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Hailed as “fearless” (Opera News) and “masterful” (Tulsa World) with a “powerful…and gorgeous voice” (MinnPost), Alexandra Loutsion continues to be recognized for her passionate performances and vocal versatility as a rising star on the operatic stage. Ms. Loutsion’s 2020-2021 season includes her debut with Chicago Opera Theater singing the leading role of Kayla in Kamala Sankaram’s Taking Up Serpents. Prior to the COVID-19 pandemic, she was to join the roster of the Lyric Opera of Chicago in its production of Verdi’s Attila covering the leading role of Odabella, return to Pittsburgh Opera singing the title role in Verdi’s Aida, and debut with the Tallahassee Symphony Orchestra as the title role in excerpts from Puccini’s Tosca.
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Alexandra Loutsion was also to make her Opera Ithaca & Symphony of the Mountains debut as Mother/Witch in Humperdinck’s Hansel and Gretel as well as Julia Child in Hoiby’s Bon Appétit!. All have been cancelled or postponed. Her 2019-2020 season included her role and company debut with Minnesota Opera singing the title role in Strauss’ Elektra, a return to Pittsburgh Opera singing the title role in Daniel Catan’s Florencia en el Amazonas, a debut with Austin Opera (cancelled due to COVID-19) and return to Palm Beach Opera singing the title role in Puccini’s Turandot, and a debut with the Chicago Philharmonic (cancelled due to COVID-19) performing excerpts from Kamala Sankaram’s Taking Up Serpents. She also joined Austin Opera as a soloist for the Serenata Wine Gala and Chicago Opera Theater for its Season Reveal Gala. She finished the season with Pittsburgh Festival Opera as a featured soloist with Christine Goerke and Marianne Cornetti for the “Gathering of the Goddesses” benefit gala (cancelled due to COVID-19).In the 2018-2019 season, she made her international debut with Canadian Opera Company singing the Overseer and covering the title role of Strauss’ Elektra, offered a “career-defining interpretation” of Leonora in Verdi’s Il Trovatore with Central City Opera, and debuted as Turandot with New Orleans Opera. She also debuted with San Francisco Opera singing the Overseer in Elektra and covering Turandot. |
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Dr. Edward Rothmel has worked extensively as a pianist, coach, and conductor throughout the United States and abroad. A frequent vocal coach to students, Dr. Rothmel strives to guide them in a proper approach and performance practice for their current repertoire while also developing their independent musicianship, fostering stylistically appropriate interpretation throughout their careers. Dr. Rothmel recently joined the faculty at the Boston University Tanglewood Institute, where he serves as coach and pianist to exceptional young singers from across the globe. He has also enjoyed a close affiliation with Eastman Opera Theatre as Assistant Conductor and Chorus Master, where he spent several seasons coaching undergraduate and graduate students on all aspects of role preparation, in addition to developing the chorus musically and conducting chorus rehearsals.
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At Eastman Symphony Orchestra, Dr. Rothmel served as rehearsal pianist and coach to Renée Fleming, collaborating with her in preparation for the premiere of a new work, Letters from Georgia, by Kevin Puts. Previously, he has served on the faculty of Si Parla, Si Canta in Urbania, Italy, where he collaborated with Jennifer Johnson Cano, Beatrice Benzi, and Benton Hess, while mentoring young singers and pianists in Italian vocal literature. Other appointments include Opera Scenes and Vocal Coach at Mo. Lorin Maazel’s Castleton Festival, Assistant Conductor and Opera Scenes Coach for Florida State University’s Opera Department, and an ongoing private coaching studio in Rochester, NY. Dr. Rothmel’s students have gone on to many of the nation’s most prestigious programs such as the Lindemann Young Artist Program at the Metropolitan Opera and the Merola Opera Program, and have won major awards including the Metropolitan Opera National Council Regional Auditions and Orpheus Vocal Competition. As a collaborative pianist, Dr. Rothmel has appeared in recital at Weill Recital Hall at Carnegie Hall with tenor Albert Lee, and as a guest at institutions such as Pennsylvania State University, Oklahoma City University, and Mississippi College. He has served as Masterclass and Guest Teacher at University of North Texas, Ithaca College, and elsewhere. His presentation “Enhancing Opera Scenes Through Use of Reduced Orchestration” was nominated for the 2018 Lecture Recital Prize at the Eastman School of Music. He received his DMA in Piano Accompanying and Chamber Music, with a Minor in Vocal Coaching from the Eastman School of Music where he studied with Dr. Jean Barr and was the recipient of the 2019 Jean Barr Award. He is also a graduate of Florida State University’s College of Music, where he earned both his BM and MM in Piano Performance. |
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During our lunch break, grab a sandwich and get advice from a recording tech pro.
Professional recording engineer, classical musician, and founder of Sus 4 Productions Drew Sutherland has the answers to help you navigate audio-video technology, from hooking up your equipment to making the most of your audition space. Come with your questions ready! |
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Building on the Arts Entrepreneurship courses they teach at the University of Missouri-Kansas City, co-founders Nick Petrella and Andy Heise launched the Arts Entrepreneurship Podcast: Making Art Work.
Their goal is to share how entrepreneurs in the arts are aligning their artistry, passion and vision, and are making art work for them. The podcast features entrepreneurs from all art forms, so each episode has relevant information for anyone interested in participating in some aspect of the arts industry. “It’s entertainment that educates,” say Heise and Petrella. “A podcast is a flexible and timely way to stay up-to-date with arts leaders, trends and information in a format that’s readily available to audiences everywhere.” |
