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DIE FLEDERMAUS

by Johann Strauss II

Friday, March 22, 2019 at 7:30 PM
Saturday, March 23, 2019 at 7:30 PM
Sunday, March 24, 2019 at 2:00 PM

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It’s New Year’s Eve at Prince Orlofsky’s lavish masquerade ball, where Viennese guests waltz, drink, and revel in opulence, blissfully oblivious to an elaborate revenge plan taking place. Not even the Prince knows who will be appearing during the party, but after a delightful evening of waltzes, misunderstandings, rendezvous-gone-wrong, and a final unmasking of lies, only champagne is to blame.

Johann Strauss II’s Die Fledermaus is a comedic series of mischief, intrigue, and revenge set at a lavish Viennese ball. Palm Beach Opera Chief Conductor Maestro David Stern conducts this high-spirited comedy, directed by Artistic Director of Opera at Manhattan School of Music Dona D. Vaughn. Keri Alkema, who captivated audiences in Palm Beach Opera’s recent production of Tosca, returns in the role of Rosalinde. Returning to Palm Beach Opera after a critically-acclaimed performance in The Pirates of Penzance, world-renowned mezzo-soprano Stephanie Blythe is Orlofsky. American soprano Diana Newman makes her company debut as Adele. Another PBO debut, tenor Zachary Borichevsky performs as Eisensetin, a role the artist has performed at Cincinnati Opera.

Sung in English with English supertitles projected above the stage.

  • David Stern
    David Stern
    Chief Conductor
  • Dona D. Vaughn
    Dona D. Vaughn
    Director
  • Tyler Micoleau*
    Tyler Micoleau*
    Lighting Designer
  • Mara Newbery Greer
    Mara Newbery Greer
    Choreographer
  • Zach Borichevsky*
    Zach Borichevsky*
    Eisenstein
  • Keri Alkema
    Keri Alkema
    Rosalinde
  • Diana Newman*
    Diana Newman*
    Adele
  • Stephanie Blythe
    Stephanie Blythe
    Orlofsky
  • Jack Swanson*
    Jack Swanson*
    Alfred
  • Tobias Greenhalgh+
    Tobias Greenhalgh+
    Dr. Falke
  • Wayne Tigges
    Wayne Tigges
    Frank
  • John Felix
    John Felix
    Frosch

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

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

Act 1

Eisenstein’s apartment

Gabriel von Eisenstein, a Viennese man-about-town, has been sentenced to eight days in prison for insulting an official, partially due to the incompetence of his attorney, Dr. Blind. Adele, Eisenstein’s maid, receives a forged letter, purportedly from her sister who is in the company of the ballet, but actually written by Falke, inviting her to Prince Orlofsky’s ball. She pretends the letter says that her aunt is very sick, and asks her mistress Rosalinde (Eisenstein’s wife) for an evening off (“Da schreibt meine Schwester Ida”/”My sister Ida writes to me”). Falke, Eisenstein’s friend, arrives to invite him to the ball (Duet: “Kommt mit mir zum Souper”/”Come with me to the souper”). Together, they recall a practical joke which Eisenstein played on Falke a few years ago, for which Falke is secretly planning a light-hearted revenge in kind. Eisenstein bids farewell to Adele and his wife Rosalinde, pretending he is going to prison (Trio: “O Gott, wie rührt mich dies!”/”Oh dear, oh dear, how sorry I am”) but really intending to postpone jail for one day and have fun at the ball.

After Eisenstein leaves, Rosalinde is visited by her former lover, the singing teacher Alfred, who serenades her (“Täubchen, das entflattert ist”/”Dove that has escaped”). Frank, the governor of the prison, arrives to take Eisenstein to jail, and finds Alfred instead. In order not to compromise Rosalinde, Alfred agrees to pretend to be Eisenstein and to accompany Frank. (Finale, drinking song: “Glücklich ist, wer vergisst”/”Happy is he who forgets” followed by Rosalinde’s defence when Frank arrives: “Mit mir so spät im tête-à-tête”/”In tête-à-tête with me so late,” and Frank’s invitation: “Mein schönes, großes Vogelhaus”/”My beautiful, large bird-cage.”)

Act 2

A summer house in the Villa Orlofsky

It transpires that Falke, with Prince Orlofsky’s permission, is using the ball as a way of getting revenge on Eisenstein. Some time before, after a costume-party, Eisenstein had abandoned Falke, very drunk and dressed in a bat-costume, in the center of town, exposing him to ridicule the next day. As part of his scheme, Falke has invited Frank, Adele, and Rosalinde to come the ball, all concealing their identities as well. Rosalinde pretends to be a masked Hungarian countess, Eisenstein goes by the name “Marquis Renard,” Frank is “Chevalier Chagrin,” and Adele, who has borrowed one of Rosalinde’s dresses without permission, pretends she is an actress.

The ball is in progress (Chorus: “Ein Souper heut’ uns winkt”/”A souper is before us”) and the Prince welcomes his guests (“Ich lade gern mir Gäste ein”/”I love to invite my friends”). Eisenstein is introduced to Adele, but is confused as to who she really is because of her striking resemblance to his maid. (“Mein Herr Marquis”/”My lord marquis,” sometimes referred to as “Adele’s Laughing Song”). Frank arrives. He and Eisenstein, who are both posing as Frenchmen, attempt to conceal their identities by repeating common French phrases to each other, to Orlofsky’s great amusement. Since neither actually knows French, both are fooled. As the party progresses, they both experience alcohol-induced good-feeling and manly camaraderie for each other.

Then Falke introduces the masked Rosalinde to the company. She convinces everyone that she is Hungarian by singing the “Czardas”, a sentimental dancing-song (“Klänge der Heimat”/”Sounds from home”). During an amorous tête-à-tête, Eisenstein tries unsuccessfully to persuade the mystery-woman to unmask. She succeeds in extracting a valuable watch from her husband’s pocket, something which she can use in the future as evidence of his impropriety. (Watch duet: “Dieser Anstand, so manierlich”/”Her bearing, so well-mannered”). In a rousing finale, Orlofsky makes a toast to champagne, and the company celebrates (The Champagne song: “Im Feuerstrom der Reben”/”In the fire stream of the grape”; followed by the canon: “Brüderlein, Brüderlein und Schwesterlein”/”Brothers, brothers and sisters” and the waltz finale, “Ha, welch ein Fest, welche Nacht voll Freud’!”/”Ha, what joy, what a night of delight.”) Eisenstein and Frank dash off as the clock strikes six in the morning.

(Note: The “Champagne song”, which is sung by the entire ensemble, should not be confused with the baritone aria “Fin ch’ han dal vino” from Don Giovanni, which is often called the “Champagne aria”.)

Act 3

In the prison offices of Warden Frank

The next morning they all find themselves at the prison where the confusion increases and is compounded by the jailer, Frosch, who has profited by Warden Frank’s absence to become gloriously drunk. Alfred, still in jail in Eisenstein’s place, irritates the other prisoners by singing operatic arias.

Adele arrives to ask the Chevalier Chagrin (actually Frank) to sponsor her career as an actress, but Frank is not wealthy enough to do this (Melodrama; Couplet of Adele: “Spiel’ ich die Unschuld vom Lande”/”If I play the innocent peasant maid”). Meanwhile, Alfred asks Frosch to summon Dr. Blind to help get him released; Frank agrees to allow this and Dr. Blind arrives. Eisenstein enters and says he has come to serve his sentence. He is surprised when Frank tells him that his cell is already occupied by a man who claims to be Eisenstein and whom Frank had arrested in Eisenstein’s apartment. Frank further tells Eisenstein that the man he arrested was singing amorous songs to Rosalinde at the time of his arrest, and warmly kissed her goodbye. Enraged, Eisenstein takes Dr. Blind’s wig and glasses in order to disguise himself and confront the impersonator Alfred, whom Eisenstein now believes has cuckolded him. Rosalinde enters. Eisenstein takes off his disguise and accuses her of being unfaithful to him with Alfred. Eisenstein, Rosalinde, and Alfred sing a trio in which Eisenstein angrily claims the right of vengeance (Trio: “Ja, ich bin’s, den ihr betrogen…Ra-ra-ra-ra-Rache will ich!”/”I’m the one who was mistreated….Ve-ve-ve-ve-vengeance is mine!”). However, Rosalinde produces his watch, and he realizes that the Hungarian mystery-woman he tried to seduce at Orlofsky’s party was actually Rosalinde in disguise and that he, not she, is at fault.

Falke enters with all the guests from the party and explains that the whole thing was payback for Eisenstein’s practical joke on him three years before. Eisenstein is delighted by the prank, and he begs Rosalinde to forgive him for his attempted infidelity. Rosalinde refuses at first, and threatens to divorce him, but Eisenstein tells her that his misbehavior was caused by the Champagne. She accepts this explanation and immediately forgives him unconditionally. Orlofsky promises to finance Adele’s acting career, and the company joyfully reprises the “Champagne song” from Act 2.

CAST
  • David Stern
    David Stern
    Chief Conductor
  • Dona D. Vaughn
    Dona D. Vaughn
    Director
  • Tyler Micoleau*
    Tyler Micoleau*
    Lighting Designer
  • Mara Newbery Greer
    Mara Newbery Greer
    Choreographer
  • Zach Borichevsky*
    Zach Borichevsky*
    Eisenstein
  • Keri Alkema
    Keri Alkema
    Rosalinde
  • Diana Newman*
    Diana Newman*
    Adele
  • Stephanie Blythe
    Stephanie Blythe
    Orlofsky
  • Jack Swanson*
    Jack Swanson*
    Alfred
  • Tobias Greenhalgh+
    Tobias Greenhalgh+
    Dr. Falke
  • Wayne Tigges
    Wayne Tigges
    Frank
  • John Felix
    John Felix
    Frosch

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

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

SYNOPSIS

Act 1

Eisenstein’s apartment

Gabriel von Eisenstein, a Viennese man-about-town, has been sentenced to eight days in prison for insulting an official, partially due to the incompetence of his attorney, Dr. Blind. Adele, Eisenstein’s maid, receives a forged letter, purportedly from her sister who is in the company of the ballet, but actually written by Falke, inviting her to Prince Orlofsky’s ball. She pretends the letter says that her aunt is very sick, and asks her mistress Rosalinde (Eisenstein’s wife) for an evening off (“Da schreibt meine Schwester Ida”/”My sister Ida writes to me”). Falke, Eisenstein’s friend, arrives to invite him to the ball (Duet: “Kommt mit mir zum Souper”/”Come with me to the souper”). Together, they recall a practical joke which Eisenstein played on Falke a few years ago, for which Falke is secretly planning a light-hearted revenge in kind. Eisenstein bids farewell to Adele and his wife Rosalinde, pretending he is going to prison (Trio: “O Gott, wie rührt mich dies!”/”Oh dear, oh dear, how sorry I am”) but really intending to postpone jail for one day and have fun at the ball.

After Eisenstein leaves, Rosalinde is visited by her former lover, the singing teacher Alfred, who serenades her (“Täubchen, das entflattert ist”/”Dove that has escaped”). Frank, the governor of the prison, arrives to take Eisenstein to jail, and finds Alfred instead. In order not to compromise Rosalinde, Alfred agrees to pretend to be Eisenstein and to accompany Frank. (Finale, drinking song: “Glücklich ist, wer vergisst”/”Happy is he who forgets” followed by Rosalinde’s defence when Frank arrives: “Mit mir so spät im tête-à-tête”/”In tête-à-tête with me so late,” and Frank’s invitation: “Mein schönes, großes Vogelhaus”/”My beautiful, large bird-cage.”)

Act 2

A summer house in the Villa Orlofsky

It transpires that Falke, with Prince Orlofsky’s permission, is using the ball as a way of getting revenge on Eisenstein. Some time before, after a costume-party, Eisenstein had abandoned Falke, very drunk and dressed in a bat-costume, in the center of town, exposing him to ridicule the next day. As part of his scheme, Falke has invited Frank, Adele, and Rosalinde to come the ball, all concealing their identities as well. Rosalinde pretends to be a masked Hungarian countess, Eisenstein goes by the name “Marquis Renard,” Frank is “Chevalier Chagrin,” and Adele, who has borrowed one of Rosalinde’s dresses without permission, pretends she is an actress.

The ball is in progress (Chorus: “Ein Souper heut’ uns winkt”/”A souper is before us”) and the Prince welcomes his guests (“Ich lade gern mir Gäste ein”/”I love to invite my friends”). Eisenstein is introduced to Adele, but is confused as to who she really is because of her striking resemblance to his maid. (“Mein Herr Marquis”/”My lord marquis,” sometimes referred to as “Adele’s Laughing Song”). Frank arrives. He and Eisenstein, who are both posing as Frenchmen, attempt to conceal their identities by repeating common French phrases to each other, to Orlofsky’s great amusement. Since neither actually knows French, both are fooled. As the party progresses, they both experience alcohol-induced good-feeling and manly camaraderie for each other.

Then Falke introduces the masked Rosalinde to the company. She convinces everyone that she is Hungarian by singing the “Czardas”, a sentimental dancing-song (“Klänge der Heimat”/”Sounds from home”). During an amorous tête-à-tête, Eisenstein tries unsuccessfully to persuade the mystery-woman to unmask. She succeeds in extracting a valuable watch from her husband’s pocket, something which she can use in the future as evidence of his impropriety. (Watch duet: “Dieser Anstand, so manierlich”/”Her bearing, so well-mannered”). In a rousing finale, Orlofsky makes a toast to champagne, and the company celebrates (The Champagne song: “Im Feuerstrom der Reben”/”In the fire stream of the grape”; followed by the canon: “Brüderlein, Brüderlein und Schwesterlein”/”Brothers, brothers and sisters” and the waltz finale, “Ha, welch ein Fest, welche Nacht voll Freud’!”/”Ha, what joy, what a night of delight.”) Eisenstein and Frank dash off as the clock strikes six in the morning.

(Note: The “Champagne song”, which is sung by the entire ensemble, should not be confused with the baritone aria “Fin ch’ han dal vino” from Don Giovanni, which is often called the “Champagne aria”.)

Act 3

In the prison offices of Warden Frank

The next morning they all find themselves at the prison where the confusion increases and is compounded by the jailer, Frosch, who has profited by Warden Frank’s absence to become gloriously drunk. Alfred, still in jail in Eisenstein’s place, irritates the other prisoners by singing operatic arias.

Adele arrives to ask the Chevalier Chagrin (actually Frank) to sponsor her career as an actress, but Frank is not wealthy enough to do this (Melodrama; Couplet of Adele: “Spiel’ ich die Unschuld vom Lande”/”If I play the innocent peasant maid”). Meanwhile, Alfred asks Frosch to summon Dr. Blind to help get him released; Frank agrees to allow this and Dr. Blind arrives. Eisenstein enters and says he has come to serve his sentence. He is surprised when Frank tells him that his cell is already occupied by a man who claims to be Eisenstein and whom Frank had arrested in Eisenstein’s apartment. Frank further tells Eisenstein that the man he arrested was singing amorous songs to Rosalinde at the time of his arrest, and warmly kissed her goodbye. Enraged, Eisenstein takes Dr. Blind’s wig and glasses in order to disguise himself and confront the impersonator Alfred, whom Eisenstein now believes has cuckolded him. Rosalinde enters. Eisenstein takes off his disguise and accuses her of being unfaithful to him with Alfred. Eisenstein, Rosalinde, and Alfred sing a trio in which Eisenstein angrily claims the right of vengeance (Trio: “Ja, ich bin’s, den ihr betrogen…Ra-ra-ra-ra-Rache will ich!”/”I’m the one who was mistreated….Ve-ve-ve-ve-vengeance is mine!”). However, Rosalinde produces his watch, and he realizes that the Hungarian mystery-woman he tried to seduce at Orlofsky’s party was actually Rosalinde in disguise and that he, not she, is at fault.

Falke enters with all the guests from the party and explains that the whole thing was payback for Eisenstein’s practical joke on him three years before. Eisenstein is delighted by the prank, and he begs Rosalinde to forgive him for his attempted infidelity. Rosalinde refuses at first, and threatens to divorce him, but Eisenstein tells her that his misbehavior was caused by the Champagne. She accepts this explanation and immediately forgives him unconditionally. Orlofsky promises to finance Adele’s acting career, and the company joyfully reprises the “Champagne song” from Act 2.

 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.

Dona D. Vaughn
Director
Tyler Micoleau*
Lighting Designer

Tyler has designed the lighting for hundreds of live productions including plays, opera, dance, movement-theatre, multi-media performance and puppetry. He is a native of Portland, Maine but has resided in Brooklyn for the last twenty four years.

He is the recipient of an American Theatre Wing Henry Hewes Design Award, two Off-Broadway Lucille Lortel Awards, two Village Voice OBIE awards including one for Sustained Excellence, two Connecticut Critics Circle awards, a Drama Desk nomination, a Helen Hayes award nomination, four Barrymore award nominations, a Jeff award nomination, the National Endowment for the Arts / Theatre Communications Group Career Development Program and a Bachelor of Arts from Bowdoin College.

New York designs for Broadway, Lincoln Center Theater, the Public Theater, New York Theatre Workshop, Manhattan Theater Club, Atlantic Theater, Signature, Second Stage, Classic Stage Company, Playwrights Horizons, New York Theatre Workshop, Vineyard Theatre, MCC, New Georges, 13P, Women’s Project, Epic Theatre Ensemble, Page 73, Primary Stages, St. Ann’s Warehouse, Mint Theatre, Rattlestick, Naked Angels, Barrow Street Theater, Cherry Lane, Les Freres Corbusier, Foundry Theatre, Theatreworks USA, The Play Company and Soho Rep.

Regional designs for the Huntington Theater, Alley Theatre, Goodman Theatre, American Repertory Theatre, Dallas Theater Center, the Old Globe, La Jolla, Trinity Repertory Theatre, Arena Stage, Shakespeare Theater, Kansas City Rep, Dallas Opera, Spoleto Festival USA, Philadelphia Theatre Company, Wilma Theater, Two River, Pig Iron, Chautauqua Theater, Hangar Theatre, the Folger, Long Wharf Theater and many others.

Opera designs for Dallas Opera, Spoleto Festival USA, Port Opera, Curtis Opera, Manhattan School of Music, and Connecticut Grand Opera. Dance design for Eliot Feld’s Mandance Project at The Joyce Theater, Neil Greenberg and The Chase Brock Experience. Fine art installation projects include Åhus Sommaren 1974 (Bellwether Galleries, Chelsea NYC), Beneath the Floorboards (Ohio Theater Gallery, Soho NYC).

He has toured extensively in the United States and internationally with both not-for-profit and commercial touring companies, including Young Jean Lee, the Acting Company, Dan Hurlin, Accinosco, WaxFactory, The Builders Association, Jam On The Groove LLC.

For six years Tyler was adjunct faculty in the Sarah Lawrence College Department of Dance, and has been a frequent visiting artist at Dartmouth College, Yale University, Bates College and Bowdoin College.

Mara Newbery Greer
Choreographer

Choreographer Mara Newbery Greer’s recent credits include Thoroughly Modern Millie (Music Theatre Wichita), Shrek, the Musical (North Shore Music Theatre/Tuacahn), The Toxic Avenger (Pittsburgh CLO), A Christmas Story, the Musical (Paper Mill Playhouse/Fulton Theatre), Legally Blonde and 9 to 5 (Sacramento Music Circus), Big Fish (Front Porch Theatricals), Oliver! (Plymouth State University), The Drowsy Chaperone (University of Michigan) and the 2015 Lucille Lortel Awards.  As a performer, Mara has worked on Broadway, National Tours, and regional theatres across the country.  She earned her BFA in Music Theatre from the University of Michigan.  Her upcoming choreography projects include Matilda (Tuacahn), Guys and Dolls (Music Theatre Wichita), and The Music Man (Lexington Theatre Company).

Zach Borichevsky*
Eisenstein
Keri Alkema
Rosalinde

In the 2016-2017 season, American soprano Keri Alkema makes a number of important debuts as Tosca: her London debut at the English National Opera, her German debut at Oper Frankfurt, and a return to the Canadian Opera Company.

Next season, she sings Magda in La rondine and La clemenza di Tito (both at Théâtre du Capitole), Tosca (Palm Beach Opera), Simon Boccanegra (Opéra de Dijon), and Giovanna Seymour in Anna Bolena (Canadian Opera Company).

Recent performances for the soprano include Amelia/Un ballo in maschera (Théâtre du Capitole with Daniel Oren); Cio-Cio-San/Madama Butterfly (Teatro Municipal de Santiago); Donna Elvira/Don Giovanni (Santa Fe Opera); Elisabetta di Valois/Don Carlo (Austin Lyric Opera); Giovanna Seymour/Anna Bolena & Eboli/Don Carlo (Opéra National de Bordeaux); Vitellia/La clemenza di Tito (Canadian Opera Company with Johannes Debus); Title role/Anna Bolena (Minnesota Opera); Amaltea/Mosè in Egitto (New York City Opera);  Mimì/La bohème (Glyndebourne); Donna Elvira/Don Giovanni (St. Paul Chamber Orchestra with Roberto Abbado, New York City Opera); Fiordiligi/Così fan tutte (Atlanta Opera); Amelia Grimaldi/Simon Boccanegra and Desdemona/Otello (Teatro Municipal de Santiago); Adalgisa/Norma (Opera North (UK), Caramoor Festival); Mahler’s Dasklagende Lied (Cincinnati May & Ravinia Festivals under James Conlon).

Diana Newman*
Adele

American soprano DIANA NEWMAN brings fresh and intense performances to opera houses and concert stages across the United States. Currently in her third year at the Lyric Opera of Chicago’s Ryan Opera Center, she appears on the company’s mainstage this season as the Page in Verdi’s Rigoletto, a role she debuted with the Los Angeles Philharmonic under Gustavo Dudamel at the Hollywood Bowl. Following her performances in 2016 as Woglinde in Das Rheingold for Chicago’s Ring cycle, she returns for the Lyric’s 2018/19 season in November as Woodbird in Wagner’s Siegfried, conducted by Sir Andrew Davis. Additional upcoming performances include her house and role debuts as cover Sophie at the Glyndebourne Festival in the summer of 2018, as well as her mainstage debut at The Dallas Opera in the fall of 2019.

During her tenure at the Lyric Opera of Chicago, Diana has performed the roles of Frasquita in Carmen, Pedro in Don Quichotte, Clorinda in La Cenerentola, and Papagena in Die Zauberflöte, in addition to covering the roles of Gilda in Rigoletto, Leïla in Les pêcheurs de perles, Despina in Cosi fan tutte, and Amore in Orphée et Eurydice. She has appeared in the title role of Monteverdi’s L’incoronazione di Poppea with The USC Thornton School of Music Opera Program, where she also performed leading roles as Miranda in Hoiby’s The Tempest, Pamina in Die Zauberflöte, and Lauretta in Gianni Schicchi.

On the concert stage, Diana has recently appeared as a soloist in Maria Schneider’s Winter Morning Walks at the Lucerne Festival, Barber’s Knoxville: Summer of 1915 with the Eastern Sierra Symphony Summer Festival, and Vivaldi’s Gloria in Havana, Cuba. Additional concerts include Mozart’s Exsultate jubilate with the USC Alumni Orchestra, Bach’s “Coffee” Cantata with the Whittier Bach Festival, and Mahler’sSymphony no. 4 in her debut with the American Youth Symphony. Her debut with the Grant Park Music Festival came in 2016, appearing as Curly’s Wife in Floyd’s Of Mice and Men.

Committed to the performance of art song and new works, Diana has attended numerous programs including the Ravinia Festival Steans Music Institute, SongFest, and the Fall Island Vocal Arts Seminar run by Stephanie Blythe. In 2014 she performed at Carnegie Hall in a master class led by legendary mezzo-soprano Christa Ludwig as part of the Marilyn Horne Song Continues series. She performed George Crumb’s Madrigals Book IV at Music Academy of the West, Frank Ticheli’s Songs of Love and Life and Angels in the Architecture with the UT New Music Ensemble, and Lukas Foss’s Time Cycle with faculty members of the Aspen Music Festival, where she also covered the role of Daisy Buchanan in John Harbison’s The Great Gatsby. She has given multiple premieres of works by living composers, including Francesco Cilluffo, Dr. Alan L. Smith, and David Newman.

As a member of the Screen Actors Guild (SAG), Diana’s voice has been featured in a number of Hollywood films. She holds bachelor’s and master’s degrees from the USC Thornton School of Music, where she studied with Elizabeth Hynes. She currently studies with Patricia McCaffrey in New York.

Stephanie Blythe
Orlofsky

A renowned opera singer and recitalist, mezzo-soprano Stephanie Blythe is considered one of the most highly respected and critically acclaimed artists of her generation.  Her repertoire ranges from Handel to Wagner, German lieder to contemporary and classic American song.  Ms. Blythe has performed on many of the world’s great stages, such as Carnegie Hall, the Metropolitan Opera, Covent Garden, Paris National Opera and San Francisco, Chicago Lyric and Seattle Operas.  Ms. Blythe was named Musical America’s Vocalist of the Year in 2009, received an Opera News Award in 2007 and won the Tucker Award in 1999.  Ms. Blythe recently released her first crossover recording on the Innova label with pianist Craig Terry.

Ms. Blythe has sung in many of the renowned opera houses in the US and Europe including the Metropolitan Opera, San Francisco Opera, Lyric Opera of Chicago, Seattle Opera, Royal Opera House Covent Garden, and the Opera National de Paris. Her many roles include the title roles in Carmen, Samson et Dalila , Orfeo ed Euridice, La Grande Duchesse, Tancredi, Mignon, and Giulio Cesare; Frugola, Principessa, and Zita in Il Trittico, Fricka in both Das Rheingold and Die Walküre, Waltraute in Götterdämmerung, Azucena in Il Trovatore, Ulrica in Un Ballo in Maschera, Baba the Turk in The Rake’s Progress, Ježibaba in Rusalka, Jocasta in Oedipus Rex, Mere Marie in Dialogues des Carmélites;Mistress Quickly in Falstaff, and Ino/Juno in Semele. She also created the role of Gertrude Stein in Ricky Ian Gordon’s 27 at the Opera Theatre of Saint Louis.

Ms. Blythe has also appeared with many of the world’s finest orchestras including the New York Philharmonic, Boston Symphony Orchestra, Chicago Symphony Orchestra, Los Angeles Philharmonic, San Francisco Symphony, Philadelphia Orchestra, Opera Orchestra of New York, Minnesota Orchestra, Halle Orchestra, Orchestra of the Age of Enlightenment, the Ensemble Orchestre de Paris, and the Concertgerbouworkest. She has also appeared at the Tanglewood, Cincinnati May, and Ravinia festivals, and at the BBC Proms. The many conductors with whom she has worked include Harry Bicket, James Conlon, Charles Dutoit, Mark Elder, Christoph Eschenbach, Rafael Frühbeck de Burgos, Alan Gilbert, James Levine, Fabio Luisi, Nicola Luisotti, Sir Charles Mackerras, John Nelson, Antonio Pappano, Mstislav Rostropovitch, Robert Spano, Patrick Summers, and Michael Tilson Thomas.

A frequent recitalist, Ms. Blythe has been presented in recital in New York by Carnegie Hall in Stern Auditorium and Zankel Hall, Lincoln Center in both its Great Performers Series at Alice Tully Hall and its American Songbook Series at the Allen Room, Town Hall, the 92nd Street Y, and the Metropolitan Museum of Art. She has also been presenter by the Vocal Arts Society and at the Supreme Court in Washington, DC; the Cleveland Art Song Festival, the University Musical Society in Ann Arbor, the Philadelphia Chamber Music Society, Shriver Hall in Baltimore, and San Francisco Performances.

A champion of American song, Ms. Blythe has premiered several song cycles written for her including Twelve Poems of Emily Dickinson by the late James Legg, Covered Wagon Woman by Alan Smith which was commissioned by the Chamber Music Society of Lincoln Center and recorded with the ensemble (CMS Studio Recordings); and Vignettes: Ellis Island, also by Alan Smith and featured in a special television program entitled Vignettes: An Evening with Stephanie Blythe and Warren Jones. 

Ms Blythe starred in the Metropolitan Opera’s live HD broadcasts of Orfeo ed Euridice, Il Trittico, Rodelinda, and the complete Ring CycleShe also appeared in PBS’s Live From Lincoln Centerbroadcasts of the New York Philharmonic’s performance of Carousel and her acclaimed show, We’ll Meet Again: The Songs of Kate Smith. Her recordings include her solo album, as long as there are songs (Innova), and works by Mahler, Brahms, Wagner, Handel and Bach (Virgin Classics).

Ms. Blythe’s many engagements have also included her return to the Metropolitan Opera for The Rake’s Progress, the Lyric Opera of Chicago for Il Trovatore, the Seattle Opera for Semele, Samson et Dalilah with the Atlanta Symphony and Carnegie Hall for a recital in Stern Auditorium.  Last season she performed with the San Francisco Opera as Mrs. Lovett in Sweeney Todd and the Houston Grand Opera as Nettie Fowler in Carousel. She also performed her new program, Sing, America! at Carnegie Hall.  Next season she returns to Opera Philadelphia for the title role in Tancredi, brings her acclaimed performance of Gertrude Stein in Ricky Ian Gordon’s 27 to New York’s City Center, and returns to Palm Beach as Ruth in performances of The Pirates of Penzance. 

Ms. Blythe was named Musical America’s Vocalist of the Year for 2009. Her other awards include the 2007 Opera News Award and the 1999 Richard Tucker Award. She is also the Artistic Director of the Fall Island Vocal Arts Seminar at the Crane School of Music.

Jack Swanson*
Alfred

With an affinity for high lyric repertoire and some of opera’s most acrobatic arias, young American tenor Jack Swanson is quickly becoming one of the most sought after voices in the opera world, and makes his debut on the Glyndebourne Tour this season as Conte Almaviva (Il barbiere di Siviglia). He also sings his first Candide for his debut at LA Opera, in Francesca Zambello’s production under James Conlon, and returns to Santa Fe Opera as Lindoro (L’italiana in Algeri).

During his studies at the University of Oklahoma and the Shepherd School of Music at Rice University, Jack performed roles such as Don Ottavio (Don Giovanni), Nemorino (L’elisir d’amore), Conte Almaviva (Il barbiere di Siviglia) and Eurimaco (Il ritorno d’Ulisse in patria).

Tobias Greenhalgh+
Dr. Falke

As a member of the Junges Ensemble of the Theater an der Wien these past two seasons, American baritone Tobias Greenhalgh made his European debut singing the title role in Eugene Onegin. Whilst in Vienna, his roles on the mainstage included Ned Keene in Christof Loy’s universally-acclaimed new production of Peter Grimes, and Littore (L’incoronazione di Poppea), alongside Escamillo (Carmen), Argante (Rinaldo) and Ramiro (L’heure Espagnole) amongst others in the Wiener Kammeroper.

This season, Tobias sings multiple roles including the Cold Genius in Purcell’s King Arthur for Staatstheater am Gärtnerplatz, sings his first Belcore (L’elisir d’amore) with the Orlando Philharmonic Orchestra, returns to Palm Beach Opera as Samuel (Pirates of Penzance) and creates a leading role in the world premiere of Grapes of Wrath for Opera Theatre of St Louis.

Tobias has given recitals for the Arnold Schoenberg Centre, the Brooklyn Art Song Society (Mörike Lieder) and performed three programmes for the New York Festival of Song. A skilled concert artist, recent highlights include Bach’s St Matthew Passion with Soli Deo Gloria and Vaughan Williams’ Five Mystical Songs with St George’s Choral Society. Tobias was a finalist at the Operalia competition in 2015.

Wayne Tigges
Frank

Lauded by the Chicago Sun-Times for his “rich, dark tone and beautiful legato,” Wayne Tigges joins Michigan Opera Theatre for Basilio in Il barbiere di Siviglia, returns to Atlanta Opera for Owen Hart in Dead Man Walking, and Opera Santa Barbara for John Proctor in The Crucible in the 2018-19 season. Last season, he sang further performances of the title role in Der fliegende Holländer with Atlanta Opera, Alfio in Cavalleria rusticana and Tonio in I Pagliacci with New Orleans Opera, the title role in Gianni Schicchi and further performances of Tonio in I Pagliacci with Utah Opera, Ping in Turandot with Tulsa Opera, and created the role of Sgt. Aaron Marcum in the world premiere of Huang Ruo and David Henry Hwang’s An American Soldier in a return to Opera Theatre of Saint Louis.

Recent performances include his first performances of Méphistophélès in Faust at the Macau Music Festival, Owen Hart in Dead Man Walking and Howie Albert in Blanchard’s Champion with Washington National Opera, all four Villains in Les contes d’Hoffmann with L.A. Opera and Hawaii Opera Theater, the title role Falstaff in a return to Des Moines Metro Opera, Assur in Semiramide with Washington National Opera, Judge Turpin in Sweeney Todd with San Francisco Opera, the title role of Der fliegende Holländer with Virginia Opera, Austin Opera and Florentine Opera, Nick Shadow in The Rake’s Progress with the Teatro Municipal de Santiago, Roy Cohn in Angels in America with New York City Opera, Mr. McGuire in Tobias Picker’s Emmeline with Opera Theatre of Saint Louis, Gustavo in Handel’s Faramondo with Brisbane Baroque, and Il conte Gil in Il segreto di Susanna with Opera San Antonio Opera. He also joined Opera Philadelphia for Basilio in Il barbiere di Siviiglia as well as Justice Sir Alfred Wills and Colonel Henry B. Isaacson in Morrison’s Oscar. He created the role of Joe St. George in the world premiere of Picker’s Dolores Claiborne with San Francisco Opera; sang Escamillo in Carmen at the Glyndebourne Festival and with San Diego Opera; Kolenaty in The Makropolous Case with the Opéra National de Paris; and Ariodate in Xerxes, Sam and Wesley in the world premiere of Theofanidis’ Heart of a Soldier, Ariodate in Xerxes, and Zuniga in Carmenwith San Francisco Opera. He sang Achilla in Giulio Cesare in his Metropolitan Opera debut and returned to the Lyric Opera of Chicago the following season for further performances of the role as well as Basilio in Il barbiere di Siviglia. Mr. Tigges enjoys a strong relationship with the Lyric Opera of Chicago where he sang the title role in Le nozze di Figaro to great critical acclaim while still a member of the prestigious Ryan Opera Center (formerly Lyric Opera Center for American Artists). Also with the company, he sang Snook in Bolcom’s A Wedding, Capulet in Roméo et Juliette, Angelotti in Tosca, Sam in Un ballo in maschera, and Bonze in Madama Butterfly.

His other recent engagements include the Villains in Les contes d’Hoffmann, Basilio in Il barbiere di Siviglia, Hercules in Gluck’s Alceste, Douglas in La donna del lago, and Nourabad in Les pêcheur de perles with Santa Fe Opera; Donner in Das Rheingold and both Zuniga and Escamillo in Carmen with Los Angeles Opera; the title role of Don Giovanni with Opera Pacific and Austin Lyric Opera; Blitch in Susannah with Florentine Opera, Willy Wonka in the European premiere of Peter Ash’s The Golden Ticket at the Wexford Festival, Jochanaan in Salome with Arizona Opera; Scarpia in Tosca with Austin Opera; Faraone in Mose in Egitto with New York City Opera, further performances of Basilio in Il barbiere di Siviglia as well as Ferrando in Il trovatore with Opera Colorado; Figaro in Le nozze di Figaro with Seiji Ozawa’s Ongaku-juku Festival and the North Carolina Symphony and Austin Opera; Leporello in Don Giovanni with Pittsburgh Opera and Tulsa Opera; Basilio in Il barbiere di Siviglia with Palm Beach Opera; Bonze in Madama Butterfly with Los Angeles Opera and at the Ravinia Festival under the baton of James Conlon, the Tutor in Le comte Ory as well as Owen Hart in Heggie’s Dead Man Walking with Des Moines Metro Opera; Count Walther in Luisa Miller with Chautauqua Opera; First Nazarene in Salome with the Philadelphia Orchestra; Sacerdote in Nabucco at the Gran Teatro del Liceu, and Zuniga in Carmen with San Diego Opera. He has joined Minnesota Opera as Claudius in Hamlet, Théâtre du Capitole Toulouse as Superintendent Budd in Albert Herring, Cincinnati Opera for Angelotti in Tosca, Sam in Un ballo in maschera, and Sprecher in Die Zauberflöte. With Opera Omaha, he has sung Mother in Seven Deadly Sins, Gideon March in Little Women, and Balthazar in Amahl and the Night Visitors. He has also sung the Father in Hänsel und Gretel with the Fort Dodge Symphony Orchestra.

In addition to his performances on the opera stage, Mr. Tigges maintains a busy concert schedule. He recently joined the Los Angeles Philharmonic for Mozart’s Mass in C minor, Chicago Symphony Orchestra for Nielsen’s Symphony No. 3, Orchestra of Saint Luke’s for Beethoven’s Symphony No. 9 in his Carnegie Hall debut, and Teatro Regio di Parma for Haydn’s Creation. He made his Avery Fisher Hall debut with the Collegiate Chorale as Erasto in the American premiere of Handel’s Giove in Argo. He sang Stravinsky’s Les Noces with the Cleveland Orchestra; Britten’s Serenade under the baton of Sir Andrew Davis; Zemlinsky’s Psalm 83 at the Cincinnati May Festival; Verdi’s Requiem with the Washington Chorus, Tulsa Oratorio Chorus, Arizona Music Festival, Cathedral Choral Society in Washington D.C., and as a guest artist at Bard College; and the title role in Elijah with both Soli Deo Gloria with John Nelson conducting and the Apollo Chorus and Orchestra. Other performances include Bach’s St. John Passion and St. Matthew Passion with the Knox Chamber Orchestra, Handel’s Messiah with the Beyer Music Chamber Orchestra, Poulenc’s Stabat Mater with the Musica Antiqua Chamber Orchestra, and concerts of operatic arias at Oregon’s Britt Music Festival.

Originally from Dubuque, Iowa, Wayne Tigges received a graduate degree and Artist Diploma from the University of Cincinnati-College Conservatory of Music and his Bachelor of Music from Iowa State University.

John Felix
Frosch

JOHN FELIX (Frosch) is delighted to be making his debut at Palm Beach Opera with this marvelous cast and company. Except for a musical comedy or revue here and there, most of his career on the stage has been in non-singing roles. His stage credits include many appearances at Florida theaters and at theaters elsewhere around the country. Of particular relevance in the context of opera may be The Lisbon Traviata in which he appeared as the obsessive Maria Callas devotee, Mendy, so dismissively catty about all other divas. Other shows include Our Town and On Golden Pond, at Palm Beach Dramaworks; The Trial of Ebenezer Scrooge, at Actors’ Playhouse; Himself (opposite Len Cariou), Fortune’s Fool and Gross Indecency… at Caldwell Theatre; Cabaret and The Music Man, at Maltz Jupiter Theatre; The Fantasticks and Little Women (opposite Donna McKechnie) at TheatreZone. The recipient of the Curtain Up Award and of multiple Carbonell Awards, John is a proud member of Actors’ Equity Association and is the Secretary of its South Florida Liaison Committee.

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.

Dona D. Vaughn
Director
Tyler Micoleau*
Lighting Designer

Tyler has designed the lighting for hundreds of live productions including plays, opera, dance, movement-theatre, multi-media performance and puppetry. He is a native of Portland, Maine but has resided in Brooklyn for the last twenty four years.

He is the recipient of an American Theatre Wing Henry Hewes Design Award, two Off-Broadway Lucille Lortel Awards, two Village Voice OBIE awards including one for Sustained Excellence, two Connecticut Critics Circle awards, a Drama Desk nomination, a Helen Hayes award nomination, four Barrymore award nominations, a Jeff award nomination, the National Endowment for the Arts / Theatre Communications Group Career Development Program and a Bachelor of Arts from Bowdoin College.

New York designs for Broadway, Lincoln Center Theater, the Public Theater, New York Theatre Workshop, Manhattan Theater Club, Atlantic Theater, Signature, Second Stage, Classic Stage Company, Playwrights Horizons, New York Theatre Workshop, Vineyard Theatre, MCC, New Georges, 13P, Women’s Project, Epic Theatre Ensemble, Page 73, Primary Stages, St. Ann’s Warehouse, Mint Theatre, Rattlestick, Naked Angels, Barrow Street Theater, Cherry Lane, Les Freres Corbusier, Foundry Theatre, Theatreworks USA, The Play Company and Soho Rep.

Regional designs for the Huntington Theater, Alley Theatre, Goodman Theatre, American Repertory Theatre, Dallas Theater Center, the Old Globe, La Jolla, Trinity Repertory Theatre, Arena Stage, Shakespeare Theater, Kansas City Rep, Dallas Opera, Spoleto Festival USA, Philadelphia Theatre Company, Wilma Theater, Two River, Pig Iron, Chautauqua Theater, Hangar Theatre, the Folger, Long Wharf Theater and many others.

Opera designs for Dallas Opera, Spoleto Festival USA, Port Opera, Curtis Opera, Manhattan School of Music, and Connecticut Grand Opera. Dance design for Eliot Feld’s Mandance Project at The Joyce Theater, Neil Greenberg and The Chase Brock Experience. Fine art installation projects include Åhus Sommaren 1974 (Bellwether Galleries, Chelsea NYC), Beneath the Floorboards (Ohio Theater Gallery, Soho NYC).

He has toured extensively in the United States and internationally with both not-for-profit and commercial touring companies, including Young Jean Lee, the Acting Company, Dan Hurlin, Accinosco, WaxFactory, The Builders Association, Jam On The Groove LLC.

For six years Tyler was adjunct faculty in the Sarah Lawrence College Department of Dance, and has been a frequent visiting artist at Dartmouth College, Yale University, Bates College and Bowdoin College.

Mara Newbery Greer
Choreographer

Choreographer Mara Newbery Greer’s recent credits include Thoroughly Modern Millie (Music Theatre Wichita), Shrek, the Musical (North Shore Music Theatre/Tuacahn), The Toxic Avenger (Pittsburgh CLO), A Christmas Story, the Musical (Paper Mill Playhouse/Fulton Theatre), Legally Blonde and 9 to 5 (Sacramento Music Circus), Big Fish (Front Porch Theatricals), Oliver! (Plymouth State University), The Drowsy Chaperone (University of Michigan) and the 2015 Lucille Lortel Awards.  As a performer, Mara has worked on Broadway, National Tours, and regional theatres across the country.  She earned her BFA in Music Theatre from the University of Michigan.  Her upcoming choreography projects include Matilda (Tuacahn), Guys and Dolls (Music Theatre Wichita), and The Music Man (Lexington Theatre Company).

Zach Borichevsky*
Eisenstein
Keri Alkema
Rosalinde

In the 2016-2017 season, American soprano Keri Alkema makes a number of important debuts as Tosca: her London debut at the English National Opera, her German debut at Oper Frankfurt, and a return to the Canadian Opera Company.

Next season, she sings Magda in La rondine and La clemenza di Tito (both at Théâtre du Capitole), Tosca (Palm Beach Opera), Simon Boccanegra (Opéra de Dijon), and Giovanna Seymour in Anna Bolena (Canadian Opera Company).

Recent performances for the soprano include Amelia/Un ballo in maschera (Théâtre du Capitole with Daniel Oren); Cio-Cio-San/Madama Butterfly (Teatro Municipal de Santiago); Donna Elvira/Don Giovanni (Santa Fe Opera); Elisabetta di Valois/Don Carlo (Austin Lyric Opera); Giovanna Seymour/Anna Bolena & Eboli/Don Carlo (Opéra National de Bordeaux); Vitellia/La clemenza di Tito (Canadian Opera Company with Johannes Debus); Title role/Anna Bolena (Minnesota Opera); Amaltea/Mosè in Egitto (New York City Opera);  Mimì/La bohème (Glyndebourne); Donna Elvira/Don Giovanni (St. Paul Chamber Orchestra with Roberto Abbado, New York City Opera); Fiordiligi/Così fan tutte (Atlanta Opera); Amelia Grimaldi/Simon Boccanegra and Desdemona/Otello (Teatro Municipal de Santiago); Adalgisa/Norma (Opera North (UK), Caramoor Festival); Mahler’s Dasklagende Lied (Cincinnati May & Ravinia Festivals under James Conlon).

Diana Newman*
Adele

American soprano DIANA NEWMAN brings fresh and intense performances to opera houses and concert stages across the United States. Currently in her third year at the Lyric Opera of Chicago’s Ryan Opera Center, she appears on the company’s mainstage this season as the Page in Verdi’s Rigoletto, a role she debuted with the Los Angeles Philharmonic under Gustavo Dudamel at the Hollywood Bowl. Following her performances in 2016 as Woglinde in Das Rheingold for Chicago’s Ring cycle, she returns for the Lyric’s 2018/19 season in November as Woodbird in Wagner’s Siegfried, conducted by Sir Andrew Davis. Additional upcoming performances include her house and role debuts as cover Sophie at the Glyndebourne Festival in the summer of 2018, as well as her mainstage debut at The Dallas Opera in the fall of 2019.

During her tenure at the Lyric Opera of Chicago, Diana has performed the roles of Frasquita in Carmen, Pedro in Don Quichotte, Clorinda in La Cenerentola, and Papagena in Die Zauberflöte, in addition to covering the roles of Gilda in Rigoletto, Leïla in Les pêcheurs de perles, Despina in Cosi fan tutte, and Amore in Orphée et Eurydice. She has appeared in the title role of Monteverdi’s L’incoronazione di Poppea with The USC Thornton School of Music Opera Program, where she also performed leading roles as Miranda in Hoiby’s The Tempest, Pamina in Die Zauberflöte, and Lauretta in Gianni Schicchi.

On the concert stage, Diana has recently appeared as a soloist in Maria Schneider’s Winter Morning Walks at the Lucerne Festival, Barber’s Knoxville: Summer of 1915 with the Eastern Sierra Symphony Summer Festival, and Vivaldi’s Gloria in Havana, Cuba. Additional concerts include Mozart’s Exsultate jubilate with the USC Alumni Orchestra, Bach’s “Coffee” Cantata with the Whittier Bach Festival, and Mahler’sSymphony no. 4 in her debut with the American Youth Symphony. Her debut with the Grant Park Music Festival came in 2016, appearing as Curly’s Wife in Floyd’s Of Mice and Men.

Committed to the performance of art song and new works, Diana has attended numerous programs including the Ravinia Festival Steans Music Institute, SongFest, and the Fall Island Vocal Arts Seminar run by Stephanie Blythe. In 2014 she performed at Carnegie Hall in a master class led by legendary mezzo-soprano Christa Ludwig as part of the Marilyn Horne Song Continues series. She performed George Crumb’s Madrigals Book IV at Music Academy of the West, Frank Ticheli’s Songs of Love and Life and Angels in the Architecture with the UT New Music Ensemble, and Lukas Foss’s Time Cycle with faculty members of the Aspen Music Festival, where she also covered the role of Daisy Buchanan in John Harbison’s The Great Gatsby. She has given multiple premieres of works by living composers, including Francesco Cilluffo, Dr. Alan L. Smith, and David Newman.

As a member of the Screen Actors Guild (SAG), Diana’s voice has been featured in a number of Hollywood films. She holds bachelor’s and master’s degrees from the USC Thornton School of Music, where she studied with Elizabeth Hynes. She currently studies with Patricia McCaffrey in New York.

Stephanie Blythe
Orlofsky

A renowned opera singer and recitalist, mezzo-soprano Stephanie Blythe is considered one of the most highly respected and critically acclaimed artists of her generation.  Her repertoire ranges from Handel to Wagner, German lieder to contemporary and classic American song.  Ms. Blythe has performed on many of the world’s great stages, such as Carnegie Hall, the Metropolitan Opera, Covent Garden, Paris National Opera and San Francisco, Chicago Lyric and Seattle Operas.  Ms. Blythe was named Musical America’s Vocalist of the Year in 2009, received an Opera News Award in 2007 and won the Tucker Award in 1999.  Ms. Blythe recently released her first crossover recording on the Innova label with pianist Craig Terry.

Ms. Blythe has sung in many of the renowned opera houses in the US and Europe including the Metropolitan Opera, San Francisco Opera, Lyric Opera of Chicago, Seattle Opera, Royal Opera House Covent Garden, and the Opera National de Paris. Her many roles include the title roles in Carmen, Samson et Dalila , Orfeo ed Euridice, La Grande Duchesse, Tancredi, Mignon, and Giulio Cesare; Frugola, Principessa, and Zita in Il Trittico, Fricka in both Das Rheingold and Die Walküre, Waltraute in Götterdämmerung, Azucena in Il Trovatore, Ulrica in Un Ballo in Maschera, Baba the Turk in The Rake’s Progress, Ježibaba in Rusalka, Jocasta in Oedipus Rex, Mere Marie in Dialogues des Carmélites;Mistress Quickly in Falstaff, and Ino/Juno in Semele. She also created the role of Gertrude Stein in Ricky Ian Gordon’s 27 at the Opera Theatre of Saint Louis.

Ms. Blythe has also appeared with many of the world’s finest orchestras including the New York Philharmonic, Boston Symphony Orchestra, Chicago Symphony Orchestra, Los Angeles Philharmonic, San Francisco Symphony, Philadelphia Orchestra, Opera Orchestra of New York, Minnesota Orchestra, Halle Orchestra, Orchestra of the Age of Enlightenment, the Ensemble Orchestre de Paris, and the Concertgerbouworkest. She has also appeared at the Tanglewood, Cincinnati May, and Ravinia festivals, and at the BBC Proms. The many conductors with whom she has worked include Harry Bicket, James Conlon, Charles Dutoit, Mark Elder, Christoph Eschenbach, Rafael Frühbeck de Burgos, Alan Gilbert, James Levine, Fabio Luisi, Nicola Luisotti, Sir Charles Mackerras, John Nelson, Antonio Pappano, Mstislav Rostropovitch, Robert Spano, Patrick Summers, and Michael Tilson Thomas.

A frequent recitalist, Ms. Blythe has been presented in recital in New York by Carnegie Hall in Stern Auditorium and Zankel Hall, Lincoln Center in both its Great Performers Series at Alice Tully Hall and its American Songbook Series at the Allen Room, Town Hall, the 92nd Street Y, and the Metropolitan Museum of Art. She has also been presenter by the Vocal Arts Society and at the Supreme Court in Washington, DC; the Cleveland Art Song Festival, the University Musical Society in Ann Arbor, the Philadelphia Chamber Music Society, Shriver Hall in Baltimore, and San Francisco Performances.

A champion of American song, Ms. Blythe has premiered several song cycles written for her including Twelve Poems of Emily Dickinson by the late James Legg, Covered Wagon Woman by Alan Smith which was commissioned by the Chamber Music Society of Lincoln Center and recorded with the ensemble (CMS Studio Recordings); and Vignettes: Ellis Island, also by Alan Smith and featured in a special television program entitled Vignettes: An Evening with Stephanie Blythe and Warren Jones. 

Ms Blythe starred in the Metropolitan Opera’s live HD broadcasts of Orfeo ed Euridice, Il Trittico, Rodelinda, and the complete Ring CycleShe also appeared in PBS’s Live From Lincoln Centerbroadcasts of the New York Philharmonic’s performance of Carousel and her acclaimed show, We’ll Meet Again: The Songs of Kate Smith. Her recordings include her solo album, as long as there are songs (Innova), and works by Mahler, Brahms, Wagner, Handel and Bach (Virgin Classics).

Ms. Blythe’s many engagements have also included her return to the Metropolitan Opera for The Rake’s Progress, the Lyric Opera of Chicago for Il Trovatore, the Seattle Opera for Semele, Samson et Dalilah with the Atlanta Symphony and Carnegie Hall for a recital in Stern Auditorium.  Last season she performed with the San Francisco Opera as Mrs. Lovett in Sweeney Todd and the Houston Grand Opera as Nettie Fowler in Carousel. She also performed her new program, Sing, America! at Carnegie Hall.  Next season she returns to Opera Philadelphia for the title role in Tancredi, brings her acclaimed performance of Gertrude Stein in Ricky Ian Gordon’s 27 to New York’s City Center, and returns to Palm Beach as Ruth in performances of The Pirates of Penzance. 

Ms. Blythe was named Musical America’s Vocalist of the Year for 2009. Her other awards include the 2007 Opera News Award and the 1999 Richard Tucker Award. She is also the Artistic Director of the Fall Island Vocal Arts Seminar at the Crane School of Music.

Jack Swanson*
Alfred

With an affinity for high lyric repertoire and some of opera’s most acrobatic arias, young American tenor Jack Swanson is quickly becoming one of the most sought after voices in the opera world, and makes his debut on the Glyndebourne Tour this season as Conte Almaviva (Il barbiere di Siviglia). He also sings his first Candide for his debut at LA Opera, in Francesca Zambello’s production under James Conlon, and returns to Santa Fe Opera as Lindoro (L’italiana in Algeri).

During his studies at the University of Oklahoma and the Shepherd School of Music at Rice University, Jack performed roles such as Don Ottavio (Don Giovanni), Nemorino (L’elisir d’amore), Conte Almaviva (Il barbiere di Siviglia) and Eurimaco (Il ritorno d’Ulisse in patria).

Tobias Greenhalgh+
Dr. Falke

As a member of the Junges Ensemble of the Theater an der Wien these past two seasons, American baritone Tobias Greenhalgh made his European debut singing the title role in Eugene Onegin. Whilst in Vienna, his roles on the mainstage included Ned Keene in Christof Loy’s universally-acclaimed new production of Peter Grimes, and Littore (L’incoronazione di Poppea), alongside Escamillo (Carmen), Argante (Rinaldo) and Ramiro (L’heure Espagnole) amongst others in the Wiener Kammeroper.

This season, Tobias sings multiple roles including the Cold Genius in Purcell’s King Arthur for Staatstheater am Gärtnerplatz, sings his first Belcore (L’elisir d’amore) with the Orlando Philharmonic Orchestra, returns to Palm Beach Opera as Samuel (Pirates of Penzance) and creates a leading role in the world premiere of Grapes of Wrath for Opera Theatre of St Louis.

Tobias has given recitals for the Arnold Schoenberg Centre, the Brooklyn Art Song Society (Mörike Lieder) and performed three programmes for the New York Festival of Song. A skilled concert artist, recent highlights include Bach’s St Matthew Passion with Soli Deo Gloria and Vaughan Williams’ Five Mystical Songs with St George’s Choral Society. Tobias was a finalist at the Operalia competition in 2015.

Wayne Tigges
Frank

Lauded by the Chicago Sun-Times for his “rich, dark tone and beautiful legato,” Wayne Tigges joins Michigan Opera Theatre for Basilio in Il barbiere di Siviglia, returns to Atlanta Opera for Owen Hart in Dead Man Walking, and Opera Santa Barbara for John Proctor in The Crucible in the 2018-19 season. Last season, he sang further performances of the title role in Der fliegende Holländer with Atlanta Opera, Alfio in Cavalleria rusticana and Tonio in I Pagliacci with New Orleans Opera, the title role in Gianni Schicchi and further performances of Tonio in I Pagliacci with Utah Opera, Ping in Turandot with Tulsa Opera, and created the role of Sgt. Aaron Marcum in the world premiere of Huang Ruo and David Henry Hwang’s An American Soldier in a return to Opera Theatre of Saint Louis.

Recent performances include his first performances of Méphistophélès in Faust at the Macau Music Festival, Owen Hart in Dead Man Walking and Howie Albert in Blanchard’s Champion with Washington National Opera, all four Villains in Les contes d’Hoffmann with L.A. Opera and Hawaii Opera Theater, the title role Falstaff in a return to Des Moines Metro Opera, Assur in Semiramide with Washington National Opera, Judge Turpin in Sweeney Todd with San Francisco Opera, the title role of Der fliegende Holländer with Virginia Opera, Austin Opera and Florentine Opera, Nick Shadow in The Rake’s Progress with the Teatro Municipal de Santiago, Roy Cohn in Angels in America with New York City Opera, Mr. McGuire in Tobias Picker’s Emmeline with Opera Theatre of Saint Louis, Gustavo in Handel’s Faramondo with Brisbane Baroque, and Il conte Gil in Il segreto di Susanna with Opera San Antonio Opera. He also joined Opera Philadelphia for Basilio in Il barbiere di Siviiglia as well as Justice Sir Alfred Wills and Colonel Henry B. Isaacson in Morrison’s Oscar. He created the role of Joe St. George in the world premiere of Picker’s Dolores Claiborne with San Francisco Opera; sang Escamillo in Carmen at the Glyndebourne Festival and with San Diego Opera; Kolenaty in The Makropolous Case with the Opéra National de Paris; and Ariodate in Xerxes, Sam and Wesley in the world premiere of Theofanidis’ Heart of a Soldier, Ariodate in Xerxes, and Zuniga in Carmenwith San Francisco Opera. He sang Achilla in Giulio Cesare in his Metropolitan Opera debut and returned to the Lyric Opera of Chicago the following season for further performances of the role as well as Basilio in Il barbiere di Siviglia. Mr. Tigges enjoys a strong relationship with the Lyric Opera of Chicago where he sang the title role in Le nozze di Figaro to great critical acclaim while still a member of the prestigious Ryan Opera Center (formerly Lyric Opera Center for American Artists). Also with the company, he sang Snook in Bolcom’s A Wedding, Capulet in Roméo et Juliette, Angelotti in Tosca, Sam in Un ballo in maschera, and Bonze in Madama Butterfly.

His other recent engagements include the Villains in Les contes d’Hoffmann, Basilio in Il barbiere di Siviglia, Hercules in Gluck’s Alceste, Douglas in La donna del lago, and Nourabad in Les pêcheur de perles with Santa Fe Opera; Donner in Das Rheingold and both Zuniga and Escamillo in Carmen with Los Angeles Opera; the title role of Don Giovanni with Opera Pacific and Austin Lyric Opera; Blitch in Susannah with Florentine Opera, Willy Wonka in the European premiere of Peter Ash’s The Golden Ticket at the Wexford Festival, Jochanaan in Salome with Arizona Opera; Scarpia in Tosca with Austin Opera; Faraone in Mose in Egitto with New York City Opera, further performances of Basilio in Il barbiere di Siviglia as well as Ferrando in Il trovatore with Opera Colorado; Figaro in Le nozze di Figaro with Seiji Ozawa’s Ongaku-juku Festival and the North Carolina Symphony and Austin Opera; Leporello in Don Giovanni with Pittsburgh Opera and Tulsa Opera; Basilio in Il barbiere di Siviglia with Palm Beach Opera; Bonze in Madama Butterfly with Los Angeles Opera and at the Ravinia Festival under the baton of James Conlon, the Tutor in Le comte Ory as well as Owen Hart in Heggie’s Dead Man Walking with Des Moines Metro Opera; Count Walther in Luisa Miller with Chautauqua Opera; First Nazarene in Salome with the Philadelphia Orchestra; Sacerdote in Nabucco at the Gran Teatro del Liceu, and Zuniga in Carmen with San Diego Opera. He has joined Minnesota Opera as Claudius in Hamlet, Théâtre du Capitole Toulouse as Superintendent Budd in Albert Herring, Cincinnati Opera for Angelotti in Tosca, Sam in Un ballo in maschera, and Sprecher in Die Zauberflöte. With Opera Omaha, he has sung Mother in Seven Deadly Sins, Gideon March in Little Women, and Balthazar in Amahl and the Night Visitors. He has also sung the Father in Hänsel und Gretel with the Fort Dodge Symphony Orchestra.

In addition to his performances on the opera stage, Mr. Tigges maintains a busy concert schedule. He recently joined the Los Angeles Philharmonic for Mozart’s Mass in C minor, Chicago Symphony Orchestra for Nielsen’s Symphony No. 3, Orchestra of Saint Luke’s for Beethoven’s Symphony No. 9 in his Carnegie Hall debut, and Teatro Regio di Parma for Haydn’s Creation. He made his Avery Fisher Hall debut with the Collegiate Chorale as Erasto in the American premiere of Handel’s Giove in Argo. He sang Stravinsky’s Les Noces with the Cleveland Orchestra; Britten’s Serenade under the baton of Sir Andrew Davis; Zemlinsky’s Psalm 83 at the Cincinnati May Festival; Verdi’s Requiem with the Washington Chorus, Tulsa Oratorio Chorus, Arizona Music Festival, Cathedral Choral Society in Washington D.C., and as a guest artist at Bard College; and the title role in Elijah with both Soli Deo Gloria with John Nelson conducting and the Apollo Chorus and Orchestra. Other performances include Bach’s St. John Passion and St. Matthew Passion with the Knox Chamber Orchestra, Handel’s Messiah with the Beyer Music Chamber Orchestra, Poulenc’s Stabat Mater with the Musica Antiqua Chamber Orchestra, and concerts of operatic arias at Oregon’s Britt Music Festival.

Originally from Dubuque, Iowa, Wayne Tigges received a graduate degree and Artist Diploma from the University of Cincinnati-College Conservatory of Music and his Bachelor of Music from Iowa State University.

John Felix
Frosch

JOHN FELIX (Frosch) is delighted to be making his debut at Palm Beach Opera with this marvelous cast and company. Except for a musical comedy or revue here and there, most of his career on the stage has been in non-singing roles. His stage credits include many appearances at Florida theaters and at theaters elsewhere around the country. Of particular relevance in the context of opera may be The Lisbon Traviata in which he appeared as the obsessive Maria Callas devotee, Mendy, so dismissively catty about all other divas. Other shows include Our Town and On Golden Pond, at Palm Beach Dramaworks; The Trial of Ebenezer Scrooge, at Actors’ Playhouse; Himself (opposite Len Cariou), Fortune’s Fool and Gross Indecency… at Caldwell Theatre; Cabaret and The Music Man, at Maltz Jupiter Theatre; The Fantasticks and Little Women (opposite Donna McKechnie) at TheatreZone. The recipient of the Curtain Up Award and of multiple Carbonell Awards, John is a proud member of Actors’ Equity Association and is the Secretary of its South Florida Liaison Committee.

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.

Dona D. Vaughn
Director
Tyler Micoleau*
Lighting Designer

Tyler has designed the lighting for hundreds of live productions including plays, opera, dance, movement-theatre, multi-media performance and puppetry. He is a native of Portland, Maine but has resided in Brooklyn for the last twenty four years.

He is the recipient of an American Theatre Wing Henry Hewes Design Award, two Off-Broadway Lucille Lortel Awards, two Village Voice OBIE awards including one for Sustained Excellence, two Connecticut Critics Circle awards, a Drama Desk nomination, a Helen Hayes award nomination, four Barrymore award nominations, a Jeff award nomination, the National Endowment for the Arts / Theatre Communications Group Career Development Program and a Bachelor of Arts from Bowdoin College.

New York designs for Broadway, Lincoln Center Theater, the Public Theater, New York Theatre Workshop, Manhattan Theater Club, Atlantic Theater, Signature, Second Stage, Classic Stage Company, Playwrights Horizons, New York Theatre Workshop, Vineyard Theatre, MCC, New Georges, 13P, Women’s Project, Epic Theatre Ensemble, Page 73, Primary Stages, St. Ann’s Warehouse, Mint Theatre, Rattlestick, Naked Angels, Barrow Street Theater, Cherry Lane, Les Freres Corbusier, Foundry Theatre, Theatreworks USA, The Play Company and Soho Rep.

Regional designs for the Huntington Theater, Alley Theatre, Goodman Theatre, American Repertory Theatre, Dallas Theater Center, the Old Globe, La Jolla, Trinity Repertory Theatre, Arena Stage, Shakespeare Theater, Kansas City Rep, Dallas Opera, Spoleto Festival USA, Philadelphia Theatre Company, Wilma Theater, Two River, Pig Iron, Chautauqua Theater, Hangar Theatre, the Folger, Long Wharf Theater and many others.

Opera designs for Dallas Opera, Spoleto Festival USA, Port Opera, Curtis Opera, Manhattan School of Music, and Connecticut Grand Opera. Dance design for Eliot Feld’s Mandance Project at The Joyce Theater, Neil Greenberg and The Chase Brock Experience. Fine art installation projects include Åhus Sommaren 1974 (Bellwether Galleries, Chelsea NYC), Beneath the Floorboards (Ohio Theater Gallery, Soho NYC).

He has toured extensively in the United States and internationally with both not-for-profit and commercial touring companies, including Young Jean Lee, the Acting Company, Dan Hurlin, Accinosco, WaxFactory, The Builders Association, Jam On The Groove LLC.

For six years Tyler was adjunct faculty in the Sarah Lawrence College Department of Dance, and has been a frequent visiting artist at Dartmouth College, Yale University, Bates College and Bowdoin College.

Mara Newbery Greer
Choreographer

Choreographer Mara Newbery Greer’s recent credits include Thoroughly Modern Millie (Music Theatre Wichita), Shrek, the Musical (North Shore Music Theatre/Tuacahn), The Toxic Avenger (Pittsburgh CLO), A Christmas Story, the Musical (Paper Mill Playhouse/Fulton Theatre), Legally Blonde and 9 to 5 (Sacramento Music Circus), Big Fish (Front Porch Theatricals), Oliver! (Plymouth State University), The Drowsy Chaperone (University of Michigan) and the 2015 Lucille Lortel Awards.  As a performer, Mara has worked on Broadway, National Tours, and regional theatres across the country.  She earned her BFA in Music Theatre from the University of Michigan.  Her upcoming choreography projects include Matilda (Tuacahn), Guys and Dolls (Music Theatre Wichita), and The Music Man (Lexington Theatre Company).

Zach Borichevsky*
Eisenstein
Keri Alkema
Rosalinde

In the 2016-2017 season, American soprano Keri Alkema makes a number of important debuts as Tosca: her London debut at the English National Opera, her German debut at Oper Frankfurt, and a return to the Canadian Opera Company.

Next season, she sings Magda in La rondine and La clemenza di Tito (both at Théâtre du Capitole), Tosca (Palm Beach Opera), Simon Boccanegra (Opéra de Dijon), and Giovanna Seymour in Anna Bolena (Canadian Opera Company).

Recent performances for the soprano include Amelia/Un ballo in maschera (Théâtre du Capitole with Daniel Oren); Cio-Cio-San/Madama Butterfly (Teatro Municipal de Santiago); Donna Elvira/Don Giovanni (Santa Fe Opera); Elisabetta di Valois/Don Carlo (Austin Lyric Opera); Giovanna Seymour/Anna Bolena & Eboli/Don Carlo (Opéra National de Bordeaux); Vitellia/La clemenza di Tito (Canadian Opera Company with Johannes Debus); Title role/Anna Bolena (Minnesota Opera); Amaltea/Mosè in Egitto (New York City Opera);  Mimì/La bohème (Glyndebourne); Donna Elvira/Don Giovanni (St. Paul Chamber Orchestra with Roberto Abbado, New York City Opera); Fiordiligi/Così fan tutte (Atlanta Opera); Amelia Grimaldi/Simon Boccanegra and Desdemona/Otello (Teatro Municipal de Santiago); Adalgisa/Norma (Opera North (UK), Caramoor Festival); Mahler’s Dasklagende Lied (Cincinnati May & Ravinia Festivals under James Conlon).

Diana Newman*
Adele

American soprano DIANA NEWMAN brings fresh and intense performances to opera houses and concert stages across the United States. Currently in her third year at the Lyric Opera of Chicago’s Ryan Opera Center, she appears on the company’s mainstage this season as the Page in Verdi’s Rigoletto, a role she debuted with the Los Angeles Philharmonic under Gustavo Dudamel at the Hollywood Bowl. Following her performances in 2016 as Woglinde in Das Rheingold for Chicago’s Ring cycle, she returns for the Lyric’s 2018/19 season in November as Woodbird in Wagner’s Siegfried, conducted by Sir Andrew Davis. Additional upcoming performances include her house and role debuts as cover Sophie at the Glyndebourne Festival in the summer of 2018, as well as her mainstage debut at The Dallas Opera in the fall of 2019.

During her tenure at the Lyric Opera of Chicago, Diana has performed the roles of Frasquita in Carmen, Pedro in Don Quichotte, Clorinda in La Cenerentola, and Papagena in Die Zauberflöte, in addition to covering the roles of Gilda in Rigoletto, Leïla in Les pêcheurs de perles, Despina in Cosi fan tutte, and Amore in Orphée et Eurydice. She has appeared in the title role of Monteverdi’s L’incoronazione di Poppea with The USC Thornton School of Music Opera Program, where she also performed leading roles as Miranda in Hoiby’s The Tempest, Pamina in Die Zauberflöte, and Lauretta in Gianni Schicchi.

On the concert stage, Diana has recently appeared as a soloist in Maria Schneider’s Winter Morning Walks at the Lucerne Festival, Barber’s Knoxville: Summer of 1915 with the Eastern Sierra Symphony Summer Festival, and Vivaldi’s Gloria in Havana, Cuba. Additional concerts include Mozart’s Exsultate jubilate with the USC Alumni Orchestra, Bach’s “Coffee” Cantata with the Whittier Bach Festival, and Mahler’sSymphony no. 4 in her debut with the American Youth Symphony. Her debut with the Grant Park Music Festival came in 2016, appearing as Curly’s Wife in Floyd’s Of Mice and Men.

Committed to the performance of art song and new works, Diana has attended numerous programs including the Ravinia Festival Steans Music Institute, SongFest, and the Fall Island Vocal Arts Seminar run by Stephanie Blythe. In 2014 she performed at Carnegie Hall in a master class led by legendary mezzo-soprano Christa Ludwig as part of the Marilyn Horne Song Continues series. She performed George Crumb’s Madrigals Book IV at Music Academy of the West, Frank Ticheli’s Songs of Love and Life and Angels in the Architecture with the UT New Music Ensemble, and Lukas Foss’s Time Cycle with faculty members of the Aspen Music Festival, where she also covered the role of Daisy Buchanan in John Harbison’s The Great Gatsby. She has given multiple premieres of works by living composers, including Francesco Cilluffo, Dr. Alan L. Smith, and David Newman.

As a member of the Screen Actors Guild (SAG), Diana’s voice has been featured in a number of Hollywood films. She holds bachelor’s and master’s degrees from the USC Thornton School of Music, where she studied with Elizabeth Hynes. She currently studies with Patricia McCaffrey in New York.

Stephanie Blythe
Orlofsky

A renowned opera singer and recitalist, mezzo-soprano Stephanie Blythe is considered one of the most highly respected and critically acclaimed artists of her generation.  Her repertoire ranges from Handel to Wagner, German lieder to contemporary and classic American song.  Ms. Blythe has performed on many of the world’s great stages, such as Carnegie Hall, the Metropolitan Opera, Covent Garden, Paris National Opera and San Francisco, Chicago Lyric and Seattle Operas.  Ms. Blythe was named Musical America’s Vocalist of the Year in 2009, received an Opera News Award in 2007 and won the Tucker Award in 1999.  Ms. Blythe recently released her first crossover recording on the Innova label with pianist Craig Terry.

Ms. Blythe has sung in many of the renowned opera houses in the US and Europe including the Metropolitan Opera, San Francisco Opera, Lyric Opera of Chicago, Seattle Opera, Royal Opera House Covent Garden, and the Opera National de Paris. Her many roles include the title roles in Carmen, Samson et Dalila , Orfeo ed Euridice, La Grande Duchesse, Tancredi, Mignon, and Giulio Cesare; Frugola, Principessa, and Zita in Il Trittico, Fricka in both Das Rheingold and Die Walküre, Waltraute in Götterdämmerung, Azucena in Il Trovatore, Ulrica in Un Ballo in Maschera, Baba the Turk in The Rake’s Progress, Ježibaba in Rusalka, Jocasta in Oedipus Rex, Mere Marie in Dialogues des Carmélites;Mistress Quickly in Falstaff, and Ino/Juno in Semele. She also created the role of Gertrude Stein in Ricky Ian Gordon’s 27 at the Opera Theatre of Saint Louis.

Ms. Blythe has also appeared with many of the world’s finest orchestras including the New York Philharmonic, Boston Symphony Orchestra, Chicago Symphony Orchestra, Los Angeles Philharmonic, San Francisco Symphony, Philadelphia Orchestra, Opera Orchestra of New York, Minnesota Orchestra, Halle Orchestra, Orchestra of the Age of Enlightenment, the Ensemble Orchestre de Paris, and the Concertgerbouworkest. She has also appeared at the Tanglewood, Cincinnati May, and Ravinia festivals, and at the BBC Proms. The many conductors with whom she has worked include Harry Bicket, James Conlon, Charles Dutoit, Mark Elder, Christoph Eschenbach, Rafael Frühbeck de Burgos, Alan Gilbert, James Levine, Fabio Luisi, Nicola Luisotti, Sir Charles Mackerras, John Nelson, Antonio Pappano, Mstislav Rostropovitch, Robert Spano, Patrick Summers, and Michael Tilson Thomas.

A frequent recitalist, Ms. Blythe has been presented in recital in New York by Carnegie Hall in Stern Auditorium and Zankel Hall, Lincoln Center in both its Great Performers Series at Alice Tully Hall and its American Songbook Series at the Allen Room, Town Hall, the 92nd Street Y, and the Metropolitan Museum of Art. She has also been presenter by the Vocal Arts Society and at the Supreme Court in Washington, DC; the Cleveland Art Song Festival, the University Musical Society in Ann Arbor, the Philadelphia Chamber Music Society, Shriver Hall in Baltimore, and San Francisco Performances.

A champion of American song, Ms. Blythe has premiered several song cycles written for her including Twelve Poems of Emily Dickinson by the late James Legg, Covered Wagon Woman by Alan Smith which was commissioned by the Chamber Music Society of Lincoln Center and recorded with the ensemble (CMS Studio Recordings); and Vignettes: Ellis Island, also by Alan Smith and featured in a special television program entitled Vignettes: An Evening with Stephanie Blythe and Warren Jones. 

Ms Blythe starred in the Metropolitan Opera’s live HD broadcasts of Orfeo ed Euridice, Il Trittico, Rodelinda, and the complete Ring CycleShe also appeared in PBS’s Live From Lincoln Centerbroadcasts of the New York Philharmonic’s performance of Carousel and her acclaimed show, We’ll Meet Again: The Songs of Kate Smith. Her recordings include her solo album, as long as there are songs (Innova), and works by Mahler, Brahms, Wagner, Handel and Bach (Virgin Classics).

Ms. Blythe’s many engagements have also included her return to the Metropolitan Opera for The Rake’s Progress, the Lyric Opera of Chicago for Il Trovatore, the Seattle Opera for Semele, Samson et Dalilah with the Atlanta Symphony and Carnegie Hall for a recital in Stern Auditorium.  Last season she performed with the San Francisco Opera as Mrs. Lovett in Sweeney Todd and the Houston Grand Opera as Nettie Fowler in Carousel. She also performed her new program, Sing, America! at Carnegie Hall.  Next season she returns to Opera Philadelphia for the title role in Tancredi, brings her acclaimed performance of Gertrude Stein in Ricky Ian Gordon’s 27 to New York’s City Center, and returns to Palm Beach as Ruth in performances of The Pirates of Penzance. 

Ms. Blythe was named Musical America’s Vocalist of the Year for 2009. Her other awards include the 2007 Opera News Award and the 1999 Richard Tucker Award. She is also the Artistic Director of the Fall Island Vocal Arts Seminar at the Crane School of Music.

Jack Swanson*
Alfred

With an affinity for high lyric repertoire and some of opera’s most acrobatic arias, young American tenor Jack Swanson is quickly becoming one of the most sought after voices in the opera world, and makes his debut on the Glyndebourne Tour this season as Conte Almaviva (Il barbiere di Siviglia). He also sings his first Candide for his debut at LA Opera, in Francesca Zambello’s production under James Conlon, and returns to Santa Fe Opera as Lindoro (L’italiana in Algeri).

During his studies at the University of Oklahoma and the Shepherd School of Music at Rice University, Jack performed roles such as Don Ottavio (Don Giovanni), Nemorino (L’elisir d’amore), Conte Almaviva (Il barbiere di Siviglia) and Eurimaco (Il ritorno d’Ulisse in patria).

Tobias Greenhalgh+
Dr. Falke

As a member of the Junges Ensemble of the Theater an der Wien these past two seasons, American baritone Tobias Greenhalgh made his European debut singing the title role in Eugene Onegin. Whilst in Vienna, his roles on the mainstage included Ned Keene in Christof Loy’s universally-acclaimed new production of Peter Grimes, and Littore (L’incoronazione di Poppea), alongside Escamillo (Carmen), Argante (Rinaldo) and Ramiro (L’heure Espagnole) amongst others in the Wiener Kammeroper.

This season, Tobias sings multiple roles including the Cold Genius in Purcell’s King Arthur for Staatstheater am Gärtnerplatz, sings his first Belcore (L’elisir d’amore) with the Orlando Philharmonic Orchestra, returns to Palm Beach Opera as Samuel (Pirates of Penzance) and creates a leading role in the world premiere of Grapes of Wrath for Opera Theatre of St Louis.

Tobias has given recitals for the Arnold Schoenberg Centre, the Brooklyn Art Song Society (Mörike Lieder) and performed three programmes for the New York Festival of Song. A skilled concert artist, recent highlights include Bach’s St Matthew Passion with Soli Deo Gloria and Vaughan Williams’ Five Mystical Songs with St George’s Choral Society. Tobias was a finalist at the Operalia competition in 2015.

Wayne Tigges
Frank

Lauded by the Chicago Sun-Times for his “rich, dark tone and beautiful legato,” Wayne Tigges joins Michigan Opera Theatre for Basilio in Il barbiere di Siviglia, returns to Atlanta Opera for Owen Hart in Dead Man Walking, and Opera Santa Barbara for John Proctor in The Crucible in the 2018-19 season. Last season, he sang further performances of the title role in Der fliegende Holländer with Atlanta Opera, Alfio in Cavalleria rusticana and Tonio in I Pagliacci with New Orleans Opera, the title role in Gianni Schicchi and further performances of Tonio in I Pagliacci with Utah Opera, Ping in Turandot with Tulsa Opera, and created the role of Sgt. Aaron Marcum in the world premiere of Huang Ruo and David Henry Hwang’s An American Soldier in a return to Opera Theatre of Saint Louis.

Recent performances include his first performances of Méphistophélès in Faust at the Macau Music Festival, Owen Hart in Dead Man Walking and Howie Albert in Blanchard’s Champion with Washington National Opera, all four Villains in Les contes d’Hoffmann with L.A. Opera and Hawaii Opera Theater, the title role Falstaff in a return to Des Moines Metro Opera, Assur in Semiramide with Washington National Opera, Judge Turpin in Sweeney Todd with San Francisco Opera, the title role of Der fliegende Holländer with Virginia Opera, Austin Opera and Florentine Opera, Nick Shadow in The Rake’s Progress with the Teatro Municipal de Santiago, Roy Cohn in Angels in America with New York City Opera, Mr. McGuire in Tobias Picker’s Emmeline with Opera Theatre of Saint Louis, Gustavo in Handel’s Faramondo with Brisbane Baroque, and Il conte Gil in Il segreto di Susanna with Opera San Antonio Opera. He also joined Opera Philadelphia for Basilio in Il barbiere di Siviiglia as well as Justice Sir Alfred Wills and Colonel Henry B. Isaacson in Morrison’s Oscar. He created the role of Joe St. George in the world premiere of Picker’s Dolores Claiborne with San Francisco Opera; sang Escamillo in Carmen at the Glyndebourne Festival and with San Diego Opera; Kolenaty in The Makropolous Case with the Opéra National de Paris; and Ariodate in Xerxes, Sam and Wesley in the world premiere of Theofanidis’ Heart of a Soldier, Ariodate in Xerxes, and Zuniga in Carmenwith San Francisco Opera. He sang Achilla in Giulio Cesare in his Metropolitan Opera debut and returned to the Lyric Opera of Chicago the following season for further performances of the role as well as Basilio in Il barbiere di Siviglia. Mr. Tigges enjoys a strong relationship with the Lyric Opera of Chicago where he sang the title role in Le nozze di Figaro to great critical acclaim while still a member of the prestigious Ryan Opera Center (formerly Lyric Opera Center for American Artists). Also with the company, he sang Snook in Bolcom’s A Wedding, Capulet in Roméo et Juliette, Angelotti in Tosca, Sam in Un ballo in maschera, and Bonze in Madama Butterfly.

His other recent engagements include the Villains in Les contes d’Hoffmann, Basilio in Il barbiere di Siviglia, Hercules in Gluck’s Alceste, Douglas in La donna del lago, and Nourabad in Les pêcheur de perles with Santa Fe Opera; Donner in Das Rheingold and both Zuniga and Escamillo in Carmen with Los Angeles Opera; the title role of Don Giovanni with Opera Pacific and Austin Lyric Opera; Blitch in Susannah with Florentine Opera, Willy Wonka in the European premiere of Peter Ash’s The Golden Ticket at the Wexford Festival, Jochanaan in Salome with Arizona Opera; Scarpia in Tosca with Austin Opera; Faraone in Mose in Egitto with New York City Opera, further performances of Basilio in Il barbiere di Siviglia as well as Ferrando in Il trovatore with Opera Colorado; Figaro in Le nozze di Figaro with Seiji Ozawa’s Ongaku-juku Festival and the North Carolina Symphony and Austin Opera; Leporello in Don Giovanni with Pittsburgh Opera and Tulsa Opera; Basilio in Il barbiere di Siviglia with Palm Beach Opera; Bonze in Madama Butterfly with Los Angeles Opera and at the Ravinia Festival under the baton of James Conlon, the Tutor in Le comte Ory as well as Owen Hart in Heggie’s Dead Man Walking with Des Moines Metro Opera; Count Walther in Luisa Miller with Chautauqua Opera; First Nazarene in Salome with the Philadelphia Orchestra; Sacerdote in Nabucco at the Gran Teatro del Liceu, and Zuniga in Carmen with San Diego Opera. He has joined Minnesota Opera as Claudius in Hamlet, Théâtre du Capitole Toulouse as Superintendent Budd in Albert Herring, Cincinnati Opera for Angelotti in Tosca, Sam in Un ballo in maschera, and Sprecher in Die Zauberflöte. With Opera Omaha, he has sung Mother in Seven Deadly Sins, Gideon March in Little Women, and Balthazar in Amahl and the Night Visitors. He has also sung the Father in Hänsel und Gretel with the Fort Dodge Symphony Orchestra.

In addition to his performances on the opera stage, Mr. Tigges maintains a busy concert schedule. He recently joined the Los Angeles Philharmonic for Mozart’s Mass in C minor, Chicago Symphony Orchestra for Nielsen’s Symphony No. 3, Orchestra of Saint Luke’s for Beethoven’s Symphony No. 9 in his Carnegie Hall debut, and Teatro Regio di Parma for Haydn’s Creation. He made his Avery Fisher Hall debut with the Collegiate Chorale as Erasto in the American premiere of Handel’s Giove in Argo. He sang Stravinsky’s Les Noces with the Cleveland Orchestra; Britten’s Serenade under the baton of Sir Andrew Davis; Zemlinsky’s Psalm 83 at the Cincinnati May Festival; Verdi’s Requiem with the Washington Chorus, Tulsa Oratorio Chorus, Arizona Music Festival, Cathedral Choral Society in Washington D.C., and as a guest artist at Bard College; and the title role in Elijah with both Soli Deo Gloria with John Nelson conducting and the Apollo Chorus and Orchestra. Other performances include Bach’s St. John Passion and St. Matthew Passion with the Knox Chamber Orchestra, Handel’s Messiah with the Beyer Music Chamber Orchestra, Poulenc’s Stabat Mater with the Musica Antiqua Chamber Orchestra, and concerts of operatic arias at Oregon’s Britt Music Festival.

Originally from Dubuque, Iowa, Wayne Tigges received a graduate degree and Artist Diploma from the University of Cincinnati-College Conservatory of Music and his Bachelor of Music from Iowa State University.

John Felix
Frosch

JOHN FELIX (Frosch) is delighted to be making his debut at Palm Beach Opera with this marvelous cast and company. Except for a musical comedy or revue here and there, most of his career on the stage has been in non-singing roles. His stage credits include many appearances at Florida theaters and at theaters elsewhere around the country. Of particular relevance in the context of opera may be The Lisbon Traviata in which he appeared as the obsessive Maria Callas devotee, Mendy, so dismissively catty about all other divas. Other shows include Our Town and On Golden Pond, at Palm Beach Dramaworks; The Trial of Ebenezer Scrooge, at Actors’ Playhouse; Himself (opposite Len Cariou), Fortune’s Fool and Gross Indecency… at Caldwell Theatre; Cabaret and The Music Man, at Maltz Jupiter Theatre; The Fantasticks and Little Women (opposite Donna McKechnie) at TheatreZone. The recipient of the Curtain Up Award and of multiple Carbonell Awards, John is a proud member of Actors’ Equity Association and is the Secretary of its South Florida Liaison Committee.

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.

Dona D. Vaughn
Director
Tyler Micoleau*
Lighting Designer

Tyler has designed the lighting for hundreds of live productions including plays, opera, dance, movement-theatre, multi-media performance and puppetry. He is a native of Portland, Maine but has resided in Brooklyn for the last twenty four years.

He is the recipient of an American Theatre Wing Henry Hewes Design Award, two Off-Broadway Lucille Lortel Awards, two Village Voice OBIE awards including one for Sustained Excellence, two Connecticut Critics Circle awards, a Drama Desk nomination, a Helen Hayes award nomination, four Barrymore award nominations, a Jeff award nomination, the National Endowment for the Arts / Theatre Communications Group Career Development Program and a Bachelor of Arts from Bowdoin College.

New York designs for Broadway, Lincoln Center Theater, the Public Theater, New York Theatre Workshop, Manhattan Theater Club, Atlantic Theater, Signature, Second Stage, Classic Stage Company, Playwrights Horizons, New York Theatre Workshop, Vineyard Theatre, MCC, New Georges, 13P, Women’s Project, Epic Theatre Ensemble, Page 73, Primary Stages, St. Ann’s Warehouse, Mint Theatre, Rattlestick, Naked Angels, Barrow Street Theater, Cherry Lane, Les Freres Corbusier, Foundry Theatre, Theatreworks USA, The Play Company and Soho Rep.

Regional designs for the Huntington Theater, Alley Theatre, Goodman Theatre, American Repertory Theatre, Dallas Theater Center, the Old Globe, La Jolla, Trinity Repertory Theatre, Arena Stage, Shakespeare Theater, Kansas City Rep, Dallas Opera, Spoleto Festival USA, Philadelphia Theatre Company, Wilma Theater, Two River, Pig Iron, Chautauqua Theater, Hangar Theatre, the Folger, Long Wharf Theater and many others.

Opera designs for Dallas Opera, Spoleto Festival USA, Port Opera, Curtis Opera, Manhattan School of Music, and Connecticut Grand Opera. Dance design for Eliot Feld’s Mandance Project at The Joyce Theater, Neil Greenberg and The Chase Brock Experience. Fine art installation projects include Åhus Sommaren 1974 (Bellwether Galleries, Chelsea NYC), Beneath the Floorboards (Ohio Theater Gallery, Soho NYC).

He has toured extensively in the United States and internationally with both not-for-profit and commercial touring companies, including Young Jean Lee, the Acting Company, Dan Hurlin, Accinosco, WaxFactory, The Builders Association, Jam On The Groove LLC.

For six years Tyler was adjunct faculty in the Sarah Lawrence College Department of Dance, and has been a frequent visiting artist at Dartmouth College, Yale University, Bates College and Bowdoin College.

Mara Newbery Greer
Choreographer

Choreographer Mara Newbery Greer’s recent credits include Thoroughly Modern Millie (Music Theatre Wichita), Shrek, the Musical (North Shore Music Theatre/Tuacahn), The Toxic Avenger (Pittsburgh CLO), A Christmas Story, the Musical (Paper Mill Playhouse/Fulton Theatre), Legally Blonde and 9 to 5 (Sacramento Music Circus), Big Fish (Front Porch Theatricals), Oliver! (Plymouth State University), The Drowsy Chaperone (University of Michigan) and the 2015 Lucille Lortel Awards.  As a performer, Mara has worked on Broadway, National Tours, and regional theatres across the country.  She earned her BFA in Music Theatre from the University of Michigan.  Her upcoming choreography projects include Matilda (Tuacahn), Guys and Dolls (Music Theatre Wichita), and The Music Man (Lexington Theatre Company).

Zach Borichevsky*
Eisenstein
Keri Alkema
Rosalinde

In the 2016-2017 season, American soprano Keri Alkema makes a number of important debuts as Tosca: her London debut at the English National Opera, her German debut at Oper Frankfurt, and a return to the Canadian Opera Company.

Next season, she sings Magda in La rondine and La clemenza di Tito (both at Théâtre du Capitole), Tosca (Palm Beach Opera), Simon Boccanegra (Opéra de Dijon), and Giovanna Seymour in Anna Bolena (Canadian Opera Company).

Recent performances for the soprano include Amelia/Un ballo in maschera (Théâtre du Capitole with Daniel Oren); Cio-Cio-San/Madama Butterfly (Teatro Municipal de Santiago); Donna Elvira/Don Giovanni (Santa Fe Opera); Elisabetta di Valois/Don Carlo (Austin Lyric Opera); Giovanna Seymour/Anna Bolena & Eboli/Don Carlo (Opéra National de Bordeaux); Vitellia/La clemenza di Tito (Canadian Opera Company with Johannes Debus); Title role/Anna Bolena (Minnesota Opera); Amaltea/Mosè in Egitto (New York City Opera);  Mimì/La bohème (Glyndebourne); Donna Elvira/Don Giovanni (St. Paul Chamber Orchestra with Roberto Abbado, New York City Opera); Fiordiligi/Così fan tutte (Atlanta Opera); Amelia Grimaldi/Simon Boccanegra and Desdemona/Otello (Teatro Municipal de Santiago); Adalgisa/Norma (Opera North (UK), Caramoor Festival); Mahler’s Dasklagende Lied (Cincinnati May & Ravinia Festivals under James Conlon).

Diana Newman*
Adele

American soprano DIANA NEWMAN brings fresh and intense performances to opera houses and concert stages across the United States. Currently in her third year at the Lyric Opera of Chicago’s Ryan Opera Center, she appears on the company’s mainstage this season as the Page in Verdi’s Rigoletto, a role she debuted with the Los Angeles Philharmonic under Gustavo Dudamel at the Hollywood Bowl. Following her performances in 2016 as Woglinde in Das Rheingold for Chicago’s Ring cycle, she returns for the Lyric’s 2018/19 season in November as Woodbird in Wagner’s Siegfried, conducted by Sir Andrew Davis. Additional upcoming performances include her house and role debuts as cover Sophie at the Glyndebourne Festival in the summer of 2018, as well as her mainstage debut at The Dallas Opera in the fall of 2019.

During her tenure at the Lyric Opera of Chicago, Diana has performed the roles of Frasquita in Carmen, Pedro in Don Quichotte, Clorinda in La Cenerentola, and Papagena in Die Zauberflöte, in addition to covering the roles of Gilda in Rigoletto, Leïla in Les pêcheurs de perles, Despina in Cosi fan tutte, and Amore in Orphée et Eurydice. She has appeared in the title role of Monteverdi’s L’incoronazione di Poppea with The USC Thornton School of Music Opera Program, where she also performed leading roles as Miranda in Hoiby’s The Tempest, Pamina in Die Zauberflöte, and Lauretta in Gianni Schicchi.

On the concert stage, Diana has recently appeared as a soloist in Maria Schneider’s Winter Morning Walks at the Lucerne Festival, Barber’s Knoxville: Summer of 1915 with the Eastern Sierra Symphony Summer Festival, and Vivaldi’s Gloria in Havana, Cuba. Additional concerts include Mozart’s Exsultate jubilate with the USC Alumni Orchestra, Bach’s “Coffee” Cantata with the Whittier Bach Festival, and Mahler’sSymphony no. 4 in her debut with the American Youth Symphony. Her debut with the Grant Park Music Festival came in 2016, appearing as Curly’s Wife in Floyd’s Of Mice and Men.

Committed to the performance of art song and new works, Diana has attended numerous programs including the Ravinia Festival Steans Music Institute, SongFest, and the Fall Island Vocal Arts Seminar run by Stephanie Blythe. In 2014 she performed at Carnegie Hall in a master class led by legendary mezzo-soprano Christa Ludwig as part of the Marilyn Horne Song Continues series. She performed George Crumb’s Madrigals Book IV at Music Academy of the West, Frank Ticheli’s Songs of Love and Life and Angels in the Architecture with the UT New Music Ensemble, and Lukas Foss’s Time Cycle with faculty members of the Aspen Music Festival, where she also covered the role of Daisy Buchanan in John Harbison’s The Great Gatsby. She has given multiple premieres of works by living composers, including Francesco Cilluffo, Dr. Alan L. Smith, and David Newman.

As a member of the Screen Actors Guild (SAG), Diana’s voice has been featured in a number of Hollywood films. She holds bachelor’s and master’s degrees from the USC Thornton School of Music, where she studied with Elizabeth Hynes. She currently studies with Patricia McCaffrey in New York.

Stephanie Blythe
Orlofsky

A renowned opera singer and recitalist, mezzo-soprano Stephanie Blythe is considered one of the most highly respected and critically acclaimed artists of her generation.  Her repertoire ranges from Handel to Wagner, German lieder to contemporary and classic American song.  Ms. Blythe has performed on many of the world’s great stages, such as Carnegie Hall, the Metropolitan Opera, Covent Garden, Paris National Opera and San Francisco, Chicago Lyric and Seattle Operas.  Ms. Blythe was named Musical America’s Vocalist of the Year in 2009, received an Opera News Award in 2007 and won the Tucker Award in 1999.  Ms. Blythe recently released her first crossover recording on the Innova label with pianist Craig Terry.

Ms. Blythe has sung in many of the renowned opera houses in the US and Europe including the Metropolitan Opera, San Francisco Opera, Lyric Opera of Chicago, Seattle Opera, Royal Opera House Covent Garden, and the Opera National de Paris. Her many roles include the title roles in Carmen, Samson et Dalila , Orfeo ed Euridice, La Grande Duchesse, Tancredi, Mignon, and Giulio Cesare; Frugola, Principessa, and Zita in Il Trittico, Fricka in both Das Rheingold and Die Walküre, Waltraute in Götterdämmerung, Azucena in Il Trovatore, Ulrica in Un Ballo in Maschera, Baba the Turk in The Rake’s Progress, Ježibaba in Rusalka, Jocasta in Oedipus Rex, Mere Marie in Dialogues des Carmélites;Mistress Quickly in Falstaff, and Ino/Juno in Semele. She also created the role of Gertrude Stein in Ricky Ian Gordon’s 27 at the Opera Theatre of Saint Louis.

Ms. Blythe has also appeared with many of the world’s finest orchestras including the New York Philharmonic, Boston Symphony Orchestra, Chicago Symphony Orchestra, Los Angeles Philharmonic, San Francisco Symphony, Philadelphia Orchestra, Opera Orchestra of New York, Minnesota Orchestra, Halle Orchestra, Orchestra of the Age of Enlightenment, the Ensemble Orchestre de Paris, and the Concertgerbouworkest. She has also appeared at the Tanglewood, Cincinnati May, and Ravinia festivals, and at the BBC Proms. The many conductors with whom she has worked include Harry Bicket, James Conlon, Charles Dutoit, Mark Elder, Christoph Eschenbach, Rafael Frühbeck de Burgos, Alan Gilbert, James Levine, Fabio Luisi, Nicola Luisotti, Sir Charles Mackerras, John Nelson, Antonio Pappano, Mstislav Rostropovitch, Robert Spano, Patrick Summers, and Michael Tilson Thomas.

A frequent recitalist, Ms. Blythe has been presented in recital in New York by Carnegie Hall in Stern Auditorium and Zankel Hall, Lincoln Center in both its Great Performers Series at Alice Tully Hall and its American Songbook Series at the Allen Room, Town Hall, the 92nd Street Y, and the Metropolitan Museum of Art. She has also been presenter by the Vocal Arts Society and at the Supreme Court in Washington, DC; the Cleveland Art Song Festival, the University Musical Society in Ann Arbor, the Philadelphia Chamber Music Society, Shriver Hall in Baltimore, and San Francisco Performances.

A champion of American song, Ms. Blythe has premiered several song cycles written for her including Twelve Poems of Emily Dickinson by the late James Legg, Covered Wagon Woman by Alan Smith which was commissioned by the Chamber Music Society of Lincoln Center and recorded with the ensemble (CMS Studio Recordings); and Vignettes: Ellis Island, also by Alan Smith and featured in a special television program entitled Vignettes: An Evening with Stephanie Blythe and Warren Jones. 

Ms Blythe starred in the Metropolitan Opera’s live HD broadcasts of Orfeo ed Euridice, Il Trittico, Rodelinda, and the complete Ring CycleShe also appeared in PBS’s Live From Lincoln Centerbroadcasts of the New York Philharmonic’s performance of Carousel and her acclaimed show, We’ll Meet Again: The Songs of Kate Smith. Her recordings include her solo album, as long as there are songs (Innova), and works by Mahler, Brahms, Wagner, Handel and Bach (Virgin Classics).

Ms. Blythe’s many engagements have also included her return to the Metropolitan Opera for The Rake’s Progress, the Lyric Opera of Chicago for Il Trovatore, the Seattle Opera for Semele, Samson et Dalilah with the Atlanta Symphony and Carnegie Hall for a recital in Stern Auditorium.  Last season she performed with the San Francisco Opera as Mrs. Lovett in Sweeney Todd and the Houston Grand Opera as Nettie Fowler in Carousel. She also performed her new program, Sing, America! at Carnegie Hall.  Next season she returns to Opera Philadelphia for the title role in Tancredi, brings her acclaimed performance of Gertrude Stein in Ricky Ian Gordon’s 27 to New York’s City Center, and returns to Palm Beach as Ruth in performances of The Pirates of Penzance. 

Ms. Blythe was named Musical America’s Vocalist of the Year for 2009. Her other awards include the 2007 Opera News Award and the 1999 Richard Tucker Award. She is also the Artistic Director of the Fall Island Vocal Arts Seminar at the Crane School of Music.

Jack Swanson*
Alfred

With an affinity for high lyric repertoire and some of opera’s most acrobatic arias, young American tenor Jack Swanson is quickly becoming one of the most sought after voices in the opera world, and makes his debut on the Glyndebourne Tour this season as Conte Almaviva (Il barbiere di Siviglia). He also sings his first Candide for his debut at LA Opera, in Francesca Zambello’s production under James Conlon, and returns to Santa Fe Opera as Lindoro (L’italiana in Algeri).

During his studies at the University of Oklahoma and the Shepherd School of Music at Rice University, Jack performed roles such as Don Ottavio (Don Giovanni), Nemorino (L’elisir d’amore), Conte Almaviva (Il barbiere di Siviglia) and Eurimaco (Il ritorno d’Ulisse in patria).

Tobias Greenhalgh+
Dr. Falke

As a member of the Junges Ensemble of the Theater an der Wien these past two seasons, American baritone Tobias Greenhalgh made his European debut singing the title role in Eugene Onegin. Whilst in Vienna, his roles on the mainstage included Ned Keene in Christof Loy’s universally-acclaimed new production of Peter Grimes, and Littore (L’incoronazione di Poppea), alongside Escamillo (Carmen), Argante (Rinaldo) and Ramiro (L’heure Espagnole) amongst others in the Wiener Kammeroper.

This season, Tobias sings multiple roles including the Cold Genius in Purcell’s King Arthur for Staatstheater am Gärtnerplatz, sings his first Belcore (L’elisir d’amore) with the Orlando Philharmonic Orchestra, returns to Palm Beach Opera as Samuel (Pirates of Penzance) and creates a leading role in the world premiere of Grapes of Wrath for Opera Theatre of St Louis.

Tobias has given recitals for the Arnold Schoenberg Centre, the Brooklyn Art Song Society (Mörike Lieder) and performed three programmes for the New York Festival of Song. A skilled concert artist, recent highlights include Bach’s St Matthew Passion with Soli Deo Gloria and Vaughan Williams’ Five Mystical Songs with St George’s Choral Society. Tobias was a finalist at the Operalia competition in 2015.

Wayne Tigges
Frank

Lauded by the Chicago Sun-Times for his “rich, dark tone and beautiful legato,” Wayne Tigges joins Michigan Opera Theatre for Basilio in Il barbiere di Siviglia, returns to Atlanta Opera for Owen Hart in Dead Man Walking, and Opera Santa Barbara for John Proctor in The Crucible in the 2018-19 season. Last season, he sang further performances of the title role in Der fliegende Holländer with Atlanta Opera, Alfio in Cavalleria rusticana and Tonio in I Pagliacci with New Orleans Opera, the title role in Gianni Schicchi and further performances of Tonio in I Pagliacci with Utah Opera, Ping in Turandot with Tulsa Opera, and created the role of Sgt. Aaron Marcum in the world premiere of Huang Ruo and David Henry Hwang’s An American Soldier in a return to Opera Theatre of Saint Louis.

Recent performances include his first performances of Méphistophélès in Faust at the Macau Music Festival, Owen Hart in Dead Man Walking and Howie Albert in Blanchard’s Champion with Washington National Opera, all four Villains in Les contes d’Hoffmann with L.A. Opera and Hawaii Opera Theater, the title role Falstaff in a return to Des Moines Metro Opera, Assur in Semiramide with Washington National Opera, Judge Turpin in Sweeney Todd with San Francisco Opera, the title role of Der fliegende Holländer with Virginia Opera, Austin Opera and Florentine Opera, Nick Shadow in The Rake’s Progress with the Teatro Municipal de Santiago, Roy Cohn in Angels in America with New York City Opera, Mr. McGuire in Tobias Picker’s Emmeline with Opera Theatre of Saint Louis, Gustavo in Handel’s Faramondo with Brisbane Baroque, and Il conte Gil in Il segreto di Susanna with Opera San Antonio Opera. He also joined Opera Philadelphia for Basilio in Il barbiere di Siviiglia as well as Justice Sir Alfred Wills and Colonel Henry B. Isaacson in Morrison’s Oscar. He created the role of Joe St. George in the world premiere of Picker’s Dolores Claiborne with San Francisco Opera; sang Escamillo in Carmen at the Glyndebourne Festival and with San Diego Opera; Kolenaty in The Makropolous Case with the Opéra National de Paris; and Ariodate in Xerxes, Sam and Wesley in the world premiere of Theofanidis’ Heart of a Soldier, Ariodate in Xerxes, and Zuniga in Carmenwith San Francisco Opera. He sang Achilla in Giulio Cesare in his Metropolitan Opera debut and returned to the Lyric Opera of Chicago the following season for further performances of the role as well as Basilio in Il barbiere di Siviglia. Mr. Tigges enjoys a strong relationship with the Lyric Opera of Chicago where he sang the title role in Le nozze di Figaro to great critical acclaim while still a member of the prestigious Ryan Opera Center (formerly Lyric Opera Center for American Artists). Also with the company, he sang Snook in Bolcom’s A Wedding, Capulet in Roméo et Juliette, Angelotti in Tosca, Sam in Un ballo in maschera, and Bonze in Madama Butterfly.

His other recent engagements include the Villains in Les contes d’Hoffmann, Basilio in Il barbiere di Siviglia, Hercules in Gluck’s Alceste, Douglas in La donna del lago, and Nourabad in Les pêcheur de perles with Santa Fe Opera; Donner in Das Rheingold and both Zuniga and Escamillo in Carmen with Los Angeles Opera; the title role of Don Giovanni with Opera Pacific and Austin Lyric Opera; Blitch in Susannah with Florentine Opera, Willy Wonka in the European premiere of Peter Ash’s The Golden Ticket at the Wexford Festival, Jochanaan in Salome with Arizona Opera; Scarpia in Tosca with Austin Opera; Faraone in Mose in Egitto with New York City Opera, further performances of Basilio in Il barbiere di Siviglia as well as Ferrando in Il trovatore with Opera Colorado; Figaro in Le nozze di Figaro with Seiji Ozawa’s Ongaku-juku Festival and the North Carolina Symphony and Austin Opera; Leporello in Don Giovanni with Pittsburgh Opera and Tulsa Opera; Basilio in Il barbiere di Siviglia with Palm Beach Opera; Bonze in Madama Butterfly with Los Angeles Opera and at the Ravinia Festival under the baton of James Conlon, the Tutor in Le comte Ory as well as Owen Hart in Heggie’s Dead Man Walking with Des Moines Metro Opera; Count Walther in Luisa Miller with Chautauqua Opera; First Nazarene in Salome with the Philadelphia Orchestra; Sacerdote in Nabucco at the Gran Teatro del Liceu, and Zuniga in Carmen with San Diego Opera. He has joined Minnesota Opera as Claudius in Hamlet, Théâtre du Capitole Toulouse as Superintendent Budd in Albert Herring, Cincinnati Opera for Angelotti in Tosca, Sam in Un ballo in maschera, and Sprecher in Die Zauberflöte. With Opera Omaha, he has sung Mother in Seven Deadly Sins, Gideon March in Little Women, and Balthazar in Amahl and the Night Visitors. He has also sung the Father in Hänsel und Gretel with the Fort Dodge Symphony Orchestra.

In addition to his performances on the opera stage, Mr. Tigges maintains a busy concert schedule. He recently joined the Los Angeles Philharmonic for Mozart’s Mass in C minor, Chicago Symphony Orchestra for Nielsen’s Symphony No. 3, Orchestra of Saint Luke’s for Beethoven’s Symphony No. 9 in his Carnegie Hall debut, and Teatro Regio di Parma for Haydn’s Creation. He made his Avery Fisher Hall debut with the Collegiate Chorale as Erasto in the American premiere of Handel’s Giove in Argo. He sang Stravinsky’s Les Noces with the Cleveland Orchestra; Britten’s Serenade under the baton of Sir Andrew Davis; Zemlinsky’s Psalm 83 at the Cincinnati May Festival; Verdi’s Requiem with the Washington Chorus, Tulsa Oratorio Chorus, Arizona Music Festival, Cathedral Choral Society in Washington D.C., and as a guest artist at Bard College; and the title role in Elijah with both Soli Deo Gloria with John Nelson conducting and the Apollo Chorus and Orchestra. Other performances include Bach’s St. John Passion and St. Matthew Passion with the Knox Chamber Orchestra, Handel’s Messiah with the Beyer Music Chamber Orchestra, Poulenc’s Stabat Mater with the Musica Antiqua Chamber Orchestra, and concerts of operatic arias at Oregon’s Britt Music Festival.

Originally from Dubuque, Iowa, Wayne Tigges received a graduate degree and Artist Diploma from the University of Cincinnati-College Conservatory of Music and his Bachelor of Music from Iowa State University.

John Felix
Frosch

JOHN FELIX (Frosch) is delighted to be making his debut at Palm Beach Opera with this marvelous cast and company. Except for a musical comedy or revue here and there, most of his career on the stage has been in non-singing roles. His stage credits include many appearances at Florida theaters and at theaters elsewhere around the country. Of particular relevance in the context of opera may be The Lisbon Traviata in which he appeared as the obsessive Maria Callas devotee, Mendy, so dismissively catty about all other divas. Other shows include Our Town and On Golden Pond, at Palm Beach Dramaworks; The Trial of Ebenezer Scrooge, at Actors’ Playhouse; Himself (opposite Len Cariou), Fortune’s Fool and Gross Indecency… at Caldwell Theatre; Cabaret and The Music Man, at Maltz Jupiter Theatre; The Fantasticks and Little Women (opposite Donna McKechnie) at TheatreZone. The recipient of the Curtain Up Award and of multiple Carbonell Awards, John is a proud member of Actors’ Equity Association and is the Secretary of its South Florida Liaison Committee.

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.

Dona D. Vaughn
Director
Tyler Micoleau*
Lighting Designer

Tyler has designed the lighting for hundreds of live productions including plays, opera, dance, movement-theatre, multi-media performance and puppetry. He is a native of Portland, Maine but has resided in Brooklyn for the last twenty four years.

He is the recipient of an American Theatre Wing Henry Hewes Design Award, two Off-Broadway Lucille Lortel Awards, two Village Voice OBIE awards including one for Sustained Excellence, two Connecticut Critics Circle awards, a Drama Desk nomination, a Helen Hayes award nomination, four Barrymore award nominations, a Jeff award nomination, the National Endowment for the Arts / Theatre Communications Group Career Development Program and a Bachelor of Arts from Bowdoin College.

New York designs for Broadway, Lincoln Center Theater, the Public Theater, New York Theatre Workshop, Manhattan Theater Club, Atlantic Theater, Signature, Second Stage, Classic Stage Company, Playwrights Horizons, New York Theatre Workshop, Vineyard Theatre, MCC, New Georges, 13P, Women’s Project, Epic Theatre Ensemble, Page 73, Primary Stages, St. Ann’s Warehouse, Mint Theatre, Rattlestick, Naked Angels, Barrow Street Theater, Cherry Lane, Les Freres Corbusier, Foundry Theatre, Theatreworks USA, The Play Company and Soho Rep.

Regional designs for the Huntington Theater, Alley Theatre, Goodman Theatre, American Repertory Theatre, Dallas Theater Center, the Old Globe, La Jolla, Trinity Repertory Theatre, Arena Stage, Shakespeare Theater, Kansas City Rep, Dallas Opera, Spoleto Festival USA, Philadelphia Theatre Company, Wilma Theater, Two River, Pig Iron, Chautauqua Theater, Hangar Theatre, the Folger, Long Wharf Theater and many others.

Opera designs for Dallas Opera, Spoleto Festival USA, Port Opera, Curtis Opera, Manhattan School of Music, and Connecticut Grand Opera. Dance design for Eliot Feld’s Mandance Project at The Joyce Theater, Neil Greenberg and The Chase Brock Experience. Fine art installation projects include Åhus Sommaren 1974 (Bellwether Galleries, Chelsea NYC), Beneath the Floorboards (Ohio Theater Gallery, Soho NYC).

He has toured extensively in the United States and internationally with both not-for-profit and commercial touring companies, including Young Jean Lee, the Acting Company, Dan Hurlin, Accinosco, WaxFactory, The Builders Association, Jam On The Groove LLC.

For six years Tyler was adjunct faculty in the Sarah Lawrence College Department of Dance, and has been a frequent visiting artist at Dartmouth College, Yale University, Bates College and Bowdoin College.

Mara Newbery Greer
Choreographer

Choreographer Mara Newbery Greer’s recent credits include Thoroughly Modern Millie (Music Theatre Wichita), Shrek, the Musical (North Shore Music Theatre/Tuacahn), The Toxic Avenger (Pittsburgh CLO), A Christmas Story, the Musical (Paper Mill Playhouse/Fulton Theatre), Legally Blonde and 9 to 5 (Sacramento Music Circus), Big Fish (Front Porch Theatricals), Oliver! (Plymouth State University), The Drowsy Chaperone (University of Michigan) and the 2015 Lucille Lortel Awards.  As a performer, Mara has worked on Broadway, National Tours, and regional theatres across the country.  She earned her BFA in Music Theatre from the University of Michigan.  Her upcoming choreography projects include Matilda (Tuacahn), Guys and Dolls (Music Theatre Wichita), and The Music Man (Lexington Theatre Company).

Zach Borichevsky*
Eisenstein
Keri Alkema
Rosalinde

In the 2016-2017 season, American soprano Keri Alkema makes a number of important debuts as Tosca: her London debut at the English National Opera, her German debut at Oper Frankfurt, and a return to the Canadian Opera Company.

Next season, she sings Magda in La rondine and La clemenza di Tito (both at Théâtre du Capitole), Tosca (Palm Beach Opera), Simon Boccanegra (Opéra de Dijon), and Giovanna Seymour in Anna Bolena (Canadian Opera Company).

Recent performances for the soprano include Amelia/Un ballo in maschera (Théâtre du Capitole with Daniel Oren); Cio-Cio-San/Madama Butterfly (Teatro Municipal de Santiago); Donna Elvira/Don Giovanni (Santa Fe Opera); Elisabetta di Valois/Don Carlo (Austin Lyric Opera); Giovanna Seymour/Anna Bolena & Eboli/Don Carlo (Opéra National de Bordeaux); Vitellia/La clemenza di Tito (Canadian Opera Company with Johannes Debus); Title role/Anna Bolena (Minnesota Opera); Amaltea/Mosè in Egitto (New York City Opera);  Mimì/La bohème (Glyndebourne); Donna Elvira/Don Giovanni (St. Paul Chamber Orchestra with Roberto Abbado, New York City Opera); Fiordiligi/Così fan tutte (Atlanta Opera); Amelia Grimaldi/Simon Boccanegra and Desdemona/Otello (Teatro Municipal de Santiago); Adalgisa/Norma (Opera North (UK), Caramoor Festival); Mahler’s Dasklagende Lied (Cincinnati May & Ravinia Festivals under James Conlon).

Diana Newman*
Adele

American soprano DIANA NEWMAN brings fresh and intense performances to opera houses and concert stages across the United States. Currently in her third year at the Lyric Opera of Chicago’s Ryan Opera Center, she appears on the company’s mainstage this season as the Page in Verdi’s Rigoletto, a role she debuted with the Los Angeles Philharmonic under Gustavo Dudamel at the Hollywood Bowl. Following her performances in 2016 as Woglinde in Das Rheingold for Chicago’s Ring cycle, she returns for the Lyric’s 2018/19 season in November as Woodbird in Wagner’s Siegfried, conducted by Sir Andrew Davis. Additional upcoming performances include her house and role debuts as cover Sophie at the Glyndebourne Festival in the summer of 2018, as well as her mainstage debut at The Dallas Opera in the fall of 2019.

During her tenure at the Lyric Opera of Chicago, Diana has performed the roles of Frasquita in Carmen, Pedro in Don Quichotte, Clorinda in La Cenerentola, and Papagena in Die Zauberflöte, in addition to covering the roles of Gilda in Rigoletto, Leïla in Les pêcheurs de perles, Despina in Cosi fan tutte, and Amore in Orphée et Eurydice. She has appeared in the title role of Monteverdi’s L’incoronazione di Poppea with The USC Thornton School of Music Opera Program, where she also performed leading roles as Miranda in Hoiby’s The Tempest, Pamina in Die Zauberflöte, and Lauretta in Gianni Schicchi.

On the concert stage, Diana has recently appeared as a soloist in Maria Schneider’s Winter Morning Walks at the Lucerne Festival, Barber’s Knoxville: Summer of 1915 with the Eastern Sierra Symphony Summer Festival, and Vivaldi’s Gloria in Havana, Cuba. Additional concerts include Mozart’s Exsultate jubilate with the USC Alumni Orchestra, Bach’s “Coffee” Cantata with the Whittier Bach Festival, and Mahler’sSymphony no. 4 in her debut with the American Youth Symphony. Her debut with the Grant Park Music Festival came in 2016, appearing as Curly’s Wife in Floyd’s Of Mice and Men.

Committed to the performance of art song and new works, Diana has attended numerous programs including the Ravinia Festival Steans Music Institute, SongFest, and the Fall Island Vocal Arts Seminar run by Stephanie Blythe. In 2014 she performed at Carnegie Hall in a master class led by legendary mezzo-soprano Christa Ludwig as part of the Marilyn Horne Song Continues series. She performed George Crumb’s Madrigals Book IV at Music Academy of the West, Frank Ticheli’s Songs of Love and Life and Angels in the Architecture with the UT New Music Ensemble, and Lukas Foss’s Time Cycle with faculty members of the Aspen Music Festival, where she also covered the role of Daisy Buchanan in John Harbison’s The Great Gatsby. She has given multiple premieres of works by living composers, including Francesco Cilluffo, Dr. Alan L. Smith, and David Newman.

As a member of the Screen Actors Guild (SAG), Diana’s voice has been featured in a number of Hollywood films. She holds bachelor’s and master’s degrees from the USC Thornton School of Music, where she studied with Elizabeth Hynes. She currently studies with Patricia McCaffrey in New York.

Stephanie Blythe
Orlofsky

A renowned opera singer and recitalist, mezzo-soprano Stephanie Blythe is considered one of the most highly respected and critically acclaimed artists of her generation.  Her repertoire ranges from Handel to Wagner, German lieder to contemporary and classic American song.  Ms. Blythe has performed on many of the world’s great stages, such as Carnegie Hall, the Metropolitan Opera, Covent Garden, Paris National Opera and San Francisco, Chicago Lyric and Seattle Operas.  Ms. Blythe was named Musical America’s Vocalist of the Year in 2009, received an Opera News Award in 2007 and won the Tucker Award in 1999.  Ms. Blythe recently released her first crossover recording on the Innova label with pianist Craig Terry.

Ms. Blythe has sung in many of the renowned opera houses in the US and Europe including the Metropolitan Opera, San Francisco Opera, Lyric Opera of Chicago, Seattle Opera, Royal Opera House Covent Garden, and the Opera National de Paris. Her many roles include the title roles in Carmen, Samson et Dalila , Orfeo ed Euridice, La Grande Duchesse, Tancredi, Mignon, and Giulio Cesare; Frugola, Principessa, and Zita in Il Trittico, Fricka in both Das Rheingold and Die Walküre, Waltraute in Götterdämmerung, Azucena in Il Trovatore, Ulrica in Un Ballo in Maschera, Baba the Turk in The Rake’s Progress, Ježibaba in Rusalka, Jocasta in Oedipus Rex, Mere Marie in Dialogues des Carmélites;Mistress Quickly in Falstaff, and Ino/Juno in Semele. She also created the role of Gertrude Stein in Ricky Ian Gordon’s 27 at the Opera Theatre of Saint Louis.

Ms. Blythe has also appeared with many of the world’s finest orchestras including the New York Philharmonic, Boston Symphony Orchestra, Chicago Symphony Orchestra, Los Angeles Philharmonic, San Francisco Symphony, Philadelphia Orchestra, Opera Orchestra of New York, Minnesota Orchestra, Halle Orchestra, Orchestra of the Age of Enlightenment, the Ensemble Orchestre de Paris, and the Concertgerbouworkest. She has also appeared at the Tanglewood, Cincinnati May, and Ravinia festivals, and at the BBC Proms. The many conductors with whom she has worked include Harry Bicket, James Conlon, Charles Dutoit, Mark Elder, Christoph Eschenbach, Rafael Frühbeck de Burgos, Alan Gilbert, James Levine, Fabio Luisi, Nicola Luisotti, Sir Charles Mackerras, John Nelson, Antonio Pappano, Mstislav Rostropovitch, Robert Spano, Patrick Summers, and Michael Tilson Thomas.

A frequent recitalist, Ms. Blythe has been presented in recital in New York by Carnegie Hall in Stern Auditorium and Zankel Hall, Lincoln Center in both its Great Performers Series at Alice Tully Hall and its American Songbook Series at the Allen Room, Town Hall, the 92nd Street Y, and the Metropolitan Museum of Art. She has also been presenter by the Vocal Arts Society and at the Supreme Court in Washington, DC; the Cleveland Art Song Festival, the University Musical Society in Ann Arbor, the Philadelphia Chamber Music Society, Shriver Hall in Baltimore, and San Francisco Performances.

A champion of American song, Ms. Blythe has premiered several song cycles written for her including Twelve Poems of Emily Dickinson by the late James Legg, Covered Wagon Woman by Alan Smith which was commissioned by the Chamber Music Society of Lincoln Center and recorded with the ensemble (CMS Studio Recordings); and Vignettes: Ellis Island, also by Alan Smith and featured in a special television program entitled Vignettes: An Evening with Stephanie Blythe and Warren Jones. 

Ms Blythe starred in the Metropolitan Opera’s live HD broadcasts of Orfeo ed Euridice, Il Trittico, Rodelinda, and the complete Ring CycleShe also appeared in PBS’s Live From Lincoln Centerbroadcasts of the New York Philharmonic’s performance of Carousel and her acclaimed show, We’ll Meet Again: The Songs of Kate Smith. Her recordings include her solo album, as long as there are songs (Innova), and works by Mahler, Brahms, Wagner, Handel and Bach (Virgin Classics).

Ms. Blythe’s many engagements have also included her return to the Metropolitan Opera for The Rake’s Progress, the Lyric Opera of Chicago for Il Trovatore, the Seattle Opera for Semele, Samson et Dalilah with the Atlanta Symphony and Carnegie Hall for a recital in Stern Auditorium.  Last season she performed with the San Francisco Opera as Mrs. Lovett in Sweeney Todd and the Houston Grand Opera as Nettie Fowler in Carousel. She also performed her new program, Sing, America! at Carnegie Hall.  Next season she returns to Opera Philadelphia for the title role in Tancredi, brings her acclaimed performance of Gertrude Stein in Ricky Ian Gordon’s 27 to New York’s City Center, and returns to Palm Beach as Ruth in performances of The Pirates of Penzance. 

Ms. Blythe was named Musical America’s Vocalist of the Year for 2009. Her other awards include the 2007 Opera News Award and the 1999 Richard Tucker Award. She is also the Artistic Director of the Fall Island Vocal Arts Seminar at the Crane School of Music.

Jack Swanson*
Alfred

With an affinity for high lyric repertoire and some of opera’s most acrobatic arias, young American tenor Jack Swanson is quickly becoming one of the most sought after voices in the opera world, and makes his debut on the Glyndebourne Tour this season as Conte Almaviva (Il barbiere di Siviglia). He also sings his first Candide for his debut at LA Opera, in Francesca Zambello’s production under James Conlon, and returns to Santa Fe Opera as Lindoro (L’italiana in Algeri).

During his studies at the University of Oklahoma and the Shepherd School of Music at Rice University, Jack performed roles such as Don Ottavio (Don Giovanni), Nemorino (L’elisir d’amore), Conte Almaviva (Il barbiere di Siviglia) and Eurimaco (Il ritorno d’Ulisse in patria).

Tobias Greenhalgh+
Dr. Falke

As a member of the Junges Ensemble of the Theater an der Wien these past two seasons, American baritone Tobias Greenhalgh made his European debut singing the title role in Eugene Onegin. Whilst in Vienna, his roles on the mainstage included Ned Keene in Christof Loy’s universally-acclaimed new production of Peter Grimes, and Littore (L’incoronazione di Poppea), alongside Escamillo (Carmen), Argante (Rinaldo) and Ramiro (L’heure Espagnole) amongst others in the Wiener Kammeroper.

This season, Tobias sings multiple roles including the Cold Genius in Purcell’s King Arthur for Staatstheater am Gärtnerplatz, sings his first Belcore (L’elisir d’amore) with the Orlando Philharmonic Orchestra, returns to Palm Beach Opera as Samuel (Pirates of Penzance) and creates a leading role in the world premiere of Grapes of Wrath for Opera Theatre of St Louis.

Tobias has given recitals for the Arnold Schoenberg Centre, the Brooklyn Art Song Society (Mörike Lieder) and performed three programmes for the New York Festival of Song. A skilled concert artist, recent highlights include Bach’s St Matthew Passion with Soli Deo Gloria and Vaughan Williams’ Five Mystical Songs with St George’s Choral Society. Tobias was a finalist at the Operalia competition in 2015.

Wayne Tigges
Frank

Lauded by the Chicago Sun-Times for his “rich, dark tone and beautiful legato,” Wayne Tigges joins Michigan Opera Theatre for Basilio in Il barbiere di Siviglia, returns to Atlanta Opera for Owen Hart in Dead Man Walking, and Opera Santa Barbara for John Proctor in The Crucible in the 2018-19 season. Last season, he sang further performances of the title role in Der fliegende Holländer with Atlanta Opera, Alfio in Cavalleria rusticana and Tonio in I Pagliacci with New Orleans Opera, the title role in Gianni Schicchi and further performances of Tonio in I Pagliacci with Utah Opera, Ping in Turandot with Tulsa Opera, and created the role of Sgt. Aaron Marcum in the world premiere of Huang Ruo and David Henry Hwang’s An American Soldier in a return to Opera Theatre of Saint Louis.

Recent performances include his first performances of Méphistophélès in Faust at the Macau Music Festival, Owen Hart in Dead Man Walking and Howie Albert in Blanchard’s Champion with Washington National Opera, all four Villains in Les contes d’Hoffmann with L.A. Opera and Hawaii Opera Theater, the title role Falstaff in a return to Des Moines Metro Opera, Assur in Semiramide with Washington National Opera, Judge Turpin in Sweeney Todd with San Francisco Opera, the title role of Der fliegende Holländer with Virginia Opera, Austin Opera and Florentine Opera, Nick Shadow in The Rake’s Progress with the Teatro Municipal de Santiago, Roy Cohn in Angels in America with New York City Opera, Mr. McGuire in Tobias Picker’s Emmeline with Opera Theatre of Saint Louis, Gustavo in Handel’s Faramondo with Brisbane Baroque, and Il conte Gil in Il segreto di Susanna with Opera San Antonio Opera. He also joined Opera Philadelphia for Basilio in Il barbiere di Siviiglia as well as Justice Sir Alfred Wills and Colonel Henry B. Isaacson in Morrison’s Oscar. He created the role of Joe St. George in the world premiere of Picker’s Dolores Claiborne with San Francisco Opera; sang Escamillo in Carmen at the Glyndebourne Festival and with San Diego Opera; Kolenaty in The Makropolous Case with the Opéra National de Paris; and Ariodate in Xerxes, Sam and Wesley in the world premiere of Theofanidis’ Heart of a Soldier, Ariodate in Xerxes, and Zuniga in Carmenwith San Francisco Opera. He sang Achilla in Giulio Cesare in his Metropolitan Opera debut and returned to the Lyric Opera of Chicago the following season for further performances of the role as well as Basilio in Il barbiere di Siviglia. Mr. Tigges enjoys a strong relationship with the Lyric Opera of Chicago where he sang the title role in Le nozze di Figaro to great critical acclaim while still a member of the prestigious Ryan Opera Center (formerly Lyric Opera Center for American Artists). Also with the company, he sang Snook in Bolcom’s A Wedding, Capulet in Roméo et Juliette, Angelotti in Tosca, Sam in Un ballo in maschera, and Bonze in Madama Butterfly.

His other recent engagements include the Villains in Les contes d’Hoffmann, Basilio in Il barbiere di Siviglia, Hercules in Gluck’s Alceste, Douglas in La donna del lago, and Nourabad in Les pêcheur de perles with Santa Fe Opera; Donner in Das Rheingold and both Zuniga and Escamillo in Carmen with Los Angeles Opera; the title role of Don Giovanni with Opera Pacific and Austin Lyric Opera; Blitch in Susannah with Florentine Opera, Willy Wonka in the European premiere of Peter Ash’s The Golden Ticket at the Wexford Festival, Jochanaan in Salome with Arizona Opera; Scarpia in Tosca with Austin Opera; Faraone in Mose in Egitto with New York City Opera, further performances of Basilio in Il barbiere di Siviglia as well as Ferrando in Il trovatore with Opera Colorado; Figaro in Le nozze di Figaro with Seiji Ozawa’s Ongaku-juku Festival and the North Carolina Symphony and Austin Opera; Leporello in Don Giovanni with Pittsburgh Opera and Tulsa Opera; Basilio in Il barbiere di Siviglia with Palm Beach Opera; Bonze in Madama Butterfly with Los Angeles Opera and at the Ravinia Festival under the baton of James Conlon, the Tutor in Le comte Ory as well as Owen Hart in Heggie’s Dead Man Walking with Des Moines Metro Opera; Count Walther in Luisa Miller with Chautauqua Opera; First Nazarene in Salome with the Philadelphia Orchestra; Sacerdote in Nabucco at the Gran Teatro del Liceu, and Zuniga in Carmen with San Diego Opera. He has joined Minnesota Opera as Claudius in Hamlet, Théâtre du Capitole Toulouse as Superintendent Budd in Albert Herring, Cincinnati Opera for Angelotti in Tosca, Sam in Un ballo in maschera, and Sprecher in Die Zauberflöte. With Opera Omaha, he has sung Mother in Seven Deadly Sins, Gideon March in Little Women, and Balthazar in Amahl and the Night Visitors. He has also sung the Father in Hänsel und Gretel with the Fort Dodge Symphony Orchestra.

In addition to his performances on the opera stage, Mr. Tigges maintains a busy concert schedule. He recently joined the Los Angeles Philharmonic for Mozart’s Mass in C minor, Chicago Symphony Orchestra for Nielsen’s Symphony No. 3, Orchestra of Saint Luke’s for Beethoven’s Symphony No. 9 in his Carnegie Hall debut, and Teatro Regio di Parma for Haydn’s Creation. He made his Avery Fisher Hall debut with the Collegiate Chorale as Erasto in the American premiere of Handel’s Giove in Argo. He sang Stravinsky’s Les Noces with the Cleveland Orchestra; Britten’s Serenade under the baton of Sir Andrew Davis; Zemlinsky’s Psalm 83 at the Cincinnati May Festival; Verdi’s Requiem with the Washington Chorus, Tulsa Oratorio Chorus, Arizona Music Festival, Cathedral Choral Society in Washington D.C., and as a guest artist at Bard College; and the title role in Elijah with both Soli Deo Gloria with John Nelson conducting and the Apollo Chorus and Orchestra. Other performances include Bach’s St. John Passion and St. Matthew Passion with the Knox Chamber Orchestra, Handel’s Messiah with the Beyer Music Chamber Orchestra, Poulenc’s Stabat Mater with the Musica Antiqua Chamber Orchestra, and concerts of operatic arias at Oregon’s Britt Music Festival.

Originally from Dubuque, Iowa, Wayne Tigges received a graduate degree and Artist Diploma from the University of Cincinnati-College Conservatory of Music and his Bachelor of Music from Iowa State University.

John Felix
Frosch

JOHN FELIX (Frosch) is delighted to be making his debut at Palm Beach Opera with this marvelous cast and company. Except for a musical comedy or revue here and there, most of his career on the stage has been in non-singing roles. His stage credits include many appearances at Florida theaters and at theaters elsewhere around the country. Of particular relevance in the context of opera may be The Lisbon Traviata in which he appeared as the obsessive Maria Callas devotee, Mendy, so dismissively catty about all other divas. Other shows include Our Town and On Golden Pond, at Palm Beach Dramaworks; The Trial of Ebenezer Scrooge, at Actors’ Playhouse; Himself (opposite Len Cariou), Fortune’s Fool and Gross Indecency… at Caldwell Theatre; Cabaret and The Music Man, at Maltz Jupiter Theatre; The Fantasticks and Little Women (opposite Donna McKechnie) at TheatreZone. The recipient of the Curtain Up Award and of multiple Carbonell Awards, John is a proud member of Actors’ Equity Association and is the Secretary of its South Florida Liaison Committee.

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.

Dona D. Vaughn
Director
Tyler Micoleau*
Lighting Designer

Tyler has designed the lighting for hundreds of live productions including plays, opera, dance, movement-theatre, multi-media performance and puppetry. He is a native of Portland, Maine but has resided in Brooklyn for the last twenty four years.

He is the recipient of an American Theatre Wing Henry Hewes Design Award, two Off-Broadway Lucille Lortel Awards, two Village Voice OBIE awards including one for Sustained Excellence, two Connecticut Critics Circle awards, a Drama Desk nomination, a Helen Hayes award nomination, four Barrymore award nominations, a Jeff award nomination, the National Endowment for the Arts / Theatre Communications Group Career Development Program and a Bachelor of Arts from Bowdoin College.

New York designs for Broadway, Lincoln Center Theater, the Public Theater, New York Theatre Workshop, Manhattan Theater Club, Atlantic Theater, Signature, Second Stage, Classic Stage Company, Playwrights Horizons, New York Theatre Workshop, Vineyard Theatre, MCC, New Georges, 13P, Women’s Project, Epic Theatre Ensemble, Page 73, Primary Stages, St. Ann’s Warehouse, Mint Theatre, Rattlestick, Naked Angels, Barrow Street Theater, Cherry Lane, Les Freres Corbusier, Foundry Theatre, Theatreworks USA, The Play Company and Soho Rep.

Regional designs for the Huntington Theater, Alley Theatre, Goodman Theatre, American Repertory Theatre, Dallas Theater Center, the Old Globe, La Jolla, Trinity Repertory Theatre, Arena Stage, Shakespeare Theater, Kansas City Rep, Dallas Opera, Spoleto Festival USA, Philadelphia Theatre Company, Wilma Theater, Two River, Pig Iron, Chautauqua Theater, Hangar Theatre, the Folger, Long Wharf Theater and many others.

Opera designs for Dallas Opera, Spoleto Festival USA, Port Opera, Curtis Opera, Manhattan School of Music, and Connecticut Grand Opera. Dance design for Eliot Feld’s Mandance Project at The Joyce Theater, Neil Greenberg and The Chase Brock Experience. Fine art installation projects include Åhus Sommaren 1974 (Bellwether Galleries, Chelsea NYC), Beneath the Floorboards (Ohio Theater Gallery, Soho NYC).

He has toured extensively in the United States and internationally with both not-for-profit and commercial touring companies, including Young Jean Lee, the Acting Company, Dan Hurlin, Accinosco, WaxFactory, The Builders Association, Jam On The Groove LLC.

For six years Tyler was adjunct faculty in the Sarah Lawrence College Department of Dance, and has been a frequent visiting artist at Dartmouth College, Yale University, Bates College and Bowdoin College.

Mara Newbery Greer
Choreographer

Choreographer Mara Newbery Greer’s recent credits include Thoroughly Modern Millie (Music Theatre Wichita), Shrek, the Musical (North Shore Music Theatre/Tuacahn), The Toxic Avenger (Pittsburgh CLO), A Christmas Story, the Musical (Paper Mill Playhouse/Fulton Theatre), Legally Blonde and 9 to 5 (Sacramento Music Circus), Big Fish (Front Porch Theatricals), Oliver! (Plymouth State University), The Drowsy Chaperone (University of Michigan) and the 2015 Lucille Lortel Awards.  As a performer, Mara has worked on Broadway, National Tours, and regional theatres across the country.  She earned her BFA in Music Theatre from the University of Michigan.  Her upcoming choreography projects include Matilda (Tuacahn), Guys and Dolls (Music Theatre Wichita), and The Music Man (Lexington Theatre Company).

Zach Borichevsky*
Eisenstein
Keri Alkema
Rosalinde

In the 2016-2017 season, American soprano Keri Alkema makes a number of important debuts as Tosca: her London debut at the English National Opera, her German debut at Oper Frankfurt, and a return to the Canadian Opera Company.

Next season, she sings Magda in La rondine and La clemenza di Tito (both at Théâtre du Capitole), Tosca (Palm Beach Opera), Simon Boccanegra (Opéra de Dijon), and Giovanna Seymour in Anna Bolena (Canadian Opera Company).

Recent performances for the soprano include Amelia/Un ballo in maschera (Théâtre du Capitole with Daniel Oren); Cio-Cio-San/Madama Butterfly (Teatro Municipal de Santiago); Donna Elvira/Don Giovanni (Santa Fe Opera); Elisabetta di Valois/Don Carlo (Austin Lyric Opera); Giovanna Seymour/Anna Bolena & Eboli/Don Carlo (Opéra National de Bordeaux); Vitellia/La clemenza di Tito (Canadian Opera Company with Johannes Debus); Title role/Anna Bolena (Minnesota Opera); Amaltea/Mosè in Egitto (New York City Opera);  Mimì/La bohème (Glyndebourne); Donna Elvira/Don Giovanni (St. Paul Chamber Orchestra with Roberto Abbado, New York City Opera); Fiordiligi/Così fan tutte (Atlanta Opera); Amelia Grimaldi/Simon Boccanegra and Desdemona/Otello (Teatro Municipal de Santiago); Adalgisa/Norma (Opera North (UK), Caramoor Festival); Mahler’s Dasklagende Lied (Cincinnati May & Ravinia Festivals under James Conlon).

Diana Newman*
Adele

American soprano DIANA NEWMAN brings fresh and intense performances to opera houses and concert stages across the United States. Currently in her third year at the Lyric Opera of Chicago’s Ryan Opera Center, she appears on the company’s mainstage this season as the Page in Verdi’s Rigoletto, a role she debuted with the Los Angeles Philharmonic under Gustavo Dudamel at the Hollywood Bowl. Following her performances in 2016 as Woglinde in Das Rheingold for Chicago’s Ring cycle, she returns for the Lyric’s 2018/19 season in November as Woodbird in Wagner’s Siegfried, conducted by Sir Andrew Davis. Additional upcoming performances include her house and role debuts as cover Sophie at the Glyndebourne Festival in the summer of 2018, as well as her mainstage debut at The Dallas Opera in the fall of 2019.

During her tenure at the Lyric Opera of Chicago, Diana has performed the roles of Frasquita in Carmen, Pedro in Don Quichotte, Clorinda in La Cenerentola, and Papagena in Die Zauberflöte, in addition to covering the roles of Gilda in Rigoletto, Leïla in Les pêcheurs de perles, Despina in Cosi fan tutte, and Amore in Orphée et Eurydice. She has appeared in the title role of Monteverdi’s L’incoronazione di Poppea with The USC Thornton School of Music Opera Program, where she also performed leading roles as Miranda in Hoiby’s The Tempest, Pamina in Die Zauberflöte, and Lauretta in Gianni Schicchi.

On the concert stage, Diana has recently appeared as a soloist in Maria Schneider’s Winter Morning Walks at the Lucerne Festival, Barber’s Knoxville: Summer of 1915 with the Eastern Sierra Symphony Summer Festival, and Vivaldi’s Gloria in Havana, Cuba. Additional concerts include Mozart’s Exsultate jubilate with the USC Alumni Orchestra, Bach’s “Coffee” Cantata with the Whittier Bach Festival, and Mahler’sSymphony no. 4 in her debut with the American Youth Symphony. Her debut with the Grant Park Music Festival came in 2016, appearing as Curly’s Wife in Floyd’s Of Mice and Men.

Committed to the performance of art song and new works, Diana has attended numerous programs including the Ravinia Festival Steans Music Institute, SongFest, and the Fall Island Vocal Arts Seminar run by Stephanie Blythe. In 2014 she performed at Carnegie Hall in a master class led by legendary mezzo-soprano Christa Ludwig as part of the Marilyn Horne Song Continues series. She performed George Crumb’s Madrigals Book IV at Music Academy of the West, Frank Ticheli’s Songs of Love and Life and Angels in the Architecture with the UT New Music Ensemble, and Lukas Foss’s Time Cycle with faculty members of the Aspen Music Festival, where she also covered the role of Daisy Buchanan in John Harbison’s The Great Gatsby. She has given multiple premieres of works by living composers, including Francesco Cilluffo, Dr. Alan L. Smith, and David Newman.

As a member of the Screen Actors Guild (SAG), Diana’s voice has been featured in a number of Hollywood films. She holds bachelor’s and master’s degrees from the USC Thornton School of Music, where she studied with Elizabeth Hynes. She currently studies with Patricia McCaffrey in New York.

Stephanie Blythe
Orlofsky

A renowned opera singer and recitalist, mezzo-soprano Stephanie Blythe is considered one of the most highly respected and critically acclaimed artists of her generation.  Her repertoire ranges from Handel to Wagner, German lieder to contemporary and classic American song.  Ms. Blythe has performed on many of the world’s great stages, such as Carnegie Hall, the Metropolitan Opera, Covent Garden, Paris National Opera and San Francisco, Chicago Lyric and Seattle Operas.  Ms. Blythe was named Musical America’s Vocalist of the Year in 2009, received an Opera News Award in 2007 and won the Tucker Award in 1999.  Ms. Blythe recently released her first crossover recording on the Innova label with pianist Craig Terry.

Ms. Blythe has sung in many of the renowned opera houses in the US and Europe including the Metropolitan Opera, San Francisco Opera, Lyric Opera of Chicago, Seattle Opera, Royal Opera House Covent Garden, and the Opera National de Paris. Her many roles include the title roles in Carmen, Samson et Dalila , Orfeo ed Euridice, La Grande Duchesse, Tancredi, Mignon, and Giulio Cesare; Frugola, Principessa, and Zita in Il Trittico, Fricka in both Das Rheingold and Die Walküre, Waltraute in Götterdämmerung, Azucena in Il Trovatore, Ulrica in Un Ballo in Maschera, Baba the Turk in The Rake’s Progress, Ježibaba in Rusalka, Jocasta in Oedipus Rex, Mere Marie in Dialogues des Carmélites;Mistress Quickly in Falstaff, and Ino/Juno in Semele. She also created the role of Gertrude Stein in Ricky Ian Gordon’s 27 at the Opera Theatre of Saint Louis.

Ms. Blythe has also appeared with many of the world’s finest orchestras including the New York Philharmonic, Boston Symphony Orchestra, Chicago Symphony Orchestra, Los Angeles Philharmonic, San Francisco Symphony, Philadelphia Orchestra, Opera Orchestra of New York, Minnesota Orchestra, Halle Orchestra, Orchestra of the Age of Enlightenment, the Ensemble Orchestre de Paris, and the Concertgerbouworkest. She has also appeared at the Tanglewood, Cincinnati May, and Ravinia festivals, and at the BBC Proms. The many conductors with whom she has worked include Harry Bicket, James Conlon, Charles Dutoit, Mark Elder, Christoph Eschenbach, Rafael Frühbeck de Burgos, Alan Gilbert, James Levine, Fabio Luisi, Nicola Luisotti, Sir Charles Mackerras, John Nelson, Antonio Pappano, Mstislav Rostropovitch, Robert Spano, Patrick Summers, and Michael Tilson Thomas.

A frequent recitalist, Ms. Blythe has been presented in recital in New York by Carnegie Hall in Stern Auditorium and Zankel Hall, Lincoln Center in both its Great Performers Series at Alice Tully Hall and its American Songbook Series at the Allen Room, Town Hall, the 92nd Street Y, and the Metropolitan Museum of Art. She has also been presenter by the Vocal Arts Society and at the Supreme Court in Washington, DC; the Cleveland Art Song Festival, the University Musical Society in Ann Arbor, the Philadelphia Chamber Music Society, Shriver Hall in Baltimore, and San Francisco Performances.

A champion of American song, Ms. Blythe has premiered several song cycles written for her including Twelve Poems of Emily Dickinson by the late James Legg, Covered Wagon Woman by Alan Smith which was commissioned by the Chamber Music Society of Lincoln Center and recorded with the ensemble (CMS Studio Recordings); and Vignettes: Ellis Island, also by Alan Smith and featured in a special television program entitled Vignettes: An Evening with Stephanie Blythe and Warren Jones. 

Ms Blythe starred in the Metropolitan Opera’s live HD broadcasts of Orfeo ed Euridice, Il Trittico, Rodelinda, and the complete Ring CycleShe also appeared in PBS’s Live From Lincoln Centerbroadcasts of the New York Philharmonic’s performance of Carousel and her acclaimed show, We’ll Meet Again: The Songs of Kate Smith. Her recordings include her solo album, as long as there are songs (Innova), and works by Mahler, Brahms, Wagner, Handel and Bach (Virgin Classics).

Ms. Blythe’s many engagements have also included her return to the Metropolitan Opera for The Rake’s Progress, the Lyric Opera of Chicago for Il Trovatore, the Seattle Opera for Semele, Samson et Dalilah with the Atlanta Symphony and Carnegie Hall for a recital in Stern Auditorium.  Last season she performed with the San Francisco Opera as Mrs. Lovett in Sweeney Todd and the Houston Grand Opera as Nettie Fowler in Carousel. She also performed her new program, Sing, America! at Carnegie Hall.  Next season she returns to Opera Philadelphia for the title role in Tancredi, brings her acclaimed performance of Gertrude Stein in Ricky Ian Gordon’s 27 to New York’s City Center, and returns to Palm Beach as Ruth in performances of The Pirates of Penzance. 

Ms. Blythe was named Musical America’s Vocalist of the Year for 2009. Her other awards include the 2007 Opera News Award and the 1999 Richard Tucker Award. She is also the Artistic Director of the Fall Island Vocal Arts Seminar at the Crane School of Music.

Jack Swanson*
Alfred

With an affinity for high lyric repertoire and some of opera’s most acrobatic arias, young American tenor Jack Swanson is quickly becoming one of the most sought after voices in the opera world, and makes his debut on the Glyndebourne Tour this season as Conte Almaviva (Il barbiere di Siviglia). He also sings his first Candide for his debut at LA Opera, in Francesca Zambello’s production under James Conlon, and returns to Santa Fe Opera as Lindoro (L’italiana in Algeri).

During his studies at the University of Oklahoma and the Shepherd School of Music at Rice University, Jack performed roles such as Don Ottavio (Don Giovanni), Nemorino (L’elisir d’amore), Conte Almaviva (Il barbiere di Siviglia) and Eurimaco (Il ritorno d’Ulisse in patria).

Tobias Greenhalgh+
Dr. Falke

As a member of the Junges Ensemble of the Theater an der Wien these past two seasons, American baritone Tobias Greenhalgh made his European debut singing the title role in Eugene Onegin. Whilst in Vienna, his roles on the mainstage included Ned Keene in Christof Loy’s universally-acclaimed new production of Peter Grimes, and Littore (L’incoronazione di Poppea), alongside Escamillo (Carmen), Argante (Rinaldo) and Ramiro (L’heure Espagnole) amongst others in the Wiener Kammeroper.

This season, Tobias sings multiple roles including the Cold Genius in Purcell’s King Arthur for Staatstheater am Gärtnerplatz, sings his first Belcore (L’elisir d’amore) with the Orlando Philharmonic Orchestra, returns to Palm Beach Opera as Samuel (Pirates of Penzance) and creates a leading role in the world premiere of Grapes of Wrath for Opera Theatre of St Louis.

Tobias has given recitals for the Arnold Schoenberg Centre, the Brooklyn Art Song Society (Mörike Lieder) and performed three programmes for the New York Festival of Song. A skilled concert artist, recent highlights include Bach’s St Matthew Passion with Soli Deo Gloria and Vaughan Williams’ Five Mystical Songs with St George’s Choral Society. Tobias was a finalist at the Operalia competition in 2015.

Wayne Tigges
Frank

Lauded by the Chicago Sun-Times for his “rich, dark tone and beautiful legato,” Wayne Tigges joins Michigan Opera Theatre for Basilio in Il barbiere di Siviglia, returns to Atlanta Opera for Owen Hart in Dead Man Walking, and Opera Santa Barbara for John Proctor in The Crucible in the 2018-19 season. Last season, he sang further performances of the title role in Der fliegende Holländer with Atlanta Opera, Alfio in Cavalleria rusticana and Tonio in I Pagliacci with New Orleans Opera, the title role in Gianni Schicchi and further performances of Tonio in I Pagliacci with Utah Opera, Ping in Turandot with Tulsa Opera, and created the role of Sgt. Aaron Marcum in the world premiere of Huang Ruo and David Henry Hwang’s An American Soldier in a return to Opera Theatre of Saint Louis.

Recent performances include his first performances of Méphistophélès in Faust at the Macau Music Festival, Owen Hart in Dead Man Walking and Howie Albert in Blanchard’s Champion with Washington National Opera, all four Villains in Les contes d’Hoffmann with L.A. Opera and Hawaii Opera Theater, the title role Falstaff in a return to Des Moines Metro Opera, Assur in Semiramide with Washington National Opera, Judge Turpin in Sweeney Todd with San Francisco Opera, the title role of Der fliegende Holländer with Virginia Opera, Austin Opera and Florentine Opera, Nick Shadow in The Rake’s Progress with the Teatro Municipal de Santiago, Roy Cohn in Angels in America with New York City Opera, Mr. McGuire in Tobias Picker’s Emmeline with Opera Theatre of Saint Louis, Gustavo in Handel’s Faramondo with Brisbane Baroque, and Il conte Gil in Il segreto di Susanna with Opera San Antonio Opera. He also joined Opera Philadelphia for Basilio in Il barbiere di Siviiglia as well as Justice Sir Alfred Wills and Colonel Henry B. Isaacson in Morrison’s Oscar. He created the role of Joe St. George in the world premiere of Picker’s Dolores Claiborne with San Francisco Opera; sang Escamillo in Carmen at the Glyndebourne Festival and with San Diego Opera; Kolenaty in The Makropolous Case with the Opéra National de Paris; and Ariodate in Xerxes, Sam and Wesley in the world premiere of Theofanidis’ Heart of a Soldier, Ariodate in Xerxes, and Zuniga in Carmenwith San Francisco Opera. He sang Achilla in Giulio Cesare in his Metropolitan Opera debut and returned to the Lyric Opera of Chicago the following season for further performances of the role as well as Basilio in Il barbiere di Siviglia. Mr. Tigges enjoys a strong relationship with the Lyric Opera of Chicago where he sang the title role in Le nozze di Figaro to great critical acclaim while still a member of the prestigious Ryan Opera Center (formerly Lyric Opera Center for American Artists). Also with the company, he sang Snook in Bolcom’s A Wedding, Capulet in Roméo et Juliette, Angelotti in Tosca, Sam in Un ballo in maschera, and Bonze in Madama Butterfly.

His other recent engagements include the Villains in Les contes d’Hoffmann, Basilio in Il barbiere di Siviglia, Hercules in Gluck’s Alceste, Douglas in La donna del lago, and Nourabad in Les pêcheur de perles with Santa Fe Opera; Donner in Das Rheingold and both Zuniga and Escamillo in Carmen with Los Angeles Opera; the title role of Don Giovanni with Opera Pacific and Austin Lyric Opera; Blitch in Susannah with Florentine Opera, Willy Wonka in the European premiere of Peter Ash’s The Golden Ticket at the Wexford Festival, Jochanaan in Salome with Arizona Opera; Scarpia in Tosca with Austin Opera; Faraone in Mose in Egitto with New York City Opera, further performances of Basilio in Il barbiere di Siviglia as well as Ferrando in Il trovatore with Opera Colorado; Figaro in Le nozze di Figaro with Seiji Ozawa’s Ongaku-juku Festival and the North Carolina Symphony and Austin Opera; Leporello in Don Giovanni with Pittsburgh Opera and Tulsa Opera; Basilio in Il barbiere di Siviglia with Palm Beach Opera; Bonze in Madama Butterfly with Los Angeles Opera and at the Ravinia Festival under the baton of James Conlon, the Tutor in Le comte Ory as well as Owen Hart in Heggie’s Dead Man Walking with Des Moines Metro Opera; Count Walther in Luisa Miller with Chautauqua Opera; First Nazarene in Salome with the Philadelphia Orchestra; Sacerdote in Nabucco at the Gran Teatro del Liceu, and Zuniga in Carmen with San Diego Opera. He has joined Minnesota Opera as Claudius in Hamlet, Théâtre du Capitole Toulouse as Superintendent Budd in Albert Herring, Cincinnati Opera for Angelotti in Tosca, Sam in Un ballo in maschera, and Sprecher in Die Zauberflöte. With Opera Omaha, he has sung Mother in Seven Deadly Sins, Gideon March in Little Women, and Balthazar in Amahl and the Night Visitors. He has also sung the Father in Hänsel und Gretel with the Fort Dodge Symphony Orchestra.

In addition to his performances on the opera stage, Mr. Tigges maintains a busy concert schedule. He recently joined the Los Angeles Philharmonic for Mozart’s Mass in C minor, Chicago Symphony Orchestra for Nielsen’s Symphony No. 3, Orchestra of Saint Luke’s for Beethoven’s Symphony No. 9 in his Carnegie Hall debut, and Teatro Regio di Parma for Haydn’s Creation. He made his Avery Fisher Hall debut with the Collegiate Chorale as Erasto in the American premiere of Handel’s Giove in Argo. He sang Stravinsky’s Les Noces with the Cleveland Orchestra; Britten’s Serenade under the baton of Sir Andrew Davis; Zemlinsky’s Psalm 83 at the Cincinnati May Festival; Verdi’s Requiem with the Washington Chorus, Tulsa Oratorio Chorus, Arizona Music Festival, Cathedral Choral Society in Washington D.C., and as a guest artist at Bard College; and the title role in Elijah with both Soli Deo Gloria with John Nelson conducting and the Apollo Chorus and Orchestra. Other performances include Bach’s St. John Passion and St. Matthew Passion with the Knox Chamber Orchestra, Handel’s Messiah with the Beyer Music Chamber Orchestra, Poulenc’s Stabat Mater with the Musica Antiqua Chamber Orchestra, and concerts of operatic arias at Oregon’s Britt Music Festival.

Originally from Dubuque, Iowa, Wayne Tigges received a graduate degree and Artist Diploma from the University of Cincinnati-College Conservatory of Music and his Bachelor of Music from Iowa State University.

John Felix
Frosch

JOHN FELIX (Frosch) is delighted to be making his debut at Palm Beach Opera with this marvelous cast and company. Except for a musical comedy or revue here and there, most of his career on the stage has been in non-singing roles. His stage credits include many appearances at Florida theaters and at theaters elsewhere around the country. Of particular relevance in the context of opera may be The Lisbon Traviata in which he appeared as the obsessive Maria Callas devotee, Mendy, so dismissively catty about all other divas. Other shows include Our Town and On Golden Pond, at Palm Beach Dramaworks; The Trial of Ebenezer Scrooge, at Actors’ Playhouse; Himself (opposite Len Cariou), Fortune’s Fool and Gross Indecency… at Caldwell Theatre; Cabaret and The Music Man, at Maltz Jupiter Theatre; The Fantasticks and Little Women (opposite Donna McKechnie) at TheatreZone. The recipient of the Curtain Up Award and of multiple Carbonell Awards, John is a proud member of Actors’ Equity Association and is the Secretary of its South Florida Liaison Committee.

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.

Dona D. Vaughn
Director
Tyler Micoleau*
Lighting Designer

Tyler has designed the lighting for hundreds of live productions including plays, opera, dance, movement-theatre, multi-media performance and puppetry. He is a native of Portland, Maine but has resided in Brooklyn for the last twenty four years.

He is the recipient of an American Theatre Wing Henry Hewes Design Award, two Off-Broadway Lucille Lortel Awards, two Village Voice OBIE awards including one for Sustained Excellence, two Connecticut Critics Circle awards, a Drama Desk nomination, a Helen Hayes award nomination, four Barrymore award nominations, a Jeff award nomination, the National Endowment for the Arts / Theatre Communications Group Career Development Program and a Bachelor of Arts from Bowdoin College.

New York designs for Broadway, Lincoln Center Theater, the Public Theater, New York Theatre Workshop, Manhattan Theater Club, Atlantic Theater, Signature, Second Stage, Classic Stage Company, Playwrights Horizons, New York Theatre Workshop, Vineyard Theatre, MCC, New Georges, 13P, Women’s Project, Epic Theatre Ensemble, Page 73, Primary Stages, St. Ann’s Warehouse, Mint Theatre, Rattlestick, Naked Angels, Barrow Street Theater, Cherry Lane, Les Freres Corbusier, Foundry Theatre, Theatreworks USA, The Play Company and Soho Rep.

Regional designs for the Huntington Theater, Alley Theatre, Goodman Theatre, American Repertory Theatre, Dallas Theater Center, the Old Globe, La Jolla, Trinity Repertory Theatre, Arena Stage, Shakespeare Theater, Kansas City Rep, Dallas Opera, Spoleto Festival USA, Philadelphia Theatre Company, Wilma Theater, Two River, Pig Iron, Chautauqua Theater, Hangar Theatre, the Folger, Long Wharf Theater and many others.

Opera designs for Dallas Opera, Spoleto Festival USA, Port Opera, Curtis Opera, Manhattan School of Music, and Connecticut Grand Opera. Dance design for Eliot Feld’s Mandance Project at The Joyce Theater, Neil Greenberg and The Chase Brock Experience. Fine art installation projects include Åhus Sommaren 1974 (Bellwether Galleries, Chelsea NYC), Beneath the Floorboards (Ohio Theater Gallery, Soho NYC).

He has toured extensively in the United States and internationally with both not-for-profit and commercial touring companies, including Young Jean Lee, the Acting Company, Dan Hurlin, Accinosco, WaxFactory, The Builders Association, Jam On The Groove LLC.

For six years Tyler was adjunct faculty in the Sarah Lawrence College Department of Dance, and has been a frequent visiting artist at Dartmouth College, Yale University, Bates College and Bowdoin College.

Mara Newbery Greer
Choreographer

Choreographer Mara Newbery Greer’s recent credits include Thoroughly Modern Millie (Music Theatre Wichita), Shrek, the Musical (North Shore Music Theatre/Tuacahn), The Toxic Avenger (Pittsburgh CLO), A Christmas Story, the Musical (Paper Mill Playhouse/Fulton Theatre), Legally Blonde and 9 to 5 (Sacramento Music Circus), Big Fish (Front Porch Theatricals), Oliver! (Plymouth State University), The Drowsy Chaperone (University of Michigan) and the 2015 Lucille Lortel Awards.  As a performer, Mara has worked on Broadway, National Tours, and regional theatres across the country.  She earned her BFA in Music Theatre from the University of Michigan.  Her upcoming choreography projects include Matilda (Tuacahn), Guys and Dolls (Music Theatre Wichita), and The Music Man (Lexington Theatre Company).

Zach Borichevsky*
Eisenstein
Keri Alkema
Rosalinde

In the 2016-2017 season, American soprano Keri Alkema makes a number of important debuts as Tosca: her London debut at the English National Opera, her German debut at Oper Frankfurt, and a return to the Canadian Opera Company.

Next season, she sings Magda in La rondine and La clemenza di Tito (both at Théâtre du Capitole), Tosca (Palm Beach Opera), Simon Boccanegra (Opéra de Dijon), and Giovanna Seymour in Anna Bolena (Canadian Opera Company).

Recent performances for the soprano include Amelia/Un ballo in maschera (Théâtre du Capitole with Daniel Oren); Cio-Cio-San/Madama Butterfly (Teatro Municipal de Santiago); Donna Elvira/Don Giovanni (Santa Fe Opera); Elisabetta di Valois/Don Carlo (Austin Lyric Opera); Giovanna Seymour/Anna Bolena & Eboli/Don Carlo (Opéra National de Bordeaux); Vitellia/La clemenza di Tito (Canadian Opera Company with Johannes Debus); Title role/Anna Bolena (Minnesota Opera); Amaltea/Mosè in Egitto (New York City Opera);  Mimì/La bohème (Glyndebourne); Donna Elvira/Don Giovanni (St. Paul Chamber Orchestra with Roberto Abbado, New York City Opera); Fiordiligi/Così fan tutte (Atlanta Opera); Amelia Grimaldi/Simon Boccanegra and Desdemona/Otello (Teatro Municipal de Santiago); Adalgisa/Norma (Opera North (UK), Caramoor Festival); Mahler’s Dasklagende Lied (Cincinnati May & Ravinia Festivals under James Conlon).

Diana Newman*
Adele

American soprano DIANA NEWMAN brings fresh and intense performances to opera houses and concert stages across the United States. Currently in her third year at the Lyric Opera of Chicago’s Ryan Opera Center, she appears on the company’s mainstage this season as the Page in Verdi’s Rigoletto, a role she debuted with the Los Angeles Philharmonic under Gustavo Dudamel at the Hollywood Bowl. Following her performances in 2016 as Woglinde in Das Rheingold for Chicago’s Ring cycle, she returns for the Lyric’s 2018/19 season in November as Woodbird in Wagner’s Siegfried, conducted by Sir Andrew Davis. Additional upcoming performances include her house and role debuts as cover Sophie at the Glyndebourne Festival in the summer of 2018, as well as her mainstage debut at The Dallas Opera in the fall of 2019.

During her tenure at the Lyric Opera of Chicago, Diana has performed the roles of Frasquita in Carmen, Pedro in Don Quichotte, Clorinda in La Cenerentola, and Papagena in Die Zauberflöte, in addition to covering the roles of Gilda in Rigoletto, Leïla in Les pêcheurs de perles, Despina in Cosi fan tutte, and Amore in Orphée et Eurydice. She has appeared in the title role of Monteverdi’s L’incoronazione di Poppea with The USC Thornton School of Music Opera Program, where she also performed leading roles as Miranda in Hoiby’s The Tempest, Pamina in Die Zauberflöte, and Lauretta in Gianni Schicchi.

On the concert stage, Diana has recently appeared as a soloist in Maria Schneider’s Winter Morning Walks at the Lucerne Festival, Barber’s Knoxville: Summer of 1915 with the Eastern Sierra Symphony Summer Festival, and Vivaldi’s Gloria in Havana, Cuba. Additional concerts include Mozart’s Exsultate jubilate with the USC Alumni Orchestra, Bach’s “Coffee” Cantata with the Whittier Bach Festival, and Mahler’sSymphony no. 4 in her debut with the American Youth Symphony. Her debut with the Grant Park Music Festival came in 2016, appearing as Curly’s Wife in Floyd’s Of Mice and Men.

Committed to the performance of art song and new works, Diana has attended numerous programs including the Ravinia Festival Steans Music Institute, SongFest, and the Fall Island Vocal Arts Seminar run by Stephanie Blythe. In 2014 she performed at Carnegie Hall in a master class led by legendary mezzo-soprano Christa Ludwig as part of the Marilyn Horne Song Continues series. She performed George Crumb’s Madrigals Book IV at Music Academy of the West, Frank Ticheli’s Songs of Love and Life and Angels in the Architecture with the UT New Music Ensemble, and Lukas Foss’s Time Cycle with faculty members of the Aspen Music Festival, where she also covered the role of Daisy Buchanan in John Harbison’s The Great Gatsby. She has given multiple premieres of works by living composers, including Francesco Cilluffo, Dr. Alan L. Smith, and David Newman.

As a member of the Screen Actors Guild (SAG), Diana’s voice has been featured in a number of Hollywood films. She holds bachelor’s and master’s degrees from the USC Thornton School of Music, where she studied with Elizabeth Hynes. She currently studies with Patricia McCaffrey in New York.

Stephanie Blythe
Orlofsky

A renowned opera singer and recitalist, mezzo-soprano Stephanie Blythe is considered one of the most highly respected and critically acclaimed artists of her generation.  Her repertoire ranges from Handel to Wagner, German lieder to contemporary and classic American song.  Ms. Blythe has performed on many of the world’s great stages, such as Carnegie Hall, the Metropolitan Opera, Covent Garden, Paris National Opera and San Francisco, Chicago Lyric and Seattle Operas.  Ms. Blythe was named Musical America’s Vocalist of the Year in 2009, received an Opera News Award in 2007 and won the Tucker Award in 1999.  Ms. Blythe recently released her first crossover recording on the Innova label with pianist Craig Terry.

Ms. Blythe has sung in many of the renowned opera houses in the US and Europe including the Metropolitan Opera, San Francisco Opera, Lyric Opera of Chicago, Seattle Opera, Royal Opera House Covent Garden, and the Opera National de Paris. Her many roles include the title roles in Carmen, Samson et Dalila , Orfeo ed Euridice, La Grande Duchesse, Tancredi, Mignon, and Giulio Cesare; Frugola, Principessa, and Zita in Il Trittico, Fricka in both Das Rheingold and Die Walküre, Waltraute in Götterdämmerung, Azucena in Il Trovatore, Ulrica in Un Ballo in Maschera, Baba the Turk in The Rake’s Progress, Ježibaba in Rusalka, Jocasta in Oedipus Rex, Mere Marie in Dialogues des Carmélites;Mistress Quickly in Falstaff, and Ino/Juno in Semele. She also created the role of Gertrude Stein in Ricky Ian Gordon’s 27 at the Opera Theatre of Saint Louis.

Ms. Blythe has also appeared with many of the world’s finest orchestras including the New York Philharmonic, Boston Symphony Orchestra, Chicago Symphony Orchestra, Los Angeles Philharmonic, San Francisco Symphony, Philadelphia Orchestra, Opera Orchestra of New York, Minnesota Orchestra, Halle Orchestra, Orchestra of the Age of Enlightenment, the Ensemble Orchestre de Paris, and the Concertgerbouworkest. She has also appeared at the Tanglewood, Cincinnati May, and Ravinia festivals, and at the BBC Proms. The many conductors with whom she has worked include Harry Bicket, James Conlon, Charles Dutoit, Mark Elder, Christoph Eschenbach, Rafael Frühbeck de Burgos, Alan Gilbert, James Levine, Fabio Luisi, Nicola Luisotti, Sir Charles Mackerras, John Nelson, Antonio Pappano, Mstislav Rostropovitch, Robert Spano, Patrick Summers, and Michael Tilson Thomas.

A frequent recitalist, Ms. Blythe has been presented in recital in New York by Carnegie Hall in Stern Auditorium and Zankel Hall, Lincoln Center in both its Great Performers Series at Alice Tully Hall and its American Songbook Series at the Allen Room, Town Hall, the 92nd Street Y, and the Metropolitan Museum of Art. She has also been presenter by the Vocal Arts Society and at the Supreme Court in Washington, DC; the Cleveland Art Song Festival, the University Musical Society in Ann Arbor, the Philadelphia Chamber Music Society, Shriver Hall in Baltimore, and San Francisco Performances.

A champion of American song, Ms. Blythe has premiered several song cycles written for her including Twelve Poems of Emily Dickinson by the late James Legg, Covered Wagon Woman by Alan Smith which was commissioned by the Chamber Music Society of Lincoln Center and recorded with the ensemble (CMS Studio Recordings); and Vignettes: Ellis Island, also by Alan Smith and featured in a special television program entitled Vignettes: An Evening with Stephanie Blythe and Warren Jones. 

Ms Blythe starred in the Metropolitan Opera’s live HD broadcasts of Orfeo ed Euridice, Il Trittico, Rodelinda, and the complete Ring CycleShe also appeared in PBS’s Live From Lincoln Centerbroadcasts of the New York Philharmonic’s performance of Carousel and her acclaimed show, We’ll Meet Again: The Songs of Kate Smith. Her recordings include her solo album, as long as there are songs (Innova), and works by Mahler, Brahms, Wagner, Handel and Bach (Virgin Classics).

Ms. Blythe’s many engagements have also included her return to the Metropolitan Opera for The Rake’s Progress, the Lyric Opera of Chicago for Il Trovatore, the Seattle Opera for Semele, Samson et Dalilah with the Atlanta Symphony and Carnegie Hall for a recital in Stern Auditorium.  Last season she performed with the San Francisco Opera as Mrs. Lovett in Sweeney Todd and the Houston Grand Opera as Nettie Fowler in Carousel. She also performed her new program, Sing, America! at Carnegie Hall.  Next season she returns to Opera Philadelphia for the title role in Tancredi, brings her acclaimed performance of Gertrude Stein in Ricky Ian Gordon’s 27 to New York’s City Center, and returns to Palm Beach as Ruth in performances of The Pirates of Penzance. 

Ms. Blythe was named Musical America’s Vocalist of the Year for 2009. Her other awards include the 2007 Opera News Award and the 1999 Richard Tucker Award. She is also the Artistic Director of the Fall Island Vocal Arts Seminar at the Crane School of Music.

Jack Swanson*
Alfred

With an affinity for high lyric repertoire and some of opera’s most acrobatic arias, young American tenor Jack Swanson is quickly becoming one of the most sought after voices in the opera world, and makes his debut on the Glyndebourne Tour this season as Conte Almaviva (Il barbiere di Siviglia). He also sings his first Candide for his debut at LA Opera, in Francesca Zambello’s production under James Conlon, and returns to Santa Fe Opera as Lindoro (L’italiana in Algeri).

During his studies at the University of Oklahoma and the Shepherd School of Music at Rice University, Jack performed roles such as Don Ottavio (Don Giovanni), Nemorino (L’elisir d’amore), Conte Almaviva (Il barbiere di Siviglia) and Eurimaco (Il ritorno d’Ulisse in patria).

Tobias Greenhalgh+
Dr. Falke

As a member of the Junges Ensemble of the Theater an der Wien these past two seasons, American baritone Tobias Greenhalgh made his European debut singing the title role in Eugene Onegin. Whilst in Vienna, his roles on the mainstage included Ned Keene in Christof Loy’s universally-acclaimed new production of Peter Grimes, and Littore (L’incoronazione di Poppea), alongside Escamillo (Carmen), Argante (Rinaldo) and Ramiro (L’heure Espagnole) amongst others in the Wiener Kammeroper.

This season, Tobias sings multiple roles including the Cold Genius in Purcell’s King Arthur for Staatstheater am Gärtnerplatz, sings his first Belcore (L’elisir d’amore) with the Orlando Philharmonic Orchestra, returns to Palm Beach Opera as Samuel (Pirates of Penzance) and creates a leading role in the world premiere of Grapes of Wrath for Opera Theatre of St Louis.

Tobias has given recitals for the Arnold Schoenberg Centre, the Brooklyn Art Song Society (Mörike Lieder) and performed three programmes for the New York Festival of Song. A skilled concert artist, recent highlights include Bach’s St Matthew Passion with Soli Deo Gloria and Vaughan Williams’ Five Mystical Songs with St George’s Choral Society. Tobias was a finalist at the Operalia competition in 2015.

Wayne Tigges
Frank

Lauded by the Chicago Sun-Times for his “rich, dark tone and beautiful legato,” Wayne Tigges joins Michigan Opera Theatre for Basilio in Il barbiere di Siviglia, returns to Atlanta Opera for Owen Hart in Dead Man Walking, and Opera Santa Barbara for John Proctor in The Crucible in the 2018-19 season. Last season, he sang further performances of the title role in Der fliegende Holländer with Atlanta Opera, Alfio in Cavalleria rusticana and Tonio in I Pagliacci with New Orleans Opera, the title role in Gianni Schicchi and further performances of Tonio in I Pagliacci with Utah Opera, Ping in Turandot with Tulsa Opera, and created the role of Sgt. Aaron Marcum in the world premiere of Huang Ruo and David Henry Hwang’s An American Soldier in a return to Opera Theatre of Saint Louis.

Recent performances include his first performances of Méphistophélès in Faust at the Macau Music Festival, Owen Hart in Dead Man Walking and Howie Albert in Blanchard’s Champion with Washington National Opera, all four Villains in Les contes d’Hoffmann with L.A. Opera and Hawaii Opera Theater, the title role Falstaff in a return to Des Moines Metro Opera, Assur in Semiramide with Washington National Opera, Judge Turpin in Sweeney Todd with San Francisco Opera, the title role of Der fliegende Holländer with Virginia Opera, Austin Opera and Florentine Opera, Nick Shadow in The Rake’s Progress with the Teatro Municipal de Santiago, Roy Cohn in Angels in America with New York City Opera, Mr. McGuire in Tobias Picker’s Emmeline with Opera Theatre of Saint Louis, Gustavo in Handel’s Faramondo with Brisbane Baroque, and Il conte Gil in Il segreto di Susanna with Opera San Antonio Opera. He also joined Opera Philadelphia for Basilio in Il barbiere di Siviiglia as well as Justice Sir Alfred Wills and Colonel Henry B. Isaacson in Morrison’s Oscar. He created the role of Joe St. George in the world premiere of Picker’s Dolores Claiborne with San Francisco Opera; sang Escamillo in Carmen at the Glyndebourne Festival and with San Diego Opera; Kolenaty in The Makropolous Case with the Opéra National de Paris; and Ariodate in Xerxes, Sam and Wesley in the world premiere of Theofanidis’ Heart of a Soldier, Ariodate in Xerxes, and Zuniga in Carmenwith San Francisco Opera. He sang Achilla in Giulio Cesare in his Metropolitan Opera debut and returned to the Lyric Opera of Chicago the following season for further performances of the role as well as Basilio in Il barbiere di Siviglia. Mr. Tigges enjoys a strong relationship with the Lyric Opera of Chicago where he sang the title role in Le nozze di Figaro to great critical acclaim while still a member of the prestigious Ryan Opera Center (formerly Lyric Opera Center for American Artists). Also with the company, he sang Snook in Bolcom’s A Wedding, Capulet in Roméo et Juliette, Angelotti in Tosca, Sam in Un ballo in maschera, and Bonze in Madama Butterfly.

His other recent engagements include the Villains in Les contes d’Hoffmann, Basilio in Il barbiere di Siviglia, Hercules in Gluck’s Alceste, Douglas in La donna del lago, and Nourabad in Les pêcheur de perles with Santa Fe Opera; Donner in Das Rheingold and both Zuniga and Escamillo in Carmen with Los Angeles Opera; the title role of Don Giovanni with Opera Pacific and Austin Lyric Opera; Blitch in Susannah with Florentine Opera, Willy Wonka in the European premiere of Peter Ash’s The Golden Ticket at the Wexford Festival, Jochanaan in Salome with Arizona Opera; Scarpia in Tosca with Austin Opera; Faraone in Mose in Egitto with New York City Opera, further performances of Basilio in Il barbiere di Siviglia as well as Ferrando in Il trovatore with Opera Colorado; Figaro in Le nozze di Figaro with Seiji Ozawa’s Ongaku-juku Festival and the North Carolina Symphony and Austin Opera; Leporello in Don Giovanni with Pittsburgh Opera and Tulsa Opera; Basilio in Il barbiere di Siviglia with Palm Beach Opera; Bonze in Madama Butterfly with Los Angeles Opera and at the Ravinia Festival under the baton of James Conlon, the Tutor in Le comte Ory as well as Owen Hart in Heggie’s Dead Man Walking with Des Moines Metro Opera; Count Walther in Luisa Miller with Chautauqua Opera; First Nazarene in Salome with the Philadelphia Orchestra; Sacerdote in Nabucco at the Gran Teatro del Liceu, and Zuniga in Carmen with San Diego Opera. He has joined Minnesota Opera as Claudius in Hamlet, Théâtre du Capitole Toulouse as Superintendent Budd in Albert Herring, Cincinnati Opera for Angelotti in Tosca, Sam in Un ballo in maschera, and Sprecher in Die Zauberflöte. With Opera Omaha, he has sung Mother in Seven Deadly Sins, Gideon March in Little Women, and Balthazar in Amahl and the Night Visitors. He has also sung the Father in Hänsel und Gretel with the Fort Dodge Symphony Orchestra.

In addition to his performances on the opera stage, Mr. Tigges maintains a busy concert schedule. He recently joined the Los Angeles Philharmonic for Mozart’s Mass in C minor, Chicago Symphony Orchestra for Nielsen’s Symphony No. 3, Orchestra of Saint Luke’s for Beethoven’s Symphony No. 9 in his Carnegie Hall debut, and Teatro Regio di Parma for Haydn’s Creation. He made his Avery Fisher Hall debut with the Collegiate Chorale as Erasto in the American premiere of Handel’s Giove in Argo. He sang Stravinsky’s Les Noces with the Cleveland Orchestra; Britten’s Serenade under the baton of Sir Andrew Davis; Zemlinsky’s Psalm 83 at the Cincinnati May Festival; Verdi’s Requiem with the Washington Chorus, Tulsa Oratorio Chorus, Arizona Music Festival, Cathedral Choral Society in Washington D.C., and as a guest artist at Bard College; and the title role in Elijah with both Soli Deo Gloria with John Nelson conducting and the Apollo Chorus and Orchestra. Other performances include Bach’s St. John Passion and St. Matthew Passion with the Knox Chamber Orchestra, Handel’s Messiah with the Beyer Music Chamber Orchestra, Poulenc’s Stabat Mater with the Musica Antiqua Chamber Orchestra, and concerts of operatic arias at Oregon’s Britt Music Festival.

Originally from Dubuque, Iowa, Wayne Tigges received a graduate degree and Artist Diploma from the University of Cincinnati-College Conservatory of Music and his Bachelor of Music from Iowa State University.

John Felix
Frosch

JOHN FELIX (Frosch) is delighted to be making his debut at Palm Beach Opera with this marvelous cast and company. Except for a musical comedy or revue here and there, most of his career on the stage has been in non-singing roles. His stage credits include many appearances at Florida theaters and at theaters elsewhere around the country. Of particular relevance in the context of opera may be The Lisbon Traviata in which he appeared as the obsessive Maria Callas devotee, Mendy, so dismissively catty about all other divas. Other shows include Our Town and On Golden Pond, at Palm Beach Dramaworks; The Trial of Ebenezer Scrooge, at Actors’ Playhouse; Himself (opposite Len Cariou), Fortune’s Fool and Gross Indecency… at Caldwell Theatre; Cabaret and The Music Man, at Maltz Jupiter Theatre; The Fantasticks and Little Women (opposite Donna McKechnie) at TheatreZone. The recipient of the Curtain Up Award and of multiple Carbonell Awards, John is a proud member of Actors’ Equity Association and is the Secretary of its South Florida Liaison Committee.

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