2019 Master Teacher Series

During our summer 2018  season, emerging artists will get the opportunity to work with some of the industry's most distinguished master teachers and singers! 

 
 
Thomas Studebaker, Heldentenor

Thomas Studebaker, Heldentenor

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 Redman, soprano

Yvonne Redman, soprano

Yvonne Gonzalez Redman, soprano

B.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.

Teaching Philosophy: 

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.