Georges Bizet (25 October 1838 – 3 June 1875), registered at birth as Alexandre César Léopold Bizet, was a French composer of the Romantic era. Best known for his operas in a career cut short by his early death, Bizet achieved few successes before his final work, Carmen, which has become one of the most popular and frequently performed works in the entire opera repertoire.
During a brilliant student career at the Conservatoire de Paris, Bizet won many prizes, including the prestigious Prix de Rome in 1857. He was recognized as an outstanding pianist, though he chose not to capitalize on this skill and rarely performed in public. Returning to Paris after almost three years in Italy, he found that the main Parisian opera theatres preferred the established classical repertoire to the works of newcomers. His keyboard and orchestral compositions were likewise largely ignored; as a result, his career stalled, and he earned his living mainly by arranging and transcribing the music of others. Restless for success, he began many theatrical projects during the 1860s, most of which were abandoned. Neither of his two operas that reached the stage in this time—Les pêcheurs de perles and La jolie fille de Perth—were immediately successful.
After the Franco-Prussian War of 1870–1871, during which Bizet served in the National Guard, he had little success with his one-act opera Djamileh, though an orchestral suite derived from his incidental music to Alphonse Daudet's play L'Arlésienne was instantly popular. The production of Bizet's final opera, Carmen, was delayed because of fears that its themes of betrayal and murder would offend audiences. After its premiere on March 3, 1875, Bizet was convinced that the work was a failure; he died of a heart attack three months later, unaware that it would prove a spectacular and enduring success.
Bizet's marriage to Geneviève Halévy was intermittently happy and produced one son. After his death, his work, apart from Carmen, was generally neglected. Manuscripts were given away or lost, and published versions of his works were frequently revised and adapted by other hands. He founded no school and had no obvious disciples or successors. After years of neglect, his works began to be performed more frequently in the 20th century. Later commentators have acclaimed him as a composer of brilliance and originality whose premature death was a significant loss to French musical theatre.
Henri Meilhac was born in the 1st arrondissement of Paris in 1830. As a young man, he began writing fanciful articles for Parisian newspapers and comédies en vaudevilles, in a vivacious boulevardier spirit which brought him to the forefront. Around 1860, he met Ludovic Halévy, and their collaboration for the stage lasted twenty years.
Their most famous collaboration is the libretto for Georges Bizet's Carmen. However, Meilhac's work is most closely tied to the music of Jacques Offenbach, for whom he wrote over a dozen librettos, most of them together with Halévy. The most successful collaborations with Offenbach are La belle Hélène (1864), Barbe-bleue (1866), La Vie parisienne (1866), La Grande-Duchesse de Gérolstein (1867), and La Périchole (1868).
Other librettos by Meilhac include Jules Massenet's Manon (with Philippe Gille) (1884), Hervé's Mam'zelle Nitouche (1883), and Rip, the French version of Robert Planquette's operetta Rip Van Winkle (also with Gille). Their vaudeville play Le réveillon was the basis of the operetta Die Fledermaus.
In 1888 he was elected to the Académie française. He died in Paris in 1897.
Ludovic Halévy was born in Paris. His father, Léon Halévy (1802–1883), was a civil servant and a clever and versatile writer, who tried almost every branch of literature—prose and verse, vaudeville, drama, history—without, however, achieving decisive success in any. His uncle, Fromental Halévy, was a noted composer of opera; hence the double and early connection of Ludovic Halévy with the Parisian stage.
At eighteen he joined the ranks of the French administration and occupied various posts, the last being that of secrétaire-rédacteur to the Corps Législatif. In that capacity, he enjoyed the special favour and friendship of the famous duke of Morny, then president of that assembly.
In 1865, Ludovic Halévy's increasing popularity as an author enabled him to retire from the public service. Ten years earlier, he had become acquainted with composer Jacques Offenbach. Halévy wrote many productions for Offenbach's small theatre in the Champs-Élysées, all produced under the pseudonym of Jules Servières. The name of Ludovic Halévy appeared for the first time on the bills on January 1, 1856. Soon afterwards, the unprecedented run of Orphée aux enfers, a musical parody written in collaboration with Hector Crémieux, made his name famous. In the spring of 1860, he was commissioned to write a play for the manager of the Variétés in conjunction with another vaudevillist, Lambert-Thiboust.
The latter having abruptly retired from the collaboration, Halévy was at a loss how to carry out the contract, when on the steps of the theatre he met Henri Meilhac (1831–1897), then comparatively a stranger to him. He proposed to Meilhac the task rejected by Lambert Thiboust, and the proposal was immediately accepted. Thus began a connection which was to last over twenty years, and which proved most fruitful both for the reputation of the two authors and the prosperity of the minor Paris theatres. Amongst the most celebrated works of the joint authors were La belle Hélène (1864), Barbe-bleue (1866), La Grande-Duchesse de Gérolstein (1867), La Périchole (1868), and Le Réveillon, which became one of the sources of Johann Strauss' operetta Die Fledermaus.
Halévy remained an assiduous frequenter of the Académie française, the Conservatoire, the Comédie Française, and the Society of Dramatic Authors. Halévy died in Paris on May 7, 1908.
Recipient of The 2017 Sir Georg Solti Conducting Award, Christopher Allen is featured in Opera News as "one of the fastest-rising podium stars in North America." He has led acclaimed performances with the Atlanta Symphony, Los Angeles Opera, Opera Philadelphia, English National Opera, Lyric Opera of Chicago, Opera Theatre of Saint Louis, Washington National Opera, Florida Grand Opera, Atlanta Opera, Daegu Opera House in South Korea and China National Opera Orchestra and Chorus. As The John L. Magro Resident Conductor for Cincinnati Opera, Allen has joined the company for three consecutive seasons, in addition to leading the Cincinnati Symphony in the annual Washington Park Concert each summer.
In the 2019/20 Season, Allen returns to Florida Grand Opera and Michigan Opera Theatre to conduct Mozart’s Don Giovanni. He makes conducting debuts at Arizona Opera in Puccini’s La bohème, Opera Omaha’s One Festival in Bellini’s I Capuleti e I Montecchi, and with Opéra de Montréal for Mozart’s Die Zauberflöte. In the spring, he tours the United States as music director of the Bel Canto Trio and appears in concert at Oper Frankfurt with tenor Joshua Guerrero, followed by a return to Cincinnati Opera to conduct Verdi Aida in their 100th Anniversary Season.
Allen’s career was launched by the Bruno Walter Conducting Award and Memorial Career Grant and has been fostered by Plácido Domingo and James Conlon, who brought him to Los Angeles Opera as Associate Conductor. At LA Opera, Allen led the musical preparation for the acclaimed The Ghosts of Versailles, which won a Grammy Award for Best Opera Recording. He conducted the National Opera Association Award-winning production of Catán’s Florencia en el Amazonas at the University of North Carolina School of the Arts, and the new revised version of Ricky Ian Gordon’s Grapes of Wrath at Opera Theatre of Saint Louis, which was named Opera of the Year by the St. Louis Post-Dispatch. In addition to earning recognition as a Musical America “Artist of the Month” and one of their “25 Stars Still Rising.” Allen is a recipient of a Solti Foundation U.S. Career Assistance Award and an International Opera Awards nominee.
Allen’s artistic pursuits extend beyond his role as conductor. He demonstrates his commitment to education through his work with young artists at Los Angeles Opera, Ryan Opera Center at Lyric Opera of Chicago, New England Conservatory, A.J. Fletcher Institute at University of North Carolina School of the Arts, and Aspen Music Festival and School. As an award-winning pianist, he has performed at Carnegie Hall, John F. Kennedy Center for the Performing Arts, and mostly recently on film in La voix humaine, starring Patricia Racette and directed by James Darrah. He is currently working on a writing and film project that explores the importance of the arts in modern American society. When not in rehearsal or onstage, Allen enjoys his work as a multimedia visual artist and playwright.
Winner of the Adelaide Bishop award for artistic quality and winner of the Opera America Director-Designer Showcase, Stephanie Havey has staged productions for Pittsburgh Opera, Michigan Opera Theatre, Arizona Opera, Atlanta Opera, Opera Omaha, New York City Opera, North Carolina Opera, and Hawaii Opera Theatre, as well as, new productions of La rondine for The Curtis Institute of Music, Tosca for the Lyrique-en-mer International Festival de Belle-Ile, The Crucible for Opera Santa Barbara, Shining Brow for Tulsa Opera, Il matrimonio segreto for Carnegie Mellon University, Rigoletto for Syracuse Opera, Falstaff for Resonance Works Pittsburgh, and Gluck’s Armide for OperaNeo. She also has been a member of the staging staff at San Francisco Opera and The Santa Fe Opera.
Engagements for this season include Seattle Opera, Houston Grand Opera, Opera de Montreal, a new production of Norma for Boston Lyric Opera, La Traviata with Hawaii Opera Theatre, returning to the Pittsburgh Opera for Norma and Florencia en el Amazonas, La bohème for Charlottesville Opera, and The Barber of Seville for Finger Lakes Opera. Havey has been selected to participate in San Diego Opera’s theatre innovation project “Opera Hack,” a two-year project funded by an Opera America Innovation Grant to discover new ways for technology to be used in the production and presentation of opera. She also had the honor of hosting the 2019 Opera America Director-Designer Showcase at the National Conference in San Francisco as a returning alumna.
Havey is a frequent collaborator for the development of new opera, staging new works with Opera Philadelphia for their Double Exposure event, Opera America’s New Works Forum, and as the Resident Stage Director for North American New Opera Workshop.
During her two seasons as the first Resident Artist Stage Director for the Pittsburgh Opera, she received rave reviews for her new production of Il matrimonio segreto and directed numerous productions and a staged recital series in the Opera Studio. Other professional engagements include Central City Opera, Glimmerglass Festival, Sarasota Opera, Virginia Opera, and Nashville Opera.
Haley Stamats makes her directorial debut with Arizona Opera for their scenes program this April. She will serve as the resident stage director with the Marion Roose Pullin Arizona Opera Studio and assisting on all their 2020/21 Main Stage productions. This season, she was with Virginia Opera, assisting on their productions of Tosca, Il Postino, and Aida. Her season also included remounting Il Postino at Opera Southwest in Albuquerque.
Recently, she made her mainstage debut directing the world premiere of The Grant Wood Operas with Cedar Rapids Opera Theatre exploring the life of the iconic American artist, Grant Wood, who painted the American Gothic. She also made her debut in London directing the world premiere of two new work pieces, Between Constellations and Rain, with The Grimeborn Opera Festival. Other recent directing credits include the Cosi fan tutte for young audiences at Mill City Summer Opera and the children’s opera, The Enchanted Forest, with Cedar Rapids Opera Theatre.
Her other assistant directing credits include Arabella with Pittsburgh Festival Opera; Eugene Onegin with Opera Santa Barbara; La Fanciulla del West and Don Giovanni with Virginia Opera; and The Man of La Mancha, South Pacific, Pagliacci, Cavalleria Rusticana and Turandot with Cedar Rapids Opera Theatre.
Logan Pachciarz began his dance career with the guidance of Shelly Washington in Twyla Tharp’s Dance company Tharp! After extensive traveling, he continued his classical training at North Carolina School of the Arts under the tutelage of Ton Simons, Fernando Bujones, and Warren Conover. At age 18, he joined the Boston Ballet where he enjoyed performing works by such choreographers as Rudi van Dantzig, Christopher Wheeldon, and Ben Stevenson. In 2001, Logan joined the Kansas City Ballet. In his 15 years with the company he performed leading roles in a diverse repertoire, ranging from classical and neoclassical works such as Giselle, Romeo and Juliet and The Four Temperaments to contemporary and modern pieces including Jardi Tancat, Dark Elegies, The Catherine Wheel Suite and The Moor’s Pavane. He was recently recognized by Dance Magazine’s Wendy Perron as one of the best dancers of 2016. Mr. Pachciarz is currently the Co-Artistic Director of Moving Arts Kansas City and Cincinnati. As director, he has presented repertoire from the forefront of dance by Marco Goecke, Douglas Lee, Penny Saunders, Salvatore Aiello, Marina Kessler, Todd Bolender, Matthew Neenan, George Balanchine and Ma Cong. Pachciarz has choreographed extensively, with such credits as Eugene Onegin and the upcoming Opera The Shining.
|January 22, 24, & 30|
Hailed for “a voice to die for [combined] with acting ability, beauty, and stage presence,” Israeli mezzo-soprano Maya Lahyani is fast-becoming one of today’s most sought-after young singers.
In the 2019/20 Season, Maya Lahyani will return to The Metropolitan Opera for a seventh season to sing Rosette in Manon and Tisbe in La Cenerentola. She will also return to Israeli Opera to sing Sister Helen in Heggie’s Dead Man Walking. In concert, she will sing Mary Magdalene in Elgar’s The Kingdom with the American Symphony Orchestra at Carnegie Hall, and make her London Symphony Orchestra debut in Tippett’s A Child of Our Time under the baton of Alan Gilbert.
Maya Lahyani’s 2018/19 Season included performances as Charlotte in Israeli Opera’s new production of Jules Massenet’s Werther. Maya also returned to The Metropolitan Opera to sing Grimgerde in Die Walküre, which was broadcast Live in HD, as well as cover Maddalena in Michael Mayer’s famously vibrant, Las Vegas-themed production of Rigoletto.
Maya Lahyani’s 2017/2018 Season included performances as the Second Serving Woman in Elektra under the baton of Yannick Nézét-Séguin and as Dorothée in a new production of Cendrillon at The Metropolitan Opera. She also sang Maddalena in Rigoletto at the Berkshire Opera Festival and covered the role of Dalila in Samson and Dalila at the Dallas Opera.
Lahyani has appeared at The Metropolitan Opera in numerous roles, including Lola in Sir David McVicar’s production of Cavalleria Rusticana, Omar in John Adams’ The Death of Klinghoffer under the baton of David Robertson, Flora in Willy Decker’s production of La Traviata, Rosette in Laurent Pelly’s production of Manon conducted by Emmanuel Villaume, Kate Pinkerton in Anthony Minghella’s production of Madame Butterfly, Käthchen in Werther, Third Sprite in Rusalka, Altichiara in Francesca da Rimini, and Fiona in the Met premiere of Nico Muhly’s Two Boys. She is the first Israeli-born singer to sing on the Met stage.
Highlights of Lahyani’s recent seasons also include the title role of Carmen at Opera Las Vegas and PORTOpera, her debut with the Canadian Opera Company as the Page in Atom Egoyan’s production of Salome while concurrently covering the role of Mère Marie in Dialogues of the Carmelites, her return to Seattle Opera as Varvara in a new production of Janáček’s Káťa Kabanová as well as Flora in Peter Konwitschny’s production of La Traviata,Countess Ceprano in Rigoletto at the Hollywood Bowl with Gustavo Dudamel leading the Los Angeles Philharmonic, Dryad in Ariadne auf Naxos at the Seattle Opera, the Third Lady in The Magic Flute with the Dallas Opera, and Hansel in Humperdinck’s Hansel and Gretel with Opera Fairbanks
As an Adler Fellow with the San Francisco Opera, Lahyani’s roles and productions with the company included Siegrune in Die Walküre, Sister Marta and The Duenna in Cyrano de Bergerac opposite Plácido Domingo, Beppe in Merola Opera Program’s L’Amico Fritz, and the title role in Carmen for Families. Lahyani made her San Francisco Opera main stage debut in summer 2010 as Wowkle in La Fanciulla del West under the baton of Nicola Luisotti. In past seasons at San Francisco Opera, Lahyani performed in the world premiere of Christopher Theofanidis’ Heart of a Soldier under conductor Patrick Summers and covered Maffio Orsini in Lucrezia Borgia.
Prior to her time in San Francisco, the mezzo-soprano was a member of the Seattle Opera Young Artist Program, where she appeared as Dorabella in Così fan tutte. She has also regularly taken part in The International Vocal Art Institute in Tel Aviv, where she has sung Mère Marie in Dialogues of the Carmelites, Rebecca Nurse in The Crucible, the title role in Mascagni’s Zanetto, and Charlotte in Werther.
Her concert work portfolio includes performances as the mezzo-soprano soloist in Mozart’s Requiem with the San Francisco Opera Orchestra and Chorus under the baton of Nicola Luisotti, Ravel’s Shéhérazade with the Jerusalem Symphony, Brahms’ Alto Rhapsody with the Sacramento Choral Society and Orchestra, the alto soloist in Mendelssohn's A Midsummer Night's Dream with Kurt Masur and the San Francisco Symphony, Mahler’s Second Symphony with the Charlotte Symphony, and an arias concert with the Sun Valley Opera. Lahyani was also the featured vocal soloist in a world premiere performance by the Alonzo King LINES Ballet.
Lahyani was a 2010 grand finalist of the Metropolitan Opera National Council Auditions and a 2008 finalist in the Joy in Singing Competition. She has been awarded scholarships by the San Francisco Foundation, the America-Israel Cultural Foundation, the Ronen Foundation, and the Israeli Vocal Arts Institute. Ms. Lahyani received her Bachelor and Master’s Degrees in Music from the Mannes School of Music in New York.
|January 23 & 31|
Hailed as a “charismatic star” by the Boston Globe and as “a knockout performer” by The Times, British-Singaporean mezzo-soprano Fleur Barron is a 2018 HSBC Laureate of the Aix-en-Provence Festival and the recipient of the 2016 Grace B. Jackson Prize from the Tanglewood Music Festival, awarded to one outstanding young singer each year. She is mentored by Barbara Hannigan.
The 2019/20 Season features significant role and house debuts, including Ottavia in Monteverdi’s L’Incoronazione di Poppea at the Festival dAix-en-Provence, La Zelatrice in staged performances of Suor Angelica with the Berlin Philharmonic under Kirill Petrenko, the title role in Handel’s Giulio Cesare with the NDR Radiophilharmonie, Suzuki in Madame Butterfly with the Hallé Orchestra under Sir Mark Elder, the title role in Gluck’s Orphée et Eurydice with Cape Town Opera, and Suzuki in Madame Butterfly at Opéra National de Montpellier. Fleur’s vibrant concert season includes debuts with the Munich Philharmonic in Stravinsky’s Pulcinella under Barbara Hannigan, Berlioz arias with the Malaysian Philharmonic under Kees Bakels, Chausson’s Poèmes de l’Amour et de la Mer with the Orchestre Symphonique de Toulon, and Beethoven’s Symphony No. 9 with the Virginia Symphony Orchestra. She also continues her recital partnerships with pianists Julius Drake and Roger Vignoles at Amsterdam’s Concertgebouw, the Aldeburgh Festival, and other festivals in the U.K.
In the 2018/19 Season, Fleur was an artist-in-residence at the Ojai Festival under the leadership of Barbara Hannigan, performing Stravinsky, Walton, Cage and a program of folk songs with chamber orchestra, which she also curated. Fleur debuted at Théâtre Royal de la Monnaie as Baba the Turk in The Rake’s Progress, a role she reprised in a concert version at the Aldeburgh Festival to critical acclaim. Last season Fleur also sang Olga in Yevgeny Onegin with Opéra de Toulon; Balkis in Offenbach’s Barkouf with Opéra National du Rhin; Maddalena in Rigoletto with Northern Ireland Opera; First Witch in Dido and Aeneas with Festival d’Aix-en-Provence; and Marguerite in La Damnation de Faust at the St. Endellion Festival (U.K.). On the concert platform, Fleur toured with Orchestre Régional de Normandie as alto soloist in Pergolesi’s Stabat Mater, and presented recitals with Julius Drake and Roger Vignoles in Spain and the U.K.
In recent seasons, Fleur received critical acclaim for simultaneously singing and dancing Anna I and Anna II in Weill’s The Seven Deadly Sins at the Tanglewood Music Festival. Other recent engagements include Fenena in Nabucco with Opéra National de Montpellier, for which she was hailed as the “revelation of the evening” by Olyrix; the title role in Carmen at the Aspen Music Festival; the title role (cover) in the Purcell pastiche Miranda at Opéra Comique; alto soloist in Bernstein’s Songfest with the BBC Symphony Orchestra at Barbican Hall; Beethoven’s Symphony No. 9 with the Flint Symphony Orchestra; and Vaughan William’s Serenade to Music with the Chicago Symphony Orchestra.
Fleur holds degrees from the Manhattan School of Music and Columbia University.
|January 22, 24, & 30|
Russian-born Viktor Antipenko, praised for his effortless, expansive sound, and excellent technique, continues to sing leading roles to great acclaim and has become a tenor to watch in the dramatic repertoire. During the 2019/20 Season, he sings Prince Guidon in Rimsky-Korsakov’s The Golden Cockerel at Dallas Opera; the title role in Samson and Dalila at Tiroler Landestheater in Innsbruck; Florestan in Beethoven’s Fidelio with Theater Chemnitz; Gabriele Adorno in Verdi’s Simon Boccanegra with Tiroler Landestheater; Siegmund in Wagner’s Die Walküre for Theater Chemnitz; Don José at SUGI Opera in South Korea; and he covered the role of Pinkerton in Puccini’s Madame Butterfly at the Metropolitan Opera.
Previous roles also include Meistersinger (Walther von Stolzing), Lohengrin (title role), Lensky (Eugene Onegin), Hermann (Pique Dame), Mazeppa (Andrey), Enzo Grimaldo (La Gioconda), Malcolm (Macbeth), Luigi (Il Tabarro), Grigori (Boris Godunov), Riccardo (Oberto), and Erik (Der fliegende Holländer). Antipenko has sung at the Bolshoi Theatre, Ópera de Oviedo, Opéra de Rouen, Theatro Municipal de São Paulo, Opéra de Lyon, Badisches Staatstheater Karlsruhe, Tchaikovsky Concert Hall in Moscow, and Hawaii Opera Theater. On the concert stage, he has appeared as the tenor soloist in Rachmaninoff’s The Bells with The Philadelphia Orchestra; Jewish Folk Poetry by Shostakovich at the Staatstheater Kassel; Kodály’s Psalmus Hungaricus with the New York Metamorphoses Orchestra; in Stravinsky’s Les Noces at the Grand Philharmonie Hall in St. Petersburg, Russia; and at the Heidelberger Schlossfestspiele Musikfestival in an “Hommage a Sevilla” gala performance. Antipenko has worked with esteemed conductors Mikhail Pletnev, Vladimir Jurowski, Yuri Bashmet, Yuri Temirkanov, and more. He has recorded Prokofiev’s On Guard for Peace with the St. Petersburg Philharmonic Orchestra.
Antipenko studied voice and choral conducting at the Glinka Choral College in St. Petersburg. After graduation he joined the Mariinsky Theatre, performing as a choral and solo artist. In 2007 he graduated from the Saint Petersburg Conservatory. In 2009-2012 he studied at the Academy of Vocal Arts in Philadelphia with Bill Schuman.
|January 23 & 31|
Tenor Matthew White recently made critically acclaimed debuts as Romeo in Gounod’s Romeo and Juiliet with Cincinnati Opera and Pinkerton in Puccini’s Madame Butterfly with the Princeton Festival.
Engagements of the 2019?20 Season include multiple role and house debuts including the Duke in Verdi’s Rigoletto with Edmonton Opera, the tenor soloist in Stravinsky’s Pulcinella with Dallas Opera, Rodolfo in La bohème with Opera Naples, and a return B.F. Pinkerton in Madame Butterfly with Tulsa Opera. On the concert stage he will debut with the Florida Orchestra as the tenor soloist in Handel’s Messiah.
A recent graduate of Philadelphia’s prestigious Academy of Vocal Arts, White performed Romeeo in Romeo et Juliet, the title role in Massenet’s Werther, Roberto in Puccini’s Le Villi, Edgardo in Lucia di Lammermoor, Avito in Montemezzi’s L’amore dei tre re, and Faust in Lili Boulanger’s Faust et Helene. He made his debut with Opera Maine as Rinuccio in Gianni Schicchi, and has appeared with Palm Beach Opera and Vero Beach Opera. Concert credits include performances with the New Jersey Festival Orchestra, Ocean City Pops, and the Longfellow Chorus Festival.
A favorite of competitions, White was selected to compete in the 2019 Operalia Competion in Prague. He was awarded the Grand Prize of the Gerda Lissner International Vocal Competition, 1st place in the Deborah Voigt International Vocal Competition, 2nd place in the Metropolitan Opera Mid-Atlantic region, the Grand Prize in the Mario Lanza Vocal Competition, an Encouragement Award from the George London Foundation, and is the recipient of the Alfonso Cavaliere Award. He has participated in the training programs of Bel Canto at Caramoor, PORTopera, and Seagle Music Colony.
A trained violinist, Mr. White is also an avid surfer and runs his own surfboard business, which currently has clients around the world.
Lauded for his "Charming...robust baritone…” rising Romanian-American baritone Andrew G. Manea is a recent graduate of the Adler Fellowship Program at San Francisco Opera. In the 2019/20 Season, Manea debuts with Palm Beach Opera as Figaro in The Barber of Seville, and will join the roster of Lyric Opera of Chicago for Der Ring des Niebelungen. Manea recently made his role debut as the Duke of Nottingham in Roberto Devereux and also sang the Huntsman/Gamekeeper in Rusalka and Sciarrone in Tosca. During his first year as an Adler, he was heard as Marullo in Rigoletto, as the Marchese d’Obigny in La traviata, and in the world premiere of John Adams’ Girls of the Golden West. On the concert stage, he made his Schwabacher Recital debut with esteemed pianist Warren Jones.
Manea recently performed Marcello in La Bohème with Shreveport Opera, #7 in Transformations with the Merola Opera Program, and Escamillo in Carmen in Wuhan, China. With the College-Conservatory of Music at Cincinnati University, he has sung the Danilo in The Merry Widow, the Father in Hansel and Gretel and the Forester in The Cunning Little Vixen.
Andrew Manea was awarded First Place and Audience Favorite in the Mary Jacobs Smith Singer of the Year Competition with Shreveport Opera, was a Semifinalist of the Metropolitan Opera National Council Auditions, earned Second Place and Audience Favorite in the Opera Columbus Cooper-Bing International Vocal Competition, was a Finalist in the Jensen Foundation Vocal Competition, and was a Career Grant recipient in the Giulio Gari Foundation Competition.
A native of Troy, Michigan, Mr. Manea holds his Bachelor’s degree from the Cleveland Institute of Music and his Master’s degree from the University of Cincinnati, College-Conservatory of Music, where he studied with the prolific Bill McGraw.
|January 22, 24, & 30|
Colombian-American soprano Vanessa Vasquez, winner of the 2017 Metropolitan Opera National Council Auditions, recently completed a four-year residency at the prestigious Academy of Vocal Arts in Philadelphia, where she has been heard as Mimì in La Bohème, Gilda in Rigoletto, Donna Anna in Don Giovanni, and Violetta in La traviata.
In the 2019/20 Season, Vasquez performs the role of Liù in Turandot with the Canadian Opera Company, sings Donna Anna in Don Giovanni in her debut with Washington National Opera, and will be heard as Mimi in La Bohème with Seattle Opera. Last season, she debuted with Arizona Opera as Violetta in La traviata, and saw her first performances with The Santa Fe Opera and Opera Philadelphia, both as Mimi in La Bohème.
She made her professional opera debut in summer 2017 as Liù in Turandot with Des Moines Metro Opera. With Oberlin in Italy, she performed Countess Almaviva in The Marriage of Figaro. On the concert stage, she debuted with the Philadelphia Orchestra in J.S. Bach’s cantata Nach dir, Herr, verlanget mich and with the New York Choral Society in Haydn’s Lord Nelson Mass. She made her debut with the New York Philharmonic as soprano soloist in Beethoven’s Choral Fantasy, and she was soprano soloist in Honneger’s King David and Poulenc’s Gloria with Voices of Ascension. She was a featured soloist with the Philadelphia Orchestra under Yannick Nézet-Séguin in the Academy of Music 160th Anniversary Concert and Ball.
Vasquez is the recipient of a 2017 Sara Tucker Study Grant from the Richard Tucker Music Foundation, First Prize in the 2017 Gerda Lissner Foundation Competition, First Prize in the 2016 Licia Albanese Competition, First Prize in the 2016 Giulio Gari Competition, First Prize in the 2016 Loren L. Zachary Vocal Competition, and First Prize and Audience Award in the Phoenix Opera Southwest Vocal Competition, among others.
Vanessa Vasquez was graduated from The Catholic University of America with a Bachelor of Music degree. She went on to complete a Master of Music degree at UCLA, where she performed Susanna in Wolf-Ferrari’s Il segreto di Susanna, and Donna Elvira in Don Giovanni. Vasquez is a native of Scottsdale, Arizona.
|January 23 & 31|
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.
American Bass Wm. Clay Thompson has been praised by Opera News for his “mahogany-timbred” voice. A native of Lexington, Kentucky, Thompson recently completed his second year as a Resident Artist with Minnesota Opera, and is known for his "...strong, rich, and warm color, yet the ability to cross over into bass-baritone repertoire."
Thompson’s 2018/19 Season at Minnesota Opera included performances as Dottore Grenvil in La traviata, the French General in Silent Night, Crébillon in La rondine, and Charles Comiskey in the world premiere of Joel Puckett's The Fix. Additionally, he returned to The Glimmerglass Festival in the summer of 2019, where he performed as Suleyman Pasha in The Ghosts of Versailles, Dottore Grenvil in Francesca Zambello's La traviata, and the title role in Benjamin Britten's Noah's Flood. Upcoming engagements include his return the Minnesota Opera as Leporello in Don Giovanni.
The 2017?18 Season saw Thompson in roles at Minnesota Opera including Antonio in The Marriage of Figaro, Second Prison Guard in Jake Heggie's Dead Man Walking, Count Ceprano in Rigoletto, and Palémon in Thaïs, as well as having covered Don Bartolo (The Marriage of Figaro), Warden Benton (Dead Man Walking), Sparafucile (Rigoletto), and the title role in Don Pasquale. As a member of the Young Artist Program at the Glimmerglass Festival, he was seen as The Poacher in E. Loren Meeker’s new production of The Cunning Little Vixen, Father Palmer in Kevin Puts’ Silent Night, and Gladhand in Francesca Zambello’s production of West Side Story.
As a Studio Artist with Wolf Trap Opera for their 2016 and 2017 Seasons, Thompson sang Benoit and Alcindoro in La bohème, Suleyman Pasha in Corigliano's The Ghosts of Versailles, Yakuside in Madame Butterfly, and covered the role of Collatinus in The Rape of Lucretia. As a Young Artist at the Seagle Music Colony he performed the roles of Olin Blitch (Susannah), Mordred (Camelot), and the Superintendent Budd (Albert Herring).
Thompson sang the role of Zuniga in Carmen at Fort Worth Opera’s 2017 Festival, and in previous seasons has been seen as Colline in La bohème with SOO Opera Theatre, Raymond Buck in the world premiere of JFK with Fort Worth Opera, and Billy Jackrabbit in La fanciulla del West with Kentucky Opera.
Thompson was a winner in the Metropolitan Opera National Council Auditions Kentucky District in 2013, and was Encouragement Award Winner in New Orleans District in 2014, and the Tulsa District in 2016 and 2017.
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.
With his "richly colored voice" (Seen and Heard International), Jamaican-American tenor Terrence Chin-Loy pairs passionate performance with a full, sweet sound. The 2019/20 sees Terrence in his first engagement at the Metropolitan Opera as Mingo (Cover) in The Gershwin's Porgy and Bess, reprising Younger Thompson in Cipullo's Glory Denied, and making debuts with the New York Festival of Song as a part of the Vocal Rising Stars series. During the holiday season, he will sing Messiah with the U.S. Navy Orchestra, and in the summer of 2020, he will premiere a new piece by Daniel Bernard Roumain at the Norfolk Chamber Music Festival. This season also marks Terrence's debut as the eponymous Elijah in Mendelssohn's oratorio with the Hilton Head Symphony.
As a Resident Artist with Pittsburgh Opera in the 2018/19 Season, Terrence was seen as Idomeneo in Idomeneo: afterWARds, director David Paul's retelling of Mozart's masterpiece with the composer's original music, and as Younger Thompson in Tom Cipullo's Glory Denied. In addition to these engagements, he made his Carnegie Hall debut in Handel's Messiah. Other favorite roles have included George Bailey in Jake Heggie’s It’s a Wonderful Life and Edgardo in Donizetti’s Lucia di Lammermoor, both at Indiana University, Brighella in Ariadne auf Naxos at Santa Fe Opera, Ferrando in Così fan tutte, and Count Alberto in Rossini’s L’occasione fa il ladro, the latter operas with Opera Theatre of Yale College. 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).
Terrence is a recent 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. He is a 2018 Metropolitan Opera National Council Auditions National Semifinalist.
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.
Named a 2019 Grand Finals Winner by the Metropolitan Opera National Council Auditions, rising American mezzo-soprano Michaela 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, Michaela 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.
Michaela’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.