Patty Thom
Chair, Voice & Opera | Voice Faculty
Patty Thom earned a B.M. from the University of North Dakota and a M.M. from Boston University. She also studied voice at L'Ecole Hindemith in Vevey, Switzerland and the Korean language at the Monterey Institute for International Studies (CA). Thom completed additional studies with Joan Heller, Phyllis Curtin and Richard Cassilly and completed acting and voice training with Kristin Linklater, Brent Blair and Christopher von Baeyer. She also studied piano with Carmen Leerstang, Allen Rogers and Anthony DiBonaventura and was involved in masterclasses with Arlene Auger, Carlo Bergonzi, Helen Boatwright, Hugues Cuenod, Irwin Gage (Cleveland Art Song Festival), Margo Garrett, Benjamin Luxon and David Willison.
Thom has given recitals and performances throughout the US (Boston and Tanglewood), Canada, Switzerland, India, Indonesia, New Zealand and Asia and served as artistic ambassador for the United States Information Agency. She has performed in several premieres of new works by Andy Vores, as well as for the composers' consortia NuClassix, Extension Works and Underground Composers. Thom has been trained in Linklater work (freeing the natural voice) and yoga (Kripalu) as well as Alexander Technique, Feldenkrais and Trager practices. She is former faculty of Boston University and the Boston University Tanglewood Institute's Young Artists' Vocal Program. She is also the former music director at the Walnut Hill School and served as director of the New England Conservatory/Walnut Hill Joint Program.
MARILYN BULLI
Marilyn Bulli earned a D.M.A. and M.M. in vocal performance from Indiana University and a B.A. in music education from St. Olaf College. She has studied voice with Sharon Daniels, Phyllis Curtin, Martha Lipton, Reri Grist, Virginia Zeani and Lucille Evans, and voice pedagogy with Richard Miller and Patricia Doyle. She has also had opera coaching with Joan Dornemann, Stephen Steiner, Will Graham and Susan Ormont and voice work with Kristin Linklater. Bulli’s additional studies include an opera program with the American Institute of Music Studies in Graz, Austria (full scholarship) and the Wesley Balk New Music Theater Ensemble Institute.
Bulli has been a soloist with the Boston Lyric Opera (also a core ensemble member), Emmanuel Music, Handel and Haydn Society, Boston Baroque and other Boston-area performance organizations. She has additional performance experience with conductors Seiji Ozawa, John Harbison, Craig Smith, Stephen Lord, Christopher Hogwood, Grant Llewellyn and William Christie and directors Nicholas Muni, Christopher Alden, Leon Major, Colin Graham and Mary Zimmerman. Bulli has filled numerous opera roles and given various oratorio and recital performances. Her honors and awards include first place at the Metropolitan Opera District Auditions, first place at the Bel Canto Regional Artist Competition (Milwaukee, WI), finalist in the New York Oratorio Society Competition (Carnegie Hall, NY), a fellowship with the Bach Aria Festival and Institute (Stony Brook, NY), a scholarship fellowship with the Amherst Early Music Festival (Amherst, MA) and a performance grant from the St. Botolph Foundation (Boston, MA).
KERRY DEAL
Full lyric soprano Kerry Deal is a versatile performer in the greater Boston area. As a frequent interpreter of oratorio, she has been especially heard in the sacred works of Mozart, including his Requiem, Coronation Mass, Solemn Vespers, and the Grand Mass in C Minor, but her performances also encompass a variety of other sacred works, ranging from baroque oratorio such as Handel's Messiah, to the more romantic religious works of Fauré and Gounod. Also a champion of new music, Ms. Deal often features 20th and 21st century music in recital and has premiered and recorded new works with St. Cecilia Music, and has sung the world premier of work by American composer Gloria Coates at Rubinstein Hall in the Munich Steinway Haus. As a young artist at Opera in the Ozarks, Ms. Deal sang the role of Mimi in La Bohème. More locally, she has sung with Longwood Opera, Opera Aperta, and with New York Opera Forum as Nedda in I Pagliacci.
Ms. Deal earned her BA magna cum laude in languages and literature at the College of William and Mary in Virginia before pursuing her graduate studies in music, with a MM in Opera Performance from the Boston Conservatory and a DMA in Voice Performance from Boston University. Ms. Deal has been a member of the voice faculty at the Boston Conservatory for the past ten years, where she teaches a combined studio of music theater and vocal performance majors. In addition to her teaching responsibilities at Boston Conservatory, she has been featured in several faculty recital series and as a guest soloist in both Haydn's The Creation and Mozart's Regina Coeli (K. 108) with the Conservatory's Chorale and Orchestra. Most recently, she was heard in Bernstein's "Kaddish" Symphony #3. Ms. Deal also holds an affiliate faculty position at the Massachusetts Institute of Technology, where she instructs recipients of the prestigious Emerson vocal fellowship award.
Ms. Deal gives regular masterclasses for both singers and teachers, and in 2010, she joined the faculty of the International Performing Arts Institute in Germany. Based in Kiefersfelden and with "intensives" held in Hamburg and Munich, this unique summer program provides comprehensive training to both classical and musical theater singers and audition exposure to German agents for both classical and theatrical singers.
Former students of Ms. Deal have found success in both operatic and music theater mediums, with acceptance to important young artist programs and contracts in regional opera and theater, as well as on Broadway, at Carnegie Hall, and in national touring companies.
kdeal@bostonconservatory.edu
REBECCA FOLSOM
Rebecca Folsom, Mezzo-Soprano, has appeared in leading operatic roles and concerts in the US and abroad. Among other venues, she has performed at Ft. Worth Opera, Utah Festival Opera, Lyric Opera of Kansas City and the Pacific Music Festival in Sapporo, Japan.
Dr. Folsom’s students have sung in opera houses and festivals including Santa Fe, Wolftrap, Glimmerglass, Dallas Opera, Ft. Worth Opera, Arizona Opera, Chautauqua Opera, Chicago Lyric Opera, Michigan Opera Theater, Los Angeles Opera, Tanglewood, Central City Opera and internationally at Israeli Opera, Darmstaddt Opera and in theaters in Italy and Berlin. Students have won and been finalists in competitions such as the Metropolitan Opera National Council Auditions, The Richard Tucker Award, the Janssen Award, the Oratorio Society of New York Award, The William Mattheus Sullivan Award, and the Liederkranz Foundation.
.Dr. Folsom has served as a staff voice teacher for the Young Artists Programs of the Dallas Opera, Ft. Worth Opera, Israeli Opera, Seagle Music Colony, Flagstaff in Fidenza, Italy, Fairbanks, Alaska Summer Arts Festival and has taught masterclasses both nationally and internationally including appearances at the prestigious Caramoor Festival and the Hans de Roo International Conference for Young Artist Programs in Amsterdam. Her publishing credits include articles in the NATS Journal of Singing, The Society for American Music Journal, the Opera America on-line journal as well as the Chinese Journal for Music Education. In addition, she has presented papers for the Society of American Music National Conference and the College Music Society.
Dr. Folsom received both her Doctor of Musical Arts Degree and her Master of Music Degree in Vocal Performance from the University of Missouri-Kansas City. Her primary teachers include Inci Bashar, Martha Longmire, and Joseph Amaya.
rfolsom@bostonconservatory.edu
SARA GOLDSTEIN
Soprano Sara Goldstein is an oratorio and chamber music artist. She has performed throughout the northeastern United States and France, where she lived and taught for several years. She sang solo recitals on France Musique Radio and at Festival du Perigord Noir as well as premiering new opera on France Culture Radio. Goldstein has also performed solo concerts at Jordan Hall, the French Library and the Goethe Institute (Boston). Her other performance credits include featured performances with the Foundation for Baroque Music (New York, Washington, DC) and Boston's Opera UnMet.
Goldstein is an ATI certified teacher of the Alexander Technique and has taught workshops for the Professional Vocal Pedagogy Seminars at The Boston Conservatory and music teachers of the Boston Public Schools. She teaches the Performance and Alexander Technique course for undergraduate voice majors at The Boston Conservatory. She has given numerous masterclasses, including at the Baroque Music Conservatory (CMBV) in Versailles, France, Longy School of Music and New England Conservatory Prep.
Goldstein earned a B.A. In English and History from the University of Rochester with concurrent voice studies at Eastman School of Music and a M.M. in Voice from the New England Conservatory with additional studies at the Britten-Pears Institute for Advanced Musical Studies in Aldeburgh, England. Goldstein studied with Susan Clickner, Grace Hunter and Elisabeth Schwarzkopf and completed additional studies with William Christie, Rita Streich and Hugues Cuenod.
Goldstein is the co-founder and director of voice workshops (Etudes et Rencontres Artistiques) in Montignac, France. Her previous teaching credits include the American College in Paris and Berklee College of Music. Former students are singing throughout the United States, Europe and Asia, including at The Metropolitan Opera, Florida Grand Opera, Boston Lyric Opera, Diva Opera, and many are teaching in conservatories and universities.
www.saragoldsteingall.com
sgoldstein@bostonconservatory.edu
THOMAS GREGG
Thomas Gregg has performed in a wide variety of musical venues, including early music (Handel & Haydn Society, Washington Bach Consort, Texas Baroque Ensemble), opera (New Orleans Opera, Opera Memphis), oratorio (Columbus Symphony, Cincinnati Choral Society, Memphis Symphony, Harvard University Choir), choral (King’s Chapel Boston, Musikanten Montana), chamber music (DoubleAction, harp and tenor duo; Columbia’s Musick, Early American Music) and recital performances in many locations throughout the U.S. His European debut was at the 1995 Franz Schubert Institute in Baden-bei-Wien, Austria.
Gregg has won numerous performance and academic awards, and he has studied with Ellen Faull and Phylis Bryn-Julson and in masterclasses with Elly Ameling, Han Hotter, Martin Katz and many others. He holds a B.M. from Capital University, a M.M. from The University of Michigan and a D.M.A. from The Ohio State University.
Gregg has taught voice and classes in vocal pedagogy and repertoire at The Boston Conservatory since 1999. He is president of the Conservatory’s chapter of the music honor society Pi Kappa Lambda. He was an associate professor at the University of Mississippi (1988-1998). His former students have careers as professional singers, actors, voice teachers and music educators.
http://www.home.comcast.net/~mugregg/site/
tgregg@bostonconservatory.edu
Robert Honeysucker earned a B.M. from Tougaloo College and a M.M. from Miami University. He has completed additional studies at Boston University and trained vocally with Donna Roll, Mary Davenport, Barbara Stevenson, Mac Morgan, Thomas Holt, George Barron and Areil Lovelace.
Honeysucker has held several opera and oratorio performances world-wide, including appearances with Boston Lyric Opera, Connecticut Opera, Delaware Opera, Eugene Opera, Fort Worth Opera, Opera Boston, Opera Company of Boston, Sacramento Opera, Tulsa Opera, Utah Opera, Boston Symphony Orchestra, Boston Pops, Pittsburgh Symphony, Flagstaff Symphony Orchestra, Omaha Symphony Orchestra, Utah Symphony, St. Louise Symphony and Long Island Symphony. He has held engagements in Japan with Sapporo Symphony, Osaka Philharmonic, Tokyo Philharmonic and Tokyo Symphony.
Robert Honeysucker is a member of the voice faculties at The Boston Conservatory, New England Conservatory (NEC) Extension and The Longy School of Music.
www.roberthoneysucker.com
rhoneysucker@bostonconservatory.edu
VICTOR JANNETT
Baritone Victor Jannett, a native of St Louis, performed often with Opera Theatre of St. Louis, as well as the St. Louis Symphony, singing roles including the bass solos in Bach’s Cantata, Ein Feste Burg, and the Mandarin in a concert version of Puccini’s Turandot, which was broadcast on National Public Radio (NPR).
In St. Louis, Jannett was a student of the renowned voice teacher, Edward Zambara. He attended the Franz Schubert Institute in Baden bei Vien and worked with many coaches, directors and conductors over the years, including John Wustman, Stephen Lord, Colin Graham, Eli Ameling, Hans Hotter, Leonard Slatkin and James Levine.
In Boston, where he now resides, he has performed with many local opera companies, including Boston Lyric Opera (BLO) and Longwood Opera. He was the Duke of Nottingham in Boston Bel Canto Opera’s production of Roberto Devereaux at Jordan Hall. At Harvard with Lowell House Opera, he sang the title role in Rigoletto and Junior in Bernstein’s A Quiet Place, in which, according to Richard Dyer’s review in the Boston Globe, “Mr. Jannett, who sang with a handsome ring in his voice, is also an uninhibited actor.” He was Daniel Webster in The Devil and Daniel Webster with Granite State Opera, a portion of which was also performed on WGBH Radio. Oratorio roles include Elijah, Manoah in Handel’s Samson, Messiah, JS Bach’s Magnificat as well as CPE Bach’s Magnificat, Haydn’s Creation and many others. Last year, as a guest artist with Guerilla Opera in their newly commissioned production of Rumpelstiltskin by Marti Epstein, he sang the role of the King.
In the spring of 2011, Jannett performed Liszt’s Tre sonetti del Petrarca and other Liszt songs in the Franz Liszt Festival at The Boston Conservatory. He will be on the faculty at the Orfeo Music Festival this July in Vipiteno, Italy, where he will be teaching and performing. He has been on the voice faculty of The Boston Conservatory for 16 years.
vjannett@bostonconservatory.edu
MONIQUE PHINNEY
Monique Phinney has been on the Boston Conservatory voice faculty for over twenty years, teaching both classical and musical theater majors. She earned a B.M., cum laude from Hartt College of Music and completed studies with Clara Shear, John Moriarty, Judith Oas, Joan Caplan, Alberta Masiello and Robert Hess.
Ms. Phinney has performed with the Santa Fe Opera as well as Boston Concert Opera in Boston’s Symphony Hall, the San Angelo Symphony, the Hartford and Indian Hill symphony orchestras, Musica Sacra (New York) and Amor Artis. She has worked with the conductors Edo de Waart, John Fiore, Raymond Leppard and Richard Westenburg and with directors Rhoda Levine, Bliss Hebert and Rosalind Elias. Phinney was a finalist in the Connecticut Grand Opera Competition, the Eleanor Steber Vocal Competition and the Houston Grand Opera Studio and appeared in the American premiere of Debussy's La Chute de la Maison Usher with Ignace Strasvogel, which aired on CPTV. In addition, she has made several musical theater appearances with Hartt Opera Theater and the Indian Hill Symphony.
Ms. Phinney is on the faculty of the Orfeo Music Festival in Vipiteno, Italy, where she teaches voice, conducts masterclasses, and stages and directs opera scenes. She has also taught masterclasses in Massachusetts, Florida, and New York and has been a judge for the National Association of Teachers of Singing and Classical Singer competitions. In addition to her Boston Conservatory studio, Ms. Phinney maintains a private studio in Boston. She believes in providing all of her students with a positive learning environment and in giving them a strong foundation in vocal technique.
Ms. Phinney’s students have performed with Boston Lyric Opera, Fort Worth Opera, Seagle Colony, Brevard Music Festival, Ohio Light Opera, and Boston Opera Collaborative, and they have been admitted to top graduate schools in the country. She has students on Broadway and in national touring companies.
Ms. Phinney is a member of the National Association of Teachers of Singing (NATS) and the Metropolitan Opera National Council Auditions New England Regional Committee.
mphinney@bostonconservatory.edu
KEVIN WILSON
Kevin Wilson earned a B.M. in voice performance from the University of Central Oklahoma with additional studies at the Kansas City Conservatory and a M.M. in voice pedagogy from the New England Conservatory (NEC). He has studied voice with Carole Haber, Kay Creed, Gustavo Halley, Mark St. Laurent, Marilyn Govich, Tony Gonzalez and Maitland Peters and has been coached by Terry Decima, Widar Moa, Jan Eyron, Stephen Smith and Richard Williams. Additionally, Wilson has worked under directors Jay Lessinger, Nicolette Molnar, Carveth Osterhaus, Tamara Long, Matthew Lata and Marc Astafan. He is a three-time winner of the Texoma Region National Association of Teachers of Singing (NATS) Competition and has received the Encouragement Award from the Metropolitan Opera Council (district).
Wilson has performed in productions of La Cenerentola, La Traviata, Ariadne auf Naxos, Cavalleria Rusticana, Hansel und Gretel, Amahl and the Night Visitors, Le nozze di Figaro, and Xerxes. He has appeared in recital and solo engagements with ensembles in Sweden, Germany, Austria, Hungary and the Czech Republic. He has also performed in Opera Boston's New England premier of Nixon in China.
Wilson’s students have performed with groups such as the Handel and Haydn Society, the Boston Lyric Opera, the American Repertory Theater, Trinity Rep, Opera Boston, Knoxville Opera, Opera Boston, Brooklyn Opera, Bronx Opera, Cantata Singers, the White Mountain Bach Festival, Hastings Symphony, Back Bay Chorale, Boston Bach Ensemble, Providence Singers and the International Gilbert and Sullivan Festivals. His students have also performed in Broadway’s Les Miserables and South Pacific, in national tours of Camelot, Rent, Avenue Q, Altar Boyz and in summer stock and regional theaters throughout the US, Europe and Great Britain. His students have received awards in the Metropolitan Opera Auditions (district) and the NATS Boston and Rhode Island Song Festival competitions.
Wilson served on the NATS Boston board of directors from 2005-2008. He is currently a member of the National Association for Teachers of Singing (NATS) and the New York Singing Teachers Association (NYSTA). He is former faculty of Marymount Manhattan College and is now on faculty at Brown University and The Boston Conservatory.
KATHRYN WRIGHT
Kathryn Wright completed studies at the University of North Carolina in Greensboro, Yale University and The Boston Conservatory. She has studied voice and opera with Phyllis Curtin and John Moriarty. Wright was the recipient of a William M. Sullivan Foundation Award and held a Tanglewood fellowship as well as apprenticeships at Santa Fe and Central City Opera. She was a second place winner in the New England Regional Metropolitan Opera Auditions and in the Providence Opera auditions.
Wright has performed leading roles with the Metropolitan Opera Guild, Chautauqua Opera, Central City Opera, Texas Opera Theater, the American Chamber Opera, the Hollybush Festival, the Minnesota Opera, the Kennedy Center and the New Music Theater Ensemble in Minneapolis. She has appeared with more than 60 orchestras in the U.S. and Canada, performing Mahler's Symphony No. 4, Mozart's c-minor Mass and Berg's Lulu Suite, the latter with the San Francisco Symphony with conductor Edo de Waart. Wright has premiered new works by a number of composers, including Jerzi Sapieyevski, Louis Stewart, Andreas Makris, Arthur Welwood, Melissa Shiflett and Nancy Fales Garrett. She has recently performed at the Seventh International Harp Congress in Prague and with the Connecticut Valley String Orchestra, the Merrimack Valley Philharmonic, the Chanctonbury Chorus in Steyning, England and the avant-garde music theater venue, LaMaMa Theater.
Her recordings can be found on the Capstone and Denouement record labels. Wright is in residency every year teaching master classes at China Conservatory in Beijing, China.
kwright@bostonconservatory.edu
Johnathon Pape
Director of Opera Studies
The dynamic and eclectic work of Johnathon Pape crosses many borders. Known as a director, writer, teacher, coach and frequent consultant for artistic projects spanning many disciplines, Pape joined The Boston Conservatory in the fall of 2011 as director of opera studies.
As a director, Pape's career spans theater, musical theater and opera, and he has staged a wide range of productions throughout the U.S. and abroad. Recent work includes Dead Man Walking and La Traviata for Tulsa Opera; La Fille du Regiment for Dayton Opera; Le Nozze di Figaro, The Secret Garden, Gluck's Orfeo ed Euridice and Lee Hoiby's This Is The Rill Speaking (original cast recording on Albany Records) for Eastman Opera Theatre. Career highlights include the world premiere of Griffelkin by Lukas Foss for New York City Opera; the U.S. premiere of Daniel Catan's La Hija da Rappaccini for San Diego Opera; the Los Angeles premiere of Richard Greenberg's Eastern Standard; Terrence McNally's Master Class for HaBimah, the National Theater of Israel; Leos Janacek's The Cunning Little Vixen and Richard Strauss' Ariadne auf Naxos for Tulsa Opera; Brian Friel's Molly Sweeney for an Irish Arts Festival; the Los Angeles premiere of Shirley Lauro's A Piece of My Heart, about the women who served in Viet Nam -- a special installation production mounted in the Los Angeles National Cemetery; Janacek's Jenufa for Portland Opera; and Stephen Sondheim's Sweeney Todd for Skylight Opera Theatre in Milwaukee. His directorial credits also include such diverse productions as The Taming of the Shrew, Dialogues of the Carmelites, Evita, La Boheme, Tartuffe, Ain't Misbehavin', Don Giovanni, Trelawney of the “Wells," Street Scene and The Most Happy Fella.
Pape has frequently participated in the development of new works, directing workshops of Josephine, a musical about the life of Josephine Baker, and PoeSCrypt, a musical about the mysterious circumstances surrounding the death of Edgar Allan Poe. He has a special affinity for the Czech repertoire, having received a Fulbright Research Grant in opera and theater to the Czech Republic in 1994. He is a long-standing member of SDC (Stage Director and Choreographer's Society) and AGMA (American Guild of Musical Artists). He is a member of Opera America's Singer Training Forum, a body of various stakeholders within the professional opera community who are committed to providing the best training available to the next generation of operatic artists.
Pape recently served as associate director of Eastman Opera Theatre at the Eastman School of Music in Rochester, New York.
jpape@bostonconservatory.edu
Nathan Troup
Associate Director of Opera Studies
Stage Director Nathan Troup joined the faculty of The Boston Conservatory in 2011 and currently serves as Associate Director of Opera Studies. His Conservatory directing credits include The Rape of Lucretia, Transformations, L’enfant et les Sortilèges, L’heure espagnole, La voix humaine, Flower and Hawk, and Riders to the Sea at Boston’s Museum of Fine Arts, as well as the children’s operas Fables...and other fables (which he conceived and curated around Ned Rorem’s mini-operas Fables), and The Bremen Town Musicians. He is artistic director of the Conservatory's Children's Opera series, Troubadours (opera outreach programming), and is a faculty advisor for the Conservatory's music honor society Pi Kappa Lambda. He has spearheaded the department's partnerships with community cultural organizations including collaborations with Boston's Museum of Fine Arts, the French Cultural Center of Boston, and the Boston Children's Museum.
2013-14 season highlights include Voyage à Paris and Sumeida’s Song (Boston Opera Collaborative); The Rape of Lucretia and La voix humaine (The Boston Conservatory); A Little Night Music (Associate Director -Emmanuel Music); Amahl and the Night Visitors (Boston University); Dido and Aeneas (Viterbo University); No Exit (Guerilla Opera). 2012-2013 highlights include Transformations (The Boston Conservatory); Riders to the Sea (Museum of Fine Arts, Boston); A Verdi Celebration with Eric Owens, A Wagner Celebration with Lise Lindstrom, Diamond Dreams (The Glimmerglass Festival). In 2014, he joins the Des Moines Metro Opera Apprentice Artist Program staff as stage director and assistant stage director for the company's 42nd Festival Season and will serve as assistant stage director with Boston Lyric Opera in the 2014-15 season.
Troup’s work achieved national attention with his original staging of Curtis K. Hughes' Say It Ain't So, Joe (based on the Sarah Palin/Joe Biden 2008 Vice Presidential debates) for Guerilla Opera. His staging of Peter Maxwell Davies' Eight Songs for a Mad King received the 2009 Best of Boston recognition from the Boston Phoenix. He has been a guest artist on the faculties of the New England Conservatory, Webster University (St. Louis, MO) and Viterbo University (LaCrosse, WI). Troup also serves on the faculty of Boston University’s Opera Institute where his credits include The Traviata Project, Dido and Aeneas, Gianni Schicchi, Fables and Heggie on Heggie with composer Jake Heggie. He made his Wolf Trap Opera Company debut in summer 2012 directing the Studio Spotlight scenes program. He joined The Glimmerglass Festival as a Young Artist Stage Director in summer of 2013 assisting director/choreographer Jessica Lang (Pergolesi’s Stabat Mater) and director Francesca Zambello (David Lang’s the little match girl passion). As associate stage director at the Castleton Festival, he has directed William Kerley's productions of Il tabarro, Gianni Schicchi and A Soldier's Tale with choreographer Faye Driscoll and conducted by Maestro Lorin Maazel and Master Pedro's Puppet Show in collaboration with New York City's Puppet Kitchen. He has worked as an assistant director for productions at Boston University, Opera Boston, the Castleton Festival, and Fort Worth Opera.
An active proponent of new operatic works, he recently served as an artistic consultant for programs by New York City's American Lyric Theatre and American Opera Projects’ recital series. As a performer Troup has participated in the creation of new staged works in world, American, European and regional premieres in featured performances at Boston’s Isabella Stewart Gardner Museum and the Institute for Contemporary Art. He has served as an artistic administrator for numerous organizations throughout Boston and beyond, including SongFest in Malibu, California where he was also a Stern Fellow, studying and performing art song with Graham Johnson, Martin Katz, Craig Smith and composers John Harbison, Jake Heggie, and Ricky Ian Gordon. Dedicated to fostering arts and artists within the local and global communities, Troup serves as an outreach educator in youth juvenile detention facilities.
Nathan Troup received degrees from Susquehanna and Boston Universities. His distinguished teachers include Claudia Catania, Marlena Malas (voice), Paula Plum (acting), and Sharon Daniels (directing).
www.nathantroup.com
ntroup@bostonconservatory.edu
