July 27 - August 14$50.00
Resound: Immersive Song Exploration (RISE)
Dear RISE Camp Applicants:
Thank you for your interest. We are thrilled with the enthusiasm and the number of applications we received. We are no longer taking applications. Finalists will be announced soon.
RISE Camp is Crested Butte Music Festival’s program for advanced-degree level and early-stage professional classical vocalists. We offer specialized training, assisting singers in honing their identity and excelling as self-sufficient artists. Participants will prepare non-traditional, multi-genre recital programs of their own creating, and, through a series of lessons, coaching, classes and seminars, gain the skills to prepare grant proposals, pitch to presenters, fund their projects and successfully perform them.
Due to ongoing concerns surrounding COVID-19 and the increased risk of transmission among the singing community, we have made the difficult decision to suspend in-person activities this summer. RISE Camp will, however, be offered virtually. we are excited to work together with participants as we discover new ways of presenting and promoting our art with the new paradigm created by COVID-19 in mind.
As we make preparations for presenting RISE in an online format, we will work with participants to ensure that they have access to the resources and technology they need to take full advantage of one-on-one coaching, feedback and critique sessions, and panel discussions.
RISE will take place July 27 – August 14, 2020.
The three-week, tuition-free program will culminate in public concerts accompanied by members of our faculty.
How to Participate
RISE will choose eight vocal fellows to join us in the stunningly beautiful mountain town of Crested Butte, Colorado. Participants are chosen based on a combination of the strength of their recital program proposal and submitted video recordings. Please note, there is no live audition round. RISE will provide host-housing in Crested Butte, however participants are responsible for their own travel to and from the festival. The town of Crested Butte has free bus shuttles that make getting around town easy.
– $50 application fee (non-refundable)
– recent bio and resume
– recent headshot
– recital program*
– 1 grant style proposal*
– 2 video recordings *
– names and contact information of two recommenders (phone number, email, relationship to applicant)
*Recital programs must be rooted in a theme or concept that is expressed by the repertoire, and must include non-musical elements that enhance the overall expression of the theme (e.g. still image/video projections, choreography, reading of texts, etc.). Although we are unable to provide the artists who practice other mediums to build your program with, your time with us will be used to discover how best to implement your vision and to plan the development of the fully realized version of your performance.
*You must provide us with a first draft of a grant style proposal, outlining your vision, required budget, and how you would use the grant funds. By the end of the three-week session, you will have developed a strong proposal that can be used as a base for a variety of grant opportunities.
*Video recordings must consist of at least two selections in contrasting styles. At least one must be in English. One or both must be a modern or contemporary composition (composed after 1950). At least one of the selections must be a classical composition, the second may be in any language, period or style, including compositional styles considered classical-adjacent (musical theater, jazz, cabaret etc.). The performances must have been recorded in the last three years.
Michael Kelly, baritone
Praised as “expressive and dynamic” and “vocally splendid”, American baritone Michael Kelly continues to distinguish himself as a consummate artist, sought-after for his riveting interpretations of recital, concert and operatic repertoire.
Recently, Mr. Kelly made debuts at Carnegie Hall, with New York City Opera, the New World Symphony, Seattle Symphony and the Cincinnati May Festival. He performed Bernstein’s Mass with the Mostly Mozart Festival under the baton of Louis Langrée, and gave the world premier of a new chamber work by David Del Treidici at NYC’s Symphony Space. In recent seasons he has been heard in Schubert’s Die Schöne Müllerin with celebrated guitarist David Leisner, as Hannah Before in Kaminsky’s As One, Figaro in The Barber of Seville, Papageno in Mozart’s The Magic Flute, Brahms’ Ein Deutsches Requiem, and the title role in the NY premier of Carlyle Floyd’s newest opera Prince of Players.
An avid supporter of new music, he has given world premiers by Matthew Aucoin, David Del Tredici, Mohammed Fairouz, and Ben Moore, among others. Kelly is a passionate recital and chamber music interpreter, and is a founder and artistic director of NY’s SongFusion. He can be heard on recordings of Fairouz’s Zabur, Del Tredici’s A Field Manual, as well as a documentary called Secret Music, celebrating the life and music of David Del Tredici.
Captivating audiences with his “exquisitely self-effacing” artistry, Mr. Kelly is a versatile and innovative vocalist, having performed with many of America’s leading orchestras and opera companies, including: The Cleveland Orchestra, Detroit Symphony, Houston Symphony, Saint Paul Chamber Orchestra, The Mostly Mozart Festival, Opernhaus Zurich, Chicago Opera Theater, Gotham Chamber Opera, Mark Morris Dance Group, Boston Early Music Festival and Ars Lyrica. His repertoire ranges from baroque to modern, leading him to collaborate with some of today’s most celebrated composers, including Tom Cipullo, David Del Tredici, Mohammed Fairouz, John Glover, Ricky Ian Gordon, Laura Kaminsky, Libby Larsen, Lowell Liebermann, Ben Moore, John Musto, David Sisco and David Wolfson. He made his European debut with Opernhaus Zürich in Handel’s Rinaldo with William Christie and his French debut with Opéra du Châtelet. He has performed in opera, chamber and symphonic works under the batons of such conductors as Herbert Blomstedt, Michael Christie, Andreas Delfs, Jane Glover, Benton Hess, Louis Langré, James Levine, Anne Manson, Nicholas McGegan, Steven Osgood, Leonard Slatkin, and Stephen Stubbs. Michael has also collaborated in recital with celebrated pianists David Fung, Kathleen Kelly, Malcolm Martineau, Shannon McGinnis, Spencer Myer, Jonathan Ware and Brian Zeger.
Mr. Kelly has won first prizes in 2013’s Poulenc Competition and 2011’s Joy in Singing. He is a graduate of the Eastman School of Music and Juilliard, and was a member of the Opernstudio at Opernhaus Zürich. In 2018, NewMusicShelf released Michael’s curated baritone volume of their New Music Anthology; a collection of art songs by living composers.
Shannon McGinnis, piano
Pianist Shannon McGinnis has been recognized for her partnerships with some of the brightest stars in the classical vocal music world. Her playing has been described as “excellent” (Opera News), “strong and supportive” (Chicago Tribune), and “boldly projected, characterful, and delicately nuanced” (Chicago Classical Review). Highlights of 2018-19 included appearances with mezzo-soprano Jennifer Johnson- Cano, as part of the 2018 Collaborative Works Festival, recitals with baritone Michael Kelly, and a live broadcast on WFMT with tenor Nicholas Phan. 2019-2020 brings a recital with soprano Melody Moore and a set of concerts, including three world premieres, with the Philadelphia Chamber Music Society’s “Emerging Voices” series, featuring sopranos Joelle Harvey and Sarah Shafer, mezzo-sopranos Amanday Lynn Bottoms and Corinne Winters, tenor Nicholas Phan, and baritones Douglas Williams and Roderick Williams.
A passionate advocate for art song, McGinnis is a founder of Collaborative Arts Institute of Chicago, where, as Director of Education, she oversees a series of master classes and workshops for singers and pianists, as well as the organization’s Vocal Chamber Music Fellowship. Also at home in the world of opera, McGinnis has held internships and appointments with the Opera Company of Philadelphia, DePaul University Opera Theater, DuPage Opera, and Kentucky Opera. In 2015 she served as vocal coach and ensemble pianist for the world-premiere performances of Matthew AuCoin’s Second Nature, presented by Lyric Opera of Chicago and “Lyric Unlimited”, and has served recently as an official pianist for the Joyce DiDonato Master Classes at Carnegie Hall’s Weill Music Institute.
McGinnis serves as Lecturer in Vocal Coaching at the Chicago College of Performing Arts at Roosevelt University, where she leads undergraduate and graduate-level diction courses and serves as music director for the undergraduate opera. In summer 2018 she joined the faculty of “Prague Summer Nights”, a four-week opera and orchestra festival based in the Czech Republic and comprised of young artists from across the globe.
Prior to moving to Chicago in 2006, McGinnis held the position of Assistant Professor of Piano and Coordinator of Accompanying at Truman State University. She was awarded the Doctor of Musical Arts in Accompanying and Chamber Music from the University of Michigan, as a student of Martin Katz, and is a recipient of the 2017 Emerging Artist Award in Music, given by the School of Music Theatre and Dance Alumni Society Board of Governors.
Susan Payne, dramaturg
Susan Payne O’Brien sings, acts, and directs with a focus on the intersection of storytelling and musical performance. She fell in love with the possibilities of story at the Piven Theatre Workshop where she has directed, adapted, and taught for the past 22 years. She has taken her skills as a writer and director to The Santa Fe Opera, The Piven Theatre, The Waters Project, 2nd Story, Chicago Fringe Opera, The El Paso Opera, Black Cat Theater, Artemesia, CUBE, and The International Puppetry Festival. She is passionate about the development of vocal artists and has worked within the music schools and development programs of The Chicago College of Performing Arts, The Chicago Opera Theater, DePaul University, North Park University, and The Santa Fe Opera. She is currently Artistic Director of Forte Chicago, an all-female, operatic, improvisational and theatrical devising company.
Pianist and coach John Arida enjoys an active career in both the recital and operatic arenas. A highly sensitive collaborative artist, Arida has been praised as “an ardent accompanist… catching fire in the accompaniments and in the solo piece” by The Washington Post. The Philadelphia Inquirer heralded his interpretative prowess, proclaiming that “Arida was the great source illuminating text” and that his “…touch was just right.”
Arida begins the 2019-2020 season with a series of vocal chamber music recitals for the Collaborative Works Festival produced by the Collaborative Arts Institute of Chicago. His relationships with some of classical music’s most esteemed performers, including Paul Appleby, Julia Bullock, Anthony Roth Costanzo, Sir James Galway, Isabel Leonard, Megan Marino, and Ailyn Perez, have led to international recital engagements across the United States, Canada, and Mexico. Notable recital venues include Carnegie Hall, The Metropolitan Museum of Art, The Kennedy Center, Herbst Theater, and Spivey Hall, amongst others.
In addition to his work as a collaborative artist in concert, Arida is extremely active in the operatic sphere. He has assisted notable conductors John DeMain, Speranza Scappucci, Emmanuel Villaume, Julian Wachner, and Gary Thor Wedow, amongst others. He recently joined the music staff of the Washington National Opera for Puccini’s Tosca, and will return in the 2019-20 season for Don Giovanni. Arida will also be the official pianist for the workshop of Huang Ruo’s highly anticipated opera M. Butterfly in preparation for its premiere at Santa Fe Opera in 2020. Additional operatic credits include The Knights’ recent production of Candide at Ravinia and Tanglewood and a workshop of Ricky Ian Gordon’s Intimate Apparel, jointly produced by the Metropolitan Opera and Lincoln Center Theater. Arida has been a member of the music staff of several U.S. companies and festivals including the Juilliard School, Central City Opera, the Castleton Festival, Virginia Opera, the Prototype Festival, and the Boston Youth Symphony Orchestra.
Possessing a deep affinity for singers, Arida has trained as both a pianist and singer himself. He has held fellowships at the Aspen Music Festival and the Music Academy of the West, and is an alumnus of the prestigious Juilliard School in New York City. He holds a master’s degree in collaborative piano from Juilliard, where he studied with Margo Garrett and Jonathan Feldman, and a bachelor’s degree in vocal performance from SUNY Purchase.
KATHLEEN KELLY’s projects and repertoire are wide-ranging and diverse. From Mozart to
commissioned works by her peers, she is both deeply experienced in the classical vocal canon
and engaged in new creation. Her 2019-20 season includes recital dates with mezzo-soprano
Jamie Barton in Atlanta, San Francisco and London, return conducting engagements at Opera
Columbus and El Paso Opera, and many new collaborations in Cincinnati, where she joined the
opera faculty of the College-Conservatory of Music in 2018.
The first woman and first American named as Director of Musical Studies at the Vienna State
Opera, Kathleen’s operatic experience is the backbone of her career. Trained at the San
Francisco Opera, she joined the company’s music staff and moved from there to a long
association with the Metropolitan Opera. She was head of music at Houston Grand Opera, and
music director of the Berkshire Opera before moving to Vienna. Kathleen has conducted at the
Glimmerglass Festival, Wolf Trap Opera, Arizona Opera, El Paso Opera, Opera Columbus, the
Merola Program, and the Alexandria Symphony, and has been a visiting master coach for the
prestigious young artist programs of Chicago Lyric Opera, Los Angeles Opera, Houston Grand
Opera, Washington National Opera, and the Canadian Opera Company.
Kathleen’s recital career includes appearances at Weill Hall, Zankel Hall, the Kennedy Center,
Vienna’s Musikverein, the Mahlersaal of the Vienna State Opera, the Neue Galerie, the
Schwabacher Series in San Francisco, and the Tucson Desert Song Festival. Her recent
collaboration with Jamie Barton has won wide acclaim, and her partners have included Christine
Goerke, Michael Kelly, Troy Cook, Amber Wagner, Albina Shagimuratova, Valentina Nafornita,
Sorin Coliban, Joyce DiDonato, Ariana Strahl, Martha Guth, Karen Slack, and Jennifer
Holloway. She has curated art song series for the Houston Grand Opera and the Vienna State
Opera, and is currently involved in the creation of new song through Sparks and Wiry Cries’
In demand as a mentor of rising artists, Kathleen has given masterclasses and workshops
across North America, among others at the University of Toronto, the Schulich School at McGill
University, University of Cincinnati, Baylor University, Vanderbilt University, University of Texas
at Austin, University of Michigan, the Peabody Conservatory, University of Washington,
Westminster Choir College, and Interlochen. She has served on the juries of the Wirth Prize at
McGill University, the Dallas Opera Guild competition, the Kristin Lewis Foundation Scholarship
auditions, the Cooper-Bing competition, and the Metropolitan Opera National Council auditions.
Kathleen’s commitment to new music, particularly American music, is a major part of her
musical life. She has prepared or conducted workshops or performances of operas by William
Bolcom, Tobias Picker, Matthew Aucoin, Ricky Ian Gordon, Jake Heggie, Laura Kaminsky, and
Daron Hagen. In the 2019-20 season, her recital programs include world premieres by Juliana
Hall and Judith Shatin.
A published poet and essayist, Kathleen has created several new opera translations and libretti.
Her English adaptation of Hansel and Gretel, commissioned by Tri-Cities Opera, is now in use
alongside her chamber orchestra arrangement of the work. For Arizona Opera, she created a
multilingual version of Emmerich Kalman’s Arizona Lady, and she wrote the libretto for David
Hanlon’s Wolf Trap premiere Listen, Wilhelmina! Her English adaptation of Smetana’s The
Bartered Bride premiered in November 2019. Kathleen has also commissioned settings of three
of her poems from composers David Hanlon, Jamie Leidwinger, and Juliana Hall.