Daron Hagen is a prolific composer of acoustic and electro-acoustic music for the concert hall and stage. He is also a stage director, conductor, librettist, essayist, clinician, and collaborative pianist. Described as a “composer born to write operas” (Chicago Tribune) whose music is “dazzling, unsettling, exuberant, and heroic” (The New Yorker), his opera Amelia was described as “one of the 20 best operas of the 21st century” by Opera News.
He has been commissioned by such renowned organizations as the American Composers Orchestra, American Symphony Orchestra, Buffalo Philharmonic, Curtis Institute of Music, Louvre, Metropolitan Museum of Art, National Symphony, New York Philharmonic, Philadelphia Orchestra, Phoenix Symphony, Seattle Symphony, and the Sarasota and Seattle Operas, and his work has been championed by such world-renowned conductors as Leonard Bernstein, Leon Botstein, Michael Christie, John DeMain, JoAnn Falletta, Lukas Foss, Kelly Kuo, Joseph Mechavich, Michael Morgan, Kenneth Schermerhorn, Gerard Schwarz, Leonard Slatkin, and Robert Spano.
Hagen is the recipient of numerous prestigious awards including the Academy Award (2015) and the Charles Ives Fellowship (1983) from the American Academy of Arts and Letters; the Guggenheim Prize; the Kennedy Center Friedheim Prize; the Columbia University Bearns Prize; the ASCAP-Nissim Prize, and both the ASCAP Samuel Barber and Irving Berlin Scholarships; two Rockefeller Foundation Bellagio Residencies; the Camargo Foundation Residency; the Barlow Endowment Prize & Commission: the Gelin Tanglewood Fellowship; and development awards from ASCAP, the National Endowment for the Arts, the Mellon Foundation, the Readers Digest Fund, and Opera America.
Recent highlights include his own productions of A Woman in Morocco for Kentucky Opera, and I Hear America Singing for the Skylight Music Theater; Symphony No. 5 for the Phoenix Symphony. He is currently developing Orson Rehearsed, a broadly elastic, multi-media musico-dramatic "prestidigitation" featuring Fifth House Ensemble and the New Mercury Collective at the Chicago College of Performing Arts; and The Art of Song, an evening-long song-cycle for four singers and piano co-commissioned by Philadelphia's Lyric Fest and the Brooklyn Art Song Society.
Hagen is a passionate teacher whose masterclasses in vocal performance, composition, and acting are universally-admired for their exhilarating combination of unpretentious practical advice, commitment to social activism through art, and resolute eschewing of orthodoxies. He taught for a decade at Bard College, and served on the faculties of the Curtis Institute, New York University, and the Princeton Atelier, among others. He has served as Artist-in-Residence for the Princeton Atelier, Miami University, the University of Nevada Las Vegas, the University of Pittsburgh, Baylor University, and as Composer-in-Residence for the Ohio Opera Theater and Long Beach Symphony Orchestra. Hagen is currently a member of the Artist Faculty of the Chicago College of the Performing Arts and chairs the composition program at the Wintergreen Music Festival.
Hagen has served as president of the Lotte Lehmann Foundation, for five years as artistic director and chair of faculty for the Seasons Music Festival, as a board member (CRI, Joy in Singing), as a trustee (Douglas Moore Fund for American Opera), and is a Lifetime Member of the Corporation of Yaddo. Formerly a Composer Mentor for American Opera Projects, he is currently a Distinguished Mentor for Composers Now and founding artistic director of the New Mercury Collective.
Born in Wisconsin, Hagen studied composition with Ned Rorem at the Curtis Institute and David Diamond at the Juilliard School, then worked privately with Leonard Bernstein and Lukas Foss. During the 80s-90s, he was a copyist and editor for numerous concert composers and Broadway shows, including Elliot Carter, Virgil Thomson, Gian Carlo Menotti, and Disney. His music is recorded on Naxos, Sony Classical, Albany, CRI, and Bridge, among others. A Manhattanite for 28 years, he and his wife, composer Gilda Lyons, moved Upstate in 2011 to raise their sons.
He is managed by Scott Levine as a stage director; and his music is published by Peermusic Classical, Burning Sled, Carl Fischer, and E.C. Schirmer.
Paul Muldoon is an Irish poet and professor of poetry, as well as an editor, critic, playwright, lyricist and translator.
Born in 1951 in Portadown, Co. Armagh, Northern Ireland, to Patrick Muldoon, a farm labourer and market gardener, and Brigid Regan, a schoolteacher, Paul Muldoon was brought up near a village called The Moy on the border of Counties Armagh and Tyrone. He is the oldest of three children. After studying at Queen’s University, Belfast, he published his first book, New Weather (Faber) in 1973, at the age of 21. From 1973 he worked as a producer for the BBC in Belfast until, in the mid-1980’s, he gave up his job to become a freelance writer and moved to the United States with his second wife, the American novelist Jean Hanff Korelitz. He now lives in New York City and Sharon Springs, New York. He is the father of two children.
Muldoon is the author of twelve major collections of poetry, including One Thousand Things Worth Knowing (2015), Maggot (2010), Horse Latitudes (2006), Moy Sand and Gravel (2002), Hay (1998), The Annals of Chile (1994), Madoc: A Mystery (1990), Meeting the British (1987), Quoof (1983), Why Brownlee Left (1980), Mules (1977) and New Weather (1973). He has also published innumerable smaller collections, works of criticism, opera libretti, books for children, song lyrics and radio and television drama. His poetry has been translated into twenty languages.
Muldoon served as Professor of Poetry at Oxford University from 1999 to 2004 and as poetry editor of The New Yorker from 2007 to 2017. He has taught at Princeton University since 1987 and currently occupies the Howard G.B. Clark ’21 chair in the Humanities. In addition to being much in demand as a reader and lecturer, he occasionally appears with a spoken word music group, Rogue Oliphant. With his wife, American novelist Jean Hanff Korelitz, he adapted James Joyce's "The Dead" as an immersive, site-specific play, "The Dead, 1904," which was produced by the Irish Repertory Theatre and Dot Dot Productions, LLC, for seven-week runs in 2016 and 2017.
Paul Muldoon is a Fellow of the Royal Society of Literature, the American Academy of Arts and Sciences and the American Academy of Arts and Letters. In addition to the Pulitzer Prize, he has received an American Academy of Arts and Letters award in literature, the 1972 Eric Gregory Award, the 1994 T. S. Eliot Prize, the 1997 Irish Times Poetry Prize, the 2003 Griffin International Prize for Excellence in Poetry, the 2004 American Ireland Fund Literary Award, the 2004 Shakespeare Prize, the 2006 European Prize for Poetry, the 2015 Pigott Poetry Prize, the 2017 Spirit of Ireland Award from the Irish Arts Center (NYC), the 2017 Queen's Gold Medal for Poetry and the 2018 Seamus Heaney Award for Arts & Letters. He is the recipient of honorary doctorates from ten universities.
Paul Muldoon has been described by The Times Literary Supplement as "the most significant English-language poet born since the second World War." Roger Rosenblatt, writing in The New York Times Book Review, described Paul Muldoon as "one of the great poets of the past hundred years, who can be everything in his poems - word-playful, lyrical, hilarious, melancholy. And angry. Only Yeats before him could write with such measured fury."
Russian-American conductor Lidiya Yankovskaya is a champion of Russian masterpieces, operatic rarities, and contemporary works on the leading edge of classical music. As Music Director of Chicago Opera Theater, Yankovskaya is the only woman to hold that title in a multimillion-dollar opera company in the United States.
In the 2018/19 season, Yankovskaya leads the Chicago premieres of Tchaikovsky’s Iolanta and Heggie’s Moby-Dickat COT, the world premiere of Kamala Sankaram’s Taking Up Serpents at Washington National Opera, and the world premiere of Ricky Ian Gordon’s Ellen West at Opera Saratoga. She conducts Grétry’s Belgian rarity Zémire et Azor at Carnegie Mellon University, workshops Justin Chen’s The Life and Death(s) of Alan Turing at COT and Paola Prestini’s >Edward Tulaneat Minnesota Opera, and makes her Mobile Symphony debut in Carmina Burana. She also debuts at Trinity Wall Street, leading the New York premiere of Laura Schwendinger’s Artemisia, and returns to New York’s National Sawdust to close her season with the Hildegard Competition Concert, which features the work of emerging female, trans, and nonbinary composers.
Yankovskaya is Founder and Artistic Director of the Refugee Orchestra Project, which proclaims the cultural and societal relevance of refugees through music, and has brought that message to hundreds of thousands of listeners around the world. Following a National Sawdust residency in 2017/18, ROP performs this season in Boston and at the United Nations. She has also served as Artistic Director of the Boston New Music Festival and Juventas New Music Ensemble, where she led operatic experiments with puppetry, circus acts, and robotic instruments, as well as premieres by more than two dozen composers. Under her artistic leadership, Juventas was the recipient of multiple NEA grants and National Opera Association Awards.
As Music Director of Harvard’s Lowell House Opera, Yankovskaya conducted sold-out performances of repertoire rarely heard in Boston, including Tchaikovsky’s The Queen of Spades, Britten’s A Midsummer Night’s Dream, and the U.S. Russian-language premiere of Rimsky-Korsakov’s The Snow Maiden. Her commitment to exploring the breadth of symphonic and operatic repertoire has also been demonstrated in performances of Rachmaninoff’s Aleko and the American premieres of Donizetti’s, Rubinshteyn’s The Demon, and Rimsky-Korsakov’s Kashchej The Immortal and Symphony No. 1.
An alumna of the Dallas Opera’s Hart Institute for Women Conductors and Marin Alsop’s Taki Concordia Fellowship, Yankovskaya has also served as assistant conductor to Lorin Maazel, chorus master of Boston Symphony Orchestra, and conductor of Boston Youth Symphony Orchestra. She has been featured in the League of American Orchestras Bruno Walter National Conductor Preview and Cabrillo Festival for Contemporary Music, and will assist Vladimir Jurowski via a London Philharmonic fellowship this spring.
Ms. Yankovskaya holds a B.A. in Music and Philosophy from Vassar College, with a focus on piano, voice, and conducting, and earned an M.M. in Conducting from Boston University. Her conducting teachers and mentors have included Lorin Maazel, Marin Alsop, Kenneth Kiesler, Ann Howard Jones, David Hoose, Joshua Jacobson, Eduardo Navega, and Christine Howlett.
Ms. Yankovskaya’s belief in the importance of mentorship has fueled the establishment of Chicago Opera Theater’s Vanguard Initiative, a three-pronged investment in new opera that includes a two-year residency for emerging opera composers. Committed to developing the next generation of artistic leaders, she also serves on the Advisory Board of Turn The Spotlight, a foundation dedicated to identifying, nurturing, and empowering leaders – and in turn, to illuminating the path to a more equitable future in the arts.
Recipient of a 2018 Solti Foundation Career Assistance Award, Yankovskaya has been a featured speaker at the League of American Orchestras and Opera America conferences, and served as U.S. Representative to the 2018 World Opera Forum in Madrid. Her future engagements include performances in Arizona, Chicago, New York, and Minneapolis.
Known both for his bold and inventive productions and for his acute musical instincts, Chas Rader-Shieber has established himself as one of the most innovative opera directors of his generation. Reviewing his staging of Janáček’s The Cunning Little Vixen Toronto’s Classical 96.3 FM praised Rader-Shieber’s “daring and visionary approach to staging” and declared him “a force to be reckoned with in the opera world.” Rader-Shieber’s repertoire encompasses a broad range of works from Monteverdi to Benjamin Britten, but he has made a particular specialty of Baroque opera.
In the 2018/2019 season Rader-Shieber returns to Pinchgut Opera to direct Hasse’s Artaserse, as well as Monteverdi’s Il ritorno d’Ulisse in patria. He also makes a return to Portland Opera for La finta giardiniera. Last season included debuts with Kentucky Opera for Ariadne auf Naxos and returns to Des Moines Metro Opera for Rusalka and Portland Opera for Gluck’s Orfeo.
Rader-Shieber’s 2016/2017 season included a debut with Pittsburgh Opera for La Traviata and a return to Des Moines Metro Opera for Gluck’s Orfeo. Previously, he continued his association with the Curtis Insitute of Music, directing Capriccio. On the international stage, Rader-Shieber directed Faust with the Macau Festival, and made a return to Pinchgut Opera in Australia for their production of L’amant jaloux.
During the 2014/2015 season, Rader-Shieber debuted with Boston Lyric Opera for a new production of La Traviata, Des Moines Metro Opera for Die Entführung as dem Serail, and Indiana University directing Alcina. He also returned to Portland Opera for Die Fledermaus, and also Curtis Institute of Music for Ariadne auf Naxos.
During the 2013/2014 season, he returned to Sydney, Australia with Pinchgut Opera for Giasone (Cavalli), and revived his acclaimed production of Orlando for Hobart Baroque, which was nominated for a Helpmann Award for Direction of an Opera in Australia. He also debuted with Utah Opera for Die Entführung aus dem Serail, and joined Wolf Trap Opera for Giulio Cesare.
Rader-Shieber began the 2012/2013 season with The Magic Flute at the Curtis Institute of Music, where he has directed over 26 operas. Other notable recent productions with Curtis include: Henze’s Elegy for Young Lovers; Idomeneo and Rossini’s Il viaggio a Reims. The 2012/2013 season also found Rader-Shieber debuting with Portland Opera directing Handel’s Rinaldo.
Of his production of Handel’s Orlando at the New York City Opera in 2004, The New York Times stated that Rader-Shieber had given audiences a production “at once contemporary, fanciful and true to the original.” In addition to Orlando, Rader-Shieber’s work at the New York City Operahas included a critically acclaimed production of Handel’s Flavio in 2003. The 2011/12 season included a debut with the Staatstheater Darmstadt for Léhar’s Die lustige Witwe. In the 2010/2011 season, Rader-Shieber’s engagements included La clemenza di Tito for Vancouver Opera, as well as Don Giovanni with Music Academy of the West.
Rader-Shieber opened the 2009/2010 season directing his production of Die Entführung aus dem Serail with San Francsico Opera and followed by a revival of his Tamerlano for Los Angeles Opera. He concluded the season directing Antony and Cleopatra for the Curtis Institute of Music and Handel’s Tolomeo for Glimmerglass Opera.
In the 2008/2009 season, Rader-Shieber made his debut in Australia presenting Charpentier’s David et Jonathas for Pinchgut Opera. He presented a new production Die Entführung aus dem Serail at Lyric Opera of Chicago and directed Il Viaggio a Reims at Curtis. He finished the season with a new production of Il re pastore for Opera Theatre of St. Louis and directed his production of Don Giovanni for Santa Fe Opera. During the 2007/2008 season Rader-Shieber directed Una Cosa Rara for Opera Theatre of Saint Louis, Handel’s Tamerlano at Washington National Opera, Bolcom’s A Wedding for Music Academy of the West, as well as direction and production of Aindamar by Osvaldo Golijov with Curtis Opera Theater.
In 2006/2007, Rader-Shieber brought his Don Giovanni to Opera Pacific and also made his return to New York City Opera directing Rossini’s La Donna del Lago, which he also directed at Minnesota Opera. Rounding out his season were engagements to direct L’Ormindo at Pittsburgh Opera, The Cunning Little Vixen at Houston Grand Opera and Bellini’s I Puritani at Opera Theater of St. Louis.
Among his many other Handel credits, he directed lavish and modern stagings of Semele for the Arizona Opera and the Skylight Opera Theatre, Alcina at the Curtis Institute of Music, Giulio Cesare at the Pittsburgh, Minnesota and Edmonton Operas, and Tamerlano at the Spoleto Festival USA. He has also directed other Baroque operas, including Monteverdi’s L’Incoronazione di Poppea for Pittsburgh Opera Center and the Curtis Institute, and Purcell’s Dido and Aeneas at the Curtis Institute.
Rader-Shieber has also become well known for his interpretations of Mozart operas. Among others, he has directed The Magic Flute, Don Giovanni and Così fan tutte at companies including Opera Pacific, Opera de Montreal, Santa Fe Opera and the Juilliard Opera Center. The Toronto Globe and Mail said of his La clemenza di Tito: “Rader-Shieber is a talent to watch, given his brilliant, economical illumination of Metastasio’s text, which focused on character revelation like a psychological thriller.”
Rader-Shieber’s work also includes repertoire ranging from Tchaikovsky’s Eugene Onegin at the Skylight Opera Theatre, to Donizetti’s Don Pasquale at Music Academy of the West, and the operas of Britten, Giancarlo Menotti and Ned Rorem at the Curtis Institute of Music. Rader-Shieber has served as Artistic Director of the Skylight Opera Theatre, and on the faculty of The Juilliard School and the Music Academy of the West.
Nathan Troup was recently named Boston Lyric Opera's Emerging Artist-Stage Director for the 2015/16 and 2016/17 seasons. Upcoming highlights include Madama Butterfly for Hubbard Hall Opera Theater, Alcina and Dark Sisters for Boston Conservatory and The Werther Project for Boston University. Season 2015/16 highlights include La Traviata and The Marriage of Figaro for Boston Conservatory; new-works residency at Brandeis University with experimental opera company Guerilla Opera; touring production of Montsalvatge's El Gato con Botas in a co-production with Boston Conservatory, OperaHub and Puppet Showplace Theater; a new production of Elena Langer's Four Sisters for Boston Opera Collaborative; and continued collaboration with live performance at Museum of Fine Arts - Boston. In summer 2016, he joined the Santa Fe Opera as assistant director on a new production of Don Giovanni.
2014/15 season highlights include The Rake's Progress (for Boston Conservatory); La Calisto for Simpson College; Song of the Mud: Music of WW1 (Museum of Fine Arts - Boston); The Abduction from the Seraglio (Emmanuel Music). For Des Moines Metro Opera, he's served on the Apprentice Artist Program staff as stage director and assistant stage director for company's 2014 and 2015 seasons as well as directed their children's opera touring production for OperaIowa!.
2013/14 season highlights include Voyage à Paris and the Boston premiére of Sumeida's Song (Boston Opera Collaborative); The Rape of Lucretia and La voix humaine (Boston Conservatory); associate director A Little Night Music (Emmanuel Music); Amahl and the Night Visitors (Boston University); Dido and Aeneas (Viterbo University); No Exit (Guerilla Opera). 2012/2013 highlights include Transformations (Boston Conservatory); Riders to the Sea (Museum of Fine Arts, Boston); A Verdi Celebration with Eric Owens, A Wagner Celebration with Lise Lindstrom, and Diamond Dreams in collaboration with the National Baseball Hall of Fame (Glimmerglass Festival).
Nathan Troup joined the faculty of The Boston Conservatory in 2011 and currently serves as Associate Director of Opera Studies. His Conservatory directing credits include The Rape of Lucretia, Transformations, L’enfant et les Sortilèges, L’heure espagnole, La voix humaine, Flower and Hawk, and Riders to the Sea at Boston’s Museum of Fine Arts, as well as the children’s operas Fables...and other fables (which he conceived and curated around Ned Rorem’s mini-operas Fables), and The Bremen Town Musicians. He is artistic director of the Conservatory's Children's Opera series, Troubadours (opera outreach programming), and is a faculty advisor for the Conservatory's music honor society Pi Kappa Lambda. He has spearheaded the department's partnerships with community cultural organizations including collaborations with Boston's Museum of Fine Arts, the French Cultural Center of Boston, and the Boston Children's Museum. He also serves on the faculty of the Boston University Opera Institute where his credits include The Traviata Project, Dido and Aeneas, Gianni Schicchi, Fables and Heggie on Heggie with composer Jake Heggie.
Troup’s work achieved national attention with his original staging of Curtis K. Hughes' Say It Ain't So, Joe (based on the Sarah Palin/Joe Biden 2008 Vice Presidential debates) for Guerilla Opera. His staging of Peter Maxwell Davies' Eight Songs for a Mad King received the 2009 Best of Boston recognition from the Boston Phoenix. He has been a guest artist on the faculties of the New England Conservatory, Webster University (St. Louis, MO) and Viterbo University (LaCrosse, WI). He made his Wolf Trap Opera Company debut in summer 2012 directing the Studio Spotlight scenes program. He joined The Glimmerglass Festival as a Young Artist Stage Director in summer of 2013 assisting director/choreographer Jessica Lang (Pergolesi’s Stabat Mater) and director Francesca Zambello (David Lang’s the little match girl passion). As associate stage director at the Castleton Festival, he has remounted William Kerley's productions of Il tabarro and Gianni Schicchi; Stravinsky's A Soldier's Tale with choreographer Faye Driscoll conducted by Maestro Lorin Maazel and featruing violinst Jennifer Koh; and Master Pedro's Puppet Show in collaboration with New York City's Puppet Kitchen. He has worked as an assistant director for productions at Boston Lyric Opera, Boston University, Opera Boston, the Castleton Festival, Fort Worth Opera, Des Moines Metro Opera and Santa Fe Opera.
|September 27, 29, and October 5|
A frequent performer in both Europe and the United States, John Moore is garnering praise for his energetic performances and burnished baritone in both operatic and concert repertoire. A graduate of The Metropolitan Opera’s Lindemann Young Artist Program, his 2017/2018 season includes a return to Seattle Opera as Figaro in The Barber of Seville and role debuts of Hannah Before in As One with Des Moines Metro Opera and Johannes “Pa” Zegner in Proving Up with Opera Omaha. He also returns to The Metropolitan Opera to cover Papageno in The Magic Flute and Belcore in The Elixir of Love. He finishes the season by joining the Glyndebourne Festival as Achilla in Giulio Cesare. Future seasons include performances with Seattle Opera and Dallas Opera.
Last season saw the baritone in the world premiere of Missy Mazzoli’s Breaking the Waves with Opera Philadelphia, singing the role of Jan, a role he reprised with Beth Morrison Projects. He also returned to The Metropolitan Opera as Moralès in Carmen, Seattle Opera as Papageno in The Magic Flute, the Hyogo Performing Arts Center as Figaro in The Marriage of Figaro, and the Santa Cruz Symphony as Figaro in The Barber of Seville. In concert he appeared with the Chamber Music Society at Lincoln Center featuring works of Vaughan Williams and Weber.
The previous season saw several significant company debuts for the baritone including: Seattle Opera, as Count Almavivia in The Marriage of Figaro; the Bayerische Staatsoper, Adario in Les indes galantes; Florida Grand Opera, Tadeusz in The Passenger; Portland Opera, as Papageno in The Magic Flute, and Opera Omaha, as Figaro in The Barber of Seville. On the concert stage, he appeared at Carnegie Hall with the Oratorio Society of NY under the direction of Kent Tritle, and the Philadelphia Chamber Music Society.
The 2014/2015 season saw Moore return to The Metropolitan Opera stage as Moralès in Carmen, as well as Nachtigal in Die Meistersinger von Nürnberg, and he appeared with their annual Opera in the Parks summer concert series. Additionally, he debuted at the Atlanta Opera as the Conte Almaviva in The Marriage of Figaro and covered the role of Tadeusz in Lyric Opera of Chicago’s production of The Passenger.
During the 2013/2014 season, Moore appeared as Papageno in The Magic Flute and as Fléville in Andrea Chénier with The Metropolitan Opera, Donald in Billy Budd with Glyndebourne at BAM, and Guglielmo in Così fan tutte at Hyogo Performing Arts Center, Japan. He also toured Russia with members of The Metropolitan Opera.
In the 2012/2013 season, the baritone returned to The Metropolitan Opera as Curio in Giulio Cesare and Simonetto in Francesca di Rimini, and also returned to the role of Donald in Billy Budd with the Glyndebourne Festival Opera.
Moore’s 2011/12 season featured a return to The Metropolitan Opera as Fiorello in The Barber of Seville, Yamadori in Madama Butterfly, and Donald in Billy Budd. He was the baritone soloist in the American premiere of Juraj Filas’s Oratorio Spei with Sacred Music in a Sacred Space at the Church of St. Ignatius Loyola under the baton of Kent Tritle. In addition to his recital with Philadelphia Chamber Music Society, Moore also gave recitals at his alma mater, Simpson College, and at People’s Symphony Concerts in NY. In the summer, he returned to the Des Moines Metro Opera in a role debut as the titular character in Tchaikovksy’s Eugene Onegin. Moore concluded the season as Count Almaviva in The Marriage of Figaro with Glyndebourne Opera’s touring ensemble in the United Kingdom.
In the 2010/2011 season, Moore appeared as Papageno in The Metropolitan Opera’s English production of The Magic Flute, toured with Musicians from Marlboro, performed in recital with the Brooklyn Friends of Chamber Music, and returned to the Des Moines Metro Opera as Dr. Malatesta in Donizetti’s Don Pasquale. In addition, Moore took part in a studio recording of Peter Lieberson’s The Coming of Light with CCM.
During the 2009/10 season Moore premiered Lieberson’s The Coming of Light with Chicago Chamber Musicians, sang Abbé Lorenzo in a new production of Argento’s Casanova’s Homecoming at Minnesota Opera, sang Fiorello at The Metropolitan Opera, appeared in concert at the Lakes Art Center in Okoboji, Iowa and for the Des Moines Opera Guild, and made his debut at Glyndebourne Festival Opera in England singing Donald in Britten’s Billy Budd. In 2007, he made his debut at The Metropolitan Opera singing Fiorello in The Barber of Seville. Moore made his international debut at Welsh National Opera in 2008 singing Figaro in WNO’s acclaimed English Barber of Seville.
|September 28 and October 6|
Baritone Rob McGinness has been praised by the Baltimore Sun for his “impressive singing … well-supported tone and supple phrasing.” This season McGinness is looking forward to his Kennedy Center solo debut with The Washington Chorus. His season will also include performances with New York’s PROTOTYPE Festival, the Maryland Symphony Orchestra, and Washington National Opera.
Often featured portraying opera’s “bad boy,” McGinness’s operatic credits include the title roles in Eugene Onegin and Don Giovanni, as well as Marcello in La Bohème. He has also sung Enrico in Lucia di Lammermoor, 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, McGinness has 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 Schubert’s Mass in Gwith Concert Artists of Baltimore, where Rob’s performance was lauded by the Baltimore Sun’s Tim Smith for his “poetic warmth.”
McGinness is committed to promoting and performing new works. He regularly premieres new roles, notably Ed Wall in Frances Pollock’s award-winning opera Stinney, and Saul Hodkin/Price in The Ghost Train by Paul Crabtree. McGinness’s own compositions include vocal, theatrical and orchestral pieces premiered at IngenuityFest, Andy’s Summer Playhouse, and by the Windham Orchestra in Vermont.
McGinness has degrees from the Oberlin Conservatory and the Peabody Institute, and was a young artist with Pittsburgh Festival Opera and Bel Canto at Caramoor. His awards and competitions include first place in the Sylvia Green Vocal Competition, second place in the Piccola Opera Competition, and finalist in the Annapolis Opera Vocal Competition.
American soprano Laura Wilde, winner of a 2016 Sara Tucker Study Grant from the Richard Tucker Foundation, as well as the 2016 Luminarts Women’s Voice Fellowship, has been praised by Opera News as having, “a ravishingly beautiful sound, [and] a fine sense of style and character.” For the 2016/17 season, Ms. Wilde will return to the Lyric Opera of Chicago for a role debut as Freia in David Pountney’s new production of Das Rheingold, conducted by Sir Andrew Davis. Other operatic engagements include the world premiere of Craig Bohmler’s Riders of the Purple Sage at Arizona Opera, where Ms. Wilde will portray the role of Jane Withersteen, Michaela in Carmen with Nashville Opera and a return to Opera Theatre of Saint Louis as a principal artist as Vitellia in La Clemenza di Tito. Additionally, she will present a solo recital and masterclass at South Dakota State University with pianist Craig Terry.
A recent graduate of The Patrick G. and Shirley W. Ryan Opera Center at the Lyric Opera of Chicago, the Lyric Opera of Chicago, in the 2015/16 season, Ms. Wilde performed Marianne Leitmetzer in Der Rosenkavalier and covered Marschallin. She also covered the Countess in The Marriage of Figaro, Hanna in The Merry Widow and sang the role of Anna in Nabucco. In summer, 2016 she made her European debut as the title role in Janáček’s Jenůfa, with English National Opera.
In previous seasons at the Lyric Opera of Chicago, Laura Wilde covered Renée Fleming in Capriccio and the role of Marta in The Passenger. She also appeared on the mainstage as Kate Pinkerton in Madama Butterfly and a Flower Maiden in Parsifal. Additionally, she covered the roles of Berta in The Barber of Seville, the Foreign Princess in Rusalka, and Vitellia in La clemenza di Tito. In the fall, 2014, she shared the stage with mezzo-soprano Stephanie Blythe and baritone Quinn Kelsey in the inaugural season of Beyond the Aria recital series at Chicago’s Harris Theater, accompanied by Craig Terry. In the summer of 2015, Wilde sang the role of Lucy in Grant Park Music Festival’s concert performance of Menotti’s The Telephone.
Before her transition from mezzo to soprano, Ms. Wilde spent two seasons as a Marion Roose Pullin Artist in Residence with Arizona Opera. While there, she created the role of Jane in the workshop of Craig Bohmler’s new opera, The Riders of the Purple Sage. She also performed with the Phoenix Symphony in their 2011 Holiday Concert.
Other training programs include a season as a Santa Fe Opera Apprentice Artist for the 2012 season, and three seasons as a Gerdine Young Artist with The Opera Theatre of Saint Louis, where she is a two-time recipient of The Opera Theatre of Saint Louis Elihu Hyndman Memorial Award. Ms. Wilde was a 2010 Metropolitan Opera National Council Auditions Semi-Finalist and was awarded Third Place in the 2011 Palm Beach Opera Competition.
Originally from Watertown, South Dakota, Wilde’s love of music began with the trumpet. While attending the prestigious Interlochen Arts Camp as a trumpet player, she discovered her classical voice and was encouraged to also pursue that musical avenue as well. She attended St. Olaf College for her undergraduate degree, focusing at first on trumpet performance. Singing, however, became her true musical passion and she graduated with a Bachelor of Music in Vocal Performance. Ms. Wilde earned her Master of Music degree from Indiana University, where she studied with Costanza Cuccaro. She currently resides in Chicago and studies with Julia Faulkner.
Bille Bruley, tenor, hails from Montgomery, Texas and is currently in his first year in the Marion Roose Pullin Arizona Opera Studio. He is a graduate of the prestigious Indiana University Jacobs School of Music where he studied with Carol Vaness, and Baylor University where he studied with Robert Best. He was recently awarded the Richard Tucker Memorial Award from the Santa Fe Opera, and was named a 2018-19 winner of The William Matheus Sullivan Musical Foundation Award and Career Grant.
This season, Bille sings his first War Requiem with the Tulsa Symphony, and with Arizona Opera, Bille will sing Gastone in La Traviata, Jonathan Dale in Silent Night, Don Basilio and Don Curzio in The Marriage of Figaro, and cover Nikolaus Sprink in Silent Night. He also sings Ferrando in Così fan tutte alongside fellow studio singers in April. In May, Bille will be performing Mozart Opera Arias with the Phoenix Symphony. During the Summer of 2019, Bille will create the role of Benjamin in the world premiere of Poul Ruders’ The Thirteenth Child at the Santa Fe Opera, and cover the role of Laca Klemen in Janacek’s Jenufa.
The 2017-18 season saw Bille as an Apprentice Singer with the Santa Fe Opera where he covered the roles of Captain Nolan in Doctor Atomic, and Governor/Vanderdendur/Captain in Candide. He also returned to Virginia Opera to sing 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. Bille also joined Baltimore Choral Arts as tenor soloist for Handel's Dixit Dominus under the baton of newly appointed Music Director, Anthony Blake Clark.
The 2016-17 season found Bille singing the Father in The Seven Deadly Sins with Virginia Opera, singing the title role in Britten's Peter Grimes with Indiana University Opera Theater, and as tenor soloist in Haydn's Lord Nelson Mass under the baton of Joseph Flummerfelt. He was also the tenor soloist in another Haydn work, Schopfungmesse, in Indianapolis before he joined the Winona Oratorio Chorus and Orchestra for a performance of Operatic and Oratorio favorites. Bille traveled to Michigan to be a Guest Artist with the Pine Mountain Music Festival right before returning to Central City Opera for performances as King Nebuchadnezzar in Britten's The Burning Fiery Furnace.
The 2015-16 season found Bille singing Ferrando in Indiana University's Così fan tutte, Eisenstein in Die Fledermaus also at IU, an appearance at the American Choral Director’s Association Regional Conference in Chicago with Indiana University's contemporary new music choral ensemble, NOTUS, and sang a solo recital representing Indiana University at The John F. Kennedy Center. In the summer of 2016, he joined the Young Artist Program at the Glimmerglass Festival singing Beadle Bamford in Sweeney Todd and Giles Corey in The Crucible, while covering the role of Adolfo Pirelli in Sweeney Todd.
In the 2015 summer season, Bille was an Apprentice Artist with Central City Opera, singing The Tempter in Britten's The Prodigal Son, Gastone in Verdi's La Traviata, and covering the role of Sancho in Leigh's Man of La Mancha. He was awarded the Iris Henwood Richards Memorial Award by the Central City Opera House Association.
Bille was also named Grand Prize Winner at the Metropolitan Opera National Council District Auditions in Houston, TX, and was a Regional Finalist and Winner at the MONC Gulf Coast Regional Finals in 2014. He also won the Thomas Stewart Award for Vocal Excellence from the Baylor University School of Music. Bille was privileged to be a Finalist in the Dallas Opera Guild Vocal Competition where he sang on the stage of the Winspear Opera House, and also a Finalist and Winner in the Lois Alba Aria Competition. He has also been a featured Soloist or Performer with many orchestras, symphonies, and ensembles, including The Waco Symphony, The Fort Worth Baroque Society, The Texas Baroque Ensemble, and The South Dakota Chorale.
Praised by Opera News for “brandishing a beautiful, evenly produced, nicely ripe sound,” Michael Adams makes role and company debuts as Zurga in Les pêcheurs de perles at the Grand Teatro del Liceu, Enrico in Lucia di Lammermoor with Knoxville Opera, and Gaylord Ravenal in Showboat at The Glimmerglass Festival in the 2018/19 season. He also returns to Washington National Opera as Lieutenant Audebert in Puts’ Silent Night. Future seasons include returns to Seattle Opera and Washington National Opera in role debuts. Last season he joined Seattle Opera for the first time as Guglielmo in Così fan tutte. He also debuted with Utah Opera as Marcello in La Bohème and returned later in the season for his first performances of Silvio in Pagliacci and Betto in Gianni Schicchi. He returned to Washington National Opera to reprise Melisso in Alcina and for the Pilot in Portman’s The Little Prince, the Grand Théâtre de Genève as Masetto in Don Giovanni, and on the concert stage, the Fort Worth Symphony for an all-Bernstein concert under the baton of Miguel Harth-Bedoya.
The baritone made company debuts and subsequent returns with the Grand Théâtre de Genève as Melisso in Alcina and Marcello in La Bohème and Des Moines Metro Opera as Lescaut in Manon followed by Ping in Turandot and Donald in Billy Budd. He recently joined the Deutsche Oper Berlin for a season, singing a number of roles including Ping in Turandot, the Marquis in La Traviata, Harašta in The Cunning Little Vixen, in addition to covering Neluso in L’Africaine. He is a former member of the Domingo-Cafritz Young Artist of Washington National Opera at which he sang the title role of Don Giovanni directed by Francesca Zambello, Prince Yamadori in Madama Butterfly, and the Motorcycle Cop and Prison Guard #1 in Dead Man Walking.
Adams completed two years as a Resident Artist at the acclaimed Academy of Vocal Arts, where his performances included Valentin in Faust, Guglielmo in Così fan tutte, Lescaut in Manon, Tomsky in Pique Dame, Schaunard in La Bohème, Taddeo in L’italiana in Algeri, and the Marquis in La Traviata. He is a former Resident Artist of the Santa Fe Opera, having joined the company for its productions of Rigoletto, The Daughter of the Regiment, and the world premiere of Higdon’s Cold Mountain. His previous performances include the Lackey in Ariadne auf Naxos, Corporal in The Daughter of the Regiment, as well the covers of Conte Almaviva in The Marriage of Figaro and Bion in Adamo’s Lysistrata with Fort Worth Opera; Presto in Les mamelles de Tirésias as well as scenes of the title role of Don Giovanni and Escamillo in Carmen with Wolf Trap Opera while a member of its studio program; and the title roles of both Eugene Onegin and Don Giovanni and the First Gangster in Kiss Me, Kate at the Seagle Music Colony. He has previously joined the Fort Worth Symphony for Bach’s Cantata No. 29 and Handel’s Te Deum.
He was a 2015 winner of first place in the Gerda Lissner International Vocal Competition, Licia Albanese-Puccini Foundation International Vocal Competition, and the Mario Lanza Competition; the namesake award from the Nelson Eddy Foundation; third place in the Giulio Gari Foundation International Vocal Competition, and fifth place in the Loren L. Zachary Competition, an encouragement award winner of the Opera Index Competition. Additionally, he was a Metropolitan Opera National Council Auditions semi-finalist in 2015.
Adams holds a Bachelor of Music degree from Texas Christian University, where he sang his first performances of Don Giovanni, and has also been a member of the Janiec Opera Company of the Brevard Music Center.
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, Ms. 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 Ms. Beck this year include performances of Cherubino in The Marriage of Figaro this spring and Mary Johnson in Fellow Travelers in the fall. Ms. 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. Ms. 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 Ms. Beck at Santa Fe Opera, performing the role of Karolka in Jenufa and covering Ms. Emily D’Angelo as Dorabella in Cosi fan tutte.
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.
Ms. 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.