REBEKAH ROTA
CHARACTER ANALYSIS & DEVELOPMENT
Rebekah Rota is a multi-faceted artist whose career encompasses performing, teaching, directing, and arts administration. Rebekah combines intellectual rigor with emotional connectivity in whatever she does, striving to fill Structure with Heart. After completing her Master’s and Doctorate studies at the University of Michigan, she embarked on the first stage of her professional journey as a performer.
She sang throughout Germany and the United States, bringing life to such great roles as Violetta in La Traviata (Verdi), Mimi in La Bohème (Puccini), Gretel in Hänsel und Gretel (Humperdinck), and Margarethe in Faust (Gounod), among others. She was consistently recognized for her ability to combine secure technique, beautiful singing, and moving interpretations. "Natural acting and deeply-felt singing… dreamy, soft high notes…" "Believable and moving… masterful coloratura." "Silvery high notes, sparkling coloratura, powerful in all registers and with great acting ability."
Invitations to teach and coach soon followed. In addition to maintaining a private studio, Rebekah has been invited to give workshops and master classes in the US (University of Michigan, Loyola Marymount University, Utah Valley University) and Germany (German Opera Experience, James Madison University study abroad, Berlin Opera Academy).
Her deep grounding in technique and powerful emotional connectivity support the student’s journey to use the voice as an instrument for communication. "Rebekah is an insightful and intuitive teacher who has the ability to recognize each student’s individual struggles. Not only is she an amazing technician, she believes in connecting your physical and emotional energy to everything you sing, making your experience extremely personal." "Rebekah has one goal as a teacher: to achieve a natural sound for an authentic, honest interpretation that serves the music. Every second of her pedagogical and technical work is focused on this goal – providing both consistency and freedom.”
While still a student at the University of Michigan, Rebekah was selected to receive a specially tailored scholarship in stage direction. Bringing perspective from both “sides” of the stage, Rebekah’s unique vision couples depth of understanding with breadth of emotional connection. She was soon selected to direct various productions at the University (Davidson’s The Fourth Wise Man; Mozart’s Cosi fan Tutte) and received internships and assistant stage director positions with such companies as Opera Grand Rapids, Pine Mountain Music Festival, Indianapolis Opera, and the Los Angeles Opera.
After focusing exclusively on her singing career for a number of years, Rebekah returned to stage direction in 2014 with Henry Purcell’s Dido and Aeneas at the Mittelsächsische Theater. The following year, her staging of the mono-opera The Diary of Anne Frank by Grigor Frid at the Mecklenburgischen Landestheater Neustrelitz received national attention. The production was selected for the Polish language premiere of the opera at the International Penderecki Festival in Poland in September 2016 and it was revived in June 2017 in Krakow. She will be directing again this fall at the Landesbuehnen Sachsen; Peter Lund’s children’s opera Der Frosch muss Weg. "That this was all accomplished so unpretentiously, technically brilliantly, musically and dramatically convincingly, is in large part the merit of stage director Rebekah Rota from Canada {sic}. Under her direction, something grand that touches us all, “tua res agitur”, was coaxed out of polyphonic brevity and received resounding applause at the premiere." "This year - Opera Underground and the Polish premiere of the operatic monodrama The Diary of Anne Frank by Grigor Frid, directed by American Rebecca {sic} Rota. Sensitive, delicate, with girlish charm - very movingly designed to touch, not "hammer", something the director wanted to avoid.”
Fall 2017 saw the beginning of yet another professional chapter for Rebekah as she accepted the position of Referentin des Operndirektors at the Landesbuehnen Sachsen in Dresden. Her long experience as a singer, teacher, and director inform her new duties as artistic administrator as she helps to manage daily operations, long-term planning and casting, and strategic planning at the theater. Outreach and Education are also important areas for her and she has initiated several in-school programs to introduce school children to the history and skill of classical singing.
From April 2020, Rebekah will join Staatstheater Karlsruhe as the company's Stellvertretende Operndirektorin (Deputy Head of Opera).
CHARACTER ANALYSIS & DEVELOPMENT
Rebekah Rota is a multi-faceted artist whose career encompasses performing, teaching, directing, and arts administration. Rebekah combines intellectual rigor with emotional connectivity in whatever she does, striving to fill Structure with Heart. After completing her Master’s and Doctorate studies at the University of Michigan, she embarked on the first stage of her professional journey as a performer.
She sang throughout Germany and the United States, bringing life to such great roles as Violetta in La Traviata (Verdi), Mimi in La Bohème (Puccini), Gretel in Hänsel und Gretel (Humperdinck), and Margarethe in Faust (Gounod), among others. She was consistently recognized for her ability to combine secure technique, beautiful singing, and moving interpretations. "Natural acting and deeply-felt singing… dreamy, soft high notes…" "Believable and moving… masterful coloratura." "Silvery high notes, sparkling coloratura, powerful in all registers and with great acting ability."
Invitations to teach and coach soon followed. In addition to maintaining a private studio, Rebekah has been invited to give workshops and master classes in the US (University of Michigan, Loyola Marymount University, Utah Valley University) and Germany (German Opera Experience, James Madison University study abroad, Berlin Opera Academy).
Her deep grounding in technique and powerful emotional connectivity support the student’s journey to use the voice as an instrument for communication. "Rebekah is an insightful and intuitive teacher who has the ability to recognize each student’s individual struggles. Not only is she an amazing technician, she believes in connecting your physical and emotional energy to everything you sing, making your experience extremely personal." "Rebekah has one goal as a teacher: to achieve a natural sound for an authentic, honest interpretation that serves the music. Every second of her pedagogical and technical work is focused on this goal – providing both consistency and freedom.”
While still a student at the University of Michigan, Rebekah was selected to receive a specially tailored scholarship in stage direction. Bringing perspective from both “sides” of the stage, Rebekah’s unique vision couples depth of understanding with breadth of emotional connection. She was soon selected to direct various productions at the University (Davidson’s The Fourth Wise Man; Mozart’s Cosi fan Tutte) and received internships and assistant stage director positions with such companies as Opera Grand Rapids, Pine Mountain Music Festival, Indianapolis Opera, and the Los Angeles Opera.
After focusing exclusively on her singing career for a number of years, Rebekah returned to stage direction in 2014 with Henry Purcell’s Dido and Aeneas at the Mittelsächsische Theater. The following year, her staging of the mono-opera The Diary of Anne Frank by Grigor Frid at the Mecklenburgischen Landestheater Neustrelitz received national attention. The production was selected for the Polish language premiere of the opera at the International Penderecki Festival in Poland in September 2016 and it was revived in June 2017 in Krakow. She will be directing again this fall at the Landesbuehnen Sachsen; Peter Lund’s children’s opera Der Frosch muss Weg. "That this was all accomplished so unpretentiously, technically brilliantly, musically and dramatically convincingly, is in large part the merit of stage director Rebekah Rota from Canada {sic}. Under her direction, something grand that touches us all, “tua res agitur”, was coaxed out of polyphonic brevity and received resounding applause at the premiere." "This year - Opera Underground and the Polish premiere of the operatic monodrama The Diary of Anne Frank by Grigor Frid, directed by American Rebecca {sic} Rota. Sensitive, delicate, with girlish charm - very movingly designed to touch, not "hammer", something the director wanted to avoid.”
Fall 2017 saw the beginning of yet another professional chapter for Rebekah as she accepted the position of Referentin des Operndirektors at the Landesbuehnen Sachsen in Dresden. Her long experience as a singer, teacher, and director inform her new duties as artistic administrator as she helps to manage daily operations, long-term planning and casting, and strategic planning at the theater. Outreach and Education are also important areas for her and she has initiated several in-school programs to introduce school children to the history and skill of classical singing.
From April 2020, Rebekah will join Staatstheater Karlsruhe as the company's Stellvertretende Operndirektorin (Deputy Head of Opera).
TERESA REIBER
CHARACTER ANALYSIS & DEVELOPMENT
Teresa has been working as an opera and revival director since 2011 after graduating with a master's degree in Theatre and Cultural Studies in Berlin.
Teresa made her debut as director at the Hessisches Staatstheater Wiesbaden with a production of Francesco Cavalli’s opera LA CALISTO (2014). She also directed the world premiere of BÜCHNERS FRAUEN by Paul Leonard Schäffer, EIN SOMMERNACHTSTRAUM: MODERN TIMES (which closed the Philharmonie Essen's 2015 season) and Grigory Frid’s THE DIARY OF ANNE FRANK (for the opening night of the first Anne Frank Memorial Day in
Frankfurt/Main in 2017). In 2019, Teresa staged a well-received production of Arnold Schoenberg’s PIERROT LUNAIRE in the Tischlerei of the Deutsche Oper Berlin.
In 2016 Teresa was appointed co-director of the new children’s opera club at the Deutsche
Oper Berlin, initially working with William Robertson and later taking over as sole director. Over three seasons she and her team devised the music theatre productions DIE BERLINER STADTMUSIKANTEN, DONKY SHOT and ZWISCHENWELTEN with children aged 8-12. Teresa gained extensive experience as an assistant and revivial director at the Deutsche Oper Berlin and the Hessisches Staatstheater Wiesbaden, working with directors such as Vera Nemirova, Elisabeth Stöppler, Dietrich Hilsdorf, David Herrmann, Ole Anders Tandberg,
Christof Loy and Immo Karaman. Her work on international and touring productions has taken Teresa to the Salzburg Easter Festival, Opernhaus Graz and the Israeli Opera in Tel Aviv as well as South Korea and Bulgaria.
www.teresareiber.com
CHARACTER ANALYSIS & DEVELOPMENT
Teresa has been working as an opera and revival director since 2011 after graduating with a master's degree in Theatre and Cultural Studies in Berlin.
Teresa made her debut as director at the Hessisches Staatstheater Wiesbaden with a production of Francesco Cavalli’s opera LA CALISTO (2014). She also directed the world premiere of BÜCHNERS FRAUEN by Paul Leonard Schäffer, EIN SOMMERNACHTSTRAUM: MODERN TIMES (which closed the Philharmonie Essen's 2015 season) and Grigory Frid’s THE DIARY OF ANNE FRANK (for the opening night of the first Anne Frank Memorial Day in
Frankfurt/Main in 2017). In 2019, Teresa staged a well-received production of Arnold Schoenberg’s PIERROT LUNAIRE in the Tischlerei of the Deutsche Oper Berlin.
In 2016 Teresa was appointed co-director of the new children’s opera club at the Deutsche
Oper Berlin, initially working with William Robertson and later taking over as sole director. Over three seasons she and her team devised the music theatre productions DIE BERLINER STADTMUSIKANTEN, DONKY SHOT and ZWISCHENWELTEN with children aged 8-12. Teresa gained extensive experience as an assistant and revivial director at the Deutsche Oper Berlin and the Hessisches Staatstheater Wiesbaden, working with directors such as Vera Nemirova, Elisabeth Stöppler, Dietrich Hilsdorf, David Herrmann, Ole Anders Tandberg,
Christof Loy and Immo Karaman. Her work on international and touring productions has taken Teresa to the Salzburg Easter Festival, Opernhaus Graz and the Israeli Opera in Tel Aviv as well as South Korea and Bulgaria.
www.teresareiber.com
LINDA WATSON
MASTERCLASS
American soprano Linda Watson has appeared at many of the major opera houses of the world including the Deutsche Oper, Berlin, Teatro Real Madrid, Gran Teatro del Liceu Barcelona, Teatro alla Scala Milan, Nederlandse Opera, Opéra national de Paris, Wiener Staatsoper and at the Metropolitan Opera New York, with leading conductors including Claudio Abbado, Zubin Mehta, James Levine, Valery Gergiev, Christian Thielemann, Antonio Pappano, Daniele Gatti, Esa-Pekka Salonen and Kent Nagano.
She began her career as a mezzo-soprano in Aachen and in 1995 joined the Leipzig Opera, where her roles included Venus Tannhäuser and Brangäne Tristan und Isolde. She sang her first soprano role, Sieglinde Walküre, in Essen and subsequently joined the Deutsche Oper am Rhein where she also sang Leonore Fidelio, Ortrud Lohengrin, Kundry Parsifal, Feldmarschallin Der Rosenkavalier, Fäberin Die Frau ohne Schatten, Ariadne and Elektra.
Following the success of her first Brünnhilde Die Walküre in Tokyo, she reprised the role for the Washington National Opera, Deutsche Oper, Nederlandse Opera, Théâtre du Châtelet Paris, Bayreuther Festspiele and the Metropolitan Opera. Other engagements include Leonore and Isolde in Japan with the Bayerische Staatsoper, Isolde for the Wiener Staatsoper, Elektra for the Festspielhaus Baden-Baden and in Buenos Aires, Sieglinde Die Walküre in Barcelona, Parsifal at the Seattle Opera, and the complete Ring Cycle for the Los Angeles Opera, Hamburgische Staatsoper and the Bayreuther Festspiele. Most recently she sang Brünnhilde Götterdämmerung in Seville.
In 2014 she was nominated for the Principal Soloist Grammy Award for her participation in Christian Thielemann’s Ring recording.
Engagements this season include Ariadne and Turandot for the Deutsche Oper am Rhein, Die Amme Die Frau ohne Schatten in Hamburg and Herodias Salome at the Wiener Staatsoper.
MASTERCLASS
American soprano Linda Watson has appeared at many of the major opera houses of the world including the Deutsche Oper, Berlin, Teatro Real Madrid, Gran Teatro del Liceu Barcelona, Teatro alla Scala Milan, Nederlandse Opera, Opéra national de Paris, Wiener Staatsoper and at the Metropolitan Opera New York, with leading conductors including Claudio Abbado, Zubin Mehta, James Levine, Valery Gergiev, Christian Thielemann, Antonio Pappano, Daniele Gatti, Esa-Pekka Salonen and Kent Nagano.
She began her career as a mezzo-soprano in Aachen and in 1995 joined the Leipzig Opera, where her roles included Venus Tannhäuser and Brangäne Tristan und Isolde. She sang her first soprano role, Sieglinde Walküre, in Essen and subsequently joined the Deutsche Oper am Rhein where she also sang Leonore Fidelio, Ortrud Lohengrin, Kundry Parsifal, Feldmarschallin Der Rosenkavalier, Fäberin Die Frau ohne Schatten, Ariadne and Elektra.
Following the success of her first Brünnhilde Die Walküre in Tokyo, she reprised the role for the Washington National Opera, Deutsche Oper, Nederlandse Opera, Théâtre du Châtelet Paris, Bayreuther Festspiele and the Metropolitan Opera. Other engagements include Leonore and Isolde in Japan with the Bayerische Staatsoper, Isolde for the Wiener Staatsoper, Elektra for the Festspielhaus Baden-Baden and in Buenos Aires, Sieglinde Die Walküre in Barcelona, Parsifal at the Seattle Opera, and the complete Ring Cycle for the Los Angeles Opera, Hamburgische Staatsoper and the Bayreuther Festspiele. Most recently she sang Brünnhilde Götterdämmerung in Seville.
In 2014 she was nominated for the Principal Soloist Grammy Award for her participation in Christian Thielemann’s Ring recording.
Engagements this season include Ariadne and Turandot for the Deutsche Oper am Rhein, Die Amme Die Frau ohne Schatten in Hamburg and Herodias Salome at the Wiener Staatsoper.
CAROLINE DOWDLE
MUSICAL COACHINGS
MASTERCLASS
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.
MUSICAL COACHINGS
MASTERCLASS
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.
Dr. CHRISTOPHER WHITE
MUSICAL COACHINGS
MASTERCLASS
Dr Christopher White is Studienleiter (Head of Music) at the Deutsche Oper Berlin, a position he has held since 2017, after joining the Company in 2014. Prior to that, he held Music Staff positions at English National Opera and Opernhaus Zürich. He studied piano and piano accompaniment, and completed his Doctoral work on the music of Gustav Mahler, at the Royal Academy of Music, London, from which institution he holds the title of Associate (ARAM).
Christopher’s current work involves short- and long-term coordination of rehearsals and coachings at one of the busiest opera houses in Europe, as well as advising on casting, hearing auditions and liaising with conductors and directors. He works daily with the thirty-eight ensemble members at Deutsche Oper in role preparation, ensemble rehearsals and staging rehearsals, as well as advising young singers on career development.
Guest engagements as a musical assistant have taken him to, amongst others, the Munich Opera Festival, Glyndebourne, the Royal Opera House Covent Garden and the Bayreuth Festival, the latter for Parsifal and the Ring of the Nibelung.
In addition to this work, Christopher is also an active solo and chamber pianist. He played Saint-Saens’ Second Piano Concerto at the Philharmonie in Berlin in November 2016, and his recording of a solo piano arrangement of Mahler’s Tenth Symphony remains available on the Divine Arts label.
MUSICAL COACHINGS
MASTERCLASS
Dr Christopher White is Studienleiter (Head of Music) at the Deutsche Oper Berlin, a position he has held since 2017, after joining the Company in 2014. Prior to that, he held Music Staff positions at English National Opera and Opernhaus Zürich. He studied piano and piano accompaniment, and completed his Doctoral work on the music of Gustav Mahler, at the Royal Academy of Music, London, from which institution he holds the title of Associate (ARAM).
Christopher’s current work involves short- and long-term coordination of rehearsals and coachings at one of the busiest opera houses in Europe, as well as advising on casting, hearing auditions and liaising with conductors and directors. He works daily with the thirty-eight ensemble members at Deutsche Oper in role preparation, ensemble rehearsals and staging rehearsals, as well as advising young singers on career development.
Guest engagements as a musical assistant have taken him to, amongst others, the Munich Opera Festival, Glyndebourne, the Royal Opera House Covent Garden and the Bayreuth Festival, the latter for Parsifal and the Ring of the Nibelung.
In addition to this work, Christopher is also an active solo and chamber pianist. He played Saint-Saens’ Second Piano Concerto at the Philharmonie in Berlin in November 2016, and his recording of a solo piano arrangement of Mahler’s Tenth Symphony remains available on the Divine Arts label.
Dr. LIBOR DUDAS
MUSICAL COACHINGS
"I strongly believe that a complete artist must have a comprehensive knowledge of not only the music, but also the accompanying artistic, philosophic and historic context in which each composer lived and worked."
Conductor and pianist Dr. Libor Dudas is a native of Croatia. He began his musical studies at the age of 8, studying piano, organ, harpsichord, and fortepiano. Completing his high school studies at age 14, he was awarded a scholarship to the prestigious Hochschule für Musik und darstellende Kunst Vienna (Austria) where he completed his bachelor’s degree under the tutelage of Rudolph Scholz. While a student in Vienna he performed recitals throughout Austria, Germany, and Italy.
After receiving his bachelor’s degree with Distinction, Dr. Dudas earned his master’s degree from the University of Notre Dame, Indiana (USA), and his Doctorate of Musical Arts from the New England Conservatory of Music in Boston, Massachusetts (USA) with the doctoral thesis Verdi’s Un giorno di regno and the end of the opera buffa tradition in Italy. While still a doctoral student he joined the faculty of the New England Conservatory of Music.
Dr. Dudas was a long-term faculty member of the opera department of the Boston Conservatory (USA), before being recruited by the Longy School of Music of Bard College in Cambridge, Massachusetts (USA). At Longy, he serves as the Music Director of Longy’s Opera Experience, works as a vocal coach, and teaches classes in music history, opera, and early music.
Dr. Dudas has a particular passion for and focus on the works of Richard Wagner and Richard Strauss, particularly on introducing, coaching, and conducting young dramatic voices in that repertoire. Furthermore, Dr. Dudas’ research focuses on operas of neglected and rarely-performed composers.
In addition to his work as an educator, Dr. Dudas is active as a recitalist, collaborative pianist, and conductor throughout the United States and Europe. He serves as the Music Director of Boston’s historic Old North Church (USA), where he has conducted numerous large oratorio works.
MUSICAL COACHINGS
"I strongly believe that a complete artist must have a comprehensive knowledge of not only the music, but also the accompanying artistic, philosophic and historic context in which each composer lived and worked."
Conductor and pianist Dr. Libor Dudas is a native of Croatia. He began his musical studies at the age of 8, studying piano, organ, harpsichord, and fortepiano. Completing his high school studies at age 14, he was awarded a scholarship to the prestigious Hochschule für Musik und darstellende Kunst Vienna (Austria) where he completed his bachelor’s degree under the tutelage of Rudolph Scholz. While a student in Vienna he performed recitals throughout Austria, Germany, and Italy.
After receiving his bachelor’s degree with Distinction, Dr. Dudas earned his master’s degree from the University of Notre Dame, Indiana (USA), and his Doctorate of Musical Arts from the New England Conservatory of Music in Boston, Massachusetts (USA) with the doctoral thesis Verdi’s Un giorno di regno and the end of the opera buffa tradition in Italy. While still a doctoral student he joined the faculty of the New England Conservatory of Music.
Dr. Dudas was a long-term faculty member of the opera department of the Boston Conservatory (USA), before being recruited by the Longy School of Music of Bard College in Cambridge, Massachusetts (USA). At Longy, he serves as the Music Director of Longy’s Opera Experience, works as a vocal coach, and teaches classes in music history, opera, and early music.
Dr. Dudas has a particular passion for and focus on the works of Richard Wagner and Richard Strauss, particularly on introducing, coaching, and conducting young dramatic voices in that repertoire. Furthermore, Dr. Dudas’ research focuses on operas of neglected and rarely-performed composers.
In addition to his work as an educator, Dr. Dudas is active as a recitalist, collaborative pianist, and conductor throughout the United States and Europe. He serves as the Music Director of Boston’s historic Old North Church (USA), where he has conducted numerous large oratorio works.
KS TICHINA VAUGHN
MASTERCLASS
Tichina Vaughn is an outstanding American mezzo-soprano, celebrated for her luxuriously rich voice as well as her electrifying stagecraft. She began her career as a member of the Metropolitan Opera’s Lindemann Young Artist Development Program and made her European debut as Mistress Quickly in Falstaff at Staatstheater Stuttgart where she was awarded the title Kammersängerin. Recent successes include her Staatstheater Hannover debut as Begonia in The Young Lord, Filipyevna in Eugene Onegin at Spoleto Festival USA, her Teatro alla Scala debut as Maria in Porgy and Bess, as well as Clytemnestra in Elektra, Witch in Humperdinck’s Hansel and Gretel and The King’s Children, and Ice Queen in Schwanda the Bagpiper at Semperoper Dresden.
Upcoming appearances include Herodias in Salome, the Mother in Il prigioniero and Brigitta in Die tote Stadt at Semperoper Dresden, her role debut as First Maid in Elektra at the Metropolitan Opera and debuts with English National Opera and Dutch National Opera as Mariah in Porgy and Bess. Vaughn is a recipient of the Metropolitan Opera National Council Award, Opera Index Vocal Award, Robert M. Jacobson Study Grant, Birgit Nilsson Foundatin Award, Living Heritage Foundation Award, and the Consul General’s Award for Cultural Diplomacy from the Consulate General Milan.
In previous seasons, Tichina Vaughn was AMNERIS in Aida at Arena di Verona,Teatro Lirico di Cagliari, National Opera Hong Kong,Teatro Rome alla Caracalla, Teatro Padova, Detroit Opera, Seattle Opera, Tulsa Opera, and Michigan Opera; AZUCENA in Il Trovatore at Arena di Verona, Teatro Verdi di Trieste, Festival Arturo Toscanini Bussetto, Teatro Carlo Felice Genoa, Greek National Opera, Budhapest National Opera and the Sacramento Opera; and ULRICA in Un Ballo in Maschera with San Francisco, Hamburg Opera, Opera Graz, Salerno Opera, Verona Opera, Palermo, Ancona, and at the Semper Opera Dresden. Further guest engagements have taken her to the opera houses of Los Angeles, („Il Trittico“) as well as the Finnish National Opera, Augsburg Opera, Opera Kassel, ( Erda „The Ring Cycle“), Frankfurt National Opera, („Don Carlo“) („Il Trittico“), the Bregenz Festival („Porgy and Bess“), and Las Palmas Opera, („Salome“), among others. From 1998 to 2006 Tichina Vaughn was a principal artist at the State Opera of Stuttgart and was awarded the title Kammersängerin for her successes in such roles as as Eboli ("Don Carlo"), Azucena ( "Il Trovatore"), Widow Begbick ( "Mahagonny"), Venus („Tannhauser“), Arnalta ( Poppea), Herodias ( "Salome"), Fricka ( "The Walküre"), Waltraute ("Götterdämmerung ") and Erda (" Siegfried "and" Das Rheingold ").
In crossover she was a guest at SWR Big Band, SWR 4 Band, Tango 5, and in numerous crossover concerts and festivals, as well as the 50th anniversary of the State of Baden-Württemberg. Her discography includes the Stuttgart Ring Cycle with appearances as Fricka in („Die Walküre“) and Waltraute in („Die Götterdämmerung“), which was filmed for the Euro Arts distributed DVD and recorded on the Naxos label as well as her solo portrait CD entitled "Christmas At My House". Additionally she appears on the NEW RELEASE Live from the Semperoper 2012: Schwanda the Bagpiper. Since the 2010/11 season Tichina Vaughn is a principal artist at the Semper Opera Dresden, where she has been heard as Azucena ( "Il Trovatore"), Venus ("Tannhauser" ), Ulrica ( "Un Ballo in Maschera "), Ortrud ( "Lohengrin"), Eboli ( "Don Carlo"), Prince Orlofsky ( "The Bat"), Isabella ( "L'italiana in Algeri"), Suzuki ( "Madama Butterfly"), High Priestess ( "La Vestale"), Ursula ("Feuersnot"), Herodias ( "Salome"), The Witch ( "Hansel and Gretel"), Ice Queen ( "Švanda dudák! /! Schwanda the Bagpiper"), Cornelia ("Giulio Cesare in Egitto"), and Filipjewna ("Eugene Onegin") to name a few. Recent Crossover and Jazz engagements have included appearances at the Jazz Festival Dresden and in a Germany wide tour with Klazz Brothers & Cuba Percussion.
In addition to her many operatic engagements, Tichina Vaughn performs symphonic concerts, chamber concerts and recitals in many prestigious concert halls around the world. Featured works include („Verdi Requiem“), („Beethoveen’s 9th“), Bernstein’s („Jerimiah Symphony“), and the symphonies of Mahler. Orchestra and conductors include the Berlin Philharmonic, the Bamberg Symphony Orchestra, Chicago Symphony, Jerusalem Symphony, Detroit Symphony, Philadelphia Symphony Orchestra, the Taipei Symphony, the Dublin National Symphony, and the Stuttgart Philharmonic in collaboration with Maestros Placido Domingo, Sir Simon Rattle, James Conlon, Fabio Luisi, James Levine, Nello Santi, Mislahv Rostropovich, Nicola Luisotti, Daniel Oren, Bobby McFerrin, Lorin Maazel and Yves Abel to name a few.
Tichina Vaughn completed her studies at the University of North Carolina School of the Arts, Georgia State University, and the American Institue of Musical Studies in Graz, Austria.American mezzo soprano Tichina Vaughn has established an important presence among the world’s leading opera houses, concert halls and theaters. As an outstanding singing-actress versatile in opera, operetta, musical theater, and jazz, Vaughn continues to garner both popular and critical acclaim. This versatile artist began her operatic career as a member of the Metropolitan Opera's Lindemann Young Artist Program and made her European operatic debut as Mistress Quickly in FALSTAFF at the Stuttgart State Theater where she was a member of the ensemble from 1996-2006 and was awarded the title of Kammersängerin.
In season 2021-2022, Ms. Vaughn makes her role debut as the Innkeeper in BORIS GUDONOV at the Metropolitan Opera as well as reprises roles in ELEKTRA and PORGY AND BESS. Additionally, she is scheduled to make her Boston Lyric debut as Emelda Griffith in Terence Blanchard’s CHAMPION.
Engagements for season 2020-2021 included Maria in PORGY AND BESS at Theater an der Wien, Mary in THE FLYING DUTCHMAN at Royal Opera, Covent Garden, and Maria in PORGY AND BESS at the Elbphilharmonie Hamburg conducted by Alan Gilbert.
Ms. Vaughn’s 2019-2020 season opened with a return to the Metropolitan Opera for performances of PORGY AND BESS, the Fortune Teller in Prokofiev’s FIERY ANGEL at Theater an der Wien(cancelled), Jezibaba in RUSALKA at Cincinnati Opera (cancelled), and Mama Lucia in performances of CAVALLERIA RUSTICANA at Seattle Opera (cancelled).
Season 2018-2019 included debuts at English National Opera and Dutch National Opera as Maria in a new production of PORGY AND BESS followed by a return to the Metropolitan Opera for performances in DIALOGUES DES CARMELITES with Music Director Yannick Nézet-Séguin. Additionally Vaughn was the High Priestess/Mother in the world premiere of CARUSO A CUBA with Dutch National Opera and appeared with the American Symphony Orchestra at Carnegie Hall in performances of Juliette by Martinu.
Highlights from season 2017/18 season included critical success in her role debut as The Mother in Dallapiccola's IL PRIGIONIERO under Erik Nielsen, as Herodias SALOME under Omer Meir Welber and as Brigitta DIE TOTE STADT under Dimitri Jurowski at the Semper Opera Dresden. She returned to the Metropolitan Opera for Elektra with Music Director Yannick Nézet-Séguin and made her house debut with the State Opera Hannover as Begonia in Henze’s DER JUNGE.
Ms. Vaughn's 2016/17 season included her Teatro alla Scala debut as Maria PORGY AND BESS, reprisals of Klytemnestra in ELEKTRA, the Witch in Humperdinck KÖNIGSKINDER and HÄNSEL UND GRETEL, as well as the Ice Queen in Weinbergers SCHWANDA THE BAGPIPER at the Semperoper Dresden. Further appearances included her return to Spoleto Festival USA as Filipyevna EUGENE ONEGIN and performances of her solo jazz program BILLIE, ELLA, SARAH AND ME.
In previous seasons, in North America Ms. Vaughn has appeared as Azucena IL TROVATORE with Sacramento Opera, Amneris AIDA with Michigan Opera Theater, Tulsa Opera, Seattle Opera, and Orange County Opera, Ulrica BALLO IN MASCHERA at San Francisco Opera, and La Frugola IL TABARRO with Los Angeles Opera.
Internationally, Ms. Vaughn made her Italian debut as Azucena IL TROVATORE under the baton of Nicola Luisotti at the Teatro Verdi Trieste where she was later heard as Ulrica BALLO IN MASCHERA opposite Marco Berti. She became a regular guest at the Arena di Verona where she performed more than fifty performances of Amneris AIDA as well as Azucena IL TROVATORE. Additional successes in Italy include Amneris and Ulrica at the Teatro Lirico di Cagliari, Azucena and The Old Lady CANDIDE at the Teatro Carlo Felice Genova, Azucena at the Festival Arturo Toscanini Busseto, Ulrica at the Teatro Massimo Palermo, Teatro Verdi Salerno, Teatro delle Muse Ancona and the Teatro Filarmonico Verona, as well as Amneris at the Baths of Caracalla for Teatro dell' Opera di Roma and at the Festival Veneto. Further international engagements have included Azucena IL TROVATORE at the Budapest National Opera and the Greek National Opera, Amneris AIDA at Opera Hong Kong, Herodias SALOME at Las Palmas Opera, Erda DER RING DES NIBELUNGEN at the Finnish National Opera, Augsburg Opera, and the State Opera Kassel, Ulrica BALLO IN MASCHERA and Venus TANNHÄUSER at the Hamburg State Opera, Maria PORGY AND BESS at the Bregenz Festival, as well as Klytemnestra ELEKTRA, La Zia Principessa SUOR ANGELICA, and Princess Eboli DON CARLO with Oper Frankfurt.
From 1998 to 2006 Tichina Vaughn was a principal artist at the State Theater Stuttgart where she was awarded the title of Kammersängerin for her successes in such roles as Eboli DON CARLO, Azucena IL TROVATORE, Widow Begbick MAHAGONNY, Venus TANNHÄUSER, Giulietta TALES OF HOFFMAN, Arnalta L'INCORONAZIONE DI POPPEA, Herodias SALOME, Fricka DIE WALKÜRE, Waltraute GÖTTERDÄMMERUNG, and Erda SIEGFRIED and DAS RHEINGOLD.
From 2010 to 2018 Ms. Vaughn has been a principal artist with Dresden Semper Opera where she was heard as Azucena IL TROVATORE, Venus TANNHAUSER, Ortrud LOHENGRIN, Klytemnestra ELEKTRA, Eboli DON CARLO, Prince Orloffsky DIE FLEDERMAUS, Isabella L'ITALIANA IN ALGERI, Suzuki MADAME BUTTERFLY, Grand Vestale LA VESTALE, Herodias SALOME, Cornelia GIULIO CESARE, and Filipyevna EUGENE ONEGIN among others.
In addition to her many operatic successes, Tichina Vaughn has performed symphonic concerts, chamber concerts, and recitals in many prestigious concert halls around the world. Featured works include Verdi Requiem, Beethoven 9th Symphony and Bernstein Jeremiah Symphony. Orchestras and conductors include the Berlin Philharmonic, the Bamberg Symphony Orchestra, the Chicago Symphony, the Philadelphia Symphony Orchestra, the Taipei Symphony Orchestra, the National Symphony Orchestra Kennedy Center, the Jerusalem Symphony, and the National Symphony of Ireland in collaboration with maestros Fabio Luisi, Lorin Maazel, Bobby McFerrin, Sir Simon Rattle, Nello Santi, Roberto Abbado, and Mstislav Rostropovich to name a few.
Her discography includes the Grammy nominated Metropolitan Opera recording of the Gershwins: Porgy and Bess, Stuttgart State Theater DER RING DES NIBELUNGEN which include her acclaimed appearances as Fricka DIE WALKÜRE and Waltraute DIE GÖTTERDÄMMERUNG, filmed by Euro Arts for DVD and recorded for Naxos. In 2005 Tichina released her solo portrait CD entitled "Christmas at My House". Additionally she appears on the release SCHWANDA THE BAGPIPER - LIVE FROM THE SEMPEROPER.
In addition to her title as Kammersängerin, Tichina Vaugh has received many awards and honors during her distinguished career including the Metropolitan Opera National Council Award, the Richard Tucker Foundation Study Grant Award, the Opera Index Vocal Competition Award, a Licia Albanese Puccini Foundation Award, and a Birgit Nilsson Foundation Award. Most recently she was presented the Consul General's Award for Cultural Diplomacy from the Consulate General in Milan. Tichina Vaughn completed her studies at the University of North Carolina School of the Arts, Georgia State University, and the American Institute of Musical Studies in Graz, Austria.
MASTERCLASS
Tichina Vaughn is an outstanding American mezzo-soprano, celebrated for her luxuriously rich voice as well as her electrifying stagecraft. She began her career as a member of the Metropolitan Opera’s Lindemann Young Artist Development Program and made her European debut as Mistress Quickly in Falstaff at Staatstheater Stuttgart where she was awarded the title Kammersängerin. Recent successes include her Staatstheater Hannover debut as Begonia in The Young Lord, Filipyevna in Eugene Onegin at Spoleto Festival USA, her Teatro alla Scala debut as Maria in Porgy and Bess, as well as Clytemnestra in Elektra, Witch in Humperdinck’s Hansel and Gretel and The King’s Children, and Ice Queen in Schwanda the Bagpiper at Semperoper Dresden.
Upcoming appearances include Herodias in Salome, the Mother in Il prigioniero and Brigitta in Die tote Stadt at Semperoper Dresden, her role debut as First Maid in Elektra at the Metropolitan Opera and debuts with English National Opera and Dutch National Opera as Mariah in Porgy and Bess. Vaughn is a recipient of the Metropolitan Opera National Council Award, Opera Index Vocal Award, Robert M. Jacobson Study Grant, Birgit Nilsson Foundatin Award, Living Heritage Foundation Award, and the Consul General’s Award for Cultural Diplomacy from the Consulate General Milan.
In previous seasons, Tichina Vaughn was AMNERIS in Aida at Arena di Verona,Teatro Lirico di Cagliari, National Opera Hong Kong,Teatro Rome alla Caracalla, Teatro Padova, Detroit Opera, Seattle Opera, Tulsa Opera, and Michigan Opera; AZUCENA in Il Trovatore at Arena di Verona, Teatro Verdi di Trieste, Festival Arturo Toscanini Bussetto, Teatro Carlo Felice Genoa, Greek National Opera, Budhapest National Opera and the Sacramento Opera; and ULRICA in Un Ballo in Maschera with San Francisco, Hamburg Opera, Opera Graz, Salerno Opera, Verona Opera, Palermo, Ancona, and at the Semper Opera Dresden. Further guest engagements have taken her to the opera houses of Los Angeles, („Il Trittico“) as well as the Finnish National Opera, Augsburg Opera, Opera Kassel, ( Erda „The Ring Cycle“), Frankfurt National Opera, („Don Carlo“) („Il Trittico“), the Bregenz Festival („Porgy and Bess“), and Las Palmas Opera, („Salome“), among others. From 1998 to 2006 Tichina Vaughn was a principal artist at the State Opera of Stuttgart and was awarded the title Kammersängerin for her successes in such roles as as Eboli ("Don Carlo"), Azucena ( "Il Trovatore"), Widow Begbick ( "Mahagonny"), Venus („Tannhauser“), Arnalta ( Poppea), Herodias ( "Salome"), Fricka ( "The Walküre"), Waltraute ("Götterdämmerung ") and Erda (" Siegfried "and" Das Rheingold ").
In crossover she was a guest at SWR Big Band, SWR 4 Band, Tango 5, and in numerous crossover concerts and festivals, as well as the 50th anniversary of the State of Baden-Württemberg. Her discography includes the Stuttgart Ring Cycle with appearances as Fricka in („Die Walküre“) and Waltraute in („Die Götterdämmerung“), which was filmed for the Euro Arts distributed DVD and recorded on the Naxos label as well as her solo portrait CD entitled "Christmas At My House". Additionally she appears on the NEW RELEASE Live from the Semperoper 2012: Schwanda the Bagpiper. Since the 2010/11 season Tichina Vaughn is a principal artist at the Semper Opera Dresden, where she has been heard as Azucena ( "Il Trovatore"), Venus ("Tannhauser" ), Ulrica ( "Un Ballo in Maschera "), Ortrud ( "Lohengrin"), Eboli ( "Don Carlo"), Prince Orlofsky ( "The Bat"), Isabella ( "L'italiana in Algeri"), Suzuki ( "Madama Butterfly"), High Priestess ( "La Vestale"), Ursula ("Feuersnot"), Herodias ( "Salome"), The Witch ( "Hansel and Gretel"), Ice Queen ( "Švanda dudák! /! Schwanda the Bagpiper"), Cornelia ("Giulio Cesare in Egitto"), and Filipjewna ("Eugene Onegin") to name a few. Recent Crossover and Jazz engagements have included appearances at the Jazz Festival Dresden and in a Germany wide tour with Klazz Brothers & Cuba Percussion.
In addition to her many operatic engagements, Tichina Vaughn performs symphonic concerts, chamber concerts and recitals in many prestigious concert halls around the world. Featured works include („Verdi Requiem“), („Beethoveen’s 9th“), Bernstein’s („Jerimiah Symphony“), and the symphonies of Mahler. Orchestra and conductors include the Berlin Philharmonic, the Bamberg Symphony Orchestra, Chicago Symphony, Jerusalem Symphony, Detroit Symphony, Philadelphia Symphony Orchestra, the Taipei Symphony, the Dublin National Symphony, and the Stuttgart Philharmonic in collaboration with Maestros Placido Domingo, Sir Simon Rattle, James Conlon, Fabio Luisi, James Levine, Nello Santi, Mislahv Rostropovich, Nicola Luisotti, Daniel Oren, Bobby McFerrin, Lorin Maazel and Yves Abel to name a few.
Tichina Vaughn completed her studies at the University of North Carolina School of the Arts, Georgia State University, and the American Institue of Musical Studies in Graz, Austria.American mezzo soprano Tichina Vaughn has established an important presence among the world’s leading opera houses, concert halls and theaters. As an outstanding singing-actress versatile in opera, operetta, musical theater, and jazz, Vaughn continues to garner both popular and critical acclaim. This versatile artist began her operatic career as a member of the Metropolitan Opera's Lindemann Young Artist Program and made her European operatic debut as Mistress Quickly in FALSTAFF at the Stuttgart State Theater where she was a member of the ensemble from 1996-2006 and was awarded the title of Kammersängerin.
In season 2021-2022, Ms. Vaughn makes her role debut as the Innkeeper in BORIS GUDONOV at the Metropolitan Opera as well as reprises roles in ELEKTRA and PORGY AND BESS. Additionally, she is scheduled to make her Boston Lyric debut as Emelda Griffith in Terence Blanchard’s CHAMPION.
Engagements for season 2020-2021 included Maria in PORGY AND BESS at Theater an der Wien, Mary in THE FLYING DUTCHMAN at Royal Opera, Covent Garden, and Maria in PORGY AND BESS at the Elbphilharmonie Hamburg conducted by Alan Gilbert.
Ms. Vaughn’s 2019-2020 season opened with a return to the Metropolitan Opera for performances of PORGY AND BESS, the Fortune Teller in Prokofiev’s FIERY ANGEL at Theater an der Wien(cancelled), Jezibaba in RUSALKA at Cincinnati Opera (cancelled), and Mama Lucia in performances of CAVALLERIA RUSTICANA at Seattle Opera (cancelled).
Season 2018-2019 included debuts at English National Opera and Dutch National Opera as Maria in a new production of PORGY AND BESS followed by a return to the Metropolitan Opera for performances in DIALOGUES DES CARMELITES with Music Director Yannick Nézet-Séguin. Additionally Vaughn was the High Priestess/Mother in the world premiere of CARUSO A CUBA with Dutch National Opera and appeared with the American Symphony Orchestra at Carnegie Hall in performances of Juliette by Martinu.
Highlights from season 2017/18 season included critical success in her role debut as The Mother in Dallapiccola's IL PRIGIONIERO under Erik Nielsen, as Herodias SALOME under Omer Meir Welber and as Brigitta DIE TOTE STADT under Dimitri Jurowski at the Semper Opera Dresden. She returned to the Metropolitan Opera for Elektra with Music Director Yannick Nézet-Séguin and made her house debut with the State Opera Hannover as Begonia in Henze’s DER JUNGE.
Ms. Vaughn's 2016/17 season included her Teatro alla Scala debut as Maria PORGY AND BESS, reprisals of Klytemnestra in ELEKTRA, the Witch in Humperdinck KÖNIGSKINDER and HÄNSEL UND GRETEL, as well as the Ice Queen in Weinbergers SCHWANDA THE BAGPIPER at the Semperoper Dresden. Further appearances included her return to Spoleto Festival USA as Filipyevna EUGENE ONEGIN and performances of her solo jazz program BILLIE, ELLA, SARAH AND ME.
In previous seasons, in North America Ms. Vaughn has appeared as Azucena IL TROVATORE with Sacramento Opera, Amneris AIDA with Michigan Opera Theater, Tulsa Opera, Seattle Opera, and Orange County Opera, Ulrica BALLO IN MASCHERA at San Francisco Opera, and La Frugola IL TABARRO with Los Angeles Opera.
Internationally, Ms. Vaughn made her Italian debut as Azucena IL TROVATORE under the baton of Nicola Luisotti at the Teatro Verdi Trieste where she was later heard as Ulrica BALLO IN MASCHERA opposite Marco Berti. She became a regular guest at the Arena di Verona where she performed more than fifty performances of Amneris AIDA as well as Azucena IL TROVATORE. Additional successes in Italy include Amneris and Ulrica at the Teatro Lirico di Cagliari, Azucena and The Old Lady CANDIDE at the Teatro Carlo Felice Genova, Azucena at the Festival Arturo Toscanini Busseto, Ulrica at the Teatro Massimo Palermo, Teatro Verdi Salerno, Teatro delle Muse Ancona and the Teatro Filarmonico Verona, as well as Amneris at the Baths of Caracalla for Teatro dell' Opera di Roma and at the Festival Veneto. Further international engagements have included Azucena IL TROVATORE at the Budapest National Opera and the Greek National Opera, Amneris AIDA at Opera Hong Kong, Herodias SALOME at Las Palmas Opera, Erda DER RING DES NIBELUNGEN at the Finnish National Opera, Augsburg Opera, and the State Opera Kassel, Ulrica BALLO IN MASCHERA and Venus TANNHÄUSER at the Hamburg State Opera, Maria PORGY AND BESS at the Bregenz Festival, as well as Klytemnestra ELEKTRA, La Zia Principessa SUOR ANGELICA, and Princess Eboli DON CARLO with Oper Frankfurt.
From 1998 to 2006 Tichina Vaughn was a principal artist at the State Theater Stuttgart where she was awarded the title of Kammersängerin for her successes in such roles as Eboli DON CARLO, Azucena IL TROVATORE, Widow Begbick MAHAGONNY, Venus TANNHÄUSER, Giulietta TALES OF HOFFMAN, Arnalta L'INCORONAZIONE DI POPPEA, Herodias SALOME, Fricka DIE WALKÜRE, Waltraute GÖTTERDÄMMERUNG, and Erda SIEGFRIED and DAS RHEINGOLD.
From 2010 to 2018 Ms. Vaughn has been a principal artist with Dresden Semper Opera where she was heard as Azucena IL TROVATORE, Venus TANNHAUSER, Ortrud LOHENGRIN, Klytemnestra ELEKTRA, Eboli DON CARLO, Prince Orloffsky DIE FLEDERMAUS, Isabella L'ITALIANA IN ALGERI, Suzuki MADAME BUTTERFLY, Grand Vestale LA VESTALE, Herodias SALOME, Cornelia GIULIO CESARE, and Filipyevna EUGENE ONEGIN among others.
In addition to her many operatic successes, Tichina Vaughn has performed symphonic concerts, chamber concerts, and recitals in many prestigious concert halls around the world. Featured works include Verdi Requiem, Beethoven 9th Symphony and Bernstein Jeremiah Symphony. Orchestras and conductors include the Berlin Philharmonic, the Bamberg Symphony Orchestra, the Chicago Symphony, the Philadelphia Symphony Orchestra, the Taipei Symphony Orchestra, the National Symphony Orchestra Kennedy Center, the Jerusalem Symphony, and the National Symphony of Ireland in collaboration with maestros Fabio Luisi, Lorin Maazel, Bobby McFerrin, Sir Simon Rattle, Nello Santi, Roberto Abbado, and Mstislav Rostropovich to name a few.
Her discography includes the Grammy nominated Metropolitan Opera recording of the Gershwins: Porgy and Bess, Stuttgart State Theater DER RING DES NIBELUNGEN which include her acclaimed appearances as Fricka DIE WALKÜRE and Waltraute DIE GÖTTERDÄMMERUNG, filmed by Euro Arts for DVD and recorded for Naxos. In 2005 Tichina released her solo portrait CD entitled "Christmas at My House". Additionally she appears on the release SCHWANDA THE BAGPIPER - LIVE FROM THE SEMPEROPER.
In addition to her title as Kammersängerin, Tichina Vaugh has received many awards and honors during her distinguished career including the Metropolitan Opera National Council Award, the Richard Tucker Foundation Study Grant Award, the Opera Index Vocal Competition Award, a Licia Albanese Puccini Foundation Award, and a Birgit Nilsson Foundation Award. Most recently she was presented the Consul General's Award for Cultural Diplomacy from the Consulate General in Milan. Tichina Vaughn completed her studies at the University of North Carolina School of the Arts, Georgia State University, and the American Institute of Musical Studies in Graz, Austria.
GUNDULA HINTZ
MASTERCLASS
Born in Berlin, Gundula Hintz studied at the Hochschule der Künste Berlin with professors such as Aribert Reimann and Dietrich Fischer-Dieskau. She has appeared as an opera and concert singer at numerous German and international venues (Berlin, Leipzig, Hamburg, Amsterdam, Naples, Venice, St. Gallen, London, Toronto), at the Festival de Radio France et Montpellier, the Venice Biennale and the Berlin Festival Weeks.
Gundula Hintz has worked with conductors such as Constantin Trinks, Gerd Albrecht, Ralf Weikert, Anna Skryleva, Karl-Heinz Steffens, Ulf Schirmer, Anthony Bramall, Josep Caballé Domenech, Patrick Lange and Jessica Cottis.
After first engagements with jugendlich-dramatisch roles (among others the Baroness Liddy in the highly acclaimed world premiere of Detlev Glanert's opera "Scherz, Satire, Ironie und tiefere Bedeutung"), the Sieglinde in the "Walküre" marked the entrance into the Wagner Fach.
In 2011 she made her debut as Fricka in Wagner's "Ring" at the Staatstheater Darmstadt. There she also performed as Herodias in Strauss' opera "Salome" in 2013. In the same year she sang the 1st alto part in Mahler's 8th Symphony in the Berliner Philharmonie.
From 2012 to 2015 Gundula Hintz could be heard as Fricka ("Rheingold" and "Walküre"), Waltraute/2nd Norn ("Götterdämmerung") in the Ring tetralogy of the Theater Halle and Ludwigshafen.
The Royal Opera House Covent Garden engaged her in August 2014 for Turnage’s opera "Anna Nicole" in London. In the same season she made her Halle debut as Adelaide in Strauss' "Arabella".
In January 2015 she made her debut at Leipzig Opera House as Fricka in "Rheingold", where in December 2015 she performed Dämonia in Humperdinck's fairytale opera "Sleeping Beauty".
Gundula Hintz played Fräulein Schneider in Kander’s musical "Cabaret" at the Staatstheater Augsburg on the open-air stage Freilichtbühne am Roten Tor in summer 2016.
In March 2017 she sang Mahler's "Lied von der Erde" in the Berliner Philharmonie. The mezzo-soprano made her North American debut in Toronto in autumn 2017. The Canadian Opera Company engaged her as Adelaide in Tim Albery's production of Strauss' "Arabella".
At the Royal Opera House Covent Garden London in June 2018 she performed the leading role of Esther in the world premiere of Na'ama Zisser's opera "Mamzer/Bastard". In the 2018/19 season she made her debut as Zita in "Gianni Schicchi" at the Staatsoperette Dresden. The role of Kabanicha in Lydia Steier's new production of "Katia Kabanowa" brought her to the Staatstheater Mainz in January 2019.
Numerous radio and television recordings document her successful work. With Dietrich Fischer-Dieskau and the woodwind instrumentalists of the Berliner Philharmoniker she made a CD recording of Mozart terzets. In addition to her solo engagements, her voice studio in Berlin, in which she coaches numerous professional opera singers and provides technical support for them, as well as international master classes in Bayreuth, Düsseldorf, Tallinn, London and New York are further focal points of her activities.
MASTERCLASS
Born in Berlin, Gundula Hintz studied at the Hochschule der Künste Berlin with professors such as Aribert Reimann and Dietrich Fischer-Dieskau. She has appeared as an opera and concert singer at numerous German and international venues (Berlin, Leipzig, Hamburg, Amsterdam, Naples, Venice, St. Gallen, London, Toronto), at the Festival de Radio France et Montpellier, the Venice Biennale and the Berlin Festival Weeks.
Gundula Hintz has worked with conductors such as Constantin Trinks, Gerd Albrecht, Ralf Weikert, Anna Skryleva, Karl-Heinz Steffens, Ulf Schirmer, Anthony Bramall, Josep Caballé Domenech, Patrick Lange and Jessica Cottis.
After first engagements with jugendlich-dramatisch roles (among others the Baroness Liddy in the highly acclaimed world premiere of Detlev Glanert's opera "Scherz, Satire, Ironie und tiefere Bedeutung"), the Sieglinde in the "Walküre" marked the entrance into the Wagner Fach.
In 2011 she made her debut as Fricka in Wagner's "Ring" at the Staatstheater Darmstadt. There she also performed as Herodias in Strauss' opera "Salome" in 2013. In the same year she sang the 1st alto part in Mahler's 8th Symphony in the Berliner Philharmonie.
From 2012 to 2015 Gundula Hintz could be heard as Fricka ("Rheingold" and "Walküre"), Waltraute/2nd Norn ("Götterdämmerung") in the Ring tetralogy of the Theater Halle and Ludwigshafen.
The Royal Opera House Covent Garden engaged her in August 2014 for Turnage’s opera "Anna Nicole" in London. In the same season she made her Halle debut as Adelaide in Strauss' "Arabella".
In January 2015 she made her debut at Leipzig Opera House as Fricka in "Rheingold", where in December 2015 she performed Dämonia in Humperdinck's fairytale opera "Sleeping Beauty".
Gundula Hintz played Fräulein Schneider in Kander’s musical "Cabaret" at the Staatstheater Augsburg on the open-air stage Freilichtbühne am Roten Tor in summer 2016.
In March 2017 she sang Mahler's "Lied von der Erde" in the Berliner Philharmonie. The mezzo-soprano made her North American debut in Toronto in autumn 2017. The Canadian Opera Company engaged her as Adelaide in Tim Albery's production of Strauss' "Arabella".
At the Royal Opera House Covent Garden London in June 2018 she performed the leading role of Esther in the world premiere of Na'ama Zisser's opera "Mamzer/Bastard". In the 2018/19 season she made her debut as Zita in "Gianni Schicchi" at the Staatsoperette Dresden. The role of Kabanicha in Lydia Steier's new production of "Katia Kabanowa" brought her to the Staatstheater Mainz in January 2019.
Numerous radio and television recordings document her successful work. With Dietrich Fischer-Dieskau and the woodwind instrumentalists of the Berliner Philharmoniker she made a CD recording of Mozart terzets. In addition to her solo engagements, her voice studio in Berlin, in which she coaches numerous professional opera singers and provides technical support for them, as well as international master classes in Bayreuth, Düsseldorf, Tallinn, London and New York are further focal points of her activities.
STEPHANIE WEISS
MASTERCLASS
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.
MASTERCLASS
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.
STEPHAN REINEKE, AGENT, TACT INTERNATIONAL
CAREER Q&A SESSION
Stephan studied law, musicology and cultural administration 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, the Royal Philharmonic Orchestra London and the SWR Symphonieorchester.
He gained valuable experience working in the artistic administration of Komische Oper Berlin, as Assistant to the Director of the Radio Chorus Berlin and as Personal Assistant to the Intendant of Dortmund Opera.
In 2004 he embarked on his career as an Artist Manager for singers and conductors and during the subsequent years worked for different agencies before joining the team of TACT International Art Management in 2012. For many years, he was also Managing President of a non-profit foundation in Berlin supporting young and talented artists.
In addition, Stephan was a member of the jury of the International Singing Competition Debut and the Jerusalem International Opera Competition. He gives lectures at the Berlin Summer University of the Arts and works in audition trainings with students at the Hanns Eisler School of Music Berlin, at the Dutch National Opera Academy Amsterdam, and for further vocal academies and programs.
http://www.tact4art.com/
CAREER Q&A SESSION
Stephan studied law, musicology and cultural administration 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, the Royal Philharmonic Orchestra London and the SWR Symphonieorchester.
He gained valuable experience working in the artistic administration of Komische Oper Berlin, as Assistant to the Director of the Radio Chorus Berlin and as Personal Assistant to the Intendant of Dortmund Opera.
In 2004 he embarked on his career as an Artist Manager for singers and conductors and during the subsequent years worked for different agencies before joining the team of TACT International Art Management in 2012. For many years, he was also Managing President of a non-profit foundation in Berlin supporting young and talented artists.
In addition, Stephan was a member of the jury of the International Singing Competition Debut and the Jerusalem International Opera Competition. He gives lectures at the Berlin Summer University of the Arts and works in audition trainings with students at the Hanns Eisler School of Music Berlin, at the Dutch National Opera Academy Amsterdam, and for further vocal academies and programs.
http://www.tact4art.com/
BRIGITTE BAYER
GERMAN LANGUAGE & TEXT INTERPRETATION
Brigitte Bayer studied opera and concert singing at the Hochschule für Musik und Theater München and the Bayerische Theaterakademie August Everding. Her engagements at various German theatres include the Staatstheater am Gärtnerplatz and the Schleswig-Holsteinisches Landestheater Flensburg where she held a permanent engagement from 2010 to 2014.
She is currently working as a singing teacher with professionals and lay people of all ages. She holds teaching positions at Universität Augsburg, the Berufsfachschule für Musik Sulzbach-Rosenberg, and the Musisches Zentrum Altusried.
Brigitte continues to perform on a free-lance basis in the fields of opera, song and concert.
GERMAN LANGUAGE & TEXT INTERPRETATION
Brigitte Bayer studied opera and concert singing at the Hochschule für Musik und Theater München and the Bayerische Theaterakademie August Everding. Her engagements at various German theatres include the Staatstheater am Gärtnerplatz and the Schleswig-Holsteinisches Landestheater Flensburg where she held a permanent engagement from 2010 to 2014.
She is currently working as a singing teacher with professionals and lay people of all ages. She holds teaching positions at Universität Augsburg, the Berufsfachschule für Musik Sulzbach-Rosenberg, and the Musisches Zentrum Altusried.
Brigitte continues to perform on a free-lance basis in the fields of opera, song and concert.
CHRISTIAN WAGNER
GERMAN LANGUAGE & TEXT INTERPRETATION
The German baritone Christian Wagner studied cello, languages, literature and classical voice in Mainz (Germany), Potsdam (Germany) and in Paris (France). He began working with professional choirs such as the Radio Choir of Berlin and Amsterdam Baroque. While still a student Christian Wagner sung secondary roles at several German theatres. He studied with Thomas Quasthoff, Andreas Scholl, Cheryl Studer and Janet Williams, and worked with renowned conductors such as Ton Koopman, Masaaki Suzuki, and Marcus Creed.
As a concert artist has worked in most European countries as well as Canada, Egypt, Israel, Japan, Scandinavia, and Switzerland. His oratorio and opera repertoire spans from early Baroque and Renaissance to Wagner and cnotemporary music. A scholar of English and Romance studies, Christian Wagner often performs recitals programmed by the artist.
Working with renowned pianists like Prof. Eric Schneider, Jonathan Ware and Schaghajegh Nosrati, he has performed at some of the largest European concert halls and venues.
Winner and finalist in several international competitions like ARD Musikwettbewerb, Helmut Deutsch Liedwettbewerb and Schloss Rheinsberg singing competition, he is also a fellow of the Richard Wagner Stiftung Bayreuth and the German Council of Music, and often performs for Berlin’s official Wagner Society.
Living in Berlin, Christian Wagner is also engaged in the support of female composers and against sexism and racism. He has been been an avid advocate for artists via a newly founded cultural initiative since the outbreak of the COVID pandemic.
Currently, Christian Wagner is training as a music therapist. He is trained as linguist and pedagogue and has been teaching and working as a language coach for many years. He writes poetry and texts in German, English and French, and very recently some of his poetry has been set to music, for tenor and piano, and high voice and harp.
He has recorded Baroque and Lied repertoire for Naxos, Accent, Rondeau and others.
Having performed often at venues like the Amsterdam Concertgebouw, Berliner Philharmonie and Konzerthaus, cathedrals in Frankfurt and Paris, the opera of Cairo (Egypt), Maison Symphonique Montreal, and others, he recently came back from a concert at the Bibliotheca Alexandrina in Alexandria, Egypt
GERMAN LANGUAGE & TEXT INTERPRETATION
The German baritone Christian Wagner studied cello, languages, literature and classical voice in Mainz (Germany), Potsdam (Germany) and in Paris (France). He began working with professional choirs such as the Radio Choir of Berlin and Amsterdam Baroque. While still a student Christian Wagner sung secondary roles at several German theatres. He studied with Thomas Quasthoff, Andreas Scholl, Cheryl Studer and Janet Williams, and worked with renowned conductors such as Ton Koopman, Masaaki Suzuki, and Marcus Creed.
As a concert artist has worked in most European countries as well as Canada, Egypt, Israel, Japan, Scandinavia, and Switzerland. His oratorio and opera repertoire spans from early Baroque and Renaissance to Wagner and cnotemporary music. A scholar of English and Romance studies, Christian Wagner often performs recitals programmed by the artist.
Working with renowned pianists like Prof. Eric Schneider, Jonathan Ware and Schaghajegh Nosrati, he has performed at some of the largest European concert halls and venues.
Winner and finalist in several international competitions like ARD Musikwettbewerb, Helmut Deutsch Liedwettbewerb and Schloss Rheinsberg singing competition, he is also a fellow of the Richard Wagner Stiftung Bayreuth and the German Council of Music, and often performs for Berlin’s official Wagner Society.
Living in Berlin, Christian Wagner is also engaged in the support of female composers and against sexism and racism. He has been been an avid advocate for artists via a newly founded cultural initiative since the outbreak of the COVID pandemic.
Currently, Christian Wagner is training as a music therapist. He is trained as linguist and pedagogue and has been teaching and working as a language coach for many years. He writes poetry and texts in German, English and French, and very recently some of his poetry has been set to music, for tenor and piano, and high voice and harp.
He has recorded Baroque and Lied repertoire for Naxos, Accent, Rondeau and others.
Having performed often at venues like the Amsterdam Concertgebouw, Berliner Philharmonie and Konzerthaus, cathedrals in Frankfurt and Paris, the opera of Cairo (Egypt), Maison Symphonique Montreal, and others, he recently came back from a concert at the Bibliotheca Alexandrina in Alexandria, Egypt
SARAH WHITTEN
MOVEMENT & ALIGNMENT
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
MOVEMENT & ALIGNMENT
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
JULIE WYMA
CO-FOUNDER & EXECUTIVE DIRECTOR
CAREER CONSULTATIONS
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
CAREER CONSULTATIONS
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.
ANASTASIA INNISS
PROGRAM CO-FOUNDER & ARTISTIC DIRECTOR
CAREER CONSULTATIONS
Ms. Inniss commenced her vocal training in Bulgaria and continued it at the Longy School of Music at Bard College (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. Inniss 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 theater piece Geboren Alma Schindler (Berliner Opern 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 (Berliner Philharmonie Kammermusiksaal); 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. Inniss has also given numerous concert and solo recitals in the United States and in Europe.
Ms. Inniss is the co-founder and Artistic Director of Opera Programs Berlin and Dramatic Voices Program Berlin. Previously, she was the Artistic Director of the Berlin Song Festival and an Artistic Consultant for The Opera Stage (now folded into Classical Singer Magazine). She has worked as an educator in higher education as well as in leadership positions in the arts for the last 15 years, both in the United States and in Europe.
Her directing credits include: Purcell's Dido & Aeneas, Jason Robert Brown's The Last Five Years and scenes from the operatic and musical theatre repertoire. She has served as a casting director and producer for Wagner's Das Rheingold, Wagner's Lohengrin, Strauss' Elektra, Wagner's Die Walküre and Jason Robert Brown's The Last Five Years. She also designed costumes for Purcell's Dido & Aeneas and Jason Robert Brown's The Last Five Years.
Ms. Inniss is a leader in the classical music industry. She has co-produced and hosted roundtable panel discussions on patterns of discrimination in the classical music industry - Singing While Black In Germany, Race in Opera and Ageism in Opera. In addition, she has spear-headed, co-designed, co-produced and hosted Trans*Voices - a series of masterclasses for transgender and non-binary artists. She often does charity work raising money for such organisations as Save the Children, Berliner Aids-Hilfe, Hochschule für Musik Hanns Eisler CoronaCare, Black Lives Matter, Chineke! Foundation, Artist Relief Tree.
She currently resides in Berlin, Germany and Lanzarote, Canary Island with her fiancé. In her free time, she enjoys long swims, cooking without recipes, spontaneous travel and pretty much anything to do with the ocean.
PROGRAM CO-FOUNDER & ARTISTIC DIRECTOR
CAREER CONSULTATIONS
Ms. Inniss commenced her vocal training in Bulgaria and continued it at the Longy School of Music at Bard College (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. Inniss 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 theater piece Geboren Alma Schindler (Berliner Opern 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 (Berliner Philharmonie Kammermusiksaal); 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. Inniss has also given numerous concert and solo recitals in the United States and in Europe.
Ms. Inniss is the co-founder and Artistic Director of Opera Programs Berlin and Dramatic Voices Program Berlin. Previously, she was the Artistic Director of the Berlin Song Festival and an Artistic Consultant for The Opera Stage (now folded into Classical Singer Magazine). She has worked as an educator in higher education as well as in leadership positions in the arts for the last 15 years, both in the United States and in Europe.
Her directing credits include: Purcell's Dido & Aeneas, Jason Robert Brown's The Last Five Years and scenes from the operatic and musical theatre repertoire. She has served as a casting director and producer for Wagner's Das Rheingold, Wagner's Lohengrin, Strauss' Elektra, Wagner's Die Walküre and Jason Robert Brown's The Last Five Years. She also designed costumes for Purcell's Dido & Aeneas and Jason Robert Brown's The Last Five Years.
Ms. Inniss is a leader in the classical music industry. She has co-produced and hosted roundtable panel discussions on patterns of discrimination in the classical music industry - Singing While Black In Germany, Race in Opera and Ageism in Opera. In addition, she has spear-headed, co-designed, co-produced and hosted Trans*Voices - a series of masterclasses for transgender and non-binary artists. She often does charity work raising money for such organisations as Save the Children, Berliner Aids-Hilfe, Hochschule für Musik Hanns Eisler CoronaCare, Black Lives Matter, Chineke! Foundation, Artist Relief Tree.
She currently resides in Berlin, Germany and Lanzarote, Canary Island with her fiancé. In her free time, she enjoys long swims, cooking without recipes, spontaneous travel and pretty much anything to do with the ocean.