Virtual Studio Spotlight Series Concerts
A seasoned recitalist and orchestra soloist, pianist Christopher Cano has performed with the Tucson Symphony Orchestra, the Tucson Civic Orchestra, the Southern Arizona Symphony Orchestra, the Catalina Chamber Orchestra, and the University of Arizona Symphony Orchestra. Recital appearances have been in Europe, across the US, Mexico, Israel and the Far East.
Mr. Cano has won numerous awards including the Green Valley Scholarship Competition, Emilio Osta Scholarship Competition, Tucson Symphony Orchestra Young Artist Competition, and is a recipient of the Theodore Presser Scholarship. He is also a two-time winner of the University of Arizona President’s Concert Concerto Competition. Mr. Cano made his recording debut with The Catalina Chamber Orchestra in an acclaimed performance of Shostakovich’s Piano Concerto No.1, Op.35.
As a collaborative artist, he has played in the Master Classes of the late Fedora Barbieri, the late Anna Moffo, Lauren Flannigan, Martin Katz, Craig Rutenberg, and Suzanne Mentzer. Mr. Cano has also played for the master classes of Marilyn Horne in New York City at Carnegie Hall. As a studio pianist, Mr. Cano has had the distinct privilege of working with some of the great artists and teachers of singing including Marilyn Horne, Sherrill Milnes, Luciano Pavarotti, Marni Nixon, Patricia McCaffrey, Joan Patenaude-Yarnell, Rita Shane and Diana Soviero.
Mr. Cano has performed as a guest soloist and chamber musician at the Killington Music Festival in Vermont, the Alamos Music Festival of Sonora, Mexico, and has participated as a pianist at the International Vocal Arts Institute in Tel Aviv, Israel and Blacksburg, Virginia.
Mr. Cano has been a member of the music staff at the Festival Lyrique en Mer in Belle Isle, France, Toledo Opera, San Diego Opera, Utah Festival Opera, Opera Company of North Carolina, Florida Grand Opera, and Opera Theatre of Saint Louis.
Mr. Cano has also served on the faculties of The Intermezzo Music Festival, Manhattan School of Music Summer Voice Institute, the CoOPERAtive Program of Westminster College for the Arts and V.O.I.C.Experience, a summer program for promising young singers in New York City, Orlando and Savannah under the Artistic Direction of acclaimed baritone, Sherrill Milnes.
Recent recital appearances include collaborations with some of today’s most promising young vocal talent including, Jennifer Welch-Babidge, Jossie Perez, Wendy Bryn Harmer, Elaine Alvarez, Timothy Mix and Young Concert Artists Winners Jeanine DeBique and Jennifer Johnson Cano.
Currently, Mr. Cano maintains his private studio in New York City where he has prepared singers for appearances at the Metropolitan Opera, Teatro alla Scala, Chicago Lyric Opera, and orchestral appearances with the New York Philharmonic, San Francisco Symphony, Chicago Symphony Orchestra and the Berlin Philharmonic among others.
A native of Southern Arizona, Mr. Cano holds a Bachelor and Master of Music degree in Piano Performance from the University of Arizona where his teachers included the late Ozan Marsh, Nicholas Zumbro, Dr. Paula Fan and Rex Woods.
Mr. Cano and his wife, Mezzo-Soprano Jennifer Johnson Cano currently reside in New York City where he was a full-scholarship student in the Professional Studies Program of Vocal Accompanying at the Manhattan School of Music. He currently serves on the vocal coaching faculty of that institution where he was a student of renowned pianist, Warren Jones.
A Concertmaster of the Arizona Opera. A contracted member of the Phoenix Symphony for 2018-19 season. She was a member of the New Mexico Symphony Orchestra (1997-2011), the Santa Fe Symphony (2000-2011), the Chamber Orchestra of Albuquerque (1997-2003), and the Tucson Symphony (2010-2011). Also played with the Musica de Camera Orchestra for the Santa Fe Concert Association (1998-2010), and the Colorado Music Festival (2004). She has been playing Violin and Viola for the Figueroa Project (NM), Violin and Assistant Principal Viola for the Santa Fe Pro Musica and Principal Viola for the Santa Fe Ballet Festival. She was a substitute Violinist with the Shinsei Nihon Symphony and Gunma Symphony Orchestras (1990-1994), Cheyenne Symphony (1995 -1997). Concertmaster for the Saitama Chorus Festival Orchestra (1993), principal second violin for Toshiya Eto Violin Competition Orchestra (1993).
The NMSO String Quartet and Quintet and had many educational concerts for 2nd and 3rd graders. She was a founding member of the Bella Cosi String Quartet which had many concerts in Albuquerque, was featured on “Lullaby, and Good Night” CD produced by KHFM, and was on Education and Outreach program for the Santa Fe Chamber Music Festival and the Chamber Music Albuquerque. Ikuko has played Violin and Viola with many other chamber music groups such as Noisy Neighbors, Placitas Artists Series, Albuquerque Chamber Soloists, Church of Beethoven, Sunday Chatter, Chatter A Chamber music series, and Santa Fe New Music.
A faculty member of the Playweek West from 2008 to 2010 and Sandia Music Festival in 2012. She has coached orchestra students at the Albuquerque Youth Symphony, Hummingbird music camp, many middle schools and high schools in Albuquerque, Santa Fe, other towns in NM and Phoenix Area.
Born in Saitama, Japan. She began taking private violin lessons at age of four with Tetsu Ikeda, concertmaster of the Shinsei Nihon Symphony Orchestra in Tokyo. From age six to ten she studied with Angela Eto and Toshiya Eto from six to twenty-two. Mr. Eto was the first Japanese violinist to perform internationally and was a former faculty member of the Curtis Institute of Music.
Ikuko holds a Bachelor’s degree in violin performance from the Toho Gakuen School of Music in Tokyo and Performers Certificate from the University of Wyoming. She started playing Viola in orchestra and chamber music classes at Toho Gakuen School and later studied at UW with James Przygocki, principal violist of the Cheyenne Symphony.
Studied chamber music with Hiroyuki Yamaguchi, a concertmaster of the NHK Symphony, Mazumi Tanamura, principal violist of the NHK Symphony, Keiko Matsunami, principal cellist of the Japan Philharmonic Orchestra, and Kazuoki Fujii, a pianist. She also took master classes with Pinchas Zucherman, Gil Shaham, members of the Emerson String Quartet and the Borodin String Quartet.
Auditions and competitions
When Ikuko was thirteen, she won the Saitama Prefecture New Figure Concert audition, performing the first movement of Lalo’s Symphonie Espagnore. In the first year at the University of Wyoming she won their concerto competition and performed Mendelssohn’s Violin Concerto with the UW Symphony. While she was at the UW, she also won the third place at the national division of the MTNA competition.
A member of the Urban Electra 2013 to 2019. uE is an electric string quartet playing rock and pop music.
Praised by the Huffington Post for his “ringing high notes,” Texas-born tenor Bille Bruley has garnered attention for his strength and versatility in operatic repertoire from baroque to contemporary.
Recent COVID-19 cancellations include debuts with the Los Angeles Philharmonic for Tristan und Isolde (Sailor/ Shepherd), Opera Theatre of Saint Louis for Susannah (Sam), and Colorado Symphony in Beethoven’s Symphony No. 9 at Red Rocks. Last season he joined the roster of Lyric Opera of Chicago Dead Man Walking to cover Father Grenville and Howard Boucher and returned to Arizona Opera for Shining Brow (Louis Sullivan), Riders of the Purple Sage (Bern Venters), and Shining Brown (Louis Sullivan). Additionally, he made his New York recital debut singing Janacek’s The Diary of One Who Disappeared at the 92nd Street Y. Highlights from previous seasons include Britten’s War Requiem with the Tulsa Symphony, a program of Mozart arias with the Phoenix Symphony, and a return to The Santa Fe Opera, where he created the role of Benjamin in the world premiere of Poul Ruders’ The Thirteenth Child. Upcoming engagements include debuts with Austin Opera, Atlanta Opera, Lyric Opera of Kansas City, and a return to Arizona Opera.
Bruley has previously been an Apprentice Artist at Santa Fe Opera in 2018 where he covered Governor/Vanderendur/Captain in Candide and Captain Nolan in Doctor Atomic directed by Peter Sellars. As a member of the Young Artist Program at The Glimmerglass Festival, he sang Beadle Bamford in Christopher Alden's provocative production of Sweeney Todd and Giles Corey in Robert Ward's rarely heard opera The Crucible. He has also been an Apprentice Artist with Central City Opera, singing the music of Benjamin Britten: The Tempter in The Prodigal Son and King Nebuchadnezzar in The Burning Fiery Furnace.
He joined the Marion Roose Pullin Opera Studio at Arizona Opera for the 2018/19 Season where his assignments included roles in Così fan tutte, La traviata, and Silent Night. Bruley was also an apprentice artist at Virginia Opera where he was heard in Samson et Dalila, La fanciulla del West, A Midsummer Night's Dream, Lucia di Lammermoor, and The Seven Deadly Sins. He was a Guest Artist with the Pine Mountain Music Festival and had a major success in the title role of Britten's Peter Grimes with Indiana University Opera Theater.
Bille Bruley hails from Montgomery, Texas and is a recent graduate of the prestigious Indiana University Jacobs School of Music, where he received his master’s degree studying with Carol Vaness. He completed his Bachelor of Music in Vocal Performance at Baylor University.
American soprano Kaitlyn Johnson is quickly becoming an artist to watch in operatic repertoire ranging from classical to contemporary. Johnson returns as a Marion Roose Pullin Arizona Opera Studio Artist in 2019/20, which brings four exciting role debuts. Johnson will perform Miss Lightfoot in Fellow Travelers, Musetta in La Bohème, Jane Withersteen in Riders of the Purple Sage, and Echo in Ariadne auf Naxos in her second season with the company.
In her first season with Arizona Opera, Johnson performed the role of Doris Parker in Charlie Parker’s Yardbird, “an energetic Doris who charmed Parker with her sweet lyric tones” (Operawire), and Fiordiligi in the studio production of Così fan Tutte. Johnson also made her debut with The Phoenix Symphony in a chamber music series featuring the works of Schubert and Mozart.
Spring 2018 saw an exciting debut in her hometown of Atlanta, as Frasquita in the Atlanta Opera’s Carmen. Celebrated on the operatic stage for her "powerful and dramatic soprano," (The Bloomington Herald-Times), Johnson has appeared as Donna Anna in Don Giovanni with both Indiana University Opera Theater and onstage at the Estates Theatre in Prague as part of the Prague Summer Nights Festival. As Donna Anna, Johnson was commended for her "rich, dramatic voice that carries and then some" (NUVO Indianapolis).
A passionate advocate for Spanish repertoire, Johnson performed the title role in IU Opera Theater’s production of Catán’s Florencia en el Amazonas to great acclaim. The Bloomington Herald- Times raved "Johnson carried herself like a diva and produced a voice of range and strength." Johnson is the recipient of the Handel Award from the Orpheus Vocal Competition (2018), an Encouragement Award from the Metropolitan Opera National Council Auditions (2017), the Georgina Joshi International Fellowship from Indiana University (2016) and the Farb Family Outstanding Graduate Award from Rice University (2015). She is a graduate of Indiana University (MM) and Rice University (BM, cum laude), and is an alumnus of the Institute for Young Dramatic Voices, Aspen Opera Center and Houston Grand Opera’s Young Artist Vocal Academy.
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.
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.
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.
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.
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.
Described as "consistently engaging to watch" by Opera News, Robert Bosworth is thrilled to be returning to Arizona Opera for a second season as a Marion Roose Pullin Studio Artist. Previously, he served as the Resident Artist Pianist at Utah Opera from 2017-2019 and was a Coaching Fellow at Wolf Trap Opera in 2019. Bosworth is an alumnus of the Merola Opera Program, Music Academy of the West, and Opera Saratoga's Young Artist Program. He has also been a member of the music staffs at Santa Fe Opera, Chicago Summer Opera, and the Utah Vocal Arts Academy.
In addition to his love for opera, Bosworth exhibits a strong passion for recital repertoire, frequently performing with a variety of singers and instrumentalists. In January of 2015, he was a pianist for Carnegie Hall Presents: The Song Continues, performing in master classes with Marilyn Horne, Anne Sofie von Otter, and Warren Jones.
Bosworth obtained a Master in Vocal Accompanying from the Manhattan School of Music, where he studied with Warren Jones. His interest in collaborative piano began during his undergraduate studies at the University of Kentucky, where he received a Bachelor of Music in Piano Performance and a minor in Vocal Performance. During his time at UK, he served as a pianist for several of the University Choirs and the University Symphony Orchestra, performing in the pit orchestra for UK Opera Theatre’s productions of The Phantom of the Opera and Les Misérables.
Bosworth enjoys performing in front of the piano as well and was a featured soloist in the University of Kentucky’s It’s a Grand Night for Singing. He was also invited to sing at the Music Academy of the West, while attending as a pianist, and performed a medley of showtunes coached by Carol Burnett.
Haley Stamats is an opera and theater director based in the US. She enjoys directing new works, both conventional and experimental, as well as classical repertoire with numerous opera companies in the US and England.
Currently, she is working on the opera for feature film, The Copper Queen, which is a new work piece commissioned by Arizona Opera. She will serve as the script supervisor and 2nd Unit Film Director.
Her 2020/21 Season started with her residency at Arizona Opera with the Marion Roose Pullin Opera Studio as their first Resident Assistant Director. As a part of Arizona Opera’s reimagined season, she produced livestreams and recorded concerts with Manley Films.
Her 2019/20 Season began at Virginia Opera as the assistant director for their back-to-back productions of Tosca and Il Postino. She debuted at Resonance Works / Pittsburgh directing their annual Amahl and the Night Visitors as well as remounting Il Postino at Opera Southwest at the end of 2019. She returned to Virginia Opera to assistant direct their Aida and planned to make her directing debut with Scalia/Ginsburg but both productions were postponed due to COVID-19. In the summer, she planned on assistant directing Don Giovanni at The Glimmerglass Festival but the production was also postponed. Instead, she participated in their virtual YAP program.
Her 2018/19 Season began with directing two new work pieces, Between Constallations and Rain, as a part of the Mosiac Opera Showcase at Grimborn Opera Festival in London. She then returned to Virginia Opera to assistant direct their production of Don Giovanni. In 2019, she assistant directed Eugene Onegin at Opera Santa Barbara and ended her season making her directorial debut at Cedar Rapids Opera Theatre with their world premiere of The Grant Wood Opera: Strokes of Genius.
She holds a B.A. in Music and Public Relations from Simpson College.