BURCH FELLOW 2004 Burch Poster title title goes here

Casey Moino Dunn

Class Hometown, State Learning“ music by reading about it is “like making love by Of course, for singers perform- ing always takes on a multimedia mail. role. Since our bodies are our Isaac Stern instruments, we are often more akin to actors than instrumentals and must possess a unique com- bination of skills. Nowhere is this ith this better represented than in the Broadway musical. However, 20 quote rever- blocks north of 42nd Street and berating in just a few away from Carnegie W Hall lies another staple of the my mind, I headed American musical scene, the Metropolitan —perhaps the north to spend the ultimate goal. later half of my final With all of my puzzle pieces Center for the Guys and Dolls with professionals on the table I designed a program Alexander and other young artists studying summer as a Carolina that would combine my interests Technique. A in the city. Additionally, I per- and backgrounds and hopefully 100-year-old formed in an English version of student in New York bring me back to Chapel Hill a physical “re- Mozart’s comic masterpiece Così more refined performer. I have education” of fan tutte with the Singers’ Theatre City. I planned to use known for some time that my the body, the of NY under the direction of this opportunity to favorite city is not only an excel- technique has noted stage director Patricia lent training ground for any artist, established Heuermann. All of these opportu- continue my journey but hopefully the final and ulti- itself as a key nities certainly gave me more mate destination. I knew this tool for per- than just a taste of the Big Apple. towards every musi- Molino Dunn Casey summer would also give me a formers in all Of course, so many aspects of great preview of what it will be fields. A multi- living in New York were equally cian’s dream — per- like to live there permanently. faceted rewarding. From meeting with forming in Carnegie Through the generous support of approach focus- alums involved in the performing the Burch Program, I was certain- principal lyric baritone at most ing on reducing harmful tension arts to navigating public trans- Hall, more specifically on ly able to further my strengths opera houses across the world in one’s body, the portation at all hours of the day, while also pushing my artistic before devoting the majority of Alexander the city became my home. its main stage, Isaac Stern limits in what is so often hailed as his time to teaching. Both built Technique is most There were some the Capital of the World. on my fortes while presenting helpful in increas- chance meetings at Auditorium. At the heart of my program new approaches to persistent ing a performer’s screenings, shows were individual lessons with some challenges in new and old reper- range of motion and concerts Continued of the city’s finest performers and toire. and coordination with a slew of teachers, soprano Marni Nixon Although my interest in opera through relax- personalities and baritone Mark Oswald. Marni has blossomed since coming to ation. in the per- Nixon is perhaps Carolina, I remain very passionate All of this forming arts, most well about . One sim- training came in from direc- known as ply has to look to Ezio Pinza’s handy during tors to the singing leading role in South Pacific or some big perfor- actors, voice the career of famed baritone mances at the musicians, behind the Robert Merrill to see the connec- end of the sum- producers stars of West tion. I am acutely aware of keep- mer. I was able and design- Side Story, The ing doors open explored this dur- to apply and ers - con- King and I and ing my fellowship, especially hone my skills nections . through movement training. I at master that have But she has also was able to take advantage of classes with already had an illustrious classes at the Broadway Dance luminaries such continued career in opera, clas- Center, one of the city’s most well as opera megas- to blossom. sical song, Broadway known studios for performing tar Lucine Amara I look for- , and television. Mark artists of all backgrounds. and in staged per- ward to has sung over 200 lead- Similarly, I studied with one of formances of returning and NEW YORK ing role performances at NYC’s most respected Alexander scenes from, Rossini’s continuing what the Metropolitan Opera Technique teachers, Mark Il Barbiere di Siviglia, I was fortunate to start in NYC from 1991-2003 and was a Josefsberg, at The American Tchaikovsky’s Eugene Onegin and thanks to a Burch Fellowship.