Author Archives: mccauleyn

Concert of Opera Scenes/Musical Favorites Led by New Voice Professor

The dramatic art form of opera is a reflection and commentary on the human condition and our shared experiences of emotions. Joy, love, death, loss, illness, and betrayal are universal. These intense emotions transcend social, economic, and national boundaries to touch everyone’s life. Opera is an acoustic, visceral art form in which the human voice coupled with music expresses what mere words cannot. It can touch hearts, change minds, enlighten and bring people together across boundaries by expressing the commonality of shared human experience. The College of Charleston Opera program in the Department of Music trains the next generation of opera artists, and it is proud to produce three productions a year. Charleston’s opera enthusiasts are encouraged to celebrate the opening of the 2018-2019 season with “Something for Everyone,” an evening of opera scenes and musical favorites directed by accomplished lyric soprano Saundra DeAthos-Meers, who joined the College’s music faculty earlier this year as Assistant Professor of Voice/Opera, and Amanda Castellone who is the Assistant Director of the Opera Program. The event’s program is a dynamic one, featuring students of all years and music by Sondheim, Mozart, Humperdinck, Puccini and others.

The performance is one night only —  Friday, Oct. 26, 2018 at 7:30 p.m. at the Recital Hall in the Simons Center for the Arts, 54 Saint Philip St. Tickets are available online or cash/check at the door: $15 general; $10 for College of Charleston students. For more information call (843) 953-5927.

Magnetic South: Contemporary Music Collaboration with Charleston Symphony

Magnetic South, a collaborative project between the College of Charleston Department of Music and the Charleston Symphony Orchestra (CSO), will present its first contemporary classical music concert of the season on Friday, Oct. 12, 2018.

Magnetic South’s 2018-19 season opening concert features two new works by Charleston composers along with two iconic works from the early 20th century. Béla Bartók’s Contrasts is a trio for Violin, Clarinet and Piano, one of the first works he performed upon his arrival to the United States. French-American composer Edgar Varèse’s rarely performed Octandre is one of his defining pieces, widely imitated in movie scores and other modernist works in the 20th century. A Cosmos in Stone, Respawning a virtuosic work for large ensemble by Charleston native Nicholas Bentz will be receiving its world premiere. College of Charleston  voice faculty member Kayleen Sánchez will perform The Captive, for Soprano and String Orchestra, composed by Professor Emeritus David Maves. The podium will be shared by College of Charelston faculty member and Magnetic South’s Artistic Director Yiorgos Vassilandonakis, and Music Director of the CSO Ken Lam.

The concert on Friday, Oct. 12, 2018 will take place at 7:30 p.m. in the Recital Hall at the Simons Center for the Arts, 54 Saint Philip St. Tickets are $10 and can be purchased at the door, by calling (843) 723-7528, ext. 110, or online at

Edgar Varèse trained in Paris and extended his contacts with artists in Berlin, where he met Ferruccio Busoni and Arnold Schoenberg – both of whom he owed much of his revolutionary ideas. During his career in N.Y, he attracted modern composers such as Milton Babbitt, John Cage, Pierre Boulez, and Karlheinz Stockhausen, who later regarded Varèse as a major influence on their work. Varèse is best known for pieces centering on percussion, on electronics combined with acoustic instruments, and for one purely electronic piece, Poeme èlectronique, which best contributed to his being known as the “Father of Electronic Music.”

Nicholas Bentz is a composer-performer who is primarily interested in the intersections of art and alternative modes of perception and expression. His music takes its inspiration from a wide array of sources including visual and cinematic art, anthropology and philosophy, and interactive art. Bentz has received commissions from the Charleston Symphony, Occasional Symphony, Symphony Number One, the Johns Hopkins University Applied Physics Laboratory, and SONAR New Music Ensemble, among others, and has had his music played by the Jacksonville Symphony and the Peabody Modern Orchestra. Bentz was a winner of an EarShot New Music Reading through American Composer’s Orchestra and SONAR New Music Ensemble’s RADARLab Competition as well as the Baltimore Choral Society’s Student Composer Project. He was also a finalist for the ASCAP Morton Gould Young Composer Awards in 2014, and was the Composer in Residence for Symphony Number One’s 2016-17 season.

Béla Bartók was born in the Hungarian town of Nagyszentmiklós (now Sînnicolau Mare in Romania) in 1881, and received his first instruction in music from his mother, a very capable pianist; his father, the headmaster of a local school, was also musical. After his family moved to Pressburg (now Bratislava in Slovakia) in 1894, he took lessons from László Erkel, son of Ferenc Erkel, Hungary’s first important operatic composer, and in 1899 he became a student at the Royal Academy of Music in Budapest, graduating in 1903. His teachers there were János Koessler, a friend of Brahms, for composition and István Thoman for piano. Bartók, who had given his first public concert at the age of eleven, now began to establish a reputation as a fine pianist that spread well beyond Hungary’s borders, and he was soon drawn into teaching: in 1907 he replaced Thoman as professor of piano in the Academy.

Oregonian David Maves began his professional life as a composer in 1963. Fresh out of the University of Michigan with a master’s degree, he was appointed a Ford Foundation Composer-in-Residence in Raleigh, N.C., and was expected to compose for any musical ensembles in the area from primary school classroom ensembles to school or professional groups. After four years of various such postings, he returned to Ann Arbor to continue studies with the much beloved teacher Ross Lee Finney and received his doctorate leading later to a thirty-year appointment as Composer-in-Residence at the College of Charleston. He has had a close, forty-year relationship with the CSO:  he was timpanist for eight years in the late 1970s and early 1980s; he was commissioned by conductor Lucien de Groote to compose a work in honor of Stravinsky’s birthday; he conducted the premiere of his own Third Symphony; and later his Two Piano Concerto for pianists Wilfred Delphin and Edwin Romain was premiered, conducted by David Stahl, and more recently Rob Taylor conducted a performance of his “God’s Grandeur” (text by Gerard Manley Hopkins) with the CSO, featuring the Charleston Symphony Chorus. Retired from the College since 2007, Maves feels he has returned to his first position as “composer-in-residence,” this time in beautiful downtown Ansonborough. The Captive is a recent work, premiered in New York City in February 2017 and recorded there a year later with the North/South Consonance String Ensemble, scheduled  to be released this fall as a CD and on iTunes.

About Magnetic South:

Magnetic South is an innovative partnership between the College of Charleston Department of Music and the Charleston Symphony Orchestra (CSO). It combines the resources of the two institutions to present contemporary classical music in Charleston in an informative context. The goal of the Magnetic South partnership is to bring to the audiences of the Lowcountry, including students at the College, masterworks of the 20th and 21st centuries along with important new works by living composers. The concerts, performed by CSO musicians and conducted by College of Charleston faculty member Yiorgos Vassilandonakis and CSO Music Director Ken Lam, feature carefully selected works from a variety of aesthetic directions and styles to represent the panorama of the music of our time. Magnetic South was co-founded in 2012 by Vassilandonakis; fellow faculty member Edward Hart; and CSO concertmaster and Principal Pops conductor, Yuriy Bekker.

Early Music Duo BEDLAM to Perform French and English Works

The 2nd Monday Series at the College of Charleston School of the Arts will present Bedlam, an early music duo dedicated to exploring the rich repertoires of music for voice and lute in the 16th and 17th centuries. Founded in 2013 by Kayleen Sánchez, soprano, and Laudon Schuett, lute, the duo will perform works from the 16th century by French composer Jehan Chardavoine and English composer Thomas Campion.

The concert will take place on Monday, October 8, 2018 at 7:30 p.m. at the Simons Center for the Arts, 54 St. Philip Street. General admission is $15 for adults and $10 for all students with school I.D. Tickets can be purchased online at or at the door. Tickets for College of  Charleston faculty/staff are free.

Kayleen Sánchez is an active performer, recording artist and pedagogue. Sánchez’ recent appearances include operatic roles with the Haymarket Opera Company in Chicago, an appearance with the Newberry Consort, performances with the St. Charles Singers, and recitals at the Winnetka Recital Series in Winnetka, Ill., the Winterpast Recital Series in Milwaukee, Wis., and recitals at the Dakota Sky International Piano Festival in Sioux Falls, S.D. In December 2014, she was the soprano soloist for Handel’s Messiah with the South Dakota Symphony Orchestra, directed by Maestro Delta David Gier. She has been a featured soloist in two CDs of Mozart choral works with the St. Charles Singers and the Metropolis Chamber Orchestra: St. Charles Singers: MAGNIFICENT MOZART (St. Charles Singers, 2012), and St. Charles Singers: LUMINESCENCE (St. Charles Singers, 2013). Sánchez has recorded songs by composer George Morey, which will be featured in a CD titled Music of George Morey, and her performances have been broadcast on Chicago’s WFMT and on South Dakota Public Broadcasting television and radio.

Sánchez is featured on the CD Magus Insipiens (Soundset Recordings), performing three song cycles composed by her husband, Paul Sánchez. Writing about the CD, American poet Sherod Santos states: “Kayleen Sánchez’ wonderfully sensitive interpretations evoke the full sway of Sappho’s fervent, impassioned imagination. Indeed, Sánchez’ keen technical virtuosity manages to capture the finely shaded gradations of emotion that all three song cycles draw up from the well of human experience. Listen closely and you’ll discover that, long after the final syllable is sung, her voice still thrills along the spine.” She will also be featured on the upcoming CD, West Meets East (Albany Records), and she recently recorded Schubert’s Schwanengesang with pianist Johnandrew Slominski on a Viennese-style fortepiano. Their recording has been released on the Soundset label, and features ornamentation and other historically-informed performance practices. Sánchez received her Bachelor of Music and Master of Music degrees in Vocal Performance and Literature from the Eastman School of Music. She is currently a member of the voice faculty at the College of Charleston.

Laudon Schuett is a Renaissance lutenist and early music specialist. In recent reviews, he has been called “a masterful performer…[and] a brilliant educator” (Classical Voice of North Carolina) with “immaculate articulation and sensitive phrasing” (Fanfare). In addition to performing and expanding the solo repertoire, he formed the lute song duo BEDLAM with Kayleen Sánchez in 2013. They have since toured the country and recorded two albums, BEDLAM, and Died for Love, both for Soundset Recordings. Laudon has also been a guest lecturer and performer at numerous colleges and universities, including Cornell University, Arizona State University, Baylor University, Wheaton College, University of Kentucky, and Johns Hopkins University. He studied with Paul O’Dette, Frank Koonce, and Chuck Hulihan.

Housed within the College of Charleston School of the Arts, CofC Concerts includes five extraordinary series: International Piano Series, Magnetic South, Charleston Music Fest, 2nd Monday Series, and CofC Ensembles (CofC Concert Choir, Opera and Orchestra), featuring international, national and regional artists, as well as the award-winning student ensembles in the College of Charleston’s Department of Music. Visit CofC Concerts at

An Elite Girls Soccer Team Navigates Pressures of Adolescence and Society in THE WOLVES

Left quad. Right quad. Lunge. A girls indoor soccer team warms up. From the safety of their suburban stretch circle, the team navigates big questions and wages tiny battles with all the vim and vigor of a pack of warriors. A portrait of life, liberty, and the pursuit of happiness for nine American girls who just want to score some goals, Sarah DeLappe’s 2017 Pulitzer Prize finalist, The Wolves, is a high energy ensemble play examining ambition, fear, and loss with humor and truth in a tightly packed 90 minutes. Presented by the College of Charleston Department of Theatre and Dance, The Wolves is one of seven shows in the 2018-19 season that portray the department’s “year of social justice” theme.

“I wanted to see a portrait of teenage girls as human beings,” says playwright Sarah DeLappe. “As complicated, nuanced, very idiosyncratic people who weren’t just girlfriends or sex objects or manic pixie dream girls but who were athletes and daughters and students and scholars and people who were trying to figure out who they were in this changing world around them.”

The College’s production of The Wolves is directed by Glenda Byars, a senior adjunct lecturer in the College’s Department of Theatre and Dance.

The production will run Wednesday, Oct. 17 through Sunday, Oct. 21, with a second run Wednesday, Oct. 24 through Sunday, Oct. 28. Curtain times will be 7:30 p.m., except for Sunday shows at 2:00 p.m. only. A talkback will occur after the show on opening night. Performances will take place at the Chapel Theatre, 172 Calhoun St. Admission is $15 for general public; $10 for senior citizens, College of Charleston students and employees. Tickets can be purchased online at or by calling (843) 953-6306. 

The show contains mature language and explores sensitive topics.


The Department of Theatre and Dance’s 2018-2019 season of social justice is expressed this year through musical theatre, drama, comedy and dance. Patrons can learn about the productions and purchase season passes at

Choral Performance to Celebrate Choir Alumni and 20-Year History of Director Rob Taylor

The College of Charleston Concert Choir and Madrigal Singers will present a “Concert Choir Alumni Celebration Concert.” The 2018-19 school year marks Director of Choral Activities Rob Taylor’s 20th anniversary season with the choral program at the College. The Concert Choir will perform repertoire stemming from the past 20 years, and will be joined by alumni in performing Vaughan William’s monumental motet “Lord thou hast been our refuge.”

The performance will take place at 7:30 p.m. on Monday, Oct. 15, 2018 at the Circular Congregational Church, 150 Meeting St. Admission is $10 at the door; students are admitted free of charge. For more information call (843) 953-5927.

“During the past twenty years, the College of Charleston choral program has truly become nationally renowned,” says Taylor. “Choirs from the College’s choral area have performed at six national choral conferences and four regional conferences. These are the biggest honors a domestic choir can be awarded by the choral community, and it is a tribute to the current and past choir members whose hard work and devotion have led to excellence at the highest levels. This concert is for those kids—many of whom aren’t kids anymore!”

The College of Charleston Concert Choir is the premier touring choral ensemble at the College of Charleston. Under the direction of Dr. Robert Taylor, the Concert Choir has toured throughout the United States, Ireland and the United Kingdom, and has performed at national, regional and state American Choral Directors Association Conferences, three National Collegiate Choral Organization Conferences, regional American Guild of Organist conferences, and multiple South Carolina Music Educators Association conferences. The Concert Choir’s membership is composed of both music majors and non-majors, representing a wide representation of the College’s student population. The Concert Choir is part of the College’s Department of Music. Taylor, serves as Director of Choral Activities at the College, the Founding Artistic Director of the professional Taylor Festival Choir and Taylor Music Group, and the Director of the Charleston Symphony Orchestra Chorus.

Clara Yang to Open 2018-19 International Piano Series

Praised by Fanfare as “a first-rate pianist who isn’t afraid of challenges,” Chinese-American Pianist Clara Yang has performed in notable venues all over the world and will perform the first concert of the 2018-2019 season of the International Piano Series at the College of Charleston School of the Arts. Her style has been described as “extraordinarily lively, awake and aware of the music’s inner connections.” Yang’s program will include an impressive body of repertoire featuring works by Debussy, Scriabin and Prokofiev.

Sound and video clips linked here

Yang has performed in distinguished venues such as Weill Hall at Carnegie Hall, the Forbidden City Concert Hall (Beijing), Remonstrantse Kerk (The Netherlands), the Seymour Centre (Sydney, Australia), the Barclay Theater (Irvine, California), Kodak Hall at the Eastman Theater (Rochester, New York), the Sunset Center (Carmel, California), Memorial Hall (Chapel Hill, North Carolina), Meymandi Concert Hall (Raleigh, North Carolina), and in series such as Carolina Performing Arts, Dame Myra Hess (Chicago Cultural Center), and Mas i Mas at the Museu d’Història de Barcelona (Barcelona, Spain). Yang received her D.M.A. in piano performance at the Eastman School of Music, where she was a student of Nelita True. She studied with Claude Frank at the Yale School of Music (M.M., Artist Diploma) and graduated magna cum laude from the University of Southern California as a student of John Perry. Dr. Yang is currently on faculty at UNC-Chapel Hill as Associate Professor of Music and Head of Keyboard Studies. Read full bio here.

CONCERT INFO: The concert will take place on Tuesday, October 2, 2018 at 7:30 p.m., in the Sottile Theatre, 44 George St. 

General admission is $20 and FREE for students and College of Charleston employees. Season subscriptions ($70) are available for all four concerts: Clara Yang (Oct. 2), Jeff Ladeur (Nov. 6), Orion Weiss (March 12), and AyşeDeniz Gökçin (April 2). Tickets may be purchased at, at the door, by emailing, or by calling (843) 953-6315.

Yang will also offer a master class, free and open to the public on Wednesday, October 2, from 11:00 a.m. to 1:00 p.m., in the Cato Center for the Arts, Room 237. Students from the Music Department at the College of Charleston will perform.

The International Piano Series (IPS) is Charleston’s longest running, year-round program with a pure focus on piano. Consistent with the School’s mission, IPS plays a distinctive role in the lives of students and the community by implementing excellence in the arts and education and cultivating piano music appreciation.

Each year, IPS stages concerts for pianists hailing from the United States and around the world. While on campus, the guest artists offer masterclasses in which students perform and receive critique. These masterclasses are open to the public. The performers range from young professionals emerging onto the world stage to seasoned performers with long-established careers.

IPS is directed by faculty member Paul Sánchez.

Proceeds from ticket sales and donations ensure the longevity of the program and support educational opportunities for music students.


Magic and Power Dominate in Theatre Season Openers

AND JUSTICE FOR ALL… The College of Charleston Department of Theatre and Dance’s 2018-2019 season of social justice is expressed this year through musical theatre, drama, comedy and dance. The theme continues to support the College of Charleston’s sustainability literacy initiative aimed to equip students with the knowledge and skills to solve challenges of social justice, economic disparity, and looming environmental concerns. The Department is committed to exploring these critical challenges this season and every season. [season subscriptions available]

This month, the season will open with correlating productions of William Shakespeare’s The Tempest and Rough Magic by Roberto Aguirre-Sacasa.

THE TEMPEST: “We are such stuff as dreams are made on…” After 12 years of being unjustly exiled to a remote island, Prospero sets in motion a plan to seek redemption for himself and his daughter. This masterful tale of ambition, desire, revenge and forgiveness is a tragically comic look at the manipulation of power and how those enslaved confront their enemies. Shakespeare’s tragicomedy brings spirits, monsters and magic to life in what is thought to be the last play he ever wrote. Directed by adjunct faculty member Paul Rolfes.

ROUGH MAGIC: Transplanting characters from The Tempest to present-day New York, Rough Magic is a Shakespearean action-adventure-fantasy in the tradition of Harry Potter and The X-Men that conjures a mythical, magical meta-universe in which the evil sorcerer Prospero is willing to do anything to recover his stolen book of magic — even if it means Manhattan’s destruction. Lucky for us, New York’s defenders include a quartet of unlikely heroes: Melanie Porter, a plucky, raven-haired dramaturg with the ability to free characters from plays; Caliban, Prospero’s hunky (though not-too-bright) son; Tisiphone, a revenge-seeking Fury from Ancient Greece; and a seventeen-year-old lifeguard from Coney Island named Chet Baxter. Directed by faculty member Evan Parry and features professional guest artist Scott Pattison as Prospero.


Due to the other tempest, Hurricane Florence, the College of Charleston Department of Theatre and Dance will delay the schedule for The Tempest to Sept. 28, Oct. 4, Oct. 6 at 7:30 p.m. and September 29 and Oct. 7 at 2:00 p.m. 

The updated schedule for Rough Magic is Sept. 29, Oct. 3, Oct. 5 at 7:30 p.m. and Sept. 30 and Oct. 6 at 2:00 p.m.

Emmett Robinson Theatre in the Simons Center for the Arts, 54 Saint Philip St. 

Talkbacks will occur after the opening night performances. 

Admission is $20 for general public; $15 for senior citizens, College of Charleston employees and non-College of Charleston students; and $12 for College of Charleston students. Season subscriptions and individual tickets can be purchased at or by calling (843) 953-6306. 

IN THE MIX: Explore the Art of Composing Music for Film & Television

NATHAN MICHEL | Photo: William MebaneThe College of Charleston’s IN THE MIX speaker series will once again delve into the nuances of the music business with Commercial Licensing and Scoring on Monday, Sept. 24, 2018 at 6:30 p.m at the Simons Center for the Arts, Room 309 (54 Saint Philip St).

Composer, producer and adjunct faculty member Nathan Michel will discuss the intricacies of his work as a composer for film and television.

Michel is a composer and producer working in a range of musical styles including classical, rock, experimental and ambient. His band, Hospitality, has released two full-length albums on Merge Records, and toured worldwide. Rolling Stone named their debut album a top record of 2012. Michel has also released four solo recordings of experimental pop music on the labels Sonig, Tigerbeat6, Skipp and Tomlab. Pitchfork called his solo music “daring, but highly listenable.” A classically trained composer, Michel received a Ph.D. in composition from Princeton and also studied at the Yale School of Music, The Royal Conservatory in The Netherlands (with Louis Andriessen) and Bowdoin College. He was a featured composer for the 2014 Ecstatic Music festival and has also written pieces for the Now Ensemble, the Princeton Laptop Orchestra, and others. His score for Lana Wilson’s film The Departure was described as “haunting” by the New York Times. His most recent work includes composing the music for Bud Light’s “Dilly-Dilly” Super Bowl commercials and the score for the film series A Cure for Fear, which premiered this month at the Camden International Film Festival. Michel teaches Songwriting for the College of Charleston’s Music Department and Introduction to Audio Production for the Arts Management Program, which now has its own dedicated recording studio. He lives nearby with his wife and two children.

IN THE MIX sessions are presented by the Arts Management program in the College’s School of the Arts. All sessions are free and open to both students and the public on a first-come, first-served basis.

Since 2014, IN THE MIX has explored timely and engaging topics impacting the musical landscape on both a local and national level, all while exposing audience members to industry insiders with real world experience and insight. Recent sessions have examined songwriting compensation, the music streaming business model, and the emergent Charleston music scene, while former guest speakers include Darius Rucker, Cary Ann Hearst and Jeff McClusky. View a full list of previous and upcoming sessions at The sessions are mediated by Grammy Award-winning musician Mark Bryan, who is an artist-in-residence in the arts management program.

The College’s arts management major offers students who are musicians or interested in music management the opportunity to pursue a music industry concentration, with courses like Introduction to the Music Industry, Legal Aspects of the Entertainment Industry, Music in the Marketplace, History of the Recording Industry, and more. For information visit or call (843) 953-6301.

2nd Monday Series: Music of David Gordon

Kayleen and Paul Sánchez

The 2nd Monday Series at the College of Charleston School of the Arts will present the music of David Gordon in a concert featuring faculty members Paul Sánchez, piano; Kayleen Sánchez, soprano and Eka Gogichashvili, violin. The trio has prepared a vast array of Gordon’s repertoire ranging from double piano to full trio works.

Gordon’s cycle “Mysteria Incarnationis” was written and premiered in 2015. It is a haunting, riveting work that is meant to be performed in a dark room, with only red votive candles and some stand lights as light sources. The texts of the cycle are written by the 4th century poet Ephrem the Syrian, and are all texts dealing with Mary’s perception of the birth of Christ. The music calls for all musicians to double on multiple instruments. The composer uses quarter tonal scales to achieve a mysterious, otherworldy sound. The soprano doubles on toy piano, Thai button gongs, finger cymbals, a vibratone, and a glass globe; the violinist doubles on a prepared autoharp; the pianist plays a prepared piano, a neck brace harmonica, and a wine glass.

Pianist Paul Sánchez shares that “Composer David M. Gordon, after hearing Kayleen and I perform his song setting ‘Fader, stilla våra andar,’ which he praised as being ‘deeply moving and extraordinarily precise,’ composed the monumental song cycle ‘Mysteria Incarnationis’ for us. As its dedicatees, Kayleen and I were honored to perform the world premiere alongside violinist Eka Gogichashvili in 2015. The work is incredibly demanding and virtuosic for the performers, with its dense polymetric textures, quarter-tonal sound world, and intricate passagework, and creates an otherworldly, haunting, jarring, and ultimately moving experience for the listener. The piece is novel in the extreme, yet its visceral punch is primal in nature.”

David M. Gordon (b. 1976) earned B.M. and M.M. degrees in music composition from Northern Illinois University, where his principal teacher was Dr. Jan Bach. Currently, he is pursuing a Ph.D. in composition at the University of Chicago, studying primarily under Shulamit Ran and Marta Ptaszynska. Gordon has written works for a variety of performers and ensembles, including eighth blackbird, the Pacifica Quartet, the Chicago Sinfonietta, Aguavá New Music Ensemble, Contempo, the Motion Trio, and steelpan virtuoso Liam Teague. His music has also been featured at numerous distinguished venues and events, including the Tanglewood Festival of Contemporary Music, the Caramoor Music Festival, the Norfolk Chamber Music Festival, the Deer Valley Music Festival, Chicago’s Symphony Center and Millenium Park, and Philadelphia’s Kimmel Center, as well as at concerts in Russia, Poland, Ukraine and France.

Bio for Paul Sanchez

Bio for Kayleen Sanchez

Bio for Eka Gogichasvili


The concert will take place on Monday, September 10, 2018 at 7:30 p.m., at the Recital Hall of the Simons Center for the Arts, 54 Saint Philip St. 

General admission tickets are $15 and can be purchased online at, at the door, or they can be reserved by emailing Students with school I.D. can attend for $10 at the door.


The 2nd Monday Series will continue its 2018-2019 season: 

October 8 | Bedlam (Kayleen Sánchez, soprano; Laudon Schuett, lute) performing music of 16th and 17th centuries

November 12 | The Charleston Latin Jazz Collective featuring faculty member David Heywood

February 11 | Natalia Khoma, cello; Volodymyr Vynnytsky, piano

March 11 | CofC Faculty Jazz Ensemble

April 8 | Voice Faculty: Saundra DeAthos-Meers, soprano; David Templeton, baritone; Robin Zemp, piano


Housed within the College of Charleston School of the Arts, CofC Concerts includes five extraordinary series: International Piano Series, Magnetic South, Charleston Music Fest, 2nd Monday Series, and CofC Ensembles (CofC Concert Choir, Opera and Orchestra), featuring international, national and regional artists, as well as the award-winning student ensembles in the College of Charleston’s Department of Music. Visit CofC Concerts at

See the Dance: The History of American Minstrelsy

College of Charleston students will be able to attend and participate in a live taped recording of the NAACP award winning educational play, See The Dance: The History of American Minstrelsy in partnership with the Department of Theatre and Dance and with the Sustainability Literacy Institute.

As part of a national anti-bias education program, See The Dance teaches students about the history of blackface minstrelsy and its continued effects on racial and ethnic stereotyping in America.

Co-developed by Dr. Jason C. White in the College’s arts management program, this one-time performance will be recorded for both educational and commercial purposes. CofC students are invited to attend on Friday, August 31st at 7:00pm in the Chapel Theatre (172 Calhoun St, Charleston SC 29403). There is no late seating.

Admission is FREE but seating is limited to CofC students who present a valid student ID at the door. To avoid the rush at the door, CofC students should request a seat in advance using this link.

Learn more about See The Dance.