The Marriage of Figaro
Wolfgang Amadeus Mozart was born on January 27, 1756, in Salzburg, Austria. His father, Leopold Mozart, a noted composer, instructor, and the author of famous writings on violin playing, was then in the service of the archbishop of Salzburg. Leopold and Anna Maria, his wife, stressed the importance of music to their children. Together with his sister, Nannerl, Wolfgang received such intensive musical training that by the age of six he was a budding composer and an accomplished keyboard performer. In 1762 Leopold presented his son as performer at the imperial court in Vienna, Austria, and from 1763 to 1766 he escorted both children on a continuous musical tour across Europe, which included long stays in Paris, France, and London, England, as well as visits to many other cities, with appearances before the French and English royal families.
Mozart was the most celebrated child prodigy (an unusually gifted child) of this time as a keyboard performer. He also made a great impression as a composer and improviser (one who arranges or creates). In London he won the admiration of musician Johann Christian Bach (1735–1782), and he was exposed from an early age to an unusual variety of musical styles and tastes across Europe.
From the age of ten to seventeen, Mozart's reputation as a composer grew to a degree of maturity equal to that of most older established musicians. He spent the years from 1766 to 1769 at Salzburg writing instrumental works and music for school dramas in German and Latin, and in 1768 he produced his first real operas: the German Singspiel (that is, with spoken dialogue) Bastien und Bastienne. Despite his growing reputation, Mozart found no suitable post open to him; and his father once more escorted Mozart, at age fourteen (1769), and set off for Italy to try to make his way as an opera composer.
In Italy, Mozart was well received: in Milan, Italy, he obtained a commission for an opera; in Rome he was made a member of an honorary knightly order by the Pope; and at Bologna, Italy, the Accademia Filarmonica awarded him membership despite a rule normally requiring candidates to be twenty years old. During these years of travel in Italy and returns to Salzburg between journeys, he produced his first large-scale settings of opera seria (that is, court opera on serious subjects): Mitridate (1770), Ascanio in Alba (1771), and Lucio Silla (1772), as well as his first string quartets. At Salzburg in late 1771 he renewed his writing of Symphonies (Nos. 14–21).
Paris was a vastly larger theater for Mozart's talents. His father urged him to go there, for "from Paris the fame of a man of great talent echoes through the whole world," he wrote his son. But after nine difficult months in Paris, from March 1778 to January 1779, Mozart returned once more to Salzburg, having been unable to secure a foothold and depressed by the entire experience, which had included the death of his mother in the midst of his stay in Paris. Unable to get hired for an opera, he wrote music to order in Paris, again mainly for wind instruments: the Sinfonia Concertante for four solo wind instruments and orchestra, the Concerto for flute and harp, other chamber music, and the ballet music Les Petits riens. In addition, he began giving lessons to make money.
Mozart's years in Vienna, from age twenty-five to his death at thirty-five, cover one of the greatest developments in a short span in the history of music. In these ten years Mozart's music grew rapidly beyond the realm of many of his contemporaries; it exhibited both ideas and methods of elaboration that few could follow, and to many the late Mozart seemed a difficult composer.
The major instrumental works of this period bring together all the fields of Mozart's earlier activity and some new ones: six symphonies, including the famous last three: no. 39 in E-flat Major, no. 40 in G Minor, and no. 41 in C Major (the Jupiter —a title unknown to Mozart). He finished these three works within six weeks during the summer of 1788, a remarkable feat even for him.
In the field of the string quartet Mozart produced two important groups of works that completely overshadowed any he had written before 1780: in 1785 he published the six Quartets (K. 387, 421, 428, 458, 464, and 465) and in 1786 added the single Hoffmeister Quartet (K. 499). In 1789 he wrote the last three Quartets (K. 575, 589, and 590), dedicated to King Frederick William (1688–1740) of Prussia, a noted cellist.
Mozart's development as an opera composer between 1781 and his death is even more remarkable, perhaps, since the problems of opera were more far-ranging than those of the larger instrumental forms and provided less adequate models. The first important result was the German Singspiel entitled Die Entführung aus dem Serail (1782; Abduction from the Seraglio ). Mozart then turned to Italian opera. Mozart produced his three greatest Italian operas: Le nozze di Figaro (1786; The Marriage of Figaro ), Don Giovanni (1787, for Prague), and Cosi fan tutte (1790). In his last opera, The Magic Flute (1791), Mozart turned back to German opera, and he produced a work combining many strands of popular theater and including musical expressions ranging from folk to opera.
On concluding The Magic Flute, Mozart turned to work on what was to be his last project, the Requiem. This Mass had been commissioned by a benefactor (financial supporter) said to have been unknown to Mozart, and he is supposed to have become obsessed with the belief that he was, in effect, writing it for himself. Ill and exhausted, he managed to finish the first two movements and sketches for several more, but the last three sections were entirely lacking when he died. It was completed by his pupil Franz Süssmayer after his death, which occurred in Vienna, Austria, on December 5, 1791.
Lorenzo Da Ponte was born Emanuele Conegliano in 1749 in Ceneda, in the Republic of Venice (now Vittorio Veneto, Italy). He was Jewish by birth, the eldest of three sons. In 1764, his father, Geronimo Conegliano, then a widower, converted himself and his family to Roman Catholicism in order to marry a Catholic woman. Emanuele, as was the custom, took the name of Lorenzo Da Ponte from the Bishop of Ceneda who baptised him.
Thanks to the bishop, the three Conegliano brothers studied at the Ceneda seminary. The bishop died in 1768, after which Lorenzo moved to the seminary at Portogruaro, where he took Minor Orders in 1770 and became Professor of Literature. He was ordained a priest in 1773. He began at this period writing poetry in Italian and Latin, including an ode to wine, "Ditirambo sopra gli odori".
In 1773 Da Ponte moved to Venice, where he made a living as a teacher of Latin, Italian and French. Although he was a Catholic priest, the young man led a dissolute life. While priest of the church of San Luca, he took a mistress, with whom he had two children. At his 1779 trial, where he was charged with "public concubinage" and "abduction of a respectable woman", it was alleged that he had been living in a brothel and organizing the entertainments there. He was found guilty and banished for fifteen years from Venice.
Lorenzo Da Ponte moved to Gorizia, then part of Austria, where he lived as a writer, attaching himself to the leading noblemen and cultural patrons of the city. In 1781 he believed (falsely) that he had an invitation from his friend Caterino Mazzolà, the poet of the Saxon court, to take up a post at Dresden, only to be disabused when he arrived there. Mazzolà however offered him work at the theatre translating libretti and recommended that he seek to develop writing skills. He also gave him a letter of introduction to the composer Antonio Salieri.
With the help of Salieri, Da Ponte applied for and obtained the post of librettist to the Italian Theatre in Vienna. Here he also found a patron in the banker Raimund Wetzlar von Plankenstern, benefactor of Wolfgang Amadeus Mozart. As court poet and librettist in Vienna, he collaborated with Mozart, Salieri and Vicente Martín y Soler. Da Ponte wrote the libretti for Mozart's most popular Italian operas, The Marriage of Figaro (1786), Don Giovanni (1787), and Così fan tutte (1790), and Soler's Una cosa rara, as well as the text on which the cantata Per la ricuperata salute di Ofelia (collaboratively composed in 1785 by Salieri, Mozart and Cornetti) is based. All of Da Ponte's works were adaptations of pre-existing plots, as was common among librettists of the time, with the exceptions of L'arbore di Diana with Soler, and Così fan tutte, which he began with Salieri, but completed with Mozart. However the quality of his elaboration gave them new life.
In the United States, Da Ponte settled in New York City first, then Sunbury, Pennsylvania, where he briefly ran a grocery store and gave private Italian lessons. He returned to New York to open a bookstore. He became friends with Clement Clarke Moore, and, through him, gained an unpaid appointment as the first professor of Italian literature at Columbia College. He was the first Roman Catholic priest to be appointed to the faculty, and he was also the first to have been born a Jew. In New York he introduced opera and produced in 1825 the first full performance of Don Giovanni in the United States, in which Maria García (soon to marry Malibran) sang Zerlina. He also introduced Gioachino Rossini's music in the U.S., through a concert tour with his niece Giulia Da Ponte.
Lorenzo Da Ponte died in 1838 in New York.
Dean Williamson, music director of Nashville Opera, is widely known for his perceptive and commanding conducting. He was artistic director of Opera Cleveland and was the founder and music director of Seattle Opera’s Young Artist Program.
This past season he made a highly successful Lincoln Center debut with the New York City Opera. He has conducted at many regional companies, including Seattle Opera, Minnesota Opera, Wolf Trap Opera Company, Opera Theatre of St. Louis, Des Moines Metro Opera, Lyric Opera of Boston, San Francisco Opera/Merola, Opera Colorado, Chautauqua Opera, and Manitoba Opera..
With Nashville Opera, he has recently released two studio opera recordings by Michael Nyman and Carly Simon on Naxos. His video recording of Le Comte Ory with Des Moines Metro Opera earned an Emmy nomination.
Stage director Tara Faircloth’s work has been seen in opera houses around the nation. Critics hailed her recent The Marriage of Figaro, calling it "an unstoppable momentum of manipulation and misunderstandings. This production was so fresh that it had the ability to bridge yet another gap, entertaining the amateur and the opera aficionado alike” (Opera News). She has a thriving career in regional houses such as Wolf Trap Opera, Utah Opera, Arizona Opera, Tulsa Opera and Atlanta Opera (The Barber of Seville, Rigoletto, Eugene Onegin, Hänsel & Gretel,etc.).
This season finds Ms. Faircloth working on several new productions (Il Re Pastore with Merola Opera, Agrippina with Ars Lyrica Houston, The Little Prince with Utah Opera, The Coronation of Poppea with Boston Baroque, Ariadne auf Naxos with Wolf Trap Opera), and returning to some familiar favorites: The Marriage of Figaro and Rigoletto (for Arizona Opera and Austin Opera, respectively). Following last year’s season, which included new productions of Gianni Schicchi, Pagliacci, and Loving Clara, a mixed media collaboration exploring the life and loves of Clara Schumann with Mercury Orchestra, Ms. Faircloth is clearly in demand as an interpreter for familiar works and those that are more obscure.
Ms. Faircloth has worked extensively on directing staff of such companies as Lyric Opera of Chicago, Houston Grand Opera, Central City Opera, and Dallas Opera, and as such, has worked on some of the most complicated operas in the repertoire, assisting international directors and preparing cover casts of some of the best performers in our industry. Passionate about dramatic training for young singers, she is the Drama Instructor for the Houston Grand Opera Studio, and has served as a guest coach at HGO's Young Artists’ Vocal Academy, Wolf Trap Opera Studio, Des Moines Metro Opera, University of Michigan, and Rice University. Her home is in Houston, Texas, where she enjoys restoring her 1935 Craftsman Bungalow.
Zachary Nelson, a native of Annapolis, Maryland, has been praised for his rich and powerful baritone, as well as his ability to embody dramatic and comic characters on the operatic stage. The baritone’s 2018/19 season includes a return to Lyric Opera of Chicago as a soloist in their widely attended annual Millennium Park concert, followed by performances of Marcello in La bohème. Additionally, he joins Arizona Opera as the Count in The Marriage of Figaro, and returns to Santa Fe Opera as Marcello in La bohème. Mr. Nelson’s 2017/18 included performances of Ping in Turandot with Lyric Opera of Chicago and Semperoper Dresden as the title role in The Marriage of Figaro.
He made his Pittsburgh Opera debut as Belcore in L’elsiir d’amore, appeared in recital with Leah Crocetto at New York City’s Morgan Library under the auspices of the George London Foundation, and essayed Bloch’s Sacred Service with Voices of Ascension in New York City. The 2016/17 season brought debuts at the Lyric Opera of Chicago as Donner in Das Rheingold and Enrico Ashton (cover) in Lucia di Lammermoor, Escamillo in Carmen with Den Norske Opera, and a fourth season with the Santa Fe Opera as Enrico Ashton in Lucia di Lammermoor. 2015/16 began with a return to the Dresden Semperoper as Figaro in both The Marriage of Figaro and The Barber of Seville. He performed the role of Dr. Falke in Die Fledermaus with the Seiji Ozawa Music Academy in Kyoto, Tokyo, and Nagoya. He made debuts at the Salzburg Landestheater, Palm Beach, and San Francisco Opera in Carmen as Escamillo, and returned to the Canadian Opera Compnay as Escamillo. His 2014/15 season included the title role of The Marriage of Figaro with the Aix-en-Provence Festival on tour in Manama, Bahrain. Additionally, he made his debut with Canadian Opera Company as Masetto in Dmitri Tcherniakov’s Don Giovanni. He debuted the roles of Paolo in Simon Boccanegra, Escamillo in Carmen, and reprised the roles of Gugliemo in Cosi fan tutte, Belcore in L’Elisir D’Amore, Marcello in La bohéme, and Figaro in both The Barber of Seville and a new production of The Marriage of Figaro, all with the Dresden Semperoper. In the 2013/14 season, Mr. Nelson joined the ensemble of the Dresden Semperoper, where he performed the roles of Il Conte in The Marriage of Figaro, Marcello in La bohème, Der Sprecher in Die Zauberflöte, Figaro in The Barber of Seville, and Guglielmo in a new production of Così fan tutte. He also returned to Santa Fe Opera as Malatesta in Laurent Pelly’s Don Pasquale. Other notable performances include: Figaro in The Marriage of Figaro with Santa Fe Opera, Germont in La traviata with Lyric Opera of Virginia, Angelotti in Tosca and Mandryka (cover) in Arabella with Santa Fe Opera, Quinault in Adriana Lecouvreur with Opera Orchestra of New York, Sciarrone in Tosca with The Glimmerglass Festival, and he was a soloist in Steven Blier’s Killer B’s with the New York Festival of Song.
A graduate of the Academy of Vocal Arts in Philadelphia, PA, Mr. Nelson performed many roles including: Belcore in L’elisir D’Amore, Renato in Un ballo in Maschera, the title role in Falstaff, Michele in Il Tabarro, Sancho Panza in Don Quichotte, Mandryka in Arabella, Golaud in Pelléas et Mélisande, and Masetto in Don Giovanni. Mr. Nelson is also a graduate of The Catholic University of America in Washington, D.C.
Awards Mr. Nelson has garnered are: The George London Award from the 2012 George London Foundation, 1st prize prize from the 2012 Opera Index Competition, The 2012 Liederkranz Foundation Competition (General Opera Division), and the 2012 Licia Albanese-Puccini Foundation. Also, 2nd prize from the 2011 Gerda Lissner Competition, the 2011 Giulio Gari Foundation, and the 2011 Loren Zachary Competition.
American soprano Katie Van Kooten’s operatic and concert appearances continue to thrill audiences and earn her praise for using her “powerful, gleaming soprano” to bring vibrancy and life to all of her performances. Of her recent role debut as Tatyana in Tchaikovsky’s Eugene Onegin, the Houston Chronicle wrote, “Her singing is extraordinary in is radiance, power and sheer expressiveness. Her "Letter Scene" alone, would be reason enough to attend.”
In the current season Ms. Van Kooten makes her house debut at Dallas Opera as Donna Elvira in Mozart’s Don Giovanni, under the baton of music director Emmanuel Villaume. On the concert stage, she retunrs to the Boston Symphony Orchestra at the Tanglewood Festival for Beethoven’s Ninth Symphony conducted by Andris Nelsons and sings the piece with the Rochester Phlharmonic.
In the 2016/17 season Ms. Van Kooten returned to the Lyric Opera of Kansas City Opera to reprise her portrayal of the Countess in Mozart’s The Marriage of Figaro, and returned to both the Baltimore Symphony Orchestra for Beethoven’s Ninth Symphony conducted by music director, Marin Asop and the Oregon Symphony for Mozart’s Requiem, conducted by Jean-Marie Zeitouni.
Operatic highlights from recent seasons include Tatayana in Eugene Onegin at Houston Grand Opera, where she has also appeared as Elisabetta in Donizetti’s Maria Stuarda opposite Joyce DiDonato Antonia in The Tales of Hoffmann , Mimi in La bohème, and Ellen Orford in Britten’s Peter Grimes in a new production by Neil Armfield. She has performed Liù in Turandot with Opera New Orleans, Elettra in Idomeneo and Vitellia in La Clemenza di Tito at Oper Frankfurt, Mimi and the Countess at Lyric Opera of Kansas City, the Countess with Atlanta Opera, and Donna Elvira with Opera Grand Rapids. Ms. Van Kooten made her house debuts at the Metropolitan Opera in the acclaimed Nicolas Joël production of La Rondine as Magda and at Houston Grand Opera as Helena in Britten’s A Midsummer Night’s Dream. She made her debut at the Royal Opera House, Covent Garden in as Magda in La Rondine and return performances there have included Antonia in The Tales of Hoffmann opposite Rolando Villazón and led by Antonio Pappano, Pamina in The Magic Flute, Mimi in La Bohème, and Marguerite in Faust. She made her Japanese debut as Micaëla in Carmen under the direction of Seiji Ozawa, and her United States debut performing Marguerite in Gounod’s Faust with the Metropolitan Opera on the Great Lawn of Central Park.
Notable appearances on the concert stage include performances with the San Francisco Symphony for Beethoven’s 9th Symphony with Michael Tilson Thomas and Handel’s Messiah led by Ragnar Bohlin, as well as a New Year’s Eve program with Dimitry Sitkovetsky. She has performed the Beethoven 9 with the Baltimore Symphony, conducted by Nicholas McGegan, the Philadelphia Chamber Orchestra, Charlotte Symphony Orchestra, Oregon Symphony and the Louisville Symphony. She has performed Beethoven’s Missa Solemnis with Tucson Symphony Orchestra, Mozart’s Requiem with the London Philharmonic Orchestra under the direction of Vladimir Jurowski and Strauss’ Four Last Songs with the Halle Orchestra led by Edward Gardner. She made her Minnesota Orchestra and role debut as the Marschallin in Der Rosenkavalier under the direction of Andrew Litton and returned for Strauss’ Four Last Songs and Mahler’s Symphony No. 4 under the baton of music director Osmo Vänskä. She has sung the Marschallin in excerpts from Strauss’ Der Rosenkavalier alongside Heidi Grant Murphy with Tucson Symphony.
A graduate of the Guildhall School of Music and Drama in London, Ms. Van Kooten studies voice with Rudolf Piernay. She received her Bachelor’s degree in vocal performance from Biola University where she studied with Dr. Jeanne Robison and is a graduate and perpetual member of the Torrey Honors Institute.
|April 5, 7, & 13|
Praised by Opera News for his "splendid, lush bass-baritone", André Courville is quickly establishing himself as one of America’s foremost young singers. He debuts this season with the Philadelphia Orchestra as bass soloist in Bach's Cantata 150 under the baton of Yannick Nézet-Séguin, in Europe at Karlsruhe’s Badisches Staatstheater as the title role in The Marriage of Figaro, and at the Spoleto Festival USA in Mozart’s Great Mass in C minor. Other season highlights include Colline in La bohème with the Rochester Philharmonic and Don Alvar in Rameau’s rarely heard Les Sauvages in Washington, DC and New York City with Opera Lafayette.
In the past four years as a Resident Artist at the Academy of Vocal Arts in Philadelphia, he has garnered critical acclaim for performances of many important roles including Méphistophélès in Faust, Mustafà in L’Italiana in Algeri, and Leporello in Don Giovanni. Previous seasons saw him as Monterone in Rigoletto at Caramoor Music Festival, Masetto in Don Giovanni with the Milwaukee Symphony Orchestra, and the Marquis d'Obigny in La traviata with the Santa Fe Opera as a member of their Apprentice Singer Program.
An equally busy concert performer, he has appeared at Carnegie Hall for the past three seasons since his debut there in Opera Orchestra of New York's acclaimed production of Roberto Devereux. Other recent performances include the title role in Mendelssohn’s Elijah with the Columbus Symphony Orchestra, the bass solos in Beethoven's Missa Solemnis with The Cecilia Chorus of New York, Bach's B minor Mass with Vox Ama Deus, and Beethoven's Symphony No. 9 with the Philadelphia Sinfonia at Verizon Hall.
A Louisiana native, Courville is the recipient of top awards in eight national and international vocal competitions, including First Prize in the Loren L. Zachary National Vocal Competition and Top Prize in the Gerda Lissner Foundation International Vocal Competition.
|April 6 & 14|
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.
|April 5, 7, & 13|
Recognized as an artist of "dramatic presence and versatility" (Washington Post), Trinidadian soprano Jeanine De Bique has been described as possessing "genuine star quality [and] a voice of exceptional beauty" (New York Amsterdam News). Ms. De Bique's 2017-2018 season includes debuts at De Nationale Opera Amsterdam as Annio in Peter Sellars’ Salzburg production of La Clemenza di Tito; Musetta in La Boheme at Konzert und Theater St. Gallen Switzerland; works by Handel at the BBC PROMS and the Aldeburgh Festival with the Chineke! Orchestra and Annio in La Clemenza di Tito conducted by Teodor Currentzis in a European concert tour at Musikfest Bremen, Grand Théâtre de Genève, Konzerthaus Dortmund, Théâtre des Champs-Élysées and the Wroclaw Cantans Festival. Ms. De Bique will also make her debut performing with the Los Angeles Chorale at Walt Disney Hall in Brahms’s Ein deutsches Requiem, with the Stavanger Symphony Orchestra in Handel's Messiah, a solo recital at Ravinia Festival and she returns to Atlanta Symphony to perform Mozart'sExultate Jubilate and Handel's Messiah.
Ms. De Bique enjoyed an exciting season last year with debuts at the Salzburg Festival as Annio in a new Peter Sellars production of La Clemenza di Tito; Musetta in a new Barbe & Doucet production of Puccini's La Boheme with Scottish Opera and Micäela in Bizet's Carmen with Opera Santa Barbara. She also made her debut with the MDR Leipzig Radio Orchestra for the Kurt Weil Festival in Dessau, Germany in Die Verheissung; the Santa Barbara Symphony in Beethoven's 9th symphony; the Charlotte Symphony and the US Naval Academy in Handel's Messiah.
De Bique's opera highlights include Climene in Fetonte by Jommelli at the Schwetzingen Winter Festival in Germany; Sophie, in Werther at Theater Basel, Poppea in L’incoronazione di Poppea and La Princesse in L’enfant et les sortilèges at the Chautauqua Institution; Micäela in Carmen at the Colorado Music Festival; Sister Rose in Dead Man Walking at Central City Opera; Consuelo in John Adams' I looked up at the ceiling and then I saw the sky at Teatro dell'Opera di Roma; Pearl in the world premiere of Ricky Ian Gordon's Morning Star at Cincinnati Opera; Clara in Porgy and Bess at Royal Danish Opera, and Juliette in Roméo et Juliette at the St. Petersburg Opera Florida. Ms. De Bique has also performed the title role in Handel’s Semele, Lauretta in Gianni Schicchi, Constance in Les Dialogues des Carmélites and Girl in Bernstein’s Trouble in Tahiti.
As a former member of the Vienna State Opera, she appeared as Gianetta in L’elisir d’amore, Barbarina in Le nozze di Figaro, Kate Pinkerton in Madama Butterfly, Eine Modistin in Der Rosenkavalier and Ada in Wagner’s Die Feen.
In concert, Ms. De Bique has performed, amongst others, with the Munich Philharmonic and L'Orcehstra della Svizzera Italiana Brahms’s Ein deutsches Requiem under the baton of Lorin Maazel, with whom she also made her New York Philharmonic debut in Mahler’s Symphony No. 8 at Avery Fisher Hall. Mozart’s Exultate Jubilate with Sinfonia Rotterdam at the Concertgebouw Amsterdam; Handel's Messiah with both Boston Baroque and Atlanta Symphony. Mozart's Coronation Mass also with the Atlanta Symphony; Mozart's Mass in C minor with the Jacksonville Symphony and Mendelssohn’s Psalm with the Edmonton Symphony. Ms. De Bique has enjoyed performing as a soloist with the Rochester Philharmonic, New Jersey, Charlotte, Amarillo symphonies and the Louisville and Sarasota Orchestras.
Ms. De Bique's awards include First prize at the Young Concert Artists, Inc. Music Competition, the Arleen Auger Prize at the Hertogenbosch International Vocal Competition in the Netherlands; Third Prize in the Viotti International Music Competition, Italy and a prize winner in the Gerda Lissner Vocal Competition (New York). She was a finalist and a study grant award recipient of the 2011 Metropolitan Opera National Council Regional Auditions in New York and received a study grant from the Licia Albanese-Puccini Foundation Competition.
|April 6 & 14|
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.
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.
Lucy Schaufer's current and future engagements include Mrs. Jones Street Scene Teatro Real Madrid, Marcellina, The Marriage of Figaro, Dallas Opera, a revival of Venables’ 4.48 Psychosis (nominated for a 2017 Olivier Award) Royal Opera House, Covent Garden at Lyric Hammersmith, Eötvös’ The Golden Dragon Music Theatre Wales, and her Wigmore Hall, Ravinia Festival and Buxton Festival solo recital debut in summer 2018.
Most recent engagements include the leading role of Doctor Venables’ 4.48 Psychosis (world premiere) Royal Opera House at the Lyric Hammersmith, a Bernstein concert BBC Proms with the John Wilson Orchestra, Susanna The Ghosts of Versailles (2017 Grammy® Award winner), Marcellina and Berta, The Barber of Seville Los Angeles Opera, Marcellina and Ruth The Pirates of Penzance English National Opera, Marcellina Opera Company Philadelphia, Aldonza Man of La Mancha Central City Opera, IB Adamo’s Becoming Santa Claus Dallas Opera, Maddy Heggie’s Three Decembers Florentine Opera, Jenny Knussen’s Higglety Pigglety Pop Aldeburgh Festival and the Barbican, Older Woman Dove’s Flight Opera Holland Park, SuzukI Madama Butterfly New Zealand Opera, Der Trommler Der Kaiser von Atlantis and Ma Moss The Tender Land Opéra de Lyon.
Other recent engagements: Judy Punch and Judy Grand Théâtre de Genève, Suzuki Houston Grand Opera, Swiss Grandmother/Austrian Woman/Dancing Girl The Death of Klinghoffer Opera Theatre of St. Louis and Eno, Soloist The Garden of Earthly Delights (world premiere) BBC Proms, Marcellina The Marriage of Figaro and Carolina Elegy for Young Lovers Eno at the Young Vic, Anne Heggie’s To Hell and Back Oper Faber in Portugal and Margaret Johnson The Light in the Piazza The Curve, Leicester.
Additional noted engagements include Page Salome, Blumenmädchen Parsifal and Suzuki Metropolitan Opera, Clare de Loone On the Town Eno and Théâtre du Châtelet, Judy Punch and Judy and Amestris Xerxes Eno, Smeraldine The Love for Three Oranges New Israeli Opera, Cherubino The Marriage of Figaro and Hänsel Los Angeles Opera, Octavian Der Rosenkavalier and Cornelia Giulio Cesare Staatsoper Hamburg, and Erika Vanessa Los Angeles Opera, Hamburg Staatsoper, Opéra du Rhin, Washington National Opera and Opéra de Monte-Carlo. Lucy was a member of the Oper Köln.
Concert performances: Ruth Crawford Seeger’s Three Songs Birmingham Contemporary Music Group as part of Oliver Knussen’s residency at the Library of Congress (Washington, D.C.), SOLOIST George Benjamin’s Upon Silence Settembre Musica Festival, Milan and Turin, Orquestra Simfonica de Barcelona, New York City Ballet, LA Opera (Gala: Domingo & Friends), Gulbenkian Orchestra and Gűrzenich Orchester. Recordings include Kurt Weill's The Firebrand of Florence (BBCSO/Sir Andrew Davies), Ira Gershwin at 100: Celebration at Carnegie Hall (PBS TV/Rob Fisher), Der Rosenkavalier (ARTE/Simone Young) and Paul Bowles's The Wind Remains (EOS Ensemble/Jonathan Sheffer) for BMG.
Lucy's first solo recording, CARPENTERSVILLE, co-produced with ABC Classics, was released in the spring of 2013, and it was the Editor’s Choice in Classical Music Magazine in July 2013. She is the founder and Artistic Director of Wild Plum Arts.
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.
California native, Jana Mcintyre has been praised for her “dancer’s grace, mercurial wit, and vibrant soprano tone” (Opera News). She finishes her 2017 season at the Merola Opera Program where she made her role debut as Serpina in La serva padrona as well as covered Clorinda in Cinderella. She also made her debut with Edwin Outwater and the San Francisco Symphony at Stern Grove singing portions of The Magic Flute. Miss McIntyre was featured as Zerbinetta (Ariadne auf Naxos) and Philine (Mignon) in Merola's "Grand Finale."
Last season Miss McIntyre joined the roster at Tulsa Opera to cover Leïla in Bizet’s Les pêcheurs de perles. She also performed excerpts from Die Entführung auf dem Serail (Blonde), Dialoguesdes Carmélites (Blanche), Arabella (Zdenka), Serse (Romilda), DieFledermaus (Adele), and Le Comte Ory (La Comtessa Adele) under the batons of Maestro Eric Weimer and Maestro Rory Macdonald as a part of the 2016 Merola Opera Program. Miss McIntyre covered Despina in Merola’s production of Così fan tutte, as well.
In New York she made her professional debut as Amore in Gluck’s Orfeo alongside Anthony Roth Costanzo and Kiera Duffy as a part of “Orphic Moments” conducted by Maestro Matthew Aucoin at Brooklyn’s National Sawdust Theater.
Last spring, in the American premiere of Ibert’s Persée et Andromède directed by James Robinson and conducted by the Metropolitan Opera’s Pierre Vallet, “McIntyre consume(d) the stage as Andromède …her lovely voice reaches high and low comfortably. The challenges of the role are not perceptible because McIntyre has thoroughly mastered difficulties and made them pleasures.” Additional operatic roles include Miss Wordsworth (Albert Herring), Die Königin der Nacht (The Magic Flute), La Fée (Cendrillon), Zerlina (Don Giovanni), Drusilla (L’incoronazione di Poppea), and Señora Grazia in the world premiere workshop of Roger Bourland’s The Dove and the Nightingale. At age 19, she sang Rose 1 in the west coast premiere of Jonathan Sheffer’s Blood on the Dining Room Floor based on stories from the lives of Gertrude Stein and Alice B. Toklas directed by Peter Kazaras. In the Clark Library of Los Angeles Miss McIntyre sang as a soprano soloist in James Darrah’s staging of Handel’s L’Allegro, il penseroso, ed il moderato under the musical preparation and direction of Maestro Stephen Stubbs.>
Equally at home in concert and recital repertoire, Jana most recently sang the soprano solo in Mozart’s Requiem with Signature Symphony in Tulsa, Oklahoma. In 2016 she joined Maestro George Manahan to perform the Cuatro Madrigales Amatorios of Joaquin Rodrigo’s in concert with the Manhattan Chamber Sinfonia and also sang Mater Gloriosa in Mahler 8 with the Manhattan Oratorio Society at St. John the Divine Cathedral on the Upper West Side. She also performed and recorded Mahler’s 8th Symphony as a part of David Briggs’ organ transcription which was released by Albany Records in 2016.
Miss McIntyre won first prize in the Alan M. and Joan Taub Ades Competition which gave her the opportunity to travel to Buenos Aires to sing a series of concerts at various venues including El Salon Dorado at the Teatro Colón. She was also a winner of the Eisenberg-Fried Concerto Competition at Manhattan School of Music, a Giulio Gari Foundation 2017 award winner, a Richard F. Gold grant recipient from the Shoshana Foundation, and a 2017 Metropolitan Opera National Council regional finalist.
She did her academic work at the University of California Los Angles Psychology (B.A.) and Music (B.A.) where she was also part of an arts at large group that traveled and performed around the greater LA area. She received her Masters from Manhattan School of Music where she was heavily involved with school productions and recitals. In addition to singing and gallivanting on stage, Jana loves to read Russian novels, spend time with her two younger sisters Jillian and Jacquelyn, and run outdoors.
American baritone, Jarrett Logan Porter, is second year Marion Roose Pullin Studio Artist at Arizona Opera, and in the 2018/19 season will appear as Guglielmo in Cosí fan tutte, as Father Palmer in Kevin Puts' Pulitzer Prize winning opera Silent Night, as Antonio and the cover to il Conte Almaviva in The Marriage of Figaro, and Baron Douphol in La Traviata. In the 2017/18 season, he was seen as the title role in Hercules vs Vampires, as Sciarrone in Tosca, as Fiorello in The Barber of Seville, and as Maximilian/Captain in Candide. He joins The Santa Fe Opera in 2018 as a member of the company's Apprentice Program, singing Der Perückenmacher in Ariadne auf Naxos, and covering Maximilian/Captain in Candide. In Spring of 2018, he joins pianist Taylor Hutchinson in recital to present the duo's first full length Winterreise at Katzin Hall: Arizona State University. Jarrett has recently appeared as a Young Artist with The Glimmerglass Festival as Sam in Oklahoma!, and in Francesca Zambello's new production of Donizetti's rarely performed opera, The Siege of Calais.
As a passionate interpreter of new music, Porter was seen as Joses in San Francisco Opera's World Premiere of The Gospel of Mary Magdalene by Mark Adamo, and in 2016 as The Narcisisstic Ogre in the American Premiere of Philip Glass' The Witches of Venice at Opera Saratoga, where Opera News lauded him for his "imposing baritone." Later that season, Porter worked as part of the workshop premiere of Mason Bates' The (R)evolution of Steve Jobs for The Santa Fe Opera, and later he went on to make his American Lyric Theatre debut, creating the role of Tom in Theo Popov's and Tony Asaro’s concert premiere of The Halloween Tree at Merkin Hall in New York City. In 2017, he was the recipient of the inaugural Pankonin Art Song Award for his collaboration with composer Matthew Boehler and librettist Tony Asaro to create the new song-cycle: Passed, and has appeared in performance with Jake Heggie at the German Consulate of San Francisco in a program of Heggie’s newest endeavors, including selections from his chamber opera, Out of Darkness.
In January of 2017, Jarrett was a fellow at SongFest at the Hidden Valley Music Festival under the mentorship of Sir Thomas Allen and Graham Johnson. Alongside narration from Mr. Allen and Mr. Johnson, he made his National Public Radio debut with selections from Schubert’s Die schöne Müllerin and Winterreise.
He is the 2017 Winner of the Pacific Music Society Competition, the Ellie Silver Award Winner at the 2017 Holt Competition, and the First Prize Winner of the inaugural Esther C. Weill Competition. Other role engagements have included the title roles in Don Giovanni and Eugene Onegin, Le Chevalier des Grieux in Massenet’s Le Portrait de Manon, Sid in Albert Herring, Harry Easter in Street Scene, and Morales in Carmen. Porter is an Alumni of Houston Grand Opera’s Young Artist Vocal Academy (2014), and holds a BM from the Eastman School of Music (2015), and an MM from the San Francisco Conservatory of Music (2017) where he was a James Schwabacher Fellow. He is a student of César Ulloa.