Nicholas Mariscal, cello

Second-year Cello Fellow Nicholas Mariscal is a recent graduate of the University of Southern California (USC), where he received both his master of music degree and graduate certificate studying with distinguished cellist Ralph Kirshbaum. In 2014 he received his bachelor of music degree at Indiana University under the tutelage of Eric Kim. Mr. Mariscal has won numerous competitions and awards, including first prize in the 2017 Edith Knox Competition in Los Angeles and third Prize in the 2014 Sphinx Competition in Detroit. He has given concerto performances at Aspen Music Festival, Indiana University and most recently in Redondo Beach, California, performing the Barber Cello Concerto with the Peninsula Symphony. In November of 2018, he makes his professional concerto debut, performing the Khachaturian Concerto-Rhapsody with the Tucson Symphony. Additionally, he has won the USC/Los Angeles Chamber Orchestra (LACO) Mock Audition, leading to performances with LACO as a member of its cello section. 

Mr. Mariscal won the Indiana University Latin American Music Center Recording Competition, resulting in a commercially-produced recording and a solo recital in New York at the Americas Society. An ardent performer of new and lesser-known music, his recording, Nubes Bajas: A Collection of Solo Cello Music from Latin America, includes seldom-performed unaccompanied cello works by 20th- and 21st-century Latin American composers. He has also performed concertos by living composers such as Tan Dun and Sofia Gubaidulina, and has played extensively with contemporary music ensembles including the Aspen Contemporary Ensemble, Indiana University New Music Ensemble and Contemporary Vocal Ensemble and USC Thornton Edge.

Chad Goodman, conductor

With a flair for inventive programming and a bold presence on stage and in the community, Chad Goodman has been praised for "bringing innovation to classical music" (Forbes).

As the Conducting Fellow of the New World Symphony, Mr. Goodman conducts on subscription, education, family and holiday programs. His program, “SPARK: How Composers Find Inspiration,” blended captivating light design and videography with engaging audience participation to explore how a composition is created and brought to life by an orchestra.

Since 2018 Mr. Goodman has served as an Assistant Conductor to the San Francisco Symphony, assisting Esa-Pekka Salonen, Manfred Honeck, Daniel Harding, Pablo Heras-Casado, Simone Young and James Gaffigan among others.

Mr. Goodman's 2022-23 Season will include debut appearances with the Elgin Symphony, Baton Rouge Symphony, Greensboro Symphony and San Francisco Chamber Orchestra.

As Founder and Artistic Director of Elevate Ensemble, Mr. Goodman’s ambitious vision for concert programming resulted in the pairing of music from Bay Area composers with underappreciated gems of the 20th and 21st centuries. Under his leadership, Elevate Ensemble established a Composer-in-Residence program and commissioned fifteen works from Bay Area composers. Elevate collaborated with photographers, videographers, poets and culinary artists, bringing new music and vibrant multi-genre experiences to unique venues such as yoga studios, historic Victorian homes and art studio warehouses.

Mr. Goodman has previously served as Conducting Fellow of Festival Napa Valley, Music Director of the Contra Costa Chamber Orchestra, Conducting Fellow of the Atlantic Music Festival, and a rehearsal and cover conductor for the San Francisco Ballet.

In addition to his performing career, he teaches young musicians the business and entrepreneurial skills needed to successfully navigate the world as a working musician in his workshop “You Earned a Music Degree. Now What?”

Mr. Goodman holds a bachelor of music degree from the Eastman School of Music and a master of music degree from San Francisco State University. His mentors include Michael Tilson Thomas, Alasdair Neale, Cyrus Ginwala and Martin Seggelke.

Megan Barrera, soprano

Lisa Stoneham, team member

Hailing from Beverly, Massachusetts, Lisa Stoneham is a third-year Bass Trombone Fellow at the New World Symphony. She has performed with the Cleveland Orchestra, Buffalo Philharmonic, Sarasota Orchestra and Western New York Chamber Orchestra. She has spent her recent summers performing with the Music Academy of the West, National Repertory Orchestra and National Orchestral Institute. In 2018 Ms. Stoneham was selected to participate in the inaugural Keston MAX LSO Fellowship through the Music Academy of the West and played with the London Symphony in 2019. She also had the privilege of joining the Monarch Brass at the 2019 International Women’s Brass Conference.

As a soloist, Ms. Stoneham was a finalist in the 2018 Music Academy of the West Concerto Competition. She received fourth place in the Donald Yaxley Solo Competition in 2016. While at SUNY Fredonia, she completed a performer’s certificate, receiving the highest level of achievement for her recital performances. She was also a finalist for the SUNY Fredonia Concerto Competition for two consecutive years.

Ms. Stoneham received her master’s degree from Rice University, where she studied with Allen Barnhill, Barbara Butler and Charlie Geyer. She received her bachelor’s degree from SUNY Fredonia where she studied with Jeffrey Dee. Other former teachers include Mark Lawrence, Ralph Sauer, Norman Bolter and Jeanne Pocius Dorismond. 

In her free time, Ms. Stoneham enjoys exploring the bookstores and coffee shops wherever she happens to be.

Marysol Quevedo, guest speaker

Marysol Quevedo is assistant professor of musicology at the Frost School of Music at the University of Miami. Her research focuses on art music in Cuba before and after the 1959 Revolution. She also works on cultural diplomacy during the Cold War and art music networks during and after the Second World War. She has traveled to Cuba several times, chronicling her experience in the blog myresearchincuba. With a minor in ethnomusicology, she favors an interdisciplinary approach that combines the methods of both historical musicology and ethnographic fieldwork. Dr. Quevedo holds a PhD in Musicology from Indiana University, Jacobs School of Music. Prior to moving to Miami to work at Frost, she worked as Program Specialist for the Society for Ethnomusicology, and as Instructor and Research Associate at IU’s Latin American Music Center. Dr. Quevedo has conducted research at Florida International University’s Diaz-Ayala Music Collection thanks to the Diaz-Ayala travel research grant, and the Cuban Heritage Collection at the University of Miami, thanks to a generous dissertation research fellowship provided by the Goizueta Foundation. Dr. Quevedo received initial music education at the Coro de Niños de San Juan and later at the Conservatorio de Música de Puerto Rico, where she studied flute, cello, and music theory. After graduating from the CMPR’s Pre-College Program, she attended the University of Central Florida, studying with Nora Lee García and receiving a BM in flute performance.

Dr. Quevedo is the author of “The Orquesta Sinfónica Nacional de Cuba and its Role in the Cuban Revolution’s Cultural Project” (Cuban Studies March 2019); “‘Lucía en tres movimientos’: un análisis interpretativo de la banda sonora de Leo Brouwer para el film Lucía,” (Boletín Música in 2019); the book chapter “Experimental Music and the Avant-garde in Post-1959 Cuba: Revolutionary Music for the Revolution,” published in the collection of essays Experimentalisms in Practice: Music Perspectives from Latin America (Oxford University Press 2018). She has also written two annotated bibliographies for Oxford Bibliographies Online, “Music of Puerto Rico” and “Classical Music in Cuba.” She has written numerous entries for the Dictionary of Caribbean and Afro-Latin American Biography, Routledge Encyclopedia of Modernism, and Grove Dictionary of American Music.

Dr. Quevedo has presented her research at academic conferences around the world for more than ten years and is an active member of the American Musicological Society, the Society for Ethnomusicology, and the Society for American Music. Her current book project, Cuban Music Counterpoints, examines the classical music scene of Cuba from 1940 to 1989, tracing the complex networks that composers, musicians, and state officials navigated during times of political upheaval. In this book, Dr. Quevedo tries to explain how and why Cuban composers used highly modernist, avant-garde, and experimental compositional practices in the name of socialist ideals. This project is supported by the University of Miami’s Provost Research Award, Institute for the Advanced Study of the Americas Faculty Seed Grant, UM’s Arts and Humanities Fellowship, and UM’s Center for the Humanities Faculty Fellowship. For more information on Marysol Quevedo’s activities and upcoming appearances visit marysolquevedo.net