Professionals you can learn from
The faculty who teach our workshops and classes are career singers and musicians with advanced training and performance experience. If it’s possible to come away from BCI without learning something new, no one has done it yet.
Kathy is Associate Professor of Music, Director of Choral Activities, and Chair of the Department of Music at Lewis & Clark College. In 2014, she was an inaugural winner of the Lorry Lokey Faculty Excellence Award, honoring “inspired teaching, rigorous scholarship, demonstrated leadership, and creative accomplishments.” At Lewis & Clark, she has conducted concerts including Mozart’s Requiem, Orff’s Carmina Burana, Carol Barnett’s The World Beloved: A Bluegrass Mass, Britten’s Ceremony of Carols, and music ranging from medieval chant to the premiere of a work for symphonic chorus and Javanese gamelan.
As Artistic Director of Portland’s professional Resonance Ensemble, she has conducted repertoire ranging from Schütz’s Singet dem Herrn to Feldman’s Rothko Chapel as part of innovative thematic concert programs. These programs represent collaborations between the Northwest’s finest professional singers and visual artists, poets (including the Oregon Poet Laureate), actors, dancers, and other musical organizations including Third Angle New Music, FearNoMusic, Cascadia Composers, and the Portland Chamber Orchestra. Resonance has been called “one of the finest choirs in the Northwest” by Willamette Week, and Dr. FitzGibbon’s interdisciplinary approach was cited in an article in the Wall Street Journal about Portland’s collaborative arts scene.
Kathy has conducted undergraduate choirs at Harvard, Boston, Cornell, and Clark Universities, and at the University of Michigan. She has been Assistant Conductor of the professional ensemble Boston Secession, Chorusmaster of the Windsor Symphony Chorus in Windsor, Ontario, guest conductor of the Windsor Symphony Orchestra, and a staff conductor at the Rome Opera Festival in Rome, Italy. She has directed secondary school choral programs, guest conducted honor choirs, and adjudicated solo and choral competitions, and she serves on the boards of the Northwest division of the American Choral Directors Association and the National Collegiate Choral Organization. A lyric soprano, Kathy is a frequent recitalist and concert performer of early through new music.
Kathy holds a Bachelor of Arts in music from Princeton University, Master of Music in conducting from the University of Michigan, and Doctor of Musical Arts in conducting at Boston University. Her doctoral dissertation discusses the use of historicism and German nationalism in the German Requiems of Brahms, Reger, and Distler. She has presented her research at conferences for the Institute of Advanced Study of the Social Sciences in Paris, France; the National Collegiate Choral Organization at Yale University; and the American Choral Directors Association. In 2012, she received a Deutsche Akademische Austauschdienst fellowship (DAAD, the German equivalent of a Fulbright) to travel to Berlin to conduct further research on Brahms reception, German Requiems, and the Third Reich.
This year is Kathy’s seventeenth at BCI and her fourteenth on the faculty. She will join BCI in Portland.
Ory has sung a variety of operatic roles with Sarasota Opera, Nashville Opera, Oswego Opera, and the Caramoor Opera Festival, including roles in The Medium, Falstaff, H.M.S. Pinafore, and Jenufa. She has been involved in several ongoing projects with American Opera Project (Kimper’s Bridge of San Luis Rey, Patience and Sarah, Hamer’s The Lost Childhood, and most recently, Stephen Schwartz’s Séance on a Wet Afternoon). Active on the concert stage, Ory has appeared as soloist with the Orpheus Chamber Ensemble, American Symphony Orchestra, Little Orchestra Society of NY, St. Luke’s Chamber Ensemble, Hartford Symphony, Spoleto Festival, Voices of Ascension, Kalamazoo Bach Festival and the Mark Morris Dance Company. In 1998 she sang Beethoven’s Missa Solemnis with Berkshire Choral International. More recent debuts include performances at the Bard Festival, the Center for Contemporary Opera, Dessoff, the South Dakota Symphony, and the S.E.M. Ensemble. Other interesting ventures include "The Late Show with David Letterman," the Salt Lake Olympics, several appearances with P.D.Q Bach, and Bravo’s "Project Runway." Ory holds a graduate degree in Choral Conducting and an undergraduate degree in Church Music from Westminster Choir College. She has been on the faculty of the University of Richmond, Longwood College, the Brearley School and Bloomsburg State College. Last year saw the completion of three major projects: Ory collaborated with eMedia to produce the "Singing Method," an interactive voice training program. She wrote a chapter for "The Singer's Guide to Complete Health" edited by Anthony Jahn, MD, (Oxford Press), and most recently she became certified as an ANUSARA Elements yoga teacher.This is her sixth year with BCI, where she will be on faculty in Portland, Oregon, and Sheffield's War Requiem week.
Daniel is a multifaceted artist active as a singer, actor, composer, pianist and music educator. Last season, he made his European debut singing the St. John Passion with Finland's Kuninkaantien Muusikot and performed the role of Nemorino in The Elixir of Love at the Portland Opera. Other recent performances include the Portland Chamber Orchestra (Messiah), Portland Opera (Madama Butterfly), Walla Walla Symphony, a tour of the Greek Islands with Cappella Romana, title role of Werther with Opera Theater Oregon, Beethoven’s Ninth Symphony with Newport Symphony and Mozart's Mass in C Minor at the Shenandoah Valley Bach Festival.
For three years, he performed regularly with the Houston Grand Opera, including the roles of Tonio in The Daughter of the Regiment, Count Almaviva in The Barber of Seville and The Witch in Hansel and Gretel. Other opera roles include Ferrando in Così fan tutte, the title role in Albert Herring, and Don Ottavio in Don Giovanni. Daniel enjoys frequent appearances with the Oregon Bach Festival (St. John Passion, Christmas Oratorio), Southwest Florida Symphony, Bach Society of Houston (St. Matthew Passion, Brockes Passion), Santa Fe Desert Chorale, and Houston Chamber Choir (B Minor Mass).
Since 2005, Daniel has sung with the Grammy-winning vocal ensemble Conspirare, based in Austin, Texas. With the group, he recorded "A Company of Voices," which was aired nationally on PBS. Conspirare was a featured choir at the Wold Symposium on Choral Music in Copenhagen in 2008. He is also a founding member of Opera Vista, an innovative opera company based in Houston, Texas. Presenting a festival of contemporary opera every year, Opera Vista has become a vibrant addition to the arts community. With the company, he sang in Amy Beach’s Cabildo, including performances at the French Quarter Music Festival in New Orleans.
Daniel has served on the voice faculties of the Conservatory of Music at Wheaton College and Lone Star College. He is also the founder and primary instructor of an active voice studio called Resound NW. He joins BCI's faculty for the first time in Portland, Oregon. http://www.DanielBuchanan.net http://www.ResoundNW.com
Sean, originally from Brookville, Pennsylvania, is Assistant Professor of Voice and Director of Choral Studies at the University of Texas, Rio Grande Valley, where he conducts the UTB Master Chorale and Chamber Singers and teaches applied voice, conducting and choral methods. Previously he was on the faculties of Washington & Jefferson College in Pennsylvania and Central State University in Ohio. Sean holds a Doctor of Musical Arts in Choral Conducting from the University of Cincinnati, College-Conservatory of Music. His primary area of research is Latin diction; he is a diction specialist with SingersBabel (www.singersbabel.com), for which he authors phonetic guides and recordings of Latin texts.
While a student at CCM, Sean served as assistant conductor of the CCM Chorale and Chamber Choir under Earl Rivers and as music director of the UC Cabaret Singers. An experienced church musician, he has served on the music staffs of Knox Presbyterian Church in Cincinnati and Third Presbyterian Church in Pittsburgh. In addition to extensive freelance solo work, Sean has performed with the Cincinnati Opera Chorus, May Festival Chorus, Mendelssohn Choir of Pittsburgh and Pittsburgh Opera Chorus. While a graduate student at Carnegie Mellon University, he served as assistant conductor to Grammy-winning conductor Robert Page. Sean has sung with the Vocal Arts Ensemble, Cincinnati’s professional chamber choir, for six years. The ensemble is now directed by Craig Hella Johnson.
Sean received a Bachelor of Music in Music Education with an emphasis in voice from Westminster College in New Wilmington, PA, and taught music in the Beaver Local School District in Lisbon, OH, before returning to graduate school. Recently, he led performances of Honegger’s King David, Handel’s Messiah, and Fauré’s Requiem. This is Sean’s eighth season with BCI, where he is serving as bass faculty in Portland and Sheffield.
Mitchell has an active performing career that has taken him to Europe, South America, Asia and throughout the United States. The German newspaper Hessiche-Niedersachsische Allgemeine wrote, "The sensitive playing of American pianist Mitchell Vines captivated the audience. He performed with virtuosity and bravura."
Mitchell's teaching and performing experience includes positions with the Aspen Music Festival, Mannes School of Music, Brooklyn College Conservatory of Music, Harlem School of the Arts, Berkshire Choral Festival, New York Summer Opera Scenes, Cunard Cruise Lines, and CantaLyrica Chamber Choir. He was twice soloist with the New York Repertory Orchestra, performing Bartok's 3rd Piano Concerto and Milhaud's Le Carnaval d'Aix. Mitchell is highly in demand as a collaborative pianist and is a music director for theater, opera, and cabaret. He is the artistic director of Afternoon Music, a concert series in Summit, NJ.
Mitchell can be heard on the CD "American Music for Trumpet and Piano" on Capstone Records, and he is featured on a CD of vocal chamber music by North German composers on the Syrinx label. Recent recordings include a CD of compositions by Paul Zeigler, a recital with soprano Selena Miyazaki, and a duo CD with flutist Tia Roper.
A native of Portland, Oregon, Mitchell holds a Bachelor of Arts from Portland State University and a Master of Music from the Eastman School of Music. While at Eastman, he held a fellowship in accompanying and received the Performer's Certificate, the conservatory's highest honor. Previously music director of Bay Ridge United Methodist Church, he is currently music and choir director of the Unitarian Church in Summit and Temple Israel in New York City. This is his fifth year with BCI, where he will serve as accompanist in Portland and in Sheffield Weeks 2 and 3.
Julia Foster Rottmayer
Julia is active in the stage, concert, and teaching arenas. Her recent concert engagements have included Mozart’s Great Mass in C Minor, Mendelssohn’s Elijah, Tippett’s A Child of Our Time, Handel’s Messiah, Poulenc’s Gloria, and Bach’s Mass in B Minor. On the operatic stage, Ms. Foster was most recently seen as Beth in Adamo’s Little Women, Vitige in Handel’s Flavio, Pamina in Mozart’s Die Zauberflöte, the title role in Poulenc’s Les Mamelles de Tiresias, and Rose Maurrant in Kurt Weill’s Street Scene. She has performed with Bach Festival Society of Winter Park, Ars Lyrica Houston, Amadeus Operensemble, Orlando Ballet, Stoughton Opera, Wisconsin Chamber Orchestra, and Madison Early Music Festival.
In addition to concert and operatic performances, Julia is an advocate for the performance of Art Song and is a frequent recitalist. Alongside standard French, German, and American repertoire, her recitals have incorporated less traditional works, such as George Crumb’s Apparition for soprano and prepared piano. Her early repertoire ranges from Armonia in La Pellegrina to Bach’s celebrated cantata, Jauchzet Gott in allen Landen. Julia has had the honor of singing for such dignitaries as the President of the Czech Republic and has premiered works for composers Scott Gendel and Daniel Crozier.
Julia currently serves as Assistant Professor of Voice and Opera at Rollins College in Winter Park, Florida, where she leads a voice area of more than 90 students and teaches music in both the classroom and studio. She also co-founded and directs the Rollins Summer Music Academy for high school singers. Julia holds voice performance degrees from the University of Wisconsin – Madison (BM), the Eastman School of Music (MM), and the Moores School of Music, University of Houston (DMA). This is her second season with BCI, where she will serve on the faculty in Sheffield. www.JuliaFosterSoprano.com
Melissa is a native of Kansas, but resides in New York City. She has performed numerous operatic roles including the title role in Carmen, Dorabella (Cosi fan tutte), Lelia (Iolanthe), Kate (Pirates of Penzance), Pitti Sing (Mikado), Melissa (Princess Ida), Susanna (Le nozze di Figaro), Phoebe (Yeomen of the Guard), Stephano (Romeo et Juliette), Orlovsky (Die Fledermaus) and Mrs. Noye (Noye’s Fludde). She made her Carnegie Hall debut with the New York Philharmonic singing Rosalia in West Side Story. Solo concert engagements include Messiah, Lord Nelson Mass, Purcell's Te Deum and Jubilate, Bach Mass in B Minor, Mozart Requiem and Mass in C Minor, and the Monteverdi Vespers. She was a featured soloist on the 2013 GRAMMY-nominated recording of Israel in Egypt with the Choir of Trinity Wall Street. Recent solo performances include Bach’s St. Matthew Passion, several Bach cantatas as part of Trinity Wall Street’s Bach@1 series, Handel’s Messiah at Carnegie Hall, and the Stravinsky Festival of his late sacred works. She has performed as a soloist at BCI in Elijah. Melissa is the Associate Director of Music at Trinity Wall Street, conducts the Trinity Youth Chorus, and maintains a private voice studio. A complete performance schedule can be found at www.melissaattebury.com. Melissa joins BCI’s faculty for the fifth time, this year in Sheffield Weeks 2 and 3.
Mark was raised in Wales, studied music at Oxford and singing at the Royal College of Music supported by The Countess of Munster and The Arts Council of Wales. He now continues to study with Joy Mammen. In 2004 Mark was selected to take part in the ‘Operalia’ competition in Los Angeles where he sang for Placido Domingo. In October 2005 he was announced as one of the recipients of the first Susan Chilcott Scholarship, enabling regular lessons with Dennis O’Neill, and in 2006 became a Samling Scholar. He has twice been a finalist in the Young Welsh Singers Competition and also won the National Federation of Music Societies Award.
Concert appearances include the Wigmore Hall with The Wallace Collection, Kurt Weill’s Seven Deadly Sins with Cleo Laine, Messiah with the CBSO, Brubeck’s La Fiesta de la Posada at the Barbican, and Haydn's Creation with the Northern Sinfonia. Mark's concert repertoire also includes Haydn's The Seasons, Janáček’s Otcenas, Handel's Samson, Rossini's Stabat Mater and Petite Messe Solennelle, Kodaly's Psalmus Hungaricus and Tippett's The Tempest Suite. Mark is also a keen recitalist and has performed at St David’s Hall in Cardiff, the Wigmore Hall with the Samling Foundation, at the Ludlow English Song Weekend with Iain Burnside, a Britten programme with Roger Vignoles, and has worked with Ned Rorem on a performance of his songs at Tanglewood.
Mark was an Associate Artist with Welsh National Opera. He sang Roderigo in Otello in the WNO Millenium opening gala conducted by Carlo Rizzi. Other appearances include Adonis in Blow's Venus and Adonis for the Benslow Music Trust, Bajazet in Handel's Tamerlano for Cambridge Handel Opera Group, 1st Trojan Man in Idomeneo and Giuseppe in La Traviata for Glyndebourne on Tour, as well as several roles during the Scottish Opera ‘Essential’ spring tour. Recordings include Durufle’s Messe Cum Jubilo for Harmonia Mundi.
Other recent and future highlights see Mark performing Frederic in The Pirates of Penzance in Beijing for the IFC, Jacquino (cover) Fidelio and Albafiorita (cover) in Martinu’s Mirandolina for Garsington Opera, Frisellino in Haydn’s Le Pescatrici for Bampton Classical Opera and Arne Judgement of Paris at Wigmore Hall, Satyavan in Holst’s Savitri at The English Music Festival with Janice Watson, Septimius Handel’s Theodora at the Barber Institute in Birmingham, The Tempter in Britten’s The Prodigal Son for the Ryedale Festival and Lysander (Cover) Britten A Midsummer Night’s Dream and Steersman (cover) The Flying Dutchman for ENO. Also, staged performances of Carissimi’s Jephte for the Spitalfields Festival followed by a recording for Harmoni Mundi and Aminta Handel’s Atalanta for Cambridge Handel Opera.
Mark is also a qualified teacher of the Alexander Technique and teaches at Mountview Academy of Dramatic Art and Harrow School. He lives in London with many books, an old piano and three chickens. This is his third year with BCI; where he will serve on the faculty in Sheffield and Maynooth.
Michael is active as a collaborative pianist and choral conductor in New York City. He was recently appointed the first Assistant Music Director of Musica Sacra, New York’s longest continuously performing professional chorus.
Michael is a full-time Music Associate at the Church of St. Ignatius Loyola, where he assists in the acclaimed concert series Sacred Music in a Sacred Space. He is a Teaching Fellow at the Juilliard School and serves as the Assistant Conductor of the Fairfield County Chorale in East Norwalk, CT.
During the summer Michael serves as chorus master and vocal coach for La Lingua della Lirica, a summer training program for young opera singers in Novafeltria, Italy. He was the assistant conductor and rehearsal pianist for the women’s chorus of Holst’s The Planets at the New York Philharmonic; other Philharmonic collaborations with Music Director Alan Gilbert include Beethoven’s Symphony No. 9, Ligiti’s Kyrie from his Requiem, Ives Symphony No. 4, William Walton’s Henry V and Varese’s Noctural.
At the Lincoln Center Festival Michael served as Assistant Chorus Master for the Varese: (R)evolution festival. At the Carnegie Hall’s Weill Music Institute, he played for the National High School Choral Festival under the baton of John Nelson and “La Pasión según San Marcos: A Creative Learning Project” under the baton of Maria Guinand and David Rosenmeyer.
Michael has served as accompanist for the Oratorio Society of New York and Manhattan School of Music Symphonic and Chamber Choirs. He has collaborated as accompanist with Kent Tritle, Roger Norrington, Pablo Heras-Casado, Meredith Monk, Philippe Entremont, Emmanuel Plasson, Steven Schick and K. Scott Warren. A recording of his playing with the St. Ignatius Children’s Choirs was regarded as “consistently excellent” by the American Record Guide Review.
As a pianist Michael has performed live broadcasts on WQXR and Vermont Public Radio and has made recital appearances in Weill Hall and Alice Tully Hall. A native of Long Island, New York, Michael holds a Master of Music and two Professional Studies degrees in accompanying and conducting from Manhattan School of Music. He is a graduate of Vassar College. He joins BCI for the first time this year as accompanist in Sheffield’s Week 1.
Matthew, a native of Iowa, appears frequently as a conductor, clinician, and singer in the greater Cincinnati area and in the United Kingdom. Recent conducting engagements include appearances with the Cincinnati Early Music Festival, the Cambridge University Baroque Ensemble, and the King’s College Music Society. He serves on the musical staff of the National Youth Choirs of Great Britain and works frequently with the Training Choirs of NYCGB. As a singer, Matthew performs with the Vocal Arts Ensemble, Cincinnati's professional chamber choir, and with the May Festival Chorus, the official chorus of the Cincinnati Symphony. A former member of the mixed choir at King's College, Cambridge, he served as a choral deputy for the choirs of Clare and Jesus Colleges, among others.
An active scholar and practitioner of medieval and Renaissance music, Matthew received commendation from the Faculty of Music at Cambridge for his editions of unpublished Renaissance works. He formerly served as Master of Music at the Chapel of St. John Fisher in Cambridge and is currently the Assistant Choirmaster at the Episcopal Church of the Redeemer in Cincinnati. He holds degrees in American Studies and trumpet performance from the University of Notre Dame and earned graduate degrees in conducting from the College-Conservatory of Music at the University of Cincinnati and King's College, Cambridge. For the second year, he joins BCI as a staff conductor in Sheffield.
Michael is a music teacher at Glenbrook Middle School in Longmeadow, MA. He teaches chorus and general music and enjoys the Longmeadow School District, which has a rich history of music making. In addition, Michael is Organist and Choir Master at St. Andrew's Episcopal Church in Longmeadow, MA. His musical interests include music technology, conducting, piano, organ and trumpet performance. He has been an apprentice BCI for two years joins the faculty as a staff conductor in Sheffield.
Katherine has been praised by The New York Times for her “rich tone,” “deep emotion,” and “lovely, passionate” performances. Her opera credits include Lucia (Lucia di Lammermoor), Donna Anna (Don Giovanni), Fiordiligi (Così fan tutte), Madame Herz/Goldentrill (Der Schauspieldirektor), the heroines of Cavalli La Calisto (title role) and Giasone (Hypsipyle), and numerous smaller roles in repertoire ranging from Purcell to the present day. She has worked with companies including De Nationale Opera (Amsterdam), VocaalLAB, Gotham Chamber Opera, Opera Company of Philadelphia, Ash Lawn Opera, Opera Omnia, Capitol Opera Raleigh, Center for Contemporary Opera, and the Bard Music Festival.
2014 marked several professional debuts in Europe: her operatic debut with the Netherlands Opera in Claude Vivier Kopernikus (Coloratura Soprano), a co-production of the DNO Talent Development Programme and VocaalLAB; her recital debut in Amsterdam’s Waalse Kerk in a prize recital for the 2013 Musico Lied Competition, of which she was the grand prize winner; and her debut in the Concertgebouw’s Grote Zaal in John Adams Grand Pianola Music with the Asko|Schönberg Ensemble. She also jumped in at two high-profile festivals on short notice: first, Amsterdam’s Holland Festival, in Luigi Nono Il Canto Sospeso with the SWR Radio Sinfonieorchester and Ingo Metzmacher, and two weeks later, Ireland’s West Cork Chamber Music Festival, in John Tavener To a Child Dancing In the Wind. The Irish Times wrote of this performance that “soprano Katharine Dain was pure and heart-piercing, singing as if the music might have been written just for her.” She has also co-founded a vocal quartet in the Netherlands, Damask Ensemble, which has concerts in several festivals in its first season including Operadagen Rotterdam.
In addition to her experience in opera, Katharine has an extensive repertoire in concert music and has appeared as a soloist in Bach Matthäus-Passion, Weinachts-Oratorium, B-minor Mass, and numerous cantatas, Handel Messiah and Judas Maccabaeus, Mozart Requiem, C-minor Mass, Coronation Mass and Vesperae solennes de confessore, Haydn Lord Nelson Mass and other masses, and Orff Carmina Burana, among others. She has been a soloist with orchestras and choirs including the Alexandria Symphony, Springfield Symphony, American Symphony Orchestra, Collegiate Chorale, Masterwork Chorale, Handel Choir of Baltimore, Choir of Trinity Wall Street, New England Baroque Soloists, Rebel Baroque Orchestra, and numerous others in venues including New York’s Lincoln Center and Carnegie Hall and throughout the United States. She has also collaborated as vocal soloist with the Mark Morris Dance Group (Purcell Dido and Aeneas, conducted by Morris) and New York City Ballet (a revival of the historic Jerome Robbins production of Stravinsky Les Noces).
As a recitalist, Katharine is especially passionate about the modern repertoire. She has been featured in recital at the Ravinia Festival (Steans Fellow 2009), Bargemusic, New York Festival of Song’s contemporary-focused NYFOS Next series, Joy in Singing’s composer series, Songfest (Stern Fellow 2011), a Marilyn Horne Foundation masterclass in Carnegie Hall with soprano Dawn Upshaw, and in regular recital tours with the Piatigorsky Foundation, often performing songs and cycles written for her. Katharine is increasingly sought after as a chamber musician, collaborating with groups including the Momenta Quartet, Talea Ensemble, New York Miniaturist Ensemble, North Country Chamber Players, and two critically-acclaimed New York chamber groups of her own co-founding: Callisto Ascending, a period-instrument ensemble, and Lunatics at Large, a contemporary ensemble lauded as “young, energetic and highly polished” by senior Times critic Allan Kozinn. Of her performance in Schoenberg Pierrot lunaire with Lunatics at Large, Kozinn wrote, “Katharine Dain, the ensemble’s engaging soprano, gave as graceful, and as intense, a performance of Schoenberg’s stylized vocal line as you could want. She moved easily between its slides, whispers and more straightforward expressivity.”
Katharine holds degrees from Harvard University, the Guildhall School of Music and Drama, and Mannes College of Music, and she currently lives in the Netherlands. This will be her sixth season with BCI, where she will join the faculty in Maynooth. www.katharinedain.com
Eva Wöllinger-Bengtson was born in Upper Austria, and choir singing has almost always been a part of her life. She studied at the University Mozarteum Salzburg to be a music teacher, with piano and voice as main instruments. The education included also a focus on choir conducting with Herbert Böck as her main teacher. After finishing at the Mozarteum with a master's degree, Eva worked as a teacher of music, singing, piano, choir and talking techniques at different schools, but most of the time at the Gymnasium/ORG der Kreuzschwestern in Gmunden.
In 2010 Eva moved to Scandinavia to start her new job as a singer in the Danish Radio Concertchoir. Since 2011 she is part of the vocal ensemble Musica Ficta, which mainly performs old music and also is situated in Copenhagen, and has been assisting in other professional choirs and ensembles in the area. In addition to singing, Eva also conducts choirs and teaches piano and singing. She also continued her choir conducting education with a Master Class in Uppsala and a course at the University Lund in Sweden.
Eva has been a faculty member previously in Mondsee/Salzburg and Edinburgh. This is her eighth year with BCI, where she will join the faculty in Maynooth.
Berkshire Choral International Music Director Frank Nemhauser will serve as bass faculty in Maynooth.
Mary is in constant demand as an accompanist for singers, instrumentalists, ensembles, choral societies and musical societies. Coming from a musical family, her interest in piano accompaniment was nurtured from an early age by her father, baritone and choirmaster Tomás Ó Súilleabháin.
She studied piano with Rhona Marshall at the RIAM and organ with Sidney Greig at St Patrick’s Cathedral Dublin and was the recipient of numerous awards and scholarships throughout her studies, including the award of Associate from the Royal College of Music in London , just after her 17th birthday. Following her graduation from UCD with an honors B.Mus. degree, she worked for some years as a secondary school teacher before being appointed as a lecturer at the DIT Conservatory of Music and Drama. She was awarded a 1st class MA in Performance and Musicology from NUI Maynooth in 1991. Her many duties at the Conservatory include playing for both undergraduate and postgraduate recitals, examinations, feiseanna, and opera productions. She also works regularly with professional groups such as Opera Ireland and the RTE performing groups, as well as privately coaching some of Ireland’s leading vocalists.
Mary is honored to be associated with Our Lady’s Choral Society since 1993. She marks her second time as a BCI accompanist in Maynooth.