VERDI REQUIEM

Concert given in memory of Larry Hardy
Presented in partnership with
Opera Memphis

Robert Moody, conductor
Lauren Margison, soprano
Jamie Barton, alto
Limmie Pulliam, tenor
Kenneth Kellogg, bass
Memphis Symphony Chorus ·
Joseph Powell, conductor
University of Mississippi Choirs ·
Drs. Donald Trott and Elizabeth Hearn, conductors
Saturday, March 28, 2026 · 7:30pm ·
Cannon Center for the Performing Arts

Program

Adagio for Strings
SAMUEL BARBER
(1910 - 1981)

Requiem
GIUSEPPE VERDI
(1813 -1901
I. Requiem and Kyrie
II. Sequence (Dies Irae)
III. Offertorio (Domine Jesu)
IV. Sanctus
V. Agnus Dei
VI. Lux aeterna
VII. Libera me

  • Samuel Barber (1910-1981):  Adagio for Strings (from String Quartet, Opus 11)
    First performance:  1938:  New York City:  NBC Studio 8H, NBC Symphony Orchestra, Arturo Toscanini, conducto

    The beautiful Adagio for Strings originated as the second movement of Samuel Barber’s String Quartet in B Minor, Opus 11, which was written between 1935 and 1936.  This version received its premiere performance in December of 1936, in Rome, Italy (at the Villa Aurelia) by the Pro Arte Quartet.  The string orchestra version also dates from 1936, and adds double basses to a mix which features divided strings in many places (frankly, this feature makes it much easier than the quartet version to play, by eliminating a number of clumsy double stops.  I also prefer the added richness to the timbre that the double basses provide).  In 1967, Barber arranged it for chorus and organ in his single-movement work, Agnus Dei.  Over the years, this adagio has become associated with periods of mourning, one of the first instances being when it was broadcast over the radio in 1945, following the announcement of the death of President Franklin Delano Roosevelt.  In 1963, it was broadcast by the National Symphony Orchestra following the funeral of President John Fitzgerald Kennedy.  And in 2011, it was performed at the Royal Albert Hall, in London, on the Last Night of the Proms, to honour the memory of the victims of the 11 September attacks.     

    Giuseppe Verdi (1813-1901):  Messa da Requiem

    First performance:  May 1874:  Milan, Italy:  San Marco Church, Giuseppe Verdi, conductor

    Probably the two best known Requiems in the orchestral repertoire are those by Wolfgang Amadeus Mozart and Giuseppe Verdi.  Verdi’s Requiem, written in memory of Italian philosopher and author Alessandro Manzoni, received its premiere a year following Mazzoni’s passing, on 22 May 1874, at San Marco Church in Milan, Italy.  It would be repeated three days later at La Scala, also with Verdi on the podium.  Given the work’s power, it has rightfully been compared to opera,…and when one considers that the soloists who performed the premiere also sang (or were intended to sing) the title roles in Verdi’s Aida in 1872, the comparison is even more apt.  The Requiem is scored for huge forces:  Four soloists, a double chorus, and an orchestra consisting of three flutes plus piccolo, pairs of oboes and clarinets, four bassoons, four trumpets (along with four offstage trumpets!!), four horns, three trombones, tuba, timpani, percussion, and strings.  It loosely follows the roadmap of the traditional Roman Catholic requiem mass in its structure.  Keeping that in mind, here are a few standout musical moments:  Following the relatively calm Requiem and Kyrie, all hell breaks loose in the Dies Irae, including the use of four offstage trumpets for even more dramatic effect.  The Offertorio begins with one of the best known cello section solos of the 19th century, and is a well-known audition excerpt.  The Sanctus is a fugue for double chorus and orchestra (and happens to be my favorite movement—which should surprise no one who is aware of my love for the music of Johann Sebastian Bach!!).  The final movement, Libera Me, begins with a soprano recitative, eventually recalling the opening of the Dies Irae as well as the beginning of the first movement, before proceeding to one more fugue, and a final soprano recitative, bringing the work to its close.

Printable version of Program Notes can be found here.

On Stage

  • Internationally acclaimed conductor Robert Moody is now celebrating his 10th season as Music Director of The Memphis Symphony Orchestra (Tennessee), 20th season as Music Director of Arizona Musicfest, and his 2nd season as Music Director of the Baltimore Chamber Orchestra.

    Under his artistic leadership, AZ Musicfest has become the premiere Winter Music Festival Orchestra in North America, boasting a roster of players from the world’s greatest orchestras.  The Memphis Symphony has enjoyed exponential growth in programming, recording, and new commissions. Baltimore Chamber Orchestra boasts top players from the top orchestras in the Baltimore/Washington area and presents innovative and “out of the box” live orchestral programming at world class levels in the Mid-Atlantic. 

    Prior positions have included music director for both the Portland Symphony (Maine) and the Winston-Salem Symphony (North Carolina), and Principal Conductor for Lakeland Opera (Florida).  Earlier in his career, he held conducting positions with the Phoenix Symphony, Evansville Philharmonic, Santa Fe Opera, Brevard Music Center, Interschool Orchestras of New York City, and apprenticed at Landestheater Opera in Linz, Austria.

    Guest conducting this season includes debuts with Cincinnati Symphony, Hong Kong Philharmonic, Madison Symphony Orchestra, Philadelphia Orchestra, San Francisco Symphony, Tallahassee Symphony, and Winnipeg Symphony.  He also will return to Lakeland Symphony, and lead concerts with the Royal Conservatory Orchestra in Toronto, Canada, and the IberAcademy Orchestra in Medellin, Colombia. 

    Maestro Moody has conducted many of the world's major orchestras and opera companies, including Chicago Symphony, Los Angeles Philharmonic, Toronto Symphony, Dallas and Houston Symphonies, Kansas-City Symphony, Minnesota Orchestra, Washington National Opera, Aachen and Baden Baden Symphony Orchestras in Germany, Wushi and Shenzhen Orchestras (China),Orquesta Filarmonica de Bogotá (Colombia), the Vienna Chamber Orchestra (Austria), Tampere Philharmonic (Finland) and Banatul Orchestra (Romania).  He is also a frequent guest conductor in South Africa, returning often for concerts with the three major orchestras there – the Cape Town, Johannesburg, and KZN (Durban) Philharmonics.

    A frequent collaborator with opera superstar Renée Fleming, he will conduct her on multiple occasions in the upcoming season in China, Canada, and the United States.  In 2024 he performed the full orchestra world premiere of Voices of Nature: The Anthropocene, a song cycle created by Ms. Fleming in collaboration with National Geographic.

    Moody’s work can be found on several commercial recordings, including the Canadian Brass albums Bach and Legends, R. Carlos Nokai’s Fourth World, and with Memphis Symphony Orchestra and trumpet legend Ryan Anthony on Re:Mission Rubato.

    Robert is also a close friend and collaborator with Grammy winning composer Mason Bates.  Their friendship spans over 30 years, and Moody was the first conductor to commission a full orchestral work from Bates. Robert also commissioned several major works of Mason’s, including Rusty Air in Carolina, and the much lauded Desert Transport.  Last season he conducted the world premiere of Bate’s triple concerto Silicon Hymnal with the Grammy winning ensemble Time For Three. 

    A South Carolina native, Moody holds degrees from Furman University and the Eastman School of Music, where he earned his conducting degree with Donald Neuen.  Additional studies included an undergraduate study abroad in Vienna, Austria, and a summer of study with Otto Werner Mueller at Le Domaine Forget in Quebec. He is a Rotarian, and has served on the boards of AIDs Care Services, Winston-Salem YMCA, WDAV Classical Radio, and the Charlotte Master Chorale.

    Moody celebrates the life and work of organist/conductor Jimmy Jones, his spouse of 18 years who passed away unexpectedly early in 2024.  He now dedicates all his musical endeavors to Jimmy.

    Moody lives in Memphis with their two dogs; he is an avid runner, swimmer, history buff, “Jeopardy!” addict, and snow-skier.

  • The winner of the 2025 Elizabeth Connell Prize International Singing Competition and a 2024 Sullivan Award Winner, soprano Lauren Margison is marking her mark as an exciting emerging artist to watch. Recent and upcoming highlights include her return to Opéra de Montréal’s mainstage to much acclaim as Mimi in Puccini’s La bohème, and her American debut with the Memphis Symphony and Opera for Verdi’s Requiem under the baton of Robert Moody, which she then reprises with the Billings Symphony. Upcoming in the 2026/2027 season, Lauren debuts with Orchestre symphonique de Montréal for Beethoven’s Symphony No. 9, under the baton of Rafael Payare.

    Recent engagements on the concert stage include Mahler’s Symphony No. 2 with the Kitchener-Waterloo Symphony, Beethoven’s Symphony No. 9 for Orchestre symphonique de Québec, Strauss’s Four Last Songs with the PRISMA Festival, Beethoven’s Missa Solemnis with Chœur de Laval, and the world premiere of Adler’s Four Attributes of the Soul with Orchestra Toronto. In recital, she was highlighted as the headline performance of the International Congress of Voice Teachers at Toronto’s Koerner Hall.

    In the 2023/2024 season, Lauren revisited the roles of Nedda in Leoncavallo’s Pagliacci and Anna in Puccini’s Le villi, and debuted the role of Desdemona in Verdi’s Otello, all with Staatstheater Mainz. Lauren’s additional operatic engagements have included Micaëla in Bizet’s Carmen (Pacific Opera Victoria, Brott Music Festival), Tatyana in Tchaikovsky’s Eugene Onegin (Highlands Opera Studio), Fiordiligi in Così fan tutte (Highlands Opera Studio),The Csardas Princess with Toronto Operetta Theatre, and the titular roles of both Gluck’s Alceste and Barber’s Vanessa with VoiceBox: Opera in Concert.

    An alumna of the Canadian Opera Company Ensemble Studio, she appeared as Mimi in their special presentation of Puccini’s La bohème on the mainstage of The Four Seasons Centre and was featured in Strauss’ Elektra. Prior to her time with the COC, Lauren was a member of Opéra de Montréal’s Atelier lyrique, where she appeared as Clorinda in La Cenerentola, and Missia in their production of La Veuve joyeuse.

    Lauren was a laureate of Jeunes Ambassadeurs Lyriques, and was the youngest finalist to appear in the prestigious and highly competitive Die Meistersinger von Nürnberg Vocal Competition. A finalist and prizewinner in the 2017 George London Foundation Awards, Lauren went on to take first prize in the 2018 competition. She has garnered additional recognition in the Metropolitan Opera Laffont Competition, was a semi-finalist in both the Concours International Musical de Montréal (2022) and Paris Opera Competition (2023), and won Edmonton Opera’s inaugural Rumbold Vocal Prize (2022). Additionally, Lauren was honoured to be named a Sylva Gelber Foundation winner in both 2022 and 2024.

    A versatile soprano, she has performed extensively both in Canada and internationally, specializing in classical, jazz and pop repertoire. Some highlights include performances for Opera Ontario, the TD Toronto Jazz Festival, The Beaches Jazz Festival, the Ottawa Chamber Music Festival, the Cincinnati Pops, Hannaford Street Silver Band, the noon hour concerts at the Four Seasons Centre for the Performing Arts – Richard Bradshaw Amphitheatre, Ottawa Choral Festival Gala, and the Venetian Ball under the baton of Marco Armiliato, (fundraiser for Villa Charities, Toronto) held on the main stage of the Four Seasons’ Centre for the Performing Arts.

  • ‍Critically acclaimed by virtually every major outlet covering classical music, American mezzo-soprano Jamie Barton is increasingly recognized for how she uses her powerful instrument offstage – lifting up women, queer people, and other marginalized communities. Her lively social media presence on Instagram and Twitter (@jbartonmezzo) serves as a hub for conversations about body positivity, social justice issues, and LGBTQ+ rights. In recognition of her iconic performance at the Last Night of the Proms, Ms. Barton was named 2020 Personality of the Year at the BBC Music Magazine Awards. She is also the winner of the International Opera Awards Readers’ Award, Beverly Sills Artist Award, Richard Tucker Award, and BBC Cardiff Singer of the World Competition, for which The Guardian described her as “a great artist, no question, with an imperturbable steadiness of tone, and a nobility of utterance that invites comparison not so much with her contemporaries as with mid-20th century greats such as Kirsten Flagstad.”

    This season, Ms. Barton stars as Sister Helen Prejean in a highly anticipated 25th anniversary production of Jake Heggie’s Dead Man Walking at San Francisco Opera. She returns to Houston Grand Opera for a series of role debuts, including Frugola, Zia Principessa, and Zita in Puccini’s Il trittico, as well as the Witch in Hansel and Gretel, and she brings her acclaimed Ježibaba to performances of Rusalka at Bayerische Staatsoper and Opéra National de Paris. Elsewhere, she appears in concert with Houston Symphony and Minnesota Orchestra, and in recital with Opera Memphis and Arizona Opera with Tucson Desert Song Festival. Following the fulfillment of a long-held dream to create a role in a new opera by Jake Heggie, her work as Elizabeth Van Lew in Heggie’s Intelligence at Houston Grand Opera appears on the world premiere recording on the LSO Live label – recently winning Best Opera Recording of the 2026 Grammy® Awards.

    ‍Ms. Barton’s 2007 win at the Metropolitan Opera National Council Auditions launched a major international career that includes leading roles at many of the world’s most-loved opera houses. In addition to recent appearances as Mère Marie in Dialogues des Carmélites and Orfeo in Orfeo ed Euridice at the Met, she has performed as Baba the Turk (The Rake’s Progress) at Opéra National de Paris; Leonor (La favorite)at Teatro Real Madrid and Houston Grand Opera; Adalgisa (Norma) with the Metropolitan Opera, Houston Grand Opera, Los Angeles Opera, and San Francisco Opera; Fricka and Waltraute (Wagner’s Ring cycle) at Metropolitan Opera, San Francisco Opera, Houston Grand Opera, and Washington National Opera; Azucena (Il trovatore) at the Met, Royal Opera House Covent Garden, Lyric Opera of Chicago, Bayerische Staatsoper, and Cincinnati Opera; Princess Eboli (Don Carlo) at Washington National Opera, Deutsche Oper Berlin, and the Met; Amneris (Aida) at Lyric Opera of Chicago and Teatro Real Madrid; Giovanna Seymour (Anna Bolena) at Lyric Opera of Chicago and the Met; Brangäne (Tristan und Isolde) at Festival d’Aix-en-Provence, Bayerische Staatsoper, and Santa Fe Opera, Cornelia (Giulio Cesare) at Oper Frankfurt; Julia Child (Bon Appétit!) at Houston Grand Opera and Opera Philadelphia, Nettie Fowler (Carousel) at Boston Lyric Opera; Ježibaba (Rusalka) at San Francisco Opera and the Met; the title role in a queer Carmen at Chicago Opera Theater; and Sister Helen Prejean (Dead Man Walking) at her hometown opera company, Atlanta Opera.

    Praised by Gramophone as having “the sort of instrument you could listen to all day, in any sort of repertoire,” Ms. Barton has appeared in concert with the New York Philharmonic, Philadelphia Orchestra, NDR Elbphilharmonie, and Rotterdam Philharmonic, as well as the symphony orchestras of Atlanta, Baltimore, Birmingham, Cologne, Dallas, Iceland, London, Munich, Orlando, Paris, Prague, Czech Republic, Oulu, Pittsburgh, Toronto, and Valencia, Spain. She has performed with Yo-Yo Ma and Emanuel Ax at Tanglewood, and in recital across the U.S. and U.K., including tours with pianists Kathleen Kelly, Bradley Moore, and James Baillieu, with appearances at London’s Barbican Centre, Carnegie Hall, Celebrity Series of Boston, John F. Kennedy Center for the Arts, and Wigmore Hall.

    Winner of the BBC Music Magazine Vocal Award, Ms. Barton’s debut solo album, All Who Wander, featuring songs by Mahler, Dvorak, and Sibelius, was also shortlisted for the International Classical Music Awards and Gramophone Classical Music Awards. Most recently, Unexpected Shadows, her critically acclaimed album with composer and pianist Jake Heggie, was nominated for a Grammy® Award for Best Classical Solo Vocal Album. Ms. Barton and Mr. Heggie’s subsequent recital tour to Frankfurt, London, Atlanta, Washington, D.C., and Berkeley, California was warmly received, with the San Francisco Chronicle writing, “Barton is both a powerhouse and a whisperer. In performance, the Georgia-born artist can unleash a torrent of vocal sound that seems unconquerable in its heft and intensity – then turn on a dime and shape an intimate melodic phrase with aching subtlety. It’s an astonishing, almost otherworldly combination of gifts.”

  • Rising dramatic tenor Limmie Pulliam has thrilled audiences with his captivating stage presence and his “stentorian, yet beautiful,” sound.

    The 2025-26 season features a combination of exciting debuts and returns for Mr. Pulliam, including his return to the Cleveland Orchestra for Mahler’s Das Lied von der Erde with Franz Welser-Möst and his debut with the Dallas Symphony for Mahler’s Symphony No. 8 under the baton of Fabio Luisi. His recital engagements include appearances with the Exeter Academy, Baltimore Community Concerts, Manchester UMC, and the Dorothy Cotton Jubilee Singers at Ithaca College, and in concert he joins the Jacksonville Symphony at the Kravis Center, the Detroit Musical Hall and the Pacific Symphony for Turandot, the Festival International de Musique Saint-Georges in Guadeloupe for Pagliacci, and he sings the Verdi Requiem with the Memphis Symphony.

    Last season, Limmie Pulliam made an anticipated role debut as Calaf in Turandot for a special benefit concert for University of Houston’s Moore School of Music, followed by further performances of the role in his debut with the Minnesota Orchestra, conducted by Thomas Søndergård. Also on the symphonic stage, he debuted with the Baltimore Symphony Orchestra as Radamès in Aida led by Music Director Jonathan Heyward and collaborated again with Yannick Nézét-Seguin in his debut with the Orchestre Métropolitain for Bruckner’s Te Deum. Elsewhere during the season, he made his role and house debut as Samson in Samson et Dalila with New Orleans Opera, house debuts with Austin Opera for Verdi’s Requiem and Arizona Opera as Radamès in Aida, and he returned to Oberlin Conservatory for special performances of Rhiannon Giddens’ Omar.

    During the 2023-2024 season, the tenor made his European debut with the Gewandhaus Orchester as the tenor soloist in Verdi’s Requiem, continuing his collaboration with Maestro Franz Welser-Möst. In the States, Mr. Pulliam debuted the role of Cavaradossi in Tosca with Madison Opera and returned to the role of Canio in Pagliacci in his company debut with Florida Grand Opera. While in Florida, he also made his debut with the New World Symphony for Beethoven’s 9th Symphony. Other concert appearances during the season include holiday concerts with the Madison Symphony, and a “Best of Verdi” concert with the Lubbock Symphony.

    In 2022, Pulliam made his Metropolitan Opera debut as Radamès in Aida, which also served as his role debut. He later performed Radamès with Tulsa Opera for their 75th anniversary gala concert. Mr. Pulliam also returned to The Cleveland Orchestra for his first performances as Dick Johnson in Puccini's La fanciulla del West, conducted by Franz Welser-Möst. In concert, he debuted with the San Diego Symphony singing Verdi’s Requiem and made his Carnegie Hall debut performing The Ordering of Moses in collaboration with Oberlin Conservatory, his alma mater. He joined pianist Mark Markham in recital with the Nashville Symphony and Delta Symphony, and closed the season with the Ojai Festival, presenting selections from Rhiannon Giddens’ critically-acclaimed new opera, Omar.

    Mr. Pulliam’s 2021-2022 season included his company and role debut with Los Angeles Opera as Manrico in Il Trovatore. He additionally made two significant orchestra debuts, singing the title role in Otello with The Cleveland Orchestra and Beethoven’s Ninth Symphony with The Philadelphia Orchestra under the baton of Yannick Nézét-Seguin. He also appeared in concert with the Lyric Opera of Kansas City for a night of operatic greatest hits, and the Memphis Symphony for their rescheduled Beethoven’s Ninth Symphony. During the summer, he joined Madison Opera for their widely popular Opera in the Park concert, and the Bard Music Festival as Albert in Rachmaninoff’s rarely-performed The Miserly Knight, led by Leon Botstein.

    An in-demand concert artist, Mr. Pulliam has performed Verdi’s Requiem with the Springfield Symphony Orchestra, and the Lancaster Symphony Orchestra. He also made a much-anticipated return appearance with Vashon Opera where he was featured in a sold-out Limmie Pulliam & Friends concert. He has also joined The National Opera Association’s 2016 convention to honor of their Lifetime Achievement Award recipient George Shirley and appeared with The Concord Chorale as tenor soloist in Mozart’s Requiem and the tenor soloist in Stainer’s Resurrection with New Covenant United Methodist Church. Mr. Pulliam has been featured in numerous appearances with the internationally renowned chorale Gloriae Dei Cantores, as tenor soloist (Ahab/Obadiah) in Mendelssohn’s Elijah as well as in concerts featuring Intimations of Immortality and For St. Ceceliaby Gerald Finzi. He appeared as the tenor soloist in Handel’s Messiah with the Forum Sinfonia Orchestra of Finland and soloist in Haydn’s Lord Nelson Masswith the San Angelo Symphony. Mr. Pulliam was also a featured soloist on The American Spiritual Ensemble’s 2013 Winter Tour.

    The Missouri native trained with the late renowned pedagogue Richard Miller.  He is also a former participant in the young artist programs of Cleveland Opera,Opera Delaware and Opera Memphis. He was the 2012 Artist Division Winner of the National Opera Association's Vocal Competition and, in 2013, was a winner in the 3rd Annual Concorso Internazionale di Canto della Fondazione Marcello Giordano in Catania, Sicily.

  • American bass Kenneth Kellogg’s 2025-26 engagements include Colline(c) LaBoheme at the Metropolitan Opera of New York, his role debut as Trinity Moses The Rise and Fall of the City of Mahagonny at English National Opera in London UK, the bass soloist in Verdi’s Requiem with the Memphis Symphony Orchestra and Opera Memphis, and a further role debut as Sulpice The Daughter of the Regiment at Boston Lyric Opera.

    Recent appearances include Ramfis Aida at Daytona Opera, the role of Kourouscha in Dede’s rarely heard Morgiane also presented with Louisiana Philhamonic in New Orleans and at Opera Lafayette in Washington DC, and his debut as Crown Porgy and Bess at Washington National Opera.

    Past career highlights include his recent Wagner debut as Fafner in Seattle Opera’s celebrated new production of Das Rheingold, a role he also sang at Calgary Opera. Returning to Seattle, he made his debut in the title role X: The Life and Times of Malcolm X; other recent appearances include Il Re Aida in concert at Detroit Opera, Colline La Boheme with Sacramento Philharmonic and Opera, Falstaff The Merry Wives of Windsor at Pocket Opera and as Logger Bulrusher at West Edge Opera—both new productions.

    A significant feature of the last three seasons is the artist’s creation of the role of Father Blue, named the best new opera of 2020 by the Music Critics Association of North America, a role written for him by Jeanine Tesori and Tazewell Thompson. Kenneth sang the role in its world premiere at Glimmerglass Festival, and following at Detroit Opera, Toledo Opera, Seattle Opera, Pittsburgh Opera, Washington National Opera, Lyric Opera of Chicago, internationally at Dutch National Opera in The Netherlands, and at London’s English National Opera.

    In recent seasons, Mr Kellogg appeared as Commendatore Don Giovanni at Seattle Opera and brought new roles into his repertoire with Basilio Il Barbiere di Siviglia at San Francisco Opera, Rocco Fidelio at North Carolina Opera, Raimondo Lucia de Lammermoor and Ferrando Il Trovatore at Madison Opera and Grand Inquisitor/Philip II (c) Don Carlo at Maryland Opera.

    In 2020 he returned to Europe to Kraków, Poland for highly lauded performances of Rossini’s Sigismondo in the two roles of Ulderico and Zenovito with Capella Cracoviensis; back in the US he sang Monterone in Minnesota Opera’s new production of Rigoletto and revived the role of Sam Bakewell The Summer King at Michigan Opera Theatre, a role he inaugurated at Pittsburgh Opera during its world premiere. He returned to Washington National Opera for Father Palmer Silent Night and sang the role of Ashby La fanciulla del West at Maryland Opera.

    Past milestones include his appearance as Mephistopheles Faust at Opera de Lausanne in a return engagement following his success as Sarastro Die Zauberflote for the company, and at Opera de Oveido, Spain, he also appeared Count Sam Horn Un ballo in Maschera; he was Zuniga Carmen at PORTopera, and Young Emile Champion for Opera Parallel in its West Coast premiere. He also appeared as Sarastro at Virginia Opera and Opera Memphis. At Annapolis Opera, Kenneth made his debut as Don Alfonso Cosi fan tutte.

    Born and raised in Washington, D.C, the artist began his formal musical training at the Duke Ellington School of the Performing and Visual Arts as a Vocal and Visual Arts student. He holds degrees from the University of Michigan and Ohio University. He continued his studies at the Academy of Vocal Arts, and at Wolf Trap Opera; he is an Alumnus of the Adler Fellowship at San Francisco Opera and the Domingo-Cafritz Emerging Artist Program at Washington National Opera.

    Other roles in the artist’s repertoire include Leporello Don Giovanni, the title role Hercules, The King Ariodante, Osmin Die Entführung aus dem Serail, and Sparafucile Rigoletto.

  • Joseph Powell is a conductor and tenor based in Memphis, Tennessee. A native of Mobile, Alabama, he is currently pursuing the Doctor of Musical Arts in Choral Conducting with a Vocal Pedagogy Cognate at the University of Memphis. Powell serves as Interim Director of the Memphis Symphony Chorus and as Artistic Director of Memphis ChoralArts.

    Powell holds a Bachelor’s degree in Music Education and a Master’s degree in Choral Conducting from the University of Southern Mississippi. From 2014 to 2024, he built a thriving choral program at White Station High School, conducting the Chorale, Tenor-Bass Choir, Advanced Treble Chorus, Treble Chorus, and the award-winning contemporary a cappella group DoReHe. Under his direction, White Station ensembles appeared at the TMEA Professional Development Conference (2015, 2018) and the National A Cappella Convention, where DoReHe earned recognition as a High School Championship Finalist in 2018.

    Powell’s leadership has been honored nationally and locally. He received the Country Music Association Foundation’s Music Teachers of Excellence Award (2022), was named the Orpheum High School Musical Theatre Awards’ Inspiring Teacher (2024) and is the 2025 St. Paul’s Episcopal School Distinguished Alumni in the Arts. His students’ musical theater productions garnered multiple nominations for Best Student Orchestra, earning the award in 2019. He has also been nominated twice for Shelby County Schools Teacher of the Year.

    An active performer, Powell appears regularly with the Memphis Chamber Choir, Opera Memphis, and, from 2014 to 2024, the Memphis Symphony Chorus. He has been featured in opera and musical theatre productions with Opera Memphis and IRIS Orchestra. In addition to performing, he serves as Handbell Choir Director and staff singer at Calvary Episcopal Church, continuing his lifelong commitment to both artistry and community through music.

  • Dr. Donald Trott is the Director of Choral Activities at the University of Mississippi (Ole Miss) in Oxford. In addition, he coordinates the graduate conducting program and conducts the Concert Singers, Men’s Glee, and shares conducting duties with the University Chorus. His choirs have performed at conventions of the American Choral Directors Association (ACDA) in 1998, 2006, 2007, 2010, 2016, and 2020, and Mississippi Music Educators Association (MMEA) in 2005, 2008, 2010, 2013, 2018, and 2025. Dr. Trott is a past president of the ACDA Southern Region. He is the recipient of the 2022 ACDA Southern Region Distinguished Service Award, 2024 ACDA Southern Region Award of Excellence, and the 2023 Mississippi ACDA Ernestine Ferrell Award. Trott has authored several articles on late eighteenth-century performance practice and Leonard Bernstein, created an ACDA monograph on nineteenth-century choral repertoire, and was editor and contributor for Conducting Men’s Choirs (GIA). Dr. Trott is a graduate of Westminster Choir College and the University of Oklahoma, where he studied with Dr. Dennis Shrock. Dr. Trott’s choirs have performed in many prestigious venues and locations, including the White House, where the choir met President Barack Obama.

  • Dr. Elizabeth (Libby) Hearn is an Associate Professor of Choral Music Education at the University of Mississippi, where she conducts Women’s Glee and the University Chorus. She also teaches graduate and undergraduate courses in choral music education, conducting, and qualitative research. Additionally, Libby serves as the conductor of the Mississippi River Chorale, an adult community choir, for the MidSouth Music Organization.

    Before joining the faculty at Ole Miss, Dr. Hearn earned a Ph.D. in music education from the University of Alabama. She previously served as an Assistant Professor of Music and Director of Choral Activities at Marian University in Indianapolis. Her career in secondary education began in Alabama, where she successfully taught choral music at Hueytown High School for seven years.

    In addition to teaching and conducting, Libby has published her research in peer-reviewed journals and presented at international, national, regional, and state conferences. Her research interests include Treble and SA choirs, job mobility in music education, assessment, choral music teacher education, and ACDA history. She currently serves as president of the Mississippi American Choral Directors Association, co-editor of the Research Report Column in the Choral Journal, and co-editor of the Mississippi Music Educators Journal.

Memphis Symphony Orchestra

  • Barrie Cooper, Concertmaster
    The Joy Brown Wiener Chair
    Marisa Polesky*, Assistant Concertmaster
    Diane Cohen, Assistant Principal
    Wen-Yih Yu, Assistant Principal
    Long Long Kang
    Jordan Musgrave
    Daniel Gilbert
    Carissa Perez
    Martin Palacios
    Michael Kylce
    Ana Maria Trujillo
    Boris Abramov

  • Erin Kaste, Principal
    The Dunbar and Constance Abston Chair
    Lenore McIntyre, Assistant Principal
    Yennifer Correia, Assistant Principal
    Ann Pretzer
    Miguel Lesmes
    Esther Humphries
    Jamie Weaver
    Janaina Fernandes
    Jasper Rogal
    Janet Cooper

  • Michelle Pellay-Walker, Principal
    The Corinne Falls Murrah Chair
    Aaron Tubergen, Assistant Principal
    Beth Luscombe, Assistant Principal
    Michael Brennan
    Eddy Malave
    Rossana Cauti
    Matthew Finley
    Josh Muzzi
    Sixto Franco
    Lenny Schranze

  • Ruth Valente Burgess, Principal
    The Vincent de Frank Chair
    Iren Zombor, Assistant Principal
    Jonathan Kirkscey, Assistant Principal
    Jeffrey Jurciukonis
    Hannah Schmidt
    Mark Wallace
    Estefan Perez
    Christine Sears
    Elen Wroten

  • Scott Best, Principal
    Chris Butler, Assistant Principal
    Sean O’Hara
    Andrew Palmer
    Jeremy Upton
    Garrett Kirk

  • Shantanique Moore*, Principal
    The Marion Dugdale McClure Chair
    Delara Hashemi
    Kelly Hermann

  • Lani Smith*, Principal
    The Paul and Linnea Bert Chair
    Austin Smith
    Sandy D’Amato, Assistant Principal

  • Andre Dyachenko, Principal
    The Gayle S. Rose Chair
    Rena Feller

  • Susanna Whitney, Principal
    The Carolyn Horrell Heppel Chair
    Michael Scott
    Leyla Zamora
    Taylor Shorey

  • Caroline Kinsey, Principal
    The Morrie A. Moss Chair
    Robert Patterson
    Jeremy Frederick
    Dan Vidican

  • Scott Moore, Principal
    The Smith & Nephew Chair
    Elizabeth Carter
    Alex Schuetrumpf
    Camas Stredder
    Nairam Simoes
    Mason Kibble
    Andrew Stadler
    Christian Chiasson

  • Greg Luscombe, Principal
    Mark Soueidi
    Mark Vail

  • Charles Schulz, Principal
    The Charles and Sharen Schulz Chair

  • Ed Murray, Principal

  • David Carlisle*, Principal

*Circle of Friends Artist in Residence

Memphis Symphony Chorus

  • Olivia Ball
    Suzanne Brockway
    Alicia Butler*
    Janice T. Cate
    Edith Christmas
    Tamara Clark
    Vonda Collins
    Barbara Etheridge
    Mary Geer
    Roberta J. Hoppe
    Jenny Johnson
    Kayla Kaskal
    Renee Lancaster
    Alexandra McCool
    Aimee Randolph
    Aurora Russell
    Karen C Sanders
    Pamela Schnell
    Addison Schwamb
    Karen Tate
    B.J. Webster
    Ia Traci White
    Cathy Wilhelm*
    Emily Wyonzek

  • Faith Armstrong
    Lily S. Axelrod
    Terry Bondurant
    Tiffany Cadenhead
    Kaitlyn Farris
    Gerre Harrell*
    Sandy Hunt
    Rosalyn Hurt
    M. Ann Indingaro
    Carolyn Kitty
    Suzanne Lease
    Anita I. Lotz
    Jill Jemison Margolin
    Amanda B McGee
    Lisa Lucks Mendel*
    Kenya Nichols
    Silla Ozkara
    Terron K. Perk
    Karyn Santana
    Mary Seratt
    Anna Shelton-Brownell*
    Nancy Thompson
    Rita West
    Alison Wetherald*

  • Robert W Bradsher Jr
    Andre Brooks
    Joel Cox
    Julius Dabbs
    Clint M. Early, Jr
    Antonio Hinton
    Dylan Hooper*
    Donavon Hughes
    George Martin
    Daniel Massey
    Dr. David McNair
    John Sanborn*
    David H. Schnell
    Erich Shultz
    David Spear
    Michael Welch

  • Matthew Babb
    Eugene Beeler
    Trent Broussard
    Charles Dove II*
    Jalen Gales
    Bill Gaudet
    Samuel Hughes
    Jim Jaggers*
    Dayrin Jones*
    John Killmar
    Dallas Kiner
    Michael Korenstein
    David Patterson
    Kyle Sills
    Caleb Suggs
    Alvin Whitney*

*Memphis Symphony Chorus Board of Directors

University of Mississippi Choir

  • Michael Aboagye
    Allie Alldread
    Parker Anderson
    Veronica Anderson
    Corbin Baird
    Riley Baird
    Nic Boswell
    Andrea Brohawn
    Madison Brown
    Avery Burgoyne
    Brooke Busby
    Mia Caccavano
    Madison Carroll
    Landon Chapman
    Amelia Clausel
    Addie Clements
    Mickie Coleman
    Emory Combs
    Sienna Cornell
    Makenna Counts
    Jayden Cox
    Taylor Craig
    Brody Creel
    Elizabeth Cross
    Lydia Davis
    Jared Diaz-Alfaro
    Elise Dossett-Bridgers
    Paige Durant
    Cassidy Edwards
    Lucy Elfert
    Dre Evans
    Charlie Faulk
    Dana Felder
    Cole Freeman
    Kevin Gamez
    Ava Gee
    A’nya Getter
    Aaron Gholson
    Carlin Gillen
    Isaiah Goss
    Sydney Guntharp
    CJ Hancock
    Sarah Harmon
    Taylor Harris
    John Harvey
    Zanisha Hawkins
    Kevin Herrera
    Sophia Hickox
    Zoie Hodge
    Emma Holland
    Dasha Hollingshed
    Kiera Huck
    Dylan Johnson
    Hayden Joyner
    Izzie Langendown
    Jayden Lawrence
    Lillian Lewis
    Daisy Maciel
    Jasmine Manning
    Jamiria Massie
    Evelyn McGee
    Tearanie Miller
    Bell Mills
    Annabeth Moore
    John Nelson
    Dat Nguyen
    Jeff Nock
    Foster O’Quinn
    Caleb Pearce
    Cote Peña
    Kasey Potee
    Molly Randle
    Luciana Rinaldi
    Reed Robertson
    Valeria Ruiz
    Isabella Ruta
    Avery Sams
    Amelia Samples
    Ariane Sanchez
    Jacob Scott
    Anna Seelbach
    Emily Smith
    Mary Elizabeth Smith
    Adeline Spears
    John Spencer
    Jacobie Steen
    Carter Stacy
    Cas Sullivan
    Sofie Talazac
    Sajel Tanksley
    Mia Taylor
    Noel Terrell
    Justin Thomas
    Bekah Trapnell
    Carey Traylor
    Phebe Triplett
    Bryan Turner
    Everett Van Every
    Samantha Walker
    Maggie Wallace
    Danaria Ward
    Bre Washington
    Jordan Westin
    Kevan Williams
    Clayton Windham
    Lauren Winters
    Ontarius Woodland
    Sarah Wright
    Abe Wymer
    Abi Zarback