BERLIN OPERA ACADEMY - Key Persons
Job Titles:
- Assistant to Melissa King
Andrea Danae Kingston was born in Australia. She started dancing at the age of five and at the age of twelve stood on stage in her first professional experience performing with the Australian Ballet Company in Graeme Murphy's premiere cast of "The Nutcracker" in Melbourne.
1998 took Andrea first to London and then onto Vienna where she took up an invitation to study at the Vienna State Opera Ballet School. In her final year she was offered an engagement with Ballet Schindowski in Gelsenkirchen, Germany where she performed many roles, Schindowski repetoire, childrens theater and her first musical Gershwins "Crazy for You" which she then went on to accompany to Austria as Dance Captian.
Her career onstage has taken her to many houses throughout Germany including Komische Oper Berlin ( "Kiss Me Kate and "Orpheus" ) Staatsoper Hannover ("Im Weissen Rössl"), Staatstheater am Gärtnerplatz and Schauspielhaus Hamburg ("Marilyn das Musical") and with the Royal Opera House production on "Faust" she toured to Italy,(Teatro Verdi) and France, (Opera de Lille).
Andrea has worked as choreographic assistant to Melissa King on a number of projects including "West Side Story" and "Showboat" at the Bad Hersfelderfestpiele and "Chicago" in St. Gallen, Switzerland.
2009 marked Andrea's debut as a choreographer. Her first piece being the European Premiere of Gershwin's "Pardon My English" at the Staatsoperettenhaus, Dresden. Since then she has continued to choreograph in different fields from Musicals: "West Side Story" and "Anything Goes" (Stadttheater Bremerhaven); to Opera: "Die Fledermaus" (Mecklenburgisches Staatstheater Schwerin) and "Blood Wedding"(Bremerhaven); Operette: " Ball im Savoy" (Theater Hagen) and "Die Csardasfürstin" (Schwerin); in Theater: "Jedermann - Berliner Festspiele am Dom" and for Television: "Anna und die Liebe" Andrea is based in Berlin, Germany.
German conductor Carlos Spierer grew up in Berlin and started to play the violin and piano at the age of six. He studied violin in USA and later conducting with Klauspeter Seibel at the Hochschule für Musik in Hamburg. In 1987 he was awarded 1st prize in the conducting competition of the Schleswig- Holstein Music Festival with Leonard Bernstein. After joining the music staff as Kapellmeister and musical assistant to the Music Director of the Opera House in Kiel, Germany, he became Artistic Director and Music Director of the Gävle Symphony Orchestra in Sweden, followed by the position of Artistic Director and Chief Conductor of the Orquesta Sinfónica de Minería in Mexico City as well as Music Director of the Giessen Opera in Germany.
His guest engagements have included renowned opera houses and orchestras such as San Francisco Opera, Gothenburg Opera, Frankfurt Opera,Komische Oper Berlin, Badisches Staatstheater Karlsruhe, the National Opera and Estonian National Orchestra in Tallinn, Frankfurt Radio Orchestra, NHK Tokyo, Warsaw Filharmonic Orchestra, Polish National Symphony Orchestra, Deutsche Kammerphilharmonie Bremen, the Philharmonic Orchestra Buenos Aires, NRK Radio Orchestra Oslo and the Royal Philharmonic Orchestra Stockholm.
Carlos Spierer is a reknowned conducting teacher. Besides his private students, he holds master classes at the Texas Music Festival in Houston, at the University of Houston and he teaches regularly at the UNAM in Mexico City. Carlos Spierer's recording of works by the Swedish composer Oscar Byström (Sterling) has been "CD of the year 1998" at the renowned BBC music magazine. The CD of Paddington's First Concert and Poulenc's Babar the Elephant (Polygram) has been awarded the "Echo Prize 1999".
American cellist, Christian Standridge, began studying cello at the unusually late age of 16 years old. Already in his short career, he has appeared in major concert halls across the world such as those in Berlin, Paris, and Zurich, as well as many in the United States.
He has had the great joy of collaborating with some of the great artists of today such as Sergei Babayan, Radek Baborák, and Marie-Pierre Langlamet, among many others. Mr. Standridge has benefited from the tutelage of Tabea Zimmermann, Noah-Bendix Balgley, Stephan Picard, Jaime Laredo, and Joseph Silverstein, as well as members of the Juilliard, Cleveland, and Cavani Quartets.
Mr. Standridge was invited to study at the Cleveland Institute of Music, where he received his Bachelor of Music. There he studied with Merry Peckham, Sharon Robinson, and Mark Kosower. After graduating, Mr. Standridge moved to Berlin where he has studied with Troels Svane (of the Hochschule für Musik "Hanns Eisler" and Hochschule für Musik in Lübeck) and where he currently studies with Martin Löhr, Solo Cellist of the Berlin Philharmonic.
Mr. Standridge is also an enthusiastic and committed teacher who draws on the rich pedagogical foundation of his education. When not presenting master classes or workshops in Germany or the United States, he leads an active and vibrant private studio in Berlin. Prospective students should see the "Teaching" page for more information.
Mr. Standridge plays on a cello by Paul Belin, made in 2019.
David Paul has worked as a director for opera, theater, and flm throughout the United States and abroad. The New York Times hailed his recent production of Gluck's "Iphigenie en Aulide," calling it "a gift to opera lovers", while the Washington Post lauded his "sure sense of theater." Paul's wide range of work as a stage director and flmmaker has been praised by critics and audiences for its ingenuity, attention to musical and dramatic detail, and the powerful, nuanced performances he draws from his performers. He has won awards from the Geneva Film Festival, the Hong Kong Arthouse Film Festival, and IndieFest, and he has mounted productions for the Washington National Opera, Shakespeare Theatre Company (Washington, DC), and the Metropolitan Opera's Lindemann Young Artist Program, among many others.
The spring of 2016 marked the highly-anticipated release of "Dichterliebe: POETLOVE", a flm conceived and directed by Paul. A cinematic adaptation of Schumann's Dichterliebe songs, using the original music but set in modern-day New York and performed entirely in English, POETLOVE has been selected for numerous flm festivals and garnered several awards around the world.
Throughout the season, he travels to Tokyo, Japan for another set of public coachings and master classes under the auspices of the Juilliard-IFAC competition, as well as Beijing, China and La Crosse, Wisconsin for residencies and master classes at the Central Conservatory of China and Viterbo University. He also returns to Princeton, NJ for semi-staged performances of "Hansel and Gretel" with the CoOperative Program. Continuing his afliation with the Metropolitan Opera's Lindemann Young Artist Program, Paul serves as dramatic consultant for the Met+Juilliard production of "La Sonnambula." He concludes the season with two new productions: his debut at Opera Saratoga for "L'incoronazione di Poppea," and his return to the Music Academy of the West in California for Smetana's "The Bartered Bride." Paul began the 2014-15 season with a return to Columbia University, where he directed Chekhov's classic play "The Seagull" for his alma mater. Continuing his afliation with the Metropolitan Opera's Lindemann Young Artist Program, Paul staged critically-acclaimed performances of Gluck's "Iphigenie en Aulide" for the annual Met+Juilliard coproduction at Lincoln Center in February 2015, as well as directing scenes and arias for the Program's annual winter concert.
He made his highly successful debut at Wolf Trap Opera in June of 2015, directing a new production of Mozart's "L'incoronazione di Poppea", and returned for his fourth new production at Music Academy of the West, this time with Rossini's "Cinderella". Highlights of the 2013-14 season included a return to Washington National Opera, where he was integrally involved in the development of "An American Soldier," a new opera by David Henry Hwang and Huang Ruo, whose world premiere he directed in June of 2014. He also directed a new production of Tchaikovsky's "Iolanta" at Westminster Choir College, several scenes and arias under the guidance of James Levine for the Met's Lindemann Young Artists annual patron performance, semi-staged performances of Donizetti's "Fille du Regiment" for the CoOperative Program in Princeton, and several performances of scenes and arias at the Juilliard School.
He returned, in July of 2014, to the Music Academy of the West, where he directed a new production of "Carmen" in celebration of the 80th birthday of Marilyn Horne, Chair of the Academy's Voice department. Prior season highlights include productions with North Carolina Opera ("Aida", "Il trovatore", "Les enfants terribles"), Music Academy of the West (new productions of "Die Zauberföte" and "The Rake's Progress"), Shakespeare Theatre Company ("Julius Caesar", "Hamlet"), The Juilliard School (Double-bill of early Rossini operas), Columbia University ("Eurydice"), and Ash Lawn Opera ("Il barbiere di Siviglia"). Together with Artistic Director Vivienne Benesch, Paul co-curated "The Romeo and Juliet Project", a unique retelling of Shakespeare's tragedy through theater, opera, and dance that celebrated its premiere at the Chautauqua Institution in 2013.
As part of his young artist residency at Washington National Opera, he directed "Le nozze di Figaro" at the Kennedy Center Opera House, earning praise from the Washington Post. He has created productions for The Tel Aviv Summer Opera Festival and the Intermezzo Festival in Belgium, and has enjoyed an ongoing relationship with Westminster Choir College, where he has directed fve opera productions as well as four semi-staged productions under the auspices of the CoOperative Program. David Paul has served on the artistic staf of Michael Kahn's Shakespeare Theatre Company and Perseverance Theater, Alaska's fagship professional theater. While in Alaska, he adapted and directed Lorca's "Blood Wedding", devised and directed an original piece with the theater's Young Company, and served as music director on productions of "The People's Temple" (world premiere of new version), "Twelfth Night", "King Island Christmas", and "Hair". He also served as Assistant Director for the Tony-nominated Broadway production of Terrence McNally's "Master Class," featuring Tyne Daly. Additional credits as director or assistant director include productions at Atlanta Opera, California Shakespeare Theater, Shakespeare Theatre Company, Perseverance Theatre, Chautauqua Theater Company, the Juilliard School's Drama Division, and the 110th Annual Varsity Show at Columbia University, among others.
Outside of his directing work, Paul has gained useful experience on the administrative side of the arts. He spent two seasons in the Metropolitan Opera's Artistic Department as an Associate in casting. He also served for one season as an Assistant Artist Manager in the Vocal Division of Columbia Artists Management. David Paul was graduated summa cum laude from Columbia University with a degree in theater arts and a specialization in directing. He is a native of Hamburg, Germany.
Born in Weymouth, England and educated as an Organ Scholar at Clare College, Cambridge, a repetiteur and opera conductor at the Royal College of Music, Royal Academy of Music and Liszt Academy, Budapest, Dominic Wheeler now enjoys a varied career conducting opera, symphonic repertoire and dance all over the world.
He has conducted opera for ENO, including performances of Das Rheingold, Siegfried, War and Peace and Les Troyens, Opera North, Scottish Opera, ROH at the Linbury, Hungarian State Opera, Opera de Nice, New Zealand Opera, English Touring Opera, Opera Holland Park, Chelsea Opera Group and Independent Opera, whose double bill of operas by Elizabeth Maconchy was recorded for Chandos and whose production of Debussy's Pelleas et Melisande was shortlisted for an RPS Award.
On the concert platform he has conducted the Philharmonia, BBC Philharmonic, BBC Concert Orchestra and Singers, with whom he made his BBC Proms debut in 2014, conducting the world premiere of the Pet Shop Boys' A Man from the Future (about the British scientist Alan Turing), Bournemouth Symphony Orchestra and Chorus (including a recording of orchestral and choral works by the British composer Stephen McNeff), Royal Philharmonic Orchestra, Geidai Philharmonic, Tokyo, Orchestra of Opera North, City of London Sinfonia, English Chamber Orchestra, London Mozart Players, Northern Sinfonia, Sinfonia Viva, Bach Choir and Leeds Festival Chorus.
In dance, he has conducted for the Royal Ballet, Sadlers Wells, including the world premiere and recording of the Pet Shop Boys' The Most Incredible Thing, and the Ballet de l'Opera National de Bordeaux.
A decision in 2001 to orientate his career more around his then young family brought about a move into conservatoire education, which has gradually become a huge passion and now accounts for around 8-9 months of Dominic's year. Having worked as a guest conductor (in opera, choral and symphonic repertoire), vocal coach, orchestral trainer and conducting teacher for all the major London conservatoires, this enthusiasm culminated in his appointment as Head of Opera Studies at the world famous Guildhall School of Music & Drama in 2012. Internationally, Dominic has also conducted the European Union Youth Orchestra and the orchestras of Geidai Arts University, Tokyo and conducted opera for the Opera Studio of the New National Theatre, Tokyo, the Liszt Academy, Budapest and the Banff Centre in Canada. He has twice led semi-staged opera collaborations between the London Schools Symphony Orchestra and the Guildhall School at the Barbican Centre.
A passionate advocate of new music, Dominic has collaborated regularly with and led premieres by composers such as Judith Weir, Jonathan Dove, Stephen McNeff, Stuart Macrae, Nitin Sawnhey and Jonathan Harvey, and recently commissioned an opera specially for the Guildhall School from the School's Head of Composition, Dr Julian Philips, which was premiered in March 2017. He is also a driving force in the foundation and development of Opera Makers, a collaboration between the Guildhall School and ROH which trains composers and librettists, who over the course of an academic year, create chamber operas specially for the singers on the Opera Course at the Guildhall School, culminating in performances at the Guildhall School, ROH and a different venues across Europe. His overriding ambition for the future is to create a centre where artists from all over the world and all different disciplines can meet to work together and build cultural understanding.
Gidon Saks is in demand internationally for his highly acclaimed interpretation of many bass-baritone roles, shining in particular with the Wagner and German repertoire. Over the span of his successful career to date, his signature roles have included Bluebeard, Nick Shadow The Rake's Progress, Claggart Billy Budd, Kaspar Der Freischütz and Hagen Götterdämmerung.
In the 2015-16 season, Saks will sing the role of Bottom in Britten A Midsummer Night's Dream for the first time in Robert Carsen's legendary production at Bergen National Opera. He will also perform Gyges in Zemlinsky's Der König Kandaules at Opera Vlaanderen (new production by Andrij Zholdak) under Dmitri Jurowski, and return to Opéra National de Paris for Calixto Bieito's new production of Aribert Reimann's Lear under Fabio Luisi. He will also reprise the role of Bluebeard in a concert version at the Festival de Opera de Coruña.
Saks's "fierce, emotionally ripe performances" (Financial Times) as Bluebeard Bluebeard's Castle were recently seen at Komische Oper Berlin under the direction of Calixto Bieito, in Mariusz Trelinski's production at Teatr Wielki, at the Concertgebouw under Peter Eötvös, and in the production by Patrice Caurier and Moshe Leiser for Angers Nantes Opera. As Nick Shadow The Rake's Progress he has performed at Opéra de Paris, Staatsoper Berlin, and Edinburgh International Festival. Last season he made his house debut at Deutsche Oper Berlin in David Alden's new production of Billy Budd as John Claggart, a role that he has previously performed at Opéra de Paris, and recorded with the London Symphony Orchestra which won a Grammy Award for the Best Opera Performance.
Equally in demand on the concert platform, Saks has performed Creon Oedipus Rex and Hermit Der Freischütz with the London Symphony Orchestra (both recorded for LSO Live); King Marke Tristan und Isolde at Festival de Opera de Coruña; König Heinrich Lohengrin with the City of Birmingham Symphony Orchestra. He has worked with some of the most distinguished conductors of our time including Sir John Eliot Gardiner, Valery Gergiev, Donald Runnicles, Sir Neville Marriner, Daniel Harding, Sir Andrew Davies and the late Sir Colin Davis.
Other operatic highlights include Fasolt Das Rheingold and Hagen Götterdämmerung for La Fenice (which won an Abbiati Award); Gaspard Le Freyschutz for Opéra Comique and the BBC Proms; Villains Les contes d' Hoffmann and The Pilgrim's Progress at Covent Garden, Scarpia Tosca at Bregenz Festival; Kaspar Die Freischütz and Don Pizarro Fidelio for Staatsoper Berlin; Enrico Anna Bolena for Oper Köln; Boito's Mefistofele for De Nederlandse Opera; Don Pizzaro for Canadian Opera Company, Seneca L'incoronazione di Poppea for La Monnaie, Filippo Don Carlo in Geneva and Palermo; Fafner Siegfried, Hunding Die Walküre, Daland and Musiklehrer Hänsel und Gretel for Washington National Opera. Saks has also created several roles including George Moscone in Stewart Wallace Harvey Milk directed by Christopher Alden (Houston, New York City and San Francisco). Earlier in his career he has sung numerous major roles for English National Opera, Scottish Opera and Welsh National Opera. While with the Canadian Opera Company Saks as an ensemble member he has sung Rochefort Anna Bolena with Dame Joan Sutherland, Wurm Luisa Miller, Bluebeard and Boris Godunov.
He can also be heard in earlier recordings include Abbot Curlew River (Philips) with, the Gravedigger in Weill Silbersee (BMG), the title role in Handel Hercules under Minkowski (Deutsche Grammophon) and Saul with Rene Jacobs, which won a Gramophone Award.
Saks was born in Israel and brought up in South Africa. He trained at the Royal Northern College of Music, University of Toronto and subsequently Zurich Opera Studio. He was a visiting Professor of Voice at the Conservatoire of Ghent in Belgium. Offstage he is a dedicated director/designer and teacher.
Job Titles:
- Artistic Administrator & Co - Founder
Originally from Boston, MA, Jessica Farrell holds a Bachelors of Arts in "Expressive Arts & Performance" from Whittier College in Los Angeles, California and a Masters of Music in "Vocal Performance" from the Royal Conservatoire of Music in Glasgow, Scotland. During her studies, she represented the Arts Council of the City of Cambridge as a Summer Program Arts Administrator and Artist Liaison and held an Arts Administration and Management placement at Westbourne Music in Glasgow. Also during university, Jessica spent time in Ghana researching and studying traditional acoustic song through the School for International Training and the Kwame Nkrumah University in Kumasi. While living in Los Angeles, Jessica worked as an Office Administrator for the Ruth B. Shannon Performing Arts Center and as a Development Assistant for the the Director of Development at Whittier College. Since moving to Europe in 2011, Jessica has been working as a freelance music and language instructor. She moved to Germany in 2013 to study the German language while working in Cologne and Berlin. Currently, Jessica collaborates with other musicians in Berlin exploring diverse genres of vocal and instrumental music and enjoys working with the international BOA community each summer.
British/Swiss soprano Kim-Lillian Strebel has received rapturous critical acclaim following a number of high-profile debuts. These include Pamina in Barrie Koksy's production of DIE ZAUBERFLÖTE for Cincinnati Opera - marking her US operatic debut - and Thé tre National de l'OpéraComique, Cendrillon for Theater Freiburg, and Lauretta in Calixto Bieito's new production of GIANNI SCHICCHI at the Komische Oper Berlin.
In 2018/2019 season she made her Italian debut singing Sirene/Una Donna in Handel's RINALDO at the 44th festival della Valle D'Itria under Maestro Fabio Luisi as well as singing in a Gala Concert there with him. She returned to sing Pamina in DIE ZAUBERFLÖTE at the Deutsche Oper Berlin again as well as on Tour with the Komische Oper Berlin (Barrie Kosky's production) in Australia/New Zealand. She made her Austrian operatic debut in the main role of Martha in MARTHA by Flotow at Opera Graz. Kim-Lillian also returned to Atlanta to sing Canteloube, Songs of the Auvergne under Maestro Donald Runnicles and sang the Mozart Requiem in London. This season 2019/20 engagements are RUSALKA at the Cincinnati Opera, Pamina in Mozart´s THE MAGIC FLUTE on tour with the Komische Oper Berlin in Macao and Taiwan and later in the year in Chile and Lydia Pawloska in Weinberger´s SPRING STORMS at the Komische Oper in Berlin. She makes her debut at the Cadogan Hall in London this season with the Fauré Requiem under Maestro Michael Waldron.
Recent opera engagements in the ensembles of Theater Freiburg and Theater Basel include the roles of Micaëla (CARMEN), Fiordiligi (COSÌ FAN TUTTE), Adina (L´ELISIR D´AMORE), Euridice (ORFEO ED EURIDICE), Angelica (ORLANDO), Gretel (HÄNSEL AND GRETEL), Orazia (INDIAN QUEEN), Garsenda (FRANCESCA DA RIMINI), Safiye (CRUSADES), Isaure (JERUSALEM) and Astaroth (KÖNIGIN VON SABA). Equally, during her time in the Junge Ensemble of the Deutsche Opera, roles included Papagena and First Lady (DIE ZAUBERFLÖTE), 2nd Niece (PETER GRIMES), Flower Maiden (PARSIFAL), Shepherd (TANNHÄUSER), Nicoletta (THE LOVE OF THREE ORANGES) and Countess Ceprano (RIGOLETTO) under Pablo Heras-Casado amongst others. As a guest artist, she returned to Berlin as Musetta (LA BOHÈME) and Gretel (HÄNSEL AND GRETEL) under Donald Runnicles.
Last season she sang First Lady in Günter Krämer's production of DIE ZAUBERFLÖTE, as well as returning to the Komische Opera on tour in South Korea as Pamina. She also sang in Guillermo Amaya's new production of Donizetti's ADELIA for Theater für Niedersachsen, Hildesheim, marking the German premiere of the piece, where she received critical acclaim. Recent concert performances, include her US concert debut with the Atlanta Symphony in performances of Missa Solemnis and her BBC Scottish Symphony Orchestra debut in Beethoven's Symphony No.9, as well as joining the Tonhalle-Orchester Zürich under Peter Kennel as Solveig in Peer Gynt and the Kammerorchester Basel for Mozart's Requiem under Giovanni Antonini. Last season she openened the Mozarteum Orchester Salzburg's season with CPE Bach's Magnificat under Riccardo Minasi and sang Messiah with La Orquesta Sinfonica Y Coro RTVE, as well as returning to Atlanta Symphony for Bach's Cantata 80 under Robert Spano and sang the Mozart Requiem in Skopje with the Macedonian Philharmonic under Emil Tabakov. This season Kim-Lillian will return to Atlanta to sing Canteloube, Songs of the Auvergne under Maestro Donald Runnicles and sing Mozart Requiem in London. Kim-Lillian, born in London to a artistic Central European family, was trained at an early age as a dancer. Her singing talent was then discovered by the late Anthony Rolfe-Johnson. She is now an honour ARAM of the Royal Academy of Music. She then continued at the Royal Conservatoire of Scotland.
Lorraine DiSimone, Associate Professor of Voice at the University of Tennessee, Knoxville, has appeared extensively in concert as well as on the opera stage. She has performed with such orchestras as the New York Philharmonic, the Pittsburgh Symphony, Hartford Symphony, Omaha Symphony, Cincinnati Chamber Orchestra, Knoxville Symphony and Shreveport Symphony. She has sung over 50 opera roles including Rosina in Rossini's Barber of Seville, Octavian in Strauss' Der Rosenkavalier, Composer in Strauss' Hänsel und Gretel, Elizabeth Proctor in Ward's The Crucible, Santuzza in Mascagni's Cavalleria Rusticana, Preziosilla in Verdi's La Forza del Destino, La Zia Principessa in Puccini's Suor Angelica, Wellgunde and Gerhilde in Wagner's Ring as well as Brangäne in Tristan und Isolde.
Ms. DiSimone has sung with numerous houses in Germany and central Europe. She made her Carnegie Hall debut in Verdi's Nabucco and has performed there often in works of Beethoven, Handel, Mascagni, Mozart, etc. She has performed with many U.S. companies, including Glimmerglass Opera, Boston Lyric Opera, Opera Boston, New York Grand Opera, Houston Grand Opera, Des Moines Metro Opera, Chautauqua Opera, Knoxville Opera and Sarasota Opera.
Ms. DiSimone made her European debut in Venice at La Fenice. She sang Maddalena to Marcello Giordani's Duke in Rigoletto in Spoleto, Italy. Ms. DiSimone has also been active in performing contemporary music. She has performed with the Composers in Red Sneakers, Center for Contemporary Opera (NYC), Lincoln Center Outdoors, and Symphony Space concerts as well as with the Bayerische Rundfunk Kammerorchester in Munich. A finalist in the Metropolitan Opera Auditions, Ms. DiSimone has taught on the faculties of Clark University, Wake Forest University, the Berkshire Choral Festival and the Amalfi Coast Music Festival. CDs include Mascagni's Silvano and Harbison's Full Moon in March.
Cuban stage and film director, Luis-Ernesto Doñas, has been working at Opera di Roma in the Opera Studio along important stage director such as Graham Vick, Damiano Michieletto, Deborah Warner, Emma Dante, Valentina Carrasco, Barry Kosky, Andrea de Rosa and Fabio Chertich among others. He has also directed his own opera pieces in Cuba and Italy.
Luis-Ernesto Doñas has presented the following productions: La Fille du Regiment at Gran Teatro de La Habana "Alicia Alonso," Winterreise at Gran Teatro de la Habana Alicia Alonso, Alcina at Gran Teatro de la Habana Alicia Alonso, Leggero ma non troppo at Gran Teatro de la Habana Alicia Alonso, Rita at Donizetti Festival in Bergamo, Italy, Enea in Caonia, Teatro Torlonia, Rome, Opera in mostra, Museo Palacio Braschi, Rome, La fille du regiment at Donizetti Opera Festival in Bergamo, Italy (Nov. 2021), Acquaprofonda, new opera for young audiences on the pollution of oceans, Opera di Roma (2021), The Indian Queen at Postdam Sansoucci Festival (2022), Otello (Rossini) at Japan Belcanto Festival (2023),
Future opera works by Luis Ernesto Doñas include: Cosí fan tutte, Berlin (2023) and Werther, Ljubliana Opera (2024)
As assistant he has worked in productions including Aida, The Fiery Angel, Die lustige Witwe, Anna Bolena, Die Zauberfloete, Carmen, La Traviata, Rigoletto, Billy Bud, Cavalleria Rusticana, Pagliacci, and I Masnadieri.
As a film director Luis-Ernesto Doñas has produced a long list of short films and documentaries he has presented both in Cuba and internationally. He graduated from Instituto Superior de Arte and EICTV. Here he produced a short film under the supervision of Werner Herzog. He belongs to the Union Nacional de Escritores y Artistas de Cuba".
Lutz de Veer was born in Berlin and studied conducting at the Hochschule fur Musik und Theater in Hamburg with Prof. Klaus-Peter Seibel, and attended various master classes with Prof. Heinz Rogner and Wolf-Dieter Hauschild, among others. In 1992, while still a student, he went to work as a solo repetiteur at the Buhnen der Landeshauptstadt Kiel, where he took up the post of second Kapellmeister in 1995.
In 1997, Lutz de Veer became the first Kapellmeister and deputy to the general music director at the Stadtische Buhnen Osnabruck, where he was appointed the general music director in 1999/2000. In the 2001/2002 season he joined the Staatsoper Hannover as the coordinated Kapellmeister. From 2006 to 2010 he continued his engagement as the first Kapellmeister under the new director Dr. Michael Klug, and he was then appointed as the general music director at the Plauen-Zwickau Theater.
In addition to his permanent engagements, Lutz de Veer conducted at the opera houses in Nuremberg, Saarbrucken, Heidelberg, Meiningen and Regensburg and worked with many other orchestras, including the Radio-Sinfonieorchester Stuttgart, the NDR Radiophilharmonie Hannover, the Kaiserslautern Radio Orchestra and the Philharmonie Sudwestfalen. From 2006 to 2010, Lutz de Veer also worked as a conducting tutor at the Hochschule fur Musik und Theater Hannover. Since 2018, he has been deputy GMD and first Kapellmeister at the Staatstheater Nurnberg.
Marcin has been linked to the operatic world for 34 years and it has been 18 years since he started working in this field. Introduced at a very early age to the theatre in Łódź by his mother, who worked in the scenery department, Marcin made his first stage appearance there aged sixteen. Today he cannot imagine his life without music, the theatre and the extraordinary world of opera. It is particularly close to him also because of his education.
He holds a degree in Film and Audiovisual Arts from the Institute of Theory of Literature, Theatre, and Audio-Visual Arts at the University of Łódź and a degree in Set Design from the Academy of Fine Arts in Bologna, Italy. He has worked as Assistant Director on numerous opera, drama and film productions in his native Poland and Germany, Italy, Denmark, Austria, South Africa, Ireland, and Argentine. He has directed productions of Lloyd Webber's Evita and Bizet's Carmen, both open-air productions for Star Entertainment, Berlin. After having been awarded John Small Bursary by the Wexford Festival Opera to help further his career, Marcin has directed Menotti's The Old Maid and the Thief in Wexford in 2008.
In 2006 he was appointed Manager of Arturo Toscanini Orchestra in Parma, Italy. He held the post up until 2011 when he worked for the very first time with Graham Vick on Mosè in Egitto during the Rossini Opera Festival in Pesaro. It was Graham Vick, who encouraged him to quit the Orchestra and to concentrate on fulfilling his career aspirations and his true passion for opera. Marcin regularly cooperates with Teatro alla Scala and Rossini Opera Festival.
Starting with the 2016/17 season, Marcin Łakomicki has been working regularly at the Staatsoper Unter den Linden in Berlin, both supervising new productions such as Puccini's "Manon Lescaut", Strauss's "Die Frau ohne Schatten", and directing revivals of "La Traviata", "La Bohème", "Madama Butterfly".
Mark Sampson, opera singer and entrepreneur, was educated at the University of British Columbia, Accademia di Belle Arti di L'Aquila, Indiana University in Bloomington, Opera Lyra Ottawa, Hochschule fuer Musik und Theater Leipzig, and the Hochschule fuer Musik und Theater Rostock.
As a singer, Mr. Sampson made his european debut as Filippo II in Verdi's Don Carlo in Madrid. This led to fest engagements various german A and B houses. Roles included a wide range: from Don Giovanni, the title role, as well as Leporello, Masetto and Commendatore; in Cosi Fan Tutte, both Guglielmo and Don Alfonso, Sarastro in Die Zauberfloete, Frank in Fledermaus, etc. He also enjoyed success in musical theater in 80 Days around the World, and Jesus Christ Superstar in Vienna with special guest Tim Rice.
Mark is the director and founder of Berlin Opera Academy, Saluzzo Opera Academy, among a number of other academies. Outside of singing Mr. Sampson holds a degrees in mathematics, pedagogy, singing, is fluent in English, French, German and Italian, won or received top placement in international physics and math competitions. He also has an interest in castles and made an attempt on Mount Everest.
Job Titles:
- Director
- Joint Head of the English Language Committee for Eurodram
Director Nina Brazier is establishing herself as a leader in her field, described as a 'skilful director' by Opera Magazine, 'ingenious' by The Stage and with 'genuine music theatre sensibility' by Opera Now.
Nina's future productions include Philippe Sands' East West Street at MuTh in Vienna, and the revivals of Keith Warner's Peter Grimes and Tobias Kratzer's La Forza del Destino at Oper Frankfurt. She has joined the staff at Oper Frankfurt for seasons 2018-20 where she has revived Brigitte Fassbaender's Ariadne auf Naxos, Harry Kupfer's La Damnation de Faust and Florentine Klepper's Julietta all to critical acclaim.
Nina trained at the Royal Academy of Dramatic Art in London, Exeter University, The Royal Court/Channel 4 Directors Scheme, The Operating Table course at the Royal Opera House, and has taken part in the Opera Europa Opera Management Course.
Her productions include Alex Mills' new opera Dear Marie Stopes at Kings Place, London, the revival of Krenek's Drei Kurzopern at Oper Frankfurt, Philippe Sands' East West Street at the Queen Elizabeth Hall, Southbank Centre, Le Nozze di Figaro for the Berlin Opera Academy, Die Sache Makropulos at Theater Bonn as Associate Director to Christopher Alden, Così fan Tutte for Ryedale Festival Opera and Chiltern Arts Festival, the world premiere of Swan's Inlet at the Center for Contemporary Opera in New York, If This is a Man at the Royal Festival Hall, Southbank Centre and an ongoing world tour of Philippe Sands' East West Street which recently toured to the Berlin Konzerthaus, 92nd St Y, New York and Thé tre National de la Colline in Paris. Her Ryedale Festival production of The Magic Flute, and her double-bill of Spilt Milk & Trouble in Tahiti at the Arcola Theatre in London were both Time Out Critic's Choice.
Nina has previously worked as a visiting Staff Director for opera houses in Europe including the Royal Opera House, London, the Bayerische Staatsoper in Munich, Staatstheater Darmstadt, English National Opera, Welsh National Opera and Opera North, and she has acted as a visiting director at the Royal College of Music, the Italian Opera Summer School, Guildhall School of Music & Drama and Birkbeck University.
Outside of her operatic work, Nina is joint head of the English Language Committee for Eurodram, the European network for drama in translation. tadt Frankfurt am Main), im März 2019 PIERROT LUNAIRE in der Tischlerei der Deutschen Oper Berlin.
Born in Chicago, Phillip Moll lives in Berlin, working as an accompanist and ensemble pianist and collaborating with such diverse artists as Kyung Wha Chung, Sir James Galway and Jessye Norman. He has performed and recorded with the Berlin Philharmonic Orchestra, the German Symphony Orchestra, the RIAS Chamber Choir and the Berlin Radio Choir, and performances have taken him throughout Europe, North America and the Far East.
After receiving degrees in English from Harvard University and in music from the University of Texas, and following a year at the Hochschule für Musik in Munich, he was employed as a repetiteur by the German Opera in Berlin until 1978. Since then he has been active as an accompanist and ensemble pianist, collaborating with such diverse artists as Kathleen Battle, Håkan Hågegard, Jessye Norman, Kurt Moll, James Galway, Kyung Wha Chung, Anne-Sophie Mutter, Akiko Suwanai, and Kolya Blacher. He has performed and recorded with numerous Berlin ensembles, including the Berlin Philharmonic Orchestra, the German Symphony Orchestra, the RIAS Chamber Choir and the Berlin Radio Choir. For many years he has performed throughout the US, Europe, and the Far East, and has appeared as soloist with the Berlin Philharmonic Orchestra, the English Chamber Orchestra, the Orchestra of Saint John's Smith Square and the Philharmonic Kammermusik Kollegium.
Since 2004 he has held a professorship for song interpretation at the Leipzig Hochschule. Among the many recordings in which he has taken part are the Brahms German Requiem with the Berlin Radio Chorus (with piano duet), Piano Trios of Dvořák and Suk with the Berlin Philharmonic Piano Trio, vocal duets with Paul-Armin and Peter Edelmann, Gypsy Songs with Renée Morloc, Rossini's Petite Messe Solennelle with the RIAS Chamber Choir, Opera Fantasies with wind soloists of La Scala, compositions of Schubert and Bartók with violinist Andrea Duka Löwenstein, and a programme of shorter pieces with Sir James Galway.
Hailed as "a theatrical performer whose rise to watch" by Opera News, Rebecca Jo Loeb makes debuts with the Teatro Municipal de Santiago reprising Gymnasiast/ein Groom in Lulu and Theater Freiburg as Susan in Weill's Love Life in the 2017-18 season. Her other engagements include her return to the Deutsche Oper Berlin as Zweite Magd in Elektra and New York Festival of Song for Arias and Barcarolles on tour to Arizona Opera and Wolf Trap. Last season, she made debuts with the Metropolitan Opera as Flora in La traviata and Oper Köln as The Fox in The Cunning Little Vixen.
Ms. Loeb spent five seasons as an ensemble member of both the Deutsche Oper Berlin and the Hamburgische Staatsoper at which her performances included Cherubino in Le nozze di Figaro, Rosina in Il barbiere di Sviglia, Siebel in Faust, Hänsel in Hänsel und Gretel, Orlofsky in Die Fledermaus, the Fox in The Cunning Little Vixen, Oreste in La Belle Helene, Francis in Britten's Gloriana, Mercedes in Carmen, Dryad in Ariadne auf Naxos, the Page in Salome, and Zweite Dame in Die Zauberflöte. Following her performances of Bellante in Händel's Almira in Hamburg, she made her debut in the same role at the Innsbrucker Festwochen der Alte Musik.
Other recent engagements for the mezzo-soprano include her debuts with Dutch National Opera as Eine Theater Garderoberie/Gymnasiast/ein Groom in Berg's Lulu, directed by William Kentridge, Festival d`Aix-en-Provence as the Second Angel and Marie in the world premiere of Benjamin's Written on Skin, Dallas Opera as Fyodor in Boris Godunov, Teatro Regio di Torino as a Blumenmädchen in Parsifal, and at the Glimmerglass Festival as Annina in La traviata and the Sailor in Dido and Aeneas.
In concert Rebecca has performed with the Hamburg Ballet as the Alto in both Handel's Messiah and Bach's St. Johannes Passion, with the CPE Bach Chor as the Alto Soloist in Bach's Markus-Passion, as a soloist in her concert series The Jenny and Johnny Project at both the Kurt Weill Festival in Dessau and the Brecht Festival in Augsburg, Germany. She has joined James Conlon in a concert performance of Mahagonny Sonspiel at the Ravinia Festival and has sung Mendelssohn ́s Midsummer Night's Dream with the New York City Ballet, the Alto and Second Soprano Soloist in Bach ́s Mass in B minor at Carnegie Hall, and made her Alice Tully Hall debut singing Bolcom ́s acclaimed Cabaret Songs with orchestra.
Among her other operatic roles performed are Meg Page in Falstaff, Grimgerde in Die Walküre, Alisa in Lucia di Lammermoor, Zweite Magd and Dritte Magd in Elektra, Jenny in The Rise and Fall of the City of Mahagonny, Elmire in Tartuffe, Paquette in Candide, Madame Brillante in L'italiana in Londra, Dorthée in Cendrillon, and Second Witch and the Spirit in Dido and Aeneas. Additionally, she has performed with the Mark Morris Dance Company, New York Festival of Song, New Hampshire Symphony, Tanglewood Music Center, Central City Opera, and Aspen Opera Theatre.
A champion of new music, Rebecca Jo has recorded songs of Stephan Wolpe and Ursula Monk with Bridge Records and performed songs of Wolpe in Weill Concert Hall. She performed roles in Lucrezia and Bastianello (operas commissioned for the New York Festival of Song by William Bolcom and John Musto, respectively) at the Moab Music Festival, the role of the Swiss Grandmother in John Adams' Death of Klinghofferwith Mr. Adams conducting, as a one-woman opera in Sciarrino ́s Vanitasat the Hamburg State Opera ́s Black Box Theater, and the songs of Tom Cipullo and Ricky Ian Gordon with the composers at the piano. Equally at home in musical theater, Rebecca Jo joined the Boston Pops as Carrie in Carousel, Petra in A Little Night Music, and on their Bernstein Tour to critical acclaim. She made her Broadway debut in a benefit entitled Ladies Who Sing Sondheim starring Angela Lansbury and Patti Lupone.
Her awards include a Sullivan Educational Award, the Curt Englehorn Scholarship from the Opera Foundation, first prize in the Lotte Lenya Competition, a 2009 Career Bridges grant, and the Ginney and John Starkey Young Artist Award at Central City Opera. She is a proud graduate of the Juilliard School, The Manhattan School of Music, and especially the University of Michigan, from which she received the Stanley Medal.
Ricardo Tamura's first opera engagement took him to the Zurich Opera House, where he was a member of the International Opera Studio. Since then, the tenor, who is hailed by the press as being "absolutely secure in the high notes" has sung over 50 opera, operetta and musical roles in the German-speaking area. In the season 07/08 the versatile artist made his debut at the Nuremberg State Opera in the title role of Gounod's Faust, followed by a portrayal of Verdi's Don Carlos. He was Don Jose in Carmen at the Dusseldorf Deutsche Oper and was celebrated as Calaf in Turandot at the Vienna VolksOper.
Originally from Brazil Ricardo Tamura first studied geology and physics at the University of Sao Paulo. After graduating Licia Albanese recommended that he study singing with Marlena Malas at the Julliard School of Music in New York. He completed his studies at the Accademia Musicale Chigiana in Siena and the Accademia Verdiana in Busseto with Carlo Bergonzi specializing on the works of Verdi and Puccini. His repertoire includes roles such as Rodolfo, Pinkerton, Des Grieux, Cavarodossi, Radames, Riccardo Calaf and Otello as well as German roles such as Bachus .
Ricardo Tamura joined the roster of the Metropolitan Opera in 2012 covering Riccardo in Un Ballo in Maschera and the title role in Don Carlo. He returned to the MET to make his house debut as Cavaradossi in 2013 and in the title role of Don Carlo in 2015 and Turiddu in Cavalleria Rusticana in 2016.
Job Titles:
- Principal
- String Masterclass Guest Artist
Professor Sebastian Müller currently maintains principal study violin classes at the University of Music and Performing Arts Vienna, at the Yehudi Menuhin School London, as well as at the Royal Northern College of Music / Chethams' School of Music Manchester. He holds the position of visiting professor of violin at the Escuela Superior de Música in Valencia.
He previously taught at the Hochschule für Musik, Theater und Medien Hannover, as well as at the Guildhall School of Music and Drama, London, the Royal Birmingham Conser- vatoire and at the Universities of Manchester, Sheffield and Chichester, and has been senior lecturer and director of the string orchestra at Leeds Conservatoire. Müller's extensive performance career has seen him feature as soloist with the major violin concerto repertoire (Mozart, Paganini, Sibelius, Beethoven, among others) in - and outside Europe. He has acted as principal leader and soloist of the German String Orchestra and worked with the London Symphony Orchestra, Britten Sinfonia and the Oxford Philharmon- ic, and is prize winner on both the violin and piano of the "Bundeswettbewerb Jugend Mus- iziert", the "Ivan Sutton Chamber Music Competition" and the "Südwestdeutscher Kam- mermusikwettbewerb". Many of Müller's students have won national and international competitions, grants and scholarships. He collaborates with scientists and practitioners in the fields of psychology and movement science and has submitted a patent application on a method of establish- ing an individual optimal static concept of the violin hold/posture. He regularly coaches the National Youth Orchestra of Great Britain and the Portuguese National Youth Orchestra and is frequently invited to give masterclasses globally. Since 2017 he is director of the "Pro Corda" Violin Courses in the UK. Müller trained with I. Goldstein, before studying at the Hochschule für Musik "Hanns Eisler" Berlin, Germany, with Stephan Picard, and with I. Kertscher at the Hochschule für Musik, Theater und Medien Hannover, Germany. As a winner of a scholarship he continued his studies with D. Hahn at the Guildhall School of Music and Drama, London, and received further education from P. Zukerman in the US, R. Capuçon, A. Weithaas, R. Pasquier and R. Nodel. Following his studies Müller was awarded an Artist Fellowship at the Guildhall School. Müller plays on a violin made by Stephan Peter Greiner.
Susan Stone is a Texas-based opera professional with a background in opera and musical theatre. Stone's diverse experience in backstage and artistic leadership makes her a unique creative. With Stone's ability to administrate, she has led opera outreach seasons for Wolf Trap Opera, and was Director of Opera, for Baylor Opera Theater at Baylor University in Waco, TX. In her creative endeavors, Stone's artistic leadership shines brightest in her ability to stage beyond the proscenium. In previous seasons, Stone has directed fully produced operas in converted churches, warehouses, and night clubs. In February of 2019, Opera Southwest engaged Stone to direct Rossini's, La cambiale de Matrimonio. With full orchestra at the center of the night club's dance floor, Stone created an interactive operatic experience. This technical difficulty in her production's opening night was picked up by Slipped Disc, and regarded as a, "must see."
In the 2014/15 season she made her debut with Houston's Opera in the Heights directing a new production of Verdi's Rigoletto, as well as her debut with The Atlanta Opera directing the spring studio tour of The Marriage of Figaro. After serving as assistant director to John Caird for a new production of La bohème at the Houston Grand Opera in 2012, Stone made her HGO directorial debut remounting the production in 2013 at the Miller Outdoor Theater and the Cynthia Woods Mitchell Pavillion. She has previously served as assistant director at HGO for Cosi fan tutti in 2015, Mary Stuart in 2012 and Fidelio in 2011.
In addition to opera, Stone has worked in musical theater and cabaret assisting on touring productions of Cats, Camelot, Chicago, and Annie, working with such performers as Andrea Marcovicci, Karen Mason, and Robert Goulet. In the summer months she enjoys working at Aspen Opera Theater Center and Wolf Trap Opera.
Tom Seligman is one of the UK's most exciting young conducting talents, with an increasingly impressive portfolio of projects and collaborations behind him.
After studies in Cambridge, Glasgow, London and Amsterdam, he was appointed Musical Co-ordinator and Conductor of the inaugural Cheltenham Festival Academy in 2005, working with some of the most brilliant young musical talents from across the UK, and was invited back to conduct the Brno Philharmonic at the Festival in 2007. He made his BBC Radio 3 debut conducting the Hebrides Ensemble at the 2005 St Magnus Festival in Orkney and took the helm at the Festival 'Musique-Cordiale' in the south of France between 2008 and 2012. He is Principal Conductor of Kensington Chamber Orchestra, and was Director of Hampshire County Youth Orchestra for six years, finishing his tenure with an acclaimed performance of Mahler's 'Resurrection' Symphony at the opening of the 2011 Winchester Festival. He is also originator and conductor of ‘Rite Up Close', an innovative interactive workshop and concert introducing The Rite of Spring to audiences of all ages.
He has conducted productions of The Rake's Progress and The Beggar's Opera for Edinburgh Studio Opera and Le nozze di Figaro for Opera East, and assisted Joseph Swensen at the Salzburg Festival and at the BBC Proms. Other opera productions include Handel Theodora and Semele and Janáček's The Cunning Little Vixen and Jenůfa. He has worked extensively with the London Symphony Chorus and was chorus-master for the Lucerne Festival Orchestra's performance of Mahler's 3rd Symphony under Claudio Abbado at the 2007 BBC Proms. As Guest Chorus Director for the Hallé's recording of Elgar's The Kingdom under Sir Mark Elder, he garnered critical acclaim for the Choir's performance and won the 2011 Gramophone Award for best choral recording. Projects with the BBC Symphony Chorus have included concerts at the Barbican and Royal Albert Hall, a Chandos recording of Berlioz Roméo et Juliette and the 2016 Last Night of the Proms.
Tom Seligman made his debut at the Royal Opera House, Covent Garden, in 2010, and has since been regularly invited back, conducting the Royal Ballet in repertoire including Wayne McGregor's Chroma, Carlos Acosta's Don Quixote, Liam Scarlett's Frankenstein, Christopher Wheeldon's Alice's Adventures in Wonderland and The Winter's Tale and the world premiere of Metamorphosis Titian, which was beamed live to ‘big screens' around the UK and featured in the BBC's ‘Imagine' series. His 2013 ROH performance of The Nutcracker was relayed to cinema screens around the world. He has conducted Jewels and The Nutcracker for New York City Ballet at Lincoln Center, The Winter's Tale for National Ballet of Canada in Toronto and Shadows of War, The Dream, A Month in the Country and Coppélia for Birmingham Royal Ballet at Sadler's Wells and on tour. For English National Ballet he has conducted The Nutcracker at the London Coliseum, Swan Lake and Romeo and Juliet at the Royal Albert Hall and Le Corsaire, Coppélia and Swan Lake around the UK and in China and Singapore. The 2017-18 and 2018-19 seasons include performances of 8 different ballets at the Royal Opera House, debuts in Brisbane, Amsterdam, Munich and Copenhagen, and a return to Toronto.
Conductor and pianist William Kelley is Kapellmeister at Theater Bremen since 2020 where he conducted productions of Il Barbiere di Siviglia, Angels in America (Eötvös), Jenufa, Pagliacci, The Cunning Little Vixen, King Arthur (Purcell), and Hello, Dolly! as well as family and gala concerts with the Bremer Philharmoniker. In 2023, he will make his debut at the Hamburgische Staatsoper with Bizet's Carmen in a production from Herbert Fritsch and in the 23/24 season, he is scheduled to conduct Adam's Doctor Atomic, Offenbach's Orphée aux enfers, and Verdi's Macbeth in Bremen.
Previously, Kelley held the position of Kapellmeister at Luzerner Theater in Luzern, Switzerland. He made his European conducting debut in 2017 with the Luzerner Sinfonieorchester and Mozart's Die Zauberflöte with following productions including the Swiss premiere of Abraham's Märchen im Grand Hotel, Mozart's Don Giovanni, Carmen.maquia (version for ballet), Piazzolla's María de Buenos Aires, a world premiere in the Lucerne Festival: Im Amt für Todesangelegenheiten (2018) with the 21st Century Orchestra, and the 2019 Gübelin Luzerner Sinfonieball.
As a guest conductor, Kelley has appeared with the Prague Radio Symphony, assisted Christopher Franklin with the Czech Philharmonic and Yoel Gamzou in Seven Deaths of Maria Callas with Marina Abramović at Teatro San Carlo. As a pianist, Kelley worked for institutions such as The Juilliard School, the Czech Philharmonic, and the Luzerner Sinfonieorchester and with conductors such as James Gaffigan, Edward Gardiner, Fabio Luisi, and Yannick Nézet-Séguin. Since 2020, he has enjoyed a close collaboration with English composer Iain Bell and gave the world premiere of his melodrama for tenor and piano, Comfort Starving with tenor, Petr Nekoranec and a staged version of the piece later that summer at the Bach Festival Świdnica with director, Krystian Lada. His collaboration with Bell and Lada continued in 2021 with a staged performance of the partner-work to Comfort Starving, The Man With Night Sweats for baritone and piano at the Opera Rara festival in Krakow, Poland.
Previous performance highlights include recitals with tenor, Petr Nekoranec at Staatsoper Stuttgart and the Janacek Festival in Ostrava, Czech Republic, Schubert's Winterreise with baritone, Christopher Herbert on Trinity Wall Street's Twelfth Night Festival and the Harvard Club, a residency with the New York Festival of Song (NYFOS) at the Caramoor Festival and his Lincoln Center debut with a recital in Alice Tully Hall alongside baritone, Theo Hoffman, which included the New York premiere of Jonathan Dove's song set, Three Tennyson Songs [2011].
Kelley is a graduate of The Juilliard School and The University of North Carolina Greensboro and was a Vocal Piano Fellow at the Music Academy of the West. He is currently based in Hamburg, Germany.