2018 Launch Event

Cellist Julia Bruskin

Bruskin-Julia.jpg

Since her concerto debut with the Boston Symphony Orchestra at age 17, cellist Julia Bruskin has established herself as one of the premiere cellists of her generation. She performed Samuel Barber’s Cello Concerto with conductor Jahja Ling at Avery Fisher Hall and has also been soloist with the Nashville Symphony, Utah Symphony, Virginia Symphony, and Pacific Symphony among others. Her recent CD of music by Beethoven, Brahms, and Dohnanyi was praised by Fanfare Magazine for its “exquisite beauty of sound and expression”.

A founding member of the critically acclaimed Claremont Trio, Ms. Bruskin won 1st prize in the 2001 Young Concert Artists International Auditions and was awarded the first ever Kalichstein-Laredo-Robinson International Trio Award. The trio tours extensively, including recent concerts at the Library of Congress, the Smithsonian Museum and Boston’s Isabella Stewart Gardner Museum. Bridge Records released the Claremont Trio’s recording of the Beethoven “Triple” Concerto with the San Francisco Ballet Orchestra and Beethoven’s Trio Op. 1 No. 1 to rave reviews.

Ms. Bruskin plays frequent solo recitals with her husband, Aaron Wunsch, and together they are joint artistic directors of the Skaneateles Festival in the Finger Lakes region of New York. A frequent guest at summer music festivals, Ms. Bruskin has performed at Chamber Music Northwest, La Jolla Summerfest, Mostly Mozart, Caramoor, Saratoga, Bard, and Norfolk, and toured with the Musicians from Ravinia. Ms. Bruskin has taught at the Juilliard Pre-College and Queens College, and given master classes at the Eastman School of Music, the Peabody Conservatory, the Boston Conservatory, and Duke University.

Born in Boston, Massachusetts, Ms. Bruskin's teachers have included Timothy Eddy, Joel Krosnick, Andres Diaz, Norman Fischer, and Nancy Hair. She completed the five-year double degree program at Juilliard and Columbia University. Since 2014, Ms. Bruskin has been a member of the Metropolitan Opera Orchestra.

Soprano Mary Claire Curran

MC+Old+Hollywood+2017.jpg

Mary Claire Curran is a lyric soprano known for her charismatic stage presence and sparkling high notes. Praised as a “voluminous soprano” (South Florida Classical Review), Mary Claire is the winner of the 2017 Rohatyn Great Promise Award from the Metropolitan Opera National Council Auditions, Eastern Region. In the fall of 2017, she covered the roles Madeline Usher, Young Madeline, and Virginia Otis in the double bill of Gordon Getty’s Usher House and The Canterville Ghost with the Center for Contemporary Opera in conjunction with LA Opera. In addition, she was a 2017 grant recipient of the Anna Sosenko Assist Trust. In the spring of 2018, she premiered scenes from the new opera The Warrior’s Wivesby composer Matthew Evan Taylor in New York City.

Mezzo-Soprano Samantha Hankey

SAMANTHA_HANKEY-1985.jpg

Praised as “luscious,” “amber-toned,” and “dazzling” by Opera News, American mezzo-soprano Samantha Hankey is quickly establishing a name for herself both at home and abroad. In the 2018/19 season, Samantha will make her Metropolitan Opera debut as Pantalis Mefistofele, and returns to the Met throughout the year in Adriana Lecouvreur, Carmen, Das Rheingold, Götterdämmerung, and Rigoletto. She will also make her company debut at Opernhaus Zürich as Cherubino Le nozze di Figaro. In addition to these debuts, Samantha will cover the title roles in Agrippina at the Bayerische Staatsoper and the premiere of Nico Muhly’s Marnie at the Metropolitan Opera.

Highlights of Samantha’s 2017/18 season included important role debuts as both Rosina Il barbiere di Siviglia at Den Norske Opera and Siébel Faust at Grand Théâtre de Genève. As a member of San Francisco Opera’s prestigious Merola Opera Program, Samantha sang the role of Angelina La Cenerentola to enthusiastic critical acclaim, with the SF Gate praising her performance as “dark-hued, confident...formidable.” Equally at home in classic repertoire and contemporary music, Samantha took part in two significant workshops last season: Ricky Ian Gordon’s Intimate Apparel, in association with the Metropolitan Opera and Lincoln Center Theatre, and David Hertzberg’s The Wake World, commissioned for Opera Philadelphia. Samantha enjoys a close collaboration with composer David Hertzberg and was instrumental in developing the title role of his opera The Rose Elf, which was written for her, and which she will premiere in New York this season.

Samantha’s growing career includes awards in a vast number of national and international competitions. In 2018, she won both First Prize and the Media Prize at the Inaugural Glyndebourne Cup. The Arts Desk wrote of her victory: “Polished, golden of tone, and convincing.... She has a natural charisma, centering on the voice itself...allowing her unfailing musicality to shine through.” In 2018, Samantha also received a Career Grant from the Richard Tucker Music Foundation, following an earlier 2016 award of a Sara Tucker Study Grant and both 2nd Prize and the Birgit Nilsson Prize at Operalia. In 2017, she was named a Grand Finals Winner by the Metropolitan Opera National Council, took First Prize in the Dallas Opera Guild Vocal Competition, and received a Leonore Annenberg Arts Fellowship in that foundation’s final year.

In addition to her stage performances, Samantha is an accomplished recital and concert artist. In 2017, she made her Carnegie Hall debut in Handel’s Messiah with Musica Sacra and performed Rossini’s Stabat Mater in North Carolina. Prior to that, Samantha was heard at Lincoln Center’s Alice Tully Hall in “Juilliard Songfest: Songs of Richard Strauss,” curated by Brian Zeger, as well as a program of Liszt, Schumann, and Strauss songs that she presented as winner of the Vocal Arts Honors Recital. Her voice has also been heard on the radio, including broadcasts from PlayRTS, BR-Klassik, WQXR, and NPR. In 2012, Samantha was featured in HBO’s documentary A YoungArts Master Class with renowned soprano Renée Fleming.

Samantha is a graduate of the Juilliard School, where she received both her Bachelor and Master of Music degrees. While there, Samantha performed in no fewer than six productions. Her highlighted roles included Diana in La Calisto, Varvara in Katya Kabanova, and the title role in Agrippina, of which Musical America wrote, "Samantha Hankey sang Agrippina in a lustrous, commanding mezzo soprano." Samantha’s academic and vocal accomplishments at Juilliard were recognized with several distinctions, including the Peter Mennin Prize for Outstanding Achievement and Leadership in Music and the Juilliard Kovner Fellowship. During her training, Samantha also participated in several summer programs, such as The Internationale Meistersinger Akademie, Houston Grand Opera’s Young Artist Vocal Academy, and The Aspen Music Festival. Samantha is a native of Marshfield, Massachusetts and attended the Walnut Hill School for the Arts high school in Natick.

Pianist Doug Martin

Mr. Martin conducts Fledermaus this Holiday season for Amore Opera. Last season Maestro Martin conducted a gala at Amore which featured Met singers Francisco Casanova and Aprile Millo.

Mr. Martin has treasured an association of almost 20 years with the astounding Eve Queler who will celebrate her 50th year with Opera Orchestra of New York this coming season.

Mr. Martin is one of the not many people who can say they've conducted 100 performances of Puccini’s La Boheme. Doug was one of two conductors of Baz Luhrmann’s La Boheme on Broadway. The opera was sung without cuts in Italian with 28 piece orchestras in San Francisco, New York, and Los Angeles.

Mr. Martin has a Performer’s Certificate in piano from SUNY Fredonia, and a Masters of Music degree in piano performance from University of Indiana Bloomington - where he worked extensively with Virginia Zeani, and John Wustman.

As an Associate Instructor at IU - he coached productions including Wozzeck, and Love for Three Oranges; while attending classes alongside Gayletha Nichols!

Soprano Emily Misch

6ad568_0246f021aad747f8b1126a8ec11deded.jpg

A coloratura soprano praised for her "scintillating precision" (Opera News), Emily Misch is establishing herself as a clear-voiced, versatile, and intelligent performer. Her 2017-2018 season included the Grand Finals of the Metropolitan Opera National Council Auditions, Olympia in Les Contes d'Hoffmann (Opera North), Valeria in the workshop of Tom Cipullo's Mayo (National Opera Center), and the soprano solos in Mozart's Requiem, Haydn's Paukenmesse (Huntington Choral Society), and Carmina Burana (Altoona Symphony Orchestra). She has been awarded prizes from the Schuyler Foundation for Career Bridges, the Gerda Lissner Foundation, Mannes College, and Yale University, and has participated in young artist training programs at Wolf Trap Opera Company, Opera North (NH), and Opera on the Avalon.

Tenor Brian Michael Moore

image1.jpeg

Tenor Brian Michael Moore will make his Met debut singing the role of the Song Seller in Il Tabarro. He completed the Domingo-Colburn-Stein Young Artist Program at LA Opera, where he was seen as Le Remendado in Carmen, The Governor in Candide, Spoletta in Tosca, and Nathanaël in Les Contes d’Hoffmann. During the summer of 2017, he performed the role of Don Ottavio in Don Giovanni with James Conlon at the Spoleto Festival dei Due Mondi and The Prince in Luke Bedford's Seven Angels at the Aspen Music Festival. He made his Los Angeles Philharmonic debut in 2017 singing the First Armored Man in Die Zauberflöte conducted by Maestro Gustavo Dudamel.

Other recent appearances include the Shepherd in Oedipus Rex at the Cincinnati May Festival, Don Ottavio in Don Giovanni with the New York Opera Exchange, several roles in Conrad Susa’s Transformations as part of the Merola Opera Program, and the Animal Tamer in Der Rosenkavalier as a young artist at the Cincinnati Opera. In 2015, he performed the Duke of Mantua in Rigoletto at the Asheville Lyric Opera and the Brevard Music Festival.

Mr. Moore is a winner of the 2018 Sara Tucker Study Grant, and was recognized as Una Finestra Sui Due Mondi from the 2017 Spoleto Festival Dei Due Mondi. This summer, he returned to the Merola Opera Program to participate in the Schwabacher Summer Concerts.

He completed his bachelor and master degrees at the Manhattan School of Music.


Soprano Marjorie Owens

5748580da873a.image.jpg

A former member of the Sächsische Staatsoper in Dresden and a Grand Finals Winner of the Metropolitan Opera National Council Auditions, soprano Marjorie Owens is receiving a great deal of acclaim as one of the most exciting young dramatic sopranos to have recently come to the public’s attention.

This season, Marjorie Owens returns to the Metropolitan Opera’s roster for a variety of roles and makes her debut with the Maggio Musicale Fiorentino and Fabio Luisi in her signature-role of Senta in Der fliegende Holländer. She will also be heard with Utah Opera as the title-role in Norma. Finally, Ms. Owens will appear in recital with her alma mater, Baylor University. Future projects include debuts with the Canadian Opera Company and Boston Youth Symphony Orchestra.

Last season, Ms. Owens made her Hong Kong debut in the title role of Aida with Opera Hong Kong, returned to the Semperoper as Senta in Der fliegende Holländer and to the roster of the Metropolitan Opera. She was heard in recital with the George London Foundation with baritone Quinn Kelsey.

In the 2016-2017 season, Marjorie Owens returned to the Semperoper Dresden as Dorotka in Schwanda, to the Washington Concert Opera for the title-role in Beethoven’s Leonore, and to the roster of the Metropolitan Opera. In concert, she was heard as Senta in Der fliegende Holländer with the Saint Louis Symphony Orchestra and David Robertson. Future projects include debuts with the Canadian Opera Company and Opera Hong Kong and returns to the Metropolitan Opera and the Semperoper Dresden.

Ms. Owens’s 2015-2016 season included her role and company debut in the title-role of Norma at the English National Opera, her company debut with Opera Theatre of St Louis in the title-role of Ariadne on Naxos, her return to the Semperoper as Senta in Der fliegende Holländer, a production she premiered in that theater, and a return to the Metropolitan Opera’s roster.

Ms. Owens has won many awards and competitions; including being a Grand Finals winner of the Metropolitan Opera National Council Auditions, Top Prize in the 2010 Gerda Lissner Foundation Competition, the 2009 Leonie Rysanek award from the George London Foundation, Second Place in the 2009 Licia Albanese Puccini Foundation, a William Matheus Sullivan Grant, First Place in the Ft. Worth Marguerite McCammon Competition, First Place and the Audience Choice award in the Dallas Opera Guild Career Development Grant for Singers Competition, and Second Place in the McCollum Competition. Ms. Owens attended the Aspen Opera Theater Center in the summer of 2003, where she sang scenes from Tosca with David Zinman, and again in 2004 where she performed Ms. Jessel in The Turn of the Screw with Richard Bado. She also performed Viktor Ullmann’s Sechs Lieder with James Conlon and the Aspen Chamber Orchestra and then again with the Maestro and the Cincinnati Linton Chamber Orchestra. In the summer of 2005 at Wolf Trap, Ms. Owens sang Donna Anna in Don Giovanni with Ari Pelto. In past summers, she sang Fiordiligi in a concert version of Cosi fan tutte with the Lyric Opera Center for American Artists and Mimi in La Bohème with the Northwest Indiana Symphony.

Tenor Kevin Ray

dsc_6589_o.jpg

Kevin Ray is praised by Opera News for his “commendable style” and abilities with “subtle coloristic nuance.” This season, he joins the roster of the Metroplitan Opera for their productions of AidaLa fanciulla del West, and Das Rheingold. Last season, he sang his first performances of King Charles VII in Tchaikovsky’s The Maid of Orleans with Odyssey Opera. Other recent performances include his role and company debuts as the Prince in Rusalka with Arizona Opera, Erik in Der fliegende Holländer with Estonian National Opera, and Bacchus in Ariadne auf Naxos with Berkshire Opera Festival. He also recently made his Los Angeles Philharmonic debut singing Beethoven’s Choral Fantasy under the baton of Mirga Gražinytė-Tyla, joined the Phoenix Symphony for Beethoven’s Symphony No. 9, the Florida Orchestra for Rachmaninov’s The Bells, the Midcoast Symphony Orchestra for Verdi’s Requiem, and was a resident artist at the Ravinia Festival Steans Music Institute.

The tenor recently returned to Houston Grand Opera to sing performances of the company’s new commission of Iain Bell’s one-man opera, A Christmas Carol in addition to returning to the company for Roderigo in Otello, Beadle Bamford in Sweeney Todd, and both the First Armed Man and Second Priest in Die Zauberflöte. He is an alumnus of the Houston Grand Opera Studio and his previous roles with the company include Eisenstein inDie Fledermaus, the Third SS Officer in Weinberg’s The Passenger, Melot in Tristan und Isolde, and the Messenger in Aida, in addition to being responsible for responsible for both Froh and Loge in Das Rheingold as well as Don José in Carmen. He also sang the Defendant in a special performance of Gilbert and Sullivan’s Trial by Jury presented by the company at the Harris County Courthouse and scenes of Heggie’s Moby Dickand Carmen in concert.

Mr. Ray’s other recent engagements include his first performances of the title role of Peter Grimes with Chautauqua Opera; Bacchus in Ariadne auf Naxos presented by his alma mater, the Curtis Institute of Music, in association with Opera Philadelphia and the Kimmel Center for the Performing Arts; as well as Don José in Carmen with Wolf Trap Oprea and the Lyrique-en-Mer/Festival de Belle-Île. While a Santa Fe Apprentice Artist, he created the role of the Second Clubman in the world premiere of Moravec’s The Letter. Also with the company, sang the role of the Poet in Menotti’s The Last Savage, covered the Drum Major in Wozzeck, and performed scenes of the title role of Idomeneo. On the concert stage, Mr. Ray has joined the Philadelphia Orchestra, Fort Worth Symphony Orchestra, and the Sunriver Music Festival for Beethoven’s Symphony No. 9. He has also sung Verdi’s Requiem with the Arkansas Symphony Orchestra, Beethoven’s Missa Solemnis with the Peoria Symphony Orchestra and has appeared in numerous concerts with the Opera Orchestra of New York.

He is a 2016 second prize winner in the Wagner division of the Gerda Lisnner Foundation’s International Vocal Competition and a 2015 winner of the William Matheus Sullivan Musical Foundation Award. The tenor was one of eight finalists in Seattle Opera’s 2014 International Wagner Competition. He is a 2012 Grand Finalist of the Metropolitan Opera National Council Auditions as well as a three-time district winner of the competition in previous years. He has also received second prize from the Gerda Lissner International Vocal Competition and third prize in the Wagner division of the Liederkranz Comeptition. Additionally, he is a two-time recipient of study grants from the Wagner Society of New York.

The Cornwall, New York native earned his Master of Music from the Curtis Institute of Music, at which his roles included Don José in La tragédie de Carmen, the Schoolmaster in Cunning Little Vixen, and Toni Reichsmann in The Elegy for Young Lovers. He is also a former participant in the Merola Opera Program of San Francisco Opera, where he sang scenes of Jenik in The Bartered Bride. He received his Bachelor of Music degree from the Oberlin College Conservatory of Music and completed further studies at the Accademia Rossiniana in Pesaro and the Mozarteum Sommerakademie in Salzburg.


Soprano Tamara Wilson

tammy_bio_2018.jpg

With a voice that is a “veritable force of nature” (Chicago Tribune), American soprano Tamara Wilson is quickly gaining international recognition for her interpretations of Verdi, Mozart, Strauss and Wagner. She is the 2016 recipient of the prestigious Richard Tucker Award from the Richard Tucker Music Foundation and Olivier Award nominee.

In the 2018-2019 season, Tamara Wilson will return to the Metropolitan Opera to sing the title role in Aida conducted by Nicola Luisotti and makes her mainstage debut at Teatro alla Scala in a new production as the Prima Donna/Ariadne inAriadne auf Naxos conducted by Franz Welser-Möst, a role she will first sing with him conducting the Cleveland Orchestra as well. Ms. Wilson makes her Lyric Opera of Chicago debut as Leonora in Il trovatore, returns to the Canadian Opera Company as Verdi’s Desdemona in Otello, and returns to the Zurich Opera to sing Chrysothemis in Elektra. Her concert performances will hear her in Bruckner’s Te Deum with the La Scala Orchestra conducted by Christoph von Dohnányi, Beethoven’s Symphony No. 9 with the Royal Concertgebouw Orchestra under Welser-Möst, and her debut in Mahler’s Symphony No. 8 with the Los Angeles Philharmonic conducted by Gustavo Dudamel. In the summer of 2019, she will sing the title role of Aida in the famous Franco Zeffirelli production at Arena di Verona.

cover program 1.jpg
cover program  inside.jpg
Screen Shot 2018-09-20 at 8.15.22 AM.png
Screen Shot 2018-09-20 at 8.15.40 AM.png

District Auditions 17/18 Information


Judges' Bios

Melissa Wegner joined the artistic staff of the Metropolitan Opera in 2011 and currently serves as Deputy Director of the National Council Auditions and Artistic Administration Associate. She auditions hundreds of young singers annually and is passionate about assisting them with their career development. Additionally, Ms. Wegner hears artists in stage and screening auditions at the Met and facilitates the casting of covers and comprimarioroles. A frequent judge for the District and Region auditions of the Met’s National Council Auditions, Ms. Wegner has also adjudicated the SAI Vocal Competition, the McCammon Voice Competition, and the Belvedere Competition in South Africa and Russia.  As a soprano, Ms. Wegner has performed opera, concerts and recitals in the United States and Europe. She joined New York City Opera as a Supertitles Associate and continues this work on a freelance basis with organizations including Carnegie Hall, Lincoln Center, BAM, and Opera Orchestra of New York. Ms. Wegner is a member of Families of FANA WNY, which fundraises to support the orphanage in Colombia from which she was adopted. She is a Trustee of the Foundation Board of SUNY Potsdam, and founding member of the Alumni Board of Bard Conservatory’s Graduate Vocal Arts Program.  Ms. Wegner holds degrees from Bard College, The Manhattan School of Music, and The Crane School of Music at SUNY Potsdam.

Longtime Assistant Conductor at the Metropolitan Opera, Dennis Giauque is a pianist and vocal coach based in New York City.  He was the pianist and head of musical preparation for the award-winning recording of Ariadne auf Naxos, recorded with James Levine and the Vienna Philharmonic.  He has assisted Maestro Levine at summer festivals in Salzburg and Ravinia, as well as with the Boston Symphony.  In addition to assisting Maestro Seiji Ozawa on Der Fledermaus and Carmen for the Seiji Ozawa Music Academy, he has recently been musical assistant and consultant for the Boston Symphony Orchestra’s Der Rosenkavalier and Das Rheingold, Caramoor Summer Music Festival’s Fidelio, and the International Festival of Milano’s Akhnaten, by Philip Glass.  He is also an instructor at the Atkins Young Artist Program of the Mariinsky Theater in St. Petersburg, Russia.  Chamber music is also an important part of Dennis’ musical career. He has collaborated as pianist on the recital stage with such singers as Luciano Pavarotti, Dawn Upshaw, Hei Kyung Hong, James Morris, and many others, as well as regularly performing in chamber music concerts with some of the finest chamber music players of today.  Before coming to New York, he was a coach on the music staffs of opera houses in Nürnberg and Stuttgart, Germany; and assistant chorus master for the San Francisco Opera.

Ken Benson is one of the leading managers for opera singers, including 25 years as Vice- President of Columbia Artists Management, Inc.,where his artists included Thomas Hampson, Aprile Millo,, Jerry Hadley, Florence Quivar, Susanne Mentzer, Marcello Giordani and Jamie Barton. He is Vocal consultant at Juilliard School of Music, and he regularly gives classes and consultations at Yale, UCLA, Mannes, Manhattan School of Music, Boston Conservatory, DePaul, Roosevelt and Indiana Universities. He also offers private consultations. Mr. Benson is invited to serve as adjudicator for the Metropolitan Opera National Council's auditions, as well as to judge in most of the major vocal competitions throughout the US. Frequently, he lectures on operatic subjects, includes a series of talks on Wagner's "Ring" at the Metropolitan Opera House. He is also heard as frequent Host and panelist on the Metropolitan Opera broadcast's Opera quiz. As a writer, he regularly contributes to such publications as Opera News and Classical Singer magazine. He has recently returned to Artists Management, representing a select group of the most talented singers from the emerging generation. 

 

2017 Season Launch Event

images.jpeg

Soprano Emily Misch

A coloratura soprano praised for her "scintillating precision" (Opera News), Emily Misch is establishing herself as a clear-voiced, versatile, and intelligent performer. Her 2017-2018 season includes Leah in Joel Mandelbaum's The Dybbuk at Queens College and the Kaufman Music Center, Exsultate, jubilate, K. 165 with the Greenville Symphony Orchestra, Giuditta in the Academy of Sacred Drama's reading of Domenico Freschi's Giuditta, and the soprano solo in Carmina Burana with Altoona Symphony Orchestra.

Recent engagements include the Ravinia Festival's Steans Music Institute (Vocal Fellow), Kate Alterman in The Triangle Fire at New York University, and concert debuts in Mahler's Symphony No. 8 (Mater Gloriosa) with Berkshire Choral International and Carmina Burana with Westchester Choral Society and Huntington Choral Society. Her 2015-2016 season included debuts with Opera in Williamsburg as Zerlina in Don Giovanni and Opera on the Avalon as Le feu, La princesse, and Le rossignol in L'enfant et les sortilèges. She is a recent graduate of Mannes College of Music, where she was heard as the Controller in the New York premiere of Jonathan Dove's Flight and Lucia in The Rape of Lucretia.

oncert performances include Respighi's Deità silvane (Ravinia's Steans Music Institute), Schoenberg's Pierrot lunaire (Neue Galerie New York), Joseph Schwantner's Two Poems of Agueda Pizarro (Weill Recital Hall), Benjamin Britten's Les illuminations (Garden City Chamber Music Society), and premieres of works by Joel Mandelbaum, Wendy Griffiths, and Joseph Hallman. She was a featured soloist on the New York City Opera gala in honor of Julius Rudel alongside Fredericka Von Stade, Christine Goerke, Placido Domingo, and others.

A 2017 Metropolitan Opera National Council Auditions Eastern Region finalist, she has also been awarded prizes from the Schuyler Foundation for Career Bridges, the Gerda Lissner Foundation in association with the Liederkranz Foundation, Mannes College, and Yale University, and has participated in young artist training programs at Wolf Trap Opera Company, Opera North (NH), and Opera on the Avalon. She received a BA in Music from Yale University, where she graduated magna cum laude.


_X5M0629.jpeg

Soprano Felicia Moore

Though in the early stages of her career, American soprano Felicia Moore is being recognized as a powerful and innovative emerging artist. Ms. Moore has already gained recognition through competitions and her work in various houses in the United States. She is currently an Artist Diploma in Opera Studies candidate at The Juilliard School. This season sees Ms. Moore as Mrs. Grose in Britten's The Turn of the Screw at Opera Columbus in a new Stephen Wadsworth production. She will then return to NYC for her last year at Juilliard and workshop selections of Tchaikovsky's Eugene Onegin with Maestro Alan Gilbert and the Juilliard Orchestra Lab. The end of the Juilliard season will feature Ms. Moore in Juilliard's Commencement Concert at Alice Tully Hall in Beethoven's "Ah! perfido" with Maestro Speranza Scappucci and the Juilliard Orchestra. 

Last season, she performed as the title role in Juilliard Opera's production of Janáček's Katya Kabanova with Maestro Anne Manson in Peter Jay Sharp Theater. She spent the summer in San Francisco as a participant in the Merola Opera Program, performing in the Schwabacher Summer Concert as Agathe from Der Freischütz, and Elisabeth in Tannhäuser in the Merola Grand Finale on the stage of the San Francisco Opera. Before heading to the West coast, she was Soprano Soloist in Rossini's "Stabat Mater" with the Chamber Orchestra of the Triangle in North Carolina. Other recent performances include her Alice Tully Hall debut at Juilliard's Wednesdays at One Series, performances of Mozart's "Ch'io mi scordi di te?" with Maestro Gary Thor Wedow and The Juilliard Orchestra, and workshopping Strauss' "Vier letzte Lieder" with Maestro Alan Gilbert and the Juilliard Orchestra Lab.

Ms. Moore recently completed a residency at Portland Opera for their 2015-2016 season, performing the role of First Lady in The Magic Flute with costume and sets by Maurice Sendak. Following her time in Portland, she was an Apprentice Artist at Des Moines Metro Opera for their 44th Season, covering Alice Ford in Falstaff, and performing scenes from Un ballo in maschera and Fidelio.  She then traveled to Chicago to participate in Ravinia Festival's Steans Institute as a Vocal Fellow.

Ms. Moore was a Gerdine Young Artist with Opera Theatre of Saint Louis their 2014 and 2015 seasons. She performed the role of Harriet Mosher in Tobias Picker's Emmeline, and covered Joyce El-Khoury in the title role. As a 2014 Gerdine Young Artist she covered internationally known soprano Christine Brewer as Madame Lidoine in Dialogues of the Carmelites, and covered First Lady in The Magic Flute. Directly following her time in St. Louis in 2014, she traveled to North Carolina to work with the Swannanoa Chamber Festival, performing Barber's Knoxville: Summer of 1915. 

In competitions, Ms. Moore has been very successful. She was recognized in 2013 and 2016, as a National Semi-Finalist in the Metropolitan Opera National Council auditions. In 2013 she was also awarded as a top prize winner of the George London Competition. She also received encouragement awards that same year from The Licia Albanese-Puccini Foundation and Opera Index, as well as The Robert Lauch Award from the Wagner Society of NY. In 2015, she received a Grant from The Gerda Lissner Foundation and a Career Development Grant from The William Matheus Sullivan Foundation. In March 2016 she was a Finalist in Fort Worth Opera's McCammon Voice Competition. She was a Grant Winner in The Gerda Lissner Lieder/Song Competition in the fall of 2016.  

In April of 2013, Ms. Moore made her solo debut at Carnegie Hall with The Cecilia Chorus of NY and Maestro Mark Shapiro performing the NY Premiere of Ethel Smyth’s Mass in G, as well as scenes from Tchaikovsky’s The Maid of Orleans. In the summer of 2013, she was a Marcello Giordani Young Artist with the Crested Butte Music Festival, covering Der Trommler in Der Kaiser von Atlantis and performing scenes from LohengrinDon Giovanniand Idomeneo

Ms. Moore completed her Artist Diploma in May 2015 and her Master's Degree in May 2013, both from Mannes College The New School for Music. She had great success in her work with Mannes Opera. As a Mannes Young Artist she has performed the title role in Suor Angelica, Nella in Gianni Schicchi, Madama Cortese in Il viaggio a Reims and Female Chorus in The Rape of Lucretia, all with Maestro Joseph Colaneri. In addition to those roles, she has performed scenes from Ariadne auf NaxosAlbert HerringGuillaume TellIphigénie en AulideDialogues of the Carmelites and Der Rosenkavalier at Mannes. She has received The Richard F. Gold Career Grant and The Michael Sisca Memorial Opera Award at both Mannes Recognition Ceremonies. 

Other previous engagements include performances with Nevada Opera as The Mother in Amahl and the Night Visitors. Ms. Moore is a graduate of Westminster Choir College, and made her professional debut with the Spoleto Festival USA as a Fate in the American premiere of Proserpina. She has attended numerous admired summer programs, such as International Vocal Arts InstituteInstitute for Young Dramatic Voices and OperaWorks.


2015-11-04---Emily-D'Angelo---Square.jpg

Mezzo-Soprano Emily D'Angelo

Emily D’Angelo is a member of the Lindemann Young Artist Development Program at the MET. The young mezzo-soprano studied Voice Performance at the University of Toronto until 2016. Emily has been appearing on stage since 2014: She appeared as Nerone in L’incoronazione di Poppea at the Centre for Opera Studies in Italy. At the Halifax Summer Opera Festival she played the role of Sesto in Giulio Cesare. From 2015 to 2016 the Italian-Canadian singer was a Fellow of the Ravinia Steans Institute in Chicago. She performed in the role of Cherubino in The Marriage of Figaro at the Spoleto Festival di Due Mondi and in 2016 became an ensemble member of the Canadian Opera Company. There she sang the role of the Second Lady in The Magic Flute and the title role in Ariodante. In summer 2017 she made her debut at the Opera Theatre Saint-Louis as Annio in La clemenza di Titoand appeared as Rosina in The Barber of Seville at the Glimmerglass Festival. Emily has already demonstrated her talent in a number of international competitions: In 2016 she won the Metropolitan Opera National Council Auditions, and in 2017 she was a prize winner in the Gerda Lissner International Competition.


image.png

Soprano Heather Bobeck

Heather Bobeck is a NYC artist currently nurturing her talents as a freelance singer and was honored in 2017 to have been selected as a winner of The Milton Cross award performing Verdi's Sempre Libera, as well as a New York district winner in this year’s Metropolitan Opera National Council competition. She was previously the recipient of the prestigious Mary Ann and Spencer Everett Scholarship in Voice, as well as the Choir Scholarship at the Little Chapel on the Boardwalk. As the winner of the Richard Deas Concerto Competition, Ms. Bobeck sang Johann Strauss’ Fruhlingsstimmen with the Wilmington Symphony Orchestra February 2012.

Her most recent performances include: Der Königen from Mozart's Die Zauberflöte with Opera Theatre of Montclair and Manhattan Opera Studio; Valencienne/Natalie in Merry Widow in the Continuo Arts Foundation Young Artist Program, 2017, and in the debut performance with Opera Wilmington, 2014; Alcina in Handel's Alcina with Opera Rox Productions; Musetta in Puccini's La Boheme with ONLI; and Sandman from Humperdink’s Hansel and Gretel with the Manhattan Opera Studio. She has also recently covered Gianetta in North Shore Music Festival’s The Elixir of Love, the Cockerel for New Opera NYC’s Zolotoy Petushok (The Golden Cockerel), Gretel from Hansel and Gretel with the Manhattan Opera Studio.  

Additionally, she has sung as soprano soloist in chamber performances of Schubert’s Mass in G, Bach’s St. John’s Passion with the North Carolina Baroque Orchestra; Mozart’s Exultate Jubilate K.165; and participated in the Laudate Dominum Conference in St. Polten, Austria, under the direction of Dr. Wolfgang Reisinger. She looks forward to more frequent visits to Vienna, Austria to study under the tutelage of soprano Ursula Langmyr.


TZ6A9563+(2).jpg

Bass-Baritone Lawson Anderson

Hailed for his “powerful, darkly-hued voice" and "nobility of phrasing and carriage” (Cleveland Classical), Lawson Anderson is quickly establishing himself as one of the leading bass-baritones of his generation.  A former management consultant with an MBA from Columbia Business School, Lawson has made waves in the opera world coming off of a First Prize award from the Gerda Lissner Foundation’s International Vocal Competition; his Carnegie Hall debut singing Wotan from das Rheingold; his 2017 Opera Index Top Prize Arthur E. Walters Memorial Award; representing the USA as a Finalist of the 2017 Hans Gabor Belvedere finals in Moscow;  a Grand Finalist and Winner of the 2017 Anita Cerquetti Voice Competition; a 2017 Grant Winner from the Giulio Gari Foundation; a 2017 Eastern Region Finalist in the Metropolitan Opera National Council Auditions and triumphant runs in the title roles of Don Giovanni with the Cleveland Opera and Le nozze di Figaro with the Berlin Opera Festival.  Upcoming engagements take Lawson back to Italy to perform as bass soloist in Verdi’s Requiem, to Atlanta as bass soloist in Handel's Messiah, and to NYC in 2018 to make his debut as Méphistophélès in Gounod's Faust.  Lawson is a native of Atlanta, Georgia and currently resides in Manhattan.


0_0_682.666666667_1024_AD-Headshot-768x1152.jpg

Soprano Anna Dugan

Anna Dugan, a “pliant soprano, as powerful in her chesty low register as in her creamy middle and top” (Opera News), was recently critically acclaimed for her performance as the Marquise de Merteuil in Conrad Susa’s The Dangerous Liaisons, which was recorded commercially for the first time by Albany Records. This past summer, she performed Violetta in La traviata with the Aspen Opera Center.

Previous credits include the soprano solo in Dvorak’s Stabat Mater with Maestro David Rosenmeyer and the Fairfield County Chorale, Magda de Civry cover in Puccini’s La rondine as a Gerdine Young Artist at Opera Theatre of Saint Louis, and First Sorceress in Ernest Bloch’s Macbeth. She has performed scenes from Così fan tutte (Fiordiligi) and Don Giovanni (Donna Elvira) with orchestra, under the baton of Maestro Stephen Lord. She recently workshopped and performed multiple scenes from Michael Dellaira and J.D. McClatchy’s opera The Leopard, based on the famous novel of the same name, with American Opera Projects. 

Ms. Dugan was a National Semi-finalist in the 2017 Metropolitan Opera National Council Auditions, a 2016 recipient of the Richard F. Gold Career Grant from the Shoshana Foundation, and a finalist in the 2016 New York District of the Paris Opera Competition. She won the Eisenberg-Fried Concerto Competition last year, with Barber’s “Andromache’s Farewell,” for soprano and orchestra, which she performed last October with Maestro George Manahan and the MSM Chamber Sinfonia.

Ms. Dugan has a Bachelor’s degree from Columbia University in European History and Music, was a participant in its Joint Exchange with the Juilliard School, studying Classical Vocal Performance. She also has a Master’s Degree from Manhattan School of Music, and currently studies with Ruth Golden.


Ken Benson


Ken Benson is one of the leading managers for opera singers, including 25 years as Vice-President of Columbia Artists Management, Inc.,where his artists included Thomas Hampson, Aprile Millo,, Jerry Hadley, Florence Quivar, Susanne Mentzer, Marcello Giordani and Jamie Barton. He is Vocal consultant at Juilliard School of Music, and he regularly gives classes and consultations at Yale, UCLA, Mannes, Manhattan School of Music, Boston Conservatory, DePaul, Roosevelt and Indiana Universities. He also offers private consultations. Mr. Benson is invited to serve as adjudicator for the Metropolitan Opera National Council's auditions, as well as to judge in most of the major vocal competitions throughout the US. Frequently, he lectures on operatic subjects, includes a series of talks on Wagner's "Ring" at the Metropolitan Opera House. He is also heard as frequent Host and panelist on the Metropolitan Opera broadcast's Opera quiz. As a writer, he regularly contributes to such publications as Opera News and Classical Singer magazine. He has recently returned to Artists Management, representing a select group of the most talented singers from the emerging generation.


Pianist Doug Martin

Mr. Martin conducts Fledermaus this Holiday season   for Amore Opera.  Last season Maestro Martin conducted a gala at Amore which featured Met singers Francisco Casanova and Aprile Millo. 

Mr. Martin has treasured an association of almost 20 years with the astounding Eve Queler who will celebrate her 50th year with Opera Orchestra of New York this coming season.

Mr. Martin is one of the not many people who can say they've conducted 100 performances of Puccini’s La Boheme.  Doug was one of two conductors of Baz Luhrmann’s La Boheme on Broadway.  The  opera was sung without cuts in Italian with 28 piece orchestras in San Francisco, New York, and Los Angeles.

Mr. Martin has a Performer’s Certificate in piano from SUNY Fredonia, and a Masters of Music degree in piano performance from University of Indiana Bloomington -  where he worked extensively with Virginia Zeani, and John Wustman.  

As an Associate Instructor at IU - he coached productions including Wozzeck, and Love for Three Oranges; while attending classes alongside Gayletha Nichols!    


Met Opera Auditions Yield a Young Star

https://nyti.ms/2ntzpPP

Met Opera Auditions Yield a Young Star: Aryeh Nussbaum Cohen

By ZACHARY WOOLFEMARCH 20, 2017

 Aryeh Nussbaum Cohen - Credit Richard Termine for The New York Times

Aryeh Nussbaum Cohen - Credit Richard Termine for The New York Times

There were several good singers onstage Sunday afternoon at the Metropolitan Opera’s National Council Auditions Grand Finals concert, a venerable tryout for future stars. (Renée Fleming, the event’s host, was a winner in 1988, on her third attempt.)

But there was only one complete artist. At just 23, Aryeh Nussbaum Cohen, a baby-faced countertenor from Brooklyn, already possesses a remarkable gift for intimate communication in a vast hall, combined with a voice of velvety gentleness — surprisingly penetrating given the tenderness of its texture — and a taste for adventure.

In a competition that hews toward the standards, Mr. Cohen chose a harrowing aria from Jonathan Dove’s 1998 opera “Flight,” based on the true story of an Iranian refugee stranded for years in a Paris airport. While most young performers in the National Council Auditions concentrate simply on nailing their high notes, Mr. Cohen — his diction superb, his acting alert without overplaying — provided an eloquent reflection on a current international crisis.

But he is no contemporary specialist. Twenty-first-century singers, like 21st-century instrumentalists and orchestras, are rightly expected to range widely as well as deeply. For his second selection (the nine finalists each picked two pieces to perform with the Met orchestra, conducted by Nicola Luisotti), Mr. Cohen balanced the aria from “Flight” with “Dove sei,” an aching lament from Handel’s “Rodelinda” (1725). Expressive yet dignified, his phrasing confident and his ornamentation stylishly discreet, he brought tears to my eyes.

Mr. Cohen was deservedly named one of the competition’s six winners, but he stood clearly apart from the pack. Not that there weren’t other talents on offer. I appreciated Samantha Hankey’s mellow mezzo-soprano; the budding heldentenor Kyle van Schoonhoven’s steady, burnished sound; the soprano Kirsten MacKinnon’s liveliness. Vanessa Vasquez impressed merely by acquitting herself in two of opera’s most recognizable soprano hits, “Un bel dì” from “Madama Butterfly” (here nicely dreamy) and “Sempre libera” from “La Traviata.” Richard Smagur offered old-fashioned poise, verging on staidness, in tenor arias from “Carmen” and “Werther.”

 Samantha Hankey - Credit: Richard Termine for The New York Times 

Samantha Hankey - Credit: Richard Termine for The New York Times 

Even the three finalists not named winners were pleasing. Natalie Image’s soprano was notable for its pristine high notes, Gabriella Reyes de Ramírez’s for its generosity. Cody Quattlebaum, his bass-baritone voice more restrained than his bicep-length mane of curly hair, was unusually low-key as Mozart’s Figaro and Gounod’s Méphistophélès.

But there was only one singer who could plausibly stand with the voluptuous-voiced Jamie Barton, the commanding Amber Wagner and the impassioned Michael Fabiano — the distinguished previous winners who performed while the judges deliberated. Mr. Cohen is ready.