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Tenor René Barbera, 23, a music student at the North Carolina School of the Arts, was selected as a Grand Winner in the Metropolitan Opera National Council (MONC) Auditions Grand Finals Concert at the Metropolitan Opera on Sunday, Feb. 24. The Grand Finals Concert was accompanied by the Metropolitan Opera Orchestra.


Barbera will take home $15,000 and the knowledge that he is one of the finest student opera singers in the country. A native of Texas, Barbera is pursuing his Bachelor of Music in the School of Music at NCSA, where he is a college senior. He is a student of Dr. Marilyn Taylor.

Barbera was one of nine National Finalists selected from two dozen singers competing in the National Semi-finals on Feb. 17 at the Met. The winners continued to coach with the Met’s artistic staff in preparation for the Grand Finals Concert on Feb. 24. The Grand Finals Concert was broadcast nationwide on the Metropolitan Opera Radio Network.

Guitarist JOHN KOSSLER participated as a Finalist in the National Foundation for the
Advancement of the Arts' "Young Arts" festival, Jan 7-12 in Miami, Florida, which included solo and chamber music performances. He was selected from over 6,000 applicants-finalists at this all-expense-paid festival receive cash and scholarships awards. John is a high school student of Joseph Pecoraro.

ORIN LAURSEN, a violin student of Joseph Genualdi, performed in two concerts over the
winter break with the New York String Orchestra Seminar at Carnegie Hall. Orin, a tenth-rade student at the North Carolina School of the Arts, is one of 45 string players and 18 wind and brass players accepted to the 39th annual New York String Orchestra Seminar, conducted by artistic director Jaime Laredo. Participants are selected by competitive audition; the first round by CD, followed by live auditions in several cities across the US. The majority of those selected hail from the acclaimed conservatories of The Juilliard School, Curtis Institute of Music, Cleveland Institute of Music, Eastman, New England Conservatory, Colburn Conservatory and Indiana University.

KATHERINE MOUNT, student of Joseph Genualdi, performed the first movement of Concerto
No. 4, by Mozart, with the Winston-Salem Youth Symphony on December 8, at Brendle ecital Hall of Wake Forest University, under the direction of conductor David Hagy.

Guitarist AUSTIN MURRY performed his own compositions and others as part of the North
Carolina Dance Festival. Performances around the state have included venues in Raleigh,
Charlotte, Greensboro, Boone, Wilmington, Asheville, and Winston-Salem. Austin is a graduate student of Joseph Pecoraro.

Clarinetist LIAM SCOTT, a high school senior, was one of the winners of Greensboro Youth
Symphony Concerto Competition. As a part of his prize he will be featured as a soloist with the orchestra in March. Liam is a student of Igor Begelman.

ADAM ULRICH, a tenor in the Fletcher Opera Institute, will be a member of Central City
Opera's Young Artist program this summer, performing in productions of Carlisle Floyd's
Susannah and Bernstein's West Side Story. Adam is a student of Marilyn Taylor.

In Tune: The School of Music Newsletter
New School of Music Complex

Music Complex

The School of Music Complex, designed by Calloway, Johnson, Moore & West of Winston-Salem, features a 300-seat chamber music/recital hall, administrative offices, and rehearsal spaces.

Watson Chamber Music Hall was designed by renowned acoustician Rein Pirn, whose credits include Spivey Hall in Atlanta. The hall is complemented by a lobby, box office, green room and dressing rooms.

The academic wing houses administrative offices for the School of Music and includes teaching studios, a conference room, an orchestral rehearsal room, and an opera/choral rehearsal room.

Funding for the complex came from the $42.5 million higher education bonds, passed by N.C. voters in the fall of 2000.

Programmatic requirements for this 36,000 SF building – a performance space for chamber music, large and small rehearsal/teaching halls, office space for music school faculty, dressing rooms, and support spaces for the performance areas and rehearsal hall- are functionally divided between performance and teaching space and must operate independently. The solution was to take advantage of this functional division, using the arranged volume of the rehearsal halls to balance the large mass of the performance hall. The volumes connect in a generously proportional vestibule that acts as a beacon, marking the main entry to the building and the festivities inside.

The circular geometry of the building is derived from the topography of the site and its interaction with an important node outlined in the campus master plan – the newly defined Performance Plaza. The front façade of the Music Hall follows the gentle sweeping curve of the existing path in layers of interactive forms that leads from the student commons to the circular plaza. The axis of the main performance space in the Hall is on an axis derived from the center point of the plaza and the center point of the sweeping façade curve. These geometries come into play throughput the building, tracing echoes in plan, elevation, and ceiling forms.

The warm and intimate scale of the structure and spatial elements in the 300 seat Recital Hall were derived from the violin. The pilasters and sloping wood columns are reminiscent of the neck and strings of the instrument and act as vertical connections to tie the lower wood body and upper planes of the hall. The curved ceilings respond to the need to disperse sound reflections as well as the desire to create a soft surface plane for the space. The finishes, in color and textures of wood, evoke the warmth of the instrument itself to be heard, touched and felt.

Exterior materials are a combination of brick, pre-cast concrete and pre-finished aluminum panels. Accent brick, both laid at the base of the building and formed into curved walls that penetrate the roof, marks the entrances to major spaces. Field brick visually ties the building into the rest of the campus, while the front brick wall and arcade give the building a more pedestrian scale along the grand curve of the façade. Accents with and changes in exterior materials define the building’s scale and mark its focal points.

General Contractor: John S. Clark Inc. of Mt. Airy