OperaFest Italia Faculty

Claudette Peterson (Founder / Artistic Director) has been a star at New York City Opera for nine seasons, singing over 15 leading roles there, ranging from the title roles in Massanet’s Manon and Janacek’s The Cunning Little Vixen to Sophie in Werther and Cunegonde in Candide.  She has appeared on PBS’s Live From Lincoln Center broadcast of Puccini’s La Rondine and the “Gala of Stars” singing Cunegonde’s aria “Glitter and Be Gay” conducted by James Levine, as well as on PBS’s broadcast of “The Kennedy Center Honors” which honored Beverly Sills.  Miss Peterson also created and recorded the role of Fan in Thea Musgrave’s A Christmas Carol for MMG Records. 

In America, she has sung with major opera companies including San Francisco Opera, Chicago Lyric Opera, Opera Company of Boston, and Washington Opera. She has been acclaimed for roles ranging from the title roles in Manon, La Fille du Regiment, Lucia di Lammermoor, and The Cunning Little Vixen; to Adina in L’Elisir d’Amore and Gilda in Rigoletto, as well Olympia in Le Contes d’Hoffmann and Adele in Die Fledermaus.  Known especially for her Mozart repertoire, she has been acclaimed for her Susanna in Le Nozze di Figaro, Papagena, Pamina and The Queen of the Night in The Magic Flute, Despina in Cosi Fan Tutte, Mme. Silberklang as well as Mme. Goldentrill in The Impressario, Servilia in La Clemenza di Tito, Serpetta in La Finta Giardiniera and Bastienne in Bastien and Bastienne.  Internationally, she received rave reviews in Geneva, Switzerland in Offenbach’s Barbe Bleu, and in Nice, France as the title role in Lehar’s The Merry Widow

A superb musical artist, she has collaborated with maestros Julius Rudel, Michael Tilson Thomas, Jose Serebrier, John Mauceri and James Levine.

Miss Peterson is a graduate of the San Francisco Conservatory of Music and the Merola Opera Program.



David Kline (Executive Producer/Technical Director) Bass Baritone is a veteran of over 1,000 professional performances ranging from leading roles in 67 operas to soloist in Beethoven’s 9th Symphony with Robert Shaw. His opera repertory covers the gamut from seven world premieres to Mozart’s Figaro and Leporello, with a special love for the comic basso buffo classics like Don Pasquale, Dr. Dulcamara, and Rossini’s Dr. Bartolo.  He has sung leading roles with the Hawaii Opera Theater, San Francisco Opera’s Western Opera Theater, Seattle Opera, Fort Worth Opera Association, the Dallas Grand Opera, Virginia Opera Theater, Michigan Opera Theater, Des Moines Metro Opera, Arizona Opera, the Lake George Opera Festival and the opera companies of Orlando, Columbus, Indianapolis, Syracuse and at Duke University.  

A consummate musician, Mr. Kline has worked with classical composers from Aaron Copland, Leonard Bernstein and Gian-Carlo Menotti to Tom Pasatieri and Robert Ward, to Broadway’s Charles Strauss creating the role of Tex in Singers and the title role in Gary William Friedman’s Mordecai

Orchestra concerts include soloist with orchestras in New York, Missouri, Michigan, Indiana and North Carolina. 

Starting out on the right foot as an undergraduate at Westminster Choir College, he sang with the famous Westminster Choir under Leopold Stokowski, Leonard Bernstein, Eugene Ormandy, Pierre Boulez, and William Steinberg, went twice to the Spoleto, Italy Festival, and toured with Roger Wagner.  He won a full scholarship to the Manhattan School of Music for his Master’s degree, where he was awarded the John Brownlee prize for outstanding singing actor.

 


David Maiullo (Music Director) Described by Opera Now Magazine as “a pianist of sentiment, discretion and style”, David Maiullo is an avid accompanist/coach in the New York City Metropolitan area.  His performance of over 2,500 recitals and programs have led him to the stage of Carnegie Hall, Avery Fisher, Alice Tully, and Merkin Concert Halls in the US as well as venues in Spain, Portugal, Germany, Austria, Switzerland, Italy, France and Japan.

He was awarded a scholarship as an accompanist to the American Institute of musical Studies in Graz, Austria, and has been a recipient of a fellowship with Opera-Music Theater International with Jerome Hines.

Mr. Maiullo had the distinct honor of performing the European premiere of Gian-Carlo Menotti’s Mass for its composer in Spoleto with the Ars Musica Chorale and has also performed in the prestigious “Fringe Festival” in Edinburgh.  Mr. Maiullo held the position of Chorus Master for the New Jersey State Opera for eight seasons and he continues to be a lecturer and pianist for opera-logs and concerts with the company.

As a collaborative pianist, New York Times critic Bernard Holland wrote, “Mr. Maiullo’s playing was sensitive and effective.”  Some of the notable singers with whom Mr. Maiullo has collaborated include Mario Bertolini, Dominic Cossa, Gilda Cruz-Romo, Sandra Darling, Mark Delavan, Enrico DiGiuseppe. Marta Eggerth-Kiepura, Jerome Hines, Kim Josephson, Vahan Khanzadian, Teresa Kubiak, Ted Lambrinos, Anthony Laciura, Edward Pierson III, Paul Plishka, Olga Ramanko, Joan Sena-Grande, Kevin Short, and Margarita Zambrana.

Currently Mr. Maiullo serves as the accompanist for the Gerda Lissner Foundation, Licia Albanese Puccini Foundation, Career Bridges, and is the official Accompanist/Music Director for the Altamura/Caruso Competition.  He is Conductor/Music Director of the Bravo Alliance of Performing Artists (a 501(c)3 tax exempt organization) and Chamber Virtuosi Orchestra.  He is also the Music Director of the Most Blessed Sacrament Church in Franklin Lakes.  Mr. Maiullo holds positions on the faculty of NYACK College, where he is director of the Opera Workshop, New Jersey City University, and is the Coach/Accompanist of the Musical Theater Class at the Julliard School of Music.

 


David Ostwald (Stage Director, Acting Teacher) David Ostwald began studying violin at the age of seven and began acting minor roles in small San Francisco Bay Area theaters a few years later. At fourteen the artistic director of one of those companies took him under his wing as an apprentice. By sixteen, David knew he had found his niche. A year later he began his directing career with an operetta based on the “Prince and the Pauper” for the San Francisco Boys Chorus of which he is an alumnus.

Believing that directors need to know something about most everything, he chose to go to Reed College where he could explore widely. He directed seven plays and a short film while earning a BA in literature. For professional training he enrolled in the theater program at Carnegie‑Mellon University from which he received an MFA in directing and a PhD in theater. While at CMU, his love for music began to find its expression in opera directing It was there that he began teaching acting to singers.

David was hired as a director by Western Opera Theater, the traveling arm of the San Francisco Opera, directly after graduate school. During his five year tenure there he directed THE THREE PENNY OPERA, THE MARRIAGE OF FIGARO and Krenek’s WHAT PRICE CONFIDENCE, as well as LA FINTA GIARDINIERA and THE ITALIAN GIRL IN ALGIERS for the San Francisco Opera ‘s Merola Program, MADAMA BUTTERFLY and THE TAMING OF THE SHREW for the Kansas City Lyric Opera, and Handel’s SEMELE for The School of Orpheus in Chartres, France.
In 1975 he received a grant from the National Opera Institute to spend six months in Germany, which gave him the opportunity to observe the directors Götz Friedrich in Hamburg and Walter Felsenstein at the Komische Oper in Berlin.
In 1977 he moved to New York to teach and direct at The Juilliard School. His productions there included THE MOTHER OF US ALL, LA CALISTO and POSTCARD FROM MOROCCO. In the next four years he also directed two operas for the Chattanooga Opera, productions for Artpark, Eastern Opera Theater, The Philadelphia Opera, Los Angeles Opera Theater, DER FLIEGENDE HOLLÄNDER for the Atlantic Lyric Opera, and DIE DREIGROSCHENOPER in Brussels.
In the early eighties he was invited back to the San Francisco Bay Area to teach and direct in the Drama Department at the University of California, Berkeley. During the next few years he directed two plays for the Drama Dept. at University of Southern California, two for the Berkeley Stage Company, two premieres for the Magic Theater, John Guare’s BOSOMS AND NEGLECT for the South Coast Repertory Theater and TWO GENTLEMEN OF VERONA for the Oregon Shakespeare Festival. In 1982 he was invited to Die Theater am Turm in Hamburg, Germany to direct the world premiere of Robert Moran’s WAGNER: SCENES FROM THE FUTURE.
In 1983 he became head of the Opera Program at the State University of New York at Purchase, where he continued to explore the most effective way to teach acting to singers, as well as directing all of the Department’s opera productions. These included THE MAGIC FLUTE, Scarlatti’s ERACLEA and Haydn’s THE WORLD ON THE MOON. During the summers of 1984, ‘88 and ‘92, he taught in the Opera Program at the Aspen Music Festival. In the mid nineties he was a juror for the Fulbright grants for singers.
Since 1993, he has spent his summers teaching and directing for the Bay Area Opera Training Institute (BASOTI). After he left Purchase in 1999, he wrote ACTING FOR SINGERS, which was published by Oxford University Press in 2005. Currently he is directing for companies such as West Bay Opera and the San Francisco Lyric Opera and offering workshops and residencies on how to create believable singing characters. Among the productions from recent years are TALES OF HOFFMAN, UN BALLO IN MASCHERA, IDOMENEO, L’INCORONAZIONE DI POPPEA, and Hartmann’s SIMPLICIUS SIMPLICISSIMUS.
David serves on the Boards of the Lerman Charitable Trust, the Bay Area Opera Theater Institute, and the Xoregos Performing Company.

David Ostwald began studying violin at the age of seven and began acting minor roles in small San Francisco Bay Area theaters a few years later. At fourteen the artistic director of one of those companies took him under his wing as an apprentice. By sixteen, David knew he had found his niche. A year later he began his directing career with an operetta based on the “Prince and the Pauper” for the San Francisco Boys Chorus of which he is an alumnus. 

Believing that directors need to know something about most everything, he chose to go to Reed College where he could explore widely. He directed seven plays and a short film while earning a BA in literature. For professional training he enrolled in the theater program at Carnegie‑Mellon University from which he received an MFA in directing and a PhD in theater. While at CMU, his love for music began to find its expression in opera directing.  It was there that he began teaching acting to singers. 

David was hired as a director by Western Opera Theater, the traveling arm of the San Francisco Opera, directly after graduate school. During his five year tenure there he directed THE THREE PENNY OPERA, THE MARRIAGE OF FIGARO and Krenek’s WHAT PRICE CONFIDENCE, as well as LA FINTA GIARDINIERA and THE ITALIAN GIRL IN ALGIERS for the San Francisco Opera‘s Merola Program, MADAMA BUTTERFLY and THE TAMING OF THE SHREW for the Kansas City Lyric Opera, and Handel’s SEMELE for The School of Orpheus in Chartres, France.
In 1975 he received a grant from the National Opera Institute to spend six months in Germany, which gave him the opportunity to observe the directors Götz Friedrich in Hamburg and Walter Felsenstein at the Komische Oper in Berlin.
In 1977 he moved to New York to teach and direct at The Juilliard School. His productions there included THE MOTHER OF US ALL, LA CALISTO and POSTCARD FROM MOROCCO. In the next four years he also directed two operas for the Chattanooga Opera, productions for Artpark, Eastern Opera Theater, The Philadelphia Opera, Los Angeles Opera Theater, DER FLIEGENDE HOLLÄNDER for the Atlantic Lyric Opera, and DIE DREIGROSCHENOPER in Brussels.
In the early eighties he was invited back to the San Francisco Bay Area to teach and direct in the Drama Department at the University of California, Berkeley. During the next few years he directed two plays for the Drama Dept. at University of Southern California, two for the Berkeley Stage Company, two premieres for the Magic Theater, John Guare’s BOSOMS AND NEGLECT for the South Coast Repertory Theater and TWO GENTLEMEN OF VERONA for the Oregon Shakespeare Festival. In 1982 he was invited to Die Theater am Turm in Hamburg, Germany to direct the world premiere of Robert Moran’s WAGNER: SCENES FROM THE FUTURE.
In 1983 he became head of the Opera Program at the State University of New York at Purchase, where he continued to explore the most effective way to teach acting to singers, as well as directing all of the Department’s opera productions. These included THE MAGIC FLUTE, Scarlatti’s ERACLEA and Haydn’s THE WORLD ON THE MOON. During the summers of 1984, ‘88 and ‘92, he taught in the Opera Program at the Aspen Music Festival. In the mid nineties he was a juror for the Fulbright grants for singers.
Since 1993, he has spent his summers teaching and directing for the Bay Area Opera Training Institute (BASOTI). After he left Purchase in 1999, he wrote ACTING FOR SINGERS, which was published by Oxford University Press in 2005. Currently he is directing for companies such as West Bay Opera and the San Francisco Lyric Opera and offering workshops and residencies on how to create believable singing characters. Among the productions from recent years are TALES OF HOFFMAN, UN BALLO IN MASCHERA, IDOMENEO, L’INCORONAZIONE DI POPPEA, and Hartmann’s SIMPLICIUS SIMPLICISSIMUS.
David serves on the Boards of the Lerman Charitable Trust, the Bay Area Opera Theater Institute, and the Xoregos Performing Company.

 

 

 

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Testimonials

I just wanted to take a minute to thank you for all of your hard work and dedication that was so obvious as I watched the Operafest 2010! It was truly marvelous! The kids are so talented and so well prepared. They are a wonderful testament to their teachers! It was a pleasure

Sue Vitale