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excellence june 24 — august 5, 2012

of Wyoming Seminary

i n s t r u m e n ta l & v o c a l p e r f o r m a n c e / j a z z / m u s i c a l t h e at e r / da n c e

The Performing Arts Institute is a wonderful opportunity for young people to experience the beauty of Art and the joy of performing.

This is, indeed, a very special place. Charles Treger World-Acclaimed Violinist

© Mike Burnside


ummer is the season when serious students of music, dance and theater are free to immerse themselves in the arts; to learn and to grow, to practice and rehearse, to observe and participate. It is a time, as well, for these students to bond with peers and professionals who share their passion and support their goals – people who “speak the same language” on every level. Because attending a summer arts program can be such a life-changing experience, it is important to select the right program. We encourage students who are searching for a quality summer arts program to factor in four key elements to the decision-making process: • The caliber of the faculty and guest artists • The number of daily contact hours with the faculty • The performance standards of the ensembles in which the student will perform • The quality of program offerings At the Performing Arts Institute, we have developed the kind of program in which students can nurture their talents and grow as human beings. The following pages describe the content of PAI’s program: its high-caliber teachers, its dedication to in-depth study and its commitment to students. We are a community, each member supportive and inspired by the other. I invite you to meet our community and examine our program. Our CD, along with the sound samples on the PAI Web site, will allow you to hear the high quality of our ensembles. We are proud of PAI’s performance standards and unabashedly invite comparison with other summer programs. We hope that this brochure successfully communicates the remarkable spirit of the Performing Arts Institute. Please join us for our 2012 season!

Nancy Sanderson Director, Performing Arts Institute of Wyoming Seminary Phone: (570) 270-2186 E-mail:


© Peter Johnson

T h e P e r f ormi n g Ar t s I n s t i t u t e i s . . . A vibrant community of talented people who thrive in a rich cultural atmosphere … Students come to study with mentors who inspire them, to perform the best of the literature and to associate with new and old friends who understand “what makes them tick.” Our international faculty members and conductors come to collaborate with students who are refining their skills for a lifetime in the arts. Dedicated teachers and consummate professionals, they enjoy working with young musicians, actors and dancers in an atmosphere of mutual respect. Counselors come to share their knowledge and talents, to perform alongside students and faculty, to contribute fresh ideas from their studies at universities and conservatories around the world and to provide supervision for the residential community.

A rigorous program for dedicated students ages 12–18 who know that performing side-by-side with professionals will raise their technical and artistic talents exponentially … Students seeking to master their craft for career or avocation will find that intensive


rehearsal, practice and class time are devoted to in-depth development of technical and expressive abilities. Students work closely with an international faculty, gaining exposure to their individual vision and style while performing major works of the repertoire. As a pre-professional program, the Institute prepares students for conservatory auditions by providing academic training and performance experience at the highest level. PAI students who do not wish to pursue a career in the arts enjoy the association with those who do and welcome the challenge and stimulation of a demanding program.

A campus alive with the arts ... Imagine dance productions with live music, major symphonic repertoire at every orchestra concert, wind and jazz ensembles that perform university and professionallevel music, choirs handling the masterworks of the repertoire and a full-length, fullymounted musical theater production. Rarely do young performers have continuous exposure to such significant works and the opportunity to perform them at such a high performance standard.

It wasn’t until performing “Pictures at an Exhibition” at PAI that I knew I wanted to become a professional trombonist. Artie was not only a fantastic teacher, but an amazing human being who played an important role in my path to where I am today. Performing next to him during the concert that night was when I realized how much I loved playing in the orchestra – since then I have not looked back. Currently I am a trombonist in the Civic Orchestra of Chicago and I am a substitute trombonist with the Chicago Symphony. Jason Stein, PAI 2001 B.M. Boston University M.M. Northwestern University

To apply or audition, visit

My daughter Costanza spent six

How a r e w e di f f e r e n t ?

unforgettable weeks on the PAI campus. Her only regret was that she had to return to Italy! As a parent, I am convinced

PAI students perform every week … We present more than 35 public performances in the 42-day season. This exhilarating schedule raises performance levels, reinforces knowledge of the repertoire and attracts packed houses every week. It also trains young performers to become confident – to reach for improvement rather than strive to outperform others. That training comes from repeated stage experience, with immediate feedback from a caring community of peers and faculty.

Students receive individualized attention ...

Masterclasses and performances by nationallyknown guest artists … Guest artists and masterclasses add an exciting dimension to our program. In years past, PAI has hosted world-renowned artists such as Charles Tregor, violinist; Brad Garner, flutist; Umberto Lucarelli, oboist; the Shanghai String Quartet; David Canary, television actor; and Austin Pendleton, screen star. The 2011 roster of guest artists included Broadway star T. Doyle Everett, Carrie Ellmore-Tallitsch of the Martha Graham Dance Company, the Army Federal Brass Band, Armenian classical guitarist Gohar Vardanyan and the South African harp and violin duo, Clockworks.

that this experience has been a unique opportunity for her to grow, expand her horizons, make great new friends, have fun and work hard at the same time and perform with musicians from all over the world. Making music together with those who share the same passion made her a better musician: as a father I am very proud of it. Attorney Claudio Cocuzza Milano, Italia

PAI requires every student to audition for acceptance so ensemble needs, class size, teacher/student ratio and performance opportunities are not compromised.

We foster a warm environment … Easy interchange among students and staff encourages supportive relationships. Wyoming Seminary’s beautiful campus and international community combine with the mixture of music, theater and dance for stimulating conversations, wonderful artistic experiences and lasting friendships.

Army Federal Brass Band

Students and teachers work and perform side-by-side throughout the day ... Side-by-side programs in which students rehearse and perform with professionals are not exclusive to PAI. Many symphony orchestras sponsor side-by-side mentoring programs that have successfully motivated students to become better musicians. Correspondingly, students at PAI benefit from rehearsing and performing in ensembles with their teachers. In total, they have over five contact hours per day with their teachers in rehearsals, masterclasses, private lessons and chamber music sessions. The unusually large amount of time students have with highcaliber professionals is what makes the sideby-side experience at PAI so meaningful.

Armenian Classical Guitarist, Gohar Vardanyan


Tony Award Nominee, Forrest McClendon


The Health and Wellness of PAI Performers We are committed to teaching students how to maintain healthy performance practices. With increased body and health awareness, PAI students have the potential of increasing their performance standard, vitality and creativity. Topics of instruction in the voice, instrumental and dance studios include basic anatomy, posture, breathing, vocal health, diet, stretching, stress, yoga, Pilates and common injuries. Experts in the Taubman and Feldenkrais Approaches will present masterclasses this coming season. In addition, Dr. Cari Tellis will provide PAI vocalists with comprehensive voice evaluations – including acoustic and aerodynamic and videostoboscopic testing – an invaluable baseline measure of vocal function.

A structured daily schedule: At the Performing Arts Institute of Wyoming Seminary, a structured daily schedule allows time for students to accomplish their goals, whether preparing for a career in music or for a lifetime of artistic enjoyment. No two students take the same combination of classes and rehearsals. Instead, they are guided in scheduling a mixture of core requirements (available at various ability levels) and sessions that support a student’s specific goals.

At the core of every musician’s PAI experience: Masterclasses: For one hour each day, students gather for masterclasses, where faculty members coach soloists and chamber ensembles or address topics that are specific to their instruments. Discussions such as proper breathing, recital repertoire, comparative recordings, sectional playing and baroque ornamentation inspire musical maturity.

For more information about residential life or the application process, visit


Theory Classes: Daily theory classes give students the opportunity to analyze music by means of traditional academic theory, which they can then apply in rehearsal. Students place into one of three levels of traditional theory. In addition, an advanced-topics class is offered to students who have completed all three levels. The class changes yearly, enabling returning students to take new music theory offerings each season.

( ... part of a letter to the editor of two NEPA newspapers: )

Institute Chorus: In the middle of each day, students and counselors break from their individual schedules and come together for Institute Chorus. They practice sight-singing, learn a varied choral repertoire and – equally important – meet as a unified group.

teachers from across the country.

Practice: Essential practice time is built into every student’s schedule. Whether preparing for ensembles, private lessons, or solo performances, students will have time every day for individual practice. Private Lessons: Although students are required to take only one private lesson per week, teachers are available for additional lessons. Instruction is offered on all instruments, as well as voice. Payment for each lesson is an additional fee, paid directly to the teacher by the student.

Performing Organizations Every major performing organization at PAI enjoys the opportunity to work with outstanding international guest conductors; each group will have from three to five different conductors over the six-week period. This variety provides ensemble members with exposure to diverse musical styles as our conductors bring their own experience, training, interpretation and nation’s musical traditions to the podium.

To apply or audition, visit

Quey Percussion Ensemble

This past Saturday I had the distinct pleasure of attending a performance presented by the Performing Arts Institute of Wyoming Seminary. And I was not alone: St. Stephen’s Church was so full of music lovers, it was difficult to find a seat. It is evidently no longer a secret that PAI is a phenomenal summer program for high school musicians that draws talented students and gifted Saturday’s performance was remarkable for both the passion and precision that the conductors were able to inspire in their young performers. Dr. Steven Thomas Director of Choral Activities Wilkes University


At PAI, every student is given personal attention and loads of performance opportunities. I enjoyed playing under the distinguished conductors each


week and being surrounded in rehearsals by the extremely

Repertoire performed at PAI is typically at the collegiate level. For a complete listing of each ensemble’s repertoire from 2002 – 2011, please visit

Instrumental Track: The Symphony Orchestra is comprised of teachers, counselors and students who rehearse for one and a half hours each day on repertoire at the professional level. Qualified wind and brass players rotate in their sections according to the repertoire’s orchestration and the degree of difficulty. The Chamber Orchestra for strings rehearses one hour each day, leading up to Saturday evening performances. The Wind Ensemble performs every week in the Buckingham Performing Arts Center. Rehearsing the best of the traditional and modern wind ensemble repertoire, the group meets daily for one and a half hours. Chamber Music (string, woodwind, brass or mixed) is a staple of daily life at PAI as each student is assigned to a chamber ensemble and coached by a member of the PAI faculty. They rehearse daily for an hour and perform for masterclasses as well as in public concerts. As students are exposed to the chamber music repertoire, they develop ensemble and leadership skills and move toward musical independence.

Vocal Track: Beyond the core classes and the choruses, vocal track students may move in two directions: they may follow the traditional solo and ensemble repertoire into vocal masterclasses, opera, music history and keyboard skills, or they may participate in musical theater, described in detail on page 11.

The Institute Chorus is the organization that brings PAI together. All students and counselors rehearse daily for one hour and perform each Saturday evening. Repertoire for Institute Chorus represents a broad range of genres. Frequently, it performs larger works with orchestral accompaniment. Masterworks Chorale, PAI’s select vocal ensemble, rehearses for one-and-a-half hours each day. In these intense sessions, the objective is to refine vocal ensemble skills, improve sight-reading and gain familiarity with a wide variety of musical styles and composers.

Piano Track: The program for pianists includes chamber and solo performance, as well as theory, music history, masterclasses, private study and practice. Pianists participate in Institute Chorus and may also participate in Masterworks Chorale and Jazz Band.

Jazz Track: Students who audition successfully into the jazz track work closely with faculty in daily combo rehearsals, classes (improvisation, jazz piano, jazz theory, jazz masterclass and jazz history) and Jazz Band. Students are exposed to a variety of jazz genres and performance traditions, rapidly improving their abilities as they perform side-by-side with PAI’s outstanding professional faculty. Rotating Jazz Band directors and guest artists also significantly shape the attitudes of aspiring jazz musicians in masterclasses, student jam sessions and free-improvisation gatherings. The Jazz Band rehearses daily for 75 minutes and performs every week on the stage of the Buckingham Performing Arts Center.

Listen to PAI performances and learn about the application process at

qualified faulty and staff members. The large amount of outstanding repertoire that the ensembles moved through was unbelievable. PAI rivals many other institutions of its kind in the country. Thank you for giving me this memorable and valuable experience. Clara Conrad Interlochen Arts Academy Class of 2006

How surprising it was to discover this concert and become aware of the remarkable Performing Arts Institute that Wyoming Seminary is supporting. Really tops. Heart warming. Michael Barone Host & Senior Executive Producer of NPR’s national weekly radio program, “Pipedreams”

June 24 – August 5 June 24 – July 15 — or — July 16 – August 5

3-Week, Day $1,125 6-Week, Day $2,225 3-Week, Boarding $2,950 6-Week, Boarding $5,600


A Funny Thing Happened on the Way to the Forum 2011 Two Gentlemen of Verona 2010

A Funny Thing Happened on the Way to the Forum 2011

Two Gentlemen of Verona 2010

musical theater

Oliver! 2007

Fiddler on the Roof 2008

Gypsy 2009

All photos Š Edwin Davis

Musical Theater The goals of PAI’s Musical Theater Program are to develop each student’s full potential and talent, cultivate joy in the process and stimulate creativity beyond any preconceived limitations. Individual growth leads to the success of a production and thus, it is our highest priority. Four elements distinguish PAI’s Musical Theater Program: Professional Environment The venue for this season’s musical production will be the 2,000-seat F.M. Kirby Center for the Performing Arts, Northeastern Pa.’s most prestigious professional theater. Students will work with experienced union stagehands and a professional pit orchestra in the newly renovated Art Deco Broadway roadhouse. In addition, each season students will have the opportunity to work in the musical theater production with a professional who is highly successful in the field. Veteran Broadway actor T. Doyle Leverett joined PAI in 2011 to play the role of Senex in our production of A Funny Thing Happened on the Way to the Forum. His talent, training and years of experience were an invaluable source of inspiration and education. A Solid Foundation All musical theater students must develop their vocal skills in Institute Chorus and Basic Musicianship class, both of which are designed to strengthen proper vocal production and technique. Because sightsinging skills are essential to the musical theater profession, they are emphasized in ensembles and classes. Students also attend extensive theater-arts masterclasses.

Even though I expected the

Broadway actress and choreographer Ellie Mooney presented masterclasses focusing on Cabaret singing and movement, physical comedy and audition techniques. Tony Award Nominee Forrest McClendon also gave workshops in movement, character development and acting-whilesinging. McClendon recently made his Broadway debut as Mr. Tambo in the new Kander-Ebb musical “The Scottsboro Boys” at NYC’s Lyceum Theater. Leadership William Roudebush, director of PAI’s Musical Theater Program, brings 40 years of teaching and directing experience to PAI where he collaborates with his students and professional staff.

talent level at PAI would be high, the performance standards took me totally by surprise. I enjoyed the intensity of working in depth with so many other serious students. We all loved to see the amazement on people’s faces when they attended a concert and heard what we accomplished in just one week. PAI’s production of “Gypsy” really stunned people, too, because it was so professional. I’m in touch with many of the friends I made this summer and we still talk about the energy and excitement that was always present at PAI.

Commitment to Ensemble Casting limitations do not allow for all students to receive major roles in the PAI production. Great care is taken in selecting a specific show that provides each performer with important opportunities to contribute to the lifeblood of the ensemble. We believe that the power of the ensemble is the most effective framework for individual growth. Students not cast in leading or supporting roles will be featured performers in an exciting, fully-produced cabaret-style production. In previous seasons, PAI productions have included Cabaret, Les Miserables, Into the Woods, Dear World, The Mystery of Edwin Drood, Kiss Me Kate, West Side Story, The Threepenny Opera, Oliver!, Fiddler on the Roof, Gypsy, Two Gentlemen of Verona, and A Funny Thing Happened on the Way to the Forum.

Keland Sarno Las Vegas, Nev.

June 24 – August 5 6-Week, Day $2,225 6-Week, Boarding $5,600

Learn about residential life, listen to PAI performances and apply at



Thank you for allowing me to have one of the best dance experiences ever. Actually, it was one of the best times of


my entire life. Whether I was dancing at the Degnan studio

The PAI Dance Program is rigorous, encompassing classical ballet, modern dance, jazz and improvisation. The demanding four-week workshop is led by Timothy Early, founder and principal dancer of Opus 1 Contemporary Dance Company. Joining him are guest artists, who all come from diverse backgrounds and have extensive professional experience. The curriculum is both strenuous and rewarding, challenging dancers to refine technique and creativity. It culminates in a full-scale dance production featuring students, faculty and guest artists. Dancers are involved in all aspects of the production, including costume design, lighting and choreography. There is often live accompaniment by PAI musicians. Although the importance of strong ballet technique is stressed, the program also emphasizes diversity in dance training. Many students wish to explore other dance genres and engage in the creative process of choreography. PAI encourages such artistic diversity, knowing there are many non-traditional dance opportunities (modern, jazz and improvisation) available to both professional and amateur adult dancers.

Guest clinicians are invited to conduct masterclasses in specific aspects of dance. Notable guest artists of past seasons include Barbara Weisberger, founder of the Pennsylvania Ballet; Carrie Ellmore-Tallitsch, principal dancer with Martha Graham Dance Company; Elizabeth Hansen of the Joffrey Ballet; Jeanne Dillon and Sophia Castaldi, who danced both nationally and internationally with the Miami City Ballet; Lisa Sundstrum, former principal dancer with the Pennsylvania Ballet Company and American Ballet Theater; Lina Early, co-director of Opus 1 Contemporary Dance Company; Derrick Vanford, dancer with Koresh Dance Company and Trinette Singleton, former principal dancer with The Joffery Ballet.

with some amazing dancers (and hilarious, wonderful teachers) or in the lounge, sitting with my mix of PAI and ESL friends, I was enjoying myself. Kelsey Weiner, Syracuse, N.Y.

Watching the final dance performance of summer 2010, I was impressed by both the quality and quantity of work produced in four weeks by the dancers and faculty at PAI. The dances they performed were engaging, demanding and

Guest clinicians for the 2011 PAI Dance Season included Jessica Daley of the Koresh Dance Company, Brittany Ryan of Opus 1 Dance Company, Colette Tini (hip hop teacher), Jenelle Mrykalo (modern, ballet teacher) and Carrie Ellmore of the Martha Graham Dance Company.

challenged my students. All

PAI accepts dancers between the ages of 10 and 18.

along with the friendliness

four of my dance students, including my daughter, were inspired and motivated and came back to my program better dancers. The small numbers and personal attention, of all faculty and students in all programs made their PAI experience outstanding!

PAI is pleased to welcome

Opus 1 Dance Company in residence for the 2012 season! Classes in ballet, modern, jazz, hip hop and yoga will be taught by members of the Philadelphia-based dance company. Additional guest artists will also present workshops.

Learn about residential life, listen to PAI performances and apply at

Deborah Flemming Teacher/Director Taipei American School Dance

June 24 – July 22 4-Week, Day $1,575 4-Week, Boarding $4,075


2011 Faculty The majority of our faculty and conductors at the Performing Arts Institute have been working together each summer for a number of years. They continue their close association with each other for two reasons: their mutual respect for each other and a shared passion for teaching. Representing symphony orchestras and conservatories across the country, they have trained at the Juilliard School, The Curtis Institute of Music, Eastman School of Music, Yale and The Royal Academy of Music (England), to name a few. Resident Assistants also come to PAI from leading universities and conservatories, where they are pursuing careers in the arts. All of our teachers, conductors and counselors have undergone strict security clearances, including fingerprinting, child abuse and criminal background checks. Throughout the summer, teachers coach chamber groups, play side-by-side with students in large ensembles, teach masterclasses and perform in recitals. This extensive contact provides students with excellent professional role models. These talented teachers are not only valuable resources; they become lasting friends and mentors who help guide students’ careers. The following is a list of faculty from the summer of 2011, of which most will be returning in 2012. It is important that you and your private teacher review their credentials.

Special Guest Artist, T. Doyle Leverett

Daily Schedule


When selecting a schedule, students must include time each day for individual practice.

Wind Ensemble

Piano Ensembles

Brass, Wind Masterclass

Jazz Improvisation

Music History Jazz Workshop

Intro to Opera Theater Workshop Jazz Masterclass

Basic Musicianship for Theater Students Beginning Jazz Theory


Institute Chorus

1:00 – 1:55

Music Theory


Chamber Orchestra

11:30 – 12:15

String Masterclass

10:30 – 11:25

Masterworks Chorale

9:30 – 10:25

9:00 – 10:25

Beginnning Jazz Piano

9:00 – 9:30

8:40 – 9:00

Community Meeting

Piano Masterclass

Basic Conducting & Score Reading Vocal Jazz (Session I Only)

Vocal Masterclass Jazz History

Symphony Orchestra

Jazz Musician Practice Time

Chamber Ensembles Piano, Vocal, Brass, Winds Percussion, Strings, Guitar Jazz Combos

faculty) established the Quey Percussion Duo in 2003. One year later, they were semifinalists in the prestigious Universal Marimba Competition (Belgium), where they were the last American duo to remain in the competition. A percussion ensemble composer and arranger, he is endorsed by Sabian Cymbals, Innovative Percussion and HoneyRock publications. Tim Burns (piano) is an accomplished classical pianist with expertise in accompanying and sacred music. Having received his B.M. from Duquesne University and M.M. from The Eastman School of Music, he is a frequent recitalist, having performed across the Northeastern U.S. and Canada. Burns is currently pursuing his doctorate in collaborative piano at the Eastman School of Music. Dr. Lisa Burrell (violin) serves on the faculty of Lone Star College, teaches privately and is active in chamber music performance. Previously she served as a full-time violin/ viola professor at Sam Houston State University. She is currently studying to become a fully licensed practitioner in the Feldenkrais Method, and is an authorized Teacher of Awareness through Movement®. As a clinician and teacher, Burrell’s work centers on ear training/musicianship, coaching chamber music and providing technique classes with an emphasis on healthy playing/injury prevention. She has been invited to present at the Texas Orchestra Directors’ Association Convention, Texas Music Educators’ Association Conference, the American String Teachers Association Conference, the Mid-West Band and Orchestra Clinic in Chicago, as well as college master classes in the U.S., Central/South America and the Middle East. She is a graduate of the University of Virginia and Northern Illinois University. She received her doctorate in violin performance from the University of Houston. Jerome Campbell (wind ensemble conductor), a conductor of university wind ensembles as well as district, regional and all-state festivals throughout the Northeast, conducted the Wind Ensemble at PAI. A former university professor of music and department chair, he


Free Time

7:00 – 8:00

Beginning Piano

Tim Broscious (percussion) is currently serving as professor of western percussion at the National Conservatory in Amman, Jordan and Principal Percussion for the Amman Symphony Orchestra. Broscious holds degrees from The Hartt School of Music, University of Hartford (M.M. and G.P.D.) in percussion performance and from Samford University (B.A.) in music education. He is currently enrolled in the Doctoral Program (D.M.A.) at The Hartt School, where he is a member of Hartt’s Performance 20/20 honors chamber music program. He has studied percussion with Benjamin Toth, Dave Samuels, Tracy Wiggins, Alexander Lepak, Shane Shanahan, Joe Galeota, John Amira, Rogerio Bocatto and Grant Dalton. Broscious and Dr. Gene Koshinski (also on the PAI

4:00 – 5:00

Music Theater 3:15 – 6:15

3:15 – 4:40

Jazz Band 2:00 – 3:10

3:15 – 4:10

2:00 – 3:15

Rimma Bergeron-Langlois (violin) was recently appointed as the Orlando Philharmonic Orchestra concertmaster. Prior to the appointment, she served as associate concertmaster of

David Bixler (jazz band conductor) has performed and toured with the orchestras of Lionel Hampton, Toshiko Akiyoshi, Jazz at Lincoln Center’s Afro Latin Jazz Orchestra, Duke Ellington and Bobby Sanabria. Since 2000, Bixler has been a member of the Grammy-nominated Chico O’Farrill Afro-Cuban Jazz Orchestra, taking over the leadalto chair two years ago. The band has toured throughout Europe, North America and Central America, in addition to performing at Birdland in New York City each Sunday. He has released three albums: Lost In Queens (2000); Show Me The Justice (2003), which received national airplay and critical praise; and Call It A Good Deal (2006), released on the Zoho label featuring all original compositions by the performer. It has garnered critical acclaim, received three and a half stars in Down Beat and was an honorable mention selection in All About Jazz’s “best of 2006.” Since 2008, he has served as the Director of Jazz Studies at Bowling Green State University.

6:00 – 7:00

Virginia Allen (conductor) teaches at The Juilliard School, Teachers College, Columbia University, The Curtis Institute and the University of the Arts. She is also Artistic Director of the Conducting Workshop for Music Educators at Juilliard, where she previously served as Associate Dean for Administration, taught conducting, co-founded and conducted The Juilliard Trombone Choir, and served as Executive Director of the StarlingDeLay Symposium on Violin Studies. She has also served as Artistic Director of the Sun Valley Summer Music Workshops, where she founded and conducted the Sun Valley Youth Orchestra. Prior to her teaching career, Allen enjoyed a 20-year career in the U.S. Army Bands Program and achieved the rank of lieutenant colonel. She was the first woman to command an active duty military band when she was appointed Principal Conductor of The U.S. Army Band in Atlanta. She was also the first woman conductor of The U.S. Academy Band at West Point. She earned a B.M. and a M.M. degree in Performance from Catholic University and a Doctor of Education from Columbia University.

the Syracuse Symphony. In addition to her work at the Syracuse Symphony, BergeronLanglois was concertmaster of the Verbier Festival Orchestra of Verbier, Switzerland, under the direction of James Levine. She was also the associate concertmaster of the Louisiana Philharmonic, and has performed with the Detroit Symphony and the Toledo Symphony. She studied at the New England Conservatory of Music, where she received both her bachelor’s and master’s degrees in violin performance.

5:00 – 6:00

Elizabeth Aldridge (bassoon) received her B.M. degree from Northwestern University, where she studied with Robert Barris and received her M.M. degree from Rutger’s Mason Gross School of Music. There, she studied with Angela Anderson Smith of the Philadelphia Orchestra. Aldridge has participated in numerous summer festivals including the Texas Music Festival in Houston and the Symphonic Orchestra of Mineria in Mexico City. Formerly co-principal bassoon in the Symphonic Orchestra Carlos Chavez and active freelancer and chamber musician in Mexico City, she has performed with the National Symphony of Mexico, the Chamber Orchestra of Bellas Artes, Symphonic Orchestra of the State of Mexico and the Philharmonic of Mexico City. She is currently freelancing and teaching private lessons in Texas.


Concerts & Evening Activities

8:00 – 9:30

For information about our application, residential life & listening gallery »


2011 Faculty received the Citation of Excellence award from Pennsylvania Music Educator’s Association in 1990 and the Distinguished Service award in 1998. He is the founder and former conductor of the PAI/Wyoming Seminary Civic Symphony and is immediate Past President of PMEA, District 9.

Youming Chen (viola) has performed on many internationally-acclaimed stages, including Carnegie, Alice Tully, Royal Albert, Avery Fisher, Luncern, Konzerthaus-Berlin, De Montfort and National Taiwan Concert Hall. Winner of the Rutgers Symphony Orchestra concerto competition, he was also featured on WQXR on the “Young Artist Showcase” and televised on BBC with Sir Colin Davis. Chen has participated in Pacific Music Festival (Japan), Aspen Music Festival, Prussia Cove (England) and Music@ Menlo. Formerly a violist of the Gustave Rosseels Quartet, he was also a founding member of the Fader Piano Quartet, which received the prestigious Saunderson Award at the Coleman Chamber Ensemble Competition. He received his M.M. from the Juilliard School, B.M. from University of Michigan and is pursuing his D.M.A. at University of Missouri-Kansas City. Chen’s teachers include Paul Neubauer, Toby Appel, Hsin-Yun Huang, Yizhak Schotten, Victoria Chiang, Alan de Veritch and Ben Lin. His chamber coaches include members of Brentano, Chester, Cleveland, Concord, Emerson, Guaneri, Juilliard, Mendelssohn and Orion quartets. He serves as a chamber music faculty for Heartland Music Academy’s Stringendo and Chamber Music Festival. S. Todd Christopher (voice faculty), Music Director for PAI’s production of Cabaret, Kiss Me Kate, The Threepenny Opera, Oliver!, Fiddler on the Roof, Two Gentleman of Verona and A Funny Thing Happened on the Way to the Forum, received his B.M. from The Ohio State University in music education and his M.M. from Northern Arizona University in vocal performance. While at NAU, Todd served as a graduate assistant where he conducted the men’s chorale and opera orchestra. Currently, he holds the position of vocal music director of Wapakoneta High School (Ohio). Amanda Cook (flute) is currently pursuing a master’s degree in flute performance at Kent State University. There, she serves as the graduate flute assistant, principal flutist of the KSU Orchestra and principal flutist of the KSU Wind Ensemble. She graduated summa cum laude from George Mason University with a B.M. in Flute Performance. Cook has maintained private flute studios in Connecticut and Virginia and has served on the staff of the



Judith Lapple Summer Woodwind Camp. She has placed in several competitions including the MTNA Senior Woodwinds Competition, the Hampton Roads Flute Faire and the George Mason University Concerto Competition. She has performed with the American Festival Pops Orchestra as piccolo/3rd flute. She has also performed on masterclasses for Bonita Boyd and Gary Schocker. Her principal teachers include Judith Lapple and Diane McCloskey.

Scott Cranston (wind ensemble conductor) is director of bands at New Canaan High School (Conn.). His ensembles have earned top honors at competitions in Quebec City, Orlando and New Orleans, and have been invited to perform both at Avery Fisher Hall and Carnegie Hall. They also have performed with distinction at festivals in Paris and London. Cranston, along with three PAI alumni, formed the NCHS Woodwind Quintet in 2005. The quintet was named an AllConnecticut Honor Ensemble in 2006 as well as an MENC All-Eastern Honor Ensemble. Scott performs as principal trombonist with the New Haven Symphony Orchestra, Greater Bridgeport Symphony Orchestra, Waterbury Symphony Orchestra and in Broadway National Tours in Hartford and New Haven. He received his B.M. from the Hartt School of Music and his M.M. degree from Yale University. Elizabeth Duhr (mezzo) is a graduate of the Resident Artist Training Program with the TriCities Opera Company. She undertook the roles of The Mother in Menotti’s “Amahl and the Night Visitors,” Third Lady in Mozart’s “Die Zauberflöte,” Suzuki in Puccini’s “Madama Butterfly,” and Alisa in Donizetti’s “Lucia di Lammermoor.” Her portrayal of Mrs. Ott in the Cedar Rapids Opera production of Carlisle Floyd’s “Susannah,” was “...A masterpiece of detail, honesty and conviction.” Her other credits include Rossini’s “La Cenerentola” (Tisbe), Gilbert and Sullivan’s “The Mikado” (Katisha) and Britten’s “The Rape of Lucretia” (Bianca). Her numerous awards include Second Place and Honorable Mention awards at the City Opera of the Quad Cities’ Young Singer Competition, a finalist in the NATS Competition (Iowa), an Undergraduate Scholar in the University of Iowa’s Martha Ellen Tye Opera Theater, where she also won the Semper Fidelis Award, the Herald Stark Memorial Award in Opera and a full-term undergraduate scholarship. She has a B.M. in Vocal Performance from the University of Iowa and her M.M. in Opera from SUNY-Binghamton. Tim Early (head of the PAI Dance Program) serves as co-director of the Philadelphia-based modern dance company Opus 1 Contemporary. In addition to working with many independent

choreographers, he continues to perform with Philadelphia companies including Brandywine Ballet and Pennsylvania Academy of Ballet. Currently on staff at Temple University, he has served at Mount Holyoke College as a visiting artist and has choreographed for Lafayette College, Moravian College and West Chester University. He trained with master teacher Jonathan White in the Vaganova method, and is also trained in the techniques of Limon, Graham, Horton and Wigman. Carrie Ellmore-Tallitsch (Assistant Director of the PAI Dance Program) is from Hamilton, Va., where she began her early dance training. A cum laude graduate of the University of Cincinnati’s College Conservatory of Music, Carrie has danced with Dayton Contemporary Dance’s second company, Philadanco and Pascal Rioult Dance Theater, to name a few. Currently she is in her seventh season as principal dancer with the Martha Graham Dance Company. She conducts masterclasses and workshops at various dance schools throughout New Jersey. Stephen Fine (viola) is currently on faculty at the University of Florida’s School of Music. An avid chamber musician, he has performed throughout the United States, Canada, China, Finland, France, Italy and Switzerland. He studied under Karen Ritscher, Jodi Levita, Kathryn Murdock and Daniel Palmer. Dr. Zane Forshee (guitar) is a faculty member of the Peabody Conser vator y, Peabody Preparatory School, as well as the University of Maryland-Baltimore County. In 2009, he was named as a Fulbright Scholar to Spain. While there, he worked closely with Ignacio Rodes, professor of guitar at the Oscar Esplá Conservatorio in Alicante. Forshee chose to work with Professor Rodes due to his artistic relationship with renowned composer, Vicente Ascencio, as well as guitarist José Tomás, one of the most influential Spanish guitar pedagogues of the 20th century. Tomás studied under Regino Sainz de la Maza, Alirio Diaz and Andrés Segovia, the guitarists who commissioned, edited and premiered these works. He completed his D.M.A. from The Peabody Institute of Music Dr. Michelle Gott (harp) began her studies at the age of four under the tutelage of her mother, Caryn Wunderlich Gott. As a winner of the Juilliard Concerto Competition, Gott debuted in Alice Tully Hall in 2009. She appeared as soloist with ART Symphony Orchestra, the String

For information about our application, residential life & listening gallery » Orchestra of Brooklyn, Nevada Chamber Symphony and the Henry Mancini Institute. In 2006 she debuted in Carnegie Hall with the East Coast premiere of a concerto for harp and wind ensemble by Kevin Kaska. Gott regularly performs with the New Juilliard Ensemble AXIOM, and the New Yorkbased Sequitur Ensemble. She has performed at the Aspen Music Festival, the Henry Mancini Institute, the Bowdoin Music Festival and the Lucerne Festival Academy under the direction of Pierre Boulez. In 2005, she was a prizewinner of the American Harp Society National Competition and in 2007, she was awarded Juilliard’s Peter Mennin Prize for Outstanding Leadership and Achievement in the Arts. She holds her B.M., M.M. and D.M.A. from The Juilliard School under the tutelage of Nancy Allen. Allyss Haecker (soprano) is currently the Director of Vocal Studies at Newberry College (S.C.), where she teaches voice, vocal pedagogy, diction, world music and directs the Newberry College Singers. She formerly served as the Director of Vocal Studies at the National Music Conservatory in Amman, Jordan. Currently a doctoral candidate in Choral Conducting and Literature at University of Iowa, she received her B.M. in choral music education from Converse College and her M.M. in Choral Conducting from the University of Illinois. Her solo performances include Mozart’s “Requiem,” Handel’s “Israel in Egypt,” Britten’s “Rejoice in the Lamb,” Bach’s “Magnificat” and “St. Matthew Passion,” Haydn’s “Creation” and Mozart’s “Coronation Mass,” Charpentier’s “Te Deum” and Faure’s “Requiem.” Her operatic roles include the Witch in Humperdinck’s Hansel and Gretel and Poppea in Monteverdi’s L’incornacion di Poppea. Arthur Haecker (trombone) is currently professor of trombone at Converse College in S.C. Prior to his appointment at Converse, he was Principal Trombonist of the Amman Symphony Orchestra and the Amman National Conservatory’s low brass instructor. Before joining the ASO he enjoyed a successful performing career in the United States, performing with such groups as the Atlanta Pops Orchestra (ASO), The Illinois Opera and the Illinois Symphony. In addition, Haecker has participated in the Hot Springs Music Festival, the Brevard Music Center, and the Southern Illinois Music Festival. He has also shared the stage with artists such as Ray Charles, Arturo Sandoval, Patrick Sheridan, and Christine Brewer. He also performed on the Grammy Award winning recording of William Bolcom’s Songs for Innocence and Experience. An accomplished chamber musician, Haecker has been a member of many brass quintets and choirs, including

the Aurora Brass, the Converse Brass Quintet, the Arbor Brass, and the Old Capitol Brass. He formerly served on the faculties of Hillsdale College and Millikin University. Arthur received a B.M. from the Eastman School of Music, a M.M. from the University of Michigan, and is currently completing a D.M.A. from the University of Iowa. Dr. Mark Hardy (vocal conductor) is the director of vocal music at the Baltimore School for the Arts. Hardy holds a bachelor’s degree in composition from the University of Lowell and master’s and doctoral degrees in choral conducting from Indiana University. Since his arrival in Baltimore, Hardy has been the director of vocal music at the Baltimore School for the Arts, the chorus master of the Annapolis Opera, the director of the Johns Hopkins Choral Society, guest conductor with the Pennsylvania Arts Institute, and the founding music director of the Baltimore Masterworks Chorale. Under his direction, the Baltimore School for the Arts Chorus has appeared with the Baltimore Symphony, the Baltimore Opera and numerous television and radio appearances. He remains active as a composer with numerous local performances of his works by The Handel Choir of Baltimore, The Grace Church concert series, and the Baltimore Symphony Orchestra. Thomas Heinze (jazz band director) is professor of oboe and jazz band conductor at Marywood University. He holds a B.M.E and an M.M. in oboe performance from West Chester University and has served as principal oboist with the Allentown Band for 37 years. Formerly the principal oboist with the Allentown Symphony Orchestra, Heinze is active as a solo recitalist and chamber musician in the Mid-Atlantic area and performs with numerous ensembles in Northeastern Pa. He is musical director and saxophone soloist with the Big Band Ambassadors. He was a music specialist in the Palmerton, Pa. prior to his appointment at Marywood. Dr. Rick Holland (trumpet) is a veteran performer with musicians such as the Louie Bellson Big Band, Jimmy Dorsey, Hendrik Meurkens, Buddy De Franco, Natalie Cole and the Terry Gibbs Big Band. He has recorded seven albums as a leader and co-leader on national and international labels. His most recent release, Trilby, was reviewed by Jazz Insider: “Rick Holland and Evan Dobbins lead a modern big band for the ages. They respect the sound of jazz past and mix it with original and fresh perspective. This is some truly great work!” Holland has been teaching privately for over 25 years and is currently


Not only are the faculty and students at PAI great to work with, but it is one of the bestrun summer programs I have ever been a part of. It is always a pleasure for me to conduct at PAI. Sarah Hatsuko Hicks Assistant Conductor of the Minnesota Orchestra

As a parent of a young cellist, it was gratifying to hear him praise your program. PAI offered each student great personal attention and intense training in an environment conducive to hard work. Being exposed to true professionals and talented peers, along with the chance to play larger and more challenging works, helped the young musicians progress exponentially. More importantly, with the friendly and approachable counselors and diverse student backgrounds, PAI is a great place to make new friends. Ang Lee Film Director


2011 Faculty writing five volumes on Jazz Improvisation. He has maintained studios in Chicago, the Central and Western Michigan areas and Central New York. Holland received his doctoral degree in classical performance from Michigan State University. He is an active performer and clinician and has served on the music faculties of Western Michigan University and Kalamazoo College.

Paul Hostetter (orchestral conductor) is the Ethel Foley Distinguished Chair in Orchestral Conducting for the Schwob School of Music at Columbus State University, the Music Director of the Colonial Symphony, the Conductor and Artistic Advisor for the acclaimed Sequitur Ensemble and was formerly the Associate Conductor for the Broadway productions of Candide and The Gershwins’ Fascinating Rhythm. He has appeared as a guest conductor with the New Jersey Symphony Orchestra, the American Composers Orchestra, the New York City Opera, Philharmonia Virtuosi, the Delaware Symphony Orchestra, the Opera Theater of Pittsburgh, Peak Performances, the Genesis Opera Company, the Prism Chamber Orchestra, the New York Virtuosi, the Daylesford Sinfonia (Bermuda), the Family Opera Initiative and the Stony Brook Summer Music Festival Orchestra. Paul also has assisted James Levine with the Metropolitan Opera Chamber Ensemble and has premiered over eighty works by composers including Pulitzer Prize-winners David Del Tredici, Lewis Spratlan and Ned Rorem with groups including the Washington Square Contemporary Music Society, Ensemble 21, the San Francisco Contemporary Music Players, Music from China, The Society for New Music, the Glass Farm Ensemble, the Ensemble for New Music and Phillip Glass’s Music at the Anthology series. He conducted Elliot Carter’s Double Concerto at the Library of Congress and in 2009, he led Newband in the premiere of Dean Drummond’s opera Café Bufe. Paul has collaborated with jazz greats Jim Hall, Pat Metheny and Joe Lovano, with strings from the Orchestra of St. Lukes, which received a Downbeat Critics Award, as well as with Heidi Grant Murphy and members of the Aureole Ensemble and Metropolitan Opera. His recording, Where Crows Gather was listed by The New York Times chief critic Anthony Tommasini as one of the top five of 2005. His discography includes recordings on labels including Telarc, Koch, Mode, CRI, Albany, Tzadick and Naxos. His most recent recording of Concerti with the Sequitur Ensemble received five stars for performance from BBC Music Magazine. His recording of Stravinsky Miniatures with the Orpheus Chamber Orchestra received a Grammy Award. Thomas Hrynkiw (piano) studied with Joseph Jacobs and Anne Liva, and later studied with Dora Zaslavsky at the Manhattan School of Music. He won first prize for a performance of the Tchaikovsky Piano Concerto with Leopold



Stokowski conducting and in 1967 he won the gold medal at the Geneva Competition. Tom has also won the Frank Huntington Beebe Award, the Harold Bauer Award and the National Music Teachers Association Award. He has played major concerts both in Europe and the U.S., including appearances at the Kennedy Center, Lincoln Center and Constitution Hall in Philadelphia. He has appeared at the Newport Festival in Rhode Island, where he served as the music advisor, senior artist and vocal director to their director. He has recorded accompaniments to more than 800 works and solo pieces, including the Four Ballades and the Four Scherzi of Chopin, for Disklavier PianoSoft. He has had a long association with Metropolitan Opera basso Paul Plishka, performing recitals not only in America but abroad, including appearances in the former Soviet Union.

Dr. Gene Koshinski (Director of Percussion) has received international acclaim as a percussionist and published composer (ASCAP) and is currently instructor of percussion at the University of Minnesota Duluth. He performs and teaches in an array of musical mediums including solo, chamber, orchestral, jazz (drum set and vibraphone), studio recording, African drumming, Brazilian percussion, Cuban and Haitian drumming, Caribbean steelband and other types of world music. He won the National MTNA Collegiate Artist Percussion Competition and finished third in the prestigious Universal Marimba Duo Competition in Belgium. He has performed with the NFL (National Football League) Films and can be heard on the Emmyaward-winning soundtrack, A Century of NFL; Late Show with David Letterman; NASCAR; Mary Wilson (the Supremes); David Samuels; Wycliffe Gordon; and Nebojsa Zivkovic, to name a few. Koshinski is a member of the Quey Percussion Duo and has commissioned and premiered works by renowned composers including Stuart Saunders Smith, David Macbride, Dave Hollinden, Alejandro Vinao, Robert Maggio, Bruce Reiprich, Mathew Herman and Alphonse Izzo. He has a B.A. from West Chester University, an M.M. and D.M.A. from The Hartt School. Gene is endorsed by Sabian Cymbals, Innovative Percussion and HoneyRock Publications. Kenneth Jernigan (orchestral conductor), is often sought after to conduct all-state festivals because of his high musical standards and his ability to inspire young musicians to winning performances. Jernigan earned his B.M. from the Aaron Copland School of Music and his M.M. from Lehman College in New York. Jernigan is an orchestra and band clinician and is currently employed at Hastings-on-Hudson High School

where he conducts the orchestra, band and jazz ensembles, each of which have earned numerous festival awards. At PAI, Jernigan has conducted both the symphony and chamber orchestras and serves as co-director of PAI’s Junior Division. Mark Andrew Kratz (tenor), was featured as Tamino in The Arctic Magic Flute, as the Beast in Disney’s musical Beauty and the Beast and most recently, at the Capital Playhouse in Olympia, Wash. He is a 2006 graduate of the Tri-Cities Opera young artist training program and a 2003 young artist for the Tacoma Opera. He holds an M.M. from Binghamton University and a B.M. in vocal performance from the Eastman School of Music. His roles include Tamino in Die Zauberflöte, Yamadori in Madame Butterfly, Arturo in Lucia di Lammermoor, Peter Quint in Turn of the Screw, Gherardo in Gianni Schicchi and Alfred in Die Fledermaus. His other performances include Mozart’s Requiem and Beethoven’s Ninth Symphony, Britten’s Serenade for tenor and horn, Schubert’s Mass in E-flat, Bach’s Magnificat and Mendelssohn’s Die Erste Waldpurgisnacht. He is also the youngest person to have sung at the Newport Music Festival. Elizabeth Landon (flute) has served as principal flutist of the Charlotte Symphony since September 2006. She is a 1997 graduate of Wyoming Seminary, where she studied flute with Nancy Sanderson prior to pursuing her B.M. at Northwestern University where she studied with Walfrid Kujala and Richard Graef, both flutists with the Chicago Symphony at that time. After graduation, she attended the Escola Superior de Música de Catalunya in Barcelona as the first American student of Vicens Prats, principal flutist of the Orchestre de Paris. Her flute/guitar duo (Landon/Nogúes Duo) performed throughout the region under the sponsorship of “Ribermúsica Fundació.” Upon returning from Spain, Landon attended the Tanglewood Music Festival in 2003 and again in 2004. As a student of Leone Buyse, she received her M.M. from Rice University in 2005. She has served as a substitute piccolo with the Houston Symphony and principal flute with the Minnesota Orchestra. From 200506 she was a member of the Chicago Civic Orchestra and an active teacher and freelance musician in the Chicago area. Mark Laubach (organ) is regarded among the finest organists of his generation in the U.S.. Since winning first prize in the 1984 American Guild of Organists (AGO) National Young Artists’ Competition in Organ Performance, he has concertized throughout the U.S.A and Great Britain in some of the most notable concert

For information about our application, residential life & listening gallery » venues and continues to be in high demand for solo performances throughout the U.S. and abroad. He has a magna cum laude B.M. in Church Music from Westminster Choir College and studied organ with George Markey and Donald McDonald and harpsichord with Mark Brombaugh. He received an M.M. in Organ Performance and Literature from the Eastman School of Music, where he studied organ with David Craighead and harpsichord with Arthur Haas. He is Minister of Music at St. Stephen’s Episcopal Church in Wilkes-Barre, Pa., where he administers a busy liturgical, choral, concert and broadcasting schedule. He also continues a busy schedule of teaching and coaching private organ students at Marywood University. Jens Larsen (trumpet) holds a B.M. in trumpet performance from Old Dominion University, where he studied with Dr. William Bartolotta, and a M.M. in performance from Rice University, where he studied with Armando Ghitalla. He currently teaches trumpet at Newberry College and Converse College, and performs with the Greenville Symphony as Co-Principal Trumpet and the Symphony Orchestra of Augusta as Second Trumpet. He also performs extensively in the Southeast with ensembles such as the Greenville Brass Quintet, the South Carolina Pops Orchestra, the South Carolina Philharmonic, and National Broadway Tours in the region. Larsen previously taught privately in Atlanta and Houston, and taught Music Appreciation at several Atlanta-area colleges. He also appeared with the Atlanta Pops Orchestra, the DeKalb Symphony, the Cobb Symphony, Orchestra Atlanta, the Converse College Faculty Brass Quintet, the Converse Sinfonietta, the North Carolina School of the Arts Festival Orchestra, the Virginia Wind Symphony, and the Virginia Symphony Orchestra. Dr. Wen-Chi Cathy Liu (piano) received her D.M.A. in piano performance with a minor in piano pedagogy from Temple University. She holds a B.M. in piano performance from the Curtis Institute of Music as well as an M.M. and professional study degree from Temple University. At age 16, Liu gave her debut concert with the Boston Symphony Orchestra in Symphony Hall performing Chopin Piano Concerto No. 1 in E minor. She has also toured in the U.S. and Asia many times, appearing in major concert halls such as Weill Recital Hall at Carnegie Hall in N.Y., Jordan Hall and Symphony Hall in Boston, Academy of Music in Philadelphia, Kimmel Center in Philadelphia and the National Concert Hall in Taipei. She currently teaches at Temple University and Chestnut Hill Academy.

Dr. Victor Liva (orchestra conductor) is currently Associate Professor at Cleveland State University, where he is the Orchestra Director and Coordinator of String Studies. He was recently named Music Director and Conductor of the Cleveland Philharmonic. He holds degrees from Temple University and the University of South Carolina, where he earned a D.M.A. in Conducting under the tutelage of Donald Portnoy. Formerly the Director of Orchestral Studies at the University of Northern Arizona, Victor studied violin under world-reknowned master teachers such as Dr. Min Soo Chang, Helen Kwalwasser, Odin Rathnam and Ryan Kho.


Since PAI counselors and faculty consist of people who attend or teach at dozens of performing arts colleges and conservatories, my high school daughter has learned a great deal about which schools may be best for her and which ones to avoid. No amount of internet search or glossy catalogues can

Lawrence Loh (orchestra conductor) is Resident Conductor of the Pittsburgh Symphony Orchestra and is entering his fourth season as Music Director of the Northeastern Pennsylvania Philharmonic. He was brought to national attention in 2004 when he substituted last-minute for an ailing Charles Dutoit with the Dallas Symphony Orchestra. Conducting Stravinsky’s “Petrouchka” and Berlioz’s “Symphonie Fantastique,” Loh received enthusiastic acclaim from orchestra players, audience members and critics alike. He held the positions of Assistant and Associate Conductor of the Dallas Symphony from 20012005. He received his Artist Diploma in Orchestral Conducting from Yale University, also earning the Eleazar de Carvalho Prize, given to the most outstanding conductor in the Yale graduating class. He was chosen to be the Assistant Conductor of the Norwalk Symphony Orchestra and Apprentice Conductor of the Hot Springs Music Festival. He received further training at the world-renowned Aspen Music Festival and School and has additional degrees from Indiana University and the University of Rochester.

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Matthew M. Marsit (wind ensemble conductor) is Director of the Dartmouth Wind Symphony at Dartmouth College. He has conducted at Cornell University, Drexel University, the Chestnut Hill Orchestra and the Bucks County Youth Ensemble. He has served as a guest conductor, clinician and consultant throughout the eastern U.S. and has recently produced a recording project for the U.S. Military Academy West Point Band. Matthew has led ensembles on service missions in Costa Rica and Philadelphia, Pa., collecting instruments for donation to schools, performing charity benefit concerts and offering workshops to benefit arts programs in struggling schools. His current work at Dartmouth allows for outreach projects in the rural schools of New Hampshire and Vermont, working to stimulate interest in school performing arts programs. He graduated summa cum laude at Temple University, where

academy (designed) for fine

of information. Also, when she visits schools for interviews and auditions, she usually knows someone from PAI who is attending or teaching there. Thomas Paolino, father of 17-year-old Brianna Music Theater Student Warwick, RI

PAI is the perfect summer young musicians who want to have an exciting learning experience, working intensively with top-level professionals. The atmosphere is very pleasant and the energy level is high. Weigang Li The Shanghai Quartet

Photos of PAI-in-action © Edwin Davis, unless noted otherwise.


2011 Faculty he studied clarinet with Anthony Gigliotti and Ronald Reuben and conducted with Luis Biava and Arthur Chodoroff. He has studied conducting with some of today’s most prominent instructors including Mark Davis Scatterday, Timothy Reynish and Larry Rachleff. Presently, he is working to complete his M.M. in Orchestral Conducting with Bruce Hangen at The Boston Conservatory.

Ellie Mooney enjoys a distinguished career as an actor, choreographer, director and teacher. She has served as the director/choreographer for three national tours and countless regional theater companies. In addition, her acting has earned her a Barrymore Nomination for “Best Leading Actress in a Musical” and again, for “Best Leading Actress in a Musical.” She is sought after as a teacher for popular classes addressing topics such as Audition Technique, Song and Scene Study, Dance for Musical Theater and Musical Theater Master Classes. Dr. Michael W. Nickens joined the George Mason University Department of Music faculty in August of 2006, where he codirects the Symphonic Band, directs the GMU pep band and teaches Sight-Singing and Ear Training. His background has been based in tuba performance, and he has been a member of Michigan’s renowned Creative Arts Orchestra as well as other musical ensembles that focus on improvisation such as his trio t.l.a.o.o. and Everyone a Pope. He received his B.M. from the Manhattan School of Music; his M.M. from Yale University and his D.M.A. from University of Michigan. Christiane Oppenheimer-Vaida (cello) completed her musical studies at the Hochschule fuer Musik in Frankfurt, Germany, under the tutelage of Professor Susanne Mueller-Hornbach and has undertaken additional studies with Gerhard Mantel, Siegfried Palm, Hubert Buchberger, Ulrich Voss and Menachem Pressler (Beaux Arts Trio). She taught at Justus-Liebig-University, Giessen and headed the string department for the Buseck Music School while performing regularly both as soloist and chamber musician throughout Germany. Currently a member of Marywood University’s string faculty, Oppenheimer-Vaida also serves as an artist-in-residence at Wyoming Seminary. She is an active freelance performer with various chamber ensembles and orchestras throughout the region. James Orfanella (jazz band conductor) has been a professional musician and music educator for over 20 years with a B.M.E from the University of North Texas. Currently teaching at Valley View



High School in Archbald, Pa., he performs in a wide variety of styles from jazz to rock to classical. He is currently studying traditional Japanese shakuhachi flute under Ronnie Nyogetsu Reishin Seldin at the Ki Sui An dojo. Orfanella is also half of Tribal Waves, a duo which combines a variety of world wind instruments, including didgeridoos, flutes and jaw harps, with percussion ranging from drum set to Tibetian singing bowls to create an improvisational ambient trance experience.

heard performing with the Harrisburg Symphony, The Philharmonic Orchestra of the Americas, the DiCapo Opera and new music ensembles Sequitur, Argento, Alarm Will Sound, the S.E.M. Orchestra and Signal. In addition to a vibrant freelance career, Robinson is a faculty member of the Third Street Music School Settlement. She studied with Richard Killmer at the Eastman School of Music, where she earned her B.M. in both Oboe Performance and Music Education. Other teachers have included Dr. Neil Tatman at the University of Arizona and Jim Mason in Kitchenor, Ontario.

Enid Blount Press (clarinetist) has performed at many of the major performance venues in New York, including Stern Auditorium and Weill Recital Hall at Carnegie Hall, Avery Fisher Hall at Lincoln Center, Merkin Recital Hall, and the Knitting Factory, as well as at numerous other national venues. Press has been a concerto soloist with various orchestras and plays regularly in new music concerts. She has performed extensively as a chamber musician while touring in the U.S., Germany and Italy. Press holds an M.M. in clarinet performance from the University of Southern California and a B.M. from Oberlin Conservatory. She is very pleased to teach at PAI for her second season in the summer of 2012.

William Roudebush (Director of PAI’s Musical Theater Program) has directed well over 275 productions at such theaters as Actors Theater of Louisville, Cleveland Play House, The Hanna Theater, Syracuse Stage Company, Walnut Street Theater, Mint Theater Company, Ensemble Studio Theater and the John Houseman Theater in New York City. He is nationally known as an educator, having taught at the American Academy of Dramatic Arts in New York, Temple University, Virginia Commonwealth University and The University of the Arts. In 1995, he developed an innovative curriculum for the Walnut Street Theater School, for which he earned an award from the Pennsylvania Council of the Arts honoring the unique outreach program. Author of Acting by Mistake, Roudebush brings more than 40 years of teaching and directing experience to PAI where he collaborates with his students and professional staff.

Dr. Amanda Quist is a faculty member of the Westminster Choir College, where she conducts the Chapel Choir and is co-conductor of the Symphonic Choir. She previously was Director of Choral Activities at San José State University. Quist earned her D.M.A. in choral conducting from the University of North Texas, and received her B.M. and M.M. in music education and choral conducting, summa cum laude, from Western Michigan University. She has received numerous awards, including the prestigious James Mulholland National Choral Fellowship, the Texas Choral Directors Association Professional Scholarship and the Audrey Davidson Early Music Award. An active adjudicator and performer, Quist is frequently a guest clinician and conductor, and has recently performed as a mezzo-soprano soloist with the Santa Clara Chorale and Symphony Silicon Valley, as well as the Westminster Choral Festival and Festival Orchestra. Christa Robinson (oboe) recently moved to NYC from Canada, where she performed as Principal Oboe with the Saskatoon Symphony Orchestra. She now is a member of the Colonial Symphony Orchestra, the Canadian Chamber Orchestra of NYC and the Double Entendre Music Ensemble. She also can frequently be

Christina Roytz (music theory faculty/head music librarian) is a cellist in the Amman Symphony Orchestra and a faculty member of the Department of Fine and Performing Arts at King’s Academy, Amman, Jordan. As a guest soloist, she has performed numerous works with orchestra including Tchaikovsky’s “Rococo Variations”, Bruch’s “Kol Nidrei” and Faure’s “Elegie.” In 2010, she was also the featured soloist in the premiere of Charles Loos’ “In C (Minor)” for cello and piano. Formerly the cellist in the New Century String Quartet and the Amphion String Quartet, she was featured live on National Public Radio. Prior to moving to Amman, Roytz was a member of the Ashland, Mansfield and Lima symphonies and was a substitute cellist in the Toledo Symphony. She completed her B.M. at Cleveland State University and is currently on a temporary hiatus from her master’s coursework at Carnegie Mellon University, where she is the recipient of a fulltuition fellowship. Dr. Martin H. Seggelke (wind ensemble conductor) teaches at the University of Minnesota, Morris, where he conducts the U.M.M. Wind Ensembles and serves as professor of

For information about our application, residential life & listening gallery » conducting and clarinet. Prior to his appointment there, he taught conducting at the Eastman School of Music and served as assistant to the director of the Eastman Wind Ensemble and the Eastman Wind Orchestra. Martin also was a conductor and board member for OSSIA, an Eastman contemporary music ensemble and served as the assistant director of bands at SUNY Fredonia. He formerly taught conducting and music history at the University of Bremen. He holds a D.M.A. in conducting from the Eastman School of Music, an M.M. from SUNY Fredonia and an M.M. from the University Of Bremen, Germany. Julia Shulman (classical bass) received her B.M. from the Jerusalem Rubin Academy of Music and Dance and her M.M. from Longy School of Music. An active freelancer and teacher, Shulman is currently pursuing a D.M.A. from the Eastman School of Music. She has studied under the tutelage of Istvan Lukacshazi, Michael Klinghoffer, Pascale Delache-Feldman and James VanDemark. Clarence Smith is coordinator of music at Metropolitan Community College-Penn Valley (Longview and Blue River campuses), where he directs their jazz ensembles. In addition, he is music director of the Kansas City Youth Jazz. Formerly the director of the jazz program at the Paseo Academy of Fine and Performing Arts High School, his nationally acclaimed jazz ensemble performed at the Kennedy Center, The Smithsonian Institute and the Music Educator’s National Conference. Smith directs the annual two-day MCC-Pen Valley-18th and Vine Jazz Festival, and is in demand as a jazz/percussion clinician and adjudicator. In 2000, Downbeat Magazine named Smith “Jazz Educator of the Year” and in 2010 he became the first recipient of the Ahmad Alaadeen Award for Excellence in Jazz Education. He is the past chairman of multicultural music for the Missouri Music Educators Association, and currently serves on the board of the Mid-America Arts Alliance. Smith earned a B.M. from Central Methodist University, and a M.M. from Lesley University. In 2003 he was selected as a Music Fellow at Northwestern University’s School of Music in Evanston, Ill. Rich Thompson is an associate professor of jazz studies and contemporary media at the Eastman School of Music. In addition to his duties as artist/ teacher of drum set, he directs the Eastman Jazz Lab Band, the fundamentals of jazz drum set class, coaches rhythm sections of combos,

and is a member of the Eastman Jazz Trio. Thompson received his B.M. from the University of Oklahoma, and a M.M. in jazz studies and contemporary media (performance) from ESM. He has been a soloist with the Rochester Philharmonic Orchestra and toured with jazz greats such as pianist Marian McPartland, guitarist Gene Bertoncini, trumpet legend Dizzy Gillespie, guitar legend Joe Pass, and trumpet/ flugelhorn great Clark Terry, the Glenn Miller Orchestra, the Nelson Riddle Orchestra and the Count Basie Orchestra. He was reviewed by The Boston Herald saying, “Thompson was the powerhouse drummer who drove the Basie sound!” He has written four drum set books including Drum Set Solos Vol. I, Modern Jazz Solos for Drum Set (Kendor Music), Billy Hart’s Jazz Drumming, and How to Play Drums In A Big Band (Advance Music). Scott Tucker (choral conductor) is director of choral music at Cornell University where he conducts the Cornell University Chorus, Glee Club and World Music Choir and teaches music theory and conducting. Tucker has traveled to and studied traditional music of East and South Africa and leads workshops in Xhosa and Zulu song style. He received an M.M. in choral conducting from the New England Conservatory of Music and a B.M. in trumpet performance from the New England Conservatory. He is currently the American Choral Directors Association Eastern Division Repertoire and Standards Chair for Male Choirs and is the recipient of numerous awards, including the 2004 Outstanding Advisor Award from Cornell Student Activities, a Talbot Baker Award for excellence in teaching and a St. Botolph Award for notable artists in the Boston area. In 1980 Tucker was named a Presser Scholar. Sophie Till (violin) holds an advanced music degree from the Royal College of Music in London and an M.M. from the University of Massachusetts (Amherst) where she studied under Charles Treger. She is persuing a Ph.D. on the Beethoven Violin Sonatas at The University of Leeds (U.K.). An active freelance violinist throughout Europe and Eastern U.S., she formerly taught at both Eton College and the Royal College of Music, Junior Department. A recipient of the F. Lammot Belin Arts Award, she recorded the complete Beethoven violin and piano sonatas. She serves on the music faculty of Marywood University, where she is the director of the string division.


Nathan had many wonderful experiences at PAI this past summer. The teachers and students were like a warm family and the daily life there left a deep impression. All the experiences at PAI will influence Nathan’s life in the future. Parents of Nathan Xu 16-year-old violinist Beijing, China

My wife and I were very impressed by the performance level of the choirs and orchestras that we heard during the concert we attended at the conclusion of the first week of the summer. Each ensemble performed a varied and challenging program at a very high level. I was struck by how well the faculty interspersed themselves within the ensemble but yet allowed the students to gain valuable leadership experience. George F. Engelmann Orchestra Director James E. Taylor High School Katy, TX

John Michael Vaida (violin) has concertized throughout the United States and Europe as soloist, recitalist, chamber musician, and orchestral player. He has performed in major


2011 Faculty concert halls such as Carnegie and Merkin halls, the Stone and Steinway Hall. Formerly a member of the Eastman Chamber Music Society, the Alpha Omega Ensemble, and Tangueros de Ley, he has taken part in the AIMS festival in Graz Austria, the Ash Lawn Opera Festival, Sunflower Music Festival, and the Recontres Musicales Internationales des Graves (France). Concertmaster for the One World Symphony and the Pittsburgh Opera Center Orchestra, he has also performed with the Pittsburgh Opera Orchestra, Harrisburg Symphony, Charleston Symphony, Wheeling Symphony, and the New West Symphony. Vaida is currently artist-inresidence at Wyoming Seminary and is adjunct professor of violin at Misericordia University. He also teaches at the Hamilton Madison House in Manhattan. He holds a B.M. from Duquesne University and a M.M. in performance from the Eastman School of Music.

John Vaida (choral conductor) is chairman of the fine and performing arts department at Wyoming Seminary where he directs the 100-voice chorale and the award-winning 28-voice Madrigal Singers. He is the U.S. representative of the International Choral Network and an internationally-known guest conductor and studio teacher. He also is a past president of the Pennsylvania Music Educator’s Association. Vaida currently serves on the voice faculty of Marywood University. Dr. Christopher Vaneman (flute) received his D.M.A. from Yale University, where he studied with Ransom Wilson. He holds M.M. and M.M..A. degrees from Yale as well as an Honors B.M. from the Eastman School where he studied with Bonita Boyd. He attended the Salzburg Mozarteum and Belgium’s Conservatoire Royal, where he studied under a grant from the Belgian American Educational Foundation. He has studied contemporary flute techniques with Robert Dick in New York and Baroque performance practice and ornamentation with Barthold Kuijken in Belgium. He is flutist of the award-winning Converse-based chamber group Ensemble Radieuse. Formerly the principal flutist of the Reigate Festival Orchestra in England, Vaneman now serves as the president of the South Carolina Flute Society. Dr. Kelly McElrath Vaneman (oboe) is associate professor of oboe and musicology and chair of the Department of Musicology and Composition at the Carroll McDaniel Petrie School of Music of Converse College. She holds D.M.A., M.M..A. and M.M. degrees from Yale University, where she was teaching assistant to Ronald Roseman. She received her



B.M. summa cum laude from Baylor University, where she studied with Doris DeLoach. She studied modern and Baroque oboe with Paul Dombrecht at the Koninklijk Konservatorium Brussel under a grant from the Belgian American Educational Foundation. As oboist of the oboe/flute/piano trio Ensemble Radieuse, she recorded the CD Inbox and was a prize-winner in the 2006 National Flute Society Chamber Music Competition and has performed at conferences of the College Music Society, the International Double Reed Society, the Southeastern Composers Forum and the South Carolina MTNA. She was founder and director of Chamber Music in the Chapel in New York City’s St. Patrick’s Cathedral. Vaneman has been active in the new music scene and has over thirty premieres to her credit; she has appeared as a soloist with orchestras in Guatemala, Texas and South Carolina and has played as a member of the Central Texas, Waco, Asheville, Spartanburg and New Haven Symphony Orchestras, the National Orchestral Institute, the American Wind Symphony and the Reigate Festival Orchestra of Surrey, England. Kyle Vock (jazz bass), holds a B.S. in jazz studies from SUNY New Paltz where he studied jazz bass with John Menegon. He holds a master’s degree in jazz performance from the Eastman School of Music where he studied with Jeffrey Campbell. As president of the New Paltz Jazz Society from 2005 until 2008, Vock was successful in organizing and planning workshops and performances by musicians like Rufus Reid, Karl Berger, and Jack Dejohnette. He has performed regularly throughout the Hudson Valley with a dance and music revue entitled “A Perfect Gift: All that is Jazz” and has recorded a CD with the group in 2008. Vock is currently a freelance musician and teacher in Rochester, N.Y. Jared Ziegler (saxophone) is an active teacher, performer and clinician in the Midwest. He holds degrees from the University of Wisconsin-Eau Claire and Northwestern University, where he studied with Frederick Hemke. As a performer, Ziegler has appeared with groups such as the Minnesota Opera Orchestra and Kenosha Symphony and has premiered pieces by Elliot Sharp and Michael Cunningham (debuted at the 13th World Saxophone Congress). As a member of the Hyacinth Saxophone Quartet, he performed at final round competitions of both the Chesapeake Bay Chamber Music Competition and Coleman Chamber Ensemble Competition. He has also been involved in recording projects with the Northwestern Wind Ensemble, Contemporaries (2004) and the University of Wisconsin-Eau Claire Jazz Ensemble’s Grammy nominated album, Things to Come (2001).

Anneka Zuehlke (French horn) was appointed as Principal Horn of the Greenville Symphony Orchestra in 2004 and recently, Principal Horn of the Spartanburg Philharmonic. Currently an Adjunct Horn Instructor at Converse College Petrie School of Music, she has attended festivals such as Tanglewood, Spoleto, Norfolk, Sarasota, Aspen and Verbier Academy Festival with Curtis Orchestra. Zuehlke earned her B.M. from the Curtis Institute of Music and her M.M. at the Yale School of Music where she was awarded the John Swallow Prize for outstanding brass performance.

PAI 2011 Counselors & Resident Artists Name

University, Year

Rachel Ackerman Penn State, ‘12 Yoo-Jin Choe Seoul National University, ‘06 Yale School of Music, M.M., ‘09 Stony Brook University, D.M.A., ‘13 Jordan Dale Columbus State University (GA) Schwob School of Music, ‘13 Rachel Denlinger University Cincinnati ‘14 Joseph Ellickson University of Iowa, ’09 Hannah Frantz Gettysburg University, ’13 Nicole Hassell Montclair State University, ‘09 Bowling Green State University, MM, ‘12 Elise Henkelman Carnegie Mellon, ‘12 Chloe Kalna Pratt Institute, ‘12 Nathan Raderman New England Conservatory, ‘13 Ashley Salinas Sam Houston State University, ‘09 University of North Texas, M.M., ‘11 Jason Stein Boston University, ‘07 Northwestern University, M.M., ‘08 Kyle Vock SUNY at New Paltz, ‘08 Eastman School of Music, M.M., ‘10 Shuhui Zhou Oberlin Conservatory of Music, ‘13

PAI 2011 Professional Interns Michael Chittenden McDaniel College, ‘08 Allison Considine Pace University, ‘14 Kerri Height Elizabethtown College, ‘14 Jillian Mirenzi Kutztown University of Pennsylvania, ‘14 Josephine Siu London College of Fashion, ‘09 Syracuse University, MFA, ‘10 Sarah Steeves Carroll McDaniel Petrie School of Music Converse College, ‘12

PAI 2011 Student Interns Lauren Aloia Temple University, Esther Boyer College of Music, ‘15 Aimee Cho University of North Texas, ‘15 Cristian Cantu Columbus State University (GA), Schwob School of Music, ‘15 Miles Orfanella West Chester State University, ‘15 Sophie Paridon Penn State University, ‘15 Christa Schmitsch Penn State University, ‘15 Maggie Sullivan Holy Redeemer High School, ‘12

For detailed information regarding our Application, Recommendation and Audition Process, Residential Life, 2012 Performance Schedule, or our Listening Gallery of PAI’s Orchestras, Wind Ensembles, Choirs and Jazz,


of Wyoming Seminary

Office of Summer Progr ams 201 N o r t h S p r ag u e Av e n u e K i n gs ton , P e nns y lva n i a 1870 4-3593 P h on e : 570. 270. 218 6


Fa x : 570. 270. 219 8

E- m a i l : o ns t a g e @ w yo m i n g s e m i n a r y. o rg w yo m i n g s e m i n a r y. o rg /p a i

Performing Arts Institute 2012 catalog