Erin Morley is one of today’s most in demand coloratura sopranos. Her breakthrough performance as Marguerite de Valois in LES HUGUENOTS at Bard SummerScape was praised by the New York Times as “formidable.”
Ms. Morley has brought what the New York Times has called the “silken clarity of her voice and the needlepoint precision of her coloratura” to the Metropolitan Opera, the Vienna Staatsoper, Munich’s Bayerische Staatsoper, the Opéra National de Paris, the Palau de les Arts in Valencia, Spain, and the Santa Fe Opera. Renowned for her musicality and deft phrasing, she has appeared as a soloist with America’s premiere symphony orchestras, including the Cleveland Orchestra, Chicago Symphony Orchestra, Philadelphia Orchestra, and the New York Philharmonic.
The 2015–2016 season takes Ms. Morley back to Munich (Die Fiakermilli in ARABELLA) and Paris (Sophie in DER ROSENKAVALIER), and will include debuts at the Minnesota Opera (Zerbinetta in ARIADNE AUF NAXOS), at Opéra National de Lorraine in Nancy for a new production of LUCIA DI LAMMERMOOR (title role), and with Harry Bicket’s celebrated chamber group, The English Concert, in a European tour singing Angelica in Handel’s ORLANDO with a final performance at Carnegie Hall. She also returns to her home state for CARMINA BURANA with the Utah Symphony and for CHRISTMAS WITH THE MORMON TABERNACLE CHOIR as a guest soloist.
A graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program, Ms. Morley has sung more than 70 performances at the Metropolitan Opera. She was hailed by critics as “a major success” when she stepped in last-minute to sing Sophie in an entire run of DER ROSENKAVALIER in the 2013-2014 season. (She will return to the Met as Sophie in Robert Carsen’s new production in the 2016–2017 season alongside Elīna Garanča and Renee Fleming, with James Levine at the podium.) Met audiences also heard Ms. Morley’s role debuts as Olympia (LES CONTES D’HOFFMANN) in the 2014–15 season, and Constance (LES DIALOGUES DES CARMÉLITES) in 2013–2014, among others.
Equally at home in chamber music, Ms. Morley has appeared with Louis Langrée and the MOSTLY MOZART FESTIVAL ORCHESTRA, with the CHAMBER MUSIC SOCIETY OF LINCOLN CENTER, in a recital tour with pianist Vlad Iftinca (Salt Lake City’s VIRTUOSO SERIES and Carnegie’s WEILL HALL), and with pianist Ken Noda (Webern’s Four Songs) and James Levine and the MET CHAMBER ENSEMBLE (Satie’s Socrate) in Carnegie’s ZANKEL HALL.
In commercial recording, Ms. Morley can be seen as Sandrina (LA FINTA GIARDINIERA) with conducter Emmanuelle Haïm in Opéra de Lille’s production for the Erato label; as Woglinde (GÖTTERDÄMMERUNG) with conductor Fabio Luisi in the Metropolitan Opera’s Grammy Award-winning Lepage Ring Cycle for Deutsche Grammophon; and can be heard as Marguerite de Valois (LES HUGUENOTS, live from Bard SummerScape), for the American Symphony Orchestra; in Carl Nielsen’s SYMPHONY NO. 3 “ESPANSIVA” with Alan Gilbert and the New York Philharmonic Da Capo Records; and as Sylvie in Gounod’s opéra-comique LA COLOMBE with Sir Mark Elder and The Hallé Orchestra for the Opera Rara label.
The daughter of a violinist, Ms. Morley spent her early years studying violin and piano, and frequently collaborated with her mother. While obtaining her undergraduate voice degree from EASTMAN SCHOOL OF MUSIC, she continued her piano studies, and accompanied singers in lessons and in recital. She went on to earn her Master of Music voice degree from THE JUILLIARD SCHOOL and her Artist Diploma from the JUILLIARD OPERA CENTER in 2007, where she received the Florence & Paul DeRosa Prize. Ms. Morley also trained at the Opera Theatre of St. Louis as a Gerdine Young Artist, the Ravinia Festival Steans Institute, and the Wolf Trap Opera Company as a Filene Young Artist. She won 1st Place in the Licia Albanese – Puccini Foundation Competition in 2006, 3rd Place in London’s Wigmore Hall International Song Competition in 2009, and received the Richard Tucker Career Grant in 2013.
Bass Matthew Anchel, called "a voice to watch" by the Wall Street Journal, was a Grand Finalist in the 2013 Metropolitan Opera National Council Auditions. Engagements during the 2015-2016 season include Don Alfonso in Cosi Fan Tutte with Winter Opera Theatre of St. Louis, Handel’s Messiah with the Annapolis Chorale, and a debut as Zuniga in Carmen with the Savannah Voice Festival.
Engagements during the 2014-15 season included joining the Metropolitan Opera for a second season for their productions of Lady Macbeth of Mtsensk, Die Zauberflöte and Die Meistersinger von Nurnburg, and debuts with Opera San Antonio as First Soldier in Salome, with LOFTPOpera as Don Alfonso in Lucrezia Borgia, and with the Annapolis Chorale for Bach's St. John Passion.
In the 2013-14 season he first joined the roster of the Metropolitan Opera for its productions of The Nose and Die Zauberflöte, sang Ferrando in Il Trovatore with Opera in Williamsburg, the Bonze in Madama Butterfly in a return to Opera San Jose, the Bass solo in the Mozart Requiem with Allentown Symphony, and a return to Opera Theatre of Saint Louis for Sarastro in The Magic Flute, a production directed and designed by Isaac Mizrahi. Performances in the 2012-2013 season included Ferrando (Il Trovatore) with Opera San Jose, Alidoro (La Cenerentola) with Knoxville Opera, and Sarastro (Die Zauberflöte) with Music Academy of the West.
For the 2011-12 season Mr. Anchel was a member of the Ensemble of Oper Leipzig, singing Zaretski (Eugene Onegin), Alaska Wolf Joe (The Rise and Fall of the City of Mahagonny), Marquis D'Obigny (La Traviata), and The Police Inspector (Der Rosenkavalier), among others. From 2010-2011, he sang with Los Angeles Opera as a member of the Domingo-Thornton Young Artist Program, performing the roles of Count Ceprano (Rigoletto) and Fourth Noble (Lohengrin), both under the baton of James Conlon. He also joined the Los Angeles Philharmonic as Dr. Chausable in the world premiere of The Importance of Being Earnest.
Other performance highlights include Haraste (Troilus and Cressida) and First Soldier (Salome) with Opera Theatre of Saint Louis; Familiare (Maria di Rohan) with the Caramoor Festival; and the title role in Le nozze di Figaro in his international debut with the Intermezzo Festival in Brugge, Belgium. He has also performed Sparafucile (Rigoletto), Enrico VIII (Anna Bolena), Oroveso (Norma), the Verdi Requiem, and Handel's Messiah.
In addition to his recognition from the Metropolitan Opera National Council Auditions, Matthew is a recipient of many awards. They include 3rd Place in the Palm Beach Opera Competition, the Judges Award from Opera Index, and Encouragement Award from the George London Foundation, and Finalist and Encouragement Award in the Loren L. Zachary Competition. Born and raised in New York City, Matthew graduated from the famed LaGuardia Performing Arts High School, and later attended the Manhattan School of Music, where he started studying with his current teacher, Patricia McCaffrey.
Brian Michael Moore
Brian Michael Moore, 22, is a tenor from Cincinnati, Ohio. He graduated from the Manhattan School of Music, studying voice under Mark Oswald. Brian has performed in operas at the Cincinnati Opera Company including Pagliacci by Ruggiero Leoncavallo and Die Meistersinger von Nurnberg by Wagner; at the Manhattan School of Music in Lucia di Lammermoor by Gaetano Donizetti; and at the New York Opera Exchange in Don Giovanni by Mozart. Brian has performed at Saint Mark’s Cathedral in Venice, Italy; the Cathedral of Saint John the Divine under Kent Tritle; as well as in the Cincinnati Pops! Orchestra Summer Park Tour 2010 under Vince Lee.
American soprano Felicia Moore is quickly creating a name for herself as a powerful budding young dramatic voice. Though in the early stages of her career, Ms. Moore has already gained a variety of experiences through her education and work in many prestigious settings. She has just completed her Artist Diploma at Mannes College, and has 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 Naxos, Guillaume Tell, Iphigénie en Aulide, Dialogues 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.
Ms. Moore was a Gerdine Young Artist with Opera Theatre of Saint Louis for the past two summers. 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, as a National Semi-Finalist in the Metropolitan Opera National Council auditions and a winner of the George London Award. 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 most recently was awarded a Career Development Grant from The William Matheus Sullivan Foundation.
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 Lohengrin, Don Giovanni and Idomeneo.
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 Institute, Institute for Young Dramatic Voices and OperaWorks.
Ms. Moore will be a Resident Artist at Portland Opera for the 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 will be an Apprentice Artist at Des Moines Metro Opera this summer, study covering Alice Ford in Falstaff, and performing in their scenes concerts.
The young French mezzo-soprano Virginie Verrez received her Bachelor of Music degree from the Juilliard School and is currently continuing her studies there with Prof. Edith Wiens. She was praised by the New York Times for her role in Gluck's Iphigenie en Aulide, as “a rich-voiced mezzo, gripping as Clytemnestre”. Other roles at Juilliard include Beatrice in Wolf-Ferrari’s Donne Curiose, Zenobia in Handel’s Radamisto and Junon in Charpentier’s Acteon. Virginie Verrez has also sung the role of Lola in Mascagni’s Cavalleria Rusticana with Avignon Opera, the role of Mercedes in Bizet’s Carmen with Wolf Trap Opera and the role of Fenena in Verdi’s Nabucco with the Passiontheater.
In 2014, in the realm of concert work the mezzo-soprano has made her Carnegie Hall debut in Bruckner’s Te Deum and performed in Beethoven’s Ninth Symphony with the Philadelphia Orchestra in Philadelphia.
Ms Verrez is an impassioned recitalist, and at Juilliard has been invited by Brian Zeger to collaborate in his Songfest in Avery Fisher Hall. A further recital in New York was given to her by the Art Song Society of New York, upon winning the First Prize. Ms Verrez also sang recitals in Rhinebeck and Dallas.
Virginie Verrez is a proud recipient of a Kovner Fellowship at the Juilliard School. She is also a prize winner in the Opera Index Competition, the McCammon Competition, the Licia Albanese Puccini Foundation, and the Gerda Lissner Foundation.
Virginie Verrez will join the Lindemann Program at the Metropolitan Opera in Fall 2015.