Samantha Mishima Friedman serves as Visiting Instructor of Voice at Mercer University's School of Music while completing her Doctoral Candidacy in Vocal Performance at the University of Georgia. Her educational background includes: MM in Vocal Performance from Mercer University (2021) BA in Music and Russian from Sarah Lawrence College (2012) As a mezzo-soprano, Friedman specializes in diverse operatic repertoire spanning Baroque to contemporary works. Her performance focus encompasses character-driven roles in Mozart, Gounod, and Sondheim productions, with particular expertise in Russian-language performance stemming from her undergraduate specialization. She demonstrates strong interdisciplinary skills through dual involvement in performance and production roles. Friedman maintains active performance engagement through Mercer Opera, where she balances principal singing roles with creative contributions as script adaptor and assistant director for productions like The Last Sorcerer and Viva la mamma!
Ísis Jarnicki de Carvalho is an Assistant Professor of Music Performance specializing in Voice at Ithaca College's School of Music, Theatre, and Dance. A Brazilian spinto soprano and voice director, she champions works by 19th-21st century women composers and develops accessible music experiences for disabled audiences through low-cost/free attendance models. Her educational background includes: Doctor of Arts in Voice Performance with Musical Theatre emphasis, Ball State University (2023) Master of Music in Voice Performance, Indiana State University (2018) Bachelor of Music in Voice Performance, School of Music and Fine Arts of Paraná, Brazil (2013) Graduate Certificate in Chamber Music Performance, School of Music and Fine Arts of Paraná (2012) Bachelor of Music in Piano Performance, School of Music and Fine Arts of Paraná (2008) Dr. Carvalho's research integrates voice pedagogy with social advocacy, focusing on curating cross-cultural recitals and expanding repertoire for spinto sopranos. Her work emphasizes accessibility innovations and historical recovery of women composers' contributions to classical music. Recent performance highlights include an all-women composer recital at the University of Tennessee Southern's "Women’s History Through Storytelling" event and the original production "(Not So) Well-Mannered Women". She has performed Mahler's Symphony No. 2 and Villa-Lobos' Bachianas Brasileiras No. 5 as soloist, and created an accessible chamber opera production of Liana Alexandra's "Chant d’Amour de la Dame à la Licorne". Operatic roles span American productions like "Glory Denied" (Old Alyce) and Brazilian works including "Maria Tudor" (title role).
Lynn Fleming serves as an Applied Instructor of String Bass in the Music department at Hood College, where she contributes to undergraduate music education. She concurrently teaches at Montgomery College and maintains a private studio in the Washington, D.C. metropolitan area. Her academic foundation stems from the Juilliard School of Music. Post-graduation, she pursued a performing career in New York City, engaging in orchestral, ballet, and operatic productions. Her performance history includes notable appearances at the Spoleto Festival of Two Worlds in Italy, Tanglewood, and the inaugural Contemporary Music Festival in South America. She spent a decade as a member of The Symphony Orchestra of Maracaibo in Venezuela and later instructed in the Juilliard MAP (Music Advancement Program). Professionally, Fleming specializes in music performance with emphases on string bass technique, orchestral repertoire, and cross-genre collaboration. Her career trajectory—from freelance work to international festivals and symphonic engagement—directly informs her pedagogical approach, prioritizing practical artistry and ensemble skills. As an educator, she mentors students through institutional roles at Hood College and Montgomery College alongside her private studio. Fleming remains an active performer, currently participating in multiple regional orchestras, which sustains her dual commitment to performance excellence and music education.
Jens Hesselager serves as Associate Professor in the Department of Arts and Cultural Studies at the Faculty of Humanities, University of Copenhagen. His academic profile centers on 19th-century music history with specialization in Nordic opera traditions, cultural transfer mechanisms, and transnational artistic exchanges. Holding Cand.mag. and PhD qualifications, he maintains active research and teaching responsibilities in musicology. His research portfolio demonstrates deep engagement with Scandinavian musical heritage through projects examining French grand opera's influence in Nordic regions, Italian cultural traffic to Scandinavia (including singer migrations and libretti translations), and music's role in Danish democratization processes. Additional scholarly focus areas encompass theater music, melodrama (particularly French boulevard traditions), and music dramaturgy across historical contexts. Publication analysis reveals consistent thematic concentration on Nordic music history, with particular emphasis on Danish composer C.E.F. Weyse and cross-cultural adaptations of Italian/French operatic forms. His scholarly output spans monographs, encyclopedia entries, and peer-reviewed articles investigating 19th-century Scandinavian musical practices within broader European frameworks. Professional activities include workshop collaborations with the Royal Danish Academy of Music (DKDM), conference presentations on Nordic opera history, and media contributions through Danish national radio (DR P1/P2). His 2024 book reception events and 2025 workshop leadership confirm ongoing academic engagement.
Jay Coble serves as Professor of Trumpet at the University of South Florida School of Music, a position held since 1998. He concurrently performs as Principal Trumpet for Opera Tampa (2007-present) and lead trumpet for National Broadway Tours at Tampa's Straz Center. His career uniquely bridges academic instruction with active professional performance across classical, jazz, and commercial music spheres. Dr. Coble's academic credentials include: Doctor of Musical Arts (DMA) from University of Southern California Master's Degree from Indiana University Undergraduate Degree from Appalachian State University His artistic specialization encompasses trumpet performance in diverse settings, informed by studies under William Adam, Joe Phelps, Roy Poper, and Boyde Hood. Professor Coble excels in classical orchestral repertoire, jazz improvisation, and commercial recording contexts, with particular expertise in Broadway pit orchestration and operatic performance. His pedagogical approach integrates technical mastery with stylistic versatility across musical genres. Key recognition includes: 2018 Grammy Nomination for Jazz Surge's 'Whispers on the Wind' Contributions to Trans-Siberian Orchestra's Platinum album 'Night Castle' Performances with Andrea Bocelli, Renée Fleming, and Plácido Domingo In student mentorship, Professor Coble directs applied trumpet instruction at all academic levels and ensemble coaching. His professional engagements with Opera Tampa and Broadway productions provide students with industry connections and real-world performance insights. He maintains an active recording career spanning educational materials, jazz collaborations, and commercial projects while leading the Confluences trio (trumpet-trombone-piano). His international work, including masterclasses in China and performances across 25 countries, enriches the studio's global perspective.
Robert Dumas serves as an Adjunct Instructor in Voice at the State University of New York at Oswego's Music Department while holding a full-time position as Vocal Music Teacher at Oswego High School. In his high school role, he conducts three curricular choirs, teaches music theory, serves as Music Director and Producer for the annual musical, and acts as Team Leader for the K-12 Music Department. Previously, he directed choirs at Southside High School and served as Music Director at First Presbyterian Church in Elmira, NY. His academic credentials include a summa cum laude Bachelor's degree in Music Education and Performer's Certificate in Voice from Crane School of Music at SUNY Potsdam, followed by a Master of Music in Music Education from Ithaca College. Additional training includes Vocal Pedagogy studies with Kathryn Cowdrick of the Eastman School of Music and the Oberlin in Italy summer program in Urbania. Dumas specializes in vocal performance across operatic and musical theater repertoire, with professional experience including a world premiere production alongside mezzo-soprano Stephanie Blythe. His research and professional interests focus on: Voice Performance techniques Music Education curriculum development Vocal Pedagogy methodologies Choral conducting practices Musical theater direction International music education outreach He maintains an active performance career through American Music Abroad tours across Europe and summer instruction at Bristol Hills Music Camp. His mentorship spans K-12 education, university adjunct teaching, and international performance collaborations, emphasizing practical vocal training and ensemble leadership.
Erin Davis serves as an Adjunct Professor of Voice in the Music, Theatre & Dance Department at Taylor University, a position she has held since 2019. Born and raised in Upland, she maintains a deep connection to the Taylor community and is dedicated to mentoring emerging Christian musicians while pursuing her DMA at the University of Mobile. Her academic qualifications include: Master of Music (MM) from Ball State University Bachelor of Music (BM) in Vocal Performance from Taylor University Ms. Davis specializes in vocal pedagogy and performance across classical and contemporary genres, with research interests focused on operatic repertoire development, musical theatre vocal techniques, and Christian music education. Her artistic work emphasizes bridging technical vocal training with spiritual formation for student musicians. As an active performer, she has appeared in major productions including Cendrillon, Orpheus and the Underworld, Mary Poppins, Gianni Schicchi, and The Marriage of Figaro, bringing professional stage experience directly into her pedagogy.
Ramses Sigl is a distinguished dance instructor and choreographer with a 30-year tenure at the Bavarian Theatre Academy August Everding since the founding of its Musical Theatre program in 1996. He currently holds lecturing positions across multiple prestigious institutions including the Iwanson School for Contemporary Dance in Munich, Schauspiel München, and the Royal Swedish Ballet Academy, while having previously led the academy's dance program from 1998 to 2012. His choreographic expertise spans theatrical genres from Broadway musicals to classical opera, with notable collaborations at major international venues. Sigl's artistic practice integrates movement direction with narrative storytelling across diverse performance contexts. Artistic Focus Areas Dance pedagogy specializing in Jazz Dance technique Choreography for musical theatre productions Opera movement direction for historic and contemporary works Original contemporary dance theatre creation Cross-disciplinary performance integration Sigl maintains active creative partnerships with leading European directors and institutions, consistently contributing to high-profile productions while advancing dance education through his institutional appointments. His work demonstrates exceptional versatility across theatrical, operatic, film, and corporate event contexts.
Dr. Patricia Vigil is a Visiting Assistant Professor of Voice at Louisiana State University's School of Music. A distinguished coloratura soprano, she has performed with prominent opera companies nationwide including Opera Philadelphia, Sarasota Opera, and Baton Rouge Opera. Her academic journey includes a DMA from Temple University with a dissertation on hormonal impacts on vocal health. Research Focus: Her work bridges vocal performance, operatic studies, and pedagogy, with emphasis on physiological aspects of voice production. Key interests include: Techniques for coloratura repertoire Vocal pedagogy methodologies Physiological impacts on vocal performance Interdisciplinary voice science research Awards & Honors: Richard F. Gold Career Grant - Shoshana Foundation Diamond Award - Vera Scammon International Voice Competition She maintains professional membership in the National Association of Teachers of Singing (NATS) and Texas Music Educators Association (TMEA).
Dr. Ryoko Wakatsuki serves as a Lecturer at the State University of Music and Performing Arts Stuttgart, where she has taught specialized "Yoga for Singers" bodywork courses since 2016. Her career bridges professional opera performance and vocal pedagogy, with extensive stage experience across Japan, Italy, and Germany. Her academic foundation includes: Undergraduate studies at Tokyo National University of Music and the Arts Postgraduate training in Milan Doctoral research on "Soubrette Roles in Opera" completed in Tokyo Dr. Wakatsuki's research integrates Raja Yoga, Ancient Hatha Yoga (Pranayama), and Japanese Healing Yoga into vocal training, specifically targeting physiological constraints like throat tension and stamina limitations. Her methodology emphasizes movements guided from the tanden center (chi energy core) to achieve freer vocal production, developed through 18 years of dedicated practice since 1993. This work directly addresses performance challenges encountered during her own career as a soprano. She actively mentors young vocal students through her specialized courses, focusing on practical application of yoga principles to enhance operatic performance. Her teaching methodology has gained international recognition since its inception in 1996, with documented success in both German and Japanese institutions.
Isabel Viana serves as a Part-Time Lecturer in the Department of Letters, Arts and Communication at the School of Human and Social Sciences, University of Trás-os-Montes and Alto Douro. Her academic foundation includes a Master's in Music (Performance - Singing) from the University of Aveiro, a degree in Theater and Performing Arts from the same institution, and specialized training in Music Education from the Polytechnic Institute of Bragança. Her research centers on the intersection of vocal performance and theatrical expression, with particular focus on gender representation in opera, character construction methodologies, and nonverbal communication in performance. Viana's work consistently explores emotional states in Italian romantic opera and contemporary interpretations of female protagonists, bridging historical analysis with practical performance techniques. Analysis of her recent publications reveals a strong trajectory in Portuguese cultural studies, with increasing emphasis on literary adaptation (notably Saramago's works) and modern theatrical production. Her scholarly output demonstrates deep integration of performance practice and academic research, particularly in vocal expression and character development. Viana maintains an active performance career alongside her academic work, regularly appearing as soloist in operatic productions and theatrical performances across Portugal. This practice-based research approach informs her teaching methodology and scholarly contributions to performing arts education.
Ted Hearne is a composer, singer, and bandleader who serves on the composition faculty at the University of Southern California. Praised by The New York Times for his 'tough edge and wildness of spirit,' and 'topical, politically sharp-edged works,' Hearne creates music inspired by the overlay of different viewpoints and their sonic possibilities. His compositions are personal, multi-dimensional works that often explore unconventional interactions of text and music, rooted in a sense of inquiry. Hearne's research interests center on politically engaged contemporary composition that blends multiple genres including jazz, pop, soul, gospel, electronica, and contemporary classical. His work frequently addresses social justice issues, American political history, and the intersection of text and music. Pitchfork called Hearne's work 'some of the most expressive socially engaged music in recent memory -- from any genre,' and Alex Ross wrote in The New Yorker that Hearne's music 'holds up as a complex mirror image of an information-saturated, mass-surveillance world, and remains staggering in its impact.' Hearne's major works include 'Sound From the Bench' (2018 Pulitzer Prize finalist), 'Place' (2021 Pulitzer Prize finalist and Grammy-nominated), and his upcoming recording 'Farming' with The Crossing. His compositions often take the form of multimedia theatrical pieces, operas, and choral works that examine themes of gentrification, corporate personhood, and American history. 2018 Pulitzer Prize finalist (for 'Sound From the Bench') 2021 Pulitzer Prize finalist (for 'Place') 2021 Grammy Award nominee (two categories for 'Place') 2014 New Voices Residency from Boosey and Hawkes Hearne's advising and collaborative work spans numerous institutions and artists. He has been commissioned by the San Francisco Symphony, Los Angeles Philharmonic, Royal Ballet and Opera, and New World Symphony. His collaborators include Erykah Badu, Pam Tanowitz, Taylor Mac, Damon Davis, and Daniel Fish, while his works have been conducted by Michael Tilson Thomas, John Adams, and Gustavo Dudamel. Currently, Hearne is working on a new operatic adaptation of Ursula K. Le Guin's 'The Dispossessed' scheduled to premiere in 2027. Hearne leads Unsettlement Music, a fluid ensemble of instrumentalists, vocalists, electronic musicians, and improvisers that tours with him and performs many of his large-scale works. This ensemble allows him to realize his complex, genre-blending compositions that require performers comfortable with both written and improvised elements across multiple musical traditions.
Internationally renowned American soprano Amanda Majeski serves as Assistant Professor of Music at the University of Michigan while maintaining an active international performance career. She is celebrated as a leading interpreter of Mozart, Strauss, Wagner, and Handel repertoire, with particular acclaim for her portrayal of Janáček's Káťa Kabanová, which earned Best New Opera Production at the 2019 Olivier Awards at Royal Opera House Covent Garden. Professor Majeski holds degrees from the prestigious Curtis Institute of Music and Northwestern University. Her professional journey includes membership in San Francisco Opera's Merola Program, the Gerdine Young Artist Program at Opera Theatre of St. Louis, and the Steans Institute at Ravinia. She is also an alumna of the Ryan Opera Center at Lyric Opera of Chicago, where she made her mainstage debut as Countess Almaviva with only a few hours' notice. An acclaimed performer, Professor Majeski has appeared at major opera houses worldwide including the Metropolitan Opera, Royal Opera House Covent Garden, Semperoper Dresden (where she was previously a member of the ensemble), Lyric Opera of Chicago, Dutch National Opera, and Opéra de Paris. Her repertoire spans Countess Almaviva in Le nozze di Figaro, Donna Elvira in Don Giovanni, Fiordiligi in Così fan tutte, Marschallin in Der Rosenkavalier, and the title roles in Janáček's Káťa Kabanová and Rusalka. George London Foundation Award recipient First prize winner of Palm Beach Opera Vocal Competition Sara Tucker Study Grant recipient from Richard Tucker Foundation Professor Majeski maintains an active international schedule while teaching, with upcoming performances including the title role in Shostakovich's Lady Macbeth of Mtsensk at the BBC Proms (2025-2026 season). Her dual commitment to performance excellence and academic instruction provides students with unique insights from the professional operatic world.
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.
Elinor Olin serves as Associate Professor in the School of Music within Northern Illinois University's College of Visual and Performing Arts, where her scholarship centers on 19th-century French opera, melodrama, and the intersection of music with cultural nationalism. Her academic profile combines rigorous musicological research with significant public engagement through major opera institutions. Professor Olin earned her Ph.D. in Music History from Northwestern University, establishing the foundation for her specialized research in French musical culture. Her scholarly trajectory demonstrates consistent evolution from early work on Paris Opera concert programming to contemporary explorations of social justice in music. Her research examines how musical works reflect and shape national identities, particularly through 19th-century French opera and melodrama. Current investigations extend to social justice frameworks while maintaining focus on cultural nationalism, concert life traditions, and the reception of historical narratives in operatic works. This interdisciplinary approach connects music history with broader cultural studies. Recent publications (2019-2022) reveal sustained focus on French musical culture through analyses of regional identity in Lalo's opera, chamber music traditions, and antique reception in Saint-Saëns' works. Her output spans academic handbooks and journals to recording program notes, demonstrating dual commitment to scholarly discourse and public music education. Professor Olin teaches undergraduate Music History courses and the Graduate Music Research Seminar while directing the Opera Immersion Seminars initiative she founded in 2014. This program provides exceptional experiential learning through partnerships with Santa Fe Opera and Lyric Opera of Chicago, though specific grant funding details aren't documented in available materials. The Opera Immersion Seminars represent her signature contribution to music education, creating structured analytical frameworks for opera audiences and students. This initiative, running continuously since 2014, facilitates deep engagement with production elements and historical contexts at major professional opera companies, bridging academic study with live performance experiences.
