Giuseppe Verdi was born in Italy in 1813, prior to Italian unification. Verdi produced many successful operas, including La Traviata, Falstaff and Aida, and became known for his skill in creating melody and his profound use of theatrical effect. Additionally, his rejection of the traditional Italian opera for integrated scenes and unified acts earned him fame. Verdi died on January 27, 1901, in Milan, Italy.
Famed composer Giuseppe Verdi was born Giuseppe Fortunino Francesco Verdi on October 9 or 10, 1813, in the community of Le Roncole, near Busseto in the province of Parma, Italy. His mother, Luigia Uttini, worked as a spinner, and his father, Carlo Giuseppe Verdi, made a living as a local inkeeper.
Verdi first developed musical talents at a young age, after moving with his family from Le Roncole to the neighboring town of Busseto. There, he began studying musical composition. In 1832, Verdi applied for admission at the Milan Conservatory, but was rejected due to his age. Subsequently, he began studying under Vincenzo Lavigna, a famous composer from Milan.
Verdi got his start in Italy's music industry in 1833, when he was hired as a conductor at the Philharmonic Society in Busseto. In addition to composing, he made a living as an organist around this time. Three years later, in 1836, Verdi wed Margherita Barezzi, the daughter of a friend, Antonio Barezzi.
In 1838, at age 25, Verdi returned to Milan, where he completed his first opera, Oberto, in 1839, with the help of fellow musician Giulio Ricordi; the opera's debut production was held at La Scala, an opera house in Milan. While working on Oberto, the composer suffered what would be the first of many personal tragedies: His and Margherita's first child, daughter Virginia Maria Luigia Verdi (born in March 1837), died in infancy on August 12, 1838; just one year later, in October 1839, the couple's second child, son Verdi Icilio Romano Verdi (born in July 1838), died, also as an infant.
Verdi followed Oberto with the comic opera Un giorno di regno, which premiered in Milan in September 1840, at Teatro alla Scala. Unlike Oberto, Verdi's second opera was not well-received by audiences or critics. Making the experience worse for the young musician, Un giorno di regno's debut was painfully overshadowed by the death of his wife, Margherita, on June 18, 1840, at age 26.
Dispirited by the loss of his family, Verdi entered the 1840s disheartened, struggling to find inspiration to continue creating music. He soon found solace in his work, however, by composing two new, fourt-part operas in 1842 and '43, Nabucco and I Lombardi alla Prima Crociata (best known simply as I Lombardi), respectively. Both pieces earned the composer a great amount of success. Subsequently, Verdi held a prominent reputation in Italy's operatic theater scene and, later, in the country's political scene as well. He became known for his skill in creating melody and his profound use of theatrical effect. His rejection of the traditional Italian opera for integrated scenes and unified acts only added to his fame.
For the rest of the 1840s, and through the 1850s, '60s and '70s, Verdi continued to garner success and fame. Comprising a popular operatic series throughout the decades were Rigoletto (1851), Il trovatore (1853), La traviata (1853), Don Carlos (1867) and Aida, which premiered at the Cairo Opera House in 1871. Four years later, in 1874, Verdi completed Messa da Requiem (best known simply as Requiem), which was meant to be his final composition. He retired shortly thereafter.
Despite his retirement plans, in the mid-1880s, through a connection initiated by longtime friend Giulio Ricordi, Verdi collaborated with composer and novelist Arrigo Boito (also known as Enrico Giuseppe Giovanni Boito) to complete Otello. Completed in 1886, the four-act opera was performed for the first time at Milan's Teatro alla Scala on February 5, 1887. Initially meeting with incredible acclaim throughout Europe, the opera—based on William Shakespeare's play Othello—continues to be regarded as one of the greatest operas of all time.
Never one to rest on his laurels, even in his old age, Verdi followed Otello's success with Falstaff, another collaboration with Boito. Completed in 1890, when Verdi was in his late 70s, Falstaff—a comedic adaptation of the Shakespearean plays The Merry Wives of Windsor and Henry IV, and consisting of three acts—debuted at Milan's La Scala on February 9, 1893. Like Othello, early reactions to Falstaff were, by and large, tremendously positive, and the opera continues to earn great renown today.
Giuseppe Verdi died on January 27, 1901, in Milan, Italy.
Italian librettist Francesco Maria Piave (1810–76) is best known for his long-standing association with Verdi, for whom he wrote the librettos of operas including Macbeth, Rigoletto, La traviata, Simon Boccanegra and La forza del destino.
Piave was born in Murano, the son of a glassmaker. He studied for the church and then found employment as a proofreader. He moved to Rome and joined the literary circle that included the librettist Jacopo Ferretti. He returned to Venice in 1838 and in 1842 wrote his first libretto, Don Marzio for Levi (never performed), and completed Giovanni Peruzzini’s libretto Il duca d’Alba for Pacini. His first worked with Verdi in 1844 on Ernani; over the next 18 years they collaborated on I due Foscari, Macbeth, Il corsaro, Stiffelio, Rigoletto, La traviata, Simon Boccanegra, Aroldo and La forza del destino in 1862. During this period he also worked as a poet and as a stage director for La Fenice. In 1859 he moved to Milan to work as stage director at La Scala. A stroke in 1867 left him unable to speak or move; at his death he left an unfinished libretto for Ponchielli.
Throughout his career Piave wrote librettos for several composers, but he achieved his greatest works with Verdi.
Since 1981, Joseph Rescigno has served as Artistic Advisor and Principal Conductor of the Florentine Opera Company of Milwaukee (WI), where he has conducted some of the company’s most challenging repertory. He also has been Music Director of La Musica Lirica, a summer program for singers in Northern Italy, since 2005. In addition, he served as Artistic Director of Metropolitan Orchestra of Greater Montreal, Quebec, for four seasons.
In permanent and guest engagements with more than 50 companies on four continents. Rescigno has traversed the repertory from rarities like Rossini’s 1816 La Gazzetta, the Brescia version of Puccini’s Madama Butterfly, Dvořák’s Stabat Mater, and Berlioz’s L’enfance du Christ, to world premieres like Minoru Miki’s Jōruri and Don Davis’s Río de Sangre and neglected contemporary works like Barber’s Vanessa, all while regularly revisiting the Italian, German, and French standard repertory. In addition, Maestro Rescigno has conducted masterworks of the choral literature as well as symphonies and concertos from the baroque to the contemporary (sometimes from the keyboard in works from earlier eras). He also frequently delights music-lovers with engaging talks before performances and participates in chamber music recitals for select groups.
Rescigno’s discography includes the aforementioned Río de Sangre (Albany Records) and Jōruri (Dreamlife) and five discs for Analekta of Canada: Beethoven (Eroica symphony and Egmont overture and arias), Brahms (piano concertos with Anton Kuerti), Mendelssohn (violin concertos with Angèle Dubeau), and the solo operatic anthologies Mozart (Lyne Fortin) and Verismo (Diana Soviero).
As a guest artist, this peripatetic conductor has led the New York City Opera, Lyric Opera of Chicago, Washington National Opera, Opera Theatre of Saint Louis, Seattle Opera, Atlanta Opera, Virginia Opera, Opera Omaha, Arizona Opera, Hungarian State Opera, Glimmerglass Opera, Vancouver Opera, Teatro Bellini, l’Opéra de Marseille, and l’Opéra de Montréal among others. The symphony orchestras he has conducted include the Montreal Symphony and the Milwaukee Symphony, both of which he has led in their regular subscription series as well as in opera productions. In addition, he won Quebec’s Prix Opus for a program of all five Beethoven piano concertos with Anton Kuerti and the Metropolitan Orchestra of Greater Montreal.
Maestro Rescigno has further been privileged to collaborate with prominent musicians of three generations including instrumentalists Brigitte Engerer, Ida Haendel, Elmar Oliveira, and Pieter Wispelwey, and singers June Anderson, Angela Brown, Ghena Dimitrova, Giuseppe DiStefano, Plácido Domingo, Alfredo Kraus, Eva Marton, Johanna Meier, Erie Mills, Andrea Rost, Erika Sunnegårdh, Ruth Ann Swenson, Tatiana Troyanos, Ramón Vargas, and Deborah Voigt.
A born teacher, Rescigno derives tremendous satisfaction from working with young musicians and singers in guest engagements at universities and conservatories in addition to imparting his knowledge and experience at La Musica Lirica, in master classes, and in private coaching. He is also honored to serve on the advisory committee of the Olga Forrai Foundation as it supports the training, education, and career development of singers and conductors. Further, in recognition of the high musical standards Maestro Rescigno and The Florentine Opera Company maintain, they have been chosen to mentor Solti Foundation U.S. Award recipients as part of the Foundation’s residency project (newly expanded to opera).
This native New Yorker comes from a long line of musicians on both sides of his family. He trained as a pianist and has been studying and performing music since childhood. His uncle was the prominent conductor Nicola Rescigno, a founder of both the Dallas Opera and Lyric Opera of Chicago. He holds a Master of Music degree from Manhattan School of Music and studied with composer Nicolas Flagello and other distinguished teachers in the United States and Europe, including privately at l’Accademia Nazionale di Santa Cecilia in Rome.
Maestro Rescigno made his New York recital debut with a program of four Beethoven piano sonatas. He went on to work with such influential conductors as Laszlo Halasz (founder of the New York City Opera), Bruno Maderna, Gianandrea Gavazzeni, Carlo Moresco (the first director of the Philadelphia Lyric Opera Company), and his uncle. Powerful influences also included pianist Arturo Benedetti Michelangeli, conductors Herbert von Karajan and Erich Leinsdorf, and Roberto Benaglio, the legendary chorus master of La Scala. Each one personally taught him something unforgettable.
Joseph Rescigno married his wife Jeanne in 1971, and they live in Manhattan.
Photo credit: Christian Steiner.
Winner of the Adelaide Bishop award for artistic quality and winner of the Opera America Director-Designer Showcase, Stephanie Havey has staged productions for Pittsburgh Opera, Michigan Opera Theatre, Arizona Opera, Atlanta Opera, Opera Omaha, New York City Opera, North Carolina Opera, and Hawaii Opera Theatre, as well as, new productions of La rondine for The Curtis Institute of Music, Tosca for the Lyrique-en-mer International Festival de Belle-Ile, The Crucible for Opera Santa Barbara, Shining Brow for Tulsa Opera, Il matrimonio segreto for Carnegie Mellon University, Rigoletto for Syracuse Opera, Falstaff for Resonance Works Pittsburgh, and Gluck’s Armide for OperaNeo. She also has been a member of the staging staff at San Francisco Opera and The Santa Fe Opera.
Engagements for this season include Seattle Opera, Houston Grand Opera, Opera de Montreal, a new production of Norma for Boston Lyric Opera, La Traviata with Hawaii Opera Theatre, returning to the Pittsburgh Opera for Norma and Florencia en el Amazonas, La bohème for Charlottesville Opera, and The Barber of Seville for Finger Lakes Opera. Havey has been selected to participate in San Diego Opera’s theatre innovation project “Opera Hack,” a two-year project funded by an Opera America Innovation Grant to discover new ways for technology to be used in the production and presentation of opera. She also had the honor of hosting the 2019 Opera America Director-Designer Showcase at the National Conference in San Francisco as a returning alumna.
Havey is a frequent collaborator for the development of new opera, staging new works with Opera Philadelphia for their Double Exposure event, Opera America’s New Works Forum, and as the Resident Stage Director for North American New Opera Workshop.
During her two seasons as the first Resident Artist Stage Director for the Pittsburgh Opera, she received rave reviews for her new production of Il matrimonio segreto and directed numerous productions and a staged recital series in the Opera Studio. Other professional engagements include Central City Opera, Glimmerglass Festival, Sarasota Opera, Virginia Opera, and Nashville Opera.
|January 25, January 27, & February 2|
Colombian-American soprano Vanessa Vasquez, winner of the 2017 Metropolitan Opera National Council Auditions, recently completed a four-year residency at the prestigious Academy of Vocal Arts in Philadelphia, where she has been heard as Mimì in La Bohème, Gilda in Rigoletto, Donna Anna in Don Giovanni, and Violetta in La traviata.
In the 2019/20 Season, Vasquez performs the role of Liù in Turandot with the Canadian Opera Company, sings Donna Anna in Don Giovanni in her debut with Washington National Opera, and will be heard as Mimi in La Bohème with Seattle Opera. Last season, she debuted with Arizona Opera as Violetta in La traviata, and saw her first performances with The Santa Fe Opera and Opera Philadelphia, both as Mimi in La Bohème.
She made her professional opera debut in summer 2017 as Liù in Turandot with Des Moines Metro Opera. With Oberlin in Italy, she performed Countess Almaviva in The Marriage of Figaro. On the concert stage, she debuted with the Philadelphia Orchestra in J.S. Bach’s cantata Nach dir, Herr, verlanget mich and with the New York Choral Society in Haydn’s Lord Nelson Mass. She made her debut with the New York Philharmonic as soprano soloist in Beethoven’s Choral Fantasy, and she was soprano soloist in Honneger’s King David and Poulenc’s Gloria with Voices of Ascension. She was a featured soloist with the Philadelphia Orchestra under Yannick Nézet-Séguin in the Academy of Music 160th Anniversary Concert and Ball.
Vasquez is the recipient of a 2017 Sara Tucker Study Grant from the Richard Tucker Music Foundation, First Prize in the 2017 Gerda Lissner Foundation Competition, First Prize in the 2016 Licia Albanese Competition, First Prize in the 2016 Giulio Gari Competition, First Prize in the 2016 Loren L. Zachary Vocal Competition, and First Prize and Audience Award in the Phoenix Opera Southwest Vocal Competition, among others.
Vanessa Vasquez was graduated from The Catholic University of America with a Bachelor of Music degree. She went on to complete a Master of Music degree at UCLA, where she performed Susanna in Wolf-Ferrari’s Il segreto di Susanna, and Donna Elvira in Don Giovanni. Vasquez is a native of Scottsdale, Arizona.
|January 26 & February 3|
A native of St. Paul Minnesota, Sara Gartland earned favorable notices this season as Curley's Wife in Utah Opera's production of Carlyle Floyd's Of Mice and Men, for which Opera News said, "Floyd, in Salt Lake City to observe final preparations and attend opening night, made some minor revisions to the score, including the addition of string glissandos when Curley's wife, played with glittering coloratura and astute restraint by soprano Sara Gartland, allowed Lennie to stroke her hair. The compositional tweak gave an added layer of creepiness to the scene, which is capped by the woman's startlingly realistic death."
Other engagements include two years in the Adler Fellow program with San Francisco Opera as Micaëla in Carmen, Pat/Ann in the world premiere of Heart of a Soldier, Barbarina in Mozart's The Marriage of Figaro and Gerhilde in Die Walkure, Merola Opera Program as Suzel in Pietro Mascagni’s L’amico Fritz, Utah Opera and Des Moines Metro Opera as Alexandra in Regina, Opera Iowa as Norina in Don Pasquale, The Ohio Light Opera as Elisabeth Bennet in the world premiere of Pride and Prejudice, Valencienne in The Merry Widow, and as Marianne in The New Moon.
She has appeared on the concert stage with the Elmhurst Symphony in Beethoven’s Symphony No. 9, Cheyenne Symphony in Carmina Burana, Central City Opera, and Colorado University’s Boulder Wind Symphony in Four Maryland Songs.
Ms. Gartland earned a Master of Music in Vocal Performance from the University of Colorado Boulder and a Bachelor of Music in Vocal Performance from the University of Wisconsin Madison. In 2008, she was a Finalist in the Eastern Region at the Metropolitan Opera National Council Auditions.
|January 25, January 27, & February 2|
A graduate of San Francisco Opera's prestigious Adler Fellow Program, American Daniel Montenegro is recognised for a flexible and distinctive tenor voice and a varied repertoire of bel canto, verismo and contemporary roles.
Recent seasons have seen Daniel make his European opera debut at the Théâtre du Châtelet as Mario in Daniel Catán’s Il Postino alongside Plácido Domingo, as well as a number of significant role and company debuts including Roderigo (Otello) with San Francisco Opera under Nicola Luisotti, Alfredo (La traviata) with Minnesota Opera, Nemorino (Elixer of Love) with Washington National Opera, Pang (Turandot) at the Hollywood Bowl conducted by Gustavo Dudamel and most recently Romeo (Roméo et Juliette) for Tulsa Opera and at the Castleton Festival. This season Daniel makes his role and company debut reprising the role of Mario in Il Postino with Opera Saratoga.
As a San Francisco Opera Adler Fellow and former Resident Artist of the Minnesota Opera, Daniel has sung a wealth of roles including Liverotto and Rustighello (Lucrezia Borgia), Pong (Turandot), Remendado (Carmen), Tamino (The Magic Flute), Nick (The Handmaid’s Tale) and Flavio (Norma). He has also sung Steuermann (The Flying Dutchman) with both Portland and Arizona Operas and the Shepherd in Peter Sellars’ production of Oedipus Rex at the Sydney Festival under Joana Carneiro. An ongoing collaboration with Los Angeles Opera has brought appearances in several productions including the world premiere of Lee Holdridge’s Concierto para Mendez, La traviata (released on DVD), Carmen, Luisa Fernanda and Il tabarro.
Daniel features on ‘Great Voices Sing John Denver’ alongside Plácido Domingo and many other key operatic names; produced by legendary arranger and music producer Milt Okun, the disc was released on the MRI Associated label in June 2013.
|January 26 & February 3|
American tenor David Blalock is becoming widely known for his beautiful lyric voice and widely ranging repertoire. This summer, David joins Skylark Opera Theatre for their performances of Don Giovanni, and returns to the Minnesota Orchestra as the Second Jew in Salome. Upcoming engagements include a debut with Opera San Jose as Ferrando in Così fan tutte, a concert of arias and opera highlights with the San Francisco Symphony, a role debut as the title character in La Clemenza di Tito with the Maryland Opera Studio, a return to Virginia Opera as Lysander in A Midsummer Night's Dream, and Messiah with Fairbanks Symphony Orchestra and Virginia Symphony. He recently made his debut with Washington National Opera, performing the Ring Announcer in Champion. Other performances in the 16-17 season include Roderigo in Otello with the Minnesota Orchestra, Nikolaus Sprink in Silent Night with Atlanta Opera, Rodolfo in La Boheme with the Greater Bridgeport Symphony, and Count Almaviva in the North American premiere of Portugal's The Marriage of Figaro with On Site Opera. David spent the summer of 2015 as Ricky in the world premiere of Jeremy Howard Beck's The Long Walk at Opera Saratoga. His busy 15-16 season included both Handel's Messiah and Pong (Turandot) with the Pacific Symphony, Toby in Sweeney Todd with Mill City Summer Opera, a Viennese Operetta concert with the Richmond Symphony, Beethoven's Choral Fantasy at UN Assembley Hall with the Shanghai Symphony, Jacques Brel is Alive and Well in Paris with Performance Santa Fe, and a return to Virginia Opera as the Steersman in The Flying Dutchman.
In the 2014-2015 season, Mr. Blalock sang Jaquino in Beethoven’s Fidelio with Madison Opera, Don Ottavio in North Carolina Opera’s production of Don Giovanni, Jonathan Dale in Silent Night with Lyric Opera of Kansas City, Toby in Sweeney Todd at Virginia Opera, Count Almaviva in The Barber of Seville (Paisiello) with On Site Opera, and debuted as Rodolfo in La Bohème with Greenville Lyric Opera. As a Virginia Opera Emerging Artist during the 2013-2014 season, David Blalock was seen as First Priest in The Magic Flute, Brighella in Ariadne auf Naxos and Le Remendado in Carmen. David has also recently completed his second summer as an apprentice with The Santa Fe Opera, singing Bertram in Rossini’s La Donna del Lago, and singing Infirmary Patient in the world premiere of Theodore Morrison’s Oscar. In the spring of 2013, David made his Fort Worth Opera debut as Young Thompson in Tom Cipullo’s Glory Denied, while also covering Rodolfo in La bohème. As a first-year apprentice with Santa Fe Opera in 2012, David covered the roles of Welko and Jankel in Strauss’ Arabella. David spent the summer of 2011 as a studio artist with Central City Opera, singing Morales in their family performance of Carmen.
From 2009-2011, David was a member of the Maryland Opera Studio in College Park, MD, as a baritone. He sang several roles with the Studio, including Figaro in The Barber of Seville, Riolobo in Daniel Catan’s Florencia en el Amazonas, and The Ring Announcer in the world premiere of Shadowboxer, an opera detailing the life of boxer Joe Louis. David has performed as a young artist with the Seagle Music Colony and Ash Lawn Opera, singing roles in La Cenerentola, La bohème, The Magic Flute, and Brigadoon. He received his undergraduate degree from UNC Greensboro in 2009, where his credits include roles in La Vida Breve, The Ballad of Baby Doe, and The Tender Land.
Baritone Daniel Sutin recently performed as Biterof in Lyric Opera of Chicago’s Tannhauser with Maestro Sir Andrew Davis and the role of Wozzeck at the Metropolitan Opera when asked to step in at the last minute. Other recent performances are with the Savonlinna Opera Festival as Giorgio Germont in La Traviata, Austin Lyric Opera as Tonio in their 2013-2014 season opening production of I Pagliacci and the role of Konrad Nachtigall in Die Meistersinger for Lyric Opera of Chicago.
Previous seasons featured Mr. Sutin's return to Lyric Opera of Chicago in the role of Sonora in La Fanciulla del West and a return the Metropolitan Opera for Wozzeck and Boris Godunov. In the Fall of 2011, he debuted the role of Verdi’s Macbeth with the Boston Lyric Opera. In the 2009-2010 season, he joined the cast of Hänsel und Gretel at the Metropolitan Opera, made his L’Opéra de Montréal debut as Paolo Albiani in Simon Boccanegra, sang the title role of Rigoletto with San Antonio Opera and Nashville Opera, and he debuted the role of Iago with Palm Beach Opera. In the summer of 2009, he made his debut at the Savonlinna Opera Festival as Sharpless in Madama Butterfly. In 2008-2009 Daniel Sutin also made his debut at the Royal Opera House Covent Garden as Sonora in La Fanciulla del West, followed by Sharpless in Madama Butterfly at the Michigan Opera Theater, and his return to the Canadian Opera Company as Paolo in Simon Boccanegra.
In 2007-2008 Mr. Sutin began his seventh season at the Metropolitan Opera as Paris in Roméo et Juliette, followed by his debut at the Lyric Opera of Chicago as the One Eyed Brother in Die Frau ohne Schatten, Belcore in Elexir of Love at the San Antonio Opera, and Germont in La Traviata at the Reisopera in the Netherlands. Following a Verdi Gala for the Santa Barbara Opera to open the 2006-2007 season, Mr. Sutin was heard at the Metropolitan Opera in the world premiere of Tan Dun’s The First Emperor, made his role debut as Orest in Elektra with the Canadian Opera Company in Toronto, ending his season at the Caramoor Festival as Conte di Luna in Il Trovatore.
In 2005-2006 Mr. Sutin returned to the Metropolitan Opera in 2005-2006 for Falstaff and Wozzeck, and sang Paris in their new production of Romeo et Juliette, followed by Silvio in I Pagliacci at Toledo Opera, Ford in Falstaff for the New Jersey Opera Theater, his debut as the Count in The Marriage of Figaro with the Connecticut Grand Opera and was the Bass Soloist in Beethoven’s Symphony No. 9 with the Long Island Symphony. Mr. Sutin’s engagements in the 2004-2005 season included his début at the Canadian Opera Company as Conte di Luna in Il Trovatore, his return to the Metropolitan Opera for Turandot, Tonio in I Pagliacci and Alfio in Cavalleria Rusticana for the Bohème Opera in New Jersey, and the roles of the King, the Ambassador and the Woodcutter in the Spoleto Festival USA’s production of Respighi’s Sleeping Beauty, which was also performed at the Lincoln Center Festival. Mr Sutin began the season with the Johnstown Symphony in their annual Opera Gala and joined the National Symphony Orchestra of Mexico for Mahler’s Symphony No. 8.
Upcoming roles include a return to the Lyric covering the title role of Wozzeck, Johanahan in Salome with The Detroit Symphony conducted by Maestro Leonard Slatkin and the role cover, Alberich in Washington National Opera’s new Ring Cycle by Wagner.
Praised by the Huffington Post for his “ringing high notes,” Texas-born tenor Bille Bruley has garnered attention for his strength and versatility in operatic repertoire from baroque to contemporary. A 2018/19 William Matheus Sullivan Musical Foundation Award and Career Grant winner, Bille is currently engaged in his second year with the Marion Roose Pullin Arizona Opera Studio, where his upcoming role assignments include Louis Sullivan in Shining Brow, Bern Venters in Riders of the Purple Sage, and Brighella and Bacchus (cover) in Ariadne auf Naxos.
In the 2019/20 season, Bruley makes a number of exciting house debuts, including engagements with Opera Theatre of Saint Louis as Sam Polk in a new production of Floyd’s Susannah and the Lyric Opera of Chicago, where he will cover Father Grenville and Howard Boucher in Heggie’s Dead Man Walking. He will also make his New York recital debut singing Janacek’s The Diary of One Who Disappeared at the 92nd Street Yalongside Jennifer Johnson Cano. This summer, Bruley performs with the Phoenix Symphony in a program of Mozart arias and makes his return to the Santa Fe Opera, where he will create the role of Benjamin in the world premiere of Poul Ruders’ The Thirteenth Child and cover the role of Laca Klemen in Janacek’s Jenufa.
Highlights of Bruley’s 2018/19 season included his first War Requiem with the Tulsa Symphony as well as several engagements with Arizona Opera—as Gastone in La Traviata, Jonathan Dale in Silent Night, Don Basilio and Don Curzio in The Marriage of Figaro, and as Ferrando in their studio production of Così fan tutte. In the 2017/18 season, Bruley was engaged as an Apprentice Singer with the Santa Fe Opera, where he covered the roles of Captain Nolan in Doctor Atomic and and Governor/Vanderdendur/Captain in Candide. He returned to Virginia Opera for a number of role debuts, including First Philistine in Samson et Dalila, Trin in La fanciulla del West, Flute in A Midsummer Night’s Dream, and Arturo in Lucia di Lammermoor. He also joined Baltimore Choral Arts as a tenor soloist in Handel’s Dixit Dominus under the baton of newly-appointed director Anthony Blake Clark.
Bruley has received special acclaim for his interpretation of the works of Benjamin Britten, including the title role in Peter Grimes, King Nebuchadnezzar in The Burning Fiery Furnace, The Tempter in The Prodigal Son, and as the tenor soloist in Britten’s War Requiem. Of his performance as King Nebuchadnezzar with Central City Opera, The Daily Camera wrote, “His voice is radiant, his enunciation impeccable. Every word he sings is easily understood and every note is precise in pitch.”
An alumnus of young artist programs at The Santa Fe Opera, The Glimmerglass Festival, and Central City Opera, Bruley has received recognition through a number of young artist awards, including the Richard Tucker Memorial Award from the Santa Fe Opera and the Iris Henwood Richards Memorial Award from the Central City Opera House Association. In 2018, Bruley was a finalist in the Dallas Opera Guild Vocal Competition. He has taken home prizes from The Metropolitan Opera National Council Auditions as a winner of the Gulf Coast Regional Finals and as a finalist and winner in the Lois Alba Aria Competition. Most recently, he was named a 2018/19 winner of The William Matheus Sullivan Musical Foundation Award and Career Grant.
Bruley received his undergraduate training at Baylor University, where he studied under Robert Best, and completed his graduate work at Indiana University’s prestigious Jacobs School of Music under the tutelage of Carol Vaness. A native of Montgomery, Texas, Bruley is currently based in Phoenix, Arizona.
American baritone, Jarrett Logan Porter, is second year Marion Roose Pullin Studio Artist at Arizona Opera, and in the 2018/19 season will appear as Guglielmo in Cosí fan tutte, as Father Palmer in Kevin Puts' Pulitzer Prize winning opera Silent Night, as Antonio and the cover to il Conte Almaviva in The Marriage of Figaro, and Baron Douphol in La Traviata. In the 2017/18 season, he was seen as the title role in Hercules vs Vampires, as Sciarrone in Tosca, as Fiorello in The Barber of Seville, and as Maximilian/Captain in Candide. He joins The Santa Fe Opera in 2018 as a member of the company's Apprentice Program, singing Der Perückenmacher in Ariadne auf Naxos, and covering Maximilian/Captain in Candide. In Spring of 2018, he joins pianist Taylor Hutchinson in recital to present the duo's first full length Winterreise at Katzin Hall: Arizona State University. Jarrett has recently appeared as a Young Artist with The Glimmerglass Festival as Sam in Oklahoma!, and in Francesca Zambello's new production of Donizetti's rarely performed opera, The Siege of Calais.
As a passionate interpreter of new music, Porter was seen as Joses in San Francisco Opera's World Premiere of The Gospel of Mary Magdalene by Mark Adamo, and in 2016 as The Narcisisstic Ogre in the American Premiere of Philip Glass' The Witches of Venice at Opera Saratoga, where Opera News lauded him for his "imposing baritone." Later that season, Porter worked as part of the workshop premiere of Mason Bates' The (R)evolution of Steve Jobs for The Santa Fe Opera, and later he went on to make his American Lyric Theatre debut, creating the role of Tom in Theo Popov's and Tony Asaro’s concert premiere of The Halloween Tree at Merkin Hall in New York City. In 2017, he was the recipient of the inaugural Pankonin Art Song Award for his collaboration with composer Matthew Boehler and librettist Tony Asaro to create the new song-cycle: Passed, and has appeared in performance with Jake Heggie at the German Consulate of San Francisco in a program of Heggie’s newest endeavors, including selections from his chamber opera, Out of Darkness.
In January of 2017, Jarrett was a fellow at SongFest at the Hidden Valley Music Festival under the mentorship of Sir Thomas Allen and Graham Johnson. Alongside narration from Mr. Allen and Mr. Johnson, he made his National Public Radio debut with selections from Schubert’s Die schöne Müllerin and Winterreise.
He is the 2017 Winner of the Pacific Music Society Competition, the Ellie Silver Award Winner at the 2017 Holt Competition, and the First Prize Winner of the inaugural Esther C. Weill Competition. Other role engagements have included the title roles in Don Giovanni and Eugene Onegin, Le Chevalier des Grieux in Massenet’s Le Portrait de Manon, Sid in Albert Herring, Harry Easter in Street Scene, and Morales in Carmen. Porter is an Alumni of Houston Grand Opera’s Young Artist Vocal Academy (2014), and holds a BM from the Eastman School of Music (2015), and an MM from the San Francisco Conservatory of Music (2017) where he was a James Schwabacher Fellow. He is a student of César Ulloa.
The Romanian born bass-baritone, Daniel Prunaru Reagan, made his professional opera debut in the role of Leporello in Mozart’s Don Giovanni with Opera Nationala Bucuresti, Romania (1998-1999). Other operatic roles include Ferrando in Verdi’s Il Trovatore (1999), Samuel in Verdi’s Un Ballo In Maschera (2000) with Cluj National Opera, Romania, Don Basilio in Rossini’s The Barber of Seville with Santa Fe Opera (Young Artists Program in 1998), Constanta Opera (2000), and Lyric Theatre of Craiova (Romania), Doctor Bartolo in Mozart’s The Marriage of Figaro (1999), Gian Francesco in Halevy’s La Jouvie with Lyric Theatre of Craiova (Romania, 1999) and Opera Iasi (1999), Count Rodolpho in Bellini’s La Sonnambula and Jacopo Fiesco in Verdi’s Simon Boccanegra with Lyric Theatre of Craiova (2000).
He made his Arizona Opera debut with the role of Officer in Rossini’s The Barber of Seville (2018).
Still early in his graduate studies at DePaul University in Chicago, Mr. Prunaru has enhanced his abilities as a professional singer with Lyric Opera of Chicago Chorus for few seasons under Maestro Donald Palumbo (Faust, Aida, Fidelio, Göterdämmerung), Chicago Symphony Chorus, and from 2008 - 2015 in numerous opera productions with Houston Grand Opera Chorus under Maestro Richard Bado.
He has studied with Armen Boyajian, Mignon Dunn, Hector Vasquez, Lois Alba, and Norman Gulbrandsen, Alumnus of the 1998 Santa Fe Opera the Apprentice Singer Program, and 1996 The Piatra Neamt Young Artist Program in Romania, Mr. Prunaru has received many awards and honors, The Metropolitan Opera National Council Regional Finalist (Chicago, 1998,) Boris Christoff International Opera Competition (Bulgaria, 2000,) Union League Vocal Competition (Chicago, 1996,) George London Foundation Vocal Competition (New York, 1998,) Hariclea Darclée International Opera Competition (Romania, 2000.)
He was also a music professor in Texas, serving as a professor of voice and music fundamentals at Lone Star College, Tomball, TX. (2009 – 2012.)
Brandon Morales, Bass-Baritone and 2nd year member of the Marion Roose Pullin Studio Artist Program, has performed with opera companies all over the US - stretching from the Pacific northwest’s Portland Opera to Virginia Opera on the East coast. Morales has recently completed two years with Virginia Opera’s Heardon Foundation Emerging Artist’s Program with highlights including Bartolo in The Barber of Seville, Peter Quince in A Midsummer Night’s Dream, Jose Castro/Billy Jackrabbit in La Fanciulla del West, and the Mother in Weill’s Seven Deadly Sins.
A graduate of Cincinnati’s College-Conservatory of Music, he has been highly active in the Ohio area performing with Dayton Opera, NANO Works, Cincinnati Chamber Opera, Queen City Chamber Opera, Cincinnati College-Conservatory, Cincinnati Opera, participated in Toledo Opera’s Resident Artist program, and performed the roles of Friedrich von Telramund in Lohengrin and the Dutchman in Die Fliegende Holländer in concert with the Wagner Society of Cincinnati, where he is a part of their blooming Wagner studio. A native of San Antonio, TX, Morales currently enjoys the vagabond life of performing, but misses his faithful cat, Elsie.
Applauded for her “florid musicality” and “von Stade-like shimmer,” mezzo Katherine Beck has been recognized for her unique sound and honest performances throughout the United States. In 2018, Beck took First Prize at the Mildred Miller International Voice Competition and Third Place in the Metropolitan Opera National Council’s Western Regionals.
A current member of the Marion Roose Pullin Studio at Arizona Opera, 2019 highlights for Beck this year include performances of Cherubino in The Marriage of Figaro this spring and Mary Johnson in Fellow Travelers in the fall. Beck recently created the role of Lisette in the world premiere of Gerald Cohen’s Steal a Pencil for Me at Opera Colorado in January 2018. Equally at home in recital and chamber music, she is a two-time alumna of the Tanglewood Music Center as a Vocal Arts fellow. Beck has shared the stage with the likes of Stephanie Blythe in recital at Tanglewood, as well as with Charles Castronovo, Kelley O’Connor and Rod Gilfry in Carmen in the summer of 2017 in Los Angeles.
This summer finds Beck at Santa Fe Opera, performing the role of Karolka in Jenufa and covering Ms. Emily D’Angelo as Dorabella in Cosi fan tutte.
Louisiana-born soprano, Cadie Jordan, joins Arizona Opera for the 2018/2019 season as a member of the Marion Roose Pullin Studio Artist Program where she sings Despina in Così fan tutte and makes three role debuts as Chan Parker in Charlie Parker's Yardbird, Annina in La traviata, and Susanna in The Marriage of Figaro.
The summer of 2018 brought a return to Des Moines Metro Opera where Jordan sang Second Wood Sprite in Rusalka and covered Laurie Moss in The Tender Land, as well as a return to Ravinia’s Steans Music Institute. Previously this season, she made her debut as Clara in the second premier of Jake Heggie’s It’s A Wonderful Life with Indiana University Opera Theatre.
In 2017, she joined the Apprentice Artists of Des Moines Metro Opera where she covered Anne Egerman in A Little Night Music. She was a singer fellow of Ravinia's Steans Music Institute for a series of recitals and masterclasses. She received her Master's Degree from Indiana University in the studio of Heidi Grant Murphy from which her roles include Marian Paroo in The Music Man, and Despina in Così fan tutte. In the summer of 2014, Jordan made her international and role debut with Lisette in La rondine as part of the La Music Lirica Young Artist Training Program in Novafeltria, Italy. In the same summer, she toured as a soprano soloist with the C.S. Lewis Choral Institute through Oxford and Cambridge, England. Other concert performances include Handel's Messiah and Salve Regina during her time at Indiana University.
Jordan received her Bachelor's degree from Louisiana State University where she began her musical pursuit under the tutelage of baritone Dennis Jesse. There, she made her role debut as Despina in Così fan tutte and Zerlina in Don Giovanni.