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New England Conservatory - Voice 교수진 정보

Luretta Bybee  
          
Mezzo-soprano Luretta Bybee is on leave of absence through the 2016–2017 academic year.
 
A native of Midland, Texas, Bybee has sung with numerous opera companies and orchestras in the United States and abroad. She is particularly known for her Carmen, having sung the Bizet heroine with the New York City and Seattle opera companies, among numerous others, and in the world tour of Peter Brook’s La Tragédie de Carmen. Of her New York City Opera performances, Anthony Tommasini of The New York Times wrote: “Bybee brings a dusky-colored, vibrant voice to the role. This was a strongly sung and engaging portrayal.”
 
Other significant roles include the title roles in Rossini's L'Italiana in Algeri, Saint-Saëns's Samson et Dalila, Rossini's Bianca e Falliero, and Britten's Rape of Lucretia. She has also sung Ulrica in Verdi's Un Ballo in maschera, Dame Quickly in Verdi's Falstaff, Fricka in Wagner's Das Rheingold, Paula in Catan's Florencia en el Amazonas, and Klytemnaestra in Elektra and Herodias in Salome, both by Richard Strauss.
 
Bybee’s concert work has included the world premiere of the reduced orchestral version of Leonard Bernstein’s Songfest at the 92nd Street Y, which she reprised with the Tanglewood Music Center Orchestra and Seiji Ozawa on the Leonard Bernstein Memorial Concert at Tanglewood. She has sung Verdi's Requiem and Handel’s Messiah at Carnegie Hall and can be heard on the recording of Aaron Copland’s In the Beginning with Gloria dei Cantores.
 
Bybee has just created the role of Amanda in Daron Hagen's world premiere of Amelia at the Seattle Opera, and will debut the role of Bernadetta in John Musto's world premiere of The Inspector (aka An Inspector from Rome) next season at Wolf Trap Opera. More about this at Wolf Trap's blog.
 
Studies at Baylor University. Voice with Carol Mayo. Former 
 
 
     Carole Haber  
 
Wendy Shattuck Chair in Voice
 
Carole Haber, a lyric coloratura soprano, won the N. Meyer Baker Award and the Eleanor Steber Music Foundation Award at the 1989 Washington International Voice Competition at the Kennedy Center. She is well known for her interpretations in the Mozartean and Bel Canto styles. She made her operatic debut as the Queen of the Night in The Magic Flute. Her performances of this role throughout the East Coast have been highly acclaimed by The New York Times, High Fidelity, Opera News, and The Boston Globe, among others. Haber has sung with leading orchestras and choral groups throughout the United States, with such conductors as Robert Shaw, Christopher Hogwood, Roger Norrington, Andrew Parrott, Keith Lockhart, and Sarah Caldwell.
 


In 1996, Haber premiered Daniel Pinkham’s The White Raven and Robert Kyr’s Passion According to Four Evangelists. She has recorded the latter work on the New Albion label. In 1997, Haber made her Carnegie Hall debut with the Orchestra of St. Luke’s in Brahms’s Requiem. She remains an active performer in concerts and recitals.


 
Haber's students have, and are currently singing with Chicago Lyric Opera, Opera Boston, Boston Lyric Opera, Zurich Opera Studio, New York City Opera, Handel and Haydn Society, Boston Baroque, Glimmerglass Opera, Carmel Bach Festival, Lyric Opera of New Jersey, Connecticut Lyric Opera, Caramoor Festival, Cincinatti Young Artist Program, and at Tanglewood.
 
In December 2009, Carole Haber was named the first occupant of NEC's first-ever endowed faculty position in vocal studies, the Wendy Shattuck Chair in Voice, funded by NEC voice alumna Wendy Shattuck '75 and her husband, Samuel Plimpton. More on this.
 
B.A., Crane School of Music, SUNY/Potsdam; M.M., NEC. Former faculty of Boston University. Voice studies with Lynn Meyers and Helen Hodam. Recordings on BGI, New Albion.
 
 
 
 
 
 
      Karen Holvik 
 
Assistant Chair, Voice
 
Soprano Karen Holvik has pursued an eclectic musical path, building a large repertoire of concert music, oratorio and operatic roles.
 
Highlights of her work in regional opera include appearances with Houston Grand Opera's Spring Opera Festival, Skylight Opera, Opera Festival of New Jersey, Opera Illinois, Anchorage Opera, Texas Opera Theater, and Western Opera Theater, singing roles including Constanze, Lucia, Juliet, Adina, Micaela and Baby Doe.
 
Holvik has toured extensively in the United States, and has appeared in Canada and Western Europe singing both popular and classical repertoire. She has been successful in many competitions, including the American Opera Auditions, Liederkranz Foundation, Oratorio Society of New York, Carnegie Hall International American Music Competition, and Joy in Singing, which sponsored her debut recital at Alice Tully Hall. The Richard Tucker Gala Concert marked her Avery Fisher Hall debut, an event that was recorded by RCA Victor Red Seal and shown nationally on PBS, and she made her Carnegie Hall debut singing Handel's Messiah with the Masterwork Chorus and Orchestra.
 
Holvik spent five summers as an Opera Fellow at the Aspen Music Festival, where she was a student of Jan DeGaetani and Arleen Augér and sang leading roles in numerous opera productions. She has since returned as a guest artist to sing concerts featuring works by Bach and Mozart, as well as an evening of Gershwin songs with her Eastman classmate, baritone William Sharp, in a concert to celebrate the opening of the Harris Recital Hall.
 
Having begun her singing life in the world of popular music and jazz, Holvik has long been a champion of contemporary American song and operatic repertoire, and has premiered works by Ricky Ian Gordon, Aaron Kernis, John Musto, James Sellars, Stewart Wallace, Tom Cipullo and Richard Wilson. She was featured in the New York premiere and on the subsequent tour of Kabbalah by Stewart Wallace and Michael Korie, and appears on the Koch International Classics recording. She created the role of Rose in the premiere of The World is Round by James Sellars on a text by Gertrude Stein. Another premiere, Aethelred the Unready by Richard Wilson, marked her debut with the American Symphony Chamber Orchestra. For her next appearance with the ASCO, she sang Samuel Barber's Knoxville: Summer of 1915.
 
Holvik has appeared on television, radio, and in concert with the acclaimed recital series, New York Festival of Song, and appears with William Sharp and pianist Steven Blier on a NYFOS recording released by Koch International Classics, Zipperfly & Other Songs by Marc Blitzstein. Holvik has also sung concerts throughout the United States as part of Trio Con Voce, with pianist Brian Suits and violinist Kyung Sun Lee, and appeared frequently in New York with the popular series Friends and Enemies of New Music. She has been a featured soloist in numerous seasons with the Boulder and Kalamazoo Bach Festivals, and she appeared at the Colorado Music Festival in Boulder singing Mozart concert arias and Beethoven's Egmont songs. In 2002, she premiered the songs of Vivian Fung during a residency in Florence, Italy, sponsored by the Atlantic Center for the Arts. In June of 2007, Holvik appeared as Julie LaVerne in Mercury Opera Rochester's production of Show Boat in the Eastman Theater.
 

Master's degree and performer's certificate in opera, Eastman School of Music. Former faculty of the University of Missouri-Columbia, Vassar College, New York University, and the Eastman School of Music.

 
 
 
 
     Michael Meraw  
          
 Director, Undergraduate Opera Studio; Voice
 
Baritone Michael Meraw performs regularly with companies across North America, in repertoire ranging from Monteverdi and Handel, to Webern and Szymanowski. Not only has Meraw garnered critical acclaim in the standard repertoire, winning praise for his Figaro in Rossini's Barber of Seville and Orff's Carmina Burana, but he has also brought lesser-known works to new audiences through his incisive portrayals of such roles as King Roger by Szymanowski ("Meraw did well as Roger, with nervy urgency and gripping delivery of his increasingly anguished lines..." — Geoff Chapman, The Toronto Star) and Sir John A. MacDonald in Somers's Louis Riel ("Dealing with a vocal part that veers from sprechgesang to dramatic declamation, baritone Michael Meraw showed great vocal cut and thrust, in addition to contributing a striking stage presence." — Richard Turp, Opera Canada). Meraw is also active as a performer and creator of new works, and has workshopped the title role in John Estacio and John Murrell's new opera Frobisher.
 
Meraw formerly taught at McGill University for eight years as a Professor of Voice, French and Italian Diction, and a graduate seminar entitled Vocal Styles and Conventions. In the first year of his professorship at McGill, he was awarded the "Teacher of the Year" award. Meraw was also on faculty at l'Universite de Montreal for four years, as a Invited Professeur in the voice faculty. Despite his youth, Meraw already has students winning international competitions, singing in apprentice programs in Canada and the United States, and singing with orchestras and opera companies in North America and Europe.
 
Bachelor of Early Music Performance, M. Mus. in Solo Vocal Performance, McGill University. Voice studies with Eva Bostrand, Alan Fast, William Neill, Dixie Ross-Neill, Mark Pedrotti, Lucille Villeneuve-Evans, Dr. Robert K. Evans. Fencing and Stage Combat with Jean-François Gagnon of the National Theatre School of Canada. Ballet and Modern Dance with Daniel Seller, Vincent Warren, and Sasha Belinski at Les Grands Ballet Canadiens. Former faculty of McGill University and l'Unversite de Montreal.
 
 
 
     Lorraine Nubar
 
Lorraine Nubar is head of the Juilliard School’s Pre-College voice department, and a member of its faculty since 1978. She has taught at NEC since fall 2003. Nubar studied with Jennie Tourel, serving as her teaching assistant while still a student. She also worked with William Vennard, Daniel Ferro, Martial Singher, Frank Corsaro, Gerard Souzay, Elly Ameling, Jeanine Reiss, and Dalton Baldwin.
 
Nubar enjoys a long time association with collaborative pianist Dalton Baldwin and conducts annual master classes with him at Vermont Opera Theater’s “Foliage Art Song” festival. An established presence in France, Nubar is the first American to be appointed to the voice faculty of the Paris Conservatory. She has prepared singers for the Paris Opera and Lyon Opera and regularly conducts summer master classes at the Foundation Royaumont in Val d’Oise, the Centre International de Formation Musicale in Nice and the summer vocal chamber music program at Les Azuriales Opera. Several of Nubar’s students have been honored as Presidential Scholars in the Arts, and have sung at the White House. In demand as an adjudicator, she has been a juror for the Young Concert Artists International competition, the Paris Concours, and the Marseille Concours.
 
B.M., M.S. The Juilliard School. Studies with Jennie Tourel.
 
 
     Lisa Saffer
 
Soprano Lisa Saffer joins the NEC voice faculty beginning fall 2010. Recognized for her skill as an interpreter of contemporary scores and of the music of Handel, Saffer has performed on opera and concert stages worldwide, in productions such as the English National Opera at London’s Coliseum in the title role in Berg’s Lulu, Handel’s Messiah with the Philadelphia Orchestra, and Mendelssohn’s A Midsummer Night's Dream with the New York Philharmonic. Leighton Kerner, longtime music critic for The Village Voice, called Saffer "one of those special singers whose technique and blooming sound always serves sense and emotion.”
 
For her portrayal as Lulu in Alban Berg’s opera Lulu, Saffer received the Royal Philharmonic Society Award for best vocal performance, and was nominated for an Olivier for outstanding achievement in Opera, London’s prestigious equivalent of Broadway’s Tony.
 
In addition to Lulu, Saffer has been acclaimed on the opera stage for performances in Harrison Birtwhistle’s Punch and Judy and Morton Feldman’s Neither for Netherlands Opera, Hans Werner Henze’s Elegy for Young Lovers at the Concertgebouw in Amsterdam and the Tanglewood Festival, Janácek’s Cunning Little Vixen for Houston Grand Opera, as Marie in Zimmermann’s Die Soldaten, which she has performed at ENO, Opera Bastille, and at New York City Opera.
 
Saffer is much in demand for Handel roles at venues including Santa Fe Opera, Glimmerglass, New York City Opera, San Diego, the International Handel Festival in Göttingen, Germany, and Barcelona’s Gran Teatro del Liceu. In addition, she regularly appears with several leading orchestras in baroque repertoire, including the National Symphony in Washington, DC, and the Philharmonia Baroque Orchestra.
 
Of her performance in the role of Cleopatra in Handel’s Giulio Cesare, The Boston Globe noted: “Her silvery, brainy vocalism was world-class throughout and in the last celebratory aria, she brought the house down, rocketing off coloratura with flourish and showing off a splendid high C.”
 
Saffer is also sought after as a Mozart interpreter, acclaimed for her performances as Sandrina in La Finta Giardiniera, Despina in Così fan tutte, Servillia in La Clemenza di Tito, Aminta in Il Re Pastore, Susanna in Le Nozze di Figaro, and also in concert arias, such as Exsultate Jubilate, and Mozart's masses.
 
Saffer is widely recognized for her skill as an interpreter of contemporary scores, and is identified with the works of Oliver Knussen, and also appeared in a staging of Britten’s The Rape of Lucretia conducted by Knussen. With the Chicago Symphony Orchestra, she has performed James Primrosch’s From a Book of Hours and John Harbison’s Four Psalms, Ravel’s L’enfant et les Sortilèges with the Cleveland Orchestra at Carnegie Hall, David del Tredici’s Ecstatic Alice with the Atlanta Symphony, and numerous works with Amsterdam’s Schoenberg Ensemble.
 
Her gift for contemporary repertoire is also displayed in her frequent chamber music appearances under the auspices of such organizations as the Los Angeles Philharmonic New Music Group, Chamber Music Society of Lincoln Center, New York Festival of Song, Santa Fe Chamber Music Festival, and recitals on Lincoln Center’s “Art of the Song” series, and at the Kennedy Center for the Vocal Arts Society.
 
Highlights of Saffer’s 2009-2010 season include The Princess in Philip Glass’s Orpheé for Portland Opera, Messiah with the Seattle Symphony and at Duke University, Oliver Knussen’s Whitman Songs with the Atlanta Symphony, and Mahler’s Symphony No. 2 with the Portland Symphony.
 
Bachelor's degree, Oberlin College Conservatory. Master of Music, Artist Diploma, New England Conservatory. Recordings on Harmoni Mundi USA, Virgin Classics, New World Records, DGG, Chandos, and Telarc.
 
 
     Jane Eaglen
 
Dramatic soprano Jane Eaglen joined New England Conservatory's voice studio faculty beginning with the 2013–2014 academic year.
Eaglen has enjoyed one of the most formidable reputations in opera for the past two decades. Her performances of roles such as Isolde in Tristan und Isolde, the title roles in Puccini’s Turandot, Bellini’s Norma, and Strauss’s Ariadne auf Naxos, Brünnhilde in Wagner’s Der Ring des Nibelungen have earned her acclaim on stages of the leading opera houses of the world, including the Metropolitan Opera, Lyric Opera of Chicago, San Francisco Opera, Royal Opera House, Covent Garden, Teatro alla Scala, Vienna State Opera, and l’Opera National de Paris.
 
Other notable roles in her repertoire include the title roles of Tosca (English National Opera as well as in Argentina, Australia, and Japan), La Gioconda (English National Opera and Lyric Opera of Chicago), and Donna Anna in Don Giovanni (Bavarian State Opera, English National Opera, Los Angeles Opera, Metropolitan Opera, Vienna State Opera, Teatro Comunale di Bologna, etc.), Amelia in Un Ballo in Maschera (Paris and Bologna).
 
She has appeared with many of the world’s leading orchestras, including the New York Philharmonic conducted by Zubin Mehta (“Immolation” Scene from Götterdämmerung and the final scene from Strauss’s Salome), Chicago Symphony conducted by Daniel Barenboim (Strauss’s Four Last Songs), Boston Symphony Orchestra conducted by Bernard Haitink (“Immolation” Scene from Götterdämmerung), Orchestra of Santa Cecilia conducted by Daniele Gatti (Verdi Requiem), Mahler’s Symphony No. 8 conducted by Klaus Tennstedt, Schoenberg’s Gurre-Lieder conducted by Claudio Abbado for the Salzburg and Edinburgh Festivals, plus concert performances of Die Walküre and Götterdämmerung with the Gurzenich Orchestra of Cologne conducted by James Conlon.
 
Eaglen’s extensive discography includes a number of solo albums for Sony Classical: “Arias by Wagner and Bellini:” “Arias by Strauss and Mozart;” “Strauss’ Four Last Songs” (which includes Wagner’s Wesendonck Lieder and Berg’s Seven Early Songs), and “Italian Opera Arias.” The complete recording of Wagner’s Tannhäuser conducted by Daniel Barenboim for Teldec earned her a Grammy Award. She may also be heard in recordings of Mahler’s Symphony No. 8 conducted by Riccardo Chailly for Decca, Beethoven’s Symphony No. 9 conducted by Claudio Abbado for Sony Classical, Tosca for Chandos, Norma conducted by Riccardo Muti for EMI, and the title role in Medea in Corinto for Opera Rara. Her voice is also featured on Sony Classical’s soundtrack for the film adaptation of Sense and Sensibility.
 
For her services to the arts, Eaglen was honored by the U.S. House of Representatives in 2005 and by the Licia Albanese–Puccini Foundation with their Baccarat Award in 2008. She received an honorary Doctor of Music from McGill University, Doctor of the University by Bishop Grossteste University College, Lincoln, England, and as an Honorary Member of the Wagner Society of Northern California and the Ohio Wagner Society.
 
While continuing to perform, she is active as a teacher. In addition to her new full-time teaching role at NEC, she is cofounder and artistic director of the Wagner Intensive summer program held at Baldwin-Wallace University Conservatory of Music. She has also served as Senior Artist in Residence at the University of Washington School of Music, Principal Vocal Instructor for the Young Artist Program of the Seattle Opera, teaches periodically at the Cardiff International Academy of Voice, and returns annually to teach and mentor young artists for the Merola Program at the San Francisco Opera.
 
Former faculty of Baldwin-Wallace University Conservatory of Music.
 
 
 
    MaryAnn McCormick
 
Internationally acclaimed mezzo-soprano MaryAnn McCormick joins the New England Conservatory voice studio faculty with the 2015/2016 academic year.
MaryAnn McCormick has been hailed in the press as "charismatic," "spell-binding," and "elegant." Her international credits include Isabella in L'Italiana in Algeri at La Scala, Azucena in Il Trovatore at the Teatro Regio Torino, and First Maid in Elektra with Christoph von Dohnanyi at the Opéra National de Paris. She has also performed Maddalena in Rigoletto under Daniele Gatti at the Teatro Comunale di Bologna and with Seattle Opera and Gluck's Alceste under Bruno Bartoletti at the Teatro Regio di Parma.
 
Her recent accomplishments include performances as Carmen with Theater St. Gallen, Switzerland, of which the critics wrote “She acts and sings a wonderful Carmen”—a role she has also performed with Teatro dell’Opera di Roma, Teatro Regio di Torino and the Staatsoper Stuttgart, among others. MaryAnn returned to the Metropolitan Opera in their 2011 season to sing the role of Grimgerde in their new production of Die Walküre, which was broadcast in HD in theaters internationally. This production, part of the complete Ring Cycle, was recently released on DVD and also won the 2012 Grammy award for Best Classical Album.
In recent seasons, she made debuts with both Teatro la Fenice in Die Walküre, conducted by Jeffrey Tate, and Teatro dell'Opera di Roma as Priyamvada in Alfano's Sakuntala. She can be heard as Tigrana in Puccini's Edgar in a recording with the Orchestre National de France led by Yoël Levi. MaryAnn sang Suzuki in Madama Butterfly with Opera Colorado, the role of Nefertiti in Phillip Glass's Akhnaten with Atlanta Opera, and performances of Das Lied Von der Erde with the Orchestra Verdi in Milan, conducted by Ion Marin—a piece she has also performed with the Chamber Orchestra of Philadelphia to standing ovations. In 2010, she created the roles of Grandma Josephine and Mrs. Teavee for the world premiere with Opera Theatre of St. Louis of Peter Ash's The Golden Ticket, an opera based on Roald Dahl’s Charlie and the Chocolate Factory.
Other recent engagements include performances as Suzuki in Madama Butterfly at Lyric Opera of Chicago during their 2013–14 season, Act III of Die Walküre at the Tanglewood festival with the Boston Symphony Orchestra, and the North American premiere of Huang Ruo’s opera Dr. Sun Yat-Sen, sung in Mandarin, for Santa Fe Opera’s 2014 season, in the role of Ni Gui-Zhen.
 
MaryAnn returned to the Metropolitan Opera in 2014 to sing again in their productions of Die Walküre and as Soeur Mathilde in their critically acclaimed production of Dialogues of the Carmelites. In the 2015 season she has performed the role of Giovanna in Verdi’s Ernani with the Metropolitan Opera conducted by James Levine and Das Lied von der Erde at Montclair State University. Upcoming engagements include Rigoletto at the Metropolitan Opera and a reprisal of Ni Gui-Zhen in Dr. Sun Yat-Sen for the Vancouver Opera.
 
With the Metropolitan Opera of New York, MaryAnn has performed roles in many operas over more than twenty seasons, including Die Walküre, Don Carlo, Carmen, La Traviata, Die Zauberflöte, L’Enfant et les sortilèges, and the world premiere of John Corigliano's The Ghosts of Versailles. MaryAnn has also performed with the Lyric Opera of Chicago in Il Barbiere di Seviglia as Rosina, Opera Theatre of St. Louis in the North American premiere of Jonathan Dove's Flight as the Minsk Woman, and as Prince Charmant in Cendrillon, Santa Fe Opera as Dorabella in Così fan tutte, Opera Colorado as Hänsel in Hänsel und Gretel, Opera Ireland as Olga in Eugene Onegin, and Boston Lyric Opera as the title role in Cenerentola.
 
Mary Ann McCormick has toured Japan with Wolfgang Sawallisch and the Philadelphia Orchestra in performances of Beethoven’s Symphony No. 9, a work she has also performed with Leonard Slatkin and the Cleveland Orchestra, Sir Neville Marriner and the Academy of St-Martin-in-the-Fields, Edo de Waart and the Dutch Radio Philharmonic, and the Illinois Symphony. Other concert highlights include Ariadne auf Naxos with Sawallisch and the Philadelphia Orchestra; John Corigliano’s Of Rage and Remembrance with the Boston Symphony Orchestra: Mozart’s Requiem, and Pergolesi’s Stabat Mater with the Montreal Symphony: Handel’s Messiah with the National Symphony, the Montreal Symphony, and the St. Paul Chamber Orchestra: Bruch’s Odysseus with the American Symphony Orchestra: Verdi’s Messa di Requiem with the Illinois Symphony Orchestra and the Oratorio Society of New York; El Amor Brujo with the Brooklyn Philharmonic and Robert Spano; and the Tanglewood Festival in Rossini’s Petite Messe Solennelle with Emanuel Ax and Robert Spano accompanying, conducted by Grant Llewellyn.
 
As a recitalist and chamber musician, MaryAnn’s notable performances include recitals in New York’s Morgan Library for the George London Foundation, NEC’s Jordan Hall with Robert Spano, the Châtelet in Paris, and Tokyo’s Suntory Hall and Philadelphia’s Academy of Music accompanied by Wolfgang Sawallisch.
 
MaryAnn has recorded with the Emerson String Quartet in the Grammy-nominated recording of Anton Webern’s Three Pieces for String Quartet, Op. 3, No. 3, on Deutsche Grammophon, as well as the New York Philharmonic and Orchestre National de France. She is featured singing in the Miramax film The Talented Mr. Ripley.
 
B.M. in vocal performance, Performer's Certificate in opera, Eastman School of Music; Artist Diploma, New England Conservatory. Studies with Edward Zambara, Marlena Malas, Fred Carama.
 
 

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