Julien LeBlanc is a Course Instructor (Vocal Coaching) in the Department of Music Performance at the University of Ottawa. He is a Canadian pianist renowned for his musical sensibility and collaborative skills. Based in Montreal, he actively performs as a soloist, chamber musician, and vocal accompanist. His recent engagements include serving as pianist and musical director for the opera 'Albertine en cinq temps' (2023) and co-artistic director of the Été musical de Barachois since 2012. His 2015 album Mélancolies , featuring works by Dutilleux, Franck, and Poulenc, was praised for its warmth and clarity. He has collaborated with institutions like Against the Grain Theatre, earning critical acclaim for his interpretation of Debussy's Pelléas et Mélisande . LeBlanc teaches part-time at the University of Ottawa, delivers masterclasses across Canada, and regularly serves on music competition juries. His work bridges performance and pedagogy, emphasizing French musical repertoire and interdisciplinary collaboration.
Dana Nigrim is a Course Instructor (Vocal Coaching) at the Schulich School of Music, part of McGill University. She holds a Doctorate from the University of Montreal and advanced training in piano interpretation from the National Superior Conservatory of Paris. Her career spans solo performances, chamber music collaborations, and extensive work in vocal coaching and opera productions globally. Education includes a Baccalaureate in Solo Piano Performance, a Master’s in Piano Interpretation from the National Music Academy of Bucharest (where she earned First Prize in Interpretation), and a Doctorate from the University of Montreal. She also completed an Advanced Interpretation Course at the National Superior Conservatory of Paris. Her research and professional interests center on vocal performance techniques, chamber music collaboration, opera production, and the interdisciplinary fusion of poetry with music. She has performed extensively in solo recitals, orchestral collaborations, and chamber music settings across Europe, North America, and Asia. First Prize in Interpretation Solo Piano Performance (National Music Academy of Bucharest) Top Prizes in National Piano Competitions in Romania Nigrim has collaborated with numerous institutions, including the Opéra Bastille, Opéra de Montréal, and the Canadian Vocal Institute, serving as an accompanist and vocal coach. She has also been a jury member for vocal and piano competitions such as the Trois-Rivières Orchestra Voice Competition and Romania’s National Music Competition. She co-founded the Montreal Lyric Ensemble as Artistic Director, organizing opera productions and musical initiatives. Additionally, she serves as Artistic Counselor for LM Opera Agency, supporting international collaborations with singers and composers.
Markus Kvits is an Associate Professor at the Academy of Opera within the Oslo National Academy of the Arts. Born in Sweden to Latvian parents, he has resided in Norway since 1980. He holds degrees from the Norwegian Academy of Music (pianist/pedagogue) and the Norwegian National Academy of Opera (bass singer). His professional career includes over three decades as a répétiteur and coach at the Norwegian Opera and Oslo National Academy of the Arts, alongside roles as a singer at Malmö Opera and Norrlands-Operan. His artistic research focuses on opera performance, vocal coaching, and stage repertoire interpretation. Notable performances include Tosca , The Barber of Seville , and various gala concerts. His work bridges classical traditions with contemporary performance practices, emphasizing pedagogical innovation and community engagement. Kvits has led numerous productions across Norway and Scandinavia, specializing in both operatic classics and experimental stagings. His professional network spans academic institutions and major opera houses, contributing to Norway's cultural landscape through teaching, performance, and artistic direction.
Jeffrey Sykes is a Lecturer in Collaborative Piano and Vocal/Instrumental Coaching at the Department of Music, California State University, East Bay. He is a distinguished pianist and chamber musician, known for his work with the San Francisco Piano Trio and as co-founder/artistic co-director of the Bach Dancing and Dynamite Society, a chamber music festival integrating arts and accessibility. His performances span four continents, including recitals at Chicago’s Dame Myra Hess series and Giverny’s Musée des Impressionismes. He also serves as a guest artist with festivals like Music in the Vineyards and teaches at UC Berkeley. Dr. Sykes holds a doctorate from the University of Wisconsin-Madison and has led Opera for the Young, introducing opera to over two million children. His recordings include Kevin Puts’ In at the Eye (Albany Records, 2018). Education: Doctorate in Music, University of Wisconsin-Madison Awards: Jacob Javits Fellowship (U.S. Department of Education) His research and practice focus on collaborative music performance, chamber music innovation, and arts accessibility. He actively coaches groups across the Bay Area through organizations like CMNC and ACMP.
Melissa Funke serves as Assistant Professor in the Department of Classics at the University of Winnipeg and is an active member of the Centre for Research in Cultural Studies (CRiCS), contributing to interdisciplinary research on cultural memory and classical reception. Her scholarly focus encompasses: Gender and sexuality in ancient Greek literature Fragmentary Greek texts and their interpretive challenges Performance practices of ancient Mediterranean drama Classical reception in modern contexts, including early 20th-century Winnipeg architecture and Chinese opera adaptations of Greek tragedy The role of cultural capital in reinforcing power dynamics across historical periods Her publication trajectory reveals sustained engagement with marginalized voices in antiquity—from hetairai and erotic letter writers to mime performers—with increasing emphasis on cross-cultural adaptations. Recent works demonstrate methodological innovation through performance translations of fragmentary texts and analysis of non-Western classical reception. Funke actively collaborates through the Ancient Love Letters research network, which examines erotic correspondence as a distinct ancient genre, and emphasizes intellectual community as essential for rigorous scholarship. Her work with CRiCS fosters dialogue between classical studies and contemporary cultural analysis. Outside academic pursuits, she engages in community sports as a ringette player and coach for her daughter's team, while her summer activities include gardening and pizza-making—accompanied by her canine research assistant Rasputin.
Anja Burmeister is a part-time Professor in the Music Performance Department at the Schulich School of Music, celebrated for her innovative teaching and dedication to fostering inclusivity in classical music education. She specializes in vocal techniques, German lyric diction, and historical repertoire such as Lieder and Weimar-era music. Her professional engagements include roles as German Diction Coach at the San Francisco Opera, Houston Grand Opera, Los Angeles Philharmonic, and a residency at the Marlboro Music Festival since 2019. She has created unique seminars like 'Music in the Weimar Era' and 'Researching Lied and Poetry,' attracting both vocal and instrumental students. Burmeister emphasizes student independence and cultural sensitivity, as exemplified by her support for students integrating cultural pieces like Filipino music into their studies. Her peers praise her as a 'kind, supportive, and well-informed colleague.' Awards: 2023-2024 Schulich Teaching Award (Part-Time Category). Advising: Mentored students accepted to top programs (McGill, Toronto, Manhattan School of Music) and summer festivals (Sewanee, Domaine Forget). Her teaching philosophy blends practical tools with creativity, using German idioms and tongue twisters to make diction instruction engaging. She balances academic and artistic roles, integrating professional insights from opera houses into classroom instruction.
Korey Barrett is a Professor of Vocal Coaching and Collaborative Piano at the University of Northern Iowa's School of Music. He co-founded and serves as head vocal coach for Opera Neo, a San Diego-based company specializing in Baroque and Classical opera production. His work with Opera Neo includes international collaborations, such as upcoming 2025 productions in Budapest with the Hungarian State Opera and prior work in St. Petersburg, Russia. Barrett has also held roles with the Des Moines Metro Opera, Minnesota Opera, and organizations like the Saint Paul Chamber Orchestra. He maintains an active schedule of recitals and masterclasses, recently in Taiwan. Education: D.M.A. in Piano Accompanying and Chamber Music from the Eastman School of Music under Jean Barr. Prior to UNI, he served at the University of Oklahoma’s School of Music. Collaborations span institutions including the Ohio Light Opera, Heartland Marimba Ensemble, and Cedar Valley Chamber Music Festival. Research interests focus on vocal pedagogy, historical performance practices in Baroque/Classical opera, and interdisciplinary musical collaboration. His work emphasizes bridging academic training with professional performance through Opera Neo’s productions and educational outreach.
Tony Cho is an Assistant Professor of Chamber Music and Collaborative Piano at the Eastman School of Music, University of Rochester. His career spans performances at venues like Weill Carnegie Hall and international festivals, including Kneisel Hall and Bowdoin International Chamber Music Festivals. He collaborates with violinist David Bowlin, with recordings released on Naxos and New Focus labels. Education: Bachelor’s degree (with minor in Spanish Literature) from Oklahoma State University Piano performance degrees from University of Washington and University of Cincinnati, College-Conservatory of Music Research & Performance: Focuses on collaborative piano, vocal/opera coaching, and chamber music. Specializes in interdisciplinary artistry, blending classical and contemporary repertoire. Extensive experience in opera productions as an assistant conductor and coach for over 70 productions at institutions like Central City Opera and Glimmerglass Opera. Awards: 2017 Distinguished Music Alumnus Award (Oklahoma State University) Teaching & Mentorship: Former faculty at Juilliard School, USC, Chapman University, and Oberlin Conservatory. Conducted masterclasses globally, including the Norwegian Academy of Music and Central Conservatory in Beijing. Summer festival roles include Hawaii Performing Arts Festival and SongFest. Labs/Teams: Active with Fermata Chamber Soloists and partnerships in festivals like Thessaloniki International Chamber Music Festival.
Wilson Southerland is an Assistant Professor of Opera and Associate Music Director of the Eastman Opera Theatre at the University of Rochester’s Eastman School of Music. His career spans international engagements as a pianist, conductor, and vocal coach, working with institutions like the New Israeli Opera, Seattle Opera, and the Royal Opera (Muscat, Oman). He holds a Bachelor of Music from Vanderbilt University and a Master of Music from The Juilliard School. **Research & Roles**: Specializes in opera production, vocal coaching, and conducting. Notable engagements include conducting Philip Glass’ Les Enfants Terribles , collaborating with Lorin Maazel at the Castleton Festival, and leading productions at Eastman Opera Theatre. His expertise includes language specialization for operatic roles and chamber opera repertoire. **Career Highlights**: Debuted in New York with Wagner scenes, served as assistant conductor for Britten’s centenary productions, and led productions at institutions like the American Institute of Musical Studies (Graz, Austria). Known for bridging classical traditions with contemporary opera practices. **Advising & Collaborations**: Oversees Eastman Opera Theatre’s programming, mentors students in vocal performance, and maintains affiliations with the Kennedy Center, Wigmore Hall, and the Chautauqua Institution. No specific grants or labs are detailed in the provided text.
Michael Ashton is a Lecturer in Musical Correpetition at the Folkwang University of the Arts, affiliated with Faculty 3, which corresponds to the College of Music. He is based at the Essen-Werden campus and serves as part of the teaching staff specializing in vocal and piano collaboration. His research and teaching interests focus on musical correpetition , encompassing collaborative piano, vocal coaching, and opera performance. This role is central to training singers and pianists in ensemble performance and stage preparation. While no scientific awards have been listed, his position underscores a professional commitment to high-level music performance and pedagogy. Michael Ashton advises students in performance practice, though specific advisees are not mentioned. There is no information available about research grants or external funding. He is associated with the Department of Musical Correpetition within the College of Music, contributing to one of Germany’s leading arts institutions known for its interdisciplinary and performance-oriented education.
Brenda Hurley is a leading vocal coach and academic, currently serving as Director of the International Opera Studio in Zurich and a member of the vocal staff at the Royal Irish Academy of Music (RIAM). Her career spans decades of international collaboration with prestigious opera houses, orchestras, and training programmes. She specializes in opera coaching, vocal training, and historical performance practices, working with renowned conductors and institutions worldwide. Education includes studies at RIAM (piano/flute, Briscoe Cup recipient), Trinity College Dublin, Staatliche Hochschule für Musik Freiburg, Guildhall School of Music, and the National Opera Studio London. Her teachers included Rhona Marshall, Paul Hamburger, and Martin Isepp. Research interests focus on bridging classical vocal techniques with modern performance practices, particularly in opera. Her work emphasizes nurturing young artists through mentorship and training programmes. She has collaborated with orchestras like the Berlin Philharmonic and Royal Concertgebouw, and festivals including Salzburg, Glyndebourne, and Wexford. Awarded the Janni Strasser repetiteur award (Glyndebourne), she has held positions at Opera North, Netherlands Opera, and Scottish Opera. She continues to advise RIAM’s Young Associate Artists Programme and serves as a vocal consultant for Opera Theatre Company Dublin.
Noemi Fischer is a Lecturer in Voice and Speech at the Music and Arts University of the City of Vienna (MUK). She holds a Mag.a in Germanistics/Anglistik from the University of Vienna and a drama diploma from the paritätische Prüfungskommission Wien, studying under Eva Zilcher. Her artistic focus centers on structures blending movement, word, music, and gesture between improvisation and composition, with a specialization in choral work. She has led projects such as Hand Aufs Herz (founded 2019), Bahamut Productions (2011–2015), and Rosengewitter (2000–2010). Her teaching roles include voice and speech coaching at MUK since 2018, former positions at the Schauspielschule Innsbruck (2010–2015), and acting as a drama coach at Tanz*Hotel Wien (2015–2020). She also works as a voice-over artist for ORF radio and television documentaries. Fischer’s training spans contemporary dance, Alexander Technique, Feldenkrais, yoga, qi gong, and Centered Riding. Her coaching includes workshops for actors, performers, dancers, and non-artistic professionals, emphasizing vocal and textual performance. She actively engages in music theater collaborations, with select works documented on Vimeo platforms.
Judy Cole is a Professor and Artist-in-Residence in Collaborative Piano at the School of Music, Kennesaw State University. She has held roles including music theory and history instructor, Opera and Musical Theatre coach, and Coordinator of Collaborative Piano (2016–2019). Beyond academia, Cole is a versatile freelance pianist with a 35-year career spanning concert halls, nightclubs, and recording studios, performing for notable figures and institutions. Bachelor of Music in Piano Performance, University of North Carolina at Chapel Hill (studied with Marvin Blickenstaff) Master of Music in Accompanying, University of Cincinnati College-Conservatory of Music (concentration in Musical Theatre and Chamber Music) Her research and performance interests bridge collaborative piano, musical theatre, opera, and Jewish religious music. Cole is active in national organizations like the Guild of Temple Musicians and the Musical Theatre Educators Alliance, and maintains a demanding performance schedule with faculty, students, and professional ensembles such as the Fox Theatre's pit orchestra.
Jason Johnston is Assistant Professor of Horn at the Lionel Hampton School of Music, University of Idaho, where he has served since 2015. His roles include teaching applied horn, directing the Concert Band and Vandal Horn Choir, instructing Brass Techniques, and coaching chamber ensembles. Academic Rank: Assistant Professor Institution: University of Idaho School: Lionel Hampton School of Music Email: jjohnston@uidaho.edu His research and teaching focus on horn performance, brass pedagogy, embouchure mechanics, and the acoustical properties of brass instruments. He is deeply committed to music education and frequently serves as a clinician and masterclass instructor at universities and conferences across the U.S. Johnston is an active performer, holding principal positions with the Steamboat Symphony Orchestra and Opera Steamboat, Co-Principal Horn with the Washington-Idaho Symphony, and 3rd Horn with the Walla Walla Symphony. He has performed with numerous professional ensembles, including the Colorado Symphony, Omaha Symphony, and Denver Brass, and has appeared as a soloist with multiple orchestras and wind ensembles. He is the founder of the Palouse Horn Club and the Palouse Brass Ensemble, and performs with the Northwest Wind Quintet, Idaho Brass Quintet, Apollo Chamber Brass, and Korean Summer Winds in Busan, South Korea. Johnston earned his D.M.A. in Horn Performance and Pedagogy from the University of Colorado and previously taught at the University of Wyoming, University of Colorado-Boulder Continuing Education, and Rocky Ridge Music Conservatory.
Marla Waterman is an Adjunct Professor of Voice at Long Island University, affiliated with the School of Performing Arts at LIU Post. She teaches studio voice to undergraduate and graduate students and also offers courses in music history and theory. In addition, she serves as head of the Early Childhood Music Program at the Green Vale School, where she teaches classroom music, composes children's songs, and directs school plays. Her educational background includes a B.A. from Wells College, an M.M. from Northwestern University, and K–12 Music Teacher Certification from the University of Massachusetts. Prof. Waterman specializes in lyric soprano performance across a wide range of genres, including American and British contemporary art songs, sacred music, chamber music, and opera. She is an active performer in the United States and Great Britain, with extensive experience in solo recitals, oratorio, and ensemble collaborations. Her performances have included appearances at Weill Recital Hall, the Smithsonian Institution, and broadcasts on BBC Radio Three, including the Verdi and Fauré Requiems. She has been recognized with several honors, including the Teacher of the Year Award at Green Vale School and membership in Pi Kappa Lambda. She performed for HRH Princess Margaret and has premiered works composed specifically for her voice. Teacher of the Year Award, the Green Vale School Pi Kappa Lambda Music Fraternity Recital for HRH Princess Margaret Organizer and director of opera workshop at University of Keele, Staffordshire, England Premieres/performances of works written specifically for her Prof. Waterman has maintained a dual career in education and performance. She has mentored numerous voice students through private instruction and ensemble coaching, though specific names are not listed. She has not received public research grants, but her artistic projects—such as founding an opera workshop in England and composing for children’s theater—reflect significant creative contributions. Her professional service includes active membership in the National Association of Teachers of Singing, Nassau Music Educators Association, Long Island Orff-Schulwerk Association, and Pi Kappa Lambda. She has performed widely across academic and cultural institutions, including LIU Post, Adelphi University, Hamilton College, Wells College, the University of Massachusetts, Keele University, and Bradford University. Notable performance venues include the RMS Queen Elizabeth, CAMI Hall, Donnell Library, and the reopening of Sagamore Hill historic site. She has also performed with the East Hampton Choral Society, Christ Church choir, and the Brooklyn Philharmonia Chorus.
