2027 PROGRAM FACULTY - OPERA
BYRON KNUTSON
MUSIC DIRECTOR & CONDUCTOR, GÖTTERDÄMMERUNG
Byron Knutson studied piano, conducting, composition and acting in his hometown of Winnipeg, Canada, and in the United States. After completing the Artist Diploma in Opera Coaching at the University of Cincinnati College-Conservatory of Music, he was appointed Visiting Professor of Song Interpretation at Albion College in Michigan.
In 1999, Mr. Knutson moved to Germany, where until 2010 he worked in the opera houses in Kiel, Halle and Augsburg, conducting operatic repertoire from baroque to contemporary, including operetta, musicals and ballet.
In 2010, Mr. Knutson took over the musical direction of the young artist program at the Komische Oper Berlin. While at the KOB, Mr. Knutson conducted works by Handel, Mozart, Weill, Ginastera and a critically acclaimed production of Phlip Glass’ Les enfants terribles directed by Felix Seiler.
Mr. Knutson’s has worked with conductors such as Paolo Arrivabeni (Bellini’s La Straniera; Theater an der Wien), Friedemann Layer (Der Rosenkavalier) Johannes Kalitzke (World Premiere, Olga Neuwirth’s American Lulu), Patrick Lange (Rigoletto), Carl St. Clair (Aribert Reimann’s Lear), Sebastian Lang-Lessing (Der Rosenkavalier, National Center for the Performing Arts, Beijing), Christian Curnyn (Castor et Pollux), Lü Jia (Tannhäuser, Beijing). Mr. Knutson has also prepared the casts of Reimann’s Lear and Die Gespenstersonate for productions at Theater an der Wien and in Tokyo.
Mr. Knutson frequently gives Masterclasses in North America, Europe and China.
In 2015 Mr. Knutson was appointed Professor of Operatic Studies at the Hanns Eisler Conservatory in Berlin.
MUSIC DIRECTOR & CONDUCTOR, GÖTTERDÄMMERUNG
Byron Knutson studied piano, conducting, composition and acting in his hometown of Winnipeg, Canada, and in the United States. After completing the Artist Diploma in Opera Coaching at the University of Cincinnati College-Conservatory of Music, he was appointed Visiting Professor of Song Interpretation at Albion College in Michigan.
In 1999, Mr. Knutson moved to Germany, where until 2010 he worked in the opera houses in Kiel, Halle and Augsburg, conducting operatic repertoire from baroque to contemporary, including operetta, musicals and ballet.
In 2010, Mr. Knutson took over the musical direction of the young artist program at the Komische Oper Berlin. While at the KOB, Mr. Knutson conducted works by Handel, Mozart, Weill, Ginastera and a critically acclaimed production of Phlip Glass’ Les enfants terribles directed by Felix Seiler.
Mr. Knutson’s has worked with conductors such as Paolo Arrivabeni (Bellini’s La Straniera; Theater an der Wien), Friedemann Layer (Der Rosenkavalier) Johannes Kalitzke (World Premiere, Olga Neuwirth’s American Lulu), Patrick Lange (Rigoletto), Carl St. Clair (Aribert Reimann’s Lear), Sebastian Lang-Lessing (Der Rosenkavalier, National Center for the Performing Arts, Beijing), Christian Curnyn (Castor et Pollux), Lü Jia (Tannhäuser, Beijing). Mr. Knutson has also prepared the casts of Reimann’s Lear and Die Gespenstersonate for productions at Theater an der Wien and in Tokyo.
Mr. Knutson frequently gives Masterclasses in North America, Europe and China.
In 2015 Mr. Knutson was appointed Professor of Operatic Studies at the Hanns Eisler Conservatory in Berlin.
DOUGLAS BROWN
MUSIC COACH, GÖTTERDÄMMERUNG
Douglas Brown was born in London. After graduating from Cambridge University he was active as a pianist, composer and lecturer in Coventry. From 1979 he worked as a repetiteur and later as chorus master in Pretoria, South Africa. In 1983 he moved to Germany, working first for two seasons at the Stadttheater Bremerhaven and then from 1985 until 2016 at the Deutsche Oper Berlin. Since then he as continued to work freelance as a coach, conductor, composer and arranger.
MUSIC COACH, GÖTTERDÄMMERUNG
Douglas Brown was born in London. After graduating from Cambridge University he was active as a pianist, composer and lecturer in Coventry. From 1979 he worked as a repetiteur and later as chorus master in Pretoria, South Africa. In 1983 he moved to Germany, working first for two seasons at the Stadttheater Bremerhaven and then from 1985 until 2016 at the Deutsche Oper Berlin. Since then he as continued to work freelance as a coach, conductor, composer and arranger.
RUPERT DUSSMANN
MUSIC COACH, GÖTTERDÄMMERUNG
Born in Wales, Rupert Dussmann studied at Kings College London, Guildhall School of Music and the National Opera Studio. He has held permanent positions as a vocal coach and repetiteur at the Théâtre de la Monnaie in Brussels, the Stuttgart Staastheater, the Hamburg Staatsoper followed by 14 years at the Staatsoper Unter den Linden in Berlin.
Over the years he has been a regular guest coach at Dutch National Opera in Amsterdam and has also guested in Germany (Deutsche Oper Berlin), Spain (Gran Teatro del Liceo in Barcelona, Palau de les Arts Reina Sofia in Valencia, Perelada Festival and Orquesta Nacional de España in Madrid), Italy (Teatro Carlo Felice in Genoa, Teatro Lirico di Cagliari), France (Opéra de Nice, Opéra du Rhin in Strasbourg, Festival Aix-en-Provence), Austria (Salzburg Easter and Summer Festivals, Theater an der Wien and Bregenzer Festspiele), Australia (Sydney Opera House, Victoria State Theatre in Melbourne), USA (Ravinia Festival), Japan (New National Theatre Tokyo) and Israel (New Israeli Opera in Tel Aviv). He has regularly worked with conductors such as Sir Simon Rattle, Daniel Barenboim and Yannick Nézet-Séguin and many international singers such as Plácido Domingo, Rolando Villazón, Charles Castronovo, Sonia Yoncheva, René Pape and Dorothea Röschmann. He is a fluent speaker of English, French, German and Spanish and has a decent working knowledge of Russian.
MUSIC COACH, GÖTTERDÄMMERUNG
Born in Wales, Rupert Dussmann studied at Kings College London, Guildhall School of Music and the National Opera Studio. He has held permanent positions as a vocal coach and repetiteur at the Théâtre de la Monnaie in Brussels, the Stuttgart Staastheater, the Hamburg Staatsoper followed by 14 years at the Staatsoper Unter den Linden in Berlin.
Over the years he has been a regular guest coach at Dutch National Opera in Amsterdam and has also guested in Germany (Deutsche Oper Berlin), Spain (Gran Teatro del Liceo in Barcelona, Palau de les Arts Reina Sofia in Valencia, Perelada Festival and Orquesta Nacional de España in Madrid), Italy (Teatro Carlo Felice in Genoa, Teatro Lirico di Cagliari), France (Opéra de Nice, Opéra du Rhin in Strasbourg, Festival Aix-en-Provence), Austria (Salzburg Easter and Summer Festivals, Theater an der Wien and Bregenzer Festspiele), Australia (Sydney Opera House, Victoria State Theatre in Melbourne), USA (Ravinia Festival), Japan (New National Theatre Tokyo) and Israel (New Israeli Opera in Tel Aviv). He has regularly worked with conductors such as Sir Simon Rattle, Daniel Barenboim and Yannick Nézet-Séguin and many international singers such as Plácido Domingo, Rolando Villazón, Charles Castronovo, Sonia Yoncheva, René Pape and Dorothea Röschmann. He is a fluent speaker of English, French, German and Spanish and has a decent working knowledge of Russian.
CAROL MASTRODOMENICO
VOICE FACULTY
Carol Mastrodomenico maintains an active schedule as a guest soloist with choruses, orchestras and other ensembles. She excels in the interpretation of oratorio, and has appeared recently in Poulenc’s Gloria, Beethoven’s Mass in C and Ninth Symphony, Brahms’ Requiem, Haydn’s Lord Nelson Mass, Mozart’s Coronation Mass and Requiem, Mahler’s Second Symphony, Mendelssohn’s Psalm 42, Handel’s Messiah, Vivaldi’s Gloria, and Fauré’s Requiem.
Ms. Mastrodomenico is an accomplished recitalist, and has recently performed programs ranging from premieres of contemporary music to cabaret programs involving interaction with the audience. She recently toured England with her production of John Morrison’s Jane Austin’s History of England singing the role of Emce. She premiered John McDonald’s Put this in your Pipe and Speech Made by Music with the Essex Chamber Players, and premiered Ellen Bender’s Five Emily Dickinson Songs during New England Conservatory’s Contemporary Festival. Other noted composers she has worked with include Robert DiDomenica and David Leisner. Ms. Mastrodomenico has a great love for Spanish Repertoire, and enjoys programing Spanish and particularly Argentinian songs to introduce the repertoire to her recital audiences.
A champion of vocal chamber music, she has worked with noted musicians premiering new works at contemporary festivals sponsored by BMOP and composer groups at Tufts University and Longy School of Music of Bard College. She has been invited to perform at the Tanglewood Music Center, Jordan Hall, Faneuil Hall, the Warebrook Contemporary Music Festival, the Boston Vocal Artists Series, the 1794 Meeting House concert Series in New Salem, and the Music at Noon Concert Series at the Swedenborg Chapel.
Ms. Mastrodomenico is the stage director of both the Tufts University Opera Ensemble and the Longy School of Music of Bard College’s Opera Theater at Longy. Recent productions she has directed include Le Nozze di Figaro, Der Zwerg, L’amico Fritz, Gianni Schicchi, Three Sisters who are not Sisters, Three Penny Opera, Dido and Aeneas, Old Maid and the Thief, Amelia Goes to the Ball, Riders to the Sea, Gallantry, The Telephone and Doctor Miracle. Ms. Mastrodomenico is a passionate advocate for newly composed works. With the Tufts Opera Ensemble, she commissioned and directed the world premieres of Knave of Hearts by Vartan Aghababian in 2013 and No Onions, nor Garlic by Thomas Stumpf in 2014. With the Longy Opera Workshop, she commissioned and directed the world premiere of Jane Austen’s History of England by John Morrison in 2014. It is her hope to commission a new opera work every year.
Ms. Mastrodomenico is just as passionate about vocal pedagogy and teaching voice. She has participated in panel discussions by the Boston NATS (National Association of Teachers of Singing) Chapter on the different elements of "Teaching Men to Sing", and was invited by the Western Massachusetts NATS chapter to give a solo presentation on Teaching Men. Her master classes at the Classical Singer Convention, Regional NATS workshops and area Colleges are widely attended. At her invitation, renowned pedagogue Ken Bozeman spoke in the Boston area about the Pedagogical Applications of Vocal Acoustics for teaching voice. She developed and annually taught a vocal curriculum for string performers at the Heifetz International Summer Institute in Staunton, Virginia, US.
Ms. Mastrodomenico’s students can be heard singing throughout the United States, Europe, and South America. They have been accepted into graduate and undergraduate programs at Julliard, Manhattan School of Music, New England Conservatory of Music, Eastman School of Music, University of Colorado at Boulder, University of Texas at Austin, University of North Texas, Cleveland Institute of Music, University of Miami, Frost School of Music, Michigan State University, University of Maryland at College Park, Ithaca College, Guild Hall and The Royal Academy of Music in London. Her singers regularly attend young artist programs at Houston Grand Opera Outreach Program, Central City, Berlin Song Festival, Edinburgh Music Festival and Halifax Opera Festival.
Ms. Mastrodomenico received her Master of Music degrees in Vocal Performance and Vocal Pedagogy at New England Conservatory of Music. She is on the voice faculties of Longy School of Music of Bard College and Tufts University.
VOICE FACULTY
Carol Mastrodomenico maintains an active schedule as a guest soloist with choruses, orchestras and other ensembles. She excels in the interpretation of oratorio, and has appeared recently in Poulenc’s Gloria, Beethoven’s Mass in C and Ninth Symphony, Brahms’ Requiem, Haydn’s Lord Nelson Mass, Mozart’s Coronation Mass and Requiem, Mahler’s Second Symphony, Mendelssohn’s Psalm 42, Handel’s Messiah, Vivaldi’s Gloria, and Fauré’s Requiem.
Ms. Mastrodomenico is an accomplished recitalist, and has recently performed programs ranging from premieres of contemporary music to cabaret programs involving interaction with the audience. She recently toured England with her production of John Morrison’s Jane Austin’s History of England singing the role of Emce. She premiered John McDonald’s Put this in your Pipe and Speech Made by Music with the Essex Chamber Players, and premiered Ellen Bender’s Five Emily Dickinson Songs during New England Conservatory’s Contemporary Festival. Other noted composers she has worked with include Robert DiDomenica and David Leisner. Ms. Mastrodomenico has a great love for Spanish Repertoire, and enjoys programing Spanish and particularly Argentinian songs to introduce the repertoire to her recital audiences.
A champion of vocal chamber music, she has worked with noted musicians premiering new works at contemporary festivals sponsored by BMOP and composer groups at Tufts University and Longy School of Music of Bard College. She has been invited to perform at the Tanglewood Music Center, Jordan Hall, Faneuil Hall, the Warebrook Contemporary Music Festival, the Boston Vocal Artists Series, the 1794 Meeting House concert Series in New Salem, and the Music at Noon Concert Series at the Swedenborg Chapel.
Ms. Mastrodomenico is the stage director of both the Tufts University Opera Ensemble and the Longy School of Music of Bard College’s Opera Theater at Longy. Recent productions she has directed include Le Nozze di Figaro, Der Zwerg, L’amico Fritz, Gianni Schicchi, Three Sisters who are not Sisters, Three Penny Opera, Dido and Aeneas, Old Maid and the Thief, Amelia Goes to the Ball, Riders to the Sea, Gallantry, The Telephone and Doctor Miracle. Ms. Mastrodomenico is a passionate advocate for newly composed works. With the Tufts Opera Ensemble, she commissioned and directed the world premieres of Knave of Hearts by Vartan Aghababian in 2013 and No Onions, nor Garlic by Thomas Stumpf in 2014. With the Longy Opera Workshop, she commissioned and directed the world premiere of Jane Austen’s History of England by John Morrison in 2014. It is her hope to commission a new opera work every year.
Ms. Mastrodomenico is just as passionate about vocal pedagogy and teaching voice. She has participated in panel discussions by the Boston NATS (National Association of Teachers of Singing) Chapter on the different elements of "Teaching Men to Sing", and was invited by the Western Massachusetts NATS chapter to give a solo presentation on Teaching Men. Her master classes at the Classical Singer Convention, Regional NATS workshops and area Colleges are widely attended. At her invitation, renowned pedagogue Ken Bozeman spoke in the Boston area about the Pedagogical Applications of Vocal Acoustics for teaching voice. She developed and annually taught a vocal curriculum for string performers at the Heifetz International Summer Institute in Staunton, Virginia, US.
Ms. Mastrodomenico’s students can be heard singing throughout the United States, Europe, and South America. They have been accepted into graduate and undergraduate programs at Julliard, Manhattan School of Music, New England Conservatory of Music, Eastman School of Music, University of Colorado at Boulder, University of Texas at Austin, University of North Texas, Cleveland Institute of Music, University of Miami, Frost School of Music, Michigan State University, University of Maryland at College Park, Ithaca College, Guild Hall and The Royal Academy of Music in London. Her singers regularly attend young artist programs at Houston Grand Opera Outreach Program, Central City, Berlin Song Festival, Edinburgh Music Festival and Halifax Opera Festival.
Ms. Mastrodomenico received her Master of Music degrees in Vocal Performance and Vocal Pedagogy at New England Conservatory of Music. She is on the voice faculties of Longy School of Music of Bard College and Tufts University.
ALEXANDRA VON ROEPKE
GERMAN LANGUAGE & DICTION COACH
Alexandra von Roepke is a versatile, internationally-recognised mezzo-soprano from Berlin, at home both on opera stages in Europe and Asia, as well as in concert halls such as Leipzig's Gewandhaus and Berliner Philharmonie and other venues including the Vatican.
While training as an actress at the Volksbühne in Berlin she by chance discovered she possessed a rich vocal talent. She spent twelve years in Italy, where she completed an extensive period of study, including at the renowned Conservatorio di Santa Cecilia in Rome from which she
graduated with exceptionally high academic and artistic merit, and under the private tutelage of the incomparable Christa Ludwig, Sergio Oliva, a renowned conductor at the Teatro dell'Opera in Rome, and Francesca Patanè, the world famous soprano. Her ability to intimately identify with a range of musical roles, both vocally and as a performer, is outstanding, as audiences and critics regularly agree to be the case. Her repertoire is extensive, from Pergolesi to Belcanto to Verdi, Mozart to Wagner and Richard Strauss to John Cage, although lately she has focused more specifically upon late romantic and modern repertoire. Alexandra von Roepke has appeared in numerous productions to date, mainly in Italy and Germany (including at Berliner Staatsoper, Deutsche Oper Berlin, Komische Oper Berlin and Berliner Philharmonie), but also outside Europe, including in Japan.
As a writer of librettos she has enjoyed the privilege of collaborating with several composers and won a prize for the Youth Opera „Inside Out“. She has been demonstrating her vast experience of both Italian and German music and language since 1996, when she also began teaching the German language and translating from and to both Italian and English, alongside her already
burgeoning career as an opera singer. She has additionally been a vocal teacher since 1999. During this period she has taught both privately and in language schools (including in partnership with companies such as Bosch, Siemens, Fiat and BMW and with several international embassies, including those of Canada and New Zealand), as well as at Freie Universität Berlin and with music schools and academies in Germany and Italy, and conducted numerous masterclasses, both language-focused and musical. Lately she has directed academic programs in Berlin on the works of Richard Wagner and has given concert lectures on Gustav Mahler’s Lied von der Erde in the United States, in New York City and Concord/NH in 2018 and 2019 respectively. In 2021, she also collaborated with several Japanese universities and conservatoires to provide five intensive courses on the subject of diction and pronunciation in the German Lieder repertoire via Zoom to students and professors alike.
In her teaching she not only aims to convey the words, structures and skills necessary for speaking the German language, but also a deep knowledge of their origins and the reasons for their unique characteristics, to allow her students to profoundly master and own this language, among the most spoken and musically performed languages globally.
GERMAN LANGUAGE & DICTION COACH
Alexandra von Roepke is a versatile, internationally-recognised mezzo-soprano from Berlin, at home both on opera stages in Europe and Asia, as well as in concert halls such as Leipzig's Gewandhaus and Berliner Philharmonie and other venues including the Vatican.
While training as an actress at the Volksbühne in Berlin she by chance discovered she possessed a rich vocal talent. She spent twelve years in Italy, where she completed an extensive period of study, including at the renowned Conservatorio di Santa Cecilia in Rome from which she
graduated with exceptionally high academic and artistic merit, and under the private tutelage of the incomparable Christa Ludwig, Sergio Oliva, a renowned conductor at the Teatro dell'Opera in Rome, and Francesca Patanè, the world famous soprano. Her ability to intimately identify with a range of musical roles, both vocally and as a performer, is outstanding, as audiences and critics regularly agree to be the case. Her repertoire is extensive, from Pergolesi to Belcanto to Verdi, Mozart to Wagner and Richard Strauss to John Cage, although lately she has focused more specifically upon late romantic and modern repertoire. Alexandra von Roepke has appeared in numerous productions to date, mainly in Italy and Germany (including at Berliner Staatsoper, Deutsche Oper Berlin, Komische Oper Berlin and Berliner Philharmonie), but also outside Europe, including in Japan.
As a writer of librettos she has enjoyed the privilege of collaborating with several composers and won a prize for the Youth Opera „Inside Out“. She has been demonstrating her vast experience of both Italian and German music and language since 1996, when she also began teaching the German language and translating from and to both Italian and English, alongside her already
burgeoning career as an opera singer. She has additionally been a vocal teacher since 1999. During this period she has taught both privately and in language schools (including in partnership with companies such as Bosch, Siemens, Fiat and BMW and with several international embassies, including those of Canada and New Zealand), as well as at Freie Universität Berlin and with music schools and academies in Germany and Italy, and conducted numerous masterclasses, both language-focused and musical. Lately she has directed academic programs in Berlin on the works of Richard Wagner and has given concert lectures on Gustav Mahler’s Lied von der Erde in the United States, in New York City and Concord/NH in 2018 and 2019 respectively. In 2021, she also collaborated with several Japanese universities and conservatoires to provide five intensive courses on the subject of diction and pronunciation in the German Lieder repertoire via Zoom to students and professors alike.
In her teaching she not only aims to convey the words, structures and skills necessary for speaking the German language, but also a deep knowledge of their origins and the reasons for their unique characteristics, to allow her students to profoundly master and own this language, among the most spoken and musically performed languages globally.
BORAM AHN
MUSIC COACH & REHEARSAL PIANIST, GÖTTERDÄMMERUNG
Boram Ahn is a South Korean pianist based in Berlin. She has worked on a broad operatic repertoire in North America and Europe.Her recent engagements include the Staatsoper Berlin (Il Barbiere di Siviglia, Fin de Partie by György Kurtág; children’s operas: Offenbachs Erzählungen – Eine Reise zum Mond und darüber hinaus, Träume – eine Nacht im Elfenwald), Kammeroper Schloss Rheinsberg, Komische Oper Berlin, Theater Neustrelitz (Neues vom Tage by Paul Hindemith and Aufstieg und Fall der Stadt Mahagonny by Kurt Weill), Brandenburg Opera Retreat, Opéra du Grand Sud (Les pêcheurs de perles), and Académie Internationale de Musique Française Michel Plasson.
She has also been engaged by Theater Osnabrück (Fidelio, Der Bettelstudent), Landestheater Detmold (Der Fliegende Holländer, Rigoletto, Elegies for Young Lovers by Hans Werner Henze), Thüringer Schlossfestspiele Sondershausen (Anatevka), and Theater Nordhausen (Salome, Anatevka, Luisa Fernanda).In addition, she has worked with the Canadian Vocal Arts Institute, Brevard Music Festival, Lyric Opera Studio Weimar, Narnia Vocal Arts Festival, and Berlin Opera Academy as pianist and repetiteur. Since 2023, she has been a faculty member of the Dramatic Voices Program Berlin, where she has coached and performed in productions of Die Walküre, Elektra, and Ariadne auf Naxos.
She studied composition, piano, and collaborative piano at McGill University. During her studies, she served as a repetiteur for numerous Opera McGill productions, including La Bohème, Dido and Aeneas, the Canadian premiere of Volpone by John Musto, The Rake’s Progress, and The Turn of the Screw. During this time, she worked with composers, pianists, and conductors such as Brian Cherney, Jean Lesage, Richard Raymond, Kyoko Hashimoto, Michael McMahon, Patrick Hansen, and Julian Wachner.
MUSIC COACH & REHEARSAL PIANIST, GÖTTERDÄMMERUNG
Boram Ahn is a South Korean pianist based in Berlin. She has worked on a broad operatic repertoire in North America and Europe.Her recent engagements include the Staatsoper Berlin (Il Barbiere di Siviglia, Fin de Partie by György Kurtág; children’s operas: Offenbachs Erzählungen – Eine Reise zum Mond und darüber hinaus, Träume – eine Nacht im Elfenwald), Kammeroper Schloss Rheinsberg, Komische Oper Berlin, Theater Neustrelitz (Neues vom Tage by Paul Hindemith and Aufstieg und Fall der Stadt Mahagonny by Kurt Weill), Brandenburg Opera Retreat, Opéra du Grand Sud (Les pêcheurs de perles), and Académie Internationale de Musique Française Michel Plasson.
She has also been engaged by Theater Osnabrück (Fidelio, Der Bettelstudent), Landestheater Detmold (Der Fliegende Holländer, Rigoletto, Elegies for Young Lovers by Hans Werner Henze), Thüringer Schlossfestspiele Sondershausen (Anatevka), and Theater Nordhausen (Salome, Anatevka, Luisa Fernanda).In addition, she has worked with the Canadian Vocal Arts Institute, Brevard Music Festival, Lyric Opera Studio Weimar, Narnia Vocal Arts Festival, and Berlin Opera Academy as pianist and repetiteur. Since 2023, she has been a faculty member of the Dramatic Voices Program Berlin, where she has coached and performed in productions of Die Walküre, Elektra, and Ariadne auf Naxos.
She studied composition, piano, and collaborative piano at McGill University. During her studies, she served as a repetiteur for numerous Opera McGill productions, including La Bohème, Dido and Aeneas, the Canadian premiere of Volpone by John Musto, The Rake’s Progress, and The Turn of the Screw. During this time, she worked with composers, pianists, and conductors such as Brian Cherney, Jean Lesage, Richard Raymond, Kyoko Hashimoto, Michael McMahon, Patrick Hansen, and Julian Wachner.
PROGRAM LEADERSHIP - PAST & PRESENT
Julie Wyma - Executive Director, Founder
Meredith Bloomfield - Managing Director
Anastasia Inniss - Artistic Director 2019-2025, Founder
Meredith Bloomfield - Managing Director
Anastasia Inniss - Artistic Director 2019-2025, Founder