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TURANDOT

An Epic Story of Resistance and Sacrifice

by Giacomo Puccini

Friday, January 24, 2020 at 7:30 PM
Saturday, January 25, 2020 at 7:30 PM
Sunday, January 26, 2020 at 2:00 PM

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The icy Princess Turandot reigns in a fantastical ancient China, where her beauty mesmerizes those who seek her love. Having deemed all men unworthy of her hand, the austere princess proposes a simple but deadly challenge to her smitten wooers. Answer three riddles and win her hand. Fail, and face beheading. But when one gallant suitor shows promise, will the princess honor her decree and open her heart to a mysterious man?

Featuring an adventurous musical score and one of the most iconic opera arias of all time, “Nessun Dorma,” Giacomo Puccini’s final masterpiece presents a sweeping story of passion, perseverance, and peril.

Sung in Italian with English supertitles projected above the stage.

  • David Stern
    David Stern
    Chief Conductor
  • Keturah Stickann*
    Keturah Stickann*
    Director
  • Alexandra Loutsion
    Alexandra Loutsion
    Turandot (Jan. 24/26)
  • Alexandra LoBianco*
    Alexandra LoBianco*
    Turandot (Jan. 25)
  • Stefano La Colla*
    Stefano La Colla*
    Calaf* (Jan. 24/26)
  • Hovhannes Ayvazyan*
    Hovhannes Ayvazyan*
    Calaf (Jan. 25)
  • Leah Crocetto*
    Leah Crocetto*
    Liù (Jan. 24/26)
  • Anastasia Schegoleva*
    Anastasia Schegoleva*
    Liù (Jan. 25)
  • Evgeny Stavinsky*
    Evgeny Stavinsky*
    Timur
  • Zachary Nelson
    Zachary Nelson
    Ping
  • John McVeigh*
    John McVeigh*
    Pang
  • Il Hoon Kim*
    Il Hoon Kim*
    Mandarin

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

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

Act 1

In front of the walls of the imperial palace in Beijin, a mandarin reads a proclamation announcing that the princess Turandot will marry only a suitor of royal blood who will answer the three riddles set by her. Suitors who will fail to answer will be beheaded. The prince of Persia has just failed in his attempt and will soon find his death at the gallows. The crowd awaits the execution eagerly while the others call the princess to stop the cruel bloodshed. During the cummotion an old man falls to the ground. A younger man rushes to his aid, recognizing that the old man is his father whom he thought dead. The happy reunion between father and son is somewhat quieted as Calaf, the young man, informs his father, Timur the old king of the Tartars, that they are persecuted by enemies. Timur has escaped the enemy with the aid of Liu, his faithful servant. As the prince of Persia is led to the scaffold the crowd laments his beauty and his young age. Turandot appears for an instant signaling that the execution can proceed. Calaf, catching her sight for a mere instant, is smitten. He must answer the riddles and marry the princess. Timur entreats his son to run away and save his life, and the three imperial ministers, Ping, Pang and Pong also beg the anonymous man to reconsider. Even Liu, who has secretly loved Calaf for many years, asks him to leave but he consoles her in a beautiful aria, saying he can not be moved. Calaf has made up his mind. He approaches the palace gates, strikes the gong thrice and calls three times the name of Turandot accepting the challenge that many before him failed and paid for their failure with their own life.

Act II

The three comedia dellarte type ministers, Ping, Pang and Pong, discuss the funeral rites of the victory parade for the unknown prince. They lament Turandot’s ongoing bloodshed and long for the good old days of the quiet past, hoping they will be able to enjoy the joys of nature. They day dream about the time in which peace will come and some suitor will conquer the ice princess. But soon enough they are brought back to reality and proceed to the royal palace to attend, yet again, one more riddle ceremony.

Many have gathered at the palace where the old emperor Altum implores Calaf once more to save his life. But no one can change Calaf’s mind, even not Turandot herself who appears and in her aria explains why she is so cruel to her suitors. A long time ago, she says, a foreign king has ravished her ancestress and Turandot has vowed to avenge the horrible deed. Calaf is ready and provides the answer for the first riddle with ease. It is hope which is born anew every night he says. The second riddle is tougher for Calaf but again he provides the right answer: blood kindles like a flame. Turandot is somewhat agitated. Her third question seems to beat the prince: “Which ice gives fire?” she asks and eventually Calaf does claim his victory. The answer of course is Turandot herself. The people hail the victorious prince but Turandot begs her father: she dose not want to marry the prince. Altum cannot help his daughter, but Calaf comes with a proposal: he will ask the princess one riddle. If she can guess his name by dawn he will be ready to die. Turandot accepts the challenge.

Act III

Turandot sends her messengers through the city to find out the prince’s name. No one shall sleep tonight, comes the decree, until the name is found out. In the palace garden Calaf awaits the morning, singing one of the famous arias in operatic history (Nessun dorma). The three mandarins ask him to run away and offer him money and other women. But Calaf, as we all know, is very stubborn. He will not give up Turandot. Torturers drag in Timur and Liu. They have been seen speaking with the prince and it is hoped that they can provide the name all Beijing is searching for. Turandot commands them to speak, but Liu in order to save her master’s life says only she knows the name but will never disclose it because of her love to Calaf. Snatching a dagger from one of the guards, Liu stabs herself and dies. Calaf and Turandot remain alone on stage. He tears the veil off her face and kisses her passionately. The kiss melts in the ice princess. She confesses that from the beginning she has feared and loved the unknown prince. She hopes Calaf is happy to know she loves him and asks him to leave. But Calaf simply reveals his true identity to Turandot putting his life in her hands. She again assumes her former attitude, rushing to summon the Emperor and the people, announcing that she has revealed the stranger’s name: it is “Amore” — love. Turandot and Calaf kiss and the crowd is overjoyed.

CAST
  • David Stern
    David Stern
    Chief Conductor
  • Keturah Stickann*
    Keturah Stickann*
    Director
  • Alexandra Loutsion
    Alexandra Loutsion
    Turandot (Jan. 24/26)
  • Alexandra LoBianco*
    Alexandra LoBianco*
    Turandot (Jan. 25)
  • Stefano La Colla*
    Stefano La Colla*
    Calaf* (Jan. 24/26)
  • Hovhannes Ayvazyan*
    Hovhannes Ayvazyan*
    Calaf (Jan. 25)
  • Leah Crocetto*
    Leah Crocetto*
    Liù (Jan. 24/26)
  • Anastasia Schegoleva*
    Anastasia Schegoleva*
    Liù (Jan. 25)
  • Evgeny Stavinsky*
    Evgeny Stavinsky*
    Timur
  • Zachary Nelson
    Zachary Nelson
    Ping
  • John McVeigh*
    John McVeigh*
    Pang
  • Il Hoon Kim*
    Il Hoon Kim*
    Mandarin

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

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

SYNOPSIS

Act 1

In front of the walls of the imperial palace in Beijin, a mandarin reads a proclamation announcing that the princess Turandot will marry only a suitor of royal blood who will answer the three riddles set by her. Suitors who will fail to answer will be beheaded. The prince of Persia has just failed in his attempt and will soon find his death at the gallows. The crowd awaits the execution eagerly while the others call the princess to stop the cruel bloodshed. During the cummotion an old man falls to the ground. A younger man rushes to his aid, recognizing that the old man is his father whom he thought dead. The happy reunion between father and son is somewhat quieted as Calaf, the young man, informs his father, Timur the old king of the Tartars, that they are persecuted by enemies. Timur has escaped the enemy with the aid of Liu, his faithful servant. As the prince of Persia is led to the scaffold the crowd laments his beauty and his young age. Turandot appears for an instant signaling that the execution can proceed. Calaf, catching her sight for a mere instant, is smitten. He must answer the riddles and marry the princess. Timur entreats his son to run away and save his life, and the three imperial ministers, Ping, Pang and Pong also beg the anonymous man to reconsider. Even Liu, who has secretly loved Calaf for many years, asks him to leave but he consoles her in a beautiful aria, saying he can not be moved. Calaf has made up his mind. He approaches the palace gates, strikes the gong thrice and calls three times the name of Turandot accepting the challenge that many before him failed and paid for their failure with their own life.

Act II

The three comedia dellarte type ministers, Ping, Pang and Pong, discuss the funeral rites of the victory parade for the unknown prince. They lament Turandot’s ongoing bloodshed and long for the good old days of the quiet past, hoping they will be able to enjoy the joys of nature. They day dream about the time in which peace will come and some suitor will conquer the ice princess. But soon enough they are brought back to reality and proceed to the royal palace to attend, yet again, one more riddle ceremony.

Many have gathered at the palace where the old emperor Altum implores Calaf once more to save his life. But no one can change Calaf’s mind, even not Turandot herself who appears and in her aria explains why she is so cruel to her suitors. A long time ago, she says, a foreign king has ravished her ancestress and Turandot has vowed to avenge the horrible deed. Calaf is ready and provides the answer for the first riddle with ease. It is hope which is born anew every night he says. The second riddle is tougher for Calaf but again he provides the right answer: blood kindles like a flame. Turandot is somewhat agitated. Her third question seems to beat the prince: “Which ice gives fire?” she asks and eventually Calaf does claim his victory. The answer of course is Turandot herself. The people hail the victorious prince but Turandot begs her father: she dose not want to marry the prince. Altum cannot help his daughter, but Calaf comes with a proposal: he will ask the princess one riddle. If she can guess his name by dawn he will be ready to die. Turandot accepts the challenge.

Act III

Turandot sends her messengers through the city to find out the prince’s name. No one shall sleep tonight, comes the decree, until the name is found out. In the palace garden Calaf awaits the morning, singing one of the famous arias in operatic history (Nessun dorma). The three mandarins ask him to run away and offer him money and other women. But Calaf, as we all know, is very stubborn. He will not give up Turandot. Torturers drag in Timur and Liu. They have been seen speaking with the prince and it is hoped that they can provide the name all Beijing is searching for. Turandot commands them to speak, but Liu in order to save her master’s life says only she knows the name but will never disclose it because of her love to Calaf. Snatching a dagger from one of the guards, Liu stabs herself and dies. Calaf and Turandot remain alone on stage. He tears the veil off her face and kisses her passionately. The kiss melts in the ice princess. She confesses that from the beginning she has feared and loved the unknown prince. She hopes Calaf is happy to know she loves him and asks him to leave. But Calaf simply reveals his true identity to Turandot putting his life in her hands. She again assumes her former attitude, rushing to summon the Emperor and the people, announcing that she has revealed the stranger’s name: it is “Amore” — love. Turandot and Calaf kiss and the crowd is overjoyed.

 Header Photo: Tim Fuller

David Stern
Chief Conductor

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

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

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

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

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

Keturah Stickann*
Director

Keturah Stickann’s directing and choreographic credits include Turandot (San Diego Opera), L’Orfeo ed Euridice (Florida Grand Opera), Norma (Opera Southwest), Seven Deadly Sins/Pagliacci (Virginia Opera),  Macbeth (Kentucky Opera),  Don Quichotte (San Diego Opera),  La Traviata (Chautauqua Opera), Orpheus and Euridice (Vermont Opera Project), Flight (Opera Fayetteville), Don Giovanni (Janiec Opera Company, Virginia Opera), Rigoletto (Opera Memphis, San Diego Opera, Dallas Opera), The Tales of Hoffman (Knoxville Opera), Manon (Knoxville Opera), Don Pasquale (Opera in the Heights), La tragédie de Carmen (Janiec Opera Company), Madama Butterfly (Opera Santa Barbara), La clemenza di Tito (Opera in the Heights), L’Enfant et les sortilèges & Bon Appetit (Emerald City Opera), The Pearl Fishers (Sarasota Opera), Peter Grimes (San Diego Opera), Orfeo (Atlanta Opera, Arizona Opera), The Old Maid and the Thief (Emerald City Opera), Hansel and Gretel (Portland Opera), and Le nozze di Figaro (Emerald City Opera, Opera Pacific).  Ms Stickann is a frequent collaborator with theater and opera director, Leonard Foglia.  She was his choreographer and movement director for the world premiere of Jake Heggie’s Moby-Dick in Dallas in 2010, and traveled with the production to the Calgary Opera, State Opera of South Australia, San Diego Opera, San Francisco Opera (where her work was filmed for a DVD produced by PBS’ Great Performances), Washington National Opera,  and LA Opera, and was the revival director for its return to Dallas Opera.  Also for Mr. Foglia, she is the choreographer of the Heggie/Scheer premiere of It’s A Wonderful Life at Houston Grand Opera, the assistant director and choreographer for the mariachi opera: Cruzar la Cara de la Luna, which premiered at Houston Grand Opera, and went on to Le Théâtre du Châtelet, the Lyric Opera of Chicago, San Diego Opera, and the Arizona Opera. She was also the assistant director with Mr. Foglia for his new opera (composed by Ricky Ian Gordon), A Coffin in Egypt, with Frederica von Stade, for Cold Mountain (composed by Jennifer Higdon) that premiered in Santa Fe in 2015, and for the national tour of Anna Deavere Smith’s Let Me Down Easy (also filmed by PBS for a broadcast of Great Performances).  In 2012, Ms. Stickann toured to Japan and Chile as the associate director for Michael Hampe’s production of Tannhäuser, and before that she assisted and choreographed for Lillian Groag, Lotfi Mansouri, Sean Curran, John Copley, Mark Lamos, Michael Gieleta, Lawrence Edelson, and Harry Silverstein, among others. New productions she has helped bring to stage include Orphée, Samson et Dalila, Agrippina, Rigoletto, La fanciulla del West, Pagliacci & Cavalleria Rusticana. La rondine, Maria Stuarda, Acis & Galatea, Pirates of Penzance, Otello, Three Decembers, Hydrogen Jukebox,and The Good Soldier Schweik. Her collaboration with director, Elise Sandell, on their production of Einstein on the Beach was chosen as a finalist for the inaugural Director/Designer Showcase with Opera America in 2009.

Trained as a classical and contemporary dancer, Ms. Stickann was a performer with Cerulean Dance Theatre, Malashock Dance, The Wally Cardona Quartet, Colleen Halloran Dance, SCW/The Group and Danny Grossman and Dancers.  With Malashock dance, she starred in two dance films shot in conjunction with UCSD-TV (Love & Murder and The Soul of Saturday Night), both of which went on to win a regional Emmy award for Best Arts and Entertainment Program.  Following this success, Ms. Stickann traveled to Hungary in 2006 to shoot a one-woman dance video on the streets of Budapest.  Utazo went on to play in film festivals around the country.  In addition, she’s captained and been a principal dancer for Chicago Opera Theater, working with choreographer Daniel Pelzig on Death in Venice and Akhnaten, with which she also traveled to the Opera National Du Rhin in Strasbourg, France.  She was also the assistant choreographer and principal dancer for the Andrew Sinclair/Zandra Rhodes production of The Pearl Fishers which premiered at San Diego Opera, then traveled to Michigan Opera Theater, and New York City Opera.

Because of her background as a dancer, Ms. Stickann a sought-after movement and acting coach for young singers and actors.  She’s trained and coached performers at The Brevard Music Center, The La Jolla Playhouse Theater Conservatory, The San Diego Opera Summer Singers Workshop, the Glimmerglass Opera Young American Artists Program, Emerald City Opera, Stephen’s College, and DePaul University, among others.  Michael Heaston, former director of the Young American Artists’ Program at the Glimmerglass Festival has said of Keturah’s coaching work, “Every recital she touches turns to gold.”

Born and raised in the Midwest, Ms. Stickann studied ballet and theater at Stephens College while still in high school, and spent her summers at DanceAspen, The State Ballet of Missouri and the prestigious Rep/Etudes Project at Jacob’s Pillow.  She received her B.A. in dance education and choreography from Columbia College Chicago, and was a 1997 nominee for the Princess Grace Award for excellence in the arts.

Alexandra Loutsion
Turandot (Jan. 24/26)

Hailed as “a singer to watch” (Washington Post) with a “commanding presence” (Pittsburgh Post-Gazette), Alexandra Loutsion continues to be recognized for her passionate performances and vocal versatility as a rising star on the operatic stage. This season, she makes her international debut with Canadian Opera Company singing the Overseer and covering the title role in Strauss’ Elektra. She will also debut with New Orleans Opera as the title role of Puccini’s Turandot, and she returns to Central City Opera making her role debut as Leonora in Verdi’s Il Trovatore. She finishes the season debuting with West Virginia Symphony and Syracuse Symphoria as the Soprano Soloist in Beethoven’s Symphony No. 9. Last season, she debuted with San Francisco Opera singing the Overseer in Strauss’ Elektra and covered Princess Turandot in Puccini’s Turandot. She returned to Wolf Trap Opera and Palm Beach Opera in the title role of Puccini’s Tosca, and debuted with Tulsa Opera in the title role of Puccini’s Turandot to great acclaim.

Recently she added four new roles to her repertoire: the title role of Puccini’s Tosca with Central City Opera, Princess Turandot in Puccini’s Turandot with Pittsburgh Opera, the Foreign Princess in Dvorak’s Rusalka with Arizona Opera, and Lady Macbeth in Verdi’s Macbeth with Raylynmor Opera. She also made her debuts with Palm Beach Opera as Cio-Cio San in Madama Butterfly, and the Fort Wayne Philharmonic singing the title role in Puccini’s Tosca. She was recently heard as Florencia in Daniel Catan’s Florencia en el Amazonas with Arizona Opera, and made her Wolf Trap Opera debut as Cio-Cio-San in Puccini’s Madama Butterfly to great acclaim. She debuted with North Carolina Opera as Donna Anna in Don Giovanni and Dayton Opera as Gertrude in Humperdinck’s Hansel and Gretel, She also covered the Lady-in-Waiting in Verdi’s Macbeth with the Chicago Symphony Orchestra under Riccardo Muti. Other recent performances have included the title role in Madama Butterfly with Opera on the James, Anna Kennedy in Maria Stuarda with Washington Concert Opera, Sie in Karl Hartmann’s Wachsfiguren Kabinett with the Aspen Music Festival, and the leading role of Isabella in Wagner’s Das Liebesverbot as part of the Ring Festival LA.

Ms. Loutsion spent two summers as an Apprentice Artist with the Santa Fe Opera, most recently to cover the role of Leonore in Fidelio conducted by Harry Bicket. She also covered the title role in Puccini’s Tosca, the leading role of Anna in Rossini’s Maometto II. Ms. Loutsion also spent two seasons as a Resident Artist with Pittsburgh Opera where she was seen as Armida in Handel’s Rinaldo, Gertrude and the Witch in Humperdinck’s Hänsel und Gretel, among others. As an Apprentice Artist with Central City Opera, she was heard as the title role in Puccini’s Madama Butterfly and as Melissa in Handel’s Amadigi di Gaula, among others.

On the concert stage, Ms. Loutsion has sung the soprano solo in Verdi’s Messa da Requiem with the Santa Fe Symphony and the Academy Chamber Orchestra of Pittsburgh, as well as Beethoven’s Symphony No. 9 with the Cathedral Choral Society, Erie Philharmonic and as a guest soloist with the Ithaca College Chamber Orchestra. She recently debuted the soprano solo in Hadyn’s Mass in Time of War with the Cathedral Choral Society of Washington D.C. She also performed Grieg’s Peer Gynt with the Aspen Music Festival, and Mahler’s Symphony No. 4 with the Aspen Conductor’s Project. An advocate for living composers and contemporary works, Ms. Loutsion has also given performances of Almera in Nico Muhly’s Dark Sisters with Pittsburgh Opera, Euridice in Ricky Ian Gordon’s Orpheus and Euridice at the Boston Court Performing Arts Center, Witch 3 in Krausas’ The Mortal Thoughts of Lady Macbeth with Vera Ikon Productions, and Fay Doyle in the West Coast Premier of Lowell Liebermann’s Miss Lonelyhearts with USC Thornton Opera. She can be heard as the soprano soloist on the soundtrack of Lucir Y Sombra.

Ms. Loutsion recently represented the United States as a quarterfinalist in the Francisco Viñas International Singing Contest in Barcelona, Spain. She was a winner of the Metropolitan National Council District Auditions and Long Beach Mozart Competition, as well as a finalist in the Fritz and Lavinia Jensen Foundation Competition, McCammon Voice Competition, and Dallas Opera Competition. She is the recipient of the Catherine Filene Shouse Education Fund Career Grant from Wolf Trap Opera, Santa Fe Opera Donald Gramm Memorial Award and Anna Case MacKay Award, Shoshana Foundation Richard F. Gold Career Grant, the Central City Opera John Moriarty Award, and the Aspen Music Festival New Horizon Fellowship. She holds a Master of Music in Vocal Arts from the University of Southern California and a Bachelor of Music in Vocal Performance from Ithaca College. Ms. Loutsion was also recently awarded a place in the Greek America Foundation’s “Forty under 40” Class of 2018, a distinction that celebrates both the professional excellence and philanthropic endeavors of North Americans of Greek descent.

Alexandra LoBianco*
Turandot (Jan. 25)

American soprano Alexandra LoBianco, whom the Seattle Times exclaimed, “gave a subtle but impassioned performance” as the title role in Aida at Seattle Opera, has established herself as a dramatic soprano of unequaled versatility, musicality and consistency. An international presence, Ms. LoBianco recently stepped in for an ailing colleague as Leonore in Fidelio for her debut with the Wiener Staatsoper while under contract for the title role in Turandot. Subsequent appearances with the Wiener Staatsoper included performances of Helmwige in Die Walküre, as well as the Brünnhilde, cover while on tour in Japan.

In the 2018/19 season, Alexandra LoBianco will return to the Lyric Opera of Chicago for three projects: the covers of Brünnhilde in Siegfried,Chrysothemis in Elektra and performances of the Fourth Maid in Elektra. She will also join North Carolina Opera for the title role in Tosca. Symphonic projects include Senta in Der fliegende Holländer with Baltimore Concert Opera, and Mahler’s Symphony No. 8 with Madison Symphony, where she previously sang Rachmaninoff’s The Bells.

Operatic highlights of previous seasons have included the title roles of Aida and Tosca with Opera Colorado and Minnesota Opera, respectively, Donna Anna in Don Giovanni with Seattle Opera, Miss Jessel in The Turn of the Screwwith The Dallas Opera, Amelia in Un ballo in maschera with Florida Grand Opera, the prima donna in Ariadne auf Naxos with Austin Opera, and Helmwige with Lyric Opera of Chicago. At Des Moines Metro Opera, Ms. LoBianco has performed the title role in Turandot and Minnie in La fanciulla del West. Of her Turandot, Opera Today wrote, “Alexandra LoBianco is well remembered here for her feisty Minnie in a recent season. If Fanciulla is a Big Sing for the soprano, Princess Turandot is a Big Sing on Steroids… Ms. LoBianco is short of physical stature, but makes up for it with potent spinto vocalizing that has its own towering presence.”

Stefano La Colla*
Calaf* (Jan. 24/26)

Stefano La Colla is one of the most valued tenors of his generation. After a great debuts in 2008 in AIDA at Teatro Goldoni in Livorno, he continues his artistic experience in traditional theaters of many Italian cities such as Novara, Savona, Chieti, Reggio Emilia, Pisa, Lucca, Livorno, Busseto, Brescia. His international career began in 2011 with Turandot in Regensburg and continues in Dortmund, Leipzig, St. Petersburg, St. Gallen, Zagreb, Bucharest, but the real turning point is in 2015 with a fast and brilliant climb in the biggest European Opera Houses such as Milan, Berlin, Munich, Hamburg, Rome, Naples, Verona, Amsterdam, Wien, Bruxelles, Chicago. He has worked with conductors such as Sir Samuel Rattle, Riccardo Chailly, Stefano Ranzani, Donato Renzetti, Paolo Carignani, Carlo Rizzi, Julian Kovatchev, Ivan Repusic, Mikhail Tatarnikov, Jordi Bernácer, Pinchas Steinberg, Daneiel Callegari, Riccardo Frizza and with directors such as Franco Zeffirelli, Andrea Breth, Gianfranco de Bosio, Nikolaus Lehnhoff, Jurgen Flimm, Gianfranco del Monaco, Ezio Frigerio, Mario Martone, Roberto de Simone, Boleslaw Barlog, Alessandro Talevi, Gilbert Deflo, Francesco Micheli.

Hovhannes Ayvazyan*
Calaf (Jan. 25)

Since his 2010 stage Debut, Hovhannes Ayvazyan has frequently performed at various Opera Houses and Concert Halls including: Opera Belcanto of South Simcoe in Toronto, Mariinsky Theatre in St Petersburg, Mariinsky Concert Hall, Tatar State Opera in Kazan, Big Hall of the Moscow State Conservatoire, Musikverein Vienna, Novaya Opera and Bolshoi Theatre in Moscow, etc…

The young Armenian Tenor, critically acclaimed as “the whole package of a true dramatic tenor”, “outstanding Don Carlo”, has often performed under the baton of Maestro Valery Gergiev, and had the pleasure to work frequently with such legends as Maria Guleghina, Anna Netrebko, Olga Borodina, Ekaterina Semenchuk, Hui He, and many others.
Hovhannes Ayvazyan performed Mozart’s Requiem at the Musikverein in Vienna, an Opera Gala at Geneva’s Victoria Hall, various performances at the Yerevan Opera House as Canio, Turiddu, Don Jose, Radames and Pinkerton, as well as many title roles at the Mariinsky Theatre including Don Carlo, Manrico and Cavaradossi. He was on tour with the Berliner Symphoniker under Maestro Lior Shambadal for which he received outstanding reviews and performed Don Jose in Carmen with the Moscow State Opera at the BGE Theatre in Dublin.

In the Summer of 2017 he successfully performed Manrico in Il Trovatore under the Baton of Placido Domingo at the Mariinsky Theatre. He also made a critically acclaimed stage debut as Radames opposite Hui He at Arena di Verona. In November he made a terrific role debut as Don Alvaro in the Mariinsky original Version of Verdi’s La Forza del Destino as well as Canio in Pagliacci. In October 2018 he had another triumphant debut as Andrea Chenier at Teatro Massimo Bellini in Catania.

Some future debuts include Herman in Pique Dame, Riccardo in Un Ballo in Maschera and Calaf in Turandot at the Mariinsky Theatre, as well as a Stage debut at the Opera Frankfurt as Don Alvaro in La Forza del Destino.

Leah Crocetto*
Liù (Jan. 24/26)

Described by the New York Times as possessing an “agile coloratura technique and a feeling for the Italianate style… with warmth, full penetrating sound and tenderness,” American soprano Leah Crocetto continues to astonish audiences with her moving portrayals of opera’s greatest heroines.

In the current season, Ms. Crocetto returns to Seattle Opera as Leonora in Il trovatore. She sings her first performance of Bellini’s Norma in concert with North Carolina Opera, and makes her debut at Carnegie Hall’s Weill Hall in recital with pianist Mark Markham, with additional performances in Washington, D.C. and Easton, Pennsylvania. Ms. Crocetto makes her Australian debut with the Melbourne Symphony Orchestra as the soprano soloist in Verdi’s Requiem, and with the Los Angeles Philharmonic she sings Soprano II in Mahler’s epic Symphony No. 8 “Symphony of a Thousand,” under the baton of Gustavo Dudamel.

Last season, Ms. Crocetto performed the title role in Aïda first with Washington National Opera, and subsequently with Seattle Opera. She sang Leonora in Il trovatore with Oper Frankfurt, returned to San Francisco Opera as Liù in Turandot and performed the title role of Toscawith Pittsburgh Opera. In concert, she sang Verdi’s magnificent Requiem with the National Symphony and the NTR Symphony, and performed a solo recital in Ann Arbor, MI.

Ms. Crocetto sang her debut performances as the title role in Aïda with the San Francisco Opera in the 2016-2017 season. Also in this season, she made her role debut as Eleonora in the first US performances of Donizetti’s L’assedio di Calais with the Glimmerglass Festival. On the concert stage, she performed Bachianas Brasileiras No. 5 with the Chamber Music Society of Lincoln Center at Alice Tully Hall and sang a solo recital in her hometown of Adrian, Michigan.

Ms. Crocetto made her Metropolitan Opera debut in the 2015-2016 season as Liù in Turandot. She also made her role debut as the titular character in Rossini’s seldom performed Semiramide with Opera National de Bordeaux. Additional highlights of the season included Anna in Maometto II with the Canadian Opera Company, Luisa Miller in San Francisco, and Donna Anna in Don Giovanni with Santa Fe Opera. She made her New York City recital debut at Pace University with pianist Martin Katz, and performed a solo recital under the auspices of Washington National Opera with pianist Mark Markham at the John F. Kennedy Center.

In the 2014-15 season, Ms. Crocetto performed Desdemona in Otello with English National Opera, followed by performances of Mimi in La bohème with San Francisco Opera, and Madame Lidoine in Poulenc’s devastating Dialogues of the Carmelites with Washington National Opera. Her season concluded singing Elisabetta di Valois in a new production of Don Carlo with Opera Philadelphia.

Anastasia Schegoleva*
Liù (Jan. 25)

Soprano Anastasia Schegoleva recently made debuts with Moscow’s Bolshoi Theatre and St. Petersburg’s Mariinsky Theatre, appearing at the Bolshoi in performances of Tchaikovsky’s The Maid of Orleans conducted by Tugan Sokhiev, and at the Mariinsky a “Stars of the White Nights” Gala under the baton of Valery Gergiev. Her collaboration with the Mariinsky also includes role debuts as Liù in Turandot, Voyslava in Rimsky Korsakov’s Mlada, and numerous performances as soloist in Mozart’s Requiem and Beethoven’s Ninth Symphony.

With a voice described as “transporting,” Ms. Schegoleva has earned acclaim for performances as title role in Tchaikovsky’s Iolanta, Micaela in Carmen, Donna Elvira in Don Giovanni, Mimì in La bohème, and Countess in Le nozze di Figaro, working with noted conductors Riccardo Frizza, Yuri Simonov, Pavel Smelkov, and the late Alberto Zedda.  Additional credits include a collaboration with the Hungarian Radio Symphony Orchestra as soloist for Dvorak’s Stabat Mater, and appearances with the Academic Symphony Orchestra of the Moscow State Philharmonic as soloist in Mendelssohn’s Symphony No. 2 and Beethoven’s Cantata on the Death of Emperor Joseph II.  Further concert appearances as soprano soloist include Brahm’s Ein Deutsches Requiem, Mozart’s Litaniae Lauretanae, and several Bach Cantatas.

Ms. Schegoleva is the Third Prize Winner of the Galina Vishnevskaya International Opera Singers Competition (2014, Moscow), First Prize Winner at the Sobinov Vocal Competition (2016, Saratov), Special Prize Winner at the Competizione dell’Opera (2016, Moscow), Second Prize Winner at the VIII All Russia Obukhova Competition (2018, Lipetsk), and the Gold Medal Winner in Voice at 1st Berliner International Music Competition (2017, Berlin).

A graduate of Lipetsk Igumnov College of Arts with a bachelor’s degree in Piano Performance, and of the Maimonid State Classical Academy in Moscow with a master’s degree in Vocal Performance, Ms. Schegoleva has been a Fellow at the Atkins Young Artists Program at the Mariinsky Theater since 2017.  In October 2018, she joined the Program’s inaugural US and Mexico tour, participating in the televised concert at Palacio de Bellas Artes in Mexico City with Esperanza Azteca Youth Orchestra and Chorus conducted by Valery Gergiev, and making her New York debut in a recital at the historic St. Paul’s Chapel of Trinity Church Wall Street.

Evgeny Stavinsky*
Timur

Evgeny Stavinsky was born in Dubna, Moscow region, in a family of musicians. In 2003, he completed his university-level studies as singer and choir conductor at the Moscow Academy of Choral Art. From 2004 to 2005 he lived in Florence, Italy, to study at Maggio Musicale Fiorentino where he performed the title role in Mozart’s Don Giovanni, Lord Sidney and Basilio in Rossini’s Il Viaggio a Reims and Il Barbiere di Siviglia, and Superintendent Budd in Britten’s Albert Herring.

He became a member of Kolobov Novaya Opera Theatre of Moscow in 2007, his roles for the company including Thoas (Iphigénie en Tauride), Ruslan (Ruslan and Lyudmila), Pimen (Boris Godunov), Prince Gremin (Eugene Onegin), Malyuta-Skuratov (The Tsar’s Bride), Prince of Galich (Prince Igor), Méphistophélès (Faust), King Heinrich (Lohengrin), King Marke (Tristan und Isolde) and La Roche (Capriccio). Engagements elsewhere include Raimondo Bidebent (Lucia di Lammermoor) for Teatro Comunale di Bologna, Oroveso (Norma) for Teatro Massimo di Palermo, Méphistophélès for Hungarian State Opera, Padre Guardiano (La forza del destino) for Theater Basel and Don Basilio (Il barbiere di Siviglia) for the Mariinsky Theatre, St Petersburg, Colline (La Bohème) for Teatro Comunale di Bologna and
at Royal Opera House Covent Garden in L’Ange de Nisida by Donizetti.

Among the recent works, Zaccaria (Nabucco) in Ravenna, Ferrara, Nice and Toulon, Ivan Khovansky  (Chovanščina) in Budapest, Verdi’s Requiem with RTE Symphony Orchestra in Dublin, Beethoven IX Symphony with M° Riccardo Muti in Athens and Ravenna, Bartolo (Le nozze di Figaro) at Wiener Konzerthaus and Lucerne Festival with M° Teodor Currentzis.

Next engagements include a series of concerts with M° Teodor Currentzis: Mozart’s Requiem at Baden Baden Festival, Verdi’s Requiem in New York and Baden Baden, along with Mozart’s Requiem for South Netherlands Philarmonic and Dutch Radio Choir, Conte di Walter (Luisa Miller) at Glyndebourne Festival, Raimondo (Lucia di Lammermoor) at Bayerische Staatsoper in Munich (2021). Evgeny Stavinsky will return at Royal Opera House Covent Garden for Lucia di Lammermoor, Don Carlo (2020) and Rigoletto (2022)

Zachary Nelson
Ping

Zachary Nelson, a native of Annapolis, Maryland, has been praised for his rich and powerful baritone, as well as his ability to embody dramatic and comic characters on the operatic stage.

2018-2019 highlights include his return to the Lyric Opera of Chicago as Marcello in Richard Jones’ acclaimed La Bohème, his debut in Arizona Opera as Count Almaviva in Mozart’s Le Nozze di Figaro, and returning to the Santa Fe Opera for his fifth season as Marcello in La Bohème.

The 2017-2018 season starts with a joint recital with Soprano Leah Crocetto and Pianist Mark Markham. Then he has returns to the Lyric Opera of Chicago as Ping in Turandot and the title role in Dresden Semperoper’s Le Nozze di Figaro. Then Mr. Nelson will debut at the Pittsburgh Opera as Belcore in L’Elisir D’Amore and will be the baritone soloist in Bloch’s lush sacred piece, “Sacred Service (Avodat Hakodesh)” with the Voices of the Ascension.

The 2016-2017 season brings debuts at the Lyric Opera of Chicago as Donner in Das Rheingold and Enrico Ashton (cover) in Lucia di Lammermoor, Escamillo in Carmen with Den Norske Opera, and a fourth season with the Santa Fe Opera as Enrico Ashton in Lucia di Lammermoor.

2015-2016 began with a return to the Dresden Semperoper as Figaro in both Le Nozze di Figaro and Il Barbiere di Siviglia. He performed the role of Dr. Falke in Die Fledermaus with the Seiji Ozawa Music Academy in Kyoto, Tokyo, and Nagoya. He made debuts at the Salzburg Landestheater, Palm Beach, and San Francisco Opera in Carmen as Escamillo, and returned to the Canadian Opera Compnay as Escamillo.

His 2014-15 included the title role of Le nozze di Figaro with the Aix-en-Provence Festival on tour in Manama, Bahrain. Additionally, he makes his debut with Canadian Opera Company as Masetto in Dmitri Tcherniakov’s Don Giovanni. He debuted the roles of Paolo in Simon Boccanegra, Escamillo in Carmen. He reprised the roles of Gugliemo in Cosi Fan Tutte, Belcore in L’Elisir D’Amore, Marcello in Bohéme, and Figaro in both Barbiere di Siviglia and a new production of Le Nozze di Figaro all with the Dresden Semperoper,

In the 2013-2014 season, Mr. Nelson joined the ensemble of the Dresden Semperoper, where he performed the roles of Il Conte in Le nozze di Figaro, Marcello in La Bohème, Der Sprecher in Die Zauberflöte, Figaro in Il Barbiere di Siviglia, and Guglielmo in a new production of Così Fan Tutte. He also returned to the Santa Fe Opera as Malatesta in Laurent Pelly’s Don Pasquale.

Other notable performances include: Figaro in Le nozze di Figaro with Santa Fe Opera, Germont in La Traviata with Lyric Opera of Virginia, Angelotti in Tosca and Mandryka (cover) in Arabella with Santa Fe Opera, Quinault in Adriana Lecouvreur with Opera Orchestra of New York, Sciarrone in Tosca with Glimmerglass Opera, and a soloist in Steven Blier’s “Killer B’s” with the New York Festival of Song.

A graduate of the Academy of Vocal Arts in Philadelphia, PA, Mr. Nelson performed many roles including: Belcore in L’Elisir D’Amore, Renato in Un Ballo in Maschera, the title role in Falstaff, Michele in Il Tabarro, Sancho Panza in Don Quichotte, Mandryka in Arabella, Golaud in Pelléas et Mélisande, and Masetto in Don Giovanni. Mr. Nelson is also a graduate of The Catholic University of America in Washington, D.C.

Awards Mr. Neslon has garnered are: The George London Award from the 2012 George London Foundation, 1st prize prize from the 2012 Opera Index Competition, The 2012 Liederkranz Foundation Competition (General Opera Division), and the 2012 Licia Albanese-Puccini Foundation. Also, 2nd prize from the 2011 Gerda Lissner Competition, the 2011 Giulio Gari Foundation, and the 2011 Loren Zachary Competition

John McVeigh*
Pang

Acclaimed for his “fresh-toned and touching portrayal” by Opera News and lauded by the New Orleans Times-Picayune for his “rich lyrical tenor, fabulous top notes, and striking good looks,” John McVeigh continues to garner attention for his countless world-class performances at the most revered houses throughout the United States and worldwide. This season, McVeigh returns to The Metropolitan Opera for their productions of Turandot and Le nozze di Figaro, sing Pang in Turandot with Palm Beach Opera, and performs as a soloist in Handel’s Messiah with DCINY. Most recently, Mr. McVeigh performed the role of Don Basilio in The Marriage of Figaro with Opera Theater St. Louis, performed as a soloist in Handel’s Messiah with Indianapolis Chamber Orchestra and DCINY, and as a soloist in Beethoven’s Symphony No. 9 with DCINY.

An accomplished “cross-over” artist, McVeigh shares his talents both in operatic and theatrical settings. His extensive work includes performances as Lysander in A Midsummer Night’s Dream at Utah Opera and in his Central City Opera début; Johnny Inkslinger in Britten’s folkloric operetta, Paul Bunyan, with Central City Opera; Feeny in Bennett’s The Mines of Sulphur and Hot Biscuit Slim in Paul Bunyan at New York City Opera (broadcast on Live from Lincoln Center on PBS); his Ravinia Festival début as Henrick in A Little Night Music alongside Patti LuPone; the title role in Candide with Austin Lyric Opera; the title role in Romberg’s The Student Prince with Central City Opera; and Anatol in Vanessa with San Diego Opera.

Having led a prolific concert and oratorio career, Mr. McVeigh has performed notorious pieces throughout the world including Händel’s Messiah with the Indianapolis Chamber Orchestra, Evansville Philharmonic Orchestra, Seattle Symphony, Phoenix Symphony, Milwaukee Symphony, San Diego Symphony, Austin Symphony, Nashville Symphony, Philadelphia Orchestra, Boston Baroque, Charlotte Symphony Orchestra, Minnesota Orchestra, the Masterworks Chorus at Carnegie Hall, the Washington National Cathedral with the Cathedral Choral Society, Philharmonia Baroque, Music of the Baroque, Winston Salem Symphony, Memphis Symphony, and with DCINY at Carnegie Hall; Mahler’s Das Lied der Erde with Trinity Church Wall Street; Celebrant in Bernstein’s Mass with the Brevard Music Center; Beethoven’s Symphony No. 9 at the Grant Park Music Festival, Colorado Music Festival, Arizona Music Festival and with the Portland Symphony Orchestr; Orff’s Carmina Burana with the Memphis Symphony, Detroit Symphony, and Utah Symphony; Haydn’s Creation with the Portland Symphony, Berkshire Chorale, and the Winston Salem Symphony, with whom he also sang Bach’s St. John’s Passion; and Philip Glass’ Symphony No. 5 with the The Washington Chorus, Brooklyn Philharmonic, Pacific Symphony, Gewandhaus Orchester in Leipzig, and the Danish National Radio Orchestra under the baton of Dennis Russell Davies. Additionally McVeigh had a solo performance in a brand new concert entitled Rev. 23, the unpublished last chapter of the Book of Revelation as dictated by St. John the Divine which narrates the last battle to recapture Paradise-on-Earth and restore the balance of good and evil to our world, with Prototype Festival.

A house favorite at The Metropolitan Opera, he has performed numerous productions with the esteemed company. Favorite engagements with the house include his Metropolitan Opera début as Pang in Turandot, Bardolfo in Falstaff, Tinca in Il tabarro, Little Bat in their first production of Susannah under James Conlon, and their productions of La Fanciulla del West, Dialogues des Carmelites, Le nozze di Figaro, Turandot, Eugene Onegin, Die Zauberflöte, Lady Macbeth of the Mtsensk District, The Merry Widow, Iolanta, La traviata, Falstaff, Manon, Das Rheingold, Ariadne auf Naxos, and Billy Budd. Also a house favorite at Houston Grand Opera, he has performed the role of Will Tweedy in the world première of Cold Sassy Tree with repeated performances at Atlanta Opera, Austin Lyric Opera, Lyric Opera of Kansas City, Opera Omaha, San Diego Opera, and Opera Carolina; Remendado in Carmen; Lurcanio in Händel’s Ariodante and Tamino in Die Zauberflöte, both of which he later performed at New York City Opera; and in their production of Das Rheingold. As an alumnus of the Houston Grand Opera Studio, his numerous performances there include Tybalt in Roméo et Juliette, St. Stephen in Four Saints in Three Acts, and Michael Daughtery’s Jackie O.

Highlights of John’s considerable European and international career include Montverdi’s Vespro della Beata Vergine 1610 and Adrastro in Traettas’ Antigona with the Théâtre du Châtelet; Lurcanio in Ariodante at the Gran Teatre del Liceu and de Vlaamse Opera; Endimione in Martín y Soler’s L’abore di Diana at the Gran Teatro del Liceu; St. Stephen in Four Saints in Three Acts at the Edinburgh Festival; Bill in Jonathan Dove’s Flight with de Vlaamse Opera; Novice in Billy Budd with Teatro Carlo Felice; Lysander in A Midsummer Night’s Dream and Endimione in Martin y Soler’s L’abore di Diana at Teatro Real; Emilio in Partenope at the Göttingen Händel Festspiele; Teseo in Traetta’s eclectic reform opera Ippolito ed Aricia with Opéra national de Montpellier; Ozia in Mozart’s only, rarely performed oratorio Betulia liberata with Christophe Rousset and Les Talen Lyriques; and Marzio in Mozart’s prodigal opera seria Mitridate, re di Ponto at Festival Internacional de Música y Danza de Granada.

Additional operatic engagements include Goro in Madama Butterfly with Opera Theatre of St. Louis, the role of the Footman in Der Rosenkavalier with Boston Symphony Orchestra; Prunier in La rondine with Opera Theater Saint Louis; Pang in Turandot with Hawaii Opera Theatre and Arizona Opera; Tybalt in Roméo et Juliette with Opera Colorado; Emilio in Händel’s opera buffe Partenope with Glimmerglass Opera and New York City Opera; Novice in Billy Budd in his débuts with Lyric Opera of Chicago, Los Angeles Opera, and Washington National Opera and in a return to Houston Grand Opera; Fenton in Falstaff and Arbace in Idomeneo with Sante Fe Opera; Don Ottavio in Don Giovanni with Glimmerglass Opera and Austin Lyric Opera; Azor in Zemire et Azor with Arizona Opera; and Ferrando in Così fan tutte in a return to Austin Lyric Opera. In addition, he performed the world première of Carlisle Floyd’s Soul of Heaven for tenor and piano.

Additional concert engagements include Händel’s L’allegro with the Mark Morris Dance Group at the Kennedy Center and Lincoln Center; The Blind at the Lincoln Center Festival; Lackey in Der Rosenkavalier with National Symphony Orchestra; Mozart’s Mass in C minor with the St. Catherine of Siena Concert Series; Acis in Acis and Galatea with the Macau International Music Festival, Glimmerglass Opera, the Detroit Oratorio Society, and Concert Radio Kamer Filharmonie in Amsterdam; Bach’s St. Matthew’s Passion under the baton of Jaap van Zweden with the Dallas Symphony; Vaughan Williams’ On Wenlock Edge with the Arizona Music Festival and Portland Chamber Music Festival; Britten’s song cycle Nocturne with the Portland Symphony and Music of the Baroque; Rameu’s Platée with the Mark Morris Dance Group at the Ravinia Festival and Seattle Symphony; The Celebrant in Bernstein’s MASS with the Utah Symphony and Virginia Arts Festival; Mendelssohn’s Elijah with the Calgary Philharmonic; Beethoven’s Missa solemnis with the Minnesota Orchestra and Richmond Symphony; Mozart’s Requiem with the Colorado Symphony; Mozart’s Mass in C minor, Händel’s Israel in Egypt, and a series of Bach cantatas and Händel arias with the St. Paul Chamber Orchestra; Bach’s Mass in B minor with the Milwaukee Symphony and under the baton of John Nelson with Soli Deo Gloria; Beethoven’s Mass in C Major with the Honolulu Symphony; Stravinsky’s neoclassical ballet Pulcinella with the Brooklyn Philharmonic; and Haydn’s Harmoniesse with the Händel and Haydn Society.

Discography includes Will Tweedy in Carlisle Floyd’s Cold Sassy Tree on the Albany Label, Daughtery’s Jackie O and Emilio in Händel’s Partenope.

Il Hoon Kim*
Mandarin

International award-winning bass Il Hoon Kim debuted in 2008 with the Korea National Opera at the Seoul Art Center, playing the roles of Sarastro in Die Zauberflöte, Oroveso in Norma, and Raimondo in Lucia di Lammermoor. That same year, Kim won a number of prestigious prizes, including 3rd place in the JoongAng Music Concours, 3rd place in the Dong-A Music Competition, 1st place in the Korea Music Competition, 2nd place KBS Music Competition, and 1st place in the SungJung Music Competition. In 2014, he won 1st prize, the critics’ prize, and the audience prize at the Ferruccio Tagliavini Vocal Competition.

After winning a prize at the Concorso Internazionale di Canto at the famed Arena di Verona, a UNESCO World Heritage Site, he made a successful debut on the European stage as Colline in La Boheme to great acclaim. While studying in Köln, he appeared as Tom in Ein Maskenball and Mr. Budd in Albert Herring at the Theater Aachen. Other roles include Nourabad in Les pêcheurs de perles, Timur in Turandot, and Daland in Der fliegende Holländer at the Daegu Opera House. He has also performed the roles of Frère Laurent in Roméo et Juliette and Alidoro in La cenerentola, and Kim most recently appeared with the Korean National Opera as Fasolt in Das Rheingold, directed by Achim Freyer. Kim holds a Bachelor’s degree in voice the Chugye University for the Arts and a Master’s degree from the Hochschule für Musik Köln, where he studied under Prof. Dieter Schweikard.

David Stern
Chief Conductor

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

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

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

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

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

Keturah Stickann*
Director

Keturah Stickann’s directing and choreographic credits include Turandot (San Diego Opera), L’Orfeo ed Euridice (Florida Grand Opera), Norma (Opera Southwest), Seven Deadly Sins/Pagliacci (Virginia Opera),  Macbeth (Kentucky Opera),  Don Quichotte (San Diego Opera),  La Traviata (Chautauqua Opera), Orpheus and Euridice (Vermont Opera Project), Flight (Opera Fayetteville), Don Giovanni (Janiec Opera Company, Virginia Opera), Rigoletto (Opera Memphis, San Diego Opera, Dallas Opera), The Tales of Hoffman (Knoxville Opera), Manon (Knoxville Opera), Don Pasquale (Opera in the Heights), La tragédie de Carmen (Janiec Opera Company), Madama Butterfly (Opera Santa Barbara), La clemenza di Tito (Opera in the Heights), L’Enfant et les sortilèges & Bon Appetit (Emerald City Opera), The Pearl Fishers (Sarasota Opera), Peter Grimes (San Diego Opera), Orfeo (Atlanta Opera, Arizona Opera), The Old Maid and the Thief (Emerald City Opera), Hansel and Gretel (Portland Opera), and Le nozze di Figaro (Emerald City Opera, Opera Pacific).  Ms Stickann is a frequent collaborator with theater and opera director, Leonard Foglia.  She was his choreographer and movement director for the world premiere of Jake Heggie’s Moby-Dick in Dallas in 2010, and traveled with the production to the Calgary Opera, State Opera of South Australia, San Diego Opera, San Francisco Opera (where her work was filmed for a DVD produced by PBS’ Great Performances), Washington National Opera,  and LA Opera, and was the revival director for its return to Dallas Opera.  Also for Mr. Foglia, she is the choreographer of the Heggie/Scheer premiere of It’s A Wonderful Life at Houston Grand Opera, the assistant director and choreographer for the mariachi opera: Cruzar la Cara de la Luna, which premiered at Houston Grand Opera, and went on to Le Théâtre du Châtelet, the Lyric Opera of Chicago, San Diego Opera, and the Arizona Opera. She was also the assistant director with Mr. Foglia for his new opera (composed by Ricky Ian Gordon), A Coffin in Egypt, with Frederica von Stade, for Cold Mountain (composed by Jennifer Higdon) that premiered in Santa Fe in 2015, and for the national tour of Anna Deavere Smith’s Let Me Down Easy (also filmed by PBS for a broadcast of Great Performances).  In 2012, Ms. Stickann toured to Japan and Chile as the associate director for Michael Hampe’s production of Tannhäuser, and before that she assisted and choreographed for Lillian Groag, Lotfi Mansouri, Sean Curran, John Copley, Mark Lamos, Michael Gieleta, Lawrence Edelson, and Harry Silverstein, among others. New productions she has helped bring to stage include Orphée, Samson et Dalila, Agrippina, Rigoletto, La fanciulla del West, Pagliacci & Cavalleria Rusticana. La rondine, Maria Stuarda, Acis & Galatea, Pirates of Penzance, Otello, Three Decembers, Hydrogen Jukebox,and The Good Soldier Schweik. Her collaboration with director, Elise Sandell, on their production of Einstein on the Beach was chosen as a finalist for the inaugural Director/Designer Showcase with Opera America in 2009.

Trained as a classical and contemporary dancer, Ms. Stickann was a performer with Cerulean Dance Theatre, Malashock Dance, The Wally Cardona Quartet, Colleen Halloran Dance, SCW/The Group and Danny Grossman and Dancers.  With Malashock dance, she starred in two dance films shot in conjunction with UCSD-TV (Love & Murder and The Soul of Saturday Night), both of which went on to win a regional Emmy award for Best Arts and Entertainment Program.  Following this success, Ms. Stickann traveled to Hungary in 2006 to shoot a one-woman dance video on the streets of Budapest.  Utazo went on to play in film festivals around the country.  In addition, she’s captained and been a principal dancer for Chicago Opera Theater, working with choreographer Daniel Pelzig on Death in Venice and Akhnaten, with which she also traveled to the Opera National Du Rhin in Strasbourg, France.  She was also the assistant choreographer and principal dancer for the Andrew Sinclair/Zandra Rhodes production of The Pearl Fishers which premiered at San Diego Opera, then traveled to Michigan Opera Theater, and New York City Opera.

Because of her background as a dancer, Ms. Stickann a sought-after movement and acting coach for young singers and actors.  She’s trained and coached performers at The Brevard Music Center, The La Jolla Playhouse Theater Conservatory, The San Diego Opera Summer Singers Workshop, the Glimmerglass Opera Young American Artists Program, Emerald City Opera, Stephen’s College, and DePaul University, among others.  Michael Heaston, former director of the Young American Artists’ Program at the Glimmerglass Festival has said of Keturah’s coaching work, “Every recital she touches turns to gold.”

Born and raised in the Midwest, Ms. Stickann studied ballet and theater at Stephens College while still in high school, and spent her summers at DanceAspen, The State Ballet of Missouri and the prestigious Rep/Etudes Project at Jacob’s Pillow.  She received her B.A. in dance education and choreography from Columbia College Chicago, and was a 1997 nominee for the Princess Grace Award for excellence in the arts.

Alexandra Loutsion
Turandot (Jan. 24/26)

Hailed as “a singer to watch” (Washington Post) with a “commanding presence” (Pittsburgh Post-Gazette), Alexandra Loutsion continues to be recognized for her passionate performances and vocal versatility as a rising star on the operatic stage. This season, she makes her international debut with Canadian Opera Company singing the Overseer and covering the title role in Strauss’ Elektra. She will also debut with New Orleans Opera as the title role of Puccini’s Turandot, and she returns to Central City Opera making her role debut as Leonora in Verdi’s Il Trovatore. She finishes the season debuting with West Virginia Symphony and Syracuse Symphoria as the Soprano Soloist in Beethoven’s Symphony No. 9. Last season, she debuted with San Francisco Opera singing the Overseer in Strauss’ Elektra and covered Princess Turandot in Puccini’s Turandot. She returned to Wolf Trap Opera and Palm Beach Opera in the title role of Puccini’s Tosca, and debuted with Tulsa Opera in the title role of Puccini’s Turandot to great acclaim.

Recently she added four new roles to her repertoire: the title role of Puccini’s Tosca with Central City Opera, Princess Turandot in Puccini’s Turandot with Pittsburgh Opera, the Foreign Princess in Dvorak’s Rusalka with Arizona Opera, and Lady Macbeth in Verdi’s Macbeth with Raylynmor Opera. She also made her debuts with Palm Beach Opera as Cio-Cio San in Madama Butterfly, and the Fort Wayne Philharmonic singing the title role in Puccini’s Tosca. She was recently heard as Florencia in Daniel Catan’s Florencia en el Amazonas with Arizona Opera, and made her Wolf Trap Opera debut as Cio-Cio-San in Puccini’s Madama Butterfly to great acclaim. She debuted with North Carolina Opera as Donna Anna in Don Giovanni and Dayton Opera as Gertrude in Humperdinck’s Hansel and Gretel, She also covered the Lady-in-Waiting in Verdi’s Macbeth with the Chicago Symphony Orchestra under Riccardo Muti. Other recent performances have included the title role in Madama Butterfly with Opera on the James, Anna Kennedy in Maria Stuarda with Washington Concert Opera, Sie in Karl Hartmann’s Wachsfiguren Kabinett with the Aspen Music Festival, and the leading role of Isabella in Wagner’s Das Liebesverbot as part of the Ring Festival LA.

Ms. Loutsion spent two summers as an Apprentice Artist with the Santa Fe Opera, most recently to cover the role of Leonore in Fidelio conducted by Harry Bicket. She also covered the title role in Puccini’s Tosca, the leading role of Anna in Rossini’s Maometto II. Ms. Loutsion also spent two seasons as a Resident Artist with Pittsburgh Opera where she was seen as Armida in Handel’s Rinaldo, Gertrude and the Witch in Humperdinck’s Hänsel und Gretel, among others. As an Apprentice Artist with Central City Opera, she was heard as the title role in Puccini’s Madama Butterfly and as Melissa in Handel’s Amadigi di Gaula, among others.

On the concert stage, Ms. Loutsion has sung the soprano solo in Verdi’s Messa da Requiem with the Santa Fe Symphony and the Academy Chamber Orchestra of Pittsburgh, as well as Beethoven’s Symphony No. 9 with the Cathedral Choral Society, Erie Philharmonic and as a guest soloist with the Ithaca College Chamber Orchestra. She recently debuted the soprano solo in Hadyn’s Mass in Time of War with the Cathedral Choral Society of Washington D.C. She also performed Grieg’s Peer Gynt with the Aspen Music Festival, and Mahler’s Symphony No. 4 with the Aspen Conductor’s Project. An advocate for living composers and contemporary works, Ms. Loutsion has also given performances of Almera in Nico Muhly’s Dark Sisters with Pittsburgh Opera, Euridice in Ricky Ian Gordon’s Orpheus and Euridice at the Boston Court Performing Arts Center, Witch 3 in Krausas’ The Mortal Thoughts of Lady Macbeth with Vera Ikon Productions, and Fay Doyle in the West Coast Premier of Lowell Liebermann’s Miss Lonelyhearts with USC Thornton Opera. She can be heard as the soprano soloist on the soundtrack of Lucir Y Sombra.

Ms. Loutsion recently represented the United States as a quarterfinalist in the Francisco Viñas International Singing Contest in Barcelona, Spain. She was a winner of the Metropolitan National Council District Auditions and Long Beach Mozart Competition, as well as a finalist in the Fritz and Lavinia Jensen Foundation Competition, McCammon Voice Competition, and Dallas Opera Competition. She is the recipient of the Catherine Filene Shouse Education Fund Career Grant from Wolf Trap Opera, Santa Fe Opera Donald Gramm Memorial Award and Anna Case MacKay Award, Shoshana Foundation Richard F. Gold Career Grant, the Central City Opera John Moriarty Award, and the Aspen Music Festival New Horizon Fellowship. She holds a Master of Music in Vocal Arts from the University of Southern California and a Bachelor of Music in Vocal Performance from Ithaca College. Ms. Loutsion was also recently awarded a place in the Greek America Foundation’s “Forty under 40” Class of 2018, a distinction that celebrates both the professional excellence and philanthropic endeavors of North Americans of Greek descent.

Alexandra LoBianco*
Turandot (Jan. 25)

American soprano Alexandra LoBianco, whom the Seattle Times exclaimed, “gave a subtle but impassioned performance” as the title role in Aida at Seattle Opera, has established herself as a dramatic soprano of unequaled versatility, musicality and consistency. An international presence, Ms. LoBianco recently stepped in for an ailing colleague as Leonore in Fidelio for her debut with the Wiener Staatsoper while under contract for the title role in Turandot. Subsequent appearances with the Wiener Staatsoper included performances of Helmwige in Die Walküre, as well as the Brünnhilde, cover while on tour in Japan.

In the 2018/19 season, Alexandra LoBianco will return to the Lyric Opera of Chicago for three projects: the covers of Brünnhilde in Siegfried,Chrysothemis in Elektra and performances of the Fourth Maid in Elektra. She will also join North Carolina Opera for the title role in Tosca. Symphonic projects include Senta in Der fliegende Holländer with Baltimore Concert Opera, and Mahler’s Symphony No. 8 with Madison Symphony, where she previously sang Rachmaninoff’s The Bells.

Operatic highlights of previous seasons have included the title roles of Aida and Tosca with Opera Colorado and Minnesota Opera, respectively, Donna Anna in Don Giovanni with Seattle Opera, Miss Jessel in The Turn of the Screwwith The Dallas Opera, Amelia in Un ballo in maschera with Florida Grand Opera, the prima donna in Ariadne auf Naxos with Austin Opera, and Helmwige with Lyric Opera of Chicago. At Des Moines Metro Opera, Ms. LoBianco has performed the title role in Turandot and Minnie in La fanciulla del West. Of her Turandot, Opera Today wrote, “Alexandra LoBianco is well remembered here for her feisty Minnie in a recent season. If Fanciulla is a Big Sing for the soprano, Princess Turandot is a Big Sing on Steroids… Ms. LoBianco is short of physical stature, but makes up for it with potent spinto vocalizing that has its own towering presence.”

Stefano La Colla*
Calaf* (Jan. 24/26)

Stefano La Colla is one of the most valued tenors of his generation. After a great debuts in 2008 in AIDA at Teatro Goldoni in Livorno, he continues his artistic experience in traditional theaters of many Italian cities such as Novara, Savona, Chieti, Reggio Emilia, Pisa, Lucca, Livorno, Busseto, Brescia. His international career began in 2011 with Turandot in Regensburg and continues in Dortmund, Leipzig, St. Petersburg, St. Gallen, Zagreb, Bucharest, but the real turning point is in 2015 with a fast and brilliant climb in the biggest European Opera Houses such as Milan, Berlin, Munich, Hamburg, Rome, Naples, Verona, Amsterdam, Wien, Bruxelles, Chicago. He has worked with conductors such as Sir Samuel Rattle, Riccardo Chailly, Stefano Ranzani, Donato Renzetti, Paolo Carignani, Carlo Rizzi, Julian Kovatchev, Ivan Repusic, Mikhail Tatarnikov, Jordi Bernácer, Pinchas Steinberg, Daneiel Callegari, Riccardo Frizza and with directors such as Franco Zeffirelli, Andrea Breth, Gianfranco de Bosio, Nikolaus Lehnhoff, Jurgen Flimm, Gianfranco del Monaco, Ezio Frigerio, Mario Martone, Roberto de Simone, Boleslaw Barlog, Alessandro Talevi, Gilbert Deflo, Francesco Micheli.

Hovhannes Ayvazyan*
Calaf (Jan. 25)

Since his 2010 stage Debut, Hovhannes Ayvazyan has frequently performed at various Opera Houses and Concert Halls including: Opera Belcanto of South Simcoe in Toronto, Mariinsky Theatre in St Petersburg, Mariinsky Concert Hall, Tatar State Opera in Kazan, Big Hall of the Moscow State Conservatoire, Musikverein Vienna, Novaya Opera and Bolshoi Theatre in Moscow, etc…

The young Armenian Tenor, critically acclaimed as “the whole package of a true dramatic tenor”, “outstanding Don Carlo”, has often performed under the baton of Maestro Valery Gergiev, and had the pleasure to work frequently with such legends as Maria Guleghina, Anna Netrebko, Olga Borodina, Ekaterina Semenchuk, Hui He, and many others.
Hovhannes Ayvazyan performed Mozart’s Requiem at the Musikverein in Vienna, an Opera Gala at Geneva’s Victoria Hall, various performances at the Yerevan Opera House as Canio, Turiddu, Don Jose, Radames and Pinkerton, as well as many title roles at the Mariinsky Theatre including Don Carlo, Manrico and Cavaradossi. He was on tour with the Berliner Symphoniker under Maestro Lior Shambadal for which he received outstanding reviews and performed Don Jose in Carmen with the Moscow State Opera at the BGE Theatre in Dublin.

In the Summer of 2017 he successfully performed Manrico in Il Trovatore under the Baton of Placido Domingo at the Mariinsky Theatre. He also made a critically acclaimed stage debut as Radames opposite Hui He at Arena di Verona. In November he made a terrific role debut as Don Alvaro in the Mariinsky original Version of Verdi’s La Forza del Destino as well as Canio in Pagliacci. In October 2018 he had another triumphant debut as Andrea Chenier at Teatro Massimo Bellini in Catania.

Some future debuts include Herman in Pique Dame, Riccardo in Un Ballo in Maschera and Calaf in Turandot at the Mariinsky Theatre, as well as a Stage debut at the Opera Frankfurt as Don Alvaro in La Forza del Destino.

Leah Crocetto*
Liù (Jan. 24/26)

Described by the New York Times as possessing an “agile coloratura technique and a feeling for the Italianate style… with warmth, full penetrating sound and tenderness,” American soprano Leah Crocetto continues to astonish audiences with her moving portrayals of opera’s greatest heroines.

In the current season, Ms. Crocetto returns to Seattle Opera as Leonora in Il trovatore. She sings her first performance of Bellini’s Norma in concert with North Carolina Opera, and makes her debut at Carnegie Hall’s Weill Hall in recital with pianist Mark Markham, with additional performances in Washington, D.C. and Easton, Pennsylvania. Ms. Crocetto makes her Australian debut with the Melbourne Symphony Orchestra as the soprano soloist in Verdi’s Requiem, and with the Los Angeles Philharmonic she sings Soprano II in Mahler’s epic Symphony No. 8 “Symphony of a Thousand,” under the baton of Gustavo Dudamel.

Last season, Ms. Crocetto performed the title role in Aïda first with Washington National Opera, and subsequently with Seattle Opera. She sang Leonora in Il trovatore with Oper Frankfurt, returned to San Francisco Opera as Liù in Turandot and performed the title role of Toscawith Pittsburgh Opera. In concert, she sang Verdi’s magnificent Requiem with the National Symphony and the NTR Symphony, and performed a solo recital in Ann Arbor, MI.

Ms. Crocetto sang her debut performances as the title role in Aïda with the San Francisco Opera in the 2016-2017 season. Also in this season, she made her role debut as Eleonora in the first US performances of Donizetti’s L’assedio di Calais with the Glimmerglass Festival. On the concert stage, she performed Bachianas Brasileiras No. 5 with the Chamber Music Society of Lincoln Center at Alice Tully Hall and sang a solo recital in her hometown of Adrian, Michigan.

Ms. Crocetto made her Metropolitan Opera debut in the 2015-2016 season as Liù in Turandot. She also made her role debut as the titular character in Rossini’s seldom performed Semiramide with Opera National de Bordeaux. Additional highlights of the season included Anna in Maometto II with the Canadian Opera Company, Luisa Miller in San Francisco, and Donna Anna in Don Giovanni with Santa Fe Opera. She made her New York City recital debut at Pace University with pianist Martin Katz, and performed a solo recital under the auspices of Washington National Opera with pianist Mark Markham at the John F. Kennedy Center.

In the 2014-15 season, Ms. Crocetto performed Desdemona in Otello with English National Opera, followed by performances of Mimi in La bohème with San Francisco Opera, and Madame Lidoine in Poulenc’s devastating Dialogues of the Carmelites with Washington National Opera. Her season concluded singing Elisabetta di Valois in a new production of Don Carlo with Opera Philadelphia.

Anastasia Schegoleva*
Liù (Jan. 25)

Soprano Anastasia Schegoleva recently made debuts with Moscow’s Bolshoi Theatre and St. Petersburg’s Mariinsky Theatre, appearing at the Bolshoi in performances of Tchaikovsky’s The Maid of Orleans conducted by Tugan Sokhiev, and at the Mariinsky a “Stars of the White Nights” Gala under the baton of Valery Gergiev. Her collaboration with the Mariinsky also includes role debuts as Liù in Turandot, Voyslava in Rimsky Korsakov’s Mlada, and numerous performances as soloist in Mozart’s Requiem and Beethoven’s Ninth Symphony.

With a voice described as “transporting,” Ms. Schegoleva has earned acclaim for performances as title role in Tchaikovsky’s Iolanta, Micaela in Carmen, Donna Elvira in Don Giovanni, Mimì in La bohème, and Countess in Le nozze di Figaro, working with noted conductors Riccardo Frizza, Yuri Simonov, Pavel Smelkov, and the late Alberto Zedda.  Additional credits include a collaboration with the Hungarian Radio Symphony Orchestra as soloist for Dvorak’s Stabat Mater, and appearances with the Academic Symphony Orchestra of the Moscow State Philharmonic as soloist in Mendelssohn’s Symphony No. 2 and Beethoven’s Cantata on the Death of Emperor Joseph II.  Further concert appearances as soprano soloist include Brahm’s Ein Deutsches Requiem, Mozart’s Litaniae Lauretanae, and several Bach Cantatas.

Ms. Schegoleva is the Third Prize Winner of the Galina Vishnevskaya International Opera Singers Competition (2014, Moscow), First Prize Winner at the Sobinov Vocal Competition (2016, Saratov), Special Prize Winner at the Competizione dell’Opera (2016, Moscow), Second Prize Winner at the VIII All Russia Obukhova Competition (2018, Lipetsk), and the Gold Medal Winner in Voice at 1st Berliner International Music Competition (2017, Berlin).

A graduate of Lipetsk Igumnov College of Arts with a bachelor’s degree in Piano Performance, and of the Maimonid State Classical Academy in Moscow with a master’s degree in Vocal Performance, Ms. Schegoleva has been a Fellow at the Atkins Young Artists Program at the Mariinsky Theater since 2017.  In October 2018, she joined the Program’s inaugural US and Mexico tour, participating in the televised concert at Palacio de Bellas Artes in Mexico City with Esperanza Azteca Youth Orchestra and Chorus conducted by Valery Gergiev, and making her New York debut in a recital at the historic St. Paul’s Chapel of Trinity Church Wall Street.

Evgeny Stavinsky*
Timur

Evgeny Stavinsky was born in Dubna, Moscow region, in a family of musicians. In 2003, he completed his university-level studies as singer and choir conductor at the Moscow Academy of Choral Art. From 2004 to 2005 he lived in Florence, Italy, to study at Maggio Musicale Fiorentino where he performed the title role in Mozart’s Don Giovanni, Lord Sidney and Basilio in Rossini’s Il Viaggio a Reims and Il Barbiere di Siviglia, and Superintendent Budd in Britten’s Albert Herring.

He became a member of Kolobov Novaya Opera Theatre of Moscow in 2007, his roles for the company including Thoas (Iphigénie en Tauride), Ruslan (Ruslan and Lyudmila), Pimen (Boris Godunov), Prince Gremin (Eugene Onegin), Malyuta-Skuratov (The Tsar’s Bride), Prince of Galich (Prince Igor), Méphistophélès (Faust), King Heinrich (Lohengrin), King Marke (Tristan und Isolde) and La Roche (Capriccio). Engagements elsewhere include Raimondo Bidebent (Lucia di Lammermoor) for Teatro Comunale di Bologna, Oroveso (Norma) for Teatro Massimo di Palermo, Méphistophélès for Hungarian State Opera, Padre Guardiano (La forza del destino) for Theater Basel and Don Basilio (Il barbiere di Siviglia) for the Mariinsky Theatre, St Petersburg, Colline (La Bohème) for Teatro Comunale di Bologna and
at Royal Opera House Covent Garden in L’Ange de Nisida by Donizetti.

Among the recent works, Zaccaria (Nabucco) in Ravenna, Ferrara, Nice and Toulon, Ivan Khovansky  (Chovanščina) in Budapest, Verdi’s Requiem with RTE Symphony Orchestra in Dublin, Beethoven IX Symphony with M° Riccardo Muti in Athens and Ravenna, Bartolo (Le nozze di Figaro) at Wiener Konzerthaus and Lucerne Festival with M° Teodor Currentzis.

Next engagements include a series of concerts with M° Teodor Currentzis: Mozart’s Requiem at Baden Baden Festival, Verdi’s Requiem in New York and Baden Baden, along with Mozart’s Requiem for South Netherlands Philarmonic and Dutch Radio Choir, Conte di Walter (Luisa Miller) at Glyndebourne Festival, Raimondo (Lucia di Lammermoor) at Bayerische Staatsoper in Munich (2021). Evgeny Stavinsky will return at Royal Opera House Covent Garden for Lucia di Lammermoor, Don Carlo (2020) and Rigoletto (2022)

Zachary Nelson
Ping

Zachary Nelson, a native of Annapolis, Maryland, has been praised for his rich and powerful baritone, as well as his ability to embody dramatic and comic characters on the operatic stage.

2018-2019 highlights include his return to the Lyric Opera of Chicago as Marcello in Richard Jones’ acclaimed La Bohème, his debut in Arizona Opera as Count Almaviva in Mozart’s Le Nozze di Figaro, and returning to the Santa Fe Opera for his fifth season as Marcello in La Bohème.

The 2017-2018 season starts with a joint recital with Soprano Leah Crocetto and Pianist Mark Markham. Then he has returns to the Lyric Opera of Chicago as Ping in Turandot and the title role in Dresden Semperoper’s Le Nozze di Figaro. Then Mr. Nelson will debut at the Pittsburgh Opera as Belcore in L’Elisir D’Amore and will be the baritone soloist in Bloch’s lush sacred piece, “Sacred Service (Avodat Hakodesh)” with the Voices of the Ascension.

The 2016-2017 season brings debuts at the Lyric Opera of Chicago as Donner in Das Rheingold and Enrico Ashton (cover) in Lucia di Lammermoor, Escamillo in Carmen with Den Norske Opera, and a fourth season with the Santa Fe Opera as Enrico Ashton in Lucia di Lammermoor.

2015-2016 began with a return to the Dresden Semperoper as Figaro in both Le Nozze di Figaro and Il Barbiere di Siviglia. He performed the role of Dr. Falke in Die Fledermaus with the Seiji Ozawa Music Academy in Kyoto, Tokyo, and Nagoya. He made debuts at the Salzburg Landestheater, Palm Beach, and San Francisco Opera in Carmen as Escamillo, and returned to the Canadian Opera Compnay as Escamillo.

His 2014-15 included the title role of Le nozze di Figaro with the Aix-en-Provence Festival on tour in Manama, Bahrain. Additionally, he makes his debut with Canadian Opera Company as Masetto in Dmitri Tcherniakov’s Don Giovanni. He debuted the roles of Paolo in Simon Boccanegra, Escamillo in Carmen. He reprised the roles of Gugliemo in Cosi Fan Tutte, Belcore in L’Elisir D’Amore, Marcello in Bohéme, and Figaro in both Barbiere di Siviglia and a new production of Le Nozze di Figaro all with the Dresden Semperoper,

In the 2013-2014 season, Mr. Nelson joined the ensemble of the Dresden Semperoper, where he performed the roles of Il Conte in Le nozze di Figaro, Marcello in La Bohème, Der Sprecher in Die Zauberflöte, Figaro in Il Barbiere di Siviglia, and Guglielmo in a new production of Così Fan Tutte. He also returned to the Santa Fe Opera as Malatesta in Laurent Pelly’s Don Pasquale.

Other notable performances include: Figaro in Le nozze di Figaro with Santa Fe Opera, Germont in La Traviata with Lyric Opera of Virginia, Angelotti in Tosca and Mandryka (cover) in Arabella with Santa Fe Opera, Quinault in Adriana Lecouvreur with Opera Orchestra of New York, Sciarrone in Tosca with Glimmerglass Opera, and a soloist in Steven Blier’s “Killer B’s” with the New York Festival of Song.

A graduate of the Academy of Vocal Arts in Philadelphia, PA, Mr. Nelson performed many roles including: Belcore in L’Elisir D’Amore, Renato in Un Ballo in Maschera, the title role in Falstaff, Michele in Il Tabarro, Sancho Panza in Don Quichotte, Mandryka in Arabella, Golaud in Pelléas et Mélisande, and Masetto in Don Giovanni. Mr. Nelson is also a graduate of The Catholic University of America in Washington, D.C.

Awards Mr. Neslon has garnered are: The George London Award from the 2012 George London Foundation, 1st prize prize from the 2012 Opera Index Competition, The 2012 Liederkranz Foundation Competition (General Opera Division), and the 2012 Licia Albanese-Puccini Foundation. Also, 2nd prize from the 2011 Gerda Lissner Competition, the 2011 Giulio Gari Foundation, and the 2011 Loren Zachary Competition

John McVeigh*
Pang

Acclaimed for his “fresh-toned and touching portrayal” by Opera News and lauded by the New Orleans Times-Picayune for his “rich lyrical tenor, fabulous top notes, and striking good looks,” John McVeigh continues to garner attention for his countless world-class performances at the most revered houses throughout the United States and worldwide. This season, McVeigh returns to The Metropolitan Opera for their productions of Turandot and Le nozze di Figaro, sing Pang in Turandot with Palm Beach Opera, and performs as a soloist in Handel’s Messiah with DCINY. Most recently, Mr. McVeigh performed the role of Don Basilio in The Marriage of Figaro with Opera Theater St. Louis, performed as a soloist in Handel’s Messiah with Indianapolis Chamber Orchestra and DCINY, and as a soloist in Beethoven’s Symphony No. 9 with DCINY.

An accomplished “cross-over” artist, McVeigh shares his talents both in operatic and theatrical settings. His extensive work includes performances as Lysander in A Midsummer Night’s Dream at Utah Opera and in his Central City Opera début; Johnny Inkslinger in Britten’s folkloric operetta, Paul Bunyan, with Central City Opera; Feeny in Bennett’s The Mines of Sulphur and Hot Biscuit Slim in Paul Bunyan at New York City Opera (broadcast on Live from Lincoln Center on PBS); his Ravinia Festival début as Henrick in A Little Night Music alongside Patti LuPone; the title role in Candide with Austin Lyric Opera; the title role in Romberg’s The Student Prince with Central City Opera; and Anatol in Vanessa with San Diego Opera.

Having led a prolific concert and oratorio career, Mr. McVeigh has performed notorious pieces throughout the world including Händel’s Messiah with the Indianapolis Chamber Orchestra, Evansville Philharmonic Orchestra, Seattle Symphony, Phoenix Symphony, Milwaukee Symphony, San Diego Symphony, Austin Symphony, Nashville Symphony, Philadelphia Orchestra, Boston Baroque, Charlotte Symphony Orchestra, Minnesota Orchestra, the Masterworks Chorus at Carnegie Hall, the Washington National Cathedral with the Cathedral Choral Society, Philharmonia Baroque, Music of the Baroque, Winston Salem Symphony, Memphis Symphony, and with DCINY at Carnegie Hall; Mahler’s Das Lied der Erde with Trinity Church Wall Street; Celebrant in Bernstein’s Mass with the Brevard Music Center; Beethoven’s Symphony No. 9 at the Grant Park Music Festival, Colorado Music Festival, Arizona Music Festival and with the Portland Symphony Orchestr; Orff’s Carmina Burana with the Memphis Symphony, Detroit Symphony, and Utah Symphony; Haydn’s Creation with the Portland Symphony, Berkshire Chorale, and the Winston Salem Symphony, with whom he also sang Bach’s St. John’s Passion; and Philip Glass’ Symphony No. 5 with the The Washington Chorus, Brooklyn Philharmonic, Pacific Symphony, Gewandhaus Orchester in Leipzig, and the Danish National Radio Orchestra under the baton of Dennis Russell Davies. Additionally McVeigh had a solo performance in a brand new concert entitled Rev. 23, the unpublished last chapter of the Book of Revelation as dictated by St. John the Divine which narrates the last battle to recapture Paradise-on-Earth and restore the balance of good and evil to our world, with Prototype Festival.

A house favorite at The Metropolitan Opera, he has performed numerous productions with the esteemed company. Favorite engagements with the house include his Metropolitan Opera début as Pang in Turandot, Bardolfo in Falstaff, Tinca in Il tabarro, Little Bat in their first production of Susannah under James Conlon, and their productions of La Fanciulla del West, Dialogues des Carmelites, Le nozze di Figaro, Turandot, Eugene Onegin, Die Zauberflöte, Lady Macbeth of the Mtsensk District, The Merry Widow, Iolanta, La traviata, Falstaff, Manon, Das Rheingold, Ariadne auf Naxos, and Billy Budd. Also a house favorite at Houston Grand Opera, he has performed the role of Will Tweedy in the world première of Cold Sassy Tree with repeated performances at Atlanta Opera, Austin Lyric Opera, Lyric Opera of Kansas City, Opera Omaha, San Diego Opera, and Opera Carolina; Remendado in Carmen; Lurcanio in Händel’s Ariodante and Tamino in Die Zauberflöte, both of which he later performed at New York City Opera; and in their production of Das Rheingold. As an alumnus of the Houston Grand Opera Studio, his numerous performances there include Tybalt in Roméo et Juliette, St. Stephen in Four Saints in Three Acts, and Michael Daughtery’s Jackie O.

Highlights of John’s considerable European and international career include Montverdi’s Vespro della Beata Vergine 1610 and Adrastro in Traettas’ Antigona with the Théâtre du Châtelet; Lurcanio in Ariodante at the Gran Teatre del Liceu and de Vlaamse Opera; Endimione in Martín y Soler’s L’abore di Diana at the Gran Teatro del Liceu; St. Stephen in Four Saints in Three Acts at the Edinburgh Festival; Bill in Jonathan Dove’s Flight with de Vlaamse Opera; Novice in Billy Budd with Teatro Carlo Felice; Lysander in A Midsummer Night’s Dream and Endimione in Martin y Soler’s L’abore di Diana at Teatro Real; Emilio in Partenope at the Göttingen Händel Festspiele; Teseo in Traetta’s eclectic reform opera Ippolito ed Aricia with Opéra national de Montpellier; Ozia in Mozart’s only, rarely performed oratorio Betulia liberata with Christophe Rousset and Les Talen Lyriques; and Marzio in Mozart’s prodigal opera seria Mitridate, re di Ponto at Festival Internacional de Música y Danza de Granada.

Additional operatic engagements include Goro in Madama Butterfly with Opera Theatre of St. Louis, the role of the Footman in Der Rosenkavalier with Boston Symphony Orchestra; Prunier in La rondine with Opera Theater Saint Louis; Pang in Turandot with Hawaii Opera Theatre and Arizona Opera; Tybalt in Roméo et Juliette with Opera Colorado; Emilio in Händel’s opera buffe Partenope with Glimmerglass Opera and New York City Opera; Novice in Billy Budd in his débuts with Lyric Opera of Chicago, Los Angeles Opera, and Washington National Opera and in a return to Houston Grand Opera; Fenton in Falstaff and Arbace in Idomeneo with Sante Fe Opera; Don Ottavio in Don Giovanni with Glimmerglass Opera and Austin Lyric Opera; Azor in Zemire et Azor with Arizona Opera; and Ferrando in Così fan tutte in a return to Austin Lyric Opera. In addition, he performed the world première of Carlisle Floyd’s Soul of Heaven for tenor and piano.

Additional concert engagements include Händel’s L’allegro with the Mark Morris Dance Group at the Kennedy Center and Lincoln Center; The Blind at the Lincoln Center Festival; Lackey in Der Rosenkavalier with National Symphony Orchestra; Mozart’s Mass in C minor with the St. Catherine of Siena Concert Series; Acis in Acis and Galatea with the Macau International Music Festival, Glimmerglass Opera, the Detroit Oratorio Society, and Concert Radio Kamer Filharmonie in Amsterdam; Bach’s St. Matthew’s Passion under the baton of Jaap van Zweden with the Dallas Symphony; Vaughan Williams’ On Wenlock Edge with the Arizona Music Festival and Portland Chamber Music Festival; Britten’s song cycle Nocturne with the Portland Symphony and Music of the Baroque; Rameu’s Platée with the Mark Morris Dance Group at the Ravinia Festival and Seattle Symphony; The Celebrant in Bernstein’s MASS with the Utah Symphony and Virginia Arts Festival; Mendelssohn’s Elijah with the Calgary Philharmonic; Beethoven’s Missa solemnis with the Minnesota Orchestra and Richmond Symphony; Mozart’s Requiem with the Colorado Symphony; Mozart’s Mass in C minor, Händel’s Israel in Egypt, and a series of Bach cantatas and Händel arias with the St. Paul Chamber Orchestra; Bach’s Mass in B minor with the Milwaukee Symphony and under the baton of John Nelson with Soli Deo Gloria; Beethoven’s Mass in C Major with the Honolulu Symphony; Stravinsky’s neoclassical ballet Pulcinella with the Brooklyn Philharmonic; and Haydn’s Harmoniesse with the Händel and Haydn Society.

Discography includes Will Tweedy in Carlisle Floyd’s Cold Sassy Tree on the Albany Label, Daughtery’s Jackie O and Emilio in Händel’s Partenope.

Il Hoon Kim*
Mandarin

International award-winning bass Il Hoon Kim debuted in 2008 with the Korea National Opera at the Seoul Art Center, playing the roles of Sarastro in Die Zauberflöte, Oroveso in Norma, and Raimondo in Lucia di Lammermoor. That same year, Kim won a number of prestigious prizes, including 3rd place in the JoongAng Music Concours, 3rd place in the Dong-A Music Competition, 1st place in the Korea Music Competition, 2nd place KBS Music Competition, and 1st place in the SungJung Music Competition. In 2014, he won 1st prize, the critics’ prize, and the audience prize at the Ferruccio Tagliavini Vocal Competition.

After winning a prize at the Concorso Internazionale di Canto at the famed Arena di Verona, a UNESCO World Heritage Site, he made a successful debut on the European stage as Colline in La Boheme to great acclaim. While studying in Köln, he appeared as Tom in Ein Maskenball and Mr. Budd in Albert Herring at the Theater Aachen. Other roles include Nourabad in Les pêcheurs de perles, Timur in Turandot, and Daland in Der fliegende Holländer at the Daegu Opera House. He has also performed the roles of Frère Laurent in Roméo et Juliette and Alidoro in La cenerentola, and Kim most recently appeared with the Korean National Opera as Fasolt in Das Rheingold, directed by Achim Freyer. Kim holds a Bachelor’s degree in voice the Chugye University for the Arts and a Master’s degree from the Hochschule für Musik Köln, where he studied under Prof. Dieter Schweikard.

David Stern
Chief Conductor

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

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

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

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

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

Keturah Stickann*
Director

Keturah Stickann’s directing and choreographic credits include Turandot (San Diego Opera), L’Orfeo ed Euridice (Florida Grand Opera), Norma (Opera Southwest), Seven Deadly Sins/Pagliacci (Virginia Opera),  Macbeth (Kentucky Opera),  Don Quichotte (San Diego Opera),  La Traviata (Chautauqua Opera), Orpheus and Euridice (Vermont Opera Project), Flight (Opera Fayetteville), Don Giovanni (Janiec Opera Company, Virginia Opera), Rigoletto (Opera Memphis, San Diego Opera, Dallas Opera), The Tales of Hoffman (Knoxville Opera), Manon (Knoxville Opera), Don Pasquale (Opera in the Heights), La tragédie de Carmen (Janiec Opera Company), Madama Butterfly (Opera Santa Barbara), La clemenza di Tito (Opera in the Heights), L’Enfant et les sortilèges & Bon Appetit (Emerald City Opera), The Pearl Fishers (Sarasota Opera), Peter Grimes (San Diego Opera), Orfeo (Atlanta Opera, Arizona Opera), The Old Maid and the Thief (Emerald City Opera), Hansel and Gretel (Portland Opera), and Le nozze di Figaro (Emerald City Opera, Opera Pacific).  Ms Stickann is a frequent collaborator with theater and opera director, Leonard Foglia.  She was his choreographer and movement director for the world premiere of Jake Heggie’s Moby-Dick in Dallas in 2010, and traveled with the production to the Calgary Opera, State Opera of South Australia, San Diego Opera, San Francisco Opera (where her work was filmed for a DVD produced by PBS’ Great Performances), Washington National Opera,  and LA Opera, and was the revival director for its return to Dallas Opera.  Also for Mr. Foglia, she is the choreographer of the Heggie/Scheer premiere of It’s A Wonderful Life at Houston Grand Opera, the assistant director and choreographer for the mariachi opera: Cruzar la Cara de la Luna, which premiered at Houston Grand Opera, and went on to Le Théâtre du Châtelet, the Lyric Opera of Chicago, San Diego Opera, and the Arizona Opera. She was also the assistant director with Mr. Foglia for his new opera (composed by Ricky Ian Gordon), A Coffin in Egypt, with Frederica von Stade, for Cold Mountain (composed by Jennifer Higdon) that premiered in Santa Fe in 2015, and for the national tour of Anna Deavere Smith’s Let Me Down Easy (also filmed by PBS for a broadcast of Great Performances).  In 2012, Ms. Stickann toured to Japan and Chile as the associate director for Michael Hampe’s production of Tannhäuser, and before that she assisted and choreographed for Lillian Groag, Lotfi Mansouri, Sean Curran, John Copley, Mark Lamos, Michael Gieleta, Lawrence Edelson, and Harry Silverstein, among others. New productions she has helped bring to stage include Orphée, Samson et Dalila, Agrippina, Rigoletto, La fanciulla del West, Pagliacci & Cavalleria Rusticana. La rondine, Maria Stuarda, Acis & Galatea, Pirates of Penzance, Otello, Three Decembers, Hydrogen Jukebox,and The Good Soldier Schweik. Her collaboration with director, Elise Sandell, on their production of Einstein on the Beach was chosen as a finalist for the inaugural Director/Designer Showcase with Opera America in 2009.

Trained as a classical and contemporary dancer, Ms. Stickann was a performer with Cerulean Dance Theatre, Malashock Dance, The Wally Cardona Quartet, Colleen Halloran Dance, SCW/The Group and Danny Grossman and Dancers.  With Malashock dance, she starred in two dance films shot in conjunction with UCSD-TV (Love & Murder and The Soul of Saturday Night), both of which went on to win a regional Emmy award for Best Arts and Entertainment Program.  Following this success, Ms. Stickann traveled to Hungary in 2006 to shoot a one-woman dance video on the streets of Budapest.  Utazo went on to play in film festivals around the country.  In addition, she’s captained and been a principal dancer for Chicago Opera Theater, working with choreographer Daniel Pelzig on Death in Venice and Akhnaten, with which she also traveled to the Opera National Du Rhin in Strasbourg, France.  She was also the assistant choreographer and principal dancer for the Andrew Sinclair/Zandra Rhodes production of The Pearl Fishers which premiered at San Diego Opera, then traveled to Michigan Opera Theater, and New York City Opera.

Because of her background as a dancer, Ms. Stickann a sought-after movement and acting coach for young singers and actors.  She’s trained and coached performers at The Brevard Music Center, The La Jolla Playhouse Theater Conservatory, The San Diego Opera Summer Singers Workshop, the Glimmerglass Opera Young American Artists Program, Emerald City Opera, Stephen’s College, and DePaul University, among others.  Michael Heaston, former director of the Young American Artists’ Program at the Glimmerglass Festival has said of Keturah’s coaching work, “Every recital she touches turns to gold.”

Born and raised in the Midwest, Ms. Stickann studied ballet and theater at Stephens College while still in high school, and spent her summers at DanceAspen, The State Ballet of Missouri and the prestigious Rep/Etudes Project at Jacob’s Pillow.  She received her B.A. in dance education and choreography from Columbia College Chicago, and was a 1997 nominee for the Princess Grace Award for excellence in the arts.

Alexandra Loutsion
Turandot (Jan. 24/26)

Hailed as “a singer to watch” (Washington Post) with a “commanding presence” (Pittsburgh Post-Gazette), Alexandra Loutsion continues to be recognized for her passionate performances and vocal versatility as a rising star on the operatic stage. This season, she makes her international debut with Canadian Opera Company singing the Overseer and covering the title role in Strauss’ Elektra. She will also debut with New Orleans Opera as the title role of Puccini’s Turandot, and she returns to Central City Opera making her role debut as Leonora in Verdi’s Il Trovatore. She finishes the season debuting with West Virginia Symphony and Syracuse Symphoria as the Soprano Soloist in Beethoven’s Symphony No. 9. Last season, she debuted with San Francisco Opera singing the Overseer in Strauss’ Elektra and covered Princess Turandot in Puccini’s Turandot. She returned to Wolf Trap Opera and Palm Beach Opera in the title role of Puccini’s Tosca, and debuted with Tulsa Opera in the title role of Puccini’s Turandot to great acclaim.

Recently she added four new roles to her repertoire: the title role of Puccini’s Tosca with Central City Opera, Princess Turandot in Puccini’s Turandot with Pittsburgh Opera, the Foreign Princess in Dvorak’s Rusalka with Arizona Opera, and Lady Macbeth in Verdi’s Macbeth with Raylynmor Opera. She also made her debuts with Palm Beach Opera as Cio-Cio San in Madama Butterfly, and the Fort Wayne Philharmonic singing the title role in Puccini’s Tosca. She was recently heard as Florencia in Daniel Catan’s Florencia en el Amazonas with Arizona Opera, and made her Wolf Trap Opera debut as Cio-Cio-San in Puccini’s Madama Butterfly to great acclaim. She debuted with North Carolina Opera as Donna Anna in Don Giovanni and Dayton Opera as Gertrude in Humperdinck’s Hansel and Gretel, She also covered the Lady-in-Waiting in Verdi’s Macbeth with the Chicago Symphony Orchestra under Riccardo Muti. Other recent performances have included the title role in Madama Butterfly with Opera on the James, Anna Kennedy in Maria Stuarda with Washington Concert Opera, Sie in Karl Hartmann’s Wachsfiguren Kabinett with the Aspen Music Festival, and the leading role of Isabella in Wagner’s Das Liebesverbot as part of the Ring Festival LA.

Ms. Loutsion spent two summers as an Apprentice Artist with the Santa Fe Opera, most recently to cover the role of Leonore in Fidelio conducted by Harry Bicket. She also covered the title role in Puccini’s Tosca, the leading role of Anna in Rossini’s Maometto II. Ms. Loutsion also spent two seasons as a Resident Artist with Pittsburgh Opera where she was seen as Armida in Handel’s Rinaldo, Gertrude and the Witch in Humperdinck’s Hänsel und Gretel, among others. As an Apprentice Artist with Central City Opera, she was heard as the title role in Puccini’s Madama Butterfly and as Melissa in Handel’s Amadigi di Gaula, among others.

On the concert stage, Ms. Loutsion has sung the soprano solo in Verdi’s Messa da Requiem with the Santa Fe Symphony and the Academy Chamber Orchestra of Pittsburgh, as well as Beethoven’s Symphony No. 9 with the Cathedral Choral Society, Erie Philharmonic and as a guest soloist with the Ithaca College Chamber Orchestra. She recently debuted the soprano solo in Hadyn’s Mass in Time of War with the Cathedral Choral Society of Washington D.C. She also performed Grieg’s Peer Gynt with the Aspen Music Festival, and Mahler’s Symphony No. 4 with the Aspen Conductor’s Project. An advocate for living composers and contemporary works, Ms. Loutsion has also given performances of Almera in Nico Muhly’s Dark Sisters with Pittsburgh Opera, Euridice in Ricky Ian Gordon’s Orpheus and Euridice at the Boston Court Performing Arts Center, Witch 3 in Krausas’ The Mortal Thoughts of Lady Macbeth with Vera Ikon Productions, and Fay Doyle in the West Coast Premier of Lowell Liebermann’s Miss Lonelyhearts with USC Thornton Opera. She can be heard as the soprano soloist on the soundtrack of Lucir Y Sombra.

Ms. Loutsion recently represented the United States as a quarterfinalist in the Francisco Viñas International Singing Contest in Barcelona, Spain. She was a winner of the Metropolitan National Council District Auditions and Long Beach Mozart Competition, as well as a finalist in the Fritz and Lavinia Jensen Foundation Competition, McCammon Voice Competition, and Dallas Opera Competition. She is the recipient of the Catherine Filene Shouse Education Fund Career Grant from Wolf Trap Opera, Santa Fe Opera Donald Gramm Memorial Award and Anna Case MacKay Award, Shoshana Foundation Richard F. Gold Career Grant, the Central City Opera John Moriarty Award, and the Aspen Music Festival New Horizon Fellowship. She holds a Master of Music in Vocal Arts from the University of Southern California and a Bachelor of Music in Vocal Performance from Ithaca College. Ms. Loutsion was also recently awarded a place in the Greek America Foundation’s “Forty under 40” Class of 2018, a distinction that celebrates both the professional excellence and philanthropic endeavors of North Americans of Greek descent.

Alexandra LoBianco*
Turandot (Jan. 25)

American soprano Alexandra LoBianco, whom the Seattle Times exclaimed, “gave a subtle but impassioned performance” as the title role in Aida at Seattle Opera, has established herself as a dramatic soprano of unequaled versatility, musicality and consistency. An international presence, Ms. LoBianco recently stepped in for an ailing colleague as Leonore in Fidelio for her debut with the Wiener Staatsoper while under contract for the title role in Turandot. Subsequent appearances with the Wiener Staatsoper included performances of Helmwige in Die Walküre, as well as the Brünnhilde, cover while on tour in Japan.

In the 2018/19 season, Alexandra LoBianco will return to the Lyric Opera of Chicago for three projects: the covers of Brünnhilde in Siegfried,Chrysothemis in Elektra and performances of the Fourth Maid in Elektra. She will also join North Carolina Opera for the title role in Tosca. Symphonic projects include Senta in Der fliegende Holländer with Baltimore Concert Opera, and Mahler’s Symphony No. 8 with Madison Symphony, where she previously sang Rachmaninoff’s The Bells.

Operatic highlights of previous seasons have included the title roles of Aida and Tosca with Opera Colorado and Minnesota Opera, respectively, Donna Anna in Don Giovanni with Seattle Opera, Miss Jessel in The Turn of the Screwwith The Dallas Opera, Amelia in Un ballo in maschera with Florida Grand Opera, the prima donna in Ariadne auf Naxos with Austin Opera, and Helmwige with Lyric Opera of Chicago. At Des Moines Metro Opera, Ms. LoBianco has performed the title role in Turandot and Minnie in La fanciulla del West. Of her Turandot, Opera Today wrote, “Alexandra LoBianco is well remembered here for her feisty Minnie in a recent season. If Fanciulla is a Big Sing for the soprano, Princess Turandot is a Big Sing on Steroids… Ms. LoBianco is short of physical stature, but makes up for it with potent spinto vocalizing that has its own towering presence.”

Stefano La Colla*
Calaf* (Jan. 24/26)

Stefano La Colla is one of the most valued tenors of his generation. After a great debuts in 2008 in AIDA at Teatro Goldoni in Livorno, he continues his artistic experience in traditional theaters of many Italian cities such as Novara, Savona, Chieti, Reggio Emilia, Pisa, Lucca, Livorno, Busseto, Brescia. His international career began in 2011 with Turandot in Regensburg and continues in Dortmund, Leipzig, St. Petersburg, St. Gallen, Zagreb, Bucharest, but the real turning point is in 2015 with a fast and brilliant climb in the biggest European Opera Houses such as Milan, Berlin, Munich, Hamburg, Rome, Naples, Verona, Amsterdam, Wien, Bruxelles, Chicago. He has worked with conductors such as Sir Samuel Rattle, Riccardo Chailly, Stefano Ranzani, Donato Renzetti, Paolo Carignani, Carlo Rizzi, Julian Kovatchev, Ivan Repusic, Mikhail Tatarnikov, Jordi Bernácer, Pinchas Steinberg, Daneiel Callegari, Riccardo Frizza and with directors such as Franco Zeffirelli, Andrea Breth, Gianfranco de Bosio, Nikolaus Lehnhoff, Jurgen Flimm, Gianfranco del Monaco, Ezio Frigerio, Mario Martone, Roberto de Simone, Boleslaw Barlog, Alessandro Talevi, Gilbert Deflo, Francesco Micheli.

Hovhannes Ayvazyan*
Calaf (Jan. 25)

Since his 2010 stage Debut, Hovhannes Ayvazyan has frequently performed at various Opera Houses and Concert Halls including: Opera Belcanto of South Simcoe in Toronto, Mariinsky Theatre in St Petersburg, Mariinsky Concert Hall, Tatar State Opera in Kazan, Big Hall of the Moscow State Conservatoire, Musikverein Vienna, Novaya Opera and Bolshoi Theatre in Moscow, etc…

The young Armenian Tenor, critically acclaimed as “the whole package of a true dramatic tenor”, “outstanding Don Carlo”, has often performed under the baton of Maestro Valery Gergiev, and had the pleasure to work frequently with such legends as Maria Guleghina, Anna Netrebko, Olga Borodina, Ekaterina Semenchuk, Hui He, and many others.
Hovhannes Ayvazyan performed Mozart’s Requiem at the Musikverein in Vienna, an Opera Gala at Geneva’s Victoria Hall, various performances at the Yerevan Opera House as Canio, Turiddu, Don Jose, Radames and Pinkerton, as well as many title roles at the Mariinsky Theatre including Don Carlo, Manrico and Cavaradossi. He was on tour with the Berliner Symphoniker under Maestro Lior Shambadal for which he received outstanding reviews and performed Don Jose in Carmen with the Moscow State Opera at the BGE Theatre in Dublin.

In the Summer of 2017 he successfully performed Manrico in Il Trovatore under the Baton of Placido Domingo at the Mariinsky Theatre. He also made a critically acclaimed stage debut as Radames opposite Hui He at Arena di Verona. In November he made a terrific role debut as Don Alvaro in the Mariinsky original Version of Verdi’s La Forza del Destino as well as Canio in Pagliacci. In October 2018 he had another triumphant debut as Andrea Chenier at Teatro Massimo Bellini in Catania.

Some future debuts include Herman in Pique Dame, Riccardo in Un Ballo in Maschera and Calaf in Turandot at the Mariinsky Theatre, as well as a Stage debut at the Opera Frankfurt as Don Alvaro in La Forza del Destino.

Leah Crocetto*
Liù (Jan. 24/26)

Described by the New York Times as possessing an “agile coloratura technique and a feeling for the Italianate style… with warmth, full penetrating sound and tenderness,” American soprano Leah Crocetto continues to astonish audiences with her moving portrayals of opera’s greatest heroines.

In the current season, Ms. Crocetto returns to Seattle Opera as Leonora in Il trovatore. She sings her first performance of Bellini’s Norma in concert with North Carolina Opera, and makes her debut at Carnegie Hall’s Weill Hall in recital with pianist Mark Markham, with additional performances in Washington, D.C. and Easton, Pennsylvania. Ms. Crocetto makes her Australian debut with the Melbourne Symphony Orchestra as the soprano soloist in Verdi’s Requiem, and with the Los Angeles Philharmonic she sings Soprano II in Mahler’s epic Symphony No. 8 “Symphony of a Thousand,” under the baton of Gustavo Dudamel.

Last season, Ms. Crocetto performed the title role in Aïda first with Washington National Opera, and subsequently with Seattle Opera. She sang Leonora in Il trovatore with Oper Frankfurt, returned to San Francisco Opera as Liù in Turandot and performed the title role of Toscawith Pittsburgh Opera. In concert, she sang Verdi’s magnificent Requiem with the National Symphony and the NTR Symphony, and performed a solo recital in Ann Arbor, MI.

Ms. Crocetto sang her debut performances as the title role in Aïda with the San Francisco Opera in the 2016-2017 season. Also in this season, she made her role debut as Eleonora in the first US performances of Donizetti’s L’assedio di Calais with the Glimmerglass Festival. On the concert stage, she performed Bachianas Brasileiras No. 5 with the Chamber Music Society of Lincoln Center at Alice Tully Hall and sang a solo recital in her hometown of Adrian, Michigan.

Ms. Crocetto made her Metropolitan Opera debut in the 2015-2016 season as Liù in Turandot. She also made her role debut as the titular character in Rossini’s seldom performed Semiramide with Opera National de Bordeaux. Additional highlights of the season included Anna in Maometto II with the Canadian Opera Company, Luisa Miller in San Francisco, and Donna Anna in Don Giovanni with Santa Fe Opera. She made her New York City recital debut at Pace University with pianist Martin Katz, and performed a solo recital under the auspices of Washington National Opera with pianist Mark Markham at the John F. Kennedy Center.

In the 2014-15 season, Ms. Crocetto performed Desdemona in Otello with English National Opera, followed by performances of Mimi in La bohème with San Francisco Opera, and Madame Lidoine in Poulenc’s devastating Dialogues of the Carmelites with Washington National Opera. Her season concluded singing Elisabetta di Valois in a new production of Don Carlo with Opera Philadelphia.

Anastasia Schegoleva*
Liù (Jan. 25)

Soprano Anastasia Schegoleva recently made debuts with Moscow’s Bolshoi Theatre and St. Petersburg’s Mariinsky Theatre, appearing at the Bolshoi in performances of Tchaikovsky’s The Maid of Orleans conducted by Tugan Sokhiev, and at the Mariinsky a “Stars of the White Nights” Gala under the baton of Valery Gergiev. Her collaboration with the Mariinsky also includes role debuts as Liù in Turandot, Voyslava in Rimsky Korsakov’s Mlada, and numerous performances as soloist in Mozart’s Requiem and Beethoven’s Ninth Symphony.

With a voice described as “transporting,” Ms. Schegoleva has earned acclaim for performances as title role in Tchaikovsky’s Iolanta, Micaela in Carmen, Donna Elvira in Don Giovanni, Mimì in La bohème, and Countess in Le nozze di Figaro, working with noted conductors Riccardo Frizza, Yuri Simonov, Pavel Smelkov, and the late Alberto Zedda.  Additional credits include a collaboration with the Hungarian Radio Symphony Orchestra as soloist for Dvorak’s Stabat Mater, and appearances with the Academic Symphony Orchestra of the Moscow State Philharmonic as soloist in Mendelssohn’s Symphony No. 2 and Beethoven’s Cantata on the Death of Emperor Joseph II.  Further concert appearances as soprano soloist include Brahm’s Ein Deutsches Requiem, Mozart’s Litaniae Lauretanae, and several Bach Cantatas.

Ms. Schegoleva is the Third Prize Winner of the Galina Vishnevskaya International Opera Singers Competition (2014, Moscow), First Prize Winner at the Sobinov Vocal Competition (2016, Saratov), Special Prize Winner at the Competizione dell’Opera (2016, Moscow), Second Prize Winner at the VIII All Russia Obukhova Competition (2018, Lipetsk), and the Gold Medal Winner in Voice at 1st Berliner International Music Competition (2017, Berlin).

A graduate of Lipetsk Igumnov College of Arts with a bachelor’s degree in Piano Performance, and of the Maimonid State Classical Academy in Moscow with a master’s degree in Vocal Performance, Ms. Schegoleva has been a Fellow at the Atkins Young Artists Program at the Mariinsky Theater since 2017.  In October 2018, she joined the Program’s inaugural US and Mexico tour, participating in the televised concert at Palacio de Bellas Artes in Mexico City with Esperanza Azteca Youth Orchestra and Chorus conducted by Valery Gergiev, and making her New York debut in a recital at the historic St. Paul’s Chapel of Trinity Church Wall Street.

Evgeny Stavinsky*
Timur

Evgeny Stavinsky was born in Dubna, Moscow region, in a family of musicians. In 2003, he completed his university-level studies as singer and choir conductor at the Moscow Academy of Choral Art. From 2004 to 2005 he lived in Florence, Italy, to study at Maggio Musicale Fiorentino where he performed the title role in Mozart’s Don Giovanni, Lord Sidney and Basilio in Rossini’s Il Viaggio a Reims and Il Barbiere di Siviglia, and Superintendent Budd in Britten’s Albert Herring.

He became a member of Kolobov Novaya Opera Theatre of Moscow in 2007, his roles for the company including Thoas (Iphigénie en Tauride), Ruslan (Ruslan and Lyudmila), Pimen (Boris Godunov), Prince Gremin (Eugene Onegin), Malyuta-Skuratov (The Tsar’s Bride), Prince of Galich (Prince Igor), Méphistophélès (Faust), King Heinrich (Lohengrin), King Marke (Tristan und Isolde) and La Roche (Capriccio). Engagements elsewhere include Raimondo Bidebent (Lucia di Lammermoor) for Teatro Comunale di Bologna, Oroveso (Norma) for Teatro Massimo di Palermo, Méphistophélès for Hungarian State Opera, Padre Guardiano (La forza del destino) for Theater Basel and Don Basilio (Il barbiere di Siviglia) for the Mariinsky Theatre, St Petersburg, Colline (La Bohème) for Teatro Comunale di Bologna and
at Royal Opera House Covent Garden in L’Ange de Nisida by Donizetti.

Among the recent works, Zaccaria (Nabucco) in Ravenna, Ferrara, Nice and Toulon, Ivan Khovansky  (Chovanščina) in Budapest, Verdi’s Requiem with RTE Symphony Orchestra in Dublin, Beethoven IX Symphony with M° Riccardo Muti in Athens and Ravenna, Bartolo (Le nozze di Figaro) at Wiener Konzerthaus and Lucerne Festival with M° Teodor Currentzis.

Next engagements include a series of concerts with M° Teodor Currentzis: Mozart’s Requiem at Baden Baden Festival, Verdi’s Requiem in New York and Baden Baden, along with Mozart’s Requiem for South Netherlands Philarmonic and Dutch Radio Choir, Conte di Walter (Luisa Miller) at Glyndebourne Festival, Raimondo (Lucia di Lammermoor) at Bayerische Staatsoper in Munich (2021). Evgeny Stavinsky will return at Royal Opera House Covent Garden for Lucia di Lammermoor, Don Carlo (2020) and Rigoletto (2022)

Zachary Nelson
Ping

Zachary Nelson, a native of Annapolis, Maryland, has been praised for his rich and powerful baritone, as well as his ability to embody dramatic and comic characters on the operatic stage.

2018-2019 highlights include his return to the Lyric Opera of Chicago as Marcello in Richard Jones’ acclaimed La Bohème, his debut in Arizona Opera as Count Almaviva in Mozart’s Le Nozze di Figaro, and returning to the Santa Fe Opera for his fifth season as Marcello in La Bohème.

The 2017-2018 season starts with a joint recital with Soprano Leah Crocetto and Pianist Mark Markham. Then he has returns to the Lyric Opera of Chicago as Ping in Turandot and the title role in Dresden Semperoper’s Le Nozze di Figaro. Then Mr. Nelson will debut at the Pittsburgh Opera as Belcore in L’Elisir D’Amore and will be the baritone soloist in Bloch’s lush sacred piece, “Sacred Service (Avodat Hakodesh)” with the Voices of the Ascension.

The 2016-2017 season brings debuts at the Lyric Opera of Chicago as Donner in Das Rheingold and Enrico Ashton (cover) in Lucia di Lammermoor, Escamillo in Carmen with Den Norske Opera, and a fourth season with the Santa Fe Opera as Enrico Ashton in Lucia di Lammermoor.

2015-2016 began with a return to the Dresden Semperoper as Figaro in both Le Nozze di Figaro and Il Barbiere di Siviglia. He performed the role of Dr. Falke in Die Fledermaus with the Seiji Ozawa Music Academy in Kyoto, Tokyo, and Nagoya. He made debuts at the Salzburg Landestheater, Palm Beach, and San Francisco Opera in Carmen as Escamillo, and returned to the Canadian Opera Compnay as Escamillo.

His 2014-15 included the title role of Le nozze di Figaro with the Aix-en-Provence Festival on tour in Manama, Bahrain. Additionally, he makes his debut with Canadian Opera Company as Masetto in Dmitri Tcherniakov’s Don Giovanni. He debuted the roles of Paolo in Simon Boccanegra, Escamillo in Carmen. He reprised the roles of Gugliemo in Cosi Fan Tutte, Belcore in L’Elisir D’Amore, Marcello in Bohéme, and Figaro in both Barbiere di Siviglia and a new production of Le Nozze di Figaro all with the Dresden Semperoper,

In the 2013-2014 season, Mr. Nelson joined the ensemble of the Dresden Semperoper, where he performed the roles of Il Conte in Le nozze di Figaro, Marcello in La Bohème, Der Sprecher in Die Zauberflöte, Figaro in Il Barbiere di Siviglia, and Guglielmo in a new production of Così Fan Tutte. He also returned to the Santa Fe Opera as Malatesta in Laurent Pelly’s Don Pasquale.

Other notable performances include: Figaro in Le nozze di Figaro with Santa Fe Opera, Germont in La Traviata with Lyric Opera of Virginia, Angelotti in Tosca and Mandryka (cover) in Arabella with Santa Fe Opera, Quinault in Adriana Lecouvreur with Opera Orchestra of New York, Sciarrone in Tosca with Glimmerglass Opera, and a soloist in Steven Blier’s “Killer B’s” with the New York Festival of Song.

A graduate of the Academy of Vocal Arts in Philadelphia, PA, Mr. Nelson performed many roles including: Belcore in L’Elisir D’Amore, Renato in Un Ballo in Maschera, the title role in Falstaff, Michele in Il Tabarro, Sancho Panza in Don Quichotte, Mandryka in Arabella, Golaud in Pelléas et Mélisande, and Masetto in Don Giovanni. Mr. Nelson is also a graduate of The Catholic University of America in Washington, D.C.

Awards Mr. Neslon has garnered are: The George London Award from the 2012 George London Foundation, 1st prize prize from the 2012 Opera Index Competition, The 2012 Liederkranz Foundation Competition (General Opera Division), and the 2012 Licia Albanese-Puccini Foundation. Also, 2nd prize from the 2011 Gerda Lissner Competition, the 2011 Giulio Gari Foundation, and the 2011 Loren Zachary Competition

John McVeigh*
Pang

Acclaimed for his “fresh-toned and touching portrayal” by Opera News and lauded by the New Orleans Times-Picayune for his “rich lyrical tenor, fabulous top notes, and striking good looks,” John McVeigh continues to garner attention for his countless world-class performances at the most revered houses throughout the United States and worldwide. This season, McVeigh returns to The Metropolitan Opera for their productions of Turandot and Le nozze di Figaro, sing Pang in Turandot with Palm Beach Opera, and performs as a soloist in Handel’s Messiah with DCINY. Most recently, Mr. McVeigh performed the role of Don Basilio in The Marriage of Figaro with Opera Theater St. Louis, performed as a soloist in Handel’s Messiah with Indianapolis Chamber Orchestra and DCINY, and as a soloist in Beethoven’s Symphony No. 9 with DCINY.

An accomplished “cross-over” artist, McVeigh shares his talents both in operatic and theatrical settings. His extensive work includes performances as Lysander in A Midsummer Night’s Dream at Utah Opera and in his Central City Opera début; Johnny Inkslinger in Britten’s folkloric operetta, Paul Bunyan, with Central City Opera; Feeny in Bennett’s The Mines of Sulphur and Hot Biscuit Slim in Paul Bunyan at New York City Opera (broadcast on Live from Lincoln Center on PBS); his Ravinia Festival début as Henrick in A Little Night Music alongside Patti LuPone; the title role in Candide with Austin Lyric Opera; the title role in Romberg’s The Student Prince with Central City Opera; and Anatol in Vanessa with San Diego Opera.

Having led a prolific concert and oratorio career, Mr. McVeigh has performed notorious pieces throughout the world including Händel’s Messiah with the Indianapolis Chamber Orchestra, Evansville Philharmonic Orchestra, Seattle Symphony, Phoenix Symphony, Milwaukee Symphony, San Diego Symphony, Austin Symphony, Nashville Symphony, Philadelphia Orchestra, Boston Baroque, Charlotte Symphony Orchestra, Minnesota Orchestra, the Masterworks Chorus at Carnegie Hall, the Washington National Cathedral with the Cathedral Choral Society, Philharmonia Baroque, Music of the Baroque, Winston Salem Symphony, Memphis Symphony, and with DCINY at Carnegie Hall; Mahler’s Das Lied der Erde with Trinity Church Wall Street; Celebrant in Bernstein’s Mass with the Brevard Music Center; Beethoven’s Symphony No. 9 at the Grant Park Music Festival, Colorado Music Festival, Arizona Music Festival and with the Portland Symphony Orchestr; Orff’s Carmina Burana with the Memphis Symphony, Detroit Symphony, and Utah Symphony; Haydn’s Creation with the Portland Symphony, Berkshire Chorale, and the Winston Salem Symphony, with whom he also sang Bach’s St. John’s Passion; and Philip Glass’ Symphony No. 5 with the The Washington Chorus, Brooklyn Philharmonic, Pacific Symphony, Gewandhaus Orchester in Leipzig, and the Danish National Radio Orchestra under the baton of Dennis Russell Davies. Additionally McVeigh had a solo performance in a brand new concert entitled Rev. 23, the unpublished last chapter of the Book of Revelation as dictated by St. John the Divine which narrates the last battle to recapture Paradise-on-Earth and restore the balance of good and evil to our world, with Prototype Festival.

A house favorite at The Metropolitan Opera, he has performed numerous productions with the esteemed company. Favorite engagements with the house include his Metropolitan Opera début as Pang in Turandot, Bardolfo in Falstaff, Tinca in Il tabarro, Little Bat in their first production of Susannah under James Conlon, and their productions of La Fanciulla del West, Dialogues des Carmelites, Le nozze di Figaro, Turandot, Eugene Onegin, Die Zauberflöte, Lady Macbeth of the Mtsensk District, The Merry Widow, Iolanta, La traviata, Falstaff, Manon, Das Rheingold, Ariadne auf Naxos, and Billy Budd. Also a house favorite at Houston Grand Opera, he has performed the role of Will Tweedy in the world première of Cold Sassy Tree with repeated performances at Atlanta Opera, Austin Lyric Opera, Lyric Opera of Kansas City, Opera Omaha, San Diego Opera, and Opera Carolina; Remendado in Carmen; Lurcanio in Händel’s Ariodante and Tamino in Die Zauberflöte, both of which he later performed at New York City Opera; and in their production of Das Rheingold. As an alumnus of the Houston Grand Opera Studio, his numerous performances there include Tybalt in Roméo et Juliette, St. Stephen in Four Saints in Three Acts, and Michael Daughtery’s Jackie O.

Highlights of John’s considerable European and international career include Montverdi’s Vespro della Beata Vergine 1610 and Adrastro in Traettas’ Antigona with the Théâtre du Châtelet; Lurcanio in Ariodante at the Gran Teatre del Liceu and de Vlaamse Opera; Endimione in Martín y Soler’s L’abore di Diana at the Gran Teatro del Liceu; St. Stephen in Four Saints in Three Acts at the Edinburgh Festival; Bill in Jonathan Dove’s Flight with de Vlaamse Opera; Novice in Billy Budd with Teatro Carlo Felice; Lysander in A Midsummer Night’s Dream and Endimione in Martin y Soler’s L’abore di Diana at Teatro Real; Emilio in Partenope at the Göttingen Händel Festspiele; Teseo in Traetta’s eclectic reform opera Ippolito ed Aricia with Opéra national de Montpellier; Ozia in Mozart’s only, rarely performed oratorio Betulia liberata with Christophe Rousset and Les Talen Lyriques; and Marzio in Mozart’s prodigal opera seria Mitridate, re di Ponto at Festival Internacional de Música y Danza de Granada.

Additional operatic engagements include Goro in Madama Butterfly with Opera Theatre of St. Louis, the role of the Footman in Der Rosenkavalier with Boston Symphony Orchestra; Prunier in La rondine with Opera Theater Saint Louis; Pang in Turandot with Hawaii Opera Theatre and Arizona Opera; Tybalt in Roméo et Juliette with Opera Colorado; Emilio in Händel’s opera buffe Partenope with Glimmerglass Opera and New York City Opera; Novice in Billy Budd in his débuts with Lyric Opera of Chicago, Los Angeles Opera, and Washington National Opera and in a return to Houston Grand Opera; Fenton in Falstaff and Arbace in Idomeneo with Sante Fe Opera; Don Ottavio in Don Giovanni with Glimmerglass Opera and Austin Lyric Opera; Azor in Zemire et Azor with Arizona Opera; and Ferrando in Così fan tutte in a return to Austin Lyric Opera. In addition, he performed the world première of Carlisle Floyd’s Soul of Heaven for tenor and piano.

Additional concert engagements include Händel’s L’allegro with the Mark Morris Dance Group at the Kennedy Center and Lincoln Center; The Blind at the Lincoln Center Festival; Lackey in Der Rosenkavalier with National Symphony Orchestra; Mozart’s Mass in C minor with the St. Catherine of Siena Concert Series; Acis in Acis and Galatea with the Macau International Music Festival, Glimmerglass Opera, the Detroit Oratorio Society, and Concert Radio Kamer Filharmonie in Amsterdam; Bach’s St. Matthew’s Passion under the baton of Jaap van Zweden with the Dallas Symphony; Vaughan Williams’ On Wenlock Edge with the Arizona Music Festival and Portland Chamber Music Festival; Britten’s song cycle Nocturne with the Portland Symphony and Music of the Baroque; Rameu’s Platée with the Mark Morris Dance Group at the Ravinia Festival and Seattle Symphony; The Celebrant in Bernstein’s MASS with the Utah Symphony and Virginia Arts Festival; Mendelssohn’s Elijah with the Calgary Philharmonic; Beethoven’s Missa solemnis with the Minnesota Orchestra and Richmond Symphony; Mozart’s Requiem with the Colorado Symphony; Mozart’s Mass in C minor, Händel’s Israel in Egypt, and a series of Bach cantatas and Händel arias with the St. Paul Chamber Orchestra; Bach’s Mass in B minor with the Milwaukee Symphony and under the baton of John Nelson with Soli Deo Gloria; Beethoven’s Mass in C Major with the Honolulu Symphony; Stravinsky’s neoclassical ballet Pulcinella with the Brooklyn Philharmonic; and Haydn’s Harmoniesse with the Händel and Haydn Society.

Discography includes Will Tweedy in Carlisle Floyd’s Cold Sassy Tree on the Albany Label, Daughtery’s Jackie O and Emilio in Händel’s Partenope.

Il Hoon Kim*
Mandarin

International award-winning bass Il Hoon Kim debuted in 2008 with the Korea National Opera at the Seoul Art Center, playing the roles of Sarastro in Die Zauberflöte, Oroveso in Norma, and Raimondo in Lucia di Lammermoor. That same year, Kim won a number of prestigious prizes, including 3rd place in the JoongAng Music Concours, 3rd place in the Dong-A Music Competition, 1st place in the Korea Music Competition, 2nd place KBS Music Competition, and 1st place in the SungJung Music Competition. In 2014, he won 1st prize, the critics’ prize, and the audience prize at the Ferruccio Tagliavini Vocal Competition.

After winning a prize at the Concorso Internazionale di Canto at the famed Arena di Verona, a UNESCO World Heritage Site, he made a successful debut on the European stage as Colline in La Boheme to great acclaim. While studying in Köln, he appeared as Tom in Ein Maskenball and Mr. Budd in Albert Herring at the Theater Aachen. Other roles include Nourabad in Les pêcheurs de perles, Timur in Turandot, and Daland in Der fliegende Holländer at the Daegu Opera House. He has also performed the roles of Frère Laurent in Roméo et Juliette and Alidoro in La cenerentola, and Kim most recently appeared with the Korean National Opera as Fasolt in Das Rheingold, directed by Achim Freyer. Kim holds a Bachelor’s degree in voice the Chugye University for the Arts and a Master’s degree from the Hochschule für Musik Köln, where he studied under Prof. Dieter Schweikard.

David Stern
Chief Conductor

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

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

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

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

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

Keturah Stickann*
Director

Keturah Stickann’s directing and choreographic credits include Turandot (San Diego Opera), L’Orfeo ed Euridice (Florida Grand Opera), Norma (Opera Southwest), Seven Deadly Sins/Pagliacci (Virginia Opera),  Macbeth (Kentucky Opera),  Don Quichotte (San Diego Opera),  La Traviata (Chautauqua Opera), Orpheus and Euridice (Vermont Opera Project), Flight (Opera Fayetteville), Don Giovanni (Janiec Opera Company, Virginia Opera), Rigoletto (Opera Memphis, San Diego Opera, Dallas Opera), The Tales of Hoffman (Knoxville Opera), Manon (Knoxville Opera), Don Pasquale (Opera in the Heights), La tragédie de Carmen (Janiec Opera Company), Madama Butterfly (Opera Santa Barbara), La clemenza di Tito (Opera in the Heights), L’Enfant et les sortilèges & Bon Appetit (Emerald City Opera), The Pearl Fishers (Sarasota Opera), Peter Grimes (San Diego Opera), Orfeo (Atlanta Opera, Arizona Opera), The Old Maid and the Thief (Emerald City Opera), Hansel and Gretel (Portland Opera), and Le nozze di Figaro (Emerald City Opera, Opera Pacific).  Ms Stickann is a frequent collaborator with theater and opera director, Leonard Foglia.  She was his choreographer and movement director for the world premiere of Jake Heggie’s Moby-Dick in Dallas in 2010, and traveled with the production to the Calgary Opera, State Opera of South Australia, San Diego Opera, San Francisco Opera (where her work was filmed for a DVD produced by PBS’ Great Performances), Washington National Opera,  and LA Opera, and was the revival director for its return to Dallas Opera.  Also for Mr. Foglia, she is the choreographer of the Heggie/Scheer premiere of It’s A Wonderful Life at Houston Grand Opera, the assistant director and choreographer for the mariachi opera: Cruzar la Cara de la Luna, which premiered at Houston Grand Opera, and went on to Le Théâtre du Châtelet, the Lyric Opera of Chicago, San Diego Opera, and the Arizona Opera. She was also the assistant director with Mr. Foglia for his new opera (composed by Ricky Ian Gordon), A Coffin in Egypt, with Frederica von Stade, for Cold Mountain (composed by Jennifer Higdon) that premiered in Santa Fe in 2015, and for the national tour of Anna Deavere Smith’s Let Me Down Easy (also filmed by PBS for a broadcast of Great Performances).  In 2012, Ms. Stickann toured to Japan and Chile as the associate director for Michael Hampe’s production of Tannhäuser, and before that she assisted and choreographed for Lillian Groag, Lotfi Mansouri, Sean Curran, John Copley, Mark Lamos, Michael Gieleta, Lawrence Edelson, and Harry Silverstein, among others. New productions she has helped bring to stage include Orphée, Samson et Dalila, Agrippina, Rigoletto, La fanciulla del West, Pagliacci & Cavalleria Rusticana. La rondine, Maria Stuarda, Acis & Galatea, Pirates of Penzance, Otello, Three Decembers, Hydrogen Jukebox,and The Good Soldier Schweik. Her collaboration with director, Elise Sandell, on their production of Einstein on the Beach was chosen as a finalist for the inaugural Director/Designer Showcase with Opera America in 2009.

Trained as a classical and contemporary dancer, Ms. Stickann was a performer with Cerulean Dance Theatre, Malashock Dance, The Wally Cardona Quartet, Colleen Halloran Dance, SCW/The Group and Danny Grossman and Dancers.  With Malashock dance, she starred in two dance films shot in conjunction with UCSD-TV (Love & Murder and The Soul of Saturday Night), both of which went on to win a regional Emmy award for Best Arts and Entertainment Program.  Following this success, Ms. Stickann traveled to Hungary in 2006 to shoot a one-woman dance video on the streets of Budapest.  Utazo went on to play in film festivals around the country.  In addition, she’s captained and been a principal dancer for Chicago Opera Theater, working with choreographer Daniel Pelzig on Death in Venice and Akhnaten, with which she also traveled to the Opera National Du Rhin in Strasbourg, France.  She was also the assistant choreographer and principal dancer for the Andrew Sinclair/Zandra Rhodes production of The Pearl Fishers which premiered at San Diego Opera, then traveled to Michigan Opera Theater, and New York City Opera.

Because of her background as a dancer, Ms. Stickann a sought-after movement and acting coach for young singers and actors.  She’s trained and coached performers at The Brevard Music Center, The La Jolla Playhouse Theater Conservatory, The San Diego Opera Summer Singers Workshop, the Glimmerglass Opera Young American Artists Program, Emerald City Opera, Stephen’s College, and DePaul University, among others.  Michael Heaston, former director of the Young American Artists’ Program at the Glimmerglass Festival has said of Keturah’s coaching work, “Every recital she touches turns to gold.”

Born and raised in the Midwest, Ms. Stickann studied ballet and theater at Stephens College while still in high school, and spent her summers at DanceAspen, The State Ballet of Missouri and the prestigious Rep/Etudes Project at Jacob’s Pillow.  She received her B.A. in dance education and choreography from Columbia College Chicago, and was a 1997 nominee for the Princess Grace Award for excellence in the arts.

Alexandra Loutsion
Turandot (Jan. 24/26)

Hailed as “a singer to watch” (Washington Post) with a “commanding presence” (Pittsburgh Post-Gazette), Alexandra Loutsion continues to be recognized for her passionate performances and vocal versatility as a rising star on the operatic stage. This season, she makes her international debut with Canadian Opera Company singing the Overseer and covering the title role in Strauss’ Elektra. She will also debut with New Orleans Opera as the title role of Puccini’s Turandot, and she returns to Central City Opera making her role debut as Leonora in Verdi’s Il Trovatore. She finishes the season debuting with West Virginia Symphony and Syracuse Symphoria as the Soprano Soloist in Beethoven’s Symphony No. 9. Last season, she debuted with San Francisco Opera singing the Overseer in Strauss’ Elektra and covered Princess Turandot in Puccini’s Turandot. She returned to Wolf Trap Opera and Palm Beach Opera in the title role of Puccini’s Tosca, and debuted with Tulsa Opera in the title role of Puccini’s Turandot to great acclaim.

Recently she added four new roles to her repertoire: the title role of Puccini’s Tosca with Central City Opera, Princess Turandot in Puccini’s Turandot with Pittsburgh Opera, the Foreign Princess in Dvorak’s Rusalka with Arizona Opera, and Lady Macbeth in Verdi’s Macbeth with Raylynmor Opera. She also made her debuts with Palm Beach Opera as Cio-Cio San in Madama Butterfly, and the Fort Wayne Philharmonic singing the title role in Puccini’s Tosca. She was recently heard as Florencia in Daniel Catan’s Florencia en el Amazonas with Arizona Opera, and made her Wolf Trap Opera debut as Cio-Cio-San in Puccini’s Madama Butterfly to great acclaim. She debuted with North Carolina Opera as Donna Anna in Don Giovanni and Dayton Opera as Gertrude in Humperdinck’s Hansel and Gretel, She also covered the Lady-in-Waiting in Verdi’s Macbeth with the Chicago Symphony Orchestra under Riccardo Muti. Other recent performances have included the title role in Madama Butterfly with Opera on the James, Anna Kennedy in Maria Stuarda with Washington Concert Opera, Sie in Karl Hartmann’s Wachsfiguren Kabinett with the Aspen Music Festival, and the leading role of Isabella in Wagner’s Das Liebesverbot as part of the Ring Festival LA.

Ms. Loutsion spent two summers as an Apprentice Artist with the Santa Fe Opera, most recently to cover the role of Leonore in Fidelio conducted by Harry Bicket. She also covered the title role in Puccini’s Tosca, the leading role of Anna in Rossini’s Maometto II. Ms. Loutsion also spent two seasons as a Resident Artist with Pittsburgh Opera where she was seen as Armida in Handel’s Rinaldo, Gertrude and the Witch in Humperdinck’s Hänsel und Gretel, among others. As an Apprentice Artist with Central City Opera, she was heard as the title role in Puccini’s Madama Butterfly and as Melissa in Handel’s Amadigi di Gaula, among others.

On the concert stage, Ms. Loutsion has sung the soprano solo in Verdi’s Messa da Requiem with the Santa Fe Symphony and the Academy Chamber Orchestra of Pittsburgh, as well as Beethoven’s Symphony No. 9 with the Cathedral Choral Society, Erie Philharmonic and as a guest soloist with the Ithaca College Chamber Orchestra. She recently debuted the soprano solo in Hadyn’s Mass in Time of War with the Cathedral Choral Society of Washington D.C. She also performed Grieg’s Peer Gynt with the Aspen Music Festival, and Mahler’s Symphony No. 4 with the Aspen Conductor’s Project. An advocate for living composers and contemporary works, Ms. Loutsion has also given performances of Almera in Nico Muhly’s Dark Sisters with Pittsburgh Opera, Euridice in Ricky Ian Gordon’s Orpheus and Euridice at the Boston Court Performing Arts Center, Witch 3 in Krausas’ The Mortal Thoughts of Lady Macbeth with Vera Ikon Productions, and Fay Doyle in the West Coast Premier of Lowell Liebermann’s Miss Lonelyhearts with USC Thornton Opera. She can be heard as the soprano soloist on the soundtrack of Lucir Y Sombra.

Ms. Loutsion recently represented the United States as a quarterfinalist in the Francisco Viñas International Singing Contest in Barcelona, Spain. She was a winner of the Metropolitan National Council District Auditions and Long Beach Mozart Competition, as well as a finalist in the Fritz and Lavinia Jensen Foundation Competition, McCammon Voice Competition, and Dallas Opera Competition. She is the recipient of the Catherine Filene Shouse Education Fund Career Grant from Wolf Trap Opera, Santa Fe Opera Donald Gramm Memorial Award and Anna Case MacKay Award, Shoshana Foundation Richard F. Gold Career Grant, the Central City Opera John Moriarty Award, and the Aspen Music Festival New Horizon Fellowship. She holds a Master of Music in Vocal Arts from the University of Southern California and a Bachelor of Music in Vocal Performance from Ithaca College. Ms. Loutsion was also recently awarded a place in the Greek America Foundation’s “Forty under 40” Class of 2018, a distinction that celebrates both the professional excellence and philanthropic endeavors of North Americans of Greek descent.

Alexandra LoBianco*
Turandot (Jan. 25)

American soprano Alexandra LoBianco, whom the Seattle Times exclaimed, “gave a subtle but impassioned performance” as the title role in Aida at Seattle Opera, has established herself as a dramatic soprano of unequaled versatility, musicality and consistency. An international presence, Ms. LoBianco recently stepped in for an ailing colleague as Leonore in Fidelio for her debut with the Wiener Staatsoper while under contract for the title role in Turandot. Subsequent appearances with the Wiener Staatsoper included performances of Helmwige in Die Walküre, as well as the Brünnhilde, cover while on tour in Japan.

In the 2018/19 season, Alexandra LoBianco will return to the Lyric Opera of Chicago for three projects: the covers of Brünnhilde in Siegfried,Chrysothemis in Elektra and performances of the Fourth Maid in Elektra. She will also join North Carolina Opera for the title role in Tosca. Symphonic projects include Senta in Der fliegende Holländer with Baltimore Concert Opera, and Mahler’s Symphony No. 8 with Madison Symphony, where she previously sang Rachmaninoff’s The Bells.

Operatic highlights of previous seasons have included the title roles of Aida and Tosca with Opera Colorado and Minnesota Opera, respectively, Donna Anna in Don Giovanni with Seattle Opera, Miss Jessel in The Turn of the Screwwith The Dallas Opera, Amelia in Un ballo in maschera with Florida Grand Opera, the prima donna in Ariadne auf Naxos with Austin Opera, and Helmwige with Lyric Opera of Chicago. At Des Moines Metro Opera, Ms. LoBianco has performed the title role in Turandot and Minnie in La fanciulla del West. Of her Turandot, Opera Today wrote, “Alexandra LoBianco is well remembered here for her feisty Minnie in a recent season. If Fanciulla is a Big Sing for the soprano, Princess Turandot is a Big Sing on Steroids… Ms. LoBianco is short of physical stature, but makes up for it with potent spinto vocalizing that has its own towering presence.”

Stefano La Colla*
Calaf* (Jan. 24/26)

Stefano La Colla is one of the most valued tenors of his generation. After a great debuts in 2008 in AIDA at Teatro Goldoni in Livorno, he continues his artistic experience in traditional theaters of many Italian cities such as Novara, Savona, Chieti, Reggio Emilia, Pisa, Lucca, Livorno, Busseto, Brescia. His international career began in 2011 with Turandot in Regensburg and continues in Dortmund, Leipzig, St. Petersburg, St. Gallen, Zagreb, Bucharest, but the real turning point is in 2015 with a fast and brilliant climb in the biggest European Opera Houses such as Milan, Berlin, Munich, Hamburg, Rome, Naples, Verona, Amsterdam, Wien, Bruxelles, Chicago. He has worked with conductors such as Sir Samuel Rattle, Riccardo Chailly, Stefano Ranzani, Donato Renzetti, Paolo Carignani, Carlo Rizzi, Julian Kovatchev, Ivan Repusic, Mikhail Tatarnikov, Jordi Bernácer, Pinchas Steinberg, Daneiel Callegari, Riccardo Frizza and with directors such as Franco Zeffirelli, Andrea Breth, Gianfranco de Bosio, Nikolaus Lehnhoff, Jurgen Flimm, Gianfranco del Monaco, Ezio Frigerio, Mario Martone, Roberto de Simone, Boleslaw Barlog, Alessandro Talevi, Gilbert Deflo, Francesco Micheli.

Hovhannes Ayvazyan*
Calaf (Jan. 25)

Since his 2010 stage Debut, Hovhannes Ayvazyan has frequently performed at various Opera Houses and Concert Halls including: Opera Belcanto of South Simcoe in Toronto, Mariinsky Theatre in St Petersburg, Mariinsky Concert Hall, Tatar State Opera in Kazan, Big Hall of the Moscow State Conservatoire, Musikverein Vienna, Novaya Opera and Bolshoi Theatre in Moscow, etc…

The young Armenian Tenor, critically acclaimed as “the whole package of a true dramatic tenor”, “outstanding Don Carlo”, has often performed under the baton of Maestro Valery Gergiev, and had the pleasure to work frequently with such legends as Maria Guleghina, Anna Netrebko, Olga Borodina, Ekaterina Semenchuk, Hui He, and many others.
Hovhannes Ayvazyan performed Mozart’s Requiem at the Musikverein in Vienna, an Opera Gala at Geneva’s Victoria Hall, various performances at the Yerevan Opera House as Canio, Turiddu, Don Jose, Radames and Pinkerton, as well as many title roles at the Mariinsky Theatre including Don Carlo, Manrico and Cavaradossi. He was on tour with the Berliner Symphoniker under Maestro Lior Shambadal for which he received outstanding reviews and performed Don Jose in Carmen with the Moscow State Opera at the BGE Theatre in Dublin.

In the Summer of 2017 he successfully performed Manrico in Il Trovatore under the Baton of Placido Domingo at the Mariinsky Theatre. He also made a critically acclaimed stage debut as Radames opposite Hui He at Arena di Verona. In November he made a terrific role debut as Don Alvaro in the Mariinsky original Version of Verdi’s La Forza del Destino as well as Canio in Pagliacci. In October 2018 he had another triumphant debut as Andrea Chenier at Teatro Massimo Bellini in Catania.

Some future debuts include Herman in Pique Dame, Riccardo in Un Ballo in Maschera and Calaf in Turandot at the Mariinsky Theatre, as well as a Stage debut at the Opera Frankfurt as Don Alvaro in La Forza del Destino.

Leah Crocetto*
Liù (Jan. 24/26)

Described by the New York Times as possessing an “agile coloratura technique and a feeling for the Italianate style… with warmth, full penetrating sound and tenderness,” American soprano Leah Crocetto continues to astonish audiences with her moving portrayals of opera’s greatest heroines.

In the current season, Ms. Crocetto returns to Seattle Opera as Leonora in Il trovatore. She sings her first performance of Bellini’s Norma in concert with North Carolina Opera, and makes her debut at Carnegie Hall’s Weill Hall in recital with pianist Mark Markham, with additional performances in Washington, D.C. and Easton, Pennsylvania. Ms. Crocetto makes her Australian debut with the Melbourne Symphony Orchestra as the soprano soloist in Verdi’s Requiem, and with the Los Angeles Philharmonic she sings Soprano II in Mahler’s epic Symphony No. 8 “Symphony of a Thousand,” under the baton of Gustavo Dudamel.

Last season, Ms. Crocetto performed the title role in Aïda first with Washington National Opera, and subsequently with Seattle Opera. She sang Leonora in Il trovatore with Oper Frankfurt, returned to San Francisco Opera as Liù in Turandot and performed the title role of Toscawith Pittsburgh Opera. In concert, she sang Verdi’s magnificent Requiem with the National Symphony and the NTR Symphony, and performed a solo recital in Ann Arbor, MI.

Ms. Crocetto sang her debut performances as the title role in Aïda with the San Francisco Opera in the 2016-2017 season. Also in this season, she made her role debut as Eleonora in the first US performances of Donizetti’s L’assedio di Calais with the Glimmerglass Festival. On the concert stage, she performed Bachianas Brasileiras No. 5 with the Chamber Music Society of Lincoln Center at Alice Tully Hall and sang a solo recital in her hometown of Adrian, Michigan.

Ms. Crocetto made her Metropolitan Opera debut in the 2015-2016 season as Liù in Turandot. She also made her role debut as the titular character in Rossini’s seldom performed Semiramide with Opera National de Bordeaux. Additional highlights of the season included Anna in Maometto II with the Canadian Opera Company, Luisa Miller in San Francisco, and Donna Anna in Don Giovanni with Santa Fe Opera. She made her New York City recital debut at Pace University with pianist Martin Katz, and performed a solo recital under the auspices of Washington National Opera with pianist Mark Markham at the John F. Kennedy Center.

In the 2014-15 season, Ms. Crocetto performed Desdemona in Otello with English National Opera, followed by performances of Mimi in La bohème with San Francisco Opera, and Madame Lidoine in Poulenc’s devastating Dialogues of the Carmelites with Washington National Opera. Her season concluded singing Elisabetta di Valois in a new production of Don Carlo with Opera Philadelphia.

Anastasia Schegoleva*
Liù (Jan. 25)

Soprano Anastasia Schegoleva recently made debuts with Moscow’s Bolshoi Theatre and St. Petersburg’s Mariinsky Theatre, appearing at the Bolshoi in performances of Tchaikovsky’s The Maid of Orleans conducted by Tugan Sokhiev, and at the Mariinsky a “Stars of the White Nights” Gala under the baton of Valery Gergiev. Her collaboration with the Mariinsky also includes role debuts as Liù in Turandot, Voyslava in Rimsky Korsakov’s Mlada, and numerous performances as soloist in Mozart’s Requiem and Beethoven’s Ninth Symphony.

With a voice described as “transporting,” Ms. Schegoleva has earned acclaim for performances as title role in Tchaikovsky’s Iolanta, Micaela in Carmen, Donna Elvira in Don Giovanni, Mimì in La bohème, and Countess in Le nozze di Figaro, working with noted conductors Riccardo Frizza, Yuri Simonov, Pavel Smelkov, and the late Alberto Zedda.  Additional credits include a collaboration with the Hungarian Radio Symphony Orchestra as soloist for Dvorak’s Stabat Mater, and appearances with the Academic Symphony Orchestra of the Moscow State Philharmonic as soloist in Mendelssohn’s Symphony No. 2 and Beethoven’s Cantata on the Death of Emperor Joseph II.  Further concert appearances as soprano soloist include Brahm’s Ein Deutsches Requiem, Mozart’s Litaniae Lauretanae, and several Bach Cantatas.

Ms. Schegoleva is the Third Prize Winner of the Galina Vishnevskaya International Opera Singers Competition (2014, Moscow), First Prize Winner at the Sobinov Vocal Competition (2016, Saratov), Special Prize Winner at the Competizione dell’Opera (2016, Moscow), Second Prize Winner at the VIII All Russia Obukhova Competition (2018, Lipetsk), and the Gold Medal Winner in Voice at 1st Berliner International Music Competition (2017, Berlin).

A graduate of Lipetsk Igumnov College of Arts with a bachelor’s degree in Piano Performance, and of the Maimonid State Classical Academy in Moscow with a master’s degree in Vocal Performance, Ms. Schegoleva has been a Fellow at the Atkins Young Artists Program at the Mariinsky Theater since 2017.  In October 2018, she joined the Program’s inaugural US and Mexico tour, participating in the televised concert at Palacio de Bellas Artes in Mexico City with Esperanza Azteca Youth Orchestra and Chorus conducted by Valery Gergiev, and making her New York debut in a recital at the historic St. Paul’s Chapel of Trinity Church Wall Street.

Evgeny Stavinsky*
Timur

Evgeny Stavinsky was born in Dubna, Moscow region, in a family of musicians. In 2003, he completed his university-level studies as singer and choir conductor at the Moscow Academy of Choral Art. From 2004 to 2005 he lived in Florence, Italy, to study at Maggio Musicale Fiorentino where he performed the title role in Mozart’s Don Giovanni, Lord Sidney and Basilio in Rossini’s Il Viaggio a Reims and Il Barbiere di Siviglia, and Superintendent Budd in Britten’s Albert Herring.

He became a member of Kolobov Novaya Opera Theatre of Moscow in 2007, his roles for the company including Thoas (Iphigénie en Tauride), Ruslan (Ruslan and Lyudmila), Pimen (Boris Godunov), Prince Gremin (Eugene Onegin), Malyuta-Skuratov (The Tsar’s Bride), Prince of Galich (Prince Igor), Méphistophélès (Faust), King Heinrich (Lohengrin), King Marke (Tristan und Isolde) and La Roche (Capriccio). Engagements elsewhere include Raimondo Bidebent (Lucia di Lammermoor) for Teatro Comunale di Bologna, Oroveso (Norma) for Teatro Massimo di Palermo, Méphistophélès for Hungarian State Opera, Padre Guardiano (La forza del destino) for Theater Basel and Don Basilio (Il barbiere di Siviglia) for the Mariinsky Theatre, St Petersburg, Colline (La Bohème) for Teatro Comunale di Bologna and
at Royal Opera House Covent Garden in L’Ange de Nisida by Donizetti.

Among the recent works, Zaccaria (Nabucco) in Ravenna, Ferrara, Nice and Toulon, Ivan Khovansky  (Chovanščina) in Budapest, Verdi’s Requiem with RTE Symphony Orchestra in Dublin, Beethoven IX Symphony with M° Riccardo Muti in Athens and Ravenna, Bartolo (Le nozze di Figaro) at Wiener Konzerthaus and Lucerne Festival with M° Teodor Currentzis.

Next engagements include a series of concerts with M° Teodor Currentzis: Mozart’s Requiem at Baden Baden Festival, Verdi’s Requiem in New York and Baden Baden, along with Mozart’s Requiem for South Netherlands Philarmonic and Dutch Radio Choir, Conte di Walter (Luisa Miller) at Glyndebourne Festival, Raimondo (Lucia di Lammermoor) at Bayerische Staatsoper in Munich (2021). Evgeny Stavinsky will return at Royal Opera House Covent Garden for Lucia di Lammermoor, Don Carlo (2020) and Rigoletto (2022)

Zachary Nelson
Ping

Zachary Nelson, a native of Annapolis, Maryland, has been praised for his rich and powerful baritone, as well as his ability to embody dramatic and comic characters on the operatic stage.

2018-2019 highlights include his return to the Lyric Opera of Chicago as Marcello in Richard Jones’ acclaimed La Bohème, his debut in Arizona Opera as Count Almaviva in Mozart’s Le Nozze di Figaro, and returning to the Santa Fe Opera for his fifth season as Marcello in La Bohème.

The 2017-2018 season starts with a joint recital with Soprano Leah Crocetto and Pianist Mark Markham. Then he has returns to the Lyric Opera of Chicago as Ping in Turandot and the title role in Dresden Semperoper’s Le Nozze di Figaro. Then Mr. Nelson will debut at the Pittsburgh Opera as Belcore in L’Elisir D’Amore and will be the baritone soloist in Bloch’s lush sacred piece, “Sacred Service (Avodat Hakodesh)” with the Voices of the Ascension.

The 2016-2017 season brings debuts at the Lyric Opera of Chicago as Donner in Das Rheingold and Enrico Ashton (cover) in Lucia di Lammermoor, Escamillo in Carmen with Den Norske Opera, and a fourth season with the Santa Fe Opera as Enrico Ashton in Lucia di Lammermoor.

2015-2016 began with a return to the Dresden Semperoper as Figaro in both Le Nozze di Figaro and Il Barbiere di Siviglia. He performed the role of Dr. Falke in Die Fledermaus with the Seiji Ozawa Music Academy in Kyoto, Tokyo, and Nagoya. He made debuts at the Salzburg Landestheater, Palm Beach, and San Francisco Opera in Carmen as Escamillo, and returned to the Canadian Opera Compnay as Escamillo.

His 2014-15 included the title role of Le nozze di Figaro with the Aix-en-Provence Festival on tour in Manama, Bahrain. Additionally, he makes his debut with Canadian Opera Company as Masetto in Dmitri Tcherniakov’s Don Giovanni. He debuted the roles of Paolo in Simon Boccanegra, Escamillo in Carmen. He reprised the roles of Gugliemo in Cosi Fan Tutte, Belcore in L’Elisir D’Amore, Marcello in Bohéme, and Figaro in both Barbiere di Siviglia and a new production of Le Nozze di Figaro all with the Dresden Semperoper,

In the 2013-2014 season, Mr. Nelson joined the ensemble of the Dresden Semperoper, where he performed the roles of Il Conte in Le nozze di Figaro, Marcello in La Bohème, Der Sprecher in Die Zauberflöte, Figaro in Il Barbiere di Siviglia, and Guglielmo in a new production of Così Fan Tutte. He also returned to the Santa Fe Opera as Malatesta in Laurent Pelly’s Don Pasquale.

Other notable performances include: Figaro in Le nozze di Figaro with Santa Fe Opera, Germont in La Traviata with Lyric Opera of Virginia, Angelotti in Tosca and Mandryka (cover) in Arabella with Santa Fe Opera, Quinault in Adriana Lecouvreur with Opera Orchestra of New York, Sciarrone in Tosca with Glimmerglass Opera, and a soloist in Steven Blier’s “Killer B’s” with the New York Festival of Song.

A graduate of the Academy of Vocal Arts in Philadelphia, PA, Mr. Nelson performed many roles including: Belcore in L’Elisir D’Amore, Renato in Un Ballo in Maschera, the title role in Falstaff, Michele in Il Tabarro, Sancho Panza in Don Quichotte, Mandryka in Arabella, Golaud in Pelléas et Mélisande, and Masetto in Don Giovanni. Mr. Nelson is also a graduate of The Catholic University of America in Washington, D.C.

Awards Mr. Neslon has garnered are: The George London Award from the 2012 George London Foundation, 1st prize prize from the 2012 Opera Index Competition, The 2012 Liederkranz Foundation Competition (General Opera Division), and the 2012 Licia Albanese-Puccini Foundation. Also, 2nd prize from the 2011 Gerda Lissner Competition, the 2011 Giulio Gari Foundation, and the 2011 Loren Zachary Competition

John McVeigh*
Pang

Acclaimed for his “fresh-toned and touching portrayal” by Opera News and lauded by the New Orleans Times-Picayune for his “rich lyrical tenor, fabulous top notes, and striking good looks,” John McVeigh continues to garner attention for his countless world-class performances at the most revered houses throughout the United States and worldwide. This season, McVeigh returns to The Metropolitan Opera for their productions of Turandot and Le nozze di Figaro, sing Pang in Turandot with Palm Beach Opera, and performs as a soloist in Handel’s Messiah with DCINY. Most recently, Mr. McVeigh performed the role of Don Basilio in The Marriage of Figaro with Opera Theater St. Louis, performed as a soloist in Handel’s Messiah with Indianapolis Chamber Orchestra and DCINY, and as a soloist in Beethoven’s Symphony No. 9 with DCINY.

An accomplished “cross-over” artist, McVeigh shares his talents both in operatic and theatrical settings. His extensive work includes performances as Lysander in A Midsummer Night’s Dream at Utah Opera and in his Central City Opera début; Johnny Inkslinger in Britten’s folkloric operetta, Paul Bunyan, with Central City Opera; Feeny in Bennett’s The Mines of Sulphur and Hot Biscuit Slim in Paul Bunyan at New York City Opera (broadcast on Live from Lincoln Center on PBS); his Ravinia Festival début as Henrick in A Little Night Music alongside Patti LuPone; the title role in Candide with Austin Lyric Opera; the title role in Romberg’s The Student Prince with Central City Opera; and Anatol in Vanessa with San Diego Opera.

Having led a prolific concert and oratorio career, Mr. McVeigh has performed notorious pieces throughout the world including Händel’s Messiah with the Indianapolis Chamber Orchestra, Evansville Philharmonic Orchestra, Seattle Symphony, Phoenix Symphony, Milwaukee Symphony, San Diego Symphony, Austin Symphony, Nashville Symphony, Philadelphia Orchestra, Boston Baroque, Charlotte Symphony Orchestra, Minnesota Orchestra, the Masterworks Chorus at Carnegie Hall, the Washington National Cathedral with the Cathedral Choral Society, Philharmonia Baroque, Music of the Baroque, Winston Salem Symphony, Memphis Symphony, and with DCINY at Carnegie Hall; Mahler’s Das Lied der Erde with Trinity Church Wall Street; Celebrant in Bernstein’s Mass with the Brevard Music Center; Beethoven’s Symphony No. 9 at the Grant Park Music Festival, Colorado Music Festival, Arizona Music Festival and with the Portland Symphony Orchestr; Orff’s Carmina Burana with the Memphis Symphony, Detroit Symphony, and Utah Symphony; Haydn’s Creation with the Portland Symphony, Berkshire Chorale, and the Winston Salem Symphony, with whom he also sang Bach’s St. John’s Passion; and Philip Glass’ Symphony No. 5 with the The Washington Chorus, Brooklyn Philharmonic, Pacific Symphony, Gewandhaus Orchester in Leipzig, and the Danish National Radio Orchestra under the baton of Dennis Russell Davies. Additionally McVeigh had a solo performance in a brand new concert entitled Rev. 23, the unpublished last chapter of the Book of Revelation as dictated by St. John the Divine which narrates the last battle to recapture Paradise-on-Earth and restore the balance of good and evil to our world, with Prototype Festival.

A house favorite at The Metropolitan Opera, he has performed numerous productions with the esteemed company. Favorite engagements with the house include his Metropolitan Opera début as Pang in Turandot, Bardolfo in Falstaff, Tinca in Il tabarro, Little Bat in their first production of Susannah under James Conlon, and their productions of La Fanciulla del West, Dialogues des Carmelites, Le nozze di Figaro, Turandot, Eugene Onegin, Die Zauberflöte, Lady Macbeth of the Mtsensk District, The Merry Widow, Iolanta, La traviata, Falstaff, Manon, Das Rheingold, Ariadne auf Naxos, and Billy Budd. Also a house favorite at Houston Grand Opera, he has performed the role of Will Tweedy in the world première of Cold Sassy Tree with repeated performances at Atlanta Opera, Austin Lyric Opera, Lyric Opera of Kansas City, Opera Omaha, San Diego Opera, and Opera Carolina; Remendado in Carmen; Lurcanio in Händel’s Ariodante and Tamino in Die Zauberflöte, both of which he later performed at New York City Opera; and in their production of Das Rheingold. As an alumnus of the Houston Grand Opera Studio, his numerous performances there include Tybalt in Roméo et Juliette, St. Stephen in Four Saints in Three Acts, and Michael Daughtery’s Jackie O.

Highlights of John’s considerable European and international career include Montverdi’s Vespro della Beata Vergine 1610 and Adrastro in Traettas’ Antigona with the Théâtre du Châtelet; Lurcanio in Ariodante at the Gran Teatre del Liceu and de Vlaamse Opera; Endimione in Martín y Soler’s L’abore di Diana at the Gran Teatro del Liceu; St. Stephen in Four Saints in Three Acts at the Edinburgh Festival; Bill in Jonathan Dove’s Flight with de Vlaamse Opera; Novice in Billy Budd with Teatro Carlo Felice; Lysander in A Midsummer Night’s Dream and Endimione in Martin y Soler’s L’abore di Diana at Teatro Real; Emilio in Partenope at the Göttingen Händel Festspiele; Teseo in Traetta’s eclectic reform opera Ippolito ed Aricia with Opéra national de Montpellier; Ozia in Mozart’s only, rarely performed oratorio Betulia liberata with Christophe Rousset and Les Talen Lyriques; and Marzio in Mozart’s prodigal opera seria Mitridate, re di Ponto at Festival Internacional de Música y Danza de Granada.

Additional operatic engagements include Goro in Madama Butterfly with Opera Theatre of St. Louis, the role of the Footman in Der Rosenkavalier with Boston Symphony Orchestra; Prunier in La rondine with Opera Theater Saint Louis; Pang in Turandot with Hawaii Opera Theatre and Arizona Opera; Tybalt in Roméo et Juliette with Opera Colorado; Emilio in Händel’s opera buffe Partenope with Glimmerglass Opera and New York City Opera; Novice in Billy Budd in his débuts with Lyric Opera of Chicago, Los Angeles Opera, and Washington National Opera and in a return to Houston Grand Opera; Fenton in Falstaff and Arbace in Idomeneo with Sante Fe Opera; Don Ottavio in Don Giovanni with Glimmerglass Opera and Austin Lyric Opera; Azor in Zemire et Azor with Arizona Opera; and Ferrando in Così fan tutte in a return to Austin Lyric Opera. In addition, he performed the world première of Carlisle Floyd’s Soul of Heaven for tenor and piano.

Additional concert engagements include Händel’s L’allegro with the Mark Morris Dance Group at the Kennedy Center and Lincoln Center; The Blind at the Lincoln Center Festival; Lackey in Der Rosenkavalier with National Symphony Orchestra; Mozart’s Mass in C minor with the St. Catherine of Siena Concert Series; Acis in Acis and Galatea with the Macau International Music Festival, Glimmerglass Opera, the Detroit Oratorio Society, and Concert Radio Kamer Filharmonie in Amsterdam; Bach’s St. Matthew’s Passion under the baton of Jaap van Zweden with the Dallas Symphony; Vaughan Williams’ On Wenlock Edge with the Arizona Music Festival and Portland Chamber Music Festival; Britten’s song cycle Nocturne with the Portland Symphony and Music of the Baroque; Rameu’s Platée with the Mark Morris Dance Group at the Ravinia Festival and Seattle Symphony; The Celebrant in Bernstein’s MASS with the Utah Symphony and Virginia Arts Festival; Mendelssohn’s Elijah with the Calgary Philharmonic; Beethoven’s Missa solemnis with the Minnesota Orchestra and Richmond Symphony; Mozart’s Requiem with the Colorado Symphony; Mozart’s Mass in C minor, Händel’s Israel in Egypt, and a series of Bach cantatas and Händel arias with the St. Paul Chamber Orchestra; Bach’s Mass in B minor with the Milwaukee Symphony and under the baton of John Nelson with Soli Deo Gloria; Beethoven’s Mass in C Major with the Honolulu Symphony; Stravinsky’s neoclassical ballet Pulcinella with the Brooklyn Philharmonic; and Haydn’s Harmoniesse with the Händel and Haydn Society.

Discography includes Will Tweedy in Carlisle Floyd’s Cold Sassy Tree on the Albany Label, Daughtery’s Jackie O and Emilio in Händel’s Partenope.

Il Hoon Kim*
Mandarin

International award-winning bass Il Hoon Kim debuted in 2008 with the Korea National Opera at the Seoul Art Center, playing the roles of Sarastro in Die Zauberflöte, Oroveso in Norma, and Raimondo in Lucia di Lammermoor. That same year, Kim won a number of prestigious prizes, including 3rd place in the JoongAng Music Concours, 3rd place in the Dong-A Music Competition, 1st place in the Korea Music Competition, 2nd place KBS Music Competition, and 1st place in the SungJung Music Competition. In 2014, he won 1st prize, the critics’ prize, and the audience prize at the Ferruccio Tagliavini Vocal Competition.

After winning a prize at the Concorso Internazionale di Canto at the famed Arena di Verona, a UNESCO World Heritage Site, he made a successful debut on the European stage as Colline in La Boheme to great acclaim. While studying in Köln, he appeared as Tom in Ein Maskenball and Mr. Budd in Albert Herring at the Theater Aachen. Other roles include Nourabad in Les pêcheurs de perles, Timur in Turandot, and Daland in Der fliegende Holländer at the Daegu Opera House. He has also performed the roles of Frère Laurent in Roméo et Juliette and Alidoro in La cenerentola, and Kim most recently appeared with the Korean National Opera as Fasolt in Das Rheingold, directed by Achim Freyer. Kim holds a Bachelor’s degree in voice the Chugye University for the Arts and a Master’s degree from the Hochschule für Musik Köln, where he studied under Prof. Dieter Schweikard.

David Stern
Chief Conductor

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

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

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

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

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

Keturah Stickann*
Director

Keturah Stickann’s directing and choreographic credits include Turandot (San Diego Opera), L’Orfeo ed Euridice (Florida Grand Opera), Norma (Opera Southwest), Seven Deadly Sins/Pagliacci (Virginia Opera),  Macbeth (Kentucky Opera),  Don Quichotte (San Diego Opera),  La Traviata (Chautauqua Opera), Orpheus and Euridice (Vermont Opera Project), Flight (Opera Fayetteville), Don Giovanni (Janiec Opera Company, Virginia Opera), Rigoletto (Opera Memphis, San Diego Opera, Dallas Opera), The Tales of Hoffman (Knoxville Opera), Manon (Knoxville Opera), Don Pasquale (Opera in the Heights), La tragédie de Carmen (Janiec Opera Company), Madama Butterfly (Opera Santa Barbara), La clemenza di Tito (Opera in the Heights), L’Enfant et les sortilèges & Bon Appetit (Emerald City Opera), The Pearl Fishers (Sarasota Opera), Peter Grimes (San Diego Opera), Orfeo (Atlanta Opera, Arizona Opera), The Old Maid and the Thief (Emerald City Opera), Hansel and Gretel (Portland Opera), and Le nozze di Figaro (Emerald City Opera, Opera Pacific).  Ms Stickann is a frequent collaborator with theater and opera director, Leonard Foglia.  She was his choreographer and movement director for the world premiere of Jake Heggie’s Moby-Dick in Dallas in 2010, and traveled with the production to the Calgary Opera, State Opera of South Australia, San Diego Opera, San Francisco Opera (where her work was filmed for a DVD produced by PBS’ Great Performances), Washington National Opera,  and LA Opera, and was the revival director for its return to Dallas Opera.  Also for Mr. Foglia, she is the choreographer of the Heggie/Scheer premiere of It’s A Wonderful Life at Houston Grand Opera, the assistant director and choreographer for the mariachi opera: Cruzar la Cara de la Luna, which premiered at Houston Grand Opera, and went on to Le Théâtre du Châtelet, the Lyric Opera of Chicago, San Diego Opera, and the Arizona Opera. She was also the assistant director with Mr. Foglia for his new opera (composed by Ricky Ian Gordon), A Coffin in Egypt, with Frederica von Stade, for Cold Mountain (composed by Jennifer Higdon) that premiered in Santa Fe in 2015, and for the national tour of Anna Deavere Smith’s Let Me Down Easy (also filmed by PBS for a broadcast of Great Performances).  In 2012, Ms. Stickann toured to Japan and Chile as the associate director for Michael Hampe’s production of Tannhäuser, and before that she assisted and choreographed for Lillian Groag, Lotfi Mansouri, Sean Curran, John Copley, Mark Lamos, Michael Gieleta, Lawrence Edelson, and Harry Silverstein, among others. New productions she has helped bring to stage include Orphée, Samson et Dalila, Agrippina, Rigoletto, La fanciulla del West, Pagliacci & Cavalleria Rusticana. La rondine, Maria Stuarda, Acis & Galatea, Pirates of Penzance, Otello, Three Decembers, Hydrogen Jukebox,and The Good Soldier Schweik. Her collaboration with director, Elise Sandell, on their production of Einstein on the Beach was chosen as a finalist for the inaugural Director/Designer Showcase with Opera America in 2009.

Trained as a classical and contemporary dancer, Ms. Stickann was a performer with Cerulean Dance Theatre, Malashock Dance, The Wally Cardona Quartet, Colleen Halloran Dance, SCW/The Group and Danny Grossman and Dancers.  With Malashock dance, she starred in two dance films shot in conjunction with UCSD-TV (Love & Murder and The Soul of Saturday Night), both of which went on to win a regional Emmy award for Best Arts and Entertainment Program.  Following this success, Ms. Stickann traveled to Hungary in 2006 to shoot a one-woman dance video on the streets of Budapest.  Utazo went on to play in film festivals around the country.  In addition, she’s captained and been a principal dancer for Chicago Opera Theater, working with choreographer Daniel Pelzig on Death in Venice and Akhnaten, with which she also traveled to the Opera National Du Rhin in Strasbourg, France.  She was also the assistant choreographer and principal dancer for the Andrew Sinclair/Zandra Rhodes production of The Pearl Fishers which premiered at San Diego Opera, then traveled to Michigan Opera Theater, and New York City Opera.

Because of her background as a dancer, Ms. Stickann a sought-after movement and acting coach for young singers and actors.  She’s trained and coached performers at The Brevard Music Center, The La Jolla Playhouse Theater Conservatory, The San Diego Opera Summer Singers Workshop, the Glimmerglass Opera Young American Artists Program, Emerald City Opera, Stephen’s College, and DePaul University, among others.  Michael Heaston, former director of the Young American Artists’ Program at the Glimmerglass Festival has said of Keturah’s coaching work, “Every recital she touches turns to gold.”

Born and raised in the Midwest, Ms. Stickann studied ballet and theater at Stephens College while still in high school, and spent her summers at DanceAspen, The State Ballet of Missouri and the prestigious Rep/Etudes Project at Jacob’s Pillow.  She received her B.A. in dance education and choreography from Columbia College Chicago, and was a 1997 nominee for the Princess Grace Award for excellence in the arts.

Alexandra Loutsion
Turandot (Jan. 24/26)

Hailed as “a singer to watch” (Washington Post) with a “commanding presence” (Pittsburgh Post-Gazette), Alexandra Loutsion continues to be recognized for her passionate performances and vocal versatility as a rising star on the operatic stage. This season, she makes her international debut with Canadian Opera Company singing the Overseer and covering the title role in Strauss’ Elektra. She will also debut with New Orleans Opera as the title role of Puccini’s Turandot, and she returns to Central City Opera making her role debut as Leonora in Verdi’s Il Trovatore. She finishes the season debuting with West Virginia Symphony and Syracuse Symphoria as the Soprano Soloist in Beethoven’s Symphony No. 9. Last season, she debuted with San Francisco Opera singing the Overseer in Strauss’ Elektra and covered Princess Turandot in Puccini’s Turandot. She returned to Wolf Trap Opera and Palm Beach Opera in the title role of Puccini’s Tosca, and debuted with Tulsa Opera in the title role of Puccini’s Turandot to great acclaim.

Recently she added four new roles to her repertoire: the title role of Puccini’s Tosca with Central City Opera, Princess Turandot in Puccini’s Turandot with Pittsburgh Opera, the Foreign Princess in Dvorak’s Rusalka with Arizona Opera, and Lady Macbeth in Verdi’s Macbeth with Raylynmor Opera. She also made her debuts with Palm Beach Opera as Cio-Cio San in Madama Butterfly, and the Fort Wayne Philharmonic singing the title role in Puccini’s Tosca. She was recently heard as Florencia in Daniel Catan’s Florencia en el Amazonas with Arizona Opera, and made her Wolf Trap Opera debut as Cio-Cio-San in Puccini’s Madama Butterfly to great acclaim. She debuted with North Carolina Opera as Donna Anna in Don Giovanni and Dayton Opera as Gertrude in Humperdinck’s Hansel and Gretel, She also covered the Lady-in-Waiting in Verdi’s Macbeth with the Chicago Symphony Orchestra under Riccardo Muti. Other recent performances have included the title role in Madama Butterfly with Opera on the James, Anna Kennedy in Maria Stuarda with Washington Concert Opera, Sie in Karl Hartmann’s Wachsfiguren Kabinett with the Aspen Music Festival, and the leading role of Isabella in Wagner’s Das Liebesverbot as part of the Ring Festival LA.

Ms. Loutsion spent two summers as an Apprentice Artist with the Santa Fe Opera, most recently to cover the role of Leonore in Fidelio conducted by Harry Bicket. She also covered the title role in Puccini’s Tosca, the leading role of Anna in Rossini’s Maometto II. Ms. Loutsion also spent two seasons as a Resident Artist with Pittsburgh Opera where she was seen as Armida in Handel’s Rinaldo, Gertrude and the Witch in Humperdinck’s Hänsel und Gretel, among others. As an Apprentice Artist with Central City Opera, she was heard as the title role in Puccini’s Madama Butterfly and as Melissa in Handel’s Amadigi di Gaula, among others.

On the concert stage, Ms. Loutsion has sung the soprano solo in Verdi’s Messa da Requiem with the Santa Fe Symphony and the Academy Chamber Orchestra of Pittsburgh, as well as Beethoven’s Symphony No. 9 with the Cathedral Choral Society, Erie Philharmonic and as a guest soloist with the Ithaca College Chamber Orchestra. She recently debuted the soprano solo in Hadyn’s Mass in Time of War with the Cathedral Choral Society of Washington D.C. She also performed Grieg’s Peer Gynt with the Aspen Music Festival, and Mahler’s Symphony No. 4 with the Aspen Conductor’s Project. An advocate for living composers and contemporary works, Ms. Loutsion has also given performances of Almera in Nico Muhly’s Dark Sisters with Pittsburgh Opera, Euridice in Ricky Ian Gordon’s Orpheus and Euridice at the Boston Court Performing Arts Center, Witch 3 in Krausas’ The Mortal Thoughts of Lady Macbeth with Vera Ikon Productions, and Fay Doyle in the West Coast Premier of Lowell Liebermann’s Miss Lonelyhearts with USC Thornton Opera. She can be heard as the soprano soloist on the soundtrack of Lucir Y Sombra.

Ms. Loutsion recently represented the United States as a quarterfinalist in the Francisco Viñas International Singing Contest in Barcelona, Spain. She was a winner of the Metropolitan National Council District Auditions and Long Beach Mozart Competition, as well as a finalist in the Fritz and Lavinia Jensen Foundation Competition, McCammon Voice Competition, and Dallas Opera Competition. She is the recipient of the Catherine Filene Shouse Education Fund Career Grant from Wolf Trap Opera, Santa Fe Opera Donald Gramm Memorial Award and Anna Case MacKay Award, Shoshana Foundation Richard F. Gold Career Grant, the Central City Opera John Moriarty Award, and the Aspen Music Festival New Horizon Fellowship. She holds a Master of Music in Vocal Arts from the University of Southern California and a Bachelor of Music in Vocal Performance from Ithaca College. Ms. Loutsion was also recently awarded a place in the Greek America Foundation’s “Forty under 40” Class of 2018, a distinction that celebrates both the professional excellence and philanthropic endeavors of North Americans of Greek descent.

Alexandra LoBianco*
Turandot (Jan. 25)

American soprano Alexandra LoBianco, whom the Seattle Times exclaimed, “gave a subtle but impassioned performance” as the title role in Aida at Seattle Opera, has established herself as a dramatic soprano of unequaled versatility, musicality and consistency. An international presence, Ms. LoBianco recently stepped in for an ailing colleague as Leonore in Fidelio for her debut with the Wiener Staatsoper while under contract for the title role in Turandot. Subsequent appearances with the Wiener Staatsoper included performances of Helmwige in Die Walküre, as well as the Brünnhilde, cover while on tour in Japan.

In the 2018/19 season, Alexandra LoBianco will return to the Lyric Opera of Chicago for three projects: the covers of Brünnhilde in Siegfried,Chrysothemis in Elektra and performances of the Fourth Maid in Elektra. She will also join North Carolina Opera for the title role in Tosca. Symphonic projects include Senta in Der fliegende Holländer with Baltimore Concert Opera, and Mahler’s Symphony No. 8 with Madison Symphony, where she previously sang Rachmaninoff’s The Bells.

Operatic highlights of previous seasons have included the title roles of Aida and Tosca with Opera Colorado and Minnesota Opera, respectively, Donna Anna in Don Giovanni with Seattle Opera, Miss Jessel in The Turn of the Screwwith The Dallas Opera, Amelia in Un ballo in maschera with Florida Grand Opera, the prima donna in Ariadne auf Naxos with Austin Opera, and Helmwige with Lyric Opera of Chicago. At Des Moines Metro Opera, Ms. LoBianco has performed the title role in Turandot and Minnie in La fanciulla del West. Of her Turandot, Opera Today wrote, “Alexandra LoBianco is well remembered here for her feisty Minnie in a recent season. If Fanciulla is a Big Sing for the soprano, Princess Turandot is a Big Sing on Steroids… Ms. LoBianco is short of physical stature, but makes up for it with potent spinto vocalizing that has its own towering presence.”

Stefano La Colla*
Calaf* (Jan. 24/26)

Stefano La Colla is one of the most valued tenors of his generation. After a great debuts in 2008 in AIDA at Teatro Goldoni in Livorno, he continues his artistic experience in traditional theaters of many Italian cities such as Novara, Savona, Chieti, Reggio Emilia, Pisa, Lucca, Livorno, Busseto, Brescia. His international career began in 2011 with Turandot in Regensburg and continues in Dortmund, Leipzig, St. Petersburg, St. Gallen, Zagreb, Bucharest, but the real turning point is in 2015 with a fast and brilliant climb in the biggest European Opera Houses such as Milan, Berlin, Munich, Hamburg, Rome, Naples, Verona, Amsterdam, Wien, Bruxelles, Chicago. He has worked with conductors such as Sir Samuel Rattle, Riccardo Chailly, Stefano Ranzani, Donato Renzetti, Paolo Carignani, Carlo Rizzi, Julian Kovatchev, Ivan Repusic, Mikhail Tatarnikov, Jordi Bernácer, Pinchas Steinberg, Daneiel Callegari, Riccardo Frizza and with directors such as Franco Zeffirelli, Andrea Breth, Gianfranco de Bosio, Nikolaus Lehnhoff, Jurgen Flimm, Gianfranco del Monaco, Ezio Frigerio, Mario Martone, Roberto de Simone, Boleslaw Barlog, Alessandro Talevi, Gilbert Deflo, Francesco Micheli.

Hovhannes Ayvazyan*
Calaf (Jan. 25)

Since his 2010 stage Debut, Hovhannes Ayvazyan has frequently performed at various Opera Houses and Concert Halls including: Opera Belcanto of South Simcoe in Toronto, Mariinsky Theatre in St Petersburg, Mariinsky Concert Hall, Tatar State Opera in Kazan, Big Hall of the Moscow State Conservatoire, Musikverein Vienna, Novaya Opera and Bolshoi Theatre in Moscow, etc…

The young Armenian Tenor, critically acclaimed as “the whole package of a true dramatic tenor”, “outstanding Don Carlo”, has often performed under the baton of Maestro Valery Gergiev, and had the pleasure to work frequently with such legends as Maria Guleghina, Anna Netrebko, Olga Borodina, Ekaterina Semenchuk, Hui He, and many others.
Hovhannes Ayvazyan performed Mozart’s Requiem at the Musikverein in Vienna, an Opera Gala at Geneva’s Victoria Hall, various performances at the Yerevan Opera House as Canio, Turiddu, Don Jose, Radames and Pinkerton, as well as many title roles at the Mariinsky Theatre including Don Carlo, Manrico and Cavaradossi. He was on tour with the Berliner Symphoniker under Maestro Lior Shambadal for which he received outstanding reviews and performed Don Jose in Carmen with the Moscow State Opera at the BGE Theatre in Dublin.

In the Summer of 2017 he successfully performed Manrico in Il Trovatore under the Baton of Placido Domingo at the Mariinsky Theatre. He also made a critically acclaimed stage debut as Radames opposite Hui He at Arena di Verona. In November he made a terrific role debut as Don Alvaro in the Mariinsky original Version of Verdi’s La Forza del Destino as well as Canio in Pagliacci. In October 2018 he had another triumphant debut as Andrea Chenier at Teatro Massimo Bellini in Catania.

Some future debuts include Herman in Pique Dame, Riccardo in Un Ballo in Maschera and Calaf in Turandot at the Mariinsky Theatre, as well as a Stage debut at the Opera Frankfurt as Don Alvaro in La Forza del Destino.

Leah Crocetto*
Liù (Jan. 24/26)

Described by the New York Times as possessing an “agile coloratura technique and a feeling for the Italianate style… with warmth, full penetrating sound and tenderness,” American soprano Leah Crocetto continues to astonish audiences with her moving portrayals of opera’s greatest heroines.

In the current season, Ms. Crocetto returns to Seattle Opera as Leonora in Il trovatore. She sings her first performance of Bellini’s Norma in concert with North Carolina Opera, and makes her debut at Carnegie Hall’s Weill Hall in recital with pianist Mark Markham, with additional performances in Washington, D.C. and Easton, Pennsylvania. Ms. Crocetto makes her Australian debut with the Melbourne Symphony Orchestra as the soprano soloist in Verdi’s Requiem, and with the Los Angeles Philharmonic she sings Soprano II in Mahler’s epic Symphony No. 8 “Symphony of a Thousand,” under the baton of Gustavo Dudamel.

Last season, Ms. Crocetto performed the title role in Aïda first with Washington National Opera, and subsequently with Seattle Opera. She sang Leonora in Il trovatore with Oper Frankfurt, returned to San Francisco Opera as Liù in Turandot and performed the title role of Toscawith Pittsburgh Opera. In concert, she sang Verdi’s magnificent Requiem with the National Symphony and the NTR Symphony, and performed a solo recital in Ann Arbor, MI.

Ms. Crocetto sang her debut performances as the title role in Aïda with the San Francisco Opera in the 2016-2017 season. Also in this season, she made her role debut as Eleonora in the first US performances of Donizetti’s L’assedio di Calais with the Glimmerglass Festival. On the concert stage, she performed Bachianas Brasileiras No. 5 with the Chamber Music Society of Lincoln Center at Alice Tully Hall and sang a solo recital in her hometown of Adrian, Michigan.

Ms. Crocetto made her Metropolitan Opera debut in the 2015-2016 season as Liù in Turandot. She also made her role debut as the titular character in Rossini’s seldom performed Semiramide with Opera National de Bordeaux. Additional highlights of the season included Anna in Maometto II with the Canadian Opera Company, Luisa Miller in San Francisco, and Donna Anna in Don Giovanni with Santa Fe Opera. She made her New York City recital debut at Pace University with pianist Martin Katz, and performed a solo recital under the auspices of Washington National Opera with pianist Mark Markham at the John F. Kennedy Center.

In the 2014-15 season, Ms. Crocetto performed Desdemona in Otello with English National Opera, followed by performances of Mimi in La bohème with San Francisco Opera, and Madame Lidoine in Poulenc’s devastating Dialogues of the Carmelites with Washington National Opera. Her season concluded singing Elisabetta di Valois in a new production of Don Carlo with Opera Philadelphia.

Anastasia Schegoleva*
Liù (Jan. 25)

Soprano Anastasia Schegoleva recently made debuts with Moscow’s Bolshoi Theatre and St. Petersburg’s Mariinsky Theatre, appearing at the Bolshoi in performances of Tchaikovsky’s The Maid of Orleans conducted by Tugan Sokhiev, and at the Mariinsky a “Stars of the White Nights” Gala under the baton of Valery Gergiev. Her collaboration with the Mariinsky also includes role debuts as Liù in Turandot, Voyslava in Rimsky Korsakov’s Mlada, and numerous performances as soloist in Mozart’s Requiem and Beethoven’s Ninth Symphony.

With a voice described as “transporting,” Ms. Schegoleva has earned acclaim for performances as title role in Tchaikovsky’s Iolanta, Micaela in Carmen, Donna Elvira in Don Giovanni, Mimì in La bohème, and Countess in Le nozze di Figaro, working with noted conductors Riccardo Frizza, Yuri Simonov, Pavel Smelkov, and the late Alberto Zedda.  Additional credits include a collaboration with the Hungarian Radio Symphony Orchestra as soloist for Dvorak’s Stabat Mater, and appearances with the Academic Symphony Orchestra of the Moscow State Philharmonic as soloist in Mendelssohn’s Symphony No. 2 and Beethoven’s Cantata on the Death of Emperor Joseph II.  Further concert appearances as soprano soloist include Brahm’s Ein Deutsches Requiem, Mozart’s Litaniae Lauretanae, and several Bach Cantatas.

Ms. Schegoleva is the Third Prize Winner of the Galina Vishnevskaya International Opera Singers Competition (2014, Moscow), First Prize Winner at the Sobinov Vocal Competition (2016, Saratov), Special Prize Winner at the Competizione dell’Opera (2016, Moscow), Second Prize Winner at the VIII All Russia Obukhova Competition (2018, Lipetsk), and the Gold Medal Winner in Voice at 1st Berliner International Music Competition (2017, Berlin).

A graduate of Lipetsk Igumnov College of Arts with a bachelor’s degree in Piano Performance, and of the Maimonid State Classical Academy in Moscow with a master’s degree in Vocal Performance, Ms. Schegoleva has been a Fellow at the Atkins Young Artists Program at the Mariinsky Theater since 2017.  In October 2018, she joined the Program’s inaugural US and Mexico tour, participating in the televised concert at Palacio de Bellas Artes in Mexico City with Esperanza Azteca Youth Orchestra and Chorus conducted by Valery Gergiev, and making her New York debut in a recital at the historic St. Paul’s Chapel of Trinity Church Wall Street.

Evgeny Stavinsky*
Timur

Evgeny Stavinsky was born in Dubna, Moscow region, in a family of musicians. In 2003, he completed his university-level studies as singer and choir conductor at the Moscow Academy of Choral Art. From 2004 to 2005 he lived in Florence, Italy, to study at Maggio Musicale Fiorentino where he performed the title role in Mozart’s Don Giovanni, Lord Sidney and Basilio in Rossini’s Il Viaggio a Reims and Il Barbiere di Siviglia, and Superintendent Budd in Britten’s Albert Herring.

He became a member of Kolobov Novaya Opera Theatre of Moscow in 2007, his roles for the company including Thoas (Iphigénie en Tauride), Ruslan (Ruslan and Lyudmila), Pimen (Boris Godunov), Prince Gremin (Eugene Onegin), Malyuta-Skuratov (The Tsar’s Bride), Prince of Galich (Prince Igor), Méphistophélès (Faust), King Heinrich (Lohengrin), King Marke (Tristan und Isolde) and La Roche (Capriccio). Engagements elsewhere include Raimondo Bidebent (Lucia di Lammermoor) for Teatro Comunale di Bologna, Oroveso (Norma) for Teatro Massimo di Palermo, Méphistophélès for Hungarian State Opera, Padre Guardiano (La forza del destino) for Theater Basel and Don Basilio (Il barbiere di Siviglia) for the Mariinsky Theatre, St Petersburg, Colline (La Bohème) for Teatro Comunale di Bologna and
at Royal Opera House Covent Garden in L’Ange de Nisida by Donizetti.

Among the recent works, Zaccaria (Nabucco) in Ravenna, Ferrara, Nice and Toulon, Ivan Khovansky  (Chovanščina) in Budapest, Verdi’s Requiem with RTE Symphony Orchestra in Dublin, Beethoven IX Symphony with M° Riccardo Muti in Athens and Ravenna, Bartolo (Le nozze di Figaro) at Wiener Konzerthaus and Lucerne Festival with M° Teodor Currentzis.

Next engagements include a series of concerts with M° Teodor Currentzis: Mozart’s Requiem at Baden Baden Festival, Verdi’s Requiem in New York and Baden Baden, along with Mozart’s Requiem for South Netherlands Philarmonic and Dutch Radio Choir, Conte di Walter (Luisa Miller) at Glyndebourne Festival, Raimondo (Lucia di Lammermoor) at Bayerische Staatsoper in Munich (2021). Evgeny Stavinsky will return at Royal Opera House Covent Garden for Lucia di Lammermoor, Don Carlo (2020) and Rigoletto (2022)

Zachary Nelson
Ping

Zachary Nelson, a native of Annapolis, Maryland, has been praised for his rich and powerful baritone, as well as his ability to embody dramatic and comic characters on the operatic stage.

2018-2019 highlights include his return to the Lyric Opera of Chicago as Marcello in Richard Jones’ acclaimed La Bohème, his debut in Arizona Opera as Count Almaviva in Mozart’s Le Nozze di Figaro, and returning to the Santa Fe Opera for his fifth season as Marcello in La Bohème.

The 2017-2018 season starts with a joint recital with Soprano Leah Crocetto and Pianist Mark Markham. Then he has returns to the Lyric Opera of Chicago as Ping in Turandot and the title role in Dresden Semperoper’s Le Nozze di Figaro. Then Mr. Nelson will debut at the Pittsburgh Opera as Belcore in L’Elisir D’Amore and will be the baritone soloist in Bloch’s lush sacred piece, “Sacred Service (Avodat Hakodesh)” with the Voices of the Ascension.

The 2016-2017 season brings debuts at the Lyric Opera of Chicago as Donner in Das Rheingold and Enrico Ashton (cover) in Lucia di Lammermoor, Escamillo in Carmen with Den Norske Opera, and a fourth season with the Santa Fe Opera as Enrico Ashton in Lucia di Lammermoor.

2015-2016 began with a return to the Dresden Semperoper as Figaro in both Le Nozze di Figaro and Il Barbiere di Siviglia. He performed the role of Dr. Falke in Die Fledermaus with the Seiji Ozawa Music Academy in Kyoto, Tokyo, and Nagoya. He made debuts at the Salzburg Landestheater, Palm Beach, and San Francisco Opera in Carmen as Escamillo, and returned to the Canadian Opera Compnay as Escamillo.

His 2014-15 included the title role of Le nozze di Figaro with the Aix-en-Provence Festival on tour in Manama, Bahrain. Additionally, he makes his debut with Canadian Opera Company as Masetto in Dmitri Tcherniakov’s Don Giovanni. He debuted the roles of Paolo in Simon Boccanegra, Escamillo in Carmen. He reprised the roles of Gugliemo in Cosi Fan Tutte, Belcore in L’Elisir D’Amore, Marcello in Bohéme, and Figaro in both Barbiere di Siviglia and a new production of Le Nozze di Figaro all with the Dresden Semperoper,

In the 2013-2014 season, Mr. Nelson joined the ensemble of the Dresden Semperoper, where he performed the roles of Il Conte in Le nozze di Figaro, Marcello in La Bohème, Der Sprecher in Die Zauberflöte, Figaro in Il Barbiere di Siviglia, and Guglielmo in a new production of Così Fan Tutte. He also returned to the Santa Fe Opera as Malatesta in Laurent Pelly’s Don Pasquale.

Other notable performances include: Figaro in Le nozze di Figaro with Santa Fe Opera, Germont in La Traviata with Lyric Opera of Virginia, Angelotti in Tosca and Mandryka (cover) in Arabella with Santa Fe Opera, Quinault in Adriana Lecouvreur with Opera Orchestra of New York, Sciarrone in Tosca with Glimmerglass Opera, and a soloist in Steven Blier’s “Killer B’s” with the New York Festival of Song.

A graduate of the Academy of Vocal Arts in Philadelphia, PA, Mr. Nelson performed many roles including: Belcore in L’Elisir D’Amore, Renato in Un Ballo in Maschera, the title role in Falstaff, Michele in Il Tabarro, Sancho Panza in Don Quichotte, Mandryka in Arabella, Golaud in Pelléas et Mélisande, and Masetto in Don Giovanni. Mr. Nelson is also a graduate of The Catholic University of America in Washington, D.C.

Awards Mr. Neslon has garnered are: The George London Award from the 2012 George London Foundation, 1st prize prize from the 2012 Opera Index Competition, The 2012 Liederkranz Foundation Competition (General Opera Division), and the 2012 Licia Albanese-Puccini Foundation. Also, 2nd prize from the 2011 Gerda Lissner Competition, the 2011 Giulio Gari Foundation, and the 2011 Loren Zachary Competition

John McVeigh*
Pang

Acclaimed for his “fresh-toned and touching portrayal” by Opera News and lauded by the New Orleans Times-Picayune for his “rich lyrical tenor, fabulous top notes, and striking good looks,” John McVeigh continues to garner attention for his countless world-class performances at the most revered houses throughout the United States and worldwide. This season, McVeigh returns to The Metropolitan Opera for their productions of Turandot and Le nozze di Figaro, sing Pang in Turandot with Palm Beach Opera, and performs as a soloist in Handel’s Messiah with DCINY. Most recently, Mr. McVeigh performed the role of Don Basilio in The Marriage of Figaro with Opera Theater St. Louis, performed as a soloist in Handel’s Messiah with Indianapolis Chamber Orchestra and DCINY, and as a soloist in Beethoven’s Symphony No. 9 with DCINY.

An accomplished “cross-over” artist, McVeigh shares his talents both in operatic and theatrical settings. His extensive work includes performances as Lysander in A Midsummer Night’s Dream at Utah Opera and in his Central City Opera début; Johnny Inkslinger in Britten’s folkloric operetta, Paul Bunyan, with Central City Opera; Feeny in Bennett’s The Mines of Sulphur and Hot Biscuit Slim in Paul Bunyan at New York City Opera (broadcast on Live from Lincoln Center on PBS); his Ravinia Festival début as Henrick in A Little Night Music alongside Patti LuPone; the title role in Candide with Austin Lyric Opera; the title role in Romberg’s The Student Prince with Central City Opera; and Anatol in Vanessa with San Diego Opera.

Having led a prolific concert and oratorio career, Mr. McVeigh has performed notorious pieces throughout the world including Händel’s Messiah with the Indianapolis Chamber Orchestra, Evansville Philharmonic Orchestra, Seattle Symphony, Phoenix Symphony, Milwaukee Symphony, San Diego Symphony, Austin Symphony, Nashville Symphony, Philadelphia Orchestra, Boston Baroque, Charlotte Symphony Orchestra, Minnesota Orchestra, the Masterworks Chorus at Carnegie Hall, the Washington National Cathedral with the Cathedral Choral Society, Philharmonia Baroque, Music of the Baroque, Winston Salem Symphony, Memphis Symphony, and with DCINY at Carnegie Hall; Mahler’s Das Lied der Erde with Trinity Church Wall Street; Celebrant in Bernstein’s Mass with the Brevard Music Center; Beethoven’s Symphony No. 9 at the Grant Park Music Festival, Colorado Music Festival, Arizona Music Festival and with the Portland Symphony Orchestr; Orff’s Carmina Burana with the Memphis Symphony, Detroit Symphony, and Utah Symphony; Haydn’s Creation with the Portland Symphony, Berkshire Chorale, and the Winston Salem Symphony, with whom he also sang Bach’s St. John’s Passion; and Philip Glass’ Symphony No. 5 with the The Washington Chorus, Brooklyn Philharmonic, Pacific Symphony, Gewandhaus Orchester in Leipzig, and the Danish National Radio Orchestra under the baton of Dennis Russell Davies. Additionally McVeigh had a solo performance in a brand new concert entitled Rev. 23, the unpublished last chapter of the Book of Revelation as dictated by St. John the Divine which narrates the last battle to recapture Paradise-on-Earth and restore the balance of good and evil to our world, with Prototype Festival.

A house favorite at The Metropolitan Opera, he has performed numerous productions with the esteemed company. Favorite engagements with the house include his Metropolitan Opera début as Pang in Turandot, Bardolfo in Falstaff, Tinca in Il tabarro, Little Bat in their first production of Susannah under James Conlon, and their productions of La Fanciulla del West, Dialogues des Carmelites, Le nozze di Figaro, Turandot, Eugene Onegin, Die Zauberflöte, Lady Macbeth of the Mtsensk District, The Merry Widow, Iolanta, La traviata, Falstaff, Manon, Das Rheingold, Ariadne auf Naxos, and Billy Budd. Also a house favorite at Houston Grand Opera, he has performed the role of Will Tweedy in the world première of Cold Sassy Tree with repeated performances at Atlanta Opera, Austin Lyric Opera, Lyric Opera of Kansas City, Opera Omaha, San Diego Opera, and Opera Carolina; Remendado in Carmen; Lurcanio in Händel’s Ariodante and Tamino in Die Zauberflöte, both of which he later performed at New York City Opera; and in their production of Das Rheingold. As an alumnus of the Houston Grand Opera Studio, his numerous performances there include Tybalt in Roméo et Juliette, St. Stephen in Four Saints in Three Acts, and Michael Daughtery’s Jackie O.

Highlights of John’s considerable European and international career include Montverdi’s Vespro della Beata Vergine 1610 and Adrastro in Traettas’ Antigona with the Théâtre du Châtelet; Lurcanio in Ariodante at the Gran Teatre del Liceu and de Vlaamse Opera; Endimione in Martín y Soler’s L’abore di Diana at the Gran Teatro del Liceu; St. Stephen in Four Saints in Three Acts at the Edinburgh Festival; Bill in Jonathan Dove’s Flight with de Vlaamse Opera; Novice in Billy Budd with Teatro Carlo Felice; Lysander in A Midsummer Night’s Dream and Endimione in Martin y Soler’s L’abore di Diana at Teatro Real; Emilio in Partenope at the Göttingen Händel Festspiele; Teseo in Traetta’s eclectic reform opera Ippolito ed Aricia with Opéra national de Montpellier; Ozia in Mozart’s only, rarely performed oratorio Betulia liberata with Christophe Rousset and Les Talen Lyriques; and Marzio in Mozart’s prodigal opera seria Mitridate, re di Ponto at Festival Internacional de Música y Danza de Granada.

Additional operatic engagements include Goro in Madama Butterfly with Opera Theatre of St. Louis, the role of the Footman in Der Rosenkavalier with Boston Symphony Orchestra; Prunier in La rondine with Opera Theater Saint Louis; Pang in Turandot with Hawaii Opera Theatre and Arizona Opera; Tybalt in Roméo et Juliette with Opera Colorado; Emilio in Händel’s opera buffe Partenope with Glimmerglass Opera and New York City Opera; Novice in Billy Budd in his débuts with Lyric Opera of Chicago, Los Angeles Opera, and Washington National Opera and in a return to Houston Grand Opera; Fenton in Falstaff and Arbace in Idomeneo with Sante Fe Opera; Don Ottavio in Don Giovanni with Glimmerglass Opera and Austin Lyric Opera; Azor in Zemire et Azor with Arizona Opera; and Ferrando in Così fan tutte in a return to Austin Lyric Opera. In addition, he performed the world première of Carlisle Floyd’s Soul of Heaven for tenor and piano.

Additional concert engagements include Händel’s L’allegro with the Mark Morris Dance Group at the Kennedy Center and Lincoln Center; The Blind at the Lincoln Center Festival; Lackey in Der Rosenkavalier with National Symphony Orchestra; Mozart’s Mass in C minor with the St. Catherine of Siena Concert Series; Acis in Acis and Galatea with the Macau International Music Festival, Glimmerglass Opera, the Detroit Oratorio Society, and Concert Radio Kamer Filharmonie in Amsterdam; Bach’s St. Matthew’s Passion under the baton of Jaap van Zweden with the Dallas Symphony; Vaughan Williams’ On Wenlock Edge with the Arizona Music Festival and Portland Chamber Music Festival; Britten’s song cycle Nocturne with the Portland Symphony and Music of the Baroque; Rameu’s Platée with the Mark Morris Dance Group at the Ravinia Festival and Seattle Symphony; The Celebrant in Bernstein’s MASS with the Utah Symphony and Virginia Arts Festival; Mendelssohn’s Elijah with the Calgary Philharmonic; Beethoven’s Missa solemnis with the Minnesota Orchestra and Richmond Symphony; Mozart’s Requiem with the Colorado Symphony; Mozart’s Mass in C minor, Händel’s Israel in Egypt, and a series of Bach cantatas and Händel arias with the St. Paul Chamber Orchestra; Bach’s Mass in B minor with the Milwaukee Symphony and under the baton of John Nelson with Soli Deo Gloria; Beethoven’s Mass in C Major with the Honolulu Symphony; Stravinsky’s neoclassical ballet Pulcinella with the Brooklyn Philharmonic; and Haydn’s Harmoniesse with the Händel and Haydn Society.

Discography includes Will Tweedy in Carlisle Floyd’s Cold Sassy Tree on the Albany Label, Daughtery’s Jackie O and Emilio in Händel’s Partenope.

Il Hoon Kim*
Mandarin

International award-winning bass Il Hoon Kim debuted in 2008 with the Korea National Opera at the Seoul Art Center, playing the roles of Sarastro in Die Zauberflöte, Oroveso in Norma, and Raimondo in Lucia di Lammermoor. That same year, Kim won a number of prestigious prizes, including 3rd place in the JoongAng Music Concours, 3rd place in the Dong-A Music Competition, 1st place in the Korea Music Competition, 2nd place KBS Music Competition, and 1st place in the SungJung Music Competition. In 2014, he won 1st prize, the critics’ prize, and the audience prize at the Ferruccio Tagliavini Vocal Competition.

After winning a prize at the Concorso Internazionale di Canto at the famed Arena di Verona, a UNESCO World Heritage Site, he made a successful debut on the European stage as Colline in La Boheme to great acclaim. While studying in Köln, he appeared as Tom in Ein Maskenball and Mr. Budd in Albert Herring at the Theater Aachen. Other roles include Nourabad in Les pêcheurs de perles, Timur in Turandot, and Daland in Der fliegende Holländer at the Daegu Opera House. He has also performed the roles of Frère Laurent in Roméo et Juliette and Alidoro in La cenerentola, and Kim most recently appeared with the Korean National Opera as Fasolt in Das Rheingold, directed by Achim Freyer. Kim holds a Bachelor’s degree in voice the Chugye University for the Arts and a Master’s degree from the Hochschule für Musik Köln, where he studied under Prof. Dieter Schweikard.

David Stern
Chief Conductor

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

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

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

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

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

Keturah Stickann*
Director

Keturah Stickann’s directing and choreographic credits include Turandot (San Diego Opera), L’Orfeo ed Euridice (Florida Grand Opera), Norma (Opera Southwest), Seven Deadly Sins/Pagliacci (Virginia Opera),  Macbeth (Kentucky Opera),  Don Quichotte (San Diego Opera),  La Traviata (Chautauqua Opera), Orpheus and Euridice (Vermont Opera Project), Flight (Opera Fayetteville), Don Giovanni (Janiec Opera Company, Virginia Opera), Rigoletto (Opera Memphis, San Diego Opera, Dallas Opera), The Tales of Hoffman (Knoxville Opera), Manon (Knoxville Opera), Don Pasquale (Opera in the Heights), La tragédie de Carmen (Janiec Opera Company), Madama Butterfly (Opera Santa Barbara), La clemenza di Tito (Opera in the Heights), L’Enfant et les sortilèges & Bon Appetit (Emerald City Opera), The Pearl Fishers (Sarasota Opera), Peter Grimes (San Diego Opera), Orfeo (Atlanta Opera, Arizona Opera), The Old Maid and the Thief (Emerald City Opera), Hansel and Gretel (Portland Opera), and Le nozze di Figaro (Emerald City Opera, Opera Pacific).  Ms Stickann is a frequent collaborator with theater and opera director, Leonard Foglia.  She was his choreographer and movement director for the world premiere of Jake Heggie’s Moby-Dick in Dallas in 2010, and traveled with the production to the Calgary Opera, State Opera of South Australia, San Diego Opera, San Francisco Opera (where her work was filmed for a DVD produced by PBS’ Great Performances), Washington National Opera,  and LA Opera, and was the revival director for its return to Dallas Opera.  Also for Mr. Foglia, she is the choreographer of the Heggie/Scheer premiere of It’s A Wonderful Life at Houston Grand Opera, the assistant director and choreographer for the mariachi opera: Cruzar la Cara de la Luna, which premiered at Houston Grand Opera, and went on to Le Théâtre du Châtelet, the Lyric Opera of Chicago, San Diego Opera, and the Arizona Opera. She was also the assistant director with Mr. Foglia for his new opera (composed by Ricky Ian Gordon), A Coffin in Egypt, with Frederica von Stade, for Cold Mountain (composed by Jennifer Higdon) that premiered in Santa Fe in 2015, and for the national tour of Anna Deavere Smith’s Let Me Down Easy (also filmed by PBS for a broadcast of Great Performances).  In 2012, Ms. Stickann toured to Japan and Chile as the associate director for Michael Hampe’s production of Tannhäuser, and before that she assisted and choreographed for Lillian Groag, Lotfi Mansouri, Sean Curran, John Copley, Mark Lamos, Michael Gieleta, Lawrence Edelson, and Harry Silverstein, among others. New productions she has helped bring to stage include Orphée, Samson et Dalila, Agrippina, Rigoletto, La fanciulla del West, Pagliacci & Cavalleria Rusticana. La rondine, Maria Stuarda, Acis & Galatea, Pirates of Penzance, Otello, Three Decembers, Hydrogen Jukebox,and The Good Soldier Schweik. Her collaboration with director, Elise Sandell, on their production of Einstein on the Beach was chosen as a finalist for the inaugural Director/Designer Showcase with Opera America in 2009.

Trained as a classical and contemporary dancer, Ms. Stickann was a performer with Cerulean Dance Theatre, Malashock Dance, The Wally Cardona Quartet, Colleen Halloran Dance, SCW/The Group and Danny Grossman and Dancers.  With Malashock dance, she starred in two dance films shot in conjunction with UCSD-TV (Love & Murder and The Soul of Saturday Night), both of which went on to win a regional Emmy award for Best Arts and Entertainment Program.  Following this success, Ms. Stickann traveled to Hungary in 2006 to shoot a one-woman dance video on the streets of Budapest.  Utazo went on to play in film festivals around the country.  In addition, she’s captained and been a principal dancer for Chicago Opera Theater, working with choreographer Daniel Pelzig on Death in Venice and Akhnaten, with which she also traveled to the Opera National Du Rhin in Strasbourg, France.  She was also the assistant choreographer and principal dancer for the Andrew Sinclair/Zandra Rhodes production of The Pearl Fishers which premiered at San Diego Opera, then traveled to Michigan Opera Theater, and New York City Opera.

Because of her background as a dancer, Ms. Stickann a sought-after movement and acting coach for young singers and actors.  She’s trained and coached performers at The Brevard Music Center, The La Jolla Playhouse Theater Conservatory, The San Diego Opera Summer Singers Workshop, the Glimmerglass Opera Young American Artists Program, Emerald City Opera, Stephen’s College, and DePaul University, among others.  Michael Heaston, former director of the Young American Artists’ Program at the Glimmerglass Festival has said of Keturah’s coaching work, “Every recital she touches turns to gold.”

Born and raised in the Midwest, Ms. Stickann studied ballet and theater at Stephens College while still in high school, and spent her summers at DanceAspen, The State Ballet of Missouri and the prestigious Rep/Etudes Project at Jacob’s Pillow.  She received her B.A. in dance education and choreography from Columbia College Chicago, and was a 1997 nominee for the Princess Grace Award for excellence in the arts.

Alexandra Loutsion
Turandot (Jan. 24/26)

Hailed as “a singer to watch” (Washington Post) with a “commanding presence” (Pittsburgh Post-Gazette), Alexandra Loutsion continues to be recognized for her passionate performances and vocal versatility as a rising star on the operatic stage. This season, she makes her international debut with Canadian Opera Company singing the Overseer and covering the title role in Strauss’ Elektra. She will also debut with New Orleans Opera as the title role of Puccini’s Turandot, and she returns to Central City Opera making her role debut as Leonora in Verdi’s Il Trovatore. She finishes the season debuting with West Virginia Symphony and Syracuse Symphoria as the Soprano Soloist in Beethoven’s Symphony No. 9. Last season, she debuted with San Francisco Opera singing the Overseer in Strauss’ Elektra and covered Princess Turandot in Puccini’s Turandot. She returned to Wolf Trap Opera and Palm Beach Opera in the title role of Puccini’s Tosca, and debuted with Tulsa Opera in the title role of Puccini’s Turandot to great acclaim.

Recently she added four new roles to her repertoire: the title role of Puccini’s Tosca with Central City Opera, Princess Turandot in Puccini’s Turandot with Pittsburgh Opera, the Foreign Princess in Dvorak’s Rusalka with Arizona Opera, and Lady Macbeth in Verdi’s Macbeth with Raylynmor Opera. She also made her debuts with Palm Beach Opera as Cio-Cio San in Madama Butterfly, and the Fort Wayne Philharmonic singing the title role in Puccini’s Tosca. She was recently heard as Florencia in Daniel Catan’s Florencia en el Amazonas with Arizona Opera, and made her Wolf Trap Opera debut as Cio-Cio-San in Puccini’s Madama Butterfly to great acclaim. She debuted with North Carolina Opera as Donna Anna in Don Giovanni and Dayton Opera as Gertrude in Humperdinck’s Hansel and Gretel, She also covered the Lady-in-Waiting in Verdi’s Macbeth with the Chicago Symphony Orchestra under Riccardo Muti. Other recent performances have included the title role in Madama Butterfly with Opera on the James, Anna Kennedy in Maria Stuarda with Washington Concert Opera, Sie in Karl Hartmann’s Wachsfiguren Kabinett with the Aspen Music Festival, and the leading role of Isabella in Wagner’s Das Liebesverbot as part of the Ring Festival LA.

Ms. Loutsion spent two summers as an Apprentice Artist with the Santa Fe Opera, most recently to cover the role of Leonore in Fidelio conducted by Harry Bicket. She also covered the title role in Puccini’s Tosca, the leading role of Anna in Rossini’s Maometto II. Ms. Loutsion also spent two seasons as a Resident Artist with Pittsburgh Opera where she was seen as Armida in Handel’s Rinaldo, Gertrude and the Witch in Humperdinck’s Hänsel und Gretel, among others. As an Apprentice Artist with Central City Opera, she was heard as the title role in Puccini’s Madama Butterfly and as Melissa in Handel’s Amadigi di Gaula, among others.

On the concert stage, Ms. Loutsion has sung the soprano solo in Verdi’s Messa da Requiem with the Santa Fe Symphony and the Academy Chamber Orchestra of Pittsburgh, as well as Beethoven’s Symphony No. 9 with the Cathedral Choral Society, Erie Philharmonic and as a guest soloist with the Ithaca College Chamber Orchestra. She recently debuted the soprano solo in Hadyn’s Mass in Time of War with the Cathedral Choral Society of Washington D.C. She also performed Grieg’s Peer Gynt with the Aspen Music Festival, and Mahler’s Symphony No. 4 with the Aspen Conductor’s Project. An advocate for living composers and contemporary works, Ms. Loutsion has also given performances of Almera in Nico Muhly’s Dark Sisters with Pittsburgh Opera, Euridice in Ricky Ian Gordon’s Orpheus and Euridice at the Boston Court Performing Arts Center, Witch 3 in Krausas’ The Mortal Thoughts of Lady Macbeth with Vera Ikon Productions, and Fay Doyle in the West Coast Premier of Lowell Liebermann’s Miss Lonelyhearts with USC Thornton Opera. She can be heard as the soprano soloist on the soundtrack of Lucir Y Sombra.

Ms. Loutsion recently represented the United States as a quarterfinalist in the Francisco Viñas International Singing Contest in Barcelona, Spain. She was a winner of the Metropolitan National Council District Auditions and Long Beach Mozart Competition, as well as a finalist in the Fritz and Lavinia Jensen Foundation Competition, McCammon Voice Competition, and Dallas Opera Competition. She is the recipient of the Catherine Filene Shouse Education Fund Career Grant from Wolf Trap Opera, Santa Fe Opera Donald Gramm Memorial Award and Anna Case MacKay Award, Shoshana Foundation Richard F. Gold Career Grant, the Central City Opera John Moriarty Award, and the Aspen Music Festival New Horizon Fellowship. She holds a Master of Music in Vocal Arts from the University of Southern California and a Bachelor of Music in Vocal Performance from Ithaca College. Ms. Loutsion was also recently awarded a place in the Greek America Foundation’s “Forty under 40” Class of 2018, a distinction that celebrates both the professional excellence and philanthropic endeavors of North Americans of Greek descent.

Alexandra LoBianco*
Turandot (Jan. 25)

American soprano Alexandra LoBianco, whom the Seattle Times exclaimed, “gave a subtle but impassioned performance” as the title role in Aida at Seattle Opera, has established herself as a dramatic soprano of unequaled versatility, musicality and consistency. An international presence, Ms. LoBianco recently stepped in for an ailing colleague as Leonore in Fidelio for her debut with the Wiener Staatsoper while under contract for the title role in Turandot. Subsequent appearances with the Wiener Staatsoper included performances of Helmwige in Die Walküre, as well as the Brünnhilde, cover while on tour in Japan.

In the 2018/19 season, Alexandra LoBianco will return to the Lyric Opera of Chicago for three projects: the covers of Brünnhilde in Siegfried,Chrysothemis in Elektra and performances of the Fourth Maid in Elektra. She will also join North Carolina Opera for the title role in Tosca. Symphonic projects include Senta in Der fliegende Holländer with Baltimore Concert Opera, and Mahler’s Symphony No. 8 with Madison Symphony, where she previously sang Rachmaninoff’s The Bells.

Operatic highlights of previous seasons have included the title roles of Aida and Tosca with Opera Colorado and Minnesota Opera, respectively, Donna Anna in Don Giovanni with Seattle Opera, Miss Jessel in The Turn of the Screwwith The Dallas Opera, Amelia in Un ballo in maschera with Florida Grand Opera, the prima donna in Ariadne auf Naxos with Austin Opera, and Helmwige with Lyric Opera of Chicago. At Des Moines Metro Opera, Ms. LoBianco has performed the title role in Turandot and Minnie in La fanciulla del West. Of her Turandot, Opera Today wrote, “Alexandra LoBianco is well remembered here for her feisty Minnie in a recent season. If Fanciulla is a Big Sing for the soprano, Princess Turandot is a Big Sing on Steroids… Ms. LoBianco is short of physical stature, but makes up for it with potent spinto vocalizing that has its own towering presence.”

Stefano La Colla*
Calaf* (Jan. 24/26)

Stefano La Colla is one of the most valued tenors of his generation. After a great debuts in 2008 in AIDA at Teatro Goldoni in Livorno, he continues his artistic experience in traditional theaters of many Italian cities such as Novara, Savona, Chieti, Reggio Emilia, Pisa, Lucca, Livorno, Busseto, Brescia. His international career began in 2011 with Turandot in Regensburg and continues in Dortmund, Leipzig, St. Petersburg, St. Gallen, Zagreb, Bucharest, but the real turning point is in 2015 with a fast and brilliant climb in the biggest European Opera Houses such as Milan, Berlin, Munich, Hamburg, Rome, Naples, Verona, Amsterdam, Wien, Bruxelles, Chicago. He has worked with conductors such as Sir Samuel Rattle, Riccardo Chailly, Stefano Ranzani, Donato Renzetti, Paolo Carignani, Carlo Rizzi, Julian Kovatchev, Ivan Repusic, Mikhail Tatarnikov, Jordi Bernácer, Pinchas Steinberg, Daneiel Callegari, Riccardo Frizza and with directors such as Franco Zeffirelli, Andrea Breth, Gianfranco de Bosio, Nikolaus Lehnhoff, Jurgen Flimm, Gianfranco del Monaco, Ezio Frigerio, Mario Martone, Roberto de Simone, Boleslaw Barlog, Alessandro Talevi, Gilbert Deflo, Francesco Micheli.

Hovhannes Ayvazyan*
Calaf (Jan. 25)

Since his 2010 stage Debut, Hovhannes Ayvazyan has frequently performed at various Opera Houses and Concert Halls including: Opera Belcanto of South Simcoe in Toronto, Mariinsky Theatre in St Petersburg, Mariinsky Concert Hall, Tatar State Opera in Kazan, Big Hall of the Moscow State Conservatoire, Musikverein Vienna, Novaya Opera and Bolshoi Theatre in Moscow, etc…

The young Armenian Tenor, critically acclaimed as “the whole package of a true dramatic tenor”, “outstanding Don Carlo”, has often performed under the baton of Maestro Valery Gergiev, and had the pleasure to work frequently with such legends as Maria Guleghina, Anna Netrebko, Olga Borodina, Ekaterina Semenchuk, Hui He, and many others.
Hovhannes Ayvazyan performed Mozart’s Requiem at the Musikverein in Vienna, an Opera Gala at Geneva’s Victoria Hall, various performances at the Yerevan Opera House as Canio, Turiddu, Don Jose, Radames and Pinkerton, as well as many title roles at the Mariinsky Theatre including Don Carlo, Manrico and Cavaradossi. He was on tour with the Berliner Symphoniker under Maestro Lior Shambadal for which he received outstanding reviews and performed Don Jose in Carmen with the Moscow State Opera at the BGE Theatre in Dublin.

In the Summer of 2017 he successfully performed Manrico in Il Trovatore under the Baton of Placido Domingo at the Mariinsky Theatre. He also made a critically acclaimed stage debut as Radames opposite Hui He at Arena di Verona. In November he made a terrific role debut as Don Alvaro in the Mariinsky original Version of Verdi’s La Forza del Destino as well as Canio in Pagliacci. In October 2018 he had another triumphant debut as Andrea Chenier at Teatro Massimo Bellini in Catania.

Some future debuts include Herman in Pique Dame, Riccardo in Un Ballo in Maschera and Calaf in Turandot at the Mariinsky Theatre, as well as a Stage debut at the Opera Frankfurt as Don Alvaro in La Forza del Destino.

Leah Crocetto*
Liù (Jan. 24/26)

Described by the New York Times as possessing an “agile coloratura technique and a feeling for the Italianate style… with warmth, full penetrating sound and tenderness,” American soprano Leah Crocetto continues to astonish audiences with her moving portrayals of opera’s greatest heroines.

In the current season, Ms. Crocetto returns to Seattle Opera as Leonora in Il trovatore. She sings her first performance of Bellini’s Norma in concert with North Carolina Opera, and makes her debut at Carnegie Hall’s Weill Hall in recital with pianist Mark Markham, with additional performances in Washington, D.C. and Easton, Pennsylvania. Ms. Crocetto makes her Australian debut with the Melbourne Symphony Orchestra as the soprano soloist in Verdi’s Requiem, and with the Los Angeles Philharmonic she sings Soprano II in Mahler’s epic Symphony No. 8 “Symphony of a Thousand,” under the baton of Gustavo Dudamel.

Last season, Ms. Crocetto performed the title role in Aïda first with Washington National Opera, and subsequently with Seattle Opera. She sang Leonora in Il trovatore with Oper Frankfurt, returned to San Francisco Opera as Liù in Turandot and performed the title role of Toscawith Pittsburgh Opera. In concert, she sang Verdi’s magnificent Requiem with the National Symphony and the NTR Symphony, and performed a solo recital in Ann Arbor, MI.

Ms. Crocetto sang her debut performances as the title role in Aïda with the San Francisco Opera in the 2016-2017 season. Also in this season, she made her role debut as Eleonora in the first US performances of Donizetti’s L’assedio di Calais with the Glimmerglass Festival. On the concert stage, she performed Bachianas Brasileiras No. 5 with the Chamber Music Society of Lincoln Center at Alice Tully Hall and sang a solo recital in her hometown of Adrian, Michigan.

Ms. Crocetto made her Metropolitan Opera debut in the 2015-2016 season as Liù in Turandot. She also made her role debut as the titular character in Rossini’s seldom performed Semiramide with Opera National de Bordeaux. Additional highlights of the season included Anna in Maometto II with the Canadian Opera Company, Luisa Miller in San Francisco, and Donna Anna in Don Giovanni with Santa Fe Opera. She made her New York City recital debut at Pace University with pianist Martin Katz, and performed a solo recital under the auspices of Washington National Opera with pianist Mark Markham at the John F. Kennedy Center.

In the 2014-15 season, Ms. Crocetto performed Desdemona in Otello with English National Opera, followed by performances of Mimi in La bohème with San Francisco Opera, and Madame Lidoine in Poulenc’s devastating Dialogues of the Carmelites with Washington National Opera. Her season concluded singing Elisabetta di Valois in a new production of Don Carlo with Opera Philadelphia.

Anastasia Schegoleva*
Liù (Jan. 25)

Soprano Anastasia Schegoleva recently made debuts with Moscow’s Bolshoi Theatre and St. Petersburg’s Mariinsky Theatre, appearing at the Bolshoi in performances of Tchaikovsky’s The Maid of Orleans conducted by Tugan Sokhiev, and at the Mariinsky a “Stars of the White Nights” Gala under the baton of Valery Gergiev. Her collaboration with the Mariinsky also includes role debuts as Liù in Turandot, Voyslava in Rimsky Korsakov’s Mlada, and numerous performances as soloist in Mozart’s Requiem and Beethoven’s Ninth Symphony.

With a voice described as “transporting,” Ms. Schegoleva has earned acclaim for performances as title role in Tchaikovsky’s Iolanta, Micaela in Carmen, Donna Elvira in Don Giovanni, Mimì in La bohème, and Countess in Le nozze di Figaro, working with noted conductors Riccardo Frizza, Yuri Simonov, Pavel Smelkov, and the late Alberto Zedda.  Additional credits include a collaboration with the Hungarian Radio Symphony Orchestra as soloist for Dvorak’s Stabat Mater, and appearances with the Academic Symphony Orchestra of the Moscow State Philharmonic as soloist in Mendelssohn’s Symphony No. 2 and Beethoven’s Cantata on the Death of Emperor Joseph II.  Further concert appearances as soprano soloist include Brahm’s Ein Deutsches Requiem, Mozart’s Litaniae Lauretanae, and several Bach Cantatas.

Ms. Schegoleva is the Third Prize Winner of the Galina Vishnevskaya International Opera Singers Competition (2014, Moscow), First Prize Winner at the Sobinov Vocal Competition (2016, Saratov), Special Prize Winner at the Competizione dell’Opera (2016, Moscow), Second Prize Winner at the VIII All Russia Obukhova Competition (2018, Lipetsk), and the Gold Medal Winner in Voice at 1st Berliner International Music Competition (2017, Berlin).

A graduate of Lipetsk Igumnov College of Arts with a bachelor’s degree in Piano Performance, and of the Maimonid State Classical Academy in Moscow with a master’s degree in Vocal Performance, Ms. Schegoleva has been a Fellow at the Atkins Young Artists Program at the Mariinsky Theater since 2017.  In October 2018, she joined the Program’s inaugural US and Mexico tour, participating in the televised concert at Palacio de Bellas Artes in Mexico City with Esperanza Azteca Youth Orchestra and Chorus conducted by Valery Gergiev, and making her New York debut in a recital at the historic St. Paul’s Chapel of Trinity Church Wall Street.

Evgeny Stavinsky*
Timur

Evgeny Stavinsky was born in Dubna, Moscow region, in a family of musicians. In 2003, he completed his university-level studies as singer and choir conductor at the Moscow Academy of Choral Art. From 2004 to 2005 he lived in Florence, Italy, to study at Maggio Musicale Fiorentino where he performed the title role in Mozart’s Don Giovanni, Lord Sidney and Basilio in Rossini’s Il Viaggio a Reims and Il Barbiere di Siviglia, and Superintendent Budd in Britten’s Albert Herring.

He became a member of Kolobov Novaya Opera Theatre of Moscow in 2007, his roles for the company including Thoas (Iphigénie en Tauride), Ruslan (Ruslan and Lyudmila), Pimen (Boris Godunov), Prince Gremin (Eugene Onegin), Malyuta-Skuratov (The Tsar’s Bride), Prince of Galich (Prince Igor), Méphistophélès (Faust), King Heinrich (Lohengrin), King Marke (Tristan und Isolde) and La Roche (Capriccio). Engagements elsewhere include Raimondo Bidebent (Lucia di Lammermoor) for Teatro Comunale di Bologna, Oroveso (Norma) for Teatro Massimo di Palermo, Méphistophélès for Hungarian State Opera, Padre Guardiano (La forza del destino) for Theater Basel and Don Basilio (Il barbiere di Siviglia) for the Mariinsky Theatre, St Petersburg, Colline (La Bohème) for Teatro Comunale di Bologna and
at Royal Opera House Covent Garden in L’Ange de Nisida by Donizetti.

Among the recent works, Zaccaria (Nabucco) in Ravenna, Ferrara, Nice and Toulon, Ivan Khovansky  (Chovanščina) in Budapest, Verdi’s Requiem with RTE Symphony Orchestra in Dublin, Beethoven IX Symphony with M° Riccardo Muti in Athens and Ravenna, Bartolo (Le nozze di Figaro) at Wiener Konzerthaus and Lucerne Festival with M° Teodor Currentzis.

Next engagements include a series of concerts with M° Teodor Currentzis: Mozart’s Requiem at Baden Baden Festival, Verdi’s Requiem in New York and Baden Baden, along with Mozart’s Requiem for South Netherlands Philarmonic and Dutch Radio Choir, Conte di Walter (Luisa Miller) at Glyndebourne Festival, Raimondo (Lucia di Lammermoor) at Bayerische Staatsoper in Munich (2021). Evgeny Stavinsky will return at Royal Opera House Covent Garden for Lucia di Lammermoor, Don Carlo (2020) and Rigoletto (2022)

Zachary Nelson
Ping

Zachary Nelson, a native of Annapolis, Maryland, has been praised for his rich and powerful baritone, as well as his ability to embody dramatic and comic characters on the operatic stage.

2018-2019 highlights include his return to the Lyric Opera of Chicago as Marcello in Richard Jones’ acclaimed La Bohème, his debut in Arizona Opera as Count Almaviva in Mozart’s Le Nozze di Figaro, and returning to the Santa Fe Opera for his fifth season as Marcello in La Bohème.

The 2017-2018 season starts with a joint recital with Soprano Leah Crocetto and Pianist Mark Markham. Then he has returns to the Lyric Opera of Chicago as Ping in Turandot and the title role in Dresden Semperoper’s Le Nozze di Figaro. Then Mr. Nelson will debut at the Pittsburgh Opera as Belcore in L’Elisir D’Amore and will be the baritone soloist in Bloch’s lush sacred piece, “Sacred Service (Avodat Hakodesh)” with the Voices of the Ascension.

The 2016-2017 season brings debuts at the Lyric Opera of Chicago as Donner in Das Rheingold and Enrico Ashton (cover) in Lucia di Lammermoor, Escamillo in Carmen with Den Norske Opera, and a fourth season with the Santa Fe Opera as Enrico Ashton in Lucia di Lammermoor.

2015-2016 began with a return to the Dresden Semperoper as Figaro in both Le Nozze di Figaro and Il Barbiere di Siviglia. He performed the role of Dr. Falke in Die Fledermaus with the Seiji Ozawa Music Academy in Kyoto, Tokyo, and Nagoya. He made debuts at the Salzburg Landestheater, Palm Beach, and San Francisco Opera in Carmen as Escamillo, and returned to the Canadian Opera Compnay as Escamillo.

His 2014-15 included the title role of Le nozze di Figaro with the Aix-en-Provence Festival on tour in Manama, Bahrain. Additionally, he makes his debut with Canadian Opera Company as Masetto in Dmitri Tcherniakov’s Don Giovanni. He debuted the roles of Paolo in Simon Boccanegra, Escamillo in Carmen. He reprised the roles of Gugliemo in Cosi Fan Tutte, Belcore in L’Elisir D’Amore, Marcello in Bohéme, and Figaro in both Barbiere di Siviglia and a new production of Le Nozze di Figaro all with the Dresden Semperoper,

In the 2013-2014 season, Mr. Nelson joined the ensemble of the Dresden Semperoper, where he performed the roles of Il Conte in Le nozze di Figaro, Marcello in La Bohème, Der Sprecher in Die Zauberflöte, Figaro in Il Barbiere di Siviglia, and Guglielmo in a new production of Così Fan Tutte. He also returned to the Santa Fe Opera as Malatesta in Laurent Pelly’s Don Pasquale.

Other notable performances include: Figaro in Le nozze di Figaro with Santa Fe Opera, Germont in La Traviata with Lyric Opera of Virginia, Angelotti in Tosca and Mandryka (cover) in Arabella with Santa Fe Opera, Quinault in Adriana Lecouvreur with Opera Orchestra of New York, Sciarrone in Tosca with Glimmerglass Opera, and a soloist in Steven Blier’s “Killer B’s” with the New York Festival of Song.

A graduate of the Academy of Vocal Arts in Philadelphia, PA, Mr. Nelson performed many roles including: Belcore in L’Elisir D’Amore, Renato in Un Ballo in Maschera, the title role in Falstaff, Michele in Il Tabarro, Sancho Panza in Don Quichotte, Mandryka in Arabella, Golaud in Pelléas et Mélisande, and Masetto in Don Giovanni. Mr. Nelson is also a graduate of The Catholic University of America in Washington, D.C.

Awards Mr. Neslon has garnered are: The George London Award from the 2012 George London Foundation, 1st prize prize from the 2012 Opera Index Competition, The 2012 Liederkranz Foundation Competition (General Opera Division), and the 2012 Licia Albanese-Puccini Foundation. Also, 2nd prize from the 2011 Gerda Lissner Competition, the 2011 Giulio Gari Foundation, and the 2011 Loren Zachary Competition

John McVeigh*
Pang

Acclaimed for his “fresh-toned and touching portrayal” by Opera News and lauded by the New Orleans Times-Picayune for his “rich lyrical tenor, fabulous top notes, and striking good looks,” John McVeigh continues to garner attention for his countless world-class performances at the most revered houses throughout the United States and worldwide. This season, McVeigh returns to The Metropolitan Opera for their productions of Turandot and Le nozze di Figaro, sing Pang in Turandot with Palm Beach Opera, and performs as a soloist in Handel’s Messiah with DCINY. Most recently, Mr. McVeigh performed the role of Don Basilio in The Marriage of Figaro with Opera Theater St. Louis, performed as a soloist in Handel’s Messiah with Indianapolis Chamber Orchestra and DCINY, and as a soloist in Beethoven’s Symphony No. 9 with DCINY.

An accomplished “cross-over” artist, McVeigh shares his talents both in operatic and theatrical settings. His extensive work includes performances as Lysander in A Midsummer Night’s Dream at Utah Opera and in his Central City Opera début; Johnny Inkslinger in Britten’s folkloric operetta, Paul Bunyan, with Central City Opera; Feeny in Bennett’s The Mines of Sulphur and Hot Biscuit Slim in Paul Bunyan at New York City Opera (broadcast on Live from Lincoln Center on PBS); his Ravinia Festival début as Henrick in A Little Night Music alongside Patti LuPone; the title role in Candide with Austin Lyric Opera; the title role in Romberg’s The Student Prince with Central City Opera; and Anatol in Vanessa with San Diego Opera.

Having led a prolific concert and oratorio career, Mr. McVeigh has performed notorious pieces throughout the world including Händel’s Messiah with the Indianapolis Chamber Orchestra, Evansville Philharmonic Orchestra, Seattle Symphony, Phoenix Symphony, Milwaukee Symphony, San Diego Symphony, Austin Symphony, Nashville Symphony, Philadelphia Orchestra, Boston Baroque, Charlotte Symphony Orchestra, Minnesota Orchestra, the Masterworks Chorus at Carnegie Hall, the Washington National Cathedral with the Cathedral Choral Society, Philharmonia Baroque, Music of the Baroque, Winston Salem Symphony, Memphis Symphony, and with DCINY at Carnegie Hall; Mahler’s Das Lied der Erde with Trinity Church Wall Street; Celebrant in Bernstein’s Mass with the Brevard Music Center; Beethoven’s Symphony No. 9 at the Grant Park Music Festival, Colorado Music Festival, Arizona Music Festival and with the Portland Symphony Orchestr; Orff’s Carmina Burana with the Memphis Symphony, Detroit Symphony, and Utah Symphony; Haydn’s Creation with the Portland Symphony, Berkshire Chorale, and the Winston Salem Symphony, with whom he also sang Bach’s St. John’s Passion; and Philip Glass’ Symphony No. 5 with the The Washington Chorus, Brooklyn Philharmonic, Pacific Symphony, Gewandhaus Orchester in Leipzig, and the Danish National Radio Orchestra under the baton of Dennis Russell Davies. Additionally McVeigh had a solo performance in a brand new concert entitled Rev. 23, the unpublished last chapter of the Book of Revelation as dictated by St. John the Divine which narrates the last battle to recapture Paradise-on-Earth and restore the balance of good and evil to our world, with Prototype Festival.

A house favorite at The Metropolitan Opera, he has performed numerous productions with the esteemed company. Favorite engagements with the house include his Metropolitan Opera début as Pang in Turandot, Bardolfo in Falstaff, Tinca in Il tabarro, Little Bat in their first production of Susannah under James Conlon, and their productions of La Fanciulla del West, Dialogues des Carmelites, Le nozze di Figaro, Turandot, Eugene Onegin, Die Zauberflöte, Lady Macbeth of the Mtsensk District, The Merry Widow, Iolanta, La traviata, Falstaff, Manon, Das Rheingold, Ariadne auf Naxos, and Billy Budd. Also a house favorite at Houston Grand Opera, he has performed the role of Will Tweedy in the world première of Cold Sassy Tree with repeated performances at Atlanta Opera, Austin Lyric Opera, Lyric Opera of Kansas City, Opera Omaha, San Diego Opera, and Opera Carolina; Remendado in Carmen; Lurcanio in Händel’s Ariodante and Tamino in Die Zauberflöte, both of which he later performed at New York City Opera; and in their production of Das Rheingold. As an alumnus of the Houston Grand Opera Studio, his numerous performances there include Tybalt in Roméo et Juliette, St. Stephen in Four Saints in Three Acts, and Michael Daughtery’s Jackie O.

Highlights of John’s considerable European and international career include Montverdi’s Vespro della Beata Vergine 1610 and Adrastro in Traettas’ Antigona with the Théâtre du Châtelet; Lurcanio in Ariodante at the Gran Teatre del Liceu and de Vlaamse Opera; Endimione in Martín y Soler’s L’abore di Diana at the Gran Teatro del Liceu; St. Stephen in Four Saints in Three Acts at the Edinburgh Festival; Bill in Jonathan Dove’s Flight with de Vlaamse Opera; Novice in Billy Budd with Teatro Carlo Felice; Lysander in A Midsummer Night’s Dream and Endimione in Martin y Soler’s L’abore di Diana at Teatro Real; Emilio in Partenope at the Göttingen Händel Festspiele; Teseo in Traetta’s eclectic reform opera Ippolito ed Aricia with Opéra national de Montpellier; Ozia in Mozart’s only, rarely performed oratorio Betulia liberata with Christophe Rousset and Les Talen Lyriques; and Marzio in Mozart’s prodigal opera seria Mitridate, re di Ponto at Festival Internacional de Música y Danza de Granada.

Additional operatic engagements include Goro in Madama Butterfly with Opera Theatre of St. Louis, the role of the Footman in Der Rosenkavalier with Boston Symphony Orchestra; Prunier in La rondine with Opera Theater Saint Louis; Pang in Turandot with Hawaii Opera Theatre and Arizona Opera; Tybalt in Roméo et Juliette with Opera Colorado; Emilio in Händel’s opera buffe Partenope with Glimmerglass Opera and New York City Opera; Novice in Billy Budd in his débuts with Lyric Opera of Chicago, Los Angeles Opera, and Washington National Opera and in a return to Houston Grand Opera; Fenton in Falstaff and Arbace in Idomeneo with Sante Fe Opera; Don Ottavio in Don Giovanni with Glimmerglass Opera and Austin Lyric Opera; Azor in Zemire et Azor with Arizona Opera; and Ferrando in Così fan tutte in a return to Austin Lyric Opera. In addition, he performed the world première of Carlisle Floyd’s Soul of Heaven for tenor and piano.

Additional concert engagements include Händel’s L’allegro with the Mark Morris Dance Group at the Kennedy Center and Lincoln Center; The Blind at the Lincoln Center Festival; Lackey in Der Rosenkavalier with National Symphony Orchestra; Mozart’s Mass in C minor with the St. Catherine of Siena Concert Series; Acis in Acis and Galatea with the Macau International Music Festival, Glimmerglass Opera, the Detroit Oratorio Society, and Concert Radio Kamer Filharmonie in Amsterdam; Bach’s St. Matthew’s Passion under the baton of Jaap van Zweden with the Dallas Symphony; Vaughan Williams’ On Wenlock Edge with the Arizona Music Festival and Portland Chamber Music Festival; Britten’s song cycle Nocturne with the Portland Symphony and Music of the Baroque; Rameu’s Platée with the Mark Morris Dance Group at the Ravinia Festival and Seattle Symphony; The Celebrant in Bernstein’s MASS with the Utah Symphony and Virginia Arts Festival; Mendelssohn’s Elijah with the Calgary Philharmonic; Beethoven’s Missa solemnis with the Minnesota Orchestra and Richmond Symphony; Mozart’s Requiem with the Colorado Symphony; Mozart’s Mass in C minor, Händel’s Israel in Egypt, and a series of Bach cantatas and Händel arias with the St. Paul Chamber Orchestra; Bach’s Mass in B minor with the Milwaukee Symphony and under the baton of John Nelson with Soli Deo Gloria; Beethoven’s Mass in C Major with the Honolulu Symphony; Stravinsky’s neoclassical ballet Pulcinella with the Brooklyn Philharmonic; and Haydn’s Harmoniesse with the Händel and Haydn Society.

Discography includes Will Tweedy in Carlisle Floyd’s Cold Sassy Tree on the Albany Label, Daughtery’s Jackie O and Emilio in Händel’s Partenope.

Il Hoon Kim*
Mandarin

International award-winning bass Il Hoon Kim debuted in 2008 with the Korea National Opera at the Seoul Art Center, playing the roles of Sarastro in Die Zauberflöte, Oroveso in Norma, and Raimondo in Lucia di Lammermoor. That same year, Kim won a number of prestigious prizes, including 3rd place in the JoongAng Music Concours, 3rd place in the Dong-A Music Competition, 1st place in the Korea Music Competition, 2nd place KBS Music Competition, and 1st place in the SungJung Music Competition. In 2014, he won 1st prize, the critics’ prize, and the audience prize at the Ferruccio Tagliavini Vocal Competition.

After winning a prize at the Concorso Internazionale di Canto at the famed Arena di Verona, a UNESCO World Heritage Site, he made a successful debut on the European stage as Colline in La Boheme to great acclaim. While studying in Köln, he appeared as Tom in Ein Maskenball and Mr. Budd in Albert Herring at the Theater Aachen. Other roles include Nourabad in Les pêcheurs de perles, Timur in Turandot, and Daland in Der fliegende Holländer at the Daegu Opera House. He has also performed the roles of Frère Laurent in Roméo et Juliette and Alidoro in La cenerentola, and Kim most recently appeared with the Korean National Opera as Fasolt in Das Rheingold, directed by Achim Freyer. Kim holds a Bachelor’s degree in voice the Chugye University for the Arts and a Master’s degree from the Hochschule für Musik Köln, where he studied under Prof. Dieter Schweikard.

David Stern
Chief Conductor

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

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

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

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

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

Keturah Stickann*
Director

Keturah Stickann’s directing and choreographic credits include Turandot (San Diego Opera), L’Orfeo ed Euridice (Florida Grand Opera), Norma (Opera Southwest), Seven Deadly Sins/Pagliacci (Virginia Opera),  Macbeth (Kentucky Opera),  Don Quichotte (San Diego Opera),  La Traviata (Chautauqua Opera), Orpheus and Euridice (Vermont Opera Project), Flight (Opera Fayetteville), Don Giovanni (Janiec Opera Company, Virginia Opera), Rigoletto (Opera Memphis, San Diego Opera, Dallas Opera), The Tales of Hoffman (Knoxville Opera), Manon (Knoxville Opera), Don Pasquale (Opera in the Heights), La tragédie de Carmen (Janiec Opera Company), Madama Butterfly (Opera Santa Barbara), La clemenza di Tito (Opera in the Heights), L’Enfant et les sortilèges & Bon Appetit (Emerald City Opera), The Pearl Fishers (Sarasota Opera), Peter Grimes (San Diego Opera), Orfeo (Atlanta Opera, Arizona Opera), The Old Maid and the Thief (Emerald City Opera), Hansel and Gretel (Portland Opera), and Le nozze di Figaro (Emerald City Opera, Opera Pacific).  Ms Stickann is a frequent collaborator with theater and opera director, Leonard Foglia.  She was his choreographer and movement director for the world premiere of Jake Heggie’s Moby-Dick in Dallas in 2010, and traveled with the production to the Calgary Opera, State Opera of South Australia, San Diego Opera, San Francisco Opera (where her work was filmed for a DVD produced by PBS’ Great Performances), Washington National Opera,  and LA Opera, and was the revival director for its return to Dallas Opera.  Also for Mr. Foglia, she is the choreographer of the Heggie/Scheer premiere of It’s A Wonderful Life at Houston Grand Opera, the assistant director and choreographer for the mariachi opera: Cruzar la Cara de la Luna, which premiered at Houston Grand Opera, and went on to Le Théâtre du Châtelet, the Lyric Opera of Chicago, San Diego Opera, and the Arizona Opera. She was also the assistant director with Mr. Foglia for his new opera (composed by Ricky Ian Gordon), A Coffin in Egypt, with Frederica von Stade, for Cold Mountain (composed by Jennifer Higdon) that premiered in Santa Fe in 2015, and for the national tour of Anna Deavere Smith’s Let Me Down Easy (also filmed by PBS for a broadcast of Great Performances).  In 2012, Ms. Stickann toured to Japan and Chile as the associate director for Michael Hampe’s production of Tannhäuser, and before that she assisted and choreographed for Lillian Groag, Lotfi Mansouri, Sean Curran, John Copley, Mark Lamos, Michael Gieleta, Lawrence Edelson, and Harry Silverstein, among others. New productions she has helped bring to stage include Orphée, Samson et Dalila, Agrippina, Rigoletto, La fanciulla del West, Pagliacci & Cavalleria Rusticana. La rondine, Maria Stuarda, Acis & Galatea, Pirates of Penzance, Otello, Three Decembers, Hydrogen Jukebox,and The Good Soldier Schweik. Her collaboration with director, Elise Sandell, on their production of Einstein on the Beach was chosen as a finalist for the inaugural Director/Designer Showcase with Opera America in 2009.

Trained as a classical and contemporary dancer, Ms. Stickann was a performer with Cerulean Dance Theatre, Malashock Dance, The Wally Cardona Quartet, Colleen Halloran Dance, SCW/The Group and Danny Grossman and Dancers.  With Malashock dance, she starred in two dance films shot in conjunction with UCSD-TV (Love & Murder and The Soul of Saturday Night), both of which went on to win a regional Emmy award for Best Arts and Entertainment Program.  Following this success, Ms. Stickann traveled to Hungary in 2006 to shoot a one-woman dance video on the streets of Budapest.  Utazo went on to play in film festivals around the country.  In addition, she’s captained and been a principal dancer for Chicago Opera Theater, working with choreographer Daniel Pelzig on Death in Venice and Akhnaten, with which she also traveled to the Opera National Du Rhin in Strasbourg, France.  She was also the assistant choreographer and principal dancer for the Andrew Sinclair/Zandra Rhodes production of The Pearl Fishers which premiered at San Diego Opera, then traveled to Michigan Opera Theater, and New York City Opera.

Because of her background as a dancer, Ms. Stickann a sought-after movement and acting coach for young singers and actors.  She’s trained and coached performers at The Brevard Music Center, The La Jolla Playhouse Theater Conservatory, The San Diego Opera Summer Singers Workshop, the Glimmerglass Opera Young American Artists Program, Emerald City Opera, Stephen’s College, and DePaul University, among others.  Michael Heaston, former director of the Young American Artists’ Program at the Glimmerglass Festival has said of Keturah’s coaching work, “Every recital she touches turns to gold.”

Born and raised in the Midwest, Ms. Stickann studied ballet and theater at Stephens College while still in high school, and spent her summers at DanceAspen, The State Ballet of Missouri and the prestigious Rep/Etudes Project at Jacob’s Pillow.  She received her B.A. in dance education and choreography from Columbia College Chicago, and was a 1997 nominee for the Princess Grace Award for excellence in the arts.

Alexandra Loutsion
Turandot (Jan. 24/26)

Hailed as “a singer to watch” (Washington Post) with a “commanding presence” (Pittsburgh Post-Gazette), Alexandra Loutsion continues to be recognized for her passionate performances and vocal versatility as a rising star on the operatic stage. This season, she makes her international debut with Canadian Opera Company singing the Overseer and covering the title role in Strauss’ Elektra. She will also debut with New Orleans Opera as the title role of Puccini’s Turandot, and she returns to Central City Opera making her role debut as Leonora in Verdi’s Il Trovatore. She finishes the season debuting with West Virginia Symphony and Syracuse Symphoria as the Soprano Soloist in Beethoven’s Symphony No. 9. Last season, she debuted with San Francisco Opera singing the Overseer in Strauss’ Elektra and covered Princess Turandot in Puccini’s Turandot. She returned to Wolf Trap Opera and Palm Beach Opera in the title role of Puccini’s Tosca, and debuted with Tulsa Opera in the title role of Puccini’s Turandot to great acclaim.

Recently she added four new roles to her repertoire: the title role of Puccini’s Tosca with Central City Opera, Princess Turandot in Puccini’s Turandot with Pittsburgh Opera, the Foreign Princess in Dvorak’s Rusalka with Arizona Opera, and Lady Macbeth in Verdi’s Macbeth with Raylynmor Opera. She also made her debuts with Palm Beach Opera as Cio-Cio San in Madama Butterfly, and the Fort Wayne Philharmonic singing the title role in Puccini’s Tosca. She was recently heard as Florencia in Daniel Catan’s Florencia en el Amazonas with Arizona Opera, and made her Wolf Trap Opera debut as Cio-Cio-San in Puccini’s Madama Butterfly to great acclaim. She debuted with North Carolina Opera as Donna Anna in Don Giovanni and Dayton Opera as Gertrude in Humperdinck’s Hansel and Gretel, She also covered the Lady-in-Waiting in Verdi’s Macbeth with the Chicago Symphony Orchestra under Riccardo Muti. Other recent performances have included the title role in Madama Butterfly with Opera on the James, Anna Kennedy in Maria Stuarda with Washington Concert Opera, Sie in Karl Hartmann’s Wachsfiguren Kabinett with the Aspen Music Festival, and the leading role of Isabella in Wagner’s Das Liebesverbot as part of the Ring Festival LA.

Ms. Loutsion spent two summers as an Apprentice Artist with the Santa Fe Opera, most recently to cover the role of Leonore in Fidelio conducted by Harry Bicket. She also covered the title role in Puccini’s Tosca, the leading role of Anna in Rossini’s Maometto II. Ms. Loutsion also spent two seasons as a Resident Artist with Pittsburgh Opera where she was seen as Armida in Handel’s Rinaldo, Gertrude and the Witch in Humperdinck’s Hänsel und Gretel, among others. As an Apprentice Artist with Central City Opera, she was heard as the title role in Puccini’s Madama Butterfly and as Melissa in Handel’s Amadigi di Gaula, among others.

On the concert stage, Ms. Loutsion has sung the soprano solo in Verdi’s Messa da Requiem with the Santa Fe Symphony and the Academy Chamber Orchestra of Pittsburgh, as well as Beethoven’s Symphony No. 9 with the Cathedral Choral Society, Erie Philharmonic and as a guest soloist with the Ithaca College Chamber Orchestra. She recently debuted the soprano solo in Hadyn’s Mass in Time of War with the Cathedral Choral Society of Washington D.C. She also performed Grieg’s Peer Gynt with the Aspen Music Festival, and Mahler’s Symphony No. 4 with the Aspen Conductor’s Project. An advocate for living composers and contemporary works, Ms. Loutsion has also given performances of Almera in Nico Muhly’s Dark Sisters with Pittsburgh Opera, Euridice in Ricky Ian Gordon’s Orpheus and Euridice at the Boston Court Performing Arts Center, Witch 3 in Krausas’ The Mortal Thoughts of Lady Macbeth with Vera Ikon Productions, and Fay Doyle in the West Coast Premier of Lowell Liebermann’s Miss Lonelyhearts with USC Thornton Opera. She can be heard as the soprano soloist on the soundtrack of Lucir Y Sombra.

Ms. Loutsion recently represented the United States as a quarterfinalist in the Francisco Viñas International Singing Contest in Barcelona, Spain. She was a winner of the Metropolitan National Council District Auditions and Long Beach Mozart Competition, as well as a finalist in the Fritz and Lavinia Jensen Foundation Competition, McCammon Voice Competition, and Dallas Opera Competition. She is the recipient of the Catherine Filene Shouse Education Fund Career Grant from Wolf Trap Opera, Santa Fe Opera Donald Gramm Memorial Award and Anna Case MacKay Award, Shoshana Foundation Richard F. Gold Career Grant, the Central City Opera John Moriarty Award, and the Aspen Music Festival New Horizon Fellowship. She holds a Master of Music in Vocal Arts from the University of Southern California and a Bachelor of Music in Vocal Performance from Ithaca College. Ms. Loutsion was also recently awarded a place in the Greek America Foundation’s “Forty under 40” Class of 2018, a distinction that celebrates both the professional excellence and philanthropic endeavors of North Americans of Greek descent.

Alexandra LoBianco*
Turandot (Jan. 25)

American soprano Alexandra LoBianco, whom the Seattle Times exclaimed, “gave a subtle but impassioned performance” as the title role in Aida at Seattle Opera, has established herself as a dramatic soprano of unequaled versatility, musicality and consistency. An international presence, Ms. LoBianco recently stepped in for an ailing colleague as Leonore in Fidelio for her debut with the Wiener Staatsoper while under contract for the title role in Turandot. Subsequent appearances with the Wiener Staatsoper included performances of Helmwige in Die Walküre, as well as the Brünnhilde, cover while on tour in Japan.

In the 2018/19 season, Alexandra LoBianco will return to the Lyric Opera of Chicago for three projects: the covers of Brünnhilde in Siegfried,Chrysothemis in Elektra and performances of the Fourth Maid in Elektra. She will also join North Carolina Opera for the title role in Tosca. Symphonic projects include Senta in Der fliegende Holländer with Baltimore Concert Opera, and Mahler’s Symphony No. 8 with Madison Symphony, where she previously sang Rachmaninoff’s The Bells.

Operatic highlights of previous seasons have included the title roles of Aida and Tosca with Opera Colorado and Minnesota Opera, respectively, Donna Anna in Don Giovanni with Seattle Opera, Miss Jessel in The Turn of the Screwwith The Dallas Opera, Amelia in Un ballo in maschera with Florida Grand Opera, the prima donna in Ariadne auf Naxos with Austin Opera, and Helmwige with Lyric Opera of Chicago. At Des Moines Metro Opera, Ms. LoBianco has performed the title role in Turandot and Minnie in La fanciulla del West. Of her Turandot, Opera Today wrote, “Alexandra LoBianco is well remembered here for her feisty Minnie in a recent season. If Fanciulla is a Big Sing for the soprano, Princess Turandot is a Big Sing on Steroids… Ms. LoBianco is short of physical stature, but makes up for it with potent spinto vocalizing that has its own towering presence.”

Stefano La Colla*
Calaf* (Jan. 24/26)

Stefano La Colla is one of the most valued tenors of his generation. After a great debuts in 2008 in AIDA at Teatro Goldoni in Livorno, he continues his artistic experience in traditional theaters of many Italian cities such as Novara, Savona, Chieti, Reggio Emilia, Pisa, Lucca, Livorno, Busseto, Brescia. His international career began in 2011 with Turandot in Regensburg and continues in Dortmund, Leipzig, St. Petersburg, St. Gallen, Zagreb, Bucharest, but the real turning point is in 2015 with a fast and brilliant climb in the biggest European Opera Houses such as Milan, Berlin, Munich, Hamburg, Rome, Naples, Verona, Amsterdam, Wien, Bruxelles, Chicago. He has worked with conductors such as Sir Samuel Rattle, Riccardo Chailly, Stefano Ranzani, Donato Renzetti, Paolo Carignani, Carlo Rizzi, Julian Kovatchev, Ivan Repusic, Mikhail Tatarnikov, Jordi Bernácer, Pinchas Steinberg, Daneiel Callegari, Riccardo Frizza and with directors such as Franco Zeffirelli, Andrea Breth, Gianfranco de Bosio, Nikolaus Lehnhoff, Jurgen Flimm, Gianfranco del Monaco, Ezio Frigerio, Mario Martone, Roberto de Simone, Boleslaw Barlog, Alessandro Talevi, Gilbert Deflo, Francesco Micheli.

Hovhannes Ayvazyan*
Calaf (Jan. 25)

Since his 2010 stage Debut, Hovhannes Ayvazyan has frequently performed at various Opera Houses and Concert Halls including: Opera Belcanto of South Simcoe in Toronto, Mariinsky Theatre in St Petersburg, Mariinsky Concert Hall, Tatar State Opera in Kazan, Big Hall of the Moscow State Conservatoire, Musikverein Vienna, Novaya Opera and Bolshoi Theatre in Moscow, etc…

The young Armenian Tenor, critically acclaimed as “the whole package of a true dramatic tenor”, “outstanding Don Carlo”, has often performed under the baton of Maestro Valery Gergiev, and had the pleasure to work frequently with such legends as Maria Guleghina, Anna Netrebko, Olga Borodina, Ekaterina Semenchuk, Hui He, and many others.
Hovhannes Ayvazyan performed Mozart’s Requiem at the Musikverein in Vienna, an Opera Gala at Geneva’s Victoria Hall, various performances at the Yerevan Opera House as Canio, Turiddu, Don Jose, Radames and Pinkerton, as well as many title roles at the Mariinsky Theatre including Don Carlo, Manrico and Cavaradossi. He was on tour with the Berliner Symphoniker under Maestro Lior Shambadal for which he received outstanding reviews and performed Don Jose in Carmen with the Moscow State Opera at the BGE Theatre in Dublin.

In the Summer of 2017 he successfully performed Manrico in Il Trovatore under the Baton of Placido Domingo at the Mariinsky Theatre. He also made a critically acclaimed stage debut as Radames opposite Hui He at Arena di Verona. In November he made a terrific role debut as Don Alvaro in the Mariinsky original Version of Verdi’s La Forza del Destino as well as Canio in Pagliacci. In October 2018 he had another triumphant debut as Andrea Chenier at Teatro Massimo Bellini in Catania.

Some future debuts include Herman in Pique Dame, Riccardo in Un Ballo in Maschera and Calaf in Turandot at the Mariinsky Theatre, as well as a Stage debut at the Opera Frankfurt as Don Alvaro in La Forza del Destino.

Leah Crocetto*
Liù (Jan. 24/26)

Described by the New York Times as possessing an “agile coloratura technique and a feeling for the Italianate style… with warmth, full penetrating sound and tenderness,” American soprano Leah Crocetto continues to astonish audiences with her moving portrayals of opera’s greatest heroines.

In the current season, Ms. Crocetto returns to Seattle Opera as Leonora in Il trovatore. She sings her first performance of Bellini’s Norma in concert with North Carolina Opera, and makes her debut at Carnegie Hall’s Weill Hall in recital with pianist Mark Markham, with additional performances in Washington, D.C. and Easton, Pennsylvania. Ms. Crocetto makes her Australian debut with the Melbourne Symphony Orchestra as the soprano soloist in Verdi’s Requiem, and with the Los Angeles Philharmonic she sings Soprano II in Mahler’s epic Symphony No. 8 “Symphony of a Thousand,” under the baton of Gustavo Dudamel.

Last season, Ms. Crocetto performed the title role in Aïda first with Washington National Opera, and subsequently with Seattle Opera. She sang Leonora in Il trovatore with Oper Frankfurt, returned to San Francisco Opera as Liù in Turandot and performed the title role of Toscawith Pittsburgh Opera. In concert, she sang Verdi’s magnificent Requiem with the National Symphony and the NTR Symphony, and performed a solo recital in Ann Arbor, MI.

Ms. Crocetto sang her debut performances as the title role in Aïda with the San Francisco Opera in the 2016-2017 season. Also in this season, she made her role debut as Eleonora in the first US performances of Donizetti’s L’assedio di Calais with the Glimmerglass Festival. On the concert stage, she performed Bachianas Brasileiras No. 5 with the Chamber Music Society of Lincoln Center at Alice Tully Hall and sang a solo recital in her hometown of Adrian, Michigan.

Ms. Crocetto made her Metropolitan Opera debut in the 2015-2016 season as Liù in Turandot. She also made her role debut as the titular character in Rossini’s seldom performed Semiramide with Opera National de Bordeaux. Additional highlights of the season included Anna in Maometto II with the Canadian Opera Company, Luisa Miller in San Francisco, and Donna Anna in Don Giovanni with Santa Fe Opera. She made her New York City recital debut at Pace University with pianist Martin Katz, and performed a solo recital under the auspices of Washington National Opera with pianist Mark Markham at the John F. Kennedy Center.

In the 2014-15 season, Ms. Crocetto performed Desdemona in Otello with English National Opera, followed by performances of Mimi in La bohème with San Francisco Opera, and Madame Lidoine in Poulenc’s devastating Dialogues of the Carmelites with Washington National Opera. Her season concluded singing Elisabetta di Valois in a new production of Don Carlo with Opera Philadelphia.

Anastasia Schegoleva*
Liù (Jan. 25)

Soprano Anastasia Schegoleva recently made debuts with Moscow’s Bolshoi Theatre and St. Petersburg’s Mariinsky Theatre, appearing at the Bolshoi in performances of Tchaikovsky’s The Maid of Orleans conducted by Tugan Sokhiev, and at the Mariinsky a “Stars of the White Nights” Gala under the baton of Valery Gergiev. Her collaboration with the Mariinsky also includes role debuts as Liù in Turandot, Voyslava in Rimsky Korsakov’s Mlada, and numerous performances as soloist in Mozart’s Requiem and Beethoven’s Ninth Symphony.

With a voice described as “transporting,” Ms. Schegoleva has earned acclaim for performances as title role in Tchaikovsky’s Iolanta, Micaela in Carmen, Donna Elvira in Don Giovanni, Mimì in La bohème, and Countess in Le nozze di Figaro, working with noted conductors Riccardo Frizza, Yuri Simonov, Pavel Smelkov, and the late Alberto Zedda.  Additional credits include a collaboration with the Hungarian Radio Symphony Orchestra as soloist for Dvorak’s Stabat Mater, and appearances with the Academic Symphony Orchestra of the Moscow State Philharmonic as soloist in Mendelssohn’s Symphony No. 2 and Beethoven’s Cantata on the Death of Emperor Joseph II.  Further concert appearances as soprano soloist include Brahm’s Ein Deutsches Requiem, Mozart’s Litaniae Lauretanae, and several Bach Cantatas.

Ms. Schegoleva is the Third Prize Winner of the Galina Vishnevskaya International Opera Singers Competition (2014, Moscow), First Prize Winner at the Sobinov Vocal Competition (2016, Saratov), Special Prize Winner at the Competizione dell’Opera (2016, Moscow), Second Prize Winner at the VIII All Russia Obukhova Competition (2018, Lipetsk), and the Gold Medal Winner in Voice at 1st Berliner International Music Competition (2017, Berlin).

A graduate of Lipetsk Igumnov College of Arts with a bachelor’s degree in Piano Performance, and of the Maimonid State Classical Academy in Moscow with a master’s degree in Vocal Performance, Ms. Schegoleva has been a Fellow at the Atkins Young Artists Program at the Mariinsky Theater since 2017.  In October 2018, she joined the Program’s inaugural US and Mexico tour, participating in the televised concert at Palacio de Bellas Artes in Mexico City with Esperanza Azteca Youth Orchestra and Chorus conducted by Valery Gergiev, and making her New York debut in a recital at the historic St. Paul’s Chapel of Trinity Church Wall Street.

Evgeny Stavinsky*
Timur

Evgeny Stavinsky was born in Dubna, Moscow region, in a family of musicians. In 2003, he completed his university-level studies as singer and choir conductor at the Moscow Academy of Choral Art. From 2004 to 2005 he lived in Florence, Italy, to study at Maggio Musicale Fiorentino where he performed the title role in Mozart’s Don Giovanni, Lord Sidney and Basilio in Rossini’s Il Viaggio a Reims and Il Barbiere di Siviglia, and Superintendent Budd in Britten’s Albert Herring.

He became a member of Kolobov Novaya Opera Theatre of Moscow in 2007, his roles for the company including Thoas (Iphigénie en Tauride), Ruslan (Ruslan and Lyudmila), Pimen (Boris Godunov), Prince Gremin (Eugene Onegin), Malyuta-Skuratov (The Tsar’s Bride), Prince of Galich (Prince Igor), Méphistophélès (Faust), King Heinrich (Lohengrin), King Marke (Tristan und Isolde) and La Roche (Capriccio). Engagements elsewhere include Raimondo Bidebent (Lucia di Lammermoor) for Teatro Comunale di Bologna, Oroveso (Norma) for Teatro Massimo di Palermo, Méphistophélès for Hungarian State Opera, Padre Guardiano (La forza del destino) for Theater Basel and Don Basilio (Il barbiere di Siviglia) for the Mariinsky Theatre, St Petersburg, Colline (La Bohème) for Teatro Comunale di Bologna and
at Royal Opera House Covent Garden in L’Ange de Nisida by Donizetti.

Among the recent works, Zaccaria (Nabucco) in Ravenna, Ferrara, Nice and Toulon, Ivan Khovansky  (Chovanščina) in Budapest, Verdi’s Requiem with RTE Symphony Orchestra in Dublin, Beethoven IX Symphony with M° Riccardo Muti in Athens and Ravenna, Bartolo (Le nozze di Figaro) at Wiener Konzerthaus and Lucerne Festival with M° Teodor Currentzis.

Next engagements include a series of concerts with M° Teodor Currentzis: Mozart’s Requiem at Baden Baden Festival, Verdi’s Requiem in New York and Baden Baden, along with Mozart’s Requiem for South Netherlands Philarmonic and Dutch Radio Choir, Conte di Walter (Luisa Miller) at Glyndebourne Festival, Raimondo (Lucia di Lammermoor) at Bayerische Staatsoper in Munich (2021). Evgeny Stavinsky will return at Royal Opera House Covent Garden for Lucia di Lammermoor, Don Carlo (2020) and Rigoletto (2022)

Zachary Nelson
Ping

Zachary Nelson, a native of Annapolis, Maryland, has been praised for his rich and powerful baritone, as well as his ability to embody dramatic and comic characters on the operatic stage.

2018-2019 highlights include his return to the Lyric Opera of Chicago as Marcello in Richard Jones’ acclaimed La Bohème, his debut in Arizona Opera as Count Almaviva in Mozart’s Le Nozze di Figaro, and returning to the Santa Fe Opera for his fifth season as Marcello in La Bohème.

The 2017-2018 season starts with a joint recital with Soprano Leah Crocetto and Pianist Mark Markham. Then he has returns to the Lyric Opera of Chicago as Ping in Turandot and the title role in Dresden Semperoper’s Le Nozze di Figaro. Then Mr. Nelson will debut at the Pittsburgh Opera as Belcore in L’Elisir D’Amore and will be the baritone soloist in Bloch’s lush sacred piece, “Sacred Service (Avodat Hakodesh)” with the Voices of the Ascension.

The 2016-2017 season brings debuts at the Lyric Opera of Chicago as Donner in Das Rheingold and Enrico Ashton (cover) in Lucia di Lammermoor, Escamillo in Carmen with Den Norske Opera, and a fourth season with the Santa Fe Opera as Enrico Ashton in Lucia di Lammermoor.

2015-2016 began with a return to the Dresden Semperoper as Figaro in both Le Nozze di Figaro and Il Barbiere di Siviglia. He performed the role of Dr. Falke in Die Fledermaus with the Seiji Ozawa Music Academy in Kyoto, Tokyo, and Nagoya. He made debuts at the Salzburg Landestheater, Palm Beach, and San Francisco Opera in Carmen as Escamillo, and returned to the Canadian Opera Compnay as Escamillo.

His 2014-15 included the title role of Le nozze di Figaro with the Aix-en-Provence Festival on tour in Manama, Bahrain. Additionally, he makes his debut with Canadian Opera Company as Masetto in Dmitri Tcherniakov’s Don Giovanni. He debuted the roles of Paolo in Simon Boccanegra, Escamillo in Carmen. He reprised the roles of Gugliemo in Cosi Fan Tutte, Belcore in L’Elisir D’Amore, Marcello in Bohéme, and Figaro in both Barbiere di Siviglia and a new production of Le Nozze di Figaro all with the Dresden Semperoper,

In the 2013-2014 season, Mr. Nelson joined the ensemble of the Dresden Semperoper, where he performed the roles of Il Conte in Le nozze di Figaro, Marcello in La Bohème, Der Sprecher in Die Zauberflöte, Figaro in Il Barbiere di Siviglia, and Guglielmo in a new production of Così Fan Tutte. He also returned to the Santa Fe Opera as Malatesta in Laurent Pelly’s Don Pasquale.

Other notable performances include: Figaro in Le nozze di Figaro with Santa Fe Opera, Germont in La Traviata with Lyric Opera of Virginia, Angelotti in Tosca and Mandryka (cover) in Arabella with Santa Fe Opera, Quinault in Adriana Lecouvreur with Opera Orchestra of New York, Sciarrone in Tosca with Glimmerglass Opera, and a soloist in Steven Blier’s “Killer B’s” with the New York Festival of Song.

A graduate of the Academy of Vocal Arts in Philadelphia, PA, Mr. Nelson performed many roles including: Belcore in L’Elisir D’Amore, Renato in Un Ballo in Maschera, the title role in Falstaff, Michele in Il Tabarro, Sancho Panza in Don Quichotte, Mandryka in Arabella, Golaud in Pelléas et Mélisande, and Masetto in Don Giovanni. Mr. Nelson is also a graduate of The Catholic University of America in Washington, D.C.

Awards Mr. Neslon has garnered are: The George London Award from the 2012 George London Foundation, 1st prize prize from the 2012 Opera Index Competition, The 2012 Liederkranz Foundation Competition (General Opera Division), and the 2012 Licia Albanese-Puccini Foundation. Also, 2nd prize from the 2011 Gerda Lissner Competition, the 2011 Giulio Gari Foundation, and the 2011 Loren Zachary Competition

John McVeigh*
Pang

Acclaimed for his “fresh-toned and touching portrayal” by Opera News and lauded by the New Orleans Times-Picayune for his “rich lyrical tenor, fabulous top notes, and striking good looks,” John McVeigh continues to garner attention for his countless world-class performances at the most revered houses throughout the United States and worldwide. This season, McVeigh returns to The Metropolitan Opera for their productions of Turandot and Le nozze di Figaro, sing Pang in Turandot with Palm Beach Opera, and performs as a soloist in Handel’s Messiah with DCINY. Most recently, Mr. McVeigh performed the role of Don Basilio in The Marriage of Figaro with Opera Theater St. Louis, performed as a soloist in Handel’s Messiah with Indianapolis Chamber Orchestra and DCINY, and as a soloist in Beethoven’s Symphony No. 9 with DCINY.

An accomplished “cross-over” artist, McVeigh shares his talents both in operatic and theatrical settings. His extensive work includes performances as Lysander in A Midsummer Night’s Dream at Utah Opera and in his Central City Opera début; Johnny Inkslinger in Britten’s folkloric operetta, Paul Bunyan, with Central City Opera; Feeny in Bennett’s The Mines of Sulphur and Hot Biscuit Slim in Paul Bunyan at New York City Opera (broadcast on Live from Lincoln Center on PBS); his Ravinia Festival début as Henrick in A Little Night Music alongside Patti LuPone; the title role in Candide with Austin Lyric Opera; the title role in Romberg’s The Student Prince with Central City Opera; and Anatol in Vanessa with San Diego Opera.

Having led a prolific concert and oratorio career, Mr. McVeigh has performed notorious pieces throughout the world including Händel’s Messiah with the Indianapolis Chamber Orchestra, Evansville Philharmonic Orchestra, Seattle Symphony, Phoenix Symphony, Milwaukee Symphony, San Diego Symphony, Austin Symphony, Nashville Symphony, Philadelphia Orchestra, Boston Baroque, Charlotte Symphony Orchestra, Minnesota Orchestra, the Masterworks Chorus at Carnegie Hall, the Washington National Cathedral with the Cathedral Choral Society, Philharmonia Baroque, Music of the Baroque, Winston Salem Symphony, Memphis Symphony, and with DCINY at Carnegie Hall; Mahler’s Das Lied der Erde with Trinity Church Wall Street; Celebrant in Bernstein’s Mass with the Brevard Music Center; Beethoven’s Symphony No. 9 at the Grant Park Music Festival, Colorado Music Festival, Arizona Music Festival and with the Portland Symphony Orchestr; Orff’s Carmina Burana with the Memphis Symphony, Detroit Symphony, and Utah Symphony; Haydn’s Creation with the Portland Symphony, Berkshire Chorale, and the Winston Salem Symphony, with whom he also sang Bach’s St. John’s Passion; and Philip Glass’ Symphony No. 5 with the The Washington Chorus, Brooklyn Philharmonic, Pacific Symphony, Gewandhaus Orchester in Leipzig, and the Danish National Radio Orchestra under the baton of Dennis Russell Davies. Additionally McVeigh had a solo performance in a brand new concert entitled Rev. 23, the unpublished last chapter of the Book of Revelation as dictated by St. John the Divine which narrates the last battle to recapture Paradise-on-Earth and restore the balance of good and evil to our world, with Prototype Festival.

A house favorite at The Metropolitan Opera, he has performed numerous productions with the esteemed company. Favorite engagements with the house include his Metropolitan Opera début as Pang in Turandot, Bardolfo in Falstaff, Tinca in Il tabarro, Little Bat in their first production of Susannah under James Conlon, and their productions of La Fanciulla del West, Dialogues des Carmelites, Le nozze di Figaro, Turandot, Eugene Onegin, Die Zauberflöte, Lady Macbeth of the Mtsensk District, The Merry Widow, Iolanta, La traviata, Falstaff, Manon, Das Rheingold, Ariadne auf Naxos, and Billy Budd. Also a house favorite at Houston Grand Opera, he has performed the role of Will Tweedy in the world première of Cold Sassy Tree with repeated performances at Atlanta Opera, Austin Lyric Opera, Lyric Opera of Kansas City, Opera Omaha, San Diego Opera, and Opera Carolina; Remendado in Carmen; Lurcanio in Händel’s Ariodante and Tamino in Die Zauberflöte, both of which he later performed at New York City Opera; and in their production of Das Rheingold. As an alumnus of the Houston Grand Opera Studio, his numerous performances there include Tybalt in Roméo et Juliette, St. Stephen in Four Saints in Three Acts, and Michael Daughtery’s Jackie O.

Highlights of John’s considerable European and international career include Montverdi’s Vespro della Beata Vergine 1610 and Adrastro in Traettas’ Antigona with the Théâtre du Châtelet; Lurcanio in Ariodante at the Gran Teatre del Liceu and de Vlaamse Opera; Endimione in Martín y Soler’s L’abore di Diana at the Gran Teatro del Liceu; St. Stephen in Four Saints in Three Acts at the Edinburgh Festival; Bill in Jonathan Dove’s Flight with de Vlaamse Opera; Novice in Billy Budd with Teatro Carlo Felice; Lysander in A Midsummer Night’s Dream and Endimione in Martin y Soler’s L’abore di Diana at Teatro Real; Emilio in Partenope at the Göttingen Händel Festspiele; Teseo in Traetta’s eclectic reform opera Ippolito ed Aricia with Opéra national de Montpellier; Ozia in Mozart’s only, rarely performed oratorio Betulia liberata with Christophe Rousset and Les Talen Lyriques; and Marzio in Mozart’s prodigal opera seria Mitridate, re di Ponto at Festival Internacional de Música y Danza de Granada.

Additional operatic engagements include Goro in Madama Butterfly with Opera Theatre of St. Louis, the role of the Footman in Der Rosenkavalier with Boston Symphony Orchestra; Prunier in La rondine with Opera Theater Saint Louis; Pang in Turandot with Hawaii Opera Theatre and Arizona Opera; Tybalt in Roméo et Juliette with Opera Colorado; Emilio in Händel’s opera buffe Partenope with Glimmerglass Opera and New York City Opera; Novice in Billy Budd in his débuts with Lyric Opera of Chicago, Los Angeles Opera, and Washington National Opera and in a return to Houston Grand Opera; Fenton in Falstaff and Arbace in Idomeneo with Sante Fe Opera; Don Ottavio in Don Giovanni with Glimmerglass Opera and Austin Lyric Opera; Azor in Zemire et Azor with Arizona Opera; and Ferrando in Così fan tutte in a return to Austin Lyric Opera. In addition, he performed the world première of Carlisle Floyd’s Soul of Heaven for tenor and piano.

Additional concert engagements include Händel’s L’allegro with the Mark Morris Dance Group at the Kennedy Center and Lincoln Center; The Blind at the Lincoln Center Festival; Lackey in Der Rosenkavalier with National Symphony Orchestra; Mozart’s Mass in C minor with the St. Catherine of Siena Concert Series; Acis in Acis and Galatea with the Macau International Music Festival, Glimmerglass Opera, the Detroit Oratorio Society, and Concert Radio Kamer Filharmonie in Amsterdam; Bach’s St. Matthew’s Passion under the baton of Jaap van Zweden with the Dallas Symphony; Vaughan Williams’ On Wenlock Edge with the Arizona Music Festival and Portland Chamber Music Festival; Britten’s song cycle Nocturne with the Portland Symphony and Music of the Baroque; Rameu’s Platée with the Mark Morris Dance Group at the Ravinia Festival and Seattle Symphony; The Celebrant in Bernstein’s MASS with the Utah Symphony and Virginia Arts Festival; Mendelssohn’s Elijah with the Calgary Philharmonic; Beethoven’s Missa solemnis with the Minnesota Orchestra and Richmond Symphony; Mozart’s Requiem with the Colorado Symphony; Mozart’s Mass in C minor, Händel’s Israel in Egypt, and a series of Bach cantatas and Händel arias with the St. Paul Chamber Orchestra; Bach’s Mass in B minor with the Milwaukee Symphony and under the baton of John Nelson with Soli Deo Gloria; Beethoven’s Mass in C Major with the Honolulu Symphony; Stravinsky’s neoclassical ballet Pulcinella with the Brooklyn Philharmonic; and Haydn’s Harmoniesse with the Händel and Haydn Society.

Discography includes Will Tweedy in Carlisle Floyd’s Cold Sassy Tree on the Albany Label, Daughtery’s Jackie O and Emilio in Händel’s Partenope.

Il Hoon Kim*
Mandarin

International award-winning bass Il Hoon Kim debuted in 2008 with the Korea National Opera at the Seoul Art Center, playing the roles of Sarastro in Die Zauberflöte, Oroveso in Norma, and Raimondo in Lucia di Lammermoor. That same year, Kim won a number of prestigious prizes, including 3rd place in the JoongAng Music Concours, 3rd place in the Dong-A Music Competition, 1st place in the Korea Music Competition, 2nd place KBS Music Competition, and 1st place in the SungJung Music Competition. In 2014, he won 1st prize, the critics’ prize, and the audience prize at the Ferruccio Tagliavini Vocal Competition.

After winning a prize at the Concorso Internazionale di Canto at the famed Arena di Verona, a UNESCO World Heritage Site, he made a successful debut on the European stage as Colline in La Boheme to great acclaim. While studying in Köln, he appeared as Tom in Ein Maskenball and Mr. Budd in Albert Herring at the Theater Aachen. Other roles include Nourabad in Les pêcheurs de perles, Timur in Turandot, and Daland in Der fliegende Holländer at the Daegu Opera House. He has also performed the roles of Frère Laurent in Roméo et Juliette and Alidoro in La cenerentola, and Kim most recently appeared with the Korean National Opera as Fasolt in Das Rheingold, directed by Achim Freyer. Kim holds a Bachelor’s degree in voice the Chugye University for the Arts and a Master’s degree from the Hochschule für Musik Köln, where he studied under Prof. Dieter Schweikard.

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