Susan Davenny Wyner
Music Director and Conductor
Susan Davenny Wyner has received national acclaim for her conducting. The Library of Congress featured her in its 2003 “Women Who Dare” Engagement Calendar, and the MacNeil-Lehrer News hour and WGBH Television have presented special documentary features on her life and work. Her conducting credits include the Los Angeles Philharmonic, The Czech Philharmonic Chamber Orchestra, Boston Lyric Opera, the Danish Odense Symphony, and Cleveland Orchestra members in special benefit concerts. André Previn, Lynn Harrell, Claude Frank, Peter Serkin, and Emanuel Ax, have been among her guest soloists. She has also conducted concerts at the Hollywood Bowl, in Italy and the Czech Republic, at the Tanglewood and Aspen Music Festivals, and has recorded for CBS Radio and Bridge and Albany Records.
Initially trained as a violinist and violist, Susan Davenny Wyner then went on to an international career as a soprano—singing with the Metropolitan Opera, New York City Opera, The London Symphony, Cleveland Orchestra, Boston Symphony, and the Israel, Los Angeles and New York Philharmonics among many others. She recorded for Columbia Masterworks, Angel/EMI, Naxos, New World, Naxos, CRI and Musical Heritage, and won both a Grammy and a Grand Prix du Disc. When a hit and run accident destroyed her singing voice, she began her career as a conductor.
Since 1999, she has been Music Director and Conductor of The Warren Philharmonic Orchestra (a professional orchestra near Cleveland, Ohio), and she has also been Music Director and Conductor of the professional Opera Western Reserve (Ohio) since its creation in 2004. From 1999-2005 she was Music Director and Conductor of The New England String Ensemble, which she brought to national prominence. She has held conducting positions at New England Conservatory, The Cleveland Institute of Music, Wellesley College, and Brandeis and Cornell Universities, and has conducted numerous lecture demonstrations and master-classes for the Conductors Guild National Convention, and at Harvard and Yale Universities, among many others.
She has served as Conductor and Music Director of Boston Midsummer Opera since 2007.
Antonio is grateful and pleased to return to Boston Midsummer Opera, after directing the 2013 production of Nicolai’s The Merry Wives of Windsor and the 2014 production of Smetana’s The Bartered Bride.
Antonio is an actor, director and an Associate Professor of Theatre at Northeastern University in Boston, Massachusetts. He trained with Teatro Libre in his native Bogotá, Colombia, and with Shakespeare & Company in Lenox, Massachusetts. Antonio received an MFA in Directing as well as a Graduate Diploma in Voice from York University, Toronto. He has directed over 50 productions in several countries. In the Boston area, he has worked with New Repertory Theatre, Actors Shakespeare Project, The Nora Theatre, among others.
Antonio is a Designated Linklater Master Voice Teacher and is the author of La Libertad de la Voz Natural: El Método Linklater (UNAM, 2010). He serves as a consultant for CEUVOZ, a center for voice studies in Mexico City, where he runs a Linklater Voice Teacher training program. He also teaches annually at the Estudio Corazza, in Madrid, Spain.
Several of his articles and essays about his experiences as a bilingual theatre artist have been published in, among others, The Politics of American Actor Training, Colorblind Shakespeare, American Theatre Magazine, the Voice & Speech Review, Paso de Gato (Mexico), Back Stage East and Dramatics Magazine.
Previously with BMO: Don Pasquale, The Italian Girl in Algiers. Other opera credits include: The Play of Daniel (GEMS, the Cloisters) A Midsummer Night’s Dream, Four Note Opera, Der Zwerg, L’Incoronazione di Poppea, L’Heure Espagnole (OperaHub) Rumelia (Juventas) Theatre credits include: David Cromer’s Our Town (Huntington and the Broad Stage), A Loss of Roses (Arkansas Rep) Bus Stop (Olney Theatre), The Last Will (Abingdon Theatre), Dublin by Lamplight (McCarter) Long Day’s Journey into Night (York Shakespeare), Holy Crap (laMaMa) Blood Brothers, A Hard Wall at High Speed, The Pillowman (APAC), Hedwig and the Angry Inch (3STC). He has worked as an assistant on the Broadway productions of Peter and the Starcatcher, Lysestrata Jones, and Wonderland. Professional Site.
Charles Schoonmaker is a costume designer with extensive credits in television, theatre and dance. He is the recipient of four Daytime Emmy Awards for his work in television. Theatre productions in New York include Love, Sex and Death in the Amazon (The Paradise Garage), Limonade tous les Jours (The Cell Theatre), 9/11 Portraits (Union Square Theatre), and Portrait of Jennie (Henry Street Settlement).
His works on Boston area stages include Venus in Fur, God of Carnage and A Long and Winding Road at the Huntington; Tarzan (North Shore Music Theatre); Nine, Reckless, and The Light in the Piazza (SpeakEasy Stage Company); Harriet Jacobs (Underground Railway Theater); 33 Variations and Grey Gardens (Lyric Stage Company); and Speed the Plow, Long Days Journey into Night and The Clean House (New Repertory Theatre).
Other credits include The Nibroc Trilogy, Love Song, and Blackbird (Chester Theatre Company), and The Einstein Project, Faith Healer, End Game, and The Birthday Boy (Berkshire Theatre Festival). His regional credits include Chicago, La Cage aux Folles, and Cagney! (Riverside Theatre, Vero Beach, Florida), and Miss Margarida’s Way (Bay Street Theatre, Sag Harbor, New York).
In the field of concert dance his credits include Alvin Ailey American Dance Theatre, The Limon Company, The Atlanta Ballet, The Richmond Ballet, and The Julliard School.
His television credits include “Another World,” “All My Children,” and “As The World Turns.” He holds an MFA from New York University, and he serves on the faculty at Bennington College.
Recent & Upcoming: Currently Lighting Director Boston Ballet. Notable design credits include Fremd, Bach Cello Suites, Eventide, Lady of the Camellias, Cinderella, Boston Ballet; Daughter of the Regiment, Boston Lyric Opera; The Magic Flute, New England Conservatory; Weiner Staatsballett (Vienna); National Ballet of Canada, Lyric Stage Company (Boston). For BMO: The Bartered Bride, Don Pasquale, Martha
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