Stephanie Beatrice
Conductor, Music Director, Soprano
BIO
Conductor and Music Director Stephanie Beatrice; critically acclaimed for her work, Beatrice has been revered as "A Force of Nature with a Baton" praised for her "Smart" musical direction and capturing the "dynamism of the music and ever-shifting moods with great sensitivity."
Beatrice is the Founder/Artistic Director of Dee Opera, and currently serves as Music Director of the Boston based Opera Company - Cambridge Chamber Ensemble, Music Director of the Choral/Orchestral Ensemble - Calliope, Music Director of the Philharmonic Society of Arlington -Arlington Belmont Chorale and Chamber Chorus. A versed conductor in Opera, Orchestral, and Choral music, Beatrice is a sought-after conductor – making her mark in the Boston area. Knowing from an early age she wanted to pursue a career in music, Beatrice earned her first directorship at the age of 19 while in her undergraduate degree. Since then she has worked in leading various ensembles as both director and guest conductor. As a conductor she has been accepted into programs such as Distinguished Concerts International New York as a Conducting Mentor, working with DCINY musicians at Carnegie Hall, and with composer Sir Karl Jenkins in performances of his works Symphonic Adiemus, and The Armed Man. She recently conducted in the Artes Italia Italian Opera Workshop in Florence, Italy working with Maestro Allemandi, and was selected as a Mentee in the Girls Who Conductor, Early Career Program studying with Mentor Alicia Pouzo.
Her role as a conductor has also inspired her greatly in the importance of music education. In other aspects of her professional life Beatrice maintains an active career as an educator, serving as choral music director in both K-12 education and as Adjunct Professor of Music at Eastern Nazarene College.
Beatrice’s tutelage extends to notable conductors Mark Shapiro (The Juilliard School) Michael Adelson (New York Philharmonic), Erica Washburn (New England Conservatory), Simon Carrington (King Singers), Antonello Allemandi, and Doreen Rao. Beatrice holds degrees from the New England Conservatory of Music where she earned her MM in Choral Conducting, and the University of Maine earning a BME in Music Education, and is currently studying Orchestral Conducting at The Juilliard School - Extension Division.
Reviews
Critically Acclaimed for her Conducting and Directorial work, Beatrice has been revered as
"A Force of Nature with a Baton" praised for her "Smart" musical direction and capturing the "dynamism" of the music " and ever-shifting moods with great sensitivity."
Check out the Reviews!
And dramatic it was, despite the small forces — a cast of three main characters, a chorus of four spirits, and an orchestra of two flutes, English horn, three violins, two violas, two cellos, and a bass — the ensemble soared exquisitely with ever-building intensity and dynamism, in part due to Holst’s skillful writing for small forces, but also due to the enthusiasm and skill of the performers smartly directed by Music Director Stephanie Beatrice.
- Young Cast Shines in Holst’s Savitri, Stephen Martorella, Boston Musical Intelligencer
The visionary Cambridge Chamber Ensemble chooses unique and underperformed operatic gems and seeks bright, energetic, and enthusiastic performers and directors to create an artistic experience that enlightens as well as entertains.
- Young Cast Shines in Holst’s Savitri, Stephen Martorella, Boston Musical Intelligencer
Music Director Stephanie Beatrice booked an orchestra of 2/2/2/2 strings plus 2 recorders and a harpsichord which filled the space with spirited but legato sounds that were, to my great pleasure, not infected by flippant Baroqueisms or weird tunings. She maintained balances perfectly and captured the ever-shifting moods with great sensitivity…whether for stately dance forms, romantic embraces, comic pratfalls, or tear-inducing laments. She also served as makeup artist. I register no complaints for the two-on-a-part strings…very refined sounding
CCE made a conquest of this writer. He could barely control his emotions at the end. With highly imaginative and effective use of space and forces, this small company can outperform its larger and older brethren.
- D’ye Ken John Blow? Lee Eiseman, Boston Musical Intelligencer
The vocalists and orchestra led by Stephanie Beatrice sounded beautiful. Beatrice was a force of nature with a baton.
Everyone sounded glorious!
- Sexy & Romantic "Venus and Adonis", Kitty Drexel, The New England Theater Geek
Conductor and Music Director Stephanie Beatrice and the small orchestra began the proceedings with a vigorous account of the overture.
The two singers gave an exciting performance of this contentious duet, notably aided by the incisive playing Beatrice elicited from her band. Act I ended with a final display piece sung by a double chorus of Israelites and Philistines acclaiming their respective deities, Jehovah and Great Dagon, with identical words. .. the rhythmic drive, good ensemble in extended runs, and the text of the last line (“Jehovah/Great Dagon is of Gods the first and last”) made for a memorable rendering.
It is plain that Cambridge Chamber Ensemble has access to many accomplished young musicians who, though perhaps not yet household names, are already masters of their craft; this performance, had much to admire musically. .. it seems clear that CCE already has the skills and personnel to achieve consistently top-rank performances that will resound in listeners’ memories for a very long time.
- Samson, Dagon, and Cell Phones Do Battle, Geoffrey Wieting, Boston Musical Intelligencer
The reliable and energetic orchestra (2/2/2/2/1 plus winds, brass, timpani, and harpsichord) supported the show well despite being placed disadvantageously in the muddying transept. Stephanie Beatrice led the band over something like 30 numbers, rarely letting up the energy, though she could effectively hold back in the reflective moments.
But Handel’s theatricality once again triumphed in Cambridge Chamber Ensemble’s production of this very stageable oratorio.
- A Vivid Account of Samson’s Agonies and Triumph, Lee Wiseman, Boston Musical Intelligencer
Also contributing to the success of the production is the magnificent live orchestra guided by the expertly wielded baton of conductor and music director Stephanie Beatrice.
Before the curtain rises, the overture (“Introduction”) to "PRINCESS IDA" highlights a consistent "ebb and flow" which is masterfully executed by the orchestra.
- "PRINCESS IDA" - BY GILBERT AND SULLIVAN - SUDBURY SAVOYARDS (SUDBURY, MA.) - REVIEW- By Kevin T. Baldwin
As one also further appreciates the approach taken to minimize the archaic nature of the piece, ultimately, they will soon discover themselves entertained by the prodigious individual and collective performances rendered by this talented cast.
- "PRINCESS IDA" - BY GILBERT AND SULLIVAN - SUDBURY SAVOYARDS (SUDBURY, MA.) - REVIEW- By Kevin T. Baldwin
Music Director Stephanie Beatrice, who is described in the program as “a force of nature with a baton,” led the orchestra with confidence, striking just the right balance of tempo and volume to accompany the singers. She is an opera singer and pianist, as well as a conductor, so she knows the ropes.
- Review of Princess Ida or, Castle Adamant by the Savoyards: Here in Our Own Back Yard, The Sudbury Weekly
Music Director Stephanie Beatrice led the orchestra and singers to near-professional levels. Unlike many community theater orchestras, the Sudbury Savoyards’ orchestra transcended price-of-admission hurdles of pitch and time, to focus on expressive dynamics and the emotive content of Sullivan’s score―impressive for such a rarity as Princess Ida
-"Ida's Ardor" , Nathaniel Koven, Boston Musical Intelligencer
Music director Stephanie Beatrice kept things moving at a good pace, and had several innovative tempo ideas.
- Sudbury Savoyards presents Princess Ida – John E. Dreslin, NEGASS Trumpet Bray
