CORE FACULTY
JENNIFER WILLIAMS, STAGE DIRECTOR
STRAUSS ELEKTRA
Acclaimed by The San Francisco Chronicle as an "imaginative" director of "particular ingenuity," director Jennifer Williams recently directed new productions for Beth Morrison Projects, Michigan Opera Theatre, and Center for Contemporary Opera. An innovator in multimedia, immersive and site-specific approaches to opera, she has created performance installations for New Camerata Opera, New York's immersive opera company, and in public spaces throughout Washington, DC. Recent new productions include directing the world premiere of Carmen | Hong Kong, a new immersive multimedia adaptation of Bizet’s opera set amidst the Triad gangs of Hong Kong for More Than Musical (Hong Kong) at West Kowloon Culture District’s new Box Freespace; a new production of The Crucible for Berlin Opera Academy in the Theater im Delphi, Berlin’s landmark silent film theater recently revived as an interdisciplinary performance space; a new production of Libby Larsen's Barnum's Bird as an immersive circus installation for New Camerata Opera in New York; and directing the revival tour of the new Pulitzer Prize-winning opera, p r i s m for Beth Morrison Projects. Additionally she directed BMP: Next Generation, a double-bill of world premieres for Beth Morrison Projects at National Sawdust; the world premiere of Backwards from Winter for soprano, electric cello and electronics for Center for Contemporary Opera, New York; a new production of Amahl and the Night Visitors for Michigan Opera Theatre; "consistently imaginative" and "extraordinarily beautiful" new productions with video projections of Ainadamar, Dark Sisters, Les contes d'Hoffmann, A Midsummer Night's Dream, and La bohème for Miami Music Festival; and Ariadne auf Naxos at Austin Opera. In addition to serving as a Drama Coach for the Houston Grand Opera Studio, she directed acclaimed new productions of Mohammed Fairouz's Sumeida's Song and Ricky Ian Gordon and Royce Vavrek's 27 for Pittsburgh Opera.
STRAUSS ELEKTRA
Acclaimed by The San Francisco Chronicle as an "imaginative" director of "particular ingenuity," director Jennifer Williams recently directed new productions for Beth Morrison Projects, Michigan Opera Theatre, and Center for Contemporary Opera. An innovator in multimedia, immersive and site-specific approaches to opera, she has created performance installations for New Camerata Opera, New York's immersive opera company, and in public spaces throughout Washington, DC. Recent new productions include directing the world premiere of Carmen | Hong Kong, a new immersive multimedia adaptation of Bizet’s opera set amidst the Triad gangs of Hong Kong for More Than Musical (Hong Kong) at West Kowloon Culture District’s new Box Freespace; a new production of The Crucible for Berlin Opera Academy in the Theater im Delphi, Berlin’s landmark silent film theater recently revived as an interdisciplinary performance space; a new production of Libby Larsen's Barnum's Bird as an immersive circus installation for New Camerata Opera in New York; and directing the revival tour of the new Pulitzer Prize-winning opera, p r i s m for Beth Morrison Projects. Additionally she directed BMP: Next Generation, a double-bill of world premieres for Beth Morrison Projects at National Sawdust; the world premiere of Backwards from Winter for soprano, electric cello and electronics for Center for Contemporary Opera, New York; a new production of Amahl and the Night Visitors for Michigan Opera Theatre; "consistently imaginative" and "extraordinarily beautiful" new productions with video projections of Ainadamar, Dark Sisters, Les contes d'Hoffmann, A Midsummer Night's Dream, and La bohème for Miami Music Festival; and Ariadne auf Naxos at Austin Opera. In addition to serving as a Drama Coach for the Houston Grand Opera Studio, she directed acclaimed new productions of Mohammed Fairouz's Sumeida's Song and Ricky Ian Gordon and Royce Vavrek's 27 for Pittsburgh Opera.
FELICE VENANZONI, CONDUCTOR
STRAUSS ELEKTRA
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.
STRAUSS ELEKTRA
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.
CAROLINE DOWDLE, COACH
STRAUSS ELEKTRA
LIEDER & CHAMBER MUSIC
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.
STRAUSS ELEKTRA
LIEDER & CHAMBER MUSIC
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.
DOUGLAS BROWN, COACH
STRAUSS ELEKTRA
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.
STRAUSS ELEKTRA
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.
PROF. BYRON KNUTSON, VISITING COACH
STRAUSS ELEKTRA
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 Die Gespenstersonate 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.
STRAUSS ELEKTRA
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 Die Gespenstersonate 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.
PHILLIP MOLL, VISITING FACULTY
LIEDER & CHAMBER MUSIC
Born in Chicago, Phillip Moll has lived in Berlin since 1970. After receiving degrees in English from Harvard University and in music from the University of Texas, and following a year at the Hochschule für Musik in Munich on a DAAD grant, he was employed as a repetiteur by the German Opera in Berlin until 1978. Since then he has been active as an accompanist and ensemble pianist, collaborating with such diverse artists as Kathleen Battle, Håkan Hågegard, Jessye Norman, Kurt Moll, James Galway, Kyung Wha Chung, Anne-Sophie Mutter, Akiko Suwanai, and Kolya Blacher. He has performed and recorded with numerous Berlin ensembles, including the Berlin Philharmonic Orchestra, the German Symphony Orchestra, the RIAS Chamber Choir and the Berlin Radio Choir. For many years he has performed throughout Europe, North America and the Far East, and has appeared as soloist with the Berlin Philharmonic Orchestra, the Boston Pops, the English Chamber Orchestra, the Orchestra of Saint John’s Smith Square and the Philharmonic Kammermusik Kollegium of Berlin. In Australia, he has been soloist with the symphony orchestras of Melbourne, Sydney and Tasmania.
From 2004 until 2013, Moll held a professorship for song interpretation at the Hochschule für Musik und Theater in Leipzig. He has given master classes in many countries, including Belgium, Israel, Italy, France, Latvia, Lithuania, Japan, Taiwan, Turkey and the US.
Among the many recordings in which he has taken part are Piano Trios of Dvořák and Suk with the Berlin Philharmonic Piano Trio, Duets for two baritones, with the brothers Paul-Armin and Peter Edelmann, Gypsy Songs with Mezzo-Soprano Renée Morloc, Rossini’s Petite Messe Solennelle with the RIAS Chamber Choir, the Requiem of Brahms, in the version with piano four-hands, with the Berlin Radio Chorus, Opera Fantasies with wind soloists of La Scala, Schubert sonatas with violinist Andrea Duka Löwenstein, Bartok compositions for violin and piano with Ms. Duka Löwenstein, the CDs Portrait with Italian flutist Davide Formisano and The Virtuoso Flute with Bulent Evcil. He has made numerous recordings with flutist Sir James Galway, with whom he has performed for over forty years.
LIEDER & CHAMBER MUSIC
Born in Chicago, Phillip Moll has lived in Berlin since 1970. After receiving degrees in English from Harvard University and in music from the University of Texas, and following a year at the Hochschule für Musik in Munich on a DAAD grant, he was employed as a repetiteur by the German Opera in Berlin until 1978. Since then he has been active as an accompanist and ensemble pianist, collaborating with such diverse artists as Kathleen Battle, Håkan Hågegard, Jessye Norman, Kurt Moll, James Galway, Kyung Wha Chung, Anne-Sophie Mutter, Akiko Suwanai, and Kolya Blacher. He has performed and recorded with numerous Berlin ensembles, including the Berlin Philharmonic Orchestra, the German Symphony Orchestra, the RIAS Chamber Choir and the Berlin Radio Choir. For many years he has performed throughout Europe, North America and the Far East, and has appeared as soloist with the Berlin Philharmonic Orchestra, the Boston Pops, the English Chamber Orchestra, the Orchestra of Saint John’s Smith Square and the Philharmonic Kammermusik Kollegium of Berlin. In Australia, he has been soloist with the symphony orchestras of Melbourne, Sydney and Tasmania.
From 2004 until 2013, Moll held a professorship for song interpretation at the Hochschule für Musik und Theater in Leipzig. He has given master classes in many countries, including Belgium, Israel, Italy, France, Latvia, Lithuania, Japan, Taiwan, Turkey and the US.
Among the many recordings in which he has taken part are Piano Trios of Dvořák and Suk with the Berlin Philharmonic Piano Trio, Duets for two baritones, with the brothers Paul-Armin and Peter Edelmann, Gypsy Songs with Mezzo-Soprano Renée Morloc, Rossini’s Petite Messe Solennelle with the RIAS Chamber Choir, the Requiem of Brahms, in the version with piano four-hands, with the Berlin Radio Chorus, Opera Fantasies with wind soloists of La Scala, Schubert sonatas with violinist Andrea Duka Löwenstein, Bartok compositions for violin and piano with Ms. Duka Löwenstein, the CDs Portrait with Italian flutist Davide Formisano and The Virtuoso Flute with Bulent Evcil. He has made numerous recordings with flutist Sir James Galway, with whom he has performed for over forty years.
BRIAN MOLL, COACH
STRAUSS ELEKTRA
LIEDER & CHAMBER MUSIC
Brian Moll is on the faculty of the Longy School of Music of Bard College in Cambridge, Massachusetts, where for the last twenty years, he served as Chair of the Collaborative Piano Department and led both the Piano and Voice Departments. He is also on the faculty of Boston Conservatory at Berklee and the New England Conservatory of Music. As a coach, conductor and course instructor his work with singers, instrumentalists and pianists encompasses a wide spectrum of art song, opera and chamber music repertoire. He has presented master classes in Germany, Austria, Switzerland, France, Bulgaria, France, Mexico and throughout the United States, and has been on the faculties of the Lied Austria Program near Graz, Austria and the Dramatic Voices Program in Berlin.
As a keyboardist, Brian Moll has worked with Emmanuel Music, Boston Baroque, and the Handel & Haydn Chorus and Orchestra. He has also served as Assistant Conductor for productions by Boston Lyric Opera, Opera North and Boston Midsummer Opera. He has been a guest artist for the Strings in the Mountains Festival in Colorado, and the New Hampshire Music Festival.
Brian Moll is a sought-after recitalist, and has appeared with singers Barbara Kilduff, Sheri Greenawald, Jesse Blumberg, Wolfgang Brendel, Sir Thomas Allen, Kevin Deas, Yeghishe Manucharyan, Chelsea Basler, Kelly Kaduce, Mara Bonde, Anastasia Nikolova and Sandra Piques Eddy, in such prestigious halls as Vienna’s Mozartsaal, the Haydnsaal at the Esterhazy Castle in Eisenstadt, Austria, Tokyo’s Lilia Hall, and Boston’s Jordan Hall.
A magna cum laude graduate of Hamilton College, Brian Moll earned further degrees from the Hochschule für Musik in Vienna, Austria and the University of Michigan School of Music, where he studied with Martin Katz. While in Vienna, he earned diplomas with distinction in piano and organ and has also taught as a Fulbright teaching assistant.
STRAUSS ELEKTRA
LIEDER & CHAMBER MUSIC
Brian Moll is on the faculty of the Longy School of Music of Bard College in Cambridge, Massachusetts, where for the last twenty years, he served as Chair of the Collaborative Piano Department and led both the Piano and Voice Departments. He is also on the faculty of Boston Conservatory at Berklee and the New England Conservatory of Music. As a coach, conductor and course instructor his work with singers, instrumentalists and pianists encompasses a wide spectrum of art song, opera and chamber music repertoire. He has presented master classes in Germany, Austria, Switzerland, France, Bulgaria, France, Mexico and throughout the United States, and has been on the faculties of the Lied Austria Program near Graz, Austria and the Dramatic Voices Program in Berlin.
As a keyboardist, Brian Moll has worked with Emmanuel Music, Boston Baroque, and the Handel & Haydn Chorus and Orchestra. He has also served as Assistant Conductor for productions by Boston Lyric Opera, Opera North and Boston Midsummer Opera. He has been a guest artist for the Strings in the Mountains Festival in Colorado, and the New Hampshire Music Festival.
Brian Moll is a sought-after recitalist, and has appeared with singers Barbara Kilduff, Sheri Greenawald, Jesse Blumberg, Wolfgang Brendel, Sir Thomas Allen, Kevin Deas, Yeghishe Manucharyan, Chelsea Basler, Kelly Kaduce, Mara Bonde, Anastasia Nikolova and Sandra Piques Eddy, in such prestigious halls as Vienna’s Mozartsaal, the Haydnsaal at the Esterhazy Castle in Eisenstadt, Austria, Tokyo’s Lilia Hall, and Boston’s Jordan Hall.
A magna cum laude graduate of Hamilton College, Brian Moll earned further degrees from the Hochschule für Musik in Vienna, Austria and the University of Michigan School of Music, where he studied with Martin Katz. While in Vienna, he earned diplomas with distinction in piano and organ and has also taught as a Fulbright teaching assistant.
STEPHANIE WEISS, VISITING FACULTY
STRAUSS ELEKTRA
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.
STRAUSS ELEKTRA
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.
CAROL MASTRODOMENICO, VOICE FACULTY
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.
MARIELLA BAIER, GERMAN LANGUAGE COACH
STRAUSS ELEKTRA
Renowned German diction coach and vocal pedagogue Mariella Baier specialises in practical usage of the German language as it relates to singing.
Ms. Baier received her vocal training at the Royal Conservatory in Brussels, and graduated with high distinction. As a jugendlicher dramatischer sopran, she has worked with coaches and conductors from the world’s greatest opera houses, including the Metropolitan Opera, Berlin Staatsoper and Opernhaus Zürich, among others.
Her specialised training has led her to a passion for helping singers achieve clearly understood German diction without sacrificing a healthy vocal technique. Ms.Baier is in high demand as a coach for professional singers and is the diction coach at the Koninklijk Conservatorium in Brussels.
STRAUSS ELEKTRA
Renowned German diction coach and vocal pedagogue Mariella Baier specialises in practical usage of the German language as it relates to singing.
Ms. Baier received her vocal training at the Royal Conservatory in Brussels, and graduated with high distinction. As a jugendlicher dramatischer sopran, she has worked with coaches and conductors from the world’s greatest opera houses, including the Metropolitan Opera, Berlin Staatsoper and Opernhaus Zürich, among others.
Her specialised training has led her to a passion for helping singers achieve clearly understood German diction without sacrificing a healthy vocal technique. Ms.Baier is in high demand as a coach for professional singers and is the diction coach at the Koninklijk Conservatorium in Brussels.
ANASTASIA NIKOLOV, VOICE FACULTY
PROGRAM CO-FOUNDER & ARTISTIC DIRECTOR
Dramatic soprano Anastasia Nikolov started her musical training at the age of 5, studying piano, drama and dance at the Bulgarian National Theater. She 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 Ms. Nikolov completed an apprenticeship with Central Florida Lyric Opera and was invited to return as a Resident Artist with the company.
Opera roles include: Helmwige in Die Walküre (Berlin Wagner Gruppe); 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) Governess in Turn of the Screw (Opera Seria), Donna Anna in Don Giovanni (Opera Seria), 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); Countess in Le Nozze di Figaro (Central Florida Lyric Opera), Serpina in La serva padrona (Berliner Philharmonie Kammermusiksaal, concertante), Member of the Chamber in a premiere performance of Eric Sawyer's Our American Cousin (Composers in Red Sneakers), Darling 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 (Hingham Choir and Orchestra); Dubois Seven Last Words of Christ (College Park Players); Vivaldi Gloria (Old North Concert Series); Vaughan Williams Dona novis 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 given numerous art song recitals in the United States and in Europe. 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.
Ms. Nikolov is the Co-Founder and Artistic Director of the Berlin Song Festival, she has taught voice and vocal pedagogy in both North America and Europe.
PROGRAM CO-FOUNDER & ARTISTIC DIRECTOR
Dramatic soprano Anastasia Nikolov started her musical training at the age of 5, studying piano, drama and dance at the Bulgarian National Theater. She 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 Ms. Nikolov completed an apprenticeship with Central Florida Lyric Opera and was invited to return as a Resident Artist with the company.
Opera roles include: Helmwige in Die Walküre (Berlin Wagner Gruppe); 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) Governess in Turn of the Screw (Opera Seria), Donna Anna in Don Giovanni (Opera Seria), 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); Countess in Le Nozze di Figaro (Central Florida Lyric Opera), Serpina in La serva padrona (Berliner Philharmonie Kammermusiksaal, concertante), Member of the Chamber in a premiere performance of Eric Sawyer's Our American Cousin (Composers in Red Sneakers), Darling 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 (Hingham Choir and Orchestra); Dubois Seven Last Words of Christ (College Park Players); Vivaldi Gloria (Old North Concert Series); Vaughan Williams Dona novis 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 given numerous art song recitals in the United States and in Europe. 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.
Ms. Nikolov is the Co-Founder and Artistic Director of the Berlin Song Festival, she has taught voice and vocal pedagogy in both North America and Europe.
STEPHAN REINEKE, AGENT, TACT INTERNATIONAL
VISITING FACULTY
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.
http://www.tact4art.com/
VISITING FACULTY
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.
http://www.tact4art.com/
EXECUTIVE TEAM
JULIE WYMA,
CO-FOUNDER & 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 in Hänsel 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.
CO-FOUNDER & 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 in Hänsel 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.
APPLICATION DEADLINE for second round of casting:
MARCH 1, 2020
MARCH 1, 2020
THERE IS NO FEE TO APPLY | THE PROGRAM HAS NO AGE LIMIT