Presenters: Juanita Ulloa, Phyllis Lewis-Hale, Karen Laubengayer, Jessica Foy Long
Introduced by: Lloyd Mims
In this mini-recital session, attendees will enjoy exposure to a wide variety of literature and in some cases be introduced to new literature for use in the studio. This session will include:
Juanita Ulloa – Spanish Arts Songs of the Mexican Nationalist Antonio Gomezanda
Performance by crossover international Operachi Singer, Juanita Ulloa
including Diction/Sing-a-long in Spanish & new music publications
Phyllis Lewis-Hale and Karen Laubengayer - From Old Creole Days: Sampling the Afro-Creole Folk Song of Louisiana of the Late Nineteenth through the Mid-Twentieth Centuries
Jessica Foy Long - An Examination of Black Louisiana Creole Folk Song Through the Works of Maud Cuney-Hare and Camille Nickerson
Juanita Ulloa is a singer, scholar, and voice professor currently at the University of Texas at El Paso. She has performed as a pioneering Operachi singer nationally and internationally and sang regional opera previously, with seven Latin American recordings, three songbook publications, and many articles. Her dissertation on The Songs of Mexican Nationalist, Antonio Gomezanda offers ten songs in two keys and will soon be published with Classical Vocal Reprints. Dr. Ulloa is also writing Teaching the Mariachi Voice & Mexican Song under contract with Oxford University Press (2019). She holds music degrees from Yale University (BA), UC Berkeley (MA), and the University of Northern Colorado (DA).
Soprano Phyllis Lewis-Hale earned the BME from Jackson State University and the MM and DMA in voice from the University of Cincinnati College-Conservatory of Music. She currently teaches voice, diction, voice pedagogy and directs the opera/musical theatre workshop at Jackson State University in Jackson, Mississippi. Lewis-Hale has performed in Italy, Japan, Taiwan, Germany, Austria, Bermuda and throughout the United States. Operatic roles in include Antonia (Les Contes d’Hoffman), Magda (La Rondine) and Susanna (Le Nozze di Figaro). Concert work includes, Brahms’ Ein Deutches Requiem, Vivaldi’s Gloria, Handel’s Messiah, Orff’s Carmina Burana, Faure’s Requiem, and Barber’s Knoxville, Summer of 1915, among others. Lewis-Hale has presented at numerous colleges and universities, as well as, the National Association of Teachers of Singing National and Southern Region Conferences and the Super Regional and National Conferences of the College Music Society. She serves as the Mississippi District Governor of NATS.
Karen Laubengayer, Pianist and retired professor of music at Jackson State University, has performed in Europe at the American Academy of the Arts in Verona, Italy and the L'Ecole Hindemith in Vevey, Switzerland. In the United States she has performed at the Piccolo Spoleto Festival in Charleston, SC and the International Art Song Festival in Cleveland, OH. She has presented lecture recitals on the national and international stage at the national conventions of the College Music Society in San Juan, Puerto Rico, Atlanta, Georgia, and Portland, Oregon; The National Convention of NATS in Salt Lake City, Utah; International Conferences at the University of London Institute of Education and at Churchill College, University of Cambridge, England. Laubengayer holds a Bachelor of Fine Arts Degree from Stephens College in Columbia, MO and the masters and Ph.D degrees in Piano Performance from Washington University in St. Louis, MO.
Jessica Foy Long is a soprano from New Orleans, Louisiana. She holds degrees from Northwestern State University (B.M. and M.M.) in Natchitoches, Louisiana and Shenandoah University Conservatory (D.M.A.) in Winchester, VA. Dr. Long’s primary research interest is the study and incorporation of African-American composers into mainstream performance practices. Her research includes her lecture recital document, Forgotten Voices: An examination of Black Louisiana Creole Folk Song through the Works of Maud Cuney-Hare and Camille Nickerson. It is through this research that she hopes to contribute to the diversification of standard vocal repertoire and expose other teachers and performers to the musical contributions of African-American composers.