Madelaine Coffman, Founder and Executive Director
With a background in opera, theater, and the visual arts, Madelaine Coffman combines artistic and business innovation in her drive to engage new audiences. Committed to the viability of the performing arts in the marketplace, she established Heretic Opera as a way to support modern stories and cross-disciplinary collaboration through entrepreneurial ventures. Heretic Opera’s upcoming production, Valentine, is based upon her original story and libretto.
Madelaine freelances as a sound design and marketing consultant for Old Stock Audio and runs a networking group for arts, high-craft, and creative entrepreneurs. She received her training at Mannes College of Music (NY), HB Studios (NY), Portland Actors Conservatory, and Portland State University. Her work in rebuilding a pre-professional program for local opera students at with Portland State University was recognized with the 2007 Student Leader of the Year Award. Her first experience in directing and producing, Dido and Aeneas, was designated a “Best Bet” by The Oregonian newspaper. She is certified as a mediator in the state of Oregon.
With a background in opera, theater, and the visual arts, Madelaine Coffman combines artistic and business innovation in her drive to engage new audiences. Committed to the viability of the performing arts in the marketplace, she established Heretic Opera as a way to support modern stories and cross-disciplinary collaboration through entrepreneurial ventures. Heretic Opera’s upcoming production, Valentine, is based upon her original story and libretto.
Madelaine freelances as a sound design and marketing consultant for Old Stock Audio and runs a networking group for arts, high-craft, and creative entrepreneurs. She received her training at Mannes College of Music (NY), HB Studios (NY), Portland Actors Conservatory, and Portland State University. Her work in rebuilding a pre-professional program for local opera students at with Portland State University was recognized with the 2007 Student Leader of the Year Award. Her first experience in directing and producing, Dido and Aeneas, was designated a “Best Bet” by The Oregonian newspaper. She is certified as a mediator in the state of Oregon.
Kenneth D. Froelich, Composer
Described as energetic, exciting, and rhythmically dynamic, composer Kenneth D. Froelich’s music has been performed internationally in Europe, England, South America and Asia, as well as many cities across the United States. A vibrant new voice in the world of contemporary chamber and orchestral music, Kenneth has been honored with awards from ASCAP, the National Association of Composers/USA, Meet the Composer, the Percussive Arts Society, the American Composers Forum, and the Society of Composers Inc. Kenneth’s works have been presented by such acclaimed ensembles as the American Composers Orchestra, Duo46, Earplay, the Empyrean Ensemble, the California E.A.R Unit, the Jolles Duo, the Indianapolis Symphonic Orchestra, Conundrum, the University of New Mexico Percussion Ensemble, the University of Southern California Symphony Orchestra, the Indiana University New Music Ensemble, and the Orpheus Ensemble of Fresno. Some of his more recent works include Braindance (2011), premiered by the Fresno State Wind Orchestra; Unwinding Time (2008) for oboe and computer, performed by Krista Riggs at the International Double Reed Society 2009 conference in Birmingham, England; and Neurotica (2008) for flute and percussion trio, performed by flutist Teresa Beaman at several venues in South America and at the 2010 National Flute Association Convention in Anaheim, CA.
Upcoming premieres include Valentine, a new song cycle for soprano Ann Moss, new wind ensemble works for the UNLV, Western Oregon, and University of the Pacific wind ensembles, and a new brass ensemble work for "Brass in Blue," part of the U.S. Air Force Heartland of America Band. Kenneth recently participated in a week-long residency at Cornell University from October 12th through 18th, 2010, as part of Meet the Composer’s Music Alive: New Partnerships residency program. The orchestral work Pulse Mutations (2004) was performed as part of this residency. His percussion ensemble work Accidental Migration is available through C. Alan Publications, and his concert band work Tock is available through Wingert-Jones Publications. Additional scores are available through JOMAR Press and his website at www.kennethfroelich.com.
Kenneth currently resides in Fresno, CA with his wife Jennifer and daughter Katerina, where he is Associate Professor in Music Composition at California State University, Fresno and director of the Fresno New Music Festival.
Described as energetic, exciting, and rhythmically dynamic, composer Kenneth D. Froelich’s music has been performed internationally in Europe, England, South America and Asia, as well as many cities across the United States. A vibrant new voice in the world of contemporary chamber and orchestral music, Kenneth has been honored with awards from ASCAP, the National Association of Composers/USA, Meet the Composer, the Percussive Arts Society, the American Composers Forum, and the Society of Composers Inc. Kenneth’s works have been presented by such acclaimed ensembles as the American Composers Orchestra, Duo46, Earplay, the Empyrean Ensemble, the California E.A.R Unit, the Jolles Duo, the Indianapolis Symphonic Orchestra, Conundrum, the University of New Mexico Percussion Ensemble, the University of Southern California Symphony Orchestra, the Indiana University New Music Ensemble, and the Orpheus Ensemble of Fresno. Some of his more recent works include Braindance (2011), premiered by the Fresno State Wind Orchestra; Unwinding Time (2008) for oboe and computer, performed by Krista Riggs at the International Double Reed Society 2009 conference in Birmingham, England; and Neurotica (2008) for flute and percussion trio, performed by flutist Teresa Beaman at several venues in South America and at the 2010 National Flute Association Convention in Anaheim, CA.
Upcoming premieres include Valentine, a new song cycle for soprano Ann Moss, new wind ensemble works for the UNLV, Western Oregon, and University of the Pacific wind ensembles, and a new brass ensemble work for "Brass in Blue," part of the U.S. Air Force Heartland of America Band. Kenneth recently participated in a week-long residency at Cornell University from October 12th through 18th, 2010, as part of Meet the Composer’s Music Alive: New Partnerships residency program. The orchestral work Pulse Mutations (2004) was performed as part of this residency. His percussion ensemble work Accidental Migration is available through C. Alan Publications, and his concert band work Tock is available through Wingert-Jones Publications. Additional scores are available through JOMAR Press and his website at www.kennethfroelich.com.
Kenneth currently resides in Fresno, CA with his wife Jennifer and daughter Katerina, where he is Associate Professor in Music Composition at California State University, Fresno and director of the Fresno New Music Festival.
Douglas Schneider, Music Director
Douglas Carl Schneider is the principal opera coach at Portland State University, following appointments as staff accompanist at Northwestern and DePaul Universities. He has coached over forty operatic productions from twentieth century to Baroque, including work as principal accompanist and coach for Portland Opera, Chicago Opera Theatre, Da Corneto Opera, Bowen Park Opera. Mr. Schneider has performed at over a thousand recitals, including collaborations with Sherrill Milnes, George Shirley, Steven Jordheim, Richard Zelle, Patrice Michaels. A specialist in early music, Mr. Schneider has conducted - often from the harpsichord - many baroque operatic and oratorio works with various ensembles. He performs the complete Bach organ works and has appeared as harpsichordist at Back Week in Evanston and with the gamba ensemble Second City Music on WFMT. He is co-founder and harpsichordist/organist with the chamber ensemble Urban Baroque.
Mr. Schneider is the organist at St. Mary's Cathedral of the Immaculate Conception in Portland. Previously he was the assistant organist/conductor at Chicago's Holy Name Cathedral and has also served as the organist/director of music and liturgy at Chicago's St. Alphonsus Church. As an organ soloist, he has performed nationally in addition to his work with many ensembles such as the Portland Symphonic Choir, the Portland Chamber Orchestra, In Mulieribus, Cappella Romana, the Alaska Chamber Singers, and the Chicago vocal ensemble Seraphim. He has collaborated with Cantores in Ecclesia in numerous liturgies and concerts, including a concert performance of the two-organ Langlais Messe Solennelle with Westminster Abbey organist James O'Donnell. Mr. Schneider also teaches classical saxophone at Portland State University, and has been recognized by Downbeat magazine with an award for outstanding jazz saxophone performance.
Douglas Carl Schneider is the principal opera coach at Portland State University, following appointments as staff accompanist at Northwestern and DePaul Universities. He has coached over forty operatic productions from twentieth century to Baroque, including work as principal accompanist and coach for Portland Opera, Chicago Opera Theatre, Da Corneto Opera, Bowen Park Opera. Mr. Schneider has performed at over a thousand recitals, including collaborations with Sherrill Milnes, George Shirley, Steven Jordheim, Richard Zelle, Patrice Michaels. A specialist in early music, Mr. Schneider has conducted - often from the harpsichord - many baroque operatic and oratorio works with various ensembles. He performs the complete Bach organ works and has appeared as harpsichordist at Back Week in Evanston and with the gamba ensemble Second City Music on WFMT. He is co-founder and harpsichordist/organist with the chamber ensemble Urban Baroque.
Mr. Schneider is the organist at St. Mary's Cathedral of the Immaculate Conception in Portland. Previously he was the assistant organist/conductor at Chicago's Holy Name Cathedral and has also served as the organist/director of music and liturgy at Chicago's St. Alphonsus Church. As an organ soloist, he has performed nationally in addition to his work with many ensembles such as the Portland Symphonic Choir, the Portland Chamber Orchestra, In Mulieribus, Cappella Romana, the Alaska Chamber Singers, and the Chicago vocal ensemble Seraphim. He has collaborated with Cantores in Ecclesia in numerous liturgies and concerts, including a concert performance of the two-organ Langlais Messe Solennelle with Westminster Abbey organist James O'Donnell. Mr. Schneider also teaches classical saxophone at Portland State University, and has been recognized by Downbeat magazine with an award for outstanding jazz saxophone performance.
Justin Phelps, Sound Engineer
In the last twenty years Justin Phelps has been responsible for the sound of over 200 albums. He has worked extensively with members of the San Francisco and Portland Symphonies as well as the San Jose Opera Company and engineered orchestral and operatic sections for recordings by such well known artists as Amanda Palmer, Mars Volta, and Michael Franti. He has earned a platinum album credential for his work with the band Cake and received his own passage in the Mix Bookshelf publication If These Halls Could Talk, the History of Recording in the San Francisco Bay Area.
Justin spent the better part of the 90’s and 2000’s rising through the ranks of the San Francisco recording industry. In 1996, after graduating from the recording arts program at California Recording Institute, he was immediately hired as an instructor and landed an internship with recording legends John Cuniberti and Dan Alexander. From there he worked his way to 1st engineer at San Francisco’s famous Coast Recorders and then moved to the position of house engineer at Sausalito’s The Plant studios. He was instrumental in resurrecting the renowned studio Hyde Street Studio C and spent four years there recording around the clock for a wide variety of national and international acts. In 2008 Justin returned to Portland and founded Hawthorne Bridge Recording Co with local engineer/producer Jordan Richter. After a very busy and productive year they began to long for a larger and more traditional facility, and a partnership with Rick McMillen and Super Digital Audio led to the creation of Cloud City Sound. The combination proved to be an easy fit: after a little bit of sonic tweaking and a massive gear merger he was right at home turning knobs and pushing faders in the pursuit of great sound.
In the last twenty years Justin Phelps has been responsible for the sound of over 200 albums. He has worked extensively with members of the San Francisco and Portland Symphonies as well as the San Jose Opera Company and engineered orchestral and operatic sections for recordings by such well known artists as Amanda Palmer, Mars Volta, and Michael Franti. He has earned a platinum album credential for his work with the band Cake and received his own passage in the Mix Bookshelf publication If These Halls Could Talk, the History of Recording in the San Francisco Bay Area.
Justin spent the better part of the 90’s and 2000’s rising through the ranks of the San Francisco recording industry. In 1996, after graduating from the recording arts program at California Recording Institute, he was immediately hired as an instructor and landed an internship with recording legends John Cuniberti and Dan Alexander. From there he worked his way to 1st engineer at San Francisco’s famous Coast Recorders and then moved to the position of house engineer at Sausalito’s The Plant studios. He was instrumental in resurrecting the renowned studio Hyde Street Studio C and spent four years there recording around the clock for a wide variety of national and international acts. In 2008 Justin returned to Portland and founded Hawthorne Bridge Recording Co with local engineer/producer Jordan Richter. After a very busy and productive year they began to long for a larger and more traditional facility, and a partnership with Rick McMillen and Super Digital Audio led to the creation of Cloud City Sound. The combination proved to be an easy fit: after a little bit of sonic tweaking and a massive gear merger he was right at home turning knobs and pushing faders in the pursuit of great sound.
Cynthia Plouf, Comptroller
A long-time supporter of the performing arts, Ms. Plouf is a CPA at Van Beek & Co. She can regularly be found performing with her band, The Ukeladies, in nightclubs across Portland.
A long-time supporter of the performing arts, Ms. Plouf is a CPA at Van Beek & Co. She can regularly be found performing with her band, The Ukeladies, in nightclubs across Portland.