2019 Master Teacher Series
During our summer 2019 season, emerging artists will get the opportunity to work with some of the industry's most distinguished master teachers and singers!
Thomas Studebaker has established himself as a powerful Heldentenor, having appeared with many of the world’s leading orchestras and opera companies since 1995.
Highlights of Mr. Studebaker’s orchestral engagements include Beethoven’s Symphony No. 9 with both the London Philharmonic Orchestra and New York Philharmonic with conductor Kurt Masur, the WDR Orchestra in Cologne under Semyon Bychkov, the New York Philharmonic with Lorin Maazel, the Netherlands Radio Philharmonic at the Concertgebouw in Amsterdam with Edo de Waart, as well as with the St. Paul Chamber Orchestra, the Pittsburgh Symphony, the Atlanta Symphony Orchestra, Sydney Symphony, and the Israel Philharmonic. He has sung Waldemar in Schönberg’s Gurrelieder with the Nagoya Philharmonic, the Tokyo Symphony and the American Symphony Orchestra at the Bard Festival, Beethoven’s Missa Solemnis with the London Philharmonic and Kurt Masur, and Max Bruch’s Moses with the Netherlands Radio Philharmonic Orchestra.
Mr. Studebaker made his debut as Siegmund in Die Walküre at New Orleans Opera and has since repeated the role at Lyric Opera of Chicago and at the famed Teatro Colón in Buenos Aires under the direction of Charles Dutoit. He has sung Narraboth in Salome for the Santa Fe Opera, Florida Grand Opera, Seattle Opera, and L’Opéra de Montreal, sang the title role in Act II of Parsifal with the Cincinnati Symphony Orchestra under the baton of Jesús López Cobos, was Froh in Das Rheingold in Seattle, Max in Der Freischütz with the Opera Orchestra of New York at Carnegie Hall, sang Erik in Der fliegende Holländer with the Pittsburgh Opera and Opera Australia, and in concert with Michael Tilson Thomas and the San Francisco Symphony, was Tichon in Kát'a Kabanová for L’Opéra de Montreal and the Florida Grand Opera, the Drum Major in Wozzeck at the Teatro Municipal in Santiago, and has sung Melot in Tristan und Isolde with the Los Angeles Philharmonic and Esa-Pekka Salonen, the New York Philharmonic with Kurt Masur, L’Orchestre Symphonique de Montréal with Kent Nagano, and the Metropolitan Opera with conductor James Levine.
He joined soprano Christine Brewer in a duo recital in New York City as part of the prestigious George London Foundation recital series, and Deborah Voigt for the first act of Wagner’s Die Walküre as part of a Boston Lyric Opera Gala Concert.
Thomas Studebaker joined the Metropolitan Opera Young Artist Development Program in the 1996-97 season, and has performed several roles with that company, including Heinrich der Schreiber in Tannhäuser, Melot in Tristan und Isolde, Count of Lerma in Don Carlo, Ruiz in Il Trovatore, First Noble in Lohengrin, the First Armed Man in Die Zauberflöte, and Moser in Die Meistersinger von Nürnberg. He made his Metropolitan Opera debut in September 1997 as the Officer in Ariadne auf Naxos.
Originally a baritone, Mr. Studebaker made his debut as tenor in the Opera Theatre of St. Louis 20th Anniversary Gala in the spring of 1995. A graduate of the Curtis Institute of Music and Illinois State University, Mr. Studebaker was chosen by the Opera Theatre of St. Louis as the recipient of a grant from the Richard Gaddes Fund for Young Singers, and was awarded a Robert M. Jacobson Study Grant from the Richard Tucker Music Foundation in 1996. During the spring of 1998, Mr. Studebaker also received the Kirsten Flagstad Memorial Award from the George London Foundation, and a Career Grant from the Richard Tucker Music Foundation.
Yvonne Gonzalez Redman, sopranoB.M. (Vocal Performance), Stephen F. Austin State University, Metropolitan Opera Lindemann Young Artist apprentice
Yvonne Gonzales Redman has enjoyed an 18-year career as a main stage soprano at the Metropolitan Opera including nearly 200 onstage performances as a principal soloist, including 26 live radio and television broadcasts that are still regularly broadcast over SiriusXM radio. Highlights include Zerlina in Don Giovanni (James Levine, conductor); Giannetta in L'Elisir d'Amore (with Luciano Pavarotti for his 30th anniversary gala); Jouvenot in Adrianna Lecouvreur (in Mirella Freni's final performances of this work); and in Parsifal with Placido Domingo, to name only a few highlights of her career. She is a grand prize winner of the Metropolitan Opera National Council competition and the Eleanor McCullum Houston Grand Opera competition.
Ms. Redman has performed at the Santa Fe Opera, Los Angeles Opera, Seattle Opera, Minnesota Opera, Pittsburgh Opera, Wolf Trap, Opera Illinois, and the Houston Grand Opera, where she sang the world premiere of Daniel Catan's Florencia en el Amazones. She was featured in the role of Mimi in La Boheme in the Bregenz Festival in Austria.
She has shared the stage with some of the greatest operatic artists, including Placido Domingo, Luciano Pavarotti, Samuel Ramey, Nathan Gunn, Bryn Terfel, Teresa Stratas, Renee Fleming, Frederica von Stade, Susan Graham, Carol Vaness, Dawn Upshaw, Denise Graves, Paul Groves, Ben Heppner, Jerry Hadley, Dmitri Hvorostovsky, Rene Pape, and Thomas Hampson. Conductors with whom she has collaborated include James Levine, James Conlon (Music Director of Ravinia, among other titles), Sir Charles Mackerras, Leonard Slatkin, Richard Bonynge, and Murry Sidlin.
I believe that every performer is a future teacher/pedagogue, if not of others then certainly of themselves. It is my desire to develop students into independent performers who find freedom in vocal expression and stability in their technique due to being supported by reliable methods of artistic singing.
As a pedagogue, I intend to be a model performer and knowledgeable technician of all vocal production. I aim to clearly communicate necessary fundamental concepts of the whole body that lead to healthy, expressive, and efficient vocal production. Just as my performance career was supported with leaders in the vocal field, my teaching is informed by regular study and communication with leading music professionals in pedagogy and science. I have recently studied with Dr. Ingo Titzeand Dr. Katherine Verdolini Abbott in the Vocology program held at the National Center for Voice and Speech, and have taken a course on Voice Disorders with Dr. Aaron Johnson. I am comfortable with Voce Vista software and regularly attend conferences offering current developments in my field.
Voice is the only class where you will spend weekly one-on-one time with your instructor, often for many years. I am happy to communicate with students, parents or teachers interested in knowing more about studying with me and what Illinois offers to guide students into a productive future.
Dr. Carren Moham, soprano
Dr. Carren Moham, soprano
Soprano, Carren Moham, comes from Oklahoma where she received the Bachelor of Arts in Music Education degree from Northeastern State University in Tahlequah, Oklahoma, a student of Dr. J. Ralph Whitworth, and the Master of Music degree from the University of Oklahoma in Norman. While at OU, she studied voice with renowned contralto, Carol Brice. After graduating with her master's degree, Dr. Moham studied voice with internationally acclaimed soprano, Mattiwilda Dobbs. She later matriculated to The Ohio State University in Columbus, where she was the first to earn the Doctor of Musical Arts degree in Vocal Health under the guidance of Dr. Karen Peeler, and a secondary degree in Black Music History with Dr. Ted McDaniel. She has done extensive work on the restorative properties of singing following trauma to the throat and was on staff at the Washington Cancer Institute in Washington, DC. Dr. Moham is Professor Emeritus of Music and Voice at Illinois Wesleyan University where she taught applied voice, vocal techniques, vocal pedagogy, and Alexander Technique, and former Artist Teacher of Voice at Illinois State University. Her students have gone on to enjoy successful careers as teachers, performers, music therapists, and arts administrators, among others. Recent students have been accepted to such prestigious institutions as University of Cincinnati College Conservatory of Music, Mannes School of Music in New York, Manhattan School of Music, Kenyon College, Wittenberg University, Butler University, Columbia College Chicago, and the University of Maryland Baltimore County. Through her business,Voice Solutions, Dr. Moham continues to work closely with singers and other clients to help alleviate vocal problems they may be experiencing due to vocal misuse, abuse, surgery, or other conditions. She advises voice students and clients on the essentials of good vocal health and how to care for their voices so that their voices remain healthy and in optimal condition. Dr. Moham is a much sought after clinician and has presented voice masterclasses and seminars on care of the voice at many reputable institutions and summer programs, among them, Oregon State University, Miami University of Ohio, and the Midwest Institute of Opera.
To highlight the virtually unknown and unpublished art songs of African-American composers, Dr. Moham devised two concert series “Songs by African-American Composers” and “Songs by African-American Women.” She has performed these concerts and given lecture recitals and masterclasses on this topic in several venues throughout the United States, Europe and South America. To further promote the songs, Dr. Moham, accompanied by Michael Lester on piano, released a compact disc entitled, “Sonnets on Love, Rosebuds and Death: Songs by African-American Women” which has only a small sampling of the thousands of beautiful gems written by black composers.
Dr. Moham has sung numerous operatic roles for major companies in the United States and abroad and has performed with some of the world's most renowned symphony orchestras. Her recent schedule has included concerts in Indianapolis, IN, Baltimore, MD, and at Oregon State University, as well as a lecture recital of "Songs by African-American Composers"at the Columbus Museum of Art. She has performed her living history presentation of contralto, Marian Anderson (the first African-American to sing at the Metropolitan Opera) entitled, Marian Anderson: Voice of the Century, in several venues, including a presentation at the Ohio Statehouse. Upcoming performances include recitals at King Avenue United Methodist Church in Columbus, OH, and Malone University in Canton, OH.
Angela Brown personifies the ideal soprano: sheer vocal power; luxurious finesse; and shimmering, high pianissimos. With a charming personality larger than life, she unites opera, pops, and gospel in one sensational voice. A featured artist on the two-time Grammy Award® winning recording “Ask Your Mama,” Angela’s international reputation continues to grow.
Her highly successful Metropolitan Opera debut in the title role of Aidacaptured instant attention from international print and broadcast media and catapulted Angela onto the world's prestigious opera and symphonic stages. Headlines from The New York Times read: “At last an Aida,”and CBS Weekend News proclaimed: “the future of opera has arrived!” followed by features on the front page of The New York Times, on CNN, in Oprah Magazine, Essence Magazine, Ebony Magazine, Classical Singer, Reader’s Digest, and Psychology Today.
While opera is the main catalyst for her career, Angela’s performance experience includes everything from star hostess on stage to producer and creator of Opera…from a Sistah’s Point of View©1997, an inspired show that has gained notoriety for bringing opera to the masses in the form of an edgy, yet educational, concert presentation.
Recent new milestones for Angela include singing on the Grammy Award®-winning recording of “Ask Your Mama,” composer Laura Karpman’s setting of the poem by Langston Hughes of the same title and co-starring in the new American opera, Charlie Parker’s Yardbirdin the 2015 world-premiere performance with Opera Philadelphia. She reprised the role of Addie Parker in historic performances at The Apollo in New York City in 2016, for Lyric Opera of Chicago and Madison Opera, and in London at The Hackney Empire in 2017. She joined the National Chorale as soloist for Beethoven’s Symphony No. 9at Lincoln Center in November 2016 and Hawaii Symphony for Verdi’s Requiemin April 2017. This season includes solo appearances with The Atlanta Opera, Phoenix Symphony Orchestra, Astoria Music Festival, Portland Summerfest, Indianapolis Symphony Orchestra, American Spiritual Ensemble USA tour as well as performances of Opera…from a Sistah’s Point of Viewin the USA.
Earlier career highpoints include her collaboration with American composer Richard Danielpour. Her early success as Aida was immediately followed by world premier performances of Danielpour’s opera Margaret Garnerin the role of Cilla with Opera Philadelphia, Cincinnati Opera and Michigan Opera Theater. The result was a triumph that led Mr. Danielpour to set the poetry of visionary Maya Angelou for Angela's voice in an orchestral song cycle, A Woman’s Life,co-commissioned by Pittsburgh Symphony and Philadelphia Orchestra, recorded in 2012 with the Nashville Symphony and released on the Naxos label in 2013.
A noted interpreter of African-American spirituals, Angela released Mosaic, a collaborative recording featuring spirituals with guitar and piano, in October 2004 from Albany Records. In 2005, a live Christmas concert with the Indianapolis Chamber Orchestra and Indianapolis Opera Chorus was recorded by WFYI-PBS and broadcast throughout the United States. She guest starred on A Prairie Home Companion with Garrison Keillorradio show in 2009. In July 2010, Angela was presented in Shanghai at the World Expo 2010 as a guest of USA Pavilion and the United States Consulate. Angela was the only opera singer invited to perform for the USA Pavilion. She also opened the One Nation Working Together Rally in Washington, DC, by singing the National Anthem on the steps of the Lincoln Memorial, and was selected by Marvin Hamlisch to premier his song composed for her and the Indianapolis Children’s Choir in honor of The Indianapolis Prize.
Throughout her career, Angela has joined forces with symphonic pops legends Marvin Hamlisch, Jack Everly, and Erich Kunzel while traveling the world for classical performances at Lincoln Center, Paris Opera, Vienna State Opera, Capetown Opera, Deutsche Oper Berlin, Edmonton Opera, Calgary Philharmonic, Shanghai World Expo, Moscow Performing Arts Center, and more. But, she always welcomes a return home for appearances with the Indianapolis Symphony for their Yuletide pops extravaganza, the Indianapolis Opera, or to sing the National Anthem for the Indianapolis Colts, Indiana Pacers, and Indy Eleven. Adding the 101strunning of the Indianapolis 500 (2017) to this list only deepened her love affair with her beloved Indianapolis and it with her.
Ms. Brown’s previous solo appearances include: Metropolitan Opera; National Opera of Paris; Bilbao Opera, Spain; Teatro La Fenice; Hamburg Opera; Vienna Staatsoper; Capetown Opera; Deutsche Oper Berlin; Opera Philadelphia; Cincinnati Opera; Pittsburgh Opera; Opera Pacific; Florentine Opera; Indianapolis Opera; Michigan Opera Theater; Opera Birmingham; Dayton Opera; Florida Grand Opera; The Philadelphia Orchestra; Pittsburgh Symphony; Auckland Philharmonia; Leipzip Radio Orchestra; Latvian National Symphony; Moscow Symphony Orchestra; Festival of St. Denis, France; Indianapolis Symphony; Cincinnati Pops; Cincinnati Symphony; Brevard Festival Orchestra; Roanoke Symphony; Madison Symphony; El Paso Symphony; Knoxville Symphony; Chautauqua Institution; Carmel (Indiana) Symphony; residencies and recitals at Skidmore College and Acadiana Symphony Orchestra; Calgary Philharmonic; Kalamazoo Symphony Orchestra; Buffalo Philharmonic; The Trumpet Awards; The Walker Theatre in Indianapolis; The Sun Valley Writers’ Conference; The Marian Anderson Award Ceremony; the Kimmel Center in Philadelphia and the John F. Kennedy Center for the Performing Arts in Washington, D.C. Angela has performed in recital throughout the United States, Canada, Spain, New Zealand and Africa.
A 1997 National Metropolitan Opera Council Auditions Winner, Ms. Brown received her Bachelor of Music degree in voice from Oakwood University in Huntsville, Alabama, where she studied with Ginger Beazley. She attended the Indiana University School of Music as a student in the studio of Virginia Zeani. Ms. Brown received the Indiana University African American Arts Institute's inaugural Herman C. Hudson Alumni Award in 2006, given annually to recognize outstanding contributions made in the arts by former members of the Institute. Ms. Brown is featured in “Nineteen Stars of Indiana,” a book by Michael S. Maurer about nineteen, living Hoosier women with successful and inspirational life stories, released by Indiana University Press in December 2008. Angela is a proud recipient of the Indiana University Distinguished Alumni Service Award, the Governor’s Arts Award from the Governor of Indiana, a Spirit of the Prairie Award from Conner Prairie in Indiana, and a member of the Indianapolis Public Schools Hall of Fame.
PATRICIA SHERIDAN offers private vocal training at her studio on the Upper West Side of New York City. She specializes in classical vocal technique, including proper breath management, efficient vocal production, postural concerns and transitioning technique into the repertoire without sacrificing technical achievement, proper text preparation, etc.
Ms. Sheridan is a New York Singing Teachers’ Association Distinguished Voice Professional, having completed The Oren L. Brown Professional Development Program core curriculum of Vocal Anatomy, Vocal Acoustics, Developmental Repertoire, Vocal Health and Comparative Pedagogy. She has served on the board of NYSTA and is a member of NATS and NATS/ENY. She is the co-founder of ACTING OPERA and presently serves as the president of the board of The Midwest Institute of Opera based in in Bloomington, IL, at Illinois State University.
Students in the Sheridan Studio have performed at the Metropolitan Opera, New York City Opera, regional opera companies, on- and off-Broadway, as well as in jazz and country music venues. A specialty of her studio is training a healthy, more beautiful sounding speaking voice for women in business and in the public eye.
The primary aim of the Sheridan Voice Studio is to give the student the tools necessary to achieve her musical goals and feel totally confident. The focus of the studio is on patience and a supportive attitude in which the student is given the guidance to understand how to build a solid daily routine leading to confidence and a solidly built technique.
As a voice teacher, it is my job to guide the student through a vocal routine that yields a truly efficient sound production. Aspects of that are: great tone quality, ability to sing on pitch, ability to control volume changes in very subtle ways, vocal endurance, to sing text well without compromising quality of sound, to have a profound understanding of the text, to understand how to use the body not fight it, plus, plus, plus!
Great vocal production is not easily achieved. It is an athletic, creative, academic and emotional endeavor, as well as an esthetic one, especially for the opera singer who wishes to achieve complete vocal freedom. Classical singing is, of course, a pre-electronic or pre-amplification technique where the singer is required to fill a hall without electronic enhancement. Even if one is not interested in becoming an opera singer, a certain amount of classical training is the best way to build a sturdy foundation for breath control, endurance, accurate pitch, etc.
Without great technique you cannot sing magnificent phrases and deal with the emotional content of the character. When your technique is truly profound then you know that you can leave the critical state into the artistic state which is another part of the brain. You will be available to go to the creative, emotional intuitive, spiritual side where great art is achieved. In order to sing well, phrase, be free to act, watch the conductor and interact with colleagues, a singer must have all technical challenges conquered. To be a great singer one must be free to be in the moment, to be totally present, free of technical encumbrances.
Most singers work diligently and methodically to achieve a dependable technique. Unfortunately, often they do not have the best information and achieve a poor one. Undoing a faulty technique is laborious and frustrating. I know from personal experience, but that transition is well worth it!
Technique: you cannot get “there” without it. I call it “dirty laundry” because you have got to get it done. It takes patience and diligence to achieve but never abandons you once you have truly acquired it.
I encourage all of my students to stay physically active by engaging in a practice of Pilates, Alexander Technique, or similar. In NYC, I recommend both Gwynne Marshall at Strength in Balance as well as Brooke Lieb.
I invite you to read the testimonials on the website. It is my quest to train a commanding, compelling and important sound and this is the result that I am achieving in my studio.