Bold. Brave. Brilliant.
by Antonín Dvořák


Antonín Leopold Dvořák (September 8, 1841 – May 1, 1904) was a Czech composer. Following the nationalist example of Bedřich Smetana, Dvořák frequently employed aspects, specifically rhythms, of the folk music of Moravia and his native Bohemia (then parts of the Austrian Empire and now constituting the Czech Republic). Dvořák’s own style has been described as ‘the fullest recreation of a national idiom with that of the symphonic tradition, absorbing folk influences and finding effective ways of using them’.

Headshot of conductor Steven White with Arizona Opera

Steven White


Praised by Opera News as a conductor who “squeezes every drop of excitement and pathos from the score,” Steven White is one of North America’s premiere operatic and symphonic conductors. He made his acclaimed Metropolitan Opera debut in 2010, conducting performances of La traviata starring Angela Gheorghiu. Since then he has conducted a number of Metropolitan Opera performances of La traviata, with such stars as Natalie Dessay, Hei-Kyung Hong, Plácido Domingo, Thomas Hampson, Dmitri Hvorostovksy and Matthew Polenzani. In the past several seasons he has returned to the Met to participate in critically fêted productions of Don Carlo, Billy Budd, The Rake’s Progress and Elektra.

With a vibrant repertoire of over sixty-five titles, Maestro White’s extensive operatic engagements have included performances with New York City Opera, L’Opera de Montréal, Vancouver Opera, Opera Colorado, Pittsburgh Opera, Michigan Opera Theater, Baltimore Opera, New Orleans Opera, and many others. In recent seasons he has conducted Rigoletto with San Diego Opera, Otello with Austin Opera, La traviata with Utah Opera, and a world premiere staged production of a brand-new Bärenreiter edition of Gounod’s Faust with Opera Omaha. In the 2021-2022 season, he returns to the Metropolitan Opera for their production of Tosca, which he also conducts for Utah Opera. With Opera Omaha he conducts Eugene Onegin, and he returns to Opera Roanoke for Bluebeard’s Castle in the fall and Verdi’s Requiem in the spring.

In 2020 the COVID-19 pandemic necessitated the cancellation of his eleventh production at Arizona Opera, Ariadne auf Naxos, as well as the company premiere of André Previn’s A Streetcar Named Desire at Opera Roanoke. Other projects in the 2020-21 season COVID-impacted season included a reimagined Rigoletto with Tulsa Opera at Tulsa’s ONEOK Field, and Le nozze di Figaro in a return to Opera Omaha (postponed).

Music critics are effusive in their praise of conductor Steven White’s ability to elicit inspired music-making from orchestras. Of his 2016 performances with the Omaha Symphony, the Omaha World-Herald asserts that, “it would be hard to imagine a more complete performance of the Symphonie Fantastique. Highly nuanced, tightly controlled and crisp, Steven White asked everything from orchestra members and they were flawless. He led them out of serene beauty into disturbing dissonance and even to the terrifying point of musical madness without ever losing control. It was insanely good.” Opera News declares, “White is amazing: he consistently demands and gets the absolute best playing from the orchestra.”

Among the many orchestras Maestro White has conducted are the Metropolitan Opera Orchestra, the Moscow Philharmonic, the Orchestre Métropolitain du Grand Montréal, the Mozarteum und Salzburg KulturvereinigungOrchestra, the Baltimore Symphony Orchestra, the New World Symphony Orchestra, the Spoleto Festival Orchestra, the Colorado Symphony, the Nashville Symphony Orchestra, the Columbus Symphony Orchestra, the Charleston Symphony, the Florida Philharmonic, the Fort Worth Symphony and London’s Philharmonia Orchestra for a CHANDOS recording of arias featuring his wife, soprano Elizabeth Futral. In 2019 he made debuts with the San Diego Symphony, the Utah Symphony Orchestra and the Williamsburg Symphony Orchestra.

Maestro White is a passionate and dedicated educator. He has served multiple artistic residencies and led productions at such institutions as the Peabody Conservatory of Music, Indiana University, the College Conservatory of Music at the University of Cincinnati, the University of Miami Frost School of Music Program in Salzburg, Kennesaw State University and Virginia Tech University. In the summer of 2019 he served as an artist in residence at the Shanghai Conservatory in China and in 2020 he led a critically acclaimed production of La clemenza di Tito for the North Carolina School of the Arts Fletcher Opera Institute. He is in constant demand as an adjudicator of the most prestigious music and vocal competitions, including numerous auditions for the Metropolitan Opera National Council and the Jensen Foundation.

Steven White proudly makes his home in Virginia, where he serves as Artistic Director of Opera Roanoke, a company with which he has been associated for two decades. Maestro White has conducted dozens of productions in Roanoke, including performances of Das Lied von der Erde, Der fliegende Holländer, Fidelio, Falstaff, Otello, Macbeth, Aida, Hänsel und Gretel and many others. In recognition of his contributions to the civic, cultural and artistic life of Southwest Virginia, Roanoke College conferred on Maestro White an Honorary Doctorate of Fine Arts in May 2013.

Headshot of stage director Joshua Borths with Arizona Opera

Joshua Borths

Stage Director

Joshua Borths is a stage director, writer, educator, and arts administrator with over twelve years of experience in the opera industry. Borths has directed dozens of professional productions, given over five hundred public lectures, and written more than eight children's operas that have introduced hundreds of thousands of young audiences to opera across the country.

Originally from Cincinnati, OH, Borths is currently the Resident Scholar of Virginia Opera and a member of the stage directing staff of Des Moines Metro Opera. Borths comes to Virginia after having served as the Director of Opera & Musical Theater and Professor of Music History at Capital University in Columbus, OH and as Director of Education and Resident Stage Director at Arizona Opera.

At Capital University, Borths produced and managed all of the opera and musical theatre programming while also teaching the music history curriculum. Additionally, Borths created a joint Resident Artist Program with Opera Columbus, creating innovative programming for both institutions. With Arizona Opera, Borths more than doubled the reach and scope of department through innovative programming and cultural engagement. By the end of Borths' tenure, the Department of Education reached 70,000 people annually.

Past favorites include directing productions of The Falling and the Rising and Beauty and the Beast for Des Moines Metro Opera; Rusalka, Florencia en el Amazonas, and The Barber of Seville for Arizona Opera; Hansel and Gretel and The Tragedy of Carmen for Opera Memphis; Madame Butterfly at Pensacola Opera, La Clemenza di Tito for the University of Maryland, Suor Angelica for Crested Butte Music Festival, and The Elixir of Love for Opera Las Vegas. As a stage director of musical theatre, Borths has directed Parade; Camelot; Kiss Me, Kate; and The Music Man.

Borths has also directed gala performances featuring Frederica von Stade and Joyce DiDonato, and staged the southeastern premieres of Soldier Songs and La Hija de Rappaccini.

As an assistant director, Borths has worked with many opera companies including Arizona Opera, Wolf Trap Opera, Michigan Opera Theater, Des Moines Metro Opera, and the Festival della Valle d'Itria. Additionally, Borths has hosted podcasts, written acclaimed surtitle translations of popular operas, and publicly interviewed many illustrious artists including Jake Heggie, Gregory Spears, David T. Little, Jonathan Dove, novelist Thomas Mallon, and Pulitzer Prize-Winning Author Jane Smiley.

As an educator, Borths has taught at Shenandoah University, been a Visiting Professor at the Crane School of Music (SUNY Potsdam), directed Maryland Opera Studio, and was a guest panelist at the Opera America Conference. Borths collaborated with TED Ed on their first opera resources and was featured in Opera News for his innovative approach to opera education.

Borths holds undergraduate degrees from the University of Michigan and a masters degree in Opera Production from Florida State University.

Sara Gartland

Rusalka November 11, 13 & 19

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.

Melinda Whittington

Rusalka November 12 & 20

The Philadelphia Inquirer hails Melinda Whittington as "especially marvelous in handling the rapturous jail scene music” in recent performances of Marguerite in Faust. In the 2016/17 season, she returns to Arizona Opera for the title role in Rusalka in addition to joining Utah Opera as Donna Anna in Don Giovanni, Greensboro Opera as Micaëla in Carmen, and the Lyric Opera of Chicago for its production of Eugene Onegin.

Last season, she made debuts with Arizona Opera as Donna Anna in Don Giovanni, Ash Lawn Opera as Fiordiligi in Così fan tutte, and Kentucky Opera as the Contessa in The Marriage of Figaro. She also joined the Charlotte Symphony for excerpts of Roméo et Juliette, was presented by Opera Birmingham in a solo recital, and joined the Ocean City Pops in concert.

Ms. Whittington is a former Resident Artist of the Academy of Vocal Arts, at which she sang Marguerite in Faust and Fiordiligi in Così fan tutte. She sang Marie Antoinette in Corigliano’s The Ghosts of Versailles and Micaëla in Carmen during her two summers at Wolf Trap Opera. Also while a Filene Young Artist at Wolf Trap Opera, she presented a recital in collaboration with the Phillips Collection, pairing art songs and popular songs with art from the museum. Her other previous performances include Donna Elvira in Don Giovanni with the Green Mountain Opera Festival and Third Lady in The Magic Flute and Lauretta in Gianni Schicchi with Opera Carolina. Her operatic repertoire also includes Violetta in La traviata, the title role in Alcina, Mimì in La bohème, Pamina in The Magic Flute, Rosalinde in Die Fledermaus, and Marie in The Bartered Bride. She recently joined Opera Philadelphia for an exciting evening of new opera with Opera Philadelphia and their composers in residence, Lembit Beecher and Missy Mazzoli. On the concert stage, she has sung Beethoven’s Symphony No. 9 with the Philadelphia Sinfonia and Orff’s Carmina Burana with the Back Bay Chorale.

She is the 2016 third place winner in Fort Worth Opera’s McCammon Voice Competition, 2015 first place winner of the Opera Birmingham competition, a 2013 semi-finalist of the Metropolitan Opera National Council Auditions, winner of the Charlotte Opera Guild Competition, and an encouragement award winner in the Gerda Lissner International Vocal Competition. She is a former participant in the prestigious Merola Opera Program in association with San Francisco Opera at which she performed scenes as the title role in Donizetti’s Anna Bolena, Barber’s Vanessa, and Bizet’s The Fair Maid of Perth. She holds a Master of Music degree from the University of North Carolina Greensboro and a Bachelor of Music from the University of North Carolina at Chapel Hill.

David Danholt

The Prince November 11, 13 & 19

"A Danish tenor of beautiful tone and elegantly polished phrasing” (Seattle Times), David Danholt won a First Prize at the 2014 Seattle Opera International Wagner Competition and a 2009 Reumert Talent Award. Born in Funen, he trained at the Royal Academy of the Royal Theatre, Copenhagen, and then in the soloist class of the Royal Academy of Music, Copenhagen. He has established a strong relationship with Den Jyske Opera, where he has sung Nemorino in Elixir of Love, the title role in Faust, Don Ottavio in Don Giovanni, Tamino in The Magic Flute, the title role in Idomeneo, Alfredo in La traviata, The Steersman in The Flying Dutchman, and Young Seaman & Shepherd/Tristan und Isolde.

His wider engagements have included Lysander in A Midsummer Night’s Dream and Eurimaco in Il ritorno d’Ulisse at the Royal Danish Opera, Robert Lanyon in Dr Jekylls advokat with Den Fynske Opera, Jenik in The Bartered Bride at the Staatstheater Mainz, Arindal in Die Feen and Claudio in Das Liebesverbot for Oper Leipzig,  and SS Officer The Passenger at the Bregenz Festival, a production now available on Neos Blu Ray and DVD. He made his UK debut as Idomeneo with Grange Park Opera and sang Arindal in Die Feen for Chelsea Opera Group.

Concert engagements have included performances with orchestras including the Ålborg Symphony Orchestra, the Århus Symphony Orchestra, the Esbjerg Ensemble, the Leipzig Chamber Orchestra, the Malmö Symphony Orchestra, the Odense Symphony Orchestra, the Orquestra Metropolitana, Lisbon, the Royal Philharmonic Orchestra, the South Jutland Symphony Orchestra and the Tivoli Symphony Orchestra. Conductors with whom he has worked in opera and concert include Nicholas Braithwaite, Nicholas Kraemer, Sebastian Lang-Lessing, Joseph Rescigno, Tobias Ringborg, Carlo Rizzi, Michael Schönwandt, Stefan Solyom, Constantin Trinks, Jin Wang, Hilary Davan Wetton and Dominic Wheeler.

Current engagements include Tamino in The Magic Flute for Valdemars Castle Summer Opera, Eisenstein in Die Fledermaus and Carl Nielsen in Springtime in Funen with the Odense Symphony Orchestra, Accurato in Andre Bygninger for Den Fynske Opera, Baron Lummer in Intermezzo at The Concertgebouw, Amsterdam, Erik in The Flying Dutchman for the Florentine Opera Company and Seattle Opera, Beethoven's Symphony No. 9 and Handel's Messiah with the Danish Radio Sinfonietta, Beethoven's Symphony No. 9 with the Kristiansand Symphony Orchestra, Dvorak's Stabat Mater with the Aarhus Symphony Orchestra, Candide and Elijah with the Helsingborg Symphony Orchestra, Rued Langgard’s Antichrist at Ribe Cathedral and Mozart's Requiem with the Kristiansand Symphony Orchestra. He returns to the UK to sing Carl Nielsen in Hymnus Amoris with the Danish Radio Symphony Orchestra for his debut at the 2015 BBC Proms.

Kevin Ray

Kevin Ray

The Prince November 12 & 20

Rising American tenor Kevin Ray joins the Phoenix Symphony for Beethoven’s Symphony No. 9, Florida Orchestra for Rachmaninov’s The Bells, and the Midcoast Symphony Orchestra for Verdi’s Requiem. Future engagements include the debut of a leading role with Arizona Opera.

He is a 2015 winner of the William Matheus Sullivan Musical Foundation Award. Last season, he returned to Houston Grand Opera to sing performances of the company’s new commission of Iain Bell’s one-man opera, A Christmas Carol in addition to returning to the company for Roderigo in Otello, Beadle Bamford in Sweeney Todd, and both the First Armed Man and Second Priest in Die Zauberflöte. He joined his alma mater, the Curtis Institute of Music, as a guest artist in his first performances of Bacchus in Ariadne auf Naxos in association with Opera Philadelphia and the Kimmel Center for the Performing Arts. 

The tenor recently completed two years in the Houston Grand Opera Studio, during which he sang Eisenstein in Die Fledermaus, the Third SS Officer in Weinberg’s The Passenger, Melot in Tristan und Isolde, and the Messenger in Aida, in addition to being responsible for both Froh and Loge in Das Rheingold as well as Don José in Carmen. He also sang the Defendant in a special performance of Gilbert and Sullivan’s Trial by Jury presented by the company at the Harris County Courthouse and scenes of Heggie’s Moby Dick and Carmen in concert.

Mr. Ray’s other recent engagements include his first performances of the title role of Peter Grimes with Chautauqua Opera as well as Don José in Carmen with Wolf Trap Oprea and the Lyrique-en-Mer/Festival de Belle-Île. While a Santa Fe Apprentice Artist, he created the role of the Second Clubman in the world premiere of Moravec’s The Letter. Also with the company, sang the role of the Poet in Menotti’s The Last Savage, covered the Drum Major in Wozzeck, and performed scenes of the title role of Idomeneo. On the concert stage, Mr. Ray has joined the Philadelphia Orchestra, Fort Worth Symphony Orchestra, and the Sunriver Music Festival for Beethoven’s Symphony No. 9. He has also sung Verdi’s Requiem with the Arkansas Symphony Orchestra, Beethoven’s Missa Solemnis with the Peoria Symphony Orchestra and has appeared in numerous concerts with the Opera Orchestra of New York.

He recently earned his Master of Music from the Curtis Institute of Music. While there his roles included Don José in La tragédie de Carmen, the Schoolmaster in Cunning Little Vixen, and Toni Reichsmann in The Elegy for Young Lovers. He is also a former participant in the Merola Opera Program of San Francisco Opera, where he sang scenes of Jenik in The Bartered Bride. He studied for several years as a baritone, when he sang such roles as Figaro in The Barber of Seville, Don Alvaro in Il viaggio a Reims, Robert in Iolanta, and Conte Almaviva in The Marriage of Figaro.

The tenor was one of eight finalists in Seattle Opera’s 2014 International Wagner Competition. He is a 2012 Grand Finalist of the Metropolitan Opera National Council Auditions as well as a three-time district winner of the competition in previous years. He has also received second prize from the Gerda Lissner International Vocal Competition and third prize in the Wagner division of the Liederkranz Comeptition. Additionally, he is a two-time recipient of study grants from the Wagner Society of New York.

The Cornwall, New York native also received his Bachelor of Music degree from the Oberlin College Conservatory of Music and has completed further studies at the Accademia Rossiniana in Pesaro and the Mozarteum Sommerakademie in Salzburg.

Grammy-award winning dramatic baritone, Richard Paul Fink, has been acclaimed internationally in appearances with theaters that include The Metropolitan Opera, Wiener Staatsoper, Deutsche Oper Berlin, Berlin State Opera, Opera National de Paris, San Francisco Opera, Houston Grand Opera, Washington National Opera, San Diego Opera, Hamburg State Opera, Welsh National Opera, Scottish Opera, Theatre du Capitole in Toulouse, and Sydney Opera as well as at the Bregenz and Ravinia Festivals.

Upcoming performances include Appomattox with Washington National Opera, Rusalka with Houston Grand Opera and Samson and Delilah with Dallas Opera.

His repertoire comprises some of the most challenging roles of the baritone canon: the title role in Wagner's The Flying Dutchman, Telramund in Wagner's Lohengrin, Pizarro in Beethoven's Fidelio, the title roles in Verdi's Nabucco and Rigoletto, as well as Iago in Otello, Scarpia in Tosca, Gerard in Giordano's Andrea Chenier, and Escamillo in Carmen among others. One of his signature roles, Alberich in Wagner's Ring cycle, he has sung at the Metropolitan Opera under James Levine as well as Ring cycles in Vienna, Los Angeles, Berlin, Dallas, Toronto, Seattle, and Vienna.

He’s also sung Klingsor in Wagner's Parsifal under the baton of James Levine, Claudio Abbado, Christoph Eschenbach, James Conlon and Valery Gergiev.

Mr. Fink sang multiple world premieres including John Harbison's The Great Gatsby at the Metropolitan Opera under James Levine and John Adam's Dr. Atomic at the San Francisco Opera under Donald Runnicles, and he starred in the European and Chicago premieres of the same work.

He sang The Metropolitan Opera's premiere of Adam's Nixon in China and the title role of Alban Berg's Wozzeck at the Santa Fe Opera Festival. He also sang Amonasro in Aida at the Seattle Opera before returning to the Metropolitan Opera as Teller in Dr. Atomic.  For Canadian Opera Company, he sang the Water Sprite in Dvorak's Rusalka, a role he also sang in Naples and in Houston.

Another Wagner role is Kurwenal in Tristan und Isolde at the Metropolitan Opera. His Chicago Lyric Opera debut was Teller in Dr. Atomic before and returning to San Francisco as Alberich in Francesca Zambello's production of Das Rheingold, conducted by Donald Runnicles.

Mr. Fink debuted at the Teatro Comunale in Bologna in Stravinsky's The Rake's Progress under Daniele Gatti and at the Netherlands Opera in the European premiere of Dr. Atomic.

Richard Paul Fink began his professional career with the Houston Grand Opera where he performed in twelve productions and won particular acclaim as Telramund in Wagner's Lohengrin, Jokanaan in Salome, the Water Sprite in Dvorak's Rusalka and  Klingsor in a production of Parsifal staged by Robert Wilson.

He has been a frequently invited guest in many other theaters throughout North America: Dallas Opera, Miami Opera, Canadian Opera Company, Portland Opera, San Diego Opera, Tulsa Opera, Opera Theater of St. Louis, Boston Opera, Vancouver Opera, Opera Omaha, L'Opera de Montreal and many others. He made his Washington Opera debut in a revival of a rarely heard work, d'Albert's Tiefland, and returned subsequently as Orest in Elektra and Johanaan in Salome.

In addition to the Wagner roles, he has sung performances in North America that are cornerstones of the Italian repertoire: Gerard in Andrea Chenier for Seattle Opera and Opera Company of Philadelphia, Scarpia for Dallas, Milwaukee and Opera Pacific and Barnaba in La Gioconda in Miami and Montreal.

Mr. Fink sang Macbeth for Opera Pacific and repeated the role for New York City Opera, along with Iago in Verdi's Otello at the Miami Opera and Rigoletto for L'Opera de Montreal, Kansas City Lyric and Welsh National Opera. He also sang Eugene Onegin for the Atlanta Opera.

In the 2004/05 season, Mr. Fink made his debut at the Teatro Real in Madrid as Telramund in Lohengrin and at the Teatro Regio in Trieste in his first Nick Shadow in Stravinsky's The Rake's Progress. He sang was also heard at the Teatro Municipal in Santiago, Chile, in the title role of The Flying Dutchman, as the Four Villains in The Tales of Hoffmann for Opera Tel Aviv and New Orleans Opera, as well as Alfio and Tonio in Tulsa Opera's production of Cavalleria Rusticana and Pagliacci.

Richard Paul Fink's first international appearances included productions at the Welsh National Opera of Tristan und Isolde, Der Freischütz, Carmen and Rigoletto. He appeared in Toulouse in Il Trovatore, at the Bregenz Festival as Don Pizarro and at the Spoleto Festival in Die Tote Stadt. He starred in the title role in Wagner's The Flying Dutchman for his debuts at the Canadian Opera, the Sydney Opera and the Palacio de las Bellas Artes in Mexico City.

He was also heard in this role in 2001 with the Berlin Philharmonic under Claudio Abbado followed by performances at the Salzburg Festival in 2002 again under James Levine. He made his Deutsche Oper Berlin in 2003 in The Flying Dutchman.

In concerts, he has also appeared frequently in concert with the Houston Symphony under Christoph Eschenbach and made his debut with the San Francisco Symphony in concert performances of Fidelio. He also sang with the Houston Symphony in the War Requiem by Britten. He sang Stravinsky's Oedipus Rex for the Seattle Symphony under Gerard Schwarz, Orff's Carmina Burana at the Cincinnati May Festival under James Conlon and Verdi's Requiem in Houston under Robert Shaw.

Daveda Karanas


Greek-American mezzo-soprano Daveda Karanas has been hailed for her “capacious power” and “a voice lustrous and exciting.” (San Francisco Chronicle)

In the 2015/16 season, Daveda Karanas will be seen as Lise in The Passenger at both Florida Grand Opera and Michigan Opera Theater following her successful role debut at the Lyric Opera of Chicago in the same role. Recently, she made a major role debut as Kundry in Parsifal at the Lyric Opera of Chicago under Andrew Davis. She then debuted at the Opera Theatre of Saint Louis as Mother Marie in Dialogues of the Carmelites and with the Auckland Philharmonia as Brangäne in concert performances of Wagner's Tristan und Isolde

Ms. Karanas made her German debut at Oper Frankfurt as Marfa in Khovanshchina and debuted at the Canadian Opera Company as Brangäne in Tristan und Isolde conducted by Johannes Debus and directed by Peter Sellars. She also joined the roster of the Metropolitan Opera in their production of the Berlioz masterpiece Les Troyens covering the role of Cassandre in La prise de Troie. Ms. Karanas made an acclaimed European debut at the Maggio Musicale Fiorentino as Judit in Duke Bluebeard’s Castle under Zsolt Hamar in the festival’s 75th Anniversary. She also covered the role of Judit in the same production at the Saito Kinen Festival in Japan and on tour in China under Seiji Ozawa. She was then seen at Opera Grand Rapids for her role debut as Azucena in Il trovatore. Ms. Karanas sang her first performances of Amneris in Aida at Arizona Opera, followed by Vancouver Opera, Glimmerglass Festival in a new production by Francesca Zambello, and covered the role at the Lyric Opera of Chicago. 

The summer of 2011 saw Ms. Karanas in her first complete Ring Cycle at San Francisco Opera under Donald Runnicles. In Francesca Zambello’s staging, she sang both Waltraute and the 2nd Norn in the new production of Götterdämmerung and Waltraute in Die Walküre. Ms. Karanas also sang Suzuki in Madama Butterfly and covered Amneris in Aida, both under Nicola Luisotti at the San Francisco Opera. In recent seasons, Ms. Karanas sang performances of Waltraute and covered Fricka in San Francisco Opera’s Die Walküre conducted by Donald Runnicles. She also covered Brangäne in Tristan und Isolde with Seattle Opera. With the Arizona Opera, she performed in “A Concert of Signature Arias” along with Christine Brewer, Richard Margison, and Gordon Hawkins featuring arias and duets from Don Carlo, Macbeth, and Norma. She concluded her San Francisco Opera Center Adler Fellowship in performances of the Mistress of Novices in Suor Angelica with Patrick Summers conducting, as well as covering Azucena in Il trovatore with new music director Nicola Luisotti.

As an Adler Fellow at the San Francisco Opera, Ms. Karanas has performed in scenes as Amneris in Aida and Brangäne in Tristan und Isolde, as well as covering the role of Fricka in Das Rheingold conducted by Donald Runnicles. She made her San Francisco Opera debut as Mamka in Boris Godunov as a first year Adler Fellow. 

Prior to her residency at San Francisco Opera, she made debuts with the Boston Symphony Orchestra conducted by James Levine in Schönberg’s Moses und Aron as Vierte nackte Jungfrau and the Chicago Opera Theater as Ericlea in Il ritorno d’Ulisse in patria conducted by Jane Glover. She also performed the role of Tisbe in La Cenerentola with the Merola Opera Program, conducted by Martin Katz.

Ms. Karanas holds a Master of Music degree from Arizona State University. While earning her degree, she performed such roles as Judith in Bluebeard’s Castle, Mère Marie in Dialogues des Carmélites, and the Mother in Amahl and the Night Visitors. She was also a member of the Boston University Opera Institute where she performed the role of Zia Principessa in Suor Angelica and the Lady with a Hat Box in Postcard from Morocco.

Daveda Karanas is a winner of the 2008 Metropolitan Opera National Council Auditions. She has also received an encouragement award from the George London Foundation in 2009. She was an international semi-finalist in the 2007 Neue Stimmen Competition, a recipient of the 2006 Encouragement Award at the Marilyn Horne Foundation Competition, and grand prizewinner of the 2005 Arizona Opera League Competition.

Alexandra Loutsion

The Foreign Princess

Hailed as "a singer to watch" (The Washington Post) with a voice that is “powerful and projecting" (Pittsburgh Post-Gazette), Alexandra Loutsion continues to be recognized for her passionate performances and vocal versatility as a rising star on the operatic stage. This season, she adds three new roles to her repertoire: the title role of Puccini’s Tosca with Central City Opera, Princess Turandot in Puccini’s Turandot with Pittsburgh Opera, and the Foreign Princess in Dvorak's Rusalka with Arizona Opera. She also makes her debuts with Palm Beach Opera as Cio-Cio San in Madama Butterfly, and the Fort Wayne Philharmonic singing the title role in Puccini's Tosca. She was recently heard as Florencia in Daniel Catan’s Florencia en el Amazonas with Arizona Opera, and made her Wolf Trap Opera debut as Cio-Cio-San in Puccini’s Madama Butterfly to great acclaim. She debuted with North Carolina Opera as Donna Anna in Don Giovanni and Dayton Opera as Gertrude in Humperdinck's Hansel and Gretel, as well as returning to Pittsburgh Opera as Almera in a new production of Nico Muhly's Dark Sisters. She also covered the Lady-in-Waiting in Verdi’s Macbeth with the Chicago Symphony Orchestra under Riccardo Muti.

Ms. Loutsion spent two summers as an Apprentice Artist with the Santa Fe Opera, most recently to cover the role of Leonore in Fidelio conducted by Harry Bicket. She also covered the title role in Puccini's Tosca, the leading role of Anna in Rossini’s Maometto II, and was heard in various scenes including Maddalena di Coigny in Giordano's Andrea Chénier, Elvira in Verdi's Ernani, and Gerhilde in Wagner's Die Walküre at the annual Apprentice Showcase. Ms. Loutsion also spent two seasons as a Resident Artist with Pittsburgh Opera where she was seen as Armida in Handel’s Rinaldo, Gertrude and the Witch in Humperdinck's Hänsel und Gretel, and Annina in Verdi's La traviata. As an Apprentice Artist with Central City Opera, she was heard as the title role in Puccini's Madama Butterfly and as Melissa in Handel's Amadigi di Gaula, as well as Minerva in Offenbach's Orpheus in the Underworld, La Dame Elegante in Poulenc's Les Mamelles de Tirésias, and as Frasquita in Bizet's Carmen. Other recent performances have included the title role in Madama Butterfly with Opera on the James, Anna Kennedy in Maria Stuarda with Washington Concert Opera, the Foreign Woman and Magda cover in Menotti’s The Consul with Opera Santa Barbara, Sie in Karl Hartmann's Wachsfiguren Kabinett with the Aspen Music Festival, and the leading role of Isabella in Wagner's Das Liebesverbot as part of the Ring Festival LA.

Ms. Loutsion recently represented the United States as a quarterfinalist in the Francisco Viñas International Singing Contest in Barcelona, Spain. She was also a winner of the Metropolitan National Council District Auditions and Long Beach Mozart Competition, as well as a finalist in the Fritz and Lavinia Jensen Foundation Competition, McCammon Voice Competition and Dallas Opera Competition. She is the recipient of the Catherine Filene Shouse Education Fund Career Grant from Wolf Trap Opera, Santa Fe Opera Donald Gramm Memorial Award and Anna Case MacKay Award, Shoshana Foundation Richard F. Gold Career Grant, the Central City Opera John Moriarty Award, and the Aspen Music Festival New Horizon Fellowship. She holds a Master of Music in Vocal Arts from the University of Southern California and a Bachelor of Music in Vocal Performance from Ithaca College.

Headshot of opera soprano singer Katrina Galka with Arizona Opera

Katrina Galka

First Wood Sprite

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.

Lacy Sauter

Second Wood Sprite

American soprano, Lacy Sauter, is quickly becoming known for her vocal and dramatic versatility.  She returns to Arizona Opera for the 2017/18 season as Dianara, Hesperide 1, City Woman and Peasant Woman in Hercules vs Vampires and Welgunde in Das Rheingold.

 In the 2016/17 season, she made her company debut with Arizona Opera as the Second Woodsprite in Rusalka and also created the role of Julia Lowell in a workshop performance of Borzoni’s The Copper Queen. She bowed as the Countess in The Marriage of Figaro for her company debut with the Livermore Valley Opera. Lacy Sauter also returned to the Missouri Symphony as a Resident Artist for various concert performances and as Violetta in La Traviata.

The 2015/16 season brought role and company debuts as Micaela in Carmen with Heartland Opera Theatre and Fiordiligi in Così fan tutte with Nashville Opera.  She spent the summer as a Resident Artist performing with the Missouri Symphony as Rosalinde in Die Fledermaus and as a soloist in both the POPS and Classical Concert Series.

In the fall of 2014 she completed her graduate studies at the prestigious Jacobs School of Music at Indiana University under the tutelage of world-renowned soprano, Carol Vaness.  While at IU, she sang Mimi in La Bohème, Violetta in La Traviata, Rosalinde in Die Fledermaus and Juliette in Roméo et Juliette. Lacy Sauter started 2015 with a 1st Place win in Phoenix Opera’s Southwest Vocal Competition competing in the final round with orchestra at the Orpheum Theater.  In February 2015, she covered Nadine Sierra as Gilda and sang Countess Ceprano in Rigoletto with The Atlanta Opera. She returned to Union Avenue Opera as Gilda in Rigoletto after having made her company debut as Blanche DuBois in A Streetcar Named Desire the previous summer.  

Ms. Sauter finished her tenure as a Young Artist at the Florida Grand Opera in the spring of 2013.  During her time at FGO she sang 1st Lady in Die Zauberflöte, Flora in La Traviata, and Bianca in La Rondine. In addition, she covered the roles of Mimi and Musetta in La Bohème, Violetta in La Traviata, Pamina in Die Zauberflöte, Magda in La Rondine, Gilda in Rigoletto and Juliette in Roméo et Juliette. She spent two summers as an Apprentice Singer with The Santa Fe Opera where she performed the role of Albina in La Donna del Lago starring Joyce DiDonato and conducted by Stephen Lord. Ms. Sauter also served as the cover for Wanda in the Grand Duchess of Gerolstein and Violetta in La Traviata.  In addition, she was featured as Magda in La Rondine, Rosalinde in Die Fledermaus and the Overseer in Elektra for the Apprentice Scenes Showcase. 

As a Young Artist at the 2011 Glimmerglass Festival, she sang the role of Valentina Scarcella in Later the Same Evening and covered the roles of Frasquita in Carmen and the Young Woman in the world premiere of A Blizzard on Marblehead Neck. She was a Festival Artist at Utah Festival Opera in 2009, where she covered the roles of Frasquita in Carmen and Peep-Bo in The Mikado. As a studio artist at Chautauqua Opera, in 2008 and 2010, she played the roles of the Baby Vixen in The Cunning Little Vixen and the Second Graduate in Street Scene

Lacy Sauter hails from Scottsdale, Arizona and completed her undergraduate degree at Arizona State University.  She was a winner of the Arizona and the Middle-East Tennessee Districts of the Metropolitan Opera National Council Auditions in 2008 and 2011 and the  2nd Place Winner of the Orpheus Vocal Competition in 2014. She was also honored to be nominated for a Sara Tucker Study Grant in 2011. 

Mariya Kaganskaya

Mariya Kaganskaya

Third Wood Sprite

Mariya joined the Santa Fe Opera as a member of the Apprentice Singer Program in Summer 2016, and Arizona Opera as a Studio Artist in the 2016-2017 Season. Upcoming roles include Suzuki in Madama Butterfly and Tisbe in La Cenerentola.

A 2015 San Francisco District Winner and Western Regional Finalist of the Metropolitan Opera National Council Auditions, Russian-American Mezzo-Soprano Mariya Kaganskaya makes several role debuts in the 2015-2016 Season, including La Nourrice in Milhaud’sMédée at Mills College, Marta in Iolanta and Hostess in Boris Godunov with New Opera NYC, and Teacher in the workshop of Mason Bates’ The (R)evolution of Steve Jobs for the Santa Fe Opera, as well as Dorabella in Così fan tutte and Julia Bertram in the West Coast premiere of Jonathan Dove’s Mansfield Park at the San Francisco Conservatory of Music, where she is currently a postgraduate student in the studio of Catherine Cook.

Engagements in the 2014-2015 Season included performing Dinah in Trouble in Tahiti and Ottavia in L’incoronazione di Poppea at the San Francisco Conservatory. She also joined Opera Santa Barbara as a Mosher Studio Artist, performing Mexican Woman in A Streetcar Named Desire, premiered Will You, Won’t You?, a song cycle written for her by acclaimed composer Elinor Armer, and made debuts in Suzhou, Hangzhou, and Shanghai, China, performing with the Shanghai Symphony Orchestra and the Shanghai Philharmonicas a Young Artist with the iSing International Festival.

Highlights of Mariya’s 2013-2014 Season included performing the title role of Handel’s Serse at the San Francisco Conservatory and Olga in Eugene Onegin with the Russian Opera Workshop at the Academy of Vocal Arts in Philadelphia and covering the role of Elena in the American premiere of Adam Gorb’s Anya17 for Opera Parallèle, as well as performances with the SFCM New Music Ensemble, SFCM Opera Workshop, and the San Francisco Opera educational outreach program.

Mariya has also performed full roles including Cornelia in Giulio Cesare and Volupia in L’Egisto, partial roles including Charlotte (Werther), Romeo (I Capuleti e i Montecchi), Idamante (Idomeneo), Orlofsky (Die Fledermaus), Angelina (La Cenerentola), The Fox (The Little Prince), and Mme Pernelle (Tartuffe), and various scenes, with favorites including Octavian (Der Rosenkavalier), Polina (The Queen of Spades), Mallika (Lakmé), Auntie (Peter Grimes), Lucretia (The Rape of Lucretia), and the Third Lady and Third Spirit (The Magic Flute). Her chorus work includes John Adams’ A Flowering Tree with Riverside Lyric Opera, and Les pêcheurs de perlesDie Fledermaus, and Il Trovatore with Opera San José.

In addition to opera, Mariya is a frequent concert soloist and chamber music collaborator. She was recently the Alto soloist in Rossini’s Petite Messe Solennelle with the Santa Clara Chorale and Mozart’s Coronation Mass with the San Francisco Master Chorale, and has performed both Alto and Soprano soli in Fauré’s Requiem, Duruflé’s Requiem, Schubert’s Mass in G, Vivaldi’s Gloria, and Handel’s Messiah with the UC San Diego Chamber Singers. She was featured in the late János Négyesy‘s Soirée for Music Lovers series, collaborating with Négyesy and Päivikki Nykter; other notable collaborations have been with Professors John Fonville and Philip Larson.

Mariya is equally passionate about contemporary classical music, and enjoys collaborating with living composers. She has worked in master classes with composers Lembit Beecher and Tobias Picker, and premiered works by Elinor ArmerIlya Demutsky, Philip Skaller, Diarmid Flatley, Samara Rice, and Frank S. Li.

Recognized as a leader among her peers, Mariya currently serves as the Vice Chairperson of the SF Conservatory Student Council. At UC San Diego, she was the recipient of the Bertram Turetzky Award for exceptional participation within the music department and community by an undergraduate performer, as well as a founding member of the Treble Singers and the founding Artistic Director of Undergrads for Opera. Previously, she held the prestigious role of Chorissima Section Leader in the Grammy-winning San Francisco Girls Chorus, with which she toured nationally and internationally and performed with the San Francisco Symphony.

Mariya is currently a postgraduate student at the San Francisco Conservatory of Music, where she earned her Master’s in 2015. She earned her Bachelor’s in three years, magna cum laude, at UC San Diego, where she studied with Philip Larson.

Headshot of opera baritone singer Joseph Lattanzi with Arizona Opera

Joseph Lattanzi


A 2017 recipient of a top prize from the Sullivan Foundation, Joseph Lattanzi established himself as a singer to watch with his portrayal of Hawkins Fuller in the world premiere of Greg Spears’ Fellow Travelers with Cincinnati Opera, followed by further performances for his debut with Lyric Opera of Chicago, in New York at the PROTOTYPE Festival, and with Arizona Opera, and Des Moines Metro Opera. Praise for Lattanzi's performances included The New York Times saying “Joseph Lattanzi was splendid as Hawk, his buttery baritone luxuriant and robust.” and Opera News described him as a “confident, handsome presence, and a resonant baritone suggesting wells of feeling that the character might prefer to leave untapped.” In the 2022/23 Season, Lattanzi once again joined The Metropolitan Opera for their productions of Peter Grimes and Lady MacBeth of Mtsensk before returning to the role he created in Fellow Travelers with Virginia Opera. Lattanzi also made a debut with the Sacramento Choral Society as the baritone soloist in Carmina Burana.

In the 2021/22 Season, Lattanzi continued his relationship with The Metropolitan Opera, covering the role of Orpheus in Matthew Aucoin’s Eurydice and joining their production of Madame Butterfly. Additionally, Lattanzi returned to his hometown in the title role in The Barber of Seville with the Atlanta Opera, where he was praised for his “stellar” voice and his “top notch” acting by the Atlanta Arts Review. Lattanzi capped off the season debuting the role of Escamillo in Utah Festival Opera’s production of Carmen.

Recent career highlights include his return to Cincinnati Opera as Count Almaviva in The Marriage of Figaro, Silvio in Pagliacci with Atlanta Opera, Dandini in La cenerentola with Virginia Opera, and the title role in Don Giovanni with the Jacksonville Symphony. A regular at The Metropolitan Opera since the 2018/19 Season, Lattanzi has been on the roster for productions of Der Rosenkavalier, Kat’a Kabanvova, Marnie, Madame Butterfly, and The Barber of Seville. Lattanzi has also maintained a strong relationship with Arizona Opera, where he was a member of the Marion Roose Pullin Opera Studio from 2015 until 2017. During Lattanzi's time with the company, he was heard in the title role of Don Giovanni, as Dandini, Riolobo in Florencia en el Amazonas, and was featured in the company’s Sapphire Celebration with Frederica von Stade. Additional performances included Moralès and Dancaïre in Carmen, Yamadori in Madame Butterfly, and as the Gamekeeper in Rusalka. Lattanzi also appears regularly with Seattle Opera, most recently as the Steward in their filmed production of Jonathan Dove’s Flight.

On the concert stage, Lattanzi was heard in a celebration of the music of Leonard Bernstein with the Atlanta Symphony Orchestra and in the coast of West Side Story at Grand Tetons Music Festival under the baton of Donald Runnicles. Lattanzi has appeared with Jake Heggie in OPERA America’s Creators in Concert series, previewing Fellow Travelers at Brooklyn’s National Sawdust, and in Carmina Burana with the Reno Philharmonic and at the Christ (Crystal) Cathedral, and with the Chicago Sinfonietta.

The Georgia native has studied at the Oberlin Conservatory of Music and the University of Cincinnati College-Conservatory of Music (CCM). In addition to two summers at the Merola Opera Program, Lattanzi has participated in programs at the Brevard Music Center and the Chautauqua Institute Voice Program.

young standout singer Alyssa Martin

Alyssa Martin

Kitchen Boy

Lauded for her vocal agility and dynamic stage presence, Alyssa Martin is quickly garnering attention as a standout young singer.

Ms. Martin is currently a first-year Marion Roose Pullin Studio Artist at Arizona Opera. This season she will perform Mercédès in Carmen, Meg Page in Falstaff, and Zerlina in Don Giovanni. She will also appear as the mezzo soloist in Handel’s Messiah with the Santa Fe Symphony.

Upcoming engagements include a return to The Santa Fe Opera as an Apprentice Artist, where she will perform the role of Stéphano in Roméo et Juliette and a return to Arizona Opera in the 2016/17 season singing Kitchen Boy in Rusalka, Kate Pinkerton in Madama Butterfly, and Angelinain La Cenerentola.

Ms. Martin’s 2014/15 season included her tenure as an Apprentice Artist at the Santa Fe Opera where she covered Don Ramiro in Mozart’s La finta giardiniera. While at Santa Fe, Ms. Martin also performed scenes as Dorabella in Così fan tutte, and Desdemona in Rossini’s Otello.  Other recent engagements include covering Flora and Annina in La traviata and The Page in Salome as an Emerging Artist at Virginia Opera. Ms. Martin was also an Apprentice Artist with Des Moines Metro Opera, where she covered Isolier in Rossini’s Le Comte Ory.

This season, Ms. Martin was named a winner in the Arizona District Metropolitan Opera National Council Auditions, where she went on to place 3rd in the Western Region Finals. In the 2014/15 season, she was awarded a Career Grant from the Seattle Opera Guild, an Encouragement Grant from the Career Bridges Grant Foundation, and also 2nd prize at the Young Patronesses of the Opera Competition at Florida Grand Opera. She has been the recipient of numerous awards from organizations such as the Orpheus Vocal Competition, Young Patronesses of the Opera, Opera Guild of Dayton, Indianapolis Matinee Musicale, and Utah Festival Opera.

Ms. Martin completed her studies at the prestigious Indiana University Jacobs School of Music where she obtained both a bachelor’s and master’s degree under the instruction of Patricia Stiles and world-renowned soprano, Carol Vaness. On the IU stage she performed roles such as Cherubino in The Marriage of Figaro, Cendrillon in Cendrillon,  Dorabella in Così fan tutte,  and Prinz Orlofsky in Die Fledermaus.  Ms. Martin is a native of Greensboro, NC.

Kevin Newell

The Hunter

As a growing specialist in contemporary opera, Kevin Newell made his mainstage debut at Fort Worth Opera in 2012 as Maron in Mark Adamo’s Lysistrata. This summer, Opera Today proclaimed that Newell is an artist “whose stock is no doubt on the rise,” as he performed the role of Simon Stimson in Our Town at Central City Opera. Newell recently performed in the world premier Absurdopera, two one-act operas at the 2013 Latino Music Festival, Words & Music and The Leader, both by composer Gustavo Leone. As Jonathan Dale in Kevin Puts’ Pulitzer-Prize winning opera Silent Night in 2014 (Fort Worth Opera), Newell received great critical review.

Newell has participated in many prestigious young artist programs, including Central City Opera, Chautauqua Opera and Syracuse Opera, where he performed in productions of Carmen, Amadigi di Gaula, Les mamelles de Tiresias, Lucia di Lammermoor, and Manon Lescaut. As a young artist at Seagle Music Colony, Newell sang Roméo in Gounod’s Roméo et Julliette and Nicely Nicely Johnson in Guys & Dolls, among others.

As a performer of oratorio, Newell’s debut with the Milwaukee Symphony Orchestra in Messiah was a triumph. The Third Coast Digest pointed out that Newell’s voice, “rose above it all like an angel’s annunciatory trumpet.” Newell has also performed the tenor solos in great choral works such as Mendelssohn’s Elijah, Haydn’s Messe in tempore belli, and Ariel Ramirez’s Missa Criolla.

Newell is also committed to education, investing himself in introducing young audiences to the joys of opera. Newell has toured Wisconsin with the Florentine Opera Outreach Program, and has lead many masterclasses for young students who are just beginning to explore classical music.

Kevin Newell received his bachelor’s degree from the University of Wisconsin-Eau Claire and his master’s degree from The University of Michigan where he performed roles such as Tom Rakewell in The Rake’s Progress, Laurie in Little Women, and Fenton in Falstaff. Additional opera roles include Albert in Albert Herring and Aeneas in Dido & Aeneas.

Newell currently resides in Phoenix, AZ, and studies voice with Connie Haas.