The Barber of Seville
Gioachino Antonio Rossini (February 29, 1792 – November 13, 1868) was an Italian composer who wrote 39 operas as well as sacred music, chamber music, songs, and some instrumental and piano pieces. His best-known operas include the Italian comedies The Barber of Seville and La cenerentola and the French-language epics Moïse et Pharaon and William Tell. A tendency for inspired, song-like melodies is evident throughout his scores, which led to the nickname "The Italian Mozart." Until his retirement in 1829, Rossini had been the most popular opera composer in history.
A rising star in the younger generation of conductors, Francesco Milioto is forging a unique career as a versatile interpreter of both the operatic and orchestral repertoire. Praised for his energy and integrity on the podium, The Chicago Tribune has said, “Milioto presided with Bernsteinesque bravura”.
Mr. Milioto enjoys relationships with a wide variety of ensembles, and cover/assistant conductor positions with several distinguished organizations. This season marked his successful debut with the Illinois Philharmonic, to which he will return this spring with an innovative student program featuring Beethoven’s Fifth Symphony. In November, Mr. Milioto stepped in at the last moment to conduct five education performances of Mozart’s Bastein and Bastienne with the Dallas Opera. He will also conduct the finals of the Emilio del Rosario International Piano Competition in Chicago this May. The 2017/18 season will see Mr. Milioto make his debut with the Arizona Opera conducting The Barber of Seville.
As a music director and guest conductor Mr. Milioto has thrived in Chicago and beyond. Over his fifteen years in Chicago he has claimed the title of Music Director to the New Millennium Orchestra, the Skokie Valley Symphony, the Highland Park Strings, Access Contemporary Music, and the Chicago Cultural Center Summer Opera. As a guest conductor he has amassed several critically acclaimed productions with Chicago Opera Theater and has collaborated with many professional local orchestras. His work with the New Millennium Orchestra and Chicago Opera Theater were each named to the Chicago Sun-Times list of the “10 best performances of the year”. Mr. Milioto is particularly proud of his work with the New Millennium Orchestra of Chicago, which he co-found in 2005. The NMO had an incredible range of repertoire, playing everything from classical music and opera to collaborations with jazz and hip-hop artists. His highly acclaimed work over ten seasons with both the Highland Park Strings and Skokie Valley Symphony Orchestra ranged from early music to the most contemporary works, and often featured world-renowned soloists. As Artistic Director/Conductor of Access Contemporary Music, Mr. Milioto led the brilliantly vibrant ensemble Palomar, which has been featured on the radio and in performances throughout the city and abroad. He has also conducted successful productions with Opera Santa Barbara, Opera Southwest, Elgin Opera, and Opera on the James.
As a cover/assistant conductor, Mr. Milioto has flourished under world-class mentorship. He is currently in his fourth season at Lyric Opera of Chicago where he will work on productions of The Magic Flute and Eugene Onegin. Mr. Milioto has been fortunate enough to work closely with Sir Andrew Davis, and other luminaries, on several operas and concerts. Later this season Mr. Milioto returns to his hometown of Toronto where he will assist on a production of Tosca with the Canadian Opera Company. This summer will mark his third with The Santa Fe Opera, where he will work closely with Emmanuel Villaume on Rimsky-Korsakov’s The Golden Cockerel. Following last summer’s success in Santa Fe with La Fanciulla del West, Maestro Villaume invited Mr. Milioto to assist him on the Dallas Opera’s revival of Moby Dick earlier this season. For 10 seasons Mr. Milioto worked with the Ravinia Festival as an assistant conductor, pianist, vocal coach and prompter being involved in over a dozen operas, and many concerts with such artists as Daniel Barenboim and James Conlon.
Known for his innovative and thoughtful productions, Joshua Borths previously served as the Resident Stage Director and Director of Education and Community Engagement at Arizona Opera where he has directed productions of Il babiere di Siviglia, Florencia en el Amazonas, Rusalka, and the Sapphire Celebration featuring Frederica von Stade. Borths is also on the directing staff of Des Moines Metro Opera where he works with the Apprentice Artist program in addition to the mainstage season. Recently, Borths served as a Visiting Assistant Professor of Music at SUNY-Potsdam, directing Mozart’s The Magic Flute and at the University of Maryland where he directed a production of La clemenza di Tito. Additionally, Borths has directed new productions for Opera Memphis, Seagle Music Colony, and the Crested Butte Music Festival, among others, and has assistant directed productions for Des Moines Metro Opera, Arizona Opera, Michigan Opera Theatre, and Wolf Trap Opera Company. Borths is a proud alumnus of the University of Michigan and Florida State University.
|3/3, 3/9 & 3/11|
South Korean baritone Joo Won Kang continues to establish himself as one of the most talented baritones today, popular both with audience and critics.
As the 2017/18 season commences, Kang returns to San Francisco Opera, as Ping in the company’s opening-night production of Turandot. A member of the 2011 Merola Opera Program, he was later an Adler Fellow and appeared onstage at SFO in various roles, including Captain Gardiner in Jake Heggie’s Moby Dick, which was televised nationally on PBS and released on DVD. Later this season will mark Mr. Kang’s company debuts with Arizona Opera (Figaro in The Barber of Seville) and Opera Theatre of St. Louis (Germont in La Traviata).
Highlights of Kang’s 2016/17 season included his debut at Ireland’s Wexford Festival, where he sang the leading role of Corrado in Donizetti’s Maria de Rudenz, with great success. Opera News called his “the standout voice of this year’s festival.” He performed the role of Chou En-lai in John Adam’s Nixon in China with the Los Angeles Philharmonic, conducted by the composer, and appeared with Opera Maine as Germont.
Kang sang the title role in Eugene Onegin with North Carolina Opera in 2015-2016, a season during which he also performed the Barbiere Figaro with Fort Worth Opera, and made his debut in Les Pêcheurs de Perles with Seattle Opera. In addition, Mr. Kang returned to Wolf Trap Opera to sing Sharpless in Madama Butterfly with the National Symphony Orchestra.
He was the first-prize winner of Fort Worth Opera’s 2014 McCammon Voice Competition, which led to recital appearances both in Fort Worth and New York City. He has also garnered top prizes in such important vocal competitions as the Gerda Lissner International Competition, Opera Index Vocal Competition, Giulio Gari International Competition, Palm Beach International Competition, and the Ades Vocal Competition at Manhattan School of Music, as well as a Semi-Finalist placement in the Metropolitan Opera National Council Auditions.
|3/4 & 3/10|
California native baritone Jared Bybee is a graduate of the prestigious Academy of Vocal Arts where he performed ten leading operatic roles under the tutelage of Christofer Macatsoris, including Guglielmo (Cosi Fan Tutte), Prince Yeletsky (Pique Dame), Germont (La Traviata), Marcello (La Boheme), Valentin (Faust), Don Giovanni, Manfredo (L'Amore Dei Tre Re), Michele (Il Tabarro), Rigoletto, Enrico (Lucia di Lammermoor) and covered the roles of Lescaut (Manon) and The Demon by Rubenstein. In The Santa Fe Opera’s 2017 festival season, Jared covered the role of Steve Jobs in the world premiere of The (R)evolution of Steve Jobs written by composer Mason Bates and librettist Mark Campbell.
While in his residency at AVA, Jared reached international attention by participating in some of the world's most renowned vocal competitions. He was an Encouragement Award winner at the 2016 George London Foundation Vocal Competition, a Fifth Prize winner at the 2016 Licia-Albanese Puccini Foundation International Vocal Competition, a Finalist in the 2015 International Hans Gabor Belvedere Singing Competition held at the Dutch National Opera, a Fifth Prize winner at the 2015 Giulio Gari Foundation International Vocal Competition, nominated for a 2015 and 2016 Sarah Tucker Study Grant by the Richard Tucker Music Foundation, a Fourth Prize winner at the 2015 Loren L. Zachary Society National Vocal Competition, a First Prize winner at the 2015 Gerda Lissner Foundation International Vocal Competition and a Grand Finalist in the 2015 Metropolitan Opera National Council auditions, where he performed with maestro Fabio Luisi and the Metropolitan Opera Orchestra.
In addition to such prestigious venues as the Metropolitan Opera and Dutch National Opera, Jared has made concert appearances as a soloist at Lincoln Center, Carnegie Hall, the Kennedy Center and the Shanghai Symphony Orchestra with maestro Yu Long. He was a soloist at the BrAVA Philadelphia! 80th Anniversary Gala Concert held in Verizon Hall at the Kimmel Center in the spring of 2015. In October of 2016 Jared opened the George London Foundation Recital Series with mezzo-soprano Isabel Leonard at the Morgan Library & Museum. In December of 2016, Jared made his debut with the Voices of Ascension Chorus and Orchestra at the Church of the Ascension as a soloist. In 2017 Jared organized a collaborative concert with the Independence foundation to benefit the Broad Street Ministry in Philadelphia and also presented recitals organized by Daisy Soros and Richard Gaddes.
Before his residency at AVA, Jared was an apprentice singer with The Santa Fe Opera during the 2013 festival season where he performed the role of Baron Grog (La Grande-Duchesse De Gerolstein) alongside Susan Graham and covered the roles of Colonel Isaacson and Justice Wills in the world premiere of Oscar and the title role in Le Nozze Di Figaro. In 2016, Jared returned to the Santa Fe Opera for a second apprenticeship to perform the role of Bello (La Fanciulla del West) featuring Patricia Racette and cover the roles of Olivier (Capriccio) and Don Giovanni. He was also awarded the Donald Gramm Memorial Award.
Jared received a Bachelor's Degree in Economics from the University of Utah in 2010, minoring in music and completing a full pre-medical curriculum. After receiving his degree, Jared shifted his focus from medicine to voice and performed his first role as John Brooke in Mark Adamo's Little Women with the University of Utah Lyric Opera Ensemble. He also covered the title role of Don Giovanni with the Lyric Opera Ensemble and made his company debut with Utah Opera as the Second Prisoner (Fidelio) and the Usher (Rigoletto).
Looking to the future, Jared will make his professional debut with the Gran Teatre del Liceu in Barcelona as Lescaut (Manon Lescaut) in June of 2018.
|3/3, 3/9 & 3/11|
In the 2017/18 season, Stephanie Lauricella makes her debut with Arizona Opera in The Barber of Seville. also returned to the Opéra National de Paris for a revival of Dorabella in Così fan tutte and will make her house debut with Glyndebourne Festival this summer as Annina in Der Rosenkavalier.
During the 2016/17 season, Stephanie made debuts with Seattle Opera, Madison Opera, Opéra National de Paris, El Paso Opera, and Opera Hong Kong. She will also return to the Deutsche Oper Berlin for her role debut of Dorabella in Così fan tutte.
Last season, Stephanie returned to the Grand Théâtre de Genève to make her role debut as Hermia in A Midsummer Night's Dream and also returned to the Deutsche Oper Berlin in various roles.
Past seasons include performances at Minnesota Opera, Deutsche Oper Berlin, Virginia Opera, Des Moines Metro Opera, the Grand Théâtre de Genève, Royal Opera House in Muscat, Oman, Glimmerglass Festival, New Jersey State Opera, and Pittsburgh Opera. During her time with the Pittsburgh Opera as a Resident Artist, Ms. Lauricella performed the roles of Flora in La Traviata, Hänsel in Hänsel und Gretel, the title role in Handel's Rinaldo, Soeur Mathilde in Dialogues des Carmélites, and Rosina in the student performance of The Barber of Seville, all to great acclaim.
Stephanie's most recent concert works include, Beethoven's Missa Solemnis with the Atlanta Symphony and BBC Scottish Symphony under the baton of Maestro Runnicles, Lili Boulanger's Psalm 130: Du fond de l'abime with Manfred Honeck conducting the Pittsburgh Symphony, Beethoven's 9th Symphony with the Erie Philharmonic, and Handel's Messiah with the Rochester Philharmonic.
In the summer of 2010 Ms. Lauricella was one of the few to be chosen to attend the prestigious Santa Fe Opera Young Artist program. While there, she had the chance to cover the Second Lady in The Magic Flute, Kate Pinkerton in Madama Butterfly, and Estrella in Lewis Spratlan's World Premier of Life is a Dream. She also performed on the main stage with the apprentice scenes as Angelina in La Cenerentola. Stephanie has also spent many seasons with both Central City Opera and Sarasota Opera.
Awards and recognitions include: Violetta Dupont Competition Award Winner, Engagement Award from the Marcello Giordani International Competition, Finalist in the Belvedere Competition and an Engagement Award from the Deutsche Oper Berlin, Gerda Lissner Foundation Encouragement Award, St. Bonaventure Performance Prize (Liederkranz Competition), the Fritz and Lavinia Jensen Encouragement Award, Connecticut Concert Opera's Artistic Director's Award, Connecticut Opera Guild's People's Choice Award, Judith Bardi Rosenthal Award, and Catherine Martin Award, Rochester's Classical Idol Finalist, Great Lakes Regional Second Place Winner of The Metropolitan Opera National Council Auditions, William Matheus Sullivan Foundation Award, the Santa Fe Opera Campbell Wachter Memorial Award, and the Central City Opera McGlone Award.
Ms. Lauricella holds a Bachelor of Music degree in vocal performance from Ithaca College and a Master of Music degree in vocal performance from Manhattan School of Music.
|3/4 & 3/10|
The Oregonian praises soprano Katrina Galka for her recent performances of Adina in L’elisir d’amore, exclaiming that she “looked like a young Glenn Close, projecting power over Nemorino as she thrilled with fine coloratura filigree and pure high notes.” In the 2020/21 Season, she makes her role and company debut as Olympia in Les contes d’Hoffmann at the Opernhaus Zürich as well as sings a solo digital recital for Portland Opera. Her San Francisco Opera debut as Janine (Ofwarren) in Ruder’s The Handmaid’s Tale was unfortunately cancelled by the COVID-19 pandemic, as were the roles she added to her repertoire last season: Zerbinetta in Ariadne auf Naxos and the Charmeuse in Thais for performances at Arizona Opera and Utah Opera. In the first half of last season, she returned to the Wiener Staatsoper to reprise Fritzi in Staud’s Die Weiden following her debut with the company in the work’s world premiere in the season prior. She sang her first performances of the Controller in Dove’s Flight with Minnesota Opera and returned to the Las Vegas Philharmonic for Handel’s Messiah.
Galka recently role and company debuts as Blondchen in Die Entführung aus dem Serail with Atlanta Opera—followed by reprisals at New Orleans Opera and Opera San Jose, Atalanta in Xerxes at the Glimmerglass Festival, and Serpetta in La finta giardiniera with On Site Opera at the Caramoor International Music Festival, and Aithra in Die ägyptische Helena with Odyssey Opera. She sang her first performances of Gilda in Rigoletto in a return to Portland Opera, where she was previously a resident artist and host of role debuts that include Adina in L’elisir d’amore, Johanna in Sweeney Todd, Elvira in L’italiana in Algeri, Papagena in Die Zauberflöte, and Frasquita in Carmen. With Arizona Opera Opera, she sang Cunegonde in Candide, Rosina in Il barbiere di Siviglia, Woglinde in Das Rheingold, and a quartet of roles in Morganelli’s Hercules vs Vampires, the First Wood Nymph in Rusalka and Clorinda in La cenerentola as a resident artist. She joined the Seiji Ozawa Music Academy as a guest artist for Frasquita in Carmen and sang prior performances of Papagena in Die Zauberflöte with Opera Theatre of Saint Louis at which she has been both a Festival Artist and a Gerdine Young Artist. She joined the CoOperative Program as Marie in La fille du régiment and sang the Cat in Schuller’s The Fisherman and his Wife with Odyssey Opera and the Boston Modern Orchestra Project. She also joined Dallas Opera as Voice I in Cuomo's Arjuna's Dilemma, presented as the company hosted the annual Opera America conference.
On the concert stage, she has joined the Rhode Island Civic Chorale for the Angel in Respighi's Laude to the Nativity and Handel's Messiah and returned to the latter previously with the Las Vegas Philharmonic. With the Florida Orchestra, she sang Bernstein favorites in a concert celebrating his work on Broadway. She sang Elvira in excerpts of L’italiana in Algeri with the Oregon Symphony and Violetta in excerpts of La traviata with the Metropolitan Youth Symphony. With various Dallas-based chamber ensembles and orchestras, she has sung Fauré’s Requiem, Mozart’s Exsultate Jubilate, and Bach’s St. John Passion. In 2011, Katrina performed in the east coast premiere of Jake Heggie’s Pieces of 9/11 as the Girl Soprano, with Mr. Heggie at the piano.
Galka is a three-time regional award winner in the Metropolitan Opera National Council Auditions. She is the first-place winner of the Mario Lanza Scholarship and has received further awards from the National Opera Association Vocal Competition, Marcello Giordani International Vocal Competition, and the Heida Hermanns International Vocal Competition.
She holds a Master of Music from Boston University, at which she sang Servilia in La clemenza di Tito, Carolina in Il matrimonio segreto, and Rosalba in Catan’s Florencia en el Amazonas. She earned a Bachelor of Music from Southern Methodist University, from which she graduated summa cum laude.
|3/3, 3/9 & 3/11|
David Margulis has established himself as a strong lyrical singer and actor on domestic and international opera stages alike. He has been called “radiant voiced,” and been praised for his “clear, pleasing tenor.” Of his portrayal of Tamino in Die Zauberflöte in his mainstage début at Arizona Opera, Opera Today raved: “David Margulis was an energetic Tamino who was only momentarily laid low by Pollard’s iconic monster. He sang with sumptuous lyrical sounds conveyed on a well-honed legato.”
This season, Mr. Margulis reprises the role of Ernesto in Don Pasquale with Bar Harbor Music Festival, which he performed last season for the inaugural season of Opera Orlando, sings in Ballet Tucson’s concert, A Tribute to Leonard Bernstein, and performs as the tenor soloist with Buffalo Philharmonic in selections from Cosí fan tutte, Don Giovanni, and Le Nozze di Figaro. He also performed the role of Don Ottavio in Don Giovanni at the Verbier Festival in Switzerland, Almaviva in Il barbiere di Siviglia with Opera Grand Rapids, Will in Middlemarch in Spring with Ash Lawn Opera, Florville in Il signor Bruschino with Zurich Chamber Orchestra, and Gherardo in Gianni Schicchi and Torquemada in L’heure espagnole both with Opéra national de Lorraine in Nancy, France.
In recent seasons, he joined the prestigious Internationales Opernstudio at Opernhaus Zürich where he demonstrated his refined dramatic sensibilities in a variety of operas including Jonathan Dove’s musical fairy tale The Enchanted Pig, Rossini’s colorful comic opera Le comte Ory, Haydn’s rarely seen “heroic-comic drama” Orlando paladino, Mozart’s hilarious comic singspiel Der Schauspieldirektor, and Tchaikovsky’s Pique Dame. Additional operatic engagements include the role of Borsa in Rigoletto in his main stage début with Opera Santa Barbara; a double bill of Der Schauspieldirektor/Le rossignol in his main stage début with Santa Fe Opera; the inaugural New York Festival Song at North Fork program; and Beethoven’s Symphony No. 9 with Phoenix Symphony. He also was seen at Tuscon Desert Song Festival performing on a program for the Ravinia Steans Music Institute on Tour with Kevin Murphy.
Mr. Margulis is earning a reputation as a champion of new works after being a part of numerous workshops including Theodore Morrison’s first opera, Oscar, at The Santa Fe Opera and the workshop première of Bohmler's Riders of the Purple Sage at Arizona Opera. He has also premièred several new works including the tenor solo in Robert Kyr's Pacific Sanctus.
Additionally, Margulis has been engaged by some of the finest training programs in the country, where his assignments have included: Goro in Madama Butterfly and Léon in The Ghosts of Versailles at Wolf Trap Opera; Ernesto in Don Pasquale, Alfredo in La traviata, Steuermann in Die fliegende Holländer, Ralph Rackstraw in H.M.S. Pinafore, Basilio/Curzio in Le nozze di Figaro, and Arturo in Lucia di Lammermoor at Arizona Opera; Young Servant in Elektra at Des Moines Metro Opera; Selimo in Maometto II at Santa Fe Opera; Molqi in The Death of Klinghoffer at Opera Theatre St. Louis; and Tybalt in Roméo et Juliette at Seagle Music Colony. While a fellow at the Ravinia Steans Music Institute, he was privileged to work with some of the most respected coaches and conductors in the world, including Kevin Murphy, Malcolm Martineau, and James Conlon.
Mr. Margulis holds degrees from the Jacobs School of Music at Indiana University, The University of Washington, and Florida State University. David is a three-time Regional Finalist in the Metropolitan Opera National Council Auditions and recently, became a finalist in the Giulio Gari 2017 International Vocal Competition
|3/4 & 3/10|
Tenor Anthony Ciaramitaro, a Florida native, is currently pursuing his Master’s degree at Florida State University under David Okerlund, and has recently performed the role of Don Ramiro in Rossini’s La Cenerentola with Florida State Opera.
Mr. Ciaramitaro had the privilege to perform as a Studio Artist with Wolf Trap Opera during their 2015 season as Basilio from Mozart's The Marriage of Figaro, The Messenger from Verdi's Aida, and among the ensemble of Corigliano's The Ghosts of Versailles.
In previous seasons, Mr. Ciaramitaro made his professional debut with Florida Opera Theater as Ferrando in Mozart's Così fan tutte, the 2nd trio member in Leonard Bernstein's Trouble in Tahiti, Piquillo from Jacques Offenbach's La Perichole with the Franco-American Vocal Academy in Perigueux, France, and scenes from Verdi's La forza del destino, La Traviata and Mozart's Don Giovanni in Oberaudorf, Germany with Music Theater Bavaria.
Mr. Ciaramitaro graduated in 2014 with his Bachelor's in music from Rollins College, where he studied under Richard Owens, who has been a great inspiration to the advancement of his career. Mr. Ciaramitaro has been a concert soloist for The Bach Festival Society of Winter Park, The Messiah Choral Society, and The Villages Philharmonic.
Mr. Ciaramitaro has an avid love of the stage and is eager to one day have an illustrious career as a singer of opera, oratorio, and concert repertoire.
Calvin Griffin, a native of Columbus, Ohio, joined the Florida Grand Opera studio in the 2016-2017 season. Mr. Griffin made his debut with the company stepping in as a cover to sing the role of Escamillo in Bizet’s Carmen. In addition, he sang Zaretsky and covered Gremin in Eugene Onegin, Victor in Before Night Falls, and Samuel in Un ballo in mascherawith the company. Mr. Griffin recently finished a stint with the Arizona Opera Studio where he performed the roles of the Captain in Florencia en el Amazonas, Zuniga in Carmen, Pistola in Falstaff, Count Ceprano in Rigoletto, Zaretsky in Eugene Onegin, Speaker/2nd Armored Man in Die Zauberflöte, Hortensius in La fille du régiment, Colline in La bohème, and Dr. Grenville in La traviata. In 2016, he made his Opera Columbus debut as Colline in La bohème.
In a busy 2017 -2018 season, Mr. Griffin makes exciting debuts with Atlanta Opera as Mother in The Seven Deadly Sins and Morales in Carmen, Opera Birmingham singing Escamillo in Carmen, Opera on the James as Leporello in Don Govanni, Opera Orlando singing Alidoro in La cenerentola, and will return to Arizona Opera to sing Dr. Bartolo in Il barbiere di Siviglia. In concert, he sings Handel’s Messiah with the Richmond Symphony and Bach’s Mass in B minor with Gloria Musicae in Sarasota, Florida.
Born and raised in Illinois, American bass-baritone Zachary Owen has performed with such companies as the Glimmerglass Festival, Arizona Opera, Cincinnati Opera, Kentucky Opera, Des Moines Metro Opera, Central City Opera, Opera North, Opera Theatre of Saint Louis, and Opera Santa Barbara.
He has performed the roles of Dulcamara in Elixir of Love, Alidoro in La Cenerentola, Ashby in La fanciulla del West, Don Fernando in Fidelio, Matouš in Smetana’s The Kiss, Figaro in The Marriage of Figaro, Haly in L’italiana in Algeri, Nick Shadow in The Rake’s Progress, Frank Maurrant in Street Scene, the Commendatore in Don Giovanni, der Sprecher in The Magic Flute, Spencer Coyle in Owen Wingrave, and the title role in Don Pasquale. A strong advocate for new music, he has participated in a composer’s workshop at Cincinnati Opera in which he worked alongside Jake Heggie, Jack O’Brien, and Terrence McNally to develop two characters for Heggie’s new Opera, Great Scott. In the 2017/18 season, Mr. Owen will be returning to the Marion Roose Pullin Studio at Arizona Opera and performing several roles including Don Basilio in The Barber of Seville, Angelotti in Tosca, and Lycos in Hercules vs Vampires.
Mr. Owen is the recipient of numerous awards including the Grace Keagy Award at the Lotte Lenya Competition, the Brudos Family Prize for Opera Performance and was a national semifinalist at the 2015 Metropolitan Opera National Council Competition. He holds a bachelor’s degree from Luther College in Decorah Iowa and a master’s degree from the University of Cincinnati College-Conservatory of Music.
Praised for her “full voiced sound,” Stephanie Sanchez is quickly creating a name for herself as an exciting young mezzo soprano. Her repertoire ranges from Handel to Wagner as well as premiers of contemporary American works. This summer Ms. Sanchez made debuts with St Petersburg Opera as Flora in La Traviata and also at the inaugural season of Will Crutchfield's Teatro Nuovo in New York City as Roggero in Tancredi. In the spring of 2018, Ms Sanchez was chosen as the sole recipient of the prestigious 2018 Igor Gorin Memorial Competition, an award given yearly to a promising singer at the start of their careers.
Ms. Sanchez joined Arizona Opera as a Marion Roose Pullin studio artist for the 2017-2018 season. There she performed the roles of Persephone in Hercules vs. Vampires, Paquette in Candide, Berta in Il barbiere di Siviglia and, closed out the season as Flosshilde in Wagner’s Das Rheingold. The fall of 2018 will mark Ms. Sanchez' return to Arizona Opera to cover Maria in Maria de Buenos Aires and sing Baroness Nica in Charlie Parker’s Yardbird.
Ms. Sanchez was a member of the Gerdine Young Artist and Gaddes Festival Artist programs at Opera Theatre of Saint Louis for three consecutive seasons (2014, 2015, 2016). Mostly recently, she performed the role of Dryad in Ariadne on Naxos and covered the role of Composer in the same production. Other roles at Opera Theatre of Saint Louis include Ruth in Pirates of Penzance, Sister Mathilde in Dialogues of the Carmelites, and A Young Girl in La rondine.
Some of Ms. Sanchez' other roles and engagements include the role of Yesi in the world premier of “hip-hopera", Stomping Grounds at the Glimmerglass Festival, Amastre (cover) in Xerxes at the Glimmerglass Festival, Isabella (cover) in L’italiana in Algeri at Sarasota Opera, Mere Marie (cover) in Dialogues des Carmelites at Sarasota Opera, Zita in Gianni Schicchi at Opera Maine, Abuela in En mis palabras at Atlanta Opera, and performances of the title role in Carmen at both Emerald City Opera and Opera Breve. Ms. Sanchez also won first place in the 2016 Young Texas Artist Music Competition in Houston, TX and second place in Opera Connecticut’s 2016 Opera Idol Competition.
Ms. Sanchez completed her artist diploma at the Shepherd School of Music at Rice University in 2017. Her roles at the Shepherd School include 'Rosina' in Il barbiere di Siviglia, the mezzo soloist in Mahler’s Lieder eines fahrenden gesellen, and selections from Norma, Ariadne auf Naxos, and Dialogues des Carmélites. Ms. Sanchez was born and raised in Las Cruces, New Mexico and earned her masters degree in vocal performance from New Mexico State University in 2012. In 2009, Ms. Sanchez graduated from New Mexico State University with a degree in Biology and Biochemistry and a minor in music.
Praised for his “imposing baritone” and “supple vibrant baritone that he deploys with unaffected lyricism and manifest honesty” by Opera News, American baritone Jarrett Porter is quickly making a name for himself with a fearless talent and commanding intellect. Porter is currently a member of the Artist Diploma in Opera Studies at The Juilliard School.
In the 2020/21 Season, Jarrett makes his professional debut at Opera Theatre of Saint Louis as Neil Armstrong in the world premiere of Steve Mackey’s Moon Tea, and as the Adjudicator in the world premiere of Damien Sneed’s The Tongue & The Lash. He joins Internationale Meistersinger Akademie in Neumart, Germany where he will make appearances on Bavaria Radiofunk, as well as with the Nürnburg Symphony. At Juilliard, he appears in their Liederabend series, with New York Festival of Song@Juilliard, and as Polyphemus in Händel’s Acis & Galatea with Juilliard415.
In the 2021/22 Season he looks forward to making his professional debut at Arizona Opera as Guglielmo in Così fan tutte. He will return to Opera Theater of Saint Louis to create the role of Oliver Sacks in the world premiere of Tobias Picker’s Awakenings, based on the memoir of the same name.
Porter’s 2019/20 Season included his principal debut at Tulsa Opera as Dancaïre in Carmen. At the Santa Fe Opera in his second year as an Apprentice, he sang the Sergeant in La boheme, covered Guglielmo in Così fan tutte, appeared in scenes as the title role in Il barbiere di Siviglia, and joined Renée Fleming and the Santa Fe Opera Orchestra under the baton of Harry Bicket as a soloist in Vaughan Williams’ Serenade to Music.
In the 2018/19 Season he finished his second and final year as a Marion Roose Pullin Studio Artist at Arizona Opera, where he performed as Antonio and the cover of Count Almaviva in Le nozze di Figaro, Father Palmer in Silent Night, and Baron Douphol in La traviata. In the 2017/18 Season at Arizona Opera, he was seen as the title role in Patrick Morganelli’s Hercules vs. Vampires, Maximilian in Candide, Sciarrone in Tosca, and Fiorello in Il barbiere di Siviglia. He joined Santa Fe Opera in 2018 as a member of the company’s Apprentice Program, singing Der Perückenmacher in Ariadne auf Naxos, and covering Maximilian in Candide. Role engagements elsewhere have included the title role of Don Giovanni and Eugene Onegin, Le Chevalier des Grieux in Massenet’s Le portrait de Manon, Sid in Albert Herring, Harry Easter in Weill’s Street Scene, and Morales in Carmen. Other programs include Opera Saratoga (2016) and The Glimmerglass Festival (2017), as well as Houston Grand Opera’s Young Artist Vocal Academy (2014).
As a sought after recitalist, Porter has held fellowships at the Ravinia Stean’s Music Institute at The Ravinia Festival, and at SongFest at the Hidden Valley Music Festival under the mentorship of Sir Thomas Allen and Graham Johnson. Accompanied by narration from Allen and Johnson, he made his National Public Radio debut with selections from Schubert’s Die schöne Müllerin and Winterreise, and in the spring of 2018 joined pianist Taylor Hutchinson in recital to present Winterreise in Katzin Hall at Arizona State University.
Awards include: winner of The Sullivan Foundation (2019), winner of the 2019 St. Louis District of the Metropolitan Opera National Council, the Lisa and Bernie Kalvelage Award at the 2018 Holt Competition, the 2017 Grand Prize Winner of the Pacific Music Society Competition, the Ellie Silver Award Winner at the 2017 Holt Competition, and the First Prize of the inaugural Esther C. Weill Competition. A native of coastal New Jersey, he holds a Bachelor of Music degree from the Eastman School of Music (2015) and a Master of Music from the San Francisco Conservatory of Music (2017), where he was a James Schwabacher Fellow. He can be seen in the June 2020 issue of Opera News, where he was the magazine’s Soundbite. A student of Darrell Babidge, Porter resides on the Upper East Side in New York City.
Dale Dreyfoos (Professor of Opera/Music Theater at Arizona State University and Resident Stage Director for Lyric Opera Theatre) has had a multi-faceted career as a Stage Director, Character Tenor, Actor, Educator, and Arts Administrator. Mr. Dreyfoos made his Arizona Opera debut in 2000 in Rossini’s The Barber of Seville in the role of Ambrogio and has returned to perform the roles of the Duchess of Krackenthorp in La Fille du Regiment (Donizetti), Njegus in The Merry Widow (Lehar) and Pelligreen in Arizona Lady (Kalman). Mr. Dreyfoos has also been an active participant in Arizona Opera’s Education and Outreach Program, having served as the Stage Director for the first Arizona Opera Outreach production of Rossini’s Cinderella. The company’s Opera Dell’Arte Series was created for his unique blend of talents as an actor, singer, and writer, for which he presented previews of operas from the perspective of a character in the opera. His preview for Hansel and Gretel, as told from the perspective of the Witch, was one of his most memorable.
Mr. Dreyfoos began his performing career at the age of 10 as the Boy Soprano soloist with the Atlanta Boy Choir, during which time he appeared as a soloist in Mozart’s Vesperae Solennes de Confessore with Robert Shaw & the Atlanta Symphony Orchestra, as well as appearing in the French, Spanish, and Moroccan premieres of Benjamin Britten’s chamber opera The Golden Vanity. For his performance in Paris, he received special accolades from the musical icon, Mlle. Nadia Boulanger (the protégé of Faure and teacher of Bernstein and Copland) and Mme. Khachaturian (the wife of the famous composer).
Since that time, Mr. Dreyfoos has made a specialty of appearing in a wide variety of character roles including Vespone in La Serva Padrona, Ambrogio in The Barber of Seville, Goro in Madama Butterfly, Frosch & Dr. Blind in Die Fledermaus, The Old Prisoner in La Perichole, Senex in A Funny Thing That Happened On The Way To The Forum, Henry in The Fantasticks, Herr Schultz in Cabaret, King Sextimus in Once Upon A Matress, Moonface Martin in Anything Goes, Voltaire/Dr. Pangloss/Governor/Host and Sage in Candide, Frisellino in Le Pescatrice, Njegus in The Merry Widow, Mozart in A Visit with Amadeus, Ben in The Telephone, the Duchess of Krackenthorp in The Daughter of the Regiment, Edna in Bye,Bye, Birdie and Queen Elizabeth II in Hms Pinafore with such companies as the Piccolo Spoleto Festival, Arizona Opera, Opera Carolina, Haydn Festival in Eisenstadt, Austria, Birmingham Civic Opera, Mississippi Opera, Newberry Opera, Charleston Opera Company, Shakespeare Sedona, and ASU’s Lyric Opera Theatre. He has also appeared as the “Bargain Countertenor soloist” in P.D.Q. Bach’s The Seasonings with the Alabama Symphony under the direction of Peter Schickele. He has also made special guest appearances for television and public radio stations in Charleston, SC, Charlotte, NC, Phoenix, AZ, and Atlanta, GA, and is a featured performer on two educational compact discs, Bible Times I & III, and a cd-rom Opera-Ha Ha, produced by Arizona Opera. A specialist in “character voices”, Mr. Dreyfoos’s voice can be heard on several historical audio tours including the State of Georgia’s commemorative audio tours for the 150th anniversary of the Civil War, the Edgar Allan Poe House in Richmond, Virginia and on a Civil War Tour of Lexington, Kentucky.
Mr. Dreyfoos is also the author of two highly acclaimed educational music dramas, A Visit With Amadeus and A Visit With Mr. & Mrs. Bach, which have received over 2,000 performances throughout the eastern United States. He has also recently served as a the author of two narration scripts for the 50th Anniversary of the Santa Fe Opera and an Opera Gala for Arizona Opera, which were narrated by Frederica Von Stade and Hugh Downs, respectively. Mr. Dreyfoos has been on the faculty of Arizona State University since 1994, where he received the “Distinguished Professor Award” for the College of Fine Arts in 1996.
As a Stage Director, Mr. Dreyfoos has directed productions ofThe Marriage of Figaro, Die Zauberflote, Cosi Fan Tutte, Elixir of Love, Oklahoma, Giulio Cesare, Xerxes, Ariadne auf Naxos, Hms Pinafore, La Perichole, The Secret Garden, the Turn of the Screw, Dido and Aeneas, Amahl and the night visitors, the Coronation of Poppea, Gianni Schicchi, Suor Angelica, Nunsense, Susannah, La Serva Padrona, Hansel and Gretel, Don Pasquale, The Impresario, The Bartered bride, Riders to the Sea, The Barber of Seville, The Daughter of the Regiment, Albert Herring, Gallantry, Die Fledermaus, La Cenerentola and the world premiere of the Ransom of Red Chief for such companies as Opera Carolina, Piccolo Spoleto festival, Charleston Opera Company, Birmingham Civic Opera, Arizona Opera Education Tour, Milton Center Series, and Arizona State University’s Lyric Opera Theater. He has also served as an assistant director for productions of La Cenerentola, The Mikado, Lucia di Lammermoor, La Boheme, and Don Pasquale with the Lyric Opera of Chicago Center for American Artists, Opera Carolina, Des Moines Metro Opera, Birmingham Civic Opera and the Mississippi Opera. Since 1996, he has served as a Stage Artistry Instructor for the American Institute of Musical Studies in Graz, Austria.