Cost Estimates

Living Costs
Residence Hall $750
Security Deposit $100 (refundable)

Meal Plan
All meals (3 meals/day for length of program) $1,110

Instructional Costs
(includes full instruction costs, fitness center membership, registration fee, and gate ticket)
Voice Program $3,115

TOTAL: $4,975

*These costs are official as of September 1, 2018 but are subject to change.

Deposits

Two deposits are required within seven days of admission into one of Chautauqua’s programs. Upon admission to the program, a non-refundable placeholder or tuition deposit of $500 guarantees the student’s scholarship award, if any, and a place in the program. An additional security/music deposit of $100 is required of all students, including those on full scholarships. This deposit guarantees a student’s housing and is used to defray the cost of damage to dormitories or loss of or damage to other property and is refunded after September 15 upon inspection of room and returned music, etc.

 

Marlena Kleinman Malas

0715 marlena malas bw

An internationally renowned recitalist, Ms. Malas graduated from the voice program of The Curtis Institute of Music in 1960. She has performed with the Metropolitan Opera Studio and has been affiliated with opera companies in New York City; Santa Fe; Boston; Miami; Washington, D.C.; and Milwaukee. She has been a soloist with the New York Philharmonic and the Philadelphia Orchestra and has appeared at the Marlboro and Casals festivals. Ms. Malas is chair of the voice department at the Chautauqua Institution and a faculty member of the Curtis Institute of Music, The Juilliard School and Manhattan School of Music. She has given master classes in connection with the Metropolitan Opera and at New National Theatre in Tokyo, Pittsburgh Opera young artists program, Boston University, Blossom Music Festival, San Francisco Opera Center, Santa Fe Opera, European Center for Opera and Vocal Arts in Brussels, Israel Vocal Arts Institute in Tel Aviv, and (with Joan Sutherland and Luigi Alva) Australian Opera in Sydney. She is a consultant to the Canadian Opera Center; Fletcher Opera Institute, where she has given master classes; and Washington Opera Young Artist Program, where she is also a teacher.


Spiro Malas

malas spiro

Malas made his operatic debut in 1959 in his native Baltimore. He made his New York debut at New York City Opera where he came to the attention of Joan Sutherland and her husband, the conductor Richard Bonynge. He was subsequently asked to tour Australia with the Sutherland/Williamson International Opera Company. This led to appearances at London's Covent Garden, the New York Metropolitan Opera (1983-84) and Chicago Lyric Opera.

Malas first performed at the Metropolitan Opera as Sgt. Sulpice in La fille du régiment opposite Dame Joan and Alfredo Kraus. Since then, he has sung there in Il barbiere di Siviglia, La bohème, Les contes d'Hoffmann, Die Fledermaus, Eugene Onegin, L'elisir d'amore, Lulu, Manon Lescaut, Der Rosenkavalier, Salome, Tosca, and Werther. He has also appeared there in two new productions by Sir Peter Hall; as Zuniga in Carmen, and as Dr. Bartolo in Le nozze di Figaro. Mr. Malas has also been seen on the Metropolitan Opera stage as Haly in L'italiana in Algeri opposite Marilyn Horne, and Capulet in Roméo et Juliette.

He has sung leading roles in the major opera houses in Rome, Naples, Salzburg, Vienna, and Florence, has appeared in televised opera, with leading symphony orchestras, and has recorded the operatic repertoire with notables such as Luciano Pavarotti, Beverly Sills, Dame Kiri Te Kanawa, and Sutherland.
A leading bass-baritone with the New York City Opera for many years, he has also sustained a career in television, having appeared in Spenser: For Hire, The Equalizer, Ryan's Hope, One Life to Live, Law & Order and Sex and the City. The New York Times's Frank Rich, commented on Mr. Malas' Drama Desk Award nominated portrayal of the immigrant farmer, Tony Esposito in the Broadway revival of The Most Happy Fella "As acted by Mr. Malas, Tony's inner growth and redemption become the very soul of musical drama, especially as delineated in one gorgeous Loesser song after another."
In addition to his teaching at Barnard College and Columbia University, Malas also serves on the faculty of the Manhattan School of Music and Curtis Institute of Music.

Michael Dean

Michael Dean

is in demand worldwide both in concert and operatic repertoire, appearing with the leading opera companies and orchestras of the U.S. and Europe. His powerful voice and commanding stage presence have garnered him wide acclaim from audiences and critics alike, in repertoire ranging from early to contemporary music.

Mr. Dean has made frequent appearances at New York City Opera, where he has performed the title role in Le nozze di Figaro, Leporello in Don Giovanni, George in Of Mice and Men, Don Alvaro in Il Viaggio a Reims, and Papageno in The Magic Flute.

Recent appearances have also included Le nozze di Figaro and La Fanciulla del West at de Vlaamse Opera in Antwerp, the title role in Don Giovanni and Silva in Ernani at the Landestheater in Linz, Austria; Of Mice and Men at Arizona Opera and Opera Grand Rapids; Frank Maurrant in Street Scene at the Pittsburgh Opera; and Colline in La Bohème at Opera du Rhin (Strasbourg), Orlando Opera, and the Komische Oper Berlin.

Mr. Dean is associate professor and chair of the voice department at UCLA.

Read Michael Dean's Full Bio

Maria Fortuna Dean

Maria Dean

Soprano Maria Fortuna Dean has gained worldwide acclaim from audiences and critics alike, in repertoire ranging from the lyric soprano to the dramatic coloratura roles.

Recent engagements (under the name Maria Fortuna) have included Fiordiligi in Cosi fan tutte in Bordeaux, Catania, Seattle and Dallas; Violetta in La traviata in San Francisco and Wales, Lucia di Lammermoor in Honolulu and Austin; Donna Anna in Don Giovanni in Catania; La Contessa di Folleville in Il viaggio a Reims in Prague and Philadelphia; Acis in Acis and Galatea in Spoleto, USA, Fiorilla in Il turco in Italia and the Countess in Le nozze di Figaro in Long Beach, CA, Salud in in Dallas; Musetta in La boheme in San Francisco and Miami; Sandrina in La finta giardiniera in Washington DC; Diana in La Calisto and Vespina in L'infedelta delusa in Linz, Austria; Queen Isabella in Christophe Colomb in San Francisco; and Giulietta in Les Contes d'Hoffmann with New York City Opera.

Ms. Fortuna Dean has appeared in concert with the Philadelphia Orchestra, the San Francisco Symphony, the Buffalo Philharmonic, the Oakland Symphony, the Sacramento Symphony, the Chautauqua Symphony, Sinfonia San Francisco, the Maui Symphony, and made her Carnegie Hall debut in the Bruckner Te deum with Riccardo Muti. She was featured on the Live From Lincoln Center broadcast of The Rossini Bicentennial Gala with Marilyn Horne, conducted by Roger Norrington. She has also given recitals in San Francisco, Philadelphia, Buffalo and Tulsa.

Maria Fortuna Dean was born in Niagara Falls, NY. She received her Bachelor of Music degree from the Eastman School of Music and her Master of Music degree from the Curtis Institute of Music; she is an alumna of the Merola Opera Program of the San Francisco Opera, where she was also an Adler Fellow. In 1999-2000 she was Visiting Professor of Voice at Carnegie Mellon University in Pittsburgh and Visiting Lecturer in Opera Workshop at Brock University in St. Catharines, Ontario. In 2000-2002 she was Visiting Lecturer in Voice at SUNY Fredonia. Upcoming engagements include the soprano soloist in Beethoven's Symphony No. 9, an evening of Mozart chamber music with Jeffrey Kahane of the Los Angeles Chamber Orchestra and numerous recitals throughout Southern California.

Ms. Fortuna Dean is on the faculty of the California Institute of the Arts.

Read Maria Fortuna Dean's Full Bio

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Maxine Davis

maxineWith my background as a singer and pianist, as well as my training in the Feldenkrais Method, I have developed a creative and intuitive approach to working with my students, a group that includes a wide range of people across the spectrum, from those in their 80's and 90's dealing with balance and pain issues or the effects of stroke, to people of all ages with back pain and various "itis's", to singers, musicians, actors and performers who are stuck technically or creatively. The common thread is my ability to connect in a creative dance that may have body mechanics and movement as its central theme, but always includes the feeling, thinking, and creating human being that is you.

In New York, I work with singers from the Lindemann program at the Metropolitan Opera, teach classes at The 92nd St. Y, and offer private Feldenkrais lessons and classes as well as voice lessons informed by the Feldenkrais approach to learning. During the summer, I work with the singers enrolled in Marlena Malas' voice program at Chautauqua Institution, where I also offer classes through their Special Studies Program.

I hold a Bachelor of Music Education and Master of Music in Performance from SUNY at Fredonia College, received a Fulbright-Hayes Fellowship, and am a 1991 graduate of the NY Feldenkrais Professional Training Program.


Additional faculty members:

John Giampietro, Stage Director :: Full Bio

Mikhaela Mahoney, Assistant Stage Director

 

Coaches
Martin Dube :: Full Bio
Julias Abrahams :: Full Bio
Donna Gill :: Full Bio
Milos Repicky :: Full Bio
Benedicte Jourdois :: Full Bio
Nathan Raskin :: Full Bio
Jinny Park
Kanae Matsumoto :: Full Bio

 

2019 Guest Faculty
Craig Rutenberg :: Full Bio
Mikael Eliasen :: Full Bio
Brian Zeger :: Full Bio
John Fisher :: Full Bio
Jonathan Beyer :: Full Bio
Claudia Catania :: Full Bio

Matthew Rose :: Full Bio

 

A partial listing of recent Guest Artists

Tom Abelson, Daniel Biaggi, Steven Blier, Christine Brewer, Claudia Catania, Joseph Citarella, Robert Cowart, Maxine Davis, Mikael Eliasen, Ruth Golden, David Gordon, Martin Isepp, Jay Jackson, Peter Kazaras, Evelyn Lear, Jay Lesenger, Stephen Lord, Linda Mabbs, Don McCabe, Ken Merrill, Ben Moore, John Norris, Joan Patenaude-Yarnell, Richard Pearlman, Chas Rader-Shieber, Angelina Reaux, Charles Riecker, Craig Rutenberg, Donald St. Pierre, Paul Transue, Benita Valente, and Brian Zeger.

 

Chautauqua welcomes applications from talented students of any race, color, national or ethnic origin or religious background. Admission is by application and audition for full-term students. Be sure to indicate your preference as to audition site.

2019 Productions: 

A Midsummer Night's Dream, Op. 64 by Britten: July 16, 17, 18 & 19, 2019 (Double Cast)

I Capuleti e i Montecchi (The Capulets and the Montagues) by Bellini: August 5, 2019 with the Music School Festival Orchestra

The Fantastick’s by Tom Jones: August 7 & 8, 2019


Applications open September 1, 2018

Apply Here


Admission decisions and scholarship awards are made by December 15 for the Voice Program. Admission results will be emailed to the address on the student's application. No decision will be released until the applicant’s file is complete and the non-refundable application fee of $55 is paid.

General Instructions

Please complete the online application, financial aid application, instructor recommendation forms and read the specific requirements for the Voice Program carefully.

Live and recorded auditions are accepted for the voice program. A confirmation will be emailed to you along with your audition time when you select an audition location. Videos must include the repertoire requirements listed below and uploaded with your application on Slideroom. Ms. Malas personally evaluates all of the live and recorded auditions and makes all of the admissions and scholarship decisions.

Scholarships are awarded only to students enrolled for, and who will participate fully in, the entire term of any program in the Chautauqua Music Festival.

Applicants for the voice program must be enrolled in or recently graduated from music studies (undergraduate, graduate or doctoral) at the time of application. Professional musicians and high school students are not eligible for admission or financial aid.

Instructions for auditions

Listed below are the repertoire requirements for voice auditions. Please keep your total for all three pieces around ten minutes maximum.

  • Aria from an oratorio or opera
  • Song in English (Art Song preferred)
  • Song in German, French or Italian

**An accompanist is provided at each audition site 

Live auditions by city

New York, NY
October 13
10:30 am - 4:30 pm
Opera America
Placido Domingo Hall

New York, NY
October 14
12 - 6 pm 
Manhattan School of Music
Mikowsky Hall. 

Los Angeles, CA
 October 28 
10 am - 3 pm
UCLA, Herb Alpert 
School of Music
Jan Popper Theater, 
Schoenberg Hall

Online Video also Accepted by October 31. Accompanist is provided at each live audition.

CHQ offers large scholarships, most covering tuition and many covering the full cost. In 2018 we awarded scholarship to 90% of the students enrolled in the voice program.