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IL BARBIERE DI SIVIGLIA

A Triumphant Tale of Bribery, Deception, and Disguise

by Gioachino Rossini

Friday, February 28, 2020 at 7:30 PM
Saturday, February 29, 2020 at 7:30 PM
Sunday, March 1, 2020 at 2:00 PM

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Count Almaviva has his heart set on the beautiful Rosina, the young ward of the aging Dr. Bartolo. But Dr. Bartolo also has his heart set on Rosina, and allows her little freedom. Determined to court Rosina, the Count seeks help from the town’s clever barber Figaro to try and outsmart Dr. Bartolo and sweep Rosina off her feet.

A grand plan is hatched, full of mischievous escapades and inventive antics. Complete with twists and turns and a famed overture, Gioachino Rossini’s nostalgic opera is a masterpiece of comedy.

Sung in Italian with English supertitles projected above the stage.

  • David Stern
    David Stern
    Chief Conductor
  • Joshua Major*
    Joshua Major*
    Director
  • Daniela Mack*
    Daniela Mack*
    Rosina
  • Andrew Manea*
    Andrew Manea*
    Figaro
  • Taylor Stayton
    Taylor Stayton
    Count Almaviva
  • Renato Girolami*
    Renato Girolami*
    Doctor Bartolo
  • Timothy Bruno*
    Timothy Bruno*
    Don Basilio
  • Susan Neves*
    Susan Neves*
    Berta

*Palm Beach Opera Debut
^Benenson Young Artist
#Apprentice Artist
+Former Young Artist

Additional cast information will be listed as it becomes available.
Cast subject to change.

Act 1

Count Almaviva, a Spanish nobleman, is in love with Rosina, the rich ward of Dr Bartolo, an old physician, who plans to marry her himself. Almaviva has followed Rosina from Madrid to Seville, disguised as a poor student called Lindoro.

From the street outside Dr Bartolo’s house, Almaviva serenades Rosina, assisted by a group of actors and musicians. Unfortunately, the serenade produces no response from Rosina, so Almaviva enlists the help of Figaro, a barber, who prides himself on his ability to manage the affairs of the city. They realise that they have, in fact, met before, and Almaviva explains why he is in Seville incognito. He is delighted to discover that Figaro is a general factotum to the Bartolo household, who enjoys easy access to the house and gardens. While they are talking, Rosina appears on the balcony with a note for the handsome young student who keeps visiting the house. Despite Bartolo stealing up behind her, she manages to drop the letter from the window and it floats down to Almaviva. Rumours of Almaviva’s interest in Rosina have reached Bartolo ears and he decides he must waste no time in marrying her himself. He gives strict instructions to the servants that while he is out no one should gain admittance to the house.

Figaro persuades Almaviva to answer Rosina’s note with a further serenade, but she is interrupted before she can respond. Lured by the promise of money, Figaro devises a plan whereby Almaviva can gain access to the Bartolo household: he must pretend to be a drunken soldier billeted on Dr Bartolo.

Figaro has inveigled his way into Dr Bartolo’s home and managed a brief meeting with Rosina before Bartolo appears and expresses his annoyance at Figaro’s constant disrespect towards him. He questions Rosina about her meeting with Figaro, as well as interrogating the servants. When Rosina’s singing teacher Don Basilio arrives, Bartolo brings him up to date on the situation with Rosina. Meanwhile, Figaro has overheard Bartolo and Basilio’s conversation. He starts to prepare the ground for ‘Lindoro’, but soon realises that the wily Rosina is already ahead of him.

Bartolo suspects Rosina of writing a letter to ‘Lindoro’; when she protests her innocence, he warns her not to trifle with him, advising her to find more plausible excuses for a man of his standing.

Almaviva, now disguised as a soldier, arrives to take up his ‘billet’ in Bartolo’s house. Rosina is of course delighted when he reveals that he is really her secret admirer. Bartolo’s annoyance at Almaviva’s drunken behaviour causes such a row that the militia are called by the neighbours. The Count, however, narrowly escapes arrest, much to Bartolo’s annoyance.

Act II

Assuming yet another disguise, Almaviva enters the house as Don Alonso, a music teacher who says he has come to give Rosina her music lesson in place of Don Basilio, who, he claims, has suddenly fallen ill. To gain Bartolo’s trust, Don Alonso reveals that he has intercepted a note from Almaviva to Rosina. Bartolo fetches Rosina for her lesson. While Bartolo dozes, Rosina and ‘Lindoro’ express their love and make plans to elope that night.

Figaro arrives to shave Bartolo. He manages to steal the key to Rosina’s balcony and lures Bartolo away from the music room by smashing a pile of crockery. All is going to plan until Don Basilio unexpectedly appears, but Figaro quickly pays him off and Basilio withdraws. Figaro resumes shaving Bartolo, and tells Rosina of his plan for the lovers to make their escape. Bartolo, however, has not been entirely duped, and penetrates Almaviva’s disguise. The game is up for the lovers – albeit temporarily.

Berta, Bartolo’s servant, ruefully comments on the foolishness of old men wanting to marry young wives. When Bartolo discovers that Basilio has never heard of Alonso, he decides to marry Rosina without delay. He confronts Rosina with a letter she addressed to Lindoro and catches her by surprise when he makes out that Lindoro is clearly acting on Almaviva’s behalf.

Following a violent thunderstorm, Figaro and Almaviva climb into the house by way of a ladder and an open window. They are confronted by Rosina who is angry at being ‘used’ by Lindoro – until she learns that he is in fact Almaviva and falls willingly into his arms. Figaro is anxious for the lovers to be off, but they discover they are unable make their escape because Bartolo has removed the ladder.

Basilio returns with the notary who is ready to marry Rosina to her guardian, but a bribe and threats easily persuades Basilio to witness instead the marriage of Rosina to Almaviva. Bartolo and the magistrate appear too late and he is obliged to acknowledge he has lost Rosina.

CAST
  • David Stern
    David Stern
    Chief Conductor
  • Joshua Major*
    Joshua Major*
    Director
  • Daniela Mack*
    Daniela Mack*
    Rosina
  • Andrew Manea*
    Andrew Manea*
    Figaro
  • Taylor Stayton
    Taylor Stayton
    Count Almaviva
  • Renato Girolami*
    Renato Girolami*
    Doctor Bartolo
  • Timothy Bruno*
    Timothy Bruno*
    Don Basilio
  • Susan Neves*
    Susan Neves*
    Berta

*Palm Beach Opera Debut
^Benenson Young Artist
#Apprentice Artist
+Former Young Artist

Additional cast information will be listed as it becomes available.
Cast subject to change.

SYNOPSIS

Act 1

Count Almaviva, a Spanish nobleman, is in love with Rosina, the rich ward of Dr Bartolo, an old physician, who plans to marry her himself. Almaviva has followed Rosina from Madrid to Seville, disguised as a poor student called Lindoro.

From the street outside Dr Bartolo’s house, Almaviva serenades Rosina, assisted by a group of actors and musicians. Unfortunately, the serenade produces no response from Rosina, so Almaviva enlists the help of Figaro, a barber, who prides himself on his ability to manage the affairs of the city. They realise that they have, in fact, met before, and Almaviva explains why he is in Seville incognito. He is delighted to discover that Figaro is a general factotum to the Bartolo household, who enjoys easy access to the house and gardens. While they are talking, Rosina appears on the balcony with a note for the handsome young student who keeps visiting the house. Despite Bartolo stealing up behind her, she manages to drop the letter from the window and it floats down to Almaviva. Rumours of Almaviva’s interest in Rosina have reached Bartolo ears and he decides he must waste no time in marrying her himself. He gives strict instructions to the servants that while he is out no one should gain admittance to the house.

Figaro persuades Almaviva to answer Rosina’s note with a further serenade, but she is interrupted before she can respond. Lured by the promise of money, Figaro devises a plan whereby Almaviva can gain access to the Bartolo household: he must pretend to be a drunken soldier billeted on Dr Bartolo.

Figaro has inveigled his way into Dr Bartolo’s home and managed a brief meeting with Rosina before Bartolo appears and expresses his annoyance at Figaro’s constant disrespect towards him. He questions Rosina about her meeting with Figaro, as well as interrogating the servants. When Rosina’s singing teacher Don Basilio arrives, Bartolo brings him up to date on the situation with Rosina. Meanwhile, Figaro has overheard Bartolo and Basilio’s conversation. He starts to prepare the ground for ‘Lindoro’, but soon realises that the wily Rosina is already ahead of him.

Bartolo suspects Rosina of writing a letter to ‘Lindoro’; when she protests her innocence, he warns her not to trifle with him, advising her to find more plausible excuses for a man of his standing.

Almaviva, now disguised as a soldier, arrives to take up his ‘billet’ in Bartolo’s house. Rosina is of course delighted when he reveals that he is really her secret admirer. Bartolo’s annoyance at Almaviva’s drunken behaviour causes such a row that the militia are called by the neighbours. The Count, however, narrowly escapes arrest, much to Bartolo’s annoyance.

Act II

Assuming yet another disguise, Almaviva enters the house as Don Alonso, a music teacher who says he has come to give Rosina her music lesson in place of Don Basilio, who, he claims, has suddenly fallen ill. To gain Bartolo’s trust, Don Alonso reveals that he has intercepted a note from Almaviva to Rosina. Bartolo fetches Rosina for her lesson. While Bartolo dozes, Rosina and ‘Lindoro’ express their love and make plans to elope that night.

Figaro arrives to shave Bartolo. He manages to steal the key to Rosina’s balcony and lures Bartolo away from the music room by smashing a pile of crockery. All is going to plan until Don Basilio unexpectedly appears, but Figaro quickly pays him off and Basilio withdraws. Figaro resumes shaving Bartolo, and tells Rosina of his plan for the lovers to make their escape. Bartolo, however, has not been entirely duped, and penetrates Almaviva’s disguise. The game is up for the lovers – albeit temporarily.

Berta, Bartolo’s servant, ruefully comments on the foolishness of old men wanting to marry young wives. When Bartolo discovers that Basilio has never heard of Alonso, he decides to marry Rosina without delay. He confronts Rosina with a letter she addressed to Lindoro and catches her by surprise when he makes out that Lindoro is clearly acting on Almaviva’s behalf.

Following a violent thunderstorm, Figaro and Almaviva climb into the house by way of a ladder and an open window. They are confronted by Rosina who is angry at being ‘used’ by Lindoro – until she learns that he is in fact Almaviva and falls willingly into his arms. Figaro is anxious for the lovers to be off, but they discover they are unable make their escape because Bartolo has removed the ladder.

Basilio returns with the notary who is ready to marry Rosina to her guardian, but a bribe and threats easily persuades Basilio to witness instead the marriage of Rosina to Almaviva. Bartolo and the magistrate appear too late and he is obliged to acknowledge he has lost Rosina.

 Header Photo: Tim Fuller

David Stern
Chief Conductor

Palm Beach Opera Chief Conductor David Stern’s musical leadership is spread across three continents. He is the founder and director of the Paris-based opera company and period-instrument ensemble, Opera Fuoco, as well as artistic advisor and principal conductor of the Shanghai Baroque Festival and music director of opera at the Crested Butte Music Festival in Colorado.

Stern is known for his extensive range of repertoire. In his time as music director of the Israel and the St. Gallen Opera houses, he championed 18th century opera and eclectic works such as Simone Mayr’s Medea, Berg’s Wozzeck, Britten’s Turn of the Screw and Weill’s Mahagonny. He has premiered four new operas since 2010 – Gil Shohat’s The Child Dreams at the Israel Opera, Nicolas Bacri’s Così fanciulli, commissioned by Opera Fuoco and performed at the Théâtre des Champs-Élysées in Paris, Ben Moore’s Enemies, A Love Story in Palm Beach and Jan Sandström’s The Rococo Machine in Drottningholm, Sweden in June 2016.

Stern has enjoyed collaborations with many international stage directors. Stern is a frequent guest around the globe with symphonic and chamber orchestras. He is regularly invited to the Vienna Chamber Orchestra, the Swedish Chamber Orchestra, the Shanghai and Guangzhou Symphonies, the China Philharmonic, the New Russian Symphony, the National Orchestra of Mexico, and has had recent appearances with the Vienna Symphony and the Hong Kong Philharmonic.

Since launching the Aix Festival Academy in 1998, David Stern has been committed to developing young voices. He created Opera Fuoco in 2003 as a platform to train young French singers in repertoire ranging from Monteverdi to John Cage, combining both an opera studio offering regular master classes and an opera company producing and co-producing larger concertante and staged productions. As artistic advisor of the Shanghai Baroque Festival, he involves singers from the Shanghai Conservatory and the Opera Fuoco Studio, and he works regularly with the Young Artist Programs in Palm Beach and Crested Butte, Colorado.

Stern received his Bachelor of Arts from Yale and his Masters of Music from the Juilliard School. He resides in Paris with his wife and two daughters.

Joshua Major*
Director

Toronto-born Joshua Major began his opera stage directing career at the age of 23 with La Cenerentola for Opera Omaha. Soon after, Mr. Major worked as an assistant to Rhoda Levine at Juilliard, Cynthia Auerbach at both Chautauqua Opera and New York City Opera and William Gaskill at the Welsh National Opera. Mr. Major has worked as a stage director for over 30 years throughout the United States and Canada developing an impressive and diverse repertoire of productions. Recent productions include the North American premiere of Rossini’s La GazzettaLa Perichole (Offenbach), Dido and Aeneus (Purcell), Ariadne auf Naxos (Strauss), The Cunning Little Vixen (Janacek), Lucia di Lamermoor (Donizetti), The Turn of the Screw (Britten), Les Mamaelles de Tiresias (Poulenc), L’Impressions de Pelleas (Brook/Debussy), Le Tragedie du Carmen (Brook/Bizet). In August 2012 Mr. Major joined the faculty of the New England Conservatory of Music in Boston as Chair of Opera Studies. Prior to joining NEC, he spent 20 years on the faculty of the University of Michigan where he oversaw the Opera Program, both teaching and directing. Recent productions at the University of Michigan include, Falstaff, Armide, A Midsummer Night’s Dream and Eugene Onegin. Joshua Major has been the Artistic Director of the Pine Mountain Music Festival, located in the Upper Peninsula of Michigan on the shores of Lake Superior, since 2003. He continues to be a stage director and faculty member with the International Vocal Arts Institute in both Montreal and Tel Aviv, where he has directed annually, since 1993.  

  

Daniela Mack*
Rosina

Mezzo-soprano Daniela Mack has been acclaimed for her “caramel timbre, flickering vibrato, and crisp articulation” (Opernwelt) as she “hurls fast notes like a Teresa Berganza or a Frederica von Stade” (San Francisco Chronicle).

Renowned for her Rossini interpretations, Daniela Mack will have two house debuts as Rosina in The Barber of Seville during the 2018-2019 season at Boston Lyric Opera and Michigan Opera Theatre. She makes her Spanish debut and role debut at Ópera de Oviedo as Sesto in La clemenza di Tito, as well as her debut with the BBC Philharmonic as Béatrice in Béatrice et Bénédict. Ms. Mack makes her role debut as Dorabella in Così fan tutte at the Lyric Opera of Kansas City and her return to the Florida Grand Opera in a highly-anticipated role debut as Charlotte in Werther.

In recent seasons, Daniela Mack made her Royal Opera House-Covent Garden debut as Rosina in Il barbiere di Siviglia with Javier Camerena and made her Metropolitan Opera debut in Mary Zimmerman’s new production of Rusalka as the Kitchen Boy. Ms. Mack was seen at the Santa Fe Opera for her first North American performances as Isabella in L’italiana in Algeri, as Bradamante in Alcina conducted by Harry Bicket, and her role debut as in Carmen.  She created the role of Elizabeth Cree in the world premiere of Kevin Puts and Mark Campbell’s Elizabeth Cree at Opera Philadelphia and returned later in the season for Carmen. She was seen at the Washington National Opera as Bradamante in Alcina, debuted at the Seattle Opera as Berlioz’s Béatrice in Béatrice et Bénédict, returned to Arizona Opera as Angelina in La Cenerentola and debuted at the Florida Grand Opera as the title role in Carmen.

Daniela Mack has been seen at the San Francisco Opera as Rosina in Il barbiere di Siviglia and Rosmira in Partenope, as well as created the role of Jacqueline Kennedy in the world premiere of David T. Little and Royce Vavrek’s JFK at the Fort Worth Opera with subsequent performances at the Montreal Opera. She debuted at the Lyric Opera of Chicago as the Kitchen Boy in David McVicar’s production of Rusalka conducted by Andrew Davis and returned to Madison Opera as Sister Helen Prejean in Dead Man Walking. She has been seen at the English National Opera in a new production of Julius Caesar as Sesto under Christian Curnyn, the first time the opera was produced at the ENO since the legendary 1979 production. She also debuted at Théâtre du Capitole in Toulouse and Los Angeles Opera as Nancy in Albert Herring, Washington National Opera as the Madrigal Singer in Manon Lescaut, Deutsche Oper Berlin and Verbier Festival as Cherubino in Le nozze di Figaro, Opéra National de Bordeaux as Angelina in L’italiana in Algeri, and Opera Colorado in Jean-Pierre Ponnelle’s famous production of La Cenerentola directed by Grischa Asagaroff.

On the concert stage, Ms. Mack debuted with three orchestras under Charles Dutoit: Orchestra de la Suisse Romande in Ravel’s L’heure espagnole and L’enfant et les sortilèges, Boston Symphony Orchestra in L’heure espagnole, and Chicago Symphony Orchestra in Falla’s Three-Cornered Hat. She also debuted with the Mitteldeutscher Rundfunk in Rossini’s Giovanna d’Arco under James Gaffigan and performed Vivaldi’s Judith triumphans with Boston Baroque. She debuted with the New York Philharmonic in Beethoven’s Ninth Symphony under Alan Gilbert and with the Los Angeles Philharmonic in Manuel de Falla’s La vida breve under the baton of Rafael Frühbeck de Burgos. She also performed Beethoven’s Symphony No. 9 with the LA Philharmonic, Beethoven’s Missa solemnis with the Washington Chorus, Ravel’s Shéhérazade with the Hong Kong Philharmonic, and Canteloube’s Chants d’Auvergne and Falla’s Siete canciones populares españolas with the Sydney Symphony. She also made her Cincinnati May Festival debut in Mozart’s Requiem under James Conlon and in an all-star gala at the Opera Theater of San Antonio.

Daniela Mack is an alumna of the Adler Fellowship Program at San Francisco Opera where she has appeared as Idamante in Idomeneo Siebel in Faust and Lucienne in Die tote Stadt for her house debut. She performed the title role of La Cenerentola as a member of the Merola Opera Program and made her West Coast recital debut as part of San Francisco Opera’s Schwabacher Debut Recital Series. Ms. Mack was recently a finalist in the 2013 BBC Cardiff Singer of the World Competition.

Andrew Manea*
Figaro

Lauded for his “Charming…robust baritone…” rising Romanian-American baritone Andrew G. Manea is a second-year Adler Fellow at San Francisco Opera. In the current season, Mr. Manea made his role debut as the Duke of Nottingham in Roberto Devereux and also sings Sciarrone in Tosca. He was also heard as Marullo in Rigoletto, as the Marchese d’Obigny in La traviata, and in the world premiere of John Adams’ Girls of the Golden West. On the concert stage, he made his Schwabacher Recital debut with esteemed pianist Warren 

Additional recently performed roles include Marcello in La bohème with Shreveport Opera; #7 in Transformations with the Merola Opera Program; Escamillo in Carmen in Wuhan, China; as well as the Forester in The Cunning Little Vixen, Danilo in The Merry Widow, and the Father in Hansel and Gretel, all with the College-Conservatory of Music at Cincinnati University.

Andrew Manea was awarded First Place and Audience Favorite in the Mary Jacobs Smith Singer of the Year Competition with Shreveport Opera, was a Semifinalist of the Metropolitan Opera National Council Auditions, earned Second Place and Audience Favorite in the Opera Columbus Cooper-Bing International Vocal Competition, was a Finalist in the Jensen Foundation Vocal Competition, and was a Career Grant recipient in the Giulio Gari Foundation Competition.

A native of Troy, Michigan, Mr. Manea holds his Bachelor’s degree from the Cleveland Institute of Music and his Master’s degree from the University of Cincinnati, College-Conservatory of Music, where he studied with the prolific Bill McGraw.

Taylor Stayton
Count Almaviva

Taylor Stayton’s “laser-bright timbre” and “exceptional fluidity above the staff” (Opera News) continue to distinguish him as one of the most sought-after tenors in his repertoire. Stayton begins the 2018-2019 season with his debut at the Edinburgh Festival in August singing the role of Don Ramiro in Rossini’s La Cenerentola, a role he reprises later in the season for his return to the Norwegian National Opera in OlsoHe makes two role debuts this season: first as the title role in Bernstein’s Candide at the National Kaohsiung Center for the Arts in Taiwan, followed by his debut as Nemorino in Donizetti’s L’elisir d’amore with Opera Omaha. On the concert stage Stayton makes his debut with the Memphis Symphony in December for performances of Messiah. Stayton recently returned to the Metropolitan Opera debuting the role of Camille de Rosillon in The Merry Widow, followed by his debut at both Semperoper Dresden and Washington National Opera reprising his acclaimed interpretation of Almaviva in Rossini’s Il barbiere di Siviglia. Additional recent debuts include his house debuts with the Liceu Opera Barcelona in the role of Belfiore in Rossini’s Viaggio a Reims and Opera Omaha as Fenton in Verdi’s Falstaff, as well as his role debut as Alfred in Strauss’ Die Fledermaus.

Described as “deserving to be numbered on the short list of Rossini all-stars” by Opera Today, Stayton premiered the role of Almaviva in Il barbiere di Siviglia with Opéra de Lille in 2012 and has reprised the role at the Deutsche Oper Berlin, Nashville Opera, and Opera Philadelphia, as well as on a tour throughout France with theaters including Opéra de Limoges, Théâtre de Caen, and Opéra de Dijon. Additional roles in the bel canto repertoire include his debut as the title character in Le comte Ory with Des Moines Metro Opera, Don Ramiro in La Cenerentola at the Glyndebourne Festival, Tonio in La fille du regiment in his debut with Palm Beach Opera, and his house and role debuts singing Lindoro in L’Italiana in Algeri with Lyric Opera of Kansas City. Stayton made his critically acclaimed Metropolitan Opera debut in a last-minute performance as Percy in Anna Bolena, and returned as Elvino in La Sonnambula opposite Diana Damrau.

Recent debuts include with the Bayerische Staatsoper as Marzio in Mitridate, re di Ponto; Kentucky Opera as Don Ottavio in Don Giovanni; Ernesto in Don Pasquale with Des Moines Metro Opera; Tybalt in Roméo et Juliette with Opera Philadelphia; Don Alvar in L’Africaine with Opera Orchestra of New York; and Teatro dell-Opera di Roma as Fenton in the new Franco Zeffirelli production of Falstaff with Renato Bruson and Carlos Alvarez.

A native of Sidney, Ohio, Stayton is a 2011 graduate of The Academy of Vocal Arts as a student of the renowned voice teacher Bill Schuman. He earned his Bachelor of Music degree at Ohio State University, and is an alumnus of the Martina Arroyo Foundation’s “Prelude to Performance” program. He has won several prestigious vocal competitions, including First Prize in the Licia Albanese-Puccini Foundation International Voice Competition, First prize in the Gerda Lissner Foundation International Voice Competition, and third place in the Loren B. Zachary Voice Competition.

Renato Girolami*
Doctor Bartolo

Italian born baritone Renato Girolami studied singing in Rome with Sesto Bruscantini.

After receiving his degree in “Konzertgesang“ from the Musikhochschule in München, where he studied with Ernst Haefliger, he participated in masterclasses in Berlin with Dietrich Fischer-Dieskau.

Passau and Salzburg were his first professional engagements, the latter of which led to his engagement at the Wiener Staatsoper, where he remained for 5 years in residence. After this experience Renato Girolami has established himself as one of the leading baritones of today, being invited in some among the world’s most important opera houses and festivals, including Teatro alla Scala, Salzburg Festival, Wiener Staatsoper, Theater an der Wien, Opernhaus Zürich, Bayerische Staatsoper München, Staatsoper Berlin, Gran Teatre de Liceu de Barcelona, Glyndebourne Festival, Canadian Opera Company Toronto, New National Theater Tokyo, New Israeli Opera Tel Aviv, Innsbrucker Festwochen, De Nationale Opera Amsterdam, Teatro La Fenice.

He worked with such conductors as Riccardo Muti, Daniel Barenboim, Renato Palumbo, Asher Fisch, Donato Renzetti, Omer Meir Wellber, Alessandro De Marchi, just to name a few.

Due to his vocal flexibility, the rapidity of his parlando passages, his natural recitatives as well as his versatile role portrayals, Renato Girolami has become known as a specialist in the Mozart and Rossini operas, such as Le nozze di Figaro, performed also under the baton of Riccardo Muti, and Il barbiere di Siviglia, performed also under the baton of Daniel Barenboim.  In addition, his belcanto line and phrasing and the warmth of his vocal timbre have allowed him to confront roles such as Germont, Enrico Ashton and Sharpless with equal success.

He took part in many important productions, including Zaide (Osmin) at Salzburg Festival, L’elisir d’amore (Dulcamara) at Teatro alla Scala, at Staatsoper Berlin, at Wiener Staatsoper, at Opernhaus Zürich and at New National Theatre Tokyo, Don Giovanni (Leporello) at Teatro La Fenice, La forza del destino (Fra Melitone) at Liceu de Barcelona and at Bayerische Staatsoper in Munich, Il barbiere di Siviglia (Bartolo) at Bayerische Staatsoper, at Staatsoper Berlin, at Opernhaus Zürich and at Canadian Opera Company Toronto, Don Pasquale (title role) at Glyndebourne Festival, Il turco in Italia (Don Geronio) at Bayerische Staatsoper and at Staatsoper Hamburg, Falstaff (title role) at Kungliga Operan Stockholm.

His discography includes Le nozze di Figaro (Figaro) and Don Giovanni (Leporello) for Naxos, La Serva Padrona (Uberto) and Livietta e Tracollo (Tracollo) for Bongiovanni.

LATEST PERFORMANCES: Il turco in Italia at Opernhaus Zürich; Il barbiere di Siviglia (Bartolo) at Semperoper Dresden and at Staatsoper Berlin; La forza del destino (Fra Melitone) at Oper Köln; Il barbiere di Siviglia (Bartolo) at Staatsoper Hamburg; Gianni Schicchi (title role) at Den Norske Opera Oslo; La Cenerentola in Edinburgh on tour with Opéra de Lyon; Il matrimonio segreto (conte Robinson) at Oper Köln; L’elisir d’amore at New National Theatre Tokyo; Il barbiere di Siviglia (Bartolo) at Bayerische Staatsoper, Opernhaus Zürich, Teatro de la Maestranza de Sevilla, Staatsoper Hamburg;  La Cenerentola at Opéra de Lyon, Stuttgart Oper, Den Norske Opera Oslo, Wiener Staatsoper, Opéra de Lille, Bayerische Staatsoper.

FORTHCOMING PROJECTS: La forza del destino at Opernhaus Zürich; Il barbiere di Siviglia (Bartolo) at Canadian Opera Company Toronto, Palm Beach Lyric Opera and at Dallas Opera; La Cenerentola at Wiener Staatsoper, in Düsseldorf and at Teatro Real de Madrid; Il turco in Italia at Staatsoper Hamburg.

Timothy Bruno*
Don Basilio

2018-19 marks the finale of Mr. Bruno’s affiliation as a Domingo-Cafritz Young Artist with the Washington National Opera. He will have his role debuts at the WNO as Dottore Grenvil in La Traviata followed by the French General in Silent Night. In 2019, he will create the role of Daddy in WNO’s world-premiere of Taking Up Serpents by Kamala Sankaram and Jerre Dye as part of the American Opera Initiative. With the New Orleans Opera, he will star as Osmin in Abduction from the Seraglio. Back at WNO, he will cover the role of Méphistophélès in Faust, and then appears in the world-premiere of Liszt’s lost opera, Sardanapale, performing Beleso at the Library of Congress.  In the summer, he returns to Des Moines Metro Opera for Colline in La bohème and the First Apprentice in Wozzeck.

In 2017-18, Mr. Bruno performed Il frate in Don Carlo, Don Basilio in The Barber of Seville, the King in The Little Prince, the Sodbuster in the world premiere of Missy Mazzoli and Royce Vavrek’s Proving Up, and covered Melisso in Alcina. With the Washington Concert Opera, he debuted as Il Priore in Bellini’s La Straniera and appeared as Il viscount di Suze in Donizetti’s Maria di Rohan under the baton of Mo. Antony Walker. Mr. Bruno also debuted at The Glimmerglass Festival, performing Don Basilio in The Barber of Seville and The French General in Silent Night.

Mr. Bruno is a recipient of prizes from the Metropolitan Opera’s National Council Auditions, the Opera Birmingham Competition, the Annapolis Opera Competition, Partners for the Arts, the Harold Haugh Light Opera Competition, and Singer’s Club of Cleveland. He is an alumnus of the Master of Music program at the University of Cincinnati’s College Conservatory of Music and holds a Bachelor of Music degree from Bowling Green State University.

Susan Neves*
Berta

Dramatic soprano, Susan Neves, has been internationally acclaimed in theaters such as the Opera Bastille in Paris, the Metropolitan Opera, Deutsche Opera Berlin, Vienna State Opera, Gran Teatro del Liceu in Barcelona, Monte Carlo, and opera houses throughout Italy including l’Arena di Verona, Bologna, Genoa, Parma, and Cagliari.

She commands a repertoire of some of the most challenging roles written for soprano, and is a sought-after teacher and coach in New York City and Orlando, Florida. She has also taught at Stetson University and with the Miami Summer Music Festival at Florida International University.

Her 2017-2018 season includes performing the Overseer in Elektra and covering Gertrude in Hansel and Gretel at the Metropolitan Opera, an All-Verdi Concert for Vero Beach Opera, and a Master Class for her alma mater, Manhattan School of Music.

Susan Neves is a native New Yorker with a French mother and a Portuguese father. Consequently she feels at home in whatever city she performs, and speaks six languages. She completed her musical studies at the Manhattan School of Music, where she earned a master’s degree. As a winner of the International Luciano Pavarotti Vocal Competition, Miss Neves debuted as Donna Elvira in Don Giovanni.

David Stern
Chief Conductor

Palm Beach Opera Chief Conductor David Stern’s musical leadership is spread across three continents. He is the founder and director of the Paris-based opera company and period-instrument ensemble, Opera Fuoco, as well as artistic advisor and principal conductor of the Shanghai Baroque Festival and music director of opera at the Crested Butte Music Festival in Colorado.

Stern is known for his extensive range of repertoire. In his time as music director of the Israel and the St. Gallen Opera houses, he championed 18th century opera and eclectic works such as Simone Mayr’s Medea, Berg’s Wozzeck, Britten’s Turn of the Screw and Weill’s Mahagonny. He has premiered four new operas since 2010 – Gil Shohat’s The Child Dreams at the Israel Opera, Nicolas Bacri’s Così fanciulli, commissioned by Opera Fuoco and performed at the Théâtre des Champs-Élysées in Paris, Ben Moore’s Enemies, A Love Story in Palm Beach and Jan Sandström’s The Rococo Machine in Drottningholm, Sweden in June 2016.

Stern has enjoyed collaborations with many international stage directors. Stern is a frequent guest around the globe with symphonic and chamber orchestras. He is regularly invited to the Vienna Chamber Orchestra, the Swedish Chamber Orchestra, the Shanghai and Guangzhou Symphonies, the China Philharmonic, the New Russian Symphony, the National Orchestra of Mexico, and has had recent appearances with the Vienna Symphony and the Hong Kong Philharmonic.

Since launching the Aix Festival Academy in 1998, David Stern has been committed to developing young voices. He created Opera Fuoco in 2003 as a platform to train young French singers in repertoire ranging from Monteverdi to John Cage, combining both an opera studio offering regular master classes and an opera company producing and co-producing larger concertante and staged productions. As artistic advisor of the Shanghai Baroque Festival, he involves singers from the Shanghai Conservatory and the Opera Fuoco Studio, and he works regularly with the Young Artist Programs in Palm Beach and Crested Butte, Colorado.

Stern received his Bachelor of Arts from Yale and his Masters of Music from the Juilliard School. He resides in Paris with his wife and two daughters.

Joshua Major*
Director

Toronto-born Joshua Major began his opera stage directing career at the age of 23 with La Cenerentola for Opera Omaha. Soon after, Mr. Major worked as an assistant to Rhoda Levine at Juilliard, Cynthia Auerbach at both Chautauqua Opera and New York City Opera and William Gaskill at the Welsh National Opera. Mr. Major has worked as a stage director for over 30 years throughout the United States and Canada developing an impressive and diverse repertoire of productions. Recent productions include the North American premiere of Rossini’s La GazzettaLa Perichole (Offenbach), Dido and Aeneus (Purcell), Ariadne auf Naxos (Strauss), The Cunning Little Vixen (Janacek), Lucia di Lamermoor (Donizetti), The Turn of the Screw (Britten), Les Mamaelles de Tiresias (Poulenc), L’Impressions de Pelleas (Brook/Debussy), Le Tragedie du Carmen (Brook/Bizet). In August 2012 Mr. Major joined the faculty of the New England Conservatory of Music in Boston as Chair of Opera Studies. Prior to joining NEC, he spent 20 years on the faculty of the University of Michigan where he oversaw the Opera Program, both teaching and directing. Recent productions at the University of Michigan include, Falstaff, Armide, A Midsummer Night’s Dream and Eugene Onegin. Joshua Major has been the Artistic Director of the Pine Mountain Music Festival, located in the Upper Peninsula of Michigan on the shores of Lake Superior, since 2003. He continues to be a stage director and faculty member with the International Vocal Arts Institute in both Montreal and Tel Aviv, where he has directed annually, since 1993.  

  

Daniela Mack*
Rosina

Mezzo-soprano Daniela Mack has been acclaimed for her “caramel timbre, flickering vibrato, and crisp articulation” (Opernwelt) as she “hurls fast notes like a Teresa Berganza or a Frederica von Stade” (San Francisco Chronicle).

Renowned for her Rossini interpretations, Daniela Mack will have two house debuts as Rosina in The Barber of Seville during the 2018-2019 season at Boston Lyric Opera and Michigan Opera Theatre. She makes her Spanish debut and role debut at Ópera de Oviedo as Sesto in La clemenza di Tito, as well as her debut with the BBC Philharmonic as Béatrice in Béatrice et Bénédict. Ms. Mack makes her role debut as Dorabella in Così fan tutte at the Lyric Opera of Kansas City and her return to the Florida Grand Opera in a highly-anticipated role debut as Charlotte in Werther.

In recent seasons, Daniela Mack made her Royal Opera House-Covent Garden debut as Rosina in Il barbiere di Siviglia with Javier Camerena and made her Metropolitan Opera debut in Mary Zimmerman’s new production of Rusalka as the Kitchen Boy. Ms. Mack was seen at the Santa Fe Opera for her first North American performances as Isabella in L’italiana in Algeri, as Bradamante in Alcina conducted by Harry Bicket, and her role debut as in Carmen.  She created the role of Elizabeth Cree in the world premiere of Kevin Puts and Mark Campbell’s Elizabeth Cree at Opera Philadelphia and returned later in the season for Carmen. She was seen at the Washington National Opera as Bradamante in Alcina, debuted at the Seattle Opera as Berlioz’s Béatrice in Béatrice et Bénédict, returned to Arizona Opera as Angelina in La Cenerentola and debuted at the Florida Grand Opera as the title role in Carmen.

Daniela Mack has been seen at the San Francisco Opera as Rosina in Il barbiere di Siviglia and Rosmira in Partenope, as well as created the role of Jacqueline Kennedy in the world premiere of David T. Little and Royce Vavrek’s JFK at the Fort Worth Opera with subsequent performances at the Montreal Opera. She debuted at the Lyric Opera of Chicago as the Kitchen Boy in David McVicar’s production of Rusalka conducted by Andrew Davis and returned to Madison Opera as Sister Helen Prejean in Dead Man Walking. She has been seen at the English National Opera in a new production of Julius Caesar as Sesto under Christian Curnyn, the first time the opera was produced at the ENO since the legendary 1979 production. She also debuted at Théâtre du Capitole in Toulouse and Los Angeles Opera as Nancy in Albert Herring, Washington National Opera as the Madrigal Singer in Manon Lescaut, Deutsche Oper Berlin and Verbier Festival as Cherubino in Le nozze di Figaro, Opéra National de Bordeaux as Angelina in L’italiana in Algeri, and Opera Colorado in Jean-Pierre Ponnelle’s famous production of La Cenerentola directed by Grischa Asagaroff.

On the concert stage, Ms. Mack debuted with three orchestras under Charles Dutoit: Orchestra de la Suisse Romande in Ravel’s L’heure espagnole and L’enfant et les sortilèges, Boston Symphony Orchestra in L’heure espagnole, and Chicago Symphony Orchestra in Falla’s Three-Cornered Hat. She also debuted with the Mitteldeutscher Rundfunk in Rossini’s Giovanna d’Arco under James Gaffigan and performed Vivaldi’s Judith triumphans with Boston Baroque. She debuted with the New York Philharmonic in Beethoven’s Ninth Symphony under Alan Gilbert and with the Los Angeles Philharmonic in Manuel de Falla’s La vida breve under the baton of Rafael Frühbeck de Burgos. She also performed Beethoven’s Symphony No. 9 with the LA Philharmonic, Beethoven’s Missa solemnis with the Washington Chorus, Ravel’s Shéhérazade with the Hong Kong Philharmonic, and Canteloube’s Chants d’Auvergne and Falla’s Siete canciones populares españolas with the Sydney Symphony. She also made her Cincinnati May Festival debut in Mozart’s Requiem under James Conlon and in an all-star gala at the Opera Theater of San Antonio.

Daniela Mack is an alumna of the Adler Fellowship Program at San Francisco Opera where she has appeared as Idamante in Idomeneo Siebel in Faust and Lucienne in Die tote Stadt for her house debut. She performed the title role of La Cenerentola as a member of the Merola Opera Program and made her West Coast recital debut as part of San Francisco Opera’s Schwabacher Debut Recital Series. Ms. Mack was recently a finalist in the 2013 BBC Cardiff Singer of the World Competition.

Andrew Manea*
Figaro

Lauded for his “Charming…robust baritone…” rising Romanian-American baritone Andrew G. Manea is a second-year Adler Fellow at San Francisco Opera. In the current season, Mr. Manea made his role debut as the Duke of Nottingham in Roberto Devereux and also sings Sciarrone in Tosca. He was also heard as Marullo in Rigoletto, as the Marchese d’Obigny in La traviata, and in the world premiere of John Adams’ Girls of the Golden West. On the concert stage, he made his Schwabacher Recital debut with esteemed pianist Warren 

Additional recently performed roles include Marcello in La bohème with Shreveport Opera; #7 in Transformations with the Merola Opera Program; Escamillo in Carmen in Wuhan, China; as well as the Forester in The Cunning Little Vixen, Danilo in The Merry Widow, and the Father in Hansel and Gretel, all with the College-Conservatory of Music at Cincinnati University.

Andrew Manea was awarded First Place and Audience Favorite in the Mary Jacobs Smith Singer of the Year Competition with Shreveport Opera, was a Semifinalist of the Metropolitan Opera National Council Auditions, earned Second Place and Audience Favorite in the Opera Columbus Cooper-Bing International Vocal Competition, was a Finalist in the Jensen Foundation Vocal Competition, and was a Career Grant recipient in the Giulio Gari Foundation Competition.

A native of Troy, Michigan, Mr. Manea holds his Bachelor’s degree from the Cleveland Institute of Music and his Master’s degree from the University of Cincinnati, College-Conservatory of Music, where he studied with the prolific Bill McGraw.

Taylor Stayton
Count Almaviva

Taylor Stayton’s “laser-bright timbre” and “exceptional fluidity above the staff” (Opera News) continue to distinguish him as one of the most sought-after tenors in his repertoire. Stayton begins the 2018-2019 season with his debut at the Edinburgh Festival in August singing the role of Don Ramiro in Rossini’s La Cenerentola, a role he reprises later in the season for his return to the Norwegian National Opera in OlsoHe makes two role debuts this season: first as the title role in Bernstein’s Candide at the National Kaohsiung Center for the Arts in Taiwan, followed by his debut as Nemorino in Donizetti’s L’elisir d’amore with Opera Omaha. On the concert stage Stayton makes his debut with the Memphis Symphony in December for performances of Messiah. Stayton recently returned to the Metropolitan Opera debuting the role of Camille de Rosillon in The Merry Widow, followed by his debut at both Semperoper Dresden and Washington National Opera reprising his acclaimed interpretation of Almaviva in Rossini’s Il barbiere di Siviglia. Additional recent debuts include his house debuts with the Liceu Opera Barcelona in the role of Belfiore in Rossini’s Viaggio a Reims and Opera Omaha as Fenton in Verdi’s Falstaff, as well as his role debut as Alfred in Strauss’ Die Fledermaus.

Described as “deserving to be numbered on the short list of Rossini all-stars” by Opera Today, Stayton premiered the role of Almaviva in Il barbiere di Siviglia with Opéra de Lille in 2012 and has reprised the role at the Deutsche Oper Berlin, Nashville Opera, and Opera Philadelphia, as well as on a tour throughout France with theaters including Opéra de Limoges, Théâtre de Caen, and Opéra de Dijon. Additional roles in the bel canto repertoire include his debut as the title character in Le comte Ory with Des Moines Metro Opera, Don Ramiro in La Cenerentola at the Glyndebourne Festival, Tonio in La fille du regiment in his debut with Palm Beach Opera, and his house and role debuts singing Lindoro in L’Italiana in Algeri with Lyric Opera of Kansas City. Stayton made his critically acclaimed Metropolitan Opera debut in a last-minute performance as Percy in Anna Bolena, and returned as Elvino in La Sonnambula opposite Diana Damrau.

Recent debuts include with the Bayerische Staatsoper as Marzio in Mitridate, re di Ponto; Kentucky Opera as Don Ottavio in Don Giovanni; Ernesto in Don Pasquale with Des Moines Metro Opera; Tybalt in Roméo et Juliette with Opera Philadelphia; Don Alvar in L’Africaine with Opera Orchestra of New York; and Teatro dell-Opera di Roma as Fenton in the new Franco Zeffirelli production of Falstaff with Renato Bruson and Carlos Alvarez.

A native of Sidney, Ohio, Stayton is a 2011 graduate of The Academy of Vocal Arts as a student of the renowned voice teacher Bill Schuman. He earned his Bachelor of Music degree at Ohio State University, and is an alumnus of the Martina Arroyo Foundation’s “Prelude to Performance” program. He has won several prestigious vocal competitions, including First Prize in the Licia Albanese-Puccini Foundation International Voice Competition, First prize in the Gerda Lissner Foundation International Voice Competition, and third place in the Loren B. Zachary Voice Competition.

Renato Girolami*
Doctor Bartolo

Italian born baritone Renato Girolami studied singing in Rome with Sesto Bruscantini.

After receiving his degree in “Konzertgesang“ from the Musikhochschule in München, where he studied with Ernst Haefliger, he participated in masterclasses in Berlin with Dietrich Fischer-Dieskau.

Passau and Salzburg were his first professional engagements, the latter of which led to his engagement at the Wiener Staatsoper, where he remained for 5 years in residence. After this experience Renato Girolami has established himself as one of the leading baritones of today, being invited in some among the world’s most important opera houses and festivals, including Teatro alla Scala, Salzburg Festival, Wiener Staatsoper, Theater an der Wien, Opernhaus Zürich, Bayerische Staatsoper München, Staatsoper Berlin, Gran Teatre de Liceu de Barcelona, Glyndebourne Festival, Canadian Opera Company Toronto, New National Theater Tokyo, New Israeli Opera Tel Aviv, Innsbrucker Festwochen, De Nationale Opera Amsterdam, Teatro La Fenice.

He worked with such conductors as Riccardo Muti, Daniel Barenboim, Renato Palumbo, Asher Fisch, Donato Renzetti, Omer Meir Wellber, Alessandro De Marchi, just to name a few.

Due to his vocal flexibility, the rapidity of his parlando passages, his natural recitatives as well as his versatile role portrayals, Renato Girolami has become known as a specialist in the Mozart and Rossini operas, such as Le nozze di Figaro, performed also under the baton of Riccardo Muti, and Il barbiere di Siviglia, performed also under the baton of Daniel Barenboim.  In addition, his belcanto line and phrasing and the warmth of his vocal timbre have allowed him to confront roles such as Germont, Enrico Ashton and Sharpless with equal success.

He took part in many important productions, including Zaide (Osmin) at Salzburg Festival, L’elisir d’amore (Dulcamara) at Teatro alla Scala, at Staatsoper Berlin, at Wiener Staatsoper, at Opernhaus Zürich and at New National Theatre Tokyo, Don Giovanni (Leporello) at Teatro La Fenice, La forza del destino (Fra Melitone) at Liceu de Barcelona and at Bayerische Staatsoper in Munich, Il barbiere di Siviglia (Bartolo) at Bayerische Staatsoper, at Staatsoper Berlin, at Opernhaus Zürich and at Canadian Opera Company Toronto, Don Pasquale (title role) at Glyndebourne Festival, Il turco in Italia (Don Geronio) at Bayerische Staatsoper and at Staatsoper Hamburg, Falstaff (title role) at Kungliga Operan Stockholm.

His discography includes Le nozze di Figaro (Figaro) and Don Giovanni (Leporello) for Naxos, La Serva Padrona (Uberto) and Livietta e Tracollo (Tracollo) for Bongiovanni.

LATEST PERFORMANCES: Il turco in Italia at Opernhaus Zürich; Il barbiere di Siviglia (Bartolo) at Semperoper Dresden and at Staatsoper Berlin; La forza del destino (Fra Melitone) at Oper Köln; Il barbiere di Siviglia (Bartolo) at Staatsoper Hamburg; Gianni Schicchi (title role) at Den Norske Opera Oslo; La Cenerentola in Edinburgh on tour with Opéra de Lyon; Il matrimonio segreto (conte Robinson) at Oper Köln; L’elisir d’amore at New National Theatre Tokyo; Il barbiere di Siviglia (Bartolo) at Bayerische Staatsoper, Opernhaus Zürich, Teatro de la Maestranza de Sevilla, Staatsoper Hamburg;  La Cenerentola at Opéra de Lyon, Stuttgart Oper, Den Norske Opera Oslo, Wiener Staatsoper, Opéra de Lille, Bayerische Staatsoper.

FORTHCOMING PROJECTS: La forza del destino at Opernhaus Zürich; Il barbiere di Siviglia (Bartolo) at Canadian Opera Company Toronto, Palm Beach Lyric Opera and at Dallas Opera; La Cenerentola at Wiener Staatsoper, in Düsseldorf and at Teatro Real de Madrid; Il turco in Italia at Staatsoper Hamburg.

Timothy Bruno*
Don Basilio

2018-19 marks the finale of Mr. Bruno’s affiliation as a Domingo-Cafritz Young Artist with the Washington National Opera. He will have his role debuts at the WNO as Dottore Grenvil in La Traviata followed by the French General in Silent Night. In 2019, he will create the role of Daddy in WNO’s world-premiere of Taking Up Serpents by Kamala Sankaram and Jerre Dye as part of the American Opera Initiative. With the New Orleans Opera, he will star as Osmin in Abduction from the Seraglio. Back at WNO, he will cover the role of Méphistophélès in Faust, and then appears in the world-premiere of Liszt’s lost opera, Sardanapale, performing Beleso at the Library of Congress.  In the summer, he returns to Des Moines Metro Opera for Colline in La bohème and the First Apprentice in Wozzeck.

In 2017-18, Mr. Bruno performed Il frate in Don Carlo, Don Basilio in The Barber of Seville, the King in The Little Prince, the Sodbuster in the world premiere of Missy Mazzoli and Royce Vavrek’s Proving Up, and covered Melisso in Alcina. With the Washington Concert Opera, he debuted as Il Priore in Bellini’s La Straniera and appeared as Il viscount di Suze in Donizetti’s Maria di Rohan under the baton of Mo. Antony Walker. Mr. Bruno also debuted at The Glimmerglass Festival, performing Don Basilio in The Barber of Seville and The French General in Silent Night.

Mr. Bruno is a recipient of prizes from the Metropolitan Opera’s National Council Auditions, the Opera Birmingham Competition, the Annapolis Opera Competition, Partners for the Arts, the Harold Haugh Light Opera Competition, and Singer’s Club of Cleveland. He is an alumnus of the Master of Music program at the University of Cincinnati’s College Conservatory of Music and holds a Bachelor of Music degree from Bowling Green State University.

Susan Neves*
Berta

Dramatic soprano, Susan Neves, has been internationally acclaimed in theaters such as the Opera Bastille in Paris, the Metropolitan Opera, Deutsche Opera Berlin, Vienna State Opera, Gran Teatro del Liceu in Barcelona, Monte Carlo, and opera houses throughout Italy including l’Arena di Verona, Bologna, Genoa, Parma, and Cagliari.

She commands a repertoire of some of the most challenging roles written for soprano, and is a sought-after teacher and coach in New York City and Orlando, Florida. She has also taught at Stetson University and with the Miami Summer Music Festival at Florida International University.

Her 2017-2018 season includes performing the Overseer in Elektra and covering Gertrude in Hansel and Gretel at the Metropolitan Opera, an All-Verdi Concert for Vero Beach Opera, and a Master Class for her alma mater, Manhattan School of Music.

Susan Neves is a native New Yorker with a French mother and a Portuguese father. Consequently she feels at home in whatever city she performs, and speaks six languages. She completed her musical studies at the Manhattan School of Music, where she earned a master’s degree. As a winner of the International Luciano Pavarotti Vocal Competition, Miss Neves debuted as Donna Elvira in Don Giovanni.

David Stern
Chief Conductor

Palm Beach Opera Chief Conductor David Stern’s musical leadership is spread across three continents. He is the founder and director of the Paris-based opera company and period-instrument ensemble, Opera Fuoco, as well as artistic advisor and principal conductor of the Shanghai Baroque Festival and music director of opera at the Crested Butte Music Festival in Colorado.

Stern is known for his extensive range of repertoire. In his time as music director of the Israel and the St. Gallen Opera houses, he championed 18th century opera and eclectic works such as Simone Mayr’s Medea, Berg’s Wozzeck, Britten’s Turn of the Screw and Weill’s Mahagonny. He has premiered four new operas since 2010 – Gil Shohat’s The Child Dreams at the Israel Opera, Nicolas Bacri’s Così fanciulli, commissioned by Opera Fuoco and performed at the Théâtre des Champs-Élysées in Paris, Ben Moore’s Enemies, A Love Story in Palm Beach and Jan Sandström’s The Rococo Machine in Drottningholm, Sweden in June 2016.

Stern has enjoyed collaborations with many international stage directors. Stern is a frequent guest around the globe with symphonic and chamber orchestras. He is regularly invited to the Vienna Chamber Orchestra, the Swedish Chamber Orchestra, the Shanghai and Guangzhou Symphonies, the China Philharmonic, the New Russian Symphony, the National Orchestra of Mexico, and has had recent appearances with the Vienna Symphony and the Hong Kong Philharmonic.

Since launching the Aix Festival Academy in 1998, David Stern has been committed to developing young voices. He created Opera Fuoco in 2003 as a platform to train young French singers in repertoire ranging from Monteverdi to John Cage, combining both an opera studio offering regular master classes and an opera company producing and co-producing larger concertante and staged productions. As artistic advisor of the Shanghai Baroque Festival, he involves singers from the Shanghai Conservatory and the Opera Fuoco Studio, and he works regularly with the Young Artist Programs in Palm Beach and Crested Butte, Colorado.

Stern received his Bachelor of Arts from Yale and his Masters of Music from the Juilliard School. He resides in Paris with his wife and two daughters.

Joshua Major*
Director

Toronto-born Joshua Major began his opera stage directing career at the age of 23 with La Cenerentola for Opera Omaha. Soon after, Mr. Major worked as an assistant to Rhoda Levine at Juilliard, Cynthia Auerbach at both Chautauqua Opera and New York City Opera and William Gaskill at the Welsh National Opera. Mr. Major has worked as a stage director for over 30 years throughout the United States and Canada developing an impressive and diverse repertoire of productions. Recent productions include the North American premiere of Rossini’s La GazzettaLa Perichole (Offenbach), Dido and Aeneus (Purcell), Ariadne auf Naxos (Strauss), The Cunning Little Vixen (Janacek), Lucia di Lamermoor (Donizetti), The Turn of the Screw (Britten), Les Mamaelles de Tiresias (Poulenc), L’Impressions de Pelleas (Brook/Debussy), Le Tragedie du Carmen (Brook/Bizet). In August 2012 Mr. Major joined the faculty of the New England Conservatory of Music in Boston as Chair of Opera Studies. Prior to joining NEC, he spent 20 years on the faculty of the University of Michigan where he oversaw the Opera Program, both teaching and directing. Recent productions at the University of Michigan include, Falstaff, Armide, A Midsummer Night’s Dream and Eugene Onegin. Joshua Major has been the Artistic Director of the Pine Mountain Music Festival, located in the Upper Peninsula of Michigan on the shores of Lake Superior, since 2003. He continues to be a stage director and faculty member with the International Vocal Arts Institute in both Montreal and Tel Aviv, where he has directed annually, since 1993.  

  

Daniela Mack*
Rosina

Mezzo-soprano Daniela Mack has been acclaimed for her “caramel timbre, flickering vibrato, and crisp articulation” (Opernwelt) as she “hurls fast notes like a Teresa Berganza or a Frederica von Stade” (San Francisco Chronicle).

Renowned for her Rossini interpretations, Daniela Mack will have two house debuts as Rosina in The Barber of Seville during the 2018-2019 season at Boston Lyric Opera and Michigan Opera Theatre. She makes her Spanish debut and role debut at Ópera de Oviedo as Sesto in La clemenza di Tito, as well as her debut with the BBC Philharmonic as Béatrice in Béatrice et Bénédict. Ms. Mack makes her role debut as Dorabella in Così fan tutte at the Lyric Opera of Kansas City and her return to the Florida Grand Opera in a highly-anticipated role debut as Charlotte in Werther.

In recent seasons, Daniela Mack made her Royal Opera House-Covent Garden debut as Rosina in Il barbiere di Siviglia with Javier Camerena and made her Metropolitan Opera debut in Mary Zimmerman’s new production of Rusalka as the Kitchen Boy. Ms. Mack was seen at the Santa Fe Opera for her first North American performances as Isabella in L’italiana in Algeri, as Bradamante in Alcina conducted by Harry Bicket, and her role debut as in Carmen.  She created the role of Elizabeth Cree in the world premiere of Kevin Puts and Mark Campbell’s Elizabeth Cree at Opera Philadelphia and returned later in the season for Carmen. She was seen at the Washington National Opera as Bradamante in Alcina, debuted at the Seattle Opera as Berlioz’s Béatrice in Béatrice et Bénédict, returned to Arizona Opera as Angelina in La Cenerentola and debuted at the Florida Grand Opera as the title role in Carmen.

Daniela Mack has been seen at the San Francisco Opera as Rosina in Il barbiere di Siviglia and Rosmira in Partenope, as well as created the role of Jacqueline Kennedy in the world premiere of David T. Little and Royce Vavrek’s JFK at the Fort Worth Opera with subsequent performances at the Montreal Opera. She debuted at the Lyric Opera of Chicago as the Kitchen Boy in David McVicar’s production of Rusalka conducted by Andrew Davis and returned to Madison Opera as Sister Helen Prejean in Dead Man Walking. She has been seen at the English National Opera in a new production of Julius Caesar as Sesto under Christian Curnyn, the first time the opera was produced at the ENO since the legendary 1979 production. She also debuted at Théâtre du Capitole in Toulouse and Los Angeles Opera as Nancy in Albert Herring, Washington National Opera as the Madrigal Singer in Manon Lescaut, Deutsche Oper Berlin and Verbier Festival as Cherubino in Le nozze di Figaro, Opéra National de Bordeaux as Angelina in L’italiana in Algeri, and Opera Colorado in Jean-Pierre Ponnelle’s famous production of La Cenerentola directed by Grischa Asagaroff.

On the concert stage, Ms. Mack debuted with three orchestras under Charles Dutoit: Orchestra de la Suisse Romande in Ravel’s L’heure espagnole and L’enfant et les sortilèges, Boston Symphony Orchestra in L’heure espagnole, and Chicago Symphony Orchestra in Falla’s Three-Cornered Hat. She also debuted with the Mitteldeutscher Rundfunk in Rossini’s Giovanna d’Arco under James Gaffigan and performed Vivaldi’s Judith triumphans with Boston Baroque. She debuted with the New York Philharmonic in Beethoven’s Ninth Symphony under Alan Gilbert and with the Los Angeles Philharmonic in Manuel de Falla’s La vida breve under the baton of Rafael Frühbeck de Burgos. She also performed Beethoven’s Symphony No. 9 with the LA Philharmonic, Beethoven’s Missa solemnis with the Washington Chorus, Ravel’s Shéhérazade with the Hong Kong Philharmonic, and Canteloube’s Chants d’Auvergne and Falla’s Siete canciones populares españolas with the Sydney Symphony. She also made her Cincinnati May Festival debut in Mozart’s Requiem under James Conlon and in an all-star gala at the Opera Theater of San Antonio.

Daniela Mack is an alumna of the Adler Fellowship Program at San Francisco Opera where she has appeared as Idamante in Idomeneo Siebel in Faust and Lucienne in Die tote Stadt for her house debut. She performed the title role of La Cenerentola as a member of the Merola Opera Program and made her West Coast recital debut as part of San Francisco Opera’s Schwabacher Debut Recital Series. Ms. Mack was recently a finalist in the 2013 BBC Cardiff Singer of the World Competition.

Andrew Manea*
Figaro

Lauded for his “Charming…robust baritone…” rising Romanian-American baritone Andrew G. Manea is a second-year Adler Fellow at San Francisco Opera. In the current season, Mr. Manea made his role debut as the Duke of Nottingham in Roberto Devereux and also sings Sciarrone in Tosca. He was also heard as Marullo in Rigoletto, as the Marchese d’Obigny in La traviata, and in the world premiere of John Adams’ Girls of the Golden West. On the concert stage, he made his Schwabacher Recital debut with esteemed pianist Warren 

Additional recently performed roles include Marcello in La bohème with Shreveport Opera; #7 in Transformations with the Merola Opera Program; Escamillo in Carmen in Wuhan, China; as well as the Forester in The Cunning Little Vixen, Danilo in The Merry Widow, and the Father in Hansel and Gretel, all with the College-Conservatory of Music at Cincinnati University.

Andrew Manea was awarded First Place and Audience Favorite in the Mary Jacobs Smith Singer of the Year Competition with Shreveport Opera, was a Semifinalist of the Metropolitan Opera National Council Auditions, earned Second Place and Audience Favorite in the Opera Columbus Cooper-Bing International Vocal Competition, was a Finalist in the Jensen Foundation Vocal Competition, and was a Career Grant recipient in the Giulio Gari Foundation Competition.

A native of Troy, Michigan, Mr. Manea holds his Bachelor’s degree from the Cleveland Institute of Music and his Master’s degree from the University of Cincinnati, College-Conservatory of Music, where he studied with the prolific Bill McGraw.

Taylor Stayton
Count Almaviva

Taylor Stayton’s “laser-bright timbre” and “exceptional fluidity above the staff” (Opera News) continue to distinguish him as one of the most sought-after tenors in his repertoire. Stayton begins the 2018-2019 season with his debut at the Edinburgh Festival in August singing the role of Don Ramiro in Rossini’s La Cenerentola, a role he reprises later in the season for his return to the Norwegian National Opera in OlsoHe makes two role debuts this season: first as the title role in Bernstein’s Candide at the National Kaohsiung Center for the Arts in Taiwan, followed by his debut as Nemorino in Donizetti’s L’elisir d’amore with Opera Omaha. On the concert stage Stayton makes his debut with the Memphis Symphony in December for performances of Messiah. Stayton recently returned to the Metropolitan Opera debuting the role of Camille de Rosillon in The Merry Widow, followed by his debut at both Semperoper Dresden and Washington National Opera reprising his acclaimed interpretation of Almaviva in Rossini’s Il barbiere di Siviglia. Additional recent debuts include his house debuts with the Liceu Opera Barcelona in the role of Belfiore in Rossini’s Viaggio a Reims and Opera Omaha as Fenton in Verdi’s Falstaff, as well as his role debut as Alfred in Strauss’ Die Fledermaus.

Described as “deserving to be numbered on the short list of Rossini all-stars” by Opera Today, Stayton premiered the role of Almaviva in Il barbiere di Siviglia with Opéra de Lille in 2012 and has reprised the role at the Deutsche Oper Berlin, Nashville Opera, and Opera Philadelphia, as well as on a tour throughout France with theaters including Opéra de Limoges, Théâtre de Caen, and Opéra de Dijon. Additional roles in the bel canto repertoire include his debut as the title character in Le comte Ory with Des Moines Metro Opera, Don Ramiro in La Cenerentola at the Glyndebourne Festival, Tonio in La fille du regiment in his debut with Palm Beach Opera, and his house and role debuts singing Lindoro in L’Italiana in Algeri with Lyric Opera of Kansas City. Stayton made his critically acclaimed Metropolitan Opera debut in a last-minute performance as Percy in Anna Bolena, and returned as Elvino in La Sonnambula opposite Diana Damrau.

Recent debuts include with the Bayerische Staatsoper as Marzio in Mitridate, re di Ponto; Kentucky Opera as Don Ottavio in Don Giovanni; Ernesto in Don Pasquale with Des Moines Metro Opera; Tybalt in Roméo et Juliette with Opera Philadelphia; Don Alvar in L’Africaine with Opera Orchestra of New York; and Teatro dell-Opera di Roma as Fenton in the new Franco Zeffirelli production of Falstaff with Renato Bruson and Carlos Alvarez.

A native of Sidney, Ohio, Stayton is a 2011 graduate of The Academy of Vocal Arts as a student of the renowned voice teacher Bill Schuman. He earned his Bachelor of Music degree at Ohio State University, and is an alumnus of the Martina Arroyo Foundation’s “Prelude to Performance” program. He has won several prestigious vocal competitions, including First Prize in the Licia Albanese-Puccini Foundation International Voice Competition, First prize in the Gerda Lissner Foundation International Voice Competition, and third place in the Loren B. Zachary Voice Competition.

Renato Girolami*
Doctor Bartolo

Italian born baritone Renato Girolami studied singing in Rome with Sesto Bruscantini.

After receiving his degree in “Konzertgesang“ from the Musikhochschule in München, where he studied with Ernst Haefliger, he participated in masterclasses in Berlin with Dietrich Fischer-Dieskau.

Passau and Salzburg were his first professional engagements, the latter of which led to his engagement at the Wiener Staatsoper, where he remained for 5 years in residence. After this experience Renato Girolami has established himself as one of the leading baritones of today, being invited in some among the world’s most important opera houses and festivals, including Teatro alla Scala, Salzburg Festival, Wiener Staatsoper, Theater an der Wien, Opernhaus Zürich, Bayerische Staatsoper München, Staatsoper Berlin, Gran Teatre de Liceu de Barcelona, Glyndebourne Festival, Canadian Opera Company Toronto, New National Theater Tokyo, New Israeli Opera Tel Aviv, Innsbrucker Festwochen, De Nationale Opera Amsterdam, Teatro La Fenice.

He worked with such conductors as Riccardo Muti, Daniel Barenboim, Renato Palumbo, Asher Fisch, Donato Renzetti, Omer Meir Wellber, Alessandro De Marchi, just to name a few.

Due to his vocal flexibility, the rapidity of his parlando passages, his natural recitatives as well as his versatile role portrayals, Renato Girolami has become known as a specialist in the Mozart and Rossini operas, such as Le nozze di Figaro, performed also under the baton of Riccardo Muti, and Il barbiere di Siviglia, performed also under the baton of Daniel Barenboim.  In addition, his belcanto line and phrasing and the warmth of his vocal timbre have allowed him to confront roles such as Germont, Enrico Ashton and Sharpless with equal success.

He took part in many important productions, including Zaide (Osmin) at Salzburg Festival, L’elisir d’amore (Dulcamara) at Teatro alla Scala, at Staatsoper Berlin, at Wiener Staatsoper, at Opernhaus Zürich and at New National Theatre Tokyo, Don Giovanni (Leporello) at Teatro La Fenice, La forza del destino (Fra Melitone) at Liceu de Barcelona and at Bayerische Staatsoper in Munich, Il barbiere di Siviglia (Bartolo) at Bayerische Staatsoper, at Staatsoper Berlin, at Opernhaus Zürich and at Canadian Opera Company Toronto, Don Pasquale (title role) at Glyndebourne Festival, Il turco in Italia (Don Geronio) at Bayerische Staatsoper and at Staatsoper Hamburg, Falstaff (title role) at Kungliga Operan Stockholm.

His discography includes Le nozze di Figaro (Figaro) and Don Giovanni (Leporello) for Naxos, La Serva Padrona (Uberto) and Livietta e Tracollo (Tracollo) for Bongiovanni.

LATEST PERFORMANCES: Il turco in Italia at Opernhaus Zürich; Il barbiere di Siviglia (Bartolo) at Semperoper Dresden and at Staatsoper Berlin; La forza del destino (Fra Melitone) at Oper Köln; Il barbiere di Siviglia (Bartolo) at Staatsoper Hamburg; Gianni Schicchi (title role) at Den Norske Opera Oslo; La Cenerentola in Edinburgh on tour with Opéra de Lyon; Il matrimonio segreto (conte Robinson) at Oper Köln; L’elisir d’amore at New National Theatre Tokyo; Il barbiere di Siviglia (Bartolo) at Bayerische Staatsoper, Opernhaus Zürich, Teatro de la Maestranza de Sevilla, Staatsoper Hamburg;  La Cenerentola at Opéra de Lyon, Stuttgart Oper, Den Norske Opera Oslo, Wiener Staatsoper, Opéra de Lille, Bayerische Staatsoper.

FORTHCOMING PROJECTS: La forza del destino at Opernhaus Zürich; Il barbiere di Siviglia (Bartolo) at Canadian Opera Company Toronto, Palm Beach Lyric Opera and at Dallas Opera; La Cenerentola at Wiener Staatsoper, in Düsseldorf and at Teatro Real de Madrid; Il turco in Italia at Staatsoper Hamburg.

Timothy Bruno*
Don Basilio

2018-19 marks the finale of Mr. Bruno’s affiliation as a Domingo-Cafritz Young Artist with the Washington National Opera. He will have his role debuts at the WNO as Dottore Grenvil in La Traviata followed by the French General in Silent Night. In 2019, he will create the role of Daddy in WNO’s world-premiere of Taking Up Serpents by Kamala Sankaram and Jerre Dye as part of the American Opera Initiative. With the New Orleans Opera, he will star as Osmin in Abduction from the Seraglio. Back at WNO, he will cover the role of Méphistophélès in Faust, and then appears in the world-premiere of Liszt’s lost opera, Sardanapale, performing Beleso at the Library of Congress.  In the summer, he returns to Des Moines Metro Opera for Colline in La bohème and the First Apprentice in Wozzeck.

In 2017-18, Mr. Bruno performed Il frate in Don Carlo, Don Basilio in The Barber of Seville, the King in The Little Prince, the Sodbuster in the world premiere of Missy Mazzoli and Royce Vavrek’s Proving Up, and covered Melisso in Alcina. With the Washington Concert Opera, he debuted as Il Priore in Bellini’s La Straniera and appeared as Il viscount di Suze in Donizetti’s Maria di Rohan under the baton of Mo. Antony Walker. Mr. Bruno also debuted at The Glimmerglass Festival, performing Don Basilio in The Barber of Seville and The French General in Silent Night.

Mr. Bruno is a recipient of prizes from the Metropolitan Opera’s National Council Auditions, the Opera Birmingham Competition, the Annapolis Opera Competition, Partners for the Arts, the Harold Haugh Light Opera Competition, and Singer’s Club of Cleveland. He is an alumnus of the Master of Music program at the University of Cincinnati’s College Conservatory of Music and holds a Bachelor of Music degree from Bowling Green State University.

Susan Neves*
Berta

Dramatic soprano, Susan Neves, has been internationally acclaimed in theaters such as the Opera Bastille in Paris, the Metropolitan Opera, Deutsche Opera Berlin, Vienna State Opera, Gran Teatro del Liceu in Barcelona, Monte Carlo, and opera houses throughout Italy including l’Arena di Verona, Bologna, Genoa, Parma, and Cagliari.

She commands a repertoire of some of the most challenging roles written for soprano, and is a sought-after teacher and coach in New York City and Orlando, Florida. She has also taught at Stetson University and with the Miami Summer Music Festival at Florida International University.

Her 2017-2018 season includes performing the Overseer in Elektra and covering Gertrude in Hansel and Gretel at the Metropolitan Opera, an All-Verdi Concert for Vero Beach Opera, and a Master Class for her alma mater, Manhattan School of Music.

Susan Neves is a native New Yorker with a French mother and a Portuguese father. Consequently she feels at home in whatever city she performs, and speaks six languages. She completed her musical studies at the Manhattan School of Music, where she earned a master’s degree. As a winner of the International Luciano Pavarotti Vocal Competition, Miss Neves debuted as Donna Elvira in Don Giovanni.

David Stern
Chief Conductor

Palm Beach Opera Chief Conductor David Stern’s musical leadership is spread across three continents. He is the founder and director of the Paris-based opera company and period-instrument ensemble, Opera Fuoco, as well as artistic advisor and principal conductor of the Shanghai Baroque Festival and music director of opera at the Crested Butte Music Festival in Colorado.

Stern is known for his extensive range of repertoire. In his time as music director of the Israel and the St. Gallen Opera houses, he championed 18th century opera and eclectic works such as Simone Mayr’s Medea, Berg’s Wozzeck, Britten’s Turn of the Screw and Weill’s Mahagonny. He has premiered four new operas since 2010 – Gil Shohat’s The Child Dreams at the Israel Opera, Nicolas Bacri’s Così fanciulli, commissioned by Opera Fuoco and performed at the Théâtre des Champs-Élysées in Paris, Ben Moore’s Enemies, A Love Story in Palm Beach and Jan Sandström’s The Rococo Machine in Drottningholm, Sweden in June 2016.

Stern has enjoyed collaborations with many international stage directors. Stern is a frequent guest around the globe with symphonic and chamber orchestras. He is regularly invited to the Vienna Chamber Orchestra, the Swedish Chamber Orchestra, the Shanghai and Guangzhou Symphonies, the China Philharmonic, the New Russian Symphony, the National Orchestra of Mexico, and has had recent appearances with the Vienna Symphony and the Hong Kong Philharmonic.

Since launching the Aix Festival Academy in 1998, David Stern has been committed to developing young voices. He created Opera Fuoco in 2003 as a platform to train young French singers in repertoire ranging from Monteverdi to John Cage, combining both an opera studio offering regular master classes and an opera company producing and co-producing larger concertante and staged productions. As artistic advisor of the Shanghai Baroque Festival, he involves singers from the Shanghai Conservatory and the Opera Fuoco Studio, and he works regularly with the Young Artist Programs in Palm Beach and Crested Butte, Colorado.

Stern received his Bachelor of Arts from Yale and his Masters of Music from the Juilliard School. He resides in Paris with his wife and two daughters.

Joshua Major*
Director

Toronto-born Joshua Major began his opera stage directing career at the age of 23 with La Cenerentola for Opera Omaha. Soon after, Mr. Major worked as an assistant to Rhoda Levine at Juilliard, Cynthia Auerbach at both Chautauqua Opera and New York City Opera and William Gaskill at the Welsh National Opera. Mr. Major has worked as a stage director for over 30 years throughout the United States and Canada developing an impressive and diverse repertoire of productions. Recent productions include the North American premiere of Rossini’s La GazzettaLa Perichole (Offenbach), Dido and Aeneus (Purcell), Ariadne auf Naxos (Strauss), The Cunning Little Vixen (Janacek), Lucia di Lamermoor (Donizetti), The Turn of the Screw (Britten), Les Mamaelles de Tiresias (Poulenc), L’Impressions de Pelleas (Brook/Debussy), Le Tragedie du Carmen (Brook/Bizet). In August 2012 Mr. Major joined the faculty of the New England Conservatory of Music in Boston as Chair of Opera Studies. Prior to joining NEC, he spent 20 years on the faculty of the University of Michigan where he oversaw the Opera Program, both teaching and directing. Recent productions at the University of Michigan include, Falstaff, Armide, A Midsummer Night’s Dream and Eugene Onegin. Joshua Major has been the Artistic Director of the Pine Mountain Music Festival, located in the Upper Peninsula of Michigan on the shores of Lake Superior, since 2003. He continues to be a stage director and faculty member with the International Vocal Arts Institute in both Montreal and Tel Aviv, where he has directed annually, since 1993.  

  

Daniela Mack*
Rosina

Mezzo-soprano Daniela Mack has been acclaimed for her “caramel timbre, flickering vibrato, and crisp articulation” (Opernwelt) as she “hurls fast notes like a Teresa Berganza or a Frederica von Stade” (San Francisco Chronicle).

Renowned for her Rossini interpretations, Daniela Mack will have two house debuts as Rosina in The Barber of Seville during the 2018-2019 season at Boston Lyric Opera and Michigan Opera Theatre. She makes her Spanish debut and role debut at Ópera de Oviedo as Sesto in La clemenza di Tito, as well as her debut with the BBC Philharmonic as Béatrice in Béatrice et Bénédict. Ms. Mack makes her role debut as Dorabella in Così fan tutte at the Lyric Opera of Kansas City and her return to the Florida Grand Opera in a highly-anticipated role debut as Charlotte in Werther.

In recent seasons, Daniela Mack made her Royal Opera House-Covent Garden debut as Rosina in Il barbiere di Siviglia with Javier Camerena and made her Metropolitan Opera debut in Mary Zimmerman’s new production of Rusalka as the Kitchen Boy. Ms. Mack was seen at the Santa Fe Opera for her first North American performances as Isabella in L’italiana in Algeri, as Bradamante in Alcina conducted by Harry Bicket, and her role debut as in Carmen.  She created the role of Elizabeth Cree in the world premiere of Kevin Puts and Mark Campbell’s Elizabeth Cree at Opera Philadelphia and returned later in the season for Carmen. She was seen at the Washington National Opera as Bradamante in Alcina, debuted at the Seattle Opera as Berlioz’s Béatrice in Béatrice et Bénédict, returned to Arizona Opera as Angelina in La Cenerentola and debuted at the Florida Grand Opera as the title role in Carmen.

Daniela Mack has been seen at the San Francisco Opera as Rosina in Il barbiere di Siviglia and Rosmira in Partenope, as well as created the role of Jacqueline Kennedy in the world premiere of David T. Little and Royce Vavrek’s JFK at the Fort Worth Opera with subsequent performances at the Montreal Opera. She debuted at the Lyric Opera of Chicago as the Kitchen Boy in David McVicar’s production of Rusalka conducted by Andrew Davis and returned to Madison Opera as Sister Helen Prejean in Dead Man Walking. She has been seen at the English National Opera in a new production of Julius Caesar as Sesto under Christian Curnyn, the first time the opera was produced at the ENO since the legendary 1979 production. She also debuted at Théâtre du Capitole in Toulouse and Los Angeles Opera as Nancy in Albert Herring, Washington National Opera as the Madrigal Singer in Manon Lescaut, Deutsche Oper Berlin and Verbier Festival as Cherubino in Le nozze di Figaro, Opéra National de Bordeaux as Angelina in L’italiana in Algeri, and Opera Colorado in Jean-Pierre Ponnelle’s famous production of La Cenerentola directed by Grischa Asagaroff.

On the concert stage, Ms. Mack debuted with three orchestras under Charles Dutoit: Orchestra de la Suisse Romande in Ravel’s L’heure espagnole and L’enfant et les sortilèges, Boston Symphony Orchestra in L’heure espagnole, and Chicago Symphony Orchestra in Falla’s Three-Cornered Hat. She also debuted with the Mitteldeutscher Rundfunk in Rossini’s Giovanna d’Arco under James Gaffigan and performed Vivaldi’s Judith triumphans with Boston Baroque. She debuted with the New York Philharmonic in Beethoven’s Ninth Symphony under Alan Gilbert and with the Los Angeles Philharmonic in Manuel de Falla’s La vida breve under the baton of Rafael Frühbeck de Burgos. She also performed Beethoven’s Symphony No. 9 with the LA Philharmonic, Beethoven’s Missa solemnis with the Washington Chorus, Ravel’s Shéhérazade with the Hong Kong Philharmonic, and Canteloube’s Chants d’Auvergne and Falla’s Siete canciones populares españolas with the Sydney Symphony. She also made her Cincinnati May Festival debut in Mozart’s Requiem under James Conlon and in an all-star gala at the Opera Theater of San Antonio.

Daniela Mack is an alumna of the Adler Fellowship Program at San Francisco Opera where she has appeared as Idamante in Idomeneo Siebel in Faust and Lucienne in Die tote Stadt for her house debut. She performed the title role of La Cenerentola as a member of the Merola Opera Program and made her West Coast recital debut as part of San Francisco Opera’s Schwabacher Debut Recital Series. Ms. Mack was recently a finalist in the 2013 BBC Cardiff Singer of the World Competition.

Andrew Manea*
Figaro

Lauded for his “Charming…robust baritone…” rising Romanian-American baritone Andrew G. Manea is a second-year Adler Fellow at San Francisco Opera. In the current season, Mr. Manea made his role debut as the Duke of Nottingham in Roberto Devereux and also sings Sciarrone in Tosca. He was also heard as Marullo in Rigoletto, as the Marchese d’Obigny in La traviata, and in the world premiere of John Adams’ Girls of the Golden West. On the concert stage, he made his Schwabacher Recital debut with esteemed pianist Warren 

Additional recently performed roles include Marcello in La bohème with Shreveport Opera; #7 in Transformations with the Merola Opera Program; Escamillo in Carmen in Wuhan, China; as well as the Forester in The Cunning Little Vixen, Danilo in The Merry Widow, and the Father in Hansel and Gretel, all with the College-Conservatory of Music at Cincinnati University.

Andrew Manea was awarded First Place and Audience Favorite in the Mary Jacobs Smith Singer of the Year Competition with Shreveport Opera, was a Semifinalist of the Metropolitan Opera National Council Auditions, earned Second Place and Audience Favorite in the Opera Columbus Cooper-Bing International Vocal Competition, was a Finalist in the Jensen Foundation Vocal Competition, and was a Career Grant recipient in the Giulio Gari Foundation Competition.

A native of Troy, Michigan, Mr. Manea holds his Bachelor’s degree from the Cleveland Institute of Music and his Master’s degree from the University of Cincinnati, College-Conservatory of Music, where he studied with the prolific Bill McGraw.

Taylor Stayton
Count Almaviva

Taylor Stayton’s “laser-bright timbre” and “exceptional fluidity above the staff” (Opera News) continue to distinguish him as one of the most sought-after tenors in his repertoire. Stayton begins the 2018-2019 season with his debut at the Edinburgh Festival in August singing the role of Don Ramiro in Rossini’s La Cenerentola, a role he reprises later in the season for his return to the Norwegian National Opera in OlsoHe makes two role debuts this season: first as the title role in Bernstein’s Candide at the National Kaohsiung Center for the Arts in Taiwan, followed by his debut as Nemorino in Donizetti’s L’elisir d’amore with Opera Omaha. On the concert stage Stayton makes his debut with the Memphis Symphony in December for performances of Messiah. Stayton recently returned to the Metropolitan Opera debuting the role of Camille de Rosillon in The Merry Widow, followed by his debut at both Semperoper Dresden and Washington National Opera reprising his acclaimed interpretation of Almaviva in Rossini’s Il barbiere di Siviglia. Additional recent debuts include his house debuts with the Liceu Opera Barcelona in the role of Belfiore in Rossini’s Viaggio a Reims and Opera Omaha as Fenton in Verdi’s Falstaff, as well as his role debut as Alfred in Strauss’ Die Fledermaus.

Described as “deserving to be numbered on the short list of Rossini all-stars” by Opera Today, Stayton premiered the role of Almaviva in Il barbiere di Siviglia with Opéra de Lille in 2012 and has reprised the role at the Deutsche Oper Berlin, Nashville Opera, and Opera Philadelphia, as well as on a tour throughout France with theaters including Opéra de Limoges, Théâtre de Caen, and Opéra de Dijon. Additional roles in the bel canto repertoire include his debut as the title character in Le comte Ory with Des Moines Metro Opera, Don Ramiro in La Cenerentola at the Glyndebourne Festival, Tonio in La fille du regiment in his debut with Palm Beach Opera, and his house and role debuts singing Lindoro in L’Italiana in Algeri with Lyric Opera of Kansas City. Stayton made his critically acclaimed Metropolitan Opera debut in a last-minute performance as Percy in Anna Bolena, and returned as Elvino in La Sonnambula opposite Diana Damrau.

Recent debuts include with the Bayerische Staatsoper as Marzio in Mitridate, re di Ponto; Kentucky Opera as Don Ottavio in Don Giovanni; Ernesto in Don Pasquale with Des Moines Metro Opera; Tybalt in Roméo et Juliette with Opera Philadelphia; Don Alvar in L’Africaine with Opera Orchestra of New York; and Teatro dell-Opera di Roma as Fenton in the new Franco Zeffirelli production of Falstaff with Renato Bruson and Carlos Alvarez.

A native of Sidney, Ohio, Stayton is a 2011 graduate of The Academy of Vocal Arts as a student of the renowned voice teacher Bill Schuman. He earned his Bachelor of Music degree at Ohio State University, and is an alumnus of the Martina Arroyo Foundation’s “Prelude to Performance” program. He has won several prestigious vocal competitions, including First Prize in the Licia Albanese-Puccini Foundation International Voice Competition, First prize in the Gerda Lissner Foundation International Voice Competition, and third place in the Loren B. Zachary Voice Competition.

Renato Girolami*
Doctor Bartolo

Italian born baritone Renato Girolami studied singing in Rome with Sesto Bruscantini.

After receiving his degree in “Konzertgesang“ from the Musikhochschule in München, where he studied with Ernst Haefliger, he participated in masterclasses in Berlin with Dietrich Fischer-Dieskau.

Passau and Salzburg were his first professional engagements, the latter of which led to his engagement at the Wiener Staatsoper, where he remained for 5 years in residence. After this experience Renato Girolami has established himself as one of the leading baritones of today, being invited in some among the world’s most important opera houses and festivals, including Teatro alla Scala, Salzburg Festival, Wiener Staatsoper, Theater an der Wien, Opernhaus Zürich, Bayerische Staatsoper München, Staatsoper Berlin, Gran Teatre de Liceu de Barcelona, Glyndebourne Festival, Canadian Opera Company Toronto, New National Theater Tokyo, New Israeli Opera Tel Aviv, Innsbrucker Festwochen, De Nationale Opera Amsterdam, Teatro La Fenice.

He worked with such conductors as Riccardo Muti, Daniel Barenboim, Renato Palumbo, Asher Fisch, Donato Renzetti, Omer Meir Wellber, Alessandro De Marchi, just to name a few.

Due to his vocal flexibility, the rapidity of his parlando passages, his natural recitatives as well as his versatile role portrayals, Renato Girolami has become known as a specialist in the Mozart and Rossini operas, such as Le nozze di Figaro, performed also under the baton of Riccardo Muti, and Il barbiere di Siviglia, performed also under the baton of Daniel Barenboim.  In addition, his belcanto line and phrasing and the warmth of his vocal timbre have allowed him to confront roles such as Germont, Enrico Ashton and Sharpless with equal success.

He took part in many important productions, including Zaide (Osmin) at Salzburg Festival, L’elisir d’amore (Dulcamara) at Teatro alla Scala, at Staatsoper Berlin, at Wiener Staatsoper, at Opernhaus Zürich and at New National Theatre Tokyo, Don Giovanni (Leporello) at Teatro La Fenice, La forza del destino (Fra Melitone) at Liceu de Barcelona and at Bayerische Staatsoper in Munich, Il barbiere di Siviglia (Bartolo) at Bayerische Staatsoper, at Staatsoper Berlin, at Opernhaus Zürich and at Canadian Opera Company Toronto, Don Pasquale (title role) at Glyndebourne Festival, Il turco in Italia (Don Geronio) at Bayerische Staatsoper and at Staatsoper Hamburg, Falstaff (title role) at Kungliga Operan Stockholm.

His discography includes Le nozze di Figaro (Figaro) and Don Giovanni (Leporello) for Naxos, La Serva Padrona (Uberto) and Livietta e Tracollo (Tracollo) for Bongiovanni.

LATEST PERFORMANCES: Il turco in Italia at Opernhaus Zürich; Il barbiere di Siviglia (Bartolo) at Semperoper Dresden and at Staatsoper Berlin; La forza del destino (Fra Melitone) at Oper Köln; Il barbiere di Siviglia (Bartolo) at Staatsoper Hamburg; Gianni Schicchi (title role) at Den Norske Opera Oslo; La Cenerentola in Edinburgh on tour with Opéra de Lyon; Il matrimonio segreto (conte Robinson) at Oper Köln; L’elisir d’amore at New National Theatre Tokyo; Il barbiere di Siviglia (Bartolo) at Bayerische Staatsoper, Opernhaus Zürich, Teatro de la Maestranza de Sevilla, Staatsoper Hamburg;  La Cenerentola at Opéra de Lyon, Stuttgart Oper, Den Norske Opera Oslo, Wiener Staatsoper, Opéra de Lille, Bayerische Staatsoper.

FORTHCOMING PROJECTS: La forza del destino at Opernhaus Zürich; Il barbiere di Siviglia (Bartolo) at Canadian Opera Company Toronto, Palm Beach Lyric Opera and at Dallas Opera; La Cenerentola at Wiener Staatsoper, in Düsseldorf and at Teatro Real de Madrid; Il turco in Italia at Staatsoper Hamburg.

Timothy Bruno*
Don Basilio

2018-19 marks the finale of Mr. Bruno’s affiliation as a Domingo-Cafritz Young Artist with the Washington National Opera. He will have his role debuts at the WNO as Dottore Grenvil in La Traviata followed by the French General in Silent Night. In 2019, he will create the role of Daddy in WNO’s world-premiere of Taking Up Serpents by Kamala Sankaram and Jerre Dye as part of the American Opera Initiative. With the New Orleans Opera, he will star as Osmin in Abduction from the Seraglio. Back at WNO, he will cover the role of Méphistophélès in Faust, and then appears in the world-premiere of Liszt’s lost opera, Sardanapale, performing Beleso at the Library of Congress.  In the summer, he returns to Des Moines Metro Opera for Colline in La bohème and the First Apprentice in Wozzeck.

In 2017-18, Mr. Bruno performed Il frate in Don Carlo, Don Basilio in The Barber of Seville, the King in The Little Prince, the Sodbuster in the world premiere of Missy Mazzoli and Royce Vavrek’s Proving Up, and covered Melisso in Alcina. With the Washington Concert Opera, he debuted as Il Priore in Bellini’s La Straniera and appeared as Il viscount di Suze in Donizetti’s Maria di Rohan under the baton of Mo. Antony Walker. Mr. Bruno also debuted at The Glimmerglass Festival, performing Don Basilio in The Barber of Seville and The French General in Silent Night.

Mr. Bruno is a recipient of prizes from the Metropolitan Opera’s National Council Auditions, the Opera Birmingham Competition, the Annapolis Opera Competition, Partners for the Arts, the Harold Haugh Light Opera Competition, and Singer’s Club of Cleveland. He is an alumnus of the Master of Music program at the University of Cincinnati’s College Conservatory of Music and holds a Bachelor of Music degree from Bowling Green State University.

Susan Neves*
Berta

Dramatic soprano, Susan Neves, has been internationally acclaimed in theaters such as the Opera Bastille in Paris, the Metropolitan Opera, Deutsche Opera Berlin, Vienna State Opera, Gran Teatro del Liceu in Barcelona, Monte Carlo, and opera houses throughout Italy including l’Arena di Verona, Bologna, Genoa, Parma, and Cagliari.

She commands a repertoire of some of the most challenging roles written for soprano, and is a sought-after teacher and coach in New York City and Orlando, Florida. She has also taught at Stetson University and with the Miami Summer Music Festival at Florida International University.

Her 2017-2018 season includes performing the Overseer in Elektra and covering Gertrude in Hansel and Gretel at the Metropolitan Opera, an All-Verdi Concert for Vero Beach Opera, and a Master Class for her alma mater, Manhattan School of Music.

Susan Neves is a native New Yorker with a French mother and a Portuguese father. Consequently she feels at home in whatever city she performs, and speaks six languages. She completed her musical studies at the Manhattan School of Music, where she earned a master’s degree. As a winner of the International Luciano Pavarotti Vocal Competition, Miss Neves debuted as Donna Elvira in Don Giovanni.

David Stern
Chief Conductor

Palm Beach Opera Chief Conductor David Stern’s musical leadership is spread across three continents. He is the founder and director of the Paris-based opera company and period-instrument ensemble, Opera Fuoco, as well as artistic advisor and principal conductor of the Shanghai Baroque Festival and music director of opera at the Crested Butte Music Festival in Colorado.

Stern is known for his extensive range of repertoire. In his time as music director of the Israel and the St. Gallen Opera houses, he championed 18th century opera and eclectic works such as Simone Mayr’s Medea, Berg’s Wozzeck, Britten’s Turn of the Screw and Weill’s Mahagonny. He has premiered four new operas since 2010 – Gil Shohat’s The Child Dreams at the Israel Opera, Nicolas Bacri’s Così fanciulli, commissioned by Opera Fuoco and performed at the Théâtre des Champs-Élysées in Paris, Ben Moore’s Enemies, A Love Story in Palm Beach and Jan Sandström’s The Rococo Machine in Drottningholm, Sweden in June 2016.

Stern has enjoyed collaborations with many international stage directors. Stern is a frequent guest around the globe with symphonic and chamber orchestras. He is regularly invited to the Vienna Chamber Orchestra, the Swedish Chamber Orchestra, the Shanghai and Guangzhou Symphonies, the China Philharmonic, the New Russian Symphony, the National Orchestra of Mexico, and has had recent appearances with the Vienna Symphony and the Hong Kong Philharmonic.

Since launching the Aix Festival Academy in 1998, David Stern has been committed to developing young voices. He created Opera Fuoco in 2003 as a platform to train young French singers in repertoire ranging from Monteverdi to John Cage, combining both an opera studio offering regular master classes and an opera company producing and co-producing larger concertante and staged productions. As artistic advisor of the Shanghai Baroque Festival, he involves singers from the Shanghai Conservatory and the Opera Fuoco Studio, and he works regularly with the Young Artist Programs in Palm Beach and Crested Butte, Colorado.

Stern received his Bachelor of Arts from Yale and his Masters of Music from the Juilliard School. He resides in Paris with his wife and two daughters.

Joshua Major*
Director

Toronto-born Joshua Major began his opera stage directing career at the age of 23 with La Cenerentola for Opera Omaha. Soon after, Mr. Major worked as an assistant to Rhoda Levine at Juilliard, Cynthia Auerbach at both Chautauqua Opera and New York City Opera and William Gaskill at the Welsh National Opera. Mr. Major has worked as a stage director for over 30 years throughout the United States and Canada developing an impressive and diverse repertoire of productions. Recent productions include the North American premiere of Rossini’s La GazzettaLa Perichole (Offenbach), Dido and Aeneus (Purcell), Ariadne auf Naxos (Strauss), The Cunning Little Vixen (Janacek), Lucia di Lamermoor (Donizetti), The Turn of the Screw (Britten), Les Mamaelles de Tiresias (Poulenc), L’Impressions de Pelleas (Brook/Debussy), Le Tragedie du Carmen (Brook/Bizet). In August 2012 Mr. Major joined the faculty of the New England Conservatory of Music in Boston as Chair of Opera Studies. Prior to joining NEC, he spent 20 years on the faculty of the University of Michigan where he oversaw the Opera Program, both teaching and directing. Recent productions at the University of Michigan include, Falstaff, Armide, A Midsummer Night’s Dream and Eugene Onegin. Joshua Major has been the Artistic Director of the Pine Mountain Music Festival, located in the Upper Peninsula of Michigan on the shores of Lake Superior, since 2003. He continues to be a stage director and faculty member with the International Vocal Arts Institute in both Montreal and Tel Aviv, where he has directed annually, since 1993.  

  

Daniela Mack*
Rosina

Mezzo-soprano Daniela Mack has been acclaimed for her “caramel timbre, flickering vibrato, and crisp articulation” (Opernwelt) as she “hurls fast notes like a Teresa Berganza or a Frederica von Stade” (San Francisco Chronicle).

Renowned for her Rossini interpretations, Daniela Mack will have two house debuts as Rosina in The Barber of Seville during the 2018-2019 season at Boston Lyric Opera and Michigan Opera Theatre. She makes her Spanish debut and role debut at Ópera de Oviedo as Sesto in La clemenza di Tito, as well as her debut with the BBC Philharmonic as Béatrice in Béatrice et Bénédict. Ms. Mack makes her role debut as Dorabella in Così fan tutte at the Lyric Opera of Kansas City and her return to the Florida Grand Opera in a highly-anticipated role debut as Charlotte in Werther.

In recent seasons, Daniela Mack made her Royal Opera House-Covent Garden debut as Rosina in Il barbiere di Siviglia with Javier Camerena and made her Metropolitan Opera debut in Mary Zimmerman’s new production of Rusalka as the Kitchen Boy. Ms. Mack was seen at the Santa Fe Opera for her first North American performances as Isabella in L’italiana in Algeri, as Bradamante in Alcina conducted by Harry Bicket, and her role debut as in Carmen.  She created the role of Elizabeth Cree in the world premiere of Kevin Puts and Mark Campbell’s Elizabeth Cree at Opera Philadelphia and returned later in the season for Carmen. She was seen at the Washington National Opera as Bradamante in Alcina, debuted at the Seattle Opera as Berlioz’s Béatrice in Béatrice et Bénédict, returned to Arizona Opera as Angelina in La Cenerentola and debuted at the Florida Grand Opera as the title role in Carmen.

Daniela Mack has been seen at the San Francisco Opera as Rosina in Il barbiere di Siviglia and Rosmira in Partenope, as well as created the role of Jacqueline Kennedy in the world premiere of David T. Little and Royce Vavrek’s JFK at the Fort Worth Opera with subsequent performances at the Montreal Opera. She debuted at the Lyric Opera of Chicago as the Kitchen Boy in David McVicar’s production of Rusalka conducted by Andrew Davis and returned to Madison Opera as Sister Helen Prejean in Dead Man Walking. She has been seen at the English National Opera in a new production of Julius Caesar as Sesto under Christian Curnyn, the first time the opera was produced at the ENO since the legendary 1979 production. She also debuted at Théâtre du Capitole in Toulouse and Los Angeles Opera as Nancy in Albert Herring, Washington National Opera as the Madrigal Singer in Manon Lescaut, Deutsche Oper Berlin and Verbier Festival as Cherubino in Le nozze di Figaro, Opéra National de Bordeaux as Angelina in L’italiana in Algeri, and Opera Colorado in Jean-Pierre Ponnelle’s famous production of La Cenerentola directed by Grischa Asagaroff.

On the concert stage, Ms. Mack debuted with three orchestras under Charles Dutoit: Orchestra de la Suisse Romande in Ravel’s L’heure espagnole and L’enfant et les sortilèges, Boston Symphony Orchestra in L’heure espagnole, and Chicago Symphony Orchestra in Falla’s Three-Cornered Hat. She also debuted with the Mitteldeutscher Rundfunk in Rossini’s Giovanna d’Arco under James Gaffigan and performed Vivaldi’s Judith triumphans with Boston Baroque. She debuted with the New York Philharmonic in Beethoven’s Ninth Symphony under Alan Gilbert and with the Los Angeles Philharmonic in Manuel de Falla’s La vida breve under the baton of Rafael Frühbeck de Burgos. She also performed Beethoven’s Symphony No. 9 with the LA Philharmonic, Beethoven’s Missa solemnis with the Washington Chorus, Ravel’s Shéhérazade with the Hong Kong Philharmonic, and Canteloube’s Chants d’Auvergne and Falla’s Siete canciones populares españolas with the Sydney Symphony. She also made her Cincinnati May Festival debut in Mozart’s Requiem under James Conlon and in an all-star gala at the Opera Theater of San Antonio.

Daniela Mack is an alumna of the Adler Fellowship Program at San Francisco Opera where she has appeared as Idamante in Idomeneo Siebel in Faust and Lucienne in Die tote Stadt for her house debut. She performed the title role of La Cenerentola as a member of the Merola Opera Program and made her West Coast recital debut as part of San Francisco Opera’s Schwabacher Debut Recital Series. Ms. Mack was recently a finalist in the 2013 BBC Cardiff Singer of the World Competition.

Andrew Manea*
Figaro

Lauded for his “Charming…robust baritone…” rising Romanian-American baritone Andrew G. Manea is a second-year Adler Fellow at San Francisco Opera. In the current season, Mr. Manea made his role debut as the Duke of Nottingham in Roberto Devereux and also sings Sciarrone in Tosca. He was also heard as Marullo in Rigoletto, as the Marchese d’Obigny in La traviata, and in the world premiere of John Adams’ Girls of the Golden West. On the concert stage, he made his Schwabacher Recital debut with esteemed pianist Warren 

Additional recently performed roles include Marcello in La bohème with Shreveport Opera; #7 in Transformations with the Merola Opera Program; Escamillo in Carmen in Wuhan, China; as well as the Forester in The Cunning Little Vixen, Danilo in The Merry Widow, and the Father in Hansel and Gretel, all with the College-Conservatory of Music at Cincinnati University.

Andrew Manea was awarded First Place and Audience Favorite in the Mary Jacobs Smith Singer of the Year Competition with Shreveport Opera, was a Semifinalist of the Metropolitan Opera National Council Auditions, earned Second Place and Audience Favorite in the Opera Columbus Cooper-Bing International Vocal Competition, was a Finalist in the Jensen Foundation Vocal Competition, and was a Career Grant recipient in the Giulio Gari Foundation Competition.

A native of Troy, Michigan, Mr. Manea holds his Bachelor’s degree from the Cleveland Institute of Music and his Master’s degree from the University of Cincinnati, College-Conservatory of Music, where he studied with the prolific Bill McGraw.

Taylor Stayton
Count Almaviva

Taylor Stayton’s “laser-bright timbre” and “exceptional fluidity above the staff” (Opera News) continue to distinguish him as one of the most sought-after tenors in his repertoire. Stayton begins the 2018-2019 season with his debut at the Edinburgh Festival in August singing the role of Don Ramiro in Rossini’s La Cenerentola, a role he reprises later in the season for his return to the Norwegian National Opera in OlsoHe makes two role debuts this season: first as the title role in Bernstein’s Candide at the National Kaohsiung Center for the Arts in Taiwan, followed by his debut as Nemorino in Donizetti’s L’elisir d’amore with Opera Omaha. On the concert stage Stayton makes his debut with the Memphis Symphony in December for performances of Messiah. Stayton recently returned to the Metropolitan Opera debuting the role of Camille de Rosillon in The Merry Widow, followed by his debut at both Semperoper Dresden and Washington National Opera reprising his acclaimed interpretation of Almaviva in Rossini’s Il barbiere di Siviglia. Additional recent debuts include his house debuts with the Liceu Opera Barcelona in the role of Belfiore in Rossini’s Viaggio a Reims and Opera Omaha as Fenton in Verdi’s Falstaff, as well as his role debut as Alfred in Strauss’ Die Fledermaus.

Described as “deserving to be numbered on the short list of Rossini all-stars” by Opera Today, Stayton premiered the role of Almaviva in Il barbiere di Siviglia with Opéra de Lille in 2012 and has reprised the role at the Deutsche Oper Berlin, Nashville Opera, and Opera Philadelphia, as well as on a tour throughout France with theaters including Opéra de Limoges, Théâtre de Caen, and Opéra de Dijon. Additional roles in the bel canto repertoire include his debut as the title character in Le comte Ory with Des Moines Metro Opera, Don Ramiro in La Cenerentola at the Glyndebourne Festival, Tonio in La fille du regiment in his debut with Palm Beach Opera, and his house and role debuts singing Lindoro in L’Italiana in Algeri with Lyric Opera of Kansas City. Stayton made his critically acclaimed Metropolitan Opera debut in a last-minute performance as Percy in Anna Bolena, and returned as Elvino in La Sonnambula opposite Diana Damrau.

Recent debuts include with the Bayerische Staatsoper as Marzio in Mitridate, re di Ponto; Kentucky Opera as Don Ottavio in Don Giovanni; Ernesto in Don Pasquale with Des Moines Metro Opera; Tybalt in Roméo et Juliette with Opera Philadelphia; Don Alvar in L’Africaine with Opera Orchestra of New York; and Teatro dell-Opera di Roma as Fenton in the new Franco Zeffirelli production of Falstaff with Renato Bruson and Carlos Alvarez.

A native of Sidney, Ohio, Stayton is a 2011 graduate of The Academy of Vocal Arts as a student of the renowned voice teacher Bill Schuman. He earned his Bachelor of Music degree at Ohio State University, and is an alumnus of the Martina Arroyo Foundation’s “Prelude to Performance” program. He has won several prestigious vocal competitions, including First Prize in the Licia Albanese-Puccini Foundation International Voice Competition, First prize in the Gerda Lissner Foundation International Voice Competition, and third place in the Loren B. Zachary Voice Competition.

Renato Girolami*
Doctor Bartolo

Italian born baritone Renato Girolami studied singing in Rome with Sesto Bruscantini.

After receiving his degree in “Konzertgesang“ from the Musikhochschule in München, where he studied with Ernst Haefliger, he participated in masterclasses in Berlin with Dietrich Fischer-Dieskau.

Passau and Salzburg were his first professional engagements, the latter of which led to his engagement at the Wiener Staatsoper, where he remained for 5 years in residence. After this experience Renato Girolami has established himself as one of the leading baritones of today, being invited in some among the world’s most important opera houses and festivals, including Teatro alla Scala, Salzburg Festival, Wiener Staatsoper, Theater an der Wien, Opernhaus Zürich, Bayerische Staatsoper München, Staatsoper Berlin, Gran Teatre de Liceu de Barcelona, Glyndebourne Festival, Canadian Opera Company Toronto, New National Theater Tokyo, New Israeli Opera Tel Aviv, Innsbrucker Festwochen, De Nationale Opera Amsterdam, Teatro La Fenice.

He worked with such conductors as Riccardo Muti, Daniel Barenboim, Renato Palumbo, Asher Fisch, Donato Renzetti, Omer Meir Wellber, Alessandro De Marchi, just to name a few.

Due to his vocal flexibility, the rapidity of his parlando passages, his natural recitatives as well as his versatile role portrayals, Renato Girolami has become known as a specialist in the Mozart and Rossini operas, such as Le nozze di Figaro, performed also under the baton of Riccardo Muti, and Il barbiere di Siviglia, performed also under the baton of Daniel Barenboim.  In addition, his belcanto line and phrasing and the warmth of his vocal timbre have allowed him to confront roles such as Germont, Enrico Ashton and Sharpless with equal success.

He took part in many important productions, including Zaide (Osmin) at Salzburg Festival, L’elisir d’amore (Dulcamara) at Teatro alla Scala, at Staatsoper Berlin, at Wiener Staatsoper, at Opernhaus Zürich and at New National Theatre Tokyo, Don Giovanni (Leporello) at Teatro La Fenice, La forza del destino (Fra Melitone) at Liceu de Barcelona and at Bayerische Staatsoper in Munich, Il barbiere di Siviglia (Bartolo) at Bayerische Staatsoper, at Staatsoper Berlin, at Opernhaus Zürich and at Canadian Opera Company Toronto, Don Pasquale (title role) at Glyndebourne Festival, Il turco in Italia (Don Geronio) at Bayerische Staatsoper and at Staatsoper Hamburg, Falstaff (title role) at Kungliga Operan Stockholm.

His discography includes Le nozze di Figaro (Figaro) and Don Giovanni (Leporello) for Naxos, La Serva Padrona (Uberto) and Livietta e Tracollo (Tracollo) for Bongiovanni.

LATEST PERFORMANCES: Il turco in Italia at Opernhaus Zürich; Il barbiere di Siviglia (Bartolo) at Semperoper Dresden and at Staatsoper Berlin; La forza del destino (Fra Melitone) at Oper Köln; Il barbiere di Siviglia (Bartolo) at Staatsoper Hamburg; Gianni Schicchi (title role) at Den Norske Opera Oslo; La Cenerentola in Edinburgh on tour with Opéra de Lyon; Il matrimonio segreto (conte Robinson) at Oper Köln; L’elisir d’amore at New National Theatre Tokyo; Il barbiere di Siviglia (Bartolo) at Bayerische Staatsoper, Opernhaus Zürich, Teatro de la Maestranza de Sevilla, Staatsoper Hamburg;  La Cenerentola at Opéra de Lyon, Stuttgart Oper, Den Norske Opera Oslo, Wiener Staatsoper, Opéra de Lille, Bayerische Staatsoper.

FORTHCOMING PROJECTS: La forza del destino at Opernhaus Zürich; Il barbiere di Siviglia (Bartolo) at Canadian Opera Company Toronto, Palm Beach Lyric Opera and at Dallas Opera; La Cenerentola at Wiener Staatsoper, in Düsseldorf and at Teatro Real de Madrid; Il turco in Italia at Staatsoper Hamburg.

Timothy Bruno*
Don Basilio

2018-19 marks the finale of Mr. Bruno’s affiliation as a Domingo-Cafritz Young Artist with the Washington National Opera. He will have his role debuts at the WNO as Dottore Grenvil in La Traviata followed by the French General in Silent Night. In 2019, he will create the role of Daddy in WNO’s world-premiere of Taking Up Serpents by Kamala Sankaram and Jerre Dye as part of the American Opera Initiative. With the New Orleans Opera, he will star as Osmin in Abduction from the Seraglio. Back at WNO, he will cover the role of Méphistophélès in Faust, and then appears in the world-premiere of Liszt’s lost opera, Sardanapale, performing Beleso at the Library of Congress.  In the summer, he returns to Des Moines Metro Opera for Colline in La bohème and the First Apprentice in Wozzeck.

In 2017-18, Mr. Bruno performed Il frate in Don Carlo, Don Basilio in The Barber of Seville, the King in The Little Prince, the Sodbuster in the world premiere of Missy Mazzoli and Royce Vavrek’s Proving Up, and covered Melisso in Alcina. With the Washington Concert Opera, he debuted as Il Priore in Bellini’s La Straniera and appeared as Il viscount di Suze in Donizetti’s Maria di Rohan under the baton of Mo. Antony Walker. Mr. Bruno also debuted at The Glimmerglass Festival, performing Don Basilio in The Barber of Seville and The French General in Silent Night.

Mr. Bruno is a recipient of prizes from the Metropolitan Opera’s National Council Auditions, the Opera Birmingham Competition, the Annapolis Opera Competition, Partners for the Arts, the Harold Haugh Light Opera Competition, and Singer’s Club of Cleveland. He is an alumnus of the Master of Music program at the University of Cincinnati’s College Conservatory of Music and holds a Bachelor of Music degree from Bowling Green State University.

Susan Neves*
Berta

Dramatic soprano, Susan Neves, has been internationally acclaimed in theaters such as the Opera Bastille in Paris, the Metropolitan Opera, Deutsche Opera Berlin, Vienna State Opera, Gran Teatro del Liceu in Barcelona, Monte Carlo, and opera houses throughout Italy including l’Arena di Verona, Bologna, Genoa, Parma, and Cagliari.

She commands a repertoire of some of the most challenging roles written for soprano, and is a sought-after teacher and coach in New York City and Orlando, Florida. She has also taught at Stetson University and with the Miami Summer Music Festival at Florida International University.

Her 2017-2018 season includes performing the Overseer in Elektra and covering Gertrude in Hansel and Gretel at the Metropolitan Opera, an All-Verdi Concert for Vero Beach Opera, and a Master Class for her alma mater, Manhattan School of Music.

Susan Neves is a native New Yorker with a French mother and a Portuguese father. Consequently she feels at home in whatever city she performs, and speaks six languages. She completed her musical studies at the Manhattan School of Music, where she earned a master’s degree. As a winner of the International Luciano Pavarotti Vocal Competition, Miss Neves debuted as Donna Elvira in Don Giovanni.

David Stern
Chief Conductor

Palm Beach Opera Chief Conductor David Stern’s musical leadership is spread across three continents. He is the founder and director of the Paris-based opera company and period-instrument ensemble, Opera Fuoco, as well as artistic advisor and principal conductor of the Shanghai Baroque Festival and music director of opera at the Crested Butte Music Festival in Colorado.

Stern is known for his extensive range of repertoire. In his time as music director of the Israel and the St. Gallen Opera houses, he championed 18th century opera and eclectic works such as Simone Mayr’s Medea, Berg’s Wozzeck, Britten’s Turn of the Screw and Weill’s Mahagonny. He has premiered four new operas since 2010 – Gil Shohat’s The Child Dreams at the Israel Opera, Nicolas Bacri’s Così fanciulli, commissioned by Opera Fuoco and performed at the Théâtre des Champs-Élysées in Paris, Ben Moore’s Enemies, A Love Story in Palm Beach and Jan Sandström’s The Rococo Machine in Drottningholm, Sweden in June 2016.

Stern has enjoyed collaborations with many international stage directors. Stern is a frequent guest around the globe with symphonic and chamber orchestras. He is regularly invited to the Vienna Chamber Orchestra, the Swedish Chamber Orchestra, the Shanghai and Guangzhou Symphonies, the China Philharmonic, the New Russian Symphony, the National Orchestra of Mexico, and has had recent appearances with the Vienna Symphony and the Hong Kong Philharmonic.

Since launching the Aix Festival Academy in 1998, David Stern has been committed to developing young voices. He created Opera Fuoco in 2003 as a platform to train young French singers in repertoire ranging from Monteverdi to John Cage, combining both an opera studio offering regular master classes and an opera company producing and co-producing larger concertante and staged productions. As artistic advisor of the Shanghai Baroque Festival, he involves singers from the Shanghai Conservatory and the Opera Fuoco Studio, and he works regularly with the Young Artist Programs in Palm Beach and Crested Butte, Colorado.

Stern received his Bachelor of Arts from Yale and his Masters of Music from the Juilliard School. He resides in Paris with his wife and two daughters.

Joshua Major*
Director

Toronto-born Joshua Major began his opera stage directing career at the age of 23 with La Cenerentola for Opera Omaha. Soon after, Mr. Major worked as an assistant to Rhoda Levine at Juilliard, Cynthia Auerbach at both Chautauqua Opera and New York City Opera and William Gaskill at the Welsh National Opera. Mr. Major has worked as a stage director for over 30 years throughout the United States and Canada developing an impressive and diverse repertoire of productions. Recent productions include the North American premiere of Rossini’s La GazzettaLa Perichole (Offenbach), Dido and Aeneus (Purcell), Ariadne auf Naxos (Strauss), The Cunning Little Vixen (Janacek), Lucia di Lamermoor (Donizetti), The Turn of the Screw (Britten), Les Mamaelles de Tiresias (Poulenc), L’Impressions de Pelleas (Brook/Debussy), Le Tragedie du Carmen (Brook/Bizet). In August 2012 Mr. Major joined the faculty of the New England Conservatory of Music in Boston as Chair of Opera Studies. Prior to joining NEC, he spent 20 years on the faculty of the University of Michigan where he oversaw the Opera Program, both teaching and directing. Recent productions at the University of Michigan include, Falstaff, Armide, A Midsummer Night’s Dream and Eugene Onegin. Joshua Major has been the Artistic Director of the Pine Mountain Music Festival, located in the Upper Peninsula of Michigan on the shores of Lake Superior, since 2003. He continues to be a stage director and faculty member with the International Vocal Arts Institute in both Montreal and Tel Aviv, where he has directed annually, since 1993.  

  

Daniela Mack*
Rosina

Mezzo-soprano Daniela Mack has been acclaimed for her “caramel timbre, flickering vibrato, and crisp articulation” (Opernwelt) as she “hurls fast notes like a Teresa Berganza or a Frederica von Stade” (San Francisco Chronicle).

Renowned for her Rossini interpretations, Daniela Mack will have two house debuts as Rosina in The Barber of Seville during the 2018-2019 season at Boston Lyric Opera and Michigan Opera Theatre. She makes her Spanish debut and role debut at Ópera de Oviedo as Sesto in La clemenza di Tito, as well as her debut with the BBC Philharmonic as Béatrice in Béatrice et Bénédict. Ms. Mack makes her role debut as Dorabella in Così fan tutte at the Lyric Opera of Kansas City and her return to the Florida Grand Opera in a highly-anticipated role debut as Charlotte in Werther.

In recent seasons, Daniela Mack made her Royal Opera House-Covent Garden debut as Rosina in Il barbiere di Siviglia with Javier Camerena and made her Metropolitan Opera debut in Mary Zimmerman’s new production of Rusalka as the Kitchen Boy. Ms. Mack was seen at the Santa Fe Opera for her first North American performances as Isabella in L’italiana in Algeri, as Bradamante in Alcina conducted by Harry Bicket, and her role debut as in Carmen.  She created the role of Elizabeth Cree in the world premiere of Kevin Puts and Mark Campbell’s Elizabeth Cree at Opera Philadelphia and returned later in the season for Carmen. She was seen at the Washington National Opera as Bradamante in Alcina, debuted at the Seattle Opera as Berlioz’s Béatrice in Béatrice et Bénédict, returned to Arizona Opera as Angelina in La Cenerentola and debuted at the Florida Grand Opera as the title role in Carmen.

Daniela Mack has been seen at the San Francisco Opera as Rosina in Il barbiere di Siviglia and Rosmira in Partenope, as well as created the role of Jacqueline Kennedy in the world premiere of David T. Little and Royce Vavrek’s JFK at the Fort Worth Opera with subsequent performances at the Montreal Opera. She debuted at the Lyric Opera of Chicago as the Kitchen Boy in David McVicar’s production of Rusalka conducted by Andrew Davis and returned to Madison Opera as Sister Helen Prejean in Dead Man Walking. She has been seen at the English National Opera in a new production of Julius Caesar as Sesto under Christian Curnyn, the first time the opera was produced at the ENO since the legendary 1979 production. She also debuted at Théâtre du Capitole in Toulouse and Los Angeles Opera as Nancy in Albert Herring, Washington National Opera as the Madrigal Singer in Manon Lescaut, Deutsche Oper Berlin and Verbier Festival as Cherubino in Le nozze di Figaro, Opéra National de Bordeaux as Angelina in L’italiana in Algeri, and Opera Colorado in Jean-Pierre Ponnelle’s famous production of La Cenerentola directed by Grischa Asagaroff.

On the concert stage, Ms. Mack debuted with three orchestras under Charles Dutoit: Orchestra de la Suisse Romande in Ravel’s L’heure espagnole and L’enfant et les sortilèges, Boston Symphony Orchestra in L’heure espagnole, and Chicago Symphony Orchestra in Falla’s Three-Cornered Hat. She also debuted with the Mitteldeutscher Rundfunk in Rossini’s Giovanna d’Arco under James Gaffigan and performed Vivaldi’s Judith triumphans with Boston Baroque. She debuted with the New York Philharmonic in Beethoven’s Ninth Symphony under Alan Gilbert and with the Los Angeles Philharmonic in Manuel de Falla’s La vida breve under the baton of Rafael Frühbeck de Burgos. She also performed Beethoven’s Symphony No. 9 with the LA Philharmonic, Beethoven’s Missa solemnis with the Washington Chorus, Ravel’s Shéhérazade with the Hong Kong Philharmonic, and Canteloube’s Chants d’Auvergne and Falla’s Siete canciones populares españolas with the Sydney Symphony. She also made her Cincinnati May Festival debut in Mozart’s Requiem under James Conlon and in an all-star gala at the Opera Theater of San Antonio.

Daniela Mack is an alumna of the Adler Fellowship Program at San Francisco Opera where she has appeared as Idamante in Idomeneo Siebel in Faust and Lucienne in Die tote Stadt for her house debut. She performed the title role of La Cenerentola as a member of the Merola Opera Program and made her West Coast recital debut as part of San Francisco Opera’s Schwabacher Debut Recital Series. Ms. Mack was recently a finalist in the 2013 BBC Cardiff Singer of the World Competition.

Andrew Manea*
Figaro

Lauded for his “Charming…robust baritone…” rising Romanian-American baritone Andrew G. Manea is a second-year Adler Fellow at San Francisco Opera. In the current season, Mr. Manea made his role debut as the Duke of Nottingham in Roberto Devereux and also sings Sciarrone in Tosca. He was also heard as Marullo in Rigoletto, as the Marchese d’Obigny in La traviata, and in the world premiere of John Adams’ Girls of the Golden West. On the concert stage, he made his Schwabacher Recital debut with esteemed pianist Warren 

Additional recently performed roles include Marcello in La bohème with Shreveport Opera; #7 in Transformations with the Merola Opera Program; Escamillo in Carmen in Wuhan, China; as well as the Forester in The Cunning Little Vixen, Danilo in The Merry Widow, and the Father in Hansel and Gretel, all with the College-Conservatory of Music at Cincinnati University.

Andrew Manea was awarded First Place and Audience Favorite in the Mary Jacobs Smith Singer of the Year Competition with Shreveport Opera, was a Semifinalist of the Metropolitan Opera National Council Auditions, earned Second Place and Audience Favorite in the Opera Columbus Cooper-Bing International Vocal Competition, was a Finalist in the Jensen Foundation Vocal Competition, and was a Career Grant recipient in the Giulio Gari Foundation Competition.

A native of Troy, Michigan, Mr. Manea holds his Bachelor’s degree from the Cleveland Institute of Music and his Master’s degree from the University of Cincinnati, College-Conservatory of Music, where he studied with the prolific Bill McGraw.

Taylor Stayton
Count Almaviva

Taylor Stayton’s “laser-bright timbre” and “exceptional fluidity above the staff” (Opera News) continue to distinguish him as one of the most sought-after tenors in his repertoire. Stayton begins the 2018-2019 season with his debut at the Edinburgh Festival in August singing the role of Don Ramiro in Rossini’s La Cenerentola, a role he reprises later in the season for his return to the Norwegian National Opera in OlsoHe makes two role debuts this season: first as the title role in Bernstein’s Candide at the National Kaohsiung Center for the Arts in Taiwan, followed by his debut as Nemorino in Donizetti’s L’elisir d’amore with Opera Omaha. On the concert stage Stayton makes his debut with the Memphis Symphony in December for performances of Messiah. Stayton recently returned to the Metropolitan Opera debuting the role of Camille de Rosillon in The Merry Widow, followed by his debut at both Semperoper Dresden and Washington National Opera reprising his acclaimed interpretation of Almaviva in Rossini’s Il barbiere di Siviglia. Additional recent debuts include his house debuts with the Liceu Opera Barcelona in the role of Belfiore in Rossini’s Viaggio a Reims and Opera Omaha as Fenton in Verdi’s Falstaff, as well as his role debut as Alfred in Strauss’ Die Fledermaus.

Described as “deserving to be numbered on the short list of Rossini all-stars” by Opera Today, Stayton premiered the role of Almaviva in Il barbiere di Siviglia with Opéra de Lille in 2012 and has reprised the role at the Deutsche Oper Berlin, Nashville Opera, and Opera Philadelphia, as well as on a tour throughout France with theaters including Opéra de Limoges, Théâtre de Caen, and Opéra de Dijon. Additional roles in the bel canto repertoire include his debut as the title character in Le comte Ory with Des Moines Metro Opera, Don Ramiro in La Cenerentola at the Glyndebourne Festival, Tonio in La fille du regiment in his debut with Palm Beach Opera, and his house and role debuts singing Lindoro in L’Italiana in Algeri with Lyric Opera of Kansas City. Stayton made his critically acclaimed Metropolitan Opera debut in a last-minute performance as Percy in Anna Bolena, and returned as Elvino in La Sonnambula opposite Diana Damrau.

Recent debuts include with the Bayerische Staatsoper as Marzio in Mitridate, re di Ponto; Kentucky Opera as Don Ottavio in Don Giovanni; Ernesto in Don Pasquale with Des Moines Metro Opera; Tybalt in Roméo et Juliette with Opera Philadelphia; Don Alvar in L’Africaine with Opera Orchestra of New York; and Teatro dell-Opera di Roma as Fenton in the new Franco Zeffirelli production of Falstaff with Renato Bruson and Carlos Alvarez.

A native of Sidney, Ohio, Stayton is a 2011 graduate of The Academy of Vocal Arts as a student of the renowned voice teacher Bill Schuman. He earned his Bachelor of Music degree at Ohio State University, and is an alumnus of the Martina Arroyo Foundation’s “Prelude to Performance” program. He has won several prestigious vocal competitions, including First Prize in the Licia Albanese-Puccini Foundation International Voice Competition, First prize in the Gerda Lissner Foundation International Voice Competition, and third place in the Loren B. Zachary Voice Competition.

Renato Girolami*
Doctor Bartolo

Italian born baritone Renato Girolami studied singing in Rome with Sesto Bruscantini.

After receiving his degree in “Konzertgesang“ from the Musikhochschule in München, where he studied with Ernst Haefliger, he participated in masterclasses in Berlin with Dietrich Fischer-Dieskau.

Passau and Salzburg were his first professional engagements, the latter of which led to his engagement at the Wiener Staatsoper, where he remained for 5 years in residence. After this experience Renato Girolami has established himself as one of the leading baritones of today, being invited in some among the world’s most important opera houses and festivals, including Teatro alla Scala, Salzburg Festival, Wiener Staatsoper, Theater an der Wien, Opernhaus Zürich, Bayerische Staatsoper München, Staatsoper Berlin, Gran Teatre de Liceu de Barcelona, Glyndebourne Festival, Canadian Opera Company Toronto, New National Theater Tokyo, New Israeli Opera Tel Aviv, Innsbrucker Festwochen, De Nationale Opera Amsterdam, Teatro La Fenice.

He worked with such conductors as Riccardo Muti, Daniel Barenboim, Renato Palumbo, Asher Fisch, Donato Renzetti, Omer Meir Wellber, Alessandro De Marchi, just to name a few.

Due to his vocal flexibility, the rapidity of his parlando passages, his natural recitatives as well as his versatile role portrayals, Renato Girolami has become known as a specialist in the Mozart and Rossini operas, such as Le nozze di Figaro, performed also under the baton of Riccardo Muti, and Il barbiere di Siviglia, performed also under the baton of Daniel Barenboim.  In addition, his belcanto line and phrasing and the warmth of his vocal timbre have allowed him to confront roles such as Germont, Enrico Ashton and Sharpless with equal success.

He took part in many important productions, including Zaide (Osmin) at Salzburg Festival, L’elisir d’amore (Dulcamara) at Teatro alla Scala, at Staatsoper Berlin, at Wiener Staatsoper, at Opernhaus Zürich and at New National Theatre Tokyo, Don Giovanni (Leporello) at Teatro La Fenice, La forza del destino (Fra Melitone) at Liceu de Barcelona and at Bayerische Staatsoper in Munich, Il barbiere di Siviglia (Bartolo) at Bayerische Staatsoper, at Staatsoper Berlin, at Opernhaus Zürich and at Canadian Opera Company Toronto, Don Pasquale (title role) at Glyndebourne Festival, Il turco in Italia (Don Geronio) at Bayerische Staatsoper and at Staatsoper Hamburg, Falstaff (title role) at Kungliga Operan Stockholm.

His discography includes Le nozze di Figaro (Figaro) and Don Giovanni (Leporello) for Naxos, La Serva Padrona (Uberto) and Livietta e Tracollo (Tracollo) for Bongiovanni.

LATEST PERFORMANCES: Il turco in Italia at Opernhaus Zürich; Il barbiere di Siviglia (Bartolo) at Semperoper Dresden and at Staatsoper Berlin; La forza del destino (Fra Melitone) at Oper Köln; Il barbiere di Siviglia (Bartolo) at Staatsoper Hamburg; Gianni Schicchi (title role) at Den Norske Opera Oslo; La Cenerentola in Edinburgh on tour with Opéra de Lyon; Il matrimonio segreto (conte Robinson) at Oper Köln; L’elisir d’amore at New National Theatre Tokyo; Il barbiere di Siviglia (Bartolo) at Bayerische Staatsoper, Opernhaus Zürich, Teatro de la Maestranza de Sevilla, Staatsoper Hamburg;  La Cenerentola at Opéra de Lyon, Stuttgart Oper, Den Norske Opera Oslo, Wiener Staatsoper, Opéra de Lille, Bayerische Staatsoper.

FORTHCOMING PROJECTS: La forza del destino at Opernhaus Zürich; Il barbiere di Siviglia (Bartolo) at Canadian Opera Company Toronto, Palm Beach Lyric Opera and at Dallas Opera; La Cenerentola at Wiener Staatsoper, in Düsseldorf and at Teatro Real de Madrid; Il turco in Italia at Staatsoper Hamburg.

Timothy Bruno*
Don Basilio

2018-19 marks the finale of Mr. Bruno’s affiliation as a Domingo-Cafritz Young Artist with the Washington National Opera. He will have his role debuts at the WNO as Dottore Grenvil in La Traviata followed by the French General in Silent Night. In 2019, he will create the role of Daddy in WNO’s world-premiere of Taking Up Serpents by Kamala Sankaram and Jerre Dye as part of the American Opera Initiative. With the New Orleans Opera, he will star as Osmin in Abduction from the Seraglio. Back at WNO, he will cover the role of Méphistophélès in Faust, and then appears in the world-premiere of Liszt’s lost opera, Sardanapale, performing Beleso at the Library of Congress.  In the summer, he returns to Des Moines Metro Opera for Colline in La bohème and the First Apprentice in Wozzeck.

In 2017-18, Mr. Bruno performed Il frate in Don Carlo, Don Basilio in The Barber of Seville, the King in The Little Prince, the Sodbuster in the world premiere of Missy Mazzoli and Royce Vavrek’s Proving Up, and covered Melisso in Alcina. With the Washington Concert Opera, he debuted as Il Priore in Bellini’s La Straniera and appeared as Il viscount di Suze in Donizetti’s Maria di Rohan under the baton of Mo. Antony Walker. Mr. Bruno also debuted at The Glimmerglass Festival, performing Don Basilio in The Barber of Seville and The French General in Silent Night.

Mr. Bruno is a recipient of prizes from the Metropolitan Opera’s National Council Auditions, the Opera Birmingham Competition, the Annapolis Opera Competition, Partners for the Arts, the Harold Haugh Light Opera Competition, and Singer’s Club of Cleveland. He is an alumnus of the Master of Music program at the University of Cincinnati’s College Conservatory of Music and holds a Bachelor of Music degree from Bowling Green State University.

Susan Neves*
Berta

Dramatic soprano, Susan Neves, has been internationally acclaimed in theaters such as the Opera Bastille in Paris, the Metropolitan Opera, Deutsche Opera Berlin, Vienna State Opera, Gran Teatro del Liceu in Barcelona, Monte Carlo, and opera houses throughout Italy including l’Arena di Verona, Bologna, Genoa, Parma, and Cagliari.

She commands a repertoire of some of the most challenging roles written for soprano, and is a sought-after teacher and coach in New York City and Orlando, Florida. She has also taught at Stetson University and with the Miami Summer Music Festival at Florida International University.

Her 2017-2018 season includes performing the Overseer in Elektra and covering Gertrude in Hansel and Gretel at the Metropolitan Opera, an All-Verdi Concert for Vero Beach Opera, and a Master Class for her alma mater, Manhattan School of Music.

Susan Neves is a native New Yorker with a French mother and a Portuguese father. Consequently she feels at home in whatever city she performs, and speaks six languages. She completed her musical studies at the Manhattan School of Music, where she earned a master’s degree. As a winner of the International Luciano Pavarotti Vocal Competition, Miss Neves debuted as Donna Elvira in Don Giovanni.

David Stern
Chief Conductor

Palm Beach Opera Chief Conductor David Stern’s musical leadership is spread across three continents. He is the founder and director of the Paris-based opera company and period-instrument ensemble, Opera Fuoco, as well as artistic advisor and principal conductor of the Shanghai Baroque Festival and music director of opera at the Crested Butte Music Festival in Colorado.

Stern is known for his extensive range of repertoire. In his time as music director of the Israel and the St. Gallen Opera houses, he championed 18th century opera and eclectic works such as Simone Mayr’s Medea, Berg’s Wozzeck, Britten’s Turn of the Screw and Weill’s Mahagonny. He has premiered four new operas since 2010 – Gil Shohat’s The Child Dreams at the Israel Opera, Nicolas Bacri’s Così fanciulli, commissioned by Opera Fuoco and performed at the Théâtre des Champs-Élysées in Paris, Ben Moore’s Enemies, A Love Story in Palm Beach and Jan Sandström’s The Rococo Machine in Drottningholm, Sweden in June 2016.

Stern has enjoyed collaborations with many international stage directors. Stern is a frequent guest around the globe with symphonic and chamber orchestras. He is regularly invited to the Vienna Chamber Orchestra, the Swedish Chamber Orchestra, the Shanghai and Guangzhou Symphonies, the China Philharmonic, the New Russian Symphony, the National Orchestra of Mexico, and has had recent appearances with the Vienna Symphony and the Hong Kong Philharmonic.

Since launching the Aix Festival Academy in 1998, David Stern has been committed to developing young voices. He created Opera Fuoco in 2003 as a platform to train young French singers in repertoire ranging from Monteverdi to John Cage, combining both an opera studio offering regular master classes and an opera company producing and co-producing larger concertante and staged productions. As artistic advisor of the Shanghai Baroque Festival, he involves singers from the Shanghai Conservatory and the Opera Fuoco Studio, and he works regularly with the Young Artist Programs in Palm Beach and Crested Butte, Colorado.

Stern received his Bachelor of Arts from Yale and his Masters of Music from the Juilliard School. He resides in Paris with his wife and two daughters.

Joshua Major*
Director

Toronto-born Joshua Major began his opera stage directing career at the age of 23 with La Cenerentola for Opera Omaha. Soon after, Mr. Major worked as an assistant to Rhoda Levine at Juilliard, Cynthia Auerbach at both Chautauqua Opera and New York City Opera and William Gaskill at the Welsh National Opera. Mr. Major has worked as a stage director for over 30 years throughout the United States and Canada developing an impressive and diverse repertoire of productions. Recent productions include the North American premiere of Rossini’s La GazzettaLa Perichole (Offenbach), Dido and Aeneus (Purcell), Ariadne auf Naxos (Strauss), The Cunning Little Vixen (Janacek), Lucia di Lamermoor (Donizetti), The Turn of the Screw (Britten), Les Mamaelles de Tiresias (Poulenc), L’Impressions de Pelleas (Brook/Debussy), Le Tragedie du Carmen (Brook/Bizet). In August 2012 Mr. Major joined the faculty of the New England Conservatory of Music in Boston as Chair of Opera Studies. Prior to joining NEC, he spent 20 years on the faculty of the University of Michigan where he oversaw the Opera Program, both teaching and directing. Recent productions at the University of Michigan include, Falstaff, Armide, A Midsummer Night’s Dream and Eugene Onegin. Joshua Major has been the Artistic Director of the Pine Mountain Music Festival, located in the Upper Peninsula of Michigan on the shores of Lake Superior, since 2003. He continues to be a stage director and faculty member with the International Vocal Arts Institute in both Montreal and Tel Aviv, where he has directed annually, since 1993.  

  

Daniela Mack*
Rosina

Mezzo-soprano Daniela Mack has been acclaimed for her “caramel timbre, flickering vibrato, and crisp articulation” (Opernwelt) as she “hurls fast notes like a Teresa Berganza or a Frederica von Stade” (San Francisco Chronicle).

Renowned for her Rossini interpretations, Daniela Mack will have two house debuts as Rosina in The Barber of Seville during the 2018-2019 season at Boston Lyric Opera and Michigan Opera Theatre. She makes her Spanish debut and role debut at Ópera de Oviedo as Sesto in La clemenza di Tito, as well as her debut with the BBC Philharmonic as Béatrice in Béatrice et Bénédict. Ms. Mack makes her role debut as Dorabella in Così fan tutte at the Lyric Opera of Kansas City and her return to the Florida Grand Opera in a highly-anticipated role debut as Charlotte in Werther.

In recent seasons, Daniela Mack made her Royal Opera House-Covent Garden debut as Rosina in Il barbiere di Siviglia with Javier Camerena and made her Metropolitan Opera debut in Mary Zimmerman’s new production of Rusalka as the Kitchen Boy. Ms. Mack was seen at the Santa Fe Opera for her first North American performances as Isabella in L’italiana in Algeri, as Bradamante in Alcina conducted by Harry Bicket, and her role debut as in Carmen.  She created the role of Elizabeth Cree in the world premiere of Kevin Puts and Mark Campbell’s Elizabeth Cree at Opera Philadelphia and returned later in the season for Carmen. She was seen at the Washington National Opera as Bradamante in Alcina, debuted at the Seattle Opera as Berlioz’s Béatrice in Béatrice et Bénédict, returned to Arizona Opera as Angelina in La Cenerentola and debuted at the Florida Grand Opera as the title role in Carmen.

Daniela Mack has been seen at the San Francisco Opera as Rosina in Il barbiere di Siviglia and Rosmira in Partenope, as well as created the role of Jacqueline Kennedy in the world premiere of David T. Little and Royce Vavrek’s JFK at the Fort Worth Opera with subsequent performances at the Montreal Opera. She debuted at the Lyric Opera of Chicago as the Kitchen Boy in David McVicar’s production of Rusalka conducted by Andrew Davis and returned to Madison Opera as Sister Helen Prejean in Dead Man Walking. She has been seen at the English National Opera in a new production of Julius Caesar as Sesto under Christian Curnyn, the first time the opera was produced at the ENO since the legendary 1979 production. She also debuted at Théâtre du Capitole in Toulouse and Los Angeles Opera as Nancy in Albert Herring, Washington National Opera as the Madrigal Singer in Manon Lescaut, Deutsche Oper Berlin and Verbier Festival as Cherubino in Le nozze di Figaro, Opéra National de Bordeaux as Angelina in L’italiana in Algeri, and Opera Colorado in Jean-Pierre Ponnelle’s famous production of La Cenerentola directed by Grischa Asagaroff.

On the concert stage, Ms. Mack debuted with three orchestras under Charles Dutoit: Orchestra de la Suisse Romande in Ravel’s L’heure espagnole and L’enfant et les sortilèges, Boston Symphony Orchestra in L’heure espagnole, and Chicago Symphony Orchestra in Falla’s Three-Cornered Hat. She also debuted with the Mitteldeutscher Rundfunk in Rossini’s Giovanna d’Arco under James Gaffigan and performed Vivaldi’s Judith triumphans with Boston Baroque. She debuted with the New York Philharmonic in Beethoven’s Ninth Symphony under Alan Gilbert and with the Los Angeles Philharmonic in Manuel de Falla’s La vida breve under the baton of Rafael Frühbeck de Burgos. She also performed Beethoven’s Symphony No. 9 with the LA Philharmonic, Beethoven’s Missa solemnis with the Washington Chorus, Ravel’s Shéhérazade with the Hong Kong Philharmonic, and Canteloube’s Chants d’Auvergne and Falla’s Siete canciones populares españolas with the Sydney Symphony. She also made her Cincinnati May Festival debut in Mozart’s Requiem under James Conlon and in an all-star gala at the Opera Theater of San Antonio.

Daniela Mack is an alumna of the Adler Fellowship Program at San Francisco Opera where she has appeared as Idamante in Idomeneo Siebel in Faust and Lucienne in Die tote Stadt for her house debut. She performed the title role of La Cenerentola as a member of the Merola Opera Program and made her West Coast recital debut as part of San Francisco Opera’s Schwabacher Debut Recital Series. Ms. Mack was recently a finalist in the 2013 BBC Cardiff Singer of the World Competition.

Andrew Manea*
Figaro

Lauded for his “Charming…robust baritone…” rising Romanian-American baritone Andrew G. Manea is a second-year Adler Fellow at San Francisco Opera. In the current season, Mr. Manea made his role debut as the Duke of Nottingham in Roberto Devereux and also sings Sciarrone in Tosca. He was also heard as Marullo in Rigoletto, as the Marchese d’Obigny in La traviata, and in the world premiere of John Adams’ Girls of the Golden West. On the concert stage, he made his Schwabacher Recital debut with esteemed pianist Warren 

Additional recently performed roles include Marcello in La bohème with Shreveport Opera; #7 in Transformations with the Merola Opera Program; Escamillo in Carmen in Wuhan, China; as well as the Forester in The Cunning Little Vixen, Danilo in The Merry Widow, and the Father in Hansel and Gretel, all with the College-Conservatory of Music at Cincinnati University.

Andrew Manea was awarded First Place and Audience Favorite in the Mary Jacobs Smith Singer of the Year Competition with Shreveport Opera, was a Semifinalist of the Metropolitan Opera National Council Auditions, earned Second Place and Audience Favorite in the Opera Columbus Cooper-Bing International Vocal Competition, was a Finalist in the Jensen Foundation Vocal Competition, and was a Career Grant recipient in the Giulio Gari Foundation Competition.

A native of Troy, Michigan, Mr. Manea holds his Bachelor’s degree from the Cleveland Institute of Music and his Master’s degree from the University of Cincinnati, College-Conservatory of Music, where he studied with the prolific Bill McGraw.

Taylor Stayton
Count Almaviva

Taylor Stayton’s “laser-bright timbre” and “exceptional fluidity above the staff” (Opera News) continue to distinguish him as one of the most sought-after tenors in his repertoire. Stayton begins the 2018-2019 season with his debut at the Edinburgh Festival in August singing the role of Don Ramiro in Rossini’s La Cenerentola, a role he reprises later in the season for his return to the Norwegian National Opera in OlsoHe makes two role debuts this season: first as the title role in Bernstein’s Candide at the National Kaohsiung Center for the Arts in Taiwan, followed by his debut as Nemorino in Donizetti’s L’elisir d’amore with Opera Omaha. On the concert stage Stayton makes his debut with the Memphis Symphony in December for performances of Messiah. Stayton recently returned to the Metropolitan Opera debuting the role of Camille de Rosillon in The Merry Widow, followed by his debut at both Semperoper Dresden and Washington National Opera reprising his acclaimed interpretation of Almaviva in Rossini’s Il barbiere di Siviglia. Additional recent debuts include his house debuts with the Liceu Opera Barcelona in the role of Belfiore in Rossini’s Viaggio a Reims and Opera Omaha as Fenton in Verdi’s Falstaff, as well as his role debut as Alfred in Strauss’ Die Fledermaus.

Described as “deserving to be numbered on the short list of Rossini all-stars” by Opera Today, Stayton premiered the role of Almaviva in Il barbiere di Siviglia with Opéra de Lille in 2012 and has reprised the role at the Deutsche Oper Berlin, Nashville Opera, and Opera Philadelphia, as well as on a tour throughout France with theaters including Opéra de Limoges, Théâtre de Caen, and Opéra de Dijon. Additional roles in the bel canto repertoire include his debut as the title character in Le comte Ory with Des Moines Metro Opera, Don Ramiro in La Cenerentola at the Glyndebourne Festival, Tonio in La fille du regiment in his debut with Palm Beach Opera, and his house and role debuts singing Lindoro in L’Italiana in Algeri with Lyric Opera of Kansas City. Stayton made his critically acclaimed Metropolitan Opera debut in a last-minute performance as Percy in Anna Bolena, and returned as Elvino in La Sonnambula opposite Diana Damrau.

Recent debuts include with the Bayerische Staatsoper as Marzio in Mitridate, re di Ponto; Kentucky Opera as Don Ottavio in Don Giovanni; Ernesto in Don Pasquale with Des Moines Metro Opera; Tybalt in Roméo et Juliette with Opera Philadelphia; Don Alvar in L’Africaine with Opera Orchestra of New York; and Teatro dell-Opera di Roma as Fenton in the new Franco Zeffirelli production of Falstaff with Renato Bruson and Carlos Alvarez.

A native of Sidney, Ohio, Stayton is a 2011 graduate of The Academy of Vocal Arts as a student of the renowned voice teacher Bill Schuman. He earned his Bachelor of Music degree at Ohio State University, and is an alumnus of the Martina Arroyo Foundation’s “Prelude to Performance” program. He has won several prestigious vocal competitions, including First Prize in the Licia Albanese-Puccini Foundation International Voice Competition, First prize in the Gerda Lissner Foundation International Voice Competition, and third place in the Loren B. Zachary Voice Competition.

Renato Girolami*
Doctor Bartolo

Italian born baritone Renato Girolami studied singing in Rome with Sesto Bruscantini.

After receiving his degree in “Konzertgesang“ from the Musikhochschule in München, where he studied with Ernst Haefliger, he participated in masterclasses in Berlin with Dietrich Fischer-Dieskau.

Passau and Salzburg were his first professional engagements, the latter of which led to his engagement at the Wiener Staatsoper, where he remained for 5 years in residence. After this experience Renato Girolami has established himself as one of the leading baritones of today, being invited in some among the world’s most important opera houses and festivals, including Teatro alla Scala, Salzburg Festival, Wiener Staatsoper, Theater an der Wien, Opernhaus Zürich, Bayerische Staatsoper München, Staatsoper Berlin, Gran Teatre de Liceu de Barcelona, Glyndebourne Festival, Canadian Opera Company Toronto, New National Theater Tokyo, New Israeli Opera Tel Aviv, Innsbrucker Festwochen, De Nationale Opera Amsterdam, Teatro La Fenice.

He worked with such conductors as Riccardo Muti, Daniel Barenboim, Renato Palumbo, Asher Fisch, Donato Renzetti, Omer Meir Wellber, Alessandro De Marchi, just to name a few.

Due to his vocal flexibility, the rapidity of his parlando passages, his natural recitatives as well as his versatile role portrayals, Renato Girolami has become known as a specialist in the Mozart and Rossini operas, such as Le nozze di Figaro, performed also under the baton of Riccardo Muti, and Il barbiere di Siviglia, performed also under the baton of Daniel Barenboim.  In addition, his belcanto line and phrasing and the warmth of his vocal timbre have allowed him to confront roles such as Germont, Enrico Ashton and Sharpless with equal success.

He took part in many important productions, including Zaide (Osmin) at Salzburg Festival, L’elisir d’amore (Dulcamara) at Teatro alla Scala, at Staatsoper Berlin, at Wiener Staatsoper, at Opernhaus Zürich and at New National Theatre Tokyo, Don Giovanni (Leporello) at Teatro La Fenice, La forza del destino (Fra Melitone) at Liceu de Barcelona and at Bayerische Staatsoper in Munich, Il barbiere di Siviglia (Bartolo) at Bayerische Staatsoper, at Staatsoper Berlin, at Opernhaus Zürich and at Canadian Opera Company Toronto, Don Pasquale (title role) at Glyndebourne Festival, Il turco in Italia (Don Geronio) at Bayerische Staatsoper and at Staatsoper Hamburg, Falstaff (title role) at Kungliga Operan Stockholm.

His discography includes Le nozze di Figaro (Figaro) and Don Giovanni (Leporello) for Naxos, La Serva Padrona (Uberto) and Livietta e Tracollo (Tracollo) for Bongiovanni.

LATEST PERFORMANCES: Il turco in Italia at Opernhaus Zürich; Il barbiere di Siviglia (Bartolo) at Semperoper Dresden and at Staatsoper Berlin; La forza del destino (Fra Melitone) at Oper Köln; Il barbiere di Siviglia (Bartolo) at Staatsoper Hamburg; Gianni Schicchi (title role) at Den Norske Opera Oslo; La Cenerentola in Edinburgh on tour with Opéra de Lyon; Il matrimonio segreto (conte Robinson) at Oper Köln; L’elisir d’amore at New National Theatre Tokyo; Il barbiere di Siviglia (Bartolo) at Bayerische Staatsoper, Opernhaus Zürich, Teatro de la Maestranza de Sevilla, Staatsoper Hamburg;  La Cenerentola at Opéra de Lyon, Stuttgart Oper, Den Norske Opera Oslo, Wiener Staatsoper, Opéra de Lille, Bayerische Staatsoper.

FORTHCOMING PROJECTS: La forza del destino at Opernhaus Zürich; Il barbiere di Siviglia (Bartolo) at Canadian Opera Company Toronto, Palm Beach Lyric Opera and at Dallas Opera; La Cenerentola at Wiener Staatsoper, in Düsseldorf and at Teatro Real de Madrid; Il turco in Italia at Staatsoper Hamburg.

Timothy Bruno*
Don Basilio

2018-19 marks the finale of Mr. Bruno’s affiliation as a Domingo-Cafritz Young Artist with the Washington National Opera. He will have his role debuts at the WNO as Dottore Grenvil in La Traviata followed by the French General in Silent Night. In 2019, he will create the role of Daddy in WNO’s world-premiere of Taking Up Serpents by Kamala Sankaram and Jerre Dye as part of the American Opera Initiative. With the New Orleans Opera, he will star as Osmin in Abduction from the Seraglio. Back at WNO, he will cover the role of Méphistophélès in Faust, and then appears in the world-premiere of Liszt’s lost opera, Sardanapale, performing Beleso at the Library of Congress.  In the summer, he returns to Des Moines Metro Opera for Colline in La bohème and the First Apprentice in Wozzeck.

In 2017-18, Mr. Bruno performed Il frate in Don Carlo, Don Basilio in The Barber of Seville, the King in The Little Prince, the Sodbuster in the world premiere of Missy Mazzoli and Royce Vavrek’s Proving Up, and covered Melisso in Alcina. With the Washington Concert Opera, he debuted as Il Priore in Bellini’s La Straniera and appeared as Il viscount di Suze in Donizetti’s Maria di Rohan under the baton of Mo. Antony Walker. Mr. Bruno also debuted at The Glimmerglass Festival, performing Don Basilio in The Barber of Seville and The French General in Silent Night.

Mr. Bruno is a recipient of prizes from the Metropolitan Opera’s National Council Auditions, the Opera Birmingham Competition, the Annapolis Opera Competition, Partners for the Arts, the Harold Haugh Light Opera Competition, and Singer’s Club of Cleveland. He is an alumnus of the Master of Music program at the University of Cincinnati’s College Conservatory of Music and holds a Bachelor of Music degree from Bowling Green State University.

Susan Neves*
Berta

Dramatic soprano, Susan Neves, has been internationally acclaimed in theaters such as the Opera Bastille in Paris, the Metropolitan Opera, Deutsche Opera Berlin, Vienna State Opera, Gran Teatro del Liceu in Barcelona, Monte Carlo, and opera houses throughout Italy including l’Arena di Verona, Bologna, Genoa, Parma, and Cagliari.

She commands a repertoire of some of the most challenging roles written for soprano, and is a sought-after teacher and coach in New York City and Orlando, Florida. She has also taught at Stetson University and with the Miami Summer Music Festival at Florida International University.

Her 2017-2018 season includes performing the Overseer in Elektra and covering Gertrude in Hansel and Gretel at the Metropolitan Opera, an All-Verdi Concert for Vero Beach Opera, and a Master Class for her alma mater, Manhattan School of Music.

Susan Neves is a native New Yorker with a French mother and a Portuguese father. Consequently she feels at home in whatever city she performs, and speaks six languages. She completed her musical studies at the Manhattan School of Music, where she earned a master’s degree. As a winner of the International Luciano Pavarotti Vocal Competition, Miss Neves debuted as Donna Elvira in Don Giovanni.

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