: reimagining opera for kids: developing a pedagogy of performing arts … opera for... ·...

Title: Reimagining Opera for Kids: Developing a Pedagogy of Performing Arts Community Engagement

Investigators: Kimberly Carballo and Kevin Murphy, Opera Dept., Jacobs School of Music; Martha Eason, graduate student, Jacobs School of Music

Contact: [email protected]

Funding level requested: Phase III

Duration of funding period: October 2016 - May 2018

2 Reimagining Opera for Kids: Developing a Pedagogy of Music Outreach

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Abstract The performing arts community is increasingly aware of the importance of outreach/community engagement programming. The motivation of community engagement programming may be audience development, a desire to keep the arts diverse and socially vital, education, or to reach underserved communities. Participation in outreach programming will indeed be an important part of the careers of many emerging performers, as proven by the research in Phase II of this project. While many opera companies conducting community engagement provide some training for their performers, much of this outreach training is done at the university or college level. However, training performing artists for the specific task of community engagement is still lacking in a comprehensive pedagogy informed by concrete research. The long-term goal of our research is to uncover teachable skills of audience engagement and communication in order to create a comprehensive pedagogy and guide for teaching artists, opera companies, and educational institutions. We will be conducting our research in two ways: internally, from the self-evaluation and reflection by the performing artists enrolled in the Indiana University Jacobs School of Music service-learning course, Performing Arts Education and Outreach (U315/515); and externally, by continuing with our nation-wide survey of both educational institutions and opera companies providing outreach. From the survey results we have collected in Phase II, we have uncovered a vast amount of information that we will synthesize to create a handbook and article to be published as a resource for community engagement pedagogy. As part of this handbook, four opera companies and outreach organizations will be chosen to be the focus of case studies. Through the broad survey, specific case studies, and on-the-ground experience of the U315/515 course history, we will assimilate a set of best practices surrounding training for community engagement and make that information available to the broader performing arts community.


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Project Description

Purpose:

In the first two phases of our study, we uncovered an increasing awareness within the arts community of the virtues of outreach/community engagement programming. These benefits include audience development, promotion of the arts as diverse and socially vital or as a means for education, and the ability to reach underserved communities. Because of these benefits, many educational institutions and professional performance organizations include outreach/community engagement in their programming. From our survey conducted in Phase II of our study, we have found that a strong majority of emerging artists will be required to participate in outreach/community engagement programming as part of their professional development. Performing artists need to be prepared for the specific demands of being a teaching artist and outreach performer. Our goal is to identify the best practices of the industry in training teaching artists specifically for the task of outreach/community engagement. We plan to summarize our findings into a pedagogical handbook for small to medium sized professional opera companies and educational institutions interested in providing this specific job training. In order to continue laying the necessary foundation for the development of a pedagogy of music outreach, we will continue our research in the following two ways: internally, from the self-evaluation and reflection by performers enrolled in the Indiana University Jacobs School of Music service-learning course, Performing Arts Education and Outreach (U315/515); and, externally, by continuing to solicit input and analyzing responses from opera outreach programs nationwide and by continuing to create relationships with those in the industry who share our goals. This research will build on the years of research we have already accumulated through feedback from our service-learning course and the connections we have already built with those in the larger educational outreach community. The overarching goals of the U315/515 course and its community partners have remained constant. We continue to invite student performers to become involved in community engagement and collectively note their feedback as to find the best practices for outreach through individual reflection and group-discussion. The purpose of the course is to provide students with a supportive, interactive environment in which they will have hands-on experience in performing and teaching, while at the same time contributing to the community that supports the university. Students are asked to engage reflectively in their own training by evaluating their performance skills through observing their recorded performances and analyzing feedback from K-12 educators and community partners. We collectively explore the competencies required to be effective as a performer for non-traditional audiences in diverse settings. In its fourth year now, Performing Arts Education and Outreach (U315/515) is the only long-term service-learning course in the Jacobs School of Music. We are proud to provide performance students a safe place to continue learning their craft and to collectively, through feedback and self-reflection using performance video and group discussions, find their best ways of communicating through their art. We seek to serve the artists on the stage as well as our audience and community by providing opportunities and introducing young performers to the specific skill set necessary for educational outreach. ROK is the longest-term community partner for U315/515; with its 9-year history, the organization


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can well inform the university students’ experiences and expectations. ROK (now in partnership with U315/515) has been able to identify best practices for teaching performers and communicating with diverse audiences because of the feedback we receive both internally and externally. A focus on continual improvement and deepening of relationships through this sharing of information is what has allowed ROK to grow and develop what we refer to as a “feedback loop.” ROK has developed a model of communication that has led to constant feedback between the groups of people we serve: our audience, the teachers and the school administration, the performers and administrators of ROK, and the director, Kimberly Carballo. This feedback model of communication that we have created within the ROK organization (elaborated in more detail in Appendix A) has proved useful to us in identifying not only the best practices for outreach but also where information and research is lacking. Because of this ability to clearly identify our needs as an outreach organization and the research needs of the larger outreach community, we have been able to focus our external research, including our nation-wide survey and our case studies looking forward to phase III, into unique and groundbreaking research. We believe that the feedback loop system we have created can be used universally in other existing community engagement organizations or as an architectural tool for building an outreach organization or program from the ground up. In Phase III we are eager to share our model in a publishable way so that it can be of use to those in our community, many of whom have already expressed strong interest in follow-up communication from the surveys.

As previously stated, the goal of our external research is to identify the best practices of the industry in training artists for the specific task of outreach/community engagement. In Phase II, we conducted a survey of both professional opera companies and educational institutions. The results of our survey have proved critical in our goal to create a comprehensive database of organizations and their points of contact for outreach/engagement. Through our survey we have also learned a vast amount about the ways in which community engagement is being conducted and how performers are being trained (or not). From our survey, we have also identified several institutions that we plan to research more deeply and who will be the focus of the case studies that will be included in our pedagogy handbook. The institutions we will focus on include the OperaIOWA touring program with Des Moines Metro Opera, Opera For the Young (OFtY) touring program in Madison, WI whose only goal as an organization is opera outreach, Chicago Opera Theater’s Opera for All program that serves Chicago public schools and includes artist residencies, and Seattle Opera’s program Opera Time that is a musical storytelling program that fosters literacy through the arts. We chose these organizations because they are diverse in size and scope, each organization tours and brings the arts to the children they serve, and each program is unique in its goals and motivations. These institutions will be the focus of four case studies that will be included in our handbook summarizing the best skills and core competencies that could be taught and assessed in an effective outreach-training program. This handbook will also include a summation of our feedback loop, the philosophy behind our curriculum guides, and a description of our thematic repertoire plan.

Previous Research Results: We are pleased with our continuing research in our experiential service learning course and also with the relationships fostered and information gained through our nationwide survey of both educational institutions and professional opera companies. The following report summarizes our


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findings in Phase II: 1. Self-evaluation and group feedback (facilitated by the video recordings, uploaded to a private

YouTube channel) continue to be the strongest tools for consistent and creative improvement over the course of two semesters’ worth of performances.

2. It is during group reflection time that the creative solutions are most likely to emerge, and those improvements are most likely to be implemented (and later remembered).

3. We have compiled a comprehensive list of opera companies carrying out music-based community engagement programs and educational institutions that provide similar community programs. We have identified points of contact for these organizations and have included a short description of the types of outreach, if any, they offer.

4. We have designed and conducted two separate surveys: one conceived for educational institutions offering music-based community engagement programs and the other formulated for opera companies conducting similar programs. We have also begun to reach out to and foster relationships with specific institutions that have piqued our interest or are interested in our research for the purpose of starting their own outreach programming or improving their current programs. While the two surveys we conducted provided much insight into the ways outreach is being done and the means by which teaching artists are trained, possibly the greatest asset of our surveys is the connections we have made by fostering relationships with the outreach coordinators within these institutions and opera companies.

From the following summary of the research gained from our surveys, several important observations about the training of teaching artists can be made. One significant observation is that out of the educational institutions conducting music-based community engagement programs, 75% provide training for their teaching artists while only 54.3% of professional opera companies provide artist training. It can be observed that while artist training is occurring, it is most prevalent at the university or college level. However, information on these outreach programs at the university and college level is sorely lacking. This is one problem we hope our research can help solve. According to our survey of education institutions who participate in community engagement through opera, a model of an average community engagement program provides in-school one-time performances and invites children/youth to their venue for performances. This model program typically has more than 20 teaching artists involved in their community engagement programming and provides training for these artists, this training would be over the period of 1 day. Link to survey results: https://goo.gl/forms/hasghxI2R4C9PuxC3 The opera company part of our survey investigation uncovered that the typical opera company that conducts a community engagement program engages in multiple forms of outreach including in-school performances, residencies, and invitations to performances in the company’s home venue. It employs between 2-5 teaching artists and provides training for these artists for the duration of one week using multiple resources that include workshops, mentoring, and direct observation. Link to survey results: https://goo.gl/forms/LZFGMbHzVu2wHZS52

Significance and Impact:

Through our research and survey of opera companies, we have discovered a high likelihood that artists will perform in an outreach/community engagement capacity during their careers. In our


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experiences with the experiential service-learning course (U315/515), we have learned first-hand the value of arts outreach/community engagement within diverse communities. From the feedback we receive from our teaching artists, our attention has been called to a need for a pedagogy that summarizes the best practices in teaching performers for the specific task of outreach/engagement. A pedagogy for training artists for the specific demands of outreach/community engagement has yet to be created. In this last phase of our research, we plan to summarize our findings in order to create a foundation of pedagogy that can be shared within the industry and provide a resource for those interested in outreach/community engagement training. One principle driving interest of this Phase III research project is in finding a functional model of organization and communication that is transferrable to other outreach organizations. Two elements that have evolved over the years because of this model of communication are the repertoire development plan and the curriculum guides. Appendix B (History and Contextualization of ROK) outlines in more details the organizational model, including the repertoire plan and the curriculum guides. The feedback model of communication, the repertoire development plan, and the curriculum guides are all elements of an overarching model that we are developing, which could be extrapolated to other community engagement organizations. Outcomes and Contributions:

The outcome of our research will be the consolidation and distribution of our findings. Over the course of the next two years, we will focus our external research on four model opera companies. We will create case studies of these companies that will serve as the basis of a pedagogical handbook for institutions seeking to train their teaching artists. Over the course of our research we have also assembled a comprehensive national database of outreach arts organizations and their points of contact. We plan to publish this database in an editable way, on Wikipedia, in advance of the publication of our handbook. While the research we have done on best practices in training artists has been important, equally important have been the relationships with other similar organizations from around the country we have created. We plan to present our research at multiple forums and symposia throughout the next years.

Institutionally, it is significant that Performing Arts Education and Outreach is the first course offered at the Jacobs School of Music explicitly addressing outreach education, and it is at present the only long-term service learning course within JSoM. Outreach has been identified as a high priority for the music school and the Indiana University system in general, and there is a strong interest in the possibility that this course will lead to the development of further community engagement courses. U315/515 is developing in conjunction with the newly implemented Chamber Music diploma, to incorporate students who are interested in other (non-operatic) kinds of community engagement programming.

Research Methodology:

Due to the nature of the project, we will be gathering and analyzing qualitative data. Our methods will include questionnaires, direct observation, video recording of performances, reflective group discussion, and self-evaluation by the students. We will largely be relying on feedback from the various communities we serve to continue identifying the best practices for outreach


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communication. As previously stated, we will be conducting both internal and external research. Internally, we will continue to partner U315/515 with MAYO, ROK, TPS, and Boys and Girls Club. Externally, we already have conducted a nation-wide survey of educational institutions and opera companies. We have collected an immense amount of helpful information from these surveys and have opened several dialogues with organizations across the nation interested in our work. In the beginning of Phase III we plan to continue with our nationwide surveys and to organize and examine in greater detail the information we received from the surveys in Phase II. From this survey we have also identified four model organizations we plan to investigate further by personally observing their outreach programming, studying their training materials, conducting interviews, and ultimately creating a case study on each of these organizations that will provide the framework for our handbook to be published by the end of the study.

Means of Measuring Success of the Project and Disseminating Results:

The measures of our success in Phase III will be in the concrete evidence of our research in the form of a handbook, published database of community engagement organizations, other publications, the reception of our research within the arts and arts education communities, and continual feedback on its usefulness to the community. Our research will be shared with the Indiana University community through programs such as Project Jumpstart, the career development and entrepreneurship initiative of the Jacobs School of Music, New Voices Opera, and the local chapter of Student National Association of Teachers of Singing. We will be publishing our contact database online through the publically editable platform Wikipedia in November 2016. We also intend, once the research portion is completed, to submit our results for publication in a national journal specific to the field, such as Opera News, Opera America, or the National Association of the Teachers of Singing Journal in 2017. We have presented at previous Indiana Campus Compact Service Learning summits, and we anticipate presenting the results of this research through that forum as well. We have also established a relationship with New England Conservatory’s C’MON program and have been invited to present our research with her in Boston in January 2017 or in another future conference, depending on funding. In the Spring of 2018, we will publish a document summarizing our research with an accompanying article that can be used by companies and educational institutions as a handbook for training artists. This publication will be accompanied by a comprehensive database of outreach programs and their points of contact across the nation.

Reflective Teaching Practices:

U315/515 is an experiential service-learning class, and its very nature is reflective. As the instructor, I myself am continuously learning from the performances we give, and the response of both the performers and the audience. I will be reading and learning from the written self-evaluation of the students throughout the semesters, and I will be participating in the group discussions as we reflect cooperatively on our endeavors.


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Budget Narrative:

Funds we are requesting for this project include personnel, travel, and supplies. Our personnel needs include a research assistant and a production assistant. The research assistant will be responsible for our project’s survey research: first, the compilation of a database of professional opera companies, universities, and conservatories with existing outreach programs that we can survey; and second, the preparation, distribution, and findings compilation of our survey, including travel and research for the four case studies, the writing of the handbook, and the preparation of the database to be published. The production assistant will be responsible for assisting with the daily details of the outreach program administration. The production assistant’s tasks will include communicating with community partners and cast members; setting the performance schedule; soliciting feedback from community partners; and other tasks, as necessary. The hours listed in the budget are my best estimates based on the experience of past seasons of ROK. We are requesting a stipend for the teacher of the U315/515 since she teaches U315/515 as a voluntary (unpaid) overload, so the stipend would go towards organizational and research time in that capacity. Travel costs covered would be for the research assistant and project directors to travel to the sites of the case studies as needed, to observe the organizations and their community engagement training programs in practice. The funds for supplies would support a dedicated computer for video processing, survey maintenance and development, and communication. (To date, we have relied on the goodwill of the research assistant, production assistant, and course teacher to provide their own computers, but this is no longer tenable, given the scope of the project.)


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Budget: Item Description Cost Basis Total

Personnel

Research assistant Database compilation/ management, continued survey research

200 hours @ 15/hr 3000

Production manager

100 hours @ 10/hr 1000

Course teacher Stipend (for voluntary unpaid overload teaching)

1900

Travel

Case study: OperaIOWA

Travel, per diem, lodging for three days: Indianola, IA

1000

Case study: Chicago Opera Theater

Travel, per diem, lodging for three days: Chicago, IL

1000

Case study: Opera For the Young

Travel, per diem, lodging for three days: Madison, WI

1000

Case study: Seattle Opera

Travel, per diem, lodging for three days: Seattle, WA

1100

Equipment

MacBook: 13 inch Retina display, 16GB memory

2000

TOTAL 12,000


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Research Timeline

The internal line of our research will continue to be conducted over the course of the spring 2017, fall 2017, and spring 2018 semesters, continuing in the U315/515 course. The participating students will be working with elementary, middle, and high school age audiences through the ongoing community partnerships with ROK, MAYO, Boys and Girls Club, and the Project School. We anticipate they will perform approximately 70 off-campus performances over the course of the three semesters, and participate in approximately forty additional hours of community engagement per student per semester. Their work will also entail the preparation of coordinating educational materials, question-and-answer sessions with K-12 students, and the backstage work. Our students will continue to complete written self-evaluations after the first performance, and then approximately every four weeks through the semester. In addition, all performances will continue be filmed; we will be soliciting feedback from the K-12 participants; and we will schedule class time to reflect together on the successes and challenges of their outreach experiences. At the end of the semester, we will look for common threads among the students’ and professor’s observations, with the goal of continuing to uncover and codify a set of skills and competencies that can serve as a foundation in developing an outreach of music pedagogy that other programs can extrapolate to serve their own circumstances and communities. The external line of research will continue to unfold as summarized in the timeline below.

Oct. 2016-May 2017: Fall semester continues for U315/515, with ongoing community partner

relationships (MAYO, Boys and Girls Club, The Project School, ROK). Course includes in-class viewing of performances; students writing self-evaluation about outreach performances, or workshop on outreach skills; cast meeting and rehearsal, if needed; submitting student self-evaluations every four weeks, as well as the final week of the semester; uploading videos after each performance for performers to observe

Nov. 2016: National database published in an auto-editable format (probably Wikipedia) Jan. 2017: Preparation for the 2017-2018 year, choose and prepare repertoire

Present preliminary research findings at the local chapter of the National Association of Teachers of Singing (SNATS)

Presentation of research findings with Tanya Maggi at New England Conservatory with C’MON

Spring semester begins for U315/515 with ongoing community partner relationships (MAYO, Boys and Girls Club, The Project School, ROK)

March 2017: ROK spring break tour (rural north central Missouri: Grundy County) Apr. 2017: Hold auditions for the 2017-2018 ROK season Apr-May 2017: Touring for case study research to Seattle Opera, OperaIOWA, Chicago Opera

Theater, and Opera for the Young in Madison, WI Summer 2017: Synthesize the data collected throughout the year, including the research for the case

studies Aug. 2017: Rehearsals begin for ROK’s 2017-18 season, production schedule set and

performances organized U315/515 fall semester begins, with ongoing community partner relationships


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(MAYO, Boys and Girls Club, The Project School, ROK) Nov. 2017: Final drafts of the case studies will be completed and presented to the U315/515

service learning course for final feedback and discussion Nov. 2017: Research findings will be publicized in aforementioned venues May 2018: Publication of pedagogical handbook summarizing our research with an

accompanying article


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Appendix A: ROK’s Feedback Loop Communication Model Our feedback loop model of communication involves each demographic we serve: the director of ROK, the students and performers in our service-learning course, the teachers and the community activities directors, the students and families we serve, and the schools and community organizations that provide our performance venues. Each of these demographics both provide and receive feedback from each other group, enabling a comprehensive and effective communication system. The students and performers in our service-learning course meet weekly on Tuesdays to provide feedback from the past Friday’s performance through written responses, self-reflections, and group discussion with the aid of performance videos. These discussions are monitored and guided by the teacher of the course, who herself has a long history of community engagement experience. Course teacher and Service-learning course director of ROK Teaching artists The performers involved in the service-learning course are engaging first hand with their audience, the students and the families at the schools they serve, both during performances and afterwards in the question and answer sessions. Teaching School students artists and families These school students and their families are directly in contact with the teachers and activities directors at the schools we serve. These teachers and activities directors gather information from the experience their students have had with ROK and are consistently surveyed. ROK now has a running history of these surveys, providing us with invaluable feedback on our long-term effectiveness. School students Teachers and and families activities directors Finally, the teachers and activities directors are directly in contact with the course teacher regarding their experiences with ROK’s performance and also with feedback on curriculum we have developed to accompany our in-school performances. Teachers and Course teacher and activities directors director of ROK Overall, the communication among the various members of the engagement activity ends up being much more multi-dimensional than a simple one-way dissemination of information. The rich layers of interactions can be illustrated through the following diagram:


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KimCarballo,Director

Service-learningstudentsandROK

performers

Communitystudentsandfamilies

Teachersand

activitiesdirectors


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Appendix B: History and Contextualization of Reimagining Opera for Kids (ROK) One of the primary sources for the next phase of our research will be the last nine years of collected feedback and hands-on experience with Reimagining Opera for Kids (ROK) and the years of performance feedback from the performers, students, and teachers whom we serve. The U315/515 course on Community Engagement and the Performing Arts will be a second vital source of information, as will the nation-wide survey of educational institutions and opera companies providing community engagement programming through opera. ROK, U315/515, and the survey are intertwined as informing each other and providing important information and context for each others’ improvement. As a starting point, a short contextualization of ROK follows. ROK, founded and directed by Jacobs School of Music opera coach Kimberly Carballo, is already an established resource for the Bloomington community, for performers seeking experience and training through outreach, and for other community outreach organizations nationwide with similar goals. It has participated in numerous collaborations with other Bloomington organizations, most recently in a concert with the Bloomington Symphony Orchestra featuring our repertoire this year, including an admission free performance of Rufus and Rita. It has also partnered with Wonderlab and over 50 area schools for all different ages, including preschool, and various community centers focused on reaching underserved communities. ROK is currently a partner with Bloomington Music Beginnings, an IU pre-college program serving children ages 4-8, in their creation of various commissions and family-friendly performances. ROK performances have reached over 36,000 students over the course of 9 years, and the director has mentored over 300 performers, behind the scenes volunteers, and administrators. ROK is the community partner for the only long-term service-learning course in the Jacobs School of Music (U315/515).

Former ROK teaching artists have also carried the community engagement philosophy out into the world, with ROK as an ongoing mentor. There is already one branch chapter in Cincinnati, started by former ROK performer Kelly Holterhoff, and two others pending in other cities. ROK performers and administrators have also gone on to hold jobs in outreach and community engagement programs around the nation. Former conductor, Carlos Botero, has gone on to become the Musical Ambassador for the Houston Symphony. Sara Radke Brown, also a former performer with ROK, was recently named the executive director of Juneau Lyric Opera and is the Education Director for the Juneau Arts Education organization. Our current students work as teaching artists with the community partners Musical Arts Youth Organization (MAYO), the Bloomington Project School, ROK, and the Boys and Girls Club after school strings program. ROK has also had a far-reaching influence outside of the Bloomington community by mentoring similar outreach programs and fostering partnerships abroad. ROK’s director and board members have also been an organizational and development grant-writing mentor for around 15 other nonprofits, and have been leaders in international music education and community engagement organizations. Kimberly Carballo, the director of ROK, has a strong history of grant writing, reception, and reporting, with more than 40 grants successfully administered (internal and external to IUB). ROK has devised a set of school curriculums to accompany our performances and has created a long-term thematic repertoire development plan that considers our performing artists as well as our audiences. We believe that our curriculum guides and our repertoire development plan are built on


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universal philosophies that, when published and distributed to our larger outreach community, can be of great help to new or existing outreach/community engagement organizations. The work we have done in creating our school curriculum guides has been the result of the feedback we have received from the schools and teachers that we serve. For example, we now include the state standards that our performances, Q&A sessions, and activities meet—smoothing the path for the arts teachers and the administrations to justify bringing in the teaching artists into the schools to interact with the young students. ROK is currently in the7th year of 9 years of the repertoire development plan, with each year focusing on a specific theme, like playfulness or communication. The goal is that after six years the young audiences will have learned about a set of overarching themes and a wide variety of styles of pieces. Not only do the young community members benefit from this long-term thematic repertoire plan, the ROK teaching artists are also given the opportunity to work on challenging new works as well as to learn standard repertoire that they will be using later in their careers. To support the classroom teachers, ROK creates curriculum guides for each piece of repertoire with age-appropriate explanations, activities, and follow-up activities. The guides are provided at no cost to the schools and activity directors, and they highlight the state educational standards that the interaction with ROK fulfills.

Pianist Kevin Murphy, a leading figure in the world of classical vocal music, has served as Director of Coaching and Music Administration for Indiana University Opera Theater and Professor of Practice at Indiana University’s Jacobs School of Music since 2011 and has recently joined Professor Anne Epperson at the Jacobs School of Music in creating the new Collaborative Piano Program. In 2011, he was appointed Director of the Program for Singers at the Ravinia’s Steans Music Institute, and 2013-2014 marked his first season as Artistic Consultant for the Tucson Desert Song Festival. Previously, Murphy was Director of Music Administration and Casting Advisor at the New York City Opera (2008-2012) and Director of Musical Studies at the Opéra National de Paris (2006-2008). Kevin Murphy was the first pianist and vocal coach invited by Maestro James Levine into join the prestigious Lindemann Young Artist Program at the Metropolitan Opera, and from 1993-2006, he was an assistant conductor at the Met. In his capacity as a member of the Met’s music staff, Mr. Murphy played continuo harpsichord for many productions and toured Japan with the company. Murphy also performed in Carnegie Hall with the Met Chamber ensemble and Met Orchestra and has frequently played chamber music with members of the Metropolitan Opera Orchestra. In addition to his on- and off- stage partnership with his wife, soprano, Heidi Grant Murphy, Mr. Murphy has collaborated in concert and recital with artists such as Michelle DeYoung, Thomas Hampson, Danielle de Niese, Lawrence Brownlee, Marcelo Alvarez, Iestyn Davies, Bejun Mehta, Gary Lakes, Kathleen Battle, Nathan Gunn, Elina Garanča, Matthew Polenzani, Cecilia Bartoli, Frederica von Stade, Plácido Domingo, Paul Groves, Renée Fleming, Gera ld Finley, Kiri Te Kanawa, Wolfgang Brendel, Christine Brewer, and Pinchas Zuckerman. He is sought after respected for his work as a private vocal coach and teacher and has guest taught at San Francisco Opera’s Merola Program, the International Vocal Arts Institute in Israel and Italy, Glimmerglass Opera, Tanglewood, Cincinnati Conservatory of Music, and the Juilliard School. He has also assisted Maestro Seiji Ozawa in Japan in his Mozart/Da Ponte opera festival in Japan, and has been a guest opera coach and at opera companies such as the Netherlands Opera and, Canadian Opera Company, as well as and the Ravinia Festival. In addition to playing and teaching, Kevin Murphy has recently added conducting to his musical activities. He recently led and produced a staged concert performance of Mozart’s Der Schauspieldirektor at Indiana University and also conducted the Schwabacher concerts at San Francisco Opera’s Merola program. He was on the podium for Robin Guarino’s production of Emmanuel Chabrier’s opera, L’éEtoile, last season at Cincinnati’s College Conservatory of Music and recently conducted Mahler’s Kindertotenlieder for the Indiana University Ballet Theater. Murphy’s other chamber music and concert credits include appearances at Isaac Stern Auditorium and Weill Hall at Carnegie Hall, Salzburg’s Mozarteum, London’s Wigmore Hall, the Edinburgh Festival, Tokyo’s Suntory Hall, La Jolla’s Summerfest, Music@Menlo, the Vin et Musique Festival in Burgundy, France, Spivey Hall in Atlanta, Edinburgh Festival and many other venues in the US and abroad. Mr. Murphy has appeared on The Tonight Show with Gary Lakes, Good Morning America with Cecilia Bartoli and The Today Show with Renée Fleming, has been featured on NPR’s All Things Considered, the New York Times, and has recorded for the EMI, Centaur, Arabesque and Koch labels. He is a frequent adjudicator for competitions, including the Metropolitan Opera National Council Auditions, where he also has served as official accompanist on stage at the Met.

A native of Syracuse, New York, Kevin Murphy received his Bachelor of Music in Piano Performance from Indiana University and his Master of Music in Piano Accompanying from the Curtis Institute of Music. Mr. Murphy resides in Bloomington, Indiana with his wife, Heidi, and their four children. "Kevin Murphy is in the vanguard for Americans who have turned song accompaniment into an art. The pianism was so absorbing, the singer's entry seemed like an intrusion. There can be no finer compliment." -San Francisco Examiner

Martha B. Eason, Soprano 276.492.3483

[email protected] Birthdate: 8/3/1989

O P E R A E X P E R I E N C E Marie La Fille du Regiment Opera North 2016 Rosina Il Barbiere di Siviglia IU Opera Theater 2015 Blonde Die Entführung Opera North 2015 Beth The Tender Land Opera North 2015 Kitty The Last Savage IU Opera Theater 2015 Rainbow Crow Firebringers Reimagining Opera for Kids 2014-15 Vespetta Pimpinone Hallie Stebbins, Conducting 2014 Sophie Werther IU Opera Theater 2013 Ms. Silverpeal The Impresario IU Summer Music Festival 2013 Serpina La Serva Padrona Hallie Stebbins, Conductor 2013 Belinda (cover) Dido and Aeneas IU Festival Chorus 2013 Atalanta Xerxes IU Opera Theater 2013 2nd Spirit Die Zauberflöte Ash Lawn Opera 2012 Genovieffa Suor Angelica Operafestival di Roma 2010 Eurydice Orfée aux Enfers UVA Opera Viva 2008

S O L O P E R F O R M A N C E BWV 245 Johannes Passion The University of Virginia 2016 Honneger’s Le Roi David Oratorio Society of Virginia 2015 Vaughan Williams Dona Nobis Pacem Michelle Dunbar, Conductor 2015 Conservatory Project Recital Kennedy Center, Millennium Stage 2015 Exultate, jubilate W.A. Mozart Betsey Burleigh, Conductor 2014 BWV 102 “Herr, deine Augen” Jaeeun Kim, Conductor 2014 From the Ashes, Oratorio by Gonçalo Lorenzo Gonçalo Lorenzo, Conductor 2014 C minor Mass, Kyrie- Mozart Dominick DiOrio, Conductor 2013 BWV 140 “Wachet auf” The Oratorio Society of Virginia 2013 Symphony No. 4 “Das himmlische Leben”- Mahler Caleb Young, Conductor 2013 Miserere in C minor- Jan Dismas Zelenka Juan Carlos Rodriguez, Conductor 2013

A W A R D S Brava! Opera Theater Competition-Finalist San Francisco, CA 2106 Washington International Competition- Semifinalist Washington D.C. 2016 Georgina Joshi International Fellowship Berlin, Germany 2016 Metropolitan Opera National Council Auditions Indiana District Winner 2016 National Society of Arts and Letters Bloomington, IN Chapter 2015 National Society of Arts and Letters Bloomington, IN Chapter 2014 Recipient, Artistic Excellence Scholarship Indiana University 2012-2113 Recipient, UVA Arts Award Grant University of Virginia 2010 Member, Phi Beta Kappa University of Virginia 2011

E D U C A T I O N Indiana University Jacob’s School of Music M.M.- Voice 2012-2015 University of Virginia B.A.: Music, Arts Administration 2011

W O R K E X P E R I E N C E Reimagining Opera for Kids- Research Assistant 2016-Current Indiana University Opera Theater- Administrative Assistant 2013-2016 Bedford North Lawrence High School- Choral Assistant and Voice Teacher 2014-2016 Dr. Marita P. McClymonds and Grove Music Online-Research Assistant 2011-2012 University of Virginia Jefferson Trust Fund Grant- Assistant to Dr. Bonnie Gordon 2010-2011

Kimberly Carballo

1300 S. Lincoln St., Bloomington, Indiana 47401 Ph: 812.345.3743

[email protected] www.kimcarballo.com

Education

Indiana University, Jacobs School of Music Master of Music, May 1999 Indiana University Bachelor of Arts with Highest Distinction, May 1997 Master Teachers Michel Block, Jean-Louis Haguenauer, Christopher Harding, Leonard Hokanson, Martin Katz, David McKamie

Jacobs School of Music Academic Appointments Coordinating Opera Coach Fall 2011-Present Jacobs School of Music, Indiana University, Bloomington, IN Coordinates the musical rehearsal process for all operas. Organizes the coaching schedule and arranges for rehearsal pianists for the operas. Coaches all operas (six double-cast during the school year). Plays voice auditions (entrance and casting). Mentors the team of student coaches. Coordinates the staff vocal coaches who also play musical and staging rehearsals and auditions. Teaches U315/515 (Performing Arts Outreach) since fall 2013. Music Administrator of Opera and Ballet 2010-2011 Jacobs School of Music, Indiana University, Bloomington, IN Supervises the musical rehearsal process for all operas and ballets and serves in an administrative capacity for the IU Opera and Ballet Theater. Organizes the coaching schedule and arranges for rehearsal pianists for the operas. Coaches all operas (six double-cast during the school year). Plays voice auditions (entrance and casting). Mentors and supervises a staff of student coaches and accompanists who, at the discretion of the Music Administrator, also coach vocalists and play musical and staging rehearsals and auditions. Interim Head Opera Coach 2007-2010 Jacobs School of Music, Indiana University, Bloomington, IN Organizes the coaching schedule and arranges for rehearsal pianists for all seven operas performed by the IU Opera Theater during the twelve-month school year. Coaches all operas. Plays auditions (entrance and casting). Mentors and supervises a staff of student coaches and accompanists who, at the discretion of the Interim Head Opera Coach, also coach vocalists and play musical and staging rehearsals and auditions.

Pianist/ Theory Instructor 2004-2008 Indiana University String Academy, Bloomington, IN Teaches the fundamentals of melody, harmony, part-writing and ear training to intermediate and upper-level groups in the String Academy. Accompanies group class and private lessons. The String Academy is an internationally known preparatory program for violinists (ages 3-18).

Kimberly Carballo CV |

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Indiana University Collaborations and Performances (* = lead pianist/coach)

See Appendix

Indiana University Courses and Presentations Graduate Assistant weekly “Teaching how to Coach” sessions 2007-present A not-for-credit required weekly session with the GA Opera Coach Pianists, covering repertoire, professional development, audition preparation, and general coaching principles. Initiated and developed by the instructor. U315/515 Performing Arts Education and Outreach 2013-present A variable credit (0-3) undergraduate and graduate course, aiming to provide students with guided preparation and practical experience performing in the community and working in community engagement/outreach. Community partnerships developed with The Project School, Boys and Girls Club, MAYO, and area schools and community centers. Curriculum initiated and developed by the instructor, and revised under the CITL / SOTL Project Engage fellowship (summer and fall 2015). Opera Score Preparation Workshop 2011-2013 A not-for-credit optional workshop on score preparation for instrumentalists and singers, covering text preparation, instrumentation, libretto study, and character development. Curriculum initiated and developed by the instructor.

The Impresario September-December 2011 Don Giovanni January 2012-April 2012 Carmen September 2012-April 2013

Invited Presentations Grant writing workshop leader: Chamber Music Campania / Lucera Vocal Institute December 2016 Project Jumpstart and Classical Connections conference guest speaker April 2016 Poster session, Celebration of Teaching 2016, Center for Innovative Teaching and Learning

and the Faculty Colloquium for Excellence in Teaching April 2016 Poster session, Service Engagement Summit, Indiana Campus Compact, Indianapolis, IN April 2013 Poster session, Service Engagement Summit, Indiana Campus Compact, Indianapolis, IN March 2012 Panelist on Project Jumpstart grant writing session 2012

Awards / Recognitions

Recipient of City of Bloomington Be More Award; March 2016 Selection for inclusion in CITL professional group: Teaching as if Life Matters; spring 2016 JSoM Project Jumpstart Entrepreneur of the Month; Oct. 2014 Nominated for City of Bloomington Be More Award; Feb. 2014 Indiana University Service Learning Faculty Fellowship; 2013-14 Nominated for Grammy Award in Music Education; 2013 Robby D. Gunstream College Music Society Award for Excellence in Music Education for ROK; December 2012 Fulbright Specialist candidate; 2012-2017 Featured in Indiana University’s President’s Higher Education Community Service Honor Roll as “a service project that

exemplifies … institutional commitment to service.” Fall 2011 Premio Manuel M. Ponce, Festival de Música de Cámara de Aguascalientes, México (Duo Jung-Carballo); 2008


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Grants

Travel grant, Indiana University Jacobs School of Music for Chamber Music Campania Vocal Institute, summer 2016 William E. Schmidt Foundation for ROK; 2014-16 City of Bloomington Urban Enterprise Zone / Entertainment and Arts District (BUEZ and BEAD) grant

for ROK; 2015-16 Puffin Foundation West grant for ROK; spring 2016 Indiana University Scholarship of Teaching and Learning Phase II grant; 2015-16 Indiana University Project Engage Fellowship; May-August 2015 Puffin Foundation West grant for ROK; spring 2015 Travel Grant, Indiana University Jacobs School of Music, supporting Marietta Simpson’s sabbatical project; spring 2015 Community Foundation of Bloomington and Monroe County for ROK; 2014 Travel grant, Indiana University Jacobs School of Music for Tunaweza Kimuziki; May-June 2014 Puffin Foundation West grant for ROK; spring 2014 College of Wooster combined grants of $10,225 for Taifa Mziki residency; February 2014 Malone University combined grants of $4200 for Taifa Mziki residency; February 2014 Indiana University internal grants/donations of $2100 for Taifa Mziki residency; February 2014 Indiana University CAHI (conferences, performances, and workshops) grant for Taifa Mziki residency; February 2014 Indiana University Collaborative Research and Creative Activity Funding for Taifa Mziki residency; February 2014 Jacobs School of Music lecture series funding for Dr. Wilson Shitandi lecture; February 2014 Horizons in Knowledge lecture fund for Dr. Wilson Shitandi lecture; February 2014 Indiana University International Visitors Short-Term grant (OVPIA) for Taifa Mziki residency; February 2014 Indiana University Service Learning Faculty Fellowship; 2013-14 Indiana University Scholarship of Teaching and Learning Phase I grant; 2013-14 City of Bloomington Arts Commission grant for ROK; 2013 Indiana University Women’s Philanthropy Council grant for ROK; 2013-14 Trenton, MO Rotary Club grant for ROK; March 2013 Trenton, MO Lion’s Club grant for ROK; March 2013 Grundy County, MO, Hoover Foundation grant for ROK; March 2013 New Frontiers in the Arts and Humanities Award for ROK; 2012-13 City of Bloomington Urban Enterprise Zone / Entertainment and Arts District (BUEZ and BEAD) grant

for ROK; 2012-13 Indiana University Language Learning Grant; summer 2013 Travel Grant, Indiana University Jacobs School of Music for Tunaweza Kimuziki; spring 2013 Puffin Foundation West grant for ROK; spring 2013 Robby D. Gunstream College Music Society Award for Excellence in Music Education for ROK; December 2012 Scholarship of Engagement grant, Indiana Campus Compact for ROK; fall 2012 Travel Grant, Indiana University Jacobs School of Music for Tunaweza Kimuziki; spring 2012 Scholarship of Engagement grant, Indiana Campus Compact for ROK; spring 2012 Scholarship of Engagement grant, Indiana Campus Compact for ROK; fall 2011 Travel Grant, Indiana University Jacobs School of Music; spring 2011 Travel Grant, Indiana University Jacobs School of Music; spring, 2010 Travel Grant, Indiana University Jacobs School of Music; fall, 2010 Travel Grant, Indiana University Jacobs School of Music; fall, 2009


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Other Music Instruction Experience

Chamber Music Campania Vocal Institute, Lucera, Italy June 2016

Tunaweza Kimuziki, co-founder and faculty, Bloomington, IN, & Nairobi, Kenya Fall 2011-Present Reimagining Opera for Kids founder and director, Bloomington, IN 2007-Present Private Piano Teacher 1991-Present Freelance Coach/ Collaborative Pianist 1984-Present Opera Nova young artist program, Costa Rica 2011-2012 Creek Vocal Workshop, Wabash, IN 2006-2009 Stages Bloomington, Bloomington, IN 2007-2009 Festival de Bronces, Cuarteto de Trombones de Costa Rica, San José, Costa Rica 2001 Mainstage Company and Young Artist's Program 2000-2001

Compañía Lírica Nacional de Costa Rica Professor of Music Theory, Staff Pianist & Coach 2000-2001

Escuela de Artes Musicales, Universidad de Costa Rica, San José, Costa Rica Opera Nova, Alajuela, Costa Rica 2000-2001 Conservatorio Municipal, Alajuela, Costa Rica 2000

Freelance / Independent Performances (selected list)

See Appendix

Additional skills

Fully fluent in Spanish and English, semi-fluent in French Diction, grammar, and translation experience in French, German, and Italian Basic Conducting, Harpsichord, and Recitative Organ


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Appendix

Indiana University Collaborations and Performances (* = lead pianist/coach)

Patricia Havranek studio master classes, voice 2001-Present Audition Eve recitals, trombone faculty/students 2006-Present Salón Latino Chamber Music Series: Neruda Songs October 2016 LAMC: Ginastera Cantata para América Mágica April 2016 Evening of Brass: Tony Plog CAP pieces (premieres) February 2016 Salón Latino II Chamber Concert Series October 2015 M. Dee Stewart, bass trombone (faculty recital) September 2015 IUOT season 2015-2016

Il Barbiere di Siviglia *Dead Man Walking Die Fledermaus *Così fan tutte *Carmen *Oklahoma!

College Audition Preparation (faculty recital) July 2015 Jeff Nelsen, horn, and Sergio Carolina, tuba (guest recital) March 2015 Bill VerMeulen, horn (guest recital) February 2015 Grady McGranahan, trombone (guest recital) January 2015 Role Preparation Lecture (IU SNATS) Fall 2014 Gerry Pagano, trombone (guest recital) November 2014 James Markey, trombone (guest recital) October 2014 Jeff Nelsen, horn October 2014 Patricia Havranek voice studio recital October 2014 M. Dee Stewart, trombone September 2014 IUOT season 2014-2015

L’Italiana in Algeri *La Bohème *The Last Savage Alcina *South Pacific The Magic Flute

Carl Lenthe, trombone June 2014 Carl Lenthe, trombone April 2014 Portuguese and Spanish song festival (IU Neal Marshall Grand Hall) April 2014 Peter Ellefson, trombone February 2014 Salón Latino Chamber Concert Series October 2013 IUOT season 2013-2014

Le Nozze di Figaro *Werther *Hansel and Gretel The Tale of Lady Thi Kính *H.M.S. Pinafore La Traviata

Carl Lenthe, Peter Ellefson, trombone (faculty recitals) January/February 2013 IUOT season 2012-2013

*Don Giovanni The Merry Widow


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*Cendrillon Xerxes *Akhnaten Falstaff

Carl Lenthe, Peter Ellefson, Dee Stewart (IU faculty) January, February 2012 Ralph Sauer, Guest artist recital October 2011 IUOT season 2011-2012

Così fan tutte *A View from the Bridge La Bohème *Albert Herring *Der Rosenkavalier Candide

Carl Lenthe, trombone January 2011 James Marvel acting/movement workshop January 2011 Latin American Music Center competition jury member December 2010 Stephen Fissel, trombone (guest recital) September 2010 IUOT season 2010-2011

*Il Barbiere di Siviglia *Little Women Die Fledermaus *Suor Angelica and Gianni Schicchi Faust *Vincent

Pershing’s Own Army Band visiting artists March 2010 Eric Ewazen, composer, master class February 2010 Dee Stewart trombone studio recital December 2009 Teresa Kubiak voice studio recital November 2009 Patricia Havranek voice studio recital October 2009 Dee Stewart trombone studio recital October 2009 Ji-Woon Jung, violin, Dowling International Center October 2009 Carl Lenthe, trombone (guest recital and master class), DePauw University Fall 2009 Carl Lenthe, trombone September 2009 IUOT season 2009-2010

L’Italiana in Algeri *Roméo et Juliette Die Zauberflöte *Lucia di Lammermoor La Rondine *West Side Story

Carl Lenthe, Bruce Bransby, Otis Murphy (faculty recital) February 2009 Linda Strommen, oboe February 2009 Trombone faculty/student recital January 2009 IUOT season 2008-2009

*La Traviata The Merry Wives of Windsor *The Love for Three Oranges *Cendrillon Giulio Cesare *The Most Happy Fella *Summer: The Light in the Piazza

Tim Noble studio master class pianist Spring 2008 William Bolcom/Joan Morris American Songbook recital January 2008 NATS Living Composer's Forum Recital January 2008


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Brass faculty recital November 2007 Edmund Cord and Carl Lenthe (faculty recital) November 2007 M. Dee Stewart, trombone October 2007 Collegiate premier (coach/pianist) of Golijov’s Ainadamar, Carmen Téllez, conductor October 2007 Voice faculty recital October 2007 IUOT season 2007-08

Rigoletto *Susannah La Bohème *A Wedding Le Nozze di Figaro *Les Contes d’Hoffman *Summer: She Loves Me

Freelance and Independent Performances (selected list)

Ji-Hye Kim, soprano November 2016 Chamber Music Campania Vocal Institute Lucera, Italy June 2016 Ben Knoernschild, trombone April 2016 Evan Conroy, trombone April 2016 Elizabeth Toy Botero, soprano March 2016 Sylvester Makobi, tenor March 2016 Amanda Russo Stante, mezzo-soprano (DM lecture recital) March 2016 Rachel Evans, mezzo-soprano February 2016 Sarah Ballman, mezzo-soprano February 2016 Jordan Cain, trombone November, 2015 Paul Borg, piano (four-hand piano recital) Bloomington, IN November, 2015 Patricia Havranek voice studio recital October, 2015 M. Dee Stewart, bass trombone (guest recital) Butler University, IN September, 2015 M. Dee Stewart, bass trombone (guest recital) Ball State University, IN September, 2015 Christine Passmore, horn July, 2015 Tunaweza Kimuizki workshop Nairobi, Kenya May 2015 Kyle Gordon, trombone (guest recital) Drake University, Iowa April 2015 Marietta Simpson, mezzo-soprano Nairobi, Kenya March 2015 Kyle Gordon, bass trombone March 2015 Mike Walker, horn November 2014 Sarah Ballman, mezzo-soprano November 2014 Amanda Russo, mezzo-soprano November 2014 Tunaweza Kimuziki workshop Nairobi, Kenya May-June 2014 ITEA conference pianist Bloomington, IN May 2014 Julian Morris, baritone May 2014 Laurie Staring, soprano March 2014 John Howell, tenor February 2014 Amanda Russo, mezzo-soprano February 2014 Gregory Brookes, baritone November 2013 Vocal coach, Opera Nova young artist program Costa Rica July 2013 Tunaweza Kimuziki workshop Nairobi, Kenya May 2013 Eddie Ludema, trumpet March 2013 Laurie Staring, soprano February 2013 Vocal coach, Opera Nova young artist program Costa Rica July 2012 ROK opera commission workshop, Indianapolis, IN May 2012


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Indianapolis Opera and ROK Tunaweza Kimuziki workshop Nairobi, Kenya March 2012 Shannon Love, soprano March 2012 Carmund White, tenor Weymouth Center, Southern Pines, NC March 2012 Diana Nixon, clarinet, guest recital and classes Universidad de Costa Rica June 2011 Maya Hoover, mezzo-soprano, guest recital and classes Universidad de Costa Rica June 2011 Sean McGhee, bass and tenor trombones Conservatory of Music, OH June 2011 Michael Miragliotta, trombone April 2011 4 Paws for Ability Benefit Concert Bloomington, IN April 2011 Master classes (piano, voice, and collaboration) Universidad del Norte, Colombia November 2010 Charis Peden, mezzo-soprano Universidad del Norte, Colombia November 2010 Charis Peden, mezzo-soprano November 2010 Eddie Ludema, trumpet October 2010 James Ivey, baritone July 2010 Matthew Opitz, baritone July 2010 Jennifer Trueblood, soprano July 2010 Sarah Paradis, trombone June 2010 Lucas Borges, trombone April 2010 Collaborative piano master class Delta State University, MS April 2010 Teri Herron, soprano, guest recital Delta State University, MS April 2010 4 Paws for Ability fundraiser First United Church, Bloomington, IN April 2010 Adjudicator, Marjorie Peatee Art Song Competition Bowling Green State University, OH May 2010 Kelly Holterhoff, soprano April 2010 Miriam Drumm, mezzo-soprano April 2010 Adjudicator, Hawai’i NATS auditions University of Hawai’i at Manoa March 2010 Residency University of Hawai’i at Manoa March 2010 Carl Kanowsky, bass-baritone March 2010 Jonathan Houghtling, trombone February 2010 Peter Thoresen, countertenor February 2010 Amanda Russo, mezzo-soprano, SAI scholarship recital Bloomington, IN February 2010 Robert Brandt, baritone January 2010 Shalom Community Center fundraiser Buskirk-Chumley, Bloomington, IN August 2009 (coordinator and performer) Joseph Mace, baritone IU JSoM July 2009 Juan Francisco Nájera-Coto, clarinet Universidad de Costa Rica June 2009 Matt Eisentraut & Patrick Pfister, trombone May 2009 Amanda Russo, mezzo-soprano May 2009 Juan Francisco Nájera-Coto, clarinet April 2009 Robin Smith, contralto March 2009 Diana Nixon, clarinet (guest recital and master class) DePauw University, Greencastle, IN February 2009 Sean F. McGhee, bass trombone Cincinnati Conservatory of Music, OH February 2009 Diana Nixon, clarinet February 2009 Diana Nixon, clarinet Honeywell House, Wabash, IN January 2009 Hillary M. Sullivan, mezzo-soprano December 2008 Carl Kanowsky, bass-baritone November 2008 Juan Francisco Nájera-Coto, clarinet November 2008 J. Bryan Heath, bass trombone November 2008 Ji-Woon Jung, violin International Center, Bloomington, IN October 2008 Master classes Menomonee Falls, WI October 2008 Cory Mixdorf, tenor trombone July 2008 Gregory Brookes, baritone June 2008 David Meyer, baritone (guest recital) University of Iowa April 2008 John Rodger, tenor April 2008 Master classes University-Wisconsin, Eau Claire March 2008


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Ji-Woon Jung, violin International Center, Bloomington, IN February 2008 John Rodger, tenor January 2008 Rachel Leigh Erie, soprano December 2007 Robin Smith, contralto November 2007 Hyounsoo Sohn, mezzo-soprano November 2007 Carmund White, tenor November 2007 Featured guest pianist, North Central Missouri College Trenton, MO October 2007 Cory Mixdorf, trombone September 2007 Ji-Woon Jung, violin International Center, Bloomington, IN July 2007 Sloane Jessica Artis, soprano April 2007 Carl Kanowsky, bass-baritone April 2007 Brenda Brenner violin studio recital April 2007 Alexandra Cowell, flute April 2007 Cory Mixdorf, tenor trombone April 2007 Hilary Joy Bair, soprano April 2007 Jennifer Trueblood, soprano April 2007 Violin recital and master class series as winners of Premio Aguascalientes, Mexico March 2007

Nacional Manuel M. Ponce, Duo Jung-Carballo Pete Ellefson, trombone March 2007 Concert Orchestra (faculty orchestra pianist) February 2007 Ji-Woon Jung, violin, Dowling International Center February 2007 Sean McGhee, bass trombone February 2007 Robin Smith, contralto February 2007 Sara Kristina Flores, soprano Bloomington, IN February 2007 Guest recital and master class with Michael Match Youngstown State University, OH February 2007 Miroslaw Witkowski, bass-baritone Bloomington, IN February 2007 NATS Composer's Forum January 2007 Grundy County Friends of the Arts recital and master Trenton, MO January 2007 classes, Duo Jung-Carballo Hilary Joy Bair, soprano November 2006 Carl Kanowsky, bass-baritone October 2006 Jessica Riley, mezzo-soprano Winnipeg, Canada October 2006 Adam Bregman, trombone September 2006 Sloane Jessica Artis, soprano September 2006 Ellen Mills, violin Brown County Art Guild Nashville, IN August 2006 Trombone faculty/guest artist recital August 2006 CAP faculty recital July 2006 Ji-Woon Jung, violin Aguascalientes, México July 2006 Sean McGhee, bass trombone April 2006 Cory Mixdorf, tenor trombone April 2006 Christopher Bolduc, baritone Chicago Cultural Center April 2006 Bradley Russell Evans, trombone April 2006 Ann-Marie Lysell, violin April 2006 Carrie Reading, mezzo-soprano April 2006 Jennifer Trueblood, mezzo-soprano April 2006 Michael Match, counter-tenor March 2006 Ji-Woon Jung, violin: Festival de Música de Cámara Aguascalientes, Mexico March 2006 Trombone faculty recital March 2006 Marian Harrison, composer February 2006 Lisa Golda, soprano January 2006 Sarah Mabary, mezzo-soprano January 2006 Trombone faculty recital January 2006 Ji-Woon Jung, violin December 2005 Ji-Woon Jung, violin International Center, Bloomington, IN November 2005


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Janice Hammond, mezzo-soprano Bloomington, IN November 2005 Christina M. Carrigan, trombone November 2005 Justin Peckner, euphonium & trombone October 2005 All Fached-Up Singers, joint graduate recital October 2005 Hilary Joy Bair, soprano Bloomington, IN October 2005 Trombone faculty recital September 2005 Audrey Odom, mezzo-soprano August 2005 Lisa Golda, soprano August 2005 Carmund White, tenor August 2005 Maija Lisa Currie, soprano July 2005 Sloane Jessica Artis, soprano April 2005 M. Dee Stewart trombone studio recital April 2005 Amy Olipra, mezzo-soprano April 2005 Crystal Booher, trombone April 2005 Matt Calvert, trombone April 2005 Bradley Russell Evans, trombone April 2005 Teresa Furlough, oboe April 2005 Cory Mixdorf, tenor trombone April 2005 Monica Tang, trombone April 2005 Deanna Carpenter, horn March 2005 Alex Iles, trombone March 2005 Lindsay Shipps, mezzo-soprano February 2005 Michael Match, counter-tenor January 2005 Trombone faculty/student recital January 2005 Peter Ellefson trombone studio recital December 2004 Sara Flores, soprano December 2004 Matt Calvert, trombone December 2004 Luke Schram, trombone November 2004 Dee Stewart trombone studio recital November 2004 Adam Bregman, tenor trombone October 2004 Christi Champ, soprano July 2004 Janice Hammond, mezzo-soprano July 2004 Nurit Blum, clarinet April 2004 Crystal Booher, trombone April 2004 Leanne Nichter, soprano April 2004 Diana Nixon, clarinet April 2004 Carl Lenthe studio recital April 2004 Peter Ellefson trombone studio recital April 2004 Eryn Oft, bassoon April 2004 Caítlín Burke, soprano April 2004 Carrie Reading, mezzo-soprano April 2004 Sarah Thelen, oboe March 2004 Michael Match, countertenor March 2004 Aaron Rader, trombone March 2004 Nathan Hillyard, trombone February 2004 Adam Bregman, trombone February 2004 Peter Ellefson faculty/student recital February 2004 Diana Nixon, clarinet January 2004 Jessica Riley, mezzo-soprano December 2003 Peter Ellefson trombone studio recital November 2003 Carl Lenthe studio recital November 2003 Pamela D. Stuckey, bassoon October 2003 Dee Stewart trombone studio recital October 2003 Amanda Hoffmann, soprano October 2003


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Rebeckah Valentine, mezzo-soprano September 2003 Randolph Burge Johnson, trombone July 2003 Teri Herron, soprano June 2003 Caítlín Burke, soprano May 2003 Teresa Furlough, oboe May 2003 Greg Odya, tenor/bass trombone May 2003 Leanne Nichter, soprano April 2003 Emily C. Wong, horn April 2003 Carrie Reading, mezzo-soprano April 2003 Christopher J. Rickert, horn April 2003 Maria Rebekka Stoehr, mezzo-soprano April 2003 Michael Match, countertenor April 2003 Jason Harris & Dan Buescher, trombone April 2003 Crystal Booher, trombone March 2003 Colleen Brooks, soprano March 2003 William Andrew Earnest, euphonium March 2003 Sarah Oubre, horn March 2003 Angela Shadwick, mezzo-soprano March 2003 Diane Thueson Reich, soprano February 2003 Teri Herron, soprano January 2003 An Evening of Contemporary Dance January 2003 Amanda Gardner, soprano December 2002 Kenneth Halcom, baritone September 2002 Il Festival Internacional de Bronces Instituto Nacional de Musica July 2002 Trombones de Costa Rica San José, Costa Rica Emily Nehus Grieb, violin Bloomington, IN June 2002 Indiana University Baccalaureate Interfaith Ceremony May 2002 Bharati Soman, soprano April 2002 Jennifer Barrett Dunn, soprano April 2002 Beatrece Garner, soprano March 2002 Il Festival Internacional de Bronces Instituto Nacional de Musica July 2001 Trombones de Costa Rica San José, Costa Rica Juan Elías Artavia Moya, bassoon Universidad de Costa Rica February 2001 Karolina Rodríguez Garita, soprano Teatro Mozart, San José, Costa Rica December 2000 Iván Chinchilla, trombone Universidad de Costa Rica December 2000 Karolina Rodríguez Garita, soprano Universidad Nacional, Costa Rica December 2000 Luis Miguel Arraya, trumpet Universidad de Costa Rica November 2000 Mauricio Araya Quesada, guitar Universidad de Costa Rica November 2000 Mario Villalobos Vargas, baritone Universidad Nacional, Costa Rica November 2000 J.S. Bach Anniversary Concert Universidad Nacional, Costa Rica November 2000 Luis Miguel Araya, trumpet Universidad de Costa Rica October 2000 Diego Badilla Vargas, conductor Universidad Nacional, Costa Rica October 2000 María Esther Garita, soprano Universidad Nacional, Costa Rica September 2000 Glenda María Juárez Rodríguez, mezzo-soprano Universidad Nacional, Costa Rica August 2000 Fernando Zúñiga, bassoon Universidad de Costa Rica July 2000 María Marta López, soprano Universidad de Costa Rica July 2000 Ulises Solano, tenor Universidad de Costa Rica June 2000 Escenas de Opera Compañía Lírica Nacional June 2000 San José, Costa Rica

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