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 will conduct this high-spirited comedy, and Artistic Director of Opera at Manhattan School of Music Dona D. Vaughn will serve as the Director. Keri Alkema, who captivated audiences in Palm Beach Opera’s recent production of Tosca, returns for another season with the company in role of Rosalinde. World-renowned mezzo-soprano Stephanie Blythe will sing the role of Orlofsky, returning to Palm Beach Opera after a critically-acclaimed performance in the company’s The Pirates of Penzance. Soprano Anna Christy, who has been celebrated by The New York Times as “nimble of voice, body and spirit,” will make her company debut in the role of Adele. Another company debut, tenor Zachary Borichevsky will perform 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
  • Zach Borichevsky*
    Zach Borichevsky*
    Eisenstein
  • Keri Alkema
    Keri Alkema
    Rosalinde
  • Anna Christy*
    Anna Christy*
    Adele
  • Stephanie Blythe
    Stephanie Blythe
    Orlofsky
  • Jack Swanson*
    Jack Swanson*
    Alfred
  • Tobias Greenhalgh+
    Tobias Greenhalgh+
    Dr. Falke

*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
  • Zach Borichevsky*
    Zach Borichevsky*
    Eisenstein
  • Keri Alkema
    Keri Alkema
    Rosalinde
  • Anna Christy*
    Anna Christy*
    Adele
  • Stephanie Blythe
    Stephanie Blythe
    Orlofsky
  • Jack Swanson*
    Jack Swanson*
    Alfred
  • Tobias Greenhalgh+
    Tobias Greenhalgh+
    Dr. Falke

*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: Cory Weaver

David Stern
Chief Conductor

Sponsored by Mrs. Ari Rifkin

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
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).

Anna Christy*
Adele
Stephanie Blythe
Orlofsky
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.

David Stern
Chief Conductor

Sponsored by Mrs. Ari Rifkin

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
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).

Anna Christy*
Adele
Stephanie Blythe
Orlofsky
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.

David Stern
Chief Conductor

Sponsored by Mrs. Ari Rifkin

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
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).

Anna Christy*
Adele
Stephanie Blythe
Orlofsky
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.

David Stern
Chief Conductor

Sponsored by Mrs. Ari Rifkin

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
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).

Anna Christy*
Adele
Stephanie Blythe
Orlofsky
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.

David Stern
Chief Conductor

Sponsored by Mrs. Ari Rifkin

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
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).

Anna Christy*
Adele
Stephanie Blythe
Orlofsky
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.

David Stern
Chief Conductor

Sponsored by Mrs. Ari Rifkin

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
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).

Anna Christy*
Adele
Stephanie Blythe
Orlofsky
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.

David Stern
Chief Conductor

Sponsored by Mrs. Ari Rifkin

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
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).

Anna Christy*
Adele
Stephanie Blythe
Orlofsky
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.

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