A Little Night Music
STEPHEN SONDHEIM wrote the music and lyrics for Saturday Night (1954), A FUNNY THING HAPPENED ON THE WAY TO THE FORUM (1962), ANYONE CAN WHISTLE (1964), COMPANY (1970), FOLLIES (1971), A LITTLE NIGHT MUSIC (1973), THE FROGS (1974), PACIFIC OVERTURES (1976), SWEENEY TODD (1979), MERRILY WE ROLL ALONG (1981), SUNDAY IN THE PARK WITH GEORGE (1984), INTO THE WOODS (1987), ASSASSINS (1991), PASSION (1994) and ROAD SHOW (2008) as well as lyrics for WEST SIDE STORY (1957), GYPSY (1959) and DO I HEAR A WALTZ? (1965) and additional lyrics for CANDIDE (1973). Anthologies of his work include SIDE BY SIDE BY SONDHEIM (1976), MARRY ME A LITTLE (1981), YOU'RE GONNA LOVE TOMORROW (1983), PUTTING IT TOGETHER (1993/99) and SONDHEIM ON SONDHEIM (2010). He composed the scores of the films "Stavisky" (1974) and "Reds" (1981) and songs for "Dick Tracy" (1990) and the television production "Evening Primrose" (1966). His collected lyrics with attendant essays have been published in two volumes: "Finishing the Hat" (2010) and "Look, I Made A Hat" (2011). In 2010 the Broadway theater formerly known as Henry Miller's Theatre was renamed in his honor.
Hugh Wheeler was a novelist, playwright and screen writer. He wrote more than thirty mystery novels under the pseudonyms Q. Patrick and Patrick Quentin, and four of his novels were transformed into films: Black Widow, Man in the Net, The Green-Eyed Monster and The Man with Two Wives. For films he wrote the screenplays for Travels with My Aunt, Something for Everyone, A Little Night Music and Nijinsky. His plays include Big Fish, Little Fish (1961), Look: We've Come Through (1961) and We Have Always Lived in the Castle (1966, adapted from the Shirley Jackson novel), he co-authored with Joseph Stein the book for a new production of the 1919 musical Irene (1973), wrote the books for A Little Night Music (1973), a new production of Candide (1973), Sweeney Todd, the Demon Barber of Fleet Street (1979, based on a version of the play by Christopher Bond), and Meet Me in St. Louis (adapted from the 1949 M-G-M musical), contributed additional material for the musical Pacific Overtures (1976), and wrote a new adaptation of the Kurt Weill opera Silverlake, which was directed by Harold Prince at the New York Opera. He received Tony and Drama Desk Awards for A Little Night Music, Candide and Sweeney Todd. Prior to his death in 1987 Wheeler was working on two new musicals, Bodo and Fu Manchu, and a new adaptation of The Merry Widow.
A versatile musician acknowledged for his passionate and commanding leadership from the podium, the exciting American conductor Andrew Bisantz is building an impressive roster of credits at leading national orchestras and opera companies throughout the country. As the Music Director at Eugene Opera, Bisantz has been responsible for the emergence of the company as one of the most noted and important performing arts organizations in the Pacific Northwest. In Eugene, he has conducted Don Giovanni, Le nozze di Figaro, Faust, La bohème, The Mikado, Carmen, Nixon in China, Pirates of Penzance, Dead Man Walking, Offenbach’s Orphée aux Enfers, La fanciulla del West, L’elisir d’amore, Lucia di Lammermoor, Eugene Onegin, and La traviata. This season, Bisantz will continue his post at Eugene Opera and will conduct Madama Butterfly at Opera Tampa. Last season, Bisantz conducted Tosca with Tri-Cities Opera and Sherlock Holmes and the Case of the Fallen Giant at American Lyric Theater. Upcoming engagements include New York Stories for Florida Grand Opera and Madama Butterfly for Opera Tampa.
In recent seasons, Bisantz conducted Opera Saratoga’s production of The Consul, a concert entitled “Mozart’s Operatic Favorites” with Buffalo Philharmonic, Albert Herring at McGill University, Le Nozze di Figaro for Florida Grand Opera, Sherlock Holmes and the Case of the Fallen Giant for American Lyric Theater, La fille du regiment with Opera Saratoga, Dialogues des Carmelites with Savannah Voice Festival, as well as his company’s productions of As One and H.M.S. Pinafore, La fanciulla del West with Virginia Opera, Macbeth for Opera Tampa, Don Giovanni with Northwestern University, and Il Barbiere di Siviglia with Eugene Opera. Notable engagements from the past few seasons include returns to Florida Grand Opera for Rigoletto, Menotti’s The Consul, and Die Zauberflöte; A Midsummer Night’s Dream at McGill University; Rigoletto at Opera Coeur d’Alene and Tri-Cities Opera; Verdi’s La traviata for Virginia Opera; Le nozze di Figaro at Opera San José; La faniciulla del West at Opera Omaha; and Don Giovanni at Savannah Voice Festival and in his début with Wolf Trap Opera. He also conducted Beethoven’s Symphony No. 5 with the Boston Landmarks Orchestra under the famed Hatch Shell and sold-out performances of Rhapsody in Blue with Buffalo Philharmonic.
He made his European début conducting concerts with the Orquestra Sinfónica do Porto in Porto, Portugal and returned conducting a concert of Bomtempo’s Requiem with the OSP and the Coro Casa da Música. He also recently débuted at the Brevard Music Center, conducting Donizetti’s L’elisir d’amore for the Janiec Opera Company.
For his début with Boston Lyric Opera leading The Turn of the Screw, The Boston Globe selected it as one of the ten top Boston classical music events of 2010, and The Boston Musical Intelligencer noted that “Conductor Andrew Bisantz led the small group of instrumentalists with skill and an impeccable ear for balance…in those instances when the players were the focal point, especially the interludes that fall between each scene, the musicianship was effective and inspired.” He subsequently returned for productions of Tosca and Madama Butterfly.
Bisantz previously served as Associate Conductor of Florida Grand Opera (FGO). He made his FGO main stage début conducting Bizet’s Carmen for the company’s historic final performances at Miami-Dade County Auditorium. With FGO, he also conducted Suor Angelica, Pagliacci, La Cenerentola, La bohème, Don Giovanni, and Manon Lescaut. At FGO General Director Robert Heuer’s 25th Anniversary Gala, Maestro Bisantz led the FGO Orchestra in performance with notable artists such as Elizabeth Futral, Katharine Goeldner, Kyle Pfortmiller, and David Pomeroy.
Additional positions held include Assistant Conductor at Glimmerglass Opera, where he conducted Gilbert and Sullivan’s Patience and Massenet’s Le portrait de Manon; Apprentice Conductor and Associate Producer of the Buffalo Philharmonic National Public Radio broadcasts; Music Director of the Florida International University Opera Theatre; and faculty member of VOICExperience, a summer voice program created by legendary baritone Sherrill Milnes and soprano Maria Zouves.
Bisantz earned his Bachelor of Music degree in Piano Performance from Fredonia State College, where he studied piano with Robert Jordan and conducting with Grant Cooper. He completed his Master of Music degree in Orchestral Conducting at the Cleveland Institute of Music where he studied with legendary conductors such as Carl Topilow, Louis Lane, and current Music Director of New York Philharmonic Orchestra, Alan Gilbert.
Keturah Stickann’s work has been seen in countless opera houses across the United States and Canada, as well as in Chile, Japan, France, Germany, Hungary, and Australia. A champion of new American opera, she has worked extensively with director and librettist, Leonard Foglia, helping to bring new operas to the stage by Ricky Ian Gordon, Jennifer Higdon, Jose “Pepe” Martinez, and Jake Heggie & Gene Scheer. Her work on the premieres of Moby-Dick (2010), and It’s A Wonderful Life (2016) prompted Jake Heggie to ask her to helm the premiere of his newest opera, If I Were You (2019), at the Merola Opera Program. In addition, she has directed works by Mr. Gordon, Laura Kaminsky, Anthony Davis, and Robert Aldridge.
Stickann has a well-rounded operatic repertoire, directing new productions including Candide, La clemenza di Tito, Dialogues of the Carmelites, Don Giovanni, L’enfant et les sortileges, Jonathan Dove’s Flight, Norma, Monteverdi’s L’Orfeo, Pelléas et Mélisande, The Seven Deadly Sins, Tosca, La tragédie de Carmen, and La traviata, among others. keturahstickann.com.
Soprano Patricia Racette has appeared in the most acclaimed opera houses of the world including the Metropolitan Opera, San Francisco Opera, Lyric Opera of Chicago, Canadian Opera Company, Royal Opera House, La Scala, Paris Opera, Theater an der Wien, Gran Teatro del Liceu, and the Bayerische Staatsoper. Established as a great interpreter of Janáček and Puccini, she has gained particular acclaim for her portrayals of the title roles of Madama Butterfly, Tosca, Jenufa, Kátya Kabanová, and all three lead soprano roles in Il Trittico. Her repertory now expands to include triumphant portrayals of Strauss’s Salome, Minnie in La Fancuilla del West, Katerina in Lady Macbeth of Mtsensk, Magda in Menotti’s The Consul, Anna Maurrant in Street Scene, Kostelnička in Jenufa, and Elle in La voix humaine. In the fall of 2019, she will add to this list Sister Helen in Jake Heggie’s Dead Man Walking which she performs at the Lyric Opera of Chicago. She has been a favorite on The Met: Live in HD series as both leading lady in Madama Butterfly, Tosca, and Peter Grimes as well as the celebrated host for multiple other productions.
A champion of new works, Racette has created roles in a number of world premieres, including Leslie Crosbie in Paul Moravec’s The Letter at The Santa Fe Opera, Roberta Alden in Tobias Picker’s An American Tragedy at the Metropolitan Opera, the title role in Tobias Picker’s Emmeline at the Santa Fe Opera (broadcast on PBS/Albany Records audio), Love Simpson in Carlisle Floyd’s Cold Sassy Tree at the Houston Grand Opera, and most recently, the title role in Tobias Picker's Dolores Claiborne at the San Francisco Opera.
Racette made her directorial debut with a new production of La Traviata at the Opera Theatre of St. Louis in the summer of 2018. Plans to direct Susannah at the Opera Theatre of St. Louis and a production of La voix humaine starring herself at the Dallas Opera in the spring of 2020 were unfortunately cancelled due to the ongoing pandemic.
Racette was recently named the Artistic Director of Opera Theatre of St Louis’ Gerdine Young Artist and Richard Gaddes Festival Artist programs. She also continues to be sought after for master classes and workshops to foster artistry in the next generation of classical singer. In January 2017, she presented the pilot program of her intensive seminar, Integrative Artistry, at the San Francisco Conservatory, and has since presented it at The Juilliard School and the Washington National Opera.
Born and raised in New Hampshire, Racette studied jazz and music education at North Texas State University. Among her recognitions are an Opera News Award, the prestigious Richard Tucker Award, and the Marian Anderson Award. She also received the 2017 Grammy Award for Best Opera Recording for her performance in the Los Angeles Opera’s production of The Ghosts of Versailles.
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. Praise for his 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.” Recent projects include Seattle Opera’s film of Jonathan Dove’s Flight and his role debut as Silvio in Pagliacci with Atlanta Opera. Other recent engagements include Dandini in La Cenerentola for Virginia Opera, the title role in Don Giovanni with Jacksonville Symphony, and Count Almaviva in Le nozze di Figaro for Cincinnati Opera. Lattanzi has been a regular at The Metropolitan Opera since the 2018/19 Season including productions of Der Rosenkavalier, Madama Butterfly, Marnie, and Kat'a Kabanova. A regular with Arizona Opera, Lattanzi was a member of the Marion Roose Pullin Studio from 2015 – 2017. Appearances with the company include Hawkins in Fellow Travelers, Lt. Audebert in Silent Night, the title role in Don Giovanni, Dandini, and Riolobo in Florencia en el Amazonas.
Mezzo Soprano Beth Clayton led an active solo career for over twenty years, singing over fifty leading roles with companies both in the U.S. and abroad. Particularly known for her interpretation of the title role of Carmen, she also created a number of roles in world premieres, including John Adams’ Doctor Atomic, Thomas Adès’ America, Howard Shore’s The Fly, William Bolcom’s A Wedding, Carlisle Floyd’s Cold Sassy Tree, Deborah Drattell’s Lilith, and Lembit Beecher’s I have no stories to tell you. On the concert stage, she made appearances with leading orchestras ranging from the New York Philharmonic and the Cleveland Orchestra to The Israeli Philharmonic. Her discography includes the Grammy-nominated recording of The Glimmerglass Festival production of The Mines of Sulphur as well as Five Songs of Bernstein with The Minnesota Orchestra. She holds two Bachelors’ degrees in both Voice Performance and Music Education from Southern Methodist University, a Master of Music in Voice Performance from Manhattan School of Music, and most recently a Master of Arts degree in Clinical Mental Health Counseling from Antioch University. She currently combines her performance experience with the platform of total mental well-being in a private practice geared towards the specific needs of performing artists but also those in the LGBTQ community and beyond. Clayton was a finalist in the Metropolitan National Council Auditions in 1995 (and has now become an adjudicator for the MONC competition), a Sullivan Award Winner, and an alumna of the Santa Fe Opera Apprentice Program and the Houston Opera Studio. She is a native Arkansan but resides primarily in Santa Fe, New Mexico and secondarily in New York City.
Praised by the Chicago Tribune for her “firmly knit tone from top to bottom of an imposingly wide range,” in the 2021/22 Season, American mezzo-soprano Jill Grove returns Arizona Opera as Madame Armfeldt in A Little Night Music, and also returns to the Metropolitan Opera for their productions of Elektra and The Rake’s Progress. She recently joined the Metropolitan Opera and the Lyric Opera of Chicago as the Governess in Pique Dame, joined Minnesota Opera for Klytaemnestra in Elektra, San Francisco Opera the Fortune Teller in Arabella and Mamma Lucia in Cavalleria Rusticana, Canadian Opera Company 1st Maid in Elektra, and joined the Calgary Philharmonic for performances of Verdi’s Requiem.
Grove is a frequent guest at the Lyric Opera of Chicago, she has sung previous performances of Marthe in Faust, Ježibaba in Rusalka, Filippyevna in Eugene Onegin, Klytaemnestra in Elektra, Margret in Wozzeck, the Witch in Hansel und Gretel, Die Amme in Die Frau ohne Schatten, Amneris in Aida, Erda in Götterdämmerung, Countess Geschwitz in Lulu, and Reginal Segla in the world premiere of Wlad Marhulet’s The Property as part of the inaugural season of Lyric Unlimited. At the Metropolitan Opera, her performances include Erda in Siegfried and Das Rheingold, Magdalene in Die Meistersinger von Nürnberg, Madelon in Andrea Chénier, Pantalis in Mefistofele, Emila in Otello, Mary in Die fliegende Holländer, Auntie in Peter Grimes, die Muschel in Die ägyptische Helena, and Cornelia in Giulio Cesare.
The mezzo’s other recent performances include Ježibaba in Rusalka with Des Moines Metro Opera; Klytaemnestra in Elektra with Michigan Opera Theatre; Auntie in Peter Grimes with Canadian Opera Company; Ježibaba in Rusalka and First Maid in Elektra with Houston Grand Opera; Buryja in Jenůfa, Madelon in Andrea Chenier and Jenny Reefer in Thompson’s The Mother of Us All at San Francisco Opera; Dame Quickly in Falstaff, Muschel in Die ägyptische Helena, Florence Pike in Albert Herring, Ursule in Béatrice et Bénédict, and Antonia’s Mother in Les contes d’Hoffmann with Santa Fe Opera; Erda in Siegfried, Nutrice in L'Incoronazione di Poppea, and Zita in Gianni Schicchi at Los Angeles Opera; Baba the Turk in The Rake’s Progress with Pittsburgh Opera and Utah Opera; Amneris in Aida in previous performances with Canadian Opera Company and New Orleans Opera; Ulrica in Un ballo in maschera with San Diego Opera; and the Sorceress in Dido and Aeneas with Philharmonia Baroque. In Europe, Grove has performed the role of Haushälterin in Die schweigsame Frau with Théâtre du Châtelet; the Deaconess in Szymanowski’s Krol Roger; Ulrica in Un ballo in maschera with Welsh National Opera and Teatro Carlo Felice; and Erda in Siegfried and the First Norn in Götterdämmerung with the Bayerische Staatsoper in Munich under the baton of Kent Nagano.
A sought-after concert soloist, she has joined the Los Angeles Philharmonic, New York Philharmonic, National Symphony, Atlanta Symphony, Utah Symphony, Houston Symphony, Lubbock Symphony Orchestra, and Santa Fe Symphony for Beethoven’s Symphony No. 9. She has sung Verdi’s Requiem with the Toronto Symphony under the baton of Sir Andrew Davis, Tucson Symphony, Lubbock Symphony Orchestra, and Calgary Philharmonic; Mahler’s Symphony No. 3 with the Houston Symphony under the baton of Christoph Eschenbach and the Royal Concertgebouw Orchestra with Mariss Jansons conducting; Prokofiev’s Alexander Nevsky with the National Symphony under the baton of Hans Graf; Maria Aegyptiaca in Mahler’s Symphony No. 8 with the San Francisco Symphony under the baton of Michael Tilson Thomas and the Houston Symphony with Eschenbach, Bergen Philharmonic, and the Norddeutsche Rundfunk Sinfonieorchester under the baton of Eschenbach; Janáček’s Glagolitic Mass and Elgar’s The Kingdom at the Grant Park Music Festival; Elgar’s The Dream of Gerontius with the Jacksonville Symphony; Handel’s Messiah with the Toronto Symphony under the batons of Nicolas McGegan and Sir Andrew Davis and with the National Arts Centre Orchestra under the baton of Trevor Pinnock; Mahler’s Symphony No. 2 with the San Francisco Symphony conducted by Michael Tilson Thomas; Beethoven’s Missa Solemnis with the Minnesota Orchestra; Bernstein’s Jeremiah Symphony with The Orchestra NOW; Brahms’ Alto Rhapsody with the American Classical Orchestra; and Verdi’s Requiem with the Dallas Symphony conducted by Jaap van Zweden.
Grove's recordings include Ulrica on a Chandos recording of Verdi's Un ballo in maschera, Auntie in Peter Grimes on the London Symphony Orchestra Live label with Sir Colin Davis and in a new production by John Doyle at the Metropolitan Opera (available on EMI DVD), Magdalene in Die Meistersinger von Nürnberg under the baton of James Levine and issued on DVD by Deutsche Grammophon, as well as the Muschel in Strauss's Die ägyptische Helena with the American Symphony Orchestra on Teldec. As a member of the Houston Grand Opera Studio, she sang Tisbe in La cenerentola opposite Cecilia Bartoli which was released by Decca/London.
She is the winner of the 2003 ARIA award, a 2001 Richard Tucker Foundation Career Grant, a 1999 George London Foundation Career Grant, a 1997 Sullivan Foundation Career Grant, a 1996 winner of the Metropolitan Opera National Council Auditions, a 1996 recipient of a Richard Tucker Foundation Study Grant, and a 1995 recipient of a Richard F. Gold Career Grant. She was a member of the Merola Program at San Francisco Opera and the Houston Grand Opera Studio and attended the Music Academy of the West, the New England Conservatory, and Stephen F. Austin State University. She received a Distinguished Alumna Award from the latter university in 2006.
The Oregonian praises soprano Katrina Galka for her recent performances of Adina in L’elisir d’amore, exclaiming that she “looked like a young Glenn Close, projecting power over Nemorino as she thrilled with fine coloratura filigree and pure high notes.” In the 2020/21 Season, she makes her role and company debut as Olympia in Les contes d’Hoffmann at the Opernhaus Zürich as well as sings a solo digital recital for Portland Opera. Her San Francisco Opera debut as Janine (Ofwarren) in Ruder’s The Handmaid’s Tale was unfortunately cancelled by the COVID-19 pandemic, as were the roles she added to her repertoire last season: Zerbinetta in Ariadne auf Naxos and the Charmeuse in Thais for performances at Arizona Opera and Utah Opera. In the first half of last season, she returned to the Wiener Staatsoper to reprise Fritzi in Staud’s Die Weiden following her debut with the company in the work’s world premiere in the season prior. She sang her first performances of the Controller in Dove’s Flight with Minnesota Opera and returned to the Las Vegas Philharmonic for Handel’s Messiah.
Galka recently role and company debuts as Blondchen in Die Entführung aus dem Serail with Atlanta Opera—followed by reprisals at New Orleans Opera and Opera San Jose, Atalanta in Xerxes at the Glimmerglass Festival, and Serpetta in La finta giardiniera with On Site Opera at the Caramoor International Music Festival, and Aithra in Die ägyptische Helena with Odyssey Opera. She sang her first performances of Gilda in Rigoletto in a return to Portland Opera, where she was previously a resident artist and host of role debuts that include Adina in L’elisir d’amore, Johanna in Sweeney Todd, Elvira in L’italiana in Algeri, Papagena in Die Zauberflöte, and Frasquita in Carmen. With Arizona Opera Opera, she sang Cunegonde in Candide, Rosina in Il barbiere di Siviglia, Woglinde in Das Rheingold, and a quartet of roles in Morganelli’s Hercules vs Vampires, the First Wood Nymph in Rusalka and Clorinda in La cenerentola as a resident artist. She joined the Seiji Ozawa Music Academy as a guest artist for Frasquita in Carmen and sang prior performances of Papagena in Die Zauberflöte with Opera Theatre of Saint Louis at which she has been both a Festival Artist and a Gerdine Young Artist. She joined the CoOperative Program as Marie in La fille du régiment and sang the Cat in Schuller’s The Fisherman and his Wife with Odyssey Opera and the Boston Modern Orchestra Project. She also joined Dallas Opera as Voice I in Cuomo's Arjuna's Dilemma, presented as the company hosted the annual Opera America conference.
On the concert stage, she has joined the Rhode Island Civic Chorale for the Angel in Respighi's Laude to the Nativity and Handel's Messiah and returned to the latter previously with the Las Vegas Philharmonic. With the Florida Orchestra, she sang Bernstein favorites in a concert celebrating his work on Broadway. She sang Elvira in excerpts of L’italiana in Algeri with the Oregon Symphony and Violetta in excerpts of La traviata with the Metropolitan Youth Symphony. With various Dallas-based chamber ensembles and orchestras, she has sung Fauré’s Requiem, Mozart’s Exsultate Jubilate, and Bach’s St. John Passion. In 2011, Katrina performed in the east coast premiere of Jake Heggie’s Pieces of 9/11 as the Girl Soprano, with Mr. Heggie at the piano.
Galka is a three-time regional award winner in the Metropolitan Opera National Council Auditions. She is the first-place winner of the Mario Lanza Scholarship and has received further awards from the National Opera Association Vocal Competition, Marcello Giordani International Vocal Competition, and the Heida Hermanns International Vocal Competition.
She holds a Master of Music from Boston University, at which she sang Servilia in La clemenza di Tito, Carolina in Il matrimonio segreto, and Rosalba in Catan’s Florencia en el Amazonas. She earned a Bachelor of Music from Southern Methodist University, from which she graduated summa cum laude.
Terrence is an artist who strives to infuse his work with honesty and simplicity. With his "richly colored voice" (Seen and Heard International), he pairs passionate performance with a full, sweet sound. Although the 2020/21 Season has brought so much hardship to the theater arts community, Terrence was fortunate to join the Marion Roose Pullin Opera Studio at Arizona Opera. Even though the mainstage season was canceled due to the pandemic, Terrence will sing in a series of outdoor concerts and recorded orchestral concerts curated by the company.
In the summer of 2021, he will premiere a new piece by Daniel Bernard Roumain at the Norfolk Chamber Music Festival about the shooting of Philando Castile as well as appear in William Grant Still's Highway 1 as a Gerdine Young Artist at Opera Theatre St. Louis. The 2019/20 saw Terrence in his first engagement at the Metropolitan Opera as Mingo (Cover) in The Gershwin's Porgy and Bess and making a debut with the New York Festival of Song as a part of the Vocal Rising Stars series at Caramoor. Terrence's favorite roles include Idomeneo in Idomeneo: afterWARds (Pittsburgh Opera), director David Paul's retelling of Mozart's masterpiece with the composer's original music, Edgardo in Donizetti’s Lucia di Lammermoor (Indiana University), Brighella in Ariadne auf Naxos (Santa Fe Opera), and Younger Thompson in Tom Cipullo's Glory Denied (Pittsburgh Opera, Penn Square Music Festival). He was happy to make his Carnegie Hall debut in Handel's Messiah in the 2018/19 Season.
Terrence is a 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. 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). He is a 2018 Metropolitan Opera National Council Auditions National Semifinalist.
Admired for her unique vocal prowess, "...easily switch-hitting from high coloratura to Broadway belt” (New York Post), mezzo-soprano Melanie Long is making her mark forging a truly modern operatic career. In 2019 Long created the role of Anna in Encompass New Opera Theater’s world premiere of ANNA CHRISTIE by Edward Thomas. The production and her performance received rave reviews and the cast album was up for Grammy Nomination in 2020.
Long made her New York City Opera debut in 2016 with a power-house portrayal of Ava (Gardner) in the East Coast premiere of Stewart Wallace’s HOPPER’S WIFE and returned to NYCO in 2017 to portray Amore/Cupid (PYGMALION, Rameau). Her 2017 season also included the very notable world premieres of Julian Wachner's REV 23 with White Snake Projects and Michael Gordon's ACQUANETTA for the PROTOTYPE Festival.
An exceptional singing actress, Long is an established performer of crossover, operetta and musical theater repertoire. She created the role of Pelegrino at the New York International Fringe Festival in the world premiere of THE PIG, THE FARMER AND THE ARTIST. Other notable crossover performances include Mrs. Segstrom (A LITTLE NIGHT MUSIC) with The Gallery Players and frequent New York and International cabaret appearances.
Long was an Opera Works artist at English National Opera in 2013 and has performed throughout the United Kingdom. Her much-lauded Edinburgh Festival Fringe appearances include the title role in MARIA STUARDA, Rosina (IL BARBIERE DI SIVIGLIA) and DORABELLA (COSÌ FAN TUTTE).
Long began her career as a soprano, making her professional debut at Des Moines Metro opera as a “buoyant Papagena” (DIE ZAUBERFLÖTE) (Opera News), and has performed some of her most beloved roles there, including OSCAR (UN BALLO IN MASCHERA), ÄNNCHEN (DER FREISCHÜTZ) and most recently Petra in the iconic Isaac Mizrahi production of A LITTLE NIGHT MUSIC.
She earned her Master’s degree at the Manhattan School of Music and makes her home in New York City.
Cheyanne Coss is a soprano recently hailed for her performances as Pamina in The Magic Flute with Toledo Opera and her work in the title role of Gluck’s Iphigénie en Tauride. Coss will make her debut with the Santa Fe Opera in the summer of 2020 singing Berta in The Barber of Seville, and afterward will be joining Arizona Opera’s Marion Roose Pullin young artist program for an exciting 2020/21 Season, singing such roles as Adina in The Elixir of Love and Stella DuBois in André Previn’s A Streetcar Named Desire. She spent the 2018/19 Season as the resident soprano of the Michigan Opera Theatre studio, making her mainstage debut there as the Dew Fairy in Hansel and Gretel, among other assignments. Cheyanne has participated in multiple summer young artist programs, notably the Merola Opera Program (performing the title role in Mozart’s Il Re Pastore) as well as Opera Theatre of Saint Louis and Chautauqua Opera. Coss recently made her concert debut with the Charleston Symphony Orchestra, singing the soprano solo in Brahms’ Ein Deutsches Requiem, and in 2019 performed Samuel Barber’s Knoxville: Summer of 1915 with the Flint Symphony. She is originally from Eaton Rapids, Michigan and is a proud alumna of Oakland University and the New England Conservatory.
Soprano Caitlin Gotimer, from Malverne, NY, is a second year Resident Artist with Pittsburgh Opera. For the 2019/20 Season, Caitlin performed Alcina/ Alcina, Tink Enraught/ The Last American Hammer, and covered Micaëla/ Carmen. Caitlin will make her debut at the Glimmerglass Festival this summer singing Armida/ Rinaldo, and covering Donna Elvira/ Don Giovanni. In the 2018/19 Season at Pittsburgh Opera, she performed the roles of the Sandman and Dew Fairy/ Hansel and Gretel, Elettra/ AfterWARds (Mozart's Idomeneo Reimagined,) and Older Alyce/ Glory Denied, and covered Mimì/ La Bohème.
Caitlin was a part of the Artist Diploma in Opera program at CCM from 2017-18, where she received a Masters of Music in Voice in 2017. At CCM, Caitlin sang Suor Angelica/ Suor Angelica, Dalinda/ Ariodante, and Anne Sexton/ Transformations. Caitlin spent two summers at the Crested Butte Opera Studio, where she sang Lauretta/ Gianni Schicchi and Musetta/ La Bohème. Caitlin received her Bachelors of Music from Binghamton University.
Named a 2019 Grand Finals Winner by the Metropolitan Opera National Council Auditions, rising American mezzo-soprano Mack Wolz (they/them) joins Arizona Opera as a member of the Marion Roose Pullin Opera Studio for the 2020/21 Season. Praised by Opera News for their “keen sense of character,” Wolz will cover the role of Addison in the World Premiere of The Copper Queen and can be seen in their mainstage debut as Mercèdes in Carmen. On the concert stage, engagements include debuts with The Phoenix Symphony, performing Handel's Messiah and Beethoven's 9th Symphony, and Opera Edwardsville, presenting a program of Renaissance and Baroque motets with renowned harpsichordist Jory Vinikour.
Last season, Wolz joined pianist Steven Blier in the New York Festival of Song “Killer B’s” tour, performing the concert at the Tucson Desert Song Festival, the Century Club in New York City, and Ohio University in Athens, Ohio. They then returned to New York City to take part in the Opera America Emerging Artists Recital featuring Seagle Music Colony Alumni.
Wolz has spent the last three summers with Opera Theatre of St. Louis, taking part in their Gerdine Young Artist and Gaddes Festival Artist programs. Their most recent performance in The Coronation of Poppea was highlighted by Opera News for their “creamy mezzo and mischievous spark as Amore.” At the company, they also covered Cherubino in The Marriage of Figaro, Pvt. Stanton in An American Soldier, and Annio in La Clemenza di Tito. Outside of their mainstage season, Wolz has participated in concerts, workshops of new operas, and outreach, most notably portraying Angelina in a reduced version of La Cenerentola for children around the St. Louis area.
Wolz trained at The Boston Conservatory, where their numerous mainstage performances were lauded for their “immense skill in both solo and ensemble singing” and for their “radiant” voice (The Boston Musical Intelligencer). While completing their studies in Boston, Wolz was seen as Dorabella in Così fan tutte, Mère Marie in Dialogues of the Carmelites, Sister Helen Prejean in Jake Heggie's Dead Man Walking, Presendia in Nico Muhly’s Dark Sisters, Bradamante in Alcina, Cherubino in The Marriage of Figaro, and Stewardess in Flight.
Last spring, Wolz was awarded first prize in the Dorothy Lincoln-Smith Classical Voice Competition through the National Society of Arts and Letters. They have also been recognized as a finalist in the international Getting to Carnegie Competition. As part of the competition, Wolz premiered Julian Gargiulo’s newly-composed cycle, “Songs from the Fork,” performing in the prestigious Weill Recital Hall.
Wolz’s training has included past resident artist apprenticeships with International Meistersinger Akademie (Neumarkt, Germany), Opera Theatre of Saint Louis, and Seagle Music Colony. Wolz holds a Bachelor of Music and a Master of Music degree from The Boston Conservatory at Berklee, where they were the recipient of the Gerry and Steve Ricci Scholarship.
Aaron Matthew Smith, is an accomplished musician who has performed widely throughout the valley. Aaron began his musical career as a classical violinist, something he still enjoys to this day. It was in pursuing this passion that he first encountered and fell in love with the operatic style and classical singing. Since embracing classical voice, he has enjoyed performing varied works throughout the southwest. He made his main stage debut with Utah Lyric Opera in 2019 as Remendado in Bizet’s Carmen. He has sung the role Duncan in the concert revival of Mountain Days by Arizona’s own Craig Bohmler and covered Rinuccio in Puccini’s Gianni Schicchi. Along with opera, Aaron enjoys performing both concert and recital works. Performing regularly as a recital artist, his most recent performances have included English Chamber Music, German Lied, and American Art Song. Highlights include solo works such as Ralph Vaughan Williams’ On Wenlock Edge, Gerald Finzi’s Farewell to Arms, Franz Liszt’s Wilhem Tell, various works by Josephine Lang, and as a featured soloist for Morten Lauridsen in a discussion and performance of his first song cycle, A Backyard Universe. In the 2021/2022 Season, Aaron is delighted to make his Arizona Opera debut as Mr. Erlanson in Sondheim’s A Little Night Music. He can also be seen as the lead soloist in Joseph Julian Gonzalez’s ground breaking work Misa Azteca and as the 2nd tenor soloist in Beethoven’s Choral Fantasy. Aaron is a native of Arizona and proud alumna of Arizona State University holding degrees in both Vocal Performance and Violin Performance
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.