APRIL 10-30, 2021 | ONLINE
KENNETH BOZEMAN
(Lawrence University Conservatory of Music, New England Conservatory of Music, NATS Journal of Singing)
SUSAN EICHHORN YOUNG
(Western University, Sarah Lawrence College, Moravian College, New York University Tisch School of the Arts' CAP21)
Dr. CLAUDIA FRIEDLANDER
(OPERA America, Weill Music Institute at Carnegie Hall, Classical Singer Magazine Columnist)
JOANNE HAYES BOZEMAN
(Lawrence University Conservatory of Music, Bach Chamber Choir)
CAROL MASTRODOMENICO
(Tufts University, Longy School of Music at Bard College, Tanglewood Fellow, Classical Singer Convention Lecturer)
JENNIE O'BRIEN
(TVI Perkins School for the Blind, New England Conservatory)
Dr. STEPHANIE WEISS
(Arizona State University, University of Nevada-Las Vegas,
Metropolitan Opera Education, AIMS in Graz, Deutsche Oper Berlin)
SARAH WHITTEN
(Harvard University, Boston Conservatory, New England Conservatory, NATS Lecturer)
(Lawrence University Conservatory of Music, New England Conservatory of Music, NATS Journal of Singing)
SUSAN EICHHORN YOUNG
(Western University, Sarah Lawrence College, Moravian College, New York University Tisch School of the Arts' CAP21)
Dr. CLAUDIA FRIEDLANDER
(OPERA America, Weill Music Institute at Carnegie Hall, Classical Singer Magazine Columnist)
JOANNE HAYES BOZEMAN
(Lawrence University Conservatory of Music, Bach Chamber Choir)
CAROL MASTRODOMENICO
(Tufts University, Longy School of Music at Bard College, Tanglewood Fellow, Classical Singer Convention Lecturer)
JENNIE O'BRIEN
(TVI Perkins School for the Blind, New England Conservatory)
Dr. STEPHANIE WEISS
(Arizona State University, University of Nevada-Las Vegas,
Metropolitan Opera Education, AIMS in Graz, Deutsche Oper Berlin)
SARAH WHITTEN
(Harvard University, Boston Conservatory, New England Conservatory, NATS Lecturer)
ANASTASIA NIKOLOV, ARTISTIC DIRECTOR
JULIE WYMA, EXECUTIVE DIRECTOR
JULIE WYMA, EXECUTIVE DIRECTOR
The program focuses on:
- how to communicate vocal science, vocal pedagogy and vocal technique concepts, particularly in an online platform
- strategies, tools and resources for online teaching
The program includes:
- 14 live Lecture/Demonstrations and Q&A sessions with each clinician on the following topics:
SARAH WHITTEN
SEEING IN THE STUDIO: BUILDING YOUR TOOLBOX BEYOND VOCAL TECHNIQUE
“The whole body is the instrument” is an often used and little understood phrase used in the voice world. In this workshop we are going to delve into what that phrase means as well as other fundamental concepts related to the body to expand our lens as voice teachers.
UNDERSTANDING ALIGNMENT
Many of the current models that address body position and singing focus primarily on a fixed, postural position being required to produce an optimal sound. Unfortunately a fixed model doesn't work when you are performing and need to move on stage! In this workshop we will address alignment, how it is different from posture and how we can use it as a tool in the studio to help us better understand the singer’s body.
KENNETH BOZEMAN
THE ACOUSTIC LANDSCAPE ALL SINGERS INHABIT
Over the last thirty years we have learned a great deal about the acoustics of range and vocal registration. Specifically, it has become clear that many timbral transitions previously thought to be laryngeal in nature were actually shifts in the relationship between voice source harmonics and vocal tract resonances, the locations of which vary by vowel. These shifts function like acoustic registers which are predictable and mappable by vowel and voice type. It has become clear that vowels necessarily migrate in timbre and sensation across range according to predictable patterns, the knowledge of which greatly assists training for efficient function.
EFFECTIVE ACOUSTIC TRAINING STRATEGIES FOR
TREBLE & NON-TREBLE VOICE PASSAGGI
Once acoustic registers are understood—where they exist, what causes them, and what their characteristics are—how to train these transitions becomes both specific and clear. This class will explore effective strategies for negotiating the passaggi of male and female vocal range. It will detail the circumstances in which passive vowel migration is sufficient, as well as those in which active vowel modification becomes necessary.
SUSAN EICHHORN YOUNG
CROSSOVER & THE CLASSICAL SINGER
What does "crossover" mean to the classical singer? How applicable is this for the classical singer and what would it involve technically, dramatically, and in repertoire? We will discuss these possibilities, how the businesses are alike & different, how to appro.ach choosing repertoire best suited for the singer. A Q&A will follow.
THE BASICS OF CROSSOVER TECHNIQUE IN ACTION
A follow up to the first session which will be a virtual workshop/master class opportunity to bring in 16-32 bar music theatre cuts. This allows the singer to incorporate more stylistic technical discovery within their repertoire to authentically embody what different music theatre genres require, and how those stylistic technical behaviors will enhance their already developing/developed technique.
Dr. CLAUDIA FRIEDLANDER
THE VOICE TEACHER AS FITNESS TRAINER: ADAPTING PRINCIPLES OF SPORTS SCIENCE TO OPTIMIZE LARYNGEAL & ARTICULATORY EFFICIENCY
Elite fitness trainers specialize in helping athletes optimize their body for peak performance in their sport. The principles of sport-specific training that inform the regimens they develop can also be applied to optimize vocal anatomy for singing. This workshop will demonstrate how to use these principles to alleviate tension and restore balanced strength and flexibility to the muscles that govern the larynx and articulators.
ANATOMY IN ACTION: MEETING THE PHYSICAL DEMANDS OF OPERA STAGING
For vocal technique to remain secure throughout stage movement, singers require a high degree of dynamic physical stability. They must also free themselves from habitual and/or extraneous movement in order to define and embody their characters well. This workshop will focus on stabilizing the shoulders, core, and lumbo-pelvic-hip complex can enable singers to express their best technique while also physically embodying their roles and executing stage movement.
JOANNE HAYES BOZEMAN
SINGING THROUGH OUR CHANGES: HORMONES & THE FEMALE VOICE
The human larynx is a target of the reproductive hormones: estrogen, progesterone and androgens. For females, within whom the cyclical nature of estrogen and progesterone presents an ever-changing hormonal landscape, understanding and anticipating the potential effects – beneficial or troubling – of these hormones on the voice is empowering. The hormonal journey includes adolescent voice change, the menstrual cycle, pregnancy, breastfeeding, the “4th trimester” and the menopausal transition. This presentation will include an overview of the relationship of the hormone “climate” with adult female voice, based on existing research, clinical opinions, and the unique, lived experiences of singers.
CAROL MASTRODOMENICO
POST-VOCAL TRAUMA TRAINING
Many teachers are anxious about working with singers who have already been diagnosed with a vocal condition or trauma. This session will investigate approaches and solutions that get a singer back to vocal health after vocal trauma such as nodules, MTD, hemorrhage or varix.
STRATEGIES FOR MENTAL TOUGHNESS: RECLAIMING YOUR VOICE
Strategies that get at the heart of performance anxiety. Methods for identifying the positive and negative states of mind of a singer before, during and after a performance and methods for gaining mental strength for consistent optimal performance.
Dr. STEPHANIE WEISS
TRAINING FULL LYRIC, SPINTO, DRAMATIC & ZWISCHEN VOICES
In teaching larger voices, what are the challenges and stumbling blocks we face? How is teaching a larger voice the same or different from teaching a lighter voice? How does one determine whether a young singer has a larger instrument? Is your student a Zwischenfach? These are some of the questions that we will address in this session. Other questions to be explored are: how is teaching a larger voice in an online format different? What extra tools can we use? In this session, we will discuss historical voices, vocal registration events as they pertain to dramatic voices including Zwischenfach, as well as exercises and specific repertoire geared towards dramatic voices.
TRAINING TRANSGENDER VOICES
What are similarities and differences in assessing and training transgender singers? How do hormones affect these singers? What are the vocal pedagogical and psychological aspects of training transgender singers? In this session, we will explore pedagogical ideas and exercises specifically geared to the transgender singer.
JENNIE O'BRIEN
TRAINING VISUALLY IMPAIRED SINGERS
Class description coming soon.
SEEING IN THE STUDIO: BUILDING YOUR TOOLBOX BEYOND VOCAL TECHNIQUE
“The whole body is the instrument” is an often used and little understood phrase used in the voice world. In this workshop we are going to delve into what that phrase means as well as other fundamental concepts related to the body to expand our lens as voice teachers.
UNDERSTANDING ALIGNMENT
Many of the current models that address body position and singing focus primarily on a fixed, postural position being required to produce an optimal sound. Unfortunately a fixed model doesn't work when you are performing and need to move on stage! In this workshop we will address alignment, how it is different from posture and how we can use it as a tool in the studio to help us better understand the singer’s body.
KENNETH BOZEMAN
THE ACOUSTIC LANDSCAPE ALL SINGERS INHABIT
Over the last thirty years we have learned a great deal about the acoustics of range and vocal registration. Specifically, it has become clear that many timbral transitions previously thought to be laryngeal in nature were actually shifts in the relationship between voice source harmonics and vocal tract resonances, the locations of which vary by vowel. These shifts function like acoustic registers which are predictable and mappable by vowel and voice type. It has become clear that vowels necessarily migrate in timbre and sensation across range according to predictable patterns, the knowledge of which greatly assists training for efficient function.
EFFECTIVE ACOUSTIC TRAINING STRATEGIES FOR
TREBLE & NON-TREBLE VOICE PASSAGGI
Once acoustic registers are understood—where they exist, what causes them, and what their characteristics are—how to train these transitions becomes both specific and clear. This class will explore effective strategies for negotiating the passaggi of male and female vocal range. It will detail the circumstances in which passive vowel migration is sufficient, as well as those in which active vowel modification becomes necessary.
SUSAN EICHHORN YOUNG
CROSSOVER & THE CLASSICAL SINGER
What does "crossover" mean to the classical singer? How applicable is this for the classical singer and what would it involve technically, dramatically, and in repertoire? We will discuss these possibilities, how the businesses are alike & different, how to appro.ach choosing repertoire best suited for the singer. A Q&A will follow.
THE BASICS OF CROSSOVER TECHNIQUE IN ACTION
A follow up to the first session which will be a virtual workshop/master class opportunity to bring in 16-32 bar music theatre cuts. This allows the singer to incorporate more stylistic technical discovery within their repertoire to authentically embody what different music theatre genres require, and how those stylistic technical behaviors will enhance their already developing/developed technique.
Dr. CLAUDIA FRIEDLANDER
THE VOICE TEACHER AS FITNESS TRAINER: ADAPTING PRINCIPLES OF SPORTS SCIENCE TO OPTIMIZE LARYNGEAL & ARTICULATORY EFFICIENCY
Elite fitness trainers specialize in helping athletes optimize their body for peak performance in their sport. The principles of sport-specific training that inform the regimens they develop can also be applied to optimize vocal anatomy for singing. This workshop will demonstrate how to use these principles to alleviate tension and restore balanced strength and flexibility to the muscles that govern the larynx and articulators.
ANATOMY IN ACTION: MEETING THE PHYSICAL DEMANDS OF OPERA STAGING
For vocal technique to remain secure throughout stage movement, singers require a high degree of dynamic physical stability. They must also free themselves from habitual and/or extraneous movement in order to define and embody their characters well. This workshop will focus on stabilizing the shoulders, core, and lumbo-pelvic-hip complex can enable singers to express their best technique while also physically embodying their roles and executing stage movement.
JOANNE HAYES BOZEMAN
SINGING THROUGH OUR CHANGES: HORMONES & THE FEMALE VOICE
The human larynx is a target of the reproductive hormones: estrogen, progesterone and androgens. For females, within whom the cyclical nature of estrogen and progesterone presents an ever-changing hormonal landscape, understanding and anticipating the potential effects – beneficial or troubling – of these hormones on the voice is empowering. The hormonal journey includes adolescent voice change, the menstrual cycle, pregnancy, breastfeeding, the “4th trimester” and the menopausal transition. This presentation will include an overview of the relationship of the hormone “climate” with adult female voice, based on existing research, clinical opinions, and the unique, lived experiences of singers.
CAROL MASTRODOMENICO
POST-VOCAL TRAUMA TRAINING
Many teachers are anxious about working with singers who have already been diagnosed with a vocal condition or trauma. This session will investigate approaches and solutions that get a singer back to vocal health after vocal trauma such as nodules, MTD, hemorrhage or varix.
STRATEGIES FOR MENTAL TOUGHNESS: RECLAIMING YOUR VOICE
Strategies that get at the heart of performance anxiety. Methods for identifying the positive and negative states of mind of a singer before, during and after a performance and methods for gaining mental strength for consistent optimal performance.
Dr. STEPHANIE WEISS
TRAINING FULL LYRIC, SPINTO, DRAMATIC & ZWISCHEN VOICES
In teaching larger voices, what are the challenges and stumbling blocks we face? How is teaching a larger voice the same or different from teaching a lighter voice? How does one determine whether a young singer has a larger instrument? Is your student a Zwischenfach? These are some of the questions that we will address in this session. Other questions to be explored are: how is teaching a larger voice in an online format different? What extra tools can we use? In this session, we will discuss historical voices, vocal registration events as they pertain to dramatic voices including Zwischenfach, as well as exercises and specific repertoire geared towards dramatic voices.
TRAINING TRANSGENDER VOICES
What are similarities and differences in assessing and training transgender singers? How do hormones affect these singers? What are the vocal pedagogical and psychological aspects of training transgender singers? In this session, we will explore pedagogical ideas and exercises specifically geared to the transgender singer.
JENNIE O'BRIEN
TRAINING VISUALLY IMPAIRED SINGERS
Class description coming soon.
- 14 Sessions:
- 90 minutes long
- divided in two parts - lecture/demonstration & Q&A section
- highly interactive
- some participation needed but not required
- Access to (during and for unlimited time after the program):
- closed online community page specifically designed for this program
- videos of all sessions
- teaching tools and resources
- bibliographies and recommended reading on each topic
- connection to the vocal pedagogues lecturing during the program and special rates for further individual sessions with them
- networking opportunities with all participating singers and vocal specialists
FACULTY
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/
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.
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.
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
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).
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.
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.
JENNIE O'BRIEN
Biography coming soon.
Biography coming soon.
ANASTASIA NIKOLOV, ARTISTIC DIRECTOR
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. She was a member of the Central Florida Lyric Opera Young Artists Program and was later invited to return as a main stage Resident Artist with the company.
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. She was a member of the Central Florida Lyric Opera Young Artists Program and was later invited to return as a main stage Resident Artist with the company.
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.
JULIE WYMA, EXECUTIVE DIRECTOR
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.
TESTIMONIALS FROM PAST PARTICIPANTS
'Thank you so much for EVERYTHING you did to get this Programme out to us. Your organisation was fabulous and you have provided us with some fabulous resources and contacts. Thank you.
What I particularly treasured:
- Organised administration/clarity of communication/preparation
- Organised Speakers, they all knew what they were presenting about and presented about what they said they would (not all do!)
- You kept to time, warned us about the time for cut off of Questions etc
- Access to videos - amazing
- Good mix of Presentation & Q&A – not too long and your speakers kept to it which was great
- Good length of sessions – any longer and I would have had brain freeze'
Melanie Mehta (UK)
'First of all, a huge thank you for this opportunity! The program is very well organised. I had a feeling that my time was used very efficiently. I actually prefer that the program was online to save on travel time, which is more practical for me since I have a baby at home. The faculty was top notch, and their presentations were to the point and packed with information. I also find it fantastic that we had handouts from each presenter. I particularly enjoyed Susan Eichhorn Young's virtual masterclass, and find that a mixture of 'in practice' and theoretical information is really great.'
Marie Franceschini (Germany)
'Thank you for all of your hard work organizing the Teaching Online seminars! It was a great mix of very strong presentations, and you communicated and organized everything extremely well. It was especially appreciated that there was only one lecture per day; given the overload of Zoom these days as well as the busy schedules of participants, it made it much more manageable to spread the content out across two weeks. I will keep my eyes open for further programming by OPB!'
Lily Thompson (USA)
What I particularly treasured:
- Organised administration/clarity of communication/preparation
- Organised Speakers, they all knew what they were presenting about and presented about what they said they would (not all do!)
- You kept to time, warned us about the time for cut off of Questions etc
- Access to videos - amazing
- Good mix of Presentation & Q&A – not too long and your speakers kept to it which was great
- Good length of sessions – any longer and I would have had brain freeze'
Melanie Mehta (UK)
'First of all, a huge thank you for this opportunity! The program is very well organised. I had a feeling that my time was used very efficiently. I actually prefer that the program was online to save on travel time, which is more practical for me since I have a baby at home. The faculty was top notch, and their presentations were to the point and packed with information. I also find it fantastic that we had handouts from each presenter. I particularly enjoyed Susan Eichhorn Young's virtual masterclass, and find that a mixture of 'in practice' and theoretical information is really great.'
Marie Franceschini (Germany)
'Thank you for all of your hard work organizing the Teaching Online seminars! It was a great mix of very strong presentations, and you communicated and organized everything extremely well. It was especially appreciated that there was only one lecture per day; given the overload of Zoom these days as well as the busy schedules of participants, it made it much more manageable to spread the content out across two weeks. I will keep my eyes open for further programming by OPB!'
Lily Thompson (USA)