Marika Kuzma, Conductor
I have enjoyed a multifaceted career as a musician: concerts in prestigious venues, collaborations with internationally renowned orchestras, workshops with choirs of all sizes, and teaching one-on-one. Each aspect of my work informs the other, and I aim to create beautiful, meaningful, and memorable experiences with singers, instrumentalists, and fellow artists at all levels of expertise.
As a Conductor, I have led performances of professional and amateur ensembles across the United States and Canada. My repertoire ranges from the chant of Hildegard to the Bach B minor Mass to the Verdi Requiem to Stravinsky Les noces to premieres of works by living composers. Among the venues where I have performed are Weill Recital Hall at Carnegie Hall; Zellerbach Hall in Berkeley, CA; the National Cathedral in Washington D.C.; Stephansdom in Vienna, Austria. Currently, I am most interested in leading projects that combine various art forms and creating events that raise awareness of societal issues.
As a Chorus Master, I have prepared choirs for leading conductors of my generation and rising stars of the current generation. I have collaborated with artists such as Joana Carneiro and the Berkeley Symphony, Gustavo Dudamel and the Simon Bolivar Orchestra; the Mark Morris Dance Group; Nicholas McGegan and the Philharmonia Baroque Orchestra; Kent Nagano and the Orchestre symphonique de Montreal. Many of these collaborations have received enthusiastic reviews in the New York Times, Le Devoir, Opera News, San Francisco Chronicle, etc.
As a Choral Clinician I’ve been invited to work with many community, college, and high school choirs in day-long or shorter workshops. Dozens of choirs and their directors have sought out my advice in vocal technique, style, and interpretation for concerts and competitions. I have also published articles, made recordings, and given lectures internationally, particularly related to Slavic choral music.
In recent years, I’ve been coaching singers and conductors in the private studio and zoom setting. I gained some twenty-five years of experience working one-on-one with students while directing the choirs at the University of California, Berkeley, and supervising its vocal performance program. Some of my former students are solo vocalists on major opera stages and recording studios. My conducting students have led symphony, choral, and opera performances across America. While I teach all levels and all ages, I seem to have a special knack for helping singers over 50 and conductors of all ages working through physical obstacles. I’ve also been asked to coach diction to various artists in music and theater. Since I grew up bilingual (Ukrainian-American) in a multi-ethnic neighborhood and have lived in several countries, I speak (and love) many languages.
I believe my unique voice and success as a musician stems from my training as both a singer and instrumentalist, both choral and orchestral conductor, my sensitivity to languages and cultures, and my experience as an actor. Each of these helps bring the music fully to life in performance. I’ve become increasingly attentive to breath and eye contact and the full body in artistic expression whether in solo or group performance.
I received my earliest musical training at home—my family sang together constantly—and at the Hartt School of Music in violin and voice. I then attained a vocal performance degree from the University of North Carolina, Chapel Hill with further study at the Salzburg Mozarteum and Vienna Hochschule für Musik, and a master’s degree from Stanford University. Later, at Indiana University, I gained a doctorate in choral conducting and trained as an Orchestral Conducting Fellow at the Aspen Music Festival. My voice teachers have included Jane Randolph and Marilyn Taylor. My conducting mentors included Thomas Binkley, Jan Harrington, Gustav Meier, Robert Porco, and Paul Vermel.
I grew up on the East Coast, and after almost thirty years living and working in the San Francisco Bay Area, I’ve just returned to Connecticut.
I look forward to meeting you and making music with you—on either coast. Please feel free to be in touch for coaching and collaborations great and small.
SOLOISTS
Jodi Burns, Soprano
Jodi Burns sings with a “plush voice and rich expressivity”(The New York Times) and, "a golden pure voice with beauty in all ranges"(Cultural Voice of North Carolina). “Burns dazzles with her lustrous soprano and bright charisma."(The Winston-Salem Journal).
Jodi’s power to enchant shines in many realms, from the opera stage to the intimate venue. As Lauretta in Puccini’s Gianni Schicchi with Piedmont Opera reviews noted: ”hers is a golden pure voice with beauty in all ranges”(CVNC), and “[she] sang Puccini’s soaring melodic lines with unfailing musicality and lustrous tone. Burns had the audience in the palm of her hand from her first note” (Voix des Arts).
Other recent appearances include: Maria in Maria Stuarda (Donizetti), Strauss' Four Last Songs, Adina in The Elixir of Love, soprano solos in Haydn's Nelson Mass. With the composer at the piano, she recently premiered two of Kenneth Frazelle's haunting new folk song arrangements and performed works from his acclaimed Appalachian Songbook along with interpretations of American jazz and blues, sang in recital with pianist Dmitri Shteinberg, in collaborative multi-genre storytelling shows with Music Carolina’s Summerfest, and appeared with Nancy Johnston on NPR’s The Martha Bassett Show.
Several of her own songs have been orchestrated and performed with The Piedmont Wind Symphony with her band Judy Barnes, and with PWS she sang in duet with Ben Folds.
Jodi earned her MM at The UNC School of the Arts Fletcher Opera Institute, where studied with Dr. Marilyn Taylor. BME from The Ohio State University. She is a member of the Voice faculty at UNCSA.
Callie Iliff, Mezzo-Soprano
Callie Iliff is a vibrant mezzo-soprano from San Marcos, Texas. During the 2024-2025 season, Callie will be returning to the A.J. Fletcher Opera Institute in Johann Strauss II’s Die Fledermaus as Prince Orlofsky and Wargo’s Ballymore as Ballad Singer/Kate Cassidy. She appeared as Giovanna Seymour and Dorabella in her program’s opera scenes this fall. She had the privilege to join the Salem Bach Festival in their performance of Bach’s BWV 227 motet Jesu, Meine Freude.
In the 2023-2024 season, Callie’s credits include: Armando di Gondi in Donizetti’s Maria di Rohan and Nina in Pergolesi's Lo frate ‘nnamorato as well as Elmire from Meachem’s Tartuffe in opera scenes.
She holds a B.M. from the Oberlin Conservatory of Music and during her time there she participated in a dynamic assortment of artistic avenues such as stage managing, directing, and performing. Her credits from Oberlin include: the world premiere of Recio’s The Puppy Episode in the dual role of Louise/Dot, Primary Chorus in Bernstein’s Candide, and Elle #2 in Poulenc’s La Voix Humaine.
Other roles that Callie has performed are: Cinderella (Into the Woods) as well as many of Shakespeare’s beloved characters such as Titania (A Midsummer Night's Dream), Cleopatra (Antony and Cleopatra), Mercutio (Romeo and Juliet), Malcolm (Macbeth) and Audrey (As You Like It). Callie debuted in her first opera role as Amahl in Menotti’s Amahl and the Night Visitors with Texas State Opera Theatre.
Callie is currently pursuing her M.M. in Vocal Performance with the A.J. Fletcher Opera Institute at the University of North Carolina School of the Arts. She is a student of Phyllis Pancella and is in her second year.
Eric Laine, Tenor
Acknowledged for his “vocal allure” and “fiery declamation” (San Diego Story), Eric Laine, tenor, has gained recognition as an innovative artist both on stage and in recital. During the 2024-2025 season, he will appear in concert and recital with Scheherazade Music Festival, Choral Society of Greensboro, Charlotte Music Club, Music by Women Festival, Raleigh Camerata, and Winston-Salem Mozart Club. Recently, Eric made his European debut as Il Podestà in La finata giardiniera with the Hungarian State Opera in Budapest, a role that he then reprised with Opera Neo in San Diego, CA. On the operatic stage, Eric has sung Joante in the American premiere of Apollo y Dafne, Alfred and Dr. Blind in Die Fledermaus, Jay in The Stranger’s Tale, Male Chorus in The Rape of Lucretia, Vašek in The Bartered Bride, Henrik in A Little Night Music, the title role in Albert Herring, Don Ramiro in La Cenerentola, Tantale in La descente d’Orphée aux enfers, Ferrando in Così fan tutte, Noël in Le testament de la tante Caroline, Apollo in the American premiere of Coronide, and Peter Quint in The Turn of the Screw, appearing with companies such as Orchestra of New Spain, First Coast Opera, Moores Opera Center, American Baroque Opera Co., Opera in the Heights, and Red River Lyric Opera, among others. During the 2016-2017 and 2017-2018 seasons, Eric was a regular ensemble member with Houston Grand Opera.
As a concert soloist, Eric has been featured in Beethoven’s Ninth Symphony, Messiah, Alexander’s Feast, Missa in Angustiis, Membra Jesu nostri, Madrigali guerrieri et amorosi, Bruckner’s Te Deum, Schubert’s Mass No. 2 in G Major, Pergolesi’s Miserere, and many cantatas by J.S. Bach, having sung with Mercury Chamber Orchestra, Harmonia Stellarum Houston, Symphony of the Hills, Houston Symphony, Fort Bend Symphony Orchestra, Houston Masterworks Chorus, and Tyler Civic Chorale. He is an avid promoter of art song, often creating themed programs of chamber music and visual art. Most recently, a portfolio of materials from Eric’s recital “In Pursuit of Self” was selected as the graduate winner of the 2020 University of North Texas Pi Kappa Lambda Scholarship Competition. Previously, he was awarded a travel grant to serve as an Art of Song fellow at Toronto Summer Music in 2019.
Eric received his Doctor of Musical Arts degree in vocal performance and pedagogy from the University of Houston Moores School of Music. Additionally, he holds a Master of Music in vocal performance from the University of North Texas and earned a Bachelor of Music in music education from UH, specializing in both voice and classical saxophone. Eric is a trained vocologist through the Utah Center for Vocology in Salt Lake City, UT, where he studied under the tutelage of Dr. Ingo Titze. He is a published author in the Journal of Singing, and his research interests include Latin American art song repertoire, vocal agility, and the intersection of exercise science and vocal pedagogy. Eric currently serves on the faculty of The University of North Carolina at Greensboro as Visiting Assistant Professor of Voice.
Kevin Spooner, Bass-Baritone
Hailing from Oneida, New York, Bass-baritone Kevin Spooner, has been seen on stages throughout the East Coast of the United States. This year, Kevin performed as the bass soloist for Bach’s Cof ee Cantata, BWV 211 with the Salem Bach Festival, a featured soloist for Charlottesville Opera’s Annual Gala, the Jailor in Dello Joio’s Joan of Arc: The Trial at Rouen with Piedmont Opera, and the baritone soloist for Vaughan Williams’ Five Mystical Songs with the Choral Society of Greensboro.
During the 2024/2025 season, Kevin will be performing the role of Dr. Falke in Johann Strauss II’s Die Fledermaus with the A.J. Fletcher Opera Institute, and will be the baritone soloist in Vaughan Williams’ Five Mystical Songs with The Oratorio Society of Virginia. He will also perform the roles of The Ballad Singer and Andy Tracey in Richard Wargo’s Ballymore with the A. J. Fletcher Opera Institute. During the summer of 2025, Kevin will join Catapult Opera, in New York City, as the cover of King Herod in the U.S. staged premiere of Stradella’s San Giovanni Battista. Kevin will then join Teatro Nuovo, where he will make his Lincoln Center debut as Medico in Verdi’s Macbeth, while covering the role of Banco. During the 2023/2024 season, Kevin was an Ader Emerging Artist at Charlottesville Opera where he covered the role of Dr. Dulcamara in Donizetti's L'elisir d'amore, and played the role of Mayor Shinn in Wilson's The Music Man. Kevin also performed the role of Don Pietro in Pergolesi’s Lo frate ‘nnamorato and Enrico in Donizetti’s Maria di Rohan with the A.J. Fletcher Opera Institute. He was the bass soloist for Handel’s Messiah and Bach’s Cantata BWV 140 with the Choral Society of Greensboro, and Bach’s Cantata BWV 106 with the Salem Bach Festival.
His other roles include Schaunard in Puccini’s La Bohème with Opera Steamboat, Marchese d’Obigny in Verdi’s La Traviata with Piedmont Opera, Paul’s Father in Gregory Spears’ Paul’s Case with the Ad Astra Music Festival, Johannes “Pa” Zegner in Missy Mazzoli’s Proving Up with Notre Dame Opera and Eastman Opera Theater, Sir Anthony Absolute in Kirke Mechem’s The Rivals with the A.J. Fletcher Opera Institute, Rodomonte in Haydn’s Orlando Paladino with the A.J. Fletcher Opera Institute, Frank in Johann Strauss II’s Die Fledermauswith Rochester Summer Opera, Figaro (cover) and Antonio in Mozart’s Le Nozze di Figaro with the Opera Steamboat Artist Institute, and Sprecher and Armored Guard in Die Zauberflöte with the Opera Steamboat Artist Institute. Additional Eastman Opera Theater roles include Poeta in Salieri's Prima la musica e poi le parole, Buff in Mozart’s Der Schauspieldirektor, Marco in Puccini's Gianni Schicchi, and the Wolf in Sondheim's Into the Woods.
Kevin is pursuing his Professional Artist Certificate at the UNCSA - A.J. Fletcher Opera Institute, where he also received his Master of Music degree. Kevin also holds a Bachelor of Music degree from the Eastman School of Music.
I have enjoyed a multifaceted career as a musician: concerts in prestigious venues, collaborations with internationally renowned orchestras, workshops with choirs of all sizes, and teaching one-on-one. Each aspect of my work informs the other, and I aim to create beautiful, meaningful, and memorable experiences with singers, instrumentalists, and fellow artists at all levels of expertise.
As a Conductor, I have led performances of professional and amateur ensembles across the United States and Canada. My repertoire ranges from the chant of Hildegard to the Bach B minor Mass to the Verdi Requiem to Stravinsky Les noces to premieres of works by living composers. Among the venues where I have performed are Weill Recital Hall at Carnegie Hall; Zellerbach Hall in Berkeley, CA; the National Cathedral in Washington D.C.; Stephansdom in Vienna, Austria. Currently, I am most interested in leading projects that combine various art forms and creating events that raise awareness of societal issues.
As a Chorus Master, I have prepared choirs for leading conductors of my generation and rising stars of the current generation. I have collaborated with artists such as Joana Carneiro and the Berkeley Symphony, Gustavo Dudamel and the Simon Bolivar Orchestra; the Mark Morris Dance Group; Nicholas McGegan and the Philharmonia Baroque Orchestra; Kent Nagano and the Orchestre symphonique de Montreal. Many of these collaborations have received enthusiastic reviews in the New York Times, Le Devoir, Opera News, San Francisco Chronicle, etc.
As a Choral Clinician I’ve been invited to work with many community, college, and high school choirs in day-long or shorter workshops. Dozens of choirs and their directors have sought out my advice in vocal technique, style, and interpretation for concerts and competitions. I have also published articles, made recordings, and given lectures internationally, particularly related to Slavic choral music.
In recent years, I’ve been coaching singers and conductors in the private studio and zoom setting. I gained some twenty-five years of experience working one-on-one with students while directing the choirs at the University of California, Berkeley, and supervising its vocal performance program. Some of my former students are solo vocalists on major opera stages and recording studios. My conducting students have led symphony, choral, and opera performances across America. While I teach all levels and all ages, I seem to have a special knack for helping singers over 50 and conductors of all ages working through physical obstacles. I’ve also been asked to coach diction to various artists in music and theater. Since I grew up bilingual (Ukrainian-American) in a multi-ethnic neighborhood and have lived in several countries, I speak (and love) many languages.
I believe my unique voice and success as a musician stems from my training as both a singer and instrumentalist, both choral and orchestral conductor, my sensitivity to languages and cultures, and my experience as an actor. Each of these helps bring the music fully to life in performance. I’ve become increasingly attentive to breath and eye contact and the full body in artistic expression whether in solo or group performance.
I received my earliest musical training at home—my family sang together constantly—and at the Hartt School of Music in violin and voice. I then attained a vocal performance degree from the University of North Carolina, Chapel Hill with further study at the Salzburg Mozarteum and Vienna Hochschule für Musik, and a master’s degree from Stanford University. Later, at Indiana University, I gained a doctorate in choral conducting and trained as an Orchestral Conducting Fellow at the Aspen Music Festival. My voice teachers have included Jane Randolph and Marilyn Taylor. My conducting mentors included Thomas Binkley, Jan Harrington, Gustav Meier, Robert Porco, and Paul Vermel.
I grew up on the East Coast, and after almost thirty years living and working in the San Francisco Bay Area, I’ve just returned to Connecticut.
I look forward to meeting you and making music with you—on either coast. Please feel free to be in touch for coaching and collaborations great and small.
SOLOISTS
Jodi Burns, Soprano
Jodi Burns sings with a “plush voice and rich expressivity”(The New York Times) and, "a golden pure voice with beauty in all ranges"(Cultural Voice of North Carolina). “Burns dazzles with her lustrous soprano and bright charisma."(The Winston-Salem Journal).
Jodi’s power to enchant shines in many realms, from the opera stage to the intimate venue. As Lauretta in Puccini’s Gianni Schicchi with Piedmont Opera reviews noted: ”hers is a golden pure voice with beauty in all ranges”(CVNC), and “[she] sang Puccini’s soaring melodic lines with unfailing musicality and lustrous tone. Burns had the audience in the palm of her hand from her first note” (Voix des Arts).
Other recent appearances include: Maria in Maria Stuarda (Donizetti), Strauss' Four Last Songs, Adina in The Elixir of Love, soprano solos in Haydn's Nelson Mass. With the composer at the piano, she recently premiered two of Kenneth Frazelle's haunting new folk song arrangements and performed works from his acclaimed Appalachian Songbook along with interpretations of American jazz and blues, sang in recital with pianist Dmitri Shteinberg, in collaborative multi-genre storytelling shows with Music Carolina’s Summerfest, and appeared with Nancy Johnston on NPR’s The Martha Bassett Show.
Several of her own songs have been orchestrated and performed with The Piedmont Wind Symphony with her band Judy Barnes, and with PWS she sang in duet with Ben Folds.
Jodi earned her MM at The UNC School of the Arts Fletcher Opera Institute, where studied with Dr. Marilyn Taylor. BME from The Ohio State University. She is a member of the Voice faculty at UNCSA.
Callie Iliff, Mezzo-Soprano
Callie Iliff is a vibrant mezzo-soprano from San Marcos, Texas. During the 2024-2025 season, Callie will be returning to the A.J. Fletcher Opera Institute in Johann Strauss II’s Die Fledermaus as Prince Orlofsky and Wargo’s Ballymore as Ballad Singer/Kate Cassidy. She appeared as Giovanna Seymour and Dorabella in her program’s opera scenes this fall. She had the privilege to join the Salem Bach Festival in their performance of Bach’s BWV 227 motet Jesu, Meine Freude.
In the 2023-2024 season, Callie’s credits include: Armando di Gondi in Donizetti’s Maria di Rohan and Nina in Pergolesi's Lo frate ‘nnamorato as well as Elmire from Meachem’s Tartuffe in opera scenes.
She holds a B.M. from the Oberlin Conservatory of Music and during her time there she participated in a dynamic assortment of artistic avenues such as stage managing, directing, and performing. Her credits from Oberlin include: the world premiere of Recio’s The Puppy Episode in the dual role of Louise/Dot, Primary Chorus in Bernstein’s Candide, and Elle #2 in Poulenc’s La Voix Humaine.
Other roles that Callie has performed are: Cinderella (Into the Woods) as well as many of Shakespeare’s beloved characters such as Titania (A Midsummer Night's Dream), Cleopatra (Antony and Cleopatra), Mercutio (Romeo and Juliet), Malcolm (Macbeth) and Audrey (As You Like It). Callie debuted in her first opera role as Amahl in Menotti’s Amahl and the Night Visitors with Texas State Opera Theatre.
Callie is currently pursuing her M.M. in Vocal Performance with the A.J. Fletcher Opera Institute at the University of North Carolina School of the Arts. She is a student of Phyllis Pancella and is in her second year.
Eric Laine, Tenor
Acknowledged for his “vocal allure” and “fiery declamation” (San Diego Story), Eric Laine, tenor, has gained recognition as an innovative artist both on stage and in recital. During the 2024-2025 season, he will appear in concert and recital with Scheherazade Music Festival, Choral Society of Greensboro, Charlotte Music Club, Music by Women Festival, Raleigh Camerata, and Winston-Salem Mozart Club. Recently, Eric made his European debut as Il Podestà in La finata giardiniera with the Hungarian State Opera in Budapest, a role that he then reprised with Opera Neo in San Diego, CA. On the operatic stage, Eric has sung Joante in the American premiere of Apollo y Dafne, Alfred and Dr. Blind in Die Fledermaus, Jay in The Stranger’s Tale, Male Chorus in The Rape of Lucretia, Vašek in The Bartered Bride, Henrik in A Little Night Music, the title role in Albert Herring, Don Ramiro in La Cenerentola, Tantale in La descente d’Orphée aux enfers, Ferrando in Così fan tutte, Noël in Le testament de la tante Caroline, Apollo in the American premiere of Coronide, and Peter Quint in The Turn of the Screw, appearing with companies such as Orchestra of New Spain, First Coast Opera, Moores Opera Center, American Baroque Opera Co., Opera in the Heights, and Red River Lyric Opera, among others. During the 2016-2017 and 2017-2018 seasons, Eric was a regular ensemble member with Houston Grand Opera.
As a concert soloist, Eric has been featured in Beethoven’s Ninth Symphony, Messiah, Alexander’s Feast, Missa in Angustiis, Membra Jesu nostri, Madrigali guerrieri et amorosi, Bruckner’s Te Deum, Schubert’s Mass No. 2 in G Major, Pergolesi’s Miserere, and many cantatas by J.S. Bach, having sung with Mercury Chamber Orchestra, Harmonia Stellarum Houston, Symphony of the Hills, Houston Symphony, Fort Bend Symphony Orchestra, Houston Masterworks Chorus, and Tyler Civic Chorale. He is an avid promoter of art song, often creating themed programs of chamber music and visual art. Most recently, a portfolio of materials from Eric’s recital “In Pursuit of Self” was selected as the graduate winner of the 2020 University of North Texas Pi Kappa Lambda Scholarship Competition. Previously, he was awarded a travel grant to serve as an Art of Song fellow at Toronto Summer Music in 2019.
Eric received his Doctor of Musical Arts degree in vocal performance and pedagogy from the University of Houston Moores School of Music. Additionally, he holds a Master of Music in vocal performance from the University of North Texas and earned a Bachelor of Music in music education from UH, specializing in both voice and classical saxophone. Eric is a trained vocologist through the Utah Center for Vocology in Salt Lake City, UT, where he studied under the tutelage of Dr. Ingo Titze. He is a published author in the Journal of Singing, and his research interests include Latin American art song repertoire, vocal agility, and the intersection of exercise science and vocal pedagogy. Eric currently serves on the faculty of The University of North Carolina at Greensboro as Visiting Assistant Professor of Voice.
Kevin Spooner, Bass-Baritone
Hailing from Oneida, New York, Bass-baritone Kevin Spooner, has been seen on stages throughout the East Coast of the United States. This year, Kevin performed as the bass soloist for Bach’s Cof ee Cantata, BWV 211 with the Salem Bach Festival, a featured soloist for Charlottesville Opera’s Annual Gala, the Jailor in Dello Joio’s Joan of Arc: The Trial at Rouen with Piedmont Opera, and the baritone soloist for Vaughan Williams’ Five Mystical Songs with the Choral Society of Greensboro.
During the 2024/2025 season, Kevin will be performing the role of Dr. Falke in Johann Strauss II’s Die Fledermaus with the A.J. Fletcher Opera Institute, and will be the baritone soloist in Vaughan Williams’ Five Mystical Songs with The Oratorio Society of Virginia. He will also perform the roles of The Ballad Singer and Andy Tracey in Richard Wargo’s Ballymore with the A. J. Fletcher Opera Institute. During the summer of 2025, Kevin will join Catapult Opera, in New York City, as the cover of King Herod in the U.S. staged premiere of Stradella’s San Giovanni Battista. Kevin will then join Teatro Nuovo, where he will make his Lincoln Center debut as Medico in Verdi’s Macbeth, while covering the role of Banco. During the 2023/2024 season, Kevin was an Ader Emerging Artist at Charlottesville Opera where he covered the role of Dr. Dulcamara in Donizetti's L'elisir d'amore, and played the role of Mayor Shinn in Wilson's The Music Man. Kevin also performed the role of Don Pietro in Pergolesi’s Lo frate ‘nnamorato and Enrico in Donizetti’s Maria di Rohan with the A.J. Fletcher Opera Institute. He was the bass soloist for Handel’s Messiah and Bach’s Cantata BWV 140 with the Choral Society of Greensboro, and Bach’s Cantata BWV 106 with the Salem Bach Festival.
His other roles include Schaunard in Puccini’s La Bohème with Opera Steamboat, Marchese d’Obigny in Verdi’s La Traviata with Piedmont Opera, Paul’s Father in Gregory Spears’ Paul’s Case with the Ad Astra Music Festival, Johannes “Pa” Zegner in Missy Mazzoli’s Proving Up with Notre Dame Opera and Eastman Opera Theater, Sir Anthony Absolute in Kirke Mechem’s The Rivals with the A.J. Fletcher Opera Institute, Rodomonte in Haydn’s Orlando Paladino with the A.J. Fletcher Opera Institute, Frank in Johann Strauss II’s Die Fledermauswith Rochester Summer Opera, Figaro (cover) and Antonio in Mozart’s Le Nozze di Figaro with the Opera Steamboat Artist Institute, and Sprecher and Armored Guard in Die Zauberflöte with the Opera Steamboat Artist Institute. Additional Eastman Opera Theater roles include Poeta in Salieri's Prima la musica e poi le parole, Buff in Mozart’s Der Schauspieldirektor, Marco in Puccini's Gianni Schicchi, and the Wolf in Sondheim's Into the Woods.
Kevin is pursuing his Professional Artist Certificate at the UNCSA - A.J. Fletcher Opera Institute, where he also received his Master of Music degree. Kevin also holds a Bachelor of Music degree from the Eastman School of Music.
