Bard College, founded in 1860 as St. Stephen's College, is a private liberal arts college in Annandale-on-Hudson, a hamlet in Dutchess County, New York, United States, in the town of Red Hook. The campus overlooks the Hudson River and Catskill Mountains, and is within the Hudson River Historic District, a National Historic Landmark.The institution consists of a liberal arts college, a conservatory, as well as eight graduate programs offering over 20 graduate degrees in the arts and science. The undergraduate student-to-faculty ratio is 10:1. The college has a network of over thirty-five affiliated programs, institutes, and centers, spanning twelve cities, five states, seven countries, and four continents.Bard's Annandale campus serves as an important regional cultural institution. Both the CCS Hessel Museum of Contemporary Art and the Richard B. Fisher Center for the Performing Arts are located on campus. The college also hosts two acclaimed annual arts festivals, Bard SummerScape, and the Bard Music Festival. Wikipedia.
News Article | May 2, 2017
Nationally, nearly half of all inmates released from prison return there after committing another crime. But the recidivism rate among those who’ve earned college degrees through the Bard Prison Initiative , an adjunct program operated by liberal arts school Bard College inside six medium and maximum security prisons in New York, is far lower: Since the program began in 2001, more than 400 convicts have graduated and eventually been released. Just 2% end up back behind bars. Most also have no trouble finding work. “It’s not that they just don’t return to prison,” says BPI founder and executive director Max Kenner. “It’s that they become independent middle-class taxpaying citizens, neighbors, and pals. They’re engaged in their communities and all kinds civic and positive and educational ways.” The program is structured to resemble a classic college curriculum for associate and bachelor level degrees. BPI has roughly 60 classes overall, which span the liberal arts spectrum from advanced calculus to genetics, and Mandarin Chinese. Students are encouraged to take a full load—about four to five classes per semester—to complete their degrees within the same timeframe as those might outside the walls. Common majors include mathematics, humanities, and social studies, which include a senior thesis that must be defended in front of an academic committee. It’s not a zero-sum commitment: Other inmates can join basic courses in public health, computer science, and food systems, which could help them get hired after their release. Overall, Bard has 90 teachers spread between their six sites. Many are from Bard, but also Massachusetts Institute of Technology, New York University, and Columbia, the latter of which for example, has renowned faculty at the Mailman School of Public Health, who help anchor similar studies. Access to quality higher education can make a serious difference someone’s future potential, particularly those in need of second chances. (BPI students would happily argue this fact; their debate team made headlines in 2015 for beating Harvard.) From a fiscal standpoint, though, the reason that the program works is because BPI is frugal. It can’t charge prisoners tuition, but uses their building and supplies as a remote campus. As Kenner puts it, “another institution is picking up the overhead.” Such thinking has led other universities and colleges in at least 15 states try similar programs. To that end, Bard has developed the Consortium for Liberal Arts in Prison, which allows places like University of Notre Dame, University of Vermont, and Wesleyan to share what they’re learning create a strategic planning blueprint that others can follow in hopes of keeping their programs effective and sustainable. But a couple years ago, Kenner realized there was no need to keep the model prison specific. To counter the “crises of cost and access in American education” Bard could expand their model to places like social services centers or even libraries, which could do the same thing on a community level.
News Article | April 27, 2017
Carnegie Council for Ethics in International Affairs announces its upcoming current affairs programs, which are open to the public. Events take place at: Carnegie Council 170 East 64 Street, New York, NY 10065. To attend in person, please RSVP by going to https://www.carnegiecouncil.org/calendar/upcoming. Or watch them as live webcasts here: http://www.carnegiecouncil.org/live. #Republic: Divided Democracy in the Age of Social Media May 04 8:00 AM - 9:15 AM ET Cass R. Sunstein, Harvard Law School As the Internet grows more sophisticated, it is creating new threats to democracy. Social media companies such as Facebook can sort us ever more efficiently into groups of the like-minded, creating echo chambers that amplify our views. It's no accident that on some occasions, people of different political views cannot even understand each other. Does online fragmentation endanger the shared conversations, experiences, and understandings that are the lifeblood of democracy? Terror in France: The Rise of Jihad in the West May 09, 6:00 PM - 7:30 PM ET Gilles Kepel, Sciences Po, Paris In November 2015, ISIS terrorists massacred scores of people in Paris with coordinated attacks on the Bataclan concert hall, cafés and restaurants, and the national sports stadium. On Bastille Day in 2016, an ISIS sympathizer drove a truck into crowds of vacationers at the beaches of Nice. What caused the radicalization of young French Muslims to occur? Why did the governments in France and across Europe fail to address it? Crisis of the Liberal Order May 11, 6:00 PM - 7:30 PM Leon Botstein and Walter Russell Mead, Bard College Leon Botstein and Walter Russell Mead will discuss trends in politics across the globe. What explains the resurgence of populism and the rise of political actors on the right? What are the effects on longstanding alliances, international institutions, and accepted norms? Why are democratic systems creating non-democratic outcomes? ABOUT CARNEGIE COUNCIL Founded by Andrew Carnegie in 1914, Carnegie Council for Ethics in International Affairs is an educational, nonprofit, nonpartisan organization that produces lectures, publications, and multimedia materials on the ethical challenges of living in a globalized world. Go to http://www.carnegiecouncil.org.
News Article | May 24, 2017
Indiana Connections Career Academy (INCC), a full-time online public career technical high school, has hired experienced educator Ms. Stephanie Chi as the school’s principal. Currently enrolling students statewide in grades 9-11, INCC will begin serving students in the fall of 2017 with a comprehensive online program including career exploration and relevant work-based experiences. The school will add 12th grade in its second year of operation. Chi brings with her a wealth of teaching experience in both the online and bricks-and-mortar classroom environments, as well as administrative experience guiding multiple online schools. Most recently, she served as an English teacher for Indiana Connections Academy, a full time online school, leading Advanced Placement courses and implementing personalized learning plans and instruction for high school students. “Throughout my experiences as an educator and administrator, I have learned invaluable lessons from both my students and colleagues,” said Chi. “I’m extremely excited to bring these learnings to life with a new online school focused on career and technical education, facilitating meaningful experiences and deep learning for students statewide as they explore their passions and career interests.” Prior to teaching with Indiana Connections Academy, Chi served as a regional academic administrator for an online education company, overseeing academic programs in eight schools and leading school improvement planning and professional development opportunities. She has experience developing curriculum, implementing teacher observation and feedback programs, and designing data-driven instructional initiatives to increase student academic success. A four-time winner of the Excellence in Teaching Award from Franklin University, Chi has over ten years combined experience teaching in online school classrooms and bricks-and-mortar classrooms in New York and abroad in Shanghai, China. She has also instructed at the collegiate level, as an adjunct faculty member and mentor teacher for Bard College. She began her career in the Peace Corps, Teaching English as a Foreign Language (TEFL) to students in rural community girls schools in Jordan for over a year. Chi holds a Master of Arts in English Education from Brooklyn College, as well as a Bachelor of Arts degree in English Literature from Michigan State University. She is certified to teach secondary English in New York and Indiana, and holds an Indiana Building-Level Administrator License. A career technical program, Indiana Connections Career Academy will offer students pathways to employability, career, or postsecondary success. INCC will combine rigorous academic coursework, supportive personalized learning, and a continuum of career exploration and training courses to create a successful online learning program for students who want an individualized approach to education. The school plans to partner with local businesses to offer relevant work experiences aligned to the unique workforce development needs of Indiana. Enrollment for INCC is currently open for students in grades 9-11 statewide. Students and families interested in learning more about INCC are encouraged to attend one of the school’s upcoming virtual information sessions, or visit the school’s website at http://www.IndianaConnectionsCareerAcademy.com. About Indiana Connections Career Academy Indiana Connections Career Academy (INCC) is a tuition-free statewide career technical virtual charter school for students in grades 9-12 (initially serving students in grades 9-11). The school is approved by the Ball State University Office of Charter Schools and will begin serving students in grades 9-11 in the 2017-18 school year. INCC will combine rigorous academic coursework, supportive personalized learning, a continuum of career explorations, and relevant work experiences to prepare students for employment in a chosen career or to further their skills at a postsecondary institution. For more information, call 800-382-6010 or visit http://www.IndianaConnectionsCareerAcademy.com.
News Article | May 11, 2017
KALAMAZOO, MI, May 11, 2017-- For their final concert of the 2016-2017 season, the Kalamazoo Symphony Orchestra presents Mozart's masterpiece, Don Giovanni for Maestro Raymond Harvey's last performance as Music Director. Maestro Harvey brings an international cast of opera stars to the stage for the first KSO performance of this masterwork since 1980. In Don Giovanni, Mozart brings the escapades of Don Juan, a fictional libertine, to life. Blending comedy, melodrama, and the supernatural, Don Giovanni has become one of the most performed operas of all time.For more than 35 years, Raymond Harvey has made a significant impact as an American conductor of great skill and insight. Born in New York City, he studied piano and conducting, receiving Bachelor's and Master's degrees in choral conducting from the Oberlin Conservatory of Music; and then studied orchestral conducting at the Yale School of Music, earning Master's and Doctor of Musical Arts degrees.This season Maestro Harvey celebrates 18 years as Music Director of the Kalamazoo Symphony Orchestra. He previously held the top post at the Fresno Philharmonic (California), Springfield Symphony (Massachusetts), and El Paso Opera (Texas).Maestro Harvey has appeared as guest conductor with many of America's leading orchestras, including those of Philadelphia, Atlanta, St. Louis, Indianapolis, Buffalo, Detroit, New Orleans and Minnesota, as well as the New York Philharmonic's Young People's Concerts and the Boston Pops. He has also had engagements with the Maggio Musicale Orchestra of Florence, Italy, the Pusan Symphony of South Korea, and the National Symphony Orchestra of Costa Rica. He regularly performs as a pianist, both in chamber music and as pianist/conductor in works of Gershwin, Mozart, and Rachmaninoff.In addition to his commitment to Kalamazoo, Dr. Harvey has been named an Associate Professor at the University of Houston, where he serves as Music Director of the Moores School of Music opera department. His operatic repertoire is extensive, including favorites such as Carmen, Tosca, Madama Butterfly, La Boheme, Turandot, and Aida; as well as the more rarely performed The Consul, The Rape of Lucretia, and Samson and Delilah.The Kalamazoo community continues to embrace Raymond Harvey through appreciation of his compelling performances and engaging lectures.Buck Ross holds the Edythe Bates Old Chair in Opera at the Moores School of Music, University of Houston, where he is the director of the Moores Opera Center. Mr. Ross founded the Opera Center in 1985 and has led it to national prominence as one of the largest university opera production programs in the country. He has staged productions for the Houston Grand Opera, Nevada Opera, Kentucky Opera, El Paso Opera, Houston Symphony, and Augusta Opera among others. For many years he was director of dramatic studies for the Houston Opera Studio and co-director of the apprentice program for the Des Moines Metro Opera. Particularly noted for his work in contemporary opera, he is the first person to direct all the completed operas of Daniel Catan including Florencia en el Amazonas, Salsipuedes, Il Postino, and Rappaccini's Daughter. He has directed productions of John Corigliano's The Ghosts of Versailles, Conrad Susa's The Dangerous Liaisons, David Carlson's Anna Karenina, William Bolcom's A Wedding, Jonathan Dove's Flight, Ricky Ian Gordon's The Grapes of Wrath, Daron Hagen's Amelia, Robert Aldridge's Elmer Gantry, Thomas Pasatieri's Frau Margot, Dominick Argento's Miss Havisham's Fire and Casanova's Homecoming and Carlisle Floyd's Cold Sassy Tree. His productions are frequently award winners in the National Opera Association's annual opera production competition, last year winning first place for Rappaccini's Daughter and second place for Frau Margot.For composer Robert Nelson he is the librettist for an opera adaptation of E. M. Forster's A Room with a View released on DVD on the Newport Classic label. His singing translation of Orpheus in the Underworld has had over 22 productions. Currently he also teaches in Italy in the program Lingua e Canto. He holds degrees in music and theatre from Bucknell University and an MFA in stage direction from the University of Minnesota.Being touted as one of the next great American Verdi baritones, Opera News describes Mark Walters as "a force to be reckoned with." He is lauded for his performances throughout the United States in the title role of Rigoletto, Germont in La traviata, and Renato in Un ballo in maschera. For his performance in La forza del destino, "The Chicago Sun Times" commended his "vocal fury." Walters is now foraying into richer, more dramatic roles including: Die fliegende Hollander, Jochanaan in Salome, and Iago in Otello. He also recently debuted the role of Scarpia in Tosca as well as Pizarro in Fidelio and continues to perform Rigoletto and Germont in La traviata.This season Walters sings the role of Peter in Hansel und Gretel with Seattle Opera, Scarpia in Tosca with Opera Tampa, the title role in a concert version of Don Giovanni with Kalamazoo Symphony, and in the 10th Anniversary Gala with Opera Louisiane. In concert, he will sing Handel's Messiah with Augustana College, Beethoven's Symphony No. 9 with Traverse City Symphony, and a concert of Beethoven's Symphony No. 9 and Vaughn Williams Serenade with Springfield Symphony. Recent engagements include a company debut as Scarpia in Tosca with Minnesota Opera and a return for their world premi-ere of The Shining as Mark Torrance; the title role of Rigoletto with Florida Grand Opera and Orlando Philharmonic Orchestra, and the title role in Don Giovanni with Seattle Opera.Walters' oratorio work includes his Carnegie Hall debut in Orff's Carmina Burana and Faure's Requiem conducted by John Rutter; Beethoven's Symphony No. 9 with the Tallahassee Symphony, Mississippi Symphony Orchestra, and the Lima Symphony; Verdi's Requiem with the Mississippi Symphony; the Brahms Requiem with Arizona Music Festival and Handel's Messiah with the Mississippi Symphony and the Handel Oratorio Society. As a featured soloist, Mr. Walters has sung in the Milnes Voice Gala Honors James Morris, in the Baritones on the Bayou with Opera Louisiane, as Elijah with the Pensacola Choral Society, and in a Gala concert for the Canterbury Festival, UK.Aaron Sorensen is a rare young bass known not only for his powerful and rich sound, but also his commanding stage presence. In recent seasons, Sorensen returned to Gotham Chamber Opera for productions of Comedy on the Bridge and Alexandre bis; debuted with Huntsville Symphony as Judge Barnett/Officer Jimmy in the world premi-ere of Gregory Vajda's Georgia Bottoms: A Comic Opera of the Modern South, based on the best-selling novel by Mark Childress; sang Osmin in Die Entfuhrung aus dem Serail at Peabody Opera Theatre and with Houston Symphony Orchestra; debuted with Nashville Opera as the Sergeant of Police in Pirates of Penzance; and Neptune/Antinoo in Il Ritorno d'Ulisse in Patria with West Edge Opera. This season he appears at Huntsville Symphony Orchestra as Osmin in Die Entfuhrung aus dem Serail and sings Leporello in Don Giovanni with Kalamazoo Symphony.Recently, Mr. Sorensen debuted with Fort Worth Opera as Benoit/Alcindoro in La boh-eme and returned as the French General in Kevin Puts' Silent Night; made a debut with Gotham Chamber Opera for their productions of Die Prinzessin auf der Erbse, Weill's Mahagonny Songspiel, Hindemith's Hin und Zuruck, and Milhaud's L'enl-evement d'Europe; performed the role of Angelotti in Tosca with Austin Lyric Opera; sang in the National Symphony's concert performance of Der Rosenkavalier under Christoph Eschenbach; and appeared as Colline in La boh-eme at Bar Harbor Music Festival and Opera Theatre of Connecticut.In prior seasons, Mr. Sorensen appeared with Wolf Trap Opera, where he sang the roles of Masetto in Mozart's Don Giovanni and Father Trulove in Stravinky's The Rake's Progress, and subsequently returned as Don Prudenzio in Rossini's Il viaggio a Reims and Pistola in Falstaff. He also performed in multiple seasons with The Glimmerglass Opera Festival where he portrayed such roles as Zuniga in Carmen and Angelotti in Tosca. Also a favorite with Des Moines Metro Opera, he joined the company in recent seasons for their productions of A Midsummer Night's Dream, Die Zauberflote, Tosca, and The Rake's Progress.Tenor Charles Reid has been welcomed on many of the world's opera stages, including the Metropolitan Opera (nine seasons), San Francisco Opera, Theater an der Wien, Frankfurt Opera, Deutsche Oper am Rhein, Nationaltheater Mannheim, Theater Hagen (first-ever Don Jose in Bizet's Carmen), as well as the festivals of Bayreuth, Salzburg, Spoleto USA, Glimmerglass and Central City. Operas-in-concert include Wagner's Das Rheingold with Jaap von Zweden and the Hong Kong Philharmonic (acclaimed recording released on Naxos) and Der Rosenkavalier with Philippe Jordan and the Opera National de Paris.With nearly forty works in his active concert repertoire, Mr. Reid's recent engagements include Beethoven's Ninth Symphony with the Hong Kong Philharmonic led by Jaap van Zweden, Mahler's Das Lied von der Erde in chamber arrangement with Matthias Goerne at the Schubertiada a Vilabertran (Spain) under conductor Josep Pons, and with conductor Jo Ann Falletta and mezzo-soprano Susan Platts at the Virginia Arts Festival (Naxos recording); and in full-orchestra version with Leon Botstein conducting The Orchestra Now at New York's Bard College. He also sang his first Britten War Requiem, with Maestra Jane Glover at the Berkshire International Festival.Mr. Reid's diverse 2016-17 season offers includes Britten's Serenade for Tenor, Horn and Strings with the Fort Wayne Philharmonic/Andrew Constantine, Verdi's Requiem with the Virginia Symphony/JoAnn Falletta, Mozart's Don Giovanni (Don Ottavio) with the Kalamazoo Symphony/Raymond Harvey, Handel's Messiah with Columbia Pro Cantare/Frances Dawson, and a recital of American Art Song at the Howard Performing Arts Center. Past seasons have brought concerts with the with Orchestre National de Lyon, Beethoven Orchester Bonn, Boston's Handel and Haydn Society, Vienna Radio Symphony Orchestra, Lisbon's Gulbenkian Orchestra, Washington, D.C.'s National Symphony, Lincoln Center's "Mostly Mozart" Festival Orchestra, the Nashville, Allentown, Madison and Harrisburg Symphonies, Rochester and Buffalo Philharmonics and the U.S. Naval Academy.Mr. Reid's prestigious awards include the Richard Tucker Music Foundation, Loren L. Zachary Foundation, Marjorie Lawrence International Vocal Competition. He is Producer and Host of This Opera Life Podcast, and Artist-in-Residence and Associate Professor of Voice at Michigan's Andrews University.American soprano Christina Pier has been hailed by Opera News for her "big, gleaming soprano and impressive coloratura," and has received great critical and audience acclaim for her work on opera and concert stages. Originally from Flagstaff, AZ, Ms. Pier received a BM and MM in voice at Indiana University where she studied with Virginia Zeani. She is currently an Artist in Residence at Catawba College, and a Guest Lecturer at the University of North Carolina, Charlotte.Ms. Pier's recent engagements included Senta in Der fliegende Hollander with Virginia Opera, Poulenc's Gloria and Barber's Prayers of Kierkegaard with the Charlottesville Symphony Orchestra, Brahms' Ein Deutches Requiem with the Missoula Symphony Orchestra, and Faure's Requiem with the Charlotte Symphony. In addition, she has performed Mahler's Symphony No. 4 with the North Carolina Symphony and Rochester Symphony; Handel's Messiah with the Indianapolis and Winston-Salem Symphonies; Verdi's Requiem with the Charlottesville Symphony, among many others.A 2003 Grand Finals Winner of the Metropolitan Opera National Council Auditions, recent opera engagements for Ms. Pier include the title role in Ariadne auf Naxos with Virginia Opera; Donna Anna in Don Giovanni with Santa Fe Opera, Sarasota Opera, Nashville Opera, and Eugene Opera; Micaela in Carmen and Pamina in Die Zauberflote with Florida Grand Opera; the Countess in Le Nozze di Figaro with Minnesota Opera; Marguerite in Faust with Eugene Opera; and Micaela with the Princeton Festival.She has also performed Beethoven's Symphony No. 9 with Roberto Abbado, recitals under the auspices of the George London Foundation, and concerts with the World Youth Orchestra in Italy and at the General Assembly Hall of the United Nations in New York. She appears as a soloist on a recording of Vaughan Williams' Dona Nobis Pacem, with David Hill and the BBC Singers on the Naxos label.Ms. Pier is the recipient of numerous prestigious awards including the George London Foundation Award, Sullivan Musical Foundation Award, two Charles A. Lynam Awards, and two Palm Beach Opera Competition Awards.Praised by the Houston Chronicle for her "warm supple soprano" and by "The New York Times" for her "radiant" and "handsomely resonant voice," soprano Nicole Heaston has appeared with opera companies throughout the world, including the Metropolitan Opera, Houston Grand Opera, San Francisco Opera, Semperoper Dresden, Deutsche Oper am Rhein in Dusseldorf, and many more.Heaston's recent engagements include Alice Ford in Falstaff at Royal Danish Opera in Copenhagen, La contessa Almaviva in Le nozze di Figaro at Den Norske Opera and Utah Opera, Pamina in Die Zauberflote at Houston Grand Opera, the title role in Alcina at Royal Danish Opera, and was the featured vocal soloist in the Houston Ballet's staging of Stravinsky's Les Noces.Heaston has established a long-standing relationship with Houston Grand Opera, beginning as a member of the Houston Grand Opera Studio. Her debut with the company was in the title role of Romeo et Juliette, and she has since been heard as Gilda in Rigoletto, Susanna in Le nozze di Figaro, and Zerlina in Die Zauberflote. Heaston also created the title role in Houston Grand Opera's world premiere of Jackie O, subsequently recording the opera for the Argo label.Equally active as a concert and recital soloist, Heaston has performed with orchestras throughout the United States, including the Detroit Symphony Orchestra, Indianapolis Symphony Orchestra, and National Symphony Orchestra for the Kennedy Center's 11th annual gala. She has performed Handel's Messiah with the University Musical Society in Ann Arbor Michigan. Ms. Heaston was heard in Bach's B Minor Mass with Boston Baroque, which was recorded for the Teldec label and nominated for a Grammy Award. She debuted at Carnegie Hall in recital at Weill Recital Hall. Ms. Heaston completed her Master's Degree in Voice at the Cincinnati Conservatory of Music and received her undergraduate degree in music at the University of Akron. Her various awards and prizes include the Shoshana Foundation Grant, Robert Weede Corbett Award, Opera Guild of Dayton Competition, Opera/Columbus Competition, San Antonio Opera Guild Competition, Metropolitan Opera Regional Audition-Encouragement Award, and Houston Grand Opera's Eleanor McCollum Award Competition.Sydney E. Anderson, a Houston-based soprano, makes her Kalamazoo Symphony Orchestra debut this season. An accomplished concert soloist, Ms. Anderson has appeared with the Buffalo Philharmonic Orchestra as a featured soloist on their 2015 donor concert series, and with Opera Saratoga for their 2015-2016 Saratoga Sings! recital series. Other recent soloist appearances include Mozart's Requiem and Christopher Theofanidis's The Here and Now (Woolsey Hall), the title role in Handel's Esther (Manchester Symphony Orchestra), the Evangelist in Schutz's Johannes Passion, and many J. S. Bach cantatas, with Bach Society Houston under the baton of Rick Erickson.In 2016, Ms. Anderson celebrated her main stage debut with Houston Grand Opera as Arminy in Carousel, directed by Rob Ashford and conducted by Richard Bado, and participated in the company's Opera to Go! program, as the Princess in Mary Carol Warwick's The Princess and the Pea. Other recent opera roles include Manon in Manon, Lisette in La Rondine, Adina in L'eslisir d'amore and Antonia in Les Contes d'Hoffman with the Moores Opera Center, and Rosalinde in Die Fledermaus, The Dew Fairy in Hansel and Gretel, and Tallulah in the New England Premiere of Thomas Pasatieri's The Hotel Casablanca with Hartt Opera Theatre. In 2015, she participated in Opera Saratoga's young artist program, where she covered the roles of Belinda in Dido and Aeneas and Virgil in the World Premiere of The Long Walk by Jeremy Howard Beck and Stephanie Fleischmann, and received third place in the company's young artist competition. Other awards include the Karl Amelang Memorial Award in the 2016 Houston Saengerbund German Singing Competition, winner of The Gilbert & Sullivan Society of Houston's 2015 vocal scholarship competition, and the Encouragement Award in Connecticut Concert Opera's 2014 American Opera Idol.Ms. Anderson holds a double Bachelors Degree from The Hartt School of Music in Vocal Performance and Music Education, and a Masters Degree in Vocal Performance from the Moores School of Music, where she first had the honor of working with Maestro Raymond Harvey and Director Buck Ross.Bass Evan Boyer received a Bachelor of Music degree from Northwestern University, where he performed Don Alfonso in Cosi fan tutte and Prince Gremin in Eugene Oengin. Mr. Boyer is a graduate of the Curtis Institute of Music, where he was heard as Enobarbus in Antony and Cleopatra, Conte Rodolfo in La sonnambula, Leporello in Don Giovanni, among many others. He attended the Chautauqua Institution in 2002 and 2003, where he appeared as Don Alfonso in Cosi fan tutte and Seneca in L'incoronazione di Poppea.Mr. Boyer's 2014-15 season began with a role and company debut at Seattle Opera as Masetto in Don Giovanni. He performed Mozart's Requiem with the Houston Symphony Orchestra, followed by Handel's Messiah with the Jacksonville Symphony. In the summer of 2015, he joined Wolf Trap Opera to sing Ramfis in Aida and The Bonze in Madama Butterfly and appeared with the Dallas Symphony Orchestra in the Mozart Requiem in the Bravo! Vail Festival.Mr. Boyer was recently a member of the Ryan Opera Center at Lyric Opera of Chicago. During his three-season tenure there, from 2010-2013, he was involved in seventeen productions. He performed the roles of Sarastro in Die Zauberflote, the King of Egypt in Aida, Pietro in Simon Boccanegra, Zuniga in Carmen, among many others. He covered in eleven productions, including Raimondo in Lucia di Lammermoor and Sparafucile in Rigoletto.In 2013, after his time at the Ryan Opera Center, Mr. Boyer made his debut with Canadian Opera Company as the First Soldier in Salome, followed by performances as the Second Commissaire in Dialogues des Carmelites. Other performances in 2012 included a debut with The Cleveland Orchestra as the First Nazarene and First Soldier in concert performances of Salome at Severance Hall and again at Carnegie Hall.He was a 2009 National Semifinalist in the Metropolitan Opera National Council Auditionss. He is the Grand Prize winner in Men's Voice of the Union League Civic and Arts Foundation. Additional grants and awards have been received from the Licia Albanese-Puccini Foundation, the Giulio Gari Foundation, the Chicago Bel Canto Foundation, the American Opera Society, and the Louisville Bach Society.Don GiovanniRaymond Harvey, Conductor; Buck Ross, Stage DirectorGuest Artists: Mark Walters, Aaron Sorenson, Charles Reid, Christina Pier, Nicole Heaston, Sydney Anderson, and Evan BoyerFor their final concert of the 2016-2017 season, the Kalamazoo Symphony Orchestra presents Mozart's masterpiece, Don Giovanni for Maestro Raymond Harvey's last performance as Music Director. Maestro Harvey brings an international cast of opera stars to the stage for the first KSO performance of this masterwork since 1980. In Don Giovanni, Mozart brings the escapades of Don Juan, a fictional libertine, to life. Blending comedy, melodrama, and the supernatural, Don Giovanni has become one of the most performed operas of all time.Tickets: $60 - $24Student & Veteran discounts available.$5 Student Rush tickets, and $10 Harvey's Hideaway seating available at the box office the night of the concert.For tickets, visit www.kalamazoosymphony.com , call the KSO Box Office at (269) 349-7759 or call Miller Auditorium Ticket Office at (269) 387-2300.Visit www.kalamazoosymphony.com for up-to-date information, details and schedules. Prices, artists, dates, time and program are subject to change without notice.The Kalamazoo Symphony Orchestra receives major support from the Irving S. Gilmore Foundation, the Kalamazoo Community Foundation, the National Endowment for the Arts, and the Michigan Council for Arts and Cultural Affairs. The Kalamazoo Symphony Orchestra also receives generous support from other local, state and national foundations, as well as private and corporate support. For more information, visit www.kalamazoosymphony.com Founded in 1921, the Kalamazoo Symphony Orchestra is Southwest Michigan's premier musical organization, providing musical enrichment to over 80,000 adults and youth per year. The third-largest professional orchestra in the state, the KSO has won numerous awards and grants, including the Met Life Award for Arts Access in Underserved Communities, the National Endowment for the Arts for its extensive education programs, and a major Ford Foundation grant to found its innovative Artist-in-Residence program.
Ostfeld R.S.,Cary Institute of Ecosystem Studies |
Keesing F.,Cary Institute of Ecosystem Studies |
Keesing F.,Bard College
Annual Review of Ecology, Evolution, and Systematics | Year: 2012
The dynamics of Infectious diseases can be affected by genetic diversity within host populations, species diversity within host communities, and diversity among communities. In principle, diversity can either increase or decrease pathogen transmission and disease risk. Theoretical models and laboratory experiments have demonstrated that a dilution effect (decreased disease risk with increasing diversity) can occur under a wide range of conditions. Field studies of plants, aquatic invertebrates, amphibians, birds, and mammals demonstrate that the phenomenon indeed does occur in many natural systems. A dilution effect is expected when (a) hosts differ in quality for pathogens or vectors; (b) higher quality hosts tend to occur in species-poor communities, whereas lower quality hosts tend to occur in more diverse communities; and (c) lower quality hosts regulate abundance of high-quality hosts or of vectors, or reduce encounter rates between these hosts and pathogens or vectors. Although these conditions characterize many disease systems, our ability to predict when and where the dilution effect occurs remains poor. The life-history traits that cause some hosts to be widespread and resilient might be correlated with those that promote Infection and transmission by some pathogens, supporting the notion that the dilution effect might be widespread among disease systems. Criticisms of the dilution effect have focused on whether species richness or species composition (both being metrics of biodiversity) drives disease risk. It is well established, however, that changes in species composition correlate with changes in species richness, and this correlation could explain why the dilution effect appears to be a general phenomenon. © 2012 by Annual Reviews. All rights reserved.
Agency: NSF | Branch: Standard Grant | Program: | Phase: GEOPHYSICS | Award Amount: 138.55K | Year: 2016
Earths inner core is elastically anisotropic, with seismic waves propagating parallel to the rotation axis about 3% faster than those parallel to the equatorial plane. The inner core also exhibits an attenuation anisotropy, with the faster waves having smaller amplitudes. There is now evidence that the pattern of both anisotropies is more complex, exhibiting depth dependence, hemispherical variations, and smaller scale regional variations. The isotropic seismic velocity may also exhibit regional variations. These puzzling seismic inferences are clues as to the structure and evolution of the solid iron alloy inner core. This grant will allow the PI to investigate the causes of inner core attenuation and its anisotropy, and thus help to better understand the most remote part of our planet. In particular, in laboratory studies the PI will use ultrasonic waves to probe metallic alloys with a variety of microstructures that have been suggested for the inner core, employing ratios of wavelengths to grain and sub-grain lengthscales that are relevant to the inner core. By comparison with seismic data, this will allow the PI to quantify the relative importance of scattering attenuation versus intrinsic attenuation (viscoelasticity). As an RUI grant, the project will involve diverse undergraduates in all aspects of the research, providing them with training and experience in doing science.
Most explanations for the elastic anisotropy rely on a lattice preferred orientation (texturing) of hexagonal close-packed iron crystals, the most likely stable phase of iron under inner core conditions. Explanations for the texturing fall broadly into two classes, that due to solidification and that due to deformation. Directional solidification of metallic alloys typically results in columnar grains formed by primary and secondary dendrites of the primary compositional phase, with the secondary phase along grain boundaries and between dendrites, i.e., intragranular. Such microstructure has been proposed for the inner core, and scattering off grain boundaries of elongated crystals has been suggested as a cause for the attenuation anisotropy. Solidification microstructure is not thermodynamically stable, however, and annealing can result in coarsening of secondary dendrites, while maintaining the primary dendrites and columnar crystals, or possibly, in recrystallization and polygonal grain growth. The latter typically occurs in deformed materials exposed to high temperature. The PI will examine the ultrasonic scattering attenuation of three possible microstructures likely in Earths inner core: directional solidified columnar grains composed of primary and secondary dendrites; directionally solidified and then annealed grains; and polygonal grains that result from recrystallization due to deformation and annealing. He will use Pb-Sn because of its simple eutectic phase diagram, ease of use, and relatively small single crystal elastic anisotropy; and microstructures with relative wavelength/scatterer dimensions thought to be similar to those in the inner core. The PI will use the shape and decay of the ultrasonic coda to determine the quality factor Q, and will compare the ultrasonic waveforms with seismic data to infer regional microstructure in the inner core, which will give insight into the evolution of the inner core.
Agency: NSF | Branch: Standard Grant | Program: | Phase: STUDIES OF THE EARTHS DEEP INT | Award Amount: 7.00K | Year: 2016
This award will partially cover participant costs for the 15th Symposium on Study of Earths Deep Interior (SEDI). The meeting will be held in Nantes, France from July 24-29, 2016. SEDI is an international scientific organization dedicated to the Study of the Earths Deep Interior. The ultimate goal of SEDI is an enhanced understanding of the past evolution and current thermal, chemical and dynamical state of the Earths deep interior and of the effect of that the interior has on structures and processes observed at the surface of the Earth. The deep interior is generally considered to be the core and lower mantle, but interest often extends to the surface, for example, in the study of mantle plumes or dynamics of descending lithospheric slabs. The scientific questions and problems of interest to SEDI include the geomagnetic dynamo and secular variation, paleomagnetism and the evolution of the Earths deep interior, material properties at extreme conditions, structure and dynamics of the core and mantle, core-mantle interactions, and the nature and location of deep geochemical reservoirs.
This workshop will contribute to interdisciplinary education of US graduate students and beginning researchers by fostering dialog with researchers at all levels at a relatively small workshop-style meeting. The international format complements efforts by US national groups such as CIDER and will be useful to those funded under or seeking funding from the NSF CSEDI program. The structure of SEDI is intrinsically interdisciplinary, providing many opportunities for intra- and international collaborations on a broad range of topics that contribute to our understanding of the deep earth and other planetary interiors.
Agency: NSF | Branch: Standard Grant | Program: | Phase: | Award Amount: 24.00K | Year: 2014
Funds are provided to partially cover participant costs for beginning scientists at the 14th Symposium on Study of Earths Deep Interior (SEDI). The meeting will be held in Tokyo, Japan from August 4-8, 2014. This proposal will contribute to interdisciplinary education of US graduate students and beginning researchers by fostering dialog with researchers at all levels at a relatively small workshop-style meeting. The international format complements efforts by US national groups such as CIDER and will be useful to those funded under or seeking funding from the NSF CSEDI program. The structure of SEDI is intrinsically interdisciplinary, providing many opportunities for intra- and inter- national collaborations on a broad range of topics that contribute to our understanding of the deep Earth and other planetary interiors.
SEDI is an international scientific organization dedicated to the Study of the Earths Deep Interior. The ultimate goal of SEDI is an enhanced understanding of the past evolution and current thermal, chemical and dynamical state of the Earths deep interior and of the effect the interior has on structures and processes observed at the surface of the Earth. The deep interior is generally considered to be the core and lower mantle, but interest often extends to the surface, for example, in the study of mantle plumes or dynamics of descending lithospheric slabs. The scientific questions and problems of interest to SEDI include the geomagnetic dynamo and secular variation, paleomagnetism and the evolution of the Earths deep interior, material properties at extreme conditions, structure and dynamics of the core and mantle, core-mantle interactions, and the nature and location of deep geochemical reservoirs.
Agency: NSF | Branch: Standard Grant | Program: | Phase: | Award Amount: 216.00K | Year: 2014
In this project funded by the Chemical Structure, Dynamics and Mechanisms B Program of the Chemistry Division, Professor Craig M. Anderson of the Chemistry Department at Bard College will investigate the synthesis of transition cyclometalated complexes. The study of these complexes may advance the understanding of fundamental catalytic reactions and eventually contribute in areas with energy implications, as cyclometalated complexes are well known in the study of artificial photosynthetic devices. Another very important aspect of this work is that it will involve undergraduates at all levels from first-year to senior students. It will also allow students to gain experience in many diverse skills and techniques such as synthesis, characterization, and analysis of results. The students will become well trained in order to continue further scientific studies, disseminate their work through written publications and oral presentations, and develop new hypotheses for testing.
Cyclometalated transition metal complexes are a very versatile group of compounds whose varied applications include acting as catalysts, sensors, artificial photosynthetic devices, and bio-organometallic agents. The effect that ligand architecture exerts on selectivity and reactivity of cyclometalated complexes is important to understand, as the coordination environment determines both reaction functionality and efficacy. First, the physical and chemical properties of these cyclometalated compounds will be tuned to maximize their benefits, which include catalysis and anti-cancer agents. Second, studying the regiochemistry of C-H and C-X bond activation will be examined in the area of synthetic chemistry. Third, several multi-heteronuclear species will be synthesized and their interaction with biomolecules, such as proteins, DNA, and RNA will be examined
Agency: NSF | Branch: Standard Grant | Program: | Phase: | Award Amount: 24.67K | Year: 2015
The purpose of this award is to support participation by students and early career researchers, including members of under-represented groups, in the mathematical and physical sciences at the 14th Experimental Chaos and Complexity Conference (ECC 2016) to be held May 16-19, 2016 in Alberta, Canada. ECC 2016 will bring together an international group of researchers to improve the scientific understanding of complex systems such as the cardiac electrical system, the brain, energy and the power grid, social systems, earthquakes, and climate. The objective of ECC 2016 is to encourage and facilitate the collaboration of experimental and applied research in mathematics, physics, engineering, neuroscience, chemistry, and biology.
ECC 2016 highlights new results in the study of complex systems at a variety of scales. The goal is to bring together experimentalists and applied researchers to study various aspects of of nonlinear dynamics, chaos, and complexity. Examples of applications where this type of collaboration has been successful include the cardiac electrical system, the brain, energy and the power grid, social systems, earthquakes, and climate. These systems can display chaotic dynamics, in that small changes in inputs or features of the system can cause large changes in behavior. The study of complexity and chaos by mathematicians, physicists, engineers, chemists, biologists, and neuroscientists has led to the ability to understand and control chaotic systems in areas ranging from control of cardiac chaos to improved efficiency in combustion systems. The award gives students and early career researchers, including members of under-represented groups, the opportunity to attend and participate in this conference, with the hope that it inspires new research directions and collaborations for this group.
Conference web site: http://wcm.ucalgary.ca/ecc2016/