OPERA
MUSIC THEATER
INTERNATIONAL
JAMES K. MCCULLY,
President & General Director
An International Showcase
With the inauguration of Opera Music Theater International there is at last a major cultural organization
dedicated to the international showcasing of opera and music theater through major performances, conferences,
competitions and training programs for artists, managers and cultural officials in a nonpartisan effort to encourage
renewed interest in cultural exchanges and cultural diplomacy.Unlike any other organization of its kind, Opera Music Theater International attracts critical acclaim
for its contributions and commitment to excellence by fostering and developing new talent, new audiences
and new works that insure the health and vitality of the opera and music theater field for future generations to come.Our Web Site provides exciting information about Opera Music Theater International's
dynamic cross-cultural programs including our Institute's Professional Artist Training Program,
the Ensemble's Great Performances Series, the Arts Administration Fellowship Program, the New American Works Program,
the Marjorie Lawrence International Vocal Competition, the Bravo Awards, and much more.
His Holiness Pope Benedict XVI Celebrates Solemn Vespers In The Crypt And Addresses
United States Bishops At The Basilica of the National Shrine of the Immaculate Conception
Opera Music Theater International Emerging Artists Dawn D. Frederick & Edward M. Kerrick
Sing Solemn Vespers at the National Shrine of the Immaculate Conception Before His Holiness Pope Benedict XVI
Addresses the United States Conference of Catholic Bishops in the Washington Basilica Crypt
"Maestro McCully, there are no words to describe how much you have transformed me. In all of the years
I have studied voice, I have never discovered so much about myself before working with you. You had me
singing multiple high C s my very first lesson and had me singing repertoire more advanced than
I ever thought possible. I never believed in a million years that I would be seeing myself as potentially
the next tenor on the rise, let alone be recognized the same way by others. You have been not only
my teacher, but my Guardian Angel that led me into the right path of musical success. You believed in me,
challenged me, supported me, and most importantly, guided me. I now see that God has a musical plan for me
thanks to you and I will only continue to grow leaps and bounds with your amazing world class voice instruction.
You are the most influential instructor of voice I have ever had.
Thank you so much for all that you have done. "
~ Edward M. Kerrick, tenor~
~National Shrine of the Immaculate Conception
Opera Music Theater International Emerging Artists Colin Eaton & Robert Burner
Entertain at the White House State Dinner in Honor of Her Majesty Queen Elizabeth II and
His Royal Highness, The Prince Philip, Duke of Edinburgh.
"Maestro McCully, I have no idea where I would be vocally right now in life if God had never placed you in my path.
One thing that I can say with great certainty is that I would not be the singer that I am today if it were not for you.
I am now viewed as a legitimate classical singer with a sound that can cut through an orchestra with ease, and
surprising volume that coordinates warmth and metal rather well, and I have you to thank. Every good thing that
I am able to do with my voice from here on out can be attributed to the work that you have done with me and for me.
Thank you so much for all that you do. You are a true Saint in the music world!"
Master Sergeant Colin D. Eaton, II ~ United States Army Chorus ~
"A Commanding Tenor" ~ The Washington Post ~
Her Majesty, Queen Elizabeth II, Buckingham Palace Letter
43rd National Opera Association Convention
James K. McCully, ChairmanHis Excellency Ambassador & Mrs. Helmut Tuerk, Austrian Ambassador to the United States of America
His Excellency Ambassador & Mrs. Raymond Cretian, Canadian Ambassador to the United States of America
His Excellency Ambassador & Mrs. Juan Carlos Esquerra, Colombian Ambassador to the United States of America
International Honorary Patrons
Official Opera Music Theater International Sponsor
Welcome by Placido Domingo & James K. McCully
Maestros Eve Queler, James K. McCully & Heinz Fricke
Kennedy Center Opera House"Mr. McCully, I am delighted to welcome all those who have traveled from around the world to participate in this exciting event.
Opera has long been a cherished part of our cultural heritage, engaging us and challenging us, opening our minds to the complexity
of the human experience. Combining music, drama, literature, and the visual arts, opera fills us with emotion and carries us into other stories
and eras. Although opera was once the privilege of fewer audiences, each of you can be proud of your role in broadening its reach and appeal.
This year's theme, "OPERA & MUSIC THEATER INTERNATIONAL: The Next Generation," reflects your dedication to ensuring that opera will
continue to flourish in the 21st Century, enjoying a future as rich and creative as its past. Best wishes for a successful convention."
President William Jefferson Clinton, The White House, 42nd President of the United States of America
"Mr. McCully, on behalf of the National Endowment for the Arts, I am pleased to send greetings to all those who are coming to the 43rd National
Opera Association Convention. Opera and musical theater play a vital role in the cultural life of our nation, and it is fitting that this convention revolves
around the theme of "The Next Generation." We must build all of audiences for the arts in the next millennium to ensure that the cultural legacy that we were
given is safely entrusted to the generation to come. This gathering of professionals in opera and musical theater is an important step in that transition."
Jane Alexander, National Endowment for the Arts, Chairman & Internationally Known Actress
"Mr. McCully, on behalf of the Washington Opera, I am delighted to welcome the artists, speakers, teachers and contestants who have traveled
from near and far to attend the 43rd National Opera Association Convention held here in Washington, D.C. I know you will enjoy our performances of
"Die Zauberflote", "L'Elisir d'Amore" and "Dona Francisquita" during, what President Clinton has designated as, "National Opera and Musical Theater Week."
With all best wishes for an exciting and enriching week."
Placido Domingo, Washington National Opera, General & Artistic Director, Star Tenor & Conductor, One of the 3 Tenors
"Mr. McCully, thank you for your important part in making the 43rd National Opera Association Convention the biggest and best yet."
Kirke Mechem, Opera Composer, TARTUFFE, JOHN BROWN, & THE NEWPORT RIVALS"Mr. McCully, we talked about you and your superb arrangements for the recent convention. We've never met a vocal teacher and coach who was
capable of doing what you did. We were particularly impressed with your calm and outwardly serene manner throughout the hectic days.
And you are a gentleman. Thank you for all that. For all your future endeavors our very best wishes go with you."
Evelyn Lear & Thomas Stewart, The Metropolitan Opera, International Artists"Mr. McCully's determination to make the 43rd National Opera Association Convention a memorable event was everywhere apparent, and he achieved his goal."
George Shirley, The Metropolitan Opera, International Artist
"Mr. McCully, an individual I have known through his participation and membership in the National Opera Association as a State Governor,
as an active Convention Associate, and through his establishment of an opera scholarship for outstanding young singers through the
National Opera Association's Vocal Competition. I have been impressed with his diligence and enthusiasm in all of these areas.
I know that he has been industrious in his promotion of opera and his encouragement of young artists."
Dr. Randall L. Holden, National Opera Association, President
OMTI Official Sponsor: Host Marriott International
2007 Marjorie Lawrence Centennial Award for Operatic Excellence Recipient Deborah Voigt
"Once in a generation, a true dramatic soprano comes along, with a rare voice built for the works
of Wagner and Strauss in an opera house the size of the Met. Deborah Voigt is the real deal."
On 22 January 2007, Maestro Leonard Slatkin presented the Marjorie Lawrence Centennial Celebration Award to
dramatic soprano Deborah Voigt after National Symphony Orchestra performances of Salome at Kennedy Center."Mr. McCully, I wish to thank you, the Committee and OMTI for choosing to honor me with the 2007
Marjorie Lawrence Centennial Award for Operatic Excellence. I am deeply moved to receive this award, named in
honor of the greatly gifted Ms. Lawrence, whose tragic story is ultimately one of triumph over devastating adversity.
In the coming years, I hope to sustain your confidence in me, and as I look at this beautiful award, will be reminded of the
tremendous legacy of which I am so humbly grateful to be a part. With thanks, and all best wishes."
Deborah Voigt, The Metropolitan Opera, International ArtistPan Pipes Magazine Marjorie Lawrence Melody Triumphant
Marjorie Lawrence Centennial Celebration Commission Memorializes
100th Anniversary of Metropolitan Opera Star in 2007
On All Hallows, the Marjorie Lawrence Centennial Celebration Commission meeting was held at the National Cathedral
with an All Hallows Guild Tea, followed by a performance of the Verdi Requiem Mass for the Dead, and a Moonlit Tour
of the cathedral woods at night. A memorial gift was made to the National Cathedral in remembrance of Marjorie Lawrence.
Opera Music Theater International (OMTI), under the direction of James K. McCully, announced plans today to mark the
100th anniversary of the birth of Marjorie Lawrence with an international celebration which promises to memorialize
the rich legacy of the Metropolitan Opera Star in 2007.Marjorie Lawrence Inscribed In Washington National Cathedral Book of Remembrance
OMTI Official Piano: Yamaha C7 Conservatory Concert Grand
Marjorie Lawrence International Vocal Competition
James K. McCully, General Director
Dame Joan Sutherland & Maestro Richard Bonynge, International Honorary Chairs
"Mr. McCully, it is great that you are doing such good work to help young singers, and we both wish you the greatest of success.
We are happy to be on the Advisory Board and to serve as International Honorary Chairs."
Dame Joan Sutherland & Maestro Richard Bonynge, The Metropolitan Opera, International ArtistsINTERRUPTED MELODY - The Life Story of Marjorie Lawrence Trailer
"Marjorie Lawrence was a great opera star, a Wagnerian dramatic soprano, and this is loosely based on her book,
which had the same title INTERRUPTED MELODY. I found this to be by far, of any film I have seen about an
opera singer, the best depiction of what the real nuts and bolts life is like; the practicing, the developing, even
learning how to sing in developing a career. It is so well done, and so believable."Metropolitan Opera Soprano Renee Fleming Introduces INTERRUPTED MELODY:
Listing in the OPERA America Audition Connection
Competition Winners Reid, Hinds, & Tonna
"Mr. McCully, I would like to express my sincere appreciation to you and the members of the
Opera Music Theater International for sponsoring the Marjorie Lawrence International Vocal Competition.
It is an honor and pleasure to have been chosen as a Winner by this prestigious organization.
As a young singer, I'm constantly striving to become a great artist, and it's just great to be recognized
for my vocal achievements thus far. This award has inspired me to try a little harder, sing a little better,
and smile a little brighter. I hope that the Opera Music Theater International will continue its efforts
to encourage young singers for years to come. Thanks again."
Lorraine Hinds ~ Marjorie Lawrence International Vocal Competition Winner ~
17th October 2005"Miss Nassif blossomed. Her luscious, well-supported vocal gifts bloomed magnificently, swiftly transforming her into a Violetta to remember with love and admiration. Displaying great emotional maturity and a seemingly unlimited vocal range, she melded effortlessly with her character and made the magic happen, made the audience believe in a way that happens infrequently even with the greatest of companies. With these performances, the gifted Miss Nassif -- only in her late 20s -- could be on the threshold of a truly brilliant career."
2nd Prize Chen Reiss 1st Prize Cristina Nassif 3rd Prize Michele Gutrick
MARJORIE LAWRENCE INTERNATIONAL VOCAL COMPETITION
National Museum of Women in the Arts
"Mr. McCully, thank you for your continued assistance, and I thoroughly enjoyed
my experience as a participant in The Competition."
Michele Gutrick ~ Marjorie Lawrence International Vocal Competition Winner ~
Metropolitan Opera Judges Evelyn Lear, Dominic Cossa, Mattiwilda Dobbs, Ryan Edwards & Thomas Stewart
"The Marjorie Lawrence International Vocal Competition is an excellent opportunity for young singers to hone their craft and perform competitively with their peers.
The competition is open to all singers whose operatic repertoire and vocal caliber meet the demands of an international career.
The event clearly was a success!"
Russell P. Allen, National Endowment for the Arts & OPERA America Consultant
General Manager of the Atlanta Opera, Virginia Opera & numerous symphony orchestras
OMTI Official Airline: US Airways
Evelyn Lear and Thomas Stewart Master Class
Metropolitan Opera Artists Evelyn Lear And Thomas Stewart Working With Emerging Artists
Laura Zuiderveen, John Weber, Brendon J. Cooke, Michelle Kunz, Hyun-Min Lee & Jennifer Wilson
Accompanists Dr. John Bowen & Moshe Landsberg at the National Museum of Women in the Arts
Under the Direction of James K. McCully, General Director
13th November 2005It was at a master class that they discovered Jennifer Wilson, who looked "unprepossessing," Ms. Lear said, until she opened her mouth and sang "Dich, teure Halle" from Wagner's "Tannhäuser."
"We couldn't believe our ears," Ms. Lear said. "We said, 'Where have you been?' " They quickly helped her get New York management, leading to her professional debut, in the title role in "Turandot", and on to the understudy contracts that led to her star-is-born moment in "Götterdämmerung."
Jennifer Wilson, an unknown 39-year-old soprano, suddenly burst onto the international opera scene by jumping in for Jane Eaglen as Brünnhilde in Wagner's "Götterdämmerung" at the Lyric Opera of Chicago, just a day after singing the same character in a rehearsal of "Die Walküre." Artistry aside, this is a stunning athletic feat. Few people today have the vocal heft and stamina to get through even one of these roles, let alone take on both back to back.
Ms. Wilson not only sang the killer leading role of the five-hour "Götterdämmerung," she also sang it so well, with a huge, beautiful sound and dramatic nuance, that she brought down the house.
Jennifer Wilson sings "Dich, teure Halle" from Wagner's "Tannhäuser"
OMTI Institute's Evelyn Lear & Thomas Stewart Master Class
National Museum of Women in the Arts
James K. McCully Raised To The Sublime Level of President
& General Director of OMTI
At the Library of Congress, James K. McCully was raised to the sublime level of President & General Director of OMTI,
by a special election of the Board of Regents of Opera Music Theater International. In 2007, James K. McCully will succeed
Dr. Tomas C. Hernandez, National Endowment for the Arts director of the former Opera-Musical Theater Program,
who served as President of the Board of Regents of Opera Music Theater International from 2004-2006.
National Endowment for the Arts director of former
Opera-Musical Theater Program Elected OMTI President
"I invited Mr. McCully to be an On-Site Evaluator for the Opera-Musical Theater Program based on his familiarity with the grants process,
having been a Fellow in the Program under my predecessor, Patrick Smith, who had left to become editor of OPERA NEWS.
I found Mr. McCully to be reliable, insightful, and thorough in fulfilling this important task, which he agreed to do, as a service to the field.
Among his many accomplishments, I am personally impressed with his success in creating International Forums for Singers and Conductors;
his ability to enlist the participation of such major figures as Placido Domingo and Dame Joan Sutherland;
his commitment to American Works; and his support of young talent."
Dr. Tomas C. Hernandez, National Endowment for the Arts,
Director of the former Opera-Musical Theater Program
OMTI Official Sponsor: Ancient & Accepted Freemasons
& Independent Order of Odd Fellows
The Belmont Mansion Grand Ball Great Performances
The Belmont Mansion Grand Ball, Emerging Artists Concert, featuring soprano Hyun-Min Lee, baritone Arturo Chacon,
tenor James Baker, soprano Connie Coffelt & accompanist JoAnn Kulesza under the direction of James K. McCully.
The Grand Ball at Belmont Mansion Great Performances
Under the direction of James K. McCully, Opera Music Theater International presented its Emerging Artists Concert as part of the Grand Ball at Belmont Mansion in Washington D.C. benefiting Capital Children's Charities.
The Concert occurred at the magnificent Belmont Mansion, former home of New York Congressman Perry Belmont, with accompanist JoAnn Kulesza. The piano used for the performance was a gold leaf 1911 Steinway Model B grand piano (one of two in the world).
The performance at Belmont Mansion included four prominent emerging artists showcasing a selection of bravura operatic masterworks. The performances took place in two acts at two different times during a formal evening of cocktails, fine cuisine, chamber music, silent auction and dancing.
The evening's goal was to reflect a dazzling evening of early 20th Century high society entertainment in this turn of the century French inspired mansion. The event clearly was a significant success and offered a magnificent evening.
All four singers for The Grand Ball performances have excellent voices, were well trained, and exhibited clearly defined technique and ability. The event was well attended. Given the nature of the event, there were times when it took the audience some time to quiet down for the performers. The performances were clearly appreciated, however, and the audience showed its interest in the performances by rousing ovations after each selection.
Overall, the performances were very well executed and enjoyable. Certainly the talent represented was excellent and the evening was clearly a major success.Russell P. Allen - National Endowment for the Arts and OPERA America consultant, general manager of Atlanta Opera, Virginia Opera, and numerous symphony orchestras, reviews Opera Music Theater International's Grand Ball at Belmont Mansion Great Performances.
Metropolitan Opera Artists Carmen Balthrop, Dominic Cossa, Mattiwilda Dobbs, Evelyn Lear, George Shirley, Thomas Stewart & Shirley Verrett
Broadway Legends and Motion Picture Icons, Emmy Award winner Marni Nixon & Grammy Award winner William Warfield
International artist manager Ann Summers moderates this distinguished panel of artists, offering solid advice to young singers,
under the direction of James K. McCully.
Evelyn Lear, James K. McCully & Thomas Stewart
Lifetime Achievement Awards
Seldom in the history of opera have the careers of a husband and wife been as illustrious as those of Evelyn Lear and Thomas Stewart.
Internationally recognized as superstars in their own right, they have graced the stages of virtually every major opera house in the world.
This dynamic duo is committed to helping a new generation of opera singers through master classes, apprentice and young artist programs throughout the U.S. and abroad.
During the 1960s and 1970s, Thomas Stewart and Evelyn Lear reigned as the leading Helden Baritone and leading Lyric Soprano on the stages of the Metropolitan Opera, Vienna State Opera, San Francisco Opera, Buenos Aires Teatro Colón, Berlin Deutsche Oper, Chicago Lyric Opera, as well as,
Covent Garden in London.
Their recordings of Die Walküre, Die Zauberflöte, Die Meistersinger, and Der Rosenkavalier are considered by many aficionados to be the consumate performances of these roles.
Opera Music Theater International honored Evelyn Lear and Thomas Stewart with Lifetime Achievement Awards for their illustrious careers in the history of opera, and their commitment to a new generation of emerging artists.
The National Theatre Concert featured OMTI Ensemble Marcia Saint Clair, mezzo; Cassondra Morrison, soprano; Benjamin Warschawski, tenor;
Michelle Auslander, soprano; Frank Basile, bass-baritone; Awilda Oliveira, soprano; Dr. Richard Bosworth, accompanist
& James K. McCully, general director.
Helen Hayes & James K. McCully
The National Theatre ConcertThe National Theatre is a plethora of stars of the past, the present, and the future of the great American theatre. Almost every great stage performer over the past century has graced the stage of this historic theatre. The oldest cultural institution in the Nation's capital, the National Theatre is one of the oldest continuously operating theatres in America.
The National Theatre, managed by the Shubert Organization, has presented numerous North American and World premieres of professional Broadway Class-A Legitimate Productions throughout its history. The National Theatre over looks the International Trade Center and Freedom Plaza on "The Avenue of the Presidents". Since its inception, the National Theatre has been crowned "The Theatre of the Presidents" having performed for every American President and First Lady.
"The First Lady of the American Theatre" and legendary actress Helen Hayes saw her first stage performance from the balcony of the National Theatre. Miss Hayes returned many times since that time to perform on the stage of the National Theatre throughout her career. The Nation's official portrait of Helen Hayes is on permanent loan from the National Portrait Gallery, and is prominently display at the National Theatre in the Helen Hayes Gallery.
In the Helen Hayes Gallery, as part of Monday Night at the National Theatre, Opera Music Theater International (OMTI) under the direction of James K. McCully conducted a memorial concert in honor of actor John McCullough. John McCullough, a distinquished actor who performed Shakespearean and other roles at the National Theatre, was reputedly shot and killed in the theatre by a fellow thespian, and his remains are rumored to lie in earth beneath the stage of the National Theatre.
The Washington Post reports that according to legend the shade of John McCullough roams the premises of the National Theatre in the darkness of night. Spectral sightings of McCullough have been seen on opening nights of each new production. The once famed star performer has taken on the role of ghostly custodian and spectral overseer, checking to assure that all is in readiness for the next performance.
The National Theatre concert performances by Opera Music Theater International (OMTI) featured ensemble members Marcia Saint Clair, mezzo; Cassondra Morrison, soprano; Benjamin Warschawski, tenor; Michelle Auslander, soprano; Frank Basile, bass-baritone; Awilda Oliveira, soprano; and Dr. Richard Bosworth, accompanist in formal concert attire.
The formal concert was a brew of mystery, murder, ghosts, and mayhem. Producer-Director James K. McCully orchestrated musical highlights from grand opera and musical theater in a memorial concert honoring actor John McCullough, The Ghost of the National Theatre.
"The caliber of the singers that you brought to our stage was breath - taking. Any one of them alone could have held an audience spellbound; together the ensemble was dazzling indeed."
Dr. Donn B. Murphy, President of The National Theatre
World Leaders of Contemporary Opera Honored at the Embassy of Canada
James K. McCully Honors Banff Centre for the Arts 20th Century Opera & Song Program At The Embassy of Canada.National Endowment for the Arts Alexander Crary & Gigi Bolt, Banff Centre for the Arts Keith Turnbull & OPERA CANADA Wayne Gooding.
CONTEMPORARY OPERA WORLD LEADERS HONORED
Welcome by Paul Frasier, James K. McCully & Marc A. Scorca
The contribution to the form of the Banff Centre for the Arts' 20th Century Opera and Song Program was recognized at a reception held at the Canadian Embassy in Washington, DC.
The timing of the reception coincided with the start of The Banff Centre's 65th Anniversary Celebrations. Paul Fraser, Minister, Public Affairs (Canadian Embassy) joined James K. McCully, Chairman (National Opera Association Convention) and Marc A. Scorca, President & CEO (OPERA America) in welcoming delegates and friends of the Centre to the embassy.
Graeme McDonald, President and Chief Executive Officer of The Banff Centre, and Keith Turnbull, Artistic Director/Executive Producer of Banff Theatre Arts represented the Centre. A highlight of the reception was the presentation of a video retrospective of the major training programs and works developed and produced at Banff over the last 10 years.
The Washington reception was the highlight of this year's nine city audition tour which included London, Paris and New York as well as six Canadian cities. Turnbill commented "on the audition tour we seek singers and instrumentalists with depth, versatility, and an appetite for new music incorporating innovative movement and scenography. This year the quality of applicants was extremely high --our message is getting out. It is gratifying that we are often bringing back Canadians who are now working in London, Paris or New York."
The uniqueness of the programming, the commitment to 20th Century works, and the impressive list of recent world and North American premieres were all cited as key factors in the decision to honour Banff as a world leader in the training, development, and production of contemporary opera.
Professional artists from a variety of disciplines were auditioned for a number of programs, including this year's world premiere opera Zurich 1916, the Dramatic Integration, and the New Work Development programs.
Metropolitan Opera Artist Ryan Edwards Works With Emerging Artists Robert Cantrell, Jonathan Saxon, Madeline Grey & Jose Sacin.
Accompanists Moshe Landsberg & Dr. John Bowen, under the direction of James K. McCully, at the National Museum of Women in the Arts.
Ryan Edwards Master Class
Opera Music Theater Institute, under the direction of James K. McCully, presented a master class by Ryan Edwards, renown singer, author, and musicologist. The master class occurred at the National Museum of Women in the Arts, Washington D.C.
"A naturally gifted performer-advocated-teacher offers solid advice to aspiring young singers."
The master class was underwritten in part by Yamaha Artist Services, which provided a Yamaha C-7 Conservatory Concert Grand for the event. Working with Mr. Edwards (author of "The Verdi Baritone" and "Verdi and Puccini Heroines") were accompanists Moshe Landsberg and John Bowen.
Ryan Edwards began the Master Class with comments on his perception of talent in the singing world today, remarks about what he is going to focus on in the Master Class Session, and thoughts on opera production as it relates to singing in general.
After a very brief greeting that included minimal comments about his background, Mr. Edwards' initial statements included an overview of his thoughts about singer training in the world today. He focused on the significant quality of training in America and how the world's premiere emerging talent seemed to radiate from American music conservatories. His direct quote on American singers was that they "are the most well prepared and musically astute" singers found anywhere.
Mr. Edwards then moved on to his thoughts on Guiseppe Verdi as a composer and his relationship with singers. His insight led to his position that Verdi, more so than any other opera composer, wrote music that epitomized the human experience through vocal music production. Mr. Edwards cited how Verdi dealt with humanity and human issues and managed to use opera as the medium to throw life and its intricacies in the audience's face. Thus, in explaining his focus for the day's session, he would use Verdi as the consummate example of how characterizations are realized vocally.
In further explaining Verdi's mastery, Mr. Edwards continued, used various styles of musical expression during his career; beginning with the bel canto formula popular at the beginning of his career and evolving into the through-composed style of his later years. Throughout his stylistic evolution, the one constant that Mr. Edwards details in Verdi's continuing ability to make real, human characterizations.
Found in the complete body of his repertoire, Mr. Edwards cites, is music that breathes and emotes through an inherent intensity not found in all composers. Mr. Edwards defined intensity as not being tension. Intensity, he said, is a necessary component of vocal production and expression - tension is not. Intensity is needed to define characterization: excess tension is not. Verdi's music demands intensity for effective characterization.
Mr. Edwards was also very clear that for the best possible effort at realizing true vocal intensity, with Verdi's (or, he implied, with any like composer) work should be viewed as it was originally intended. Mr. Edwards said avoid "concept" productions if one wants to truly sample Verdi's genius. Concept productions tend to marginalize characterizations, distract from the music being presented, and disallow appropriate focus on the humanity of the character. It's the psychology of human emotion that makes the music relevant. And to get into character and the emotional statement being presented, the music must first be learned and experienced as originally presented. That's where the real characterization has the best chance of coming through.
So, Mr. Edwards summarized his intent at today's session by stating that the focus of the Master Class would not be on technical issues, per se. But rather he would try to point out how best to bring forward the depth of character that is inherent in the music.
His one bow towards technical prowess was noted in a statement regarding singers performing on pitch. Mr. Edwards stated that any singer who cannot sing consistently on pitch will not have any kind of career. It was clear to this reviewer during the course of Mr. Edwards introduction of the session that he is clearly a man of expertise on opera characterizations. It was also clear that he aptly used Verdi as an appropriate and significant example of a composer's mastery of characterization through music, and that his own experience and understanding should provide for an interesting Master Class both enlightening for the viewer and rewarding for the singers.
Throughout the Master Class, Ryan Edwards was personable, encouraging and helpfully demonstrative. He relished what he was doing, clearly expressed his love of singing and support of such learning activities as master classes.
In his closing remarks, Mr. Edwards gave these final words of advice:1.) be true to yourself,
2.) be worthy of your gift,
3.) do not be ashamed or frightened, and
4.) sing.The Master Class itself was an excellent example of a naturally gifted performer-advocated-teacher offering solid advice and clearly communicated guidance to aspiring, young professional singers. Those in attendance were able to glean good solid information from the Master Class as well as enjoy an entertaining and fun session.
Russell P. Allen - National Endowment for the Arts and OPERA America consultant, general manager of Atlanta Opera, Virginia Opera, and numerous symphony orchestras, reviews Opera Music Theater International's Ryan Edward Master Class at the National Museum of Women in the Arts in Washington DC.
The White House Concert at
The State Governors Reception for The President
Ty Hreben performs McCully's AN AMERICAN PRESIDENT at the White House
Dr. Richard Bosworth at the EAGLE STEINWAY with OMTI Emerging Artists & Sinfonian Chorus
President William Jefferson Clinton gives a BIG THUMBS UP on a successful concert at the State Governors Reception
President William Jefferson Clinton & James K. McCully
OMTI Emerging Artists & Sinfonian Chorus at the White House"Mr. McCully, I cannot begin to tell you how grateful we are to you for your appearance at the White House.
The President and Mrs. Clinton join me in extending many thanks for your time and talents."
Capricia Penacia Marshall, The White House, Social Secretary
Marjorie Lawrence Centennial Celebration
Marjorie Lawrence Award Winner-Artist Division, Gilung Yun - Seoul, Korea
Marjorie Lawrence Award Winner-Studio Division, Jeremy Hedrick - Denton, Texas
Ambassador of Columbia & Marjorie Lawrence Award Judges
MET Artists Shirley Verrett, George Shirley, Evelyn Lear
& Thomas Stewart
Washington National Opera Artistic Administrator Edward Purrington
Opera Orchestra of New York Maestra Eve Queler
International Conductors Forum
International Conductors Forum with Maestros Eve Queler, Peter Mark, John Keenan, Willie Anthony Waters, Cal Stewart Kellogg, Heinz Fricke & James K. McCully
American Musicals A Gift To World Theater
Opera Music Theater International, under the direction of James K. McCully, commemorates the 100th Anniversary of Broadway
and Hollywood musicals with Grammy Award Winner William Warfield of SHOW BOAT, PORGY & BESS; Emmy Award Winner
Marni Nixon of MY FAIR LADY, WEST SIDE STORY, THE KING & I, THE SOUND OF MUSIC; National Endowment for the Arts,
Theater Program director Gigi Bolt; National Theatre president Dr. Donn B. Murphy; and National Portrait Gallery cultural historian
Amy Henderson, creator of the exhibition and book, RED, HOT & BLUE: A Smithsonian Salute To The American Musical.
William Warfield, Marni Nixon & James K. McCully
The 100th Anniversary of Broadway & Hollywood Musicals
A SMITHSONIAN SALUTE TO THE AMERICAN MUSICAL
"Actually to sit on a panel with William Warfield and Marni Nixon, and repositories in all the fields, I was considering my role on this panel.
When I was at the New York State Council on the Arts, as Director of the Theater program, I was working with Kitty Carlisle Hart, the widow of Moss Hart and Dorothy Rodgers, Richard Rogers' wife, and I saw wonderful work all over the state -straight plays and musicals.
There are a few moments in my memory, and one of those was a night over at Dorothy Rodgers' apartment for a meeting. I was standing at the far end of the living room, and sitting there at the other side of the room at the piano was Richard Rodgers, playing away at a tune, working something out. I couldn't believe that I was seeing it, and I have felt that way ever since.
There have been so many moments that I treasure in the musical theater, from the excitement of the opening night of CHORUS LINE on Broadway, or the revivals of SHOW BOAT and CAROUSEL, SHE LOVES ME, and GUYS & DOLLS, to the new music explorations of Julie Taymor and Elliot Goldenthall.
Julie had done so much work in the small theaters off of Broadway for the last twenty years before being given the opportunity like this, that so many of our magnificent artists have not yet received, people like Polly Penn, Jonathan Larson, Martha Clarke, and so many others.
It was this sweep in evolution and this sense of cultural historical development that was, for those of you who have not seen the exhibition that was so absolutely stunning. Thrilling! All of the joy, and hope, and genius, and shared spirit and energy were right there, and I'm so glad "RED, HOT & BLUE" is touring the country. I salute you Amy. It was wonderful."GIGI BOLT, Director of Theater Program, National Endowment for the Arts
Director of Theater Program, New York State Council on the Arts
The book, RED, HOT & BLUE: A Smithsonian Salute To The American Musical, was published to coincide with the Washington, DC, exhibition of the same name at the National Portrait Gallery, which co-created both exhibition and book with the National Museum of American History.
"I would like to thank James K. McCully, and Opera Music Theater International for allowing us to do this."
Amy Henderson, National Portrait Gallery, Cultural historian & Creator of the Exhibition and Book
RED, HOT & BLUE: A Smithsonian Salute To The American Musical
American Contemporary Composers Honored In Washington DC
James K. McCully Presents International Composers Forum Lifetime Achievement Awards of Excellence
Carlisle Floyd, Thea Musgrave, Robert Ward, Jack Beesom, Kirke Mechem & Seymour Barab
James K. McCully & Carlisle Floyd
Lifetime Achievement Award
Carlisle Floyd is the most important American opera composer and librettist in our nation’s history.
With Susannah (1955), Of Mice and Men (1970), and Cold Sassy Tree (2000), he has more titles in the standard repertoire than any other U.S. born composer.
In addition, his operas Willie Stark and The Passion of Jonathan Wade have been featured productions in companies such as the Houston Grand Opera, Lyric Opera of Chicago, Metropolitan Opera, San Diego Opera, and New York City Opera among others.
Floyd's commitment to American opera spans more than 50 years, representing a dedication to new works and new singers.
Through his 12 operas, his expressive clarity, lyricism, and realization of the value of song have ensured a dedicated following among both audiences and critics.
Andrew Porter of The New Yorker summarized the lasting value of Floyd's oeuvre saying,
"He has learned the international language of successful opera in order to speak it in his own accents and to enrich it with the musical and vernacular idioms of his own country.”Opera Music Theater International honored Carlisle Floyd with a Lifetime Achievement Award for bringing a national voice to American themes in his series of contemporary American operas.
"Mr. McCully, I am deeply honoured by the Award of Excellence that you have given me. I very much appreciate this gesture.
Composing is sometimes a very lonely occupation and it is very gratifying to have this kind of recognition."
Thea Musgrave, Opera Composer, SIMON BOLIVAR, A CHRISTMAS CAROL, & MARY, QUEEN OF SCOTS
International Arts Management Awards
OMTI Arts Management Fellowships & Financial Awards Recipients
"The Next Generation Of Global Leaders For A New World Order"
2007 Fellows Award - RICHIE WU
2005 Fellows Award - KATE PRESTON, 2003 Fellows Award - ROSITA BRADHAM,
2001 Fellows Award - DZOVIG VERTANESIAN & 1999 Fellows Award - MONA KHADEMI
"I wouldn't be where I am today without the experiences I had with OMTI !"
Rosita Bradham, Associate Director of Education,
Austin Lyric Opera & Armstrong Music School
National Endowment for the Arts, Opera & Music Panelist
Goethe Institute Concert in Washington DC
OMTI Emerging Artists Marcia St. Clair, Jon Schultz & Michelle Auslander Accompanist Dr. Nicolas Catravas & James K. McCully General Director
International Congress on Singer Training
James K. McCully Welcomes International Congress On Singer Training Delegates From Around the World,
European Union Opera-Felicity Jackson, International Resource Centre for Performing Artists-Ann Summers,
& Banff Centre for the Arts 20th Century Opera & Song Program-Keith Turnbull.
Metropolitan Opera National Council Auditions Gayletha Nichols addresses International Congress on Singer Training and moderator Michelle Krisel, Washington National Opera Center for Training & Education.
Metropolitan Opera Sopranos Shirley Verrett & Mattiwilda Dobbs
Maestro Everett Lee & Grammy Winner William Warfield
The Legacy Awards In Washington DC
On the evening of January 16 during the 43rd National Opera Association
Convention chaired by James K. McCully, The Legacy Awards took
center stage.
The Legacy Awards were initiated in Cambridge, Massachusetts, in honor of African American singers who have made outstanding
contributions in opera and music theater.
The Honorary Chairs of The Legacy Awards, Todd Duncan &
Mattiwilda Dobbs, were amongst the first cohort of honorees.
Co-Hosts were Shirley Verrett and yours truly [George Shirley],
and honorees were conductor Everett Lee, baritone Fred Thomas,
and sopranos Margaret Tynes and Adele Addison.
A greatly anticipated feature of The Legacy Awards is the concert of operatic arias and ensembles performed by some of the most outstanding young African American and Afro-Canadian singers on the horizon.
On this occassion, following the concert, there were three surprises, unrehearsed additions to the evening's artistry:
A sonorous rendition of "Ole Man River" from the golden throat
of septuagenarian William Warfield;
A silvery "Summertime" from the ever-youthful Mattiwilda Dobbs; &
A beautiful excerpt from "Carousel" sung by the peerless voice of
Shirley Verrett!
The audience was on its feet, and the young artists were in awe of the opportunity they had been afforded to witness The Legacy incarnate!
It was truly a night to cherish, an extraordinary moment in a
memorable convention.
George Shirley, The Metropolitan Opera, International Artist
Governor's Awards in the Arts Nominee James K. McCully...
The Governor's Awards for the Arts recognizes
Excellence in the Arts in the Commonwealth
USAir is an official sponsor of OMTI.
