2019 Faculty - Subject to change. Click here to apply now.
Director of UBC Summer Vocal Workshop, UBC Voice Faculty
Canadian soprano Rhoslyn Jones is quickly becoming an important presence on both the Concert and Operatic stages of the world. Described as a “superb singer and artistic presence,” Ms. Jones’ voice is “luscious, and her soul opens forthrightly and generously to the audience.”
Hailed as “The delicious diva” by the 24 Hours New Vancouver, Ms. Jones captivated the audience with her “unforgettably powerful voice” in her very first production of Le Nozze di Figaro. As the Countess, Rhoslyn Jones imparted “a grace and dignity that prevent[ed] her from descending into the mould of the stereotypical wronged woman, and [allowed] her to become a relatable individual for a modern audience. Jones is a joy to watch and reason alone to see the show.”
Ms. Jones began the 2010-2011 season covering the role of Roxane opposite Placido Domingo’s Cyrano de Bergerac at the San Francisco Opera. Also this season, she will debut the role of Mimi in a new production ofLa Boheme at the Pacific Opera Victoria.
The 2009-2010 season found Ms. Jones making her role debut as the Countess in Le Nozze di Figaro withVancouver Opera and a return to Arizona Opera as Musetta in La Boheme. A busy concert singer as well, Rhoslyn sang Rachmaninoff’s The Bells with the Colorado Symphony Orchestra, was the soprano soloist in a concert of arias and duets with the Calgary Philharmonic Orchestra and sang Morgen: A ballet set to a collection of Richard Strauss songs for soprano and orchestra with the New York City Ballet.
In recent seasons, Ms. Jones has appeared as the Countess in Le Nozze di Figaro with Opera Santa Barbara, Musetta in La Boheme with Pittsburgh Opera, Tatyana inEugene Onegin with Vancouver Opera, Donna Anna in Don Giovanni with the Chicago Opera Theater and the title role of Susannah with Arizona Opera. Ms. Jones also created the starring role of Julia Dent Grant in Phillip Glass’s world premiere of Appomattox with the San Francisco Opera opposite Dwayne Croft and Andrew Shore. She has also recently appeared with the Alabama Symphony Orchestra and Anchorage Symphony. In addition to being the Director of the University of British Columbia Summer Vocal Workshop, she is on Faculty at the University of British Columbia in the Vocal Department, and on Faculty at Sonoma State University in California. She is also the founder and director of the new Bay Area Vocal Academy in San Francisco.
Originally from Aldergrove, B.C., Ms. Jones completed her Undergraduate and Master’s degrees at the University of British Columbia and her Diploma in Opera Performance at the prestigious Curtis Institute of Music in Philadelphia. She also attended the distinguished Summer Festival at Ravinia in 2008 and was a 2004 and 2005 participant in Merola, which led to her selection as an Adler Fellow at the San Francisco Opera from 2006-2007. She currently resides in San Francisco with her husband.
J. Patrick Raftery
UBC Voice Faculty
J. Patrick Raftery’s debut was with the San Diego Opera singing Schaunard in La Bohème sharing the stage with Luciano Pavarotti. After his years at The Boston Conservatory and The Juilliard School of Music, Mr. Raftery was awarded the Richard Tucker Music Foundation Prize and made his debut in New York’s Carnegie Hall in the Tucker Winner’s concert that same year.
Rossini’s Barber in the Washington Opera’s The Barber of Seville drew Mr. Raftery international attention and Figaro was his debut with The Paris Opera soon thereafter. Closely associated with the operas of Rossini, including two summers with the Rossini Festival in Pesaro, Mr. Raftery sang the role of Figaro over 225 times. Covent Garden’s Count in Le Nozze di Figaro and Guglielmo in Cosi fan tutte for the Festival of Glyndebourne gave Mr. Raftery two prominent debuts in Great Britain in quick succession. Leading to his debut at New York’s Metropolitan Opera with Mirella Freni in Manon Lescaut, Mr. Raftery was one of North America’s most prominent baritones.
Mr. Raftery made his tenor debut with New York’s Mostly Mozart festival at Avery Fisher Hall (now David Geffen Hall) leading to his debut at the world’s most prestigious opera house, La Scala in Milan. Mr. Raftery has subsequently been re-invited as a tenor to the stages of London’s Covent Garden, The Paris Opera, The Hamburg State Opera, The Canadian Opera Company, and numerous others.
Teaching for over three decades. Professor Raftery has given Master Classes for, The San Diego Opera, Oper Graz, L’Opéra de Montpellier, and the Universities of Western Ontario, Southern California, Lethbridge, Alberta, Toronto, and The Catholic University of America. After his years as adjunct Professor at the University of Western Ontario and University of Toronto, Professor Raftery joined the full time faculty at The University of British Columbia in 2014.
Born in Washington, DC and a dual citizen of the United States and Canada, J. Patrick Raftery makes his home in Vancouver, British Columbia.
UBC Faculty Vocal Teacher
Lyric Baritone Dale Throness, a native of Grande Prairie, Alberta, received his early musical training in Winnipeg and subsequently obtained his Master of Music in Voice Performance at the University of British Columbia. Post-graduate studies were undertaken at the Vancouver Academy of Music and the Britten Pears School for Advanced Musical Studies in Aldeburgh England. He has sung a number of operatic roles including the title role in Mozart’s Don Giovanni under director David Walsh, and Marcello in La Boheme with conductor Tyrone Patterson and the Okanagan Symphony Orchestra for Viva Musica in Kelowna.
Recent Concert engagements include performing with the Vancouver Symphony Orchestra in their Tea and Trumpets series and a concert of Brahms’ lieder for their Brahms Festival, and performances of the Brahms and Faure Requiems. He has also sung Carmina Burana on a number of occasions, including a performance at the Orpheum Theatre under conductor Kazuyoshi Akiyama. In addition to his performing schedule, Mr. Throness is on the voice faculties of the University of British Columbia and Kwantlen College.
Guest Vocal Teacher
Jonathan Beyer is a baritone who has performed with the Metropolitan Opera, Oper Frankfurt, Florida Grand Opera, Pittsburgh Opera, Dallas Opera, St. Louis Opera Theater, Austin Lyric Opera, Vancouver Opera, Opera Darmstadt, Fort Worth Opera, Hong Kong Opera, Teatro Petruzzelli, Opera Company of Philadelphia, Boston Lyric Opera, Opera de Montreal, Royal Opera House in Oman, Chicago Lyric Opera, Opera Naples and others. He has also appeared with the Chicago Symphony, Philadelphia Orchestra, Pittsburgh Symphony, Indianapolis Symphony, Netherlands Radio Orchestra, Munich Philharmonic, Baton Rouge Symphony, Vermont Symphony, Lansing Symphony, Southwest Michigan Symphony, Detroit Symphony, the Erie Philharmonic and the Festival at Aix-en-Provence.
Mr. Beyer was a National Finalist in the Metropolitan Opera National Council Competition. He was the 1st Place Winner at the Marian Anderson Prize for Emerging Classical Artists. He has also won the Geroge London Foundation, Sullivan Foundation, McCammon Competition, Irma M. Cooper Competition, Violetta DuPont Competition, Rochester’s Classical Idol, New Jersey Verismo Competition, Philadelphia Orchestra Competition, Astral Artist Auditions, Pittsburgh Concert Society Auditions, SAI Competition, American Opera Society Competition, the Union League Civic and Arts Foundation Competition, and the Bel Canto Foundation. He has also received awards from the Lissner, Jensen, and Solti Foundations, Zachary, Dalis, Liederkranz, Orpheus, Liederkranz, Neue Stimmen, Palm Beach Opera, and Lynam Competitions, Sosenko, Lanza, Iturbi, Gari and Puccini Foundations, National Opera Associations.
An avid recitalist, Mr. Beyer has performed in recital through the Vocal Arts Society, Marilyn Horne Foundation, Carnegie Hall Foundation, Chicago Cultural Center, Judith Raskin Foundation, Bertlesmann Foundation, Huntsville Chamber Music Guild, Pittsburgh Concert Society, Van Cliburn Foundation, Over the Rainbow Foundation, Astral Artists, and the Marian Anderson Foundation. He has degrees from the Curtis Institute of Music and the Chicago College of Performing Arts at Roosevelt University.
“Magical and memorable... From the moment she opened her mouth, she was artlessly moving, actually communicating..." The young American dramatic soprano Heidi Melton has been called “the Wagnerian voice we have been waiting for since Flagstad and Nilsson” (La Presse), a voice that is “big, gleaming and tonally resplendent” (San Francisco Chronicle).
In the 2017/2018 season, dramatic soprano Heidi Melton will make her role debut as Brünnhilde in a new production of Götterdämmerung at Badisches Staatstheater Karlsruhe followed by performances of the complete Ring Cycle later in the spring. Ms. Melton will also return to the New York Philharmonic as Sieglinde in Act 1 of Die Walküre and with the Dallas Symphony as Brünnhilde in a complete concert performance of Die Walküre, both conducted by Jaap van Zweden. She will sing Mahler’s Symphony No. 8 as the Second Soprano with Tonkünstler Orchester and Andres Orozco-Estrada in Vienna. In New York City, she will sing a recital for the George London Foundation at the Morgan Library.
Last season saw Ms. Melton's first performances of Brünnhilde in Die Walküre and Siegfried, both at Badisches Staatstheater Karlsruhe. She also debuted with the London Symphony Orchestra and Berlin Philharmonic in Ligeti’s Le grand macabre under Simon Rattle. She returned to the Hong Kong Philharmonic in concert performances of Siegfried which was recorded for Naxos and debuted at Houston Grand Opera as Gutrune in Götterdämmerung. She sang performances of Isolde in Tristan und Isolde with Valery Gergiev and the Mariisnky Orchestra for commercial recording.
Ms. Melton recently debuted with the Vienna Philharmonic singing Brünnhilde’s “Immolation Scene” from Götterdämmerung under the baton of Valery Gergiev, both in Vienna at the Musikverein and in New York at Carnegie Hall. She made her New York Philharmonic debut with Alan Gilbert in Strauss Lieder and Act 3 of Die Walküre as Brünnhilde. For the Hong Kong Philharmonic with Jaap van Zweden, she sang Sieglinde in complete concert performances of Die Walküre (also recorded on Naxos). She returned to the Deutsche Oper Berlin as Venus/Elisabeth in Tannhäuser with Donald Runnicles, as well as to Badisches Staatstheater Karlsruhe for her first performances as Isolde in a new Christopher Alden production of Tristan und Isolde conducted by Justin Brown. Ms. Melton debuted at the English National Opera in a new production of Tristan and Isolde conducted by Edward Gardner.
Ms. Melton debuted at Oper Frankfurt in two new productions: first as Gertrude in Hänsel und Gretel, then as Eglantine in Weber’s Euryanthe. A favorite of the audiences in Berlin, she has been seen at the Deutsche Oper in Der Ring des Nibelungen, first as Gutrune and the Third Norn under Simon Rattle, then as Sieglinde, Gutrune, and the Third Norn under Donald Runnicles. In Berlin, she has also sung Elsa in Lohengrin, Amelia in Un ballo in maschera, Fata Morgana in a new Robert Carsen production of Love for Three Oranges, and Gertrude in Hänsel und Gretel. Ms. Melton debuted as Sieglinde under the baton of Zubin Mehta at Palau de les Arts Reina Sofía in Valencia and at the Canadian Opera Company with Johannes Debus. Her first Siegfried Brünnhilde was heard in concert with Opéra National de Bordeaux and she had a successful return to the Metropolitan Opera as the Third Norn in the new Robert Lepage production of Der Ring des Nibelungen under Fabio Luisi, which was released commercially on Deutsche Grammophon.
Ms. Melton made her Italian debut under Kirill Petrenko with Orchestra Sinfonica Nazionale della RAI in Torino as Gutrune and the Third Norn in a concert performance of Götterdämmerung, and made her debut at the BBC Proms as Elisabeth in a concert performance of Tannhäuser with Donald Runnicles and the BBC Scottish Symphony Orchestra. In frequent demand by many orchestras and conductors, Ms. Melton has been heard with Dallas Symphony under Jaap van Zweden, BBC Scottish Symphony under Donald Runnicles, and Montreal Symphony Orchestra with Kent Nagano in Act 1 of Die Walküre; the Baltimore Symphony in Act 1 of Die Walküre and Isolde’s “Liebestod” under Marin Alsop and Strauss' Four Last Songs with Markus Stenz; the Netherlands Radio Philharmonic Orchestra in Eine Lebensmesse by Jan van Gilse under Markus Stenz and Foreign Princess in Rusalka with James Gaffigan; at the Festival de Lanaudière singing Elsa in Lohengrin under Yannick Nézet-Séguin with his Orchestre Métropolitain and an opening season gala concert singing Wagner; at the Aspen Music Festival under Robert Spano in Mahler’s Symphony No. 8 (“Symphony of a Thousand”) and a Wagner/Verdi program; Real Filharmonía de Galicia in Wagner’s Wesendonck-Lieder under Paul Daniel; and in Verdi’s Messa da requiem for Donald Runnicles’ farewell concert as Music Director of San Francisco Opera. Ms. Melton made her New York recital debut at Pace University’s series Voce at Pace and returned to San Francisco for a recital at San Francisco Performances, both with pianist John Parr. She opened a special gala celebrating 100 years of the Deutsche Oper Berlin singing Elisabeth's Greeting to the Hall of Song.
Ms. Melton made her Metropolitan Opera debut as the Second Maid in Elektra under Fabio Luisi. A former Adler Fellow at the San Francisco Opera, she made her role debut as Sieglinde in Der Ring des Nibelungen at San Francisco Opera in a production by Francesca Zambello and conducted by Donald Runnicles. At Opéra National de Bordeaux, she has been seen in Ariadne auf Naxos, Tannhäuser, and Un ballo in maschera. For North Carolina Opera, Ms. Melton sang her first performances of Tristan und Isolde in a concert version of Act 2, as well as the Foreign Princess in Rusalka. She was a member of the ensemble at Badisches Staatstheater Karlsruhe where she sang new productions of Lohengrin, Les Troyens, Tannhäuser, Peter Grimes, Un ballo in maschera, Die Fledermaus, as well as revival performances of Der Rosenkavalier and Der Ring des Nibelungen.
Ms. Melton is the recipient of many prestigious awards and prizes: George London Foundation’s George London / Kirsten Flagstad Memorial Award; José Iturbi Competition; Sara Tucker Study Grant from the Richard Tucker Music Foundation; third place in the Belevedere Competition; national semi-finalist at the Metropolitan Opera National Council Auditions; and winner of the Mario Lanza Competition.
Pianist and Coach
Sarah Bowker began her musical studies in Harare, Zimbabwe and continued her studies in Ottawa and Vancouver. Her principal teachers have included Sandra Webster and Jane Coop. The recipient of numerous awards and scholarships in local, provincial and national levels of competition, Ms. Bowker has also received scholarships to study at the Adamant Music School in Adamant, Vermont, the Bowdoin Summer Music Festival in Brunswick, Maine, the Banff Centre for the Arts and at the University of British Columbia where she received both Bachelor’s and Master’s degrees in piano performance. She has been broadcast on Vermont Public Radio and was featured on Capital News in Georgetown, Guyana. She spent many happy years living and working in Vancouver with private students and at the University of British Columbia. Currently residing in London, Ontario, Ms. Bowker performs frequently as a vocal coach and collaborative pianist with students at the University of Western Ontario; she is also active as a private studio teacher. Ms. Bowker is also the music director of St. George’s Anglican Church, Denfield.
Richard Epp is a well known Vancouver based pianist, accompanist, vocal coach, conductor and chamber musician. Mr. Epp is currently Music Director of the Opera Workshop at UBC for whom he has conducted Hansel and Gretel, The Merry Widow, The Magic Flute, La Finta Giardinera, Weisse Rose by Udo Zimmerman, Serse, Die Fledermaus, and The Gondoliers among many others. He is also currently the official pianist for the division auditions of the Metropolitan Opera Competition in Vancouver.
He was pianist for the Resident Artists Program of the Vancouver Opera for five years. He has also been on the faculty of the Vancouver Academy of Music and was the Conductor of the White Rock Community Orchestra for nine years. Mr. Epp has toured Canada, the United States and Europe as a piano accompanist for singers, as a conductor, and as a chamber musician. He has appeared frequently in CBC recitals. Mr. Epp has studied conducting with Tsung Yeh, Kirk Trevor, and Johannes Schlaefle, and holds a Master’s Degree in Piano Accompanying from the University of Southern California. He has also participated in master classes given by such internationally known musicians as Dalton Baldwin, Graham Johnson, Martin Katz, Siegfried Jerusalem, Nico Castel, Rudolph Jansen and Elly Ameling. Mr. Epp has premiered numerous works by Canadian composers, and is also active as a piano teacher and adjudicator.
Guest Vocal Teacher
Canadian born mezzo-soprano Judith Forst has been highly acclaimed for her operatic and concert performances throughout North America and in Europe in many of the world’s most prestigious theaters which have included the Metropolitan Opera, San Francisco Opera, Bavarian State Opera, Munich, Netherlands Opera, Dallas Opera, Washington Opera, Vancouver Opera, and the Santa Fe Opera among many others.
Judith Forst began the 2009-2010 season with her return to the Lyric Opera of Chicago for Katya Kabanova. She also made her debut at Houston Grand Opera as Mrs. Grose in The Turn of the Screw and returned in the spring as The Countess in Pique Dame. 2010-2011 engagements included the world premiere of Lillian Alling with Vancouver Opera as well as the world premiere of The Inventor for Calgary Opera. She was also heard as Herodias in Salome for L’ Opera de Montreal. 2011-2012 engagements included Salome at the Manitoba Opera, The Rape of Lucretia at Houston Grand Opera and The Inventor at Vancouver Symphony. In the 2012-2013 season she returned to Vancouver Opera in Pirates of Penzance, to Canadian Opera Company in Dialogues des Carmelites among other engagements. Engagements for the 2013/2014 season include a return to the Metropolitan Opera in Two Boys.
During the 2008-2009 season Judith Forst appeared with as Mrs. Grose in Britten’s The Turn of the Screw with Portland Opera, and returned to Vancouver Opera as Herodias in Salome. Other recent engagements for Ms Forst have included Salome at Dallas Opera and Vancouver Opera and the world premiere of Transit of Venus for Manitoba Opera. She has appeared in concert with the Vancouver Symphonyand at the Santa Fe Opera as Mme de la Haltiere in Massenet’s Cendrillon, in Vancouver in Jenufa and in the Calgary premiere of Heggie’s Dead Man Walking. She made her debut at the Lyric Opera of Chicago as Herodias during the 2006-2007 season, and also returned to the Metropolitan Opera as the Kostelnicka in Jenufa.
In 2006 she made her debut at the Teatro alla Scala in Milan as the Kabinicha in Janacek’s Katya Kabanova. Recognized as one of Canada’s most distinguished artists, she has been honored with the Order of Canada.
Judith Forst is now most identified with roles such as the Kostelnicka in Janacek’s Jenufa, Klytemnestra in Strauss’s Elektra, Herodias in Salome and Mme de Croissy in Poulenc’s Dialogues des Carmelites, the Countess in Tchaikovsky’s The Queen of Spades, Augusta Tabor in Moore’s The Ballad of Baby Doe, the Baroness in Barber’s Vanessa and the Witch in Hansel und Gretel. Prior to expanding into this repertoire, she had sung a repertoire of extraordinary versatility and one which encompassed virtually all styles and periods and which has extended into the soprano repertoire as well.
Judith Forst began her career at the Metropolitan Opera when, after her participation in the Metropolitan Opera National Council Auditions, General Manager Sir Rudolf Bing immediately offered her a contract with the company. Her first roles at the Metropolitan included Preziosilla in La Forza del Destino, Stephano in Romeo et Juliette and Siebel in Faust and she has returned to the Metropolitan regularly all through her career for roles such as Donna Elvira in Don Giovanni under James Levine, Giulietta in Les Contes d’Hoffmann, Countess Adelaide in Arabella, and the Kabinicha in Katya Kabanova. After her firs seasons at the Metropolitan, Forst was soon heard at most of the operatic theaters in North America inroles such as Dorabella in Cosi Fan tutte, Rosina in Il Babiere di Siviglia, the title role in La Cenerentola, Adalgisa in Norma Charlotte in Werther, Octavian in Der Rosenkavalier and Bizet’s Carmen. She made her Seattle Opera debut as Giovanna Seymour in Anna Bolena and subsquently appeared in this role opposite Dame Joan Sutherland in San Francisco, Toronto, Detroit, Washington, DC and in New York where the concert was also televised as part of the “Live from Lincoln Center” series. Forst made her European debut in Paris in 1985 in a concert performance of Hoffmann and her Munich debut as Preziosilla in La Forza del Destino. She made her London debut in the spring of 1992 in the British premiere of Rossini’s Ermione and starred as the Composer in a new production of Ariadne auf Naxos at the English National Opera in 1994.
Soprano, Dr. Stephanie Nakagawa, has a great passion for Canadian opera. Her outstanding contribution to the field and her thesis, A Canadian Opera Aria Anthology for Soprano has been recognized by the Canadian Music Centre with the Barbara Pentland Award of Excellence. Stephanie completed her Doctor of Musical Arts degree in Voice and Opera from the University of British Columbia, where she was also awarded the UBC Public Scholars Award, UBC Wesbrook Scholar, Johann Strauss Foundation Scholarship, UBC Medal, Canada Millennium Scholarship, and the BMO National Scholarship. In addition, Stephanie holds a Master’s degree from Indiana University, a Bachelor of Music in Opera from UBC, and ARCT Performance Diplomas in both piano and voice. She was also awarded the Voice National Gold Medal from the Royal Conservatory of Music.
An active performer and recitalist, Stephanie has performed with various ensembles including the Aspen Music Festival, Vancouver Symphony Orchestra, Bard on the Beach, Westcoast Symphony, Okanagan Symphony Orchestra, Prince George Symphony, Opera Theatre of Saint Louis Gerdine Young Artist, Indiana University Opera Theatre, Oberlin in Italy, Pacific Opera Victoria Lunchbox Series, and the Canadian Music Centre. Her stage credits include Susanna (Le nozze di Figaro), Vixen (The Cunning Little Vixen), Gretel (Hansel & Gretel), Adele (Die Fledermaus), Amy (Little Women), Musetta (La Bohème), Zerlina (Don Giovanni), and Miss Wordsworth (Albert Herring). Stephanie has also won numerous awards including the regional winner of the Metropolitan Opera National Council Auditions, first place at the BC Provincial Festival of the Performing Arts, BC Arts Council Award, and Jeunes Ambassadeurs Lyriques Laureate. In addition to performing, Stephanie loves to work with young aspiring singers and is the music director and conductor of the Vancouver women’s chamber choir, Coro Cantare.
Mari Hahn is a Professor of Voice at the University of Alaska Anchorage, and heads the Voice Division. Her teaching credits include Voice Masterclass, the UAA Opera Ensemble, Music Appreciation and 20th Century History Seminar, as well as a full roster of private voice students. As the director of the Opera Ensemble, she has created original librettos on Alaskan themes and toured the state with productions of Aklaq and Nayak (Humperdinck's Hansel and Gretel) and Dr. Miracle by Bizet. She also served for three seasons as the Chorus Master with Anchorage Opera, and stage directed the productions of Rossini's La Cambiale di Matrimonio, and Mozart's Impresario. The primary focus of her academic research is combining somatic techniques with vocal pedagogy. As an Alexander Technique practitioner, she is in demand as a clinician and presents in national and international venues. Active as a soloist, Dr. Hahn was most recently featured as the soprano soloist in Poulenc's Gloria in Anchorage and at the Ultrapadum Festival in Ciel d'Oro, Italy, with the Anchorage Concert Chorus. She has performed the Verdi Requiem with Murry Sidlin, Brahms' Ein Deutches Requiem with Eduard Silberkant and the Fairbanks Symphony, and Gorecki's Symphony of Sorrowful Songs with Tammy Vollum-Matturro and the Anchorage Civic Orchestra. She is currently the President of the Alaska Chapter of the National Association of Teachers of Singing, and has served two terms as the District Governor.
Guest Voice Teacher
Justin Montigne – voice teacher, countertenor soloist, and registered yoga teacher – teaches workshops, classes, and private lessons in the Bay Area and around the country. He received his bachelor’s degree in voice from Drake University, and his master’s and doctorate degrees from the University of Minnesota.
Justin’s interest in the free and easy alignment of body and instrument led him to yoga, which helped revolutionize his singing and teaching. He hopes to share the same tools he discovered with singers and players everywhere. Justin has taught SingAsana–yoga for singing–workshops for the San Francisco Conservatory, Seraphic Fire; Miami, FL; Studio Arsis, Tokyo, Japan; Sonoma County Bach Society–Sonoma State University; San Francisco Bay Area NATS Symposium; College of Marin; Chorus America Conferences in San Francisco and Washington, D.C.; Henderson State University, Arkadelphia, AR; and The Urban School, San Francisco, CA.
Justin is a versatile countertenor comfortable in many styles and time periods of music. He has sung with the Des Moines Symphony, Exultate Orchestra and Chamber Chorus, Minnesota Orchestra, Oregon Bach Festival, City Concert Opera Orchestra, San Francisco Girls Chorus, San Francisco Contemporary Players, Philharmonia Baroque Orchestra, Seraphic Fire, EUOUAE, Chanticleer, Conspirare, Volti, and is a founding singer and board member of the 9-man Bay Area men’s ensemble, Clerestory. He is currently the Director of Voice Studies and Chorus School Pedagogy for the Grammy award winning San Francisco Girls Chorus, co-director of the Bay Area Vocal Academy, and is a member of the voice faculty at University of California, Berkeley.
Justin specializes in early music, but has premiered numerous contemporary works with orchestra and in recital. He recently sang the world premiere of Ryan Brown’s Mortal Lessons, a ‘medical oratorio’ for soloists, keyboards, and percussion ensemble at the Hot Air Festival in San Francisco. Next season Justin will be developing a Bay Area solo recital project and creating three new programs with Clerestory.
Pianist and Coach
Derek Stanyer was born in Langley, BC in 1988 and began playing the piano at the age of eight. He took lessons at the Langley Community Music School for eight years, and won numerous scholarships and festivals throughout high school, including the South Surrey Music Festival, Langley Kiwanis, Chilliwack Lions Club Music Festival, Langley Community Music School Festival, and the Victoria Festival.
In 2005 he was asked to compete in the BC Festival of the Arts in Vernon and won top prize at the Chilliwack Music Festival as most promising pianist.
In 2006 he started his bachelor of music studying with Bruce Vogt at the University of Victoria. He has attended Strings and Keys for the last four summers, and spent time in Alberta to attend lessons and master classes with teachers from all over Canada.
In 2009 he was a finalist in the University of Victoria concerto competition and at the Sooke concerto competition; Derek was also a finalist in the national Knigge Competition in March 2010.
He won the Johann Strauss Scholarship which allowed him to study in Austria at the Mozarteum, which he just got back from. Derek just finished his Bachelor of Piano Performance and will be doing his masters. He has performed numerous times in concerts and recitals at the University of Victoria, both as a soloist and collaboratively. Derek wants to perform as much as possible. He is a huge lover of music of any kind, and loves having the opportunity to share it with others.
Past Faculty have included:
Christopher Atwood – Diction Coach
Gordon Bintner – Guest Masterclass Teacher
Nicola Davies – Pianist and Coach
Robin Eder-Warren - Guest Yoga Instructor
Richard Epp – Guest Coach/Conductor
Rachel Fenlon – Pianist and Coach
Jason Ferrante - Vocal Teacher
Gordon Gerrard – Guest Coach/Conductor
Joel Harder - Guest Coach
Suzanne Klukas - Pianist and Coach
Melanie Krueger – Vocal Teacher
Dr. Lynne Morrow - Vocal Coach and Conductor
Alison Nystrom - Guest Teacher
Simone Osborne – Director, Teacher, and Administrator
Perry Price – Vocal Teacher
Rick Tae - Acting Teacher
Heather Thomson-Price - Voice Teacher
Todd Wedge – Guest Teacher
Deborah Wong - Guest Acting Teacher/Director of Scenes
Geneviene Wong - Pianist and Coach