1
TABLE OF CONTENTS
FULL COMPANY OF ERI YAMAMOTO’S“GOSHU ONDO SUITE”
3......Mission | Values | Strategy | Programs 4......President’s Note 6......Artistic Director’s Note 7......Season 11: Our Mission in Action 10......Education Report 12......Feature: Composer-in-Residence Dale Trumbore 14......Treasurer’s Report 16......Donors 18......Staff | Board | Volunteers
2
MISSION | VALUES | STRATEGY
The Mission of Choral Chameleon is to reinvent the art of choral music from every perspective. OUR VALUES • Innovation: We fearlessly explore and bring new possibilities in choral music to our members and audi-ences • Excellence: We pursue the highest standards in preparation, performance, and repertoire • Collaboration: We foster and celebrate diverse partnerships with composers, conductors, and organiza-tions to expand our reach in the community we serve • Enrichment: We strive to touch the lives of our audiences, while preserving fun and gratifying experiences for our performers • Education: We are committed to providing mentorship and practicing the care of the musician as whole person OUR STRATEGIC IMPERATIVES • • • •
Commission new work every season Bring audiences a dynamic blend of musical genres and art forms Nurture artistic growth of all singers, conductors and composers Encourage fun, openness and joy in the process of learning and performing
OUR PROGRAMS • An annual season of performances by our professional Ensemble • An annual season of rehearsals and performances by our semi-professional Chorus • Educational programs including an annual Summer Institute for composers and conductors, and periodical Ear Training Workshops
3
PRESIDENT’S NOTE Michael Squitieri President of the Board As we enter Choral Chameleon’s next decade, our 11th season provided an opportunity for us to reflect on our standing in the choral world and how we could best lay the groundwork for the next ten years. Our supporters have been familiar with our adventurous programming and an anything-can-happen concert experience, while our collaborators have embraced our welcoming, collaborative space for artistic risk-taking. This season reaffirmed our reputation for both our supporters and collaborators, while expanding our reach and presence in the press and choral community at large. We were honored this Season to welcome LA-based, in-demand composer Dale Trumbore as our Composer-in-Residence, whose work has been performed by choirs of all kinds, including by high-profile groups like the Los Angeles Master Chorale. She was drawn to our adventurous programming and our ability to create a positive space for collaboration and expression. We are excited to welcome her into the Choral Chameleon family! One of the most joyful programs of our season, and perhaps in recent years, was Goshu Ondo Suite, a stunning evening length work for jazz trio and choir in collaboration with the Eri Yamamoto Trio. While Eri was researching potential choirs to collaborate with on this project, Choral Chameleon quickly bubbled to the top of her list. She felt confident in our ability to be enthusiastic collaborators in her piece, from singing off-book in Japanese, to wearing traditional haori, and teaching our audience the Obon dance. We would be unable to maintain, let alone expand, our reputation as a choral laboratory without robust fundraising. We expanded on our crowdfunding initiative by migrating to a zero cost platform with Facebook donations and successfully took part in their Giving Tuesday matching program. During our annual strategic planning session, we met with a professional development expert, and expanded our analysis of our donors, attendees, and supporters to strategize on a direct ask initiative. Our continued investments in grant writing resulted in our first award from the New York State Council on the Arts, highlighting our expanding credibility in the arts marketplace. Our reputation for adventurous programming has welcomed new collaborators, supporters, and music lovers. But how do we expand our audience in this new decade, especially ones that are not located in the Tri-State area? This season brought our first investments in recording projects, with both the Goshu Ondo and Deus Ex Machina programs recorded for future commercial release. This will make sure that even more people will have access to the joyful, innovative work that we do, regardless of where they may be located.
4
As this is my first year as President of the Board of Directors, I would like to give special thanks to Nicole Belmont for laying a strong foundation for this role over 4 years, and whom I have leaned on for support countless times. I would also like to thank Eddie Maddalena, a longtime volunteer, who stepped into the role of Treasurer. With his experience as an accountant, I know we are in good hands! Season 11 exemplified the steady progress we have made as an organization to expand into a larger national and international presence in the choral music world. All of the work and progress would be impossible without the support of all of our musicians, concert goers, donors, board members, and volunteers who I thank wholeheartedly.
THE AUDIENCE PARTICIPATION DANCE AT THE END OF ERI YAMAMOTO’S“GOSHU ONDO SUITE” 5
ARTISTIC DIRECTOR’S NOTE Vince Peterson Founder and Artistic Director The 2018-2019 Season brought much joy and artistic richness to the Choral Chameleon family. I am particularly grateful this year to have worked with several extremely gifted artists in bringing their new pieces to life. There are two artist highlights, in particular, who I’d like to mention here. The first is our Composer-In-Residence for this year, Dale Trumbore. The Composer-in-Residence program was a more substantial endeavor than have we have taken on before. We devoted much of the season to larger works. Still, the two shorter pieces that Dale wrote for us were all the more critical because they balanced out programs dominated by evening-length works. As far as Dale’s work is concerned, she gave us two completely different pieces, both of which were wonderful. Her piece for the Chorus, “What Are We Becoming,” was an arrestingly vulnerable snapshot of human civilization at this moment in history. For me, it was a panoramic, universal viewpoint on the human condition in relationship to adversity, war and corruption. It did precisely what I always want a piece of music that substantial to do for CC: it spoke to people on a personal level while also providing an experienced level of harmonic and melodic richness and integrity. It spoke to the singers on a scale far more profound than we had even anticipated. This catharsis beautifully reflected in their singing. The fact that she achieved this effect with such poise and humility was essential to us. For the Ensemble, she composed “Footnotes to A History of Music.” This through-composed, yet cohesive single-movement work was a vivid and whimsical narrative reflective of its text, written by Kristina Marie Darling. It annotates an encyclopedia entry defining music to invoke the sense of the uttered words and images coming to life and flying off the page. In all our years of premiering new choral works, we’ve rarely, if ever, seen works this charming or whimsical. The Ensemble enjoyed singing this work, and the audiences were captivated by it. In the fall, we collaborated with Eri Yamamoto, who is a New York institution of a jazz pianist. She wrote a new work called “Goshu Ondo Suite,” which means to recreate the experience of singing and dancing in the Japanese Obon summer festival each year, an experience she recalls from her childhood. This work married the contours of traditional Japanese melodic lines with the quartal, metropolitan harmonies that are trademarks of her unique style in jazz. If it can’t be considered a quintessential musical example of the great American melting pot, I don’t know what can. Because the piece touched on so many distinct, yet independently recognizable traits, it felt familiar and comfortable by turns, then adventurous and educational by others. The soul of the singer could be felt in the work as it was conceived, first and foremost, through singing. It was one of Choral Chameleon’s most significant projects to date,
6
PRODUCTION STILL ERI YAMAMOTO’S“GOSHU ONDO SUITE”
and we were proud to record it with her and her trio and release the recording in the internationally known jazz label, AumFidelity. The Chorus’ work on the spring concert project, “Deus Ex Machina” was stellar. Organist, Nathan Taylor brought his A-game to the project and continued with his technical prowess and stamina through the autumn of 2019 to record Dale’s work as well as the evening-length work, “Messiahs False and True” by Rex Isenberg. Choral Chameleon will be the first choir to release a recording of both works, and the release of the album will happen by the end of 2020. All in all, this season was vibrant and innovative. For me, it represented yet another pivotal moment for our musical community. I couldn’t be happier with the work of all these artists and our esteemed collaborators.
7
SEASON 11: OUR MISSION IN ACTION JULY Choral Chameleon announced fifth Composer-inResidence Dale Trumbore.
AUGUST
For the 2nd year in a row, Choral Chameleon ran an Ear Training Bootcamp for NYC choral singers, which ca-tered to multiple levels of experience. The course was taught by Vince Peterson and Steve Smith (co-founder of our Summer Institute) .
OCTOBER Chorus members joined the 1000-strong choral forces of the ‘Mile Long Opera’ by David Lang, which was premiered on The High Line Park, performing for 3 hours a night, for 7 nights. Choral Chameleon’s position in the journey was uniquely located out of sight, underneath a pedestrian walkway! Just one day after the end of Mile Long Opera, the Ensemble performed ‘Storytime’ at St Barts on Park Avenue on the Upper East Side, as the Season-opening artists for the ‘Great Music at St Barts’ concert series. “‘Storytime’ included our first commission from Dale Trumbore, and a commissioned arrangement of ‘The Gambler’ by the band Fun, from Summer Institute alumna Michelle Coladonato.
8
NOVEMBER One of our most joyful projects yet! The Chorus performed ‘Goshu Ondo Suite’, with Eri Yamamoto Trio, at the Studios of the Paul Taylor Company on the Lower East Side. The music was based on a song from the traditional Japanese festival of Bon Odori in Shiga Prefecture – so Choral Chameleon created a Festival-style evening, featuring sake and green tea in the lobby, and a party with the audience after the finale, where the final movement was reprised while everybody danced. These performances were recorded for commercial release in 2019 by Aum Fidelity label.
DECEMBER Singers on winter break. Choral Chameleon’s annual fundraising campaign, held mostly on Facebook, raised $16k!
JANUARY Preparation for Spring’s ‘Deus ex Machina’ concerts of secular music for choir and pipe organ began. The Ensemble performed parts of ‘Storytime’ & held workshops at Kings Elementary School in Flatbush, Brooklyn. FEBRUARY The Ensemble joyfully returned to the Unitarian Church in Westport, CT to perform ‘Storytime’.
9
APRIL The Chorus gave 2 outstanding performances of the ‘Deus Ex Machina’ program, at Union Theological Seminary on the Upper West Side, and at St Paul’s Carroll Street. The program highlights included our second commission from Composer-in-Residence Dale Trumbore, a 2019 edition of ‘Messiahs: False and True’ by former Composer-in-Residence Rex Isenberg, originally composed in 2014 for Cantori New York.
MAY With our Season’s original programming under our belt, the Chorus began rehearsals on the pieces they would be singing in June as the lab choir for the Choral Chameleon Summer Institute conductor. The Ensemble gathered in at Carriage House Studios, in Stamford CT to record four of the pieces from the ‘Storytime’ program.
JUNE The Lycée Français de New York, a bilingual school in Manhattan, once again extended their invitation to Choral Chameleon to perform in their June concert. This year, the Ensemble took up the mantle, performing parts of the ‘Storytime’ program. For the ninth time, Choral Chameleon held a Summer Institute for Composers and Conductors. The Ensemble provided the lab choir for the composers, and for the second time, the four student conductors were in the good hands of the Chorus. As we have come to expect, the Institute’s intensive format and high teacher-pupil ratio garnered terrific results from our 15 talented students.
10
EDUCATION REPORT
SUMMER INSTITUTE 2019 This may have been the most successful Institute yet. As always, many continuing collaborative relationships with artists were forged in that experience. One prime example of this year is composer, Derek Weagle, who expressed that he had a pivotal experience working with Choral Chameleon Ensemble and immediately joined the full Chorus in the fall with a palpable eagerness to get as deeply involved in our activities as possible. We continue to be successful in our use of the Chorus to train the conductors, maximizing podium time. It’s made a huge difference in the overall health of our organization to have the Chorus involved in the Institute. We’re looking forward to the opportunity to celebrate the Institute’s 10th Anniversary with a regular season concert comprised of many of the Institute’s “Greatest Hits” from the last ten years. It continues to be Vince’s goal to pur-sue a publishing endeavor in conjunction with the Institute, to provide as a service that honors the very best of the work written for us each year during this time. Although the process is unfolding very slowly, it’s important to note that the slow speed is mostly because we want to be as thoughtful, respectful, and mindful about it as possible, in order to set something up that will be in everyone’s best interests: CC, the publisher, and the composers. This year, we welcomed several international students again: two from Portugal and one from Canada, all of whom wrote exquisite new choral works and have also done their best to keep in touch with us. They were joined by several other new students from around the US as well as a host of alumni - some returning for the second or even third time.
11
The faculty was joined by special guests Dr. David Conte (Professor of Music and Composition Department Chair-person at San Francisco Conservatory of Music) and David Bloom (Music Director of Contemporaneous, one of the most prominent new music ensembles in NYC). Both gave dynamic and eventful masterclasses about their re-spective areas of composition and conducting. Conte also actively participated in all of the student readings, offering his feedback in real time to the composers as they experienced the Ensemble singing their works for the first time. Bloom joined Vince and Matt on the conducting faculty to coach aspiring and seasoned conductors during their developmental time in front of the full Chorus. In true Institute fashion, the character of these interactions was hallmarked by balanced and pleasant discourse on different techniques in conducting and rehearsing choruses. It is gradually becoming apparent that the Institute may need a new home soon. Although the acoustics and general vibe of the neighborhood and the space have been a perfect spot for us to cultivate new choral music, we have found it prudent to hold the free concert in a climate-controlled space going forward. Additionally, having climate-controlled spaces for the classes and lessons, as well as more properly equipped practice rooms would greatly improve the experience of the students. We have cast our eyes forward with this goal in mind.
SCHOOL OUTREACH The Ensemble was able to do some elementary school outreach this year as well, most notably at King’s Elementary School, an Uncommon School in Brownsville / Crown Heights, Brooklyn. We were fortunate to receive this invitation via alto, Emily Crowe, a member of the Ensemble. To our delight, we discovered that the format of the Pro Ensemble working with very young children works! Activities used included blindfolding the kids and having them walk toward different section members of the choir by voice part on indication. Other learning outcomes included high and low sound differentiation, style identification, and exposure to new repertoire including the whimsical and kid-friendly “Five Childhood Lyrics” by John Rutter and work by the Franco-Flemish early music composer, Josquin des Prez. Both the singers in the Ensemble and the children were delighted by the interaction and we hope to set up more structure in the future to provide this opportunity to more similar school communities. 12
FEATURE: COMPOSER-IN-RESIDENCE DALE TRUMBORE For the fifth time in our 11-year history, Choral Chameleon was able to provide a valuable season-long Residency for a composer, who would be given few constraints beyond those of the programming theme of the concert into which their commissions would be placed.
DALE TRUMBORE
It is our usual model to commission 3 works from a composer, but in the case of Dale, who manages to work full-time as a composer, our Residency offered her the opportunity to have space and time to write 2 relatively longer works, building on her highly successful ‘secular requiem’ ‘How to Go On’.
As we have found with the freedom historically offered to our CIRs, the two pieces she composed for Choral Cha-meleon couldn’t be more different in tone and temperament and we were thrilled that she was able to express her unmistakable compositional voice, and fluency in setting text by contemporary poets, in such contrasting ways. The two works premiered by Choral Chameleon were: ‘Footnotes to a History of Music’ Premiered at ‘Storytime’ at St Barts, Park Avenue, October 2018 With the brief from Vince to showcase the technical abilities of the Ensemble in a program of narrative pieces, Dale took us on a truly original and whimsical journey. Her bold choice was to pick a poem by Kristina Marie Darling which contains only imaginary footnotes from a main account the listener cannot read. Dale successfully painted a masterpiece of images for the mind’s eye: from canaries let loose into a concert hall, to scores of music rendered illegible by fire damage. ‘What Are We Becoming?’ Premiered at ‘Deus Ex Machina’, Union Theological Seminary and St Paul’s Carroll St, April 2019 This concert presented by the Chorus had a simple premise: to expand the possibilities of secular work for choir and organ. What quickly became apparent for both Dale and Vince, however, was that as much as one wishes to release the pipe organ from its church home, the instrument breathes, has a voice; one which calls to its listeners to a higher place. Dale chose to pair two poems by Abigail Welhouse and Lynn Ungar to create a diptych. The texts provoked big questions about man-made phenomena such as gun violence and global warming, which Dale set sparsely and patiently - forcing performers and audience to truly absorb the size of the issues, whilst simultaneously rendering the conclusion that the secular answer lies optimistically with the collective outcome of individuals’ responses.
13
TREASURER’S REPORT 2018-2019 FINANCIALS
Eddie Maddalena Treasurer of the Board
2018-2019 FINANCIALS Choral Chameleons 2019 fiscal year showed increases in revenues from ex to FY2018. Additionally, Choral Chameleon was a first time recipient of a g Choral Chameleons 2019 fiscal showed increases in in revenues Choral Chameleons 2019 fiscal yearyear showed increases revenues from ex Council of the Arts. In line with advances in programming, payments made from external performances compared towas FY2018. Additionally, Choral of to FY2018. Additionally, Choral Chameleon a first time recipient ag as compared to FY2018. Wetime arerecipient pleasedoftoa report a surplus this year, whic Chameleon was a first grant from New York State Council of the Arts. In line with advances in programming, payments made 2020 to Council cover start-of-season of the Arts. In line expenses. with advances in programming, payments as compared to FY2018. We are pleased to report a surplus this year, whic made to artistic personnel increased as compared to FY2018. We are 2020 to pleased cover start-of-season to report a surplusexpenses. this year, which will be carried over to FY 2020 to cover start-of-season expenses.
2019 Revenue
Category
Percentage 2019 Revenue
Total
36% Percentage
$38,479 Total
Tuition Fees for Donations Institute Tuition Fees for Performances Institute Grants Performances
20% 36%
$20,923 $38,479
20% 19%
$20,923 $20,550
11% 19%
$11,840 $20,550
Ticket Grants Sales
10% 11%
$10,963 $11,840
Other Ticket Sales
3% 10%
$3,508 $10,963
Total Other
100% 3%
$106,263 $3,508
Total
100%
$106,263
Donations Category
2019 Expenses Category
Percentage 2019 Expenses Artistic Personnel 55% Category Percentage
$53,500 Total
Operational Expenses Artistic Personnel
18% 55%
$17,176 $53,500
Institute Faculty Operational Expenses
8% 18%
$8,150 $17,176
Space Rental Institute Faculty
6% 8%
$5,475 $8,150
Concert Operations Space Rental
4% 6%
$4,221 $5,475
Marketing Concert Operations
3% 4%
$3,355 $4,221
Other Marketing
5% 3%
$4,688 $3,355
Total Other
100% 5%
$96,565 $4,688
TotalOperating Income Net
100%
$96,565 $9,698
Net Operating Income
Total
$9,698 14
2018-2019 FINANCIALS Choral Chameleons 2019 fiscal year showed increases in revenues from external performances compared OPERATING REVENUE to FY2018. Additionally, Choral Chameleon was a first time recipient of a grant from New York State Council of the Arts. In line with advances in programming, payments made to artistic personnel increased as compared to FY2018. We are pleased to report a surplus this year, which will be carried over to FY 2020 to cover start-of-season expenses.
2019 Revenue Category
Percentage
Total
Donations
36%
$38,479
Tuition Fees for Institute Performances
20%
$20,923
19%
$20,550
11%
$11,840
10%
$10,963
3%
$3,508
100%
$106,263
Grants Ticket Sales Other Total
OPERATING EXPENSES
2019 Expenses Category
Percentage
Total
Artistic Personnel
55%
$53,500
Operational Expenses
18%
$17,176
Institute Faculty
8%
$8,150
Space Rental
6%
$5,475
Concert Operations
4%
$4,221
Marketing
3%
$3,355
Other Total
5%
$4,688
100%
$96,565
Net Operating Income
$9,698
STATEMENTS OF FINANCIAL POSITION
STATEMENTS OF FINANCIAL POSITION Assets
Liabilities
Cash
$24,948
Ac c ount s Pa y a bl e
$26,175
Ac c ount s Re c e i v a bl e
$8,888
Cr edi t Car d Payabl e
$8,414
Tot a l As s e t s
$33, 836
Total Li abi l i ti es
$34, 589
15
DONORS WE GRATEFULLY ACKNOWLEDGE THE GENEROSITY AND SUPPORT OF EVERYONE WHO DONATED MONEY AND TIME TO US THIS YEAR. $1000+ Nicole Belmont David Dabbon David Murray Brian Rosen Michael Squitieri Kathryn Squitieri Facebook Anonymous (2) $500 - $999 Peter Belmont David S. Delauro Vince Peterson John Prince NCM $200-$499 Cara Caponi Bob Evans Joseph Gilbride Barbara Gilbride West Glory Westley Holiday Winnie Lee Donna Lee Eddie Maddalena Cathy Solomon Fran Squitieri James Taylor Stefanie Teitelbaum Stephanie Tuck Joanne Tuck Nanci Tuck $100-$199 Chris Aldinger Richard Berg Deborah Bishop Joan Bredthauer Scott Brown Jim Brown Michelle Coladonato
Emily Crowe Audrey Elias Abner Greene Janet Griffin Heather Hart Mike Jones David Katz Chris Kostelc Jim Kostelc Robert Loforese Tania Lopinto Parisa Mahdad Chris Patterson Jacqueline Perez Lynn Peterson Michaella Saffer Tracy Shupp Stacey Spevak Nathan Taylor Edward Thompson Nicholas Weininger Jessica Wong $10-$99 Chris Aldinger Richard Berg Deborah Bishop Joan Bredthauer Scott Brown Jim Brown Michelle Coladonato Emily Crowe Audrey Elias Abner Greene Janet Griffin Heather Hart Mike Jones David Katz Chris Kostelc Jim Kostelc Robert Loforese Tania Lopinto Parisa Mahdad
16
Chris Patterson Jacqueline Perez Lynn Peterson Michaella Saffer Tracy Shupp Stacey Spevak Nathan Taylor Edward Thompson Nicholas Weininger Jessica Wong Gergel Lee Amanda Aldinger Michaelangelo Allocca Paul And Constance Beliveau Joe Bellino Bruce Bergquist David Bloom Christopher Bobbins Christi Botello Janelle Boyd Emma Bredthauer Matthew Brown Agnes Buchanan Chris Canahui Alex Canovas Allison Carroll Michael & Diane Cassidy Ted Cherney Rita Coladonato Gus Constantellis David Conte Casey Cook Robbie Cowan, Becca Crivello Nicholas Croce Pritesh Damani Craig Goodwin-Ortiz De Leรณn Hope Defrenes Kate Delaney Laurel Delaney Christine Delcarlo Steven Diamant Jeanne Digennaro Mark Endozo
Michael Fairbairn Mia Farinelli Shelly Fawson Sarah Fels Matt Fernandez Jared Field Matthew Finkel Nicole Florine Constanza Fox Gary Friedman Ann Gallagher Doug Geers Joe Giglio Kathleen Gilbride Magnus Gilljam Kimberly Glassman Assaf Gleizner Kelly Golding Paul Golding Erica Goldman Samuel Grace Jared Graveley Frenchiee Haney Jennifer Harmer Jessica Harris Ann Harris-Jacobs Johanna Hirota Ashley Michel Hoban Chad Jones Mona Kennedy Ilya Khodosh Dee Kittany Julia Knerr Francois Lajeunesse Richard Lamura Bebe Landis Jessica Landrio Ronald Languedoc Amy Lawday Bryan Lin Lancy Low Robert Low Cara Lyn Lisa Marie Joe Mcmurray Darci Mcnally Janice Melara Tegan Miller Shauna Miller
Denyse Montegut David Moon Clay Morris Dan Murphy Susan Ng Jessica O’Brien Olivia O’Connor Matthew Oltman Roxanna Panufnik Gina Parnaby Suzanne Patterson Anna Penchuk Amy Pompliano Emily Putnam Paul Rabuffo Molly Rabuffo Erin Rittweger Deborah Robbins James Rodrigue Gerald Rosen Ian Scheffler Shelly-Ann Scott Benjamin Shaw Amanda Sidebottom Karen Siegel Boreta Singleton Brooke Slemmer Christina Squitieri Jody Stein Parade Stone Krishna Stone Ephraim Swanson-Dusenbury Nancy Tepper William Tisherman Dale Trumbore Rob Tuck Elena Tulloch Leah Vanhorn Alyssa Venora Matt Vieira Bonnie Wesley Christine Whelan Kas Wong Shawne Workman Meg Zervoulis Daniel Zlatkin Charles Zotique
17
Governmental Donors New York City Department of Cultural Affairs, Cultural Development Fund New York State Council on the Arts, Music Program Institutional Donors Anonymous Facebook Amazon Smile In-Kind Non-Profit Support Programs Brooklyn Brewery Google Slack In-Kind Donation of Professional Services Nicole Belmont, Marketing Kelly Baxter-Golding, Graphic Design
STAFF, BOARD, AND VOLUNTEERS 2017-2018 BOARD OF DIRECTORS
Vince Peterson Founder and Artistic Director Michael Squitieri President Eddie Maddalena Treasurer Kathryn Squitieri Secretary Nathan Taylor Vice President Nicole Belmont Member (President 2014-2018) David Dabbon Member Brian Rosen Member Stephanie Tuck Member Joseph Bellino Ensemble Singer Representative (ex officio) to February Matthew Finkel Ensemble Singer Representative (ex officio) from February Tegan Miller Chorus Singer Representative (ex officio) ARTISTIC ADVISORY BOARD
Vance George Symphony Chorus Director Emeritus, San Francisco Symphony Matthew Oltman Music Director Emeritus, Chanticleer Bruce MacIntyre Musicologist; Director, Brooklyn College Conservatory of Music Emily Keeler Artistic Director, San Francisco Arts Education Project Mark Shapiro Artistic Director, Cantori New York; Conductor, Cecilia Chorus of New York Stephen Goldstine Photographer; Consultant David Conte Composer; San Francisco Conservatory of Music Conrad Susa Composer; San Francisco Conservatory of Music (In Memoriam)
PAID STAFF
Artistic Director Marketing Assistant Grant Writing Production Manager Videography
Vince Peterson Ariel Estrada Ariel Estrada Mackenzie Meeks Jacob McCoy
18
VOLUNTEER STAFF
Executive Direction Nicole Belmont Operations Michael Squitieri Chorus Manager Tegan Miller Bookkeeping Eddie Maddalena Marketing & Content Nicole Belmont Grants Nicole Belmont, Michael Squitieri Database Kathryn Squitieri Printed Programs Tegan Miller, Kelly Baxter Golding, Michael Squitieri Front of House Eddie Maddalena Catering Squitieri Family
IN-KIND DONATION OF PROFESSIONAL SERVICES
Eddie Maddalena, Accounting Kelly Baxter-Golding, Graphic Design Nicole Belmont, Marketing
MEMBERSHIPS
New York Choral Consortium Chorus America
19
20
