- Andrea Chenoweth
- Maria Ferrante
- Eve Gigliotti
- Luke Grooms
- Kathryn Guthrie
- Jessica Lennick
- Desiree Maira
- Chad Sloan
- Paul Soper
- Christian Van Horn
- Kellie Van Horn
- Justin Vickers
- Leah Wool
Andrea Chenoweth, soprano
Andrea, soprano, is a two-time regional finalist in the Metropolitan Opera National Council auditions. She has appeared with the Cleveland Orchestra, the Dayton Philharmonic Orchestra, Cleveland Opera, Dayton Opera, Commonwealth Opera, Lyric Opera Cleveland, the Springfield Symphony, the Bach Society of Dayton, Mansfield Symphony Orchestra, and Arcadia Players. Career highlights include her recent Carnegie Hall debut singing Verdi’s Requiem and touring Japan with Maestro Neal Gittleman and the Telemann Chamber Orchestra. She has sung numerous operatic roles, including Lucia in Donizetti’s Lucia di Lammermoor; Fiordiligi in Mozart’s Così fan tutte, and Atalanta in Handel’s Xerxes. A proponent of new music, Ms. Chenoweth has worked with many living composers including Libby Larsen, Joseph Summer, Jonathon Sheffer, and Monica Houghton. Ms. Chenoweth received her Masters of Music degree in Voice from The Cleveland Institute of Music and her Bachelor of Arts degree from the University of Dayton. Her teachers include Ruth Golden, George Vassos, Ellen Shade, and Linda Snyder. Ms. Chenoweth is an Artist-in-Residence at the University of Dayton.
Maria Ferrante, soprano
“Maria Ferrante broke my heart Sunday night. Or, through her, Puccini’s Madama Butterfly did,” wrote Richard Dyer of the Boston Globe in January, 2003. Her “combination of delicacy and intensity…brought tears to my eyes…In her honesty, imagination, and investment, she was infinitely superior to the last Butterfly I saw at the Met.” The petite soprano’s operatic roles range from the great stage heroines (Violetta in Verdi’s La Traviata, Pamina in Mozart’s Magic Flute, Desdemona in Verdi’s Otello, Liù in Puccini’s Turandot, Rosalinda in Strauss’ Die Fledermaus, and Mimì in Puccini’s La Bohème) to serving girls (Despina in Mozart’s Cosi Fan Tutte, Barbarina in Mozart’s Marriage of Figaro, Serpina in Pergolesi’s La Serva Padrona, and in Englebert Humperdinck’s Hänsel und Gretel: Gretel, who not only serves, but is served.) “A true singing actress,” Dyer enthused, “her eyes and hands and body know how to sing, and with her voice she can act.” Performing in the trousers role of Oscar in Verdi’s A Masked Ball for Berks Grand Opera, she was acclaimed as “perfect, I doubt if any company anywhere could find one better suited to sing this crucial role.”
Recent performances have included her appearance in New York with the Ensemble for the Romantic Century in a program of Spanish compositions accompanied by the guitar virtuoso Benjamin Verdery; Villa-Lobos’ Bachianas Brasilieras No. 5 at New York’s Symphony Space (“sung with sweetness and oxygenated clarity by Maria Ferrante”); as well as performances with the Charleston and Delaware Symphony Orchestras, as featured soloist for BankBoston Showcase Series, The Newton Symphony (MA), The Newtown Chamber Orchestra (CT), Harvard’s Landmark Concerts, the Harvard Musical Association, Orpheus Choir of Hexam (England), The National Museum of Women in the Arts (Washington, DC), Kosciusko Foundation(NYC), the Massachusetts International Festival of the Arts, the Bay Chamber Ensemble, the Boston Chamber Ensemble, and the Great Music Series (Provincetown). An acclaimed regular soloist with the Mohawk Concert Series, she will be appearing for them with the great violinist Arnold Steinhardt in New York City in May, 2003.
Ms. Ferrante’s most recently released CD, Sea Tides and Time received a rave review from the Boston Herald,”[Ms. Ferrante] known for her lilting soprano voice and probing mind…brings a supple and colorful approach to a broad variety of repertoire.” The Boston Globe said, “Superb.”
Eve Gigliotti, mezzo-soprano
Eve Gigliotti, mezzo-soprano, has sung two seasons with The Shakespeare Concerts and can be heard on the Albany Records release “Shall I Compare Thee To A Summer’s Day”. Ms. Gigliotti has appeared with Seattle Opera YAP, Opera Theatre of St. Louis, Central City Opera, Encompass New Opera Theater, Bronx Opera, Amelia Island Chamber Music Festival, and Carolina Chamber Music Festival, among others.
Ms. Gigliotti has a specific interest in bridging opera into multi-disciplinary work and has been featured singing in Brand Upon the Brain, a Guy Maddin film- The Live Show with Isabella Rosellini. Theater credits include The Second Tosca (45th Street Theater, NYC), written by Tom Rowan and directed by Kevin Newbury. Recent performances include Mother Marie in Poulenc’s Dialogues of the Carmelites with Mannes Opera, and Isabella in Act 1 of Rossini’s L’Italiana in Algeri at The Yard. Ms. Gigliotti was chosen for the George London Masterclass series with Frederica Von Stade and Richard Stilwell.
Upcoming engagements include: The Marilyn Horne Foundation presents The Song Continues…2009 Martin Katz Master Class at Zankel Hall, The Commere in Four Saints in Three Acts (Oratorio Version) with Encompass New Opera Theater, Vera Boronel in The Consul (debut), the Mother (cover) in The Consul with Glimmerglass Opera as a member of the Young American Artist Program. Eve Gigliotti is a graduate of The Curtis Institute of Music and is finishing her professional studies degree at Mannes the New School for Music.
Luke Grooms, tenor
Newport, Tennessee born Luke Grooms, is quickly earning a name for himself around the country as a leading tenor. ?In recent years Luke joined the Metropolitan Opera Roster covering in their production of Prokofiev’s The Gambler, and made his Carnegie Hall debut as Fante in Opera Orchestra of New York’s concert of Verdi’s I Due Foscari. He also covered the roles of Barbagio (I Due Foscari), Elvino (La Sonnambula), and Bomelii in Rimsky-Korsakov’s The Tsar’s Bride, all with OONY at Carnegie Hall. Some of his other career highlights include Tonio, Rodolfo, Belmonte, Albert Herring, Riccardo Percy in Anna Bolena, Tebaldo, Des Griex, and Lindoro, taking him to companies such as The Baltimore Opera, Lyric Opera Baltimore, Glimmerglass Opera, New York City Opera, Opera in the Heights, Des Moines Metro Opera, Sarasota Opera, Chelsea Opera, Glimmerglass Opera, Opera North, and many others.
Luke is equally at home in musical theater. He performed in the New York premiere of Jerry Springer: The Opera, at Carnegie Hall, singing the dual roles of Dwight and God. Luke reprised these roles at Boston’s Speakeasy Stage Company in May of 2009. In March 2010, Luke joined the national tour of The Phantom of the Opera, in the role of Piangi, till its close.
Recent engagements include The Duke in Rigoletto with St. Petersburg Opera Company, Beadle Bamford in The Fulton Theatre’s production of Sweeney Todd, the title role in Mozart’s Mitridate with little Opera Theatre of New York, Ferrando in Cosi fan tutte with Opera Lancaster, Almaviva with Baltimore Lyric Opera’s educational tour, and Nemorino in L’Elisir d’amore at Mississippi Opera. He was recently nominated for an Elliot Norton award for his work in Jerry Springer at Speakeasy Stage Company. Mr. Grooms is the recipient of an encouragement award from The Mario Lanza Scholarship Competition, an encouragement from the West Tennessee Metropolitan National Council Auditions, and received an award from the Orpheus International Vocal Competition, and has been a semi-finalist at the Mobile Opera, Shreveport Opera, Annapolis Opera, and Palm Beach Opera competitions. He is also featured of the recording of Pasatieri’s Signor Deluso, in the role of Leon, available on Albany Records.
Kathryn Guthrie, soprano
Soprano Kathryn Guthrie is quickly becoming recognized as an artist of unusual artistic versatility, equally praised for her performances of the traditional classical repertoire and her sharp-witted interpretations of contemporary works. After debuting at New York City Opera in 2012 as Marie in folk-pop star Rufus Wainwright’s Prima Donna, Kathryn has since appeared with Mr. Wainwright twice at Philadelphia’s Kimmel Center and Madrid’s famed Teatro Real. Her 2013 Philadelphia premiere of Osvaldo Golijov’s “Ayre” with Astral Artists was praised by the Philadelphia Inquirer by saying, “No matter what she did, she still sounded like herself and maintained fierce dedication to the music’s inner meaning.”
A champion of new music, Kathryn enjoyed other performances with New York City Opera that included the VOX 2012 concert performing OsnatNetzer’s The Wondrous Woman Within, and the educational production of Unsuk Chin’s Alice in Wonderland as the Cheshire Cat. She also recently premiered the workshop performance of Justine F. Chen and David Simpatico’sThe Turing Project as Sara Turing with American Lyric Theater.
Ms. Guthrie was a member of the Ravinia Festival’s Steans Institute Program for Singers and Glimmerglass Opera’s Young American Artists Program, where she performed as First Witch in Dido and Aeneas and covered Clorinda in La cenerentola. No stranger to musical theater, she has recently worked with Broadway conductor Patrick Vaccariello, performing in an Andrew Lloyd Webber/Rodgers & Hammerstein revue and a reading of the new musical The Ballad of Little Jo.
Ms. Guthrie is the recipient of awards from the Metropolitan Opera National Council Auditions, Houston Grand Opera, Palm Beach Opera, the Fort Worth Opera, and AIMS Graz. She holds a Master of Music from the Peabody Conservatory, where she received the Phyllis Bryn-Julson Award for Contemporary Music, and a Bachelor of Music from the University of Connecticut.
Jessica Lennick, soprano
Soprano Jessica Lennick “is a complete package, including a terrific smile and stage presence to go along with her pleasing voice” according to The Baltimore Examiner. She is excited to return to the Caramoor Festival this summer where she will open the season as the Soprano Soloist in Mendelssohn’s Midsummer Night’s Dream and cover the role of Giulietta in I Capuleti e i Montecchi. She is looking forward to returning to the Maryland Choral Arts Society as soloist for their 2012 performance of Vaughan-Williams’ “Dona Nobis Pacem” after singing the Brahms Requiem with them in 2010.
In the spring of 2011 she reprised her role as Die Königin in Die Zauberflöte with Ohio University as a visiting artist. In 2010 she also had the delight of performing Adina in L’elisir d’amore four times in one year in Philadelphia, D.C. and Baltimore. 2010 also saw her role debuts as First Lady and Papagena in Magic Flute, and Spirit in Dido and Aeneus with Center City Opera Theater; Blonde in Enthführung aus dem Serail with Chesapeake Chamber Opera; and Gretel with DC Camerata.
A champion of new music, she premiered the role of Patrick Leahy in the Gonzales Cantata, as well as Gonzales composer Melissa Dunphy’s new song cycle, “Tesla’s Pigeon”. A veteran of the Philadelphia Fringe Festival, she also premiered the role of Angeline in Crowded House in 2010 and was delighted to make her third Philly Fringe appearance last fall as part of “Love Lost,” a program of all contemporary music. In April she will debut a new song cycle by Tony Solitro for the Upenn Composer’s Guild.
Desiree Maira, mezzo-soprano
Originally from Florida, mezzo-soprano Desiree Maira feels equally at home performing in Boston. She has participated as a Young Artist with Connecticut Early Music Festival, Seagle Music Colony, Flagstaff in Fidenza, Corso Estivo per Giovani Cantanti Lirici, Boston Opera Collaborative and the New York Vocal Institute. Opera roles include Quickly in Falstaff, Serse and Amastre in Serse, Orlofsky in Fledermaus, Zita in Schicchi, Carmen in Carmen, Madame in Cendrillon, the Sorceress in Dido and Aeneas, Second Lady in The Magic Flute, Dorabella in Cosi, and Isabella in L’Italiana. Ms. Maira received second place in the Florida Suncoast Opera Competition this past April and was a Classical Division finalist in the Peter Elvins Vocal Competition in January. In 2007, she received the Encouragement Award at the Metropolitan Opera Competition and has appeared as a semi-finalist in the Palm Beach Opera Competition twice. Ms. Maira was also a first place recipient for the Southeast NATS competition in 2005 and 2007. An avid performer of oratorio repertoire, Ms. Maira’s most recent engagement with the Fine Arts Chorale featured her as a soloist in Haydn’s Lord Nelson Mass and Mozart’s Solemn Vespers.
Ms. Maira was a soloist for the 2007 season with Elysium Orchestra in Atlanta, singing Mozart’s Requiem and Vesperae solennes de Confessore.
Chad Sloan, baritone
Baritone Chad Sloan is recognized as much for his warm, elegant vocalism as he is for deft interpretations of diverse characters. In the 2011-2012 season, Chad returns to the role of Prosdocimo, in Rossini’s Il Turco in Italia for Tacoma Opera, and debuts with the Lexington Philharmonic in Vaughan Williams’ Dona Nobis Pacem, Anchorage Opera as Captain Von Trapp in The Sound of Music, and with the Bach Festival Society as the baritone soloist in the Magnificat. In the current season, he returns to Kentucky Opera to debut his Belcore in L’elisir d’amore, to Utah Opera for John Brooke in Little Women, and with the Bar Harbor Music Festival as Figaro in Il barbiere di Siviglia. A frequent collaborator of composer Ben Moore, he premiered his new song cycle entitled, “Ode to a Nightingale” in New York this past fall. Last season, he portrayed Herman in Moore’s new opera Enemies, A Love Story for Kentucky Opera, Papageno in Die Zauberflöte with the Atlanta Ballet, Count Almaviva in Le nozze di Figaro for Tacoma Opera, and took on the role of Clyde Griffiths in the West Coast Premiere of An American Tragedy by Tobias Picker. Additionally, Chad returned to Wolf Trap Opera this spring to essay Rossini’s poet in Il Turco in Italia and Britten’s Demetrius in A Midsummer Night’s Dream in his second summer as a Filene Young Artist. In addition, he sang Laertes for the collaborative workshop of Herschel Garfein’s Rosencrantz & Guildenstern Are Dead for American Opera Projects and Mark Morris, followed by the role of Rosencrantz for the orchestral performances of the opera with Boston Classical Orchestra.
Paul Soper, baritone
This season baritone Paul Soper makes his first appearance with The Shakespeare Concerts. In 1998 he debuted with Boston Lyric Opera, recently performing as the Imperial Commissioner in their 2006 production of Madame Butterfly. Paul has sung many roles with the Glimmerglass, Longwood, and Cambridge Chamber Opera companies, as well as Houston Grand Opera, Raylynmor Opera, and the New England Conservatory Opera Theater (where he received his Master of Music degree.) He is a graduate of the Boston University Opera Institute, where he performed in (amongst others) Midsummer Night’s Dream. Paul won first place in the concerto competiton there; as well as receiving a fellowship and the C.D. Jackson Memorial Award at the Tanglewood Music Center.
Christian Van Horn, bass-baritone
A graduate of Yale University and, recently, the Lyric Opera Center for American Artists, bass-baritone Christian Van Horn has won numerous awards including the 2003 Metropolitan Opera National Council Auditions and Sarah Tucker Study Grant; first place at the 2002 MacAllister Competition Collegiate Division; prize winner in the 2002 Liederkranz Foundation Vocal Competition; and the Richman Award from Opera Theatre of St. Louis in August 2007, where he also participated in the American premiere of Flight by Jonathan Dove, as the Immigration Officer, a particularly apt role considering his recent appointment at the Bayerische Staatsoper in Munich. His debut at the Bayerische Staatsoper is in the role of Colline in La Bohème, a role he has performed previously with the Los Angeles and Baltimore Opera Companies.
Having just finished his international debut with the Salzburg Festival, Christian was most recently in Austin, Texas singing his first Verdi Requiem. In 2008, Christian was heard for the first time as Timur in Turandot with the Fort Worth Opera and Raimondo in Lucia di Lammermoor with Virginia Opera, as well as Nourabad in The Pearl Fishers with the Lyric Opera of Chicago. Other recent engagements include his debuts at Arizona Opera and Chicago Opera Theater as Figaro in Le nozze di Figaro; at Opera Pacific as Zuniga in Carmen; t and the Santa Fe Opera in Tan Dun’s opera Tea: A Mirror of the Soul.
Last season he created the role of Karenin in the world premiere of the opera Anna Karenin by David Carlson with the Florida Grand Opera, which is slated to be released commercially on CD. Previously at Florida Grand he portrayed Masetto in Don Giovanni and the Duke of Verona in Romeo et Juliette. Christian’s debut with The Shakespeare Concerts recording also marks the first time he and his wife, Kellie, have had the opportunity to work together professionally.
Kellie Van Horn, mezzo-soprano
Mezzo-soprano Kellie Van Horn debuted with The Shakespeare Concerts in 2006 and has returned each season since then. Over the years she has premiered eight of Joseph Summer’s works either on stage or recording. She is featured on the title track of Shall I Compare Thee to a Summer’s Day and can also be heard on So Many Journeys, both released by AlbanyRecords. Since the Jordan Hall debut of The Shakespeare Concerts in 2007 Kellie has also presented Shakespearean settings by Berlioz, Korngold, Poulenc, and Stravinsky. This season she sings the premieres of Summer’s Sonnets III and CXVI.
Ms. Van Horn has sung with regional companies throughout the United States, including Sarasota Opera, Des Moines Metro Opera, Opera Theater of St. Louis, Opera Colorado, and Boston Midsummer Opera. Highlights among her operatic performances have been Charlotte (Werther) and Prince Orlofsky (Die Fledermaus) in Sarasota, the title role in Carmen with Commonwealth Opera (Northampton, MA), Hermia (A Midsummer Night’s Dream) in Des Moines, and Anne Lindbergh in the world premiere of Loss of Eden (Cary John Franklin) in St. Louis. She also sang the role of Dido to great critical acclaimin a semi-staged concert performance of Dido and Aeneus for the Miami-based chamber choir Seraphic Fire. Elsewhere on the concert stage, Kellie has an affinity for operetta and cross-over repertoire, having appeared with the Orchestra Sinfonica di Milano as the title role in La Périchole, Lois Lane in Kiss Me, Kate, and the Old Lady in Candide.
Justin Vickers, lyric tenor
Justin Vickers, American lyric tenor, has an operatic repertoire of over thirty leading roles including numerous world premières. Most recently he premièred Alexander Zhurbin’s Fourth Symphony, City of the Plague under Maestro Valery Polyansky with the Moscow State Symphony Capella in Moscow’s International House of Music. Vickers also premièred Zhurbin’s Three Shakespeare Madrigals in the Bolshoi Sal of the Central House of the Actor in a Festival of Alexander Zhurbin, accompanied by the composer. In April 2011, Vickers returns to Boston for performances and premières of Joseph Summer’s “Shakespeare Settings” with string quartet, on which he will also perform Michael Tippett’s Songs for Ariel. The recital will be recorded and released by Albany Records. In June 2011, the tenor returns to Moscow for preview concerts of the upcoming October production of Jerrold Morgulas’s Maskarad with the Pokrovsky. He then flies from Moscow to China for a series of concerts and recitals.
He has recorded songs from the juvenilia of Benjamin Britten for the Britten-Pears Foundation. Since his Carnegie Hall debut in 1999 in the North American première of Donizetti’s Adelia, he has returned there with Opera Orchestra of New York for performances of Lucrezia Borgia alongside Ms. Renée Fleming, and Meyerbeer’s Les Huguenots, for which The New York Times called him a “fine young tenor,” as well as Handel’s Messiah with John Rutter, Bruckner’s Te Deum, and Mozart’s Grand Mass. As Gennaro in Lucrezia Borgia for Opera Boston, he was celebrated as “tall and swaggering, his singing sensitive and elegant!” Based on the success of that role, The Washington National Opera invited him to cover Gennaro at the last minute for their 2008-2009 performances of Lucrezia Borgia, again with Renée Fleming, under the baton of Maestro Plácido Domingo. The tenor is currently preparing the leading roles in Benjamin Britten’s Peter Grimes, Billy Budd, and The Turn of the Screw. His international concert and opera performances have taken him to England, Austria, Germany, Spain, Russia, Albania, China, the South Pacific, and Mexico.
His premières have included the title role of Italian painter Amedeo “Dedo” Modigliani in Jerrold Morgulas’s Anna and Dedo in Moscow; the title role of Mario in Francis Thorne’s Mario and the Magician (released by Albany Records) for the Center for Contemporary Opera, for which The New York Times lauded his “sweet and mellow tenor”; the comic leading role of Tom Cobb in the world première of Pulitzer Prize-winning composer Seymour Barab’s A Perfect Plan, to riotous reviews! The tenor’s concert performances have repeatedly taken him throughout the South Pacific, Australia and New Zealand; as well as multiple tours throughout China culminating in Forbidden City Concert Hall performances in Beijing; several national tours of Spain; and, oratorio throughout Austria, notably at Vienna’s Stephansdom.
Vickers is a prizewinner of the Metropolitan Opera National Council Competition, the George London Foundation, and the National Opera Association; he has been a recipient of the Presser Music Award in the United States, and the Bagby Foundation for the Musical Arts career grant. A native of Danville, Illinois, he holds a Master of Music Degree in Voice from the University of Kentucky, and a Bachelor of Music Degree in Voice from the University of Illinois at Urbana-Champaign.
Presently, Vickers will graduate with the DMA in Performance and Literature in May 2011, with a dissertation about Michael Tippett’s The Heart’s Assurance, and is currently completing the PhD in Musicology. He balances his time between the Midwest and New York City, his teaching, conferences, writing, and an active performing career.
Leah Wool, mezzo-soprano
Ms. Wool’s 2013-2014 season includes a return to Boston Baroque as Minerva in Monteverdi’s Il ritorno d’Ulisse in patria, Beethoven’s Ninth Symphony with the Wiener KammerOrchester under Mark Laycock, and a début with the Milwaukee Symphony Orchestra for Handel’s Messiah. Last season brought appearances with both Nashville Opera and Knoxville Opera as Angelina in La Cenerentola; Sacramento Opera and Piedmont Opera as Rosina in Il barbiere di Siviglia; and she bowed with the Utah Symphony at Deer Valley Music Festival.
In the 2011-2012 season, Leah Wool returned to the San Francisco Symphony as the second mezzo-soprano in Debussy’s Le Martyre de St. Sébastien, bowed in Glass’ Kepler and in recital at Spoleto Festival USA, appeared with Gloria Musicae for Haydn’s Seven Last Words of Christ, performed with Portland’s prestigious Chamber Music Northwest, and sang Handel’s Messiah with both the Kansas City Symphony and the Cincinnati Symphony.
Her 2010-2011 season included returns to Gotham Chamber Opera as the title role in Montsalvatge’s El gato con botas and Utah Opera as Hänsel in Hänsel und Gretel, Rosina in Il barbiere di Siviglia with Opéra Louisiane, and the Mother in Amahl and the Night Visitors with The Little Orchestra Society.