Dr. Kristin Eder, mezzo-soprano, has appeared as a guest soloist with organizations such as the Tallahassee Symphony Orchestra, the Toledo Symphony, the Illinois Symphony Orchestra, the Bozeman Symphony, the Oakland Choral Society, and the Adrian Symphony.  She has also performed with Arbor Opera Theatre, The Metropolitan Baroque Ensemble, the University of Michigan Opera Theatre, and the Blue Lake Summer Arts Festival.  Dr.. Eder’s operatic roles include Hansel in Hansel and Gretel, Jo in Little Women, the title role in Gluck’sArmide, Dido and the Sorceress in Dido and Aeneas, Marcellina in Le Nozze di Figaro,Mercedes in Carmen, and Florence Pike in Albert Herring. 

​In May 2011, Dr. Eder completed her doctorate in vocal performance at the University of Michigan, where she also received Master’s degrees in vocal performance and choral conducting.  As a graduate student, she conducted the University’s Orpheus Singers and Residential College Choirs, and she received the honor of conducting in master class with Helmuth Rilling.  Additionally, she made solo vocal appearances with every major choral and orchestral ensemble on campus, performed in recital with Martin Katz, and was chosen to sing in master classes with Jessye Norman and David Daniels.

​ In September of 2014, the NAXOS label will internationally release a recording of the University Musical Society’s performance of Milhaud’s Oresteia of Aeschylus, featuring Dr. Eder in the role of Electre.  Fall 2014 will also mark her debut with Michigan Opera Theatre as Dritte Magd in Strauss’ Elektra.  The rest of her 2014-2015 season includes performances of Mozart’s Grand Mass in C Minor, Handel’s Esther and Messiah, Bach’s B Minor Mass, and Beethoven’s Ninth Symphony. 

Dr. Eder resides in Canton, MI with her husband and two young daughters. She teaches in the voice departments at the University of Michigan and Adrian College.  Former students of Dr. Eder’s have gone on to perform lead and supporting roles in Broadway and Off-Broadway shows and on national tours, and to pursue graduate studies in opera. 

Kyle Erdos-Knapp, Tenor

With over 25 major roles to his credit in his young career, Kyle Erdos-Knapp is rapidly becoming known as one of the most exciting and versatile young tenors on today's opera scene. With a repertoire that ranges from early music to operetta and from musical theater to the most strenuous bel canto roles, Kyle has received numerous awards and acclaim for his "shiny, sizable tenor" (Opera News) and remarkable acting ability. 

​Kyle received his formal training at the Eastman School of Music and the University of Michigan, and began his career as a member of the inaugural season of the Wolf Trap Opera Studio. He went on to become a leading tenor with the Ohio Light Opera, playing ten major roles over three seasons, three of which (Nanki-Poo in The Mikado, Bunthorne in Patience, and Verrada in John Philip Sousa's El Capitan) he recorded for the Albany Records label. 

​After completing his studies, Kyle sang the roles of Tebaldo in I Capuleti e i Montecchi and Remendado in Carmen with the Crested Butte Music Festival, as well as covering Tonio in La fille du régiment as a Gerdine Young Artist at Opera Theatre of Saint Louis. In 2012, Kyle returned to Saint Louis as Tobias in Sweeney Todd conducted by Stephen Lord, opposite baritone Rod Gilfry andabout kyleTony-winner Karen Ziemba, a stunning debut which Opera Today called "the kind of masterful performance against which all future interpretations should be judged." Following his success in Saint Louis, Kyle participated in the Young Artist Program at Palm Beach Opera, where he gave a "standout performance ... reminiscent of Peter Pears" (South Florida Classical Review) as Peter Quint and the Prologue in The Turn of the Screw. 

​Kyle has sung under the batons of Stephen Lord, Martin Katz, Michael Borowitz, Kenneth Kiesler, Benton Hess, and many others, and has worked with directors such as Jim Robinson, Ron Daniels, Douglas Scholz-Carlson, and Robin Guarino. He is a three-time prize winner of the Metropolitan Opera National Council Auditions, as well as the recipient of the Elihu Hyndman Award from Opera Theatre of Saint Louis. Other favorite roles include Nemorino in L'elisir d'amore, Paris in La belle Hélène, Pylade in Iphigénie en Tauride, and the title role in Lehár's The Count of Luxembourg. A passionate lover of early music, Kyle has performed extensively with Grammy-winning lutenist and conductor Paul O'Dette, including Testo in Il Combattimento di Tancredi e Clorinda and the title role in Lully's Thésée. Kyle is also an accomplished pianist and occasionally moonlights as an accompanist, coach, composer, and arranger.

Bright Sheng, Piano/Composer

Pius Cheung, marimba

Alaskan born conductor, Elliot Moore, began his conducting studies at the Conductors Retreat at Medomak with Maestro Kenneth Kiesler and was subsequently invited to be his assistant at the Manhattan School of Music for two years where he prepared diverse repertoire for the orchestras including Stravinsky’s 'Rite of Spring', Respighi’s ‘Pines of Rome’, and Beethoven’s Seventh Symphony. Elliot later received his Doctor of Musical Arts degree from the University of Michigan in April 2013, where he was a Graduate Student Instructor and recipient of the Helen Wu Graduate Conducting Fellowship.   

Mr. Moore has served as cover/prep conductor to distinguished maestri such as John Nelson, Philippe Entremont and Alondra de la Parra and is on the list of cover conductors used by the Detroit Symphony Orchestra. In 2011, Moore made his debut with the National Arts Centre Orchestra in Ottawa, Canada as part of the Summer Music Institute Conductors Program, led by Pinchas Zukerman.He has gone on to conduct the Orquesta Filarmonica Jalisco (Mexico), Baltimore Symphony, Canadian Chamber Orchestra of New York City, and Sewanee Symphony Orchestra.  

Elliot’s versatility allows him to feel equally at home conducting the symphonic and operatic repertoire. In 2010, Moore made his operatic debut conducting the world-premier performance of Ursula Kwong-Brown’s A First of Love at Columbia University’s Miller Theatre in New York City. He has also been seen leading the University of Michigan Opera Theatre in their productions of Verdi’s Falstaff and Strauss’ Ariadne auf Naxos. 

​In addition to conducting, Mr. Moore has an interest in languages, is a certified Feldenkrais practitioner and is an award-winning cellist. He has been seen performing as both chamber musician and soloist in Italy, France, Germany, Switzerland, Brazil and the United States. 

​Elliot is currently the Associate Conductor of the Canadian Chamber Orchestra of New York City, Music Director of the Detroit Medical Orchestra and interim Assistant Professor at the University of Michigan where he leads the Contemporary Directions Ensemble.
 
Dubbed a “neo-Romantic marimba virtuoso”, Pius Cheung is widely known as a master soloist on his unusual instrument. His brilliant CD of Bach’s Goldberg Variations was written about in a feature story in The New York Times, which praised not only the technical feat of performing the intricacies of this keyboard work with 4 mallets, but also expressed admiration for his “deeply expressive interpretation, notable for its clear voicing, eloquent phrasing and wide range of color and dynamics.” The CD has been broadcast throughout the US and Canada on NPR and CBC Radio. 

​His second CD, Symphonic Poem, presents Cheung’s own compositions, and was released at the Percussive Arts Society International Convention in 2009. As a composer, Mr. Cheung’s Three Etudes won First Prize in the Classical Marimba League’s Competition in 2007. He has also composed a Concerto for Marimba and String Orchestra, and collections of preludes, etudes and sonatas. He served as a judge for the 50th Percussive Arts Society Composition Competition. 

​Mr. Cheung’s exciting engagements this season include an appearance as concerto soloist with the Hong Kong Philharmonic Orchestra performing “Colours of Crimson” by Bright Sheng. He gives a solo recital at the prestigious Morgan Library and Museum in New York. Other concerts are in NYC’s Washington Square Music Festival, at the Library of Congress in Washington DC, and the Manchester Music Festival (VT). 

​After winning the 2008 Young Concert Artists International Auditions, Mr. Cheung made his New York solo recital debut in the Young Concert Artists Series at Carnegie’s Zankel Hall, his Kennedy Center debut in Washington, DC, and at the Isabella Stewart Gardner Museum in Boston. As recipient of the Usedom Music Festival Prize, he was engaged to perform at that Festival in Germany. 

​Mr. Cheung has appeared as concerto soloist with the Philadelphia Orchestra as winner of their annual concerto competition at the Kimmel Center, performed Creston’s Marimba Concerto with the Simon Sinfonietta (MA) and with the British Columbia Chamber Orchestra and Vancouver Metropolitan Orchestra in Canada. He has performed marimba recitals at the Boston Public Library, the University of Georgia, the Colonial Theatre (MA), The Paramount Theatre (VT), Jordan Hall in Boston, at Stratford Summer Music in Canada, in Denmark, Croatia, and at the Hong Kong Arts Festival. 

​An inspiring teacher to young percussionists, Mr. Cheung has given Master Classes throughout the U.S including NYU, the Juilliard School, and the Curtis Institute of Music, the Amsterdam Conservatory, and the Paris Conservatory. 

​Mr. Cheung moved from his native Hong Kong to Vancouver at the age of 12. He received his Bachelor of Music from the Curtis Institute in Philadelphia, his Artist Diploma from The Boston Conservatory, and his Doctorate from the University of Michigan. Mr. Cheung currently holds the post of Assistant Professor of Percussion at the University of Oregon. He is a Yamaha Performing Artist and Innovative Percussion Artist. 
Bright Sheng is a composer, conductor, and pianist. In April of 1999, Mr. Sheng received a special commission from the White House to create a new work for a state dinner, hosted by the president, honoring the Chinese Premiere Zhou Rongji. In October 2001, Bright Sheng was named a MacArthur Fellow with a cash prize of $500,000.

Professor Sheng's music has been widely performed throughout the world by such prestigious groups as the New York Philharmonic Orchestra, Chicago Symphony, Cleveland Orchestra, Boston Symphony Orchestra, Philadelphia Orchestra, San Francisco Symphony, Los Angeles Philharmonic, St. Paul Chamber Orchestra, Lyric Opera of Chicago, Houston Grand Opera, Santa Fe Opera, Royal Concertgebouw Orchestra, BBC Symphony Orchestra, National Symphony of Russia, Slovenian Radio & TV Symphony, Tokyo Philharmonic Orchestra, Seoul Philharmonic, Hong Kong Philharmonic Orchestra, China National Symphony, Orchestra of National Opera of Greece, among others; and with distinguished musicians including Leonard Bernstein, Christoph Eschenbach, Kurt Masur, Charles Dutoit, Leonard Slatkin, Gerard Schwarz, David Zinman, Hugh Wolff, Jahja Lin, Sakari Oramo, Muhai Tang, Carl St. Clair, Shui Lan, Yo Yo Ma, Emanuel Ax, Peter Serkin, Yefim Brofman, Evelyn Glennie, Lynn Harrell, Richard Stoltzman, Edgar Meyer, Truls Mork, and Lauren Flanigan.

Professor Sheng has appeared as solo pianist and conductor with the San Francisco Symphony, Detroit Symphony, Seattle Symphony Orchestra, Grand Rapids Symphony Orchestra, St. Petersburg Philharmonic Orchestra (Russia), Hong Kong Philharmonic, Hong Kong Chinese Orchestra, and China National Symphony,among others, and has appeared at Carnegie Hall, Kennedy Center, and Lincoln Center for the Performing Arts, and the Tanglewood Music Center. He has also collaborated with such eminent ensembles and individuals as the Emerson Quartet, Takacs Quartet, Shanghai Quartet, St. Petersburg Quartet, Colin Graham (librettist and stage director), Jude Kelly (stage director), Ong Keng Sen (stage director), David Henry Hwang (playwright/librettist), Andrew Porter (librettist), Helgi Tomasson (choreographer), Peter Martins (choreographer), Christopher Wheeldon (choreographer), and Will Tuckett (choreographer).

In addition to many national and international awards, Mr. Sheng has received fellowships and awards from the National Endowment for the Arts, American Academy and Institute of Arts and Letters, Guggenheim Foundation, Rockefeller Foundation, Naumberg Foundation, Copland Foundation, Michigan Arts Award and a Rackham fellowship and a fellowship from the Institute for the Humanities from the University of Michigan.
​ Mr. Sheng's music is exclusively published by G. Schirmer, Inc. and records on the Sony Classical, Naxos, Telarc, Delos, Koch International, New World, and Grammofon AB BI labels.
​ Among his important teachers were Leonard Bernstein, George Perle, Hugo Weisgall, Chou Wen-Chung, and Jack Beeson.​

Blue Period EnsemblE

Elliot Moore, Music Director

Kristin Eder, Mezzo-Soprano

Elliot Moore, Conductor