Arizona Arias
|
Paulo Szotbaritone Arizona Arias Episode 1 |
Baritone Paulo Szot has garnered international acclaim as both an opera singer and an actor. Born in São Paulo to Polish immigrants, Szot has appeared with most major opera companies throughout the world. In 2008, he won the Tony Award for Best Actor in a Musical for his portrayal of Emile De Beque in the Broadway revival of South Pacific at Lincoln Center Theatre. In the 2020/21 Season, Szot will appear in concert at Carnegie Hall with the New York Youth Symphony.
Szot began the 2019/20 Season with a return to the Metropolitan Opera as Sharpless in Madama Butterfly, after which he appeared with Opera de Monte Carlo as Frank Mourrant in Kurt Weill’s Street Scene. On the concert platform, the baritone also appeared at Lincoln Center and with the Barcelona Symphony. He began the 2018/19 Season as Juan Perón in Opera Australia’s critically and popularly acclaimed production of Evita, after which he appeared as Count Danilo in The Merry Widow at the Teatro dell’Opera di Roma. He later returned to the Ravinia Festival in Mahler’s Symphony No. 8 and Bernstein’s Mass and Trouble in Tahiti. In the 2017/18 Season, Szot sang Escamillo in Carmen at the Bayerische Staatsoper in Munich, Don Alfonso at the Opera National de Paris and Frank Mourrant in Street Scene at the Teatro Real in Madrid. He also sang Bernstein’s Mass with the Chicago Symphony Orchestra at the Ravinia Festival and with the National Youth Orchestra of Great Britain at the Royal Festival Hall in London, conducted by Marin Alsop.
Engagements from the 2016/17 Season included Don Alfonso in a new production of Cosi fan tutte at Opera National de Paris, a solo recital at Teatro Real de Madrid as a salute to Frank Sinatra’s recordings of Antonio Jobim’s bossa novas, and a performance at the nationally televised New Year’s Eve gala with Alan Gilbert, Joyce DiDonato and the New York Philharmonic. He also created the roles of Alexander Hamilton, Bill Clinton and Dick Cheney in the world premiere of Mohammed Fairouz’s The New Prince at Dutch National Opera. In the 2015/16 Season, Szot sang Lescaut in Manon Lescaut at Theatro Municipal de São Paulo, Dr. Falke in Die Fledermaus at the Metropolitan Opera, Sharpless in Madama Butterfly at Opera Municipal de Marseille, and performances of Zemlinsky’s Lyric Symphony in São Paulo. He also returned to New York City’s famous 54 Below for a run of critically acclaimed solo performances. In the 2014/15 Season, Szot sang the Captain in The Death of Klinghoffer at the Metropolitan Opera, Count Almaviva in Le nozze di Figaro at the Aix-en-Provence Festival in Bahrain, Escamillo in Carmen at the Glyndebourne Festival, and Lescaut in Manon Lescaut at Theatro Municipal de São Paulo. He also appeared in a series of solo performances at 54 Below. Engagements for the 2013/14 Season included Kovalev in The Nose and Dr. Falke in Die Fledermaus at the Metropolitan Opera, the title role in Eugene Onegin at Opera Australia, and a series of solo performances at 54 Below.
Szot’s engagements for the 2012/2013 Season included his debut at Washington National Opera in the title role of Don Giovanni, his debut as Filippov in a new production of A Dog’s Heart at Teatro alla Scala in Milan, and Kovalev in a new production of The Nose at Teatro dell’Opera di Roma. He also returned to Carnegie Hall with the New York Pops Orchestra and performed in an acclaimed solo concert with the NY Philharmonic. In the 2011/12 Season, Szot sang Lescaut in Manon at the Metropolitan Opera, Count Almaviva in Le nozze di Figaro for his debut at the Aix-en-Provence Festival, and Escamillo in Carmen for his debut at San Francisco Opera. He also returned to New York City’s Café Carlyle for a series of concert performances.
Szot’s engagements for the 2010/11 Season included the title role in Don Giovanni for his debut at Dallas Opera, Guglielmo in Cosi Fan Tutte for his debut at Opera National de Paris, and a two week engagement at the famous Café Carlyle in New York. He also returned to the Metropolitan Opera as Escamillo in Carmen and appeared in concert at Carnegie Hall with Deborah Voigt and Collegiate Chorale. In the 2009/10 Season, Szot made his highly acclaimed Metropolitan Opera debut in a new production of The Nose by Shostakovich, conducted by Valery Gergiev, and his Carnegie Hall debut with the New York Pops Orchestra in a program of Lerner and Lowe. He appeared in South Pacific on Broadway throughout the season as well.
In addition to his performances in South Pacific, Szot’s engagements during the 2008/09 Season included his New York Philharmonic debut in a concert conducted by Marvin Hamlisch, alongside Liza Minnelli, and his debut at the Ravinia Festival in concert with Kelli O’Hara. He also appeared in concert in the Allen Room at Jazz at Lincoln Center as part of the American Songbook Series. In the 2007/08 Season, Szot sang Marcello in La boheme at Opera National de Bordeaux and Count Almaviva in Le nozze di Figaro for his debut in Antwerp at De Vlaamse Opera.
Paulo Szot was born in São Paulo and raised in Ribeirão Pires, Brazil. He began his musical training at the age of five, first studying piano and later adding violin and dance. Szot studied at Jagiellonian University in Poland, the country from which his parents had emigrated following World War II. He began singing professionally in 1990 with the Polish National Song & Dance Ensemble "Slask", and he made his operatic debut in a production of Il Barbiere di Siviglia at Teatro Municipal de São Paulo.
After starring in the Broadway revival of South Pacific at Lincoln Center Theatre, Szot won the Tony, Drama Desk, Outer Critic’s Circle and Theater World Awards for his portrayal of Emile De Beque in 2008, becoming the first Brazilian actor to receive such honors.
|
Sarah Tuckersoprano Arizona Arias Episode 2 |
Praised by Opera Today for “pure, clear tones” and lauded by the Arizona Republic for “purity and vivacious charm,” young soprano Sarah Tucker is demanding attention for her captivating vocal timbre and engaging stage presence. Tucker was a National Semifinalist in the 2014 Metropolitan Opera National Council Auditions and recently completed her second year as a member of the Arizona Opera Studio. She was recently heard as Nelly Nettleton in Arizona Opera’s innovative, multi-lingual production of Arizona Lady, in which she not only sang, but also “danced like a flapper” (Opera Today).
The 2019/20 Season included several company debuts: as Donna Anna in Don Giovanni with Pensacola Opera, Mimi in La bohème with Gulfshore Opera, and Tatyana in Eugene Onegin with Opera in the Heights. This season, she returns to Gulfshore Opera for a reprise of her Mimi in La bohème.
The 2018/19 Season for Tucker included debuts with The Dallas Opera as Frasquita in Carmen, San Diego Opera as Micaëla in Carmen, and Intermountain Opera Bozeman as Tatyana in Eugene Onegin. In the 2017/18 Season, Tucker made her Opera Philadelphia debut where she reprised First Memory in Lembit Beecher’s War Stories, a role which she first premiered with Gotham Chamber Opera in New York City. Additionally, she sang Gilda in Rigoletto with Opera Connecticut and Lauretta in Gianni Schicchi with the Seiji Ozawa Matsumoto Festival. The 2016/17 Season brought her debut with Utah Opera as Micaëla in Carmen, her return to Texas State University as a guest soloist in Stravinsky’s Les Noces, and covering the title role in The Golden Cockerel at Santa Fe Opera. Her 2015/16 Season included several more role debuts with Arizona Opera including Micaëla in Carmen, Rosalba in Florencia en el Amazonas, and Zerlina in Don Giovanni as well as her San Francisco Opera debut as Jano in Jenufa.
Passionate about uncommon works as well as traditional operatic repertoire, Tucker collaborated with conductor Scott Terrell in Lexington Philharmonic’s 2015 Holiday Series, which included the rarely performed “Song of the Angel” by John Tavener. The piece’s haunting duet for soprano and solo violin requires great musical and vocal versatility, which was “stunningly realized by Tucker” (Tedrin Blair Lindsay, Contributing Music Critic, www.kentucky.com). She was also the star of a cutting-edge workshop of composer Clint Borzoni’s The Copper Queen in which she performed the role of Julia Lowell as part of Arizona Opera’s “Arizona Spark” initiative.
Other recent appearances include Norina in Don Pasquale with the Crested Butte Music Festival, and the soprano soloist in Handel’s Messiah with both Lexington Philharmonic and the Christ Cathedral (Crystal Cathedral) in Orange County, CA. Additional past credits include the roles of Contessa Ceprano and Paggio in Rigoletto, and Pamina in Die Zauberflöte at Arizona Opera, for which she received high acclaim. In 2014, Tucker performed Suor Dolcina in Suor Angelica and Contessa Ceprano in Rigoletto with the Crested Butte Music Festival, and the role of Tina in Flight with Opera Fayetteville.
In addition to her success in the Metropolitan Opera National Council Auditions, Tucker has received numerous awards in several nationwide vocal competitions. She was a finalist in the Fritz & Levinia Jensen Foundation Voice Competition, in the Licia Albanese Puccini Foundation Competition she was a finalist and winner of the Encouragement Award, and she competed in the semifinals of the Dallas Opera Guild and Fort Worth Opera McCammon Vocal Competitions. Tucker is a recent graduate of the University of Cincinnati College‐Conservatory of Music (CCM).
|
Santiago Ballerinitenor Arizona Arias Episode 2 |
Argentinian tenor Santiago Ballerini is recognized as one of the leading tenors in the Bel Canto repertoire, having performed at many of the major opera houses throughout North and South America from Opera Nacional de Chile, Teatro Colón, Canadian Opera Company, as well as a long side leading international orchestras such as the National Symphony Orchestra in DC, Porto Symphony Orchestra in Portugal, and more. On the concert platform, the tenor performed Carmina Burana with the National Symphony Orchestra in Washington D.C. under Gianandrea Noseda, and began the 2020/21 Season in concert with the Porto Symphony Orchestra in Portugal. Last season, Ballerini debuted the role of Frederic in The Pirates of Penzance with the Atlanta Opera, as well as his first Duke of Mantua in Rigoletto with Opera San Antonio, a role he reprised in concert with Atlanta Symphony Orchestra in the Spring of 2022. The tenor began the 2021/22 Season with his first Contino Belfiore in La Finta Giardiniera at Teatro Colón, and later made his role and house debut as Alzaga in The Magic Opal at Teatro de la Zarzuela in Madrid.
This season, Ballerini’s engagements include La Traviata at Opera Nacional de Chile, Roméo and Juliette at Opera Naples, and Rigoletto with the Pacific Symphony. Ballerini reprised the role of Ernesto in Don Pasquale for his triumphant debut at Gran Teatre del Liceu in Barcelona this September 2022. This season marks a series of exciting roles and theatre debuts for the young tenor. Following his debut in Barcelona, Ballerini debuted the role of Romeo in Gounod’s Roméo and Juliette. This winter 2023, Ballerini reprises the role of Count Almaviva in The Barber of Seville at Teatro Regio di Torino. Ballerini will reprise the role of the Duke in Rigoletto this spring in concert with Pacific Symphony followed by his role and house debut as Edgardo in Lucia di Lammermoor with Cincinnati Opera. This summer 2023, Ballerini debuts as the title role of Gaetano Donizetti’s tragedia lirica – Poliuto with Teatro Nuovo in New York City.
Before starting his professional singing career, Ballerini was a pianist for nine years and studied Music Therapy at the Universidad de Buenos Aires, specializing in addiction treatment. Ballerini was a semifinalist in the Francisco Vinas Competition at the Gran Teatre del Liceu and the Argentine Finalist at the Neue Stimmen Competition in Dresden, Germany. Ballerini also won First Prize at the Festivals Musicales Competition, American Society Competition and San Juan Opera Competition. In 2014, Ballerini was named Argentina’s “Upcoming Opera Singer” by the Congress of Argentina and the Argentine Association of Critics and received a scholarship to study with Sherrill Milnes. In January of 2016, Ballerini was awarded the Grand Prize at the Laguna Magica International Vocal Competition in Chile, receiving invitations to sing Cassio in Otello with the Teatro Argentino and to sing with the Tenerife Opera.
In the 2019/20 Season, Ballerini made his debut at the Canadian Opera Company as Count Almaviva in The Barber of Seville. Ballerini began the season with his return to the Teatro Colón in Buenos Aires as Ernesto in Don Pasquale, after which he returned to the Atlanta Opera as Count Almaviva. In the 2018/19 Season, Ballerini debuted at the Teatro Regio di Torino as Nemorino, a role which he later sang for his debut with Opéra de Toulon. Ballerini then returned to the United States for his debut with Opera Saratoga as Tonio in La fille du regiment and to sing concerts in New York, Savannah and Atlanta. Ballerini also appeared at the Teatro Colon, singing Mozart’s Requiem. In the 2017/18 Season, Ballerini made his European debut as Gualtiero in Il pirata at the Opéra National de Bordeaux, after which he appeared for the first time in Bilbao as Ernesto in Don Pasquale and debuted as Tonio at the Atlanta Opera. Ballerini also returned to the Teatro Colon as Lindoro in L’italiana in Algeri, appeared at the Teatro Nuovo’s inaugural festival at SUNY Purchase’s Performing Arts Center as Argiro in Tancredi, and sang a concert of arias at the Dallas Opera.
In the 2016/17 Season, Ballerini sang Il Tenor Italiano in Der Rosenkavalier at the Teatro Colón in Buenos Aires, Don Ramiro in La Cenerentola at the Teatro Argentino, and Ernesto in Don Pasquale at the Atlanta Opera. Ballerini also covered the roles of Don Ottavio in Don Giovanni and Count Almaviva in The Barber of Seville at The Metropolitan Opera in New York City. In July of 2017, Ballerini returned to the Caramoor Festival in New York to sing Gualtiero in Bellini’s Il pirata opposite Angela Meade. In the 2015/16 Season, he made his acclaimed United States debut at the Caramoor Festival as Fernand in La Favorite and sang the role of Tybalt in The Atlanta Opera’s production of Roméo and Juliette. After singing the role of Conte di Libenskof in Il Viaggio a Reims at the Teatro Bellas Artes in Mexico City, the tenor returned to the Teatro Colon in Buenos Aires to sing Jünge Graf in Zimmerman’s Die Soldaten.
Other highlights from previous seasons include Nemorino in The Elixir of Love at the Teatro Solis in Montevideo alongside baritone Erwin Schrott, and performances at the Teatro Colon as the title role in Luigi Nono’s Prometeo and Arbace in Mozart’s Idomeneo. Ballerini also sang Lindoro in L’italiana in Algeri at the Teatro Argentino; Belmonte in Die entführung aus dem Serail, Lord Perci in Anna Bolena, Gennaro in Lucrezia Borgia, Ferrando in Così fan tutte, Ernesto in Don Pasquale, Alfred in Die Fledermaus and Tebaldo in I Capuleti e i Montecchi at the Teatro Avenida; Don Ottavio in Don Giovanni, Romeo and Tybalt in Roméo and Juliette and Jaquino in Fidelio at the Teatro Municipal in Rio de Janeiro, Brazil; Tamino in The Magic Flute at the Teatro Libertador in Cordoba; and Beethoven’s Symphony No. 9 at the Colsubsidio Theatre’s re-opening in Bogotá, Colombia.
|
Cheyanne Cosssoprano Arizona Arias Episode 1 & 2 |
Cheyanne Coss is a soprano recently hailed for her performances as Pamina in The Magic Flute with Toledo Opera and her work in the title role of Gluck’s Iphigénie en Tauride. Coss will make her debut with the Santa Fe Opera in the summer of 2020 singing Berta in The Barber of Seville, and afterward will be joining Arizona Opera’s Marion Roose Pullin young artist program for an exciting 2020/21 Season, singing such roles as Adina in The Elixir of Love and Stella DuBois in André Previn’s A Streetcar Named Desire. She spent the 2018/19 Season as the resident soprano of the Michigan Opera Theatre studio, making her mainstage debut there as the Dew Fairy in Hansel and Gretel, among other assignments. Cheyanne has participated in multiple summer young artist programs, notably the Merola Opera Program (performing the title role in Mozart’s Il Re Pastore) as well as Opera Theatre of Saint Louis and Chautauqua Opera. Coss recently made her concert debut with the Charleston Symphony Orchestra, singing the soprano solo in Brahms’ Ein Deutsches Requiem, and in 2019 performed Samuel Barber’s Knoxville: Summer of 1915 with the Flint Symphony. She is originally from Eaton Rapids, Michigan and is a proud alumna of Oakland University and the New England Conservatory.
|
Rob McGinnessbaritone Arizona Arias Episode 1 & 2 |
Recognized for his “impressive singing … well-supported tone and supple phrasing,” (Baltimore Sun) baritone Rob McGinness‘ recent venue debuts include Stern Auditorium at Carnegie Hall and the Kennedy Center Concert Hall. This season Rob joins Arizona Opera as a member of the Marion Roose Pullin Arizona Opera Studio, performing multiple roles including Schaunard in La Bohème, Harlekin in Ariadne auf Naxos and the lead role in Shining Brow, Darren Hagen’s opera about Frank Lloyd Wright. Other highlights this season include Orff’s Carmina Burana with the Maryland Symphony Orchestra.
Often featured portraying opera’s “bad boy,” Rob’s operatic credits include the title roles in Eugene Onegin and Don Giovanni, as well as Marcello in La Bohème. Rob has made a specialty in Russian repertoire, performing leading roles in Rimski-Krosakov’s Tsar’s Bride, Mozart and Salieri, Snow Maiden, Sadko as well as Tchaikovsky’s Iolanta. Other famous roles include Enrico in Lucia, Count Almaviva in The Marriage of Figaro, and Eisenstein in Die Fledermaus, a performance lauded for a “bright baritone and winning jitteriness” by the Cleveland Plain Dealer.
As a featured soloist, Rob performed Mahler’s Songs of a Wayfarer, the Duruflé Requiem with the Peabody Symphony Orchestra, and the Brahms Requiem with Portsmouth Pro Musica. Other concert credits include Carmina Burana with Columbia Pro Cantare and Brahms’s Requiem with The Washington Chorus, where Rob’s performance was lauded by the Washington Post for his “warm baritone.”
Committed to promoting and performing new works, Rob regularly premieres new roles, including Ed Wall in Frances Pollock’s award-winning opera Stinney, and Saul Hodkin/Price in The Ghost Train by Paul Crabtree. Rob’s own compositions include vocal, theatrical and orchestral pieces premiered at IngenuityFest, Andy’s Summer Playhouse, and by the Windham Orchestra in Vermont.
Rob holds degrees from Oberlin Conservatory and the Peabody Institute, and was a young artist with Pittsburgh Festival Opera, Teatro Nuovo, and Bel Canto at Caramoor. His awards include first place in the Sylvia Greene Vocal Competition, second place in the Piccola Opera Competition, and the Patricia A. Edwards Award in the Annapolis Opera Vocal Competition.
|
Caitlin Gotimersoprano Arizona Arias Episode 1 & 2 |
Praised for her "full, focused soprano," Caitlin Gotimer, originally from Malverne, NY, recently completed her second year with the Marion Roose Pullin Arizona Opera Studio. During the 2021/22 Season, Gotimer was seen as Micaëla in Bizet's Carmen, Mrs. Anderssen in Sondheim's A Little Night Music, and Fiordiligi in Mozart's Così fan tutte.
Gotimer performed a variety of scenes and arias during Arizona Opera's Reimagined 2020/21 Season, including highlights from Madame Butterfly, La Rondine, and Pagliacci. In the summer of 2020, Gotimer participated in The Glimmerglass Festival's virtual Young Artist Program, having been scheduled to sing Armida in Handel's Rinaldo prior to COVID-19.
Gotimer was a part of the Resident Artist program at Pittsburgh Opera from 2018/20. There Gotimer appeared as the title role in Handel's Alcina, Tink Enraught in Hilliard and Boresi's The Last American Hammer, Older Alyce in Cipullo's Glory Denied, Elettra in AfterWARds (Mozart's Idomeneo Reimagined), and Sandman/Dew Fairy in Hansel and Gretel. Gotimer also covered Mimì in the company's production of Puccini's La Bohème. In the 2017/18 Season, Gotimer was a part of the Artist Diploma in Opera program at the University of Cincinnati College-Conservatory of Music, where she received a Masters of Music in Voice in 2017. During Gotimer's time at CCM, Gotimer sang Suor Angelica in Suor Angelica, Dalinda in Ariodante, and Anne Sexton in Conrad Sousa's Transformations. During the summer of 2017, Gotimer returned to the Crested Butte Opera Studio to sing Lauretta in Gianni Schicchi. Gotimer debuted at the company in the summer of 2016, singing Musetta in another Puccini favorite, La Bohème.
Gotimer has been the recipient of several awards and honors. In 2020, Gotimer was a semi-finalist in the Houston Grand Opera Eleanor McCollum Competition, and a finalist in Pittsburgh Festival Opera's Mildred Miller Competition. In 2019, Gotimer won third prize in The Metropolitan Opera National Council Great Lakes Regionals, after receiving the Marianne Cornetti Award in the Pittsburgh District. In 2017, Gotimer was the recipient of one the top prizes in CCM's annual Corbett Competition, the Italo Tajo Award. Weeks later, Gotimer won the Audience Favorite Award and Second Prize in the Opera Guild of Dayton Competition. Gotimer was an Encouragement Award winner of the Cincinnati Metropolitan Opera National Councils in 2016. In 2015, Gotimer won first place in the National Biennial Collegiate Voice Competition run by NFMC. That summer, Gotimer was selected to be a Binghamton University Summer Scholar and Artist before attending the first of two summers at the Chautauqua Institute School of Music. At Binghamton University, Gotimer was the recipient of the Provost Award for Excellence in Undergraduate Research, and the Stevenson Barrett Memorial Award for Excellence in Undergraduate Vocal Performance.
Having received her Bachelors of Music in Voice from Binghamton University, Gotimer performed roles with both the Binghamton University Opera Studio and the partnered TriCities Opera. During her undergraduate studies, Gotimer developed a passion for opera outreach, performing the role of the Mother in Hansel and Gretel in schools around the area with the Binghamton University Opera Studio. In 2017, she sang Pamina in a special children’s adaptation of The Magic Flute with ROKCincy.
On the concert stage, Gotimer has been a soloist in the Mozart Requiem in D minor at the Song d’été in Quebec, and in the Bach Missa Brevis in F with Binghamton University. In 2014, Gotimer was the first undergraduate vocalist to win Binghamton University's Concerto Competition.
|
Mack Wolzmezzo-soprano Arizona Arias Episode 1 & 2 |
Named a 2019 Grand Finals Winner by the Metropolitan Opera National Council Auditions, rising American mezzo-soprano Mack Wolz joined Arizona Opera as a member of the Marion Roose Pullin Opera Studio for the 2020/21 Season. Praised by Opera News for a “keen sense of character,” Wolz covered the role of Addison in the world premiere of The Copper Queen and was seen as Mercèdes in Carmen. On the concert stage, engagements included debuts with the Phoenix Symphony, performing Handel’s Messiah and Beethoven’s Ninth Symphony, and Opera Edwardsville, presenting a program of Renaissance and Baroque motets with renowned harpsichordist Jory Vinikour.
Previously, Wolz joined pianist Steven Blier in the New York Festival of Song “Killer B’s” tour, performing the concert at the Tucson Desert Song Festival, the Century Club in New York City, and Ohio University in Athens, Ohio.
Wolz has spent several summers with Opera Theatre of Saint Louis, taking part in their Gerdine Young Artist and Gaddes Festival Artist programs. The performance in The Coronation of Poppea was highlighted by Opera News for a “creamy mezzo and mischievous spark as Amore.”
Wolz trained at the Boston Conservatory, where numerous mainstage performances were lauded for their “immense skill in both solo and ensemble singing” and for a “radiant” voice (the Boston Musical Intelligencer).
|
Terrence Chin-Loytenor Arizona Arias Episode 1 & 2 |
American tenor Terrence Chin-Loy, whom Opera News described as having a "beautiful lyric tenor voice” pairs passionate performance with a full, sweet sound. In the 2022/23 Season, Chin-Loy will perform Tamino in The Magic Flute with the National Taichung Theater in Taiwan as well as at Arizona Opera, Don José in Carmen with MasterVoices at Lincoln Center, Old Head 2 and Charlie in the world premiere of Factotum with Lyric Opera of Chicago, Acis in Acis and Galatea with Eugene Opera, and join the roster of The Metropolitan Opera to cover the role of Arbace in Idomeneo. In concert, Chin-Loy joins the North Carolina Symphony for Mozart’s Requiem, and the Boise Philharmonic for a performance of Hailstork’s I Will Life Mine Eyes as well as a residency with the College of Idaho.
Chin-Loy opened the 2021/22 Season in his solo debut at The Metropolitan Opera in Terence Blanchard's Fire Shut Up In My Bones. Chin-Loy returned to Arizona Opera for his second and final season as a Marion Roose Pullin Resident Artist where he performed Henrik Egerman in A Little Night Music and Ferrando in Così fan tutte and Benny Paret Jr. in Boston Lyric Opera’s production of Champion. In concert, Chin-Loy performed and recorded Taneyev’s At the Reading of a Psalm with the American Symphony Orchestra and Leon Botstein at Carnegie Hall.
In the 2020/21 Season, Chin-Loy sang a series of concerts with Arizona Opera as a member of the Studio, and joined the Norfolk Chamber Music Festival in Twin Stars, a piece by Daniel Bernard Roumain about the shooting of Philando Castile. Chin-Loy also appeared in William Grant Still's Highway 1 as a Gerdine Young Artist at Opera Theatre Saint Louis. In the 2019/20 Season, Chin-Loy joined the roster of The Metropolitan Opera as Mingo (Cover) in Porgy and Bess and the New York Festival of Song as a part of the Vocal Rising Stars series at Caramoor.
Chin-Loy 's favorite roles include Idomeneo in Idomeneo: afterWARds (Pittsburgh Opera), director David Paul's retelling of Mozart's masterpiece with the composer's original music, Edgardo in Donizetti’s Lucia di Lammermoor (Indiana University), and Younger Thompson in Tom Cipullo's Glory Denied (Pittsburgh Opera, Penn Square Music Festival). Chin-Loy was happy to make his Carnegie Hall debut in Handel's Messiah in the 2018/19 Season.
Chin-Loy is a graduate of Indiana University, where he received a Performer Diploma, and holds degrees from Mannes College and Yale University. At Mannes, Chin-Loy performed the roles of Laurie in Mark Adamo's Little Women and Bill in the New York premiere of Jonathan Dove's Flight with Mannes Opera, and received the Michael Sisca Opera Award, the school's top prize for an opera singer. Chin-Loy holds a Bachelor of Arts in Music from Yale University, where his studies concentrated on Music Theory and Musicology. While at Yale, Chin-Loy was also a frequent performer with the Yale Baroque Opera Project, with which he performed major roles in La Calisto, Il Ritorno d’Ulisse in patria, and Scipione affricano. Chin-Loy is a 2018 Metropolitan Opera National Council Auditions National Semifinalist.
|
Cal Stewart Kelloggconductor Arizona Arias Episode 1 & 2 |
Cal Stewart Kellogg has been the Music Director of the West Valley Symphony since 2009 and the Music Director of Symphony of the Southwest since 2005, prior to which he served as the Principal Conductor for the Arizona Opera for six seasons.
Before moving to Phoenix in 2000, Kellogg conducted 24 opera productions over 16 consecutive seasons for the Washington Opera at the Kennedy Center, Washington D.C. He has also conducted performances at the Teatro d’Opera di Roma, Teatro San Carlo Opera of Napoli, Teatro Reggio di Parma, Teatro San Carlos Felice di Genova, San Francisco Opera, Santa Fe Opera, Opera Montreal, Canadian Opera Company, Houston Grand Opera, New York City Opera, Utah Opera, Portland Opera and Seattle Opera.
Beginning his career in the symphonic concert hall, he has performed with such orchestras as the Antwerp Philharmonic, Monte Carlo Symphony, Israel Sinfonietta and in Italy with the Accademia di Santa Cecilia in Rome, Orchestra of the Maggio Musicale Fiorentino and the radio orchestras of Rome, Naples and Turin. In North America, he has conducted the Baltimore Symphony, Chautauqua Symphony, Seattle Symphony, New World Symphony, Orchestra of Illinois, Philharmonic Orchestra of Florida and at the Spoleto Festival, U.S.A. He served as Music Director of the Virginia Chamber Orchestra from 1993-1998.
Kellogg attained international attention as the first-prize winner of the Gino Marinuzzi Conducting Competition and as a co-winner of the Guido Cantelli Conducting Competition. He made his operatic debut with the Rome Opera Leading a production of Nino Rota’s Aladino e la Lampada Magica and New York City Opera debut conducting Gian Carlo Menotti’s The Saint of Bleeker Street, both at the request of the composers. The Menotti opera was featured on the PBS series Live from Lincoln Center. He earned a diploma in conducting from the Conservatorio di Musica S. Cecilia in Rome under the guidance of the legendary Franco Ferrara, and also earned diplomas in composition and bassoon. Kellogg lives in Phoenix, Arizona with his wife Jamie and their sons Mark and Sean.
|
Christopher Canopianist Arizona Arias Episode 1 |
A seasoned recitalist, orchestra soloist and collaborative pianist, Christopher Cano has performed throughout the US, Mexico, Israel, Europe and the Far East.
Having maintained his private studio in New York City since 2002, Cano has prepared singers for appearances at the Metropolitan Opera, Teatro alla Scala, Chicago Lyric Opera, and orchestral appearances with the New York Philharmonic, San Francisco Symphony, Chicago Symphony Orchestra, London Symphony Orchestra, and the Berlin Philharmonic among others.
As a collaborative artist, he has played in the masterclasses of Licia Albanese, Fedora Barbieri, Anna Moffo, Lauren Flannigan, Martin Katz, Craig Rutenberg, and Suzanne Mentzer. Cano has also played for the masterclasses of Marilyn Horne in New York City at Carnegie Hall. As a studio pianist, Cano has had the distinct privilege of working with some of the great artists and teachers of singing including Marilyn Horne, Sherrill Milnes, Luciano Pavarotti, Marni Nixon, Patricia McCaffrey, Joan Patenaude-Yarnell, Rita Shane and Diana Soviero.
Cano has been a member of the music staff at the Festival Lyrique-en-Mer in Belle-Ile, France, Toledo Opera, San Diego Opera, Utah Festival Opera, Opera Company of North Carolina, Florida Grand Opera, and Opera Theatre of Saint Louis, among others.
Beginning with the 2017/18 Season, Cano was appointed as the Director of the Marion Roose Pullin Opera Studio and Head of Music of Arizona Opera.