Conductor Keitaro Harada continues to be recognized at the highest levels for his artistic abilities and passion for musical excellence. As a recipient of The Solti Foundation U.S. Career Assistance Award (2014 and 2015), Bruno Walter National Conductor Preview (2013), the Seiji Ozawa Conducting Fellowship at Tanglewood Music Festival, a student of Lorin Maazel at Castleton Festival and Fabio Luisi at Pacific Music Festival, Harada’s credentials are exemplary.
Currently in his first season as Associate Conductor of the Cincinnati Symphony and Pops Orchestra, Harada regularly assists Music Director Louis Langrée and conducts the Cincinnati Symphony, Cincinnati Pops, and World Piano Competition, as well as assists James Conlon for the May Festival. Keitaro also holds the positions of Associate Conductor of the Arizona Opera and Associate Conductor of the Richmond Symphony.
With a growing schedule as a guest conductor, the coming season holds several high profile engagements for Keitaro. He starts the summer at the 2016 Pacific Music Festival by invitation of Valery Gergiev, makes his conducting debut with Tokyo Symphony Orchestra and Tokyo Philharmonic Orchestra in the fall, and leads the world premiere performances of Riders of the Purple Sage for Arizona Opera in 2017. He also makes his conducting debut with Boise Philharmonic, West Virginia Symphony and South Bend Symphony Orchestra.
Most recently, Harada made his conducting debut in Japan with the New Japan Philharmonic in a sold out performance as well as his debut with Indianapolis Symphony Orchestra. He led performances of Carmen for Arizona Opera and conducted concerts with Tucson Symphony, Phoenix Symphony, Virginia Symphony, Sierra Vista Symphony, and Orquesta Filarmónica de Sonora.
In 2013, Harada was selected by the League of American Orchestras as one of only six conductors for the Bruno Walter National Conductor Preview, a prestigious showcase that occurs biennially in an effort to promote gifted, emerging conductors to orchestra industry leaders. In 2012, Harada was a semi-finalist at the 9th Grzegorz Fitelberg International Competition for Conductors in Poland. In 2011, Harada was one of ten semi-finalists invited by Riccardo Muti and the Chicago Symphony to participate in the First Chicago Symphony Orchestra Solti International Conducting Competition and he made his professional opera conducting debut with North Carolina Opera.
Early in his career, Harada served as Music Director of the Phoenix Youth Symphony. During his tenure, he elevated the organization’s profile, expanded their season; added challenging repertoire, and took the symphony on a European performance and education tour that culminated with a master class on the main stage of the Berlin Philharmonic.
A native of Tokyo, Japan, Harada is a graduate of Interlochen Arts Academy and Mercer University. He completed his formal conducting training at University of Arizona with Thomas Cockrell and Charles Bontrager. He has also studied under Christoph von Dohnányi, Robert Spano, Michael Tilson Thomas, Oliver Knussen, Herbert Blomstedt, Vladimir Ponkin, Adrian Gnam and Stefan Asbury. Harada champions creative programming, development of the orchestra as a part of a community’s cultural fabric, advancement of each musician he encounters, and responsibility as an artistic and civic leader.
Very early in his career, he was selected as a guest artist for National Public Radio’s From the Top and is featured as a favorite guest alumnus on their PBS television documentary. Arizona Public Broadcasting produced a documentary on the bright career of Keitaro titled: “Music…Language Without Words” for the television series AZ Illustrated in 2013.
Stage Director Tara Faircloth’s work has been seen in opera houses around the nation. Critics hailed Faircloth's recent directorial debut at Lyric Opera of Chicago: a “wickedly funny, elegantly sung, cleverly directed production of Rossini’s The Barber of Seville.” In recent seasons, Faircloth created new productions of The Little Prince (Utah Opera), Ariadne auf Naxos (Wolf Trap Opera), Il re pastore (Merola Opera), Agrippina (Ars Lyrica Houston), and The Coronation of Poppea (Boston Baroque).
The 2021/22 Season found Faircloth working on several new productions, including Emmeline with Tulsa Opera, La Traviata at Opera Santa Barbara and The Merry Wives of Windsor with The Juilliard School, as well as a program with Ars Lyrica Houston entitled “Eternity and the Underworld” which paired Jonathan Dove’s The Other Euridice and Bach’s Ich habe genug. In addition, Faircloth revisited her old favorite The Barber of Seville in a debut at The Dallas Opera.
Faircloth has a thriving career in regional houses such as Utah Opera, Wolf Trap Opera, Arizona Opera, Tulsa Opera, and Atlanta Opera (The Barber of Seville, Rigoletto, The Magic Flute, Hansel and Gretel, etc.). The baroque repertoire is of special interest to Faircloth, who made her directorial debut with Ars Lyrica Houston’s production of Cain: Il primo omicidio in 2003 and has since designed and directed a number of shows for the company including Charpentier’s Actéon and La descente d’Orphée aux enfers. Faircloth created productions of Dido and Aeneas for Ars Lyrica at the Festival di Musica Barroca in San Miguel de Allende, Mexico, and for Mercury Baroque in collaboration with the Dominic Walsh Dance Theater.
Recent seasons for Faircloth have included new productions of Il re pastore with Merola Opera, Agrippina with Ars Lyrica Houston, The Little Prince with Utah Opera, The Coronation of Poppea with Boston Baroque, Eugene Onegin with Arizona Opera, and Britten’s A Midsummer Night’s Dream with Boston University. Additionally, Faircloth has directed new productions of Madame Butterfly with Wolf Trap Opera, L’enfant et les sortileges with Utah Symphony & Opera, Don Giovanni with Arizona Opera, and a reconfiguration of her 2014 Wolf Trap Carmen for Arizona Opera.
Faircloth has worked extensively on the directing staff of such companies as Lyric Opera of Chicago, Houston Grand Opera, Central City Opera, and Dallas Opera, and as such, has worked on some of the most complicated operas in the repertoire, assisting international directors and preparing cover casts of some of the best performers in our industry. Passionate about dramatic training for young singers, Faircloth is the Drama Instructor for the Houston Grand Opera Studio and HGO's Young Artists’ Vocal Academy and has served as a guest coach at Wolf Trap Opera Studio, Des Moines Metro Opera, University of Michigan, and Rice University. Faircloth splits her time between Austin and Houston, Texas, where she enjoys restoring her 1935 Craftsman Bungalow.
Joshua Borths is a stage director, writer, educator, and arts administrator with over twelve years of experience in the opera industry. Borths has directed dozens of professional productions, given over five hundred public lectures, and written more than eight children's operas that have introduced hundreds of thousands of young audiences to opera across the country.
Originally from Cincinnati, OH, Borths is currently the Resident Scholar of Virginia Opera and a member of the stage directing staff of Des Moines Metro Opera. Borths comes to Virginia after having served as the Director of Opera & Musical Theater and Professor of Music History at Capital University in Columbus, OH and as Director of Education and Resident Stage Director at Arizona Opera.
At Capital University, Borths produced and managed all of the opera and musical theatre programming while also teaching the music history curriculum. Additionally, Borths created a joint Resident Artist Program with Opera Columbus, creating innovative programming for both institutions. With Arizona Opera, Borths more than doubled the reach and scope of department through innovative programming and cultural engagement. By the end of Borths' tenure, the Department of Education reached 70,000 people annually.
Past favorites include directing productions of The Falling and the Rising and Beauty and the Beast for Des Moines Metro Opera; Rusalka, Florencia en el Amazonas, and The Barber of Seville for Arizona Opera; Hansel and Gretel and The Tragedy of Carmen for Opera Memphis; Madame Butterfly at Pensacola Opera, La Clemenza di Tito for the University of Maryland, Suor Angelica for Crested Butte Music Festival, and The Elixir of Love for Opera Las Vegas. As a stage director of musical theatre, Borths has directed Parade; Camelot; Kiss Me, Kate; and The Music Man.
Borths has also directed gala performances featuring Frederica von Stade and Joyce DiDonato, and staged the southeastern premieres of Soldier Songs and La Hija de Rappaccini.
As an assistant director, Borths has worked with many opera companies including Arizona Opera, Wolf Trap Opera, Michigan Opera Theater, Des Moines Metro Opera, and the Festival della Valle d'Itria. Additionally, Borths has hosted podcasts, written acclaimed surtitle translations of popular operas, and publicly interviewed many illustrious artists including Jake Heggie, Gregory Spears, David T. Little, Jonathan Dove, novelist Thomas Mallon, and Pulitzer Prize-Winning Author Jane Smiley.
As an educator, Borths has taught at Shenandoah University, been a Visiting Professor at the Crane School of Music (SUNY Potsdam), directed Maryland Opera Studio, and was a guest panelist at the Opera America Conference. Borths collaborated with TED Ed on their first opera resources and was featured in Opera News for his innovative approach to opera education.
Borths holds undergraduate degrees from the University of Michigan and a masters degree in Opera Production from Florida State University.
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Mezzo-soprano Daniela Mack has been acclaimed for her “caramel timbre, flickering vibrato, and crisp articulation” (Opernwelt) as she “hurls fast notes like a Teresa Berganza or a Frederica von Stade” (San Francisco Chronicle).
In the 2016/17 season, Daniela Mack made her Royal Opera House-Covent Garden debut as Rosina in The Barber of Seville with Javier Camerena and will make her Metropolitan Opera debut in Mary Zimmerman’s new production of Rusalka as the Kitchen Boy. She debuts with the New York Philharmonic in Beethoven’s Ninth Symphony under Alan Gilbert and the Florida Grand Opera as the title role in Carmen. Ms. Mack also returns to Arizona Opera as Angelina in Cinderella and Santa Fe Opera as Bradamante in David Alden’s production Alcina conducted by Harry Bicket.
Daniela Mack returned to the San Francisco Opera to reprise her performances as Rosina in The Barber of Seville and created the role of Jacqueline Kennedy in the world premiere of David T. Little and Royce Vavrek’s JFK at the Fort Worth Opera in the 2015/16 season. She also made her Arizona Opera debut in the title role of Carmen and was seen in recital with tenor Alek Shrader at the Tucson Desert Song Festival. On the concert stage, Ms. Mack debuted with three orchestras under Charles Dutoit: Orchestra de la Suisse Romande in Ravel’s L’heure espagnole and L’enfant et les sortilèges, Boston Symphony Orchestra in L’heure espagnole, and Chicago Symphony Orchestra in Falla’s Three-Cornered Hat. She also debuted with the Mitteldeutscher Rundfunk in Rossini’s Giovanna d’Arco under James Gaffigan and performed Vivaldi’s Judith triumphans with Boston Baroque.
Recently, Daniela Mack has been seen at San Francisco Opera as Rosmira in Handel’s Partenope in a production by Christopher Alden, as well as Rosina. In the summer of 2014, she made important role and company debut: the title role in Carmen at Santa Fe Opera in a new production by Stephen Lawless. She also debuted at the Lyric Opera of Chicago as the Kitchen Boy in David McVicar’s production of Rusalka conducted by Andrew Davis and returned to Madison Opera as Sister Helen Prejean in Dead Man Walking. She has been seen at the English National Opera in a new production of Julius Caesar as Sesto under Christian Curnyn, the first time the opera was produced at the ENO since the legendary 1979 production. She also debuted at Théâtre du Capitole in Toulouse and Los Angeles Opera as Nancy in Albert Herring, Washington National Opera as the Madrigal Singer in Manon Lescaut, Deutsche Oper Berlin and Verbier Festival as Cherubino in The Marriage of Figaro, Opéra National de Bordeaux as Angelina in L’italiana in Algeri, and Opera Colorado in Jean-Pierre Ponnelle's famous production of Cinderella directed by Grischa Asagaroff.
In concert, Ms. Mack has been heard with the Los Angeles Philharmonic in Manuel de Falla’s La vida breve under the baton of Rafael Frühbeck de Burgos and Beethoven’s Symphony No. 9, Washington Chorus in Beethoven’s Missa solemnis, Hong Kong Philharmonic in Ravel’s Shéhérazade, and with the Sydney Symphony in Canteloube’s Chants d’Auvergne and Falla’s Siete canciones populares españolas. She also made her Cincinnati May Festival debut in Mozart’s Requiem under James Conlon and in an all-star gala at the Opera Theater of San Antonio.
Daniela Mack is an alumna of the Adler Fellowship Program at San Francisco Opera where she has appeared as Idamante in Idomeneo Siebel in Faust and Lucienne in Die tote Stadt for her house debut. She performed the title role of Cinderella as a member of the Merola Opera Program and made her West Coast recital debut as part of San Francisco Opera’s Schwabacher Debut Recital Series. Ms. Mack was recently a finalist in the 2013 BBC Cardiff Singer of the World Competition.
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American mezzo-soprano Beth Lytwynec most recently returned to The Glimmerglass Festival, singing the role of Dryad in Francesca Zambello's new production of Ariadne in Naxos. Following her first season as a member of the Marion Roose Pullin Opera Studio at Arizona Opera, Ms. Lytwynec returns to Arizona Opera for the 2014/15 season, singing the roles of Maddalena in Rigoletto, Olga in Eugene Onegin, and Second Lady in The Magic Flute. Later this season, Ms. Lytwynec debuts with the Elgin Symphony Orchestra in Beethoven's Ninth Symphony. The 2013/14 season marked Ms. Lytwynec's debut performances with The Phoenix Symphony, singing excerpts from Bizet's Carmen, West Side Story, and Beethoven's Ninth Symphony.
In previous seasons, Ms. Lytwynec has performed with Chautauqua Opera, Nashville Opera, Fort Worth Opera, Opera New Jersey, Lyric Opera Virginia, Boston Opera Collaborative and Seagle Music Colony. Roles include Jo March in Little Women, Mary in Der fliegende Holländer, Romeo in I Capuleti e i Montecchi, Cousin Hebe in H.M.S. Pinafore, Wowkle in La fanciulla del West, the title role of Handel’s Serse, Marcellina in Le nozze di Figaro, Mrs. Grose in The Turn of the Screw, and Dido in Dido and Aeneas.
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Adam Diegel rapidly is establishing international notoriety for an impassioned dramatic sense, powerful voice, and for his classic leading looks in the lyric tenor repertoire.
Mr. Diegel’s 2013-14 season includes a return to the Metropolitan Opera as BF Pinkerton in Madama Butterfly in two series of performances led by Marco Armiliato and Philippe Auguin and debuts at Opera Philadelphia in the Company’s new production of Nabucco under the baton of Music Director Corrado Rovaris and at Vancouver Opera as Cavaradossi in Tosca led by Music Director Jonathan Darlington.
Performances of the 2012-13 season included Madama Butterfly with the Lithuanian National Opera and Ballet Theatre on tour in China at the Guangzhou Opera House in Anthony Minghella’s acclaimed production and the tenor’s signature portrayal of Don José in Carmen at English National Opera and in Sydney in a new production at Opera Australia’s Handa Opera on Sydney Harbour season.
Adam Diegel’s Metropolitan Opera debut came in 2010 as Froh in the Robert Lepage new production of Das Rheingold conducted by James Levine, a role he repeated for the Met under the direction of Fabio Luisi, and other Metropolitan Opera roles have included Pinkerton conducted by Plácido Domingo and Ismaele in Nabucco led by Paolo Carignani.
Highlights of recent seasons also include performances of Tosca at the Glimmerglass Festival and Arizona Opera, Madama Butterfly at Fort Worth Opera, Arizona Opera, PORTOpera, and Kentucky Opera, Carmen with the Glimmerglass Festival, Opera Theatre of Saint Louis, Florida Grand Opera, and Madison Opera, as well as La bohème with Opera Omaha and Minnesota Opera. On European opera stages, he has bowed in Adriana Lecouvreur at the National Theatre of Hungary, followed by a re-engagement with the company in Tosca, Madama Butterfly at the Savonlinna Opera Festival, and David Alden’s new production of Luisa Miller for the Opéra de Lyon conducted by Kazushi Ono.
A native of Memphis, Tennessee, Adam Diegel received his formal musical training at Yale University and is a graduate of the University of Memphis, where he studied Philosophy and Theology. Mr. Diegel worked in the corporate sector for a leading international investment firm before he began his operatic career.
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Lauded by the Dallas News for a "clarion" voice, tenor Scott Quinn fills his 2014-15 season with role debuts. He joins the Lyric Opera of Kansas City for Alfredo in La traviata and Atlanta Opera for Duca in Rigoletto. He returns to Houston Grand Opera as Pirelli inSweeney Todd and Tamino in outdoor performances Die Zauberflöte as well as Dallas Opera for Narraboth in Salome. In coming seasons, he makes debuts with San Francisco Opera, Den Jyske Opera, Arizona Opera, among others, all in leading roles. Last season, he debuted the roles of Ferrando in Così fan tutte with Fort Worth Opera and Pinkerton inMadama Butterfly with Chautauqua Opera after completing his final year as a member of the Houston Grand Opera Studio, where he sang performances of Alfred in Die Fledermaus, Mr. Erlanson in A Little Night Music, and Borsa in Rigoletto.
In previous seasons with Houston Grand Opera, he sang Rodolfo in La bohème, the Sailor in Tristan und Isolde, Ruiz in Il trovatore, Royal Herald in Don Carlos, and Gastone in La traviata. He is also a former Artist in Residence of Dallas Opera where his performances included Tybalt in Roméo et Juliette, Roderigo in Otello, Lord Cecil in Roberto Devereaux, Normanno in Lucia di Lammermoor, and the cover of Greenhorn in the world premiere run of Heggie's Moby Dick. He joined Shreveport Opera for Anthony Hope in Sweeney Toddand The Living Opera (Richardson, Texas) for Martin in The Tender Land and Fredric in Pirates of Penzance. He has also sung previous performances of Rodolfo in La bohème at the Northern Lights Music Festival.
On the concert stage, the tenor has sung Rossini’s Petite Messe Solennelle with the Arts District Chorale in Dallas, Texas; Handel’s Messiahat his alma mater, Stephen F. Austin State University, University Baptist Church (Clearlake, Texas), and Christ Episcopal Church (Tyler, Texas); Schubert’s Mass in G at Emmanuel Lutheran (Seguin, Texas); and Vaughn Williams’ Hodie in a return to University Baptist Church.
Mr. Quinn is a former participant in San Francisco Opera's prestigious Merola Opera Program in which he sang excerpts of the title role of Don Carlos in the Schwabacher Summer Concert as well as Nadir in the well-loved duet from Les pêcheurs de perles. He has won first place in the Shreveport Opera Singer of the Year Competition, second place in the Dallas Opera Guild Competition and has also placed in the competitions of both Florida Grand Opera and Palm Beach Opera. He holds a Bachelor of Music degree from Stephen F. Austin State University.
Bass-Baritone Ryan Kuster gained vast attention on the west coast for his accolades in San Francisco, where he recently completed a two-year residency and over 80 performances with the prestigious Adler Fellowship at San Francisco Opera. His performance as Escamillo in their production of Carmen was called “pure bravado.” The Classical Voice said of his performance as Masetto in Don Giovanni, “Handsome Ryan Kuster sang beautifully, and acted so convincingly that it was hard to believe he’s an Adler Fellow.”
This season, North State Symphony will feature Mr. Kuster in a concert with orchestra of his signature repertoire. He will then sing the title role in Don Giovanni at Opera Memphis, Escamillo in Carmen at Opera Grand Rapids and Knoxville Opera, Angelotti in Toscawith Orlando Philharmonic, Alidoro in La Cenerentola at Opera Saratoga, and makes a triumphant return to Dallas Opera in late 2015.
In recent seasons, Kuster made his symphonic début with the Los Angeles Philharmonic singing the role of Masetto in their highly acclaimed production of Don Giovanni, directed by Christopher Alden, with costumes by Rodarte, and led by Mo. Dudamel. He then returned to Wolf Trap Opera to début the title role of Don Giovanni and made his National Symphony début performing Beethoven’sNinth Symphony. Additionally, Ryan sang Alidoro in Nashville Opera’s production of La Cenerentola; sang Masetto in Don Giovanniwith Cincinnati Opera; appeared in Dallas Opera’s production of Turandot; performed Angelotti in Tosca with Madison Opera and Pacific Symphony; Colline in La bohème with Arizona Opera; Escamillo in Carmen with both Opera Colorado (company début) and Virginia Opera; and two roles at Bard SummerScape Opera: Lysiart in Weber’s seldom performed Euryanthe and Brutamonte in Schubert’s hidden gem Fierrabras.
Previous engagements also include Rambaldo in La rondine with Oberlin in Italy; Pantalone in Le donne curiose with Wolf Trap Opera Company; Samin Trouble in Tahiti with Opera Santa Barbara; covering Samuel Ramey in the title role of Bluebeard’s Castle at the Chicago Opera Theater; The Parson, Badger and Woodpecker in The Cunning Little Vixen, Doctor Grenvil in La traviata and Carl Olsen in Street Scene with Chautauqua Opera; Count Ceprano in Rigoletto and Betto in both Gianni Schicchi and Ching’s Buoso’s Ghost with Opera New Jersey; and Ferrando in Il trovatore, Snug in A Midsummer Night’s Dream and Frère Laurent in Roméo et Juliette at Opera North.
On the concert stage, Mr. Kuster performed the bass solos in the Fauré Requiem with the Bucks County Symphony, the MozartRequiem with the Neumann College Choir, the bass solos in the Messiah with the Tindley Temple Choir, the title role of Händel’s oratorio Saul with the Marsh Chapel Choir and Collegium, andAdam in Haydn’s The Creation with the Boston University Symphonic Chorus. He also appeared as a featured soloist with the Jacksonville Symphony Orchestra, Ocean City Pops, New Jersey Master Chorale, and Concert Operetta Theater of Philadelphia.
Mr. Kuster recently sang on the Metropolitan Opera stage as a National Council Semi-Finalist. He received a 3rd place prize in the Gerda Lissner International Vocal Competition and received a Grant from the Licia Albanese-Puccini Foundation Competition. He also was given the Encouragement Award in the Philadelphia region of the Metropolitan Opera National Council Auditions and the Harmon Award from Chautauqua Opera.
His strong relationship with San Francisco Opera began when he joined the Merola Program, where he appeared as Garibaldo inRodelinda, Don Bartolo in Il barbiere di Siviglia, and Dr. Cajus in Die Lustigen Weiber von Windsor in the Schwabacher Scenes Program. Mr. Kuster earned an Artist Diploma at the Academy of Vocal Arts where he performed the roles of the Governor in the world première of Margaret Garwood’s The Scarlet Letter, Schaunard in La bohème, Enrico in Anna Bolena, Oroveso in Norma, the title role in Don Pasquale, Doctor Grenvil in La traviata, Dikoj in Kát’a Kabanová, and Don Alfonso in Così fan tutte.
Mr. Kuster also holds a Master of Music degree from Boston University where he performed the roles of A Man with a Cornet Case in Argento’s Postcard from Morocco, Benoit in La bohème, Garrido in Massenet’s La Navarraise, and Amantio DiNicolao in Gianni Schicchi. Mr. Kuster earned a Bachelor of Music degree from Westminster Choir College.
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Soprano Karin Wolverton has been described by Opera News as “a young soprano to watch” having “a lovely warm tone, easy agility and winning musicality”.
Ms. Wolverton took on the challenging role of Anna Sørensen in the 2011 world premiere of Kevin Puts’ Pulitzer Prize winning opera Silent Night with the Minnesota Opera for which WQXR acclaimed “. . . soprano Karin Wolverton, whose diamond-edged soprano shone in a sublime Act I “Dona Nobis Pacem” during mass, and sliced through the top notes of a second-act aria full of emotional turbulence as she realizes the beauty of her art is no match for the horrors of war.”
Continuing her passionate involvement in new works, Ms. Wolverton will return to Arizona Opera in the 2016-2017 season for the world premiere of Riders of the Purple Sage by Craig Bohmler. Additionally, she will return to Minnesota Opera as Freia in Das Rheingold, the Jacksonville Symphony as the Mother in Hansel and Gretel, and will debut with Opera Santa Barbara as Magda in La rondine. The 2015-2016 season saw her return to Tulsa Opera as Mimi in La bohème and debuts with Arizona Opera as Micäela in Carmen, the South Dakota Symphony for another La bohème, the Jacksonville Symphony Orchestra for Beethoven’s 9th Symphony, and Angels & Demons Entertainment as the Countess in The Marriage of Figaro. Her 2014-2015 season included Fiordiligi in Utah Opera’s Così fan tutte, her debut with Austin Lyric Opera as Donna Elvira in Don Giovanni, the Mother in Amahl and the Night Visitors with the Minnesota Orchestra, and singing Shepherd on the Rock and Brad Mehldau’s The Book of Hours with the Joya! Concerts Series and Strauss’ Four Last Songs with the Hill House Players. Previous roles include Pamina in The Magic Flute, Mimì in La bohème, the Mother in Amahl and the Night Visitors and the soprano soloist in Dvořák’s Te Deum with the Minnesota Orchestra; Donna Anna in Don Giovanni with Opera Omaha; and Mimì with Pensacola Opera.
A favorite on Minnesota Opera’s main stage and a passionate exponent of its New Works Initiative, Ms. Wolverton regularly participates in workshops shepherding new opera. Other engagements in Minnesota include Musetta in La bohème, the Wood Nymph in Rusalka, Donna Anna in Don Giovanni, Antonia in The Tales of Hoffmann, Ines in Donizetti’s rarely performed bel canto masterpiece Maria Padilla, Micaëla in Carmen, Pamina in The Magic Flute, Countess Ceprano in Rigoletto, Praskowia in The Merry Widow, Clotilde in Norma, Moira in the American premiere of Poul Ruders’ The Handmaid’s Tale, Alisa in Lucia di Lammermoor and the Celestial Voice in Verdi’s Don Carlos. For the same company she has covered the demanding roles of Salome, Rusalka, and Sister Aloysius in Doubt, and sang Mimì for the hugely popular parks concert, Opera under the Stars.
Having participated in the world premiere of Ricky Ian Gordon’s critically acclaimed The Grapes of Wrath, she was invited to reprise her role at Utah Opera and Pittsburgh Opera. In recent years, Ms. Wolverton has also been seen as Micaëla in Carmen with Tulsa Opera, Anne Trulove in The Rake’s Progress, Micaëla, and Antonia at Des Moines Metro Opera; the Countess in The Marriage of Figaro and Fiordiligi in Così fan tutte with Piedmont Opera; the Mother in Amahl and the Night Visitors with Fargo-Moorhead Opera, and Mimì with Teatro Nacional de Managua in Nicaragua and the Huntsville Symphony Orchestra.
On the concert stage, Ms. Wolverton made her Carnegie Hall debut with the Minnesota Orchestra in Nielsen’s Symphony No. 3 and has appeared with the Orchestra Seattle and the Saint Cloud Symphony (Barber’s Knoxville: Summer of 1915), Chippewa Valley Symphony (Mahler’s Symphony No. 2; the Phoenix Symphony and the Eugene Symphony (Beethoven’s Symphony No. 9); the Discovery Ensemble (Esa-Pekka Salonen’s Five Images after Sappho); New Hampshire Music Festival (Poulenc’s Gloria); Wayzata Symphony Orchestra (Carmina burana); Saint Paul Chamber Orchestra Musicians (Handel’s Messiah); the Great Falls Symphony; and the Dayton Philharmonic for its gala performance of “Viva Italia!”
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).
A 2017 recipient of a top prize from the Sullivan Foundation, Joseph Lattanzi established himself as a singer to watch with his portrayal of Hawkins Fuller in the world premiere of Greg Spears’ Fellow Travelers with Cincinnati Opera, followed by further performances for his debut with Lyric Opera of Chicago, in New York at the PROTOTYPE Festival, and with Arizona Opera, and Des Moines Metro Opera. Praise for Lattanzi's performances included The New York Times saying “Joseph Lattanzi was splendid as Hawk, his buttery baritone luxuriant and robust.” and Opera News described him as a “confident, handsome presence, and a resonant baritone suggesting wells of feeling that the character might prefer to leave untapped.” In the 2022/23 Season, Lattanzi once again joined The Metropolitan Opera for their productions of Peter Grimes and Lady MacBeth of Mtsensk before returning to the role he created in Fellow Travelers with Virginia Opera. Lattanzi also made a debut with the Sacramento Choral Society as the baritone soloist in Carmina Burana.
In the 2021/22 Season, Lattanzi continued his relationship with The Metropolitan Opera, covering the role of Orpheus in Matthew Aucoin’s Eurydice and joining their production of Madame Butterfly. Additionally, Lattanzi returned to his hometown in the title role in The Barber of Seville with the Atlanta Opera, where he was praised for his “stellar” voice and his “top notch” acting by the Atlanta Arts Review. Lattanzi capped off the season debuting the role of Escamillo in Utah Festival Opera’s production of Carmen.
Recent career highlights include his return to Cincinnati Opera as Count Almaviva in The Marriage of Figaro, Silvio in Pagliacci with Atlanta Opera, Dandini in La cenerentola with Virginia Opera, and the title role in Don Giovanni with the Jacksonville Symphony. A regular at The Metropolitan Opera since the 2018/19 Season, Lattanzi has been on the roster for productions of Der Rosenkavalier, Kat’a Kabanvova, Marnie, Madame Butterfly, and The Barber of Seville. Lattanzi has also maintained a strong relationship with Arizona Opera, where he was a member of the Marion Roose Pullin Opera Studio from 2015 until 2017. During Lattanzi's time with the company, he was heard in the title role of Don Giovanni, as Dandini, Riolobo in Florencia en el Amazonas, and was featured in the company’s Sapphire Celebration with Frederica von Stade. Additional performances included Moralès and Dancaïre in Carmen, Yamadori in Madame Butterfly, and as the Gamekeeper in Rusalka. Lattanzi also appears regularly with Seattle Opera, most recently as the Steward in their filmed production of Jonathan Dove’s Flight.
On the concert stage, Lattanzi was heard in a celebration of the music of Leonard Bernstein with the Atlanta Symphony Orchestra and in the coast of West Side Story at Grand Tetons Music Festival under the baton of Donald Runnicles. Lattanzi has appeared with Jake Heggie in OPERA America’s Creators in Concert series, previewing Fellow Travelers at Brooklyn’s National Sawdust, and in Carmina Burana with the Reno Philharmonic and at the Christ (Crystal) Cathedral, and with the Chicago Sinfonietta.
The Georgia native has studied at the Oberlin Conservatory of Music and the University of Cincinnati College-Conservatory of Music (CCM). In addition to two summers at the Merola Opera Program, Lattanzi has participated in programs at the Brevard Music Center and the Chautauqua Institute Voice Program.
Andrew Penning, originally from St. Paul, MN, is a tenor in the Arizona Opera Studio. During the
Mr. Penning has been a Young Artist with some of the most prestigious companies and festivals in the United States. In the summer of 2015 he will cover the role of Belmonte (Die Entführung aus dem Serail) at Des Moines Metro Opera. At the Glimmerglass Festival he performed the roles of Delmonte (King for a Day) and Scaramuccio (Ariadne auf Naxos). With Utah Opera as The Ballad Singer in Of Mice and Men, Opera News said, “cast standouts included … Andrew Penning as the Ballad Singer, whose sweet lyric tenor conveyed the workers’ conscience.” As a Fellow at the 2011 Tanglewood Music Festival, he sang the Second Tenor in performances of Stravinsky’s Renardwith the Mark Morris Dance Group and gave recital performances featuring works by Richard Strauss, Alberto Ginastera and Ralph Vaughn Williams’ chamber song cycle On Wenlock Edge. At CCM Spoleto in the summer of 2010, he performed the role of the Male Chorus (The Rape of Lucretia). As a young artist at Seagle Music Colony in upstate New York, he performed the roles of The Governor and Vanderdendur (Candide).
In addition to his work in opera, Mr. Penning is also an active concert soloist. In performances of Handel’s Messiah with the Tucson Symphony of 2014, the Arizona Daily Star said “Penning…was a
Cantata 12, Haydn’s Grosse Orgelmesse in E Flat, and Bruckner’s Te Deum.
Mr. Penning completed his Master of Music in Vocal Performance at the University of Cincinnati:
Amy Mahoney was featured as Mary in worldwide television broadcasts of The Birth of Christ by Andrew T. Miller filmed at Christ Church Cathedral in Dublin, Ireland, and narrated by Liam Neeson. She reprised the role at Christmastime 2013 at St. Stephen’s Cathedral in Vienna, Austria.
Her New York debut was playing Mollie in a production of Jerome Kern’s Oh, Lady! Lady! with Musicals Tonight, and she was seen on Live from Lincoln Center performing with the New York Philharmonic in Camelot starring Gabriel Byrne and Marin Mazzie. She recently sang the roles of Lauretta in Gianni Schicchi and Suor Genovieffa in Suor Angelica with Opera Southwest, and Clorinda in La Cenerentola with Madison Opera.
Earning rave reviews, Ms. Mahoney appeared for several months as La Diva in Seattle’s acclaimed production of Teatro ZinZanni, hailed as “This city’s hottest ticket!” by the New York Times. Other favorite roles performed include Pamina in Die Zauberflöte (Atlanta Ballet), The Prima Donna in Viva La Mamma (Tacoma Opera), Susanna in Le nozze di Figaro and Adele in Die Fledermaus with Opera Southwest, and Magnolia in Show Boat (Washington East Opera). She can be heard on Stage Stars’ recordings of Broadway musicals as Maria in The Sound of Music, Laurey in Oklahoma! and Lilli/Katharine in Kiss Me Kate.
Lauded for her vocal agility and dynamic stage presence, Alyssa Martin is quickly garnering attention as a standout young singer.
Ms. Martin is currently a first-year Marion Roose Pullin Studio Artist at Arizona Opera. This season she will perform Mercédès in Carmen, Meg Page in Falstaff, and Zerlina in Don Giovanni. She will also appear as the mezzo soloist in Handel’s Messiah with the Santa Fe Symphony.
Upcoming engagements include a return to The Santa Fe Opera as an Apprentice Artist, where she will perform the role of Stéphano in Roméo et Juliette and a return to Arizona Opera in the 2016/17 season singing Kitchen Boy in Rusalka, Kate Pinkerton in Madama Butterfly, and Angelinain La Cenerentola.
Ms. Martin’s 2014/15 season included her tenure as an Apprentice Artist at the Santa Fe Opera where she covered Don Ramiro in Mozart’s La finta giardiniera. While at Santa Fe, Ms. Martin also performed scenes as Dorabella in Così fan tutte, and Desdemona in Rossini’s Otello. Other recent engagements include covering Flora and Annina in La traviata and The Page in Salome as an Emerging Artist at Virginia Opera. Ms. Martin was also an Apprentice Artist with Des Moines Metro Opera, where she covered Isolier in Rossini’s Le Comte Ory.
This season, Ms. Martin was named a winner in the Arizona District Metropolitan Opera National Council Auditions, where she went on to place 3rd in the Western Region Finals. In the 2014/15 season, she was awarded a Career Grant from the Seattle Opera Guild, an Encouragement Grant from the Career Bridges Grant Foundation, and also 2nd prize at the Young Patronesses of the Opera Competition at Florida Grand Opera. She has been the recipient of numerous awards from organizations such as the Orpheus Vocal Competition, Young Patronesses of the Opera, Opera Guild of Dayton, Indianapolis Matinee Musicale, and Utah Festival Opera.
Ms. Martin completed her studies at the prestigious Indiana University Jacobs School of Music where she obtained both a bachelor’s and master’s degree under the instruction of Patricia Stiles and world-renowned soprano, Carol Vaness. On the IU stage she performed roles such as Cherubino in The Marriage of Figaro, Cendrillon in Cendrillon, Dorabella in Così fan tutte, and Prinz Orlofsky in Die Fledermaus. Ms. Martin is a native of Greensboro, NC.
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.