For the same reason that we choose performance repertoire based on our participants, our extraordinary faculty is selected annually based on the operas/scenes to be performed and the specific needs of those participants. This means that the program is about "you" rather than "us." We select faculty members who are well known for their knowledge of current industry standards as well as for their gifts as performers and instructors.

The 2009 faculty included James Caraher and Louis Salemno, two international-level opera conductors, superb coach-pianists, both in a position to engage singers. They were joined by Laurie Rogers, a gifted collaborative pianist with comprehensive knowledge of operatic repertoire and languages. All three maestri coached and accompanied lessons and rehearsals, offering the singular experience of working one-on-one with conductors/artistic directors in hiring positions.

The Master Teachers in 2009 (Soprano and Program Co-Founder Amy Johnson, also in a hiring position, and Tenor Mark Thomsen) are active professionals, known as consummate technicians, and are especially skilled at imparting their knowledge of all aspects of a professional performer’s package.

Stage director and Program Co-Founder Vernon Hartman, in a hiring position as well, guided the dramatic development of the participants while serving as stage director for the fully-staged operas.

In the spring of 2006, Maestro Hugh Keelan performed as piano soloist in Beethoven’s 4th Piano Concerto with the Erie Philharmonic in addition to conducting Die Meistersinger Prelude, Till Eulenspiegel and the Afternoon of a Faun. These performances were a highlight of Maestro Keelan’s tenure as Music Director of the Erie Philharmonic, following a 15-year tenure as Music Director of the Northeastern Pennsylvania Philharmonic, an orchestra of extraordinarily high quality calling on the finest players from New York and Philadelphia.

Born on Kingston-upon-Thames in England, Hugh Keelan has been a pianist since age 8, later also a violist. At the age of 16 Maestro Keelan conducted Beethoven’s Emperor Concerto in the Great Hall of the Moscow Conservatory. He went on to study Music at Cambridge, his primary mentor being Robin Holloway, graduating with a Double First, the Hughes Prize ‘for outstanding excellence’, and the award of a coveted Harkness Fellowship (comparable to a Rhodes Scholarship) that allowed him to study conducting at Indiana University and Mannes College. Remaining in New York for private study with Vladimir Kin (from the Leningrad school of Mravinsky and Rabinovich,) he worked at the American Opera Center at the Juilliard School.

In the opera house Maestro Keelan worked with such luminaries as Sir Georg Solti, Sir Bernard Haitink and Sir Colin Davis.

Maestro Keelan is known and admired for his ability to connect very deeply with the performers with whom he works, and through them communicates an extraordinary power and enthusiasm to the audience. His major influences are the great conductors of the mid-20th century (Beecham, Klemperer, and De Sabata amongst others) and in our own times Carlos Kleiber.

Amongst many Guest Conducting engagements, highlights have been with the Saint Louis Symphony, La Fenice in Venice, the New Zealand Symphony Orchestra and the Residentie Orchestra of The Hague.

Maestro Keelan is admired as an arranger, most recently having performed his own orchestration of Szymanowski’s Romance op.23 with the Erie Philharmonic and their concertmaster Ken Johnston. Generating particular interest are his series of orchestrations of Harry Burleigh’s Spirituals for solo voice and orchestra. Commissioned by The Burleigh Society, these are esteemed for being true to the original unadorned power of the spirituals that Burleigh transcribed and the deep sensitivity of Burleigh’s own arrangements, while channeling the urgency of our own times. These will become available through hughkeelan.com along with other arrangements and orchestrations, ranging from a Christmas/Hanukkah Holiday Medley to an orchestration of Beethoven’s Hammerklavier Sonata.

Maestro Keelan is very proud of the deep community loyalties he has created. A sense of personal identification through professional and personal channels with the community is essential in today’s world. He has performed many times with his wife, Laurie Green, in classical, operatic and Broadway repertoire---not only as conductor, but playing the role of Henry Higgins in My Fair Lady to Ms. Green’s Eliza Doolittle.

Opera conductor James Caraher, Artistic Director of Indianapolis Opera for the past sixteen years, continues to “wow” his audiences and critics with impressive productions. He has been acclaimed for his deliberate attention to ensemble casting and collaboration between all performers – in the pit and on stage. The success of his collaborative philosophy is well stated in these remarks about his production of Wagner’s Der Fliegende Holländer: “The real stars of this production, however, were Caraher and the Indianapolis Symphony Orchestra…the Indianapolis Opera artistic director had his players and singers integrated and balanced to near perfection.”

Often referred to as “the singers’ conductor,” Mr. Caraher is a master at controlling the reins of the many forces of grand opera while clearly communicating his musical desires to each performer. American Record Guide said of his Ballad of Baby Doe: “Caraher led a gently effective accompaniment, with careful regard for the needs of his singers.” And Opera News posted that “The Indianapolis Symphony responded to Caraher’s every wish” in Indianapolis Opera’s production of Macbeth.

Caraher’s recent seasons with the Indianapolis Opera have included performances of Il Barbiere di Siviglia, Madama Butterfly, The Crucible, Falstaff, Werther, Les Contes d’Hoffman, Cosí Fan Tutte, Lucia di Lammermoor, Les Pêcheurs de Perles, The Merry Widow, Le Nozze di Figaro, Turandot, Carmen, La Fille du Regiment, Die Zauberflöte and Tosca.

Caraher first realized his fondness for opera while a rehearsal accompanist for Tri-Cities Opera in Binghamton, New York. From there he moved to The Syracuse Opera Company as assistant music director and chorus master ending his first season at the podium with a performance of Rigoletto. Showing talent and poise, the young Caraher was promoted to music director and principal conductor. He held this position until 1988 when a partnership between Syracuse Opera and Indianapolis Opera enabled him to expand his horizons to include the title and duties of music director for Indianapolis Opera. For several seasons, he assumed the additional responsibility of music director for Opera Memphis. His tenure as artistic director and principal conductor of Indianapolis Opera has been one of growing success for the company and its audiences.

In 2001, Caraher participated in a joint production of Porgy and Bess for the Indianapolis Opera and Opera Company of Philadelphia. The sold-out production was proclaimed by The Philadelphia Inquirer as “one of the Opera Company of Philadelphia’s great triumphs of music and stagecraft.”

Caraher frequently serves as guest conductor for other symphonies and opera companies and has lent his talents to The Opera Company of Philadelphia, Nashville Opera, Kentucky Opera, Opera Memphis, New Jersey Opera Festival, Imperial Symphony Orchestra (Florida), El Paso Opera, Fargo-Moorhead Opera, Youngstown Symphony, Greater Buffalo Opera and Opera Delaware. He devotes much of his time to the development of young singers while directing the Indianapolis Opera Ensemble, the company’s Young Artist Program, and has spent several summers as a music director for the Ash Lawn Highland Music Festival in Charlottesville, Virginia. In addition to symphonic literature and opera, Mr. Caraher enjoys conducting musical theater and ballet, and is an active vocal coach and accompanist.

In 1988, Mr. Caraher was honored by his alma mater, Hamilton College, in Clinton New York, with the Hamilton College Alumni Medal for significant contributions to the performing arts. In 2004, on the occasion of the 25th anniversary of his conducting debut, he was given the honor of being declared a Sagamore of the Wabash, Indiana’s most prestigious civic award, by then Governor Joe Kernan, and was made a Distinguished Citizen of the City of Indianapolis by Mayor Bart Peterson.

Mr. Caraher has arranged and produced two audiotapes for children. The first was a collection of safety songs called Play It Safe, and the second, Peace Is For Everyone, was a commission by the Indiana Coalition Against Domestic Violence. He lives in Indianapolis, Indiana with his wife Denise and his two children Paige and Patrick.

http://www.indyopera.org

Louis Salemno, conductor: Louis Salemno is a regular guest conductor with opera companies throughout North America, including L'Opera de Montreal (Carmen, Rigoletto, Tosca, and Il Trovatore) Houston Grand Opera (L'Elisir,Aida, Falstaff,Hansel and Gretel, and Dialogues of the Carmelites),New York City Opera ( Lucia, Tosca ), Opera Pacific (Turandot, Madama Butterfly, and Un Ballo in Maschera), Florentine Opera of Milwaukee (La Traviata, Aida,Don Pasquale, and Andrea Chenier), Michigan Opera Theater (Madama Butterfly), Vancouver Opera( Turandot), Opera Company of Philadelphia (La Boheme ), Baltimore Opera( La Fille du Regiment, La Boheme) , Seattle Opera (La Fille du Regiment), New Orleans Opera (La Traviata, Faust, Tosca, Romeo et Juliette, La Fille du Regiment, L'Elisir d'Amore,Macbeth, La Boheme, and Madama Butterfly), Opera Festival of New Jersey (Tosca, L'Elisir d'Amore, T he Barber of Seville, and La Cenerentola), Opera Omaha ( Lucia, Rigoletto, Carmen ) , Orlando Opera and Utah Opera (Tosca), Madison Opera (La Traviata, Don Giovanni, Trovatore, Romeo et Juliet ),Opera Carolina ( Barbiere di Siviglia, Susanna ), Tulsa Opera ( La Cenerentola ), and Sarasota Opera (Die Enthrung aus dem Serail). He has also appeared in concert with The Houston Symphony, The Madison Symphony, The Krakow Symphony, and The Capetown Symphony.

A native of Philadelphia, Mr. Salemno began his career in opera as musical assistant to Max Rudolf at the Curtis Institute. He was a recipient of the Walter Damrosch Memorial Award for Conductors, which included studies with Nadia Boulanger in Fontainebleau, France. He made his public debut as a conductor at the age of 15 leading the Harrisburg Symphony, which were followed by conducting appearances with the Pittsburgh Symphony Orchestra and the Curtis Institute Orchestra.

Mr. Salemno served as Principal Guest Conductor, Serbian National Theater in Novi Sad, where he led revivals of La Traviata, Rigoletto and Norma, Artistic Director of the Manitoba Opera ( Winnipeg), where he conducted Turandot, La Boheme, Tosca, and Macbeth,and Music Director of the Portland Opera ( Oregon) where he conducted La Fille du Regiment, Il Barbiere di Siviglia, Madama Butterfly, Tosca, Rigoletto, Don Pasquale, Aida, Pagliacci/ Carmina Burana.He has also served as Principal Conductor of the Texas Opera Theater, leading tours of La Cenerentola, La Boheme, Don Pasquale, Rigoletto, La Fille du Regiment, Le Nozze di Figaro, The Barber of Seville, and Madama Butterfly.As Associate Conductor of the Dallas Opera, He conducted matinee performances of La Fille du Regiment, La Traviata, Otello, Andrea Chenier, and Don Carlo.He has served on the conducting staff of Barcelona's Gran Teatro del Liceo, San Francisco Opera under Kurt Adler, and Lyric Opera of Chicago under Bruno Bartoletti. He studied piano with Mieczyslaw Horszowski and appeared as piano soloist with the Philadelphia Orchestra

Opera Company of Philadelphia Assistant Conductor Laurie Rogers is a New England Conservatory of Music alumna and has been a coach and accompanist with Washington National Opera, Boston Lyric Opera, Sarasota Opera, Pittsburgh Opera, Opera Theatre of St. Louis, Glimmerglass Opera, and others. Ms. Rogers has been on the faculties of the Lake Placid Institute for the Arts and New England Conservatory, and accompanies regularly for the Philadelphia Orchestra. She has worked with the Opera Company of Philadelphia since 1996 and was integrally involved in the creation of Richard Danielpour’s Margaret Garner and David DiChiera’s Cyrano. She gives master classes on pianist/singer issues, and has been published in “Classical Singer” magazine. Upcoming engagements include Opera Festival of NJ, Arizona Opera, and the Dallas Opera.

One of America’s finest singing actresses, soprano Amy Johnson continues to expand her activities beyond the scope of her acclaimed stage and concert career. As a performer, she exhibits a unique=2 0combination of versatility, stage magnetism and striking physical beauty, able to portray youth yet having ample vocal brilliance and power to soar over the largest orchestra. Her recent achievements away from the stage (as co-founder of The Professional Advantage, co-principal in a production company, and voice teacher at the university level) are natural outgrowths of her profile as a singer.

Ms. Johnson has earned special acclaim for her portrayal of the title role in Puccini’s Tosca, which she has performed with Glimmerglass Opera, New York City Opera (also broadcast on PBS' Live from Lincoln Center), Palm Beach Opera, Michigan Opera Theater, Indianapolis Opera, Spier Festival in South Africa, Arizona Opera, Nashville Opera, Kentucky Opera, Opera Santa Barbara, Greensboro Opera, El Paso Opera, Kentucky Symphony, Rockford Symphony and Opera Tampa.

Ms. Johnson’s aforementioned versatility can be affirmed by a glance at her extraordinary repertoire - the title role in Salome, Giorgetta in Il Tabarro, Tatyana in Eugene Onegin, Donna Anna in Don Giovanni, Alic e Ford in Falstaff, Fiordiligi in Cosí Fan Tutte, Rosalinde in Die Fledermaus, Mimi in La bohème, the title role in Aïda, Leonora in Il Trovatore, the title role in Madama Butterfly, Marguerite in Faust, the Countess in Le Nozze di Figaro, Liù in Turandot, Donna Elvira in Don Giovanni, Nedda in I Pagliacci, Desdemona in Otello and Santuzza in Cavalleria Rusticana. She has performed these roles throughout the world in such companies as Vlaamse Opera in Antwerp, New York City20Opera, Indianapolis Opera, Portland Opera, Toledo Opera, Orlando Opera, Virginia Opera, Opera Tampa, Knoxville Opera, Bardavon Opera, Pamiro Opera and Piedmont Opera.

Ms. Johnson first received international recognition by being chosen by the composer to create the role of Manuela in the world premiere of Thea Musgrave's Simón Bolívar for Virginia Opera, which she subsequentl y reprised in London (BBC Proms Concerts at Royal Albert Hall)20and in Glasgow and Edinburgh (Scottish BBC). She also sang the world premiere of Ms. Musgrave’s Three Women with the Women’s Philharmonic of San Francisco. Ms. Johnson made her Carnegie Hall debut in 2006 singing the Beethoven Symphony No. 9 in a benefit for the South Asia earthquake victims alongside instrumentalists from the New York Philharmonic and other major orchestras. Other orchestral engagements include the Long Island Philharmonic, West Virginia Symphony, Evansville Philharmonic, Waterbury Symphony, Glacier Symphony, Riverside Symphonia, Rockford Symphony and Kentucky Symphony, with Ms. Johnson performing not only complete operas and operatic excerpts but also challenging concert repertoire, most notably the Four Last Songs20of Richard Strauss.

In operatic, concert and recital appearances, Ms. Johnson has been fortunate to collaborate with many of the world’s finest conductors, directors and accompanists, notably the late Silvio Varviso, Anton Coppola, Joseph Rescigno, George Manahan, Paul Wynne Griffiths, Steven Mercurio, James Caraher, Steven White, Raymond Harvey, Peter Mark, Paul Nadler, Valery Ryvkin, Louis Salemno, Stewart Robertson, Bruno Aprea, Emmanuel Plasson, Stephen Lord, Norman Johnson, Willie Antho ny Waters, Mark Flint, Thomas Conlin, Randall Craig Fleischer, Alfred Savia, Steven Larsen, David Wiley, Robert Lyall, Apo Zhu, Joshua Greene, Hugh Keelan, Kamal Khan, Jerad Mosbey, David Rebhun, Mark Lamos, Fabrizio Melano, Robert Carsen, Marthinus Basson, Marc Verzatt, Vernon Hartman, Kay Walker Castaldo, Bodo Igesz, Mario Corradi, Linda Brovsky, John Hoomes, James Marvel, Sonja Frisell, Harold Prince, Lillian Garrett Groag, Michael Ehrman, Joshua Major, David Morelock, Tomer Zvulun, Lillian Garrett Groag, Claudia Zahn, Bliss Hebert, John Copley and Arvin Brown.

Ever expanding her artistic and vocal horizons, Ms. Johnson (in collaboration with Impresario Productions and Video Ideas Productions) recently created a new, cutting-edge and experimental idea – Twisted Sisters. In a fully staged evening of operatic “mad scenes” performed with orchestra, incorporating interactive projected film images, the artist again exhibits her singular versatility in excerpts from Lucia di Lammermoor, Mefistofele a nd Salome. The project premiered this past January to critical acclaim in performances with Kentucky Symphony, J. R. Cassidy conducting.

Ms. Johnson9s busy schedule for 2008-09 includes Bernstein’s Kaddish Symphony for the Winston-Salem Symphony (alongside narrator Jamie Bernstein), the title role in Salome with Toledo Opera, a series of recitals (Five Languages of Love), Strauss’ Four Last Songs for Rockford Symphony, and her first full Wagnerian role (Freia in Das Rheingold) in a co-production of the Indianapolis Symphony Orchestra and Indianapolis Opera under the baton of Mario Venzago. She is also planning her first solo CD, Amy Johnson in Red, White and Blue, featuring a remarkable cornucopia of operatic selections in seven languages, to be recorded in Europe and conducted by John Fiore.

Ms. Johnson is co-principal of Impresario Productions, LLC, a production company specializing in innovative, cost-effective ways of producing operas, concerts, galas and fundraisers, not only for existing opera companies but also for symphony orchestras, presenter houses, schools and other arts organizations. ( www.impresarioproductions.com). Having maintained a small private vocal studio for the past seven years, Ms. Johnson is now a much sought-after voice teacher, and in the fall of 2008 joined the faculty of The University of Massachusetts-Amherst as a Lecturer-Assistant Professor of Voice.

Ms. Johnson was born in Chariton, Iowa and later moved to Elgin, Illinois. She is a graduate of Grinnell College and holds a Masters degree from Manhattan School of Music. She is a past winner of the Bel Canto National competition, and Baltimore Opera Competition, and a regional finalist in the Metropolitan Opera National Council Auditions.

www.amysjohnson.com

One of America’s most accomplished and acclaimed tenors, Mark Thomsen enjoys a successful career in the United States and abroad. The Dallas Morning News describes him as having “a strong Italianate voice and a physical presence to match.” Mark has been busy making headlines at Lyric Opera of Chicago, where he stepped in at the last minute on opening night in 2005 to perform the role of Don José in Carmen, opposite Denyce Graves. Mark also recently performed with this season’s baritone, Gaétan Laperrière, in Thais at Palm Beach Opera.

Often working repetitively with major companies, Mr. Thomsen has performed to much success with New York City Opera in the title role in La clemenza di Tito, Don Ottavio in Don Giovanni, Pinkerton in Madama Butterfly, Alfredo in La traviata, Camille in The Merry Widow, and Nadir in Les pecheurs de perles.

He is a house favorite at the Santa Fe Opera where he has performed in more than fifteen productions, and at Dallas Opera where he has performed the Doctor in Argento’s The Voyage of Edgar Allan Poe, Pinkerton in Madama Butterfly, Tamino in Die Zauberflöte, and Edgardo in Lucia di Lammermoor, as well as with Houston Grand Opera as Don Ottavio, Faust, Tamino, Ferrando, Belmonte, and Des Grieux. Most recent engagements include Nicias in Thais with Boston Lyric Opera, Don José in Carmen with Dallas Opera, Enrico in Lucia di Lammermoor with Opera Carolina, Rodolfo in La bohème with Indianapolis Opera, Belmonte in The Abduction from the Seraglio with Lyric Opera of Kansas City, and Tamino in Die Zauberflöte with Cleveland Opera.

www.markthomsen.com

Vernon Hartman is Founder and President of Impresario Productions, LLC, an independent production company serving all aspects of the arts industry. To this task he brings over thirty-five years of experience as performer, director, producer, and administrator. For the better part of two decades Mr. Hartman was a stalwart at the Metropolitan Opera, where his many appearances included Figaro in Il Barbiere di Siviglia, Eisenstein in Die Fledermaus, Count Almaviva in Le Nozze di Figaro, Valentin in Faust, Silvio in I Pagliacci, Ping in Turandot, Mercutio in Romeo et Juliette, Lescaut in Manon Lescaut and Redburn in Billy Budd. He has produced and directed opera and musical theater for well over twenty organizations both here and in Europe, and holds or has held such titles as Producer of Opera, General/Artistic Director, Executive/Coordinating Producer and Artistic Advisor for numerous opera companies, orchestras, and presenter houses. In the last three seasons Mr. Hartman has overseen productions of La bohème and Tosca for the Rockford (IL) Symphony, L'elisir d'amore with Opera Santa Barbara, Porgy and Bess and The Pirates of Penzance for the Evansville (IN) Philharmonic, Il Tabarro/Suor Angelica/Gianni Schicchi and Le Nozze di Figaro at the Teatro Bramante in Urbania, Italy, Die Fledermaus at Kent State University and Rigoletto with Greensboro Opera and the Dubuque Symphony. Mr. Hartman’s busy 2008-09 calendar20includes productions of L’elisir d’amore (Greensboro Opera), Carmen (Opera Santa Barbara and Fox Valley Symphony) and La bohème (West Virginia Symphony).

His many producing/directing credits include Cosi Fan Tutte (Toledo), Dialogues of the Carmelites (Carnegie-Mellon), Don Giovanni (Birmingham, Poughkeepsie), Il Trovatore (Green Bay, Trenton), Cavalleria/Pagliacci (Poughkeepsie, Green Bay, Carmen (Evansville), La Traviata (Poughkeepsie), Carmina Burana (Evansville), Madama Butterfly (Trenton, Evansville, Poughkeepsie), Faust (Trenton), Otello, Trouble in Tahiti and Turandot (all in Tampa).

His guest appearances as a singer have taken him throughout Europe and North America. Highlights include creating the role of defense attorney Fred Moore in the world premiere of Anton Coppola’s epic Sacco and Vanzetti for Opera Tampa; Pentheus in a major revival of H. W. Henze’s The Bassarids at Madrid’s Teatro Real, a co-production with Semper Oper, Dresden; Amonasro in Aida for Opern Air Gars in Austria; Scarpia in Tosca in Bergen, Norway, a co-production of the Bergen Philharmonic and West Norwegian Opera; Carmina Burana for the National Symphony; Ralph Vaughn-Williams’ Sea Symphony with the West Virginia Symphony; the world premiere of a new work (The Passion according to King David by Richard O. Faulk) with members of the Houston Symphony; and a series of Christmas concerts with both the Riverside Symphonia and the Norddeutsche Rundfunk in Hannover. Mr. Hartman has sung leading roles with most of North America’s top regional opera companies including Atlanta, Austin, Boston, Carolina, Cincinnati, Cleveland, Dallas, Dayton, Des Moines, Fort Worth, Grand Rapids, Greensboro, Hawaii, Knoxville, Long Beach, Milwaukee, Montreal, Minnesota, Philadelphia, Pittsburgh, Providence, San Diego, Santa Barbara, Seattle, Tampa, Utah and Virginia.

An active concert artist, Mr. Hartman has appeared at Carnegie Hall as Pentheus in H. W. Henze’s The Bassarids (Christoph von Dohnanyi conducting) and in the much-publicized revival of William Bolcom’s massive Songs of Innocence and Experience conducted by Leonard Slatkin. His New York Philharmonic appearances include Bernstein’s Songfest, Copland’s Old American Songs and “A Tribute to Lenny”, concerts celebrating the 75th anniversary of Leonard Bernstein’s birth and coinciding with the release of the BMG/RCA Red Seal recording of Songfest featuring Mr. Hartman and conducted by Mr. Slatkin. He has sung with many of North America’s foremost orchestras and festivals including those of St. Louis, New York, Cleveland, Washington, Pittsburgh, Blossom, Houston, Cincinnati, Baltimore, Grant Park, Montreal, Minnesota, West Virginia, Erie, Cherry Hill, Great Woods, Indianapolis, Riverside (NJ), San Antonio, Springfield, Evansville, Kalamazoo, Amherst, Lakeland, Wichita, Stamford, Waukesha and Dayton.

M r. Hartman returned to his original calling, musical theater, tackling Emile de Becque in South Pacific (alongside Tony Award nominees Susan Egan and Gary Beach) for Sacramento Music Circus, later repeating the role opposite former Olympian and Tony nominee Cathy Rigby at Houston’s Theatre Under the Stars. Much in demand for master classes, lectures and other educational activities, Mr. Hartman recently spoke at Teachers College, Columbia University, discoursing on “The Performer’s Perspective,” and he conducted seminars and master classes at Kent State University, Ashland University, Clarke College, Southwest Texas State University, Birmingham-Southern College, The University of Evansville, Bowling Green State University and The Governor’s School for the Arts at Old Dominion University.

Mr. Hartman was born in Dallas, Texas and raised at San Marcos in the central Texas hill country. He attended Southwest Texas State University and North Texas State University and received an Artist’s Diploma from the Academy of Vocal Arts in Philadelphia. After extensive experience as an athlete, professional musician and broadcaster, he made his professional stage debut at Fort Worth’s Casa Mañana in South Pacific, followed by his operatic bow with the Fort Worth Opera in Salome. He first drew attention as Rigoletto with Shreveport Opera at age 22, and soon was touring with Western Opera Theater as Mozart’s Figaro and Olin Blitch in Susannah. Following a debut as Silvio in I Pagliacci, Mr. Hartman spent five years with the New York City Opera, including two coast-to-coast tours as Germont in La Traviata, before joining the roster of the Metropolitan Opera (for Rossini’s Figaro) in 1981. His European debut was Guglielmo in Cosí fan Tutte at the 1977 Spoleto Festival.

www.impresarioproductions.com

Benita Ryan joins the staff of The Professional Advantage as administrator, production coordinator and “mentor.” She brings a varied wealth of experience to her duties from her background in fundraising, project management, arts administration, concert production and tour coordination. Ms. Ryan served from 1996 – 2002 as Executive Director of The Riverside Symphonia, one of New Jersey’s premier arts organizations based in Lambertville, and she previously served as Board President for seven years. She has spearheaded fundraising and development projects for organizations such as International Hotels Group, Russell Byers Charter School, James Michener Art Museum, Trinity Episcopal Church Princeton, the “Miles of Mules” public art project in Bucks County, and many others. Ms. Ryan managed the United States tour of the Wroclaw Philharmonic in 2005, coordinating all logistics and on-site management. Her Renaissance-woman talents also encompass the management of a 110-acre agricultural farm (Jericho Mountain Orchards, New Hope, PA) whose gardens are often featured on tours and photo shoots, and where she still resides. An experienced pianist and church organist, Ms. Ryan holds a Bachelor of Arts in sociology from Wheaton College, a Master of Arts in education from Bucknell University and Music Therapy certification from Montclair State University.