Artistic Team 

Drawing on twenty years of arts management experience and a lifelong love of music as both an avid audience member and musician, Jeffrey P. Haydon begins his second season at Caramoor Center for Music and the Arts as CEO. Since his arrival, Caramoor has launched several new artistic initiatives, including In the Garden of Sonic Delights, an immersion Fall Festival, Artist-in-Residence, community collaborations including the launches of Cultural Katonah and Caramoor@KMA, and expanded its overall programming by over 60%–all while increasing ticket sales, fundraising, and improving its financial performance.

Previously, Mr. Haydon served as Executive Director of the Ojai Music Festival (an hour north of Los Angeles), where he led the festival through a number of major transformations to further position it as one of the preeminent musical destinations for artists and audiences alike. During a time when many cultural organizations experienced declines in donations and audiences, Mr. Haydon helped the Ojai Music Festival double its budget and triple the number of artistic and education programs produced – all while improving its balance sheet. A key focus of Mr. Haydon’s work was rallying the surrounding community and Festival constituents to raise over $4 million from 2008 to 2011 to rebuild the 1,000-seat Libbey Bowl, which serves as the home for the Ojai Music Festival and many other events throughout the year.

Mr. Haydon previously held positions with the Chicago Symphony Orchestra, Fort Wayne Philharmonic, and Aspen Music Festival. As part of the League of American Orchestras’ Orchestra Management Fellowship Program, Mr. Haydon worked with the Baltimore Symphony, Fort Wayne Philharmonic, and Seattle Symphony. He has also managed the Cultural Events performing arts series in Tacoma, Washington.

A native of California, Jeffrey Haydon earned a Bachelor of Arts in Business Administration through the Business leadership honors program and a minor in music from the University of Puget Sound. He also completed the Stanford Business School’s competitive Executive Non-Profit Leaders in the Arts program in association with National Arts Strategies.

Appointed Managing Director in 2001, Paul Rosenblum has been General Manager of the Caramoor Center for Music and the Arts since the summer of 1992. As part of the management team with then Executive Director Howard Herring and Artistic Advisor Andre Previn, it was his particular mission to enhance Caramoor’s unique status and stature, making it as attractive and accessible to the public as possible through the modernization and upgrading of the facility, artistic administration, staff and marketing. Moved by a special affinity for Caramoor’s timeless and magical serenity, beauty, intimacy and elegance, Paul Rosenblum has used his experience in music performance, advertising and management to contribute to Caramoor’s blossoming and recognition as the home of one of America’s top five summer music festivals.

Paul Rosenblum is a native New Yorker, born in Brooklyn. He graduated from Stuyvesant High School and received the degrees of Bachelor of Music and Master of Science in Music Performance from the Juilliard School, where he studied the French Horn. In addition to extensive professional experience in orchestral and chamber music, and ten years in the advertising business, he was Director of Operations for the Orchestra of St. Luke’s, the resident orchestra of the Caramoor Festival, prior to becoming General Manager of Caramoor.

Kathy Schuman joined Caramoor in the newly-created role of Vice President, Artistic Programming & Executive Producer in November 2016. Previously she was Artistic Administrator of Carnegie Hall, where she helped program its three venues in a wide variety of musical genres. During her 15-year tenure at Carnegie, she was deeply involved in the opening of Zankel Hall in 2003, which led to an expansion of the hall’s presentations to include significantly more new music, early music, jazz, world, and folk. As the primary coordinator of Carnegie’s robust commissioning program, she oversaw approximately 200 commissions, including new works by David Lang, Kaija Saariaho, John Adams, Brad Mehldau, Nico Muhly, Missy Mazzoli, Meredith Monk, and many others. Directly prior to joining Caramoor, she was Vice President and Artistic Director of G. Schirmer/AMP, managing a roster of Pulitzer, Grammy, Oscar, Tony and Emmy-winning composers.

Kathy began her career in arts management at Frank Salomon Associates, where she worked both as an artist manager and as Coordinator of the Marlboro Music Festival in Vermont. She moved to Europe in 1994, where she was the Managing Director of the European Chamber Music Association (Bremen), Administrator of the Contemporary Music Network at the Arts Council of England, and then Associate Director of Intermusica Artist Management (London), where she managed artists and programmed the International Chamber Music Season at the Queen Elizabeth Hall, in addition to other concert presentations throughout London.

A native New Yorker, Kathy has been a lifelong choral singer, with a love of music instilled at an early age from her father, a professional oboist, and her mother, a book designer and opera-lover. She’s also a gourmet home cook, avid world traveler, weekend cyclist, cinephile, and theater enthusiast.

A lifelong fan of folk, bluegrass, blues, string band and other genres of American roots music, Maggi Landau is a resourceful and creative music curator and concert producer. Her role has evolved from developing the annual Caramoor American Roots Music Festival – an all day, all ages, multi-location music gathering – to developing and overseeing roots music performances in all of Caramoor’s beautiful spaces throughout the year.

Over the course of a career which includes leadership roles in the not-for-profit, government and for-profit sectors, Ms. Landau developed a unique set of organizational, marketing, communications and planning skills. These skills, coupled with her immersion in the music of both established and emerging artists on the roots and Americana scenes, provide a unique framework for successfully crafting distinctive programming tailored to specific situations and the needs of different organizations.

Ms. Landau has served as a consultant to several cultural institutions, including the New York Botanical Garden, the Emelin Theater and various regional presenting organizations. As the Executive Vice President of the Madison Square Park Conservancy in NYC, she helped the Conservancy develop, program and produce their signature Mad. Sq. Music concert series. In 2006 she launched a new acoustic folk, blues and Americana series for the Conservancy, known at the Studio Series, which showcases well known and unknown talent from around the country – giving artists who do not regularly appear in NYC a professional, high profile concert opportunity. The Studio Series was successful in attracting grant funding and continues as a main stay of the Conservancy’s programs.

Ms. Landau serves as a mentor to young people looking to work in the music programming business and collaborates with a network of presenters in the New York area looking to strengthen opportunities for musicians. She is also a founding member and the former President of public radio station WFUV’s Community Advisory Board.

When not at work, you can find her enjoying the music at various music festivals and conferences including the International Folk Alliance, South by Southwest, Newport Folk Festival, Clearwater Festival, Grey Fox Festival, NERFA, Falcon Ridge Folk Festival and APAP, as well as house concerts and performance venues throughout the NY regional area.

Caramoor is delighted to announce an inspiring new collaboration with Jazz at Lincoln Center, led by Managing and Artistic Director Wynton Marsalis. Jazz at Lincoln Center programming will provide audiences the chance to hear world-class jazz from one of the nation’s foremost cultural institutions in Caramoor’s idyllic setting year-round.

The mission of Jazz at Lincoln Center is to entertain, enrich and expand a global community for Jazz through performance, education and advocacy. We believe Jazz is a metaphor for Democracy. Because jazz is improvisational, it celebrates personal freedom and encourages individual expression. Because jazz is swinging, it dedicates that freedom to finding and maintaining common ground with others. Because jazz is rooted in the blues, it inspires us to face adversity with persistent optimism.

Orchestra of St. Luke’s (OSL) is one of America’s most versatile and distinguished orchestras, collaborating with the world’s greatest artists and performing approximately 80 concerts each year—including its Carnegie Hall Orchestra Series, Chamber Music Series at The Morgan Library & Museum and Brooklyn Museum, and the Caramoor Summer Season. In its 41-year history, OSL has commissioned more than 50 new works, has given more than 175 world, U.S., and New York City premieres; and has appeared on more than 100 recordings, including four Grammy Award winners and seven releases on its own label, St. Luke’s Collection. Pablo Heras-Casado is OSL’s principal conductor and the orchestra’s fourth titled conductor; previous music directors and principal conductors are Sir Roger Norrington, Sir Charles Mackerras, and Donald Runnicles. Bernard Labadie’s currently serves as Principal Conductor Designate.

OSL grew out of a chamber ensemble that began giving concerts at the Church of St. Luke in the Fields in Greenwich Village in 1974. Today, the 21 virtuoso artists of St. Luke’s Chamber Ensemble make up OSL’s artistic core.

OSL owns and operates The DiMenna Center for Classical Music in Midtown Manhattan, where it shares a building with the Baryshnikov Arts Center. The DiMenna Center is New York City’s premier venue for rehearsal, recording, and learning, having quickly gained a reputation for its superb acoustics, state-of-the-art facilities, and affordability. Since opening in 2011, The DiMenna Center has welcomed more than 100,000 visitors, including more than 400 ensembles and artists such as Renée Fleming, Susan Graham, Itzhak Perlman, Emanuel Ax, Joshua Bell, Valery Gergiev, James Levine, James Taylor, and Sting. OSL hosts hundreds of neighbors, families, and school children at its home each year for free community events.

Through its Education & Community programs, OSL has introduced audiences across New York City to live classical music. OSL brings free chamber concerts to the five boroughs; offers free interactive music programs at The DiMenna Center; provides chamber music coaching for adult amateurs; and engages 10,000 public school students each year through its Free School Concerts. In 2013, OSL launched Youth Orchestra of St. Luke’s (YOSL), an intensive in- and after-school instrumental instruction program emphasizing musical excellence and social development, in partnership with community organizations and public schools in the Hell’s Kitchen neighborhood.

More information at OSLmusic.org.

Stephan Moore is an audio artist, sound designer, composer, improviser, teacher, and curator based in Chicago. His creative work manifests as electronic studio compositions, improvisational outbursts, sound installations, scores for collaborative performances, algorithmic compositions, and sound designs for unusual circumstances. Evidence, his long-standing project with Scott Smallwood, has performed widely and released several recordings over the past 15 years. He is the president of Isobel Audio, LLC, and is a member of the American Society for Acoustic Ecology, The Nerve Tank, a canary torsi, Composers Inside Electronics, and the Wingspace Theatrical Collective. He toured for several years as the music coordinator and sound engineer of the Merce Cunningham Dance Company, and has worked with Pauline Oliveros, Anthony McCall, and Animal Collective, among others. He is a lecturer of sound art and sound design in the Department of Radio, Television and Film at Northwestern University. Learn more about Stephan at oddnoise.com.

Cellist Edward Arron has garnered recognition worldwide for his elegant musicianship, impassioned performances, and creative programming. A native of Cincinnati, Ohio, Mr. Arron made his New York recital debut in 2000 at the Metropolitan Museum of Art. Earlier that year, he performed Vivaldi’s Concerto for Two Cellos with Yo-Yo Ma and the Orchestra of St. Luke’s at the Opening Night Gala of the Caramoor International Festival. Since that time, Mr. Arron has appeared in recital, as a soloist with orchestra, and as a chamber musician throughout the United States, Europe and Asia.

For over a decade, Mr. Arron’s has served as the artistic director of the Metropolitan Museum Artists in Concert, a chamber music series created in 2003 to celebrate the 50th anniversary of the Museum’s prestigious Concerts and Lectures series. In the fall of 2009, Mr. Arron succeeded Charles Wadsworth as the artistic director, host, and resident performer of the Musical Masterworks concert series in Old Lyme, Connecticut, as well as concert series in Beaufort and Columbia, South Carolina. He is also the artistic director of the Caramoor Virtuosi, the resident chamber ensemble of the Caramoor International Music Festival.

Mr. Arron has performed numerous times at Carnegie’s Weill and Zankel Halls, Lincoln Center’s Alice Tully and Avery Fisher Halls, New York’s Town Hall, and the 92nd Street Y, and is a frequent performer at Bargemusic. Past summer festival appearances include Ravinia, Salzburg, Mostly Mozart, BRAVO! Colorado, Tanglewood, Bridgehampton, Spoleto USA, Santa Fe, Seattle Chamber Music, Bard Summerscape, Seoul Spring, Great Mountains, and Isaac Stern’s Jerusalem Chamber Music Encounters. Mr. Arron has participated in the Silk Road Project and has toured and recorded as a member of MOSAIC, an ensemble dedicated to contemporary music.

Edward Arron began his studies on the cello at age seven in Cincinnati and, at age ten, moved to New York, where he continued his studies with Peter Wiley. He is a graduate of the Juilliard School, where he was a student of Harvey Shapiro. Mr. Arron has served on the faculty of New York University since 2009.

Steven Blier is the Artistic Director of the New York Festival of Song (NYFOS), which he co-founded in 1988 with Michael Barrett. Since the Festival’s inception, Mr. Blier has programmed, performed, translated and annotated more than 130 vocal recitals with repertoire spanning the entire range of American song, art song from Schubert to Szymanowski, and popular song from early vaudeville to Lennon-McCartney. NYFOS has also made in-depth explorations of music from Spain, Latin America, Scandinavia and Russia. New York Magazine gave NYFOS an award for Best Classical Programming, while Opera News proclaimed Blier “the coolest dude in town.” Currently the Artistic Director of Caramoor’s newest mentoring program, the Schwab Vocal Rising Stars, Mr. Blier has been with the program as a Distinguished Artist pianist and vocal coach, since the inaugural concert in 2009.

Mr. Blier enjoys an eminent career as an accompanist and vocal coach. His recital partners have included Renée Fleming, Cecilia Bartoli, Samuel Ramey, Lorraine Hunt Lieberson, Susan Graham, Jessye Norman, and José van Dam, in venues ranging from Carnegie Hall to La Scala. He is also on the faculty of The Juilliard School and has been active in encouraging young recitalists at summer programs, including the Wolf Trap Opera Company, Santa Fe Opera, and the San Francisco Opera Center. Many of his former students, including Stephanie Blythe, Joseph Kaiser, Sasha Cooke, Paul Appleby, Dina Kuznetsova, and Kate Lindsey, have gone on to be valued recital colleagues and sought-after stars on the opera and concert stage.

In keeping the traditions of American music alive, Steven Blier has brought back to the stage many of the rarely heard songs of George Gershwin, Harold Arlen, Kurt Weill and Cole Porter. He has also played ragtime, blues and stride piano evenings with John Musto. A champion of American art song, he has premiered works of John Corigliano, Paul Moravec, Ned Rorem, William Bolcom, John Musto, Richard Danielpour, Tobias Picker, Robert Beaser, Lowell Liebermann, Harold Meltzer, and Lee Hoiby, many of which were commissioned by NYFOS.

Mr. Blier’s extensive discography includes the premiere recording of Leonard Bernstein’s Arias and Barcarolles (Koch International), which won a Grammy® Award. His most recent releases are Spanish Love Songs (Bridge Records), recorded live at the Caramoor International Music Festival with Lorraine Hunt Lieberson, Joseph Kaiser, and Michael Barrett; the world premiere recording of Bastianello (John Musto) and Lucrezia (William Bolcom), a double bill of one-act comic operas set to librettos by Mark Campbell; and his latest recording, Quiet Please, an album of jazz standards with vocalist Darius de Haas.

Will Crutchfield spent his teens as a vocal coach and rehearsal pianist, made his name as a writer and musicologist in the mid-1980’s (becoming the youngest music critic in the history of The New York Times), and returned to his theater roots in the mid-1990’s to conduct opera. After initial conducting successes with productions in small companies and conservatories, Crutchfield was named to two positions: Director of Opera for the Caramoor International Music Festival (1997-present) and Music Director of the Opera de Colombia in Bogota (1999-2005). At these two theaters he built his style, which the Financial Times called “a fine balance of bravado, intensity, sensitivity and scholarly savoir-faire,” in cycles of standard repertory classics as well as pioneering revivals of less familiar works.

Crutchfield has accepted guest engagements in several theaters at home and abroad, including The Canadian Opera Company (Tancredi with Ewa Podles), The Washington Opera (Giulio Cesare with Hei-Kyung Hong), The Minnesota Opera (I Capuleti e i Montecchi with Sumi Jo and Vivica Genaux; La Traviata with Judith Howarth), the Baltimore Opera (La Cenerentola and Werner Herzog’s production of Die Zauberflöte), Florida Grand Opera (Don Pasquale), L’Opéra Français de New York (Gluck’s Pélérins de la Mècque), the Mark Morris Dance Group (Dido and Aeneas), Wolf Trap Opera (La Finta Giardiniera), the State Theatre Pretoria (Il Barbiere di Siviglia) and the Orquesta Filarmonica de la Gran Canaria (Norma). In 2006, he began a long-term relationship with the Polish National Opera in Warsaw, beginning with productions of Tancredi, Il Barbiere di Siviglia, Lucia di Lammermoor, and Guillaume Tell.

In reviews of the celebrated Caramoor revivals – alongside praise for the musical interpretation – the press has consistently recognized the qualities of the rare operas themselves more positively than has been the case in productions elsewhere. The New York Times, reviewing the production of La Donna del Lago that inaugurated the series, discerned “a palpable conviction that Rossini’s serious operas are not static vehicles for elaborate vocal display, but elegant and humane musical dramas.” According to The Wall Street Journal, “Mr. Crutchfield brought his sure sense of bel canto style to bear upon Lucrezia Borgia, and the semi-staged concert version at Caramoor’s Venetian Theater was both delightful and thought-provoking.” Subsequent revivals of Bellini’s Il Pirata, Rossini’s La Gazza Ladra and Otello, Handel’s Deidamia, Gluck’s Paride ed Elena and Donizetti’s Élisabeth, a lost opera whose autograph manuscript Crutchfield himself discovered and reconstructed have been highly acclaimed. In 2008 Caramoor presented two classics in new critical editions supervised by Philip Gossett: Rossini’s Il Barbiere di Siviglia and Verdi’s La Forza del Destino, the latter in its rarely-heard original version, composed for the Imperial Theatre of St. Petersburg at the height of Verdi’s career. Previously, Bel Canto at Caramoor presented the first American performance of Bellini’s La Sonnambula in the new Ricordi critical edition and the composer’s original keys, an uncut Traviata based on period performance practice, and the infrequently produced treasures I Puritani by Bellini and Tancredi by Rossini.

Crutchfield has also been involved in training the next generation of singers. He prefers to work repeatedly with young artists he believes in so that the process can develop from production to production. He served on the faculties of all three New York conservatories (Juilliard, Manhattan and Mannes) and he continues to devote the summer months to extensive training programs at Caramoor. Some of the singers with whose debuts and early careers he has been associated include: Vivica Genaux, Nancy Herrera, Marguerite Krull, Bruce Fowler, Daniel Mobbs, Georgia Jarman, Patricia Risley, Yegishe Manucharyan, Olga Makarina, Kate Aldrich and Alexandra Deshorties. An often-noted component of Crutchfield’s research, as of his practical work with singers, has been the recovery and development of the art of ornamental improvisation.

Notwithstanding his concentration on opera, Crutchfield has also led symphonic repertory including works of Mahler, Strauss, Bartok, Beethoven, Britten, Schubert and Mendelssohn with various orchestras in the U.S. and Latin America. He has also remained active as a pianist, and his speaking voice is familiar to audiences who have heard his frequent intermission broadcasts from the Metropolitan Opera. Crutchfield is currently completing a book on performance practice in Italian opera.

Pamela Frank has established an outstanding international reputation across an unusually varied range of performing activity. As a soloist she has performed with leading orchestras including the New York Philharmonic, the Chicago Symphony Orchestra, the San Francisco Symphony, Academy of St. Martin-in-the-Fields, the Berlin Philharmonic and the St. Petersburg Philharmonic. Pamela performed regularly with the Zurich Tonhalle Orchestra, recording the complete Mozart Violin Concertos with them and David Zinman and has also recorded a Schubert album and the Beethoven sonata cycle, both with her father Claude Frank.

Pamela is a sought-after chamber musician and has performed at many international festivals including Aldeburgh, Verbier, Edinburgh, Salzburg, Tanglewood, Marlboro, and Ravinia. Aside from her devotion to works of the standard repertory, Pamela has performed and recorded a number of contemporary works. Her accomplishments were recognized in 1999 with the prestigious Avery Fisher Prize. Pamela is professor of violin at the Curtis Institute of Music and teaches and coaches annually at the Tanglewood, Ravinia, and Verbier Festivals. Since 2008 she has been the Artistic Director of the Evnin Rising Stars, a mentoring program for young artists at Caramoor Center for Music and the Arts. Her newest venture is the formation of Fit as a Fiddle Inc., a collaboration with physical therapist Howard Nelson in which they use both their expertise for injury prevention and treatment of musicians.

With an established reputation for artistic and educational excellence, Katie Kresek has received accolades around the world for her ability to engage her audience. Ms. Kresek has been curated Family Programs at Caramoor Center for Music and the Arts since 2009, where she curates and hosts the Dancing at Dusk series in addition to creating family programs for the Summer Season.

As a violinist, Ms. Kresek has given recitals at Carnegie Hall, the National Arts Club, Merkin Hall and the New York Public Library. She appeared as a soloist with the Westchester Philharmonic in 2006, and her playing has been featured on WQXR’s McGraw-Hill Young Artists Showcase and WNYC’s program Sound Check. She attended Kneisel Hall Chamber Music Festival, and was a founding member of the Arabella Piano Trio, with whom she made her Carnegie Hall debut in 2002. As an orchestral musician, Ms. Kresek frequently performs with the Harrisburg, Albany, and Princeton Symphony Orchestras, among others. She also performs in the Broadway productions of The Lion King and The Phantom of the Opera, and performed past productions of American Idiot, A Minister’s Wife, and Follies. In addition to her love of classical music, Ms. Kresek is a member of Hector del Curto’s Eternal Tango Orchestra and a frequent guest with the post-modern string quartet ETHEL. She collaborates frequently with singer/songwriter Colin McGrath, and was formerly lead violinist of the jazz-rock fusion group Sketchy Black Dog. She has collaborated with Adele, Beyonce, Jay-Z, Alicia Keys, Kanye West, Shakira, KD Lang, Enya, Jewel, Lenny Kravitz, Lana Del Rey, and others, and has performed on The Today Show, The Late Show with David Letterman, The View, Saturday Night Live, The Early Show, The Rockefeller Christmas Tree Lighting, and the 51st Annual Grammy® Awards.

Born in Cooperstown, New York, she was raised in Ossining and obtained her undergraduate degrees summa cum laude in music and literature. Ms. Kresek has studied violin with Daniel Phillips, Laurie Smukler, Lucie Robert, Elmar Oliviera, Felix Galimir and Donald Weilerstein, and holds a masters degree from The Mannes College of Music and a masters degree in music education from Teachers College, Columbia University.

Ms. Kresek serves on the teaching artist faculty of the New York Philharmonic. Since joining the faculty in 2006, she has sustained ongoing residencies in the New York City Public Schools, written and performed interactive concerts, and represented the faculty abroad in tours to Japan and the United Arab Emirates. She is also a teaching artist for the Chamber Music Society of Lincoln Center and the Lincoln Center Institute for Arts in Education, where she has designed aesthetic education curricula for students ranging from the pre-school to post-graduate level.