Haylee Nichele (BFA ’11) can be seen playing Lady Macduff in Punchdrunk’s Sleep No More at New York City’s McKittrick Hotel. In this immersive theater production, the audience roams freely through the building experiencing Shakespeare’s epic story Macbeth through physical performance. The show closes on February 11.
In November, Breanna O’Mara (BFA ’11) and Alex Hille (BFA ’11) danced in La voix humaine (The Human Voice), which was choreographed by current student Zach Winokur, as part of the Ohana Arts Fall Festival of Music. The performance took place at Windward Community College in Kaneohe, Hawaii.
In November and December, Batsheva Ensemble members William Barry (BFA ’11) and Bret Easterling (BFA ’10) toured Deca Dance, choreographed by Batsheva’s artistic director Ohad Naharin (’77), to Luxembourg, Stockholm, and Bonn.
Anthony Lomuljo (BFA ’10), who is a member of the Göteborg (Sweden) Ballet, performed in Mats Ek’s Sleeping Beauty in December at the Göteborg Opera House; he’ll be in Sasha Waltz’s noBody at the opera house from February 25 through March 30; and this spring, he’ll join the company on tour in Stockholm; Tel Aviv; Portland, Oregon; and Chapel Hill, N.C.
Ballet Hispanico members Donald Borror (BFA ’10), Jamal Rashann Callender (BFA ’09), and Rodney Hamilton (BFA ’03) danced the world premiere of Asuka, artistic director Eduardo Vilaro’s homage to salsa legend Celia Cruz, at New York City’s Apollo Theater. The performance featured live music by Grammy winners Arturo O’Farrill and the Afro Latin Jazz Orchestra.
In November, Alvin Ailey dancers Kelly Robotham (BFA ’10), Samuel Lee Roberts (’98), Briana Reed (Diploma ’97), and Glenn Allen Sims (’97) joined other company members for Festa Barocca at New York City Center as part of the Fall for Dance series; they also danced in the company’s December season at City Center. Robotham, one of the company’s newest members, was featured in Pia Catton’s Wall Street Journal article “Ailey Dancers Dish on What Moves Them” on November 21.
Spencer Ramirez (’10), Aaron Loux (BFA ’09), and Laurel Lynch (BFA ’03), dancers with Mark Morris Dance Group, performed Morris’ All Fours with the company at New York City Center in October as part of the Fall for Dance series.
Rachelle Rafailedes (BFA ’09) danced in Kyle Abraham’s Live! The Realest MC at New York City’s the Kitchen in December. The work investigates gender roles in the black community and the quest for acceptance in the world of hip-hop celebrity. Live! The Realest MC, an evolution of a previous solo work by Abraham, references our own humanity in this digital age, creating an abstract and humorously dark narrative that places Pinocchio in an industrial dystopia.
Carlye Eckert (BFA ’09) and co-curator John Sorensen-Jolink presented Stuffed: Dinner and Dance With Bailout Theater in December at Judson Memorial Church in New York City. The evening featured original works by Chelsea Ainsworth (BFA ’10), Julia Stiefel (BFA ’10), and Lucie Baker (BFA ’08).
Michaeljon Slinger (’09) will be in the Broadway revival of Tim Rice and Andrew Lloyd Webber’s Evita, which is to begin previews March 12, with an official opening of April 5, at New York City’s Marquis Theater. In November, Slinger and the rest of the cast of How to Succeed in Business Without Really Trying performed in Macy’s Thanksgiving Day Parade.
In December, Arika Yamada (BFA ’09), Caroline Fermin (BFA ’07), and Troy Ogilvie (BFA ’07), dancers with Gallim Dance, performed with the company in Mama Call and Seven Circles, both of which were choreographed by Gallim artistic director, Andrea Miller (BFA ’04), at New York City’s Jewish Community Center.
In December, Marla Phelan (BFA ’09) danced in the NewSteps series, which features works by emerging choreographers, at the Chen Dance Center in New York City.
Adam H. Weinert (BFA ’08) served as artistic associate for Sequel, a collaboration between choreographer Jonah Bokaer and video installation artist Irit Batsry that received its premiere at CPR-Center for Performance Research in Brooklyn in December.
Michelle Mola (BFA ’07) and fellow dancer-choreographer Jack Ferver presented the premiere of Me, Michelle, a duet that draws on the mysteries and myths of the life of Cleopatra as a vehicle for two performers to uncover truths about the queen—and, ultimately, themselves. The performance took place at the Museum of Arts and Design.
In December, Troy Ogilvie (BFA ’07) presented Reset, her first solo show, at New York City’s Duo Multicultural Arts Center. The show included choreography of Shannon Gillen (BFA ’03), Austin McCormick (BFA ’06), Harumi Terayama (BFA ’06), and Margie Gillis.
In November, Kevin Shannon (BFA ’07) and Pablo Piantino (BFA ’99) joined fellow Hubbard Street Dance Chicago dancers in performing Three to Max by Ohad Naharin (’77) as part of New York City Center’s Fall for Dance series.
Austin McCormick (BFA ’06) choreographed, conceived, and directed Snow White at the Bond Street Theater in Brooklyn in December and January. The family show blended opera, circus, dance, theater, and projection. Performers included Laura Careless (BFA ’07) and Davon Rainey (’04).
In March, Bennyroyce Royon (BFA ’06) is one of three choreographers who will receive the Joffrey Ballet’s second annual Choreographers of Color award. It includes a minimum of 30 hours of rehearsal time to set new works on Joffrey Academy trainees, plus a $2,500 stipend. Royon, currently in his fourth season as a dancer with Karole Armitage’s troupe Armitage Gone! Dance, plans to blend ballet with edgy modern dance in his work, which will be presented on March 11 at the Harris Theater for Music and Dance in Chicago.
Belinda McGuire (BFA ’06) presented her one-woman solo production The Heist Project at Joyce SoHo in December. It included choreography by Idan Sharabi (Diploma ’06), Emio Greco and Pieter C. Scholten, and Sharon Moore, with music by Derek Aasland, Alexander Balanescu (’77, violin), and dance faculty member Jerome Begin.
Andrea Miller (BFA ’04) and Jessica Lang (BFA ’97) presented premieres at New York City Center as part of the Fall for Dance series in October. Miller’s Bloom was danced by Drew Jacoby, and Lang’s Among the Stars was danced by Yuan Yuan Tan and Clifton Brown.
Juan-Antonio Rodriguez (BFA ’01) and Clifford Williams (’01), dancers with Complexions Contemporary Ballet, performed with the company at New York City’s Joyce Theater in November.
Robert Battle (BFA ’94), who became the artistic director of Alvin Ailey American Dance Theater in July, has recently been profiled in Dance magazine (December), Playbill Arts (November 18), The Wall Street Journal (December 7), and The New York Times (December 2). In The Times, Battle was interviewed with Paul Taylor (BS ’53), who collaborated with him on Taylor’s Arden Court, which was performed by Ailey at New York City Center in November and December.
After graduating from Juilliard, Paul Pierson (BFA ’94) worked as a chorus boy at the Moulin Rouge’s sister theater, Le Lido de Paris, which consists “mainly of cleavage and feathers,” he wrote The Journal. Then he became a sailor. “I could tell you what I did in the [U.S.] Navy, but then I’d have to kill you,” he quipped. “What I am at liberty to say is that in the years since graduation, I have become fluent in French, Mandarin Chinese, and Spanish.” Thanks to the G.I. bill, he enrolled in the University of Maryland at Baltimore’s social work master’s program and hopes to earn his degree next year. In the meantime, he has an internship at the university’s School of Law and is working for Maryland General Hospital’s clinic for patients living with H.I.V./AIDS and other viral diseases. “This brings me to the last development in my life I would like to share,” he wrote. “Six and a half years ago, I contracted H.I.V. through unprotected sex and, though life has been even more challenging, I am still here, and for that I thank God every day.”
Kara Miller (BFA ’93) has been appointed assistant professor of dance at the University of Hawaii at Manoa.
Mara Kurotschka (BFA ’92) co-directed and choreographed Jacque Offenbach’s operetta Orpheus in the Underworld, which ran in December and January at the Staatsoper unter den Linden in Berlin.
In October, Visions Contemporary Ballet, a company directed by Ranardo-Domeico Grays (’92), performed some of his choreography at the Central Park Bandshell as part of the American Cancer Society Making Strides Walk.
In October, Peter London (Diploma ’87), a former dancer with the José Limón and Martha Graham companies, debuted his new company, Peter London Global Dance Theater, at Miami’s Little Haiti Cultural Center, where he is an artist in residence. In June, his Vespers for Frida was performed at the Semana Internacional del Baile in San Juan, Puerto Rico. Also that month he represented Janet Eilber, artistic director of the Martha Graham Center of Contemporary Dance, as a juror at the Korea International Modern Dance Competition in Seoul and was a guest master teacher for Garth Fagan Dance, in Rochester. In May, London was made a distinguished professor by Miami Dade College, where he has been on the faculty of the school’s conservatory, the New World School of the Arts, for 14 years. In October, London created a ballet called Women of Picasso (with Cubist costumes and masks) for a Miami Dade celebration of Picasso’s 130th birthday.
Ohad Naharin (’77) was featured in a December article in The Jewish Week called “The Choreography That Binds.” It describes his relationship with the Alvin Ailey Company, which performed his Minus 16 in December at New York’s City Center.
Daniel Lewis (Diploma ’67; faculty 1966-87) received the Martha Hill Dance Fund’s lifetime achievement award in November. It was presented by Carla Maxwell (BS ’67) and the master of ceremonies was Mercedes Ellington (BS ’60).
In November, Sandra Noll Hammond (’57) was a speaker at a Royal Academy of Arts symposium in conjunction with the London organization’s exhibition “Degas and the Ballet: Picturing Movement.” Hammond’s essay “In the Dance Classroom with Edgar Degas: Historical Perspectives on Ballet Technique” was published in 2011 by Olms Verlag (Germany) in Imaging Dance: Visual Representations of Dancers and Dancing.
In October, Auden Thornton (Group 40) guest starred on ABC’s Pan Am in episode three, “Ich Bin Ein Berliner.”
Geoffrey Murphy (Group 38) joined the cast of War Horse at Lincoln Center’s Vivian Beaumont Theater in January. Based on the novel by Michael Morpurgo, War Horse was adapted by Nick Stafford and directed by Marianne Elliott and Tom Morris.
Amari Cheatom (Group 37), Corey Hawkins (Group 40), and Joaquina Kalukango (Group 40) are all performing in Hurt Village by Katori Hall (Playwright ’08). Patricia McGregor is directing the production, which begins previews February 7 and will run through March 18 at the Signature Theater Company’s Romulus Linney Courtyard Theater in New York City.
Jessica Chastain (Group 32) has been cast as Princess Diana in Caught in Flight, which was written by Steven Jeffreys and directed by Oliver Hirschbiegel. It’s scheduled to be released in 2013.
In October, Arden Kelly (Group 32) starred in the Columbia Stages’ production of Chekhov’s The Cherry Orchard, which was directed by Tyne Rafaeli as part of the Schapiro Classroom Series. In September, Kelly appeared in a workshop production of Refrigerator Mother, which was written by Alessandra Hirsch, directed by Jen Wineman, and performed at Columbia’s Schapiro Studio.
In January, Michael Urie (Group 32) made his Broadway debut as Bud Frump in How to Succeed in Business Without Really Trying. The production, which is directed and choreographed by Rob Ashford, is at the Al Hirschfeld Theater; Urie is slated to be in it for five months.
In November and December, Elective Affinities by David Adjmi (Playwright ’02) was presented by Soho Rep, piece by piece productions, and Rising Phoenix Repertory. The production, which took place in the living room of an undisclosed building in New York City, was directed by Sarah Benson. Daniel Talbott (Group 31) is the artistic director of Rising Phoenix.
Julie Fishell (Group 19) starred in PlayMakers Repertory Company’s November-December production of Who’s Afraid of Virginia Woolf? at the Paul Green Theater at the University of North Carolina at Chapel Hill. The production was directed by Wendy C. Goldberg.
Bill Camp (Group 18), Kathleen McNenny (Group 17), and Finn Wittrock (Group 37) will be among the cast members in the Broadway production of Arthur Miller’s Death of a Salesman. Directed by Mike Nichols, the Barrymore Theater production’s previews begin February 13, with the 16-week run opening March 15.
Howard Kaye (Group 18) plays Jack Crawford in the Off-Broadway hit Silence! The Musical, a Silence of the Lambs parody, at New York City’s Performance Space 122. The music and lyrics were written by Jon and Al Kaplan, the book by Hunter Bell; Christopher Gattelli directed and choreographed. In November, Kaye also appeared in the Actors Fund and Vineyard Theater benefit performance of Kander and Ebb’s The Visit, which starred Chita Rivera and John Cullum and was directed by Carl Andress.
Michelle Anton Allen (Group 17) produced What Happened Here, a cinematic essay about Leon Trotsky, with award-winning director Rob Nilsson.
Stephen Pimpare (Group 16) teaches at the Columbia and N.Y.U. schools of social work and has been designing a national poverty education program for Americorps Vista. He won a Michael Harrington prize for his second book, A People’s History of Poverty in America, and is now at work on The Celluloid Poorhouse: A History of Poverty in American Film.
In November and December, J.C. Cutler (Group 14) starred as Ebenezer Scrooge in the Guthrie Theater’s production of Dickens’s A Christmas Carol, adapted by Crispin Whittell. The production took place at the Wurtele Thrust Stage in Minneapolis.
John Robbins (Group 7) studied acting in the Drama Division for just one year, 1974-75, with Peggy Freed as his improvisation instructor. “Ironically, I never worked as an actor after leaving Juilliard,” he wrote The Journal, instead becoming the lead singer of several rock bands, one of which, Hardly Middle Class, has recordings that are still available on iTunes. In 1983, Robbins returned to school to study mechanical engineering. He spent most of the 1990s working in Japan as a patent agent and currently works for a patent law firm in Washington, D.C. “I still perform as a musician, not as an actor, and only as a hobby, in local jazz/rock bands and also at my church two or three Sundays a month.”
Harriet Harris (Group 6) was featured in Standing on Ceremony: The Gay Marriage Plays, which was conceived by Brian Shnipper and directed by Stuart Ross. Performances took place at New York City’s Minetta Lane Theater in November and December.
In January and February, Vivian Neuwirth (Group 3) and Stephen Schnetzer (Group 3) were featured in her play Destination as part of the InGenius Festival and InGenius Encores at Manhattan Theater Source.
In November and December, Charles E. Gerber (Group 1) appeared in Samson Raphaelson’s The Jazz Singer at New York City’s Metropolitan Playhouse. Directed by Laura Livingston, this was the last of four full productions in New York City in which Gerber appeared in 2011. He directed and performed in Paul Weidner’s translation of Molière’s Tartuffe at the Workshop Theater Company in January; and he performed in Michele A. Miller’s Mother of God!, which was directed by Melody Brooks at New Perspectives Theater in March, and The Eternal Husband, written and directed by Nat Cassidy, as part of the New York City International Fringe Festival, in August.
In December, Andrew Arceci (MM ’11, historical performance) was featured in the Shandelee Music Festival’s Showcase Series in New York City.
In November, AJ Nilles (BM ’11, viola) was appointed to the viola section of the San Diego Symphony.
Vanessa Fralick (’10, trombone) was the first-place winner in the brass category of the Orchestre Symphonique de Montréal’s Standard Life Competition in November.
In November, Kristin Lee (Pre-College ’04; BM ’08, MM ’10, violin) made her Philadelphia recital debut at the Trinity Center for Urban Life.
In November, Rose Lombardo (BM ’10, flute) was appointed principal flutist of the San Diego Symphony.
In July, Patrick Cook (BM ’07, voice), who is completing his D.M.A. in opera performance at the University of Maryland, College Park, sang the national anthem for President Obama’s town hall meeting there. In November, Cook sang the role of Luigi in the Maryland Opera Studio production of Puccini’s Il Tabarro at the university. Also in November, Cook won the D.C. District Metropolitan Opera National Council Auditions.
In November, Eugene Tzigane (MM ’07, orchestral conducting) conducted the Tampere Philharmonic of Finland in a program of Ravel, Tan Dun, and Brahms. In July, he conducted the Indianapolis Symphony Orchestra. Currently, Tzigane is the chief conductor of the Nordwestdeutsche Philharmonie, which is based in Herford, Germany, and has recently led the orchestra on tours throughout Europe.
In November, Miranda Cuckson (Pre-College ’90; BM ’94, MM ’01, DMA ’06, violin) performed a solo recital as part of Bargemusic’s Here and Now series. It included works by Shulamit Ran, Reiko Fueting, Alexander Sigman, Georges Aperghis, Georg Friedrich Haas, and Ileana Perez-Velázquez.
Alissa Madsen (MM ’05, viola) has recently been named the education director of the Lubbock (Tex.) Symphony Orchestra.
In October, Cynthia Wong’s (BM ’04, MM ’05, composition) Memoriam was premiered by the Orpheus Chamber Orchestra at Stern Auditorium/Perelman Stage at Carnegie Hall. The piece was commissioned by the Orpheus Chamber Orchestra as part of its 40th-anniversary season.
Sybarite5, whose members are Sami Merdinian (Pre-College ’00; BM ’04, violin), Angela Pickett (MM ’06, viola), violinist Sarah Whitney, cellist Laura Metcalf, and bassist Louis Levitt, was awarded the Sylvia Ann Hewlett Adventurous Artist Prize at the 2011 Concert Artists Guild Victor Elmaleh Competition.
Andrea Fisher (BM ’02, MM ’04, flute) recently launched a line of four designer flute bags called Fluterscooter. They are available at select stores and at fluterscooter.com.
Morgan James (BM ’03, voice), who is currently starring in Godspell, on Broadway, made her Dizzy’s Club Coca-Cola debut in December.
In November, Anja Strauss (Graduate Diploma ’02, voice) performed Hindemith’s Marienleben at the Roskilde-Bach-Days in Roskilde, Denmark. She is also the new German diction coach at the San Francisco Opera.
In December, Young-Ah Tak (BM ’01, piano) released an album of solo works by Haydn, Schumann, Liszt, and Leon Kirchner under the MSR Classics label.
The recently released Troy recording of Stefan Weisman’s Darkling features Tom Chiu (MM ’95, DMA ’01, violin), Pre-College faculty member Kenji Bunch (BM ’95, MM ’97, viola; MM ’97, composition), and Raman Ramakrishnan (Pre-College ’94; MM ’00, cello).
In October, Philip Rothman (MM ’00, composition) conducted members of the Society for New Music in a performance of his original score to the 1920s film Way Down East at the Syracuse International Film Festival.
Jens Georg Bachmann (Advanced Certificate ’99, orchestral conducting) recently conducted performances by the N.Y.U. Philharmonia and the N.Y.U. Symphony Orchestra at New York City’s Frederick Loewe Theater and the Church of St. Joseph, respectively. In October, he conducted the Manhattan School of Music Philharmonia Orchestra in readings of works by Brahms, Wagner, and Barber.
After spending the 2003-04 season as the second trombonist of the Buffalo Philharmonic, John Graham (MM ’98, trombone) earned master’s degree in Chinese studies at the University of Michigan (including spending a year in Taiwan studying Mandarin and doing research) and was awarded a fellowship with the National Bureau of Asian Research in Seattle, where he published papers on technology standards and on measuring the cross-border flow of services in the U.S. economy. He then went to law school and is now general counsel and chief operating officer of a Seattle-based software company called Vínsula, Inc. He also does pro bono work, including recently assisting an immigrant from Kenya in obtaining political asylum in the U.S.
Misha Keylin (Pre-College 88; Certificate ’98, violin), pianist Maxim Mogilevsky, and cellist Sergey Antonov have recently formed the Hermitage Piano Trio and will be represented by Melvin Kaplan, Inc. The trio is planning concerts across the United States and a tour of South America.
Marco Rapetti (MM ’91, DMA ’97, piano) has recently been appointed to full-time piano professor at the Conservatorio Statale di Musica Luigi Cherubini in Florence. In October, Rapetti gave a master class at the Sydney Conservatorium. His recordings of Paul Dukas’s complete piano works and Anatoly Lyadov’s complete piano works were recently released under the Brilliant Classics label.
Daniel Belcher (MM ’95, voice) was featured on the recording of Kaija Saariaho’s L’Amour de Loin that won the 2010 Grammy Award for best opera recording.
In December, Boston Brass performed the world premiere of Argentum, a fanfare for brass quintet by Michael Hosford (BM ’91, MM ’93, trombone), at the Riverside Fine Arts in Jacksonville, Fla. He wrote the piece for the group in commemoration of its 25th anniversary season.
In March and April, Trent Johnson (Advanced Certificate ’91, organ) gave a concert tour of Russia. In July, his piece Concertante for Organ and String Quartet was premiered by organist Marilyn Keiser and the Shanghai String Quartet at the American Guild of Organists Convention in Morristown, N.J.
Last summer, Chin Kim (Pre-College ’75; BM ’82, MM ’83, DMA ’89, violin) performed and taught at the Green Mountain Music Festival in Vermont, the International Music Institute and Festival in Maryland, and the Summit Music Festival in New York. Also last summer, Kim gave a recital at New York’s Honest Brook Music Festival. In November, he gave a recital at Mannes College the New School for Music and the following month, he performed at the Korean Cultural Service N.Y.
Joshua Gordon (BM ’86, MM ’87, cello) and Vasko Dukovski (BM ’08, MM ’10, clarinet) are featured on Chamber Works of Mohammed Fairouz (Naxos).
In January, violinist Midori (Pre-College ’87) received the World Economic Forum’s crystal award—for artists who use their art to better the world—at the forum’s annual meeting in Davos, Switzerland.
Starting next summer, Eric Schweikert (MM ’87, percussion) will be the principal timpanist of the Eastern Music Festival in Greensboro, N.C.
In July, Rick Parent (MM ’84, piano) was named chairman of the dean’s circle executive board for the Mike Curb College of Arts, Media, and Communication at California State University, Northridge. After graduating from Juilliard, Parent became a certified public accountant and is currently a shareholder and head of the accounting and audit department at Gumbiner Savett in Santa Monica, Calif.
In August, Opus Two, whose members are Andrew Cooperstock (MM ’83, piano) and violinist William Terwilliger, performed works by Paul Schoenfield, Bright Sheng, and Leonard Bernstein/Eric Stern at Hong Kong’s Hell Hot New Music Festival. In March, the duo performed in Ghana with members of Ghana’s National Symphony Orchestra and students from Ghana’s School of Performing Arts at the University of Ghana. The duo recently released a recording of works by Leonard Bernstein on the Naxos label.
In October, Eliza Garth (Postgraduate Diploma ’82, piano) accompanied dancers with works by George Crumb, Henry Cowell, Mario Davidovsky, and Maurice Wright in a production titled The Enchanted Piano, at the Manhattan Movement and Art Center.
Wynton Marsalis (’81, trumpet) has been named cultural correspondent for CBS and as such will provide insight on cultural and educational developments on CBS This Morning and CBS Sunday Morning.
Patrick Mullins (BM ’80, MM ’81, piano) recently released Illegal Dances of New York, the third volume of his trilogy, Cine-Musique. The 270-page work of fiction includes artwork by Christian Pellet and Jack Noordhoorn as well as poems by Dominic Fox and Saint Nick J. Land. It is dedicated to former Juilliard faculty member Martha Graham.
In December, the Hartt Symphony Orchestra performed Larry Alan Smith’s (BM ’77, organ, MM ’79, DMA ’81, composition) Symphony No. 3 at the University of Hartford’s Lincoln Theater.
In November, Matthew Balensuela (BM ’79, saxophone) presented the paper “Conflicting Strategies of Management and Memory at the Indiana Roof Ballroom in the Early 1930s” at the American Musicological Society Annual Meeting in San Francisco.
In September, Shinji Eshima’s (MM ’79, double bass) Raku was performed by the Pacific Symphony, which was accompanying the San Francisco Ballet at the Segerstrom Center for the Arts in Los Angeles. The company will perform the piece again in March. Eshima has also been active in organizing and participating in concerts to raise relief funds for earthquake and tsunami victims in Japan.
Jaap van Zweden (’79, violin) was named conductor of the year for 2012 by Musical America magazine.
Sophia Agranovich (BM ’77, MM ’78, piano) has recently given solo recitals at the Watchung (N.J.) Arts Center, Brooklyn’s Bargemusic, the Wharton Music Center in Berkeley Heights, N.J., and Weill Recital Hall at Carnegie Hall.
Recent performances for William Wolfram (BM ’78, piano) include solo engagements with the Buffalo Philharmonic, in November, and the Naples (Fla.) Philharmonic, in December, both of Beethoven’s Piano Concerto No. 4. Also in November, he performed a solo recital at Brooklyn’s Bargemusic and in a chamber concert at Merkin Concert Hall. Last summer, Wolfram played concerts at the Music in the Vineyards festival, in Napa Valley, Calif., and at the Seattle Chamber Society.
As a New York City session singer, Valerie Wilson Morris (BM ’76, MM ’77, voice) has had a diverse career since graduating from Juilliard. She sang backup on “Bring the Boys Back Home,” a track on Pink Floyd’s The Wall; recorded mock commercials for Saturday Night Live; and sang commercial duets with Mark Cohn, Luther Vandross, and Michael Bolton, among others. While working as a session singer, she launched her own management company, VAMNation Entertainment, which she described as the amalgamation of her experience as a student, performer, and manager.
In April and May, Lee Bracegirdle (BM ’75, MM ’76, horn) will be the composer-in-residence at the Brahmshaus in Baden-Baden, Germany.
Juilliard couple Paul Christopher Musgrave (BM ’76, piano) and Machiko Yamane (Diploma, ’78, piano) operated a record label, Aryllis, and had success with their relaxation CD Lavender before recognizing a decade ago that unauthorized downloading would inevitably undermine the entire recorded music industry. They switched to book publishing and computer programming, creating Doctor Mozart, a series of music theory workbooks for children, while grappling, Musgrave recently told The Journal, with how to “compete with large publishers who receive government subsidies and connect cost-effectively with the relatively few teachers who are open to adopting innovative new teaching materials.” For more information, visit their Web sites DoctorMozart.com and SheetMusicFast.com (for which Musgrave programmed the search engine, the shopping cart, and more than 75,000 pages).
Anthony Scelba (DMA ’76, double bass) is currently a visiting faculty member at the University of Southern California’s Thornton School of Music. In November, he performed on a concert of works by Brazilian composer João Guilherme Ripper at Kean University in Union, N.J.
Hal Gary (MM ’72, percussion) had always wanted to be a high school band director, getting his undergraduate degree in music education from the Peabody Institute. He then auditioned at Juilliard with Saul Goodman and Buster Bailey, and, he told The Journal, “No one was more surprised than I when Mr. Goodman said, “You’re O.K., I can make something out of you.” Unfortunately, though, when Gary graduated, he found that with a master’s degree, he was “too expensive for a first-year teacher.” So he entered the family business and has been an accountant and tax preparer since the 1980s. “It seems that musicians are by nature not just artistic but very analytical, a talent that I do possess and have used to my advantage.” And he didn’t completely forsake music: until recently, he played in a community orchestra.
Jeffrey Jacob (MM ’72, piano) recently released Music for Haiti, an album of his own works. Proceeds from its sale go to the Bill Clinton-George Bush Fund for Haiti.
In October, Boise (Idaho) State University honored Madeline Hsu Forte (BM ’70, MS ’71, piano), who served on its piano faculty for 26 years. As part of the event, Forte and a number of her former students performed, and a Steinway piano was dedicated to her.
In September, Diane Walsh (Pre-College ’67; BM ’71, piano) performed Beethoven’s Piano Concerto No. 4 with the North State Symphony at concerts in both Chico and Redding, Calif. The following month, Walsh performed a program of Beethoven and Schumann on the Bozeman (Mont.) Symphony’s piano recital series.
In December, violin faculty member Kyung-wha Chung (Diploma ’69, violin) gave a series of recitals in Korea for the first time in nine years. She performed works by Brahms, Mozart, and Franck.
In November, Christina Petrowska Quilico (Pre-College ’64; BM ’68, MS ’69, piano) performed Grieg’s Piano Concerto with the Kindred Spirits Orchestra in Markham, Ontario. Also in November, she performed a CD release concert at the Canadian Music Centre for her fifth CD of piano concerti by Canadian composers. In October, Petrowska Quilico performed a solo recital at James Madison University’s Contemporary Music Festival, in Virginia. Later that month, she performed the music of Ann Southam at the Toronto Heliconian Club.
Meir Wiesel (BM ’69, orchestral conducting) is the director of Youth and Music Israel, whose flagship project is the Arab-Jewish Youth Orchestra. The orchestra, conducted by Taiseer Elias, is comprised of 20 young Arab and Jewish musicians, and this year marks its 10th anniversary.
Christina “Brit” Conroy (Pre-College ’67, voice) described herself to The Journal as a “once morose opera singer, turned somber actress, turned blissfully happy music psychotherapist.” She sang operas, operettas, musicals, and folk music (accompanying herself on the Irish harp and guitar) before earning a music therapy master’s degree from N.Y.U. Her nonprofit, Music Gives Life, lets senior citizens experience musical performing. “Most of them (ages 69-96) had never touched a musical instrument, sung into a microphone, or danced choreographed steps before joining my program,” Conroy said. Her 2008 novel, One Man’s Music (Black Lyon Publishing) is the story of a Juilliard soprano’s obsession with a symphonic composer.
In November, it was announced that Leonard Slatkin (BM ’67, orchestral conducting) has extended his contract as music director of the Detroit Symphony Orchestra, so that he will remain in the position for three more years. His current agreement, of which the new contract is an extension, had been set to end in 2013.
Peter Schaaf (BM ’64, MS ’65, piano) has recently recorded Isaac Albéniz’s Iberia as the inaugural disc for the Victor Elmaleh Collection label. The tracks are available for download at peterschaaf.com.
Haim Shtrum (BM ’65, violin) performed original music in Zalmit, a video art project by artist Adam Berg. It was shown in November at the Jerusalem Arts Festival.
Mimi Chen (Pre-College ’75) is currently president and co-founder of Cognitive Code, a technology start-up. She is also the radio personality for Peace, Love, and Sunday Mornings, on Los Angeles’s KSWD (100.3, the Sound). Recently, Chen became a Jamba Juice Ambassador of Wow.
Kenneth Bennett Lane (’51, voice) has two upcoming recitals: one in February, “Celebrating and Extolling Cats and Other Furry Animals,” and one in March, “High Flying—Love in its Many Faceted Expressions as Extolled Throughout Music History in Stratospheric High D Natural, High D Flat Above High C and 30 High Cs.” The February performance will take place at the New Yorker Hotel, and the March performance will take place at the Lake Hiawatha (N.J.) Library.