The Virginia Commonwealth University School of the Arts and the Richmond Symphony have announced the creation of the new joint position of director of choral activities at VCU and director of the Richmond Symphony Chorus. The position is being piloted as a one-year, non-tenured faculty appointment for the 2014-2015 academic year.
Pending final approval, Erin R. Freeman, D.M.A., current director of the Richmond Symphony Chorus and holder of the James Erb Choral Chair at the Richmond Symphony, will be named initially to the new joint position, which carries a faculty rank of assistant professor in the VCU School of the Arts Department of Music.
“I’m thrilled to be joining the VCU music department,” Freeman said. “Through my work with the Richmond Symphony, I have had the honor of getting to know and work with the faculty on several occasions. I am pleased to become their academic colleague in the fall.”
The VCU School of the Arts is consistently ranked as one of the top graduate arts schools in the country by U.S. News & World Report. Darryl V. Harper, chair of the Department of Music in the VCU School of the Arts, said he’s excited about the possibilities created by the new position.
“We are delighted that Dr. Freeman will be lending her formidable talents to the VCU community, and we are excited about the potential of this new collaboration with RSO,” Harper said.
Following Freeman’s tenure as associate conductor of the Richmond Symphony, the new position allows her to continue to contribute significantly to the musical life of the region and to play a major role in the education of young singers in the commonwealth.
“I am thrilled that Erin will be continuing her exceptionally fine work with the RSO Chorus, as well as becoming a leader in this heightened collaboration with VCU,” said RSO Music Director Steven Smith.
RSO Executive Director David Fisk said the partnership marks an important milestone in the long relationship between VCU School of the Arts and the Richmond Symphony, and Freeman’s participation offers both organizations an opportunity to do more together than either institution could accomplish alone.
“We are excited that Erin has agreed to accept this position and continue her commitment to building community and inspiring audiences in Richmond and beyond,” Fisk said.
June 22-27, 2014
The VCU Orchestra Project, a joint venture between VCU Music and the Richmond Symphony, is a unique orchestra camp. Staffed entirely by some of the most talented players and teachers in Richmond — VCU professors and full-time musicians from the Richmond Symphony — it is designed to immerse young players in the magic of great music making. The mission of the VCU Orchestra Project is to bring about transformative growth in young musicians in one week’s time.
Vocal Arts Project
July 7 – 11, 2014
Join VCU Music for the Vocal Arts Project — a summer music camp designed for singers entering grades 6 through 12 in fall 2014. This week-long camp provides singers with a comprehensive choral experience. Singers will be placed in choirs according to voicing and ability level. Throughout the week they have classes in theory & sight-singing (by level), drama, vocal technique and world drumming.
The Guitar and Other Strings Series, held every July, features all styles of music — jazz, bluegrass, folk, Celtic, flamenco, classical and blues.
Begun in 1992, the series has presented nationally and internationally acclaimed artists in concerts and workshops. Artists who have performed on this series include Leo Kottke, Mark O’Connor, John Hartford, John Jackson, the Washington Guitar Quintet, Charlie Byrd, the Tony Rice Unit, the Del McCoury Band, the Nashville Bluegrass Band, Pierre Bensusan and Stephen Bennett. The VCU Community Guitar Ensemble also performs annually on this series.
July 11: Banjo Masters featuring Tony Trischka, John Bullard, and Adam Larrabee
July 18: Quatro na Bossa
July 25: Stephen Bennett
July 27: VCU Community Guitar Ensemble
In partnership with CenterStage and University of Richmond, VCU Music presents a new summer concert series starting in July 2014. In its inaugural season, the eight one-hour long recital style concerts will feature the complete sonatas of Johannes Brahms as well as other works for piano and solo instrument. Summer at CenterStage is perfect for those new to the classical music experience, as well as for the most die-hard listeners and offers fantastic music in a relaxed environment.
The summer masters in Music Education is intended to be completed in three consecutive summer sessions and is structured into three cognate areas: Music Education, Music Pedagogy and Professional Education. The structure of a summer-only program presents a challenge to the creation of a tradition learning community of scholars.
Global Summer Piano Institute
August 3-10, 2014
GSPI is an intensive program that is specifically tailored to talented young Chinese-speaking pianists who are curious about being exposed to a unique set of hybrid Eastern and Western cultural learning. The institute provides valuable feedback from multiple faculty while simultaneously allowing for immersive instrumental experiences in a supportive environment. Participants enroll in activities such as daily piano lessons, master classes, workshops, concerts, English language groups and an excursion to Washington, D.C., the nation’s capitol.
It’s no surprise that the origin of the word “opera” in Italian is “work.” Planning a full-scale opera production for VCU Music is, in fact, a lot of “work.” Melanie Day and Kenneth Wood, Co-Directors of VCU Opera, face considerable challenges that could easily keep opera from being part of VCU’s artistic heritage. But each year, the directors prevail. For two days, the Sonia Vlahcevic Concert Hall is transformed into a Richmond opera house where undergraduate instrumentalists and singers move into the spotlight as virtuosos, charming audiences with delightful drama and music.
Unlike some institutions, many students come to VCU Music with no previous exposure to opera. To audiences and aspiring performers, the art form can be a mystery with its ascending arias, complex costumes, and showy scenery. Opera’s origins are traced back to great composers like Mozart, Rossini, and Strauss who wrote for professional performers of the time. “Opera was not written for amateurs,” quipped Kenneth Wood. As a result, vocal students must undergo a theatrical journey learning stage movements, advancing their acting skills, and refining their own singing abilities.
Students in the orchestra must quickly adapt to “life in the pit” and challenge themselves to follow a series of dramatic, vocal, and conducting cues while carefully counting measures as Daniel Myssyk, Director of VCU Symphony, conducts for both the orchestra and singers on stage. Even those who aren’t performing in the opera are challenged, assisting with demanding behind-the-scenes roles including scenery design, set building, lighting, choreography, costuming, makeup and hair application, and stage management. For all students involved, their “opera journey” comes in tandem with learning music for other ensembles and recitals, and balancing classes and jobs.
“That’s one of the reasons our students aren’t divas,” Day said. From being involved in all aspects of the more than 60 year-old opera company, students have learned to respect the hard work it takes to put together such a monumental production. “[VCU Opera] has tremendously enhanced their understanding of what it takes to put it all together,” Day continued.
So, why The Merry Widow? Franz Lehar’s hit take on a rich widow inspired seductive corsets, glamorous hats – even cocktails and cigarettes. As the 20th century’s most famous widow, Hollywood made three films about the lead Sonia Glawari and Broadway couldn’t get enough. Flirtation, glamour, and high finance are featured as Prince Danilo is ordered to marry the rich young widow or risk the country’s bankruptcy. Audiences will enjoy as the ever-familiar plot, For love or money?, is tested.
In taking consideration of students’ vocal range, Day noticed the puzzle pieces of a perfect production fitting together in her search of this year’s opera. “Our singers had the vocal range available to sing these parts. [There were] a lot of a medium-sized parts,” she said, allowing many students to share the spotlight. Day also pointed out that an opera like The Merry Widow “gives singers the chance to learn how to do dialogue,” offering a specific type of training for the ambitious performer. In the case of this spring’s opera, The Merry Widow, students must stretch their usual performance boundaries, learning dance moves like the Viennese waltz and the Can Can!
About eight years ago, members of VCU Opera performed The Merry Widow in Rome as part of Operafestival di Roma, a nonprofit summer opera program in Italy, where Day served as Principal Coach and Artistic Director. Because of that, many of the costumes were available in VCU Opera’s extensive collection. Luck prevailed and the Department already had access to orchestral parts, cutting one of the many fees. Between the basics of royalty and costuming fees, financing an opera is expensive.
Not mentioned yet are the technical, stage demands of the show. As many know, VCU Music’s concert space, the Sonia Vlahcevic Concert Hall is technically not a theatre. Switching from an embassy ball to a garden party to a ballroom might be “par for the course” for an opera or theatre company, but these maneuvers push VCU Opera to its limits. Simply building on campus can be difficult because of storage, sound, and space issues. Technical Director Roland Karnatz has to envision building scenery in small, storable components that can be put together in one day with minimal access to tools. Whew!
With all these pieces in mind, the research process is lengthy. Day and Wood spend the summer researching all of these financial aspects and considering the “big picture” of VCU Opera. “A lot of schools select the show they’re going to do the spring before,” Day said. Day and Wood elect to do their process differently, allowing many students a chance to be involved and holding auditions in the fall.
“We go through all types of effort to do our best,” said Day. And audiences are glad they do. The Merry Widow opens Friday, April 25, with a second performance on Sunday, April 27.
Friday, April 25 at 7:30 p.m. and Sunday, April 27 at 4 p.m.
General admission tickets are $10 in advance and $15 on the day of the performance. VCU students with ID are free.
View more backstage photos on our Facebook page!
It’s that time again – Broadway’s most “popular” Broadway musical “Wicked” is headed to Richmond’s newly renovated Altria Theater. “Wicked” is the tale behind Glinda the Good and the Wicked Witch of the West, the witches of the mystical land of Oz. Apart from all of the majesty and ruby slippers on stage is the music behind the groundbreaking songs. For each stop on their tour, “Wicked” invites nine local musicians to play in their orchestra pit. Jose Simbulan, a 1992 VCU Music piano performance alumnus, is taking to the task for the musical’s stay in Richmond.
Simbulan landed his first theater job a few short months after graduating. While the experience was a low-pressure situation, he says, his career soon began to snowball into a web of networking and back-to-back productions. He credits his start to his instruction at VCU.
“Dr. [Sonia] Vlahcevic provided a very well rounded musical education. She always encouraged us to get out of the building to explore other areas,” Simbulan said.
He often returns to Richmond, where he has lived intermittently, to work and visit old friends.
“It centers me. My parents live in Glen Allen, so coming here is like a ‘staycation.’”
Breaking into the theater pit profession is often extremely difficult, especially if one is based in New York City like Simbulan. He lends one major tip for musicians looking to network: Meet the people you want to work for. Emails and social media are okay, but seeing faces and shaking hands is especially important.
“If you’re looking for work, know whom you want to work for,” Simbulan said. “Know their history and their past work.”
He says the most exciting part of being about being a regular musical director and paid musician is meeting different people and personalities along the way.
With the many personal and musical exchanges, “You learn to be a quick judge of character,” Simbulan said.
When asked whether he feels he has fulfilled his knowledge of his profession Simbulan admits that he is still learning. He regards pianists as solitary in their education and work, but credits his career to helping him break out of his shell.
“I’ve made some amazing friends,” he said. “[It’s] nice to meet people to build those relationships and learn who you want to work with in the future.”
Simbulan has served as as Musical Director and accompanist since 1993, and has played keyboards in the Broadway pits of “Lestat” and the revival of “A Chorus Line”.
While students at VCU Music, Emerson and Kathy Hughes’ musical friendship evolved into something more and the college sweethearts wed their senior year of college. Kathy served as accompanist for Emerson, a vocalist, and in spring 1965, the two Music Education majors graduated from VCU Music. In the past 50 years, the two have nurtured a family, a business, and their respective careers in and out of the music field. Post-graduation, the two began music education careers in Henrico County, but a new venture soon presented itself.
In 1972, after a talk with a friend and local veterinarian, the two set off like many enterprising entrepreneurs. Recognizing a need where other Richmond-area businesses were lacking, the two began Holiday Barn Pet Resorts. What began simply as a space for clients to leave their pets during vacations has now turned into a premier resort for pets. Holiday Barn has even received national notoriety from the Travel Channel as one of the “Top 10 Places to Pamper a Pooch.” Now, the couple’s quest for a family business has expanded to two locations with 125 employees and their son Michael (VCU c/o 1997, M.B.A.) at the helm. Read more »
- Dr. Tabatha Easley presented “Biculturalism in American Flute Music” at the National Flute Association’s annual convention in Chicago.
- Dr. Darryl Harper celebrated the release of his seventh recording, The Need’s Got To Be So Deep, on the Hipnotic Records label. The album features new pieces by eight composers in formats ranging from duo to octet. Reviewer Richard Karnins writes, “this is a gem – pay attention and you’ll be rewarded many times over.” The album is available at CD Baby and iTunes.
- John Patykula authored an article, “The Role of American Television in the Career of Andrés Segovia,” that was published in Classical Guitar Magazine.
- Dr. Rex Richardson performed at the Dublin Brass Week Festival (Ireland), the Sydney International Festival of Brass in Sydney, Australia, the International Famagusta Arts and Culture Festival in Cyprus, was on the faculty of the Interlochen High School Trumpet Institute in Michigan, and was a guest soloist at the Disneyland All-American College Band in California.
- Dr. Charles West is working on a woodwind methods book that will guide aspiring teachers in teaching woodwinds. He was awarded a Faculty Research Reassignment by the VCUarts Dean’s Office, and was chosen from among all VCU School of the Arts faculty.
- Dr. Yin Zheng spent her summer performing in European festivals: at the Eianden International Music Festival in Luxembourg and as faculty-in-residence at the Schlern International Music Festival in South Tirol, Italy.
- Dr. Zheng also led a successful inaugural Global Summer Piano Institute August 4-9 at VCU. A group of 21 piano teachers, students and parents from China spent an enriching week at VCU presenting 8 marathon concerts and being immersed in a variety of both artistically and culturally inspiring events such as lectures, masterclasses, workshops, English conversations, and excursions to the VMFA and the nation’s Capitol.
- Aaron Jones participated in the Harrower Opera Workshop at Georgia State University and as part of their Young Artists Program performed a principal role in Britten’s A Midsummer Night’s Dream. He also participated in the Crittenden Opera Studio in Maryland.
- Anna Marie Diaz, Kayla Hanvey, and Taylor Jennings all auditioned and won spots in the collegiate flute choir at the National Flute Association conference.
- Gianna Capelli was awarded a $1000 scholarship by the Richmond Music Teachers’ Association Scholarship Committee. Gianna was selected for her work with the MTNA Collegiate Chapter of VCU and her dedication to a music career, as well as her interface with the Richmond Music Teachers Association.
- Stephanie Auld is now Graduate Opera Assistant at Converse College.
- Karmalita Bawar was invited to be a master teacher at the weeklong University of Louisville Suzuki Piano Institute, July 21-25, 2014.
- Jared Broussard has accepted a position teaching trumpet at the University of Mary Hardin Baylor.
- Fran Ahearn Coleman passed her doctoral exams.
- NO BS! Brass Band, including faculty members and alumni Taylor Barnett, Bryan Hooten, and Marcus Tenney as well as alumni David Hood, John Hulley, and Sam Koff performed this summer at the Ottawa Blues Festival, Festival D’éte Internationale de Quebec, and Low Down Hudson Festival (NYC), along with clubs up and down the East Coast including The Hamilton (DC) and the Iron Horse Music Hall (MA). They also launched the inaugural week-long RVA All Day Brass Band Camp at the Collegiate School.
- Leah Kruszewski (B.M. 2010) who won a scholarship for a year’s study at the Fundacion Cristina Heeren in Sevilla, Spain.
- In June 2014, Katelyn McCarter released the lead single “Rough Day” from her upcoming new contemporary Christian album “Beyond Skin Deep” on Dreamin’ Out Loud Entertainment Records.
- Clarence Penn was featured in the August 2014 issue of Downbeat Magazine’s “Blindfold Test” column where prominent artists are given a listening test that challenges them to discuss and identify the music and musicians who performed on selected recordings. “Whether complementing the Maria Schneider Orchestra, Dave Douglas, Luciana Souza, Makoto Ozone, the late Michael Brecker or Fourplay, or helming his own well-wrought projects, Clarence Penn combines massive drumset skills with considerable prowess as a composer and real-time orchestrator.”
- Hannah Standiford (B.M. 2011) for winning the Darmasiswa scholarship! The scholarship’s purpose is to promote interest and awareness about Indonesian language and arts. Applicants are from over seventy-five countries worldwide. Hannah will be studying karawitan at the Institut Seni Indonesia in Solo, Java.
- Justin Williams will teach strings at Fairfax County Public Schools this fall.
- James Waterhouse (BME ’72) recently completed five years as principal Organist and Accompanist at Holy Trinity Catholic Church in Gainseville, VA. and simultaneously at Haymarket Baptist Church in Haymarket, VA. His recent choral and instrumental compositions and arrangements are now available from JWPepper.com.
- Sophomore Margaret Mayes won 2nd place in her division at the Mid-Atlantic auditions of the National Association of Teachers of Singing on April 4th, which is comprised of singers from South Carolina, North Carolina, Virginia, Maryland, and Washington D.C.
- Nichole Savage (’13) will be playing Beth in Capitol Opera’s upcoming production of Aaron Copland’s The Tender Land. She is also currently the Minister of Music at Central United Methodist Church and the lead singer of Richmond world/fusion band Karamazov. Savage also recently became a patroness member of the Richmond Alumnae Chapter of Sigma Alpha Iota.
- Nick Bonadies, a Senior Piano Performance major, has been accepted to the Royal Academy of Music in London where he will be pursuing a Master of Arts Piano Performance.
- Richmond’s No BS! Brass performed at the sold out opening of the Broadberry on April 17th. Owned and operated by those behind popular Richmond hangouts The Camel and Joes Inn, The Broadberry is Richmond’s newest live music venue. No BS! Brass is home to professors Bryan Hooten and Taylor Barnett, alumnus Reggie Pace, and recent graduate Sam Koff.
- Alumnus Douglas-Jayd Burn has been accepted to University of Arizona School of Music on full scholarship. His studies will also include a teaching assistantship.
- Marcus Grant has received the Graduate Tuition Award from Indiana University’s Jacobs School of Music and will begin attending this fall.
- VCU Jazz’s Africa Combo travelled to Norfolk, Virginia to perform for the Governor’s School for the Arts. The ensemble is comprised of six students participating in an ongoing cultural exchange with jazz musicians from the University of Kwazula-Natal in Durban, South Africa.
- Violinist Chanel Hurt received a Edwin Johonnott Scholarship from the Virginia Chapter of the American String Teachers Association.
- Alumna Stephanie Auld will be attending the Petri School of Music in the fall to pursue her Master of Music in Vocal Performance.
- Spacebomb East, operated by several VCU Music Alumni, opened its downtown location in Richmond this month. Spacebomb East is a record label and hub for music production and music publishing projects. It is and has already established a relationship with over 20 former students and some current professors.
- Sophomore Lanjiabao Ge won the March 2014 Sigma Alpha Iota Scholarship Competition, which was open to all instrumental and vocal areas of VCU Department of Music. In addition to a cash prize, Lanjiabao will perform for the SAI Alumnae Chapter.
- Darryl Harper’s “rewarding” new album The Edenfred Files was reviewed by Jazz Times.
- Eleven vocal students were awarded honors at the February 2014 National Association of Teachers of Singing Auditions and Conference in Shenandoah. These included two 1st place wins by Margaret Mayes and Forrest Glass.
- Branford Marsalis, internationally acclaimed jazz saxophonist and son of jazz pianist Ellis Marsalis (who holds an honorary doctorate from VCU Music), Jr., presented a masterclass to saxophone students in early April.
For classical music artists, mastering the work of a favorite composer is not only a lifelong goal, but an opportunity to understand the composer’s inspiration and thought process intimately. Usually, getting any closer, beyond the written work of long-deceased classical music composers, is an impossibility.
Although Wolfgang Amadeus Mozart has been dead for 223 years, Dr. Yin Zheng found herself closer to him than most modern musicians will ever get to experience. In July, Dr. Yin Zheng recorded the complete Sonatas for Piano and Violin by Wolfgang A. Mozart with violinist Bin Huang, Gold Medalist of the prestigious Paganini and Munich ARD International Violin Competitions.
“It’s an incredibly visceral experience to play on Mozart’s own instruments, to have his manuscripts and letters right in front of us, and to walk every street he once set his foot on,” Dr. Zheng said.
“From the artist stand point, it is an extremely immersive experience and ambitious undertaking to record all 16 mature sonatas for Piano and Violin by Mozart,” said Dr. Zheng. “It took us multiple trips to Salzburg where we had the privilege to study and research on the topic at the Bibliotheca Mozartiana.
As if recording 16 sonatas wasn’t enough, Dr. Zheng gained a new appreciation for Mozart and his work. “We have gained much more insightful understanding of the compositional process and performance practice after studying and comparing his facsimiles and first editions. I have also discovered, apart from some of the popular sonatas, some lesser-known gems in this collection and am excited to introduce them to my students,” Dr. Zheng said.
Journey with Mozart begins the first of several “Journey” concerts. The second, Journey to Eastern Europe, will take place at VCU in April. Dr. Zheng will be performing alongside two of Richmond Symphony’s talented musicians.
Wednesday, March 26, 2014 at 8 p.m. Free admission. No tickets required.
Thursday, April 10, 2014 at 8 p.m. Free admission. No tickets required.
Two MacArthur Foundation Fellows take over Spring Rennolds Series concerts
A recent change to VCU Music’s Mary Anne Rennolds Chamber Music Series concert brings two back-to-back performances by MacArthur Foundation Fellows this Spring. Alisa Weilerstein (cello) will perform in the March 29 Rennolds Series concert and a new addition to the series, Leila Josefowicz (violin), will perform in the April 12 Rennolds Series concert. Josefowicz, a world-renowned violinist and former Artist-in-Residence for The Philadelphia Orchestra, will bring her “supple technique” (New York Times) and “fantastic talent” (Gramophone) to Richmond.
Josefowicz has graciously agreed to perform that evening after the Mary Anne Rennolds Chamber Music Series program featuring Pamela Frank (violin), Nobuko Imai (viola), and Clemens Hagen (cello) scheduled for Saturday, April 12 at 8:00 p.m. was cancelled. Due to an unforeseen medical situation, Mr. Hagen is unable to tour.
Tickets already issued for the “Pamela Frank, Nobuko Imai, and Clemens Hagen” concert will be honored by the VCU Music Box Office for the Leila Josefowicz concert. No exchanges are needed.
Journalists and media professionals, visit the VCU Music Press Room for the Program Change press release.
Christopher Mastromarino, affectionately called “Mr. M” by the students he is leading at Matoaca Middle School in Chesterfield County, is a current undergraduate student in the Music Education program.
His musical journey began with the same tools that many others may remember fondly. The familiar story involves a second-hand piano and childhood music lessons. “When I was young,” Mastromarino reflected, “my father bought me a full-size piano.” The piano, perhaps found with the help of the local newspaper’s classified section, didn’t make lessons any easier for Mastromarino. But Elton John tunes played by ear kept his interest in piano fresh.
A native of Sterling, VA, Mastromarino’s family moved to Arundel, MD during his teenage years. Mastromarino remembers that the school’s music program was a stark cry from what he was used to in Northern Virginia. In Virginia, he was a member of several choruses and ensembles throughout the years. His new environment in Maryland, though, didn’t have as many diverse musical opportunities. As a result, students like Mastromarino took on new roles and responsibilities, even assisting with ensembles and music courses.