts. He also appeared with the Hessische Rundfunks Sinfonieorchester in concert presentations of “Der Freischütz”. The concerts were recorded for a Fall 2019 release on the Pentatone label. Mr. Held appeared in a special concert of highlights from Wagner Dramas at the Boston Wagner Society and as the Bass Soloist in Beethoven’s 9th Symphony with the Wichita Symphony. He also appeared with Maestro David Robertson and The Sydney, Australia Symphony Orchestra in “Peter Grimes”. Mr. Held once again served as the Artist in Residence with the Domingo-Cafritz Young Artist Program at the Washington National Opera during the 2018-2019 season.
The 2017-2018 season began with Mr. Held appearing with The Cleveland Orchestra as part of their gala centennial season. The orchestra reprised their highly acclaimed production of Janáček’s “The Cunning Little Vixen” with performances in Cleveland, Vienna, and Luxembourg. Mr. Held also sang the opera with the Bavarian Radio Symphony Orchestra in February, 2018. He further participated in the Cleveland Orchestra 100th Anniversary Season in concert performances of “Tristan und Isolde” in April, 2018. He returned to the Vienna Staatsoper to sing his acclaimed interpretation of Jockanaan in “Salome” and to sing, in a new production, the role of Caspar (role debut) in “Der Freischütz”. In July, 2018, Mr. Held sang a concert of highlights from “Der Ring des Niblungen” with Christine Goerke, Simon O’Neill, and Eric Owens at Wolf Trap with the National Symphony Orchestra.
Mr. Held has established a close relationship with the Canadian Opera. In the 2013-2014 season, he was the recipient of the Dora Mavor Moore award (“Outstanding Male Performance) presented by the Toronto Alliance for the Performing Arts. In the 2015-2016 season, the COC production of “Siegfried”, also won this prestigious award. Mr. Held played the role of Wotan/Wanderer in this highly acclaimed run of performances.
Recent recordings include the spectacular Marek Janowksi conducted CD of Weber’s “Der Freischütz” on the Pentatone label with the Frankfurt Radio Orchestra. Mr. Held sang the role of Don Pizzaro for the 2003 EMI Classics recording of Beethoven’s “Fidelio” with The Berlin Philharmonic under the baton of Sir Simon Rattle. Mr. Held can be seen in the title role on the 2005 Harmonia Mundi DVD recording of “Cardillac” from The Paris Opera lead by Kent Nagano. He appears as Donner on the 1990 Deutsche Grammaphone DVD recording of “Das Rheingold” from The Metropolitan Opera conducted by James Levine. Also from The Met, Mr. Held can be seen as Peter on the 2008 EMI DVD recording of Humperdink’s “Hansel and Gretel” staged by Richard Jones and conducted by Vladimir Jurowski. In September 2011, Orfeo Records released a live recording of “Rusalka” that was made at the Salzburg Festival in 2008 with Mr. Held, Piotr Beczala, Camilla Nylund and the Cleveland Orchestra under the baton of Franz Welser-Möst. A DVD recording from the 2011 Baden-Baden production of “Salome”, directed by Nikolaus Lehnhoff, was recently released on the Arthaus Musik label.
A native of Washburn, Illinois, Mr. Held received his vocal training at Millikin University and Wichita State University. He is a recipient of numerous honors and awards including The Birgit Nilsson Prize. He received an Honorary Doctorate from Millikin University in 2000. He is also a noted clinician and has, since 2002, given public master classes and private coaching sessions at Yale University. In January, 2014, Mr. Held was named The Ann and Dr. Dennis Ross Faculty of Distinction in Opera at Wichita State University. In 2017, Professor Held becomes just the 3rd Director of Opera at WSU. He continues his active vocal career in addition to serving as an Associate Professor in the School of Fine Arts. Students of Mr. Held are members of prestigious young artist programs including the Lindemann Young Artist Program at The Metropolitan Opera and at the Adler Fellowship Program at The San Francisco Opera. Since 2016, Mr. Held has been a guest Master Teacher at The Miami Music Festival Wagner Institute.
In January, 2019, Mr. Held began his duties as the Artistic Director at the Wichita Grand opera. Mr. Held serves as the Artist in Residence for the Domingo-Cafritz Young Artist Program at The Washington National Opera during the 2018-2019 season, a position he held as well during the 2015-2016 season. He also served as the Artist in Residence at The Wolf Trap Opera Company during their summer of 2016 season.
Well into his fourth decade of being recognized internationally as “one of the leading singing actors today”, American bass-baritone, Alan Held, has appeared in major roles in the world’s finest opera houses, including The Metropolitan Opera, The Vienna State Opera, The Royal Opera House Covent Garden, The Paris Opera, The Bavarian State Opera, Teatro alla Scala, Teatre del Liceu, Hamburg State Opera, Lyric Opera of Chicago, San Francisco Opera, Washington National Opera, Netherlands Opera, Theatre Royal de la Monnaie, The Canadian Opera Company, and Teatro de la Maestranza.
His many roles include Wotan in Wagner’s “Der Ring Des Nibelungen”, Amfortas in “Parsifal”, Scarpia in “Tosca”, The Four Villains in “Les Contes d’Hoffmann”, Jochanaan in “Salome”, Kurwenal in “Tristan und Isolde”, Don Pizzaro in “Fidelio”, Orestes in “Elektra”, Balstrode in Peter Grimes, and the title roles in “Gianni Schicchi”, “Der Fliegende Holländer”, “Wozzeck”, and “Cardillac”.
Equally at home on the concert stage, he has performed with the world’s leading orchestras including The Berlin Philharmonic, The Chicago Symphony Orchestra, The Cleveland Orchestra, The Pittsburgh Symphony, The National Symphony Orchestra, The Metropolitan Opera Orchestra, The Los Angeles Philharmonic, The BBC-Scottish Symphony Orchestra, The Paris Orchestra, The Kirov Opera Orchestra, and The Montreal Symphony Orchestra. He has also appeared at the Salzburg and Tanglewood Festivals as well as the BBC Proms.
He has worked with the such distinguished conductors as Sir Andrew Davis, Sir Colin Davis, Christoph von Dohnányi, Yannick Nézet-Séguin, James Levine, Charles Dutoit, Kirill Petrenko, Christoph Eschenbach, Valery Gergiev, Bernard Haitink, Mariss Jansons, James Conlon, Sir Charles Mackerras, Zubin Mehta, Franz Welser-Möst, Kent Nagano, Sir Simon Rattle, David Robertson, Donald Runnicles, Esa-Pekka Salonen, and Jeffrey Tate.
The 2019-2020 season has had Mr. Held returning to the Wiener Staatsoper to sing one of his most performed roles, Jochanaan (“Salome”). He also appearedbwith the Orchestre de Métropolitan in “Fidelio” under the baton of Yannick Nézet-Séguin. Recent additions include Mr. Held joining the cast of “Die Walküre” and “Siegfried” as Wotan/Der Wanderer in the Lyric Opera of Chicago’s “Der Ring des Nibelungen” in the Spring of 2020. He will sing for the first time in the summer opera season at Chautauqua Opera as Baron Scarpia in “Tosca” as well as Daniel Webster in Virgil Thomson’s, “The Mother of us All”.
The 2018-2019 season had Mr. Held returning to the Washington National Opera as Scarpia in “Tosca”. He has appeared with the company in nearly 25 productions in the past 31 years at the John F. Kennedy Center for the Performing Arts. He also appeared with the Hessische Rundfunks Sinfonieorchester in concert presentations of “Der Freischütz”. The concerts were recorded for a Fall 2019 release on the Pentatone label. Mr. Held appeared in a special concert of highlights from Wagner Dramas at the Boston Wagner Society and as the Bass Soloist in Beethoven’s 9th Symphony with the Wichita Symphony. He also appeared with Maestro David Robertson and The Sydney, Australia Symphony Orchestra in “Peter Grimes”. Mr. Held once again served as the Artist in Residence with the Domingo-Cafritz Young Artist Program at the Washington National Opera during the 2018-2019 season.
The 2017-2018 season began with Mr. Held appearing with The Cleveland Orchestra as part of their gala centennial season. The orchestra reprised their highly acclaimed production of Janáček’s “The Cunning Little Vixen” with performances in Cleveland, Vienna, and Luxembourg. Mr. Held also sang the opera with the Bavarian Radio Symphony Orchestra in February, 2018. He further participated in the Cleveland Orchestra 100th Anniversary Season in concert performances of “Tristan und Isolde” in April, 2018. He returned to the Vienna Staatsoper to sing his acclaimed interpretation of Jockanaan in “Salome” and to sing, in a new production, the role of Caspar (role debut) in “Der Freischütz”. In July, 2018, Mr. Held sang a concert of highlights from “Der Ring des Niblungen” with Christine Goerke, Simon O’Neill, and Eric Owens at Wolf Trap with the National Symphony Orchestra.
Mr. Held has established a close relationship with the Canadian Opera. In the 2013-2014 season, he was the recipient of the Dora Mavor Moore award (“Outstanding Male Performance) presented by the Toronto Alliance for the Performing Arts. In the 2015-2016 season, the COC production of “Siegfried”, also won this prestigious award. Mr. Held played the role of Wotan/Wanderer in this highly acclaimed run of performances.
Recent recordings include the spectacular Marek Janowksi conducted CD of Weber’s “Der Freischütz” on the Pentatone label with the Frankfurt Radio Orchestra. Mr. Held sang the role of Don Pizzaro for the 2003 EMI Classics recording of Beethoven’s “Fidelio” with The Berlin Philharmonic under the baton of Sir Simon Rattle. Mr. Held can be seen in the title role on the 2005 Harmonia Mundi DVD recording of “Cardillac” from The Paris Opera lead by Kent Nagano. He appears as Donner on the 1990 Deutsche Grammaphone DVD recording of “Das Rheingold” from The Metropolitan Opera conducted by James Levine. Also from The Met, Mr. Held can be seen as Peter on the 2008 EMI DVD recording of Humperdink’s “Hansel and Gretel” staged by Richard Jones and conducted by Vladimir Jurowski. In September 2011, Orfeo Records released a live recording of “Rusalka” that was made at the Salzburg Festival in 2008 with Mr. Held, Piotr Beczala, Camilla Nylund and the Cleveland Orchestra under the baton of Franz Welser-Möst. A DVD recording from the 2011 Baden-Baden production of “Salome”, directed by Nikolaus Lehnhoff, was recently released on the Arthaus Musik label.
A native of Washburn, Illinois, Mr. Held received his vocal training at Millikin University and Wichita State University. He is a recipient of numerous honors and awards including The Birgit Nilsson Prize. He received an Honorary Doctorate from Millikin University in 2000. He is also a noted clinician and has, since 2002, given public master classes and private coaching sessions at Yale University. In January, 2014, Mr. Held was named The Ann and Dr. Dennis Ross Faculty of Distinction in Opera at Wichita State University. In 2017, Professor Held becomes just the 3rd Director of Opera at WSU. He continues his active vocal career in addition to serving as an Associate Professor in the School of Fine Arts. Students of Mr. Held are members of prestigious young artist programs including the Lindemann Young Artist Program at The Metropolitan Opera and at the Adler Fellowship Program at The San Francisco Opera. Since 2016, Mr. Held has been a guest Master Teacher at The Miami Music Festival Wagner Institute.
In January, 2019, Mr. Held began his duties as the Artistic Director at the Wichita Grand opera. Mr. Held serves as the Artist in Residence for the Domingo-Cafritz Young Artist Program at The Washington National Opera during the 2018-2019 season, a position he held as well during the 2015-2016 season. He also served as the Artist in Residence at The Wolf Trap Opera Company during their summer of 2016 season.
TERESA REIBER
Teresa has been working as an opera and revival director since 2011 after graduating with a master's degree in Theatre and Cultural Studies in Berlin.
Teresa made her debut as director at the Hessisches Staatstheater Wiesbaden with a production of Francesco Cavalli’s opera LA CALISTO (2014). She also directed the world premiere of BÜCHNERS FRAUEN by Paul Leonard Schäffer, EIN SOMMERNACHTSTRAUM: MODERN TIMES (which closed the Philharmonie Essen's 2015 season) and Grigory Frid’s THE DIARY OF ANNE FRANK (for the opening night of the first Anne Frank Memorial Day in
Frankfurt/Main in 2017). In 2019, Teresa staged a well-received production of Arnold Schoenberg’s PIERROT LUNAIRE in the Tischlerei of the Deutsche Oper Berlin.
In 2016 Teresa was appointed co-director of the new children’s opera club at the Deutsche
Oper Berlin, initially working with William Robertson and later taking over as sole director. Over three seasons she and her team devised the music theatre productions DIE BERLINER STADTMUSIKANTEN, DONKY SHOT and ZWISCHENWELTEN with children aged 8-12. Teresa gained extensive experience as an assistant and revivial director at the Deutsche Oper Berlin and the Hessisches Staatstheater Wiesbaden, working with directors such as Vera Nemirova, Elisabeth Stöppler, Dietrich Hilsdorf, David Herrmann, Ole Anders Tandberg,
Christof Loy and Immo Karaman. Her work on international and touring productions has taken Teresa to the Salzburg Easter Festival, Opernhaus Graz and the Israeli Opera in Tel Aviv as well as South Korea and Bulgaria.
www.teresareiber.com
Teresa has been working as an opera and revival director since 2011 after graduating with a master's degree in Theatre and Cultural Studies in Berlin.
Teresa made her debut as director at the Hessisches Staatstheater Wiesbaden with a production of Francesco Cavalli’s opera LA CALISTO (2014). She also directed the world premiere of BÜCHNERS FRAUEN by Paul Leonard Schäffer, EIN SOMMERNACHTSTRAUM: MODERN TIMES (which closed the Philharmonie Essen's 2015 season) and Grigory Frid’s THE DIARY OF ANNE FRANK (for the opening night of the first Anne Frank Memorial Day in
Frankfurt/Main in 2017). In 2019, Teresa staged a well-received production of Arnold Schoenberg’s PIERROT LUNAIRE in the Tischlerei of the Deutsche Oper Berlin.
In 2016 Teresa was appointed co-director of the new children’s opera club at the Deutsche
Oper Berlin, initially working with William Robertson and later taking over as sole director. Over three seasons she and her team devised the music theatre productions DIE BERLINER STADTMUSIKANTEN, DONKY SHOT and ZWISCHENWELTEN with children aged 8-12. Teresa gained extensive experience as an assistant and revivial director at the Deutsche Oper Berlin and the Hessisches Staatstheater Wiesbaden, working with directors such as Vera Nemirova, Elisabeth Stöppler, Dietrich Hilsdorf, David Herrmann, Ole Anders Tandberg,
Christof Loy and Immo Karaman. Her work on international and touring productions has taken Teresa to the Salzburg Easter Festival, Opernhaus Graz and the Israeli Opera in Tel Aviv as well as South Korea and Bulgaria.
www.teresareiber.com
KENNETH BOZEMAN
Kenneth Bozeman, tenor, Frank C. Shattuck Professor of Music at Lawrence University Conservatory of Music in Appleton, Wisconsin, holds performance degrees from Baylor University and the University of Arizona. He subsequently studied at the State Conservatory of Music in Munich, Germany on a fellowship from Rotary International. He joined the Lawrence Conservatory faculty in 1977, teaching voice and first year music theory. He was appointed chair of the voice department in 1993, and began teaching voice science and pedagogy. Mr. Bozeman has received both of Lawrence University's Teaching Awards (Young Teacher Award, 1980; Excellence in Teaching Award, 1996). He was awarded the Van Lawrence Fellowship by the Voice Foundation in 1994 for his interest in voice science and pedagogy and is the chair of the editorial board of the NATS Journal of Singing. His students have sung with opera companies including Houston Grand, Boston Lyric, Opera Colorado, Washington, Wolf Trap, Seattle, Deutsche Oper Berlin, New York City, San Francisco, Chicago Lyric, the Metropolitan, and Santa Fe.
He has been a frequent presenter at voice science conferences and universities, and written a number of articles on the topics of voice acoustics (Choral Journal, Journal of Singing, Logopedics Phoniatrics Vocology, VoicePrints) and two books, Practical Vocal Acoustics: Pedagogic Applications for Teachers and Singers andKinesthetic Voice Pedagogy: Motivating Acoustic Efficiency. Mr. Bozeman has been a featured presenter on voice acoustics at the 2012, 2014, and 2018 NATS conventions, and was twice selected to be a master teacher for the NATS Intern Program, in 2013 and in 2017. He was the feature speaker for the NATS Winter Workshop in 2015 and the NATS online chat in January of 2016. He is recognized internationally as a leading specialist in applied vocal acoustic pedagogy, giving presentations at the Voice Foundation, the Pan European Voice Conference, Physiology and Acoustics of Singing, Ars Choralis, and the Pan American Vocology Association. He leads an annual week-long summer workshop on acoustic pedagogy with colleagues Ian Howell and Chadley Ballantyne at the new England Conservatory of Music. He was inducted into the American Academy of Teachers of Singing in 2019.
Mr. Bozeman was an active recitalist and performer of oratorio, singing the tenor roles in the St. Matthew and St. John Passions, the Christmas Oratorio, the B Minor Mass, the Magnificat, and various cantatas of Bach, Handel's Messiah, Haydn's Creation, Mendelssohn's Elijah, and Vaughn Williams’ Hodie. He has performed with the Milwaukee Symphony, the Wisconsin Chamber Orchestra, the Green Lake Music Festival, the Purgatory Music Festival of Colorado, the Louisville Bach Society, the Historical Keyboard Society of Wisconsin, and on Wisconsin Public Radio's "Live from the Elvehjem."
For more information, see his personal website: https://faculty.lawrence.edu/bozemank/
Kenneth Bozeman, tenor, Frank C. Shattuck Professor of Music at Lawrence University Conservatory of Music in Appleton, Wisconsin, holds performance degrees from Baylor University and the University of Arizona. He subsequently studied at the State Conservatory of Music in Munich, Germany on a fellowship from Rotary International. He joined the Lawrence Conservatory faculty in 1977, teaching voice and first year music theory. He was appointed chair of the voice department in 1993, and began teaching voice science and pedagogy. Mr. Bozeman has received both of Lawrence University's Teaching Awards (Young Teacher Award, 1980; Excellence in Teaching Award, 1996). He was awarded the Van Lawrence Fellowship by the Voice Foundation in 1994 for his interest in voice science and pedagogy and is the chair of the editorial board of the NATS Journal of Singing. His students have sung with opera companies including Houston Grand, Boston Lyric, Opera Colorado, Washington, Wolf Trap, Seattle, Deutsche Oper Berlin, New York City, San Francisco, Chicago Lyric, the Metropolitan, and Santa Fe.
He has been a frequent presenter at voice science conferences and universities, and written a number of articles on the topics of voice acoustics (Choral Journal, Journal of Singing, Logopedics Phoniatrics Vocology, VoicePrints) and two books, Practical Vocal Acoustics: Pedagogic Applications for Teachers and Singers andKinesthetic Voice Pedagogy: Motivating Acoustic Efficiency. Mr. Bozeman has been a featured presenter on voice acoustics at the 2012, 2014, and 2018 NATS conventions, and was twice selected to be a master teacher for the NATS Intern Program, in 2013 and in 2017. He was the feature speaker for the NATS Winter Workshop in 2015 and the NATS online chat in January of 2016. He is recognized internationally as a leading specialist in applied vocal acoustic pedagogy, giving presentations at the Voice Foundation, the Pan European Voice Conference, Physiology and Acoustics of Singing, Ars Choralis, and the Pan American Vocology Association. He leads an annual week-long summer workshop on acoustic pedagogy with colleagues Ian Howell and Chadley Ballantyne at the new England Conservatory of Music. He was inducted into the American Academy of Teachers of Singing in 2019.
Mr. Bozeman was an active recitalist and performer of oratorio, singing the tenor roles in the St. Matthew and St. John Passions, the Christmas Oratorio, the B Minor Mass, the Magnificat, and various cantatas of Bach, Handel's Messiah, Haydn's Creation, Mendelssohn's Elijah, and Vaughn Williams’ Hodie. He has performed with the Milwaukee Symphony, the Wisconsin Chamber Orchestra, the Green Lake Music Festival, the Purgatory Music Festival of Colorado, the Louisville Bach Society, the Historical Keyboard Society of Wisconsin, and on Wisconsin Public Radio's "Live from the Elvehjem."
For more information, see his personal website: https://faculty.lawrence.edu/bozemank/
CLAUDIA FRIEDLANDER
Claudia Friedlander is a voice teacher and fitness expert based in New York City. Born in Queens and raised in New Jersey, she began her musical studies as a clarinetist. Her passion was fueled by her early experiences playing in the Young Artists Orchestra at Tanglewood under the batons of Seiji Ozawa and Leonard Bernstein. This led to private studies with Richard Stoltzman, a Master’s degree in Clarinet from Peabody Conservatory, and a brief stint as the principal clarinetist of Orquesta Sinfónica del Estado de México.
Shortly after completing her undergraduate studies at Bennington College, she was encouraged to study singing by conductor Blanche Honegger Moyse. She sang while continuing to play her instrument, earning a Master’s degree in Voice at Peabody simultaneously with her clarinet degree. Eventually, her fascination with the physiological process of singing eclipsed her passion for clarinet. In 1995, she began doctoral studies in vocal performance and pedagogy at McGill University, which she completed in 1999.
In 2002, Dr. Friedlander moved to New York City, apprenticed herself to renowned pedagogue W. Stephen Smith, and established her voice studio. In her first few years of teaching, frustration with her inability to methodically and rigorously address the mechanical dysfunctions of some of her students motivated her to study kinesiology. After receiving her certification as a personal trainer from the National Academy of Sports Medicine, she became inspired to apply the concept of sport-specific training to the professional voice.
Dr. Friedlander has presented workshops on vocal fitness for The Voice Foundation and the Performing Arts Medicine Association, and was an invited panel discussant on health and wellness for OPERA America. Her students have performed on Broadway, and at leading opera houses including The Santa Fe Opera and the Metropolitan Opera. Her first book, Complete Vocal Fitness: A Singer’s Guide to Physical Training, Anatomy, and Biomechanics was published by Rowman & Littlefield in 2018. She is the author of the monthly column “Musings on Mechanics” for Classical Singer Magazine as well as a widely read and cited blog on vocal technique and fitness, The Liberated Voice. In 2008, she joined the faculty of the Weill Music Institute at Carnegie Hall, where she developed, in collaboration with Joyce DiDonato, The Singer’s Audition Handbook, an interactive online career development guide for young singers that was published in book form in 2019.
Claudia Friedlander is a voice teacher and fitness expert based in New York City. Born in Queens and raised in New Jersey, she began her musical studies as a clarinetist. Her passion was fueled by her early experiences playing in the Young Artists Orchestra at Tanglewood under the batons of Seiji Ozawa and Leonard Bernstein. This led to private studies with Richard Stoltzman, a Master’s degree in Clarinet from Peabody Conservatory, and a brief stint as the principal clarinetist of Orquesta Sinfónica del Estado de México.
Shortly after completing her undergraduate studies at Bennington College, she was encouraged to study singing by conductor Blanche Honegger Moyse. She sang while continuing to play her instrument, earning a Master’s degree in Voice at Peabody simultaneously with her clarinet degree. Eventually, her fascination with the physiological process of singing eclipsed her passion for clarinet. In 1995, she began doctoral studies in vocal performance and pedagogy at McGill University, which she completed in 1999.
In 2002, Dr. Friedlander moved to New York City, apprenticed herself to renowned pedagogue W. Stephen Smith, and established her voice studio. In her first few years of teaching, frustration with her inability to methodically and rigorously address the mechanical dysfunctions of some of her students motivated her to study kinesiology. After receiving her certification as a personal trainer from the National Academy of Sports Medicine, she became inspired to apply the concept of sport-specific training to the professional voice.
Dr. Friedlander has presented workshops on vocal fitness for The Voice Foundation and the Performing Arts Medicine Association, and was an invited panel discussant on health and wellness for OPERA America. Her students have performed on Broadway, and at leading opera houses including The Santa Fe Opera and the Metropolitan Opera. Her first book, Complete Vocal Fitness: A Singer’s Guide to Physical Training, Anatomy, and Biomechanics was published by Rowman & Littlefield in 2018. She is the author of the monthly column “Musings on Mechanics” for Classical Singer Magazine as well as a widely read and cited blog on vocal technique and fitness, The Liberated Voice. In 2008, she joined the faculty of the Weill Music Institute at Carnegie Hall, where she developed, in collaboration with Joyce DiDonato, The Singer’s Audition Handbook, an interactive online career development guide for young singers that was published in book form in 2019.
STEPHANIE WEISS
Stephanie Weiss, mezzo-soprano, was a Regional Finalist of the Metropolitan Opera National Council Auditions and recipient of a Richard F. Gold Career Grant from the Shoshana Foundation from Mannes College of Music. As the winner of the American Berlin Opera Foundation Competition, she became a member of Deutsche Oper Berlin as a Stipendiatin, where in her first season, while still a soprano, she sang Frasquita (Carmen), Musetta, Erste Dame (Die Zauberflöte), Gerhilde (Die Walküre), and Schlafittchen in the Berlin premiere of Das Traumfresserchen.
Ms. Weiss continues to be a regular guest at Deutsche Oper Berlin, where she has sung Marianne Leitmetzerin (Der Rosenkavalier), Aufseherin (Elektra), Zweite Dame (Die Zauberflöte), Grimgerde (Die Walküre), Johanna [cover] (Szenen aus dem Leben der Heiligen Johanna), and Venus [cover] (Tannhäuser) in the company’s tour to Beijing. Other appearances include Opera Orchestra of New York under Eve Queler at Carnegie Hall as Rose (Lakmé), Berlin’s Staatsoper Unter den Linden as Erste Dame (Die Zauberflöte), Marcellina (Le nozze di Figaro) and Marthe (Faust), at Oper Frankfurt as Musetta, and at Stadttheater Bern, San Diego Opera, Oper Dortmund, and Oper Köln as Marianne Leitmetzerin. She debuted with the Berlin Philharmonic as the Cook in Le Rossignol under the baton of Pierre Boulez. Other notable performances have included Venus (Tannhäuser) with Mecklenburgisches Staatstheater Schwerin, Berta (Il Barbiere di Siviglia) and Suzuki (Madama Butterfly) with Opera Las Vegas, and a return to the San Diego Opera as Giannetta (L'elisir d'amore).
Concerts include Wesendonck Lieder with the Henderson Symphony Orchestra, Lieder eines fahrenden Gesellen and Symphony No. 4 with the L’viv Philharmonic (Ukraine), and Santuzza (Cavalleria rusticana) with Singakademie Potsdam. Recent appearances include Grimgerde (Die Walküre) at Oper Leipzig, Sorceress (Dido and Aeneas) with Opera Company of Middlebury, a return to Deutsche Oper Berlin to sing Zweite Dienerin (Die Ägyptische Helena) and Aufseherin (Elektra), and the title role of Johanna (Szenen aus dem Leben der Heiligen Johanna) by Walter Braunfels at Oper Köln. In the 2017/2018 season, she sang Aksinja in Lady Macbeth of Mzensk at Deutsche Oper Berlin, and returned to Oper Leipzig to sing Grimgerde in Die Walküre.
Along with operatic and orchestral concert repertoire, Ms. Weiss is an avid performer of art song and new music. She has performed recitals in the US, France, Germany, Switzerland, and Australia, singing the music of award-winning American and German living composers. With pianist Christina Wright-Ivanova, she has sung the world premieres of several song cycles, including Jonathan Stark’s “Passageway”, and Daron Hagen’s “Jaik’s Songs”. In 2018, the duo will release their debut CD of the songs of Daron Hagen.
In addition to her singing, Ms. Weiss is Assistant Professor of Voice at Arizona State University’s Herberger Institute for Design and the Arts School of Music. She holds degrees from New England Conservatory (B.M. voice), Tufts University (B.S. biology and drama), University of Missouri-Kansas City (M.M), Mannes College of Music (Prof. Studies Dipl.), and University of Nevada, Las Vegas (D.M.A.). Previously, she was Assistant Professor of Voice at University of Nevada, Las Vegas, a Teaching Fellow with the Metropolitan Opera Education Department, and serves on the faculties of COSI (Centre for Opera Studies in Italy) in Sulmona, Italy and AIMS in Graz.
Stephanie Weiss, mezzo-soprano, was a Regional Finalist of the Metropolitan Opera National Council Auditions and recipient of a Richard F. Gold Career Grant from the Shoshana Foundation from Mannes College of Music. As the winner of the American Berlin Opera Foundation Competition, she became a member of Deutsche Oper Berlin as a Stipendiatin, where in her first season, while still a soprano, she sang Frasquita (Carmen), Musetta, Erste Dame (Die Zauberflöte), Gerhilde (Die Walküre), and Schlafittchen in the Berlin premiere of Das Traumfresserchen.
Ms. Weiss continues to be a regular guest at Deutsche Oper Berlin, where she has sung Marianne Leitmetzerin (Der Rosenkavalier), Aufseherin (Elektra), Zweite Dame (Die Zauberflöte), Grimgerde (Die Walküre), Johanna [cover] (Szenen aus dem Leben der Heiligen Johanna), and Venus [cover] (Tannhäuser) in the company’s tour to Beijing. Other appearances include Opera Orchestra of New York under Eve Queler at Carnegie Hall as Rose (Lakmé), Berlin’s Staatsoper Unter den Linden as Erste Dame (Die Zauberflöte), Marcellina (Le nozze di Figaro) and Marthe (Faust), at Oper Frankfurt as Musetta, and at Stadttheater Bern, San Diego Opera, Oper Dortmund, and Oper Köln as Marianne Leitmetzerin. She debuted with the Berlin Philharmonic as the Cook in Le Rossignol under the baton of Pierre Boulez. Other notable performances have included Venus (Tannhäuser) with Mecklenburgisches Staatstheater Schwerin, Berta (Il Barbiere di Siviglia) and Suzuki (Madama Butterfly) with Opera Las Vegas, and a return to the San Diego Opera as Giannetta (L'elisir d'amore).
Concerts include Wesendonck Lieder with the Henderson Symphony Orchestra, Lieder eines fahrenden Gesellen and Symphony No. 4 with the L’viv Philharmonic (Ukraine), and Santuzza (Cavalleria rusticana) with Singakademie Potsdam. Recent appearances include Grimgerde (Die Walküre) at Oper Leipzig, Sorceress (Dido and Aeneas) with Opera Company of Middlebury, a return to Deutsche Oper Berlin to sing Zweite Dienerin (Die Ägyptische Helena) and Aufseherin (Elektra), and the title role of Johanna (Szenen aus dem Leben der Heiligen Johanna) by Walter Braunfels at Oper Köln. In the 2017/2018 season, she sang Aksinja in Lady Macbeth of Mzensk at Deutsche Oper Berlin, and returned to Oper Leipzig to sing Grimgerde in Die Walküre.
Along with operatic and orchestral concert repertoire, Ms. Weiss is an avid performer of art song and new music. She has performed recitals in the US, France, Germany, Switzerland, and Australia, singing the music of award-winning American and German living composers. With pianist Christina Wright-Ivanova, she has sung the world premieres of several song cycles, including Jonathan Stark’s “Passageway”, and Daron Hagen’s “Jaik’s Songs”. In 2018, the duo will release their debut CD of the songs of Daron Hagen.
In addition to her singing, Ms. Weiss is Assistant Professor of Voice at Arizona State University’s Herberger Institute for Design and the Arts School of Music. She holds degrees from New England Conservatory (B.M. voice), Tufts University (B.S. biology and drama), University of Missouri-Kansas City (M.M), Mannes College of Music (Prof. Studies Dipl.), and University of Nevada, Las Vegas (D.M.A.). Previously, she was Assistant Professor of Voice at University of Nevada, Las Vegas, a Teaching Fellow with the Metropolitan Opera Education Department, and serves on the faculties of COSI (Centre for Opera Studies in Italy) in Sulmona, Italy and AIMS in Graz.
SETH CARICO
Hailed by Opera News as “powerful in both voice and bearing” and particularly noted for his commanding stage presence and expressive vocalism, bass-baritone Seth Carico is distinguishing himself internationally as an accomplished young American singer. Opera Today praised “the dynamic presence of Carico, whose ringing baritone gave much pleasure.” He effortlessly capitalizes on his dramatic training, bringing a unique sensitivity to operatic characters at disparate ends of the theatrical spectrum. During the 2018-2019 season, Carico appeared as The Doctor in Wozzeck, Kolenatý in The Makropulos Affair, Leporello in Don Giovanni, and as Sancho Pansa in Don Quichotte, all with Deutsche Oper Berlin, where he was in the Ensemble from 2010-2019. He also created the role of Dr. John Polidori in the world premiere of Michael Wertmüller’s Diodati. Unendlich with Theater Basel. The 2019-2020 season will see several important debuts, including Scarpia in Tosca with Staatsoper Hannover, the title role in Don Giovanni with Minnesota Opera, and Hate in Rued Langgaard’s Antikrist with Deutsche Oper Berlin.
In the past nine seasons, Mr. Carico has built a robust repertoire with the Deutsche Oper Berlin, including Figaro in Le nozze di Figaro, Saint-Bris in Les Huguenots, The Traveler, et al. in Death in Venice, Oberthal in Le Prophete, Gunther in Götterdämmerung, Redburn in Billy Budd, the Police Commissioner in Lady Macbeth from Mtsensk, Klingsor in Parsifal, Dulcamara in L’elisir d’amore, Sonora in La Fanciulla del West, Abimélech in Samson et Dalila, and Kassandra in Oresteia, a role for which he was nominated for the 2015 German National Theater Prize, “Der Faust,” for Best Male Singer. In addition, he has portrayed Junius in The Rape of Lucretia, Biterolf in Tannhäuser, Farfarello in L’amour des trois oranges, Panthée in Les Troyens, the villains in Offenbach/Champert’s Hoffmann, Andrew Cunanan in the world premiere of Brandt Brauer Frick’s electronic opera Gianni, and The Father in the world premiere of Aribert Reimann’s L’invisible.
Guest engagements internationally have included Joseph de Rocher in Dead Man Walking with Minnesota Opera, Nick Shadow in The Rake’s Progress with Theater Basel, Leporello in Don Giovanni with Aalto-Musiktheater Essen, Figaro in Le nozze di Figaro with Utah Opera and Tulsa Opera, Dulcamara in L’elisir d’amore with Opera Saratoga, Panthée in Les Troyens with Staatsoper Hamburg, Antonio in Le nozze di Figaro with Oper Leipzig, The Sacristan in Tosca with Anhaltisches Theater Dessau, Roberto in I vespri siciliani and Marquis d’Obigny in La Traviata with Teatro Regio Torino, Leonidas in Lysistrata and Victor in the world premiere of Before Night Falls with Fort Worth Opera, The Doctor in the world premiere of Stephan Peiffer’s Vom Ende der Unschuld at Kampnagel in Hamburg, King Rene in Iolanta with Dicapo Opera, Harašta in The Cunning Little Vixen and George Jones in Street Scene with Chautauqua Opera, The King in The King and I and Leporello in Don Giovanni with Ash Lawn Opera, Doctor Grenville in La Traviata, Alessio in La sonnambula, and Marquis de Brisaille in the world premiere of David DiChiera’s Cyrano with Michigan Opera Theatre.
Concert appearances have included Bach’s Kantate Nr. 82, Mendelssohn’s Die erste Walpurgisnacht, Mozart’s Die Zauberflöte, Dvořák’s Stabat Mater, Mendelssohn’s Elijah, Verdi’s Requiem, Handel’s The Messiah, Rossini’s Petite Messe Solennelle, Bach’s Coffee Cantata, and Mozart’s Requiem, with orchestras/festivals including the Cologne Early Music Festival, the Nashville Symphony, the Atlanta Ballet, the Chautauqua Symphony, the Richmond Symphony, and the Michigan Sinfonietta. Mr. Carico was invited to offer a recital at the University of Michigan of Dvořák’s Cypřiše, accompanied by renowned pianist and specialist in Czech music, Timothy Cheek.
In the summer of 2012, Seth joined the prestigious Merola Opera Program at San Francisco Opera Center, finishing years of successful apprenticeships with companies such as Deutsche Oper Berlin, Teatro Regio Torino, Fort Worth Opera, Michigan Opera Theatre, Nashville Opera, Lake George Opera, and Chautauqua Opera. Featured early roles include Olin Blitch in Susannah, Kecal in Prodaná Nevěsta, Don Alfonso in Così fan tutte, Seneca in L’incoronazione di Poppea, Colline in La bohème, and Bartolo in Il barbiere di Siviglia. Seth won Fourth Prize in the Shreveport Opera Singer of the Year competition, the Grand Prize of the Orpheus National Vocal Competition, and an Encouragement Award from the Chautauqua Opera Guild.
Hailed by Opera News as “powerful in both voice and bearing” and particularly noted for his commanding stage presence and expressive vocalism, bass-baritone Seth Carico is distinguishing himself internationally as an accomplished young American singer. Opera Today praised “the dynamic presence of Carico, whose ringing baritone gave much pleasure.” He effortlessly capitalizes on his dramatic training, bringing a unique sensitivity to operatic characters at disparate ends of the theatrical spectrum. During the 2018-2019 season, Carico appeared as The Doctor in Wozzeck, Kolenatý in The Makropulos Affair, Leporello in Don Giovanni, and as Sancho Pansa in Don Quichotte, all with Deutsche Oper Berlin, where he was in the Ensemble from 2010-2019. He also created the role of Dr. John Polidori in the world premiere of Michael Wertmüller’s Diodati. Unendlich with Theater Basel. The 2019-2020 season will see several important debuts, including Scarpia in Tosca with Staatsoper Hannover, the title role in Don Giovanni with Minnesota Opera, and Hate in Rued Langgaard’s Antikrist with Deutsche Oper Berlin.
In the past nine seasons, Mr. Carico has built a robust repertoire with the Deutsche Oper Berlin, including Figaro in Le nozze di Figaro, Saint-Bris in Les Huguenots, The Traveler, et al. in Death in Venice, Oberthal in Le Prophete, Gunther in Götterdämmerung, Redburn in Billy Budd, the Police Commissioner in Lady Macbeth from Mtsensk, Klingsor in Parsifal, Dulcamara in L’elisir d’amore, Sonora in La Fanciulla del West, Abimélech in Samson et Dalila, and Kassandra in Oresteia, a role for which he was nominated for the 2015 German National Theater Prize, “Der Faust,” for Best Male Singer. In addition, he has portrayed Junius in The Rape of Lucretia, Biterolf in Tannhäuser, Farfarello in L’amour des trois oranges, Panthée in Les Troyens, the villains in Offenbach/Champert’s Hoffmann, Andrew Cunanan in the world premiere of Brandt Brauer Frick’s electronic opera Gianni, and The Father in the world premiere of Aribert Reimann’s L’invisible.
Guest engagements internationally have included Joseph de Rocher in Dead Man Walking with Minnesota Opera, Nick Shadow in The Rake’s Progress with Theater Basel, Leporello in Don Giovanni with Aalto-Musiktheater Essen, Figaro in Le nozze di Figaro with Utah Opera and Tulsa Opera, Dulcamara in L’elisir d’amore with Opera Saratoga, Panthée in Les Troyens with Staatsoper Hamburg, Antonio in Le nozze di Figaro with Oper Leipzig, The Sacristan in Tosca with Anhaltisches Theater Dessau, Roberto in I vespri siciliani and Marquis d’Obigny in La Traviata with Teatro Regio Torino, Leonidas in Lysistrata and Victor in the world premiere of Before Night Falls with Fort Worth Opera, The Doctor in the world premiere of Stephan Peiffer’s Vom Ende der Unschuld at Kampnagel in Hamburg, King Rene in Iolanta with Dicapo Opera, Harašta in The Cunning Little Vixen and George Jones in Street Scene with Chautauqua Opera, The King in The King and I and Leporello in Don Giovanni with Ash Lawn Opera, Doctor Grenville in La Traviata, Alessio in La sonnambula, and Marquis de Brisaille in the world premiere of David DiChiera’s Cyrano with Michigan Opera Theatre.
Concert appearances have included Bach’s Kantate Nr. 82, Mendelssohn’s Die erste Walpurgisnacht, Mozart’s Die Zauberflöte, Dvořák’s Stabat Mater, Mendelssohn’s Elijah, Verdi’s Requiem, Handel’s The Messiah, Rossini’s Petite Messe Solennelle, Bach’s Coffee Cantata, and Mozart’s Requiem, with orchestras/festivals including the Cologne Early Music Festival, the Nashville Symphony, the Atlanta Ballet, the Chautauqua Symphony, the Richmond Symphony, and the Michigan Sinfonietta. Mr. Carico was invited to offer a recital at the University of Michigan of Dvořák’s Cypřiše, accompanied by renowned pianist and specialist in Czech music, Timothy Cheek.
In the summer of 2012, Seth joined the prestigious Merola Opera Program at San Francisco Opera Center, finishing years of successful apprenticeships with companies such as Deutsche Oper Berlin, Teatro Regio Torino, Fort Worth Opera, Michigan Opera Theatre, Nashville Opera, Lake George Opera, and Chautauqua Opera. Featured early roles include Olin Blitch in Susannah, Kecal in Prodaná Nevěsta, Don Alfonso in Così fan tutte, Seneca in L’incoronazione di Poppea, Colline in La bohème, and Bartolo in Il barbiere di Siviglia. Seth won Fourth Prize in the Shreveport Opera Singer of the Year competition, the Grand Prize of the Orpheus National Vocal Competition, and an Encouragement Award from the Chautauqua Opera Guild.
DEBORAH YORK
Deborah York was born and educated in Sheffield and graduated in musicology from Manchester University with a first class honours degree. She has gone on to enjoy a distinguished international career working with musicians of the highest calibre across a wide spectrum of musical styles and genres.
The recording of Stravinsky’s “The Rake’s Progress” with John Eliot Gardiner and the London Symphony Orchestra for Deutsche Grammophon in which she sang the role of Anne Truelove won a Grammy Award for best opera category. She subsequently performed the role at the Teatro Colón in Buenos Aires, in Tel Aviv and at the Semperoper in Dresden. Her recording of Mendelssohn Bartholdy's “Midsummer Night's Dream” with Claudio Abbado and the Berliner Philharmoniker Orchestra The Last Concert won the orchestral category of the 2017 International Classical Music Awards.
Deborah has sung with orchestras including the Concertgebouw, Deutsche Symphonie,Scottish Chamber, Bilbao Sinfonikoa,Ulster, Mahler Chamber, London Philharmonic, National des Pays de la Loire, Liverpool Philharmonic, Hallé, Bremen and Dresdener Philharmoniker, City of Birmingham and Aalborg Symphonies and Estonian National as well as the Camerata Salzburg,Royal Northern Sinfonia, RIAS Kammerchor, Konzerthausorchester Berlin, Dresdner Kreuzchor and orquesta nacional de Madrid. She has also appeared in concert as guest soloist with the Carlton Main Frickley Colliery Band.
Deborah’s extensive discography includes over 40 cds and dvds for in concert and opera, live and in the studio.
She has performed as soprano soloist in over 60 cantatas by J.S.Bach, some of which were recorded with Philippe Herreweghe for Harmonia Mundi and Ton Koopman for Erato. She also sang first soprano in the pioneering recorded solo version of “Matthäus Passion” for Deutsche Grammophon with the Gabrieli Consort.
Renowned for her work singing baroque, classical and romantic repertoire, Deborah forged her early career performing regularly and travelling the world with the finest historically informed ensembles such asConcerto Italiano, Talens Lyriques, Freiburger Barockorchester, Accademia Bizantina, King’s Consort, Musica Aeterna, Le Concert Spirituel, La Risonanza, Monteverdi Choir, Divino Sospiro, English Concert, Musica Antiqua Roma, La Fenice, Musica Viva, L’Arpeggiata, Theatre of Early Music and Ensemble Delirio in concert halls around the world including Carnegie Hall, Wigmore Hall, Musikverein, Philharmonie, L’Auditorio Verdi, Tonhalle, Salle Pleyel, de Singel, Konzerthaus, Mozarteum, Tchaikowsky Hall, Palau de la Musica and the Lincoln Center and at festivals in Beaune, Saintes, Utrecht, Halle, Warsaw, Lisbon, Naples, Schwetzingen, Innsbruck, Hong Kong, Aix-en Provence, Melbourne, 3 Choirs, Tanglewood, Copenhagen and Ambronay.
Her operatic career began at Glyndebourne Opera where she sang the role of Servilia in Mozart's “La Clemenza di Tito”. This led to further engagements singing Mozart and Donizetti at the Royal Opera House, Covent Garden with Bernard Haitink,Evelino Pidò and Harmut Haennchen.
She created the role of Mirror in Harrison Birtwistle’s “Second Mrs Kong” at Glyndebourne conducted by Elgar Howarth and was a regular guest at the Bayerische Staatsoper in Munich, the Staatsoper Unter den Linden in Berlin and the Netherlands Opera in operas by Mozart, Gluck, Handel, Britten, Monteverdi, Telemann and Purcell.
Deborah sang Belinda in a contemporary dance production of Purcell's “Dido and Aeneas” with Akademie für Alte Musik Berlin and Sasha Walz and Guests which travelled to Berlin, London, Luxemburg, Aarhus, Lyons, Barcelona, Buenos Aires and Rome.
A passionate exponent of vocal chamber music, Deborah has long collaborated on solo programmes. Her winter solstice programme with organist Jeremy Joseph “An evening hymn – Old English tunes for a long winter’s eve” premiered in the Radialsystem in Berlin was widely acclaimed. The two musicians subsequently formed a trio The BlueShed Collective with cornettist Lambert Colson to experiment with the implications of baroque improvisation and the idea of music as speech for music making today, moving into the area of free improvisation and spontaneous composition using text. They have performed together at the International Organ Week in Nürnberg and the Silbermann Tage Festival in Pfaffroda.
Conducting engagements include with the ensemble B’Rock in a new commission by composer Reza Namawar for the contemporary music festivals TRANSIT in Leuven and November Music in den Bosch.
She has given masterclasses and courses in Siena, Handel Akademie Karlsruhe, Royal College London, Boshoi Theatre and Tchaikowsky Conservatoire Moscow and at Geddai University in Tokyo.
Deborah York is Professor of Singing at the Universität der Künste in Berlin.
Deborah York was born and educated in Sheffield and graduated in musicology from Manchester University with a first class honours degree. She has gone on to enjoy a distinguished international career working with musicians of the highest calibre across a wide spectrum of musical styles and genres.
The recording of Stravinsky’s “The Rake’s Progress” with John Eliot Gardiner and the London Symphony Orchestra for Deutsche Grammophon in which she sang the role of Anne Truelove won a Grammy Award for best opera category. She subsequently performed the role at the Teatro Colón in Buenos Aires, in Tel Aviv and at the Semperoper in Dresden. Her recording of Mendelssohn Bartholdy's “Midsummer Night's Dream” with Claudio Abbado and the Berliner Philharmoniker Orchestra The Last Concert won the orchestral category of the 2017 International Classical Music Awards.
Deborah has sung with orchestras including the Concertgebouw, Deutsche Symphonie,Scottish Chamber, Bilbao Sinfonikoa,Ulster, Mahler Chamber, London Philharmonic, National des Pays de la Loire, Liverpool Philharmonic, Hallé, Bremen and Dresdener Philharmoniker, City of Birmingham and Aalborg Symphonies and Estonian National as well as the Camerata Salzburg,Royal Northern Sinfonia, RIAS Kammerchor, Konzerthausorchester Berlin, Dresdner Kreuzchor and orquesta nacional de Madrid. She has also appeared in concert as guest soloist with the Carlton Main Frickley Colliery Band.
Deborah’s extensive discography includes over 40 cds and dvds for in concert and opera, live and in the studio.
She has performed as soprano soloist in over 60 cantatas by J.S.Bach, some of which were recorded with Philippe Herreweghe for Harmonia Mundi and Ton Koopman for Erato. She also sang first soprano in the pioneering recorded solo version of “Matthäus Passion” for Deutsche Grammophon with the Gabrieli Consort.
Renowned for her work singing baroque, classical and romantic repertoire, Deborah forged her early career performing regularly and travelling the world with the finest historically informed ensembles such asConcerto Italiano, Talens Lyriques, Freiburger Barockorchester, Accademia Bizantina, King’s Consort, Musica Aeterna, Le Concert Spirituel, La Risonanza, Monteverdi Choir, Divino Sospiro, English Concert, Musica Antiqua Roma, La Fenice, Musica Viva, L’Arpeggiata, Theatre of Early Music and Ensemble Delirio in concert halls around the world including Carnegie Hall, Wigmore Hall, Musikverein, Philharmonie, L’Auditorio Verdi, Tonhalle, Salle Pleyel, de Singel, Konzerthaus, Mozarteum, Tchaikowsky Hall, Palau de la Musica and the Lincoln Center and at festivals in Beaune, Saintes, Utrecht, Halle, Warsaw, Lisbon, Naples, Schwetzingen, Innsbruck, Hong Kong, Aix-en Provence, Melbourne, 3 Choirs, Tanglewood, Copenhagen and Ambronay.
Her operatic career began at Glyndebourne Opera where she sang the role of Servilia in Mozart's “La Clemenza di Tito”. This led to further engagements singing Mozart and Donizetti at the Royal Opera House, Covent Garden with Bernard Haitink,Evelino Pidò and Harmut Haennchen.
She created the role of Mirror in Harrison Birtwistle’s “Second Mrs Kong” at Glyndebourne conducted by Elgar Howarth and was a regular guest at the Bayerische Staatsoper in Munich, the Staatsoper Unter den Linden in Berlin and the Netherlands Opera in operas by Mozart, Gluck, Handel, Britten, Monteverdi, Telemann and Purcell.
Deborah sang Belinda in a contemporary dance production of Purcell's “Dido and Aeneas” with Akademie für Alte Musik Berlin and Sasha Walz and Guests which travelled to Berlin, London, Luxemburg, Aarhus, Lyons, Barcelona, Buenos Aires and Rome.
A passionate exponent of vocal chamber music, Deborah has long collaborated on solo programmes. Her winter solstice programme with organist Jeremy Joseph “An evening hymn – Old English tunes for a long winter’s eve” premiered in the Radialsystem in Berlin was widely acclaimed. The two musicians subsequently formed a trio The BlueShed Collective with cornettist Lambert Colson to experiment with the implications of baroque improvisation and the idea of music as speech for music making today, moving into the area of free improvisation and spontaneous composition using text. They have performed together at the International Organ Week in Nürnberg and the Silbermann Tage Festival in Pfaffroda.
Conducting engagements include with the ensemble B’Rock in a new commission by composer Reza Namawar for the contemporary music festivals TRANSIT in Leuven and November Music in den Bosch.
She has given masterclasses and courses in Siena, Handel Akademie Karlsruhe, Royal College London, Boshoi Theatre and Tchaikowsky Conservatoire Moscow and at Geddai University in Tokyo.
Deborah York is Professor of Singing at the Universität der Künste in Berlin.
CAROLINE DOWDLE
Caroline Dowdle was born in South Africa and studied music at the University of Cape Town, where she was taught by the eminent chamber musician Lamar Crowson. There she qualified with a Masters in Music before moving to England to study at the Royal Northern College of Music as a solo pianist, under Renna Kellaway. She was awarded a fellowship in accompaniment at the college, a post which she held for 2 years, before moving to London to begin her career as a freelance pianist. For many years she was a staff pianist at the Britten Pears School in Aldeburgh, where she worked alongside many of the most eminent singers and instrumentalists of their generation, and studied many of the Britten operas.
Since then she has performed widely in Britain and in Europe, giving recitals with singers and instrumentalists at the South Bank and Wigmore Hall, London, in Paris for Radio France, in Vienna and in Moscow. Since the summer of 2008 she has run the Opera Academy at the Verbier International Music Festival. She has also performed in the Festival itself.
Recently she has appeared in numerous recitals with the esteemed baritone, Sir Thomas Allen.
She has worked for Opera de Rouen in 2009 and 2011 as “chef de chant” and as pianist in performances of Britten’s The Turn of the Screw and Albert Herring, both in Rouen and at the Theatre Comique, in Paris. She works regularly as a coach with the singers on the Jette Parker Young Artists Programme at the Royal Opera House, Covent Garden, and was appointed as a professor to the faculty of the Royal College of Music in 2015. She is the Musical Director of both the Samling Academy for young singers in the North-east of England, and the Academy of French Song and Opera, a course run in France each summer.
In 2016 Caroline worked as a vocal coach in Beijing with students from the Central Conservatoire there, and was also appointed as a regular guest.
Caroline Dowdle was born in South Africa and studied music at the University of Cape Town, where she was taught by the eminent chamber musician Lamar Crowson. There she qualified with a Masters in Music before moving to England to study at the Royal Northern College of Music as a solo pianist, under Renna Kellaway. She was awarded a fellowship in accompaniment at the college, a post which she held for 2 years, before moving to London to begin her career as a freelance pianist. For many years she was a staff pianist at the Britten Pears School in Aldeburgh, where she worked alongside many of the most eminent singers and instrumentalists of their generation, and studied many of the Britten operas.
Since then she has performed widely in Britain and in Europe, giving recitals with singers and instrumentalists at the South Bank and Wigmore Hall, London, in Paris for Radio France, in Vienna and in Moscow. Since the summer of 2008 she has run the Opera Academy at the Verbier International Music Festival. She has also performed in the Festival itself.
Recently she has appeared in numerous recitals with the esteemed baritone, Sir Thomas Allen.
She has worked for Opera de Rouen in 2009 and 2011 as “chef de chant” and as pianist in performances of Britten’s The Turn of the Screw and Albert Herring, both in Rouen and at the Theatre Comique, in Paris. She works regularly as a coach with the singers on the Jette Parker Young Artists Programme at the Royal Opera House, Covent Garden, and was appointed as a professor to the faculty of the Royal College of Music in 2015. She is the Musical Director of both the Samling Academy for young singers in the North-east of England, and the Academy of French Song and Opera, a course run in France each summer.
In 2016 Caroline worked as a vocal coach in Beijing with students from the Central Conservatoire there, and was also appointed as a regular guest.
JEREMY BINES
Jeremy Bines is the Chorus Director of the Deutsche Oper Berlin.
Belfast-born and raised in England, he studied music at Cambridge University and trained as a répétiteur at London’s National Opera Studio. He has worked all over Europe as a coach, répétiteur and conductor, and has repeatedly been engaged as a guest member of music staff at the English National Opera and Royal Opera. He was a regular guest coach at the Jette Parker Young Artists’ Programme at Covent Garden for over a decade before moving to Germany. He coached on the Russian première of Billy Budd in St Petersburg.
From 2007 to 2009, he was Chorus Master of the Royal Danish Opera in Copenhagen, and was subsequently the longest-serving Chorus Master in the history of Glyndebourne, where he was engaged until 2017. He worked as a regular assistant conductor to Vladimir Jurowski, both at Glyndebourne and with the London Philharmonic Orchestra. He conducted La bohème, Hänsel und Gretel and La traviata on the Glyndebourne Tour, and in 2012 jumped in at short notice to conduct a performance of La bohème with the LPO in the Glyndebourne Festival. He returned as a conductor in the Festival to conduct Peter Hall’s legendary production of A midsummer night’s dream in 2016.
His work as a chorus master has been a contributing factor to the success of such award-winning productions as Billy Budd, Die Meistersinger von Nürnberg, Saul and Hamlet in Glyndebourne, and Das Wunder der Heliane and Oceane at the Deutsche Oper Berlin. He has been nominated for an International Opera Award twice: for his work with the Glyndebourne Chorus in 2016, and the Chor der Deutschen Oper in 2020.
He once accidentally commissioned David Hockney’s first cupcake design.
Jeremy Bines is the Chorus Director of the Deutsche Oper Berlin.
Belfast-born and raised in England, he studied music at Cambridge University and trained as a répétiteur at London’s National Opera Studio. He has worked all over Europe as a coach, répétiteur and conductor, and has repeatedly been engaged as a guest member of music staff at the English National Opera and Royal Opera. He was a regular guest coach at the Jette Parker Young Artists’ Programme at Covent Garden for over a decade before moving to Germany. He coached on the Russian première of Billy Budd in St Petersburg.
From 2007 to 2009, he was Chorus Master of the Royal Danish Opera in Copenhagen, and was subsequently the longest-serving Chorus Master in the history of Glyndebourne, where he was engaged until 2017. He worked as a regular assistant conductor to Vladimir Jurowski, both at Glyndebourne and with the London Philharmonic Orchestra. He conducted La bohème, Hänsel und Gretel and La traviata on the Glyndebourne Tour, and in 2012 jumped in at short notice to conduct a performance of La bohème with the LPO in the Glyndebourne Festival. He returned as a conductor in the Festival to conduct Peter Hall’s legendary production of A midsummer night’s dream in 2016.
His work as a chorus master has been a contributing factor to the success of such award-winning productions as Billy Budd, Die Meistersinger von Nürnberg, Saul and Hamlet in Glyndebourne, and Das Wunder der Heliane and Oceane at the Deutsche Oper Berlin. He has been nominated for an International Opera Award twice: for his work with the Glyndebourne Chorus in 2016, and the Chor der Deutschen Oper in 2020.
He once accidentally commissioned David Hockney’s first cupcake design.
SUSAN EICHHORN YOUNG
Susan Eichhorn Young embodies all things voice: Chanteuse/Singer, Actor, Writer, Speaker, Voice Teacher, and Speaking Coach.
Canadian-born and NYC-based, her vocal versatility and its ability to live comfortably in many genres has carried her from the church to concert halls, opera and musical theatre stages, recording studios, and back to the intimacy of cabaret.
Raised in a theatrical and musical family, early piano virtuosity started with lessons at age 8. She went on to earn three ARCT diplomas (Piano Performance, Voice Performance, and Voice Pedagogy) from University of Toronto's Royal Conservatory of Music. She also holds a Bachelor of Music in Voice Performance from the University of Saskatchewan, and a Master of Music in Voice Performance and Literature from Western University, London.
Her versatility on stage has allowed her the privilege of creating operatic roles that include the Countess in Mozart’s La Nozze di Figaro, Fiordiligi in Cosi fan tutte, Musetta in Puccini’s La Boheme, the title role of Puccini’s Suor Angelica, among others; as well, she originated a role in the NYC-premiere of Alan Jaffe’s The Mary Shelley Opera.
Her music theatre, concert, and cabaret performances are numerous, and include works by Kurt Weill, Stephen Sondheim, Rodgers and Hart, Kander and Ebb, Gershwin, Cole Porter, and many more. She gave the world premiere of Modern Love Songs by American composer, Chester Biscardi, with Canadian pianist, Mark Payne. Steeped in the European cabaret tradition, her performances include German and French repertoire, as well as American Song. She has recorded and performed Schönberg's Brettl-Lieder with pianist/music director, Alan Johnson. Also, in this tradition, her debut album, Taking My Turn, is a collection of cabaret & theatre songs by Weill, Sondheim, Poulenc & William Bolcom. Recorded with music director and pianist Alan Johnson and produced by Grammy Award-winning tenor Thomas Young, Taking My Turn is available on iTunes and Spotify.
Susan's work as a voiceover artist can be heard on many promos and commercials, as well as the voice actor for 30+ audiobooks on Audible.
In addition to her performance career, Susan has worked as an Artistic Director, Stage Director and Vocal Consultant for various productions, recording studios, and talent agencies. Her passion for teaching (a legacy from her father) has allowed her a parallel path. Her private teaching, adjudicating, group workshops, and seminars have been developed throughout North America, Brazil, Europe and China. She has held long-term academic positions at Western University, Sarah Lawrence College, Moravian College, and CAP21, Tisch School of the Arts, NYU.
After a near fatal car accident in 2011, Susan took a brief hiatus from performing and teaching. However, in November of 2016, she premiered her most recent one-woman show, Why?, at The Laurie Beechman Theater to sold-out audiences and rave reviews. Online, her blog reaches a worldwide audience of over 300,000 viewers and growing!
Susan is married to tenor, Thomas Young. Her greatest accomplishment is being mother to a magnificent young woman and singer, Erin Elizabeth Eichhorn.
Susan Eichhorn Young embodies all things voice: Chanteuse/Singer, Actor, Writer, Speaker, Voice Teacher, and Speaking Coach.
Canadian-born and NYC-based, her vocal versatility and its ability to live comfortably in many genres has carried her from the church to concert halls, opera and musical theatre stages, recording studios, and back to the intimacy of cabaret.
Raised in a theatrical and musical family, early piano virtuosity started with lessons at age 8. She went on to earn three ARCT diplomas (Piano Performance, Voice Performance, and Voice Pedagogy) from University of Toronto's Royal Conservatory of Music. She also holds a Bachelor of Music in Voice Performance from the University of Saskatchewan, and a Master of Music in Voice Performance and Literature from Western University, London.
Her versatility on stage has allowed her the privilege of creating operatic roles that include the Countess in Mozart’s La Nozze di Figaro, Fiordiligi in Cosi fan tutte, Musetta in Puccini’s La Boheme, the title role of Puccini’s Suor Angelica, among others; as well, she originated a role in the NYC-premiere of Alan Jaffe’s The Mary Shelley Opera.
Her music theatre, concert, and cabaret performances are numerous, and include works by Kurt Weill, Stephen Sondheim, Rodgers and Hart, Kander and Ebb, Gershwin, Cole Porter, and many more. She gave the world premiere of Modern Love Songs by American composer, Chester Biscardi, with Canadian pianist, Mark Payne. Steeped in the European cabaret tradition, her performances include German and French repertoire, as well as American Song. She has recorded and performed Schönberg's Brettl-Lieder with pianist/music director, Alan Johnson. Also, in this tradition, her debut album, Taking My Turn, is a collection of cabaret & theatre songs by Weill, Sondheim, Poulenc & William Bolcom. Recorded with music director and pianist Alan Johnson and produced by Grammy Award-winning tenor Thomas Young, Taking My Turn is available on iTunes and Spotify.
Susan's work as a voiceover artist can be heard on many promos and commercials, as well as the voice actor for 30+ audiobooks on Audible.
In addition to her performance career, Susan has worked as an Artistic Director, Stage Director and Vocal Consultant for various productions, recording studios, and talent agencies. Her passion for teaching (a legacy from her father) has allowed her a parallel path. Her private teaching, adjudicating, group workshops, and seminars have been developed throughout North America, Brazil, Europe and China. She has held long-term academic positions at Western University, Sarah Lawrence College, Moravian College, and CAP21, Tisch School of the Arts, NYU.
After a near fatal car accident in 2011, Susan took a brief hiatus from performing and teaching. However, in November of 2016, she premiered her most recent one-woman show, Why?, at The Laurie Beechman Theater to sold-out audiences and rave reviews. Online, her blog reaches a worldwide audience of over 300,000 viewers and growing!
Susan is married to tenor, Thomas Young. Her greatest accomplishment is being mother to a magnificent young woman and singer, Erin Elizabeth Eichhorn.
PROF. BYRON KNUTSON
Byron Knutson studied piano, conducting, composition and acting in his hometown of Winnipeg, Canada, and in the United States. After completing the Artist Diploma in Opera Coaching at the University of Cincinnati College-Conservatory of Music, he was appointed Visiting Professor of Song Interpretation at Albion College in Michigan.
In 1999, Mr. Knutson moved to Germany, where until 2010 he worked in the opera houses in Kiel, Halle and Augsburg, conducting operatic repertoire from baroque to contemporary, including operetta, musicals and ballet.
In 2010, Mr. Knutson took over the musical direction of the young artist program at the Komische Oper Berlin. While at the KOB, Mr. Knutson conducted works by Handel, Mozart, Weill, Ginastera and a critically acclaimed production of Phlip Glass’ Les enfants terribles directed by Felix Seiler.
Mr. Knutson’s has worked with conductors such as Paolo Arrivabeni (Bellini’s La Straniera; Theater an der Wien), Friedemann Layer (Der Rosenkavalier) Johannes Kalitzke (World Premiere, Olga Neuwirth’s American Lulu), Patrick Lange (Rigoletto), Carl St. Clair (Aribert Reimann’s Lear), Sebastian Lang-Lessing (Der Rosenkavalier, National Center for the Performing Arts, Beijing), Christian Curnyn (Castor et Pollux), Lü Jia (Tannhäuser, Beijing). Mr. Knutson has also prepared the casts of Reimann’s Lear and DieGespenstersonate for productions at Theater an der Wien and in Tokyo.
Mr. Knutson frequently gives Masterclasses in North America, Europe and China.
In 2015 Mr. Knutson was appointed Professor of Operatic Studies at the Hanns Eisler Conservatory in Berlin. He is also currently music director of the Berliner Wagner Gruppe.
Byron Knutson studied piano, conducting, composition and acting in his hometown of Winnipeg, Canada, and in the United States. After completing the Artist Diploma in Opera Coaching at the University of Cincinnati College-Conservatory of Music, he was appointed Visiting Professor of Song Interpretation at Albion College in Michigan.
In 1999, Mr. Knutson moved to Germany, where until 2010 he worked in the opera houses in Kiel, Halle and Augsburg, conducting operatic repertoire from baroque to contemporary, including operetta, musicals and ballet.
In 2010, Mr. Knutson took over the musical direction of the young artist program at the Komische Oper Berlin. While at the KOB, Mr. Knutson conducted works by Handel, Mozart, Weill, Ginastera and a critically acclaimed production of Phlip Glass’ Les enfants terribles directed by Felix Seiler.
Mr. Knutson’s has worked with conductors such as Paolo Arrivabeni (Bellini’s La Straniera; Theater an der Wien), Friedemann Layer (Der Rosenkavalier) Johannes Kalitzke (World Premiere, Olga Neuwirth’s American Lulu), Patrick Lange (Rigoletto), Carl St. Clair (Aribert Reimann’s Lear), Sebastian Lang-Lessing (Der Rosenkavalier, National Center for the Performing Arts, Beijing), Christian Curnyn (Castor et Pollux), Lü Jia (Tannhäuser, Beijing). Mr. Knutson has also prepared the casts of Reimann’s Lear and DieGespenstersonate for productions at Theater an der Wien and in Tokyo.
Mr. Knutson frequently gives Masterclasses in North America, Europe and China.
In 2015 Mr. Knutson was appointed Professor of Operatic Studies at the Hanns Eisler Conservatory in Berlin. He is also currently music director of the Berliner Wagner Gruppe.
JOANNE HAYES BOZEMAN
Joanne Hayes Bozeman, voice teacher and co-author of Singing Through Change: Woman’s Voices in Midlife, Menopause and Beyond, recently retired after 26 years as a voice faculty member at Lawrence University’s Conservatory of Music in Wisconsin, U.S.. Her teaching career spans well over 40 years and she continues to maintain a private studio. A classically trained soprano, she performed frequently as a soloist and in recital, exploring a broad range of repertoire including opera, recital, oratorio, chamber music and musical theater. While continuing her teaching career, Ms. Bozeman is an active presenter on hormonal effects on women’s vocal transformation through life, with a special interest in the menopausal transition.
In Singing Through Change: Women’s Voices in Midlife, Menopause, and Beyond, Ms. Bozeman and co-authors Nancy Bos and Cate Frazier-Neely explore the lived experiences of over 50 female singers, conveying the fascinating and complex vocal and emotional journeys through and beyond the midlife hormonal shift. Written in accessible language, anchored in current research and vetted by voice and medical professionals, it speaks on behalf of singers from a number of genres and experience levels. Women will find themselves in the context of the stories and learn how and where to seek help if they need it. Singing teachers, choral directors and medical professionals will develop a holistic understanding of female singing voice, and the importance of enabling women to continue singing during a time of life which, for some, may present challenges.
Ms. Bozeman’s voice students have gone on to select graduate programs, young artist programs and singing careers; others hold positions as music educators, university-based voice teachers, and some have established careers as speech-language pathologists and singing voice specialists. In addition to studio voice in the university setting, she taught supporting courses including lyric dictions, basic voice science and acoustics, classical voice culture, and singing pedagogy for the general music classroom.
Ms. Bozeman has had a longstanding and keen interest in voice health and vocology. Her interest in the effects of hormones on the female adolescent and menopausal voice began decades ago. For a number of years, she served as voice trainer for a select choir of young women in the midst of adolescent voice maturation. In the university setting, she taught general and choral music educators about adolescent voice change of both genders. These interests formed the groundwork for her fascination with the female “second voice change”. However, it was Ms. Bozeman’s own journey through the menopausal transition and related, unexpected voice difficulties that spurred her research to understand the effects of changing reproductive hormones on the singing voice. Her experiences and research resulted in the article, “One Singer’s Experience with Perimenopause”, published in Classical Singer magazine in 2005.
As a younger woman, Ms. Bozeman became a certified childbirth and prenatal educator, helping expectant parents understand and prepare for the physical and emotional changes and demands of pregnancy, childbirth and early parenthood. Serving as a health educator in this setting equipped her for future teaching about voice health and for informing and supporting female singers if they encounter voice changes related to the menstrual cycle and menopause, pregnancy, breastfeeding and the “4th trimester”.
Ms. Bozeman is a member of the National Association of Teachers of Singing (NATS), the Pan American Vocology Association (PAVA), and the Voice and Speech Trainers Association (VASTA). She has presented on the topic of female hormones and voice for the Greater Milwaukee Chapter of the Voice Foundation, the South Florida Chapter of NATS, and the International Voice Teachers of Mix (IVTOM). Online interviews include the NATS Chat and Dr. Dan’s Voice Essentials. In the future, Ms. Bozeman will present at the NATS National Conference, the Acoustic Vocal Pedagogy Workshop at the New England Conservatory, PAVA’s International Conference, the Mix Singers Association Conference in Poland, and at the “Choice for Voice” National Conference of the British Voice Association (BVA).
Joanne Hayes Bozeman, voice teacher and co-author of Singing Through Change: Woman’s Voices in Midlife, Menopause and Beyond, recently retired after 26 years as a voice faculty member at Lawrence University’s Conservatory of Music in Wisconsin, U.S.. Her teaching career spans well over 40 years and she continues to maintain a private studio. A classically trained soprano, she performed frequently as a soloist and in recital, exploring a broad range of repertoire including opera, recital, oratorio, chamber music and musical theater. While continuing her teaching career, Ms. Bozeman is an active presenter on hormonal effects on women’s vocal transformation through life, with a special interest in the menopausal transition.
In Singing Through Change: Women’s Voices in Midlife, Menopause, and Beyond, Ms. Bozeman and co-authors Nancy Bos and Cate Frazier-Neely explore the lived experiences of over 50 female singers, conveying the fascinating and complex vocal and emotional journeys through and beyond the midlife hormonal shift. Written in accessible language, anchored in current research and vetted by voice and medical professionals, it speaks on behalf of singers from a number of genres and experience levels. Women will find themselves in the context of the stories and learn how and where to seek help if they need it. Singing teachers, choral directors and medical professionals will develop a holistic understanding of female singing voice, and the importance of enabling women to continue singing during a time of life which, for some, may present challenges.
Ms. Bozeman’s voice students have gone on to select graduate programs, young artist programs and singing careers; others hold positions as music educators, university-based voice teachers, and some have established careers as speech-language pathologists and singing voice specialists. In addition to studio voice in the university setting, she taught supporting courses including lyric dictions, basic voice science and acoustics, classical voice culture, and singing pedagogy for the general music classroom.
Ms. Bozeman has had a longstanding and keen interest in voice health and vocology. Her interest in the effects of hormones on the female adolescent and menopausal voice began decades ago. For a number of years, she served as voice trainer for a select choir of young women in the midst of adolescent voice maturation. In the university setting, she taught general and choral music educators about adolescent voice change of both genders. These interests formed the groundwork for her fascination with the female “second voice change”. However, it was Ms. Bozeman’s own journey through the menopausal transition and related, unexpected voice difficulties that spurred her research to understand the effects of changing reproductive hormones on the singing voice. Her experiences and research resulted in the article, “One Singer’s Experience with Perimenopause”, published in Classical Singer magazine in 2005.
As a younger woman, Ms. Bozeman became a certified childbirth and prenatal educator, helping expectant parents understand and prepare for the physical and emotional changes and demands of pregnancy, childbirth and early parenthood. Serving as a health educator in this setting equipped her for future teaching about voice health and for informing and supporting female singers if they encounter voice changes related to the menstrual cycle and menopause, pregnancy, breastfeeding and the “4th trimester”.
Ms. Bozeman is a member of the National Association of Teachers of Singing (NATS), the Pan American Vocology Association (PAVA), and the Voice and Speech Trainers Association (VASTA). She has presented on the topic of female hormones and voice for the Greater Milwaukee Chapter of the Voice Foundation, the South Florida Chapter of NATS, and the International Voice Teachers of Mix (IVTOM). Online interviews include the NATS Chat and Dr. Dan’s Voice Essentials. In the future, Ms. Bozeman will present at the NATS National Conference, the Acoustic Vocal Pedagogy Workshop at the New England Conservatory, PAVA’s International Conference, the Mix Singers Association Conference in Poland, and at the “Choice for Voice” National Conference of the British Voice Association (BVA).
CHRISTOPHER WHITE
Christopher White is Associate Head of Music (Studienleiter) at the Deutsche Oper Berlin, where he has been working as a pianist, coach and assistant conductor since 2014. Prior to that Christopher worked in the same capacity for the English National Opera, and also enjoys a freelance career at many of the great opera houses of the world, including the Royal Opera, Covent Garden, Glyndebourne Festival, Bayreuther Festspiele, Salzburger Festspiele, Oper Frankfurt and the Bavarian State Opera, Munich. As a soloist he has performed concertos by Beethoven and Rachmaninov with the London-based Orchestra of the City, and Saint-Saens at the Philharmonie, Berlin with the Berliner Ärtzteorchester.
His academic work, in London at the Royal Academy of Music, is based on the music of Gustav Mahler, whose complete songs he performed on the centenary of the composer’s death. His recording of Mahler’s Tenth Symphony remains available on the Divine Arts label.
Christopher White is Associate Head of Music (Studienleiter) at the Deutsche Oper Berlin, where he has been working as a pianist, coach and assistant conductor since 2014. Prior to that Christopher worked in the same capacity for the English National Opera, and also enjoys a freelance career at many of the great opera houses of the world, including the Royal Opera, Covent Garden, Glyndebourne Festival, Bayreuther Festspiele, Salzburger Festspiele, Oper Frankfurt and the Bavarian State Opera, Munich. As a soloist he has performed concertos by Beethoven and Rachmaninov with the London-based Orchestra of the City, and Saint-Saens at the Philharmonie, Berlin with the Berliner Ärtzteorchester.
His academic work, in London at the Royal Academy of Music, is based on the music of Gustav Mahler, whose complete songs he performed on the centenary of the composer’s death. His recording of Mahler’s Tenth Symphony remains available on the Divine Arts label.
REBEKAH ROTA
Rebekah Rota is a multi-faceted artist whose career encompasses performing, teaching, directing, and arts administration. Rebekah combines intellectual rigor with emotional connectivity in whatever she does, striving to fill Structure with Heart. After completing her Master’s and Doctorate studies at the University of Michigan, she embarked on the first stage of her professional journey as a performer.
She sang throughout Germany and the United States, bringing life to such great roles as Violetta in La Traviata (Verdi), Mimi in La Bohème (Puccini), Gretel in Hänsel und Gretel (Humperdinck), and Margarethe in Faust (Gounod), among others. She was consistently recognized for her ability to combine secure technique, beautiful singing, and moving interpretations. "Natural acting and deeply-felt singing… dreamy, soft high notes…" "Believable and moving… masterful coloratura." "Silvery high notes, sparkling coloratura, powerful in all registers and with great acting ability."
Invitations to teach and coach soon followed. In addition to maintaining a private studio, Rebekah has been invited to give workshops and master classes in the US (University of Michigan, Loyola Marymount University, Utah Valley University) and Germany (German Opera Experience, James Madison University study abroad, Berlin Opera Academy).
Her deep grounding in technique and powerful emotional connectivity support the student’s journey to use the voice as an instrument for communication. "Rebekah is an insightful and intuitive teacher who has the ability to recognize each student’s individual struggles. Not only is she an amazing technician, she believes in connecting your physical and emotional energy to everything you sing, making your experience extremely personal." "Rebekah has one goal as a teacher: to achieve a natural sound for an authentic, honest interpretation that serves the music. Every second of her pedagogical and technical work is focused on this goal – providing both consistency and freedom.”
While still a student at the University of Michigan, Rebekah was selected to receive a specially tailored scholarship in stage direction. Bringing perspective from both “sides” of the stage, Rebekah’s unique vision couples depth of understanding with breadth of emotional connection. She was soon selected to direct various productions at the University (Davidson’s The Fourth Wise Man; Mozart’s Cosi fan Tutte) and received internships and assistant stage director positions with such companies as Opera Grand Rapids, Pine Mountain Music Festival, Indianapolis Opera, and the Los Angeles Opera.
After focusing exclusively on her singing career for a number of years, Rebekah returned to stage direction in 2014 with Henry Purcell’s Dido and Aeneas at the Mittelsächsische Theater. The following year, her staging of the mono-opera The Diary of Anne Frank by Grigor Frid at the Mecklenburgischen Landestheater Neustrelitz received national attention. The production was selected for the Polish language premiere of the opera at the International Penderecki Festival in Poland in September 2016 and it was revived in June 2017 in Krakow. She will be directing again this fall at the Landesbuehnen Sachsen; Peter Lund’s children’s opera Der Frosch muss Weg. "That this was all accomplished so unpretentiously, technically brilliantly, musically and dramatically convincingly, is in large part the merit of stage director Rebekah Rota from Canada {sic}. Under her direction, something grand that touches us all, “tua res agitur”, was coaxed out of polyphonic brevity and received resounding applause at the premiere." "This year - Opera Underground and the Polish premiere of the operatic monodrama The Diary of Anne Frank by Grigor Frid, directed by American Rebecca {sic} Rota. Sensitive, delicate, with girlish charm - very movingly designed to touch, not "hammer", something the director wanted to avoid.”
Fall 2017 saw the beginning of yet another professional chapter for Rebekah as she accepted the position of Referentin des Operndirektors at the Landesbuehnen Sachsen in Dresden. Her long experience as a singer, teacher, and director inform her new duties as artistic administrator as she helps to manage daily operations, long-term planning and casting, and strategic planning at the theater. Outreach and Education are also important areas for her and she has initiated several in-school programs to introduce school children to the history and skill of classical singing.
From April 2020, Rebekah will join Staatstheater Karlsruhe as the company's Stellvertretende Operndirektorin (Deputy Head of Opera).
Rebekah Rota is a multi-faceted artist whose career encompasses performing, teaching, directing, and arts administration. Rebekah combines intellectual rigor with emotional connectivity in whatever she does, striving to fill Structure with Heart. After completing her Master’s and Doctorate studies at the University of Michigan, she embarked on the first stage of her professional journey as a performer.
She sang throughout Germany and the United States, bringing life to such great roles as Violetta in La Traviata (Verdi), Mimi in La Bohème (Puccini), Gretel in Hänsel und Gretel (Humperdinck), and Margarethe in Faust (Gounod), among others. She was consistently recognized for her ability to combine secure technique, beautiful singing, and moving interpretations. "Natural acting and deeply-felt singing… dreamy, soft high notes…" "Believable and moving… masterful coloratura." "Silvery high notes, sparkling coloratura, powerful in all registers and with great acting ability."
Invitations to teach and coach soon followed. In addition to maintaining a private studio, Rebekah has been invited to give workshops and master classes in the US (University of Michigan, Loyola Marymount University, Utah Valley University) and Germany (German Opera Experience, James Madison University study abroad, Berlin Opera Academy).
Her deep grounding in technique and powerful emotional connectivity support the student’s journey to use the voice as an instrument for communication. "Rebekah is an insightful and intuitive teacher who has the ability to recognize each student’s individual struggles. Not only is she an amazing technician, she believes in connecting your physical and emotional energy to everything you sing, making your experience extremely personal." "Rebekah has one goal as a teacher: to achieve a natural sound for an authentic, honest interpretation that serves the music. Every second of her pedagogical and technical work is focused on this goal – providing both consistency and freedom.”
While still a student at the University of Michigan, Rebekah was selected to receive a specially tailored scholarship in stage direction. Bringing perspective from both “sides” of the stage, Rebekah’s unique vision couples depth of understanding with breadth of emotional connection. She was soon selected to direct various productions at the University (Davidson’s The Fourth Wise Man; Mozart’s Cosi fan Tutte) and received internships and assistant stage director positions with such companies as Opera Grand Rapids, Pine Mountain Music Festival, Indianapolis Opera, and the Los Angeles Opera.
After focusing exclusively on her singing career for a number of years, Rebekah returned to stage direction in 2014 with Henry Purcell’s Dido and Aeneas at the Mittelsächsische Theater. The following year, her staging of the mono-opera The Diary of Anne Frank by Grigor Frid at the Mecklenburgischen Landestheater Neustrelitz received national attention. The production was selected for the Polish language premiere of the opera at the International Penderecki Festival in Poland in September 2016 and it was revived in June 2017 in Krakow. She will be directing again this fall at the Landesbuehnen Sachsen; Peter Lund’s children’s opera Der Frosch muss Weg. "That this was all accomplished so unpretentiously, technically brilliantly, musically and dramatically convincingly, is in large part the merit of stage director Rebekah Rota from Canada {sic}. Under her direction, something grand that touches us all, “tua res agitur”, was coaxed out of polyphonic brevity and received resounding applause at the premiere." "This year - Opera Underground and the Polish premiere of the operatic monodrama The Diary of Anne Frank by Grigor Frid, directed by American Rebecca {sic} Rota. Sensitive, delicate, with girlish charm - very movingly designed to touch, not "hammer", something the director wanted to avoid.”
Fall 2017 saw the beginning of yet another professional chapter for Rebekah as she accepted the position of Referentin des Operndirektors at the Landesbuehnen Sachsen in Dresden. Her long experience as a singer, teacher, and director inform her new duties as artistic administrator as she helps to manage daily operations, long-term planning and casting, and strategic planning at the theater. Outreach and Education are also important areas for her and she has initiated several in-school programs to introduce school children to the history and skill of classical singing.
From April 2020, Rebekah will join Staatstheater Karlsruhe as the company's Stellvertretende Operndirektorin (Deputy Head of Opera).
DOUGLAS BROWN
Douglas Brown was born in London. After graduating from Cambridge University he was active as a pianist, composer and lecturer in Coventry. From 1979 he worked as a repetiteur and later as chorus master in Pretoria, South Africa. In 1983 he moved to Germany, working first for two seasons at the Stadttheater Bremerhaven and then until 2016 at the Deutsche Oper Berlin. Since then he as continued to work freelance as a coach, conductor, composer and arranger.
Douglas Brown was born in London. After graduating from Cambridge University he was active as a pianist, composer and lecturer in Coventry. From 1979 he worked as a repetiteur and later as chorus master in Pretoria, South Africa. In 1983 he moved to Germany, working first for two seasons at the Stadttheater Bremerhaven and then until 2016 at the Deutsche Oper Berlin. Since then he as continued to work freelance as a coach, conductor, composer and arranger.
FELICE VENANZONI
Felice Venanzoni, born in Italy, studied piano at the conservatory in Pesaro. His studies began with Lorenzo Bavaj, and he later went on to study with Sergio Fiorentino, Viktor Merzhanov, and Pier Narciso Masi.
Mr. Venanzoni began working as a musical coach in 1994, in his home town, at the Macerata Opera Festival. From there he went on to work for AsLiCo in Milan, and accompanied Master Classes for Leyla Gencer, Renata Scotto, Rockwell Blake, and Edoardo Müller. He also participated in opera productions in Como, Brescia, Bergamo, Novara, Pavia, and Salerno.
Mr. Venanzoni has worked at Oper Frankfurt since 1999. He began his work there as a coach, but in 2002 he took on the responsibilities of Director of Musical Studies. While in Frankfurt he has also enjoyed successes as conductor for Monteverdi’s L’incoronazione di Poppea and Orfeo (2005), Il ballo delle ingrate and Il Combattimento di Tancredi e Clorinda (2006), Händel’s Agrippina (2006), Il ritorno di Ulisse in patria (2007), Ariodante (2007), Almeida’s La Giuditta (2010), Vivaldi’s Orlando furioso (2010 and 2013), and Händel’s Teseo (2012).
Dresden’s Semperoper engaged Mr. Venanzoni to conduct two Intermezzi for their project “Rediscovery of 18th Century Baroque Opera”, La Dirindina (2011-2012) by G. Battista Martini, and Domenico Sarro’s Dorina e Nibbio (2012-2013). In 2013 he opened the season conducting Purcell’s King Arthur, a co-production between Dresden’s State Theater and the Semperoper, and in 2015 he conducted the world premiere of Lucia Ronchetti’s Mise an abyme, which is based on texts from Metastasio.
Mr. Venanzoni has also participated in the Baroque Festival, “Winter in Schwetzingen”, where he conducted Jommelli’s Fetonte (2014), Zingarelli’s Giulietta e Romeo (2016), and Porpora’s Mitridate (2017). He has also participated in the Salzburg Festspiel for Claus Guth’s production of Don Giovanni (2008, 2010, 2011) as Musical Assistant and Cembalist under the batons of Bertrand de Billy (’08) and Yannick Nézet-Séguin (’10, ’11).
Over the course of the last several years Mr. Venanzoni has had the opportunity to collaborate as Musical Assistant and playing continuo on projects with Jean-Christoph Spinosi and his Ensemble Matheus. These projects include opera productions and concerts in Nancy, Madrid, Dortmund, Beaune, Versailles, Quebec City, New York’s Carnegie Hall, Moscow’s Tchaikovsky Hall, Theater an der Wien, and in Paris at the Theatre du Chatelet and the Champs-Elyses. He returned to the Salzburg Festspiel in 2014 as Cembalist for La Cenerentola starring Cecilia Bartoli. In that same year he took the podium of the Ensemble Matheus for the first time to conduct Händel’s Xerxes in Stockholm.
At the Ruhrtriennale in 2016, Mr. Venanzoni was Musical Assistant to René Jacobs for Gluck’s Alceste.
During the 2017/2018 season Mr. Venanzoni was Guest Cembalist at the Berlin State Opera where he worked with Berlin’s Academy for Early Music, under the direction of Diego Fasolis, for the production of Monteverdi’s L’incoronazione di Poppea.
In addition to these engagements, Mr. Venanzoni has held a teaching position in Recitative Presentation at the Frankfurt University of Music and Performing Arts since 2009. Opera studio programs and festivals continually engage him to come and coach their young singers. It is in this vein that he has directed Master Classes and projects for the Opera Studio in Strasbourg, and has worked as one of the docents for the Mediterranean Opera Studio in Sicily. Mr. Venanzoni has been responsible for the artistic development of the Opera Studio at Oper Frankfurt since 2017.
Felice Venanzoni, born in Italy, studied piano at the conservatory in Pesaro. His studies began with Lorenzo Bavaj, and he later went on to study with Sergio Fiorentino, Viktor Merzhanov, and Pier Narciso Masi.
Mr. Venanzoni began working as a musical coach in 1994, in his home town, at the Macerata Opera Festival. From there he went on to work for AsLiCo in Milan, and accompanied Master Classes for Leyla Gencer, Renata Scotto, Rockwell Blake, and Edoardo Müller. He also participated in opera productions in Como, Brescia, Bergamo, Novara, Pavia, and Salerno.
Mr. Venanzoni has worked at Oper Frankfurt since 1999. He began his work there as a coach, but in 2002 he took on the responsibilities of Director of Musical Studies. While in Frankfurt he has also enjoyed successes as conductor for Monteverdi’s L’incoronazione di Poppea and Orfeo (2005), Il ballo delle ingrate and Il Combattimento di Tancredi e Clorinda (2006), Händel’s Agrippina (2006), Il ritorno di Ulisse in patria (2007), Ariodante (2007), Almeida’s La Giuditta (2010), Vivaldi’s Orlando furioso (2010 and 2013), and Händel’s Teseo (2012).
Dresden’s Semperoper engaged Mr. Venanzoni to conduct two Intermezzi for their project “Rediscovery of 18th Century Baroque Opera”, La Dirindina (2011-2012) by G. Battista Martini, and Domenico Sarro’s Dorina e Nibbio (2012-2013). In 2013 he opened the season conducting Purcell’s King Arthur, a co-production between Dresden’s State Theater and the Semperoper, and in 2015 he conducted the world premiere of Lucia Ronchetti’s Mise an abyme, which is based on texts from Metastasio.
Mr. Venanzoni has also participated in the Baroque Festival, “Winter in Schwetzingen”, where he conducted Jommelli’s Fetonte (2014), Zingarelli’s Giulietta e Romeo (2016), and Porpora’s Mitridate (2017). He has also participated in the Salzburg Festspiel for Claus Guth’s production of Don Giovanni (2008, 2010, 2011) as Musical Assistant and Cembalist under the batons of Bertrand de Billy (’08) and Yannick Nézet-Séguin (’10, ’11).
Over the course of the last several years Mr. Venanzoni has had the opportunity to collaborate as Musical Assistant and playing continuo on projects with Jean-Christoph Spinosi and his Ensemble Matheus. These projects include opera productions and concerts in Nancy, Madrid, Dortmund, Beaune, Versailles, Quebec City, New York’s Carnegie Hall, Moscow’s Tchaikovsky Hall, Theater an der Wien, and in Paris at the Theatre du Chatelet and the Champs-Elyses. He returned to the Salzburg Festspiel in 2014 as Cembalist for La Cenerentola starring Cecilia Bartoli. In that same year he took the podium of the Ensemble Matheus for the first time to conduct Händel’s Xerxes in Stockholm.
At the Ruhrtriennale in 2016, Mr. Venanzoni was Musical Assistant to René Jacobs for Gluck’s Alceste.
During the 2017/2018 season Mr. Venanzoni was Guest Cembalist at the Berlin State Opera where he worked with Berlin’s Academy for Early Music, under the direction of Diego Fasolis, for the production of Monteverdi’s L’incoronazione di Poppea.
In addition to these engagements, Mr. Venanzoni has held a teaching position in Recitative Presentation at the Frankfurt University of Music and Performing Arts since 2009. Opera studio programs and festivals continually engage him to come and coach their young singers. It is in this vein that he has directed Master Classes and projects for the Opera Studio in Strasbourg, and has worked as one of the docents for the Mediterranean Opera Studio in Sicily. Mr. Venanzoni has been responsible for the artistic development of the Opera Studio at Oper Frankfurt since 2017.
MARY KELLY
Mary is an actor and a playwright. She graduated from The Gaiety School of Acting, Dublin, in 2002. Five of her plays have been produced, two of which are published - Unravelling the Ribbon (Nick Hern Books, London) and Two for a Girl (The Stinging Fly Press, Dublin). Unravelling The Ribbon toured Ireland in 2008, and had its U.S. premiere in 2010 with Tennessee Women’s Theater Project.
Mary’s theatre work includes; Christine Linde in A Doll’s House (Alan Stanford, Second Age Th. Co. Ireland), Lydia, in All My Sons (Robin Lefevre, The Gate Theatre). The Little Mermaid World Tour (Big-Telly Th. Co.) TV and film include Parked with Colm Meaney (Ripple world Pictures), Fran (Setanta and TV3) and The Clinic and Fair City (RTE). Radio includes The Hit List with Brendan Gleeson, written and directed by John Boorman, and Mayday, written and directed by Veronica Coburn.
Mary has been based in Berlin for eight years, in which time she has been commissioned and written “The Scarlet Web” for Big-Telly Theatre Company (Northern Ireland for Irish and British Tour) and has performed regularly at English Theatre Berlin- including Full Irish, Inkblot Berlin, and in English Theatre’s original production of Isaac’s Eye and its subsequent remounts. She played multiple characters in BERT's (Berlin English Repertory Theatre Company) A Christmas Carol and has done three remounts of Two for a Girl as a one woman show at English Theatre Berlin, Frankfurt International Theatre and as part of CRAW Irish Arts Fest Berlin. Mary works for The Opera Stage and Opera Programs Berlin as a Stage Director and acting couch and is co-founder of M&M Creative – which helps companies and individuals develop creative expression. This summer she will direct Das Rheingold at Stage Factory Steglitz for Opera Programs Berlin. Mary is very much looking forward to playing Alma with this incredible ensemble.
Mary is an actor and a playwright. She graduated from The Gaiety School of Acting, Dublin, in 2002. Five of her plays have been produced, two of which are published - Unravelling the Ribbon (Nick Hern Books, London) and Two for a Girl (The Stinging Fly Press, Dublin). Unravelling The Ribbon toured Ireland in 2008, and had its U.S. premiere in 2010 with Tennessee Women’s Theater Project.
Mary’s theatre work includes; Christine Linde in A Doll’s House (Alan Stanford, Second Age Th. Co. Ireland), Lydia, in All My Sons (Robin Lefevre, The Gate Theatre). The Little Mermaid World Tour (Big-Telly Th. Co.) TV and film include Parked with Colm Meaney (Ripple world Pictures), Fran (Setanta and TV3) and The Clinic and Fair City (RTE). Radio includes The Hit List with Brendan Gleeson, written and directed by John Boorman, and Mayday, written and directed by Veronica Coburn.
Mary has been based in Berlin for eight years, in which time she has been commissioned and written “The Scarlet Web” for Big-Telly Theatre Company (Northern Ireland for Irish and British Tour) and has performed regularly at English Theatre Berlin- including Full Irish, Inkblot Berlin, and in English Theatre’s original production of Isaac’s Eye and its subsequent remounts. She played multiple characters in BERT's (Berlin English Repertory Theatre Company) A Christmas Carol and has done three remounts of Two for a Girl as a one woman show at English Theatre Berlin, Frankfurt International Theatre and as part of CRAW Irish Arts Fest Berlin. Mary works for The Opera Stage and Opera Programs Berlin as a Stage Director and acting couch and is co-founder of M&M Creative – which helps companies and individuals develop creative expression. This summer she will direct Das Rheingold at Stage Factory Steglitz for Opera Programs Berlin. Mary is very much looking forward to playing Alma with this incredible ensemble.
STEPHAN REINEKE
Stephan studied law, musicology and cultural management at the universities in Bayreuth, Mainz, Cologne and Berlin. After early lessons in piano, he became a member of a chorus working with conductors such as Sergiu Celibidache, Sylvain Cambreling and Michael Gielen and orchestras such as the Munich Philharmonic and the SWR Symphony Orchestra. He gained valuable experience in the artistic administration of Komische Oper Berlin, as assistant to the Director of the Rundfunkchor Berlin and as personal assistant to the Intendant of Dortmund Opera. In addition, he was also Managing President of a non-profit foundation in Berlin supporting young and talented artists. Stephan was a member of the jury of the European Singing Competition Debut and gives lectures at the Berlin Summer University of the Arts. He joined TACT in 2012.
Stephan studied law, musicology and cultural management at the universities in Bayreuth, Mainz, Cologne and Berlin. After early lessons in piano, he became a member of a chorus working with conductors such as Sergiu Celibidache, Sylvain Cambreling and Michael Gielen and orchestras such as the Munich Philharmonic and the SWR Symphony Orchestra. He gained valuable experience in the artistic administration of Komische Oper Berlin, as assistant to the Director of the Rundfunkchor Berlin and as personal assistant to the Intendant of Dortmund Opera. In addition, he was also Managing President of a non-profit foundation in Berlin supporting young and talented artists. Stephan was a member of the jury of the European Singing Competition Debut and gives lectures at the Berlin Summer University of the Arts. He joined TACT in 2012.
CAROL MASTRODOMENICO
Carol Mastrodomenico maintains an active schedule as a guest soloist with choruses, orchestras and other ensembles. She excels in the interpretation of oratorio, and has appeared recently in Poulenc’s Gloria, Beethoven’s Mass in C and Ninth Symphony, Brahms’ Requiem, Haydn’s Lord Nelson Mass, Mozart’s Coronation Mass and Requiem, Mahler’s Second Symphony, Mendelssohn’s Psalm 42, Handel’s Messiah, Vivaldi’s Gloria, and Fauré’s Requiem.
Ms. Mastrodomenico is an accomplished recitalist, and has recently performed programs ranging from premieres of contemporary music to cabaret programs involving interaction with the audience. She recently toured England with her production of John Morrison’s Jane Austin’s History of England singing the role of Emce. She premiered John McDonald’s Put this in your Pipe and Speech Made by Music with the Essex Chamber Players, and premiered Ellen Bender’s Five Emily Dickinson Songs during New England Conservatory’s Contemporary Festival. Other noted composers she has worked with include Robert DiDomenica and David Leisner. Ms. Mastrodomenico has a great love for Spanish Repertoire, and enjoys programing Spanish and particularly Argentinian songs to introduce the repertoire to her recital audiences.
A champion of vocal chamber music, she has worked with noted musicians premiering new works at contemporary festivals sponsored by BMOP and composer groups at Tufts University and Longy School of Music of Bard College. She has been invited to perform at the Tanglewood Music Center, Jordan Hall, Faneuil Hall, the Warebrook Contemporary Music Festival, the Boston Vocal Artists Series, the 1794 Meeting House concert Series in New Salem, and the Music at Noon Concert Series at the Swedenborg Chapel.
Ms. Mastrodomenico is the stage director of both the Tufts University Opera Ensemble and the Longy School of Music of Bard College’s Opera Theater at Longy. Recent productions she has directed include Le Nozze di Figaro, Der Zwerg, L’amico Fritz, Gianni Schicchi, Three Sisters who are not Sisters, Three Penny Opera, Dido and Aeneas, Old Maid and the Thief, Amelia Goes to the Ball, Riders to the Sea, Gallantry, The Telephone and Doctor Miracle. Ms. Mastrodomenico is a passionate advocate for newly composed works. With the Tufts Opera Ensemble, she commissioned and directed the world premieres of Knave of Hearts by Vartan Aghababian in 2013 and No Onions, nor Garlic by Thomas Stumpf in 2014. With the Longy Opera Workshop, she commissioned and directed the world premiere of Jane Austen’s History of England by John Morrison in 2014. It is her hope to commission a new opera work every year.
Ms. Mastrodomenico is just as passionate about vocal pedagogy and teaching voice. She has participated in panel discussions by the Boston NATS (National Association of Teachers of Singing) Chapter on the different elements of "Teaching Men to Sing", and was invited by the Western Massachusetts NATS chapter to give a solo presentation on Teaching Men. Her master classes at the Classical Singer Convention, Regional NATS workshops and area Colleges are widely attended. At her invitation, renowned pedagogue Ken Bozeman spoke in the Boston area about the Pedagogical Applications of Vocal Acoustics for teaching voice. She developed and annually taught a vocal curriculum for string performers at the Heifetz International Summer Institute in Staunton, Virginia, US.
Ms. Mastrodomenico’s students can be heard singing throughout the United States, Europe, and South America. They have been accepted into graduate and undergraduate programs at Julliard, Manhattan School of Music, New England Conservatory of Music, Eastman School of Music, University of Colorado at Boulder, University of Texas at Austin, University of North Texas, Cleveland Institute of Music, University of Miami, Frost School of Music, Michigan State University, University of Maryland at College Park, Ithaca College, Guild Hall and The Royal Academy of Music in London. Her singers regularly attend young artist programs at Houston Grand Opera Outreach Program, Central City, Berlin Song Festival, Edinburgh Music Festival and Halifax Opera Festival.
Ms. Mastrodomenico received her Master of Music degrees in Vocal Performance and Vocal Pedagogy at New England Conservatory of Music. She is on the voice faculties of Longy School of Music of Bard College and Tufts University.
Carol Mastrodomenico maintains an active schedule as a guest soloist with choruses, orchestras and other ensembles. She excels in the interpretation of oratorio, and has appeared recently in Poulenc’s Gloria, Beethoven’s Mass in C and Ninth Symphony, Brahms’ Requiem, Haydn’s Lord Nelson Mass, Mozart’s Coronation Mass and Requiem, Mahler’s Second Symphony, Mendelssohn’s Psalm 42, Handel’s Messiah, Vivaldi’s Gloria, and Fauré’s Requiem.
Ms. Mastrodomenico is an accomplished recitalist, and has recently performed programs ranging from premieres of contemporary music to cabaret programs involving interaction with the audience. She recently toured England with her production of John Morrison’s Jane Austin’s History of England singing the role of Emce. She premiered John McDonald’s Put this in your Pipe and Speech Made by Music with the Essex Chamber Players, and premiered Ellen Bender’s Five Emily Dickinson Songs during New England Conservatory’s Contemporary Festival. Other noted composers she has worked with include Robert DiDomenica and David Leisner. Ms. Mastrodomenico has a great love for Spanish Repertoire, and enjoys programing Spanish and particularly Argentinian songs to introduce the repertoire to her recital audiences.
A champion of vocal chamber music, she has worked with noted musicians premiering new works at contemporary festivals sponsored by BMOP and composer groups at Tufts University and Longy School of Music of Bard College. She has been invited to perform at the Tanglewood Music Center, Jordan Hall, Faneuil Hall, the Warebrook Contemporary Music Festival, the Boston Vocal Artists Series, the 1794 Meeting House concert Series in New Salem, and the Music at Noon Concert Series at the Swedenborg Chapel.
Ms. Mastrodomenico is the stage director of both the Tufts University Opera Ensemble and the Longy School of Music of Bard College’s Opera Theater at Longy. Recent productions she has directed include Le Nozze di Figaro, Der Zwerg, L’amico Fritz, Gianni Schicchi, Three Sisters who are not Sisters, Three Penny Opera, Dido and Aeneas, Old Maid and the Thief, Amelia Goes to the Ball, Riders to the Sea, Gallantry, The Telephone and Doctor Miracle. Ms. Mastrodomenico is a passionate advocate for newly composed works. With the Tufts Opera Ensemble, she commissioned and directed the world premieres of Knave of Hearts by Vartan Aghababian in 2013 and No Onions, nor Garlic by Thomas Stumpf in 2014. With the Longy Opera Workshop, she commissioned and directed the world premiere of Jane Austen’s History of England by John Morrison in 2014. It is her hope to commission a new opera work every year.
Ms. Mastrodomenico is just as passionate about vocal pedagogy and teaching voice. She has participated in panel discussions by the Boston NATS (National Association of Teachers of Singing) Chapter on the different elements of "Teaching Men to Sing", and was invited by the Western Massachusetts NATS chapter to give a solo presentation on Teaching Men. Her master classes at the Classical Singer Convention, Regional NATS workshops and area Colleges are widely attended. At her invitation, renowned pedagogue Ken Bozeman spoke in the Boston area about the Pedagogical Applications of Vocal Acoustics for teaching voice. She developed and annually taught a vocal curriculum for string performers at the Heifetz International Summer Institute in Staunton, Virginia, US.
Ms. Mastrodomenico’s students can be heard singing throughout the United States, Europe, and South America. They have been accepted into graduate and undergraduate programs at Julliard, Manhattan School of Music, New England Conservatory of Music, Eastman School of Music, University of Colorado at Boulder, University of Texas at Austin, University of North Texas, Cleveland Institute of Music, University of Miami, Frost School of Music, Michigan State University, University of Maryland at College Park, Ithaca College, Guild Hall and The Royal Academy of Music in London. Her singers regularly attend young artist programs at Houston Grand Opera Outreach Program, Central City, Berlin Song Festival, Edinburgh Music Festival and Halifax Opera Festival.
Ms. Mastrodomenico received her Master of Music degrees in Vocal Performance and Vocal Pedagogy at New England Conservatory of Music. She is on the voice faculties of Longy School of Music of Bard College and Tufts University.
SARAH WHITTEN
Voice and movement expert, Sarah Whitten focuses on whole body wellness and function for singers. Her work is built on the concept of Vocal Interdependence, recognizing that the voice is influenced by every other system of the body and acknowledging that vocal technique alone cannot solve every issue. She pulls from her background as a professional singer and voice teacher as well as certifications and studies in a variety of movement modalities including yoga, yoga as therapy and restorative exercise. Using principles of biomechanics, research-backed movement and pain science, as well as a hefty dose of intuition, she works with singers’ bodies to resolve physical issues and find their optimal sound. She holds an MA in Vocal Pedagogy, and MM in Vocal Performance both from The Ohio State University. She has presented and worked with singers and voice teachers at National and Regional NATS conferences, New England Conservatory, Boston Conservatory, Walnut Hill School, and numerous other schools and colleges in addition to public workshops and courses both in person and online. To connect and learn more about her work visit www.sarahwhitten.com
Voice and movement expert, Sarah Whitten focuses on whole body wellness and function for singers. Her work is built on the concept of Vocal Interdependence, recognizing that the voice is influenced by every other system of the body and acknowledging that vocal technique alone cannot solve every issue. She pulls from her background as a professional singer and voice teacher as well as certifications and studies in a variety of movement modalities including yoga, yoga as therapy and restorative exercise. Using principles of biomechanics, research-backed movement and pain science, as well as a hefty dose of intuition, she works with singers’ bodies to resolve physical issues and find their optimal sound. She holds an MA in Vocal Pedagogy, and MM in Vocal Performance both from The Ohio State University. She has presented and worked with singers and voice teachers at National and Regional NATS conferences, New England Conservatory, Boston Conservatory, Walnut Hill School, and numerous other schools and colleges in addition to public workshops and courses both in person and online. To connect and learn more about her work visit www.sarahwhitten.com
ANASTASIA NIKOLOV
Soprano Anastasia Nikolov started her musical training at the age of 5, studying piano. She was a member of the Bulgarian National Theater Youth Ensemble, where she was cast in numerous main stage and touring productions. Her training at the National Theatre included acting, improvisation, Latin and folk dance. Other musical studies also included percussion and classical guitar.
Ms. Nikolov commenced her vocal training in Bulgaria and continued it at the Longy School of Music (Cambridge, Massachusetts) as a recipient of the Janet Irving Scholarship for Vocal Studies. During the 2003-2004 season she as a member of the Central Florida Lyric Opera Young Artists Program and was invited to return as a main stage Young Resident Artist with the company for the 2004-2005 season.
Opera roles include: Woglinde in Das Rheingold (Berliner Wagner Gruppe); Elsa in Lohengrin (Berliner Wagner Gruppe); Ariadne in Ariadne auf Naxos (Edinburgh Fringe Festival), Violetta in La Traviata (Central Florida Lyric Opera; New London Opera Players, Fine Arts Chorale & Orchestra) Governess in Turn of the Screw (Opera Seria), Donna Anna in Don Giovanni (Opera Seria, Edinburgh Fringe Festival), Nedda in Pagliacci (Central Florida Lyric Opera), Micaëla and Frasquita in Carmen, under the directorship of late legendary soprano Licia Albanese (Central Florida Lyric Opera); Contessa in Le Nozze di Figaro (Central Florida Lyric Opera), Serpina in La serva padrona (Berliner Philharmonie Kammermusiksaal, concertante).
Ms. Nikolov is a champion of new music. She has premiered works by prominent American and British composers such as Vartan Aghababian, Michael Djupstrom, Victoria Ellis, Heather Gilligan and Eric Sawyer; some of these works were written and dedicated to her. In addition to numerous song cycles and solo concert works with orchestra, she also created the role of Anna von Mildenburg in the new piece Geboren Alma Schindler (Berliner Opera Verein); the role of Member of the Chamber in the premiere performance of Eric Sawyer's Our American Cousin (Composers in Red Sneakers); and the title role in the world premiere of Victoria Ellis' opera Darling (One of Us Foundation).
Solo concert engagements include J.S. Bach Jauchzet Gott in alles Landen (Berliner Philharmonie Kammermusiksaal), Mein Herze schwimmt im Blut (Old North Concert Series), Magnificat in D (Fine Arts Chorale), Missa brevis in A (Fine Arts Chorale); Mozart's Requiem (Fine Arts Chorale), Missa Brevis in F (Sommerville Choir), Exultate Jubilate (Berliner Philharmonie Kammermusiksaal), Vesperae solennes de confessore (Somerville Choir); Händel's Messiah (College Park Players), L'Allego, il Pensieroso, ed il Moderato (Berlin Classic Players, Berliner Philharmonie); Pergolesi Stabat mater (Berliner Philharmonie Kammermusiksaal); Schubert Mass in G (Highnam Choir and Orchestra); Dubois Seven Last Words of Christ (College Park Players); Vivaldi Gloria (Old North Concert Series); Vaughan Williams Dona nobis pacem (Tufts University Orchestra, cover); Mendelssohn's Midsummer Night's Dream (Longy Chamber Orchestra); Berg Sieben frühe Lieder (Kirchberg Chamber Music Festival); Mahler Rückert-Lieder (Berlin Song Festival); Strauss Vier letzte Lieder (Berlin Song Festival, Kirchberg Chamber Music Festival, Walbrook Music Trust, Galerieforum am Meer); Villa-Lobos Bachianas Brasilieras No.5 (Kirchberg Chamber Music Festival) among others.
As a concert artist, Ms. Nikolov has also given numerous concert recitals in the United States and in Europe.
Soprano Anastasia Nikolov started her musical training at the age of 5, studying piano. She was a member of the Bulgarian National Theater Youth Ensemble, where she was cast in numerous main stage and touring productions. Her training at the National Theatre included acting, improvisation, Latin and folk dance. Other musical studies also included percussion and classical guitar.
Ms. Nikolov commenced her vocal training in Bulgaria and continued it at the Longy School of Music (Cambridge, Massachusetts) as a recipient of the Janet Irving Scholarship for Vocal Studies. During the 2003-2004 season she as a member of the Central Florida Lyric Opera Young Artists Program and was invited to return as a main stage Young Resident Artist with the company for the 2004-2005 season.
Opera roles include: Woglinde in Das Rheingold (Berliner Wagner Gruppe); Elsa in Lohengrin (Berliner Wagner Gruppe); Ariadne in Ariadne auf Naxos (Edinburgh Fringe Festival), Violetta in La Traviata (Central Florida Lyric Opera; New London Opera Players, Fine Arts Chorale & Orchestra) Governess in Turn of the Screw (Opera Seria), Donna Anna in Don Giovanni (Opera Seria, Edinburgh Fringe Festival), Nedda in Pagliacci (Central Florida Lyric Opera), Micaëla and Frasquita in Carmen, under the directorship of late legendary soprano Licia Albanese (Central Florida Lyric Opera); Contessa in Le Nozze di Figaro (Central Florida Lyric Opera), Serpina in La serva padrona (Berliner Philharmonie Kammermusiksaal, concertante).
Ms. Nikolov is a champion of new music. She has premiered works by prominent American and British composers such as Vartan Aghababian, Michael Djupstrom, Victoria Ellis, Heather Gilligan and Eric Sawyer; some of these works were written and dedicated to her. In addition to numerous song cycles and solo concert works with orchestra, she also created the role of Anna von Mildenburg in the new piece Geboren Alma Schindler (Berliner Opera Verein); the role of Member of the Chamber in the premiere performance of Eric Sawyer's Our American Cousin (Composers in Red Sneakers); and the title role in the world premiere of Victoria Ellis' opera Darling (One of Us Foundation).
Solo concert engagements include J.S. Bach Jauchzet Gott in alles Landen (Berliner Philharmonie Kammermusiksaal), Mein Herze schwimmt im Blut (Old North Concert Series), Magnificat in D (Fine Arts Chorale), Missa brevis in A (Fine Arts Chorale); Mozart's Requiem (Fine Arts Chorale), Missa Brevis in F (Sommerville Choir), Exultate Jubilate (Berliner Philharmonie Kammermusiksaal), Vesperae solennes de confessore (Somerville Choir); Händel's Messiah (College Park Players), L'Allego, il Pensieroso, ed il Moderato (Berlin Classic Players, Berliner Philharmonie); Pergolesi Stabat mater (Berliner Philharmonie Kammermusiksaal); Schubert Mass in G (Highnam Choir and Orchestra); Dubois Seven Last Words of Christ (College Park Players); Vivaldi Gloria (Old North Concert Series); Vaughan Williams Dona nobis pacem (Tufts University Orchestra, cover); Mendelssohn's Midsummer Night's Dream (Longy Chamber Orchestra); Berg Sieben frühe Lieder (Kirchberg Chamber Music Festival); Mahler Rückert-Lieder (Berlin Song Festival); Strauss Vier letzte Lieder (Berlin Song Festival, Kirchberg Chamber Music Festival, Walbrook Music Trust, Galerieforum am Meer); Villa-Lobos Bachianas Brasilieras No.5 (Kirchberg Chamber Music Festival) among others.
As a concert artist, Ms. Nikolov has also given numerous concert recitals in the United States and in Europe.
SOFIA CHEKALINA
Cellist, gambist and conductor Sofia Chekalina hails from Kharkov, Ukraine. She started cello and piano studies at the age of six. Ms. Chekalina studied cello in Saint-Petersburg with Sergey Roldugin, after which she continued her education in Dresden with Danjulo Ishizaka and Berlin with Eberhard Feltz at the HfM Hanns Eisler.
Ms. Chekalina’s studied Baroque cello and viola da gamba with Thomas Grosche in Dresden and Jan Freiheit in Berlin. She was part of the prestigious Staatskapelle Dresden Akademie.
Cellist, gambist and conductor Sofia Chekalina hails from Kharkov, Ukraine. She started cello and piano studies at the age of six. Ms. Chekalina studied cello in Saint-Petersburg with Sergey Roldugin, after which she continued her education in Dresden with Danjulo Ishizaka and Berlin with Eberhard Feltz at the HfM Hanns Eisler.
Ms. Chekalina’s studied Baroque cello and viola da gamba with Thomas Grosche in Dresden and Jan Freiheit in Berlin. She was part of the prestigious Staatskapelle Dresden Akademie.
IASON MARMARAS, HARPSICHORD
Iason Marmaras is a keyboard player, singer, and the founder and leader of the ensemble os orphicum. He was awarded a Master’s degree on Harpsichord (2012) under Fabio Bonizzoni and Ton Koopman; and a Bachelor’s degree in Early Music Singing (2011) under Barbara Pearson, Kees Jan de Koning, Jill Feldman, Michael Chance and Peter Kooij; at the Royal Conservatoire in Den Haag, the Netherlands.
Iason has performed as a continuo player, singing soloist, ensemble- and choir-singer under such musicians as Jos van Veldhoven, Jos Vermunt, Peter van Heyghen, Charles Toet, Jan Kleinbussink, Jaap ter Linden, Peter Kooij, Harry van der Kamp and Fabio Bonizzoni. In 2009 he sang Lesbo in Handel’s Agrippina under Hernán Schvartzman, and in 2011 he sang Amor in Monteverdi’s l’Incoronazione di Poppea under Markellos Chrysikopoulos. He is also an increasingly sought-after vocal coach, and the regular accompanist of soprano Stefanie True and counter-tenor Jan Kullmann.
Even before his formal acquaintance with the harpsichord, he was an avid continuo-player and improviser on the piano, and he still regards continuo-playing and improvisation as vital though largely neglected parts of musicianship today. His universal love for music has led to his avid (and increasing) interest in ensemble-leading and direction, and he has organised and directed numerous concerts during the years of his study, also following instruction in conducting with Hernán Schvartzman and Marine Fribourg.
Iason Marmaras is a keyboard player, singer, and the founder and leader of the ensemble os orphicum. He was awarded a Master’s degree on Harpsichord (2012) under Fabio Bonizzoni and Ton Koopman; and a Bachelor’s degree in Early Music Singing (2011) under Barbara Pearson, Kees Jan de Koning, Jill Feldman, Michael Chance and Peter Kooij; at the Royal Conservatoire in Den Haag, the Netherlands.
Iason has performed as a continuo player, singing soloist, ensemble- and choir-singer under such musicians as Jos van Veldhoven, Jos Vermunt, Peter van Heyghen, Charles Toet, Jan Kleinbussink, Jaap ter Linden, Peter Kooij, Harry van der Kamp and Fabio Bonizzoni. In 2009 he sang Lesbo in Handel’s Agrippina under Hernán Schvartzman, and in 2011 he sang Amor in Monteverdi’s l’Incoronazione di Poppea under Markellos Chrysikopoulos. He is also an increasingly sought-after vocal coach, and the regular accompanist of soprano Stefanie True and counter-tenor Jan Kullmann.
Even before his formal acquaintance with the harpsichord, he was an avid continuo-player and improviser on the piano, and he still regards continuo-playing and improvisation as vital though largely neglected parts of musicianship today. His universal love for music has led to his avid (and increasing) interest in ensemble-leading and direction, and he has organised and directed numerous concerts during the years of his study, also following instruction in conducting with Hernán Schvartzman and Marine Fribourg.
ANNE SORBARA of LUMESSENCE
STYLING & BRANDING COACH,
PHOTOGRAPHER
Anne Sorbara is a trained Makeup Artist and Foto-designer from Toronto, Canada. Having trained in both the United Kingdom at The Makeup School and through private lessons in Germany, Anne is skilled in using makeup to illuminate clients’ natural beauty and as a photographer, has a modern eye and flair for capturing her clients' personalities. Anne is also a working operatic coloratura soprano, and her knowledge of the industry gives her keen insight into your needs for portraits and promotional material.
Anne started out at Mac Cosmetics, where she fell in love with the motto ‘All Ages. All Races. All Sexes.” Here, she was able to hone her practical skills and develop her creative intuition with a wide range of clientele. From there she took her talents to the freelance world. Anne is in demand as a Makeup Artist and has worked in a variety of capacities, including backstage at Fashion shows for L’Oreal Paris, for the red carpets of the Deutscher Filmpreis and the Berlinale, at events such as The Glasgow Vintage Festival, Glow: The Beauty Convention, NYX Professional Makeup Halloween Party, and makeup events by Dior, L’Oreal Paris, and Charlotte Tilburry. Her creativity and performance-background lends itself well to Theatre makeup and Anne has worked on Don’t Forget To Go Home, an original piece by Kolektiva Balkana, Die Räuber for the Hanns Eisler HfM, Les contes d’Hoffmann with Opera on Tap Berlin, and Carmen with Opera Incognita München..
The convergence of Anne’s makeup skills, her ease in understanding individual needs and knack for capturing the personality of her clients is her business ‘Lumessence’ founded in Janaury 2017. Anne offers portrait photography and makeup packages, as well as private makeup lessons and masterclasses. She recently gave a Masterclass in ‘Makeup for the Stage’ at Die Etage, school for the Performing and Fine Arts. Anne’s warm personality leads to fun photoshoots that put the client at ease, and her attention to detail results in vibrant portraits. It is her pleasure to continue developing her craft with each new person.
https://www.lumessencebyanne.com/
STYLING & BRANDING COACH,
PHOTOGRAPHER
Anne Sorbara is a trained Makeup Artist and Foto-designer from Toronto, Canada. Having trained in both the United Kingdom at The Makeup School and through private lessons in Germany, Anne is skilled in using makeup to illuminate clients’ natural beauty and as a photographer, has a modern eye and flair for capturing her clients' personalities. Anne is also a working operatic coloratura soprano, and her knowledge of the industry gives her keen insight into your needs for portraits and promotional material.
Anne started out at Mac Cosmetics, where she fell in love with the motto ‘All Ages. All Races. All Sexes.” Here, she was able to hone her practical skills and develop her creative intuition with a wide range of clientele. From there she took her talents to the freelance world. Anne is in demand as a Makeup Artist and has worked in a variety of capacities, including backstage at Fashion shows for L’Oreal Paris, for the red carpets of the Deutscher Filmpreis and the Berlinale, at events such as The Glasgow Vintage Festival, Glow: The Beauty Convention, NYX Professional Makeup Halloween Party, and makeup events by Dior, L’Oreal Paris, and Charlotte Tilburry. Her creativity and performance-background lends itself well to Theatre makeup and Anne has worked on Don’t Forget To Go Home, an original piece by Kolektiva Balkana, Die Räuber for the Hanns Eisler HfM, Les contes d’Hoffmann with Opera on Tap Berlin, and Carmen with Opera Incognita München..
The convergence of Anne’s makeup skills, her ease in understanding individual needs and knack for capturing the personality of her clients is her business ‘Lumessence’ founded in Janaury 2017. Anne offers portrait photography and makeup packages, as well as private makeup lessons and masterclasses. She recently gave a Masterclass in ‘Makeup for the Stage’ at Die Etage, school for the Performing and Fine Arts. Anne’s warm personality leads to fun photoshoots that put the client at ease, and her attention to detail results in vibrant portraits. It is her pleasure to continue developing her craft with each new person.
https://www.lumessencebyanne.com/
BEN WOODWARD
Ben Woodward is Repetitor mit Dirigierverpflichtung at the SH-Landestheater in Flensburg, having also held positions at the Staatstheater Hannover and the Musiktheater im Revier, Gelsenkirchen. He is also Founder and Artistic Director for Fulham Opera in London, for whom he has led the complete Ring Cycle, Falstaff, Don Carlo, Simon Boccanegra and Der fliegende Holländer in production, as well as Der Ring, five Strauss operas, Peter Grimes and the Zemlinsky Lyric Symphony with their workshops orchestra. He has previously worked with many of the London opera companies, and with the One World Symphony in New York. He studied at Chetham's School of Music, Trinity College, Cambridge and the Guildhall School of Music & Drama.
Ben Woodward is Repetitor mit Dirigierverpflichtung at the SH-Landestheater in Flensburg, having also held positions at the Staatstheater Hannover and the Musiktheater im Revier, Gelsenkirchen. He is also Founder and Artistic Director for Fulham Opera in London, for whom he has led the complete Ring Cycle, Falstaff, Don Carlo, Simon Boccanegra and Der fliegende Holländer in production, as well as Der Ring, five Strauss operas, Peter Grimes and the Zemlinsky Lyric Symphony with their workshops orchestra. He has previously worked with many of the London opera companies, and with the One World Symphony in New York. He studied at Chetham's School of Music, Trinity College, Cambridge and the Guildhall School of Music & Drama.
JULIE WYMA
Julie Wyma has been described as a Renaissance Woman of opera, having worked in both Europe and the United States as a singer, director, stage manager, wig/makeup artist, costume designer, producer, and educator.
As a soprano she has appeared in more than 20 roles, including die Königin der Nacht and Pamina in Die Zauberflöte, Gilda in Rigoletto, Marie in Die Verkaufte Braut, Musetta in La Bohème, Sophie in Werther, Gretel inHänsel und Gretel, and Norina in Don Pasquale. Of her Norina, the Kansas City Metropolis said: “soprano Julie Wyma sparkled with a self-confident air and a strong, beautiful voice.”
Recent performances have included the roles of Marie in Die verkaufte Braut, Pamina in Die Zauberflöte and Gilda in Verdi's Rigoletto with the Brandenburgisches Konzertorchester Eberswalde at Kloster Chorin, Germany; Musetta in La Bohème and Belinda in Purcell's Dido and Aeneas with Puccini's Toaster in Berlin; the Soprano solos in Mozart's Requiem, Händel’s Messiah, and Fauré's Requiem, all in Berlin; a concert of music by the American expatriate author and composer Paul Bowles in Magdeburg and Berlin, Germany with tenor Laurent Martin;Lovers’ Quarrels, a concert of operatic duets and arias with her husband, Peter Furlong, in Concord, New Hampshire and Niemegk, Germany; Three Tenors and a Soprano concerts in Cornish and New London, New Hampshire; and Viva Divas!, a concert of operatic arias, duets, and trios in Cornish, New Hampshire, Phoenix, Arizona and Berlin, Germany. She recently produced a concert of The AIDS Quilt Songbook as a benefit concert for the Berliner Aids-Hilfe e.V.
Ms. Wyma has produced and directed operas including Wagner’s Lohengrin, Das Rheingold and Die Walküre (Berlin Wagner Gruppe), Massenet’s Werther(Irrational Entertainment), Händel’s Semele (Midwest Early Opera Works), Jonathan Stinson’s The Three Bears and Ryan Oldham’s The Emperor’s Madness(University of Missouri-Kansas City), as well as Jason Robert Brown’s musical The Last Five Years (Voci Inglesi) and numerous opera scenes programs. She has assistant directed Albert Herring and Giulio Cesare at the University of Missouri-Kansas City, La Traviata at the Lyric Opera of Kansas City, and Carmen at Opera North, and she assistant stage managed La Rondine at Indiana University.
As a costume designer Ms. Wyma worked for Dicapo Opera Theatre in New York for the 2011-2012 Season, which included Tosca, The Consul, Iolanta, The Most Happy Fella, La Cenerentola, Beauty and the Beast, and La Traviata. She has also worked as a bridal alterations specialist in Bloomington, Indiana and New York City. As a student she worked as a costume assistant/stitcher for the University of Arizona on Le nozze di Figaro and The Merry Wives of Windsor, and for Indiana University on Die Zauberflöte, The Nutcracker, and La Rondine. Ms. Wyma has worked as a Wig and Makeup Assistant for the Lyric Opera of Kansas City, in operas including Giulio Cesare, La Bohème, and John Brown, at the University of Missouri-Kansas City in productions including La Bohème, Suor Angelica,Gianni Schicchi, and The Man of La Mancha, and for a national tour of Hairspray. As a young artist, she was a set construction assistant at Opera in the Ozarks in 2004.
As an educator, Ms. Wyma’s passion lies in helping singers make the transition from student to professional, and in guiding talented people to the places where they are needed. She has served as a vocal coach, preparing singers for auditions and talent competitions, as well as an audition panelist and advisor. With organizations such as Irrational Entertainment, Midwest Early Opera Works, Voci Inglesi, Berlin Wagner Gruppe and Berliner Opernverein, she has facilitated performance opportunities for singers seeking additional stage experience and the chance to hone their craft in a supportive, professional environment.
Julie Wyma has been described as a Renaissance Woman of opera, having worked in both Europe and the United States as a singer, director, stage manager, wig/makeup artist, costume designer, producer, and educator.
As a soprano she has appeared in more than 20 roles, including die Königin der Nacht and Pamina in Die Zauberflöte, Gilda in Rigoletto, Marie in Die Verkaufte Braut, Musetta in La Bohème, Sophie in Werther, Gretel inHänsel und Gretel, and Norina in Don Pasquale. Of her Norina, the Kansas City Metropolis said: “soprano Julie Wyma sparkled with a self-confident air and a strong, beautiful voice.”
Recent performances have included the roles of Marie in Die verkaufte Braut, Pamina in Die Zauberflöte and Gilda in Verdi's Rigoletto with the Brandenburgisches Konzertorchester Eberswalde at Kloster Chorin, Germany; Musetta in La Bohème and Belinda in Purcell's Dido and Aeneas with Puccini's Toaster in Berlin; the Soprano solos in Mozart's Requiem, Händel’s Messiah, and Fauré's Requiem, all in Berlin; a concert of music by the American expatriate author and composer Paul Bowles in Magdeburg and Berlin, Germany with tenor Laurent Martin;Lovers’ Quarrels, a concert of operatic duets and arias with her husband, Peter Furlong, in Concord, New Hampshire and Niemegk, Germany; Three Tenors and a Soprano concerts in Cornish and New London, New Hampshire; and Viva Divas!, a concert of operatic arias, duets, and trios in Cornish, New Hampshire, Phoenix, Arizona and Berlin, Germany. She recently produced a concert of The AIDS Quilt Songbook as a benefit concert for the Berliner Aids-Hilfe e.V.
Ms. Wyma has produced and directed operas including Wagner’s Lohengrin, Das Rheingold and Die Walküre (Berlin Wagner Gruppe), Massenet’s Werther(Irrational Entertainment), Händel’s Semele (Midwest Early Opera Works), Jonathan Stinson’s The Three Bears and Ryan Oldham’s The Emperor’s Madness(University of Missouri-Kansas City), as well as Jason Robert Brown’s musical The Last Five Years (Voci Inglesi) and numerous opera scenes programs. She has assistant directed Albert Herring and Giulio Cesare at the University of Missouri-Kansas City, La Traviata at the Lyric Opera of Kansas City, and Carmen at Opera North, and she assistant stage managed La Rondine at Indiana University.
As a costume designer Ms. Wyma worked for Dicapo Opera Theatre in New York for the 2011-2012 Season, which included Tosca, The Consul, Iolanta, The Most Happy Fella, La Cenerentola, Beauty and the Beast, and La Traviata. She has also worked as a bridal alterations specialist in Bloomington, Indiana and New York City. As a student she worked as a costume assistant/stitcher for the University of Arizona on Le nozze di Figaro and The Merry Wives of Windsor, and for Indiana University on Die Zauberflöte, The Nutcracker, and La Rondine. Ms. Wyma has worked as a Wig and Makeup Assistant for the Lyric Opera of Kansas City, in operas including Giulio Cesare, La Bohème, and John Brown, at the University of Missouri-Kansas City in productions including La Bohème, Suor Angelica,Gianni Schicchi, and The Man of La Mancha, and for a national tour of Hairspray. As a young artist, she was a set construction assistant at Opera in the Ozarks in 2004.
As an educator, Ms. Wyma’s passion lies in helping singers make the transition from student to professional, and in guiding talented people to the places where they are needed. She has served as a vocal coach, preparing singers for auditions and talent competitions, as well as an audition panelist and advisor. With organizations such as Irrational Entertainment, Midwest Early Opera Works, Voci Inglesi, Berlin Wagner Gruppe and Berliner Opernverein, she has facilitated performance opportunities for singers seeking additional stage experience and the chance to hone their craft in a supportive, professional environment.
BORAM AHN
Boram Ahn is a pianist and opera répétiteur based in Berlin. Over the last few years, she has played and coached in opera houses in Germany and worked as collaborative pianist for diverse musical projects in Berlin. In 2017 she was engaged as a Solorepetitorin mit Dirigierverpflichtung at Landestheater Detmold, where she worked on productions of R.Wargner’s Der Fliegende Holländer and Hans Werner Henze’s Elegies für Junge Liebende. In season 2016, she was a Solorepetitorin on productions of R.Strauss’s Salome, Federico Moreno Torroba’s Luisa Fernanda
at Theater Nordhausen, and a musical assistant on Anatevka (Fiddler on the Roof) at Thüringer Schlossfestspiel Sondershausen. Since 2018 she holds a Solorepetitorin position at Theater Osnabrück and continues to freelance in Berlin, where she coaches privately and accompanies voice studios, auditions, and concerts. In summer 2015 and 2016, she was invited to join the International Vocal Arts Program of Narnia Festival in Italy and assisted musical preparation of Le Nozze di Figaro, Suor Angelica and Così Fan Tutte.
Before moving to Berlin, Boram has studied and worked in Montréal, Canada. She holds a Bachelor of Music in Composition and Master of Music in Piano performance at McGill University, where she had opportunities to study with renowned Canadian composers such as John Rea, Brian Cherney, Sean Furguson, and pianists Richard Raymon and Kyoko Hashimoto. Her growing interest and passion in art song, opera, and chamber music has led her to pursue Artist Diploma in
Collaborative Piano under the direction of Michael McMahon. During her time at McGill University as a student and a staff accompanist, she enjoyed various musical activities such as accompanying vocal/instrumental recitals, assisting chorus rehearsals, taking part in contemporary ensemble projects, and playing and coaching on Opera McGill’s productions (Stravinsky’s The Rake’s progress, Puccini’s La Bohème, Britten’s Turn of the screw, Purcell’s Dido and Aeneas, and the Canadian Premiere of John Musto’s Volpone). Other work experience and collaboration includes Janiec Opera Company at Brevard Art Center, Jeaunes Ambassadeur Lyrique, Gustav Klimt Ensemble, L’Atelier lyrique de l’Opéra de Montréal, and Canadian Vocal Art Institute.
Boram Ahn is a pianist and opera répétiteur based in Berlin. Over the last few years, she has played and coached in opera houses in Germany and worked as collaborative pianist for diverse musical projects in Berlin. In 2017 she was engaged as a Solorepetitorin mit Dirigierverpflichtung at Landestheater Detmold, where she worked on productions of R.Wargner’s Der Fliegende Holländer and Hans Werner Henze’s Elegies für Junge Liebende. In season 2016, she was a Solorepetitorin on productions of R.Strauss’s Salome, Federico Moreno Torroba’s Luisa Fernanda
at Theater Nordhausen, and a musical assistant on Anatevka (Fiddler on the Roof) at Thüringer Schlossfestspiel Sondershausen. Since 2018 she holds a Solorepetitorin position at Theater Osnabrück and continues to freelance in Berlin, where she coaches privately and accompanies voice studios, auditions, and concerts. In summer 2015 and 2016, she was invited to join the International Vocal Arts Program of Narnia Festival in Italy and assisted musical preparation of Le Nozze di Figaro, Suor Angelica and Così Fan Tutte.
Before moving to Berlin, Boram has studied and worked in Montréal, Canada. She holds a Bachelor of Music in Composition and Master of Music in Piano performance at McGill University, where she had opportunities to study with renowned Canadian composers such as John Rea, Brian Cherney, Sean Furguson, and pianists Richard Raymon and Kyoko Hashimoto. Her growing interest and passion in art song, opera, and chamber music has led her to pursue Artist Diploma in
Collaborative Piano under the direction of Michael McMahon. During her time at McGill University as a student and a staff accompanist, she enjoyed various musical activities such as accompanying vocal/instrumental recitals, assisting chorus rehearsals, taking part in contemporary ensemble projects, and playing and coaching on Opera McGill’s productions (Stravinsky’s The Rake’s progress, Puccini’s La Bohème, Britten’s Turn of the screw, Purcell’s Dido and Aeneas, and the Canadian Premiere of John Musto’s Volpone). Other work experience and collaboration includes Janiec Opera Company at Brevard Art Center, Jeaunes Ambassadeur Lyrique, Gustav Klimt Ensemble, L’Atelier lyrique de l’Opéra de Montréal, and Canadian Vocal Art Institute.