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Samantha Isely ’24 Leads Valley Chorale in Spring Concert

Samantha Isely ’24 (Master of Music in Pedagogy – Contemporary Commercial Music/CCM Voice) will lead The Valley Chorale in its spring concert, “Wishing on a Song,” a program that explores aspirations of love, home, spirituality and compassion and features styles ranging from light classical and sacred to vocal jazz, spirituals and pop. Isely serves as the artistic director for the ensemble and several Shenandoah Conservatory students also sing with the group throughout the year. The three-performance series will be held Friday, May 3, through Sunday, May 5 in Staunton, Virginia; Middletown, Virginia; and Front Royal, Virginia, and expects to welcome a combined audience of more than 500 attendees. It also includes piano and percussion accompaniment and features the Fauquier County High School Percussion Band.

“We are super proud to have Samantha lead us to new artistic achievements,” said David Freese, president of The Valley Chorale.

Visit thevalleychorale.org to learn more about the ensemble and spring concert.

The Valley Chorale, originally known as the Front Royal Oratorio Society, was established in 1962. Singers are non-paid and selected by audition. The chorale is a nonprofit, tax-exempt organization supported by both private and public funds, including the town of Front Royal, Marion Park Lewis Foundation, Virginia Commission for the Arts and the National Endowment for the Arts, a federal agency.

The research study, “The Impact of a Single Music Therapy Session on Pain Perception of Patients with Sickle Cell Disease,” by MG Rivas Berger ’13, ’16, ’22, MT-BC (Bachelor of Music in Performance, Professional Studies Program for Music Therapy Certification, Master of Music Therapy) was recently published in the journal Music Medicine. Rivas Berger completed this study as parts of her master’s degree while working at Children’s National Hospital in Washington, D.C. This is a great example of cross disciplinary collaboration, and an important study showing the ways in which music therapy interventions can positively impact pain experience for teenagers admitted to hospital for a pain crisis.

Chris Sexton ’00, ’10 (Bachelor of Music in Performance, Master of Music in Pedagogy – Violin) and the other members of the bluegrass band Nothin’ Fancy were recently honored by the Virginia General Assembly, which passed a resolution to commend ensemble on its 30 years of business and being cultural ambassadors representing Virginia’s rich musical heritage. Sexton has been a part of the band for 26 years and this year marks the 30th anniversary of the band’s founding. This honor follows another recent resolution from the mayor and the city council of Manassas that recognizes Nothin’ Fancy as “emissaries” of the city of Manassas.

“I am proud to be a Shenandoah graduate and represent the red and blue as I take the stage on our 30-year-anniversary tour, which has already taken us to the Mountain Stage in Charleston, West Virginia, and will take us to Northern Ireland and the legendary Station Inn in Nashville,” said Sexton.

Shenandoah Conservatory’s music therapy program joined professionals, scholars, and students around the world in a special celebration of World Music Therapy Week, held April 10 through April 15. World Music Therapy Week is an event facilitated by the World Federation of Music Therapy that honors and celebrates music therapy around the world and the different ways in which music promotes healing and supports health.

Led by the Shenandoah University Music Therapy Association (SUMTA), students planned and participated in a range of activities that included advocacy events, lunch and learn activities, and community building.

Pictured are SUMTA President Lizzie Pearson ’25 (Bachelor of Music Therapy), Courtney Anthony ’24 (Bachelor of Music Therapy) and Sarah Barry ’25 (Bachelor of Music Therapy) who performed at Winchester Medical Center as part of an environmental impact initiative started by Adjunct Assistant Professor of Music Therapy Allison Terrell ’14, ’18, M.M.T., MT-BC, in which music is performed in public spaces in the hospital to positively impact patient and visitor experience.

Azaria Rubio ’23 (Bachelor of Fine Arts in Theatre Design and Technology – Costume Design) worked as a design member candidate (DMC) for costume designer Paul Tazewell (Broadway credits include “Hamilton” and “MJ: The Musical;” film credits include” West Side Story” and “Wicked”) on the new Broadway musical “Suffs.” Written by Shaina Taub, this production captures the triumphs and failures of the suffrage movement in the years leading up to the passage of the 19th Amendment.

The purpose of the DMC program is to provide young designers with the valuable experience of working for leading Broadway designers. This program, run through the designer’s union United Scenic Artists (USA), equips new artists with the skills needed not only to become a union member, but also to pursue a successful career on Broadway.

With support from co-producers Hillary Clinton and Malala, “Suffs” opens on April 18, to share the story of the unsung women who, according to Clinton, began “the necessary battles for democracy and equality that are still being fought today.”

Photo by Jenny Anderson

Maddie Berkle ’24 (Bachelor of Music Therapy) was awarded the 2024 MAR-AMTA Jenny Shin Internship Scholarship to support her internship at A Place to Be’s medical music therapy program at INOVA hospitals.

Donnie Hawkins ’27 (Bachelor of Music in Performance – Voice) was recently selected to sing the National Anthem for the New York Yankees out of a pool of hundreds of auditions. He will sing on Saturday, July 6, for the game against the Boston Red Sox at Yankee Stadium in New York City.

“I am super honored, humbled and happy that I was selected to sing the National Anthem at what is to be one of the biggest baseball games for the Yankees season each year,” said Hawkins. “This is a huge honor that I am super thankful and blessed to be able to do.”

Shenandoah Conservatory welcomes London-based choreographer Adam Haigh as its guest choreographer and movement director for this season’s main stage opera, “Moscow, Cheryomushki,” running Friday, April 26, through Sunday, April 28, in Ohrstrom-Bryant Theatre. Haigh is collaborating with Director of Opera and Associate Professor Ella Marchment, B.Mus., to present this operetta featuring music by Dmitri Shostakovich and libretto by Vladimir Mass and Mikhail Chervinsky, as arranged by Gerard McBurney.

“When Ella approached me about the possibility of coming over to America to choreograph ‘Moscow, Cheryomushki,’ I knew this was something that would excite me due to the nature of the piece,” said Haigh. “The physical comedy and heightened world that Ella has created with Moscow, naturally lends itself to musical comedy which is fundamentally my background.”

Haigh added, “having a ballet in the opera, once again lends itself to a musical theatre structure as this is usually when the characters are exploring their inner feelings and desires and fantasies are played with.”

A satirical musical comedy in three acts, the operetta features lively choruses, polkas and jazz-influenced turns performed expertly by the Shenandoah Conservatory Symphony Orchestra, under the direction of Director of Orchestral Studies and Associate Professor of Conducting Emanuele Andrizzi, D.M.A.

About Adam Haigh

Adam will open “Jesus Christ Superstar” this year in Oslo, Norway, as associate director/choreographer to Cressida Carré. He will also be choreographing Stephen Mulhern’s new 2024 “Magic Show.”

Musical theatre credits include “Ushers,” “The Front of House Musical” (The Other Palace); “Oh What a Lovely War” (UK Tour); “Kiss Me Kate” (Leicester Curve); “Copacabana,” “Cry Baby” (Italia Conti); “Soho Cinders” (Charing Cross Theatre); “Grease” (Italy); “Chess” (Leicester Curve, Broadway World Nomination for Best Choreography); UK premiere of “Brooklyn the Musical” (Greenwich Theatre); “The Wizard of Oz” (New Lincoln Theatre Royal); “Anything Goes” (The Other Palace); “Chicago” (Minack Theatre); “Little Women,” “Legally Blonde” (British Theatre Academy); “Elegies for Angels,” “Punks and Raging Queens,” “Carmen,” “Market Boy,” “The Cherry Orchard” (Union Theatre); “25th Annual Putnam County Spelling Bee” (nominated for Best Off West End Director 2018); “Can Can” (nominated for Best Off West End Choreographer 2018); “Once Upon a Quarry Hil”l (Leeds Playhouse); “Toys, A New Musical” (City Walk, Dubai); “Seussical the Musical/Wind in the Willows” (BYMT); “Cleopatra, A New Musical-Workshop” (Actors Church); and “Unfolding Tales,” and “A New Musical” (Stockwell Playhouse).

Upcoming work includes “Cry Baby” (Chichester University), guest choreographer (Jazz Co UK Tour 2024) and the U.K. premiere of “Fenellies the Musical” (Wonderville).

Shenandoah Conservatory announces the winners of the 2024/25 Student Soloists Competition (SSC) on behalf of the SSC committee. The final round of the competition was held at 7 p.m. on Sunday, April 7, in Armstrong Concert Hall.

Pictured left to right: John O’Conor, Emanuele Andrizzi, Jean Lin, Gabriella Gans, Noah Alden Hardaway, John Tuvera Lim, Elizabeth Schulze, Anna Binneweg, David Neely, Colin Davin

Category I

Gabrielle Gans, violin
Noah Alden Hardaway, piano

Category II

Jean Lin, piano
John Tuvera Lim, baritone

Winners of this year’s competition will be featured in performances with the Shenandoah Conservatory Symphony Orchestra throughout the 2024/25 season.

Participants performed in preliminary and semifinal rounds judged by the 2024/25 SSC Committee, which featured Shenandoah Conservatory faculty representatives from the Instrumental, Keyboard and Vocal/Choral Divisions, as well as Director of Orchestral Studies and Associate Professor of Conducting Emanuele Andrizzi, D.M.A., who also serves as SCC Committee chair. The final round was adjudicated by an all-external jury.

Student Soloists Competition Committee

Student Soloists Competition Chair

Emanuele Andrizzi, Director of Orchestral Studies; Associate Professor of Conducting

SSC Instrumental Division Representative

Colin Davin, Director of Guitar Studio; Associate Professor of Guitar

SSC Vocal/Choral Division Representative

Fotina Naumenko, Associate Professor of Voice (Soprano)

SSC Keyboard Division Representative

John O’Conor, Distinguished Artist-in-Residence; Chair of Keyboard Division; Professor of Piano

Guest Final Jury

Elizabeth Schulze, music director

Maryland Symphony Orchestra

Anna Binneweg, conductor and music director

Londontowne Symphony Orchestra and AACC Symphony Orchestra

David Neely, conductor and music director

University of Maryland School of Music and DesMoines Metro Opera

About the Winners

Violinist Gabrielle Gans ’25 (Bachelor of Music in Performance) studies with Victor Brown Endowed Chair in Violin and Professor of Violin Akemi Takayama, D.M.A.

Pianist Noah Alden Hardaway ’21, ’24 (Master of Music in Performance, Doctor of Musical Arts in Performance) studies with Distinguished Artist-in-Residence, Chair of Keyboard Division and Professor of Piano John O’Conor, Mus.D.

Pianist Jean Lin ’25 (Doctor of Musical Arts in Performance) studies with Distinguished Artist-in-Residence, Chair of Keyboard Division and Professor of Piano John O’Conor, Mus.D.

Baritone John Tuvera Lim ’25 (Master of Music in Performance) studies with Professor of Voice Byron Jones ’04, D.M.A.

Explore the digital program to learn more.

In March, a unique collaboration between Shenandoah University’s (SU) physical therapy (PT) and dance programs introduced nine people with mobility impairments and their care partners to the benefits of dance. Led by Shenandoah Conservatory Associate Dean for Academic Success and Professor of Dance Ting-Yu Chen ’19, Ed.D and Adjunct Associate Professor of Dance Lisa Startsman, B.A., these new dancers moved their bodies to music under the watchful eyes of SU PT students and Associate Director of Clinical Education and Associate Professor in the Division of Physical Therapy Melissa Wolff-Burke, Ed.D., and SUPT adjunct faculty member Dr. Emily Hockman ’13 (Doctor of Physical Therapy). The participants in the pilot program had Parkinson’s Disease, strokes, brain injuries, and quadriplegia. These nine new dancers, their caregivers, and PT students and faculty as well as dance faculty participated fully and the responses to the pilot program were extremely positive.

“SU is a perfect place for this type of interprofessional and collaborative academic programming. Partnering with the medical community and people they serve provides mutual benefits to patient care, practical training for our students, and improving quality of life for people with mobility differences,” said Dr. Chen.

Participant Feedback

“The two days of dance were unlike anything being provided in this area and we both found the experience fun and beneficial. Adding music to exercise makes a huge difference in the activity!”

“Thank you for offering the adaptive dance class. We gently moved parts of our bodies that we never moved before!”

“The instructors were dedicated and made each of us smile while moving.”

“I think overall it would help to get us mobility challenged people to move in ways we’re not used to in a fun and lighthearted environment.”

Physical Therapy Student Feedback

“My ‘ah-ha’ moment from this experience was seeing what the freedom of dancing could do for [the participants], especially when they were hesitant at first to try dancing. Dancing brought out movement patterns that he did not seem to do much on his own…”

“Although it was a little out of my comfort zone, I enjoyed the adaptive dance sessions.”

The collaboration was a pilot program for what will hopefully become a regular event at SU combining the science of movement, dance and music for the benefit of those who, because of illness or injury, have lost mobility.

Caregiver Feedback

“SU benefits from [this program by adding], a very real interactive component to your dance and music and therapy programs. It puts SU’s name into the community which is a positive form of advertising!”

Choral Artist-in-Residence, Director of Choral Activities and Associate Professor Richard W. Robbins, D.M.A., was appointed the new director of the Richmond Symphony Chorus. He will join the organization on April 16 and will work with the chorus on its performance for the symphony’s season finale concert in June featuring Verdi’s “Requiem.”

“I am absolutely thrilled to join the Richmond Symphony as the new chorus director,” said Robbins. “The opportunity to collaborate with this esteemed orchestra and to work alongside such talented singers is a true privilege. Countless composers have conveyed their most profound and personal statements through the union of orchestra and choir, producing moments of unparalleled beauty and emotional depth. I fell in love with this repertoire because it so beautifully embodies this synergy, creating moments of sheer magic for both listener and performer. I cannot wait to embark on this journey with the Richmond Symphony and to share the joy of these collaborative performances with our audiences.”

“There are opportunities for collaborative possibilities between our Shenandoah students and the Richmond Symphony, and our alumni and supporters in the region are many,” added Robbins. Several musicians and administrators involved with the Richmond Symphony are Shenandoah alumni.

Robbins brings a wealth of experience in preparing choral-orchestral repertoire. Previously, he had served as chorus master of the Duluth Superior Symphony Orchestra and the Houston Ballet, and as assistant director of the Houston Symphony Chorus. He has prepared choruses for major conductors such as Hans Graf, Christoph Eschenbach and Joan Glover among many others. His choral performances have been featured numerous times on television and on nationally syndicated radio programs. Ensembles under his direction have performed at choral conferences and earned awards at numerous festivals.

Travis Gawason ’25 (Bachelor of Fine Arts in Theatre Design & Production – Costume Design) attended a rare one-on-one tambour beading intensive taught by Robert W. Haven in Kentucky during J-Term earlier this year. Haven was so impressed with Gawason’s knowledge and skill of tambour beading after visiting Shenandoah Conservatory in November to conduct a masterclass in tambour beading and embroidery that he offered him the one-on-one intensive to learn advanced tambour technique and develop his tambour skill.

“Learning this skill will greatly benefit my career and professional endeavors,” said Gawason.

Gawason was introduced to the intricate art of tambour beading during his internship last summer at Eric Winterling, Inc., a professional costume shop in New York City. He recently used this skill to bead Cinderella’s ball gown in “Into the Woods” last semester (Fall 2023).

Jackson Chase ’27 (Bachelor of Fine Arts in Musical Theatre) has been selected as one of the student co-hosts for the 2024 Applause Awards on June 1, at the Walt Disney Theater in Orlando, Florida. Modeled after the Tony Awards®, the 10th annual Applause Awards Ceremony will be directed by Broadway veteran Ray Roderick and hosted by Broadway star and Central Florida native Michael James Scott, alongside former Applause Awards winners Samantha Nelson and Chase.

A panel of 18 casting agents, show directors and industry professionals selected nearly 300 students from 37 high schools across 10 counties to participate in this high-energy evening – featuring live performances by the winning casts in the outstanding musical category, character medleys by the winning outstanding lead performers and more. The event is a precursor to the Jimmy Awards in New York City.

Students from the Shenandoah Conservatory harp studio were featured in the opening concert of the 2024 GreenSpring Spring Concert Series in Frederick, Maryland, earlier this month. Featured performers included harpist and organist Anna Smith ’27 (Bachelor of Music in Performance), soprano and harpist Serenity Flores ’24 (Bachelor of Music in Performance), harpist Danielle Caldwell ’25 (Master of Music in Performance) and pianist Karen Schlosser. Adjunct Associate Professor of Harp Lynnelle Ediger, M.M., leads the harp studio at Shenandoah Conservatory.

“They were spectacular and the audience loved them,” said Ediger.

Costume Designer and Associate Professor of Costume Design Jennifer Flitton Adams, M.F.A., chaired and presented as part of a group of seven costume design and technology educators for the session, “A Panel Discussion of Costume Pedagogy,” at the United States Institute for Theatre Technology (USITT) national conference in Seattle, Washington. USITT is the largest group of its kind in the United States and the organization hosts a conference every year that draws people from all over the country and internationally. The panel was well attended and well received.

Professor Emeritus of Music Theory Donald Black, M.F.A., a successful professional artist and retired professor of music who directed the orchestra and taught at Shenandoah Conservatory for many years, is sharing his delightfully imaginative, colorful work in the Lawrence Gallery at Shenandoah Valley Westminster-Canterbury until May 10. The gallery, located near the main entrance of Shenandoah Valley Westminster-Canterbury at 300 Westminster-Canterbury Drive in Winchester, Virginia, is open from 9 a.m. to 7 p.m., seven days a week.

Black first exhibited in Lawrence Gallery in 2015. His inspiration comes from the activity of painting, from a love of music, nature and being outdoors, and from regular contact with other artists. In addition to being a successful professional artist, some of his paintings also reflect his insights as an accomplished jazz musician who performed with the group, The Professors.

As a part of her sabbatical project, Shenandoah Conservatory Associate Dean for Academic Success and Professor of Dance Ting-Yu Chen ’19, Ed.D., visited and presented opportunities for in-person international collaboration and Collaborative Online International Learning (COIL) at the National Taiwan Normal University, University of Taipei and Chinese Culture University. Her message was received with great enthusiasm and she was delighted to learn that many Taiwanese universities are adapting and integrating the United Nations’ Sustainable Development Goals in their academic programs. Sustainability development and social responsibility, the common mission in the Taiwanese higher education system, resonate with Shenandoah University’s core values. Chen is energized by the possibility of facilitating cross-cultural teaching and learning spaces for SU faculty and students as well as continuing to contribute to the Barzinji Institute for Global Virtual Learning’s COIL mission.

Ashlyn Fitch ’23 (Bachelor of Fine Arts in Musical Theatre) was the guest star in an episode of “Law & Order” that premiered on Thursday, March 21, on NBC and is now streaming on Peacock. She plays Rebecca Lasky, a young professional ballerina in New York City who, while leaving a late rehearsal, encounters a scary situation on the subway.

Adolpho Blaire ’01 (Bachelor of Fine Arts in Musical Theatre) is starring in “Little Me” in Southwest Florida, where he plays a total of eight characters all to “comic genius.”

“As a comic character actor and vaudevillian, this role fits me perfectly,” said Blaire. “I sing, I dance, I act, I clown. I even do four consecutive cartwheels!”

One review stated: “Adolpho Blaire, who for years has made Naples audiences smile and laugh, sets the theatre ablaze with unparalleled comedy chops…. Is there anything [Blaire] can’t do?”

The Neil Simon-Cy Coleman-Carolyn Leigh-Bob Fosse musical debuted on Broadway in 1962 as a star vehicle for Sid Caesar. Combining Caesar with his former “Your Show of Shows” writer, Neil Simon, allowed the show to be a series of sketches where Caesar played all the men in the leading lady character Belle Poitrine’s life. It was revived in 1982 on Broadway with Victor Garber and James Coco and then again in 1998 starring Martin Short (who won the Tony Award for Best Actor). It was also produced for City Center Encores in 2014, starring Christian Borle. The best known songs from the show include “The Other Side of the Tracks,” “Real Live Girl” and “I’ve Got your Number.”

The production is presented by Naples’s premier musical theatre organization, TheatreZone, a venue that often presents under-produced and forgotten musicals. Over the years, the company has presented titles such as “Sweet Smell of Success,” “Whistle Down the Wind,” “High Society,” “I Love My Wife,” “The Goodbye Girl,” “Me and My Girl,” “On a Clear Day You Can See Forever,” “Legs Diamond,” “Mack and Mabel,” “Blood Brothers,” The Boy from Oz” and “Chess.”

Shenandoah Conservatory was well represented at this spring’s Virginia Chapter of the National Association of Teachers of Singing (NATS) conference at Virginia Commonwealth University (VCU) in Richmond, Virginia, on Feb. 23, and Feb. 24. Students of Professor of Voice Byron Jones ’04, D.M.A.; Associate Professor of Voice (Soprano) Fotina Naumenko, D.M.A.; and Adjunct Assistant Professor of Voice Melissa Chávez ’15, D.M.A., participated in the student adjudications. Twenty-three students scored high enough to be eligible for the next round of competition, Mid-Atlantic Regional NATS, held March 8 and March 9 at Furman University in Greenville, South Carolina.

Five singers won their respective categories and sang in the honors recital at VCU:

  • Skyy Carter ’26 (Bachelor of Music in Performance), Naumenko’s Studio
  • Maximiliano Fernández Escalona ’26 (Bachelor of Music in Music Education), Jones’s StudioSofia Stankiewicz ’24 (Bachelor of Music in Performance),
  • Naumenko’s Studio
  • Maria Mantalvanos ’25 (Bachelor of Arts in Music), Chávez’s Studio
  • Jonathan Margrave ’24 (Bachelor of Music in Performance), Chávez’s Studio

Placing students included (name, place in category, studio):

Category Singer Place Teacher
HJ 7 Skyy Carter ’26 (Bachelor of Music in Performance) 1st Naumenko
CL 5A-2 Erin Finnigan ’27 (Bachelor of Music in Performance) 2nd Naumenko
CL 5A-2 Alexa Fillalan ’27 (Bachelor of Fine Arts in Acting) 3rd Chávez
CL 5A-2 Brooke Frampton ’26 (Bachelor of Music in Performance) Honors Chávez
CL 5A-2 Mary Groesbeck ’27 (Bachelor of Music in Performance) Honors Naumenko
CL 5B Greylynn Waite ’26 (Bachelor of Music in Music Education) Honors Chávez
CL 5B-1 Skyy Carter ’26 (Bachelor of Music in Performance) 3rd Naumenko
CL 5B-2 Shannon Fowler ’26 (Bachelor of Music in Performance) 2nd Naumenko
CL 5B-2 Kaitlyn Flebbe ’25 (Bachelor of Music in Performance) Honors Naumenko
CL 6A Caleb Athey ’26 (Bachelor of Music in Performance) Honors Jones
CL 6B Maximiliano Fernández Escalona ’26 (Bachelor of Music in Music Education) 1st Jones
CL 7A Riley Taylor ’24 (Bachelor of Music in Music Education) 2nd Chávez
CL 7A-1 Sofia Stankiewicz ’24 (Bachelor of Music in Performance) 1st Naumenko
CL 7A-1 Cassidy Holmes ’25 (Bachelor of Music in Performance) Honors Jones
CL 7A-2 Maria Mantalvanos ’25 (Bachelor of Arts in Music) 1st Chávez
CL 7A-2 Sally McGrath ’25 (Bachelor of Music in Performance) 3rd Chávez
CL 8A Jonathan Margrave ’24 (Bachelor of Music in Performance) 1st Chávez
CL 8A Emanuel Singletary ’25 (Bachelor of Music in Performance) 3rd Jones
MT 5A Zoie Foster ’27 (Bachelor of Music in Musical Theatre Accompanying) 2nd Chávez
MT 5A Alexa Fillalan ’27 (Bachelor of Fine Arts in Acting) Honors Chávez
MT 5B Grace Ashby ’25 (Bachelor of Music in Performance) 2nd Naumenko
MT 6 Maximiliano Fernández Escalona ’26 (Bachelor of Music in Music Education) 3rd Jones
CM 7 Natalie McCrowell ’24 (Bachelor of Music Therapy) 1st Chávez

At the regional event, Emanuel Singletary ’25 (Bachelor of Music in Performance) and Jonathan Margrave ’24 (Bachelor of Music in Performance) qualified to proceed to the first round of the national student adjudications.

In Richmond, Dr. Jones gave the masterclass, “Finding the Opposite: Unlocking the Unexpected in a Song or Aria.” In Greenville, Dr. Chávez presented a voice masterclass.

Chávez also serves on the VA-NATS board as vice president and auditions chair, and Jones serves as a board member at large.

As many may agree, beginning college is pretty daunting. Between navigating a new environment with new people, adjusting to new expectations, and discovering who you are independent of all you once knew, there is a lot of change that happens (and continues to happen) as you take the first step into adulthood. However, there was one thing I knew would prove constant as I walked into this new chapter: dance.

Eager to elevate my training to the collegiate level, Shenandoah Conservatory’s dance program proved to be the right choice. As a double major, the department ensures that both my dance and academic requirements are met. The dance division’s tri-focus of ballet, jazz and modern was a personal non-negotiable in my collegiate career and is reflected, even in my first year schedule! Here is a sneak peek into what my life was like as a first-year Shenandoah dancer.

– Kylie Johnson ’26 (B.F.A. in Dance, B.S. in Exercise Science)

8 a.m.

Most days required an early wake-up for the notorious 8 a.m. ballet class, but professor Erica Helm made it more than worth it. Her ballet class provides an anatomical and functional lens of the technique, giving dancers the tools needed to achieve a lifelong career in dance. After ballet, I would usually grab a quick breakfast at Jazzman’s Cafe, which is luckily right next door to the Shingleton dance studios. A bagel and coffee was just enough to fuel me for my next class. Most dancers had an academic class at 10 a.m., whether it be a required ShenEd or a class needed for another major. My 10 o’clock class was related to my other major, exercise science! There was also an opportunity for some dancers to take Conditioning and Wellness with one of the department’s athletic trainers, Jacob Manley.

Tuesdays and Thursdays graciously allowed for a later wake-up time as my school day began at 11 a.m. Prior to class, I would often try to work out either at the Brandt Student Center (BSC) gym or an off-campus gym. These days, my first class would be jazz, which was taught by professors Daniel Padierna and Tiffanie Carson. The fall focused more on theatrical jazz, while the spring semester was geared more towards commercial styles. The early exposure to both facets of jazz was insightful and interesting. My eyes were truly opened to how many careers are out there and the ways in which I am being prepared for any of my choosing. I am grateful to have a space where I can work towards my goals with professors and peers who are there to challenge and support me.

Kylie Johnson

Noon

On the days with 8 a.m. ballet, you can also expect a noon modern class. This year, the first-year cohort was taught by Daniel Padierna, who covered both traditional and contemporary modern concepts within his class. A unique opportunity that arose during our spring semester was the chance to strength train with our athletic trainers. On a rotating schedule, we would take 15 minutes to target all the muscle groups in our body. The trainers had recorded our progress throughout the semester, and it was very rewarding to see the results! This experience highlighted the importance of cross-training for dancers; it being embedded into the dance curriculum was such a valuable aid that I hope returns in the future!

The afternoon was also time for additional dance and academic electives. As first-year students, various seminars were required, all aiming to better acclimate us into college life. ShenCo Skills was a class that focused on building community and collaboration within the conservatory, while First-Year Seminar aimed to connect students across the university.

On Tuesdays and Thursdays, most first-year students took contemporary dance electives, which consisted of contact improv in the fall and contemporary partnering in the spring. Both of these courses, taught by professor Maurice Fraga, heavily encouraged exploration of spontaneous, innate movement. We often discussed how our natural habits reveal who we are not only as dancers but people, as well as how improv can inform choreography. It was also in contemporary partnering that we got our first compositional experience as SU students! Another course for first-year dancers was Dance Production, a class that showed us the behind-the-scenes of the dance world. Professor Miriah Borden taught us everything from essential theater vocabulary to how to properly strike a stage. With her, we were prepared to tech the fall concert – a rite of passage for first-year dancers!

Kylie Johnson

Evenings

As a dance major, evenings often equate to rehearsals. Although first-year students aren’t cast in the fall concert, there are still tons of opportunities to perform. This fall semester, I was lucky enough to be cast in an multidisciplinary opera, “Hydrogen Jukebox,” alongside 11 other dancers. Dance Composition rehearsals consistently run throughout the semester. This is a great opportunity to not only dance, but to build relationships in the dance department outside the first-year cohort. Dance Composition rehearsals are held by junior year dancers, so it was exciting to see and be a part of my peers’ creative process; it made me eager to begin mine! By spring semester, first-years were able to be cast in the ensemble concerts, which added more dance into my evening schedule. My evenings ranged from dancing for six hours straight to sometimes having a free night (which I would dedicate to either homework or hanging out with friends.) The flexibility within the dance program is so beneficial and personal to each student here; you can truly design your own schedule to get what you desire out of the program!

Some nights, when my rehearsals allowed, my fellow first-year friends and I would have dinner at the Allen Dining Hall. There were times when the entire cohort would show up for dinner together! On heavier nights of rehearsals, my night would usually end at 10:30 p.m., so I would make my own dinner in my residence hall. Back at the residence hall, I would eat, shower, and unwind – usually with a debrief with my roommate, who I am very grateful for! These reflections about our days and all that happened always gave us motivation and hope for the next.

The days may be long, but the weeks go by fast – the fact that I am no longer a first-year is crazy! Reflecting on my first year at SU, I look back with great appreciation and joy. This first year defied my expectations and I am excited for the years to come!

Nick Lenz ’17 (Bachelor of Fine Arts in Musical Theatre) will direct, choreograph and teach at the internationally acclaimed Stagedoor Manor for nine weeks this summer. Stagedoor Manor is a performing arts summer camp that has trained young actors for success in theatre, TV and film for more than 45 years. Lenz will direct and choreograph three fully produced musicals as well as teach classes in musical theatre.

“I am very excited to be continuing what I love to do most this summer: teaching and helping to shape the next generation of performing artists,” said Lenz.

Lenz currently serves as the chair of the performing arts department and head of musical theatre at Westinghouse Arts Academy (WAA) in Pittsburgh, Pennsylvania. WAA is a Performing and Creative Arts High School.

“I am so thankful to Shenandoah Conservatory’s musical theatre program for the training I was provided in my time in undergrad. Currently, I am working towards my M.Ed. in Advanced Teaching. This opportunity at Stagedoor Manor allows for me to meld both of my passions: musical theatre and education.”

Shenandoah Conservatory’s bassoon studio will be well-represented at the 2024 International Double Reed Society (IDRS) Conference, held this year in Flagstaff, Arizona, in July. Third-year doctoral student Clair Cangialosi ’24 (Doctor of Musical Arts in Performance) will present her lecture recital, “The Bel Canto Bassoon: Using Vocalises to Develop Legato, Optimal Resonance, and Breath Technique.” Cangialosi’s research explores pedagogical and technical similarities between the bassoon and classical voice based on the 19th-century concept of a “singing bassoon sound.” In addition to the comparative analysis, the project includes a set of 25 vocalises (textless teaching pieces for voice) written in the Bel Canto style which Cangialosi transcribed for bassoon with piano accompaniment.

Associate Professor of Bassoon Ryan Romine, D.M.A., will also be in attendance at this year’s IDRS conference. He will be presenting a recital of mid-20th-century French miniatures for bassoon and piano and also leading a publishing workshop for writers interested in developing double reed topics for publication.

“She Is the Narrative” gives voice to the voiceless through history and present times. Directed by Desirée Dabney ’14 (Bachelor of Fine Arts in Acting), “She Is the Narrative” explores historical events, personal experiences and finding your voice when you are voiceless due to the color of your skin. This exploration leads an audience to discover, think and develop actions; celebrate black history together; cry, laugh, reflect, and rejoice.

The performance is scheduled for Wednesday, May 1, from 7-9:30 p.m. in Glaize Studio Theatre (Ruebush Hall) and will be followed by a Q&A with the artists. This event is free and open to the public; no tickets are required. Doors open at 6:30 p.m. This event is sponsored by Shenandoah University’s Black History Month committee. Questions? Contact Dahlia Ashford at dashford@su.edu.

Along with serving as head of musical theatre at VCU, Dabney is a professional actor, singer, director, teacher and executive director of Theatre Diva Productions in Richmond, Virginia.

The Shenandoah Conservatory harp studio will perform with former royal harpist Claire Jones at 7 p.m. on Thursday, April 4, at Grace Evangelical Lutheran Church (26 W. Boscawen St. A-201, Winchester, VA 22601). Jones will be joined by Chris Marshall and the Shenandoah Conservatory Harp Ensemble. The concert celebrates the U.S. premiere of the collaborative album, “2K+ Fusion,” recorded at Abbey Road Studios. King Charles, formerly HRH the Prince of Wales, revived the tradition of the royal harpist in 2000. During her tenure as royal harpist, Jones performed over 150 events for King Charles, including a performance at the wedding of Prince William and Princess Catherine of Wales.

This concert is free and open to the public; no tickets are required. In lieu of tickets, a free-will offering will be collected. Jones’s concert is presented as part of the 25th anniversary of the GreenSpring International Academy of Music. The Shenandoah Conservatory Harp Ensemble is directed by Adjunct Associate Professor of Harp Lynnelle Ediger, M.M.

Coordinator of Music Literature and Associate Professor of Music History and Literature Laurie McManus, Ph.D., will present as part of the “Tracing the Musical Journey of Women Through History” lecture series hosted by the Maryland Symphony Orchestra on Wednesday, March 20. Dr. McManus will explore challenges faced by women composers in Western societies from the Baroque era to the present day through insightful case studies and vibrant musical examples.

Associate Professor of Voice (Tenor) Michael Forest ’85, ’86, M.M.Ed., has announced his retirement from Shenandoah Conservatory during the Spring 2024 semester. Forest began working at Shenandoah in 1994 and will retire after 30 years of dedicated service to its artistic and educational community.

“Over his 30 years of service to Shenandoah Conservatory, Michael Forest’s contribution as an artist-teacher allowed countless numbers of students to benefit from his passion for voice and opera,” said Shenandoah Conservatory’s Interim Dean and Professor of Music (Music Education) Jeff Marlatt, Ph.D. “A two-time graduate of Shenandoah himself, Michael always understood the value of a conservatory education. He was a staunch advocate of our vocal performance programs and his voice will certainly be missed. On behalf of Shenandoah Conservatory I offer my heartfelt thanks for his long-lasting contribution and congratulations on his well-deserved retirement.”

Forest studied at the famed Guildhall School of Music and Drama in London in 1986. He was a frequent soloist at the Kennedy Center with the Choral Arts Society of Washington and the Washington Chorus. Symphonic engagements include performances with the National Symphony Orchestra, Pittsburgh Symphony, New York Philharmonic, St. Louis Symphony Orchestra, BBC Orchestra and L’Orchestre du Montreal. He was a member of the Metropolitan Opera’s Young Artists Development Program from 1989 to 1992. Forest was also an apprentice artist with the Wolf Trap Opera Company and Santa Fe Opera Company.

In 23 seasons with the Metropolitan Opera, he has sung over 280 performances of 19 different roles. He has also appeared with the Wolf Trap Opera Company, Washington’s Concert Opera, Santa Fe Opera, Washington National Opera, Wexford Opera and Ash Lawn Opera Festival.

Recording credits include Gershwin’s “Porgy and Bess” (EMI); Mozart’s “Le Nozze di Figaro” (Deutsche Gramophone); and a Grammy Award-winning recording of John Corigliano’s “Rage and Remembrance” (BMG); as well as R. Nathaniel Dett’s “The Chariot Jubilee” (Vocalessence, Clarion Label); “Sing Noel” with the Washington Chorus (DVD); Rossini’s “Semiramide” with the Metropolitan Opera (DVD); and Puccini’s “La Fanciulla del West” with the Metropolitan Opera.

Drew Elhamalawy ’21 (Bachelor of Fine Arts in Musical Theatre) and Miguel Gil ’25 (Bachelor of Fine Arts in Musical Theatre) took part in “The Lost Boys” workshop in New York last month. The 1987 film “The Lost Boys” is being made into a musical with “Parade” director Michael Arden and musical band The Rescues. Broadway and film actors James Carpinello, Marcus Chait and Patrick Wilson will produce the show. Gil played the role of Edgar and Elhamalawy served as the assistant director.

Shenandoah Conservatory’s Director of the Janette Ogg Voice Research Center and Associate Professor of Voice (Baritone) and Voice Pedagogy David Meyer, D.M., collaborated with Shenandoah University Division of Education & Leadership Professor of Research John R. Goss, III, Ph.D., to publish a peer-reviewed article in the Journal of Singing. The article, “Fatal Flaws in Voice Research and How to Avoid Them, Part Two: Qualitative Studies” discusses common problems in qualitative singing research.

Qualitative studies often use interviews or surveys to explore real-world phenomena and ask questions like, “why?” or “I wonder what, or how?” The most common errors seen in these studies include researchers’ overestimation of their expertise, failure to practice intellectual humility, failure to control for researcher bias, and privileging the “expert in the room” rather than participants’ perspectives. In their publication, Dr. Meyer and Dr. Goss examine interview protocols and a common method for ensuring trustworthiness called “member checking.” Recommendations for avoiding common errors in survey research, both qualitative and quantitative, are discussed. The article is available at https://doi.org/10.53830/sing.00026.

Visit www.davidmeyervoice.com to learn more about Meyer.

Goss oversees leadership and organizational studies at Shenandoah University and serves as the head of the Doctor of Philosophy in Organizational Leadership, Doctor of Professional Studies in Organizational Leadership (residential and global) and Master of Science in Organizational Leadership programs at Shenandoah University. His expertise is in the teaching of research methods, the philosophy of practice and the anthropology of organizations. Goss’s research examines policy, ethics, and identity and their relationship to social organization (e.g., conflict, professional roles and power).

Caitlyn Piedra ’23 (Bachelor of Fine Arts in Musical Theatre) was cast in a new musical by Carlos Bauzys and Kim Bixler based on the life of Fernando Barba, who is the man who founded the Brazilian body percussion group The Barbatuques. Piedra is part of the Barbatuques and takes on the harder body percussion sequences in the show. The production ran at Pregones Theater in the Bronx from Friday, Feb. 23, through Sunday, Feb. 25. This Off-Broadway show is directed and choreographed by Luis Salgado, and features Valeria Cossuas as the associate director and Matthew Steffens as the associate choreographer. Visit playbill.com to learn more.

Shenandoah Conservatory announces the inaugural Shenandoah Guitar Festival, taking place Friday, June 14, through Sunday, June 16, 2024 in Armstrong Hall. Under the direction of Associate Professor of Guitar and Director of Guitar Studio Colin Davin, M.M., the festival brings together some of the most compelling artists on the classical and acoustic guitar scenes today. Over the course of three days, participants and audiences can enjoy world-class concerts, engaging masterclasses and workshops, and a student/participant guitar ensemble led by Shenandoah alumna Kami Rowan ’90, ’10 (Master of Music in Performance, Doctor of Musical Arts in Performance), who also serves as director of the U.S. Guitar Orchestra and Charles A. Dana Professor of Music at Guilford College.

“The guitar has a long and rich history at Shenandoah and the Shenandoah Guitar Festival will be a big highlight of our next chapter,” said Davin. “We’re bringing a lineup of absolutely brilliant, internationally renowned artists to our campus, and inviting students, professionals and fans of the guitar to join us for an incredible weekend of music and learning. I am beyond excited to introduce this first edition of this festival, and to share with the entire guitar community what a vibrant destination Shenandoah Conservatory is for the performance and study of the guitar.”

Guest artists include GRAMMY Award-winning guitarist and composer Andrew York; the virtuosic and passionate Italian guitarist Carlotta Dalia, as part of her first tour of the United States; innovative composer, fingerstyle guitarist, and multi-instrumentalist Yasmin Williams; and the brilliant dynamic French guitarist Gaëlle Solal. In addition, the festival features Davin.

Students and amateur guitarists are invited to register as festival participants, providing them with the opportunity to play in the Festival Guitar Ensemble, perform in or audit masterclasses and workshops with festival artists, and attend all festival concerts.

Visit su.edu/guitarfestival to learn more.

Director of Bands and Associate Professor of Conducting Tim Robblee, Ph.D., conducted the National Honor Festival Band for the Korean International Music Education Association (KIMEA) in Seoul, South Korea, this month. KIMEA gathers annually in Seoul for its National Honor Festival (NHF), which includes band, string, and choral students from international schools throughout Korea. Robblee is the first conductor to have conducted the honor band twice, having first served as the NHF guest conductor in 2014. Prior to the weekend festival, Robblee served as a clinician for three high school programs around the greater Seoul area.

Photo by Juhie Suh at Seoul Foreign School

Nitin Anish ’26 (Bachelor of Arts in Contemporary Musicianship & Entrepreneur Development) released “Finish Line” on Feb. 23; the new song is available on all streaming platforms. The song evokes the celebratory feeling of leaving a sticky situation or relationship.

“I remember dreaming of releasing my own music a couple of years ago, so releasing ‘Finish Line’ is a dream come true,” said Anish. “I feel grateful and blessed to have found the right people to bring this song to life.”

Anish collaborated with a number of Shenandoah Conservatory students and alumni on the project, including Wayne Romero ’24 (Bachelor of Music in Music Production & Recording Technology) as the mixing engineer and Tom Preston ’23 (Bachelor of Music in Music Production & Recording Technology) as the mastering engineer, as well as singer-songwriter Bobby Bays ’26 (Bachelor of Arts in Contemporary Musicianship & Entrepreneur Development), bassist Nick Walker ’27 (Bachelor of Arts in Contemporary Musicianship & Entrepreneur Development) and pianist Gary Garlic ’24 (Bachelor of Arts in Music) as instrumentalists and singer-songwriter Isabella Mesfun ’26 (Bachelor of Arts in Contemporary Musicianship & Entrepreneur Development), singer-songwriter Bailey Lehfeldt ’24 (Bachelor of Arts in Contemporary Musicianship & Entrepreneur Development) and Aidan Oberle ’26. The group also collaborated with Jairus Thurston as an instrumentalist.

Shenandoah Conservatory students, alumni and faculty traveled to Japan for a Global Experiential Learning (GEL) trip in January that fulfilled coursework in the Shen Ed Navigating Difference Sphere: Cultural Understanding. They visited Tokyo, Kyoto, Hiroshima, Kanazawa and Fuji during the trip, immersing themselves in the culture, history, customs and architecture of Japan. Students also performed at Fuji Sanctuary, Sachi House (a kind of hospice care), also in Kanazawa, and collaborated with Senzoku Gakuen Music students. The entire group was invited to a performance by the Tokyo Metropolitan Symphony Orchestra. After the performance, everyone was invited backstage to speak with both the concertmaster, Tatsuya Yabe, and the conductor, Tatsuya Shimono. The trip was coordinated by Victor Brown Endowed Chair in Violin and Professor of Violin Akemi Takayama, D.M.A. with Associate Dean for Academic Success and Professor of Dance Ting-Yu Chen ’19, Ed.D. providing the academic support.

“One of the most memorable parts of the trip to Japan was the honor of performing at the Fuji Sanctuary and Sachi House,” said Maximiliano Fernández Escalona ’26 (Bachelor of Music in Music Education). “Both places were very sacred and special to visit, and I’m so grateful for the opportunity to share music with others. I also really enjoyed how much of Japanese culture we got to experience firsthand. Everything planned was very intentional, and I can’t wait to return someday.”

“Overall, each performance was met with such warmth and appreciation it made me realize how impactful music is,” said Madison Clark ’19, ’21, ’21 (Bachelor of Music in Performance, Master of Music in Performance, Master of Science in Performing Arts Leadership & Management). “I am particularly fond of our performances at Fuji Sanctuary and Sachi House as I hope our music was able to uplift and replenish their energy.”

“We believe the trip was an incredible blend of cultural exploration and learning about the performing arts, spanning everything from ancient traditions to modern innovations,” said Dr. Takayama. “Japan definitely exceeded our expectations, leaving us with countless unforgettable experiences and some amazing new friendships.”