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Katherine Osborne, Mezzo-Soprano Matthew Hoch, Baritone James

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Katherine Osborne, Mezzo-Soprano Matthew Hoch, Baritone James Instructor, collaborative pianist James Jenkins is an active collaborative pianist, vocal coach, and composer. A former resi- dent of the Washington, DC area, James has performed in many of Washington’s most prestigious venues, including the Kennedy DEPARTMENT OF MUSIC & THEATRE Center Millennium Stage, Arts Club of Washington, Smithsonian Institution, National Gallery of Art, the Embassy of Luxembourg, the Strathmore Mansion, and the Washington National Cathedral. He was also the pianist for the award-winning Thomas Circle Singers from 2007-2012, during which they premiered works by American composers Gwyneth Walker and Blake Henson. From 2012 to 2015, as a resident of central Ohio, James worked with numerous profes- sional organizations including Opera Columbus, Opera Project Columbus, the Carpe Diem String Quartet and Columbus Dance Theatre, and was a freelance pianist and vocal coach at The Ohio State University and a staff accompanist for Ohio Wesleyan University. During the summer of 2015 he was an accompanist and vocal coach at Härnösand Opera Academy and Festival in Härnösand, Sweden, where he had the pleasure of accompanying the leg- Katherine Osborne, mezzo-soprano endary tenor George Shirley in recital. During the summers of 2007-2009 he accompanied and assisted distinguished artists and conductors in workshops at Westminster Choir College, including singers Julianne Baird and Elem Eley, and conductors James Jordan, Matthew Hoch, baritone Weston Noble, Joe Miller and Bruce Chamberlain. James especially enjoys composing art song. His song set The Living Root was premiered at James Jenkins, piano historic St Margaret’s Church in Annapolis, MD in 2011 and selections performed in 2015 at the Alba Music Festival in Italy. Mr. Jenkins received his M.M. in collaborative piano from the University of Maryland, College Park and his B.M. in piano performance from Korey Barrett, piano Stetson University. Dr. Korey Barrett is Associate Professor and Vocal Coach at the University of Northern Iowa. Dr. Barrett is a diversely experienced musician and music educator whose background includes training as a vocal coach, accompanist, pedagogue, and singer. At the University of Northern Iowa he serves as music director and vocal coach for UNI Opera. Barrett is also the co-founder and music director of OperaNEO, an intensive summer opera festival in San Diego, CA, that is about to embark upon its seventh season. OperaNEO features collaboration with conductors, coaches, stage directors, and voice instructors from across the country and overseas. Recent full productions have included L'incoronazione di Poppea, Agrippina, Rinaldo, Partenope, Idomeneo, The Merry Widow, Armide, Giasone, Così fan tutte, The Fairy Queen, Don Giovanni, Carmen, Le nozze di Figaro, and Die Zauberflöte. Recent guest artists have included conductor Nicholas Kraemer, mezzo-soprano Denyce Graves, and the the Bach Collegium San Diego. Barrett has also served as coach and pianist for sev- eral seasons of the Des Moines Metro Opera and its James M. Collier Apprentice Program, and as Resident Artist coach and accompanist for the Minnesota Opera. He maintains an active recital and master class schedule around the country. Prior to his appointment at UNI, Barrett served as vocal coach at the University of Oklahoma’s School of Music. Other artistic venues have included Opera North, The Ohio Light Opera, the Columbus Academy of Vocal Arts, as well as projects with the Herzen Pedagogical Institute in St. Petersburg, Russia, the Saint Paul Chamber Orchestra, Minnesota Orchestra, Eastman School of Music Summer Institute, and the Cedar Valley Chamber Music Festival. Barrett received his Doc- Monday, September 10, 2018 toral degree in piano accompanying and chamber music from the Eastman School of Music 7:30 pm under the tutelage of Jean Barr, and Bachelor of Arts and Master of Music degrees in voice from the University of Northern Iowa, where he studied with Jean McDonald. Martha-Ellen Tye Recital Hall Program Artist Biography Katherine Osborne, mezzo-soprano, is a native of New Orleans. She has performed operatic roles from the baroque era to the 20th century, including performances of less- Wie froh und Frisch, Op. 33, No. 14 (1865) Johannes Brahms er-known operas by Haydn, Donizetti, Pauline Viardot- Vorschneller Schwur, Op. 95, No. 5 (1898) (1833–1897) Garcia, and Ronald Perrera. Her performance in Donizetti’s L’ajo nell’imbarazzo was hailed by The Washington Post as Von ewiger Liebe, Op. 43, No. 1 (1869) “outstanding…[she] projected a fiery personality and sang graceful coloratura.” Most recently, she was seen as Osborne and Jenkins La maestra delle novitzie in Suor Angelica with Opera Project Columbus, Flora in La Traviata with Opera Columbus, the title role in The Rape of Lucretia with OSU Lyric Theatre, and a Vier Duette, Op 28 (1863) soloist and recitalist in a series of concerts with the Härnösand Opera Festival in Sweden. She has also performed as alto soloist for Handel’s Messiah with the Grin- I. Die Nonne und der Ritter nell Oratorio Society, Bach’s Magnificat with the Ohio University Choral Union, and II. Vor der Tür Mozart’s Requiem with the Ohio State University’s combined choirs and orchestra. A dedicated educator, Ms. Osborne currently teaches applied voice, voice pedagogy, III. Es rauschet das Wasser diction, and song repertoire at the University of Northern Iowa. She was honored to IV. Der Jäger und sein Liebchen receive the 2014 Van L. Lawrence Fellowship, presented by the Voice Foundation and the National Association of Teachers of Singing (NATS). Her training includes Osborne, Hoch, and Jenkins a Doctor of Musical Arts degree/Singing Health Specialization from The Ohio State University, a Master of Voice Pedagogy degree from Westminster Choir College, a Bachelor of Music degree from Stetson University, and is a 2010 alumna of the NATS Internship Program.a 2006 alumnus of the NATS Intern Program, where his master BRIEF PAUSE teacher was Donald Simonson. Arias and Barcarolles (1989) Leonard Bernstein (1918–1990) Matthew Hoch is Associate Professor of Voice and I. Prelude Coordinator of Voice Studies at Auburn University, where he teaches applied voice, diction, and vocal literature II. Love Duet courses. Prior to coming to Auburn in 2012, he spent six III. Little Smary years as Assistant Professor of Voice at Shorter College, IV. The Love of My Life where he taught applied voice, vocal literature, and served V. Greeting as Coordinator of Voice Studies. Dr. Hoch is the 2016 win- ner of the Van L. Lawrence Fellowship, awarded jointly by VI. Oif Mayn Khas’neh (“At My Wedding”) the Voice Foundation and NATS. He is the author of three VII. Mr. and Mrs. Webb Say Goodnight books, including A Dictionary for the Modern Singer (2014), VIII. Nachspiel (In memoriam…) Welcome to Church Music & The Hymnal 1982 (2015), and Voice Secrets: 100 Performance Strategies for the Advanced Singer (2016), coauthored with Linda Lister. He is also the editor of the recently published So You Want to Sing Osborne, Hoch, Barrett, and Jenkins Sacred Music (2017) and So You Want to Sing CCM (2018). His articles have appeared in the Journal of Singing, Journal of Voice, Voice and Speech Review, Opera Journal, Choral Journal, Chorister, and Journal of the Association of Anglican Musicians. Dr. Hoch holds the BM (summa cum laude) from Ithaca College with a triple major in vocal perfor- mance, music education, and music theory; MM from the Hartt School with a double Katherine Osborne and Matthew Hoch major in vocal performance and music history; DMA from the New England Con- are sponsored, in part, by a grant from the servatory in vocal performance; and the Certificate in Vocology from the National Alvin Edgar Fund for the Performing Arts – Center for Voice and Speech. He is a 2006 alumnus of the NATS Intern Program, where his master teacher was Donald Simonson. a part of the Iowa State Foundation. Vier Duette, Op 28 (1863) Johannes Brahms IV. Der Jäger und sein Liebchen IV. The Hunter and His Sweetheart I. Die Nonne und der Ritter I. The Nun and the Knight Ist nicht der Himmel so blau? Is not the sky so blue? Da die Welt zur Ruh’ gegangen, Now that the world has gone to sleep, Steh’ am Fenster und schau’! Stand by the window and watch! Wacht mit Sternen mein Verlangen, my longing keeps watch with the stars; Erst in der Nacht, Not until night, In der Kühle muß ich lauschen, in the coolness, I must listen Spät in der Nacht Late at night, Wie die Wellen unten rauschen! to the waves raging below. Komm’ ich heim von der Jagd. will I come home from the hunt. “Fernher mich die Wellen tragen, “I am borne here from afar by the waves Mädchen, der Himmel ist blau, Maiden, the sky is blue, Die ans Land so traurig schlagen, that beat so sadly upon the shore Bleib’ am Fenster und schau’. wait by the window and watch, Unter deines Fensters Gitter, under your window’s lattice— Bis in der Nacht, until in the night, Fraue, kennst du noch den Ritter?” lady, do you still know your knight?” Spät in der Nacht, late at night, Heim ich kehr’ von der Jagd. I return home from the hunt. Ist’s doch, als ob seltsam’ Stimmen It seems as though strange voices Durch die lauen Lüfte schwimmen; are floating through the balmy air; “Anders hab’ ich gedacht, “I had other plans, Wieder hat’s der Wind genommen,— the wind has swept them away again— Tanzen will ich die Nacht! I want to go dancing tonight! Ach, mein Herz ist so beklommen! oh, my heart is so uneasy! Bleib’ vor der Tür, Stay outside the door, Spät vor der Tür late outside the door, “Drüben liegt dein Schloß verfallen, “Yonder lies your ruined castle, Willst du nicht tanzen mit mir!” if you don’t want to dance with me! Klagend in den öden Hallen, mourning in the abandoned halls; Aus dem Grund der Wald mich grüßte, from its depths.
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