Brazilian born Guilherme Almeida is a conductor who now resides in the US, and is a lecturer at Baylor University. He has worked as conductor, organist, harpsichordist, composer, and educator in the Musical Theatre, Opera, and Classical Music worlds. His goal is to be a guest Music Director and Collaborator in these fields with professional organizations throughout the world.
His conducting debut occurred in 2001 (Joseph Haydn’s Zwölf Deutsche Tänze and Nair Roméro de Mattos’ Brazilian Folk Songs), leading the Chamber Orchestra at Escola Batista de Música e Artes - Goiânia. He has music directed and performed many premieres including Estércio Marquez Cunha’s O GuardaNoite, andKooman and Dimond’sDani Girl. He has also led choral performances, includingSir John Stainer’sThe Crucifixion.
As recitalist he crafted acclaimed performances with singers MaríliaÁlvares, Michael and Teri Johnson, and Amarílis de Rebuá. Recital highlights include Poesia e Piano, liederabend sponsored by the General Consulate of Germany in Recife; Flemish and French Trombone Music, with Alexandre Magno; Four Hand Piano Recital, Andréia da Costa Carnalho.
His solo and chamber repertoire include works by Cavalli, Frescobaldi, Marcello, Rameau, Beethoven, Brahms, Lalo, De Falla, Villa Lobos, Poulenc, Damase, Poser, Schoenberg, Britten, Pann, Guastavino, Lacerda, Guarnieri. Featured appearances include accompanist for: National Competition for The Symphonic Orchestra of Goiânia, National Council Auditions (Southwest Region) for The Metropolitan Opera.
Since 2011 Mr. Almeida serves as Lecturer in Musical Theatre and Collaborative Pianist at Baylor University. As the Music Director for Baylor Theatre, Mr. Almeida has led numerous cabarets and stage productions including: The Drowsy Chaperone, Gypsy, Thoroughly Modern Millie, Dirty Rotten Scoundrels, Legally Blonde, Into the Woods, Love’sLabour’s Lost.
Mr. Almeida received his musical and pianistic education first at the celebrated Escola de Músicae ArtesCênicas - Goiânia, under the guidance of Estércio Marquez Cunha, Martha Martins, and Maria LúciaRoriz. He later attended the SeminárioTeológico Batista do Norte do Brasil - Recife, under the guidance of Ralph Manuel and Charla Greenhaw, and lastly at the School of Music at Baylor University under the guidance of Krassimira Jordan. Mentors include Günter Bauer (Piani, Composition, Chamber Music, Organ, Continuo), Jann Cosart (Early Music Performance), Ângela Barra and Michael Johnson (Opera Production), ApolônioAtaíde and Joana Azevêdo (Conducting).