DON GIOVANNI

by Wolfgang Amadeus Mozart

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

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Don Giovanni is a young, arrogant, and charismatic aristocrat, who will stop at nothing to challenge unrequited lust – even if it means violence. But after one seductive conquest ends in murder, Don Giovanni finds himself at odds with the vengeful women from his past, and a simmering force beneath the surface. In a production inspired by film noir, Mozart’s matchless opera is a brilliant combination of stark human tragedy and touching human comedy, set to lavishly orchestrated music of limitless genius.

Director Kristine McIntyre, who has directed more than 80 operas across the country, makes her Palm Beach Opera debut in this re-imagined masterpiece. In two Palm Beach Opera debuts, the title role of Don Giovanni is performed by Baritones Andrei Bondarenko, who sang the same role for a Sony Classics recording of the opera, and Edward Nelson, hailed as “an exciting protagonist” by Opera News. Bass Joshua Bloom, who has been praised by The Independent for his “thunderous sound,” makes his debut as Leporello. Sopranos Caitlin Lynch and Sarah-Jane Brandon who both sang in Palm Beach Opera’s Le nozze di Figaro, sing the shared role of Donna Anna. Danielle Pastin, a soprano who has been praised by Opera News for her “lovely demeanor and irresistibly creamy timbre,” and Felicia Moore perform as Donna Elvira. Former Benenson Young Artist Danielle MacMillan, who also appeared in Le nozze di Figaro, returns as Zerlina.

Sung in Italian with English supertitles projected above the stage.

  • David Stern
    David Stern
    Chief Conductor
  • Kristine McIntyre*
    Kristine McIntyre*
    Director
  • Marcus Dilliard*
    Marcus Dilliard*
    Lighting Designer
  • Andrei Bondarenko*
    Andrei Bondarenko*
    Don Giovanni
  • Edward Nelson*
    Edward Nelson*
    Don Giovanni (2/23)
  • Caitlin Lynch
    Caitlin Lynch
    Donna Anna
  • Sarah-Jane Brandon
    Sarah-Jane Brandon
    Donna Anna (2/23)
  • Danielle Pastin
    Danielle Pastin
    Donna Elvira
  • Felicia Moore*
    Felicia Moore*
    Donna Elvira (2/23)
  • Bogdan Volkov*
    Bogdan Volkov*
    Don Ottavio
  • David Margulis*
    David Margulis*
    Don Ottavio (2/23)
  • Joshua Bloom*
    Joshua Bloom*
    Leporello
  • André Courville*
    André Courville*
    Leporello (2/23)
  • Danielle MacMillan+
    Danielle MacMillan+
    Zerlina
  • Neil Nelson
    Neil Nelson
    Masetto
  • Mikhail Kolelishvili
    Mikhail Kolelishvili
    Commendatore

*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 I

Scene 1 – The garden of the Commendatore

Leporello, Don Giovanni’s servant, grumbles about his demanding master and daydreams about being free of him (“Notte e giorno faticar” – “Night and day I slave away”). He is keeping watch while Don Giovanni is in the Commendatore’s house attempting to seduce or rape the Commendatore’s daughter, Donna Anna. Don Giovanni enters the garden from inside the house, pursued by Donna Anna. Don Giovanni is masked and Donna Anna tries to hold him and to unmask him, shouting for help. (Trio: “Non sperar, se non m’uccidi, Ch’io ti lasci fuggir mai!” – “Do not hope, unless you kill me, that I shall ever let you run away!”). He breaks free and she runs off as the Commendatore enters the garden. The Commendatore blocks Don Giovanni’s path and forces him to fight a duel. Don Giovanni kills the Commendatore with his sword and escapes with Leporello. Donna Anna, returning with her fiancé, Don Ottavio, is horrified to see her father lying dead in a pool of his own blood. She makes Don Ottavio swear vengeance against the unknown murderer. (Duet: “Ah, vendicar, se il puoi, giura quel sangue ognor!” – “Ah, swear to avenge that blood if you can!”).

Scene 2 – A public square outside Don Giovanni’s palace

Leporello tells Don Giovanni that he (Giovanni) is leading a rotten life; Don Giovanni reacts angrily. They hear a woman (Donna Elvira) singing of having been abandoned by her lover, on whom she is seeking revenge (“Ah, chi mi dice mai” – “Ah, who could ever tell me”). Don Giovanni starts to flirt with her, but it turns out he is the former lover she is seeking. The two recognize each other and she reproaches him bitterly. He shoves Leporello forward, ordering him to tell Donna Elvira the truth about him, and then hurries away.

Leporello tells Donna Elvira that Don Giovanni is not worth her feelings for him. He is unfaithful to everyone; his conquests include 640 women and girls in Italy, 231 in Germany, 100 in France, 91 in Turkey, but in Spain, 1,003 (“Madamina, il catalogo è questo” – “My dear lady, this is the catalogue“). In a frequently cut recitative, Donna Elvira vows vengeance.

Scene 3 – The open country

A marriage procession with Masetto and Zerlina enters. Don Giovanni and Leporello arrive soon after. Don Giovanni is immediately attracted to Zerlina, and he attempts to remove the jealous Masetto by offering to host a wedding celebration at his castle. On realizing that Don Giovanni means to remain behind with Zerlina, Masetto becomes angry (“Ho capito! Signor, sì” – “I understand! Yes, my lord!”) but is forced to leave. Don Giovanni and Zerlina are soon alone and he immediately begins his seductive arts (Duet: “Là ci darem la mano” – “There we will entwine our hands”).

Donna Elvira arrives and thwarts the seduction (“Ah, fuggi il traditor” – “Flee from the traitor!”). She leaves with Zerlina. Don Ottavio and Donna Anna enter, plotting vengeance on the still unknown murderer of Donna Anna’s father. Donna Anna, unaware that she is speaking to her attacker, pleads for Don Giovanni’s help. Don Giovanni, relieved that he is unrecognised, readily promises it, and asks who has disturbed her peace. Before she can answer, Donna Elvira returns and tells Donna Anna and Don Ottavio that Don Giovanni is a false-hearted seducer. Don Giovanni tries to convince Don Ottavio and Donna Anna that Donna Elvira is insane (Quartet: “Non ti fidar, o misera” – “Don’t trust him, oh sad one”). As Don Giovanni leaves, Donna Anna suddenly recognizes him as her father’s murderer and tells Don Ottavio the story of his intrusion, claiming that she was deceived at first because she was expecting a night visit from Don Ottavio himself, but managed to fight Don Giovanni off after discovering the imposture (long recitative exchange between Donna Anna and Don Ottavio). She repeats her demand that he avenge her and points out that he will be avenging himself as well (aria: “Or sai chi l’onore Rapire a me volse” – “Now you know who wanted to rob me of my honour”). In the Vienna version, Don Ottavio, not yet convinced (Donna Anna having only recognised Don Giovanni’s voice, not seen his face), resolves to keep an eye on his friend (“Dalla sua pace la mia dipende” – “On her peace my peace depends”).

Leporello informs Don Giovanni that all the guests of the peasant wedding are in Don Giovanni’s house and that he distracted Masetto from his jealousy, but that Zerlina, returning with Donna Elvira, made a scene and spoiled everything. However, Don Giovanni remains cheerful and tells Leporello to organize a party and invite every girl he can find. (Don Giovanni’s “Champagne Aria”: “Fin ch’han dal vino calda la testa” – “Till they are tipsy”). They hasten to his palace.

Scene 4 – A garden outside Don Giovanni’s palace

Zerlina follows the jealous Masetto and tries to pacify him (“Batti, batti o bel Masetto” – “Beat, O beat me, handsome Masetto”), but just as she manages to persuade him of her innocence, Don Giovanni’s voice from offstage startles and frightens her. Masetto hides, resolving to see for himself what Zerlina will do when Don Giovanni arrives. Zerlina tries to hide from Don Giovanni, but he finds her and attempts to continue the seduction, until he stumbles upon Masetto’s hiding place. Confused but quickly recovering, Don Giovanni reproaches Masetto for leaving Zerlina alone, and returns her temporarily to him. Don Giovanni then leads both offstage to his ballroom. Three masked guests – the disguised Don Ottavio, Donna Anna, and Donna Elvira – enter the garden. From a balcony, Leporello invites them to his master’s party. They accept the invitation and Leporello leaves the balcony. Alone, Don Ottavio and Donna Anna pray for protection, Donna Elvira for vengeance (Trio: “Protegga il giusto cielo” – “May the just heavens protect us”).

Scene 5 – Don Giovanni’s ballroom

As the merriment, featuring three separate chamber orchestras on stage, proceeds, Leporello distracts Masetto by dancing with him, while Don Giovanni leads Zerlina offstage to a private room and tries to assault her. When Zerlina screams for help, Don Giovanni drags Leporello onstage from the room, accuses Leporello of assaulting Zerlina himself, and threatens to kill him. The others are not fooled. Don Ottavio produces a pistol and points it at Don Giovanni, and the three guests unmask and declare that they know all. But despite being denounced and menaced from all sides, Don Giovanni remains calm and escapes – for the moment.

ACT II

Scene 1 – Outside Donna Elvira’s house

Leporello threatens to leave Don Giovanni, but his master calms him with a peace offering of money (Duet: “Eh via buffone” – “Go on, fool”). Wanting to seduce Donna Elvira’s maid, and believing that she will trust him better if he appears in lower-class clothes, Don Giovanni orders Leporello to exchange cloak and hat with him. Donna Elvira comes to her window (Trio: “Ah taci, ingiusto core” – “Ah, be quiet unjust heart”). Seeing an opportunity for a game, Don Giovanni hides and sends Leporello out in the open wearing Don Giovanni’s cloak and hat. From his hiding place Don Giovanni sings a promise of repentance, expressing a desire to return to her and threatening to kill himself if she does not take him back, while Leporello poses as Don Giovanni and tries to keep from laughing. Donna Elvira is convinced and descends to the street. Leporello, continuing to pose as Don Giovanni, leads her away to keep her occupied while Don Giovanni serenades her maid with his mandolin. (“Deh vieni alla finestra” – “Ah, come to the window”).

Before Don Giovanni can complete his seduction of the maid, Masetto and his friends arrive, looking for Don Giovanni in order to kill him. Don Giovanni poses as Leporello (whose clothes he is still wearing) and joins the posse, pretending that he also hates Don Giovanni. After cunningly dispersing Masetto’s friends (Don Giovanni aria: “Metà di voi qua vadano” – “Half of you go this way. the others, go that way”), Don Giovanni takes Masetto’s weapons away, beats him up, and runs off, laughing. Zerlina arrives and consoles the bruised and battered Masetto (“Vedrai carino” – “You’ll see, dear one”).

Scene 2 – A dark courtyard

Leporello abandons Donna Elvira. (Sextet: “Sola, sola in buio loco” – “All alone in this dark place”). As he tries to escape, he bumps into Don Ottavio and Donna Anna. Zerlina and Masetto also enter the scene. Everyone mistakes Leporello for Don Giovanni, whose clothes he is still wearing. They surround Leporello and threaten to kill him. Donna Elvira tries to protect the man who she thinks is Don Giovanni, claiming that he is her husband and begging the others to spare him. Leporello takes off Don Giovanni’s cloak and reveals his true identity. He begs for mercy and, seeing an opportunity, runs off (Leporello aria: “Ah pietà signori miei” – “Ah, have mercy, my lords”). Don Ottavio is now convinced that Don Giovanni is the one who murdered Donna Anna’s father (the deceased Commendatore). He swears vengeance (“Il mio tesoro” – “My treasure” – though in the Vienna version this was cut).

In the Vienna production of the opera, Zerlina follows Leporello and recaptures him. Threatening him with a razor, she ties him to a stool. He attempts to sweet-talk her out of hurting him. (Duet: “Per queste tue manine” – “For these hands of yours”). Zerlina goes to find Masetto and the others; Leporello escapes again before she returns. This scene, marked by low comedy, is rarely performed today. Also in the Vienna production, Donna Elvira is still furious at Don Giovanni for betraying her, but she also feels sorry for him. (“Mi tradì quell’alma ingrata” – “That ungrateful wretch betrayed me”).

Scene 3 – A graveyard with the statue of the Commendatore.

Don Giovanni wanders into a graveyard. Leporello happens along and the two are reunited. Leporello tells Don Giovanni of his brush with danger, and Don Giovanni laughingly taunts him, saying that he took advantage of his disguise as Leporello by trying to seduce one of Leporello’s girlfriends. The voice of the statue interrupts and warns Don Giovanni that his laughter will not last beyond sunrise. At the command of his master, Leporello reads the inscription upon the statue’s base: “Here am I waiting for revenge against the scoundrel who killed me” (Dell’empio che mi trasse al passo estremo qui attendo la vendetta). The servant trembles, but Don Giovanni scornfully orders him to invite the statue to dinner, and threatens to kill him if he does not. Leporello makes several attempts to invite the statue to dinner but is too frightened to complete the invitation (Duet: “O, statua gentilissima” – “Oh most noble statue”). Don Giovanni invites the statue to dinner himself. Much to his surprise, the statue nods its head and responds affirmatively.

Scene 4 – Donna Anna’s room

Don Ottavio pressures Donna Anna to marry him, but she thinks it inappropriate so soon after her father’s death. He accuses her of being cruel, and she assures him that she loves him, and is faithful (“Non mi dir” – “Tell me not”).

Scene 5 – Don Giovanni’s chambers

Don Giovanni revels in the luxury of a great meal, served by Leporello, and musical entertainment during which the orchestra plays music from popular (at the time) late-18th-century operas: “O quanto un sì bel giubilo” from Vicente Martín y Soler’s Una cosa rara (1786), “Come un agnello” from Giuseppe Sarti’s Fra i due litiganti il terzo gode (1782) and finally, “Non più andrai” from Mozart’s own The Marriage of Figaro (1786). Leporello complains that he is sick and tired of hearing Mozart’s aria everywhere all the time. (Finale “Già la mensa preparata” – “Already the table is prepared”). Donna Elvira enters, saying that she no longer feels resentment against Don Giovanni, only pity for him. (“L’ultima prova dell’amor mio” – “The final proof of my love”). Don Giovanni, surprised, asks what she wants, and she begs him to change his life. Don Giovanni taunts her and then turns away, praising wine and women as the “support and glory of humankind” (sostegno e gloria d’umanità). Hurt and angry, Donna Elvira gives up and leaves. Offstage, she screams in sudden terror. Don Giovanni orders Leporello to see what has upset her; when he does, he also cries out, and runs back into the room, stammering that the statue has appeared as promised. An ominous knocking sounds at the door. Leporello, paralyzed by fear, cannot answer it, so Don Giovanni opens it himself, revealing the statue of the Commendatore. With the rhythmic chords of the overture, now reharmonized with diabolic diminished sevenths accompanying the Commendatore (“Don Giovanni! A cenar teco m’invitasti” – “Don Giovanni! You invited me to dine with you”), the statue offers a last chance to repent, but Don Giovanni adamantly refuses. The statue disappears and Don Giovanni cries out in pain and terror as he is surrounded by a chorus of demons, who carry him down to Hell. Leporello, watching from under the table, also cries out in fear.

Donna Anna, Don Ottavio, Donna Elvira, Zerlina, and Masetto arrive, searching for the villain. They find instead Leporello hiding under the table, shaken by the supernatural horror he has witnessed. He assures them that no one will ever see Don Giovanni again. The remaining characters announce their plans for the future: Donna Anna and Don Ottavio will marry when Donna Anna’s year of mourning is over; Donna Elvira will withdraw from society for the rest of her life; Zerlina and Masetto will finally go home for dinner; and Leporello will go to the tavern to find a better master.

The concluding ensemble delivers the moral of the opera – “Such is the end of the evildoer: the death of a sinner always reflects his life” (“Questo è il fin di chi fa mal, e de’ perfidi la morte alla vita è sempre ugual”). As mentioned above, the final ensemble was customarily omitted from productions for over a century beginning with the original run in Prague, but it started to be performed again frequently in the 20th century and is now is usually included in productions of the opera. The return to D major and the innocent simplicity of the last few bars conclude the opera.

CAST
  • David Stern
    David Stern
    Chief Conductor
  • Kristine McIntyre*
    Kristine McIntyre*
    Director
  • Marcus Dilliard*
    Marcus Dilliard*
    Lighting Designer
  • Andrei Bondarenko*
    Andrei Bondarenko*
    Don Giovanni
  • Edward Nelson*
    Edward Nelson*
    Don Giovanni (2/23)
  • Caitlin Lynch
    Caitlin Lynch
    Donna Anna
  • Sarah-Jane Brandon
    Sarah-Jane Brandon
    Donna Anna (2/23)
  • Danielle Pastin
    Danielle Pastin
    Donna Elvira
  • Felicia Moore*
    Felicia Moore*
    Donna Elvira (2/23)
  • Bogdan Volkov*
    Bogdan Volkov*
    Don Ottavio
  • David Margulis*
    David Margulis*
    Don Ottavio (2/23)
  • Joshua Bloom*
    Joshua Bloom*
    Leporello
  • André Courville*
    André Courville*
    Leporello (2/23)
  • Danielle MacMillan+
    Danielle MacMillan+
    Zerlina
  • Neil Nelson
    Neil Nelson
    Masetto
  • Mikhail Kolelishvili
    Mikhail Kolelishvili
    Commendatore

*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 I

Scene 1 – The garden of the Commendatore

Leporello, Don Giovanni’s servant, grumbles about his demanding master and daydreams about being free of him (“Notte e giorno faticar” – “Night and day I slave away”). He is keeping watch while Don Giovanni is in the Commendatore’s house attempting to seduce or rape the Commendatore’s daughter, Donna Anna. Don Giovanni enters the garden from inside the house, pursued by Donna Anna. Don Giovanni is masked and Donna Anna tries to hold him and to unmask him, shouting for help. (Trio: “Non sperar, se non m’uccidi, Ch’io ti lasci fuggir mai!” – “Do not hope, unless you kill me, that I shall ever let you run away!”). He breaks free and she runs off as the Commendatore enters the garden. The Commendatore blocks Don Giovanni’s path and forces him to fight a duel. Don Giovanni kills the Commendatore with his sword and escapes with Leporello. Donna Anna, returning with her fiancé, Don Ottavio, is horrified to see her father lying dead in a pool of his own blood. She makes Don Ottavio swear vengeance against the unknown murderer. (Duet: “Ah, vendicar, se il puoi, giura quel sangue ognor!” – “Ah, swear to avenge that blood if you can!”).

Scene 2 – A public square outside Don Giovanni’s palace

Leporello tells Don Giovanni that he (Giovanni) is leading a rotten life; Don Giovanni reacts angrily. They hear a woman (Donna Elvira) singing of having been abandoned by her lover, on whom she is seeking revenge (“Ah, chi mi dice mai” – “Ah, who could ever tell me”). Don Giovanni starts to flirt with her, but it turns out he is the former lover she is seeking. The two recognize each other and she reproaches him bitterly. He shoves Leporello forward, ordering him to tell Donna Elvira the truth about him, and then hurries away.

Leporello tells Donna Elvira that Don Giovanni is not worth her feelings for him. He is unfaithful to everyone; his conquests include 640 women and girls in Italy, 231 in Germany, 100 in France, 91 in Turkey, but in Spain, 1,003 (“Madamina, il catalogo è questo” – “My dear lady, this is the catalogue“). In a frequently cut recitative, Donna Elvira vows vengeance.

Scene 3 – The open country

A marriage procession with Masetto and Zerlina enters. Don Giovanni and Leporello arrive soon after. Don Giovanni is immediately attracted to Zerlina, and he attempts to remove the jealous Masetto by offering to host a wedding celebration at his castle. On realizing that Don Giovanni means to remain behind with Zerlina, Masetto becomes angry (“Ho capito! Signor, sì” – “I understand! Yes, my lord!”) but is forced to leave. Don Giovanni and Zerlina are soon alone and he immediately begins his seductive arts (Duet: “Là ci darem la mano” – “There we will entwine our hands”).

Donna Elvira arrives and thwarts the seduction (“Ah, fuggi il traditor” – “Flee from the traitor!”). She leaves with Zerlina. Don Ottavio and Donna Anna enter, plotting vengeance on the still unknown murderer of Donna Anna’s father. Donna Anna, unaware that she is speaking to her attacker, pleads for Don Giovanni’s help. Don Giovanni, relieved that he is unrecognised, readily promises it, and asks who has disturbed her peace. Before she can answer, Donna Elvira returns and tells Donna Anna and Don Ottavio that Don Giovanni is a false-hearted seducer. Don Giovanni tries to convince Don Ottavio and Donna Anna that Donna Elvira is insane (Quartet: “Non ti fidar, o misera” – “Don’t trust him, oh sad one”). As Don Giovanni leaves, Donna Anna suddenly recognizes him as her father’s murderer and tells Don Ottavio the story of his intrusion, claiming that she was deceived at first because she was expecting a night visit from Don Ottavio himself, but managed to fight Don Giovanni off after discovering the imposture (long recitative exchange between Donna Anna and Don Ottavio). She repeats her demand that he avenge her and points out that he will be avenging himself as well (aria: “Or sai chi l’onore Rapire a me volse” – “Now you know who wanted to rob me of my honour”). In the Vienna version, Don Ottavio, not yet convinced (Donna Anna having only recognised Don Giovanni’s voice, not seen his face), resolves to keep an eye on his friend (“Dalla sua pace la mia dipende” – “On her peace my peace depends”).

Leporello informs Don Giovanni that all the guests of the peasant wedding are in Don Giovanni’s house and that he distracted Masetto from his jealousy, but that Zerlina, returning with Donna Elvira, made a scene and spoiled everything. However, Don Giovanni remains cheerful and tells Leporello to organize a party and invite every girl he can find. (Don Giovanni’s “Champagne Aria”: “Fin ch’han dal vino calda la testa” – “Till they are tipsy”). They hasten to his palace.

Scene 4 – A garden outside Don Giovanni’s palace

Zerlina follows the jealous Masetto and tries to pacify him (“Batti, batti o bel Masetto” – “Beat, O beat me, handsome Masetto”), but just as she manages to persuade him of her innocence, Don Giovanni’s voice from offstage startles and frightens her. Masetto hides, resolving to see for himself what Zerlina will do when Don Giovanni arrives. Zerlina tries to hide from Don Giovanni, but he finds her and attempts to continue the seduction, until he stumbles upon Masetto’s hiding place. Confused but quickly recovering, Don Giovanni reproaches Masetto for leaving Zerlina alone, and returns her temporarily to him. Don Giovanni then leads both offstage to his ballroom. Three masked guests – the disguised Don Ottavio, Donna Anna, and Donna Elvira – enter the garden. From a balcony, Leporello invites them to his master’s party. They accept the invitation and Leporello leaves the balcony. Alone, Don Ottavio and Donna Anna pray for protection, Donna Elvira for vengeance (Trio: “Protegga il giusto cielo” – “May the just heavens protect us”).

Scene 5 – Don Giovanni’s ballroom

As the merriment, featuring three separate chamber orchestras on stage, proceeds, Leporello distracts Masetto by dancing with him, while Don Giovanni leads Zerlina offstage to a private room and tries to assault her. When Zerlina screams for help, Don Giovanni drags Leporello onstage from the room, accuses Leporello of assaulting Zerlina himself, and threatens to kill him. The others are not fooled. Don Ottavio produces a pistol and points it at Don Giovanni, and the three guests unmask and declare that they know all. But despite being denounced and menaced from all sides, Don Giovanni remains calm and escapes – for the moment.

ACT II

Scene 1 – Outside Donna Elvira’s house

Leporello threatens to leave Don Giovanni, but his master calms him with a peace offering of money (Duet: “Eh via buffone” – “Go on, fool”). Wanting to seduce Donna Elvira’s maid, and believing that she will trust him better if he appears in lower-class clothes, Don Giovanni orders Leporello to exchange cloak and hat with him. Donna Elvira comes to her window (Trio: “Ah taci, ingiusto core” – “Ah, be quiet unjust heart”). Seeing an opportunity for a game, Don Giovanni hides and sends Leporello out in the open wearing Don Giovanni’s cloak and hat. From his hiding place Don Giovanni sings a promise of repentance, expressing a desire to return to her and threatening to kill himself if she does not take him back, while Leporello poses as Don Giovanni and tries to keep from laughing. Donna Elvira is convinced and descends to the street. Leporello, continuing to pose as Don Giovanni, leads her away to keep her occupied while Don Giovanni serenades her maid with his mandolin. (“Deh vieni alla finestra” – “Ah, come to the window”).

Before Don Giovanni can complete his seduction of the maid, Masetto and his friends arrive, looking for Don Giovanni in order to kill him. Don Giovanni poses as Leporello (whose clothes he is still wearing) and joins the posse, pretending that he also hates Don Giovanni. After cunningly dispersing Masetto’s friends (Don Giovanni aria: “Metà di voi qua vadano” – “Half of you go this way. the others, go that way”), Don Giovanni takes Masetto’s weapons away, beats him up, and runs off, laughing. Zerlina arrives and consoles the bruised and battered Masetto (“Vedrai carino” – “You’ll see, dear one”).

Scene 2 – A dark courtyard

Leporello abandons Donna Elvira. (Sextet: “Sola, sola in buio loco” – “All alone in this dark place”). As he tries to escape, he bumps into Don Ottavio and Donna Anna. Zerlina and Masetto also enter the scene. Everyone mistakes Leporello for Don Giovanni, whose clothes he is still wearing. They surround Leporello and threaten to kill him. Donna Elvira tries to protect the man who she thinks is Don Giovanni, claiming that he is her husband and begging the others to spare him. Leporello takes off Don Giovanni’s cloak and reveals his true identity. He begs for mercy and, seeing an opportunity, runs off (Leporello aria: “Ah pietà signori miei” – “Ah, have mercy, my lords”). Don Ottavio is now convinced that Don Giovanni is the one who murdered Donna Anna’s father (the deceased Commendatore). He swears vengeance (“Il mio tesoro” – “My treasure” – though in the Vienna version this was cut).

In the Vienna production of the opera, Zerlina follows Leporello and recaptures him. Threatening him with a razor, she ties him to a stool. He attempts to sweet-talk her out of hurting him. (Duet: “Per queste tue manine” – “For these hands of yours”). Zerlina goes to find Masetto and the others; Leporello escapes again before she returns. This scene, marked by low comedy, is rarely performed today. Also in the Vienna production, Donna Elvira is still furious at Don Giovanni for betraying her, but she also feels sorry for him. (“Mi tradì quell’alma ingrata” – “That ungrateful wretch betrayed me”).

Scene 3 – A graveyard with the statue of the Commendatore.

Don Giovanni wanders into a graveyard. Leporello happens along and the two are reunited. Leporello tells Don Giovanni of his brush with danger, and Don Giovanni laughingly taunts him, saying that he took advantage of his disguise as Leporello by trying to seduce one of Leporello’s girlfriends. The voice of the statue interrupts and warns Don Giovanni that his laughter will not last beyond sunrise. At the command of his master, Leporello reads the inscription upon the statue’s base: “Here am I waiting for revenge against the scoundrel who killed me” (Dell’empio che mi trasse al passo estremo qui attendo la vendetta). The servant trembles, but Don Giovanni scornfully orders him to invite the statue to dinner, and threatens to kill him if he does not. Leporello makes several attempts to invite the statue to dinner but is too frightened to complete the invitation (Duet: “O, statua gentilissima” – “Oh most noble statue”). Don Giovanni invites the statue to dinner himself. Much to his surprise, the statue nods its head and responds affirmatively.

Scene 4 – Donna Anna’s room

Don Ottavio pressures Donna Anna to marry him, but she thinks it inappropriate so soon after her father’s death. He accuses her of being cruel, and she assures him that she loves him, and is faithful (“Non mi dir” – “Tell me not”).

Scene 5 – Don Giovanni’s chambers

Don Giovanni revels in the luxury of a great meal, served by Leporello, and musical entertainment during which the orchestra plays music from popular (at the time) late-18th-century operas: “O quanto un sì bel giubilo” from Vicente Martín y Soler’s Una cosa rara (1786), “Come un agnello” from Giuseppe Sarti’s Fra i due litiganti il terzo gode (1782) and finally, “Non più andrai” from Mozart’s own The Marriage of Figaro (1786). Leporello complains that he is sick and tired of hearing Mozart’s aria everywhere all the time. (Finale “Già la mensa preparata” – “Already the table is prepared”). Donna Elvira enters, saying that she no longer feels resentment against Don Giovanni, only pity for him. (“L’ultima prova dell’amor mio” – “The final proof of my love”). Don Giovanni, surprised, asks what she wants, and she begs him to change his life. Don Giovanni taunts her and then turns away, praising wine and women as the “support and glory of humankind” (sostegno e gloria d’umanità). Hurt and angry, Donna Elvira gives up and leaves. Offstage, she screams in sudden terror. Don Giovanni orders Leporello to see what has upset her; when he does, he also cries out, and runs back into the room, stammering that the statue has appeared as promised. An ominous knocking sounds at the door. Leporello, paralyzed by fear, cannot answer it, so Don Giovanni opens it himself, revealing the statue of the Commendatore. With the rhythmic chords of the overture, now reharmonized with diabolic diminished sevenths accompanying the Commendatore (“Don Giovanni! A cenar teco m’invitasti” – “Don Giovanni! You invited me to dine with you”), the statue offers a last chance to repent, but Don Giovanni adamantly refuses. The statue disappears and Don Giovanni cries out in pain and terror as he is surrounded by a chorus of demons, who carry him down to Hell. Leporello, watching from under the table, also cries out in fear.

Donna Anna, Don Ottavio, Donna Elvira, Zerlina, and Masetto arrive, searching for the villain. They find instead Leporello hiding under the table, shaken by the supernatural horror he has witnessed. He assures them that no one will ever see Don Giovanni again. The remaining characters announce their plans for the future: Donna Anna and Don Ottavio will marry when Donna Anna’s year of mourning is over; Donna Elvira will withdraw from society for the rest of her life; Zerlina and Masetto will finally go home for dinner; and Leporello will go to the tavern to find a better master.

The concluding ensemble delivers the moral of the opera – “Such is the end of the evildoer: the death of a sinner always reflects his life” (“Questo è il fin di chi fa mal, e de’ perfidi la morte alla vita è sempre ugual”). As mentioned above, the final ensemble was customarily omitted from productions for over a century beginning with the original run in Prague, but it started to be performed again frequently in the 20th century and is now is usually included in productions of the opera. The return to D major and the innocent simplicity of the last few bars conclude the opera.

 Header Photo: Cory Weaver

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.

Kristine McIntyre*
Director
Marcus Dilliard*
Lighting Designer

Marcus has designed for opera, theater and dance across North America and in Europe, including numerous productions for the Minnesota Opera, Lyric Opera Kansas City, the Guthrie Theater, Children’s Theater Company, Minnesota Dance Theater, and Theatre de la Jeune Lune. Recent designs include La fanciulla del West and Hansel and Gretel for Minnesota Opera, Otello for Pittsburgh Opera, Silent Night for Cincinnati Opera, Love’s Labour’s Lost for Actors Theatre of Louisville and The Moving Company; Tartuffe for South Coast Repertory; Dead Man Walking for Madison Opera; The Ballad of Emmett Till for Penumbra Theater; and Cabaret for Theater Latté Da. Other projects include By the Way and Meet Vera Stark for Penumbra Theater; Silent Night for Lyric Opera Kansas City; Tartuffe for Berkeley Repertory Theater and the Shakespeare Theater; and The Barber of Sevillefor Madison Opera.

Andrei Bondarenko*
Don Giovanni
Edward Nelson*
Don Giovanni (2/23)

In the 2018-2019 season, American baritone Edward Nelson makes his Opera Philadelphia debut in Ne Quittez Pas: A Reimagined La voix humaine where he will sing songs of Francis Poulenc. He will return to the Norwegian National Opera as Dandini in Stefan Herheim’s production of La Cenerentola, debut at the Palm Beach Opera as the title role in Don Giovanni, as well as sing both Schaunard in La bohème and Papageno in Die Zauberflöte with the Boston Youth Symphony Orchestra. In concert, he will sing Carmina Burana with the Mobile Symphony and

Recently, he made an acclaimed European debut at the Norwegian National Opera in a new production of Pelléas et Mélisande as Pelleas, a role he later sang with Opera de Oviedo and covered at the Glyndebourne Festival. He made his Washington National Opera debut as Maximillian in Francesca Zambello’s production of Candide and debuted at the Michigan Opera Theatre as the Count in Le nozze di Figaro conducted by Stephen Lord. He was also heard with the Milwaukee Symphony in Vaughan Williams’ Sea Symphony conducted by Andreas Delfs.

In his final season as an Adler Fellow at the San Francisco Opera, he sang mainstage performances of Malatesta in Don Pasquale, Yamadori in Madama Butterfly, and roles in the world premiere of Dream of the Red Chamber. Other appearances included his first performances of Hamlet at West Edge Opera and Schaunard in La bohème at Cincinnati Opera conducted by Louis Langrée. With Jessica Lang Dance, he performed Schubert’s Die schöne Müllerin choreographed by Jessica Lang as The Wanderer at Chicago’s Harris Theater.

Mr. Nelson performed Richard Nixon’s “News has a kind of mystery” from John Adams’ Nixon in China for the gala honoring David Gockley at the San Francisco Opera. He also performed the roles of the Second Priest in The Magic Flute, Hermann Ortel in Die Meistersinger von Nürnberg, Fiorello in Il barbiere di Siviglia, L’Ami in Debussy’s La chute de la Maison Usher, and Moralès in Carmen. In 2015, he created the role of Lieutenant John Buckley in the world premiere of Marco Tutino’s Two Women and is a graduate of the 2014 Merola Opera Program where he sang the title role of Don Giovanni.

Recent engagements include the Ferryman (Britten’s Curlew River) with the Mark Morris Dance Group/Tanglewood Music Festival and Montreal’s Ballet-Opéra-Pantomime, covering Miller in Montsalvatge’s El Gato con Botas with Gotham Chamber Opera, as well as the title role of Britten’s Owen Wingrave, Dandini (La Cenerentola), and Le Podestat (Bizet’s Le Docteur Miracle) with the University of Cincinnati College-Conservatory of Music (CCM), from which he holds undergraduate and graduate degrees.

On the concert stage, he has been a soloist with the Philharmonia Baroque, American Choral Directors Association and the Reno Philharmonic. He is a grant winner from the Gerda Lissner Foundation, a national semifinalist in the 2013 Metropolitan Opera National Council Auditions and the 2014 Naumburg International Voice Competition, First Prize winner of the 2014 Corbett Opera Competition at CCM, and a winner in the 2013 Opera Columbus and 2014 Mildred Miller International Voice Competition.

Source: CAMI

Caitlin Lynch
Donna Anna
Sarah-Jane Brandon
Donna Anna (2/23)

Winner of the 2009 Kathleen Ferrier Award, South African soprano Sarah-Jane Brandon studied at the Royal
College of Music, and was a participant in the 2011 Salzburg Festival’s Young Singers Project.
In the 2017/18 season, Sarah-Jane Brandon will return to the Semperoper Dresden as Antonia Les contes
d’Hoffmann, and as Contessa Le nozze di Figaro, and she will make her operatic debut in the United States as
Contessa for Palm Beach Opera, Florida. On the concert platform, she will perform the Brahms’ Requiem
with the RSNO and Peter Oudjian; Haydn’s Nelson Mass with the Orchestra National de Lyon and Omer
Meir Wellber and Britten’s War Requiem on a tour of the Netherlands with the Bochum Symphoniker and
Rotterdam Symphony Chorus.

Sarah-Jane Brandon has enjoyed particular success with the role of Contessa Le nozze di Figaro, performing
the role in new productions for the Semperoper Dresden and Savonlinna Opera Festival, as well as for
Glyndebourne; English National Opera; Opéra de Dijon; Opéra-Theatre de Saint-Etienne, Cape Town Opera
and the National Theatre of Bahrain – on tour for the Aix en Provence Festival.

Further appearances on the operatic stage include Micäela Carmen for the Deutsche Oper, Berlin and Teatro
Sao Carlos, Lisbon; Pamina in a new production of Die Zauberflöte for the Opéra de Nice; Donna Clara Der
Zwerg in a new production for the Teatro Sao Carlos, Lisbon; Erste Dame in Die Zauberflöte at the Teatro
dell’Opera di Roma; Giulietta I Capuleti e i Montecchi for the Buxton Festival; Desdemona Otello for Cape
Town Opera and she made her debut at the Teatro Real, Madrid in performances of Handel’s L’Allegro, il
Penseroso ed il Moderato with the Mark Morris Dance Group conducted by Jane Glover – this production
was filmed and released on DVD.

Her recent concert engagements include Haydn’s Nelson Mass with the London Philharmonic Orchestra and
Yannick Nézet-Séguin; a tour of the Netherlands with the BBCSO and Martyn Brabbins, performing
Howell’s Hymns Paradisi; Mahler’s 8 Symphony conducted by Omer Meir Wellber at the Dresden Music
Festival; Viennese Gala Concerts with the Scottish Chamber Orchestra and Thomas Rösner; Beethoven’s
Missa Solemnis with Sir Roger Norrington and with Vasily Petrenko and the RLPO; and her debut at the
Concertgebouw with the Boston Philharmonic Orchestra performing Mahler’s 2nd Symphony.

Further concert highlights include Berg’s Sieben frühe Lieder with the City of Birmingham Symphony
Orchestra and Edward Gardner; Mahler’s Symphony no. 4 with the BBC Symphony Orchestra and Sylvain
Cambreling, and appearances at the Edinburgh Festival with the Royal Scottish National Orchestra and Sir
Andrew Davis; the Mozarteum Orchestra and Ivor Bolton; the London Philharmonic Orchestra with Kurt
Masur; City of Birmingham Symphony Orchestra with Andris Nelsons, Royal Liverpool Philharmonic
Orchestra with Vasily Petrenko and with the London Symphony Orchestra and Sir Bernard Haitink.

Sarah-Jane’s recent recital appearances include her debut recital at the Wigmore Hall with James Baillieu;
Trinity College Cambridge and the Leeds Lieder Festival with Malcolm Martineau; the Musée d’Orsay and
Birmingham’s Barber Institute with Simon Lepper and the Wigmore Hall and the Buxton, Hay-on-Wye,
Chester and Oxford Lieder Festivals with Gary Matthewman. She has recorded Poulenc with Graham
Johnson and Wolf Lieder with Sholto Kynoch.

Danielle Pastin
Donna Elvira
Felicia Moore*
Donna Elvira (2/23)

American soprano Felicia Moore is recognized as a powerful and innovative emerging artist having made music in partnership with Alan Gilbert, Anne Manson, Yannick Nézet-Séguin, Speranza Scappucci, Gary Thor Wedow, and Brian Zeger among others.  Ms. Moore already has earned praise through international competition and through her performance on numerous stages of North America.  She recently earned an Artist Diploma in Opera Studies from The Juilliard School, and was named one of the winners of The Sullivan Foundation Competition.

In the current season, Felicia Moore makes her debut at Palm Beach Opera as Donna Elvira in Don Giovanni and joins the Las Vegas Philharmonic in performances of Beethoven’s Ninth Symphony.  The 2017-18 season began with performances of Mrs. Grose in Britten’s The Turn of the Screw at Opera Columbus in a new Stephen Wadsworth production and ended with a role debut as Donna Elvira in a new production of Don Giovanni at Heartbeat Opera directed by Louisa Proske.  Her final Juilliard year included workshop selections from Tchaikovsky’s Eugene Onegin with Alan Gilbert conducting the Juilliard Orchestra and Copland’s Twelve Emily Dickinson Songs with pianist Brian Zeger at Juilliard’s Songfest in Alice Tully Hall.  She gave a recital at Lincoln Center as winner of Juilliard’s Vocal Arts Honors Recital presenting a program of Sibelius, Wagner and Copland with pianist Chris Reynolds and offered the Juilliard Commencement Concert with a performance of Beethoven’s Ah! Perfido, Op. 65 with Speranza Scappucci leading the Juilliard Orchestra.  Felicia Moore spent the summer in Europe first as a Resident Artist in the Aix-en-Provence Festival’s Mozart Académie and then as a participant of the International Meistersinger Akademie in Neumarkt, Germany under the tutelage of Edith Wiens.

Performances of recent years feature the title role in Juilliard Opera’s production of Janáček’s Katya Kabanova conducted by Anne Manson in a new production by Stephen Wadsworth, and a summer in San Francisco Opera’s Merola Opera Program, performing in the Schwabacher Summer Concert as Agathe in Der Freischütz, and as Elisabeth in Tannhäuser on the stage of the San Francisco Opera.  Other performances include Rossini’s Stabat Mater with the Chamber Orchestra of the Triangle in North Carolina, Mozart’s Ch’io mi scordi di te? with the Juilliard Orchestra led by Gary Thor Wedow, and Strauss’ Vier letzte Lieder with Alan Gilbert and the Juilliard Orchestra Lab.

Ms. Moore’s training has included resident artist apprenticeships at Des Moines Metro Opera, Opera Theatre of Saint Louis, Portland Opera, and the Ravinia Festival’s Steans Institute.  Her work in these programs featured role preparations for First Lady in Die Zauberflöte, Alice Ford in Falstaff, Amelia in Un ballo in Maschera, Madame Lidoine in Dialogues of the Carmelites, Leonore in Fidelio, and the title role of Tobias Picker’s Emmeline.

Success in international vocal competition is demonstrated and supported by achievements in the Metropolitan Opera National Council Auditions, George London Foundation Competition, Licia Albanese-Puccini Foundation, Tenor Viñas International Singing Contest, Opera Index, and Fort Worth Opera’s McCammon Voice Competition.  Felicia Moore was awarded the Prix des Amis du Festival following her participation in the Aix-en-Provence Festival’s Mozart Académie and she has been recognized with First Prize from The Jensen Foundation, Second Prize at the National Opera Association Competition, the Florence and Paul DeRosa Prize by The Juilliard School and by The Gerda Lissner Foundation, the Richard F. Gold Foundation, and the Wagner Society of New York.

Felicia Moore is a 2018-19 Lumos Fellow under the auspices of Turn The Spotlight, a foundation created to identify, nurture, and empower leaders – and in turn, to illuminate the path to a more equitable future in the arts through mentorship by and for exceptional women, people of color, and other equity-seeking groups in the arts. She is a proud alumna of The Juilliard School, Mannes School of Music, and Westminster Choir College.

Bogdan Volkov*
Don Ottavio

Bogdan Volkov studied singing at the Glier Kiev Institute of Music. In 2013 he completed his vocal studies graduating at Tchaikovsky Kiev National Academy of Music. In 2013-15 was a member of the Young Artists Program of the Bolshoi Theatre of Russia. During this period Bogdan made his role debuts as Simpleton in «Boris Godunov» by M. Mussorgsky, as Mozart in «Mozart and Salieri» by N. Rimsky-Korsakov, as Kai in «The story of Kai and Gerda» by S. Banevich and as Vladimir Igorevich in «Prince Igor» by A. Borodin and others…

In February 2014 he debuted in the new production of «The Tsar’s Bride» by N. Rimsky-Korsakov as Lykov, conducted by Gennady Rozhdestvensky. With this role he took part in the Bolshoi Theatre tours to Austria, Hong Kong Arts Festival and Lincoln Centre Festival.

In 2015 he was awarded the 1st prize and audience sympathy prize at the Paris Opera Competition. In October 2015 Bogdan successfully debuted as Lensky in «Eugene Onegin» by P. Tchaikovsky, working with director Dmitry Tchernyakov in his production at the Bolshoi. Since January 2016 he has been a principal soloist of the Bolshoi Theatre. In 2016 he was awarded the 2nd prize at Plácido Domingo’s Operalia, the World Opera Competition in Guadalajara.

In February 2017 he took part in the production of M. Weinberg`s «The Idiot», singing the title role of Prince Myshkin and in June 2017 he took part in the production of «The Snow Maiden» by N. Rimsky-Korsakov at the Bolshoi Theatre. For this roles Bogdan Volkov has been awarded «Onegin» the national opera award.

He also took part in concerts of the Bolshoi Theatre tours with Tugan Sohiev to Switzerland and France. In Jully 2017 he sang Lensky at the Festival d’Aix-En-Provence and Savonlinna Opera Festival.

David Margulis*
Don Ottavio (2/23)

Tenor David Margulis is emerging as a tenor with a bright future on international opera stages. He has been called “radiant voiced,” and been praised for his “clear, pleasing tenor.” Of his recent portrayal of Tamino in Die Zauberflöte in his mainstage debut at Arizona Opera, Opera Today raved: “David Margulis was an energetic Tamino who was only momentarily laid low by Pollard’s iconic monster. He sang with sumptuous lyrical sounds conveyed on a well-honed legato.” The upcoming 2016-17 season includes debuts with Opera Nationale de Lorraine, Opera Orlando, Zürcher Kammerorchester, and Opera Grand Rapids.

This past fall, he joined the prestigious Internationalen Opernstudio at Opernhaus Zürich where he will demonstrate his refined dramatic sensibilities in a variety of operas including Jonathan Dove’s musical fairy tale The Enchanted Pig, Rossini’s colorful comic opera Le comte Ory, Haydn’s rarely seen “heroic-comic drama” Orlando paladino, Mozart’s hilarious comic singspiel Der Schauspieldirektor, and Tchaikovsky’s Pique Dame. He finished the season with a debut at the Verbier Festival, singing Don Ottavio in Don Giovanni.

In recent engagements, Margulis made his main stage debuts as Borsa (Duke cover) in Rigoletto at Opera Santa Barbara, and in the The Impresario/Le Rossignol double bill at Santa Fe Opera. Margulis also participated in the inaugural New York Festival Song at North Fork program in Orient, New York with Steven Blier, performed Beethoven’s 9th Symphony for the opening night of the Phoenix Symphony’s season, and was seen at the Tucson Desert Song Festival performing on a program for the Ravinia Steans Music Institute on Tour with Kevin Murphy.

Additionally, Margulis has been engaged by some of the finest training programs in the country, where his assignments have included: Goro in Madama Butterfly and Léon in The Ghosts of Versailles at Wolf Trap Opera; Ernesto in Don Pasquale, Alfredo in La traviata, Steuermann in Die Fliegende Holländer, Ralph Rackstraw in H.M.S. Pinafore, Basilio/Curzio in Le nozze di Figaro, and Arturo in Lucia di Lammermoor at Arizona Opera; Young Servant in Elektra at Des Moines Metro Opera; Selimo in Maometto II at Santa Fe Opera; Molqi in The Death of Klinghoffer at Opera Theatre St. Louis; and Tybalt in Roméo et Juliette at Seagle Music Colony. While a Fellow at the Ravinia Steans Music Institute, he was privileged to work with some of the most respected coaches and conductors in the world, including Kevin Murphy, Malcolm Martineau, and James Conlon.

Mr. Margulis is earning a reputation as a champion of new works after being a part of numerous workshops of new pieces, including the workshop performance of Theodore Morrison’s first opera, Oscar, at The Santa Fe Opera and the workshop première of Bohmler’s Riders of the Purple Sage at Arizona Opera. He has premièred several new works including the tenor solo in Robert Kyr’s Pacific Sanctus.

Mr. Margulis holds degrees from the Jacobs School of Music at Indiana University, The University of Washington, and Florida State University. David is a three time Regional Finalist in the Metropolitan Opera National Council Auditions

Joshua Bloom*
Leporello
André Courville*
Leporello (2/23)

Praised by Opera News for his “splendid, lush bass-baritone”, André Courville is quickly establishing himself as one of America’s foremost young singers. This season brings debuts with Palm Beach Opera as Leporello in Don Giovanni and with Arizona Opera as the title role in Le Nozze di Figaro.

Highlights of previous seasons include Masetto in Don Giovanni with The  Dallas  Opera, his European debut at Karlsruhe’s Badisches Staatstheater as Mozart’s Figaro, the Marquis in La traviata with the Santa Fe Opera, and a return to the Philadelphia Orchestra as the Jailer in Tosca under the baton of Yannick Nézet-Séguin.

Trained at the Academy of Vocal Arts in Philadelphia, he garnered critical acclaim for performances there of many important roles including Méphistophélès in Faust, Mustafà in L’Italiana in Algeri, and Colline in La bohème.

An equally busy concert performer, he has appeared at Carnegie Hall for the past three seasons since his debut there with Opera Orchestra of New York. Other recent performances include the title role in Mendelssohn’s Elijah with the Columbus Symphony Orchestra, the bass solos in Mozart’s Great Mass in C minor at the Spoleto Festival USA, and Bach’s Cantata 150 with the Philadelphia Orchestra.

A Louisiana native, Courville is the recipient of top awards in eight national and international vocal competitions, including First Prize in the Loren L. Zachary National Vocal Competition and Top Prize in the Gerda Lissner Foundation International Vocal Competition.

Danielle MacMillan+
Zerlina

Former Benenson Young Artist Danielle MacMillan is known for her “deep plumy sound” Paula Citron, Classical 96.3fm and “a good foil” Opera in Review, Opera Canada. Toronto native Danielle MacMillan was a member of the COCs Ensemble Studio. Ms. MacMillan made her COC debut as the Second Niece in Britten’s Peter Grimes. She holds a BFA honors in classical vocal performance from York University with additional training at IVAI Istituzione Teatro Lirico Sperimentale di Spoleto, and The Glenn Gould School (GGS). Her credits include Diana in Cavalli’s La Calisto, Second Lady in Mozart’s The Magic Flute and Véronique in Bizet’s Le Docteur Miracle (GGS). During the 2014 season at the COC Ms. MacMillan also appeared as Dorabella in the Ensemble Studio performance of Cosí fan Tutte: “Act 2’s Danielle MacMillan has a bright sound and beautiful legato phrasing with spinto qualities that speak to heavier roles in the future. It is a surprisingly big voice at this early stage of a career” Paula Citron. Ms. MacMillan recently completed her second year as a Young Artist at Palm Beach Opera.

Neil Nelson
Masetto

Born in Kingston, Jamaica bass baritone Neil Nelson moved to the United States with his family at the age of 2, settling in Queens, New York. It has been said by colleagues and critics alike, that Mr. Nelson possesses one of the purest and most resonant bass baritone voice of recent times.

An excellent musician and linguist, Mr. Nelson graduated from The New England Conservatory of Music with a degree in music performance. Winning awards such as the Stephen Shrestinian Award for Excellence (Boston Lyric Opera), the Heinz Refuss Singing Actors Award (Orlando Opera), and appearing as a finalist in the New York Metropolitan Opera Auditions launched him into his professional career. Mr. Nelson has performed operatic roles with Boston Lyric Opera, Boston Symphony Orchestra, Palm Beach Opera, Opera Theatre of St. Louis, Berkshire Opera, Orlando Opera, The New York Harlem Opera Theater and the Tartar State Opera Theater in Kazan, Russia.

The 2015-16 season saw Mr. Nelson performing such roles as Conte di Luna in “Il Trovatore” with Winter Opera St. Louis, Jake in “Porgy and Bess” with the Tatar State Opera Theater (Kazan, Russia), Bass Soloist in the Beethoven Symphony no. 9 and Featured Soloist in “American Song Book” with the South Florida Symphony, Scarpia in “Tosca” with the Union Avenue Opera and Pirate King in the “Pirates of Penzance” with Opera Theatre of St. Louis

During the 2014-15 season Mr. Nelson performed the roles of Tonio in I Pagliacci with the St. Petersburg Opera, Schaunard in La Boheme with Opera Naples, Hagen in Götterdämmerung with Union Avenue Opera, Sulpice in La Fille du Regiment with Palm Beach Opera, Leporello in Don Giovanni with Union Avenue Opera and covered Coline in La Boheme with Palm Beach Opera.

Although opera is his first love, Neil has a passion for oratorio and concert stage. He has appeared as a soloist with ensembles such as the Lynn Conservatory Orchestra, the Ocean City Pops, the Southwest Florida Symphony, and the New England Conservatory Orchestra.

Future engagements include Porgy in “Porgy and Bess” with the South Florida Symphony and the Tatarstan State Opera Theater (Kazan, Russia), Oroveso in Norma with Winter Opera Opera St. Louis and Bass Soloist in Handel’s Messiah with the Masterworks Chorus of the Palm Beaches.

Mr. Nelson resides in South Florida with his wife and two daughters. When he is not singing, Neil can be found having fun with his family, fishing, or working with young men in his community as a mentor and a football coach.

Mikhail Kolelishvili
Commendatore

Widely considered to be one of Russia’s leading basses, Mikhail Kolelishvili first came to international attention as a finalist in the BBC Cardiff Singer of the World Competition in 2005, having already distinguished himself as a winner of two significant competitions in St. Petersburg – the 2002 Rimsky-Korsakov International Competition and the 2003 Elena Obraztsova Competition – and also claiming first prize in the 2004 Moniuszko Competition in Warsaw.

A soloist at St. Petersburg’s Mariinsky Theatre since 2009, Mr. Kolelishvili has performed over 30 roles for the company, with a specialty in the great bass roles of the Russian tradition, including Varlaam in Boris Godunov, Khan Konchak in Prince Igor, the title role in The Tale of Tsar Saltan, Mendoza in Betrothal in a Monastery, King René in Iolanta, and Skuratov in The Tsar’s Bride.  From the Western repertoire, he is known for his richly-sung interpretations of Il Commendatore in Don Giovanni, Sarastro in Die Zauberflöte, the Grand Inquisitor in Don Carlo, Sparafucile in Rigoletto, Don Basilio in Il barbiere di Siviglia, Don Bartolo in Le nozze di Figaro, Méphistophélès in Faust, the Bonze in Madama Butterfly, the King of Egypt in Aida, Banquo in Macbeth, and the title role in Don Quichotte.

Mr. Kolelishvili made his Metropolitan Opera debut in Shostakovich’s Lady Macbeth of Mtsensk in 2014, and he has appeared with the Dallas Opera in productions of Iolanta and Boris Godunov.  Other US engagements include an acclaimed debut with the Cincinnati Symphony Orchestra and conductor James Conlon as the soloist for Shostakovich’s Symphony Babi Yar.  Internationally, he has also performed with the Opéra National de Paris, Théâtre du Capitole de Toulouse, Opéra de Toulon, La Monnaie in Brussels, Finland’s Savonlinna Festival, and the Israeli Opera.

In recognition of his achievements in music, Mr. Kolelishvili has been recognized with the honorary title of People’s Artist of the Republic of Northern Ossetia-Alania.  He began his professional career as a soloist with the Georgian National Opera while completing his training at the Tbilisi State Conservatory, and furthered his development as a member of the Mariinsky Theatre’s Academy of Young Singers.

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.

Kristine McIntyre*
Director
Marcus Dilliard*
Lighting Designer

Marcus has designed for opera, theater and dance across North America and in Europe, including numerous productions for the Minnesota Opera, Lyric Opera Kansas City, the Guthrie Theater, Children’s Theater Company, Minnesota Dance Theater, and Theatre de la Jeune Lune. Recent designs include La fanciulla del West and Hansel and Gretel for Minnesota Opera, Otello for Pittsburgh Opera, Silent Night for Cincinnati Opera, Love’s Labour’s Lost for Actors Theatre of Louisville and The Moving Company; Tartuffe for South Coast Repertory; Dead Man Walking for Madison Opera; The Ballad of Emmett Till for Penumbra Theater; and Cabaret for Theater Latté Da. Other projects include By the Way and Meet Vera Stark for Penumbra Theater; Silent Night for Lyric Opera Kansas City; Tartuffe for Berkeley Repertory Theater and the Shakespeare Theater; and The Barber of Sevillefor Madison Opera.

Andrei Bondarenko*
Don Giovanni
Edward Nelson*
Don Giovanni (2/23)

In the 2018-2019 season, American baritone Edward Nelson makes his Opera Philadelphia debut in Ne Quittez Pas: A Reimagined La voix humaine where he will sing songs of Francis Poulenc. He will return to the Norwegian National Opera as Dandini in Stefan Herheim’s production of La Cenerentola, debut at the Palm Beach Opera as the title role in Don Giovanni, as well as sing both Schaunard in La bohème and Papageno in Die Zauberflöte with the Boston Youth Symphony Orchestra. In concert, he will sing Carmina Burana with the Mobile Symphony and

Recently, he made an acclaimed European debut at the Norwegian National Opera in a new production of Pelléas et Mélisande as Pelleas, a role he later sang with Opera de Oviedo and covered at the Glyndebourne Festival. He made his Washington National Opera debut as Maximillian in Francesca Zambello’s production of Candide and debuted at the Michigan Opera Theatre as the Count in Le nozze di Figaro conducted by Stephen Lord. He was also heard with the Milwaukee Symphony in Vaughan Williams’ Sea Symphony conducted by Andreas Delfs.

In his final season as an Adler Fellow at the San Francisco Opera, he sang mainstage performances of Malatesta in Don Pasquale, Yamadori in Madama Butterfly, and roles in the world premiere of Dream of the Red Chamber. Other appearances included his first performances of Hamlet at West Edge Opera and Schaunard in La bohème at Cincinnati Opera conducted by Louis Langrée. With Jessica Lang Dance, he performed Schubert’s Die schöne Müllerin choreographed by Jessica Lang as The Wanderer at Chicago’s Harris Theater.

Mr. Nelson performed Richard Nixon’s “News has a kind of mystery” from John Adams’ Nixon in China for the gala honoring David Gockley at the San Francisco Opera. He also performed the roles of the Second Priest in The Magic Flute, Hermann Ortel in Die Meistersinger von Nürnberg, Fiorello in Il barbiere di Siviglia, L’Ami in Debussy’s La chute de la Maison Usher, and Moralès in Carmen. In 2015, he created the role of Lieutenant John Buckley in the world premiere of Marco Tutino’s Two Women and is a graduate of the 2014 Merola Opera Program where he sang the title role of Don Giovanni.

Recent engagements include the Ferryman (Britten’s Curlew River) with the Mark Morris Dance Group/Tanglewood Music Festival and Montreal’s Ballet-Opéra-Pantomime, covering Miller in Montsalvatge’s El Gato con Botas with Gotham Chamber Opera, as well as the title role of Britten’s Owen Wingrave, Dandini (La Cenerentola), and Le Podestat (Bizet’s Le Docteur Miracle) with the University of Cincinnati College-Conservatory of Music (CCM), from which he holds undergraduate and graduate degrees.

On the concert stage, he has been a soloist with the Philharmonia Baroque, American Choral Directors Association and the Reno Philharmonic. He is a grant winner from the Gerda Lissner Foundation, a national semifinalist in the 2013 Metropolitan Opera National Council Auditions and the 2014 Naumburg International Voice Competition, First Prize winner of the 2014 Corbett Opera Competition at CCM, and a winner in the 2013 Opera Columbus and 2014 Mildred Miller International Voice Competition.

Source: CAMI

Caitlin Lynch
Donna Anna
Sarah-Jane Brandon
Donna Anna (2/23)

Winner of the 2009 Kathleen Ferrier Award, South African soprano Sarah-Jane Brandon studied at the Royal
College of Music, and was a participant in the 2011 Salzburg Festival’s Young Singers Project.
In the 2017/18 season, Sarah-Jane Brandon will return to the Semperoper Dresden as Antonia Les contes
d’Hoffmann, and as Contessa Le nozze di Figaro, and she will make her operatic debut in the United States as
Contessa for Palm Beach Opera, Florida. On the concert platform, she will perform the Brahms’ Requiem
with the RSNO and Peter Oudjian; Haydn’s Nelson Mass with the Orchestra National de Lyon and Omer
Meir Wellber and Britten’s War Requiem on a tour of the Netherlands with the Bochum Symphoniker and
Rotterdam Symphony Chorus.

Sarah-Jane Brandon has enjoyed particular success with the role of Contessa Le nozze di Figaro, performing
the role in new productions for the Semperoper Dresden and Savonlinna Opera Festival, as well as for
Glyndebourne; English National Opera; Opéra de Dijon; Opéra-Theatre de Saint-Etienne, Cape Town Opera
and the National Theatre of Bahrain – on tour for the Aix en Provence Festival.

Further appearances on the operatic stage include Micäela Carmen for the Deutsche Oper, Berlin and Teatro
Sao Carlos, Lisbon; Pamina in a new production of Die Zauberflöte for the Opéra de Nice; Donna Clara Der
Zwerg in a new production for the Teatro Sao Carlos, Lisbon; Erste Dame in Die Zauberflöte at the Teatro
dell’Opera di Roma; Giulietta I Capuleti e i Montecchi for the Buxton Festival; Desdemona Otello for Cape
Town Opera and she made her debut at the Teatro Real, Madrid in performances of Handel’s L’Allegro, il
Penseroso ed il Moderato with the Mark Morris Dance Group conducted by Jane Glover – this production
was filmed and released on DVD.

Her recent concert engagements include Haydn’s Nelson Mass with the London Philharmonic Orchestra and
Yannick Nézet-Séguin; a tour of the Netherlands with the BBCSO and Martyn Brabbins, performing
Howell’s Hymns Paradisi; Mahler’s 8 Symphony conducted by Omer Meir Wellber at the Dresden Music
Festival; Viennese Gala Concerts with the Scottish Chamber Orchestra and Thomas Rösner; Beethoven’s
Missa Solemnis with Sir Roger Norrington and with Vasily Petrenko and the RLPO; and her debut at the
Concertgebouw with the Boston Philharmonic Orchestra performing Mahler’s 2nd Symphony.

Further concert highlights include Berg’s Sieben frühe Lieder with the City of Birmingham Symphony
Orchestra and Edward Gardner; Mahler’s Symphony no. 4 with the BBC Symphony Orchestra and Sylvain
Cambreling, and appearances at the Edinburgh Festival with the Royal Scottish National Orchestra and Sir
Andrew Davis; the Mozarteum Orchestra and Ivor Bolton; the London Philharmonic Orchestra with Kurt
Masur; City of Birmingham Symphony Orchestra with Andris Nelsons, Royal Liverpool Philharmonic
Orchestra with Vasily Petrenko and with the London Symphony Orchestra and Sir Bernard Haitink.

Sarah-Jane’s recent recital appearances include her debut recital at the Wigmore Hall with James Baillieu;
Trinity College Cambridge and the Leeds Lieder Festival with Malcolm Martineau; the Musée d’Orsay and
Birmingham’s Barber Institute with Simon Lepper and the Wigmore Hall and the Buxton, Hay-on-Wye,
Chester and Oxford Lieder Festivals with Gary Matthewman. She has recorded Poulenc with Graham
Johnson and Wolf Lieder with Sholto Kynoch.

Danielle Pastin
Donna Elvira
Felicia Moore*
Donna Elvira (2/23)

American soprano Felicia Moore is recognized as a powerful and innovative emerging artist having made music in partnership with Alan Gilbert, Anne Manson, Yannick Nézet-Séguin, Speranza Scappucci, Gary Thor Wedow, and Brian Zeger among others.  Ms. Moore already has earned praise through international competition and through her performance on numerous stages of North America.  She recently earned an Artist Diploma in Opera Studies from The Juilliard School, and was named one of the winners of The Sullivan Foundation Competition.

In the current season, Felicia Moore makes her debut at Palm Beach Opera as Donna Elvira in Don Giovanni and joins the Las Vegas Philharmonic in performances of Beethoven’s Ninth Symphony.  The 2017-18 season began with performances of Mrs. Grose in Britten’s The Turn of the Screw at Opera Columbus in a new Stephen Wadsworth production and ended with a role debut as Donna Elvira in a new production of Don Giovanni at Heartbeat Opera directed by Louisa Proske.  Her final Juilliard year included workshop selections from Tchaikovsky’s Eugene Onegin with Alan Gilbert conducting the Juilliard Orchestra and Copland’s Twelve Emily Dickinson Songs with pianist Brian Zeger at Juilliard’s Songfest in Alice Tully Hall.  She gave a recital at Lincoln Center as winner of Juilliard’s Vocal Arts Honors Recital presenting a program of Sibelius, Wagner and Copland with pianist Chris Reynolds and offered the Juilliard Commencement Concert with a performance of Beethoven’s Ah! Perfido, Op. 65 with Speranza Scappucci leading the Juilliard Orchestra.  Felicia Moore spent the summer in Europe first as a Resident Artist in the Aix-en-Provence Festival’s Mozart Académie and then as a participant of the International Meistersinger Akademie in Neumarkt, Germany under the tutelage of Edith Wiens.

Performances of recent years feature the title role in Juilliard Opera’s production of Janáček’s Katya Kabanova conducted by Anne Manson in a new production by Stephen Wadsworth, and a summer in San Francisco Opera’s Merola Opera Program, performing in the Schwabacher Summer Concert as Agathe in Der Freischütz, and as Elisabeth in Tannhäuser on the stage of the San Francisco Opera.  Other performances include Rossini’s Stabat Mater with the Chamber Orchestra of the Triangle in North Carolina, Mozart’s Ch’io mi scordi di te? with the Juilliard Orchestra led by Gary Thor Wedow, and Strauss’ Vier letzte Lieder with Alan Gilbert and the Juilliard Orchestra Lab.

Ms. Moore’s training has included resident artist apprenticeships at Des Moines Metro Opera, Opera Theatre of Saint Louis, Portland Opera, and the Ravinia Festival’s Steans Institute.  Her work in these programs featured role preparations for First Lady in Die Zauberflöte, Alice Ford in Falstaff, Amelia in Un ballo in Maschera, Madame Lidoine in Dialogues of the Carmelites, Leonore in Fidelio, and the title role of Tobias Picker’s Emmeline.

Success in international vocal competition is demonstrated and supported by achievements in the Metropolitan Opera National Council Auditions, George London Foundation Competition, Licia Albanese-Puccini Foundation, Tenor Viñas International Singing Contest, Opera Index, and Fort Worth Opera’s McCammon Voice Competition.  Felicia Moore was awarded the Prix des Amis du Festival following her participation in the Aix-en-Provence Festival’s Mozart Académie and she has been recognized with First Prize from The Jensen Foundation, Second Prize at the National Opera Association Competition, the Florence and Paul DeRosa Prize by The Juilliard School and by The Gerda Lissner Foundation, the Richard F. Gold Foundation, and the Wagner Society of New York.

Felicia Moore is a 2018-19 Lumos Fellow under the auspices of Turn The Spotlight, a foundation created to identify, nurture, and empower leaders – and in turn, to illuminate the path to a more equitable future in the arts through mentorship by and for exceptional women, people of color, and other equity-seeking groups in the arts. She is a proud alumna of The Juilliard School, Mannes School of Music, and Westminster Choir College.

Bogdan Volkov*
Don Ottavio

Bogdan Volkov studied singing at the Glier Kiev Institute of Music. In 2013 he completed his vocal studies graduating at Tchaikovsky Kiev National Academy of Music. In 2013-15 was a member of the Young Artists Program of the Bolshoi Theatre of Russia. During this period Bogdan made his role debuts as Simpleton in «Boris Godunov» by M. Mussorgsky, as Mozart in «Mozart and Salieri» by N. Rimsky-Korsakov, as Kai in «The story of Kai and Gerda» by S. Banevich and as Vladimir Igorevich in «Prince Igor» by A. Borodin and others…

In February 2014 he debuted in the new production of «The Tsar’s Bride» by N. Rimsky-Korsakov as Lykov, conducted by Gennady Rozhdestvensky. With this role he took part in the Bolshoi Theatre tours to Austria, Hong Kong Arts Festival and Lincoln Centre Festival.

In 2015 he was awarded the 1st prize and audience sympathy prize at the Paris Opera Competition. In October 2015 Bogdan successfully debuted as Lensky in «Eugene Onegin» by P. Tchaikovsky, working with director Dmitry Tchernyakov in his production at the Bolshoi. Since January 2016 he has been a principal soloist of the Bolshoi Theatre. In 2016 he was awarded the 2nd prize at Plácido Domingo’s Operalia, the World Opera Competition in Guadalajara.

In February 2017 he took part in the production of M. Weinberg`s «The Idiot», singing the title role of Prince Myshkin and in June 2017 he took part in the production of «The Snow Maiden» by N. Rimsky-Korsakov at the Bolshoi Theatre. For this roles Bogdan Volkov has been awarded «Onegin» the national opera award.

He also took part in concerts of the Bolshoi Theatre tours with Tugan Sohiev to Switzerland and France. In Jully 2017 he sang Lensky at the Festival d’Aix-En-Provence and Savonlinna Opera Festival.

David Margulis*
Don Ottavio (2/23)

Tenor David Margulis is emerging as a tenor with a bright future on international opera stages. He has been called “radiant voiced,” and been praised for his “clear, pleasing tenor.” Of his recent portrayal of Tamino in Die Zauberflöte in his mainstage debut at Arizona Opera, Opera Today raved: “David Margulis was an energetic Tamino who was only momentarily laid low by Pollard’s iconic monster. He sang with sumptuous lyrical sounds conveyed on a well-honed legato.” The upcoming 2016-17 season includes debuts with Opera Nationale de Lorraine, Opera Orlando, Zürcher Kammerorchester, and Opera Grand Rapids.

This past fall, he joined the prestigious Internationalen Opernstudio at Opernhaus Zürich where he will demonstrate his refined dramatic sensibilities in a variety of operas including Jonathan Dove’s musical fairy tale The Enchanted Pig, Rossini’s colorful comic opera Le comte Ory, Haydn’s rarely seen “heroic-comic drama” Orlando paladino, Mozart’s hilarious comic singspiel Der Schauspieldirektor, and Tchaikovsky’s Pique Dame. He finished the season with a debut at the Verbier Festival, singing Don Ottavio in Don Giovanni.

In recent engagements, Margulis made his main stage debuts as Borsa (Duke cover) in Rigoletto at Opera Santa Barbara, and in the The Impresario/Le Rossignol double bill at Santa Fe Opera. Margulis also participated in the inaugural New York Festival Song at North Fork program in Orient, New York with Steven Blier, performed Beethoven’s 9th Symphony for the opening night of the Phoenix Symphony’s season, and was seen at the Tucson Desert Song Festival performing on a program for the Ravinia Steans Music Institute on Tour with Kevin Murphy.

Additionally, Margulis has been engaged by some of the finest training programs in the country, where his assignments have included: Goro in Madama Butterfly and Léon in The Ghosts of Versailles at Wolf Trap Opera; Ernesto in Don Pasquale, Alfredo in La traviata, Steuermann in Die Fliegende Holländer, Ralph Rackstraw in H.M.S. Pinafore, Basilio/Curzio in Le nozze di Figaro, and Arturo in Lucia di Lammermoor at Arizona Opera; Young Servant in Elektra at Des Moines Metro Opera; Selimo in Maometto II at Santa Fe Opera; Molqi in The Death of Klinghoffer at Opera Theatre St. Louis; and Tybalt in Roméo et Juliette at Seagle Music Colony. While a Fellow at the Ravinia Steans Music Institute, he was privileged to work with some of the most respected coaches and conductors in the world, including Kevin Murphy, Malcolm Martineau, and James Conlon.

Mr. Margulis is earning a reputation as a champion of new works after being a part of numerous workshops of new pieces, including the workshop performance of Theodore Morrison’s first opera, Oscar, at The Santa Fe Opera and the workshop première of Bohmler’s Riders of the Purple Sage at Arizona Opera. He has premièred several new works including the tenor solo in Robert Kyr’s Pacific Sanctus.

Mr. Margulis holds degrees from the Jacobs School of Music at Indiana University, The University of Washington, and Florida State University. David is a three time Regional Finalist in the Metropolitan Opera National Council Auditions

Joshua Bloom*
Leporello
André Courville*
Leporello (2/23)

Praised by Opera News for his “splendid, lush bass-baritone”, André Courville is quickly establishing himself as one of America’s foremost young singers. This season brings debuts with Palm Beach Opera as Leporello in Don Giovanni and with Arizona Opera as the title role in Le Nozze di Figaro.

Highlights of previous seasons include Masetto in Don Giovanni with The  Dallas  Opera, his European debut at Karlsruhe’s Badisches Staatstheater as Mozart’s Figaro, the Marquis in La traviata with the Santa Fe Opera, and a return to the Philadelphia Orchestra as the Jailer in Tosca under the baton of Yannick Nézet-Séguin.

Trained at the Academy of Vocal Arts in Philadelphia, he garnered critical acclaim for performances there of many important roles including Méphistophélès in Faust, Mustafà in L’Italiana in Algeri, and Colline in La bohème.

An equally busy concert performer, he has appeared at Carnegie Hall for the past three seasons since his debut there with Opera Orchestra of New York. Other recent performances include the title role in Mendelssohn’s Elijah with the Columbus Symphony Orchestra, the bass solos in Mozart’s Great Mass in C minor at the Spoleto Festival USA, and Bach’s Cantata 150 with the Philadelphia Orchestra.

A Louisiana native, Courville is the recipient of top awards in eight national and international vocal competitions, including First Prize in the Loren L. Zachary National Vocal Competition and Top Prize in the Gerda Lissner Foundation International Vocal Competition.

Danielle MacMillan+
Zerlina

Former Benenson Young Artist Danielle MacMillan is known for her “deep plumy sound” Paula Citron, Classical 96.3fm and “a good foil” Opera in Review, Opera Canada. Toronto native Danielle MacMillan was a member of the COCs Ensemble Studio. Ms. MacMillan made her COC debut as the Second Niece in Britten’s Peter Grimes. She holds a BFA honors in classical vocal performance from York University with additional training at IVAI Istituzione Teatro Lirico Sperimentale di Spoleto, and The Glenn Gould School (GGS). Her credits include Diana in Cavalli’s La Calisto, Second Lady in Mozart’s The Magic Flute and Véronique in Bizet’s Le Docteur Miracle (GGS). During the 2014 season at the COC Ms. MacMillan also appeared as Dorabella in the Ensemble Studio performance of Cosí fan Tutte: “Act 2’s Danielle MacMillan has a bright sound and beautiful legato phrasing with spinto qualities that speak to heavier roles in the future. It is a surprisingly big voice at this early stage of a career” Paula Citron. Ms. MacMillan recently completed her second year as a Young Artist at Palm Beach Opera.

Neil Nelson
Masetto

Born in Kingston, Jamaica bass baritone Neil Nelson moved to the United States with his family at the age of 2, settling in Queens, New York. It has been said by colleagues and critics alike, that Mr. Nelson possesses one of the purest and most resonant bass baritone voice of recent times.

An excellent musician and linguist, Mr. Nelson graduated from The New England Conservatory of Music with a degree in music performance. Winning awards such as the Stephen Shrestinian Award for Excellence (Boston Lyric Opera), the Heinz Refuss Singing Actors Award (Orlando Opera), and appearing as a finalist in the New York Metropolitan Opera Auditions launched him into his professional career. Mr. Nelson has performed operatic roles with Boston Lyric Opera, Boston Symphony Orchestra, Palm Beach Opera, Opera Theatre of St. Louis, Berkshire Opera, Orlando Opera, The New York Harlem Opera Theater and the Tartar State Opera Theater in Kazan, Russia.

The 2015-16 season saw Mr. Nelson performing such roles as Conte di Luna in “Il Trovatore” with Winter Opera St. Louis, Jake in “Porgy and Bess” with the Tatar State Opera Theater (Kazan, Russia), Bass Soloist in the Beethoven Symphony no. 9 and Featured Soloist in “American Song Book” with the South Florida Symphony, Scarpia in “Tosca” with the Union Avenue Opera and Pirate King in the “Pirates of Penzance” with Opera Theatre of St. Louis

During the 2014-15 season Mr. Nelson performed the roles of Tonio in I Pagliacci with the St. Petersburg Opera, Schaunard in La Boheme with Opera Naples, Hagen in Götterdämmerung with Union Avenue Opera, Sulpice in La Fille du Regiment with Palm Beach Opera, Leporello in Don Giovanni with Union Avenue Opera and covered Coline in La Boheme with Palm Beach Opera.

Although opera is his first love, Neil has a passion for oratorio and concert stage. He has appeared as a soloist with ensembles such as the Lynn Conservatory Orchestra, the Ocean City Pops, the Southwest Florida Symphony, and the New England Conservatory Orchestra.

Future engagements include Porgy in “Porgy and Bess” with the South Florida Symphony and the Tatarstan State Opera Theater (Kazan, Russia), Oroveso in Norma with Winter Opera Opera St. Louis and Bass Soloist in Handel’s Messiah with the Masterworks Chorus of the Palm Beaches.

Mr. Nelson resides in South Florida with his wife and two daughters. When he is not singing, Neil can be found having fun with his family, fishing, or working with young men in his community as a mentor and a football coach.

Mikhail Kolelishvili
Commendatore

Widely considered to be one of Russia’s leading basses, Mikhail Kolelishvili first came to international attention as a finalist in the BBC Cardiff Singer of the World Competition in 2005, having already distinguished himself as a winner of two significant competitions in St. Petersburg – the 2002 Rimsky-Korsakov International Competition and the 2003 Elena Obraztsova Competition – and also claiming first prize in the 2004 Moniuszko Competition in Warsaw.

A soloist at St. Petersburg’s Mariinsky Theatre since 2009, Mr. Kolelishvili has performed over 30 roles for the company, with a specialty in the great bass roles of the Russian tradition, including Varlaam in Boris Godunov, Khan Konchak in Prince Igor, the title role in The Tale of Tsar Saltan, Mendoza in Betrothal in a Monastery, King René in Iolanta, and Skuratov in The Tsar’s Bride.  From the Western repertoire, he is known for his richly-sung interpretations of Il Commendatore in Don Giovanni, Sarastro in Die Zauberflöte, the Grand Inquisitor in Don Carlo, Sparafucile in Rigoletto, Don Basilio in Il barbiere di Siviglia, Don Bartolo in Le nozze di Figaro, Méphistophélès in Faust, the Bonze in Madama Butterfly, the King of Egypt in Aida, Banquo in Macbeth, and the title role in Don Quichotte.

Mr. Kolelishvili made his Metropolitan Opera debut in Shostakovich’s Lady Macbeth of Mtsensk in 2014, and he has appeared with the Dallas Opera in productions of Iolanta and Boris Godunov.  Other US engagements include an acclaimed debut with the Cincinnati Symphony Orchestra and conductor James Conlon as the soloist for Shostakovich’s Symphony Babi Yar.  Internationally, he has also performed with the Opéra National de Paris, Théâtre du Capitole de Toulouse, Opéra de Toulon, La Monnaie in Brussels, Finland’s Savonlinna Festival, and the Israeli Opera.

In recognition of his achievements in music, Mr. Kolelishvili has been recognized with the honorary title of People’s Artist of the Republic of Northern Ossetia-Alania.  He began his professional career as a soloist with the Georgian National Opera while completing his training at the Tbilisi State Conservatory, and furthered his development as a member of the Mariinsky Theatre’s Academy of Young Singers.

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.

Kristine McIntyre*
Director
Marcus Dilliard*
Lighting Designer

Marcus has designed for opera, theater and dance across North America and in Europe, including numerous productions for the Minnesota Opera, Lyric Opera Kansas City, the Guthrie Theater, Children’s Theater Company, Minnesota Dance Theater, and Theatre de la Jeune Lune. Recent designs include La fanciulla del West and Hansel and Gretel for Minnesota Opera, Otello for Pittsburgh Opera, Silent Night for Cincinnati Opera, Love’s Labour’s Lost for Actors Theatre of Louisville and The Moving Company; Tartuffe for South Coast Repertory; Dead Man Walking for Madison Opera; The Ballad of Emmett Till for Penumbra Theater; and Cabaret for Theater Latté Da. Other projects include By the Way and Meet Vera Stark for Penumbra Theater; Silent Night for Lyric Opera Kansas City; Tartuffe for Berkeley Repertory Theater and the Shakespeare Theater; and The Barber of Sevillefor Madison Opera.

Andrei Bondarenko*
Don Giovanni
Edward Nelson*
Don Giovanni (2/23)

In the 2018-2019 season, American baritone Edward Nelson makes his Opera Philadelphia debut in Ne Quittez Pas: A Reimagined La voix humaine where he will sing songs of Francis Poulenc. He will return to the Norwegian National Opera as Dandini in Stefan Herheim’s production of La Cenerentola, debut at the Palm Beach Opera as the title role in Don Giovanni, as well as sing both Schaunard in La bohème and Papageno in Die Zauberflöte with the Boston Youth Symphony Orchestra. In concert, he will sing Carmina Burana with the Mobile Symphony and

Recently, he made an acclaimed European debut at the Norwegian National Opera in a new production of Pelléas et Mélisande as Pelleas, a role he later sang with Opera de Oviedo and covered at the Glyndebourne Festival. He made his Washington National Opera debut as Maximillian in Francesca Zambello’s production of Candide and debuted at the Michigan Opera Theatre as the Count in Le nozze di Figaro conducted by Stephen Lord. He was also heard with the Milwaukee Symphony in Vaughan Williams’ Sea Symphony conducted by Andreas Delfs.

In his final season as an Adler Fellow at the San Francisco Opera, he sang mainstage performances of Malatesta in Don Pasquale, Yamadori in Madama Butterfly, and roles in the world premiere of Dream of the Red Chamber. Other appearances included his first performances of Hamlet at West Edge Opera and Schaunard in La bohème at Cincinnati Opera conducted by Louis Langrée. With Jessica Lang Dance, he performed Schubert’s Die schöne Müllerin choreographed by Jessica Lang as The Wanderer at Chicago’s Harris Theater.

Mr. Nelson performed Richard Nixon’s “News has a kind of mystery” from John Adams’ Nixon in China for the gala honoring David Gockley at the San Francisco Opera. He also performed the roles of the Second Priest in The Magic Flute, Hermann Ortel in Die Meistersinger von Nürnberg, Fiorello in Il barbiere di Siviglia, L’Ami in Debussy’s La chute de la Maison Usher, and Moralès in Carmen. In 2015, he created the role of Lieutenant John Buckley in the world premiere of Marco Tutino’s Two Women and is a graduate of the 2014 Merola Opera Program where he sang the title role of Don Giovanni.

Recent engagements include the Ferryman (Britten’s Curlew River) with the Mark Morris Dance Group/Tanglewood Music Festival and Montreal’s Ballet-Opéra-Pantomime, covering Miller in Montsalvatge’s El Gato con Botas with Gotham Chamber Opera, as well as the title role of Britten’s Owen Wingrave, Dandini (La Cenerentola), and Le Podestat (Bizet’s Le Docteur Miracle) with the University of Cincinnati College-Conservatory of Music (CCM), from which he holds undergraduate and graduate degrees.

On the concert stage, he has been a soloist with the Philharmonia Baroque, American Choral Directors Association and the Reno Philharmonic. He is a grant winner from the Gerda Lissner Foundation, a national semifinalist in the 2013 Metropolitan Opera National Council Auditions and the 2014 Naumburg International Voice Competition, First Prize winner of the 2014 Corbett Opera Competition at CCM, and a winner in the 2013 Opera Columbus and 2014 Mildred Miller International Voice Competition.

Source: CAMI

Caitlin Lynch
Donna Anna
Sarah-Jane Brandon
Donna Anna (2/23)

Winner of the 2009 Kathleen Ferrier Award, South African soprano Sarah-Jane Brandon studied at the Royal
College of Music, and was a participant in the 2011 Salzburg Festival’s Young Singers Project.
In the 2017/18 season, Sarah-Jane Brandon will return to the Semperoper Dresden as Antonia Les contes
d’Hoffmann, and as Contessa Le nozze di Figaro, and she will make her operatic debut in the United States as
Contessa for Palm Beach Opera, Florida. On the concert platform, she will perform the Brahms’ Requiem
with the RSNO and Peter Oudjian; Haydn’s Nelson Mass with the Orchestra National de Lyon and Omer
Meir Wellber and Britten’s War Requiem on a tour of the Netherlands with the Bochum Symphoniker and
Rotterdam Symphony Chorus.

Sarah-Jane Brandon has enjoyed particular success with the role of Contessa Le nozze di Figaro, performing
the role in new productions for the Semperoper Dresden and Savonlinna Opera Festival, as well as for
Glyndebourne; English National Opera; Opéra de Dijon; Opéra-Theatre de Saint-Etienne, Cape Town Opera
and the National Theatre of Bahrain – on tour for the Aix en Provence Festival.

Further appearances on the operatic stage include Micäela Carmen for the Deutsche Oper, Berlin and Teatro
Sao Carlos, Lisbon; Pamina in a new production of Die Zauberflöte for the Opéra de Nice; Donna Clara Der
Zwerg in a new production for the Teatro Sao Carlos, Lisbon; Erste Dame in Die Zauberflöte at the Teatro
dell’Opera di Roma; Giulietta I Capuleti e i Montecchi for the Buxton Festival; Desdemona Otello for Cape
Town Opera and she made her debut at the Teatro Real, Madrid in performances of Handel’s L’Allegro, il
Penseroso ed il Moderato with the Mark Morris Dance Group conducted by Jane Glover – this production
was filmed and released on DVD.

Her recent concert engagements include Haydn’s Nelson Mass with the London Philharmonic Orchestra and
Yannick Nézet-Séguin; a tour of the Netherlands with the BBCSO and Martyn Brabbins, performing
Howell’s Hymns Paradisi; Mahler’s 8 Symphony conducted by Omer Meir Wellber at the Dresden Music
Festival; Viennese Gala Concerts with the Scottish Chamber Orchestra and Thomas Rösner; Beethoven’s
Missa Solemnis with Sir Roger Norrington and with Vasily Petrenko and the RLPO; and her debut at the
Concertgebouw with the Boston Philharmonic Orchestra performing Mahler’s 2nd Symphony.

Further concert highlights include Berg’s Sieben frühe Lieder with the City of Birmingham Symphony
Orchestra and Edward Gardner; Mahler’s Symphony no. 4 with the BBC Symphony Orchestra and Sylvain
Cambreling, and appearances at the Edinburgh Festival with the Royal Scottish National Orchestra and Sir
Andrew Davis; the Mozarteum Orchestra and Ivor Bolton; the London Philharmonic Orchestra with Kurt
Masur; City of Birmingham Symphony Orchestra with Andris Nelsons, Royal Liverpool Philharmonic
Orchestra with Vasily Petrenko and with the London Symphony Orchestra and Sir Bernard Haitink.

Sarah-Jane’s recent recital appearances include her debut recital at the Wigmore Hall with James Baillieu;
Trinity College Cambridge and the Leeds Lieder Festival with Malcolm Martineau; the Musée d’Orsay and
Birmingham’s Barber Institute with Simon Lepper and the Wigmore Hall and the Buxton, Hay-on-Wye,
Chester and Oxford Lieder Festivals with Gary Matthewman. She has recorded Poulenc with Graham
Johnson and Wolf Lieder with Sholto Kynoch.

Danielle Pastin
Donna Elvira
Felicia Moore*
Donna Elvira (2/23)

American soprano Felicia Moore is recognized as a powerful and innovative emerging artist having made music in partnership with Alan Gilbert, Anne Manson, Yannick Nézet-Séguin, Speranza Scappucci, Gary Thor Wedow, and Brian Zeger among others.  Ms. Moore already has earned praise through international competition and through her performance on numerous stages of North America.  She recently earned an Artist Diploma in Opera Studies from The Juilliard School, and was named one of the winners of The Sullivan Foundation Competition.

In the current season, Felicia Moore makes her debut at Palm Beach Opera as Donna Elvira in Don Giovanni and joins the Las Vegas Philharmonic in performances of Beethoven’s Ninth Symphony.  The 2017-18 season began with performances of Mrs. Grose in Britten’s The Turn of the Screw at Opera Columbus in a new Stephen Wadsworth production and ended with a role debut as Donna Elvira in a new production of Don Giovanni at Heartbeat Opera directed by Louisa Proske.  Her final Juilliard year included workshop selections from Tchaikovsky’s Eugene Onegin with Alan Gilbert conducting the Juilliard Orchestra and Copland’s Twelve Emily Dickinson Songs with pianist Brian Zeger at Juilliard’s Songfest in Alice Tully Hall.  She gave a recital at Lincoln Center as winner of Juilliard’s Vocal Arts Honors Recital presenting a program of Sibelius, Wagner and Copland with pianist Chris Reynolds and offered the Juilliard Commencement Concert with a performance of Beethoven’s Ah! Perfido, Op. 65 with Speranza Scappucci leading the Juilliard Orchestra.  Felicia Moore spent the summer in Europe first as a Resident Artist in the Aix-en-Provence Festival’s Mozart Académie and then as a participant of the International Meistersinger Akademie in Neumarkt, Germany under the tutelage of Edith Wiens.

Performances of recent years feature the title role in Juilliard Opera’s production of Janáček’s Katya Kabanova conducted by Anne Manson in a new production by Stephen Wadsworth, and a summer in San Francisco Opera’s Merola Opera Program, performing in the Schwabacher Summer Concert as Agathe in Der Freischütz, and as Elisabeth in Tannhäuser on the stage of the San Francisco Opera.  Other performances include Rossini’s Stabat Mater with the Chamber Orchestra of the Triangle in North Carolina, Mozart’s Ch’io mi scordi di te? with the Juilliard Orchestra led by Gary Thor Wedow, and Strauss’ Vier letzte Lieder with Alan Gilbert and the Juilliard Orchestra Lab.

Ms. Moore’s training has included resident artist apprenticeships at Des Moines Metro Opera, Opera Theatre of Saint Louis, Portland Opera, and the Ravinia Festival’s Steans Institute.  Her work in these programs featured role preparations for First Lady in Die Zauberflöte, Alice Ford in Falstaff, Amelia in Un ballo in Maschera, Madame Lidoine in Dialogues of the Carmelites, Leonore in Fidelio, and the title role of Tobias Picker’s Emmeline.

Success in international vocal competition is demonstrated and supported by achievements in the Metropolitan Opera National Council Auditions, George London Foundation Competition, Licia Albanese-Puccini Foundation, Tenor Viñas International Singing Contest, Opera Index, and Fort Worth Opera’s McCammon Voice Competition.  Felicia Moore was awarded the Prix des Amis du Festival following her participation in the Aix-en-Provence Festival’s Mozart Académie and she has been recognized with First Prize from The Jensen Foundation, Second Prize at the National Opera Association Competition, the Florence and Paul DeRosa Prize by The Juilliard School and by The Gerda Lissner Foundation, the Richard F. Gold Foundation, and the Wagner Society of New York.

Felicia Moore is a 2018-19 Lumos Fellow under the auspices of Turn The Spotlight, a foundation created to identify, nurture, and empower leaders – and in turn, to illuminate the path to a more equitable future in the arts through mentorship by and for exceptional women, people of color, and other equity-seeking groups in the arts. She is a proud alumna of The Juilliard School, Mannes School of Music, and Westminster Choir College.

Bogdan Volkov*
Don Ottavio

Bogdan Volkov studied singing at the Glier Kiev Institute of Music. In 2013 he completed his vocal studies graduating at Tchaikovsky Kiev National Academy of Music. In 2013-15 was a member of the Young Artists Program of the Bolshoi Theatre of Russia. During this period Bogdan made his role debuts as Simpleton in «Boris Godunov» by M. Mussorgsky, as Mozart in «Mozart and Salieri» by N. Rimsky-Korsakov, as Kai in «The story of Kai and Gerda» by S. Banevich and as Vladimir Igorevich in «Prince Igor» by A. Borodin and others…

In February 2014 he debuted in the new production of «The Tsar’s Bride» by N. Rimsky-Korsakov as Lykov, conducted by Gennady Rozhdestvensky. With this role he took part in the Bolshoi Theatre tours to Austria, Hong Kong Arts Festival and Lincoln Centre Festival.

In 2015 he was awarded the 1st prize and audience sympathy prize at the Paris Opera Competition. In October 2015 Bogdan successfully debuted as Lensky in «Eugene Onegin» by P. Tchaikovsky, working with director Dmitry Tchernyakov in his production at the Bolshoi. Since January 2016 he has been a principal soloist of the Bolshoi Theatre. In 2016 he was awarded the 2nd prize at Plácido Domingo’s Operalia, the World Opera Competition in Guadalajara.

In February 2017 he took part in the production of M. Weinberg`s «The Idiot», singing the title role of Prince Myshkin and in June 2017 he took part in the production of «The Snow Maiden» by N. Rimsky-Korsakov at the Bolshoi Theatre. For this roles Bogdan Volkov has been awarded «Onegin» the national opera award.

He also took part in concerts of the Bolshoi Theatre tours with Tugan Sohiev to Switzerland and France. In Jully 2017 he sang Lensky at the Festival d’Aix-En-Provence and Savonlinna Opera Festival.

David Margulis*
Don Ottavio (2/23)

Tenor David Margulis is emerging as a tenor with a bright future on international opera stages. He has been called “radiant voiced,” and been praised for his “clear, pleasing tenor.” Of his recent portrayal of Tamino in Die Zauberflöte in his mainstage debut at Arizona Opera, Opera Today raved: “David Margulis was an energetic Tamino who was only momentarily laid low by Pollard’s iconic monster. He sang with sumptuous lyrical sounds conveyed on a well-honed legato.” The upcoming 2016-17 season includes debuts with Opera Nationale de Lorraine, Opera Orlando, Zürcher Kammerorchester, and Opera Grand Rapids.

This past fall, he joined the prestigious Internationalen Opernstudio at Opernhaus Zürich where he will demonstrate his refined dramatic sensibilities in a variety of operas including Jonathan Dove’s musical fairy tale The Enchanted Pig, Rossini’s colorful comic opera Le comte Ory, Haydn’s rarely seen “heroic-comic drama” Orlando paladino, Mozart’s hilarious comic singspiel Der Schauspieldirektor, and Tchaikovsky’s Pique Dame. He finished the season with a debut at the Verbier Festival, singing Don Ottavio in Don Giovanni.

In recent engagements, Margulis made his main stage debuts as Borsa (Duke cover) in Rigoletto at Opera Santa Barbara, and in the The Impresario/Le Rossignol double bill at Santa Fe Opera. Margulis also participated in the inaugural New York Festival Song at North Fork program in Orient, New York with Steven Blier, performed Beethoven’s 9th Symphony for the opening night of the Phoenix Symphony’s season, and was seen at the Tucson Desert Song Festival performing on a program for the Ravinia Steans Music Institute on Tour with Kevin Murphy.

Additionally, Margulis has been engaged by some of the finest training programs in the country, where his assignments have included: Goro in Madama Butterfly and Léon in The Ghosts of Versailles at Wolf Trap Opera; Ernesto in Don Pasquale, Alfredo in La traviata, Steuermann in Die Fliegende Holländer, Ralph Rackstraw in H.M.S. Pinafore, Basilio/Curzio in Le nozze di Figaro, and Arturo in Lucia di Lammermoor at Arizona Opera; Young Servant in Elektra at Des Moines Metro Opera; Selimo in Maometto II at Santa Fe Opera; Molqi in The Death of Klinghoffer at Opera Theatre St. Louis; and Tybalt in Roméo et Juliette at Seagle Music Colony. While a Fellow at the Ravinia Steans Music Institute, he was privileged to work with some of the most respected coaches and conductors in the world, including Kevin Murphy, Malcolm Martineau, and James Conlon.

Mr. Margulis is earning a reputation as a champion of new works after being a part of numerous workshops of new pieces, including the workshop performance of Theodore Morrison’s first opera, Oscar, at The Santa Fe Opera and the workshop première of Bohmler’s Riders of the Purple Sage at Arizona Opera. He has premièred several new works including the tenor solo in Robert Kyr’s Pacific Sanctus.

Mr. Margulis holds degrees from the Jacobs School of Music at Indiana University, The University of Washington, and Florida State University. David is a three time Regional Finalist in the Metropolitan Opera National Council Auditions

Joshua Bloom*
Leporello
André Courville*
Leporello (2/23)

Praised by Opera News for his “splendid, lush bass-baritone”, André Courville is quickly establishing himself as one of America’s foremost young singers. This season brings debuts with Palm Beach Opera as Leporello in Don Giovanni and with Arizona Opera as the title role in Le Nozze di Figaro.

Highlights of previous seasons include Masetto in Don Giovanni with The  Dallas  Opera, his European debut at Karlsruhe’s Badisches Staatstheater as Mozart’s Figaro, the Marquis in La traviata with the Santa Fe Opera, and a return to the Philadelphia Orchestra as the Jailer in Tosca under the baton of Yannick Nézet-Séguin.

Trained at the Academy of Vocal Arts in Philadelphia, he garnered critical acclaim for performances there of many important roles including Méphistophélès in Faust, Mustafà in L’Italiana in Algeri, and Colline in La bohème.

An equally busy concert performer, he has appeared at Carnegie Hall for the past three seasons since his debut there with Opera Orchestra of New York. Other recent performances include the title role in Mendelssohn’s Elijah with the Columbus Symphony Orchestra, the bass solos in Mozart’s Great Mass in C minor at the Spoleto Festival USA, and Bach’s Cantata 150 with the Philadelphia Orchestra.

A Louisiana native, Courville is the recipient of top awards in eight national and international vocal competitions, including First Prize in the Loren L. Zachary National Vocal Competition and Top Prize in the Gerda Lissner Foundation International Vocal Competition.

Danielle MacMillan+
Zerlina

Former Benenson Young Artist Danielle MacMillan is known for her “deep plumy sound” Paula Citron, Classical 96.3fm and “a good foil” Opera in Review, Opera Canada. Toronto native Danielle MacMillan was a member of the COCs Ensemble Studio. Ms. MacMillan made her COC debut as the Second Niece in Britten’s Peter Grimes. She holds a BFA honors in classical vocal performance from York University with additional training at IVAI Istituzione Teatro Lirico Sperimentale di Spoleto, and The Glenn Gould School (GGS). Her credits include Diana in Cavalli’s La Calisto, Second Lady in Mozart’s The Magic Flute and Véronique in Bizet’s Le Docteur Miracle (GGS). During the 2014 season at the COC Ms. MacMillan also appeared as Dorabella in the Ensemble Studio performance of Cosí fan Tutte: “Act 2’s Danielle MacMillan has a bright sound and beautiful legato phrasing with spinto qualities that speak to heavier roles in the future. It is a surprisingly big voice at this early stage of a career” Paula Citron. Ms. MacMillan recently completed her second year as a Young Artist at Palm Beach Opera.

Neil Nelson
Masetto

Born in Kingston, Jamaica bass baritone Neil Nelson moved to the United States with his family at the age of 2, settling in Queens, New York. It has been said by colleagues and critics alike, that Mr. Nelson possesses one of the purest and most resonant bass baritone voice of recent times.

An excellent musician and linguist, Mr. Nelson graduated from The New England Conservatory of Music with a degree in music performance. Winning awards such as the Stephen Shrestinian Award for Excellence (Boston Lyric Opera), the Heinz Refuss Singing Actors Award (Orlando Opera), and appearing as a finalist in the New York Metropolitan Opera Auditions launched him into his professional career. Mr. Nelson has performed operatic roles with Boston Lyric Opera, Boston Symphony Orchestra, Palm Beach Opera, Opera Theatre of St. Louis, Berkshire Opera, Orlando Opera, The New York Harlem Opera Theater and the Tartar State Opera Theater in Kazan, Russia.

The 2015-16 season saw Mr. Nelson performing such roles as Conte di Luna in “Il Trovatore” with Winter Opera St. Louis, Jake in “Porgy and Bess” with the Tatar State Opera Theater (Kazan, Russia), Bass Soloist in the Beethoven Symphony no. 9 and Featured Soloist in “American Song Book” with the South Florida Symphony, Scarpia in “Tosca” with the Union Avenue Opera and Pirate King in the “Pirates of Penzance” with Opera Theatre of St. Louis

During the 2014-15 season Mr. Nelson performed the roles of Tonio in I Pagliacci with the St. Petersburg Opera, Schaunard in La Boheme with Opera Naples, Hagen in Götterdämmerung with Union Avenue Opera, Sulpice in La Fille du Regiment with Palm Beach Opera, Leporello in Don Giovanni with Union Avenue Opera and covered Coline in La Boheme with Palm Beach Opera.

Although opera is his first love, Neil has a passion for oratorio and concert stage. He has appeared as a soloist with ensembles such as the Lynn Conservatory Orchestra, the Ocean City Pops, the Southwest Florida Symphony, and the New England Conservatory Orchestra.

Future engagements include Porgy in “Porgy and Bess” with the South Florida Symphony and the Tatarstan State Opera Theater (Kazan, Russia), Oroveso in Norma with Winter Opera Opera St. Louis and Bass Soloist in Handel’s Messiah with the Masterworks Chorus of the Palm Beaches.

Mr. Nelson resides in South Florida with his wife and two daughters. When he is not singing, Neil can be found having fun with his family, fishing, or working with young men in his community as a mentor and a football coach.

Mikhail Kolelishvili
Commendatore

Widely considered to be one of Russia’s leading basses, Mikhail Kolelishvili first came to international attention as a finalist in the BBC Cardiff Singer of the World Competition in 2005, having already distinguished himself as a winner of two significant competitions in St. Petersburg – the 2002 Rimsky-Korsakov International Competition and the 2003 Elena Obraztsova Competition – and also claiming first prize in the 2004 Moniuszko Competition in Warsaw.

A soloist at St. Petersburg’s Mariinsky Theatre since 2009, Mr. Kolelishvili has performed over 30 roles for the company, with a specialty in the great bass roles of the Russian tradition, including Varlaam in Boris Godunov, Khan Konchak in Prince Igor, the title role in The Tale of Tsar Saltan, Mendoza in Betrothal in a Monastery, King René in Iolanta, and Skuratov in The Tsar’s Bride.  From the Western repertoire, he is known for his richly-sung interpretations of Il Commendatore in Don Giovanni, Sarastro in Die Zauberflöte, the Grand Inquisitor in Don Carlo, Sparafucile in Rigoletto, Don Basilio in Il barbiere di Siviglia, Don Bartolo in Le nozze di Figaro, Méphistophélès in Faust, the Bonze in Madama Butterfly, the King of Egypt in Aida, Banquo in Macbeth, and the title role in Don Quichotte.

Mr. Kolelishvili made his Metropolitan Opera debut in Shostakovich’s Lady Macbeth of Mtsensk in 2014, and he has appeared with the Dallas Opera in productions of Iolanta and Boris Godunov.  Other US engagements include an acclaimed debut with the Cincinnati Symphony Orchestra and conductor James Conlon as the soloist for Shostakovich’s Symphony Babi Yar.  Internationally, he has also performed with the Opéra National de Paris, Théâtre du Capitole de Toulouse, Opéra de Toulon, La Monnaie in Brussels, Finland’s Savonlinna Festival, and the Israeli Opera.

In recognition of his achievements in music, Mr. Kolelishvili has been recognized with the honorary title of People’s Artist of the Republic of Northern Ossetia-Alania.  He began his professional career as a soloist with the Georgian National Opera while completing his training at the Tbilisi State Conservatory, and furthered his development as a member of the Mariinsky Theatre’s Academy of Young Singers.

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.

Kristine McIntyre*
Director
Marcus Dilliard*
Lighting Designer

Marcus has designed for opera, theater and dance across North America and in Europe, including numerous productions for the Minnesota Opera, Lyric Opera Kansas City, the Guthrie Theater, Children’s Theater Company, Minnesota Dance Theater, and Theatre de la Jeune Lune. Recent designs include La fanciulla del West and Hansel and Gretel for Minnesota Opera, Otello for Pittsburgh Opera, Silent Night for Cincinnati Opera, Love’s Labour’s Lost for Actors Theatre of Louisville and The Moving Company; Tartuffe for South Coast Repertory; Dead Man Walking for Madison Opera; The Ballad of Emmett Till for Penumbra Theater; and Cabaret for Theater Latté Da. Other projects include By the Way and Meet Vera Stark for Penumbra Theater; Silent Night for Lyric Opera Kansas City; Tartuffe for Berkeley Repertory Theater and the Shakespeare Theater; and The Barber of Sevillefor Madison Opera.

Andrei Bondarenko*
Don Giovanni
Edward Nelson*
Don Giovanni (2/23)

In the 2018-2019 season, American baritone Edward Nelson makes his Opera Philadelphia debut in Ne Quittez Pas: A Reimagined La voix humaine where he will sing songs of Francis Poulenc. He will return to the Norwegian National Opera as Dandini in Stefan Herheim’s production of La Cenerentola, debut at the Palm Beach Opera as the title role in Don Giovanni, as well as sing both Schaunard in La bohème and Papageno in Die Zauberflöte with the Boston Youth Symphony Orchestra. In concert, he will sing Carmina Burana with the Mobile Symphony and

Recently, he made an acclaimed European debut at the Norwegian National Opera in a new production of Pelléas et Mélisande as Pelleas, a role he later sang with Opera de Oviedo and covered at the Glyndebourne Festival. He made his Washington National Opera debut as Maximillian in Francesca Zambello’s production of Candide and debuted at the Michigan Opera Theatre as the Count in Le nozze di Figaro conducted by Stephen Lord. He was also heard with the Milwaukee Symphony in Vaughan Williams’ Sea Symphony conducted by Andreas Delfs.

In his final season as an Adler Fellow at the San Francisco Opera, he sang mainstage performances of Malatesta in Don Pasquale, Yamadori in Madama Butterfly, and roles in the world premiere of Dream of the Red Chamber. Other appearances included his first performances of Hamlet at West Edge Opera and Schaunard in La bohème at Cincinnati Opera conducted by Louis Langrée. With Jessica Lang Dance, he performed Schubert’s Die schöne Müllerin choreographed by Jessica Lang as The Wanderer at Chicago’s Harris Theater.

Mr. Nelson performed Richard Nixon’s “News has a kind of mystery” from John Adams’ Nixon in China for the gala honoring David Gockley at the San Francisco Opera. He also performed the roles of the Second Priest in The Magic Flute, Hermann Ortel in Die Meistersinger von Nürnberg, Fiorello in Il barbiere di Siviglia, L’Ami in Debussy’s La chute de la Maison Usher, and Moralès in Carmen. In 2015, he created the role of Lieutenant John Buckley in the world premiere of Marco Tutino’s Two Women and is a graduate of the 2014 Merola Opera Program where he sang the title role of Don Giovanni.

Recent engagements include the Ferryman (Britten’s Curlew River) with the Mark Morris Dance Group/Tanglewood Music Festival and Montreal’s Ballet-Opéra-Pantomime, covering Miller in Montsalvatge’s El Gato con Botas with Gotham Chamber Opera, as well as the title role of Britten’s Owen Wingrave, Dandini (La Cenerentola), and Le Podestat (Bizet’s Le Docteur Miracle) with the University of Cincinnati College-Conservatory of Music (CCM), from which he holds undergraduate and graduate degrees.

On the concert stage, he has been a soloist with the Philharmonia Baroque, American Choral Directors Association and the Reno Philharmonic. He is a grant winner from the Gerda Lissner Foundation, a national semifinalist in the 2013 Metropolitan Opera National Council Auditions and the 2014 Naumburg International Voice Competition, First Prize winner of the 2014 Corbett Opera Competition at CCM, and a winner in the 2013 Opera Columbus and 2014 Mildred Miller International Voice Competition.

Source: CAMI

Caitlin Lynch
Donna Anna
Sarah-Jane Brandon
Donna Anna (2/23)

Winner of the 2009 Kathleen Ferrier Award, South African soprano Sarah-Jane Brandon studied at the Royal
College of Music, and was a participant in the 2011 Salzburg Festival’s Young Singers Project.
In the 2017/18 season, Sarah-Jane Brandon will return to the Semperoper Dresden as Antonia Les contes
d’Hoffmann, and as Contessa Le nozze di Figaro, and she will make her operatic debut in the United States as
Contessa for Palm Beach Opera, Florida. On the concert platform, she will perform the Brahms’ Requiem
with the RSNO and Peter Oudjian; Haydn’s Nelson Mass with the Orchestra National de Lyon and Omer
Meir Wellber and Britten’s War Requiem on a tour of the Netherlands with the Bochum Symphoniker and
Rotterdam Symphony Chorus.

Sarah-Jane Brandon has enjoyed particular success with the role of Contessa Le nozze di Figaro, performing
the role in new productions for the Semperoper Dresden and Savonlinna Opera Festival, as well as for
Glyndebourne; English National Opera; Opéra de Dijon; Opéra-Theatre de Saint-Etienne, Cape Town Opera
and the National Theatre of Bahrain – on tour for the Aix en Provence Festival.

Further appearances on the operatic stage include Micäela Carmen for the Deutsche Oper, Berlin and Teatro
Sao Carlos, Lisbon; Pamina in a new production of Die Zauberflöte for the Opéra de Nice; Donna Clara Der
Zwerg in a new production for the Teatro Sao Carlos, Lisbon; Erste Dame in Die Zauberflöte at the Teatro
dell’Opera di Roma; Giulietta I Capuleti e i Montecchi for the Buxton Festival; Desdemona Otello for Cape
Town Opera and she made her debut at the Teatro Real, Madrid in performances of Handel’s L’Allegro, il
Penseroso ed il Moderato with the Mark Morris Dance Group conducted by Jane Glover – this production
was filmed and released on DVD.

Her recent concert engagements include Haydn’s Nelson Mass with the London Philharmonic Orchestra and
Yannick Nézet-Séguin; a tour of the Netherlands with the BBCSO and Martyn Brabbins, performing
Howell’s Hymns Paradisi; Mahler’s 8 Symphony conducted by Omer Meir Wellber at the Dresden Music
Festival; Viennese Gala Concerts with the Scottish Chamber Orchestra and Thomas Rösner; Beethoven’s
Missa Solemnis with Sir Roger Norrington and with Vasily Petrenko and the RLPO; and her debut at the
Concertgebouw with the Boston Philharmonic Orchestra performing Mahler’s 2nd Symphony.

Further concert highlights include Berg’s Sieben frühe Lieder with the City of Birmingham Symphony
Orchestra and Edward Gardner; Mahler’s Symphony no. 4 with the BBC Symphony Orchestra and Sylvain
Cambreling, and appearances at the Edinburgh Festival with the Royal Scottish National Orchestra and Sir
Andrew Davis; the Mozarteum Orchestra and Ivor Bolton; the London Philharmonic Orchestra with Kurt
Masur; City of Birmingham Symphony Orchestra with Andris Nelsons, Royal Liverpool Philharmonic
Orchestra with Vasily Petrenko and with the London Symphony Orchestra and Sir Bernard Haitink.

Sarah-Jane’s recent recital appearances include her debut recital at the Wigmore Hall with James Baillieu;
Trinity College Cambridge and the Leeds Lieder Festival with Malcolm Martineau; the Musée d’Orsay and
Birmingham’s Barber Institute with Simon Lepper and the Wigmore Hall and the Buxton, Hay-on-Wye,
Chester and Oxford Lieder Festivals with Gary Matthewman. She has recorded Poulenc with Graham
Johnson and Wolf Lieder with Sholto Kynoch.

Danielle Pastin
Donna Elvira
Felicia Moore*
Donna Elvira (2/23)

American soprano Felicia Moore is recognized as a powerful and innovative emerging artist having made music in partnership with Alan Gilbert, Anne Manson, Yannick Nézet-Séguin, Speranza Scappucci, Gary Thor Wedow, and Brian Zeger among others.  Ms. Moore already has earned praise through international competition and through her performance on numerous stages of North America.  She recently earned an Artist Diploma in Opera Studies from The Juilliard School, and was named one of the winners of The Sullivan Foundation Competition.

In the current season, Felicia Moore makes her debut at Palm Beach Opera as Donna Elvira in Don Giovanni and joins the Las Vegas Philharmonic in performances of Beethoven’s Ninth Symphony.  The 2017-18 season began with performances of Mrs. Grose in Britten’s The Turn of the Screw at Opera Columbus in a new Stephen Wadsworth production and ended with a role debut as Donna Elvira in a new production of Don Giovanni at Heartbeat Opera directed by Louisa Proske.  Her final Juilliard year included workshop selections from Tchaikovsky’s Eugene Onegin with Alan Gilbert conducting the Juilliard Orchestra and Copland’s Twelve Emily Dickinson Songs with pianist Brian Zeger at Juilliard’s Songfest in Alice Tully Hall.  She gave a recital at Lincoln Center as winner of Juilliard’s Vocal Arts Honors Recital presenting a program of Sibelius, Wagner and Copland with pianist Chris Reynolds and offered the Juilliard Commencement Concert with a performance of Beethoven’s Ah! Perfido, Op. 65 with Speranza Scappucci leading the Juilliard Orchestra.  Felicia Moore spent the summer in Europe first as a Resident Artist in the Aix-en-Provence Festival’s Mozart Académie and then as a participant of the International Meistersinger Akademie in Neumarkt, Germany under the tutelage of Edith Wiens.

Performances of recent years feature the title role in Juilliard Opera’s production of Janáček’s Katya Kabanova conducted by Anne Manson in a new production by Stephen Wadsworth, and a summer in San Francisco Opera’s Merola Opera Program, performing in the Schwabacher Summer Concert as Agathe in Der Freischütz, and as Elisabeth in Tannhäuser on the stage of the San Francisco Opera.  Other performances include Rossini’s Stabat Mater with the Chamber Orchestra of the Triangle in North Carolina, Mozart’s Ch’io mi scordi di te? with the Juilliard Orchestra led by Gary Thor Wedow, and Strauss’ Vier letzte Lieder with Alan Gilbert and the Juilliard Orchestra Lab.

Ms. Moore’s training has included resident artist apprenticeships at Des Moines Metro Opera, Opera Theatre of Saint Louis, Portland Opera, and the Ravinia Festival’s Steans Institute.  Her work in these programs featured role preparations for First Lady in Die Zauberflöte, Alice Ford in Falstaff, Amelia in Un ballo in Maschera, Madame Lidoine in Dialogues of the Carmelites, Leonore in Fidelio, and the title role of Tobias Picker’s Emmeline.

Success in international vocal competition is demonstrated and supported by achievements in the Metropolitan Opera National Council Auditions, George London Foundation Competition, Licia Albanese-Puccini Foundation, Tenor Viñas International Singing Contest, Opera Index, and Fort Worth Opera’s McCammon Voice Competition.  Felicia Moore was awarded the Prix des Amis du Festival following her participation in the Aix-en-Provence Festival’s Mozart Académie and she has been recognized with First Prize from The Jensen Foundation, Second Prize at the National Opera Association Competition, the Florence and Paul DeRosa Prize by The Juilliard School and by The Gerda Lissner Foundation, the Richard F. Gold Foundation, and the Wagner Society of New York.

Felicia Moore is a 2018-19 Lumos Fellow under the auspices of Turn The Spotlight, a foundation created to identify, nurture, and empower leaders – and in turn, to illuminate the path to a more equitable future in the arts through mentorship by and for exceptional women, people of color, and other equity-seeking groups in the arts. She is a proud alumna of The Juilliard School, Mannes School of Music, and Westminster Choir College.

Bogdan Volkov*
Don Ottavio

Bogdan Volkov studied singing at the Glier Kiev Institute of Music. In 2013 he completed his vocal studies graduating at Tchaikovsky Kiev National Academy of Music. In 2013-15 was a member of the Young Artists Program of the Bolshoi Theatre of Russia. During this period Bogdan made his role debuts as Simpleton in «Boris Godunov» by M. Mussorgsky, as Mozart in «Mozart and Salieri» by N. Rimsky-Korsakov, as Kai in «The story of Kai and Gerda» by S. Banevich and as Vladimir Igorevich in «Prince Igor» by A. Borodin and others…

In February 2014 he debuted in the new production of «The Tsar’s Bride» by N. Rimsky-Korsakov as Lykov, conducted by Gennady Rozhdestvensky. With this role he took part in the Bolshoi Theatre tours to Austria, Hong Kong Arts Festival and Lincoln Centre Festival.

In 2015 he was awarded the 1st prize and audience sympathy prize at the Paris Opera Competition. In October 2015 Bogdan successfully debuted as Lensky in «Eugene Onegin» by P. Tchaikovsky, working with director Dmitry Tchernyakov in his production at the Bolshoi. Since January 2016 he has been a principal soloist of the Bolshoi Theatre. In 2016 he was awarded the 2nd prize at Plácido Domingo’s Operalia, the World Opera Competition in Guadalajara.

In February 2017 he took part in the production of M. Weinberg`s «The Idiot», singing the title role of Prince Myshkin and in June 2017 he took part in the production of «The Snow Maiden» by N. Rimsky-Korsakov at the Bolshoi Theatre. For this roles Bogdan Volkov has been awarded «Onegin» the national opera award.

He also took part in concerts of the Bolshoi Theatre tours with Tugan Sohiev to Switzerland and France. In Jully 2017 he sang Lensky at the Festival d’Aix-En-Provence and Savonlinna Opera Festival.

David Margulis*
Don Ottavio (2/23)

Tenor David Margulis is emerging as a tenor with a bright future on international opera stages. He has been called “radiant voiced,” and been praised for his “clear, pleasing tenor.” Of his recent portrayal of Tamino in Die Zauberflöte in his mainstage debut at Arizona Opera, Opera Today raved: “David Margulis was an energetic Tamino who was only momentarily laid low by Pollard’s iconic monster. He sang with sumptuous lyrical sounds conveyed on a well-honed legato.” The upcoming 2016-17 season includes debuts with Opera Nationale de Lorraine, Opera Orlando, Zürcher Kammerorchester, and Opera Grand Rapids.

This past fall, he joined the prestigious Internationalen Opernstudio at Opernhaus Zürich where he will demonstrate his refined dramatic sensibilities in a variety of operas including Jonathan Dove’s musical fairy tale The Enchanted Pig, Rossini’s colorful comic opera Le comte Ory, Haydn’s rarely seen “heroic-comic drama” Orlando paladino, Mozart’s hilarious comic singspiel Der Schauspieldirektor, and Tchaikovsky’s Pique Dame. He finished the season with a debut at the Verbier Festival, singing Don Ottavio in Don Giovanni.

In recent engagements, Margulis made his main stage debuts as Borsa (Duke cover) in Rigoletto at Opera Santa Barbara, and in the The Impresario/Le Rossignol double bill at Santa Fe Opera. Margulis also participated in the inaugural New York Festival Song at North Fork program in Orient, New York with Steven Blier, performed Beethoven’s 9th Symphony for the opening night of the Phoenix Symphony’s season, and was seen at the Tucson Desert Song Festival performing on a program for the Ravinia Steans Music Institute on Tour with Kevin Murphy.

Additionally, Margulis has been engaged by some of the finest training programs in the country, where his assignments have included: Goro in Madama Butterfly and Léon in The Ghosts of Versailles at Wolf Trap Opera; Ernesto in Don Pasquale, Alfredo in La traviata, Steuermann in Die Fliegende Holländer, Ralph Rackstraw in H.M.S. Pinafore, Basilio/Curzio in Le nozze di Figaro, and Arturo in Lucia di Lammermoor at Arizona Opera; Young Servant in Elektra at Des Moines Metro Opera; Selimo in Maometto II at Santa Fe Opera; Molqi in The Death of Klinghoffer at Opera Theatre St. Louis; and Tybalt in Roméo et Juliette at Seagle Music Colony. While a Fellow at the Ravinia Steans Music Institute, he was privileged to work with some of the most respected coaches and conductors in the world, including Kevin Murphy, Malcolm Martineau, and James Conlon.

Mr. Margulis is earning a reputation as a champion of new works after being a part of numerous workshops of new pieces, including the workshop performance of Theodore Morrison’s first opera, Oscar, at The Santa Fe Opera and the workshop première of Bohmler’s Riders of the Purple Sage at Arizona Opera. He has premièred several new works including the tenor solo in Robert Kyr’s Pacific Sanctus.

Mr. Margulis holds degrees from the Jacobs School of Music at Indiana University, The University of Washington, and Florida State University. David is a three time Regional Finalist in the Metropolitan Opera National Council Auditions

Joshua Bloom*
Leporello
André Courville*
Leporello (2/23)

Praised by Opera News for his “splendid, lush bass-baritone”, André Courville is quickly establishing himself as one of America’s foremost young singers. This season brings debuts with Palm Beach Opera as Leporello in Don Giovanni and with Arizona Opera as the title role in Le Nozze di Figaro.

Highlights of previous seasons include Masetto in Don Giovanni with The  Dallas  Opera, his European debut at Karlsruhe’s Badisches Staatstheater as Mozart’s Figaro, the Marquis in La traviata with the Santa Fe Opera, and a return to the Philadelphia Orchestra as the Jailer in Tosca under the baton of Yannick Nézet-Séguin.

Trained at the Academy of Vocal Arts in Philadelphia, he garnered critical acclaim for performances there of many important roles including Méphistophélès in Faust, Mustafà in L’Italiana in Algeri, and Colline in La bohème.

An equally busy concert performer, he has appeared at Carnegie Hall for the past three seasons since his debut there with Opera Orchestra of New York. Other recent performances include the title role in Mendelssohn’s Elijah with the Columbus Symphony Orchestra, the bass solos in Mozart’s Great Mass in C minor at the Spoleto Festival USA, and Bach’s Cantata 150 with the Philadelphia Orchestra.

A Louisiana native, Courville is the recipient of top awards in eight national and international vocal competitions, including First Prize in the Loren L. Zachary National Vocal Competition and Top Prize in the Gerda Lissner Foundation International Vocal Competition.

Danielle MacMillan+
Zerlina

Former Benenson Young Artist Danielle MacMillan is known for her “deep plumy sound” Paula Citron, Classical 96.3fm and “a good foil” Opera in Review, Opera Canada. Toronto native Danielle MacMillan was a member of the COCs Ensemble Studio. Ms. MacMillan made her COC debut as the Second Niece in Britten’s Peter Grimes. She holds a BFA honors in classical vocal performance from York University with additional training at IVAI Istituzione Teatro Lirico Sperimentale di Spoleto, and The Glenn Gould School (GGS). Her credits include Diana in Cavalli’s La Calisto, Second Lady in Mozart’s The Magic Flute and Véronique in Bizet’s Le Docteur Miracle (GGS). During the 2014 season at the COC Ms. MacMillan also appeared as Dorabella in the Ensemble Studio performance of Cosí fan Tutte: “Act 2’s Danielle MacMillan has a bright sound and beautiful legato phrasing with spinto qualities that speak to heavier roles in the future. It is a surprisingly big voice at this early stage of a career” Paula Citron. Ms. MacMillan recently completed her second year as a Young Artist at Palm Beach Opera.

Neil Nelson
Masetto

Born in Kingston, Jamaica bass baritone Neil Nelson moved to the United States with his family at the age of 2, settling in Queens, New York. It has been said by colleagues and critics alike, that Mr. Nelson possesses one of the purest and most resonant bass baritone voice of recent times.

An excellent musician and linguist, Mr. Nelson graduated from The New England Conservatory of Music with a degree in music performance. Winning awards such as the Stephen Shrestinian Award for Excellence (Boston Lyric Opera), the Heinz Refuss Singing Actors Award (Orlando Opera), and appearing as a finalist in the New York Metropolitan Opera Auditions launched him into his professional career. Mr. Nelson has performed operatic roles with Boston Lyric Opera, Boston Symphony Orchestra, Palm Beach Opera, Opera Theatre of St. Louis, Berkshire Opera, Orlando Opera, The New York Harlem Opera Theater and the Tartar State Opera Theater in Kazan, Russia.

The 2015-16 season saw Mr. Nelson performing such roles as Conte di Luna in “Il Trovatore” with Winter Opera St. Louis, Jake in “Porgy and Bess” with the Tatar State Opera Theater (Kazan, Russia), Bass Soloist in the Beethoven Symphony no. 9 and Featured Soloist in “American Song Book” with the South Florida Symphony, Scarpia in “Tosca” with the Union Avenue Opera and Pirate King in the “Pirates of Penzance” with Opera Theatre of St. Louis

During the 2014-15 season Mr. Nelson performed the roles of Tonio in I Pagliacci with the St. Petersburg Opera, Schaunard in La Boheme with Opera Naples, Hagen in Götterdämmerung with Union Avenue Opera, Sulpice in La Fille du Regiment with Palm Beach Opera, Leporello in Don Giovanni with Union Avenue Opera and covered Coline in La Boheme with Palm Beach Opera.

Although opera is his first love, Neil has a passion for oratorio and concert stage. He has appeared as a soloist with ensembles such as the Lynn Conservatory Orchestra, the Ocean City Pops, the Southwest Florida Symphony, and the New England Conservatory Orchestra.

Future engagements include Porgy in “Porgy and Bess” with the South Florida Symphony and the Tatarstan State Opera Theater (Kazan, Russia), Oroveso in Norma with Winter Opera Opera St. Louis and Bass Soloist in Handel’s Messiah with the Masterworks Chorus of the Palm Beaches.

Mr. Nelson resides in South Florida with his wife and two daughters. When he is not singing, Neil can be found having fun with his family, fishing, or working with young men in his community as a mentor and a football coach.

Mikhail Kolelishvili
Commendatore

Widely considered to be one of Russia’s leading basses, Mikhail Kolelishvili first came to international attention as a finalist in the BBC Cardiff Singer of the World Competition in 2005, having already distinguished himself as a winner of two significant competitions in St. Petersburg – the 2002 Rimsky-Korsakov International Competition and the 2003 Elena Obraztsova Competition – and also claiming first prize in the 2004 Moniuszko Competition in Warsaw.

A soloist at St. Petersburg’s Mariinsky Theatre since 2009, Mr. Kolelishvili has performed over 30 roles for the company, with a specialty in the great bass roles of the Russian tradition, including Varlaam in Boris Godunov, Khan Konchak in Prince Igor, the title role in The Tale of Tsar Saltan, Mendoza in Betrothal in a Monastery, King René in Iolanta, and Skuratov in The Tsar’s Bride.  From the Western repertoire, he is known for his richly-sung interpretations of Il Commendatore in Don Giovanni, Sarastro in Die Zauberflöte, the Grand Inquisitor in Don Carlo, Sparafucile in Rigoletto, Don Basilio in Il barbiere di Siviglia, Don Bartolo in Le nozze di Figaro, Méphistophélès in Faust, the Bonze in Madama Butterfly, the King of Egypt in Aida, Banquo in Macbeth, and the title role in Don Quichotte.

Mr. Kolelishvili made his Metropolitan Opera debut in Shostakovich’s Lady Macbeth of Mtsensk in 2014, and he has appeared with the Dallas Opera in productions of Iolanta and Boris Godunov.  Other US engagements include an acclaimed debut with the Cincinnati Symphony Orchestra and conductor James Conlon as the soloist for Shostakovich’s Symphony Babi Yar.  Internationally, he has also performed with the Opéra National de Paris, Théâtre du Capitole de Toulouse, Opéra de Toulon, La Monnaie in Brussels, Finland’s Savonlinna Festival, and the Israeli Opera.

In recognition of his achievements in music, Mr. Kolelishvili has been recognized with the honorary title of People’s Artist of the Republic of Northern Ossetia-Alania.  He began his professional career as a soloist with the Georgian National Opera while completing his training at the Tbilisi State Conservatory, and furthered his development as a member of the Mariinsky Theatre’s Academy of Young Singers.

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.

Kristine McIntyre*
Director
Marcus Dilliard*
Lighting Designer

Marcus has designed for opera, theater and dance across North America and in Europe, including numerous productions for the Minnesota Opera, Lyric Opera Kansas City, the Guthrie Theater, Children’s Theater Company, Minnesota Dance Theater, and Theatre de la Jeune Lune. Recent designs include La fanciulla del West and Hansel and Gretel for Minnesota Opera, Otello for Pittsburgh Opera, Silent Night for Cincinnati Opera, Love’s Labour’s Lost for Actors Theatre of Louisville and The Moving Company; Tartuffe for South Coast Repertory; Dead Man Walking for Madison Opera; The Ballad of Emmett Till for Penumbra Theater; and Cabaret for Theater Latté Da. Other projects include By the Way and Meet Vera Stark for Penumbra Theater; Silent Night for Lyric Opera Kansas City; Tartuffe for Berkeley Repertory Theater and the Shakespeare Theater; and The Barber of Sevillefor Madison Opera.

Andrei Bondarenko*
Don Giovanni
Edward Nelson*
Don Giovanni (2/23)

In the 2018-2019 season, American baritone Edward Nelson makes his Opera Philadelphia debut in Ne Quittez Pas: A Reimagined La voix humaine where he will sing songs of Francis Poulenc. He will return to the Norwegian National Opera as Dandini in Stefan Herheim’s production of La Cenerentola, debut at the Palm Beach Opera as the title role in Don Giovanni, as well as sing both Schaunard in La bohème and Papageno in Die Zauberflöte with the Boston Youth Symphony Orchestra. In concert, he will sing Carmina Burana with the Mobile Symphony and

Recently, he made an acclaimed European debut at the Norwegian National Opera in a new production of Pelléas et Mélisande as Pelleas, a role he later sang with Opera de Oviedo and covered at the Glyndebourne Festival. He made his Washington National Opera debut as Maximillian in Francesca Zambello’s production of Candide and debuted at the Michigan Opera Theatre as the Count in Le nozze di Figaro conducted by Stephen Lord. He was also heard with the Milwaukee Symphony in Vaughan Williams’ Sea Symphony conducted by Andreas Delfs.

In his final season as an Adler Fellow at the San Francisco Opera, he sang mainstage performances of Malatesta in Don Pasquale, Yamadori in Madama Butterfly, and roles in the world premiere of Dream of the Red Chamber. Other appearances included his first performances of Hamlet at West Edge Opera and Schaunard in La bohème at Cincinnati Opera conducted by Louis Langrée. With Jessica Lang Dance, he performed Schubert’s Die schöne Müllerin choreographed by Jessica Lang as The Wanderer at Chicago’s Harris Theater.

Mr. Nelson performed Richard Nixon’s “News has a kind of mystery” from John Adams’ Nixon in China for the gala honoring David Gockley at the San Francisco Opera. He also performed the roles of the Second Priest in The Magic Flute, Hermann Ortel in Die Meistersinger von Nürnberg, Fiorello in Il barbiere di Siviglia, L’Ami in Debussy’s La chute de la Maison Usher, and Moralès in Carmen. In 2015, he created the role of Lieutenant John Buckley in the world premiere of Marco Tutino’s Two Women and is a graduate of the 2014 Merola Opera Program where he sang the title role of Don Giovanni.

Recent engagements include the Ferryman (Britten’s Curlew River) with the Mark Morris Dance Group/Tanglewood Music Festival and Montreal’s Ballet-Opéra-Pantomime, covering Miller in Montsalvatge’s El Gato con Botas with Gotham Chamber Opera, as well as the title role of Britten’s Owen Wingrave, Dandini (La Cenerentola), and Le Podestat (Bizet’s Le Docteur Miracle) with the University of Cincinnati College-Conservatory of Music (CCM), from which he holds undergraduate and graduate degrees.

On the concert stage, he has been a soloist with the Philharmonia Baroque, American Choral Directors Association and the Reno Philharmonic. He is a grant winner from the Gerda Lissner Foundation, a national semifinalist in the 2013 Metropolitan Opera National Council Auditions and the 2014 Naumburg International Voice Competition, First Prize winner of the 2014 Corbett Opera Competition at CCM, and a winner in the 2013 Opera Columbus and 2014 Mildred Miller International Voice Competition.

Source: CAMI

Caitlin Lynch
Donna Anna
Sarah-Jane Brandon
Donna Anna (2/23)

Winner of the 2009 Kathleen Ferrier Award, South African soprano Sarah-Jane Brandon studied at the Royal
College of Music, and was a participant in the 2011 Salzburg Festival’s Young Singers Project.
In the 2017/18 season, Sarah-Jane Brandon will return to the Semperoper Dresden as Antonia Les contes
d’Hoffmann, and as Contessa Le nozze di Figaro, and she will make her operatic debut in the United States as
Contessa for Palm Beach Opera, Florida. On the concert platform, she will perform the Brahms’ Requiem
with the RSNO and Peter Oudjian; Haydn’s Nelson Mass with the Orchestra National de Lyon and Omer
Meir Wellber and Britten’s War Requiem on a tour of the Netherlands with the Bochum Symphoniker and
Rotterdam Symphony Chorus.

Sarah-Jane Brandon has enjoyed particular success with the role of Contessa Le nozze di Figaro, performing
the role in new productions for the Semperoper Dresden and Savonlinna Opera Festival, as well as for
Glyndebourne; English National Opera; Opéra de Dijon; Opéra-Theatre de Saint-Etienne, Cape Town Opera
and the National Theatre of Bahrain – on tour for the Aix en Provence Festival.

Further appearances on the operatic stage include Micäela Carmen for the Deutsche Oper, Berlin and Teatro
Sao Carlos, Lisbon; Pamina in a new production of Die Zauberflöte for the Opéra de Nice; Donna Clara Der
Zwerg in a new production for the Teatro Sao Carlos, Lisbon; Erste Dame in Die Zauberflöte at the Teatro
dell’Opera di Roma; Giulietta I Capuleti e i Montecchi for the Buxton Festival; Desdemona Otello for Cape
Town Opera and she made her debut at the Teatro Real, Madrid in performances of Handel’s L’Allegro, il
Penseroso ed il Moderato with the Mark Morris Dance Group conducted by Jane Glover – this production
was filmed and released on DVD.

Her recent concert engagements include Haydn’s Nelson Mass with the London Philharmonic Orchestra and
Yannick Nézet-Séguin; a tour of the Netherlands with the BBCSO and Martyn Brabbins, performing
Howell’s Hymns Paradisi; Mahler’s 8 Symphony conducted by Omer Meir Wellber at the Dresden Music
Festival; Viennese Gala Concerts with the Scottish Chamber Orchestra and Thomas Rösner; Beethoven’s
Missa Solemnis with Sir Roger Norrington and with Vasily Petrenko and the RLPO; and her debut at the
Concertgebouw with the Boston Philharmonic Orchestra performing Mahler’s 2nd Symphony.

Further concert highlights include Berg’s Sieben frühe Lieder with the City of Birmingham Symphony
Orchestra and Edward Gardner; Mahler’s Symphony no. 4 with the BBC Symphony Orchestra and Sylvain
Cambreling, and appearances at the Edinburgh Festival with the Royal Scottish National Orchestra and Sir
Andrew Davis; the Mozarteum Orchestra and Ivor Bolton; the London Philharmonic Orchestra with Kurt
Masur; City of Birmingham Symphony Orchestra with Andris Nelsons, Royal Liverpool Philharmonic
Orchestra with Vasily Petrenko and with the London Symphony Orchestra and Sir Bernard Haitink.

Sarah-Jane’s recent recital appearances include her debut recital at the Wigmore Hall with James Baillieu;
Trinity College Cambridge and the Leeds Lieder Festival with Malcolm Martineau; the Musée d’Orsay and
Birmingham’s Barber Institute with Simon Lepper and the Wigmore Hall and the Buxton, Hay-on-Wye,
Chester and Oxford Lieder Festivals with Gary Matthewman. She has recorded Poulenc with Graham
Johnson and Wolf Lieder with Sholto Kynoch.

Danielle Pastin
Donna Elvira
Felicia Moore*
Donna Elvira (2/23)

American soprano Felicia Moore is recognized as a powerful and innovative emerging artist having made music in partnership with Alan Gilbert, Anne Manson, Yannick Nézet-Séguin, Speranza Scappucci, Gary Thor Wedow, and Brian Zeger among others.  Ms. Moore already has earned praise through international competition and through her performance on numerous stages of North America.  She recently earned an Artist Diploma in Opera Studies from The Juilliard School, and was named one of the winners of The Sullivan Foundation Competition.

In the current season, Felicia Moore makes her debut at Palm Beach Opera as Donna Elvira in Don Giovanni and joins the Las Vegas Philharmonic in performances of Beethoven’s Ninth Symphony.  The 2017-18 season began with performances of Mrs. Grose in Britten’s The Turn of the Screw at Opera Columbus in a new Stephen Wadsworth production and ended with a role debut as Donna Elvira in a new production of Don Giovanni at Heartbeat Opera directed by Louisa Proske.  Her final Juilliard year included workshop selections from Tchaikovsky’s Eugene Onegin with Alan Gilbert conducting the Juilliard Orchestra and Copland’s Twelve Emily Dickinson Songs with pianist Brian Zeger at Juilliard’s Songfest in Alice Tully Hall.  She gave a recital at Lincoln Center as winner of Juilliard’s Vocal Arts Honors Recital presenting a program of Sibelius, Wagner and Copland with pianist Chris Reynolds and offered the Juilliard Commencement Concert with a performance of Beethoven’s Ah! Perfido, Op. 65 with Speranza Scappucci leading the Juilliard Orchestra.  Felicia Moore spent the summer in Europe first as a Resident Artist in the Aix-en-Provence Festival’s Mozart Académie and then as a participant of the International Meistersinger Akademie in Neumarkt, Germany under the tutelage of Edith Wiens.

Performances of recent years feature the title role in Juilliard Opera’s production of Janáček’s Katya Kabanova conducted by Anne Manson in a new production by Stephen Wadsworth, and a summer in San Francisco Opera’s Merola Opera Program, performing in the Schwabacher Summer Concert as Agathe in Der Freischütz, and as Elisabeth in Tannhäuser on the stage of the San Francisco Opera.  Other performances include Rossini’s Stabat Mater with the Chamber Orchestra of the Triangle in North Carolina, Mozart’s Ch’io mi scordi di te? with the Juilliard Orchestra led by Gary Thor Wedow, and Strauss’ Vier letzte Lieder with Alan Gilbert and the Juilliard Orchestra Lab.

Ms. Moore’s training has included resident artist apprenticeships at Des Moines Metro Opera, Opera Theatre of Saint Louis, Portland Opera, and the Ravinia Festival’s Steans Institute.  Her work in these programs featured role preparations for First Lady in Die Zauberflöte, Alice Ford in Falstaff, Amelia in Un ballo in Maschera, Madame Lidoine in Dialogues of the Carmelites, Leonore in Fidelio, and the title role of Tobias Picker’s Emmeline.

Success in international vocal competition is demonstrated and supported by achievements in the Metropolitan Opera National Council Auditions, George London Foundation Competition, Licia Albanese-Puccini Foundation, Tenor Viñas International Singing Contest, Opera Index, and Fort Worth Opera’s McCammon Voice Competition.  Felicia Moore was awarded the Prix des Amis du Festival following her participation in the Aix-en-Provence Festival’s Mozart Académie and she has been recognized with First Prize from The Jensen Foundation, Second Prize at the National Opera Association Competition, the Florence and Paul DeRosa Prize by The Juilliard School and by The Gerda Lissner Foundation, the Richard F. Gold Foundation, and the Wagner Society of New York.

Felicia Moore is a 2018-19 Lumos Fellow under the auspices of Turn The Spotlight, a foundation created to identify, nurture, and empower leaders – and in turn, to illuminate the path to a more equitable future in the arts through mentorship by and for exceptional women, people of color, and other equity-seeking groups in the arts. She is a proud alumna of The Juilliard School, Mannes School of Music, and Westminster Choir College.

Bogdan Volkov*
Don Ottavio

Bogdan Volkov studied singing at the Glier Kiev Institute of Music. In 2013 he completed his vocal studies graduating at Tchaikovsky Kiev National Academy of Music. In 2013-15 was a member of the Young Artists Program of the Bolshoi Theatre of Russia. During this period Bogdan made his role debuts as Simpleton in «Boris Godunov» by M. Mussorgsky, as Mozart in «Mozart and Salieri» by N. Rimsky-Korsakov, as Kai in «The story of Kai and Gerda» by S. Banevich and as Vladimir Igorevich in «Prince Igor» by A. Borodin and others…

In February 2014 he debuted in the new production of «The Tsar’s Bride» by N. Rimsky-Korsakov as Lykov, conducted by Gennady Rozhdestvensky. With this role he took part in the Bolshoi Theatre tours to Austria, Hong Kong Arts Festival and Lincoln Centre Festival.

In 2015 he was awarded the 1st prize and audience sympathy prize at the Paris Opera Competition. In October 2015 Bogdan successfully debuted as Lensky in «Eugene Onegin» by P. Tchaikovsky, working with director Dmitry Tchernyakov in his production at the Bolshoi. Since January 2016 he has been a principal soloist of the Bolshoi Theatre. In 2016 he was awarded the 2nd prize at Plácido Domingo’s Operalia, the World Opera Competition in Guadalajara.

In February 2017 he took part in the production of M. Weinberg`s «The Idiot», singing the title role of Prince Myshkin and in June 2017 he took part in the production of «The Snow Maiden» by N. Rimsky-Korsakov at the Bolshoi Theatre. For this roles Bogdan Volkov has been awarded «Onegin» the national opera award.

He also took part in concerts of the Bolshoi Theatre tours with Tugan Sohiev to Switzerland and France. In Jully 2017 he sang Lensky at the Festival d’Aix-En-Provence and Savonlinna Opera Festival.

David Margulis*
Don Ottavio (2/23)

Tenor David Margulis is emerging as a tenor with a bright future on international opera stages. He has been called “radiant voiced,” and been praised for his “clear, pleasing tenor.” Of his recent portrayal of Tamino in Die Zauberflöte in his mainstage debut at Arizona Opera, Opera Today raved: “David Margulis was an energetic Tamino who was only momentarily laid low by Pollard’s iconic monster. He sang with sumptuous lyrical sounds conveyed on a well-honed legato.” The upcoming 2016-17 season includes debuts with Opera Nationale de Lorraine, Opera Orlando, Zürcher Kammerorchester, and Opera Grand Rapids.

This past fall, he joined the prestigious Internationalen Opernstudio at Opernhaus Zürich where he will demonstrate his refined dramatic sensibilities in a variety of operas including Jonathan Dove’s musical fairy tale The Enchanted Pig, Rossini’s colorful comic opera Le comte Ory, Haydn’s rarely seen “heroic-comic drama” Orlando paladino, Mozart’s hilarious comic singspiel Der Schauspieldirektor, and Tchaikovsky’s Pique Dame. He finished the season with a debut at the Verbier Festival, singing Don Ottavio in Don Giovanni.

In recent engagements, Margulis made his main stage debuts as Borsa (Duke cover) in Rigoletto at Opera Santa Barbara, and in the The Impresario/Le Rossignol double bill at Santa Fe Opera. Margulis also participated in the inaugural New York Festival Song at North Fork program in Orient, New York with Steven Blier, performed Beethoven’s 9th Symphony for the opening night of the Phoenix Symphony’s season, and was seen at the Tucson Desert Song Festival performing on a program for the Ravinia Steans Music Institute on Tour with Kevin Murphy.

Additionally, Margulis has been engaged by some of the finest training programs in the country, where his assignments have included: Goro in Madama Butterfly and Léon in The Ghosts of Versailles at Wolf Trap Opera; Ernesto in Don Pasquale, Alfredo in La traviata, Steuermann in Die Fliegende Holländer, Ralph Rackstraw in H.M.S. Pinafore, Basilio/Curzio in Le nozze di Figaro, and Arturo in Lucia di Lammermoor at Arizona Opera; Young Servant in Elektra at Des Moines Metro Opera; Selimo in Maometto II at Santa Fe Opera; Molqi in The Death of Klinghoffer at Opera Theatre St. Louis; and Tybalt in Roméo et Juliette at Seagle Music Colony. While a Fellow at the Ravinia Steans Music Institute, he was privileged to work with some of the most respected coaches and conductors in the world, including Kevin Murphy, Malcolm Martineau, and James Conlon.

Mr. Margulis is earning a reputation as a champion of new works after being a part of numerous workshops of new pieces, including the workshop performance of Theodore Morrison’s first opera, Oscar, at The Santa Fe Opera and the workshop première of Bohmler’s Riders of the Purple Sage at Arizona Opera. He has premièred several new works including the tenor solo in Robert Kyr’s Pacific Sanctus.

Mr. Margulis holds degrees from the Jacobs School of Music at Indiana University, The University of Washington, and Florida State University. David is a three time Regional Finalist in the Metropolitan Opera National Council Auditions

Joshua Bloom*
Leporello
André Courville*
Leporello (2/23)

Praised by Opera News for his “splendid, lush bass-baritone”, André Courville is quickly establishing himself as one of America’s foremost young singers. This season brings debuts with Palm Beach Opera as Leporello in Don Giovanni and with Arizona Opera as the title role in Le Nozze di Figaro.

Highlights of previous seasons include Masetto in Don Giovanni with The  Dallas  Opera, his European debut at Karlsruhe’s Badisches Staatstheater as Mozart’s Figaro, the Marquis in La traviata with the Santa Fe Opera, and a return to the Philadelphia Orchestra as the Jailer in Tosca under the baton of Yannick Nézet-Séguin.

Trained at the Academy of Vocal Arts in Philadelphia, he garnered critical acclaim for performances there of many important roles including Méphistophélès in Faust, Mustafà in L’Italiana in Algeri, and Colline in La bohème.

An equally busy concert performer, he has appeared at Carnegie Hall for the past three seasons since his debut there with Opera Orchestra of New York. Other recent performances include the title role in Mendelssohn’s Elijah with the Columbus Symphony Orchestra, the bass solos in Mozart’s Great Mass in C minor at the Spoleto Festival USA, and Bach’s Cantata 150 with the Philadelphia Orchestra.

A Louisiana native, Courville is the recipient of top awards in eight national and international vocal competitions, including First Prize in the Loren L. Zachary National Vocal Competition and Top Prize in the Gerda Lissner Foundation International Vocal Competition.

Danielle MacMillan+
Zerlina

Former Benenson Young Artist Danielle MacMillan is known for her “deep plumy sound” Paula Citron, Classical 96.3fm and “a good foil” Opera in Review, Opera Canada. Toronto native Danielle MacMillan was a member of the COCs Ensemble Studio. Ms. MacMillan made her COC debut as the Second Niece in Britten’s Peter Grimes. She holds a BFA honors in classical vocal performance from York University with additional training at IVAI Istituzione Teatro Lirico Sperimentale di Spoleto, and The Glenn Gould School (GGS). Her credits include Diana in Cavalli’s La Calisto, Second Lady in Mozart’s The Magic Flute and Véronique in Bizet’s Le Docteur Miracle (GGS). During the 2014 season at the COC Ms. MacMillan also appeared as Dorabella in the Ensemble Studio performance of Cosí fan Tutte: “Act 2’s Danielle MacMillan has a bright sound and beautiful legato phrasing with spinto qualities that speak to heavier roles in the future. It is a surprisingly big voice at this early stage of a career” Paula Citron. Ms. MacMillan recently completed her second year as a Young Artist at Palm Beach Opera.

Neil Nelson
Masetto

Born in Kingston, Jamaica bass baritone Neil Nelson moved to the United States with his family at the age of 2, settling in Queens, New York. It has been said by colleagues and critics alike, that Mr. Nelson possesses one of the purest and most resonant bass baritone voice of recent times.

An excellent musician and linguist, Mr. Nelson graduated from The New England Conservatory of Music with a degree in music performance. Winning awards such as the Stephen Shrestinian Award for Excellence (Boston Lyric Opera), the Heinz Refuss Singing Actors Award (Orlando Opera), and appearing as a finalist in the New York Metropolitan Opera Auditions launched him into his professional career. Mr. Nelson has performed operatic roles with Boston Lyric Opera, Boston Symphony Orchestra, Palm Beach Opera, Opera Theatre of St. Louis, Berkshire Opera, Orlando Opera, The New York Harlem Opera Theater and the Tartar State Opera Theater in Kazan, Russia.

The 2015-16 season saw Mr. Nelson performing such roles as Conte di Luna in “Il Trovatore” with Winter Opera St. Louis, Jake in “Porgy and Bess” with the Tatar State Opera Theater (Kazan, Russia), Bass Soloist in the Beethoven Symphony no. 9 and Featured Soloist in “American Song Book” with the South Florida Symphony, Scarpia in “Tosca” with the Union Avenue Opera and Pirate King in the “Pirates of Penzance” with Opera Theatre of St. Louis

During the 2014-15 season Mr. Nelson performed the roles of Tonio in I Pagliacci with the St. Petersburg Opera, Schaunard in La Boheme with Opera Naples, Hagen in Götterdämmerung with Union Avenue Opera, Sulpice in La Fille du Regiment with Palm Beach Opera, Leporello in Don Giovanni with Union Avenue Opera and covered Coline in La Boheme with Palm Beach Opera.

Although opera is his first love, Neil has a passion for oratorio and concert stage. He has appeared as a soloist with ensembles such as the Lynn Conservatory Orchestra, the Ocean City Pops, the Southwest Florida Symphony, and the New England Conservatory Orchestra.

Future engagements include Porgy in “Porgy and Bess” with the South Florida Symphony and the Tatarstan State Opera Theater (Kazan, Russia), Oroveso in Norma with Winter Opera Opera St. Louis and Bass Soloist in Handel’s Messiah with the Masterworks Chorus of the Palm Beaches.

Mr. Nelson resides in South Florida with his wife and two daughters. When he is not singing, Neil can be found having fun with his family, fishing, or working with young men in his community as a mentor and a football coach.

Mikhail Kolelishvili
Commendatore

Widely considered to be one of Russia’s leading basses, Mikhail Kolelishvili first came to international attention as a finalist in the BBC Cardiff Singer of the World Competition in 2005, having already distinguished himself as a winner of two significant competitions in St. Petersburg – the 2002 Rimsky-Korsakov International Competition and the 2003 Elena Obraztsova Competition – and also claiming first prize in the 2004 Moniuszko Competition in Warsaw.

A soloist at St. Petersburg’s Mariinsky Theatre since 2009, Mr. Kolelishvili has performed over 30 roles for the company, with a specialty in the great bass roles of the Russian tradition, including Varlaam in Boris Godunov, Khan Konchak in Prince Igor, the title role in The Tale of Tsar Saltan, Mendoza in Betrothal in a Monastery, King René in Iolanta, and Skuratov in The Tsar’s Bride.  From the Western repertoire, he is known for his richly-sung interpretations of Il Commendatore in Don Giovanni, Sarastro in Die Zauberflöte, the Grand Inquisitor in Don Carlo, Sparafucile in Rigoletto, Don Basilio in Il barbiere di Siviglia, Don Bartolo in Le nozze di Figaro, Méphistophélès in Faust, the Bonze in Madama Butterfly, the King of Egypt in Aida, Banquo in Macbeth, and the title role in Don Quichotte.

Mr. Kolelishvili made his Metropolitan Opera debut in Shostakovich’s Lady Macbeth of Mtsensk in 2014, and he has appeared with the Dallas Opera in productions of Iolanta and Boris Godunov.  Other US engagements include an acclaimed debut with the Cincinnati Symphony Orchestra and conductor James Conlon as the soloist for Shostakovich’s Symphony Babi Yar.  Internationally, he has also performed with the Opéra National de Paris, Théâtre du Capitole de Toulouse, Opéra de Toulon, La Monnaie in Brussels, Finland’s Savonlinna Festival, and the Israeli Opera.

In recognition of his achievements in music, Mr. Kolelishvili has been recognized with the honorary title of People’s Artist of the Republic of Northern Ossetia-Alania.  He began his professional career as a soloist with the Georgian National Opera while completing his training at the Tbilisi State Conservatory, and furthered his development as a member of the Mariinsky Theatre’s Academy of Young Singers.

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.

Kristine McIntyre*
Director
Marcus Dilliard*
Lighting Designer

Marcus has designed for opera, theater and dance across North America and in Europe, including numerous productions for the Minnesota Opera, Lyric Opera Kansas City, the Guthrie Theater, Children’s Theater Company, Minnesota Dance Theater, and Theatre de la Jeune Lune. Recent designs include La fanciulla del West and Hansel and Gretel for Minnesota Opera, Otello for Pittsburgh Opera, Silent Night for Cincinnati Opera, Love’s Labour’s Lost for Actors Theatre of Louisville and The Moving Company; Tartuffe for South Coast Repertory; Dead Man Walking for Madison Opera; The Ballad of Emmett Till for Penumbra Theater; and Cabaret for Theater Latté Da. Other projects include By the Way and Meet Vera Stark for Penumbra Theater; Silent Night for Lyric Opera Kansas City; Tartuffe for Berkeley Repertory Theater and the Shakespeare Theater; and The Barber of Sevillefor Madison Opera.

Andrei Bondarenko*
Don Giovanni
Edward Nelson*
Don Giovanni (2/23)

In the 2018-2019 season, American baritone Edward Nelson makes his Opera Philadelphia debut in Ne Quittez Pas: A Reimagined La voix humaine where he will sing songs of Francis Poulenc. He will return to the Norwegian National Opera as Dandini in Stefan Herheim’s production of La Cenerentola, debut at the Palm Beach Opera as the title role in Don Giovanni, as well as sing both Schaunard in La bohème and Papageno in Die Zauberflöte with the Boston Youth Symphony Orchestra. In concert, he will sing Carmina Burana with the Mobile Symphony and

Recently, he made an acclaimed European debut at the Norwegian National Opera in a new production of Pelléas et Mélisande as Pelleas, a role he later sang with Opera de Oviedo and covered at the Glyndebourne Festival. He made his Washington National Opera debut as Maximillian in Francesca Zambello’s production of Candide and debuted at the Michigan Opera Theatre as the Count in Le nozze di Figaro conducted by Stephen Lord. He was also heard with the Milwaukee Symphony in Vaughan Williams’ Sea Symphony conducted by Andreas Delfs.

In his final season as an Adler Fellow at the San Francisco Opera, he sang mainstage performances of Malatesta in Don Pasquale, Yamadori in Madama Butterfly, and roles in the world premiere of Dream of the Red Chamber. Other appearances included his first performances of Hamlet at West Edge Opera and Schaunard in La bohème at Cincinnati Opera conducted by Louis Langrée. With Jessica Lang Dance, he performed Schubert’s Die schöne Müllerin choreographed by Jessica Lang as The Wanderer at Chicago’s Harris Theater.

Mr. Nelson performed Richard Nixon’s “News has a kind of mystery” from John Adams’ Nixon in China for the gala honoring David Gockley at the San Francisco Opera. He also performed the roles of the Second Priest in The Magic Flute, Hermann Ortel in Die Meistersinger von Nürnberg, Fiorello in Il barbiere di Siviglia, L’Ami in Debussy’s La chute de la Maison Usher, and Moralès in Carmen. In 2015, he created the role of Lieutenant John Buckley in the world premiere of Marco Tutino’s Two Women and is a graduate of the 2014 Merola Opera Program where he sang the title role of Don Giovanni.

Recent engagements include the Ferryman (Britten’s Curlew River) with the Mark Morris Dance Group/Tanglewood Music Festival and Montreal’s Ballet-Opéra-Pantomime, covering Miller in Montsalvatge’s El Gato con Botas with Gotham Chamber Opera, as well as the title role of Britten’s Owen Wingrave, Dandini (La Cenerentola), and Le Podestat (Bizet’s Le Docteur Miracle) with the University of Cincinnati College-Conservatory of Music (CCM), from which he holds undergraduate and graduate degrees.

On the concert stage, he has been a soloist with the Philharmonia Baroque, American Choral Directors Association and the Reno Philharmonic. He is a grant winner from the Gerda Lissner Foundation, a national semifinalist in the 2013 Metropolitan Opera National Council Auditions and the 2014 Naumburg International Voice Competition, First Prize winner of the 2014 Corbett Opera Competition at CCM, and a winner in the 2013 Opera Columbus and 2014 Mildred Miller International Voice Competition.

Source: CAMI

Caitlin Lynch
Donna Anna
Sarah-Jane Brandon
Donna Anna (2/23)

Winner of the 2009 Kathleen Ferrier Award, South African soprano Sarah-Jane Brandon studied at the Royal
College of Music, and was a participant in the 2011 Salzburg Festival’s Young Singers Project.
In the 2017/18 season, Sarah-Jane Brandon will return to the Semperoper Dresden as Antonia Les contes
d’Hoffmann, and as Contessa Le nozze di Figaro, and she will make her operatic debut in the United States as
Contessa for Palm Beach Opera, Florida. On the concert platform, she will perform the Brahms’ Requiem
with the RSNO and Peter Oudjian; Haydn’s Nelson Mass with the Orchestra National de Lyon and Omer
Meir Wellber and Britten’s War Requiem on a tour of the Netherlands with the Bochum Symphoniker and
Rotterdam Symphony Chorus.

Sarah-Jane Brandon has enjoyed particular success with the role of Contessa Le nozze di Figaro, performing
the role in new productions for the Semperoper Dresden and Savonlinna Opera Festival, as well as for
Glyndebourne; English National Opera; Opéra de Dijon; Opéra-Theatre de Saint-Etienne, Cape Town Opera
and the National Theatre of Bahrain – on tour for the Aix en Provence Festival.

Further appearances on the operatic stage include Micäela Carmen for the Deutsche Oper, Berlin and Teatro
Sao Carlos, Lisbon; Pamina in a new production of Die Zauberflöte for the Opéra de Nice; Donna Clara Der
Zwerg in a new production for the Teatro Sao Carlos, Lisbon; Erste Dame in Die Zauberflöte at the Teatro
dell’Opera di Roma; Giulietta I Capuleti e i Montecchi for the Buxton Festival; Desdemona Otello for Cape
Town Opera and she made her debut at the Teatro Real, Madrid in performances of Handel’s L’Allegro, il
Penseroso ed il Moderato with the Mark Morris Dance Group conducted by Jane Glover – this production
was filmed and released on DVD.

Her recent concert engagements include Haydn’s Nelson Mass with the London Philharmonic Orchestra and
Yannick Nézet-Séguin; a tour of the Netherlands with the BBCSO and Martyn Brabbins, performing
Howell’s Hymns Paradisi; Mahler’s 8 Symphony conducted by Omer Meir Wellber at the Dresden Music
Festival; Viennese Gala Concerts with the Scottish Chamber Orchestra and Thomas Rösner; Beethoven’s
Missa Solemnis with Sir Roger Norrington and with Vasily Petrenko and the RLPO; and her debut at the
Concertgebouw with the Boston Philharmonic Orchestra performing Mahler’s 2nd Symphony.

Further concert highlights include Berg’s Sieben frühe Lieder with the City of Birmingham Symphony
Orchestra and Edward Gardner; Mahler’s Symphony no. 4 with the BBC Symphony Orchestra and Sylvain
Cambreling, and appearances at the Edinburgh Festival with the Royal Scottish National Orchestra and Sir
Andrew Davis; the Mozarteum Orchestra and Ivor Bolton; the London Philharmonic Orchestra with Kurt
Masur; City of Birmingham Symphony Orchestra with Andris Nelsons, Royal Liverpool Philharmonic
Orchestra with Vasily Petrenko and with the London Symphony Orchestra and Sir Bernard Haitink.

Sarah-Jane’s recent recital appearances include her debut recital at the Wigmore Hall with James Baillieu;
Trinity College Cambridge and the Leeds Lieder Festival with Malcolm Martineau; the Musée d’Orsay and
Birmingham’s Barber Institute with Simon Lepper and the Wigmore Hall and the Buxton, Hay-on-Wye,
Chester and Oxford Lieder Festivals with Gary Matthewman. She has recorded Poulenc with Graham
Johnson and Wolf Lieder with Sholto Kynoch.

Danielle Pastin
Donna Elvira
Felicia Moore*
Donna Elvira (2/23)

American soprano Felicia Moore is recognized as a powerful and innovative emerging artist having made music in partnership with Alan Gilbert, Anne Manson, Yannick Nézet-Séguin, Speranza Scappucci, Gary Thor Wedow, and Brian Zeger among others.  Ms. Moore already has earned praise through international competition and through her performance on numerous stages of North America.  She recently earned an Artist Diploma in Opera Studies from The Juilliard School, and was named one of the winners of The Sullivan Foundation Competition.

In the current season, Felicia Moore makes her debut at Palm Beach Opera as Donna Elvira in Don Giovanni and joins the Las Vegas Philharmonic in performances of Beethoven’s Ninth Symphony.  The 2017-18 season began with performances of Mrs. Grose in Britten’s The Turn of the Screw at Opera Columbus in a new Stephen Wadsworth production and ended with a role debut as Donna Elvira in a new production of Don Giovanni at Heartbeat Opera directed by Louisa Proske.  Her final Juilliard year included workshop selections from Tchaikovsky’s Eugene Onegin with Alan Gilbert conducting the Juilliard Orchestra and Copland’s Twelve Emily Dickinson Songs with pianist Brian Zeger at Juilliard’s Songfest in Alice Tully Hall.  She gave a recital at Lincoln Center as winner of Juilliard’s Vocal Arts Honors Recital presenting a program of Sibelius, Wagner and Copland with pianist Chris Reynolds and offered the Juilliard Commencement Concert with a performance of Beethoven’s Ah! Perfido, Op. 65 with Speranza Scappucci leading the Juilliard Orchestra.  Felicia Moore spent the summer in Europe first as a Resident Artist in the Aix-en-Provence Festival’s Mozart Académie and then as a participant of the International Meistersinger Akademie in Neumarkt, Germany under the tutelage of Edith Wiens.

Performances of recent years feature the title role in Juilliard Opera’s production of Janáček’s Katya Kabanova conducted by Anne Manson in a new production by Stephen Wadsworth, and a summer in San Francisco Opera’s Merola Opera Program, performing in the Schwabacher Summer Concert as Agathe in Der Freischütz, and as Elisabeth in Tannhäuser on the stage of the San Francisco Opera.  Other performances include Rossini’s Stabat Mater with the Chamber Orchestra of the Triangle in North Carolina, Mozart’s Ch’io mi scordi di te? with the Juilliard Orchestra led by Gary Thor Wedow, and Strauss’ Vier letzte Lieder with Alan Gilbert and the Juilliard Orchestra Lab.

Ms. Moore’s training has included resident artist apprenticeships at Des Moines Metro Opera, Opera Theatre of Saint Louis, Portland Opera, and the Ravinia Festival’s Steans Institute.  Her work in these programs featured role preparations for First Lady in Die Zauberflöte, Alice Ford in Falstaff, Amelia in Un ballo in Maschera, Madame Lidoine in Dialogues of the Carmelites, Leonore in Fidelio, and the title role of Tobias Picker’s Emmeline.

Success in international vocal competition is demonstrated and supported by achievements in the Metropolitan Opera National Council Auditions, George London Foundation Competition, Licia Albanese-Puccini Foundation, Tenor Viñas International Singing Contest, Opera Index, and Fort Worth Opera’s McCammon Voice Competition.  Felicia Moore was awarded the Prix des Amis du Festival following her participation in the Aix-en-Provence Festival’s Mozart Académie and she has been recognized with First Prize from The Jensen Foundation, Second Prize at the National Opera Association Competition, the Florence and Paul DeRosa Prize by The Juilliard School and by The Gerda Lissner Foundation, the Richard F. Gold Foundation, and the Wagner Society of New York.

Felicia Moore is a 2018-19 Lumos Fellow under the auspices of Turn The Spotlight, a foundation created to identify, nurture, and empower leaders – and in turn, to illuminate the path to a more equitable future in the arts through mentorship by and for exceptional women, people of color, and other equity-seeking groups in the arts. She is a proud alumna of The Juilliard School, Mannes School of Music, and Westminster Choir College.

Bogdan Volkov*
Don Ottavio

Bogdan Volkov studied singing at the Glier Kiev Institute of Music. In 2013 he completed his vocal studies graduating at Tchaikovsky Kiev National Academy of Music. In 2013-15 was a member of the Young Artists Program of the Bolshoi Theatre of Russia. During this period Bogdan made his role debuts as Simpleton in «Boris Godunov» by M. Mussorgsky, as Mozart in «Mozart and Salieri» by N. Rimsky-Korsakov, as Kai in «The story of Kai and Gerda» by S. Banevich and as Vladimir Igorevich in «Prince Igor» by A. Borodin and others…

In February 2014 he debuted in the new production of «The Tsar’s Bride» by N. Rimsky-Korsakov as Lykov, conducted by Gennady Rozhdestvensky. With this role he took part in the Bolshoi Theatre tours to Austria, Hong Kong Arts Festival and Lincoln Centre Festival.

In 2015 he was awarded the 1st prize and audience sympathy prize at the Paris Opera Competition. In October 2015 Bogdan successfully debuted as Lensky in «Eugene Onegin» by P. Tchaikovsky, working with director Dmitry Tchernyakov in his production at the Bolshoi. Since January 2016 he has been a principal soloist of the Bolshoi Theatre. In 2016 he was awarded the 2nd prize at Plácido Domingo’s Operalia, the World Opera Competition in Guadalajara.

In February 2017 he took part in the production of M. Weinberg`s «The Idiot», singing the title role of Prince Myshkin and in June 2017 he took part in the production of «The Snow Maiden» by N. Rimsky-Korsakov at the Bolshoi Theatre. For this roles Bogdan Volkov has been awarded «Onegin» the national opera award.

He also took part in concerts of the Bolshoi Theatre tours with Tugan Sohiev to Switzerland and France. In Jully 2017 he sang Lensky at the Festival d’Aix-En-Provence and Savonlinna Opera Festival.

David Margulis*
Don Ottavio (2/23)

Tenor David Margulis is emerging as a tenor with a bright future on international opera stages. He has been called “radiant voiced,” and been praised for his “clear, pleasing tenor.” Of his recent portrayal of Tamino in Die Zauberflöte in his mainstage debut at Arizona Opera, Opera Today raved: “David Margulis was an energetic Tamino who was only momentarily laid low by Pollard’s iconic monster. He sang with sumptuous lyrical sounds conveyed on a well-honed legato.” The upcoming 2016-17 season includes debuts with Opera Nationale de Lorraine, Opera Orlando, Zürcher Kammerorchester, and Opera Grand Rapids.

This past fall, he joined the prestigious Internationalen Opernstudio at Opernhaus Zürich where he will demonstrate his refined dramatic sensibilities in a variety of operas including Jonathan Dove’s musical fairy tale The Enchanted Pig, Rossini’s colorful comic opera Le comte Ory, Haydn’s rarely seen “heroic-comic drama” Orlando paladino, Mozart’s hilarious comic singspiel Der Schauspieldirektor, and Tchaikovsky’s Pique Dame. He finished the season with a debut at the Verbier Festival, singing Don Ottavio in Don Giovanni.

In recent engagements, Margulis made his main stage debuts as Borsa (Duke cover) in Rigoletto at Opera Santa Barbara, and in the The Impresario/Le Rossignol double bill at Santa Fe Opera. Margulis also participated in the inaugural New York Festival Song at North Fork program in Orient, New York with Steven Blier, performed Beethoven’s 9th Symphony for the opening night of the Phoenix Symphony’s season, and was seen at the Tucson Desert Song Festival performing on a program for the Ravinia Steans Music Institute on Tour with Kevin Murphy.

Additionally, Margulis has been engaged by some of the finest training programs in the country, where his assignments have included: Goro in Madama Butterfly and Léon in The Ghosts of Versailles at Wolf Trap Opera; Ernesto in Don Pasquale, Alfredo in La traviata, Steuermann in Die Fliegende Holländer, Ralph Rackstraw in H.M.S. Pinafore, Basilio/Curzio in Le nozze di Figaro, and Arturo in Lucia di Lammermoor at Arizona Opera; Young Servant in Elektra at Des Moines Metro Opera; Selimo in Maometto II at Santa Fe Opera; Molqi in The Death of Klinghoffer at Opera Theatre St. Louis; and Tybalt in Roméo et Juliette at Seagle Music Colony. While a Fellow at the Ravinia Steans Music Institute, he was privileged to work with some of the most respected coaches and conductors in the world, including Kevin Murphy, Malcolm Martineau, and James Conlon.

Mr. Margulis is earning a reputation as a champion of new works after being a part of numerous workshops of new pieces, including the workshop performance of Theodore Morrison’s first opera, Oscar, at The Santa Fe Opera and the workshop première of Bohmler’s Riders of the Purple Sage at Arizona Opera. He has premièred several new works including the tenor solo in Robert Kyr’s Pacific Sanctus.

Mr. Margulis holds degrees from the Jacobs School of Music at Indiana University, The University of Washington, and Florida State University. David is a three time Regional Finalist in the Metropolitan Opera National Council Auditions

Joshua Bloom*
Leporello
André Courville*
Leporello (2/23)

Praised by Opera News for his “splendid, lush bass-baritone”, André Courville is quickly establishing himself as one of America’s foremost young singers. This season brings debuts with Palm Beach Opera as Leporello in Don Giovanni and with Arizona Opera as the title role in Le Nozze di Figaro.

Highlights of previous seasons include Masetto in Don Giovanni with The  Dallas  Opera, his European debut at Karlsruhe’s Badisches Staatstheater as Mozart’s Figaro, the Marquis in La traviata with the Santa Fe Opera, and a return to the Philadelphia Orchestra as the Jailer in Tosca under the baton of Yannick Nézet-Séguin.

Trained at the Academy of Vocal Arts in Philadelphia, he garnered critical acclaim for performances there of many important roles including Méphistophélès in Faust, Mustafà in L’Italiana in Algeri, and Colline in La bohème.

An equally busy concert performer, he has appeared at Carnegie Hall for the past three seasons since his debut there with Opera Orchestra of New York. Other recent performances include the title role in Mendelssohn’s Elijah with the Columbus Symphony Orchestra, the bass solos in Mozart’s Great Mass in C minor at the Spoleto Festival USA, and Bach’s Cantata 150 with the Philadelphia Orchestra.

A Louisiana native, Courville is the recipient of top awards in eight national and international vocal competitions, including First Prize in the Loren L. Zachary National Vocal Competition and Top Prize in the Gerda Lissner Foundation International Vocal Competition.

Danielle MacMillan+
Zerlina

Former Benenson Young Artist Danielle MacMillan is known for her “deep plumy sound” Paula Citron, Classical 96.3fm and “a good foil” Opera in Review, Opera Canada. Toronto native Danielle MacMillan was a member of the COCs Ensemble Studio. Ms. MacMillan made her COC debut as the Second Niece in Britten’s Peter Grimes. She holds a BFA honors in classical vocal performance from York University with additional training at IVAI Istituzione Teatro Lirico Sperimentale di Spoleto, and The Glenn Gould School (GGS). Her credits include Diana in Cavalli’s La Calisto, Second Lady in Mozart’s The Magic Flute and Véronique in Bizet’s Le Docteur Miracle (GGS). During the 2014 season at the COC Ms. MacMillan also appeared as Dorabella in the Ensemble Studio performance of Cosí fan Tutte: “Act 2’s Danielle MacMillan has a bright sound and beautiful legato phrasing with spinto qualities that speak to heavier roles in the future. It is a surprisingly big voice at this early stage of a career” Paula Citron. Ms. MacMillan recently completed her second year as a Young Artist at Palm Beach Opera.

Neil Nelson
Masetto

Born in Kingston, Jamaica bass baritone Neil Nelson moved to the United States with his family at the age of 2, settling in Queens, New York. It has been said by colleagues and critics alike, that Mr. Nelson possesses one of the purest and most resonant bass baritone voice of recent times.

An excellent musician and linguist, Mr. Nelson graduated from The New England Conservatory of Music with a degree in music performance. Winning awards such as the Stephen Shrestinian Award for Excellence (Boston Lyric Opera), the Heinz Refuss Singing Actors Award (Orlando Opera), and appearing as a finalist in the New York Metropolitan Opera Auditions launched him into his professional career. Mr. Nelson has performed operatic roles with Boston Lyric Opera, Boston Symphony Orchestra, Palm Beach Opera, Opera Theatre of St. Louis, Berkshire Opera, Orlando Opera, The New York Harlem Opera Theater and the Tartar State Opera Theater in Kazan, Russia.

The 2015-16 season saw Mr. Nelson performing such roles as Conte di Luna in “Il Trovatore” with Winter Opera St. Louis, Jake in “Porgy and Bess” with the Tatar State Opera Theater (Kazan, Russia), Bass Soloist in the Beethoven Symphony no. 9 and Featured Soloist in “American Song Book” with the South Florida Symphony, Scarpia in “Tosca” with the Union Avenue Opera and Pirate King in the “Pirates of Penzance” with Opera Theatre of St. Louis

During the 2014-15 season Mr. Nelson performed the roles of Tonio in I Pagliacci with the St. Petersburg Opera, Schaunard in La Boheme with Opera Naples, Hagen in Götterdämmerung with Union Avenue Opera, Sulpice in La Fille du Regiment with Palm Beach Opera, Leporello in Don Giovanni with Union Avenue Opera and covered Coline in La Boheme with Palm Beach Opera.

Although opera is his first love, Neil has a passion for oratorio and concert stage. He has appeared as a soloist with ensembles such as the Lynn Conservatory Orchestra, the Ocean City Pops, the Southwest Florida Symphony, and the New England Conservatory Orchestra.

Future engagements include Porgy in “Porgy and Bess” with the South Florida Symphony and the Tatarstan State Opera Theater (Kazan, Russia), Oroveso in Norma with Winter Opera Opera St. Louis and Bass Soloist in Handel’s Messiah with the Masterworks Chorus of the Palm Beaches.

Mr. Nelson resides in South Florida with his wife and two daughters. When he is not singing, Neil can be found having fun with his family, fishing, or working with young men in his community as a mentor and a football coach.

Mikhail Kolelishvili
Commendatore

Widely considered to be one of Russia’s leading basses, Mikhail Kolelishvili first came to international attention as a finalist in the BBC Cardiff Singer of the World Competition in 2005, having already distinguished himself as a winner of two significant competitions in St. Petersburg – the 2002 Rimsky-Korsakov International Competition and the 2003 Elena Obraztsova Competition – and also claiming first prize in the 2004 Moniuszko Competition in Warsaw.

A soloist at St. Petersburg’s Mariinsky Theatre since 2009, Mr. Kolelishvili has performed over 30 roles for the company, with a specialty in the great bass roles of the Russian tradition, including Varlaam in Boris Godunov, Khan Konchak in Prince Igor, the title role in The Tale of Tsar Saltan, Mendoza in Betrothal in a Monastery, King René in Iolanta, and Skuratov in The Tsar’s Bride.  From the Western repertoire, he is known for his richly-sung interpretations of Il Commendatore in Don Giovanni, Sarastro in Die Zauberflöte, the Grand Inquisitor in Don Carlo, Sparafucile in Rigoletto, Don Basilio in Il barbiere di Siviglia, Don Bartolo in Le nozze di Figaro, Méphistophélès in Faust, the Bonze in Madama Butterfly, the King of Egypt in Aida, Banquo in Macbeth, and the title role in Don Quichotte.

Mr. Kolelishvili made his Metropolitan Opera debut in Shostakovich’s Lady Macbeth of Mtsensk in 2014, and he has appeared with the Dallas Opera in productions of Iolanta and Boris Godunov.  Other US engagements include an acclaimed debut with the Cincinnati Symphony Orchestra and conductor James Conlon as the soloist for Shostakovich’s Symphony Babi Yar.  Internationally, he has also performed with the Opéra National de Paris, Théâtre du Capitole de Toulouse, Opéra de Toulon, La Monnaie in Brussels, Finland’s Savonlinna Festival, and the Israeli Opera.

In recognition of his achievements in music, Mr. Kolelishvili has been recognized with the honorary title of People’s Artist of the Republic of Northern Ossetia-Alania.  He began his professional career as a soloist with the Georgian National Opera while completing his training at the Tbilisi State Conservatory, and furthered his development as a member of the Mariinsky Theatre’s Academy of Young Singers.

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.

Kristine McIntyre*
Director
Marcus Dilliard*
Lighting Designer

Marcus has designed for opera, theater and dance across North America and in Europe, including numerous productions for the Minnesota Opera, Lyric Opera Kansas City, the Guthrie Theater, Children’s Theater Company, Minnesota Dance Theater, and Theatre de la Jeune Lune. Recent designs include La fanciulla del West and Hansel and Gretel for Minnesota Opera, Otello for Pittsburgh Opera, Silent Night for Cincinnati Opera, Love’s Labour’s Lost for Actors Theatre of Louisville and The Moving Company; Tartuffe for South Coast Repertory; Dead Man Walking for Madison Opera; The Ballad of Emmett Till for Penumbra Theater; and Cabaret for Theater Latté Da. Other projects include By the Way and Meet Vera Stark for Penumbra Theater; Silent Night for Lyric Opera Kansas City; Tartuffe for Berkeley Repertory Theater and the Shakespeare Theater; and The Barber of Sevillefor Madison Opera.

Andrei Bondarenko*
Don Giovanni
Edward Nelson*
Don Giovanni (2/23)

In the 2018-2019 season, American baritone Edward Nelson makes his Opera Philadelphia debut in Ne Quittez Pas: A Reimagined La voix humaine where he will sing songs of Francis Poulenc. He will return to the Norwegian National Opera as Dandini in Stefan Herheim’s production of La Cenerentola, debut at the Palm Beach Opera as the title role in Don Giovanni, as well as sing both Schaunard in La bohème and Papageno in Die Zauberflöte with the Boston Youth Symphony Orchestra. In concert, he will sing Carmina Burana with the Mobile Symphony and

Recently, he made an acclaimed European debut at the Norwegian National Opera in a new production of Pelléas et Mélisande as Pelleas, a role he later sang with Opera de Oviedo and covered at the Glyndebourne Festival. He made his Washington National Opera debut as Maximillian in Francesca Zambello’s production of Candide and debuted at the Michigan Opera Theatre as the Count in Le nozze di Figaro conducted by Stephen Lord. He was also heard with the Milwaukee Symphony in Vaughan Williams’ Sea Symphony conducted by Andreas Delfs.

In his final season as an Adler Fellow at the San Francisco Opera, he sang mainstage performances of Malatesta in Don Pasquale, Yamadori in Madama Butterfly, and roles in the world premiere of Dream of the Red Chamber. Other appearances included his first performances of Hamlet at West Edge Opera and Schaunard in La bohème at Cincinnati Opera conducted by Louis Langrée. With Jessica Lang Dance, he performed Schubert’s Die schöne Müllerin choreographed by Jessica Lang as The Wanderer at Chicago’s Harris Theater.

Mr. Nelson performed Richard Nixon’s “News has a kind of mystery” from John Adams’ Nixon in China for the gala honoring David Gockley at the San Francisco Opera. He also performed the roles of the Second Priest in The Magic Flute, Hermann Ortel in Die Meistersinger von Nürnberg, Fiorello in Il barbiere di Siviglia, L’Ami in Debussy’s La chute de la Maison Usher, and Moralès in Carmen. In 2015, he created the role of Lieutenant John Buckley in the world premiere of Marco Tutino’s Two Women and is a graduate of the 2014 Merola Opera Program where he sang the title role of Don Giovanni.

Recent engagements include the Ferryman (Britten’s Curlew River) with the Mark Morris Dance Group/Tanglewood Music Festival and Montreal’s Ballet-Opéra-Pantomime, covering Miller in Montsalvatge’s El Gato con Botas with Gotham Chamber Opera, as well as the title role of Britten’s Owen Wingrave, Dandini (La Cenerentola), and Le Podestat (Bizet’s Le Docteur Miracle) with the University of Cincinnati College-Conservatory of Music (CCM), from which he holds undergraduate and graduate degrees.

On the concert stage, he has been a soloist with the Philharmonia Baroque, American Choral Directors Association and the Reno Philharmonic. He is a grant winner from the Gerda Lissner Foundation, a national semifinalist in the 2013 Metropolitan Opera National Council Auditions and the 2014 Naumburg International Voice Competition, First Prize winner of the 2014 Corbett Opera Competition at CCM, and a winner in the 2013 Opera Columbus and 2014 Mildred Miller International Voice Competition.

Source: CAMI

Caitlin Lynch
Donna Anna
Sarah-Jane Brandon
Donna Anna (2/23)

Winner of the 2009 Kathleen Ferrier Award, South African soprano Sarah-Jane Brandon studied at the Royal
College of Music, and was a participant in the 2011 Salzburg Festival’s Young Singers Project.
In the 2017/18 season, Sarah-Jane Brandon will return to the Semperoper Dresden as Antonia Les contes
d’Hoffmann, and as Contessa Le nozze di Figaro, and she will make her operatic debut in the United States as
Contessa for Palm Beach Opera, Florida. On the concert platform, she will perform the Brahms’ Requiem
with the RSNO and Peter Oudjian; Haydn’s Nelson Mass with the Orchestra National de Lyon and Omer
Meir Wellber and Britten’s War Requiem on a tour of the Netherlands with the Bochum Symphoniker and
Rotterdam Symphony Chorus.

Sarah-Jane Brandon has enjoyed particular success with the role of Contessa Le nozze di Figaro, performing
the role in new productions for the Semperoper Dresden and Savonlinna Opera Festival, as well as for
Glyndebourne; English National Opera; Opéra de Dijon; Opéra-Theatre de Saint-Etienne, Cape Town Opera
and the National Theatre of Bahrain – on tour for the Aix en Provence Festival.

Further appearances on the operatic stage include Micäela Carmen for the Deutsche Oper, Berlin and Teatro
Sao Carlos, Lisbon; Pamina in a new production of Die Zauberflöte for the Opéra de Nice; Donna Clara Der
Zwerg in a new production for the Teatro Sao Carlos, Lisbon; Erste Dame in Die Zauberflöte at the Teatro
dell’Opera di Roma; Giulietta I Capuleti e i Montecchi for the Buxton Festival; Desdemona Otello for Cape
Town Opera and she made her debut at the Teatro Real, Madrid in performances of Handel’s L’Allegro, il
Penseroso ed il Moderato with the Mark Morris Dance Group conducted by Jane Glover – this production
was filmed and released on DVD.

Her recent concert engagements include Haydn’s Nelson Mass with the London Philharmonic Orchestra and
Yannick Nézet-Séguin; a tour of the Netherlands with the BBCSO and Martyn Brabbins, performing
Howell’s Hymns Paradisi; Mahler’s 8 Symphony conducted by Omer Meir Wellber at the Dresden Music
Festival; Viennese Gala Concerts with the Scottish Chamber Orchestra and Thomas Rösner; Beethoven’s
Missa Solemnis with Sir Roger Norrington and with Vasily Petrenko and the RLPO; and her debut at the
Concertgebouw with the Boston Philharmonic Orchestra performing Mahler’s 2nd Symphony.

Further concert highlights include Berg’s Sieben frühe Lieder with the City of Birmingham Symphony
Orchestra and Edward Gardner; Mahler’s Symphony no. 4 with the BBC Symphony Orchestra and Sylvain
Cambreling, and appearances at the Edinburgh Festival with the Royal Scottish National Orchestra and Sir
Andrew Davis; the Mozarteum Orchestra and Ivor Bolton; the London Philharmonic Orchestra with Kurt
Masur; City of Birmingham Symphony Orchestra with Andris Nelsons, Royal Liverpool Philharmonic
Orchestra with Vasily Petrenko and with the London Symphony Orchestra and Sir Bernard Haitink.

Sarah-Jane’s recent recital appearances include her debut recital at the Wigmore Hall with James Baillieu;
Trinity College Cambridge and the Leeds Lieder Festival with Malcolm Martineau; the Musée d’Orsay and
Birmingham’s Barber Institute with Simon Lepper and the Wigmore Hall and the Buxton, Hay-on-Wye,
Chester and Oxford Lieder Festivals with Gary Matthewman. She has recorded Poulenc with Graham
Johnson and Wolf Lieder with Sholto Kynoch.

Danielle Pastin
Donna Elvira
Felicia Moore*
Donna Elvira (2/23)

American soprano Felicia Moore is recognized as a powerful and innovative emerging artist having made music in partnership with Alan Gilbert, Anne Manson, Yannick Nézet-Séguin, Speranza Scappucci, Gary Thor Wedow, and Brian Zeger among others.  Ms. Moore already has earned praise through international competition and through her performance on numerous stages of North America.  She recently earned an Artist Diploma in Opera Studies from The Juilliard School, and was named one of the winners of The Sullivan Foundation Competition.

In the current season, Felicia Moore makes her debut at Palm Beach Opera as Donna Elvira in Don Giovanni and joins the Las Vegas Philharmonic in performances of Beethoven’s Ninth Symphony.  The 2017-18 season began with performances of Mrs. Grose in Britten’s The Turn of the Screw at Opera Columbus in a new Stephen Wadsworth production and ended with a role debut as Donna Elvira in a new production of Don Giovanni at Heartbeat Opera directed by Louisa Proske.  Her final Juilliard year included workshop selections from Tchaikovsky’s Eugene Onegin with Alan Gilbert conducting the Juilliard Orchestra and Copland’s Twelve Emily Dickinson Songs with pianist Brian Zeger at Juilliard’s Songfest in Alice Tully Hall.  She gave a recital at Lincoln Center as winner of Juilliard’s Vocal Arts Honors Recital presenting a program of Sibelius, Wagner and Copland with pianist Chris Reynolds and offered the Juilliard Commencement Concert with a performance of Beethoven’s Ah! Perfido, Op. 65 with Speranza Scappucci leading the Juilliard Orchestra.  Felicia Moore spent the summer in Europe first as a Resident Artist in the Aix-en-Provence Festival’s Mozart Académie and then as a participant of the International Meistersinger Akademie in Neumarkt, Germany under the tutelage of Edith Wiens.

Performances of recent years feature the title role in Juilliard Opera’s production of Janáček’s Katya Kabanova conducted by Anne Manson in a new production by Stephen Wadsworth, and a summer in San Francisco Opera’s Merola Opera Program, performing in the Schwabacher Summer Concert as Agathe in Der Freischütz, and as Elisabeth in Tannhäuser on the stage of the San Francisco Opera.  Other performances include Rossini’s Stabat Mater with the Chamber Orchestra of the Triangle in North Carolina, Mozart’s Ch’io mi scordi di te? with the Juilliard Orchestra led by Gary Thor Wedow, and Strauss’ Vier letzte Lieder with Alan Gilbert and the Juilliard Orchestra Lab.

Ms. Moore’s training has included resident artist apprenticeships at Des Moines Metro Opera, Opera Theatre of Saint Louis, Portland Opera, and the Ravinia Festival’s Steans Institute.  Her work in these programs featured role preparations for First Lady in Die Zauberflöte, Alice Ford in Falstaff, Amelia in Un ballo in Maschera, Madame Lidoine in Dialogues of the Carmelites, Leonore in Fidelio, and the title role of Tobias Picker’s Emmeline.

Success in international vocal competition is demonstrated and supported by achievements in the Metropolitan Opera National Council Auditions, George London Foundation Competition, Licia Albanese-Puccini Foundation, Tenor Viñas International Singing Contest, Opera Index, and Fort Worth Opera’s McCammon Voice Competition.  Felicia Moore was awarded the Prix des Amis du Festival following her participation in the Aix-en-Provence Festival’s Mozart Académie and she has been recognized with First Prize from The Jensen Foundation, Second Prize at the National Opera Association Competition, the Florence and Paul DeRosa Prize by The Juilliard School and by The Gerda Lissner Foundation, the Richard F. Gold Foundation, and the Wagner Society of New York.

Felicia Moore is a 2018-19 Lumos Fellow under the auspices of Turn The Spotlight, a foundation created to identify, nurture, and empower leaders – and in turn, to illuminate the path to a more equitable future in the arts through mentorship by and for exceptional women, people of color, and other equity-seeking groups in the arts. She is a proud alumna of The Juilliard School, Mannes School of Music, and Westminster Choir College.

Bogdan Volkov*
Don Ottavio

Bogdan Volkov studied singing at the Glier Kiev Institute of Music. In 2013 he completed his vocal studies graduating at Tchaikovsky Kiev National Academy of Music. In 2013-15 was a member of the Young Artists Program of the Bolshoi Theatre of Russia. During this period Bogdan made his role debuts as Simpleton in «Boris Godunov» by M. Mussorgsky, as Mozart in «Mozart and Salieri» by N. Rimsky-Korsakov, as Kai in «The story of Kai and Gerda» by S. Banevich and as Vladimir Igorevich in «Prince Igor» by A. Borodin and others…

In February 2014 he debuted in the new production of «The Tsar’s Bride» by N. Rimsky-Korsakov as Lykov, conducted by Gennady Rozhdestvensky. With this role he took part in the Bolshoi Theatre tours to Austria, Hong Kong Arts Festival and Lincoln Centre Festival.

In 2015 he was awarded the 1st prize and audience sympathy prize at the Paris Opera Competition. In October 2015 Bogdan successfully debuted as Lensky in «Eugene Onegin» by P. Tchaikovsky, working with director Dmitry Tchernyakov in his production at the Bolshoi. Since January 2016 he has been a principal soloist of the Bolshoi Theatre. In 2016 he was awarded the 2nd prize at Plácido Domingo’s Operalia, the World Opera Competition in Guadalajara.

In February 2017 he took part in the production of M. Weinberg`s «The Idiot», singing the title role of Prince Myshkin and in June 2017 he took part in the production of «The Snow Maiden» by N. Rimsky-Korsakov at the Bolshoi Theatre. For this roles Bogdan Volkov has been awarded «Onegin» the national opera award.

He also took part in concerts of the Bolshoi Theatre tours with Tugan Sohiev to Switzerland and France. In Jully 2017 he sang Lensky at the Festival d’Aix-En-Provence and Savonlinna Opera Festival.

David Margulis*
Don Ottavio (2/23)

Tenor David Margulis is emerging as a tenor with a bright future on international opera stages. He has been called “radiant voiced,” and been praised for his “clear, pleasing tenor.” Of his recent portrayal of Tamino in Die Zauberflöte in his mainstage debut at Arizona Opera, Opera Today raved: “David Margulis was an energetic Tamino who was only momentarily laid low by Pollard’s iconic monster. He sang with sumptuous lyrical sounds conveyed on a well-honed legato.” The upcoming 2016-17 season includes debuts with Opera Nationale de Lorraine, Opera Orlando, Zürcher Kammerorchester, and Opera Grand Rapids.

This past fall, he joined the prestigious Internationalen Opernstudio at Opernhaus Zürich where he will demonstrate his refined dramatic sensibilities in a variety of operas including Jonathan Dove’s musical fairy tale The Enchanted Pig, Rossini’s colorful comic opera Le comte Ory, Haydn’s rarely seen “heroic-comic drama” Orlando paladino, Mozart’s hilarious comic singspiel Der Schauspieldirektor, and Tchaikovsky’s Pique Dame. He finished the season with a debut at the Verbier Festival, singing Don Ottavio in Don Giovanni.

In recent engagements, Margulis made his main stage debuts as Borsa (Duke cover) in Rigoletto at Opera Santa Barbara, and in the The Impresario/Le Rossignol double bill at Santa Fe Opera. Margulis also participated in the inaugural New York Festival Song at North Fork program in Orient, New York with Steven Blier, performed Beethoven’s 9th Symphony for the opening night of the Phoenix Symphony’s season, and was seen at the Tucson Desert Song Festival performing on a program for the Ravinia Steans Music Institute on Tour with Kevin Murphy.

Additionally, Margulis has been engaged by some of the finest training programs in the country, where his assignments have included: Goro in Madama Butterfly and Léon in The Ghosts of Versailles at Wolf Trap Opera; Ernesto in Don Pasquale, Alfredo in La traviata, Steuermann in Die Fliegende Holländer, Ralph Rackstraw in H.M.S. Pinafore, Basilio/Curzio in Le nozze di Figaro, and Arturo in Lucia di Lammermoor at Arizona Opera; Young Servant in Elektra at Des Moines Metro Opera; Selimo in Maometto II at Santa Fe Opera; Molqi in The Death of Klinghoffer at Opera Theatre St. Louis; and Tybalt in Roméo et Juliette at Seagle Music Colony. While a Fellow at the Ravinia Steans Music Institute, he was privileged to work with some of the most respected coaches and conductors in the world, including Kevin Murphy, Malcolm Martineau, and James Conlon.

Mr. Margulis is earning a reputation as a champion of new works after being a part of numerous workshops of new pieces, including the workshop performance of Theodore Morrison’s first opera, Oscar, at The Santa Fe Opera and the workshop première of Bohmler’s Riders of the Purple Sage at Arizona Opera. He has premièred several new works including the tenor solo in Robert Kyr’s Pacific Sanctus.

Mr. Margulis holds degrees from the Jacobs School of Music at Indiana University, The University of Washington, and Florida State University. David is a three time Regional Finalist in the Metropolitan Opera National Council Auditions

Joshua Bloom*
Leporello
André Courville*
Leporello (2/23)

Praised by Opera News for his “splendid, lush bass-baritone”, André Courville is quickly establishing himself as one of America’s foremost young singers. This season brings debuts with Palm Beach Opera as Leporello in Don Giovanni and with Arizona Opera as the title role in Le Nozze di Figaro.

Highlights of previous seasons include Masetto in Don Giovanni with The  Dallas  Opera, his European debut at Karlsruhe’s Badisches Staatstheater as Mozart’s Figaro, the Marquis in La traviata with the Santa Fe Opera, and a return to the Philadelphia Orchestra as the Jailer in Tosca under the baton of Yannick Nézet-Séguin.

Trained at the Academy of Vocal Arts in Philadelphia, he garnered critical acclaim for performances there of many important roles including Méphistophélès in Faust, Mustafà in L’Italiana in Algeri, and Colline in La bohème.

An equally busy concert performer, he has appeared at Carnegie Hall for the past three seasons since his debut there with Opera Orchestra of New York. Other recent performances include the title role in Mendelssohn’s Elijah with the Columbus Symphony Orchestra, the bass solos in Mozart’s Great Mass in C minor at the Spoleto Festival USA, and Bach’s Cantata 150 with the Philadelphia Orchestra.

A Louisiana native, Courville is the recipient of top awards in eight national and international vocal competitions, including First Prize in the Loren L. Zachary National Vocal Competition and Top Prize in the Gerda Lissner Foundation International Vocal Competition.

Danielle MacMillan+
Zerlina

Former Benenson Young Artist Danielle MacMillan is known for her “deep plumy sound” Paula Citron, Classical 96.3fm and “a good foil” Opera in Review, Opera Canada. Toronto native Danielle MacMillan was a member of the COCs Ensemble Studio. Ms. MacMillan made her COC debut as the Second Niece in Britten’s Peter Grimes. She holds a BFA honors in classical vocal performance from York University with additional training at IVAI Istituzione Teatro Lirico Sperimentale di Spoleto, and The Glenn Gould School (GGS). Her credits include Diana in Cavalli’s La Calisto, Second Lady in Mozart’s The Magic Flute and Véronique in Bizet’s Le Docteur Miracle (GGS). During the 2014 season at the COC Ms. MacMillan also appeared as Dorabella in the Ensemble Studio performance of Cosí fan Tutte: “Act 2’s Danielle MacMillan has a bright sound and beautiful legato phrasing with spinto qualities that speak to heavier roles in the future. It is a surprisingly big voice at this early stage of a career” Paula Citron. Ms. MacMillan recently completed her second year as a Young Artist at Palm Beach Opera.

Neil Nelson
Masetto

Born in Kingston, Jamaica bass baritone Neil Nelson moved to the United States with his family at the age of 2, settling in Queens, New York. It has been said by colleagues and critics alike, that Mr. Nelson possesses one of the purest and most resonant bass baritone voice of recent times.

An excellent musician and linguist, Mr. Nelson graduated from The New England Conservatory of Music with a degree in music performance. Winning awards such as the Stephen Shrestinian Award for Excellence (Boston Lyric Opera), the Heinz Refuss Singing Actors Award (Orlando Opera), and appearing as a finalist in the New York Metropolitan Opera Auditions launched him into his professional career. Mr. Nelson has performed operatic roles with Boston Lyric Opera, Boston Symphony Orchestra, Palm Beach Opera, Opera Theatre of St. Louis, Berkshire Opera, Orlando Opera, The New York Harlem Opera Theater and the Tartar State Opera Theater in Kazan, Russia.

The 2015-16 season saw Mr. Nelson performing such roles as Conte di Luna in “Il Trovatore” with Winter Opera St. Louis, Jake in “Porgy and Bess” with the Tatar State Opera Theater (Kazan, Russia), Bass Soloist in the Beethoven Symphony no. 9 and Featured Soloist in “American Song Book” with the South Florida Symphony, Scarpia in “Tosca” with the Union Avenue Opera and Pirate King in the “Pirates of Penzance” with Opera Theatre of St. Louis

During the 2014-15 season Mr. Nelson performed the roles of Tonio in I Pagliacci with the St. Petersburg Opera, Schaunard in La Boheme with Opera Naples, Hagen in Götterdämmerung with Union Avenue Opera, Sulpice in La Fille du Regiment with Palm Beach Opera, Leporello in Don Giovanni with Union Avenue Opera and covered Coline in La Boheme with Palm Beach Opera.

Although opera is his first love, Neil has a passion for oratorio and concert stage. He has appeared as a soloist with ensembles such as the Lynn Conservatory Orchestra, the Ocean City Pops, the Southwest Florida Symphony, and the New England Conservatory Orchestra.

Future engagements include Porgy in “Porgy and Bess” with the South Florida Symphony and the Tatarstan State Opera Theater (Kazan, Russia), Oroveso in Norma with Winter Opera Opera St. Louis and Bass Soloist in Handel’s Messiah with the Masterworks Chorus of the Palm Beaches.

Mr. Nelson resides in South Florida with his wife and two daughters. When he is not singing, Neil can be found having fun with his family, fishing, or working with young men in his community as a mentor and a football coach.

Mikhail Kolelishvili
Commendatore

Widely considered to be one of Russia’s leading basses, Mikhail Kolelishvili first came to international attention as a finalist in the BBC Cardiff Singer of the World Competition in 2005, having already distinguished himself as a winner of two significant competitions in St. Petersburg – the 2002 Rimsky-Korsakov International Competition and the 2003 Elena Obraztsova Competition – and also claiming first prize in the 2004 Moniuszko Competition in Warsaw.

A soloist at St. Petersburg’s Mariinsky Theatre since 2009, Mr. Kolelishvili has performed over 30 roles for the company, with a specialty in the great bass roles of the Russian tradition, including Varlaam in Boris Godunov, Khan Konchak in Prince Igor, the title role in The Tale of Tsar Saltan, Mendoza in Betrothal in a Monastery, King René in Iolanta, and Skuratov in The Tsar’s Bride.  From the Western repertoire, he is known for his richly-sung interpretations of Il Commendatore in Don Giovanni, Sarastro in Die Zauberflöte, the Grand Inquisitor in Don Carlo, Sparafucile in Rigoletto, Don Basilio in Il barbiere di Siviglia, Don Bartolo in Le nozze di Figaro, Méphistophélès in Faust, the Bonze in Madama Butterfly, the King of Egypt in Aida, Banquo in Macbeth, and the title role in Don Quichotte.

Mr. Kolelishvili made his Metropolitan Opera debut in Shostakovich’s Lady Macbeth of Mtsensk in 2014, and he has appeared with the Dallas Opera in productions of Iolanta and Boris Godunov.  Other US engagements include an acclaimed debut with the Cincinnati Symphony Orchestra and conductor James Conlon as the soloist for Shostakovich’s Symphony Babi Yar.  Internationally, he has also performed with the Opéra National de Paris, Théâtre du Capitole de Toulouse, Opéra de Toulon, La Monnaie in Brussels, Finland’s Savonlinna Festival, and the Israeli Opera.

In recognition of his achievements in music, Mr. Kolelishvili has been recognized with the honorary title of People’s Artist of the Republic of Northern Ossetia-Alania.  He began his professional career as a soloist with the Georgian National Opera while completing his training at the Tbilisi State Conservatory, and furthered his development as a member of the Mariinsky Theatre’s Academy of Young Singers.

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