La Cenerentola

American tenor Andrew Morstein, winner of “Best Male Newcomer” at the Österreichischer MusikTheater Preis Awards in Vienna and praised for his “vocal virtuosity” (Olyrix) is a recent graduate of the Junges Ensemble Theater (JET) with the Theater an der Wien. In the 2025/26 Season, Morstein will sing Don Ramiro in Cinerella (La Cenerentola) with Arizona Opera, Alfredo in La Traviata, a role debut, with Pensacola Opera, Don Ottavio in Don Giovanni with Florentine Opera, Master Ford in Salieri’s Falstaff with Chicago Opera Theater, and Almaviva in The Barber of Seville with both Knoxville Opera and Helena Symphony.

In the 2024/25 Season, Andrew Morstein returned to the Wexford Opera Festival for Florindo in Mascagni’s Le maschere, Almaviva in The Barber of Seville at Central City Opera, Avito in L’Amore Dei Tre Rei with Opera Festival of Chicago, Lindoro in L’Italiana in Algeri with Opera in the Heights and Anchorage Opera and in concert, Mozart’s Requiem with the Boise Philharmonic, and Pensacola Opera for a recital as part of their Opera After Dark series. He also participated in two World Premieres, about the life of Theodor Herzl, entitled State of the Jews, composed by Alex Weiser with a libretto by Ben Kaplan for American Opera Projects, and with The Town Hall, The Tongue and the Lash, an opera about James Baldwin for the 60th anniversary of the Baldwin/Buckley Cambridge debate, composed by Damien Sneed and composer/conductor Karen Chilton, librettist, with direction by Denyce Graves-Montgomery.

Recently, Morstein made his debuts at the Salzburg Festival, singing Don Curzio in The Marriage of Figaro, performed the role of Leonard Lev for the recording and performance of Tobias Picker's Awakenings with Boston Modern Opera Project and Odyssey Opera, Serge in Erlanger’s L’Aube rouge at the Wexford Opera Festival, Almaviva in The Barber of Seville with Opera Theatre of St. Louis and Opera Neo in San Diego, Edgardo in Lucia di Lammermoor with Pensacola Opera, Pyotr Fyodorovich/7th Man/7th Student in The Nose with Chicago Opera Theater, and Lindoro in L’Italiana in Algeri with St. Pete Opera. In concert, Morstein sang the tenor solo in Carmina Burana with the New Jersey Symphony Orchestra and Xian Zhang, as well as with the Amarillo Symphony.

While in Vienna, appearances included Almaviva, Don Ottavio in Don Giovanni, Spoletta in Tosca, Camille in Tobias Picker's Thérèse Raquin, Officer 1/Sandy in The Lighthouse, Georg in the 175th anniversary of the original performance of Der Waffenschmied, and finally Klas/Windmüller in Enoch Arden.

Other notable performances include Andronico in Bajazet (Vivaldi), an evening of Russian song at the Wiener Kammeroper, and the Amalekite in Saul (Händel) in a much-celebrated production by Claus Guth, which was filmed for Austrian public television and transmitted by ORF Austria, Telemachus/City Man in Patrick Morganelli’s Hercules vs. Vampires with Nashville Opera, and Ramiro in La Cenerentola with Opera NEO.

While a graduate student at Northwestern University, Morstein performed Peter Quint in Britten’s The Turn of the Screw, Tom Rakewell in Stravinsky’s The Rake’s Progress, Bénédict in Berlioz’s Béatrice et Bénédict, and Alfred in Die Fledermaus. In concert, he performed Beethoven’s Symphony No. 9 and the tenor solos in Janaček’s The Diary of One Who Disappeared. Before opera became a full-time career, Morstein was part of two critically acclaimed acapella groups “Straight no Chaser” and "Gentleman’s Rule” both of which toured internationally. Morstein resides in Chicago with his wife.

Hailed as “a bass with an attitude and the goods to back it up,” by the New York Times and praised by the San Francisco Classical Voice for music that “harnesses considerable expressive power,” bass and composer Matt Boehler is known in the world of opera for his captivating, dynamic performances and his long-earned reputation as an inventive collaborative artist.

The 2025/26 Season showcases Boehler’s artistry both as a composer and a vocalist. His in-development comic opera, The Road to Wellville, which he is composing alongside librettist Tony Asaro, receives workshops with both San Francisco Conservatory and the University of Houston’s Moores School of Music. On the performance stage, Boehler bows as Don Magnifico in Cinderella (La Cenerentola) with Arizona Opera, and joins Pacific Chamber Orchestra for Handel’s Messiah. The season also includes a film project for future release.

Boehler began the 2024/25 Season with his Lyric Opera of Chicago debut, singing Antonio in Mozart’s The Marriage of Figaro, while also covering Bartolo. With Florentine Opera, he appeared as Polyphemus in a new production of Handel’s Acis and Galatea, and with the Madison Symphony, he bowed as the bass soloist in Mozart’s Requiem. During the summer of 2025, he sang the roles of Moscone, Teamster and Horst in Opera Parallèle’s production of Harvey Milk, followed by his return to Des Moines Metro Opera as Father Trulove in a new production of The Rake’s Progress.

During the 202/24 Season, the bass made his debut with the Orchestre symphonique de Montréal and conductor Kent Nagano, singing Stravinsky's Les noces, debuted the role of Arkel in Des Moines Metro Opera's new production of Pelléas et Mélisande, sang Frére Laurent in Toledo Opera’s production of Roméo et Juliette, appeared with West Edge Opera in the World Premiere of Bulrusher, and sang Beethoven's Symphony No. 9  with the Modesto Symphony, as well as Gounod’s St. Cecilia Mass in La Crosse, Wisconsin.

Highlights of recent seasons include Iolanta and The Nose at the Metropolitan Opera; Sarastro in The Magic Flute with Canadian Opera Company; the World Premiere of The Lord of Cries (Corigliano/Adamo) with Santa Fe Opera; Bernstein’s Mass with the National Symphony Orchestra; Daphne with La Monnaie in Brussels; the title role in The Marriage of Figaro with Madison Opera; Rigoletto with Florida Grand Opera; Fidelio with Austin Opera; Osmin in The Abduction from the Seraglio with Lyric Opera of Kansas City and Des Moines Metro Opera; Il Cieco in Iris with Bard Summerscape; Rocco in Fidelio with Madison Opera; Gounod’s Méphistophélès with Michigan Opera Theater (now Detroit Opera); and the Hotel Manager in Powder Her Face with New York City Opera and Festival Opéra de Quèbec. He also made his role debut as Baron Ochs in Der Rosenkavalier with Victory Hall Opera, where he was an ensemble member as both singer and composer. While an ensemble member at Theater St. Gallen in Switzerland, Boehler excelled in staples of the bass repertoire like Leporello in Don Giovanni and Daland in Der fliegende Holländer, while embracing rarities such as Baldassare in Donizetti’s La favorita and Catalani’s La Wally.

A frequent collaborator in contemporary opera, Boehler has premiered roles in Becoming Santa Claus (Adamo) with Dallas Opera and Chicago Opera Theater, Acquanetta (Gordon/Artman) with Prototype Festival, and Elizabeth Cree (Puts/Campbell) with Opera Philadelphia, among several others.

Equally at home on the concert stage, he has appeared as soloist with the New York Philharmonic, American Symphony Orchestra, Baltimore Symphony Orchestra, Chicago Symphony Orchestra, the National Cathedral in Washington, D.C., Orpheus Chamber Orchestra, Minnesota Orchestra, Jacksonville Symphony, Portland Baroque Orchestra, and Oratorio Society of New York. In recital, he has been seen in several critically acclaimed performances with the New York Festival of Song and has concertized at the Spoleto Festival USA and with the Lotte Lehmann Foundation. His discography reflects his enthusiasm for new music and includes recordings of several World Premieres by John Musto, William Bolcom and Michael Dellaira, as well as being featured on albums of song by Stefan Wolpe and David Conte.

Hailing from Minneapolis, Minnesota, Boehler now proudly claims the San Francisco Bay Area as his home. He trained as an actor at Viterbo College, an opera singer at the Juilliard School, and as a composer at the San Francisco Conservatory of Music.

Mezzo-soprano Sedona Libero is recognized for her authenticity, playfulness, and passion on the operatic stage. She made her professional debut as Dinah in Bernstein’s Trouble in Tahiti with the Great Lakes Chamber Music Festival, and her symphonic debut as the Alto Soloist in Mozart’s Requiem with the Ann Arbor Symphony Orchestra.

In 2025, she joined the Glimmerglass Festival as a Resident Artist for its 50th Anniversary season, performing in the World Premiere of Derek Bermel’s The House on Mango Street. She has also appeared as a Studio Artist with Teatro Nuovo (covering Romeo in I Capuleti ed i Montecchi), a Young Artist with Opera Southwest (Ernestina in L’occasione fa il ladro), and an Emerging Artist at the Seagle Festival (Rosie Chaney in The Manchurian Candidate and Carmen in La tragédie de Carmen).

Libero is a member of Arizona Opera’s Marion Roose Pullin Studio (2024-2026). An active performer in her home state of Arizona, she has appeared as Rosina in The Barber of Seville with Valley Opera Company and served as a Teaching Artist for a season with Arizona Opera’s OperaTunity tour. She holds degrees from the University of Michigan (M.M.) and Northern Arizona University (B.M.).

Conductor Gary Thor Wedow has established an enviable reputation for dramatically exciting and historically informed performances with opera companies, orchestras, festivals, and choral organizations throughout North America. Opera News has hailed him for his “hot music making” and “convincingly elegant period style.” His debut with the New York Philharmonic conducting Messiah was noted in the New York Times for ‘a fleet, lithe orchestral performance, aptly complemented by the buoyant singing of the chorus.’

Upcoming during the 2025/26 Season, Wedow leads productions of Cinderella (La Cenerentola) with Lyric Opera of Kansas City and Arizona Opera, and returns to Opera Omaha for The Barber of Seville. In concert, he leads Handel’s Messiah with the Winston-Salem Mozart Club.

Wedow’s engagements during the previous season included Mozart’s masterpiece The Marriage of Figaro with Palm Beach Opera, Cincinnati Conservatory of Music for the same composer’s La finta giardiniera, and a return to the Santa Fe Symphony for Handel’s Messiah. In the fall of 2023, he joined Opera Omaha for Don Pasquale, followed by Handel’s Messiah with the Alabama Symphony. He collaborated with Opera Southwest for their Spanish language version of Carmen, and returned to Des Moines Metro Opera for The Barber of Seville. The 2022/23 Season found Wedow returning to The Juilliard School to lead their production of Atalanta, and he also brought his expertise to Rice University for their spring production of L’incoronazione di Poppea.

Recent notable highlights include Handel’s Teseo with the Juilliard School, Opera Philadelphia for Semele and Lembit Beecher’s War Stories, Seattle Opera for La Cenerentola, Atlanta Opera for Giulio Cesare, Pittsburgh Opera for Don Pasquale, L’incoronazione di Poppea starring Anthony Roth Costanzo with Cincinnati Opera, San Diego Opera conducting Rossini’s La Cenerentola, Platée and Orphée for Des Moines Metro Opera, The Barber of Seville, Pirates of Penzance, Lucia di Lammermoor and Die Fledermaus with Utah Opera, The Magic Flute for Madison Opera and a special collaboration between The Juilliard School and the Westminster Choir College of Mozart’s Requiem at Alice Tully Hall.

Handel’s Messiah is frequently on his schedule with engagements at Nashville Symphony, Portland Baroque, the Santa Fe Symphony and a special performance at St. Thomas Church that the New York Times called “a war horse of a different, brighter color, with mighty crescendos and exquisite pianissimos, and guilty pleasures.”

A favorite with Seattle Opera audiences, Wedow has also been a frequent guest of Florida Grand Opera, Boston Lyric Opera, Canadian Opera Company, Arizona Opera, Glimmerglass Opera, Portland Opera, Wolf Trap Opera, Utah Opera, Berkshire Opera, Chautauqua Opera, Opera Saratoga, and the Amherst Early Music Festival, among others. He was for many years associated with New York City Opera, leading the New York premiere of Telemann’s Orpheus, the groundbreaking Christopher Alden productions of Don Giovanni and Stephen Wadsworth’s Xerxes.

Choral masterpieces and symphonic repertoire have taken him to the podiums of the New York Philharmonic, Seattle Symphony, The Alabama Symphony, Edmonton Symphony, Phoenix Symphony, Berkshire Choral International in Massachusetts, New Mexico, California and in Salzburg, and Boston’s Handel and Haydn Society where he was, for many years, Associate Conductor.

Born in LaPorte, Indiana and now a resident of New York City, he has been a member of the Juilliard School faculty since 1994 where he has led performances of L’incoronazione di Poppea, La finta giardiniera, Ariodante and Don Giovanni. Of particular note was the tour of Bach’s St. Matthew Passion with Juilliard 415 Historical Performance Ensemble that culminated at Alice Tully Hall ‘in a performance that caught fire and magic’ according to the New York Times. His continued championship of young musicians and singers is further exemplified by projects at The Teatro Colón, Wolf Trap Opera, the San Francisco Opera’s Merola Program, Manhattan School of Music, Carnegie Mellon University, Rice University, and the Jacobs School of Music at Indiana University. A musical scholar as well as conductor, he has prepared several performing editions of baroque works in collaboration with gambist Lawrence Lipnik. Wedow studied piano with virtuoso Jorge Bolet at the Jacobs School of Music, Indiana University and received his Master of Music degree at the New England Conservatory.