Tag Archives: Mimmi Fulmer

School of Music announces David Ronis as visiting director of opera

The UW-Madison School of Music is pleased to announce the appointment of opera director David Ronis to serve a one-year term as Visiting Assistant Professor, Director of University Opera, replacing William Farlow, who retires this year after 16 years in the position. His final production of Hector Berlioz’s Béatrice et Bénédict will be staged Tuesday, April 15, in Music Hall.

David Ronis.
David Ronis.

Ronis, a tenor with many singing and acting roles to his credit, is currently on the faculties of the Aaron Copland School of Music, Queens College/City University of New York, and Hofstra University on Long Island, where he teaches voice, directs opera, and coaches singers on acting and auditioning skills.

“The voice and opera programs are delighted to welcome David Ronis,” says Mimmi Fulmer, professor of voice and opera at the School of Music. “Mr. Ronis will direct two full productions for University Opera during the 2014-15 season, as well as join me in teaching Opera Workshop. He brings a background of a distinguished singing career in both opera and musical theater as well as extensive credits as a director. We are fortunate to have him contribute his artistry and experience to our singers and our audiences. I am looking forward to the opportunity to work together to present another wonderful season of University Opera.”

Ronis’s resumé is impressive. His 2009 and 2011 productions of Monteverdi’s L’Orfeo and Argento’s Postcard From Morocco won first and third place, respectively, in the National Opera Association Opera Production Competition. Other recent productions include L’incoronazione di Poppea, Suor Angelica, La Damoiselle Elue, The Magic Flute, Le Nozze di Figaro, and Dido and Aeneas at Queens College, Rigoletto for the Queens Symphony Orchestra, Cosî fan tutte for OSH Opera, From Berlin to Potsdam: A Kurt Weill Cabaret for the Crane School of Music at SUNY Potsdam, and a portion of Gregg Wramage’s Death in Summer at the Manhattan School of Music, part of their annual “From Page to Stage” series.

Mr. Ronis is also the co-director of the Baroque Opera Workshop at Queens College, a faculty member at the Westchester Summer Vocal Institute, and served as the local chair for the National Opera Association’s January 2014 convention in New York City.

Ronis visited UW-Madison in March and says he was “very impressed with the students.”

“Their skill level is very high, they were very engaged, interested and motivated. They asked really difficult questions. I just loved it,” he added.

David Ronis.
David Ronis as “Lumiere” in Disney’s “Beauty and the Beast.”

Mr. Ronis has sung over 50 operatic roles, including performances of the Witch in Hansel and Gretel, the Four Servants in Les Contes D’Hoffmann, Prince Orlovsky in Die Fledermaus, Basilio and Curzio in Le Nozze di Figaro, and Goro in Madama Butterfly. He has appeared on stages from Milan’s La Scala to Vienna, New York to Hong Kong. He also has performed as a soloist in the world’s most famous halls and at summer music festivals and has acted in many musical theater productions, independent films and commercials. He is a member of the National Opera Association, National Association of Teachers of Singing, the College Music Society, Actors Equity Association, the American Guild of Musical Artists and the Screen Actors Guild.

Mr. Ronis received his B.F.A. degree from Purchase College of the State University of New York and the M.A.L.S. (Master of Arts in Liberal Studies) in Opera Studies, an interdisciplinary research degree, from Empire State College/SUNY. He also studied at the Conservatoire Americain in Fontainebleau, France, then under the direction of the legendary teacher, Nadia Boulanger. Additionally, he received the Anthony Gishford Award to attend the Britten-Pears School in Aldeburgh, England, where he worked with the late Sir Peter Pears.

For more information, please email or call Mimmi Fulmer, fulmer.wisc@gmail.com. 608/263-1882.

Meet winning “Showcase” composer; violist Goldstein to solo at Carnegie Hall

Meet the mystery composer behind “Poema for Saxophone and Orchestra,” to receive its premiere Feb. 8

We’re happy to finally present Daria Tennikova, the Russian-born composer at the School of Music whose new work will be premiered (with sax soloist Erika Anderson) on February 8, 7 pm in Mills Concert Hall, along with the other winners of the annual concerto competition. This year’s recital has a name, Symphony Showcase, and will be followed by a ticketed reception at at the Memorial Union’s Tripp Commons for all students, parents, faculty, alumni, board members, and the community. Please help us celebrate the fine work of our students and join us for both! Proceeds will help fund student scholarships. Buy your tickets here: http://www.arts.wisc.edu/

Daria Tennikova, the winning composer in this year's concerto competition. Photo by Katherine Esposito.
Daria Tennikova, the winning composer in this year’s concerto competition. Photo by Katherine Esposito.

“Daria’s an unusual woman,” says composition professor Stephen Dembski. “She came up through the Russian conservatory system, and has gradually adapted to the American system while keeping a fierce intensity in her work, which is quite striking.”

Here’s Daria’s bio, from an earlier announcement:

“Daria Mikhailovna Tennikova was born in Saint Petersburg, Russia, in 1989. She began taking composition lessons from Natalia Karsh of the Composers Union of Saint Petersburg, but initially chose to focus on piano rather than pursuing a career in composition, receiving an associate degree in piano performance and pedagogy from St. Petersburg’s Mussorgsky College of Music in 2008. Her work received its first public performance at the college when her “Three Lilies” for soprano and piano was played as part of a final accompaniment exam. Daria moved to the United States in 2009 and began devoting more time to composition. In 2010 she began pursuing a bachelor’s degree in composition at UW-Madison, studying with professors Laura Schwendinger and Stephen Dembski. Poema for Saxophone and Orchestra is Ms. Tennikova’s most recent composition, and her very first work for orchestra. She says, ‘I began thinking about writing a piece for soloist and orchestra last spring. Originally I wanted it to be for a piano soloist, and I wrote the main theme with something “Russian” in mind. Later in the spring of 2013, I heard Erika Anderson play Anthony Caulkins’ saxophone piece at a concert. I was moved by her wonderful performance to write my piece for saxophone soloist. I wanted Erika to play it, so I asked her if she would be interested in collaborating and, being both a wonderful person and a great musician, she agreed to play without even hearing the music! I am very grateful to her for giving my piece a beautiful performance!”

March residency to feature singers and music from Finland

(L to R): Aulikki Eerola, Pertti Eerola, and Eija Jarvela.
(L to R): Aulikki Eerola, Pertti Eerola, and Eija Jarvela.

Three revered Finnish musicians from the faculty of the Sibelius Academy in Helsinki, Finland, will be in residency at the School of Music during the first week of March to present master classes, workshops, and discussions on Finnish music education. The week will be capped by a concert at Luther Memorial Church on Saturday, March 8th, at 1 pm. All events are free and open to the public. Read more here.

Clocks in Motion profiled in the Wisconsin State Journal

New work to be premiered this Saturday, Feb. 1

UW-Madison’s newest resident musical ensemble was profiled in last Sunday’s Wisconsin State Journal. “The UW-Madison-based percussion ensemble is breaking ground by reviving rarely performed works, commissioning new music and even inventing its own instruments,” wrote reporter Gayle Worland. “Self-run, ambitious and highly talented, Clocks in Motion is also a group in motion, with a schedule that in the next four months includes seven performances in Madison and a Midwestern tour.  ‘What this group is doing is something that’s quite inspiring, and tremendously unique,’ said UW percussion professor Anthony Di Sanza, who is teaching or has taught each of the young musicians who make up Clocks in Motion.” Read the full story here.

On Sunday at 7:30 pm in Mills Hall, the group will present “Earth and the Great Weather,” a collaborative multi-media performance depicting the Arctic landscapes of Northern Alaska, to include percussion, strings, chorus, digital delay patterns, spoken texts, and pre-recorded nature sounds. The work was composed by John Luther Adams.  Performers will include Chelsie Propst, Sarah Richardson, Cheryl Rowe, and Paul Rowe will comprise the vocal chorus, and Carol Carlson, Max Fisher, Spencer Hobbs, and Mikko Utevsky will serve as the string quartet. Steve Gotcher, audio engineer for Audio for the Arts, will control the complex electronic component of the performance. Matthew Schlomer will conduct.

Alumnus Elias Goldstein to solo at Carnegie Hall

Elias Goldstein and Roxana Pavel
Elias Goldstein and Roxana Pavel

Viola professor Sally Chisholm informs us that her former student Elias Goldstein, a former Collins Fellow, will perform works of Haydn, Mozart, Boccherini, Paganini, and others at a recital on February 19 at Carnegie Hall. He will be accompanied by Ieva Jokubaviciute on piano and Roxana Pavel Goldstein on violin. Goldstein received his DMA in 2011 from the School of Music and is now professor of viola at Louisiana State University in Baton Rouge.

Pianist Christopher Taylor profiled in Madison Magazine

ChristopherTaylor
Christopher Taylor. Photo by Noah Willman, courtesy Madison Magazine.

Writer Greg Hettsmanberger interviewed UW’s globetrotting pianist Christopher Taylor in a story published in the January issue of Madison Magazine.

What do you tell your students is the most important thing about being a pianist—especially not a professional performer? “I rarely try to boil this craft down to one overriding principle, but obviously I consider it a basic prerequisite for a student to be motivated by love of the art and curiosity about understanding its multifaceted glories. Provided those ingredients are present, then the student will thrive musically, regardless of his or her professional ambitions or prospects,” Taylor answered. Read the full story here. And catch Christopher Taylor in his only Madison appearance this year, performing Prokofieff’s Sonata No. 6 and Beethoven’s Symphony No. 3 in E flat, as arranged by Franz Liszt, at Mills Hall on February 28, 8 pm.

Tuba prof John Stevens kicks off a pre-retirement semester of concerts

John Stevens
John Stevens

Read about the life of John Stevens in this story by writer Paul Baker, which includes an image of him sporting a tuba at the 1980 Tony Awards. Stevens presents a wide variety of concerts this spring, starting February 11 with a faculty recital. Download the complete schedule here: Spring2014_Stevens_concerts

March residency to feature musicians and songs of Finland

(L to R): Aulikki Eerola, Pertti Eerola, and
(L to R): Aulikki Eerola, Pertti Eerola, and Eija Jarvela.

Three revered Finnish musicians from the faculty of the Sibelius Academy in Helsinki, Finland, will be in residency at the School of Music during the first week of March to present master classes, workshops, and discussions on Finnish music education. The week will be capped by a concert at Luther Memorial Church on Saturday, March 8th, at 1 pm. All events are free and open to the public.

This residency is designed to provide American singers and educators with a connection to Nordic repertoire and to the world-renowned Finnish music education system. The musicians, two singers and one coach/pianist/organist/choral conductor/composer, will work with individual singers from around the state, giving presentations on Finnish diction at the language diction class, Finnish song literature at the graduate song repertoire seminar, and the music education in Finland at a music education class. They will also be in residency at UW-Milwaukee for three days, presenting similar classes.

SCHEDULE UPDATE FOR MADISON, posted Feb. 19:

Sunday, March 2   2:00-5:00 Master Class for singers and collaborative pianists (Music Hall)

Monday, March 3  11:00-11:50 Presentation on Finnish song repertoire  (2531 Humanities)

Tuesday, March 4  11:00-11:50 Presentation on Finnish diction (2451 Humanities)

1:10-2:25 Presentation on Finnish music education system (2411 Humanities)

Saturday, March 8    1:00 concert at Luther Memorial Church (1021 University Avenue), including a world premiere of a work for two voice and organ

followed by gathering in church basement to talk with audience

Aulikki Eerola is Professor of Voice at the Sibelius Academy, and has had a distinguished career in opera, concert, and recording, including singing Pamina at Savonlinna, and winning awards in the Robert Schumann Competition and the Hugo Wolf Competition in Salzburg. Her studies include two years at the Vienna Academy of Music and the Vienna Conservatory, where she worked with legendary pianist and coach Erik Werba. She has presented concerts of lieder in Europe, Canada, the United States and Russia. She has performed live and for radio recordings on the BBC as well as the Austrian, French, German, Danish, Polish and Swedish radios. Her discography includes thirty recordings (Finlandia, Fuga, APJH).

Pertti Eerola is music director of Johannes Church in Helsinki, where he serves as organist and conductor of the chamber choir and orchestra. He has performed in lieder recitals with artists including Martti Talvela and Jorma Hynninen. He has been the official competition pianist for the Lappeenranta Singing Competition, the Timothy Black Rock competition, and the Hugo Wolf Competition. He has performed in concert as a piano soloist, organist and chamber musician throughout Europe, the US, China and Singapore. Pertti Eerola is featured on more than 30 CD recordings with artists including Martti Talvela, Soile Isokoski, Jouko Heikkilä and Aulikki Eerola. He has worked in recordings as a pianist, organist and conductor. He has served as coach of the Finnish National Opera and the Savonlinna Opera Festival, and has been on the faculty of the Sibelius Academy since 1984.

Eija Jarvela is on the faculty in Vocal Arts and Vocal Pedagogy at the Sibelius Academy. She received her musical training at the Sibelius Academy, graduating with diplomas in Voice Performance and Vocal Pedagogy, Doctor of Music in Performing Arts. She studied German Lied in Vienna with Erik Werba, and completed her studies in London at the Guildhall School of Music and Drama. She has appeared as soloist with the Finnish National Opera and other companies around Finland and also in recitals in Finland, many European countries, Brazil and México. Teaching engagements include master classes, lectures and workshops in Finland and also in Brazil, México and France. During her doctoral studies she broadened her knowledge to acoustical aspects of the singing voice leading to a paper, “Conveyed Intention, A study of some acoustic aspects as related to production and perception of certain sung vowels.” Her interest in pedagogical research has led her into collaborative work with colleagues representing various instruments and aspects of teaching.

The residency of three members of the Sibelius Academy faculty in March is the latest part of voice professor Mimmi Fulmer’s research and performance of Nordic song repertoire. The granddaughter of immigrants from Finland and Sweden, Professor Fulmer has received grants from the American-Scandinavian Foundation, the Finlandia Foundation, and the UW-Madison Graduate School to pursue her work on classical, sacred, traditional, folk, and children’s songs in Finnish, Swedish, and Norwegian. Her CD, “Voyage Home: Songs of Finland, Sweden and Norway” was released on Centaur Records earlier this year. She is editing a two-volume anthology of songs in Finnish, Swedish, Norwegian, and Danish, including phonetics and recordings of the spoken texts, to be published by Subito Music in 2014.

The March 8th concert at Luther Memorial Church will be followed by a gathering in the church basement to talk with audience, organists, church music directors, singers, and others. The repertoire will feature Finnish music for voice, piano, and organ.

All events are free and open to the public; see details below or download them here.   Sponsors include the Finlandia Foundation, the Kemper-Knapp Bequest (UW-Madison), the Vilas Trust (UW-Madison and UW-Milwaukee), the Department of Scandinavian Studies (UW-Madison), and the Association of Church Musicians (Madison).

Finnish music strongly reflects the seasons, as life is shaped by the long winter and the longing for spring. Quiet, loneliness, and isolation are frequent themes, and the deep tradition of folk music  is a beloved touchstone of cultural and musical identity.  Music has  also been shaped by history and wars, during which traditions, land and even the language has been taken over by other countries.  With the comprehensive music education and community involvement in music-making in Finland, the boundaries between classical and popular music are much more porous than in the United States.

The roots of Nordic music are found in folk music.  After centuries of political turbulence, music was  a key element in forging a strong national identity for Finland during the late 19th century.  Songs allowed music-lovers to enjoy music in their homes, and strengthen ties created by poetry and music that reflected national sensibilities.  Thus songs illuminate the hard-won cultural, language, and political identities for these countries. The Kalevala (a book and epic poem set to music) helped inspire the national awakening that let to Finland’s independence from Russia in 1917.  The composer Jean Sibelius’s “Finlandia” (1899) played a role in the drive for independence as well.

From around 1200 until 1809 Finland was a part of Sweden.  In the second half of the 19th century, Finnish was recognized as the official language in Finland and the Finnish-language secondary-school system was founded.   Today Swedish remains the second official language of Finland.

The Kalevala is a keystone to Finnish culture and identity.  Held to be the national epic of Finland, it consists of 22,795 verses.  It was usually sung to tunes built on 5 notes, with lines consisting of 5 beats.  Despite the vast geographical distances separating the individual singers, the poetry was always sung in the same meter, with 8 syllables per line (Kalevala meter).  The most famous example of the Kalevala’s influence upon another author is J.R.R. Tolkien, who claimed the Kalevala as a source for writings which became the Silmarillion. It has inspired many musicians, ranging from composer Jean Sibelius to Finnish rock and metal bands.

In contemporary Finland, there are strong traditions of historically significant music as well as rock music and the tango.  In fact, Finland is divided between the north (devoted to the tango) and south (producing numerous rock bands).   Hundreds of music and song festivals take place throughout the country, especially during the summer, when well-attended concerts take place in churches and other venues, from the smallest village to the largest cities.

We hope you will join us for this very special event! For more information, contact Mimmi Fulmermkfulmer@wisc.edu

Sibelius Academy Faculty Artist Residency, March 2014

ALL EVENTS FREE AND OPEN TO THE PUBLIC

 University of Wisconsin-Madison

Sunday, March 2   2:00-5:00 Master Class for singers and collaborative pianists (Music Hall)

Monday, March 3  11:00-11:50 Presentation on Finnish song repertoire  (2531 Humanities)

Tuesday, March 4  11:00-11:50 Presentation on Finnish diction (2451 Humanities)

1:10-2:25 Presentation on Finnish music education system (2411 Humanities)

(Wednesday March 5-Friday March 7: classes and recital at UW-Milwaukee)                                

Saturday, March 8    1:00 concert at Luther Memorial Church, followed by a church gathering with audience members, organists, church music directors, singers, and others.

Keeping options open: How alums & Wisconsin natives Stampley & Schmidt found their ways to Broadway

It was a chance meeting and a bright idea, hatched at a summertime party in Madison celebrating a baby’s birth. Voice professor Mimmi Fulmer, former UW Opera director Karlos Moser, and Nathaniel Stampley and proud papa Jamie Schmidt, two alumni now with successful careers on Broadway,  got into a lively chat. Mimmi had a thought: how about a reunion concert this fall?

It was vintage Fulmer: enthusiastic and lively, said Stampley. “She’s been that way since I first met her when I was 16 years old” as a teenager from Whitefish Bay attending the Summer Music Clinic, he said. “She’s an amazing person. Nothing much has changed! Next thing I knew, I was coming to Madison in September,” he added, laughing.

Jamie Schmidt and Nathaniel Stampley,
Jamie Schmidt and Nathaniel Stampley, following a performance of “Lost in the Stars” in 1998. Photo by Carla J. Schmidt.

Over the past fifteen years, Stampley (BM, voice, 2008) and Schmidt (BMusEd & piano, 1996; MM, conducting, 1998) have risen to the top of their professions, Schmidt as a pianist and conductor for singers and musical theater, Stampley as a Broadway singer and actor. Stampley, fresh off a run as the understudy to Norm Lewis’s “Porgy” in the New York City show,  “The Gershwin’s Porgy and Bess,” was scheduled to play that lead part in the national tour this fall. And Schmidt, who hails from the Madison area, was beginning his third year as the associate conductor for the national tour of “The Lion King.” He could fly in from Pittsburgh, taking a couple of days off from the Lion King. The timing was perfect. They agreed to come.

Nathaniel Stampley
Nathaniel Stampley

So it’s a date. On September 22 and 23, the duo of Stampley and Schmidt will perform a show of Broadway tunes at Mills Hall at the UW-Madison School of Music. It’ll be a reunion of two close friends who first met each other as singers in the former Prof. Robert Fountain’s UW Concert Choir in the mid-1990s, and continued on campus for over three years, Nate singing, Jamie accompanying him on piano. That’s the plan for this one-time show, and they’ll follow the next day with a master class in Music Hall offering tips about music, singing, and careers.

Both events are free and open to the public, and are underwritten by Opera Props, University Opera, and the School of Music.

Mimmi Fulmer has many fond memories of the two young men. “I first heard Nate sing when he was 16 years old, when he was auditioning for a Summer Music Clinic scholarship,” she said, in an email.  “His star power was all there, even at that age: a glowing presence, warm and musical phrasing, and that voice!  He brought that same vitality to his studies at Madison.  I can remember clearly every performance he did in Opera Workshop and with University Opera–you don’t forget that kind of electricity.”

Jamie, who studied piano under Professors Todd Welbourne and Howard Karp, wound up conducting opera almost by accident after former opera director Karlos Moser offered Jamie a fellowship to pursue a masters degree with him.  “It was the chance of a lifetime,” said Jamie. He said yes.

“Jamie did something invaluable to a career: recognize an opportunity and make the most of it,” Prof. Fulmer said. “When he graduated, he had the skills and experience to start his professional career as the founding Music Director for American Girl Place Theaters in Chicago.  Since then, his career has taken him everywhere, as he remains the consummate musician and colleague that we all loved during his student days.”

Jamie and Nate shared a few thoughts about UW-Madison and the world of show business. 

Jamie Schmidt
Jamie Schmidt

Jamie, who had intended to design cars as a mechanical engineer, changed his mind during his senior year of high school:  “By this point, I had missed most audition deadlines to many music schools. The last place I wanted to go was UW-Madison, because I had spent my entire life in Madison, and wanted to get away and be free and be my own man. Fortunately, I had not missed the deadline to audition here, and my piano teacher at the time correctly thought that Todd Welbourne would be the right teacher for me. It was a fortunate, happy accident.”

Nate, on how he wound up in musical theater, as UW offers only opera: “I sort of fell into musical theater. It definitely was not the original plan.”  But after graduating and returning to Milwaukee, he received an offer to return to perform in UW’s show, “Lost in the Stars,” by Kurt Weill, with Jamie conducting. One thing led to another, and he wound up in Chicago doing a variety of shows. “A couple years later, I got a random call for the national tour of ‘Ragtime,'” he said. “They asked, ‘Can you fly to New York?’ I did, and I got the job, in the ensemble. From that show, I got an agent.” By 2005, he was on on Broadway in “The Color Purple.”

Jamie, on his teachers at the School of Music:  “My first four years of undergrad, I studied piano with Todd Welbourne; my final two years of undergrad I studied with Howard Karp, both wonderful teachers who gave me a solid technical and musical foundation at the keyboard. Karlos Moser was the Director of Opera, and he was the sole reason that I stayed on for my graduate work: he secured a Bolz Fellowship which funded my masters degree. His guidance was, and remains, invaluable to me, a true mentor and friend for life. My conducting studies during graduate work were with Jim Smith, one of the more thoughtful, seeking and accomplished musicians I have had the fortune to know and learn from.”

Nate, on how he manages to sing eight shows a week and still preserve his voice: “The biggest thing is rest. You have to get your rest, in order to have a quick turnaround, especially on a two-show day. We literally use our instrument all the time; we don’t have the luxury of putting it in a case. So the equivalent is just to be quiet. But what works for me may not work for everyone. Some people can go out and drink, and sound like a million bucks the next day.”

Jamie Schmidt and Liza Minnelli.
Jamie Schmidt and Liza Minnelli.

Jamie, on what it’s like to work on Broadway:  “When I first began subbing shows on Broadway, I felt like a kid going on the big rollercoaster at Great America for the first time. It is not a university atmosphere, so there is no safety net, no excuse of being a student. You must nail it, or you are not asked to play again. So many things are learned on the fly: how to play a synthesizer with volume and patch change pedals (instead of a piano); how to follow the conductor through a video monitor (and adjust for latency); how to play as a rhythm section member rather than a soloist; and on and on. There are so many talented musicians in New York, of course– it is the ultimate destination for theater.  Every time you play is an audition for someone, somewhere, perhaps years down the road. This was my path to my current position as Associate Conductor with the Lion King national tour; I was associate conductor for the Kennedy Center’s production of Ragtime, and did a lot of vocal coaching with the woman cast as Sarah. A couple of years later, I received a call to interview for Lion King. It turned out that her husband was the former Music Supervisor for Lion King worldwide. The circle of life, truly…”

Jamie, on how he wound up working with the likes of Liza Minnelli and Bernadette Peters, and how they keep going after so many years on the stage:  “I conducted the Kennedy Center Spring Gala in 2010, and Liza was the emcee. We hit it off, and she hired me to conduct her symphonic tour shortly therafter, which led me to conduct the St. Louis, Atlanta, San Diego, Richmond, Indianapolis and Dallas Symphony Orchestras. She is a born entertainer, and I was excited for the chance to make music with her, especially with orchestras of that caliber. What keeps people like Liza and Bernadette going? I cannot presume to know them intimately, but it seems performing and entertaining is what they know, what they have spent their lives doing. Not to do it would be like not eating, it is what keeps their internal gears running smoothly.”

Asked what advice he’ll offer to aspiring performers, Nate replied: “I honestly believe we all get a shot at making it. The biggest thing is knowing what you want, even if it’s pie in the sky, even if it’s ‘I want to be the lead in a Broadway musical,’ or ‘I want to sing at the Met in ten years.’ Go for it!”

Stampley to star as Porgy in Broadway tour

We’re happy to announce that SOM vocal alumnus Nate Stampley (BM 2008) will tour as Porgy in the touring Broadway production of The Gershwin’s “Porgy and Bess.”

Image
Soon on tour: Alicia Hall Moran (Bess) and Nathaniel Stampley (Porgy)

Stampley, who studied with Professor Mimmi Fulmer while here in Madison, also starred as Mufasa in “The Lion King” on Broadway, and played both Robbins and Porgy in American Repertory Theatre’s 2012 “The Gershwins’ Porgy and Bess.”  He was in the cast of the Broadway production “The Color Purple,” played Mufasa in West End London in a long-run production of “The Lion King” and toured across the United States in “Ragtime.”

http://www.broadway.com/buzz/168509/alicia-hall-moran-and-nathaniel-stampley-to-headline-porgy-and-bess-national-tour/