School of Nursing Simon Business School Warner School of Education

Total Page:16

File Type:pdf, Size:1020Kb

School of Nursing Simon Business School Warner School of Education CLASS NOTES payoff for human health. Jay will use based in Stamford, Connecticut. the award to support his study of a new type of DNA and its role in ocular 2010 Marcus Cano (MBA) has been and neurological disorders. An expert named market director of program on age-related macular degenera- execution at the Sierra Providence tion, he’s a professor and vice chair Health Network in El Paso, Texas. of the Department of Ophthalmology and Visual Sciences at the University of Kentucky. Warner School of Education 2004 Roger Di Pietro (Pdc), a Rochester-area psychotherapist, has 1976 Christine Thurber Ervin published a book, The Anxiety Code: (MA) (see ’74 Nursing). Deciphering the Purposes of Neurotic Anxiety (Lulu). 2011 Ashley Smeltzer (MS) and Melissa Kraft ’13 (MS) were mar- 2005 Mai Le (MD) has been ried in July in Wilmington, Delaware. appointed chief medical officer at Melissa writes: “Each of us was pre- OncoSec Medical, a San Diego–based viously an assistant in the athlet- company that develops DNA-based ic department, and are now head intratumoral cancer immunotherapies. coaches in our respective sports (Ashley in field hockey and I in wom- en’s basketball) at Shenandoah School of Nursing University in Winchester, Virginia. 1974 Christine Thurber Ervin 2013 David Hamilton (EdD) (see 2008E Britton ’76W (MA) writes that she’s moved to ’97 Eastman). Melissa Kraft (MS) Sarasota, Florida, where she contin- (see ’11). ues to work part-time in a free care clinic, and enjoys tennis and traveling with her husband. In Memoriam ALUMNI 1996 Christine Tebaldi ’01 (MS) Lillie Kreisberg ’32N, (see ’98 College). October 2014 Helen Holly Stiefel ’35, 2001 Alexandra Boyer Reidmiller June 2013 (see ’99 College). Janet Burt Russell ’37, September 2014 Herbert M. Brill ’39E, Simon October 2014 Business School Lorran Latham ’39E, October 2014 1983 Scott Pomerantz (MBA) Irwin I. Eisenberg ’40E, (see ’81 College). July 2014 Cathrine Zaenglein Weisenbeck ’41, 1989 Philip Yawman (MBA) has September 2014 been named senior vice president Donald N. Groff ’4 2 , of business development at Finger October 2014 Lakes Technologies Group. Previously, William B. Mason ’42, ’50M (MD), he was an executive at Frontier October 2014 Communications. Winifred Freisem Pheteplace ’42N, October 2014 1994 Art Smith (MBA) has been Francis Briggs Tenny ’4 2 , named MUFG Union Bank’s chief com- April 2014 2011W Kraft and Smeltzer munications and marketing officer for Esther Conwell ’44 (MS), the Americas. Art joined Union Bank ’11 (Honorary) Chambliss Distinguished Professor of 1997 Thomas Schneider (D) in 2010 from Wachovia. Henry W. Jann ’4 4 , Medicine at the University of North (see ’90 College). October 2014 Carolina, Chapel Hill. 2002 Tamika Nurse (MBA) has Mary Donowick Olin ’44N, 1998 Jayakrishna (Jay) Ambati written a guidebook for young October 2014 1976 Louis Siegel (MD), ’79M (Res) (Res) is one of 10 recipients of the women professionals, The It Girl Sarah Bergh Brooks ’46E (MA), has published his first work of fic- 2014 National Institutes of Health Rules: Get Hired and Stay Hired— October 2014 tion, Exam Room Confidential: The Director’s Pioneer Award. The award Tips on Navigating Your Corporate Lucia Crocheron Greer ’46E, Wellborne Files (self-published), a of $3.76 million over five years is Career (It Girl Industries). Sandra September 2014 medical mystery novel that serves as granted to scientists proposing Rowland (MBA) has been named Adon M. Foster ’47E, ’48E (MM), a critique of the modern American exceptionally imaginative approach- chief financial officer of Harman October 2014 medical profession and health care es to major challenges in biomedical International Industries, an audio and Max Landsman ’4 7, system. research, which could result in a high entertainment equipment company September 2014 January–February 2015 ROCHESTER REVIEW 59 RochRev_Jan2015.indb 59 12/11/14 12:24 PM CLASS NOTES Jeanne Tarr Moreland ’4 7 E , TRIBUTE July 2013 Leo F. Smith ’4 7, September 2014 Rita Shane: ‘A Unique Star Among Us’ Clawson Y. Cannon ’48E, A little bit of sunshine left Rochester when my ing but eminently practical diva found it worth October 2014 Geraldine Denering Gamburd ’4 8 , dear friend and colleague Rita Shane, professor her while to rise at 5 a.m. on Tuesday mornings at September 2014 of voice at Eastman since 1989, died in October her home on the Upper West Side, deal with the Elaine Scott Sewell ’48N, after a brief and courageous battle with can- vagaries of the airlines and whatever the weath- October 2014 cer at the age of 78. Rita was a world-renowned er threw her way, and teach a nearly full load of Jo Anne Patton Steubing ’48E, opera singer of a rare vocal category (dramatic voice majors before heading back to New York on October 2014 coloratura soprano) and equally rare as an ar- Thursday afternoons to coach professional sing- Leslie A. Walker ’48M (MD), tistic colleague. A native of New York City, she ers on the weekend. I’ve known this about Rita November 2014 didn’t attend a music school but studied at Bar- since I joined Eastman’s Department of Voice Horace V. Apgar ’4 9 E , nard College under Beverly Peck Johnson, a bril- and Opera in 1995; another soulmate of even September 2014 liant vocal technician whom I knew later in my longer standing, Eisenhart Professor of Voice J. Carl Hornberger ’49M (MD), October 2014 own studies in piano accompa- Galway M. Kinnell ’49 (MA), nying at the Juilliard School. October 2014 Rita became a leading soprano George H. Matter ’4 9, at the Metropolitan Opera for August 2014 10 seasons after her 1973 debut Lillian Rubin Scott ’4 9 E , in what became her signature November 2013 role, the Queen of the Night in David I. Wells ’4 9, Mozart’s The Magic Flute. She July 2014 also sang at the Chicago Lyric, John V. Adkin ’50, San Francisco, New York City, October 2014 Richard W. Eckler ’50, and many other American op- October 2014 era companies, as well as in Dale C. Lindenmuth ’50, Milan, Vienna, Munich, and a April 2014 dozen other houses in Europe John T. Miller ’50E (MM), and South America. She per- October 2014 formed roles in Manon, Lucia di Donald A. Wormer ’50, Lammermoor, L’elisir d’amore, COLORATURA: Shane’s signature role was the notoriously difficult October 2014 Carmen, and La bohème, as well Queen of the Night in Mozart’s The Magic Flute. John A. Garnish ’51, as creating the title role of Miss October 2014 Havisham’s Fire by Eastman alumnus Dominick Carol Webber, said that “Rita’s extraordinary Helen Moresh Kennedy ’51, November 2014 Argento ’58E (PhD) for New York City Opera. voice, truly one of a kind, was matched by her Ralph W. Keyes ’51, Rita taught her students with a sunny disposi- warmth, generosity, and fierce loyalty.” Rita loved February 2013 tion and an ebullient smile that was not only figu- quality in all things—good singing, good scotch, Raymond H. Nagell ’51, ’52 (MS), rative, but a vital element of the vocal technique late night meals at Max or the Inn on Broadway, October 2014 that she cultivated with her devoted and success- which was her home away from home, and most- Harold Silver ’51, ful Eastman students. Many of them would move ly, the well-deserved admiration of her students November 2014 to New York City after completing their degrees, and colleagues. She was a unique star among us, Ralph F. Rauch ’52E (MM), where she generously helped them with their ca- dauntless, ageless, and unforgettable.r September 2014 reers whenever she could. One of the earliest of —Russell Miller Daniel Klein ’54 (PhD), these alums was tenor John McVeigh ’93E, who July 2014 Lois Laymon Lyddon ’54E, when not at Rita’s bedside during her illness this Miller is the chair of the Department of Voice September 2014 fall, was rehearsing himself at the Met for seven and Opera at Eastman. A memorial concert for William M. Mack ’55, productions this season. Rita Shane will take place in Eastman’s Kilbourn October 2014 Every week for 25 school years, this command- Hall at 2 p. m. Sunday, April 19. William L. Sutton ’55M (MS), March 2014 Phyllis Owens Weber ’55, Dale H. Goodfellow ’57N, James H. Taylor ’59, Sylvia Bonavilla Schwartzman November 2014 September 2014 October 2014 ’66N, October 2014 James L. Ferro ’56, Robert K. Johnson ’57M (MD), Peter B. Heinrich ’60, Peter J. Knapp ’67 (MA), November 2014 October 2014 October 2014 September 2014 Carrie Shaw Groppe ’56N, A. Donald Smith ’57 (PhD), Eloise Jarvis ’60E (PhD), Peter Dwyer ’68, September 2014 October 2014 October 2014 November 2014 Monica Laughlin ’56E (MM), Margaret Thurston Wrisley ’57, Paul J. Olscamp ’62 (PhD), Douglas I. Quinney ’68, October 2014 October 2014 October 2014 September 2014 Ruth Anne Williams Parker ’56, John E. Kampf ’58, David J. Statt ’63, ’65 (MS), Marlin D. Schutte ’68 (MS), ’57N, October 2014 October 2014 November 2014 October 2014 Marie Dephillip Vella ’56E, Edwin L. Alderman ’59, Sandra Sue Quick Kuehn ’65E (MM), Tansukh G. Dorawala ’69 (PhD), October 2014 October 2014 October 2014 October 2014 60 ROCHESTER REVIEW January–February 2015 TOMAS FLINT RochRev_Jan2015.indb 60 12/11/14 12:24 PM CLASS NOTES TRIBUTE Esther Conwell ’44 (MS): ‘Lived and Breathed Science’ Esther Conwell ’44 (MS) first came to the University in 1942 to pursue a PhD in physics, immediately after graduating from Brooklyn College that same year. It was at Rochester that Esther, working with Pro- fessor Victor Weisskopf, made one of her most important scientific contributions, one that helped her to earn the National Medal of Science in 2010.
Recommended publications
  • Eastman School of Music, Thrill Every Time I Enter Lowry Hall (For- Enterprise of Studying, Creating, and Loving 26 Gibbs Street, Merly the Main Hall)
    EASTMAN NOTESFALL 2015 @ EASTMAN Eastman Weekend is now a part of the University of Rochester’s annual, campus-wide Meliora Weekend celebration! Many of the signature Eastman Weekend programs will continue to be a part of this new tradition, including a Friday evening headlining performance in Kodak Hall and our gala dinner preceding the Philharmonia performance on Saturday night. Be sure to join us on Gibbs Street for concerts and lectures, as well as tours of new performance venues, the Sibley Music Library and the impressive Craighead-Saunders organ. We hope you will take advantage of the rest of the extensive Meliora Weekend programming too. This year’s Meliora Weekend @ Eastman festivities will include: BRASS CAVALCADE Eastman’s brass ensembles honor composer Eric Ewazen (BM ’76) PRESIDENTIAL SYMPOSIUM: THE CRISIS IN K-12 EDUCATION Discussion with President Joel Seligman and a panel of educational experts AN EVENING WITH KEYNOTE ADDRESS EASTMAN PHILHARMONIA KRISTIN CHENOWETH BY WALTER ISAACSON AND EASTMAN SCHOOL The Emmy and Tony President and CEO of SYMPHONY ORCHESTRA Award-winning singer the Aspen Institute and Music of Smetana, Nicolas Bacri, and actress in concert author of Steve Jobs and Brahms The Class of 1965 celebrates its 50th Reunion. A highlight will be the opening celebration on Friday, featuring a showcase of student performances in Lowry Hall modeled after Eastman’s longstanding tradition of the annual Holiday Sing. A special medallion ceremony will honor the 50th class to commemorate this milestone. The sisters of Sigma Alpha Iota celebrate 90 years at Eastman with a song and ritual get-together, musicale and special recognition at the Gala Dinner.
    [Show full text]
  • EASTMAN NOTES JUNE 2004 Draft: Final Date: 6/15/2004 INSIDE
    NOTES JUNE 2004 A MAGAZINE FOR ALUMNI OF THE EASTMAN SCHOOL OF MUSIC FROM THE EDITOR The right “stu≠” Dear Eastman Alumni: We like Notes’ new look, and it seems you do too. Response has been unani- mously favorable; perhaps we should consider a Steve Boerner–David Cowles NOTES presidential ticket for 2008. I’d vote for them; these two artists made “Notes Volume 22, Number 2 nouveau” a pleasure, and I’m glad the pleasure was conveyed in the magazine June 2004 itself. I write the stuff, but they (and our photographers) make it look good! We also had a tremendous response to our “Eastman Alumni on CD” feature; Editor see pages 33¬34. And enough of you commented on different editorial aspects of David Raymond Notes (not always favorably) that we have a “Letters to the Editor” section, which Assistant editor may be a first for us. Christina Casey This issue of Notes is admittedly filled with history, but Susan Conkling’s re- Contributing writers minder of the great women who shaped both American music and Eastman, and Martial Bednar Amy Blum Paul Burgett’s reminder of four black composers who Christine Corrado played an important part in Eastman history, are stories Contributing photographers worth telling. As is the story of the success of Howard Kurt Brownell Hanson’s Merry Mount at the Met in 1934—a remarkable Gelfand-Piper Photography event, when you think about it. I should add a special Bob Klein Photography word of thanks here to David Peter Coppen, the Sibley Carlos Ortiz Don Ver Ploeg/VP Communications Library Archivist, who is always helpful with providing Amy Vetter historical photographs and other materials for Notes, but Photography coordinator outdid himself for these three articles.
    [Show full text]
  • Regular Vocal Coaches' Bios for Fall 2020
    VOCAL COACHING REGULAR COACHES’ BIOGRAPHIES SPRING 2021 Pianist NOBUKO AMEMIYA has built a reputation as a dynamic and versatile collaborator; her playing is described as “soaring with a thrilling panache, and then with great warmth and suppleness.” (Valley News, VT) Equally committed to opera, artsongs and instrumental chamber music, she traveled three continents to give recitals and concerts with numerous renowned conductors and soloists such as Seiji Ozawa, James Conlon, Brian Priestman, James Dunham, Colin Carr, Rober Spano, and Lucy Shelton. An enthusiastic advocate of new music, Ms. Amemiya has worked with today’s leading composers, including John Harbison, George Crumb, Bright Sheng, Oliver Knussen and George Benjamin. Her music festival appearances include Música da Figueira da Foz in Portugal, Britten- Pears Institute at Aldeburgh Music Festival, Festival de Musique Lausanne in Switzerland, Aspen Music Festival, and Tanglewood Music Center where she was awarded Tanglewood Hooton Prize, acknowledging the “extraordinary commitment of talent and energy.” Prizes and awards include “Vittorio Gui” in Florence, Italy, the Munich International Music Competition, Manhattan School of Music President’s Award and Aldeburgh Music Festival Grant. Also active as a coach and educator, she worked for AIMS in Graz, Opera North, Aspen Music School, IIVA in Italy, Lotte Lehmann Akademie, New England Conservatory and Palazzo Ricci Akademie für Musik in Montepulciano. Ms. Amemiya currently works for the Manhattan School of Music, Prelude to Performances by Martina Arroyo Foundation, Lyric Opera Studio Weimar and Berlin Opera Academy in Germany. Accompanist/vocal coach, KARINA AZATYAN, extensively collaborates with leading figures of vocal art in United States, Europe and Israel.
    [Show full text]
  • Casts Suor Angelica Gianni Schicchi
    Casts February 4, 2011 February 5, 2011 TO OUR PATRONS: Curtain time for IU Opera Theater is promptly at 8 p.m., by which time all opera goers should be in their seats. Latecomers will be seated Suor Angelica only on the third terrace or at the discretion of the management. Thank you for your cooperation. Suor Angelica ................. Shelley Ploss Lenora Green La zia principessa ............... Ashley Stone Laura Boone The operas will conclude at approximately 10:15 p.m. La badessa .................... Lydia Dahling Nicole Shorts La suora zelatrice ............... Sarah E. Martin Yana Weinstein No Cameras, Flash Equipment, or Audio Recorders La maestra delle novizie .......... Laura Denney Jennifer Jones Suor Genovieffa ................ Katelyn Lee Katherine Weber are allowed in the auditorium Suor Osmina .................. Jessica Lewis Yuriria Rodriguez of the Musical Arts Center. Suor Dolcina .................. Emily Blair Suna Avci La suora infermiera ............. Laura Waters Krista Laskowski La cercatrice (prima) ............ Soo Hyun Oh Arwen Myers La cercatrice (seconda) . Lisa Runion Mary Cloud La novizie (prima) .............. Amanda Kasem Ji-hyun Kim La novizie (seconda) ............ Rainelle Krause Loralee Culbert La conversa (prima) ............. Jenny Ji-Sun Kim Jennylynn Vidas La conversa (seconda) ........... Sarah Ballman Amber McKoy Gianni Schicchi Gianni Schicchi, age 50 .......... Scott Hogsed Marcelo Ferreira Lauretta, Gianni Schicchi’s daughter, age 21 ............ Shannon Love Caryn Kerstetter Zita, called La Vecchia, cousin of Buoso, age 60 ...... Rachel Wood Sarah Stone Rinuccio, nephew of Zita, age 24 .. Nicholas Fitzer Marco Stefani Gherardo, nephew of Buoso, age 40 . William Lim David Johnson Nella, Gherardo’s wife, age34 ..... Sarah Ann Radke Hannah Stephens All I needed was Gherardino, Gherardo’s son, age 7 .
    [Show full text]
  • Singing up a Stylish Storm" and by the Sarasota Herald Tribune As "One of the Best Voices I Have Heard in a Very Long Time."
    JASON FERRANTE American tenor and voice teacher JASON FERRANTE has been praised by Opera News for "singing up a stylish storm" and by the Sarasota Herald Tribune as "one of the best voices I have heard in a very long time." With two decades of experience on the operatic stage in over 80 different roles and on the concert stage as tenor soloist in masterpieces, Ferrante maintains an acclaimed career as both a tenor and a sought-after voice teacher, having taught singers who appear on the greatest stages in the world as soloists, recording artists, and winners in major competitions. He leads the classical voice discipline for YoungArts and is currently on the voice faculty of several American young artist training programs. In 2020 during the closure of theaters, Ferrante regularly offers singing lessons online. Ferrante's most recent performances include a debut with the New World Symphony as the tenor soloist in Nico Muhly's Keep in Touch conducted by the composer, Beppe in Pagliacci with Opera Omaha, Bardolfo in Falstaff with Intermountain Opera, a debut with Nashville Opera as Little Bat in Susannah, a return to the Key Chorale as the tenor soloist in Elijah, his first performances as Remendado in Carmen with the Bar Harbor Music Festival and Little Victor in Kevin Puts and Mark Campbell's Elizabeth Cree, a role he created for Opera Philadelphia and reprised with Chicago Opera Theater. Upcoming Engagements include Little Bat in Susannah at Annapolis Opera (CANCELLED), Beadle Bamford in a new production of Sweeney Todd with Opera Omaha and a debut with the Palm Beach Symphony as tenor soloist in Mozart's Requiem conducted by Gerard Schwarz.
    [Show full text]
  • Regular Vocal Coaches' Bios for Spring 2020
    VOCAL COACHING REGULAR COACHES’ BIOGRAPHIES — SPRING 2020 Pianist NOBUKO AMEMIYA has built a reputation as a dynamic and versatile collaborator; her playing is described as “soaring with a thrilling panache, and then with great warmth and suppleness.” (Valley News, VT) Equally committed to opera, artsongs and instrumental chamber music, she traveled three continents to give recitals and concerts with numerous renowned conductors and soloists such as Seiji Ozawa, James Conlon, Brian Priestman, James Dunham, Colin Carr, Rober Spano, and Lucy Shelton. An enthusiastic advocate of new music, Ms. Amemiya has worked with today’s leading composers, including John Harbison, George Crumb, Bright Sheng, Oliver Knussen and George Benjamin. Her music festival appearances include Música da Figueira da Foz in Portugal, Britten-Pears Institute at Aldeburgh Music Festival, Festival de Musique Lausanne in Switzerland, Aspen Music Festival, and Tanglewood Music Center where she was awarded Tanglewood Hooton Prize, acknowledging the “extraordinary commitment of talent and energy.” Prizes and awards include “Vittorio Gui” in Florence, Italy, the Munich International Music Competition, Manhattan School of Music President’s Award and Aldeburgh Music Festival Grant. Also active as a coach and educator, she worked for AIMS in Graz, Opera North, Aspen Music School, IIVA in Italy, Lotte Lehmann Akademie, New England Conservatory and Palazzo Ricci Akademie für Musik in Montepulciano. Ms. Amemiya currently works for the Manhattan School of Music, Prelude to Performances by Martina Arroyo Foundation, Lyric Opera Studio Weimar and Berlin Opera Academy in Germany. Accompanist/vocal coach, KARINA AZATYAN, extensively collaborates with leading figures of vocal art in United States, Europe and Israel.
    [Show full text]
  • Cendrillon Music by Jules Massenet Text by Henri Cain (After Perrault) Supertitle Translation by Caren France and Chuck Hudson
    Five Hundred Fifty-Fifth Program of the 2008-09 Season ____________________ Indiana University Opera Theater presents as its 403rd production Cendrillon Music by Jules Massenet Text by Henri Cain (after Perrault) Supertitle translation by Caren France and Chuck Hudson Ronald Zollman, Conductor Chuck Hudson, Stage Director C. David Higgins, Set and Costume Designer Michael Schwandt, Lighting Designer Michael Vernon, Choreographer Brent Gault, Children’s Choir Director Sondra Nottingham, Wig & Make-Up Designer Daniela Candillari, French Diction Coach Flying by Foy Some costume pieces supplied by Malabar Limited, Toronto. Special thanks to Aidas and Marion Gimbutas of Main Light Inc. in Wilmington, Del., for their assistance with fiber optic curtains. Special thanks to Nancy Crome for embroidery work on the stepsisters’ dresses. _______________ Musical Arts Center Friday Evening, February Sixth Saturday Evening, February Seventh Friday Evening, February Thirteenth Saturday Evening, February Fourteenth Eight O’Clock music.indiana.edu Cast Cendrillon (Lucette) Carolina Castells, Amanda Russo Prince Charming Laura Wilde, Heng Xia Madame de la Haltière, Cendrillon’s stepmother Charis Peden Madame de la Haltière cover Eileen Jennings Pandolfe, her husband, Cendrillon’s father Alan Dunbar, Carl DuPont Fairy Godmother Megan Radder, Yungee Rhie Pandolfe’s stepdaughters: Noémie Caryn Kerstetter, Marie Masters Dorothée Laura Boone, Julia Snowden The King Joseph Beutel, Justin Merrick Herald Curtis Crafton, Marcelo Ferreira The Dean of the Faculty
    [Show full text]
  • AUTOGRAPH AUCTION Sunday 27 November 2011 10:00
    AUTOGRAPH AUCTION Sunday 27 November 2011 10:00 International Autograph Auctions (IAA) Office address Foxhall Business Centre Foxhall Road NG7 6LH International Autograph Auctions (IAA) (AUTOGRAPH AUCTION) Catalogue - Downloaded from UKAuctioneers.com Lot: 877 beneath the quotation. VG ELGAR EDWARD: (1857-1934) English Composer. A good Estimate: £80.00 - £100.00 printed score signed for The Dream of Gerontius (Op.38, 1900), First Edition published by Novello and Company Ltd., London, 1900. The tall 8vo edition has been specially bound in half blue Lot: 883 morocco with gilt title ('Nesta') to cover and gilt lettering to COATES ERIC: (1886-1957) English Composer, composed the spine. Signed by Elgar in dark fountain pen ink to the famous main title march of the film score to The Dam Busters preliminary blank with an A.M.Q.S. in his hand, two bars with (1954). Vintage signed and inscribed 4 x 6 photograph, a head words ('Praise etc.') beneath his signature. Dated Hereford, and shoulders study of Coates. Signed in dark fountain pen ink 1924, in his hand. Bearing two ownership signatures of N[esta]. to a light area of the image and dated February 1933 in his J. R. Clarke of Gloucester and Chester, one to the title page. hand. VG Rare in this form. Some light discoloration to the head of the Estimate: £100.00 - £120.00 covers and the spine faded, about VG Estimate: £400.00 - £600.00 Lot: 884 BRITTEN BENJAMIN: (1913-1976) English Composer. Vintage Lot: 878 signed postcard photograph of Britten in a head and shoulders SULLIVAN ARTHUR: (1842-1900) English Composer.
    [Show full text]
  • Regular Vocal Coaches Bios Spring 2021
    VOCAL COACHING REGULAR COACHES’ BIOGRAPHIES — SPRING 2021 Pianist NOBUKO AMEMIYA has built a reputation as a dynamic and versatile collaborator; her playing is described as “soaring with a thrilling panache, and then with great warmth and suppleness.” (Valley News, VT) Equally committed to opera, artsongs and instrumental chamber music, she traveled three continents to give recitals and concerts with numerous renowned conductors and soloists such as Seiji Ozawa, James Conlon, Brian Priestman, James Dunham, Colin Carr, Rober Spano, and Lucy Shelton. An enthusiastic advocate of new music, Ms. Amemiya has worked with today’s leading composers, including John Harbison, George Crumb, Bright Sheng, Oliver Knussen and George Benjamin. Her music festival appearances include Música da Figueira da Foz in Portugal, Britten-Pears Institute at Aldeburgh Music Festival, Festival de Musique Lausanne in Switzerland, Aspen Music Festival, and Tanglewood Music Center where she was awarded Tanglewood Hooton Prize, acknowledging the “extraordinary commitment of talent and energy.” Prizes and awards include “Vittorio Gui” in Florence, Italy, the Munich International Music Competition, Manhattan School of Music President’s Award and Aldeburgh Music Festival Grant. Also active as a coach and educator, she worked for AIMS in Graz, Opera North, Aspen Music School, IIVA in Italy, Lotte Lehmann Akademie, New England Conservatory and Palazzo Ricci Akademie für Musik in Montepulciano. Ms. Amemiya currently works for the Manhattan School of Music, Prelude to Performances by Martina Arroyo Foundation, Lyric Opera Studio Weimar and Berlin Opera Academy in Germany. Accompanist/vocal coach, KARINA AZATYAN, extensively collaborates with leading figures of vocal art in United States, Europe and Israel.
    [Show full text]
  • A Performer's Analysis of Dominick Argento's Miss Havisham's
    A PERFORMER’S ANALYSIS OF DOMINICK ARGENTO’S MISS HAVISHAM’S WEDDING NIGHT Jammieca D. Mott, B.M.E., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2010 APPROVED: Linda DiFiore, Major Professor Stephen Austin, Minor Professor Jeffrey Snider, Committee Member and Chair, Division of Vocal Studies Graham H. Phipps, Director of Graduate Studies James C. Scott, Dean of the College of Music Michael Monticino, Dean of the Robert B. Toulouse School of Graduate Studies Mott, Jammieca D. A Performer’s Analysis of Dominick Argento’s Miss Havisham’s Wedding Night. Doctor of Music Arts (Performance), May 2010, 66 pp., 47 figures, references, 30 titles. Dominick Argento’s Miss Havisham’s Wedding Night is the least explored of his artistic output. A monodrama in one act for soprano, Miss Havisham’s Wedding Night contains some of Argento’s most beautiful and challenging music of his compositional output. The purpose of a detailed analysis of the structure and content of Argento’s Miss Havisham’s Wedding Night is to facilitate the solo vocal performer’s interpretation. Argento’s setting of Miss Havisham’s Wedding Night is unique in that he musically translates the manic psychological state of the literary character. Argento structured the one act opera in such a manner that the music would illuminate the text and the audience might connect with the unstable psychological episodes and outbursts demonstrated by Miss Havisham. To that end, each section and phrase has its own psychological motivation, which in turn demands a varied musical and dramatic interpretation.
    [Show full text]
  • View Program
    Program On Love iv. Observing Love (Mr. Borichevsky) A Study in Recital R. Schumann i. The Genesis of Love (Ms. Lewek and Mr. Borichevsky) Auf einer Burg Giuseppe Verdi (1813-1901) R. Schumann (Mr. Cano) Rigoletto Theme from Bunte Blätter, Op. 99, No. 4 Act One, Scene Two Clara Schumann (1819-1896) (Mr. Cano) ii. The Ecstasy of Love (Mr. Borichevsky) Variations on a theme by Robert Schumann, Op. 20, No. 1 Henri Duparc (1848-1933) R. Schumann Phidylé Herzeleid Robert Schumann (1810-1856) Johannes Brahms (1833-1897) (Mr. Cano) Die Rose Variations on a theme by Robert Schumann, Op. 9, No. 3 Anton Rubinstein (1829-1894) C. Schumann Klubitsa volnoyu Sie liebten sich beide Roger Quilter (1877-1953) Rufus Wainwright (1973-) Love’s philosophy True loves iii. Anatomy of a Tumultuous Love (Ms. Lewek) v. Unrequited Love (Ms. Lewek) Richard Strauss (1864-1949) Francis Poulenc (1899-1963) Ich schwebe Fiançailles pour rire Ruhe, meine Seele La Dame d’André Befreit Dans l’herbe Morgen Il vole Mon cadavre est doux comme un gant Violon Fleurs Intermission vi. Doomed Love (Ms. Lewek and Mr. Borichevsky) Charles Gounod (1818-1893) Roméo et Juliette Act Five, Scene Two Program and personnel subject to change. As a courtesy to the artists, please remain seated until they have left the hall. Kathryn Lewek and Zach Borichevsky appear by arrangement with Uzan International Artists. Featuring Featuring Kathryn Lewek, Soprano Zach Borichevsky, Tenor Kathryn Lewek has established herself as one of opera’s strongest coloratura Zach Borichevsky is known for his “beautiful timbre” and his creation of “intimate sopranos of this generation and is now expanding her resume with some of the moments of beauty.” A series of significant débuts have established Mr.
    [Show full text]
  • Discovideografia 2009-2011 Discovideografia 2009-2011 145
    144 DISCOVIDEOGRAFIA 2009-2011 DISCOVIDEOGRAFIA 2009-2011 145 DISCOVIDEOGRAFIA VERDIANA Aggiornamenti 2009-2011 Alessandro Turba Proprio a partire dagli anni a cui si riferiscono i presenti Aggiorna- menti le case discografiche stanno alacremente rimpolpando i propri cata- loghi di ‘provviste’, onde necessariamente far fronte a una domanda che, come è ovvio aspettarsi, troverà il suo culmine nell’anno del festeggiamen- to del bicentenario verdiano, ormai alle porte. Tale, esponenziale crescita del gettito di titoli verdiani è, però, logicamente dovuta anche all’offerta di nuovi supporti tecnologici che, a distanza di più di dieci anni dalle passate celebrazioni, si è di molto diversificata (vedi il Super Audio CD e, nell’ambito dell’audiovisivo, il Blu-ray Disc). Ma non è tutto oro quel- lo che luccica. Lo sforzo delle case discografiche, le ‘minorities’ come le ‘majors’, non è che il disperato tentativo di tenere testa a una crisi del mer- cato discografico dovuta alla libera circolazione e condivisione di mate- riali audiovisivi resa possibile da Internet; crisi da loro cercata di arginare smerciando le registrazioni dei propri cataloghi proprio attraverso questo canale, rendendole disponibili agli internauti melomani con un click. Al momento, l’irreversibilità di questa ‘crisi’ si palesa nella radicalizzazione di quanto già constatato negli anni scorsi dai precedenti titolari di questa rubrica: «l’estinzione della registrazione in studio»1. La tendenza da parte 1 CARLO MARINELLI - ANNA GRAZIA PETACCIA, Discografia verdiana, Aggiornamenti 146 DISCOVIDEOGRAFIA 2009-2011 delle case discografiche è quella, infatti, di catturare tramite videoriprese – oggi perlopiù in High Definition, grazie anche ai mezzi e alla sinergia con grandi enti televisivi – un particolare evento teatrale ‘dal vivo’, tutt’al più operando un montaggio tra le performances più riuscite, nel mentre in cui il titolo staziona nel cartellone della stagione operistica di un dato Ente Lirico.
    [Show full text]