A Streetcar Named Desire
Composer, conductor, and pianist André Previn left his native Germany in 1938 to live in Paris and subsequently to settle in Los Angeles in 1940. His early career orchestrating film scores at MGM led quickly to conducting engagements of symphonic repertoire and on to an international career as Music Director of orchestras in London, Los Angeles, Oslo, and Pittsburgh. In the 1980s, he concentrated increasingly on composition for the concert hall and opera. His own richly lyrical style underscores his love of the late Romantic and early twentieth-century masterpieces of which his interpretations as conductor are internationally renowned. Previn’s first opera, A Streetcar Named Desire, which he set to a libretto based on Tennessee Williams’ play, had its premiere at the San Francisco Opera in 1998 with Renée Fleming in the role of Blanche DuBois. It continues to enjoy numerous performances worldwide. Previn’s 1998 recording of the work with the San Francisco Opera Orchestra won the Grand Prix du Disque. Houston Grand Opera premiered Previn’s second opera, Brief Encounter, in May 2009.
Every Good Boy Deserves Favour, written for the London Symphony Orchestra in collaboration with playwright Tom Stoppard, remains popular everywhere. Music for Boston was premiered in 2012 at Tanglewood, and was commissioned to honour the festival’s 75th anniversary. Other highlights from his recent orchestral works include a Double Concerto for Violin and Violoncello written for Jaime Laredo and Sharon Robinson, premiered by the Cincinnati Symphony Orchestra in 2014, and performed since by orchestras across North America and Europe. Previn continued to expand his orchestral lyricism with Can Spring Be Far Behind? which premiered at Eastern Music Festival in July of 2016. His highly anticipated Concerto for Orchestra will be premiered during the 2020/21 season in celebration of the Kalamazoo Symphony Orchestra's centenary.
Following the creation of several violin concertos and sonatas, Previn’s long-standing collaboration with violinist Anne-Sophie Mutter continued with his Nonet for Two String Quartets and Contrabass, which premiered in 2015 as part of the Edinburgh International Festival. Previn also wrote for Vladamir Ashkenazy, Yo-Yo Ma, Renée Fleming, Janet Baker, Sylvia McNair, Lynn Harrell, and Barbara Bonney.
He received numerous awards and honors for his outstanding musical accomplishments, including both the Austrian and German Cross of Merit, and the Glenn Gould Prize. He was the recipient of Lifetime Achievement Awards from the Kennedy Center, the London Symphony Orchestra, Gramophone, and Classic FM. In 2010 he received a Grammy Lifetime Achievement Award from The Recording Academy. His recordings have received several Grammy awards, including for his own Sonata for Violin, "Vineyard” performed by Gil Shaham, and Violin Concerto "Anne-Sophie” featuring Anne-Sophie Mutter with the Boston Symphony Orchestra. In 1999, he was honoured as Musical America’s 'Musician of the Year' and was appointed KBE, an honourary knighthood, by Her Majesty Queen Elizabeth II in 1996.
André Previn's concert music is published by G. Schirmer, Inc. and Chester Music Ltd.
Recipient of The 2017 Sir Georg Solti Conducting Award, Christopher Allen is featured in Opera News as "one of the fastest-rising podium stars in North America." He has led acclaimed performances with the Atlanta Symphony, Los Angeles Opera, Opera Philadelphia, English National Opera, Lyric Opera of Chicago, Opera Theatre of Saint Louis, Washington National Opera, Florida Grand Opera, Atlanta Opera, Daegu Opera House in South Korea and China National Opera Orchestra and Chorus. As The John L. Magro Resident Conductor for Cincinnati Opera, Allen has joined the company for three consecutive seasons, in addition to leading the Cincinnati Symphony in the annual Washington Park Concert each summer.
In the 2019/20 Season, Allen returns to Florida Grand Opera and Michigan Opera Theatre to conduct Mozart’s Don Giovanni. He makes conducting debuts at Arizona Opera in Puccini’s La bohème, Opera Omaha’s One Festival in Bellini’s I Capuleti e I Montecchi, and with Opéra de Montréal for Mozart’s Die Zauberflöte. In the spring, he tours the United States as music director of the Bel Canto Trio and appears in concert at Oper Frankfurt with tenor Joshua Guerrero, followed by a return to Cincinnati Opera to conduct Verdi Aida in their 100th Anniversary Season.
Allen’s career was launched by the Bruno Walter Conducting Award and Memorial Career Grant and has been fostered by Plácido Domingo and James Conlon, who brought him to Los Angeles Opera as Associate Conductor. At LA Opera, Allen led the musical preparation for the acclaimed The Ghosts of Versailles, which won a Grammy Award for Best Opera Recording. He conducted the National Opera Association Award-winning production of Catán’s Florencia en el Amazonas at the University of North Carolina School of the Arts, and the new revised version of Ricky Ian Gordon’s Grapes of Wrath at Opera Theatre of Saint Louis, which was named Opera of the Year by the St. Louis Post-Dispatch. In addition to earning recognition as a Musical America “Artist of the Month” and one of their “25 Stars Still Rising.” Allen is a recipient of a Solti Foundation U.S. Career Assistance Award and an International Opera Awards nominee.
Allen’s artistic pursuits extend beyond his role as conductor. He demonstrates his commitment to education through his work with young artists at Los Angeles Opera, Ryan Opera Center at Lyric Opera of Chicago, New England Conservatory, A.J. Fletcher Institute at University of North Carolina School of the Arts, and Aspen Music Festival and School. As an award-winning pianist, he has performed at Carnegie Hall, John F. Kennedy Center for the Performing Arts, and mostly recently on film in La voix humaine, starring Patricia Racette and directed by James Darrah. He is currently working on a writing and film project that explores the importance of the arts in modern American society. When not in rehearsal or onstage, Allen enjoys his work as a multimedia visual artist and playwright.
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 Madame Butterfly, Tosca, Jenufa, Kátya Kabanová, and all three lead soprano roles in Il Trittico. Her repertory now expands to include triumphant portrayals of Strauss’ 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 Madame 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 and returns in the summer of 2020 to direct Susannah. She will also direct herself in a production of La voix humaine at the Dallas Opera in the spring of 2020.
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.
Haley Stamats makes her directorial debut with Arizona Opera for their scenes program this April. She will serve as the resident stage director with the Marion Roose Pullin Arizona Opera Studio and assisting on all their 2020/21 Main Stage productions. This season, she was with Virginia Opera, assisting on their productions of Tosca, Il Postino, and Aida. Her season also included remounting Il Postino at Opera Southwest in Albuquerque.
Recently, she made her mainstage debut directing the world premiere of The Grant Wood Operas with Cedar Rapids Opera Theatre exploring the life of the iconic American artist, Grant Wood, who painted the American Gothic. She also made her debut in London directing the world premiere of two new work pieces, Between Constellations and Rain, with The Grimeborn Opera Festival. Other recent directing credits include the Cosi fan tutte for young audiences at Mill City Summer Opera and the children’s opera, The Enchanted Forest, with Cedar Rapids Opera Theatre.
Her other assistant directing credits include Arabella with Pittsburgh Festival Opera; Eugene Onegin with Opera Santa Barbara; La Fanciulla del West and Don Giovanni with Virginia Opera; and The Man of La Mancha, South Pacific, Pagliacci, Cavalleria Rusticana and Turandot with Cedar Rapids Opera Theatre.
|February 26, 28, & March 6|
A winner of the 2014 Metropolitan Opera National Council Auditions, 2015 George London Award, 2015 Elizabeth Connell prize for aspiring dramatic sopranos, and recipient of a 2015 Sara Tucker Study Grant, soprano Julie Adams has been praised by The New York Times for possessing a voice that is “rich, full and slightly earthy in an expressive way.” The 2019/20 Season sees Adams returning to Arizona Opera as Mimì in La bohème after her 2018/19 house debut with Arizona Opera as Anna Sorensen in Silent Night by Kevin Puts. In the 2018/19 Season Adams made her house debut with Des Moines Metro Opera as Mimì in La bohème, and was featured in recital under the auspices of the George London Foundation. Orchestral engagements included Beethoven’s Symphony Number 9 with the Phoenix Symphony conducted by Tito Muñoz, and a concert version of West Side Story with the Oakland Symphony.
The 2017/18 Season saw Adams return to San Francisco Opera as a guest artist in Francesca Zambello’s production of Wagner’s Der Ring des Nibelungen, singing Freia in Das Rheingold and Gerhilde in Die Walküre. Additional engagements included her house and role debut as Countess in The Marriage of Figaro at Michigan Opera Theatre, conducted by Stephen Lord and her house debut at Opera Idaho as Blanche in Previn’s A Streetcar Named Desire.
Highlights at San Francisco Opera include Mimì conducted by Carlo Montanaro, First Lady in the Jun Kanako production of The Magic Flute, Kate Pinkerton in Madame Butterfly, Kristina in Makropulos Case, Cesira in the world premiere of Marco Tutino’s La Ciociara, and covering both Eva in Die Meistersinger von Nürnberg and the title role in Jenůfa.
Additional operatic highlights include appearances as Mimì in La bohème and Anna Sørensen in Silent Night with Opera San Jose, her role debut as Blanche DuBois in A Streetcar Named Desire as part of the 2014 Merola Opera Program, Lia in Debussy’s L’Enfant Prodigue at the International Vocal Arts Institute in Tel Aviv, Pamina in The Magic Flute at the Music Academy of the West in Santa Barbara, and Magnolia Hawks in Show Boat and Rose in Street Scene with the Oakland East Bay Symphony. Additional roles include Fiordiligi in Così fan tutte, Blanche in The Dialogues of the Carmelites, and Lauretta in Gianni Schicchi at the San Francisco Conservatory of Music. On the recital stage Adams was featured as part of the Schwabacher Debut Recital series with John Churchwell, which the San Francisco Chronicle praised her “combination of plush tone and seeming effortless vocal power.”
Orchestral performances include Barber’s Knoxville: Summer of 1915 with Contra Costa Wind Symphony, and a chamber concert with San Francisco Opera musicians as part of SF Opera Lab’s Chamberworks Concerts, with repertoire including Morgen! by Strauss, Previn’s Vocalise, Eternamente by Ponchielli, and Chausson’s Chanson Perpetuelle. Haydn’s Mass in C Major with Oakland East Bay Symphony, Brahms’ Requiem, and Vivaldi’s Gloria with Ventura College Orchestra, and a set of five Joseph Marx Lieder with the San Francisco Conservatory of Music Orchestra.
A native of Burbank, California, Adams holds both Bachelor of Music and Master of Music degrees from the San Francisco Conservatory of Music where she was awarded the Phyllis C Wattis Memorial Scholarship.
|February 27 & March 7|
Marlen Nahhas, recently praised for her “impassioned soprano” (San Francisco Chronicle), is currently a second year member of the Domingo-Cafritz Young Artist Program at Washington National Opera. Highlights of her 2019/20 Season include Pamina in the Emerging Artist performance of The Magic Flute at WNO and a debut at Opera Naples as Musetta in La bohème. During her first season at WNO she sang Violetta in the Emerging Artist Performance of WNO’s new production of La traviata under the direction of Francesca Zambello, Flamingo in Tesori’s The Lion, The Unicorn and Me, Queer Kid in the world premiere of Sankaram’s Taking Up Serpents, and a Concert of Comedic Masterpieces under the baton of Maestro Joseph Colaneri. Additional debuts included Musetta in La bohème at Finger Lakes Opera and excerpts from La bohème with the National Symphony Orchestra conducted by NSO Music Director Maestro Gianandrea Noseda.
In the summer of 2018, she was a member of the Merola Opera program at the San Francisco Opera where she performed scenes from Il tabarro, Don Giovanni, Don Carlo, and La rondine in the Schwabacher and Grand Finale concerts. During the 2017/18 Season, Nahhas was a Resident Artist at Lyric Opera of Kansas City where she performed the Page in Rigoletto and covered Tatyana in Eugene Onegin. Additionally, she made her Kansas City Symphony debut singing excerpts from The Marriage of Figaro. In April 2018, Marlen was a National Semi-Finalist in the Metropolitan Opera National Council Auditions and performed on the Metropolitan Opera stage. During the summers of 2016 and 2017, Marlen was an Apprentice Artist with Central City Opera where her assignments included covering the title role in Tosca and Fiordiligi in Così fan tutte.
A native of Houston, Texas, Marlen is a graduate of Oklahoma City University and Indiana University. While completing her studies she performed the title role in Madame Butterfly, Rosalinde in Die Fledermaus, and Violetta in La traviata.
|February 26, 28, & March 6|
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.
|February 27 & March 7|
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.
|February 26, 28, & March 6|
Baritone Thomas Glass is a Grand Prize winner of the 2019 Metropolitan Opera National Council Auditions and a recent alum of the Houston Grand Opera Studio.
In the 2019/20 Season he returns to Houston Grand Opera for a role debut as Papageno in Barrie Kosky’s acclaimed production of The Magic Flute, under the baton of Jane Glover. He makes house and role debuts with Atlanta Opera as Dandini in La Cenerentola, and Arizona Opera as John Lassiter in Riders of the Purple Sage. On the concert stage, he joins Ars Lyrica Houston for a program of Bach and presents a solo recital with the Nantucket Musical Arts Society.
In the 2018/19 Season, Glass made his role debut as Marcello in La bohème with Houston Grand Opera, and subsequently made his Des Metro Opera debut in the role. At Houston Grand Opera, he also sang Alvaro in Florencia en el Amazonas and covered the title role in Don Giovanni.
Career highlights include multiple assignments with Houston Grand Opera including role debuts as Figaro in Rossini’s The Barber of Seville, Baron Duphol in La Traviata, and Officer Krupke in Bernstein’s West Side Story, as well as covering the role of Achilla in Handel’s Giulio Cesare in Egitto. He joined Wolf Trap Opera to sing Mercutio in Romeo and Juliet and was the baritone soloist for Beethoven’s Ninth Symphony with the National Symphony Orchestra, conducted by Bramwell Tovey.
A former Resident Artist at Minnesota Opera, Glass made his professional debut as Capulet in Romeo and Juliet, created the role of Gustave in the world premiere of William Bolcom’s Dinner at Eight, and made his role debut as Schaunard in La bohème. An alum of the Merola Opera Program at San Francisco Opera, he was featured in the Schwabacher Concert, performing Athanaël in Massenet’s Thaïs and singing Ford’s Monologue from Verdi’s Falstaff in the Grand Finale Concert.
Born in Edina, Minnesota, Thomas earned his Master of Music in Vocal Performance from the Shepherd School of Music at Rice University. While at Rice, he sang the roles of Figaro in The Barber of Seville, Peter in Hansel and Gretel, and Snug in A Midsummer Night’s Dream. He completed his undergraduate studies at the University of St. Thomas in Saint Paul, Minnesota, where he earned a Bachelor of Music in Vocal Performance as well as a Bachelor of Arts in Music Business.
|February 27 & March 7|
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.
Tenor Brandon Scott Russell is a 2018 National Semi-Finalist in the Metropolitan Opera National Council Auditions and has been noted to have a “free-flowing tenor of considerable beauty and accomplishment” (Opera Today).
Most recently, Russell made his company and role debut as Canio in Pagliacci with Greensboro Opera, where Russell’s “top effortlessly filling the auditorium with anguished but beautiful sound” (Voix Des Arts). Russell was a participant in the 2019 Merola Opera Program where he created the role of David in Jake Heggie’s World Premiere Opera If I were you, where he “made his presence felt with his booming voice” (Parterre Box). During the Merola Opera Grand Finale he received critical acclaim for his Act 1 aria from Rusalka where his “lyric beauty of voice combined with outstanding diction” as he “filled the auditorium with ringing clarity” (San Francisco Classical Voice & Bay Area Reporter).
In his 2018/19 Season, Russell made his Carnegie Hall debut with MidAmerica International singing as the Tenor Soloist in Haydn’s Mass in C Major. He was a Gerdine Young Artist with Opera Theatre of Saint Louis, covering Alfredo in La traviata, Mr. Marshall in Regina, and performing in the Stars of Tomorrow Concert. He returned to Cincinnati Opera where he performed as The Teacher in Julien Bilodeau's U.S. Premiere of Another Brick in the Wall where he was “one of the evening’s standouts who wielded a big voice and stick to match” (Cincinnati Biz Journal). He made his company and role debut with Winter Opera Saint Louis as Alfred in Die Fledermaus and was a Resident Artist with Knoxville Opera performing as Edgardo in a touring production of Lucia di Lammermoor.
His 2017/18 Season consisted of multiple company and role debuts. At the University of Cincinnati College Conservatory of Music (CCM) Russell performed as the title role in Candide and as Rinuccio in Gianni Schicchi where he “displayed an exciting Italianate tenor in his aria praising Florence, with the power to soar over Puccini’s voluptuous orchestra” (Cincinnati Business Courier). During Cincinnati Opera's Summer Festival, he sang the roles of 1st armored man in The Magic Flute and Parpignol in La bohème (while covering the leading tenor roles of Tamino and Rodolfo). Russell debuted with Springfield Regional Opera performing the role of Cassio in their performance of Verdi's Otello.
Other notable credits include Idomeneo (Idomeneo), Alfredo (La traviata), Narraboth (Salome), and Don José (Carmen). He has had success with the MONCA where he has received three encouragement awards at the district level, three district wins moving on to the regionals, and one 1st place regional win making him a 2018 National Semi-Finalist. He received 2nd place in the 2018 National Partners For the Arts Competition and received 3rd place in the 2017 Shreveport Opera Competition.
Russell has participated across the United States in prestigious young artist programs, such as the Merola Opera Program, Opera Theatre of Saint Louis, The Wolf Trap Opera Company, Cincinnati Opera, Des Moines Metro Opera, and Houston Grand Opera’s Young Artist Vocal Academy.
Russell completed his undergraduate studies at The University of Missouri-Kansas City Conservatory, where he performed in the Main Stage productions of Dialogues of the Carmelites (Le Chevalier), La tragédie de Carmen (Don José), and in The Merry Widow (Camille de Rosillon). He was a UMKC Trustees’ Scholar receiving a double degree in Vocal Performance and Music Education, graduating with summa cum laude Latin Honors.
He holds Masters and Artist Diploma degrees at the University of Cincinnati-College Conservatory of Music, where he studied under the tutelage of William McGraw.
Praised by the Chicago Tribune for her “firmly knit tone from top to bottom of an imposingly wide range,” in the 2019/20 Season, American mezzo-soprano Jill Grove returns to both the Metropolitan Opera and the Lyric Opera of Chicago as the Governess in Pique Dame, joins Minnesota Opera for Klytaemnestra in Elektra, and joins the Metropolitan Opera for their production of Káťa Kabanová. Next season includes returns to the Metropolitan Opera, the Lyric Opera of Chicago, and Arizona Opera. Last season, Grove sang the Fortune Teller in Arabella and Mamma Lucia in Cavalleria Rusticana with San Francisco Opera, 1st Maid in Elektra with Canadian Opera Company, and returned to the Metropolitan Opera for their productions of Götterdämmerung and Dialogues of the Carmelites. She also 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 and 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.
With his "richly colored voice" (Seen and Heard International), Jamaican-American tenor Terrence Chin-Loy pairs passionate performance with a full, sweet sound. The 2019/20 sees Terrence in his first engagement at the Metropolitan Opera as Mingo (Cover) in The Gershwin's Porgy and Bess, reprising Younger Thompson in Cipullo's Glory Denied, and making debuts with the New York Festival of Song as a part of the Vocal Rising Stars series. During the holiday season, he will sing Messiah with the U.S. Navy Orchestra, and in the summer of 2020, he will premiere a new piece by Daniel Bernard Roumain at the Norfolk Chamber Music Festival. This season also marks Terrence's debut as the eponymous Elijah in Mendelssohn's oratorio with the Hilton Head Symphony.
As a Resident Artist with Pittsburgh Opera in the 2018/19 Season, Terrence was seen as Idomeneo in Idomeneo: afterWARds, director David Paul's retelling of Mozart's masterpiece with the composer's original music, and as Younger Thompson in Tom Cipullo's Glory Denied. In addition to these engagements, he made his Carnegie Hall debut in Handel's Messiah. Other favorite roles have included George Bailey in Jake Heggie’s It’s a Wonderful Life and Edgardo in Donizetti’s Lucia di Lammermoor, both at Indiana University, Brighella in Ariadne auf Naxos at Santa Fe Opera, Ferrando in Così fan tutte, and Count Alberto in Rossini’s L’occasione fa il ladro, the latter operas with Opera Theatre of Yale College. While at Yale, Terrence was also a frequent performer with the Yale Baroque Opera Project, with which he performed major roles in La Calisto (Cavalli), Il Ritorno d’Ulisse in patria (Monteverdi) and Scipione affricano (Cavalli).
Terrence is a recent graduate of Indiana University, where he received a Performer Diploma. He also holds degrees from Mannes College and Yale University. At Mannes, he performed the roles of Laurie in Mark Adamo's Little Women and Bill in the New York premiere of Jonathan Dove's Flight with Mannes Opera while a Master of Music candidate, and received the Michael Sisca Opera Award, the school's top prize for an opera singer. Terrence holds a BA in Music from Yale University, where he concentrated his studies on Music Theory and Musicology. He is a 2018 Metropolitan Opera National Council Auditions National Semifinalist.
Named a 2019 Grand Finals Winner by the Metropolitan Opera National Council Auditions, rising American mezzo-soprano Michaela 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, Michaela 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.
Michaela’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.