• “Piano Singer” – 2007
• “Classical Piano Favorites” –2005
• “The Winds of Mars” (solo keyboard music of Bach) – 1999
• “Pictures at an Exhibition” (Mussorgsky’s original piano version) and Satie’s Trois Gymnopédies – 1996
• “Classics for the Soul” (with violinist Yuri Merzhevsky – as pianist and producer) – 1995
• “Beethoven, Mozart, Debussy and Chopin Naturally” – 1994-95
• Curiously Classical (for Baby Genius to accompany Curious George books with Tamas Strasser and Norbert Nielubowski – as pianist and producer)
• Classics for Children (with Julia Bogorad and Peter McGuire)
• La vie intérieure(French Song Recital with soprano Patricia Kent – as pianist and producer)
• God in every heart (Sacred music of Rush Tully – as pianist and producer)
• Ireland Remembered (with singer Jerry Hinks – as pianist and producer)

Teaching Experience

• New England Conservatory, Boston Conservatory, Longy School, Boston University Coach and Accompanist, Adjudicator – Boston, 2008-2014
• Groton School, MA – Choir Director, 2013
• Brooks School, North Andover, MA – Choir Director, Piano and Voice Instructor, 2010-2013
• Buckingham, Browne and Nichols, Cambridge, MA – Coach and Accompanist, 2010-2013
• Macalester College, St. Paul, Minnesota 2006 Visiting Professor of Music – Music Appreciation and Music History
• University of St. Thomas, St. Paul, Minnesota 1998 Adjunct Professor – Music Theory and Music History
• Southwest State University, Marshall, Minnesota 1991-1996 Adjunct Professor and Orchestra Director
• Queen’s College, New York 1986-1987 Adjunct Professor – Opera Scenes classes: repertoire, casting, vocal coaching
• Schubert Club Keyboard Museum, St. Paul, Minnesota 1988-1992 Artist-in-Residence Lecture-Recitalist on museum’s historical pianos Lecturer on development of piano construction and design Teacher of Fortepiano technique, performance practice and repertoire Master classes for piano students from University of Minnesota Special Programs Host
• Minnesota Opera -Wesley Balk Institute  1987, 1988 & 1989 Music Director – Trainer of the Singer-Actor and Vocal Coaches in teaching methods and operatic repertoire. Programmer of Opera Scenes – Scenes casting and musical preparation Developer of innovative training methods/collaboration with Wesley Balk
• *Private Piano and Coaching Studio 1976 – present London, New York, St. Paul/Minneapolis *All other teaching experience

Resume of Teaching Topics

• Piano and Fortepiano Technique and Repertoire
• Piano Accompaniment Technique and Repertoire
• Chamber Music Coaching
• Orchestral Training
• Vocal Coaching – Song and Opera
• Choir Training and Preparation
• Opera Repertoire Preparation
• Music History
• Music Appreciation
• Music Theory
• Lectures on Other Musical and Cultural Subjects

• “Invitation” – Voice and Piano – 2014
• “There is a field” (Rumi) – Choir and Piano – 2014
• “A Song of Joys” (Whitman) – Choir, Cello and Piano – 2013
• Canticle 9 (A Song of Praise), Alleluia, Sanctus, Great Amen (Episcopal Service Music) commissioned in 2007 by St. Paul’s Episcopal Church in Owatonna, MN
• Gloria, Alleluia, Sanctus and Fraction Anthem (Episcopal Service music) commissioned in 2003 by the Episcopal Church of St. John the Evangelist, St. Paul, MN
• Good Shepherd of the Sheep (Sung Collect – anthem for choir)
• Creator of the stars of night (anthem – for the dedication of Granlund’s “Aegis”) for choir, brass and organ
• Go ye therefore (anthem for a capella choir)
• Psalm 100 (anthem with bells and trumpets)
• Easter Fanfare and Introit (Why seek ye the living among the dead?)
• For by water and the Holy Spirit (for children’s choir and bells)
• Dedication Fanfare (for Wayzata Community Church – brass sextet and timpani)
• Double Fan-fare (fanfare for St. Michael’s, written for the installation of Fr. John LeVoir)

 

Performance Review by Darrell Rosenbluth in the New York Concert Review

Patricia Kent, soprano, and Roderick Kettlewell, piano (Note: Roderick Kettlewell is now Roderick Phipps-Kettlewell, after a recent marriage to Marilène Phipps)

2 February, 2002 in Weill Recital Hall at Carnegie Hall

Entering into the sumptuous jewel box that is Weill Hall, one is cued to leave mundane considerations behind and prepare for an experience of heightened and distilled sensitivities, the world of music.  Those who frequent this realm in either professional or audience capacity have the opportunity to escape the streets and dwell in dreams.  One hopes to get something equal to the effort invested, as either performer or listener.  There are concerts when the stars align such that one leaves this dimension entirely and for a blissful span resides in some world that is more beautiful, more profound, than anything imaginable.  Each person will perceive it in his own way but will be transported in an oceanic wave to points of infinite depth and limitless freedom. Patricia Kent is a soprano who defined such domain in her recital with pianist Roderick Kettlewell.  In a program entitled “La Vie Intérieure,” Ms. Kent led us in both strong and loving example through the gates that most often remain closed to our vision of music’s ultimate purpose: the singing of the human soul.  Through disciplined craft and the plum nectar of her voice, Ms. Kent’s full power of personality and ability to communicate so incisively and broadly, and truly, was of nearly mythic proportion.  As a priestess serves as conduit between mortals and worlds unseen, so did Ms. Kent draw all end points into connection. I should like to end my review here toward the purpose of underlining the importance and magnitude of the experience.  With that sentiment in mind, I offer some details in the spirit of conscientious journalism.  If you were fortunate enough to have been there, this won’t matter; if you missed it, perhaps this information will be of interest. Beginning with Debussy’s Ariettes oubliees, Kent caused one to forget the stunning craft of the composer’s discipline for the effects he intended. The entire program was of French song and there was ample time to hear how the language affects this performer and how she deals with its peculiarities when sung.  Throughout, I could detect a theory of sorts being brought to bear on pronouncing vowels and consonants in questionable cases.  That Kent opted for an Italian “e” and “r” needs no lengthy discussion here.  French presents some problems of diction in singing which does not exist when spoken.  Kent opted for one approach; other singers might tend toward another.  Alternatives to Kent’s decision most often result in the nasality that most singers and listeners find offensive (when they aren’t French).  Kent avoided such offense and in so doing was left with a touch of “down home” delivery at times that is perhaps foreign to these composers’ (and poets’) haut manner.  After all, this music is decidedly cuisine classique, not of provencal origin or intent. Mr. Kettlewell’s contribution was of stunningly beautiful substance, his playing a continuum of every nuance, and replete with the variegated textures and colors that swim and sparkle in this repertoire.  He and Kent have enjoyed collaborative work for many years; their keen and easy compatibility was never in question. Following the five opening songs, Kettlewell delivered a glittering performance of Ravel’s Sonatine for piano solo.  I’ve rarely heard the Steinway at Weill sound so good as he was able to coax it.  The true spirit of the Mouvement de Menuet, usually mismanaged by emotional fussiness that impinges upon its classic gait, walked elegantly in his care.  Some may have wished for more sweep to the final Anime, but I’m not complaining; I only rue that the final chord did not skew the major and minor modalities as Ravel surely intended.  It’s a bizarre effect, rather skunky, and one gets no second chance. Poulenc’s seven songs of La courte paille ended the first half of the recital.  A very satisfying set, both performers did it full justice.  Kettlewell could be seen lip-synching along with Le sommeil; apparently he knows more than just the piano part!  Three of the songs can only be described as cute; the poetry is cute, the music is cute, and Kent sang them cute.  Maybe I’m a party-pooper, but I’m no snob.  I felt that Poulenc had failed Ms. Kent.  Such cutesiness seemed a step or ten down from more substantive matters that find such glorious expression in this singer’s artistry. Poulenc’s Trois poemes de Louise de Vilmorin opened the second half of the concert, followed by the rare treat of Roussel’s Trois melodies.  Cinq melodies of Duparc ended the program, all masterpieces but crowned surely by his “La vie anterieure,” sung straight from Kent’s heart to our lucky, lucky souls.  I cried with her singing of Chanson triste, grateful for the humanity that Ms. Kent revealed in my self.  This was the greatest gift of all.  Thank you, dear Patricia Kent! Ms. Kent provided a beautiful program booklet with excellent notes and translations.  An accomplished performer, as is Kettlewell, she hails from the Minneapolis/St. Paul area where she is frequently heard in recital and oratorio and opera.  Keep an eye out for her CD recordings, past and future, and pray that she’ll be back here again soon.  This evening ended with one encore, the lovely Mandoline of Faure.

click for pdf copy of Rod’s resume