Michael Von Zalejski serves as a Lecturer in the Department of Music at the University of Kassel, specializing in Korrepetition (collaborative piano and vocal accompaniment). His role is integral to the musical training of vocal and instrumental students within the Faculty of Music. His expertise lies in collaborative piano work, supporting students through vocal coaching, language interpretation, and musical preparation for performances and examinations. As a repetiteur, he works closely with voice faculty and students across various repertoire from classical to contemporary works. While specific research activities aren't detailed in available information, his specialization in Korrepetition represents a vital component of the Department of Music's comprehensive training approach for aspiring musicians. His work directly contributes to students' development of collaborative skills essential for professional performance careers.
Kerry Boyle serves as an Academic Sessional at Canterbury Christ Church University's School of Humanities & Educational Studies, where she concurrently pursues doctoral studies while working as a singing teacher, choral director, and music examiner. Her academic foundation includes: Music and English at Keele University Voice studies at Trinity College of Music Leveraging extensive performance experience across opera, oratorio, and chamber recitals, Ms. Boyle specializes in stage-oriented vocal technique for diverse performers. Her pedagogical approach serves students of all ages and abilities including actors, voice-over artists, musical theatre specialists, opera singers, and jazz vocalists through schools, colleges, universities, and arts organizations. As an active educator, she provides vocal coaching and technique instruction across multiple professional contexts, emphasizing practical application of performance skills for stage professionals and emerging artists.
Ulrike Möller serves as a Lecturer and Head of the Speech Training department at the Karlsruhe University of Education since 2008. She concurrently holds visiting lecturer positions at the Karlsruhe State University of Music (teaching singing and school music) and the State University of Music and Performing Arts Stuttgart (Institute for Speech and Communication Pedagogy) since 2011. Her academic foundation includes graduating as a certified voice artist and speech coach from the Stuttgart State University of Music and Performing Arts in 2002, followed by distinction in the advanced "Soloist Class in Speech" program in 2005. Ms. Möller's expertise centers on Speech Training and Voice Art , with significant contributions to Theatrical Recitation and Spoken Word Performance . Her work uniquely integrates academic pedagogy with artistic practice through collaborations with major cultural institutions across Germany. As an educator, she mentors students in speech techniques and vocal performance across multiple institutions, with a teaching career spanning over 15 years that significantly impacts speech education methodology. She actively participates in the "Akademie für gesprochenes Wort" speaker ensemble in Stuttgart and maintains ongoing collaborations with the Stuttgart State Opera, Bach Academy, Tri-Bühne Theater, broadcasting corporations (BR/SWR), and literary festivals including the Gerbersauer Lesesommer.
Dylan Perez is a distinguished pianist and vocal coach currently serving on the Vocal Coach faculty at Trinity Laban Conservatoire of Music and Dance in London. Born in the USA, he studied at the University of Michigan before completing his training at the Guildhall School of Music and Drama, where he graduated with Distinction in 2018. He previously held the Lord and Lady Lurgan Collaborative Piano Fellowship at the Royal College of Music (2019/20). Perez specializes in vocal repertoire, with particular expertise in art song interpretation and collaborative piano. His research and performance interests focus on the critical relationship between text and music, championing both established masterworks and contemporary compositions. He founded 're-sung,' a London-based recital series dedicated to innovative approaches to song repertoire, and curates 'Opera in Song' for Opera Holland Park, which explores connections between operatic works and art song. His critically acclaimed recordings, particularly 'Samuel Barber: The Complete Songs' (2022) and 'BRAHMS Liebeslieder-Walzer' (2023), demonstrate his exceptional artistry and scholarly approach to vocal literature. Reviews consistently praise his 'sublime and profoundly intuitive' playing that remains 'consistently insightful without obtruding.' Major Awards and Recognitions: Gerald Moore Prize for Accompanists Paul Hamburger Prize for Accompaniment Accompanist's Prize at the Bampton Young Singers Competition Laureate of the Académie Royaumont (Paris) Britten-Pears Young Artist Oxford Lieder Festival Young Artist Perez maintains an active performance schedule at major venues including Wigmore Hall, Milton Court, and Cadogan Hall, collaborating with renowned singers such as Mary Bevan, Soraya Mafi, Jess Dandy, and his husband, tenor Nicky Spence. His work has been featured frequently on BBC Radio 3, and he continues to expand his influence through both performance and pedagogy at Trinity Laban.
Nathan Hurwitz serves as an Associate Professor in the Department of Performing Arts at Rider University, leveraging over 30 years of professional experience as a director and musical director with credits spanning Broadway productions like Blood Brothers , Dream , and Phantom of the Opera , alongside international tours including West Side Story and The Best of Andrew Lloyd Webber . His academic foundation includes: BFA from New York University Master's degree from Northwestern University Ph.D. from the University of Pittsburgh Dr. Hurwitz's expertise encompasses Theatre, Musical Direction, Acting, and Directing, informed by advanced training with Stella Adler (acting), Jack Garfein (directing), and Lehman Engel (conducting), plus participation in the ASCAP musical theatre workshop under Charles Strouse. His regional work spans Syracuse Stage, Williamstown Theatre Festival, and Pittsburgh Public Theatre. No scientific awards were referenced in the source material. While the text confirms his teaching of acting and voice coaching at institutions including NYU, HB Studios, and Syracuse University, specific details about current student advising or grant activities at Rider University were not provided. There is no information available regarding research laboratories or specialized teams associated with his academic role.
Susan Knapp Thomas is a faculty member in Instrumental Studies at the Hartt Community Division of The Hartt School, University of Hartford. She serves as Principal Harpist for the Hartford Symphony and Waterbury Symphony in Connecticut, and performs with several orchestras in Florida including the Orlando Philharmonic and Space Coast Symphony. Her educational background is rooted in the Eastman School of Music. Bachelor of Music, Eastman School of Music, University of Rochester As a performer, Ms. Thomas specializes in harp and guitar across diverse settings including orchestral, opera, and chamber music. She is deeply committed to music education, having founded the Connecticut Valley Harp Intensive Summer Camp and serving as Co-President of the Connecticut Chapter of the American Harp Society. Her teaching philosophy emphasizes a comprehensive musical foundation and nurturing a lifelong passion for music through technical application blended with music theory. Ms. Thomas has guided students to success in national competitions and has served as a preparation coach for the Anne Adams Awards and Lyon and Healy Awards, with her students achieving finalist and prize-winner status. She actively contributes to the harp community through leadership roles, notably as Co-President of the Connecticut Chapter of the American Harp Society and Director of the Connecticut Valley Harp Intensive Summer Camp, which celebrated its 10th anniversary recently, fostering studio environments focused on collaboration and performance excellence.
Lynn Kao is an acclaimed Asian American conductor, vocal coach, and pianist currently serving as Professor and Music Director of Opera Productions at The Hartt School, University of Hartford since 2020. She maintains an active international career with guest conductor positions across Europe and Asia while leading opera productions at Hartt. Her educational background includes: MM/AD from Indiana University and Cologne School of Music, Germany BM from Indiana University Kao specializes in classical vocal and orchestral repertoire with expertise spanning conducting techniques, vocal pedagogy, and historical performance practices. Her artistic approach emphasizes emotional communication and technical precision, particularly in German and Italian operatic traditions. She bridges performance and education through masterclasses and collaborative coaching. Her notable honors include: Prizewinner at the Sir George Solti International Conducting Competition Audience award at the Queen Elisabeth International Piano Competition Val Tidone International Chamber Music Competition victory for piano trio 'Enos' Kao mentors vocal students and directs opera productions at The Hartt School, while maintaining affiliations as honorary professor at Gyumri State Conservatory and guest conductor for Gyumri State Symphony Orchestra. Her career demonstrates sustained excellence across performance, education, and artistic leadership in classical music.
Kenneth Nott serves as Professor of Music History and Chair of BA Music at The Hartt School, University of Hartford, where he teaches courses spanning opera history, keyboard literature, and Baroque seminar studies. His leadership extends to academic administration and collaborative performance initiatives within the institution. His educational credentials include: DMA from The Hartt School, University of Hartford MM from The Hartt School, University of Hartford BA from Connecticut College Prof. Nott's research centers on Handel's compositional legacy, particularly through critical editions of operatic works and analyses of 18th-century performance practices. His pedagogical scholarship examines effective methodologies for teaching Baroque repertoire, while his dual career as a church organist informs practical applications of historical performance. This integration of academic rigor and performance expertise defines his scholarly identity. His publication record demonstrates consistent focus on Handel's operatic output, with the 2010 critical edition of Jephtha representing a major contribution to the Hallische Händel-Ausgabe series. Articles in Music & Letters and Händel Jahrbuch reveal evolving methodologies in textual criticism and reception history, while his pedagogical work bridges theoretical scholarship with classroom application. Professional affiliations highlight his standing in specialized communities: Board of Directors, American Handel Society Member, American Musicological Society Member, Hartford and New London Chapters of American Guild of Organists As department chair and educator, he oversees curriculum development for music history while mentoring students through courses like Music History Pedagogy and Critical Editing. His collaboration with Prof. Emlyn Ngai in coaching the Hartt Collegium Musicum provides hands-on training in early music performance, where he performs continuo duties to connect scholarly research with practical execution. The Collegium Musicum serves as his primary research ensemble, functioning as both performance laboratory and pedagogical platform for exploring Baroque performance practices. This ensemble work complements his archival research on Handel, creating synergies between historical scholarship and contemporary interpretation within the university's performance ecosystem.
Kristin Huffman is a Professor at the University of Hartford's Hartt School where she teaches Voice lessons to music theatre majors, Audition Techniques, Vocal methods, Career Prep and Acting. She also serves as Founder and Producing Artistic Director of The New Paradigm Theatre (NPT), a professional nonprofit organization. Her educational background includes a Master of Music in Opera from Northwestern University and a Bachelor of Music in Music Education (flute and voice concentration) from Capital University Conservatory of Music, both earned Summa Cum Laude. Teaches private voice and acting lessons at her studio in Milford, CT Member of Actors Equity Association (AEA) and Screen Actors Guild (SAG/AFTRA) Former Miss Ohio/Runner-up Miss America Judges international choir competitions in the US and Canada Huffman's teaching methodology combines 'Mix' and 'Bel Canto' vocal techniques, emphasizing sight-reading, piano skills, audition techniques, and professional networking. She frequently connects students with industry professionals including agents and casting directors. As founder of NPT (established 2012), she creates opportunities for students from Hartt, UArts, UCONN, WCSU and other colleges to perform alongside Broadway professionals. Notable collaborations include working with Kristin Chenoweth at the Ridgefield Playhouse and producing educational content like 'Kristin's Korner' on Broadwayworld.com. Her professional performance career spans over 35 years, including the Tony Award-winning Broadway production of 'Company' where she played the leading role of 'Sarah' while also performing flute, sax and piccolo. She also performed as 'Christine' in the European tour of 'Phantom of the Opera'.
Elizabeth Peyton serves as an Instructor of Violin in the Music Department at Reed College. She holds tenured positions with the Portland Opera and Oregon Ballet Theater Orchestras and conducts the Baroque Orchestra of the Metropolitan Youth Symphony, with a performing career spanning decades across symphonic, chamber, opera, and ballet ensembles including the Oregon Symphony and Eugene Symphony. Her expertise centers on violin performance and music education, demonstrated through extensive soundtrack recordings for films and studio albums alongside live performances at festivals like Santa Fe Opera and Grand Tetons Music Festival. Peyton actively contributes to Portland's musical ecosystem through diverse performance contexts and educational outreach. As an educator, she has provided private instruction, group lessons, and chamber music coaching at the Community Music Center, Multnomah Arts Center, and Young Musicians and Artists, emphasizing practical training for developing musicians. Her professional focus remains on performance pedagogy and orchestral leadership within regional arts organizations.
Nicholas Shaneyfelt serves as Associate Professor of Music in Collaborative Piano at Luther College, Decorah, Iowa, with additional leadership as Co-director of the International Music Festival of the Adriatic in Duino, Italy. Educational background: D.M.A., University of Michigan M.M., University of Massachusetts-Amherst B.A. Music & B.S. Computer Science, University of Notre Dame His research focuses on collaborative piano pedagogy and vocal coaching, specializing in choral accompanying (including Bach's B minor Mass with Nordic Choir), opera production, and chamber music. His work bridges performance practice with technical expertise in vocal repertoire and stylistic interpretation. Award highlights: 2011 Eugenie May Piano Award recipient Fischoff National Chamber Music Competition Finalist NATS Intern Program selection (inaugural collaborative pianist cohort) Professor Shaneyfelt maintains active performance funding through the Piatigorsky Foundation and international festival engagements. His students benefit from direct involvement in Luther College ensembles and the Adriatic festival, developing professional skills in vocal coaching, diction, and repertoire selection across diverse musical contexts.
Dr. Mara Davis Johnson serves as Lecturer in Contemporary Arts, Performance & Theatre (Career Development Fellow) at the University of Wollongong's School of the Arts, English and Media since 2022, with an additional appointment as Lecturer in Creative and Performing Arts from November 2024. Her academic journey spans both University of Wollongong and University of New South Wales, where she held research and teaching positions including multiple AusStage project roles. Her educational credentials include: PhD, University of New South Wales (2017-2022) Bachelor of Music Studies, University of Sydney (2014-2016) Bachelor of Creative Arts (Honours), University of Wollongong (2011) Bachelor of Creative Arts (Performance), University of Wollongong (2008-2010) A.Mus.A certifications in Flute and Piano from Australian Musicians Examinations Board Dr. Johnson's research centers on musical theatre with distinctive Australian perspectives, examining dramaturgical practices, composer legacies, and digital transformations in performance. Her work bridges scholarly analysis with practical application, particularly in digital humanities approaches to theater history and audience studies. Current projects include her monograph 'Australian Musical Theatre: Never Been Better?' and co-authored 'Performing Data: Theatre Practice and Research', reflecting her commitment to both national theater identity and methodological innovation. Her publication record demonstrates consistent output across academic journals, media commentary, and creative works. Recent scholarship shows increasing engagement with technology-theater intersections, evidenced by 2025 publications on AI's impact on audiences and digital archiving of performance history. This trajectory highlights her role at the forefront of evolving theater scholarship while maintaining strong connections to Australian cultural contexts. Dr. Johnson's scholarly contributions have been recognized through: 2nd Prize, Best Student Paper at Musicological Society of Australia 2018 Conference HDR Exceptional Achievement Award from University of New South Wales (2018) Vice Chancellor's Award for Outstanding Contribution to Teaching and Learning at University of Wollongong (2018) As Head of Students since 2024, Dr. Johnson oversees student academic pathways while maintaining active teaching responsibilities across the Bachelor of Creative Arts program. Her supervision approach integrates practical performance training with critical theoretical frameworks, particularly evident in her coordination of CACS304: Creative Research. She balances institutional leadership with ongoing creative practice as vocal coach and musical director, creating synergies between academic and professional theater contexts.
Simone Di Felice is an Italian conductor and pianist serving as a lecturer at the Stuttgart University of Music and Performing Arts since 2010. His professional affiliations span prestigious international institutions: Stuttgart University of Music and Performing Arts: Primary academic appointment (2010–present) Frankfurt Opera: Kapellmeister (past) Opéra National in Paris: Guest Conductor (2022) Teatro Marrucino in Chieti: Guest Conductor (Cavalleria Rusticana) Teatro Mancinelli in Orvieto: Guest Conductor (Falstaff) Tyrolean Festival in Erl: Guest Conductor (2020, 2022) Theater Basel: Guest Conductor (La Cenerentola, Il barbiere di Siviglia) Di Felice specializes in opera conducting across historical eras, with deep expertise in Baroque works (Monteverdi, Handel), Classical repertoire (Mozart's Don Giovanni, Le nozze di Figaro, The Magic Flute), and 19th–20th century operas (Verdi, Rossini, Bizet). His recent performances include Maderna's Satyricon and Rossini's Bianca e Falliero, demonstrating exceptional versatility from early music to contemporary compositions. He maintains active collaborations with world-renowned vocalists including Christian Gerhaher, John Osborn, Michael Spyres, Jakub Józef Orlinski, and Pretty Yende. Current highlights feature his 2022 production of Mozart's The Magic Flute at Paris Opera and Rossini's Bianca e Falliero at the Tyrolean Festival, confirming his status among Europe's leading opera conductors.
Jessica Arnold serves as a Part-Time Lecturer (3/4 time) in the Department of Theater and Dance within Rowan University's College of the Arts. She concurrently holds faculty positions at Rowan Community Music School’s Musical Theatre Camp and teaches voice and piano at Cornerstone Music Studios in Millstone, NJ, demonstrating a multifaceted career spanning academic instruction and professional performance. Her academic foundation includes a Bachelor of Arts in Voice Performance from Seton Hall University, where she subsequently served as departmental accompanist (2010-2013), and a Master of Music in Piano Coaching and Accompanying from Westminster Choir College (2017). Her graduate studies featured instruction under distinguished mentors JJ Penna and Rachelle Jonck, supplemented by intensive masterclasses with leading collaborative artists. Professor Arnold's artistic specialization bridges classical training and contemporary practice, with particular expertise in Crossover Music, Pop, and Musical Theatre performance. She integrates dual proficiency as both vocalist and pianist to develop students' interpretive skills across genres, emphasizing the synthesis of technical precision and dramatic expression that defines modern collaborative artistry. Her professional trajectory has been marked by selective recognition at premier training venues: Piano Young Artist appointment at Songfest (2019) Piano Young Artist selection for Westminster Choir College's CoOperative Program (2017) Invitation to study with legendary coach Dalton Baldwin in European summer programs (2017) With 17 years of piano instruction and 15 years of voice teaching experience, Professor Arnold brings substantial practical knowledge from diverse roles including Staff Accompanist at Westminster Choir College (2015-2020), Chorus Master for the New Jersey State Opera, and musical direction for regional productions since her early professional start at age 13. This extensive background in both educational and performance settings informs her student-centered pedagogical approach across multiple teaching venues.
C. Alexander serves as Voice Faculty specializing in Acting within the Vocal Arts program at Manhattan School of Music. A New York native, she is an active director, teacher, coach, and classically trained musician in voice, cello, and piano with performances at Carnegie Hall, Kennedy Center, and Notre Dame Cathedral. Education: Bachelor of Music Degree in Vocal Performance from Manhattan School of Music Graduate Certificate of Completion in Method Acting from Lee Strasberg Theatre and Film Institute Her artistic practice centers on Vocal Performance and Opera, with deep expertise in Shakespearean Theatre and Method Acting techniques. She integrates classical music training with theatrical direction and has pioneered Applied Theatre applications through trauma-healing collaborations with the LGBT Pride Center of Brooklyn. Her work spans operatic scene studies, contemporary theatre, and outreach programs for youth development. Artistic Recognition: Commonwealth Shakespeare Company’s CSC2 12-actor residency (2018) Co-winner of NYC Strawberry Theatre One-Act Festival (2018) Ms. Alexander maintains a private studio since 2017 coaching actors and vocalists across diverse backgrounds. Her students have secured professional debuts with Shakespeare Theatre of NJ, Shakespeare in the Park (NYC), Repertory Theatre of St. Louis, and Seattle Rep, while others pursue advanced training at LAMDA UK, Royal Conservatoire of Scotland, and NYU. She previously taught at NYU Tisch Strasberg Studio and Lee Strasberg Theatre Institute. She collaborates extensively with Northeast theatre companies including Hamlet Isn't Dead and Barefoot Shakespeare Company, and leads Manhattan School of Music’s Graduate Opera Scenes program. Her current projects include directing a new original play and Holocaust remembrance-themed productions.
