Ariadne auf Naxos
Known informally as the “other Richard” or the “other Strauss,” Richard Strauss (1864 - 1949) rose to become the most important composer of German opera in the early 20th century. Strauss advanced melodic and harmonic theories, while at the same time looking over a sentimental shoulder toward the waltz king’s Viennese dramaturgy and stagecraft.
Strauss was Bavarian, born to a wealthy mother and a musical father. Franz Strauss, a noted horn player in the court orchestra, occasionally was called upon as a principal horn for Wagner’s operas at Bayreuth. Although he performed in a number of Wagner premieres, father Strauss considered the much-venerated composer’s music to be cacophonic and “modern,” discouraging his young son from paying it much attention. But Richard would not obey his father’s orders, and as a teen who had been studying music since age four, he was completely consumed by Tristan und Isolde.
Strauss had the good fortune to serve as assistant conductor to Hans von Bülow at Meiningen, which led to various postings in Munich, Bayreuth and Weimar. Eventually he would assume prestigious positions at the Berlin Court Opera and the Vienna State Opera, as well as conduct major orchestras around Europe and the Americas. To the early part of his career belong his famous works for the orchestra – the tone poems. The latter part of his career would be devoted almost exclusively to the voice, either in song or in opera.
To compose opera in Germany at the end of the 19th century was to follow the Wagnerian model, both writing one’s own libretto, then composing music to it. Strauss’ first opera, Guntram, was cast in that mold, complete with characters based on Teutonic history. It was not a huge success, but the opera received courteous acknowledgement from Giuseppe Verdi, to whom Strauss had sent the score. It was also during Guntram that Strauss announced his engagement to soprano Pauline de Ahna, who sang the leading female role at the premiere. Many found Pauline’s temperament to be tempestuous, even shrewish, but somehow, offset by the composer’s gentle manner, the marriage stood the test of time.
Strauss’ next opera, Feuersnot, was based on a bawdy Flemish legend and initiated a trend of indelicate themes that pervade many Strauss operas. The opera that followed, Salome, displayed full-blown sexuality and was his first big succès de scandale.
In 1900, when he first saw Oscar Wilde’s play Salomé, Strauss made an important contact with playwright Hugo von Hofmannsthal. Hofmannsthal’s own adaptation of Sophocles’ Electra later would impress the composer when he saw it in a Max Reinhardt production. Strauss set the play to music, and a fruitful artistic partnership was born. As Strauss elaborated, “Your style has so much in common with mine. We were made for each other, and we are sure to do fine things together if you remain faithful to me.”
Elektra was also a success but not quite to the same degree as Salome. Its relentless dramatic impetus and biting tonality may have been too barbaric for audiences of the day. For their next project, Strauss wanted a comedy in the vein of Mozart. Der Rosenkavalier, complete with basso buffo and en travesti (pants) roles undercut with a persistent Viennese waltz, easily fit the bill. It is perhaps their most popular and enduring work.
For the next collaboration, the librettist envisioned a new adaptation of Molière’s Le bourgeois gentilhomme, supported with incidental music by Strauss and followed by a short opera. The double bill failed to please, with the theater-going audiences being unreceptive to opera and vice versa. The work was revised considerably, jettisoning the Molière play and refashioning Ariadne auf Naxos into an opera-within-an-opera. The new version fared much better.
Hofmannsthal and Strauss’ next collaborations were varied in their themes and forms. Die Frau ohne Schatten is a Gozzi-esque fairy tale about a mythical empress who must procure a shadow in order to save her husband from turning to stone. Die ägyptische Helena concerns Helen of Troy’s post-war marital problems. Arabella was intended as another Viennese comedy, styled to become a second Rosenkavalier. It was to be their last collaboration. While dressing for his son’s funeral, Hofmannsthal died of a stroke, leaving the words for Arabella’s second and third acts in draft form. Strauss set the unfinished text as an homage to his colleague, and the opera premiered in 1933. Apart from Hofmannsthal, Strauss wrote and composed Intermezzo, based on a real-life misunderstanding between him and Pauline that almost led to divorce.
Much has been made about Strauss’ activities following the Nazi’s rise to power. The composer’s appointment by Joseph Gœbbels to the Reichsmusikkammer as its president and his decisions to conduct in place of Arturo Toscanini and Bruno Walter attracted criticism, though he emphatically stated it was for the sake of German music and not due to any political agenda.
Like many Jewish artists, Strauss’ next librettist, Stefan Zweig, suffered religious persecution, and their opera, Die schweigsame Frau (based on a play by Shakespeare contemporary Ben Jonson), encountered some difficulties as a result. Zweig chose to leave Germany but presented Joseph Gregor as a replacement and was still able to influence Strauss’ works from a distance. Together the new team produced Friedenstag, an opera set in 17th-century Austria at the end of the Thirty Years War; Daphne, a subject again steeped in mythology (and Strauss’ tip-of-the-hat to Peri’s Dafne, reportedly the first opera ever written); and Die Liebe der Danae, another mythical tale fusing the Greek legend of Danae with that of King Midas.
Capriccio was Strauss’ last opera, a “conversation with music” based on Giovanni Battista Casti’s 18th-century text for Antonio Salieri’s Prima la musica, e poi le parole. Its premiere occurred before Danae’s, however, as the considerably shorter Capriccio could be played before the nightly air raids commenced. Four years after the war and cleared by the denazification board, Strauss died in his sleep at his Bavarian villa. Pauline died one year later, just nine days before the premiere of Strauss’ monumental Four Last Songs.
Hugo von Hofmannsthal (1874 – 1929) was an Austrian prodigy, a novelist, librettist, poet, dramatist, narrator, and essayist.
Hofmannsthal was born in Landstraße, Vienna, the son of an upper-class Christian Austrian mother, Anna Maria Josefa Fohleutner, and a Christian Austrian–Italian bank manager, Hugo August Peter Hofmann, Edler von Hofmannsthal.
His great-grandfather, Isaak Löw Hofmann, Edler von Hofmannsthal, from whom his family inherited the noble title "Edler von Hofmannsthal", was a Jewish tobacco farmer ennobled by the Austrian emperor.
He began to write poems and plays from an early age. Some of his early works were written under pseudonyms, such as Loris Melikow and Theophil Morren, because he was not allowed to publish as a student. He met the German poet Stefan George at the age of seventeen and had several poems published in George's journal, Blätter für die Kunst. He studied law and later philology in Vienna but decided to devote himself to writing upon graduating in 1901. Along with Peter Altenberg and Arthur Schnitzler, he was a member of the avant garde group Young Vienna (Jung Wien).
In 1900 Hofmannsthal met the composer Richard Strauss for the first time. He later wrote libretti for several of his operas, including Elektra (1909), Der Rosenkavalier (1911) with Harry von Kessler, Ariadne auf Naxos (1912, rev. 1916), Die Frau ohne Schatten (1919), Die ägyptische Helena (1928), and Arabella (1933).
In 1901 he married Gertrud "Gerty" Schlesinger, the daughter of a Viennese banker. Gerty, who was Jewish, converted to Christianity before their marriage. They settled in Rodaun (now part of Liesing), not far from Vienna, and had three children, Christiane, Franz, and Raimund.
In 1911 he adapted the 15th century English morality play Everyman as Jedermann, and Jean Sibelius (amongst others) wrote incidental music for it. The play later became a staple at the Salzburg Festival.
During the First World War Hofmannsthal held a government post. He wrote speeches and articles supporting the war effort, and emphasizing the cultural tradition of Austria-Hungary. The end of the war spelled the end of the old monarchy in Austria; this was a blow from which the patriotic and conservative-minded Hofmannsthal never fully recovered.
Nevertheless, the years after the war were very productive ones for Hofmannsthal; he continued with his earlier literary projects, almost without a break. He wrote several new libretti for Richard Strauss operas. In 1920, Hofmannsthal, along with Max Reinhardt, founded the Salzburg Festival. His later plays revealed a growing interest in religious, particularly Roman Catholic, themes. Among his writings was a screenplay for a film version of Der Rosenkavalier (1925) directed by Robert Wiene.
On 13 July 1929 his son Franz committed suicide. Two days later, shortly after attending Franz's funeral, Hugo himself died of a stroke at Rodaun.
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 conductors of both symphonic and operatic repertoire. Among the many orchestras Maestro White has conducted are the Metropolitan Opera Orchestra, the Moscow Philharmonic, the Orchestre Métropolitain du Grand Montréal, 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 Syracuse Symphony, the Charleston Symphony, the Florida Philharmonic, the Fort Worth Symphony, the North Carolina Symphony, the Madison Symphony Orchestra and London’s Philharmonia Orchestra for a CHANDOS recording of arias featuring his wife, soprano Elizabeth Futral. Of his 2016 performances with the Omaha Symphony Orchestra the Omaha World-Herald declares that “it would be hard to imagine a more complete performance of the Symphonie Fantastique than the one presented Friday night. 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."
White 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, Placido Domingo, Thomas Hampson, Dmitri Hvorostovksy and Matthew Polenzani. Over the past eight seasons he has participated in many Met productions, including critically fêted productions of The Rake’s Progress and Elektra, along with Billy Budd, Don Carlo, La sonnambula, Elixir of Love, Così fan tutte, Rigoletto, The Enchanted Island, The Magic Flute, Lucia di Lammermoor, Daughter of the Regiment and Iphigénie en Tauride.
This season he returns to The Metropolitan Opera to participate in productions of The Marriage of Figaro and The Merry Widow. Other operatic engagements include Tosca at Arizona Opera, Roméo et Juliette at Opera Birmingham and La Bohème at Opera Roanoke. The past two seasons have included returns to Arizona Opera for Rusalka and Don Giovanni, the Peabody Conservatory for Street Scene and The Marriage of Figaro, Opera Roanoke for Susannah and Opera Omaha for The Barber of Seville and Così fan tutte, about which Opera News wrote, “White is amazing: he consistently demands and gets the absolute best playing from the orchestra."
Maestro White’s 2014/15 season included Mahler’s Symphony No. 4 with the Charleston Symphony Orchestra and Das Lied von der Erde at Kennesaw State University. He returned to the Baltimore Symphony Orchestra and Lyric Opera Baltimore for Madama Butterfly, Arizona Opera for Eugene Onegin, and the Alabama Symphony Orchestra and Opera Birmingham for La Bohème. He debuted with the Columbus Symphony Orchestra and Opera Columbus with La voix humaine and Pagliacci. With Opera Omaha he conducted Rigoletto.
In December 2013 Maestro White conducted the tribute to Martina Arroyo as part of the Kennedy Center Honors concert, broadcast nationally on CBS. Other highlights of that season include Tosca with Lyric Opera Baltimore and the Baltimore Symphony Orchestra, Dialogues of the Carmelites with Peabody Conservatory, La Traviata with Arizona Opera, Rigoletto with Opera Birmingham, Aida at Bob Jones University and Mahler’s Symphony No. 1 at Virginia Tech University. At Opera Roanoke he conducted a new production of The Magic Flute. He also led the Slovak State Philharmonic in concerts of Beethoven’s Symphony No. 7 and Rimsky-Korsakov’s Russian Easter Festival Overture. With that same orchestra he collaborated with acclaimed trumpeter Paul Neebe in a recording of 21st- century concertos.
In 2013 he made his debut with the Moscow Philharmonic Orchestra in a tour-de-force gala concert at Tchaikovsky Hall with soprano Sarah Coburn. Other recent symphonic engagements include performances of the Strauss Four Last Songs with Dame Kiri Te Kanawa and the Naples Philharmonic, internationally televised concerts with Rolando Villazon and the Greek National Radio Symphony Orchestra at the United Nations and Alice Tully Hall, an all-Wagner concert with the Alabama Symphony Orchestra and Opera Birmingham, the Festival Finale Concert at Spoleto Festival USA, a concert with Angela Gheorghiu and the Canadian Opera Company orchestra at Roy Thomson Hall in Toronto, and numerous concert performances with the Roanoke Symphony Orchestra and Opera Roanoke.
In addition to his work with the Metropolitan Opera, White’s extensive operatic engagements have included La traviata, Don Giovanni, Carmen and La bohème at New York City Opera; Lucia di Lammermoor at L’Opera de Montréal; Lucia di Lammermoor, Daughter of the Regiment and I puritani with Vancouver Opera; La Traviata at Opera Colorado; Elixir of Love with Pittsburgh Opera; The Abduction from the Seraglio at Michigan Opera Theater; La Traviata, Roméo et Juliette, I puritani, La sonnambula and L’assedio di Corinto with Baltimore Opera; Lucia di Lammermoor with New Orleans Opera; Aida, Lucia di Lammermoor, The Merry Widow, Tosca and Don Pasquale at Arizona Opera; and La Bohème, Carmen, Rigoletto, Tosca and The Marriage of Figaro with the Naples Philharmonic.
Other performances include Hänsel und Gretel at Kentucky Opera, Pagliacci and Tosca at Nashville Opera, Lucia di Lammermoor with Fort Worth Opera, Don Giovanni, The Tales of Hoffmann, Macbeth and Lucia di Lammermoor at Syracuse Opera, Werther at Sarasota Opera, Lucia di Lammermoor with Wichita Grand Opera, Madama Butterfly with North Carolina Opera, Elixir of Love at Wolf Trap Opera, outdoor Gala Concerts with Madison Opera, and La Traviata at Indiana University Opera Theater.
As former Artistic Director of Opera Roanoke, White conducted nearly all of that company’s productions from 1999 through 2010, including performances of Das Lied von der Erde, The Flying Dutchman, Fidelio, Falstaff, Otello, Macbeth, Aida, Hänsel und Gretel and many others. He has also served as Principal Conductor for Opera Birmingham and as Associate Conductor and Chorus Master for Florida Grand Opera.
White is in constant demand as a master-class clinician and competition adjudicator and is a frequent judge for the Metropolitan Opera National Council Auditions. He has a particular affinity for working with young musicians, and serves regularly as an artist-in-residence with a number of colleges and conservatories, including Peabody Conservatory, Indiana University, University of Cincinnati—College-Conservatory of Music, Virginia Tech University and the University of Miami Frost School of Music at Salzburg. In May 2013 Maestro White received an Honorary Doctorate of Fine Arts from Roanoke College.
Based in New York City, Chuck Hudson has directed opera productions at international companies including Cape Town Opera (South Africa), Cincinnati Opera, Florida Grand Opera, Minnesota Opera, Sacramento Opera, Austin Lyric Opera, Opera Cleveland, Seattle Opera, San Francisco Opera Center, Wolf Trap Opera, Opera Santa Barbara, among others. He has directed award winning theatre productions in New York and regionally, including The Pearl Theatre, The Chester Theater, Cape May Stage, The Children’s Theatre Festival of Houston, New City Theatre, and Chicago’s Fox Valley Shakespeare Festival. Upcoming productions include La Bohème at Hawaii Opera Theater and Don Pasquale at Atlanta Opera. Hudson’s work as a director was mentioned in the January 2011 Edition of American Theatre Magazine and the Summer 2015 Opera America Magazine.
In addition to directing professional artists, Hudson continues to focus on his work with artists in training. He was a co-creator of Seattle Opera’s Young Artist Program where he directed productions as well as created and instructed specialized classes on Acting and Movement for singers. Hudson has directed productions at San Francisco Opera’s Merola Program, Santa Fe Opera’s Apprentice Artist Program, Florida Grand Opera’s Resident Artist Program, IU Opera Theatre, CCM Opera Theatre, AVA Opera Theater, BU Opera Institute, USC-Thornton Opera, Music Academy of the West, Western Australia Academy of Performing Arts, Carnegie-Mellon Opera Theatre, and Manhattan School of Music Opera Theater. He was guest professor of Advanced Acting at Cincinnati Conservatory of Music, professor at the University of Houston School of Theatre, at Cornish College of the Arts, and was an annual Adjunct Faculty Artist at North Carolina School of the Arts Theatre Department and Fletcher Opera Institute, at Westminster Choir College and, was a Schmidbauer Guest Artist–Stage Director at Stephen F Austin University’s Theater Department. Hudson also uses his enormous experience as a performer, director, and coach in his many Master Classes and private coachings at various International Professional Artist Training Programs for singers and actors. He is also in great demand as a private audition coach in New York City, coaching both opera and musical theater performers.
For 7 years Hudson was Artistic Director of The Immediate Theatre in Seattle: a physically based company committed to the creation of visually exciting dramatic works. Chuck’s specialty in movement comes from a background in gymnastics as well as being one of three Americans to have received a diploma from the Marcel Marceau International School of Mimedrama in Paris. He is the only American to be appointed to teach at Marceau’s School, and he performed with Marceau on his 1991 European Tour and in Klaus Kinski’s film Paganini. Hudson also studied at the Paris School for Theatrical Fencing and was awarded an Honorary Diploma from the French Academy of Arms.
Acting roles include Orsino in Twelfth Night, Brutus in Julius Caesar, and Petruchio in Taming of the Shrew with the Seattle Shakespeare Festival, and Caliban in The Tempest with his own Immediate Theatre.
|April 3, 5 & 11|
Lauded by the Seattle Times as a “passionate singing actor with a voice of considerable heft and power” and for her “fearless, thrilling high notes,” Rebecca Nash recently triumphed in her role and company debut as Senta in The Flying Dutchman with Seattle Opera. This season, she joins Theater Kiel as Färberin in Die Frau ohne Schatten in new production by Brigitte Fassbende. Last season, she joined Cedar Rapids Opera in her role debut as Turandot, sang performances of Mendelssohn’s Elijah with the San Antonio Symphony, and joined both the Phoenix Symphony and Orchestra Iowa for Beethoven’s Symphony No. 9.
Nash sang her first performances of the Kaiserin in Die Frau ohne Schatten at the Ópera de Bellas Artes at the Festival del Centro Histórico de México, Amelia in Un ballo in maschera and the title role of Ariadne auf Naxos with West Green House Opera, Judith in Bluebeard’s Castle with the Virginia Symphony, the title role of Káťa Kabanová with Oper Köln and Miss Jessel in The Turn of the Screw in her American debut with Boston Lyric Opera followed by further performances with Central City Opera. She made her debut with the Lyric Opera of Chicago as vierte Magd in Elektra while covering Chysothemis and returned to the title for fünfte Magd in Elektra with Music Director Andris Nelsons conducting in both Boston and at Carnegie Hall. She has sang the Marschallin in Der Rosenkavalier with English National Opera, a role she later repeated, along with Cio Cio San in Madama Butterfly with Scottish Opera. She joined the Royal Opera House, Covent Garden as Barena in Jenůfa under Bernard Haitink (available as a commercial recording), fünfte Magd in Elektra under Semyon Bychkov, and for concert performances of Daphne under Stefan Soltesz. She repeated her roles in Jenůfa with Opéra de Lyon and Elektra with Donald Runnicles conducting a concert performance at the BBC Proms. Additionally, she covered Desdemona in Otello and the title role of Jenůfa for the Glyndebourne Festival as well as the title role of Arabella and Magda in La rondine for Opera North and joined the rosters of both the New York Philharmonic and New York City Opera for Erwartung. In her homeland, she made her debut with Opera Australia as the Countess in Le nozze di Figaro at the Sydney Opera House.
A prolific performer of concert repertoire, she has sung Strauss’ Vier Letzte Lieder with the Norrköping Sinfonieorchestra with Daniel Harding conducting and the Orchestra of the Scottish Opera; Una poenitentium in Mahler’s Symphony No. 8 and Stravinsky’s Les Noces at the Virginia Arts Festival; Beethoven’s Symphony No 9 with Gustavo Dudamel conducting the Orquesta Sinfónica Simón Bolívar, Caramoor International Music Festival, Orchestra of the Eighteenth Century, and Ulster Orchestra; Mendelssohn’s Elijah with Kurt Masur conducting the London Philharmonic Orchestra at the BBC Proms, Dvořák’s Mass in D also at the BBC Proms under Sir Andrew Davis; and Fauré’s Requiem with Graeme Jenkins conducting the Orchestre National de Lyon. Other concert performances for the soprano include Rachmaninoff’s The Bells with the Buffalo Philharmonic, Beethoven’s Egmont and Mass in C in addition to a concert of Mozart arias with the Scottish Chamber Orchestra, Mozart’s Mass in c minor with the Royal Liverpool Philharmonic Orchestra, Dvořák’s Requiem with the Danish Radio Orchestra, Mozart’s Coronation Mass with the RTVE Madrid, Verdi’s Requiem at Royal Albert Hall and in Guilford Cathedral, Beethoven’s Missa Solemnis with the West Australian Symphony Orchestra, Beethoven’s Ah Perfido! with the London Mozart Players, and a program of Mozart Ensembles with Sir Roger Norrington conducting at the BBC Proms. She has also joined the Orchestra of the Eighteenth Century for Beethoven’s Symphony No. 9 and Egmont on tour in Japan, France, Spain, the Netherlands, and in Hong Kong.
She appeared at the Klavier-Festival Ruhr in recital with Graham Johnson and at the Scottish Chamber Orchestra’s Summer Evenings in the East Neuk series with Iain Burnside. She has also presented programs at the Bath Festival, St. John’s Smith Square in London, and for the Temple Square Concert Series in Salt Lake City, Utah.
Nash was the recipient of the Australia’s highest honor in singing, the Inaugural Dame Joan Sutherland Singing Award and won first prize at the Herald Sun Aria and Australia Singing Competitions. She studied at Monash University before receiving her Advanced Postgraduate Diploma in Opera from the Royal College of Music in London.
|April 4 & 12|
American soprano Felicia Moore is recognized as a powerful and innovative emerging artist having made music in partnership with Alan Gilbert, Anne Manson, Yannick Nézet-Séguin, Speranza Scappucci, Gary Thor Wedow, and Brian Zeger among others. Moore already has earned praise through international competition and through her performance on numerous stages of North America. She recently earned an Artist Diploma in Opera Studies from The Juilliard School, and was named one of the winners of The Sullivan Foundation Competition.
In the current season, Felicia Moore makes her debut at Palm Beach Opera as Donna Elvira in Don Giovanni and joins the Las Vegas Philharmonic in performances of Beethoven’s Ninth Symphony. The 2017/18 season began with performances of Mrs. Grose in Britten's The Turn of the Screw at Opera Columbus in a new Stephen Wadsworth production and ended with a role debut as Donna Elvira in a new production of Don Giovanni at Heartbeat Opera directed by Louisa Proske. Her final Juilliard year included workshop selections from Tchaikovsky's Eugene Onegin with Alan Gilbert conducting the Juilliard Orchestra and Copland's Twelve Emily Dickinson Songs with pianist Brian Zeger at Juilliard's Songfest in Alice Tully Hall. She gave a recital at Lincoln Center as winner of Juilliard's Vocal Arts Honors Recital presenting a program of Sibelius, Wagner and Copland with pianist Chris Reynolds and offered the Juilliard Commencement Concert with a performance of Beethoven's Ah! Perfido, Op. 65 with Speranza Scappucci leading the Juilliard Orchestra. Felicia Moore spent the summer in Europe first as a Resident Artist in the Aix-en-Provence Festival's Mozart Académie and then as a participant of the International Meistersinger Akademie in Neumarkt, Germany under the tutelage of Edith Wiens.
Performances of recent years feature the title role in Juilliard Opera's production of Janáček's Katya Kabanova conducted by Anne Manson in a new production by Stephen Wadsworth, and a summer in San Francisco Opera’s Merola Opera Program, performing in the Schwabacher Summer Concert as Agathe in Der Freischütz, and as Elisabeth in Tannhäuser on the stage of the San Francisco Opera. Other performances include Rossini's Stabat Mater with the Chamber Orchestra of the Triangle in North Carolina, Mozart's Ch'io mi scordi di te? with the Juilliard Orchestra led by Gary Thor Wedow, and Strauss' Vier letzte Lieder with Alan Gilbert and the Juilliard Orchestra Lab.
Moore’s training has included resident artist apprenticeships at Des Moines Metro Opera, Opera Theatre of Saint Louis, Portland Opera, and the Ravinia Festival’s Steans Institute. Her work in these programs featured role preparations for First Lady in The Magic Flute, Alice Ford in Falstaff, Amelia in Un ballo in Maschera, Madame Lidoine in Dialogues of the Carmelites, Leonore in Fidelio, and the title role of Tobias Picker’s Emmeline.
Success in international vocal competition is demonstrated and supported by achievements in The Metropolitan Opera National Council Auditions, George London Foundation Competition, Licia Albanese-Puccini Foundation, Tenor Viñas International Singing Contest, Opera Index, and Fort Worth Opera's McCammon Voice Competition. Moore was awarded the Prix des Amis du Festival following her participation in the Aix-en-Provence Festival's Mozart Académie and she has been recognized with First Prize from The Jensen Foundation, Second Prize at the National Opera Association Competition, the Florence and Paul DeRosa Prize by The Juilliard School and by The Gerda Lissner Foundation, the Richard F. Gold Foundation, and the Wagner Society of New York.
Felicia Moore was awarded a 2018/19 Fellowship by Turn The Spotlight, a foundation created to identify, nurture, and empower leaders – and in turn, to illuminate the path to a more equitable future in the arts through mentorship by and for exceptional women, people of color, and other equity-seeking groups in the arts. She is a proud alumna of The Juilliard School, Mannes School of Music, and Westminster Choir College.
Opera News praises Corey Bix for his “clear sense of drama and self-possession, exhibiting sturdy, unwavering control, flinty resonance and confident high notes.” In the 2018/19 season, he makes his role debut as Lohengrin with Opera South West, sings performances of Judge Danforth in The Crucible with Opera Santa Barbara, and joins Des Moines Metro Opera for Hauptman in Wozzeck and the Governor/Vanderdendur in Candide. Last season, he joined Canadian Opera Company as Elemer in Arabella, and Dallas Opera for their production of Korngold’s Der Ring des Polykrates. He recently returned to Virginia Opera for his first performances of Max in Der Freischütz, the Lyric Opera of Chicago as Énée and Helenus in Les Troyens, and joined The Metropolitan Opera roster for its production of The Flying Dutchman.
Following Bix’s triumphant role debut as Énée in Les Troyens with San Francisco Opera, he returned to the company for Augustin Moser in Die Meistersinger von Nürnberg and also for their production of Jenůfa. His other recent performances include his European debut and return to Greek National Opera as the Prince in Rusalka with Greek National Opera and the title role of Stravinsky’s Oedipus Rex; Bacchus in Ariadne auf Naxos with Washington National Opera, Vienna Volksoper, Fort Worth Opera, Badisches Staatstheater Karlsruhe, and The Glimmerglass Festival; Erik in The Flying Dutchman with Los Angeles Opera, Virginia Opera, Hungarian National Opera, and Arizona Opera; Kaiser in Die Frau ohne Schatten with Oper Graz; Walther in Die Meistersinger von Nürnberg with Theater Kiel; the title role of Flotow’s Alessandro Stradella with the Stadttheater Giesen; Heinrich in Tannhäuser; in addition to joining the Teatro alla Scala and Savonlinna Festival for their productions of Lohengrin and the Cleveland Orchestra for its tour of Daphne. He has sung both Florestan in Fidelio and Lennie in Of Mice and Men with Utah Opera, Austin Opera and Tulsa Opera, Sir Edgar Aubry in Der Vampyr with New Orleans Opera, Aegisth in Elektra with Des Moines Metro Opera, and Alfred in Die Fledermaus with Anchorage Opera. He sang the First Senator in Die Gezeichneten while covering the role of Albiano under the baton of James Conlon at Los Angeles Opera and joined San Francisco Opera for the Fourth Jew in Salome. With Santa Fe Opera he covered Yonas in Saariaho’s Adriana Mater, the title role of Lucio Silla, and Tamino in The Magic Flute and sang Dr. Caius in Falstaff and the Second Jew in Salome. His other recent performances include Don Jose in Carmen with the Aspen Opera Theater with Julius Rudel conducting as well as with the Glacier Symphony in Montana, Tamino in the workshop of the family version of The Magic Flute with The Metropolitan Opera, and Sam in Susannah with New York Opera Projects.
On the concert stage, Bix has joined the Centro Nacional de las Artes in Mexico City for Mahler’s Das Lied von der Erde, the American Symphony Orchestra for Szymanowski’s Symphony No. 3, Pharaoh in Dessau’s Hagadah shel Pessach, and Pheobus de Chateuoers in Schmidt’s Notre Dame, the Cathedral Choral Society for Janáček’s Glagolitic Mass at the National Cathedral in Washington D.C., and Palm Beach Symphony for Mozart’s Requiem. At the Bard Music Festival, he sang excerpts of Die Meistersinger von Nürnberg in concert along with a recital of German and joined the Wagner Society of Washington D.C. for a concert that included excerpts of Siegmund in Die Walküre and Walther in Die Meistersinger von Nürnberg. He sang the Fourth Jew in concert performances of Salome with Philadelphia Orchestra under the baton of Yannick Nézet-Séguin. He presented a recital with soprano Lauren Flanigan under the auspices of the George London Foundation at the Morgan Library as well as solo programs for the Wagner Society of New York and at his alma mater of Simpson College.
Bix is the 2008 winner of the Robert Lauch Memorial Grant from the Wagner Society of New York and the 2007 winner of the George London/Kirsten Flagstad Award for a singer with potential for a Wagnerian career as well as the foundation’s prestigious Vienna Prize. Additionally, he has been a prizewinner in both the New England and Southeast regions of the Metropolitan Opera National Council Auditions. He is a former member of the apprentice programs of the Santa Fe Opera, Florida Grand Opera, Glimmerglass Opera, and Des Moines Metro Opera and earned a Master of Music from New England Conservatory and his Bachelor of Music from Simpson College.
|April 3, 5 & 11|
Hailed by the New York Times for her “technically accomplished coloratura” as well as, “floating lyricism,” soprano Nicole Haslett makes a number of role debuts in the 2017/18 season: covering Marnie's shadow in Marnie at The Metropolitan Opera, Katherine in Oceane at Deutsche Oper Berlin, and soprano soloist in Carmina Burana with Toronto Symphony. Recently, she made her European debut at the Deutsche Oper Berlin, where she sang Adele in Die Fledermaus, Berthe in Le Prophete, First Niece in Peter Grimes, Semele in Die Liebe der Danae, and Frasquita in Carmen as well as sang her first performances of Adele in Die Fledermaus with Cincinnati Opera.
Haslett recently joined the roster of The Metropolitan Opera for its production of Iolanta and sang Chloé in Offenbach’s Daphnis et Chloé with Heartbeat Opera. She returned the Opera Theater of Saint Louis for Sophie in Picker’s Emmeline following previous performances with the company of Echo in Smetana’s The Kiss as Gerdine Young Artist. Other recent performances include Nannetta in Falstaff with Martina Arroyo’s Prelude to Performance, Sarah and the cover of the title role of The Ballad of Baby Doe while a young artist with Chautauqua Opera, and Susanna in The Marriage of Figaro with Opera in the Ozarks. She is also a former Resident Artist of Portland Opera. In the summer of 2012, she spent six weeks in Beijing with the I SING BEIJING program and in the following spring, she was presented by the program as a featured singer in a concert of Yan Jinxuan’s 白毛女 (The White-Haired Girl) at New York’s Alice Tully Hall. Recent concert performances include Handel’s Messiah with the New Choral Society.
She was a 2014 Metropolitan Opera National Council Auditions grand finalist and sang excerpts of Zerbinetta from Ariadne of Naxos and Nannetta from Falstaff conducted by Marco Armiliato on the famed company’s stage. She is a 2015 second place winner of the Gerda Lissner International Vocal Competition and Encouragement Award winner of the George London Foundation Competition. In 2012, she was Alan M. and Joan Taub Ades Vocal Competition winner and Career Bridges Grant winner. She holds a Master of Music in vocal performances from the Manhattan School of Music, at which she sang Florestine in Corigliano’s The Ghosts of Versailles as well as Eva in Haydn’s Die Schöpfung conducted by Kent Tritle. Her performance credits at New York University, from which she earned her Bachelor of Music, include Despina in Così fan tutte and Jennie Parsons in Weill’s Down in the Valley in addition to winning the Excellence in Vocal Performance Award.
|April 4 & 12|
Katrina Galka was a two season Marion Roose Pullin Studio Artist and appeared in Candide as Cunegonde, The Barber of Seville as Rosina, Das Rheingold as Woglinde, Hercules vs Vampires as Medea, Zarathusa, Chained Woman, & Helena, and in Tosca as The Shepherd Boy. Last season Katrina was seen on the Arizona Opera stage singing Clorinda in Cinderella and First Wood Sprite in Rusalka. Galka has also participated in studio programs with the Glimmerglass Festival singing the role of Atalanta in Xerxes, and Portland Opera where she performed Adina in The Elixir of Love, Johanna in Sweeney Todd, Elvira in L'italiana in Algeri, Papagena in The Magic Flute, and Frasquita in Carmen, as well as spending two seasons with Opera Theatre of Saint Louis where she also sang Papagena. Katrina has also appeared as a principal artist with The Atlanta Opera, The Dallas Opera, and Odyssey Opera.
Galka spent a year with the Boston University Opera Institute as a soprano-in-residence where she sang the roles of Diana in Jonathan Dove's Siren Song and Rosalba in Daniel Catán's Florencia en el Amazons. Additional stage roles include Marie (The Daughter of the Regiment), Eurydice (Orpheus in the Underworld), Servilia (La clemenza di Tito), Pamina (The Magic Flute), Mrs. Julian (Owen Wingrave), Aurore (Le portrait de Manon), Carolina (Il matrimonio segreto), Elisa (Il Re Pastore), and Serpina (La serva padrona).
In concert, Galka has performed with the Oregon Symphony, Boston Modern Orchestra Project, the Rhode Island Civic Chorale and Orchestra, the Vancouver Symphony Orchestra, and the Metropolitan Youth Symphony (Portland, OR). Ms. Galka performed and recorded the role of "the Cat" from Gunther Schuller's The Fisherman and His Wife with BMOP under the baton of Gil Rose.
Galka’s competition experience includes prizes from The Metropolitan Opera National Council Auditions (Eastern, New England, & Northwest regions), Jensen Foundation, Mario Lanza Scholarship Competition (1st place), Marcello Giordani International Vocal Competition, Heida Hermanns International Voice Competition, Dallas Opera Guild Competition, and National Opera Association Vocal Competition.
A naturally gifted singer noted for her commanding stage presence and profound artistry, Jennifer Johnson Cano has garnered critical acclaim for committed performances of both new and standard repertoire. For her performance as Offred in Poul Ruders’s The Handmaid’s Tale she was lauded as a “consummate actress,” by The Wall Street Journal; a “tour de force” by The Boston Globe; and “towering…restless, powerful, profound, she is as formidable as this astonishingly demanding role deserves,” by The New York Times. In recital with Anna Netrebko at Carnegie Hall, Bachtrack called her performance “self-effacing and full of musicality.” With more than 100 performances on the stage at The Metropolitan Opera, her most recent roles have included Nicklausse, Emilia, Hansel and Meg Page.
Following engagements at Bravo! Vail with the New York Philharmonic, Ravinia Festival with Matthew Polenzani, and Cleveland Orchestra’s Blossom Music Festival, Cano ends her summer with the LA Phil for performances of Beethoven’s Ninth Symphony at the Hollywood Bowl. She begins her 2019-2020 season with Michael Tilson Thomas at San Francisco Symphony’s Opening Night Gala. Additional orchestral highlights include Berg’s Lulu, singing the role of Countess Geschwitz with the Cleveland Orchestra, Schoenberg’s Gurrelieder with Dudamel and the LA Phil, and Beethoven’s Ninth Symphony with Riccardo Muti and the Chicago Symphony. In recital she appears at Da Camera of Houston for a performance of Argento’s From the Diary of Virginia Woolf and joins pianist Benjamin Hochman and friends for Janáček’s The Diary of One Who Disappeared at New York’s 92nd Street Y. After widespread acclaim last season for her portrayal of Offred in Ruders’s The Handmaid’s Tale with the Boston Lyric Opera, Cano bows this season as Adalgisa in Bellini’s Norma with Pittsburgh Opera, Komponist in Strauss’s Ariadne auf Naxos with Arizona Opera and as the title role of Bizet’s Carmen with New Orleans Opera.
Cano is a native of St. Louis and earned degrees from Webster University and Rice University and was honored as a distinguished alumna and commencement speaker at Webster University in May 2017. Her debut recital recording with pianist Christopher Cano, Unaffected: Live from the Savannah Voice Festival, was recorded completely live and unedited. Recent recordings include a live performance of Beethoven’s Ninth Symphony with Manfred Honeck and the Pittsburgh Symphony, Bernstein’s Symphony No. 1: Jeremiah with Marin Alsop and the Baltimore Symphony Orchestra, and a live recording of Mahler’s Das Lied von der Erde featuring conductor George Manahan, tenor Paul Groves and St. Luke’s Chamber Ensemble. Cano joined The Lindemann Young Artist Development Program at The Metropolitan Opera after winning the Metropolitan Opera National Council Audition, and made her Met debut during the 2009-2010 season. Among her honors are a First Prize winner of the Young concert Artist International Auditions, a Sara Tucker Study Grant, a Richart Tucker Career Grant and George London Award.
“Her voice is radiant and intense, rich in the lower part of her range, bright and precise at the top, with astonishing evenness throughout. For such a commanding singer she also cuts a remarkably approachable persona on stage, and has an uncanny ability to discern and embody the character of each song.” — Boston Globe
“Dramatic intelligence and imagination suffused every note of Ms. Johnson Cano’s performance. Endowed with an attention-grabbing dark mezzo, its depths bracing like strong coffee, she seems to thrive in the role of a storyteller.” — The New York Times
Described by Das Opernglas as “a strong, rich and warm-colored voice with assured style,” Mark Schnaible joins Arizona Opera for Bartolo in The Marriage of Figaro in the 2018/19 season. He recently returned to Oper Leipzig for reprise performances of Pere Joseph in the acclaimed production of Gounod’s Der Rebell des Königs (Cinq Mars) and Méphistophélès in Faust, to the roster of the Metropolitan Opera for their new productions of Guillaume Tell and Lulu, and to Palm Beach Opera for Musiklehrer in Ariadne auf Naxos and the Police Sergeant in Pirates of Penzance. Mr. Schnaible’s other recent performances include Friedrich in Das Liebesverbot and Méphistophélès in Faust with Oper Leipzig with repetitions of the latter at the Teatro Comunale Bolzano, Orest in Willy Decker’s production of Elektra with Polish National Opera; Der Wanderer in Siegfried with Kent Nagano conducting and the Four Villains in The Tales of Hoffmann in a production directed by Nicholas Joel with Den Nye Opera; Jochanaan in Salome with Edmonton Opera and Cedar Rapids Opera Theater; Escamillo in Carmen with New Orleans Opera and the Saarbrücken Radio Symphony Orchestra; Nick Shadow in The Rake’s Progress, Pizarro in Fidelio, Ferrando in Il trovatore, and the title role in Giulio Cesare with Utah Opera; Friedrich in the North American stage premiere of Das Liebesverbot and the Count in The Marriage of Figaro with Glimmerglass Opera; Biterolf in Robert Carsen’s production of Tannhäuser conducted by Seiji Ozawa at Tokyo Opera Nomori; the title role in Sweeney Todd and Scarpia in Tosca with Portland Opera, Dayton Opera, and Shreveport Opera; and Mephistofeles in Faust with Shreveport Opera and El Paso Opera. He has sung numerous leading roles with Theater Lübeck including the Four Villains in The Tales of Hoffmann, Dr Schön in Lulu, both directed by Anthony Pilavachi as well as the title role in The Flying Dutchman, Seven Antagonists in Death in Venice, Orest in Elektra, Pizarro in Fidelio, Capulet in Roméo et Juliette, Raimondo in Lucia di Lammermoor, and Lorenzo in I capuleti e i Montecchi. Additional recent performances include Leporello in Don Giovanni with Boston Baroque and Utah Opera; Colline in La bohème with Oper Kiel; the title role in Gianni Schicchi and Rambaldo in La rondine with Opera Tampa; Ariodate in Xerxes with Boston Baroque; Don Alfonso in Così fan tutte with Shreveport Opera; Capulet in Roméo et Juliette with New Orleans Opera; as well as the Huntsman in Rusalka with Christoph Eschenbach at the Schleswig-Holstein Music Festival and with Franz Welser-Möst at the Opernhaus Zurich. A past winner of the prestigious Marseille International Opera Competition, the bass-baritone subsequently sang Figaro in The Marriage of Figaro with Opera d’Avignon and Metz Opera and joined the Choregies d’Orange Festival under Bertrand de Billy for Baron Douphol in La traviata and for Carmen under Michel Plasson. He is equally at home with the concert repertoire having recently sung Bizet’s Clovis et Clotilde with Les Flaneries Musicales de Reims and Jean-Claude Casadesus and in subsequent performances with the same conductor and the Orchestre National de Lille (released on the Naxos label). Other concert performances include Bluebeard’s Castle with Utah Symphony and excerpts of Boito’s Mephistopheles with Dayton Opera; Brahms’ Ein deutsches Requiem with the Utah Symphony, North Carolina Symphony, and Sioux City Symphony; previous performances of Beethoven’s Symphony No. 9 with Edo de Waart conducting the Hong Kong Philharmonic, Jacques Lacombe conducting the Lorraine Philharmonic, as well as with the Nashville Symphony and Memphis Symphony Orchestra; Verdi’s Requiem with the Orchestre National d'Île de France; Saint-Saens’ Christmas Oratorio with the Winterthur Philharmonic; Beethoven’s Mass in C with the Hartford Symphony; Dvořák’s Te Deum with the Utah Symphon;, and Fauré’s Requiem with the Heidelberg Philharmonic and Lorraine Philharmonic. He has sung Bach’s St. Matthew Passion with the Lübeck Philharmonic Orchestra, St. John Passion with the Heidelberg Philharmonic, and Mass in B minor with the Würzburg Symphony Orchestra; Berlioz’s Messe Solenelle also with the Heidelberg Philharmonic and his Lélio, ou le retour à la vie with the Lübeck Philharmonic Orchestra; and Handel’s Utrecht Jubilate with the Sioux City Choral Union, Judas Maccabeus with the Octavo Singers in Albany, Messiah with the Jerusalem Symphony and El Paso Symphony; Mendelssohn’s Elijah with Seiji Ozawa conducting at the Saito Kinen Festival as well as with the Nuremberg Philharmonic Orchestra, with which he also sang the composer’s St. Paul; Mozart’s Mass in C minor with the Quad Cities Symphony, Requiem with the Harrisburg Symphony, and Vesperae Solemnes with the Buena Vista Symphony; and Haydn’s The Creation with the Jerusalem Symphony Orchestra conducted by David Stern and Utah Symphony conducted by Jeffrey Kahane and The Seasons with the Poitou-Charentes Orchestre. He also joined the Sioux City Chamber Music Association in his home state of Iowa for a recital of Brahms’ Vier ernste Gesänge in addition to works by Handel, Duparc, and Kohn.
Rodell Rosel is a guest of the major opera companies in the U.S. Following his debut at the Lyric Opera of Chicago as Remendado in Carmen, he has appeared on their stage as the Prince and Man Servant in Lulu, Spoletta in Tosca, the First Priest in The Magic Flute, Borsa in Rigoletto and as Faninal’s Major-domo in Der Rosenkavalier, Altoum in Turandot and the Second Jew in Salome, Bardolph in Falstaff, Ruiz in Il Trovatore, Benvoglio in Roméo et Juliette, Dr. Blind in Die Fledermaus, the Four Servants in The Tales of Hoffman and Monastatos in The Magic Flute.
For The Metropolitan Opera, he has appeared as Valzacchi in Der Rosenkavalier conducted by James Levine and as Nathaniel and Franz in their new production of The Tales of Hoffmann.
Elsewhere, he has appeared with Los Angeles Opera, Pittsburgh Opera and Tulsa Opera as Goro in Madama Butterfly, Houston Grand Opera as Squeak in Billy Budd, Dancing Master in Ariadne auf Naxos, and Goro, Wolf Trap Opera as the Governor in Candide and the Dancing Master in Ariadne auf Naxos, the Florentine Opera as Monastatos in The Magic Flute, Little Bat in Susannah, and in the title role of Albert Herring, Santa Fe Opera in the world premiere of The Letter, the Ravinia Festival as Curzio in The Marriage of Figaro, Spoletta in Tosca and Arbace in Idomeneo, The Dallas Opera as Anthony Candolino in the world premiere of Heggie’s Great Scott, and the Cleveland Orchestra as the 1st Jew in Salome.
In recent seasons, he has appeared with Los Angeles Opera as Spoletta, Monastatos, and Bardolph, and with Houston Grand Opera as Mime in Das Rheingold and Siegfried. Future seasons see him back in Chicago as Valzacchi and Monastatos, Los Angeles as the 1st Jew in Salome and as Spalanzani in Les Contes d’Hoffman, and debut apprearances with Seattle Opera as Monastatos and Goro
Formerly a member of the Ryan Opera Center (formerly Lyric Opera Center for American Artists), the Manila native studied at the University of California in Los Angeles, where he sang the title role in Britten’s Albert Herring and leading roles in Mozart, Rossini and Ravel, also appearing as tenor soloist in The Creation, Messiah and the Mozart Requiem. He has sung Basilio in The Marriage of Figaro at Music Academy of the West in Santa Barbara, CA, as well as Monostatos in The Magic Flute, Kaspar in Amahl and the Night Visitors, and Tinca in Il Tabarro, all with Opera Nova-Santa Monica.
In addition to his award from the Metropolitan Opera, Rosel has received a third-place award from the Palm Beach Opera Vocal Competition, a second-place award at the Lotte Lenya Vocal Competition, and was a finalist at the Loren Zachary National Vocal Competition. He is the recipient of scholarships from, among others, The National Academy of Recording Arts and Sciences.
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.
Praised by the Huffington Post for his “ringing high notes,” Texas-born tenor Bille Bruley has garnered attention for his strength and versatility in operatic repertoire from baroque to contemporary. A 2018/19 William Matheus Sullivan Musical Foundation Award and Career Grant winner, Bille is currently engaged in his second year with the Marion Roose Pullin Arizona Opera Studio, where his upcoming role assignments include Louis Sullivan in Shining Brow, Bern Venters in Riders of the Purple Sage, and Brighella and Bacchus (cover) in Ariadne auf Naxos.
In the 2019/20 season, Bruley makes a number of exciting house debuts, including engagements with Opera Theatre of Saint Louis as Sam Polk in a new production of Floyd’s Susannah and the Lyric Opera of Chicago, where he will cover Father Grenville and Howard Boucher in Heggie’s Dead Man Walking. He will also make his New York recital debut singing Janacek’s The Diary of One Who Disappeared at the 92nd Street Yalongside Jennifer Johnson Cano. This summer, Bruley performs with the Phoenix Symphony in a program of Mozart arias and makes his return to the Santa Fe Opera, where he will create the role of Benjamin in the world premiere of Poul Ruders’ The Thirteenth Child and cover the role of Laca Klemen in Janacek’s Jenufa.
Highlights of Bruley’s 2018/19 season included his first War Requiem with the Tulsa Symphony as well as several engagements with Arizona Opera—as Gastone in La Traviata, Jonathan Dale in Silent Night, Don Basilio and Don Curzio in The Marriage of Figaro, and as Ferrando in their studio production of Così fan tutte. In the 2017/18 season, Bruley was engaged as an Apprentice Singer with the Santa Fe Opera, where he covered the roles of Captain Nolan in Doctor Atomic and and Governor/Vanderdendur/Captain in Candide. He returned to Virginia Opera for a number of role debuts, including First Philistine in Samson et Dalila, Trin in La fanciulla del West, Flute in A Midsummer Night’s Dream, and Arturo in Lucia di Lammermoor. He also joined Baltimore Choral Arts as a tenor soloist in Handel’s Dixit Dominus under the baton of newly-appointed director Anthony Blake Clark.
Bruley has received special acclaim for his interpretation of the works of Benjamin Britten, including the title role in Peter Grimes, King Nebuchadnezzar in The Burning Fiery Furnace, The Tempter in The Prodigal Son, and as the tenor soloist in Britten’s War Requiem. Of his performance as King Nebuchadnezzar with Central City Opera, The Daily Camera wrote, “His voice is radiant, his enunciation impeccable. Every word he sings is easily understood and every note is precise in pitch.”
An alumnus of young artist programs at The Santa Fe Opera, The Glimmerglass Festival, and Central City Opera, Bruley has received recognition through a number of young artist awards, including the Richard Tucker Memorial Award from the Santa Fe Opera and the Iris Henwood Richards Memorial Award from the Central City Opera House Association. In 2018, Bruley was a finalist in the Dallas Opera Guild Vocal Competition. He has taken home prizes from The Metropolitan Opera National Council Auditions as a winner of the Gulf Coast Regional Finals and as a finalist and winner in the Lois Alba Aria Competition. Most recently, he was named a 2018/19 winner of The William Matheus Sullivan Musical Foundation Award and Career Grant.
Bruley received his undergraduate training at Baylor University, where he studied under Robert Best, and completed his graduate work at Indiana University’s prestigious Jacobs School of Music under the tutelage of Carol Vaness. A native of Montgomery, Texas, Bruley is currently based in Phoenix, Arizona.
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.
Louisiana-born soprano, Cadie Jordan, joins Arizona Opera for the 2018/2019 season as a member of the Marion Roose Pullin Studio Artist Program where she sings Despina in Così fan tutte and makes three role debuts as Chan Parker in Charlie Parker's Yardbird, Annina in La traviata, and Susanna in The Marriage of Figaro.
The summer of 2018 brought a return to Des Moines Metro Opera where Jordan sang Second Wood Sprite in Rusalka and covered Laurie Moss in The Tender Land, as well as a return to Ravinia’s Steans Music Institute. Previously this season, she made her debut as Clara in the second premier of Jake Heggie’s It’s A Wonderful Life with Indiana University Opera Theatre.
In 2017, she joined the Apprentice Artists of Des Moines Metro Opera where she covered Anne Egerman in A Little Night Music. She was a singer fellow of Ravinia's Steans Music Institute for a series of recitals and masterclasses. She received her Master's Degree from Indiana University in the studio of Heidi Grant Murphy from which her roles include Marian Paroo in The Music Man, and Despina in Così fan tutte. In the summer of 2014, Jordan made her international and role debut with Lisette in La rondine as part of the La Music Lirica Young Artist Training Program in Novafeltria, Italy. In the same summer, she toured as a soprano soloist with the C.S. Lewis Choral Institute through Oxford and Cambridge, England. Other concert performances include Handel's Messiah and Salve Regina during her time at Indiana University.
Jordan received her Bachelor's degree from Louisiana State University where she began her musical pursuit under the tutelage of baritone Dennis Jesse. There, she made her role debut as Despina in Così fan tutte and Zerlina in Don Giovanni.
Applauded for her “florid musicality” and “von Stade-like shimmer,” mezzo Katherine Beck has been recognized for her unique sound and honest performances throughout the United States. In 2018, Beck took First Prize at the Mildred Miller International Voice Competition and Third Place in the Metropolitan Opera National Council’s Western Regionals.
A current member of the Marion Roose Pullin Studio at Arizona Opera, 2019 highlights for Beck this year include performances of Cherubino in The Marriage of Figaro this spring and Mary Johnson in Fellow Travelers in the fall. Beck recently created the role of Lisette in the world premiere of Gerald Cohen’s Steal a Pencil for Me at Opera Colorado in January 2018. Equally at home in recital and chamber music, she is a two-time alumna of the Tanglewood Music Center as a Vocal Arts fellow. Beck has shared the stage with the likes of Stephanie Blythe in recital at Tanglewood, as well as with Charles Castronovo, Kelley O’Connor and Rod Gilfry in Carmen in the summer of 2017 in Los Angeles.
This summer finds Beck at Santa Fe Opera, performing the role of Karolka in Jenufa and covering Ms. Emily D’Angelo as Dorabella in Cosi fan tutte.
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.