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COVID-19 Updates: uc.edu/publichealth
Advanced opera singers will have the opportunity to learn a role in its entirety, work with renowned faculty and industry professionals, and participate in daily Italian classes and coaching. The course culminates in a fully-staged performance of Falstaff.
Opera Bootcamp is an intense and dynamic program designed to develop the interaction between conductor, orchestra, and singer. The skills taught at Opera Bootcamp can be applied quickly and effectively to have great impact on your success as an artist. If you are an aspiring conductor, singer, or collaborative pianist/coach… we want YOU!
Title: Professor of Music; Director, Orchestral Studies
Office: 2550 Corbett Cntr Perform Arts
Mark Gibson, director of orchestral studies at CCM since 1998, enjoys a career that spans three continents, guest conducting and teaching from Munich to Manila.
Prior to his arrival in Cincinnati, Gibson served as principal conductor of the Alabama Symphony, visiting director of orchestral studies at the Eastman School of Music and music director of the New York City Opera National Company, among other posts. He was artistic director of the Opera Theatre and Music Festival of Lucca in Italy and director of the opera conducting course at CCM Spoleto. Presently artistic director of CCM’s unique immersion program, the Summer Opera Conducting Bootcamp, he has just been named head of the Conducting Institute at the Miami Music Festival.
Gibson's conducting credits include the Minnesota Orchestra, St. Paul Chamber Orchestra, Omaha Symphony, Jacksonville Symphony, Rochester Philharmonic, New York City Opera, Dallas Opera, Opera Pacific, New Orleans Opera, Cleveland Opera, Chautauqua Opera and Spoleto U.S.A. International appearances include Central Opera of Beijing; orchestras in Beijing, Chengdu, Xi’an, Tianjin, Shenzhen and Qingdao, China; the Opera de Valencia; Opera de Malaga; and Gran Teatre del Liceu in Spain, the Bochum Symphoniker in Germany, the KBS Symphony Orchestra, COOP and Seoul Symphony Orchestras in Korea, and the Philippine Philharmonic Orchestra in Manila.
He leads master classes and concerts at many conservatories and orchestras in the US and internationally, including the Hochschule für Musik und Theater in Munich, Seoul National University, National Taiwan Normal University, the Central Conservatory of Music in Beijing and the Escola Superior de Musica de Catalunya in Barcelona, and most recently the Charleston Symphony Orchestra. His students have won top prizes in the Malko, Pedrotti, Solti, Mahler, Flick, Jeunesses Musicales, Dorati, OFUNAM, Blue Danube, Li Delun and Maazel conducting competitions.
Notable performances include opera galas at the National Centre for the Performing Arts, Beijing and the American concert premiere of the complete, five-act Paris Opera version (1867) of Verdi’s Don Carlos. He is presently at work on the long-anticipated 8th edition of the classic text, “The Modern Conductor,” for Pearson.In 2017, Oxford University Press released Mr. Gibson’s highly acclaimed book on conducting and musical matters, “The Beat Stops Here.”
Title: Professor of Opera/Voice Coaching
Office: 223 Corbett Cntr Perform Arts
Marie-France Lefebvre works regularly as a guest assistant conductor at major opera companies, including the Metropolitan Opera and San Francisco Opera. She was a member of the full time Music Staff of the Washington National Opera from 1994-2004. She has worked with Wolf Trap Opera, Santa Fe Opera and Seattle Opera, and was the program and music director for the 20th Century Opera and Song Interpretation Program at the Banff Centre for the Arts.
Lefebvre has also worked as a prompter at Washington National Opera, the Metropolitan Opera and at San Francisco Opera, working with singers including José Carreras, Plácido Domingo, Lawrence Brownlee, Samuel Ramey, Ferruccio Furlanetto, Renée Fleming, Dame Kiri Te Kanawa and Verónica Villaroel. She has assisted Nicola Luisotti, Sir Simon Rattle, Emmanuel Villaume, Roberto Abbado and Heinz Fricke.
Lefebvre currently serves as official accompanist for the Metropolitan Opera National Council Auditions in Washington, DC. She has been heard on many CBC Radio recitals, and has performed with artists including Samuel Ramey, Dmitri Hvorostovsky, Bruce Ford, Denyce Graves and Harolyn Blackwell.
Lefebvre studied piano with Monique Collet-Samyn, Marek Jablonski, Dale Bartlett, Donal Nold, Artur Balsam, Joseph Seiger, Martin Katz, Arthur Greene, and Soeur Claire Dubois. She holds a DMA in Piano Accompanying from the University of Michigan and an MM in Accompanying from the Manhattan School of Music.
Prior to joining CCM in 2008, Lefebvre served on the faculty of the Michigan State University School of Music (2004-2008) and previously was a guest instructor at the University of Maryland. She worked as a guest French diction coach with The Curtis Institute of Music from 1999-2004.
Title: Visiting Assistant Professor of Opera
Office: 321 Dieterle Vocal Arts Cntr
Vernon Hartman maintains a diverse career spanning forty-six years as a performer, director, educator, producer and administrator. He was a leading baritone at the Metropolitan Opera for two decades, where his many appearances included Count Almaviva (Le nozze di Figaro), Eisenstein (Die Fledermaus), Ping (Turandot), Figaro (Il barbiere di Siviglia), Silvio (I Pagliacci), Valentin (Faust), Mercutio (Roméo et Juliette), Lescaut (Manon Lescaut), Redburn (Billy Budd) and over two dozen national and international broadcasts and telecasts. As a guest artist Mr. Hartman has sung with virtually all of North America’s major opera companies, orchestras and festivals, mixed with frequent appearances in Italy, Germany, Spain, Norway, Austria, France, Japan, Mexico, China and elsewhere. Among his best-known portrayals are Rigoletto, Scarpia (Tosca), Count di Luna (Il Trovatore), Don Giovanni, Germont (La Traviata), Falstaff, Marcello (La bohéme), Gianni Schicchi, Amonasro (Aïda), Pentheus (H. W. Henze’s The Bassarids), Michele (Il Tabarro) and Emile de Becque (South Pacific). Mr. Hartman has produced and directed opera and music theater for over thirty organizations worldwide, notably Opera Tampa, Toledo Opera, Opera Santa Barbara, Greensboro Opera, Rockford Symphony, Opera Birmingham, Dubuque Symphony, Evansville Philharmonic, Springfield Symphony and Fox Valley Symphony as well as various theaters and festivals in Italy. In 2016 Mr. Hartman returned to Cincinnati Opera after a twenty-one year absence to create the role of Senator Charles Potter in Fellow Travelers (reprised in 2018 for the Prototype Festival in New York), and he has also sung the Iron Mullah in Shalimar the Clown and the Father in Eurydice with Opera Fusion/New Works. Recent activities include directing Turandot for Kentucky Symphony (also singing Ping), directing the world première of The Garden of Martyrs with the Springfield Symphony (while creating the role of James Sullivan), and his new adaptation of Carlo Goldoni’s play The Servant of Two Masters was performed at Smith College under his direction. He has guest directed for numerous other academic institutions, notably Carnegie-Mellon University, The University of Massachusetts-Amherst, Kent State University, Ashland University and the Virginia Governor’s School for the Arts. He has served on the faculty of CCM Opera Bootcamp the past several summers, directing Le nozze di Figaro, a double bill of Les mamelles de Tiresias and Suor Angelica, and Don Pasquale (also singing the title role). Mr. Hartman was born in Dallas and raised at San Marcos in the central Texas hill country. He attended Southwest Texas State and North Texas State Universities 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 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 New York City Opera, including two coast-to-coast tours as Germont in La Traviata, before joining the Metropolitan Opera (for Rossini’s Figaro) in 1981. His European debut was Guglielmo in Cosí fan Tutte at the 1977 Spoleto Festival.
Title: Emeritus Professor of Voice
Office: Dieterle Vocal Arts Cntr
David Adams served as Professor of Voice and Head of the Performance Studies Division at the College-Conservatory of Music, University of Cincinnati, before retiring in 2015. He has served on the faculty of the Aspen Music School, and has been artistic director of the Opera Theater and Music Festival of Lucca (Italy), and its successor, CCM Spoleto, summer programs of the College-Conservatory of Music. Prof. Adams is the author of A Handbook of Diction for Singers published by Oxford University Press (now in its second edition), and The Song and Duet Texts of Antonín Dvorák, published by Leyerle Publications. He has also written articles for periodicals, including The Journal of Singing. Students of his have won prestigious competitions, including the Metropolitan Opera Auditions, the Houston Grand Opera and the National Federation of Music Clubs, and have participated in the major summer apprentice programs. Former students are singing professionally in Europe and the US and are teaching throughout the US.
As a performer, specialized areas of interest included the evangelist roles in J. S. Bach’s Passions (A "superb diction and feeling,” Dayton Daily News), Czech vocal music (Janácek’s The Diary of One Who Vanished: “…a splendid performance. He evoked so much beauty from the vocal lines and the Czech text,” St. Louis Post-Dispatch), and contemporary music (Musical America called him "a compelling interpreter" of Elliott Carter’s In Sleep, In Thunder). His interest in Czech vocal music culminated in a CD recording of songs of Dvorák and Smetana in January 2005.
Before his teaching career, Adams sang as lyric tenor in opera and concert in Italy, Austria, Germany, Luxembourg, and the US. In Austria and Germany he was a member of the resident ensembles of the Vienna Kammeroper, Kaiserslautern Pfalztheater, and Saarländisches Staatstheater, and also appeared on German television. In Italy he sang with the Opera Barga Festival for three years. He has performed as tenor soloist with numerous regional orchestras throughout the US. He has degrees from Indiana University and the University of New Mexico, and pursued additional studies at L’Accademia di Santa Cecilia, Rome, Italy as the recipient of a Fulbright Grant.
Director Omer Ben Seadia has quickly established herself as one of the fresh new voices in opera to watch. After working for the Israeli Opera for over a decade, Ms. Ben Seadia moved to the United States in 2012 to begin her international directing career. In this time, she quickly established herself as a rising talent and her upcoming productions include: Idomeneo at Wolf Trap Opera, Yardbird with Atlanta Opera, La Bohème at Opera Santa Barbara, a double bill of Tom Cipullo’s Josephine and After Life at Opera Colorado, and well as developing the world premier of Home of my Ancestors by Nkeiru Okoye and Anita Gonzalez for HGOco.
Previous productions include: the world premiere of Steal a Pencil for Me by Gerald Cohen and Deborah Brevoort at Opera Colorado, a revival of John Caird’s production of Tosca at Houston Grand Opera, the 2017 Apprentice Scenes Program at Santa Fe Opera, Faust at Tulsa Opera, L’italiana in Algeri as well as a revival of A Streetcar Named Desire at Opera Santa Barbara, Considering Matthew Shepard - a fusion oratorio by Craig Hella Johnson - in collaboration with Cincinnati Opera and the Vocal Arts Ensemble, Pursuing the Dream and Let’s Cook up an Opera at Cincinnati Opera, Surviving the Amazing Opera Race at Dayton Opera, L’elisir d’amore at Naples Opera, a double bill of Der Kaiser von Atlantis/ Brundibár with Cincinnati Chamber Opera as part of the Theresienstadt Opera Project, the 2016 Schwabacher Concert at the Merola Opera Program, Don Pasquale, Le Docteur Miracle, Saint John’s Passion, and Don Carlos at Cincinnati College-Conservatory of Music, Così fan tutte at the University of Michigan, Roméo et Juliette at the International Vocal Arts Institute led by Joan Dornemann, The Sound of Music at Crested Butte Music Festival, The Coffee Cantata with Barrocade Orchestra, and The Golden Vanity with the Cincinnati Boychoir.
Ms. Ben Seadia is deeply committed to the development and training of young artists; she has been on staff for the Studio and Young Artist Vocal Academy (YAVA) at Houston Grand Opera, the Merola Opera Program, the International Vocal Arts Institute, and she is thrilled to join the faculty at the Aspen Music Festival in 2018.
Ms. Ben Seadia grew up in the theater and fell in love with opera when she experienced her first acting role at the age of 15. Since this time, she has flourished in both theater and opera, and she completed the prestigious opera directing program at the Cincinnati College-Conservatory of Music in 2014. Ben Seadia was named the 2014 Apprentice Stage Director at the Merola Opera Program, where she directed the Merola Grand Finale on the main stage of the San Francisco Opera.
Daily activities include Italian classes, coaching sessions, conducting masterclasses and seminars, style classes, sight-reading and sight-singing, and staging rehearsals. Conductors will perform as supers in the production, and conduct a portion of the opera with full orchestra, and/or a segment of the orchestral concert.