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Michaela Martens

The American mezzo-soprano, Michaela Martens, is known internationally for her portrayals of some of the most difficult dramatic roles in the repertoire.

In addition to her two favorite roles, Klytämnestra/Elektra (San Francisco Opera, Chicago Lyric Opera, Houston Grand Opera) and die Amme/Die Frau ohne Schatten (Chicago Lyric Opera, Oper Graz), her successes in Strauss include Adelaide/Arabella (San Francisco Opera), and Herodias/Salome (The Santa Fe Opera, Pittsburgh Opera, Òpera de Columbia).

She has sung such notable roles as Kundry in Parsifal (Metropolitan Opera, Santiago Opera), Gertrud in Hansel and Gretel (Bayerische Staatsoper, Metropolitan Opera, San Francisco Opera), Ortrud in Lohengrin (Vienna State Opera, Oper Graz), the 2nd Norn in Götterdämmerung (Metropolitan Opera), and Fricka in Das Rheingold (North Carolina Opera).

Ms. Martens is at home with such composers as Berlioz (Cassandre/Les Troyens, San Francisco Opera, London Philharmonic), Massenet (Hérodiade/Hérodiade, Washington Concert Opera), Giordano (Countess de Coigny/Andrea Chènier, Metropolitan Opera), Bartók (Judith/Bluebeard’s Castle, Metropolitan Opera, New Japan Philharmonic, ENO), Janáček (Kostelnička/Jenůfa, Zürich Opera, ENO), Britten (Mrs. Sedley/Peter Grimes, Metropolitan Opera), Virgil Thomson (Susan B. Anthony/The Mother of Us All, Hudson Opera House, NY), and John Adams (Marilyn Klinghoffer/ The Death of Klinghoffer, Metropolitan Opera, ENO).

Recent concert engagements include Adams/The Gospel According to the Other Mary (St. Louis Symphony at Carnegie Hall), Mahler/das Lied von der Erde (Dallas, Texas), Beethoven’s Symphony No. 9 (Cleveland Orchestra, Indianapolis Symphony, Nashville Symphony), Harbison Requiem (live recording and performance, Nashville Symphony), and the Verdi Requiem (Grant Park Music Festival, Spoleto Festival). She made her debut at Carnegie Hall with the American Symphony Orchestra under the baton of Leon Botstein in the difficult title role of Magnard’s rarely heard Bérénice.



Michaela has worked with such renowned conductors as Seiji Ozawa, Sir Charles Mackerras, James Levine, Sir Andrew Davis, Charles Dutoit, Fabio Luisi, Daniele Gatti, Franz Welser-Möst, Bertrand de Billy, Sir Donald Runnicles, Marco Armiliato, Patrick Summers, and David Robertson. As a student at The Juilliard School, she was invited by Maestro Ozawa to sing the role of Ellen Orford in Peter Grimes at the 40th Anniversary of Peter Grimes at Tanglewood and then again for the Seito Kinen Festival in Matsumoto, Japan.

Ms. Martens keeps an active voice studio both at home in the Hudson Valley and as the resident voice teacher for the Lyric Opera of Kansas City. She has been a guest clinician and teacher at The Juilliard School and at the University of Washington, her alma mater. Ms. Martens’ students can be heard on the stages of the Metropolitan Opera, San Francisco Opera, Opera San Jose, Seattle Opera, Houston Grand Opera, and the Santa Fe Opera, to name but a few. This summer, her students are headed to the Santa Fe Opera, Des Moines Metro Opera, Chautauqua Opera, Charlottesville Opera, Saratoga Opera, and Central City Opera.

As a student growing up in Seattle, Washington, Michaela was lucky enough to fall into the hands Ellen Faull; fearless teacher and mentor, and then after moving to New York, with the brilliant Ruth Falcon who was her teacher for 20 years. May they both Rest in Peace.

A national winner of the Metropolitan Opera (Laffont) competition, she also holds awards from the George London Foundation, the Licia Albanese Foundation, and the DeRosa Foundation.

She shares her home in the Hudson Valley with her two children and their pets: two chocolate Labradors, a tuxedo cat, and an aging bearded dragon.

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Qiang Zhang

A world-famous pipa virtuoso, Professor Zhang Qiang is the Director of the String Instrument Division of the Chinese Music Department at the China Central Conservatory of Music (CCMO). After graduating from CCMO in 1987, Professor Zhang had devoted himself to teaching at CCMO as a pipa instructor for almost three decades. He has been a judge at major domestic and international instrumental music competitions and has been invited to give lectures at many educational institutions. In addition to his traditional approach in systematic technique training, Professor Zhang focuses on the cultivation of students' music awareness and strongly urges his students to explore and display personal character in performing. Many of his students stand out as national winners of China’s highest-level competitions. Professor Zhang is an active performer throughout China and abroad. He has regularly appeared in international music festivals: the Edinburgh International Festival, Huddersfield Contemporary Music Festival, Tanglewood Music Center Festival of Contemporary Music, Berlin Art Week, Torino Art Festival, and other festivals held in mainland China, Taiwan, Hong Kong and Macao. His musical collaborations also include the St. Petersburg Philharmonic Orchestra, Orpheus Chamber Orchestra, Brooklyn Symphony Orchestra and China National Symphony Orchestra, Dutch New Orchestra, China Symphony Orchestra, Hong Kong Philharmonic Orchestra, China Radio National Orchestra, Shanghai National Orchestra, Hong Kong Chinese Orchestra, Taipei National Orchestra, Guangdong National Orchestra, Macau Chinese Orchestra and Singapore Chinese Orchestra. He was invited to perform at Carnegie Hall, Berlin Philharmonic Concert Hall, Musikverein (Golden Hall in Vienna), Lincoln Center in New York City. His work features solo pieces for pipa, concertos, traditional repertoires, and he actively engages in contemporary chamber music. Professor Zhang maintains a lifelong devotion to academic research. Together with three professors from CCMO, he has been working on a historical preservation project, Xian Suo Bei Kao, imparing, performing and eventually completing the full-scale (1814 manuscripts) music on the ancient spectrum of the Qing Dynasty.