Lara St. John, Violin

Canadian-born violinist Lara St. John has been described as"something of a phenomenon" by The Strad and a "high powered soloist" by the New York Times.

 

She has performed as soloist with the orchestras of Cleveland, Philadelphia, Minnesota, Seattle, Brooklyn, Toronto, Montreal, Vancouver, the Boston Pops and many more in North America. In Europe, she has played with the NDR Symphony (Hanover), Zurich Chamber Orchestra, Ensemble Orchestral de Paris, Bournemouth Symphony and the Amsterdam Symphony, among others. In Asia, solo appearances have included the Hong Kong Symphony, Tokyo Symphony, China Philharmonic in Beijing, Guangzhou Symphony and the Shanghai Broadcasting Orchestra. Lara has also performed with the Queensland Orchestra in Australia.

 

The Los Angeles Times has written, “St. John brings to the stage personal charisma, an unflagging musical imagination and genuine passion.” Recitals in major concert halls have included New York, Boston, San Francisco, Ravinia, Washington DC, Prague, Berlin, Toronto, Montreal and in the Forbidden City.

 

Lara St. John's latest recording with the Simón Bolívar Youth Orchestra of Venezuela and conductor Eduardo Marturet: Vivaldi - The Four Seasons and Piazzolla - The Four Seasons of Buenos Aires reached No. 2 on the iTunes charts on its first day and Maestro José Antonio Abreu, the founder of the Simón Bolívar Youth Orchestra of Venezuela and El Sistema writes: : "This stunning recording features the extraordinary violinist Lara St. John. She and the musicians of the Simón Bolívar Youth Orchestra give an inspired performance under the baton of Eduardo Marturet."The Cleveland Plain Dealer said "Lara St. John is as captivating in the seductive scenes of the Piazzolla as she is crisp, caressing and colorful in Vivaldi's atmospheric paeans to nature" and Audiophile Audition stated "Do we need another Four Seasons? With playing and sound like this, yes we do!"

 

Lara’s sixth recording, Hindson, Corigliano, Liszt (arr. Kennedy/St. John) was released in 2008 with the Royal Philharmonic Orchestra of London, featuring two world premiere works; the Matthew Hindson Violin Concerto and the Martin Kennedy/St. John arrangement of Totentanz by Franz Liszt, as well as 'The Red Violin Suite' by John Corigliano. In writing of his impressions of the recording, John Corigliano commented: “I'm thrilled to be included in a new recording by the brilliant and always surprising Lara St. John. She is a real maverick, as a performer and in her choice of repertoire. An opulent and virtuosic new violin concerto and my Red Violin suite are coupled with a newly arranged version of a 19th century pianistic tour de force in her latest stunning release.”

 

Lara's fifth recording,Bach: The Six Sonatas and Partitas for Violin Solo described as "awe-inducing" by The Toronto Star, and "wild, idiosyncratic and gripping" by the Los Angeles Times, was released in the autumn of 2007 where it climbed to No. 2 and was the year’s best selling double album on iTunes.

 

Her third recording, Bach: The Concerto Album appeared in the “strongly recommended” section of Gramophone, which stated, "It is difficult to argue with such a technically dazzling and unfailing musical interpretation". In June of 2005 the recording was released on iTunes where it immediately became No. 1 in the classical category. Lara has also recorded for Sony Classical.

 

Her debut CD, Bach Works for Solo Violin, has sold over 50,000 copies and received resounding acclaim.The Chicago Tribunedescribed Ms. St. John as having “superb technique and an irresistible vitality,” while US News and World Report called the recording “an exquisite performance.”

 

Her second album, Gypsy, was described as “a sizzling display” by Gramophone, and The Strad called her "an electrifying player, as deeply satisfying in Bach as she is bewitchingly seductive in Waxman's Carmen Fantasy.”

 

She has been featured in People, US News and World Report, on CNN's Showbiz Today, NPR's All Things Considered, Fox News, CBC and a Bravo! Special: Live At the Rehearsal Hall.

 

Highlights of the 2008-2009 concert season included Lara’s London debut with the Royal Philharmonic Orchestra, her Wolf Trap recital debut with pianist Martin Kennedy, recitals in Montreal and New York, a performance with The Philadelphia Orchestra as well as concerts in Graz, the Czech Republic and a concert in Central Park with The Knights.

 

Lara began playing the violin when she was two years old. She made her first appearance as soloist with orchestra at age four, and her European debut with the Gulbenkian Orchestra in Lisbon when she was 10. She toured Spain, France, Portugal and Hungary at ages 12 and 13, entered the Curtis Institute at 13, and spent her first summer at Marlboro three years later. Her teachers have included Felix Galimir, David Takeno and Joey Corpus.

 

She performs on the 1779 “Salabue” Guadagnini thanks to an anonymous donor and Heinl & Co. of Toronto.

Erie Mills, soprano

In a vocal career of over twenty-five years, Erie Mills has received critical and popular acclaim throughout the world, dazzling audiences with her sparkling coloratura voice, captivating personality, and vivid portrayals of operatic roles. She has performed in the world's major opera houses, including the Metropolitan Opera, Teatro alla Scala, Vienna Staatsoper, English National Opera, San Francisco Opera, Santa Fe Opera, New York City Opera and many others. In concert, she has appeared with the orchestras of Chicago, Philadelphia, St. Louis, Cleveland, Boston, Los Angeles, San Francisco, the St. Paul Chamber Orchestra, and the VARA radio Orchestra at the Concertgebouw in Amsterdam. An accomplished recitalist, she has performed both as a soloist and in chamber music, having sung with the Chamber Music Society of Lincoln Center, Bravo Colorado Music Festival, Music from Angel Fire, and at St. John's Smith Square in London. On recording, Ms. Mills may be heard on RCA's recording of Sondheim's Follies, New World Records' Grammy award-winning Candide, and her solo CD of American song "always it's Spring" from VAI.

In 1998, Erie Mills joined the music faculty of San José State University, devoting herself to the education and training of young singers. She spent ten years in academia, retiring from SJSU in 2008 as a full Professor of Music. She continues to maintain a private studio devoted to the vocal training of young professionals. Since 2003, Ms. Mills has served as the Principal English Diction Coach for Opera Theatre of St. Louis and master teacher for the Gerdine Young Artist program. She has also worked as English Diction Coach on the staffs of the Metropolitan Opera and Santa Fe Opera. She has taught master classes throughout the country and adjudicates regularly for the Metropolitan Opera National Council auditions and for the National Association of Teachers of Singing. She serves on the Opera America Board of Directors, the only singer ever named to the board.

Erie Mills was born in Granite City, Illinois. She is a graduate of the College of Wooster and the University of Illinois, and was a member of the Houston Opera Studio. She studied voice with Dale Moore, Karl Trump (Wooster), Grace Wilson (U of IL), Elena Nikolaidi, and Alan Bowers. She was a recipient of a Richard Tucker Foundation grant in1984 and has received both the Distinguished Alumni Award (1989) and an honorary Doctorate in Music (1993) from the College of Wooster. She resides principally in the San Francisco Bay Area with her husband, Dr Thomas Rescigno and their two terriers, Blondchen and Siegfried (Ziggy). They maintain a second home outside Santa Fe, New Mexico.

Marnie Breckenridge, soprano

American soprano Marnie Breckenridge's pure and supple voice, excellent musicianship, effervescent personality and dramatic intensity have rapidly established her as a rising young artist. Recently, she made her company debut with the English National Opera performing the role of Cunegonde in Candide. She made her European debut in the same role with the Prague State Opera last season, about which the prague Post declared, "Breckenridge was note perfect." After a great success in London with Candide, she was invited to the Glyndebourne Festival for the rest of the summer (2008) as a last-minute cover for the lead role of Sierva Maria in Peter Eotvos's new opera, Love and Other Demons.

 

Recently, Marnie received rave reviews when she stepped in for an ailing Isabel Bayrakdarian to sing opposite Patti LuPone in the Chicago premiere of Jake Heggie'sTo Hell And Back at the Ravinia Festival.  Of her performance reviewer John Von Rein noted, "she sounded as gorgeous as she looked, achieving both lyrical poignancy and dramatic power" (The Chicago Tribune).  Marnie’s passion for contemporary music has made her a favorite of the composer, with whom she often appears in recital and concert. Upon special invitation, she recently performed the role of Lucia in The Rape of Lucretia conducted by Lorin Maazel at his Chateauville Foundation Estate Theatre.  Upcoming performances include the title role in Lucia di Lammermoor with Mobile Opera, the Bachianas Brazilieras and a world premiere by Kurt Erickson with the Sacramento Philharmonic, Gretel in Hansel Und Gretelwith Indianapolis Opera and a company debut with the Philharmonia Baroque in San Francisco under the baton of Nicholas McGegan in Handel's Athalia. She will also make her A. Jess Shenson recital debut at Stanford University in May of 2009 presenting the full cycle of the Brentano Lieder by Strauss as well as works by contemporary composers.

 

Ms. Breckenridge started off the 2007 season singing solos with the Moscow Chamber Orchestra in a U.S. State Department concert honoring “200 years of U.S. - Russian relations” under the baton of Constantine Orbelian. A champion of contemporary music, she debuted with Berkeley Symphony this season in Unsuk Chin’s Cantantrix Sopranica conducted by Kent Nagano as well as with Berkeley’s, Cal Performances singing songs by Ricky Ian Gordon with the composer at the piano. For her debut with Festival Del Sole in Napa Valley, Marnie sang a concert with Frederica Von Stade and the Russian National Symphony conducted by Stéphan Denève about which the San Francisco Examiner raved, “Her voice of peaches and cream, produced brilliantly and without effort and with a preternaturally gorgeous appearance…the Bay Area’s secret treasure”.  Also in the 2007, Ms. Breckenridge debuted two distinctly American roles to high critical acclaim; Laurie in Copland’sThe Tender Land with Trinity Lyric Opera and Emily in the West Coast Premiere of Ned Rorem’s Our Town with Festival Opera.  The Contra Costa Times singled out her performance of Emily as one of the top 10 best performances in the Bay Area of the year. After a Pops concert at the Bear Valley Music Festival featuring the “Best of 100 Years of Broadway” Marnie returned to Indianapolis Opera to sing Pamina inThe Magic Flute. She finished the season with a recital of Strauss, Barber, Rachmaninoff, Villa-Lobos and Mollicone at Cornell University with Blaise Bryski accompanying at the piano.

 

In 2005-2006, Ms. Breckenridge debuted in Ned Rorem’s, Bertha and Three Sisters with Black Box Opera Theatre and premiered a new opera written for her entitled, Chrysalis by Clark Suprynowicz with Berkeley Opera about which The San Francisco Chronicle raved,  “her Nelle not only looks the part – and how many opera singers are plausible as a chemically invented paragon of beauty? – She also brings plenty of vocal fireworks and even a measure of eerie vulnerability to the role”. She made her European opera debut at the Prague State Opera garnering wide critical praise in what has become an acclaimed role for her, Cunegonde in Candide. Shesang her first Lucia di Lammermoor with West Bay Opera and repeated the role two months later in her Indianapolis Opera debut. Both performances garnered praise for her “stunning bel canto singing” and “extraordinary acting” (The Almanac, Palo Alto). Her performances were further described as “breathtaking”, pointing out that she was “willing to take risks that paid off richly” and that “her performance of the extraordinary “Mad Scene”…was brilliant”.  The Indianapolis Star praised her for “much facility with the lyricism of the “bel canto” singing style…long-lined melodies were sweet indeed.”

 

 In 2005, Ms. Breckenridge also sang Cunegonde in Candide with Festival Opera. The San Francisco Chronicle hailed, “Breckenridge is the leading light on stage… [she] deploys her sparkling soprano to create an evolving character… [with a] “growing depth of insight and darkening tone of the second act”. The Contra Costa Times wrote, “Breckenridge boasts diamond-bright tone and assured comic presence; her agile performance of the coloratura aria "Glitter and Be Gay" was the evening's showstopper”. Marnie finished the season with her debut with the Moscow Chamber Orchestra singing Mozart’s Exultate, Jubilate at the Moscow Conservatory and the role debut of Susan in the South American Premier of Lennox Berkeley’s, A Dinner Engagement with the Brazilian Opera Society in Sao Paulo. While in Moscow, she recorded one song on an “Arias” CD with Dimitri Hvorostovsky for Delos Records, released in 2006 conducted by Constantine Orbelian. 

 

Highlights of previous seasons include Yum Yum in The Mikado with Arizona Opera, a return to San Francisco Opera to sing Papagena in Die Zauberflöte and Inez in Verdi’s Il Trovatore, Corilla Sartinecchi in Donizetti’s Viva La Mamma with West Bay Opera, Juliette in Roméo et Juliette with Sacramento Opera and Gilda inRigoletto in her Festival Opera debut.  The soprano made an impressive debut at Arizona Opera singing Gretel in Hansel and Gretel, as well as a debut with North Bay Opera in the title role of The Ballad of Baby Doe.  She appeared as Musetta inLa Boheme with Nevada Opera and as Elisetta in Cimarosa’s Il Matrimonio Segreto with the Israel Vocal Arts Institute in Tel Aviv. Other roles performed include Zerlina in Don Giovanni with North Bay Opera, Adina in L’Elisir d’amorewith Intermountain Opera in Montana Sophie in Werther with San Francisco Lyric Opera, Pamina in The Magic Flute with West Bay Opera and Carolina in Luisa Fernanda with the Jarvis Institute in Napa, California. Ms. Breckenridge made her Latin-American debut as Auretta in Mozart’s L’Oca del Cairo with the Brazilian Opera Society in Sao Paulo and appeared as Olga in San Francisco Opera’s The Merry Widow as seen on PBS’ Great Performances and BBC Television and released on DVD.  

 

Equally active in both opera and concert performance, Ms. Breckenridge made her San Francisco Davies Symphony Hall debut singing the soprano solos in Handel’s Messiah under Michael Barrett.  Symphony credits include Samuel Barber’s Knoxville: Summer of 1915 with the Tassajara Symphony (Sarah Jobin) and Pacific Chamber Symphony (Lawrence Kohl) as well as Carmina Burana, Mozart’s Requiem, and Bachianas Brazileras No. 5 with the Vallejo Symphony (David Ramandanoff). With the Fresno Philharmonic Orchestra, Marnie sang the role of Adele in a concert version of Die Fledermaus (Phil Kutner).  Other concert performances include Chants d’Avergne, Bach’s Magnificat and St. Matthew Passion, as well as Haydn’s The Creation. She has appeared in recital throughout California as well as Norway, Sweden, Great Britain and Italy and has been a featured soloist with the San Francisco Festival of Song singing works by Martin Hennessy, Mark Altmazan Buntag, Kirke Mechem and Edward Knight. Her commitment to featuring the music of modern composers on concerts and recitals has fostered relationships with Ricky Ian Gordon, Bruce Rockwell, Jake Heggie, David Conte, Kurt Erickson, D’arcy Reynolds, David Garner, Daniel Brewbaker, Michael Kaulkin, Clark Suprynowicz and Henry Mollicone.  Marnie was also honored to be featured at the 60th Anniversary of the United Nations celebration at San Francisco’s Grace Cathedral.

 

A winner of numerous prestigious competitions, Ms. Breckenridge is a Regional Finalist in the Metropolitan Opera National Council Auditions and the winner of the IIE International Travel Award, a Loren L. Zachary National Grand Finalist, a MacAllister Awards Regional Finalist and Mu Phi Epsilon Winner.  The soprano received her Bachelor’s Degree from Pacific Union College and her Master’s Degree from the San Francisco Conservatory of Music where she appeared in numerous productions, including Tytania in A Midsummer Night’s Dream and Despina inCosi Fan Tutte. Ms. Breckenridge studies with Jane Randolph and has participated in the Santa Fe Opera Apprentice Artist Program in 2001 and the Israel Vocal Arts Institute in Tel Aviv in 1999.

Carrie Hennessey, soprano

Known for her ability to bring great musical and theatrical depth to her characters, lyric soprano Carrie Hennessey is a powerful, talented artist. In recent years, she's been delighting Northern California audiences on stages in Sacramento, Mendocino, Berkeley and several other neighboring communities.

Ms. Hennessey will be appearing with Townsend Opera Players in January 2010 as Hanna (The Merry Widow), and Cinnabar Theater in the title role of Emmeline in the May 2010 West Coast premiere.

Recently Ms. Hennessey made her debut with West Bay Opera as Mimi (La Boheme) , and was said to be “..possessed of a full, powerful lyric soprano, which delivers Puccini's arias and duets richly. Her “Mi chiamano Mimi” (Yes, they call me Mimì) in Act 1 is gorgeous". Ms. Hennessey also made appearances with Sacramento Opera as Giannetta (L'Elisir d'Amore), as soprano soloist in Stravinsky's ballet Pulcinella at the Mendocino Music Festival and has had the great privilege to perform with members of the Sacramento Philharmonic Orchestra in Heitor Villa-Lobos' Bachianas Brasileiras No. 5 for Voice and Eight Cellos.

Ms. Hennessey is currently working with the Sacramento Opera's Education and Community Outreach to stage direct the April 2010 run of Brundibar and has performed and directed the opera Green Eggs and Ham with students in Rocklin, CA . Ms. Hennessey continues education work by bringing programs to every elementary school in Berkeley, CA along with conductor Ming Luke and members of the Berkeley Symphony Orchestra.

Ms. Hennessey has toured extensively with the Tony Award Winning Theatre de la Jeune Lune and performed in the opera fusion productions Figaro and Don Juan Giovanni at the esteemed American Repertory Theatre, and the Tony Award Winning Berkeley Repertory Theatre.

Ms. Hennessey has premiered and performed original works of composer Hiram Titus since 2003. Their most exciting collaboration is the release of her CD “A Prelude to Summer”, available through www.carriehennessey.com. She continued her passion for new music by performing two songs written for orchestra and soprano set to the poetry of Alexander Pushkin in composer Aaron Fiore's recital at the San Francisco Conservatory of Music in May 2009.

Juliana Gondek, mezzo-soprano

Juliana is internationally renowned for her performances in opera and concert, lauded  for her interpretations of Mozart, Baroque, bel canto, and contemporary repertoire. She has performed with many of the major conductors of the world including Herbert von Karajan, Leonard Bernstein, James Levine, Carlos Kleiber, and Robert Shaw, in leading roles at the Metropolitan Opera, Netherlands Opera, Scottish Opera, San Francisco, Houston, New York City, Dallas, Seattle, Miami, St. Louis, Utah, and Baltimore Operas. She has sung at the Salzburg Festival, Edinburgh Festival, Avignon  Festival, Göttingen and Halle Handel Festivals, Antibe's Bel Canto Festival, Lincoln Center's Mostly Mozart, Marlboro, Caramoor, Newport, and the Bard Festivals.

 

Miss Gondek has created leading roles in six opera world premieres: Ela in David Carlson's Dreamkeepers, the triple role of Dianne Feinstein/Harvey's Mama/Hooker in Stewart Wallace/Michael Korie's Harvey Milk, the title role in Stewart Wallace/Michael Korie's Hopper's Wife, Sabina in David Diamond’s The Noblest Game, La Madre in Ian Krouse’s Lorca, Child of the Moon and The Sphinx in Paul Chihara’s Oedipus. She has performed the leading roles in Leonard Bernstein's A Quiet Place and Bright Sheng's The Song of Majnun.  She has appeared with nearly all of the major North American symphony orchestras, including the New York Philharmonic, Los Angeles Philharmonic and the San Francisco Symphony, as well as many prominent European orchestras, such as the Netherlands Radio Orchestra, L’Orchestre de la Suisse Romande and at the Concertgebouw where in 2002 she sang Hans Werner Henze's The Bassarids at the Concertgebouw on the VARA series with Anja Silja and conductor Markus Stenz. 

 

Her discography includes recordings of Harvey Milk on the Teldec label, Handel operas Ottone Radamisto, Giustino, and Ariodante (winner of the 1996 Gramophone Record of the Year Award) on the Harmonia Mundi label, music of Bright Sheng with the Hong Kong Philharmonic and Hugo Weisgall’s Esther with the Seattle Symphony on Naxos, the complete songs of Karol Szymanowski on Channel Chalssics (winner of the “Fryderyk Prize for best recording of Polish music), Mozart's Exsultate jubilate on Sonoris, vocal chamber music on Orion (winner of the Yehudi Menuhin Foundation Prize), Bernstein’s West Side Story for DGG and a "Live from the Met" telecast and videodisc recording of Die Zauberflöte with the Metropolitan Opera.

 

Juliana Gondek has presented song recitals in the world's leading concert halls, including Geneva's Grand Theater, Venice's Teatro La Fenice, Lucerne's Festival Hall, Kitara Concert Hall in Sapporo, Japan, Carnegie Recital Hall, Boston's Jordan Hall, Pittsburgh's Frick Museum, and the Ambassador Auditorium in Los Angeles. She won back-to-back gold medals in the Geneva and Barcelona International Singing Competitions, the National Endowment for the Arts Solo Recitalist Award for her concert series The Art of Polish Song, and major grants from the Rockefeller, Sullivan and Gladys Turk Foundations.

 

Recent performances include her Los Angeles Philharmonic debut under Gerard Schwarz, performances with the Pacific Symphony Orchestra in music of George Crumb, the Asian premiere of Bright Sheng's Songs from the Sung Dynasty with the Hong Kong Philharmonic and the Carnegie Hall premiere with the New York Philharmonic, concerts with the Munich Chamber Orchestra, appearances at the Bowdoin International Music Festival and the Hawaii Performing Arts Festival, a recital of Mahler, Strauss, Berg, and Schoenberg for the Los Angeles Philharmonic's "Order and Disorder" series, the premiere of Paul Chihara's Magnificat at Royce Hall in Los Angeles, and a Schoenberg Hall concert of Piazzolla tango songs with famed bassist Abraham Laboriel and violinist Movses Pogossian.

 

Upcoming performanceinclude Baroque recitals, a solo cabaret evening, staged performances of Purcell's The Fairy Queen at the Astoria Music Festival, recitals at the Hawaii Performing Arts Festival and the Vianden Music Festival (Luxembourg), a gala with the Napa Valley Youth Orchestra, and the title role (Eleanor Roosevelt) in the concert premiere of Kenneth Wells' opera The First Lady.

Leah Wool, mezzo-soprano

Hailed by Opera News as "among the more distinctive and accomplished artists of her generation," with a "distinguished, lovely timbre," Leah Wool is rapidly garnering critical acclaim for her performances across the country. Ms. Wool is the recipient of a 2008 Sullivan Foundation Award.

Upcoming engagements include the title role in Handel’s Amadigi with Boston Baroque, Hansel with Kentucky Opera, Handel's Messiah with the Utah Symphony and the Rochester Chamber Orchestra, Betty in Flora at Spoleto Festival USA, and a return to Utah Operato sing Isabella in L’Italiana in Algeri.

In 2008-2009, Ms. Wool sang the title role in La Cenerentola withOrlando Opera, Meg in Little Women with Syracuse Opera, Amastre in Xerxes with Boston Baroque, and returned to theMetropolitan Opera to cover Myrtale in Thaïs. In the summer of 2009, she made her début with Glimmerglass Opera as The Secretary in Menotti's The Consul.

In previous seasons, Ms. Wool appeared at the Metropolitan Operain performances of the Second Bridesmaid in Le Nozze di Figaro and Marshal Murat's Adjutant in War and Peace, bowed as Angelina in La Cenerentola with both Opera New Jersey (role début) and Opera Fairbanks, and joined fellow Yale Opera alumni in concert at Weill Recital Hall as part of the inaugural "Yale at Carnegie" series.

Notable past performances also include the Second Novice in Suor Angelica at the Metropolitan Opera (company début), the title role in Massenet’s Cendrillon and Erika in Vanessa withCentral City Opera, Hansel in Hansel and Gretel at Opera Theatre of St. Louis, Stéphano in Roméo et Juliette withToledo Opera, Rosina in Il Barbiere di Siviglia with the Newton Symphony, Delia in Il Viaggio a Reims at New York City Opera, Hermia in A Midsummer Night's Dream at Utah Opera, and Léoena in La Belle Hélène with Santa Fe Opera. Ms. Wool was one of a select group of Yale Opera alumni invited to record the complete song collection of Charles Ives, which was released in 2008 on Naxos Records. 

Sought after on the concert stage, she has appeared as mezzo-soprano soloist for works including Mozart's Great Mass in C Minor with Gloria Musicae, Haydn's Theresienmesse with the New Jersey Symphony, Handel's Messiah with the Utah Symphony, Duruflé's Requiem with the Greenwich Choral Society, Vivaldi's Gloria with the New Haven Symphony, Bruckner's Missa Solemnis with the Manchester Symphony, and Bach's Magnificat, Stravinsky's Les Noces, and Haydn'sLord Nelson Mass at Yale University. 

A two-time Regional Finalist in the Metropolitan Opera National Council Auditions, she is also a 2004 Encouragement Grant recipient of the Sullivan Foundation Awards. Ms. Wool was a Second Place Winner in the 2005 Licia Albanese-Puccini Foundation International Vocal Competition and subsequently made her Alice Tully Hall debut in the Foundation’s gala concert, receiving praise from Opera News as "the afternoon's most arresting voice." Other honors include a 2008 Encouragement Award from the Gerda Lissner Foundation, a 2007 Grant from the Giulio Gari Foundation, and the 2003 Judith Raskin Memorial Award from Santa Fe Opera. She was also the 2002 recipient of the Presser Award, a prestigious study grant from The Presser Foundation and the Yale School of Music. 

Ms. Wool has been a Young Artist at Santa Fe Opera, Opera Theatre of St. Louis, Utah Symphony & Opera, Chicago Opera Theater, Opera North, and the Caramoor Festival. She holds an Artist Diploma and Master of Music from Yale University and received her Bachelor of Music magna cum laude from Westminster Choir College. Ms. Wool is a native of Long Island, New York.

Gerard Powers, tenor

American tenor Gerard Powers has enjoyed enthusiastic acclaim from critics and audiences alike, commanding a fresh and exciting perspective on a wide range of operatic roles, throughout North America and Europe. Described by the New York Times as having a rich, virile, warm and ardent voice, Mr. Powers is also recognized for his strong acting skills, leading man looks and dynamic, energetic stage presence, whose excellent diction and artistic expressivity is recognized internationally.

 

Engagements during the 2007-2008 season will include debuts at San Franciso Opera as Prunier in La Rondine, and at the Bolshoi Opera as Don José inCarmen. He will sing Rodolfo in La Bohème for Opera Columbus and Pinkerton in Madama Butterfly for Fresno Grand Opera..

 

Mr. Powers' engagements for the 2006-2007 season include Rodolfo in La Bohème in the Gala Concert at Florida Grand Opera; Pinkerton in Madama Butterfly with Boston Lyric Opera; the Gala Concert at New Orleans Opera; Pinkerton in Madama Butterfly at the Royal Albert Hall in London, and Richard Smythe in The End of the Affair by Jake Heggie for the Lyric Opera of Kansas City. He will sing the tenor solo in Lukas Foss's The Prairie at Rose Hall in Lincoln Center with the Brooklyn Philharmonic.

 

In the 2005-2006 season Mr. Powers sang the role of Ulysses in Gabriel’s Fauré’s Pénélope with the Wexford Festival, Ruggero in La Rondine in Salt Lake City with Opera Utah; Milio Dufresne in Leoncavallo’s Zaza with Teatro Grattacielo at Alice Tully Hall, Don Jose in Carmen with Opera Tampa, and Rodolfo in La Bohème with New York City Opera. He made his debut at Teatro Massimo in Palermo in the role of Anatol in Vanessa, as well as a debut as Hérisson de Porc-Epic in Chabrier's L'Étoile with Cincinnati Opera.

 

In the 2004-2005 season Mr. Powers returned to New York City Opera to sing Ruggero in La Rondine and Pinkerton in Madama Butterfly, the title role in Faustwith Michigan Opera Theatre, the title role in Les Contes D’Hoffmann with Baltimore Opera, Pinkerton in Madama Butterfly with NYCO on tour to Japan in Tokyo and Nagoya as part of World Expo 2005, and Pinkerton with Central City Opera in Catherine Malfitano’s directorial debut. Mr. Powers returned to Carnegie Hall as the tenor soloist in the Verdi Requiem with the Oratorio Society of New York.

 

In the 2003-2004 season Mr. Powers returned to De Vlaamse Opera to sing the title role in Les Contes D’Hoffmann. He sang Rodolfo in Francesca Zambello’s new production of La Bohème in the Royal Albert Hall in London. Mr. Powers returned to Carnegie Hall for the Verdi Requiem with the Brooklyn Philharmonic, and the tenor soloist in Dvorak’s Stabat Mater with the Oratorio Society of New York. He also sang the title role in Les Contes D’Hoffmann in Central City, CO.

 

Engagements during the 2002-2003 season included the title role in Werther, and Luigi in Il Tabarro (as part of Robert Carsen’s world-renowned production of Puccini’s Il Trittico) with De Vlaamse Opera; Alfredo in La Traviata in Belgium’s Vorst Nationaal, Germany’s Cologne Arena, and Lisbon’s Atlântico-Pavilhao; Rodolfo in La Bohème with New York City Opera; and Nicias in Thaïswith Opera Theatre of Saint Louis.

 

The 2001-2002 season included a return to New York City Opera as Cavaradossi in Tosca; both Don José in Carmen and Gérald in Lakmé with Michigan Opera Theatre; Rodolfo in La Bohème at the Cologne Arena; and Ismaele in Nabucco at Belgium’s Vorst Nationaal. Concert engagements during the 2001-2002 season include the Mozart Requiem with L’Orchestre National de Lille and the Verdi Requiem with the Tokyo City Orchestra.

 

The 2000-2001 season included a return to New York City Opera as Alfredo in La Traviata, as Rodolfo in La Bohème, and as Cavaradossi in Tosca; a debut with Houston Grand Opera as Don José in Carmen; a debut with Opera Theatre of Saint Louis as Rodolfo in La Bohème; a role debut as Ismaele inNabucco at the Cologne Arena; and appearances as Don José in Carmen at Munich’s Olympiahalle and the Amsterdam ArenA. Concert engagements during the 2000-2001 season included Gösta Berling in Zandonai’s I Cavalieri di Ekebù with Teatro Grattacielo at Alice Tully Hall, and both Haroun in Bizet’sDjamileh and Kornélis in Saint-Saëns’s La Princesse Jaune with L’Opéra Français de New York at Alice Tully Hall.

 

Other recent engagements for Mr. Powers include Don José in Carmen at Germany’s Cologne Arena and Opera Festival of New Jersey, the Duke inRigoletto with Portland Opera Repertory Theatre in Maine, and Fenton inFalstaff with Opera Illinois; concert engagements included Federico in Cilea’sL’Arlesiana with Teatro Grattacielo at New York’s Alice Tully Hall and Kodály’sPsalmus Hungaricus with the Oratorio Society of New York at Carnegie Hall.

Kevin Short, bass-baritone

Versatile bass-baritone Kevin Short is the quintessential singing actor. Kevin has thrilled audiences worldwide in a variety of repertoire ranging from Monteverdi and Mozart to Verdi and Stravinsky. His artistry is also evidenced by some of the notices he has garnered. Writing of his performance as Mephistopheles in Faust, the Newark Star-Ledger wrote: “Kevin Short clearly has a shot at becoming this decade’s operatic devil of choice. The St. Petersburg Times wrote “This devil is nothing short of spectacular. Short was a riveting figure.” The Commercial Appeal: “Kevin Short made a formidable Mephistopheles. The most theatrical singer to be cast in some time.” Figaro in Le Nozze di Figaro is brought to vivid life via Kevin’s interpretation. The Times Union wrote “Metropolitan Opera bass-baritone Kevin Short is a standout. Possessed of a beautiful and powerful voice. Short lights up the stage.” The Berkshire Eagle added “Kevin Short an instinctively good actor, imbues his title character with an unusual youthful vigor.” As the title character in Verdi’s Oberto, Barcelona’s Opera Actual stated “The vocal honors of the performance went to the excellent young basso Kevin Short. He clearly reveled in the role of Oberto. Its huge range gave him a fine display opportunity and he sang it with great spirit and effect. He is a strong actor and established Oberto as a powerful dramatic presence, central and vital to the drama.”

 

The role of Archibaldo in L’Amore dei Tre Re has given Kevin a wonderful opportunity to display many of his strengths. Its dramatic and vocal range is unique and pose a considerable hurdle for most singers. Kevin’s portrayal was very favorably received. The Venice Gondolier Sun wrote “As the king Archibaldo, Kevin Short was nothing short of brilliant. His interpretation was most extraordinary.” The St. Petersburg Times stated “Archibaldo is a character who leaps to life in Kevin Short’s commanding performance. He possesses a deep richness of tone and remarkable flexibility for such a large voice. When he demands of God that he not be kept from the truth, it is a profoundly chilling moment.” The Herald: “Archibaldo is masterfully portrayed by Kevin Short. Short is able to effectively reveal the tender side of a man controlled by his impulses. Both his murderous rage and the remorse over his own son’s death were conveyed as if by electric current throughout the house.” Kevin’s commanding presence is also evident in lesser roles such as Nourabad in The Pearl Fishers. U.K. Magazine noted that “Kevin Short stole the performance with his exceptional, robust, centered bass-baritone as Nourabad” and the Herald Tribune stated “Kevin Short has one of the rare bass-baritones of such individual quality of depth and color that it transfixes the listener. His commanding presence lends credibility to his role.”

 

Basing his career primarily in Europe since 2000, Kevin now makes Switzerland his home.

In 2005-2006 Kevin Short sang the title role of Porgy in Porgy and Bess with Washington National Opera, Osmin in Die Entführung aus dem Serail at Opera Omaha and with the National Symphony, Figaro in Le Nozze di Figaro with Indianapolis Opera, Messiah with the Handel and Haydn Society, and a Gala concert with Sarasota Opera.

 

Engagements for the 2006-2007 season include Porgy in Porgy and Bess with Los Angeles Opera, Sarastro in Die Zauberflöte with Vancouver Opera, King Claudius in Hamlet with Lyric Opera of Kansas City and Pluto in Orfeo with the Handel and Haydn Society of Boston.

 

In the 2004-2005 season, Mr. Short made his debut at the Lyric Opera of Chicago in the world premiere of Bolcom’s The Wedding and returned to Opera Theatre of Saint Louis as Friar Laurent in Roméo et Juliette, Timur in Turandot with Opera Omaha and Raimondo in Lucia di Lammermoor with Indianapolis Opera.

 

In the 2003-2004 season, Kevin performed Seneca in L’Incoronazione di Poppea at Theatre Basel, Escamillo in Bizet’s Carmen at Theatre Bern, Mephistopheles in Faust at Theatre Basel and Osmin at the Aargau festival. His first staged Porgys took place at Munich’s Prinzregenten Theater and he appeared in numerous recitals in Zurich and Basel. Kevin completed his season performing Leporello in Don Giovanni at the Santa Fe Opera Company.

 

Kevin’s 2002-2003 season began with performances as the Landgrave in Tannhäuser at Theatre Basel. The bass-baritone then essayed the role of Leporello for the Vienna Volksoper’s production of Don Giovanni. Part of his winter was spent in sunny Florida performing in the acclaimed production of L’Amore dei Tre Re with the Sarasota Opera Company. Kevin then returned to Switzerland to do performances of the Verdi Requiem and sing Oroveso in Theatre Basel’s Norma before heading to Opera Theatre of St. Louis for their production of The Abduction from the Seraglio.

 

During the 2001-2002 season Kevin sang over thirty performances of Sarastro in The Magic Flute as well as Simone in Gianni Schicchi at Theatre Basel. Theatre St. Gallen heard his Colline in La Bohème and he made a successful debut singing Osmin with the New Israeli Opera Company in Tel Aviv. Kevin finished his season performing with Anton Coppola’s Metro Lyric Opera in productions of Faust and Aida, performing Mephistopheles and Ramfis respectively.

 

2000-2001 saw Kevin’s first association with Theatre St. Gallen in a production of The Abduction from the Seraglio. He returned to Sarasota to sing the title role of Oberto and in the spring returned to Hanoi, Vietnam, under the auspices of Moet 
Hennessy Asia Opera Series for opera excerpts where he sang the High Priest in Samson et Dalila and Guglielmo in Così fan tutte. Kevin wrapped up his season singing Escamillo in Carmen in his debut with Houston Grand Opera at the Miller Theatre and Mann Music Center in Philadelphia.

 

Season 1999-2000 held Kevin’s debut’s at the Festival Santiago de Compostela in Spain as Sarastro in Die Zauberflöte. Ramfis in Aida with Opera de las Americas in Santo Domingo and Colline in La Bohème with Fresno International Grand Opera Company. During the late spring and early summer, Kevin returned to Opera Theatre of St. Louis to sing Ned in Treemonisha. His summer was spent with another debut singing Sarastro in Valencia, Spain.

 

During the decade of the 1990s Kevin’s work was concentrated primarily at the Metropolitan Opera where he performed in over 20 operas including appearances as Colline in La Bohème, Masetto in Don Giovanni, the Friar in Don Carlo and many others. He was also engaged at the New York City Opera during this period to sing Raimondo in Lucia di Lammermoor, Colline in La Bohème and Nourabad in The Pearl Fishers, as well as the world premiere of Anthony Davis’ X.

 

Though New York was the base of most of his performing during these years, Kevin still had excellent debuts with the Canadian Opera Company performing Pizarro in Fidelio, Osmin in Abduction at Edmonton Opera, Orest in Elektra with Seattle Opera, Sparafucile in Rigoletto in Beijing and Taipei and with Indianapolis Opera, Opera Festival of New Jersey and Metro Lyric, Nick Shadow in The Rake’s Progress with Opera Festival of New Jersey, and excerpts from Mefistofele with the Washington Choral Arts Society and National Symphony. He performed Mephistopheles in Faust with Indianapolis Opera, Memphis Opera, and in Sarasota. In addition to the aforementioned Ramfis in Santo Domingo, he also performed it with Opera Omaha and Metro Lyric. With the New York Grand Opera he performed Zaccaria in Nabucco and Silva in Ernani, both by Verdi. Mozart figured prominently during the earlier years of the decade and he made his debut as Leporello with Mississippi Opera’s production of Don Giovanni. He sang the twin bill of Commendatore/Masetto in the joint production of Don Giovanni with Michigan Opera Theatre, Dayton Opera, and Opera Pacific. He also sang Figaro with the New York City Opera National Company.

 

Kevin’s concert work is vast but some of the highlights include: with the Philadelphia Orchestra, Messiah; Cleveland Orchestra, Rossini’s Stabat Mater; San Francisco Symphony, Stravinsky’s Les Noces; Boston Symphony, The Rake’s Progress; St. Louis Symphony and Detroit Symphony, Beethoven 9th Symphony, Baltimore Symphony in Messiah and La Damnation de Faust; New Japan Philharmonic in Die Zauberflöte; Hiroshima Symphony, Symphony No. 9; Swiss and Italian RAI Orchestra in Verdi arias; Parma Reggio Emilia Orchestra in another aria concert of operatic favorites. Porgy with the Czech Philharmonic and the 9th Symphony with the Nagano Winter Olympics Orchestra at the 1998 opening ceremonies.

 

Kevin has been a prize winner in numerous competitions a few of which are the Metropolitan Opera National Council Auditions, the International Competition for Verdian Voices, the Rosa Ponselle International Vocal Competition, the George London/Opera America Competition, the Bruce Yarnell Competition for Basses and Baritones, and has been a recipient of the Sullivan Grant and Richard F. Gold Grant.

 

Kevin received his training from Morgan State University B.S., the Curtis Institute of Music, M.M. and the Juilliard American Opera Center.