K. Porter Aichele is a Professor Emerita at the University of North Carolina Greensboro, where she taught art history and museum studies and happily resided at the Weatherspoon Art Museum. She is the author of numerous articles and museum catalogue essays on modern and contemporary art, as well as two books on the Swiss-born artist Paul Klee. Her current research project is a book on collectors of early 20th-century art. In retirement she is (literally) cultivating her garden and restoring a mid-century modern house. Her favorite indulgences are listening to music and looking at art.
Rachel Anthony just completed the first year of her MM in Vocal Performance at UNCG. She graduated summa cum laude from Brevard College in 2015, where she studied with Dr. Kathryn Gresham and received her BA in Vocal Performance and Photography. Most recently, Ms. Anthony performed the role of Laetitia in UNCG Opera Theatre’s production of Menotti’s The Old Maid and the Thief and Suor Constance in Poulenc’s Dialogues of the Carmelites. She will be performing Papagena in Brevard Music Center's production of Mozart's The Magic Flute with Janiec Opera Company. Ms. Anthony studies under the tutelage of Dr. Carla LeFevre.
David Arcus, Interim Director of Music at All Saints Parish Church, comes from Durham, North Carolina (USA), where he has lived and worked at Duke University from 1984 until January of 2014. During that time, Dr. Arcus served as Director of Music of Duke Divinity School, as well as Chapel Organist and Associate University Organist. He has recently been appointed Parish Musician of St. Matthew’s Episcopal Church in Hillsborough, North Carolina.
Dr. Arcus holds degrees from the Oberlin Conservatory of Music and the School of Music at Yale University, where he earned his Doctor of Musical Arts degree. He has received awards in composition and improvisation competitions, and he is in demand as a solo recitalist, having performed throughout the United States, Europe, and Great Britain. He has also toured with the Duke Chapel Choir in Great Britain, Poland, The Czech Republic, Spain, Greece, Turkey, and China, and he has appeared as organist with the North Carolina Symphony Orchestra. He has served on the faculties of St. Mary’s School, Duke University, and the University of North Carolina at Chapel Hill, North Carolina.
Dr. Arcus' recitals have included premieres of new works by well known composers such as Aaron Jay Kernis, Dan Locklair, and Marianne Ploger. He is frequently commissioned to write new works for organ and choir, and he is also active as clinician, teacher/lecturer, and conductor. He has presented workshops and masterclasses on service playing and organ improvisation for the American Guild of Organists, and has served as Course Organist for RSCM (America) training courses. His compositions are published by Concordia, Hinshaw, and Wayne Leupold Editions. His CD, The Organs of Duke Chapel, is on the Gothic label.
Kate Dobbs Ariail has written extensively about the arts since 1988 for many publications, with her specialties being dance, theater and the visual arts, particularly fine crafts. A long-time resident of downtown Durham, she is a seasoned observer of the Triangle's arts development and covers dance and theater throughout the area, as well as making occasional forays elsewhere in the state.
Kate was a 2009 NEA Fellow in Dance Criticism at the American Dance Festival. She holds an MFA degree from Syracuse University in studio art and a BFA in design from UNC-Greensboro. Her "way in" to the performing arts is intensely visual, and her writing is often marked by its descriptive qualities. She has loved ballet and dance since age five and discovered the power of theater at fifteen. She sees as many performances as she can, both imported and local.
Currently, Kate divides her time between Durham and Washington, DC, which allows her the opportunity to put the Triangle’s artistic offerings in a larger context.
Viki Atkinson danced professionally in musical theater for a number of years, later shifting her focus to choreographing for theater. In Raleigh, NC, she danced in the North Carolina Theatre productions of Cabaret, My Fair Lady, Man of La Mancha, Oklahoma!, and West Side Story. Additional performance credits include Kathy in Company and the title role in Gypsy. Later, Ms. Atkinson served as chief dance critic for Spectator Magazine from 1987 to 1999. In 1989, she was invited to be a fellow at the American Dance Festival’s Dance Critics Conference, facilitated by former New York Times Dance Critic Don McDonagh. Ms. Atkinson holds a degree in Dance Education from UNC-Greensboro. She has taught dance at Meredith College, NC State University, Virginia Commonwealth University, Appomattox Regional Governor’s School, and the School of Richmond Ballet. She was on the faculty of the Raleigh School of Ballet for 10 years and directed the dance program at Martin Middle School in Raleigh for four years. Ms. Atkinson recently returned to Raleigh after living in Richmond for six years.
(relocated to California August 2009)
Jayanthi Balachandran trained for many years in Bharathanatyam under Padmashri Mrs. Chitra Visweswaran (one of India's respected Bharathanatyam exponents). She is the Artistic Director of Rasa Dance Creations and offers workshops in universities, schools and arts organizations wherein she promotes her message - "Dance Transcends Barriers." Through "Speaking Through Dance" sessions, she incorporates eloquent narration coupled with dance movements to educate audiences on thought-provoking, cross-cultural works of literature. She served on the Board of Directors of the North Carolina Dance Alliance. She received a Regional Artist Grant awarded by United Arts Council of Raleigh and Wake County and collaborated with Indian Classical Music and Dance Society (ICMDS) and the North Carolina Museum of History to launch "Shiksha" ("education") - a series of lecture-demonstrations on Indian classical dance presented by various local artists, with an aim of bringing to life the myriad nuances from the world of Indian classical dance. She enjoys choreographing solo and group dance programs. She also presents her public speaking talents to host dance programs. (8/2009)
Judith N. Barber has written for Classical Voice of North Carolina since 2008, focusing primarily on the review of instrumental performances in eastern North Carolina, joining that with her other activity of serving as program note editor and writer for East Carolina University’s Four Seasons Chamber Music Festival. Her first degree, from Cornerstone University in Grand Rapids, Michigan, was outside the realm of music. But she later returned to the classroom to earn degrees in theory and composition at East Carolina University. Her master’s thesis, “The Symphonic Scherzos of Robert Schumann: Maintaining Mastery of a Sublime Form,” deals with the substance and reception history of those works.
While working in the music library at East Carolina University Mrs. Barber
Judy and her husband Chuck live in Greenville, North Carolina, where all four sons have come and gone and none but Jake the dog remains. There’s a garden with limitless possibilities and stacks of good books to be read, but for now, there’s a concert tonight that just shouldn’t be missed.
Elisabeth Lynne Bjork, 19, has played the piano for eleven years and won numerous local, state, and national competitions. Her achievements include 1st prize in the Dr. Sharon Edwards Piano Competition; Most Promising Performance award in the Harold Protsman Classical Period Piano Competition; 1st place (piano) in the Hampton Young Artists Competition; and recognition in the North Carolina Symphony, Raleigh Symphony, and Meredith College concerto competitions. This summer she looks forward to teaching at Bach 2 Basics, a children's music camp she founded two years ago. In addition to studying and teaching piano, she plays violin under Dr. Carol Chung and has performed in both the Bay Youth Symphony Orchestra and the Meredith College Sinfonietta. She looks forward to a fantastic sophomore year under the piano tutelage of Dr. Margaret Evans. In her free time, she reads, writes, and spends time with her wonderful family in Chesapeake, Virginia. (2/2011)
Intern, music, Brevard College, Brevard, NC. (2/2011)
Stuart Burnham, a native of Spokane, WA, started writing for CVNC in 2004. As an undergrad he double majored in English and Music/Piano Performance at Wake Forest University, where he also ran cross-country and track on a full scholarship (1990-94). He then spent a year (1994-5) teaching English in the Czech Republic, where he met his (American) wife. They currently live in Mount Olive, and he teaches at Mount Olive College. He holds a Masters in Musicology from Stanford University (2001) and is currently working on his Ph.D., also from Stanford; his dissertation deals with the Czech composer Václav Tomášek (1774-1850) and musical life in Prague in the early 19th century.
Dr. W. Gerald Cochran, a plastic surgeon practicing in Salisbury, Statesville, and Lexington, is an amateur musician (piano) who sings in the the Concert Choir of Salisbury. He has served on the boards of the Salisbury Symphony and the Concert Choir. His reviews have appeared in the Salisbury Post and in Outlook, published by Observer News Enterprise (Newton, NC).
Jackson Cooper is a widely read cultural critic, writing for publications on both coasts. In addition to CVNC, his writings have appeared in the Greensboro News and Record, ICareIfYouListen.com, Classical Voice of North America, and Film Matters magazine; he also contributed an essay for the Perform book series published by Focal Press. He is a member of the Music Critics Association for which he launched the Association's Instagram account @classical_voice.
Equally at home in the rehearsal rooms of theatres and orchestras, Cooper debuted as a guest conductor with the Durham Symphony in November 2015. He studied theatre criticism and conducting at UNCG, working as an assistant director on several university and community productions and serving as a rehearsal conductor for UNCG's Opera Theatre. In the Summer of 2015 he received an undergraduate research grant to study musical theatre conducting with the company Greensboro Light Opera and Song. He also helmed UNC-Chapel Hill's acclaimed production of A Chorus Line in November 2015. Follow Jackson Cooper on Twitter at @CrampedCritic.
Julie-Kate Cooper has been writing for CVNC since the fall of 2010. She graduated Summa Cum Laude from Meredith College in 2012 with a B.A. in Theatre and a K-12 teaching license.
At Meredith, Julie-Kate was President of the student organization, Extra Theatre Company, and a member of Alpha Psi Omega, the National Honorary Theatre Society. She worked on productions with local companies and youth theatre companies, while also performing and designing as a student at Meredith. She was nominated for the Irene Ryan Acting Award for her senior capstone role as Prospera in an adaptation of The Tempest and the Barbizon Costume Design Award for her design for Intimate Apparel.
After college she worked in Arts Administration and assistant directing for Lexington Children’s Theatre in Kentucky. Happy to return home, she is now the Managing Director for a local non-profit theatre company in Raleigh and began teaching at a local high school in the fall of 2013.
Julie-Kate is a Goodman Fellow through Leadership Triangle College Edition 2010 and is an advocate for education and the arts.
Roger. Cope joined the CVNC cadre of writers in 2003 producing over 70 articles before becoming Editor in September of 2006. Prior to CVNC he had written articles for the original Florida Flambeau (now the FSView), was staff writer and regular columnist for Vintage Motorsport Magazine, and composed reviews, features and technical pieces for Guitar Review, Guitar Foundation of America's Soundboard Magazine, and GuitART International. He is also in demand for liner notes of commercial guitar recordings. He is author of The Bachelor Guitarist, guide for undergraduate study, and Guitar: How to Audition. He attended the 2005 National Arts Journalism Institute at Columbia University, sponsored by the National Endowment for the Arts.
Cope was musical as a child and performed on a variety of instruments until finally settling into what has become a life-long career as a classical guitarist. He has served as orchestral soloist, concert performer, recitalist, lecturer, recording artist, and, since 1978 a college-level educator. For nine years he was a member of the Affiliate Artist Faculty at Brevard College (NC), serving as Director of Guitar Studies and Director of the Guitar Ensemble. He is currently a Lecturer and member of the Music Studio Teaching Faculty at California State University at Bakersfield where he also directs the Guitar Ensemble, and serves as coach for chamber music groups.
Cope has premiered new music for guitar by Karen Thomas, David Leonard, Paul Elwood, and Bertil Van Boer. In North Carolina he has performed at Thomas Wolf Auditorium, the Diana Wortham Theatre, and Biltmore Estate in Asheville and at the Porter Center for Performing Arts in Brevard, the Henderson County Library in Hendersonville, the Muses Gallery in Flat Rock, the School of Music of Appalachian State University, and High Hampton Inn at Cashiers. He has also performed at the Dock Street Theater in Charleston, SC, and as soloist with the Charlotte Repertory Orchestra, the Hendersonville Symphony, and the Asheville Symphony.
Jason DeCristofaro is an active educator, performer, and composer based in Asheville, NC. He is adjunct faculty at Warren Wilson College, where he directs the Jazz Ensemble and teaches Jazz Improvisation, Jazz History and World Music, and A-B Technical Community College (Asheville, NC), where he teaches Jazz History, Music Appreciation and serves as accompanist for the A-B Tech Chorus.
A published composer with C. Alan Publications, DeCristofaro's concert works have been performed in New Zealand, China, Sweden, and all over the United States, and he has been a featured guest composer with the Symphony of the Mountains and the Asheville Ballet. He is also the founder and artistic director of Asheville Composer Concerts. DeCristofaro has presented at Harvard University for the International Journal of Arts and Sciences (IJAS), Virginia Tech for the Conference on Higher Education Pedagogy (CHEP), and Black Mountain College Museum.
The winner and recipient of the 2011 Yamaha/Percussive Arts Society Terry Gibbs Scholarship, an international scholarship competition for jazz vibraphonists, DeCristofaro has been invited to perform as a clinician and guest artist at numerous jazz festivals, conferences, and universities throughout the Southeast, including the Brevard Music Center (Brevard, NC), Furman University (Greenville, SC), The Eastern Trombone Conference (Washington, D.C.), Jazz on the Square (Spartanburg, SC), Jazz on Main (Greenville, SC), Western Carolina University Jazz Festival (Cullowhee, NC), Appalachian State University (Boone, NC), and North Greenville University (Tigerville, SC). His original Jazz compositions are featured on three albums, Live at the Altamont (featuring Swiss flutist Calen Gayle), Dialogues (with pianist and UNC-Asheville Jazz Studies director Dr. William Bares), and Magic Numbers (a trio recording with bassist Daniel Iannucci and drummer Micah Thomas).
Jason holds a Master of Music Performance from University of North Carolina School of the Arts, a Master of Liberal Arts and Sciences from UNC-Asheville, and is currently working towards his Doctorate in Music Education at Boston University.
Roy C. Dicks reviewed theater and classical music for Raleigh's Spectator Magazine from 1978-1986. Since 1997, he has done the same for the Raleigh News and Observer. He is a member of the Music Critics Association of North America. His musical background includes singing in and directing opera, authoring two commissioned opera librettos, and singing in university and community choruses. He has a B.A. in English and a B.A. in Drama from East Carolina University and a Masters of Library Science from UNC-Chapel Hill.
Jessie Dresser is a Junior at Meredith College studying violin performance. In high school, she participated in the Tulsa Youth Symphony and was a three-year all-state musician. She also participated in several summer programs including the Eastern Music Festival, Oklahoma Summer Arts Institute, and Green Mountain Chamber Music Festival. As a member of Meredith's study abroad program, she performed with a quintet during the summer of 2011 in Sansepolcro, Italy. After finishing her undergraduate degree she plans to continue academic work at the graduate level.
Maggie Pate Duffey is a native North Carolinian with an extensive background in the performing arts. Maggie holds a Bachelor of Music in Vocal Pedagogy from East Carolina University, attended Berklee College of Music, and obtained a Master of Science in Education from Sunbridge College, New York. She is a North Carolina certified paralegal with a certificate from Duke University.
Having been on both the North Carolina and Washington State Visiting Artist rosters, Maggie has performed throughout the United States in both classical and jazz genres and as well in musical theatre and dance. Some of her most noted local performances include the soprano soloist of Stravinsky’s Les Noces with the North Carolina Master Chorale and spearheading a concert for Sights and Sounds at the North Carolina Museum of Art.
Maggie has worked for professional organizations within the arts including the Thelonious Monk Institute, WHR-Wilmington, Performance Support Services of Seattle, Center Stage and the Long Leaf Opera Company. For the past 4 years, Maggie has held editorial positions with the Crossroad Publishing Company, an imprint of Herder & Herder, the 240 year-old Catholic publishing house in Freiburg, Germany.
Meredith college music student & CVNC intern.
Martha A. Fawbush is a classical singer whose major interest is opera but who also performs as much jazz, gospel, blues, and Broadway music as she can. She is also a teacher of voice, does some coaching for recitalists and opera singers, teaches music classes for senior citizens, is active in church music, and writes reviews of classical music performances.
She holds a B.S. in secondary education and an M.A. in English from the University of Tennessee; a B.A. in vocal performance from Christopher Newport University in Newport News, Virginia; and an M.A. in musicology from UNC-Chapel Hill. She has sung as a soloist as well as with numerous choral organizations in Knoxville, Tennessee; Newport News, Virginia; and Chapel Hill and Asheville, North Carolina. She taught English at U-T, Christopher Newport, and Richlands Virginia Community College in Richlands, Virginia, and music appreciation courses at UNC. In Asheville she has taught voice at UNC-A, had roles in Oliver, My Fair Lady, and Sweet Charity at the Asheville Community Theatre, was assistant manager for the Radio Reading Service, and wrote music reviews for the Asheville Citizen-Times.
Elmer Gibson began his studies of piano with Irwin Gelber and trumpet with Sigmund Herring of the Philadelphia Orchestra at the Settlement School of Music in Philadelphia, Pennsylvania. Since the mid '60s, Gibson has been writing, arranging, and performing music around the world with some of jazz's finest musicians. When not playing with his own group, he's been performing and recording with many local and nationally known jazz artists. Gibson has toured the U.S. performing at the Newport Jazz Festival, the Berkeley Jazz Festival, the Piccolo Spoleto Festival in Charleston SC, the San Jose Music Festival, the Pleasure Island Jazz, Blues and Seafood Festival in NC, Bel Cher Festival in Asheville NC, and The New Bern Jazz and Blues Festival in New Bern, NC.
Melanie Greene is a recent graduate with a Master of Fine Arts from UNC-Greensboro. She obtained her bachelors degree in Journalism and Mass Communication from UNC Chapel Hill. Beginning her dance and writing career in high school, she has participated in a variety of performance endeavors and writing ventures. In addition to participating in the North Carolina School of the Arts summer intensive program, Modernextension Dance Company at UNC Chapel Hill, the Martha Graham reconstruction of Steps in the Street at UNCG in spring of 2010, and Amahl and the Night Visitors Opera at UNCG, Melanie has written many texts investigating the dynamics of academic dance cultures. As a teacher, performer, and choreographer, Melanie is excited to continue studies that facilitate the intersection of visual and performing arts, pedagogy, literature, and intellectual scholarship.
Although a native of Louisville, Kentucky, Matthew Hager has called North Carolina home since 1998. Matthew is a graduate of UNC-School of the Arts (High School, Drama, 2005) and UNC-Chapel Hill (BA Dramatic Arts, 2011). He also has trained at Shakespeare & Co. in Lenox, MA and DePaul University in Chicago. Matthew has acted with local theatre companies including Burning Coal, Manbites Dog, Theatre in the Park, Koka Booth, Urban Garden Performing Arts, and Bare Theatre.
Alan R. Hall is a Chapel Hill, NC, freelance writer, reviewer, novelist, and poet. He has written theater reviews for the Georgia State University System and the online writers' network "Themestream." For 11 years, he wrote reviews of theater, music, dance, and film for The Chapel Hill News. Now celebrating twenty-five years reviewing Triangle theater.
Max is both an artist in his own right and an art critic who has appeared in national, regional and local journals. He has roamed and written about American and European galleries and museums for as long as he can remember and lectured on modern art history. A graduate of the High School of Music and Art in New York, he is a professor emeritus at North Carolina State University where he created and taught courses linking modern art to modern literature. As a writer he was a newspaperman and editor and graduated from the City University of New York as a journalist, later taking his masters and doctorate in contemporary literature from Florida State University. For many years he has had studios in Artspace and elsewhere in Raleigh, where his approach is in a constant state of flux.
Max passed away on Oct. 6, 2014. For details, click here.
(resigned July 2007)
Carl J. Halperin was born in Chicago but has lived for many years in central North Carolina. He attended the N.C. School of the Arts in Winston-Salem, receiving his B.M. in voice in 1982. Long writing stints at Spectator Magazine locally (where he received his first literary experience) and for Opera News in New York led to work in public radio, as a local NPR affiliate station anchor (also submitting stories directly to the network proper) and time spent writing for Raleigh's News and Observer and for Durham's Herald-Sun. Halperin has performed leading baritone roles in operas by Mozart, Pasatieri, and others, and participated in opera productions at Raleigh's Meredith College, in one of which his role was written for him. He has interviewed leading celebrity singers from opera's Golden Age (c.1950-75) for a prospective volume and is hoping to do other work with smaller to moderate-sized publishing houses in the Southeast.
(through January 2008)
Joseph Hartman is a North Carolina native who currently lives in Drexel, NC, with his wife and two children. He is a freelance writer who focuses on the literature and history of the piano and the organ. Though not a trained musician, he grew up in a musical home and has been immersed in music and art from a very young age. He is an avid collector of rare and historical piano recordings.
Kirby Hawkins is an English major at the University of North Carolina at Greensboro. He is a passionate classical music listener and performer. He currently plays principal bass clarinet in the UNCG University Band. Originally from Ocean Isle Beach, NC, he is currently a senior and wants to go into music publishing.
Timothy W. Holley is a graduate of Baldwin-Wallace College and the University of Michigan. He is a cellist; he was a member of the Toledo Symphony Orchestra for twelve years and was also affiliated with the Detroit Symphony Orchestra during that time. He is Assistant Professor of Music at North Carolina Central University (since 1996) and also taught at the Duke University String School (1997-2001). He is a member of the Mallarmé Chamber Players and has performed with the Ciompi Quartet of Duke University and the North Carolina Symphony. His doctoral dissertation focused on the cello music of African-American composers, and he continues to be active in the study and performance of African-American concert music.
Ken Hoover was born in Chicago, reared in Portsmouth, VA, and earned his BA in English with a minor in sociology at Richmond College, University of Richmond. He went on to Southeastern Baptist Theological Seminary in Wake Forest and from there to serve churches in Virginia. Beginning in 1970, he was involved in Clinical Pastoral Education, which brought him to Duke University Medical Center in Durham in 1971. Apart from a three-year stay in Sanford from 1972-75, he has lived in Durham since then. He is currently retired after thirty years as a substance abuse counselor.
The landmark event of his life was a 1950 trip with other members of his high school band to Richmond to hear Arturo Toscanini and the NBC Symphony Orchestra on their last nation-wide tour. The Maestro and the sounds he brought forth from the instruments on stage captivated him, and he has been an avid classical music buff ever since.
In college, he sang in Men's Glee Club and Chorus and played trombone in the school band and in a jazz ensemble. He sang for two years in Carl Fehr's "The Common Glory" choir in Williamsburg and in the Chorus of Alumni and Friends of the University of Richmond (CAFUR) with the Richmond Symphony under James Erb. Locally, he sang with the Choral Society of Durham under Larry Cook and Rodney Wynkoop.
Hoover studied music sporadically at University of Richmond and at UNC-Chapel Hill. He studied composition privately with Peter Klausmeyer. He has composed ten choral anthems and a number of service pieces, some performed widely. He is especially interested in choral music and opera and finds passion in all music. He says his favorite piece of music is the one he is listening to right now.
Chelsea Huber is a senior at Meredith College studying Music Education with vocal and piano concentrations. In addition to voice, she has studied piano for thirteen years and has played in numerous recitals and competitions in her home state of Vermont as well as North Carolina. At Meredith College, she participates in the Meredith Chorale and Meredith Octavia, an eight-hand piano ensemble. Chelsea was an intern at CVNC for three years before being becoming a regular contributor. She loves to explore the many performing arts events in the Triangle Area.
David Hursh is professor and head music librarian at East Carolina University in Greenville, NC where he is responsible for the daily operation of the largest collection of music materials in the eastern North Carolina region. David received the master of science in library science from Florida State University, the master of music in voice performance from Converse College in Spartanburg, SC, and the bachelor of music in voice performance from Houghton College in Houghton, NY. Prior to joining the library faculty at ECU, he served as head of library technical services at Embry-Riddle University in Daytona Beach, FL and cataloger at Polk Community College in Winter Haven, FL. In addition to being a member of the Pi Kappa Lambda National Music Honor Society and the Delta Omicron International Music Fraternity, David has received several research grants and honors. Among these are the Music Library Association’s Walter Gerboth and Dena Epstein awards, the North Caroliniana Society’s Archie K. Davis Fellowship, and the North Carolina Society of Historians’ Paul Green and Willie Parker Peace awards. The last of these was for his book Good Medicine and Good Music: A Biography of Mrs. Joe Person published in 2009 by McFarland Publishing.
Joshua Hutchins is a graduate of Brevard College, a small liberal arts college near Asheville, with a degree in Music. Currently working as an Information Technologies Support Analyst, Joshua intends to pursue an advanced degree in Musicology.
Peter Ingram, who plays drums, is formerly from London, England. After finishing his schooling at the University of Southampton he moved to North Carolina to practice his profession in academia as a physicist. He is currently affiliated with Duke University Medical School, where he conducts research on the pathology of diseases. He also has been a central figure on the jazz scene in North Carolina for many years. He owned an operated the now legendary jazz club the Frog & Nightgown as well as the Café Déjà Vu in Raleigh. He subsequently served as an Arts Commissioner for the City of Raleigh for six years. He and his partner, pianist Elmer Gibson, formed the Preservation Jazz Company in the late 1970s as an outreach project in the Triangle. This resulted in a series of free public workshops – Jazz: Its Language and Culture – held in community centers in the area supported by the North Carolina Arts Council and others for about three years. His band, “Group Sax”, recorded three albums, won several prestigious awards in the 1980s and ‘90s, and toured the Southeast United States extensively. He has worked with many jazz greats, a few of whom include Stan Getz, Clark Terry, Zoot Sims, Bud Shank, Teddy Wilson, George Duvivier and Buddy DeFranco. Recording credits include dates with pianist Sir Roland Hanna, guitarist Charlie Byrd, saxophonists Frank Foster and Sonny Fortune, David ‘Fathead’ Newman, trumpeter Brian Lynch and vocalist Carol Sloane. He is currently working, touring and recording with the dynamic pianist and Steinway Artist Lenore Raphael, who resides in both New York City and the Raleigh-Durham area of North Carolina.
Lynn Jessup is a UNC-G graduate who attended journalism school at UNC-CH until she landed a job at the late, great Raleigh Times. She went on to work for the N.C. Zoo and the News & Record in Greensboro. She teaches writing at Guilford Technical Community College.
Laura Pollie Johnson (formerly McDowell) is Professor Emerita of Music at Brevard College in Brevard, NC. She taught music history and literature, interdisciplinary courses involving music, and piano. She has performed on harpsichord and recorder for the Colonial Williamsburg Restoration and with the Cullowhee Consort, an early music ensemble in western North Carolina. As writer she was a contributor to Carl Maria Von Weber: A Guide to Research (Garland Publishing, 1990) and editor of Nicolas Payen: Motets and Chansons (A-R Editions, 2006). Her article “The Musical Language of Death and Resurrection: Three Motets by Nicolas Payen” has been published in “Hands-On Musicology: Essays in Honor of Jeffery Kite-Powell (Steglein Press, 2012). She has been an active music critic with CVNC since 2007. She earned a B.M. in Music History from Converse College, the M.A. in Historical Musicology from Columbia University, and the Ph.D. in Historical Musicology from Florida State University. In addition, she holds the Zertifikat Deutsch als Fremdsprache from the Goethe Institute, Salzburg, Austria, a Certificate in Early Music from Florida State University, and is a fellow of the NEA Arts Journalism Institute in Classical Music and Opera.
(resigned January 2008)
Alexandra Jones is a tuba player, aspiring journalist, and dedicated music fan. After coming of age in Raleigh, she attended the University of Michigan in Ann Arbor to study tuba performance with Professor Fritz Kaenzig. She immersed herself in working for the campus student-run newspaper, The Michigan Daily, where she served as an arts reporter, film and music reviewer, columnist, magazine editor, and associate editor of the Arts section. She graduated with Bachelor of Musical Arts and Bachelor of General Studies degrees in summer of 2006. She became a member of the Triangle Brass Band in Fall 2006.
Jones is interested in 20th-century and avant-garde classical music, the work of the "Moguchaya Kuchka," the "Mighty Five" (Balakirev , Cui, Mussorgsky, Borodin, and Rimsky-Korsakov), improvisational/experimental/noise/difficult listening, good pop music, soul, Elvis Costello, orchestral works that feature decent tuba parts, gamelan, American roots music, and psychedelic garage rock from the 1960s, just for starters. She relishes hearing new music and loves writing and talking about it almost as much.
Brandon C. Jones was born in Greensboro, North Carolina, and has appeared as a performer in a number of theatrical productions, independent films, and musical concerts. He was awarded 1st place in the North Carolina Artistry Competition for vocal performance, and 2nd place for dramatic performance. He has been privileged to perform for historic venues such as Carnegie Hall, The White House, and the National Cathedral. As a poet, he has performed abroad at the Metro 54 festival in Amsterdam, NL. Brandon attended the North Carolina School of the Arts majoring in Drama, and later obtained his B.A. in Theater Performance with a minor in Musical Theater, from Marymount Manhattan College.
Nathan Jones is a doctoral student at Duke University, studying the intersection of theology and music. He graduated from Duke in 2009 with a B.A. and in 2012 with an M.Div. As a professional baritone, he has performed with The Dallas Opera, Longleaf Opera, the American Singers' Opera Project and various other companies. He has won vocal competitions in the US and Europe, and in 2009 performed as a soloist at the Mozart Festival in Salzburg, Austria. He lives in Durham, NC with his wife, Amy, an internal medicine resident at Duke Hospital. In his spare time, he enjoys playing disc golf, brewing beer and working for the Duke football team as an equipment manager.
Daughter of a New York music critic, Elizabeth Kahn led a charmed life growing up with any and all concerts free for the asking. She majored in voice and piano at Brandeis University and continued at Brandeis as a graduate student in musicology. She received her PhD from Harvard in Comparative Literature, creating a special niche in the relationship between music and poetry. Her dissertation on the legends of Orpheus in the Middle Ages and Renaissance was published in 1987. She is also an amateur oboist.
Elizabeth sees the critic's role as largely educational rather than judgmental. She believes that by explaining something about a program, both its content and performance, she can help readers sharpen their appreciation of music their own critical faculties. As in other areas, Elizabeth is a true musical liberal, believing that there is no such thing as a definitive performance. But that doesn't mean that performers can get away with just anything.
Joe Kahn escaped from Nazi Germany at age six and grew up on a chicken farm in what is now Israel. His life, nevertheless, has been steeped in classical music and listening to good music became an indispensable part of his life from childhood. With a good ear, avid interest and innumerable concerts, he acquired an eclectic musical knowledge – all of it self-taught.
Joe is Professor Emeritus of Biochemistry from NCSU where he taught for 28 years. For ten years he hosted the classical music request program, first on WKNC and then on WCPE. He was classical music critic with his wife Elizabeth at the Independent Weekly for ten years. He and Elizabeth now write program notes for musical organizations around the country.
He believes that musical criticism should be geared to the interested lay person and aim to be both informative and accessible. Criticism should not only evaluate, but also explain and educate.
Intern, theatre, Brevard College, Brevard, NC.
Dorothy Kitchen, Founder and Director of the Duke University String School, has been an educator for 42 years. She was educated at the Eastman School of Music, Western Reserve University, the University of London, Brandeis University and the Longy School of Music, and her violin teachers included Jaroslav Holesovsky, Millard Taylor, Wolfe Wolfinsohn, Eugene Kilinski, Julia Kohl, and Georgio Ciompi.
She has taught violin and chamber music at the Longy School of Music, the Ecole Ste. Trinite in Port-au-Prince, Haiti, and was Professor for Youth at the Fourth International Festival of Music in Lima, Peru. She now teaches violin, viola and chamber music and conducts the Duke University String School Chamber Orchestra. Her playing career includes solos with the Dayton Philharmonic, the Greensboro Symphony, the St. Stephen's Chamber Orchestra (SCOR; now the Chamber Orchestra of the Triangle), and the Trinite Philharmonic of Haiti. She was Associate concertmistress of the Greensboro Symphony, Principal Second of the SCOR, and, for many years, Principal Second of the Duke Symphony Orchestra. She toured as part of the Kitchen-Nicolson Baroque duo for six years. She has served as String Chairman of the North Carolina Music Teachers Association and is Co-Chair of the Durham Music Teachers Association's Performance Festival. She is the author of a small book for beginning violinists and has written about music for the Durham Herald-Sun, the Dayton Daily News,and CVNC.
Kitchen has been honored as "Teacher of the Year" by the NCSA, had a day named for her by the City of Durham, and received the Ella Fountain Pratt Lifetime Award for Service to Music from the Durham Arts Council.
Since 1977, CDR John W. Lambert, USN, Ret., has written 3,750+ reviews and articles published, variously, by The News and Observer, Leader, Spectator, Fanfare, Fi, Independent, CVNC, and CVNA. His studies included violin, piano, voice, and music history. A sketch of his thesis, on the North Carolina Symphony's first 50 years, was published by Greenwood Press, in Symphony Orchestras of the United States: Selected Profiles (ed. Robert R. Craven); and his liner notes for several Toscanini Lps were published by Music and Arts Programs of America, Inc. He is a recipient of the Raleigh Medal of Arts, the Durham Symphony's "Share the Music" Award, and a Triangle Arts Award. Lambert is an avid collector of recordings. Current projects encompass Stokowski, Tennstedt, and Carlos Kleiber. Lambert is a member of the Music Critics Association of North America and the Association for Recorded Sound Collections. His "day jobs" were largely in military shipping and private-sector and government purchasing. He retired as a business officer with NC's Department of Health and Human Services in September 2010 and as CVNC's Executive Editor in June 2012.
He was elected an at-large member of the executive board of the Music Critics Association of North America in July 2016.
Brandon Lane is a graduate student in the Jazz Studies program at North Carolina Central University, as well as an intern for CVNC. Hailing from Richmond, VA, Lane decided to return to his roots and pursue a graduate degree in music after completing his undergraduate work in Mass Communications at Virginia State University.
Timothy Lindeman is Professor and Chair of the Music Department at Guilford College. He teaches music theory, piano, music history, and world music. He received the Ph.D. in music theory with minors in piano and art history from Indiana University. He is well known as a writer, a scholar, a performer, and a lecturer.
Dr. Lindeman's most recent writing was an invited review of Kenneth Hamilton's book After the Golden Age: Romantic Pianism and Modern Performance, which was published in Symposium of the College Music Society. He has presented papers at several national music conventions. For more than two decades he has written about the Triad music scene in both Triad Style and the News and Record, and most recently, for the on-line journal, CVNC.
In 2007 he was one of 23 critics from across the country to be accepted in the National Endowment for the Arts sponsored "Reviewing Classical Music and Opera," a 10-day seminar at Columbia University in New York City.
His primary research interest is Beethoven. He was one of twelve scholars to participate in an NEH seminar on Beethoven at Harvard University under the tutelage of Lewis Lockwood. He currently teaches an interdisciplinary senior seminar, "Beethoven: The Age of Revolution."
Tim is also an active pianist, giving both solo and collaborative recitals, usually with his soprano wife, Nancy Walker. They have performed throughout the US and in Europe.
Andrea McKerlie Luke earned her Bachelor's Degree of Music in Music Performance with a concentration in flute, along with a minor in Professional Writing and Presentation Media, from Meredith College, where she began with CVNC as an intern. She has played in Meredith's Sinfonietta, Encore!, Handbell Choir, and Flute Ensemble, the North Carolina State University Marching Band, and choirs in the Raleigh Area Flute Association. She has published young adult fantasy novels,which can be found at www.andreawriter.com. She is currently living in the Triangle area with her husband as a freelancer in flute, clarinet, and saxophone, as well as teaching flute lessons. Her work in music can be found at www.sites.google.com/site/
(resigned July 2007)
Critic Joel Mauger, a guitarist and keyboard specialist, of Raleigh, is currently a graduate student at NCSU. He maintains an active interest in playing music through his continuing study of the classical guitar and its literature in addition to having recently taken up the tenor banjo to play Irish Traditional music. He is a great fan of solo piano recordings of all vintages.
Robert W. McDowell is a Raleigh, NC, freelance writer, editor, and theater critic who served as CVNC's theatre editor from September 2002 to May 2010.
Since 1973, the Columbia, SC, native and 1970 graduate of East Carolina University in Greenville, NC, has written theater, book, and music previews and reviews for the Raleigh News & Observer, The Raleigh Times, North Carolina Magazine of Raleigh, and Spectator Magazine of Raleigh. In April 2001, Robert McDowell established Robert's Reviews, an e-mail theatrical newsletter, to help fill a growing void in Triangle theater coverage. Triangle Theater Review is an expanded version of the original newsletter, circulated by e-mail.
He also co-edited and supervised the production of Jim Valvano's Guide to Great Eating (JTV Enterprises, 1984), a 224-page celebrity cookbook; and he served as a fact checker for Valvano: They Gave Me a Lifetime Contract, and Then They Declared Me Dead (Pocket Books, 1991).
Ted McIrvine used his Ph.D. in Theoretical Physics from Cornell University during a career that included research management, academic administration and consulting. He is a member of Phi Beta Kappa, an elected Fellow of the American Physical Society, and has served on the Governing Board of the American Institute of Physics.
McIrvine has published for general audiences in Scientific American and Physics Today, and on the impact of technological change on society in the 1967 book Dialogue on Technology edited by Robert Theobald. While living in Rochester, NY, McIrvine was President of the Rochester Philharmonic Orchestra, for which he hired David Zinman as music director, negotiated the first-ever multi-year labor contract with the musicians, and stabilized the finances.
After studying piano and clarinet in his home town of Winnipeg, McIrvine decided at age 14 not to become a professional musician. At age 15, he decided not to become a journalist. However, he has rekindled those interests in retirement. He resumed piano study with Joseph Werner in Rochester and Content Sablinsky in Charlottesville, and now plays chamber music privately. From 2001 to 2008, he wrote Arts Spectrum, a weekly Sunday column on the arts in Hendersonville's Times-News. Since 2007, he has taught musical courses at the North Carolina Center for Creative Retirement and studied creative writing in the Great Smokies Writing Program at UNC-Asheville. He is delighted to be reviewing events for CVNC.
Tom Moore holds degrees in music from Harvard and Stanford and studied traverso with Sandra Miller. From 2004 to 2007, he was visiting professor of music at the University of Rio de Janeiro (UniRio), where he co-directed the early music ensemble, Camerata Quantz. He is presently Head of the Sound & Image Department of the Green Library, Florida International University, Miami, Florida.
He has recorded with Kim Reighley and Mélomanie for Lyrichord (USA) and with Le Triomphe de l'Amour for Lyrichord and A Casa Discos (Brazil). He participated as flutist and interviewer for the CD released in Oct. 2006 marking ten years of music for flute by Sergio Roberto de Oliveira. Mr. Moore writes about music for BrazilMax.com, Musicabrasileira.org, 21st Century Music, Opera Today, Flute Talk, Flutist Quarterly, and other journals. He has also sung professionally with the Symphonic Chorus of Rio de Janeiro and Concert Royal and Pomerium Musices of New York.
Karen E. Moorman earned a BA in music from UNC-CH and a MA in Liberal Studies from NCSU and has served as a lecturer in the Arts Studies Program at NCSU. Her academic treatises include: The Recitatives of the Late Beethoven String Quartets; Amy Beach: An American Composer; and Chaos Theory and Experimental Music: The Intersection of Two Avante-Gardes. With an interest toward educating young listeners, Moorman planned, coached students, and hosted Arts Now for Kids as part of the 2004 Arts Now Series directed by Dr. Rodney Waschka II at NC State University. She is a NEA Fellow (2008) of the Columbia University Arts Journalism Institute for Music and Opera.
A self-proclaimed late-bloomer Karen began her musical life as a singer, piano hack, and self-taught folk musician, and then later became a more dedicated student of the violin. As violinist and teacher she maintains a coaching studio in Durham. Along the way, thanks to word processing, the art of writing became a compelling interest. She regards the concert review as an educational tool; a means of communicating and inviting the public to become an integral part of the artistic community while too providing another frame of reference for artists and presenters.
Todd Morman is a Raleigh, NC, freelance writer, reviewer, blogger, and host of the "Monkeytime" community-access cable television show. For more of his no-holds-barred commentaries on current events and the arts, see the Monkey Media Report: http://www.monkeytime.org/.
A member of the American Guild of Organists since 1966, Mary Elizabeth Nordstrom was until recently music director and organist at St. George's Episcopal Church, Sanford, Maine.
A graduate in political science, she developed her Music Appreciation (101 and -2 and -3) and writing skills at Middlebury College in Vermont. She wrote the first Arts column in her native state: "Des Beaux Arts in New Hampshire," for the Manchester Union Leader. She often reviewed NH Music Festival concerts for The Telegram.
The "naturalized North Carolinian" initially relocated with her family from New Hampshire to Winston-Salem, where she wrote "Spotlight on the Arts," in Steve Neal's The Suburbanite. She also represented performing artists there in the '70s. Later, she and her husband, Everett, lived in Chapel Hill, where she researched, published and marketed Outdoor Drama and he was, during most of the '80s, Executive Director of the Medical Foundation of North Carolina, retiring in 1990. Prior to relocating to Maine in the summer of 2004, they lived in Pinehurst and Raleigh. For a couple of years, she was program director for Women of Weymouth and was Dean of the Sandhills Chapter, American Guild of Organists. She wrote occasional reviews for The Pilot. In 1998, she founded the Handel On Hungerannual events in the Sandhills; she hopes that there will be delayed spin-offs to "feed His flock like a shepherd" (Isaiah 40:11) everywhere that Messiah is performed or given in "sing along" readings.
Nordstrom has edited her husband's manuscript, How The Dome Was Done, which relates his professional fund-raising experience as Campaign Director for the late Hargrove "Skipper" Bowles and the Educational Foundation of UNC.
In 2004, she moved from NC to Maine. She is a founder of Classical Voice of New England.
Richard Parsons was born and reared in Raleigh. He attended Ravenscroft School, Broughton High School, and UNC-CH. He studied piano with Valerie Baumgarten and was a private organ student of Margaret S. Mueller and Catherine Ritchie Miller. Beginning in 1972, he established the Sunbury Press and published eight scholarly titles on organ and harpsichord building. These include Charles Ferguson's translation of the monumental The Organ-Builder, originally by Dom François Bédos de Celles, and Owen Jorgensen's Equal-Beating Temperaments. For over ten years, beginning in 1983, he reviewed mostly Baroque keyboard and chamber music for Raleigh's Spectator Magazine. He is also an experienced church bell change ringer; he is a member of the Society of Royal Cumberland Youths, an English elective society of ringers. He plays the harpsichord privately for his own amusement. He is a free-lance graphic designer in New Bern.
Born in Minnesota to a family of artists and scientists, Peter Perret was the Music Director of the Winston-Salem Symphony from 1978 to 2004. Previously Perret had served the Buffalo Philharmonic as Exxon/Arts Endowment Conductor for three years, and before that he was Principal Conductor of the Capetown Symphony (South Africa). Perret frequently lectures and leads workshops on the relationship of music to learning. Perret has co-authored a book (with Janet Fox), A Well-Tempered Mind; Using Music to Help Children Listen and Learn, aimed at parents and teachers, released by the Dana Press in October 2004.
Spencer Phillips has been writing for CVNC since December 2010. She is a 2011 cum laude graduate of Meredith College. Holding a Bachelor of the Arts degree in Theatre, Spencer now works as an instructor at the Mariposa School for Children with Autism. In the future, Spencer aspires to apply her passion for music and theatre to a career in art therapy for persons with special needs.
Pianist, accompanist, and chamber musician Frank D. Pittman completed his D.M.A. at UNCG. He writes: "There is a saying that actors should never be producers and that producers should in no way be actors. The same applies to musicians and 'reviewers.' Almost inevitability, a 'reviewer' who is a performing musician cannot perform with the same level of mastery as the artists he (or she) reviews. The reviewer, consequently, is not often capable of ascending to the high echelons they advocate and demand — and that can be a frustrating experience. Conversely, musicians, as 'reviewers,' can never truly be objective, for when they try to be candid in their remarks, they invariably forge adversaries within their own professional circle when commentary is less than luminous. This, in turn, creates bias in the formation of the reviews and can thereby dissuade the writer from candor. It's a devil vs. the deep blue sea dilemma, for sure!"
Since arriving in Chapel Hill in August, 1983, Dr. Doris B. Powers has maintained a teaching studio, taking keen enjoyment in seeing young people learn and grow musically. She has been a member of Duke Chapel’s Orchestra Pro Cantores for about 20 years, a violinist in Carolina Baroque in Salisbury, NC, and has performed with members of the Ciompi Quartet, the Raleigh Symphony, Durham Symphony, and the Chapel Hill Philharmonia, serving as concertmaster for the latter two for brief periods. Powers has researched and published two books: Carl Philipp Emanuel Bach: A Guide to Research (New York: Routledge, 2002) and C.P.E. Bach’s Keyboard Trios I, II/3.1 (Los Altos, California, The Packard Humanities Institute, 2011). She also wrote a monthly column about music, “Classical Themes,” for the Chapel Hill News from 2000-04, and contributed book reviews to the Music Library Association’s journal, Notes.
Powers assisted Donald L. Oehler, artistic director, in various capacities for about 20 years in UNC’s Adult Chamber Music Workshop. As a member of the Raleigh Chamber Music Guild board for six years, she served on the Masters committee and also helped initiate the September Prelude Festival and the master classes for young chamber musicians.
Powers received a B.A. in music education (University of Washington), M.M. in violin performance with a specialty in baroque performance practices (Kansas State University, Manhattan, KS), and a Ph.D. in eighteenth-century musicology with areas of expertise in north German intellectual history, including rhetoric, and late eighteenth-century performance practices, and troubadour music (University of North Carolina, Chapel Hill). She belongs to the American String Teachers Association; Chapel Hill Cooperative Suzuki Project; American Federation of Musicians Local 500, Professional Musicians Association; American Musicological Society; American Bach Society; and Phi Beta Kappa.
Nicholas Rich (b. 1984) is a composer who works at the intersections of music, memory, language, and culture. His output spans multiple genres and media, from traditional chamber ensembles to interactive computer music and laptop orchestras. As a guitarist, he came from a family of musicians who played Country-Western, Bluegrass, Pop, and Rock, and his compositions often carry strong associations with American and British popular music. Rich is a co-founder of Collapss (Collective for Happy Sounds), an experimental music and dance ensemble and one of the premier collaborative art groups in the Southeast. He earned a Master of Music degree at UNCSA, studying with Lawrence Dillon, and a Bachelor of Music at UNCG, studying with Mark Engebretson and Alejandro Rutty. He also studied organ with William Weisser, Joshua Dumbleton, Robert Burns King, André Lash, and Pamela Kane. (www.nicholaserich.com)
Bill Robinson was born into a musical family in Denton, Texas, in 1955. He started piano lessons at age three and violin at ten and moved to Massachusetts in 1961. Composition started in 1972 while a student at Phillips Academy Andover. After that came a year at Eastman School of Music, then many years at NTSU in Denton (now UNT). He earned a BM in composition there in 1984. In 1987, he moved to North Carolina, coming to Raleigh in 2001 to study physics at NCSU, where he earned a BS in 2004. He graduated with a PhD in May 2010 and promptly joined the physics faculty as a lecturer.
His compositions include ten solo violin or viola sonatas, sonatas for various other instruments, chamber works of many kinds, seven concertos for several kinds and combinations of instruments and orchestra, full orchestral pieces, two large works for chorus and orchestra, and pieces for concert band. He has produced a dozen CDs and video DVDs independently, written and recorded his Autobillography, and has a website at billrobinsonmusic.com that has all his scores and recordings, as well as a YouTube channel.
Erica Rogers assisted Elizabeth Bjork with a review of Jeremy Denk. She is a piano student at Meredith College.
Scott Ross is a local playwright who won the 1995 Thompson Theatre Playwright Award (professional category) for The Dogs of Foo, which was produced by University Theatre at N.C. State. He received a 2000 United Arts grant for the production of his drama A Liberal Education, which debuted in Thompson Studio Theatre, and his one-act play Unreliable Witness was produced at REP in 1991, where it was directed by CVNC music critic Roy C. Dicks. He has written theater criticism for Spectator Magazine (1981-86), movie and book reviews for Raleigh's News & Observer (1986-91), and served as Dance, Comedy and Theater editor for Triangle.citysearch.com (1998-2000). He was the primary CD reviewer for the quarterly Sondheim Review from 1994-2004. He also penned two original musical revues — I Love A Piano: The Music of Irving Berlin and Serenading The Moon: The Songs of Johnny Mercer — for University Theatre's annual TheatreFest series. His most recent play is a dramatic adaptation of Booth Tarkington's novel The Magnificent Ambersons, and his book on the films of Billy Wilder will be published by McFarland. He was awarded a B.A. in Playwriting from Hampshire College in 1990.
After nearly a lifetime of studying and playing the classical guitar but suffering from orchestra envy, Jeffrey Rossman turned his musical energies to learning the cello. He studied that wonderful instrument with Fred Raimi, cellist with the Ciompi Quartet. He is a member of the UNC and Duke Symphony Orchestras and the Chapel Hill Philharmonia. Mr. Rossman has also played with the Carolina Ballet Orchestra, the Orchestra Pro Cantores, and, after a rigorous audition, the AIMS Festival Orchestra in Graz, Austria. Being a member of ensembles and experiencing first-hand the complexity and effort involved in playing great works of music has given him, he feels, greater sensitivity to the critic's role and responsibility.
Rossman attended the 2005 National Arts Journalism Institute at Columbia University, sponsored by the National Endowment for the Arts.
Rossman grew up in Brooklyn, New York; he says, "As anyone from there will tell you, no matter how long you've been gone, you are always 'from Brooklyn.'" After the obligatory family pilgrimage from New York to Miami, he attended Florida State University. A teaching assistantship at Ohio State University led to the one bright spot of that tenure – he met his wife, Monica. In 1982, she was offered the position of Assistant Organist at Duke Chapel, so the Rossmans loaded up their truck and moved to Durham. They have two daughters: Jessica, a nursing student at UNC-Chapel Hill, and Natalie, a junior at UNC-Greensboro.
Mr. Rossman earned a Juris Doctorate degree from North Carolina Central University School of Law and was admitted to the North Carolina State Bar in July, 1990. Rossman's "real" job is Information Technology Senior Analyst with Duke University Health System.
Steve Row worked 24 years as a reporter and editor at The Richmond (Va.) News Leader (1968-92) and then 11 years in journalism education outreach on behalf of Richmond Newspapers, Inc., in scholastic journalism classes in approximately 20 Richmond area high schools (1992-2003). During his time in the newsroom, he was the main substitute classical music reviewer for the paper and reviewed Richmond Symphony, Richmond Sinfonia, touring orchestra, and other musical group performances, as well as wrote occasional music-related feature stories. After taking early retirement in 2003, he relocated to Knoxville, Tenn., where he edited the local city magazine for more than a year and did freelance writing. He sang in the Maryville Community Chorus for 2004, 2005, and 2006 spring programs. He relocated to Greenville, N.C., in June 2006 and does freelance writing and editing for local and regional magazines. He has written features for the quarterly East magazine at East Carolina University and contributes fine and performing arts previews to the magazine. Row sings in the St. Paul's Episcopal Church choir in Greenville and the Greenville Choral Society, and he is a member of the board of directors of the choral society.
Harrison Russin is a PhD student in musicology at Duke University. A Pennsylvania native, he has performed and written about music for most of his life, and is thrilled by the variety of arts events that the Triangle offers.
Barry Salwen has given recitals and master classes in the U.S., Central America, Europe, Israel, and Asia. He holds a doctorate in piano from Juilliard and the Diploma with Highest Honors from the music academy in Vienna. He is associate professor of music at the University of North Carolina Wilmington, where he has also served as coordinator of keyboard studies and director of the annual summer piano workshop.
Barry Salwen has recorded nine CDs, some in the U.S. and some in Europe. He was the first artist to record the complete solo piano works of the American master Roger Sessions and remains the only pianist to have done this. In 2005, the CD was re-released on Albany Records.
In earlier times, he served for four years as music reviewer for the Star News newspaper in Wilmington, and now is most pleased to be back writing about concerts.
Geoffrey Simon is Organ Curator at Raleigh Moravian Church. A Fellow of the College of Church Musicians at the National Cathedral, where he studied with Paul Callaway and Leo Sowerby, he holds the Doctor of Musical Arts degree from The Peabody Conservatory of The Johns Hopkins University. He was Director of University Choirs at The American University in Washington, DC, before becoming Professor of Church Music at Wesley Seminary.
He has played, sung, and/or conducted in 20 states and in European capitals including Berlin, Copenhagen, and Warsaw. He is one of few Americans to play a recital at the Thomaskirche in Leipzig, where Bach served as Cantor. His North Carolina connections began at Duke University, where his musical activities included singing in three choral organizations, playing violin in the Duke Orchestra, accompanying, playing the carillon for two years, and being the first student to share a recital with a faculty member, playing the three Bach Gamba Sonatas with ‘cellist William Klenz.
When playing chamber music requiring harpsichord, he uses the Thomas Goff instrument originally made for Thurston Dart, the eminent English musician who was at the forefront of the re-discovery of Baroque performance practices.
George M. Stephens, amateur musician, received the Raleigh Medal of Arts in 1985 for volunteer activities, including service as a member of the NC Symphony Board of Trustees, president of the Raleigh Chamber Music Guild, chairman of the Raleigh Performing Arts Center Task Force, and president of the Raleigh Concert Band. He was chairman of the Buncombe County Chapter of the NC Symphony and Director of Development at its headquarters in Raleigh. He sang in the Brevard Festival Chorus, the Raleigh Oratorio Society and a church choir, and he plays flute in the Raleigh Concert Band. His service as a critic began in 2002 at the invitation of CVNC.
Carter Stevens is a student at Brevard College working towards his BA in music. Currently he studies organ with Kyle Ritter and jazz improvisation with Steve Wilson. He has an active performance schedule outside of the college, serving as organist of St. John the Baptist Catholic Church in Tryon, NC, and playing jazz gigs throughout the Asheville area.
Kirsten Swanson is a classical violist from Greenville, NC. She plays in many ensembles around the state, and teaches viola at Elon University and the University of North Carolina at Charlotte. Ms. Swanson is currently finishing up her DMA and is working on becoming a certified Pilates Instructor. In her spare time, she reads, cooks, and dreams about walking the Camino de Santiago in Northern Spain.
Megan Swinyard, 21, is in her senior year at Guilford College in Greensboro, NC. She is pursuing a Bachelor of Music with a concentration in Voice and a minor in Education Studies. Upon graduation she will take a gap year before attending graduate school for vocal performance. Along with holding an intern position with CVNC, Megan is a choral scholar at Bethany Presbyterian Church. This summer she will be performing as Vittoria in Gilbert and Sullivan's The Gondoliers with GLOS.
Patrick Taggart studied music and journalism at Baylor University and covered film and classical music for the Austin American-Statesman from 1974 to 1990. He then was a film columnist for the Austin Chronicle from 1990 to 1996. From 2007 to 2013 he served on Duke Health System's Institutional Review Board for clinical trials involving human subjects.
Perry Tannenbaum has been covering the performing arts scene in Charlotte, NC, for Creative Loafing since its inaugural issue in 1987. He also contributes regularly to American Record Guide, Dance International, JazzTimes, and TheaterMania. Beyond Charlotte, he also regularly reviews Spoleto Festival USA and the New York City scene – Broadway, off-Broadway, the Met, classical concert venues, and jazz clubs. A devout believer in the busman's holiday, Tannenbaum has also published review roundups from the Aspen Music Festival, Santa Fe Music Festival, Verbier Festival, Spoleto Italy, Festival d'Aix-en-Provence, Edinburgh International Festival, BBC Proms, Stratford Festival of Canada, Shaw Festival, and most recently, the 9th Annual Jazz Cruise. He is a member of the Music Critics Association of North America.
Born in New York, where he completed his undergraduate work at Queens College of CUNY, Perry holds an MA in English from Western Washington University. He has been a Southerner since 1972 when he came to teach at the University of South Carolina and study writing under the guidance of poet James Dickey. He traces his love of music to his parents, who met at the Met in the early 40s and are proudly loyal – and opinionated – subscribers to this day. His love of music has withstood successive frustrating attempts to master piano, clarinet, and guitar.
Jessica Thomas is a communications professional and freelance writer based in Charlotte, North Carolina. She writes about the visual arts, dance, and design. Jessica earned her master’s degree in Art History, Theory & Criticism from SUNY Stony Brook where she studied with art critic Donald Kuspit and philosopher Edward S. Casey. She also holds a Master of Architecture degree with a concentration in urban design from UNC Charlotte.
A lover of all things dance, Jessica gained her formal training under the guidance of teachers from the National Ballet of Canada, Atlanta Ballet, Washington Ballet, Jazz Dance Theatre of Atlanta, Kansas City Ballet, and Intercity Ballet Company where she performed as a soloist. She spent two summers of ballet and theatre training with Gelsey Kirkland and Michael Chernov. Her jazz and hip hop training is rooted in her studies with dancers and choreographers from the stages of Broadway, Las Vegas, and Los Angeles. Jessica continues to dance and teach in the Charlotte area.
In 2009, Jessica founded Speak Your Design, a communications and project management firm that serves clients in the fields of architecture, engineering, higher education and the arts, among others.
Bluegrass on the radio and shape note singing in local churches constituted high art in Wilkes County, where William Thomas Walker grew up, but TV brought Bernstein's Young People's Concerts. He left the hills for the Hill (UNC-Chapel Hill) and attended his first concert in 1969. In 2016 he retired after 44.6 years as Stacks Supervisor in UNC's Wilson Library and later in Davis Library, an occupation that enabled him to fund his addiction to classical music by collecting recordings and attending 80+ concerts annually. This led to writing for Spectator Magazine and then helping launch CVNC with an "Overview of the 25th Anniversary of the Spoleto Festival USA." He is a member of the Music Critics Association of North America (MCANA.org).
Note: Walker's pre-CVNC guest restaurant reviews are compiled in Kent's Carolina Barbecue Book from what was the #1 ranked by Google website from 1998 until its retirement in 2008 with an average of over 10,000+ unique visitors per month.
Marvin J. Ward has been writing for CVNC for nearly a decade.
Educational/professional background: Ph.D. French/English Medieval Studies, bilingual, former French teacher HS & college levels, free-lance translator and interpreter, former editor of professional newsletters, contributor to professional journals, and former officer in various professional and cultural organizations.
Classical Music experience: singer in choruses, concert-goer, recorded music listener/collector for over 50 years, former announcer for classical radio station, board member of presenter organizations, classical CD salesperson.
Particular musical interests: vocal (art song), piano, organ recitals, chamber, choral, harp, French repertoire, music new to his ears.
Other interests: art/art history (former volunteer docent @ NCMA), architecture, cinema (esp. foreign), theatre, history, travel, museums, historical sites, nature, reading.
Dr. Ward relocated from Raleigh to Western Massachusetts in 2003 but continues to contribute to CVNC. He was a founder of Classical Voice of New England.
Since April 2011, he is a Five Colleges Associate with Five Colleges, Inc., based at Smith College in Northampton, MA. His research and writing focus on music, currently French and performances on historic pianos at the Frederick Collection in Ashburnham, MA.
A freelance writer in Charlotte, North Carolina, Meg Freeman Whalen has written more than 220 articles for Charlotte magazine, The Charlotte Observer, and Charlotte Arts Magazine, including features, personality profiles, critical reviews, and previews. She served as contributing arts editor for Charlotte magazine from 2003 to 2007. Her short book, The Sound of Charlotte: The First 75 Years of the Charlotte Symphony, was published in January 2007. The first chapter of that book, "An Orchestra is Born," was reprinted in the anthology, Making Notes: Music of the Carolinas, published by Novello Press in 2008.
Scholarly articles include "From Salonière to Social Activist: Muriel Draper and the Popular Front," in the Journal of the North Carolina Association of Historians, Vol. 6-7, Fall 1998-Fall 1999; "A Little Republic Filled with Grace: The Nineteenth-Century Music Salon," in Women of Note Quarterly Vol. 3, No.4, November 1995; and "Fanny Mendelssohn Hensel's Sunday Musicales," in Women of Note Quarterly Vol. 2, No. 1, February 1994, reprinted in the Journal of the Conductors' Guild Vol. 14, no. 1, Winter/Spring 1993.
Since 1994, Whalen has taught music history and music appreciation courses at Queens University of Charlotte. She is currently the Director of Communications and External Relations for the College of Arts + Architecture at UNC Charlotte.
Paul Williams, a native of North Carolina, has written for Classical Voice of North Carolina since early in 2007. For several years he was a reviewer for the News & Observer in Raleigh. He believes that the reviewer should seek out the positive aspects of a performance, particularly when the performers are amateurs. Except for the most egregious cases then, more oblique references may be made to areas in need of improvement.
He is a graduate of Furman and Auburn universities. He retired from the electronic computing industry, and later from a secondary career teaching mathematics and computer courses at Shaw University. He has also taught in adjunct status at Auburn University, Georgia State University and the Georgia Institute of Technology.
His interest in music springs from early studies in high school and college, but still more so from a lifetime of listening and appreciating. That time spread has included multiple years as a choral performer. In fact, vocal music tends to move him like no other form. (To fill out his all-time favorite vocal spectrum, he would choose soprano Zinka Milanov, contralto Christa Ludwig, and tenor Richard Crooks. Innate modesty forbids that he identify his favorite baritone.)
Olivia Willie is a senior music education student at Brevard College. Clarinet player of ten years, she currently resides as principal clarinetist for the Brevard College Wind Ensemble. She also serves as the Head Usher and Music History tutor at her school. Olivia will be receiving her Bachelor’s Degree in Music Education in December of 2014. Upon graduating college, she hopes to find a job as a music director at a high school. She is fascinated by conducting and is considering pursuing a Master’s degree in it later in life.
Jentry Womack is a recent graduate of Brevard College (Brevard, NC). After receiving her Bachelor of Arts in Music with a minor in English, she has decided to make the shift from coloratura to columnist and pursue a M.A. in journalism at the University of Colorado Boulder this coming August 2016. She currently writes for the Brevard Chapter of The Odyssey and has been featured in both of the student-run publications on Brevard College’s campus, The Clarion and The Chiaroscuro.
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