Director of Vocal Studies, DAWN PADULA, mezzo-soprano (http://dawnpadula.com) is a versatile performer of opera, oratorio, art song, jazz, and musical theatre. Principal opera roles include Carmen in Carmen (Kitsap Opera, Bremerton, WA), Cherubino in Le Nozze di Figaro, Suzuki in Madama Butterfly, Meg in Falstaff, Mercedes in Carmen, Dangeville in Adriana Lecouvreur, and The Third Lady in Die Zauberflöte (Opera in the Heights, Houston, TX), the Gingerbread Witch in Hansel and Gretel (The Living Opera, Dallas, TX), Loma Williams in Cold Sassy Tree, Maddalena in Rigoletto (Amarillo Opera, Concert Opera of Seattle), Vera in Gene Murray’s The Wage of Sin (Amarillo Opera—recorded for educational television), Isabella in L’Italiana in Algeri, Erika in Vanessa, and Marchesa Melibea in Il Viaggio a Reims (Moores Opera Center), Ragonde in Le Comte Ory (Manhattan School of Music Opera Theatre), and the Sorceress in Dido and Aeneas (Ars Lyrica Houston/Houston Chamber Choir). The Newport Classics label has released her performance as Bellino in Dominick Argento’s Casanova’s Homecoming with the Moores Opera Center. Dr. Padula also created the role of Hagga for the world premiere of Christopher Theofanidis’ The Thirteen Clocks for the Moores Opera Center (also recorded for commercial release). For the Houston Grand Opera, Dr. Padula sang the role of Sappho in a reading and recording session of Mark Adamo’s Lysistrata, as well as participating in a recording of scenes from Daniel Catan’s Salsipuedes, for their New Music Week. In the Pacific Northwest, Dr. Padula has performed the role of Ruth in Tacoma Opera’s The Pirates of Penzance (she will also portray the Queen of the Fairies in their 2019 production of Iolanthe), the role of Martha in Opera Pacifica’s Faust, Maddalena in Rigoletto with the Concert Opera of Seattle and Lyric Opera Northwest, and title role of Carmen in Kitsap Opera’s 2015 production. She made her debut with Puget Sound Concert Opera as Azucena in Il Trovatore in 2018, and will perform the role of Ulrica in Un Ballo in Maschera with the company in June 2019. With the Seattle Gilbert & Sullivan Society, she has performed the roles of Lady Jane in Patience (2018 Gregory Award People’s Choice Nominee), Lady Blanche in Princess Ida, and the Usher in Trial By Jury. She is a Supplementary Chorister with Seattle Opera, and has also been on their Teaching Artist roster.
Her concert repertoire includes solo work in Durufle’s Requiem, Handel’s Messiah, Israel in Egypt, and Judas Maccabeus, Vivaldi’s Gloria, Mozart’s Requiem, Solemn Vespers, Mass in C-Minor, and Coronation Mass, Rossini’s Stabat Mater, Pergolesi’s Stabat Mater, Debussy’s La Damoiselle Elue, Brahms’ Alto Rhapsody, Schubert’s Ständchen, Beethoven’s Mass in C, Choral Fantasy, and Symphony No. 9, Honnegger’s King David, Bach’s Magnificat, Bernstein’s Chicester Psalms, Copland’s In the Beginning, and Haydn’s Mass in the Time of War. She has appeared as a soloist with several leading performance organizations, including the Houston Symphony Orchestra, the Houston Masterworks Chorus, the Oregon Symphony, the Seattle Bach Choir, the Houston Chamber Choir, the Alamo City Men’s Chorale, the Sons of Orpheus Men’s Ensemble, CANTARE Houston, Mercury Baroque, the Woodlands Symphony Orchestra, the Men’s Consort of Houston, the Symphony North of Houston, the Black Note Ensemble, the Bay Area Chorus, and the Foundation for Modern Music. With Ars Lyrica Houston, she portrayed the roles of both Tempo and Disinganno in the American premiere of the 1737 version of Handel’s oratorio, Il Trionfo del Tempo é delle Veritá, the role of Phoebus in Bach’s BWV 201, a soloist in Jacquet de la Guerre’s Jepthe, as well as the title role of Cain in Alessandro Scarlatti’s Il Primo Omicidio Overo. She performed as the mezzo-soprano soloist in Penderecki’s Credo with the Houston Symphony Orchestra under the direction of Maestro Jahja Ling of the San Diego Symphony. In the spring of 2010, she performed as the mezzo-soprano soloist in Mozart’s Requiem in Cleveland’s famed Severance Hall to commemorate Kent State University’s Centennial Celebration. In the Pacific Northwest, she has given solo performances for the Classical Tuesdays of Old Town organization, as well as for the Second City Chamber Series. She has also recently performed with Gonzaga University Choruses, the Tacoma Concert Band, and is a current performing member of the Ladies Musical Club of Seattle. In summer 2017, she appeared with members of the Puget Sound School of Music Adelphian Concert Choir, the Portland Symphonic Choir, the Tuscon Masterworks Chorale, the West Liberty University Singers, the West Liberty College Community Chorus, and the Pazardzhik Symphony Orchestra as the mezzo-soprano soloist in Mozart’s Requiem in both Varna and Sofia, Bulgaria. Her debut album, Gracious Moonlight, was released in August 2017 on iTunes, Amazon Music, CD Baby and Spotify, among others, and features From the Diary of Virginia Woolf by Dominick Argento and two song-cycles by Robert Hutchinson: The House of Life and Two Songs From the Poetry of H.D.
As a jazz soloist, she has performed at Pacific Lutheran University’s Jazz Under the Stars summer series, and the Puget Sound School of Music Jacobsen series. Musical theatre roles include portraying several characters (including Barbra Streisand, Chita Rivera, and Donna McKechnie, among others) in Forbidden Broadway’s Greatest Hits (Lakewood Playhouse), Domina in A Funny Thing Happened on the Way to the Forum (Lakewood Playhouse), Jack’s Mother in Into the Woods (Trinity University), woman 3 in ‘And the World Goes ‘Round (Manhattan School of Music Musical Theatre), and Amalia Balash in She Loves Me (Trinity University).
Dr. Padula joined the University of Puget Sound School of Music faculty in 2009-2010 as Director of Vocal Studies after having taught at Sam Houston State University in Huntsville, TX. She completed both a Bachelor of Music in Vocal Performance and a Bachelor of Arts in Communication at Trinity University, a Master of Music degree from the Manhattan School of Music, and a Doctorate of Musical Arts from the University of Houston Moores School of Music, where she focused in her dissertation on pedagogical issues with the male voice, particularly registration negotiation and passaggio. She has presented her dissertation research in lecture, workshop, and poster format at The Voice Foundation (Philadelphia, PA), The Art & Science of the Performing Voice Symposium (Seattle, WA), and at the National Association of Teachers of Singing conference (Nashville, TN).