Today's twelve Region Finalists were selected last October from a group of about ninety singers who applied to audition for the National Council Eastern Region. Competitions like this are very important to young singers; not only does it give them the opportunity to perform in front of a group of knowledgeable judges who can give valuable feedback, but it also provides them with the opportunity to win award money. We asked today’s Region Finalists, "What does the MONC mean to you and your career?" “Whether we are in school or not, our singing schedules make for irregular free hours in the day, week, and year. As a result, finding steady work to feed these early years of the singing career is difficult. Competitions like the MONC can make a big difference in making ends meet.” - Joshua Arky “I'm really honored that I've been able to compete in the MONC auditions multiple times now. The prize money has helped further my career in countless ways, from helping me to afford lessons and coachings, and flights to more competitions and auditions, to getting valuable feedback from people who really know and understand the profession. Also any opportunity to get up and sing under pressure is always a valuable one that teaches you something important about yourself as a performer and as a person. It wasn't an immediate decision to become an opera singer, but a defining moment that made me decide to switch my major from theater to music occurred one day in the car with my parents. A recording of Joan Sutherland singing "Caro nome" came on the classical radio channel. It was the first time I'd heard opera music that I related to; it sounded like a range and style and character that my voice wanted to explore. I heard it and thought, "I want to do that. I want to sing that beautifully and tell stories with my voice." There are a few times I've seen performances that truly move me. It feels like time stands still; you're transfixed. You want to laugh and cry at the same time. Those are the kinds of experiences I want to give to people. I want to move people and excite them and make them feel alive, and that's why I sing.” - Katrina Galka “The MONC is a unique and astonishing entity within the already inimitable industry that is opera. The period known as the "young artist" phase is a very tricky one to navigate for every single rising talent. It is a period in which the wheat is separated from the chaff, and what we are left with is the next generation of working performers. The MONC offers world-class exposure as well as necessary, substantial financial support in each stage of the competition. It offers each singer a chance where they may not have been given one otherwise.” - Theo Hoffman "When I was in High School, I seriously considered becoming a pediatrician. I came to the realization that while medicine might be a more 'stable' career, it would not feed my soul the way Opera does. This career can be difficult and expensive, from voice lessons to fancy gowns, the necessities of striving for success in this field go on. I am so grateful to the people who support us as we reach for our dreams. That is what the MONC means to me: turning my dreams into reachable goals. For someone like me, this would remain a dream if not for all of your support. Thank you.” - Alaysha Fox “Back home in Vermont, while I was in High School, I began to study some German Lieder in my private voice lessons. I was so drawn into the process of studying classical music. The translation of texts and the vivid pictures painted by such masters as Schubert, Schumann and Brahms are images that I can draw actual life experiences from. The natural beauty of Vermont, the changing seasons and the appreciation of the little things that usually go unnoticed are things that I use in my artistic endeavors of classical vocal study. I am so grateful for opportunities to show my soul to an audience. The many years of study are very expensive, and coupled with lessons and vocal coaching, any help that we can get is very much appreciated. Every donation helps us to chase our dream of an operatic career. I am very excited to sing in the MONC Eastern Region Finals and grateful for what this organization provides towards fueling our young operatic careers.” - Christopher Colmenero “Singing in a competition is one of the best ways to hone my craft, because I focus so much on a small amount of music to get it just right. Any prize money won is often a reimbursement for what I’ve spent in preparation for the competition: voice lessons, coachings, travel expenses, and so much more. For singers living in New York, it is hard to live and work and still have time to practice and have coachings, so it is a huge blessing to get a little extra cash from a competition. For singers not living in New York, they have constant travel expenses back and forth for auditions. I recently made the plunge into Manhattan, and it’s definitely not easy. Lessons and coachings in the city range from $50-$250 each, and between application and pianist fees, each audition can be $60 or more. A little bit of money makes an enormous difference, and a lot of money from a competition can be a game-changer, putting a singer on track to great artist instead of starving artist. I know that for me, competition winnings always make a huge difference. Thank you so much for your support of young singers. We appreciate you so much!” - Amy Owens ! Region Finals 2016 Awards Please join us in the lobby for some snacks and refreshments while the judges deliberate; the winners will be announced on stage afterwards. In addition to prize money provided by the Eastern Region and fundraised through the generosity of attendees like you, we are also able to hand out the 1st Place Mrs. Edgar Tobin Award(s) provided by the Tobin Endowment, and the Mrs. Rohatyn Encouragement Award(s). We say award(s), because it is never known beforehand how many people will move on to the Semi-Finals, or even how many people will be receiving awards. The number of winners is up to the judges’ discretion, and they are free to pick as many winners as they see deserving. Donations are very important to the MONC Eastern Region as we are a volunteer based organization which fundraises separately from the Met. We are a 501(c)3 so your contributions are tax-deductible up to the amount allowed by law. If you have not made a donation and would like to do so, go to nycmonc.org/donate, or talk to one of the volunteers (we accept credit cards) or fill out a pledge card. Judges' Bios Paul Kilmer holds a Bachelor of Arts degree in Philosophy from the University of Missouri at St. Louis and pursued graduate studies in Historical Theology at the Divinity School of St. Louis University. Concurrently, he studied voice with Gertrude Ribla, Nicholas DiVirgilio, and Edward Zambara. He began his professional singing career in summer stock with the St. Louis Municipal Theatre Association, and later worked extensively for Young Audiences, Inc., and the Saint Louis Symphony Orchestra in bringing musical experiences to thousands of St. Louis area school children. In 1982, Mr. Kilmer was a Regional Finalist in the MONC Auditions, and in that same year began his association with Opera Theatre of Saint Louis, appearing in several mainstage and touring productions. In 1983, he performed with Opera Theatre of Saint Louis at the Edinburgh Festival, the first occasion in which an American opera company had been invited to participate in the renowned international festival. In 1984, Mr. Kilmer joined the administrative staff of Opera Theatre of Saint Louis assuming the duties of Artistic Coordinator. In the fall of that year, he was named Artistic Administrator of the company. Now in his thirty-second season with Opera Theatre of Saint Louis, he holds the title of Director of Artistic Administration. Mr. Kilmer is a frequent adjudicator for the Metropolitan Opera National Council Auditions. Gayletha Nichols, Executive Director Metropolitan Opera National Council Auditions, joined the artistic staff of the Metropolitan Opera in the fall of 2000 as Executive Director of the National Council Auditions. She brought to the Met two decades of experience as a singer, teacher and career advisor. From 1992-2000, she was Director of Houston Opera Studio, the young artist development program at Houston Grand Opera, where she created and individualized the training both for singers and pianists. Ms. Nichols auditions hundreds of singers across North America every year and in her travels addresses many universities, conservatories, and festivals on developing the next generation of opera singers. She is a frequent adjudicator in national and international competitions and consults for other young artist programs across the country. Craig Rutenberg, pianist, whose piano accompaniments have been praised for “sophisticated playing” and being “… his usual poetic self,”(NYT) as well as for “reinforcing every subtle impulse at the piano”, ( Financial Times), has collaborated with many of the world’s greatest vocalists and is recognized as one of the most distinguished accompanists on the stage today. Having studied piano and interpretation with John Wustman, Geoffrey Parsons, Pierre Bernac and Miriam Solovieff, Mr.