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He serves as Principal Guest Conductor of both the Netherlands Radio Philharmonic Orchestra and the Trondheim Symphony Orchestra & Opera and is Music Director of the Verbier Festival Junior Orchestra.

Recent orchestral appearances include Staatskapelle Berlin, Deutsches Symphonie Orchester Berlin, Symphonieorchester des Bayerischen Rundfunks, Munich Philharmonic, London Symphony Orchestra, London Philharmonic Orchestra, Royal Concertgebouw Orchestra, Orchestre de Paris, Rotterdam Philharmonic Orchestra, Vienna Symphony and Tonhalle-Orchester Zürich. In North America, Gaffigan regularly works with the New York Philharmonic, Cleveland Orchestra, Chicago Symphony, Philadelphia Orchestra, San Francisco Symphony, National Symphony Orchestra, Los Angeles Philharmonic, Pittsburgh Symphony and Detroit Symphony Orchestra among others.

A regular at the Metropolitan Opera, Bayerische Staatsoper, and Opéra National de Paris, Gaffigan has also conducted the Zürich Opera, Vienna Staatsoper, Staatsoper Hamburg, Dutch National Opera, Glyndebourne Festival, Lyric Opera of Chicago and Santa Fe Opera.

Passionate about music education and a product of the New York City public school system, Gaffigan believes that access to music education is the method by which America’s concert halls will finally begin to reflect our community and shrink the racial and gender gaps that currently exist in performing arts today.

Orpheus in the Underworld (New Orleans Opera), Die Entfuhrung aus d Serail (Madison Opera), and the world premiere of Missy Mazzoli Proving Up for WNO American Opera Initiative – as well as new music collaborations with The Knights and the Resonant Bodies Festival. A rising young star on the contemporary American opera scene (89.5 Tulsa), Alison's production of The Manchurian Candidate was named the #1 Classical Music event of 2016 by the Austin Chronicle and received four Critic's Table awards, including Best Opera Production. In 2015, Alison received the SDCF Kurt Weill Fellowship and was named one of the winners of OPERA America Director-Designer Showcase. Her professional credits include engagements with Seattle Opera, Opera Theatre of St. Louis, Wolf Trap Opera, and Chautauqua Opera. Previously, Alison served as the Resident Assistant Director at both the Minnesota Opera and The Atlanta Opera.

In New York City, Hope studied at The Ailey School and worked as assistant to choreographers Milton Myers and the late Talley Beatty. Hope was an original member of Complexions, and joined PHILADANCO where she received the acclaimed “Bessie, a New York dance and performance award. Just completing her 20th and final season with the Alvin Ailey American Dance Theater, she continues to build and create work as a 2019-20 Urban Bush Women Choreographic Center Fellow.

Hope has choreographed for numerous dance company’s including Philadanco, Minnesota Dance a Theater, and Dallas Black Dance Theatre. In 2016, Hope presented her third work of choreography for the Alvin Ailey American Dance Theater called r-Evolution, Dream., and most recently, in 2018 for DEMO, commissioned by Damian Woetzel and the Kennedy Center, Hope had the honor to choreograph, write, and perform with New York City Ballet Principal dancer Lauren Lovette in MomentsUponMoments which was redesigned for Vail Dance Festival in 2019.

Most recently she created a work for BalletX and Guggenheim Works And Process  Virtual Commissions program, has her words and work displayed at Kaatsbaan Cultural Park,  and has been an annual keynote speaker for Lincoln Center Activate, a national education  forum. 

Serving as Artistic Lead for the Kennedy Center Dance Lab (KCDL), a two-week summer dance program for high school students, and Artist-In-Residence at USC Glorya Kaufman School of Dance is confirmation of the mission of HopeBoykinDance, which includes leading young and aspiring artists to a secure foundation and a concrete understanding, which develops a confidence and an assurance that will be unmatched. 

Hope firmly believes THERE ARE NO LIMITS.

In the 2020-2021 season, Liverman is scheduled to make his debut at LA Opera as Leporello in Don Giovanni and appear in a solo recital at ²ÝÝ®ÊÓƵÃâ·Ñ°æapp. Additionally, he will appear in Opera Theatre of St. Louis’ production of Highway 1 U.S.A as Bob, and will curate OTSL’s Juneteenth Concert together with soprano Nicole Cabell. Will’s new opera, The Factotum, written together with DJ/recording artist K. Rico, will also be developed in partnership with Lyric Opera of Chicago and the Ryan Opera Center this season.

Will is the recipient of the 2020 Marian Anderson Vocal Award, and recently received a 2019 Richard Tucker Career Grant and Sphinx Medal of Excellence. Liverman’s recent engagements include the Met Opera’s holiday production of The Magic Flute, in addition to its premiere of Philip Glass’ Akhnaten and Malcolm Fleet in Nico Muhly’s Marnie. He also recently appeared as Pantalone in The Love of Three Oranges at Opera Philadelphia, as Silvio in Pagliacci at Opera Colorado, as Schaunard in La bohème with Santa Fe Opera, Dallas Opera and Opera Philadelphia; and as The Pilot in The Little Prince with Tulsa Opera.

Liverman has performed the leading role of Figaro in Rossini’s Il barbiere di Siviglia with Seattle Opera, Virginia Opera, Kentucky Opera, Madison Opera and Utah Opera. He originated the role of Dizzy Gillespie in Charlie Parker’s Yardbird with Opera Philadelphia, in addition to performing the role with English National Opera, Lyric Opera of Chicago, Madison Opera, and at the Apollo Theater. Other highlights include the role of Tommy McIntyre in the Lyric Opera of Chicago’s production of Fellow Travelers for its Lyric Unlimited initiative; Papageno in The Magic Flute with Florentine Opera and Central City Opera; his role debut as Marcello in La bohème with Portland Opera; his debut with Seattle Opera as Raimbaud in Le Comte Ory; Tarquinius in The Rape of Lucretia and Beaumarchais in The Ghosts of Versailles with Wolf Trap Opera; Andrew Hanley in the world premiere of Kevin Puts’ The Manchurian Candidate with Minnesota Opera; Sam in The Pirates of Penzance with Atlanta Opera; the Foreman at the Mill in ´³±ð²Ôů´Ú²¹ and the Protestant Minister in Menotti’s The Last Savage with Santa Fe Opera.

Expanding into the concert repertoire, Liverman performed the title role in a concert version of the Gershwins’ Porgy and Bess with the Orchestre Symphonique de Montréal, and was a featured soloist in Brahms’ Requiem with the Las Vegas Philharmonic, in Handel’s Messiah with the Seattle Symphony, in Carmina Burana with the Virginia Symphony Orchestra, and in Mozart’s Mass in C Minor with the Civic Orchestra of Chicago. He was also recently featured in the Sphinx Virtuosi concert at Carnegie Hall, in addition to appearing in Schubert’s Die Winterreise at The Barns at Wolf Trap Opera.

Liverman has received a 2017 3Arts Award, a George London Award, and was recognized as a classical division Luminarts Fellow by the Luminarts Cultural Foundation. In 2015, he won the Stella Maris International Vocal Competition, received the Gerda Lissner Charitable Fund Award, and received a top prize from Opera Index. He was a grand finalist in the 2012 Metropolitan Opera National Council auditions, and additionally was a first prize winner in the Gerda Lissner International Vocal Competition, a grand prize winner of the Bel Canto Foundation Competition, and a recipient of a Sara Tucker Study Grant from the Richard Tucker Music Foundation.

Liverman concluded his tenure at the prestigious Ryan Opera Center at the Lyric Opera of Chicago in 2015. He previously was a Young Artist at the Glimmerglass Festival. He holds his Master of Music degree from The Juilliard School, and a Bachelor of Music degree from Wheaton College in Illinois.

The Chorale provides a venue for showcasing artists, composers, and arrangers who share this commitment, thereby fostering community awareness and appreciation of this important legacy.

Founded in 2000 by Artistic Director Stanley J. Thurston, HSC seeks to enhance opportunities for a new generation of listeners to understand and appreciate the historical legacy of this music through education and performance.

Internationally recognized and critically acclaimed for its outstanding artistry, CCW collaborates frequently with our community’s leading arts organizations and artists, and maintains an active performance schedule that reaches thousands of audience members in marquee and neighborhood venues across the city and beyond. Each year, over 250 students in Greater Washington benefit directly from CCW instruction. CCW is committed to providing choral music education to the broader DC community through its partnership with DC Public Schools and need-based scholarships for its auditioned ensembles. CCW was founded in 1995 by Joan Gregoryk, and is now under the artistic leadership of Margaret Nomura Clark.

CCW made its debut at ²ÝÝ®ÊÓƵÃâ·Ñ°æapp in November 1996 in a performance of Ralph Vaughan Williams’ A Sea Symphony with The Washington Chorus. Since then, CCW has distinguished itself as one of our country’s premier youth choruses by producing its own concerts, commissioning works by leading composers, partnering with our community’s leading adult choruses and orchestras, and touring nationally and internationally. Recent appearances include WETA’s Songs of the Season, Britten’s War Requiem with National Symphony Orchestra and The Choral Arts Society of Washington at ²ÝÝ®ÊÓƵÃâ·Ñ°æapp; the National Anthem at Nationals Park, and a featured performance in the US Army Band’s American Holiday Festival.

CCW is the recipient of numerous grants and awards, including Best Choral Group by the Washington Area Music Awards in 2012, the Greater Washington Area Choral Excellence Award for Best Educational Outreach in 2012 and 2014; an Increased Access to Music Instruction grant from the DC Deputy Mayor for Education in 2016; grantee of Bloomberg Philanthropies’ Arts Innovation and Management Program in 2018 and 2020; and one of the best small charities in the Greater Washington region in the 2019/2020 Catalogue for Philanthropy.