Bucky Bronco Soprano Buckybronco@Gmail.Com

Bucky Bronco Soprano [email protected] www.linkedin.com/buckybronco Opera Roles *Marschallin Der Rosenkavalier Opera Showcase, Winchester, MA 20XX *Contessa Almaviva Le nozze di Figaro Bay Area Summer Opera Theatre Institute, SF, CA 20XX Ensemble La Traviata Bay Area Summer Opera Theatre Institute, SF, CA 20XX Elettra Idomeneo Santa Clara University, Santa Clara, CA 20XX *Agathe Der Freischütz Oakland Lyric Opera, Oakland, CA 20XX *Arabella Arabella Oakland Lyric Opera, Oakland, CA 20XX *Katharina The Taming of the Shrew Oakland Lyric Opera, Oakland, CA 20XX **Contessa Almaviva Le nozze di Figaro Bay Area Summer Opera Theatre Institute, SF, CA 20XX Donna Elvira Don Giovanni Santa Clara University, Santa Clara, CA 20XX Madame Angèle The Tsar Has His Photograph Taken Santa Clara University, Santa Clara, CA 20XX *Governess The Turn of the Screw Santa Clara University Opera Workshop, Santa Clara, CA 20XX First Lady Die Zauberflöte Bay Area Summer Opera Theatre Institute, SF, CA 20XX Mother Amahl and the Night Visitors Mission Chamber Orchestra, Santa Clara, CA 20XX Concert Work and Oratorio Alto Soloist Bomtempo: Requiem Mission Chamber Orchestra, Santa Clara, CA 20XX Soloist Mahler: Rückert Lieder Santa Clara University Orchestra, Santa Clara, CA 20XX Soloist A2: Amanda Boyd and Amanda Villegas Recital, New York, NY 20XX Alto Soloist Messiah Second Congregational Church of Cohasset, Boston, MA 20XX Soloist Strauss and Mahler Recital Britten-Pears Young Artist Programme, UK 20XX Awards and Honors Arrigo and Catherine DeScalzi Prize, Performer’s Certificate & Honors Santa Clara University 20XX East Bay Opera League Young Artist Oakland Lyric Opera 20XX Concerto/Aria Competition Winner Santa Clara University 20XX Education Bachelor of Arts in Music cum laude Santa Clara University 20XX “Creating the Dramatic Character in Opera” – Lauren Flanigan American Opera Projects and the SITI Co., NY 20XX Summer Opera Workshop Bay Area Summer Opera Theatre Institute, CA 20XX and 20XX Music Study Abroad in Vienna, Austria Institute for the International Education of Students 20XX Culture and Language Study Abroad in Assisi, Italy Santa Clara University International Programs 20XX Voice Teachers Coaches Conductors Directors Penelope Bitzas Michelle Alexander Paul Freeman David Gately Kathleen Ludowise Mark Ensley Alexander Katsman Chuck Hudson Kemal Kahn Jonathan Khuner Yefim Maizel Anthony Manoli William Lumpkin Jim Petosa Allison Voth Emily Ray *indicates Partial Role **indicates Cover Role .

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Samuel Ramey
welcome to LOS i\Ilgeles upera http://www.losangelesopera.comlproduction/index.asp?... •• PURCHASE TICKETS • 2003/2004 SEASON LA AMNATION DE FAD T La damnation de Faust The damnation of Faust / Hector Berlioz Nicholas and In French with English Supertitles Ticket Information Alexandra Lucia di Samuel Ramey, Synopsis Lammermoor r-----------.., Program Notes Denyce Graves and Photo Gallery Orfeo ed Euridice Paul Groves star in a spectacular new Recital: production by Achim Ask an Expert Hei-Kyung Hong Forward to a Freyer with Kent Friend Recital: Cecilia Nagano conducting. Bartoli Generously Madama Europe's master Underwritten by: Butterfly theatre artist Achim Freyer matches his New production Die Frau ohne made possible by a Schatten painterly visual imagery with Hector generous gift from Mr. and Mrs. Recital: Dmitri Berlioz's vivid musical imagination in the premiere of Hvorostovsky Milan Panic this new production featuring a cast of more than Le nozze di 100 singers and dancers. The legend of Faust, which Figaro tells the story of the man who sold his soul to the II trovatol'"e Devil, has captivated great imaginations for centuries. Marlowe, Goethe, Gounod, Schumann, Liszt, Mahler and Stravinsky all found inspiration in SEASON G!J1]) the Faust tale, which continues to reverberate in SPONSOR Audt today's modern world. Originally conceived as an oratoriO, Hector Berlioz's dramatic La damnation de Faust is now a mainstay of opera houses around the world. Haunting melodies and startling orchestrations flood the score and illustrate the beWitching tale of Faust's desperate struggle for power, riches, youth and, ultimately, redemption. PRODUCTION DATES: Wednesday September 10, 20036:30 p.m.
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Prince Igor Knyaz Igor Page 1 of 3 Opera Assn
San Francisco Civic 1996-1997 Prince Igor Knyaz Igor Page 1 of 3 Opera Assn. Auditorium Prince Igor (in Russian) Opera in five acts by Alexander Borodin Libretto by Alexander Borodin, after a scenario by Stasov Based on a 12th-century Russian epic "Song of the Army of Prince Igor" (See Notes) Conductor CAST Alexander Anissimov Igor Svyatoslavich, Prince of Seversk Sergei Leiferkus Production Galitsky, Prince of Galich, brother of Princess Yaroslavna Jeffrey Wells Francesca Zambello Vladimir Igorevich, Igor's son by his first marriage Mark Baker Designer Musicians: Skula Vladimir Ognovenko Zack Brown Musicians: Yeroshka Konstantin Pluzhnikov Lighting Designer Gary Rideout (9/10,13,15,21) Thomas J. Munn Yaroslavna, Igor's second wife Lauren Flanigan Sound Designer Yaroslavna's Nurse Catherine Cook Roger Gans Konchakovna, daughter of Khan Konchak Elena Zaremba Chorus Director Ovlur, a Christian Polovtsian Dennis Petersen Ian Robertson Konchak, Polovtsian Khan Paata Burchuladze Choreographer Solo dancers Teimuraz Koridze Alphonse Poulin Badri Esatia Musical Preparation Susanna Lemberskaya Bryndon Hassman *Role debut †U.S. opera debut Peter Grunberg PLACE AND TIME: The Russian city of Putivl; a Polovtsian Ian Robertson encampment on the Russian Steppes Svetlana Gorzhevskaya Supertitles Christopher Bergen Prompter Jonathan Khuner Assistant Stage Director Paula Williams Assistant Stage Director Yefim Maizel Stage Manager Jerry Sherk Fight Consultant Larry Henderson Friday, September 6 1996, at 6:30 PM PART I Tuesday, September 10 1996, at 8:00
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Download PDF Resume
Elena Flores SOPRANO STAGE EXPERIENCE Frasquita¹ Greensboro Opera Carmen — Bizet The Foreign Woman UNC Greensboro The Consul — Menotti Dancer UNC Greensboro Speed Dating Tonight! — Michael Ching Sister Constance UNC Greensboro The Dialogues of the Carmelites — Poulenc Laetitia UNC Greensboro The Old Maid and the Thief — Menotti Soprano Soloist Saint Mary's Episcopal Church, High Point NC Mozart Coronation Mass in C, K. 317 CONTACT Adele Shenandoah University Die Fledermaus — Johann Strauss II address Cendrillon Shenandoah University 1901 San Fernando Drive Cendrillon — Massenet High Point, NC 27265 First Lady, Queen of the Night Bethesda Summer Music Festival email Die Zauberﬂöte — Mozart [email protected] Judy Shenandoah University online portfolio This is the Rill Speaking — Lee Hoiby elenaﬂoressoprano.com Donna Anna¹, Chorus Shenandoah University Don Giovanni — Mozart phone 540-645-1745 Soloist Maryland Symphony Orchestra Opera Cat (2013-14) Mother Duck, Igor UNC Greensboro AWARDS The Ugly Duckling Grand Prize Winner 2016 Mrs. Lovett Bethesda Summer Music Festival UNC Greensboro Student Artist Sweeney Todd Competition Goldilocks Riverside Dinner Theater Cecilia Award for Vocal 2015 Goldilocks and the Christmas Bears Excellence Shenandoah University EDUCATION Forest-Parker Excellence 2015 Masters in Music UNC Greensboro in Voice Award Vocal Performance 2015 - 2017 Shenandoah University Bachelors of Music Shenandoah University Vocal Performance 2011 - 2015 RELATED SKILLS German Opera Experience James Madison University Brahms Lieder
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2005 Next Wave Festival
November 2005 2005 Next Wave Festival Mary Heilmann, Last Chance for Gas Study (detail), 2005 BAM 2005 Next Wave Festival is sponsored by: The PerformingNCOREArts Magazine Altria 2005 ~ext Wave FeslliLaL Brooklyn Academy of Music Alan H. Fishman William I. Campbell Chairman of the Board Vice Chairman of the Board Karen Brooks Hopkins Joseph V. Melillo President Executive Prod ucer presents Symphony No.6 (Plutonian Ode) & Symphony No.8 by Philip Glass Bruckner Orchestra Linz Approximate BAM Howard Gilman Opera House running time: Nov 2,4 & 5, 2005 at 7:30pm 1 hour, 40 minutes, one intermission Conducted by Dennis Russell Davies Soprano Lauren Flanigan Symphony No.8 - World Premiere I II III -intermission- Symphony No. 6 (Plutonian Ode) I II III BAM 2005 Next Wave Festival is sponsored by Altria Group, Inc. Major support for Symphonies 6 & 8 is provided by The Robert W Wilson Foundation, with additional support from the Austrian Cultural Forum New York. Support for BAM Music is provided by The Aaron Copland Fund for Music, Inc. Yamaha is the official piano for BAM. Dennis Russell Davies, Thomas Koslowski Horns Executive Director conductor Gerda Fritzsche Robert Schnepps Dr. Thomas Konigstorfer Aniko Biro Peter KeserU First Violins Severi n Endelweber Thomas Fischer Artistic Director Dr. Heribert Schroder Heinz Haunold, Karlheinz Ertl Concertmaster Cellos Walter Pauzenberger General Secretary Mario Seriakov, Elisabeth Bauer Christian Pottinger Mag. Catharina JUrs Concertmaster Bernhard Walchshofer Erha rd Zehetner Piotr Glad ki Stefa n Tittgen Florian Madleitner Secretary Claudia Federspieler Mitsuaki Vorraber Leopold Ramerstorfer Elisabeth Winkler Vlasta Rappl Susanne Lissy Miklos Nagy Bernadett Valik Trumpets Stage Crew Peter Beer Malva Hatibi Ernst Leitner Herbert Hoglinger Jana Mooshammer Magdalena Eichmeyer Hannes Peer Andrew Wiering Reinhard Pirstinger Thomas Wall Regina Angerer- COLUMBIA ARTISTS Yuko Kana-Buchmann Philipp Preimesberger BrUndlinger MANAGEMENT LLC Gorda na Pi rsti nger Tour Direction: Gudrun Geyer Double Basses Trombones R.
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MUSIC; Must Sweet Always Yield to Sweat? - the New York Times
MUSIC; Must Sweet Always Yield To Sweat? - The New York Times http://www.nytimes.com/2001/04/29/arts/music-must-sweet-always-yield... This copy is for your personal, noncommercial use only. You can order presentation-ready copies for distribution to your colleagues, clients or customers, please click here or use the "Reprints" tool that appears next to any article. Visit www.nytreprints.com for samples and additional information. Order a reprint of this article now. » April 29, 2001 MUSIC By BERNARD HOLLAND ''DIE TOTE STADT'' got rough treatment from forward-looking commentators when it returned to the New York City Opera recently. Korngold's opera is certainly not ''Tristan und Isolde'' or even ''Moses und Aron,'' but operating on its own modest scale, it remains a gracefully executed piece of stagecraft. Its music, though illustrative, is more than mere illustration. Its story balances fact with fantasy, and the use of an opera company within an opera company offers nice allusions to appearance and reality. What troubles the heavier thinkers of the music world, I suspect, is that ''Die Tote Stadt'' goes down like ice cream. Its smooth, welcoming harmonic language -- like Richard Strauss on tranquilizers -- offers no resistance. ''Where is the challenge?'' its critics ask. Anything this accessible this quickly must have something wrong with it. Substance implies depths, and depths necessarily take time to plumb. The calendar may also be an irritant. Korngold's opera dates from 1920. Schoenberg's ''Pierrot Lunaire'' was already eight years old, Stravinsky's ''Sacre du Printemps'' seven. In science, as reflected in literature, art and music, the 20th century represented the march of progress: things evolved, grew, got better, smarter, purer.
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DIGITAL PROGRAM SCROLL to CONTINUE Click on Any Section Below to Jump to the Page
and Opera on Tap present, in association with Experiments in Opera DIGITAL PROGRAM SCROLL TO CONTINUE Click on any section below to jump to the page. SHOW INFO 3 BIOS 4 RESOURCES 15 DIGITAL PRIVACY KIT 15 PRODUCTION HISTORY 16 ABOUT HERE 18 MEMBERSHIP 20 HERE STAFF 21 FUNDING 22 SURVEY 25 HEREART 26 FOLLOW US 26 and Opera on Tap present, in association with Experiments in Opera Story by Rob Handel, Kristin Marting, and Kamala Sankaram Composed by Kamala Sankaram Libretto by Rob Handel Developed with, Co-Choreographed and Directed by Kristin Marting Music Direction by Samuel McCoy Performers Paul An, Adrienne Danrich, Blythe Gaissert, Eric McKeever, Mikki Sodergren, Brandon Snook, and Jorell Williams* Video Designer David Bengali Technologists Alessandro Acquisti, Ralph Gross Tablet Technologists Joe Holt, Daniel Dickison Scenic Designer Nic Benacerraf Costume Designer Kate Fry Lighting Designer Ayumu “Poe” Saegusa Choreographer Amanda Szeglowski Sound Engineer Nathaniel Butler Production Stage Manager Westie Productions Piano Mila Henry Saxophones Jeff Hudgins, Ed RosenBerg, Josh Sinton, and Matt Blanchard** Production Manager Michaelangelo De Serio Technical Director Eli Reid Assistant Costume Designer Tekla Monson Associate Video Designer Shefali Nayak Projection Animation Assistant Kathleen Fox Assistant Directors Anne Bakan, Sim Yan Ying Assistant Stage Manager/Wardrobe Manager Aoife Hough Stitcher Elise Walsh * 9/15–21 performances only ** 9/21 performances only Looking at You is made possible through the generous support of Carnegie Mellon University; Dashlane; KSF; Mental Insight Foundation; New England Foundation for the Arts; Puffin Foundation; Opera America’s Grants for Female Composers supported by the Virginia B. Toulmin Foundation and Opera America’s Innovation Fund supported by the Ann and Gordon Getty Foundation; and the New York State Council on the Arts, with the support of Governor Andrew Cuomo and the New York State Legislature.
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Appendageand Other Stories
LAWRENCE DILLONAPPENDAGE AND OTHER STORIES Lauren Flanigan SOPRANO Ransom Wilson CONDUCTOR Supported by a grant from The Arts Council of Winston-Salem and Forsyth County with funding from the State of North Carolina, an agency of the Department of Cultural Resources and the National Endowment for the Arts, which believes that a great nation deserves great art. WWW.ALBANYRECORDS.COM TROY1170 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 © 2010 ALBANY RECORDS MADE IN THE USA DDD WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. THE COMPOSER THE MUSIC Still Point (2007) Appendage (1993) Lawrence Dillon is best known for his chamber music, Appendage and Other Stories is a collection of works by Still Point was commissioned by poet Shona Simpson to About Appendage, the composer writes: with commissions, performances and recordings by the Lawrence Dillon that combine words and music. Entrance celebrate her husband Jonathan Burdette’s birthday. It In late 1992, I became so discouraged with American, Borromeo, Cassatt, Daedalus, Emerson and and Exit use spoken text, Still Point is sung and Appendage scores Simpson’s tender sonnet for mezzo, viola and piano. slow progress on a piece I was sketching Mendelssohn String Quartets; this recording is the first alternates between spoken and sung text. The days rush by in fleets like drifts of clouds. that I crumpled up my notes, tossed them to feature some of his many works combining words and We mean to note them, find their shapes or plot down to the end of the piano, and began music.
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2017-2018 New Music Festival
3 events I 10 world premieres I 55 performers Scott Wheeler, Composer-in Residence Lisa Leonard, Director January 19- January 21, 2018 SPOTLIGHT I:YOUNG COMPOSERS Friday, January 19 at 7:30 p.m. Étude électronique (2018) Matthew Carlton World Premiere (b. 1992) Fanfare for Duane for Brass Quintet (2016) Trevor Mansell World Premiere (b. 1996) Alexander Ramazanov, Abigail Rowland, trumpet Shaun Murray, French horn Nolan Carbin, trombone Helgi Hauksson, bass trombone Mitología de las Aguas Leo Brouwer I. Nacimiento del Amazonas (b.1939) II. El lago escondido de los Mayas III. El Salto del Angel IV. El Güije (duende) de los ríos de Cuba Emilio Rutllant, flute Sam Desmet, guitar Piano Sonata No.1 “Passato di Gloria” (2016) Alfredo Cabrera I. Scherzo Scuro – Cala l’oscurita – Scherzo Scuro (b. 1996) II. OmbrainPartenza III. La Rigidità di Movimento Matthew Calderon, piano INTERMISSION Three Selections from The Gardens (2017) Anthony Trujillo I. The Gardens (b. 1995) III. The Guardian IV. The Offering Teresa Villalobos, flute; Jonathan Hearn, oboe Christopher Foss, bassoon Isaac Fernandez & Tyler Flynt, percussion Darren Matias, piano Katherine Baloff & Yordan Tenev, violins William Ford-Smith, viola Elizabeth Lee, cello; Yu-Chen Yang, bass Reminiscent Waters (2016) Matthew Carlton Sodienye Finebone, tuba Kristine Mezines, piano Five Variations on a Gregorian Chant (2016) Trevor Mansell World Premiere Guzal Isametdinova, piano Homage to Scott Joplin (2017) Trevor Mansell World Premiere Darren Matias, piano Kartoffel Tondichtung für Solo Viola und Reciter (2016) Commisssioned by Miguel Sonnak Alfredo Cabrera Text: Joseph Stroud Kayla Williams, viola Alfredo Cabrera, reciter Six Variations on Arirang (2017) Trevor Mansell Trevor Mansell, oboe John Issac Roles, bassoon Darren Matias, piano Lucidity (2016) Matthew Carlton Guzal Isametdinova, piano; Joshua Cessna, celeste; Darren Matias, electric organ MASTER CLASS with SCOTT WHEELER Saturday, January 20 at 1:00 p.m.
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Howard HANSON Merry Mount
669012-13 bk Hanson 3/20/07 10:58 AM Page 16 AMERICAN OPERA CLASSICS Also available: Howard HANSON Merry Mount Flanigan • MacNeil Zeller • Austin Marley Northwest Boychoir Seattle Girls’ Choir Seattle Symphony Gerard Schwarz 8.559251 2 CDs 8.669012-13 16 669012-13 bk Hanson 3/20/07 10:58 AM Page 2 Howard HANSON (1896-1981) Also available: Merry Mount, Op. 31 Opera in Three Acts and Six Scenes Libretto by Richard L. Stokes, based on Nathaniel Hawthorne’s short story, The Maypole of Merry Mount Lady Marigold Sandys . Lauren Flanigan, Soprano Sir Gower Lackland . Walter MacNeil, Tenor Wrestling Bradford . Richard Zeller, Baritone Praise-God Tewke . Charles Robert Austin, Bass Plentiful Tewke . Louise Marley, Mezzo-soprano Thomas Morton . Byron Ellis, Bass-baritone Jack Prence . Paul Gudas, Tenor Myles Brodrib . Barry Johnson, Baritone Peregrine Brodrib . Christopher Bristol, Tenor Love Brewster . Diana Huber, Soprano Bridget Crackston . Rosy Freudenstein, Alto First Puritan . Fred K. Dent, Baritone 8.559047 Second Puritan . Daniel Jessup, Bass Desire Annable . Nan Beth Walton, Alto Jonathan Banks . Gino Luchetti, Tenor Faint-Not Tinker . Joachim Schneider, Baritone Jewel Scrooby . Gene Buchholz, Bass Seattle Symphony Chorale • Northwest Boychoir • Seattle Girls’ Choir Abraham Kaplan, associate conductor for choral activities Joseph Crnko, director, Northwest Boychoir Dr. Jerome Wright, director, Seattle Girls’ Choir Seattle Symphony 8.559072 Gerard Schwarz 8.669012-13 215 8.669012-13 669012-13 bk Hanson 3/20/07 10:58 AM Page 14 Seattle Symphony CD 1 45:13 Founded in 1903, Seattle Symphony (www.seattlesymphony.org) is one of the oldest and largest cultural Act 1: The Village (Midday) institutions in the Pacific Northwest.
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S I N G L E T I C K E T B R O C H U
2013-2014 SEASON SINGLE TICKET BROCHURE MOURNING BECOMES ELECTRA NABUCCO TOSCA THAÏS Mourning Becomes Electra Nabucco Welcome! You don’t want to miss our upcoming season. Where else can you travel from Ancient Babylon to post Civil War New England without leaving South Florida, while enjoying some of the finest singers and exciting productions from around the world. If you are new to opera, the themes of these pieces will resonate with you Tosca regardless of which of the many diverse communities of South Florida you call home. This season has something for everyone. See You at the Opera, Susan T. Danis Ramón Tebar General Director and CEO Music Director Thaïs NOV 07/ NOV 23 NABUCCO JAN 25/ FEB 08 MOURNING BECOMES NABUCCO ELECTRA BY GIUSEPPE VERDI BY MARVIN DAVID LEVY “It’s got everything you’d want from an opera…and more. “…When I am alone with my notes, my heart pounds and the The music knocks you out with its ferocity.” -- Marvin David Levy tears stream from my eyes, and my emotion and my joys are too much to bear.” -- Giuseppe Verdi Nabucco © Scott Suchman for Washington National Opera. BasedMourning on Becomes the play Electra cycle © Rozarii by Eugene Lynch for Seattle O’Neill, Opera. this mythic tale is set in Massachusetts shortly This opera captures the voice of the ancient Hebrews and their struggle as exiles. In fact, it speaks after the Civil War. Beneath the veneer of the prim and proper Mannon family are seething with the voice of all exiles. Experience the anguish as Nebuchadnezzar, King of Babylonia, destroys passions of bitterness, infidelity, incest, and even murder.
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Kurt Weill Newsletter SPRING 2019
VOLUME 37 NUMBER 1 Kurt Weill Newsletter SPRING 2019 Raves for Lady in the Dark at New York City Center New Lives for Deadly Sins Unveiling a New Orchestration IN THIS ISSUE VOLUME 37 Kurt Weill Newsletter NUMBER 1 EDITOR’S NOTE 2 German Publisher for Love Life SPRING 2019 As so often, this spring finds us looking both backward and for- tions to date to offer perspective and context for all those newly 3 Editor’s Note ward to striking developments in the Weill universe. Behind us intrigued by the work. Down in the Valley Re-Issue lies the MasterVoices production of Lady in the Dark, which Marc Blitzstein’s universe expanded this past season as well, © 2019 Kurt Weill Foundation for Music ISSN 0899-6407 Vive les Livres! proved to be everything Weill fans had been hoping for, greet- with the world premiere of the complete score of his ballet Cain. 7 East 20th Street tel (212) 505-5240 Rise of the City of Mahagonny ed by a rapturous press and prolonged ovations at each perfor- Our news section offers a brief account, along with a cornuco- New York, NY 10003-1106 fax (212) 353-9663 mance. Meanwhile, a new epoch in the history of one of Weill's pia of other stories, not least the results of the latest Lotte Lenya FEATURES [email protected] [email protected] best-known works, Die sieben Todsünden, begins on 21 Septem- Competition. We must also shoulder the sad duty of memorializ- ing three great artists who intersected with Weill, Len ya, or Blitz- 4 Raves for Lady ber at Beethovenfest Bonn, the world premiere of a new version Published twice a year, the Kurt Weill Newsletter features articles and reviews for an orchestra of fifteen musicians.
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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.
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