70 Years of Great Classical Music
70 Years of Great Classical Music
The Music Academy of the West is among the nation’s preeminent summer schools and festivals for gifted young classically-trained musicians. At its ocean-side campus in Santa Barbara, the Academy provides these musicians with the opportunity for advanced study and performance under the guidance of internationally renowned faculty artists, guest conductors, and soloists.
The Academy cultivates discerning, appreciative, and adventurous audiences, presenting more than 200 public events annually, many of them free of charge. These include performances by faculty, visiting artists, and fellows; masterclasses; orchestra and chamber music concerts; and a fully staged opera.
Miraflores, the stunning 10-acre garden estate that has been home to the Music Academy since 1951, originally served as the site of the Santa Barbara Country Club.
The property’s main building, a clubhouse designed by Francis W. Wilson in 1909, was partially destroyed by fire in 1912 and rebuilt the following year. By that time, however, the existing nine-hole golf course had been deemed inadequate, and the 23-acre site considered too small for expansion. Shortly thereafter, the Santa Barbara Country Club decided to move to its present site, changing its name in the process to the Montecito Country Club.
The former country club property was purchased in 1915 by Mr. and Mrs. John Percival Jefferson, who named it Miraflores (Spanish for “Look at the flowers”) and hired Pasadena architect Reginald D. Johnson to convert the clubhouse into a dwelling. Johnson, renowned for his mastery of the Spanish revival style gaining regional prominence at the time, achieved a remarkable architectural conversion in just 12 months – transforming the boxy, institutional building into a simple yet elegant example of Spanish domestic architecture with a regal carved stone entrance. The building enclosed three sides of a large rear terrace flanked by romantic loggia, a design that contributed to its suitability for entertaining.
Paul G. Thiene, who frequently worked with Johnson, was called in to integrate the landscape design with that of the house. One of the leading landscape architects of the Mediterranean revival era, Thiene had been trained as a horticulturalist in Germany and his practice was entirely residential. Thiene’s plan brought guests to an entrance gate near the west property line, creating a dramatic straight-line approach to Johnson's elaborate front door. The rear terrace and sunken pool garden centered beyond it are in line with the primary axis of the driveway. The garden’s remaining formal elements were skillfully arranged to fit the irregular shape of the lot. Thiene’s plan shows a formal garden and reflecting pool parallel to the driveway, asymmetrically balanced across the driveway by a rose garden, cutting garden, lath house, and greenhouse. (The three latter elements are now the sites of Hahn Hall and Singher and Wood studios.) Below and to the southeast, an outdoor theater with reflecting pool was planned at an oblique angle to the house, perhaps to capture the last light of the setting sun upon its stage. It was never built.
Miraflores was regarded as one of the showcase gardens of Montecito. Photographs and descriptions of the property appear in several early books about Montecito gardens, and it was regularly included in Pearl Chase’s annual benefit garden tours beginning in 1926. In 1976 the Garden Club of America sponsored a project to create modern slides from its collection of 1,800 historic glass lantern slides, taken between 1920 and 1933. Miraflores was one of 24 gardens in the Santa Barbara area to be represented in this priceless collection. The project formed the core of the Garden Club of America’s 65,000-image “Slide Library of Notable American Parks and Gardens,” donated to the Smithsonian Institution’s Office of Horticulture in 1987. The slides remain part of the Smithsonian’s permanent collection, used by scholars to research gardens of the era.
Miraflores’ house and grounds suited the Jeffersons very well. They entertained frequently, sometimes with musical performances in the large living room. After Mr. Jefferson died in 1934, Mrs. Jefferson stayed on, assisted by the couple’s longtime secretary and devoted friend, Theresa (Helen) Marso. When Mrs. Jefferson died in 1950, the property and all household furnishings were inherited by the couple’s niece, Alice Wetmore Brann; Helen Marso was willed a large sum of money. Legal documents are not entirely clear, but it seems Mrs. Brann did not want any part of the estate, save two large Waterford crystal chandeliers that hung in the living room. On the same date that the property deed was granted to her, April 2, 1951, she sold it to Ms. Marso for just over $100,000. Helen Marso granted 18 acres of the estate to the Music Academy of the West on April 20, retaining the remaining acreage for her own use.b
Founded just four years earlier, the Music Academy was to that point hosting its summer sessions at Cate School in Carpinteria.
In making the gift, Ms. Marso specified that the property must be used “for a conservatory of music only,” and stated her desire to have Miraflores serve as a lasting memorial to the Jeffersons. Although some members of the Academy Board of Directors worried about taking on the financial burden entailed in maintaining the estate, in the end the Academy’s acceptance of the property was conditional only on the county’s zoning requirements. Future neighbors were contacted and reassured that the Academy would not be an intrusion. Later in April, the County Planning Commission recommended granting a permit to the Music Academy; there were no dissenting speakers at the public hearing.
An immediate financial boost by the Santa Barbara Foundation, in the form of a $5,000 grant, helped pay for the conversion of the Miraflores facilities. In announcing the gift, Foundation President L. Stuart Wing said: “The importance of the Music Academy of the West to the future of musical culture and education, and to the prestige of Santa Barbara as an art center, is well recognized.”
Though it could not be readied for full use by the beginning of the summer session, the property was made ready for an open house reception and musical performance on August 5, 1951. More than 1,500 people came to see Miraflores and enjoy the orchestral performance and debut of the Academy’s new Romany Chorus conducted by vocal department director John Charles Thomas. This lively and colorful chorus, a mix of students and local people, performed in gypsy costume. The energetic Thomas had a dual role that year as a member of the faculty and as newly named executive director of the Music Academy.
By the 1952 summer session the Miraflores campus was ready. The enormous living room and dining room had required very little alteration to become concert halls with excellent acoustics. Not only were the public rooms well-suited for concerts, but the many bedrooms in the house were readily adaptable for faculty teaching studios, and the servants’ rooms in the main building and over the garage provided adequate practice studios.
The only disadvantage of the new site was the lack of dormitory and faculty housing that Cate School had provided to that point. That year, and for a number of years thereafter, students were housed in sorority and fraternity houses at UCSB. They were provided with breakfast and dinner in the houses, and were transported by bus to the Music Academy, where lunch was served cafeteria style in the large Music Academy kitchen.
A generous offer by Mrs. John D. Graham solved the immediate problem of faculty housing. Mrs. Graham invited the Music Academy to use her 30-room mansion on Eucalyptus Hill as a guest home and residence for faculty members. The house also provided facilities where students and faculty could mingle socially.
Abravanel Hall, the antecedent to Hahn Hall, opened in 1972. The earlier building was named for the late conductor Maurice Abravanel, who served as music director at the Academy from 1954 to 1980. Claeyssens Hall, the beautiful teaching and practice facility situated to the west of Anne’s Garden, opened in 1993. And in 2006 the Music Academy completed reconstruction of the Wood II building, since renamed Lehrer Studios in the Wood Building in honor of Academy benefactors Shirley and Seymour Lehrer. Originally a carriage house on the Jefferson estate, this campus facility features 16 acoustically designed practice studios and remodeled restrooms and shower rooms.
Hahn Hall – named in honor of Academy benefactors Carla and Stephen Hahn – was completed just prior to the start of the 2008 Summer School and Festival. During the off-season, the hall is used for Metropolitan Opera “Live in HD” simulcasts; area arts organizations also use the facility.
Completed in 2012, the Luria Education Center is named in honor of longtime Music Academy benefactors Leatrice and Eli Luria. In addition to a masterclass venue bearing the name of Academy supporter Robert W. Weinman, the facility features an expanded music library, individual and ensemble practice rooms and teaching facilities, a pair of lounges, and a catering kitchen and serving area. The center also includes a central campus courtyard named in honor of local philanthropist Leslie Ridley-Tree, and an enclosed dining patio bearing the name of Academy advocate Sarah Jane Lind.
And many more changes are to come. In 2016, the Main House was renovated and renamed the Marilyn Horne Main House. And following the 2016 Summer Festival, construction commenced on the Hind Hall teaching studio building.
2016 marks a historic transition of the Academy fellows’ residential campus from Cate School in Carpinteria to Westmont College in Montecito. After decades of a wonderful partnership with Cate School, located 12 miles south of the Music Academy, the fellows’ accommodations are now located at Westmont College, a gorgeous private college campus just 3.5 miles from the Music Academy. Having instructional and residential campuses in closer proximity became a significant priority for the Academy in order to offer a more balanced and productive Festival schedule. “We’re committed to creating the highest quality experience for our fellows both on and off stage,” says Scott Reed, Music Academy President and CEO. “The Westmont campus, an all-Steinway institution with superb facilities, helps us achieve that goal. The close proximity is ideal for our fellows and faculty, who travel frequently to our campus and downtown Santa Barbara.”
In June 1947, the Music Academy offered financial assistance for students to attend its inaugural season. Scholarships were funded by Jeanette MacDonald and Nelson Eddy, Jascha Heifetz, and Hollywood studio mogul Daryl F. Zanuck, among others.
Early faculty included music luminaries Lotte Lehmann, a co-founder along with Otto Klemperer, Roman Totenberg, Ernest Bloch, Darius Milhaud, Roy Harris, Rosalyn Tureck, Arnold Schoenberg (the Academy’s first composer in residence), and John Charles Thomas.
The Academy received a gift of the coastal property Miraflores, a Spanish revival style home built in 1915, and the surrounding property, for use as “a conservatory of music only and for no other purpose.”
Lotte Lehmann oversaw the Academy’s first opera productions and the Academy began to produce its first internationally successful alumni including Lucine Amara, Burt Bacharach, Grace Bumbry, Marilyn Horne, and Benita Valente.
Maurice Abravanel became Music Director, a post he held until 1980. Gregor Piatigorsky served on the faculty from 1950-53, and continued teaching at the Academy through 1975.
The Women’s Auxiliary formed, crucial ambassadors and fundraisers still active today.
Martial Singher became head of the Voice Department in 1962, remaining until 1981.
William Primrose joined the faculty.
Faculty member Jerome Lowenthal performed at the opening concert of the dedication of the newly dedicated Abravanel Hall in July, 1972.
Violist Donald McInnes and pianist Paul Schenly joined the faculty.
Marilyn Horne became Voice Program Director.
The Music Academy became a full-scholarship institution.
The 13 studio building Claeyssens Hall was added to campus.
The Compeer Program was launched.
Abravanel Hall was fully renovated both architecturally and acoustically, becoming Hahn Hall.
Luria Education Center opened, offering additional world-class facilities on campus. Main House renovated and dedicated to Marilyn Horne.
Mosher Guest Artist Recital Series began, featuring international artists in the intimate space of Hahn Hall.
New York Philharmonic Partnership initiated, bringing Academy fellows to perform in New York with the Philharmonic, and performances by the New York Philharmonic in Santa Barbara. The Philharmonic’s former Concertmaster, Glenn Dicterow, joined the faculty.
Jeremy Denk and the Takács Quartet join the faculty.
Hind Hall teaching studio building opens, adding eight state-of-the-art studios to the campus.
The Music Academy presented the largest classical music event in Santa Barbara's history for 7,500 attendees at La Playa Stadium featuring the New York Philharmonic.
The Music Academy becomes an All-Steinway Institution, and a Commissions & Premieres program is launched.
805-695-7900
“Scott Reed is a highly effective, visionary leader, who is using his position at the Music Academy of the West to influence the entire music business in a highly positive way.” ―Alan Gilbert
jross@musicacademy.org
805-695-7900
Ms. Ross is in charge of the day to day operations of the Academy, and is the first face you’ll see upon entering the Marilyn Horne Main House.
pposey@musicacademy.org
805-695-7922
Hailed by the New York Times as ‘brilliantly stylish,’ Patrick Posey is a versatile saxophonist and multi-instrumentalist who performs with the San Francisco Symphony and Los Angeles Philharmonic.
apaggett@musicacademy.org
805-695-7910
Mr. Paggett studied Saxophone Performance at Northwestern University and the Conservatoire National de Région de Boulogne-Billancourt.
bbrown@musicacademy.org
805-695-7945
Mr. Brown is excited to be back on his home coast, in his home time zone, to support the mission of the Music Academy and do his part in paving the way toward an ever music-filled future.
cbuckpitt@musicacademy.org
805-259-7718
Chris Buckpitt joins the Music Academy following a 16 year career with Brooks Institute, where he held multiple posts, and is also a very proud graduate.
flehto@musicacademy.org
805-695-7912
Fred Lehto started working at the Music Academy of the West in 1977! Fred is looking forward to his 41st Summer Festival in 2018.
805-695-7912
The Music Academy grounds remind Ms. Huaste of her hometown in the Michoachan province in Mexico; full of lush trees and gardens.
jsteiner@musicacademy.org
805-695-7902
Financial and Operations Leader Blending Corporate and Non-profit Strategies to Maximize the Return on the Mission.
mswires@musicacademy.org
805-695-7925
Marcia Swires enjoys using computerized accounting programs, but still loves a freshly sharpened No. 2 pencil, and couldn’t live without “T” accounts.
cmayorga@musicacademy.org
805-695-7904
Ms. Mayorga graduated from Santa Barbara City College with an Associate of Arts degree in Liberal Studies.
nsinger@musicacademy.org
805-695-7906
Ms. Singer believes in the mission of the Music Academy and enjoys getting to watch the fellows learn and grow during the summer festival.
hfreyre@musicacademy.org
805-695-7900
Born in Peru, Hilda Freyre began her administrative career supporting executives in banking and finance and Ambassador Javier Perez de Cuellar, the former UN Secretary General. Ms. Freyre is now in charge of the day to day operations of the Academy.
jbishop@musicacademy.org
805-695-7915
Mr. Bishop has helped to guide the Music Academy's relationship-driven culture and has overseen all fundraising activities since 2010.
sstretz@musicacademy.org
805-695-7916
Sarah Stretz has been with the Music Academy since early 2016, and oversees the Academy's Foundation, Benefits, and Corporate relationships.
jcampbell@musicacademy.org
805-695-7918
Ms. Campbell has spent most of her life in non-profit organizations, originally as a ballerina with the New York City Center Joffrey Ballet.
kridenour@musicacademy.org
805-695-7917
Katelin continues to find inspiration from her fundamental passions of connecting individuals, impacting communities, and inspiring positive change through live events.
arigonati@musicacademy.org
805-695-7929
Allie Rigonati joined the Music Academy after having spent three years working in publishing as a writer/editor. She is excited to put her passion for communication and the written word into her role and looks forward to learning more about the world of nonprofits and fundraising.
anap@musicacademy.org
805-695-7907
Ms. Papakhian's team is responsible for the Academy's advertising, media relations, ticket sales, and facility rentals to 35 community organizations and music educators.
koberjat@musicacademy.org
805-695-7908
Ms. Oberjat's first encounter with the Academy was as an infant, when both of her parents attended the Music Academy as Voice Program fellows.
rdavis@musicacademy.org
805-695-7931
Driven by a passion to create meaningful connections between artist and audience, Ms. Davis has spent her professional life in the performing arts.
jjaqua@musicacademy.org
805-695-7928
Jennifer Jaqua has pursued several entrepreneurial ventures; including a classic car limousine service, a live music management and production company, and a bath & body business.
tdevries@musicacademy.org
805-695-7923
Dean DeVries oversees the Academy’s annual recruitment, audition, and admissions processes, as well as all aspects of Academy fellows’ off-stage experience including the residence life program.
NancyBell Coe
David L. Kuehn
WARREN STALEY joined the Music Academy Board of Directors in 2015. Born in Illinois, Mr. Staley earned a bachelor's degree in electrical engineering at Kansas State University and went to work for Standard Oil of California (since renamed Chevron Corp.).
EILEEN SHERIDAN, a native of Silver Spring, Maryland, graduated cum laude from the University of Maryland with a bachelor’s degree in accounting before earning a master’s degree in taxation at Golden Gate University.
PHILIP L. BERNSTEIN joined the Music Academy Board of Directors in January 2013. Born in Philadelphia, Mr. Bernstein studied French and history at Wesleyan University in Middletown, Connecticut, before earning an MBA at the University of Pennsylvania’s Wharton School of Finance.
DAVID S. BRADFORD joined the Music Academy Board of Directors in January 2013. A native of North Carolina, Dr. Bradford completed his undergraduate studies at Davidson College before earning a medical degree at the University of Pennsylvania.
DEAN CARTER leads global HR, Legal, and Finance Shared Services for Patagonia Inc. based in Ventura, California, reporting directly to CEO Rose Marcario.
TED CRONIN, founding partner of Manchester Capital Management, LLC, joined the Music Academy Board of Directors in November 2017.
PATRICIA DURHAM joined the Music Academy Board of Directors in January 2014. A native of Los Angeles, Ms. Durham earned a bachelor’s degree in political science at UC Irvine before working as an office manager and business management assistant for a Southern California accounting firm.
JERROLD L EBERHARDT moved from Chicago to Los Angeles in 1997 when he was named Senior Executive Vice President and Divisional Director for the Western Division.
JANET GARUFIS moved to Santa Barbara in 2002. She joined Montecito Bank & Trust in 2004, and became the bank’s president and CEO in 2006.
JUDITH P. GETTO joined the Music Academy Board of Directors in January 2010. Born in upstate New York, Ms. Getto earned a bachelor’s degree in psychology at Cornell University before a completing a master's degree and doctoral work in educational psychology at UCLA.
PAUL GUIDO joined the Music Academy Board of Directors in January 2012. A native of Los Angeles, Mr. Guido studied English literature at the University of Southern California before earning master’s and doctoral degrees at the California School of Professional Psychology.
SEYMOUR LEHRER rejoined the Music Academy Board of Directors in January 2011, having previously served from 2000 to 2009.
THOMAS ORLANDO earned a bachelor’s degree in business administration at California State University, Northridge.
Mrs. Shuman serves on the Boards of The Neighborhood Coalition for Shelter, Lincoln Center Theater, and The International Center of Photography.
MAURICE SINGER studied English and economics at the University of Vermont and went on to hold a succession of senior management positions in the film and television industry.
TIM TAYLOR, a sixth-generation Santa Barbaran and former Old Spanish Days El Presidente (2008), earned a bachelor’s degree in business administration at California State University, Chico, before starting his career as a loan officer.
PAT TOPPEL serves as chairman of the Toppel Family Foundation, which has supported numerous charitable causes over 35 years.
PETER F. ZIEGLER earned a bachelor’s degree in industrial administration and organizational behavior at Yale University before serving as a line officer in the U.S. Navy for four years.
Donna Abbey
Judith W. Bartholomew*
Judith Bergman
Kathleen Bielen
Richard Blake
Kandy Luria-Budgor
Peter Brown
Michele Brustin
Gay Bryant
John Burgee*
Margaret Cafarelli
Cevin Cathell
Howard Chase
Lee Chase
Andy Chou
Roger A. Clarke*
Benjamin Cohen
Barbara Colville-O'Donnell
Shirley Cribbs
Sue Dalzell
James Davidson
Charles de L'Arbre
Meg Di Napoli
Eunice Fly
Linda Frankel
Howard Freedman
Raymond C. Freeman*
Roy Gaskin
Arthur R. Gaudi*
Konnie Gault
Jon Greenleaf
Eva Haller
Anna Maria Halling
Carole Halsted*
Steve Halsted
Tara Holbrook
Joanne Holderman
Nan Holt
Nancy Hunter
Donald Jackson*
Anne Jones
Michael Keston
Ann Koepfli
Robert M. Light*
Leatrice Luria*
Georgia Lynn*
Katharine Mallin
Sarah Coade Mandell
Philip W. Marking*
Eva Masin
Barbara Mathews
Sheila Bourke McGinity
Parker Montgomery
Val Montgomery
Thomas Mullaney
Mead F. Northrop*
Robert Nourse
Stanya Owen
Royal E. Peterson II*
Arthur F. Pizzinat
Leslie Ridley-Tree
Regina Roney
Joan Rutkowski
Bernie Sacharski
Christine Seemann*
Frank Serena
Stephen C. Singleton
Judith F. Smith*
Marion Stewart*
Diane Sullivan
Gerald Thede
Tom Thomas
James Tilton
Robert Toledo
Mary Alice Tudor
Joseph Tumbler
George Turpin
Hugh Vos
Tom Wathen
William Wayne
Patricia Weber
Robert Weinman
Sharon Westby
Kate Winn-Rogers
*EMERITUS
Music Academy alumni number nearly 7,000. A veritable "who's who" in the world of classical music, Academy alumni perform around the globe as soloists and in major symphony orchestras, chamber orchestras, ensembles, and opera companies. Many teach at prestigious universities and conservatories.
Violinist Glenn Dicterow has established himself worldwide as one of the most prominent American concert artists of his generation.
Jorja Fleezanis served as concertmaster of the Minnesota Orchestra from 1989 to 2009 – the longest-tenured concertmaster in the orchestra’s history and only the second woman in the United States to hold the title of concertmaster in a major orchestra when appointed.
The artistry of Kathleen Winkler has earned her the plaudits of critics and audiences alike worldwide since her solo debut at the age of seventeen with the Philadelphia Orchestra.
Karen Dreyfus has performed extensively in the United States, Canada, Europe, Asia, and South America, and has toured with the Orpheus Chamber Orchestra, Musicians from Marlboro, and the New York Philharmonic.
Praised by the London Times as "ravishing" and The Los Angeles Times as "energetic and sassy...exceptional," violist Yongjae O'Neill has distinguished himself as one of the great instrumentalists of his generation.
Violist Cynthia Phelps's versatile career includes appearances as chamber musician, soloist, and Principal Violist of the New York Philharmonic.
David Geber is a longtime cello and chamber music faculty member at Manhattan School of Music where he is also Director of Chamber Music.
Alan Stepansky is recognized as one of the most gifted and versatile cellists of his generation, in demand as a soloist, chamber musician, principal cellist, and recording artist.
An internationally recognized double bass soloist and chamber musician, Nico Abondolo was appointed principal double bass of the Los Angeles Chamber Orchestra during the 2011-12 season.
Edward Dusinberre, Harumi Rhodes, Geraldine Walther, András Fejér
Takács Quartet plays with a unique blend of drama, warmth, and humor, bringing fresh insights to the string quartet repertoire.
Timothy Day was appointed principal flute of the San Francisco Symphony in 2006 and occupies the symphony’s Caroline H. Hume Chair.
From jazz to pop to classical, to television and film, to the concert hall and his teaching studio, flutist Jim Walker has made indelible marks in many musical circles
Cynthia Koledo DeAlmeida has been principal oboe of the Pittsburgh Symphony since 1991, having previously served as associate principal oboe of the Philadelphia Orchestra for two years.
Eugene Izotov is one of the leading wind players of his generation, receiving acclaim for the "luminous beauty” (San Francisco Chronicle) and “fiery Russian temperament”(Boston Globe) of his playing.
Richie Hawley ranks among the most distinguished clarinetists of his generation, impressing audiences around the world with his virtuosity and the velvety, sonorous tone that has become his trademark.
Since 1972, as the associate principal bassoonist of the Minnesota Orchestra, Benjamin Kamins has enjoyed a wide-ranging career as an orchestral musician, chamber player, solo performer, and educator.
Dennis Michel is second bassoon of the Chicago Symphony Orchestra and an ensemble artist with the Chicago Chamber Musicians.
Formerly principal horn of the Metropolitan Opera Orchestra for 25 years, Julie Landsman is a distinguished performing artist and educator, serving as faculty at The Juilliard School since 1989.
Soloist with Music of the Baroque and Chicago Chamber Musicians, Barbara Butler is a former member of Eastman Brass, Eastman Virtuosi, and the Vancouver and Grant Park Symphony Orchestras.
Charlie Geyer is a frequent recitalist and soloist, having played with the Chicago, Houston and Grand Teton Symphony Orchestras, Eastman Brass, Music of the Baroque, and Chicago Chamber Musicians.
Renowned as one of the finest trumpet players of his generation, Paul Merkelo is recognized for his ’pure technical prowess’’ (Rochester Democrat & Chronicle) and ‘’unusual lyrical gifts’’ (Gramophone).
Mark H. Lawrence, formerly Principal Trombone of the San Francisco Symphony for 34 years, is an active soloist, clinician, chamber musician, and teacher.
Ralph Sauer left Los Angeles Philharmonic in 2006 after 32 years as principal trombonist. Previously, he spent six years as principal with the Toronto Symphony.
Before joining the Seattle Symphony as Principal Percussionist in 2009, Michael Werner was with the Metropolitan Opera for 13 years, and Principal Percussionist for the Toronto Symphony Orchestra.
Joseph Pereira enjoys a multi-faceted career as a timpanist/percussionist, composer, conductor, and teacher, whose work has been profiled in both The New York Times and The Los Angeles Times.
JoAnn Turovsky is principal harpist with the Los Angeles Opera Orchestra, the Los Angeles Chamber Orchestra, and the Los Angeles Master Chorale Orchestra.
Jeremy Denk is one of America’s foremost pianists. Winner of a MacArthur "Genius" Fellowship, and the Avery Fisher Prize, Mr. Denk was recently elected to the American Academy of Arts and Sciences.
With a unique adeptness for contemporary music, Hanick’s interpretations demonstrate a “technical refinement, color, crispness and wondrous variety of articulation that benefit works by any master.” (Anthony Tommasini, New York Times)
Jerome Lowenthal has been a prominent presence in the international piano world for more than a half-century, and has performed a voluminous repertoire that includes 63 different concerti.
Collaborative pianist Jonathan Feldman has performed around the world with artists such as Nathan Milstein, Itzhak Perlman, Gil Shaham, Sir James Galway, Joshua Bell, Midori, and Emanuel Pahud.
Natasha Kislenko has performed extensively as a soloist and a collaborative pianist in Russia, Europe, and the United States, and has appeared in recital with numerous distinguished soloists.
Pianist Margaret McDonald, a native of Minnesota, is an Associate Professor of Collaborative Piano at the University of Colorado Boulder, and joined the College of Music keyboard faculty in the fall of 2004.
Opera News declared, “Marilyn Horne – whose face and song have been in the light – in so many places, in so many styles, through so many media – may be the most influential singer in American history.”
One of the leading collaborative pianists of his generation, John Churchwell enjoys a career on the concert stage as well as in the nation’s leading opera houses.
“Not only has her majestic voice made her fans love her, but so has the soprano’s profound feeling for texts and subtleties of musical style, not to mention her genuine sense of humor.”- WSJ
One of the world's busiest collaborators, Martin Katz has been in constant demand by the most celebrated vocal soloists for four decades.
James Conlon, one of today’s most versatile and respected conductors, has cultivated a vast symphonic, operatic and choral repertoire.
Bill Schuman is internationally celebrated as one of the world’s leading teachers of singing. His students represent some of the most important names in the music world.
Los Angeles based director and designer James Darrah's collaborative focus has quickly led him to be recognized as "the newest discovery... a gifted young American director" (Chicago Tribune).
Edwin Outwater is a visionary conductor who is reinventing the concert experience with major orchestras and institutions throughout the world.
Gerald Martin Moore is an internationally renowned singing teacher and a vocal consultant, and has been on the teaching faculty of the Metropolitan Opera’s Lindemann program and adjunct faculty at Curtis Institute of Music since 2008.
Georgian pianist Nino Sanikidze has held the position of a Head Coach for the Domingo-Colburn-Stein Young Artist Program at Los Angeles Opera since its inception in 2006.
Tamara Sanikidze has been called a “Technically nimble and supportive pianist” (New York Times), and “accompanist with wondrous tact and virtuosity” (San Francisco Chronicle).
Maureen Zoltek is one of the most gifted among the new generation of American collaborative pianists, and has rapidly established herself as a chamber musician, orchestral keyboardist, and accompanist for both vocal and instrumental recitals.
Italian pianist and conductor Giuseppe Mentuccia joined the music staff of the Metropolitan Opera this season, and has appeared in prestigious venues such as the Accademia Nazionale di Santa Cecilia, Accademia Musicale Chigiana and Alice Tully Hall.
Tenor Nils Neubert maintains active performing and teaching careers, teaching German diction at The Juilliard School, Manhattan School of Music, and Mannes School of Music .
Mary Blackwood Collier is professor of French language and literature at Westmont College, where she has taught for more than 35 years.
Bill Williams is recognized internationally as a musician, performance coach, and educator. In addition to performing, he devotes his energies to improving musicians’ lives as performers and learners.
Donald McInnes, professor of viola at the USC Thornton School of Music, has appeared with the New York Philharmonic, Boston Symphony, and l’Orchestre National de France.
Peter Salaff has recorded more than 50 chamber works and received a Grammy Award, six Grammy nominations, and Best of the Year honors from Time and Stereo Review.
James Conlon, one of today’s most versatile and respected conductors, has cultivated a vast symphonic, operatic and choral repertoire.
Stéphane Denève is Music Director of the Brussels Philharmonic, Principal Guest Conductor of The Philadelphia Orchestra, Music Director Designate of the St Louis Symphony and Director of the Centre for Future Orchestral Repertoire.
Currently serving as Music Director of the Simón Bolívar Symphony Orchestra of Venezuela and Music & Artistic Director of the Los Angeles Philharmonic.
Edwin Outwater is a visionary conductor who is reinventing the concert experience with major orchestras and institutions throughout the world.
Larry Rachleff is in his 21st season as music director of the Rhode Island Philharmonic Orchestra. He also serves as music director of the Rice University Shepherd School orchestras.
Canadian violinist Martin Beaver was First Violin of the world-renowned Tokyo String Quartet from 2002-13, appearing to critical and public acclaim on the major stages of the world.
Carter Brey was appointed Principal Cello, The Fan Fox and Leslie R. Samuels Chair, of the New York Philharmonic in 1996.
Championing new music at the highest level, Currie is the soloist of choice for many of today's foremost composers and he performs regularly with the world's leading orchestras and conductors.
Currently serving as Music Director of the Simón Bolívar Symphony Orchestra of Venezuela and Music & Artistic Director of the Los Angeles Philharmonic.
Described as a “poet” and “perhaps the most inspired, original Bach player of his generation,” David Fray continues to thrill audiences worldwide as a recitalist, soloist and chamber musician.
Simon Keenlyside appears in all the world’s great opera houses and has a particularly close association with the Metropolitan Opera New York, the Royal Opera House Covent Garden, and the Bavarian and Vienna State Opera houses.
Grammy-winning singer Caroline Shaw became the youngest-ever winner of the Pulitzer Prize for Music in 2013, for her enigmatic composition Partita for 8 Voices).
Elizabeth Ogonek, whose music has been described as “shimmering” and “dramatic” by the Chicago Tribune, is an American composer living and working in the Midwest.
Grammy-winning singer Caroline Shaw became the youngest-ever winner of the Pulitzer Prize for Music in 2013, for her enigmatic composition Partita for 8 Voices).
PIANIST, 2017 MARILYN HORNE SONG COMPETITION WINNER
Alumna: '13 / 2017 Vocal Piano Fellow
Birthplace: Chicago, Illinois
SOPRANO, 2017 MARILYN HORNE SONG COMPETITION WINNER
2017 Voice Program Fellow
Birthplace: Montebello, California