Kevin HanrahanAssociate Professor of Voice and Vocal Pedagogy; Voice Area Head
Area of Focus: Voice
Master of Arts Management - Carnegie Mellon University 1999
Master of Music; Opera Performance - Arizona State University 2002
Doctor of Musical Arts - Arizona State University 2005
Tenor Kevin Hanrahan has performed nationally and internationally in opera, oratorio, and recital performances. Some favorite roles have been Tamino in Die Zauberflöte, Sam Polk in Susannah, Ferrando in Così fan tutte, Alfred in Die Fledermaus, Harold Hill in The Music Man, and Harlequin and the Soldier in Viktor Ullmann’s Der Kaiser von Atlantis. Dr. Hanrahan has performed the Mozart Requiem, Bach’s Magnificat, both sets of Mozart Vespers, Mozart’s Coronation Mass, the Messiah, Gounod’s St. Cecilia Mass, Haydn’s Lord Nelson Mass and Mendelssohn’s Elijah, and Dvorak’s Stabat Mater.
A frequent recitalist, Dr. Hanrahan has performed throughout the United States, Europe, and India. Highlights include Weill und Brech, Liederabend in Graz, Austria, Schubert’s Die Schöne Müllerin with fortepiano in Phoenix, AZ and Lincoln, NE, and Beethoven’s An die ferne Geliebte in Pune and Mumbai, India. In January of 2007 Dr. Hanrahan along with pianist Roberta Swedien performed Schubert’s Die Schöne Müllerin in Pune and Mumbai, India, and were the first perform Schubert’s masterpiece in over 50 years with the last performance given by Peter Pears and Benjamin Britten. As a founding member of the Vocal Chamber Ensemble, Lyrika, Dr. Hanrahan has performed Brahm’s Liebeslieder Walzer, Barber’s A Hand of Bridge, and John Greer’s Liebesleid-Lieder Waltzes. Dr. Hanrahan has performed as a soloist with the Opera Theatre of Pittsburgh, the Lyric Opera Theater at Arizona State University, the Catalina Chamber Orchestra, the Arizona State University Chamber Orchestra, the Phoenix Bach Choir, the AIMS Festival Orchestra in Graz, Austria, The Poona Music Society in India, Abendmusik in Lincoln, the McKeesport Symphony, the Lincoln Symphony, City of Prague Orchestra, the Chattanooga Symphony, the Plovdiv Philharmonic Orchestra, and the Denver Philharmonic Orchestra.
Dr. Hanrahan has worked with numerous influential conductors including Robert Page, Charles Bruffy, David Stocker, Bruce Chamberlain and Gunther Schuller, as well several esteemed directors such as Elizabeth Bachman, Rhoda Levine, Gregory Lehane and Graham Whitehead. Dr. Hanrahan has held teaching positions at Arizona State University, Scottsdale Community College, and Grand Canyon University. As a researcher and teacher, Dr. Hanrahan has presented at national and international conferences including the National Association of Teachers of Singing National Conventions in 2006 and 2010. At the 2010 conference his paper on the use of the voice range profile and tessituragram received the Best Poster Paper Award. He has also presented at the International Congress of Voice Teachers (2009) in Paris, France and (2013) in Brisbane, Australia, The Phenomenon of Singing International Symposium (2009) in Newfoundland, Canada, and the International Society of Music Education World Conference (2006) in Kuala Lumpur, Malaysia, (2008) in Bologna, Italy, (2010) in Beijing, China, (2012) in Thessaloniki, Greece, (2014) in Porto Alegre, Brazil, and (2016) in Glasglow, Scotland. Dr. Hanrahan is also published in the Journal of Singing published by the National Association of Teachers of Singing, and is a frequent reviewer for the Metropolitan Opera’s Opera News. He has given masterclasses/workshop sessions in India. In addition to his research and concert presentation, Dr. Hanrahan is the founder of the UNL School of Music Voice Lab. Future research activities include continuing investigating the relationship between the second vowel formant and adduction, the effect of hearing in the training of singing, and the use of technology to assess vocal potential in young singers.
Dr. Hanrahan currently holds the position of Associate Professor of Voice and Voice. His students go on to continue their studies with assistantships at prestigious institutions such as the Cincinnati Conservatory of Music and Northwestern University, with apprenticeships with Central City Opera, Glimmerglass Opera, Des Moines Metro Opera, and the Domingo-Cafritz Young Artist Program at Washington Opera. They can be heard on the stages of opera companies such as Arizona Opera, Kentucky Opera, West Australia Opera, and Virginia Opera.
CoursesVocal Pedagogy I - Introduction to Vocal Pedagogy MUSC 4/870
Vocal Pedagogy II - Science of Singing MUSC 971
Art Song I MUSC 4/871
Art Song II MUSC 4/872