The Copper Queen
Clint Joseph Borzoni is the Resident Composer for Musica Marin, a nonprofit organization that presents, supports and inspires classical music throughout the San Francisco Bay Area. He is an award-winning composer whose “highly original yet lyrical music…[and] natural gift for melody and harmonic structure” (The Huffington Post) has resulted in international performances and premieres.
He has collaborated with librettist John de los Santos on the opera When Adonis Calls. The lyrical opera (fashioned entirely from the poetry of Gavin Geoffrey Dillard), was selected for inclusion by Fort Worth Opera’s Frontiers and Opera America’s New Works Forum. The world premiere at the Asheville Lyric Opera sold out, and was followed by a collaborative new production in Chicago between Thompson Street Opera and Pride Films & Plays. Their second collaboration, The Copper Queen, won the Arizona Spark competition, and will open the McDougall RED Series in the 2020/21 Season— excerpts were recently performed at the American Lyric Theater’s Alumni concert, with a third sold-out workshop at Opera America. Clint and John are currently in development with The American Opera Project on a new holiday opera, The Christmas Spider. Other operatic works include Margot Alone in the Light, an adaptation of Ray Bradbury’s story "All Summer in a Day" (premiered by operamission and subsequently produced by Opera On Tap); and Antinous and Hadrian (commissioned by operamission). The orchestra suite based on Antinous and Hadrian won the Queer Urban Orchestra’s 2018 composition competition.
Borzoni has composed songs and song cycles for many leading vocalists. He won BARIHUNKS Best New Song (2015), Best New Solo Work for Baritone (2017), operamission’s cabaret song competition, and was a prize winner of Sparks & Wiry Cries Second and Fourth annual NYC songSLAM. Borzoni’s additional honors include the Morton Feldman Award, the Boston Metro Opera Festival Award, an artist residency with the American Lyric Theater’s Composer Librettist Development Program, an artist residency with The American Opera Project’s Composers and the Voice Program, and an associate producer credit for Patricia Racette’s CD "Diva on Detour".
In addition to composing opera, art song, and concert music, his musical My Life as a Bald Soprano received an Off-Broadway run at the Midtown International Theater Festival. Borzoni has also scored three films for the production company JR VISION, which were featured at the Take Two Film Festival, the Miami Short Film Festival, and Anthology Film Archives. His music has been presented by the Merola Opera Program, the Glimmerglass Festival, the Bay View Music Festival, the Wintergreen Festival, the Summer Street Festival, St Martin-in-the-Fields, the U.S. embassy in Switzerland, La MaMA, Symphony Space, Opera Grows in Brooklyn, the New York Youth Symphony, the Walt Whitman Project, the Jacobs School of Music, the Guildhall School of Music, the Mannes School of Music, and many more venues and universities.
He has recently been commissioned by Arizona Opera, the Delaware Art Museum, the Big Apple Corps Symphonic Band, and Barihunks. He studied with Pulitzer Prize-winning composer David Del Tredici at the City University of New York where he received an MA in Music Composition. He recently finished a new oratorio, The Wife of Lot, which was commissioned by the Gavin Dillard Poetry Library & Archive, and made possible by a generous donation from Steven J. Schimmel. The Wife of Lot is part of the collection of the Senator John Heinz History Center, in association with the Smithsonian Institution.
Director and choreographer John de los Santos has been called a “brilliant combination of literary insight and choreographic creativity.” He has staged a range of productions that include opera, musicals, plays, ballet, concerts, variety shows, and workshop readings.
His extensive background as an actor and dancer has given him an incisive dramatic perspective that has yielded stagings hailed as “vivid theatre”, “stark and unflinching”, and “imaginative, very humorous, and sophisticated”. John’s productions across the United States include The Music Man for Utah Festival Opera, Carmina Burana for Minnesota’s Northern Lights Music Festival, Cendrillon for Kentucky Opera, María de Buenos Aires for Lexington Philharmonic, and Green Sneakers for the Southside Theatre at San Francisco’s historic Fort Mason Center. His choreography has also been seen at the Washington National, Florida Grand, Philadelphia, Des Moines Metro and Austin Lyric Opera Companies.
In 2003, he became the resident choreographer for the Fort Worth Opera, where his choreography has been seen in Rigoletto, Salome, La Traviata, Amahl and the Night Visitors, and the world premieres of Frau Margot and Before Night Falls. John then made his directing debut with the company with a 2009 production of Carmen, followed in 2011 by The Mikado. In 2010 he made his choreographic debut for the Dallas Opera with Don Giovanni. John has served on the directing faculty of the Seagle Music Colony in Schroon Lake, NY since 2005. In addition to his work as choreographer and a dramatic/movement coach, his productions at the Seagle Colony have included Anything Goes, Crazy for You, The Medium, The Fantasticks, The Mikado, LaBoheme, Guys & Dolls, and Brigadoon. John has also coached young artists with the Washington National, Fort Worth, and Des Moines Metro Opera Companies, directed theatre for Fort Worth Academy, held dance workshops with Kids Who Care, and served on the faculty of the KD Conservatory of Film and Dramatic Arts in Dallas. John is also the co-librettist for the new opera When Adonis Calls, currently being composed by Clint Borzoni.
John has directed and choreographed for a variety of acting companies and music ensembles across the Metroplex. These productions have included Ricky Ian Gordan’s Orpheus & Euridice for Voices of Change, Italienisches Liederbuch for Voces Intimae, The Tenderland and Cosi Fan Tutte for The Living Opera, Seussical for Kids Who Care, Spring Awakening for WaterTower Theatre, andMadonna/Madonna for the Turtle Creek Chorale. For the Dallas-based theatre company Uptown Players, choreographed the American premiere of the Pet Shop Boys musical Closer to Heaven, the regional premiere of Altar Boyz (for which John was awarded the DFW Critics Forum Award for Best Choreography), and directed and choreographed the regional premiere of Hello Again. John is originally from San Antonio, Texas, where he performed as a principal member of the Alamo City Dance Company, dancing in leading roles.
He then relocated to Fort Worth, Texas and received his BFA in Theatre/Film Performance & Direction from Texas Christian University.
In addition to his directing and choreography, John has also performed with various production companies in the DFW Metroplex including Lyric Stage, Casa Manana, Uptown Players, Theatre Three, Contemporary Theatre of Dallas, Theatre Britain, the Turtle Creek Chorale, and AMS Productions.
Conductor Daniela Candillari continues to be recognized for her dynamic and compelling performances at opera houses and concert stages throughout North America and Europe. Her 2019/20 Season features a number of important debuts, beginning with the world premiere of Hannah Lash’s Desire at New York City’s Miller Theater, followed by her New York Philharmonic debut conducting Thomson’s The Mother of us All at The Metropolitan Museum of Art. She makes her mainstage debut at Arizona Opera in November conducting Gregory Spears’ Fellow Travelers, which she led previously with both the Lyric Opera of Chicago and Minnesota Opera. Following her acclaimed performances of Acquanetta with the PROTOTYPE Festival, Candillari returns in January to conduct Rev. 23, produced by Trinity Wall Street and directed by James Darrah. An avid educator, she spent the summer of 2019 conducting the west coast premiere of Jennifer Higdon’s Cold Mountain at the Music Academy of the West and returns to the Manhattan School of Music in April for performances of Martha. She makes her debut with Cincinnati Opera in the summer of 2020 for their 100th Anniversary season, leading Dvořák’s Rusalka.
Recent engagements include her debut with Opera Philadelphia in a new production of Rene Orth’s Empty the House, her Boston conducting debut in the world premiere of PermaDeath, and her Asian debut in Hong Kong conducting Du Yun’s Pulitzer Prize winning opera Angel’s Bone. She appeared in concert with Trinity Wall Street’s NOVUS NY Festival to open their 2018 season in celebration of Leonard Bernstein’s Centennial, and returned to the Lyric Opera of Chicago in 2019 for Perla’s An American Dream.
In past seasons Candillari has collaborated with Matthew Aucoin on his opera Crossing for The Brooklyn Academy of Music’s NEXT WAVE Festival and Vasily Petrenko on a production of Falstaff with Royal Liverpool Philharmonic featuring Sir Bryn Terfel. In addition to leading workshops for Arizona Opera (The Copper Queen) and Opera Philadelphia (Double Exposure), she workshopped Rachel Peters’ and Royce Vavrek’s opera Wild Beast of the Bungalow and gave the first public presentation of Hannah Lash’s opera Beowulf at the Center for Contemporary Opera. Candillari conducted the world premiere of Stefania de Kenessey’s Bonfire of the Vanities at the Museo del Barrio in New York.
As a composer, Candillari has been commissioned by artists including instrumentalists from the Boston, Cleveland, Detroit, and Pittsburgh Symphonies, as well as the three resident orchestras of Lincoln Center - the Metropolitan Opera Orchestra, the New York Philharmonic, and the New York City Ballet. A champion of contemporary repertoire, Candillari founded her own chamber orchestra Gravity Shift in New York City in order to bring traditional repertoire to new audiences.
A native of Slovenia, Candillari holds a Doctorate in Musicology from the Universität für Musik in Vienna, a Master of Music in Jazz Studies from the Indiana University Jacobs School of Music, and a Master of Music and Bachelor in Piano Performance from the Universität für Musik in Graz. She was a Fulbright Scholarship recipient and was subsequently awarded a TED Fellowship.
Crystal Manich (Director) hailed by the New York Times, The Wall Street Journal, and other major publications for “lively” and “imaginative staging,” has directed over 60 productions of operas, plays and musicals. Credits: Buenos Aires Lírica in Argentina, Pinchgut Opera in Australia, Pittsburgh Opera, The Kennedy Center, Santa Fe Opera, Wolf Trap Opera, Boston Lyric Opera, Utah Opera, Theater Lattè Da in Minneapolis, Tulsa Opera, American Opera Projects, Opera Omaha, Opera Santa Barbara, Brevard Center, Opera Columbus, North Carolina Opera, Opera Delaware, Roanoke Opera, and Lyric Opera of Baltimore. She recently directed the world premiere play Return to Sender for Nashville Children’s Theatre, which has received much acclaim and several awards nominations. Former Artistic Director of Mill City Summer Opera and former Founding Co-Artistic Director for Opera Omnia in New York. She was Assistant Artistic Director on Cirque du Soleil’s Quidam in Brazil. Upcoming: the opera version of the film Il Postino at various companies in the US; a Spanish language adaptation of Cimarosa’s Il matrimonio segreto (Florida Grand Opera); the opera version of A Streetcar Named Desire (Opera Roanoke); and La bohème (Wolf Trap Opera). She was a finalist in the 2019 Oaxaca Film Festival Global Script Challenge for her short film script Desconocer. Crystal is a graduate of Carnegie Mellon University.
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.
|September 25, 27, & October 3|
With more than 20 leading roles under her belt and a key to her hometown city, Cecilia Violetta López has arrived, Opera News naming her one of opera’s “25 Rising Stars.” The singing actress is constantly praised for her “alluring voice and incredible range” (Washington Times). She has received accolades for her signature role of Violetta in La traviata, which she has performed countless times throughout North America, critic James Jorden exclaiming “she is a Violetta fully-formed and, I think, ready for the great stages of the world.” She has now performed the role with Minnesota Opera, Opera Colorado, Opera Tampa, Opera Idaho, Ash Lawn Opera, and Virginia Opera. López made her European début as Norina in Don Pasquale with Zomeropera in Belgium, for which Klassiek Centraal exclaimed: “She turns out to be the revelation of the show and wins over the audience with her funny rendition, irresistible charm, and [she is] natural in the different vocals.”
This season, Lopez reprises her signature role of Violetta in La traviata with Madison Opera, débuts the title role in Manon with Opera Idaho, performs Beatrice Russo in Il Postino with Opera Southwest, Nedda in Pagliacci with Opera Colorado and Liu in Turandot with Austin Opera. In addition to performing around the country, Cecilia is also working with enthusiasts of her career on two autobiographies and a solo recording project.
From her recent performance as Adina in The Elixir of Love with Virginia Opera, The Virginian-Pilot hailed, “Cecilia Violetta López is showing local audiences why Opera News named her one of its ’25 Rising Stars.’ In the lead role of Adina, she hit the highest notes with ringing clarity, performed the vocal runs with precision and grace and showed a particular charm and humanity in the softest passages and lowest ranges.” In her recent performance as Marguerite in Faust with Opera Omaha, the Omaha World-Herald claimed “…López sang Marguerite’s seduction, madness and salvation with an other wordly wisdom and artistry.”
In past seasons, López has made several role débuts including her now critically acclaimed role of Adina in The Elixir of Love with Opera Idaho and Opera Las Vegas, Mimì in La bohème with Opera Orlando, Rosalba in Florencia en el Amazonas with Florida Grand Opera, Rosina in The Barber of Seville, Fiordiligi in Così fan tutte, and Contessa in The Marriage of Figaro with Opera Tampa, Hanna Glawari in The Merry Widow with Opera Saratoga, Lucy in Fellow Travelers with Prototype Opera Festival, the title role of Suor Angelica with Opera San Luis Obispo, Magda in La rondine with Skylark Opera Theatre, Gilda in Rigoletto with Opera Idaho, and Zerlina in Don Giovanni with Opera Tampa and Opera Las Vegas. In addition to these débuts, she reprised the role of Micaëla in Carmen with Madison Opera and joined the roster of the Metropolitan Opera in their 2015 production of The Merry Widow. Solo concert performances include Mahler’s Symphony No. 4 and selections from Canteloube’s Chants d’Auvergne with the Henderson Symphony Orchestra, and Rutter’s Mass of the Children with the Southern Nevada Musical Arts Society. Additionally, López has performed as a soloist at an Idaho Museum of Natural History gala, various Christmas concerts with Madison Symphony and as a featured soloist in concerts with the Boise Philharmonic, Austin Opera, and the Bard SummerScape Music Festival.
Ms. López also completed a two-year-tenure as a Soprano Resident Artist at Opera San José where she performed Leïla in Les pêcheurs de perles, Rosalinde in Die Fledermaus, Leonora in Il trovatore, the title role in Suor Angelica, Lauretta in Gianni Schicchi, Nannetta in Falstaff, Gretel in Hänsel und Gretel, Donna Anna in Don Giovanni, and Cio-Cio San in Madama Butterfly. Additionally, Ms. López is an alum of the Caramoor Music Festival where she covered the role of Hélène in Les vêpres siciliennes. She is also an alum of the Hawaii Performing Arts Festival where she sang the title role in their production of L’incoronazione di Poppea. Her début of the role of Violetta in La traviata, was with Martina Arroyo Foundation’s prestigious summer festival, Prelude to Performance.
Ms. López was awarded First Prize and the Audience Favorite Award in the 2014 Irene Dalis Vocal Competition. She was a semifinalist in the 2011 Loren Zachary Vocal Competition in Los Angeles and won the 2012 The Metropolitan Opera National Council Auditions for the Utah District, advancing to the Rocky Mountain Regional Finals at the Ellie Caulkins Opera House in Denver, Colorado. She is a grant recipient of the Olga Forrai Foundation. Ms. López earned a Bachelor of Music degree (vocal performance) from the University of Nevada, Las Vegas in 2011.
Recently, Ms. López became the recipient of an Idaho State Concurrent Resolution honoring her life as an Idahoan and her work in the world of opera. “We should be so very proud of Cecilia Violetta López. She exemplifies all that is what America is about: apply yourself, work hard, dream big, and you can achieve those dreams. She tells every Idaho girl and boy that they, too, can succeed … no matter where they came from, no matter how small they may start out, no matter how long their journey may appear to be. Idaho should be so very proud of this young lady and should hold her up as an example of what all Idaho children might achieve.”
--Opera Idaho Board Member, Yvonne McCoy for Senator Buckner-Webb.
|September 26 & October 4|
Grammy Award-nominated soprano Chelsea Basler continues to make her mark in an extensive array of operatic roles due to her unique combination of vocal appeal and artistry. Praised for her "luminous voice" with its "easy soaring range", she has also been noted for her "wonderful acting" and ultimately deemed "simply superb". In the spring of 2019, Basler returned to Boston Lyric Opera for the East Coast premiere production of Poul Ruders' The Handmaid's Tale, as Moira and made a company debut with Boston Midsummer Opera as Clorinda in La cenerentola. In the fall of 2019, Basler joined the Metropolitan Opera roster, covering Poussette in Manon, rejoined BLO to sing Mary Johnson in the New England Premier of Fellow Travelers, making her Boston Youth Symphony Orchestra debut as the High Priestess in Aida, her Odyssey Opera debut as Penelope in Benjamin Britten’s Gloriana and returning to the Metropolitan Opera to cover Musetta in La bohème. In the summer of 2019, Basler will sing the role of Angela in Kurt Weill’s Firebrand of Florence at Jordan Hall in Boston and Ozawa Hall at Tanglewood. During the 2020/21 Season, Basler will make her Arizona Opera debut, and will return to BLO and Cape Symphony.
Basler enjoys a particularly strong relationship with BLO, which she initially joined as an Emerging Artist during the 2013/14 season. She rejoined the company for their March 2018 production of The Threepenny Opera as Lucy and Basler made her critically acclaimed role debut as Micaëla in Boston Lyric Opera's mounting of the Calixto Bieito production of Carmen in the autumn of 2016. Her other roles with Boston Lyric Opera include Valencienne in The Merry Widow; Glasha in Katya Kabanova; Margret in Lizzie Borden, a production which was reprised at the 2014 Tanglewood Festival; and Isolt the Fair in Frank Martin's The Love Potion (Le vin herbé), a portrayal of hailed as "lovely, passionate, and clear" by Opera News.
Particularly noted for her interpretation of the title role of Carlisle Floyd's Susannah, Basler has benefited from the mentorship of the role's creator, the late Phyllis Curtin, and both the coaching and enthusiastic endorsement of Floyd himself. She made her Nashville Opera debut in the role during the spring of 2018 and her Pasadena Opera debut in the same role in 2016. Additional recent engagements include performing Mozart's Susanna in Opera Saratoga's 2016 production of The Marriage of Figaro and covering Liù in Virginia Opera's 2017 production of Turandot.
Basler has fulfilled several prestigious young artist residencies, most recently joining Santa Fe Opera as a 2015 Apprentice Artist, covering Arminda in Mozart's rarely performed La finta giardiniera and creating the role of Sara in the world premiere of Jennifer Higdon's Cold Mountain, a live recording of which was released by Pentatone and has recently been nominated for a Grammy. As a 2013 Apprentice Artist with Opera Saratoga, she performed Josephine in H.M.S. Pinafore. In 2012 and 2013, Basler was a young artist with Sarasota Opera, where she appeared as Guardian of the Dawn in Daron Hagen's Little Nemo in Slumberland and Curley's Wife in Of Mice and Men. As a young artist with Des Moines Metro Opera in 2012, Basler covered the role of Magda in La rondine.
An accomplished concert and recital performer, Basler's 2017 and 2018 engagements include debuts with Omaha Symphony, performing Mendelssohn’s Elijah, Boston's Mercury Orchestra, performing Strauss Lieder and Berg's Lulu Suite, and Glen Falls Symphony, performing the J.S. Bach Cantata 51 and Mahler's Symphony No. 4, as well as joining the Cape Symphony both as soprano soloist for 'Opera's Greatest Hits', in collaboration with Boston Lyric Opera, and as soprano soloist for the Mozart Requiem. In 2019, Basler will join the Providence Singers for The Wound in the Water by Kim Andre Arnesen. In recent seasons, her concert repertoire has also included Barber's Knoxville: Summer of 1915, Vaughan Williams' Dona nobis pacem, Puccini's Messa di Gloria, Mozart's Exsultate Jubilate, and Handel's Messiah.
Basler's talents have been recognized throughout the vocal competition circuit. Most recently she was awarded second place for the 2017/18 American Prize in Vocal Performance (Friedrich and Virginia Schorr Memorial Award), first place in the National Opera Association's prestigious Carolyn Bailey and Dominick Argento Vocal Competition, as well as both Fourth Place and the Lorena Beasley Mangin Memorial Award in the Mary Jacobs Smith Singer of the Year Vocal Competition (Shreveport, LA). Basler has also earned the Flournoy Award from the Mary Jacobs Vocal Competition, Boston University's Kahn Award, first place in the Peter Elvins Vocal Competition, and a grant from the Shoshana Foundation. Ms. Basler earned her Artist Certificate (Opera Institute) and MM from Boston University and her BM from NEC.
In the 2018/19 Season, Sarah performed the role of Adonis in the world premiere of Dan Visconti and Cerise Jacobs' ‘Interactive video game opera’ PermaDeath with White Snake Projects in Boston. She made her Seattle Opera debut as Mercédès in Carmen, performed at the Ravinia Festival as a soloist in Bernstein’s Songfest, joined West Edge Opera as Jenny Diver in The Threepenny Opera. She sings her first Olga in Eugene Onegin with Livermore Valley Opera, and will be heard in a special New Year’s Eve concert with American Bach Soloists joined by Hadleigh Adams. In 2020, Sarah is heard again as Mercédès in Carmen with Opera Tampa and Rosina in The Barber of Seville with Utah Opera.
In 2018, Mezzo-soprano Sarah Coit was a Vocal Fellow with Ravinia's Steans Music Institute and made several important role and house debuts. Opera News praised her performance as Cherubino in The Marriage of Figaro with Michigan Opera Theatre: “Sarah Coit’s burnished mezzo-soprano gave her Cherubino a seductive tinge. Her pure, lovely “Voi che sapete” confirmed her bright future, made all the more likely by her undeniable aptitude for physical comedy.” She was also heard as Addison Moore in a workshop performance of John de los Santos and Clint Borzoni's The Copper Queen with Arizona Opera at Opera America.
Other roles in her repertoire include Nancy in Albert Herring, Sister Helen Prejean in Dead Man Walking, the title role in Giulio Cesare, and the Waitress in the world premiere of Michael Ching’s Speed Dating Tonight.
In the summer of 2015, Sarah was a Gerdine Young Artist with Opera Theatre of St. Louis where she covered Richard in the American premiere of Handel’s Richard the Lionheart. She spent two years as a Resident Artist with Utah Opera, where she sang the Shepherd, White Cat, and Squirrel in L’Enfant et les sortilèges with the Utah Symphony and performed the roles of Mercédès in Carmen and Zerlina in Don Giovanni on the mainstage.
As an apprentice artist at the Santa Fe Opera, she covered the roles of Erika in Barber's Vanessa, and Laurene Powell Jobs in the world premiere of Mason Bates' The (R)evolution of Steve Jobs. As Alisa in Lucia di Lammermoor, Classical Review remarked “…mezzo-soprano Sarah Coit distinguished herself as Alisa, especially in the gorgeous sextet."
Sarah was a 2017 National Semi-finalist in the Metropolitan Opera National Council Auditions and has received prizes from the George London Foundation and the Handel Aria Competition.
A native of Spring Hill, FL, Sarah holds degrees in Music Studies and Theatre Performance from the University of South Florida and a Masters degree from the University of Michigan.
|September 25, 27, & October 3|
The Minneapolis Star Tribune praises tenor Joshua Dennis’ performances, exclaiming,“ he made his sincerity believable, and his voice, a robust tenor with baritonal heft, rose to the high climaxes with ringing, ardent bravado.” In the 2019/20 Season, he returns to Santa Fe Opera to create the role of Marc in Huang Ruo’s M Butterfly after reprising the composer’s Paradise Interrupted at Art Macau. He also returns to Arizona Opera to reprise Bern Venters, the role he created in the world premiere of Bohmler’s Riders of the Purple Sage. On the concert stage, he joins the Phoenix Symphony for his first performances of Beethoven’s Mass in C and returns to the Las Vegas Philharmonic for Handel’s Messiah. Last season, he returned to Santa Fe Opera as Frederic in Ruders’ The Thirteenth Child with Santa Fe Opera and Minnesota Opera for “Shoeless” Joe Jackson in Puckett’s The Fix, both world premieres. He also returned to Utah Opera as Roméo in Romeo and Juliet and Opera Idaho as Tony in West Side Story in addition to joining New Orleans Opera for Belmonte in Die Entführung aus dem Serail, Opera San Antonio in the title role of Faust, and Dayton Opera as the Duca in Rigoletto. Additionally, the tenor made his Asian debut in Huang Ruo’s Paradise Interrupted at the Taiwan National Kaohsiung Center for the Arts.
He recently made debuts with Seattle Opera as as Alfredo in Konwitschny’s acclaimed production of La traviata, Minnesota Opera as Roméo in Romeo and Juliet and returned for Duca in Rigoletto, Utah Opera as Greenhorn in a new production of Heggie’s Moby-Dick, Michigan Opera Theater as Tamino in The Magic Flute, and Kentucky Opera as Belmonte in Die Entführung aus dem Serail. He has also sung Jaquino in Fidelio with Santa Fe Opera and the Houston Symphony, Monsieur Vogelsang in Der Schauspieldirektor with Esa-Pekka Salonen conducting the Los Angeles Philharmonic, Alfredo in La traviata with Opera Columbus and Opera Idaho, Ferrando in Così fan tutte with Ash Lawn Opera and Opera Naples, the title role of Faust with Annapolis Opera, the title role of Werther with Opera Idaho, and Frederic in Pirates of Penzance with Eugene Opera. He joined Arizona Opera for Roy Dexter in the American premiere of Arizona Lady and returned for Bern Venters in the world premiere of Bohmler’s Riders of the Purple Sage. He has also joined the Metropolitan Opera for its production of Così fan tutte.
On the concert stage, he has joined the Santa Fe Symphony on numerous occasions for Handel’s Messiah as well as for a concert of opera favorites. Additionally, he has sung Mahler’s Das Lied von der Erde in a special arrangement at the XXI Festival International de Piano en Blanco & Negro in Mexico, further performances of Handel’s Messiah with the Las Vegas Philharmonic, and Dubois’ Les sept paroles du Christ in Lufkin, Texas.
The tenor is also a former Apprentice Artist Santa Fe Opera, at which he sang Serrano in La donna del lago, and Des Moines Metro Opera. He was a district winner and finalist in the northeastern region of the Metropolitan Opera National Council Auditions and National Association of Teachers of Singing Singer of the Year in 2011 and first place winner of the graduate division in 2010.
He holds a Bachelor of Music and Master of Music degree from Stephen F. Austin State University, at which his performances included Handel’s Messiah, Eisenstein in Die Fledermaus, and Sam in Susannah.
|September 26 & October 4|
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.
With a “powerful” voice and an “arresting stage presence”, baritone Michael Mayes enjoys a busy operatic career in both traditional and contemporary operatic roles with theaters throughout the United States and Europe. He is well known for his critically acclaimed portrayal of Joseph De Rocher in Jake Heggie’s Dead Man Walking with multiple US theaters including Washington National Opera and made his debut in that same role in 2018 with Teatro Real and the Barbican. Of his De Rocher, Opera News hailed “Michael Mayes, in his sixth production of the opera, embodied the conflicted character of Joseph De Rocher with an almost eerie intensity. . . this was a consummate performance, powerfully sung and acted” and The Tulsa World described his portrayal as “an experience those who saw it will never forget.” Other Jake Heggie operas Mayes has performed include Manfred in Out of the Darkness with Music of Remembrance, Charlie in Three Decembers with UrbanArias, and the world premiere of Great Scott with Dallas Opera and San Diego Opera. Mayes is known for his portrayals in other contemporary operas including Older Thompson in Glory Denied with Nashville Opera, Opera Memphis, and Fort Worth Opera, Lawrence in The Wreckers with Bard SummerScape, Adam in The Canticle of the Black Madonna with Anima Mundi Productions, Kinesias in Mark Adamo’s Lysistrata with Fort Worth Opera, Adam in Baden-Baden 1927 with Gotham Chamber Opera, and Edward Gaines in Margaret Garner opposite mezzo-soprano Denyce Graves with the Opera Company of Philadelphia and Opera Carolina.
Mayes moved into more dramatic repertoire in the 2017/18 Season, including Conte di Luna in Il trovatore with Central City Opera. Additionally, he joined Teatro Real in Madrid and the Barbican in London for Dead Man Walking, Beth Morrison Projects for REV23, Lyric Opera of Kansas City as Doug in Everest, Pittsburgh Opera as Starbuck in Moby Dick, and Atlanta Opera as Sweeney Todd. His 2018/19 Season included Sharpless in Madame Butterfly with Pittsburgh Opera, Alfio/Tonio in Cavalleria rusticana/Pagliacci with Madison Opera, Older Thompson in Glory Denied and Wozzeck with Des Moines Metro Opera, Conte di Luna in Il trovatore in his Seattle Opera debut, a reprise of his Dead Man Walking with Atlanta Opera, and the title role in Nixon in China in his debut with Staatsoper Stuttgart. His 2019/20 Season sees him as Tonio in Pagliacci with Boston Lyric Opera, Rigoletto with Houston Grand Opera, Sweeney Todd with the Bergen Philharmonic Orchestra, Dead Man Walking with New Israeli Opera, Thoas in Iphigénie en Tauride with Staatsoper Stuttgart, Rigoletto with Nashville Opera, and Beck in Everest with the Barbican.
Mayes continues to build an impressive resume in leading traditional opera roles including Jack Rance in La fanciulla del West with Opera Omaha, Scarpia in Tosca with Central City Opera, Escamillo in Carmen with Kentucky Opera and Boston Lyric Opera, Sharpless in Madame Butterfly with Michigan Opera Theatre, the title role in Rigoletto with Boston Lyric Opera for which Opera News hailed “This gifted baritone was never less than compelling dramatically, but his performance of "Cortigiani, vil razza dannata" was superb", Papageno in The Magic Flute with Michigan Opera Theatre, Eisenstein in Die Fledermaus with Syracuse Opera, Count Almaviva in The Marriage of Figaro with Des Moines Metro Opera, the title role in Don Giovanni with Des Moines Metro Opera, and Silvio in Pagliacci with Kentucky Opera and Nashville Opera, among many other important roles.
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.