Eric Moe, composer of what the NY Times has called “music of winning exuberance,” has received numerous grants and awards for his work, including the Lakond Award from the American Academy of Arts and Letters and a Guggenheim Fellowship; commissions from the Fromm and Koussevitzky Foundations, the Barlow Endowment, Meet-the-Composer USA, and New Music USA; fellowships from the Wellesley Composer’s Conference and the Pennsylvania Council on the Arts; and residencies at MacDowell, Yaddo, Bellagio, Camargo, VCCA, UCross, Aaron Copland House, Ragdale, Hambidge, Carson McCullers Center for Writers and Musicians, and the American Dance Festival, among others.

As a pianist, Moe has premiered and performed works by a wide variety of composers. His solo recording The Waltz Project Revisited – New Waltzes for Piano, a CD of waltzes for piano by two generations of American composers, was released in 2004 on Albany. He founded and currently co-directs Pittsburgh’s Music on the Edge new music concert series. Moe studied at Princeton University and U.C. Berkeley and is currently the Andrew W. Mellon Professor of Music at the University of Pittsburgh.

Robert Frankenberry leads a multi‐faceted career as a vocalist, pianist, educator, actor, and conductor. His credits in musical direction cover the span of opera, including Sweeney Todd (Weathervane Theatre), The Tales of Hoffmann (D’Angelo Opera Theatre), Cosi fan Tutte (DaCorneto Opera), Monteverdi’s 8th Book of Madrigals (Opera Theater of Pittsburgh), Robert X. Rodriguez’ Frida (microscopic opera), and the staged premiere of Daron Hagen’s Vera of Las Vegas (Center for Contemporary Opera). On stage, he has performed a wide range of roles, including Mozart (Amadeus), John Adams (1776), Bacchus (Ariadne auf Naxos), Yorick (Her Hamlet), Alfredo (La Traviata), The Duke of Mantua (Rigoletto), Count Carl-Magnus (A Little Night Music), Radames (Aida), Rodolfo (La Boheme), and the title roles in Don Carlo, The Tales of Hoffmann, Faust, and Willy Wonka. As a member of Pesky Whipper-Snapper Arts Productions’ Baroque Opera Institute, he received specialized training in Baroque gesture and vocal performance style, and appeared in a fully-staged off-broadway production of Handel’s Messiah.
National Sawdust