Valerie's Resume

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Valerie[Grab your reader’s Beck, attention mezzowith a great quote-soprano from the document or use this space to Chicago,emphasize IL 60640 a key point. To place this text box anywhere on the page, just drag it.] 616.560.9079 [email protected] Roles Performed Mrs. Páskova/ Lapák Cunninc Little Vixen CCPA Graduate Opera 2018 Mother Son and Stranger/Mendelssohn CCPA Graduate Opera 2017 Jo Little Women Chicago Vocal Arts Consortium 2017 Dido Dido and Aeneas GVSU 2016 Third Lady The Magic Flute GVSU 2015 Zarrachia Il Pianista Disgraziato Grumo Music Festival 2014 Chorus/ Le Bon L’enfant et les sortilèges CCPA Graduate Opera 2017 Chorus The Student Prince Opera Grand Rapids 2016 Chorus Roméo et Juliette Opera Grand Rapids 2016 Concert and Oratorio Alto Soloist† Messiah First Lutheran Church 2016 Chorus Beethoven IX Chicago Symphony Hall 2017 Chorus Verdi Requiem Opera Grand Rapids 2015 Soloist Shakespeare Concert Opera Grand Rapids 2016 Chorus St. Giles Episcopal Church Choral Scholar Current Milwaukee Symphony Chorus Milwaukee Current Cantate Chamber Ensemble GVSU 2013-2016 Opera Chorus Opera Grand Rapids 2014-2016 St. Mark’s Episcopal Church Choral Scholar 2014-2016 Education and Training Master of Music, Chicago College of Performing Arts, Roosevelt University 2018 Bachelor of Music, Grand Valley State University 2016 Semester Abroad, Florence University of the Arts 2014 Voice Coaches Directors Conductors Cynthia Clarey* Mark Adamo Andrew Eggert Catherine O’Shaughnessy Min Jin Shannon McGinnis* Rose Freeman Ari Pelto Charles Norris Robert Byrens Carleen Graham Mei-Ann Chen Susanna Piccardi Brendan Hollins Dale Schriemer Leonardo Verdoni Patrick Coyle Karen Babcock Steven Mercurio Related Skills Awards and Achievements Master Classes IPA Graduate Opera Assistant (CCPA) Cody Austin Italian Arthur C. Hills Scholarship (GVSU) Timothy Nelson Spanish Branstrom Scholarship (GVSU) Rachael Gates Sight reading £ cover, †partial, ‡scenes, *current instructor .

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Annual Report
ANNUAL REPORT Fiscal Year 2017: July 2016 – June 2017 Season 33 "I love to sing, I love connecting with my fellow members, and I love sharing our music with the community." — Jon Brockelman, Tenor 2 2 Welcome to CGMC Since 1985, Chicago Gay Men’s Chorus has been a leading voice of social justice, offering a safe and support- ive environment for LGBTQ+ performers to celebrate their talents and share our message of diversity and inclusivity through our shows. Fiscal year 2017 (from July 2016 – June 2017) included more than 40 public performances. In addition to our traditional programming, for the first time we also piloted a high school outreach program to share our message with the next generation. We plan to continue outreach programs like this in future years. The season kicked off in September 2016 with ourThe Great Gaymerican Songbook cabaret performance at Mayslake Peabody Estate in Oak Brook and the Uptown Underground on the north side of the city. Our holiday show Home for the Holidivas in December 2016 brought us to the Harris Theater, the North Shore Center for the Performing Arts in Skokie, and the Beverly Art Center. Lipsticks & Lyrics: The Dragtones, our live singing drag show in February 2017, featured several iconic girl groups, to the delight of our audience in four shows at Uptown Underground. Finally, our spring show *B-Town: From Barbershop to Boybands in May 2017 brought us back to rock the Harris Theater, North Shore Center for the Performing Arts, and the Beverly Arts Center. Outside of our regular mainstage shows, we performed at numerous community events across Chicagoland, including the Chicago AIDS Run/Walk opening ceremony, National Anthem for American Veterans for Equal Rights (AVER) memorial in Boystown and a Chicago Fire soccer game, Market Days, and Midsommarfest.
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Record Series 1121-105.4, W. W. Law Music Collection-Compact Discs, Inventory by Genre
Record Series 1121-105.4, W. W. Law Music Collection-Compact Discs, Inventory by Genre Genre Album title Contributor (s) Date Final Box # Item # Additional Notes Original CD Blues (music) James Cotton Living the Blues James Cotton; Larry McCray; John Primer; Johnny B. Gayden; Brian Jones; Dr. John; Lucky Peterson; Joe Louis Walker 1994 1121-105-242 19 Blues (music) Willie Dixon Willie Dixon; Andy McKaie; Don Snowden 1988 1121-105-249 01 Oversized case; 2 CD box set Blues (music) Cincinnati Blues (1928-1936) Bob Coleman's Cincinnati Jug Band and Associates; Walter Coleman; Bob Coleman no date 1121-105-242 17 Found with CD album in Box #10, Item #28; Case was found separately Blues (music) Willie Dixon, The Big Three Trio Willie Dixon; The Big Three Trio 1990 1121-105-242 18 Blues (music) The Best of Muddy Waters Muddy Waters 1987 1121-105-242 08 Blues (music) The Roots of Robert Johnson Robert Johnson 1990 1121-105-242 07 Blues (music) The Best of Mississippi John Hurt Mississippi John Hurt; Bob Scherl 1987 1121-105-242 06 Blues (music) Bud Powell: Blues for Bouffemont Bud Powell; Alan Bates 1989 1121-105-242 36 Friday, May 11, 2018 Page 1 of 89 Genre Album title Contributor (s) Date Final Box # Item # Additional Notes Original CD Blues (music) Big Bill Broonzy Good Time Tonight Big Bill Broonzy 1990 1121-105-242 04 Blues (music) Bessie Smith The Collection Bessie Smith; John Hammond; Frank Walker 1989 1121-105-242 38 Blues (music) Blind Willie Johnson Praise God I'm Satisfied Blind Willie Johnson 1989 1121-105-242 20 Post-it note was found on the back of this CD case, photocopy made and placed in envelope behind CD.
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New Publications
NEW PUBLICATIONS ARTICLES Kater, Michael H. 'The Revenge of the Fathers: The Demise of Modern Music at the End of the Weimar Republic." German Studies Review 15, no. 2 (May 1992): 295-313. Lareau, Alan. "1ne German Cabaret Movement During the Weimar Republic." Theatre journal 43 (1991): 471-90. · Lucchesi, Joachim. "Contextualizing The Threepenny Opera: Music and Politics." Com munications from the international Brecht Society 21, no. 2 (November 1992): 45-48. Lucchesi, Joachim. " ... ob Sie noch deutscher lnlander sind? Der Komponist Kurt Weill im Exil." Ko"espondenzen 11-12-13 (1992): 42-44. Published by the Gesellschaft fur Theaterpadagogik Niedersachsen, Hannover. Stempel, Larry. 'The Musical Play Expands." American Music 10, no. 2 (Summer 1992): 13&-69. Stern, Guy and Peter Schon back. "Die Vertonung Werfelscher Dramen." ln Franz We,fel im Exit, edited by Wolfgang Nehring and Hans Wagener, 187-98. Bonn: Bouvier, 1992. Wagner, Gottfried. "ll teatro de Weill e Brecht." Musica e Dossier41 Oune 1990): 74-79. WiBkirchen, Hubert. "Mimesis und Gestus: Das 'Llebeslied' aus der Dreigroschenoper (Brecht/Weill)." Musik und Unterricht 5 (1990): 38-44. BOOKS Jacob, P. Walter. Musica Prohibida-Verbotene Musik: Ein Vortrag im Exit. Hrsg. und kommentiert von Kritz Pohle (Schriftenreihe des P. Walter Jocob-Archivs. nr. 3). Hamburg: Hamburger Arbeitsstelle fur deutsche Exilliteratur, 1991. Wagner, Gottfried. Weill e Brecht. Pordenone, Italy: Studio Tesi, 1992. Weill, Kurt Kurt Weill:de Berlin aBroadway. Traduitetpresentepar Pascal Huynh. Paris: Editions Plume, 1993. RECORDINGS ''Kurt Weill: Un Pianoforte a Broadway." Roberto Negri, piano. Riverrecords CDR 5405. "Laura Goes Weill" Laura Goes Blue (rock ensemble). Industrial Jive Records 04-14-92- 01.
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20Th Anniversary Celebration
THE AFRICAN AMERICAN ART SONG ALLIANCE CONFERENCE 20th Anniversary Celebration February 9 – 12, 2017 Claire Trevor School of the Arts – Music The University of California, Irvine In collaboration with Christ Our Redeemer AME Church 45 Tesla, Irvine, Rev. Mark E. Whitlock, Jr., Pastor Host Hotel Transportation provided by COR AME Church Radisson Hotel Newport Beach via DMCLS, Inc. a minority-owned VIP transportation co. 4545 MacArthur Boulevard Mathurin Daniel, CEO Newport Beach, CA 92660 37 Rincon Way, Aliso Viejo, CA 92656 The African American Art Song Alliance artsongalliance.org Funding for this conference generously provided by: UCI Office of Inclusive Excellence Spirit Award Program; Christ Our Redeemer AME Church, 45 Tesla, Irvine, Rev. Mark E. Whitlock., Pastor; UCI Illuminations, the Chancellor’s Art & Culture Initiative; Hampsong Foundation; UC Consortium for Black Studies in California; COR Community Development Corporation (CORCDC); Chair’s Endowment, UCI Music Department; UCI African American Studies Department CONFERENCE PARTICIPANTS COMPOSERS SINGERS (cont) H. Leslie Adams, Cleveland, OH Kisma Jordan Hunter, University of Michigan, Flint, MI Judith Baity, Los Angeles, CA Albert R. Lee, University of Nevada, Reno, NV Brittney Elizabeth Boykin, Spelman College, Atlanta, GA Marquita Lister, Morgan State University, Baltimore, MD Maria Thompson Corley, Franklin & Marshall Coll., Lancaster, PA Leberta Lorál, Los Angeles, CA Marquez L.A. Garrett, Florida State University, Tallahassee, FL Jennifer Lindsay, Long Beach, CA Adolphus C. Hailstork, Old Dominion University, Norfolk, VA Oral Moses, Kennesaw State University, Kennesaw, GA Lori Celeste Hicks, Claflin University, Orangeburg, SC Marlaina Owens, Los Angeles, CA Charles Ingram, Los Angeles Southwest College, Los Angeles, CA Miranda Paulos, University of California, Irvine, CA Roy Jennings, New York, NY Willis C.
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2018 Annual Report CHICAGO SYMPHONY ORCHESTRA ASSOCIATION RICCARDO MUTI Zell Music Director Message from the Chair
2018 annual report CHICAGO SYMPHONY ORCHESTRA ASSOCIATION RICCARDO MUTI Zell Music Director message from the chair dear cso friends and family, The 2017/18 season was a wonderful example of the Chicago Symphony Orchestra Association’s profound impact as a cultural leader. With artistic excellence as their hallmark, Riccardo Muti and the talented Members of the Chicago Symphony Orchestra continued to endear themselves wherever they performed—from their handsome Burnham home at 220 South Michigan Avenue to the north, south, and west sides of the city and beyond. Zell Music Director Riccardo Muti has won over audiences through his music-making as well as his demonstrated commitment to sharing classical music with a broad audience since his appointment in 2010. A great example of this from last season was the standing room only, free, community concert at Lane Tech High School in November. Later, in January, we were extremely pleased to announce that Maestro Muti would be extending his contract through 2022 with the promise of continuing to bring the CSO to ever-higher levels of achievement and influence. Serving as ambassadors for the City of Chicago, Muti and the Orchestra toured both coasts last season. Their reputation preceded them at every location, and they surpassed expectations in performance. Emblematic of the belief that the power of art is timeless, three recent CSO commissions were programmed alongside pillars of the symphonic repertoire on these tours. It is a tremendous undertaking when the Orchestra travels, but one well worth the effort in order to share the artistry of the CSO with new and eager audiences.
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Look-In Guide
By George Gershwin, DuBose and Dorothy Heyward, and Ira Gershwin AN EDUCATOR’S GUIDE TO THE OPERA LOOK-IN LESSON STARTERS Music Many solo vocalists and instrumental- illustration by Richard Waldrep ists have recorded Gershwin’s “Summertime,” from jazz saxophon- Porgy and Bess ist John Coltrane to rock star Janis Joplin to rhythm and blues singer HOW TO USE THIS GUIDE Fantasia Barrino (of television’s American Idol fame). This classic Opera offers a unique teaching opportunity—to explore music American song is actually based on through many different disciplines from literature and drama to the blues, the same unique musical history and art. This guide and accompanying CDs prepare the style in which Jasbo Brown, the students for the Opera Look-In and can also be used as stand-alone pianist in Porgy and Bess, plays. To classroom activities and resources for teachers. For applicable assist you with these listening activi- National Standards, please contact Washington National Opera at ties, please cue your Porgy and Bess 202.448.3466 or at [email protected]. excerpt CD to Track 1, Introduction: “Summertime” (4:53). WHAT WILL YOU SEE? Have your students listen carefully Based on a story by DuBose and Dorothy Heyward and set to to see if they can identify which music by George and Ira Gershwin, Porgy and Bess takes center instruments (strings, xylophone, stage for the 2005-2006 Opera Look-In. You and your students horns) are featured in the action- will experience demonstrations of musical and technical special packed introduction (which in the effects, as well as a performance of scenes with full staging, cos- full-scale opera leads into "Jasbo tumes, and orchestra.
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The Race of Sound Refiguring American Music a Series Edited by Ronald Radano, Josh Kun, and Nina Sun Eidsheim Charles Mcgovern, Contributing Editor the Race of Sound
The Race of Sound Refiguring American Music A series edited by Ronald Radano, Josh Kun, and Nina Sun Eidsheim Charles McGovern, contributing editor The Race of Sound Listening, Timbre, and Vocality in African American Music Nina Sun Eidsheim Duke University Press Durham and London 2019 © 2019 Nina Sun Eidsheim All rights reserved Printed in the United States of America on acid-free paper ∞ Designed by Courtney Leigh Baker and typeset in Garamond Premier Pro by Copperline Book Services Library of Congress Cataloging-in-Publication Data Title: The race of sound : listening, timbre, and vocality in African American music / Nina Sun Eidsheim. Description: Durham : Duke University Press, 2018. | Series: Refiguring American music | Includes bibliographical references and index. Identifiers:lccn 2018022952 (print) | lccn 2018035119 (ebook) | isbn 9780822372646 (ebook) | isbn 9780822368564 (hardcover : alk. paper) | isbn 9780822368687 (pbk. : alk. paper) Subjects: lcsh: African Americans—Music—Social aspects. | Music and race—United States. | Voice culture—Social aspects— United States. | Tone color (Music)—Social aspects—United States. | Music—Social aspects—United States. | Singing—Social aspects— United States. | Anderson, Marian, 1897–1993. | Holiday, Billie, 1915–1959. | Scott, Jimmy, 1925–2014. | Vocaloid (Computer file) Classification:lcc ml3917.u6 (ebook) | lcc ml3917.u6 e35 2018 (print) | ddc 781.2/308996073—dc23 lc record available at https://lccn.loc.gov/2018022952 Cover art: Nick Cave, Soundsuit, 2017. © Nick Cave. Photo by James Prinz Photography. Courtesy of the artist and Jack Shainman Gallery, New York. This title is freely available in an open access edition thanks to generous support from the ucla Library. This book is published under the Creative Commons Attribution-NonCommercial- NoDerivs 3.0 United States (cc by-nc-nd 3.0 us) License, available at https://creativecommons.org/licenses/by-nc-nd/3.0/us/.
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Boston Symphony Orchestra Concert Programs, Season 113, 1993
Boston Symphony Orchestra Twentieth Anniversary Season i 9 9 3 - 9 4 €B€L th architects of time beluga Soft and elegant. Hand sculpted in Switzerland exclusively in 18 karat gold. Water resistant. Five year international limited warranty. Intelligently priced. E.B. HORN Jewelers Since 1839 Positively The Best Value In Jewelry 429 WASHINGTON ST BOSTON 02108 ALL MAJOR CREDIT CARDS ACCEPTED • BUDGET TERMS MAIL OR PHONE ORDERS 542-3902 • OPEN MON. AND THURS. TIL 7 Seiji Ozawa', Music Director One Hundred and Thirteenth Season, 1993-94 Trustees of the Boston Symphony Orchestra, Inc. J. P. Barger, Chairman George H. Kidder, President Mrs. Lewis S. Dabney, Vice-Chairman Nicholas T. Zervas, Vice-Chairman and President-elect Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer David B. Arnold, Jr. William M. Crozier, Jr. Julian T. Houston Mrs. August R. Meyer Peter A. Brooke Deborah B. Davis Mrs. BelaT. Kalman Molly Beals Millman James F. Cleary Nina L. Doggett Allen Z. Kluchman Mrs. Robert B. Newman John F. Cogan, Jr. Dean Freed Harvey Chet Krentzman Peter C. Read Julian Cohen Avram J. Goldberg George Krupp Richard A. Smith William F. Connell Thelma E. Goldberg R. Willis Leith, Jr. Ray Stata Trustees Emeriti Vernon R. Alden Nelson J. Darling, Jr. Mrs. George I. Kaplan Mrs. George Lee Sargent Philip K. Allen Archie C. Epps Albert L. Nickerson Sidney Stoneman Allen G. Barry Mrs. Harris Fahnestock Thomas D. Perry, Jr. John Hoyt Stookey Leo L. Beranek Mrs. John L. Grandin Irving W Rabb John L. Thorndike AbramT. Collier Other Officers of the Corporation John Ex Rodgers, Assistant Treasurer Daniel R.
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Maria Callas · Performance Annals 1934
MARIA CALLAS PERFORMANCE ANNALS AND DISCOGRAPHY INTRODUCTION These annals began in 1988 as a few notes scribbled to a computer in Boulder Colorado when the first pirates of the live performances appeared on compact disc. The inconsistency of performance dates and other details on those early CDs prompted me to do further research that began with John Ardoin’s The Callas Legacy. Later, yearning to know what had been performed between all those recorded performances, I borrowed the book containing Arthur Germond’s performance annals from the University of Colorado Music School Library, and have continued to work on the project to this day. Performance annals allow us to comprehend the scope of an artist’s career, and knowing the programme of all participants in a recital is important. I realize that presenting entire programmes from the student years in Athens seems excessive, but I feel it enhances our understanding of the environment where Maria Callas lived and studied in her youth. This chronology is a compilation of the research of many people. The work of a few has been almost heroic in scope: Arthur Germond was the first to publish detailed annals representing all cast changes; John Ardoin was perhaps the first to compile annals and to comprehensively analyze the recorded performances, indeed these annals began their life as a tabular version of Legacy; Poly´vios Marsán was the first to present programme information from the Greek school days and early career in Athens; Níkos Petsális-Diomídis has published the most comprehensive analysis of any singer’s formative years ever undertaken, indeed one-thousand pages covering a seven year period 1938-1945 with emphasis on early musical experience and training, as well as the politics and the climate of the times.
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In Review: 'The Gershwins' Porgy and Bess'
About Us Arts Style Culture Music Film What’s What LOL/OMG Partners FRIDAY, MARCH 28TH In Review: ‘The Gershwins’ Porgy GET THE GOSSIP! And Bess’ by Todd O'Dowd The Gershwin’s Porgy And Bess: The Broadway Musical might be a mouthful to say, but can easily summed up in three words; it’s a hit! Before I get into all of the details about my somewhat conflicted feelings about this production, (which is playing now till Sunday, March 30 at The Ordway in St. Paul). I’m going to cut to the chase: Get to The Ordway now and see this show! If this is your first time seeing this piece, you will be in great hands thanks to a lovely cast and a great staging. More to the point it’s a great introduction to one of the most canonical works in American Musical Theatre and American Opera. In fact I will go one step further; I hope young people see this production and are inspired by it to go into theater and/or opera. It’s that vital of a production. Okay, now that I’ve gotten the important part out of the way, I’ll highlight the big issue that a lot of people (including to a small degree, myself) have had with it. If you can accept the fact that this is an opera that has been adapted for the conventions of musical theater and for voices more at ease on a Broadway stage than an opera house, then you’re going to be just fine.
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The Flowering of Vocal Music in America New World Records 80467 BENJAMIN CARR JEREMIAH DENCKE ANTHONY PHILIP HEINRICH JOHANNES HERBST GEORGE K
The Flowering of Vocal Music in America New World Records 80467 BENJAMIN CARR JEREMIAH DENCKE ANTHONY PHILIP HEINRICH JOHANNES HERBST GEORGE K. JACKSON DAVID MORITZ MICHAEL GEORG GOTTFRIED MUELLER JOHANN FRIEDRICH PETER OLIVER SHAW The Moravians And Their Music by Edward A. Berlin In 1870 a Moravian historian, in recounting his ancestors' immigration from Germany to Pennsylvania's Lehigh Valley 130 years earlier, revealed with unexpected simplicity the essence of this unique community. He noted that, because of the arduous journey through miles of unbroken wilderness, they brought with them only the barest essentials for their new life, "...their goods, their mechanical tools, and such musical instruments as they were accustomed to play in Europe." It was not the mere love of music that distinguished the Moravians. Musical activity was common to many colonial settlements, and if actual performances were often indifferent, this would not detract from the sincerity of the effort or from its spiritual benefits. But the musical life in Moravian communities differed significantly from the practices elsewhere in the colonies; only the Moravians had the collective desire, determination, and skills necessary to preserve and continue the fully mature musical culture known in Europe. In most of the Protestant colonies, church music was restricted to simple, unaccompanied congregational hymns or primitive (if ingenious) approximations of European vocal polyphony; music education was sporadic and haphazard, left to itinerant singing masters; concert
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Fall 2016 Nonprofit
FALL 2016 NONPROFIT U.S. POSTAGE ROOSEVELT REVIEW PAID 430 S. Michigan Ave. ROOSEVELT Chicago, IL 60605-1394 UNIVERSITY review www.roosevelt.edu FALL 2016 We're diggin' 20 YEARS! ROOSEVELT CELEBRATES THE 20TH ANNIVERSARY OF ITS SCHAUMBURG CAMPUS » PAGE 6. American Dreams ROOSEVELT UNIVERSITY STUDENTS ATTEND A MAJOR CONFERENCE CONSIDERING THE AMERICAN DREAM TODAY. PAGE 16 WHO ARE WE? RU Making a Difference? Dennis and Janelle Mitzner are. The Mitzners have named Roosevelt University in their estate plans through a living trust. Both Dennis and Janelle are Roosevelt alumni. Dennis graduated with a Bachelor’s of Business Administration degree in 1971 and Janelle received a Bachelor’s in Public Administration in 1995. How will you Dennis came to Roosevelt in 1967 after serving in the Vietnam War. He was attracted to Roosevelt by its public image and invest in your small class size. “I spent my first year of college at the University of Illinois, but I felt like I was just another number,” he said, community? pointing out that Roosevelt professors cared about him and other students and kept him motivated. Roosevelt’s Fireside Circle recognizes alumni and friends Janelle Mitzner said that whenever she would feel overwhelmed who have made provisions by the stress of school, she would walk by the statue of Eleanor for Roosevelt University Roosevelt on the first floor of the Auditorium Building and it would give her renewed motivation. through a planned gift. For more information about the The Mitzners stay actively involved in the University and the Fireside Circle or how you community in which they live, Oak Forest, Ill.
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