Manhattan School of Music Announces 2013–2014 season
opera highlights


The Mother of Us All – Music by Virgil Thomson; Libretto by Gertrude Stein
Conducted by Steven Osgood; Direction by Dona D. Vaughn
Wednesday, Friday and Sunday, December 11, 13 and 15, 2013

Orlando Paladino – Music by Franz Joseph Haydn; Libretto by Nunziato Porta
Conducted by Christian Capocaccia; Direction by Robin Guarino
Wednesday, Friday and Sunday, April 30, May 2, and 4, 2014


La Doriclea – Music by Francesco Cavalli; Libretto by Giovanni Faustini
Conducted by Jorge Parodi; Direction by Dona D. Vaughn
Wednesday through Saturday, March 26, 27, 28, and 29, 2014



Mass in B Minor by J.S. Bach
MSM Symphonic Chorus, Chamber Choir and MSM Symphony
Kent Tritle, Conductor
Wednesday, February 12, 2014

Mass by Igor Stravinsky; Le Roi David by Arthur Honegger
MSM Symphonic Chorus and Chamber Choir, Kent Tritle, Conductor
Friday, April 4, 2014

THOMAS HAMPSON to perform MAHLER’S Das Lied von der Erde
Sunday, February 23, 2014

MSM American Musical Theater Ensemble

Moving Right Along: The World of Jeff Blumenkrantz

Music Director, Shane Shag; Direction by Carolyn Marlow
Tuesday through Thursday, May 13, 14, and 15, 2014

August 15, 2013 – This season, Manhattan School of Music will present a season of Milestones, beginning with the arrival of MSM’s ninth president, James Gandre. Musical milestones will include The Manhattan School of Music Opera Theater, Dona D. Vaughn, Artistic Director, presenting The Mother of Us All by Virgil Thomson and Gertrude Stein, and Haydn’s Orlando Paladino, as well as the MSM Senior Opera Theater performing Francesco Cavalli’s La Doriclea. Thomas Hampson will join the MSM Symphony and Conductor George Manahan to perform Mahler’s Das Lied von der Erde. Kent Tritle will lead the MSM Symphonic Chorus and Chamber Choir with the MSM Symphony in Bach’s B Minor Mass as well as returning to the Borden stage with the MSM Symphonic Chorus and Chamber Choir showcasing Stravinsky’s Mass and Honegger’s Le Roi David. The American Musical Theater Ensemble will present Moving Right Along: The World of Jeff Blumenkrantz, conceived and directed by Carolyn Marlow.


The Mother of Us All
Music by Virgil Thomson; Libretto by Gertrude Stein
Conducted by Steven Osgood; Directed by Dona D. Vaughn
December 11, 13 and 15, 2013; Borden Auditorium

In 1945, Virgil Thomson was offered a commission to write an opera as recipient of the Alice M. Ditson Fund at Columbia University. He selected as his librettist Gertrude Stein, with whom he had collaborated in 1934, creating Four Saints in Three Acts. This second opera, The Mother of Us All, relates the story of Susan B. Anthony, leader of the woman’s suffrage movement, tracing her career from her initial struggles to her final victory. Gertrude Stein passed away on July 7, 1946 and this libretto would be her last completed work. The opera contains 26 characters including a number of historic figures. In addition to Susan B. Anthony(1820 – 1906), John Adams, Anthony Comstock, Ulysses S. Grant, Daniel Webster, President Andrew Johnson, Thaddeus Stevens, Lillian Russell, and Constance Fletcher all make an appearance, as well as Virgil T. and Gertrude S. who serve as narrators. The Mother of Us All is a singer’s opera with the phrasing and rhythms composed to communicate Stein’s libretto. The orchestration sets the mood, employing a plethora of hymn tunes, parlor songs, marches, waltzes and bugle calls.

Otto Luening conducted the premiere of The Mother of Us All to favorable reviews on May 7, 1947, at Columbia University’s Branders Matthews Hall. Productions that have been staged since its debut some sixty-five years ago include the 1976 Santa Fe Opera production with sets and costumes designed by Robert Indiana, conducted by Raymond Leppard, that showcased two of MSM’s voice faculty – Mignon Dunn singing the role of Susan B. Anthony, and Ashley Putnam in the role of Angel More. A production was staged in 1998 by Glimmerglass Opera with MSM alumna Joanna Johnston singing the title role. In 2000, Lauren Flanigan, another Manhattan School graduate, revived the role of Susan B. Anthony in the New York City Opera production conducted by George Manahan (MSM’s Director of Orchestral Activities) joined by MSM alumni, Tara Venditti in the role of Indiana Elliot and Matthew Chellis as John Adams. In 2003, the opera opened the San Francisco Opera’s 90th anniversary season.

The Manhattan School of Music Opera Theater’s production of The Mother of Us All has been made possible by a grant from the Vigil Thomson Foundation, Ltd.

Synopsis, by Maurice Grosser

Act 1, Scene 1: Susan B. Anthony and her devoted companion Anne are shown at home. Anne is knitting; Susan B. is pasting clippings into a scrapbook. Gertrude S. and Virgil T. also appear as narrators.

Act 1, Scene 2: A political meeting takes place, at which Webster Johnson, Adams, Grant, Comstock, and Stevens are all present. Jo the Loiterer and Chris the Citizen also appear, mocking the politician’s solemnity. Susan B. introduces herself to the assembly, and she and Daniel Webster debate.

Act 1, Scene 3: A public square in front of Susan B. Anthony’s house. Thaddeus Stevens argues with Andrew Johnson; there is a flowery love scene between John Adams and Constance Fletcher. Jenny Reefer begins waltzing with Herman Atlan, and everyone joins in the dance.

Act 1, Scene 4: Susan B. Anthony meditates on the difficulties of her mission.

Act 1, Scene 5: Jo the Loiterer and Indiana Elliot are to be married. John Adams courts Constance Fletcher, Daniel Webster (who is to perform the ceremony) addresses Angel More in sentimental language. Indiana’s brother bursts in, wishing to prevent the marriage, and Susan B. explains what marriage means to women. General Grant calls for order, and Jo teases him for his pomposity. It seems that the wedding is all but forgotten, but finally Daniel Webster blesses the couple and Susan B. foretells that all of their children, men and women, will have the vote.

Act 2, Scene 1: Susan B.’s home. Susan B. is doing housework when she learns that she will be asked to address a political meeting. Jo the Loiterer complains that Indiana Elliot refuses to take his last name. When Susan B. is invited to speak, she declines, then agrees, hesitates again, but finally goes off to the meeting.

Act 2, Scene 2: The meeting has taken place and Susan B. returns home triumphantly. She has spoken so convincingly that the politicians, now afraid of the women’s suffrage movement, have written the word “male” into the Constitution in order to make it impossible for women to vote. Indiana Elliot has decided to take Jo’s last name, and he will take hers; they will become Jo Elliot and Indiana Loiterer. Everyone congratulates Susan B. for her leadership.

Act 2, Scene 3 (Epilogue): Some years later, a statue of Susan B. Anthony is to be unveiled at the U.S. Capitol. The characters gather for the ceremony, with Anne as guest of honor. Susan B. enters as a ghost, though Anne does not see her. Constance Fletcher appears, now almost blind. Other characters talk about women’s suffrage, or burst in tipsily. The ceremony threatens to get out of hand. Suddenly, Virgil T. unveils the statue. The women lay wreaths at the base of the pedestal. All slowly depart. Alone, Susan B. Anthony (as the statue) sings of the struggles and lessons of her long life.

Virgil Thomson, b. November 26, 1896 – d. September 30, 1989, grew up in Kansas City, Missouri beginning piano studies at age 5. In the early 1920’s he attended Harvard University where he sang in the Harvard Glee Club and became acquainted with Erik Satie’s piano music (which would become a lifelong passion) as well as Gertrude Stein’s early prose work Tender Buttons. From 1925 to 1940, he resided in Paris where he met James Joyce, Ernest Hemingway, e.e. Cummings, Aaron Copland, Igor Stravinsky, Pablo Picasso, Orson Welles, and Gertrude Stein, among others. He studied with Nadia Boulanger and published a book, The State of Music. He remained in Paris until the Nazi occupation. After moving to New York, he worked as chief music critic of the New York Herald Tribune and as a conductor and composer for theater and film. He was a mentor to composers such as Ned Rorem, Paul Bowles and Leonard Bernstein.

Gertrude Stein, b. February 3, 1874 – d. July 27, 1946, was born in West Allegheny (Pittsburgh), Pennsylvania and raised in Oakland, California. In 1903, she moved to Paris where she lived and wrote until her death. Her home on the Left Bank would become renowned as a gathering place for other expatriate American writers, artists, and others in the world of arts and letters. In 1933, she published a best-selling memoir titled, The Autobiography of Alice B. Toklas. Best known as a strikingly original writer who experimented with literary conventions, Stein was also an American art collector.


Steven Osgood, Conductor
Steven Osgood is a sought after conductor throughout North America, having proven his expertise in repertoire ranging from the Baroque through this century’s most challenging scores. He conducted the world premieres of Tan Dun’s Peony Pavilion, Jonathan Sheffer’s Blood on the Dining Room Floor, Janice Hamer‘s Lost Childhood, Paula Kimper‘s Patience and Sarah, Xenakis’s Oresteia, and Missy Mazzoli‘s Song from the Uproar. In November 2012, he made his debut with Sarasota Opera leading the world premiere of Daron Hagen’s Little Nemo in Slumberland.

Maestro Osgood is former Artistic Director of American Opera Projects where he created the company’s nationally recognized Composers and the Voice Workshop Series. Additionally, he led workshops of dozens of works in development, including Herschel Garfein’s Rosencrantz and Guildenstern are Dead, Tarik O’Regan’s Heart of Darkness, Conrad Cummings’ The Golden Gate, and Séance on a Wet Afternoon by Stephen Schwartz. Maestro Osgood joined the music staff of the Metropolitan Opera in 2006 as Assistant Conductor for the world premiere of Tan Dun’s The First Emperor, and added productions of La Traviata, Nixon in China, and Phillip Glass’ Satyagraha in subsequent seasons. In recent seasons he conducted productions with De Nederlands Opera, Ft. Worth Opera Festival, New York City Opera, Wolf Trap Opera, Opera Memphis, Edmonton Opera, Chautauqua Opera, and Juilliard Opera. Maestro Osgood has led concerts with the ICE Ensemble, Chautauqua Symphony, Kitchener-Waterloo Symphony and Wintergreen Festival Orchestra. In 2012/13 he served on the review board for Fort Worth Opera’s Frontiers program, which is designed to identify and introduce new,
unpublished operatic compositions.

Steven Osgood’s long relationship with Manhattan School of Music has included productions of Lukas Foss’ Griffelkin and Lee Hoiby’s A Month in the Country and Summer and Smoke. Recordings of both Hoiby operas are available on Albany Records.

Dona D. Vaughn, Stage Director
Dona D. Vaughn, Artistic Director of Opera Programs at Manhattan School of Music, also serves as Artistic Director of PORTopera, a summer festival in Portland, Maine. From 1998 to 2010 she was Stage Director/Acting Coach for The Metropolitan Opera’s Lindemann Young Artist Development Program. A graduate of Brevard College (voice) where she currently serves on the board of trustees, she received her BA in music (vocal performance) from Wesleyan (Outstanding Alumni Award), an MA in theater (directing) from Hunter College, and an honorary doctorate of music from the University of Southern Maine. She studied acting with Lee Strasberg and Uta Hagen, and dance with Martha Graham. She began her career as a performer in the original Broadway productions of Company, Jesus Christ Superstar, and Seesaw. She was Assistant to Producer Kermit Bloomgarden for the Broadway productions of Equus and Hot l Baltimore, Associate Producer for Pavel Kohout’s Poor Murderer and ABC Television’s All My Children, Dramaturge for the O’Neill Conference on Opera and Musical Theater, HB Playwright’s Unit, and the University of Kansas New Play Season, and Assistant Director for the original production of Tennessee Williams’s Red Devil Battery Sign.

Directing credits include New York City Opera, Michigan Opera Theater, Wolf Trap, Palm Beach Opera, Ensemble Studio Theater, Lincoln Center Playwrights’ Festival, New York Repertory Company, Kennedy Center, Minerva Productions, Peterloon Festival, Heritage Theater (Calgary, Canada), DiVivreVoix (Vivonne, France), Florida Arts Festival, and many colleges and universities across the country. She directed the premieres of Roberto Hazon’s L’Agenzia Matrimoniale, Robert Sirota’s Holy Women, Francis Thorne’s Mario and the Magician, Ray Luc’s Drowne’s Wooden Image and The Bullfrog, New York premieres of Milton Granger’s Talk Opera and The Proposal, the Off-Broadway production of Murphy Guyer’s World of Mirth, and the European premiere of Carlisle Floyd’s The Flower and the Hawk. Formerly a member of the voice faculties at SUNY-Plattsburgh and Marymount Manhattan College, she often conducts master classes across the U.S., Asia, and Europe, and serves as an adjudicator for vocal competitions including The Metropolitan Opera National Council, The Richard Tucker Foundation, Denver Lyric Opera, Palm Beach Opera, The Jenson Foundation, The Opera Theatre of Saint Louis Artist-in-Training Program, and Premio Spiros Argiris International Competition (Italy). She has written for Opera News and Italy’s Musicale!

Manhattan School of Music Opera Theater productions she has directed include the Weill/Brecht Aufstieg und Fall der Staat Mahagonny (2013); Cosi fan tutte (2011); Lee Hoiby’s Summer and Smoke (2010), Mozart’s Le nozze di Figaro (2010) Johann Strauss’ Die Fledermaus (2009) and Britten’s A Midsummer Night’s Dream (2003). With the MSM Senior Opera Theater she has directed Offenbach’s Orphée aux enfers (2013); Schubert’s Die Verschworenen (2012); Giovanni Paisiello’s Nina (US premiere, 2011); Handel’s Il Pastor Fido (2010), Britten’s The Beggar’s Opera (2009) and Purcell’s Dido and Aeneas (2008).

Orlando Paladino
Music by Franz Joseph Haydn; Libretto by Nunziato Porta
Conducted by Christian Capocaccia; Direction by Robin Guarino April 30, May 2, and 4, 2014; Borden Auditorium

Orlando Paladino, described as a drama eroicomico was composed in 1782, and was Franz Joseph Haydn’s most famous opera during his lifetime. Set in three acts, its libretto by Nunziato Porta is based on another libretto by Carlo Francesco Badini, Le pazzie d’Orlando, that was the inspiration of the poem, Orlando furioso by Ariosto. The cast includes: three sopranos – Alcina, a sorceress; Angelica, Queen of Cathay; and Eurilla, a shepherdess; four tenors – Medoro, in love with Angelica; Licone, a shepherd; Orlando, Paladin of France; and Pasquale, Orlando’s squire; and two basses – Caronte (Charon), a ferryman to the underworld, and Rodomonte, King of Barbaria. Shepherds, shepherdesses, spectres, savages and Saracens make up the chorus. The orchestra is scored for flute, two oboes, two bassoons, two horns/trumpets, timpani, strings and continuo.

Act 1: The shepherdess Eurilla and her father Licone are alarmed that the warrior Rodomonte, the King of Barbaria, is near and is trying to protect the Lady Angelica from the Knight Orlando, a madman, who is consumed by passion and jealousy over Angelica’s love for Medoro. Angelica and Medoro are worried that Orlando will harm them. A powerful sorceress, Alcina, is there to protect Angelica. In a forest, Pasquale, Orlando’s squire, is discovered by Rodomonte who is distracted by Eurilla. Pasquale and Eurilla are attracted to one another. All of the characters meet in a garden. Medoro swears his fidelity to Angelica but despite her protests suggests that for her own safety he should leave her for a time. When they have gone, Orlando appears, cursing the obsession that drives him on, convinced that Medoro is the only obstacle to the fulfillment of his love. Rodomonte is still in pursuit of Orlando and narrowly misses him when he arrives to interrogate Eurilla about Medoro’s whereabouts. Angelica’s fearful premonitions are interrupted by Pasquale and Eurilla, who warn her of Orlando’s approach. Rodomonte joins them, still eager to fight Orlando. Alcina appears and reassures the lovers, while warning Rodomonte that he cannot defeat Orlando. Orlando bursts in raving, but Alcina magically immobilizes him and imprisons him in an iron cage.

Act 2: Rodomonte is about to attack Orlando, but Eurilla appears bringing news that Medoro and Angelica have fled. Orlando dashes off in pursuit. The lovers, Angelica and Medoro, have been separated and both fear for each other. Eurilla tries to comfort Medoro and Pasquale enters. In the meantime, Angelica laments her suffering and Alcina assures her that when she seeks death, she will find love. As Angelica is about to throw herself into the sea in despair, Alcina’s magic transports her to Medoro’s presence and they re-affirm their love. Orlando and Pasquale arrive in search of Alcina, and she responds by turning him into stone. Angelica, Medoro, Eurilla and Rodomonte enter, and Alcina restores Orlando to his human state as a madman.

Act 3: Orlando finds himself at the river Lethe that leads to the underworld. He encounters Charon, who watches over the sleeping Orlando. Alcina commands him to wash away Orlando’s madness with water from the river of forgetfulness, and Orlando wakes up confused. Angelica, convinced that Medoro is dead, is pursued by wild savages. Medoro returns. Rodomonte and Orlando enter, now comrades. The river Lethe has cured Orlando and he has forgotten about Angelica and Medoro. Angelica and Medoro can love one another without fear, Pasquale and Eurilla are united, and Orlando is a hero.


Christian Capocaccia, Conductor
Italian conductor Christian Capocaccia has distinguished himself as an artist of keen insight and musicianship. Last season, Mr. Capocaccia assumed the post of Music Director of the Stamford Young Artists Philharmonic, led performances of Bellini’s I Capuleti e I Montecchi with ASLICO (Associazione Lirica e Concertistica Italiana), at Dallas Opera conducted a concert of opera arias and performances of Bizet’s Dr. Miracle, led the final performances of I Capuleti in Pavia, and covered performances of Rossini’s Mosé in Egitto with the New York City Opera. Also in 2012, Mr. Capocaccia led rehearsals of Golijov’s La Pasión según San Marcos for its Argentine premiere at the Teatro Colón.

In 2011 he concluded three years as assistant conductor with Dallas Opera. He served as resident conductor at Bard College with the American Symphony Orchestra. Mr. Capocaccia attended The Aspen Music Festival as a conducting fellow, where he served as a cover conductor for the production of Rossini’s La Cenerentola and conducted many concerts under the supervision of David Zinman and Murry Sidlin. Former positions include assistant conductor and Italian diction coach at the Indiana University Opera Theatre, assistant conductor of the IU New Music Ensemble, and assistant conductor and assistant professor of conducting at the State University of New York College at Fredonia.

Christian Capocaccia was born in Rome and began studying the violin at age 9. He attended the Santa Cecilia Music Conservatory and earned his Diploma under Paolo Ciociola. A graduate of Indiana University Jacobs School of Music under David Effron, he has participated in master classes with Herbert Blomstedt, Gustav Meier and Leonard Slatkin. At Manhattan School of Music he was conductor of the November 2011 MSM Opera Theater presentation, “Of Love and Loss.”

Robin Guarino, Stage Director
For the 2013-14 season, Robin Guarino will be directing the world premiere of Lembit Beecher’s opera, I have no stories to tell, in a double bill with Monteverdi’s Il Combattimento di Tancredi e Clorinda, produced by Gotham Chamber Opera. She will also stage a production of L’Etoile for the Cincinnati College-Conservatory of Music, where she holds the J. Ralph Corbett Distinguished Chair of Opera. She joins Maestro James Levine at the Metropolitan Opera for the HD production of Mozart’s Cosi fan tutte as well as a revival of her staging of Der Rosenkavalier. In the summer of 2014 she will direct a new production of Poulenc’s Dialogues of the Carmelites for the Opera Theatre of Saint Louis.

A proponent of contemporary opera, Ms. Guarino is Co-Artistic director and founder of Opera Fusion: New Works, a collaboration between CCM Opera and the Cincinnati Opera, that cultivates, develops and workshops new operas. As part of OFNW she developed and directed the first workshop for the opera, Doubt, working with composer Doug Cuomo and librettist and playwright, John Patrick Shanley.

In 2010, Ms. Guarino returned to the Metropolitan Opera to direct the HD production of Der Rosenkavalier and Cosi fan tutte with renowned Baroque interpreter, William Christie. In 2008, she made her BAM Next Wave Festival debut directing Douglas Cuomo’s Arjuna’s Dilemma, a multimedia oratorio. Additional directing credits include Handel’s Giulio Cesare in Egitto for Glimmerglass Opera, Aida and Handel’s Giulio Cesare in Egitto for Seattle Opera, Rossini’s Il Signor Bruschino as well as the American premiere of Sutermeister’s Die Schwarze Spinne for New York’s Gotham Chamber Opera, Le nozze di Figaro at the Metropolitan Opera, Chabrier’s L’Etoile at Wolf Trap Opera, and Carly Simon’s Romulus Hunt at Opera Company of North Carolina. Additionally, she directed “Six Ten-Minute Operas I & II” for the EOS Orchestra. She has also developed work with composers Libby Larsen, Ricky Ian Gordon, Jonathan Sheffer, Martin Hennessey, Jonathan Eaton, Deborah Drattell, and Brian Fitz Patton, as well as with librettists Philip Littell and Mark Campbell.

A distinguished alumna of Bard College, Ms. Guarino has collaborated with Leon Botstein and the American Symphony Orchestra/Bard Music Festival on numerous productions including her staging of Janácek’s Diary of One Who Vanished, Schumann’s Manfred, Orff’s Carmina Burana (Avery Fisher Hall) and Janácek’s From the House of the Dead (Alice Tully Hall). In addition to her career directing opera and theater, Ms. Guarino has produced and directed four independent films and has been the recipient of numerous grants, awards and fellowships.


La Doriclea
Music by Francesco Cavalli; Libretto by Giovanni Faustini
Conducted by Jorge Parodi; Direction by Dona D. Vaughn
March 26 - 29, 2014 (Wednesday - Saturday at 7:30 p.m.); Ades Performance Space

Francesco Cavalli’s La Doriclea, with a libretto by Giovanni Faustini, is in three acts with a prologue. It was first performed in 1645 at the Tetro San Cassiano in Venice.

Francesco Cavalli, b. 1602 in Crema, Lombardy – d. 1676 in Venice, was a student of Monteverdi. His real name was Pietro Francesco Caletti-Bruni (Cavalli was the name of his patron, a Venetian nobleman). A versatile musician, he was a singer, organist, and maestro di cappella at St. Mark’s in Venice. Cavalli is best remembered as the composer of thirty-three operas. His first theatrical work or opera, Le nozze di Teti e di Peleo was composed in 1639 soon after the opening of Venice’s first public opera house. He called it an “opera-scenica” (“scenic work”) that was later shortened to “opera.” Cavalli is also credited with introducing the “bel canto” style of singing. In 1660 and 1662, he went to Paris for stagings of his operas, Xerxes and Ercole amante. Following Monteverdi’s death, Cavalli became mid-seventeenth century Venice’s most influential opera composer.


Jorge Parodi, Music Director/Conductor
Argentinean conductor Jorge Parodi has worked as conductor, coach, or repetiteur at the Teatro Colón (Buenos Aires), the Banff Centre (Canada), SIVAM (Mexico), Opera Tampa, Opera Company of Philadelphia, Connecticut Grand Opera, Lake George Opera Festival, and New York University. He has collaborated with Tito Capobianco, Sherrill Milnes, Julius Rudel, and Rufus Wainwright and was assistant conductor to Maestro Lorin Maazel at the Castleton Festival in Virginia.

As Music Director of the Senior Opera Theater at Manhattan School of Music, he has conducted productions to critical acclaim. The New York Times praised the production of Schubert’s Die Verschworenen as “superbly performed” and said of the U.S. premiere of Paisiello’s Nina, “the opera played beautifully, with graceful music throughout, sonorous choruses and a radiant finale.” Also at Manhattan School of Music, he has led the Graduate Opera Scenes program and conducted historically informed performances of Cavalli’s La Calisto and Monteverdi’s L’incoronazione di Poppea at the MSM Summer Voice Festival.

Maestro Parodi was recently appointed Artistic Director of Opera Hispánica. Last season marked the company’s inaugural Opera Hispánica Festival, in which he performed with Eglise Gutiérrez and Isabel Leonard and conducted OH’s production of Piazzola’s Maria de Buenos Aires at (le) poisson rouge.

Mr. Parodi is Vocal Coach of the Juilliard School’s Pre-College Division and a faculty member of V.O.I.C.Experience, a vocal workshop under the direction of Sherrill Milnes. He has been a long-time faculty member of the International Vocal Arts Institute, where he taught at the Nagano Opera Master Class (Japan) and the inaugural opera master class in conjunction with China National Opera (Beijing). He has offered master classes at the Instituto Superior de Arte del Teatro Colón (Buenos Aires) and the Escuela Superior de Canto (Madrid).

A prizewinner at the Bienal de Arte of Buenos Aires, Mr. Parodi completed studies in conducting and piano performance at the Conservatorio Nacional de Música of Buenos Aires. He holds a Master’s degree in accompanying and chamber music from the University of Michigan as a full-scholarship student of Martin Katz. He participated in the recording of the complete edition of music for piano by Muzio Clementi with the German label Aurophon and is featured in recordings for Albany Records and MSR Classics.


“Love and Other Mistakes”
Conducted by Marcello Cormio; Direction by Richard Gammon
November 22 and 24, 2013

Manhattan School of Music presents its annual opera scenes program, “Love and Other Mistakes,” on Friday, November 22 at 7:30 p.m. and Sunday, November 24 at 2:30 p.m. Conducting will be Marcello Cormio and direction will be by Richard Gammon.


Marcello Cormio, Conductor
A native of Italy, Marcello Cormio has appeared with orchestras throughout the United States and Europe, Bay View Festival and at Indiana’s Jacobs School of Music, where he earned his Master of Music degree in Instrumental Conducting under the tutelage of David Effron and Arthur Fagen. Mr. Cormio has led productions of Die Zauberflöte and Gounod’s Romèo et Juliette with the University of Kentucky Opera Theatre, where he serves as assistant conductor, chorus master, coach and rehearsal pianist For four years, he was on the staff of the Indiana University Opera Theatre and, in 2011 and 2012, served as music director of the Summer Opera Workshop at IU. In 2010, he was appointed first assistant conductor and cover conductor at Sarasota Opera. He served as conductor and music director of Italy’s Contemporary Music Ensemble “Makrokosmos” as well as collaborator to Thomas Pasatieri, conducting his “Symphony No. 1” on a tour. In 2006, Mr. Cormio was a Rotary Foundation Ambassadorial Scholar, which brought him to the United States.

Richard Gammon, Stage Director
Richard Gammon is a Filipino-American stage director based in New York City. Productions include five one-act operas, Hand of Bridge, Gallantry, Hin und zurück, La Divina, and Jake Heggie’s Again with the Wolf Trap Opera Studio (Directing Fellow 2009); Much Ado About Nothing (Globe Players) for the 50th anniversary season of the Kentucky Shakespeare Festival; and the world premieres of two of Jorge Sosa’s operas, The Lake (Artsounds, Kansas City) and Tonatzín; as well as a staging of Sosa’s electronic opera The Calling (Union Station, Kansas City). Richard has worked with Opera Theatre of Saint Louis, Michigan Opera Theatre, Fort Worth Opera, Lyric Opera of Kansas City, Virginia Opera, Opera North, Ash Lawn Opera Festival, PORTopera, and the National Asian Artists Project. He received a Bachelor of Music in Vocal Performance at the New England Conservatory of Music and an Artist Diploma at the University of Missouri, Kansas City.


Thursday, April 10, 2014, Ades Performance Space

Manhattan School of Music will be holding the Alan M. and Joan Taub Ades Vocal Competition for a fifth year on Thursday, April 10, 2014. This competition has been made possible by Mr. and Mrs. Ades to encourage and foster the most promising and deserving young singers at MSM. The $20,000 first-place cash award, $10,000 second-place cash award, and $5,000 third-place cash award are given to provide career-entry funding for graduating singers of outstanding professional potential in opera who do not plan to pursue additional degree or diploma programs for the next two years. In addition, they must be ready to launch a professional career. The funding may be used to support career advancement in any area including private instruction (vocal technique, coaching, diction, movement, acting, audition prep); physical conditioning; creation of a recording demo or debut CD; accompanist’s fees; agent’s fees; professional travel; living expenses during professional internship; and wardrobe.

Past recipients of the first-place award have included baritone Yungpeng Wang (2013); soprano Andrea Carroll (2012); baritone Joo Won Kang, mezzo-soprano Samantha Korbey and baritone Robert Mellon in a three-way tie (2011); and soprano Lori Guilbeau (2010). The judges for the 2013 Ades Vocal Competition included
F. Paul Driscoll, editor-in-chief of Opera News, and sopranos Diana Soviero and Lauren Flanigan.


September 25, Wednesday Lauren Flanigan
Greenfield Recital Hall, 4:00 p.m.
October 23, Wednesday Craig Rutenberg
Greenfield Recital Hall, 4:00 p.m.

November 13, Wednesday Diana Soviero
Miller Recital Hall, 4:00 p.m.

January 15, Wednesday Martin Katz
Miller Recital Hall, 4:00 p.m.

January 22, Wednesday Dwayne Croft

Greenfield Recital Hall, 4:00 p.m.
March 19, Wednesday Thomas Hampson
This master class, made possible with support by the A.L. and Jennie L. Luria Foundation, will be streamed live at
Greenfield Recital Hall, 4:00 p.m.

April 16, Wednesday Stephanie Blythe

Greenfield Recital Hall, 4:00 p.m.


Recognized as one of the foremost opera training programs in the world, Manhattan School of Music’s Opera Program attracts some of the most talented young singers from the United States and more than forty countries. Students in the program refine their technique and develop artistry under the guidance of a faculty of eminent artist-teachers while gaining exposure before New York City audiences through performances in opera scenes, community outreach programs, and two fully staged productions each year.

The Manhattan School of Music Opera Program has a long and proud tradition of producing some of the finest operatic artists in America and abroad. The School’s opera productions have been praised as a significant contribution to operatic life in New York City, and many students have gone on to major careers. Among notable alumnae are sopranos Pamela Armstrong, Elaine Alvarez, Alexandra Deshorties, Lauren Flanigan, Olivia Gorra, Kathleen Kim, Catherine Malfitano, Tonna Miller, Laquita Mitchell, and Dawn Upshaw; mezzo-sopranos Kate Aldrich, Beth Clayton, Jennifer Dudley, Susan Graham, and Dolora Zajick; countertenor Anthony Roth Costanzo; tenors Matthew Chellis and Brandon Jovanovich; and baritone Scott Altman. Opera conductors George Manahan and Israel Gursky, as well as Margaret Juntwait, the first woman announcer and voice of the Metropolitan Opera broadcast, are also graduates.

The Manhattan School of Music Opera Theater has issued a vast discography including Lee Hoiby’s Summer and Smoke (world premiere recording, Steven Osgood, conductor, Albany Records, 2011); John Musto’s Later the Same Evening (world premiere recording, Michael Barrett, conductor, Albany Records, 2009); Gustav Holst’s Savitri (Glen Barton Cortese, conductor, Phoenix USA Label, 2006); Lee Hoiby’s A Month in the Country (world premiere recording, Steven Osgood, conductor, Albany Records, 2005); Louis Spohr’s Beauty and the Beast (Christopher Larkin, conductor, Albany Records, 2005); Thomas Pasatieri’s The Seagull (world premiere recording, David Gilbert, conductor, Albany Records, 2003); Robert Ward’s Roman Fever (world premiere recording, David Gilbert, conductor, Albany Records, 2002); Scott Eyerly’s The House of Seven Gables (world premiere recording, David Gilbert, conductor, Albany Records, 2001); William Mayer’s A Death in the Family (world premiere recording, David Gilbert, conductor, Albany Records, 2000); Leonard Bernstein’s Trouble in Tahiti (Glen Barton Cortese, conductor, Newport Classic, 1999); Gaetano Donizetti’s Il campanello di note (Christopher Larkin, conductor; Newport Classic, 1997); Daniel Catan’s Rappaccini’s Daughter (world premiere recording, Eduardo Diazmunoz, conductor, Newport Classic, 1997); Benjamin Britten’s Albert Herring (David Gilbert, conductor, VOX Classics, 1997); and Ned Rorem’s Miss Julie (David Gilbert, conductor, Newport Classic, 1995).

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Mass in B Minor
Music by J.S. Bach
MSM Symphonic Chorus, Chamber Choir and MSM Symphony
Conducted by Kent Tritle
Wednesday, February 12, 2014; Borden Auditorium

On Wednesday, February 12 the MSM Symphonic Chorus and Chamber Choir will be joined by the MSM Symphony, conducted by Kent Tritle, to perform J.S. Bach’s Mass in B Minor in the School’s Borden Auditorium.

Bach’s B Minor Mass was completed in 1749, a year before his death, and was his last major composition to be performed in totality during his lifetime. The B Minor Mass, a musical setting of the complete Latin Mass, received its first documented complete performance in 1859 in Leipzig. The first complete recording was made in 1929 with a large choir and the London Symphony Orchestra conducted by Albert Coates.

Bach’s Mass in B Minor is regarded by scholars as in the same category as The Art of Fugue. The renowned Bach scholar Alberto Basso writes, “The Mass in B Minor is the consecration of a whole life: started in 1733 for ‘diplomatic’ reasons, it was finished in the very last years of Bach’s life, when he had already gone blind. This monumental work is a synthesis of every stylistic and technical contribution the Cantor of Leipzig made to music. But it is also the most astounding spiritual encounter between the worlds of Catholic glorification and the Lutheran cult of the cross.”

Mass by Igor Stravinsky paired with Le Roi David by Arthur Honegger
MSM Symphonic Chorus and Chamber Choir
Conducted by Kent Tritle
Friday, April 4, 2014; Borden Auditorium

A double-bill of Igor Stravinsky’s Mass paired with Arthur Honegger’s Le Roi David will be presented by the MSM Symphonic Chorus and Chamber Choir, accompanied by a chamber ensemble, performed under the baton of Kent Tritle on Friday, April 4, 2014, in Borden Auditorium.

Stravinsky composed his Mass, a setting of the Roman Catholic Mass, between 1944 and 1948. During this time, he also composed his Symphony, Ebony Concerto, Concerto in D and ballet Orpheus, setting aside the writing of his Mass for several years. The first performance of Stravinsky’s Mass took place in Milan on October 27, 1948, conducted by Ernest Ansermet, leading members of La Scala’s chorus and orchestra.

Igor Stravinsky said to Robert Craft, “My Mass was partly provoked by some Masses of Mozart that I found in a secondhand store in Los Angeles in 1942 or 1943. As I played through these rococo-operatic sweets-of-sin, I knew I had to write a Mass of my own, but a real one.”

Arthur Honegger’s Le Roi David, composed in 1921 in Mézières, Switzerland, has been categorized as an
oratorio or dramatic psalm, separated into twenty-seven movements. Its libretto is by René Morax and tells the biblical story of King David’s life, beginning when he was a shepherd, to his conquests in battle with the Philistines and rise to power, his lust for Bathsheba, his agony over his son’s death, his disobedience to God, and his own death. Its orchestration uses flutes, oboes, clarinets, bassoons, horns, trumpets, trombones, tuba and percussion playing different musical styles – from Gregorian chant to Baroque and jazz. In addition to the chorus, the work also requires soprano, alto, tenor and boy soprano soloists, a narrator and actress.

Symphony No. 9 in D Minor by Ludwig van Beethoven
MSM Symphonic Choir with the New York Philharmonic
Conducted by Alan Gilbert
October 3 – 9, 2013; Avery Fisher Hall

The MSM Symphonic Choir, directed by Kent Tritle, will be joining the New York Philharmonic in Avery Fisher Hall for performances of Beethoven’s Symphony No. 9 in D Minor. The concerts will take place Thursday, October 3 (7:30 p.m.); Friday, October 4 (8:00 p.m.); Saturday, October 5 (8:00 p.m.); Tuesday, October 8 (7:30 p.m.); and Wednesday, October 9 (7:30 p.m.). Tickets are priced at $38 to $125. For information, call 212 875 5656.


Kent Tritle, Conductor
Kent Tritle is one of America’s leading choral conductors. Called “the brightest star in New York’s choral music world” by the New York Times, he is Director of Cathedral Music and Organist at the Cathedral of St. John the Divine in New York City. The 2013–14 season marks his seventh season as Music Director of Musica Sacra, the longest continuously performing professional chorus in New York, and his ninth season as Music Director of the Oratorio Society of New York, the acclaimed 200-voice volunteer chorus.

In addition, Mr. Tritle is Director of Choral Activities at Manhattan School of Music and a member of the graduate faculty of the Juilliard School. He is the host of the weekly radio show “The Choral Mix with Kent Tritle,” a weekly hour-long radio program on New York’s Classical 105.9 WQXR and devoted to the vibrant genre of choral music and the breadth of activity in the choral community. An acclaimed organ virtuoso, he is also the organist of the New York Philharmonic and the American Symphony Orchestra.

Highlights of Mr. Tritle’s 2012–13 season included performances of Bach’s Mass in B Minor, Vaughan Williams’s Mass in G Minor, and Fauré’s Requiem as part of the Great Music in a Great Space series at the Cathedral of St. John the Divine; Britten’s War Requiem, in the composer’s centennial year, and the New York premiere of Moravec’s Blizzard Voices with the Oratorio Society of New York; performances with Musica Sacra of Haydn’s Lord Nelson Mass, Beethoven’s Choral Fantasy, and Magnificat settings from Monteverdi and Arvo Pärt; and concerts with the choral forces of the Manhattan School of Music, including performances of Mendelssohn’s Elijah and Monteverdi’s Vespers of 1610. In addition, he is the chorus director of the Carnegie Hall National High School Choral Festival, guiding three choruses from high schools across the country in Mozart’s Requiem.

In more than 150 concerts presented by the Sacred Music in a Sacred Space series from 1989 to 2011, Mr. Tritle conducted the Choir and Orchestra of St. Ignatius Loyola in a broad repertoire of sacred works, earning praise for building the choir and the concert series into one of the highlights of the New York concert scene. From 1996 to 2004, he was Music Director of the Emmy-nominated Dessoff Choirs.

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The Manhattan School of Music Symphonic Chorus is primarily made up of freshmen and sophomores. The Symphonic Chorus has performed Haydn’s Creation, Brahms’s Ein Deutsches Requiem, Prokofiev’s Alexander Nevsky, Mozart’s Requiem, Schubert’s Mass in G, Poulenc’s Gloria under the baton of Philippe Entremont at the Cathedral of St. John the Divine, and the premiere of David Briggs’s transcription for organ, and chorus, as well as soloists of Mahler’s Second Symphony. Members of the Symphonic Chorus joined the New York City Opera in April 2013 in a performance of Rossini’s Mosé in Egitto at City Center.

The Manhattan School of Music Chamber Choir is the school’s premier choral ensemble. Led by Director of Choral Activities Kent Tritle since 2008, the ensemble has been featured at the Kennedy Center for the Performing Arts in Washington, D.C., as part of the Conservatory Project, and has sung with the New York Philharmonic in performances of Walton’s Henry V, the Act I Finale of Mozart’s Don Giovanni, and Charles Ives’s Symphony No. 4. The Chamber Choir also appeared last season at the Cathedral of St. John the Divine performing Monteverdi’s Vespers of 1610.

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Das Lied von der Erde
Music by Gustav Mahler
Thomas Hampson, soloist; MSM Symphony
Conducted by George Manahan
Sunday, February 23, 2014

Thomas Hampson performs Gustav Mahler’s Das Lied von der Erde (“The Song of the Earth”) with the MSM Symphony conducted by George Manahan on Sunday, February 23, 2014 at 2:30 p.m. in Borden Auditorium.

Das Lied von der Erde consists of six independent songs (or movements) and is scored for Tenor and Alto (or Baritone) Voice and Orchestra after Hans Bethge’s “Die chinesische Flöte” (“The Chinese Flute”) published in 1907. It is his first complete “song-symphony” combining a complete song cycle and symphony orchestra. The work was composed in 1908-09 following Mahler’s Eighth Symphony.

Its first performance, conducted by Bruno Walter, took place on November 20, 1911 in the Tonhalle in Munich. Soloists included Sara Cahier and William Miller. Bruno Walter said of Das Lied von der Erde, it is “the most personal utterance among Mahler’s creations, and perhaps in all music” and Leonard Bernstein hailed it on one of his Young People’s concerts as “Mahler’s greatest work.”


Thomas Hampson

Thomas Hampson enjoys a singular international career as a recitalist, opera singer, and recording artist and maintains an active interest in teaching, research, and technology. He has performed in all the world’s most important concert halls and opera houses with many renowned singers, pianists, conductors, and orchestras. Praised by the New York Times for his “ceaseless curiosity,” he is one of the most respected, innovative, and sought-after soloists performing today.

Hampson has won worldwide recognition for his thoughtfully researched and creatively constructed programs that explore the rich repertoire of song in a wide range of styles, languages, and periods. He is one of the most important interpreters of German Romantic song, and with his celebrated “Song of America” project, a collaboration with the Library of Congress, he has become the “ambassador of American song.” Through the Hampsong Foundation, founded in 2003, he employs the art of song to promote intercultural dialogue and understanding.

In the 2012-13 season, Hampson took on the role of Scarpia in Puccini’s Tosca (with conductor Frédéric Chaslin) at the Santa Fe Opera and returned to Lyric Opera of Chicago to sing the title role of Verdi’s Simon Boccanegra (led by Andrew Davis), a role he also performed at London’s Royal Opera House (Antonio Pappano) and in concert at Vienna’s Konzerthaus (Nicola Luisotti) later in the season. Other operatic highlights included Scarpia in Tosca and Wolfram in Wagner’s Tannhäuser at the Zurich Opera (Fabio Luisi/Marc Albrecht), Giorgio Germont in Verdi’s La traviata at Vienna State Opera (Marco Armiliato), and his company debut as Iago in Verdi’s Otello at the Metropolitan Opera (Alain Altinoglu).

With the Mahler Chamber Orchestra and Kent Nagano, Hampson performed a selection of Ives songs at Germany’s Berlin Musikfest and the Ruhrtriennale International Festival. Other season highlights included Mahler’s Das Lied von der Erde with the Orchestre de la Suisse Romande (Neeme Järvi), Strauss’s orchestral songs with the Pittsburgh Symphony (Manfred Honeck) and London Philharmonic (Vladimir Jurowski), and Mahler’s Des Knaben Wunderhorn with Indianapolis Symphony Orchestra (Joana Carneiro). Collaborative projects included a European tour with the conductorless ensemble Wiener Virtuosen—with whom he made a critically acclaimed recording of Des Knaben Wunderhorn in 2010—and concerts with the Jupiter String Quartet in New York, Boston, and Davis, featuring a new commission from Mark Adamo and songs by Hugo Wolf.

Hampson created the role of Rick Rescorla in the world premiere of Christopher Theofanidis’s Heart of a Soldier, commemorating the tenth anniversary of the 9/11 attacks. Other 2011-12 operatic engagements included role debuts as Iago in Otello and the title role in Hindemith’s Mathis der Maler, both at Zurich Opera, and his house debut as Verdi’s Macbeth at the Metropolitan Opera. Among other season highlights were concerts with the National Symphony Orchestra and Christoph Eschenbach, the Munich Philharmonic and Zubin Mehta, the Los Angeles Philharmonic and Gustavo Dudamel, the Pittsburgh Symphony and Manfred Honeck and the Israel Philharmonic and Zubin Mehta. He performed recitals in the U.S., Spain, Germany, Switzerland, and Austria and was featured in CNN’s “Fusion Journeys” series, in a musical exchange with Ladysmith Black Mambazo in South Africa. The 2011–12 season also saw the debut of the “Song of America” radio series, co-produced by the Hampsong Foundation and the WFMT Radio Network of Chicago. Hosted by Hampson, the series consists of 13 hour-long programs exploring the history of American culture through song. Hampson holds honorary doctorates from Manhattan School of Music, Whitworth College, and the San Francisco Conservatory, and is an honorary member of London’s Royal Academy of Music. He carries the title of Kammersänger of the Vienna State Opera, was named a Commandeur dans l’Ordre des Arts et des Lettres by the Republic of France, and was awarded the Austrian Medal of Honor in Arts and Sciences.

George Manahan, Conductor
In his fourth season as Director of Orchestral Activities at Manhattan School of Music, George Manahan is currently in his fourth season as Music Director of the American Composers Orchestra and was appointed last season as Portland Opera’s Music Director. He continues his commitment to working with young people as guest conductor at the Curtis Institute of Music, as well as at MSM. He served as Music Director of the New York City Opera for fourteen seasons and was hailed for his leadership of the orchestra. As Music Director of the Richmond Symphony (VA) for twelve years, he was honored four times by ASCAP for his commitment to new music.

Mr. Manahan’s guest appearances have included the Orchestra of St. Luke’s and the Jerusalem Symphony Orchestra, as well as the symphonies of Atlanta, San Francisco, Hollywood Bowl, and New Jersey, where he served as acting Music Director for four seasons. He is a regular guest with the Music Academy of the West and the Aspen Music Festival and has also appeared with the Opera Companies of Seattle, Chicago, Santa Fe, Portland, Opera Theatre of St. Louis, Opera National du Paris, Teatro de Communale de Bologna, the Bergen Festival (Norway), the Casals Festival (Puerto Rico) and Minnesota Opera, where he was Principal Conductor. His many credits on television include productions of La Bohème, Lizzie Borden, and Tosca on PBS. Live from Lincoln Center’s telecast of New York City Opera’s production of Madame Butterfly under his direction won a 2007 Emmy Award.

On January 18, 2013, Mr. Manahan was awarded the 2012 Ditson Conductor’s Award for the advancement of American music, joining a list of such distinguished recipients as James Levine, Leonard Bernstein and Alan Gilbert. He has been honored by the American Society of Composers and Publishers (ASCAP) for his “career-long advocacy for American composers and the music of our time.”

George Manahan’s wide-ranging recording activities include the premiere recording of Steve Reich’s Tehillim for ECM; recordings of Edward Thomas’s Desire Under the Elms, which was nominated for a Grammy; Joe Jackson’s Will Power; and Tobias Picker’s Emmeline. He has conducted numerous world premieres, including Charles Wuorinen’s Haroun and the Sea of Stories, David Lang’s Modern Painters, Hans Werner Henze’s The English Cat, and the New York premiere of Richard Danielpour’s Margaret Garner.

Mr. Manahan received his formal musical training at Manhattan School of Music, studying conducting with Anton Coppola and George Schick, and was appointed to the faculty of the school upon his graduation, at which time the Juilliard School awarded him a fellowship as Assistant Conductor with the American Opera Center. Mr. Manahan was chosen as the Exxon Arts Endowment Conductor of the New Jersey Symphony and he made his opera debut with the Santa Fe Opera, conducting the American premiere of Arnold Schoenberg’s Von Heute Auf Morgen.


Moving Right Along: The World of Jeff Blumenkrantz
Conducted by Shane Shag; Conceived and Directed by Carolyn Marlow
May 13, 14, and 15, 2014

The MSM Musical Theater Ensemble presents Moving Right Along: The World of Jeff Blumenkrantz, Tuesday through Thursday, May 13–15, 2014, at 7:30 p.m. in the School’s Borden Auditorium. The revue, conceived and directed by Carolyn Marlow and conducted by Shane Shag, will offer a retrospective of Jeff Blumenkrantz’s versatile career.

Jeff Blumenkrantz, born in Long Branch, New Jersey in 1965, is a Tony Award nominated composer as well as an actor and lyricist. Blumenkrantz’s songwriting career began at Northwestern University when he was a student there. His acting credits include roles in such Broadway productions as Into the Woods (2002), The Threepenny Opera (1989), Damn Yankees (1994), How to Succeed in Business Without Really Trying (1995), and A Class Act (2001). He has also appeared in the television shows Will & Grace, 30 Rock, The Good Wife, Ugly Betty, Just Shoot Me! and Law & Order.

In 2003, Jeff Blumenkrantz was nominated for a Tony Award for his work on Urban Cowboy, the musical. His song, “I Won’t Mind” is a staple in the repertoire of Audra McDonald and a song that she included on her CD, How Glory Goes. Mr. Blumenkrantz was also the creator and host of The Jeff Blumenkrantz Songbook Podcast, a weekly podcast featuring interviews and performances of his songs by some of musical theater’s great talents. This project was succeeded in 2008 by the BMI Workshop Songbook Podcast, also hosted by Blumenkrantz, showcasing the eponymous songbook featuring the music of members of the BMI Songwriters’ Workshop.

His one-act musicals, Woman with Pocketbook, written with Annie Kessler and Libby Saines, and Precious Little Jewel, written with Libby Saines, have been performed at regional theaters and have both won the Ten Minute Musical Competition. In 2011, Jeff Blumenkrantz was honored with the Ebb Award for excellence in musical theater songwriting.

Jeff Blumenkrantz is currently appearing in Murder For Two, the two-man murder-mystery musical comedy, directed by Scott Schwartz for Second Stage Uptown.

Jeff Blumenkrantz will also be giving two master classes at Manhattan School of Music this coming year.
Wednesday, November 6 , 4:00 p.m., Miller Recital Hall – Acting Friday, April 4, 12:00 p.m., Miller Recital Hall -- Composition


Carolyn Marlow, Director
Carolyn Marlow received her Bachelor’s and Master’s degrees in voice performance from Indiana University. She then continued her opera studies in the Young Artists program at the Curtis Institute of Music. She has been on the faculty of Manhattan School since 1990. Ms. Marlow has written, directed, and produced musical revues performed at MSM by the students in her ensemble most years since 1992. Many of these revues have also been performed in other venues in and around New York, including Music for Montauk, the New York Botanical Gardens, the Cosmopolitan Club and others. She has taught at the Juilliard School, in the Professional Musical Theater Workshop with Paul Gemignani, and in her audition workshop at Musical Theaterworks in New York. Her present role as teacher and director is supported by an extensive performing background. Operatically, she has performed leading roles with the Opera Company of Philadelphia, the Pennsylvania Opera Theater, and Fargo/Moorehead Opera. Ms. Marlow made her Broadway debut in the Hal Prince production of Sweeney Todd and was last seen on Broadway as Jack’s Mother in Into the Woods. On tour she has performed the role of the Beggar Woman in Sweeney Todd with Angela Lansbury, June Havoc, and Karen Morrow. She has performed many other leading roles on national tours, off-Broadway and regionally.

Shane Schag, Conductor

Ohio native Shane Schag has performed in recital both as soloist and ensemble performer throughout the United States and Europe, including a concerto performance with the Ashland Symphony Orchestra. He has won several awards and scholarships, including the Gwendolyn Koldofsky Memorial Award, given to “a musician who demonstrated outstanding professionalism in collaborative piano.” He has worked as a vocal coach for Centro Studi Italiani Opera Festival and as an assistant conductor for the Gotham Chamber Opera. In 2007, Mr. Schag made his debut at Carnegie Hall’s Weill Recital Hall. Now he serves as staff pianist for Carnegie Hall’s Musical Explorers and Link Up concert series. He also serves as the staff pianist for the Lotte Lenya Competition in Rochester, New York. Mr. Schag has appeared on PBS Sunday Arts in a showcase for rising young opera singers. He has been the pianist and musical director for numerous recitals and cabaret acts, including Songs My Mother Never Taught Me by Deborah Karpel. Mr. Schag is a member of the recital coaching faculty and resident musical director for the American Musical Theater Ensemble at Manhattan School of Music. During the summer he is on the faculty of Operaworks in Los Angeles.

Manhattan School of Music’s American Musical Theater Ensemble
, founded in 1990, has become a vibrant part of the education and training offered at the School. The curriculum of the Ensemble is designed especially to provide specialized training in all areas of musical theater performance. Led by Carolyn Marlow, artistic director, the program culminates in a professional production. Students also learn audition techniques; how to work with directors, managers, and agents; terminology and traditions of theater; résumé construction; and the building of repertoires.

The performances presented by the American Musical Theater Ensemble are a valuable educational experience for the students. The second semester of the program is devoted to rehearsing for a final musical theater production. Past shows include Into the Woods, The World Goes ‘Round (Kander and Ebb revue), A Grand Night for Singing (Rodgers and Hammerstein revue), Defying Gravity: The Magical World of Stephen Schwartz, September Songs: The Legacy of Kurt Weill, Godspell, and Ragtime. All these shows have included works by composers and lyricists who have made major contributions to the Broadway stage.

This landmark program addresses the needs of contemporary musical theater performers in vocal performance, acting, audition techniques, dance, movement, and career management and offers musical theater performers the only opportunity in New York City to receive partial training at the conservatory level for careers in musical theater. Many former members of the ensemble have gone on to perform on Broadway, off-Broadway, on national tours, and in film.

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Dona D. Vaughn, Artistic Director
Gordon Ostrowski, Assistant Dean/Opera Producer
Daniel Benavent, Opera Studio Manager/Associate Producer
Anne Shikany, Assistant to the Director
William Tracy, Head Vocal Coach
Miriam Charney, Mark Janas, June Murano-Murray, LeAnn Overton, Scott Rednour, and Elizabeth Rodgers, Vocal Coaches
Jorge Parodi, Vocal Coach and Music Director of MSM Senior Opera Theater


Maitland Peters, Chair; Edith Bers, Joan Caplan, Mignon Dunn, Hilda Harris, Cynthia Hoffmann, Marlena Kleinman Malas, Spiro Malas, Catherine Malfitano, Patricia Misslin, Mark Oswald, Joan Patenaude-Yarnell, Ashley Putnam, and Neil Rosenshein


Marianne Barrett, German Diction (on leave 2013-2014)
Miriam Charney, Director, Contemporary Opera Ensemble, British Vocal Literature
Patrick Diamond, Acting
Jocelyn Dueck, German Diction
Bénédicte Jourdois, French Diction
Kathryn LaBouff, Assistant Department Chair/English Diction
Rhoda Levine, Advanced Acting
Carolyn Marlow, Director, American Musical Theater Ensemble, Acting
Kenneth Merrill, German Vocal Literature and Advanced Vocal Literature
Glenn Morton, Italian Diction
Thomas Muraco, Advanced Italian and French Diction, Opera Repertoire Ensemble
Francis Patrelle, Movement for Singers
Shane Schag, Music Director, American Musical Theater Ensemble
Gait Sirguey, French Vocal Literature
Paul Sperry, American Vocal Literature
Cristina Stanescu, French Diction


Debra Kinzler

Director of Communications
Manhattan School of Music

917 493 4469

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