 Robert DeSimone
Professor of Voice
rdesimone@mail.utexas.edu
512-471-9408
Robert DeSimone, Professor of Music and Director of Opera, combines active careers in stage direction, conducting, and administration. A protégé of Norah Quarrie of the Sadler Wells Theater in England, he spent four years training in the tradition of England’s Royal Academy of Dramatic Arts, with other training in Switzerland, Italy and the US. He has worked with the Rome Opera, Teatro Eliseo, Goldoni Opera, Opernhaus Zurich, and numerous German Theaters, plus serving as Resident Stage Director for Seattle Opera. His work has been seen at the Kennedy Center, Lincoln Center, Los Angeles Music Center, and in regional opera companies.
She is currently a tenured professor at the Eastman School of Music.
 Cynthia Morrow
Lecturer in Voice
morrowc@mail.utexas.edu
A native of Virginia, Cynthia Morrow is a graduate of Hollins College (Phi Beta Kappa), The University of Maryland, and The Ohio State University, where she earned the Doctor of Musical Arts degree in Vocal Performance. She has been a member of the music faculties at the University of Florida, Mississippi College, Hope College, and Grand Valley State University, working with both undergraduate and graduate voice students. She has taught a variety of courses related to vocal performance and pedagogy, including vocal literature, vocal pedagogy, applied voice, diction, and opera workshop. As Director of Opera Theater at Mississippi College, she directed performances of Mozart’s The Marriage of Figaro and The Magic Flute, and Strauss’ Die Fledermaus, along with numerous workshops and scene recitals. A number of Dr. Morrow’s voice students have won their divisions at the state and regional levels of NATS competitions.
Dr. Morrow has performed a wide array of repertoire, including leading roles in Mozart’s Cosi Fan Tutte (Despina), Poulenc’s Dialogue of the Carmelites (Constance), and Britten’s Albert Herring (Miss Wordsworth), as well as in oratorios by Handel, Bach, Mozart, Schubert, and others. In addition, she has performed many recitals and has coached with artists, including Elly Ameling, Martin Katz, Sherrill Milnes, and George Shirley.
 David Small
Associate Professor of Voice
dasmall@mail.utexas.edu
512-471-4347
Baritone David Small enjoys an established and continuing career on the operatic and concert stage. Equally comfortable with comedy or drama, his repertoire is richly varied, including performances of well over fifty different operatic roles. In 1991, he debuted his Figaro in IL BARBIERE DI SIVIGLIA for the Lyric Opera of Kansas City with great success and subsequently has enjoyed over one hundred performances of the role. He made his Austin Lyric debut in this signature role in 1998 and repeated it for ALO in the 2007 season. His Figaro has charmed audiences for the opera companies of Des Moines Metro Opera, Fresno, Nevada, Dayton, Toledo, Lyric Opera Cleveland and touring France and Spain with IL Teatro Lyrico d'Europa. Mr. Small’s repertoire also includes Escamillo (Carmen), Dr. Malatesta (Don Pasquale), Belcore (L’Elisir d’Amore), The Pirate King (Pirates of Penzance), Girard (Andrea Chenier), Valentin (Faust), Danilo (Merry Widow), Don Giovanni (Don Giovanni), Il Conte d’Almaviva (Le Nozze di Figaro), Guglielmo (Cosi fan Tutte), Papageno (The Magic Flute), The Four Villains (Les Contes d’Hoffman), Marcello (La Boheme), Scarpia (Tosca), Sharpless (Madama Butterfly), High Priest (Samson & Delilah), Eisenstein (Die Fledermaus), Faninal (Der Rosenkavalier), Germont (La Traviata) and many others. Mr. Small sang and recorded the role of Tony in Menotti's HELP, HELP THE GLOBOLINKS! for Madison Opera and is heard on Newport Classics with John DeMain conducting. He is featured on the recording of Jerre Tanner's THE KONA COFFEE CANTATA with the Prague Chamber Orchestra, as well as THE SONGS OF JOSEPH MARX and CLASSICAL CAROLS, produced by Hal Leonard Publications. In addition to numerous recitals, he has appeared as soloist with St. Louis Symphony, Cincinnati May Festival, Austin Symphony, Fort Wayne Philharmonic, Rochester Philharmonic, Canton Symphony, Missouri Symphony, and Bravo! Colorado Music Festival. He made his Carnegie Hall debut in the LORD NELSON MASS and SCHUBERT MASS IN G with John Rutter conducting.
Professor Small's UT students have performed roles with the Austin Lyric Opera, Opera Carolina, Houston's Opera in the Heights, among others and apprenticeships with Sarasota Opera, Des Moines Metro Opera and others. Recent student achievements include baritone Yoon-Sang Lee, who was selected as one of 12 finalists in the 2007 International Verdi Baritone competition, as well as being a finalist in the Artist Division of the National Opera Association 2008 Vocal Competition. Former studio member Dr. Arikka Gregory, mezzo-soprano, served as a 2007 NATS 'Young Leader', one of five to be chosen nationally.
He earned an Artist’s Diploma in Opera and a Master of Music in Voice Performance from the University of Cincinnati College-Conservatory of Music under the tutelage of the late Metropolitan Opera basso Italo Tajo. He earned his Bachelor of Music degree from the DePauw University School of Music, where he studied with Thomas Fitzpatrick (student of Mack Harrell) and received a Bachelor of Music in Voice Performance with a Performer’s Certificate. Professor Small was invited to give a presentation entitled, "From Studio to Stage to Studio; The Life and Times of an Artist Teacher" at the 2008 NATS National Convention in Nashville. His website is located at: "david-small.com":http://www.david-small.com.
 Nikita Storojev
Associate Professor of Voice and Opera
nstorojev@mail.utexas.edu
512-471-9440
Nikita Storojev is a Russian bass. After receiving his degree in philosophy, he entered the Tchaikovsky Conservatory of Moscow. Upon winning the prestigious Tchaikovsky Competition, he became principal soloist for 5 years in the Bolshoi Theater and the Moscow Philharmonic Society.
Nikita Storojev has performed in the world's major opera houses, concert halls and international festivals in Vienna, Paris, London, Milan, New York, San Francisco, Florence, München, Tokyo and Berlin. His vast repertoire consists of over 50 operatic roles and more than 300 classical songs. He has performed and recorded under the direction of conductors such as Mstislav Rostropovitch, Vladimir Ashkenazy, Sir John Pritchard, Claudio Abbado, Neeme Jarvi, John Nelson and Gennady Rozhdestvenski and with singers such as Placido Domingo, Luciano Pavarotti, Katia Ricciarelli, Ruggiero Raimondi and Nikolai Ghiaurov.
Recent engagements for Mr. Storojev include the roles of the Police-Sergeant and the Old Prisoner in Lady Macbeth of Mtsensk with Christian Badea and the Baltimore Opera; a program of excerpts from Boris Godunov and Prince Igor with Peter Bay and the Austin Symphony Orchestra; more performances of Lady Macbeth of Mtsensk, conducted by Donald Runnicles at the San Francisco Opera; a performance of the role of King Dodon in Le Coq d’Or with the Mariinsky Theatre in St. Petersburg, Russia; an appearance at the Bard Music Festival in an all-Shostakovich program, which included the Shostakovich 14th Symphony, Execution of Stepan Razin, and Anti-formalist Rayok (Troikin), with Leon and Botstein and the American Symphony Orchestra; and performances of the Verdi Requiem, conducted by Claus Peter Flor, with the Dallas Symphony Orchestra; a concert performance of Dvorak's Rusalka with the Fort Worth Symphony, conducted by Miguel Harth-Bedoya; Shostakovich's Symphony No. 13 with the Winnipeg Symphony; Lady Macbeth of Mtsensk and the Commendatore in Don Giovanni with the Austin Lyric Opera; and De Nederlandse Opera as the Police Sergeant in Lady Macbeth of Mtsensk, with Mariss Jansons conducting. Future engagements include a full schedule of symphonic and operatic appearances plus several recitals with piano in the United States and in Europe during the coming year. This will include a new production of Lady Macbeth of Mtsensk at Teatro alla Scala in Milan, Italy.
Mr. Storojev has taught many students in several countries. Eighteen of his students have won international singing competitions in Europe. In the last four years, while teaching at The University of Texas, his students have won national competitions, participated in young artist programs, and begun professional careers. As a teacher, Mr. Storojev has also presented master classes around the world in Japan, Taiwan, Russia, Germany, France, Italy, and Mexico, as well as in the United States.
 Darlene Wiley Professor of Voice
dwiley@mail.utexas.edu
512-471-0745
Darlene Wiley has been critically acclaimed on three continents for her work in lieder, opera and oratorio. She began her career as lyric coloratura at the Staatstheater Darmstadt performing over 50 roles in such operas as I Pagliacci,Die Zauberflöte, Don Pasquale, Tales of Hoffmann, La Traviata and Le Nozze di Figaro. A veteran of over 1500 performances Ms. Wiley has sung at over 25 opera houses, including Mannheim, Wiesbaden, Kassel, Mainz, Ulm and Kiel. As an oratorio performer she has sung with the Radio Sinfonie Orchester Frankfurt, the Cleveland Orchestra, Santa Fe Symphony, Dallas Symphony and the Austin Symphony. In 1985 she gave her first Carnegie Hall Recital featuring the lieder of Mozart and Strauss. Her lieder performances and recordings of Schubert, Haydn, Mozart and Schumann with pianist Nancy Garrett are highly acclaimed. She has been heralded as " a thrilling Nedda.... amazingly sung... passionately acted." (Opern Welt) "With sassy charm and convincing Chaplinesque style, this graceful soprano is the ideal Rossini coloratura." (Frankfurter Allgemeine Zeitung) Darlene Wiley's broadcasting credits include PBS, Canadian Broadcasting, KUT, KLRU's Front Row Center, Deutschefunk, Hessischer Rundfunk, Seoul Educational Broadcasting, and WFMT. She is currently Professor of Voice at the University of Texas at Austin and director of the CASA Vocal Arts Lab and supervisor of the DMA Vocal Pedagogy Program. She has given many Master Classes including Taejon, Seoul, Chuncheon, Pusan, Ulsan, Korea, University of Missouri, University of Kansas, Augustana College, Bluffton College, Pittsburg State University, Chopin Conservatory, Warsaw, L'Ecole du Opera, Liceo, Barcelona, Darmstadt, Germany,Oklahoma State University, College of Wooster, Akron University, University of West Virginia, Salzburg, Austria. Awards include that of Distinquished Professor at Myong Ji University, Seoul, Korea and Sook Myong University, Seoul, Korea. Several of her current and former students are emerging as artists in their own right including appearances at the Metropolitan Opera, Staatsoper Berlin, Salzburg Festspiele, Washington Opera, Los Angeles Opera, St. Louis Opera, City Opera of New York.
William L. Lewis
Frank C. Erwin Centennial Professor in Opera
lewistenor@mail.utexas.edu
512-471-0948
William Lewis is Professor of Voice, with the Butler Opera Center--focusing on undergraduate opera study--and holder of the Frank C. Erwin, Jr. Centennial Professorship in Opera at the University of Texas at Austin. He is the Founder and Artistic Director of the Austrian American Mozart Academy in Salzburg, a six-week summer training program in opera performance. He received his education at the University of Colorado, Texas Christian University and New York University. He was professor of voice and opera at Penn State University and New York State University at Binghamton.
Prof. Lewis enjoys a highly regarded reputation as a tenor whose versatility spans the operatic repertoire from Mozart to Schoenberg, having performed over one hundred thirty major operatic roles in ten languages. He made his debut at the Metropolitan Opera as Narraboth, where he continued as leading tenor for thirty-five years in such roles as Rodolfo, Cavaradossi, Pinkerton, Macduff, Arrigo, Alfredo, Gabriele, Turiddu, Hoffmann, Don Jose, Romeo, Aeneas, Dimitri, Ghermann, Stewa, Idomeneo, Alwa, the Tambourmajor, Oedipus Rex, and in the dual role of Steuermann and Erik. He made his San Francisco Opera debut in 1975 as Steuermann/Erik and appeared there in subsequent seasons as Stewa (Jenufa), Albert Gregor (The Makropoulos Affair), Boris (Katya Kabanova), Frank Sargent (Angle of Repose – world premiere), the title role in Le Cid, Sergei (Lady Macbeth of Mtsensk), Golitsin (Khovantschina), Eumete (Ritorno d’Ulisse in Patria) and Loge (Das Rheingold). In Europe, the renowned tenor has received critical acclaim at Teatro alla Scala (Milan), Teatro Comunale (Florence), Teatro la Fenice (Venice), Teatro Regio (Torino), Théâtre Nationale de Paris, Opéra Toulouse, Royal Opera Covent Garden (London), English Opera North, Glasgow Opera, Hamburg Staatsoper, Vienna Staatsoper, Teatro São Carlos (Lisbon), Cologne Opera, as well as the festivals at Salzburg, Edinburgh, Spoleto (Italy and U.S.A.), Wexford, Ireland, and Amsterdam. Opera.
 RICK ROWLEY
Senior Lecturer in Vocal Accompanying rickrowley@juno.com (link sends e-mail)
Office Phone: 512-471-4442
Office Location: MRH 4.128
Specialties: Vocal Accompanying
Pianist Rick Rowley is a very versatile musician and has appeared extensively as a recitalist, a concerto soloist and chamber performer with an exciting list of the world’s leading musicians. The Washington Post recently wrote that he is “a communicative performer who clearly enjoys playing.” He “takes the music on its own terms and infuses it with active interpretation, tempered with understanding of its point and purpose.” The San-Antonio Express-News praised his “resplendent performance … which crackled with infectious energy” and the Austin Statesman-American has praised his “dazzling technique” and “world-class expertise,” calling one of his concerts “concerto playing at its best.” The American Record Guide praised his release of piano music of Franz Liszt saying that “Rowley’s playing is wonderful in these favorites — poetic, tender, full of grandeur.” Of his American music CD they wrote, “By all means, grab this” and recently extolled his Chopin CD writing that “the ‘Fantasy-Impromptu’ can take on all challengers.” In the past Mr. Rowley has appeared as a conductor and in the dual role of conductor/soloist; in this latter capacity his performances of Mozart concertos have been particularly recognized. He has also taken part in concerts on period instruments, performing as harpsichordist with the Texas Bach Aria Group and on fortepiano with the Texas Baroque Ensemble. At various times Mr. Rowley has served in lectureship positions at the University of Texas in Austin and is again currently holding that position, in which he works with pianists, vocalists and chamber music groups. He was the music lecturer/performer for the prestigious Houston Series for three years and his programs were among the most popular in the Series’ history. He is also highly admired as a teacher in master classes and has often worked with pianists, instrumentalists and actor/singers in that framework. Mr. Rowley has recorded, produced and written liner notes for a number of compact discs; his solo recordings feature repertoire by Liszt, Guion, Chopin, Mompou, Granados, Barber, Gershwin, Cumming and Copland. He has recorded chamber music with cellist Peter Rejto; flutist Marianne Gedigian; and clarinetist Patricia Shands. Recently he contributed performances to new discs of music by American composers Kathryn Mishell and Kent Kennan. A CD of songs by Strauss, Turina, Smith and Ward with soprano, Cheryl Parrish, is now in current release. For several years Mr. Rowley maintained a busy career in the theater and is a veteran of nearly fifty productions as actor, musical director and director. His first performances were for children’s theater at Zachary Scott in Austin and he has also worked for several theaters in Houston, the Point Theater in Ingram and the remarkable Unity Theatre in Brenham. He made his directorial debut with a production of The Belle of Amherst for the Unity Theater where he also directed a new play based on letters of George Sand and Gustave Flaubert. He was the sound designer and composer for songs and incidental music for a play based on “The Firebird” legend for Stages Theater in Houston. He most recently appeared in a highly praised performance as Frank in Brian Friel’s “Molly Sweeney”. Three years ago Mr. Rowley became a founding member of Plum Pianos, a thriving company which rebuilds and restores pianos and other keyboard instruments.  DONNIE RAY ALBERT
Senior Lecturer in Voice dralbert@aol.com (link sends e-mail)
Office Phone: 512-471-7322
Office Location: MRH 4.114
Specialties: Voice
Donnie Ray Albert is a regular guest of opera companies and symphony orchestras around the world, including the Metropolitan Opera as Germont, Los Angeles Opera as Trinity Moses in Mahagonny, Simone in A Florentine Tragedy, and as the Father in Hansel and Gretel, plus numerous appearances with Opera Pacific, Houston Grand Opera, Florentine Opera of Milwaukee, Dallas Opera, Arizona; Atlanta Opera, Austin Lyric Opera, Florida Grand Opera, Minnesota Opera,Utah Opera, and the opera companies of New Orleans, Baltimore, Columbus, Kansas City, Omaha, Pittsburgh, and, in Canada, with the companies in Calgary, Edmonton, Toronto, Montreal, Manitoba, and Vancouver. In Europe, he has appeared at the Cologne Opera singing all Four Villains in Les Contes d’Hoffman, Cavalleria Rusticana, I Pagliacci, and Frank in Die Tote Stadt, the Royal Opera House, Covent Garden as the Four Villains, the Royal Opera Wallonie in Liege for Zemlinsky’s A Florentine Tragedy, the National Theater in Prague as Jack Rance, the Deutsche Opera Berlin, Lithuanian National Opera in the title role of Der Fliegende Holländer, plus the opera houses in Bordeaux, Köln, Bregenz, Milan, Mannheim and Hamburg, and in Vienna in the title role in Ernst Bloch’s Macbeth for the Vienna “Klangbogen” Festival. He has appeared in Japan with the New National Theater in Tokyo as Wotan and the Wanderer in Der Ring des Nibelungen, and in Brazil as Jochanaan inSalome in Sao Paolo. As a concert artist, Mr. Albert has sung with the orchestras of Washington DC (National), Cologne, Southwest Florida, Chicago, Cincinnati, Dallas, Fort Worth, Houston, Dallas, Minnesota, Seattle, St. Paul, Los Angeles, Austin, Palm Beach, Greensboro, Grant Park Music Festival, and Madison, Vienna and Linz, in Austria and in Jerusalem. He is also a resident artist with the Center for Black Music Research at Chicago’s Columbia College. In recent seasons, Mr. Albert has appeared as Rigoletto for Vancouver Opera, Amonaso in Riga, Latvia, and Phoenix, Alfio for the Orlando Opera, Iago for the Kentucky Opera, Il Giuramento for the Washington Concert Opera, Das lied von der Erde with Rhode Island Philharmonic, Elijah with the Southwest Florida Master Chorale, concerts with the Choral Arts Society of Washington, the Atlanta Symphony, the American Symphony Orchestra for their performance of d’Indy’s Fervaal, Nashville Symphony, the Kentucky Opera as Germont, Latvian Opera as Giorgio in I Puritani, Prague’s National Theater as the Four Villains in a new production of Les Contes d’Hoffman, and the Semper Opera in Dresden for Keith Warner’s new production of Faust, in Paris for Aida, in Riga, Latvia for Otello, Madison Opera for La Traviata, and Washington Concert Opera for Adriana Lecouvreur. Future engagements includes appearances as Amonasro in Edmonton and in the title role of Verdi’s Falstaff for the Royal Danish Opera in Copenhagen. Donnie Ray Albert was born in Louisiana. He earned a Bachelor of Music Degree at Louisiana State University and a Master of Music Degree from Southern Methodist University in Dallas, Texas. Mr. Albert may be heard on RCA’s Grammy Award and Grand Prix du Disque winning recording of Porgy and Bess, NOW’s recording of The Horse I Ride Has Wings with David Garvey on piano, EMI’s Frühlingsbegräbnis and Eine Florentinesche Tragodie by Zemlinsky conducted by James Conlon, and Simon Sargon’s A Clear Midnight on the Gasparo label. |
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