Professionals you can learn from
The faculty who teach our workshops and classes are career singers and musicians with advanced training and performance experience. If it’s possible to come away from BCI without learning something new, no one has done it yet.
These dedicated musicians represent our 2017 faculty.
Barbara Ann Peters
Barbara Ann Peters made her Carnegie Hall debut as Mater Gloriosa in Mahler's Eighth Symphony with Canterbury Choral Society, and has been a featured soloist in over 60 oratorio, chamber, and Pops performances with Greensboro Oratorio Singers, Augusta Choral Society, New York Chamber Symphony, Dallas, Santa Fe, and Springfield Symphony Orchestras, New York’s Schubertiade, I Cantori di New York, Manhattan String Quartet at Music Mountain, and Berkshire Choral Festival.
Among her opera/operetta credits are appearances with Long Leaf Opera as Birdie (Regina), Maggio Musicale Fiorentino (Sadun, Sadun, an opera-ballet), Goldovsky Opera Company as Gilda (Rigoletto), Eurydice (Orfeo ed Eurydice), and Marzelline (Fidelio); Henry Street Opera as Anna (Die lüstigen Weiber von Witwe), Susanna (Le Nozze di Figaro), and Despina (Cosí fan tutte); Manhattan Opera as Juliette (Roméo et Juliette); John Harms Theater as Elizabeth (Robert and Elizabeth); Alabama Symphony as Maria (West Side Story); York Theater as Minerva (The Golden Apple); and Berkshire Choral Festival as Jemmy (Guillaume Tell), Adele (Die Fledermaus), Casilda (Gondoliers), and Phyllis (Iolanthe).
Barbara Ann made her European television debut in recitals for the RAI from the historic Accademia Chigiana in Siena, Italy. Additional European appearances include recitals at the American Academy, Rome, the Salle Cortot, Paris, and the Deutsches Museum, Munich. An active recitalist and new music advocate with performances broadcast by WQXR-New York and WGBH-Boston, she has presented memorable performances along the eastern seaboard and since moving to NC in 1997, at Duke University, Meredith College, Wake Forest University, High Point University, Guilford College, Reynolda House, Greensboro College, UNC-Chapel Hill, and UNC-Greensboro.
Visiting Faculty at UNC School of the Arts, School of Drama, High School Division and Adjunct Faculty at High Point University since 2013, Barbara Ann has served on the faculties of Elon University, UNC-Greensboro, and UNC-Chapel Hill. She proudly served as founding voice faculty of Berkshire Choral Festival from 1982-2007. She has taught Italian, French, English and German Diction at Mannes College of Music, Hartt School of Music, UNC-Greensboro, and UNC-Chapel Hill and has presented Master Classes at UNC-Greensboro, Campbell University, Salisbury University, The Boston Conservatory, Texas Christian University, Meredith College, and UNC School of the Arts. She currently serves as NATS Mid-Atlantic Regional Governer, and is an active Certified McClosky Voice Technician, McClosky Institute of Voice, for whom she leads workshops and seminars. The soprano holds the B.M. in Vocal Performance from The Boston Conservatory, a License de Concert Chant from L’École Normale de Musique, Paris, and the M.M. in Vocal Performance from UNC-Greensboro. Barbara Ann has maintained a private studio for over 45 years, currently in Greensboro, NC, where she lives with her husband and artist R. David Westfall.
Stephanie Foley Davis
Stephanie Foley Davis was praised by the New York Times in her Glimmerglass Festival debut as “a poised, touching Ma Moss” and Opera News said she was “a loving, careworn Ma, warm of voice and presence.” And Cleveland Classical said, “. . . Foley Davis and Culver were terrific in their singing and in delineating their sadness” about her recent role debut of Charlotte in Nightingale Opera Theatre’s production of Werther.
Stephanie has another exciting year ahead with a return to Greensboro Opera in January 2018 as Berta in Il Barbiere di Siviglia. She has been invited to perform the mezzo-soprano solos in Bernstein’s Symphony No. 1 “Jeremiah” and Jenkins’ The Armed Man with the Portland Symphony Orchestra (Maine) and the Winston-Salem Symphony, both under the baton of Robert Moody.
2016-17 was a busy season for Stephanie. She returned to the “feisty” (Voix des Artes) role of Mercedes in January 2017 with Greensboro Opera‘s production of Carmen. She also joined the Winston-Salem Symphony as soloist for Beethoven’s Ninth Symphony in October. The season culminated with a return to her alma mater for a “monumental, moving” (Voix des Artes) performance of Verdi’s Requiem in February 2017 at UNC-Greensboro featuring distinguished alumni under the baton of Kevin Geraldi. Joseph Newsome said about Foley Davis’ singing: “Verdi entrusted the first phrases of ‘Lux æterna luceat eis, Domine’ to the mezzo-soprano soloist, and it is difficult to imagine that he could have expected them to be sung more handsomely and incisively than Foley Davis sang them in Greensboro.”
Stephanie received a Professional Artist Certificate at the A.J. Fletcher Opera Institute at the North Carolina School of the Arts, where she studies with Marion Pratnicki. She was featured as Kate in Dvorak’s The Devil and Kate, the title role of Handel’s Radamisto and as Mrs. Gibbs in the Southeast premiere of Ned Rorem’s Our Town. She was featured on “An Evening of Carolina Voices” with Metropolitan Opera singers such as Victoria Livengood, Christine Weidinger, Jennifer Welch-Babidge and John Fowler. Ms. Davis prepared the role of Rosina with the Opera Company of North Carolina’s production of Il Barbiere di Siviglia.
While completing her Master of Music in vocal performance with Robert Wells at the University of North Carolina at Greensboro, she was featured as Dorabella in Mozart's Cosí fan tutte and Mallika in Delibes' Lakme. Ms. Davis earned her BA in Vocal Performance and BS in Sound Recording Technology from the State University of New York at Fredonia. In Fredonia, she performed roles such as Fidalma in Cimarosa's The Secret Marriage with the Hillman Opera and Hansel in Hansel and Gretel.
Stephanie’s ability to capture an audience in operatic roles has been recognized several times in competition. She placed third in the Shreveport Opera Singer of the Year Competition in 2013 and in 2012 she won first place in the Heafner/Williams Vocal Competition. Stephanie was a winner of the Metropolitan Opera National Council Auditions in the North Carolina district and went on to receive an Encouragement Award at the Southeast Region Finals in 2007. She also achieved third and second place at the Opera Guild of Charlotte competition in 2006 and 2008. She is a two-time first place winner of the North Carolina NATS competition and a third place winner in the Mid Atlantic NATS competition. She also received Honorable Mention at the Schlern International Music Festival in Italy.
Also, an active oratorio/concert performer, Ms. Davis "had a successful baptism by fire" (Classical Voice of NC) performing the mezzo-soprano solo in Alexander Nevsky at the last minute with the Greensboro Symphony. She has performed the alto soloist in Bach's St. John Passion and Jesu meine freude, Handel's Messiah, Vivaldi's Gloria, Mozart's Missa Brevis, Monteverdi Vespers, Saint Saëns’ Christmas Oratorio, and Biebel's Alleluia.
Stephanie is currently Chair of the Voice Faculty and Director of Community Engagement at The Music Academy of North, where she has been teaching voice since 2011. She joins BCI for the first time on faculty in Asheville.
Richard Kosowski maintains an active career as a soloist, recitalist, chorister, conductor, director and educator. His performance career includes a varied repertoire encompassing over 50 opera and oratorio roles, representing music from the early 17th century through the 21st century. In October 2014, he was tenor soloist in the North American premiere of Alan Craig’s A Diminished Mass. He is an active song recitalist, and as a professional chorister he has sung across North America, Europe, and Asia with the Metropolitan Opera, New York City Opera National Company, National Chorale (NYC), and the Choral Guild of Atlanta.
Richard has served on the faculty of the Townsend School of Music at Mercer University since 2007 and is currently the Director of Graduate Studies for TSM. As music director and conductor for Mercer University Opera, he has led performances of Rogers and Hammerstein’s Oklahoma! (2016), Gilbert and Sullivan’s The Gondoliers (2017) and Iolanthe (2013), Mozart’s The Magic Flute (2014), and in January 2015, he conducted Handel’s Alcina, in what is believed to be the first “local” staging of a Handel opera in the State of Georgia. In March 2017, he led the premiere of extended orchestral scenes from the new opera Hugh Smalling, which recounts the life and events of a local Macon (GA) hero who lost his life in a bombing raid during World War II. The full opera is scheduled to premiere in spring 2019.
He is the music director for the Mercer University Youth Choirs program, a position he has held since 2011. In this role he has prepared MUYC for performances of Humperdinck’s Hänsel und Gretel, Nick Page’s The Nursery Rhyme Cantata for “Once Upon a Symphony,” and two annual performances of “Home for the Holidays” with the Macon Symphony Orchestra, as well as numerous local concerts. Under his direction, MUYC has traveled to 22 states and performed in important venues in New York City, Boston, Chicago, Providence (RI), Philadelphia, Washington DC, Winston-Salem, St. Louis, Indianapolis, Louisville, Memphis, Nashville, Charleston (SC) and Savannah. Richard began his teaching career as an elementary music specialist with Atlanta (GA) Public Schools.
Richard holds a Doctor of Musical Arts from the University of Houston Moores School of Music (TX), a Master of Music from the University of Miami Philip and Patricia Frost School of Music (FL) and a Bachelor of Music Education from Truman State University (MO). He will serve on the Asheville faculty in his sixth year with BCI.
Berkshire Choral International Music Director Frank Nemhauser will serve as bass faculty in Asheville and Budapest.
New Jersey-based Paul Conrad received his B.M. in piano performance and M.M. in collaborative piano from Mason Gross School of the Arts. He is in high demand as an accompanist for both soloists and ensembles as a staff pianist at MGSA. Paul was selected twice as Accompanying Apprentice at Berkshire Choral International, where he played master classes with prominent singers and conductors, including Tim LeFebvre, Jerry Blackstone, David Hayes, and Craig Hella Johnson.
Paul is the recipient of many collegiate awards, including the RUGC Aspinall Award, Presser Foundation Award, Arthur G. Humphrey Memorial Prize, and the NJ State Governor’s Scholarship. Under the direction of MGSA professor Min Kwon, he performed at Weill Recital Hall as part of a Franz Liszt 200th Anniversary Recital. Paul sang with and now accompanies the Rutgers University Glee Club, the university’s internationally acclaimed male choir, conducted by Dr. Patrick Gardner, as well as the university’s premiere mixed ensemble, Kirkpatrick Choir.
Throughout his studies of collaboration and chamber music, Paul has received coaching from artists Barbara Gonzalez-Palmer, Allison Brewster-Franzetti, Matti Hirvonen, and Warren Jones. He has worked extensively as pianist and musical director in collaboration with soprano Lori Mirabel for the Maplewood/South Orange Coalition on Race child-friendly operatic productions, including Robert Kapilow’s adaptations on Dr. Seuss’ Green Eggs and Ham and Gertrude McFuzz, as well as Verdi’s Aida and Dvořák’s Rusalka.
Paul is an avid ballet pianist, playing regularly for the Rutgers University Dance Department, Lustig Dance Theatre (New Brunswick, NJ), and annually at the Cecchetti International Summer School at Hope College, MI. Paul also accompanies the Highland Park Community Chorus (NJ) under the direction of Benjamin T. Berman, and serves as organist and pianist at Middlebush Reformed Church in Franklin, NJ.
Originally a Berkshire Scholar at BCI, Paul returns for his fifth season this year, where he will be accompanist faculty in Asheville.
Julia Foster Rottmayer
Julia Foster Rottmayer is active and acclaimed in the stage, concert, and teaching arenas. Her concert engagements have included Brahms’Requiem, Mozart’s Great Mass in C minor, Mendelssohn’s Elijah, Orff’s Carmina Burana, Handel’s Messiah, Poulenc’s Gloria, and Bach’s Mass in B minor. On the operatic stage, Julia has recently portrayed Thérèse in Poulenc’s Les Mamelles de Tirésias, Everly Shrills (Madame Herz) in Mozart’s Impresario, Beth in Adamo’s Little Women, Vitige in Handel’s Flavio, and Pamina in Mozart’s Die Zauberflöte. Other favorites performances include Blanche in Dialogues of the Carmelites, Rose Maurrant in Kurt Weill’s Street Scene, Mabel in The Pirates of Penzance, and Adele in Die Fledermaus. She has sung with a variety of orchestras and companies, including the Orlando Philharmonic, Opera Orlando, Amadeus Opernensemble Salzburg, Wisconsin Chamber Orchestra, Ars Lyrica Houston, Bach Festival Society of Winter Park, Stoughton Opera, and Madison Savoyards.
Julia is an advocate for the performance of Art Song and is a frequent recitalist, having toured throughout the United States. Alongside standard French, German, Italian, and American repertoire, her recitals have incorporated less traditional works, such as George Crumb’s Apparition for soprano and prepared piano. She has premiered works by Scott Gendel and Daniel Crozier, and her early repertoire ranges from Armonia in La Pellegrina to Bach’s celebrated cantata, Jauchzet Gott in allen Landen.
In service to the singing community, Julia serves as President of the Central Florida Chapter of the National Association of Teachers of Singing. She has served as the head of the voice area at Rollins College, as a member of the voice faculties at Kingwood College, Berkshire Choral International, and Madison Early Music Festival, and as Graduate Instructor of voice at the Eastman School of Music (MM) and the University of Houston (DMA). Julia also maintains a thriving private voice studio in Orlando, FL and is highly sought after as a master class clinician and adjudicator for competitions both regionally and nationally. She joins BCI in Sheffield for her fourth season on the faculty
Helen Karloski has been gaining recognition particularly in her portrayal of the oratorio repertoire. In 2015, she was the recipient of the Ellen Lopin Blair Award for First Place in the Lyndon Woodside Oratorio Solo Competition. The Santa Fe New Mexican proclaimed “Her voice is beautifully suited for oratorio, and the sincerity of her delivery, along with her poised bearing and physical presentation, forged an almost palpable connection with the audience." Helen’s 2016-17 season includes her Carnegie Hall debut performing Mozart’s Mass in C Minor and Bruckner’s Te Deum under the baton of Kent Tritle with the Oratorio Society of New York, Beethoven’s Ninth Symphony with the American Classical Orchestra and the Hudson Valley Philharmonic, Haydn’s Lord Nelson Mass with Princeton Pro Musica, and a televised broadcast of Craig Hella Johnson’s Considering Matthew Shepard with Conspirare.
The New York Times wrote of her performance in Georg Philip Telemann's rarely performed oratorio Der Tag des Gerichts, "Helen Karloski commanded attention as Reason." Helen made her Lincoln Center debut in Mozart’s Solemn Vespers with the Mostly Mozart Festival under the baton of Iván Fischer. Recent solo appearances include Pergolesi’s Stabat Mater with Harry Bicket and the Santa Fe Desert Chorale, Dvořák’s Stabat Mater with the Omaha Symphony, the world premiere of Evan Fein’s Deborah with Musica Sacra, Telemann’s Der Tag des Gerichts with the American Classical Orchestra, Copland’s In the Beginning with Sacred Music in a Sacred Space and the Alto soloist in Mendelssohn’s A Midsummer Night’s Dream with the New York City Ballet.
Other solo engagements include Vivaldi’s Gloria with the Pittsburgh Symphony Orchestra, Haydn’s Theresienmesse with Voices of Ascension, Bach’s Magnificat with the Victoria Bach Festival, Mendelssohn’s Elijah with the Choral Society of Grace Church, and Bach’s St. Matthew Passion and Brahms’ Alto Rhapsody with St. Andrew’s Music Society. Favorite performances include The Cunning Little Vixen (Hen), Le Grande Macabre, and My Fair Lady with the New York Philharmonic, Les Huguenots and Oresteia at Bard SummerScape, and the New York City premier of Elliot Goldenthal’s Grendel, directed by Academy Award-nominated Julie Taymor.
An accomplished ensemble singer, Helen has appeared with Conspirare, where she was featured on the GRAMMY®-winning recording The Sacred Spirit of Russia, Voices of Ascension, Musica Sacra, Santa Fe Desert Choral, and Handel and Haydn Society. She joins the BCJ faculty for the second time, this year in Sheffield.
Matthew Swanson, a native of southeast Iowa, is assistant conductor of the Cincinnati May Festival Youth Chorus, adjunct instructor of early music at the University of Cincinnati College-Conservatory of Music (CCM), and chorus master of CCM Opera. He frequently prepares choruses for performances with the Cincinnati Symphony and Cincinnati Pops.
As Community Engagement Coordinator for the May Festival, Matthew organizes and presents lectures and community forums on choral masterworks throughout the year. Recent conducting engagements include concerts at the Cincinnati Early Music Festival, performances with Cincinnati’s Musica Sacra, the Cambridge University Baroque Ensemble and the King’s College Music Society, and frequent appearances with ensembles at the University of Cincinnati College-Conservatory of Music (CCM).
As a tenor, Matthew has performed with Schola Antiqua (Chicago) and the Vocal Arts Ensemble (Cincinnati). In May 2017, he will co-present sessions on the monophonic repertoire from Benevento, Italy, at the International Medieval Congress.
Matthew is Assistant Choirmaster at the Episcopal Church of the Redeemer in Cincinnati. Prior to his appointment at Redeemer, he was Master of the Schola at the Chapel of St. John Fisher, Cambridge, UK. He earned degrees in American Studies and trumpet performance at the University of Notre Dame, and holds degrees in conducting and choral music from the University of Cincinnati and King’s College, Cambridge.
He returns to the Sheffield campus as faculty for his fourth year with BCI.
Sean, originally from Brookville, Pennsylvania, is Assistant Professor of Voice and Director of Choral Studies at the University of Texas, Rio Grande Valley, where he conducts the UTB Master Chorale and Chamber Singers and teaches applied voice, conducting and choral methods. Previously he was on the faculties of Washington & Jefferson College in Pennsylvania and Central State University in Ohio. Sean holds a Doctor of Musical Arts in Choral Conducting from the University of Cincinnati, College-Conservatory of Music. His primary area of research is Latin diction; he is a diction specialist with SingersBabel (www.singersbabel.com), for which he authors phonetic guides and recordings of Latin texts.
While a student at CCM, Sean served as assistant conductor of the CCM Chorale and Chamber Choir under Earl Rivers and as music director of the UC Cabaret Singers. An experienced church musician, he has served on the music staffs of Knox Presbyterian Church in Cincinnati and Third Presbyterian Church in Pittsburgh. In addition to extensive freelance solo work, Sean has performed with the Cincinnati Opera Chorus, May Festival Chorus, Mendelssohn Choir of Pittsburgh and Pittsburgh Opera Chorus. While a graduate student at Carnegie Mellon University, he served as assistant conductor to Grammy-winning conductor Robert Page. Sean has sung with the Vocal Arts Ensemble, Cincinnati’s professional chamber choir, for six years. The ensemble is now directed by Craig Hella Johnson.
Sean received a Bachelor of Music in Music Education with an emphasis in voice from Westminster College in New Wilmington, PA, and taught music in the Beaver Local School District in Lisbon, OH, before returning to graduate school. Recently, he led performances of Honegger’s King David, Handel’s Messiah, and Fauré’s Requiem. This is Sean’s11th season with BCI, where he is serving as bass faculty in Sheffield.
Mitchell Vines’ active performing career has taken him to Europe, South America, Asia and throughout the United States. The German newspaper Hessische Niedersächsische Allgemeine wrote “The sensitive playing of American pianist Mitchell Vines captivated the audience. He performed with virtuosity and bravura.”
Mitchell’s professional associations include Berkshire Choral International, New York Summer Opera Scenes, Trinity Church Wall Street, CantaLyrica Chamber Choir, and the Vermont Music and Arts Center. He was twice soloist with the New York Repertory Orchestra, performing Bartok’s 3rd piano concerto and Milhaud’s Le Carnaval d’Aix. Mitchell has performed with numerous singers and instrumentalists, and is in high demand as a collaborative pianist.
His teaching experience includes positions with the Aspen Music Festival, Mannes School of Music, Brooklyn College Conservatory of Music and the Harlem School of the Arts, and he is a music director for theater, opera and cabaret. Mitchell is the artistic director of Afternoon Music, a concert series in Summit, NJ.
Mitchell can be heard on the CD "American Music for Trumpet and Piano" on Capstone Records, and he is featured on a CD of vocal chamber music by North German composers on the Syrinx label. Recent recordings include a CD of compositions by Paul Zeigler, a recital with Japanese soprano Selena Miyazaki, and a collaboration with flutist Tia Roper on Albany Records.
A native of Portland, Oregon, Mitchell holds a Bachelor of Arts from Portland State University and a Master of Music from the Eastman School of Music. While at Eastman, he held a Fellowship in accompanying and was awarded the Performer's Certificate, the conservatory’s highest honor. Previously music director of Bay Ridge United Methodist Church, Mitchell is currently music and choir director of the Unitarian Church in Summit, New Jersey, and Temple Israel of New York City. This will be his seventh year accompanying BCI choristers in Sheffield.
Arianne Abela serves on the conducting faculty at Wayne State University in Detroit, where she teaches graduate and undergraduate conducting and directs the Choral Union and Women's Chorale. She is music director of Canadian opera company Re:Naissance, has guest conducted with Detroit-based opera company OperaMODO, is founder and Artistic Director of the Detroit Women's Chorus, and is music director of Bethlehem UCC in Ann Arbor.
Arianne has conducted choirs at the University of Michigan and Yale University and has served as assistant conductor for the Yale Alumni Chorus on tours to Georgia, Armenia, Turkey, Lithuania, Latvia and Estonia. While based in Connecticut, she served on faculty at Wesleyan University, Notre Dame High School, Greater Hartford Academy of the Arts, and The Westover School for Girls. As a professional singer, she has sung with a number of professional vocal ensembles including the Yale Choral Artists, sounding light, Etherea Vocal Ensemble, Arkokra,Yale Schola Cantorum, and Audivi.
Venturing over to reality television, Arianne is the founder and conductor of 3 Penny Chorus and Orchestra, a volunteer orchestra and chorus of 60 that was featured in the final rounds of “America's Got Talent” (Season 8) at Radio City Music Hall. The ensemble has performed for various charities and fundraisers, was featured on NBC's “Today Show,” and can be heard on the soundtrack of Hollywood film “Walk of Shame” (featuring Elizabeth Banks).
Arianne holds a doctorate in conducting from the University of Michigan under the tutelage of Jerry Blackstone and a Master of Music in conducting from the Yale School of Music under Marguerite Brooks, Jeffrey Douma, and Simon Carrington. Originally from San Francisco, Arianne now resides in Detroit with her husband, Noah, and daughter, Hazel. She returns to BCI as a staff conductor in Sheffield a decade after participating in 2006 and 2007 as an apprentice.
Kirk Averitt is the Director of Choral Music at Beaver Country Day School in Chestnut Hill, MA, where he teaches choral ensembles from grades 6 through 12. In addition to teaching, Kirk serves as music director at Weston Congregational Church. He holds a Master of Music in Choral Conducting from the University of Massachusetts-Amherst. At UMass he conducted the University Women's and Recital Choirs and taught an undergraduate course in Arts Appreciation.
Kirk is originally from Decatur, AL. He received his Bachelor of Music Education from Lipscomb University in Nashville, TN. While in Nashville, Kirk held positions as the interim choral director at Brentwood High School and baritone section leader at West End United Methodist Church. He also performed with a number of choral groups including Music City Baroque and the Nashville Chamber Singers. This is his fourth summer at BCI, where he started as an apprentice. He is a staff conductor in Sheffield this season.
Kyle Sackett holds the M.M. in voice and opera performance from Northwestern University’s Bienen School of Music and the B.M. in music education from SUNY Fredonia. Based in Chicago, Kyle works extensively both teaching voice and performing. He joined the voice faculty at Carthage College (Kenosha, WI) in 2015.
His opera credits include Owen Hart (Dead Man Walking), Guglielmo (Così fan tutte), Friedrich Bhaer (Little Women), Schaunard (La Boheme), The Four Villains (Les contes d’Hoffmann), and Herr Fluth (Die Lustigen Weiber von Windsor), as well as ensemble work with Chicago Opera Theater and Haymarket Opera Company.
He has performed numerous times with maestro Glen Cortese and the Western New York Chamber Orchestra, including the roles of Guglielmo (Cosi fan tutte) and Mr. Kofner (The Consul), and the bass soloist for Haydn’s Missa Sancti Nicolia and Vivaldi’s Magnificat. During the 2015-16 season, Kyle sang the role of Papageno in Opera for the Young’s touring adaptation of Mozart’s The Magic Flute. He has been a featured baritone soloist for many concerts and oratorio, including Handel’s Judas Maccabeus, Mozart’s Requiem, Vaughan Williams’ Five Mystical Songs, and Duruflé’s Requiem.
A passionate choral singer, Kyle has performed and recorded with top-tier ensembles including the GRAMMY®-nominated new music ensemble The Crossing (Philadelphia), Music of the Baroque (Chicago), Grant Park Symphony Chorus (Chicago), Chicago Symphony Chorus, Vocális Chamber Choir (Buffalo), and Berkshire Choral International and is a founding member of the Chicago-based Constellation Men’s Ensemble.
As a conductor and educator, Kyle served as the assistant music director of the Hannah Hasbrouck Petersen Concert Series in Fredonia, NY, and as chorus master for the 2012 Hillman Opera production of Suor Angelica. He joins BCI as a staff conductor in Sheffield after two previous seasons as an apprentice.
Katharine Dain, acclaimed for "thrilling," "heart-piercing" performances (Irish Times), is increasingly sought after as a concert and operatic singer throughout Europe and North America. Opera credits include Donizetti Lucia di Lammermoor (title role), Mozart Donna Anna (Don Giovanni), Fiordiligi (Così fan tutte), and Madame Herz/Goldentrill (Der Schauspieldirektor), the leads of Cavalli La Calisto (title role) and Giasone (Hypsipyle), and numerous contemporary pieces. She recently debuted with the Netherlands Opera in Claude Vivier's Kopernikus; she has also worked with Silbersee (VocaalLAB), Gotham Chamber Opera, Opera Company of Philadelphia, Operadagen Rotterdam, Ash Lawn Opera, Opera Omnia, Center for Contemporary Opera, and the Bard Music Festival. 2018 will see her role debut as Konstanze in Mozart Die Entführung aus dem Serail in a new production that will tour to the opera houses of Clermont-Ferrand, Avignon, Rouen, Reims, and Massy.
Katharine has extensive experience in oratorio, song, and chamber music and is a passionate advocate of the contemporary repertoire. She has been featured with the Sinfonia Teatro Comunale di Bologna under Roberto Abbado, Südwestradiofunkorchester Freiburg & Baden-Baden under Ingo Metzmacher, Asko|Schönberg Ensemble under Reinbert de Leeuw, Nieuw Ensemble under Ed Spanjaard, and as soloist in most of the standard oratorio repertoire with groups including Alexandria Symphony, Springfield Symphony, American Symphony Orchestra, Cappella Amsterdam, the Mark Morris Dance Group and New York City Ballet. She has performed in Carnegie Hall, Lincoln Center, Vienna's Musikverein and Konzerthaus, and Amsterdam's Concertgebouw, and at festivals including the West Cork Chamber Music Festival, Aldeburgh, Holland Festival, Ravinia Festival (Steans Fellow), and the New York Festival of Song. She has co-founded several chamber groups, most recently Damask Vocal Quartet, and has a special love for recital repertoire; favorite partners include Julius Drake, Sam Armstrong, Reinild Mees, Renate Rohlfing, and Tom Poster.
Katharine was educated at Harvard University (Boston), the Guildhall School of Music and Drama (London), and Mannes College of Music (New York), and she currently lives in the Netherlands. Her faculty stint with BCI in Budapest marks her sixth year with the organization. www.katharinedain.com
Hungarian soprano Bernadett Nagy is a graduate classical singer from the class of Sasja Hunnego in the Koninklijk Conservatorium, The Hague. In Hungary she has studied at the Ferenc Liszt Academy of Music, Budapest, where she graduated as music teacher and choir conductor.
Because of her good vocal and theoretical skills and social sensitivity, Bernadett was selected to become a regular participant in the World Youth Choir as a singer and as a section leader. During these periods she had the opportunity to work with great conductors such as Tonu Kaljuste, Frieder Bernius, Grete Perdersen, Georg Grün, Johannes Prinz, Johan Duijk and Peter Dijkstra. As a closure of her youth-choir carreer, she had the honor of singing the solo part of In the Beginning by Aaron Copland in the summer session of 2009.
Since 2000 Bernadett is singing in several professional choirs, including the Purcell Choir, Budapest, with György Vashegyi; Hungarian Radio Choir, Budapest, with Zoltán Pad; Nederlandse Bachvereniging, Utrecht, with Jos van Veldhoven, and vocal ensembles including Discantus Vocal Ensemble with Péter Mészáros.
As a soloist she mainly performs classical and baroque oratorios. She frequently sings at song recitals and has been involved in the premiere of several contemporary works.
Currently Bernadett is a member of the National Choir (conductor Csaba Somos). She will join BCI as Budapest faculty for the first time.
Mark Chaundy was raised in Wales, studied music at Oxford and singing at the Royal College of Music supported by The Countess of Munster and The Arts Council of Wales. He continues to study with Joy Mammen.
In 2001 Mark was selected to be a Vocal Fellow at Tanglewood Music Centre and in 2004 was selected to take part in the Operalia competition in Los Angeles where he sang for Placido Domingo. In October 2005 he was announced as one of the first recipients of the Susan Chilcott Scholarship enabling regular lessons with Dennis O’Neil, and in 2006 became a Samling Scholar. He has twice been a finalist in the Young Welsh Singers Competition performing live on BBC radio and television and also won the National Federation of Music Societies Award. Most recently he was featured in BBC Radio 4’s Changing Voices programme.
For Glyndebourne Tour he has sung 1st Trojan Man in Idomeneo and Giuseppe in La Traviata and several roles during the Scottish Opera Essential spring tour. Mark was an Associate Artist with Welsh National Opera and sang Roderigo in Otello in the WNO Millenium opening gala conducted by Carlo Rizzi. Other appearances include Adonis in Blow's Venus and Adonis for the Benslow Music Trust, Bajazet in Tamerlano and Lurcanio in Ariodante for Cambridge Handel Opera Group, Don Jose in Carmen for Opera Project, Alvarez in Offenbach’s Barbe-Bleue and Courier in La fanciulla del West for Grange Park Opera, Egeo in Cavalli’s Giasone for the Early Opera Company. Kudrjash (cover) in Káťa Kabanová for Opera North, Don José in Carmen for Opera Project, Lurcanio in Ariodante for Cambridge Handel Opera Group and Tenor 1 (cover) in Kurt Weill’s The Seven Deadly Sins for The Royal Ballet at the Royal Opera House.
Concert appearances include the Wigmore Hall with The Wallace Collection, Seven Deadly Sins with Cleo Laine, Messiah with the CBSO at Birmingham Symphony Hall, Brubeck’s La Fiesta de la Posada at the Barbican Centre, Haydn's Creation with the Northern Sinfonia at The Sage Gateshead and Mozart Requiem with the Britten Sinfonia in Kings College Chapel. Mark is also a keen recitalist and has appeared at St. David’s Hall in Cardiff, the Wigmore Hall with the Samling Foundation, the Ludlow English Song Weekend with Iain Burnside, in a Britten programme with Roger Vignoles, and has worked with Ned Rorem on a performance of his songs at Tanglewood.
Recordings include Durufle’s Messe Cum Jubilo for Harmonia Mundi.
Recent operatic performances include Steersman (cover) The Flying Dutchman for ENO, staged performances of Carissimi’s Jephte for the Spitalfields Festival, Aminta Handel’s Atalanta for Cambridge Handel Opera and recent concert performances include Beethoven’s Ninth Symphony at St Albans Abbey, Verdi Requiem at Truro Cathedral and Mozart Requiem at The Royal Festival Hall.
He is a member of Singer’s Direct and lives in West Ealing with many books, an old piano and three chickens. He marks his fourth year as BCI faculty in Budapest. www.markchaundy.com