Faculty from Hunter’s distinguished arts departments often visit the Muse classroom or otherwise work with the scholars to provide insight into their respective art forms. Read below to read about some of the faculty who have worked with the Muse Scholars.
Geoffrey Burleson, Music Department
Associate Professor of Music and Director of Piano Studies, Geoffrey Burleson has visited the Muse classroom to lead the scholars in lessons on classical music and jazz.
Burleson has performed to wide acclaim throughout Europe and North America, and is equally active as a recitalist, concerto soloist, chamber musician and jazz performer. The New York Times has hailed his solo performances as “vibrant” and “compelling”, and has praised his “command, projection of rhapsodic qualities without loss of rhythmic vigor, and appropriate sense of spontaneity and fetching colors”. And the Boston Globe refers to Prof. Burleson as a “remarkable pianist” and “a first-class instrumental presence” whose performances are “outright thrilling.” His numerous acclaimed solo appearances include prominent venues in Paris (at the Église St-Merri), New York, Rome (American Academy), Athens (Mitropoulos Hall), Mexico City (National Museum of Art), Rotterdam (De Doelen), Chicago (Dame Myra Hess Memorial Series), Boston, Washington, Switzerland, England, Spain, and elsewhere. He has also appearedas featured soloist in many international festivals, including the Bard Music Festival, Santander Festival (Spain), Monadnock Music Festival, and the Talloires International Festival (France).
Kathleen Isaac, Arnhold Dance Education Program
As Director of Hunter’s Arnhold Dance Education Program, Kathleen Isaac works directly with the Muse Scholars to provide specialized instruction in dance movement and criticism. During classes led by her and Arnhold graduate students, the scholars learn how to appreciate and critique dance using professional analytical skills.
Isaac is a longtime leader in dance professional development, advocacy, K-12 teaching practice and dance assessment in New York City, New York State, nationally and internationally. She authored, provided professional development for and was lead facilitator and trainer for Revelations – An Interdisciplinary Approach for the Alvin Ailey Dance Theater from 1999-2010. She wrote Read My Hips® for the Joffrey Ballet in Chicago and worked as a mentor with Dance Theatre of Harlem’s Education Director through the DELCAP program, among other achievements.
Ryan Keberle, Music Department
Music Professor and Hunter Jazz Ensemble Director Ryan Keberle has visited the Muse classroom to lead lessons in jazz appreciation, preparing scholars for live jazz performances.
Keberle is the leader of his pianoless quartet Catharsis, and he has toured with or accompanied a variety of musical legends: indie rock songwriter Sufjan Stevens, the ground-breaking big bands of Maria Schneider andDarcy James Argue, Alicia Keys and Justin Timberlake as well as jazz legends Rufus Reid and Wynton Marsalis. He’s been heard on movie soundtracks for filmmakers like Woody Allen and in the pit for the Tony-winning Broadway musical “In the Heights.”
Carrie Moyer, Art Department
Art Professor, painter, and writer Carrie Moyer has visited the Muse classroom with her MFA students to lead discussions about contemporary art, painting, and the Whitney Biennial 2017, which showcased a selection of Moyer’s work.
Moyer has exhibited widely, in both the US and Europe. Her work is in numerous private and public collections including Birmingham Museum of Art, the Eli and Edythe Broad Art Museum, the Metropolitan Museum of Art, the Pizzuti Collection, the Rose Art Museum and the Tang Museum. Moyer has been the recipient of awards from the Guggenheim and Joan Mitchell Foundations, Anonymous Was a Woman, Creative Capital, and many others.
Before joining the Hunter faculty in 2011, Moyer taught for a decade at a variety of institutions including the Rhode Island School of Design, Yale, Rutgers, Pratt and Cooper Union among others.
Louisa Thompson, Theatre Department
Theatre Professor and set designer Louisa Thompson accompanied the Muse Scholars on a trip to the Metropolitan Museum of Art to consider the Fall 2013 exhibition of William Kentridge’s five-channel video installation The Refusal of Time.
Thompson has designed sets in New York for Playwrights Horizons, Elevator Repair Service, Soho Repertory Theatre, The Play Company, Target Margin Theater, Clubbed Thumb, Rattlestick Playwrights Theater, Theatreworks USA, The Foundry Theater Company, MCC Theatre as well as multiple regional theatres. She holds an M.F.A. from Yale School of Drama.
Suzanne Gonzales, Music Department
Susan Gonzalez holds degrees from Cincinnati Conservatory of Music and Eastman School of Music where she earned her DMA in Literature and Performance. Professor Gonzalez has professional experience internationally in theater, opera and concert repertoire. Appearances include solo performances at New York’s Avery Fisher Hall with the National Symphony, and Carnegie Hall with the American Composers Orchestra. Professor Gonzalez’s opera credits include leading roles with the Lyric Opera of Chicago at Grant Park, Chicago Opera Theater, and New Orleans Opera, among many others. Her international credits include debuts with the Bolshoi Opera in Cheboksary and Nishny Novgorod, Russia. Some of her acting credits include a role in a BBC Series, SAILOR, which won the British National SUN AWARD for excellence as well as her appearance as Rosina in a filmed version of Il Barbierre di Siviglia which received an EMMY nomination. She can be heard on CD’s released by Artek and Naxos singing the songs and arias of Nicholas Flagello and on Leonarda in Songs by Women.
As a director, Susan Gonzalez has been producing opera scenes at Hunter College since 1995. Hunter College Opera Theatre performs fully staged productions in the Kaye Playhouse primarily finding a voice through new and rarely performed operas. Susan has also directed opera productions regionally for The Bronx Arts Ensemble, New Jersey’s Garden State Opera, Dell’Arte Opera and Satori Opera.
Catherine Coppola, Music Department
Catherine Coppola teaches music history (graduate and honors courses on women in Mozart’s operas, capstone major course on musical borrowing, major survey courses) and performance, and she is Director of Undergraduate Studies in Music as well as a lecturer for Lincoln Center’s Great Performers Series. Scholarly interests include gender, race, and power in Mozart’s operas; censorship and social justice in opera; the fantasy genre; and musical borrowing. Her work has been published in 19th-Century Music, The Journal of the Society for Textual Scholarship, and Teaching Music. An invited speaker at the Venice International Conference on Improvisation and Open Forms, her paper was published in the proceedings as “Didacticism and Display in the Capriccio and Prelude for Violin, 1785-1840,” Musical Improvisation and Open Forms in the Age of Beethoven, ed. Gianmario Borio and Angela Carone, London: Routledge, 2018.
Forthcoming publications: invited chapter “In Defense of the Dialogues” to appear in The Cambridge Companion to Mozart’s The Magic Flute, edited by Jessica Waldoff; “Historical Residue or Modern Practice? In Defense of the Text for The Magic Flute,” to appear in the Newsletter of the Mozart Society of America. Upcoming conference presentations: “Painting the Moor Green: How Not to Talk about Race and Gender in The Magic Flute, chair, roundtable session, American Society for Eighteenth Century Studies, March 2020, St. Louis, MO; “A Context for Gender Equivalence in Cosí fan Tutte,” national meeting of the American Musicological Society, Nov. 2019, Boston.
“Historical Residue or Modern Practice? In Defense of the Text for The Magic Flute,” Mozart Society of America panel discussion, Mozart’s Magic Flute: in His time and Ours, July 20, 2019, Mostly Mozart Festival, Lincoln Center, NY; “Fallacies of Context and Change: Why We Need Mozart’s Women Now More Than Ever,” for the panel The Long Shadow of Sexism: Reading the Eighteenth Century in (the) Light of #MeToo, national meeting of the American Society for Eighteenth-Century Studies, Denver, March 2019; “Women and Power in Mozart’s Operas,” Pedagogy Caucus on Teaching the Eighteenth Century: A Poster Session, ASECS-Denver, 2019; “Fear of Feminine Power: Hillary Clinton and the Queen of the Night,” Music and Politics, AMS—GNY, NYC October 24, 2015.
Earlier presentations include: “Source and Reception in Busoni’s Fantasia nach Bach,” biennial meeting of the American Bach Society, Rutgers University; “Affinities between Busoni’s Music and the Native-American Sources for his Indian Fantasy” for AMS-NY; “The Working Relationship between Elliott Carter and Bernard Greenhouse: Implications Regarding Issues of Text and Performance” for the International Interdisciplinary Conference of the Society for Textual Scholarship; and “The Elusive Fantasy” for AMS-NY.
In addition to the Ph.D. in musicology, Prof. Coppola holds the M.M. in piano performance from the Manhattan School of Music, having studied principally with Seymour Lipkin, and in master classes with Gary Graffman and Menahem Pressler. Recent collaborative performances include Grieg songs with Susan Gonzalez; violin sonatas of Strauss and Brahms with Lucy Morganstern; songs of Pauline Viardot and Chopin with Stephanie Jensen-Moulton; and song cycles by Schumann and Richard Burke with NOA Director, Paul Houghtaling. Prof. Coppola has also appeared as soloist with the Bloomfield Symphony Orchestra and with the Rockland Symphony.