S TA G E S BOSTON CONSERVATORY AT BERKLEE
PAVING THE WAY
Envisioning the future of Boston Conservatory at Berklee with Executive Director Cathy Young
THE FUTURE OF MUSIC, DANCE, AND THEATER WILL BE SO MUCH BETTER THAN THE PAST An op-ed on where the performing arts are headed by Panos Panay, Vice President for Innovation and Strategy
Q&A
Matthew Lowy (B.M. '15, composition) on taking your own path
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WINTER 2018
Dear friends, Welcome to the winter edition of STAGES magazine! This fall was a particularly exciting one for me, as it marked the start of my tenure as executive director of Boston Conservatory at Berklee. I am inspired daily by the passion and talent of our students and faculty, by our nurturing community, and by the excellent education we offer to young artists, which I know is unparalleled by any other institution in the world. I am honored to be entrusted with leading the Conservatory through our next chapter. Now midway through the second year of our merger with Berklee, the opportunities for our students continue to expand, as do the opportunities for the Conservatory as a whole. Last summer, we piloted an opera intensive at the Berklee College of Music campus in Valencia, Spain, which was a resounding success and the first of what we hope will be many Conservatory programs in Valencia; at both the College and the Conservatory, we’ve seen a 350 percent increase in cross-registration activity across the two campuses; we’ve fully integrated student services, which now includes an enhanced Student Affairs Department and a newly formed Center for Equity, Diversity, and Inclusion to ensure a safe and respectful campus environment; and we have increased access to a wide variety of on-campus resources. I’m also pleased to share that we saw a 16 percent increase in applications for fall 2017 enrollment, representing both the largest applicant pool and biggest increase in applicants that the Conservatory has ever experienced. As executive director, my goal is to expand the reputation of the Conservatory as a global leader in performing arts education that provides our students with a rigorous, holistic, innovative, and empowering education that prepares them not only for their careers, but also for their lives. Thank you for your support. Sincerely,
Cathy Young, Executive Director Boston Conservatory at Berklee
4 SNAPSHOTS
Orientation and Family Weekend 2017
6 PAVING THE WAY
Envisioning the future of Boston Conservatory at Berklee with Executive Director Cathy Young
10 THE FUTURE OF MUSIC, DANCE, AND THEATER WILL BE SO MUCH BETTER THAN THE PAST An op-ed on where the performing arts are headed by Panos Panay, Vice President for Innovation and Strategy
14 Q&A
Alumnus Matthew Lowy (B.M. '15, composition) on taking your own path
16 FACILITIES AND INCLUSIVITY
Making historic buildings accessible for all
18 GIVING
New scholarships set students on the path to success
20 ACADEMIC SPOTLIGHT Michael Shinn, new dean of music, brings a fresh take
22 IN THE LIMELIGHT
Recent happenings at the Conservatory
24 NOTEWORTHY
Recent accomplishments of Conservatory faculty and students
STAGES is published for friends, parents, and alumni of Boston Conservatory at Berklee Š 2018. Editor in Chief: Andrea Di Cocco Managing Editor: Samantha Burns Contributors: Alison Arnett, Dana Grider, Panos Panay, Steven Riggs Design: Michelle Parkos Cover Photo: Kelly Davidson Photography: Eric Antoniou,Taylor Crichton, Kelly Davidson, Dave Green, Michelle Parkos, Mike Spencer, Max Wagenblass For changes to your address or mailing preferences, contact: advancement@bostonconservatory.edu
General Information: Boston Conservatory at Berklee 8 Fenway, Boston, MA 02215 617-536-6340 bostonconservatory.berklee.edu Boston Conservatory at Berklee Admissions 617-912-9153 conservatoryadmissions@berklee.edu To give a gift to the Annual Fund, visit bostonconservatory.berklee. edu/giving or use the envelope in this magazine.
Snapshots
ORIENTATION AND FAMILY WEEKEND 2017 For the first time ever, Boston Conservatory at Berklee and Berklee College of Music combined their annual new student orientation and family weekend events. The fall 2017 theme for this joint event,Tell Your Story, invited the Conservatory’s incoming class—368 students from 17 countries—to begin their journey as storytellers within the larger Berklee family. The events were led by Berklee’s Office of New Student and Family Programs and featured the first-ever jointly held convocation ceremony. It also took the Conservatory’s ever-popular orientation skit to new heights, featuring orientation leaders from both schools as a show of camaraderie and pride.
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PAVING THE WAY
ENVISIONING THE FUTURE OF BOSTON CONSERVATORY AT BERKLEE WITH EXECUTIVE DIRECTOR CATHY YOUNG
By Alison Arnett
Photo credit Kelly Davidson
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Taking stock of the big picture to envision the future—that is the goal of Cathy Young, the new executive director of Boston Conservatory at Berklee. “The performing arts are changing; our job is to be forward-thinking,” says Young, who began her newly created role on August 1, 2017. Luckily, Young reveals, this is what she loves to do most: “Invent, create, strategize. And then work to bring those ideas to fruition.” In an August interview from her office at the Conservatory’s historic 8 Fenway building, Young exudes optimism about the Conservatory and the merger with Berklee that led to her new post. “I’m coming in [at a time when] the Conservatory is thriving, vital, and in great shape.” That gives her the freedom, she explains, to concentrate on connecting with all stakeholders— students, faculty, staff, and board members, among others—as she looks to where the Conservatory should go and how to get there. “What I’ve found about Boston Conservatory at Berklee is the constant desire to innovate,” Young says. “One might think of a conservatory as stodgy, but this school is unique because we are constantly challenging ourselves to explore and expand in the same way we’re challenging our students.” Young, whose easy speaking manner and elegant posture reflects her many years as a teacher and dancer, knows the Conservatory well, having previously led the Dance Division for six years. Under her leadership, the Conservatory’s B.F.A.-granting dance program more than doubled its enrollment and earned a reputation for being the top contemporary dance program in the United States. Now she’s eager to expand her
knowledge and enthusiasm to the Theater and Music Division, which have both made impressive strides; the Theater Division has built one of the top musical theater B.F.A. degrees in the world and is innovating an exciting new contemporary theater program, while the Music Division offers classical and contemporary instrumental training, as well as studies in voice, opera, composition, and more. Since its founding as a classical music conservatory over 150 years ago, Boston Conservatory has grown to include more than 800 students across its three performing arts disciplines. The 2016 merger with Berklee—an
their fields and ready to enter their careers, but also, if they choose, be the ones leading those changes.” Young states that Conservatory graduates are entering the workforce without the need to wait for opportunity to present itself. “They have all of the skills that can set you up to be an entrepreneurial artist,” she says. “Our students learn so much more than technical skills—it’s a whole way of engaging with the world and themselves as artists.” The goal for Conservatory graduates now and into the future is to measure success differently. Success does not have to mean landing a starring role in a musical on Broadway or
“What I’ve found about Boston Conservatory at Berklee is the constant desire to innovate,” Young says.
institution composed of Berklee College of Music, Berklee College of Music’s campus in Valencia, Spain, Berklee Online, and now the Conservatory—means the scope and range of the combined schools have expanded exponentially; together, the organization boasts a total oncampus student population of more than 5,000. As the second academic year of the merger begins, Young notes how the support of the larger Berklee institution will continue to elevate the work of Conservatory students and help progress the existing curriculum into the digital age as performing arts industries continue to evolve and transform. “The performing arts are more and more interdisciplinary, more hybridized. Conservatory graduates should not only be educated in
being first chair in a major symphony orchestra. The Conservatory teaches students that there are many pathways available in addition to performing, such as directing, producing, teaching, and roles that have yet to be defined in the evolving landscape. Of the Conservatory curriculum, Young believes in developing the “whole person.” Using her years guiding the dance curriculum as an example, Young explains that it “makes no sense in a dance program to focus only on the physical without also considering the mind, heart, and spirit. We’re helping our students on a journey that’s transformative, that allows a sense of agency—the ability to lead, to be collaborative—and that teaches resilience,” she says. “This is their career. Our students are very astute about what lies ahead.”
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The merged schools share a central value of supporting diversity and inclusion, which is a key area of focus for Young as she begins her new job. That means diversity not just across the student body, faculty, and staff, but also in programming and curriculum. “We are a community of artists,” Young says. “We want as many voices and perspectives as possible because that makes us all the richer. We’re putting out the message that this is a community that values and respects multiple points of view.” Boston Conservatory already has strong community outreach programs, but Berklee’s global reach can expand their impact even farther. Young says that the Conservatory must be diverse in all ways. One main draw for any prospective Conservatory student is the attention paid to each individual. Strong teacher-student relationships and mentoring are the “essence of what we do,” Young explains. While this is true of the College as well, it is especially important to Conservatory students, who come to the school already highly focused on their career paths. Young is passionate about dispelling the misperception that performing arts degrees and training are somehow not “serious.” Students admitted to Boston Conservatory at Berklee are rigorously vetted both artistically and academically, and are held to the highest standards. Once enrolled at the school, students work hard, often adding part-time jobs to long days of classes, rehearsals, practice, and performances. “[These students] are tough; they are working with such fierce focus because they have fully committed themselves to this path.” Young also stressed the importance of the mentorship provided by
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Photo credit Taylor Crichton
faculty members as vital to students’ growth and success. “A Conservatory education is as challenging as going to medical school. The curriculum and theory gives them the intellectual foundation they need, but the faculty members and mentoring is what pushes them to succeed.” Young followed an unorthodox path to her career, first as a dancer and then as a dance teacher and administrator. “I didn’t take a dance class until I was 21 years old,” she says, describing a much different start than most Conservatory students, many of whom begin training at a very young age. Young grew up in Clearfield, Pennsylvania, a coal mining town in the heart of the state, and lost her parents at a young age. Raised by an aunt and uncle, Young trained as a gymnast. She was accepted to Harvard from a high school class in which only about 5 percent of the total population attended college at all, and earned a degree in women’s studies and sociology. “At the time, Harvard felt like a place where you could try things
you weren’t already good at.” When she took that initial dance class at Harvard, Young describes immediately knowing that dance was what she had to do. “I planned to go to law school, and thought I’d try dance only for a year or two.” But she never did go back to law, instead founding a dance company in Boston and later in Minneapolis, where she danced and taught everywhere she could—at colleges, for beginners, seniors, and everyone in between. After she had her daughter, Young decided to attend graduate school so she could be a tenured faculty member at the college level. She later cofounded the dance program at Ursinus College in Collegeville, Pennsylvania, where she taught for eight years. In 2011, Boston Conservatory brought Young on board to revitalize its mostly classical Dance Division. Richard Ortner, immediate past president of Boston Conservatory, explains that Young’s impeccable résumé and experience as a contemporary dancer and educator made her the best choice to head the Dance Division. “This was a transition
that I knew the Conservatory had to pursue,” he says. “If you want your graduates to work, you have to have a contemporary dance curriculum.” He explains that Young, with her knowledge, contacts, and experience designing that curriculum, was just right for the job. Beyond her impressive track record, Young has the ability to seize the future, Ortner says, making her uniquely qualified for the role of executive director. Berklee President Roger H. Brown echoes Ortner’s praise, describing Young as “a smart, dynamic leader” and adding, “She knows how to build the enthusiasm of devoted faculty, develop curriculum for the world our students will enter, and she exudes enormous creative energy.” Brown continues, “Cathy is devoted to making our programs reflect the world’s vast cultural diversity so that we are a beacon for young performing artists from all cultures and backgrounds. She created and led her own dance company, so she understands the creative
entrepreneurship required to bring dance, music, and theater to audiences, and she is committed to educating students who have the tools and impetus to take their destiny into their own hands.” Tommy Neblett, interim dean of dance at the Conservatory, commends Young’s support of the dance faculty, saying that it led to high morale. That trickled down to the students and created a very healthy learning environment. Neblett believes that Young has a forward-looking attitude, especially about technology, that can only benefit the Conservatory. “I think she will bring the school into the 21st century—make it contemporary in technology, diverse in race and gender, and also diverse in styles and genres of art. She has the vision.” Young’s focus the remainder of the academic year is to get to know students and faculty across all divisions. One great way to do this, she explains, is to attend as many performances as she can, “not only because I want to see them, but
because I want to bring in community partners and possible collaborators so that they can see what we’re doing here.” While performances are important, Young says, they are only a small part of what goes on at the Conservatory. She will also observe classes, rehearsals, and more. “I come to this job from 30 years as a teacher,” Young emphasizes. “I do not want to get too far from that experience. One of the great things about teaching is that you’re always learning.” Young lives in Stoneham, Massachusetts with her husband, Duane, in a house she describes as full of color, art, music, and life. Her daughter is currently a student at Berklee College of Music, and Young hopes her new role as the first appointed woman leader of the Conservatory gives her daughter and other female students the idea that this is something they could do as well. “I’ve had a child, a family, and a career—hopefully that will help some young woman think that it’s possible for her, too.” Young is looking forward to getting to do what she loves most—inspire and nurture young people—with even more impact, which her new role as executive director will allow. She’ll focus on everything from student challenges, to fundraising and development, to continuing to push for the Conservatory to have a global presence. “I want someone on the other side of the globe to ask a friend, ‘Where should I go to study cello or musical theater?’ and the friend to reply with, ‘Boston Conservatory at Berklee. That’s the best place.’”
Photo credit Mike Spencer
As she moves forward as executive director, Young says with conviction: “What we’ll be able to do in this merged institution is going to be magnificent.”
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THE FUTURE OF MUSIC, DANCE, AND THEATER WILL BE SO MUCH BETTER THAN THE PAST An op-ed on where the performing arts are headed by Panos Panay, Vice President for Innovation and Strategy The performing and visual art worlds are undergoing a seismic shift: Who is considered a creator? How is art created? Who will pay to see it? What is considered art? How is it experienced? Where is it enjoyed? And, ultimately, how is it funded and sustained? New technologies, such as smartphones and social media, are democratizing the creation of art—photography, music, film, and so on—and helping artists reach new audiences and funders with unprecedented efficiency. At the same time, artists are flipping traditional methods of consuming art and entertainment on its head, which is in turn affecting revenue streams. These changes have created an environment where content creation and distribution are highly accessible, enabling anyone to be a visible, revenue-earning artist. If everyone can make it, is it art? Is it valuable? Can one distinguish good from bad? Are we regressing to the lowest common denominator? Will there be room for arts professionals in a world of amateur performers? Being an inherent optimist, my view is that—while undergoing a profound transformation in all the ways described above—we are at the beginning of a new era, akin to the artistic transformation experienced during the Renaissance and the mid-20th century. This “creative voice
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supernova” is, at its core, driven by both technological and social motivations.
the same root as the Greek word for art, techni, and translates as “the science/deep knowledge of art.”
The 1440 invention of the printing press eventually gave rise to a whole new class of educated citizens. This contributed to an increase in demand and a newfound respect for art, leading to new platforms for creation, promotion, distribution, and monetization of artistic content.
Since technologists and artists of the ancient Greeks worked together to invent the accoustical marvel called the amphitheater, the way that the modern performing arts of dance, music, and theater have been presented and consumed has evolved. Think of how the invention of electricity, television, radio, or vinyl records helped spread across the world the music of Mozart, the plays of Shakespeare, the movements of Baryshnikov, or the voice of Maria Callas. Now, multiply that force 100 times.
Following World War II, the use of electricity for distributing art was expanded upon: the gramophone, sound amplification devices, photography, film, radio, and television allowed art forms to flourish once more—this time, across much of the world and through the rising American middle class. Looking at this cyclical path—societal shifts, subsequent invention, and its use in artistic expression—one can’t help but look at current events across the globe and feel that we are on the precipice of a new, artistically important era. The technologies that have and will be enabled by the internet and global connectivity will arguably be an even bigger catalyst for artistic expression and creation than any of the earlier technologies combined. We tend to forget that all art ever created has always been a product of the available technology of the day. In fact, the word technology shares
THE CHANGING ARTS PATRON In this sea change, we must also consider
the arts patron. Going against conventional wisdom, I believe that the less concentration of arts patronage we have, the better. It is important that governments, foundations, organizations, and wealthy individuals support the arts and art education, but one has to ask—to what extent does that patronage come with embedded bias, unintended (or sometimes intended) censorship, or the exercise of certain editorial oversight that leads to suppression of originality or the spread of creative homogeneity? For example, if most of arts funding comes from a government, what
happens when that same government is not tolerant of artists who are perceived as threats? Or, what happens to our cultural landscape when most arts funding comes from one like-minded group of people? Who is it excluding? We are currently experiencing the de-evolution—or at least the complete reconstituting—of the traditional entry points that have served as discovery, funding, promotion, and distribution platforms for art. As revenue models are changing and consumers are getting their entertainment in completely different ways and for completely different price points, many of the institutions built around these traditional entry points are either shrinking or disappearing. This is a tough transition, but my belief is that, in the long term, this will give rise to artists that are able to connect more authentically with their audiences; funding models that are more sustainable; artists that are freer in their ability to express themselves; art that is more
approachable and impactful for more people; and artistic communities that are more entrepreneurial, globally minded, and self-sustaining. After all, isn’t the role of art and artists to speak for and to the communities to which they belong? To transcend boundaries, connect, and express the highest hopes and deepest fears of the societies in which
they are a citizen? What happens to artistic expression when there are too many barriers between artist and audience?
THE NEW MINDSET OF AN ARTIST All of these changes and opportunities are creating the need for a whole new approach and mindset for artists to be culturally impactful, artistically relevant, and successful. Anyone aspiring to be a musician, dancer, or actor in today’s world has to develop a keen awareness of new technologies, a mindset of entrepreneurialism, and the mentality of a free agent (emphasis here on the word free). The safety nets of the 20th century are gradually giving way to the ambiguity of the 21st century. Technology has enabled a whole new means of creative expression, a more liberated artistic class with a wider reach, and socially engaged performers and creators that connect with (and get paid by) audiences with an immediacy that artists would have never dreamt of just 30 years ago. New technologies, including projection mapping, adaptive sound design, responsive environments, virtual and augmented realities, connected devices, sensors, cloud computing (the cloud that makes crowdfunding or live streaming possible), and artificial intelligence will have as profound an impact on artistic expression and audience immersion as sound recording, theater acoustics, amplification, television, lighting, or the printing press had on the way we make, monetize, and experience art. Think of how much more cost efficient it is to record a musical piece today and what it means for a young musician looking for a way
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to connect with an audience. Now envision going to a dance performance in which the scenery automatically adjusts to the movements of the performer or the sound of the crowd, creating a magical interplay between audience, dancer, and venue that leaves everyone in a trance. Or consider a theater performance in a small black box theater where, with the aid of inexpensive projection mapping technology, likely beamed from something as little as a smartphone, a new theater company can stage plays that are more realistic and more immersive than a multi-million dollar movie. Or a digital tip jar that enables artists to get paid based on the level of applause, all without anyone swiping a credit card. Science fiction, you say? So were concepts such as the car, apartment sharing, or hosting music and movies in a digital “cloud.”
THE AWESOME POSSIBILITIES AHEAD There is something very special and artistically important brewing with the merger of the Boston Conservatory and Berklee. Let’s start with the fact that these two institutions have innovation hardcoded in their DNA: the Conservatory was the first of its kind in the country, Berklee College of Music was founded on the unconventional idea of teaching contemporary music instead of the classics (opposites attract). Now let’s add that both of these institutions are located in a city (Boston) that recruits the world’s top minds in science, politics, technology, business, medicine, law, architecture, and, of course, dance, music, theater, communications, and media—all of which blend in an alchemy of combustible creative energy that’s concentrated in an area of about 25 square miles.
I can hardly think of a riper ecosystem for the imagination and creation of the future of dance, music, and theater than what we have here on our campus. Where else do you blend such diverse cultural experiences (students from more than 100 countries); disciplines (dance, music, theater, technology), genres (you name it) or access to expertise and entrepreneurialism? The magic is already happening. Every day on my way to work, I see actors in their costumes, dancers in their dance shoes, musicians with their electric guitars on their backs or MIDI rigs in their hands, speeding about to their classes. I attend meetings with faculty, chairs, deans, and administrators who are working together to build shared curricula and new programs and courses that build on the new shared identity and possibilities of the unified institution. So, if you want to get a glimpse of the future of dance, music, or theater, all you have to look for is what is already happening here on campus—it’s the future that we are creating together.
Panos Panay is the Vice President for Innovation and Strategy at Berklee and founder and former CEO of Sonicbids. Read more about Panay at berklee.edu/people/panos-panay
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SPRING 2018 EVENT PREVIEW
Opera
COSÌ FAN TUTTE February 8–11
In this sparkling comedy, lessons in love are learned, unrealistic expectations are shattered, and everyone comes out a little wiser. Sung in Italian with English supertitles. Music by Wolfgang Amadeus Mozart. Libretto by Lorenzo Da Ponte. Conducted by Timothy Steele. Directed by Johnathon Pape. 8:00 p.m., Thursday–Saturday 3:00 p.m., Sunday* Boston Conservatory Theater *Shalin Liu Performance Center, Rockport, Massachusetts, $. For tickets to Sunday’s performance call the Shalin Liu Performance Center’s Box Office at 978-546-7391.
Theater
Dance
March 8–11
April 19–22
DIRTY ROTTEN SCOUNDRELS Based on the 1988 film, this musical follows the escapades of two competing con men in the French Riviera. Music and lyrics by David Yazbek. Book by Jeffrey Lane. Directed by Laura Marie Duncan (B.F.A. '94, musical theater). Conducted by Peter Mansfield. Musical direction by Steven Ladd Jones. Choreographed by Larry Sousa.
SPRING DANCE CONCERT: LIMITLESS Five diverse pieces by some of the most brilliant choreographers working today, including masterworks by Mark Morris and Doug Varone and a special project by Nona Hendryx and faculty member Duane Lee Holland. 8:00 p.m., Thursday–Saturday 2:00 p.m., Saturday–Sunday Boston Conservatory Theater, $
8:00 p.m., Thursday–Saturday 2:00 p.m., Saturday–Sunday Boston Conservatory Theater, $
Theater
THE CRADLE WILL ROCK April 27–29 Dance
WINTERWORKS February 22–25
A showcase of original work choreographed by Conservatory Dance Division students as well as pieces by guest choreographers Chien-Ying Wang, Adrienne Hawkins, and Junichi Fukuda. 8:00 p.m., Thursday–Saturday 2:00 p.m., Sunday Boston Conservatory Theater, $
Music
BOSTON CONSERVATORY ORCHESTRA
Ken-David Masur, guest conductor
April 8
Works by Bernstein, Ravel, Thomas, and more. Featuring Yushan Bai (M.M. '16, G.P.D. '18, piano), 2017–2018 Boston Conservatory Concerto Competition Winner.
Set in “Steeltown, U.S.A.,” this story follows Larry Foreman’s efforts to unionize the town’s workers and combat Mr. Mister, who controls the town’s factory, press, church, and social organization. Book and music by Marc Blitzstein. Directed by Doug Lockwood. Musical direction by David Reiffel. 8:00 p.m., Friday–Saturday 2:00 p.m., Saturday–Sunday Boston Conservatory Theater, $
1:00 p.m. (Pre-concert lecture) 2:00 p.m. (Concert) Sanders Theatre at Harvard University, $. Call the Harvard Box Office for tickets at 617-496-2222.
The Box Office opens on Wednesday, January 24 at 12:00 p.m. Tickets to Boston Conservatory events may be purchased after that time by phone at 617-912-9222 Wednesday through Friday, 12:00 p.m. to 5:00 p.m.; online; or in person at the Berklee Box Office, 136 Massachusetts Avenue, Monday through Saturday between 10:00 a.m. and 6:00 p.m. Tickets may also be purchased at the Boston Conservatory Box Office, 31 Hemenway Street, Wednesday though Friday between 12:00 p.m. and 5:00 p.m. For more information on events and how to purchase tickets, visit bostonconservatory.berklee.edu/events.
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Q&A
MATTHEW LOWY (B.M. '15, COMPOSITION) ON TAKING YOUR OWN PATH What brought you to Boston Conservatory at Berklee?
What led you to your successful young career as a music director for Broadway touring shows?
The Composition Department. When I interviewed, they were the only school that asked questions about me and what I wanted, and the Conservatory was more concerned with my needs than deciding if I was a good match for them. From the beginning, I told them I wanted to study composition while being able to work as a music director and accompanist in the Theater Division, and they assured me that it would be possible.
Music direction has always been a passion of mine, in addition to composition. I got involved in theater when I was young, and when I was 14, I had the opportunity to direct the music for a children’s show at a community theater. I love teaching music, and I specifically set out to study music direction at the Conservatory. While still a challenging and unpredictable profession, it has been a relatively stable source of work for me post-graduation, allowing me to work on various compositional projects on the side.
As a composition student, what types of opportunities did you have? I had opportunities to compose projects for all three divisions. For example, the Song Project is where composers are paired with a vocal performance major to write a song or set for them to perform. I also had the opportunity to write pieces for professional Boston instrumental ensembles—such as the Juventas and Ludovico ensembles—which were performed at the Conservatory.
Tell us about your collaborations while a student at the school. As a music director, I worked extensively in the Theater Division on more than a dozen senior-directed musicals, Conservatory Connections Cabaret, and as assistant music director for a mainstage show. I also collaborated with the Dance Division, writing music to a friend’s choreography. The performance of that piece was a collaboration of dancers, musicians, and a musical theater major.
What did you learn from these collaborations? I learned to discuss and teach music through many different approaches based on the artist I was working with, and gained the ability to be versatile in talking about music, which has been invaluable in my postgraduate work.
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What have you been working on since graduation? I’ve worked as a musician for the national tour of How the Grinch Stole Christmas and a China tour of My Fair Lady, and more recently, music directing and conducting the national tour of 42nd Street. About a year after graduating, I premiered an original musical, which I originally wrote and performed at the Conservatory, in the New York International Fringe Festival, and won an award for outstanding music composition. Most recently, I was commissioned by the Create Inspire Change Theater Company (CIC) in Boston to write an original holiday musical, which was performed in November and December of 2017. In between all of that, I’ve found work music directing a middle school musical, teaching private lessons at a local studio, and doing freelance arranging/transcribing work.
In fall 2017, you music directed the Conservatory’s new student orientation performance—what was it like to come back and work with students at the combined institution? I love coming back—meeting and working with current students renews my eagerness and spark for pursuing music and theater. It was great this year to have Berklee College of Music students involved as well, especially in
Matthew Lowy, standing second from the right, with Conservatory Cabaret at Massachusetts General Hospital, 2015
the band. As a music director at the Conservatory, I made a lot of friends with Berklee musicians, usually recruiting them for shows I was working on. It was a nice addition having College orientation leaders who could perform on their instruments during the skit.
What advice would you give to students looking to study music and composition? I would tell prospective music students to be open to collaboration. One of the most necessary skills to have is being able to deal with people kindly and efficiently. Musicians must be prepared to work with composers, producers, directors, students, sound designers, actors, dancers, and of course, other musicians. For composition students especially, it is beneficial to work closely with the instrumentalists, singers, and maybe even the actors or dancers for whom they write. Especially at an artistically diverse institution like Boston Conservatory at Berklee and Berklee College of Music, I recommend taking advantage of the opportunities to collaborate with other departments, and even creating new opportunities.
Learn more about Matthew Lowy: mattlowymusic.com Learn more about music degree programs: bostonconservatory.berklee.edu/music
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Rendering of 8 Fenway exterior improvements, fall 2017
Facilities and Inclusivity
MAKING HISTORIC BUILDINGS ACCESSIBLE FOR ALL In recent months, Berklee has undertaken several campuswide building projects that will add accessibility to Boston Conservatory at Berklee’s facilities and improve the overall student experience. These measures are part of the combined institution’s long-term strategic initiative to expand upon its strong core values of diversity and inclusion for all students, faculty, and staff. It also provides a timely update to some of the Conservatory’s historic buildings, whose roots date back to the late 1800s.
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ACCESSIBILITY RAMP AT 8 FENWAY During summer 2017, the main entrance of the Conservatory’s flagship building at 8 Fenway was reconfigured to provide barrier-free access. The building entrance stairwell was reenvisioned and an exterior landing platform was created to match the floor elevation of the main lobby, with an adjacent ramp providing an accessible entrance from the sidewalk. The alterations to this 118-year-old building will provide direct, uninterrupted access into the building for persons with mobility concerns.
GENDER-NEUTRAL ACCOMMODATIONS ACROSS CAMPUS Berklee, in conjunction with the state of Massachusetts, seeks to provide a safe and inclusive campus environment for all students, faculty, and staff. In a show of support for community members that identify as transgender or non-gender conforming, the combined Berklee campus offers several single-person, genderneutral toilet rooms, and has recently made genderspecific bathrooms available for all to use. In addition, all toilet room signage across campus was updated with contemporary graphics and language, including Braille.
COMMUNITY SPACES An existing student community space in the basement of 8 Fenway has been expanded and completely updated with brand new furniture, student lockers, general-purpose computer stations, and a campus print station. Various uses of the space were considered when deciding on the room layout and furniture to ensure the space was conducive to studying, relaxing, and collaborating.
STUDENT SERVICES OFFICE RELOCATIONS Over the summer, many administrative offices across campus were relocated in order to improve the overall student experience. Many student-facing departments such as student enrollment and engagement, counseling, health and wellness, student advising and success, and the registrar now serve both Berklee College of Music and Boston Conservatory at Berklee students. In addition to these moves, a new Center for Diversity, Equity, and Inclusion opened in September 2017. The center was established to provide support for Berklee’s diverse community. The goal of this initiative is to integrate the variety of cultural values and perspectives at Berklee into all levels, including policy development, resources and education, and sponsorship of initiatives for staff, faculty, and students. These strategies are designed to nurture a spirit of respect for, openness to, and awareness of the spectrum of values and backgrounds that enrich our environment. Over time, the combined Berklee institution will continue to incorporate inclusive design principles that reflect our strong commitment to supporting the needs of our diverse campus community.
Newly renovated student lounge (above) and computer workstations located at the ground level of 8 Fenway
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Giving
NEW SCHOLARSHIPS SET STUDENTS ON THE PATH TO SUCCESS As the Conservatory continues to grow and evolve in year two of the merger with Berklee, support given to Conservatory students by generous community members remains steadfast and a cornerstone of giving at the combined institution. The Conservatory’s biggest focus is raising money to increase the amount of scholarships available to students, which is essential to building a vibrant and diverse student body. The Conservatory is pleased to announce great strides in securing new and more expansive scholarship packages for its students.
SCHOLARSHIP STAR POWER
Beyoncé Knowles-Carter is arguably one of the most influential artists of her generation, and is known for promoting a strong feminist message in her work. Recently, Beyoncé established the Formation Scholars Award, which encourages and supports young women who are bold, creative, conscious, confident, and unafraid to think outside the box. The $25,000 scholarship was offered to female students studying music, creative arts, literature, or African
Sadiya Ramos and her parents
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American studies for the 2017–2018 academic year at four selected institutions, which, in addition to the schools within the larger Berklee organization, included Spelman College, Howard University, and Parsons School of Design. Along with their applications, students were required to submit a short essay explaining how Beyoncé’s hit album Lemonade inspired their educational goals. Among the first-ever recipients of this new scholarship award was Boston Conservatory at Berklee dance student Sadiya Ramos (B.F.A. '20). “I am tremendously humbled and honored to receive Beyoncé’s Formation Scholars Award on behalf of Boston Conservatory at Berklee,” said Ramos. “Beyoncé’s artistry and determination has inspired me as a dancer, and I plan to pay tribute to her legacy at the Conservatory with this scholarship.”
PRESIDENTIAL SCHOLARS Another new scholarship awarded at the Conservatory for the first time in the 2017–2018 academic year was the Presidential Scholarship. The scholarship, which covers the cost of tuition, on-campus housing, meal plan, and fees, is renewable over four years of study, and is awarded to one student from each Conservatory division: dance, music, and theater. The Presidential Scholarship Program, which has been ongoing at Berklee College of Music for many years but new to the Conservatory since the merger, is founded on the principle that all deserving and talented students—regardless of
financial status—should be given the opportunity to experience the unique benefits of a Boston Conservatory at Berklee education.
HISTORIC CELEBRATION
In the arena of major milestones, Boston Conservatory at Berklee celebrated its 150th anniversary with a once-in-a-lifetime gala on May 9, 2017 at Boston’s iconic Symphony Hall hosted by actor and activist Alan Cumming. Guests were treated to extraordinary dance, music, opera, and theater performances by current students, alumni, and faculty, and the evening made history by raising a record-breaking $750,000 in philanthropic support for student scholarships and funding to sustain the Conservatory’s tradition of artistic excellence. The 150th Anniversary Gala was cochaired by Cynthia and Oliver Curme and Gregory E. Bulger and Richard J. Dix, who spearheaded the effort and shepherded its success. In addition, headliner sponsor and longtime friend of the Conservatory Marillyn Zacharis, made Alan Cumming’s master of ceremonies appearance possible, and a host of community members made this record fundraising effort an impressive night worthy of the occasion. Donor support makes it possible to offer meaningful aid packages to the Conservatory’s most talented and deserving students. Every gift makes it possible for more students to fulfill their dreams and attend the Conservatory.
GIVING MATTERS: EVERY GIFT TELLS A STORY Boston Conservatory at Berklee is grateful to the alumni, parents, faculty, staff, and friends who support current students through giving to the Annual Fund each year. Every gift—no matter the size—tells a story about the importance of giving and the lasting impact it makes on our students. Make your gift to support student scholarships online at bostonconservatory.berklee.edu/giving or by mailing in the envelope found inside this magazine.
“Boston Conservatory was the place that I referred to as my ‘dream school’—you know, the school that you have convinced yourself there is no way you could get accepted, and just can’t afford. But my dream came true—I was formally accepted with a scholarship that I am still to this day very grateful for. As an alumnus, current staff member, and educator, I take pride in giving back to make sure that if the Conservatory is someone’s dream school, they can attend.”
Andy Chau (M.M. '12, music education)
“The number one thing that the Conservatory gave me was the confidence I needed to flourish in this difficult business. I have been happy to give back my support over the years so that the institution can have the confidence of its alumni, as well as other community supporters, and continue to prosper!” Janet Saia-Feld (B.F.A. '90, musical theater)
Share your story at bostonconservatory.berklee.edu/share-your-story.
SAVE THE DATE: GIVING DAY 2018 On April 11, support our students with a gift during this community-wide celebration. MAKE YOUR GIFT EARLY AT BERKLEE.EDU/GIVING-DAY
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Academic Spotlight MICHAEL SHINN, NEW DEAN OF MUSIC, BRINGS A FRESH TAKE The Music Division was the first department created when Boston Conservatory was founded in 1867 with a vision of providing top-quality training in classical music, while also embracing more contemporary techniques and styles. At first offering a modest strings training program, the department eventually grew to include a wide variety of instruments, as well as studies in composition, music education, and voice/opera.
extensive work teaching and building online learning tools at the Juilliard School, where he was previously the chair of keyboard studies. Shinn is the cofounder and codirector of pianoSonoma, a unique music festival that brings together artists in residence and musicians of all backgrounds to collaborate and perform in Sonoma County, California. Since its launch in 2011, the festival has garnered international acclaim and expanded
“In today’s climate, the arts have an almost singular power to help us reach across boundaries and reconnect with the ideals of humanity, compassion, and empathy.” In 2018, the Music Division continues to honor the school’s founding principles of mastering the past and innovating for the future as it develops classical contemporary studies, presents more than 280 new works a year, hosts cutting-edge guest artists, and values chamber and ensemble performance as a key academic component. Michael Shinn, the Conservatory’s new dean of music, is essential to this work. Shinn joined the Conservatory in August 2017. Boasting an impressive portfolio as a concert pianist, educator, arts advocate, and entrepreneur, Shinn has done
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to include a vibrant young artist program, designed to engage and inspire the next generation of talented musicians. Shinn also enjoys an active performance career, performing regularly as a recital pianist and chamber musician throughout the United States and abroad. Shinn’s personal sense of entrepreneurship reflects his views on the ever-changing landscape of performing arts careers, and his vision for how Boston Conservatory’s training and curriculum will need to evolve to best equip its students. “I believe we have a social responsibility
not only to share our art, but also to seek out innovative ways to engage with audiences of diverse backgrounds. In today’s climate, the arts have an almost singular power to help us reach across boundaries and reconnect with the ideals of humanity, compassion, and empathy.” Shinn explains that the idea of community engagement, in all its forms, should be at the core of a music student’s curricula, programming, and networking opportunities. “The Conservatory’s training and education must reflect this commitment,” he asserted. Shinn joined the Conservatory as it began its second full year as a merged institution with Berklee. Since the merger, many synergies and collaborations have occurred, both in the classroom and administratively, that take advantage of each institution’s strengths. Shinn’s hiring marks the second major leadership hire at the Conservatory post merger, after Executive Director Cathy Young. Both leaders have expressed the need to continuously expand upon the benefits that the larger Berklee institution offers and see what new possibilities emerge. “Berklee College of Music is among the most innovative music schools with its
focus on entrepreneurship, diversity, and online education, to name just a few,” Shinn reflects. “The educational and artistic depth of the Conservatory’s Music Division will be greatly amplified as these initiatives begin to be intertwined within the Conservatory.” Shinn recognizes that the Conservatory’s Music Division in particular may seem at odds with Berklee College of Music from an outside perspective. He explains that while the legacies of Berklee College of Music and Boston Conservatory are distinct in artistic and educational traditions, together, the two schools offer a wide variety of paths for many different types of musicians. “Berklee was founded on the principles of jazz, and it has grown over the decades to encompass musical styles of all backgrounds, as well as music production, business, and technology. The Conservatory has championed the
traditional Western classical canon, while balancing a significant emphasis on classical contemporary music.” When asked how a high school student can decide which program is best for them, Shinn advised, “Prospective students should consider the musical tradition they are most interested in pursuing. The College allows for immense flexibility in one’s educational pursuits, and the Conservatory Music Division provides a depth of study that appeals to those students pursuing careers in classical music.” “We are delighted to have Michael here at the Conservatory,” Young says. “His dynamic work as a performer, educator, and arts entrepreneur is both energizing and inspiring.” Having completed just one full semester at the Conservatory, Shinn has
Dean of music, Michael Shinn and pianist Karen Finkel
made quick work of getting to know the students and faculty. With the support of Executive Director Cathy Young and Interim Associate Vice President of Academic Affairs Andy Vores, Shinn has led a smooth transition for the entire Division.
CONSERVATORY INTRODUCES NEW MUSIC CHAIRS As of fall 2017, the Music Division leadership structure has been revamped to include three music chairs that oversee various areas of study within the division. These chairs report to Michael Shinn, dean of music. JONATHAN BAILEY HOLLAND
DOUGLAS PERKINS
PATTY THOM
Jonathan Bailey Holland joined the Conservatory in 2014. his work has been commissioned and performed by numerous orchestras, and he was the recipient of a 2015 Fromm Foundation commission. He has received honors from the American Academy of Arts and Letters, American Music Center, American Society of Composers, the American Society of Composers, Authors and Publishers (ASCAP), the Presser Foundation, and other institutions. He holds a Ph.D. from Harvard University, is a founding faculty member in the music composition program at Vermont College of Fine Arts, and has served as professor of composition at Berklee College of Music.
Douglas Perkins joined the Conservatory in 2015. He has been declared a “percussion virtuoso” by the New York Times and founded the percussion quartet So Percussion and the Meehan/Perkins Duo. He also performs regularly with Ensemble Signal, Eighth Blackbird, Chicago Symphony Orchestra’s MusicNOW, and many other ensembles. Perkins is the director of the Chosen Vale International Percussion Seminar. He previously served on the faculty of Dartmouth College and was an artist in residence at the University of Chicago.
Patty Thom joined the Conservatory in 2003 as chair of the Voice/Opera Department. In addition to serving as chair of voice, she teaches private voice and performance skills classes. Prior to joining the Conservatory, Thom was director of music at the Walnut Hill School for the Arts in Natick, Massachusetts, where she was also director of the New England Conservatory-Walnut Hill joint program. She is a former teaching staff member of the Boston University (BU) Tanglewood Institute’s Young Artists Vocal Program and BU’s College of Fine Arts. Thom is a codirector and instructor of Boston Conservatory at Berklee’s Vocal/ Choral Intensive, the Conservatory’s summer program for high school-aged singers.
Chair of Composition, Contemporary Music, and Core Studies
Interim Chair of Instrumental Studies
Chair of Voice
Learn more about the Music Division: bostonconservatory.berklee.edu/music
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In the Limelight
1. Immediate Past President Richard Ortner at the formal unveiling of the Richard Ortner Studio Building at 132 Ipswich Street, May 10, 2017. 2. Guest artist and renowned mezzo-soprano Frederica von Stade coaches Boston Conservatory voice and opera students in a master class during her residency, October 2017.
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3. Award-winning performer Alan Cumming hosts the Conservatory’s 150th Anniversary Gala, May 9, 2017. 4. L to R: Presidential Scholarship recipients Henry F. Winslow (B.F.A. '21, contemporary dance), Frederic Renaud (B.M. '21, cello), and Kendyl S. Yokoyama (B.F.A. '21, musical theater) with Berklee President Roger H. Brown at the 13th annual Named Scholarship Tea, September 2017.
5. Graduates of the class of 2017 at their commencement ceremony, held at the Berklee Performance Center, May 13, 2017. 6. Sean Jones (B.F.A. '18, musical theater) with scholarship donors Amy and Ed Wertheim at the 13th annual Named Scholarship Tea, September 2017.
7. Alumnae Vanessa Becerra (M.M. '14, opera) and Gabriella Reyes de Ramirez (B.M. '16, voice) with Los Angeles Philharmonic maestro Gustavo Dudamel after their performance of The Magic Flute, October 2017.
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Noteworthy
FACULTY AND STAFF
BOARD OF TRUSTEES
Susan Whitehead, Chair Jeff Shames, Chair Emeritus Michael R. Eisenson, Vice Cochair Martin J. Mannion, Vice Cochair Roger H. Brown, President David Abrams G. Leonard Baker, Jr. Michael A. Brown David Clem John Connaughton Cynthia K. Curme Michael R. Eisenson Emilio Estefan Gloria Estefan Monica Giraldo Dean F. Goodermote David Gross-Loh Joshua Gruss Dan Harple Kristine Moyer Higgins Charles Hirschhorn Steven Holtzman Bill Kaiser Joel Katz B. J. Krintzman Laura D. Kunkemueller Sara Lawrence-Lightfoot Miky (Mie Kyung) Lee Demond Martin Marc Mayer Jane L. Mendillo Frederick T. Miller Peter Muller Megan O'Block Anthony Pangaro Alexander Rigopulos Darius Sidebotham David Scott Sloan Susan Solomont Marillyn Zacharis Barry Zubrow
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LEADERSHIP COUNCIL Teresa Koster, Chair Laura D. Kunkemueller, Board Liaison Elizabeth S. Boveroux Gregory E. Bulger Davi-Ellen Chabner Caroline McMillan Collings Diana Dohrmann '71 Kate Sides Flather Mimi Hewlett Kelly C. McKernan Lyle J. Micheli Pamela A. Murray Megan O'Block Christopher D. Perry Santosh Perumbadi Wanda Reindorf Geraldine R. Ricci Jan Steenbrugge '99 Peter J. Wender Edward G. Wertheim Tania Zouikin
Andrew Altenbach (opera) was appointed music director of Brookline Symphony Orchestra, June 2017.
Anne C. Tolkoff Rosamond Vaule Jason S. Weissman Amy K. Wertheim George C. White
Kurt Douglas (dance) performed with world-renowned choreographer Aszure Barton in her company’s performance at the Ford Theaters in Los Angeles, California, August 2017.
TRUSTEES EMERITI/AE* Caroline McMillan Collings Franklin Warren Hobbs, III Alfred D. Houston Gary R. Mikula Robert P. Moncreiff, Esq. Glendora M. Putnam, Esq William A. Seymour, President Emeritus Donald R. Sohn, Ph.D.
Jonathan Bailey Holland (chair of Composition, Contemporary Music, and Core Studies) was commissioned by Cincinnati Symphony Orchestra (CSO) to write a world premiere for the reopening of the CSO’s new music hall, October 2017.
*Legacy Conservatory Trustees
BOSTON CONSERVATORY EXECUTIVE DIRECTOR
Nancy Zeltsman (percussion/ marimba) directed the Zeltsman Marimba Festival at Rutgers University, July 2–15, 2017. Zeltsman also wrote an article for Percussive Notes magazine featuring her upcoming performances with Sharan Leventhal (violin). The duo, known as Marimolin, performed at the Percussive Arts Society International Convention, November 2017.
Cathy Young
BOARD OF OVERSEERS Ivy C. Scricco, Chair Anne N. Cuervo, Vice Chair Brendan Murphy, Vice Chair Howard H. Bengele, Ph.D. Joan M. Broderick Doreen Donovan Corkin Miles A. Fish, III '63 Jill A. Fopiano, C.F.A. John S. Foster Remmi Franklin Jennifer A. Fraser Christina P. Glen Marilyn Levitt Ricardo Lewitus, M.D. Greg Mailloux Michele Manganaro Sean M. Murphy '94 '96 Barbara G. Papesch Snow Qin Suzanne H. Rollert Warren A. Seamans
Nancy Zeltsman
BERKLEE COLLEGE OF MUSIC AND BOSTON CONSERVATORY
Peter Freisinger (dance accompanist) conducted the Freisinger Chamber Orchestra featuring gospel artist Renese King and Boston-educated composer Michele Caniato, September 2017.
CURRENT STUDENTS DANCE
MUSIC
THEATER
Rosario Guillen (B.F.A. '20, dance) choreographed Shrek the Musical for the Parks and Recreation Musical Theater Summer Program in Pharr, Texas, summer 2017.
Nathaniel Pasague Taylor (B.M. '15, G.P.D. '17, cello), Jeremiah-Everard Barcus (M.M. '16, G.D.P. '18, cello), Elisa R. Sabada (B.M. '17, cello), and William Laney (G.D.P. '17, cello) performed as the BoCoCelli Quartet at The John F. Kennedy Center for the Performing Arts, August 2017. (Pictured L to R: Barcus, Taylor, Sabada, and Laney). All are students of Rhonda Rider.
David Alea (B.F.A. '18, musical theater) and Anna Chesny (B.F.A. '19, musical theater) performed in Lyric Stage Company of Boston’s production of Gypsy, fall 2017.
No Strings Attached
Sadiya Ramos (B.F.A. '20, dance) was the recipient of the first-ever Formation Scholars Award given by Beyoncé Knowles-Carter.
Gabrielle Carrubba
Brian Nowak (M.M. '18, horn), Austin Comerford (B.M. '17, brass), Moxi Li (G.P.D. '15, P.S.C. '18, trumpet), Justin Ploskonka (G.P.D. '18, trumpet), and Joshua Thomas-Urlik (associate alumni '17) performed as No Strings Attached at The John F. Kennedy Center for the Performing Arts, August 2017. Nowak is a student of Eli Epstein, Comerford is a student of Ken Amis, Li is a student of Steve Emery, Ploskonka is a student of Joseph Foley, and Thomas-Urlik is a student of Lawrence Isaacson. (Pictured from L to R)
Christopher Kinsey
Christopher Kinsey (B.F.A. '18, dance) presented his piece Giovanni’s Room at the Boston Contemporary Dance Festival at the Institute of Contemporary Art, Boston, and Boston//TRACKS at Green Street Studios, Cambridge, Massachusetts, summer 2017.
Gabrielle Carrubba (B.F.A. '18, musical theater) performed in American Repertory Theater’s production of the new musical Burn All Night in Boston, August 2017.
BoCoCelli Quartet
Danton Jamieson (B.F.A. '21, dance) was selected as one of nine dancers to travel to Mexico with non-profit organization Juntos Collective, December 2017.
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ALUMNI Allison Bailey (B.F.A. '14, musical theater), Jillian Butler (B.F.A. '15, musical theater), Lisa Finegold (B.F.A. '11, musical theater), John Krause (B.F.A. '12, musical theater), and Dan Micciche (B.F.A. '07, musical theater) performed on the North American Tour of Wicked The Musical.
Kim Leeds (M.M. '14, music education, voice) joined the Marsh Chapel Scholars Program, where she serves as a soloist for the chapel’s concert season and provides ensemble leadership for the Marsh Chapel and Thurman choirs, May 2017.
Zoe Scofield
Zoe Scofield (B.F.A. '98, dance) was granted the Princess Grace Awards 2017 Choreography Mentorship CoCommission Award.
Jillian Butler
Zui Gomez (B.F.A. '09, dance) joined Gibney Dance Company as an artistic associate, September 2017.
Kim Leeds
Stephanie Umoh (B.F.A. '08, musical theater) starred in York Theatre Company’s performance of Jerry’s Girls in New York City, August 2017.
Alexis Scheer (B.F.A. '14, musical theater) performed in the world premiere of The Weird. The play was presented by Off the Grid Theatre Company, the company Scheer founded and for which she currently serves as its producing artistic director, September 2017.
Michael Sakir (M.M. '09, orchestral conducting) was selected to participate in OPERA America’s 2017 Leadership Intensive.
Stephen Cerf
Stephen Cerf (B.F.A. '10, musical theater) starred in North Shore Music Theater’s production of Beauty and the Beast, July 2017.
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Ian Bowling (M.M. '14, vocal pedagogy, voice) performed with the Soldiers’ Chorus of the United States Army Field Band at the Boston Pops Fireworks Spectacular on July 4, 2017. Ryne Cherry (M.M. '14, P.S.C. '15, opera), Nathaniel Pasague Taylor (B.M. '15, G.P.D. '17, cello), and Weiqiao Wu (B.M. '15, G.P.D. '17, violin) were chosen for the Tanglewood Music Center Fellowship Program, where they were full participants in the 2017 Tanglewood season, and performed alongside Boston Symphony Orchestra members and guest soloists.
Holly Wilder
Michael Sakir
Lisa Finegold
Holly Wilder (B.F.A. '15, dance) and her company the Wilder Project performed at Battery Park Dance Festival in New York City, August 2017.
Ian Berg (B.F.A. '16, dance) and his company, Subject: Matter Tap, and Kate Ladenheim (B.F.A. '11, dance) and her company, The People Movers, were featured in the 2017 DANCE NOW NYC Festival, fall 2017.
Gabriella Reyes de Ramirez (B.M. '16, voice) was named a Lindemann Young Artist with The Metropolitan Opera for the 2017–2018 season.
Yewande Odetoyinbo (M.F.A. '18, musical theater) will perform in Lyric Stage Company of Boston’s performance of The Wiz, spring 2018.
Taylor Rodman (B.F.A. '16, dance) launched Bombshell Dance Project with Emily Bernet. The company debuted in August 2017. Katsuya Yuasa (M.M. '15, A.D. '17, clarinet) won the Mu Phi Epsilon Foundation’s 2017 International Competition as the first clarinetist to win the competition, and the first woodwind player to win in 19 years.
Alumni Spotlight
EIJI MIURA (M.M. '15, VOCAL PEDAGOGY) The vocal pedagogy degree program at Boston Conservatory is tight-knit, with a class size of only around 15 students at any given time. But these students are quietly entering the pedagogical field to incredible success. Even while still in school, students mentor and teach with organizations such as Boston City Singers as part of their curriculum, and are making an impact even before they graduate. One recent alumnus, Eiji Miura, came to the Conservatory’s program after a history of vocal health issues and experiencing voice faculty who were skilled performers, but not trained in pedagogy. After learning of the Conservatory’s
Katsuya Yuasa
Eric Ferring
Eric Ferring (M.M. '16, opera performance) was accepted into the Ryan Opera Center, the young artist program at the Chicago Lyric Opera, beginning in May 2018.
curriculum, the breadth of musical styles taught, and the school’s unique partnership with Massachusetts General Hospital Voice Center, Miura knew this was the place for him. “Not only was the program itself appealing to me, but in retrospect, the networking opportunities at the Conservatory are incredible,” said Miura. Now, Miura is actively working in the field, serving on the voice faculties of New England Conservatory’s Preparatory School and Clark University. Miura was also recently appointed the board secretary for the Boston chapter of the National Association of Teachers of Singing. “Boston Conservatory’s vocal pedagogy program distinguished me from other candidates in the market for teaching positions—I was given the conservatory-level training and experience of any performance major, but was also with equipped with an informed understanding of the vocal mechanism that’s grounded in modern science and historical pedagogy,” Miura said of his experience. In addition to his teaching career, Miura has appeared in local productions with Odyssey Opera, Commonwealth Lyric Theater, Boston Youth Symphony Orchestra (BYSO), and in musicals with Reagle Music Theatre. He is active in the sacred music scene in and around the Boston area, and also records vocals for video game soundtracks. In 2017, Miura had the opportunity to join world-renowned film composer Hans Zimmer for the New England portion of his international tour.
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8 Fenway Boston, MA 02215
