Kathleen Nester

Total Page：16

File Type：pdf, Size：1020Kb

Kathleen Nester is Assistant Principal Flute/Solo Piccolo of the New Jersey Symphony Orchestra, a member of both the Stamford Symphony Orchestra in CT and the IRIS Chamber Orchestra in Memphis, TN. Kathleen freelances with many orchestras in the New York metropolitan area including The New York Philharmonic, New York City Opera, Orchestra of St. Luke’s, and the Mostly Mozart Festival. She has appeared as a concerto soloist and was featured on several PBS broadcasts specials, including The Music of Danny Elfman for Films of Tim Burton and Live from Lincoln Center At Home with Friends with violinist Joshua Bell. In demand in the field of commercial music as well as symphonic music, Ms. Nester has been solo flutist for several major Broadway theater productions, including the award-winning An American in Paris; Roundabout Theater’s She Loves Me (the first live-broadcast for Broadway HD); Sunset Boulevard with Glenn Close, Man of La Mancha with Brian Stokes Mitchell; Evita with Ricky Martin, among others. She has been featured on flute, piccolo, alto flute, and bass flute with many pop and jazz vocal artists, including Sting, Ute Lemper, Jane Monheit, Nathan Gunn, Juliette Greco, Howard McGillin and Bria Skonberg; and on major motion picture soundtracks for Julie and Julia, The Alamo, The Last Mimzy, Tower Heist, The Secret Life of Walter Mitty, Noelle, and Joker. Ms. Nester is a graduate of the Manhattan School of Music. She is a certified Suzuki Flute Instructor, a Coach of the Youth Orchestra of the New Jersey Symphony Orchestra, and a member of the adjunct flute faculty at New York University. She maintains a private teaching studio in New York City. Here is a link to a flute demonstration that she recently recorded for the New Jersey Symphony Orchestra after concerts were cancelled due to the Covid-19 pandemic: https://www.youtube.com/watch?v=RZQbUXbSpHs.

Copy Link

Recommended publications

CAMERON MACKINTOSH and the REALLY USEFUL THEATRE COMPANY, INC
........................................................................................................................................................................................................................................... CAMERON MACKINTOSH and THE REALLY USEFUL THEATRE COMPANY, INC. present THE STUDY GUIDE FOR ™ Music by ANDREW LLOYD WEBBER Lyrics by CHARLES HART Additional Lyrics by RICHARD STILGOE Book by RICHARD STILGOE and ANDREW LLOYD WEBBER Based on the novel ‘Le Fantôme de L’Opéra’ by Gaston Leroux Production Design by MARIA BJÖRNSON Lighting by ANDREW BRIDGE Sound by MARTIN LEVAN Musical Staging and Choreography by GILLIAN LYNNE Directed by HAROLD PRINCE ........................................................................................................................................................................................................................................... Study Guide by Peter Royston THE PHANTOM OF THE OPERA LYRICS, MASK LOGO & TITLE TREATMENT © 1986 RUG PLC About the PHANTOM of the Opera ............................................................................................................................... ........................................................................ elcome to a strange new world! Andrew Lloyd Webber’s darkly W romantic musical about a mysterious “Opera Ghost” who inspires a young singer has become a legend, drawing standing-room audiences throughout the world. The Phantom of the Opera is a perfect way to introduce young people to the pleasures and
[Show full text]
Corporate Theater: the Revolution of the Species Susan Russell
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2003 Corporate Theater: The Revolution of the Species Susan Russell Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF THEATRE CORPORATE THEATER: THE REVOLUTION OF THE SPECIES By SUSAN RUSSELL A Thesis submitted to the School of Theatre In partial fulfillment of the Requirements for the degree of Master of Arts Degree Awarded: Fall Semester, 2003 The members of the committee approve the thesis of Susan Russell defended on October 30, 2003. Mary Karen Dahl Professor Directing Thesis Carrie Sandahl Committee Member Laura Edmondson Committee Member The Office of Graduate Studies has verified and approved the above named committee members ii My Thesis is dedicated to all my artist friends who dreamed of Broadway. I carried you in my heart every night. My thesis is also dedicated to all my artist friends in Phantom of the Opera. You were never invisible to me. Most of all, my Thesis is dedicated to my Wife, Elizabeth Nackley, whose love awakened me to the miracles, and whose artistry shows me the possibilities. iii TABLE OF CONTENTS Abstract ……………………………………………………………………………............ v INTRODUCTION ..…………………………………………………………………………….. 1 1. CHAPTER ONE: ARTISTIC CAPITAL …………………………………………………… 22 2. CHAPTER TWO: THE ECONOMY OF REPITITION ……………………………………. 43 3. CHAPTER THREE: PROFITS FROM PAIN …………………….………………………… 62 CONCLUSION ….………………..……………………………………………………………. 83 AFTER THOUGHT ……………………………………………………………………………. 89 BIBLIOGRAPHY ……………………………...…………………………………………….… 95 BIOGRAPHICAL SKETCH ………………………...………………………………………...100 iv ABSTRACT My thesis explores the artistic effects of two different kinds of financial investment on Broadway. I define and then trace the rise of what I term the “corporate producer” over the past twenty years, then document the fall of the independent creative producer, which had been the traditional means of producing shows on Broadway prior to the 1980s.
[Show full text]
ARSC Journal
BROADWAY MUSICALS: RECENT PRESERVATIONS OF MUSICALS ON THE CONCERT STAGE AND IN THE STUDIO By James Fisher In 1985, RCA record producer Thomas Z. Shepard assembled an extraordinary cast of Broadway luminaries for two special performances of Stephen Sondheim's 1971 musical, Follies, which previously was represented in recordings by only an original cast album which eliminated, or significantly abbreviated, much of the score. Shepard's recording (RCA Red Seal, RCD2-7128) features virtually the entire score of the show, with snatches of dialogue, as recorded in concert before two enthusiastic audiences at Lincoln Center. In 1988, conductor John McGlinn's restored, complete (including a lengthy appendix of songs added to later versions of the show) studio recording (EMI, CDS 7 49108 2) of Jerome Kern's and Oscar Hammerstein's classic 1927 Broadway musical play, Show Boat, was released to widespread critical acclaim. The much recorded Show Boat had never before been captured in its entirety, and previous versions featured so many interpolations, omissions, or "updated" orchestrations that the simple beauty of Kern's score was often obscured. The success of these two otherwise unrelated recordings contributed to a revival of a nearly lost art-the studio recording of Broadway musicals with a cast and orchestra assembled not for any particular production, but for the sole purpose of preserving the score. The unexpected and extraordinary commercial success of the Follies and Show Boat recordings renewed interest in studio revivals of musicals leading to a flood of revisits to earlier works of the musical stage, while inspiring experimentation with the ways in which these recordings may present most successfully the score.
[Show full text]
"Murder for Two" Playbill
GEORGE STREET PLAYHOUSE Board of Trustees Chairman: James N. Heston* President: Dr. Penelope Lattimer* First Vice President: Lucy Hughes* Second Vice President: Janice Stolar* Treasurer: David Fasanella* Secretary: Sharon Karmazin* Ronald Bleich David Saint* David Capodanno Jocelyn Schwartzman Kenneth M. Fisher Lora Tremayne William R. Hagaman, Jr. Stephen M. Vajtay Norman Politziner Alan W. Voorhees Kelly Ryman* *Denotes Members of the Executive Committee Trustees Emeritus Robert L. Bramson Cody P. Eckert Clarence E. Lockett Al D’Augusta Peter Goldberg Anthony L. Marchetta George Wolansky, Jr. Honorary Board of Trustees Thomas H. Kean Eric Krebs Honorary Memoriam Maurice Aaron∆ Arthur Laurents∆ Dr. Edward Bloustein∆ Richard Sellars∆ Dora Center∆∆ Barbara Voorhees∆∆ Douglas Fairbanks, Jr.∆ Edward K. Zuckerman∆ Milton Goldman∆ Adelaide M. Zagoren John Hila ∆∆ – Denotes Trustee Emeritus ∆ – Denotes Honorary Trustee From the Resident Artistic Director Hello! My name is Michael Mastro, and I’m very excited to begin my time here with the George Street family as Resident Artistic Director of the Playhouse. This year, George Street’s 42nd, I’ll be working alongside Artistic Director David Saint (who is busy readying George Street’s production of Clever Little Michael Mastro Lies for an off-Broadway run starring the Resident Artistic Director inimitable Marlo Thomas…) and Managing Director Kelly Ryman to bring you another season of the great plays and musicals that George Street is known for. I’ve been blessed to work at the Playhouse numerous times over the last ten years. Most of the shows I’ve done here were comedies, and I truly loved working on them. The sound of an audience’s laughter is more than music to my ears…it’s addictive really, whether I’m acting in a comedy or directing one.
[Show full text]
Discography and Filmography
DISCOGRAPHY AND FILMOGRAPHY Selected Original, Revival, Film, and Studio Casts Anything Goes Composer and original cast (1934, 1935, and 1947): Cole Porter’s “Anything Goes” in New York and London with the composer and members of the original 1934 cast. Ethel Merman, Jack Whiting, The Foursome, Jeanne Aubert, Sidney Howard, Porter (vocals and piano). Smithsonian American Musical The- ater Series DPM1–0284 R 007. Contents: “I Get a Kick Out of You,” “You’re the Top,” “Blow, Gabriel, Blow” (Merman), “All Through the Night” (Whiting), “Blow, Gabriel, Blow” (Aubert), “You’re the Top” (Whiting and Aubert), “Sailor’s Chanty,” “Gypsy in Me” (The Foursome), “You’re the Top,” “ Anything Goes,” “Be Like the Bluebird” (Porter), and “Be Like the Bluebird” (Howard). Porter’s rendition of “You’re the Top” (October 26, 1934) was reissued on the compact disc Showstoppers: Historic Victor Record- ings BMG 9590–2-R.* Revival cast (1962): Hal Linden, Eileen Rodgers, Kenneth Mars, Ted Simons (conductor)†. Epic Footlight Series FLS 15100 (S); reissued on Time-Life * By the late 1980s all shows were issued in compact disc (the numbers given in this Discogra- phy) or tape formats. Many older long-playing cast recordings have also been reissued on CDs in recent years. † Throughout, no attempt is made to honor the distinctions between conductor, musical direc- tor, or musical supervisor. The term “conductor” is used exclusively. W11 Discography and Filmography P 15602 (S), set STL AM02 with Kiss Me, Kate and Can-Can (set title, Cole Porter). Missing: “Where Are the Men?” Revival cast (1987): Patti LuPone, Howard McGillin, Bill McCutcheon, Edward Strauss (conductor).
[Show full text]
Golden Age” Narrative
UNIVERSITY OF CALIFORNIA Los Angeles Reconsidering the “Golden Age” Narrative for the American Musical in the New Millennium A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Musicology by Arreanna Christina Rostosky 2017 © Copyright by Arreanna Christina Rostosky 2017 ABSTRACT OF THE DISSERTATION Reconsidering the “Golden Age” Narrative for the American Musical in the New Millennium by Arreanna Christina Rostosky Doctor of Philosophy in Musicology University of California, Los Angeles, 2017 Professor Raymond L. Knapp, Chair This dissertation proposes that we consider Broadway’s history and genre development to be periodic rather than a singular trajectory of growth and inevitable decline. Situating the structural, musical, and aesthetic changes on Broadway within a periodic model, we begin to see phases of aesthetic cohesion and fragmentation emerge within a recurring pattern taking place every fifteen to twenty years. In reframing the evolution of Broadway as a model of continued regeneration, rather than a model of inevitable decay, we can see how various stylistic and structural elements from previous generations of musicals rematerialize in contemporary shows. More importantly, by removing the “Golden Age” as a fixed point of comparison in our analysis, we can come to understand the significance of shows often overlooked in more traditional analyses. ii Each chapter of this dissertation after the introductory chapter supports this view by offering a case study of a significant trend found on twenty-first century Broadway between 2000-2015 and situating that trend within the proposed periodic model. Chapter Two offers a close analysis of the scenographic practices in the output of the Disney Theatrical Group after 2000.
[Show full text]
Minskoff Theatre
® MINSKOFF THEATRE 2018 © The Al Hirschfeld Foundation Celebrating Jimmy Nederlander James M. Nederlander or “Jimmy,” Chairman of The Nederlander Organization, was the visionary theatrical impresario who built one of the largest private live entertainment companies in the world known for producing and presenting world-class entertainment since 1912. Jimmy started working in the theatre at age 7 sweeping floors for his father, David Tobias (D.T.) Nederlander, in Detroit, Michigan. During a career that spanned over 70 years, Jimmy amassed a network of premier legitimate theatres including nine on Broadway: the Brooks Atkinson, Gershwin, Lunt- Fontanne, Marquis, Minskoff, Nederlander, Neil Simon, Richard Rodgers, and the world famous Palace; in Chicago: Auditorium and Private Bank Theaters, Broadway Playhouse, Cadillac Palace, and Oriental Theaters; in Los Angeles: The Pantages; and in London: the Adelphi, Aldwych, and Dominion. He produced over one hundred acclaimed Broadway musicals and plays including Annie, Applause, La Cage aux Folles, Les Liaisions Dangereuses, Me and My Girl, Nine, Noises Off, Peter Pan, Sweet Charity, The Life and Adventures of Nicholas Nickelby, The Will Rogers Follies, Woman of the Year, and many more. Jimmy was credited with developing the outdoor amphitheatre concept as the developer of premier venues including the New Jersey Garden State Arts Center, Pine Knob Music Theatre, the Merriweather Post Pavilion, the Pacific Amphitheatre, and as the decades-long operator of the Greek Theatre where he presented headline artists including Tony Bennett, Judy Garland, Lena Horne, Liza Minnelli, and Frank Sinatra, among many others. “Generous,” “loyal” and “trusted” are just a few of the accolades his friends use to describe him.
[Show full text]
American Theatre Wing Centennial Gala
Press Contact: Rick Miramontez / Michael Jorgensen [email protected] / [email protected] (212) 695-7400 PERFORMERS ANNOUNCED FOR THE AMERICAN THEATRE WING CENTENNIAL GALA BRIAN STOKES MITCHELL, NORM LEWIS, GAVIN CREEL, HEATHER HEADLEY, LAURA OSNES, AND MORE SET TO PERFORM MONDAY, SEPTEMBER 18, 2017 CIRPRIANI 42ND STREET New York, NY (September 11, 2017) – The American Theatre Wing is thrilled to announce that Natalie Cortez, Gavin Creel, Santino Fontana, Heather Headley, Norm Lewis, Rebecca Luker, Beth Malone, Howard McGillin, Brian Stokes Mitchell, Laura Osnes, and Taylor Trensch will perform at its annual Gala on Monday, September 18, 2017 at Cipriani 42nd Street (110 East 42nd Street). The Centennial Gala will celebrate the power of musical theater in American life over the past 100 years. “I am thrilled, honored, and humbled to have this amazing group of performers on board to help the Wing celebrate its Centennial. It will be an evening to remember, and a wonderful opportunity for the theatre community to unite and use the power of theatre to send a message of hope into the world,” said Heather Hitchens, President and CEO of the Wing. Honorary Hosts include David Burtka & Neil Patrick Harris, Julie Chen & Leslie Moonves, Lea DeLaria, Whoopi Goldberg, and LaTanya Richardson Jackson & Samuel L. Jackson. CeCe Black, Nicole Eisenberg, Anki Leeds, Marva A. Smalls, and Nadine Wong serve as Gala Chairs. The evening includes cocktails, dinner, and performances. For tickets and more information, please contact Jeremiah Hernandez by calling 212.765.0606 or emailing [email protected]. The funds raised at the Gala will provide vital support for the Wing’s programs, which champion theatrical excellence at every stage and ensure that American Theatre has a dynamic and diverse future.
[Show full text]
She Loves Me Study Guide
Civil War Study Guide.qxd 9/13/01 10:31 AM Page 3 MUSIC THEATRE INTERNATIONAL MUSIC THEATRE INTERNATIONAL is one of the world’s major dramatic licensing agencies, specializing in Broadway, Off-Broadway and West End musicals. Since its founding in 1952, MTI has been responsible for supplying scripts and musical materials to theatres worldwide and for protecting the rights and legacy of the authors whom it represents. It has been a driving force in cultivating new work and in extending the production life of some of the classics: Guys and Dolls, West Side Story, Fiddler On The Roof, Les Misérables, Annie, Of Thee I Sing, Ain’t Misbehavin’, Damn Yankees, The Music Man, Evita, and the complete musical theatre works of composer/lyricist Stephen Sondheim, among others. Apart from the major Broadway and Off- Broadway shows, MTI is proud to represent youth shows, revues and musicals which began life in regional theatres and have since become worthy additions to the musical theatre canon. MTI shows have been performed by 30,000 amateur and professional theatrical organizations throughout the U.S. and Canada, and in over 60 countries around the world. Whether it’s at a high school in Kansas, by an all-female troupe in Japan or the first production of West Side Story ever staged in Estonia, productions of MTI musicals involve over 10 million people each year. Although we value all our clients, the twelve thousand high schools who perform our shows are of particular importance, for it is at these schools that music and drama educators work to keep theatre alive in their community.
[Show full text]
Minskoff Theatre
® MINSKOFF THEATRE 2018 © The Al Hirschfeld Foundation Celebrating Jimmy Nederlander James M. Nederlander or “Jimmy,” Chairman of The Nederlander Organization, was the visionary theatrical impresario who built one of the largest private live entertainment companies in the world known for producing and presenting world-class entertainment since 1912. Jimmy started working in the theatre at age 7 sweeping ﬂoors for his father, David Tobias (D.T.) Nederlander, in Detroit, Michigan. During a career that spanned over 70 years, Jimmy amassed a network of premier legitimate theatres including nine on Broadway: the Brooks Atkinson, Gershwin, Lunt- Fontanne, Marquis, Minskoff, Nederlander, Neil Simon, Richard Rodgers, and the world famous Palace; in Chicago: Auditorium and Private Bank Theaters, Broadway Playhouse, Cadillac Palace, and Oriental Theaters; in Los Angeles: The Pantages; and in London: the Adelphi, Aldwych, and Dominion. He produced over one hundred acclaimed Broadway musicals and plays including Annie, Applause, La Cage aux Folles, Les Liaisions Dangereuses, Me and My Girl, Nine, Noises Off, Peter Pan, Sweet Charity, The Life and Adventures of Nicholas Nickelby, The Will Rogers Follies, Woman of the Year, and many more. Jimmy was credited with developing the outdoor amphitheatre concept as the developer of premier venues including the New Jersey Garden State Arts Center, Pine Knob Music Theatre, the Merriweather Post Pavilion, the Paciﬁc Amphitheatre, and as the decades-long operator of the Greek Theatre where he presented headline artists including Tony Bennett, Judy Garland, Lena Horne, Liza Minnelli, and Frank Sinatra, among many others. “Generous,” “loyal” and “trusted” are just a few of the accolades his friends use to describe him.
[Show full text]
Broadway League
THE BROADWAY LEAGUE ANNUAL REPORT 2015–2016 Welcome 2 Audience Development and Engagement 4 Broadway Community 6 Communications 7 Conferences and Forums 8 Digital 9 Diversity and Inclusion Initiatives 10 Employee Benefits 11 Government Relations 12 Labor Relations 13 League Awards 14 Marketing and Business Development 15 Membership and Professional Development 17 National High School Musical Theatre Awards™ 19 Research 20 ® Tony Awards 21 Leadership 23 Staff 24 The Broadway League Charlotte St. Martin THIS ANNUAL REPORT highlights the events and 729 Seventh Avenue, 5th Floor PRESIDENT activities of the League that took place between New York, NY 10019 Elisa Shevitz September 1, 2015 and August 31, 2016, which (212) 764–1122 DIRECTOR OF COMMUNICATIONS coincides with the League’s ﬁscal year. It also includes Ben Pesner programs that were developed during this period and BroadwayLeague.com EDITOR/PRODUCTION implemented in the autumn of 2016. ANNUAL REPORT 2015–2016 1 FROM THE CHAIRMAN INSPIRING STORIES AND AN ENGAGED MEMBERSHIP My second year as Chairman has been a busy and exciting one. We’re addressing many governmental issues on behalf of our members at the local, state and federal levels. From state and federal tax incentives, working on the anti-”bot” issue with Senator Schumer, trips to Albany and Washington for Advocacy Days, and efforts to solve congestion in Times Square, we are working together to make the industry better. In conjunction with the Empire State Development Fund and NYC & Company, we are bringing more audiences to our theatres in New York City! Attendance is holding strong after our best- attended year in history.
[Show full text]
Festival Program
TABLE OF CONTENTS WELCOME... Welcome to the National Alliance for Festival Schedule back Musical Theatre's Annual Festival of New Musicals. Our 15th Festival is an exciting, cover eclectic selection of new works by both seasoned professionals and emerging writ- About NAMT p. 1 ers, featuring dozens of gifted singers, actors and musicians. We extend our grati- tude to all of them, as well as the mem- About the Festival p. 2 bers, staff, sponsors and funders who make all of this possible. Festival Show Information NAMT and its 133 members actively promote the creation, development and AMBITION BIRD p. 3 production of new musical theatre. Our 14 previous Festivals have showcased 131 BALLAD OF p. 5 new musicals which have collectively gone LITTLE PINKS on to hundreds of subsequent productions worldwide. These statistics support our HAROLD AND p. 7 belief that there is a vibrant future for the MAUDE art form we cherish and that NAMT, its members, and our audiences are a vital part of that future. PRINCESSES p. 9 Anniversaries encourage us to look back at SARAH, PLAIN p. 11 where we've been, take stock of where we AND TALL are, and look forward to new adventures and challenges. I for one am confident that TWO QUEENS, p. 13 the best is yet to come. Thank you for ONE CASTLE being part of our celebration! WAS p. 15 SWING SHIFT p. 17 Anniversary Section p. 20 Sue Frost, President of the NAMT Board of Board, Committee, p. 35 Directors Staff, and Special Associate Producer of Goodspeed Musicals Thanks NAMT Member List p.
[Show full text]