Lawrence University is mourning the death of John Koopman, the founder of Lawrence’s opera program and a longtime voice professor in the Conservatory of Music.
Koopman joined the faculty in 1960 and continued to teach until his retirement in 1994. He died Dec. 22 in Appleton at age 88.
“Professor John Koopman influenced generations of Lawrentians and created our wonderful opera program,” said Kenneth Bozeman, emeritus professor of music who worked with Koopman for more than a dozen years and maintained a friendship through the years. “We are so grateful for the immense impact he had on our Conservatory.”
Koopman served for many years as chair of the Voice Department.
He forged a second career following retirement, becoming a widely published opera journalist, with his writings appearing in publications around the world.
It was his deep love of opera that brought him to Lawrence more than 60 years ago and set him on his journey to create an opera program within the Conservatory, an endeavor that has since grown into the robust and renowned program it is today, led for the past seven years by Copeland Woodruff, the first director of opera studies in the program’s history.
“In the pioneering spirit of John Koopman and his legacy at Lawrence University, especially in founding an opera ensemble, we are dedicating this academic year’s productions to his memory,” Woodruff said. “Having to invent the wheel, again, because of the pandemic, by delving into film techniques, we can only imagine what it must have taken to forge a new theatrical ensemble when Mr. Koopman started the journey. Opera Studies at Lawrence stands on the shoulders of this passionate, kind, and talented maverick.”
Koopman was preceded in death by his wife of 57 years, Elizabeth Jane (Hayes) Koopman, who, after retiring from public education, ran Lawrence’s sight-singing program for many years as an adjunct faculty member. He also was preceded in death by his daughter, Ann Koopman. He is survived by two sons, William and James, four grandchildren, and two great-grandchildren.
Nancy Marsh Stowe ’61, a beloved companion of recent years, said Koopman cherished his enduring relationship with Lawrence and the hundreds of students he taught and mentored through the years.
“Teaching was paramount for John, and he had a remarkable ability to connect with students, both personally and with regard to their voice development and potential,” she said. “He did not impose on them his vision for them, but encouraged them to find that for themselves and supported their choices.”
For those who worked with Koopman in the halls of the Conservatory, the memories are indelible. Bozeman called him “broadly educated, literate, erudite, and witty” and said sharing the stage with him was a joy.
“As a performer, John was a solid, stylish, serious singer, but also a hilarious comedic actor,” Bozeman said. “I both thoroughly enjoyed and benefited from performing with him in recital and concert. The prioritized attention he gave to expression, elegant diction, and compelling communication were exemplary for us all. His friendship, humanity, and wit will be fondly remembered and dearly missed.”
The family expects to hold a memorial celebration in Appleton later in 2021 and asks that if you wish to make a gift in John Koopman’s memory, please make it to the Lawrence Conservatory of Music.
Ed Berthiaume is director of public information at Lawrence University. Email: email@example.com
Lawrence University is celebrating the many artistic and academic contributions of Robert Below, a retired piano professor who taught in the Conservatory of Music for 32 years before retiring in 1996.
He died Dec. 16 at home in Albuquerque, New Mexico. He was 86.
Besides being a force in the classroom, Below is being remembered as a prolific performer and composer.
“Robert’s virtuosic abilities as both a performer and educator inspired generations of Lawrentians,” said Brian Pertl, dean of the Conservatory.
In the classroom, Below taught nearly 1,200 Lawrence students. His teaching included piano studio work and classes in music history, literature of music, theory-analysis, and chamber music, among others.
His son, Andy Buelow ’84, now the executive director of the West Michigan Symphony, was among the Lawrence students Below inspired. He said his father found a welcoming home when he arrived at Lawrence in 1964, something he never took for granted.
“The university’s commitment to liberal arts was something in which he believed strongly, both for himself and his students,” Buelow said. “He felt that broader studies that included art, literature, history, theater, and the sciences would help them become better musicians and well-rounded human beings. He encouraged them not to spend their entire four years holed up in the music building.”
Buelow said he twice took classes taught by his father, both in music history.
“This is a memory I will always treasure — the opportunity to experience first-hand his amazing skills as a classroom teacher,” he said. “We, of course, spent a lot of time listening to recorded musical samples, but I still remember the day we were exploring 20th century piano literature and he sat down at the piano, without preamble or warm-up, and played the Copland Piano Sonata for the class. It was an unforgettable moment for us all.”
In addition to teaching, Below performed on stages in Appleton and across the United States, as well as in Europe and Latin America. He performed often with Lawrence colleagues and appeared as a concerto soloist with numerous orchestras, among them the Fox Valley Symphony and the San Francisco Symphony.
He also composed more than 50 works, many of which have been performed through the years by Lawrence ensembles.
His numerous anthems, hymns, and other sacred works were used at his beloved All Saints Episcopal Church in Appleton. His choral music has been performed at his alma mater, the University of Louisville, as well as by the Lawrence University Concert Choir.
He was selected as the winner of the 1990 Milwaukee Symphony Orchestra Wisconsin Composers Fanfare Competition and he received the Distinguished Alumnus Award of the School of Music at the University of Louisville.
In his obituary, former student Priscilla Peterson Weaver ’68 spoke glowingly of Below’s commitment to music education.
“The combination of grace and artistry and humanity that lived in Robert and that he passed on in his trademark forceful manner to all his students was a joy to witness,” she said. “For those of us privileged enough to have Robert as a mentor, and not just an occasional teacher, the experience was a blessing of immeasurable worth.”
Below reveled in the arts, at Lawrence and elsewhere, the family said. Poetry, ballet, classical music, and jazz were sources of inspiration during and after his time at Lawrence, and he continued to play the piano into his final days.
He and his wife, Barbara, relocated to Albuquerque shortly after his retirement. She preceded him in death in May. Besides his son, he is survived by a daughter, Alison, of Albuquerque.
Ed Berthiaume is director of public information at Lawrence University. Email: firstname.lastname@example.org
At the end of a year that included more than 1,000 edited photos taken in and around the Lawrence University campus, I was tasked with selecting my top 10 images of 2020. Narrowing this rather unusual year down to 10 photos was a difficult task, but below you will find my favorites, along with notes on how and why. A huge thank you to all the students, faculty, and staff who allow me to step into their world both digitally and in person to make all of my photos happen.
1. Aerial Landscape, the Wellness Center, and Sampson House reflected just before sundown on Aug. 6. One of my goals this year was to try to show campus in new ways. I spent many hours this summer looking for different angles to reflect this beautiful campus. It wasn’t until I spotted a portion of Aerial Landscape reflected in nearby glass that I stopped and worked the angle of the reflection to get this result.
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2. Students dance during the Feb. 1 President’s Ball in Warch Campus Center. Thinking back to winter term, a favorite memory is the smiling faces at the President’s Ball. Covering the event was a bit of a technical challenge because of the low light, but like many assignments, it’s all about waiting in the right place for the right moment.
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3.Ryan Erdmann ’22 wears a mask while taking part in a Chamber Music class in City Park on Oct. 7. Mask-wearing quickly became a vital aspect of 2020, so I always kept an eye out for students who were using their masks to show off a little of their personality. It took nearly the entire class before I was able to get the light to fall in just the right spot for this photo.
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4. Kelvin Maestre ’21, a Makerspace assistant, watches as a laser cutter starts its work on a piece of wood on Jan. 22 in the Seeley G. Mudd Library. Having the chance to document the interesting work that students do is a highlight of my job. That often goes hand in hand with our 2 Minutes With series of student features. I knew the Makerspace would have lots of interesting light sources, so I went in looking to take an image that utilized one of them.
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5. Ghania Imran ’21 poses for a May 22 portrait in her Chicago home via Zoom. Speaking of our 2 Minutes With series, many of the photos I take for those stories are portraits. Spring Term brought new challenges for taking portraits of students. For this photo, I decided to try a portrait through Zoom. It involved lighting the laptop with two separate lights, help from Ghania to find a good spot in her home, and finally positioning the laptop for the right angle.
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6.Sonja Klusman plays the piano with Matt Turner, instructor of music, during an Applied Musicianship II class on Feb. 17 in Shattuck Hall. I always take into account the amount of time that’s available to me when I get to an assignment. Do I need to get a photo within five minutes or, in the case of this image, do I have the time to really explore different angles?
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7.Nicholas Jatta ’21 kicks a soccer ball with friends Oct. 6 on the Quad. During Fall Term, I spent a good deal of time looking to document what students were up to in this Honor the Pledge environment. Finding Nicholas kicking the soccer ball with friends was a pleasant surprise. Not only was the afternoon light falling beautifully on the Quad, but it had been a long time since I had the chance to photograph anything related to sports.
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8. The moon rises above Main Hall on Jan. 7. This image came together as I was nearing the end of a workday. While walking to Brokaw Hall from the Warch Campus Center, I noticed the moon was bright, and close enough the cupola to capture a photo.
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9. Nathan Graff ’22 and Daniel Johnson ’23 rehearse outdoors with the Jazz Ensemble on Oct. 7. After taking photos of an outdoor music class in City Park (see earlier entry), I decided to edit the images on Main Hall Green. Not long into my edit I heard the sounds of brass behind me. After getting a few images of the Jazz Ensemble students as they practiced, I noticed the shadows against the white chapel, so I reset myself and took this photo.
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10.Sophia Driessen ’22 transplants leafy greens while working on a hydroponics research project on Dec. 10 in the Briggs Hall greenhouse. This was the first time I took photos in the greenhouse. The purples and greens are what pull this image together for me.
It’s been a different sort of year. The COVID-19 pandemic certainly altered life on the Lawrence campus.
But one thing proved true. Lawrentians (and future Lawrentians and friends of Lawrence) are hungry to read about Lawrence and their fellow Lawrentians. We’ve dived into the analytics to share today the most viewed stories of 2020 on the Lawrence news site. (A few of the stories that placed in the top 20 are partnered here because they are so closely related.)
Eight alumni, eight stories: See 2020 edition here.
From voice professor John Holiday’s success on NBC’s The Voice to Lawrence again being hailed as a world-class school to adjustments made to campus life in the midst of a pandemic, there was no shortage of Lawrence news that drew a lot of interest. We provide here links to those most popular stories. Check out what you missed or take another look at stories that remind us of what makes Lawrence shine.
1. John Holiday hits big on NBC’s The Voice.
“There are people who dare to dream bigger than themselves; they never stop learning, never stop growing. I wanted to show my students what that looked like.” See stories here and here.
2. Princeton Review names Lawrence one of nation’s Best Impact schools.
“I see it and hear it when I meet with our alumni around the world. They point back to their time at Lawrence as unlocking something for them, discovering an interest or talent they didn’t know they had until they started working with professors here who helped guide them in that discovery.” See story here.
3. We say farewell to beloved Lawrentians.
“I will always remember Lifongo as the warmest, kindest, and most generous, joyful, and magnanimous of colleagues and friends.” … “I know many Lawrentians join me in remembering moments when Terry’s advice provided exactly what you needed to hear to be the best version of yourself.” See stories here and here.
4. Campus life changes amid COVID-19 pandemic.
“All of us living, learning, and working on campus this fall need to understand and to honor the responsibilities outlined by the Pledge.” See storieshereandhere.
5. A professor’s guide offers look at Freshman Studies.
“The entire list shows a remarkable range and an admirable ambition.” See story here.
6. New trestle trail adds to trails, parks near campus.
“The abandoned railroad trestle has been transformed into a 10-foot-wide trail that spans the Fox River at the southern edge of campus.” See story here.
7. Bidding good-bye for now to retiring faculty.
“You have served as a steadying force, stepping into a host of academic leadership positions that have lent stability in moments of uncertainty and grace in times of worry.” See story here.
8. Six faculty earn tenure.
“I’m absolutely delighted that their contributions are being recognized through the awarding of tenure and promotion, and look forward to continuing together our rich, rewarding work for years to come.” See story here.
9. Jake Woodford ’13 elected mayor of Appleton.
“It has been a pleasure to watch Jake’s energy turn toward the city he loves.” See story here.
10. Princeton Review names Lawrence to Best Colleges list.
“As we head into another academic year, albeit one that looks different from any other in history, it’s reassuring to see that some things have remained the same.” See story here.
11. President Mark Burstein announces plans to leave Lawrence.
“During Mark’s tenure, our curricular offerings became deeper and broader, applications and the endowment increased dramatically, and our community became more diverse, inclusive, and equity-minded.” See story here.
12. Lawrence offers assistance during pandemic.
“We have always risen to the challenges that face us with resilience and ingenuity.” See story here.
13. Conservatory named ‘hidden gem,’ adapts to life in pandemic.
“It’s beautiful, creative flexibility. We’re working with our students all the time to say, ‘This is what you’re going to need out there in the world, and this is what’s going to be exciting about being a musician in the world today.’” See story here.
14. Natasha Tretheway named 2020 Commencement speaker.
“Our journeys have been intertwined since I visited Lawrence four years ago, and I am delighted and honored to be able to reconnect with this class in such a meaningful way.” See story here.
“One of the really, really cool things about my time at Lawrence was that the boundary between the Conservatory and the college is pretty permeable.” See story here.
16. Lawrence adds major in Creative Writing, minor in Statistics and Data Science.
“We’ve seen more prospective students articulating their desire to focus directly on creative writing.” … “Data scientists are working with bioinformatics, genetics; it’s huge in economics, and it’s become a huge thing in political science.” See story here.
17. Four alumni added to Board of Trustees.
“At this critical moment for higher education, I couldn’t be more appreciative for the diverse group of individuals who are giving so much of their time and talent as trustees to ensure that the college continues to distinguish and differentiate itself.” See story here.
18. Alexander Gym court gets a redesign.
“While resurfacing was certainly a maintenance requirement, the fresh new design work is an added bonus.” See story here.
19. Our 2020 Alumni Awards are announced.
“While the COVID-19 pandemic has shut down the annual Reunion celebration, this year’s recipients are still being celebrated for their contributions to both the Lawrence community and the world.” See story here.
20. Alex Damisch ’16 cherishes her Jeopardy experience.
“After I taped the shows, I thought to myself, ‘Man, it went by so fast, and I was always so focused on my next move, I hope I remembered to smile.’ Spoiler alert: I did not.” See story here.
Ed Berthiaume is director of public information at Lawrence University. Email: email@example.com
John Holiday found a home three years ago with the Lawrence Conservatory of Music in Appleton. (Photo by Danny Damiani)
Story by Ed Berthiaume / Communications
As contestants on NBC’s The Voice scrambled to pull together family and friends for virtual watch parties on the show’s opening night, John Holiday had other ideas.
The voice professor in Lawrence University’s Conservatory of Music knew he was about to catch lightning in a bottle. He knew the coaches’ response to his performance of Misty was off the charts, and he knew there was a pretty good chance his world was about to explode. He also knew with whom he wanted to share that moment—his students.
So, as Holiday watched from his Appleton home as John Legend, Kelly Clarkson, and Gwen Stefani all turned their chairs and showered his performance with such overwhelming praise that he became the show’s immediate favorite, 10 of his students, connected by Zoom, hooted and hollered along with him and his husband, Paul, and their two house guests, Brian Pertl and Leila Ramagopal Pertl. They screamed when Legend called Holiday’s voice “otherworldly,” and again when a surprised Clarkson dropped the “I didn’t know you were a dude” line.
“One of the things I wanted to do in doing this show is to show my students what’s possible when you stretch yourself beyond what you think is possible,” said Holiday, an associate professor of music who has been on the Lawrence faculty since 2017. “There are people who dare to dream bigger than themselves; they never stop learning, never stop growing. I wanted to show my students what that looked like.”
In the more than two weeks since his audition aired, much has changed in Holiday’s universe, even though he, like most of us, remains mostly homebound in the midst of the coronavirus pandemic. He continues to teach during Lawrence’s Fall Term, but he’s doing so while juggling multiple media requests and a growing social media presence. His path as part of Team Legend, under the guidance of the iconic singer, is still very much a secret, but viewers will begin to see it unfold as the battle rounds begin in the coming days. The show airs Mondays and Tuesdays.
On campus, Holiday has become the frequent focus of conversation, a welcome respite amid the frustrations of a year dominated by COVID-19. In the Conservatory offices and halls, faculty and students have been leading the cheers. Alumni have been reaching out. Even other music schools have been calling with congratulations.
“There is a definite buzz around John’s performance,” said Brian Pertl, dean of the Conservatory. “Everyone is so excited that the rest of the world is hearing this remarkable voice.”
Holiday, a countertenor with the ability to hit the highest notes, made it to the televised blind auditions in front of the coaches—Clarkson, Legend, Stefani, and Blake Shelton—after being selected from among thousands of hopefuls who went through the open-call audition process. He said he opted to enter the TV fray in part because his busy performance schedule, mostly on opera stages, came to an abrupt stop when the pandemic shut down performances around the world.
The reaction was immediate
Holiday’s phone blew up as soon as his audition aired on Oct. 19. A clip from the show featuring his performance quickly drew more than 500,000 views, and posts on various media sites piled on the praise and dubbed him the favorite to win it all.
Success isn’t necessarily new to Holiday. He has performed on some of the biggest stages in the world, and in 2017 received the Marian Anderson Vocal Award from the John F. Kennedy Center for the Performing Arts and Washington National Opera, given to a rising star in the area of opera, oratorio, or recital repertory. He knows his way around applause. But this reaction was different.
“My social media has gone kind of bonkers,” Holiday said. “And that is absolutely something I was not expecting. I didn’t know people were going to receive it that way. In general, I’m a person who doesn’t read reviews. I think even if they’re great, sometimes it can get to a person’s head, and if the reviews are bad, they can make you feel bad. So, I tend to be a person who, generally, if I feel good about what I’ve done, I won’t read anything. I just kind of sit in the moment and reflect on what I felt was good and what I felt needed some work. But from the moment this came on, it was kind of hard to not see the things that were going on.”
Hannah Jones ’22, a voice student from Houston who came to Lawrence in large part because she wanted to work with Holiday, was on that Zoom call, watching with classmates through the two-hour episode in hopes of seeing the man they affectionately call Prof. For an hour and 50 minutes, there was nothing. Until they saw the boots.
“As soon as we heard and saw Prof’s heeled boots, every single square erupted,” Jones said.
The only shriek that was louder came from Holiday himself.
“The one thing that truly made this moment special is the fact that Prof shared this huge moment in his journey with us,” Jones said. “He could have easily shared this unforgettable moment with his close family and friends, but he chose us.”
Building to this moment
That journey Jones speaks of is one that’s been building for Holiday. What heights he reaches via The Voice, and what doors they open, have yet to be revealed. But the transition from rising opera star to a performer who lives in a more mainstream music world is one that’s very much deliberate. Holiday has frequently dabbled in jazz and gospel genres, and he said he’s long felt the urge to wade into more pop-focused opportunities. The pandemic shut-down and the arrival of a new season of The Voice provided the perfect storm.
“There are a lot of people who feel like opera is elitist,” Holiday said. “As an opera singer, I can understand that. But I also believe that it is not elitist. Opera is music that makes you feel things, the same way that Nicki Minaj might make people feel, the same way Smokey Robinson might make someone feel, the same way that Coldplay might make someone feel. Opera has that same ability. So, for me, the reason I also want to cross over is because I’ve always longed to be the bridge between opera and jazz and pop and gospel music.”
The 35-year-old Holiday grew up in Rosenberg, Texas, learning to play the piano and singing in his church choir, all with enthusiastic encouragement from his beloved grandmother, who he calls Big Momma. He would later join the Fort Bend Boys Choir of Texas, giving him his first introduction to classical music.
He held tight to family as he grew up amid frequent bullying. His high voice, now embraced, was often the source of ridicule from others, he said. He was harassed for being gay long before he knew in his heart that he is gay.
“I’m lucky to have my grandmother, Big Momma, in my life,” Holiday said. “She has been my biggest cheerleader.”
She was among the first to tell him that his voice was a gift, not a curse.
He went on to earn a Bachelor of Music degree in vocal performance from Southern Methodist University, a Master of Music in vocal performance from the University of Cincinnati College-Conservatory of Music, and an artist diploma in opera studies from Juilliard School.
He has since performed in operas—in four languages—at some of the most iconic venues in the world, from the Glimmerglass Festival to Carnegie Hall to the Kennedy Center. He’s performed with the Los Angeles Opera, Dallas Opera, Atlanta Symphony Orchestra, and Phoenix Symphony, among others.
About the time he was awarded the coveted Marian Anderson Vocal Award three years ago, the Washington Post called him “an impressive figure on an opera stage” and the New York Times hailed him as “an exceptional singer with a strong voice, even in its highest range.”
His left turn onto The Voice stage and into more mainstream circles isn’t out of character. He’s not running away from opera, he said. He’s simply drawing new fans to his journey.
“For me, I want to be able to change the narrative across the board and make opera more accessible,” he said. “Also make jazz more accessible because there are people who think jazz is far from opera, but it’s actually not. It’s very close to it.”
Holiday grew up singing gospel music and “hearing all the oldies and goodies.” Opera wasn’t something his family was initially drawn to. It wasn’t until he joined the boys’ choir that he gave much thought to classical music.
“It’s not something that was part of our fabric growing up,” he said.
Now, as he reaches his mid-30s and ponders new challenges, Holiday is looking toward those other musical influences. He understands that the ability to excel across the musical spectrum is a challenge with a high bar. He doesn’t want to shy away from it.
“I know that I am more than one-dimensional,” he said. “I feel like boxes are the death of art. … I want to go outside of the boxes in how people perceive the way I should sing. … For me, just singing opera, it would be inauthentic to who I am. I love opera in every fiber of my being. But I am also more than an opera singer. I am more than jazz. I am more than gospel. I am more than pop. Music is just a part of me. And I want to be able to give that in every single way that I can.”
Landing at Lawrence
When Lawrence’s Conservatory had an opening in its voice department in 2017, Holiday was immediately intrigued. He had worked a number of times with Lawrence alumni in his opera and symphonic performances. He knew the school’s strong reputation was legit. And he had gotten a taste of teaching while working with the Ithaca College School of Music.
A chance to teach at Lawrence while still juggling a busy performance schedule was the dream, Holiday said.
It didn’t take long, Pertl said, for that interest to be mutual.
“John’s material immediately stood out,” he said. “The video samples he submitted were stunning, so we were very excited about his application. When he came to campus, he sealed the deal. His live recital was so moving that most of us in the audience were in tears, and the wisdom, connection, and compassion he demonstrated in his teaching made him the perfect fit.”
Three years later, Holiday continues to mesh seamlessly within the talent-filled Conservatory. From the start, he was often on the road due to his performance schedule, but he quickly grew adept at doing voice lessons remotely, connecting with students from back stages or studio locations or hotel rooms. It’s a skill set that other faculty members tapped into in the spring when the pandemic sent students home for Spring Term and all classes and lessons went remote.
Holiday also serves as a de facto recruiter for the Conservatory while on the road, visiting high schools, particularly those that cater to the arts, whenever he can.
Jones, the third-year Lawrence student from Houston, said she first considered Lawrence after meeting Holiday her senior year when he visited her Kinder High School for the Performing and Visual Arts.
“He came to my school to do a masterclass with some of the students,” Jones said. “At the end of the masterclass, Prof sat down at the piano and sang a Negro spiritual, Over My Head, I Hear Music in the Air. I went up to him after the masterclass ended to express how amazed I was, and then he started speaking life into me and dismantling the unspoken doubts I had in my mind at the time. I remember bawling in the restroom and making the decision to go wherever Prof was. Prof is the reason why I am at Lawrence.”
Holiday doesn’t take those words lightly. It’s building that connection with students, making them understand what’s possible, making them believe in themselves, that gives him his greatest joy, he said. Allowing them to now see him being coached while competing on The Voice is one more piece to that puzzle. The teacher has become the student.
“I am not a coach, I am a teacher,” Holiday said. “And a teacher is someone who is teaching the science of the vocal anatomy. … How to breathe, how to stand, what it means to have good posture, what it means to have good vocal health, and how to navigate the complexities of the vocal apparatus. It is the most amazing gift to be a teacher and to inspire others to be the best of themselves and discover who they are meant to be in the world.
“And what is really beautiful to me is now being able to be in a position to show my students what it looks like for me to be taught and coached on the biggest of levels.”
Jones said she and other students are well aware that they have to share Holiday with the world. That’s always been the case, his performance demands being what they are. It may be even more so now that The Voice is introducing him to a wider audience.
“There have been a few times where we have had to remind Prof to not spread himself too thin,” Jones said. “But Prof’s ability to teach never wavers. We were having Zoom lessons long before the pandemic. … He pushes us to be better versions of ourselves. ‘You are your own competition’ is one of Prof’s signature quotes, and it’s a quote that has changed my life.”
Embracing what’s ahead
Now comes the next step on The Voice, a show that in its 19th season still draws an audience of nearly 8 million viewers. The coaches have established their teams. The battle rounds are set to begin.
For obvious reasons, Holiday can’t reveal what’s ahead. But he can say the experience of working with Legend was spectacular, and the opportunity to get to know and work with the other contestants was a beautiful experience.
He was in Hollywood filming the show earlier this fall, connecting with his students for lessons but unable to reveal where he was or what he was doing.
“I haven’t missed a step,” Holiday said. “All of my students have gotten all of their lessons, and I’ve just enjoyed it. They didn’t know what was going on, and, of course, I couldn’t tell them. I couldn’t tell anyone. My students are used to it. They’re used to me being on the road and teaching from the hotel or teaching from the studio where I’m at. I was teaching from the hotel room where I was staying in Los Angeles. That was an experience in itself, to be experiencing all these wonderful things and then also be teaching my students.”
Now, as the show progresses, he hopes his students will enjoy what they’re seeing—his commitment to the work and the music, even amid obstacles and challenges, his enduring love for Texas and his family, his attachment to Lawrence and his adopted home in Wisconsin, and his never-compromising eye for fashion. And he hopes other viewers looking on, 8 million strong, will share in the joy. After all, this is supposed to be fun.
“We’re living in such a time that can be devoid of hope and joy and peace, and I want to be able to give that with my music in every way,” Holiday said. “I don’t know if I succeed with that but I think that people who really connected with me can feel that. That’s my biggest hope and my biggest prayer.”
Ed Berthiaume is director of public information at Lawrence University. Email: firstname.lastname@example.org
During long walks over the summer, Leila Ramagopal Pertl ’87 and Betsy Kowal would talk at length about ways they could collaborate to dynamically connect Pertl’s Lawrence University music education students with Appleton youngsters whose classes had gone virtual amid the pandemic.
Pertl, an instructor in music education in Lawrence’s Conservatory of Music, and Kowal, the Conservatory’s specialist in community outreach, saw a need as overwhelmed elementary school teachers and parents grappled with the demands of online instruction.
They also saw a learning opportunity for their Lawrence students.
The resulting project, a series of live virtual music workshops in collaboration with the Appleton Public Library, debuted on Oct. 24 and will continue with two more this fall and another three or so in Winter Term. Called the Backyard Groove, the free workshops tap into culture bearers in the areas of mariachi, samba, and gamelan music to introduce a wider range of music to students in kindergarten through sixth grade, all wrapped in interaction and participation.
Sign-up for the 10 a.m. Nov. 7 and 21 virtual workshops can be found here.
The students in Pertl’s elementary performing arts methods class prepare the 45-minute workshops, create “grab and go” music kits that participating families can get from the library, and then deliver the workshops live on Saturday mornings.
“This pandemic has given us an opportunity to think differently,” Pertl said. “What are the ways in which we can think about online engagement? Can we use our screens creatively, can we get to every child in a way that allows them to not only perform music but make their own music?”
The project also was approached from the desire to incorporate antiracism into the instruction. How can the workshops speak to global music traditions that are alive and well here in the Fox Valley? That led to partnerships with I Dewa Ketut Alit Adnyana and Sonja Downing, Lawrence instructors in Balinese gamelan, Clarice Cast, an accomplished samba drummer from Brazil, and Nestor Dominguez ’14 and Jando Valdez ’24, who have each created mariachi programs.
“In our Lawrence music education class, we ask the question, ‘What is the music of our community?’ Pertl said. “We can’t know this until we open our doors, extend our hands to our neighbors, and listen. Right here in Appleton we have culture bearers from many global music traditions. When our students are learning to create inclusive and culturally responsive classrooms, they are learning to take a close look at who is in their classroom, and in our larger community, before designing curriculum; a curriculum that engages every child and for which a teacher must renew their sense of being a beginner again—to engage with new music traditions and model joy, curiosity, and respect.”
See more on Lawrence’s music education program here.
The mariachi session kicked off the workshop series. It’ll be followed by the samba workshop on Nov. 7 and the gamelan workshop on Nov. 21, with additional workshops to be scheduled in early 2021. Pertl said she’s hopeful the sessions will draw upwards of 40 screens each, perhaps more as word spreads and interest grows.
For Alex DeBello ’23, part of the mariachi group, the process of creating and then delivering the workshop was both educational and inspiring, for both the Lawrence students and the Appleton youngsters.
“It allowed us to share the beauty and richness of mariachi in a way that was just as vibrant and fun as it was informative,” DeBello said. “Not all of our workshop participants, or even us students who were tasked with creating this workshop, had a mariachi background, so it was an immensely powerful thing to be able to awaken so many minds to this intricate musical tradition.”
Moreau Halliburton ’22, also a student in Pertl’s class, understands how important it is right now for families to find those connections when children may be feeling particularly isolated.
“Music connects us all, no matter how far apart we are,” she said. “I worked with groups of children over Zoom this past summer and they all expressed their sadness in not being able to play and have fun with their friends. Having creative online spaces for children right now, like these online music workshops, provides a safe space for children to come with their families, dance, sing, and meet new friends.”
The library was excited to join forces with Lawrence and reach out to area families looking for those opportunities, said Kowal, who is working with library staff to facilitate the workshops.
“The Backyard Groove is an opportunity to celebrate and uplift the many ways that folks in our community make music,” she said.
The workshops are giving the Lawrence music education students a chance to do what they love—making music and sharing their love of music with kids. DeBello said seeing “everyone’s smiling faces” on the day of the workshop was a huge boost during a difficult time.
“We’re still learning, singing, moving, and dancing despite all that this year has thrown at us,” she said.
In addition to the workshops, the Lawrence students are creating video resources that Appleton teachers—and those in other districts who show interest—can then use in their online teaching. The pandemic has forced music teachers to explore different ways to reach elementary school students, and turning loose the creative minds of Conservatory students to tackle that challenge has been exciting, Pertl said.
“It’s one way our students can engage in responsive classroom creation, foster professional relationships, and serve the community; all skills needed for impactful teaching” she said. “As usual, it’s a complete joy to hand the Lawrence pre-service teachers this project and see the many different ways they come up with its expression.”
Ed Berthiaume is director of public information at Lawrence University. Email: email@example.com
On a crisp, clear October afternoon, with fall foliage painting a backdrop of blended oranges, yellows, and purples, music can be heard drifting across the Lawrence University campus.
Patty Darling is leading the Jazz Ensemble’s horn players through an outdoor rehearsal on the lawn east of the Music-Drama Center. Nearby, on the steps outside Shattuck Hall, percussion student David Pickar ’23 is quietly strumming an upright bass, working through the particulars of a methods class. A block to the north, Loren Dempster and two of his chamber music students are going through chord progressions and other lessons under the open skies in City Park.
Inside the Music-Drama Center, meanwhile, in a space reconfigured for social distancing and with musicians masked up, you can hear Andrew Mast as he guides the Wind Ensemble through its repertoire, with in-person students and those on Zoom connected in real time.
Elsewhere in the center or in the adjoining Shattuck Hall or on the stage of Memorial Chapel, on any given day this fall, you might find jazz, choir, band, and orchestra ensembles in full rehearsal mode, cameras and large video screens providing a communal music experience for both in-person students and those participating remotely. You might find opera instruction in full flight. You might find a voice student in a studio space, connected virtually with professors John Holiday or Estelí Gomez for a one-on-one lesson. You might find a music education class in conversation virtually with a Brazilian samba drummer in California or a mariachi player in Chicago as they collaborate on lessons to be shared with Appleton Area School District students.
Alumnae, students collaborate on masks for musicians. Read more here.
Yes, the COVID-19 pandemic has presented many challenges during this unusual and often awkward time, but the music in the Lawrence Conservatory of Music, thanks to a full-on commitment to technology, innovation, and flexibility, is very much alive. Conservatory faculty have found creative ways to safely educate and motivate student musicians, on campus or scattered around the world.
“While creating music distantly is not the same as playing together in person, Lawrence has worked very hard to find ways for us to create music with one another,” said viola player Courtney Wilmington ’21, a neuroscience and music education double major who is studying remotely from her home in Vancouver, Washington.
It’s been an evolving process. Tapping into lessons learned when students were sent home for distance learning during Spring Term, the Conservatory set out over the summer to re-imagine its music offerings during a Fall Term that has roughly 25% of Lawrence students studying from afar. Particular focus was put on the ensembles, a huge part of the Conservatory’s music experience and one that is difficult to replicate when not everyone is in the same room.
“There was a real worry coming into this about what would happen with ensembles,” said Brian Pertl, dean of the Conservatory. “If the student stays home, what sort of ensemble experience will they have? We said, ‘Why can’t we use our technology to bring our distance students into our actual rehearsals so they can participate and feel like they are a part of this experience instead of sitting alone in their room recording a cello track? And how can we create an actual community of music-making no matter where the students are?’”
More than anything, that sense of community was at the forefront of Fall Term planning, faculty members said. It’s key not only to maintaining the Conservatory’s high-level music education but also to supporting the well-being of students—music majors or otherwise—who live with a deep desire to make music together.
“While the way we are creating music is different and sometimes awkward right now, it still gives us the chance to share this experience, work toward common goals, and be together,” Darling said.
Charting a new course
Ensemble directors—among them, Matthew Arau, Mark Dupere, and Mast with orchestras and bands, Stephen Sieck and Phillip Swan with choirs, and Jose Encarnación and Darling with jazz—spent much of their summer focused on how they could make the ensemble experience both robust and safe, exploring everything from air filtration systems to proper masking to creative use of shared spaces.
Audio recording engineer Brent Hauer, video recording assistant Alvina Tan, and ITS staff helped set up ensemble spaces that feature one camera focused on the director and one that encompasses the full room. Virtual students can see and hear the in-person musicians and the director’s guidance while the in-person students and director can interact with students who are virtual on video screens.
The virtual students can play along, although they need to have their audio muted because Zoom technology can’t quite sync the sounds in real time. But the instruction and the unity of playing together remains. Eventually, the students who are virtual will record their parts to be added into final recording projects via the handiwork of Hauer and Tan.
“We were looking to come up with a really creative way to keep students engaged,” Arau said. “One thing that became really important was to find a way to have the unity and spirit of togetherness that happens in an ensemble, even though we’re apart. I kind of had this theme in my mind—‘Lawrence, Together!’ My biggest concern was there would be two independent streams. There would be the online students and the in-person students and they would feel so separate from each other, and possibly doing totally different things. So, it was important to find a way that the students who are online still feel connected to Lawrence and particularly to the ensembles.”
Mission accomplished, and not just in the ensemble rehearsals, Wilmington said.
“I think the most successful way we have that connection is through the breakout room feature on Zoom,” she said. “When there are only two or three other students in a breakout room, you are able to unmute and perform for each other, to get real-time feedback. This has been really helpful in my woodwinds technique class, where we can go into breakout rooms and play scales together or get feedback on our playing from peers.”
Every area of the Conservatory has made online engagement a focal point during the pandemic. Some of that involves the work with ensembles. But there’s also peer-to-peer collaborations, student-faculty interactions, and virtual recording projects. Other initiatives encompass community outreach, whether with Appleton secondary school students or with area nonprofits.
“The pandemic has been unusually hard on choirs—big gatherings of people who all share the same air,” Sieck said. “But we’re doing some innovative things.”
He pointed to mixing modalities so that eight or nine singers are live while the rest join online, then using software to combine individual recordings into a full choir. He has students exchanging performance videos with music students across the Appleton Area School District. Cantala, a women’s choir, is working virtually on a 19th Amendment project with other women’s choirs, and another choir, the Hybrid Ensemble, is creating an American songbook album for hospice patients and retirement homes in the Fox Valley.
“This is not the way we would have imagined a celebrated conservatory choral program working a year ago, but our students are making it work,” Sieck said. “Lawrence students need to sing. They need a place to let their voice soar or dissolve into an impossibly quiet chord. They need the connection, vulnerability, challenge, and electricity of music-making. And not just the approximately 100 students who study voice as part of their major in the Conservatory, but also biologists, computer scientists, and historians. Choir becomes a home away from home for so many Lawrentians.
“No, we can’t sing Beethoven’s 9th Symphony with 200 singers and 100 instrumentalists sharing the stage right now, but we can always sing.”
Cantala’s focus on the 100th anniversary of the 19th Amendment mixes music collaborations with contextual lessons, Swan said.
“We’re having lively discussions about what it means to have the right to vote, the importance of equity, and the opportunity and responsibility of voting,” he said. “We’re watching the Ken Burns documentary, The Vote, providing us with a better contextual understanding of voting rights and privileges for women. Our repertoire focuses on the theme, ‘We Rise by Lifting Others.’ Texts include writings by Susan B. Anthony, words of empowerment by a Chicago-based female ensemble, poetry by Georgia Douglas, and an encouraging closer, Still I Rise, by African-American composer and conductor Rosephanye Powell.”
Cantala is partnering with Appleton East High School Chamber Singers and Belmont University Women’s Choir on the project.
The Jazz Band, meanwhile, is working remotely on a set of recordings, and the Jazz Ensemble is meeting with groups of four to five students at a time—the horns group rehearsing outside whenever possible—with plans for joint recordings by the end of the term.
“Playing music together, however we do it, is helping us stay connected during these incredibly difficult times,” Darling said. “That is of utmost importance.”
Outreach close to home
Music for All, an ongoing Conservatory initiative that brings live music into the community, is continuing virtually during the pandemic. It’s part of wider efforts to keep music outreach, a key piece of the mission of the Conservatory, active during the pandemic, even if it has to be via technology. That’s something that Wilmington said she and other students are excited about.
“We will be able to submit video recordings for performances all around the Appleton community, such as at Riverview Gardens and Harbor House,” she said. “We will attend the events live through Zoom to introduce our recordings. … It allows for the feeling of community and sharing to be maintained despite the distance.”
Swan, meanwhile, said his Hybrid Ensemble, which explores a variety of styles and genres, is doing outreach with area retirement communities as it works to create a special collection of music.
“We will be rehearsing repertoire during the next two terms, based on our research outcomes,” he said. “Our plan is to interview residents, develop relationships, and compile a recording at the end of Winter Term that reflects a diverse selection of repertoire, suggested by these elderly partners. We’re hoping this final recording will provide entertainment, joy, and encouragement to our elderly population.”
Virtual concerts also are in play this term. And energies that otherwise would have gone into the Conservatory’s annual spring Presto! music tour are now being directed toward music outreach closer to home, Pertl said.
Through it all—the virtual concerts, the ensemble collaborations, the creative use of music spaces, the community projects—the thread of innovation and adaptation blends with the need for engagement and growth. Different, yes. But the music and the mission live on despite the difficulties of the pandemic.
“I’m excited that we’re actually looking at technology and its possibilities and not just focusing on what we can’t do,” Pertl said. “Instead, we’re saying, ‘What can we do?’ I think that’s a very Lawrencey thing. We’re trying to teach our students to be creative and innovative and be problem-solvers. It’s OK, we know this pandemic is here. What are we going to do to not only make the best of it but maybe do something no one else has ever done before?”
Dan Sparks, a professor in the Lawrence Conservatory of Music from 1962 to 1994, is being remembered for his deep contributions to the Lawrence and Appleton communities, from his musical talents to his willingness to share his wisdom and creativity with others.
He passed away Sept. 4 at age 89.
Sparks was a vital part of the Conservatory for three decades, teaching, mentoring, and, for a time, overseeing Conservatory admissions.
After completing military service in the 29th Army Band as the principal clarinetist and assistant conductor, Sparks started his college teaching career at Jackson State University in Alabama. He then made his way to Lawrence in 1962.
It proved to be an ideal fit, and he would call Lawrence home for the next 32 years.
In addition to teaching clarinet, he taught music theory, form and analysis, and music history. He was a member of the Lawrence Faculty Woodwind Quintet and a founding member of the Fox Valley Symphony.
“All my memories of Dan, whether in department meetings, casual hallway encounters, or performing chamber works together, are filled with his kindness, his non-judgmental character, his ego-less professionalism, and his thoughtfulness toward everyone around him,” said percussion professor Dane Richeson, who joined the Conservatory faculty in 1984.
Kenneth Bozeman, professor emeritus of voice, said Sparks brought warmth to every interaction.
“Dan was a gentle, patient man, a lovely clarinetist,” Bozeman said. “I never saw Dan riled about anything, though like all of us, he probably had opportunities for that. He was a soothing presence.”
Born in Louisville, Kentucky, in 1931, Sparks fell in love with music and went on to attend the Cincinnati Conservatory of Music, where he received both his Bachelor of Music Degree in clarinet performance and his Master of Music Degree in clarinet performance and form and analysis. He continued his studies at the Juilliard School of Music, and finished all of the coursework for a Ph.D. in Musicology at the Eastman School of Music.
Besides being a stellar music instructor, Sparks was known to be an excellent chef and entertainer. His dinner parties were legendary, as were his yearly recitals, billed as Dan Sparks and Friends.
“Dan positively impacted the lives of hundreds of students and colleagues,” said Brian G. Pertl, dean of the Conservatory. “He helped our Conservatory become what it is today.”
The ranking is music to the ears of Conservatory Dean Brian Pertl as he and his team launch into a Spring Term like none before. As are professors in departments across campus, the Conservatory faculty have taken up the challenge of keeping the community aspect of the Lawrence experience intact while shifting to distance learning amid the COVID-19 pandemic.
For more on the Lawrence Conservatory of Music, see here.
Lawrence professor launches national fundraiser for artists shut down by COVID-19. See details here.
Tears were shed when word first came down that Lawrence, like other colleges
and universities across the country, would be quickly transitioning to virtual
instruction during the spring, Pertl said. But the conversation among faculty shifted
almost immediately to ways in which the learning experience could still be
marked with close faculty-student interactions, community building, and
opportunities to tap into skills that will be in demand in the music world
What’s happened over the past four weeks – Spring Term began Monday following Winter Term finals and a two-week spring break – has been nothing short of amazing, Pertl said.
In the horns studio, Assistant Professor of Music Ann Ellsworth has taken her practice of group warm-ups each morning in Music-Drama Center 163 and transformed it into a daily Zoom session with her horn students. And she’s invited prominent horn makers and horn players from around the globe to interact with her students via Zoom masterclasses.
“So, horn makers from the U.S. and horn players from
places like the Metropolitan Opera Orchestra and at least one from Germany will
be Zooming in to speak to her horn students,” Pertl said. “It’s sort of taking
advantage of this opportunity that a lot of these great musicians in the world
are stuck at home, too. They are actually eager to interact with students.”
Trombone professor Tim Albright is working on a virtual trombone ensemble project, recording Charles Ives’ Variations on America, arranged by Lawrence alumus Dominic Ellis ’17. Trombone students will be recording their parts remotely, and the music will be stitched together on campus, thus keeping the trombone ensemble alive, just in a different setting.
Assistant Professor of Music Matthew Arau, who is teaching a rehearsal techniques class for music education, is partnering with middle and high school music programs in Malaysia, led by Lawrence alumnus Dan Miles ’10, and Hong Kong. Lawrence students will direct those music students from afar.
A number of student music groups, most notably in the
jazz and improvisation area, will be exploring live improvisation in virtual
spaces, performing together even though they are spread across the country or
around the world.
Students preparing for junior or senior recitals are re-imagining what those recitals might look like. While some remain on campus and will stream recitals from Harper Hall, others are prepping for remote recitals that incorporate elements and skills that might not otherwise have been considered, including turning a recital into an animation-infused music video.
“All of sudden our students, instead of throwing up
their hands and being dejected or saying, ‘I can’t,’ they’ve taken up the
challenge, and they’re saying, ‘I can, and not only can I, I am going to do
something that is going to push my boundaries,’” Pertl said. “They’re redefining
what a recital can be.”
Staying flexible and staying connected are front and
center as faculty and students venture into these uncharted waters.
“It’s beautiful, creative flexibility,” Pertl said.
“We’re working with our students all the time to say, ‘This is what you’re
going to need out there in the world, and this is what’s going to be exciting
about being a musician in the world today.’ And they are going to be taking all
of these forward-thinking practices, and they’re just going to be doing them,
which is a sort of neat and beautiful thing.
“Is it ideal? No, it’s not ideal. Nobody wanted this to happen. But can we make the very, very best of this and come away with skills and knowledge that we wouldn’t have otherwise had to acquire, but skills and knowledge that will be beneficial for our students once they leave here?”
Ellsworth said her daily warm-up sessions with horn students
might seem like a small thing, but it’s that sort of personal connection that
students most feared would be lost.
“I ask everyone to mute themselves and then choose one student for each exercise to unmute so we can all hear that one person,” Ellsworth said of the sessions. “I play a short exercise from our routine and they all repeat it after me. The purpose of the group warm-up for horn is that half of the benefit is getting the mouthpiece off the face in-between exercises; it slows us down, prevents injury while we’re still cold, and sets us up for the rest of the day.
“But it turns out the real purpose for distance group warm-up is the time after our 45 minutes of playing, when I leave the room but leave the meeting running. I tell them they can hang out or not and that I’ll be back in 20 minutes, and I’ll come back and they are still there, hanging out, talking about student stuff. We had a prospective student join one meeting and I left them there to get acquainted because they can’t come to visit the campus. It’s super productive.”
There are dozens of other examples of collaboration and
creativity taking place across the Conservatory as Spring Term gets rolling,
Pertl said, all of which speaks to the ideals that landed Lawrence on the
“hidden gems” ranking in the first place.
Ed Berthiaume is director of public
information at Lawrence University. Email: firstname.lastname@example.org
University Assistant Professor of Music Andrew Crooks has helped launch an
online fund-raising campaign that has already brought in more than $237,000 to
assist musicians and other artists across the United States who are struggling because
of the COVID-19 crisis.
Artist Relief Tree (ART) was started earlier this month as music venues began to close and performances and tours were canceled, putting many artists out of work. The web site, www.artistrelieftree.com, received more than 3,500 requests for help in its first four days.
While it started
with a goal to raise $10,000, organizers have now reset the target at $1
not in salaried, stable positions, the shutdown of performances on such a massive
scale is heartbreaking, Crooks said in an email interview from his native New
Zealand, where he is hunkered down to teach remotely during Spring Term.
“It is very
painful to bear witness to these stories, both through Artist Relief Tree and
via social media, as well as via more personal communications with friends,” he
said. “There is extreme anxiety in the arts community, and we wanted to offer a
little help, a little hope, and as much sense of community and solidarity as we
could possibly muster.”
Crooks, who serves as a vocal coach at Lawrence and was the music director for the Conservatory’s Winter Term production of The Marriage of Figaro, teamed with a handful of other artists from around the country to form ART.
4 ways Lawrentians can pitch in, stay connected amid COVID-19 crisis: Details here.
performers and authors have since jumped on board with endorsements, among them
Russell Brand, Brene Brown, Ani DiFranco, Brian Eno, Ben Folds, Rhiannon
Giddens, George R.R. Martin, Mike Posner, and Lawrence’s own John Holiday.
The process works like this: An artist in need can request funds, with a requirement to provide some basic documentation about their work. On a first-come-first-served basis for those who qualify, ART will provide a financial assist. Monies began going out on March 18.
going to sustain anyone long term. But it’s an effort to help a community that
is reeling, to embrace a sense of togetherness among artists, and to raise
awareness along with dollars, Crooks said. Many of these artists who were lined
up to perform in some of the world’s great opera houses and other performance
venues have no fallback. In many cases, no performance, no paycheck.
It was a team of six artists and arts administrators, all tied to the world of opera, who launched the project, Crooks said. He and Morgan Brophy, of Wolf Trap Opera, have served as co-founding-directors. The organizers are all working as volunteers.
poured their hearts and souls and time into this passion project,” Crooks said.
“They all care so, so much … about their artistic friends all over the world.”
Lawrence, the efforts are drawing applause across the Conservatory.
be more proud of our remarkable faculty,” Dean of the Conservatory Brian Pertl
said. “This is such a great example of turning compassion into action, which is
exactly what we want to model for our students.”