COAA (Canadian Operatic Arts Academy)
&
AEDO (the Accademia Europea Dell’Opera)
- Highlights of the Program
- Auditions/Application Information
- Faculty and Presenters
- Contact Information
- Download the 2012 Brochure (.pdf)
About the Academy
The Canadian Operatic Arts Academy is an elite international program that provides singers, pianists and directors with the skills to obtain, realize, and sustain a prolific and rewarding career in the operatic profession. An internationally recognized faculty from celebrated institutions provides the participants with invaluable insight into the multifaceted world of opera – its preparation, performance, and business through a variety of forums. Topics include role preparation, performance practice, collaboration, dramatic exercises and study, audition training, promotion, management, and vocal and physical health. The program culminates in a public performance through which all participants will gain practical experience.
Programs
Singer Program
The Academy will be centered around scene study, which allows young singers to explore a variety of genres, characters, and approaches. Students will receive coaching and direction aimed at furthering their understanding of character through music, text, relationships within each scene, and through an exploration of their own experiences as they relate to the scenes. Singers will participate in masterclasses, regular sessions in movement, stage-combat and dramatic workshops, as well as question-and-answer sessions. The academy concludes with a performance of fully staged scenes highlighting singers in multiple roles.
Pianist Program
The Canadian Operatic Arts Academy offers an international program for pianists who aspire to excel in the world of opera. Pianists will gain experience as repetiteurs playing for masterclasses, musical rehearsals, staging rehearsals and private coachings with singers. In addition, pianists will have the rewarding opportunity of working with our distinguished faculty pianists in private lessons and classes to become skilled at the art of vocal coaching and more proficient in their operatic keyboard technique. This year we have the honour of welcoming back as our special guest internationally renowned pianist Martin Katz. This program provides an invaluable opportunity for pianists with a vocal accompanying background to further their training and prepare for professional opportunities in the operatic world.
Assistant Director Fellowships
COAA is proud to also offer fellowships in stage direction for opera. Fellows have the opportunity to work closely alongside COAA's Artistic Directors, directing a number of scenes, assisting on all other scenes, and taking an active collaborative role in both the conceptual and technical realization of COAA's final performance. The Directing Fellows have access to all of the COAA myriad activities, including work in movement, stage combat and professional development. In addition, the Assistant Directors receive one-on-one mentorship in developing and realizing their dramaturgical ideas. Working alongside COAA's team of directors and stage-management, the Directing Fellows form an important part of this unique program.
- Intensive scenes program covering the breadth of operatic repertoire
- Internationally recognized faculty from such celebrated institutions as Boston Conservatory, San Fransisco Opera, Central City Opera, Opera Studio Nederland, Teatro alla Scala, Royal Opera House, Glyndebourne, Dutch National Opera Academy, Glimmerglass Opera, Opera de Montreal, New York City Opera, and Minnesota Opera.
- Masterclasses with highly acclaimed vocal coaches
- Classes in role preparation, performance practice, drama, movement, dance, stagecombat, career development
- Final performance of fully
staged scenes
Opera Gala with Orchestra London
COAA will parthner with Orchestra London and present an evening of opera arias and scenes. Singers will be selected (based on their auditions for this opportunity to perform with a professional orchestra.
Audition/Application Information
To register for an audition please submit the application form, an 8” x 10” headshot, Curriculum Vitae, and the $45 application fee - cheque or money order payable to The University of Western Ontario. Pianists must submit a vocal repertoire list. The age limit is 34 years.
Application Deadline
- Live Audition: October 7, 2011
- DVD Audition*: November 15, 2011
*Applicants who reside more than 350km from an audition site may submit a DVD recording in lieu of a live audition (due no later than November 15, 2010 with all audition materials including the $45 application fee).
Singer Program
- Three arias which best demonstrate your abilities
- An accompanist will be provided for you at no cost, per your request
- Singer Program Costs
- Application/Audition Fee: $45
- Tuition: $1300 + 13% HST= $1469
HST Number R10816 2587
Pianist Program
- Two brief opera excerpts to be sung and played
- Two arias to be performed with a singer
- One short solo work
- Must submit a vocal repertoire list
- Pianist Program Costs
- Application/Audition fee: $45
- Tuition: $700 + 13% HST= $791
HST Number R10816 2587
Assistant Director Fellowships
- Résumé (please include language skills and any other work in movement and/or dance)
- A brief statement describing your experience in opera or theatre as a performer or director, and expressing both the reason for your interest in COAA's fellowship program, and your eventual career goals.
- Assistant Director Fellowships Program Costs
- Application Fee: $45
- Tuition: $0
Audition Dates
Singer and Pianist Auditions:
- London - Nov 7 & 8, 2011
- Montreal * - Nov 9 & 10, 2011
- Vancouver* - Nov 12, 2011
- Calgary - Nov 13, 2011
- Toronto* - Nov14 & 15, 2011
Assistant Director Fellowships
- Interviews will be conducted after singer/pianist auditions are complete.
*Chantal Lambert, Program Director of Atelier Lyrique de l’Opéra de Montréal will be present for these auditions.
Auditions for COAA are being held in conjunction with those for the Atelier lyrique de l'Opéra de Montréal. Should you wish to audition for the Atelier, please apply separately by going to the website www.operademontreal.com and clicking on the “Atelier Lyrique” tab.
Accommodations
Information will be provided upon successful admission into the program.
- Andrew Altenbach
- Theodore Baerg
- Darryl Edwards
- Oliver Gooch
- Jack Grinhaus
- Carolyn Herrington
- Martin Katz
- Chantal Lambert
- Simone Luti
- Timothy Nelson
- Sophie Roland
- Gary Thor Wedow
- Miranda Wickett
ANDREW ALTENBACH
CONDUCTOR
“Brilliant delivery and grace,” “conducting that emphasized details and care”, and “a beyond-his-years mature sense for the style and musical specifics” are praises Andrew Altenbach continues to gain as one of the rising conductors and musical leaders of his generation.
Recent guest conducting engagements have included the Memphis and Milwaukee Symphony Orchestras as well as a continued cover conductor relationship with the Atlanta Symphony Orchestra. After two very successful seasons the St.Cloud Symphony Orchestra, Mr. Altenbach is will assume his new appointment as Music Director of Opera at the Boston Conservatory this autumn. Last summer Mr. Altenbach was the associate conductor of the world-renown Grand Teton Music Festival under Maestro Donald Runnicles.
Mr. Altenbach has conducted the St. Paul Chamber Orchestra, Atlanta Symphony Orchestra, Minneapolis Musical Offering Series, and Brevard Music Center Orchestra. Mr. Altenbach has held previous posts as music director for the North Shore Chamber Orchestra, principal guest conductor of the Bloomington Symphony Orchestra, assistant conductor to the Evanston Symphony, and Conducting Fellow of the prestigious Chautauqua Institution.
Equally comfortable in the opera pit, Mr. Altenbach’s recently guest conducted at Opera Birmingham, Indiana University Opera Theatre, and the Temple University Opera Theatre. After making his international debut, conducting La bohème at Opera Africa in Johannesburg, he returns there in the summer of 2011 to conduct Mozart’s Le Nozze di Figaro. He has been the associate conductor of Central City Opera for the past two seasons, conducting numerous performances and serving as the company’s chorus master. For two seasons, he was associate conductor of the Minnesota Opera, giving numerous performances and serving as the company chorus master. He also music directed Die Entführung aus dem Serail with the St. Paul Chamber Orchestra and Minnesota Opera to rave reviews.
Recently Mr. Altenbach has served on the conducting/coaching staffs of the Santa Fe Opera, Music Academy of the West, Cincinnati Opera, and San Francisco Opera Merola Program as well as guest conducting for the Milwaukee Opera Theatre and Opera on the James. At Indiana University, Mr. Altenbach became the first student in the school’s history to music direct for the opera department, and his conducting of Cosi fan tutte earned him recognition in OperaNow magazine under "Who's Hot."
A native of Atlanta, Georgia, Mr. Altenbach received degrees from Northwestern and Indiana Universities. His conducting teachers include David Effron and Victor Yampolsky while studying piano with Karen Shaw, Martin Katz, and Alan Chow.
Mr. Altenbach currently resides in the Twin Cities with his wife, Julia, who teaches high school Spanish and dances Flamenco. He enjoys reading, foreign languages, movies, swimming, running and basketball. Andrew continues to develop his love and commitment to engaging people with classical music, particularly underserved youth.
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THEODORE BAERG
VOICE MASTERCLASSES
Theodore Baerg has enjoyed a critically acclaimed opera and concert career with appearances in North America, Europe and Asia. He started his singing/acting career with the renowned Stratford Festival - where he returned for the 2006-2007 season with a sensational sold out run as Emile de Becque in South Pacific. Following his original Stratford debut in Candide he made his Canadian stage debut with the Canadian Opera Company as Figaro in il Barbieri di Siviglia following which he became a founding member of the Canadian Opera Ensemble. His European operatic debut was with the Glyndebourne Festival in England and his American debut was with the Des Moines Opera. He has appeared in leading roles with the Canadian Opera Co., Opera Ontario, Opera Lyra Ottawa, L’Opéra de Montréal, Edmonton Opera, Calgary Opera, L’Opéra de Québec, Pacific Opera, Manitoba Opera, Vancouver Opera, San Deigo Opera, San Francisco Opera, Opera Pacific (Costa Mesa, CA) Glimmerglass Festival, Green Mountain Opera Festival, New York City Opera where audiences hailed Mr. Baerg as the Haji in Kismet, Eisenstein in Die Fledermaus and Danilo in The Merry Widow. His concert appearances have included Canadian orchestras from Halifax, Quebec City, Montreal, Ottawa, Toronto, Winnipeg, Calgary, Kitchener-Waterloo, London, Thunder Bay, Windsor, Edmonton, Vancouver, and Victoria in both classical and popular music programs. His appearances with orchestras in the United States include the New York Philharmonic, Dallas Symphony, Rochester Philharmonic, The National Symphony, Los Angeles Philharmonic, and Houston Symphony and others.
His repertoire includes more than 75 operatic roles in operas ranging from Strauss’ Ariadne of Naxos, the title role in Alban Berg’s Wozzeck to the title role in Eugene Onegin with the operas of Puccini, Rossini, Mozart and most recently Verdi frequently on the playbill. Ted has performed in numerous world premieres of both operas and concert compositions. Most notably as The Fabulist in The Golden Ass and as Stefan in Harry Somer’s Mario and the Magician. His discography includes art songs on La Mystique d’Amour, Enchanted Evenings – a CD of musical theatre favourites, and a DVD of Pucinni’s Turandot (Ping) from San Francisco Opera on the Kultur label.
During the next several seasons Ted is engaged to perform multiple productions of La Traviata, Le Fille de Regiment, the title role in Thomas’ Hamlet and Pangloss in Candide as well as numerous concert engagements. He just completed a U.S. tour of Not the Messiah with Eric Idle and John DuPrez (co-creators of Spamalot) with stops that included Wolf Trap in Washington, D.C. and Hollywood Bowl in Los Angeles.
Mr. Baerg is professor of voice, opera and music theatre at The University of Western Ontario where he produces and directs the opera and musical theatre program. He is also a faculty member, voice teacher at La Musica Lirica in Italy.
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DARRYL EDWARDS
VOICE MASTERCLASSES
Darryl Edwards, tenor, has appeared to critical acclaim in oratorio, recital, and opera in England, Germany, France, Italy, Corsica, the United States, and across Canada. His most recent performing engagements have included Kodály's Psalmus Hungaricus with the National Arts Centre Orchestra in Ottawa, the Verdi Requiem at Dalhousie University: Halifax, Nova Scotia, the Britten War Requiem with the Ottawa Choral Society, Orff's Carmina Burana with the Toronto Mendelssohn Choir and Fanshawe Chorus London, Mozart Requiem with the Toronto Philharmonia, and Handel's Messiah with the Elmer Iseler Singers.
Critics praise him as a "rich-voiced, cultured tenor who mastered the high notes effortlessly" (Coburg Tageblatt, Germany), and an "effective communicator who expressed the text with sensitivity and fervour" (Hamilton Spectator). His recordings and broadcasts include performances with American National Public Radio (NPR), the Canadian Broadcasting Corporation (CBC Radio 2), and the Canadian Music Centre (Centrediscs).
Dr. Edwards is the Artistic Director of the Centre for Opera Studies in Italy
(www.co-si.com), and the Concert Opera Group (www.concertoperagroup.com). The Toronto Star (March, 2009) declared him “the coach behind many of Canada’s best young voices these days.” His voice students appear with major opera companies and orchestras across Canada, the United States and Europe (Metropolitan Opera, Royal Opera Covent Garden, New York City Opera, Philadelphia Opera, San Francisco Opera, Washington National Opera, Bavarian State Opera – Munich, Zurich Opera, Chicago Lyric Opera, Chicago Opera Theatre, Greek National Opera, and the Canadian Opera Company). They have also been winners of the New York Oratorio Society Competition, and Vienna’s Belvedere International Voice Competition (Austria), and the Marmande International Voice Competition (France).
Professor Edwards is Head of Voice Studies at the University of Toronto. His recent lectures and master classes have taken him to the University of Auckland, New Zealand, the Vancouver International Song Institute, and the Royal College of Music, U.K. He is Co-Chair of the International Symposium on Performance Science, to be held at the University of Toronto, August 24-27, 2011.
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OLIVER GOOCH
CONDUCTOR
Oliver Gooch is one of an exciting generation of young conductors. In 2004 he was appointed Assistant Conductor on the Royal Opera House Young Artists Programme in a post specially created for him. Since then, he has enjoyed collaborations with opera companies both in North America and Europe.
In 1999 he founded Opera East Productions as its Artistic Director, a company described in the national press as, ‘deserving to be an opera company of national significance.’ With the company he has toured the East of England and beyond, including Britten’s chamber operas, Mozart’s da Ponte operas and others including The Rake's Progress for which he received a top rating in The Guardian.
He made his USA debut in 2008 with Dicapo Opera in the New York premiere of Conrad Susa’s Dangerous Liaisons. He was immediately re-engaged to conduct the US premiere of Janacek’s Sarka. He also enjoys regular collaborations with American Opera Projects, New York. He made his Italian debut in 2010 with Don Giovanni in Como and across Lombardia. He works regularly in the UK with the leading opera companies including the Royal Opera (Peter Grimes, Werther, La Rondine, Madama Butterfly, Turandot, La Boheme, Macbeth, The Bartered Bride, La Traviata, Il re pastore, Tosca, Bluebeard's Castle/ Erwartung, Il Trovatore); Glyndebourne Festival (Guest Chorus Master Fairy Queen, Assistant to Sir Charles Mackerras Die Zauberflöte); Glyndebourne on Tour (Le nozze di Figaro, Albert Herring); Opera North (I Capuleti, The Adventures of Mr Broucek); and as cover conductor for the Royal Ballet (Enigma Variations and Rite of Spring).
For the summer festivals, he has conducted for the Buxton Festival (Riders to the Sea, Savitri and The Wandering Scholar); and Iford Festival Opera (Rusalka, Lucia di Lammermoor, Eugene Onegin, Un giorno di regno, Rigoletto ). Past engagements also include Die Zauberflöte (Cremona, Italy), Madama Butterfly (Royal Philharmonic Orchestra/Gubbay), and the world premiere of Heart of Darkness (ROH2/Linbury Theatre/Britten Sinfonia).
Recent concert engagements included Mahler’s Symphony No.4 (Philharmonia Orchestra), Southbank Sinfonia, and the Orchestra of the Royal Opera House, concerts with the RPO in Cadogan Hall and a recording of Heart of Darkness on the Harmonia Mundi label. Forthcoming season includes engagements at the Royal Opera House, Covent Garden, Iford Festival, and Raymond Gubbay Productions.
He was educated at Magdalene College, Cambridge and trained at the Guildhall School of Music and Drama and the National Opera Studio. He studied conducting at the Tanglewood Festival under Robert Spano and Seiji Ozawa, and was subsequently nominated for the prestigious Rolex/Mentor Protégé Arts Initiative in Geneva, under Sir Colin Davis. In 2006 he was awarded the prestigious Clore Fellowship for the East of England, a programme designed to nurture new generation of cultural leaders, and in 2007, elected a Fellow of the Royal Society of Arts.
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JACK GRINHAUS
THEATRE/DRAMATIC COACHING
Jack Grinhaus is an award winning and nominated theatre artist. Primarily a director, Jack has also worked in various streams of theatre as producer ( The Grace Project: SICK [2 Dora Mavor Moore nominations], Paradise By The River [ Dora Mavor Moore Nomination], Canstage Float, Rougher Trade, Tabula Rasa, 24U2C, Toronto Without Words, Jenny’s Room, The Complex: A Toronto Tale), a playwright (Tabula Rasa, Toronto Without Words, The Complex: A Toronto Tale) that has been produced Off Off Broadway (The Grownups Playground), an award winning actor with numerous film, television, and theatre credits in the city and abroad: Rougher Trade, Tabula Rasa, (B2C), I, Marcus Garvey( b current/Theatre Archipelago) The Bundle (Alan Dilworth), The Bewitched (Nigel Shawn Williams) Toronto Noir [Summerworks 2009/ Heather Davies/Outstanding Ensemble - NOW Toronto], The Off Off Broadway production of, The Grownups Playground, the U.S National tour of the original musical, Tour De France, Mr. Pink in Reservoir Dogs Live, The Mousetrap at the Toronto Truck Theatre, Who is Clark Rockefeller (Lifetime Network), Mayday (History Channel), and the Dora award winning production of Romeo and Juliet Remixed.). He was a contributor to the World Theatre Encyclopedia as well as a theatre columnist for BlogTo. He also possesses an MFA and BA Honours in Theatre from York University’s Theatre program as well as an Associate Degree in Acting from The American Academy of Dramatic Arts in New York City, and has studied intensely with renowned artists Uta Hagen, Jackie Bartone, R.H. Thomson, Anne Bogart and the SITI Company, Graham McLaren, Kim Collier, Eda Holmes and Jim Warren.
Recent Director Credits: Saved (EOS Theatre/2011 Toronto Fringe Festival), Ghosts (Assistant Director/Morris Panych/ Soulpepper), ART (/Assistant Director/ Morris Panych/ Canadian Stage Company) , For Bound To Create Theatre - Toronto Without Words I (Squiggfest Festival), Jenny's Room (Factory Theatre Lab Cab); New York – Dark Rapture (Theatre 22/Landslide Prod) The Grownup’s Playground (Naked Players) For York - Much Ado About Nothing, The Start of Man and The North. Other; Seven (Assistant Director/Sarah Stanley/City of Wine Festival/ Theatre Passe Muraille), Twelfth Night (Assistant Director/Kevin Hammond/Humber River Shakespeare Company), Carmen(Opera Lirica Italiana), Now or Never (Pleiades Theatre/Yonge Street Mission), The Complex: A Toronto Tale (Canadian Stage Festival of Creation/ 2010 Toronto Fringe Festival). Upcoming: Jenny’s Room, Cartes (Observer/assist/ Robert LePage/ Ex Machina).
Jack is the recipient of a 2002 THEA award for his performance as Stanley Jerome in Brighton Beach Memoirs, was a member of the 2010 Canadian Stage BASH Director's residency, an inaugural member of the Director's Lab North, is Co-Artistic Director of Bound to Create Theatre (www.boundtocreate.com) and facilitates acting, movement, improvisation and creative ensemble workshops throughout Ontario.
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CAROLYN HERRINGTON
DIRECTOR OF COLLABORATIVE PIANO, COACH
Originally from Regina, Saskatchewan, Carolyn Herrington has recently moved to Lethbridge, Alberta. After an exciting three years at the Don Wright Faculty of Music at The University of Western Ontario, she is pleased to join the faculty at the University of Lethbridge and the Conservatory of Music. She will be teaching classes in Collaborative Piano and Music Appreciation at ULeth, teaching piano at the Conservatory, and will also be a voice coach to students and professionals in the area. In addition, Dr. Herrington will continue to be the Director of Collaborative Piano at the Canadian Operatic Arts Academy in London, Ontario.
Dr. Herrington obtained her Doctor of Musical Arts degree in Collaborative Piano from the University of Michigan, where she studied with world-renowned pianist and coach, Martin Katz. She holds a Master of Music degree in Collaborative Piano Performance from The University of Western Ontario, where she studied with John Hess. Carolyn has also studied on numerous occasions with esteemed collaborative pianist Rudolph Jansen, and has worked with pianists Margo Garrett, Alan Smith, Antoine Palloc, Ken Griffiths, Kathleen Kelly, and Rena Sharon. She has performed in several masterclasses for singers such as Shirley Verrett, Elly Ameling, and Edith Wiens.
Dr. Herrington is in demand as an adjudicator and is also an examiner for Conservatory Canada. Her festival appearances include Songfest in Malibu, the Song in Collaboration Program at the Banff Centre for the Arts, and the Mountainview International Festival of Song in Calgary. She has also worked as repetiteur for the University of Michigan’s summer opera workshop in Florence, Italy and as vocal coach for the University of Western Ontario Vocal Arts Intensive intersession course.
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MARTIN KATZ
COACH’S PERSPECTIVE/OPERA IN THE U.S.
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“The most musically astute collaborator working today.” Wiener Tagesblatt
“The gold standard of accompanying.” New York Times
"Martin Katz must surely be considered the dean of collaborative pianists," said the Los Angeles Times. One of the world's busiest collaborators, he has been in constant demand by the world's most celebrated vocal soloists for four decades. He has appeared and recorded regularly with Marilyn Horne, Frederica von Stade, Samuel Ramey, Joseph Calleja, Karita Mattila, David Daniels, Jose Carreras, Cecilia Bartoli, , Kiri Te Kanawa, Kathleen Battle, and Sylvia McNair, just to name a few. Season after season, the world's musical capitals figure prominently in his schedule.
Mr. Katz is a native of Los Angeles, where he began piano studies at the age of five. He attended the University of Southern California and studied the field of accompanying with its pioneer teacher, Gwendolyn Koldofsky. While yet a student, he was given the unique opportunity of accompanying the master classes and lessons of such luminaries as Lotte Lehmann, Jascha Heifetz, Pierre Bernac, and Gregor Piatigorsky. Following his formal education, he held the position of pianist for the US Army Chorus for three years, before moving to New York where his busy international career began in earnest in 1969.
In more recent years, conducting has played a more significant role in Mr. Katz’s career. He has partnered several of his soloists on the podium for orchestras of the B.B.C., Houston, Washington, D.C., Tokyo, New Haven and Miami. His editions of Handel and Rossini operas have been presented by the Metropolitan, Houston Grand Opera and the National Arts Centre in Ottawa. He has also been pleased to conduct several staged productions for U-M’s Opera Theatre, the Music Academy of the West, and most recently, San Francisco Opera’s prestigious Merola program.
Finally, the professional profile of Martin Katz is completed with his commitment to teaching. Since 1984, Michigan has been his home, where he has been chair for the School of Music's program in collaborative piano, and has played an active part in operatic productions. He has been a pivotal figure in the training of countless young artists, both singers and pianists, who are working all over the world. The University has recognized this work, making him the first Arthur Schnabel Professor of Music. In addition to his work here, he is a regular guest at Santa Fe Opera, Songfest, San Francisco Opera, Chicago College of Performing Arts, and the New National Theatre of Tokyo. Mr. Katz is the author of a comprehensive guide to accompanying, “The Complete Collaborator,” published this year by Oxford University Press.
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CHANTAL LAMBERT
CAREER DEVELOPMENT/FRENCH REPERTOIRE/DICTION
First Prize winner for Interpretation at the Conservatoire de Musique du Québec in Montréal, soprano Chantal Lambert has been pursuing an active career as a singer while directing the Program at the Atelier lyrique de l’Opéra de Montréal since 1990.
Since 2001, she’s been dedicating herself mostly to recitals with distinguished pianists such as Roger Vignoles, Michael McMahon, Jean Marchand, Marc Bourdeau and Martin Dubé. In the summer 2010, she sang in two different concerts in the first edition of the FestivalOpera of St.Eustache (QC), an Offenbach Evening and a tribute to Canadian composer Lionel Daunais, with baritone Dominique Côté, pianist Marc Bourdeau and Stage Director Marie-Lou Dion. She lends her voice to the characters of the Witch and Mother in the soundtrack of Hänsel& Gretel, on the American tour of the “Théâtre sans fil” (giant puppets).
“A soprano with superior voice and personality who sings opera, lied and melodies with equal success, blending subtlety and emotion” *, Chantal Lambert took part in sixteen different opera productions at Opéra de Montréal, including: La Belle Hélène (title role), La Voix humaine (Elle), La Veuve Joyeuse (Nadia), La Vie parisienne (Métella), Carmen (Mercedes), La Cenerentola (Tisbe), The Consul (Anna Gomez), etc. With the Orchestre Métropolitain, she participated in numerous series of events (La Boutique fantasque, Concerts Gershwin, Hänsel & Gretel, Concerts de la francophonie, Le Jardin féerique and Un Noël magique). She was also a soloist with the Orchestre Baroque de Montréal in Alcina (Oberto) and The Messiah, as well as in sacred music programs with Bernard Lagacé at the organ.
Moreover, Chantal Lambert, an artist with eclectic likings, has also been giving her Classical Cabaret recital on numerous occasions for the past two years, with pianist Martin Dubé (directed by Marie-Lou Dion) and presented from 1998-2003, a special recital entitled Hommage à Jacques Brel, with guitarist singer André Messier. On five occasions, she was a guest singer at the Gala de l’Excellence de La Presse, which was broadcast by national public television.
She was a regular guest at the CBC radio station, and is the co-author of three lexicons (English, Italian and German) for young opera singers.
She has been invited as guest faculty at the Canadian Operatic Arts Academy consecutively for four years. There, she has been giving master classes on career development and interpretation of French repertoire.
*La Presse, May 2001
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SIMONE LUTI
MUSICAL DIRECTOR/OPERA IN EUROPE
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A native of Lucca, Tuscany, orchestral conductor and pianist Simone Luti is quickly gaining recognition and acclaim for his musical instincts and sensitivity on the podium and at the keyboard. He has conducted on the podiums for such organizations as The Musical Festival in Ticino Locarno, Switzerland, in Albania at the Opera Theatre in Tirana, the Symphony Orchestra of Bacau, Romania, and the International Opera Theatre of Philadelphia (in Teatro degli Avvaloranti, Città della Pieve; Teatro Mancinelli, Orvieto; and The University of Performing Arts, Philadelphia). At the keyboard, Mr. Luti has performed as a solo and collaborative pianist in recitals, opera galas, and chamber groups for theatres and musical institutes throughout Italy, Austria, Switzerland, and Belgium. Of note was his debut at the Lucerne Festival playing for soprano Irina Lungu.
As part of his musical training, Mr. Luti studied piano with Gloria Belli, Konstantin Bogin and Fabrizio Papi while his formal studies in composition were overseen by Pietro Rigacci. To date, his compositions have been performed in Lucca, Pisa, and Florence to enthusiastic audiences. It was during his compositional studies, however, that his passion for opera blossomed. He went on to earn academic scholarships to study opera, firstly at the Teatro Verdi in Pisa, and afterwards in Milan at the Academy for performing Arts associated with the Teatro della Scala (Accademia d'arti e mestieri dello spettacolo del Teatro alla Scala) getting specialized both in repertoire and music didactics related to opera house. During this time, he studied conducting with Vittorio Parisi at the Academy of Giuseppe Verdi in Milan, and at the Accademia Chigiana in Siena with Gianluigi Gelmetti.
In 2002, Mr. Luti began working as musical coach at the Teatro della Scala and the main Italian Theatres, collaborating with the most significant directors, singers, and film directors in the operatic world. He currently lives between Tuscany and Milan, working both at the Teatro della Scala and as a coach at the Academy of the Teatro della Scala. He assists in the opera training courses carried out by Mirella Freni, Luis Alva, and Luciana Serra, devoting himself to the musical training of young opera singers.
In May 2009, maestro Luti was invited to participate as conductor and coach of the Canadian Operatic Arts Academy hosted at the University of Western Ontario and its Faculty of Music. He returned to the Academy in 2010 adding to his function by becoming musical director. Following his first residency in Canada, he joined the Summer Opera Workshop of Indiana University in June of 2009 where he once again worked as a coach and gave masterclasses on Italian repertoire. He has also subsequently become musical director of the Indiana University Summer Opera Workshop.
Recent engagements took him to Cremona as coach for As.li.co’s productions of Pagliacci and La Voix Humaine, as chef de chant for Théâtre du Chatelet’s production of Norma, as musical director for American Opera Theater’s production of La Tragédie de Carmen both in Italy and Baltimore, as assistant conductor and coach for Orchestra London’s production of Giulio Cesare, as well as numerous collaborations for recitals and concerts in Italy and abroad. Future engagements include renewed collaborations with the As.li.co’s association in Cremona (Die Zauberflöte), Le Chatelet (Il Barbiere di Siviglia), American Opera Theater (Dido & Ænæs and Madama Butterfly). He will join the Opera de Montreal for a special collaboration with the Atelier Lyrique in January 2011.
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TIMOTHY NELSON
ARTISTIC DIRECTOR
Timothy Nelson leads a new generation of young directors. Most recently he was honored as an awardee in the Opera Europa International Directing Prize. In 2003 he founded American Opera Theater, an ensemble incorporating his interests in movement, music, and design, challenging audiences' ideas about opera as theater. Nelson has become known for innovative productions of traditional repertoire, rarely heard works of both opera and theater, and for the creation of new concept works. He continues to develop approaches to expanding understanding of opera as theater, concert, and ritual, to connect the art form with contemporary social questions and dialogues.
Most recently Nelson directed “David et Jonathas” at the Brooklyn Academy of Music, a cabaret “Carmen” based loosely on Peter Brook's version, of which the Baltimore Sun said Nelson “out-Brooked Brook”, Philip Glass' “Hydrogen Jukebox” at Georegtown University as part of the 2009 presidential inauguration festivities, and “Songspiel”, an original Kurt Weill offering with soprano Sylvia McNair exploring homelessness in New Orleans at the time of hurricane Katrina. In August 2010 he opened the Grachtenfestival with a new production of "The Lighthouse" for the Nationale Reisopera. He served as stage director for “La Didone” with the Washington Early Music Festival, and stage director for the Bloomington Early Music Festival's production of “Il Re Pastore”. Nelson has pioneered the creation of new theater works such as “Las Cuerdas del Titiritero” with Fenix de los Ingenos, “Ground” for the Baltimore Theatre Project, and the multimedia “Fleury” and “Annunciation | Visitation” for Indiana University, which combined music of George Crumb and Francois Couperin in a meditation on female iconification and objectification. Upcoming projects include "La Boheme" for Opera York, "La Voix Humaine" for the Dutch National Opera Academy, and a production of Kurt Weill's “Lost in the Stars” with Baltimore city youth as a community exploration of race relations in the city. He has been the recipient of grants from Geoffrey C. Hughes Foundation, the Virginia Commission on the Arts, and the National Endowment for the Arts.
A committed educator Nelson leads workshops in opera as theater at Indiana University and at Georgetown University. He is Artistic Director of the Canadian Operatic Arts Academy at the University of Western Ontario. His work as a director and designer has been praised as at once "progressive" and "knowledgeable" - "propulsive" and "fluid". The New York Times calls his work “the future of opera” while the Baltimore Sun calls his productions “vivid, postmodern” with “striking stage pictures”, saying his work is “fresh, inventive, invigorating”.
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SOPHIE ROLAND
GENERAL & ARTISTIC DIRECTOR
“. . .Sophie Louise Roland's Carmen was both powerful and delightfully seductive...In the end, Carmen proves to be a perfect mirror of its namesake, a spirited, intoxicating and seductive performance.” - Glenn Kaufmann, The Herald Times
Hailed for her “excellence, purity of voice and emotional intensity,” Sophie Louise Roland recently sang the roles of Dido and the Sorceress in Purcell’s Dido and Æneas and as Storge in Handel’s Jeptha with American Opera Theater (Baltimore, MD), Carmen and Suzuki with Ente Concerti Città di Iglesias, Cornelia in Giulio Cesare with Orchestra London, Maddelena in Verdi’s Rigoletto with Opera York (Ontario), Madama Butterfly’s Suzuki for Pellegrini Opera (Ottawa), Madonna Capuleti and Tebaldo in the International Opera Theater’s world premiere of Romeo e Giulietta in Città della Pieve (Italy), Carmen with both American Opera Theater and Opera Lirica Italiana, Nicklausse in Les Contes d’Hoffmann with Opera Brasov, as well as the title role in Carmen with both Janiec Opera Company and Indiana University Opera Theater. Other highlights include La Prieure in Poulenc’s Dialogues des Carmélites, Dame Quickly in Falstaff, La mère in Les Contes d’Hoffmann and Luna in the North American premiere of Jeppe by Sven David Sandström. Future engagements for Ms. Roland include a reprise of Maddelena, Mauyra in Vaughan Williams’ Riders to the Sea, Carmen a recital with acclaimed pianist Stéphan Sylvestre, as well as other performances in Baltimore, London, Hamilton, Québec, Toronto, Amsterdam, and Italy.
Ms. Roland’s lush voice, dazzling coloratura, engaging stage presence, and deeply expressive musicality have captivated audiences throughout North America and abroad. In addition to her operatic credits, Ms. Roland has appeared in concert with ensembles such as Orchestra London with Timothy Vernon conducting, Orchestre symphonique de Trois-Rivières under the baton of Jacques Lacombe, the Windsor Symphony with John Morris Russell, the Guelph Chamber Choir, the Evansville Philharmonic Orchestra, The Indianapolis Chamber Orchestra, Symphony Hamilton, London Fanshawe Symphonic Orchestra, and the Kitchener-Waterloo Symphony. Ms. Roland recently was featured singing in Jean-Claude Labrecque’s film, Infiniment Québec and on the artist Jorane’s compilation CD, Jorane X. She also appeared in Prokofiev’s Alexander Nevskyunder the baton of Maestro Erick Kunzel, was chosen to participate for the celebrations in honor of Marilyn Horne’s 70th birthday at Carnegie Hall.
Ms. Roland received her early training in piano, voice, and drama in Quebec. She holds an Honours BMus from Wilfrid Laurier University, an MA in Musicology and MMus in Vocal Performance from the University of Western Ontario, and recently completed a DM in Voice Performance under the tutelage of Ms. Constanza Cuccaro at Indiana University’s Jacobs School of Music.
In addition to maintaining an active directing career, Ms. Roland currently holds the rank of Associate Professor of Music at the Don Wright Faculty of Music at the University of Western Ontario, and has recently been appointed as Chair of Music Performance Studies. Dr. Roland’s students have won National and International competitions such as Metropolitan Opera Auditions, NATS Regional and District Auditions, the NATSAA Competition, and Jacqueline Desmarais Foundation. She is the General Director of the both the Canadian Operatic Arts Academy (London, Ontario) and the Accademia Europea Dell’Opera (Italy), operatic training programs for emerging professionals featuring world-class faculties.
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Conductor Gary Thor Wedow has established an enviable reputation for dramatically exciting and historically informed performances with opera companies, festivals and choral organizations throughout North America. He recently led the Seattle Symphony in a Baroque program of Rameau, Handel and Marcello to rave reviews and enthusiastic audience response and following his Rinaldo for the Berkshire Opera, the Boston Globe’s Richard Dyer wrote: “The opera was delightfully played by a first-rate chamber orchestra under the direction Gary Thor Wedow. Years in opera houses have taught him how to make this music theatrical – and how to accommodate singers while challenging them. His work was knowledgeable, vital and full of the smell of candlelight and greasepaint.”
Wedow’s 2010-2011 season includes productions of Die Zauberflöte for Seattle Opera, Handel’s Agrippina for Boston Lyric Opera and an ‘Opera Highlights Festival’ with the Seattle Symphony. As well, he continues his relationship with the Juilliard School.
Included among his engagements in the 2009-10 season were two New York City productions: A return to New York City Opera for the company’s first new production of Mozart’s Don Giovanni since 2002, and the Juilliard Opera’s season opening production of Handel’s Ariodante. Additional engagements included Messiah with the Seattle Symphony, Il barbiere di Siviglia for Florida Grand Opera, and he conducted Le nozze di Figaro for Pittsburgh Opera and Zaide at Wolf Trap during the summer of 2010.
Appearances of the 2008-2009 season included conducting the premier of Paul Richards and Wendy Steiner’s The Loathly Lady in Philadelphia, leading the Berkshire Choral Society for Bach’s Matthäus Passion, guesting with Orchestra London Ontario and serving as a visiting faculty member at Indiana University, where he led performances of Rossini’s Petite Messe Solonnelle and Handel’s Giulio Cesare.
In 2007-2008, he was in Seattle for Iphigénie en Tauride, debuted at Florida Grand Opera leading Giulio Cesare and was in New York for a production of Die Zauberflöte at the Juilliard School and in San Francisco for the Merola program’s production of Don Giovanni. The 2006-2007 season was highlighted by Giulio Cesare for Seattle Opera and La finta giardiniera for the Juilliard School. He returned to Chautauqua for a production of L’elisir d’amore in July 2007, and at New York City Opera he conducted Carmen. Maestro Wedow’s long association with the NYCO has also included Le nozze di Figaro, Handel’s Xerxes and Gilbert and Sullivan’s Patience.
His 2005-2006 season called for Pirates of Penzance at Glimmerglass Opera, Messiah with the Edmonton Symphony and Xerxes for the Pittsburgh Opera. Other recent Handel performances include Xerxes for Wolf Trap Opera, Alcina and Ariodante for Toronto’s Opera in Concert and the Coronation Anthems for the Berkshire Choral Festival where he also has conducted Bach’s Mass in B Minor and an opera concert featuring selections from Aida, Iris and William Tell. Further recent assignments have included La bohème at Chautauqua Opera, La Calisto at the San Francisco Opera Center, concerts at the New National Theater in Tokyo, the North American premiere of Sartorio’s Giulio Cesare in Egitto with the Canadian Opera Company in Toronto and L’incoronazione di Poppea for the Pittsburgh Opera Center. As head of the Canadian Opera Company’s prestigious Ensemble Studio he conducted Cavalli’s La Calisto and Giasone and the world premiere of Gary Kulesha’s Red Emma.
He is a frequent collaborator of countertenor Lawrence Lipnik with whom he has prepared several performing editions of Baroque operas and he was for many years Associate Conductor of Boston’s Handel and Haydn Society. As a pianist, Wedow studied with Jorge Bolet. He is currently a faculty member of The Juilliard School. January 2011
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Miranda is an award-winning dancer and choreographer with a passion for the arts. As the Artistic Director and Founder of Performing Alliance Academy of Arts, Miranda is committed to providing excellence in arts education.
Miranda has been training throughout Canada, the United States and Europe for 23 years, and believes in constant growth and development both personally and professionally. She has danced at Disneyland and will performed at the 75th Anniversary of The Canadian Association of Health, Physical Education, Recreation and Dance in Banff, Alberta. She is certified with the British Association of Teachers of Dancing and is a member of The Council of Ontario Dance and Drama Educators. She has trained under distinguished choreographers including Melanie LaPatin, Diane Jarmolow, Shelagh Connolly and Donna Peterson. She was also extensively involved in The University of Western Ontario Dance Company while earning her Bachelor of Arts degree.
Miranda has extensive teaching experience having been contracted by dance studios, fitness studios, school boards and universities alike. Some of her students have gone on to work for the Stratford Festival of Canada, the Grand Theatre London and The Canadian Dance Team. She has been the movement choreographer at Don Wright Faculty of Music for the 2008 & 2009 seasons and has been COAA's principal dance coordinator since it's inception. Upon graduation from Performing Alliance, many of Miranda's students continue with their studies, being accepted into elite music and drama programs such as York University and University of Indiana.
Not only has Miranda received many accolades for her work in the studio and on the dance stage, she has also been involved with theatre and music throughout her life, earning roles in productions of: A Chorus Line, Anne of Green Gables, Joseph and The Amazing Technicolour Dreamcoat and The King and I.
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Email: coaa@uwo.ca
Phone: 519-661-2111 ext. 80047
Mail:
Margie Bernal
Associate Artistic & General AdministratorCanadian Operatic Arts Academy
c/o Don Wright Faculty of Music
The University of Western Ontario
1151 Richmond Street
Talbot College, Room 210
London, Ontario
N6A 3K7
AEDO
the Accademia Europea Dell’Opera
About AEDO
AEDO, the Accademia Europea Dell’Opera, is a uniquely focused European opera experience, created in collaboration between the University of Western Ontario, Centro Studi Opera Omnia Luigi Boccherini, and Opera Studio Nederland, centered on the preparation, creation, and performance of full operatic roles. The international program brings together selected singers from around the globe to work with pianists, conductors, and directors from some of the world’s most celebrated opera institutions, during an intense period of musical and dramaturgic study and rehearsal, followed by a series of public European performances. Participants work at an extremely high level to understand firsthand the musical, intellectual, and physical tools required to build an opera character from concept to performance, and are prepared for similar professional experiences in European and North American opera houses. The program also includes masterclasses and coachings with special guests from Europe’s leading opera programs (past guests have included the head coach from Teatro alla Scala, and the heads of the National Opera Studio London, Opera Studio Nederland, and the studio of Opera du Rhin), and private voice lessons, all in context of a compelling European life setting.
Costs (per program)
With a commitment to focusing on quality and integrity of performance, AEDO is one of the most affordable summer programs available.
Tuition – Singers: 1.500 Euros per program (Includes all lessons, coachings, masterclasses, rehearsal and performance costs, and longer travel from rehearsal to performance venues). Pianists and Assistant directors: No cost.
Housing – Singers 610 Euros, Pianists and Assistant Directors: 800 Euros (Exact cost for Amsterdam housing will be to be confirmed on AEDO website)
AEDO Milan, Italy July 20th-August 7th, 2012
AEDO Italy takes place at the historic Villa Medici-Giulini in the hills outside of Milan Italy. Renowned for its beautiful setting and collection of instruments, this 18th century villa plays host to AEDO’s entire routine of rehearsal, study, masterclass, performance, and living together. Performances take place not only in Milan, but also throughout Tuscany at diverse locations. The villa provides rehearsal and performance space, housing and communal areas, kitchens for participant use, and inspiring grounds for relaxation and further study.
Operas for AEDO Italy 2012 (fully staged, with orchestra)
- Cosi Fan Tutte (Mozart)
- Die Zauberflöte (Mozart)
- Suor Angelica & Gianni Schicchi (Puccini)
AEDO Amsterdam, The Netherlands August 9th-26th, 2012
AEDO Amsterdam is hosted in the bustling urban center and European cultural capital. Rehearsals and performances take place in the beautiful historic center of this famed city of canals, inside the Opera Studio Nederland and its theater the Doelenzaal, and just a short walk to the Dutch National Opera, the incomparable Royal Concertgebouw, and the Van Gogh and Rijks museums. Surrounded by this magnificent city of arts, culture, and summer festivals, participants live and work intensely on their craft.
Operas for AEDO Amsterdam 2012 (fully staged, with orchestra)
- Il Ritorno d’Ulisse in Patria (Monteverdi)
- Die Zauberflöte (Mozart)
Faculty and guest presenters for AEDO to be announced. Please check the AEDO website at www.aedopera.org for updated information.
Email: coaa@uwo.ca
Phone: 519-661-2111 ext. 80047
Mail:
Margie Bernal
Associate Artistic & General AdministratorAccademia Europea Dell’Opera,
c/o Don Wright Faculty of Music
The University of Western Ontario
1151 Richmond Street
Talbot College, Room 210
London, Ontario
N6A 3K7
All programs, faculty, dates, and fees are subject to change.
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