New World-Class Faculty and Leadership Join Curtis’ Voice and Opera Department
Karen Slack (’02), Amanda Majeski (’09), and John Matsumoto Giampietro take on new voice and opera leadership roles; J’Nai Bridges (’12), Jarrett Ott (’14), and John Relyea (’96) join Visiting Faculty
Curtis Institute of Music proudly announces exciting new appointments in its voice and opera department, effective with the 2025–26 school year. Joining the school’s prestigious faculty are world class artists bass-baritone Patrick Carfizzi, bass-baritone Alan Held, baritone Elliot Madore (Opera ’10, Voice ’09), soprano Amanda Majeski (Opera ’09), soprano Jennifer Rowley, and Karen Slack (Opera ’02).
Recognizing the importance of a strong foundation with experts across the art form, Curtis is also creating three new leadership roles in the voice and opera department starting with the 2025–26 school year. Karen Slack has been named creative advisor for the department and will also serve as advisor for the school’s new Center for Leadership, Innovation, and Partnership. Amanda Majeski, in addition to her role on the vocal faculty, has been named pedagogical advisor for the department.
Stage director and writer John Matsumoto Giampietro—already a member of the Curtis faculty—has been named dramatic advisor, acting instructor, and resident stage director. Mr. Giampietro, Ms. Majeski, and Ms. Slack will each serve as advisors in their respective areas to Miloš Repický, director and Hirsig Family Chair in Vocal Studies and Opera.
“This new leadership team reflects the collaborative philosophy of our vocal studies department. With the addition of their tremendous experiences and perspectives, together we look to create an expansive vision for artistic programming, operatic training, and new possibilities for the direction and evolution of opera,” says Mr. Repický.
The voice and opera department is also pleased to announce the addition of three new visiting faculty members: mezzo-soprano J’Nai Bridges (Opera ’12), baritone Jarrett Ott (Opera ’14), and bass John Relyea (Opera ’96). New for the 2025–26 school year, visiting faculty members will come to Curtis for a residency at least once per semester to mentor Curtis students and offer insight as alumni from their stellar careers.
“I am delighted to welcome all of our new faculty members—not only for their excellence and visionary influence on the art form—but for their focus and dedication to the developmental needs and opportunities of our outstanding students,” says Mr. Repický. “With this new structure, we look to empower our students to be true leaders and creators of the artistic landscape into which they will emerge,” he continues.
The extraordinary artists of Curtis Opera Theatre collaborate with renowned conductors, directors, and designers to present fresh and passionate performances from across the operatic repertoire. Through visionary productions and exceptional musicianship, they engage audiences with dynamic interpretations as they prepare for careers on the world’s great stages.
The first Curtis Opera Theatre production of the 2025–26 school year is Monteverdi’s groundbreaking 1607 masterpiece, L’Orfeo, taking place November 14 and 16 at the Philadelphia Film Center. In the spring semester, Curtis Opera Theatre performs Saariaho’s La Passion de Simone and Britten’s A Midsummer Night’s Dream. Each semester, voice and opera students perform in Curtis’ free recital series, held on the school’s campus most Monday, Wednesday, and Friday evenings. For more information and tickets, visit curtis.edu.
ABOUT THE FACULTY
Karen Slack (Opera ’02)
Faculty and Creative Advisor
Praised as “one of opera’s strongest voices at present—both as a singer and a shaper of its culture” (Washington Post), Grammy Award-winning soprano Karen Slack is celebrated as both an extraordinary performer and a change–maker in classical music.
Recently, Slack has been on a nationwide tour for her critically–acclaimed African Queens, which continues into her 2025–26 season, including an orchestral version presented by the Naples Philharmonic in Florida. Slack’s season engagements include world premieres of Tamar-kali’s new work with the Miró Quartet for the Arizona Friends of Chamber Music and Philadelphia Chamber Music Society, the Dallas Symphony Orchestra’s presentation of Kathryn Bostic’s Drag, and Brittany J. Green’s Letters to America, part of American Composers Orchestra’s program Hello, America: Letters to Us, from Us. She also appears with the Orlando Philharmonic, Chamber Music Cincinnati, the Iris Collective, and Spivey Hall.
Slack’s Beyond the Years: Unpublished Songs of Florence Price with pianist Michelle Cann in collaboration with ONEcomposer on Azica Records won the 2025 Grammy Award for Best Classical Solo Vocal Album. In 2025, Slack was featured on Shawn Okpebholo’s album Songs in Flight, released with Cedille Records.
Slack has performed at the Metropolitan Opera, Lyric Opera of Chicago, Washington National Opera, Scottish Opera, and many others. In concert, her credits include the Melbourne and Sydney symphonies, Bergen Philharmonic, St. Petersburg Philharmonic, Orchestra of St. Luke’s at Carnegie Hall, and Philadelphia Orchestra. She made her New York Philharmonic debut in May 2024. A recipient of the 2022 Sphinx Medal of Excellence and 2025 MPower Artist Grant, Slack is an artistic advisor for Portland Opera, serves on the board of the American Composers Orchestra, and holds a faculty position at the Banff Centre for Arts and Creativity. In the 2024–25 season, she served as artist in residence at both Lyric Opera of Chicago and Babson College.
A native Philadelphian, Slack is a 2002 graduate of Curtis Institute of Music, as well as an Adler Fellow of the Merola Opera Program at the San Francisco Opera.
Amanda Majeski (Opera ’09)
Voice Faculty and Pedagogical Advisor
Internationally renowned American soprano Amanda Majeski is a celebrated interpreter of Mozart, Strauss, Wagner, and Handel. She is also highly acclaimed for her portrayal of Janáček’s Káťa Kabanová, making her debut with that role at Royal Opera House, Covent Garden (Best New Opera Production at the 2019 Olivier Awards). She was described as “Katya of the moment,” following the London Symphony Orchestra concert performance conducted by Sir Simon Rattle in 2023.
Ms. Majeski begins the 2025–26 season with a role debut at the BBC Proms, singing the title role in Shostakovich’s Lady Macbeth of Mtsensk. She returns to Oper Frankfurt, as Marta in The Passenger, sings the Marschallin in Der Rosenkavalier with New Orleans Opera, and joins the Rundfunk-Sinfonieorchester Berlin and conductor Edward Gardner for Szymanowski’s Stabat Mater and Mahler’s 4th Symphony. Future seasons will include her return to London’s Royal Opera House.
The 2024–25 season included an anticipated return to the role of Strauss’ Salome with Semperoper Dresden. She also joined the Madison Symphony for Strauss’ Four Last Songs and Mozart’s Requiem, and celebrated the centennial of her alma mater, the Curtis Institute of Music, both in residence as a visiting instructor and for a special gala performance.
During the 2023–24 season, Ms. Majeski returned to the Teatro Real Madrid as Marta in the Spanish premiere of The Passenger, and to the Semperoper Dresden, as Káťa in a new production directed by Calixto Bieito. She also gave a solo recital at Opera Philadelphia’s O23 Festival and returned to the Tanglewood Music Festival as Gutrune in the final act of Wagner’s Götterdämmerung, paced by Andris Nelsons.
Ms. Majeski holds degrees from the Curtis Institute of Music and Northwestern University. She was a member of the Merola Opera Program, the Gerdine Young Artist Program at Opera Theatre of St. Louis, and the Steans Institute at Ravinia. Awards include the George London Foundation Award, first prize in the Palm Beach Opera Vocal Competition, and a Sara Tucker Study Grant from the Richard Tucker Foundation.
John Matsumoto Giampietro
Dramatic Advisor, Acting Instructor, and Resident Stage Director
John Matsumoto Giampietro is a Brooklyn–based stage director of opera and theatre, an educator, and a writer. For Curtis Opera Theatre, he directed the celebrated production of The Cunning Little Vixen in 2024, and will direct L’Orfeo in fall 2025. He is a frequent director with Youngblood, Ensemble Studio Theater’s (EST) Obie-award-winning young writers’ group. At EST, John directed the New York Times-acclaimed production of Year of the Rooster by Olivia Dufault.
He was the interim and associate director of the Chautauqua Opera Conservatory, where he directed several operas including The Cunning Little Vixen, Hänsel und Gretel, Le nozze di Figaro, La bohème, and A Midsummer Night’s Dream. John has directed opera and theatre at Tanglewood, Actors Theatre of Louisville, Urban Stages, Yale Opera, Vermont Shakespeare Festival, the Flea Theatre, Shenandoah Conservatory, NYU Tisch School of the Arts, and Curtis Institute of Music, among others.
His writing includes new English dialogue versions of Die lustigen Weiber von Windsor and The Impresario for Juilliard. His English dialogue version of Die Zauberflöte premiered at the Chautauqua Institution. His play Strength of God and other grotesques based on Sherwood Anderson’s Winesburg, Ohio, premiered at Joe’s Pub @ The Public Theater in NYC. John is also a vocal arts acting faculty member and stage director at the Juilliard School where he teaches acting across all degree programs. His productions at Juilliard include, among others, The Turn of the Screw, ll Turco in Italia, Die Lustigen Weiber von Windsor, La fedeltà premiata, Curlew River, and two devised operas: There’s Blood Between Us and The ImpresA.I.rio.
Patrick Carfizzi
Patrick Carfizzi is a distinguished bass-baritone who has been a presence at the Metropolitan Opera for more than 25 years, where
he has performed over 450 times. Hailed by the New York Times as “the heart and soul of the Met,” his career embodies a deep, intrinsic connection to the operatic craft, reflecting not only vocal mastery but also an exceptional understanding of the stage’s demands.
Drawing upon this extensive body of work, Mr. Carfizzi is deeply committed to nurturing the next generation of vocal artists. His teaching philosophy is rooted in cultivating a healthy, resilient vocal technique, helping guide students in the realities of career sustainability and informed by his own ongoing rigorous performance career.
Consistently praised for his “vibrant” performances and “impressive bass,” Mr. Carfizzi’s career spans a broad breadth of repertoire—from comedic to dramatic and contemporary—at leading companies such as the Metropolitan Opera, San Francisco Opera, Santa Fe Opera, Lyric Opera of Chicago, and Oper Köln.
He returned to the Met for his signature role debut as Dr. Bartolo in Il barbiere di Siviglia in the 2024–25 season, and he also sang the title role in Don Pasquale at Opera Theatre of St. Louis. His 2023–24 season included a notable debut at LA Opera as Dr. Bartolo, alongside returns to the Metropolitan Opera as Fra Melitone in a new production of La forza del destino. Other notable recent engagements include Dulcamara in L’elisir d’amore at San Francisco Opera, Leporello in Don Giovanni with Boston Baroque, Swallow in Peter Grimes, and the Sacristan in Tosca at the Met; Bartolo in Le nozze di Figaro at Houston Grand Opera, Santa Fe Opera, and the Ozawa Festival; and Don Alfonso in Così fan tutte with the Boston Symphony Orchestra at Tanglewood.
His career is marked by collaborations with notable conductors such as Vladimir Jurowski, Carlo Rizzi, and Yannick Nézet-Séguin. Mr. Carfizzi has given master classes at prominent institutions including Southern Methodist University, Yale University, Catholic University of America, University of Southern California, and the Boston University Institute at Tanglewood. His long-standing commitment to nurturing emerging artists is also evident in his extensive work with Houston Grand Opera’s Young Artists Vocal Academy since its inception.
A proud graduate of the Yale University School of Music, Mr. Carfizzi has earned numerous accolades, including the Richard Tucker Career Grant, George London Award, and the Sullivan Foundation Award.
Alan Held
Well into his fourth decade as “one of the leading singing actors today,” American bass-baritone Alan Held has appeared in major roles in the world’s finest opera houses, including the Metropolitan Opera, Vienna State Opera, Royal Opera House Covent Garden, Opéra National de Paris, Bayerische Staastoper, Teatro alla Scala, Lyric Opera of Chicago, San Francisco Opera, Washington National Opera, and Canadian Opera Company. His repertoire of over 80 roles includes Wotan (Der Ring des Nibelungen), Amfortas (Parsifal), Scarpia (Tosca), The Four Villains (Les Contes d’Hoffmann), Jochanaan (Salome), Balstrode (Peter Grimes), and the title roles in Gianni Schicchi, Der Fliegende Holländer, Wozzeck, and Cardillac.
An active concert performer, he has appeared with the world’s leading orchestras including the Berlin Philharmonic, Chicago Symphony Orchestra, Cleveland Orchestra, Philadelphia Orchestra, Pittsburgh Symphony, Los Angeles Philharmonic, and Orchestre de Paris. He has also appeared at the Salzburg and Tanglewood festivals, as well as the BBC Proms. He has worked with such distinguished conductors as Sir Andrew Davis, Sir Colin Davis, Christoph von Dohnányi, Yannick Nézet-Séguin, Kirill Petrenko, Bernard Haitink, Mariss Jansons, Franz Welser-Möst, Sir Simon Rattle, David Robertson, Donald Runnicles, Esa-Pekka Salonen, and Jeffrey Tate. Mr. Held’s discography and video recordings include Salome, Rusalka, Der Freischütz, Hansel and Gretel, Fidelio, Das Rheingold, and Cardillac.
Mr. Held has had great success as a vocal instructor as well as an opera stage director and conductor. His students appear on the rosters of opera companies around the world and have been members of prestigious young artist training programs including the Lindemann Young Artist Program and the Ryan Opera Center. He has twice served as the artist in residence at the Cafritz Young Arts Program at Washington National Opera as well as at Wolf Trap Opera. For nearly 20 years, he presented yearly guest master classes at Yale University. Currently, he holds the position of director of opera and professor of voice at Wichita State University and is the Dennis and Ann Ross Faculty of Distinction in Opera. He also serves as the director of sacred music for the Catholic Diocese of Wichita, Kansas.
Elliot Madore (Voice ’09, Opera ’10)
Grammy Award-winning baritone Elliot Madore has performed with many of the world’s leading opera houses and orchestras, including the Metropolitan Opera, Théâtre des Champs-Elysées, San Francisco Opera, Bayerische Staatsoper, Glyndebourne Festival, Dutch National Opera, Opernhaus Zürich, Cleveland Orchestra, LA Philharmonic at the Hollywood Bowl, Berlin Philharmonic, and Royal Concertgebouw. Recent and upcoming engagements include Hamlet in Ambroise Thomas’s Hamlet with Opéra de Montréal, Ponchel in Kevin Puts’ Silent Night with Florida Grand Opera, and Fritz in Korngold’s Die tote Stadt with the Boston Symphony Orchestra.
His students have achieved recognition on national and international stages, winning major competitions including the Metropolitan Opera Laffont Competition, the George London Foundation Competition, and the Lotte Lenya Competition, among others. They have participated in prestigious training programs such as Santa Fe Opera, Wolf Trap Opera, Glimmerglass Festival, Des Moines Metro Opera, Chautauqua Opera, and Music Academy of the West.
Mr. Madore serves as associate professor of voice at the University of Cincinnati College-Conservatory of Music. A graduate of the Curtis Institute of Music, he is a winner of the Metropolitan Opera National Council Auditions and the George London Award for a Canadian Singer.
Jennifer Rowley
American soprano Jennifer Rowley is acclaimed worldwide for her unforgettable voice and remarkable stage presence in a richly varied repertoire that spans many of opera’s greatest heroines. She has appeared at the Metropolitan Opera as Roxanne (Cyrano de Bergerac), the title roles in Tosca and Adriana Lecouvreur, Leonora (Il trovatore), and Musetta (La bohème); at Opernhaus Zurich and Opera Philadelphia as Amelia Grimaldi (Simon Boccanegra); at Teatro del Liceu in Barcelona and at Teatro Colon in the title role of Aida; Maggio Musicale Fiorentino, Staatsoper Berlin, Opéra national de Paris, and Opéra de Rouen as Leonora (Il trovatore); the Teatro Regio Torino and Beijing’s National Center for the Performing Arts as Minnie (La Fanciulla del West); Teatro Carlo Felice and Palm Beach Opera in the title role of Madama Butterfly; the National Theatre Prague as Amelia (Un Ballo in Maschera); and Royal Opera House, Covent Garden as Musetta, among many others.
On the concert stage, Ms. Rowley has performed Tosca with the Israel Philharmonic led by Zubin Mehta. She was the soprano soloist in Beethoven’s colossal Missa Solemnis with the Philadelphia Orchestra at both the Kimmel Center and New York City’s Carnegie Hall, conducted by Yannick Nézet-Séguin. She was the soprano soloist for Mahler’s Symphony No. 8 (“Symphony of a Thousand”) with Fabio Luisi at the Maggio Musicale Fiorentino, soprano soloist with St. Cecilia Chorus and Orchestra in Verdi’s Requiem at Carnegie Hall and with Valentina Peleggi and the Richmond Symphony, and Tove in Schoenberg’s Gurre-Lieder with the Orquestra Sinfônica do Estado São Paulo.
An avid mentor, Ms. Rowley founded and directs the Aria Bootcamp young artist training program which runs annually in Florida. She holds an artist in residence position at Baldwin Wallace University Conservatory and is highly sought after for her seminar series and master classes across the globe. A winner of many international competitions, she was awarded the Richard Tucker Career Grant, was a top prize winner of the Lucia Albanese Puccini Foundation, the Gerda Lissner Foundation, the Opera Index Awards, and was a district winner of the Metropolitan Opera National Council Awards.
New Visiting Faculty
J’Nai Bridges (Opera ’12)
Two-time Grammy Award-winning American mezzo-soprano J’Nai Bridges, known for her “plush-voiced mezzo-soprano” (New York Times) and “calmly commanding stage presence” (New Yorker) has been “marked out at an early stage as a singer headed for top flight” (Financial Times), gracing the world’s leading operatic and concert stages.
In the 2025–26 season, Ms. Bridges makes her house debut in the title role of Carmen at Teatro Real in Madrid, reprising the role later in the season at both Seattle Opera and Cincinnati Opera. She sings Maddalena in Rigoletto in her debut at San Francisco Opera, conducted by Eun Sun Kim, and returns to Washington National Opera as Elizabeth Proctor in The Crucible, directed by Francesca Zambello and conducted by Robert Spano. In concert, she reprises Maddalena in Rigoletto with Baltimore Symphony conducted by Jonathon Heyward and joins Nashville Symphony for Brian Field’s Hymn for the Hurting, with text by Amanda Gorman and Julia Perry’s Stabat Mater. She also presents Damien Geter’s COTTON alongside Justin Austin and Laura Ward at La Jolla Music Society, and a program of Coleridge-Taylor, Libby Larsen, Elgar, and others with Terrence Wilson and the Catalyst Quartet at the Library of Congress and Emory University.
Ms. Bridges has emerged as a leading figure in classical music’s shift toward conversations of inclusion and racial justice in the performing arts. In 2022, she was announced as one of the Kennedy Center’s NEXT50 cultural leaders and appeared with the National Philharmonic in the world premiere of Adolphus Hailstork’s A Knee on the Neck. Bridges led a panel on race and inequality in opera with the Los Angeles Opera that drew international acclaim. Ms. Bridges was also featured in the Converse shoe brand’s All Stars Campaign for its Breaking Down Barriers collection and performed with the Los Angeles Philharmonic under the baton of Gustavo Dudamel for two episodes of the digital SOUND/STAGE series.
Bridges is a recipient of many prestigious awards, including the Sphinx Medal of Excellence, a Richard Tucker Career Grant, the Sullivan Foundation Award, the Marian Anderson Award, and a Sara Tucker Study Grant. She has also won first prize at the 2015 Gerda Lissner Competition and won the 2008 Leontyne Price Foundation Competition, among others.
Jarrett Ott (Opera ’14)
American baritone Jarrett Ott, one of Opera News’ 25 “Rising Stars” and “a man who is seemingly incapable of an unmusical phrase,” is enjoying an international career. In the 2025–26 season, Mr. Ott returns to Santa Fe Opera and Lyric Opera Kansas City as Sharpless in Madame Butterfly, Seattle Opera as Hawkins Fuller in Fellow Travelers, and Papageno in Die Zauberflöte with Opéra de Lille. In concert, he makes his Carnegie Hall recital debut with pianist Kunal Lahiry, a program they will also perform at the Théâtre de l’Athénée in Paris, Pascal Dusapin’s Antigone at the Philharmonie de Paris, Beethoven’s Symphony No. 9 with the Minnesota Orchestra, and Vaughan-Williams’ A Sea Symphony with the Seattle Symphony.
In the 2024–25 season, Mr. Ott made his Metropolitan Opera debut singing Agrippa in John Adams’ Antony and Cleopatra and reprised Rameau’s Samson with the Opéra Comique in Paris. Other appearances included Conte in Le nozze di Figaro with Teatro Regio di Torino, Aeneas in Dido and Aeneas with the Grand Théâtre de Genève, and concert appearances with the Grand Teatro del Liceu as Riff in West Side Story, Beethoven’s Symphony No. 9 with the Orchestre des Champs-Elysées on tour in Europe, and a tour of Mozart’s Requiem with the Antwerp Symphony Orchestra.
Highlights of his many concert appearances include the title role in David Lang’s world-premiere prisoner of the state with the New York Philharmonic and Stephano in Sibelius’ The Tempest and Weimar Nightfall: The Seven Deadly Sins at the Los Angeles Philharmonic. Mr. Ott has performed the world premiere of Hyland Mass at St. Patrick’s Cathedral, and pieces by Vito Zuraj and Bach with Ensemble Intercontemporain in Paris. Mr. Ott has toured with MusicAeterna as Don Pedro de Alvorado in concerts of Purcell’s Indian Queen, with stops in Geneva, Köln, Bremen and Dortmund, and later in a run of shows at the Salzburg Festival, was a featured soloist with Le Concert d’Astrée for a gala event at the Théâtre des Champs-Elysées in Paris, which was later released on Warner Classics/Erato, and Maximilian in Candide with the Hamburg Symphoniker at the Lausitz Festival.
A native of Pen Argyl, Pennsylvania, Jarrett Ott is based in New York and received his master’s degree at the Curtis Institute of Music.
John Relyea (Opera ’96)
John Relyea continues to distinguish himself as one of today’s finest basses. With a career now spanning 30 years, Mr. Relyea has appeared in many of the world’s most celebrated opera houses including the Metropolitan Opera, San Francisco Opera (where he is an alumnus of the Merola Opera Program and a former Adler Fellow), Lyric Opera of Chicago, Seattle Opera, Canadian Opera Company, La Scala, Royal Opera House Covent Garden, Paris Opera, Bayerische Staatsoper, Hamburg State Opera, Vienna State Opera, Rome, Napoli, Palermo, Theater an der Wien, and the Mariinksy Theater.
Mr. Relyea has been seen on the stage of the Metropolitan opera in over 240 performances since his debut as Alidoro in Rossini’s La Cenerentola in 2000. He has sung a vast repertoire of major roles throughout his career, from the operas of Handel, Mozart, Rossini, Donizetti, Verdi, Wagner, Britten, Shostakovich, Stravinsky, and many more.
In concert, he has performed with major orchestras including the Berlin Philharmonic, New York Philharmonic, Vienna Philharmonic, NDR, London Symphony, Chicago, Boston, Cleveland and Philadelphia orchestra, as well as Atlanta, Dallas, and San Francisco Symphony, Dallas Symphony, St. Louis Symphony, and the NDR. He has appeared at the Tanglewood, Ravinia, Salzburg, Edinburgh, Lucerne, and Mostly Mozart festivals, Glyndebourne, and at the BBC Proms.
In recital, he has been presented at Weill Hall and the Metropolitan Museum of Art in New York City, the Wigmore Hall in London, the University Musical Society in Ann Arbor, and the University of Chicago Presents series.
He recently sang Die Walkyrie at Teatro San Carlo, La Damnation de Faust in concert with St. Louis Symphony, Mefistofele and Il Flauto Magico at Teatro Dell’Opera di Roma, Il Castello di Barbablù at Teatro San Carlo, La Forza del destino at Gran Teatre del Liceu. He also made his role debut as The Commander in The Handmaid’s Tale at the San Francisco Opera.
Mr. Relyea is the winner of the 2009 Beverly Sills Award and the 2003 Richard Tucker Award. A 1996 graduate of the Curtis Institute of Music, he joined the school’s visiting faculty in 2025.
About the Curtis Institute of Music
At Curtis, the world’s great young musicians develop into exceptional artists, creators, and innovators. With a tuition-free foundation, Curtis is a unique environment for teaching and learning. A small school by design, students realize their artistic potential through intensive, individualized study with the most renowned, sought-after faculty. Animated by a learn-by-doing philosophy, Curtis students share their music with audiences through more than 100 performances each year, including solo and chamber recitals, orchestral concerts, and opera—all free or at an affordable cost—offering audiences unique opportunities to participate in pivotal moments in these young musicians’ careers. Curtis students experience a close connection to the greatest artists and organizations in classical music, and innovative initiatives that integrate new technologies and encourage entrepreneurship—all within a historic campus in the heart of culturally rich Philadelphia. In this diverse, collaborative community, Curtis’ extraordinary artists challenge, support, and inspire one another—continuing an unparalleled legacy of musicians who have led, and will lead, classical music into a thriving, equitable, and multidimensional future. Learn more at curtis.edu.
