Samson McCrady in the title role of CCM's Mainstage Production of "Gianni Schicchi," directed by Andreas Hager.

CCM Opera and Voice Alumni Win Prestigious Fellowships

Samson McCrady in the title role of CCM's Mainstage Production of "Gianni Schicchi," directed by Andreas Hager.

CCM Voice alumnus Samson McCrady in the title role of CCM’s Mainstage Production of Gianni Schicchi, directed by CCM Opera alumnus Andreas Hager.

Two of CCM’s stars of tomorrow recently received prestigious positions in the world of opera. Alumnus Andreas Hager (AD Opera Directing, 2018) was awarded one of two JoElyn Wakefield-Wright Stage Director Fellowships from the National Opera Association. Additionally, Washington National Opera selected CCM Voice alumnus Samson McCrady, baritone, to fill one of only 11 spots for vocalists in its prestigious Domingo-Cafritz Young Artist Program. Cincinnati audiences saw their artistry in action during CCM’s recent Mainstage production of Gianni Schicchi, in which McCrady performed the title role and Hager directed.

Hager was selected as a JoElyn Wakefield-Wright Stage Director Fellow for his summer 2018 work with Wolf Trap Opera, during which he will assist on productions of Idomeneo and Rigoletto. The fellowship includes a stipend to attend an opera stage directing program, and the opportunity to offer a presentation on their fellowship experience at a subsequent NOA National Conference.

Hager’s directorial work spans opera, film, theatre and alternate reality games. Recent directing credits include Il barbiere di Siviglia (Houston Grand Opera), Gianni Schicchi (CCM) and La belle Hélène (Opera North). In addition, he has worked with Opera Philadelphia, the New York Philharmonic, Cincinnati Opera and Opera Columbus. He recently graduated from CCM with an Artist Diploma in Opera Directing and has a Bachelor’s Degree in Cinema Studies from Oberlin College, where he also studied piano performance. He is a winner of Opera America’s Director-Designer Showcase and a member of the Lincoln Center Theater Directors Lab.

As a Domingo-Cafritz Young Artist, McCrady will perform the roles of Elk/Camel/Butcher in Tesori’s The Lion, the Unicorn, and Me, Wagner in Gounod’s Faust and Sciarrone in Puccini’s Tosca during the Washington National Opera’s 2018-19 season. McCrady will also sing in WNO’s “A Concert of Comic Masterpieces.”

Because many young artists return for a second season, the Domingo-Cafritz Young Artist Program only accepts a handful of new vocalists each season. This year the program welcomed seven new singers and four returning singers, as well as one new and one returning pianist, out of hundreds of applicants.

The artists in this program have an abundance of performance opportunities, including extensive performances at the Kennedy Center and in community-oriented events. They participate in the WNO’s major performances as supporting characters, including free preview performances that will be live streamed on the Kennedy Center’s website.

McCrady and the other Domingo-Cafritz Young Artists will also perform in recitals in Washington, D.C. art galleries and museums, as well as a series of master classes at the Kennedy Center and elsewhere. They will be seen onstage during the WNO’s American Opera Initiative Festival, during which they will have the opportunity to work with living composers and librettists on brand-new works.

Additionally, the program has an exchange program with Moscow’s Bolshoi Theatre Young Artists Opera Program, which includes a few students from each program visiting the other and performing with their newfound peers.  Next summer, the WNO will send several of its young artists to Moscow for this exchange, culminating in two concerts with the Bolshoi Theatre’s young artists.

During his time at CCM, McCrady studied with Voice Professor Bill McGraw. He performed the title role in Puccini’s Gianni Schicchi, the King of Scotland in Handel’s Ariodante and Jesus in a staged version of Bach’s St. Matthew Passion. Outside of CCM, McCrady performed the Mandarin in a semi-staged version of Puccini’s Turandot (Kentucky Symphony Orchestra), Alidoro in Rossini’s La Cenerentola (Queen City Opera), Edward G. Robinson in Robert Xavier-Rodriguez’s Frida (Cincinnati Opera) and Geronimo in Cimarosa’s Il matrimonio segreto (Cincinnati Chamber Opera). Before he came to CCM, McCrady received a Bachelor of Music from Roberts Wesleyan College.

CCM Alumni Applause CCM News Student Salutes

CCM Alumnus Marcus Shields Returns As Visiting Assistant Professor of Opera Directing

UC College-Conservatory of Music Interim Dean bruce d. mcclung has announced the appointment of CCM alumnus Marcus Shields (MM, 2015; AD, 2017) to the position of Visiting Assistant Professor of Opera Directing. Shields’ appointment will officially begin on Aug. 15, 2018.

Shields is a New York City-based director who specializes in the presentation and performance of classical music and opera. His experience ranges from installation/performance art to fully produced theatre, blending his artistry as a pianist, singer, visual artist and director into works that probe the boundaries of genre.

He has served on the directing staff of the Lyric Opera Chicago, Atlanta Opera, Cincinnati Opera, Wolf Trap Opera and the Curtis Institute of Music. Directing credits include La Vida Breve with the Cincinnati Chamber Orchestra and Northern Kentucky University School of the Arts, and a touring production of The Bolcom Cabaret with engagements at the Neue Galerie in New York and the National Museum for Women in the Arts in Washington, DC.

Recently, Shields directed Bernstein’s Mass at Cincinnati’s May Festival, which attracted a sold-out crowd at Music Hall. At CCM he directed a semi-staged production of Arthur Honegger’s Joan of Arc at the Stake and the 2017 Mainstage Opera production of Mozart’s Idomeneo, which was praised by arts reporter Janelle Gelfand as “striking” and a “rare treat.” In the fall of 2018, Shields will direct Giacomo Puccini’s Tosca at New York City’s Madison Theater.

Recipient of the 2018 Stage Directing Fellowship at San Francisco’s Merola Opera Program, Shields holds a Master of Music degree in Voice and an Artist Diploma degree in Opera Direction from CCM. In 2017 he was a recipient of the Drama League Opera Directing Fellowship in conjunction with the Metropolitan Opera and Wolf Trap Opera.

On the announcement of Shield’s appointment, mcclung commented:

“CCM opera and voice students will benefit from Shields’ expertise as an opera director, visual artist and diction coach. His experience at San Francisco’s Merola Opera Program, Atlanta Opera and Chicago’s Lyric Opera promises to enrich CCM’s renowned opera program, ranked third in the country according to the most recent U.S. News and World Report ranking. I am grateful to the Search Committee Chairs Alan Yaffe and Robin Guarino for their collaborative effort on this successful search.”

Please join us in welcoming Marcus Shields to the CCM family!

CCM Alumni Applause Faculty Fanfare

Stanley E. Romanstein Named Dean of University of Cincinnati College-Conservatory of Music

An accomplished leader in education and the arts as well as a UC alumnus, Romanstein’s appointment follows a national search for CCM’s next dean.

Kristi A. Nelson, senior vice president for academic affairs and provost at the University of Cincinnati, today announced the appointment of Stanley E. Romanstein, PhD, as Dean of the College-Conservatory of Music (CCM). Romanstein’s appointment becomes effective July 1, 2018, pending approval of the University’s Board of Trustees.

“I am delighted to welcome Stanley Romanstein back to his alma mater as Dean of UC’s College-Conservatory of Music,” said Nelson. “He is an outstanding organizational leader, entrepreneur and scholar, in addition to being a proud UC alumnus. I was most impressed with his passion for arts advocacy, his engaging interpersonal skills, and his forward-thinking and student-centric approach to education.”

Romanstein is an accomplished nonprofit executive with 22 years of leadership and management experience in education and the arts. He comes to CCM from Georgia State University’s Creative Media Institute, where he has served as a professor of practice/music and the arts for the past four years. He also serves as a principal at BLJackson Associates, a consulting firm that works with arts, humanities and education-focused nonprofits across the country. Romanstein was previously President and CEO of the Atlanta Symphony Orchestra, President and CEO of the Minnesota Humanities Center, Director of Development at the Frederick R. Weisman Art Museum at the University of Minnesota, Executive Director of the Baltimore School for the Arts and Baltimore School for the Arts Foundation, and Associate Professor and Chair of the Department of Music at St. Lawrence University.

“I have firsthand knowledge of CCM’s excellence in music and arts education and I am a proud beneficiary of those high standards. I am honored to have the opportunity to contribute to my alma mater’s continued success as its next dean,” said Romanstein. “CCM’s reputation as a leading performing and media arts school is 150 years strong, and that reputation continues to grow thanks to the talents and dedication of its faculty, staff, alumni, donors, volunteers and community partners. Working together, we will continue to nurture the talents of our students and inspire future generations of artists, teachers, creative thinkers, innovative problem-solvers and media-savvy arts entrepreneurs.”

Romanstein continued, “I have found ideal partners in President Pinto and Provost Nelson and I look forward to working with them to build on CCM’s history and successes while advancing CCM’s role within the university’s strategic direction, Next Lives Here.”

Romanstein’s appointment follows a national search begun in fall 2017. The search was led by the UC Provost Office and chaired by Greer Glazer, Dean of the College of Nursing.

Nelson expressed her gratitude to bruce mcclung, who has served as CCM’s interim dean since July 2016. “I would like to acknowledge the outstanding service of Dean mcclung,” said Nelson. “UC owes mcclung a huge debt of gratitude for his leadership during the past two academic years, culminating with CCM’s 150th anniversary celebration.”

About Stanley E. Romanstein
Stanley E. Romanstein, PhD, brings to his new role at CCM extensive experience as a visionary leader, entrepreneurial strategist, engaging communicator, passionate fundraiser and successful manager.

In November of 2014, Romanstein began his tenure as professor of practice/music and the arts at Georgia State University’s Creative Media Institute, where his work focused on building music industry collaborations. During this time, he also served as a principal at BLJackson Associates, a consulting firm based in Atlanta that works with arts, humanities and education-focused nonprofits across the country. The firm creates and implements tailored solutions to challenges in organizational strategy, governance and development/ fundraising.

Romanstein has 22 years of leadership and management experience in education and the arts. As President and CEO of the Atlanta Symphony Orchestra (2010-14), he strengthened the orchestra’s connection to the community through expanded concert offerings and a wide range of impactful education offerings. He also created and implemented a new business model that reversed a 12-year history of financial loss and positioned the orchestra for long-term sustainability and artistic achievement.

As President and CEO of the Minnesota Humanities Center (2001-10), Romanstein transformed the center from a small organization with a local focus to a highly regarded regional and national leader in its field. He also created and distributed acclaimed new media; this included a collection of four Somali folk tales taken from oral tradition and written down for the very first time, as well as an Emmy Award-winning documentary, Iron Range: Minnesota Building America.

Romanstein proved to be an enthusiastic and productive fundraiser at the Minnesota Humanities Center, Frederick R. Weisman Art Museum and the Baltimore School of the Arts. He attracted new local, regional and national funding to support the center’s $4 million annual budget, including support from the Minnesota State Legislature by establishing partnerships with the state’s four ethnic councils: American Indian, African American, Latino and Asian. As Director of Development at the University of Minnesota’s Frederick R. Weisman Art Museum (2000-01), Romanstein led what was, at the time, the highest grossing annual fund drive while laying the groundwork for the museum’s successful capital campaign. As Director of Baltimore School for the Arts (1996-2000), Romanstein positioned the school for a successful capital campaign as well as a facility renovation and expansion.

From 1987-96, Romanstein served as an associate professor and chair of the music department at St. Lawrence University, a highly selective liberal arts institution in New York. He refocused the department’s traditional music curriculum to emphasize interdisciplinary and multicultural perspectives and created meaningful connections with departments and colleagues across the campus.

Romanstein earned a Bachelor of Music Education degree, cum laude, from Carson-Newman College in 1976. He then came to CCM to earn a Master of Music in Choral Conducting in 1980 and a PhD in Music in 1990. He was a Fulbright Scholar in Israel in 1985-86 and in Japan in November-December 1998.

About the University of Cincinnati College-Conservatory of Music
Declared “one of the nation’s leading conservatories” by the New York Times, the University of Cincinnati College-Conservatory of Music (CCM) is a preeminent institution for the performing and media arts. The school’s educational roots date back to 1867, and a solid, visionary instruction has been at its core since that time.

CCM offers nine degree types (BA, BM, BFA, MFA, MM, MA, AD, DMA, PhD) in nearly 120 possible majors. The synergy created by housing CCM within a comprehensive public university gives the college its unique character and defines its objective: to educate and inspire the whole artist and scholar for positions on the world’s stage.

CCM’s world-class facilities provide a highly creative and multidisciplinary artistic environment. In 2017, the college completed a $15-million renovation of its major performance spaces, ensuring that CCM’s facilities remain state-of-the-art.

The school’s roster of eminent faculty regularly receives distinguished honors for creative and scholarly work, and its alumni have achieved notable success in the performing and media arts. More than 150 internationally recognized faculty members work with students from around the world, specializing in the areas of:

  • Composition/Musicology/Theory,
  • Electronic Media,
  • Ensembles and Conducting (Choral Studies, Commercial Music Production, Jazz Studies, Orchestral Studies and Wind Studies),
  • Keyboard Studies (Harpsichord, Organ and Piano),
  • Music Education,
  • Performance Studies (Strings, Voice and Woodwinds/Brass/Percussion) and
  • Theatre Arts, Production and Arts Administration (Acting, Arts Administration, Dance, Musical Theatre, Opera and Theatre Design and Production).

The largest single source of performing arts events in the state of Ohio, CCM presents nearly 1,000 major public performances each year, ranging from faculty and guest artist concerts to fully supported acting, dance, musical theatre and opera productions.

CCM is an accredited institution of the National Association of Schools of Dance (NASD), the National Association of Schools of Music (NASM) and the National Association of Schools of Theatre (NAST), as well as a member of the University/ Resident Theatre Association (U/RTA).

Learn more by visiting http://ccm.uc.edu.

CCM Alumni Applause CCM News

New Work by Professor Douglas Knehans Premieres at New York Opera Fest

It’s been an exciting and busy year for CCM Norman Dinerstein Professor of Composition Scholar Douglas Knehans, a recent winner of the Ohio Arts Council’s 2018 Individual Excellence Award.

His most recent album Unfinished Earth, released on April 6, has already won five international awards including best classical album at the spring 2018 Clouzine International Music Awards, best contemporary classical album at the Independent Music Awards and three silver medals at the Global Music Awards.

Now, Knehans is preparing for the world premiere of his operatic monodrama Backwards from Winter during the New York Opera Fest. Directed by CCM alumna Jennifer Williams (AD Opera Stage Directing, 2012), the work premieres this Friday, May 25, 2018, presented by the Center for Contemporary Opera at Symphony Space.

With a libretto by Juanita Rockwell, Backwards from Winter explores a single woman’s reflection on love and grief after she loses her partner in an automobile crash. It uses live voice, live electronic/computer music and video streams to trace the unnamed woman’s past year with her beloved.

“We tell a story of love and loss, though do so in a way that constantly asks questions rather than gives answers,” Knehans says. “We follow the inception and ultimate tragic demise of a relationship but told in a reverse chronology and linked to a reverse cycling of the seasons — Backwards from Winter.”

Knehans and Rockwell began collaborating on Backwards from Winter in 2010. He completed the composition in 2013, using only the resources of electric cello, electronically processed soprano voice and computerized sound. Knehans says the cellist will also sing, hum and intone words throughout the production, adding an extra layer of dramatic friction to the music.

“Douglas is a truly interdisciplinary artist,” says Williams. “Backwards from Winter, like much of his work, brings together modern technology and timeless lyricism. His score puts a variety of musical styles and compositional techniques in conversation with each other.”

“He is a composer who is genuinely interested in the ideas of the artists performing his work. Working with him is a very collaborative and adventurous experience.”

Williams makes her New York directorial debut with the premiere of Backwards from Winter. The production features a set designed by CCM alumnus Ryan Howell (MFA Stage Design, 2013) and video projections created by Yee Eun Nam.

“A stark, dramatic Noh-like approach to stage will be used,” says Knehans, comparing Backwards from Winter’s staging to the Noh traditional Japanese theatrical form. “This element will also permeate the symbiotic lighting, set design and video creation to evoke the external natural world that stands as a counterpoint to the rich internal questions asked by the protagonist and the music.”

The video projections represent the character’s emotional process as she confronts her grief. The woman always initiates the images seen in the projections, Williams adds. The set is composed of car debris and white, ashen boxes that represent the compartments of her memory.

“She opens one – the inside is a vibrant color, different from the rest of the world of the set – and a sapling tree grows out of it, or a gust of leaves blows out of it,” Williams says describing how the set interacts with the video projections. “The videos are an expressive extension of her action.”

Williams says she brings a feminist perspective and an interest in new technology to the productions she directs. When she first came to opera, she didn’t like how the women were nearly always victims, so she works to dig deeper into the music and underlying story elements to present women as empowered and in control of their own destinies.

Other directors have chosen to invent a husband character as a looming presence in Backwards from Winter, but Williams says the woman’s conflict isn’t with her deceased partner — it is with her own grief. Additionally, the libretto for Backwards from Winter doesn’t specify that the woman’s lost love was male.

“I wanted to avoid inventing a husband character to keep the story inclusive,” Williams says. “I want everyone in the audience to be able to see themselves and their own experience in the story. A more expressive and less traditional, cinematic approach to video design leaves space for that — it invites more perspectives into the story.”

Knehans is very proud and excited that Backwards from Winter will premiere at New York Opera Fest this Friday, May 25. There will also be a new production of the monodrama presented at the Dark Mofo Festival in Australia on June 20-23.

Douglas Knehans.

Douglas Knehans. Photo by Tina Gutierrez.

About Douglas Knehans
Douglas Knehans has received awards from the American Music Center, the NEA, the Australia Council Performing Arts Board, Yale University, the MacDowell Colony, Opera Australia, The Cannes Film Festival, Carnegie Hall, The Kennedy Center, The National Symphony Orchestra, The Academy of Television Arts and Sciences, Meet the Composer and a host of others.

His music has been praised by the Washington Post as “beautiful,” by the Miami Herald as “wildly inventive,” by the Australian as “brilliantly catchy and eerily bright” and by Fanfare Magazine as “…effective…incisive… and hauntingly beautiful.”

Knehans’ music is available on ERM Media, Crystal Records, Move Records, New World Records and ABLAZE Records. His full biography is available online at douglasknehans.com.

For more information on CCM’s Division of Composition, Musicology and Theory visit ccm.uc.edu/music/cmt.

CCM Alumni Applause CCM News Faculty Fanfare
Cover artwork for CCM's 2018-19 Mainstage Series Subscription Brochure.

CCM 2018-19 Mainstage Series Subscriptions On Sale Now!

New subscription packages are now on sale for CCM’s 2018-19 Mainstage Series of Acting, Dance, Musical Theatre and Opera Productions. With CCM’s streamlined subscriptions, it has never been easier to get the best seats at the best prices. Arts lovers can simply mix and match the shows they want to see with customizable eight, six, four or three-show packages. Subscription orders placed before Sept. 10 will get seated before any single ticket buyers!

Cover artwork for CCM's 2018-19 Mainstage Series Subscription Brochure.

About CCM’s 2018-19 Mainstage Series
CCM was recently declared “Best of Cincinnati” in CityBeat‘s annual readers’ choice poll, but the best is yet to come with CCM’s 2018-19 Mainstage SeriesFrom October 2018 through April 2019, CCM presents eight masterworks spanning the spectrum of theatrical arts, including:

  • the best of comedic and dramatic acting with The Government Inspector and Our Country’s Good,
  • classic and contemporary musicals with Guys and Dolls and The Hunchback of Notre Dame,
  • great operas from master composers with Britten’s The Turn of the Screw and Mozart’s La Clemenza di Tito,
  • and innovative dance programs with Birthday Variations and Cinderella!

Last season, single ticket buyers missed out on sold-out performances of Hamlet, Seussical (voted the year’s “Best Play” by CityBeat readers), Candide and Jesus Christ Superstar. Subscribers have a guaranteed seat to see the phenomenal talent and polished professionalism of CCM’s young performers. Download CCM’s 2018-19 Mainstage Subscription Brochure to learn even more about our upcoming productions!

Ordering Your Subscriptions
CCM’s customizable subscription packages range in price from $81-$192. Download our 2018-19 Mainstage Subscription price sheet, seating chart and order form for complete details. Then choose your shows and select whether you want seats in Section A (the best views) or Section B (the lowest prices). To pay by check, simply return your order form by mail or drop it off at the CCM Box Office in the Atrium of CCM’s Corbett Center for the Performing Arts. For credit card transactions, call the Box Office.

The CCM Box Office staff is always ready to answer your questions by phone at 513-556-4183 or by email at boxoff@uc.edu.

Don’t wait to get the best seats at the best prices!
Single tickets go on sale Sept. 10, 2018.

CCM Season Presenting Sponsor: The Otto M. Budig Family Foundation

CCM Mainstage Season Production Sponsor: Macy’s

CCM News

CCM Welcomes Kathleen Kelly as New Associate Professor of Opera Coaching

CCM Interim Dean bruce d. mcclung has announced the addition of Kathleen Kelly as the college’s new Associate Professor of Opera Coaching. An accomplished opera coach, conductor, pianist and teacher, Kelly’s appointment begins on Aug. 15, 2018.

Kelly currently serves as an associate professor at the University of Michigan’s School of Music, Theatre and Dance. She joined the faculty in 2015 as the school’s first coach/conductor of opera. While there, she conducted performances of Giulio Cesare, Così fan tutte, A Midsummer Night’s Dream, Dinner at Eight, the difficulty of crossing a field and L’heure espagnole/Gianni Schicchi, which won the American Prize in Opera Performance. She also led workshops for The Dream of the Red Chamber, Kept and Black Clown and oversaw the musical preparation for the university-wide performances of the new critical edition of Porgy and Bess.

Kelly was the first woman and first American named as director of musical studies at Vienna State Opera, where she oversaw the daily musical life of more than 50 ensemble singers in more than 50 operas from 2010 to 2013. She also curated a recital series in the opera house’s famous Mahlersaal and served as the series’ principal pianist. She was the recitative accompanist for new productions of The Marriage of Figaro and Don Giovanni, and assisted Maestro Franz Welser-Möst on new productions of Kát’a Kabanová and Z mrtvého domu.

Before moving overseas, Kelly served as the music director of the Houston Grand Opera Studio as well as the company’s head of music staff from 2006 to 2010. Highlights of these years include conducting her own chamber music arrangement of Hansel und Gretel in a remarkable production by Basil Twist, serving as pianist for the Eleanor McCollum competition and curating the HGOS recital series at Rienzi.

From 1997 to 2006, Kelly served as an assistant to the music director at the Metropolitan Opera, specializing in the works of Wagner, Strauss and Berg. During that time, because of her success as a prompter and musical assistant, she was the focus of a Wall Street Journal article and a Metropolitan Opera radio broadcast feature. From 2005 to 2008 Kelly was also the music director of the Berkshire Opera, conducting two productions each summer and overseeing the young artist program.

As a conductor, Kelly has led the 2018 Schwabacher Concerts at the San Francisco Opera’s Merola Program, Francesca Zambello’s critically acclaimed Ariadne auf Naxos at the Glimmerglass Festival (nominated for an International Opera Award), The Marriage of Figaro at Wolf Trap, the premiere of Emmerich Kálmán’s Arizona Lady at Arizona Opera, Carmen and Madama Butterfly at Opera Columbus, Hansel und Gretel at El Paso Opera and the Alexandria Symphony in Virginia. She also conducted the West Coast premiere of Ricky Ian Gordon’s A Coffin in Egypt, starring Frederica von Stade.

Kelly earned Bachelor of Music and Master of Music degrees in piano performance from Arizona State University and received a Fulbright Scholarship in Music to study at the Musikhochschule Lübeck in Germany.

She has performed internationally as a recital pianist, including performances at Carnegie Hall, the Kennedy Center, Vienna’s Musikverein and Tucson’s Desert Song Festival. Her recital partners have included Jamie Barton, Thomas Hampson, Renee Fleming, Christine Goerke, Albina Shagimuratova, Valentina Nafornita, Patrick Carfizzi, Michael Kelly, Jill Grove and Troy Cook.

Kelly has taught master classes in the United States and internationally, including at Interlochen Academy, CCM, Baylor University, Vanderbilt University, Arizona State University, Western Ontario University, Peabody Conservatory and Moscow Conservatory, among others. She is also a regular guest coach for Washington National Opera’s Domingo-Cafritz program, and works regularly with young artist programs nationally, notably at the Los Angeles Opera, the Chicago Lyric Opera, Houston Grand Opera, Wolf Trap Opera, Seattle Opera and in the CoOperative Training Program at Westminster Choir College.

Additionally, Kelly is gaining recognition as a writer of articles, translations and original texts. She has written lead program articles for Wolf Trap, Houston Grand Opera and Arizona Opera. For the Arizona Lady performances, she created a new trilingual adaptation of the libretto. She also wrote the text Texanische Liebeslieder, a song cycle by David Hanlon, which premiered in 2015.

Most recently, Kelly wrote a new English translation Hansel und Gretel for Tri-Cities Opera. She was also commissioned by Wolf Trap Opera to write the libretto for Listen Wilhelmina!, a children’s opera that premiered in May 2017.

Interim dean mcclung thanks the search committee, co-chaired by Alan Yaffe and Robin Guarino, and committee members Amy Johnson, Marie-France Lefebvre and Michelle Conda for their work on finding CCM’s new associate professor of opera coaching. He adds,

“Professor Kelly brings a wealth of experience and artistry both nationally at the Metropolitan Opera and internationally at the Vienna State Opera to CCM’s nationally ranked and internationally renowned opera program.”

Please join us in welcoming Kathleen Kelly to the CCM family!

CCM Audio CCM News Faculty Fanfare
Photography from CCM's Fall 2017 Mainstage Series production of 'Seussical' by Mark Lyons.

Become a Mainstage Subscriber and See Why CCM Was Voted “Best of Cincinnati”

Photography from CCM's Fall 2017 Mainstage Series production of 'Seussical' by Mark Lyons.

Photography from CCM’s Fall 2017 Mainstage Series production of ‘Seussical’ by Mark Lyons.

Audiences recently declared CCM “Best of Cincinnati,” but the best is yet to come with CCM’s 2018-19 Mainstage Series! New subscriptions are on sale now for CCM’s eight-part series of Acting, Dance, Musical Theatre and Opera productions.

Running from October 2018 through April 2019, CCM presents eight masterworks spanning the spectrum of theatre arts, including the best of comedic and dramatic acting, classic and contemporary musicals, great operas from master composers and innovative dance programs … all featuring CCM’s stars-of-tomorrow!

With new streamlined subscription packages, it’s never been easier to get the best tickets at the season’s best prices. Subscriptions are on sale now! Place your priority subscription order by Friday, Aug. 31, 2018, to take advantage of Subscriber-Only Week (Sept. 4-7, 2018).

To order subscriptions, download the new subscription order form or contact the CCM Box Office at 513-556-4183 or boxoff@uc.edu.

The complete 2018-19 Mainstage Series lineup is listed below. Titles and dates are subject to change – rights pending.
____________________

CCM’S 2018-19 MAINSTAGE SERIES
Acting, Musical Theatre, Opera, Dance

"The Government Inspector" promo image by Mark Lyons.THE GOVERNMENT INSPECTOR
Adapted by Jeffrey Hatcher
From the original by Nikolai Gogol
Richard E. Hess, director

When the locals in a small Russian hamlet learn that an undercover government inspector is coming for a surprise visit, a case of mistaken identity sends the whole village spiraling into a world of panic and greed. Part farce, part slapstick and wholly entertaining, this timely and spirited adaptation of Nikolai Gogol’s classic play exposes the corruption of a provincial town with biting hilarity.

Performance Dates: Oct. 3 (preview), Oct. 4-7, 2018
Location: Patricia Corbett Theater

_____

"Guys and Dolls" preview photography by Mark Lyons.GUYS AND DOLLS
A Musical Fable of Broadway
Based on a Story and Characters of Damon Runyon
Music and Lyrics by Frank Loesser
Book by Jo Swerling and Abe Burrows
Diane Lala, director and choreographer
Roger Grodsky, musical director

Set in Damon Runyon’s mythical New York City, Guys and Dolls is the perfect musical comedy and a “golden oldie” from the Broadway season of 1950. Nathan Detroit is a gambler trying to find the cash to set up the biggest craps game in town while the authorities breathe down his neck. Meanwhile, his girlfriend and nightclub performer, Adelaide, laments that they’ve been engaged for 14 years. Nathan turns to fellow gambler Sky Masterson for the dough, and Sky ends up chasing straight-laced missionary Sarah Brown as a result. Guys and Dolls takes us from the heart of Times Square to the cafés of Havana, Cuba and even into the sewers of New York City, but eventually everyone ends up right where they belong.

Performance Dates: Oct. 19 and 21, Oct. 26-27, 2018
Note: A special gala performance of Guys and Dolls will be presented on Saturday, Oct. 20, in honor of CCM Musical Theatre’s 50th anniversary; special pricing applies.
Location: Corbett Auditorium

_____

"The Turn of the Screw" preview photography by Mark Lyons.THE TURN OF THE SCREW
Music by Benjamin Britten
Libretto by Myfanwy Piper, after a story by Henry James
Aik Khai Pung, conductor
Vince DeGeorge, director

Based on Henry James’ classic ghost-story novella, Britten’s compelling chamber opera presents the story of a governess charged with the care of two orphaned children at their absentee uncle’s country estate, where the ghosts of a former valet and his lover haunt the grounds. With a blend of 12-tone techniques, arresting motifs and stirring lyricism, the action moves with incredible fluidity, creating a chilling tale of sexual repression and the corruption of innocence. For mature audiences.

Performance Dates: Nov. 15-18, 2018
Location: Patricia Corbett Theater

_____

"Birthday Variations" preview photography by Mark Lyons.BIRTHDAY VARIATIONS
Jiang Qi, director

CCM Dance showcases an array of classic and contemporary works restaged and choreographed by CCM Dance faculty members. The thrilling highlight of the evening is Birthday Variations, set to music by Giuseppe Verdi and staged by guest artist Nicole Duffy Robertson, a répétiteur for the Gerald Arpino Foundation. The performance of Birthday Variations, an Arpino ballet, is presented with the permission of the Gerald Arpino Foundation and has been produced in accordance with the Foundation service standards established and provided by the Foundation.

Performance Dates: Dec. 6-9, 2018
Location: Patricia Corbett Theater

_____

"Our Country's Good" preview photography by Mark Lyons.OUR COUNTRY’S GOOD
By Timberlake Wertenbaker
Based on the novel The Playmaker by Thomas Keneally
Susan Felder, director

Set in Botany Bay in 1789, Our Country’s Good is a darkly comedic tale based on the true story of Australia’s first theatrical performance. A marine lieutenant decides to put on a play to celebrate the king’s birthday. He casts the play with convicts who populate an Australian prison camp. Few of them can read, let alone act, and the play is produced against a background of food shortages and barbaric prison punishments. Our Country’s Good is as an inspiring tribute to the transforming power of drama. For mature audiences.

Performance Dates: Feb. 13 (preview), Feb. 14-17, 2019
Location: Patricia Corbett Theater

_____

"Hunchback of Notre Dame" preview image by Mark Lyons.THE HUNCHBACK OF NOTRE DAME
Music by Alan Menken
Lyrics by Stephen Schwartz
Book by Peter Parnell
Based on the Victor Hugo novel and songs from the Disney film
Originally developed by Disney Theatrical Productions
Aubrey Berg, director
Stephen Goers, musical director
Katie Johannigman, choreographer

Based on the Victor Hugo novel and songs from the Disney animated feature, The Hunchback of Notre Dame begins as bells sound through the famed cathedral in fifteenth-century Paris. Quasimodo, the deformed bell-ringer, observes all of Paris reveling in the Feast of Fools, but he is held captive by his devious caretaker, the archdeacon Dom Claude Frollo. He escapes for the day and joins the boisterous crowd, only to be treated cruelly by all but the beautiful gypsy, Esmeralda. Quasimodo isn’t the only one captivated by her free spirit, though — the handsome Captain Phoebus and Frollo are equally enthralled. As the three vie for her attention, Frollo embarks on a mission to destroy the gypsies and it’s up to Quasimodo to save them all. The musical premiered as Der Glöckner von Notre Dame in 1999 in Berlin.

Performance Dates: March 7-10, 2019
Location: Corbett Auditorium

_____

"La Clemenza di Tito" preview photography by Mark Lyons.LA CLEMENZA DI TITO
(THE CLEMENCY OF TITUS)
Music by Wolfgang Amadeus Mozart
Libretto by Caterino Mazzolà
Jiannan Cheng, conductor
Robin Guarino, director

Mozart’s last opera seria displays some of his most memorable and marvelous arias! The story centers on Roman emperor Titus (Tito) who must choose a wife, but is unable to find a suitable match. In his search for an empress, Tito narrowly avoids an assassination plot instigated by his protégé Sesto and the former emperor’s daughter, Vitellia, who wants the throne for herself. Caught between his duty and his heart, the emperor must choose whether to rule with mercy or with an iron fist.

Performance Dates: April 12-14, 2019
Location: Corbett Auditorium

_____

CCM Dance preview image by Mark Lyons.CINDERELLA
Deirdre Carberry and Michael Tevlin, co-directors
Karen Russo Burke, choreographer

Celebrate spring’s arrival with a fully staged fairytale ballet choreographed by guest artist Karen Russo Burke, Artistic Director of the Dayton Ballet. A poor girl wishes to escape the authoritarian rule of her evil stepmother and stepsisters, so her fairy godmother gives her a ticket to the ball! The girl meets Prince Charming and they fall in love, but she vanishes when the clock strikes midnight. Set to music by Sergei Prokofiev, Cinderella is known for its jubilant melodies, lush scenery and graceful retelling of the timeless romance by Charles Perrault.

Performance Dates: April 26-28, 2019
Location: Patricia Corbett Theater

____________________

Mainstage Series Subscriptions
The 2018-19 CCM Mainstage Series of Acting, Musical Theatre, Opera and Dance productions includes subscription packages for combinations of Eight Shows, Six Shows, Four Shows or Three Shows. Newly streamlined subscription packages make this process easier than ever before. Simply choose your shows and select whether you want seats in Section A (the best views) or Section B (the lowest prices)!

Subscription packages are on sale now, with packages ranging in price from $81-$192.

Place your priority subscription order by Friday, Aug. 31, to take advantage of Subscriber-Only Week (Sept. 4-7, 2018).

Single tickets go on sale beginning Sept. 10, 2018, but subscribing is the only way to guarantee your seats and your savings for CCM’s Mainstage Series!

To order subscriptions, download the new subscription order form or contact the CCM Box Office at 513-556-4183 or boxoff@uc.edu.

____________________

2018-19 MAINSTAGE SERIES PERFORMANCE TIMES

THE GOVERNMENT INSPECTOR
Performance Times:

  • 8 p.m. Wednesday, Oct. 3 (preview)
  • 8 p.m. Thursday, Oct. 4
  • 8 p.m. Friday, Oct. 5
  • 2 p.m. Saturday, Oct. 6
  • 8 p.m. Saturday, Oct. 6
  • 2 p.m. Sunday, Oct. 7

Location: Patricia Corbett Theater

GUYS AND DOLLS
Performance Times:

  • 8 p.m. Friday, Oct. 19
  • 8 p.m. Saturday, Oct. 20 (CCM Musical Theatre 50th Anniversary gala performance; special pricing applies)
  • 1 p.m. Sunday, Oct. 21
  • 7 p.m. Sunday, Oct. 21
  • 8 p.m. Friday, Oct. 26
  • 2 p.m. Saturday, Oct. 27
  • 8 p.m. Saturday, Oct. 27

Location: Corbett Auditorium

THE TURN OF THE SCREW
Performance Times:

  • 8 p.m. Thursday, Nov. 15
  • 8 p.m. Friday, Nov. 16
  • 8 p.m. Saturday, Nov. 17
  • 2 p.m. Sunday, Nov. 18

Location: Patricia Corbett Theater

BIRTHDAY VARIATIONS
Performance Times:

  • 8 p.m. Thursday, Dec. 6
  • 8 p.m. Friday, Dec. 7
  • 8 p.m. Saturday, Dec. 8
  • 3 p.m. Sunday, Dec. 9

Location: Patricia Corbett Theater

OUR COUNTRY’S GOOD
Performance Times:

  • 8 p.m. Wednesday, Feb. 13 (preview)
  • 8 p.m. Thursday, Feb. 14
  • 8 p.m. Friday, Feb. 15
  • 2 p.m. Saturday, Feb. 16
  • 8 p.m. Saturday, Feb. 16
  • 2 p.m. Sunday, Feb. 17

Location: Patricia Corbett Theater

THE HUNCHBACK OF NOTRE DAME
Performance Times:

  • 8 p.m. Thursday, March 7
  • 8 p.m. Friday, March 8
  • 2 p.m. Saturday, March 9
  • 8 p.m. Saturday, March 9
  • 2 p.m. Sunday, March 10

Location: Corbett Auditorium

LA CLEMENZA DI TITO
Performance Times:

  • 8 p.m. Friday, April 12
  • 8 p.m. Saturday, April 13
  • 2 p.m. Sunday, April 14

Location: Corbett Auditorium

CINDERELLA
Performance Times:

  • 8 p.m. Friday, April 26
  • 2 p.m. Saturday, April 27
  • 8 p.m. Saturday, April 27
  • 2 p.m. Sunday, April 28

Location: Patricia Corbett Theater

____________________

CCM Season Presenting Sponsor: The Otto M. Budig Family Foundation

Mainstage Season Production Sponsor: Macy’s

CCM Alumni Applause CCM News Faculty Fanfare Student Salutes