Currently the chairperson of the voice department of the New England Conservatory. She was also former faculty of the University of Missouri-Columbia, Vassar College, New York University, and the Eastman School of Music.
Karen came to K almost by accident, transferring in as a junior, and very nontraditional student, when a rock band she was on the road with stalled in Kalamazoo. Her master's degree and performer's certificate in opera comes from the Eastman School of Music.
Holvik has toured extensively in the United States, and has appeared in Canada and Western Europe singing both popular and classical repertoire. She has been successful in many competitions, including the American Opera Auditions, Liederkranz Foundation, Oratorio Society of New York, Carnegie Hall International American Music Competition, and Joy in Singing, which sponsored her debut recital at Alice Tully Hall. The Richard Tucker Gala Concert marked her Avery Fisher Hall debut, an event that was recorded by RCA Victor Red Seal and shown nationally on PBS, and she made her Carnegie Hall debut singing Handel's Messiah with the Masterwork Chorus and Orchestra. Other New York venues in which she has appeared in concert, opera, and oratorio include Merkin Hall, the 92nd Street Y, the Kaye Playhouse at Hunter College, Miller Theater and St. Paul's Chapel at Columbia University, the Knitting Factory, and Dance Theater Works.
Holvik spent five summers as an Opera Fellow at the Aspen Music Festival, where she was a student of Jan DeGaetani and Arleen Augér and sang leading roles in numerous opera productions. She has since returned as a guest artist to sing concerts featuring works by Bach and Mozart, as well as an evening of Gershwin songs to celebrate the opening of the Harris Recital Hall, with her Eastman classmate, baritone William Sharp, and pianist Steven Blier.
Lorraine is Director of the Schoepfle Vocal Arts Center of the Oberlin College Conservatory. Prior to joining Oberlin in 1993, Lorraine taught at the University of California and at St. Olaf College.
She graduated from Kalamazoo College in 1975 and followed by graduating with a Master of Music degree from the University of Michigan in 1977. She also studies as a doctoral fellow at the University of Texas in Austin.
Lorraine followed the very normal K College plan and went from here to grad school at the U of M (where they immediately revised their opera schedule for the year to take advantage of her perfect match for the role of Carmen!)
Mezzo-soprano Lorraine Manz has been featured as soloist in the United States in orchestral, oratorio, recital, and chamber music settings. She has performed as soloist with the Cleveland Orchestra, the Aspen Music Festival Orchestra, Blossom Music Festival (Cleveland), New Hampshire Music Festival, Round Top Festival in Texas, Bach Festival Society, Shreveport Summer Music Festival, and the Jefferson Performing Arts Society (New Orleans) with conductors such as Leonard Slatkin, Robert Spano, Marin Alsop, Gareth Morrell, and Steven Smith. She received critical praise for her performances with Lyric Opera Cleveland in Little Women, for which composer Mark Adamo was stage director.
Manz has been heard on artist series in recital and contemporary chamber music ensembles, including performances at the Lincoln Center, Contemporary Directions of the Aspen Music Festival, Music Academy of the West, the Walker Arts Center (Minneapolis), and the New Music Festival (California). She has toured Japan, Hawaii, and the West Coast, performing a variety of chamber music works.
Frances O. Clark (1928)
A native of Sturgis, Michigan, Frances O. Clark graduated from Kalamazoo College in 1928 with majors in English, French and Philosophy. She completed study at the Conservatory of American Students in Fontainebleau, the Paris Conservatory, and the Julliard School of Music. In 1963, Kalamazoo College conferred upon her the honorary Doctor of Music degree.
In her early career, Frances Clark was a private piano teacher in Albion, Sturgis, and Kalamazoo prior to her joining the faculty of Kalamazoo College in 1945. Here she began the first four-year program in piano pedagogy offered at an American college or university. She left K in 1955 to chair the piano and piano pedagogy departments at Westminster Choir College in Princeton, NJ. In 1960, she established the New School for Music Study and was supported in this endeavor by her student and colleague, Louise L. Goss, K-College alumna of 1948, who served as the executive vice president of the New School.
Throughout her career, Frances Clark was active as a clinician, lecturer, and consultant, but was best known for the Frances Clark Library for Piano Students, a widely used and highly respected, published, piano pedagogy curriculum. The National conference on Piano Pedagogy honored Ms. Clark in 1984 with its Lifetime Achievement Award, and she was awarded honorary membership in the National Society of Arts and Letters and in the Alpha Sigma Iota Honorary Music Fraternity. In 1987, she received the Distinguished Achievement Award from the Kalamazoo College Alumni Association. Upon her passing in April 1988, Ms. Clark was honored by the Irving S. Gilmore International Keyboard Festival; Ms. Goss accepted the honor on her behalf.
Meg Lauterbach, who received her Master of Music degree in Cello Performance from Roosevelt University and Bachelor of Arts degree from Kalamazoo College, is an active studio musician, and has worked with many bands and singer/songwriters to create original cello parts.
In addition, she maintains a rigorous schedule of classical chamber music and solo performances. She has been on the faculty at Hyde Park Suzuki Institute and Columbia College Chicago's Sherwood Community Music School for 10 years, training cellists and pianists of all ages and levels.
Orchestral performances have taken her around the globe--to Tomar, Portugal, to play Baroque cello at the Academia de Musica Antiga; to Osaka, Japan, where she was assistant principal cellist for the Ambassador Chamber Orchestra of Roosevelt University; to Courchevel, France, where she was assistant principal bass at the Conservatoire de Region.
Meg describes her music experience at "K":
Music was a huge part of my life at K. I played in the orchestra, sang in two different choirs, played in the bell choir, played bass in a Woody Guthrie-style folk band for a theatre production written by Ed Menta on the beginnings of organized labor in the U.S., rehearsed and performed with the Conservatory Orchestra during my study abroad in Clermont-Ferrand, performed three solo recitals (two on bass, one on cello), took private lessons in bass, cello, piano and voice, and played lots of chamber music with classmates and faculty.
Only now, over 10 years after graduation, do I realize how unusual, amazing and varied are the music opportunities at K. At the time I was a student at K, I didn't plan to become a professional musician--I just loved the music faculty and the wealth of ensembles and performance opportunities. Lo and behold, several years after graduation I realized it was silly to do anything BUT music for a living. And lo and behold, all of that music at K prepared me completely to enter graduate school in music.
Now I have a Master's degree in Cello Performance from Roosevelt University and I never hesitate to tell people that I did NOT go to a conservatory for undergrad, nor do I hold a Bachelor of Music degree. I love the fact that I took serious courses in many diverse disciplines; I love the fact that I didn't flinch when graduate music history professors asked for a 20-page paper--at K, I regularly had to write 30+ pages for a final paper!
Dustin (Dusty) Morris is a teaching choir in Vicksburg Schools. He directs seven choirs at the middle and high schools that do two musicals a year. He lives in Vicksburg, Michigan with his wife, Hadley (K 1999).
Dusty describes his experience at "K":
K prepared me well to be a choral director. Not only did I get the musical training I needed to begin my conducting/teaching career, but the liberal arts emphasis meant I also learned some history, language, philosophy and other things which have been very useful when explaining songs to my students. I can place the songs in their historical context, pronounce the foreign language texts and discuss the music's cultural relevance thanks to K College.