NICOLE PAIEMENT DMA
Founder, Artistic Director, and Conductor
Nicole Paiement has gained an international reputation as a conductor of contemporary music and opera. Her numerous recordings include many world premiere works.
As Artistic Director of San Francisco’s Opera Parallèle, Paiement has conducted many new productions, including: world premieres of Lou Harrison’s final version of Young Caesar, Dante De Silva’s commissioned opera Gesualdo, Prince of Madness (presented as a graphic opera), Luciano Chessa’s commissioned opera A Heavenly Act, the commissioned chamber version of John Harbison’s The Great Gatsby, the premiere of the re-orchestration of Terence Blanchard’s Champion in collaboration with SFJAZZ Center; the West Coast premieres of John Rea’s re-orchestration of Alban Berg’s Wozzeck and Philip Glass’ Orphée; Virgil Thomson’s Four Saints in Three Acts; Osvaldo Golijov’s Ainadamar; Francis Poulenc’s Les Mamelles de Tirésias; Kurt Weill’s Mahagonny Songspiel; the American Premieres of Adam Gorb’s Anya 17 and Tarik O’Regan’s Heart of Darkness; the San Francisco Bay Area return of Jake Heggie’s Dead Man Walking; a new production of Peter Maxwell Davies’ The Lighthouse; Philip Glass’ Les Enfants Terribles; and Jonathan Dove’s Flight.
Under her baton, Opera Parallèle has performed two works this season: Rachel Portman’s The Little Prince and a new double bill of Jake Heggie’s At the Statue of Venus and Berstein’s Trouble in Tahiti. Paiement is presently working on Today it Rains a commissioned opera by Laura Kaminsky based on Georgia O’Keeffe and a re-orchestration of Thomas Adès’ The Tempest.
Maestra Paiement’s 2012 Dallas Opera debut conducting Peter Maxwell Davies’ 1979 thriller, The Lighthouse earned rave reviews. Subsequently, Paiement was appointed Principal Guest Conductor at The Dallas Opera. Paiement has since returned to Dallas to conduct performances of Tod Machover’s Death and the Powers, as well as the critically acclaimed and highly anticipated world premiere of Joby Talbot’s opera Everest, Benjamin Britten’s The Turn of the Screw and Douglas Cuomo’s Arjuna’s Dilemma. In 2018, Paiement conducted the US premiere of Michel Van Der Aa’s Sunken Garden.
Additionally, Paiement has served as the Artistic Director of the BluePrint Project at the San Francisco Conservatory of Music (SFCM) where she has commissioned, premiered, and recorded works from many living American composers. At SFCM, she holds the Jean and Josette Deleage Distinguished Chair in New Music. Paiement previously served as the Director of Ensembles at the University of California – Santa Cruz (UCSC). In 2014, she was awarded the UCSC Eminent Professor Award. In 2015, she received the Edward A. Dickson Emeriti Professorship in recognition of her outstanding contributions and achievement in artistic scholarship and teaching.
In 2016, Paiement was awarded the American Composer’s Forum “Champion of New Music Award” for her outstanding contributions to contemporary music.
Ms. Paiement is a very active guest conductor. This past year she conducted at Washington National Opera, The Glimmerglass Festival and Lyric Opera of Kansas City. Other prior engagements include The Atlanta Opera, the Monterey Jazz Festival for the world premiere of Wayne Shorter’s new commissioned work, and Washington National Opera for the world premiere of Mohammed Fairouz’s The Dictator’s Wife.
Upcoming engagements include a return to the Glimmerglass Festival and Washington National Opera; as well as debuts at Seattle Opera, the Houston Grand Opera and Chicago Lyric Opera.
(Photo by Sergio Garcia)
Debbie joined Opera Parallèle as Executive Director in February, 2017. Prior to her arrival she served as an arts advisor for the Ventura Music Festival where she provided board facilitation services to Music Camp International which delivers music training programs to children in Romania and Ukraine.
Debbie is the former Executive Director of the Carmel Bach Festival (CBF) where, from 2012-2016, she led the administrative and operations of the Festival. She established a strategic vision to grow CBF from a two-week summer festival in Carmel into a presenter of classical music concerts throughout the Monterey Peninsula over the course of a 12-month period. This vision was successfully achieved within four years as demonstrated by an 18% growth in local audiences and a 15% growth in sustained foundation support. In addition, Debbie led the season planning process, curatorial direction of CBF’s Community Engagement year-round activities, and oversaw board and staff development, artist relations, fundraising, marketing, event planning, finances, and general management.
Over the past 25 years, Debbie has held executive leadership positions as Managing Director at CENTERSTAGE (the State Theater of Maryland), California Shakespeare Theater, and Shakespeare Theater of New Jersey. While at the San Francisco Symphony, she served as Volunteer Council Director overseeing the activities of 1,700 volunteers. She began her career at the American Conservatory Theater (A.C.T.), University of San Francisco, and Center Theatre Group of the Music Center of Los Angeles where she was responsible for volunteer event management and institutional fundraising.
She currently sits on the board of Theater Bay Area, the largest regional theater service organization in North America. She is also on the board of Community Music Center of San Francisco, a 96-year old organization that provides music classes and programs to students of all ages. Debbie most recently served on the board of the Network of Ensemble Theaters (NET), the national coalition of ensembles created by and for theater practitioners. She is an immediate past Board President of the Association of California Symphony Orchestras (ACSO), the statewide service organization providing programs and services for classical music producers and presenters in California and the west coast region. Her other past board affiliations include Theatre Communications Group (the national consortium for professional nonprofit theaters in the United States), Greater Baltimore Cultural Alliance, California Arts Advocates, and George Soros’ Open Society Institute’s Leadership Council – based in Baltimore, MD.
Debbie’s transformative work at the Carmel Bach Festival is featured as one of thirteen case studies in “Creative Social Change: Leadership for a Healthy World”, a recent volume (spring, 2016) in the International Leadership Association Series which assembles thought leaders to reimagine leadership in building a healthy, sustainable, and equitable world.
Debbie is originally from Syosset, NY and she attended the University of Southern California, majoring in Theater, under the artistic direction of John Houseman. Her passions include traveling, wine collecting, being in the audience to support the work of arts colleagues, immersing herself in the company of big and bold thinkers, and championing the growth of the next generation of artists and arts administrators.
Brian has directed the conceptual designs of the company’s productions since 2010. Specializing in multimedia interdisciplinary productions, he actively works across a wide range of artistic disciplines collaborating with film/media designers, choreographers/dancers, circus/designer fabricators. His progressive approach to stagecraft has garnered critical acclaim for Glass’ In the Penal Colony, Heggie’s Dead Man Walking, O’Regan’s Heart of Darkness, Harbison’s The Great Gatsby, Glass’ Les Enfants Terribles, Golijov’s Ainadamar, Berg’s Wozzeck, and Davies’ The Lighthouse. He recently created a new production of Das Rheingold for Minnesota Opera and will be seen this Fall at L’Opéra de Montréal. His new production of Gordon Getty’s Usher House and Canterville Ghost premiered at New York’s Center of Contemporary Opera, followed by a production at LA Opera. Upcoming engagements include new projects with Minnesota Opera and Fort Worth Opera.
Jacques Desjardins served as the General Manager of Opera Parallèle from 2004 until 2013 when he became the company’s first Artistic Administrator. As a composer Desjardins was responsible for the re-orchestration of John Harbison’s The Great Gatsby performed by OP at the Yerba Buena Center for the Arts and at the Aspen Music Festival in 2012. He has received commissions from BluePrint, the Sherbrooke Symphony Orchestra, the Ensemble contemporain de Montréal, the Arthur-LeBlanc Quartet, the Québec Youth Orchestras Association, and the Musica Nova Ensemble. Desjardins is on faculty at the San Francisco Conservatory of Music, where he teaches Conducting, Music Theory, and Musicianship. He received a Doctor of Musical Arts degree (DMA) in Composition at the University of Michigan.
Artistic Assistant (Community Programs)
Daniel Harvey graduated from the Victorian College of the Arts, Melbourne, Australia and moved to San Francisco in 2017. Daniel brings his strong background in production, set and costume design, and theatre to Opera Parallèle. Select theatre credits: As Costume Designer: ‘Loving Repeating’ (Vic Theatre Co – Green Room Award Nomination); ‘Tannhauser’ (Regent Theatre – Melbourne Opera); ‘Xanadu: The Musical’ (Australian Premiere). As Set Designer: ‘Look Back in Anger’ (Fourth Wall Theatre, New Wimbledon London). As Assistant Designer to Richard Roberts: ‘Fiddler on the Roof’ (TML). As Associate Designer to Leslie Travers UK: ‘La Boheme’ (Malmo Opera, Sweden), ‘Peter Grimes on the Beach’ (Aldeburgh, UK). As Associate Designer to Tobias Hoheisel: ‘Don Carlo’ (Bolshoi Opera, Moscow). As Assistant to Christopher Oram UK: ‘Uncle Vanya’ (West End), ‘Privates on Parade’ (Michael Grandage Company), ‘Cat on a Hot Tin Roof’ (Broadway). As Assistant to Anna Tregloan: ‘Spring Awakening: A New Musical’ (Sydney Theatre Company). Daniel has also worked as a lecturer and student mentor at the VCA/University of Melbourne.
Marilyn is an arts marketing professional with more than 20 years experience in development, marketing, and public relations, including work for California Shakespeare Theater and Spokane Civic Theatre. She is also a highly-regarded educator who served as an adjunct professor in theatre at Whitworth University, Gonzaga University, and North Idaho College. In her “spare” time she is the Artistic Director of Contra Costa Civic Theatre (CCCT) in El Cerrito, and an award-winning director whose productions have been seen around the country and internationally.
Elaina, a recent graduate of California State University East Bay, majored in Sociology and Ethnic studies, with an emphasis on gender and race. She is bringing this knowledge to Opera Parallèle in the hopes of helping to expand Opera’s inclusivity to younger more diverse audiences while gaining experience within the world of development. She is also an advocate for the arts, participating and supporting Contra Costa Civic Theatre not only as their current House Manager, but as Props Organizer, and Facilities Aid. While Opera is quite new to Elaina, music has always played a very central role within her life, being surrounded by musical figures, such as her father, who played bass guitar for over 20 years with John Lee Hooker and many others. Through Opera Parallèle, Elaina’s two passions, music, and community outreach, are now in sync allowing her to fulfill her aspiration of making her community, and others, a better place.
In addition to her work with Opera Parallèle, Laura Anderson’s recent projects include productions with Rork Music, the San Francisco Conservatory of Music, and TEDx Berkeley. She is the stage manager for the Cabrillo Festival of Contemporary Music and the Philip Glass Days and Nights Festival. Anderson was the production stage manager for the live performance portion of the Emmy-nominated Twin Cities Public Television documentary, Parables, featuring the opera of the same name by Robert Aldridge and Herschel Garfein. She holds a doctorate in opera studies from the University of Minnesota.
Director of Production
Jack is an Oakland-based production manager and lighting designer. In addition to work for Opera Parallèle he is the Production Manager for the Sun Valley Summer Symphony where he has worked with hosts of world-class performers. He has toured nationally and internationally with the Margaret Jenkins Dance Company, Van Anh Vo’s Odyssey, ODC/Dance, Farah Shaikh, Fluid Huh-Hug, LEVYdance, AXIS Dance, and many others. Other projects include Ballet Sun Valley, an international ballet festival; The Box, and Scare Pair by Gordon Getty. His lighting designs have appeared with Dance Theater of San Francisco, Hope Mohr Dance, PunkkiCo, Risa Jaroslow & Dancers, LEVYdance, Lamplighters Music Theatre, among others, and have been called “cool” and “evocative” by the San Francisco Chronicle. He is a three-time recipient of the Lighting Artists in Dance grant from Dancers Group and a graduate of the University of California at Berkeley.
Resident Pianist / Accompanist
Keisuke Nakagoshi, a native of Japan, earned a Bachelor of Music in composition and a Master of Music in chamber music from the San Francisco Conservatory of Music, where he studied composition with David Conte and piano with Paul Hersh. In 2005 he was selected to represent the Conservatory for the Kennedy Center’s Conservatory Project, a program featuring young musicians from major conservatories across the United States. Nakagoshi has performed to acclaim on prestigious concert stages across the United States, including the Kennedy Center, Carnegie Hall, the Hollywood Bowl, and Davies Hall in San Francisco. He has received training from some of the most celebrated musicians of our time – Emanuel Ax, Gilbert Kalish and Menahem Pressler. He recently made a solo debut with San Francisco Symphony on Ingvar Lidholm’s Poesis with Herbert Blomstedt conducting. Nakagoshi is currently Pianist-in-Residence at the San Francisco Conservatory of Music, as well as a member of the Grammy nominated piano duet ZOFO.