TOSCA

by Giacomo Puccini

Friday, January 26, 2018 at 7:30 PM
Saturday, January 27, 2018 at 7:30 PM
Sunday, January 28, 2018 at 2:00 PM

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The sensuous singer Floria Tosca and her artist lover Cavaradossi conspire to conquer the malicious forces determined to wedge them apart. Moving through the shadows in Rome’s churches and castles, they plot to undo the wicked intentions of their nemesis, the lecherous police sergeant, Scarpia, in Puccini’s masterful love story, rich with captivating arias and orchestral drama.

Sung in Italian with English translations projected above the stage.

  • David Stern
    David Stern
    Chief Conductor
  • Fenlon Lamb
    Fenlon Lamb
    Stage Director
  • Stuart Duke
    Stuart Duke
    Lighting Designer
  • Lee Soroko
    Lee Soroko
    Fight Director
  • Keri Alkema
    Keri Alkema
    Tosca (1/26 & 1/28)
  • Alexandra Loutsion
    Alexandra Loutsion
    Tosca (1/27)
  • Riccardo Massi
    Riccardo Massi
    Cavaradossi (1/26 & 1/28)
  • Adam Diegel
    Adam Diegel
    Cavaradossi (1/27)
  • Michael Chioldi
    Michael Chioldi
    Scarpia
  • Scott Conner*
    Scott Conner*
    Cesare Angelotti
  • Thomas Hammons
    Thomas Hammons
    Sacristan
  • Brian Wallin *^
    Brian Wallin *^
    Spoletta
  • Joshua Conyers^
    Joshua Conyers^
    Sciarrone

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

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

ACT I

Cesare Angelotti, an escaped political prisoner, runs into the church of Sant’Andrea della Valle to hide in the family chapel. The Sacristan enters to pray and is interrupted by the painter Mario Cavaradossi, who has come to work on his portrait of Mary Magdalene — inspired by the Marchesa Attavanti, Angelotti’s sister. Cavaradossi contrasts the beauty of the blond marchesa with that of his lover, the raven-haired singer Floria Tosca (“Recondita armonia”). When the Sacristan leaves, Angelotti ventures out and is recognized by the painter, who gives him food and hurries him back into the chapel as Tosca is heard outside. She jealously questions Cavaradossi, then prays and reminds him of their rendezvous that evening (“Non la sospiri”). When she recognizes the marchesa’s likeness, her suspicions are renewed, but he reassures her (“Qual’occhio al mondo”). When she has left, Cavaradossi summons Angelotti, as a cannon signals that the police have discovered the escape; the two flee to Cavaradossi’s villa. The Sacristan returns with choirboys who are about to sing a Te Deum. Their excitement is silenced by the entrance of Baron Scarpia, chief of the secret police, in search of Angelotti. When Tosca returns looking for her lover, Scarpia shows her the Attavanti crest on a fan he has found. Thinking Cavaradossi faithless, Tosca tearfully vows vengeance and leaves, as the church resounds with the Te Deum. Scarpia has the diva trailed, scheming to get her in his power.

ACT II

In the Farnese Palace, Scarpia anticipates the pleasure of bending Tosca to his will (“Ha più forte sapore”). The spy Spoletta arrives; having failed to find Angelotti, he placates the baron by bringing in Cavaradossi, who is interrogated while Tosca is heard singing at a royal gala downstairs. She enters as her lover is led away to be tortured. Unnerved by his screams, she reveals Angelotti’s hiding place. Cavaradossi is carried in; realizing what has happened, he rages at Tosca. When the gendarme Sciarrone rushes in to announce that Napoleon has won the Battle of Marengo, a defeat for Scarpia’s side, Cavaradossi shouts his defiance and is dragged to prison (“Vittoria! Vittoria!”). Scarpia suggests Tosca yield to him in exchange for her lover’s life. Fighting him off, she protests her fate to God, saying she has dedicated her life to art and love (“Vissi d’arte”). Spoletta interrupts: faced with capture, Angelotti has killed himself. Tosca accepts Scarpia’s proposition. The baron orders a mock execution, and Spoletta leaves. Scarpia prepares a document of safe-conduct for the lovers. When he embraces her, Tosca stabs him with a knife from the table and slips out.

 ACT III

A Shepherd is heard singing as church bells toll the dawn. Cavaradossi is led to the roof of Castel Sant’Angelo to await execution; he bribes the jailer to convey a farewell note to Tosca. Writing it, overcome with memories of love, he gives way to despair (“E lucevan le stelle”). Suddenly Tosca runs in with the story of her encounter with Scarpia. Cavaradossi caresses the hands that committed murder for his sake (“O dolci mani”), and the two hail the future. As the firing squad appears, the diva coaches her lover on how to fake his death convincingly; the soldiers fire and depart. Tosca urges Cavaradossi to hurry, but when he doesn’t respond, she discovers Scarpia’s treachery: the bullets were real. Spoletta rushes in to arrest Tosca. She climbs the battlements and, crying that she will meet Scarpia before God, leaps to her death.

CAST
  • David Stern
    David Stern
    Chief Conductor
  • Fenlon Lamb
    Fenlon Lamb
    Stage Director
  • Stuart Duke
    Stuart Duke
    Lighting Designer
  • Lee Soroko
    Lee Soroko
    Fight Director
  • Keri Alkema
    Keri Alkema
    Tosca (1/26 & 1/28)
  • Alexandra Loutsion
    Alexandra Loutsion
    Tosca (1/27)
  • Riccardo Massi
    Riccardo Massi
    Cavaradossi (1/26 & 1/28)
  • Adam Diegel
    Adam Diegel
    Cavaradossi (1/27)
  • Michael Chioldi
    Michael Chioldi
    Scarpia
  • Scott Conner*
    Scott Conner*
    Cesare Angelotti
  • Thomas Hammons
    Thomas Hammons
    Sacristan
  • Brian Wallin *^
    Brian Wallin *^
    Spoletta
  • Joshua Conyers^
    Joshua Conyers^
    Sciarrone

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

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

SYNOPSIS

ACT I

Cesare Angelotti, an escaped political prisoner, runs into the church of Sant’Andrea della Valle to hide in the family chapel. The Sacristan enters to pray and is interrupted by the painter Mario Cavaradossi, who has come to work on his portrait of Mary Magdalene — inspired by the Marchesa Attavanti, Angelotti’s sister. Cavaradossi contrasts the beauty of the blond marchesa with that of his lover, the raven-haired singer Floria Tosca (“Recondita armonia”). When the Sacristan leaves, Angelotti ventures out and is recognized by the painter, who gives him food and hurries him back into the chapel as Tosca is heard outside. She jealously questions Cavaradossi, then prays and reminds him of their rendezvous that evening (“Non la sospiri”). When she recognizes the marchesa’s likeness, her suspicions are renewed, but he reassures her (“Qual’occhio al mondo”). When she has left, Cavaradossi summons Angelotti, as a cannon signals that the police have discovered the escape; the two flee to Cavaradossi’s villa. The Sacristan returns with choirboys who are about to sing a Te Deum. Their excitement is silenced by the entrance of Baron Scarpia, chief of the secret police, in search of Angelotti. When Tosca returns looking for her lover, Scarpia shows her the Attavanti crest on a fan he has found. Thinking Cavaradossi faithless, Tosca tearfully vows vengeance and leaves, as the church resounds with the Te Deum. Scarpia has the diva trailed, scheming to get her in his power.

ACT II

In the Farnese Palace, Scarpia anticipates the pleasure of bending Tosca to his will (“Ha più forte sapore”). The spy Spoletta arrives; having failed to find Angelotti, he placates the baron by bringing in Cavaradossi, who is interrogated while Tosca is heard singing at a royal gala downstairs. She enters as her lover is led away to be tortured. Unnerved by his screams, she reveals Angelotti’s hiding place. Cavaradossi is carried in; realizing what has happened, he rages at Tosca. When the gendarme Sciarrone rushes in to announce that Napoleon has won the Battle of Marengo, a defeat for Scarpia’s side, Cavaradossi shouts his defiance and is dragged to prison (“Vittoria! Vittoria!”). Scarpia suggests Tosca yield to him in exchange for her lover’s life. Fighting him off, she protests her fate to God, saying she has dedicated her life to art and love (“Vissi d’arte”). Spoletta interrupts: faced with capture, Angelotti has killed himself. Tosca accepts Scarpia’s proposition. The baron orders a mock execution, and Spoletta leaves. Scarpia prepares a document of safe-conduct for the lovers. When he embraces her, Tosca stabs him with a knife from the table and slips out.

 ACT III

A Shepherd is heard singing as church bells toll the dawn. Cavaradossi is led to the roof of Castel Sant’Angelo to await execution; he bribes the jailer to convey a farewell note to Tosca. Writing it, overcome with memories of love, he gives way to despair (“E lucevan le stelle”). Suddenly Tosca runs in with the story of her encounter with Scarpia. Cavaradossi caresses the hands that committed murder for his sake (“O dolci mani”), and the two hail the future. As the firing squad appears, the diva coaches her lover on how to fake his death convincingly; the soldiers fire and depart. Tosca urges Cavaradossi to hurry, but when he doesn’t respond, she discovers Scarpia’s treachery: the bullets were real. Spoletta rushes in to arrest Tosca. She climbs the battlements and, crying that she will meet Scarpia before God, leaps to her death.

David Stern
Chief Conductor

Sponsored by Mrs. Ari Rifkin

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

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

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

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

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

Fenlon Lamb
Stage Director

Opera News called Fenlon Lamb “moving and convincing” and Seen and Heard International praised her “well-honed theatrical sensibility.” Ms. Lamb brings these qualities of experience and perspective as an outstanding singing actress to her work as a stage director. Fenlon returns for her fifth season with Palm Beach Opera to direct Tosca. Previous seasons have included a “delightful” Don Pasquale an “opulent” La bohème, and a “madcap” Il barbiere di Siviglia along with several critically acclaimed Young Artist productions. Last season, Fenlon returned to Arizona Opera for the world premiere production of Riders of the Purple Sage. She made her directorial debut in Carmen with Dayton Opera and directed a new production of Tosca for Finger Lakes Opera. Fenlon also conceived and directed a unique operatic installation of Elvis Costello’s The Juliet Letters for Lyric Opera of Kansas City.

Recently, Ms. Lamb made her company debut at Opera Santa Barbara with a “superb” Suor Angelica/Gianni Schicchi. Other productions at opera houses across the U.S. have included Don Pasquale at the Crested Butte Music Festival, The Pearl Fishers with Dayton Opera, Die fliegende Holländer for Opera Carolina, Werther with Mobile Opera, and both Rigoletto and Lucia di Lammermoor at Arizona Opera. Fenlon is the Director of Opera and Vocal Programming for the Bar Harbor Music Festival where she has directed Carmen, L’elisir d’amore, Madama Butterfly, Il barbiere di Siviglia, Le nozze di Figaro, La bohème, La cenerentola, and Don Giovanni. She is currently in her third season as Director of Opera at UMKC Conservatory of Music (Cendrillon, Little Women, Die Zauberflöte, The Turn of the Screw, Suor Angelica/Gianni Schicchi, Hänsel und Gretel). Fenlon is the co-creator and Artistic Director of Papermoon Opera Productions launching this spring.

Stuart Duke
Lighting Designer

Stuart Duke is delighted to be making his PBO debut with Tosca.  He recently designed the lighting for the world premiere of the Kurt Vonnegut opera Happy Birthday Wanda June, the Off-Broadway premiere of Orwell in America, and The Importance of Being Earnest for Walnut Street Theatre in Philadelphia.  He has designed more than 20 Indianapolis Opera productions including Madame Butterfly, Rigoletto, Otello, The Magic Flute, Orfeo, Don Giovanni, and The Crucible, as well as Porgy & Bess, Eugene Onegin and La Traviata for Opera Company of Philadelphia, and concert lighting for Kathleen Battle at Carnegie Hall.  Mr. Duke’s New York theatre credits include The Rothschilds, Cast of Characters, Little Me, The Matchmaker and jon & jen.  Regionally he has designed The Night Seasons, written and directed by Horton Foote, Rags for Paper Mill Playhouse, Death of a Salesman starring Christopher Lloyd, Conrack at Ford’s Theatre, and Beauty and the Beast for the Alabama Shakespeare Festival.   Other credits include Indianapolis Symphony’s Yuletide Celebration, Opera Memphis, Huntington Theatre, Goodspeed Musicals, Weston Playhouse, Northern Stage, The Studio Theatre, Geva Theatre, and the The Folger Shakespeare Theatre. Mr. Duke has been nominated three times for the Helen Hayes Award for Outstanding Lighting.

Lee Soroko
Fight Director

Lee is delighted to be working with Palm Beach Opera this season and provide the choreographed violence for Tosca. He is a Certified Teacher of Stage Combat and a Theatrical Firearms Instructor with the Society of American Fight Directors and provides professional fight choreography for opera companies, theatres and universities across America.  In South Florida, Lee has worked with the Florida Grand Opera, Maltz-Jupiter Theatre, Palm Beach Dramaworks, Zoetic Stage, Slow Burn Theatre and Miami New Drama. He is a member of AEA who earned his Master of Fine Arts from the Professional Actor Training Program at the University of Texas at Austin. In addition, Lee is a former National Endowment for the Arts Fellowship recipient for his work in mask and is the Assistant Professor of Movement at Florida Atlantic University.

Keri Alkema
Tosca (1/26 & 1/28)

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

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

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

Alexandra Loutsion
Tosca (1/27)

Hailed as “powerful and projecting” (Pittsburgh Post Gazette) as well as a “promising young soprano,” (Los Angeles Times) Alexandra Loutsion continues to be recognized for her passionate performances and vocal versatility as a rising star on the operatic and concert stage.

In the 2016-2017 season, Alexandra Loutsion made role debuts in the title role of Turandot (Pittsburgh Opera), at Cio-Cio-San in Madama Butterfly (Palm Beach Opera), and as the Foreign Princess in Rusalka (Arizona Opera).

In 2015-2016, Ms. Loutsion made her Arizona Opera debut as Florencia Grimaldi in Florencia en el Amazonas. She was heard with the Santa Fe Symphony in Verdi’s Messa da requiem, made her Wolf Trap Opera debut as Cio-Cio-San in Madama Butterfly and debuted with North Carolina Opera as Donna Anna in Don Giovanni.

Ms. Loutsion spent two summers as an apprentice at the Santa Fe Opera, covering the roles of Leonore in Fidelio, the title role in Puccini’s Tosca, Anna in Rossini’s Maometto II, and was heard as Maddalena di Coigny in scenes from Giordano’s Andrea Chénier. She sang Anna Kennedy in Maria Stuarda with Washington Concert Opera and was heard as soprano soloist in Beethoven’s Symphony No. 9 with the Ithaca College Symphony Orchestra.

Ms. Loutsion concluded her tenure as a Resident Artist with Pittsburgh Opera where she sang Armida in Rinaldo, Gertrude and the Witch in Hänsel und Gretel, and Annina in La Traviata.  As an Apprentice Artist with Central City Opera, Ms. Loutsion was heard in the title role in Madama Butterfly, Melissa in Amadigi di Gaula, Minerva in Orpheus in the Underworld, La Dame Elegante in Les Mamelles de Tirésias, and Frasquita in Carmen.

Ms. Loutsion was a winner of the Metropolitan National Council District Auditions and Long Beach Mozart Competition, and a finalist in the Fritz and Lavinia Jensen Foundation Competition. She is the recipient of the Santa Fe Opera Anna Case MacKay Award, Richard F. Gold Career Grant, the Central City Opera John Moriarty Award, and the Aspen Music Festival New Horizon Fellowship.

Riccardo Massi
Cavaradossi (1/26 & 1/28)

Italian tenor Riccardo Massi has rapidly achieved international recognition as one of the most exciting and accomplished interpreters of the Italian spinto repertoire, earning accolades worldwide for his interpretations of Puccini’s and Verdi’s heroes.

Among his performances in 2017/18 are Cavaradossi in Tosca at the Royal Opera House Covent Garden, the Staatsoper Hamburg, the Palm Beach Opera and with the KBS Symphony Orchestra in Ansan and Seoul, Don José in Carmen for his debut at the Los Angeles Opera, Radamès in a new production of Aida at the Sydney Opera House, at the Hong Kong Opera and the Teatro Colon of Buenos Aires, Des Grieux at the Bolshoi Theatre.

Engagements of the 2016/17 season included his role debut as Des Grieux in Manon Lescaut at the Bol’šoj Theatre in Moscow, a role he also interpreted in a new production at the Berlin State Opera; his debut at the New National Theatre of Tokyo as Pinkerton in Madama Butterfly, his return to the Metropolitan Opera in New York as Radamès in Aida, Calaf in Turandot at the Cologne Opera, Don José in Carmen at the Jhihde Hall in Taiwan, Gustavo in a gala performance of Un ballo in maschera alongside Sondra Radvanovsky at the Nationaltheater Mannheim and Manrico in Il trovatore at the Budapest Summer Festival.

In the 2015/16 season Massi returned to the Royal Opera House, Covent Garden in London as Cavaradossi alongside Angela Gheorghiu’s Tosca; he also appeared at the Handa Opera on Sydney Harbour (Opera Australia) as Calaf in Turandot, at the Melbourne Arts Center (again for Opera Australia) where he debuted the role of Rodolfo in Luisa Miller; sang Radamès at the Teatro Regio of Turin, Calaf at the Bregenz Festival and at the Zurich Opernhaus, and Cavaradossi at the Semperoper Dresden. Furthermore, he appeared at the Barbican Hall in London in a concert performance of Leoncavallo’s Zazà as Milio, which he also recorded for Opera Rara.

Other career highlights include his 2012 Metropolitan Opera debut as Radamès in Aida (the same role with which he also debuted at the Houston Grand Opera in 2013), his debut as Enzo Grimaldi in La Gioconda at the Concertgebouw Amsterdam, debuts at Munich’s Bayerische Staatsoper, the Berlin Staatsoper and the Royal Opera House Covent Garden as Cavaradossi, his debut in the title role of Andrea Chénier at the Royal Swedish Opera, a 2014 gala concert with soprano Anna Netrebko at the Théâtre des Champs-Elysées, Cavaradossi and Don Alvaro in La forza del destino at the Sydney Opera House, Verdi’s Messa da Requiem at the Grand Théâtre de Genève, Riccardo in Un ballo in maschera at the Théâtre Royal de la Monnaie in Brussels, Don José in Carmen at Deutsche Oper Berlin, Pollione in Norma at the Terme di Caracalla, and debuts as Pinkerton in Madama Butterfly at the Norwegian National Opera, Manrico in Il trovatore in Toronto and Calaf in Turandot opposite Nina Stemme at the Royal Swedish Opera.

Mr. Massi developed his vocal technique in Rome with David Holst, who has been his sole mentor. He was invited to join the Accademia della Scala, after which he made his operatic debut in December of 2009 as Radamès in Aida at the Teatro Verdi of Salerno under the baton of Daniel Oren.

As a specialist in the handling of ancient and medieval weapons, before pursuing his passion for opera, Massi enjoyed a career as a stuntman; working in several films including Martin Scorsese’s Gangs of New York, ABC’s Empire, and HBO’s Rome.

Adam Diegel
Cavaradossi (1/27)

Adam Diegel regularly earns international acclaim for his impassioned dramatic sensibilities, powerful voice, and for his classic leading man looks. In the 2016-2017 season Diegel’s engagement include appearances in two of his signature roles: as Pinkerton in Madama Butterfly at Opera Hong Kong and Palm Beach Opera; and Don José in Carmen at San Francisco Opera, PORTopera, and Opera San Antonio. Additionally, Diegel will sing the title role in Verdi’s Don Carlo with Lithuanian National Opera, Ruggerio in La rondine with Opera Santa Barbara, and return to The Metropolitan Opera to sing Ismaele in Nabucco.

Mr. Diegel made his Metropolitan Opera début as Froh in Robert Lepage’s landmark production of Das Rheingold conducted by Maestro James Levine, and later reprised the performance under Fabio Luisi. Further appearances at The Met include Pinkerton in Madama Butterfly under Plácido Domingo and Ismaele in Nabucco under Paolo Carignani.

Other notable U.S. engagements include: Pinkerton in Madama Butterfly (Atlanta Opera, Fort Worth Opera, Arizona Opera, Opera San Antonio, and Kentucky Opera); Ismaele in Nabucco (Opera Philadelphia); Cavaradossi in Tosca (Vancouver Opera, Glimmerglass Opera, Seattle Opera, and Arizona Opera); Don José in Carmen (Glimmerglass Opera, Opera Theatre of St. Louis, Florida Grand Opera, Arizona Opera, and Madison Opera); and Rodolfo in La bohème (Opera Omaha and Minnesota Opera).

Notable international appearances include: Don José in Carmen at English National Opera and in a new production at Opera Australia’s Handa Opera on Sydney Harbour; Pinkerton in Madama Butterfly with Lithuanian National Opera, The Savonlinna Opera Festival, and on tour in China at the Guangzhous Opera House in Anthony Minghella’s acclaimed production; Maurizio in Adriana Lecouvreur at The National Theatre in Budapest, where he later performed Cavaradossi in Tosca; and David Alden’s new production of Luisa Miller for Opéra National de Lyon.

Diegel holds degrees from Yale University and University of Memphis.

Michael Chioldi
Scarpia

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.

Scott Conner*
Cesare Angelotti

A Kansas native, young bass Scott Conner has been lauded by critics and audiences as a major talent on the rise. Mr. Conner’s warm, flexible voice and elegant stature brings proficiency in a wide range of repertoire, including Mozart, Rossini, Handel, Donizetti and Verdi.
This season, Scott Conner makes significant company debuts at the Opéra National de Paris as Nerbulone in Eliogabalo, and at both Royal Opera House Covent Garden and the Metropolitan Opera as the Police Commissioner in Der Rosenkavalier. He also returns to the Dutch National Opera in Amsterdam as Nerbulone in Eliogabalo and San Francisco Opera as Colline in La bohème. Next season includes returns to the Dutch National Opera as Nerbulone in Eliogabalo and Semperoper Dresden as Sparafucile in Rigoletto.

Last season Mr. Conner returned to Zürich Opera for Don Profondo in a new production of Il Viaggio a Reims, as well as Zoroastro in Orlando under the baton of William Christie. He also joined the Bayerische Staatsoper in Munich, singing Tom in Verdi’s Un ballo in maschera, conducted by Zubin Mehta, as well as the Festival d’Aix-en-Provence for a recital featuring works by Rossini.
During the 2014-2015 season, Scott Conner made his debut with Dutch National Opera in Amsterdam as Bernardino in Benvenuto Cellini, and also debuted with San Francisco Opera as Tom in Un ballo in maschera. Additionally, he appeared with the company as Angelotti in Tosca and as Colline in the family performances of La bohème, and covered Alidoro in La Cenerentola. He closed the season in a return to Festival d’Aix-en-Provence, singing Theseus in Robert Carsen’s production of A Midsummer Night’s Dream.

During the 2013-2014 season, Scott Conner’s engagements included: Raimondo in Lucia di Lammermoor with L’Opéra de Lille; the roles of Colline, Nourabad, and un Frate with the Zürich Opera; Glyndebourne Festival Opera for Zaretsky in Eugene Onegin, the Police Commissioner in Der Rosenkavalier, covered the title role in Don Giovanni, and a live performance of Der Rosenkavalier with the BBC Proms at the prestigious Royal Albert Hall in London.

Scott Conner joined the Ensemble of the Semperoper Dresden in 2012-2013, where roles included Colline in La Boheme, Sparafucile in Rigoletto, Masetto in Don Giovanni and Don Basilio in Il barbiere di Siviglia. He was also seen as the Bass soloist in Handel’s Messiah with the National Symphony Orchestra at the John F. Kennedy Center in Washington D.C. During the summer of 2013, he debuted at Festival d’Aix-en-Provence in Cavalli’s Elena. Additionally Scott was the recipient of a 2012 Sara Tucker Study Grant from the Richard Tucker Foundation, and the 1st Prize Award in the 2012 Gerda Lissner Vocal Competition and the 2012 Loren L. Zachary Vocal Competition.

Scott Conner is a 2012 graduate of Philadelphia’s Academy of Vocal Arts. There, he performed the title role in Don Giovanni, Colline in La bohème, La Roche in Capriccio, Oroveso in Norma, and First Man in the world premiere of Scarlet Letter. During the 2011-2012 season, his assignments at the Academy included the Four Villains in Les contes d’Hoffmann, the title role in Verdi’s Oberto, and Dulcamara in L’elsir d’amore. He also sang the Mozart Requiem with Symphony in C, conducted by Rossen Milanov.
The early years of his career have seen Mr. Conner perform the title role in Le nozze di Figaro with Nashville Opera and Columbus Opera, the Commendatore and Masetto in Don Giovanni with Opera Cleveland, Alidoro in La cenerentola with Opera New Jersey, and Curio in Giulio Cesare with Lyric Opera of Kansas City.

Scott Conner attended the University of Missouri, Kansas City for his Bachelor of Music degree, where roles included Sarastro in Die Zauberflöte, the Pirate King in Pirates of Penzance, and the title role in The Mikado.

Thomas Hammons
Sacristan

Bass-baritone Thomas Hammons has been acclaimed throughout the United States, Canada, and across Europe, for the depth and richness of his portrayals and the strength and beauty of his singing. A versatile singing actor, Mr. Hammons has an active repertoire of over 60 roles spanning a variety of genres from the classical buffo repertoire, to the world of contemporary music, to modern musical theater.  He made his début at The Metropolitan Opera as Sacristan in Toscaduring the 1996-97 Season, and took part in the première of Jonathan Miller’s acclaimed production of Le nozze di Figaro. He has returned to The Met in over 250 performances since, most recently for LuluLe nozze di Figaro, and La bohème. This season, Mr. Hammons will perform the role of Sacristan in Tosca with Cincinnati Opera and Intermountain Opera Bozeman, Alcindoro/Benoit in La bohème with Opera Omaha, Dansker in Billy Budd with Des Moines Metro Opera, Major General Stanley in The Pirates of Penzance with Opera Memphis, and Antonio in Le nozze di Figaro with Milwaukee Symphony.

Brian Wallin *^
Spoletta

Sponsored by The Jacquemin Family Foundation, in memory of Claude Jacquemin, and in part by Ms. Carol O’Malley & Mr. Nick Harry

Hailed by the Dallas Morning News as having a “finely focused and well-mannered” voice, BRIAN WALLIN has recently finished an exciting 2016/2017 season. Wallin appeared with Opera Saratoga in the role of Editor Daily in Marc Blitzstein’s The Cradle Will Rock as well as covering the role of Fenton in Falstaff. He also made his Minnesota Orchestra debut as 3rd Jew in Salome during the 2017 Sommerfest as well as a return to Fort Worth Opera as El Remendado in Carmen. Other season highlight included appearing as the tenor soloist in Carmina Burana with the Atlanta Ballet, and the King of El Dorado in Candide with Théâtre du Capitole and Opéra National de Bordeaux in France. As a Hattie Mae Lesley Apprentice Artist with Fort Worth Opera from 2014-2016, he performed the role of The Reporter and covered the role of Henry Rathbone in the world premiere of JFK; and performed the roles of Undertaker’s Assistant I/ER Nurse/Priest in Buried Alive and Rory in Embedded as part of their regional premieres. Wallin made his professional debut during the 2015 Fort Worth Opera Festival as Gastone in La traviata and Second Gravedigger in Hamlet. During the summer of 2015 he was a Young Artist at the Glimmerglass Festival in the roles of First Priest in The Magic Flute and in the ensemble of Candide. Other credits include performances in Dialogues of the Carmelites, and La bohème as part of the Janiec Opera Company at the Brevard Music Center. He earned his B.M. and M.M. from the Maryland Opera Studio.

Joshua Conyers^
Sciarrone

Sponsored by Drs. Henry & Marsha Laufer

Baritone Joshua Conyers continues to forge a career that embraces a wide variety of operatic styles and languages while focusing on the works of Verdi and Puccini. Mr. Conyers’s Verdian and Puccinian repertoire includes the roles of Giorgio Germont in La traviata, the title role of Falstaff, Marcello in La bohème, Scarpia in Tosca, and the Mandarin in Turandot with such companies as Utah Festival Opera, Des Moines Metro Opera, Piedmont Opera, and Indiana University Opera and Ballet Theater. In August 2017, Mr. Conyers performs his first staged Scarpia in Vashon Opera’s production of Tosca, simultaneously marking his debut with the company.

In 2017 and 2018 Mr. Conyers fulfills two seasons of residency in the Benenson Young Artist Program at Palm Beach Opera. His responsibilities Sciarrone in Tosca (covering Scarpia), a variety of roles in Candide, and both covering the Count in Le nozze di Figaro and singing the family performance. In the summer of 2017, Mr. Conyers joins the Glimmerglass Festival to cover the roles of Porgy in Porgy and Bess and Eustachio in Donizetti’s rarely performed L’assedio di Calais.

Mr. Conyers’ repertoire also opera of the 17th century (Aeneas in Dido and Aeneas at the Indiana University Early Music Institute) and 18th century (Buonafede in Haydn’s Il mondo della luna and the title role of Don Giovanni). As Don Giovanni in the Martina Arroyo Foundation’s Prelude to Performance production of 2011, Mr. Conyers “poured forth a deliciously honeyed baritone that would seduce anyone” and “effortlessly summoned up a laser-­‐beam look that communicated hidden danger and volatility” (Opera News). Equally active in contemporary opera as well, Mr. Conyers covered the roles of Mr. Umeya in the American premiere of Huang Ruo’s Dr. Sun Yat-­‐Sen and Walt Whitman in the world premiere of Theodore Morrison’s Oscar, both with the Santa Fe Opera. Mr. Conyers has also performed John Sorel in The Consul, the Vicar in Albert Herring, Bob in The Old Maid and the Thief, Henry Davis in Street Scene, and the roles of Baritone 2, Isabella, and King in Cinderella in Spain, a new opera by Mary Carol Warwick premiered by the Robeson County Arts Council.

In the oratorio and concert repertoire, Mr. Conyers has performed Bach’s St. Matthew Passion (as Peter and Pilate) with the Utah Festival Opera, Bach’s Magnificat and Gleichwie der Regen und Schnee vom Himmel fällt (BWV 18), Handel’s Messiahwith the Mozart Club in Winston Salem (NC) and the Fayetteville Orchestra, Brahms’ Deutsches Requiem and Neues Liebesliederwalzer, Fauré’s Requiem, and Vaughan Williams’ Dona nobis pacem. Recently Mr. Conyers has performed Carmina Burana with the University of North Carolina School of the Arts and has appeared on Methodist University’s Friends of Music Guest Artist Series as recitalist and masterclass teacher.

Mr. Conyers holds a Performance Artist Certificate from the A.J. Fletcher Opera Institute, a Masters of Music from Indiana University, and a Bachelors of Music from University of North Carolina School of the Arts. He has fulfilled young artist residencies with Des Moines Metro Opera, Santa Fe Opera, Utah Festival Opera and Musical Theater, and the Martina Arroyo Foundation’s Prelude to Performance program. His numerous vocal competition credits and scholarships include the A.J. Fletcher Scholarship in Music, the Kenan Excellence Award in Music, the Shivers Foundation Scholarship, Metropolitan Opera National Council District Winner (2010, 2011 & 2015), Metropolitan Opera National Council Regional Encouragement Award Winner, S. Livingston Mather Scholar Competition 1st Place Winner, the Charlotte Opera Guild Competition Winner, the Heafner/Williams Vocal Competition 1st place Winner, and National Association of Teachers of Singing (NATS) Award Winner.

David Stern
Chief Conductor

Sponsored by Mrs. Ari Rifkin

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

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

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

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

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

Fenlon Lamb
Stage Director

Opera News called Fenlon Lamb “moving and convincing” and Seen and Heard International praised her “well-honed theatrical sensibility.” Ms. Lamb brings these qualities of experience and perspective as an outstanding singing actress to her work as a stage director. Fenlon returns for her fifth season with Palm Beach Opera to direct Tosca. Previous seasons have included a “delightful” Don Pasquale an “opulent” La bohème, and a “madcap” Il barbiere di Siviglia along with several critically acclaimed Young Artist productions. Last season, Fenlon returned to Arizona Opera for the world premiere production of Riders of the Purple Sage. She made her directorial debut in Carmen with Dayton Opera and directed a new production of Tosca for Finger Lakes Opera. Fenlon also conceived and directed a unique operatic installation of Elvis Costello’s The Juliet Letters for Lyric Opera of Kansas City.

Recently, Ms. Lamb made her company debut at Opera Santa Barbara with a “superb” Suor Angelica/Gianni Schicchi. Other productions at opera houses across the U.S. have included Don Pasquale at the Crested Butte Music Festival, The Pearl Fishers with Dayton Opera, Die fliegende Holländer for Opera Carolina, Werther with Mobile Opera, and both Rigoletto and Lucia di Lammermoor at Arizona Opera. Fenlon is the Director of Opera and Vocal Programming for the Bar Harbor Music Festival where she has directed Carmen, L’elisir d’amore, Madama Butterfly, Il barbiere di Siviglia, Le nozze di Figaro, La bohème, La cenerentola, and Don Giovanni. She is currently in her third season as Director of Opera at UMKC Conservatory of Music (Cendrillon, Little Women, Die Zauberflöte, The Turn of the Screw, Suor Angelica/Gianni Schicchi, Hänsel und Gretel). Fenlon is the co-creator and Artistic Director of Papermoon Opera Productions launching this spring.

Stuart Duke
Lighting Designer

Stuart Duke is delighted to be making his PBO debut with Tosca.  He recently designed the lighting for the world premiere of the Kurt Vonnegut opera Happy Birthday Wanda June, the Off-Broadway premiere of Orwell in America, and The Importance of Being Earnest for Walnut Street Theatre in Philadelphia.  He has designed more than 20 Indianapolis Opera productions including Madame Butterfly, Rigoletto, Otello, The Magic Flute, Orfeo, Don Giovanni, and The Crucible, as well as Porgy & Bess, Eugene Onegin and La Traviata for Opera Company of Philadelphia, and concert lighting for Kathleen Battle at Carnegie Hall.  Mr. Duke’s New York theatre credits include The Rothschilds, Cast of Characters, Little Me, The Matchmaker and jon & jen.  Regionally he has designed The Night Seasons, written and directed by Horton Foote, Rags for Paper Mill Playhouse, Death of a Salesman starring Christopher Lloyd, Conrack at Ford’s Theatre, and Beauty and the Beast for the Alabama Shakespeare Festival.   Other credits include Indianapolis Symphony’s Yuletide Celebration, Opera Memphis, Huntington Theatre, Goodspeed Musicals, Weston Playhouse, Northern Stage, The Studio Theatre, Geva Theatre, and the The Folger Shakespeare Theatre. Mr. Duke has been nominated three times for the Helen Hayes Award for Outstanding Lighting.

Lee Soroko
Fight Director

Lee is delighted to be working with Palm Beach Opera this season and provide the choreographed violence for Tosca. He is a Certified Teacher of Stage Combat and a Theatrical Firearms Instructor with the Society of American Fight Directors and provides professional fight choreography for opera companies, theatres and universities across America.  In South Florida, Lee has worked with the Florida Grand Opera, Maltz-Jupiter Theatre, Palm Beach Dramaworks, Zoetic Stage, Slow Burn Theatre and Miami New Drama. He is a member of AEA who earned his Master of Fine Arts from the Professional Actor Training Program at the University of Texas at Austin. In addition, Lee is a former National Endowment for the Arts Fellowship recipient for his work in mask and is the Assistant Professor of Movement at Florida Atlantic University.

Keri Alkema
Tosca (1/26 & 1/28)

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

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

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

Alexandra Loutsion
Tosca (1/27)

Hailed as “powerful and projecting” (Pittsburgh Post Gazette) as well as a “promising young soprano,” (Los Angeles Times) Alexandra Loutsion continues to be recognized for her passionate performances and vocal versatility as a rising star on the operatic and concert stage.

In the 2016-2017 season, Alexandra Loutsion made role debuts in the title role of Turandot (Pittsburgh Opera), at Cio-Cio-San in Madama Butterfly (Palm Beach Opera), and as the Foreign Princess in Rusalka (Arizona Opera).

In 2015-2016, Ms. Loutsion made her Arizona Opera debut as Florencia Grimaldi in Florencia en el Amazonas. She was heard with the Santa Fe Symphony in Verdi’s Messa da requiem, made her Wolf Trap Opera debut as Cio-Cio-San in Madama Butterfly and debuted with North Carolina Opera as Donna Anna in Don Giovanni.

Ms. Loutsion spent two summers as an apprentice at the Santa Fe Opera, covering the roles of Leonore in Fidelio, the title role in Puccini’s Tosca, Anna in Rossini’s Maometto II, and was heard as Maddalena di Coigny in scenes from Giordano’s Andrea Chénier. She sang Anna Kennedy in Maria Stuarda with Washington Concert Opera and was heard as soprano soloist in Beethoven’s Symphony No. 9 with the Ithaca College Symphony Orchestra.

Ms. Loutsion concluded her tenure as a Resident Artist with Pittsburgh Opera where she sang Armida in Rinaldo, Gertrude and the Witch in Hänsel und Gretel, and Annina in La Traviata.  As an Apprentice Artist with Central City Opera, Ms. Loutsion was heard in the title role in Madama Butterfly, Melissa in Amadigi di Gaula, Minerva in Orpheus in the Underworld, La Dame Elegante in Les Mamelles de Tirésias, and Frasquita in Carmen.

Ms. Loutsion was a winner of the Metropolitan National Council District Auditions and Long Beach Mozart Competition, and a finalist in the Fritz and Lavinia Jensen Foundation Competition. She is the recipient of the Santa Fe Opera Anna Case MacKay Award, Richard F. Gold Career Grant, the Central City Opera John Moriarty Award, and the Aspen Music Festival New Horizon Fellowship.

Riccardo Massi
Cavaradossi (1/26 & 1/28)

Italian tenor Riccardo Massi has rapidly achieved international recognition as one of the most exciting and accomplished interpreters of the Italian spinto repertoire, earning accolades worldwide for his interpretations of Puccini’s and Verdi’s heroes.

Among his performances in 2017/18 are Cavaradossi in Tosca at the Royal Opera House Covent Garden, the Staatsoper Hamburg, the Palm Beach Opera and with the KBS Symphony Orchestra in Ansan and Seoul, Don José in Carmen for his debut at the Los Angeles Opera, Radamès in a new production of Aida at the Sydney Opera House, at the Hong Kong Opera and the Teatro Colon of Buenos Aires, Des Grieux at the Bolshoi Theatre.

Engagements of the 2016/17 season included his role debut as Des Grieux in Manon Lescaut at the Bol’šoj Theatre in Moscow, a role he also interpreted in a new production at the Berlin State Opera; his debut at the New National Theatre of Tokyo as Pinkerton in Madama Butterfly, his return to the Metropolitan Opera in New York as Radamès in Aida, Calaf in Turandot at the Cologne Opera, Don José in Carmen at the Jhihde Hall in Taiwan, Gustavo in a gala performance of Un ballo in maschera alongside Sondra Radvanovsky at the Nationaltheater Mannheim and Manrico in Il trovatore at the Budapest Summer Festival.

In the 2015/16 season Massi returned to the Royal Opera House, Covent Garden in London as Cavaradossi alongside Angela Gheorghiu’s Tosca; he also appeared at the Handa Opera on Sydney Harbour (Opera Australia) as Calaf in Turandot, at the Melbourne Arts Center (again for Opera Australia) where he debuted the role of Rodolfo in Luisa Miller; sang Radamès at the Teatro Regio of Turin, Calaf at the Bregenz Festival and at the Zurich Opernhaus, and Cavaradossi at the Semperoper Dresden. Furthermore, he appeared at the Barbican Hall in London in a concert performance of Leoncavallo’s Zazà as Milio, which he also recorded for Opera Rara.

Other career highlights include his 2012 Metropolitan Opera debut as Radamès in Aida (the same role with which he also debuted at the Houston Grand Opera in 2013), his debut as Enzo Grimaldi in La Gioconda at the Concertgebouw Amsterdam, debuts at Munich’s Bayerische Staatsoper, the Berlin Staatsoper and the Royal Opera House Covent Garden as Cavaradossi, his debut in the title role of Andrea Chénier at the Royal Swedish Opera, a 2014 gala concert with soprano Anna Netrebko at the Théâtre des Champs-Elysées, Cavaradossi and Don Alvaro in La forza del destino at the Sydney Opera House, Verdi’s Messa da Requiem at the Grand Théâtre de Genève, Riccardo in Un ballo in maschera at the Théâtre Royal de la Monnaie in Brussels, Don José in Carmen at Deutsche Oper Berlin, Pollione in Norma at the Terme di Caracalla, and debuts as Pinkerton in Madama Butterfly at the Norwegian National Opera, Manrico in Il trovatore in Toronto and Calaf in Turandot opposite Nina Stemme at the Royal Swedish Opera.

Mr. Massi developed his vocal technique in Rome with David Holst, who has been his sole mentor. He was invited to join the Accademia della Scala, after which he made his operatic debut in December of 2009 as Radamès in Aida at the Teatro Verdi of Salerno under the baton of Daniel Oren.

As a specialist in the handling of ancient and medieval weapons, before pursuing his passion for opera, Massi enjoyed a career as a stuntman; working in several films including Martin Scorsese’s Gangs of New York, ABC’s Empire, and HBO’s Rome.

Adam Diegel
Cavaradossi (1/27)

Adam Diegel regularly earns international acclaim for his impassioned dramatic sensibilities, powerful voice, and for his classic leading man looks. In the 2016-2017 season Diegel’s engagement include appearances in two of his signature roles: as Pinkerton in Madama Butterfly at Opera Hong Kong and Palm Beach Opera; and Don José in Carmen at San Francisco Opera, PORTopera, and Opera San Antonio. Additionally, Diegel will sing the title role in Verdi’s Don Carlo with Lithuanian National Opera, Ruggerio in La rondine with Opera Santa Barbara, and return to The Metropolitan Opera to sing Ismaele in Nabucco.

Mr. Diegel made his Metropolitan Opera début as Froh in Robert Lepage’s landmark production of Das Rheingold conducted by Maestro James Levine, and later reprised the performance under Fabio Luisi. Further appearances at The Met include Pinkerton in Madama Butterfly under Plácido Domingo and Ismaele in Nabucco under Paolo Carignani.

Other notable U.S. engagements include: Pinkerton in Madama Butterfly (Atlanta Opera, Fort Worth Opera, Arizona Opera, Opera San Antonio, and Kentucky Opera); Ismaele in Nabucco (Opera Philadelphia); Cavaradossi in Tosca (Vancouver Opera, Glimmerglass Opera, Seattle Opera, and Arizona Opera); Don José in Carmen (Glimmerglass Opera, Opera Theatre of St. Louis, Florida Grand Opera, Arizona Opera, and Madison Opera); and Rodolfo in La bohème (Opera Omaha and Minnesota Opera).

Notable international appearances include: Don José in Carmen at English National Opera and in a new production at Opera Australia’s Handa Opera on Sydney Harbour; Pinkerton in Madama Butterfly with Lithuanian National Opera, The Savonlinna Opera Festival, and on tour in China at the Guangzhous Opera House in Anthony Minghella’s acclaimed production; Maurizio in Adriana Lecouvreur at The National Theatre in Budapest, where he later performed Cavaradossi in Tosca; and David Alden’s new production of Luisa Miller for Opéra National de Lyon.

Diegel holds degrees from Yale University and University of Memphis.

Michael Chioldi
Scarpia

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.

Scott Conner*
Cesare Angelotti

A Kansas native, young bass Scott Conner has been lauded by critics and audiences as a major talent on the rise. Mr. Conner’s warm, flexible voice and elegant stature brings proficiency in a wide range of repertoire, including Mozart, Rossini, Handel, Donizetti and Verdi.
This season, Scott Conner makes significant company debuts at the Opéra National de Paris as Nerbulone in Eliogabalo, and at both Royal Opera House Covent Garden and the Metropolitan Opera as the Police Commissioner in Der Rosenkavalier. He also returns to the Dutch National Opera in Amsterdam as Nerbulone in Eliogabalo and San Francisco Opera as Colline in La bohème. Next season includes returns to the Dutch National Opera as Nerbulone in Eliogabalo and Semperoper Dresden as Sparafucile in Rigoletto.

Last season Mr. Conner returned to Zürich Opera for Don Profondo in a new production of Il Viaggio a Reims, as well as Zoroastro in Orlando under the baton of William Christie. He also joined the Bayerische Staatsoper in Munich, singing Tom in Verdi’s Un ballo in maschera, conducted by Zubin Mehta, as well as the Festival d’Aix-en-Provence for a recital featuring works by Rossini.
During the 2014-2015 season, Scott Conner made his debut with Dutch National Opera in Amsterdam as Bernardino in Benvenuto Cellini, and also debuted with San Francisco Opera as Tom in Un ballo in maschera. Additionally, he appeared with the company as Angelotti in Tosca and as Colline in the family performances of La bohème, and covered Alidoro in La Cenerentola. He closed the season in a return to Festival d’Aix-en-Provence, singing Theseus in Robert Carsen’s production of A Midsummer Night’s Dream.

During the 2013-2014 season, Scott Conner’s engagements included: Raimondo in Lucia di Lammermoor with L’Opéra de Lille; the roles of Colline, Nourabad, and un Frate with the Zürich Opera; Glyndebourne Festival Opera for Zaretsky in Eugene Onegin, the Police Commissioner in Der Rosenkavalier, covered the title role in Don Giovanni, and a live performance of Der Rosenkavalier with the BBC Proms at the prestigious Royal Albert Hall in London.

Scott Conner joined the Ensemble of the Semperoper Dresden in 2012-2013, where roles included Colline in La Boheme, Sparafucile in Rigoletto, Masetto in Don Giovanni and Don Basilio in Il barbiere di Siviglia. He was also seen as the Bass soloist in Handel’s Messiah with the National Symphony Orchestra at the John F. Kennedy Center in Washington D.C. During the summer of 2013, he debuted at Festival d’Aix-en-Provence in Cavalli’s Elena. Additionally Scott was the recipient of a 2012 Sara Tucker Study Grant from the Richard Tucker Foundation, and the 1st Prize Award in the 2012 Gerda Lissner Vocal Competition and the 2012 Loren L. Zachary Vocal Competition.

Scott Conner is a 2012 graduate of Philadelphia’s Academy of Vocal Arts. There, he performed the title role in Don Giovanni, Colline in La bohème, La Roche in Capriccio, Oroveso in Norma, and First Man in the world premiere of Scarlet Letter. During the 2011-2012 season, his assignments at the Academy included the Four Villains in Les contes d’Hoffmann, the title role in Verdi’s Oberto, and Dulcamara in L’elsir d’amore. He also sang the Mozart Requiem with Symphony in C, conducted by Rossen Milanov.
The early years of his career have seen Mr. Conner perform the title role in Le nozze di Figaro with Nashville Opera and Columbus Opera, the Commendatore and Masetto in Don Giovanni with Opera Cleveland, Alidoro in La cenerentola with Opera New Jersey, and Curio in Giulio Cesare with Lyric Opera of Kansas City.

Scott Conner attended the University of Missouri, Kansas City for his Bachelor of Music degree, where roles included Sarastro in Die Zauberflöte, the Pirate King in Pirates of Penzance, and the title role in The Mikado.

Thomas Hammons
Sacristan

Bass-baritone Thomas Hammons has been acclaimed throughout the United States, Canada, and across Europe, for the depth and richness of his portrayals and the strength and beauty of his singing. A versatile singing actor, Mr. Hammons has an active repertoire of over 60 roles spanning a variety of genres from the classical buffo repertoire, to the world of contemporary music, to modern musical theater.  He made his début at The Metropolitan Opera as Sacristan in Toscaduring the 1996-97 Season, and took part in the première of Jonathan Miller’s acclaimed production of Le nozze di Figaro. He has returned to The Met in over 250 performances since, most recently for LuluLe nozze di Figaro, and La bohème. This season, Mr. Hammons will perform the role of Sacristan in Tosca with Cincinnati Opera and Intermountain Opera Bozeman, Alcindoro/Benoit in La bohème with Opera Omaha, Dansker in Billy Budd with Des Moines Metro Opera, Major General Stanley in The Pirates of Penzance with Opera Memphis, and Antonio in Le nozze di Figaro with Milwaukee Symphony.

Brian Wallin *^
Spoletta

Sponsored by The Jacquemin Family Foundation, in memory of Claude Jacquemin, and in part by Ms. Carol O’Malley & Mr. Nick Harry

Hailed by the Dallas Morning News as having a “finely focused and well-mannered” voice, BRIAN WALLIN has recently finished an exciting 2016/2017 season. Wallin appeared with Opera Saratoga in the role of Editor Daily in Marc Blitzstein’s The Cradle Will Rock as well as covering the role of Fenton in Falstaff. He also made his Minnesota Orchestra debut as 3rd Jew in Salome during the 2017 Sommerfest as well as a return to Fort Worth Opera as El Remendado in Carmen. Other season highlight included appearing as the tenor soloist in Carmina Burana with the Atlanta Ballet, and the King of El Dorado in Candide with Théâtre du Capitole and Opéra National de Bordeaux in France. As a Hattie Mae Lesley Apprentice Artist with Fort Worth Opera from 2014-2016, he performed the role of The Reporter and covered the role of Henry Rathbone in the world premiere of JFK; and performed the roles of Undertaker’s Assistant I/ER Nurse/Priest in Buried Alive and Rory in Embedded as part of their regional premieres. Wallin made his professional debut during the 2015 Fort Worth Opera Festival as Gastone in La traviata and Second Gravedigger in Hamlet. During the summer of 2015 he was a Young Artist at the Glimmerglass Festival in the roles of First Priest in The Magic Flute and in the ensemble of Candide. Other credits include performances in Dialogues of the Carmelites, and La bohème as part of the Janiec Opera Company at the Brevard Music Center. He earned his B.M. and M.M. from the Maryland Opera Studio.

Joshua Conyers^
Sciarrone

Sponsored by Drs. Henry & Marsha Laufer

Baritone Joshua Conyers continues to forge a career that embraces a wide variety of operatic styles and languages while focusing on the works of Verdi and Puccini. Mr. Conyers’s Verdian and Puccinian repertoire includes the roles of Giorgio Germont in La traviata, the title role of Falstaff, Marcello in La bohème, Scarpia in Tosca, and the Mandarin in Turandot with such companies as Utah Festival Opera, Des Moines Metro Opera, Piedmont Opera, and Indiana University Opera and Ballet Theater. In August 2017, Mr. Conyers performs his first staged Scarpia in Vashon Opera’s production of Tosca, simultaneously marking his debut with the company.

In 2017 and 2018 Mr. Conyers fulfills two seasons of residency in the Benenson Young Artist Program at Palm Beach Opera. His responsibilities Sciarrone in Tosca (covering Scarpia), a variety of roles in Candide, and both covering the Count in Le nozze di Figaro and singing the family performance. In the summer of 2017, Mr. Conyers joins the Glimmerglass Festival to cover the roles of Porgy in Porgy and Bess and Eustachio in Donizetti’s rarely performed L’assedio di Calais.

Mr. Conyers’ repertoire also opera of the 17th century (Aeneas in Dido and Aeneas at the Indiana University Early Music Institute) and 18th century (Buonafede in Haydn’s Il mondo della luna and the title role of Don Giovanni). As Don Giovanni in the Martina Arroyo Foundation’s Prelude to Performance production of 2011, Mr. Conyers “poured forth a deliciously honeyed baritone that would seduce anyone” and “effortlessly summoned up a laser-­‐beam look that communicated hidden danger and volatility” (Opera News). Equally active in contemporary opera as well, Mr. Conyers covered the roles of Mr. Umeya in the American premiere of Huang Ruo’s Dr. Sun Yat-­‐Sen and Walt Whitman in the world premiere of Theodore Morrison’s Oscar, both with the Santa Fe Opera. Mr. Conyers has also performed John Sorel in The Consul, the Vicar in Albert Herring, Bob in The Old Maid and the Thief, Henry Davis in Street Scene, and the roles of Baritone 2, Isabella, and King in Cinderella in Spain, a new opera by Mary Carol Warwick premiered by the Robeson County Arts Council.

In the oratorio and concert repertoire, Mr. Conyers has performed Bach’s St. Matthew Passion (as Peter and Pilate) with the Utah Festival Opera, Bach’s Magnificat and Gleichwie der Regen und Schnee vom Himmel fällt (BWV 18), Handel’s Messiahwith the Mozart Club in Winston Salem (NC) and the Fayetteville Orchestra, Brahms’ Deutsches Requiem and Neues Liebesliederwalzer, Fauré’s Requiem, and Vaughan Williams’ Dona nobis pacem. Recently Mr. Conyers has performed Carmina Burana with the University of North Carolina School of the Arts and has appeared on Methodist University’s Friends of Music Guest Artist Series as recitalist and masterclass teacher.

Mr. Conyers holds a Performance Artist Certificate from the A.J. Fletcher Opera Institute, a Masters of Music from Indiana University, and a Bachelors of Music from University of North Carolina School of the Arts. He has fulfilled young artist residencies with Des Moines Metro Opera, Santa Fe Opera, Utah Festival Opera and Musical Theater, and the Martina Arroyo Foundation’s Prelude to Performance program. His numerous vocal competition credits and scholarships include the A.J. Fletcher Scholarship in Music, the Kenan Excellence Award in Music, the Shivers Foundation Scholarship, Metropolitan Opera National Council District Winner (2010, 2011 & 2015), Metropolitan Opera National Council Regional Encouragement Award Winner, S. Livingston Mather Scholar Competition 1st Place Winner, the Charlotte Opera Guild Competition Winner, the Heafner/Williams Vocal Competition 1st place Winner, and National Association of Teachers of Singing (NATS) Award Winner.

David Stern
Chief Conductor

Sponsored by Mrs. Ari Rifkin

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

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

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

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

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

Fenlon Lamb
Stage Director

Opera News called Fenlon Lamb “moving and convincing” and Seen and Heard International praised her “well-honed theatrical sensibility.” Ms. Lamb brings these qualities of experience and perspective as an outstanding singing actress to her work as a stage director. Fenlon returns for her fifth season with Palm Beach Opera to direct Tosca. Previous seasons have included a “delightful” Don Pasquale an “opulent” La bohème, and a “madcap” Il barbiere di Siviglia along with several critically acclaimed Young Artist productions. Last season, Fenlon returned to Arizona Opera for the world premiere production of Riders of the Purple Sage. She made her directorial debut in Carmen with Dayton Opera and directed a new production of Tosca for Finger Lakes Opera. Fenlon also conceived and directed a unique operatic installation of Elvis Costello’s The Juliet Letters for Lyric Opera of Kansas City.

Recently, Ms. Lamb made her company debut at Opera Santa Barbara with a “superb” Suor Angelica/Gianni Schicchi. Other productions at opera houses across the U.S. have included Don Pasquale at the Crested Butte Music Festival, The Pearl Fishers with Dayton Opera, Die fliegende Holländer for Opera Carolina, Werther with Mobile Opera, and both Rigoletto and Lucia di Lammermoor at Arizona Opera. Fenlon is the Director of Opera and Vocal Programming for the Bar Harbor Music Festival where she has directed Carmen, L’elisir d’amore, Madama Butterfly, Il barbiere di Siviglia, Le nozze di Figaro, La bohème, La cenerentola, and Don Giovanni. She is currently in her third season as Director of Opera at UMKC Conservatory of Music (Cendrillon, Little Women, Die Zauberflöte, The Turn of the Screw, Suor Angelica/Gianni Schicchi, Hänsel und Gretel). Fenlon is the co-creator and Artistic Director of Papermoon Opera Productions launching this spring.

Stuart Duke
Lighting Designer

Stuart Duke is delighted to be making his PBO debut with Tosca.  He recently designed the lighting for the world premiere of the Kurt Vonnegut opera Happy Birthday Wanda June, the Off-Broadway premiere of Orwell in America, and The Importance of Being Earnest for Walnut Street Theatre in Philadelphia.  He has designed more than 20 Indianapolis Opera productions including Madame Butterfly, Rigoletto, Otello, The Magic Flute, Orfeo, Don Giovanni, and The Crucible, as well as Porgy & Bess, Eugene Onegin and La Traviata for Opera Company of Philadelphia, and concert lighting for Kathleen Battle at Carnegie Hall.  Mr. Duke’s New York theatre credits include The Rothschilds, Cast of Characters, Little Me, The Matchmaker and jon & jen.  Regionally he has designed The Night Seasons, written and directed by Horton Foote, Rags for Paper Mill Playhouse, Death of a Salesman starring Christopher Lloyd, Conrack at Ford’s Theatre, and Beauty and the Beast for the Alabama Shakespeare Festival.   Other credits include Indianapolis Symphony’s Yuletide Celebration, Opera Memphis, Huntington Theatre, Goodspeed Musicals, Weston Playhouse, Northern Stage, The Studio Theatre, Geva Theatre, and the The Folger Shakespeare Theatre. Mr. Duke has been nominated three times for the Helen Hayes Award for Outstanding Lighting.

Lee Soroko
Fight Director

Lee is delighted to be working with Palm Beach Opera this season and provide the choreographed violence for Tosca. He is a Certified Teacher of Stage Combat and a Theatrical Firearms Instructor with the Society of American Fight Directors and provides professional fight choreography for opera companies, theatres and universities across America.  In South Florida, Lee has worked with the Florida Grand Opera, Maltz-Jupiter Theatre, Palm Beach Dramaworks, Zoetic Stage, Slow Burn Theatre and Miami New Drama. He is a member of AEA who earned his Master of Fine Arts from the Professional Actor Training Program at the University of Texas at Austin. In addition, Lee is a former National Endowment for the Arts Fellowship recipient for his work in mask and is the Assistant Professor of Movement at Florida Atlantic University.

Keri Alkema
Tosca (1/26 & 1/28)

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

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

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

Alexandra Loutsion
Tosca (1/27)

Hailed as “powerful and projecting” (Pittsburgh Post Gazette) as well as a “promising young soprano,” (Los Angeles Times) Alexandra Loutsion continues to be recognized for her passionate performances and vocal versatility as a rising star on the operatic and concert stage.

In the 2016-2017 season, Alexandra Loutsion made role debuts in the title role of Turandot (Pittsburgh Opera), at Cio-Cio-San in Madama Butterfly (Palm Beach Opera), and as the Foreign Princess in Rusalka (Arizona Opera).

In 2015-2016, Ms. Loutsion made her Arizona Opera debut as Florencia Grimaldi in Florencia en el Amazonas. She was heard with the Santa Fe Symphony in Verdi’s Messa da requiem, made her Wolf Trap Opera debut as Cio-Cio-San in Madama Butterfly and debuted with North Carolina Opera as Donna Anna in Don Giovanni.

Ms. Loutsion spent two summers as an apprentice at the Santa Fe Opera, covering the roles of Leonore in Fidelio, the title role in Puccini’s Tosca, Anna in Rossini’s Maometto II, and was heard as Maddalena di Coigny in scenes from Giordano’s Andrea Chénier. She sang Anna Kennedy in Maria Stuarda with Washington Concert Opera and was heard as soprano soloist in Beethoven’s Symphony No. 9 with the Ithaca College Symphony Orchestra.

Ms. Loutsion concluded her tenure as a Resident Artist with Pittsburgh Opera where she sang Armida in Rinaldo, Gertrude and the Witch in Hänsel und Gretel, and Annina in La Traviata.  As an Apprentice Artist with Central City Opera, Ms. Loutsion was heard in the title role in Madama Butterfly, Melissa in Amadigi di Gaula, Minerva in Orpheus in the Underworld, La Dame Elegante in Les Mamelles de Tirésias, and Frasquita in Carmen.

Ms. Loutsion was a winner of the Metropolitan National Council District Auditions and Long Beach Mozart Competition, and a finalist in the Fritz and Lavinia Jensen Foundation Competition. She is the recipient of the Santa Fe Opera Anna Case MacKay Award, Richard F. Gold Career Grant, the Central City Opera John Moriarty Award, and the Aspen Music Festival New Horizon Fellowship.

Riccardo Massi
Cavaradossi (1/26 & 1/28)

Italian tenor Riccardo Massi has rapidly achieved international recognition as one of the most exciting and accomplished interpreters of the Italian spinto repertoire, earning accolades worldwide for his interpretations of Puccini’s and Verdi’s heroes.

Among his performances in 2017/18 are Cavaradossi in Tosca at the Royal Opera House Covent Garden, the Staatsoper Hamburg, the Palm Beach Opera and with the KBS Symphony Orchestra in Ansan and Seoul, Don José in Carmen for his debut at the Los Angeles Opera, Radamès in a new production of Aida at the Sydney Opera House, at the Hong Kong Opera and the Teatro Colon of Buenos Aires, Des Grieux at the Bolshoi Theatre.

Engagements of the 2016/17 season included his role debut as Des Grieux in Manon Lescaut at the Bol’šoj Theatre in Moscow, a role he also interpreted in a new production at the Berlin State Opera; his debut at the New National Theatre of Tokyo as Pinkerton in Madama Butterfly, his return to the Metropolitan Opera in New York as Radamès in Aida, Calaf in Turandot at the Cologne Opera, Don José in Carmen at the Jhihde Hall in Taiwan, Gustavo in a gala performance of Un ballo in maschera alongside Sondra Radvanovsky at the Nationaltheater Mannheim and Manrico in Il trovatore at the Budapest Summer Festival.

In the 2015/16 season Massi returned to the Royal Opera House, Covent Garden in London as Cavaradossi alongside Angela Gheorghiu’s Tosca; he also appeared at the Handa Opera on Sydney Harbour (Opera Australia) as Calaf in Turandot, at the Melbourne Arts Center (again for Opera Australia) where he debuted the role of Rodolfo in Luisa Miller; sang Radamès at the Teatro Regio of Turin, Calaf at the Bregenz Festival and at the Zurich Opernhaus, and Cavaradossi at the Semperoper Dresden. Furthermore, he appeared at the Barbican Hall in London in a concert performance of Leoncavallo’s Zazà as Milio, which he also recorded for Opera Rara.

Other career highlights include his 2012 Metropolitan Opera debut as Radamès in Aida (the same role with which he also debuted at the Houston Grand Opera in 2013), his debut as Enzo Grimaldi in La Gioconda at the Concertgebouw Amsterdam, debuts at Munich’s Bayerische Staatsoper, the Berlin Staatsoper and the Royal Opera House Covent Garden as Cavaradossi, his debut in the title role of Andrea Chénier at the Royal Swedish Opera, a 2014 gala concert with soprano Anna Netrebko at the Théâtre des Champs-Elysées, Cavaradossi and Don Alvaro in La forza del destino at the Sydney Opera House, Verdi’s Messa da Requiem at the Grand Théâtre de Genève, Riccardo in Un ballo in maschera at the Théâtre Royal de la Monnaie in Brussels, Don José in Carmen at Deutsche Oper Berlin, Pollione in Norma at the Terme di Caracalla, and debuts as Pinkerton in Madama Butterfly at the Norwegian National Opera, Manrico in Il trovatore in Toronto and Calaf in Turandot opposite Nina Stemme at the Royal Swedish Opera.

Mr. Massi developed his vocal technique in Rome with David Holst, who has been his sole mentor. He was invited to join the Accademia della Scala, after which he made his operatic debut in December of 2009 as Radamès in Aida at the Teatro Verdi of Salerno under the baton of Daniel Oren.

As a specialist in the handling of ancient and medieval weapons, before pursuing his passion for opera, Massi enjoyed a career as a stuntman; working in several films including Martin Scorsese’s Gangs of New York, ABC’s Empire, and HBO’s Rome.

Adam Diegel
Cavaradossi (1/27)

Adam Diegel regularly earns international acclaim for his impassioned dramatic sensibilities, powerful voice, and for his classic leading man looks. In the 2016-2017 season Diegel’s engagement include appearances in two of his signature roles: as Pinkerton in Madama Butterfly at Opera Hong Kong and Palm Beach Opera; and Don José in Carmen at San Francisco Opera, PORTopera, and Opera San Antonio. Additionally, Diegel will sing the title role in Verdi’s Don Carlo with Lithuanian National Opera, Ruggerio in La rondine with Opera Santa Barbara, and return to The Metropolitan Opera to sing Ismaele in Nabucco.

Mr. Diegel made his Metropolitan Opera début as Froh in Robert Lepage’s landmark production of Das Rheingold conducted by Maestro James Levine, and later reprised the performance under Fabio Luisi. Further appearances at The Met include Pinkerton in Madama Butterfly under Plácido Domingo and Ismaele in Nabucco under Paolo Carignani.

Other notable U.S. engagements include: Pinkerton in Madama Butterfly (Atlanta Opera, Fort Worth Opera, Arizona Opera, Opera San Antonio, and Kentucky Opera); Ismaele in Nabucco (Opera Philadelphia); Cavaradossi in Tosca (Vancouver Opera, Glimmerglass Opera, Seattle Opera, and Arizona Opera); Don José in Carmen (Glimmerglass Opera, Opera Theatre of St. Louis, Florida Grand Opera, Arizona Opera, and Madison Opera); and Rodolfo in La bohème (Opera Omaha and Minnesota Opera).

Notable international appearances include: Don José in Carmen at English National Opera and in a new production at Opera Australia’s Handa Opera on Sydney Harbour; Pinkerton in Madama Butterfly with Lithuanian National Opera, The Savonlinna Opera Festival, and on tour in China at the Guangzhous Opera House in Anthony Minghella’s acclaimed production; Maurizio in Adriana Lecouvreur at The National Theatre in Budapest, where he later performed Cavaradossi in Tosca; and David Alden’s new production of Luisa Miller for Opéra National de Lyon.

Diegel holds degrees from Yale University and University of Memphis.

Michael Chioldi
Scarpia

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.

Scott Conner*
Cesare Angelotti

A Kansas native, young bass Scott Conner has been lauded by critics and audiences as a major talent on the rise. Mr. Conner’s warm, flexible voice and elegant stature brings proficiency in a wide range of repertoire, including Mozart, Rossini, Handel, Donizetti and Verdi.
This season, Scott Conner makes significant company debuts at the Opéra National de Paris as Nerbulone in Eliogabalo, and at both Royal Opera House Covent Garden and the Metropolitan Opera as the Police Commissioner in Der Rosenkavalier. He also returns to the Dutch National Opera in Amsterdam as Nerbulone in Eliogabalo and San Francisco Opera as Colline in La bohème. Next season includes returns to the Dutch National Opera as Nerbulone in Eliogabalo and Semperoper Dresden as Sparafucile in Rigoletto.

Last season Mr. Conner returned to Zürich Opera for Don Profondo in a new production of Il Viaggio a Reims, as well as Zoroastro in Orlando under the baton of William Christie. He also joined the Bayerische Staatsoper in Munich, singing Tom in Verdi’s Un ballo in maschera, conducted by Zubin Mehta, as well as the Festival d’Aix-en-Provence for a recital featuring works by Rossini.
During the 2014-2015 season, Scott Conner made his debut with Dutch National Opera in Amsterdam as Bernardino in Benvenuto Cellini, and also debuted with San Francisco Opera as Tom in Un ballo in maschera. Additionally, he appeared with the company as Angelotti in Tosca and as Colline in the family performances of La bohème, and covered Alidoro in La Cenerentola. He closed the season in a return to Festival d’Aix-en-Provence, singing Theseus in Robert Carsen’s production of A Midsummer Night’s Dream.

During the 2013-2014 season, Scott Conner’s engagements included: Raimondo in Lucia di Lammermoor with L’Opéra de Lille; the roles of Colline, Nourabad, and un Frate with the Zürich Opera; Glyndebourne Festival Opera for Zaretsky in Eugene Onegin, the Police Commissioner in Der Rosenkavalier, covered the title role in Don Giovanni, and a live performance of Der Rosenkavalier with the BBC Proms at the prestigious Royal Albert Hall in London.

Scott Conner joined the Ensemble of the Semperoper Dresden in 2012-2013, where roles included Colline in La Boheme, Sparafucile in Rigoletto, Masetto in Don Giovanni and Don Basilio in Il barbiere di Siviglia. He was also seen as the Bass soloist in Handel’s Messiah with the National Symphony Orchestra at the John F. Kennedy Center in Washington D.C. During the summer of 2013, he debuted at Festival d’Aix-en-Provence in Cavalli’s Elena. Additionally Scott was the recipient of a 2012 Sara Tucker Study Grant from the Richard Tucker Foundation, and the 1st Prize Award in the 2012 Gerda Lissner Vocal Competition and the 2012 Loren L. Zachary Vocal Competition.

Scott Conner is a 2012 graduate of Philadelphia’s Academy of Vocal Arts. There, he performed the title role in Don Giovanni, Colline in La bohème, La Roche in Capriccio, Oroveso in Norma, and First Man in the world premiere of Scarlet Letter. During the 2011-2012 season, his assignments at the Academy included the Four Villains in Les contes d’Hoffmann, the title role in Verdi’s Oberto, and Dulcamara in L’elsir d’amore. He also sang the Mozart Requiem with Symphony in C, conducted by Rossen Milanov.
The early years of his career have seen Mr. Conner perform the title role in Le nozze di Figaro with Nashville Opera and Columbus Opera, the Commendatore and Masetto in Don Giovanni with Opera Cleveland, Alidoro in La cenerentola with Opera New Jersey, and Curio in Giulio Cesare with Lyric Opera of Kansas City.

Scott Conner attended the University of Missouri, Kansas City for his Bachelor of Music degree, where roles included Sarastro in Die Zauberflöte, the Pirate King in Pirates of Penzance, and the title role in The Mikado.

Thomas Hammons
Sacristan

Bass-baritone Thomas Hammons has been acclaimed throughout the United States, Canada, and across Europe, for the depth and richness of his portrayals and the strength and beauty of his singing. A versatile singing actor, Mr. Hammons has an active repertoire of over 60 roles spanning a variety of genres from the classical buffo repertoire, to the world of contemporary music, to modern musical theater.  He made his début at The Metropolitan Opera as Sacristan in Toscaduring the 1996-97 Season, and took part in the première of Jonathan Miller’s acclaimed production of Le nozze di Figaro. He has returned to The Met in over 250 performances since, most recently for LuluLe nozze di Figaro, and La bohème. This season, Mr. Hammons will perform the role of Sacristan in Tosca with Cincinnati Opera and Intermountain Opera Bozeman, Alcindoro/Benoit in La bohème with Opera Omaha, Dansker in Billy Budd with Des Moines Metro Opera, Major General Stanley in The Pirates of Penzance with Opera Memphis, and Antonio in Le nozze di Figaro with Milwaukee Symphony.

Brian Wallin *^
Spoletta

Sponsored by The Jacquemin Family Foundation, in memory of Claude Jacquemin, and in part by Ms. Carol O’Malley & Mr. Nick Harry

Hailed by the Dallas Morning News as having a “finely focused and well-mannered” voice, BRIAN WALLIN has recently finished an exciting 2016/2017 season. Wallin appeared with Opera Saratoga in the role of Editor Daily in Marc Blitzstein’s The Cradle Will Rock as well as covering the role of Fenton in Falstaff. He also made his Minnesota Orchestra debut as 3rd Jew in Salome during the 2017 Sommerfest as well as a return to Fort Worth Opera as El Remendado in Carmen. Other season highlight included appearing as the tenor soloist in Carmina Burana with the Atlanta Ballet, and the King of El Dorado in Candide with Théâtre du Capitole and Opéra National de Bordeaux in France. As a Hattie Mae Lesley Apprentice Artist with Fort Worth Opera from 2014-2016, he performed the role of The Reporter and covered the role of Henry Rathbone in the world premiere of JFK; and performed the roles of Undertaker’s Assistant I/ER Nurse/Priest in Buried Alive and Rory in Embedded as part of their regional premieres. Wallin made his professional debut during the 2015 Fort Worth Opera Festival as Gastone in La traviata and Second Gravedigger in Hamlet. During the summer of 2015 he was a Young Artist at the Glimmerglass Festival in the roles of First Priest in The Magic Flute and in the ensemble of Candide. Other credits include performances in Dialogues of the Carmelites, and La bohème as part of the Janiec Opera Company at the Brevard Music Center. He earned his B.M. and M.M. from the Maryland Opera Studio.

Joshua Conyers^
Sciarrone

Sponsored by Drs. Henry & Marsha Laufer

Baritone Joshua Conyers continues to forge a career that embraces a wide variety of operatic styles and languages while focusing on the works of Verdi and Puccini. Mr. Conyers’s Verdian and Puccinian repertoire includes the roles of Giorgio Germont in La traviata, the title role of Falstaff, Marcello in La bohème, Scarpia in Tosca, and the Mandarin in Turandot with such companies as Utah Festival Opera, Des Moines Metro Opera, Piedmont Opera, and Indiana University Opera and Ballet Theater. In August 2017, Mr. Conyers performs his first staged Scarpia in Vashon Opera’s production of Tosca, simultaneously marking his debut with the company.

In 2017 and 2018 Mr. Conyers fulfills two seasons of residency in the Benenson Young Artist Program at Palm Beach Opera. His responsibilities Sciarrone in Tosca (covering Scarpia), a variety of roles in Candide, and both covering the Count in Le nozze di Figaro and singing the family performance. In the summer of 2017, Mr. Conyers joins the Glimmerglass Festival to cover the roles of Porgy in Porgy and Bess and Eustachio in Donizetti’s rarely performed L’assedio di Calais.

Mr. Conyers’ repertoire also opera of the 17th century (Aeneas in Dido and Aeneas at the Indiana University Early Music Institute) and 18th century (Buonafede in Haydn’s Il mondo della luna and the title role of Don Giovanni). As Don Giovanni in the Martina Arroyo Foundation’s Prelude to Performance production of 2011, Mr. Conyers “poured forth a deliciously honeyed baritone that would seduce anyone” and “effortlessly summoned up a laser-­‐beam look that communicated hidden danger and volatility” (Opera News). Equally active in contemporary opera as well, Mr. Conyers covered the roles of Mr. Umeya in the American premiere of Huang Ruo’s Dr. Sun Yat-­‐Sen and Walt Whitman in the world premiere of Theodore Morrison’s Oscar, both with the Santa Fe Opera. Mr. Conyers has also performed John Sorel in The Consul, the Vicar in Albert Herring, Bob in The Old Maid and the Thief, Henry Davis in Street Scene, and the roles of Baritone 2, Isabella, and King in Cinderella in Spain, a new opera by Mary Carol Warwick premiered by the Robeson County Arts Council.

In the oratorio and concert repertoire, Mr. Conyers has performed Bach’s St. Matthew Passion (as Peter and Pilate) with the Utah Festival Opera, Bach’s Magnificat and Gleichwie der Regen und Schnee vom Himmel fällt (BWV 18), Handel’s Messiahwith the Mozart Club in Winston Salem (NC) and the Fayetteville Orchestra, Brahms’ Deutsches Requiem and Neues Liebesliederwalzer, Fauré’s Requiem, and Vaughan Williams’ Dona nobis pacem. Recently Mr. Conyers has performed Carmina Burana with the University of North Carolina School of the Arts and has appeared on Methodist University’s Friends of Music Guest Artist Series as recitalist and masterclass teacher.

Mr. Conyers holds a Performance Artist Certificate from the A.J. Fletcher Opera Institute, a Masters of Music from Indiana University, and a Bachelors of Music from University of North Carolina School of the Arts. He has fulfilled young artist residencies with Des Moines Metro Opera, Santa Fe Opera, Utah Festival Opera and Musical Theater, and the Martina Arroyo Foundation’s Prelude to Performance program. His numerous vocal competition credits and scholarships include the A.J. Fletcher Scholarship in Music, the Kenan Excellence Award in Music, the Shivers Foundation Scholarship, Metropolitan Opera National Council District Winner (2010, 2011 & 2015), Metropolitan Opera National Council Regional Encouragement Award Winner, S. Livingston Mather Scholar Competition 1st Place Winner, the Charlotte Opera Guild Competition Winner, the Heafner/Williams Vocal Competition 1st place Winner, and National Association of Teachers of Singing (NATS) Award Winner.

David Stern
Chief Conductor

Sponsored by Mrs. Ari Rifkin

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

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

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

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

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

Fenlon Lamb
Stage Director

Opera News called Fenlon Lamb “moving and convincing” and Seen and Heard International praised her “well-honed theatrical sensibility.” Ms. Lamb brings these qualities of experience and perspective as an outstanding singing actress to her work as a stage director. Fenlon returns for her fifth season with Palm Beach Opera to direct Tosca. Previous seasons have included a “delightful” Don Pasquale an “opulent” La bohème, and a “madcap” Il barbiere di Siviglia along with several critically acclaimed Young Artist productions. Last season, Fenlon returned to Arizona Opera for the world premiere production of Riders of the Purple Sage. She made her directorial debut in Carmen with Dayton Opera and directed a new production of Tosca for Finger Lakes Opera. Fenlon also conceived and directed a unique operatic installation of Elvis Costello’s The Juliet Letters for Lyric Opera of Kansas City.

Recently, Ms. Lamb made her company debut at Opera Santa Barbara with a “superb” Suor Angelica/Gianni Schicchi. Other productions at opera houses across the U.S. have included Don Pasquale at the Crested Butte Music Festival, The Pearl Fishers with Dayton Opera, Die fliegende Holländer for Opera Carolina, Werther with Mobile Opera, and both Rigoletto and Lucia di Lammermoor at Arizona Opera. Fenlon is the Director of Opera and Vocal Programming for the Bar Harbor Music Festival where she has directed Carmen, L’elisir d’amore, Madama Butterfly, Il barbiere di Siviglia, Le nozze di Figaro, La bohème, La cenerentola, and Don Giovanni. She is currently in her third season as Director of Opera at UMKC Conservatory of Music (Cendrillon, Little Women, Die Zauberflöte, The Turn of the Screw, Suor Angelica/Gianni Schicchi, Hänsel und Gretel). Fenlon is the co-creator and Artistic Director of Papermoon Opera Productions launching this spring.

Stuart Duke
Lighting Designer

Stuart Duke is delighted to be making his PBO debut with Tosca.  He recently designed the lighting for the world premiere of the Kurt Vonnegut opera Happy Birthday Wanda June, the Off-Broadway premiere of Orwell in America, and The Importance of Being Earnest for Walnut Street Theatre in Philadelphia.  He has designed more than 20 Indianapolis Opera productions including Madame Butterfly, Rigoletto, Otello, The Magic Flute, Orfeo, Don Giovanni, and The Crucible, as well as Porgy & Bess, Eugene Onegin and La Traviata for Opera Company of Philadelphia, and concert lighting for Kathleen Battle at Carnegie Hall.  Mr. Duke’s New York theatre credits include The Rothschilds, Cast of Characters, Little Me, The Matchmaker and jon & jen.  Regionally he has designed The Night Seasons, written and directed by Horton Foote, Rags for Paper Mill Playhouse, Death of a Salesman starring Christopher Lloyd, Conrack at Ford’s Theatre, and Beauty and the Beast for the Alabama Shakespeare Festival.   Other credits include Indianapolis Symphony’s Yuletide Celebration, Opera Memphis, Huntington Theatre, Goodspeed Musicals, Weston Playhouse, Northern Stage, The Studio Theatre, Geva Theatre, and the The Folger Shakespeare Theatre. Mr. Duke has been nominated three times for the Helen Hayes Award for Outstanding Lighting.

Lee Soroko
Fight Director

Lee is delighted to be working with Palm Beach Opera this season and provide the choreographed violence for Tosca. He is a Certified Teacher of Stage Combat and a Theatrical Firearms Instructor with the Society of American Fight Directors and provides professional fight choreography for opera companies, theatres and universities across America.  In South Florida, Lee has worked with the Florida Grand Opera, Maltz-Jupiter Theatre, Palm Beach Dramaworks, Zoetic Stage, Slow Burn Theatre and Miami New Drama. He is a member of AEA who earned his Master of Fine Arts from the Professional Actor Training Program at the University of Texas at Austin. In addition, Lee is a former National Endowment for the Arts Fellowship recipient for his work in mask and is the Assistant Professor of Movement at Florida Atlantic University.

Keri Alkema
Tosca (1/26 & 1/28)

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

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

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

Alexandra Loutsion
Tosca (1/27)

Hailed as “powerful and projecting” (Pittsburgh Post Gazette) as well as a “promising young soprano,” (Los Angeles Times) Alexandra Loutsion continues to be recognized for her passionate performances and vocal versatility as a rising star on the operatic and concert stage.

In the 2016-2017 season, Alexandra Loutsion made role debuts in the title role of Turandot (Pittsburgh Opera), at Cio-Cio-San in Madama Butterfly (Palm Beach Opera), and as the Foreign Princess in Rusalka (Arizona Opera).

In 2015-2016, Ms. Loutsion made her Arizona Opera debut as Florencia Grimaldi in Florencia en el Amazonas. She was heard with the Santa Fe Symphony in Verdi’s Messa da requiem, made her Wolf Trap Opera debut as Cio-Cio-San in Madama Butterfly and debuted with North Carolina Opera as Donna Anna in Don Giovanni.

Ms. Loutsion spent two summers as an apprentice at the Santa Fe Opera, covering the roles of Leonore in Fidelio, the title role in Puccini’s Tosca, Anna in Rossini’s Maometto II, and was heard as Maddalena di Coigny in scenes from Giordano’s Andrea Chénier. She sang Anna Kennedy in Maria Stuarda with Washington Concert Opera and was heard as soprano soloist in Beethoven’s Symphony No. 9 with the Ithaca College Symphony Orchestra.

Ms. Loutsion concluded her tenure as a Resident Artist with Pittsburgh Opera where she sang Armida in Rinaldo, Gertrude and the Witch in Hänsel und Gretel, and Annina in La Traviata.  As an Apprentice Artist with Central City Opera, Ms. Loutsion was heard in the title role in Madama Butterfly, Melissa in Amadigi di Gaula, Minerva in Orpheus in the Underworld, La Dame Elegante in Les Mamelles de Tirésias, and Frasquita in Carmen.

Ms. Loutsion was a winner of the Metropolitan National Council District Auditions and Long Beach Mozart Competition, and a finalist in the Fritz and Lavinia Jensen Foundation Competition. She is the recipient of the Santa Fe Opera Anna Case MacKay Award, Richard F. Gold Career Grant, the Central City Opera John Moriarty Award, and the Aspen Music Festival New Horizon Fellowship.

Riccardo Massi
Cavaradossi (1/26 & 1/28)

Italian tenor Riccardo Massi has rapidly achieved international recognition as one of the most exciting and accomplished interpreters of the Italian spinto repertoire, earning accolades worldwide for his interpretations of Puccini’s and Verdi’s heroes.

Among his performances in 2017/18 are Cavaradossi in Tosca at the Royal Opera House Covent Garden, the Staatsoper Hamburg, the Palm Beach Opera and with the KBS Symphony Orchestra in Ansan and Seoul, Don José in Carmen for his debut at the Los Angeles Opera, Radamès in a new production of Aida at the Sydney Opera House, at the Hong Kong Opera and the Teatro Colon of Buenos Aires, Des Grieux at the Bolshoi Theatre.

Engagements of the 2016/17 season included his role debut as Des Grieux in Manon Lescaut at the Bol’šoj Theatre in Moscow, a role he also interpreted in a new production at the Berlin State Opera; his debut at the New National Theatre of Tokyo as Pinkerton in Madama Butterfly, his return to the Metropolitan Opera in New York as Radamès in Aida, Calaf in Turandot at the Cologne Opera, Don José in Carmen at the Jhihde Hall in Taiwan, Gustavo in a gala performance of Un ballo in maschera alongside Sondra Radvanovsky at the Nationaltheater Mannheim and Manrico in Il trovatore at the Budapest Summer Festival.

In the 2015/16 season Massi returned to the Royal Opera House, Covent Garden in London as Cavaradossi alongside Angela Gheorghiu’s Tosca; he also appeared at the Handa Opera on Sydney Harbour (Opera Australia) as Calaf in Turandot, at the Melbourne Arts Center (again for Opera Australia) where he debuted the role of Rodolfo in Luisa Miller; sang Radamès at the Teatro Regio of Turin, Calaf at the Bregenz Festival and at the Zurich Opernhaus, and Cavaradossi at the Semperoper Dresden. Furthermore, he appeared at the Barbican Hall in London in a concert performance of Leoncavallo’s Zazà as Milio, which he also recorded for Opera Rara.

Other career highlights include his 2012 Metropolitan Opera debut as Radamès in Aida (the same role with which he also debuted at the Houston Grand Opera in 2013), his debut as Enzo Grimaldi in La Gioconda at the Concertgebouw Amsterdam, debuts at Munich’s Bayerische Staatsoper, the Berlin Staatsoper and the Royal Opera House Covent Garden as Cavaradossi, his debut in the title role of Andrea Chénier at the Royal Swedish Opera, a 2014 gala concert with soprano Anna Netrebko at the Théâtre des Champs-Elysées, Cavaradossi and Don Alvaro in La forza del destino at the Sydney Opera House, Verdi’s Messa da Requiem at the Grand Théâtre de Genève, Riccardo in Un ballo in maschera at the Théâtre Royal de la Monnaie in Brussels, Don José in Carmen at Deutsche Oper Berlin, Pollione in Norma at the Terme di Caracalla, and debuts as Pinkerton in Madama Butterfly at the Norwegian National Opera, Manrico in Il trovatore in Toronto and Calaf in Turandot opposite Nina Stemme at the Royal Swedish Opera.

Mr. Massi developed his vocal technique in Rome with David Holst, who has been his sole mentor. He was invited to join the Accademia della Scala, after which he made his operatic debut in December of 2009 as Radamès in Aida at the Teatro Verdi of Salerno under the baton of Daniel Oren.

As a specialist in the handling of ancient and medieval weapons, before pursuing his passion for opera, Massi enjoyed a career as a stuntman; working in several films including Martin Scorsese’s Gangs of New York, ABC’s Empire, and HBO’s Rome.

Adam Diegel
Cavaradossi (1/27)

Adam Diegel regularly earns international acclaim for his impassioned dramatic sensibilities, powerful voice, and for his classic leading man looks. In the 2016-2017 season Diegel’s engagement include appearances in two of his signature roles: as Pinkerton in Madama Butterfly at Opera Hong Kong and Palm Beach Opera; and Don José in Carmen at San Francisco Opera, PORTopera, and Opera San Antonio. Additionally, Diegel will sing the title role in Verdi’s Don Carlo with Lithuanian National Opera, Ruggerio in La rondine with Opera Santa Barbara, and return to The Metropolitan Opera to sing Ismaele in Nabucco.

Mr. Diegel made his Metropolitan Opera début as Froh in Robert Lepage’s landmark production of Das Rheingold conducted by Maestro James Levine, and later reprised the performance under Fabio Luisi. Further appearances at The Met include Pinkerton in Madama Butterfly under Plácido Domingo and Ismaele in Nabucco under Paolo Carignani.

Other notable U.S. engagements include: Pinkerton in Madama Butterfly (Atlanta Opera, Fort Worth Opera, Arizona Opera, Opera San Antonio, and Kentucky Opera); Ismaele in Nabucco (Opera Philadelphia); Cavaradossi in Tosca (Vancouver Opera, Glimmerglass Opera, Seattle Opera, and Arizona Opera); Don José in Carmen (Glimmerglass Opera, Opera Theatre of St. Louis, Florida Grand Opera, Arizona Opera, and Madison Opera); and Rodolfo in La bohème (Opera Omaha and Minnesota Opera).

Notable international appearances include: Don José in Carmen at English National Opera and in a new production at Opera Australia’s Handa Opera on Sydney Harbour; Pinkerton in Madama Butterfly with Lithuanian National Opera, The Savonlinna Opera Festival, and on tour in China at the Guangzhous Opera House in Anthony Minghella’s acclaimed production; Maurizio in Adriana Lecouvreur at The National Theatre in Budapest, where he later performed Cavaradossi in Tosca; and David Alden’s new production of Luisa Miller for Opéra National de Lyon.

Diegel holds degrees from Yale University and University of Memphis.

Michael Chioldi
Scarpia

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.

Scott Conner*
Cesare Angelotti

A Kansas native, young bass Scott Conner has been lauded by critics and audiences as a major talent on the rise. Mr. Conner’s warm, flexible voice and elegant stature brings proficiency in a wide range of repertoire, including Mozart, Rossini, Handel, Donizetti and Verdi.
This season, Scott Conner makes significant company debuts at the Opéra National de Paris as Nerbulone in Eliogabalo, and at both Royal Opera House Covent Garden and the Metropolitan Opera as the Police Commissioner in Der Rosenkavalier. He also returns to the Dutch National Opera in Amsterdam as Nerbulone in Eliogabalo and San Francisco Opera as Colline in La bohème. Next season includes returns to the Dutch National Opera as Nerbulone in Eliogabalo and Semperoper Dresden as Sparafucile in Rigoletto.

Last season Mr. Conner returned to Zürich Opera for Don Profondo in a new production of Il Viaggio a Reims, as well as Zoroastro in Orlando under the baton of William Christie. He also joined the Bayerische Staatsoper in Munich, singing Tom in Verdi’s Un ballo in maschera, conducted by Zubin Mehta, as well as the Festival d’Aix-en-Provence for a recital featuring works by Rossini.
During the 2014-2015 season, Scott Conner made his debut with Dutch National Opera in Amsterdam as Bernardino in Benvenuto Cellini, and also debuted with San Francisco Opera as Tom in Un ballo in maschera. Additionally, he appeared with the company as Angelotti in Tosca and as Colline in the family performances of La bohème, and covered Alidoro in La Cenerentola. He closed the season in a return to Festival d’Aix-en-Provence, singing Theseus in Robert Carsen’s production of A Midsummer Night’s Dream.

During the 2013-2014 season, Scott Conner’s engagements included: Raimondo in Lucia di Lammermoor with L’Opéra de Lille; the roles of Colline, Nourabad, and un Frate with the Zürich Opera; Glyndebourne Festival Opera for Zaretsky in Eugene Onegin, the Police Commissioner in Der Rosenkavalier, covered the title role in Don Giovanni, and a live performance of Der Rosenkavalier with the BBC Proms at the prestigious Royal Albert Hall in London.

Scott Conner joined the Ensemble of the Semperoper Dresden in 2012-2013, where roles included Colline in La Boheme, Sparafucile in Rigoletto, Masetto in Don Giovanni and Don Basilio in Il barbiere di Siviglia. He was also seen as the Bass soloist in Handel’s Messiah with the National Symphony Orchestra at the John F. Kennedy Center in Washington D.C. During the summer of 2013, he debuted at Festival d’Aix-en-Provence in Cavalli’s Elena. Additionally Scott was the recipient of a 2012 Sara Tucker Study Grant from the Richard Tucker Foundation, and the 1st Prize Award in the 2012 Gerda Lissner Vocal Competition and the 2012 Loren L. Zachary Vocal Competition.

Scott Conner is a 2012 graduate of Philadelphia’s Academy of Vocal Arts. There, he performed the title role in Don Giovanni, Colline in La bohème, La Roche in Capriccio, Oroveso in Norma, and First Man in the world premiere of Scarlet Letter. During the 2011-2012 season, his assignments at the Academy included the Four Villains in Les contes d’Hoffmann, the title role in Verdi’s Oberto, and Dulcamara in L’elsir d’amore. He also sang the Mozart Requiem with Symphony in C, conducted by Rossen Milanov.
The early years of his career have seen Mr. Conner perform the title role in Le nozze di Figaro with Nashville Opera and Columbus Opera, the Commendatore and Masetto in Don Giovanni with Opera Cleveland, Alidoro in La cenerentola with Opera New Jersey, and Curio in Giulio Cesare with Lyric Opera of Kansas City.

Scott Conner attended the University of Missouri, Kansas City for his Bachelor of Music degree, where roles included Sarastro in Die Zauberflöte, the Pirate King in Pirates of Penzance, and the title role in The Mikado.

Thomas Hammons
Sacristan

Bass-baritone Thomas Hammons has been acclaimed throughout the United States, Canada, and across Europe, for the depth and richness of his portrayals and the strength and beauty of his singing. A versatile singing actor, Mr. Hammons has an active repertoire of over 60 roles spanning a variety of genres from the classical buffo repertoire, to the world of contemporary music, to modern musical theater.  He made his début at The Metropolitan Opera as Sacristan in Toscaduring the 1996-97 Season, and took part in the première of Jonathan Miller’s acclaimed production of Le nozze di Figaro. He has returned to The Met in over 250 performances since, most recently for LuluLe nozze di Figaro, and La bohème. This season, Mr. Hammons will perform the role of Sacristan in Tosca with Cincinnati Opera and Intermountain Opera Bozeman, Alcindoro/Benoit in La bohème with Opera Omaha, Dansker in Billy Budd with Des Moines Metro Opera, Major General Stanley in The Pirates of Penzance with Opera Memphis, and Antonio in Le nozze di Figaro with Milwaukee Symphony.

Brian Wallin *^
Spoletta

Sponsored by The Jacquemin Family Foundation, in memory of Claude Jacquemin, and in part by Ms. Carol O’Malley & Mr. Nick Harry

Hailed by the Dallas Morning News as having a “finely focused and well-mannered” voice, BRIAN WALLIN has recently finished an exciting 2016/2017 season. Wallin appeared with Opera Saratoga in the role of Editor Daily in Marc Blitzstein’s The Cradle Will Rock as well as covering the role of Fenton in Falstaff. He also made his Minnesota Orchestra debut as 3rd Jew in Salome during the 2017 Sommerfest as well as a return to Fort Worth Opera as El Remendado in Carmen. Other season highlight included appearing as the tenor soloist in Carmina Burana with the Atlanta Ballet, and the King of El Dorado in Candide with Théâtre du Capitole and Opéra National de Bordeaux in France. As a Hattie Mae Lesley Apprentice Artist with Fort Worth Opera from 2014-2016, he performed the role of The Reporter and covered the role of Henry Rathbone in the world premiere of JFK; and performed the roles of Undertaker’s Assistant I/ER Nurse/Priest in Buried Alive and Rory in Embedded as part of their regional premieres. Wallin made his professional debut during the 2015 Fort Worth Opera Festival as Gastone in La traviata and Second Gravedigger in Hamlet. During the summer of 2015 he was a Young Artist at the Glimmerglass Festival in the roles of First Priest in The Magic Flute and in the ensemble of Candide. Other credits include performances in Dialogues of the Carmelites, and La bohème as part of the Janiec Opera Company at the Brevard Music Center. He earned his B.M. and M.M. from the Maryland Opera Studio.

Joshua Conyers^
Sciarrone

Sponsored by Drs. Henry & Marsha Laufer

Baritone Joshua Conyers continues to forge a career that embraces a wide variety of operatic styles and languages while focusing on the works of Verdi and Puccini. Mr. Conyers’s Verdian and Puccinian repertoire includes the roles of Giorgio Germont in La traviata, the title role of Falstaff, Marcello in La bohème, Scarpia in Tosca, and the Mandarin in Turandot with such companies as Utah Festival Opera, Des Moines Metro Opera, Piedmont Opera, and Indiana University Opera and Ballet Theater. In August 2017, Mr. Conyers performs his first staged Scarpia in Vashon Opera’s production of Tosca, simultaneously marking his debut with the company.

In 2017 and 2018 Mr. Conyers fulfills two seasons of residency in the Benenson Young Artist Program at Palm Beach Opera. His responsibilities Sciarrone in Tosca (covering Scarpia), a variety of roles in Candide, and both covering the Count in Le nozze di Figaro and singing the family performance. In the summer of 2017, Mr. Conyers joins the Glimmerglass Festival to cover the roles of Porgy in Porgy and Bess and Eustachio in Donizetti’s rarely performed L’assedio di Calais.

Mr. Conyers’ repertoire also opera of the 17th century (Aeneas in Dido and Aeneas at the Indiana University Early Music Institute) and 18th century (Buonafede in Haydn’s Il mondo della luna and the title role of Don Giovanni). As Don Giovanni in the Martina Arroyo Foundation’s Prelude to Performance production of 2011, Mr. Conyers “poured forth a deliciously honeyed baritone that would seduce anyone” and “effortlessly summoned up a laser-­‐beam look that communicated hidden danger and volatility” (Opera News). Equally active in contemporary opera as well, Mr. Conyers covered the roles of Mr. Umeya in the American premiere of Huang Ruo’s Dr. Sun Yat-­‐Sen and Walt Whitman in the world premiere of Theodore Morrison’s Oscar, both with the Santa Fe Opera. Mr. Conyers has also performed John Sorel in The Consul, the Vicar in Albert Herring, Bob in The Old Maid and the Thief, Henry Davis in Street Scene, and the roles of Baritone 2, Isabella, and King in Cinderella in Spain, a new opera by Mary Carol Warwick premiered by the Robeson County Arts Council.

In the oratorio and concert repertoire, Mr. Conyers has performed Bach’s St. Matthew Passion (as Peter and Pilate) with the Utah Festival Opera, Bach’s Magnificat and Gleichwie der Regen und Schnee vom Himmel fällt (BWV 18), Handel’s Messiahwith the Mozart Club in Winston Salem (NC) and the Fayetteville Orchestra, Brahms’ Deutsches Requiem and Neues Liebesliederwalzer, Fauré’s Requiem, and Vaughan Williams’ Dona nobis pacem. Recently Mr. Conyers has performed Carmina Burana with the University of North Carolina School of the Arts and has appeared on Methodist University’s Friends of Music Guest Artist Series as recitalist and masterclass teacher.

Mr. Conyers holds a Performance Artist Certificate from the A.J. Fletcher Opera Institute, a Masters of Music from Indiana University, and a Bachelors of Music from University of North Carolina School of the Arts. He has fulfilled young artist residencies with Des Moines Metro Opera, Santa Fe Opera, Utah Festival Opera and Musical Theater, and the Martina Arroyo Foundation’s Prelude to Performance program. His numerous vocal competition credits and scholarships include the A.J. Fletcher Scholarship in Music, the Kenan Excellence Award in Music, the Shivers Foundation Scholarship, Metropolitan Opera National Council District Winner (2010, 2011 & 2015), Metropolitan Opera National Council Regional Encouragement Award Winner, S. Livingston Mather Scholar Competition 1st Place Winner, the Charlotte Opera Guild Competition Winner, the Heafner/Williams Vocal Competition 1st place Winner, and National Association of Teachers of Singing (NATS) Award Winner.

David Stern
Chief Conductor

Sponsored by Mrs. Ari Rifkin

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

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

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

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

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

Fenlon Lamb
Stage Director

Opera News called Fenlon Lamb “moving and convincing” and Seen and Heard International praised her “well-honed theatrical sensibility.” Ms. Lamb brings these qualities of experience and perspective as an outstanding singing actress to her work as a stage director. Fenlon returns for her fifth season with Palm Beach Opera to direct Tosca. Previous seasons have included a “delightful” Don Pasquale an “opulent” La bohème, and a “madcap” Il barbiere di Siviglia along with several critically acclaimed Young Artist productions. Last season, Fenlon returned to Arizona Opera for the world premiere production of Riders of the Purple Sage. She made her directorial debut in Carmen with Dayton Opera and directed a new production of Tosca for Finger Lakes Opera. Fenlon also conceived and directed a unique operatic installation of Elvis Costello’s The Juliet Letters for Lyric Opera of Kansas City.

Recently, Ms. Lamb made her company debut at Opera Santa Barbara with a “superb” Suor Angelica/Gianni Schicchi. Other productions at opera houses across the U.S. have included Don Pasquale at the Crested Butte Music Festival, The Pearl Fishers with Dayton Opera, Die fliegende Holländer for Opera Carolina, Werther with Mobile Opera, and both Rigoletto and Lucia di Lammermoor at Arizona Opera. Fenlon is the Director of Opera and Vocal Programming for the Bar Harbor Music Festival where she has directed Carmen, L’elisir d’amore, Madama Butterfly, Il barbiere di Siviglia, Le nozze di Figaro, La bohème, La cenerentola, and Don Giovanni. She is currently in her third season as Director of Opera at UMKC Conservatory of Music (Cendrillon, Little Women, Die Zauberflöte, The Turn of the Screw, Suor Angelica/Gianni Schicchi, Hänsel und Gretel). Fenlon is the co-creator and Artistic Director of Papermoon Opera Productions launching this spring.

Stuart Duke
Lighting Designer

Stuart Duke is delighted to be making his PBO debut with Tosca.  He recently designed the lighting for the world premiere of the Kurt Vonnegut opera Happy Birthday Wanda June, the Off-Broadway premiere of Orwell in America, and The Importance of Being Earnest for Walnut Street Theatre in Philadelphia.  He has designed more than 20 Indianapolis Opera productions including Madame Butterfly, Rigoletto, Otello, The Magic Flute, Orfeo, Don Giovanni, and The Crucible, as well as Porgy & Bess, Eugene Onegin and La Traviata for Opera Company of Philadelphia, and concert lighting for Kathleen Battle at Carnegie Hall.  Mr. Duke’s New York theatre credits include The Rothschilds, Cast of Characters, Little Me, The Matchmaker and jon & jen.  Regionally he has designed The Night Seasons, written and directed by Horton Foote, Rags for Paper Mill Playhouse, Death of a Salesman starring Christopher Lloyd, Conrack at Ford’s Theatre, and Beauty and the Beast for the Alabama Shakespeare Festival.   Other credits include Indianapolis Symphony’s Yuletide Celebration, Opera Memphis, Huntington Theatre, Goodspeed Musicals, Weston Playhouse, Northern Stage, The Studio Theatre, Geva Theatre, and the The Folger Shakespeare Theatre. Mr. Duke has been nominated three times for the Helen Hayes Award for Outstanding Lighting.

Lee Soroko
Fight Director

Lee is delighted to be working with Palm Beach Opera this season and provide the choreographed violence for Tosca. He is a Certified Teacher of Stage Combat and a Theatrical Firearms Instructor with the Society of American Fight Directors and provides professional fight choreography for opera companies, theatres and universities across America.  In South Florida, Lee has worked with the Florida Grand Opera, Maltz-Jupiter Theatre, Palm Beach Dramaworks, Zoetic Stage, Slow Burn Theatre and Miami New Drama. He is a member of AEA who earned his Master of Fine Arts from the Professional Actor Training Program at the University of Texas at Austin. In addition, Lee is a former National Endowment for the Arts Fellowship recipient for his work in mask and is the Assistant Professor of Movement at Florida Atlantic University.

Keri Alkema
Tosca (1/26 & 1/28)

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

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

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

Alexandra Loutsion
Tosca (1/27)

Hailed as “powerful and projecting” (Pittsburgh Post Gazette) as well as a “promising young soprano,” (Los Angeles Times) Alexandra Loutsion continues to be recognized for her passionate performances and vocal versatility as a rising star on the operatic and concert stage.

In the 2016-2017 season, Alexandra Loutsion made role debuts in the title role of Turandot (Pittsburgh Opera), at Cio-Cio-San in Madama Butterfly (Palm Beach Opera), and as the Foreign Princess in Rusalka (Arizona Opera).

In 2015-2016, Ms. Loutsion made her Arizona Opera debut as Florencia Grimaldi in Florencia en el Amazonas. She was heard with the Santa Fe Symphony in Verdi’s Messa da requiem, made her Wolf Trap Opera debut as Cio-Cio-San in Madama Butterfly and debuted with North Carolina Opera as Donna Anna in Don Giovanni.

Ms. Loutsion spent two summers as an apprentice at the Santa Fe Opera, covering the roles of Leonore in Fidelio, the title role in Puccini’s Tosca, Anna in Rossini’s Maometto II, and was heard as Maddalena di Coigny in scenes from Giordano’s Andrea Chénier. She sang Anna Kennedy in Maria Stuarda with Washington Concert Opera and was heard as soprano soloist in Beethoven’s Symphony No. 9 with the Ithaca College Symphony Orchestra.

Ms. Loutsion concluded her tenure as a Resident Artist with Pittsburgh Opera where she sang Armida in Rinaldo, Gertrude and the Witch in Hänsel und Gretel, and Annina in La Traviata.  As an Apprentice Artist with Central City Opera, Ms. Loutsion was heard in the title role in Madama Butterfly, Melissa in Amadigi di Gaula, Minerva in Orpheus in the Underworld, La Dame Elegante in Les Mamelles de Tirésias, and Frasquita in Carmen.

Ms. Loutsion was a winner of the Metropolitan National Council District Auditions and Long Beach Mozart Competition, and a finalist in the Fritz and Lavinia Jensen Foundation Competition. She is the recipient of the Santa Fe Opera Anna Case MacKay Award, Richard F. Gold Career Grant, the Central City Opera John Moriarty Award, and the Aspen Music Festival New Horizon Fellowship.

Riccardo Massi
Cavaradossi (1/26 & 1/28)

Italian tenor Riccardo Massi has rapidly achieved international recognition as one of the most exciting and accomplished interpreters of the Italian spinto repertoire, earning accolades worldwide for his interpretations of Puccini’s and Verdi’s heroes.

Among his performances in 2017/18 are Cavaradossi in Tosca at the Royal Opera House Covent Garden, the Staatsoper Hamburg, the Palm Beach Opera and with the KBS Symphony Orchestra in Ansan and Seoul, Don José in Carmen for his debut at the Los Angeles Opera, Radamès in a new production of Aida at the Sydney Opera House, at the Hong Kong Opera and the Teatro Colon of Buenos Aires, Des Grieux at the Bolshoi Theatre.

Engagements of the 2016/17 season included his role debut as Des Grieux in Manon Lescaut at the Bol’šoj Theatre in Moscow, a role he also interpreted in a new production at the Berlin State Opera; his debut at the New National Theatre of Tokyo as Pinkerton in Madama Butterfly, his return to the Metropolitan Opera in New York as Radamès in Aida, Calaf in Turandot at the Cologne Opera, Don José in Carmen at the Jhihde Hall in Taiwan, Gustavo in a gala performance of Un ballo in maschera alongside Sondra Radvanovsky at the Nationaltheater Mannheim and Manrico in Il trovatore at the Budapest Summer Festival.

In the 2015/16 season Massi returned to the Royal Opera House, Covent Garden in London as Cavaradossi alongside Angela Gheorghiu’s Tosca; he also appeared at the Handa Opera on Sydney Harbour (Opera Australia) as Calaf in Turandot, at the Melbourne Arts Center (again for Opera Australia) where he debuted the role of Rodolfo in Luisa Miller; sang Radamès at the Teatro Regio of Turin, Calaf at the Bregenz Festival and at the Zurich Opernhaus, and Cavaradossi at the Semperoper Dresden. Furthermore, he appeared at the Barbican Hall in London in a concert performance of Leoncavallo’s Zazà as Milio, which he also recorded for Opera Rara.

Other career highlights include his 2012 Metropolitan Opera debut as Radamès in Aida (the same role with which he also debuted at the Houston Grand Opera in 2013), his debut as Enzo Grimaldi in La Gioconda at the Concertgebouw Amsterdam, debuts at Munich’s Bayerische Staatsoper, the Berlin Staatsoper and the Royal Opera House Covent Garden as Cavaradossi, his debut in the title role of Andrea Chénier at the Royal Swedish Opera, a 2014 gala concert with soprano Anna Netrebko at the Théâtre des Champs-Elysées, Cavaradossi and Don Alvaro in La forza del destino at the Sydney Opera House, Verdi’s Messa da Requiem at the Grand Théâtre de Genève, Riccardo in Un ballo in maschera at the Théâtre Royal de la Monnaie in Brussels, Don José in Carmen at Deutsche Oper Berlin, Pollione in Norma at the Terme di Caracalla, and debuts as Pinkerton in Madama Butterfly at the Norwegian National Opera, Manrico in Il trovatore in Toronto and Calaf in Turandot opposite Nina Stemme at the Royal Swedish Opera.

Mr. Massi developed his vocal technique in Rome with David Holst, who has been his sole mentor. He was invited to join the Accademia della Scala, after which he made his operatic debut in December of 2009 as Radamès in Aida at the Teatro Verdi of Salerno under the baton of Daniel Oren.

As a specialist in the handling of ancient and medieval weapons, before pursuing his passion for opera, Massi enjoyed a career as a stuntman; working in several films including Martin Scorsese’s Gangs of New York, ABC’s Empire, and HBO’s Rome.

Adam Diegel
Cavaradossi (1/27)

Adam Diegel regularly earns international acclaim for his impassioned dramatic sensibilities, powerful voice, and for his classic leading man looks. In the 2016-2017 season Diegel’s engagement include appearances in two of his signature roles: as Pinkerton in Madama Butterfly at Opera Hong Kong and Palm Beach Opera; and Don José in Carmen at San Francisco Opera, PORTopera, and Opera San Antonio. Additionally, Diegel will sing the title role in Verdi’s Don Carlo with Lithuanian National Opera, Ruggerio in La rondine with Opera Santa Barbara, and return to The Metropolitan Opera to sing Ismaele in Nabucco.

Mr. Diegel made his Metropolitan Opera début as Froh in Robert Lepage’s landmark production of Das Rheingold conducted by Maestro James Levine, and later reprised the performance under Fabio Luisi. Further appearances at The Met include Pinkerton in Madama Butterfly under Plácido Domingo and Ismaele in Nabucco under Paolo Carignani.

Other notable U.S. engagements include: Pinkerton in Madama Butterfly (Atlanta Opera, Fort Worth Opera, Arizona Opera, Opera San Antonio, and Kentucky Opera); Ismaele in Nabucco (Opera Philadelphia); Cavaradossi in Tosca (Vancouver Opera, Glimmerglass Opera, Seattle Opera, and Arizona Opera); Don José in Carmen (Glimmerglass Opera, Opera Theatre of St. Louis, Florida Grand Opera, Arizona Opera, and Madison Opera); and Rodolfo in La bohème (Opera Omaha and Minnesota Opera).

Notable international appearances include: Don José in Carmen at English National Opera and in a new production at Opera Australia’s Handa Opera on Sydney Harbour; Pinkerton in Madama Butterfly with Lithuanian National Opera, The Savonlinna Opera Festival, and on tour in China at the Guangzhous Opera House in Anthony Minghella’s acclaimed production; Maurizio in Adriana Lecouvreur at The National Theatre in Budapest, where he later performed Cavaradossi in Tosca; and David Alden’s new production of Luisa Miller for Opéra National de Lyon.

Diegel holds degrees from Yale University and University of Memphis.

Michael Chioldi
Scarpia

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.

Scott Conner*
Cesare Angelotti

A Kansas native, young bass Scott Conner has been lauded by critics and audiences as a major talent on the rise. Mr. Conner’s warm, flexible voice and elegant stature brings proficiency in a wide range of repertoire, including Mozart, Rossini, Handel, Donizetti and Verdi.
This season, Scott Conner makes significant company debuts at the Opéra National de Paris as Nerbulone in Eliogabalo, and at both Royal Opera House Covent Garden and the Metropolitan Opera as the Police Commissioner in Der Rosenkavalier. He also returns to the Dutch National Opera in Amsterdam as Nerbulone in Eliogabalo and San Francisco Opera as Colline in La bohème. Next season includes returns to the Dutch National Opera as Nerbulone in Eliogabalo and Semperoper Dresden as Sparafucile in Rigoletto.

Last season Mr. Conner returned to Zürich Opera for Don Profondo in a new production of Il Viaggio a Reims, as well as Zoroastro in Orlando under the baton of William Christie. He also joined the Bayerische Staatsoper in Munich, singing Tom in Verdi’s Un ballo in maschera, conducted by Zubin Mehta, as well as the Festival d’Aix-en-Provence for a recital featuring works by Rossini.
During the 2014-2015 season, Scott Conner made his debut with Dutch National Opera in Amsterdam as Bernardino in Benvenuto Cellini, and also debuted with San Francisco Opera as Tom in Un ballo in maschera. Additionally, he appeared with the company as Angelotti in Tosca and as Colline in the family performances of La bohème, and covered Alidoro in La Cenerentola. He closed the season in a return to Festival d’Aix-en-Provence, singing Theseus in Robert Carsen’s production of A Midsummer Night’s Dream.

During the 2013-2014 season, Scott Conner’s engagements included: Raimondo in Lucia di Lammermoor with L’Opéra de Lille; the roles of Colline, Nourabad, and un Frate with the Zürich Opera; Glyndebourne Festival Opera for Zaretsky in Eugene Onegin, the Police Commissioner in Der Rosenkavalier, covered the title role in Don Giovanni, and a live performance of Der Rosenkavalier with the BBC Proms at the prestigious Royal Albert Hall in London.

Scott Conner joined the Ensemble of the Semperoper Dresden in 2012-2013, where roles included Colline in La Boheme, Sparafucile in Rigoletto, Masetto in Don Giovanni and Don Basilio in Il barbiere di Siviglia. He was also seen as the Bass soloist in Handel’s Messiah with the National Symphony Orchestra at the John F. Kennedy Center in Washington D.C. During the summer of 2013, he debuted at Festival d’Aix-en-Provence in Cavalli’s Elena. Additionally Scott was the recipient of a 2012 Sara Tucker Study Grant from the Richard Tucker Foundation, and the 1st Prize Award in the 2012 Gerda Lissner Vocal Competition and the 2012 Loren L. Zachary Vocal Competition.

Scott Conner is a 2012 graduate of Philadelphia’s Academy of Vocal Arts. There, he performed the title role in Don Giovanni, Colline in La bohème, La Roche in Capriccio, Oroveso in Norma, and First Man in the world premiere of Scarlet Letter. During the 2011-2012 season, his assignments at the Academy included the Four Villains in Les contes d’Hoffmann, the title role in Verdi’s Oberto, and Dulcamara in L’elsir d’amore. He also sang the Mozart Requiem with Symphony in C, conducted by Rossen Milanov.
The early years of his career have seen Mr. Conner perform the title role in Le nozze di Figaro with Nashville Opera and Columbus Opera, the Commendatore and Masetto in Don Giovanni with Opera Cleveland, Alidoro in La cenerentola with Opera New Jersey, and Curio in Giulio Cesare with Lyric Opera of Kansas City.

Scott Conner attended the University of Missouri, Kansas City for his Bachelor of Music degree, where roles included Sarastro in Die Zauberflöte, the Pirate King in Pirates of Penzance, and the title role in The Mikado.

Thomas Hammons
Sacristan

Bass-baritone Thomas Hammons has been acclaimed throughout the United States, Canada, and across Europe, for the depth and richness of his portrayals and the strength and beauty of his singing. A versatile singing actor, Mr. Hammons has an active repertoire of over 60 roles spanning a variety of genres from the classical buffo repertoire, to the world of contemporary music, to modern musical theater.  He made his début at The Metropolitan Opera as Sacristan in Toscaduring the 1996-97 Season, and took part in the première of Jonathan Miller’s acclaimed production of Le nozze di Figaro. He has returned to The Met in over 250 performances since, most recently for LuluLe nozze di Figaro, and La bohème. This season, Mr. Hammons will perform the role of Sacristan in Tosca with Cincinnati Opera and Intermountain Opera Bozeman, Alcindoro/Benoit in La bohème with Opera Omaha, Dansker in Billy Budd with Des Moines Metro Opera, Major General Stanley in The Pirates of Penzance with Opera Memphis, and Antonio in Le nozze di Figaro with Milwaukee Symphony.

Brian Wallin *^
Spoletta

Sponsored by The Jacquemin Family Foundation, in memory of Claude Jacquemin, and in part by Ms. Carol O’Malley & Mr. Nick Harry

Hailed by the Dallas Morning News as having a “finely focused and well-mannered” voice, BRIAN WALLIN has recently finished an exciting 2016/2017 season. Wallin appeared with Opera Saratoga in the role of Editor Daily in Marc Blitzstein’s The Cradle Will Rock as well as covering the role of Fenton in Falstaff. He also made his Minnesota Orchestra debut as 3rd Jew in Salome during the 2017 Sommerfest as well as a return to Fort Worth Opera as El Remendado in Carmen. Other season highlight included appearing as the tenor soloist in Carmina Burana with the Atlanta Ballet, and the King of El Dorado in Candide with Théâtre du Capitole and Opéra National de Bordeaux in France. As a Hattie Mae Lesley Apprentice Artist with Fort Worth Opera from 2014-2016, he performed the role of The Reporter and covered the role of Henry Rathbone in the world premiere of JFK; and performed the roles of Undertaker’s Assistant I/ER Nurse/Priest in Buried Alive and Rory in Embedded as part of their regional premieres. Wallin made his professional debut during the 2015 Fort Worth Opera Festival as Gastone in La traviata and Second Gravedigger in Hamlet. During the summer of 2015 he was a Young Artist at the Glimmerglass Festival in the roles of First Priest in The Magic Flute and in the ensemble of Candide. Other credits include performances in Dialogues of the Carmelites, and La bohème as part of the Janiec Opera Company at the Brevard Music Center. He earned his B.M. and M.M. from the Maryland Opera Studio.

Joshua Conyers^
Sciarrone

Sponsored by Drs. Henry & Marsha Laufer

Baritone Joshua Conyers continues to forge a career that embraces a wide variety of operatic styles and languages while focusing on the works of Verdi and Puccini. Mr. Conyers’s Verdian and Puccinian repertoire includes the roles of Giorgio Germont in La traviata, the title role of Falstaff, Marcello in La bohème, Scarpia in Tosca, and the Mandarin in Turandot with such companies as Utah Festival Opera, Des Moines Metro Opera, Piedmont Opera, and Indiana University Opera and Ballet Theater. In August 2017, Mr. Conyers performs his first staged Scarpia in Vashon Opera’s production of Tosca, simultaneously marking his debut with the company.

In 2017 and 2018 Mr. Conyers fulfills two seasons of residency in the Benenson Young Artist Program at Palm Beach Opera. His responsibilities Sciarrone in Tosca (covering Scarpia), a variety of roles in Candide, and both covering the Count in Le nozze di Figaro and singing the family performance. In the summer of 2017, Mr. Conyers joins the Glimmerglass Festival to cover the roles of Porgy in Porgy and Bess and Eustachio in Donizetti’s rarely performed L’assedio di Calais.

Mr. Conyers’ repertoire also opera of the 17th century (Aeneas in Dido and Aeneas at the Indiana University Early Music Institute) and 18th century (Buonafede in Haydn’s Il mondo della luna and the title role of Don Giovanni). As Don Giovanni in the Martina Arroyo Foundation’s Prelude to Performance production of 2011, Mr. Conyers “poured forth a deliciously honeyed baritone that would seduce anyone” and “effortlessly summoned up a laser-­‐beam look that communicated hidden danger and volatility” (Opera News). Equally active in contemporary opera as well, Mr. Conyers covered the roles of Mr. Umeya in the American premiere of Huang Ruo’s Dr. Sun Yat-­‐Sen and Walt Whitman in the world premiere of Theodore Morrison’s Oscar, both with the Santa Fe Opera. Mr. Conyers has also performed John Sorel in The Consul, the Vicar in Albert Herring, Bob in The Old Maid and the Thief, Henry Davis in Street Scene, and the roles of Baritone 2, Isabella, and King in Cinderella in Spain, a new opera by Mary Carol Warwick premiered by the Robeson County Arts Council.

In the oratorio and concert repertoire, Mr. Conyers has performed Bach’s St. Matthew Passion (as Peter and Pilate) with the Utah Festival Opera, Bach’s Magnificat and Gleichwie der Regen und Schnee vom Himmel fällt (BWV 18), Handel’s Messiahwith the Mozart Club in Winston Salem (NC) and the Fayetteville Orchestra, Brahms’ Deutsches Requiem and Neues Liebesliederwalzer, Fauré’s Requiem, and Vaughan Williams’ Dona nobis pacem. Recently Mr. Conyers has performed Carmina Burana with the University of North Carolina School of the Arts and has appeared on Methodist University’s Friends of Music Guest Artist Series as recitalist and masterclass teacher.

Mr. Conyers holds a Performance Artist Certificate from the A.J. Fletcher Opera Institute, a Masters of Music from Indiana University, and a Bachelors of Music from University of North Carolina School of the Arts. He has fulfilled young artist residencies with Des Moines Metro Opera, Santa Fe Opera, Utah Festival Opera and Musical Theater, and the Martina Arroyo Foundation’s Prelude to Performance program. His numerous vocal competition credits and scholarships include the A.J. Fletcher Scholarship in Music, the Kenan Excellence Award in Music, the Shivers Foundation Scholarship, Metropolitan Opera National Council District Winner (2010, 2011 & 2015), Metropolitan Opera National Council Regional Encouragement Award Winner, S. Livingston Mather Scholar Competition 1st Place Winner, the Charlotte Opera Guild Competition Winner, the Heafner/Williams Vocal Competition 1st place Winner, and National Association of Teachers of Singing (NATS) Award Winner.

David Stern
Chief Conductor

Sponsored by Mrs. Ari Rifkin

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

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

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

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

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

Fenlon Lamb
Stage Director

Opera News called Fenlon Lamb “moving and convincing” and Seen and Heard International praised her “well-honed theatrical sensibility.” Ms. Lamb brings these qualities of experience and perspective as an outstanding singing actress to her work as a stage director. Fenlon returns for her fifth season with Palm Beach Opera to direct Tosca. Previous seasons have included a “delightful” Don Pasquale an “opulent” La bohème, and a “madcap” Il barbiere di Siviglia along with several critically acclaimed Young Artist productions. Last season, Fenlon returned to Arizona Opera for the world premiere production of Riders of the Purple Sage. She made her directorial debut in Carmen with Dayton Opera and directed a new production of Tosca for Finger Lakes Opera. Fenlon also conceived and directed a unique operatic installation of Elvis Costello’s The Juliet Letters for Lyric Opera of Kansas City.

Recently, Ms. Lamb made her company debut at Opera Santa Barbara with a “superb” Suor Angelica/Gianni Schicchi. Other productions at opera houses across the U.S. have included Don Pasquale at the Crested Butte Music Festival, The Pearl Fishers with Dayton Opera, Die fliegende Holländer for Opera Carolina, Werther with Mobile Opera, and both Rigoletto and Lucia di Lammermoor at Arizona Opera. Fenlon is the Director of Opera and Vocal Programming for the Bar Harbor Music Festival where she has directed Carmen, L’elisir d’amore, Madama Butterfly, Il barbiere di Siviglia, Le nozze di Figaro, La bohème, La cenerentola, and Don Giovanni. She is currently in her third season as Director of Opera at UMKC Conservatory of Music (Cendrillon, Little Women, Die Zauberflöte, The Turn of the Screw, Suor Angelica/Gianni Schicchi, Hänsel und Gretel). Fenlon is the co-creator and Artistic Director of Papermoon Opera Productions launching this spring.

Stuart Duke
Lighting Designer

Stuart Duke is delighted to be making his PBO debut with Tosca.  He recently designed the lighting for the world premiere of the Kurt Vonnegut opera Happy Birthday Wanda June, the Off-Broadway premiere of Orwell in America, and The Importance of Being Earnest for Walnut Street Theatre in Philadelphia.  He has designed more than 20 Indianapolis Opera productions including Madame Butterfly, Rigoletto, Otello, The Magic Flute, Orfeo, Don Giovanni, and The Crucible, as well as Porgy & Bess, Eugene Onegin and La Traviata for Opera Company of Philadelphia, and concert lighting for Kathleen Battle at Carnegie Hall.  Mr. Duke’s New York theatre credits include The Rothschilds, Cast of Characters, Little Me, The Matchmaker and jon & jen.  Regionally he has designed The Night Seasons, written and directed by Horton Foote, Rags for Paper Mill Playhouse, Death of a Salesman starring Christopher Lloyd, Conrack at Ford’s Theatre, and Beauty and the Beast for the Alabama Shakespeare Festival.   Other credits include Indianapolis Symphony’s Yuletide Celebration, Opera Memphis, Huntington Theatre, Goodspeed Musicals, Weston Playhouse, Northern Stage, The Studio Theatre, Geva Theatre, and the The Folger Shakespeare Theatre. Mr. Duke has been nominated three times for the Helen Hayes Award for Outstanding Lighting.

Lee Soroko
Fight Director

Lee is delighted to be working with Palm Beach Opera this season and provide the choreographed violence for Tosca. He is a Certified Teacher of Stage Combat and a Theatrical Firearms Instructor with the Society of American Fight Directors and provides professional fight choreography for opera companies, theatres and universities across America.  In South Florida, Lee has worked with the Florida Grand Opera, Maltz-Jupiter Theatre, Palm Beach Dramaworks, Zoetic Stage, Slow Burn Theatre and Miami New Drama. He is a member of AEA who earned his Master of Fine Arts from the Professional Actor Training Program at the University of Texas at Austin. In addition, Lee is a former National Endowment for the Arts Fellowship recipient for his work in mask and is the Assistant Professor of Movement at Florida Atlantic University.

Keri Alkema
Tosca (1/26 & 1/28)

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

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

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

Alexandra Loutsion
Tosca (1/27)

Hailed as “powerful and projecting” (Pittsburgh Post Gazette) as well as a “promising young soprano,” (Los Angeles Times) Alexandra Loutsion continues to be recognized for her passionate performances and vocal versatility as a rising star on the operatic and concert stage.

In the 2016-2017 season, Alexandra Loutsion made role debuts in the title role of Turandot (Pittsburgh Opera), at Cio-Cio-San in Madama Butterfly (Palm Beach Opera), and as the Foreign Princess in Rusalka (Arizona Opera).

In 2015-2016, Ms. Loutsion made her Arizona Opera debut as Florencia Grimaldi in Florencia en el Amazonas. She was heard with the Santa Fe Symphony in Verdi’s Messa da requiem, made her Wolf Trap Opera debut as Cio-Cio-San in Madama Butterfly and debuted with North Carolina Opera as Donna Anna in Don Giovanni.

Ms. Loutsion spent two summers as an apprentice at the Santa Fe Opera, covering the roles of Leonore in Fidelio, the title role in Puccini’s Tosca, Anna in Rossini’s Maometto II, and was heard as Maddalena di Coigny in scenes from Giordano’s Andrea Chénier. She sang Anna Kennedy in Maria Stuarda with Washington Concert Opera and was heard as soprano soloist in Beethoven’s Symphony No. 9 with the Ithaca College Symphony Orchestra.

Ms. Loutsion concluded her tenure as a Resident Artist with Pittsburgh Opera where she sang Armida in Rinaldo, Gertrude and the Witch in Hänsel und Gretel, and Annina in La Traviata.  As an Apprentice Artist with Central City Opera, Ms. Loutsion was heard in the title role in Madama Butterfly, Melissa in Amadigi di Gaula, Minerva in Orpheus in the Underworld, La Dame Elegante in Les Mamelles de Tirésias, and Frasquita in Carmen.

Ms. Loutsion was a winner of the Metropolitan National Council District Auditions and Long Beach Mozart Competition, and a finalist in the Fritz and Lavinia Jensen Foundation Competition. She is the recipient of the Santa Fe Opera Anna Case MacKay Award, Richard F. Gold Career Grant, the Central City Opera John Moriarty Award, and the Aspen Music Festival New Horizon Fellowship.

Riccardo Massi
Cavaradossi (1/26 & 1/28)

Italian tenor Riccardo Massi has rapidly achieved international recognition as one of the most exciting and accomplished interpreters of the Italian spinto repertoire, earning accolades worldwide for his interpretations of Puccini’s and Verdi’s heroes.

Among his performances in 2017/18 are Cavaradossi in Tosca at the Royal Opera House Covent Garden, the Staatsoper Hamburg, the Palm Beach Opera and with the KBS Symphony Orchestra in Ansan and Seoul, Don José in Carmen for his debut at the Los Angeles Opera, Radamès in a new production of Aida at the Sydney Opera House, at the Hong Kong Opera and the Teatro Colon of Buenos Aires, Des Grieux at the Bolshoi Theatre.

Engagements of the 2016/17 season included his role debut as Des Grieux in Manon Lescaut at the Bol’šoj Theatre in Moscow, a role he also interpreted in a new production at the Berlin State Opera; his debut at the New National Theatre of Tokyo as Pinkerton in Madama Butterfly, his return to the Metropolitan Opera in New York as Radamès in Aida, Calaf in Turandot at the Cologne Opera, Don José in Carmen at the Jhihde Hall in Taiwan, Gustavo in a gala performance of Un ballo in maschera alongside Sondra Radvanovsky at the Nationaltheater Mannheim and Manrico in Il trovatore at the Budapest Summer Festival.

In the 2015/16 season Massi returned to the Royal Opera House, Covent Garden in London as Cavaradossi alongside Angela Gheorghiu’s Tosca; he also appeared at the Handa Opera on Sydney Harbour (Opera Australia) as Calaf in Turandot, at the Melbourne Arts Center (again for Opera Australia) where he debuted the role of Rodolfo in Luisa Miller; sang Radamès at the Teatro Regio of Turin, Calaf at the Bregenz Festival and at the Zurich Opernhaus, and Cavaradossi at the Semperoper Dresden. Furthermore, he appeared at the Barbican Hall in London in a concert performance of Leoncavallo’s Zazà as Milio, which he also recorded for Opera Rara.

Other career highlights include his 2012 Metropolitan Opera debut as Radamès in Aida (the same role with which he also debuted at the Houston Grand Opera in 2013), his debut as Enzo Grimaldi in La Gioconda at the Concertgebouw Amsterdam, debuts at Munich’s Bayerische Staatsoper, the Berlin Staatsoper and the Royal Opera House Covent Garden as Cavaradossi, his debut in the title role of Andrea Chénier at the Royal Swedish Opera, a 2014 gala concert with soprano Anna Netrebko at the Théâtre des Champs-Elysées, Cavaradossi and Don Alvaro in La forza del destino at the Sydney Opera House, Verdi’s Messa da Requiem at the Grand Théâtre de Genève, Riccardo in Un ballo in maschera at the Théâtre Royal de la Monnaie in Brussels, Don José in Carmen at Deutsche Oper Berlin, Pollione in Norma at the Terme di Caracalla, and debuts as Pinkerton in Madama Butterfly at the Norwegian National Opera, Manrico in Il trovatore in Toronto and Calaf in Turandot opposite Nina Stemme at the Royal Swedish Opera.

Mr. Massi developed his vocal technique in Rome with David Holst, who has been his sole mentor. He was invited to join the Accademia della Scala, after which he made his operatic debut in December of 2009 as Radamès in Aida at the Teatro Verdi of Salerno under the baton of Daniel Oren.

As a specialist in the handling of ancient and medieval weapons, before pursuing his passion for opera, Massi enjoyed a career as a stuntman; working in several films including Martin Scorsese’s Gangs of New York, ABC’s Empire, and HBO’s Rome.

Adam Diegel
Cavaradossi (1/27)

Adam Diegel regularly earns international acclaim for his impassioned dramatic sensibilities, powerful voice, and for his classic leading man looks. In the 2016-2017 season Diegel’s engagement include appearances in two of his signature roles: as Pinkerton in Madama Butterfly at Opera Hong Kong and Palm Beach Opera; and Don José in Carmen at San Francisco Opera, PORTopera, and Opera San Antonio. Additionally, Diegel will sing the title role in Verdi’s Don Carlo with Lithuanian National Opera, Ruggerio in La rondine with Opera Santa Barbara, and return to The Metropolitan Opera to sing Ismaele in Nabucco.

Mr. Diegel made his Metropolitan Opera début as Froh in Robert Lepage’s landmark production of Das Rheingold conducted by Maestro James Levine, and later reprised the performance under Fabio Luisi. Further appearances at The Met include Pinkerton in Madama Butterfly under Plácido Domingo and Ismaele in Nabucco under Paolo Carignani.

Other notable U.S. engagements include: Pinkerton in Madama Butterfly (Atlanta Opera, Fort Worth Opera, Arizona Opera, Opera San Antonio, and Kentucky Opera); Ismaele in Nabucco (Opera Philadelphia); Cavaradossi in Tosca (Vancouver Opera, Glimmerglass Opera, Seattle Opera, and Arizona Opera); Don José in Carmen (Glimmerglass Opera, Opera Theatre of St. Louis, Florida Grand Opera, Arizona Opera, and Madison Opera); and Rodolfo in La bohème (Opera Omaha and Minnesota Opera).

Notable international appearances include: Don José in Carmen at English National Opera and in a new production at Opera Australia’s Handa Opera on Sydney Harbour; Pinkerton in Madama Butterfly with Lithuanian National Opera, The Savonlinna Opera Festival, and on tour in China at the Guangzhous Opera House in Anthony Minghella’s acclaimed production; Maurizio in Adriana Lecouvreur at The National Theatre in Budapest, where he later performed Cavaradossi in Tosca; and David Alden’s new production of Luisa Miller for Opéra National de Lyon.

Diegel holds degrees from Yale University and University of Memphis.

Michael Chioldi
Scarpia

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.

Scott Conner*
Cesare Angelotti

A Kansas native, young bass Scott Conner has been lauded by critics and audiences as a major talent on the rise. Mr. Conner’s warm, flexible voice and elegant stature brings proficiency in a wide range of repertoire, including Mozart, Rossini, Handel, Donizetti and Verdi.
This season, Scott Conner makes significant company debuts at the Opéra National de Paris as Nerbulone in Eliogabalo, and at both Royal Opera House Covent Garden and the Metropolitan Opera as the Police Commissioner in Der Rosenkavalier. He also returns to the Dutch National Opera in Amsterdam as Nerbulone in Eliogabalo and San Francisco Opera as Colline in La bohème. Next season includes returns to the Dutch National Opera as Nerbulone in Eliogabalo and Semperoper Dresden as Sparafucile in Rigoletto.

Last season Mr. Conner returned to Zürich Opera for Don Profondo in a new production of Il Viaggio a Reims, as well as Zoroastro in Orlando under the baton of William Christie. He also joined the Bayerische Staatsoper in Munich, singing Tom in Verdi’s Un ballo in maschera, conducted by Zubin Mehta, as well as the Festival d’Aix-en-Provence for a recital featuring works by Rossini.
During the 2014-2015 season, Scott Conner made his debut with Dutch National Opera in Amsterdam as Bernardino in Benvenuto Cellini, and also debuted with San Francisco Opera as Tom in Un ballo in maschera. Additionally, he appeared with the company as Angelotti in Tosca and as Colline in the family performances of La bohème, and covered Alidoro in La Cenerentola. He closed the season in a return to Festival d’Aix-en-Provence, singing Theseus in Robert Carsen’s production of A Midsummer Night’s Dream.

During the 2013-2014 season, Scott Conner’s engagements included: Raimondo in Lucia di Lammermoor with L’Opéra de Lille; the roles of Colline, Nourabad, and un Frate with the Zürich Opera; Glyndebourne Festival Opera for Zaretsky in Eugene Onegin, the Police Commissioner in Der Rosenkavalier, covered the title role in Don Giovanni, and a live performance of Der Rosenkavalier with the BBC Proms at the prestigious Royal Albert Hall in London.

Scott Conner joined the Ensemble of the Semperoper Dresden in 2012-2013, where roles included Colline in La Boheme, Sparafucile in Rigoletto, Masetto in Don Giovanni and Don Basilio in Il barbiere di Siviglia. He was also seen as the Bass soloist in Handel’s Messiah with the National Symphony Orchestra at the John F. Kennedy Center in Washington D.C. During the summer of 2013, he debuted at Festival d’Aix-en-Provence in Cavalli’s Elena. Additionally Scott was the recipient of a 2012 Sara Tucker Study Grant from the Richard Tucker Foundation, and the 1st Prize Award in the 2012 Gerda Lissner Vocal Competition and the 2012 Loren L. Zachary Vocal Competition.

Scott Conner is a 2012 graduate of Philadelphia’s Academy of Vocal Arts. There, he performed the title role in Don Giovanni, Colline in La bohème, La Roche in Capriccio, Oroveso in Norma, and First Man in the world premiere of Scarlet Letter. During the 2011-2012 season, his assignments at the Academy included the Four Villains in Les contes d’Hoffmann, the title role in Verdi’s Oberto, and Dulcamara in L’elsir d’amore. He also sang the Mozart Requiem with Symphony in C, conducted by Rossen Milanov.
The early years of his career have seen Mr. Conner perform the title role in Le nozze di Figaro with Nashville Opera and Columbus Opera, the Commendatore and Masetto in Don Giovanni with Opera Cleveland, Alidoro in La cenerentola with Opera New Jersey, and Curio in Giulio Cesare with Lyric Opera of Kansas City.

Scott Conner attended the University of Missouri, Kansas City for his Bachelor of Music degree, where roles included Sarastro in Die Zauberflöte, the Pirate King in Pirates of Penzance, and the title role in The Mikado.

Thomas Hammons
Sacristan

Bass-baritone Thomas Hammons has been acclaimed throughout the United States, Canada, and across Europe, for the depth and richness of his portrayals and the strength and beauty of his singing. A versatile singing actor, Mr. Hammons has an active repertoire of over 60 roles spanning a variety of genres from the classical buffo repertoire, to the world of contemporary music, to modern musical theater.  He made his début at The Metropolitan Opera as Sacristan in Toscaduring the 1996-97 Season, and took part in the première of Jonathan Miller’s acclaimed production of Le nozze di Figaro. He has returned to The Met in over 250 performances since, most recently for LuluLe nozze di Figaro, and La bohème. This season, Mr. Hammons will perform the role of Sacristan in Tosca with Cincinnati Opera and Intermountain Opera Bozeman, Alcindoro/Benoit in La bohème with Opera Omaha, Dansker in Billy Budd with Des Moines Metro Opera, Major General Stanley in The Pirates of Penzance with Opera Memphis, and Antonio in Le nozze di Figaro with Milwaukee Symphony.

Brian Wallin *^
Spoletta

Sponsored by The Jacquemin Family Foundation, in memory of Claude Jacquemin, and in part by Ms. Carol O’Malley & Mr. Nick Harry

Hailed by the Dallas Morning News as having a “finely focused and well-mannered” voice, BRIAN WALLIN has recently finished an exciting 2016/2017 season. Wallin appeared with Opera Saratoga in the role of Editor Daily in Marc Blitzstein’s The Cradle Will Rock as well as covering the role of Fenton in Falstaff. He also made his Minnesota Orchestra debut as 3rd Jew in Salome during the 2017 Sommerfest as well as a return to Fort Worth Opera as El Remendado in Carmen. Other season highlight included appearing as the tenor soloist in Carmina Burana with the Atlanta Ballet, and the King of El Dorado in Candide with Théâtre du Capitole and Opéra National de Bordeaux in France. As a Hattie Mae Lesley Apprentice Artist with Fort Worth Opera from 2014-2016, he performed the role of The Reporter and covered the role of Henry Rathbone in the world premiere of JFK; and performed the roles of Undertaker’s Assistant I/ER Nurse/Priest in Buried Alive and Rory in Embedded as part of their regional premieres. Wallin made his professional debut during the 2015 Fort Worth Opera Festival as Gastone in La traviata and Second Gravedigger in Hamlet. During the summer of 2015 he was a Young Artist at the Glimmerglass Festival in the roles of First Priest in The Magic Flute and in the ensemble of Candide. Other credits include performances in Dialogues of the Carmelites, and La bohème as part of the Janiec Opera Company at the Brevard Music Center. He earned his B.M. and M.M. from the Maryland Opera Studio.

Joshua Conyers^
Sciarrone

Sponsored by Drs. Henry & Marsha Laufer

Baritone Joshua Conyers continues to forge a career that embraces a wide variety of operatic styles and languages while focusing on the works of Verdi and Puccini. Mr. Conyers’s Verdian and Puccinian repertoire includes the roles of Giorgio Germont in La traviata, the title role of Falstaff, Marcello in La bohème, Scarpia in Tosca, and the Mandarin in Turandot with such companies as Utah Festival Opera, Des Moines Metro Opera, Piedmont Opera, and Indiana University Opera and Ballet Theater. In August 2017, Mr. Conyers performs his first staged Scarpia in Vashon Opera’s production of Tosca, simultaneously marking his debut with the company.

In 2017 and 2018 Mr. Conyers fulfills two seasons of residency in the Benenson Young Artist Program at Palm Beach Opera. His responsibilities Sciarrone in Tosca (covering Scarpia), a variety of roles in Candide, and both covering the Count in Le nozze di Figaro and singing the family performance. In the summer of 2017, Mr. Conyers joins the Glimmerglass Festival to cover the roles of Porgy in Porgy and Bess and Eustachio in Donizetti’s rarely performed L’assedio di Calais.

Mr. Conyers’ repertoire also opera of the 17th century (Aeneas in Dido and Aeneas at the Indiana University Early Music Institute) and 18th century (Buonafede in Haydn’s Il mondo della luna and the title role of Don Giovanni). As Don Giovanni in the Martina Arroyo Foundation’s Prelude to Performance production of 2011, Mr. Conyers “poured forth a deliciously honeyed baritone that would seduce anyone” and “effortlessly summoned up a laser-­‐beam look that communicated hidden danger and volatility” (Opera News). Equally active in contemporary opera as well, Mr. Conyers covered the roles of Mr. Umeya in the American premiere of Huang Ruo’s Dr. Sun Yat-­‐Sen and Walt Whitman in the world premiere of Theodore Morrison’s Oscar, both with the Santa Fe Opera. Mr. Conyers has also performed John Sorel in The Consul, the Vicar in Albert Herring, Bob in The Old Maid and the Thief, Henry Davis in Street Scene, and the roles of Baritone 2, Isabella, and King in Cinderella in Spain, a new opera by Mary Carol Warwick premiered by the Robeson County Arts Council.

In the oratorio and concert repertoire, Mr. Conyers has performed Bach’s St. Matthew Passion (as Peter and Pilate) with the Utah Festival Opera, Bach’s Magnificat and Gleichwie der Regen und Schnee vom Himmel fällt (BWV 18), Handel’s Messiahwith the Mozart Club in Winston Salem (NC) and the Fayetteville Orchestra, Brahms’ Deutsches Requiem and Neues Liebesliederwalzer, Fauré’s Requiem, and Vaughan Williams’ Dona nobis pacem. Recently Mr. Conyers has performed Carmina Burana with the University of North Carolina School of the Arts and has appeared on Methodist University’s Friends of Music Guest Artist Series as recitalist and masterclass teacher.

Mr. Conyers holds a Performance Artist Certificate from the A.J. Fletcher Opera Institute, a Masters of Music from Indiana University, and a Bachelors of Music from University of North Carolina School of the Arts. He has fulfilled young artist residencies with Des Moines Metro Opera, Santa Fe Opera, Utah Festival Opera and Musical Theater, and the Martina Arroyo Foundation’s Prelude to Performance program. His numerous vocal competition credits and scholarships include the A.J. Fletcher Scholarship in Music, the Kenan Excellence Award in Music, the Shivers Foundation Scholarship, Metropolitan Opera National Council District Winner (2010, 2011 & 2015), Metropolitan Opera National Council Regional Encouragement Award Winner, S. Livingston Mather Scholar Competition 1st Place Winner, the Charlotte Opera Guild Competition Winner, the Heafner/Williams Vocal Competition 1st place Winner, and National Association of Teachers of Singing (NATS) Award Winner.

David Stern
Chief Conductor

Sponsored by Mrs. Ari Rifkin

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

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

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

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

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

Fenlon Lamb
Stage Director

Opera News called Fenlon Lamb “moving and convincing” and Seen and Heard International praised her “well-honed theatrical sensibility.” Ms. Lamb brings these qualities of experience and perspective as an outstanding singing actress to her work as a stage director. Fenlon returns for her fifth season with Palm Beach Opera to direct Tosca. Previous seasons have included a “delightful” Don Pasquale an “opulent” La bohème, and a “madcap” Il barbiere di Siviglia along with several critically acclaimed Young Artist productions. Last season, Fenlon returned to Arizona Opera for the world premiere production of Riders of the Purple Sage. She made her directorial debut in Carmen with Dayton Opera and directed a new production of Tosca for Finger Lakes Opera. Fenlon also conceived and directed a unique operatic installation of Elvis Costello’s The Juliet Letters for Lyric Opera of Kansas City.

Recently, Ms. Lamb made her company debut at Opera Santa Barbara with a “superb” Suor Angelica/Gianni Schicchi. Other productions at opera houses across the U.S. have included Don Pasquale at the Crested Butte Music Festival, The Pearl Fishers with Dayton Opera, Die fliegende Holländer for Opera Carolina, Werther with Mobile Opera, and both Rigoletto and Lucia di Lammermoor at Arizona Opera. Fenlon is the Director of Opera and Vocal Programming for the Bar Harbor Music Festival where she has directed Carmen, L’elisir d’amore, Madama Butterfly, Il barbiere di Siviglia, Le nozze di Figaro, La bohème, La cenerentola, and Don Giovanni. She is currently in her third season as Director of Opera at UMKC Conservatory of Music (Cendrillon, Little Women, Die Zauberflöte, The Turn of the Screw, Suor Angelica/Gianni Schicchi, Hänsel und Gretel). Fenlon is the co-creator and Artistic Director of Papermoon Opera Productions launching this spring.

Stuart Duke
Lighting Designer

Stuart Duke is delighted to be making his PBO debut with Tosca.  He recently designed the lighting for the world premiere of the Kurt Vonnegut opera Happy Birthday Wanda June, the Off-Broadway premiere of Orwell in America, and The Importance of Being Earnest for Walnut Street Theatre in Philadelphia.  He has designed more than 20 Indianapolis Opera productions including Madame Butterfly, Rigoletto, Otello, The Magic Flute, Orfeo, Don Giovanni, and The Crucible, as well as Porgy & Bess, Eugene Onegin and La Traviata for Opera Company of Philadelphia, and concert lighting for Kathleen Battle at Carnegie Hall.  Mr. Duke’s New York theatre credits include The Rothschilds, Cast of Characters, Little Me, The Matchmaker and jon & jen.  Regionally he has designed The Night Seasons, written and directed by Horton Foote, Rags for Paper Mill Playhouse, Death of a Salesman starring Christopher Lloyd, Conrack at Ford’s Theatre, and Beauty and the Beast for the Alabama Shakespeare Festival.   Other credits include Indianapolis Symphony’s Yuletide Celebration, Opera Memphis, Huntington Theatre, Goodspeed Musicals, Weston Playhouse, Northern Stage, The Studio Theatre, Geva Theatre, and the The Folger Shakespeare Theatre. Mr. Duke has been nominated three times for the Helen Hayes Award for Outstanding Lighting.

Lee Soroko
Fight Director

Lee is delighted to be working with Palm Beach Opera this season and provide the choreographed violence for Tosca. He is a Certified Teacher of Stage Combat and a Theatrical Firearms Instructor with the Society of American Fight Directors and provides professional fight choreography for opera companies, theatres and universities across America.  In South Florida, Lee has worked with the Florida Grand Opera, Maltz-Jupiter Theatre, Palm Beach Dramaworks, Zoetic Stage, Slow Burn Theatre and Miami New Drama. He is a member of AEA who earned his Master of Fine Arts from the Professional Actor Training Program at the University of Texas at Austin. In addition, Lee is a former National Endowment for the Arts Fellowship recipient for his work in mask and is the Assistant Professor of Movement at Florida Atlantic University.

Keri Alkema
Tosca (1/26 & 1/28)

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

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

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

Alexandra Loutsion
Tosca (1/27)

Hailed as “powerful and projecting” (Pittsburgh Post Gazette) as well as a “promising young soprano,” (Los Angeles Times) Alexandra Loutsion continues to be recognized for her passionate performances and vocal versatility as a rising star on the operatic and concert stage.

In the 2016-2017 season, Alexandra Loutsion made role debuts in the title role of Turandot (Pittsburgh Opera), at Cio-Cio-San in Madama Butterfly (Palm Beach Opera), and as the Foreign Princess in Rusalka (Arizona Opera).

In 2015-2016, Ms. Loutsion made her Arizona Opera debut as Florencia Grimaldi in Florencia en el Amazonas. She was heard with the Santa Fe Symphony in Verdi’s Messa da requiem, made her Wolf Trap Opera debut as Cio-Cio-San in Madama Butterfly and debuted with North Carolina Opera as Donna Anna in Don Giovanni.

Ms. Loutsion spent two summers as an apprentice at the Santa Fe Opera, covering the roles of Leonore in Fidelio, the title role in Puccini’s Tosca, Anna in Rossini’s Maometto II, and was heard as Maddalena di Coigny in scenes from Giordano’s Andrea Chénier. She sang Anna Kennedy in Maria Stuarda with Washington Concert Opera and was heard as soprano soloist in Beethoven’s Symphony No. 9 with the Ithaca College Symphony Orchestra.

Ms. Loutsion concluded her tenure as a Resident Artist with Pittsburgh Opera where she sang Armida in Rinaldo, Gertrude and the Witch in Hänsel und Gretel, and Annina in La Traviata.  As an Apprentice Artist with Central City Opera, Ms. Loutsion was heard in the title role in Madama Butterfly, Melissa in Amadigi di Gaula, Minerva in Orpheus in the Underworld, La Dame Elegante in Les Mamelles de Tirésias, and Frasquita in Carmen.

Ms. Loutsion was a winner of the Metropolitan National Council District Auditions and Long Beach Mozart Competition, and a finalist in the Fritz and Lavinia Jensen Foundation Competition. She is the recipient of the Santa Fe Opera Anna Case MacKay Award, Richard F. Gold Career Grant, the Central City Opera John Moriarty Award, and the Aspen Music Festival New Horizon Fellowship.

Riccardo Massi
Cavaradossi (1/26 & 1/28)

Italian tenor Riccardo Massi has rapidly achieved international recognition as one of the most exciting and accomplished interpreters of the Italian spinto repertoire, earning accolades worldwide for his interpretations of Puccini’s and Verdi’s heroes.

Among his performances in 2017/18 are Cavaradossi in Tosca at the Royal Opera House Covent Garden, the Staatsoper Hamburg, the Palm Beach Opera and with the KBS Symphony Orchestra in Ansan and Seoul, Don José in Carmen for his debut at the Los Angeles Opera, Radamès in a new production of Aida at the Sydney Opera House, at the Hong Kong Opera and the Teatro Colon of Buenos Aires, Des Grieux at the Bolshoi Theatre.

Engagements of the 2016/17 season included his role debut as Des Grieux in Manon Lescaut at the Bol’šoj Theatre in Moscow, a role he also interpreted in a new production at the Berlin State Opera; his debut at the New National Theatre of Tokyo as Pinkerton in Madama Butterfly, his return to the Metropolitan Opera in New York as Radamès in Aida, Calaf in Turandot at the Cologne Opera, Don José in Carmen at the Jhihde Hall in Taiwan, Gustavo in a gala performance of Un ballo in maschera alongside Sondra Radvanovsky at the Nationaltheater Mannheim and Manrico in Il trovatore at the Budapest Summer Festival.

In the 2015/16 season Massi returned to the Royal Opera House, Covent Garden in London as Cavaradossi alongside Angela Gheorghiu’s Tosca; he also appeared at the Handa Opera on Sydney Harbour (Opera Australia) as Calaf in Turandot, at the Melbourne Arts Center (again for Opera Australia) where he debuted the role of Rodolfo in Luisa Miller; sang Radamès at the Teatro Regio of Turin, Calaf at the Bregenz Festival and at the Zurich Opernhaus, and Cavaradossi at the Semperoper Dresden. Furthermore, he appeared at the Barbican Hall in London in a concert performance of Leoncavallo’s Zazà as Milio, which he also recorded for Opera Rara.

Other career highlights include his 2012 Metropolitan Opera debut as Radamès in Aida (the same role with which he also debuted at the Houston Grand Opera in 2013), his debut as Enzo Grimaldi in La Gioconda at the Concertgebouw Amsterdam, debuts at Munich’s Bayerische Staatsoper, the Berlin Staatsoper and the Royal Opera House Covent Garden as Cavaradossi, his debut in the title role of Andrea Chénier at the Royal Swedish Opera, a 2014 gala concert with soprano Anna Netrebko at the Théâtre des Champs-Elysées, Cavaradossi and Don Alvaro in La forza del destino at the Sydney Opera House, Verdi’s Messa da Requiem at the Grand Théâtre de Genève, Riccardo in Un ballo in maschera at the Théâtre Royal de la Monnaie in Brussels, Don José in Carmen at Deutsche Oper Berlin, Pollione in Norma at the Terme di Caracalla, and debuts as Pinkerton in Madama Butterfly at the Norwegian National Opera, Manrico in Il trovatore in Toronto and Calaf in Turandot opposite Nina Stemme at the Royal Swedish Opera.

Mr. Massi developed his vocal technique in Rome with David Holst, who has been his sole mentor. He was invited to join the Accademia della Scala, after which he made his operatic debut in December of 2009 as Radamès in Aida at the Teatro Verdi of Salerno under the baton of Daniel Oren.

As a specialist in the handling of ancient and medieval weapons, before pursuing his passion for opera, Massi enjoyed a career as a stuntman; working in several films including Martin Scorsese’s Gangs of New York, ABC’s Empire, and HBO’s Rome.

Adam Diegel
Cavaradossi (1/27)

Adam Diegel regularly earns international acclaim for his impassioned dramatic sensibilities, powerful voice, and for his classic leading man looks. In the 2016-2017 season Diegel’s engagement include appearances in two of his signature roles: as Pinkerton in Madama Butterfly at Opera Hong Kong and Palm Beach Opera; and Don José in Carmen at San Francisco Opera, PORTopera, and Opera San Antonio. Additionally, Diegel will sing the title role in Verdi’s Don Carlo with Lithuanian National Opera, Ruggerio in La rondine with Opera Santa Barbara, and return to The Metropolitan Opera to sing Ismaele in Nabucco.

Mr. Diegel made his Metropolitan Opera début as Froh in Robert Lepage’s landmark production of Das Rheingold conducted by Maestro James Levine, and later reprised the performance under Fabio Luisi. Further appearances at The Met include Pinkerton in Madama Butterfly under Plácido Domingo and Ismaele in Nabucco under Paolo Carignani.

Other notable U.S. engagements include: Pinkerton in Madama Butterfly (Atlanta Opera, Fort Worth Opera, Arizona Opera, Opera San Antonio, and Kentucky Opera); Ismaele in Nabucco (Opera Philadelphia); Cavaradossi in Tosca (Vancouver Opera, Glimmerglass Opera, Seattle Opera, and Arizona Opera); Don José in Carmen (Glimmerglass Opera, Opera Theatre of St. Louis, Florida Grand Opera, Arizona Opera, and Madison Opera); and Rodolfo in La bohème (Opera Omaha and Minnesota Opera).

Notable international appearances include: Don José in Carmen at English National Opera and in a new production at Opera Australia’s Handa Opera on Sydney Harbour; Pinkerton in Madama Butterfly with Lithuanian National Opera, The Savonlinna Opera Festival, and on tour in China at the Guangzhous Opera House in Anthony Minghella’s acclaimed production; Maurizio in Adriana Lecouvreur at The National Theatre in Budapest, where he later performed Cavaradossi in Tosca; and David Alden’s new production of Luisa Miller for Opéra National de Lyon.

Diegel holds degrees from Yale University and University of Memphis.

Michael Chioldi
Scarpia

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.

Scott Conner*
Cesare Angelotti

A Kansas native, young bass Scott Conner has been lauded by critics and audiences as a major talent on the rise. Mr. Conner’s warm, flexible voice and elegant stature brings proficiency in a wide range of repertoire, including Mozart, Rossini, Handel, Donizetti and Verdi.
This season, Scott Conner makes significant company debuts at the Opéra National de Paris as Nerbulone in Eliogabalo, and at both Royal Opera House Covent Garden and the Metropolitan Opera as the Police Commissioner in Der Rosenkavalier. He also returns to the Dutch National Opera in Amsterdam as Nerbulone in Eliogabalo and San Francisco Opera as Colline in La bohème. Next season includes returns to the Dutch National Opera as Nerbulone in Eliogabalo and Semperoper Dresden as Sparafucile in Rigoletto.

Last season Mr. Conner returned to Zürich Opera for Don Profondo in a new production of Il Viaggio a Reims, as well as Zoroastro in Orlando under the baton of William Christie. He also joined the Bayerische Staatsoper in Munich, singing Tom in Verdi’s Un ballo in maschera, conducted by Zubin Mehta, as well as the Festival d’Aix-en-Provence for a recital featuring works by Rossini.
During the 2014-2015 season, Scott Conner made his debut with Dutch National Opera in Amsterdam as Bernardino in Benvenuto Cellini, and also debuted with San Francisco Opera as Tom in Un ballo in maschera. Additionally, he appeared with the company as Angelotti in Tosca and as Colline in the family performances of La bohème, and covered Alidoro in La Cenerentola. He closed the season in a return to Festival d’Aix-en-Provence, singing Theseus in Robert Carsen’s production of A Midsummer Night’s Dream.

During the 2013-2014 season, Scott Conner’s engagements included: Raimondo in Lucia di Lammermoor with L’Opéra de Lille; the roles of Colline, Nourabad, and un Frate with the Zürich Opera; Glyndebourne Festival Opera for Zaretsky in Eugene Onegin, the Police Commissioner in Der Rosenkavalier, covered the title role in Don Giovanni, and a live performance of Der Rosenkavalier with the BBC Proms at the prestigious Royal Albert Hall in London.

Scott Conner joined the Ensemble of the Semperoper Dresden in 2012-2013, where roles included Colline in La Boheme, Sparafucile in Rigoletto, Masetto in Don Giovanni and Don Basilio in Il barbiere di Siviglia. He was also seen as the Bass soloist in Handel’s Messiah with the National Symphony Orchestra at the John F. Kennedy Center in Washington D.C. During the summer of 2013, he debuted at Festival d’Aix-en-Provence in Cavalli’s Elena. Additionally Scott was the recipient of a 2012 Sara Tucker Study Grant from the Richard Tucker Foundation, and the 1st Prize Award in the 2012 Gerda Lissner Vocal Competition and the 2012 Loren L. Zachary Vocal Competition.

Scott Conner is a 2012 graduate of Philadelphia’s Academy of Vocal Arts. There, he performed the title role in Don Giovanni, Colline in La bohème, La Roche in Capriccio, Oroveso in Norma, and First Man in the world premiere of Scarlet Letter. During the 2011-2012 season, his assignments at the Academy included the Four Villains in Les contes d’Hoffmann, the title role in Verdi’s Oberto, and Dulcamara in L’elsir d’amore. He also sang the Mozart Requiem with Symphony in C, conducted by Rossen Milanov.
The early years of his career have seen Mr. Conner perform the title role in Le nozze di Figaro with Nashville Opera and Columbus Opera, the Commendatore and Masetto in Don Giovanni with Opera Cleveland, Alidoro in La cenerentola with Opera New Jersey, and Curio in Giulio Cesare with Lyric Opera of Kansas City.

Scott Conner attended the University of Missouri, Kansas City for his Bachelor of Music degree, where roles included Sarastro in Die Zauberflöte, the Pirate King in Pirates of Penzance, and the title role in The Mikado.

Thomas Hammons
Sacristan

Bass-baritone Thomas Hammons has been acclaimed throughout the United States, Canada, and across Europe, for the depth and richness of his portrayals and the strength and beauty of his singing. A versatile singing actor, Mr. Hammons has an active repertoire of over 60 roles spanning a variety of genres from the classical buffo repertoire, to the world of contemporary music, to modern musical theater.  He made his début at The Metropolitan Opera as Sacristan in Toscaduring the 1996-97 Season, and took part in the première of Jonathan Miller’s acclaimed production of Le nozze di Figaro. He has returned to The Met in over 250 performances since, most recently for LuluLe nozze di Figaro, and La bohème. This season, Mr. Hammons will perform the role of Sacristan in Tosca with Cincinnati Opera and Intermountain Opera Bozeman, Alcindoro/Benoit in La bohème with Opera Omaha, Dansker in Billy Budd with Des Moines Metro Opera, Major General Stanley in The Pirates of Penzance with Opera Memphis, and Antonio in Le nozze di Figaro with Milwaukee Symphony.

Brian Wallin *^
Spoletta

Sponsored by The Jacquemin Family Foundation, in memory of Claude Jacquemin, and in part by Ms. Carol O’Malley & Mr. Nick Harry

Hailed by the Dallas Morning News as having a “finely focused and well-mannered” voice, BRIAN WALLIN has recently finished an exciting 2016/2017 season. Wallin appeared with Opera Saratoga in the role of Editor Daily in Marc Blitzstein’s The Cradle Will Rock as well as covering the role of Fenton in Falstaff. He also made his Minnesota Orchestra debut as 3rd Jew in Salome during the 2017 Sommerfest as well as a return to Fort Worth Opera as El Remendado in Carmen. Other season highlight included appearing as the tenor soloist in Carmina Burana with the Atlanta Ballet, and the King of El Dorado in Candide with Théâtre du Capitole and Opéra National de Bordeaux in France. As a Hattie Mae Lesley Apprentice Artist with Fort Worth Opera from 2014-2016, he performed the role of The Reporter and covered the role of Henry Rathbone in the world premiere of JFK; and performed the roles of Undertaker’s Assistant I/ER Nurse/Priest in Buried Alive and Rory in Embedded as part of their regional premieres. Wallin made his professional debut during the 2015 Fort Worth Opera Festival as Gastone in La traviata and Second Gravedigger in Hamlet. During the summer of 2015 he was a Young Artist at the Glimmerglass Festival in the roles of First Priest in The Magic Flute and in the ensemble of Candide. Other credits include performances in Dialogues of the Carmelites, and La bohème as part of the Janiec Opera Company at the Brevard Music Center. He earned his B.M. and M.M. from the Maryland Opera Studio.

Joshua Conyers^
Sciarrone

Sponsored by Drs. Henry & Marsha Laufer

Baritone Joshua Conyers continues to forge a career that embraces a wide variety of operatic styles and languages while focusing on the works of Verdi and Puccini. Mr. Conyers’s Verdian and Puccinian repertoire includes the roles of Giorgio Germont in La traviata, the title role of Falstaff, Marcello in La bohème, Scarpia in Tosca, and the Mandarin in Turandot with such companies as Utah Festival Opera, Des Moines Metro Opera, Piedmont Opera, and Indiana University Opera and Ballet Theater. In August 2017, Mr. Conyers performs his first staged Scarpia in Vashon Opera’s production of Tosca, simultaneously marking his debut with the company.

In 2017 and 2018 Mr. Conyers fulfills two seasons of residency in the Benenson Young Artist Program at Palm Beach Opera. His responsibilities Sciarrone in Tosca (covering Scarpia), a variety of roles in Candide, and both covering the Count in Le nozze di Figaro and singing the family performance. In the summer of 2017, Mr. Conyers joins the Glimmerglass Festival to cover the roles of Porgy in Porgy and Bess and Eustachio in Donizetti’s rarely performed L’assedio di Calais.

Mr. Conyers’ repertoire also opera of the 17th century (Aeneas in Dido and Aeneas at the Indiana University Early Music Institute) and 18th century (Buonafede in Haydn’s Il mondo della luna and the title role of Don Giovanni). As Don Giovanni in the Martina Arroyo Foundation’s Prelude to Performance production of 2011, Mr. Conyers “poured forth a deliciously honeyed baritone that would seduce anyone” and “effortlessly summoned up a laser-­‐beam look that communicated hidden danger and volatility” (Opera News). Equally active in contemporary opera as well, Mr. Conyers covered the roles of Mr. Umeya in the American premiere of Huang Ruo’s Dr. Sun Yat-­‐Sen and Walt Whitman in the world premiere of Theodore Morrison’s Oscar, both with the Santa Fe Opera. Mr. Conyers has also performed John Sorel in The Consul, the Vicar in Albert Herring, Bob in The Old Maid and the Thief, Henry Davis in Street Scene, and the roles of Baritone 2, Isabella, and King in Cinderella in Spain, a new opera by Mary Carol Warwick premiered by the Robeson County Arts Council.

In the oratorio and concert repertoire, Mr. Conyers has performed Bach’s St. Matthew Passion (as Peter and Pilate) with the Utah Festival Opera, Bach’s Magnificat and Gleichwie der Regen und Schnee vom Himmel fällt (BWV 18), Handel’s Messiahwith the Mozart Club in Winston Salem (NC) and the Fayetteville Orchestra, Brahms’ Deutsches Requiem and Neues Liebesliederwalzer, Fauré’s Requiem, and Vaughan Williams’ Dona nobis pacem. Recently Mr. Conyers has performed Carmina Burana with the University of North Carolina School of the Arts and has appeared on Methodist University’s Friends of Music Guest Artist Series as recitalist and masterclass teacher.

Mr. Conyers holds a Performance Artist Certificate from the A.J. Fletcher Opera Institute, a Masters of Music from Indiana University, and a Bachelors of Music from University of North Carolina School of the Arts. He has fulfilled young artist residencies with Des Moines Metro Opera, Santa Fe Opera, Utah Festival Opera and Musical Theater, and the Martina Arroyo Foundation’s Prelude to Performance program. His numerous vocal competition credits and scholarships include the A.J. Fletcher Scholarship in Music, the Kenan Excellence Award in Music, the Shivers Foundation Scholarship, Metropolitan Opera National Council District Winner (2010, 2011 & 2015), Metropolitan Opera National Council Regional Encouragement Award Winner, S. Livingston Mather Scholar Competition 1st Place Winner, the Charlotte Opera Guild Competition Winner, the Heafner/Williams Vocal Competition 1st place Winner, and National Association of Teachers of Singing (NATS) Award Winner.