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Stephen Morscheck, A.Mus.D

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Stephen Morscheck, A.Mus.D 1 of 22 Stephen Morscheck, A.Mus.D. Associate Professor of Voice Division of Vocal Studies UNT College of Music 1155 Union Circle #311367 Denton, TX 76203-5017 USA (940) 565-3759 Curriculum Vitae Table of Contents Biography p. 2-3 Professional Activities Teaching pp. 4-6 Leadership and Service pp. 7-11 Creative Activity pp. 12-22 2 of 22 Stephen Morscheck, Bass-baritone Represented by: Uzan International Artists, 250 West 57th Street, Suite 1932, New York, NY 10107 T 212.969.1797 www.uzanartists.com http://www.uzanartists.com/portfolio/stephen-morscheck/ Biography Bass-baritone Stephen Morscheck is widely respected for the dignity he brings in both concert and operatic performances. “Stephen Morscheck’s Leporello was genuinely funny, as well as solidly sung. His catalogue aria was almost too effective, drawing applause before its conclusion,” says Opera News of his performance in Don Giovanni. This season’s engagements include two concerts with Duke University Chapel for their Bach Cantata Series and the role of Commendatore in Don Giovanni with South Dakota Symphony, and the role of Sarastro in Die Zauberflöte at the Amadeus Festival in Whitefish, MT. Known for his stunning interpretations of oratorio repertoire, Mr. Morscheck is highly sought after on concert and recital stages. Recent concert appearances include J.S. Bach’s Weinachts Oratorium with the St. Louis Bach Festival, Verdi’s Requiem with the Knoxville Symphony Society; Dvořák’s Requiem with the UNC Summer Music Festival; Haydn’s Lord Nelson Mass with the Music of the Baroque; Elijah with Opera Naples; Brahms’ Requiem and Mozart’s Requiem with the Sheboygan Symphony; Beethoven’s Symphony No. 9 with the Glacier Symphony and Chorale, Roanoke Symphony, Alabama Symphony, the Sheboygan Symphony Orchestra, and Wichita Falls Symphony Orchestra; Jesus in Bach’s St. Matthew Passion with Festival de Saint-Denis, Laudate Deum Chamber Choir in Switzerland, Boulder Philharmonic Orchestra, and Soli Deo Gloria under John Nelson; Bach’s B-minor Mass with Alabama Symphony Orchestra; St. John Passion at the St. Vincent de Paul Church in Chicago, Costa Rica Philharmonic, and Bach Society of St Louis; and Händel’s Messiah with Pacific Symphony, Santa Fe Symphony, Rochester Chamber Philharmonic, Dallas Bach Society, Duke University Chapel, and Orchestra Kentucky. Recent opera engagements include Count Capulet in Roméo et Juliette at Opera Colorado, Dallas Opera, and Florida Grand Opera; Capellio in I Capuleti e i Montecchi with Lyric Opera of Kansas City; Basilio in Il barbiere di Siviglia with the Orlando Philharmonic; Bartolo in Le nozze di Figaro at Lyric Opera Baltimore; and Father Trulove in The Rake’s Progress at the Princeton Festival, where he previously performed Il Ré in Ariodante. Previous operatic engagements include Palemon in Thaïs with the Lyric Opera of Chicago; Colline in La bohème with Los Angeles, Dallas Opera and Opéra de Montréal; Raimondo in Lucia di Lammermoor with Washington National Opera and Arizona Opera; Bartolo in Le nozze di Figaro with Dallas Opera; Rocco in Fidelio at Opera Company of Philadelphia and the Florentine Opera of Milwaukee; Basilio in Il barbiere di Siviglia with Opéra de Montréal, 3 of 22 Kentucky Opera, and Atlanta Opera; Alidoro in La Cenerentola with the Lyric Opera of Kansas City, Orlando Opera, and Florentine Opera; Leporello in Don Giovanni with Opera Carolina; Sparafucile in Rigoletto with the Florentine Opera; Don Alphonso in Così fan tutte with Arizona Opera and Kentucky Opera; and Nourabad in Les pêcheurs de perles with Kentucky Opera. With the Spoleto Festival USA, appearances include Le Chiffonnier in Louise and John Adams in Amistad; and with the Santa Fe Opera, Publius in La clemenza di Tito. Notable engagements from earlier in his illustrious concert career include several appearances with the Ensemble Orchestral de Paris in repeat performances of both St. John Passion and St. Matthew Passion; with the Music of the Baroque in Chicago he has performed Mozart’s Requiem, Simon in Judas Maccabeus, King Arthur, and the title role in Hercules; Händel’s Messiah with the Toronto Symphony Orchestra, Dallas Bach Society, and Duke Chapel Choir; Dvořák’s Stabat Mater with the Berkshire Choral Festival; Beethoven’s Symphony No. 9 with the National Symphony Orchestra in Santo Domingo; Mozart’s Coronation Mass at the Spoleto Festival; Verdi’s Requiem with the Anchorage Symphony and University of North Texas; Beethoven’s Missa Solemnis with the National Symphony of Costa Rica, Milwaukee Symphony and the Choral Society of Durham; Bach’s B-minor Mass with the National Symphony Orchestra of Costa Rica; Mozart’s Requiem with the Eastern Connecticut Symphony; and soloist in the Atlanta Opera’s La Belle Soirée. Mr. Morscheck graduated from Wheaton College and completed advanced degrees from the University of Michigan. In 1995, he was awarded the “Richard Tucker Career Grant.” He currently serves as an Associate Professor of Voice at the University of North Texas, Denton. 4 of 22 PROFESSIONAL ACTIVITIES TEACHING 9/2009 - Present Associate Professor, Division of Vocal Studies University of North Texas College of Music, Denton, TX Dr. John Richmond, Dean Professor Molly Fillmore, Vocal Division Chairman Teach Applied Voice for Undergraduate through DMA degree students in Vocal Performance and Concentration (Music Education and Graduate Related Field) majors. • Prepare undergraduate Performance majors for juries following each semester of study, the Upper Division Exam jury at the end of the sophomore year, and Junior and Senior recitals. • Prepare undergraduate Concentration majors for juries following each semester of study, the Upper Division Exam jury at the end of the sophomore year, and their Voice Proficiency exam at the end of their junior year. • Advise Masters students through the degree plan; prepare them for juries after each semester of study, and their degree recital. • Advise and direct DMA students through degree plan including three recitals and final dissertation project. • Serve, as requested, as one of three faculty members on the Advisory Committee for students enrolled in: DMA in Vocal Performance DMA with Voice as the Related Field MM final oral exams 1/2014 - Present Teach Undergraduate Italian Diction to students in Vocal Performance and Concentration (i.e., Music Education). • The course covers the correct pronunciation, enunciation, and utilization of the International Phonetic Alphabet in phonetic transcription of the Italian language, for the purpose of equipping the student to present an idiomatic and expressive vocal performance of any repertoire in that language. Teach MUAG – Oratorio Repertoire and Practicum. • The course covers the history, development and central repertoire of the genre with an emphasis on the learning and in-class performance of appropriate repertoire. 5 of 22 I proposed this course in 2014 and it was officially added to the catalog in the fall of 2014. I taught the course for the first time in the fall of 2015 and the response from the students based upon their evaluations was favorable. 9/2005 - 5/2009 Adjunct Instructor of Voice, Wheaton College, Wheaton IL Dr. Tony Payne, Director of Conservatory of Music Dr. Carolyn Hart, Chair of Vocal Studies • Taught Applied Voice for Undergraduate Music Education, BA, and non-Music majors. 9/2002 - 5/2009 Artist in Residence, Wheaton College, Wheaton IL • Conducted two Master Classes per year, gave individual coaching sessions to all Junior and Senior Voice Majors preparing a required recital, and presented various solo recitals. 8/1990 - 12/1992 Assistant Professor of Voice, West Texas State University, Canyon TX Dr. Harry Haines, Department Head Dr. Robert Hansen, Area Chair • Taught Applied Voice, Diction for Singers, and Class Voice for Non-Voice Music Majors. 7/1992 • Participant in the first year of the NATS Intern Program, University of North Texas, Denton 8/1988 - 6/1990 Assistant Professor of Voice, Appalachian State University, Boone NC Dr. Arthur Unsworth, Dean Dr. Julia Pedigo, Area Chair • Taught Applied Voice and Diction for Singers. 6 of 22 8/1985 - 5/1988 Teaching Assistant of Voice, University of Michigan, Ann Arbor MI • Taught Applied Voice 7 of 22 LEADERSHIP and SERVICE TO THE UNIVERSITY Fall 2012 – Spring 2015, University Undergraduate Curriculum Committee. This campus wide committee, meeting monthly, gives final approval to all course changes to the University Undergraduate Curriculum. In the third year of the three- year appointment, 2014-2015, I was elected to serve as Faculty Representative Co- Chair. TO THE COLLEGE OF MUSIC Fall 2014 – May 2017, Faculty Advisory Committee. Spring 2012 (one semester replacement for colleague on sabbatical) This six member committee meets as needed to advise the Dean on behalf of the College of Music faculty. I served as Chair of the committee for the 2016-2017 academic year. During this academic year the committee met almost every week and accomplished many tasks at the Dean’s request including the following: • Created and implemented a multi-question Qualtrics survey of the College of Music faculty, staff, and students regarding the College of Music website. Our findings were submitted to the Dean. • Organized the afternoon Breakout Sessions (three rounds of six groups each round to brainstorm about various aspects of the College: Internal focus, External focus, Miscellaneous) for over 100 faculty and staff at the first annual College of Music Faculty and Staff Retreat, held just prior to the beginning of the Spring semester. The results of these sessions were synthesized by the 6- member committee and presented to the Dean for further action. • Assisted the Dean and his office with other aspects of the Retreat including program planning and preparation, site set up, and audio-visual materials. • Completed a two-year review and edit of the College of Music Charter and By-laws which were approved by the full College of Music faculty in the beginning of the fall 2017-2018 academic year.
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