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EUGENE ONEGIN

A Poetic Saga of Romance, Risk, and Regret

by Pyotr Tchaikovsky

Friday, March 27, 2020 at 7:30 PM
Saturday, March 28, 2020 at 7:30 PM
Sunday, March 29, 2020 at 2:00 PM

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Handsome aristocrat Eugene Onegin suddenly disrupts the quiet life of young, naïve Tatiana, who falls fast for his charm and sophistication. But when Tatiana declares her feelings for him in a passionate love letter, Eugene Onegin coolly rejects her – and disastrous consequences follow. Years later, the same man who turned his back on Tatiana’s love attempts to rekindle the flame in a powerful final encounter. Plush orchestrations and a heart-stopping duel mark Pyotr Tchaikovsky’s deeply moving opera of love, rejection, and a reversal of fortune.

Sung in Russian with English supertitles projected above the stage.

  • Christian Knapp
    Christian Knapp
    Conductor
  • Tomer Zvulun*
    Tomer Zvulun*
    Director
  • Conor Hanratty*
    Conor Hanratty*
    Associate Director
  • Logan Pachciarz*
    Logan Pachciarz*
    Choreographer
  • Svetlana Aksenova*
    Svetlana Aksenova*
    Tatiana
  • Yelena Dyachek*
    Yelena Dyachek*
    Tatiana (March 28)
  • Michael Chioldi
    Michael Chioldi
    Onegin
  • Vladislav Kupriyanov*
    Vladislav Kupriyanov*
    Onegin (March 28)
  • Dmitry Korchak*
    Dmitry Korchak*
    Lensky
  • Jonathan Johnson
    Jonathan Johnson
    Lensky (March 28)
  • Victoria Karkacheva*
    Victoria Karkacheva*
    Olga
  • Stefan Kocan
    Stefan Kocan
    Gremin
  • Katharine Goeldner*
    Katharine Goeldner*
    Larina
  • Victoria Livengood
    Victoria Livengood
    Filipievna
  • Duke Kim^
    Duke Kim^
    Monsieur Triquet

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

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

Act I

Madame Larina and the nurse Filippyevna are sitting outside in the garden. They can hear Madame Larina’s two daughters, Tatyana and her younger sister Olga, singing a love song. Madame Larina begins to reminisce about her own courtship and marriage. A group of peasants enter, and celebrate the harvest with songs and dances. Tatyana and Olga watch. Tatyana has been reading a romantic novel and is absorbed by the story; her carefree sister, on the other hand, wants to join in the celebrations. Madame Larina tells Tatyana that real life is very different from her novels. Filippyevna announces that visitors have arrived: Olga’s fiancé Lensky, a young poet, and his friend Eugene Onegin, visiting the area from St Petersburg. The pair are shown in and Lensky introduces Onegin to the Larin family. Onegin is initially surprised that Lensky has chosen the extrovert Olga rather than her more subtle elder sister as his fiancée. Tatyana for her part is immediately and strongly attracted to Onegin. Lensky expresses his delight at seeing Olga and she responds flirtatiously. Onegin tells Tatyana of his boredom in the country and describes the death of his uncle and his subsequent inheritance of a nearby estate. Filippyevna recognizes that Onegin has had a profound effect on Tatyana.

Tatyana is dressed for bed. Restless and unable to sleep, she asks her nurse Filippyevna to tell her about her youth and early marriage. Tatyana confesses that she is in love. Left alone, Tatyana pours out her feelings in a letter to Onegin. She tells him that she loves him and believes that she will never feel this way about anyone else, and begs him to understand and help her. She finishes writing the letter at dawn. A shepherd’s pipe is heard in the distance. Filippyevna enters the room to wake Tatyana. Tatyana persuades her to send her grandson to deliver the letter to Onegin.

Servant girls pick fruit and sing as they work. Tatyana waits anxiously for Onegin’s arrival. Onegin enters to see Tatyana and give her his answer to her letter. He explains, not unkindly, that he is not a man who loves easily and is unsuited to marriage. He is unworthy of her love and can only offer her brotherly affection. He warns Tatyana to be less emotionally open in the future. The voices of the servant girls singing are heard again. Tatyana is crushed and unable to reply.

Act II

A ball is being given in honour of Tatyana, whose name day it is. Onegin is dancing with her. He grows irritated with a group of neighbours who gossip about him and Tatyana, and with Lensky for persuading him to come to the ball. He decides to avenge himself by dancing and flirting with Olga. Lensky is astounded and becomes extremely jealous. He confronts Olga but she cannot see that she has done anything wrong and tells Lensky not to be ridiculous. Onegin asks Olga to dance with him again and she agrees, as “punishment” for Lensky’s jealousy. The elderly French tutor Monsieur Triquet sings some couplets in honour of Tatyana, after which the quarrel between Lensky and Onegin becomes more intense. Lensky renounces his friendship with Onegin in front of all the guests, and challenges Onegin to a duel, which the latter is forced, with many misgivings, to accept. Tatyana collapses and the ball ends in confusion.

Lensky is waiting for Onegin with his second Zaretsky. Lensky reflects on his life, his fear of death and his love for Olga. Onegin arrives with his manservant Guillot. Both Lensky and Onegin are reluctant to go ahead with the duel, reflecting on the senselessness of their sudden enmity. But it is too late; neither man has the courage to stop the duel. Zaretsky gives them the signal and Onegin shoots Lensky dead.

Act III

Five years have passed, during which Onegin has travelled extensively around Europe. Standing alone at a ball, he reflects on the emptiness of his life and his remorse over the death of Lensky. Prince Gremin enters with Tatyana, his wife, now a grand, aristocratic beauty. She is greeted by many of the guests with great deference. Onegin is taken aback when he sees Tatyana, and deeply impressed by her beauty and noble bearing. Tatyana, in turn, is overwhelmed with emotion when she recognizes him, but tries to suppress it. Gremin tells Onegin about his great happiness and love for Tatyana, and re-introduces Onegin to his wife. Onegin, suddenly injected with new life, realizes that he is in love with Tatyana. He determines to write to her and arrange a meeting.

Tatyana has received Onegin’s letter, which has stirred up the passion she felt for him as a young girl and disturbed her. Onegin enters. Tatyana recalls her earlier feelings and asks why Onegin is pursuing her now. Is it because of her social position? Onegin denies any cynical motivation: his passion is real and overwhelming. Tatyana, moved to tears, reflects how near they once were to happiness but nevertheless asks him to leave. He asks her to have pity. Tatyana admits she still loves Onegin, but asserts that their union can never be realized, as she is now married, and determined to remain faithful to her husband despite her true feelings. Onegin implores her to relent, but she bids him farewell forever, leaving him alone and in despair.

CAST
  • Christian Knapp
    Christian Knapp
    Conductor
  • Tomer Zvulun*
    Tomer Zvulun*
    Director
  • Conor Hanratty*
    Conor Hanratty*
    Associate Director
  • Logan Pachciarz*
    Logan Pachciarz*
    Choreographer
  • Svetlana Aksenova*
    Svetlana Aksenova*
    Tatiana
  • Yelena Dyachek*
    Yelena Dyachek*
    Tatiana (March 28)
  • Michael Chioldi
    Michael Chioldi
    Onegin
  • Vladislav Kupriyanov*
    Vladislav Kupriyanov*
    Onegin (March 28)
  • Dmitry Korchak*
    Dmitry Korchak*
    Lensky
  • Jonathan Johnson
    Jonathan Johnson
    Lensky (March 28)
  • Victoria Karkacheva*
    Victoria Karkacheva*
    Olga
  • Stefan Kocan
    Stefan Kocan
    Gremin
  • Katharine Goeldner*
    Katharine Goeldner*
    Larina
  • Victoria Livengood
    Victoria Livengood
    Filipievna
  • Duke Kim^
    Duke Kim^
    Monsieur Triquet

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

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

SYNOPSIS

Act I

Madame Larina and the nurse Filippyevna are sitting outside in the garden. They can hear Madame Larina’s two daughters, Tatyana and her younger sister Olga, singing a love song. Madame Larina begins to reminisce about her own courtship and marriage. A group of peasants enter, and celebrate the harvest with songs and dances. Tatyana and Olga watch. Tatyana has been reading a romantic novel and is absorbed by the story; her carefree sister, on the other hand, wants to join in the celebrations. Madame Larina tells Tatyana that real life is very different from her novels. Filippyevna announces that visitors have arrived: Olga’s fiancé Lensky, a young poet, and his friend Eugene Onegin, visiting the area from St Petersburg. The pair are shown in and Lensky introduces Onegin to the Larin family. Onegin is initially surprised that Lensky has chosen the extrovert Olga rather than her more subtle elder sister as his fiancée. Tatyana for her part is immediately and strongly attracted to Onegin. Lensky expresses his delight at seeing Olga and she responds flirtatiously. Onegin tells Tatyana of his boredom in the country and describes the death of his uncle and his subsequent inheritance of a nearby estate. Filippyevna recognizes that Onegin has had a profound effect on Tatyana.

Tatyana is dressed for bed. Restless and unable to sleep, she asks her nurse Filippyevna to tell her about her youth and early marriage. Tatyana confesses that she is in love. Left alone, Tatyana pours out her feelings in a letter to Onegin. She tells him that she loves him and believes that she will never feel this way about anyone else, and begs him to understand and help her. She finishes writing the letter at dawn. A shepherd’s pipe is heard in the distance. Filippyevna enters the room to wake Tatyana. Tatyana persuades her to send her grandson to deliver the letter to Onegin.

Servant girls pick fruit and sing as they work. Tatyana waits anxiously for Onegin’s arrival. Onegin enters to see Tatyana and give her his answer to her letter. He explains, not unkindly, that he is not a man who loves easily and is unsuited to marriage. He is unworthy of her love and can only offer her brotherly affection. He warns Tatyana to be less emotionally open in the future. The voices of the servant girls singing are heard again. Tatyana is crushed and unable to reply.

Act II

A ball is being given in honour of Tatyana, whose name day it is. Onegin is dancing with her. He grows irritated with a group of neighbours who gossip about him and Tatyana, and with Lensky for persuading him to come to the ball. He decides to avenge himself by dancing and flirting with Olga. Lensky is astounded and becomes extremely jealous. He confronts Olga but she cannot see that she has done anything wrong and tells Lensky not to be ridiculous. Onegin asks Olga to dance with him again and she agrees, as “punishment” for Lensky’s jealousy. The elderly French tutor Monsieur Triquet sings some couplets in honour of Tatyana, after which the quarrel between Lensky and Onegin becomes more intense. Lensky renounces his friendship with Onegin in front of all the guests, and challenges Onegin to a duel, which the latter is forced, with many misgivings, to accept. Tatyana collapses and the ball ends in confusion.

Lensky is waiting for Onegin with his second Zaretsky. Lensky reflects on his life, his fear of death and his love for Olga. Onegin arrives with his manservant Guillot. Both Lensky and Onegin are reluctant to go ahead with the duel, reflecting on the senselessness of their sudden enmity. But it is too late; neither man has the courage to stop the duel. Zaretsky gives them the signal and Onegin shoots Lensky dead.

Act III

Five years have passed, during which Onegin has travelled extensively around Europe. Standing alone at a ball, he reflects on the emptiness of his life and his remorse over the death of Lensky. Prince Gremin enters with Tatyana, his wife, now a grand, aristocratic beauty. She is greeted by many of the guests with great deference. Onegin is taken aback when he sees Tatyana, and deeply impressed by her beauty and noble bearing. Tatyana, in turn, is overwhelmed with emotion when she recognizes him, but tries to suppress it. Gremin tells Onegin about his great happiness and love for Tatyana, and re-introduces Onegin to his wife. Onegin, suddenly injected with new life, realizes that he is in love with Tatyana. He determines to write to her and arrange a meeting.

Tatyana has received Onegin’s letter, which has stirred up the passion she felt for him as a young girl and disturbed her. Onegin enters. Tatyana recalls her earlier feelings and asks why Onegin is pursuing her now. Is it because of her social position? Onegin denies any cynical motivation: his passion is real and overwhelming. Tatyana, moved to tears, reflects how near they once were to happiness but nevertheless asks him to leave. He asks her to have pity. Tatyana admits she still loves Onegin, but asserts that their union can never be realized, as she is now married, and determined to remain faithful to her husband despite her true feelings. Onegin implores her to relent, but she bids him farewell forever, leaving him alone and in despair.

 Header Photo: Cory Weaver

Christian Knapp
Conductor

Mr. Knapp is currently in his sixth season as Conductor of the renown Mariinsky Theatre in St. Petersburg Russia. Following his triumphant debut conducting Strauss’ Elektra, Mr. Knapp was appointed conductor at the special invitation of the Mariinsky’s Artistic Director Valery Gergiev, with whom he shares a close artistic relationship. Mr. Knapp has worked with prestigious orchestras around the world including the Royal Liverpool Philharmonic, L’Orchestre National de France, Houston Symphony, St. Petersburg Philharmonic, Baltimore Symphony, Saint Paul Chamber Orchstra, New World Symphony the Chicago Civic Orchestra, among many others. His successful debut with the Los Angeles Philharmonic led to an immediate reengagement. Other successful return engagements include the Milwaukee Symphony, the Indianapolis Symphony, the Pacific Symphony, the Auckland Philharmonia, the North Carolina Symphony and the Phoenix Symphony. He also has appeared regularly in subscription with the Seattle Symphony. A favorite among the musicians and audiences, Mr. Knapp regularly conducts the Mariinsky Orchestra in a wide range of symphonic programs. He led a series exploring the major symphonies of Mozart and the complete symphonies Beethoven. He has conducted highly acclaimed performances of Brahms, Strauss, Berlioz, Sibelius, Mahler and Debussy in his first few seasons.

With an equally comprehensive operatic repertoire, Mr. Knapp conducts some of the Mariinsky’s most demanding productions. He led musical preparation and conducted premiers of such French masterpieces as Pelléas und Mélisande, and Les Troyens (which subsequently went on to the 2014 Edinburgh Festival). He conducts all the major operas of Richard Strauss and most of Wagner’s operas, including Tristan und Isolde and the complete Ring Cycle. His repertoire stretches from such 20th century masterpieces like The Makropolus Case and Le Rossignol, to major operas of Verdi and Puccini, to all of the Mozart/Da Ponte operas. During the 2012 White Night’s Festival at the request of Maestro Gergiev, Mr. Knapp stepped in with just a few hours’ notice to conduct Les Contes d’Hoffmann to much acclaim; subsequently performing it with the Mariinsky on tour at the Bolshoi Theatre in Moscow for the Golden Masks Festival. As the main conductor for opera he has been responsible for nearly all of the Mariinsky’s major operatic premieres for the last several seasons.

A passionate proponent of new music, Knapp has led such groups as the Perspectives New Music Ensemble in London, the International Contemporary Ensemble (ICE) and the Seattle Chamber Players. He has conducted works by John Adams, Julian Anderson, Kaija Saariaho, Pascal Dusapin, Gerard Grisey, George Crumb and Thomas Adès, among others. In 2005, Knapp conducted the
world premiere of Paul Dresher’s opera The Tyrant with the Seattle Chamber Players. He has appeared with ICE in New York, conducting the U.S. premiere of Zona by Magnus Lindberg as part of Lincoln Center’s Mostly Mozart Festival in 2006 and a program of the music of Philippe Hurel at Columbia University’s Miller Theatre. In collaboration with ICE, Knapp returned to the Miller Theatre in the 2012-2013 Season to lead performances of the music of Sofia Gubaidulina and in the 2014-15 Season to conduct the music of Bernard Rands.

Mr. Knapp was a prize-winner in the Third International Prokofiev Conducting Competition in 1999 and that same year he was also awarded the prestigious Fellowship in Conducting from the Royal College of Music in London, working with its orchestras, new music ensembles and opera theater. In 2003, he was selected to participate in the National Conducting Institute with the National Symphony; and in 2005 Mr. Knapp and the Seattle Symphony were awarded a grant from the Bruno Walter Memorial Foundation.

Born in the United States, Mr. Knapp received bachelor’s degrees in piano performance from the New England Conservatory and philosophy from Tufts University. He studied conducting at the Accademia Musicale Chigiana in Siena under Yuri Temirkanov and Myung-Whun Chung, and receiving a post-graduate diploma in conducting from the St. Petersburg State Conservatory in Russia, where he studied with Leonid Korchmar and the renowned pedagogue Ilya Musin.

Tomer Zvulun*
Director

General and Artistic Director of The Atlanta Opera since 2013, Israeli born Tomer Zvulun is also one of leading stage director of his generation, earning consistent praise for his creative vision and innovative interpretations. His work has been presented by prestigious opera houses in Europe, South and Central America, Israel and the US, including The Metropolitan Opera, Washington National Opera, Seattle Opera, Houston Grand Opera, The Dallas Opera, San Diego Opera, Boston Lyric Opera, Pittsburgh, Minnesota, Montreal, Buenos Aires, Israeli Opera, and the festivals of Wexford, Glimmerglass and Wolf Trap, as well as leading educational institutes and universities such as The Juilliard School, Indiana University, Boston University.

Tomer spent seven seasons on the directing staff of the Metropolitan Opera where he directed revivals of Carmen and Tosca and was involved with more than a dozen new productions. He is a frequent guest director in companies such as Seattle Opera (Semele, La Boheme, Eugene Onegin, Lucia di Lammermoor,), Dallas Opera (Die Fledermaus, La Boheme),Houston Grand Opera (The Flying Dutchman, Rigoletto), Wexford Festival (Silent Night, Dinner at Eight), Cincinnati Opera (Magic Flute, Don Giovanni, Flying Dutchman), Wolf Trap (Falstaff, Don Giovanni), Israeli Opera (Dead man walking, Giulio Cesare) among others. His European premiere of Silent Night at the Wexford Festival received two Irish Times Awards and traveled from Ireland to Washington National Opera, The Glimmerglass Festival and the opera companies of Atlanta, Austin and Salt Lake City.

Zvulun directed over 15 new productions in his home company in Atlanta, including Dead Man Walking, The Flying Dutchman, Soldier Songs, Silent Night, Maria de Buenos AiresLa Boheme, Madama Butterfly, Lucia di Lammermoor, Magic Flute, Eugene Onegin to name but a few. During Tomer’s tenure, the company’s fundraising has tripled, resulting in twice the number of productions presented annually. His focus on innovation has garnered national attention and resulted in a Harvard Business School case study chronicling The Atlanta Opera’s turnaround, an International Opera Awards nomination, an ArtsATL luminary award and an invitation to deliver a Ted Talk about innovation in opera.

His upcoming projects include a new Rigoletto in Houston, a new Salome in Atlanta and Kansas City, revivals of his acclaimed production of Eugene Onegin in Montreal, Seattle and Palm Beach, Silent Night in Utah Opera and Madama Butterfly and Glory Denied in Atlanta. He is currently working on developing world premieres based on The Anna Frank’s Diaries and Sensorium Ex, a world premiere based on a story about artificial intelligence.

Tomer’s recent shows have traveled across continents, receiving critical acclaim for their striking visuals and cinematic quality. Some of them included The Flying Dutchman (Houston, Cincinnati, Atlanta), Dinner at Eight (Wexford Festival, Minnesota Opera), Eugene Onegin (Seattle, Atlanta, Detroit, Kansas City, Atlanta, Montreal), Lucia di Lammermoor (Seattle, Atlanta, Cleveland,)Silent Night (Wexford, Atlanta, Glimmerglass, Washington, Austin), Soldier songs (Atlanta, San Diego), Dead Man Walking (New Orleans, Atlanta, Israel), La Boheme (Seattle, Pittsburgh, Cleveland, Atlanta, Dallas),  Lucrezia Borgia (Buenos Aires), Gianni Schicchi (Juilliard, IVAI Tel Aviv), L’heaure Espagnole (Juilliard), Magic Flute (Cincinnati, Atlanta, Indiana University), Don Giovanni (Wolf Trap, Cincinnati), Die Fledermaus (Dallas, Kansas City), Falstaff (Wolf Trap, Des Moines), Rigoletto (Boston, Atlanta, Omaha, Charlotte), Madama Butterfly (Atlanta, Castleton Festival, New Orleans) Tosca (National Theatre Panama, Atlanta) and Semele (Seattle).

Tomer Zvulun was born and raised in Israel, attended the open University in Tel Aviv and Harvard Business School and makes his home in Atlanta.

 

 

Conor Hanratty*
Associate Director

Conor Hanratty is an opera and theatre director from Dublin, Ireland, currently the Jerry & Dulcy Rosenberg Young Arist Stage Director at the Altanta Opera. Having received and MFA in Directing from UCLA in California, Hanratty returned to Ireland and founded Ulysses Opera Theatre. The company is focused on innovative, surprising productions of contemporary opera, and has staged four highly successful projects to date, with several more currently in development. Recent opera directing projects include Tomer Zvulun’s much-lauded Silent Night for Austin Opera
(January 2019) Front of House and Backstage (Cork Midsummer Festival 2017, 2018), FLATPACK and HARP (both Dublin Fringe Festival). He directed Trouble in Tahiti at the Glimmerglass Festival, and Maria de Buenos Aires at Cork Opera House. Hanratty directed a major new composition Long Story ShortThe Belfast Opera with a community chorus of over one hundred singers in Belfast in 2016. He has worked on two occasions for Opera San Antonio, remounting Francesca Zambello’s production of Madame Butterfly in 2015 and then directing Carmen in 2016. He has also worked on several productions for the Wexford Festival Opera, as director and associate director, including Losers, Trial by Jury, The Wandering Scholar, Cristina Queen of Sweden and Silent Night. With Iain Burnside he directed 10,000 Miles Away in March 2015 with students from RIAM, the Lir and the Juilliard School, and was invited in 2016 to create a follow-up project entitled Drums and Guns. This second project added performers and staff from the Guildhall School in London, and was performed in Dublin, London and New York. Hanratty has been heavily involved with the opera programme at the Royal Irish Academy of Music in Dublin for several years. He has created several productions for their ongoing Opera Briefs series, including the world premiere of Siobhan Cleary’s Vampirella in 2017. He was Director-in-Residence at the RIAM for the academic year 2016-7, during which time he overhauled the acting and performance curriculum, brought two small operas to the Liszt Academy in Budapest and directed a mainstage production of Purcell’s The Fairy Queen. Hanratty’s recent theatre projects include POSTSCRIPT (Dublin Fringe Festival, national tour, Irish Cultural Centre in Paris and Abbey Theatre), and Romeo and Juliet (Second Age). He directed All’s Well That Ends Well at the Lir Academy, and was staff director for Once The Musical at the Olympia Theatre in Dublin in 2017. His production of To Hell in a Handbag was a hit at the Dublin and Edinburgh Fringe Festivals, and toured the UK in the autumn of 2018. In July 2019 he returns to the Everyman Palace in Cork to direct Neil Simon’s The Odd Couple.

Logan Pachciarz*
Choreographer

Logan Pachciarz began his dance career with the guidance of Shelly Washington in Twyla Tharp’s Dance company Tharp! After extensive traveling, he continued his classical training at North Carolina School of the Arts under the tutelage of Ton Simons, Fernando Bujones, and Warren Conover. At age 18, he joined the Boston Ballet where he enjoyed performing works by such choreographers as Rudi van Dantzig, Christopher Wheeldon, and Ben Stevenson. In 2001, Logan joined the Kansas City Ballet. In his 15 years with the company he performed leading roles in a diverse repertoire, ranging from classical and neoclassical works such as Giselle, Romeo and Juliet and The Four Temperaments to contemporary and modern pieces including Jardi Tancat, Dark Elegies, The Catherine Wheel Suite and The Moor’s Pavane. He was recently recognized by Dance Magazine’s Wendy Perron as one of the best dancers of 2016. Mr. Pachciarz is currently the Co-Artistic Director of Moving Arts Kansas City and Cincinnati. As director, he has presented repertoire from the forefront of dance by Marco Goecke, Douglas Lee, Penny Saunders, Salvatore Aiello, Marina Kessler, Todd Bolender, Matthew Neenan, George Balanchine and Ma Cong. Mr. Pachciarz has choreographed extensively, with such credits as Eugene Onegin and the upcoming Opera The Shining.

Svetlana Aksenova*
Tatiana

Svetlana Aksenova has been acclaimed internationally for her performances as Lisa in a new production of The Queen of Spades at the Dutch National Opera, directed by Stefan Herheim and conducted by Mariss Jansons, the title role in Rusalka at the Paris Opera, Cio-Cio-San in Madama Butterflyat the Deutsche Oper Berlin, Norwegian National Opera and Royal Swedish Opera in Stockholm, and Fevroniya in Dmitry Cherniakov’s production of Rimsky Korsakov’s The Invisible City of Kitezh, first at the Dutch National Opera and then for her debut at the Gran Teatre del Liceu in Barcelona.

Aksenova made her North American debut in the autumn of 2016 as Tatyana in Eugene Onegin with the Dallas Opera and her South American debut in the same role at the Teatro Municipal in Sao Paolo, Brazil. In the summer of 2016, Aksenova made her debut with the Rome Opera as Cio-Cio-San in Madama Butterfly, the same role with which she made her debuts at both the Bavarian State Opera in Munich and Berlin State Opera the following year. In early 2017, she debuted at the Hamburg State Opera as Desdemona in Otello. She returned to the Norwegian National Opera in the summer of 2017 as the title role in a new production of Tosca, directed by Calixto Beito, and later reprised the role in Stuttgart. Aksenova has most recently been recently heard as Cio-Cio-San for her debut at the Zurich Opera, and she will soon make her debut with the Vancouver Opera as Tatyana in Eugene Onegin.

Born in St. Petersburg, Aksenova pursued her vocal studies at the renowned Rimsky Korsakov Conservatory, where, while still a student, she came to critical attention for her performance as the title role in Tchaikovsky’s Iolanta. Aksenova was also privileged to participate in master classes with legendary soprano Renato Scotto. She was invited to join the ensemble of the Basel Opera, where over several seasons she developed her repertoire to include such roles as Desdemona, Lisa, Rusalka, Cio-Cio-San, Mimi in La Boheme and Blanche in Dialogues des Carmelites. Aksenova also starred in the title role of Puccini’s Suor Angelica in Dortmund, staged by Cristine Mielitz. Her international debuts followed in rapid succession. Other roles in her operatic repertoire include Amelia in Simon Boccanegra, the title role in Luisa Miller, Marguerite in Faust, Margherita and Elena in Mefistofele, and the title role in Cilea’s Adriana Lecouvreur.

Svetlana Aksenova also has a vast concert repertoire, including Vivaldi’s Gloria, Pergolesi’s Stabat Mater and Misa Pastoralis, Brixi’s Magnificat, and Beethoven´s Mass in C Major. She has also sung Berlioz’ Messe Solennelle, Bizet´s Te Deum, Rossini’s Petite Messe Solennelle and Stabat Mater, Shostakovich and Dvorak´s Stabat Mater, and Mahler´s Fourth Symphony. In 2015, she made her debut with the Grand Theatre in Geneva in concerts of Verdi’s Requiem.

Yelena Dyachek*
Tatiana (March 28)

Ukrainian-born soprano Yelena Dyachek was a winner of the Metropolitan Opera National Council Auditions in 2016, receiving praise from The New York Times saying “…memorable as the soprano Yelena Dyachek from California, who demonstrated impressive range, depth and power in ‘Come scoglio’, before delivering an emotionally captivating Letter Scene…”.  She is a graduate from Houston Grand Opera’s prestigious studio program and during her time in the HGO Studio, Ms. Dyachek appeared in several productions including as Musetta in La bohème, Flora in La traviata, and Berta in Il barbiere di Siviglia. Further productions included Norma, Some Light Emerges, and Nixon in China. In the summer of 2019, she made her debut as Marie Antoinette in Ghosts of Versailles at the Glimmerglass Festival, a production which travels to the Opera House at the Palace of Versailles in the winter of 2019. Further engagements in the 2019-20 season include her professional role debut as Tatiana in Eugene Onegin with Palm Beach Opera under the direction of Tomer Zvulun and joining the Lyric Opera of Chicago for their productions of Il barbiere di Siviglia and Dead Man Walking.

Recent performances for Dyachek include Elettra in Idomeneo and Beethoven’s Symphony No. 9 as a Filene Young Artist at Wolf Trap Opera and Fiordiligi for San Francisco Opera’s Merola Opera Program. A multi-year member of the Aspen Opera Theatre Center, Ms. Dyachek appeared as Fiordiligi in 2015 and as Tatiana in 2014. She will return to the Aspen Music Festival in the Summer of 2020 as part of their Beethoven Celebration.

Further recognition includes the Ana Maria Martinez Encouragement Award at the 2016 Eleanor McCollum Competition, and singing as a finalist at the Palm Springs Opera Guild of the Desert’s vocal competition. She holds a bachelor’s degree from University of the Pacific Conservatory of Music, and a master’s degree from the University of Southern California Thornton School of Music. Further roles performed while at USC include Frau Von Daubek in the concert premiere of Thomas Morse’s Frau Schindler, the Composer in Ariadne auf Naxos, Vitellia in La clemenza di Tito, the title role in Iphigénie en Tauride, and Madama Cortese in Il viaggio a Reims.

Michael Chioldi
Onegin

American baritone Michael Chioldi has quickly gained the reputation as one of the most sought-after dramatic baritones of his generation. Praised for his “warm, rich tone” (Opera News) and “deeply communicative phrasing” (The Baltimore Sun), he has received unanimous acclaim from critics and audiences around the world for his portrayals of the dramatic baritone roles of Verdi, Puccini, and Strauss. His recent role debuts include the title roles in Verdi’s Rigoletto with the Orquesta Filarmónica de Jalisco, Macbeth with Palm Beach Opera, and Nabucco with Lyric Opera Baltimore; as Conte di Luna in Il Trovatore with Utah Opera; and as Rodrigo in Don Carlo with Austin Lyric Opera.

Chioldi has performed at nearly every major American opera house, including The Metropolitan Opera, San Francisco Opera, Houston Grand Opera, Washington National Opera and Los Angeles Opera. Signature roles include Scarpia in Tosca with Hawaii Opera Theater, Ft. Worth Opera, New York City Opera, Toledo Opera, and Spain’s Opera de Oviedo; Jochanaan in Salome with Utah Opera, Virginia Opera, and the Saito Kinen Festival in Japan; the title role of Macbeth with Michigan Opera Theatre and Palm Beach Opera, Enrico in Lucia di Lammermoor with Washington National Opera, Utah Opera, and New Orleans Opera; and Sharpless in Madama Butterfly with Washington National Opera and in a nationwide broadcast on the PBS television series Live from Lincoln Center, which received an Emmy award in 2008.

In the 2015-16 season Chioldi made his debut at the Royal Opera House, Muscat in performances of Macbeth. Additional recent performances include the title role in Hamlet with Washington National Opera; the title role in Der Fliegende Holländer with Pforzheim Opera; Marcello in La bohéme at London’s Royal Albert Hall; Ford in Falstaff with Utah Opera, Chautauqua Opera, and the Ft. Worth Opera Festival; Giorgio Germont in La Traviata with Palm Beach Opera; Count Almaviva in Le nozze di Figaro with Hawaii Opera Theater, Chautauqua Opera, and the Macau International Music Festival; and Giacomo in Verdi’s Giovanna d’Arco with Chicago Opera Theater.

He made his debut at New York’s Metropolitan Opera as Fléville in Andrea Chénier with Luciano Pavarotti and Aprile Millo under the baton of James Levine, and traveled extensively in Japan with Maestro Seiji Osawa. He has also performed in Brazil, Canada, England, France, Germany, Macau and Spain.

A frequent performer of American and English works, he premiered the role of Man in Anthony Brandt’s The Birth of Something in 2008. Additional performances include as the First Mate in Billy Budd with Washington National Opera; the title role in Nixon in China with Long Beach Opera; John Proctor in The Crucible with Toledo Opera; and John Sorel in The Consulwith Arizona Opera and the Glimmerglass Festival.

Chioldi has been the recipient of numerous awards and honors, including The Metropolitan Opera National Council Competition (Winner 1995); The MacAllister Competition; The Licia Albanese-Puccini Competition; The Miami Opera Competition; The Sullivan Foundation; and The Anna Case-Mckay Award. He received his Bachelors’ degree from West Virginia University, and his Masters’ degree from Yale University. His recordings appear on the Sony Classical, BMG, Accord and Newport Classics labels.

Vladislav Kupriyanov*
Onegin (March 28)

Hailing from Divya, a small town with fewer than 1,500 inhabitants in the heart of Russia, baritone Vladislav Kupriyanov made his Mariinsky Theatre debuts in the last two seasons performing under Maestro Valery Gergiev at a “Stars of the White Nights Festival” Gala, and singing the role of Grigory Gryaznoy in the Mariinsky’s 2018 production of Rimsky-Korsakov’s The Tsar’s Bride. Other Mariinsky appearances include role debuts as Guglielmo in Così fan tutte, Ivan-Korolevitch and Priest Radegast in Rimsky-Korsakov’s Kashchey the Immortal and Mlada, the baritone soloist in Orff’s Carmina Burana, and concerts at the III International Far East Festival “Mariinsky” in Vladivostok.

Mr. Kupriyanov has also performed at the Crescendo Summer Institute and Festival in Tokaj, Hungary, as well as at the Kammeroper Schloess Rheinsberg Festival in Germany, where he sang the role of Escamillo in Carmen.  He is a two-time winner of the Russian Ministry of Culture “Young Talents of Russia Prize” (2012, 2015), as well as a prize-winner of the International Singing Competition “Bella Voce” (2012, Moscow) and the “Academia” International Singing Competition (2014, Perm). In addition, he is the 2012 and 2013 Gold Medal Winner in Singing at the Youth Delphic Games in Moscow and in Novosibirsk, Russia.

Mr. Kupriyanov began his career performing as a soloist of the acclaimed Perm State Police Lyceum Chorus, touring through all of Russia and appearing at the Kremlin. He studied at the Perm Music College and later the Perm State Academy of Culture, and at the age of 21 he joined the Samara Academic Theater of Opera and Ballet, where he performed in such roles as Mizgir in Rimsky-Korsakov’s Snow-maiden, Yeletsky in Tchaikovsky’s Pique Dame, Sharpless in Madama Butterfly, Prince Orlofsky in Die Fledermaus, Ben in Menotti’s The Telephone, Shchelkalov in Mussorgsky’s Boris Godunov, and title role in Tchaikovsky’s Eugene Onegin.

Since 2017, Mr. Kupriyanov has been a Fellow at the Atkins Young Artists Program at the Mariinsky Theatre.  In October 2018 he joined the Program’s inaugural US tour, participating in a concert at Walt Disney Concert Hall in Los Angeles with the Colburn Orchestra conducted by Valery Gergiev, and making his New York debut in a recital at the historic St. Paul’s Chapel of Trinity Church Wall Street.

Dmitry Korchak*
Lensky

Since winning in 2004 prize at Francisco Vinas International Competition in Barcelona and two prizes at Placido Domingo’s Operalia Competition in Los Angeles, Dmitry Korchak has continued to delight audiences worldwide in some of the most celebrated venues, playing some of the greatest leading operatic roles and collaborating with renowned conductors and orchestras.

Dmitry Korchak studied in Russia both as a conductor and as a singer. He has collaborated with such conductors as: D.Barenboim, B.Campanella, R.Chailly, P.Domingo, L.Maazel, Z.Mehta, M. Minkowski, R.Muti, K.Nagano, M.Plasson, A.Zedda, V.Fedoseev, M.Pletnev, V.Popov, V.Spivakov, E.Svetlanov, J.Temirkanov and others.

Among Dmitry’s recent engagements are: Carnegie Hall, The Metropolitan Opera, Teatro dell Opera di Roma,Teatro alla Scala, Opera Bastille, Wiener Staatsoper, Royal Opera House Covent Garden, Teatro Reggio di Torino, Parma Opera Theatre, Los Angeles Opera Theatre, De Nederlandse Oper, Berliner Staatsoper, Bayerische Staatsoper, Teatro Real Madrid, Los Angeles Opera, Semperoper Dresden, Teatro San Carlo di Napoli, Teatro Massimo di Palermo, Bayrische Staatsoper, Theatre Royal de La Monnaie, Palau de les Artes in Valencia, Salzburg Festival, Pesaro Festival, Bad Kissingen Festival, Colmar Festival, Ravenna Festival, Reate Festival etc.

Since season 2014 Dmitry returned to his initial specialization – conductor. Since then he performed with different programs in Europe, Easter Festival of Valery Gergiev, in the Great Hall of Moscow Philharmony, with National Philharmonic Orchestra of Russia (artistic director and chief conductor – Vladimir Spivakov) at the Moscow International House of Music, where also DVD was recorded Rossini’s Stabat Mater.

Starting with season 2017/2018 Dmitry Korchak has become Principal Guest Conductor at Novosibirsk Opera and Ballet Theatre, where he has his own Festival, as well as Guest Conductor at Mikhailovsky Theatre of St. Petersburg. Dmitry conducted Inauguration of the new concert hall at Novosibirsk opera Theatre with Rossini’s Stabat Mater starring Lawrence Brownlee, Rene Pape, Veronica Dzhioeva and Julia Matochkina. During previous seasons Dmitry has conducted different oratorial and choir programs as well as such operas as: “Aida”, “L’elisir d’amore”, “La Juive”, “Carmen”, “Il Barbiere di Siviglia” as well as different concert programs.

Jonathan Johnson
Lensky (March 28)

This season, American tenor Jonathan Johnson makes his debut as The Prince in The Love for Three Oranges at Opera Philadelphia’s Festival O19 and will appear as Lensky in Eugene Onegin at Palm Beach Opera, Matthew Gurney in Emmeline at Tulsa Opera, Jonathan Dale in Silent Night at Utah Opera, and Beppe in I Pagliacci at Opera Colorado. In concert, Johnson appears as a soloist with Cincinnati Symphony Orchestra in Schumann’s Das Paradies und die Peri as the Young Man, with the Detroit Symphony for Messiah, and in recital with the Collaborative Arts Institute of Chicago. Johnson is also an Emerging Artist for Opera Philadelphia, where he will be singing in community recitals and special events throughout the 2019-2020 Season.

A graduate of the Patrick G. & Shirley W. Ryan Opera Center, the Lyric Opera of Chicago’s professional artist-development program, he appeared in the house’s main productions of Les Troyens, Lucia di Lammermoor, The Merry Widow, Der Rosenkavalier, Capriccio, The Magic Victrola and Mieczysław Weinberg’s Holocaust opera The Passenger. Other recent engagements have included his debut of the title role of Bernstein’s Candide with the Seoul Philharmonic Orchestra, Utah Symphony Orchestra, and Des Moines Metro Opera. He made his debut at Canadian Opera Company’s production of Anna Bolena, Frederic in The Pirates of Penzance and Lensky in Eugene Onegin at the Lyric Opera of Kansas City, Fenton in Falstaff  at San Diego Opera, Lindoro in L’italiana in Algeri at the Portland Opera, La Damnation de Faust at the Grant Park Music Festival, Le Fils in Les mamelles de Tirésias with the Civic Orchestra of Chicago, Beethoven Symphony No. 9 and concert version of Don Giovanni with the Jacksonville Symphony Orchestra, a performance of Schumann’s Dichterliebe as part of a Liederabend in Chicago, and various appearances in the Harris Theater’s Beyond the Aria series, the 125th Anniversary Gala for the Auditorium Theater, and on WFMT radio as part of the Ryan Opera Center Recital Series.  He also enjoys a touring relationship with Chris Botti, which has taken him through many cities in the US and abroad.

Hailing from Macon, GA, Mr. Johnson holds a Master’s degree and Professional Artist Certificate from the A.J. Fletcher Institute of the University of North Carolina School of the Arts.

Victoria Karkacheva*
Olga

From Volgograd, Victoria is currently a member of the prestigious Young Artist Programme at the Bolshoi Theatre of Russia where she has appeared as Aglaya in a new production of Weinberg’s The Idiot and Third wood sprite in new production of Rusalka with Ainars Rubikis. Victoria has toured extensively with the Bolshoi, with performances at the Kennedy Center in Washington and across France. This summer, Victoria will join the Atelier Lyrique at the Verbier Festival where she will sing dritte dame in Die Zauberflöte with Stanislav Kochanovsky and Stimme von oben in Die Frau ohne Schatten with Valery Gergiev.

Stefan Kocan
Gremin

Slovakian bass Stefan Kocan has emerged in recent years as one of the most exciting voices of his generation. He has been acclaimed at such theaters as the Metropolitan Opera, Royal Opera House, Covent Garden, Teatro alla Scala in Milan, Berlin State Opera, and Bavarian State Opera. In the current season, Kocan debuts at the Opera National de Bordeaux as Hunding in Die Walküre, sings Il Commendatore in Don Giovanni at the Teatro Comunale di Bologna and returns to the Metropolitan Opera as Il Commendatore, Ramfis in Aida and Sparafucile in Rigoletto. He will finish out the season with his debut at the Arena di Verona as Ramfis.

In the 2017/18 season, Kocan returned to the Metropolitan Opera as Ferrando in Il Trovatore, appeared as Hunding/Fafner in Der Ring des Nibelungen at the Theater an der Wien and sang his first Gurnemanz in Parsifal at Opera Vlaanderen in the Netherlands. Engagements from the 2016/17 season included Banco in Macbeth at the Theater an der Wien, Sparafucile at Choregies d’Orange and the Palm Beach Opera, and Il Commendatore, Gremin in Eugene Onegin and Sparafucile at the Metropolitan Opera. In the 2015/16 season, Kocan sang Ferrando and Sparafucile at the Metropolitan Opera, The Watcher in Oedipe at Covent Garden, as well as both the title role in Boito’s Mefistofele and the Vodnik in Rusalka at the Prague State Opera. Additionally, Kocan gave several concert and recital appearances throughout Europe.

In the 2013/14 season, Kocan gave a critically acclaimed performance of Gremin, followed by Khan Konchak in Dmitriy Tcherniakov’s new production of Prince Igor, which was broadcast live in HD. He also returned to the Teatro alla Scala to sing The Grand Inquisitor and Filippo in Don Carlos. In the 2012/13 season, he sang Ramfis and Sparafucile at the Metropolitan Opera, Banco at La Scala with Valery Gergiev, Il Commendatore at the Bavarian State Opera and Ramfis with the Los Angeles Philharmonic at the Hollywood Bowl under Gustavo Dudamel.

Stefan Kocan started gaining worldwide attention when he became a prize-winner at the famed International Tchaikovsky competition. After completing his studies in Bratislava, Kocan began his professional operatic career at the Landestheater in Linz, Austria. Singing with the company from 2002-2006, he appeared in such leading roles as Sarastro in The Magic Flute, Filippo in Don Carlos, Osmin in The Abduction from the Seraglio, Mephistopheles in Faust, Raimondo in Lucia di Lammermoor, Banco in Macbeth, and Kecal in The Bartered Bride. In 2003, Kocan was awarded the Eberhard Waechter Prize for his interpretation of the Grand Inquisitor in Don Carlos. Following these successes came Kocan’s American debut at the Metropolitan Opera as The King in Aida under the baton of Daniele Gatti in the 2009/10 season. In the 2010/11 season, he made his debut at the Lyric Opera of Chicago as Banco in a new production of Macbeth, returning to Chicago the following season to sing Ramfis. In the 2011/12 season, he was also invited to make his debut at the Teatro alla Scala as Masetto in the season opening production of Don Giovanni, featuring Anna Netrebko, Bryn Terfel and Peter Mattei.

Since making his debut at the Metropolitan Opera, Kocan has established himself as an electric performer both vocally and physically, returning there every season for such performances as Sparafucile in Otto Schenk’s production of Rigoletto, Ferrando in Il Trovatore (broadcast live in HD), and Il Commendatore in Michael Grandage’s new production of Don Giovanni (broadcast live in HD). In 2013, Kocan received much critical acclaim for his sinister and compelling portrayal of Sparafucile in Michael Mayer’s new production of Rigoletto (broadcast live in HD). New York Magazine praised him as a “gifted scene stealer with a voice that is a ‘tectonic rumble.’” He made the Sparafucile in this production uniquely his own, reprising it in the 2013/14 season and most recently in the 2015/16 season.

Katharine Goeldner*
Larina

Opera News calls her “a natural actress…with thrilling, laser-like focus” and “luminous tone.” Opera magazine praises her “stunningly rich mezzo.” With a career that takes her throughout the U.S. and Europe, the “powerhouse” mezzo-soprano Katharine Goeldner is recognized as one of today’s finest artists.

Recent performances include her Minnesota Orchestra debut as Herodias in Richard Strauss’ Salome;  Mahler’s Symphony No. 3 with Orchestra Iowa; Dalila in Samson et Dalila at Virginia Opera and Amneris in Aida at Utah Opera. She created the role of Jackie Onassis in David T. Little and Royce Vavrek’s JFK, and starred at Opera Theatre of Saint Louis as Ma Joad in the premiere of the revised version of Ricky Ian Gordon and Michael Korie’s The Grapes of Wrath. Katharine returns this season to her native Iowa, where she can be heard in Mahler’s Das Lied vonder Erde with the University of Iowa Symphony. She performs the Verdi Requiem with the Jacksonville Symphony, Fricka in Die Walküre in Augsburg, Germany, Brigitta in Die tote Stadt in Toulouse, France, and this spring she reprises her triumphant Ma Joad at Michigan Opera Theatre.

Victoria Livengood
Filipievna

Grammy Award Winner and Metropolitan Opera star, Victoria Livengood, has been hailed as “one of the leading singer-actresses of her generation” and the Italian press proclaimed “the power of her voice could straighten the leaning Tower of Pisa.”

Victoria skyrocketed onto the opera scene as a winner of the Metropolitan Opera National Council auditions, going on to make her critically acclaimed Met debut in Verdi’s Luisa Miller in 1991. The North Carolina native has become known for her dynamic portrayals in more than 125 Met performances, including the title role of Carmen opposite Plácido Domingo and has been featured on many Metropolitan Opera broadcasts.

She has sung over 100 different roles with opera companies throughout Europe, South America, Canada and Asia, emphasizing her prolific versatility throughout a career that spans 3 and a half decades.  Internationally, she has sung with opera companies including Barcelona, Madrid, Salzburg, Buenos Aires, Taipei, Las Palmas, Monte Carlo, Nice, Santiago, Cologne, Vancouver, Montreal, and at Italy’s Spoleto Festival, where she closely collaborated with her mentor and friend, composer, Gian Carlo Menotti.

Nevertheless, it is in America that this Dixie Diva has primarily based her career, having sung leading roles with the companies of Chicago, San Francisco, Los Angeles, Santa Fe, Washington DC, Seattle, Houston, Boston, Miami, St. Louis, San Diego, Kansas City, Baltimore, Portland, Utah, Atlanta, Fort Worth, Hawaii and with the New York City Opera!

Victoria has performed at Carnegie Hall on ten separate occasions including as soloist in Verdi’s Requiem and in A Streetcar Named Desire, opposite Renee Fleming.  She has been a featured soloist with the London Symphony, the National Philharmonic, the Seoul Philharmonic, The Israeli Philharmonic, the American Symphony Orchestra and at the Cincinnati May Festival.  In the summer of 2019, she joins the Seiji Ozawa Festival in Matsumoto, Japan.

Dr. Livengood has been named Alumni of the Year by both alma maters, UNC-Chapel Hill and the Boston Conservatory at Berklee, and holds honorary doctorate degrees from the Boston Conservatory at Berklee and from Jacksonville University.  She is also an inductee into the North Carolina Musicians Hall of Fame, alongside such greats as Andy Griffith and James Taylor.

“Miss Vickie” is in demand for her highly acclaimed Master Classes across the globe, has a private voice studio of over 100 students in Concord, North Carolina and in New York City and has served on the voice faculty at the Buck Hill-Skytop Music Festival, the National University in Bogota, Colombia, at the Amalfi Coast Music Festival in Italy and at the Angels Vocal Art Institute at California State University in Los Angeles.

Her extensive discography includes a Grammy winning performance with the LA Opera and Philharmonic in John Corigliano’s The Ghosts of Versailles, and a Grammy nominated performance with the London Symphony in Edward Thomas’ Desire Under the Elms.  She recently appeared in Eugene Onegin with Washington National Opera and Opera Carolina.  Upcoming engagements include A Streetcar Named Desire at the Teatro Colón in Buenos Aires.

Duke Kim^
Monsieur Triquet

Duke Kim was most recently seen as Arbace in Idomeneo at Wolf Trap Opera.

His other operatic appearances include Rinuccio in Gianni Schicchi, Laurie in Little Women, and Count Belfiore in La Finta Giardiniera at Shepherd School of Music.

Duke has attended prestigious summer programs such as the Wolf Trap Opera Studio, Houston Grand Opera’s Young Artists Vocal Academy, Des Moines Metro Opera’s Apprentice Artist Program, and Aspen Music Festival. During his undergraduate studies, he performed Nemorino in L’elisir d’amore and Camille in Die Lustige Witwe.

Equally adept at concert, he has been the tenor soloist for Mendelssohn’s Elijah, the Bach Magnificat, Saint-Saëns’ Oratorio de Noël, and Handel’s Messiah.

Duke has received numerous prizes including the Special Encouragement Award at the Western Region Final of the Metropolitan Opera National Council Auditions, 2nd place in Gwendolyn Roberts Young Artist Auditions, and 1 st place in New Century Singers Whittier Competition. This February, Duke was one of the finalists in the Houston Grand Opera’s Eleanor McCollum Competition.

Christian Knapp
Conductor

Mr. Knapp is currently in his sixth season as Conductor of the renown Mariinsky Theatre in St. Petersburg Russia. Following his triumphant debut conducting Strauss’ Elektra, Mr. Knapp was appointed conductor at the special invitation of the Mariinsky’s Artistic Director Valery Gergiev, with whom he shares a close artistic relationship. Mr. Knapp has worked with prestigious orchestras around the world including the Royal Liverpool Philharmonic, L’Orchestre National de France, Houston Symphony, St. Petersburg Philharmonic, Baltimore Symphony, Saint Paul Chamber Orchstra, New World Symphony the Chicago Civic Orchestra, among many others. His successful debut with the Los Angeles Philharmonic led to an immediate reengagement. Other successful return engagements include the Milwaukee Symphony, the Indianapolis Symphony, the Pacific Symphony, the Auckland Philharmonia, the North Carolina Symphony and the Phoenix Symphony. He also has appeared regularly in subscription with the Seattle Symphony. A favorite among the musicians and audiences, Mr. Knapp regularly conducts the Mariinsky Orchestra in a wide range of symphonic programs. He led a series exploring the major symphonies of Mozart and the complete symphonies Beethoven. He has conducted highly acclaimed performances of Brahms, Strauss, Berlioz, Sibelius, Mahler and Debussy in his first few seasons.

With an equally comprehensive operatic repertoire, Mr. Knapp conducts some of the Mariinsky’s most demanding productions. He led musical preparation and conducted premiers of such French masterpieces as Pelléas und Mélisande, and Les Troyens (which subsequently went on to the 2014 Edinburgh Festival). He conducts all the major operas of Richard Strauss and most of Wagner’s operas, including Tristan und Isolde and the complete Ring Cycle. His repertoire stretches from such 20th century masterpieces like The Makropolus Case and Le Rossignol, to major operas of Verdi and Puccini, to all of the Mozart/Da Ponte operas. During the 2012 White Night’s Festival at the request of Maestro Gergiev, Mr. Knapp stepped in with just a few hours’ notice to conduct Les Contes d’Hoffmann to much acclaim; subsequently performing it with the Mariinsky on tour at the Bolshoi Theatre in Moscow for the Golden Masks Festival. As the main conductor for opera he has been responsible for nearly all of the Mariinsky’s major operatic premieres for the last several seasons.

A passionate proponent of new music, Knapp has led such groups as the Perspectives New Music Ensemble in London, the International Contemporary Ensemble (ICE) and the Seattle Chamber Players. He has conducted works by John Adams, Julian Anderson, Kaija Saariaho, Pascal Dusapin, Gerard Grisey, George Crumb and Thomas Adès, among others. In 2005, Knapp conducted the
world premiere of Paul Dresher’s opera The Tyrant with the Seattle Chamber Players. He has appeared with ICE in New York, conducting the U.S. premiere of Zona by Magnus Lindberg as part of Lincoln Center’s Mostly Mozart Festival in 2006 and a program of the music of Philippe Hurel at Columbia University’s Miller Theatre. In collaboration with ICE, Knapp returned to the Miller Theatre in the 2012-2013 Season to lead performances of the music of Sofia Gubaidulina and in the 2014-15 Season to conduct the music of Bernard Rands.

Mr. Knapp was a prize-winner in the Third International Prokofiev Conducting Competition in 1999 and that same year he was also awarded the prestigious Fellowship in Conducting from the Royal College of Music in London, working with its orchestras, new music ensembles and opera theater. In 2003, he was selected to participate in the National Conducting Institute with the National Symphony; and in 2005 Mr. Knapp and the Seattle Symphony were awarded a grant from the Bruno Walter Memorial Foundation.

Born in the United States, Mr. Knapp received bachelor’s degrees in piano performance from the New England Conservatory and philosophy from Tufts University. He studied conducting at the Accademia Musicale Chigiana in Siena under Yuri Temirkanov and Myung-Whun Chung, and receiving a post-graduate diploma in conducting from the St. Petersburg State Conservatory in Russia, where he studied with Leonid Korchmar and the renowned pedagogue Ilya Musin.

Tomer Zvulun*
Director

General and Artistic Director of The Atlanta Opera since 2013, Israeli born Tomer Zvulun is also one of leading stage director of his generation, earning consistent praise for his creative vision and innovative interpretations. His work has been presented by prestigious opera houses in Europe, South and Central America, Israel and the US, including The Metropolitan Opera, Washington National Opera, Seattle Opera, Houston Grand Opera, The Dallas Opera, San Diego Opera, Boston Lyric Opera, Pittsburgh, Minnesota, Montreal, Buenos Aires, Israeli Opera, and the festivals of Wexford, Glimmerglass and Wolf Trap, as well as leading educational institutes and universities such as The Juilliard School, Indiana University, Boston University.

Tomer spent seven seasons on the directing staff of the Metropolitan Opera where he directed revivals of Carmen and Tosca and was involved with more than a dozen new productions. He is a frequent guest director in companies such as Seattle Opera (Semele, La Boheme, Eugene Onegin, Lucia di Lammermoor,), Dallas Opera (Die Fledermaus, La Boheme),Houston Grand Opera (The Flying Dutchman, Rigoletto), Wexford Festival (Silent Night, Dinner at Eight), Cincinnati Opera (Magic Flute, Don Giovanni, Flying Dutchman), Wolf Trap (Falstaff, Don Giovanni), Israeli Opera (Dead man walking, Giulio Cesare) among others. His European premiere of Silent Night at the Wexford Festival received two Irish Times Awards and traveled from Ireland to Washington National Opera, The Glimmerglass Festival and the opera companies of Atlanta, Austin and Salt Lake City.

Zvulun directed over 15 new productions in his home company in Atlanta, including Dead Man Walking, The Flying Dutchman, Soldier Songs, Silent Night, Maria de Buenos AiresLa Boheme, Madama Butterfly, Lucia di Lammermoor, Magic Flute, Eugene Onegin to name but a few. During Tomer’s tenure, the company’s fundraising has tripled, resulting in twice the number of productions presented annually. His focus on innovation has garnered national attention and resulted in a Harvard Business School case study chronicling The Atlanta Opera’s turnaround, an International Opera Awards nomination, an ArtsATL luminary award and an invitation to deliver a Ted Talk about innovation in opera.

His upcoming projects include a new Rigoletto in Houston, a new Salome in Atlanta and Kansas City, revivals of his acclaimed production of Eugene Onegin in Montreal, Seattle and Palm Beach, Silent Night in Utah Opera and Madama Butterfly and Glory Denied in Atlanta. He is currently working on developing world premieres based on The Anna Frank’s Diaries and Sensorium Ex, a world premiere based on a story about artificial intelligence.

Tomer’s recent shows have traveled across continents, receiving critical acclaim for their striking visuals and cinematic quality. Some of them included The Flying Dutchman (Houston, Cincinnati, Atlanta), Dinner at Eight (Wexford Festival, Minnesota Opera), Eugene Onegin (Seattle, Atlanta, Detroit, Kansas City, Atlanta, Montreal), Lucia di Lammermoor (Seattle, Atlanta, Cleveland,)Silent Night (Wexford, Atlanta, Glimmerglass, Washington, Austin), Soldier songs (Atlanta, San Diego), Dead Man Walking (New Orleans, Atlanta, Israel), La Boheme (Seattle, Pittsburgh, Cleveland, Atlanta, Dallas),  Lucrezia Borgia (Buenos Aires), Gianni Schicchi (Juilliard, IVAI Tel Aviv), L’heaure Espagnole (Juilliard), Magic Flute (Cincinnati, Atlanta, Indiana University), Don Giovanni (Wolf Trap, Cincinnati), Die Fledermaus (Dallas, Kansas City), Falstaff (Wolf Trap, Des Moines), Rigoletto (Boston, Atlanta, Omaha, Charlotte), Madama Butterfly (Atlanta, Castleton Festival, New Orleans) Tosca (National Theatre Panama, Atlanta) and Semele (Seattle).

Tomer Zvulun was born and raised in Israel, attended the open University in Tel Aviv and Harvard Business School and makes his home in Atlanta.

 

 

Conor Hanratty*
Associate Director

Conor Hanratty is an opera and theatre director from Dublin, Ireland, currently the Jerry & Dulcy Rosenberg Young Arist Stage Director at the Altanta Opera. Having received and MFA in Directing from UCLA in California, Hanratty returned to Ireland and founded Ulysses Opera Theatre. The company is focused on innovative, surprising productions of contemporary opera, and has staged four highly successful projects to date, with several more currently in development. Recent opera directing projects include Tomer Zvulun’s much-lauded Silent Night for Austin Opera
(January 2019) Front of House and Backstage (Cork Midsummer Festival 2017, 2018), FLATPACK and HARP (both Dublin Fringe Festival). He directed Trouble in Tahiti at the Glimmerglass Festival, and Maria de Buenos Aires at Cork Opera House. Hanratty directed a major new composition Long Story ShortThe Belfast Opera with a community chorus of over one hundred singers in Belfast in 2016. He has worked on two occasions for Opera San Antonio, remounting Francesca Zambello’s production of Madame Butterfly in 2015 and then directing Carmen in 2016. He has also worked on several productions for the Wexford Festival Opera, as director and associate director, including Losers, Trial by Jury, The Wandering Scholar, Cristina Queen of Sweden and Silent Night. With Iain Burnside he directed 10,000 Miles Away in March 2015 with students from RIAM, the Lir and the Juilliard School, and was invited in 2016 to create a follow-up project entitled Drums and Guns. This second project added performers and staff from the Guildhall School in London, and was performed in Dublin, London and New York. Hanratty has been heavily involved with the opera programme at the Royal Irish Academy of Music in Dublin for several years. He has created several productions for their ongoing Opera Briefs series, including the world premiere of Siobhan Cleary’s Vampirella in 2017. He was Director-in-Residence at the RIAM for the academic year 2016-7, during which time he overhauled the acting and performance curriculum, brought two small operas to the Liszt Academy in Budapest and directed a mainstage production of Purcell’s The Fairy Queen. Hanratty’s recent theatre projects include POSTSCRIPT (Dublin Fringe Festival, national tour, Irish Cultural Centre in Paris and Abbey Theatre), and Romeo and Juliet (Second Age). He directed All’s Well That Ends Well at the Lir Academy, and was staff director for Once The Musical at the Olympia Theatre in Dublin in 2017. His production of To Hell in a Handbag was a hit at the Dublin and Edinburgh Fringe Festivals, and toured the UK in the autumn of 2018. In July 2019 he returns to the Everyman Palace in Cork to direct Neil Simon’s The Odd Couple.

Logan Pachciarz*
Choreographer

Logan Pachciarz began his dance career with the guidance of Shelly Washington in Twyla Tharp’s Dance company Tharp! After extensive traveling, he continued his classical training at North Carolina School of the Arts under the tutelage of Ton Simons, Fernando Bujones, and Warren Conover. At age 18, he joined the Boston Ballet where he enjoyed performing works by such choreographers as Rudi van Dantzig, Christopher Wheeldon, and Ben Stevenson. In 2001, Logan joined the Kansas City Ballet. In his 15 years with the company he performed leading roles in a diverse repertoire, ranging from classical and neoclassical works such as Giselle, Romeo and Juliet and The Four Temperaments to contemporary and modern pieces including Jardi Tancat, Dark Elegies, The Catherine Wheel Suite and The Moor’s Pavane. He was recently recognized by Dance Magazine’s Wendy Perron as one of the best dancers of 2016. Mr. Pachciarz is currently the Co-Artistic Director of Moving Arts Kansas City and Cincinnati. As director, he has presented repertoire from the forefront of dance by Marco Goecke, Douglas Lee, Penny Saunders, Salvatore Aiello, Marina Kessler, Todd Bolender, Matthew Neenan, George Balanchine and Ma Cong. Mr. Pachciarz has choreographed extensively, with such credits as Eugene Onegin and the upcoming Opera The Shining.

Svetlana Aksenova*
Tatiana

Svetlana Aksenova has been acclaimed internationally for her performances as Lisa in a new production of The Queen of Spades at the Dutch National Opera, directed by Stefan Herheim and conducted by Mariss Jansons, the title role in Rusalka at the Paris Opera, Cio-Cio-San in Madama Butterflyat the Deutsche Oper Berlin, Norwegian National Opera and Royal Swedish Opera in Stockholm, and Fevroniya in Dmitry Cherniakov’s production of Rimsky Korsakov’s The Invisible City of Kitezh, first at the Dutch National Opera and then for her debut at the Gran Teatre del Liceu in Barcelona.

Aksenova made her North American debut in the autumn of 2016 as Tatyana in Eugene Onegin with the Dallas Opera and her South American debut in the same role at the Teatro Municipal in Sao Paolo, Brazil. In the summer of 2016, Aksenova made her debut with the Rome Opera as Cio-Cio-San in Madama Butterfly, the same role with which she made her debuts at both the Bavarian State Opera in Munich and Berlin State Opera the following year. In early 2017, she debuted at the Hamburg State Opera as Desdemona in Otello. She returned to the Norwegian National Opera in the summer of 2017 as the title role in a new production of Tosca, directed by Calixto Beito, and later reprised the role in Stuttgart. Aksenova has most recently been recently heard as Cio-Cio-San for her debut at the Zurich Opera, and she will soon make her debut with the Vancouver Opera as Tatyana in Eugene Onegin.

Born in St. Petersburg, Aksenova pursued her vocal studies at the renowned Rimsky Korsakov Conservatory, where, while still a student, she came to critical attention for her performance as the title role in Tchaikovsky’s Iolanta. Aksenova was also privileged to participate in master classes with legendary soprano Renato Scotto. She was invited to join the ensemble of the Basel Opera, where over several seasons she developed her repertoire to include such roles as Desdemona, Lisa, Rusalka, Cio-Cio-San, Mimi in La Boheme and Blanche in Dialogues des Carmelites. Aksenova also starred in the title role of Puccini’s Suor Angelica in Dortmund, staged by Cristine Mielitz. Her international debuts followed in rapid succession. Other roles in her operatic repertoire include Amelia in Simon Boccanegra, the title role in Luisa Miller, Marguerite in Faust, Margherita and Elena in Mefistofele, and the title role in Cilea’s Adriana Lecouvreur.

Svetlana Aksenova also has a vast concert repertoire, including Vivaldi’s Gloria, Pergolesi’s Stabat Mater and Misa Pastoralis, Brixi’s Magnificat, and Beethoven´s Mass in C Major. She has also sung Berlioz’ Messe Solennelle, Bizet´s Te Deum, Rossini’s Petite Messe Solennelle and Stabat Mater, Shostakovich and Dvorak´s Stabat Mater, and Mahler´s Fourth Symphony. In 2015, she made her debut with the Grand Theatre in Geneva in concerts of Verdi’s Requiem.

Yelena Dyachek*
Tatiana (March 28)

Ukrainian-born soprano Yelena Dyachek was a winner of the Metropolitan Opera National Council Auditions in 2016, receiving praise from The New York Times saying “…memorable as the soprano Yelena Dyachek from California, who demonstrated impressive range, depth and power in ‘Come scoglio’, before delivering an emotionally captivating Letter Scene…”.  She is a graduate from Houston Grand Opera’s prestigious studio program and during her time in the HGO Studio, Ms. Dyachek appeared in several productions including as Musetta in La bohème, Flora in La traviata, and Berta in Il barbiere di Siviglia. Further productions included Norma, Some Light Emerges, and Nixon in China. In the summer of 2019, she made her debut as Marie Antoinette in Ghosts of Versailles at the Glimmerglass Festival, a production which travels to the Opera House at the Palace of Versailles in the winter of 2019. Further engagements in the 2019-20 season include her professional role debut as Tatiana in Eugene Onegin with Palm Beach Opera under the direction of Tomer Zvulun and joining the Lyric Opera of Chicago for their productions of Il barbiere di Siviglia and Dead Man Walking.

Recent performances for Dyachek include Elettra in Idomeneo and Beethoven’s Symphony No. 9 as a Filene Young Artist at Wolf Trap Opera and Fiordiligi for San Francisco Opera’s Merola Opera Program. A multi-year member of the Aspen Opera Theatre Center, Ms. Dyachek appeared as Fiordiligi in 2015 and as Tatiana in 2014. She will return to the Aspen Music Festival in the Summer of 2020 as part of their Beethoven Celebration.

Further recognition includes the Ana Maria Martinez Encouragement Award at the 2016 Eleanor McCollum Competition, and singing as a finalist at the Palm Springs Opera Guild of the Desert’s vocal competition. She holds a bachelor’s degree from University of the Pacific Conservatory of Music, and a master’s degree from the University of Southern California Thornton School of Music. Further roles performed while at USC include Frau Von Daubek in the concert premiere of Thomas Morse’s Frau Schindler, the Composer in Ariadne auf Naxos, Vitellia in La clemenza di Tito, the title role in Iphigénie en Tauride, and Madama Cortese in Il viaggio a Reims.

Michael Chioldi
Onegin

American baritone Michael Chioldi has quickly gained the reputation as one of the most sought-after dramatic baritones of his generation. Praised for his “warm, rich tone” (Opera News) and “deeply communicative phrasing” (The Baltimore Sun), he has received unanimous acclaim from critics and audiences around the world for his portrayals of the dramatic baritone roles of Verdi, Puccini, and Strauss. His recent role debuts include the title roles in Verdi’s Rigoletto with the Orquesta Filarmónica de Jalisco, Macbeth with Palm Beach Opera, and Nabucco with Lyric Opera Baltimore; as Conte di Luna in Il Trovatore with Utah Opera; and as Rodrigo in Don Carlo with Austin Lyric Opera.

Chioldi has performed at nearly every major American opera house, including The Metropolitan Opera, San Francisco Opera, Houston Grand Opera, Washington National Opera and Los Angeles Opera. Signature roles include Scarpia in Tosca with Hawaii Opera Theater, Ft. Worth Opera, New York City Opera, Toledo Opera, and Spain’s Opera de Oviedo; Jochanaan in Salome with Utah Opera, Virginia Opera, and the Saito Kinen Festival in Japan; the title role of Macbeth with Michigan Opera Theatre and Palm Beach Opera, Enrico in Lucia di Lammermoor with Washington National Opera, Utah Opera, and New Orleans Opera; and Sharpless in Madama Butterfly with Washington National Opera and in a nationwide broadcast on the PBS television series Live from Lincoln Center, which received an Emmy award in 2008.

In the 2015-16 season Chioldi made his debut at the Royal Opera House, Muscat in performances of Macbeth. Additional recent performances include the title role in Hamlet with Washington National Opera; the title role in Der Fliegende Holländer with Pforzheim Opera; Marcello in La bohéme at London’s Royal Albert Hall; Ford in Falstaff with Utah Opera, Chautauqua Opera, and the Ft. Worth Opera Festival; Giorgio Germont in La Traviata with Palm Beach Opera; Count Almaviva in Le nozze di Figaro with Hawaii Opera Theater, Chautauqua Opera, and the Macau International Music Festival; and Giacomo in Verdi’s Giovanna d’Arco with Chicago Opera Theater.

He made his debut at New York’s Metropolitan Opera as Fléville in Andrea Chénier with Luciano Pavarotti and Aprile Millo under the baton of James Levine, and traveled extensively in Japan with Maestro Seiji Osawa. He has also performed in Brazil, Canada, England, France, Germany, Macau and Spain.

A frequent performer of American and English works, he premiered the role of Man in Anthony Brandt’s The Birth of Something in 2008. Additional performances include as the First Mate in Billy Budd with Washington National Opera; the title role in Nixon in China with Long Beach Opera; John Proctor in The Crucible with Toledo Opera; and John Sorel in The Consulwith Arizona Opera and the Glimmerglass Festival.

Chioldi has been the recipient of numerous awards and honors, including The Metropolitan Opera National Council Competition (Winner 1995); The MacAllister Competition; The Licia Albanese-Puccini Competition; The Miami Opera Competition; The Sullivan Foundation; and The Anna Case-Mckay Award. He received his Bachelors’ degree from West Virginia University, and his Masters’ degree from Yale University. His recordings appear on the Sony Classical, BMG, Accord and Newport Classics labels.

Vladislav Kupriyanov*
Onegin (March 28)

Hailing from Divya, a small town with fewer than 1,500 inhabitants in the heart of Russia, baritone Vladislav Kupriyanov made his Mariinsky Theatre debuts in the last two seasons performing under Maestro Valery Gergiev at a “Stars of the White Nights Festival” Gala, and singing the role of Grigory Gryaznoy in the Mariinsky’s 2018 production of Rimsky-Korsakov’s The Tsar’s Bride. Other Mariinsky appearances include role debuts as Guglielmo in Così fan tutte, Ivan-Korolevitch and Priest Radegast in Rimsky-Korsakov’s Kashchey the Immortal and Mlada, the baritone soloist in Orff’s Carmina Burana, and concerts at the III International Far East Festival “Mariinsky” in Vladivostok.

Mr. Kupriyanov has also performed at the Crescendo Summer Institute and Festival in Tokaj, Hungary, as well as at the Kammeroper Schloess Rheinsberg Festival in Germany, where he sang the role of Escamillo in Carmen.  He is a two-time winner of the Russian Ministry of Culture “Young Talents of Russia Prize” (2012, 2015), as well as a prize-winner of the International Singing Competition “Bella Voce” (2012, Moscow) and the “Academia” International Singing Competition (2014, Perm). In addition, he is the 2012 and 2013 Gold Medal Winner in Singing at the Youth Delphic Games in Moscow and in Novosibirsk, Russia.

Mr. Kupriyanov began his career performing as a soloist of the acclaimed Perm State Police Lyceum Chorus, touring through all of Russia and appearing at the Kremlin. He studied at the Perm Music College and later the Perm State Academy of Culture, and at the age of 21 he joined the Samara Academic Theater of Opera and Ballet, where he performed in such roles as Mizgir in Rimsky-Korsakov’s Snow-maiden, Yeletsky in Tchaikovsky’s Pique Dame, Sharpless in Madama Butterfly, Prince Orlofsky in Die Fledermaus, Ben in Menotti’s The Telephone, Shchelkalov in Mussorgsky’s Boris Godunov, and title role in Tchaikovsky’s Eugene Onegin.

Since 2017, Mr. Kupriyanov has been a Fellow at the Atkins Young Artists Program at the Mariinsky Theatre.  In October 2018 he joined the Program’s inaugural US tour, participating in a concert at Walt Disney Concert Hall in Los Angeles with the Colburn Orchestra conducted by Valery Gergiev, and making his New York debut in a recital at the historic St. Paul’s Chapel of Trinity Church Wall Street.

Dmitry Korchak*
Lensky

Since winning in 2004 prize at Francisco Vinas International Competition in Barcelona and two prizes at Placido Domingo’s Operalia Competition in Los Angeles, Dmitry Korchak has continued to delight audiences worldwide in some of the most celebrated venues, playing some of the greatest leading operatic roles and collaborating with renowned conductors and orchestras.

Dmitry Korchak studied in Russia both as a conductor and as a singer. He has collaborated with such conductors as: D.Barenboim, B.Campanella, R.Chailly, P.Domingo, L.Maazel, Z.Mehta, M. Minkowski, R.Muti, K.Nagano, M.Plasson, A.Zedda, V.Fedoseev, M.Pletnev, V.Popov, V.Spivakov, E.Svetlanov, J.Temirkanov and others.

Among Dmitry’s recent engagements are: Carnegie Hall, The Metropolitan Opera, Teatro dell Opera di Roma,Teatro alla Scala, Opera Bastille, Wiener Staatsoper, Royal Opera House Covent Garden, Teatro Reggio di Torino, Parma Opera Theatre, Los Angeles Opera Theatre, De Nederlandse Oper, Berliner Staatsoper, Bayerische Staatsoper, Teatro Real Madrid, Los Angeles Opera, Semperoper Dresden, Teatro San Carlo di Napoli, Teatro Massimo di Palermo, Bayrische Staatsoper, Theatre Royal de La Monnaie, Palau de les Artes in Valencia, Salzburg Festival, Pesaro Festival, Bad Kissingen Festival, Colmar Festival, Ravenna Festival, Reate Festival etc.

Since season 2014 Dmitry returned to his initial specialization – conductor. Since then he performed with different programs in Europe, Easter Festival of Valery Gergiev, in the Great Hall of Moscow Philharmony, with National Philharmonic Orchestra of Russia (artistic director and chief conductor – Vladimir Spivakov) at the Moscow International House of Music, where also DVD was recorded Rossini’s Stabat Mater.

Starting with season 2017/2018 Dmitry Korchak has become Principal Guest Conductor at Novosibirsk Opera and Ballet Theatre, where he has his own Festival, as well as Guest Conductor at Mikhailovsky Theatre of St. Petersburg. Dmitry conducted Inauguration of the new concert hall at Novosibirsk opera Theatre with Rossini’s Stabat Mater starring Lawrence Brownlee, Rene Pape, Veronica Dzhioeva and Julia Matochkina. During previous seasons Dmitry has conducted different oratorial and choir programs as well as such operas as: “Aida”, “L’elisir d’amore”, “La Juive”, “Carmen”, “Il Barbiere di Siviglia” as well as different concert programs.

Jonathan Johnson
Lensky (March 28)

This season, American tenor Jonathan Johnson makes his debut as The Prince in The Love for Three Oranges at Opera Philadelphia’s Festival O19 and will appear as Lensky in Eugene Onegin at Palm Beach Opera, Matthew Gurney in Emmeline at Tulsa Opera, Jonathan Dale in Silent Night at Utah Opera, and Beppe in I Pagliacci at Opera Colorado. In concert, Johnson appears as a soloist with Cincinnati Symphony Orchestra in Schumann’s Das Paradies und die Peri as the Young Man, with the Detroit Symphony for Messiah, and in recital with the Collaborative Arts Institute of Chicago. Johnson is also an Emerging Artist for Opera Philadelphia, where he will be singing in community recitals and special events throughout the 2019-2020 Season.

A graduate of the Patrick G. & Shirley W. Ryan Opera Center, the Lyric Opera of Chicago’s professional artist-development program, he appeared in the house’s main productions of Les Troyens, Lucia di Lammermoor, The Merry Widow, Der Rosenkavalier, Capriccio, The Magic Victrola and Mieczysław Weinberg’s Holocaust opera The Passenger. Other recent engagements have included his debut of the title role of Bernstein’s Candide with the Seoul Philharmonic Orchestra, Utah Symphony Orchestra, and Des Moines Metro Opera. He made his debut at Canadian Opera Company’s production of Anna Bolena, Frederic in The Pirates of Penzance and Lensky in Eugene Onegin at the Lyric Opera of Kansas City, Fenton in Falstaff  at San Diego Opera, Lindoro in L’italiana in Algeri at the Portland Opera, La Damnation de Faust at the Grant Park Music Festival, Le Fils in Les mamelles de Tirésias with the Civic Orchestra of Chicago, Beethoven Symphony No. 9 and concert version of Don Giovanni with the Jacksonville Symphony Orchestra, a performance of Schumann’s Dichterliebe as part of a Liederabend in Chicago, and various appearances in the Harris Theater’s Beyond the Aria series, the 125th Anniversary Gala for the Auditorium Theater, and on WFMT radio as part of the Ryan Opera Center Recital Series.  He also enjoys a touring relationship with Chris Botti, which has taken him through many cities in the US and abroad.

Hailing from Macon, GA, Mr. Johnson holds a Master’s degree and Professional Artist Certificate from the A.J. Fletcher Institute of the University of North Carolina School of the Arts.

Victoria Karkacheva*
Olga

From Volgograd, Victoria is currently a member of the prestigious Young Artist Programme at the Bolshoi Theatre of Russia where she has appeared as Aglaya in a new production of Weinberg’s The Idiot and Third wood sprite in new production of Rusalka with Ainars Rubikis. Victoria has toured extensively with the Bolshoi, with performances at the Kennedy Center in Washington and across France. This summer, Victoria will join the Atelier Lyrique at the Verbier Festival where she will sing dritte dame in Die Zauberflöte with Stanislav Kochanovsky and Stimme von oben in Die Frau ohne Schatten with Valery Gergiev.

Stefan Kocan
Gremin

Slovakian bass Stefan Kocan has emerged in recent years as one of the most exciting voices of his generation. He has been acclaimed at such theaters as the Metropolitan Opera, Royal Opera House, Covent Garden, Teatro alla Scala in Milan, Berlin State Opera, and Bavarian State Opera. In the current season, Kocan debuts at the Opera National de Bordeaux as Hunding in Die Walküre, sings Il Commendatore in Don Giovanni at the Teatro Comunale di Bologna and returns to the Metropolitan Opera as Il Commendatore, Ramfis in Aida and Sparafucile in Rigoletto. He will finish out the season with his debut at the Arena di Verona as Ramfis.

In the 2017/18 season, Kocan returned to the Metropolitan Opera as Ferrando in Il Trovatore, appeared as Hunding/Fafner in Der Ring des Nibelungen at the Theater an der Wien and sang his first Gurnemanz in Parsifal at Opera Vlaanderen in the Netherlands. Engagements from the 2016/17 season included Banco in Macbeth at the Theater an der Wien, Sparafucile at Choregies d’Orange and the Palm Beach Opera, and Il Commendatore, Gremin in Eugene Onegin and Sparafucile at the Metropolitan Opera. In the 2015/16 season, Kocan sang Ferrando and Sparafucile at the Metropolitan Opera, The Watcher in Oedipe at Covent Garden, as well as both the title role in Boito’s Mefistofele and the Vodnik in Rusalka at the Prague State Opera. Additionally, Kocan gave several concert and recital appearances throughout Europe.

In the 2013/14 season, Kocan gave a critically acclaimed performance of Gremin, followed by Khan Konchak in Dmitriy Tcherniakov’s new production of Prince Igor, which was broadcast live in HD. He also returned to the Teatro alla Scala to sing The Grand Inquisitor and Filippo in Don Carlos. In the 2012/13 season, he sang Ramfis and Sparafucile at the Metropolitan Opera, Banco at La Scala with Valery Gergiev, Il Commendatore at the Bavarian State Opera and Ramfis with the Los Angeles Philharmonic at the Hollywood Bowl under Gustavo Dudamel.

Stefan Kocan started gaining worldwide attention when he became a prize-winner at the famed International Tchaikovsky competition. After completing his studies in Bratislava, Kocan began his professional operatic career at the Landestheater in Linz, Austria. Singing with the company from 2002-2006, he appeared in such leading roles as Sarastro in The Magic Flute, Filippo in Don Carlos, Osmin in The Abduction from the Seraglio, Mephistopheles in Faust, Raimondo in Lucia di Lammermoor, Banco in Macbeth, and Kecal in The Bartered Bride. In 2003, Kocan was awarded the Eberhard Waechter Prize for his interpretation of the Grand Inquisitor in Don Carlos. Following these successes came Kocan’s American debut at the Metropolitan Opera as The King in Aida under the baton of Daniele Gatti in the 2009/10 season. In the 2010/11 season, he made his debut at the Lyric Opera of Chicago as Banco in a new production of Macbeth, returning to Chicago the following season to sing Ramfis. In the 2011/12 season, he was also invited to make his debut at the Teatro alla Scala as Masetto in the season opening production of Don Giovanni, featuring Anna Netrebko, Bryn Terfel and Peter Mattei.

Since making his debut at the Metropolitan Opera, Kocan has established himself as an electric performer both vocally and physically, returning there every season for such performances as Sparafucile in Otto Schenk’s production of Rigoletto, Ferrando in Il Trovatore (broadcast live in HD), and Il Commendatore in Michael Grandage’s new production of Don Giovanni (broadcast live in HD). In 2013, Kocan received much critical acclaim for his sinister and compelling portrayal of Sparafucile in Michael Mayer’s new production of Rigoletto (broadcast live in HD). New York Magazine praised him as a “gifted scene stealer with a voice that is a ‘tectonic rumble.’” He made the Sparafucile in this production uniquely his own, reprising it in the 2013/14 season and most recently in the 2015/16 season.

Katharine Goeldner*
Larina

Opera News calls her “a natural actress…with thrilling, laser-like focus” and “luminous tone.” Opera magazine praises her “stunningly rich mezzo.” With a career that takes her throughout the U.S. and Europe, the “powerhouse” mezzo-soprano Katharine Goeldner is recognized as one of today’s finest artists.

Recent performances include her Minnesota Orchestra debut as Herodias in Richard Strauss’ Salome;  Mahler’s Symphony No. 3 with Orchestra Iowa; Dalila in Samson et Dalila at Virginia Opera and Amneris in Aida at Utah Opera. She created the role of Jackie Onassis in David T. Little and Royce Vavrek’s JFK, and starred at Opera Theatre of Saint Louis as Ma Joad in the premiere of the revised version of Ricky Ian Gordon and Michael Korie’s The Grapes of Wrath. Katharine returns this season to her native Iowa, where she can be heard in Mahler’s Das Lied vonder Erde with the University of Iowa Symphony. She performs the Verdi Requiem with the Jacksonville Symphony, Fricka in Die Walküre in Augsburg, Germany, Brigitta in Die tote Stadt in Toulouse, France, and this spring she reprises her triumphant Ma Joad at Michigan Opera Theatre.

Victoria Livengood
Filipievna

Grammy Award Winner and Metropolitan Opera star, Victoria Livengood, has been hailed as “one of the leading singer-actresses of her generation” and the Italian press proclaimed “the power of her voice could straighten the leaning Tower of Pisa.”

Victoria skyrocketed onto the opera scene as a winner of the Metropolitan Opera National Council auditions, going on to make her critically acclaimed Met debut in Verdi’s Luisa Miller in 1991. The North Carolina native has become known for her dynamic portrayals in more than 125 Met performances, including the title role of Carmen opposite Plácido Domingo and has been featured on many Metropolitan Opera broadcasts.

She has sung over 100 different roles with opera companies throughout Europe, South America, Canada and Asia, emphasizing her prolific versatility throughout a career that spans 3 and a half decades.  Internationally, she has sung with opera companies including Barcelona, Madrid, Salzburg, Buenos Aires, Taipei, Las Palmas, Monte Carlo, Nice, Santiago, Cologne, Vancouver, Montreal, and at Italy’s Spoleto Festival, where she closely collaborated with her mentor and friend, composer, Gian Carlo Menotti.

Nevertheless, it is in America that this Dixie Diva has primarily based her career, having sung leading roles with the companies of Chicago, San Francisco, Los Angeles, Santa Fe, Washington DC, Seattle, Houston, Boston, Miami, St. Louis, San Diego, Kansas City, Baltimore, Portland, Utah, Atlanta, Fort Worth, Hawaii and with the New York City Opera!

Victoria has performed at Carnegie Hall on ten separate occasions including as soloist in Verdi’s Requiem and in A Streetcar Named Desire, opposite Renee Fleming.  She has been a featured soloist with the London Symphony, the National Philharmonic, the Seoul Philharmonic, The Israeli Philharmonic, the American Symphony Orchestra and at the Cincinnati May Festival.  In the summer of 2019, she joins the Seiji Ozawa Festival in Matsumoto, Japan.

Dr. Livengood has been named Alumni of the Year by both alma maters, UNC-Chapel Hill and the Boston Conservatory at Berklee, and holds honorary doctorate degrees from the Boston Conservatory at Berklee and from Jacksonville University.  She is also an inductee into the North Carolina Musicians Hall of Fame, alongside such greats as Andy Griffith and James Taylor.

“Miss Vickie” is in demand for her highly acclaimed Master Classes across the globe, has a private voice studio of over 100 students in Concord, North Carolina and in New York City and has served on the voice faculty at the Buck Hill-Skytop Music Festival, the National University in Bogota, Colombia, at the Amalfi Coast Music Festival in Italy and at the Angels Vocal Art Institute at California State University in Los Angeles.

Her extensive discography includes a Grammy winning performance with the LA Opera and Philharmonic in John Corigliano’s The Ghosts of Versailles, and a Grammy nominated performance with the London Symphony in Edward Thomas’ Desire Under the Elms.  She recently appeared in Eugene Onegin with Washington National Opera and Opera Carolina.  Upcoming engagements include A Streetcar Named Desire at the Teatro Colón in Buenos Aires.

Duke Kim^
Monsieur Triquet

Duke Kim was most recently seen as Arbace in Idomeneo at Wolf Trap Opera.

His other operatic appearances include Rinuccio in Gianni Schicchi, Laurie in Little Women, and Count Belfiore in La Finta Giardiniera at Shepherd School of Music.

Duke has attended prestigious summer programs such as the Wolf Trap Opera Studio, Houston Grand Opera’s Young Artists Vocal Academy, Des Moines Metro Opera’s Apprentice Artist Program, and Aspen Music Festival. During his undergraduate studies, he performed Nemorino in L’elisir d’amore and Camille in Die Lustige Witwe.

Equally adept at concert, he has been the tenor soloist for Mendelssohn’s Elijah, the Bach Magnificat, Saint-Saëns’ Oratorio de Noël, and Handel’s Messiah.

Duke has received numerous prizes including the Special Encouragement Award at the Western Region Final of the Metropolitan Opera National Council Auditions, 2nd place in Gwendolyn Roberts Young Artist Auditions, and 1 st place in New Century Singers Whittier Competition. This February, Duke was one of the finalists in the Houston Grand Opera’s Eleanor McCollum Competition.

Christian Knapp
Conductor

Mr. Knapp is currently in his sixth season as Conductor of the renown Mariinsky Theatre in St. Petersburg Russia. Following his triumphant debut conducting Strauss’ Elektra, Mr. Knapp was appointed conductor at the special invitation of the Mariinsky’s Artistic Director Valery Gergiev, with whom he shares a close artistic relationship. Mr. Knapp has worked with prestigious orchestras around the world including the Royal Liverpool Philharmonic, L’Orchestre National de France, Houston Symphony, St. Petersburg Philharmonic, Baltimore Symphony, Saint Paul Chamber Orchstra, New World Symphony the Chicago Civic Orchestra, among many others. His successful debut with the Los Angeles Philharmonic led to an immediate reengagement. Other successful return engagements include the Milwaukee Symphony, the Indianapolis Symphony, the Pacific Symphony, the Auckland Philharmonia, the North Carolina Symphony and the Phoenix Symphony. He also has appeared regularly in subscription with the Seattle Symphony. A favorite among the musicians and audiences, Mr. Knapp regularly conducts the Mariinsky Orchestra in a wide range of symphonic programs. He led a series exploring the major symphonies of Mozart and the complete symphonies Beethoven. He has conducted highly acclaimed performances of Brahms, Strauss, Berlioz, Sibelius, Mahler and Debussy in his first few seasons.

With an equally comprehensive operatic repertoire, Mr. Knapp conducts some of the Mariinsky’s most demanding productions. He led musical preparation and conducted premiers of such French masterpieces as Pelléas und Mélisande, and Les Troyens (which subsequently went on to the 2014 Edinburgh Festival). He conducts all the major operas of Richard Strauss and most of Wagner’s operas, including Tristan und Isolde and the complete Ring Cycle. His repertoire stretches from such 20th century masterpieces like The Makropolus Case and Le Rossignol, to major operas of Verdi and Puccini, to all of the Mozart/Da Ponte operas. During the 2012 White Night’s Festival at the request of Maestro Gergiev, Mr. Knapp stepped in with just a few hours’ notice to conduct Les Contes d’Hoffmann to much acclaim; subsequently performing it with the Mariinsky on tour at the Bolshoi Theatre in Moscow for the Golden Masks Festival. As the main conductor for opera he has been responsible for nearly all of the Mariinsky’s major operatic premieres for the last several seasons.

A passionate proponent of new music, Knapp has led such groups as the Perspectives New Music Ensemble in London, the International Contemporary Ensemble (ICE) and the Seattle Chamber Players. He has conducted works by John Adams, Julian Anderson, Kaija Saariaho, Pascal Dusapin, Gerard Grisey, George Crumb and Thomas Adès, among others. In 2005, Knapp conducted the
world premiere of Paul Dresher’s opera The Tyrant with the Seattle Chamber Players. He has appeared with ICE in New York, conducting the U.S. premiere of Zona by Magnus Lindberg as part of Lincoln Center’s Mostly Mozart Festival in 2006 and a program of the music of Philippe Hurel at Columbia University’s Miller Theatre. In collaboration with ICE, Knapp returned to the Miller Theatre in the 2012-2013 Season to lead performances of the music of Sofia Gubaidulina and in the 2014-15 Season to conduct the music of Bernard Rands.

Mr. Knapp was a prize-winner in the Third International Prokofiev Conducting Competition in 1999 and that same year he was also awarded the prestigious Fellowship in Conducting from the Royal College of Music in London, working with its orchestras, new music ensembles and opera theater. In 2003, he was selected to participate in the National Conducting Institute with the National Symphony; and in 2005 Mr. Knapp and the Seattle Symphony were awarded a grant from the Bruno Walter Memorial Foundation.

Born in the United States, Mr. Knapp received bachelor’s degrees in piano performance from the New England Conservatory and philosophy from Tufts University. He studied conducting at the Accademia Musicale Chigiana in Siena under Yuri Temirkanov and Myung-Whun Chung, and receiving a post-graduate diploma in conducting from the St. Petersburg State Conservatory in Russia, where he studied with Leonid Korchmar and the renowned pedagogue Ilya Musin.

Tomer Zvulun*
Director

General and Artistic Director of The Atlanta Opera since 2013, Israeli born Tomer Zvulun is also one of leading stage director of his generation, earning consistent praise for his creative vision and innovative interpretations. His work has been presented by prestigious opera houses in Europe, South and Central America, Israel and the US, including The Metropolitan Opera, Washington National Opera, Seattle Opera, Houston Grand Opera, The Dallas Opera, San Diego Opera, Boston Lyric Opera, Pittsburgh, Minnesota, Montreal, Buenos Aires, Israeli Opera, and the festivals of Wexford, Glimmerglass and Wolf Trap, as well as leading educational institutes and universities such as The Juilliard School, Indiana University, Boston University.

Tomer spent seven seasons on the directing staff of the Metropolitan Opera where he directed revivals of Carmen and Tosca and was involved with more than a dozen new productions. He is a frequent guest director in companies such as Seattle Opera (Semele, La Boheme, Eugene Onegin, Lucia di Lammermoor,), Dallas Opera (Die Fledermaus, La Boheme),Houston Grand Opera (The Flying Dutchman, Rigoletto), Wexford Festival (Silent Night, Dinner at Eight), Cincinnati Opera (Magic Flute, Don Giovanni, Flying Dutchman), Wolf Trap (Falstaff, Don Giovanni), Israeli Opera (Dead man walking, Giulio Cesare) among others. His European premiere of Silent Night at the Wexford Festival received two Irish Times Awards and traveled from Ireland to Washington National Opera, The Glimmerglass Festival and the opera companies of Atlanta, Austin and Salt Lake City.

Zvulun directed over 15 new productions in his home company in Atlanta, including Dead Man Walking, The Flying Dutchman, Soldier Songs, Silent Night, Maria de Buenos AiresLa Boheme, Madama Butterfly, Lucia di Lammermoor, Magic Flute, Eugene Onegin to name but a few. During Tomer’s tenure, the company’s fundraising has tripled, resulting in twice the number of productions presented annually. His focus on innovation has garnered national attention and resulted in a Harvard Business School case study chronicling The Atlanta Opera’s turnaround, an International Opera Awards nomination, an ArtsATL luminary award and an invitation to deliver a Ted Talk about innovation in opera.

His upcoming projects include a new Rigoletto in Houston, a new Salome in Atlanta and Kansas City, revivals of his acclaimed production of Eugene Onegin in Montreal, Seattle and Palm Beach, Silent Night in Utah Opera and Madama Butterfly and Glory Denied in Atlanta. He is currently working on developing world premieres based on The Anna Frank’s Diaries and Sensorium Ex, a world premiere based on a story about artificial intelligence.

Tomer’s recent shows have traveled across continents, receiving critical acclaim for their striking visuals and cinematic quality. Some of them included The Flying Dutchman (Houston, Cincinnati, Atlanta), Dinner at Eight (Wexford Festival, Minnesota Opera), Eugene Onegin (Seattle, Atlanta, Detroit, Kansas City, Atlanta, Montreal), Lucia di Lammermoor (Seattle, Atlanta, Cleveland,)Silent Night (Wexford, Atlanta, Glimmerglass, Washington, Austin), Soldier songs (Atlanta, San Diego), Dead Man Walking (New Orleans, Atlanta, Israel), La Boheme (Seattle, Pittsburgh, Cleveland, Atlanta, Dallas),  Lucrezia Borgia (Buenos Aires), Gianni Schicchi (Juilliard, IVAI Tel Aviv), L’heaure Espagnole (Juilliard), Magic Flute (Cincinnati, Atlanta, Indiana University), Don Giovanni (Wolf Trap, Cincinnati), Die Fledermaus (Dallas, Kansas City), Falstaff (Wolf Trap, Des Moines), Rigoletto (Boston, Atlanta, Omaha, Charlotte), Madama Butterfly (Atlanta, Castleton Festival, New Orleans) Tosca (National Theatre Panama, Atlanta) and Semele (Seattle).

Tomer Zvulun was born and raised in Israel, attended the open University in Tel Aviv and Harvard Business School and makes his home in Atlanta.

 

 

Conor Hanratty*
Associate Director

Conor Hanratty is an opera and theatre director from Dublin, Ireland, currently the Jerry & Dulcy Rosenberg Young Arist Stage Director at the Altanta Opera. Having received and MFA in Directing from UCLA in California, Hanratty returned to Ireland and founded Ulysses Opera Theatre. The company is focused on innovative, surprising productions of contemporary opera, and has staged four highly successful projects to date, with several more currently in development. Recent opera directing projects include Tomer Zvulun’s much-lauded Silent Night for Austin Opera
(January 2019) Front of House and Backstage (Cork Midsummer Festival 2017, 2018), FLATPACK and HARP (both Dublin Fringe Festival). He directed Trouble in Tahiti at the Glimmerglass Festival, and Maria de Buenos Aires at Cork Opera House. Hanratty directed a major new composition Long Story ShortThe Belfast Opera with a community chorus of over one hundred singers in Belfast in 2016. He has worked on two occasions for Opera San Antonio, remounting Francesca Zambello’s production of Madame Butterfly in 2015 and then directing Carmen in 2016. He has also worked on several productions for the Wexford Festival Opera, as director and associate director, including Losers, Trial by Jury, The Wandering Scholar, Cristina Queen of Sweden and Silent Night. With Iain Burnside he directed 10,000 Miles Away in March 2015 with students from RIAM, the Lir and the Juilliard School, and was invited in 2016 to create a follow-up project entitled Drums and Guns. This second project added performers and staff from the Guildhall School in London, and was performed in Dublin, London and New York. Hanratty has been heavily involved with the opera programme at the Royal Irish Academy of Music in Dublin for several years. He has created several productions for their ongoing Opera Briefs series, including the world premiere of Siobhan Cleary’s Vampirella in 2017. He was Director-in-Residence at the RIAM for the academic year 2016-7, during which time he overhauled the acting and performance curriculum, brought two small operas to the Liszt Academy in Budapest and directed a mainstage production of Purcell’s The Fairy Queen. Hanratty’s recent theatre projects include POSTSCRIPT (Dublin Fringe Festival, national tour, Irish Cultural Centre in Paris and Abbey Theatre), and Romeo and Juliet (Second Age). He directed All’s Well That Ends Well at the Lir Academy, and was staff director for Once The Musical at the Olympia Theatre in Dublin in 2017. His production of To Hell in a Handbag was a hit at the Dublin and Edinburgh Fringe Festivals, and toured the UK in the autumn of 2018. In July 2019 he returns to the Everyman Palace in Cork to direct Neil Simon’s The Odd Couple.

Logan Pachciarz*
Choreographer

Logan Pachciarz began his dance career with the guidance of Shelly Washington in Twyla Tharp’s Dance company Tharp! After extensive traveling, he continued his classical training at North Carolina School of the Arts under the tutelage of Ton Simons, Fernando Bujones, and Warren Conover. At age 18, he joined the Boston Ballet where he enjoyed performing works by such choreographers as Rudi van Dantzig, Christopher Wheeldon, and Ben Stevenson. In 2001, Logan joined the Kansas City Ballet. In his 15 years with the company he performed leading roles in a diverse repertoire, ranging from classical and neoclassical works such as Giselle, Romeo and Juliet and The Four Temperaments to contemporary and modern pieces including Jardi Tancat, Dark Elegies, The Catherine Wheel Suite and The Moor’s Pavane. He was recently recognized by Dance Magazine’s Wendy Perron as one of the best dancers of 2016. Mr. Pachciarz is currently the Co-Artistic Director of Moving Arts Kansas City and Cincinnati. As director, he has presented repertoire from the forefront of dance by Marco Goecke, Douglas Lee, Penny Saunders, Salvatore Aiello, Marina Kessler, Todd Bolender, Matthew Neenan, George Balanchine and Ma Cong. Mr. Pachciarz has choreographed extensively, with such credits as Eugene Onegin and the upcoming Opera The Shining.

Svetlana Aksenova*
Tatiana

Svetlana Aksenova has been acclaimed internationally for her performances as Lisa in a new production of The Queen of Spades at the Dutch National Opera, directed by Stefan Herheim and conducted by Mariss Jansons, the title role in Rusalka at the Paris Opera, Cio-Cio-San in Madama Butterflyat the Deutsche Oper Berlin, Norwegian National Opera and Royal Swedish Opera in Stockholm, and Fevroniya in Dmitry Cherniakov’s production of Rimsky Korsakov’s The Invisible City of Kitezh, first at the Dutch National Opera and then for her debut at the Gran Teatre del Liceu in Barcelona.

Aksenova made her North American debut in the autumn of 2016 as Tatyana in Eugene Onegin with the Dallas Opera and her South American debut in the same role at the Teatro Municipal in Sao Paolo, Brazil. In the summer of 2016, Aksenova made her debut with the Rome Opera as Cio-Cio-San in Madama Butterfly, the same role with which she made her debuts at both the Bavarian State Opera in Munich and Berlin State Opera the following year. In early 2017, she debuted at the Hamburg State Opera as Desdemona in Otello. She returned to the Norwegian National Opera in the summer of 2017 as the title role in a new production of Tosca, directed by Calixto Beito, and later reprised the role in Stuttgart. Aksenova has most recently been recently heard as Cio-Cio-San for her debut at the Zurich Opera, and she will soon make her debut with the Vancouver Opera as Tatyana in Eugene Onegin.

Born in St. Petersburg, Aksenova pursued her vocal studies at the renowned Rimsky Korsakov Conservatory, where, while still a student, she came to critical attention for her performance as the title role in Tchaikovsky’s Iolanta. Aksenova was also privileged to participate in master classes with legendary soprano Renato Scotto. She was invited to join the ensemble of the Basel Opera, where over several seasons she developed her repertoire to include such roles as Desdemona, Lisa, Rusalka, Cio-Cio-San, Mimi in La Boheme and Blanche in Dialogues des Carmelites. Aksenova also starred in the title role of Puccini’s Suor Angelica in Dortmund, staged by Cristine Mielitz. Her international debuts followed in rapid succession. Other roles in her operatic repertoire include Amelia in Simon Boccanegra, the title role in Luisa Miller, Marguerite in Faust, Margherita and Elena in Mefistofele, and the title role in Cilea’s Adriana Lecouvreur.

Svetlana Aksenova also has a vast concert repertoire, including Vivaldi’s Gloria, Pergolesi’s Stabat Mater and Misa Pastoralis, Brixi’s Magnificat, and Beethoven´s Mass in C Major. She has also sung Berlioz’ Messe Solennelle, Bizet´s Te Deum, Rossini’s Petite Messe Solennelle and Stabat Mater, Shostakovich and Dvorak´s Stabat Mater, and Mahler´s Fourth Symphony. In 2015, she made her debut with the Grand Theatre in Geneva in concerts of Verdi’s Requiem.

Yelena Dyachek*
Tatiana (March 28)

Ukrainian-born soprano Yelena Dyachek was a winner of the Metropolitan Opera National Council Auditions in 2016, receiving praise from The New York Times saying “…memorable as the soprano Yelena Dyachek from California, who demonstrated impressive range, depth and power in ‘Come scoglio’, before delivering an emotionally captivating Letter Scene…”.  She is a graduate from Houston Grand Opera’s prestigious studio program and during her time in the HGO Studio, Ms. Dyachek appeared in several productions including as Musetta in La bohème, Flora in La traviata, and Berta in Il barbiere di Siviglia. Further productions included Norma, Some Light Emerges, and Nixon in China. In the summer of 2019, she made her debut as Marie Antoinette in Ghosts of Versailles at the Glimmerglass Festival, a production which travels to the Opera House at the Palace of Versailles in the winter of 2019. Further engagements in the 2019-20 season include her professional role debut as Tatiana in Eugene Onegin with Palm Beach Opera under the direction of Tomer Zvulun and joining the Lyric Opera of Chicago for their productions of Il barbiere di Siviglia and Dead Man Walking.

Recent performances for Dyachek include Elettra in Idomeneo and Beethoven’s Symphony No. 9 as a Filene Young Artist at Wolf Trap Opera and Fiordiligi for San Francisco Opera’s Merola Opera Program. A multi-year member of the Aspen Opera Theatre Center, Ms. Dyachek appeared as Fiordiligi in 2015 and as Tatiana in 2014. She will return to the Aspen Music Festival in the Summer of 2020 as part of their Beethoven Celebration.

Further recognition includes the Ana Maria Martinez Encouragement Award at the 2016 Eleanor McCollum Competition, and singing as a finalist at the Palm Springs Opera Guild of the Desert’s vocal competition. She holds a bachelor’s degree from University of the Pacific Conservatory of Music, and a master’s degree from the University of Southern California Thornton School of Music. Further roles performed while at USC include Frau Von Daubek in the concert premiere of Thomas Morse’s Frau Schindler, the Composer in Ariadne auf Naxos, Vitellia in La clemenza di Tito, the title role in Iphigénie en Tauride, and Madama Cortese in Il viaggio a Reims.

Michael Chioldi
Onegin

American baritone Michael Chioldi has quickly gained the reputation as one of the most sought-after dramatic baritones of his generation. Praised for his “warm, rich tone” (Opera News) and “deeply communicative phrasing” (The Baltimore Sun), he has received unanimous acclaim from critics and audiences around the world for his portrayals of the dramatic baritone roles of Verdi, Puccini, and Strauss. His recent role debuts include the title roles in Verdi’s Rigoletto with the Orquesta Filarmónica de Jalisco, Macbeth with Palm Beach Opera, and Nabucco with Lyric Opera Baltimore; as Conte di Luna in Il Trovatore with Utah Opera; and as Rodrigo in Don Carlo with Austin Lyric Opera.

Chioldi has performed at nearly every major American opera house, including The Metropolitan Opera, San Francisco Opera, Houston Grand Opera, Washington National Opera and Los Angeles Opera. Signature roles include Scarpia in Tosca with Hawaii Opera Theater, Ft. Worth Opera, New York City Opera, Toledo Opera, and Spain’s Opera de Oviedo; Jochanaan in Salome with Utah Opera, Virginia Opera, and the Saito Kinen Festival in Japan; the title role of Macbeth with Michigan Opera Theatre and Palm Beach Opera, Enrico in Lucia di Lammermoor with Washington National Opera, Utah Opera, and New Orleans Opera; and Sharpless in Madama Butterfly with Washington National Opera and in a nationwide broadcast on the PBS television series Live from Lincoln Center, which received an Emmy award in 2008.

In the 2015-16 season Chioldi made his debut at the Royal Opera House, Muscat in performances of Macbeth. Additional recent performances include the title role in Hamlet with Washington National Opera; the title role in Der Fliegende Holländer with Pforzheim Opera; Marcello in La bohéme at London’s Royal Albert Hall; Ford in Falstaff with Utah Opera, Chautauqua Opera, and the Ft. Worth Opera Festival; Giorgio Germont in La Traviata with Palm Beach Opera; Count Almaviva in Le nozze di Figaro with Hawaii Opera Theater, Chautauqua Opera, and the Macau International Music Festival; and Giacomo in Verdi’s Giovanna d’Arco with Chicago Opera Theater.

He made his debut at New York’s Metropolitan Opera as Fléville in Andrea Chénier with Luciano Pavarotti and Aprile Millo under the baton of James Levine, and traveled extensively in Japan with Maestro Seiji Osawa. He has also performed in Brazil, Canada, England, France, Germany, Macau and Spain.

A frequent performer of American and English works, he premiered the role of Man in Anthony Brandt’s The Birth of Something in 2008. Additional performances include as the First Mate in Billy Budd with Washington National Opera; the title role in Nixon in China with Long Beach Opera; John Proctor in The Crucible with Toledo Opera; and John Sorel in The Consulwith Arizona Opera and the Glimmerglass Festival.

Chioldi has been the recipient of numerous awards and honors, including The Metropolitan Opera National Council Competition (Winner 1995); The MacAllister Competition; The Licia Albanese-Puccini Competition; The Miami Opera Competition; The Sullivan Foundation; and The Anna Case-Mckay Award. He received his Bachelors’ degree from West Virginia University, and his Masters’ degree from Yale University. His recordings appear on the Sony Classical, BMG, Accord and Newport Classics labels.

Vladislav Kupriyanov*
Onegin (March 28)

Hailing from Divya, a small town with fewer than 1,500 inhabitants in the heart of Russia, baritone Vladislav Kupriyanov made his Mariinsky Theatre debuts in the last two seasons performing under Maestro Valery Gergiev at a “Stars of the White Nights Festival” Gala, and singing the role of Grigory Gryaznoy in the Mariinsky’s 2018 production of Rimsky-Korsakov’s The Tsar’s Bride. Other Mariinsky appearances include role debuts as Guglielmo in Così fan tutte, Ivan-Korolevitch and Priest Radegast in Rimsky-Korsakov’s Kashchey the Immortal and Mlada, the baritone soloist in Orff’s Carmina Burana, and concerts at the III International Far East Festival “Mariinsky” in Vladivostok.

Mr. Kupriyanov has also performed at the Crescendo Summer Institute and Festival in Tokaj, Hungary, as well as at the Kammeroper Schloess Rheinsberg Festival in Germany, where he sang the role of Escamillo in Carmen.  He is a two-time winner of the Russian Ministry of Culture “Young Talents of Russia Prize” (2012, 2015), as well as a prize-winner of the International Singing Competition “Bella Voce” (2012, Moscow) and the “Academia” International Singing Competition (2014, Perm). In addition, he is the 2012 and 2013 Gold Medal Winner in Singing at the Youth Delphic Games in Moscow and in Novosibirsk, Russia.

Mr. Kupriyanov began his career performing as a soloist of the acclaimed Perm State Police Lyceum Chorus, touring through all of Russia and appearing at the Kremlin. He studied at the Perm Music College and later the Perm State Academy of Culture, and at the age of 21 he joined the Samara Academic Theater of Opera and Ballet, where he performed in such roles as Mizgir in Rimsky-Korsakov’s Snow-maiden, Yeletsky in Tchaikovsky’s Pique Dame, Sharpless in Madama Butterfly, Prince Orlofsky in Die Fledermaus, Ben in Menotti’s The Telephone, Shchelkalov in Mussorgsky’s Boris Godunov, and title role in Tchaikovsky’s Eugene Onegin.

Since 2017, Mr. Kupriyanov has been a Fellow at the Atkins Young Artists Program at the Mariinsky Theatre.  In October 2018 he joined the Program’s inaugural US tour, participating in a concert at Walt Disney Concert Hall in Los Angeles with the Colburn Orchestra conducted by Valery Gergiev, and making his New York debut in a recital at the historic St. Paul’s Chapel of Trinity Church Wall Street.

Dmitry Korchak*
Lensky

Since winning in 2004 prize at Francisco Vinas International Competition in Barcelona and two prizes at Placido Domingo’s Operalia Competition in Los Angeles, Dmitry Korchak has continued to delight audiences worldwide in some of the most celebrated venues, playing some of the greatest leading operatic roles and collaborating with renowned conductors and orchestras.

Dmitry Korchak studied in Russia both as a conductor and as a singer. He has collaborated with such conductors as: D.Barenboim, B.Campanella, R.Chailly, P.Domingo, L.Maazel, Z.Mehta, M. Minkowski, R.Muti, K.Nagano, M.Plasson, A.Zedda, V.Fedoseev, M.Pletnev, V.Popov, V.Spivakov, E.Svetlanov, J.Temirkanov and others.

Among Dmitry’s recent engagements are: Carnegie Hall, The Metropolitan Opera, Teatro dell Opera di Roma,Teatro alla Scala, Opera Bastille, Wiener Staatsoper, Royal Opera House Covent Garden, Teatro Reggio di Torino, Parma Opera Theatre, Los Angeles Opera Theatre, De Nederlandse Oper, Berliner Staatsoper, Bayerische Staatsoper, Teatro Real Madrid, Los Angeles Opera, Semperoper Dresden, Teatro San Carlo di Napoli, Teatro Massimo di Palermo, Bayrische Staatsoper, Theatre Royal de La Monnaie, Palau de les Artes in Valencia, Salzburg Festival, Pesaro Festival, Bad Kissingen Festival, Colmar Festival, Ravenna Festival, Reate Festival etc.

Since season 2014 Dmitry returned to his initial specialization – conductor. Since then he performed with different programs in Europe, Easter Festival of Valery Gergiev, in the Great Hall of Moscow Philharmony, with National Philharmonic Orchestra of Russia (artistic director and chief conductor – Vladimir Spivakov) at the Moscow International House of Music, where also DVD was recorded Rossini’s Stabat Mater.

Starting with season 2017/2018 Dmitry Korchak has become Principal Guest Conductor at Novosibirsk Opera and Ballet Theatre, where he has his own Festival, as well as Guest Conductor at Mikhailovsky Theatre of St. Petersburg. Dmitry conducted Inauguration of the new concert hall at Novosibirsk opera Theatre with Rossini’s Stabat Mater starring Lawrence Brownlee, Rene Pape, Veronica Dzhioeva and Julia Matochkina. During previous seasons Dmitry has conducted different oratorial and choir programs as well as such operas as: “Aida”, “L’elisir d’amore”, “La Juive”, “Carmen”, “Il Barbiere di Siviglia” as well as different concert programs.

Jonathan Johnson
Lensky (March 28)

This season, American tenor Jonathan Johnson makes his debut as The Prince in The Love for Three Oranges at Opera Philadelphia’s Festival O19 and will appear as Lensky in Eugene Onegin at Palm Beach Opera, Matthew Gurney in Emmeline at Tulsa Opera, Jonathan Dale in Silent Night at Utah Opera, and Beppe in I Pagliacci at Opera Colorado. In concert, Johnson appears as a soloist with Cincinnati Symphony Orchestra in Schumann’s Das Paradies und die Peri as the Young Man, with the Detroit Symphony for Messiah, and in recital with the Collaborative Arts Institute of Chicago. Johnson is also an Emerging Artist for Opera Philadelphia, where he will be singing in community recitals and special events throughout the 2019-2020 Season.

A graduate of the Patrick G. & Shirley W. Ryan Opera Center, the Lyric Opera of Chicago’s professional artist-development program, he appeared in the house’s main productions of Les Troyens, Lucia di Lammermoor, The Merry Widow, Der Rosenkavalier, Capriccio, The Magic Victrola and Mieczysław Weinberg’s Holocaust opera The Passenger. Other recent engagements have included his debut of the title role of Bernstein’s Candide with the Seoul Philharmonic Orchestra, Utah Symphony Orchestra, and Des Moines Metro Opera. He made his debut at Canadian Opera Company’s production of Anna Bolena, Frederic in The Pirates of Penzance and Lensky in Eugene Onegin at the Lyric Opera of Kansas City, Fenton in Falstaff  at San Diego Opera, Lindoro in L’italiana in Algeri at the Portland Opera, La Damnation de Faust at the Grant Park Music Festival, Le Fils in Les mamelles de Tirésias with the Civic Orchestra of Chicago, Beethoven Symphony No. 9 and concert version of Don Giovanni with the Jacksonville Symphony Orchestra, a performance of Schumann’s Dichterliebe as part of a Liederabend in Chicago, and various appearances in the Harris Theater’s Beyond the Aria series, the 125th Anniversary Gala for the Auditorium Theater, and on WFMT radio as part of the Ryan Opera Center Recital Series.  He also enjoys a touring relationship with Chris Botti, which has taken him through many cities in the US and abroad.

Hailing from Macon, GA, Mr. Johnson holds a Master’s degree and Professional Artist Certificate from the A.J. Fletcher Institute of the University of North Carolina School of the Arts.

Victoria Karkacheva*
Olga

From Volgograd, Victoria is currently a member of the prestigious Young Artist Programme at the Bolshoi Theatre of Russia where she has appeared as Aglaya in a new production of Weinberg’s The Idiot and Third wood sprite in new production of Rusalka with Ainars Rubikis. Victoria has toured extensively with the Bolshoi, with performances at the Kennedy Center in Washington and across France. This summer, Victoria will join the Atelier Lyrique at the Verbier Festival where she will sing dritte dame in Die Zauberflöte with Stanislav Kochanovsky and Stimme von oben in Die Frau ohne Schatten with Valery Gergiev.

Stefan Kocan
Gremin

Slovakian bass Stefan Kocan has emerged in recent years as one of the most exciting voices of his generation. He has been acclaimed at such theaters as the Metropolitan Opera, Royal Opera House, Covent Garden, Teatro alla Scala in Milan, Berlin State Opera, and Bavarian State Opera. In the current season, Kocan debuts at the Opera National de Bordeaux as Hunding in Die Walküre, sings Il Commendatore in Don Giovanni at the Teatro Comunale di Bologna and returns to the Metropolitan Opera as Il Commendatore, Ramfis in Aida and Sparafucile in Rigoletto. He will finish out the season with his debut at the Arena di Verona as Ramfis.

In the 2017/18 season, Kocan returned to the Metropolitan Opera as Ferrando in Il Trovatore, appeared as Hunding/Fafner in Der Ring des Nibelungen at the Theater an der Wien and sang his first Gurnemanz in Parsifal at Opera Vlaanderen in the Netherlands. Engagements from the 2016/17 season included Banco in Macbeth at the Theater an der Wien, Sparafucile at Choregies d’Orange and the Palm Beach Opera, and Il Commendatore, Gremin in Eugene Onegin and Sparafucile at the Metropolitan Opera. In the 2015/16 season, Kocan sang Ferrando and Sparafucile at the Metropolitan Opera, The Watcher in Oedipe at Covent Garden, as well as both the title role in Boito’s Mefistofele and the Vodnik in Rusalka at the Prague State Opera. Additionally, Kocan gave several concert and recital appearances throughout Europe.

In the 2013/14 season, Kocan gave a critically acclaimed performance of Gremin, followed by Khan Konchak in Dmitriy Tcherniakov’s new production of Prince Igor, which was broadcast live in HD. He also returned to the Teatro alla Scala to sing The Grand Inquisitor and Filippo in Don Carlos. In the 2012/13 season, he sang Ramfis and Sparafucile at the Metropolitan Opera, Banco at La Scala with Valery Gergiev, Il Commendatore at the Bavarian State Opera and Ramfis with the Los Angeles Philharmonic at the Hollywood Bowl under Gustavo Dudamel.

Stefan Kocan started gaining worldwide attention when he became a prize-winner at the famed International Tchaikovsky competition. After completing his studies in Bratislava, Kocan began his professional operatic career at the Landestheater in Linz, Austria. Singing with the company from 2002-2006, he appeared in such leading roles as Sarastro in The Magic Flute, Filippo in Don Carlos, Osmin in The Abduction from the Seraglio, Mephistopheles in Faust, Raimondo in Lucia di Lammermoor, Banco in Macbeth, and Kecal in The Bartered Bride. In 2003, Kocan was awarded the Eberhard Waechter Prize for his interpretation of the Grand Inquisitor in Don Carlos. Following these successes came Kocan’s American debut at the Metropolitan Opera as The King in Aida under the baton of Daniele Gatti in the 2009/10 season. In the 2010/11 season, he made his debut at the Lyric Opera of Chicago as Banco in a new production of Macbeth, returning to Chicago the following season to sing Ramfis. In the 2011/12 season, he was also invited to make his debut at the Teatro alla Scala as Masetto in the season opening production of Don Giovanni, featuring Anna Netrebko, Bryn Terfel and Peter Mattei.

Since making his debut at the Metropolitan Opera, Kocan has established himself as an electric performer both vocally and physically, returning there every season for such performances as Sparafucile in Otto Schenk’s production of Rigoletto, Ferrando in Il Trovatore (broadcast live in HD), and Il Commendatore in Michael Grandage’s new production of Don Giovanni (broadcast live in HD). In 2013, Kocan received much critical acclaim for his sinister and compelling portrayal of Sparafucile in Michael Mayer’s new production of Rigoletto (broadcast live in HD). New York Magazine praised him as a “gifted scene stealer with a voice that is a ‘tectonic rumble.’” He made the Sparafucile in this production uniquely his own, reprising it in the 2013/14 season and most recently in the 2015/16 season.

Katharine Goeldner*
Larina

Opera News calls her “a natural actress…with thrilling, laser-like focus” and “luminous tone.” Opera magazine praises her “stunningly rich mezzo.” With a career that takes her throughout the U.S. and Europe, the “powerhouse” mezzo-soprano Katharine Goeldner is recognized as one of today’s finest artists.

Recent performances include her Minnesota Orchestra debut as Herodias in Richard Strauss’ Salome;  Mahler’s Symphony No. 3 with Orchestra Iowa; Dalila in Samson et Dalila at Virginia Opera and Amneris in Aida at Utah Opera. She created the role of Jackie Onassis in David T. Little and Royce Vavrek’s JFK, and starred at Opera Theatre of Saint Louis as Ma Joad in the premiere of the revised version of Ricky Ian Gordon and Michael Korie’s The Grapes of Wrath. Katharine returns this season to her native Iowa, where she can be heard in Mahler’s Das Lied vonder Erde with the University of Iowa Symphony. She performs the Verdi Requiem with the Jacksonville Symphony, Fricka in Die Walküre in Augsburg, Germany, Brigitta in Die tote Stadt in Toulouse, France, and this spring she reprises her triumphant Ma Joad at Michigan Opera Theatre.

Victoria Livengood
Filipievna

Grammy Award Winner and Metropolitan Opera star, Victoria Livengood, has been hailed as “one of the leading singer-actresses of her generation” and the Italian press proclaimed “the power of her voice could straighten the leaning Tower of Pisa.”

Victoria skyrocketed onto the opera scene as a winner of the Metropolitan Opera National Council auditions, going on to make her critically acclaimed Met debut in Verdi’s Luisa Miller in 1991. The North Carolina native has become known for her dynamic portrayals in more than 125 Met performances, including the title role of Carmen opposite Plácido Domingo and has been featured on many Metropolitan Opera broadcasts.

She has sung over 100 different roles with opera companies throughout Europe, South America, Canada and Asia, emphasizing her prolific versatility throughout a career that spans 3 and a half decades.  Internationally, she has sung with opera companies including Barcelona, Madrid, Salzburg, Buenos Aires, Taipei, Las Palmas, Monte Carlo, Nice, Santiago, Cologne, Vancouver, Montreal, and at Italy’s Spoleto Festival, where she closely collaborated with her mentor and friend, composer, Gian Carlo Menotti.

Nevertheless, it is in America that this Dixie Diva has primarily based her career, having sung leading roles with the companies of Chicago, San Francisco, Los Angeles, Santa Fe, Washington DC, Seattle, Houston, Boston, Miami, St. Louis, San Diego, Kansas City, Baltimore, Portland, Utah, Atlanta, Fort Worth, Hawaii and with the New York City Opera!

Victoria has performed at Carnegie Hall on ten separate occasions including as soloist in Verdi’s Requiem and in A Streetcar Named Desire, opposite Renee Fleming.  She has been a featured soloist with the London Symphony, the National Philharmonic, the Seoul Philharmonic, The Israeli Philharmonic, the American Symphony Orchestra and at the Cincinnati May Festival.  In the summer of 2019, she joins the Seiji Ozawa Festival in Matsumoto, Japan.

Dr. Livengood has been named Alumni of the Year by both alma maters, UNC-Chapel Hill and the Boston Conservatory at Berklee, and holds honorary doctorate degrees from the Boston Conservatory at Berklee and from Jacksonville University.  She is also an inductee into the North Carolina Musicians Hall of Fame, alongside such greats as Andy Griffith and James Taylor.

“Miss Vickie” is in demand for her highly acclaimed Master Classes across the globe, has a private voice studio of over 100 students in Concord, North Carolina and in New York City and has served on the voice faculty at the Buck Hill-Skytop Music Festival, the National University in Bogota, Colombia, at the Amalfi Coast Music Festival in Italy and at the Angels Vocal Art Institute at California State University in Los Angeles.

Her extensive discography includes a Grammy winning performance with the LA Opera and Philharmonic in John Corigliano’s The Ghosts of Versailles, and a Grammy nominated performance with the London Symphony in Edward Thomas’ Desire Under the Elms.  She recently appeared in Eugene Onegin with Washington National Opera and Opera Carolina.  Upcoming engagements include A Streetcar Named Desire at the Teatro Colón in Buenos Aires.

Duke Kim^
Monsieur Triquet

Duke Kim was most recently seen as Arbace in Idomeneo at Wolf Trap Opera.

His other operatic appearances include Rinuccio in Gianni Schicchi, Laurie in Little Women, and Count Belfiore in La Finta Giardiniera at Shepherd School of Music.

Duke has attended prestigious summer programs such as the Wolf Trap Opera Studio, Houston Grand Opera’s Young Artists Vocal Academy, Des Moines Metro Opera’s Apprentice Artist Program, and Aspen Music Festival. During his undergraduate studies, he performed Nemorino in L’elisir d’amore and Camille in Die Lustige Witwe.

Equally adept at concert, he has been the tenor soloist for Mendelssohn’s Elijah, the Bach Magnificat, Saint-Saëns’ Oratorio de Noël, and Handel’s Messiah.

Duke has received numerous prizes including the Special Encouragement Award at the Western Region Final of the Metropolitan Opera National Council Auditions, 2nd place in Gwendolyn Roberts Young Artist Auditions, and 1 st place in New Century Singers Whittier Competition. This February, Duke was one of the finalists in the Houston Grand Opera’s Eleanor McCollum Competition.

Christian Knapp
Conductor

Mr. Knapp is currently in his sixth season as Conductor of the renown Mariinsky Theatre in St. Petersburg Russia. Following his triumphant debut conducting Strauss’ Elektra, Mr. Knapp was appointed conductor at the special invitation of the Mariinsky’s Artistic Director Valery Gergiev, with whom he shares a close artistic relationship. Mr. Knapp has worked with prestigious orchestras around the world including the Royal Liverpool Philharmonic, L’Orchestre National de France, Houston Symphony, St. Petersburg Philharmonic, Baltimore Symphony, Saint Paul Chamber Orchstra, New World Symphony the Chicago Civic Orchestra, among many others. His successful debut with the Los Angeles Philharmonic led to an immediate reengagement. Other successful return engagements include the Milwaukee Symphony, the Indianapolis Symphony, the Pacific Symphony, the Auckland Philharmonia, the North Carolina Symphony and the Phoenix Symphony. He also has appeared regularly in subscription with the Seattle Symphony. A favorite among the musicians and audiences, Mr. Knapp regularly conducts the Mariinsky Orchestra in a wide range of symphonic programs. He led a series exploring the major symphonies of Mozart and the complete symphonies Beethoven. He has conducted highly acclaimed performances of Brahms, Strauss, Berlioz, Sibelius, Mahler and Debussy in his first few seasons.

With an equally comprehensive operatic repertoire, Mr. Knapp conducts some of the Mariinsky’s most demanding productions. He led musical preparation and conducted premiers of such French masterpieces as Pelléas und Mélisande, and Les Troyens (which subsequently went on to the 2014 Edinburgh Festival). He conducts all the major operas of Richard Strauss and most of Wagner’s operas, including Tristan und Isolde and the complete Ring Cycle. His repertoire stretches from such 20th century masterpieces like The Makropolus Case and Le Rossignol, to major operas of Verdi and Puccini, to all of the Mozart/Da Ponte operas. During the 2012 White Night’s Festival at the request of Maestro Gergiev, Mr. Knapp stepped in with just a few hours’ notice to conduct Les Contes d’Hoffmann to much acclaim; subsequently performing it with the Mariinsky on tour at the Bolshoi Theatre in Moscow for the Golden Masks Festival. As the main conductor for opera he has been responsible for nearly all of the Mariinsky’s major operatic premieres for the last several seasons.

A passionate proponent of new music, Knapp has led such groups as the Perspectives New Music Ensemble in London, the International Contemporary Ensemble (ICE) and the Seattle Chamber Players. He has conducted works by John Adams, Julian Anderson, Kaija Saariaho, Pascal Dusapin, Gerard Grisey, George Crumb and Thomas Adès, among others. In 2005, Knapp conducted the
world premiere of Paul Dresher’s opera The Tyrant with the Seattle Chamber Players. He has appeared with ICE in New York, conducting the U.S. premiere of Zona by Magnus Lindberg as part of Lincoln Center’s Mostly Mozart Festival in 2006 and a program of the music of Philippe Hurel at Columbia University’s Miller Theatre. In collaboration with ICE, Knapp returned to the Miller Theatre in the 2012-2013 Season to lead performances of the music of Sofia Gubaidulina and in the 2014-15 Season to conduct the music of Bernard Rands.

Mr. Knapp was a prize-winner in the Third International Prokofiev Conducting Competition in 1999 and that same year he was also awarded the prestigious Fellowship in Conducting from the Royal College of Music in London, working with its orchestras, new music ensembles and opera theater. In 2003, he was selected to participate in the National Conducting Institute with the National Symphony; and in 2005 Mr. Knapp and the Seattle Symphony were awarded a grant from the Bruno Walter Memorial Foundation.

Born in the United States, Mr. Knapp received bachelor’s degrees in piano performance from the New England Conservatory and philosophy from Tufts University. He studied conducting at the Accademia Musicale Chigiana in Siena under Yuri Temirkanov and Myung-Whun Chung, and receiving a post-graduate diploma in conducting from the St. Petersburg State Conservatory in Russia, where he studied with Leonid Korchmar and the renowned pedagogue Ilya Musin.

Tomer Zvulun*
Director

General and Artistic Director of The Atlanta Opera since 2013, Israeli born Tomer Zvulun is also one of leading stage director of his generation, earning consistent praise for his creative vision and innovative interpretations. His work has been presented by prestigious opera houses in Europe, South and Central America, Israel and the US, including The Metropolitan Opera, Washington National Opera, Seattle Opera, Houston Grand Opera, The Dallas Opera, San Diego Opera, Boston Lyric Opera, Pittsburgh, Minnesota, Montreal, Buenos Aires, Israeli Opera, and the festivals of Wexford, Glimmerglass and Wolf Trap, as well as leading educational institutes and universities such as The Juilliard School, Indiana University, Boston University.

Tomer spent seven seasons on the directing staff of the Metropolitan Opera where he directed revivals of Carmen and Tosca and was involved with more than a dozen new productions. He is a frequent guest director in companies such as Seattle Opera (Semele, La Boheme, Eugene Onegin, Lucia di Lammermoor,), Dallas Opera (Die Fledermaus, La Boheme),Houston Grand Opera (The Flying Dutchman, Rigoletto), Wexford Festival (Silent Night, Dinner at Eight), Cincinnati Opera (Magic Flute, Don Giovanni, Flying Dutchman), Wolf Trap (Falstaff, Don Giovanni), Israeli Opera (Dead man walking, Giulio Cesare) among others. His European premiere of Silent Night at the Wexford Festival received two Irish Times Awards and traveled from Ireland to Washington National Opera, The Glimmerglass Festival and the opera companies of Atlanta, Austin and Salt Lake City.

Zvulun directed over 15 new productions in his home company in Atlanta, including Dead Man Walking, The Flying Dutchman, Soldier Songs, Silent Night, Maria de Buenos AiresLa Boheme, Madama Butterfly, Lucia di Lammermoor, Magic Flute, Eugene Onegin to name but a few. During Tomer’s tenure, the company’s fundraising has tripled, resulting in twice the number of productions presented annually. His focus on innovation has garnered national attention and resulted in a Harvard Business School case study chronicling The Atlanta Opera’s turnaround, an International Opera Awards nomination, an ArtsATL luminary award and an invitation to deliver a Ted Talk about innovation in opera.

His upcoming projects include a new Rigoletto in Houston, a new Salome in Atlanta and Kansas City, revivals of his acclaimed production of Eugene Onegin in Montreal, Seattle and Palm Beach, Silent Night in Utah Opera and Madama Butterfly and Glory Denied in Atlanta. He is currently working on developing world premieres based on The Anna Frank’s Diaries and Sensorium Ex, a world premiere based on a story about artificial intelligence.

Tomer’s recent shows have traveled across continents, receiving critical acclaim for their striking visuals and cinematic quality. Some of them included The Flying Dutchman (Houston, Cincinnati, Atlanta), Dinner at Eight (Wexford Festival, Minnesota Opera), Eugene Onegin (Seattle, Atlanta, Detroit, Kansas City, Atlanta, Montreal), Lucia di Lammermoor (Seattle, Atlanta, Cleveland,)Silent Night (Wexford, Atlanta, Glimmerglass, Washington, Austin), Soldier songs (Atlanta, San Diego), Dead Man Walking (New Orleans, Atlanta, Israel), La Boheme (Seattle, Pittsburgh, Cleveland, Atlanta, Dallas),  Lucrezia Borgia (Buenos Aires), Gianni Schicchi (Juilliard, IVAI Tel Aviv), L’heaure Espagnole (Juilliard), Magic Flute (Cincinnati, Atlanta, Indiana University), Don Giovanni (Wolf Trap, Cincinnati), Die Fledermaus (Dallas, Kansas City), Falstaff (Wolf Trap, Des Moines), Rigoletto (Boston, Atlanta, Omaha, Charlotte), Madama Butterfly (Atlanta, Castleton Festival, New Orleans) Tosca (National Theatre Panama, Atlanta) and Semele (Seattle).

Tomer Zvulun was born and raised in Israel, attended the open University in Tel Aviv and Harvard Business School and makes his home in Atlanta.

 

 

Conor Hanratty*
Associate Director

Conor Hanratty is an opera and theatre director from Dublin, Ireland, currently the Jerry & Dulcy Rosenberg Young Arist Stage Director at the Altanta Opera. Having received and MFA in Directing from UCLA in California, Hanratty returned to Ireland and founded Ulysses Opera Theatre. The company is focused on innovative, surprising productions of contemporary opera, and has staged four highly successful projects to date, with several more currently in development. Recent opera directing projects include Tomer Zvulun’s much-lauded Silent Night for Austin Opera
(January 2019) Front of House and Backstage (Cork Midsummer Festival 2017, 2018), FLATPACK and HARP (both Dublin Fringe Festival). He directed Trouble in Tahiti at the Glimmerglass Festival, and Maria de Buenos Aires at Cork Opera House. Hanratty directed a major new composition Long Story ShortThe Belfast Opera with a community chorus of over one hundred singers in Belfast in 2016. He has worked on two occasions for Opera San Antonio, remounting Francesca Zambello’s production of Madame Butterfly in 2015 and then directing Carmen in 2016. He has also worked on several productions for the Wexford Festival Opera, as director and associate director, including Losers, Trial by Jury, The Wandering Scholar, Cristina Queen of Sweden and Silent Night. With Iain Burnside he directed 10,000 Miles Away in March 2015 with students from RIAM, the Lir and the Juilliard School, and was invited in 2016 to create a follow-up project entitled Drums and Guns. This second project added performers and staff from the Guildhall School in London, and was performed in Dublin, London and New York. Hanratty has been heavily involved with the opera programme at the Royal Irish Academy of Music in Dublin for several years. He has created several productions for their ongoing Opera Briefs series, including the world premiere of Siobhan Cleary’s Vampirella in 2017. He was Director-in-Residence at the RIAM for the academic year 2016-7, during which time he overhauled the acting and performance curriculum, brought two small operas to the Liszt Academy in Budapest and directed a mainstage production of Purcell’s The Fairy Queen. Hanratty’s recent theatre projects include POSTSCRIPT (Dublin Fringe Festival, national tour, Irish Cultural Centre in Paris and Abbey Theatre), and Romeo and Juliet (Second Age). He directed All’s Well That Ends Well at the Lir Academy, and was staff director for Once The Musical at the Olympia Theatre in Dublin in 2017. His production of To Hell in a Handbag was a hit at the Dublin and Edinburgh Fringe Festivals, and toured the UK in the autumn of 2018. In July 2019 he returns to the Everyman Palace in Cork to direct Neil Simon’s The Odd Couple.

Logan Pachciarz*
Choreographer

Logan Pachciarz began his dance career with the guidance of Shelly Washington in Twyla Tharp’s Dance company Tharp! After extensive traveling, he continued his classical training at North Carolina School of the Arts under the tutelage of Ton Simons, Fernando Bujones, and Warren Conover. At age 18, he joined the Boston Ballet where he enjoyed performing works by such choreographers as Rudi van Dantzig, Christopher Wheeldon, and Ben Stevenson. In 2001, Logan joined the Kansas City Ballet. In his 15 years with the company he performed leading roles in a diverse repertoire, ranging from classical and neoclassical works such as Giselle, Romeo and Juliet and The Four Temperaments to contemporary and modern pieces including Jardi Tancat, Dark Elegies, The Catherine Wheel Suite and The Moor’s Pavane. He was recently recognized by Dance Magazine’s Wendy Perron as one of the best dancers of 2016. Mr. Pachciarz is currently the Co-Artistic Director of Moving Arts Kansas City and Cincinnati. As director, he has presented repertoire from the forefront of dance by Marco Goecke, Douglas Lee, Penny Saunders, Salvatore Aiello, Marina Kessler, Todd Bolender, Matthew Neenan, George Balanchine and Ma Cong. Mr. Pachciarz has choreographed extensively, with such credits as Eugene Onegin and the upcoming Opera The Shining.

Svetlana Aksenova*
Tatiana

Svetlana Aksenova has been acclaimed internationally for her performances as Lisa in a new production of The Queen of Spades at the Dutch National Opera, directed by Stefan Herheim and conducted by Mariss Jansons, the title role in Rusalka at the Paris Opera, Cio-Cio-San in Madama Butterflyat the Deutsche Oper Berlin, Norwegian National Opera and Royal Swedish Opera in Stockholm, and Fevroniya in Dmitry Cherniakov’s production of Rimsky Korsakov’s The Invisible City of Kitezh, first at the Dutch National Opera and then for her debut at the Gran Teatre del Liceu in Barcelona.

Aksenova made her North American debut in the autumn of 2016 as Tatyana in Eugene Onegin with the Dallas Opera and her South American debut in the same role at the Teatro Municipal in Sao Paolo, Brazil. In the summer of 2016, Aksenova made her debut with the Rome Opera as Cio-Cio-San in Madama Butterfly, the same role with which she made her debuts at both the Bavarian State Opera in Munich and Berlin State Opera the following year. In early 2017, she debuted at the Hamburg State Opera as Desdemona in Otello. She returned to the Norwegian National Opera in the summer of 2017 as the title role in a new production of Tosca, directed by Calixto Beito, and later reprised the role in Stuttgart. Aksenova has most recently been recently heard as Cio-Cio-San for her debut at the Zurich Opera, and she will soon make her debut with the Vancouver Opera as Tatyana in Eugene Onegin.

Born in St. Petersburg, Aksenova pursued her vocal studies at the renowned Rimsky Korsakov Conservatory, where, while still a student, she came to critical attention for her performance as the title role in Tchaikovsky’s Iolanta. Aksenova was also privileged to participate in master classes with legendary soprano Renato Scotto. She was invited to join the ensemble of the Basel Opera, where over several seasons she developed her repertoire to include such roles as Desdemona, Lisa, Rusalka, Cio-Cio-San, Mimi in La Boheme and Blanche in Dialogues des Carmelites. Aksenova also starred in the title role of Puccini’s Suor Angelica in Dortmund, staged by Cristine Mielitz. Her international debuts followed in rapid succession. Other roles in her operatic repertoire include Amelia in Simon Boccanegra, the title role in Luisa Miller, Marguerite in Faust, Margherita and Elena in Mefistofele, and the title role in Cilea’s Adriana Lecouvreur.

Svetlana Aksenova also has a vast concert repertoire, including Vivaldi’s Gloria, Pergolesi’s Stabat Mater and Misa Pastoralis, Brixi’s Magnificat, and Beethoven´s Mass in C Major. She has also sung Berlioz’ Messe Solennelle, Bizet´s Te Deum, Rossini’s Petite Messe Solennelle and Stabat Mater, Shostakovich and Dvorak´s Stabat Mater, and Mahler´s Fourth Symphony. In 2015, she made her debut with the Grand Theatre in Geneva in concerts of Verdi’s Requiem.

Yelena Dyachek*
Tatiana (March 28)

Ukrainian-born soprano Yelena Dyachek was a winner of the Metropolitan Opera National Council Auditions in 2016, receiving praise from The New York Times saying “…memorable as the soprano Yelena Dyachek from California, who demonstrated impressive range, depth and power in ‘Come scoglio’, before delivering an emotionally captivating Letter Scene…”.  She is a graduate from Houston Grand Opera’s prestigious studio program and during her time in the HGO Studio, Ms. Dyachek appeared in several productions including as Musetta in La bohème, Flora in La traviata, and Berta in Il barbiere di Siviglia. Further productions included Norma, Some Light Emerges, and Nixon in China. In the summer of 2019, she made her debut as Marie Antoinette in Ghosts of Versailles at the Glimmerglass Festival, a production which travels to the Opera House at the Palace of Versailles in the winter of 2019. Further engagements in the 2019-20 season include her professional role debut as Tatiana in Eugene Onegin with Palm Beach Opera under the direction of Tomer Zvulun and joining the Lyric Opera of Chicago for their productions of Il barbiere di Siviglia and Dead Man Walking.

Recent performances for Dyachek include Elettra in Idomeneo and Beethoven’s Symphony No. 9 as a Filene Young Artist at Wolf Trap Opera and Fiordiligi for San Francisco Opera’s Merola Opera Program. A multi-year member of the Aspen Opera Theatre Center, Ms. Dyachek appeared as Fiordiligi in 2015 and as Tatiana in 2014. She will return to the Aspen Music Festival in the Summer of 2020 as part of their Beethoven Celebration.

Further recognition includes the Ana Maria Martinez Encouragement Award at the 2016 Eleanor McCollum Competition, and singing as a finalist at the Palm Springs Opera Guild of the Desert’s vocal competition. She holds a bachelor’s degree from University of the Pacific Conservatory of Music, and a master’s degree from the University of Southern California Thornton School of Music. Further roles performed while at USC include Frau Von Daubek in the concert premiere of Thomas Morse’s Frau Schindler, the Composer in Ariadne auf Naxos, Vitellia in La clemenza di Tito, the title role in Iphigénie en Tauride, and Madama Cortese in Il viaggio a Reims.

Michael Chioldi
Onegin

American baritone Michael Chioldi has quickly gained the reputation as one of the most sought-after dramatic baritones of his generation. Praised for his “warm, rich tone” (Opera News) and “deeply communicative phrasing” (The Baltimore Sun), he has received unanimous acclaim from critics and audiences around the world for his portrayals of the dramatic baritone roles of Verdi, Puccini, and Strauss. His recent role debuts include the title roles in Verdi’s Rigoletto with the Orquesta Filarmónica de Jalisco, Macbeth with Palm Beach Opera, and Nabucco with Lyric Opera Baltimore; as Conte di Luna in Il Trovatore with Utah Opera; and as Rodrigo in Don Carlo with Austin Lyric Opera.

Chioldi has performed at nearly every major American opera house, including The Metropolitan Opera, San Francisco Opera, Houston Grand Opera, Washington National Opera and Los Angeles Opera. Signature roles include Scarpia in Tosca with Hawaii Opera Theater, Ft. Worth Opera, New York City Opera, Toledo Opera, and Spain’s Opera de Oviedo; Jochanaan in Salome with Utah Opera, Virginia Opera, and the Saito Kinen Festival in Japan; the title role of Macbeth with Michigan Opera Theatre and Palm Beach Opera, Enrico in Lucia di Lammermoor with Washington National Opera, Utah Opera, and New Orleans Opera; and Sharpless in Madama Butterfly with Washington National Opera and in a nationwide broadcast on the PBS television series Live from Lincoln Center, which received an Emmy award in 2008.

In the 2015-16 season Chioldi made his debut at the Royal Opera House, Muscat in performances of Macbeth. Additional recent performances include the title role in Hamlet with Washington National Opera; the title role in Der Fliegende Holländer with Pforzheim Opera; Marcello in La bohéme at London’s Royal Albert Hall; Ford in Falstaff with Utah Opera, Chautauqua Opera, and the Ft. Worth Opera Festival; Giorgio Germont in La Traviata with Palm Beach Opera; Count Almaviva in Le nozze di Figaro with Hawaii Opera Theater, Chautauqua Opera, and the Macau International Music Festival; and Giacomo in Verdi’s Giovanna d’Arco with Chicago Opera Theater.

He made his debut at New York’s Metropolitan Opera as Fléville in Andrea Chénier with Luciano Pavarotti and Aprile Millo under the baton of James Levine, and traveled extensively in Japan with Maestro Seiji Osawa. He has also performed in Brazil, Canada, England, France, Germany, Macau and Spain.

A frequent performer of American and English works, he premiered the role of Man in Anthony Brandt’s The Birth of Something in 2008. Additional performances include as the First Mate in Billy Budd with Washington National Opera; the title role in Nixon in China with Long Beach Opera; John Proctor in The Crucible with Toledo Opera; and John Sorel in The Consulwith Arizona Opera and the Glimmerglass Festival.

Chioldi has been the recipient of numerous awards and honors, including The Metropolitan Opera National Council Competition (Winner 1995); The MacAllister Competition; The Licia Albanese-Puccini Competition; The Miami Opera Competition; The Sullivan Foundation; and The Anna Case-Mckay Award. He received his Bachelors’ degree from West Virginia University, and his Masters’ degree from Yale University. His recordings appear on the Sony Classical, BMG, Accord and Newport Classics labels.

Vladislav Kupriyanov*
Onegin (March 28)

Hailing from Divya, a small town with fewer than 1,500 inhabitants in the heart of Russia, baritone Vladislav Kupriyanov made his Mariinsky Theatre debuts in the last two seasons performing under Maestro Valery Gergiev at a “Stars of the White Nights Festival” Gala, and singing the role of Grigory Gryaznoy in the Mariinsky’s 2018 production of Rimsky-Korsakov’s The Tsar’s Bride. Other Mariinsky appearances include role debuts as Guglielmo in Così fan tutte, Ivan-Korolevitch and Priest Radegast in Rimsky-Korsakov’s Kashchey the Immortal and Mlada, the baritone soloist in Orff’s Carmina Burana, and concerts at the III International Far East Festival “Mariinsky” in Vladivostok.

Mr. Kupriyanov has also performed at the Crescendo Summer Institute and Festival in Tokaj, Hungary, as well as at the Kammeroper Schloess Rheinsberg Festival in Germany, where he sang the role of Escamillo in Carmen.  He is a two-time winner of the Russian Ministry of Culture “Young Talents of Russia Prize” (2012, 2015), as well as a prize-winner of the International Singing Competition “Bella Voce” (2012, Moscow) and the “Academia” International Singing Competition (2014, Perm). In addition, he is the 2012 and 2013 Gold Medal Winner in Singing at the Youth Delphic Games in Moscow and in Novosibirsk, Russia.

Mr. Kupriyanov began his career performing as a soloist of the acclaimed Perm State Police Lyceum Chorus, touring through all of Russia and appearing at the Kremlin. He studied at the Perm Music College and later the Perm State Academy of Culture, and at the age of 21 he joined the Samara Academic Theater of Opera and Ballet, where he performed in such roles as Mizgir in Rimsky-Korsakov’s Snow-maiden, Yeletsky in Tchaikovsky’s Pique Dame, Sharpless in Madama Butterfly, Prince Orlofsky in Die Fledermaus, Ben in Menotti’s The Telephone, Shchelkalov in Mussorgsky’s Boris Godunov, and title role in Tchaikovsky’s Eugene Onegin.

Since 2017, Mr. Kupriyanov has been a Fellow at the Atkins Young Artists Program at the Mariinsky Theatre.  In October 2018 he joined the Program’s inaugural US tour, participating in a concert at Walt Disney Concert Hall in Los Angeles with the Colburn Orchestra conducted by Valery Gergiev, and making his New York debut in a recital at the historic St. Paul’s Chapel of Trinity Church Wall Street.

Dmitry Korchak*
Lensky

Since winning in 2004 prize at Francisco Vinas International Competition in Barcelona and two prizes at Placido Domingo’s Operalia Competition in Los Angeles, Dmitry Korchak has continued to delight audiences worldwide in some of the most celebrated venues, playing some of the greatest leading operatic roles and collaborating with renowned conductors and orchestras.

Dmitry Korchak studied in Russia both as a conductor and as a singer. He has collaborated with such conductors as: D.Barenboim, B.Campanella, R.Chailly, P.Domingo, L.Maazel, Z.Mehta, M. Minkowski, R.Muti, K.Nagano, M.Plasson, A.Zedda, V.Fedoseev, M.Pletnev, V.Popov, V.Spivakov, E.Svetlanov, J.Temirkanov and others.

Among Dmitry’s recent engagements are: Carnegie Hall, The Metropolitan Opera, Teatro dell Opera di Roma,Teatro alla Scala, Opera Bastille, Wiener Staatsoper, Royal Opera House Covent Garden, Teatro Reggio di Torino, Parma Opera Theatre, Los Angeles Opera Theatre, De Nederlandse Oper, Berliner Staatsoper, Bayerische Staatsoper, Teatro Real Madrid, Los Angeles Opera, Semperoper Dresden, Teatro San Carlo di Napoli, Teatro Massimo di Palermo, Bayrische Staatsoper, Theatre Royal de La Monnaie, Palau de les Artes in Valencia, Salzburg Festival, Pesaro Festival, Bad Kissingen Festival, Colmar Festival, Ravenna Festival, Reate Festival etc.

Since season 2014 Dmitry returned to his initial specialization – conductor. Since then he performed with different programs in Europe, Easter Festival of Valery Gergiev, in the Great Hall of Moscow Philharmony, with National Philharmonic Orchestra of Russia (artistic director and chief conductor – Vladimir Spivakov) at the Moscow International House of Music, where also DVD was recorded Rossini’s Stabat Mater.

Starting with season 2017/2018 Dmitry Korchak has become Principal Guest Conductor at Novosibirsk Opera and Ballet Theatre, where he has his own Festival, as well as Guest Conductor at Mikhailovsky Theatre of St. Petersburg. Dmitry conducted Inauguration of the new concert hall at Novosibirsk opera Theatre with Rossini’s Stabat Mater starring Lawrence Brownlee, Rene Pape, Veronica Dzhioeva and Julia Matochkina. During previous seasons Dmitry has conducted different oratorial and choir programs as well as such operas as: “Aida”, “L’elisir d’amore”, “La Juive”, “Carmen”, “Il Barbiere di Siviglia” as well as different concert programs.

Jonathan Johnson
Lensky (March 28)

This season, American tenor Jonathan Johnson makes his debut as The Prince in The Love for Three Oranges at Opera Philadelphia’s Festival O19 and will appear as Lensky in Eugene Onegin at Palm Beach Opera, Matthew Gurney in Emmeline at Tulsa Opera, Jonathan Dale in Silent Night at Utah Opera, and Beppe in I Pagliacci at Opera Colorado. In concert, Johnson appears as a soloist with Cincinnati Symphony Orchestra in Schumann’s Das Paradies und die Peri as the Young Man, with the Detroit Symphony for Messiah, and in recital with the Collaborative Arts Institute of Chicago. Johnson is also an Emerging Artist for Opera Philadelphia, where he will be singing in community recitals and special events throughout the 2019-2020 Season.

A graduate of the Patrick G. & Shirley W. Ryan Opera Center, the Lyric Opera of Chicago’s professional artist-development program, he appeared in the house’s main productions of Les Troyens, Lucia di Lammermoor, The Merry Widow, Der Rosenkavalier, Capriccio, The Magic Victrola and Mieczysław Weinberg’s Holocaust opera The Passenger. Other recent engagements have included his debut of the title role of Bernstein’s Candide with the Seoul Philharmonic Orchestra, Utah Symphony Orchestra, and Des Moines Metro Opera. He made his debut at Canadian Opera Company’s production of Anna Bolena, Frederic in The Pirates of Penzance and Lensky in Eugene Onegin at the Lyric Opera of Kansas City, Fenton in Falstaff  at San Diego Opera, Lindoro in L’italiana in Algeri at the Portland Opera, La Damnation de Faust at the Grant Park Music Festival, Le Fils in Les mamelles de Tirésias with the Civic Orchestra of Chicago, Beethoven Symphony No. 9 and concert version of Don Giovanni with the Jacksonville Symphony Orchestra, a performance of Schumann’s Dichterliebe as part of a Liederabend in Chicago, and various appearances in the Harris Theater’s Beyond the Aria series, the 125th Anniversary Gala for the Auditorium Theater, and on WFMT radio as part of the Ryan Opera Center Recital Series.  He also enjoys a touring relationship with Chris Botti, which has taken him through many cities in the US and abroad.

Hailing from Macon, GA, Mr. Johnson holds a Master’s degree and Professional Artist Certificate from the A.J. Fletcher Institute of the University of North Carolina School of the Arts.

Victoria Karkacheva*
Olga

From Volgograd, Victoria is currently a member of the prestigious Young Artist Programme at the Bolshoi Theatre of Russia where she has appeared as Aglaya in a new production of Weinberg’s The Idiot and Third wood sprite in new production of Rusalka with Ainars Rubikis. Victoria has toured extensively with the Bolshoi, with performances at the Kennedy Center in Washington and across France. This summer, Victoria will join the Atelier Lyrique at the Verbier Festival where she will sing dritte dame in Die Zauberflöte with Stanislav Kochanovsky and Stimme von oben in Die Frau ohne Schatten with Valery Gergiev.

Stefan Kocan
Gremin

Slovakian bass Stefan Kocan has emerged in recent years as one of the most exciting voices of his generation. He has been acclaimed at such theaters as the Metropolitan Opera, Royal Opera House, Covent Garden, Teatro alla Scala in Milan, Berlin State Opera, and Bavarian State Opera. In the current season, Kocan debuts at the Opera National de Bordeaux as Hunding in Die Walküre, sings Il Commendatore in Don Giovanni at the Teatro Comunale di Bologna and returns to the Metropolitan Opera as Il Commendatore, Ramfis in Aida and Sparafucile in Rigoletto. He will finish out the season with his debut at the Arena di Verona as Ramfis.

In the 2017/18 season, Kocan returned to the Metropolitan Opera as Ferrando in Il Trovatore, appeared as Hunding/Fafner in Der Ring des Nibelungen at the Theater an der Wien and sang his first Gurnemanz in Parsifal at Opera Vlaanderen in the Netherlands. Engagements from the 2016/17 season included Banco in Macbeth at the Theater an der Wien, Sparafucile at Choregies d’Orange and the Palm Beach Opera, and Il Commendatore, Gremin in Eugene Onegin and Sparafucile at the Metropolitan Opera. In the 2015/16 season, Kocan sang Ferrando and Sparafucile at the Metropolitan Opera, The Watcher in Oedipe at Covent Garden, as well as both the title role in Boito’s Mefistofele and the Vodnik in Rusalka at the Prague State Opera. Additionally, Kocan gave several concert and recital appearances throughout Europe.

In the 2013/14 season, Kocan gave a critically acclaimed performance of Gremin, followed by Khan Konchak in Dmitriy Tcherniakov’s new production of Prince Igor, which was broadcast live in HD. He also returned to the Teatro alla Scala to sing The Grand Inquisitor and Filippo in Don Carlos. In the 2012/13 season, he sang Ramfis and Sparafucile at the Metropolitan Opera, Banco at La Scala with Valery Gergiev, Il Commendatore at the Bavarian State Opera and Ramfis with the Los Angeles Philharmonic at the Hollywood Bowl under Gustavo Dudamel.

Stefan Kocan started gaining worldwide attention when he became a prize-winner at the famed International Tchaikovsky competition. After completing his studies in Bratislava, Kocan began his professional operatic career at the Landestheater in Linz, Austria. Singing with the company from 2002-2006, he appeared in such leading roles as Sarastro in The Magic Flute, Filippo in Don Carlos, Osmin in The Abduction from the Seraglio, Mephistopheles in Faust, Raimondo in Lucia di Lammermoor, Banco in Macbeth, and Kecal in The Bartered Bride. In 2003, Kocan was awarded the Eberhard Waechter Prize for his interpretation of the Grand Inquisitor in Don Carlos. Following these successes came Kocan’s American debut at the Metropolitan Opera as The King in Aida under the baton of Daniele Gatti in the 2009/10 season. In the 2010/11 season, he made his debut at the Lyric Opera of Chicago as Banco in a new production of Macbeth, returning to Chicago the following season to sing Ramfis. In the 2011/12 season, he was also invited to make his debut at the Teatro alla Scala as Masetto in the season opening production of Don Giovanni, featuring Anna Netrebko, Bryn Terfel and Peter Mattei.

Since making his debut at the Metropolitan Opera, Kocan has established himself as an electric performer both vocally and physically, returning there every season for such performances as Sparafucile in Otto Schenk’s production of Rigoletto, Ferrando in Il Trovatore (broadcast live in HD), and Il Commendatore in Michael Grandage’s new production of Don Giovanni (broadcast live in HD). In 2013, Kocan received much critical acclaim for his sinister and compelling portrayal of Sparafucile in Michael Mayer’s new production of Rigoletto (broadcast live in HD). New York Magazine praised him as a “gifted scene stealer with a voice that is a ‘tectonic rumble.’” He made the Sparafucile in this production uniquely his own, reprising it in the 2013/14 season and most recently in the 2015/16 season.

Katharine Goeldner*
Larina

Opera News calls her “a natural actress…with thrilling, laser-like focus” and “luminous tone.” Opera magazine praises her “stunningly rich mezzo.” With a career that takes her throughout the U.S. and Europe, the “powerhouse” mezzo-soprano Katharine Goeldner is recognized as one of today’s finest artists.

Recent performances include her Minnesota Orchestra debut as Herodias in Richard Strauss’ Salome;  Mahler’s Symphony No. 3 with Orchestra Iowa; Dalila in Samson et Dalila at Virginia Opera and Amneris in Aida at Utah Opera. She created the role of Jackie Onassis in David T. Little and Royce Vavrek’s JFK, and starred at Opera Theatre of Saint Louis as Ma Joad in the premiere of the revised version of Ricky Ian Gordon and Michael Korie’s The Grapes of Wrath. Katharine returns this season to her native Iowa, where she can be heard in Mahler’s Das Lied vonder Erde with the University of Iowa Symphony. She performs the Verdi Requiem with the Jacksonville Symphony, Fricka in Die Walküre in Augsburg, Germany, Brigitta in Die tote Stadt in Toulouse, France, and this spring she reprises her triumphant Ma Joad at Michigan Opera Theatre.

Victoria Livengood
Filipievna

Grammy Award Winner and Metropolitan Opera star, Victoria Livengood, has been hailed as “one of the leading singer-actresses of her generation” and the Italian press proclaimed “the power of her voice could straighten the leaning Tower of Pisa.”

Victoria skyrocketed onto the opera scene as a winner of the Metropolitan Opera National Council auditions, going on to make her critically acclaimed Met debut in Verdi’s Luisa Miller in 1991. The North Carolina native has become known for her dynamic portrayals in more than 125 Met performances, including the title role of Carmen opposite Plácido Domingo and has been featured on many Metropolitan Opera broadcasts.

She has sung over 100 different roles with opera companies throughout Europe, South America, Canada and Asia, emphasizing her prolific versatility throughout a career that spans 3 and a half decades.  Internationally, she has sung with opera companies including Barcelona, Madrid, Salzburg, Buenos Aires, Taipei, Las Palmas, Monte Carlo, Nice, Santiago, Cologne, Vancouver, Montreal, and at Italy’s Spoleto Festival, where she closely collaborated with her mentor and friend, composer, Gian Carlo Menotti.

Nevertheless, it is in America that this Dixie Diva has primarily based her career, having sung leading roles with the companies of Chicago, San Francisco, Los Angeles, Santa Fe, Washington DC, Seattle, Houston, Boston, Miami, St. Louis, San Diego, Kansas City, Baltimore, Portland, Utah, Atlanta, Fort Worth, Hawaii and with the New York City Opera!

Victoria has performed at Carnegie Hall on ten separate occasions including as soloist in Verdi’s Requiem and in A Streetcar Named Desire, opposite Renee Fleming.  She has been a featured soloist with the London Symphony, the National Philharmonic, the Seoul Philharmonic, The Israeli Philharmonic, the American Symphony Orchestra and at the Cincinnati May Festival.  In the summer of 2019, she joins the Seiji Ozawa Festival in Matsumoto, Japan.

Dr. Livengood has been named Alumni of the Year by both alma maters, UNC-Chapel Hill and the Boston Conservatory at Berklee, and holds honorary doctorate degrees from the Boston Conservatory at Berklee and from Jacksonville University.  She is also an inductee into the North Carolina Musicians Hall of Fame, alongside such greats as Andy Griffith and James Taylor.

“Miss Vickie” is in demand for her highly acclaimed Master Classes across the globe, has a private voice studio of over 100 students in Concord, North Carolina and in New York City and has served on the voice faculty at the Buck Hill-Skytop Music Festival, the National University in Bogota, Colombia, at the Amalfi Coast Music Festival in Italy and at the Angels Vocal Art Institute at California State University in Los Angeles.

Her extensive discography includes a Grammy winning performance with the LA Opera and Philharmonic in John Corigliano’s The Ghosts of Versailles, and a Grammy nominated performance with the London Symphony in Edward Thomas’ Desire Under the Elms.  She recently appeared in Eugene Onegin with Washington National Opera and Opera Carolina.  Upcoming engagements include A Streetcar Named Desire at the Teatro Colón in Buenos Aires.

Duke Kim^
Monsieur Triquet

Duke Kim was most recently seen as Arbace in Idomeneo at Wolf Trap Opera.

His other operatic appearances include Rinuccio in Gianni Schicchi, Laurie in Little Women, and Count Belfiore in La Finta Giardiniera at Shepherd School of Music.

Duke has attended prestigious summer programs such as the Wolf Trap Opera Studio, Houston Grand Opera’s Young Artists Vocal Academy, Des Moines Metro Opera’s Apprentice Artist Program, and Aspen Music Festival. During his undergraduate studies, he performed Nemorino in L’elisir d’amore and Camille in Die Lustige Witwe.

Equally adept at concert, he has been the tenor soloist for Mendelssohn’s Elijah, the Bach Magnificat, Saint-Saëns’ Oratorio de Noël, and Handel’s Messiah.

Duke has received numerous prizes including the Special Encouragement Award at the Western Region Final of the Metropolitan Opera National Council Auditions, 2nd place in Gwendolyn Roberts Young Artist Auditions, and 1 st place in New Century Singers Whittier Competition. This February, Duke was one of the finalists in the Houston Grand Opera’s Eleanor McCollum Competition.

Christian Knapp
Conductor

Mr. Knapp is currently in his sixth season as Conductor of the renown Mariinsky Theatre in St. Petersburg Russia. Following his triumphant debut conducting Strauss’ Elektra, Mr. Knapp was appointed conductor at the special invitation of the Mariinsky’s Artistic Director Valery Gergiev, with whom he shares a close artistic relationship. Mr. Knapp has worked with prestigious orchestras around the world including the Royal Liverpool Philharmonic, L’Orchestre National de France, Houston Symphony, St. Petersburg Philharmonic, Baltimore Symphony, Saint Paul Chamber Orchstra, New World Symphony the Chicago Civic Orchestra, among many others. His successful debut with the Los Angeles Philharmonic led to an immediate reengagement. Other successful return engagements include the Milwaukee Symphony, the Indianapolis Symphony, the Pacific Symphony, the Auckland Philharmonia, the North Carolina Symphony and the Phoenix Symphony. He also has appeared regularly in subscription with the Seattle Symphony. A favorite among the musicians and audiences, Mr. Knapp regularly conducts the Mariinsky Orchestra in a wide range of symphonic programs. He led a series exploring the major symphonies of Mozart and the complete symphonies Beethoven. He has conducted highly acclaimed performances of Brahms, Strauss, Berlioz, Sibelius, Mahler and Debussy in his first few seasons.

With an equally comprehensive operatic repertoire, Mr. Knapp conducts some of the Mariinsky’s most demanding productions. He led musical preparation and conducted premiers of such French masterpieces as Pelléas und Mélisande, and Les Troyens (which subsequently went on to the 2014 Edinburgh Festival). He conducts all the major operas of Richard Strauss and most of Wagner’s operas, including Tristan und Isolde and the complete Ring Cycle. His repertoire stretches from such 20th century masterpieces like The Makropolus Case and Le Rossignol, to major operas of Verdi and Puccini, to all of the Mozart/Da Ponte operas. During the 2012 White Night’s Festival at the request of Maestro Gergiev, Mr. Knapp stepped in with just a few hours’ notice to conduct Les Contes d’Hoffmann to much acclaim; subsequently performing it with the Mariinsky on tour at the Bolshoi Theatre in Moscow for the Golden Masks Festival. As the main conductor for opera he has been responsible for nearly all of the Mariinsky’s major operatic premieres for the last several seasons.

A passionate proponent of new music, Knapp has led such groups as the Perspectives New Music Ensemble in London, the International Contemporary Ensemble (ICE) and the Seattle Chamber Players. He has conducted works by John Adams, Julian Anderson, Kaija Saariaho, Pascal Dusapin, Gerard Grisey, George Crumb and Thomas Adès, among others. In 2005, Knapp conducted the
world premiere of Paul Dresher’s opera The Tyrant with the Seattle Chamber Players. He has appeared with ICE in New York, conducting the U.S. premiere of Zona by Magnus Lindberg as part of Lincoln Center’s Mostly Mozart Festival in 2006 and a program of the music of Philippe Hurel at Columbia University’s Miller Theatre. In collaboration with ICE, Knapp returned to the Miller Theatre in the 2012-2013 Season to lead performances of the music of Sofia Gubaidulina and in the 2014-15 Season to conduct the music of Bernard Rands.

Mr. Knapp was a prize-winner in the Third International Prokofiev Conducting Competition in 1999 and that same year he was also awarded the prestigious Fellowship in Conducting from the Royal College of Music in London, working with its orchestras, new music ensembles and opera theater. In 2003, he was selected to participate in the National Conducting Institute with the National Symphony; and in 2005 Mr. Knapp and the Seattle Symphony were awarded a grant from the Bruno Walter Memorial Foundation.

Born in the United States, Mr. Knapp received bachelor’s degrees in piano performance from the New England Conservatory and philosophy from Tufts University. He studied conducting at the Accademia Musicale Chigiana in Siena under Yuri Temirkanov and Myung-Whun Chung, and receiving a post-graduate diploma in conducting from the St. Petersburg State Conservatory in Russia, where he studied with Leonid Korchmar and the renowned pedagogue Ilya Musin.

Tomer Zvulun*
Director

General and Artistic Director of The Atlanta Opera since 2013, Israeli born Tomer Zvulun is also one of leading stage director of his generation, earning consistent praise for his creative vision and innovative interpretations. His work has been presented by prestigious opera houses in Europe, South and Central America, Israel and the US, including The Metropolitan Opera, Washington National Opera, Seattle Opera, Houston Grand Opera, The Dallas Opera, San Diego Opera, Boston Lyric Opera, Pittsburgh, Minnesota, Montreal, Buenos Aires, Israeli Opera, and the festivals of Wexford, Glimmerglass and Wolf Trap, as well as leading educational institutes and universities such as The Juilliard School, Indiana University, Boston University.

Tomer spent seven seasons on the directing staff of the Metropolitan Opera where he directed revivals of Carmen and Tosca and was involved with more than a dozen new productions. He is a frequent guest director in companies such as Seattle Opera (Semele, La Boheme, Eugene Onegin, Lucia di Lammermoor,), Dallas Opera (Die Fledermaus, La Boheme),Houston Grand Opera (The Flying Dutchman, Rigoletto), Wexford Festival (Silent Night, Dinner at Eight), Cincinnati Opera (Magic Flute, Don Giovanni, Flying Dutchman), Wolf Trap (Falstaff, Don Giovanni), Israeli Opera (Dead man walking, Giulio Cesare) among others. His European premiere of Silent Night at the Wexford Festival received two Irish Times Awards and traveled from Ireland to Washington National Opera, The Glimmerglass Festival and the opera companies of Atlanta, Austin and Salt Lake City.

Zvulun directed over 15 new productions in his home company in Atlanta, including Dead Man Walking, The Flying Dutchman, Soldier Songs, Silent Night, Maria de Buenos AiresLa Boheme, Madama Butterfly, Lucia di Lammermoor, Magic Flute, Eugene Onegin to name but a few. During Tomer’s tenure, the company’s fundraising has tripled, resulting in twice the number of productions presented annually. His focus on innovation has garnered national attention and resulted in a Harvard Business School case study chronicling The Atlanta Opera’s turnaround, an International Opera Awards nomination, an ArtsATL luminary award and an invitation to deliver a Ted Talk about innovation in opera.

His upcoming projects include a new Rigoletto in Houston, a new Salome in Atlanta and Kansas City, revivals of his acclaimed production of Eugene Onegin in Montreal, Seattle and Palm Beach, Silent Night in Utah Opera and Madama Butterfly and Glory Denied in Atlanta. He is currently working on developing world premieres based on The Anna Frank’s Diaries and Sensorium Ex, a world premiere based on a story about artificial intelligence.

Tomer’s recent shows have traveled across continents, receiving critical acclaim for their striking visuals and cinematic quality. Some of them included The Flying Dutchman (Houston, Cincinnati, Atlanta), Dinner at Eight (Wexford Festival, Minnesota Opera), Eugene Onegin (Seattle, Atlanta, Detroit, Kansas City, Atlanta, Montreal), Lucia di Lammermoor (Seattle, Atlanta, Cleveland,)Silent Night (Wexford, Atlanta, Glimmerglass, Washington, Austin), Soldier songs (Atlanta, San Diego), Dead Man Walking (New Orleans, Atlanta, Israel), La Boheme (Seattle, Pittsburgh, Cleveland, Atlanta, Dallas),  Lucrezia Borgia (Buenos Aires), Gianni Schicchi (Juilliard, IVAI Tel Aviv), L’heaure Espagnole (Juilliard), Magic Flute (Cincinnati, Atlanta, Indiana University), Don Giovanni (Wolf Trap, Cincinnati), Die Fledermaus (Dallas, Kansas City), Falstaff (Wolf Trap, Des Moines), Rigoletto (Boston, Atlanta, Omaha, Charlotte), Madama Butterfly (Atlanta, Castleton Festival, New Orleans) Tosca (National Theatre Panama, Atlanta) and Semele (Seattle).

Tomer Zvulun was born and raised in Israel, attended the open University in Tel Aviv and Harvard Business School and makes his home in Atlanta.

 

 

Conor Hanratty*
Associate Director

Conor Hanratty is an opera and theatre director from Dublin, Ireland, currently the Jerry & Dulcy Rosenberg Young Arist Stage Director at the Altanta Opera. Having received and MFA in Directing from UCLA in California, Hanratty returned to Ireland and founded Ulysses Opera Theatre. The company is focused on innovative, surprising productions of contemporary opera, and has staged four highly successful projects to date, with several more currently in development. Recent opera directing projects include Tomer Zvulun’s much-lauded Silent Night for Austin Opera
(January 2019) Front of House and Backstage (Cork Midsummer Festival 2017, 2018), FLATPACK and HARP (both Dublin Fringe Festival). He directed Trouble in Tahiti at the Glimmerglass Festival, and Maria de Buenos Aires at Cork Opera House. Hanratty directed a major new composition Long Story ShortThe Belfast Opera with a community chorus of over one hundred singers in Belfast in 2016. He has worked on two occasions for Opera San Antonio, remounting Francesca Zambello’s production of Madame Butterfly in 2015 and then directing Carmen in 2016. He has also worked on several productions for the Wexford Festival Opera, as director and associate director, including Losers, Trial by Jury, The Wandering Scholar, Cristina Queen of Sweden and Silent Night. With Iain Burnside he directed 10,000 Miles Away in March 2015 with students from RIAM, the Lir and the Juilliard School, and was invited in 2016 to create a follow-up project entitled Drums and Guns. This second project added performers and staff from the Guildhall School in London, and was performed in Dublin, London and New York. Hanratty has been heavily involved with the opera programme at the Royal Irish Academy of Music in Dublin for several years. He has created several productions for their ongoing Opera Briefs series, including the world premiere of Siobhan Cleary’s Vampirella in 2017. He was Director-in-Residence at the RIAM for the academic year 2016-7, during which time he overhauled the acting and performance curriculum, brought two small operas to the Liszt Academy in Budapest and directed a mainstage production of Purcell’s The Fairy Queen. Hanratty’s recent theatre projects include POSTSCRIPT (Dublin Fringe Festival, national tour, Irish Cultural Centre in Paris and Abbey Theatre), and Romeo and Juliet (Second Age). He directed All’s Well That Ends Well at the Lir Academy, and was staff director for Once The Musical at the Olympia Theatre in Dublin in 2017. His production of To Hell in a Handbag was a hit at the Dublin and Edinburgh Fringe Festivals, and toured the UK in the autumn of 2018. In July 2019 he returns to the Everyman Palace in Cork to direct Neil Simon’s The Odd Couple.

Logan Pachciarz*
Choreographer

Logan Pachciarz began his dance career with the guidance of Shelly Washington in Twyla Tharp’s Dance company Tharp! After extensive traveling, he continued his classical training at North Carolina School of the Arts under the tutelage of Ton Simons, Fernando Bujones, and Warren Conover. At age 18, he joined the Boston Ballet where he enjoyed performing works by such choreographers as Rudi van Dantzig, Christopher Wheeldon, and Ben Stevenson. In 2001, Logan joined the Kansas City Ballet. In his 15 years with the company he performed leading roles in a diverse repertoire, ranging from classical and neoclassical works such as Giselle, Romeo and Juliet and The Four Temperaments to contemporary and modern pieces including Jardi Tancat, Dark Elegies, The Catherine Wheel Suite and The Moor’s Pavane. He was recently recognized by Dance Magazine’s Wendy Perron as one of the best dancers of 2016. Mr. Pachciarz is currently the Co-Artistic Director of Moving Arts Kansas City and Cincinnati. As director, he has presented repertoire from the forefront of dance by Marco Goecke, Douglas Lee, Penny Saunders, Salvatore Aiello, Marina Kessler, Todd Bolender, Matthew Neenan, George Balanchine and Ma Cong. Mr. Pachciarz has choreographed extensively, with such credits as Eugene Onegin and the upcoming Opera The Shining.

Svetlana Aksenova*
Tatiana

Svetlana Aksenova has been acclaimed internationally for her performances as Lisa in a new production of The Queen of Spades at the Dutch National Opera, directed by Stefan Herheim and conducted by Mariss Jansons, the title role in Rusalka at the Paris Opera, Cio-Cio-San in Madama Butterflyat the Deutsche Oper Berlin, Norwegian National Opera and Royal Swedish Opera in Stockholm, and Fevroniya in Dmitry Cherniakov’s production of Rimsky Korsakov’s The Invisible City of Kitezh, first at the Dutch National Opera and then for her debut at the Gran Teatre del Liceu in Barcelona.

Aksenova made her North American debut in the autumn of 2016 as Tatyana in Eugene Onegin with the Dallas Opera and her South American debut in the same role at the Teatro Municipal in Sao Paolo, Brazil. In the summer of 2016, Aksenova made her debut with the Rome Opera as Cio-Cio-San in Madama Butterfly, the same role with which she made her debuts at both the Bavarian State Opera in Munich and Berlin State Opera the following year. In early 2017, she debuted at the Hamburg State Opera as Desdemona in Otello. She returned to the Norwegian National Opera in the summer of 2017 as the title role in a new production of Tosca, directed by Calixto Beito, and later reprised the role in Stuttgart. Aksenova has most recently been recently heard as Cio-Cio-San for her debut at the Zurich Opera, and she will soon make her debut with the Vancouver Opera as Tatyana in Eugene Onegin.

Born in St. Petersburg, Aksenova pursued her vocal studies at the renowned Rimsky Korsakov Conservatory, where, while still a student, she came to critical attention for her performance as the title role in Tchaikovsky’s Iolanta. Aksenova was also privileged to participate in master classes with legendary soprano Renato Scotto. She was invited to join the ensemble of the Basel Opera, where over several seasons she developed her repertoire to include such roles as Desdemona, Lisa, Rusalka, Cio-Cio-San, Mimi in La Boheme and Blanche in Dialogues des Carmelites. Aksenova also starred in the title role of Puccini’s Suor Angelica in Dortmund, staged by Cristine Mielitz. Her international debuts followed in rapid succession. Other roles in her operatic repertoire include Amelia in Simon Boccanegra, the title role in Luisa Miller, Marguerite in Faust, Margherita and Elena in Mefistofele, and the title role in Cilea’s Adriana Lecouvreur.

Svetlana Aksenova also has a vast concert repertoire, including Vivaldi’s Gloria, Pergolesi’s Stabat Mater and Misa Pastoralis, Brixi’s Magnificat, and Beethoven´s Mass in C Major. She has also sung Berlioz’ Messe Solennelle, Bizet´s Te Deum, Rossini’s Petite Messe Solennelle and Stabat Mater, Shostakovich and Dvorak´s Stabat Mater, and Mahler´s Fourth Symphony. In 2015, she made her debut with the Grand Theatre in Geneva in concerts of Verdi’s Requiem.

Yelena Dyachek*
Tatiana (March 28)

Ukrainian-born soprano Yelena Dyachek was a winner of the Metropolitan Opera National Council Auditions in 2016, receiving praise from The New York Times saying “…memorable as the soprano Yelena Dyachek from California, who demonstrated impressive range, depth and power in ‘Come scoglio’, before delivering an emotionally captivating Letter Scene…”.  She is a graduate from Houston Grand Opera’s prestigious studio program and during her time in the HGO Studio, Ms. Dyachek appeared in several productions including as Musetta in La bohème, Flora in La traviata, and Berta in Il barbiere di Siviglia. Further productions included Norma, Some Light Emerges, and Nixon in China. In the summer of 2019, she made her debut as Marie Antoinette in Ghosts of Versailles at the Glimmerglass Festival, a production which travels to the Opera House at the Palace of Versailles in the winter of 2019. Further engagements in the 2019-20 season include her professional role debut as Tatiana in Eugene Onegin with Palm Beach Opera under the direction of Tomer Zvulun and joining the Lyric Opera of Chicago for their productions of Il barbiere di Siviglia and Dead Man Walking.

Recent performances for Dyachek include Elettra in Idomeneo and Beethoven’s Symphony No. 9 as a Filene Young Artist at Wolf Trap Opera and Fiordiligi for San Francisco Opera’s Merola Opera Program. A multi-year member of the Aspen Opera Theatre Center, Ms. Dyachek appeared as Fiordiligi in 2015 and as Tatiana in 2014. She will return to the Aspen Music Festival in the Summer of 2020 as part of their Beethoven Celebration.

Further recognition includes the Ana Maria Martinez Encouragement Award at the 2016 Eleanor McCollum Competition, and singing as a finalist at the Palm Springs Opera Guild of the Desert’s vocal competition. She holds a bachelor’s degree from University of the Pacific Conservatory of Music, and a master’s degree from the University of Southern California Thornton School of Music. Further roles performed while at USC include Frau Von Daubek in the concert premiere of Thomas Morse’s Frau Schindler, the Composer in Ariadne auf Naxos, Vitellia in La clemenza di Tito, the title role in Iphigénie en Tauride, and Madama Cortese in Il viaggio a Reims.

Michael Chioldi
Onegin

American baritone Michael Chioldi has quickly gained the reputation as one of the most sought-after dramatic baritones of his generation. Praised for his “warm, rich tone” (Opera News) and “deeply communicative phrasing” (The Baltimore Sun), he has received unanimous acclaim from critics and audiences around the world for his portrayals of the dramatic baritone roles of Verdi, Puccini, and Strauss. His recent role debuts include the title roles in Verdi’s Rigoletto with the Orquesta Filarmónica de Jalisco, Macbeth with Palm Beach Opera, and Nabucco with Lyric Opera Baltimore; as Conte di Luna in Il Trovatore with Utah Opera; and as Rodrigo in Don Carlo with Austin Lyric Opera.

Chioldi has performed at nearly every major American opera house, including The Metropolitan Opera, San Francisco Opera, Houston Grand Opera, Washington National Opera and Los Angeles Opera. Signature roles include Scarpia in Tosca with Hawaii Opera Theater, Ft. Worth Opera, New York City Opera, Toledo Opera, and Spain’s Opera de Oviedo; Jochanaan in Salome with Utah Opera, Virginia Opera, and the Saito Kinen Festival in Japan; the title role of Macbeth with Michigan Opera Theatre and Palm Beach Opera, Enrico in Lucia di Lammermoor with Washington National Opera, Utah Opera, and New Orleans Opera; and Sharpless in Madama Butterfly with Washington National Opera and in a nationwide broadcast on the PBS television series Live from Lincoln Center, which received an Emmy award in 2008.

In the 2015-16 season Chioldi made his debut at the Royal Opera House, Muscat in performances of Macbeth. Additional recent performances include the title role in Hamlet with Washington National Opera; the title role in Der Fliegende Holländer with Pforzheim Opera; Marcello in La bohéme at London’s Royal Albert Hall; Ford in Falstaff with Utah Opera, Chautauqua Opera, and the Ft. Worth Opera Festival; Giorgio Germont in La Traviata with Palm Beach Opera; Count Almaviva in Le nozze di Figaro with Hawaii Opera Theater, Chautauqua Opera, and the Macau International Music Festival; and Giacomo in Verdi’s Giovanna d’Arco with Chicago Opera Theater.

He made his debut at New York’s Metropolitan Opera as Fléville in Andrea Chénier with Luciano Pavarotti and Aprile Millo under the baton of James Levine, and traveled extensively in Japan with Maestro Seiji Osawa. He has also performed in Brazil, Canada, England, France, Germany, Macau and Spain.

A frequent performer of American and English works, he premiered the role of Man in Anthony Brandt’s The Birth of Something in 2008. Additional performances include as the First Mate in Billy Budd with Washington National Opera; the title role in Nixon in China with Long Beach Opera; John Proctor in The Crucible with Toledo Opera; and John Sorel in The Consulwith Arizona Opera and the Glimmerglass Festival.

Chioldi has been the recipient of numerous awards and honors, including The Metropolitan Opera National Council Competition (Winner 1995); The MacAllister Competition; The Licia Albanese-Puccini Competition; The Miami Opera Competition; The Sullivan Foundation; and The Anna Case-Mckay Award. He received his Bachelors’ degree from West Virginia University, and his Masters’ degree from Yale University. His recordings appear on the Sony Classical, BMG, Accord and Newport Classics labels.

Vladislav Kupriyanov*
Onegin (March 28)

Hailing from Divya, a small town with fewer than 1,500 inhabitants in the heart of Russia, baritone Vladislav Kupriyanov made his Mariinsky Theatre debuts in the last two seasons performing under Maestro Valery Gergiev at a “Stars of the White Nights Festival” Gala, and singing the role of Grigory Gryaznoy in the Mariinsky’s 2018 production of Rimsky-Korsakov’s The Tsar’s Bride. Other Mariinsky appearances include role debuts as Guglielmo in Così fan tutte, Ivan-Korolevitch and Priest Radegast in Rimsky-Korsakov’s Kashchey the Immortal and Mlada, the baritone soloist in Orff’s Carmina Burana, and concerts at the III International Far East Festival “Mariinsky” in Vladivostok.

Mr. Kupriyanov has also performed at the Crescendo Summer Institute and Festival in Tokaj, Hungary, as well as at the Kammeroper Schloess Rheinsberg Festival in Germany, where he sang the role of Escamillo in Carmen.  He is a two-time winner of the Russian Ministry of Culture “Young Talents of Russia Prize” (2012, 2015), as well as a prize-winner of the International Singing Competition “Bella Voce” (2012, Moscow) and the “Academia” International Singing Competition (2014, Perm). In addition, he is the 2012 and 2013 Gold Medal Winner in Singing at the Youth Delphic Games in Moscow and in Novosibirsk, Russia.

Mr. Kupriyanov began his career performing as a soloist of the acclaimed Perm State Police Lyceum Chorus, touring through all of Russia and appearing at the Kremlin. He studied at the Perm Music College and later the Perm State Academy of Culture, and at the age of 21 he joined the Samara Academic Theater of Opera and Ballet, where he performed in such roles as Mizgir in Rimsky-Korsakov’s Snow-maiden, Yeletsky in Tchaikovsky’s Pique Dame, Sharpless in Madama Butterfly, Prince Orlofsky in Die Fledermaus, Ben in Menotti’s The Telephone, Shchelkalov in Mussorgsky’s Boris Godunov, and title role in Tchaikovsky’s Eugene Onegin.

Since 2017, Mr. Kupriyanov has been a Fellow at the Atkins Young Artists Program at the Mariinsky Theatre.  In October 2018 he joined the Program’s inaugural US tour, participating in a concert at Walt Disney Concert Hall in Los Angeles with the Colburn Orchestra conducted by Valery Gergiev, and making his New York debut in a recital at the historic St. Paul’s Chapel of Trinity Church Wall Street.

Dmitry Korchak*
Lensky

Since winning in 2004 prize at Francisco Vinas International Competition in Barcelona and two prizes at Placido Domingo’s Operalia Competition in Los Angeles, Dmitry Korchak has continued to delight audiences worldwide in some of the most celebrated venues, playing some of the greatest leading operatic roles and collaborating with renowned conductors and orchestras.

Dmitry Korchak studied in Russia both as a conductor and as a singer. He has collaborated with such conductors as: D.Barenboim, B.Campanella, R.Chailly, P.Domingo, L.Maazel, Z.Mehta, M. Minkowski, R.Muti, K.Nagano, M.Plasson, A.Zedda, V.Fedoseev, M.Pletnev, V.Popov, V.Spivakov, E.Svetlanov, J.Temirkanov and others.

Among Dmitry’s recent engagements are: Carnegie Hall, The Metropolitan Opera, Teatro dell Opera di Roma,Teatro alla Scala, Opera Bastille, Wiener Staatsoper, Royal Opera House Covent Garden, Teatro Reggio di Torino, Parma Opera Theatre, Los Angeles Opera Theatre, De Nederlandse Oper, Berliner Staatsoper, Bayerische Staatsoper, Teatro Real Madrid, Los Angeles Opera, Semperoper Dresden, Teatro San Carlo di Napoli, Teatro Massimo di Palermo, Bayrische Staatsoper, Theatre Royal de La Monnaie, Palau de les Artes in Valencia, Salzburg Festival, Pesaro Festival, Bad Kissingen Festival, Colmar Festival, Ravenna Festival, Reate Festival etc.

Since season 2014 Dmitry returned to his initial specialization – conductor. Since then he performed with different programs in Europe, Easter Festival of Valery Gergiev, in the Great Hall of Moscow Philharmony, with National Philharmonic Orchestra of Russia (artistic director and chief conductor – Vladimir Spivakov) at the Moscow International House of Music, where also DVD was recorded Rossini’s Stabat Mater.

Starting with season 2017/2018 Dmitry Korchak has become Principal Guest Conductor at Novosibirsk Opera and Ballet Theatre, where he has his own Festival, as well as Guest Conductor at Mikhailovsky Theatre of St. Petersburg. Dmitry conducted Inauguration of the new concert hall at Novosibirsk opera Theatre with Rossini’s Stabat Mater starring Lawrence Brownlee, Rene Pape, Veronica Dzhioeva and Julia Matochkina. During previous seasons Dmitry has conducted different oratorial and choir programs as well as such operas as: “Aida”, “L’elisir d’amore”, “La Juive”, “Carmen”, “Il Barbiere di Siviglia” as well as different concert programs.

Jonathan Johnson
Lensky (March 28)

This season, American tenor Jonathan Johnson makes his debut as The Prince in The Love for Three Oranges at Opera Philadelphia’s Festival O19 and will appear as Lensky in Eugene Onegin at Palm Beach Opera, Matthew Gurney in Emmeline at Tulsa Opera, Jonathan Dale in Silent Night at Utah Opera, and Beppe in I Pagliacci at Opera Colorado. In concert, Johnson appears as a soloist with Cincinnati Symphony Orchestra in Schumann’s Das Paradies und die Peri as the Young Man, with the Detroit Symphony for Messiah, and in recital with the Collaborative Arts Institute of Chicago. Johnson is also an Emerging Artist for Opera Philadelphia, where he will be singing in community recitals and special events throughout the 2019-2020 Season.

A graduate of the Patrick G. & Shirley W. Ryan Opera Center, the Lyric Opera of Chicago’s professional artist-development program, he appeared in the house’s main productions of Les Troyens, Lucia di Lammermoor, The Merry Widow, Der Rosenkavalier, Capriccio, The Magic Victrola and Mieczysław Weinberg’s Holocaust opera The Passenger. Other recent engagements have included his debut of the title role of Bernstein’s Candide with the Seoul Philharmonic Orchestra, Utah Symphony Orchestra, and Des Moines Metro Opera. He made his debut at Canadian Opera Company’s production of Anna Bolena, Frederic in The Pirates of Penzance and Lensky in Eugene Onegin at the Lyric Opera of Kansas City, Fenton in Falstaff  at San Diego Opera, Lindoro in L’italiana in Algeri at the Portland Opera, La Damnation de Faust at the Grant Park Music Festival, Le Fils in Les mamelles de Tirésias with the Civic Orchestra of Chicago, Beethoven Symphony No. 9 and concert version of Don Giovanni with the Jacksonville Symphony Orchestra, a performance of Schumann’s Dichterliebe as part of a Liederabend in Chicago, and various appearances in the Harris Theater’s Beyond the Aria series, the 125th Anniversary Gala for the Auditorium Theater, and on WFMT radio as part of the Ryan Opera Center Recital Series.  He also enjoys a touring relationship with Chris Botti, which has taken him through many cities in the US and abroad.

Hailing from Macon, GA, Mr. Johnson holds a Master’s degree and Professional Artist Certificate from the A.J. Fletcher Institute of the University of North Carolina School of the Arts.

Victoria Karkacheva*
Olga

From Volgograd, Victoria is currently a member of the prestigious Young Artist Programme at the Bolshoi Theatre of Russia where she has appeared as Aglaya in a new production of Weinberg’s The Idiot and Third wood sprite in new production of Rusalka with Ainars Rubikis. Victoria has toured extensively with the Bolshoi, with performances at the Kennedy Center in Washington and across France. This summer, Victoria will join the Atelier Lyrique at the Verbier Festival where she will sing dritte dame in Die Zauberflöte with Stanislav Kochanovsky and Stimme von oben in Die Frau ohne Schatten with Valery Gergiev.

Stefan Kocan
Gremin

Slovakian bass Stefan Kocan has emerged in recent years as one of the most exciting voices of his generation. He has been acclaimed at such theaters as the Metropolitan Opera, Royal Opera House, Covent Garden, Teatro alla Scala in Milan, Berlin State Opera, and Bavarian State Opera. In the current season, Kocan debuts at the Opera National de Bordeaux as Hunding in Die Walküre, sings Il Commendatore in Don Giovanni at the Teatro Comunale di Bologna and returns to the Metropolitan Opera as Il Commendatore, Ramfis in Aida and Sparafucile in Rigoletto. He will finish out the season with his debut at the Arena di Verona as Ramfis.

In the 2017/18 season, Kocan returned to the Metropolitan Opera as Ferrando in Il Trovatore, appeared as Hunding/Fafner in Der Ring des Nibelungen at the Theater an der Wien and sang his first Gurnemanz in Parsifal at Opera Vlaanderen in the Netherlands. Engagements from the 2016/17 season included Banco in Macbeth at the Theater an der Wien, Sparafucile at Choregies d’Orange and the Palm Beach Opera, and Il Commendatore, Gremin in Eugene Onegin and Sparafucile at the Metropolitan Opera. In the 2015/16 season, Kocan sang Ferrando and Sparafucile at the Metropolitan Opera, The Watcher in Oedipe at Covent Garden, as well as both the title role in Boito’s Mefistofele and the Vodnik in Rusalka at the Prague State Opera. Additionally, Kocan gave several concert and recital appearances throughout Europe.

In the 2013/14 season, Kocan gave a critically acclaimed performance of Gremin, followed by Khan Konchak in Dmitriy Tcherniakov’s new production of Prince Igor, which was broadcast live in HD. He also returned to the Teatro alla Scala to sing The Grand Inquisitor and Filippo in Don Carlos. In the 2012/13 season, he sang Ramfis and Sparafucile at the Metropolitan Opera, Banco at La Scala with Valery Gergiev, Il Commendatore at the Bavarian State Opera and Ramfis with the Los Angeles Philharmonic at the Hollywood Bowl under Gustavo Dudamel.

Stefan Kocan started gaining worldwide attention when he became a prize-winner at the famed International Tchaikovsky competition. After completing his studies in Bratislava, Kocan began his professional operatic career at the Landestheater in Linz, Austria. Singing with the company from 2002-2006, he appeared in such leading roles as Sarastro in The Magic Flute, Filippo in Don Carlos, Osmin in The Abduction from the Seraglio, Mephistopheles in Faust, Raimondo in Lucia di Lammermoor, Banco in Macbeth, and Kecal in The Bartered Bride. In 2003, Kocan was awarded the Eberhard Waechter Prize for his interpretation of the Grand Inquisitor in Don Carlos. Following these successes came Kocan’s American debut at the Metropolitan Opera as The King in Aida under the baton of Daniele Gatti in the 2009/10 season. In the 2010/11 season, he made his debut at the Lyric Opera of Chicago as Banco in a new production of Macbeth, returning to Chicago the following season to sing Ramfis. In the 2011/12 season, he was also invited to make his debut at the Teatro alla Scala as Masetto in the season opening production of Don Giovanni, featuring Anna Netrebko, Bryn Terfel and Peter Mattei.

Since making his debut at the Metropolitan Opera, Kocan has established himself as an electric performer both vocally and physically, returning there every season for such performances as Sparafucile in Otto Schenk’s production of Rigoletto, Ferrando in Il Trovatore (broadcast live in HD), and Il Commendatore in Michael Grandage’s new production of Don Giovanni (broadcast live in HD). In 2013, Kocan received much critical acclaim for his sinister and compelling portrayal of Sparafucile in Michael Mayer’s new production of Rigoletto (broadcast live in HD). New York Magazine praised him as a “gifted scene stealer with a voice that is a ‘tectonic rumble.’” He made the Sparafucile in this production uniquely his own, reprising it in the 2013/14 season and most recently in the 2015/16 season.

Katharine Goeldner*
Larina

Opera News calls her “a natural actress…with thrilling, laser-like focus” and “luminous tone.” Opera magazine praises her “stunningly rich mezzo.” With a career that takes her throughout the U.S. and Europe, the “powerhouse” mezzo-soprano Katharine Goeldner is recognized as one of today’s finest artists.

Recent performances include her Minnesota Orchestra debut as Herodias in Richard Strauss’ Salome;  Mahler’s Symphony No. 3 with Orchestra Iowa; Dalila in Samson et Dalila at Virginia Opera and Amneris in Aida at Utah Opera. She created the role of Jackie Onassis in David T. Little and Royce Vavrek’s JFK, and starred at Opera Theatre of Saint Louis as Ma Joad in the premiere of the revised version of Ricky Ian Gordon and Michael Korie’s The Grapes of Wrath. Katharine returns this season to her native Iowa, where she can be heard in Mahler’s Das Lied vonder Erde with the University of Iowa Symphony. She performs the Verdi Requiem with the Jacksonville Symphony, Fricka in Die Walküre in Augsburg, Germany, Brigitta in Die tote Stadt in Toulouse, France, and this spring she reprises her triumphant Ma Joad at Michigan Opera Theatre.

Victoria Livengood
Filipievna

Grammy Award Winner and Metropolitan Opera star, Victoria Livengood, has been hailed as “one of the leading singer-actresses of her generation” and the Italian press proclaimed “the power of her voice could straighten the leaning Tower of Pisa.”

Victoria skyrocketed onto the opera scene as a winner of the Metropolitan Opera National Council auditions, going on to make her critically acclaimed Met debut in Verdi’s Luisa Miller in 1991. The North Carolina native has become known for her dynamic portrayals in more than 125 Met performances, including the title role of Carmen opposite Plácido Domingo and has been featured on many Metropolitan Opera broadcasts.

She has sung over 100 different roles with opera companies throughout Europe, South America, Canada and Asia, emphasizing her prolific versatility throughout a career that spans 3 and a half decades.  Internationally, she has sung with opera companies including Barcelona, Madrid, Salzburg, Buenos Aires, Taipei, Las Palmas, Monte Carlo, Nice, Santiago, Cologne, Vancouver, Montreal, and at Italy’s Spoleto Festival, where she closely collaborated with her mentor and friend, composer, Gian Carlo Menotti.

Nevertheless, it is in America that this Dixie Diva has primarily based her career, having sung leading roles with the companies of Chicago, San Francisco, Los Angeles, Santa Fe, Washington DC, Seattle, Houston, Boston, Miami, St. Louis, San Diego, Kansas City, Baltimore, Portland, Utah, Atlanta, Fort Worth, Hawaii and with the New York City Opera!

Victoria has performed at Carnegie Hall on ten separate occasions including as soloist in Verdi’s Requiem and in A Streetcar Named Desire, opposite Renee Fleming.  She has been a featured soloist with the London Symphony, the National Philharmonic, the Seoul Philharmonic, The Israeli Philharmonic, the American Symphony Orchestra and at the Cincinnati May Festival.  In the summer of 2019, she joins the Seiji Ozawa Festival in Matsumoto, Japan.

Dr. Livengood has been named Alumni of the Year by both alma maters, UNC-Chapel Hill and the Boston Conservatory at Berklee, and holds honorary doctorate degrees from the Boston Conservatory at Berklee and from Jacksonville University.  She is also an inductee into the North Carolina Musicians Hall of Fame, alongside such greats as Andy Griffith and James Taylor.

“Miss Vickie” is in demand for her highly acclaimed Master Classes across the globe, has a private voice studio of over 100 students in Concord, North Carolina and in New York City and has served on the voice faculty at the Buck Hill-Skytop Music Festival, the National University in Bogota, Colombia, at the Amalfi Coast Music Festival in Italy and at the Angels Vocal Art Institute at California State University in Los Angeles.

Her extensive discography includes a Grammy winning performance with the LA Opera and Philharmonic in John Corigliano’s The Ghosts of Versailles, and a Grammy nominated performance with the London Symphony in Edward Thomas’ Desire Under the Elms.  She recently appeared in Eugene Onegin with Washington National Opera and Opera Carolina.  Upcoming engagements include A Streetcar Named Desire at the Teatro Colón in Buenos Aires.

Duke Kim^
Monsieur Triquet

Duke Kim was most recently seen as Arbace in Idomeneo at Wolf Trap Opera.

His other operatic appearances include Rinuccio in Gianni Schicchi, Laurie in Little Women, and Count Belfiore in La Finta Giardiniera at Shepherd School of Music.

Duke has attended prestigious summer programs such as the Wolf Trap Opera Studio, Houston Grand Opera’s Young Artists Vocal Academy, Des Moines Metro Opera’s Apprentice Artist Program, and Aspen Music Festival. During his undergraduate studies, he performed Nemorino in L’elisir d’amore and Camille in Die Lustige Witwe.

Equally adept at concert, he has been the tenor soloist for Mendelssohn’s Elijah, the Bach Magnificat, Saint-Saëns’ Oratorio de Noël, and Handel’s Messiah.

Duke has received numerous prizes including the Special Encouragement Award at the Western Region Final of the Metropolitan Opera National Council Auditions, 2nd place in Gwendolyn Roberts Young Artist Auditions, and 1 st place in New Century Singers Whittier Competition. This February, Duke was one of the finalists in the Houston Grand Opera’s Eleanor McCollum Competition.

Christian Knapp
Conductor

Mr. Knapp is currently in his sixth season as Conductor of the renown Mariinsky Theatre in St. Petersburg Russia. Following his triumphant debut conducting Strauss’ Elektra, Mr. Knapp was appointed conductor at the special invitation of the Mariinsky’s Artistic Director Valery Gergiev, with whom he shares a close artistic relationship. Mr. Knapp has worked with prestigious orchestras around the world including the Royal Liverpool Philharmonic, L’Orchestre National de France, Houston Symphony, St. Petersburg Philharmonic, Baltimore Symphony, Saint Paul Chamber Orchstra, New World Symphony the Chicago Civic Orchestra, among many others. His successful debut with the Los Angeles Philharmonic led to an immediate reengagement. Other successful return engagements include the Milwaukee Symphony, the Indianapolis Symphony, the Pacific Symphony, the Auckland Philharmonia, the North Carolina Symphony and the Phoenix Symphony. He also has appeared regularly in subscription with the Seattle Symphony. A favorite among the musicians and audiences, Mr. Knapp regularly conducts the Mariinsky Orchestra in a wide range of symphonic programs. He led a series exploring the major symphonies of Mozart and the complete symphonies Beethoven. He has conducted highly acclaimed performances of Brahms, Strauss, Berlioz, Sibelius, Mahler and Debussy in his first few seasons.

With an equally comprehensive operatic repertoire, Mr. Knapp conducts some of the Mariinsky’s most demanding productions. He led musical preparation and conducted premiers of such French masterpieces as Pelléas und Mélisande, and Les Troyens (which subsequently went on to the 2014 Edinburgh Festival). He conducts all the major operas of Richard Strauss and most of Wagner’s operas, including Tristan und Isolde and the complete Ring Cycle. His repertoire stretches from such 20th century masterpieces like The Makropolus Case and Le Rossignol, to major operas of Verdi and Puccini, to all of the Mozart/Da Ponte operas. During the 2012 White Night’s Festival at the request of Maestro Gergiev, Mr. Knapp stepped in with just a few hours’ notice to conduct Les Contes d’Hoffmann to much acclaim; subsequently performing it with the Mariinsky on tour at the Bolshoi Theatre in Moscow for the Golden Masks Festival. As the main conductor for opera he has been responsible for nearly all of the Mariinsky’s major operatic premieres for the last several seasons.

A passionate proponent of new music, Knapp has led such groups as the Perspectives New Music Ensemble in London, the International Contemporary Ensemble (ICE) and the Seattle Chamber Players. He has conducted works by John Adams, Julian Anderson, Kaija Saariaho, Pascal Dusapin, Gerard Grisey, George Crumb and Thomas Adès, among others. In 2005, Knapp conducted the
world premiere of Paul Dresher’s opera The Tyrant with the Seattle Chamber Players. He has appeared with ICE in New York, conducting the U.S. premiere of Zona by Magnus Lindberg as part of Lincoln Center’s Mostly Mozart Festival in 2006 and a program of the music of Philippe Hurel at Columbia University’s Miller Theatre. In collaboration with ICE, Knapp returned to the Miller Theatre in the 2012-2013 Season to lead performances of the music of Sofia Gubaidulina and in the 2014-15 Season to conduct the music of Bernard Rands.

Mr. Knapp was a prize-winner in the Third International Prokofiev Conducting Competition in 1999 and that same year he was also awarded the prestigious Fellowship in Conducting from the Royal College of Music in London, working with its orchestras, new music ensembles and opera theater. In 2003, he was selected to participate in the National Conducting Institute with the National Symphony; and in 2005 Mr. Knapp and the Seattle Symphony were awarded a grant from the Bruno Walter Memorial Foundation.

Born in the United States, Mr. Knapp received bachelor’s degrees in piano performance from the New England Conservatory and philosophy from Tufts University. He studied conducting at the Accademia Musicale Chigiana in Siena under Yuri Temirkanov and Myung-Whun Chung, and receiving a post-graduate diploma in conducting from the St. Petersburg State Conservatory in Russia, where he studied with Leonid Korchmar and the renowned pedagogue Ilya Musin.

Tomer Zvulun*
Director

General and Artistic Director of The Atlanta Opera since 2013, Israeli born Tomer Zvulun is also one of leading stage director of his generation, earning consistent praise for his creative vision and innovative interpretations. His work has been presented by prestigious opera houses in Europe, South and Central America, Israel and the US, including The Metropolitan Opera, Washington National Opera, Seattle Opera, Houston Grand Opera, The Dallas Opera, San Diego Opera, Boston Lyric Opera, Pittsburgh, Minnesota, Montreal, Buenos Aires, Israeli Opera, and the festivals of Wexford, Glimmerglass and Wolf Trap, as well as leading educational institutes and universities such as The Juilliard School, Indiana University, Boston University.

Tomer spent seven seasons on the directing staff of the Metropolitan Opera where he directed revivals of Carmen and Tosca and was involved with more than a dozen new productions. He is a frequent guest director in companies such as Seattle Opera (Semele, La Boheme, Eugene Onegin, Lucia di Lammermoor,), Dallas Opera (Die Fledermaus, La Boheme),Houston Grand Opera (The Flying Dutchman, Rigoletto), Wexford Festival (Silent Night, Dinner at Eight), Cincinnati Opera (Magic Flute, Don Giovanni, Flying Dutchman), Wolf Trap (Falstaff, Don Giovanni), Israeli Opera (Dead man walking, Giulio Cesare) among others. His European premiere of Silent Night at the Wexford Festival received two Irish Times Awards and traveled from Ireland to Washington National Opera, The Glimmerglass Festival and the opera companies of Atlanta, Austin and Salt Lake City.

Zvulun directed over 15 new productions in his home company in Atlanta, including Dead Man Walking, The Flying Dutchman, Soldier Songs, Silent Night, Maria de Buenos AiresLa Boheme, Madama Butterfly, Lucia di Lammermoor, Magic Flute, Eugene Onegin to name but a few. During Tomer’s tenure, the company’s fundraising has tripled, resulting in twice the number of productions presented annually. His focus on innovation has garnered national attention and resulted in a Harvard Business School case study chronicling The Atlanta Opera’s turnaround, an International Opera Awards nomination, an ArtsATL luminary award and an invitation to deliver a Ted Talk about innovation in opera.

His upcoming projects include a new Rigoletto in Houston, a new Salome in Atlanta and Kansas City, revivals of his acclaimed production of Eugene Onegin in Montreal, Seattle and Palm Beach, Silent Night in Utah Opera and Madama Butterfly and Glory Denied in Atlanta. He is currently working on developing world premieres based on The Anna Frank’s Diaries and Sensorium Ex, a world premiere based on a story about artificial intelligence.

Tomer’s recent shows have traveled across continents, receiving critical acclaim for their striking visuals and cinematic quality. Some of them included The Flying Dutchman (Houston, Cincinnati, Atlanta), Dinner at Eight (Wexford Festival, Minnesota Opera), Eugene Onegin (Seattle, Atlanta, Detroit, Kansas City, Atlanta, Montreal), Lucia di Lammermoor (Seattle, Atlanta, Cleveland,)Silent Night (Wexford, Atlanta, Glimmerglass, Washington, Austin), Soldier songs (Atlanta, San Diego), Dead Man Walking (New Orleans, Atlanta, Israel), La Boheme (Seattle, Pittsburgh, Cleveland, Atlanta, Dallas),  Lucrezia Borgia (Buenos Aires), Gianni Schicchi (Juilliard, IVAI Tel Aviv), L’heaure Espagnole (Juilliard), Magic Flute (Cincinnati, Atlanta, Indiana University), Don Giovanni (Wolf Trap, Cincinnati), Die Fledermaus (Dallas, Kansas City), Falstaff (Wolf Trap, Des Moines), Rigoletto (Boston, Atlanta, Omaha, Charlotte), Madama Butterfly (Atlanta, Castleton Festival, New Orleans) Tosca (National Theatre Panama, Atlanta) and Semele (Seattle).

Tomer Zvulun was born and raised in Israel, attended the open University in Tel Aviv and Harvard Business School and makes his home in Atlanta.

 

 

Conor Hanratty*
Associate Director

Conor Hanratty is an opera and theatre director from Dublin, Ireland, currently the Jerry & Dulcy Rosenberg Young Arist Stage Director at the Altanta Opera. Having received and MFA in Directing from UCLA in California, Hanratty returned to Ireland and founded Ulysses Opera Theatre. The company is focused on innovative, surprising productions of contemporary opera, and has staged four highly successful projects to date, with several more currently in development. Recent opera directing projects include Tomer Zvulun’s much-lauded Silent Night for Austin Opera
(January 2019) Front of House and Backstage (Cork Midsummer Festival 2017, 2018), FLATPACK and HARP (both Dublin Fringe Festival). He directed Trouble in Tahiti at the Glimmerglass Festival, and Maria de Buenos Aires at Cork Opera House. Hanratty directed a major new composition Long Story ShortThe Belfast Opera with a community chorus of over one hundred singers in Belfast in 2016. He has worked on two occasions for Opera San Antonio, remounting Francesca Zambello’s production of Madame Butterfly in 2015 and then directing Carmen in 2016. He has also worked on several productions for the Wexford Festival Opera, as director and associate director, including Losers, Trial by Jury, The Wandering Scholar, Cristina Queen of Sweden and Silent Night. With Iain Burnside he directed 10,000 Miles Away in March 2015 with students from RIAM, the Lir and the Juilliard School, and was invited in 2016 to create a follow-up project entitled Drums and Guns. This second project added performers and staff from the Guildhall School in London, and was performed in Dublin, London and New York. Hanratty has been heavily involved with the opera programme at the Royal Irish Academy of Music in Dublin for several years. He has created several productions for their ongoing Opera Briefs series, including the world premiere of Siobhan Cleary’s Vampirella in 2017. He was Director-in-Residence at the RIAM for the academic year 2016-7, during which time he overhauled the acting and performance curriculum, brought two small operas to the Liszt Academy in Budapest and directed a mainstage production of Purcell’s The Fairy Queen. Hanratty’s recent theatre projects include POSTSCRIPT (Dublin Fringe Festival, national tour, Irish Cultural Centre in Paris and Abbey Theatre), and Romeo and Juliet (Second Age). He directed All’s Well That Ends Well at the Lir Academy, and was staff director for Once The Musical at the Olympia Theatre in Dublin in 2017. His production of To Hell in a Handbag was a hit at the Dublin and Edinburgh Fringe Festivals, and toured the UK in the autumn of 2018. In July 2019 he returns to the Everyman Palace in Cork to direct Neil Simon’s The Odd Couple.

Logan Pachciarz*
Choreographer

Logan Pachciarz began his dance career with the guidance of Shelly Washington in Twyla Tharp’s Dance company Tharp! After extensive traveling, he continued his classical training at North Carolina School of the Arts under the tutelage of Ton Simons, Fernando Bujones, and Warren Conover. At age 18, he joined the Boston Ballet where he enjoyed performing works by such choreographers as Rudi van Dantzig, Christopher Wheeldon, and Ben Stevenson. In 2001, Logan joined the Kansas City Ballet. In his 15 years with the company he performed leading roles in a diverse repertoire, ranging from classical and neoclassical works such as Giselle, Romeo and Juliet and The Four Temperaments to contemporary and modern pieces including Jardi Tancat, Dark Elegies, The Catherine Wheel Suite and The Moor’s Pavane. He was recently recognized by Dance Magazine’s Wendy Perron as one of the best dancers of 2016. Mr. Pachciarz is currently the Co-Artistic Director of Moving Arts Kansas City and Cincinnati. As director, he has presented repertoire from the forefront of dance by Marco Goecke, Douglas Lee, Penny Saunders, Salvatore Aiello, Marina Kessler, Todd Bolender, Matthew Neenan, George Balanchine and Ma Cong. Mr. Pachciarz has choreographed extensively, with such credits as Eugene Onegin and the upcoming Opera The Shining.

Svetlana Aksenova*
Tatiana

Svetlana Aksenova has been acclaimed internationally for her performances as Lisa in a new production of The Queen of Spades at the Dutch National Opera, directed by Stefan Herheim and conducted by Mariss Jansons, the title role in Rusalka at the Paris Opera, Cio-Cio-San in Madama Butterflyat the Deutsche Oper Berlin, Norwegian National Opera and Royal Swedish Opera in Stockholm, and Fevroniya in Dmitry Cherniakov’s production of Rimsky Korsakov’s The Invisible City of Kitezh, first at the Dutch National Opera and then for her debut at the Gran Teatre del Liceu in Barcelona.

Aksenova made her North American debut in the autumn of 2016 as Tatyana in Eugene Onegin with the Dallas Opera and her South American debut in the same role at the Teatro Municipal in Sao Paolo, Brazil. In the summer of 2016, Aksenova made her debut with the Rome Opera as Cio-Cio-San in Madama Butterfly, the same role with which she made her debuts at both the Bavarian State Opera in Munich and Berlin State Opera the following year. In early 2017, she debuted at the Hamburg State Opera as Desdemona in Otello. She returned to the Norwegian National Opera in the summer of 2017 as the title role in a new production of Tosca, directed by Calixto Beito, and later reprised the role in Stuttgart. Aksenova has most recently been recently heard as Cio-Cio-San for her debut at the Zurich Opera, and she will soon make her debut with the Vancouver Opera as Tatyana in Eugene Onegin.

Born in St. Petersburg, Aksenova pursued her vocal studies at the renowned Rimsky Korsakov Conservatory, where, while still a student, she came to critical attention for her performance as the title role in Tchaikovsky’s Iolanta. Aksenova was also privileged to participate in master classes with legendary soprano Renato Scotto. She was invited to join the ensemble of the Basel Opera, where over several seasons she developed her repertoire to include such roles as Desdemona, Lisa, Rusalka, Cio-Cio-San, Mimi in La Boheme and Blanche in Dialogues des Carmelites. Aksenova also starred in the title role of Puccini’s Suor Angelica in Dortmund, staged by Cristine Mielitz. Her international debuts followed in rapid succession. Other roles in her operatic repertoire include Amelia in Simon Boccanegra, the title role in Luisa Miller, Marguerite in Faust, Margherita and Elena in Mefistofele, and the title role in Cilea’s Adriana Lecouvreur.

Svetlana Aksenova also has a vast concert repertoire, including Vivaldi’s Gloria, Pergolesi’s Stabat Mater and Misa Pastoralis, Brixi’s Magnificat, and Beethoven´s Mass in C Major. She has also sung Berlioz’ Messe Solennelle, Bizet´s Te Deum, Rossini’s Petite Messe Solennelle and Stabat Mater, Shostakovich and Dvorak´s Stabat Mater, and Mahler´s Fourth Symphony. In 2015, she made her debut with the Grand Theatre in Geneva in concerts of Verdi’s Requiem.

Yelena Dyachek*
Tatiana (March 28)

Ukrainian-born soprano Yelena Dyachek was a winner of the Metropolitan Opera National Council Auditions in 2016, receiving praise from The New York Times saying “…memorable as the soprano Yelena Dyachek from California, who demonstrated impressive range, depth and power in ‘Come scoglio’, before delivering an emotionally captivating Letter Scene…”.  She is a graduate from Houston Grand Opera’s prestigious studio program and during her time in the HGO Studio, Ms. Dyachek appeared in several productions including as Musetta in La bohème, Flora in La traviata, and Berta in Il barbiere di Siviglia. Further productions included Norma, Some Light Emerges, and Nixon in China. In the summer of 2019, she made her debut as Marie Antoinette in Ghosts of Versailles at the Glimmerglass Festival, a production which travels to the Opera House at the Palace of Versailles in the winter of 2019. Further engagements in the 2019-20 season include her professional role debut as Tatiana in Eugene Onegin with Palm Beach Opera under the direction of Tomer Zvulun and joining the Lyric Opera of Chicago for their productions of Il barbiere di Siviglia and Dead Man Walking.

Recent performances for Dyachek include Elettra in Idomeneo and Beethoven’s Symphony No. 9 as a Filene Young Artist at Wolf Trap Opera and Fiordiligi for San Francisco Opera’s Merola Opera Program. A multi-year member of the Aspen Opera Theatre Center, Ms. Dyachek appeared as Fiordiligi in 2015 and as Tatiana in 2014. She will return to the Aspen Music Festival in the Summer of 2020 as part of their Beethoven Celebration.

Further recognition includes the Ana Maria Martinez Encouragement Award at the 2016 Eleanor McCollum Competition, and singing as a finalist at the Palm Springs Opera Guild of the Desert’s vocal competition. She holds a bachelor’s degree from University of the Pacific Conservatory of Music, and a master’s degree from the University of Southern California Thornton School of Music. Further roles performed while at USC include Frau Von Daubek in the concert premiere of Thomas Morse’s Frau Schindler, the Composer in Ariadne auf Naxos, Vitellia in La clemenza di Tito, the title role in Iphigénie en Tauride, and Madama Cortese in Il viaggio a Reims.

Michael Chioldi
Onegin

American baritone Michael Chioldi has quickly gained the reputation as one of the most sought-after dramatic baritones of his generation. Praised for his “warm, rich tone” (Opera News) and “deeply communicative phrasing” (The Baltimore Sun), he has received unanimous acclaim from critics and audiences around the world for his portrayals of the dramatic baritone roles of Verdi, Puccini, and Strauss. His recent role debuts include the title roles in Verdi’s Rigoletto with the Orquesta Filarmónica de Jalisco, Macbeth with Palm Beach Opera, and Nabucco with Lyric Opera Baltimore; as Conte di Luna in Il Trovatore with Utah Opera; and as Rodrigo in Don Carlo with Austin Lyric Opera.

Chioldi has performed at nearly every major American opera house, including The Metropolitan Opera, San Francisco Opera, Houston Grand Opera, Washington National Opera and Los Angeles Opera. Signature roles include Scarpia in Tosca with Hawaii Opera Theater, Ft. Worth Opera, New York City Opera, Toledo Opera, and Spain’s Opera de Oviedo; Jochanaan in Salome with Utah Opera, Virginia Opera, and the Saito Kinen Festival in Japan; the title role of Macbeth with Michigan Opera Theatre and Palm Beach Opera, Enrico in Lucia di Lammermoor with Washington National Opera, Utah Opera, and New Orleans Opera; and Sharpless in Madama Butterfly with Washington National Opera and in a nationwide broadcast on the PBS television series Live from Lincoln Center, which received an Emmy award in 2008.

In the 2015-16 season Chioldi made his debut at the Royal Opera House, Muscat in performances of Macbeth. Additional recent performances include the title role in Hamlet with Washington National Opera; the title role in Der Fliegende Holländer with Pforzheim Opera; Marcello in La bohéme at London’s Royal Albert Hall; Ford in Falstaff with Utah Opera, Chautauqua Opera, and the Ft. Worth Opera Festival; Giorgio Germont in La Traviata with Palm Beach Opera; Count Almaviva in Le nozze di Figaro with Hawaii Opera Theater, Chautauqua Opera, and the Macau International Music Festival; and Giacomo in Verdi’s Giovanna d’Arco with Chicago Opera Theater.

He made his debut at New York’s Metropolitan Opera as Fléville in Andrea Chénier with Luciano Pavarotti and Aprile Millo under the baton of James Levine, and traveled extensively in Japan with Maestro Seiji Osawa. He has also performed in Brazil, Canada, England, France, Germany, Macau and Spain.

A frequent performer of American and English works, he premiered the role of Man in Anthony Brandt’s The Birth of Something in 2008. Additional performances include as the First Mate in Billy Budd with Washington National Opera; the title role in Nixon in China with Long Beach Opera; John Proctor in The Crucible with Toledo Opera; and John Sorel in The Consulwith Arizona Opera and the Glimmerglass Festival.

Chioldi has been the recipient of numerous awards and honors, including The Metropolitan Opera National Council Competition (Winner 1995); The MacAllister Competition; The Licia Albanese-Puccini Competition; The Miami Opera Competition; The Sullivan Foundation; and The Anna Case-Mckay Award. He received his Bachelors’ degree from West Virginia University, and his Masters’ degree from Yale University. His recordings appear on the Sony Classical, BMG, Accord and Newport Classics labels.

Vladislav Kupriyanov*
Onegin (March 28)

Hailing from Divya, a small town with fewer than 1,500 inhabitants in the heart of Russia, baritone Vladislav Kupriyanov made his Mariinsky Theatre debuts in the last two seasons performing under Maestro Valery Gergiev at a “Stars of the White Nights Festival” Gala, and singing the role of Grigory Gryaznoy in the Mariinsky’s 2018 production of Rimsky-Korsakov’s The Tsar’s Bride. Other Mariinsky appearances include role debuts as Guglielmo in Così fan tutte, Ivan-Korolevitch and Priest Radegast in Rimsky-Korsakov’s Kashchey the Immortal and Mlada, the baritone soloist in Orff’s Carmina Burana, and concerts at the III International Far East Festival “Mariinsky” in Vladivostok.

Mr. Kupriyanov has also performed at the Crescendo Summer Institute and Festival in Tokaj, Hungary, as well as at the Kammeroper Schloess Rheinsberg Festival in Germany, where he sang the role of Escamillo in Carmen.  He is a two-time winner of the Russian Ministry of Culture “Young Talents of Russia Prize” (2012, 2015), as well as a prize-winner of the International Singing Competition “Bella Voce” (2012, Moscow) and the “Academia” International Singing Competition (2014, Perm). In addition, he is the 2012 and 2013 Gold Medal Winner in Singing at the Youth Delphic Games in Moscow and in Novosibirsk, Russia.

Mr. Kupriyanov began his career performing as a soloist of the acclaimed Perm State Police Lyceum Chorus, touring through all of Russia and appearing at the Kremlin. He studied at the Perm Music College and later the Perm State Academy of Culture, and at the age of 21 he joined the Samara Academic Theater of Opera and Ballet, where he performed in such roles as Mizgir in Rimsky-Korsakov’s Snow-maiden, Yeletsky in Tchaikovsky’s Pique Dame, Sharpless in Madama Butterfly, Prince Orlofsky in Die Fledermaus, Ben in Menotti’s The Telephone, Shchelkalov in Mussorgsky’s Boris Godunov, and title role in Tchaikovsky’s Eugene Onegin.

Since 2017, Mr. Kupriyanov has been a Fellow at the Atkins Young Artists Program at the Mariinsky Theatre.  In October 2018 he joined the Program’s inaugural US tour, participating in a concert at Walt Disney Concert Hall in Los Angeles with the Colburn Orchestra conducted by Valery Gergiev, and making his New York debut in a recital at the historic St. Paul’s Chapel of Trinity Church Wall Street.

Dmitry Korchak*
Lensky

Since winning in 2004 prize at Francisco Vinas International Competition in Barcelona and two prizes at Placido Domingo’s Operalia Competition in Los Angeles, Dmitry Korchak has continued to delight audiences worldwide in some of the most celebrated venues, playing some of the greatest leading operatic roles and collaborating with renowned conductors and orchestras.

Dmitry Korchak studied in Russia both as a conductor and as a singer. He has collaborated with such conductors as: D.Barenboim, B.Campanella, R.Chailly, P.Domingo, L.Maazel, Z.Mehta, M. Minkowski, R.Muti, K.Nagano, M.Plasson, A.Zedda, V.Fedoseev, M.Pletnev, V.Popov, V.Spivakov, E.Svetlanov, J.Temirkanov and others.

Among Dmitry’s recent engagements are: Carnegie Hall, The Metropolitan Opera, Teatro dell Opera di Roma,Teatro alla Scala, Opera Bastille, Wiener Staatsoper, Royal Opera House Covent Garden, Teatro Reggio di Torino, Parma Opera Theatre, Los Angeles Opera Theatre, De Nederlandse Oper, Berliner Staatsoper, Bayerische Staatsoper, Teatro Real Madrid, Los Angeles Opera, Semperoper Dresden, Teatro San Carlo di Napoli, Teatro Massimo di Palermo, Bayrische Staatsoper, Theatre Royal de La Monnaie, Palau de les Artes in Valencia, Salzburg Festival, Pesaro Festival, Bad Kissingen Festival, Colmar Festival, Ravenna Festival, Reate Festival etc.

Since season 2014 Dmitry returned to his initial specialization – conductor. Since then he performed with different programs in Europe, Easter Festival of Valery Gergiev, in the Great Hall of Moscow Philharmony, with National Philharmonic Orchestra of Russia (artistic director and chief conductor – Vladimir Spivakov) at the Moscow International House of Music, where also DVD was recorded Rossini’s Stabat Mater.

Starting with season 2017/2018 Dmitry Korchak has become Principal Guest Conductor at Novosibirsk Opera and Ballet Theatre, where he has his own Festival, as well as Guest Conductor at Mikhailovsky Theatre of St. Petersburg. Dmitry conducted Inauguration of the new concert hall at Novosibirsk opera Theatre with Rossini’s Stabat Mater starring Lawrence Brownlee, Rene Pape, Veronica Dzhioeva and Julia Matochkina. During previous seasons Dmitry has conducted different oratorial and choir programs as well as such operas as: “Aida”, “L’elisir d’amore”, “La Juive”, “Carmen”, “Il Barbiere di Siviglia” as well as different concert programs.

Jonathan Johnson
Lensky (March 28)

This season, American tenor Jonathan Johnson makes his debut as The Prince in The Love for Three Oranges at Opera Philadelphia’s Festival O19 and will appear as Lensky in Eugene Onegin at Palm Beach Opera, Matthew Gurney in Emmeline at Tulsa Opera, Jonathan Dale in Silent Night at Utah Opera, and Beppe in I Pagliacci at Opera Colorado. In concert, Johnson appears as a soloist with Cincinnati Symphony Orchestra in Schumann’s Das Paradies und die Peri as the Young Man, with the Detroit Symphony for Messiah, and in recital with the Collaborative Arts Institute of Chicago. Johnson is also an Emerging Artist for Opera Philadelphia, where he will be singing in community recitals and special events throughout the 2019-2020 Season.

A graduate of the Patrick G. & Shirley W. Ryan Opera Center, the Lyric Opera of Chicago’s professional artist-development program, he appeared in the house’s main productions of Les Troyens, Lucia di Lammermoor, The Merry Widow, Der Rosenkavalier, Capriccio, The Magic Victrola and Mieczysław Weinberg’s Holocaust opera The Passenger. Other recent engagements have included his debut of the title role of Bernstein’s Candide with the Seoul Philharmonic Orchestra, Utah Symphony Orchestra, and Des Moines Metro Opera. He made his debut at Canadian Opera Company’s production of Anna Bolena, Frederic in The Pirates of Penzance and Lensky in Eugene Onegin at the Lyric Opera of Kansas City, Fenton in Falstaff  at San Diego Opera, Lindoro in L’italiana in Algeri at the Portland Opera, La Damnation de Faust at the Grant Park Music Festival, Le Fils in Les mamelles de Tirésias with the Civic Orchestra of Chicago, Beethoven Symphony No. 9 and concert version of Don Giovanni with the Jacksonville Symphony Orchestra, a performance of Schumann’s Dichterliebe as part of a Liederabend in Chicago, and various appearances in the Harris Theater’s Beyond the Aria series, the 125th Anniversary Gala for the Auditorium Theater, and on WFMT radio as part of the Ryan Opera Center Recital Series.  He also enjoys a touring relationship with Chris Botti, which has taken him through many cities in the US and abroad.

Hailing from Macon, GA, Mr. Johnson holds a Master’s degree and Professional Artist Certificate from the A.J. Fletcher Institute of the University of North Carolina School of the Arts.

Victoria Karkacheva*
Olga

From Volgograd, Victoria is currently a member of the prestigious Young Artist Programme at the Bolshoi Theatre of Russia where she has appeared as Aglaya in a new production of Weinberg’s The Idiot and Third wood sprite in new production of Rusalka with Ainars Rubikis. Victoria has toured extensively with the Bolshoi, with performances at the Kennedy Center in Washington and across France. This summer, Victoria will join the Atelier Lyrique at the Verbier Festival where she will sing dritte dame in Die Zauberflöte with Stanislav Kochanovsky and Stimme von oben in Die Frau ohne Schatten with Valery Gergiev.

Stefan Kocan
Gremin

Slovakian bass Stefan Kocan has emerged in recent years as one of the most exciting voices of his generation. He has been acclaimed at such theaters as the Metropolitan Opera, Royal Opera House, Covent Garden, Teatro alla Scala in Milan, Berlin State Opera, and Bavarian State Opera. In the current season, Kocan debuts at the Opera National de Bordeaux as Hunding in Die Walküre, sings Il Commendatore in Don Giovanni at the Teatro Comunale di Bologna and returns to the Metropolitan Opera as Il Commendatore, Ramfis in Aida and Sparafucile in Rigoletto. He will finish out the season with his debut at the Arena di Verona as Ramfis.

In the 2017/18 season, Kocan returned to the Metropolitan Opera as Ferrando in Il Trovatore, appeared as Hunding/Fafner in Der Ring des Nibelungen at the Theater an der Wien and sang his first Gurnemanz in Parsifal at Opera Vlaanderen in the Netherlands. Engagements from the 2016/17 season included Banco in Macbeth at the Theater an der Wien, Sparafucile at Choregies d’Orange and the Palm Beach Opera, and Il Commendatore, Gremin in Eugene Onegin and Sparafucile at the Metropolitan Opera. In the 2015/16 season, Kocan sang Ferrando and Sparafucile at the Metropolitan Opera, The Watcher in Oedipe at Covent Garden, as well as both the title role in Boito’s Mefistofele and the Vodnik in Rusalka at the Prague State Opera. Additionally, Kocan gave several concert and recital appearances throughout Europe.

In the 2013/14 season, Kocan gave a critically acclaimed performance of Gremin, followed by Khan Konchak in Dmitriy Tcherniakov’s new production of Prince Igor, which was broadcast live in HD. He also returned to the Teatro alla Scala to sing The Grand Inquisitor and Filippo in Don Carlos. In the 2012/13 season, he sang Ramfis and Sparafucile at the Metropolitan Opera, Banco at La Scala with Valery Gergiev, Il Commendatore at the Bavarian State Opera and Ramfis with the Los Angeles Philharmonic at the Hollywood Bowl under Gustavo Dudamel.

Stefan Kocan started gaining worldwide attention when he became a prize-winner at the famed International Tchaikovsky competition. After completing his studies in Bratislava, Kocan began his professional operatic career at the Landestheater in Linz, Austria. Singing with the company from 2002-2006, he appeared in such leading roles as Sarastro in The Magic Flute, Filippo in Don Carlos, Osmin in The Abduction from the Seraglio, Mephistopheles in Faust, Raimondo in Lucia di Lammermoor, Banco in Macbeth, and Kecal in The Bartered Bride. In 2003, Kocan was awarded the Eberhard Waechter Prize for his interpretation of the Grand Inquisitor in Don Carlos. Following these successes came Kocan’s American debut at the Metropolitan Opera as The King in Aida under the baton of Daniele Gatti in the 2009/10 season. In the 2010/11 season, he made his debut at the Lyric Opera of Chicago as Banco in a new production of Macbeth, returning to Chicago the following season to sing Ramfis. In the 2011/12 season, he was also invited to make his debut at the Teatro alla Scala as Masetto in the season opening production of Don Giovanni, featuring Anna Netrebko, Bryn Terfel and Peter Mattei.

Since making his debut at the Metropolitan Opera, Kocan has established himself as an electric performer both vocally and physically, returning there every season for such performances as Sparafucile in Otto Schenk’s production of Rigoletto, Ferrando in Il Trovatore (broadcast live in HD), and Il Commendatore in Michael Grandage’s new production of Don Giovanni (broadcast live in HD). In 2013, Kocan received much critical acclaim for his sinister and compelling portrayal of Sparafucile in Michael Mayer’s new production of Rigoletto (broadcast live in HD). New York Magazine praised him as a “gifted scene stealer with a voice that is a ‘tectonic rumble.’” He made the Sparafucile in this production uniquely his own, reprising it in the 2013/14 season and most recently in the 2015/16 season.

Katharine Goeldner*
Larina

Opera News calls her “a natural actress…with thrilling, laser-like focus” and “luminous tone.” Opera magazine praises her “stunningly rich mezzo.” With a career that takes her throughout the U.S. and Europe, the “powerhouse” mezzo-soprano Katharine Goeldner is recognized as one of today’s finest artists.

Recent performances include her Minnesota Orchestra debut as Herodias in Richard Strauss’ Salome;  Mahler’s Symphony No. 3 with Orchestra Iowa; Dalila in Samson et Dalila at Virginia Opera and Amneris in Aida at Utah Opera. She created the role of Jackie Onassis in David T. Little and Royce Vavrek’s JFK, and starred at Opera Theatre of Saint Louis as Ma Joad in the premiere of the revised version of Ricky Ian Gordon and Michael Korie’s The Grapes of Wrath. Katharine returns this season to her native Iowa, where she can be heard in Mahler’s Das Lied vonder Erde with the University of Iowa Symphony. She performs the Verdi Requiem with the Jacksonville Symphony, Fricka in Die Walküre in Augsburg, Germany, Brigitta in Die tote Stadt in Toulouse, France, and this spring she reprises her triumphant Ma Joad at Michigan Opera Theatre.

Victoria Livengood
Filipievna

Grammy Award Winner and Metropolitan Opera star, Victoria Livengood, has been hailed as “one of the leading singer-actresses of her generation” and the Italian press proclaimed “the power of her voice could straighten the leaning Tower of Pisa.”

Victoria skyrocketed onto the opera scene as a winner of the Metropolitan Opera National Council auditions, going on to make her critically acclaimed Met debut in Verdi’s Luisa Miller in 1991. The North Carolina native has become known for her dynamic portrayals in more than 125 Met performances, including the title role of Carmen opposite Plácido Domingo and has been featured on many Metropolitan Opera broadcasts.

She has sung over 100 different roles with opera companies throughout Europe, South America, Canada and Asia, emphasizing her prolific versatility throughout a career that spans 3 and a half decades.  Internationally, she has sung with opera companies including Barcelona, Madrid, Salzburg, Buenos Aires, Taipei, Las Palmas, Monte Carlo, Nice, Santiago, Cologne, Vancouver, Montreal, and at Italy’s Spoleto Festival, where she closely collaborated with her mentor and friend, composer, Gian Carlo Menotti.

Nevertheless, it is in America that this Dixie Diva has primarily based her career, having sung leading roles with the companies of Chicago, San Francisco, Los Angeles, Santa Fe, Washington DC, Seattle, Houston, Boston, Miami, St. Louis, San Diego, Kansas City, Baltimore, Portland, Utah, Atlanta, Fort Worth, Hawaii and with the New York City Opera!

Victoria has performed at Carnegie Hall on ten separate occasions including as soloist in Verdi’s Requiem and in A Streetcar Named Desire, opposite Renee Fleming.  She has been a featured soloist with the London Symphony, the National Philharmonic, the Seoul Philharmonic, The Israeli Philharmonic, the American Symphony Orchestra and at the Cincinnati May Festival.  In the summer of 2019, she joins the Seiji Ozawa Festival in Matsumoto, Japan.

Dr. Livengood has been named Alumni of the Year by both alma maters, UNC-Chapel Hill and the Boston Conservatory at Berklee, and holds honorary doctorate degrees from the Boston Conservatory at Berklee and from Jacksonville University.  She is also an inductee into the North Carolina Musicians Hall of Fame, alongside such greats as Andy Griffith and James Taylor.

“Miss Vickie” is in demand for her highly acclaimed Master Classes across the globe, has a private voice studio of over 100 students in Concord, North Carolina and in New York City and has served on the voice faculty at the Buck Hill-Skytop Music Festival, the National University in Bogota, Colombia, at the Amalfi Coast Music Festival in Italy and at the Angels Vocal Art Institute at California State University in Los Angeles.

Her extensive discography includes a Grammy winning performance with the LA Opera and Philharmonic in John Corigliano’s The Ghosts of Versailles, and a Grammy nominated performance with the London Symphony in Edward Thomas’ Desire Under the Elms.  She recently appeared in Eugene Onegin with Washington National Opera and Opera Carolina.  Upcoming engagements include A Streetcar Named Desire at the Teatro Colón in Buenos Aires.

Duke Kim^
Monsieur Triquet

Duke Kim was most recently seen as Arbace in Idomeneo at Wolf Trap Opera.

His other operatic appearances include Rinuccio in Gianni Schicchi, Laurie in Little Women, and Count Belfiore in La Finta Giardiniera at Shepherd School of Music.

Duke has attended prestigious summer programs such as the Wolf Trap Opera Studio, Houston Grand Opera’s Young Artists Vocal Academy, Des Moines Metro Opera’s Apprentice Artist Program, and Aspen Music Festival. During his undergraduate studies, he performed Nemorino in L’elisir d’amore and Camille in Die Lustige Witwe.

Equally adept at concert, he has been the tenor soloist for Mendelssohn’s Elijah, the Bach Magnificat, Saint-Saëns’ Oratorio de Noël, and Handel’s Messiah.

Duke has received numerous prizes including the Special Encouragement Award at the Western Region Final of the Metropolitan Opera National Council Auditions, 2nd place in Gwendolyn Roberts Young Artist Auditions, and 1 st place in New Century Singers Whittier Competition. This February, Duke was one of the finalists in the Houston Grand Opera’s Eleanor McCollum Competition.

Christian Knapp
Conductor

Mr. Knapp is currently in his sixth season as Conductor of the renown Mariinsky Theatre in St. Petersburg Russia. Following his triumphant debut conducting Strauss’ Elektra, Mr. Knapp was appointed conductor at the special invitation of the Mariinsky’s Artistic Director Valery Gergiev, with whom he shares a close artistic relationship. Mr. Knapp has worked with prestigious orchestras around the world including the Royal Liverpool Philharmonic, L’Orchestre National de France, Houston Symphony, St. Petersburg Philharmonic, Baltimore Symphony, Saint Paul Chamber Orchstra, New World Symphony the Chicago Civic Orchestra, among many others. His successful debut with the Los Angeles Philharmonic led to an immediate reengagement. Other successful return engagements include the Milwaukee Symphony, the Indianapolis Symphony, the Pacific Symphony, the Auckland Philharmonia, the North Carolina Symphony and the Phoenix Symphony. He also has appeared regularly in subscription with the Seattle Symphony. A favorite among the musicians and audiences, Mr. Knapp regularly conducts the Mariinsky Orchestra in a wide range of symphonic programs. He led a series exploring the major symphonies of Mozart and the complete symphonies Beethoven. He has conducted highly acclaimed performances of Brahms, Strauss, Berlioz, Sibelius, Mahler and Debussy in his first few seasons.

With an equally comprehensive operatic repertoire, Mr. Knapp conducts some of the Mariinsky’s most demanding productions. He led musical preparation and conducted premiers of such French masterpieces as Pelléas und Mélisande, and Les Troyens (which subsequently went on to the 2014 Edinburgh Festival). He conducts all the major operas of Richard Strauss and most of Wagner’s operas, including Tristan und Isolde and the complete Ring Cycle. His repertoire stretches from such 20th century masterpieces like The Makropolus Case and Le Rossignol, to major operas of Verdi and Puccini, to all of the Mozart/Da Ponte operas. During the 2012 White Night’s Festival at the request of Maestro Gergiev, Mr. Knapp stepped in with just a few hours’ notice to conduct Les Contes d’Hoffmann to much acclaim; subsequently performing it with the Mariinsky on tour at the Bolshoi Theatre in Moscow for the Golden Masks Festival. As the main conductor for opera he has been responsible for nearly all of the Mariinsky’s major operatic premieres for the last several seasons.

A passionate proponent of new music, Knapp has led such groups as the Perspectives New Music Ensemble in London, the International Contemporary Ensemble (ICE) and the Seattle Chamber Players. He has conducted works by John Adams, Julian Anderson, Kaija Saariaho, Pascal Dusapin, Gerard Grisey, George Crumb and Thomas Adès, among others. In 2005, Knapp conducted the
world premiere of Paul Dresher’s opera The Tyrant with the Seattle Chamber Players. He has appeared with ICE in New York, conducting the U.S. premiere of Zona by Magnus Lindberg as part of Lincoln Center’s Mostly Mozart Festival in 2006 and a program of the music of Philippe Hurel at Columbia University’s Miller Theatre. In collaboration with ICE, Knapp returned to the Miller Theatre in the 2012-2013 Season to lead performances of the music of Sofia Gubaidulina and in the 2014-15 Season to conduct the music of Bernard Rands.

Mr. Knapp was a prize-winner in the Third International Prokofiev Conducting Competition in 1999 and that same year he was also awarded the prestigious Fellowship in Conducting from the Royal College of Music in London, working with its orchestras, new music ensembles and opera theater. In 2003, he was selected to participate in the National Conducting Institute with the National Symphony; and in 2005 Mr. Knapp and the Seattle Symphony were awarded a grant from the Bruno Walter Memorial Foundation.

Born in the United States, Mr. Knapp received bachelor’s degrees in piano performance from the New England Conservatory and philosophy from Tufts University. He studied conducting at the Accademia Musicale Chigiana in Siena under Yuri Temirkanov and Myung-Whun Chung, and receiving a post-graduate diploma in conducting from the St. Petersburg State Conservatory in Russia, where he studied with Leonid Korchmar and the renowned pedagogue Ilya Musin.

Tomer Zvulun*
Director

General and Artistic Director of The Atlanta Opera since 2013, Israeli born Tomer Zvulun is also one of leading stage director of his generation, earning consistent praise for his creative vision and innovative interpretations. His work has been presented by prestigious opera houses in Europe, South and Central America, Israel and the US, including The Metropolitan Opera, Washington National Opera, Seattle Opera, Houston Grand Opera, The Dallas Opera, San Diego Opera, Boston Lyric Opera, Pittsburgh, Minnesota, Montreal, Buenos Aires, Israeli Opera, and the festivals of Wexford, Glimmerglass and Wolf Trap, as well as leading educational institutes and universities such as The Juilliard School, Indiana University, Boston University.

Tomer spent seven seasons on the directing staff of the Metropolitan Opera where he directed revivals of Carmen and Tosca and was involved with more than a dozen new productions. He is a frequent guest director in companies such as Seattle Opera (Semele, La Boheme, Eugene Onegin, Lucia di Lammermoor,), Dallas Opera (Die Fledermaus, La Boheme),Houston Grand Opera (The Flying Dutchman, Rigoletto), Wexford Festival (Silent Night, Dinner at Eight), Cincinnati Opera (Magic Flute, Don Giovanni, Flying Dutchman), Wolf Trap (Falstaff, Don Giovanni), Israeli Opera (Dead man walking, Giulio Cesare) among others. His European premiere of Silent Night at the Wexford Festival received two Irish Times Awards and traveled from Ireland to Washington National Opera, The Glimmerglass Festival and the opera companies of Atlanta, Austin and Salt Lake City.

Zvulun directed over 15 new productions in his home company in Atlanta, including Dead Man Walking, The Flying Dutchman, Soldier Songs, Silent Night, Maria de Buenos AiresLa Boheme, Madama Butterfly, Lucia di Lammermoor, Magic Flute, Eugene Onegin to name but a few. During Tomer’s tenure, the company’s fundraising has tripled, resulting in twice the number of productions presented annually. His focus on innovation has garnered national attention and resulted in a Harvard Business School case study chronicling The Atlanta Opera’s turnaround, an International Opera Awards nomination, an ArtsATL luminary award and an invitation to deliver a Ted Talk about innovation in opera.

His upcoming projects include a new Rigoletto in Houston, a new Salome in Atlanta and Kansas City, revivals of his acclaimed production of Eugene Onegin in Montreal, Seattle and Palm Beach, Silent Night in Utah Opera and Madama Butterfly and Glory Denied in Atlanta. He is currently working on developing world premieres based on The Anna Frank’s Diaries and Sensorium Ex, a world premiere based on a story about artificial intelligence.

Tomer’s recent shows have traveled across continents, receiving critical acclaim for their striking visuals and cinematic quality. Some of them included The Flying Dutchman (Houston, Cincinnati, Atlanta), Dinner at Eight (Wexford Festival, Minnesota Opera), Eugene Onegin (Seattle, Atlanta, Detroit, Kansas City, Atlanta, Montreal), Lucia di Lammermoor (Seattle, Atlanta, Cleveland,)Silent Night (Wexford, Atlanta, Glimmerglass, Washington, Austin), Soldier songs (Atlanta, San Diego), Dead Man Walking (New Orleans, Atlanta, Israel), La Boheme (Seattle, Pittsburgh, Cleveland, Atlanta, Dallas),  Lucrezia Borgia (Buenos Aires), Gianni Schicchi (Juilliard, IVAI Tel Aviv), L’heaure Espagnole (Juilliard), Magic Flute (Cincinnati, Atlanta, Indiana University), Don Giovanni (Wolf Trap, Cincinnati), Die Fledermaus (Dallas, Kansas City), Falstaff (Wolf Trap, Des Moines), Rigoletto (Boston, Atlanta, Omaha, Charlotte), Madama Butterfly (Atlanta, Castleton Festival, New Orleans) Tosca (National Theatre Panama, Atlanta) and Semele (Seattle).

Tomer Zvulun was born and raised in Israel, attended the open University in Tel Aviv and Harvard Business School and makes his home in Atlanta.

 

 

Conor Hanratty*
Associate Director

Conor Hanratty is an opera and theatre director from Dublin, Ireland, currently the Jerry & Dulcy Rosenberg Young Arist Stage Director at the Altanta Opera. Having received and MFA in Directing from UCLA in California, Hanratty returned to Ireland and founded Ulysses Opera Theatre. The company is focused on innovative, surprising productions of contemporary opera, and has staged four highly successful projects to date, with several more currently in development. Recent opera directing projects include Tomer Zvulun’s much-lauded Silent Night for Austin Opera
(January 2019) Front of House and Backstage (Cork Midsummer Festival 2017, 2018), FLATPACK and HARP (both Dublin Fringe Festival). He directed Trouble in Tahiti at the Glimmerglass Festival, and Maria de Buenos Aires at Cork Opera House. Hanratty directed a major new composition Long Story ShortThe Belfast Opera with a community chorus of over one hundred singers in Belfast in 2016. He has worked on two occasions for Opera San Antonio, remounting Francesca Zambello’s production of Madame Butterfly in 2015 and then directing Carmen in 2016. He has also worked on several productions for the Wexford Festival Opera, as director and associate director, including Losers, Trial by Jury, The Wandering Scholar, Cristina Queen of Sweden and Silent Night. With Iain Burnside he directed 10,000 Miles Away in March 2015 with students from RIAM, the Lir and the Juilliard School, and was invited in 2016 to create a follow-up project entitled Drums and Guns. This second project added performers and staff from the Guildhall School in London, and was performed in Dublin, London and New York. Hanratty has been heavily involved with the opera programme at the Royal Irish Academy of Music in Dublin for several years. He has created several productions for their ongoing Opera Briefs series, including the world premiere of Siobhan Cleary’s Vampirella in 2017. He was Director-in-Residence at the RIAM for the academic year 2016-7, during which time he overhauled the acting and performance curriculum, brought two small operas to the Liszt Academy in Budapest and directed a mainstage production of Purcell’s The Fairy Queen. Hanratty’s recent theatre projects include POSTSCRIPT (Dublin Fringe Festival, national tour, Irish Cultural Centre in Paris and Abbey Theatre), and Romeo and Juliet (Second Age). He directed All’s Well That Ends Well at the Lir Academy, and was staff director for Once The Musical at the Olympia Theatre in Dublin in 2017. His production of To Hell in a Handbag was a hit at the Dublin and Edinburgh Fringe Festivals, and toured the UK in the autumn of 2018. In July 2019 he returns to the Everyman Palace in Cork to direct Neil Simon’s The Odd Couple.

Logan Pachciarz*
Choreographer

Logan Pachciarz began his dance career with the guidance of Shelly Washington in Twyla Tharp’s Dance company Tharp! After extensive traveling, he continued his classical training at North Carolina School of the Arts under the tutelage of Ton Simons, Fernando Bujones, and Warren Conover. At age 18, he joined the Boston Ballet where he enjoyed performing works by such choreographers as Rudi van Dantzig, Christopher Wheeldon, and Ben Stevenson. In 2001, Logan joined the Kansas City Ballet. In his 15 years with the company he performed leading roles in a diverse repertoire, ranging from classical and neoclassical works such as Giselle, Romeo and Juliet and The Four Temperaments to contemporary and modern pieces including Jardi Tancat, Dark Elegies, The Catherine Wheel Suite and The Moor’s Pavane. He was recently recognized by Dance Magazine’s Wendy Perron as one of the best dancers of 2016. Mr. Pachciarz is currently the Co-Artistic Director of Moving Arts Kansas City and Cincinnati. As director, he has presented repertoire from the forefront of dance by Marco Goecke, Douglas Lee, Penny Saunders, Salvatore Aiello, Marina Kessler, Todd Bolender, Matthew Neenan, George Balanchine and Ma Cong. Mr. Pachciarz has choreographed extensively, with such credits as Eugene Onegin and the upcoming Opera The Shining.

Svetlana Aksenova*
Tatiana

Svetlana Aksenova has been acclaimed internationally for her performances as Lisa in a new production of The Queen of Spades at the Dutch National Opera, directed by Stefan Herheim and conducted by Mariss Jansons, the title role in Rusalka at the Paris Opera, Cio-Cio-San in Madama Butterflyat the Deutsche Oper Berlin, Norwegian National Opera and Royal Swedish Opera in Stockholm, and Fevroniya in Dmitry Cherniakov’s production of Rimsky Korsakov’s The Invisible City of Kitezh, first at the Dutch National Opera and then for her debut at the Gran Teatre del Liceu in Barcelona.

Aksenova made her North American debut in the autumn of 2016 as Tatyana in Eugene Onegin with the Dallas Opera and her South American debut in the same role at the Teatro Municipal in Sao Paolo, Brazil. In the summer of 2016, Aksenova made her debut with the Rome Opera as Cio-Cio-San in Madama Butterfly, the same role with which she made her debuts at both the Bavarian State Opera in Munich and Berlin State Opera the following year. In early 2017, she debuted at the Hamburg State Opera as Desdemona in Otello. She returned to the Norwegian National Opera in the summer of 2017 as the title role in a new production of Tosca, directed by Calixto Beito, and later reprised the role in Stuttgart. Aksenova has most recently been recently heard as Cio-Cio-San for her debut at the Zurich Opera, and she will soon make her debut with the Vancouver Opera as Tatyana in Eugene Onegin.

Born in St. Petersburg, Aksenova pursued her vocal studies at the renowned Rimsky Korsakov Conservatory, where, while still a student, she came to critical attention for her performance as the title role in Tchaikovsky’s Iolanta. Aksenova was also privileged to participate in master classes with legendary soprano Renato Scotto. She was invited to join the ensemble of the Basel Opera, where over several seasons she developed her repertoire to include such roles as Desdemona, Lisa, Rusalka, Cio-Cio-San, Mimi in La Boheme and Blanche in Dialogues des Carmelites. Aksenova also starred in the title role of Puccini’s Suor Angelica in Dortmund, staged by Cristine Mielitz. Her international debuts followed in rapid succession. Other roles in her operatic repertoire include Amelia in Simon Boccanegra, the title role in Luisa Miller, Marguerite in Faust, Margherita and Elena in Mefistofele, and the title role in Cilea’s Adriana Lecouvreur.

Svetlana Aksenova also has a vast concert repertoire, including Vivaldi’s Gloria, Pergolesi’s Stabat Mater and Misa Pastoralis, Brixi’s Magnificat, and Beethoven´s Mass in C Major. She has also sung Berlioz’ Messe Solennelle, Bizet´s Te Deum, Rossini’s Petite Messe Solennelle and Stabat Mater, Shostakovich and Dvorak´s Stabat Mater, and Mahler´s Fourth Symphony. In 2015, she made her debut with the Grand Theatre in Geneva in concerts of Verdi’s Requiem.

Yelena Dyachek*
Tatiana (March 28)

Ukrainian-born soprano Yelena Dyachek was a winner of the Metropolitan Opera National Council Auditions in 2016, receiving praise from The New York Times saying “…memorable as the soprano Yelena Dyachek from California, who demonstrated impressive range, depth and power in ‘Come scoglio’, before delivering an emotionally captivating Letter Scene…”.  She is a graduate from Houston Grand Opera’s prestigious studio program and during her time in the HGO Studio, Ms. Dyachek appeared in several productions including as Musetta in La bohème, Flora in La traviata, and Berta in Il barbiere di Siviglia. Further productions included Norma, Some Light Emerges, and Nixon in China. In the summer of 2019, she made her debut as Marie Antoinette in Ghosts of Versailles at the Glimmerglass Festival, a production which travels to the Opera House at the Palace of Versailles in the winter of 2019. Further engagements in the 2019-20 season include her professional role debut as Tatiana in Eugene Onegin with Palm Beach Opera under the direction of Tomer Zvulun and joining the Lyric Opera of Chicago for their productions of Il barbiere di Siviglia and Dead Man Walking.

Recent performances for Dyachek include Elettra in Idomeneo and Beethoven’s Symphony No. 9 as a Filene Young Artist at Wolf Trap Opera and Fiordiligi for San Francisco Opera’s Merola Opera Program. A multi-year member of the Aspen Opera Theatre Center, Ms. Dyachek appeared as Fiordiligi in 2015 and as Tatiana in 2014. She will return to the Aspen Music Festival in the Summer of 2020 as part of their Beethoven Celebration.

Further recognition includes the Ana Maria Martinez Encouragement Award at the 2016 Eleanor McCollum Competition, and singing as a finalist at the Palm Springs Opera Guild of the Desert’s vocal competition. She holds a bachelor’s degree from University of the Pacific Conservatory of Music, and a master’s degree from the University of Southern California Thornton School of Music. Further roles performed while at USC include Frau Von Daubek in the concert premiere of Thomas Morse’s Frau Schindler, the Composer in Ariadne auf Naxos, Vitellia in La clemenza di Tito, the title role in Iphigénie en Tauride, and Madama Cortese in Il viaggio a Reims.

Michael Chioldi
Onegin

American baritone Michael Chioldi has quickly gained the reputation as one of the most sought-after dramatic baritones of his generation. Praised for his “warm, rich tone” (Opera News) and “deeply communicative phrasing” (The Baltimore Sun), he has received unanimous acclaim from critics and audiences around the world for his portrayals of the dramatic baritone roles of Verdi, Puccini, and Strauss. His recent role debuts include the title roles in Verdi’s Rigoletto with the Orquesta Filarmónica de Jalisco, Macbeth with Palm Beach Opera, and Nabucco with Lyric Opera Baltimore; as Conte di Luna in Il Trovatore with Utah Opera; and as Rodrigo in Don Carlo with Austin Lyric Opera.

Chioldi has performed at nearly every major American opera house, including The Metropolitan Opera, San Francisco Opera, Houston Grand Opera, Washington National Opera and Los Angeles Opera. Signature roles include Scarpia in Tosca with Hawaii Opera Theater, Ft. Worth Opera, New York City Opera, Toledo Opera, and Spain’s Opera de Oviedo; Jochanaan in Salome with Utah Opera, Virginia Opera, and the Saito Kinen Festival in Japan; the title role of Macbeth with Michigan Opera Theatre and Palm Beach Opera, Enrico in Lucia di Lammermoor with Washington National Opera, Utah Opera, and New Orleans Opera; and Sharpless in Madama Butterfly with Washington National Opera and in a nationwide broadcast on the PBS television series Live from Lincoln Center, which received an Emmy award in 2008.

In the 2015-16 season Chioldi made his debut at the Royal Opera House, Muscat in performances of Macbeth. Additional recent performances include the title role in Hamlet with Washington National Opera; the title role in Der Fliegende Holländer with Pforzheim Opera; Marcello in La bohéme at London’s Royal Albert Hall; Ford in Falstaff with Utah Opera, Chautauqua Opera, and the Ft. Worth Opera Festival; Giorgio Germont in La Traviata with Palm Beach Opera; Count Almaviva in Le nozze di Figaro with Hawaii Opera Theater, Chautauqua Opera, and the Macau International Music Festival; and Giacomo in Verdi’s Giovanna d’Arco with Chicago Opera Theater.

He made his debut at New York’s Metropolitan Opera as Fléville in Andrea Chénier with Luciano Pavarotti and Aprile Millo under the baton of James Levine, and traveled extensively in Japan with Maestro Seiji Osawa. He has also performed in Brazil, Canada, England, France, Germany, Macau and Spain.

A frequent performer of American and English works, he premiered the role of Man in Anthony Brandt’s The Birth of Something in 2008. Additional performances include as the First Mate in Billy Budd with Washington National Opera; the title role in Nixon in China with Long Beach Opera; John Proctor in The Crucible with Toledo Opera; and John Sorel in The Consulwith Arizona Opera and the Glimmerglass Festival.

Chioldi has been the recipient of numerous awards and honors, including The Metropolitan Opera National Council Competition (Winner 1995); The MacAllister Competition; The Licia Albanese-Puccini Competition; The Miami Opera Competition; The Sullivan Foundation; and The Anna Case-Mckay Award. He received his Bachelors’ degree from West Virginia University, and his Masters’ degree from Yale University. His recordings appear on the Sony Classical, BMG, Accord and Newport Classics labels.

Vladislav Kupriyanov*
Onegin (March 28)

Hailing from Divya, a small town with fewer than 1,500 inhabitants in the heart of Russia, baritone Vladislav Kupriyanov made his Mariinsky Theatre debuts in the last two seasons performing under Maestro Valery Gergiev at a “Stars of the White Nights Festival” Gala, and singing the role of Grigory Gryaznoy in the Mariinsky’s 2018 production of Rimsky-Korsakov’s The Tsar’s Bride. Other Mariinsky appearances include role debuts as Guglielmo in Così fan tutte, Ivan-Korolevitch and Priest Radegast in Rimsky-Korsakov’s Kashchey the Immortal and Mlada, the baritone soloist in Orff’s Carmina Burana, and concerts at the III International Far East Festival “Mariinsky” in Vladivostok.

Mr. Kupriyanov has also performed at the Crescendo Summer Institute and Festival in Tokaj, Hungary, as well as at the Kammeroper Schloess Rheinsberg Festival in Germany, where he sang the role of Escamillo in Carmen.  He is a two-time winner of the Russian Ministry of Culture “Young Talents of Russia Prize” (2012, 2015), as well as a prize-winner of the International Singing Competition “Bella Voce” (2012, Moscow) and the “Academia” International Singing Competition (2014, Perm). In addition, he is the 2012 and 2013 Gold Medal Winner in Singing at the Youth Delphic Games in Moscow and in Novosibirsk, Russia.

Mr. Kupriyanov began his career performing as a soloist of the acclaimed Perm State Police Lyceum Chorus, touring through all of Russia and appearing at the Kremlin. He studied at the Perm Music College and later the Perm State Academy of Culture, and at the age of 21 he joined the Samara Academic Theater of Opera and Ballet, where he performed in such roles as Mizgir in Rimsky-Korsakov’s Snow-maiden, Yeletsky in Tchaikovsky’s Pique Dame, Sharpless in Madama Butterfly, Prince Orlofsky in Die Fledermaus, Ben in Menotti’s The Telephone, Shchelkalov in Mussorgsky’s Boris Godunov, and title role in Tchaikovsky’s Eugene Onegin.

Since 2017, Mr. Kupriyanov has been a Fellow at the Atkins Young Artists Program at the Mariinsky Theatre.  In October 2018 he joined the Program’s inaugural US tour, participating in a concert at Walt Disney Concert Hall in Los Angeles with the Colburn Orchestra conducted by Valery Gergiev, and making his New York debut in a recital at the historic St. Paul’s Chapel of Trinity Church Wall Street.

Dmitry Korchak*
Lensky

Since winning in 2004 prize at Francisco Vinas International Competition in Barcelona and two prizes at Placido Domingo’s Operalia Competition in Los Angeles, Dmitry Korchak has continued to delight audiences worldwide in some of the most celebrated venues, playing some of the greatest leading operatic roles and collaborating with renowned conductors and orchestras.

Dmitry Korchak studied in Russia both as a conductor and as a singer. He has collaborated with such conductors as: D.Barenboim, B.Campanella, R.Chailly, P.Domingo, L.Maazel, Z.Mehta, M. Minkowski, R.Muti, K.Nagano, M.Plasson, A.Zedda, V.Fedoseev, M.Pletnev, V.Popov, V.Spivakov, E.Svetlanov, J.Temirkanov and others.

Among Dmitry’s recent engagements are: Carnegie Hall, The Metropolitan Opera, Teatro dell Opera di Roma,Teatro alla Scala, Opera Bastille, Wiener Staatsoper, Royal Opera House Covent Garden, Teatro Reggio di Torino, Parma Opera Theatre, Los Angeles Opera Theatre, De Nederlandse Oper, Berliner Staatsoper, Bayerische Staatsoper, Teatro Real Madrid, Los Angeles Opera, Semperoper Dresden, Teatro San Carlo di Napoli, Teatro Massimo di Palermo, Bayrische Staatsoper, Theatre Royal de La Monnaie, Palau de les Artes in Valencia, Salzburg Festival, Pesaro Festival, Bad Kissingen Festival, Colmar Festival, Ravenna Festival, Reate Festival etc.

Since season 2014 Dmitry returned to his initial specialization – conductor. Since then he performed with different programs in Europe, Easter Festival of Valery Gergiev, in the Great Hall of Moscow Philharmony, with National Philharmonic Orchestra of Russia (artistic director and chief conductor – Vladimir Spivakov) at the Moscow International House of Music, where also DVD was recorded Rossini’s Stabat Mater.

Starting with season 2017/2018 Dmitry Korchak has become Principal Guest Conductor at Novosibirsk Opera and Ballet Theatre, where he has his own Festival, as well as Guest Conductor at Mikhailovsky Theatre of St. Petersburg. Dmitry conducted Inauguration of the new concert hall at Novosibirsk opera Theatre with Rossini’s Stabat Mater starring Lawrence Brownlee, Rene Pape, Veronica Dzhioeva and Julia Matochkina. During previous seasons Dmitry has conducted different oratorial and choir programs as well as such operas as: “Aida”, “L’elisir d’amore”, “La Juive”, “Carmen”, “Il Barbiere di Siviglia” as well as different concert programs.

Jonathan Johnson
Lensky (March 28)

This season, American tenor Jonathan Johnson makes his debut as The Prince in The Love for Three Oranges at Opera Philadelphia’s Festival O19 and will appear as Lensky in Eugene Onegin at Palm Beach Opera, Matthew Gurney in Emmeline at Tulsa Opera, Jonathan Dale in Silent Night at Utah Opera, and Beppe in I Pagliacci at Opera Colorado. In concert, Johnson appears as a soloist with Cincinnati Symphony Orchestra in Schumann’s Das Paradies und die Peri as the Young Man, with the Detroit Symphony for Messiah, and in recital with the Collaborative Arts Institute of Chicago. Johnson is also an Emerging Artist for Opera Philadelphia, where he will be singing in community recitals and special events throughout the 2019-2020 Season.

A graduate of the Patrick G. & Shirley W. Ryan Opera Center, the Lyric Opera of Chicago’s professional artist-development program, he appeared in the house’s main productions of Les Troyens, Lucia di Lammermoor, The Merry Widow, Der Rosenkavalier, Capriccio, The Magic Victrola and Mieczysław Weinberg’s Holocaust opera The Passenger. Other recent engagements have included his debut of the title role of Bernstein’s Candide with the Seoul Philharmonic Orchestra, Utah Symphony Orchestra, and Des Moines Metro Opera. He made his debut at Canadian Opera Company’s production of Anna Bolena, Frederic in The Pirates of Penzance and Lensky in Eugene Onegin at the Lyric Opera of Kansas City, Fenton in Falstaff  at San Diego Opera, Lindoro in L’italiana in Algeri at the Portland Opera, La Damnation de Faust at the Grant Park Music Festival, Le Fils in Les mamelles de Tirésias with the Civic Orchestra of Chicago, Beethoven Symphony No. 9 and concert version of Don Giovanni with the Jacksonville Symphony Orchestra, a performance of Schumann’s Dichterliebe as part of a Liederabend in Chicago, and various appearances in the Harris Theater’s Beyond the Aria series, the 125th Anniversary Gala for the Auditorium Theater, and on WFMT radio as part of the Ryan Opera Center Recital Series.  He also enjoys a touring relationship with Chris Botti, which has taken him through many cities in the US and abroad.

Hailing from Macon, GA, Mr. Johnson holds a Master’s degree and Professional Artist Certificate from the A.J. Fletcher Institute of the University of North Carolina School of the Arts.

Victoria Karkacheva*
Olga

From Volgograd, Victoria is currently a member of the prestigious Young Artist Programme at the Bolshoi Theatre of Russia where she has appeared as Aglaya in a new production of Weinberg’s The Idiot and Third wood sprite in new production of Rusalka with Ainars Rubikis. Victoria has toured extensively with the Bolshoi, with performances at the Kennedy Center in Washington and across France. This summer, Victoria will join the Atelier Lyrique at the Verbier Festival where she will sing dritte dame in Die Zauberflöte with Stanislav Kochanovsky and Stimme von oben in Die Frau ohne Schatten with Valery Gergiev.

Stefan Kocan
Gremin

Slovakian bass Stefan Kocan has emerged in recent years as one of the most exciting voices of his generation. He has been acclaimed at such theaters as the Metropolitan Opera, Royal Opera House, Covent Garden, Teatro alla Scala in Milan, Berlin State Opera, and Bavarian State Opera. In the current season, Kocan debuts at the Opera National de Bordeaux as Hunding in Die Walküre, sings Il Commendatore in Don Giovanni at the Teatro Comunale di Bologna and returns to the Metropolitan Opera as Il Commendatore, Ramfis in Aida and Sparafucile in Rigoletto. He will finish out the season with his debut at the Arena di Verona as Ramfis.

In the 2017/18 season, Kocan returned to the Metropolitan Opera as Ferrando in Il Trovatore, appeared as Hunding/Fafner in Der Ring des Nibelungen at the Theater an der Wien and sang his first Gurnemanz in Parsifal at Opera Vlaanderen in the Netherlands. Engagements from the 2016/17 season included Banco in Macbeth at the Theater an der Wien, Sparafucile at Choregies d’Orange and the Palm Beach Opera, and Il Commendatore, Gremin in Eugene Onegin and Sparafucile at the Metropolitan Opera. In the 2015/16 season, Kocan sang Ferrando and Sparafucile at the Metropolitan Opera, The Watcher in Oedipe at Covent Garden, as well as both the title role in Boito’s Mefistofele and the Vodnik in Rusalka at the Prague State Opera. Additionally, Kocan gave several concert and recital appearances throughout Europe.

In the 2013/14 season, Kocan gave a critically acclaimed performance of Gremin, followed by Khan Konchak in Dmitriy Tcherniakov’s new production of Prince Igor, which was broadcast live in HD. He also returned to the Teatro alla Scala to sing The Grand Inquisitor and Filippo in Don Carlos. In the 2012/13 season, he sang Ramfis and Sparafucile at the Metropolitan Opera, Banco at La Scala with Valery Gergiev, Il Commendatore at the Bavarian State Opera and Ramfis with the Los Angeles Philharmonic at the Hollywood Bowl under Gustavo Dudamel.

Stefan Kocan started gaining worldwide attention when he became a prize-winner at the famed International Tchaikovsky competition. After completing his studies in Bratislava, Kocan began his professional operatic career at the Landestheater in Linz, Austria. Singing with the company from 2002-2006, he appeared in such leading roles as Sarastro in The Magic Flute, Filippo in Don Carlos, Osmin in The Abduction from the Seraglio, Mephistopheles in Faust, Raimondo in Lucia di Lammermoor, Banco in Macbeth, and Kecal in The Bartered Bride. In 2003, Kocan was awarded the Eberhard Waechter Prize for his interpretation of the Grand Inquisitor in Don Carlos. Following these successes came Kocan’s American debut at the Metropolitan Opera as The King in Aida under the baton of Daniele Gatti in the 2009/10 season. In the 2010/11 season, he made his debut at the Lyric Opera of Chicago as Banco in a new production of Macbeth, returning to Chicago the following season to sing Ramfis. In the 2011/12 season, he was also invited to make his debut at the Teatro alla Scala as Masetto in the season opening production of Don Giovanni, featuring Anna Netrebko, Bryn Terfel and Peter Mattei.

Since making his debut at the Metropolitan Opera, Kocan has established himself as an electric performer both vocally and physically, returning there every season for such performances as Sparafucile in Otto Schenk’s production of Rigoletto, Ferrando in Il Trovatore (broadcast live in HD), and Il Commendatore in Michael Grandage’s new production of Don Giovanni (broadcast live in HD). In 2013, Kocan received much critical acclaim for his sinister and compelling portrayal of Sparafucile in Michael Mayer’s new production of Rigoletto (broadcast live in HD). New York Magazine praised him as a “gifted scene stealer with a voice that is a ‘tectonic rumble.’” He made the Sparafucile in this production uniquely his own, reprising it in the 2013/14 season and most recently in the 2015/16 season.

Katharine Goeldner*
Larina

Opera News calls her “a natural actress…with thrilling, laser-like focus” and “luminous tone.” Opera magazine praises her “stunningly rich mezzo.” With a career that takes her throughout the U.S. and Europe, the “powerhouse” mezzo-soprano Katharine Goeldner is recognized as one of today’s finest artists.

Recent performances include her Minnesota Orchestra debut as Herodias in Richard Strauss’ Salome;  Mahler’s Symphony No. 3 with Orchestra Iowa; Dalila in Samson et Dalila at Virginia Opera and Amneris in Aida at Utah Opera. She created the role of Jackie Onassis in David T. Little and Royce Vavrek’s JFK, and starred at Opera Theatre of Saint Louis as Ma Joad in the premiere of the revised version of Ricky Ian Gordon and Michael Korie’s The Grapes of Wrath. Katharine returns this season to her native Iowa, where she can be heard in Mahler’s Das Lied vonder Erde with the University of Iowa Symphony. She performs the Verdi Requiem with the Jacksonville Symphony, Fricka in Die Walküre in Augsburg, Germany, Brigitta in Die tote Stadt in Toulouse, France, and this spring she reprises her triumphant Ma Joad at Michigan Opera Theatre.

Victoria Livengood
Filipievna

Grammy Award Winner and Metropolitan Opera star, Victoria Livengood, has been hailed as “one of the leading singer-actresses of her generation” and the Italian press proclaimed “the power of her voice could straighten the leaning Tower of Pisa.”

Victoria skyrocketed onto the opera scene as a winner of the Metropolitan Opera National Council auditions, going on to make her critically acclaimed Met debut in Verdi’s Luisa Miller in 1991. The North Carolina native has become known for her dynamic portrayals in more than 125 Met performances, including the title role of Carmen opposite Plácido Domingo and has been featured on many Metropolitan Opera broadcasts.

She has sung over 100 different roles with opera companies throughout Europe, South America, Canada and Asia, emphasizing her prolific versatility throughout a career that spans 3 and a half decades.  Internationally, she has sung with opera companies including Barcelona, Madrid, Salzburg, Buenos Aires, Taipei, Las Palmas, Monte Carlo, Nice, Santiago, Cologne, Vancouver, Montreal, and at Italy’s Spoleto Festival, where she closely collaborated with her mentor and friend, composer, Gian Carlo Menotti.

Nevertheless, it is in America that this Dixie Diva has primarily based her career, having sung leading roles with the companies of Chicago, San Francisco, Los Angeles, Santa Fe, Washington DC, Seattle, Houston, Boston, Miami, St. Louis, San Diego, Kansas City, Baltimore, Portland, Utah, Atlanta, Fort Worth, Hawaii and with the New York City Opera!

Victoria has performed at Carnegie Hall on ten separate occasions including as soloist in Verdi’s Requiem and in A Streetcar Named Desire, opposite Renee Fleming.  She has been a featured soloist with the London Symphony, the National Philharmonic, the Seoul Philharmonic, The Israeli Philharmonic, the American Symphony Orchestra and at the Cincinnati May Festival.  In the summer of 2019, she joins the Seiji Ozawa Festival in Matsumoto, Japan.

Dr. Livengood has been named Alumni of the Year by both alma maters, UNC-Chapel Hill and the Boston Conservatory at Berklee, and holds honorary doctorate degrees from the Boston Conservatory at Berklee and from Jacksonville University.  She is also an inductee into the North Carolina Musicians Hall of Fame, alongside such greats as Andy Griffith and James Taylor.

“Miss Vickie” is in demand for her highly acclaimed Master Classes across the globe, has a private voice studio of over 100 students in Concord, North Carolina and in New York City and has served on the voice faculty at the Buck Hill-Skytop Music Festival, the National University in Bogota, Colombia, at the Amalfi Coast Music Festival in Italy and at the Angels Vocal Art Institute at California State University in Los Angeles.

Her extensive discography includes a Grammy winning performance with the LA Opera and Philharmonic in John Corigliano’s The Ghosts of Versailles, and a Grammy nominated performance with the London Symphony in Edward Thomas’ Desire Under the Elms.  She recently appeared in Eugene Onegin with Washington National Opera and Opera Carolina.  Upcoming engagements include A Streetcar Named Desire at the Teatro Colón in Buenos Aires.

Duke Kim^
Monsieur Triquet

Duke Kim was most recently seen as Arbace in Idomeneo at Wolf Trap Opera.

His other operatic appearances include Rinuccio in Gianni Schicchi, Laurie in Little Women, and Count Belfiore in La Finta Giardiniera at Shepherd School of Music.

Duke has attended prestigious summer programs such as the Wolf Trap Opera Studio, Houston Grand Opera’s Young Artists Vocal Academy, Des Moines Metro Opera’s Apprentice Artist Program, and Aspen Music Festival. During his undergraduate studies, he performed Nemorino in L’elisir d’amore and Camille in Die Lustige Witwe.

Equally adept at concert, he has been the tenor soloist for Mendelssohn’s Elijah, the Bach Magnificat, Saint-Saëns’ Oratorio de Noël, and Handel’s Messiah.

Duke has received numerous prizes including the Special Encouragement Award at the Western Region Final of the Metropolitan Opera National Council Auditions, 2nd place in Gwendolyn Roberts Young Artist Auditions, and 1 st place in New Century Singers Whittier Competition. This February, Duke was one of the finalists in the Houston Grand Opera’s Eleanor McCollum Competition.

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