Dean Anthony
Director of Opera
Dean Anthony draws inspiration and expertise from a comprehensive career spanning over 40 years and innumerable turns as performer, director, educator, producer and administrator. Most...
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Dean Anthony draws inspiration and expertise from a comprehensive career spanning over 40 years and innumerable turns as performer, director, educator, producer and administrator. Most recently, Mr. Anthony was named as Producing Director of Knoxville Opera along with his position as Director of Opera, at the Janiec Opera Company of the Brevard Music Center.
Frequently engaged as a stage director, Mr. Anthony’s artistic process is hallmarked by an energetic, gritty, and physical style. His portfolio stretches across the repertoire from Le Nozze di Figaro to Dead Man Walking and includes regular engagements at regional houses across the United States. In 2020, he received the Charles Nelson Reilly American Prize Stage Director Award for his work on Tom Cipullo’s world premiere opera, Mayo. Mr. Anthony’s upcoming and projects include Into the Woods with Annapolis Opera, Gianni Schicchi & Cavalleria Rusticana with Opera Tampa, Le Nozze di Figaro with Omaha Opera & Opera Delaware, Sweeney Todd with Opera Tampa, Glory Denied & The Merry Widow with Knoxville Opera, and HMS Pinafore with Pensacola Opera.
A major producer and promoter of new opera works, Mr. Anthony has helped facilitate, create, and develop numerous projects including Glory Denied, Mayo, The Calling, Supper’s Ready, Falling Angel, Zoom “Stop” Bully, Sister Carrie, The Leesburg 15, Homeless, Fleecing the Flock, and Change the World, It Needs It!, a new cabaret with the Kurt Weill Foundation. In collaboration with composer Michael Ching, Mr. Anthony conceived and created the opera Speed Dating Tonight!, which garnered nationwide attention and has been booked for over 120 different productions to date. In 2020, he recreated, produced, and directed, Zoom Speed Dating Tonight!, an online version of the original production presented livestream and produced by multiple Opera Companies and Universities.
Mr. Anthony is currently in his 11th season as Director of Opera with the Janiec Opera Company of the Brevard Music Center. In his time at Brevard, he has produced and directed over 40 productions. Some of the highlights include, Street Scene, Falstaff, Threepenny Opera, Midsummer Night’s Dream, Candide, Madama Butterfly, Sweeney Todd, Turn of the Screw, The Ballad of Baby Doe, Into the Woods, and The Bernstein Mass with Keith Lockhart. A passionate educator, he has shared his insights through a unique movement and acting masterclass series at opera companies, universities, and music festivals the world over.
As a character tenor, Mr. Anthony performed over 100 roles on the operatic stage and garnered acclaim for his keen vocal, dramatic, physical, and acrobatic abilities, earning him the nickname “The Tumbling Tenor.” Some of his most praised portrayals include the roles of Puck in A Midsummer Night’s Dream, Little Bat in Susannah, Bardolfo in Falstaff, Beppe in I Pagliacci, Alfred in Die Fledermaus, and Njegus in The Merry Widow. He has graced the stages of companies across the globe from Vancouver Opera to Theater des Westens in Berlin, while frequenting North American venues including L’Opera de Montreal, San Francisco Opera, and New York City Opera, among others. Although retired from the stage, comic acting and narration opportunities have drawn him back once in a while for Frosh in Die Fledermaus and Benoit in La Boheme, Spinelloccio in Gianni Schicchi and Ambrogio in Barber of Seville. Narration’s include Peter and the Wolf, Peer Gynt, Sonnet Number 128 by Kenji Bunch, When Instruments Roam the Earth, and Into the Woods.
Mr. Anthony is also esteemed for numerous television appearances from his celebrated turn as Daniel Buchanan in Francesca Zambello’s Street Scene, to the world premiere of Robert Greenleaf’s Under the Arbor and An Evening of Gilbert and Sullivan with The Boston Pops on PBS. He is featured in the Grammy-nominated recording of Amahl and the Night Visitors, produced under the NAXOS label.
Emily Jarrell Urbanek
Conductor
Emily Jarrell Urbanek has been Opera Carolina’s Director of Music Preparation since 2007, serving as chief coach, pianist and chorus director, and she has performed...
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Emily Jarrell Urbanek has been Opera Carolina’s Director of Music Preparation since 2007, serving as chief coach, pianist and chorus director, and she has performed with the company since 2003. During Opera Carolina’s 2019-2020 season, Emily conducted a joint production of Derrick Wang’s Scalia/Ginsburg for Opera Carolina and Opera Grand Rapids, as well as Opera Carolina’s March 2022 performances of Zach Redler and Jerre Dye’s opera, The Falling and the Rising, and their 2023 performances of La Traviata. Emily is also an extra keyboardist with the Charlotte Symphony and frequently performs chamber music with area musicians. Recent performances include Shostakovich’s Seven Romances on Poems of Alexander Blok with Opera Carolina and Chamber Music 4 All, music for piano and strings by women composers with the Bechtler Ensemble, and Dvorak’s Piano Quintet in A Major, Op. 81, with the principal strings of the Charlotte Symphony in a collaboration with the Charlotte Ballet entitled Ibsen’s House. From 2007 to 2023 Emily was part of the musical staff of the Chautauqua Opera, and she has also served as repetiteur for a variety of companies, including New York City Opera, San Diego Opera, Austin Opera, Fort Worth Opera Festival, New Orleans Opera, Kentucky Opera, and Cincinnati Opera.
Steven White
Opera
Praised by Opera News as a conductor who “squeezes every drop of excitement and pathos from the score,” Steven White is one of North America’s...
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Praised by Opera News as a conductor who “squeezes every drop of excitement and pathos from the score,” Steven White is one of North America’s premiere operatic and symphonic conductors. He made his acclaimed Metropolitan Opera debut in 2010, conducting performances of La traviata starring Angela Gheorghiu. Since then, he has conducted a number of Metropolitan Opera performances of La traviata, with such stars as Natalie Dessay, Hei-Kyung Hong, Plácido Domingo, Thomas Hampson, Dmitri Hvorostovksy and Matthew Polenzani. In the past several seasons he has returned to the Met to participate in critically fêted productions of Don Carlo, Billy Budd, The Rake’s Progress and Elektra.
With a vibrant repertoire of over sixty-five titles, Maestro White’s extensive operatic engagements have included performances with New York City Opera, L’Opera de Montréal, Vancouver Opera, Opera Colorado, Pittsburgh Opera, Michigan Opera Theater, Baltimore Opera, New Orleans Opera, and many others. In recent seasons he has conducted Rigoletto with San Diego Opera, Otello and La traviata with Austin Opera, La traviata with Utah Opera, and a world premiere staged production of a brand-new Bärenreiter edition of Gounod’s Faust with Opera Omaha.
In the 2021-2022 season, he returns to the Metropolitan Opera for their production of Tosca, which he also conducts for Utah Opera. He continues his close collaboration with Opera Omaha, conducting Eugene Onegin, joins Peabody Opera Theatre as guest conductor for Dominick Argento’s Postcard from Morocco, and returns to Opera Roanoke for Bluebeard’s Castle in the fall and Verdi’s Requiem in the spring.
In 2020 the COVID-19 pandemic necessitated the cancellation of his eleventh production at Arizona Opera, Ariadne auf Naxos, as well as the company premiere of André Previn’s A Streetcar Named Desire at Opera Roanoke. Other projects in the 2020-21 season COVID-impacted season included a reimagined Rigoletto with Tulsa Opera at Tulsa’s ONEOK Field (performed), and Le nozze di Figaro in a return to Opera Omaha (postponed).
Music critics are effusive in their praise of conductor Steven White’s ability to elicit inspired music-making from orchestras. Of his 2016 performances with the Omaha Symphony, the Omaha World-Herald asserts that, “it would be hard to imagine a more complete performance of the Symphonie Fantastique. Highly nuanced, tightly controlled and crisp, Steven White asked everything from orchestra members, and they were flawless. He led them out of serene beauty into disturbing dissonance and even to the terrifying point of musical madness without ever losing control. It was insanely good.” Opera News declares, “White is amazing: he consistently demands and gets the absolute best playing from the orchestra.”
Among the many orchestras Maestro White has conducted are the Metropolitan Opera Orchestra, the Moscow Philharmonic, the Orchestre Métropolitain du Grand Montréal, the Mozarteum und Salzburg Kulturvereinigung Orchestra, the Baltimore Symphony Orchestra, the New World Symphony Orchestra, the Spoleto Festival Orchestra, the Colorado Symphony, the Nashville Symphony Orchestra, the Columbus Symphony Orchestra, the Charleston Symphony, the Florida Philharmonic, the Fort Worth Symphony and London’s Philharmonia Orchestra for a CHANDOS recording of arias featuring his wife, soprano Elizabeth Futral. In 2019 he made debuts with the San Diego Symphony, the Utah Symphony Orchestra and the Williamsburg Symphony Orchestra.
Maestro White is a passionate and dedicated educator. He has served multiple artistic residencies and led productions at such institutions as the Peabody Conservatory of Music, Indiana University, the College Conservatory of Music at the University of Cincinnati, the University of Miami Frost School of Music Program in Salzburg, Kennesaw State University, Virginia Tech University and The Governor’s School of Virginia. In the summer of 2019 he served as an artist in residence at the Shanghai Conservatory in China and in 2020 he led a critically acclaimed production of La clemenza di Tito for the North Carolina School of the Arts Fletcher Opera Institute. He is in constant demand as an adjudicator of the most prestigious music and vocal competitions, including numerous auditions for the Metropolitan Opera National Council and the Jensen Foundation.
Steven White proudly makes his home in Virginia, where he serves as Artistic Director of Opera Roanoke, a company with which he has been associated for two decades. Maestro White has conducted dozens of productions in Roanoke, including performances of Das Lied von der Erde, Der fliegende Holländer, Fidelio, Falstaff, Otello, Macbeth, Aida, Hänsel und Gretel and many others. In recognition of his contributions to the civic, cultural and artistic life of Southwest Virginia, Roanoke College conferred on Maestro White an Honorary Doctorate of Fine Arts in May 2013.
Joshua Horsch
Conductor
Praised for conducting with “steady acumen and considerable aplomb” and “awesome control” (Opera Today), Joshua Horsch is an extremely versatile operatic and symphonic conductor. A...
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Praised for conducting with “steady acumen and considerable aplomb” and “awesome control” (Opera Today), Joshua Horsch is an extremely versatile operatic and symphonic conductor. A two-time winner of the American Prize in Opera Conducting Joshua serves as Music Director and Principal Conductor of Opera Las Vegas. Joshua’s recent and upcoming conducting engagements include appearances with Washington National Opera, Las Vegas Philharmonic, Des Moines Metro Opera, Opera Orlando, Opera Idaho, Opera Baltimore, Greensboro Opera, and Tri-Cities Opera.
With a diverse repertoire of over sixty operas and a broad spectrum of orchestral and choral works, Joshua has recently held positions as a conductor/coach/chorus master on the music staff of the St. Louis Symphony Orchestra, Austin Opera, Detroit Opera, Florida Grand Opera, North Carolina Opera, Opera Saratoga, Pensacola Opera, Fort Worth Opera, the Boulder Philharmonic Orchestra, and the Colorado Music Festival. Joshua’s guest and workshop conducting includes work with the Baltimore Symphony Orchestra, the Omaha Symphony, the Oregon Bach Festival Orchestra and Chorus, the Cabrillo Festival Orchestra, the Bohuslav Martinu Philharmonic Orchestra, Orquestra Filharmonia de Chihuahua, the Lyatoshinsky Chamber Orchestra, the Newport Music Festival, the Colorado New Music Ensemble, the PENDULUM New Music Ensemble, the Boston Opera Collaborative, and the Boulder Bach Festival.
As a dedicated interpreter of new works, Joshua has enjoyed frequent collaborations with many of today’s leading composers including Tom Cipullo, Jennifer Higdon, Libby Larsen, Evan Mack, Ricky Ian Gordon, Evan Snyder, Scott Eyerly, and Paul Fowler. At Opera Las Vegas, Joshua has been instrumental in the development of their award-winning Living Composers and Librettists initiative, which has been selected for four consecutive NEA awards. For two seasons, Joshua served as Music Director/Conductor of the CU New Opera Workshop where he collaborated with composers Libby Larsen and Alberto Caruso as well as author Colm Tóibín and stage director Ron Daniels. For four seasons, Joshua served as conductor/co-founder of the Colorado New Music Ensemble where he programmed and conducted works ranging from John Corigliano’s Symphony No. 2 to Susan Botti’s chamber opera Telaio: Desdemona. While a Festival Artist/Conductor at the Newport Music Festival, Joshua conducted members of the Rhode Island Philharmonic and Providence Singers in a series of contemporary choral/orchestral masterworks.
Elizabeth Futral
Opera
Elizabeth Futral is one of the world’s leading sopranos. With her stunning vocalism and vast dramatic range, she has embraced a repertoire that ranges from...
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Elizabeth Futral is one of the world’s leading sopranos. With her stunning vocalism and vast dramatic range, she has embraced a repertoire that ranges from the Baroque to world premieres. She has collaborated with the great conductors of our time, including Zubin Mehta, Claudio Abbado, Sir Colin Davis, Daniel Barenboim, Sir Charles Mackerras, Loren Maazel, Michael Tilson Thomas, and Sir Neville Marriner. She has been acclaimed for her performances in the world’s leading opera houses, including the Metropolitan Opera, Covent Garden, Deutsche Oper Berlin, San Francisco, Chicago, Los Angeles, and Theatre an der Wien. Futral has appeared with the Berlin Philharmonic, London Symphony, New York Philharmonic, Chicago Symphony, Israel Philharmonic, San Francisco Symphony, London Philharmonic, Hannover Band, Boston Symphony, Munich Radio Orchestra, and many others.
Reared in Louisiana, Futral studied with Virginia Zeani at Indiana University. She joined the Lyric Opera Center for American Artists at the Lyric Opera of Chicago, won the Metropolitan Opera National Council auditions in 1991, and was catapulted to stardom with critically acclaimed performances of Delibes’ Lakmé at the New York City Opera in 1994. Career milestones soon followed, cementing her star status: a win in Placido Domingo’s Operalia Competition, the title role in Rossini’s Matilde di Shabran in Pesaro, her debut at the San Francisco Opera as Stella in the world premiere of André Previn’s A Streetcar Named Desire, and her Metropolitan Opera debut in a new production of Lucia di Lammermoor.“
Since that time she has returned to the Metropolitan Opera as Princess Eudoxie in a new production of La Juive, Princess Yeuyang in the world premiere of Tan Dun’s The First Emperor, Elvira in I Puritani, and additional performances of Lucia. With the Lyric Opera of Chicago she has sung a vast range of roles including Cunegonde in Candide, Susanna in Le nozze di Figaro, Handel’s Partenope, La Traviata, and The Merry Widow. She has notable relationships with the Washington, Houston, Santa Fe, Los Angeles, New York City, Vancouver, and Minnesota opera companies. Internationally, she has been heard at the Royal Opera Covent Garden, the Bayerische Staatsoper, Deutsche Oper Berlin, the Theater an der Wien, the Grand Theatre de Genève, the Gran Teatre del Liceu, and Hamburg Staatsoper.
Futral debuted with the New York Philharmonic in Mahler’s Symphony No. 2 under Zubin Mehta and has returned there for Handel’s Messiah with Sir Neville Marriner and Mozart’s Abduction from the Seraglio with Sir Colin Davis. Other orchestral highlights include Berlioz’s Benvenuto Cellini with Sir Colin Davis and the London Symphony, To Be Certain of the Dawn with Osmo Vänskä and the Minnesota Orchestra, the Brahms Requiem with Michael Tilson Thomas and the San Francisco Symphony, arias and duets with Placido Domingo and the Chicago Symphony led by Daniel Barenboim, and a New Year’s Eve Gala with Claudio Abbado and the Berlin Philharmonic.
In demand for contemporary repertoire, Futral has sung the world premieres of Ricky Ian Gordon’s 27 at the Opera Theatre of St. Louis, Tobias Picker’s Dolores Claiborne at the San Francisco Opera, Andre Previn’s Brief Encounter at the Houston Grand Opera, Philip Glass’ Orphée for the American Repertory Theatre, Ricky Ian Gordon’s Orpheus and Euridice for Great Performers at Lincoln Center, Dominic Argento’s Evensong: Of Love and Angels at the National Cathedral, and Stephen Paulus’ Three Poems of Dylan Thomas with the Tuscon Symphony. Other notable performances include concerts and recording of Paulus’ To Be Certain of the Dawn with the Minnesota Orchestra and Osma Vänskä, Ricky Ian Gordon’s The Grapes of Wrath at Carnegie Hall, and Carlisle Floyd’s Of Mice and Men at the Houston Grand Opera.
Futral’s most recent recording release is Gordon’s 27 with the Opera Theatre of St. Louis on Albany Records. Other operatic recordings include Previn’s Brief Encounter and A Streetcar Named Desire as well as Ravel’s L’enfant et les sortilèges for Deutsche Grammophon, Rossini’s Otello and Zelmira, Pacini’s Carlo di Borgogna for Opera Rara, Lucia di Lammermoor for Chandos as part of their “Opera in English” series, Of Mice and Men on Albany Records, Six Characters in Search of An Authoron New World Records, and Philip Glass’ chamber opera Hydrogen Jukebox for Euphorbia Records. Additional recordings include a solo aria recital for Chandos’ “Opera in English” series; Mozart The Supreme Decorator, a collection of arias by Mozart and CPE Bach on Opera Rara; Sweethearts, a collection of operetta favorites on Newport Classics; Solo Bach Cantatas with the Washington Bach Consort for Lyrichord Discs; Argento’s Evensong with the Cathedral Choral Society for Gothic Records; Paulus’ To Be Certain of the Dawn on BIS records; and Ricky Ian Gordon’s Orpheus and Euridice.
Futral appears as Elvira in Kasper Holten’s film Juan a modern retelling of Don Giovanni. Other DVD releases include Tan Dun’s The First Emperor on EMI and A Streetcar Named Desire on Image Entertainment.
Sidney Outlaw
Voice Faculty
Lauded by The New York Times as a “terrific singer” with a “deep, rich timbre” and the San Francisco Chronicle as an “opera powerhouse” with...
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Lauded by The New York Times as a “terrific singer” with a “deep, rich timbre” and the San Francisco Chronicle as an “opera powerhouse” with a “weighty and forthright” sound, Sidney Outlaw was the Grand Prize winner of the Concurso Internacional de Canto Montserrat Caballe in 2010 who delights audiences in the U.S. and abroad with his rich and versatile baritone and engaging stage presence. A graduate of the Merola Opera Program and the Gerdine Young Artist Program at Opera Theatre of Saint Louis, this rising American baritone from Brevard, North Carolina recently added a GRAMMY nomination to his list of accomplishments for the Naxos Records recording of Darius Milhaud’s 1922 opera trilogy, L’Orestie d’Eschyle in which he sang the role of Apollo.
In the 2018-2019 season, Mr. Outlaw sang Dizzy Gillespie in Charlie Parker’s Yardbird with both Atlanta Opera and Arizona Opera, returned to the Baltimore Symphony as a soloist in Handel’s Messiah and Minnesota Opera for the world premiere of The Fix, sang Fauré’s Requiem at Augustana College, Brahms’ Ein deutsches Requiem at Cornell University, and made his debut with Mill City Summer Opera as Guglielmo in Così fan tutte. The 2019-2020 season includes his San Francisco Opera debut as the First Mate in Billy Budd, Messiah with the National Symphony Orchestra, Tommy McIntyre in Fellow Travelers with Madison Opera, Dizzy Gillespie in Yardbird with New Orleans Opera, Beethoven’s Missa solemnis with the Colorado Symphony, and Mahler’s Songs of a Wayfarer with the Toledo Symphony.
Mr. Outlaw has been a featured recitalist with Warren Jones at Carnegie Hall and performed Elijah with the New York Choral Society. He traveled to Guinea as an Arts Envoy with the U.S. State Department, where he performed a program of American music in honor of Black History Month and in remembrance of Dr. Martin Luther King. Mr. Outlaw made his English National Opera debut in the 2011-12 season as Rambo in The Death of Klinghoffer and joined the Metropolitan Opera roster in 2014- 2015 also for The Death of Klinghoffer. Recent engagements include Tommy in Fellow Travelers with Minnesota Opera, Frank Lloyd Wright in Shining Brow with UrbanArias, Mercutio in Roméo et Juliette with Madison Opera, Dandini inLa Cenerentola with Greensboro Opera, Vaugh Williams’ Dona nobis pacem with the Memphis Symphony Orchestra, Fauré’s Requiem and Mechem’s Songs of the Slave with Manhattan Concert Productions at Carnegie Hall, Bach’s B Minor Mass with the Oratorio Society of New York, his Spoleto Festival debut as Jake in Porgy and Bess, Dallapiccola’s Il Prigioniero with the New York Philharmonic, Schaunard in La bohème with the Ash Lawn Festival, and Guglielmo in Mozart’s Cosi fan tutte with North Carolina Opera. Other roles include Figaro in Il barbiere di Siviglia with Atlanta Opera, the title role in Moses with the American Symphony Orchestra, Malcolm X at New York City Opera, Prince Yamadori in Madame Butterfly at Opera on the James, Ariodante in Handel’s Xerxes and Demetrius in Britten’s A Midsummer Night’s Dream for the International Vocal Arts Institute, Papageno in Die Zauberflöte and his international debut as Guglielmo in Così fan tutte, in both Germany and Israel.
A sought-after concert singer and recitalist, Mr. Outlaw made his Schwabacher Recital debut at the San Francisco Opera center with pianist John Churchwell and collaborates regularly with renowned pianists Warren Jones, Carol Wong, Steven Blier, and Michael Barrett. His concert and recital appearances include debuts of renowned works at major concert halls: Haydn’s The Creation and Handel’s Messiah at Carnegie Hall, Beethoven’s Symphony No. 9 at Avery Fisher Hall, Mahler’s Lieder eines Fahrenden Gesellen with Music Academy of the West and “Wednesday At One” at Alice Tully Hall, John Stevens in the world premiere concert of H. Leslie Adam’s opera Blake at the prestigious Schomburg Center for Research in Black Culture in Harlem, and the world premiere of Wayne Oquin’s A Time to Break Silence: Songs inspired by the Words and Writings of Martin Luther King, Jr., commissioned by The Juilliard School.
Mr. Outlaw won 2nd Prize in the Walter W. Naumburg Foundation’s International Competition, 2nd Prize in the 2011 Gerda Lissner Foundation Awards, National semi-finalist in the Metropolitan Opera National Council Auditions, semi-finalist in the Francisco Viñas International Singing Competition, finalist in both Concours International Musical de Montreal and George London Foundation, and grand prize in the Florida Grand Opera/YPO Vocal Competition. He holds a Bachelor’s in music performance from the University of North Carolina and a Master of Vocal Performance from The Juilliard School. Mr. Outlaw holds voice faculty positions at Ithaca College and Queens College in NY.
Phyllis Pancella
Voice Faculty
Mezzo-soprano Phyllis Pancella is a veteran of international opera and concert stages, in music extending from the baroque to six months ago. Her opera roles...
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Mezzo-soprano Phyllis Pancella is a veteran of international opera and concert stages, in music extending from the baroque to six months ago. Her opera roles have ranged from Carmen and Adalgisa to Lizzie Borden and Nero, with companies from Chicago to Paris, Tel Aviv to Hong Kong.
A highly regarded interpreter of both concert repertoire and chamber music, Ms. Pancella has collaborated with folks from Jane Glover and Daniel Barenboim to Paul Neubauer and Margo Garrett. She has worked with composers on many premieres, including Dominick Argento’s Miss Manners on Music, and has recorded with the Naxos, Erato, Neos, and Navona labels.
A dedicated advocate for student artists, Ms. Pancella currently serves on the voice faculty at the University of North Carolina School of the Arts.
Caroline Worra
Voice Faculty
Caroline Worra has been hailed by Opera News as “one of the finest singing actresses around.” She has sung over 75 different operatic roles including...
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Caroline Worra has been hailed by Opera News as “one of the finest singing actresses around.” She has sung over 75 different operatic roles including more than 20 World, American, and Regional Premieres. She was internationally acclaimed for her performances of Jenny in The Mines of Sulphur, Grammy nominated CD for Best Opera Recording, and as the title role for The Greater Good; Passion of Boule de Suif, Opera News and New York Times pick for one of the top classical CDs of the year.
Ms. Worra has worked at over 30 opera companies across the United States including The Metropolitan Opera, The Lyric Opera of Chicago, Boston Lyric Opera, Pittsburgh Opera, Fort Worth Opera, Dallas Opera, Long Beach Opera, Opera Santa Barbara, Madison Opera, Cedar Rapids Opera, Opera Memphis, Fargo-Moorhead Opera, Gotham Chamber Opera, Urban Arias, American Lyric Theatre, American Opera Projects, Tanglewood, Opera Saratoga, Berkshire Opera Festival, The Princeton Festival, and six seasons at both Glimmerglass Opera and New York City Opera. Caroline performed on two U.S. National Tours with San Francisco’s Merola/Western Opera Theatre singing Violetta in LaTraviata and Rosalinda in DieFledermaus. She gave a debut recital at Carnegie Hall (Weill Hall) and performed on the main stage of Carnegie Hall as the soprano soloist in Beethoven’s Mass in C, Britten’s Spring Symphony, Haydn’s Lord Nelson Mass and Orff’s Carmina Burana.
Caroline is a recipient of the Shoshana Foundation/Richard F. Gold Career Grant. She grew up in Wisconsin and graduated from Onalaska High School where she also received the 2015 Wall of Excellence Award. She has a Bachelor of Arts Degree in Piano and Vocal Performance from Luther College where she received the Distinguished Service Award in 2016. She has a Master of Music Degree in Vocal Performance from The University of Missouri in Columbia where she received a 2014 Distinguished Alumni Award from the College of Arts and Science. Caroline also has a Doctor of Music degree in Vocal Performance from Indiana University with minors in Music Education and Choral Conducting.
Dale Girard
Stage Combat
Dale is an award winning Fight Director, Choreographer and author of the stage combat manual Actors On Guard. He is a third degree Black Belt...
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Dale is an award winning Fight Director, Choreographer and author of the stage combat manual Actors On Guard. He is a third degree Black Belt (Sam Dan, 1st level) in Taekwondo/Hopkido and Hydong Gumdo, a founding member of the North Carolina Stuntmen’s Association and one of only sixteen recognized Fight Masters in the United States by the Society of American Fight Directors. His breadth of work and contribution to the art of staged violence has also earned him recognition in the Canadian guild, Fight Directors Canada, and The Russian Guild of Stage Movement Directors and Teachers. His work has been featured in professional theatres and opera houses throughout North America and in numerous motion pictures. Credits include the Metropolitan Opera, The Folger Theatre, Signature Theatre, Arden Theater, San Diego Opera, Opera Carolina, Piedmont Opera, Pioneer Theatre, Studio Arena Theatre, Triad Stage, and the Chautauqua Opera. Film credits include “Eyeborgs,” “The Key Man,” “The Trial,” “10 Rules for Sleeping Around” and the critically acclaimed “Junebug.”
As a master teacher, Mr. Girard has instructed classes and seminars in stage combat, acting, and dramatic movement at colleges and universities throughout North America. Based in North Carolina, he is a full Professor on faculty for the School of Drama at the University of North Carolina School of the Arts where he serves as Director of Stage Combat Studies and the Assistant Dean of Academics and Administation. Previous teaching experience includes Yale’s Schools of Drama and Music, the National Theatre Conservatory and the Hartt School.
Dale Girard IMDb Page
