Our Vision

Every Voice Should Be Heard

 

Lynx Project is a nonprofit art song initiative whose mission is to build community through innovative song programming and educational initiatives and to provide  a platform for every voice to be heard.

 
 
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Our Team

Leading the Way

 
 

Caitleen Kahn - Soprano
Executive Director, Co-Founder

Chicago-based soprano and arts administrator Caitleen Kahn is a passionate and communicative performer, devoted to facilitating universal access to the arts. During her time in New York City, Caitleen was Administrative Coordinator of UpBeat NYC, a free El Sistema-inspired music program for children in the South Bronx, and Operations Director of Musicambia, a non-profit that is creating music conservatories in the prison system.

Still involved in El Sistema-initiatives, Caitleen currently volunteers with Chicago Arts and Music Project as a violin instructor. She was a 2017 participant in Marilyn Horne's The Song Continues program at Carnegie Hall, a 2016 Byron Fellow, a 2016 scholarship recipient at the SAVVY Arts Venture Challenge, and the 2015 recipient of the Catherine Filene Shouse Fellowship. When she’s not singing or “administrating,” Caitleen enjoys running competitively, teaching violin, baking, and exploring.

 

 

Megan Moore - Mezzo-Soprano
Co-Founder

Mezzo-soprano Megan Moore is praised for her “rapid-fire coloratura” and “clever, honest, and charming” on-stage presence.  She is committed to story-telling and communication through music in her endeavors both on and off stage. Particularly acclaimed for her Rossini interpretations, Megan’s favorite roles include Rosina in Barbiere di Siviglia, the title role in La Cenerentola, and Nicklausse in Les Contes d’Hoffmann. Her 2018-2019 season began with singing Arsamene for Haymarket Opera Company's Serse, and continued with performing the leading role of Costanza in Haydn's L'isola disabitata under the baton of Ramon Tebar at Opera Naples. Megan travels to Helsinki, Finland in May to participate in the Mirjam Helin International Singing Competition, and to Bavaria, Germany in June to perform with the Nuremburg Symphony and study with Edith Wiens at the Internationale Meistersinger Akademie. Next season Megan joins the ensemble of the Artist Diploma in Opera Studies at The Juilliard School.  She is a student of Manny Perez.

 

 
 
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Steven Humes - Tenor
Board President, founding member

An operatic performer, passionate music educator, and instinctive conductor, Steven Humes has already experienced a diverse musical career.  As the current Education Manager for Opera Philadelphia, Steven has been able to successfully combine many of his musical passions.  Today he continues to develop the company's education program, Sounds of Learning, which provides opportunities in the arts for students of the greater Philadelphia area.  Steven has also found success on the operatic stage, most recently as the title role in Benjamin Britten's Albert Herring.  He is also a member of the Opera Philadelphia Chorus.

 Beyond performance, Steven works as the Administrative Assistant for Si parla, si canta, and Italian immersion program, set in the small town of Urbania, Italy.  Steven holds degrees in both Vocal Performance and Music Education from Ithaca College in Ithaca, NY and a Masters in Music from the Eastman School of Music.  Steven has studied privately with Dr. Brad Hougham and Robert Swensen.  

 

 
 
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Florence Mak - Piano
Board Secretary, founding member

 From Canada to Spain to the United States, Canadian pianist Florence Mak has established herself as a versatile musician.  She has appeared onstage as a soloist, collaborator, chamber, and orchestral musician.  She made her orchestral debut as the featured soloist with the New Westminster Symphony at the age of ten.  In her continued pursuit for artistic excellence, Florence performed in renowned workshops and masterclasses at programs such as Songfest, Burgos International Music Festival, and the Banff Centre.  In addition to collaborating with instrumentalists and vocalists, she enjoys working alongside composers including Pulitzer Prize winner John Luther Adams, Christos Hatzis, Jake Heggie, and Libby Larsen.

Equally passionate about music education, Florence believes that children of all ages should have access and exposure to Classical music, regardless of their background.  She is dedicated to presenting outreach concerts throughout North America in hospitals, hospices, and schools.  She holds a doctorate in Piano Accompanying and Chamber Music from the Eastman School of Music and received her Bachelor and Master of Music degrees in Piano Performance at the University of Toronto. 

 

 
 
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Christopher Hauser - Programming and Community Engagement Intern

Chris grew up in northern Connecticut, where he first found his love for singing and the performing arts. In 2013, he began his studies in Voice Performance and Music Education at Ithaca College in upstate New York. Though he thoroughly enjoyed taking lessons every week, giving recitals, and performing in the college’s operas and musicals, he began to consider arts administration as a career path after working at the Ithaca College Library of Ensemble Music. He dove into administration with the Front of House Internship at the Hangar Theatre in Ithaca, and became an Associate Producer and Assistant to the General Director of Opera Ithaca shortly thereafter. In this position, Chris was able to learn about the many aspects of a brand-new arts organization and have a hand in just about everything the company was doing. Most recently, Chris interned in development at the Santa Fe Opera, and is now at the beginning of his graduate studies at the University of Cincinnati, College-Conservatory of Music, getting his MBA and MA in Arts Administration.

 

 
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Margaret Bell - Marketing and Communications Intern

Margaret is a junior at DePaul University majoring in communications and media. She was born, raised, and still currently resides in the suburbs of Chicago. Margaret transferred to DePaul her sophomore year from College of DuPage. Her passion for music and helping others has shaped her life. She enjoys traveling, playing guitar, and spending time with her family and friends. Margaret is currently in sales at a travel company.

 
 

 
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Mairead Kahn - Photographer in Residence

Mairead Kahn is student at DePaul University studying anthropology and photojournalism. She is from Milwaukee, WI where she worked as an intern for studio photographer Linda Gumieny. She attended Denison University before transferring to DePaul in Fall 2018 to continue her education. During her time at Denison she covered campus events as student photographer for the Office of University Communications.  Mairead currently works as a Photo/Video Intern for the Office of Representative Mike Quigley and contributes to the DePaulia Newspaper at DePaul.

 

Lynx Project Board of Directors

Steven Humes, President

Florence Mak, Secretary

Megan Moore, Treasurer

Benton Hess

Katie Masotti

Caitleen Kahn

 

Our Story

Lynx Project History

Caitleen, Megan, Steve and Florence met while completing their graduate degrees at the Eastman School of Music. Passionate about communication in performance, and art song in particular, they decided to form the Lynx Project after completing their graduate degrees. The goal of the Lynx Project is to bring the incredible world of art song to a wider audience through intimate and inclusive performances and an exploration of the boundaries of traditional recital form.

Lynx Project’s co-founders saw in art song an opportunity to express the universality of the human experience. Art song is an underrepresented, centuries-old tradition of setting poetry to music that encompasses dozens of languages and cultural traditions. Determined to use art song to strengthen community bonds and spark thoughtful conversation in society, Megan Moore and Caitleen Kahn founded Lynx Project in 2015. 

Lynx Project immediately set out to abolish antiquated art song conventions by creating Tangled Webs and Voices from Beyond the Grave, programs that combined diverse songs, styles and languages to tell a story. These programs, performed in Cincinnati in March and November 2016, established Lynx’s growing and enthusiastic audience base.

Lynx Project is a resource and platform for young artists beginning their professional careers. Lynx Project's  Snapshots of Every Voice social media campaign and concert series challenges artists to use their platform to impact positive change. Snapshots of Every Voice concerts included a November 2017 performance at Greenwich House Gallery in Hyde Park that featured current and recent students of Cincinnati Conservatory of Music.

Educational outreach is a vital piece of Lynx Project’s mission. Since March 2016, Lynx Project has conducted outreach at Xavier University, Cincinnati Conservatory of Music Preparatory, and Mariemont, Mason and Walnut Hills High Schools.

Lynx Project's groundbreaking Autism Advocacy Project (AAP), for which they received grant funding from Ohio Arts Council and ArtsWave in 2017, sets the words of non-verbal youth with autism to music in newly commissioned art songs, and advocates for the importance of every voice. The inaugural iteration of the project saw collaborations with Cincinnati Art Museum, Visionaries and Voices, RPM Cincinnati Community, Mason Community Center, Mason City Schools, and several local businesses. The unprecedented project was received to great acclaim, cementing Lynx Project's place among established arts and advocacy organizations in the greater Cincinnati area. In early 2018, Purdy Productions completed a documentary about AAP, and Megan Moore was named one of WCPO’s Next Nine Community Leaders.

 

Why Lynx?

The meaning of the word "lynx" in our title is two-fold.

The name of the animal derives from the Indo-European root "leuk-" referencing light or brightness, like the reflective eyes of the lynx. Like the lynx's eyes in the dark, we are striving to illuminate the significance of art song repertoire.

"Lynx" is also a homophone with "links." Our goal as artists is to maintain the connections to the performance traditions of the past, even as we use new means to bring our repertoire to modern audiences.  

 
 
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Hear Us in Action