Zhang     Chanticleer  
Sweet Honey in the Rocks
Unicamente la Verdad

Introduction | Synopsis | Program Notes | Biographies | Cast List | Workshop | Colloquium | Photos

Biographies (Artstic Staff, Cast/Ensemble, Panelists)

Artistic Staff Biographies (In Alphabetical Order)

Kielian GilbertMARIANNE KIELIAN-GILBERT (Co-Producer)
Marianne Kielian-Gilbert is Professor of Music at the Indiana University Jacobs School of Music where she teaches music theory and analysis. She has published on Stravinsky’s music, tonal analysis, and music analysis and cultural studies, with particular emphasis on feminist theory and music. A long-time member of the Editorial Board of Perspectives of New Music, she has also been a co-editor of that journal. Kielian-Gilbert’s recent work examines connections between music and cultural studies in relation to different perceptual, contextual, and philosophical orientations. Another dimension of her work includes multi-disciplinary/multi-media presentations that have explored gender and sexuality in Britten’s music, music of contemporary women composers, Picasso and Stravinsky, the poetry of Sylvia Plath in the music of Shulamit Ran, and tango and dance.

MAVROMICHALISKONSTANTINOS MAVROMICHALIS (Production and Responsive Visuals Designer)
Since graduating with a BFA in visuals arts & philosophy from the University of Victoria, Konstantinos has worked the-world-over, primarily in the field of environment design. Konstantinos's major work has been for the corporate world, performing exhibit and set design for such high-profile clients as Much Music, Diesel, Panasonic Asia, the Tate Modern, the Vancouver International Film Festival, Warner Brothers, New Line Cinema, CBC, ZeD TV, Nike, MTV USA, MTV Japan, and Parco Japan.
This work has led him to artistic collaborations throughout the world and, especially, in the world's greatest and most culturally dynamic cities, including New York, Los Angeles, Tokyo, Milan, Stockholm, Beijing, Kuala Lumpur, and Toronto. He's also given lectures with his collaborator, artist Ruben Ortiz Torrez at UCSD, UC Riverside, Emily Carr College of Art and Design, Sci-Arc school of Architecture, and UC Irvine.
Presently, Konstantinos is: designing sets for CBC's Zed TV, the Kronos Quartet, and MTV Japan; building an environmental video and lighting design proposal for Beijing Jixiang Development in China; and working with the Brand Architect Group.

Gabriela Ortiz is one of the foremost composers in Mexico today, and one of the most vibrant Latin American musicians emerging in the international scene. Born in Mexico City, she trained with the eminent composer Mario Lavista before obtaining a Doctor of Music degree in composition at City University on London. Although based in Mexico, her music is commissioned and performed all over the world. Recent commissions and premieres include: Altar de Piedra for three percussion players, timpani and orchestra, for Los Angeles Philharmonic Orchestra with Esa- Pekka Salonen and Kroumata percussion ensemble, Zócalo-Bastilla, for violin, percussion and orchestra premiered by violinist Pierre Amoyal, percussionist Ricardo Gallardo and OFUNAM Philharmonic Altar de Muertos, a string quartet commissioned by Kronos Quartet, Zócalo Tropical for flute, percussion and orchestra premiered by flutist Luis Julio Toro, and percussionist Ricardo Gallardo and Orquesta Simon Bolivar;100 Watts commissioned by Trio Neos, Seis piezas a Violeta for string quartet and piano premiered by The Cuarteto Latinoamericano and pianist Arturo Nieto and Baalkah a new work for Kronos Quartet and soprano Dawn Upshaw. She has won many awards, including Guggenheim and Fulbright Fellowships for the composition of ¡Unicamente la verdad!

ORTIZ-TORRESRUBÉN ORTIZ-TORRES (Visual and video artist)
Rubén Ortiz-Torres was born in Mexico City in 1964. Educated within the utopian models of republican Spanish anarchism, he soon confronted the tragedies and cultural clashes of Mexico’ post-colonial third world. After giving up the dream of playing baseball in the major leagues he decided to study art. He went first to the oldest and one of the most academic art schools in the Americas, the Academy of San Carlos in Mexico City, and later to one of the newest and more experimental, Calarts in Valencia, California. After enduring Mexico City's earthquake and pollution he moved to Los Angeles with a Fulbright grant to survive riots, fires, floods, more earthquakes, and proposition 187. During all this he has been able to produce artwork in the form of paintings, photographs, objects, installations, videos, and films. He is a professor at the University of California in San Diego, and has participated in several international exhibitions and film festivals. His work is in the collections of The Museum of Modern Art in New York, the Los Angeles County Museum of Art, and the Museo Nacional Centro de Arte Reina Sofía in Madrid, among others.

Originally from Ecuador, Chía Patiño is a stage director and composer with an emerging international reputation. She was the first Stage Director
chosen for the Domingo-Cafritz Young Artist Program with the Washington National Opera (2005-2007) and currently collaborates with some of the most important opera houses in the United States and abroad. She holds an MFA in Opera Stage Direction from the University of Cincinnati, College-Conservatory of Music, as well as degrees in Piano and Composition
from Indiana University.
Some of her recent productions as stage director include Dido and Aeneas for the Teatro Nacional Sucre in Ecuador, Tosca; The Telephone and Trouble in Tahiti in Dubai; L'Elisir d'Amore, Hansel and Gretel and Magic Flute for the Washington National Opera; Porgy and Bess, Don Giovanni, Le Nozze di Figaro and Magic Flute for the National Philharmonic; as well as Transformations, La Cambiale di Matrimonio, The Mother of Us All and Rusalka for Cincinnati Beside directing the World Premiere of Unicamente La Verdad by Mexican composer Gabriela Ortiz, Chia's upcoming projects for the summer include a new production of Carmen for the Teatro Nacional Sucre in Quito, Ecuador.
Chia is a well-regarded composer in her own right, and she has already composed her first opera, Dreamwalker, which she premiered in Bloomington to critical praise while still a Student at Indiana University.

Rodrigo Sigal was born in Mexico City in 1971. He holds a PhD in electroacoustic composition from City University in London and a BA in composition from the Musical Studies and Research Center (CIEM) in Mexico City, and was part of the composition workshop directed by Mario Lavista. He also studied with Denis Smalley, Javier Alvarez, Franco Donatoni, Judith Weir, Michael Jarrel, Alejandro Velasco and Juan Trigos among others. He is now pursuing a postdoctorate at the National School of Music in Mexico and he is in charge of the Mexican Center for Music and Sonic Arts. Since 1991 he has been working as composer, sound and recording engineer in Mexico, London and Santiago, composing for dance, video, radio and T.V. He was the coordinator of the Computer Music Lab at the CIEM from 1994 until 1998. He has received awards from the Mexican National Fund for Culture and the Arts (FONCA), the CIEM, the Banff Centre for the Arts in Canada, ORS ,the Sidney Perry Foundation in England and the LIEM Studios and The Ministry of Culture in Spain. He has also won the 1st. Prize (for his work Cycles, 1999), and honorary mentions (Tolerance, 2000 and Twilight, 2001) at the Luigi Russolo Composition Prize.

Francisco Colasanto was born in Buenos Aires in 1971. He obtained his degree in electroacustic composition from the “Facultad de Ciencias Sociales” of the Universidad Nacional de Quilmes. Argentina He was awarded with a scholarship to study electroacustic music given by the Cultural Ministry of Spain (2000 and 2006), and a subsidy of Fundación Antorchas (2003) to make an electroacustic piece. His piece Duo was awarded the Harvard University Studio for Live Electroacoustic Composition Prize in 2006. His work Baile for Contrabass Clarinet, live electronics and computer-generated tape was awarded the “Juan Carlos Paz” Prize (2004) granted by the "Fondo Nacional de las Artes," Argentina. His chamber, electroacustic and instrumental music including live electronics, has been played in concerts in Argentina, Belgium, Brazil, Germany and France. He taught Computer Music several years in many important educational centers of Argentina. He currently works and collaborates artistically at the CMMAS* of Morelia in Mexico.

TÉLLEZCARMEN HELENA TÉLLEZ (Conductor and Co-Producer)
Called ”a quiet force behind contemporary music in America today” by the award-winning journal Sequenza 21, Carmen Helena Téllez has been responsible as a conductor and producer for the commission and premieres of many works by composers from the Americas and Europe. She recently conducted the collegiate premiere of Osvaldo Golijov’s opera Ainadamar at Indiana University. Other recent projects have included the commssion and premiere of James MacMillan’s Sun-Dogs for chorus, the Midwest premiere of John Adams’s opera-oratorio El Niño, and the premieres of several chamber operas by MacArthur Award fellow John Eaton. Carmen conducts the Indiana University Contemporary Vocal Ensemble and directs the Latin American Music Center at the Jacobs School of Music. She tours and records with her new music ensemble Aguavá New Music Studio, with which she has traveled through the United States, Mexico, Colombia and Israel.

* The Mexican Centre for Music and Sonic Arts ( based in Morelia, México is a unique research, concert and residency project funded by local and federal bodies that aims to become the main space in Iberoamerica for the creation and the specialized study of contemporary music with and without new technologies, developing activities that enhance the cultural development of the city and the community to which it belongs.
CMMAS offers an ideal place for knowledge exchange between artists and for the creation of links between national and international institutions. It also offers the human resources, facilities and technology for the work on non- conventional creative projects that may not fit the mandates of other institutions in Mexico.

Ensemble/Cast Biographies (In order of appearance)

The Contemporary Vocal Ensemble at Indiana University is one of the most progressive and interesting university-based performing groups in the United States and the world. Dedicated to the study and performance of vocal and choral repertoire written after 1900, it includes singers, composers, young scholars and instrumentalists chosen for their outstanding musical gifts and for their special interest in the music of our time. Depending on the repertoire, the ensemble adjusts its size to perform from solo and chamber choral works to larger oratorio-like compositions. After its foundation in 1980 by Alan Harler, the ensemble was directed by Professor Jan Harrington until 1992. It is presently conducted by Professor Carmen Helena Téllez.
The Contemporary Vocal Ensemble is noted for innovative programming which explores all significant styles of the last 100 years, from classic masterpieces to works at the forefront of the contemporary music scene. Concerts may combine recognized compositions with première performances and special commissions, including works by internationally renowned as well Midwest-based composers, Indiana University faculty and students. The group also encourages collaborations with other artists for the development of interdisciplinary or music theater projects.
The Ensemble offers an annual series of concerts at Indiana University and performs as guest in outside concerts and festivals as well. Recent projects include the commission, performance and recording of James MacMillan's Sun-Dogs, for chorus a cappella; the Missa brevis by the noted Mexican composer Mario Lavista, and the premiere and recording of Juan Orrego-Salas's choral-orchestral cantata La ciudad celeste. Other notable projects are the first university performance of John Adams's El Niño; Karlheinz Stockhausen's choral opera "Atmen gibt das Leben...,", Steve Reich's Tehillim and Desert Music; Music/Theater Piece, a madrigal opera by Philip Glass; Arvo Part's Passio and Miserere, Gilles Swayne's Cry; James MacMillan's Seven Last Words from the Cross; and several world-premieres Feliù Gasull, Aurelio de la Vega, and Jorge Liderman.

Heather Youngquist, a native of Washington, Iowa, is a Master of Music student at Indiana University, studying voice with Dr. Robert Harrison. She completed her undergraduate studies in Voice and Music Education at the University of Iowa, where she performed in several operas and was a frequent oratorio soloist. While at IU, she has performed the oratorio role of Cerere in Le Nozze di Teti, e di Peleo with the University Singers. She was also the soprano soloist with the Bach Chorale Singers of Lafayette, Indiana, in their performance of Voices of Light, an oratorio written to accompany the silent film La Passion de Jeanne d’Arc. Last summer, she performed as La Musica in L’Orfeo with the Bloomington Early Music Festival. Her IU Opera Theater credits include the Dew Fairy in Hansel und Gretel, Gianetta in L’Elisir d’Amore, and Tulip in the Collegiate Premiere of William Bolcom’s A Wedding. This fall, she will perform again with the IU Opera Theater as Mrs. Ford in The Merry Wives of Windsor.

Meghan Dewald, soprano, is a rising second year Master of Music student studying with Costanza Cuccaro. In addition to performing the role of Margarita Xirgu in the collegiate premiere of Osvaldo Golijov’s Ainadamar at the Indiana University Jacobs School of Music, she was most recently seen as Diana in the collegiate premiere of William Bolcom's A Wedding with IU Opera Theater. She was also selected to participate in a master class and Liederabend with Elizabeth Upchurch from the Canadian Opera Company. Dewald’s operatic credits include the roles of Juliette in Roméo et Juliette (OperaWorks tour) and Berta in Il barbiere di Siviglia with Kentucky Opera; First Lady in Die Zauberflöte and Suor Dolcina in Suor Angelica at Northwestern University, where she completed her Bachelor of Music degree.

Carolina Castells, originally from Miami, FL, is currently pursuing a Master of Music degree in voice at Indiana University. She received a Bachelor of Music degree in Vocal Performance at the University of Miami where she performed the roles of Pamina in The Magic Flute and Yum-Yum in The Mikado. With the Indiana University Opera Theater, she has performed the roles of Emily Webb in Ned Rorem's Our Town and Donna Elvira in Don Giovanni and will play Antonia in Les Contes d'Hoffmann this spring. This past summer, she attended the Brevard
Music Center where she performed the title role in Susannah. Castells has performed with the Indianapolis Symphony Orchestra as a soloist for the Brahms' Deutches Requiem and Beethoven's 9th Symphony. She was also the soprano soloist in the premiere of Shawn Crouch's Requiem for Hiroshima with the chamber group Seraphic Fire. Recently, she performed in Beethoven's Missa Solemnis at Indiana University and also participated in The Song Continues?2008, a master class series sponsored by The Marilyn Horne Foundation. This year, Castells was a finalist in the Metropolitan Opera National Council Auditions. She is
a student of Costanza Cuccaro.

Soprano Abigail Mitchell is a graduate student pursuing a Master of Music in Voice at the IU Jacobs School of Music, where she previously earned her BM in Voice. She recently returned from San Francisco where she sang Susanna in Le Nozze di Figaro with the Bay Area Summer Opera Theater Institute. Past roles include Nuria in the collegiate premiere of Ainadamar with IU’s Contemporary Vocal Ensemble and Chamber Orchestra, under the baton of Dr. Carmen Tellez, and Javotte in Manon with the IU Opera Theater. This fall she returns to the IU Opera Theater to sing Anne Page in The Merry Wives of Windsor. She is a student of Patricia Wise.

SIBULOJEROME SIBULO (Señor de El Paso/Mario Borunda)
Jerome Michael S. Síbulo, baritone, is from the Philippines, where he earned a Bachelor of Arts degree in Psychology at the Ateneo de Manila University. He was recipient of the 2005 Loyola Schools Awards for the Arts, Music category. Síbulo is currently a senior pursuing
a Bachelor of Music degree, majoring in Vocal Performance at the Indiana University Jacobs School of Music. At IU, he has sung the role of Bullfighter in the collegiate premiere of Golijov's Ainadamar, scenes from Così fan tutte, Don Giovanni and A Little Night Music for the 2008 Summer Opera Workshop and participated in the 2008 Celebration of Spirituals concert. He sings for the opera chorus of the IU Opera Theater. Síbulo is a student of Prof. Dale Moore.

LYSACKCHRIS LYSACK (The Journalist/Cesar Güemes)
Tenor Chris Lysack last appeared in Bloomington in the title role of Offenbach’s Les Contes d’Hoffmann at IU Opera Theater, after making his operatic debut in Susannah earlier this season. This is his twelfth year at Indiana University, where he has previously received undergraduate degrees in Piano, Voice, and French, a Master of Music in Piano, and a Master of Arts in French Literature. Although he is new to the operatic stage, his piano performance activities over the last few seasons have included appearances with the Vancouver Philharmonic Orchestra, solo performances throughout the East Coast and premières of over 15 new works, ranging from solo piano with tape to orchestral. Lysack is also an accomplished martial artist, who has held teaching positions in martial arts through the Indiana University Physical Education program, in music at Indiana University and Hampden-Sydney College, and in French at Indiana University and in Brittany, France. Future plans include completing his D.M. in Piano and Ph.D. in French Literature and pursuing graduate studies in voice at the Manhattan School of Music beginning this September. He studies with Andreas Poulimenos and André studies in Europe. He studies with Andreas Poulimenos and André Watts

GREENJONATHAN R. GREEN (The Writer/Elijah Wald)
originally from Chicago, is a master’s student at the IU Jacobs School of Music, studying with distinguished professor of singing Timothy Noble. Jonathan made his IU Opera theater debut as De Brétigny in Manon. His other role at IU was the title role in Rigoletto. Jonathan graduated from the Oberlin Conservatory of Music in 2005. While at Oberlin, he performed the roles of Der Tod in Der Kaiser von Atlantis, Colatinus in The Rape of Lucretia, Sid in Albert Herring, and the title role in Le Nozze di Figaro. Green is a former student of Richard Miller. During the summer of 2004, Jonathan attended the Aspen Music Festival and School and performed the role of Count Ceprano in Rigoletto under the baton of Julius Rudel. During the summer of 2006, Jonathan performed the role of Giorgio Germont in La Traviata and General Harrison Howell in Kiss Me Kate at the Bay View Music Festival. He also performed the role of Sakaryango in the world premiere of Nyramachabelli with Kentucky Opera. During the summer of 2007, Jonathan was a young artist with Opera North and covered (with performance) the title role of Verdi’s Falstaff. In November 2007, Jonathan reprised the role Rigoletto with Western Reserve Opera in Youngstown Ohio. This past spring Jonathan was a member of the Mary Raglan Young Artist Program with Nashville Opera. While in Nashville Jonathan performed the roles of Bill Bobstay in HMS Pinafore, The Cow and Big Bad Wolf in the world premiere of The Ugly Duckling, and the Old Gypsy and covered the role of Count di Luna in Il Trovatore.

MCCARTHERSEAN MCCARTHER (The Composer/Ángel Gonzalez)
comes to IU from Baylor University, where he earned a Bachelor of Music and studied with Jack Coldiron. While at Baylor, McCarther was very active with the Baylor University Opera Theatre, performing in their productions of Gianni Schicchi and Die Zauberflöte. He also was extremely active with Waco Lyric Opera and appeared in their performances of La boheme, La traviata, and Amahl and the Night Visitors. At IU, he has been seen on stage as Graf Dominik in Arabella, Marullo in Rigoletto, and will be performing the role of Policare in the Bloomington Early Music Festival's Production of Tigrane in May. Aside from opera, McCarther is an active soloist with Pro Arte and various other IU choral ensembles. He is a student of Robert Harrison.

has performed often on the IU Opera Theater stage in the tenor roles of Don Ottavio in Mozart’s Don Giovanni, Vašek in Smetana’s The Bartered Bride, Ladislav Sipos in Harnick & Bock’s She Loves Me, and the Rev. Adams in Britten’s Peter Grimes. Completing his Master Degree in Voice in 2004 with James McDonald, Sentgeorge also gained much from his study with Andreas Poulimenos and Timothy Noble. He is currently pursuing his Doctor of Music in Voice, studying with Mary Ann Hart. In 2000, Sentgeorge received his bachelor’s in Music, with emphasis in Digital Arts from Stetson University (DeLand, FL), where he studied as a baritone with Lloyd Linney and Craig Maddox.

Joseph David Legaspi sang the role of Luther in the 2008 Indiana University Opera production of Jacques Offenbach's Les Contes D'Hoffmann, having previously performed as the Commissioner in Francis Poulenc's Dialogues des Carmelites. He has been a featured soloist for several Indiana University groups, including the Motet Choir, the Chorale, and the Contemporary Vocal Ensemble. Legaspi began performing on the musical stage in the role of Filipino author
José Rizal in the musical adaptation of Rizal's novel, Noli Me Tangere. He also has appeared as Tiresias in Igor Stravinsky's opera-oratorio Oedipus Rex, Bogdanovitch in Franz Lehár's The Merry Widow, and Franz in Rogers and Hammerstein's The Sound of Music. Legaspi holds a Diploma in Creative and Performing Musical Arts from the University of the Philippines College of Music and made his solo debut with the Philippine Philharmonic Orchestra in 2002. He has toured the United States and Europe as a featured soloist of the Music Theater Foundation of the Philippines and the renowned Ateneo de Manila College Glee Club. At the Indiana University Jacobs School of Music, Legaspi received his Bachelor of Music in 2005 and currently is working toward a Master of Music in Vocal Performance. He is currently studying with Dr. Robert Harrison.

baritone, hails from Annapolis, MD, where he earned his Bachelor of Arts in Music Education from Hampton University. This is his debut with IU Opera Theater. Merrick has competed in several competitions, ranking as a finalist in the 2005 and 2007 NATS Mid-Atlantic Competitions, Leontyne Price Emerging Artist Competition, and National Association of Negro Musicians (NANM) Young Artist Competition. Also a conductor and composer, Merrick has written and directed/produced two musicals, which premièred in Hampton Virginia’s Ogden Hall. A former student of William Ray and Shelia Maye, he is pursuing a Master of Music, studying with Dale Moore. Merrick is an associate instructor for the African American Arts Institute.

Colloquium Panelists Biographies (In Alphabetical Order)
Cary Boyce (b. 1955) is artistic co-director and composer-in-residence of the production group and new music ensemble, Aguavá New Music Studio ( His music has been heard around the world in international concerts and festivals in more than 25 countries, on nationally syndicated public radio and television, and in two films by Prix-de-Rome-winning director Evelyne Clavaud, Aria ou les rumeurs de la Villa Medicís and Mandiargues: L'amateur d'imprudence. Boyce's credits include original music for the soundtrack of director Susanne Schwibs PBS documentary American Horizons: The Photography of Art Sinsabaugh, which is also part of the Sinsabaugh exhibit currently touring museums around the United States. Numerous grants and prizes include awards from Arts International, the National Endowment for the Arts, the Pew Charitable Trusts, the Indiana Arts Commission, and an ASCAP 2006 Rudolf Nissim "Special Distinction" Award for his oratorio Dreams within a Dream. He remains active as a conductor, pianist, and singer as well.

Brian Dickie began his opera career when he joined the Glyndebourne Festival Opera in 1962. He was Artistic Director of the Wexford Festival from 1967 to 1973 and simultaneously the first Administrator of Glyndebourne Touring Opera where for many years a high proportion of the leading British singers began their careers. In 1981 he became General Administrator of Glyndebourne Festival Opera, a post he held until 1988.
Brian held the post of General Director of the Canadian Opera Company from 1989 to 1993 and from 1994 to 1997 was Artistic Adviser to the Opéra de Nice and Adviser to the International Youth Foundation during the formation of the European Union Opera.
Since joining Chicago Opera Theater in 1999, the company’s growing reputation has brought it great acclaim. Brian led the company to be one of the marquee tenants to open the Harris Theater in Millennium Park in downtown Chicago, where the company has been performing since 2004.
After the extraordinary success of his first season with the company he was honored by the Chicago Tribune as a Chicagoan of the Year in the Arts for 2000. This award was repeated in 2002. More recently under his leadership, the Chicago Opera Theater offered the first American production of John Adams' A Flowering Tree in May 2008.
In addition to serving as General Director of COT he has been Chairman of the International Jury for Preselections for the Bertelsmann Foundation's biennial Neue Stimmen Competition since 1999. In this capacity in 2007 he auditioned more than 800 singers in Europe, the US, Canada, South and Central America and Australia.
Mr. Dickie sits on the board of Opera America and the Chicago College of Performing Arts.

Don Freund (D.M.A., Eastman School of Music, 1972). Don Freund has composed over 100 performed works, ranging from solo, chamber, and orchestral music to pieces involving live performance with electronic instruments, music for dance and large theatre works; he is also active as a pianist, conductor, and lecturer. He has received grants from the John Simon Guggenheim Memorial Foundation and the National Endowment for the Arts, and prizes including the 1979 Washington International String Quartet Composition Competition, the ISCM 1976 International Piano Music Competition, the 1995 AGO/ECS Publishing Award in Choral Composition, the Hanson Prize, the McCurdy Award, the Aspen Prize, and 30 ASCAP Awards. In 1998 he was composer-in-residence at the Australian National Academy of Music, and lectured on his music at Royal Conservatories in Brussels and the Hague, the Royal Academy of Music in London, the Prague Conservatory and the Hochschule in Vienna. His works are published by MMB Music, Boosey and Hawkes, E.C. Schirmer, Seesaw, and Vivace Press and his music is available on CD's from CRI, Albany, Innova, Crystal, and Pro Organo.

Christopher Hunt began his career in London, England, where for twelve years he ran his own artists' management firm, representing artists from Pink Floyd to Riccardo Muti and James Levine. In 1976 he began a second career in the United States as opera producer, arts-writer, and festival director. He has directed festivals on three continents, including two Adelaide Festivals in Australia (1980 and 1994), the Ojai Festival in California (1991), and five years of PepsiCo Summerfare, outside New York City (1985-89). As opera administrator he has been associated with London's Royal Opera Covent Garden, San Francisco Opera, Santa Fe Opera, and the Bastille Opera in Paris. In 1995 he was appointed General Director of the Alte Oper in Frankfurt, Germany. In 2006 he returned to the United States to teach arts administration at Indiana University in Bloomington.

Stephanie C. Kane is a cultural anthropologist whose ethnography has focused on the borderland imagination of riverine indigenous people in Panama’s famously impenetrable Darién Gap [The Phantom Gringo Boat (1994)2004]; on the circulation of imaginaries linked to mortal risks (illegal drugs, sex and HIV) in the U.S., Belize and mass-mediated criminal justice terrains (AIDS Alibis 1998); and on the life history of an ex-con who walked precariously and honorably back into the free world through the portal offered by a federal warden’s brief but sincere implementation of a prison rehabilitation program in Marion (“Meet the Sun halfway”, in prep). In her current project focusing on the cultural politics of water in global port cities of Brazil and Argentina, she is analyzing the discursive and symbolic concatenation of “structures of feeling” (cf. Raymond Williams) that are emerging at the intersection of water infrastructure, street art, and social activism.

Javier F. León is an ethnomusicologist originally from Lima, Peru. He received B.A. in astrophysics from the University of California, Berkeley and M.M. and Ph.D. in ethnomusicology from the University of Texas at Austin. Professor León taught at the Newcomb Department of Music and The Stone Center for Latin American Studies at Tulane University and joined Indiana University in 2007. His research has focused on contemporary Afroperuvian music making, criollo popular music and nationalism in the early and mid-twentieth century Lima, and the politics of academic research. Since 1995 he has worked with prominent Peruvian artists such as Manuel Acosta Ojeda, Gabriel Alegría, Roberto Arguedas, Oscar Avilés, Eva Ayllón, Susana Baca, Félix Casaverde, Carlos Hayre, Novalima, Juan Medrano Cotito, Perú Negro, Teatro del Milenio, and Abelardo Vásquez. His work has been published in Latin American Music Review, Selected Reports in Ethnomusicology, Black Music Research Journal, Ethnomusicology Forum and he has a forthcoming piece in the volume Music and Cultural Rights, edited by Andrew Weintraub and Bell Yung. He is currently conducting research on how neoliberal socioeconomic reforms and a changing culture industry are affecting Afroperuvian musical production and its ability to remain a symbol of Black identity.

Alejandro L. Madrid is an ethnomusicologist and cultural theorist whose research focuses on the intersection of modernity, tradition, globalization, and ethnic identity in popular and art music, dance, and expressive culture from Mexico, the U.S.-Mexico border, and the circum-Caribbean.
Dr. Madrid’s books include Nor-tec Rifa! Electronic Dance Music from Tijuana to the World (Oxford University Press, 2008), Sounds of the Modern Nation. Music, Culture and Ideas in Post-Revolutionary Mexico (Temple University Press, 2008), and the co-edited volume Postnational Musical Identities. Cultural Production, Distribution and Consumption in a Globalized Scenario (Lexington Books, 2007). He is the recipient of the Casa de las Américas Award for Latin American Musicology (2005), the Samuel Claro Valdés Award for Latin American Musicology (2002), and the A-R Editions Award of the American Musicological Society, Midwest Chapter (2001-2002). In addition, his work has also been supported by the Fulbright Commission, the Ford Foundation, the American Musicological Society, and Mexico’s Secretaría de Relaciones Exteriores.
Dr. Madrid is currently working on two book-length projects. One is about transnational cultural relations between Cuba, Mexico and New Orleans and how they inform local ideas about race, Blackness, and nationality. The other one is a study of the production and reception of microtonal music in Mexico in relation to models of cosmopolitan belonging. He is also editing a book on music and performance at the U.S.-Mexico border, and a special issue on music and performance studies for the journal of the Iberian Society for Ethnomusicology.
Dr. Madrid has held positions as researcher at Mexico’s CENIDIM (National Center for Music Research) and as visiting scholar at El Colegio de la Frontera Norte-Tijuana and at the Lozano Long Institute for Latin American Studies of the University of Texas at Austin. He is currently an assistant professor of Latin American and Latino studies at the University of Illinois at Chicago.

John Holmes McDowell is professor in Folklore and Ethnomusicology at Indiana University, working primarily in Mexico and the Andes of Colombia and Ecuador, and attending to songs and stories as they enter into the social routines of everyday life. His most recent monograph is Poetry and Violence: The Ballad Tradition of Mexico's Costa Chica (2000). He has published a dozen articles on corridos over the years, following his life-long passion for this living tradition of heroic narrative. In addition, McDowell has published two monographs on the indigenous peoples of Andean Colombia, Sayings of the Ancestors: The Spiritual Life of the Sibundoy Indians (1989) and "So Wise Were Our Elders": Mythic Narratives of the Kamsá (1994). Along with continuing research into the corridos of Greater Mexico, McDowell is currently working in the Otavalo region of Ecuador with musicians and their families. Drawn to the traditional expressive arts, he is pursuing themes of commemorative discourse, folklorization, and the role of play, as these themes emerge in the verbal art and speech play of the world’s communities.

Marysol Quevedo, a native of San Juan, Puerto Rico, received a BM in Flute Performance from the University of Central Florida in 2005. That same year she was admitted into the PhD program in Musicology at the Indiana University School of Music, and was awarded a Chancellor’s Fellowship to pursue the degree. She has held Graduate Assistant and Associate Instructor positions in the Musicology Department, and is the current co-President of the Graduate Musicology Association. She has recently finished her minor in Ethnomusicology, and has focused her electives in Latin American music topics, her primary area of study.

Susanne Schwibs, a native of Aachen, Germany, is an award-winning documentary filmmaker whose favorite subjects are the arts, music, and the American landscape. She is the recipient of a Regional Emmy and two Cine Golden Eagles, among other honors. A producer/director for Indiana University's WTIU (public television) she also teaches filmmaking through IU’s Department of Communication & Culture. Her work can be seen on PBS stations across the nation.

Alicyn Warren is a composer and video artist who also writes about electronic and film music. She has taught computer music, composition, and film music at Columbia University, the University of Virginia, and the University of Michigan.
Ms. Warren has received grants and prizes from the National Endowment for the Arts, the American Musicological Society, the Mellon Foundation, and the Bourges International Electroacoustic Music Competition (two prizes, 1991 and 1999). Her works have been performed and broadcast in the US, the UK, Canada, Latin America, Africa, Asia, and Europe, and are recorded on the Centaur and Le Chant du Monde labels.

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