|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.
|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).
|Arizona Arias Episode 2|
Argentinian tenor Santiago Ballerini is recognized as one of the leading tenors in the Bel Canto repertoire, having appeared at many of the major opera houses throughout North and South America. In the 2019/20 Season, Ballerini made his debut at the Canadian Opera Company as Count Almaviva in Il Barbiere di Siviglia. He began the season with his return to the Teatro Colon in Buenos Aires as Ernesto in Don Pasquale, after which he returned to the Atlanta Opera as Count Almaviva. On the concert platform, the tenor sang Carmina Burana with the National Symphony Orchestra in Washington D.C. under Gianandrea Noseda. This season, Ballerini will make his role and house debut as an Italian Singer in Capriccio at the Zürich Opera House. He recently appeared in concert with the Porto Symphony Orchestra in Portugal and will soon appear for the first time at the Arizona Opera in a series of outdoor concerts.
In the 2018/19 Season, Ballerini made his debut 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. He 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. He 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 Colon in Buenos Aires, Don Ramiro in La Cenerentola at the Teatro Argentino, and Ernesto in Don Pasquale at the Atlanta Opera. He also covered the roles of Don Ottavio in Don Giovanni and Count Almaviva in Il Barbiere di Siviglia 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 Romeo et 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.
Highlights from previous seasons include Nemorino in L’elisir d’amore 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 Cosi 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 Romeo et Juliette and Jaquino in Fidelio at the Teatro Municipal in Rio de Janeiro, Brazil; Tamino in Die Zauberflöte at the Teatro Libertador in Cordoba; and Beethoven’s Symphony No. 9 at the Colsubsidio Theatre’s re-opening in Bogota, Colombia.
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. He was a semifinalist in the Fancisco Vinas Competition at the Gran Teatre del Liceu and the Argentine Finalist at the Neue Stimmen Competition in Dresden, Germany. He 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. He was also a featured soloist for the “50th MET Anniversary Gala”, receiving a scholarship to study with Sherrill Milnes. 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.
|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.
|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.
|Arizona Arias Episode 1 & 2|
Soprano Caitlin Gotimer, from Malverne, NY, is a second year Resident Artist with Pittsburgh Opera. For the 2019/20 Season, Caitlin performed Alcina/ Alcina, Tink Enraught/ The Last American Hammer, and covered Micaëla/ Carmen. Caitlin will make her debut at the Glimmerglass Festival this summer singing Armida/ Rinaldo, and covering Donna Elvira/ Don Giovanni. In the 2018/19 Season at Pittsburgh Opera, she performed the roles of the Sandman and Dew Fairy/ Hansel and Gretel, Elettra/ AfterWARds (Mozart's Idomeneo Reimagined,) and Older Alyce/ Glory Denied, and covered Mimì/ La Bohème.
Caitlin was a part of the Artist Diploma in Opera program at CCM from 2017-18, where she received a Masters of Music in Voice in 2017. At CCM, Caitlin sang Suor Angelica/ Suor Angelica, Dalinda/ Ariodante, and Anne Sexton/ Transformations. Caitlin spent two summers at the Crested Butte Opera Studio, where she sang Lauretta/ Gianni Schicchi and Musetta/ La Bohème. Caitlin received her Bachelors of Music from Binghamton University.
|Arizona Arias Episode 1 & 2|
Named a 2019 Grand Finals Winner by the Metropolitan Opera National Council Auditions, rising American mezzo-soprano Mack Wolz (they/them) joins Arizona Opera as a member of the Marion Roose Pullin Opera Studio for the 2020/21 Season. Praised by Opera News for their “keen sense of character,” Wolz will cover the role of Addison in the World Premiere of The Copper Queen and can be seen in their mainstage debut as Mercèdes in Carmen. On the concert stage, engagements include debuts with The Phoenix Symphony, performing Handel's Messiah and Beethoven's 9th Symphony, and Opera Edwardsville, presenting a program of Renaissance and Baroque motets with renowned harpsichordist Jory Vinikour.
Last season, 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. They then returned to New York City to take part in the Opera America Emerging Artists Recital featuring Seagle Music Colony Alumni.
Wolz has spent the last three summers with Opera Theatre of St. Louis, taking part in their Gerdine Young Artist and Gaddes Festival Artist programs. Their most recent performance in The Coronation of Poppea was highlighted by Opera News for their “creamy mezzo and mischievous spark as Amore.” At the company, they also covered Cherubino in The Marriage of Figaro, Pvt. Stanton in An American Soldier, and Annio in La Clemenza di Tito. Outside of their mainstage season, Wolz has participated in concerts, workshops of new operas, and outreach, most notably portraying Angelina in a reduced version of La Cenerentola for children around the St. Louis area.
Wolz trained at The Boston Conservatory, where their numerous mainstage performances were lauded for their “immense skill in both solo and ensemble singing” and for their “radiant” voice (The Boston Musical Intelligencer). While completing their studies in Boston, Wolz was seen as Dorabella in Così fan tutte, Mère Marie in Dialogues of the Carmelites, Sister Helen Prejean in Jake Heggie's Dead Man Walking, Presendia in Nico Muhly’s Dark Sisters, Bradamante in Alcina, Cherubino in The Marriage of Figaro, and Stewardess in Flight.
Last spring, Wolz was awarded first prize in the Dorothy Lincoln-Smith Classical Voice Competition through the National Society of Arts and Letters. They have also been recognized as a finalist in the international Getting to Carnegie Competition. As part of the competition, Wolz premiered Julian Gargiulo’s newly-composed cycle, “Songs from the Fork,” performing in the prestigious Weill Recital Hall.
Wolz’s training has included past resident artist apprenticeships with International Meistersinger Akademie (Neumarkt, Germany), Opera Theatre of Saint Louis, and Seagle Music Colony. Wolz holds a Bachelor of Music and a Master of Music degree from The Boston Conservatory at Berklee, where they were the recipient of the Gerry and Steve Ricci Scholarship.
|Arizona Arias Episode 1 & 2|
Terrence is an artist who strives to infuse his work with honesty and simplicity. With his "richly colored voice" (Seen and Heard International), he pairs passionate performance with a full, sweet sound. Although the 2020/21 Season has brought so much hardship to the theater arts community, Terrence was fortunate to join the Marion Roose Pullin Opera Studio at Arizona Opera. Even though the mainstage season was canceled due to the pandemic, Terrence will sing in a series of outdoor concerts and recorded orchestral concerts curated by the company.
In the summer of 2021, he will premiere a new piece by Daniel Bernard Roumain at the Norfolk Chamber Music Festival about the shooting of Philando Castile as well as appear in William Grant Still's Highway 1 as a Gerdine Young Artist at Opera Theatre St. Louis. The 2019/20 saw Terrence in his first engagement at the Metropolitan Opera as Mingo (Cover) in The Gershwin's Porgy and Bess and making a debut with the New York Festival of Song as a part of the Vocal Rising Stars series at Caramoor. Terrence'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), Brighella in Ariadne auf Naxos (Santa Fe Opera), and Younger Thompson in Tom Cipullo's Glory Denied (Pittsburgh Opera, Penn Square Music Festival). He was happy to make his Carnegie Hall debut in Handel's Messiah in the 2018/19 Season.
Terrence is a graduate of Indiana University, where he received a Performer Diploma. He also holds degrees from Mannes College and Yale University. At Mannes, he 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 while a Master of Music candidate, and received the Michael Sisca Opera Award, the school's top prize for an opera singer. Terrence holds a BA in Music from Yale University, where he concentrated his studies on Music Theory and Musicology. While at Yale, Terrence was also a frequent performer with the Yale Baroque Opera Project, with which he performed major roles in La Calisto (Cavalli), Il Ritorno d’Ulisse in patria (Monteverdi) and Scipione affricano (Cavalli). He is a 2018 Metropolitan Opera National Council Auditions National Semifinalist.
|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.
|Arizona Arias Episode 1|
A seasoned recitalist and orchestra soloist, pianist Christopher Cano has performed with the Tucson Symphony Orchestra, the Tucson Civic Orchestra, the Southern Arizona Symphony Orchestra, the Catalina Chamber Orchestra, and the University of Arizona Symphony Orchestra. Recital appearances have been in Europe, across the US, Mexico, Israel and the Far East.
Mr. Cano has won numerous awards including the Green Valley Scholarship Competition, Emilio Osta Scholarship Competition, Tucson Symphony Orchestra Young Artist Competition, and is a recipient of the Theodore Presser Scholarship. He is also a two-time winner of the University of Arizona President’s Concert Concerto Competition. Mr. Cano made his recording debut with The Catalina Chamber Orchestra in an acclaimed performance of Shostakovich’s Piano Concerto No.1, Op.35.
As a collaborative artist, he has played in the Master Classes of the late Fedora Barbieri, the late Anna Moffo, Lauren Flannigan, Martin Katz, Craig Rutenberg, and Suzanne Mentzer. Mr. Cano has also played for the master classes of Marilyn Horne in New York City at Carnegie Hall. As a studio pianist, Mr. 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.
Mr. Cano has performed as a guest soloist and chamber musician at the Killington Music Festival in Vermont, the Alamos Music Festival of Sonora, Mexico, and has participated as a pianist at the International Vocal Arts Institute in Tel Aviv, Israel and Blacksburg, Virginia.
Mr. Cano has been a member of the music staff at the Festival Lyrique en Mer in Belle Isle, France, Toledo Opera, San Diego Opera, Utah Festival Opera, Opera Company of North Carolina, Florida Grand Opera, and Opera Theatre of Saint Louis.
Mr. Cano has also served on the faculties of The Intermezzo Music Festival, Manhattan School of Music Summer Voice Institute, the CoOPERAtive Program of Westminster College for the Arts and V.O.I.C.Experience, a summer program for promising young singers in New York City, Orlando and Savannah under the Artistic Direction of acclaimed baritone, Sherrill Milnes.
Recent recital appearances include collaborations with some of today’s most promising young vocal talent including, Jennifer Welch-Babidge, Jossie Perez, Wendy Bryn Harmer, Elaine Alvarez, Timothy Mix and Young Concert Artists Winners Jeanine DeBique and Jennifer Johnson Cano.
Currently, Mr. Cano maintains his private studio in New York City where he 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 and the Berlin Philharmonic among others.
A native of Southern Arizona, Mr. Cano holds a Bachelor and Master of Music degree in Piano Performance from the University of Arizona where his teachers included the late Ozan Marsh, Nicholas Zumbro, Dr. Paula Fan and Rex Woods.
Mr. Cano and his wife, Mezzo-Soprano Jennifer Johnson Cano currently reside in New York City where he was a full-scholarship student in the Professional Studies Program of Vocal Accompanying at the Manhattan School of Music. He currently serves on the vocal coaching faculty of that institution where he was a student of renowned pianist, Warren Jones.