VanderLaan PrizeVanderLaan Prize

VanderLaan Prize


The 2024 VanderLaan Prize application is closed.


Opera Grand Rapids is proud to announce the 2024 VanderLaan Prize.

The 20th annual VanderLaan Prize is an opportunity for college-level voice students to compete for cash prizes and receive feedback from adjudicators who themselves are acclaimed opera artists. Opera Grand Rapids brings world-class professionals into its adjudication process in order to give contestants meaningful instruction and critique. 10 finalists will be chosen to perform in the final-round concert at the Betty Van Andel Opera Center in Grand Rapids, Michigan, on March 23, 2024. The finalists will sing for three adjudicators and participate in educational and social activities with one another.


This competition boasts one of the largest purses in the nation at nearly $25,000, awarded as follows:

 

1st
First Place
$10,000
2nd
Second Place
$5,000
3rd
Third Place
$2,500
FOTO Award
Audience Choice Award
$1,000

chosen by audience members during the final-round concert

10 Finalists will receive $500 to be used as a travel stipend. Prizewinners will also receive special consideration for roles in upcoming Opera Grand Rapids productions.

The winner of the VanderLaan Prize is obligated to return to Grand Rapids and perform at our annual gala April 19, 2024.


2024 COMPETITION TIMELINE

November 15, 2023

Application opens

February 12, 2024

Application deadline

February 13–26, 2024

Round 1 prescreening and adjudication

February 27, 2024

Finalists notified

March 23, 2024

Final-round concert in Grand Rapids, Michigan


2024 JUDGES

Ricky Ian Gordon | Composer

Ricky Ian Gordon is a New York based composer and writer whose works have been performed at Lincoln Center, Carnegie Hall, and all over the USA and Europe.

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As a leading writer of vocal music that spans art song, opera, and musical theater. Gordon’s songs have been performed and recorded by such renowned singers as Renée Fleming, Audra McDonald, Nadine Sierra, Dawn Upshaw, Nathan Gunn, Harolyn Blackwell, Judy Collins, Betty Buckley, Nicole Cabell, the late Lorraine Hunt Lieberson, and Frederica Von Stade. As a teacher, Gordon has taught both master classes and composition classes in colleges and universities throughout the country, including Yale, NYU, Northwestern, Juilliard, Manhattan School of Music, and more. His honors include an Obie Award, the Stephen Sondheim Award, the 2003 Alumni Merit Award for exceptional achievement and leadership from Carnegie Mellon University, a Shen Family Foundation Award, the Gilman and Gonzalez-Falla Theater Foundation Award, the Constance Klinsky Award, and many awards from ASCAP.

His operas include The Garden of the Finzi-Continis (New York City Opera/Yiddish Folksbiene, lib. Michael Korie); Intimate Apparel (Metropolitan Opera/Lincoln Center Theater, lib. Lynn Nottage); Ellen West (Beth Morrison Projects, Opera Saratoga, lib. Frank Bidart); The House Without A Christmas Tree (Houston Grand Opera), 27 (Opera Theatre of St Louis, lib. Royce Vavrek); Morning Star (Cincinnati Opera, lib. William Hoffman); A Coffin In Egypt (Houston Grand Opera, lib. Leonard Foglia); Rappahannock County (Virginia Opera, lib. Mark Campbell); Green Sneakers (Bravo! Vail Valley Music Festival and Lincoln Center, lib. Ricky Ian Gordon); The Grapes of Wrath (Minnesota Opera, lib. Michael Korie); The Tibetan Book of The Dead (Houston Grand Opera, lib. Jean Claude Van Itallie); and Orpheus and Euridice (Lincoln Center, lib. Ricky Ian Gordon, Obie Award). Musicals include Sycamore Trees (Signature Theatre, playwright Nina Mankin, Helen Hayes Award); My Life With Albertine (Playwrights Horizons, playwright Richard Nelson, AT&T Award, Gilman and Gonzalez-Falla Music Theater Foundation Award); and Dream True (Vineyard Theatre, playwright Tina Landau, Richard Rodgers Award). Upcoming works include the opera This House (librettists Lynn Nottage and Ruby Gerber).

About his work, The New York Times had this to say, “If the music of Ricky Ian Gordon had to be defined by a single quality, it would be the bursting effervescence infusing songs that blithely blur the lines between art song and the high–end Broadway music of Leonard Bernstein and Stephen Sondheim. It’s caviar for a world gorging on pizza!”

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Indira Mahajan | Soprano

Marian Anderson Award-winning soprano Indira Mahajan is in demand by opera companies, orchestras, and recital presenters worldwide.

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Praised for her “strongly centered, richly textured soprano” by New York Magazine and her “poignant soprano” for her moving portrayals by The New York Times, the versatile soprano has appeared in venues from Brazil to Malta, Russia to Austria in addition to performing in her native New York City.

One of the finest interpreters of the role of Bess in Gershwin’s Porgy and Bess, Indira Mahajan has received international acclaim for her many performances. Of her most recent performance with Fort Worth Opera, Opera News wrote, “the incandescent Indira Mahajan as Bess performed an unforgettable performance. Mahajan’s experience shows, not only in her detailed acting, but also in the exquisite way she shapes her vocal lines. It is a wonderful instrument with a sexy throbbing lower register and a thrilling top.” Performances at the Grand Théâtre in Luxembourg, The Tageblatt wrote, “Thanks to her virtuosity in the soaring, vibrant, distinctive striking timbre, Indira Mahajan was absolutely radiant as a graceful, seductive but also vulnerable Bess.”

During the 2020-21 Season Ms. Mahajan adds two new roles to her repertoire: Santuzza in Cavalleria Rusticana by Pietro Mascagni in a 90-minte adaptation of Cavalleria Rusticana and Pagliacci with the New Camerata Opera, New York and Verdi’s heroine Elena in I Vespri Siciliani with New Amsterdam Opera, New York. She will also be presented as a Guest Artis in a virtual Master class series with CAAPA, Coalition for African Americans in the Performing Arts providing free Master Class for HBCU students. Upcoming performances also include Porgy and Bess with Greensboro Opera, North Carolina and performances of Porgy and Bess with St, Galen Symphony Orchestra, Switzerland as well as a return to Greensboro Opera in performances of Puccini’s La bohéme.

The 2018-2019 season Ms.Mahajan returned to Fort Worth Opera to reprise the role of Bess in Francesca Zambello’s production of Porgy and Bess which she premiered with Washington National Opera. She also performed the role in concert in the Czech Republic with the Prague Radio Symphony Orchestra at the Wroclaw Festival in Poland. Ms. Mahajan returned to the United Nations in New York City where she was invited to perform at the 2019 International Woman’s Day Celebration. In concert, she performed Mozart’s Requiem in D Minor, K. 626, Beethoven’s Choral Fantasy, Op. 80 and Mass in C major, Op. 86 at St. Bartholomew’s in New York City. She performed a Benefit Concert for Lincoln Center hosted by the Ambassador of Liechtenstein and the Foundation for the Revival of Classical Culture. Performances this season also included a concert appearance hosted by the Ambassador of Tunisia, guest soloist with the Morgan Park Summer Festival in New York, soprano soloist in a 9/11 Memorial Concert in New York City and soprano soloist in the complete work of Handel’s Messiah, HWV 56.

The 2016-17 season included a return to Carnegie Hall performing excepts from Verdi’s Aida, as well as perform the title role Madama Butterfly with Mid-Atlantic Opera. In concert Miss Mahajan performed Mozart’s Requiem in a televised performance at the Co-Cathedral of Saint Joseph’s Beethoven’s Mass in C, and Handel’s Messiah with the Schiller Institute in New York City. During the 2014-15 season Indira Mahajan performed the role Bess in Porgy in Bess in a series of performances in Russia in the cities of Moscow, Perm and Ekaterinburg. She continued singing the role in performances at The Grand Théâtre de Geneva, Switzerland, The Chassè Theater, Breda, Netherlands and Palais des Festivals, Cannes, France. Ms. Mahajan joined the roster of Lyric Opera of Chicago for their production Porgy and Bess for the role of Bess. Miss Mahajan added the title role of Verdi’s Aida to her repertoire performing with the Dayton Opera where she previously performed the title roles of Puccini’s Madama Butterfly, Mimi in La Bohéme and Nedda in I Pagliacci. She also performed the role of Bess in a staged production at the Landestheater Linz in Austria and at the Festival de Wiltz in Luxembourg. Concert engagements during the 2014-15 season for Indira Mahajan included appearances as a guest artist with the Klangvokal Musikfestival Dortmund in a concert entitled, “American Nights” at the Konzerthaus Dortmund as well as performing in a Benefit Concert in Watertown, New York, entitled, “A Night of Broadway and Opera” performing the works of Verdi, Puccini, and American Broadway composers.

The 2012-13 season, Miss Mahajan performed the role of Bess in Gershwin’s Porgy and Bess at the Teatro di San Carlo in Italy, in concert at the Malta Arts Festival as well as performances of the role for the first time in South America when she joined conductor Marin Alsop, in her inaugural season as Music Director of the Orquestra Sinfônica do Estado de São Paulo, for performances of the Porgy and Bess Suite. She was also heard in recital at Kentucky State University with pianist Cliff Jackson. The Washington Post reviewed her first performances of the role as “sung with brilliance and ardor,” in the Francesca Zambello production at the Washington National Opera and the Los Angeles Opera. Of her appearance in the Dallas Opera production, Opera News wrote “Bess, Indira Mahajan, looked sassy and sexy in her red dress and hit high notes with accuracy and daring.” As Bess, she has also received international acclaim travelling to Europe for performances in France at the Opéra Comique in Paris and the Théâtre de Caen; to Germany for performances at the Staatsoper Hannover, Opera Frankfurt, Deutsches Theater München, Oper Leipzig, Kölner Philharmonie, Komische Oper Berlin, and the Congress Centrum in Hamburg; to the Benelux countries for appearances at the Koninklijk Theater Carré in Amsterdam and at the Grand Théâtre in Luxembourg, as well as festivals in the Canary Islands, Granada, Romania and Tokyo, Japan. The soprano has appeared in the title role at theaters throughout Italy including the Teatro Maggio Musicale Fiorentino in Florence, Accademia Nazionale di Santa Cecilia in Rome, Teatro Lirico Giuseppe Verdi in Trieste, Teatro Lirio in Cagliari, Teatro Messimo Bellini in Catania and the Teatro di San Carlo in Naples.

She has also performed the title role in concert with the Royal Stockholm Philharmonic, the Orchestra Sinfonica Giuseppe Verdi, and the Iceland Symphony Orchestra. The soprano has performed Gershwin concerts with the Baltimore Symphony, the San Diego Symphony and with Bobby McFerrin in her debut with the New York Philharmonic. She also joined Sir Willard White in a New Year’s Eve Gala at the Mikhailovsky Theater in St. Petersburg, Russia. The Bernstein and Gershwin program was conducted by Vasily Petrenko.

George Gershwin was influenced by the music of ragtime composer Scott Joplin. Indira Mahajan was featured in Opera News for her performances of the title role in Joplin’s full-length work Treemonisha. Having first performed Treemonisha in Costa Rica, she also appeared in the role with The Paragon Ragtime Orchestra at both the Stern Grove Festival in San Francisco and at the Carlsen Center in Kansas.

Miss Mahajan’s orchestral repertoire extends from works in the Baroque and Classical periods to the foremost composers of today. Her recent performances of Steven Stucky and Gene Scheer’s riveting oratorio August 4, 1964, with the Dallas Symphony, at Meyerson Symphony Hall in Dallas and at Carnegie Hall as part of the inaugural Spring For Music Festival, were memorable. A recording of the work, conducted by Jaap van Zweden, was just released and is being distributed by Naxos. In demand as a concert artist by internationally celebrated orchestras, she performed Beethoven’s Symphony no. 9 with Gustavo Dudamel’s Simon Bolivar Symphony Orchestra in Caracas and with the Korean Broadcast Symphony Orchestra at the United Nations, and Beethoven’s Mass in C with the Orquesta Sinfónica Nacional de Costa Rica.

The soprano performed repertoire ranging from Handel’s Messiah to an all-Gershwin program in performances with the Colorado Symphony. The Sioux City Symphony also engaged her for the Messiah, with a re-engagement for a chamber concert including Brahms’ Liebeslieder Waltzes, op. 52. New York audiences have enjoyed her performances of Bach’s B minor Mass (BWV 232) and the Magnificat (BWV 243), the Brahms and Fauré Requiems, Mozart’s “Coronation” Mass in C (K.317) and Exsultate, jubilate (K. 165), as well as Orff’s fiery Carmina Burana. She was invited to be the featured guest artist in the Alabama Symphony’s festive New Year’s Eve Gala. With the Colorado Chamber Orchestra, the soprano gave her first performances of Harbison’s The Flight into Egypt and Previn’s Honey and Rue, a work that she repeated in a piano-version as part of her debut recital at The John F. Kennedy Center for the Performing Arts. Indira Mahajan has also appeared in recital at Kentucky State University and in a benefit recital for Classical Action: Performing Arts Against AIDS in New York.

Indira Mahajan’s operatic repertoire spans an equally wide range; from Italian chestnuts to contemporary American opera. Puccini heroines have played a significant role in the soprano’s career. Miss Mahajan was named both the New York City Opera Debut Artist of the year and the Maria Callas Debut Award recipient from the Dallas Opera for her portrayal of Musetta in La bohéme. As a result, the soprano was also invited to sing; ‘Quando me’n vo’ in the prestigious Richard Tucker Gala at Lincoln Center. She also performed the role in staged productions at Orlando Opera, Opera Omaha, with Houston’s Opera Ebony and on a national tour under the auspices of the New York City Opera’s National Company. Miss Mahajan was invited to perform the role at Royal Albert Hall in the United Kingdom. The production of La bohème was directed by three-time Olivier Award-winning director Francesca Zambello and conducted by David Parry. The soprano has also performed the title roles in Puccini’s Madama Butterfly at Arizona Opera and Cedar Rapids Opera where it was recorded live in HD by Iowa Public Television and Suor Angelica in Jay Lesenger’s production at Chautauqua Opera. Opera audiences also enjoyed a New York City performance of Lauretta in Puccini’s Gianni Schicchi.

Critics reported that as Lucia di Lammermoor, “Indira Mahajan, was no ordinary singer at all, but one of those extraordinary performers who, as they say, have ‘got it all together’…Most impressive, Mahajan has that rare ability to make each vocal flourish, each musical embellishment seem an extension, even a revelation, of Lucia’s poetic, tormented character. Moreover, the lady sings from her heart.” She performed Verdi’s Violetta in La traviata for the first time at the Ash Lawn Festival and repeated the role with the Bridgeport Symphony conducted by the distinguished conductor Gustav Meier.

Indira Mahajan, a native of New York City, began violin studies at the age of five. Creating and performing leading roles in contemporary operas has drawn upon her extensive musical studies. The soprano created the featured role of Mordeen in the first fully staged production of Frank Lewin’s opera Burning Bright in Princeton, New Jersey. She performed excerpts of Richard Strauss’ Capriccio and Tchaikovsky’s Eugene Onegin at the Colorado Music Festival, roles that she anticipates performing in their entirety in future seasons. Early in her career she performed Teresa I in Virgil Thompson’s Four Saints in Three Acts and performed leading roles in two Metropolitan Opera Guild productions in New York: Different Fields by Mike Reid and First Up Opera.While an apprentice, she was cast as Moppet in the Glimmerglass production of Paul Bunyan. The Britten opera was eventually mounted by the New York City Opera and telecast nationwide “Live from Lincoln Center.”

Miss Mahajan first came to public attention as a graduate student at Mannes College of Music in New York City performing Sandrina in La Finta Giardiniera. The New York Post reported that she handled “Mozart’s vehement demands confidently.” She later performed Mozart’s Donna Elvira at the Lyric Opera of Kansas City, at Virginia Opera, and at Dallas Opera in Don Giovanni performances conducted by Music Director Graeme Jenkins. Additionally, she performed Susanna in Le nozze di Figaro at both Virginia Opera and Opera Carolina. In the Baroque repertoire, she has portrayed the title role of Esther in New York performances of the rarely performed Handel opera, and appeared in Semele in performances conducted by the late Joel Revzen.

Indira Mahajan was born in New York City to a South Asian father born in Dalhousie, India. and African American mother born in Raleigh, North Carolina. She first began her musical studies at the age of 5 as a violinist and later continued her musical studies with her mother and first voice teacher, Barbara Mahajan.

She holds a Bachelor’s degree from Oberlin College, Master of Music degree and Advanced Professional Studies degree from Mannes College of Music, and a diploma from the Accademia Musicale Ottorino Respighi.

Winner of the prestigious Marian Anderson Award Miss Mahajan performed in recital at the Kennedy Center. She dedicated the Award to her mother, mezzo-soprano Barbara Mahajan, and her mentor the late Betty Allen, opera singer and President of The Harlem School for the Arts. She is also the recipient of the New York City Opera Debut Artist of the Year Award, Dallas Opera’s Maria Callas Debut Artist of the Year Award, Richard F. Gold Award, winner of the Eastern Division of the National Association of Negro Musicians, Jensen Foundation Award, as well as a Van Lier Fellow. She is listed in Who’s Who in Black American-Classical Singers, and Who’s Who is South Asian Women’s Network.

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Daniel Brevik | Bass-baritone

American bass-baritone and social media influencer, Daniel Brevik, is praised for having “a massive, focused, rich, warm timbre.”

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Boasting an impressive following of over 65,000 monthly listeners on Spotify and 465,000 followers on TikTok. Brevik’s singing and teaching channel extends even further, with a staggering 585,000 followers on Instagram — with over 100 million views across platforms which have amassed over 20 years of total stream time, effectively captivating audiences on a global scale.

A recipient of Opera Theatre of Saint Louis’ Richard Gaddes Career Grant, and the Wendy Shattuck Presidential Scholarship from the New England Conservatory, Brevik was hailed by The Washington Post for having “an impressive, sonorous voice” while Opera Today claimed he could “rattle the rafters one moment and be lullingly conversational the next.”

Brevik was featured on the cover of Opera News for creating the role of Ernest Hemingway in the world premiere of Ricky lan Gordon’s Twenty-Seven. The album recorded with the Opera Theatre of Saint Louis and Saint Louis Symphony Orchestra is available on all major music platforms. Brevik later reprised his role with the orchestra of St. Luke’s in his New York debut at City Center Theatre, and then again at Intermountain Opera in Bozeman, Montana.

Notable venues Brevik has performed in include Boston’s Symphony Hall, St. Louis’ Powell Hall, Lyric Opera of Chicago’s Civic Opera House, Amarillo Texas’ Globe-News Center, Venice Italy’s St. Marks Cathedral, and the Vietnam Opera and ballet in Hanoi Vietnam. In a recent collaboration with Bobby Bass and the Bass Singers of TikTok, their cover of “Hoist The Colours” garnered over 5 million views on Youtube and 5.5 million streams on Spotify. In 2022, Brevik was showcased on stage in concert with Pentatonix legend Avi Kaplan in Boston, MA.

As an international concert soloist Brevik is recognized for his pristine rapid-fire coloratura in Hanel’s Messiah and his booming baritone in Beethoven’s 9th. Brevik has been blessed with opportunities to sing and perform in venues such as Boston’s Symphony Hall, Chicago’s Civic Opera House, New York City Center Theatre, St. Louis’ Powell Hall, The Vietnam National Opera and Ballet, as well as being a featured soloist during the highly acclaimed Salzburg Festival in Salzburg, Austria. 

During the 2019-2020 season, Brevik performed at Intermountain Opera Bozeman, in Ricky Ian Gordon’s Twenty-Seven, returning to the role he created. In the summer of 2019 Mr. Brevik made his London debut singing in Silver Jubilee: a one month concert tour where all proceeds were donated to the Mathieson Music School in Kolkata, India. In 2017-2018 Daniel was the bass soloist in Haydn’s Mass in a Time of War, in New Haven CT and Lord Nelson’s Mass with The New Hampshire Music Festival. He was also the featured soloist in Benjamin Britten’s Rejoice in the Lamb, in Fort Wayne Indiana. In 2016 Brevik made his New York premiere at City Center theatre with the orchestra of St. Luke’s under the baton of Ted Sperling, where he received praise for his larger than life display of Ernest Hemingway.

Brevik performed at the Opera Theatre of St. Louis from 2013-2015, starting as a Gerdine Young Artist, earning himself the Richard Gaddes Career Grant. At OTSL, Brevik performed both lead and supporting roles. It was here that he was hand-picked by Ricky Ian Gordon to create the role of Ernest Hemingway and record an album with the Saint Louis Symphony Orchestra in the opera Twenty-Seven. The role landed him on the cover of the highly acclaimed magazine: Opera News alongside Met Opera superstar Stephanie Blythe. In 2015, Brevik performed the role of Pastor Avery in Tobias Picker’s Emmeline where Opera Today celebrated Brevik’s “well served, ample bass.”

During the off-season, OTSL structured a series of outreach events where Brevik performed for inner-city children around the St. Louis and Ferguson MO area. Daniel got to work one-on-one with children in The Very Last Green Thing: an opera about protecting the planet. He captivated the youth at juvenile detention centers where he unexpectedly performed a wide array of styles from opera arias, musical theatre numbers, jazz standards to R&B classics. Brevik developed a love for educational outreach and decided to pioneer a two-month concert tour to Eastern Europe and Southeast Asia, performing for the impoverished children and elderly in countries such as Moldova, Thailand, Cambodia and Vietnam.

In 2011, upon winning first place at the Boston NATS song and aria competition, Brevik was the selected recipient of the Wendy Shattuck Presidential Scholarship to attend New England Conservatory free of charge. While there, Brevik performed The Songs of Travel by Ralph Vaughan Williams. Taken under the wing of Stephen Lord (listed among the top “25 Most Powerful Names in U.S. Opera” by Opera News) Brevik earned his Masters of Music from NEC and performed the role of Hel Helson in Benjamin Britten’s Paul Bunyan, and Don Pedro de Hinoyosa in Offenbach’s La Perichole. He received his B.A. in Music from Plymouth State University.

Today Brevik resides in Western Massachusetts where he is on voice faculty at the University of Hartford’s, Hartt School Community Division as well at the Falcetti School of Music in Simsbury, CT.

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Eligibility

  • Entrants must be enrolled as an UNDERGRADUATE at a higher-education institution in the UNITED STATES as of February 12, 2024.
  • Entrants must be AGE 24 OR YOUNGER as of February 12, 2024.

First-Round Application

Contestants must submit several materials for the first round:

1. Video recordings of two arias

    • At least one piece must be in a language other than English.
    • Only arias from operas are permitted. No art songs, musical theatre, oratorio, or other genres.
    • Videos may be submitted only as YouTube links.
    • You may submit video recordings with a live pianist, a prerecorded accompaniment, or even without any accompaniment at all. Our first-round adjudicators are aware of this rule and will not penalize applicants for singing without a live pianist. We aim to make this competition as accessible as possible and acknowledge that not all students can afford a live pianist. Feel free to record from a recital hall or your bedroom.

2. Photocopy of an ID with date of birth clearly displayed

3. Application fee

    • FREE for students who attend a school in the Opera Grand Rapids Collegiate Consortium
    • $50 for all other students
    • A limited number of fee waivers are available based on financial need. You must provide a 2023–24 or 2024–25 FAFSA Student Aid Report (SAR), and the Expected Family Contribution (EFC) must be $2,500 or less. Fee waivers are available on a first-come, first-served basis, so students should apply as early as possible.

ROUND 1 ADJUDICATION

All first-round adjudicators will remain anonymous. After prescreening, each application will be adjudicated by three opera professionals along the following criteria:

  • Tone/vocal quality (5 points)
  • Breathing/alignment (5 points)
  • Language/diction (5 points)
  • Musicianship (5 points)
  • Artistry/stage presence (5 points)

The three anonymous adjudicators will each rate applicants on each category for a total of 75 points. The ten applicants with the highest scores will receive $500 and proceed to the final round.


 

It is in a spirit of gratitude and humility that Opera Grand Rapids is pleased to announce the renaming of our National Collegiate Vocal Competition to The VanderLaan Prize. Opera Grand Rapids is saddened at the loss of one of our greatest friends, Karl VanderLaan. Karl and his wife Jean have supported our music education programs for nearly twenty years and were constant champions of arts education. Karl and Jean have demonstrated the powerful impact of philanthropy and continue to do so with the establishment of the VanderLaan Music Education Fund at Opera Grand Rapids. Our National Collegiate Vocal Competition was a particular focus of Karl and Jean’s philanthropic endeavors. From sponsoring prizes to hosting dinners for the competitors, the VanderLaans’ generosity boosted the program for years.

Click here to support the VanderLaan Fund for Music Education.


Congratulations to the 2023 winners!

1st Place Winner, Emily Damasco, Soprano, Curtis Institute of Music
2nd Place Winner, Demetrious Sampson, Jr., Tenor, Georgia State University
3rd Place Winner, Adriana Stephen, Soprano, The Julliard School
Audience Choice Award Winner, Natalia Adame, Mezzo-soprano, University of Cincinnati-College Conservatory of Music


Need a pianist?

Arlene Shrut | Collaborative Pianist

Contact Arlene to make a piano recording at arlene@arleneshrut.com.

As a collaborative pianist, Arlene has collaborated with Renée Fleming, Thomas Hampson, Angela Meade, Isabel Leonard, Carla Rae Cook, Michael Fabiano, Anton Belov, Alissa Deeter, and Takaoki Onishi.

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She regularly serves as official pianist and judge for international opera competitions sponsored by The Gerda Lissner Foundation, the Licia Albanese Puccini Foundation, The Giulio Gari Foundation, The Loren Zachary Society, The Marcello Giordani Foundation, and the Fritz and Lavinia Jensen Foundation.

While many of Arlene’s professional activities focus on collaborations with singers, she is in demand with instrumentalists as well, featuring engagements such as her NYC debut with the Yoav Chamber Ensemble, touring with the Grand’Arte Trio, and as a finalist in the Munich International Competition in the violin-piano duo category with Julie Rosenfeld of the Colorado String Quartet, as well as winning the outstanding pianist award at the Music Academy of the West. In January 2014 Arlene teamed with pianist Anna Shelest in a 4-hand version of the Brahms Requiem with Voices of Ascension, under the baton of Dennis Keene, featuring soloists Martha Guth and Richard Zeller. Arlene has recorded for Dorian, Albany, Summit, Centaur, and Orion labels. Her discography includes works from the classical canon and recording premieres by contemporary composers.

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THANK YOU TO OUR SPONSORS

Karl & Jean VanderLaanKBO GroupAria Show Technology