Daniela Candillari

Daniela Candillari

Daniela Candillari, conductor

Daniela Candillari
Daniela Candillari

Daniela Candillari is quickly emerging as a dynamic and compelling conductor in opera houses and on concert stages throughout North America and Europe. Recent engagements include her Lyric Opera of Chicago debut, leading Gregory Spears’ Fellow Travelers, which resulted in her immediate reengagement to lead An American Dream in the 2018-2019 season. Other debuts include Minnesota Opera leading Fellow Travelers, her concert debut with NOVUS NY of Trinity Wall Street, opening their festival celebrating the 100th anniversary of the birth of Leonard Bernstein, and her PROTOTYPE Festival debut conducting Acquanetta. In the 2018-2019 season, she makes her Boston conducting debut with the world premiere of PermaDeath, her Asian debut in Hong Kong conducting Du Yun’s Pulitzer Prize winning opera Angel’s Bone, and her Opera Philadelphia debut conducting Rene Orth’s Empty the House, a new production, produced in cooperation with the Curtis Institute of Music. In the summer of 2019 she leads the West Coast premiere of Jennifer Higdon’s Cold Mountain in a new production by director James Darrah at Music Academy of the West. Future engagements include her debuts with Arizona Opera and Cincinnati Opera.

Other recent projects include conducting the Manhattan School of Music Philharmonia, assisting Matthew Aucoin on his opera Crossing for BAM’s Next Wave Festival, and assisting Vasily Petrenko on a production of Falstaff with Royal Liverpool Philharmonic featuring Sir Bryn Terfel. Additionally, she has led workshops for Arizona Opera (Clint Borzoni’s The Copper Queen) and Opera Philadelphia (Double Exposure).

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Ms. Candillari’s vast repertoire knowledge  in opera has come through a traditional route: as a Répétiteur her work includes extended periods with Slovenian National Opera, European Opera Centre and Indiana University Jacobs School of Music; she has been an opera coach (working alongside Martina Arroyo and Carol Vaness); as a recitalist, she has worked with Håkan Hagegård and for the European Commission in London; as assistant conductor she has worked on contemporary projects for OPERA America and more traditional repertoire for Sarasota Opera; and at Slovenian National Opera she was successively chorus master, assistant conductor and assistant to the Artistic Director. Her broadcasting work includes National Public Radio America, Austrian Radio, Slovenian National Radio and Television, and Serbian National Television.

She has a strong interest in contemporary work in many different genres. Ms. Candillari conducted the world premiere of Stefania de Kenessey’s opera Bonfire of the Vanities at Museo del Barrio, New York. At the Center for Contemporary Opera she workshopped Rachel Peters’ and Royce Vavrek’s opera Wild Beast of the Bungalow; and gave the first public presentation of Hannah Lash’s opera Beowulf. Ms. Candillari’s work as a composer has given her a special insight into and understanding of contemporary work. Her own compositions – commissioned by outstanding instrumentalists and most recently by the University of Pittsburgh – have now been performed by musicians from the symphony orchestras of Boston, Cleveland, Detroit, and Pittsburgh, and by the musicians from the three resident orchestras of the Lincoln Center – the Metropolitan Opera Orchestra, the New York Philharmonic and New York City Ballet. Alongside her championing of contemporary repertoire, Ms. Candillari founded her own chamber orchestra – Gravity Shift – in New York City to take more traditional repertoire to new audiences.

A native of Slovenia, Ms. Candillari holds a Doctorate in Musicology from the Universität für Musik in Vienna, a Master of Music in Jazz Studies from the Indiana University Jacobs School of Music and a Master of Music and Bachelor in Piano Performance from Universität für Musik in Graz. She was a Fulbright scholar and was subsequently awarded TED Fellowship.

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Kathleen Kelly

Kathleen Kelly

Kathleen Kelly, conductor

Kathleen Kelly

Kathleen Kelly’s 2016-17 season includes debuts with Opera Columbus and the Alexandria Symphony, song recitals with tenor Stanford Olsen, master classes at the University of Toronto, performances of A Midsummer Night’s Dream with the University of Michigan, and her first audience of more than 100,000 people when the UM Marching Band welcomes her as a guest conductor.

Kathleen enjoys a wide-ranging and dynamic musical life as a pianist, opera coach, conductor, and master teacher. The first woman and first American named as Director of Musical Studies at the Vienna State Opera, Kathleen joined the faculty of the University of Michigan in 2015 as that school’s first Coach/Conductor of Opera. There, she has led performances of Giulio Cesare, Gianni Schicchi, L’heure espagnole, and Cosi fan tutte.

Since her return to the US, Kathleen has led performances of Le nozze di Figaro at Wolf Trap, the premiere of Emmerich Kálmán’s Arizona Lady at Arizona Opera, and Francesca Zambello’s critically acclaimed Ariadne on Naxos at the Glimmerglass Festival; that production was a finalist in the 2015 International Opera Awards. She also conducted the West Coast premiere of Ricky Ian Gordon’s A Coffin in Egyptstarring Frederica von Stade.

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Kathleen has performed internationally as a recital pianist: at Weill Hall, the Terrace Theater at the Kennedy Center, Vienna’s Musikverein and in the Mahlersaal of the Vienna State Opera, Manhattan’s Neue Galerie, on the Schwabacher Series in San Francisco, at the Tucson Desert Song Festival, and at numerous universities and colleges across the United States. Her recital partners have included Jamie Barton, Christine Goerke, Michael Kelly, Troy Cook, Amber Wagner, Susan Graham, Albina Shagimuratova, Valentina Nafornita, Joyce DiDonato, and Thomas Hampson. She has curated art song series for the Houston Grand Opera and the Vienna State Opera, and currently is co-artistic director of the SongFusion series in New York.

Kathleen has taught master classes all over the country, most recently at Arizona Opera, Wolf Trap Opera, the Castleton Festival, Arizona State University, Western Ontario University, Vanderbilt University, Rutgers University, and Baylor University. Kathleen is 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, Michigan Opera Theater, and the Houston Grand Opera. While on faculty at the University of Texas at Austin, she was the principal coach of the Butler Opera Center.

Kathleen Kelly was trained in the Merola Program at the San Francisco Opera, after which she joined the house music staff as pianist, rehearsal conductor, and prompter. She was an assistant to James Levine at the Metropolitan Opera from 1997-2006, specializing in the works of Wagner, Strauss, and Berg. During that time, due to 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 2003-2008 Kathleen was also the Music Director of the Berkshire Opera, conducting two productions each summer and overseeing the young artist program.

Kathleen moved on at the invitation of Maestro Patrick Summers to become the music director of the Houston Grand Opera Studio as well as that company’s Head of Music Staff from 2006-2010. Highlights of these years include conducting her own chamber music arrangement of Hansel und Gretelin remarkable production by Basil Twist, serving as pianist each year for the Eleanor McCollum competition, and curating the HGOS recital series at Rienzi.

At the Vienna State opera from 2010-2013, Kathleen oversaw the daily musical life of more the fifty ensemble singers in more than fifty operas, the world’s biggest and busiest season. At the Staatsoper she also curated a recital series in the house’s famous Mahlersaal, and served as the series’ principal pianist. She was the recitative accompanist for new productions of Le nozze di Figaro and Don Giovanni, and assisted Maestro Franz Welser-Möst on new productions ofKat’a Kabanova and Z mrtvého domu.

Kathleen has also been notably associated with the Glimmerglass Festival’s Young American Artist Program, the CoOperative Training Program at Westminster Choir College, the Seattle Opera, Opera Australia, and the Moscow Conservatory. Additionally, Kathleen 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. 2015 saw the premiere of Texanische Liebeslieder, a song cycle by David Hanlon for which she provided the text. Currently, she is creating a new English translation of Hänsel und Gretel for Tri-Cities Opera, and working on an original libretto.

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Craig Kier

Craig Kier

Craig Kier, conductor

Craig Kier
Craig Kier

Emerging American Conductor Craig Kier has already received high praise for his “Tesla-like intensity” and “impeccable orchestral support” while leading performances throughout the United States and on international stages. Since becoming the Director of the Maryland Opera Studio at The University of Maryland, Mr. Kier has expanded the footprint of the program’s activities. Beginning in the 2015-2016 season, has led an annual commissioning prize as part of the Maryland Opera Studio New Work Reading Series, giving composers and librettists an opportunity to cultivate their creative voices, emerging artists an opportunity to work directly with a creative team on a work written specifically for them, and audiences an opportunity to be exposed to new work and observe the creative process. Along with his dedication to the development of New Work, Mr. Kier has organized a festival celebrating the work of Kurt Weill, in coordination with The Kurt Weill Foundation for Music, which will include his leading performances of The Road of Promise, Mahagonny Songspiel, and Street Scene. Additional performances in the season include his debut with Indianapolis Opera leading La bohème, his return to Opera Birmingham for Tosca, performances of The Nutcracker for Houston Ballet, and his debut leading the Schwabacher Summer Concert for San Francisco Opera’s Merola Opera Program.

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Recent appearances for Mr. Kier include his debut with La Cenerentola at Brevard Music Center, with Wolf Trap Opera conducting Britten’s The Rape of Lucretia, his debut with Arizona Opera leading Madama Butterfly, and his debut with Opera Saratoga conducting Verdi’s Falstaff.  Mr. Kier enjoys long relationships with several organizations including Opera Birmingham, for whom he has already conducted La traviata and Hamlet, and with Houston Ballet, for whom he has conducted The Nutcracker since 2011.

Productions at the Maryland Opera Studio for Mr. Kier include Mozart’s La clemenza di Tito, Don Giovanni and Così fan tutte, Ravel’s L’enfant et les sortilèges, Blitzstein’s Regina, Rossini’s L’occasione fa il ladro, Offenbach’s Orpheus in the Underworld, Britten’s The Rape of Lucretia, and Poulenc’s Dialogues des Carmélites. In the coming season, along with his duties for the Kurt Weill Festival, he will lead Mozart’s Le nozze di Figaro.

From 2010 – 2013, Maestro Kier was Associate Conductor under Patrick Summers at Houston Grand Opera. During his time with the company he led dozens of performances including Madama Butterfly, Il barbiere di Siviglia, Die Fledermaus, Trial by Jury and the world premiere of Huang Ruo’s Bound. He also assisted on productions of Otello, Rigoletto, Il trovatore, Don Carlos, La traviata, Le nozze di Figaro and Lucia di Lammermoor.

Guest engagements for Maestro Kier include La bohème with Lyric Opera of Kansas City, Il barbiere di Siviglia with Atlanta Opera, Kurt Weill’s Lost in the Stars at Glimmerglass Festival, Thomas’ Hamlet with Opera Birmingham, L’italiani in Algeri with Opera Santa Barbara, The Sound of Music with Central City Opera, and The Music Man at Royal Opera House Muscat, Oman. In the summer of 2013 he served as Assistant Conductor on The Santa Fe Opera’s production of La donna del lago starring Joyce DiDonato and Lawrence Brownlee.

Maestro Kier began his career as part of Seattle Opera’s music staff, serving in a variety of roles including Assistant Conductor, Coach/Accompanist, and Chorus Master. He has since served on the music staffs of The Santa Fe Opera, Cincinnati Opera, Atlanta Opera, Opera Colorado and Des Moines Metro Opera.

 

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Benjamin Makino

Benjamin Makino

Benjamin Makino, conductor

Benjamin Makino

Conductor and Pianist Benjamin Makino is the current Music Director at Opera Memphis. Previously he was Assistant Conductor at the Long Beach Opera where he conducted that company’s highly praised productions of David Lang’s The Difficulty of Crossing a Field, Michael Nyman’s The Man Who Mistook His Wife for a Hat and Michael Gordon’s Van Gogh as well as the U.S. premieres of Gavin Bryars’ The Paper Nautilus and Stewart Copeland’s Tell Tale Heart. He also led the U.S. professional premiere of Ernest Bloch’s Macbeth at the Los Angeles harbor.

In the current season, he leads Opera Memphis’ production of Le nozze di Figaro while playing continuo, and joins Memphis’ New Ballet Ensemble for their Nut ReMix, an adaptation of Tchaikovsky’s famous Nutcracker. Additionally, he acts as Music Director for Opera Memphis’ ground-breaking 30 Days of Opera festival and makes his debut at Skylight Music Theatre leading a production of Sondheim’s epic Sweeney Todd, directed by Matthew Ozawa.

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He has previously been a director of the New York based Orchestra INSONICA, and is the founder of the Blackbird Music Project, which presents rarely performed works of vocal chamber music in Orange County, California. Under his leadership the Blackbird Music Project collaborated in a multimedia performance of Pierrot Lunaire with photographer and artist Jeff LeFever, and produced performances of vocal works by Luciano Berio, Marc-André Dalbavie, Tōru  Takemitsu and Dmitri Shostakovich.

During the fall of 2012, Ben was the Music Director for Opera Memphis’ 30 Days of Opera, an innovative program of 30 days of free concerts around the greater Memphis metropolitan area, including performances at several local library branches, the Cooper Young Festival, Trolley Night and at various points along the route of The Color Run, in which he ran the 5km course, stopping to perform arias on a portable keyboard that he carried with him during the race.

Ben is a graduate of the Domingo-Cafritz Young Artist Program of the Washington National Opera where he was hand selected by Director Plácido Domingo. He made his main stage debut with that company conducting Hansel and Gretel at the historic Lincoln Theater. Other appearances with the WNO included a sold out run of performances of Così fan Tutte at the Washington National Opera Studio, and concerts at the Opera House of John F. Kennedy Center for the Performing Arts and the Music Center at Strathmore. He was the only U.S. citizen selected to participate in the 50th Besançon International Competition for Young Conductors.

Ben completed studies at Chapman University and the University of California, Los Angeles and pursued advanced studies at the Accademia Musicale Chigiana in Siena, Italy. In 2014 he was identified by Opera America as a future leader in the field of Opera in the United States.

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Emily Senturia

Emily Senturia

Emily Senturia, conductor

Beth Lytwynec
Beth Lytwynec

Drawing from her diverse experience as a violinist, conductor, and coach, San Francisco Bay Area native Emily Senturia approaches operatic repertoire with a sympathetic affinity for both singers and instrumentalists.  In 2018, Ms. Senturia made her mainstage debut with Houston Grand Opera conducting Il barbiere di Siviglia, followed by her Kennedy Center debut leading the same opera for Washington National Opera, and her West Coast debut leading Mata Hari for West Edge Opera. In the same year she was selected by The Dallas Opera to participate in the Hart Institute for Women Conductors for the 18-19 season, and in the spring of 2019, will make her Hawaii Opera Theater debut leading La traviata. After graduating from the HGO Studio, Ms. Senturia joined the HGO music staff during which time she conducted performances of L’elisir d’amoreThe Little Prince, and The Magic Flute. Recently, Ms. Senturia has been on the music staff at The Atlanta Opera (Sweeney Todd), Opera Philadelphia (O17 Festival and O18 Festival), and at Wolf Trap Opera where she has conducted two Studio Spotlight programs.

Last season, Ms. Senturia conducted Iolanthe with Savoynet Performing Group at the International Gilbert & Sullivan Festival before joining the music staff at Opera Philadelphia for productions of Elizabeth Cree and War Stories as part of their inaugural festival, O17. She covered Alcina at Washington National Opera, will lead La liberazione di Ruggiero for the inaugural project of Opera X, a company devoted to promoting operas by female composers, and finishes her season coaching Sweeney Todd for The Atlanta Opera.

Ms. Senturia training includes studies at the Houston Grand Opera Studio, Wolf Trap Opera, the Aspen Music Festival, and the Royal Academy of Music in London. She studied orchestral conducting at Indiana University and Boston University, and violin at Rice University.

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L2 Artists, LLC

+1 (212) 419-2986

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Floor 2
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© L2 Artists 2018 Designed by Audrey Saccone / Copy by Patrick Kirkland