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University Opera presents Benjamin Britten’s “The Turn of the Screw”

January 31, 2017

Contacts:
David Ronis ronis@wisc.edu
Katherine Esposito kesposito@wisc.edu

 

Fresh from winning two major awards in the 2015-16 National Opera Association Competition, University Opera will present Benjamin Britten’s gothic ghost story, The Turn of the Screw, to round out its season.  In this, Britten’s last chamber opera, based on the Henry James novella of the same title, terror takes unexpected forms.  Premiered in 1954, The Turn of the Screw tells of a young governess who is hired to care for two children in an isolated country house in late 19th century England.  She soon realizes that the children are haunted by secrets and spirits that harm them in very real ways and she takes it upon herself to defend them.  In so doing, she is forced to confront the demons she perceives as threats, as well as her own internal ones.

Benjamin Britten in the mid-1960s (photograph by Hans Wild).

Benjamin Britten in the mid-1960s (photograph by Hans Wild).

The Turn of the Screw will be presented in English for three performances, all with projected supertitles.  March 3 at 7:30 PM, March 5 at 3:00 PM, and March 7 at 7:30 PM at Music Hall on the UW-Madison campus.  David Ronis, inaugural Karen K. Bishop Director of University Opera, will direct and graduate conducting assistant Kyle Knox will conduct the 13-member chamber orchestra.  Musical preparation will be by University Opera’s new vocal coach, Daniel Fung.

Tickets are $25.00 for the general public, $20.00 for senior citizens and $10.00 for UW-Madison students, available in advance through the Campus Arts Ticketing office at (608) 265-ARTS and online here.

Just as James’s novella is particularly notable for the ambiguity of its story, so is Britten’s opera.  Are the ghosts real?  Or are they creations of the Governess’s delusional mind?  Are the children as innocent as they originally appear, or are they part of a larger, scheme of evil?  What of Mrs. Grose, the housekeeper, who reveals some information, but not enough to form a coherent backstory?  And the ghosts themselves – Peter Quint and Miss Jessel – what motivates them?  What do they have at stake?  All these questions hover as this compelling psychological thriller unfolds.

Following each performance of The Turn of the Screw, there will be a talkback session with the cast and members of the artistic staff. Audience members will be given the opportunity to ask questions and discuss the issues raised by this opera.

Leading the cast and alternating the role of the Governess will be Katie Anderson and Erin Bryan.  Alec Brown will play the roles of the Prologue/Peter Quint, Anna Polum will be Miss Jessel and Cayla Rosché will be Mrs. Grose.  Elisheva Pront and Emily Vandenberg will alternate as Flora and guest artists Simon Johnson and Amitabha Shatdal will share the role of Miles.

The production will be designed by Frank Schneeberger with lighting design by John Frautschy.  Sydney Krieger and Hyewon Park will design costumes, Meg Huskin will be the assistant director, Holly Berkowitz the dramaturg, and the production stage manager will be Meghan Stecker.  Other staff include Chan Mi Jean and Satoko Hayami, rehearsal pianists; Erin Bryan, operations manager for University Opera; Teresa Sarkela, scenic charge; and Ethan White, lighting board operator.

Tickets are $25.00 for the general public, $20.00 for senior citizens and $10.00 for UW-Madison students, available in advance through the Campus Arts Ticketing office at (608) 265-ARTS and online here.

Tickets may also be purchased in person at the Wisconsin Union Theater Box Office Monday-Friday, 11:30 a.m.-5:30 p.m. and Saturdays, 12:00-5:00 p.m. and the Vilas Hall Box Office, Monday-Friday, 11:30 a.m.-5:30 p.m., and after 5:30 p.m. on University Theatre performance evenings.  Because shows often sell out, advance purchase is recommended.

If unsold tickets remain, they may be purchased at the door beginning one hour before the performance.

The Carol Rennebohm Auditorium is located in Music Hall, at the foot of Bascom Hill on Park Street.

University Opera is a cultural service of the Mead Witter School of Music at the University of Wisconsin-Madison, whose mission is to provide comprehensive operatic training and performance opportunities for our students and operatic programming to the community. For more information, please contact opera@music.wisc.edu. Or visit the School of Music’s web site at music.wisc.edu.

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2017 Annual Schubertiade to feature acclaimed soprano Emily Birsan

ALSO IN JANUARY: Violinist Soh-Hyun Altino and pianist Christopher Taylor team up for an afternoon of exquisite sonatas from Fauré and Corigliano. Sunday, January 22, 4 PM. Learn more here.


Join pianists Martha Fischer, Bill Lutes, and friends on the stage and seats

of Mills Hall for January’s “Schubertiade,” an intimate homage to the music,

loves and life of Romantic composer Franz Schubert.

The concert will take place Sunday, January 29, at a new time, 3:00 PM.

Fischer is a UW-Madison professor of collaborative piano and piano and Bill Lutes is emeritus artist-in-residence.

Martha Fischer & Bill Lutes. Image by Katrin Talbot.

Martha Fischer & Bill Lutes. Image by Katrin Talbot.

The concert will be followed by a reception (included in the ticket cost) at the University Club. Tickets are $15 per adult and $5 for students. The concert is sponsored by Madison resident Ann Boyer, an admirer of Franz Schubert’s music and the musical talents of Fischer and Lutes.

Tickets may be purchased online, at the Memorial Union Box Office or in Mills Hall, one hour before the concert.

The evening will include a special guest, the much-acclaimed soprano and UW-Madison alumna, Emily Birsan. Among other works, she will sing Schubert’s Epistle to Josef von Spaun, D. 749 – a brilliant and humorous send-up of the Italian operatic style that was all the rage in Vienna during Schubert’s lifetime.

Emily Birsan.

Emily Birsan.

Other performers will include Mead-Witter School of Music faculty Mimmi Fulmer, soprano and Paul Rowe, baritone; School of Music alumni Daniel O’ Dea, tenor and Benjamin Schultz, baritone; and current graduate students Anna Polum, soprano, Rebecca Bechtel and Jessica Kasinski, mezzo sopranos, and Wesley Dunnagan, tenor.

Schubert was born on January 31, 1797, and lived only 31 years. In his day, his music was cherished, but mostly by his personal circle. UW-Madison’s “Schubertiade” extends that circle to include the entire seating chart in Mills Hall.

The theme for this year’s Schubertiade is “Circle of Friends,” says co-organizer Lutes.

He writes: “Moritz von Schwind, a important German painter of the 19th century, was a young man when he became part of the group that was present at the first Schubertiade — those social gatherings given over to charades, poetry reading, dancing and imbibing – but most particularly to the performance of Schubert’s music, often with the composer himself at the piano.

“These almost legendary occasions were immortalized by Schwind in his famous painting ‘A Schubert Evening at Josef von Spaun’s,’ created in 1868, when these glorious moments had become distant and cherished memories. Schubert is indeed at the piano, with the great baritone Johann Michael Vogel seated to the composer’s right. Depicted are many of the poets, artists, lawyers and civil servants, and close friends who first heard Schubert’s music. In some cases, they are individuals with whom Schubert collaborated in the creation of songs, and our program will include a many settings of poetry by Schubert’s friends: Schober, Mayrhofer, Spaun, Schlechta and others.

A Schubert Evening at the Home of Josef von Spaun on December 15, 1826. Sepia drawing by Moritz von Schwind (1804-1871), 1868.

A Schubert Evening at the Home of Josef von Spaun on December 15, 1826. Sepia drawing by Moritz von Schwind (1804-1871), 1868.

“In addition we will include a group of songs that Schubert assembled in 1816 and presented to Theresa Grob, a young soprano whom he had hoped to marry. Other highlights will be a Cantata written for the birthday of Vogl, for soprano, tenor, baritone and piano and a great piano duet composition, the Theme and Variations in A-flat major, D. 814.

“Emily Birsan will perform the ‘flower-ballad’ Viola, D. 786, and two Italian canzonas, D. 688 and the previously mentioned Epistle to Josef von Spaun. She will conclude the program with one of Schubert’s best-loved songs, Ellen’s 3rd Song from Scott’s The Lady of the Lake….also known as Ave Maria.”

“The concert will close with an audience singalong of ‘An die Musik.’

“We offer this program of musical collaboration in a spirit of camaraderie, good will, and love for Schubert and his music, in celebration of the composer’s 220th birthday on January 31. From Schubert’s Circle of Friends we reach out to our own Circle of Friends, including the sponsor of these Schubertiades: Ann Boyer.”

Tickets may be purchased online, at the Memorial Union Box Office or in Mills Hall, one hour before the concert.

Read this news story about our Schubertiade in 2015.

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University Opera presents Verdi’s Falstaff, re-envisioned in Hollywood, 1930

As part of the worldwide commemoration of the 400th anniversary of Shakespeare’s death, University Opera will present Verdi’s final masterpiece, Falstaff.  Based on material from The Merry Wives of Windsor, Henry IV, and Henry V, Falstaff is a wild, comic romp.  In the UW-Madison production, updated to Hollywood in 1930, Falstaff is a has-been silent movie actor, out of work with the advent of the “talkies,” holding onto his former glory and living beyond his means at the Chateau Marmont.  Now a petty criminal, Falstaff puts the make on Alice Ford and Meg Page in an effort to bilk their husbands of money.  The ladies, incensed at his audacity, hatch a plot to give Falstaff his comeuppance.  But not before Mr. Ford, (a movie studio executive in the UW production) acting on his own ill-founded suspicions, gets involved and complicates matters.  At the end, all are reconciled as both men are taught their respective lessons.

falstaffad

Falstaff will be presented in Italian with English supertitles for three performances, November 11 at 7:30 pm, November 13 at 3:00 pm, and November 15 at 7:30 pm in Music Hall on the UW-Madison campus.  Directed by David Ronis with James Smith conducting the UW Symphony Orchestra, the production will involve over 90 UW singers, instrumentalists, and stage crew.  This production opens just one week after the national traveling exhibit of Shakespeare’s First Folio arrives at the Chazen Museum of Art.

Buy tickets here.

Following the success of the panel discussion before University Opera’s production of Transformations last spring, Ronis will again be assembling a panel of colleagues to discuss Falstaff on Friday, November 11 at 6:00pm in the Music Hall, admission free.  Featured panelists include:

Joshua Calhoun, Assistant Professor of English, UW-Madison

Cabell Gathman, Lecturer, Dept. of Gender and Women’s Studies, UW-Madison

Steffen Silvis, Dramaturg and Doctoral Candidate in Interdisciplinary Theatre Studies, UW-Madison

David Ronis, Karen K. Bishop Director of University Opera, UW-Madison

Susan Cook, Pamela O. Hamel/Music Board of Advisors Director of the Mead Witter School of Music, Moderator

Paul Rowe, Professor of Voice at UW-Madison, will sing the title role amidst a cast featuring current students and a couple of guest alums.  The principal ladies’ roles will be filled by Yanzelmalee Rivera and Sarah Kendall (Alice Ford), Courtney Kayser and Talia Engstrom (Meg Page), Emily Weaver and Claire Powling (Nannetta), Rebecca Buechel and Jessica Kasinski (Quickly).  The men in the cast will be alum Brian Schnieder and guest artist Richard Schonberg (Ford), José Muñiz (Fenton), Wesley Dunnagan (Dr. Caius), Jiabao Zhang (Bardolfo) and alum Benjamin Schultz (Pistola).  Assisting Maestro Smith will be Kyle Knox, assistant conductor, with musical preparation by new professor of opera and vocal coaching, Dr. Daniel Fung, Chan Mi Jean, and chorus master, Christopher Boveroux.

The physical production will be designed by Greg Silver.  Costume design is by Sydney Krieger, and Hyewon Park, lighting design by Kenneth Ferencek, props design by David Heuer, and the production stage manager will be Alec Brown.  The production staff include Erin Bryan, operations manager for University Opera; Jimmy Dewhurst and Daniel Lewis, master electricians; and Ethan White, lighting board operator.

Tickets are $25.00 for the general public, $20.00 for senior citizens and $10.00 for UW-Madison students, available in advance through the Campus Arts Ticketing office at (608) 265-ARTS and online at http://www.arts.wisc.edu/ (click “box office”). Tickets may also be purchased in person at the Wisconsin Union Theater Box Office Monday-Friday, 11:30 a.m.-5:30 p.m. and Saturdays, 12:00-5:00 p.m. and the Vilas Hall Box Office, Monday-Friday, 11:30 a.m.-5:30 p.m., and after 5:30 p.m. on University Theatre performance evenings.  Because shows often sell out, advance purchase is recommended. If unsold tickets remain, they may be purchased at the door beginning one hour before the performance.  The Carol Rennebohm Auditorium is located in Music Hall, at the foot of Bascom Hill on Park Street.

University Opera is a cultural service of the School of Music at the University of Wisconsin-Madison whose mission is to provide comprehensive operatic training and performance opportunities for our students and operatic programming to the community. For more information, please contact opera@music.wisc.edu. Or visit the School of Music’s web site at music.wisc.edu.

 

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“Brass Fest II” to feature eclectic mix of jazz and folk vocals, solo trumpet, and works for brass quintet

From October 9 to 11, the UW-Madison School of Music will present its second brass music festival, following a spirited event last year that was enthusiastically received by students and the community.

This year, “Brass Fest II” has added a vocalist to the mix: a Norwegian singer who mixes jazz tunes with pop and folk music from the Middle East, Bulgaria, Spain and India. The three-day festival will also features two brass quintets and a solo trumpeter.

[Best_Wordpress_Gallery id=”1″ gal_title=”Brass”]

The festivals showcase the energetic, eclectic world of brass music, says festival organizer John Aley, professor of trumpet at UW-Madison and principal trumpeter of the Madison Symphony Orchestra. “We benefited from creative energy last year that continues to impact positively in the School of Music,” says Aley. “The performances will showcase some amazing talent and innovation including the surprising and delightful synergy of brass plus voice.”

On the docket this year:

Friday, October 9: Axiom Brass Quintet, 8 PM, Mills Hall. This lively Chicago quintet features repertoire ranging from jazz and Latin music to string quartet transcriptions, as well as original compositions for brass quintet.  Friday’s concert will offer an Elizabethan suite, “The Art of the Fugue” by J.S. Bach, and brass quintet works by Victor Ewald, David Sampson, and Patrice Caratini.

Axiom Brass is an Ensemble-in-Residence at the Boston University Tanglewood Institute and at Chicago’s Rush Hour Concerts. They are winners of the Chamber Music Yellow Springs Competition (2012), the Preis der Europa-Stadt Passau in Germany (2012), the 2008 International Chamber Brass Competition and prize-winners of the 2010 Fischoff Chamber Music Competition, the Plowman Chamber Music Competition, and the Jeju City International Brass Quintet Competition in South Korea. Axiom Brass is comprised of Dorival Puccini, Jr., trumpet; Jacob DiEdwardo, horn; Kevin Harrison, tuba; Serdar Cizmeci, trombone; and Kris Hammond, trumpet.

Saturday, October 10: Festival Brass Choir with the Axiom Brass Quintet, the Wisconsin Brass Quintet, trumpeter Adam Rapa, vocalist Elisabeth Vik, and students/faculty of the School of Music. 8 PM, Mills Hall. Conducted by Scott Teeple, professor of music and wind ensemble conductor. The concert will include works by Astor Piazzolla, James M. Stephenson, Anthony DiLorenzo, Nicolai Rimsky-Korsakov, and a Bulgarian vocal work sung by Ms. Vik.

The Norwegian-born vocalist Elisabeth Vik was classically trained by Norwegian opera singer Rolf Nykmark, then moved on to study commercial music and music business at the Liverpool Institute for Performing Arts in England. She received a bachelors degree in pop-music performance, then moved to New York City. She has traveled the world gathering and learning techniques and musical expressions, giving her sound and stylings hints of Indian, Arabic, Spanish, Bulgarian as well as Norwegian flavors, superimposed upon a classical technique and an affinity for jazz.

American Adam Rapa is a dynamic performer, composer, producer and educator known for the excitement, energy and enthusiasm he brings to stages and classrooms around the world. Rapa has been featured as a special guest artist and clinician at trumpet conferences around the globe including the International Trumpet Guild conference, the National Trumpet Competition, and festivals in dozens of countries around the world. Adam performed and/or recorded with Grammy Award winners Nicholas Payton and Roy Hargrove, Christian McBride, Doc Severinsen, Soulive, Wycliffe Gordon, Eric Reed, Jason Moran, Robert Glasper, Cyrus Chestnut, Jorge Pardo, Mnozil Brass, Belgian Brass, Alice in Chains, Academy Award winning film composer A.R. Rahman, and many others. Now living and freelancing in Copenhagen, Rapa plays lead trumpet in the Danish Radio Big Band and also performs with members of the Afro-Cuban All-Stars.

The Wisconsin Brass Quintet, formed in 1972, is a faculty ensemble in residence at the UW-Madison. In addition to performing with the WBQ, the players have also been members of the American Brass Quintet, Empire Brass Quintet and Meridian Arts Ensemble. Current members include Tom Curry, tuba; Mark Hetzler, trombone; Daniel Grabois, horn; John Aley, trumpet; and Matthew Onstad, trumpet.

Sunday, October 11: Duo recital with trumpet soloist Adam Rapa, vocalist Elisabeth Vik, and musicians from the School of Music. 7:30 PM, Mills Hall.  Based in Denmark, the duo offers a creative blend of classical and jazz, melding traditional and modern repertoire with a Latin sizzle. Works will include the Carmen Suite by George Bizet, Så Skimrande Var Aldrig Havet by Evert Taube, arranged by Rapa & Vik, Oblivion by Astor Piazzolla arranged by Rapa, and Anitras Dance by Edvard Grieg, arranged by Vik & Rapa.

Tickets for the Friday and Saturday concerts are $15 for adults, free for students and children. Sunday’s concert is free to all.

Buy tickets to both concerts and save!

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David Ronis brings theatrical flair to University Opera

David Ronis, the visiting director of University Opera at the UW-Madison School of Music, doesn’t want his opera singers to just “park and bark” their arias. He wants them to truly express the various hidden narrative levels of the opera’s libretto and musical score.

In short, he wants them to act as actors do.

It’s not a new idea, Ronis says. In fact, he says, the overall trend in opera over the last 30 years has been for opera singers to develop acting skills as keen as their vocal ones–and he considers himself to be part of that movement.

David Ronis. Photo by Luke DeLalio.

David Ronis. Photo by Luke DeLalio.

At one point, working in this way was a departure for Ronis himself. He’d been singing professionally in opera for years before he landed a job in the Los Angeles company of Disney’s Beauty and the Beast, where he suddenly was surrounded by actors with real technique. After three years there he returned to New York and began to study acting seriously and added acting jobs – spoken theater, commercials, and independent films – to his resume.

It was life-changing. He began to look at operatic acting with new eyes, and discovered he was a bit embarrassed by the quality of much of the work that he saw.

“So I joined some friends – other teachers and directors – whose mission in life was to train opera singers to become better actors,” Ronis says. “And my background, being a singer myself as well as a trained actor, has facilitated that. So that’s what I work on now: how to use yourself, your imagination, your emotions, and your body, to act the story more effectively.”

For Albert Herring, this season’s University Opera production and Ronis’s first at UW-Madison, that means detailed stage work. “Comedy is harder than drama,” he says. “When you’re singing an aria about how lonely you are and how you want to commit suicide, it usually has a slower, more sustained inner tempo. Although the emotions are intense, it doesn’t require the same kind of technical skill as comedy.”

“In comedy, things happen quickly. Characters exchange thoughts, react to each other, and things are constantly bouncing back and forth,” he continues.  “So we’re spending a lot of time working on those interchanges, and how they manifest in action. The trick is to do it cleanly and with proper timing.”

What does Ronis find funny? “I love comedy that arises out of situation,” he says. “The first time I saw the play Noises Off, I thought I had died and gone to heaven. I also have a few favorite standup comedians – Chris Rock, Kathy Griffin, Louis CK – as well as few sitcoms like ’30 Rock’ that I think are deeply funny. The classic TV comedies from the 50s and 60s are fantastic! Yesterday, in rehearsal, I found myself saying to one of the students, ‘Okay, you’re Lucy! This is a Lucy moment!’ ”

Did they have any idea what you were talking about? “They did! Yes!”

Learn more about University Opera’s Albert Herring, including how to buy tickets.


We asked David to tell us a bit more about this background and his plans for the UW-Madison School of Music. Here’s his response.

Q: Welcome to Madison, David! You’re such a New Yorker – how does it feel to be in the Midwest?

A: I’ve actually spent quite a bit of time in the Midwest. When I was actively performing, I sang all over the country, frequently spending a good month or more in a given city. So I got pretty comfortable living outside of New York. I’ve been to Wisconsin a number of times – I sang at both the Skylight and Florentine Opera companies as well as on tour with the New York City Opera National Company in Madison (at the Oscar Mayer Theater) And also in Platteville!

Q: Did you have any connections with the School of Music before you came here?

A: Yes, my good friends Paul and Cheryl Rowe have been here for 16 years. Paul is on the voice faculty and Cheryl is a terrific singer and voice teacher in her own right. It was Paul and Cheryl who encouraged me to apply for the interim position. And I’m glad they did!

Q: What are your plans this year for University Opera?

A: Well, we’ve selected two shows that I think are perfect for the UW students and for the community. In October, we’re doing Benjamin Britten’s Albert Herring and in March, Mozart’s masterpiece, The Magic Flute. Albert Herring is a terrific comedy with a social message or two that’s truly an ensemble piece. Technically, it’s a chamber opera, because the orchestra consists of only 13 players.

Albert Herring is also a perfect piece for the intimate Music Hall at UW-Madison which seats 380. Grand opera it isn’t. What it is, is a terrific opportunity for young singers and instrumentalists to develop their skills and put on an entertaining, meaningful work. We’re very happy to bring this piece to the Madison community. The conductor for Albert Herring is Kyle Knox, a remarkably talented graduate student, studying with orchestra conductor James Smith. It’s been a delight collaborating with Kyle on this project and I look forward to working with Jim in the spring.

I actually have a special connection with this work. When I was a young singer, I had the opportunity to travel to the Britten-Pears School in Aldeburgh, England in order perform the title role of Albert Herring as well as to study it with Peter Pears, the original Albert. It was a minimal workshop production, directed by Eric Crozier, Britten’s librettist, and Nancy Evans, another original cast member, yet quite memorable for me. I’m very happy to share my one degree of separation from the creation of the work with UW students. It was fantastic to do Albert Herring in the part of England where it not only takes place, but where Britten, Pears, Crozier and the English Opera Group lived and worked.

The spring production, The Magic Flute, will be sung in German with English dialogue. Since we have a full orchestra for the spring production, I wanted to do a piece that had a fairly large cast and chorus, thus offering lots of opportunities for UW students to perform. The Magic Flute is the perfect piece – well-loved and family friendly. One of our missions is to develop new, young audiences, and this opera goes a long way to accomplish that task. We look forward to bringing this work to the Music Hall.

Q: As a Visiting Assistant Professor with a one-year appointment, how do you see your role, as far as continuing and developing University Opera?

A: It’s an interesting position to be in. This is truly a year of transition for University Opera. After 16 successful years under William Farlow, I want to make sure that the program continues to grow and develop. One year is long enough to begin a few new initiatives that will hopefully be continued in the years to come. At the top of my list are the program’s educational priorities – to provide ways to help students develop their skills and to provide performance opportunities for them. In order to involve as many students as possible in the program, we’ve double cast some roles in Albert Herring and I’m expecting to do the same in The Magic Flute. As part of the Opera Workshop class (which produces an Opera Scenes program twice a year in addition to the mainstage productions), I’ve started teaching an Acting for Singers class. Seeing that my personal mission has been to develop better acting standards among opera singers, I’m excited to have the opportunity to help the students with their stage skills. Also, pursuing the part of the mission of University Opera that values community service, I would like to reach out to various arts and civic groups, both on campus and off, to see what kinds of collaborations may be possible – connections that would be mutually beneficial.

Q: Do you have any other observations regarding University Opera or the School of Music in general?

A: Well, I continue to be impressed with the students. They seem hungry for knowledge and to develop their skills. As a group, they are very hard working, and I think that you’ll see the results in performance. Susan Cook, the Director of the School of Music, Ben Schultz, the Assistant Director, and the other administrative staff have been very welcoming and helpful as I adjust to new systems and procedures. Likewise the School of Music faculty members I’ve met. I’m very happy to be among this group and look forward to an exciting year!

 

 

 

Events

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Guest artists: Anna Hersey, soprano & Alan Johnson, piano

Guest artists Anna Hersey (UW-Oshkosh) and Alan Johnson (University of Miami) will present a recital of songs by Grieg and Sibelius.

 


 

About the Performers

 

Hailed by critics as a “force of nature,” soprano Anna Hersey enjoys performing a wide range of vocal repertoire. A native of Minnesota, Hersey has performed throughout the United States and Europe, appearing with Palm Beach Opera, Florida Chamber Orchestra, Hispanic-American Lyric Theater, Skylark Opera, The Minnesota Opera, and Theatre de la Jeune Lune (at Berkeley Repertory Theater), among others. She gave her first performance at the MacPhail Honors Recital in 1992 at age eleven.

Past roles include Dew Fairy/Sandman (Hansel and Gretel), Contessa in Theatre de la Jeune Lune’s Mozart/Beaumarchais adaptation Figaro at Berkeley Repertory Theatre (nominated for Best Ensemble by the Bay Area Critics Circle), Susanna (Le Nozze di Figaro), Mag (Richard Wargo’s Ballymore), Despina (Cosí fan tutte), Concepción (L’heure Espagnole), La Princesse (L’Enfant et les sortileges), Frasquita (Carmen), Gretel (Hansel and Gretel), Fiona (Brigadoon), and Joanna (Godspell).

A two-time Schubert Club Competition finalist, Dr. Hersey was also awarded second prize in the Thursday Musical Young Artist Competition and performed with the Kenwood Symphony Orchestra as winner of their concerto competition. Additionally, she was a national semi-finalist in the Florida Grand Opera Competition, the Classical Singer Competition, and the NATS Artist Awards, receiving the Karl Trump Award from the NATS Foundation. She has performed in master classes with notable artists such as Renée Fleming, Dawn Upshaw, Jennifer Larmore, Marianne Hirsti, and Håkan Hagegård.

A noted expert on Scandinavian vocal literature and diction, Dr. Hersey was a Fulbright Scholar at the Kungliga Musikhögskolan (Royal College of Music) in Stockholm, where she collaborated with pianist Matti Hirvonen. Dr. Hersey also conducted research at Det Kongelige Danske Musikkonservatorium (Royal Danish Academy of Music) and Københavns Universitet (University of Copenhagen), thanks to a post-doctoral fellowship from the American Scandinavian Foundation. She has presented her research on Scandinavian repertoire and diction at the National Association of Teachers of Singing, the University of Copenhagen Center for Internationalisation and Parallel Language Use, the International Congress of Voice Teachers, and the Yale Conference on Baltic and Scandinavian Studies. Dr. Hersey’s articles on Swedish and Danish diction and song repertoire were recently published in the Journal of SingingVOICEPrints, and The Opera Journal. Her translations and transcriptions have been published by Plangere and by Carnegie Hall. Her first book, Scandinavian Art Song: A Guide to Swedish, Norwegian, and Danish Diction and Repertoire was released by Rowman & Littlefield in September 2016.

Hersey performs recitals of Scandinavian music throughout the United States, with the goal of bringing this rarely-heard repertoire to a wider audience. Performances and master classes have been sponsored by Finlandia Foundation, American Scandinavian Foundation, and Sons of Norway.

An active pedagogue, Hersey completed the Vocal Pedagogy Certificate at the University of Minnesota under the tutelage of Professor Clifton Ware. She is an active member of professional organizations in her discipline, serving on the Credentialing/Specialization Committee for the Pan-American Vocology Association, and presenting regularly at regional, national, and international conferences. She is a recent alumna of the NATS Intern Program, and was awarded the 2015 Vocal Pedagogy Award from the NATS Foundation to support her attendance at Johan Sundberg’s voice science seminar at the Kungliga Tekniska Högskolan (Royal College of Technology).

Hersey holds master’s degrees in performance and musicology from the University of Minnesota, and pursued advanced studies at the Accademia Musicale Chigiana in Siena, Italy with acclaimed soprano Raina Kabaivanska. She earned a doctorate from the University of Miami, where she was a Smathers Fellow. Hersey has taught at Iowa State University, Barry University, Broward College, the University of Miami, and Eastern New Mexico University. She is Assistant Professor of Voice at University of Wisconsin Oshkosh. She was recently named editor-in-chief of VoicePRINTS, the peer-reviewed journal of the New York Singing Teachers Association, and lecture-recitals editor for the College Music Symposium.

 

Pianist Alan Johnson has collaborated with singers holding national and international engagements in concert and opera since 1985.  As music director, conductor, pianist, vocal coach, and new opera advocate – he has prepared, performed, and premiered many of the most notable and progressive works in opera, music theater, and dance since 1986.  His work has garnered Bessie, Drama Desk, Jefferson, and Obie Awards, including an Obie Award for Sustained Excellence in Music Direction and a Joseph Jefferson Award for Outstanding Music Direction of The Sound of a Voice and Hotel of Dreams, two one-act operas premieres by Philip Glass and David Henry Hwang.

He has conducted performances at venues across the United States including the American Repertory Theater, American Music Theater Festival, Brooklyn Academy of Music, Lincoln Center, New York Shakespeare Festival, Opera Delaware, A Contemporary Theater – Seattle, Court Theater – University of Chicago, Jacobs Pillow, Joyce Theater, Long Wharf Theater, McCarter Theater, Spoleto Festival USA and Italy, Pittsburgh Opera Theater, and many others.

Since 2008, Alan has held the position of Music Director at the John Duffy Institute for New Opera at the Virginia Arts Festival.  Recent projects include a 2016 Rockefeller Residency in Bellagio, Italy, a 2016-17 University of Miami Provost Research Award, and recitals in New York, Alabama, New Jersey, Pennsylvania, Minnesota, and Iowa.  He holds a Bachelor of Music in piano performance from the University of Miami and a Master of Music in Vocal Coaching and Accompanying from the University of Illinois, having studied with legendary pianists Ivan Davis and John Wustman.  Alan was the 2012 recipient of the Phillip and Patricia Frost Award for Excellence in Teaching and Scholarship at the University of Miami, where he is Professor of Music.

 

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Faculty Recital: Paul Rowe, voice; Martha Fischer, piano

Faculty, Mead Witter School of Music.

Program

Liederkreis, opus 39 (1840)        Robert Schumann   (1810-1856)

Poetry: Joseph Freiherr von Eichendorff  (1788-1857)

In der Fremde

Intermezzo

Waldesgespräch

Die Stille

Mondnacht

Schöne Fremde

Auf einer Burg

In der Fremde

Wehmut

Zwielicht

Im Walde

Frühlingsnacht

 

Don Quichotte à Dulcinée (1933)      Maurice Ravel       (1875-1937)

Poetry: Paul Morand     (1888-1976)

Chanson Romanesque

Chanson épique

Chanson à boire

 

What We Did Not Know (2014)     Scott Gendel  (b. 1977)

 

Poetry: Perry Brass  (b. 1947)

  1. A Feather at Times Square
  2. As You Leave the Train
  3. Cnidarian
  4. What We Did Not Know
  5. Starlight at Canaan

 

 

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CANCELED: Master Class for Singers: Melanie Helton

This class is canceled. We hope to re-schedule for late fall or spring 2018.

With many opera, concert, world premieres and national awards to her credit, we are delighted to welcome Melanie Helton to UW-Madison to teach a master class for singers. Ms. Helton is professor of voice and director of the MSU Opera Theatre at the Michigan State University College of Music.

 

Melanie Helton