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Ausrine Stundyte as Cio-Cio-San, Elizabeth Janes as Butterfly’s child and Sarah Larsen as Suzuki in Seattle Opera's production of Puccini's Madama Butterfly. Photo by Elise Bakketun.
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Keys to a Successful Singer/Conductor Relationship
Neal Goren, Gotham Chamber Opera; Erie Mills, soprano; Steven Osgood, conductor
Making Connections1/26/2011

An established conductor can be a major ally in the advancement of a singer’s career, but the success of this relationship relies on trust, respect and a lot of preparation. Learn how to make the singer/conductor relationship a mutually beneficial one from this session’s panel of distinguished artists.

About the Author: Neal Goren, founding artistic director of Gotham Chamber Opera, has conducted throughout the U. S. and in Europe. For Gotham Chamber Opera he conducted critically acclaimed productions of Mozart's Il sogno di Scipione, Milhaud's Les Malheurs d'Orphée, Purcell's Dido and Aeneas (with period instruments), Martinu's Hlas lesa and Les Larmes du couteau, Sutermeister's Die schwarze Spinne, Handel's Arianna in Creta (with period instruments), Britten's Albert Herring, Rossini's Il Signor Bruschino, Piazzolla's Maria de Buenos Aires and Haydn's L'isola disabitata. He led Gotham Chamber Opera's co-production of Respighi's La bella dormente nel bosco for Spoleto Festival USA and the Lincoln Center Festival in the summer of 2005, and conducted Britten's The Turn of the Screw for Angers Opera (France) and Opéra de Nantes for the reopening of Théâtre Graslin in February 2004. He made his New York City Opera debut conducting The Magic Flute in November 2003. He has been a member of the faculty of the graduate opera department of the Mannes College of Music since 1992 and served on the board of directors of the Richard Tucker Music Foundation from 1991-2003.

Erie Mills has received critical and popular acclaim throughout the world. She has performed in the world's major opera houses, including the Metropolitan Opera, La Scala, Vienna Staatsoper, English National Opera, San Francisco Opera, The Santa Fe Opera, New York City Opera and many others. As a concert artist, Mills has appeared with the orchestras of Chicago, Philadelphia, St. Louis, Cleveland, Boston, Los Angeles, San Francisco, and the St. Paul Chamber Orchestra. Her performance of Cunegonde at New York City Opera was seen on a national telecast on PBS’s “Live from Lincoln Center.” From 1998-2008 she was on the voice faculty at San José State University. Since 2004, she has worked as the English diction specialist for Opera Theatre of Saint Louis, and also works in this capacity for the Metropolitan Opera and The Santa Fe Opera. In 2004, she became the first singer to join the board of directors of OPERA America. She is a graduate of The College of Wooster in Ohio, the University of Illinois and the Houston Opera Studio.

Steven Osgood is quickly becoming a much sought after conductor across North America, having proven his expertise in repertoire ranging from the Baroque through this century’s most challenging scores. He was artistic director of American Opera Projects from 2001 to 2008; he conducted the world premieres of Paula Kimper’s Patience and Sarah at the 1998 Lincoln Center Festival and Janice Hamer’s Lost Childhood at the International Vocal Arts Institute in Tel Aviv in 2007. He created the company’s nationally recognized Composers and the Voice Workshop Series and led workshops of dozens of works in development, including most recently Tarik O’Regan’s Heart of Darkness, Conrad Cummings’ The Golden Gate, and Séance on a Wet Afternoon by Stephen Schwartz.

Spring 2014 Magazine Issue
  • From Gold Rush to Google
  • Before, After and During Opera Conference 2014
  • OPERA America's New Works Forum Expands and Explores
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