Frayda lindemann biography definition

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She became a member of the board of directors of The Santa Fe Opera in and was later elected vice president in and president inserving until In her leadership capacity, she participated in the strategic planning process undertaken by the board of directors in concert with MacKay. Morris has advocated for the company with the Mayor and City Council, and also walked the frayda lindemann biographies definition of the state capitol to campaign on behalf of The Santa Fe Opera with state legislators.

Esther Nelson combines an extensive career in the arts with significant management expertise. During her seven-year tenure, the company experienced significant artistic growth and fiscal stability, including the elimination of its accumulated deficit and development of a surplus. Her leadership earned her a professional citation from the governor of New York.

She began her career as the artistic director of Skylight Opera Theatre and as an assistant director to the late Jean-Pierre Ponnelle. She has been a guest lecturer at Harvard, Juilliard and Yale. ChairmanTrustee, Metropolitan Opera W. For press inquiries, contact Press operaamerica. About Us. Press Room. Press Released: 13 Aug New Board Chair.

Trustee, Metropolitan Opera. Freud was warmly thanked for his service and valuable contributions to the organization and will continue to serve as a Board Member, as outlined in the by-laws. Her experience as an opera company trustee informs our broader service to the thousands of Board members who help sustain their companies across the country.

I am also very pleased to welcome eight outstanding new members to our Board," continued Scorca. Woods Fort Worth Opera were both re-elected to a second three-year term. Wright Vancouver Opera. The OPERA America Board of Directors oversees the organization's portfolio of programs, including professional development activities, educational offerings and grant opportunities such as The Opera Fund.

Carol F. Henry, Trustee, Los Angeles Opera. Frederica von Stademezzo-soprano. Francesca ZambelloThe Glimmerglass Festival. He was a piano student with the same person. So I knew Michael's mother and father and brother, because he used to do these little musicals. And who had to show up? The parents. And when I ran into Michael at Hunter, I recognized him immediately; he looked exactly the same to me.

And I told him why I was there. And he said, "Frayda, if you go to do a graduate degree at the City University, all the classes are at night, so you're not gonna be able to do it with a husband and three children. You have to go to Columbia where I went. I sent them my record from Hunter and I enrolled - just like that. It was And I show up there on Dodge Hall, on the third or fourth floor.

And we bonded. There were seven in that graduate class. Michael and his wife, Margie had been ahead of me by two years. We enjoyed each other's company. We ate lunch together. We did work together. We studied for our comprehensives together. We're still friendly. And I was there from physically, tilwhen I finished. Scorca: What was your concentration?

What was your specialty? Frayda Lindemann: My concentration was a French subject, because at Columbia then I don't know about now you had to pass four language requirements. So I knew French very well. The three of us had a German teacher. The three of us had an Italian teacher with a long gold chain at NYU. And we had a Latin teacher, Craig Nobles - on th street.

He taught us Latin, the three of us together, and I passed all the language tests, but French, I knew best. So I figured if I take a French topic, it'll be easier for me. And I did take a French baroque topic, 'Pastoral instruments in French baroque music'. And I knew that I couldn't as most graduate students in music must do go and spend time in Europe.

I just couldn't. So I did what I could do.

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And we passed our orals first time. And I wrote the dissertation in about three years, maybe four. And then I got a job at Hunter teaching in the music department. And I was teaching in the same department on the 15th floor where I had been a student. Frayda Lindemann: And Michael was still there at Hunter. He hadn't left. George Stauffer, who graduated the year before me at Columbia, who now runs the Rutgers humanities - the big art arts department.

He was at Hunter for a while. Anyway, I was at Hunter as an associate professor for about 10 years, give or take. And then the children went to college and we started to go to Florida. And that was the end of my teaching career. So that was about3 or 4. Scorca: And that begins to frayda lindemann biography definition with your joining the board at The Metropolitan Opera around ?

Frayda Lindemann: That's right; I was. First, I was on the board of Young Concert Artists. And I enjoyed it. Susan Wadsworth was there, she's a couple of years older than I am, and I stayed and stayed and stayed and stayed and stayed. And in between all of that, before we went skiing on the weekends with the children, we used to go to The Met for New Year's Eve.

And we would come back to the apartment with another couple, have a champagne and a little caviar. And that was our New Year. So then all of a sudden I got a call from Marjorie Lowry. Did you ever know her? Frayda Lindemann: Yes. I get a call from Marjorie Lowry. I'm a volunteer at The Metropolitan Opera and my husband and I would like to invite you, as a couple, for dinner in the Opera Club.

And so we had a connection and we had a lovely dinner and we went to some opera - I don't remember which one, and then there must have been somebody who called me to join the board originally. And I think it was I got a call in Florida. We were already spending most of the winter in Florida. The children were already in college or out of college or whatever and it was Jim James Kinnear, "Hello Frayda.

And Jim Kinnear, who's 93, is coming to lunch Saturday. Frayda Lindemann: I'm gonna tell him what he did for me, because it turned out to be the best money we ever spent, because that program is such a hit. Scorca: It is a wonderful program, and I did make note of the fact that Young Concert Artists about young artists; the Lindemann Young Artist Program is about young artists.

You taught at Hunter, teaching young people. There's clearly a resonance. You feel something for helping young people in their career advancement. Frayda Lindemann: I think it came from my involvement at Young Concert Artists, because when you give your annual contribution to The Met, most everybody directs it in a certain direction. People underwrite part of a new production, all those things.

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So I just said, "Well, why don't you just put it to the young artist program? And that's why Jim Kinnear who was a very clever businessman by the way, in his previous life called me and asked if we would make the donation, if they would name it for us. The thing that's most interesting, which people don't know, is that much of the administration of the opera house did not want a name put on the program, because they had never been a naming sort of organization.

They fought against it. I had to leave the executive committee, while they voted on it, but Jim was determined. So I'm gonna tell him all of that; I think he will remember. Scorca: And, of course, you're right, that your interest in young artists having come from Young Concert Artists was, in a way, what pulled the lever to get you to direct your annual contribution toward the young artist program.

Frayda Lindemann: Exactly, and the nicest thing I can tell you is that when I went to my second Lucia Monday night, you know how you walk in downstairs, and you have to show your card? It's a real person. I am the program. It's me. So it's been a wonderful thing.

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Scorca: So let's think back for a second. So there you are a board member, Metropolitan Opera, 's. Were there board members then who were role models for you, or people you looked up to as board members at The Met in those days? He's still wonderful. I saw him at the opera the other day. And he was running the show. It wasn't a collaborative board So I remember him and we remain very good friends.

There's all kinds of personalities. I can't say they're all my best friends; they're not.