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© 2023 by Joel and Shelley Jameson. Proudly created with Wix.com

 

 

Shelley

Shelley Jameson, Soprano has sung with leading operatic artists in major opera houses both National and Internationally. 

Noted performances and debuts include: singing opposite the internationally acclaimed tenor, Placido Domingo, in her Washington Opera debut for the revival of Le Cid by Massenet, as the Infanta. Ms. Jameson again appeared with Mr. Domingo at Washington Opera in Parsifal by Wagner as the Flower Maiden. She made her international debut as

Violetta in La Traviata by Verdi, at the National Opera of Japan in Tokyo. Her international performances also including the Soprano soloist in Carmina Burana by Orff, at the

Teatro Municipale in Santiago Chile and singing opposite Metropolitan Opera Bass Jerome Hines in his opera, I Am The Way at the Bolshoi opera in Moscow. Ms. Jameson has

also appeared in leading roles, with New York City Opera and New York City Opera’s National touring company, Los Angeles Opera, Pittsburgh Opera,

Virginia Opera, Arizona Opera, Connecticut Opera, Long Island Opera,  Kentucky Opera, and Sarasota Opera. Her roles include Violetta in La Traviata, Musetta

in La Boheme, Pamina in Die Zauberflute, Gilda in Rigoletto, Norina in Don Pasquale, Marguerite in Faust, Donna Anna in Don Giovanni, Lauretta in Gianna Schischi, 

the title role in Suor Angelica, Konstanze in Die Entfuhrung Aus Dem Serail, Baby in Ballad of Baby Doe, Hannah in Die Lustige Witwe, 

Susanna in Le Nozze di Figaro, Anna Gomez in The Consul, and Miss Wordsworth in Albert Herring.

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Ms. Jameson made her Carnegie Hall debut singing the soprano solos in the Coronation Mass by Mozart and Magnificat by John Rutter with

the New England Symphonic Ensemble.  Other concert repertoire includes: has also sung a wide range of concert repertoire as soprano soloist including:

Mozart’s Mass C minor Mass and Regina Coeli, Beethoven’s 9th Symphony, Choral Fantasy and Scottish songs, Verdi’s Requiem, Vivaldi’s Gloria and Dixit Dominos,

Bruckner’s Te Deum, Faure’s Requiem, and Barber’s Knoxville Summer, 1915.

 

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As a former Artist-in-Residence at Nyack College

in Nyack, New York Ms. Jameson was the co-founder, producer, and stage director of the

Nyack College Opera Workshop. Since starting the Opera Workshop in 2004, Ms. Jameson has directed and

produced for her students numerous opera scenes from such operas as Don Giovanni and The Impresario by Mozart, The Ballad of Baby Doe

by Moore, Rigoletto by Verdi, and La Boheme by Puccini. In 2006, Ms. Jameson expanded the Opera workshop to include full productions including: Carmen,

La Boheme La Traviata, Il Tabarro , Die Zauberflote, Merry Widow, and Die Fledermaus. The Nyack College Opera Workshop also had the distinct pleasure of

performing scenes from I AM THE WAY,  which is a biblical opera/drama on the life of Christ, written by Metropolitan Opera Bass Jerome Hines.

The scenes performed were the first to be produced since the death of the composer.
 

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Notable Operatic professionals with whom Ms. Jameson worked:

Dodi Protero, her voice teacher, who studied with Toti Dal Monte, international bel canto expert, 

Placido Domingo: Washington and LA opera,

Joseph Colinari: New York City
Opera, Emanuel Villaume: Washington Opera,

Hugo de Hannah: Washington
Opera, Licia Albanese: The role of Violetta,

Franz Vote: Sarasota Opera; Collin
Graham: New York City Opera,

Heinz Fricke: Washington Opera, William Crutchfield,

Teo Alcantara: Pittsburgh Opera,

Stephen Lord: Arizona Opera,
Anthony Manoli, James Conlon: New York City Opera,

Franco Gentilesca: Connecticut Opera,

George Manahan: New York City Opera, Marty Katz,
Matthew Epstein: Chicago Lyric Opera,

 

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Ms. Jameson received her Bachelors Degree in Vocal Performance from Illinois Wesleyan University and

her Masters Degree in vocal performance from the University of Southern California. She also received an Artist Diploma in

Professional Opera Studies from Duquesne University in Pittsburgh for completing the Young Artist program at Pittsburgh opera and completed the Opera Music

Theater International young artist program directed by Metropolitan Opera Bass Jerome Hines. Currently, Ms. Jameson continues to perform throughout the

greater New York area and maintains a private voice studio in New York City and Rockland County, NY.

She and her husband, Joel Jameson are the co-founders of BRAMASOLE - an Operatic Training and

Performing Institute for emerging artists.

 

Philosophy  of  Teaching

While working toward an Artist Diploma in the Pittsburgh opera Young artist program, I attended
a Masterclass with Tito Capobiano where he stated this quote, “There are no formulas for a successful singing career.” I remember being scared to think I was entering a field with no definite guarantees. Today after having had a successful singing and teaching career, I can say through a strong degree of life experiences that although that may be true,

there are several “formulas” that can definitely help to assure success.

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The first formula to success is to develop a very reliable and strong vocal technique that can sustain a singer through a busy life of working, rehearsing and performing. I had the honor and privilege to study with several different voice

teachers that helped my to understand the anatomy and the acoustics of the voice,

the necessity of breath support, and the proper use of articulators. While getting my Masters Degree in Vocal Performance, I studied with Dr. Tom Cleveland former director of vocology at the Voice center and professor of Otolaryngology medical school of medicine at Vanderbilt university. From Tom I really learned how the voiceworked from a purely scientific and medical

way. After graduate school while in my second young artist program, I worked with Dodi Protero who herself studied with the Bel Canto expert coloratura Toti Dal Monte. Dodi took all of my medical vocal knowledge and transformed it into
pictures and images that gave me a tremendous facility to express myself as an artist. It is
because of these 2 diametrically opposed methods that I feel confident in training

anyone wishing to improve their singing. It is also the number one

“formula”  to a successful singing career.

 

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The second “formula” for success as a singing artist is to develop a technique for acting.

I believe it is truly as important to have a technique for acting as for singing and the one I believe in is called “Sense memory.” I was introduced to this technique through internationally acclaimed opera director Frank Corsaro whom I met in a masterclass while a member of Opera Music Theater International Young Artist program. I was singing the aria Depuis le jour from
Louise by Charpentier. Mr. Corsaro asked me a series of questions that I still use today whether I am working with a student in my voice studio, master classes or when staging them in an opera. I was asked; Who are you? What happened right before this aria and what happens right after this aria? What time of year is it? What are you wearing? What do you smell and
what do you see? How did you come to be here at this moment? What exactly are you saying in this aria and

why are you saying it? Why does your character chose these words? How does the music reflect

what you are saying and why does the composer choose these notes? Once I
answered all of his questions, he then asked me to remember a time in my own life when I felt like the character was feeling. He told me to remember all the sensations I felt at that time and think only of my own real life experience while I sang the aria. For me, the “sense memory” acting technique unlocked forever the mystery of singing and acting. Students, using their own
life experience, can bring alive the characters they are portraying because they are feeling the same emotions. They become

so much more effective as an actor, because they are using their own honest feelings and can bring their own

emotions to the aria. A true “formula” for success in a singing career would be communicating honest

and real emotional acting.

 

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I also believe strongly in the power of the stage as a teaching tool which is the final of my “formulas” for success. There is no end to what a singer can learn about their own abilities and weaknesses when they are forced to actually deliver a performance from the stage. When you are forced to take all of the knowledge you have acquired and sing in front of an audience, you

quickly realize what you can or cannot do. Learning by doing is truly another of my “formulas”
for preparing a singer for a successful career.

 

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As I stated, there are truly no guarantees for success as a singing artist but the

the 3 “formulas” that lead to my own personal success and the success of my students have been, solid vocal
technique, sincere and honest acting, and the opportunity to actually perform. If a singer has all of these 3 things in their grasp, they have a much great potential for success in the musical world.

 

Shelley Jameson

 

Reviews

“But Shelley Jameson became the star of the evening with her gorgeous voice that soared through Dreyfoos Hall
with either unbridled power and clarity or with a feather-light sound under perfect control. In a role that can be overacted, Jameson played the part of Violetta Valery the sick ill-fated heroine dying of tuberculosis with appropriate

drama. Jameson’s superb vocal abilities were evident in the aria; Ah
fors’ è lui and the buoyant sempre libera.”

Herbert Perez-Vidal Palm Beach news

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“But the day’s most perfect voice belonged to Shelley Jameson. Flawless from soaring highs to a remarkably full lower register, superbly balanced andnuanced, it is an instrument seemingly designed by executive fiat for Ah, Fors’ è lui-Sempre libera, La Traviata. Then she reappeared in the concert’s final number and showed herself equally potent in an earlier

style, leading the Act III sextet from Donizetti’s, Lucia di Lammeroor with fire and
precision, a beautiful; actress with a beautiful voice.”

 

Peter Spenser, The New Jersey Star-Ledger

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“Shelley Jameson’s strong voice navigated the rocky reefs of the part with remarkable dexterity. Especially notable was the control she demonstrated - several times

leaping to a whisper tone and then magnifying it with a crescendo that filled the hall.”

 

Edward Kupperstein, Arizona Daily Star

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“In the role of Costanza, Shelley Jameson floated some of the most exquisite high C’s I have heard in a long time!”

 

Karolyn Griffin, News Press of Fort Myers

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“Su tutte, s’e elevata la voce del soprano, Shelley Jameson, Il suo Sempre Libera, dalla Traviata, e stato a dir poco eccellente!” Translation: “Over all, the highest level voice, of soprano, Shelley Jameson was the finest, in her sempre libera

from Traviata and was at the very least excellent.”

 

Franco Borrelli, Americana Oggi

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“Shelley Jameson completely captivated her audience in her portrayal. She appeared to be knowledgeable and

vulnerable. She made a pleasing appearance, lovely in every detail and had

self-assurance on stage.”

 

Frank Milton, Los Angeles Sentinel

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“Portraying the tragic role Violetta Valery was Shelley Jameson, a soprano with a powerful voice and

amazing range. She sang all her notes effortlessly, then sang so softly it was like an echo of her own voice. Her aria in act 1 had the audience applauding heartily.”

Shirley Davis, Quad City Times

Shelley singing the aria "La maya y el Ruiseñor" from Goyescas by Granados accompanied by David Maiullo.

Shelley singing the aria "Un bel di vedremo from Madama Butterfly by Puccini, accompanied by David Maiullo.

Shelley singing the aria "Ain't it a Pretty Night from Susannah by Carlisle Floyd, accompanied by David Maiullo.