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Season Artists

The Ghosts of Gatsby

West Coast Premiere

More Info →
  • Evan Mack, in rehearsal

    Evan Mack

    Composer

  • Evan Mack, in rehearsal

    Evan Mack

    Composer

    Believing that opera should be theater grounded in climatic expression that delivers larger-than-life stories and music that harnesses the full athletic thrill of singing, Evan Mack has devoted much of his compositional life to opera and song.  His first major operatic composition, where he served as both composer and librettist, was Angel of the Amazon.  “Angel” premiered in May of 2011 by Encompass New Opera Theatre at the Baryshnikov Arts Center in New York City and was subsequently released on CD worldwide by Albany Records.  Two years later, Fresno State Opera Theater premiered The Secret of Luca. This was the first of several collaborations with librettist Joshua McGuire.  In August 2016, their American grand opera Roscoe premiered at Seagle Music Colony to rave reviews.  Roscoe received its orchestral world premiere with the Albany Symphony starring Metropolitan Opera star Deborah Voigt.  In between the two large scale projects, Mack & McGuire found time to write the first ever opera for Twitter #IsOperaDead – an opera in 5 acts lasting one minute and forty seconds.

    Their Christmas opera for children, Lucinda y las Flores de la Nochebuena is quickly becoming a holiday standard with yearly productions by San Francisco Opera, Opera in the Heights and Fresno State Opera, who commissioned the opera.  The one-act opera The Ghosts of Gatsby premiered by Samford Opera in Birmingham, AL in 2019 and won the National Opera Association’s Argento Chamber Opera Competition. Mack & McGuire’s latest, Yeltsin in Texas! premiered in 2020 by TCU and Opera in the Heights. It’s now in development to become a musical comedy!

    Evan Mack has proven as deft at song writing as he is in opera.  His song A Little More Perfect is a setting of Justice Anthony Kennedy’s final paragraph of the Marriage Equality Decision by the Supreme Court in 2015.  Premiering at Seagle Music Colony in 2015, it has quickly become a favorite of many baritones including Michael Mayes, Daniel Okulich and Michael Miller to name a few.  The song had its professional premiere at the Glimmerglass Festival in 2016 and the orchestral premiere at the Fort Worth Opera Festival in 2017.  His new cycle If Only Lenny Were Here, which celebrates the life of Leonard Bernstein had its world premiere with the Schenectady Symphony in October of 2018.

  • Joshua McGuire, librettist

    Joshua McGuire

    Librettist

  • Joshua McGuire, librettist

    Joshua McGuire

    Librettist

    JOSHUA McGUIRE has written librettos for The Secret of Luca, (based on the novel by Ignazio Silone) and Roscoe (based on the novel by Pulitzer Prize winner William Kennedy) with music by Evan Mack. In October 2016, Roscoe received a full performance by the Albany Symphony featuring soprano Deborah Voigt in the lead role of Veronica.  His collaboration with Mack also produced #isoperadead, the first-ever opera for Twitter, as well as Lucinda y Las Flores de la Nochebuena, a children's opera commissioned by the Fresno State Opera Theatre.  Since premiering in 2016, the opera has played for over 15,000 children, including annual performances by Opera in the Heights (Houston) and the San Francisco Opera Guild.  Mack & McGuire’s one-act opera The Ghosts of Gatsby, based on the life of Zelda Fitzgerald, was commissioned and premiered by Samford University in 2018.  They are currently fulfilling a multi-company commission for a new comedy entitled Yeltsin in Texas!

    In 2015, McGuire was commissioned to write a libretto for Washington National Opera's American Opera Initiative, and the resulting one-act opera, Alexandra, with music by David Clay Mettens, was premiered at the Kennedy Center.  He is also the author of The Secret of Music: a look at the listening life, a book of essays on music and mindfulness.  McGuire is the recipient of fellowships from Yaddo, and from the Susan Shames Feinstein Librettist Fellowship at the American Center for New Works Development.

    McGuire currently teaches at Vanderbilt University's Blair School of Music.  He studied at the University of Cincinnati College-Conservatory of Music, where he pursued Master’s work in both guitar and orchestral conducting, holding assistantships in both areas.  As an undergraduate at Vanderbilt University, he took the Bachelor of Music summa cum laude as well as High Honors in English Literature for his thesis on musical structures in the work of James Joyce.  He currently resides in Nashville with his wife, pianist and conductor Jennifer McGuire, their son Thomas, and a basset hound.

  • Joshua Horsch, posing with baton.

    Joshua Horsch

    Conductor

  • Joshua Horsch, posing with baton.

    Joshua Horsch

    Conductor


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    Praised for conducting with “steady acumen and considerable aplomb” and “awesome control” (Opera Today), Joshua Horsch is an extremely versatile operatic and symphonic conductor.  A two-time winner of the American Prize in Opera Conducting Joshua serves as Music Director and Principal Conductor of Opera Las Vegas. Joshua’s recent and upcoming conducting engagements include appearances with Atlanta Opera, Des Moines Metro Opera, Opera Orlando, Mobile Opera, Pacific Opera Project, Opera Las Vegas, Tri-Cities Opera, and Chicago Summer Opera.

    With a diverse repertoire of over fifty operas and a broad spectrum of orchestral and choral works, Joshua has recently held positions as a conductor/coach/chorus master on the music staff of the St. Louis Symphony Orchestra, Michigan Opera Theatre, Florida Grand Opera, North Carolina Opera, Opera Saratoga, Pensacola Opera, Fort Worth Opera, the Boulder Philharmonic Orchestra, and the Colorado Music Festival.  Joshua’s guest and workshop conducting includes work with the Baltimore Symphony Orchestra, the Omaha Symphony, the Oregon Bach Festival Orchestra and Chorus, the Cabrillo Festival Orchestra, the Bohuslav Martinu Philharmonic Orchestra, Orquestra Filharmonia de Chihuahua, the Lyatoshinsky Chamber Orchestra, the Newport Music Festival, the Colorado New Music Ensemble, the PENDULUM New Music Ensemble, the Boston Opera Collaborative, and the Boulder Bach Festival.

    As a dedicated interpreter of new works, Joshua has enjoyed a number of collaborations with many of today’s leading composers including Tom CipulloJennifer Higdon, and Libby Larsen.  For two seasons, Joshua served as Music Director/Conductor of the CU New Opera Workshop where he collaborated with composers Libby Larsen and Alberto Caruso as well as author Colm Tóibín and stage director Ron Daniels.  At Seagle Music Colony’s American Center for New Works Development, Joshua has conducted and played workshops for new works by Libby Larsen and Scott Eyerly.  For four seasons, Joshua served as conductor/co-founder of the Colorado New Music Ensemble where he programmed and conducted works ranging from John Corigliano’s Symphony No. 2 to Susan Botti’s chamber opera Telaio: Desdemona.  While a Festival Artist/Conductor at the Newport Music Festival, Joshua conducted members of the Rhode Island Philharmonic and Providence Singers in a series of contemporary choral/orchestral masterworks.

  • Darren ‘Daz’ Weller, Director, close up in a natural setting.

    Darren ‘Daz’ Weller

    Director

  • Darren ‘Daz’ Weller, Director, close up in a natural setting.

    Darren ‘Daz’ Weller

    Director

    Daz Weller (Director) moved from Australia to Las Vegas in 2010 and is the Executive Artstic Director of Vegas Theatre Company (VTC, formerly Cockroach Theatre Company).Daz graduated with a BA in Acting from the Queensland University of Technology in 1998 and has worked extensively with most of Australia’s major theatre companies including the Sydney Theatre Company, Company B Belvoir, Griffin Theatre Company, The Bell Shakespeare Company, Queensland Theatre Company, Theatre of Image, Melbourne Theatre Company, and The State Theatre Company of South Australia. His US directing credits include Macbeth, Good Kids and The Crucible at Nevada Conservatory Theatre (NCT); Spinning Into Butter, Seven Deadly Sins, The Father, and Gianni Schicchi at VTC; Piff the Magic Dragon Show at the Flamingo; Small Space Festival at Emergency Arts; The Motown Show at The Venetian Resort and Casino; and Spiegelworld’s Vegas Nocturne at the Cosmopolitan’s Rose.Rabbit.Lie. Since moving to Las Vegas, he has for VTC in The Christians, and Love Love Love; for NCT in The Hound of the Baskervilles, To Kill a Mockingbird, and Pippin; A Public Fit in The Beauty Queen of Leenane; Las Vegas Little Theatre in Doubt; and Las Vegas Shakespeare Company in The Wizard of Oz, and A Midsummer Night’s Dream. Daz has twice received the Valley Theatre Award as Best Director for The Father, and Lynn Nottage’s Sweat.

  • Rob McGinness, Baritone, smiling in formal wear in front of a brick wall.

    Rob McGinness

    Baritone

    Fitzgerald

  • Rob McGinness, Baritone, smiling in formal wear in front of a brick wall.

    Rob McGinness

    Baritone


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    Employing his “impressive singing … well-supported tone and supple phrasing,” (Baltimore Sun) baritone Rob McGinness connects characters to ideas, and listeners to sounds. Often featured portraying opera’s “bad boy,” Rob’s operatic credits include the title roles in Eugene Onegin and Don Giovanni, as well as Marcello in La Bohème.

    Committed to promoting and performing new works, Rob premiered roles in Frances Pollock’s award-winning opera Stinney, The Ghost Train by Paul Crabtree, and the lead role in Shining Brow, Daron Hagen’s opera about Frank Lloyd Wright. Rob’s own compositions include vocal, theatrical, and orchestral pieces premiered at IngenuityFest, Andy’s Summer Playhouse, and by the Windham Orchestra in Vermont.

    As a featured soloist, Rob performed in the Kennedy Center Concert Hall and Carnegie Hall’s Stern Auditorium. Other concert credits include Carmina Burana with Maryland Symphony Orchestra and Brahms Requiem with The Washington Chorus, for which the Washington Post praised his “warm baritone.”

  • Kayla Wilkens, Soprano, in black and leaning against a grey wall.

    Kayla Wilkens

    Soprano

    Zelda 1918

  • Kayla Wilkens, Soprano, in black and leaning against a grey wall.

    Kayla Wilkens

    Soprano


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    With a passion for musical theatre and opera, soprano Kayla Wilkens is a versatile young artist originally from Salem, Oregon. An enthusiastic supporter of developing new works, she has performed leading roles in the ASCAP award-winning premiere readings of Persephone Unplugged (Persephone) and Jonathan Reid Gealt’s Dust and Shadow (Miss Monk), in the World Music Award-winning premiere of the opera O Pioneers! (Marie Shabata), John Muehleisen's Pietà (soprano soloist) and in Libby Larsen’s Moabit Sonnets (soprano soloist). Her featured roles in new works include Vía Láctea (Peggy cover/featured soloist) with OperaBend, the American debut of Robert Owen’s opera Culture, Culture! (featured coloratura) international live webcast, and the national prize-winning full orchestra premiere of Mary Zimmerman’s adaptation of Bernstein’s Candide (Cunegonde cover).

    Other recent productions include performing as a featured soloist in concerts with Tony-winning composers Steven Lutvak and Stephen Bray. Her recent roles include Into the Woods (Rapunzel/Cinderella’s Mother) with Musical Theater Heritage, L’Etoile (Princess Laoula) with Sin City Opera, Sweeney Todd (Johanna) with OmniArts, and in the tour of The Drowsy Chaperone (Janet Van De Graaff) with the Stage Theater. Kayla has also performed as a featured soloist in the original historical revues Songs of the Great War at Musical Theater Heritage and in the Abraham Lincoln Birthday Celebration production of Civil War Voices. Other favorite roles include La Fée in Cendrillon, Belle in Beauty and the Beast, Adina in L’elisir d’amore, and Adele in A Man of No Importance.

    As a frequent recitalist and orchestral soloist, her recent performances include Stephen Paulus’ To Be Certain of the Dawn, Handel’s Messiah, Bach’s Magnificat, Faure’s Requiem, Orff’s Carmina Burana, Bernstein’s Mass, and a duet recital series Glimpses premiering commissioned American art songs. Kayla has also toured and performed as a featured soloist with professional choral chamber ensembles including Sounding Light and First Plymouth Cantorei.

    Her honors include the Dorothy Kirsten-James Browning “Most Promising Young Artist” prize in the NATS National Artist Awards, the inaugural Bill Hayes Award in NATS National Musical Theater Competition, as well as awards in the Metropolitan Opera Council Auditions, the Lotte Lenya Competition, the Harold Haugh Light Opera Competition, and the Carolyn Bailey and Dominick Argento National Vocal Competition.

    Having earned a Bachelor’s degree in vocal performance from Linfield College, she completed a Master’s degree in vocal performance at the University of Nebraska. When not on stage, Kayla may be found blues dancing or concocting decadent desserts to reward her dearest friends.  ​​

    Recent highlights from the 2018 season include singing as the soprano soloist in Pietà: An Oratorio by John Muehleisen with the Abendmusik Orchestra at First Plymouth Church, premiering the songcycle April Twilights​ by Chris Miller (of Miller & Tysen), a children's adaptation of The Magic Flute  (Pamina/1st Spirit) with Sin City Opera, singing in educational outreach concerts with Opera Omaha, and The Pirates of Penzance (Mabel) with Sin City Opera and Super Summer Theater. Most recently, Kayla sang in Opera Omaha's Pagliacci, joined the Arts Across Nebraska tour of the musical Civil War Voices and then returned to Las Vegas to sing the Dew Fairy in Hansel and Gretel with Opera Las Vegas. She is currently performing in Stolen! The Musical at the Ohio Star Theater through August and upcoming appearances include performances with Sounding Light, Opera Omaha and  Vegas City Opera.

    ​Full resume and references available upon request.
  • Athena Mertes, Soprano, against a blue background.

    Athena Mertes

    Soprano

    Zelda 1924

  • Athena Mertes, Soprano, against a blue background.

    Athena Mertes

    Soprano

    Athena Mertes is one of the Valley’s most celebrated sopranos, whose opera and concert credits include Despina (Cosi Fan Tutte), Gretel (Hansel and Gretel), Lucy (The Telephone), Zerlina (Don Giovanni), Gianetta (L’Elisir d’Amore), Morgana (Alcina), Musetta (La Bohème), Pamina (Die Zauberflöte), Abigail (The Crucible), Nella (Gianni Schicchi) and soprano soloist in Vivaldi’s Gloria, Handel’s Messiah and Honegger’s King David. She has performed as a guest soloist with the Burbank Philharmonic, Las Vegas Philharmonic, Henderson Symphony, Opera Las Vegas, Vegas City Opera and Lexington Opera Outreach. She has appeared with Opera Las Vegas on many occasions, in Holiday on Broadway, the Old Lady and the doll Olympia in Pinocchio, and Despina in The Three Little Pigs. She is also the director of the OLV Youth Chorus.  Most recently, Athena was Alice B. Toklas in the West Coast premiere of Ricky Ian Gordon and Royce Vavrek’s 27, sang in the Twentieth Anniversary Season Reveal, and portrayed Lilly in Sasha Matson’s Cooperstown. She was scheduled to sing the role of Papagena in June’s The Magic Flute, before it was canceled.

  • Kimberly Gratland James, Mezzo-Soprano, close up of face

    Kimberly Gratland James

    Mezzo-Soprano

    Zelda 1948

  • Kimberly Gratland James, Mezzo-Soprano, close up of face

    Kimberly Gratland James

    Mezzo-Soprano

    Mezzo-soprano Kimberly Gratland James (Zelda 1948) joined the UNLV School of Music faculty in 2017 as an Assistant Professor with more than 20 years of professional performance and teaching experience in vocal music. Previously, she was an Associate Professor of Music at the University of Montana, where she primarily taught applied voice, voice pedagogy, and diction for singers. Kimberly maintains an active performance career, particularly as a concert artist and recitalist. She has performed in concert with the London Sinfonietta, the New World Symphony, the Los Angeles Symphony, and on stage with New Orleans Opera, Chautauqua Opera, Opera Theatre of St. Louis, Opera Las Vegas, among other organizations. Her performance repertoire is quite diverse, encompassing oratorio works by Bach, operatic repertoire from Purcell to Wagner, and concert works by Verdi, Mahler, Ravel, and contemporary composers. She is passionate about culturally-situated art and modern art music and recently garnered acclaim for her portrayal of the role of the literary icon, Gertrude Stein, in Ricky Ian Gordon and Royce Vavreks’ opera, 27, with Opera Las Vegas. She will perform the Nevada and Montana premieres of Through the Guarded Gate, a 50-state project “Beyond the Guarded Gate” which is the virtual march of Juliana Hall’s song cycle featuring the powerful messages of poet Margaret Widdemer’s words.

The House Without a Christmas Tree

West Coast Premiere

More Info →
  • Ricky Ian Gordon

    Ricky Ian Gordon

    Composer

  • Ricky Ian Gordon

    Ricky Ian Gordon

    Composer

    Ricky Ian Gordon (b. 1956 in Oceanside, NY) studied piano, composition and acting, at Carnegie Mellon University. After moving to New York City, he quickly emerged as a leading writer of vocal music that spans art song, opera, and musical theater. Mr. Gordon’s songs have been performed and or recorded by such internationally renowned singers as Renee Fleming, Dawn Upshaw, Nathan Gunn, Nadine Sierra, Stephanie Blythe, Denyce Graves, Judy Collins, Kelli O’Hara, Audra MacDonald, Kristin Chenoweth, Nicole Cabell, Frederica Von Stade, Andrea Marcovicci, Harolyn Blackwell, Betty Buckley, and the late Lorraine Hunt Lieberson, among many others. Ricky Ian Gordon’s most recent premieres include:

    Ellen West (2019, libretto by Frank Bidart, commissioned and premiered by Opera Saratoga and Beth Morrison Projects for Prototype 2020) an opera based on a case study by a Dr. Ludwig Binswanger, about a woman in a Swiss hospital with an eating disorder, which The Wall Street Journal described as a “Riveting one-act opera,” and Opera News called “a fine haunting score by the chameleonic Ricky Ian Gordon.”

    The House Without A Christmas Tree (2017, libretto by Royce Vavrek, commissioned and premiered by Houston Grand Opera) a holiday opera for young audiences that The Wall Street Journal describes as “a charming, family-friendly piece,” “Houston Grand Opera offers a charming, family-friendly piece, in an alternative performance space, that manages to be heartwarming without being sappy … Mr. Gordon’s score employs accessible, Coplandesque tonality, which has its apex in Addie’s arias … they capture a young girl’s imagination and optimism….The text is clearly set, and well crafted ensembles vary the texture as do bigger choruses.”– Wall Street Journal

    “Not only does this opera have to find its place among the “Nutcrackers,” “Christmas Carols” and “Messiahs,” as a world premiere, it also has to bid for a permanent spot in the operatic canon. Gordon’s melodic, tonal score makes a strong bid for that spot, falling easily on the ears, often bringing to mind the late operas of Richard Strauss in its naturalistic setting of Vavrek’s dialogue to melodically compelling music. The pleasing score, congenial vocal demands and modest scale of “The House Without a Christmas Tree” give it a good shot at achieving staying power, attractive to professional opera companies of all sizes and to conservatories and universities. It was warmly received by the opening-night audience, some granting it a standing ovation.” – Houston Chronicle

    The Grapes of Wrath (2017 two-act version commissioned and premiered by the Opera Theatre of St. Louis, consequently done in Detroit, and Aspen (summer 2020); “This is a great American opera to stand alongside earlier evocations of specifically American periods and subjects by George Gershwin, Carlisle Floyd, Robert Ward, John Adams and others.”- Chicago Tribune

  • Royce Vavrek

    Royce Vavrek

    Librettist

  • Royce Vavrek

    Royce Vavrek

    Librettist

    Royce Vavrek is a Canada-born, Brooklyn-based librettist and lyricist who has been called “the indie Hofmannsthal” (The New Yorker) a “Metastasio of the downtown opera scene” (The Washington Post), “an exemplary creator of operatic prose” (The New York Times), and “one of the most celebrated and sought after librettists in the world” (CBC Radio).  His opera “Angel’s Bone” with composer Du Yun was awarded the 2017 Pulitzer Prize for Music.

    With composer Missy Mazzoli he wrote “Song from the Uproar,” premiered by Beth Morrison Projects in 2012, and subsequently seen in multiple presentations around the country. Their second opera, an adaptation of Lars von Trier’s “Breaking the Waves,” premiered at Opera Philadelphia, co-commissioned by Beth Morrison Projects, and directed by James Darrah to critical acclaim in September of 2016. The work won the 2017 Music Critics Association of North America award for Best New Opera and was nominated for Best World Premiere at the 2017 International Opera Awards.  A new production premiered at the Edinburgh International Festival in the summer of 2019, produced by Scottish Opera and Opera Ventures, helmed by Tony Award-winning director Tom Morris and earned star Sydney Mancasola a coveted Herald Angel Award for her performance.  Their next opera, an adaptation of Karen Russell’s short story “Proving Up,” was commissioned and presented by Washington National Opera, Opera Omaha and The Miller Theatre in 2018, was a finalist for the MCANA Best New Opera Award of that year.  They are currently developing a grand opera for Opera Philadelphia and the Norwegian National Opera based on an original story by two-time Governor General’s Award-winning playwright Jordan Tannahill, as well as an adaptation of George Saunders’ Booker Prize-winning novel “Lincoln in the Bardo” for The Metropolitan Opera.

    His collaboration with composer David T. Little led Heidi Waleson of the Wall Street Journal to proclaim them “one of the most exciting composer-librettist teams working in opera today.”  In April of 2016 they premiered their first grand opera, “JFK,” at Fort Worth Opera, a co-commission with American Lyric Theater and Opéra de Montréal that was called “ravishing” (Opera News), earning a ten-star review in Opera Now Magazine.  This followed the success of their first opera, “Dog Days,” which received its world premiere in September of 2012 at Peak Performances @ Montclair, in a production co-produced by Beth Morrison Projects and directed by American maverick Robert Woodruff.  The work was celebrated as the Classical Music Event of the year by Time Out New York and a standout opera of recent decades by The New York Times.  They are currently developing an original work for the Metropolitan Opera through the Met/LCT commissioning program.

    Royce has also worked extensively with composer Paola Prestini, first on the song cycle "Yoani," inspired by the blog posts of Yoani Sanchez, and then on "The Hubble Cantata," a virtual reality oratorio produced by VisionIntoArt/National Sawdust in association with Beth Morrison Projects. They recently presented the workshop premiere of “Silent Light,” an opera based on the Cannes Jury Prize-winning film by Carlos Reygadas at the Banff Centre for Creativity, a collaboration with the director Thaddeus Strassberger, and are currently working on a new opera inspired by Ernest Hemingway’s “The Old Man and the Sea.” They are also developing "Film Stills," a project for mezzo-soprano Eve Gigliotti that dramatizes four of Cindy Sherman's iconic photographs through musical monologues composed by Paola, Missy Mazzoli, Nico Muhly and Ellen Reid, and directed by R.B. Schlather.  Royce and Paola's collaboration can be further heard on the AIDS Quilt Songbook: Sing for Hope recording, where their song "Union," as sung by Isabel Leonard, is featured.

    In 2014 Royce premiered “27,” his first collaboration with composer Ricky Ian Gordon, at the Opera Theatre of Saint Louis.  Created for renowned mezzo-soprano Stephanie Blythe, the work brought to life Gertrude Stein’s famous salon at 27 rue de Fleurus in Paris.  Mark Ray Rinaldi of the Denver Post wrote that the opera “tells a great American story, about Gertrude Stein, as well as opera in the 21st century.”  The opera was subsequently presented by Pittsburgh Opera, MasterVoices at New York City Center, Michigan Opera Theater, Opéra de Montréal and Opera Las Vegas.  In 2017 their adaptation of Gail Rock’s Christmas classic “The House Without a Christmas Tree” for Houston Grand Opera was premiered to critical acclaim.

    Other recent and upcoming projects include “Strip Mall” with Matt Marks for the Los Angeles Philharmonic; “Epistle Mass” with Julian Wachner for Trinity Wall Street, “Midwestern Gothic” with Josh Schmidt for Signature Theatre, Virginia; “Naamah’s Ark” with Marisa Michelson for MasterVoices; “O Columbia” with Gregory Spears for HGOco; and “Knoxville: Summer of 2015” with Ellen Reid for the University of Tennessee, Knoxville and National Sawdust; “Crypto” with Guillaume Coté and Mikael Karlsson; “The Wild Beast of the Bungalow” with Rachel Peters for Oberlin Conservatory; “Jacqueline” with Luna Pearl Woolf for Tapestry New Opera; “Adoration” (based on the film by Atom Egoyan) with Mary Kouyoumdjian for Beth Morrison Projects and “Agnes” with Daníel Bjarnason for the Icelandic Opera.

    Royce is co-Artistic Director of The Coterie, an opera-theater company founded with Tony-nominee Lauren Worsham.  He holds a BFA in Filmmaking and Creative Writing from Concordia University’s Mel Hoppenheim School of Cinema in Montreal and an MFA from the Graduate Musical Theater Writing Program at New York University.  He is an alum of American Lyric Theater’s Composer Librettist Development Program.

  • Joshua Horsch, posing with baton.

    Joshua Horsch

    Conductor

  • Joshua Horsch, posing with baton.

    Joshua Horsch

    Conductor


    Visit Website →

    Praised for conducting with “steady acumen and considerable aplomb” and “awesome control” (Opera Today), Joshua Horsch is an extremely versatile operatic and symphonic conductor.  A two-time winner of the American Prize in Opera Conducting Joshua serves as Music Director and Principal Conductor of Opera Las Vegas. Joshua’s recent and upcoming conducting engagements include appearances with Atlanta Opera, Des Moines Metro Opera, Opera Orlando, Mobile Opera, Pacific Opera Project, Opera Las Vegas, Tri-Cities Opera, and Chicago Summer Opera.

    With a diverse repertoire of over fifty operas and a broad spectrum of orchestral and choral works, Joshua has recently held positions as a conductor/coach/chorus master on the music staff of the St. Louis Symphony Orchestra, Michigan Opera Theatre, Florida Grand Opera, North Carolina Opera, Opera Saratoga, Pensacola Opera, Fort Worth Opera, the Boulder Philharmonic Orchestra, and the Colorado Music Festival.  Joshua’s guest and workshop conducting includes work with the Baltimore Symphony Orchestra, the Omaha Symphony, the Oregon Bach Festival Orchestra and Chorus, the Cabrillo Festival Orchestra, the Bohuslav Martinu Philharmonic Orchestra, Orquestra Filharmonia de Chihuahua, the Lyatoshinsky Chamber Orchestra, the Newport Music Festival, the Colorado New Music Ensemble, the PENDULUM New Music Ensemble, the Boston Opera Collaborative, and the Boulder Bach Festival.

    As a dedicated interpreter of new works, Joshua has enjoyed a number of collaborations with many of today’s leading composers including Tom CipulloJennifer Higdon, and Libby Larsen.  For two seasons, Joshua served as Music Director/Conductor of the CU New Opera Workshop where he collaborated with composers Libby Larsen and Alberto Caruso as well as author Colm Tóibín and stage director Ron Daniels.  At Seagle Music Colony’s American Center for New Works Development, Joshua has conducted and played workshops for new works by Libby Larsen and Scott Eyerly.  For four seasons, Joshua served as conductor/co-founder of the Colorado New Music Ensemble where he programmed and conducted works ranging from John Corigliano’s Symphony No. 2 to Susan Botti’s chamber opera Telaio: Desdemona.  While a Festival Artist/Conductor at the Newport Music Festival, Joshua conducted members of the Rhode Island Philharmonic and Providence Singers in a series of contemporary choral/orchestral masterworks.

  • Cadie Jordan Bryan, Headshot

    Cadie Jordan Bryan

    Soprano

    Adelaide 'Addie' Mills

  • Cadie Jordan Bryan, Headshot

    Cadie Jordan Bryan

    Soprano


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    Praised for her “beautiful sound,” “free spirit,” and “silver high notes,” Louisiana-born soprano Cadie J. Bryan is quickly emerging as a captivating and versatile performer in a variety of repertoire. She recently came out of the Marion Roose Pullin Arizona Opera Studio where she performed mainstage leading and supporting roles including Musetta in La bohème, Susanna in Le nozze di Figaro, Bess in Craig Bohmler’s Riders of the Purple Sage, Maid in the Taliesin West Premier of Daron Hagen’s Shining Brow, and Annina in La traviata. She spent three seasons with Des Moines Metro Opera during which which she made her mainstage debut as the Second Wood Sprite in the Emmy Award-winning production of Rusalka with director Chas Rader-Shieber. In the 2021 season at DMMO, she will appear as Clarine in Rameau's Platée and Chlöe in The Queen of Spades. An avid recitalist and lover of art song, Cadie is an alumna of Ravinia's Steans Music Institute for singers where she developed relationships with world-renowned coaches and collaborative pianists including Helmut Deutsch, Denise Massé, Cori Ellison, Stephen Blier, and JJ Penna.
    Dedicated to promoting new works, other career highlights include Chan Parker in Daniel Schnyder's and Bridgette Wimberly’s Charlie Parker’s Yardbird and Lucy in Fellow Travelers with Arizona Opera as well as Clara in Jake Heggie’s and Gene Scheer's It’s A Wonderful Life at Indiana University. She received a Masters and a Performance Diploma from the Indiana University Jacobs School of Music under the tutelage of Heidi Grant Murphy and Kevin Murphy and her Bachelors from Louisiana State University.

  • Gabriel Preisser, smiling in a tux with an untied bowtie hanging around his neck.

    Gabriel Preisser

    Baritone

    James 'Dad' Addison Mills

  • Gabriel Preisser, smiling in a tux with an untied bowtie hanging around his neck.

    Gabriel Preisser

    Baritone


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    Grammy Award winning baritone Gabriel Preisser has been praised by Opera News for his “handsome voice, charismatic energy, and timbral allure” and The New York Times called his performance as Lt. Gordon wonderful.” His resume includes over 40 operatic and musical theater roles including Danilo in The Merry Widow with Utah Festival Opera, Billy Bigelow in Carousel with Minnesota Orchestra, Figaro in Il barbiere di Siviglia with St Petersburg Opera, Dandini in Cenerentola with Opera Tampa, Escamillo in Carmen with Lyric Opera of the North, Belcore in L’elisir d’amore with Shreveport Opera, Le Mari in LesMamelles de Tiresias with Opera Parallele, Albert in Werther with Minnesota Opera, Mercutio in Romeo et Juliette with Opera Tampa and St. Petersburg Opera, Tommy in Brigadoon with Gulfshore Opera, Silvio in Pagliacci with Opera Naples, Harold Hill in The Music Man with Colorado Symphony, and Bob Baker in Wonderful Town with Skylark Opera to name a few.  He has been praised for having a “matinee idol’s charm and charisma,” “a beautiful, luscious baritone,” and “a compelling, commanding stage presence.”

  • Ashley Stone Headshot

    Ashley Stone

    Mezzo-Soprano

    Grandma Mills

  • Ashley Stone Headshot

    Ashley Stone

    Mezzo-Soprano


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    Ashley Stone received her Doctorate of Music degree in Vocal Performance of Indiana University where she studied with Costanza Cuccaro. Her most recent performances include Dame Quickly in  Falstaff, The Old Lady in Candide, The Principessa in Suor Angelica, and Meg in Mark Adamo's  Little Women  with the IU Opera Theater. She received her masters degree in vocal performance and literature from the Eastman School of Music, where she studied with Katherine Ciesinski. While in Rochester, NY, she performed as the Principessa in Eastman Opera Theater's  Suor Angelica   and was a soloist with the Voices Choral Ensemble, the Gregory Kunde Choral, and the Eastman Chorale. Stone completed her undergraduate studies at Texas State University in San Marcos, her hometown. While in Texas, she was a frequent finalist in the NATS regional and district competitions, a Metropolitan Opera National Council Auditions regional finalist, and performed as Kate in San Antonio Opera's production of The Pirates of Penzance. In 2006, she attended the Brevard Summer Music Festival, where she performed as Baroness Elsa Shraeder in The Sound of Music. The following summer at Opera in the Ozarks, she played the roles of Suzuki from Madama Butterfly  and Cherubino from  Le nozze di Figaro.

  • Taylor See

    Taylor See

    Soprano

    Miss Thompson/Adult Addie/Helen Mills

  • Taylor See

    Taylor See

    Soprano


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    Taylor See, a native of Las Vegas, Nevada, is recognized as the second place winner of the San Francisco Conservatory of Music (SFCM) Concerto Competition (2020), a finalist in the James Toland Vocal Arts Voice Competition (2020), a finalist in the Classical Singer (CS MUSIC) Voice Competition (2020), and a finalist in the New York Lyric Opera Competition (2017). She began her musical studies at the age of six playing piano, and she began singing at the age of fourteen.

    Taylor will make her Opera Las Vegas debut in November 2021 singing the roles of Adelaide Mills/ Miss Thompson/ Helen Mills in the west coast premiere of Ricky Ian Gordon’s The House Without a Christmas Tree. She has sung the roles of Contessa Almaviva in Mozart's Le Nozze di Figaro at SFCM (2019), Lucy in Menotti’s The Telephone with Vegas City Opera (2021), Teofane in Handel's Ottone at SFCM (2020), Valencienne in Franz Lehár's The Merry Widow at the Utah Vocal Arts Academy Summer Opera Festival (2017), Lucy Brown in Kurt Weill's The Threepenny Opera at SFCM (2018), Julie in David Conte’s Firebird Motel at SFCM (2020), Novizia in Puccini's Suor Angelica at SFCM (2017), and Vixen (cover) in Janáček's The Cunning Little Vixen at Opera Steamboat (2018).

    She was the soprano soloist in Faure’s Requiem at SFCM (2019), as well as the soprano soloist in Haydn’s The Seven Last Words of Christ at Desert Spring United Methodist Church (2016).

    Taylor is a graduate of the San Francisco Conservatory of Music (SFCM), earning her Bachelor of Music in Vocal Performance (2020) under the tutelage of César Ulloa. She will be pursuing her master’s at SFCM this Fall 2021.

  • Courtney Schwalbe

    Mezzo-Soprano

    Carla Mae

  • Courtney Schwalbe

    Mezzo-Soprano

    Courtney G. Schwalbe, mezzo-soprano, is a Mississippi native whose versatility as a performer has led her to successfully sing leading roles and solos in opera, musical theatre, and major choral works. Ms. Schwalbe has performed operatic roles such as Delores in Frank Pesci’s Royal Flush, Carmen and Mercédès in Carmen, Ruggiero in Alcina, the Contralto in The Four Note Opera, Maestra Delle Novizie in Suor Angelica, and Dorabella in Così fan tutte. In concert, she has performed solos in Mozart’s Great Mass in C Minor, Handel’s Messiah, Bach’s Mass in B Minor, and Bernstein’s Missa Brevis. Ms. Schwalbe holds a Master of Music in Vocal Performance and a Bachelor of Arts. She is currently working on her Doctorate of Musical Arts under the instruction of Alfonse Anderson at the University of Nevada Las Vegas. Ms. Schwalbe resides in Las Vegas with her husband and biggest fan, Michael, and her two dogs, Carmen and Romeo.

Approaching Ali

West Coast Premiere

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  • DJ Sparr

    D.J. Sparr

    Composer

  • DJ Sparr

    D.J. Sparr

    Composer

    Composer and electric guitar soloist D. J. SPARR (b. 1975, Westminster, MD), who Gramophone recently hailed as “exemplary,” is one of the preeminent composer-performers of his generation. His eclectic composition style has been described as “pop-Romantic… iridescent and wondrous” (Mercury News) and “suits the boundary-erasing spirit of today’s new-music world” (New York Times). The Los Angeles Times praises him as “an excellent soloist” and the Santa Cruz Sentinel says that he “wowed an enthusiastic audience…Sparr’s guitar sang in a near-human voice.” In 2011, Sparr was named one of NPR listener’s favorite 100 composers under the age 40.
    D. J. was the Young American Composer-in-Residence with the California Symphony from 2011-14 and was Composer-in-Residence with the Richmond Symphony from 2009-11. His compositions have been commissioned and performed by organizations such as the Houston Grand Opera, North Carolina Opera, and Eighth Blackbird. Recent/upcoming works include Katrina: Concerto for Jazz Guitar and Orchestra (Arkansas Symphony) …To me from the earth… (CAM Raleigh, NC Symphony), & On Behalf: Metaphor Fourty-four (Tribeca New Music Festival).

    Of the premiere of Approaching Ali (Washington National Opera), the Baltimore Sun writes, “…Sparr knows how to send a vocal line soaring vividly and how to extract a great deal of color from a 10-member orchestra… It also demonstrates Sparr’s considerable potential; his first attempt in this tricky genre lands some very solid punches…like Ali in his prime, the score is nimble on its feet.”

    As an electric guitar soloist, D. J. has appeared with Filarmonica Arturo Toscanini (Parma, Italy), the New World, Alabama, Dayton, Fort Collins, Space Coast, and Winston-Salem Symphonies, and the Cabrillo Festival of Music under Marin Alsop. He maintains a busy calendar of solo performances from coast to coast, including appearances at the Hirschhorn Museum, Atlas Theater (Washington, DC), Spectrum, and the Flea Theater (NYC). He performed Kenneth Fuchs’s electric guitar concerto, Glacier, on the GRAMMY® award-winning album with the London Symphony under JoAnn Falletta recorded at Abbey Road Studios in August 2017. Glacier is the first electric guitar concerto to be part of a GRAMMY® award-winning project.

    A passion for musical performance grew from family encouragement at a young age. Three-year old D. J. stood in front of a television set holding his great-grandmother Violet Bond’s straw broom in hand pretending it was a guitar while Roy Clark and Buck Owens performed on the Television show Hee Haw. Noticing this, Violet gave him a toy Mickey Mouse guitar for his third birthday and a Ukulele for his fourth birthday. By age five, D. J. was taking guitar lessons and was soon performing original songs for a “captive” audience at his local music store, Coffey Music in Westminster, MD.

    In early high school, D. J. spent his late-night and weekend hours writing and recording music with a Fostex X-26 4-track recorder while attending Baltimore School for the Arts as a jazz guitar major. Surrounded by classical music he began to write compositions for a variety of instruments and attended summer composition programs at The Walden School and the Boston University Tanglewood Institute. D. J. continued honing his compositional craft at the Eastman School of Music (BM) and the University of Michigan (MM, DMA) studying with composers William Bolcom, Michael Daugherty, Christopher Rouse, Joseph Schwantner, and Augusta Read Thomas.

    J. has recently been featured on the Grammy-Award winning all-Kenneth Fuchs recording as the electric guitar soloist. Additionally, his new album, Electric Bands, featuring some of his latest chamber works, is now available through Innova Recordings.

    Hailing from Baltimore, D. J. lives in Baton Rouge, Louisiana with his wife Kimberly, son Harris, and their dogs Nanette and Bundini. Sparr is a faculty member at the Walden School’s famed Creative Musicians Retreat in Dublin, New Hampshire. D. J. Sparr’s music is published by Bill Holab Music.

  • Mark Campbell

    Mark Campbell

    Librettist

  • Mark Campbell

    Mark Campbell

    Librettist

    Mark Campbell’s work as a librettist is at the forefront of the contemporary opera scene in this country. A prolific writer, Mark has created 39 opera librettos, lyrics for 7 musicals, and the text for 6 song cycles and 2 oratorios. His works for the stage have been performed at more than 90 musical venues around the world and the names of his collaborators comprise a roster of the most eminent composers in classical music and include three Pulitzer Prize winners.

    Mark’s best-known work is Silent Night, which received a Pulitzer Prize in Music and is one of the most frequently produced operas in recent history. The (R)evolution of Steve Jobs, an audience favorite, received a 2018 GRAMMY Award for Best Opera Recording. Mark's other successful operas include The Shining, Stonewall, Later the Same Evening, The Nefarious, Immoral but Highly Profitable Enterprise of Mr. Burke & Mr. Hare, The Manchurian Candidate, As One, The Other Room, Empty the House, Approaching Ali, A Letter to East 11th Street, Dinner at Eight, Volpone, Frida Kahlo and the Bravest Girl in the World, Bernadette's Cozy Book Nook, Stone Soup, and Bastianello/Lucrezia.His musicals include Songs from an Unmade Bed, The Audience and Splendora. He has also created a successful new adaptation of  Stravinsky/ Ramuz's The Soldier's Story.

    Mark has received many other prestigious prizes for his work, including the first Kleban Foundation Award for Lyricist, a Grammy nomination for Best Classical Recording, two Richard Rodgers Awards from the American Academy of Arts and Letters, three Drama Desk nominations, a Jonathan Larson Foundation Award, a New York Foundation for the Arts Playwriting Fellowship, the first Dominic J. Pelliciotti Award, and a grant from the New York State Council of the Arts.

    Recordings of his works include: The (R)evolution of Steve Jobs (Pentatone), Sanctuary Road (Naxos), Silent Night (Naxos), As One (Bright Shiny Things), Volpone (Wolf Trap Records), Bastianello/Lucrezia (Bridge), Rappahannock County (Naxos), Later the Same Evening (Albany) and Songs from an Unmade Bed (Ghostlight).

    Mark is also an advocate for contemporary American opera and serves as a mentor for future generations of writers through such organizations as American Opera Projects, American Lyric Theatre, and Washington National Opera’s American Opera Initiative. In 2020, he created and is funding the Campbell Opera Librettist Prize, the first and only award for opera librettists. The award is given annually and administered by OPERA America.

    Future premieres include The Secret River for Opera Orlando (Stella Sung, composer); A Nation of Others for the Oratorio Society of New York (Paul Moravec, composer); Edward Tulane for Minnesota Opera (Paola Prestini, composer); A Sweet Silence in Cremona for the Villa la Pietra–Continuum Theater, Florence (Roberto Scarcella Perino, composer); Supermax for Saratoga Opera (Stewart Wallace, composer; Michael Korie, co-librettist); A Thousand Acres for Des Moines Metro Opera (Kristin Kuster, composer) and the book for the musical Les Girls (Cole Porter, composer).

  • Davis Miller

    Davis Miller

    Librettist

  • Davis Miller

    Davis Miller

    Librettist

    Davis Miller is the author of The Tao of Muhammad Ali and The Tao of Bruce Lee. His writing has appeared in Rolling Stone, Men's Journal, Esquire, Sport magazine, Sports Illustrated, and numerous other periodicals. His first published story, 'My Dinner with Ali' was voted by the Sunday Magazine Editors Association to be the best essay published in a newspaper magazine in the US in 1989.

  • Joshua Horsch, posing with baton.

    Joshua Horsch

    Conductor

  • Joshua Horsch, posing with baton.

    Joshua Horsch

    Conductor


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    Praised for conducting with “steady acumen and considerable aplomb” and “awesome control” (Opera Today), Joshua Horsch is an extremely versatile operatic and symphonic conductor.  A two-time winner of the American Prize in Opera Conducting Joshua serves as Music Director and Principal Conductor of Opera Las Vegas. Joshua’s recent and upcoming conducting engagements include appearances with Atlanta Opera, Des Moines Metro Opera, Opera Orlando, Mobile Opera, Pacific Opera Project, Opera Las Vegas, Tri-Cities Opera, and Chicago Summer Opera.

    With a diverse repertoire of over fifty operas and a broad spectrum of orchestral and choral works, Joshua has recently held positions as a conductor/coach/chorus master on the music staff of the St. Louis Symphony Orchestra, Michigan Opera Theatre, Florida Grand Opera, North Carolina Opera, Opera Saratoga, Pensacola Opera, Fort Worth Opera, the Boulder Philharmonic Orchestra, and the Colorado Music Festival.  Joshua’s guest and workshop conducting includes work with the Baltimore Symphony Orchestra, the Omaha Symphony, the Oregon Bach Festival Orchestra and Chorus, the Cabrillo Festival Orchestra, the Bohuslav Martinu Philharmonic Orchestra, Orquestra Filharmonia de Chihuahua, the Lyatoshinsky Chamber Orchestra, the Newport Music Festival, the Colorado New Music Ensemble, the PENDULUM New Music Ensemble, the Boston Opera Collaborative, and the Boulder Bach Festival.

    As a dedicated interpreter of new works, Joshua has enjoyed a number of collaborations with many of today’s leading composers including Tom CipulloJennifer Higdon, and Libby Larsen.  For two seasons, Joshua served as Music Director/Conductor of the CU New Opera Workshop where he collaborated with composers Libby Larsen and Alberto Caruso as well as author Colm Tóibín and stage director Ron Daniels.  At Seagle Music Colony’s American Center for New Works Development, Joshua has conducted and played workshops for new works by Libby Larsen and Scott Eyerly.  For four seasons, Joshua served as conductor/co-founder of the Colorado New Music Ensemble where he programmed and conducted works ranging from John Corigliano’s Symphony No. 2 to Susan Botti’s chamber opera Telaio: Desdemona.  While a Festival Artist/Conductor at the Newport Music Festival, Joshua conducted members of the Rhode Island Philharmonic and Providence Singers in a series of contemporary choral/orchestral masterworks.

  • David Carl Toulson Headshot

    David Carl Toulson

    Director

  • David Carl Toulson Headshot

    David Carl Toulson

    Director

    Stage Director David Carl Toulson is consistently praised for his clarity in storytelling and ability to transform an opera’s characters into living breathing people. He has a passion for taking a show from the score to the stage, creating fresh exciting productions that capture the imaginations of his audiences allowing them to be transported into the magical world of opera.

    Since 2016 Mr. Toulson has been the Resident Stage Director for the Miami Beach Classical Music Festival where he has directed exciting repertoire including Janáček’s Cunning Little Vixen, Heggie’s Dead Man Walking, Corligliano’s The Ghosts of Versailles, Wagner’s Der Fliegende Holländer, Strauss’ Ariadne auf Naxos, Massenet’s Cendrillon and Ravel’s L’enfant et les sortilèges. His innovative production of Robert Ward’s The Crucible received considerable critical acclaim. The South Florida Classical Review stated that “…there was a naturalistic feeling to Toulson’s staging…that served the drama well. Toulson managed to imbue his staging with a vivid depiction of a community gripped by fear, hate and distrust…The Crucible is the finest offering to date of The Miami Music Festival…Those who care about opera as a living art form should not miss this opportunity to see this gripping work.”

    Regionally, Mr. Toulson has directed mainstage and education programs at companies such as North Carolina Opera, Central City Opera, Opera Theater of Saint Louis, Opera Idaho, Toledo Opera, Tri-Cities Opera, Winter Opera of St. Louis, Bel Cantanti Opera, Connecticut Opera, Ashville Lyric Opera, Tulsa Opera, and Piedmont Opera; nationally, he has worked for several seasons on the staging staffs of the Lyric Opera of Chicago and Washington National Opera.

    Mr. Toulson is extremely proud of his work training the next generation of opera singers. At the university level, he is currently teaching, directing, and coaching opera at Binghamton University where this past year he developed techniques to keep the students learning and performing in a virtual environment during the pandemic. This culminated in a virtual scenes program of duets & arias and a full production of Mozart’s La finta giardiniera that was filmed individually and edited together to complete the final work. Past university teaching and directing includes work at Temple University, The Catholic University of America, Webster University, and The University of South Carolina.

    Upcoming projects include directing Mozart’s The Magic Flute and Kamala Sankaram’s Monkey and Francine in the City of Tigers for Binghamton University, D.J. Sparr’s Approaching Ali for Opera Las Vegas, and working as the associate director on Mozart’s Le nozze di Figaro at Seattle Opera.

  • Solomon Howard, Bass, in semi-formal clothes and an overcoat.

    Soloman Howard

    Bass

    Muhammad Ali

  • Solomon Howard, Bass, in semi-formal clothes and an overcoat.

    Soloman Howard

    Bass


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    Winner of the Kennedy Center’s 2019 Marian Anderson Vocal Award, Soloman Howard is a graduate of Washington National Opera’s Domingo-Cafritz Young Artist Program and garners high praise from the press for his vivid performances on the great opera and concert stages of the world.  Soloman Howard’s voice is described as “sonorous” by The New York Times, “superhuman” by The Denver Post, and “a triumph” by The Guardian.

    Soloman Howard joins San Francisco Opera in the 2021-22 season for no less than three productions: Tosca, Fidelio, and Don Giovanni.  He appears with English National Opera in the role of The Commander in Poul Ruder's The Handmaid's Tale in a new production directed by the Artistic Director Annilese Miskimmon, bows as Colline in La bohème at the Teatro Real in a production by Richard Jones conducted by Nicola Luisotti, and reprises the title role of Approaching Ali, by composer D.J. Sparr and librettists Mark Campbell and Davis Miller, in a site-specific boxing venue with Las Vegas Opera.  Concert appearances of the season include Beethoven’s Ninth Symphony with Music Director Fabio Luisi and the Dallas Symphony Orchestra as well as with Jakub Hrůša leading The Philharmonia and an all-Verdi Gala Concert at San Francisco Opera under the baton of Music Director Eun Sun Kim.

    Performances of 2019-20 included debuts at the Lyric Opera of Chicago in the company’s new production by Francesca Zambello of Luisa Miller conducted by Music Director Enrique Mazzola as well as at English National Opera in the same title in a new production by Barbora Horáková Joly conducted by Alexander Joel, and Sarastro in The Magic Flute in a return engagement with the Metropolitan Opera.

    Highlights of the recent past include Jacopo Fiesco in a new production of Simon Boccanegra at the Opéra national de Bordeaux conducted by Paul Daniel, Timur in Turandot at San Francisco Opera for his debut led by Nicola Luisotti, Grand Inquisitor in Don Carlo at Los Angeles Opera under the baton of Music Director James Conlon, Il Re in Aida for a debut at the Teatro Real, and Santa Fe Opera performances as Commendatore in Don Giovanni conducted by John Nelson and Colline in La bohème conducted by Jader Bignamini.  He also achieved great success with the roles of Somnus and Cadmus during an international tour of Semele with Harry Bicket leading The English Concert.

    For the Washington National Opera, Soloman Howard has bowed as Fafner in Der Ring des Nibelungen directed by Artistic Director Francesca Zambello and conducted by Philippe Auguin as well as in leading roles in The Magic Flute, Show Boat, Approaching Ali, Don Giovanni, and Nabucco.  He was heralded for the roles of Frederick Douglass and Martin Luther King, Jr. in the world premiere of the revised edition of Appomattox composed by Philip Glass in a production by Tazwell Thompson and in the title role of The Lion, the Unicorn, and Me written by Jeanine Tesori and J.D. McClatchy.

    On the concert stage, he has given performances of Beethoven’s Ninth Symphony with Music Director Gustavo Dudamel and the Los Angeles Philharmonic on a European tour and with Christian Arming and the Vienna Chamber Orchestra on tour in Asia.  He has joined Harry Christophers and the Handel & Haydn Society for Mozart’s Requiem, Kent Tritle and the Oratorio Society of New York in performances of Mendelssohn’s Die erste Walpurgisnacht at Carnegie Hall, and with Christoph Eschenbach and the National Symphony Orchestra in a concert presentation of Strauss’ Der Rosenkavalier.

    The Anti-Defamation League presented Soloman Howard with their “Making a Difference Award” in the summer of 2016 for raising awareness of voting rights though his performances of Appomattox at the Kennedy Center; and for bringing opera into the larger community.  Soloman Howard is a proud graduate of the Manhattan School of Music and of Morgan State University.

  • David Kravitz, baritone headshot, dramatically lit with an empty background.

    David Kravitz

    Baritone

    Davis Miller

  • David Kravitz, baritone headshot, dramatically lit with an empty background.

    David Kravitz

    Baritone


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    Hailed as “a charismatic baritone” by the New York Times, “magnificently stentorian and resonant” by Opera News, and “a first-rate actor” by Opera (UK), David Kravitz’s recent opera engagements include lead roles at Washington National Opera (Davis Miller in the world premiere of Approaching Ali), Chautauqua Opera (Captain Balstrode in Peter Grimes), Skylight Music Theatre (Scarpia in Tosca), Opera Santa Barbara (The Forester in The Cunning Little Vixen), Grand Harmonie (Don Pizarro in Fidelio), Opera Saratoga (Don Magnifico in La Cenerentola), Charlottesville (Ash Lawn) Opera (Tevye in Fiddler on the Roof), Boston Lyric Opera (Abraham in Clemency), Emmanuel Music (Nick Shadow in The Rake’s Progress and Nick Carraway in The Great Gatsby), and the New England Philharmonic (Wozzeck in Wozzeck).  He recently created the lead role of De Sade in Nicola Moro’s Love Hurts at the Piccolo Teatro in Milan, Italy, and at Symphony Space in New York.  His many concert appearances include the Boston Symphony Orchestra, the Philadelphia Orchestra, the Baltimore Symphony, the Virginia Symphony, the Santa Fe Chamber Music Festival, Emmanuel Music, Boston Modern Orchestra Project, and Boston Baroque.

  • Sheronda McKee-Dollar, D.M.A., Opera Las Vegas Diversity Coordinator

    Sheronda McKee-Dollar

    Soprano

    Odessa Clay

  • Sheronda McKee-Dollar, D.M.A., Opera Las Vegas Diversity Coordinator

    Sheronda McKee-Dollar

    Soprano

  • Jennifer Mathews Headshot

    Jennifer Mathews

    Mezzo-Soprano

    Sara Miller

  • Jennifer Mathews Headshot

    Jennifer Mathews

    Mezzo-Soprano

    Since 2007, Mezzo soprano Jennifer Mathews has sung with Washington National Opera Chorus where she also sang the roles of Cousin in Madame Butterfly (2017), 2nd Bridesmaid in the Marriage of Figaro (2010 and 2016), and Girl in Show Boat (2013).  In 2018, Ms. Mathews performed the role of Hansel in Hansel and Gretel with Opera NOVA in Virginia.  In 2010, she performed in Rigoletto (Madelenda) and The Merry Widow (Valencienne) with Opera Camerata. Before moving to Las Vegas in 2018, Ms. Mathews taught for 12 years.  Her last teaching position was at Thomas Jefferson High School for Science and Technology where she was the choral and theatre director and taught AP Music Theory. There, she directed and conducted musicals: Fiddler on the Roof, The Little Mermaid, Les Miserables, and Mary Poppins and directed plays: Connected, The Diary of Anne Frank and Peter and the Star Catcher.

  • Aldo Perrelli

    Aldo Perrelli

    Tenor

    Roy Miller

  • Aldo Perrelli

    Aldo Perrelli

    Tenor

    Tenor Aldo Perrelli is in the DMA program at UNLV, having received a Masters in Music from University of Wisconsin at Madison, and a Bachelor of Music from Northeastern Illinois University. For Opera Las Vegas, he performed Remendado in Carmen and was featured in Our Three Tenors and the One Amazing Evening concert at The Smith Center, celebrating the company’s Twentieth Anniversary celebration. Aldo has played the Rodolfo in La boheme and Lysander in A Midsummer Night's Dream for UNLV Opera Theater. Roles at the U. Wisconsin include Fritz (L’amico Fritz), and Giasone (Medea). For Northeastern, he was Frick (La Vie Parisienne). Concert performances include the Verdi, Saint-Saens, and Brahms Requiems, and Gounod’s Saint Cecilia Mass. Aldo most was most recently cheered by OLV audiences for his commanding performance as Justice Antonin Scalia in the West Coast Premiere of Derrick Wang’s Scalia/Ginsburg.

Strawberry Fields/Trouble in Tahiti

West Coast Premiere

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  • Michael Torke

    Michael Torke

    Composer (Strawberry Fields)

  • Michael Torke

    Michael Torke

    Composer (Strawberry Fields)

    Michael Torke's music has been commissioned by such orchestras as The Philadelphia Orchestra, the New York Philharmonic, and the San Francisco Symphony; by such ballet companies as New York City Ballet, Alvin Ailey, and the National Ballet of Canada; by such opera companies as the Metropolitan Opera, Théâtre du Châtelet, and the English National Opera; by such large ensembles as the London Sinfonietta, Lontano, and De Volharding; and such small ensembles as the Smith, Ying, and Amstel Quartets.

    He has worked with such conductors as Simon Rattle, Kurt Mazur, Edo de Waart, and David Zinman; such choreographers as Christopher Wheeldon, James Kudelka, and Juri Kilian; and collaborated with such librettists as A. R. Gurney, Michael Korie, and Mark Campbell; and such directors as Des McAnuff, Bart Sher, and Michael Greif.

    He has been commissioned by entities such as the Walt Disney Company, and Absolute Vodka; worked with such soloists as Tessa Lark, Christopher O'Reilly, and Joyce Castle; and written incidental music to such companies as The Public Theater, The Old Globe Theater, and Classic Stage Company; and been composer in residence with the Royal Scottish National Orchestra.

    Beginning his career with exclusive contracts with Boosey and Hawkes, and Decca Records, he now controls his own copyrights and masters through his publishing company, Adjustable Music, and record company, Ecstatic Records.

    His music has been called "some of the most optimistic, joyful and thoroughly uplifting music to appear in recent years" (Gramophone). Hailed as a "vitally inventive composer" (Financial Times) and "a master orchestrator whose shimmering timbral palette makes him the Ravel of his generation" (New York Times), Torke has created a substantial body of works in virtually every genre.

     

  • Clinton Smith, Conductor

    Clinton Smith

    Conductor

  • Clinton Smith, Conductor

    Clinton Smith

    Conductor


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    Clinton Smith spent his ninth summer on the music staff at Santa Fe Opera covering performances of the world premiere of John Corigiliano's Lord of Cries. His 2021/2022 season includes a return to Dayton Operato conduct L'elisir d'amore, a return to Opera Las Vegas to conduct Trouble In Tahiti Strawberry Fields, and he will join the music staff of Sarasota Opera as cover conductor for Attila and Tosca. 

    Recently, Clinton conducted Atlanta Opera's new productions of Der Kaiser von Atlantis, The Threepenny Opera, and performed a virtual recital for Opera Orlando's Summer Concert Series. His 2019/20 season included debuts at Florentine Opera conducting Le nozze di Figaro and Opera Birmingham conducting Cendrillon. He returned to Dayton Opera to conduct Cenerentola, and Tacoma Opera to conduct L'elisir d'amore.

    Mr. Smith’s other recent conducting credits include Charlie Parker's Yardbird at Atlanta and Arizona OperasPagliacci/Pulcinella at Opera Orlando, Il barbiere di Siviglia at Dayton Opera and the University of MichiganLe nozze di Figaro at Tacoma OperaAlcina at Fargo-Moorhead Opera, Turandot, Norma,

    and Hansel und Gretel with Pacific Northwest Opera, The Mikado for Kentucky Opera, and Noah's Flood with Opera Las Vegas. He has served on the music staff of Santa Fe OperaJuilliard OperaMinnesota OperaAtlanta OperaPortland OperaKentucky OperaAsh Lawn Opera, and Skylark Operas and has included the preparation of over fifty operas in German, Italian, French, English, Czech, Russian, Latin, and Mandarin.

  • Albert Rudolph Lee Photo

    Albert Rudolph Lee

    Tenor

    The Student/Trio

  • Albert Rudolph Lee Photo

    Albert Rudolph Lee

    Tenor

    Tenor, Albert Rudolph Lee’s performances have been described as “vocally sumptuous,” “musically distinctive” and even “acrobatically agile.” Having appeared with Opera Theater of Saint Louis, Palm Beach Opera, Opera Theater of Pittsburgh, Philadelphia Orchestra, Saint Luke’s Chamber Orchestra, and the Caramoor International Music Festival, Dr. Lee’s recent performances include the tenor solo in Bruckner Te Deum with the Reno Chamber Orchestra, a performance of George Walker’s Lilac’s for Tenor and Orchestra for the opening concert of the African American Art Song Alliance 20th Anniversary Conference, and performances with Cincinnati Opera. In his seventh year on the voice faculty of the University of Nevada, Reno, Dr. Lee’s upcoming activities include the tenor solo in Beethoven’s Ninth Symphony with the Jackson Symphony, an appearance with Opera Las Vegas in a tribute concert to African American Opera Legends, and a feature role in the world premiere of Douglas Buchanan’s opera Bessie and Ma.

  • Kenneth Stavert, Baritone

    Kenneth Stavert

    Baritone

    The Son/Sam

  • Kenneth Stavert, Baritone

    Kenneth Stavert

    Baritone


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    Praised for his strong “sense of theatricality,” Baritone Kenneth Stavert has performed on operatic, concert and recital stages throughout the United States, Europe and Asia. Some of his recent highlights include Silvio in Pagliacci, Papageno in Die Zauberflöte, and Ping in Turandot (Dayton Opera), Harlekin in Ariadne auf Naxos (Palm Beach Opera), Yamadori in Madama (Santa Fe Opera), Renato in Un ballo in maschera, Scarpia in Tosca (Opera in the Heights) and Sharpless in Madama Butterfly (Pacific Opera Project). Kenneth’s orchestral credits include Berlioz’s Lélio, Fauré’s Requiem, Orff’s Carmina Burana, Handel’s Messiah and Mozart’s Vesperae solennes de confessore. He has also been a featured recitalist throughout the United States specializing in less performed English art song. Upcoming performances include La Traviata, La boheme, Tosca and Into the Woods.

  • Erin Gonzalez, Headshot

    Erin Gonzalez

    Mezzo-Soprano

    Nurse/Dinah

  • Erin Gonzalez, Headshot

    Erin Gonzalez

    Mezzo-Soprano

    Erin Gonzalez has performed with UNLV Opera Theater, Pacific Symphony, Sin City Opera, Florentine Opera, Martina Arroyo Foundation, Opera Las Vegas, Nevada Opera Theatre, Eastman Opera Theatre, and Opera Chapman. Role highlights include Prince Orlofsky (Die Fledermaus), Hermia (A Midsummer Night's Dream), Orfeo (Orfeo ed Euridice), Secretary (The Consul), Angelina (La Cenerentola), and Dorabella (Così fan tutte).

    Winner of the 2015 and 2016 Nevada District Metropolitan Opera National Council Auditions, Friends of Eastman Opera Voice Competition and Bramledge Opera Award and Robert Kuntz Scholarship, Erin received a Bachelor in Music from Chapman University Conservatory of Music and Master in Music from Eastman School of Music.

    In July and August of 2017, Erin was a member of the Opera Studio at the American Institute of Musical Studies (AIMS) in Graz, Austria. While in attendance, she won first place in the elite Meistersinger Competition.

    In April 2019, Ms. Gonzalez was named the Outstanding Graduate Student of the Year for the College of Fine Arts.

    She graduated with her Doctorate in Musical Arts; Voice from the University of Nevada, Las Vegas in May 2019.

  • Claudia Affan, Headshot

    Claudia Affan

    Soprano

    The Daughter

  • Claudia Affan, Headshot

    Claudia Affan

    Soprano

    Claudia Affan is a second-year master's student at the University of Nevada, Las Vegas, where she is pursuing an MM in vocal performance. She holds her BM in vocal performance from Auburn University, where she studied with Dr. Matthew Hoch. Her operatic roles and scenes include Clorinda in La Cenerentola, Norina in Don Pasquale, Fiordiligi in Così fan tutte, L'Eternità in La Calisto, Giannetta in L'elisir d'amore, Adina in L'elisir d'amore, Susanna in The Marriage of Figaro, Pamina in The Magic Flute, Zweite Dame in Die Zauberflöte, Gretel in Hansel and Gretel, Carolina in Il matrimonio segreto, Lady Saphir in Patience, Ānanda in Sherry Woods's MĀRA: A Chamber Opera on Good and Evil, and Rosie in Frank Pesci's Royal Flush. Affan has received awards and recognition at Alabama NATS, Southeastern Regional NATS, Las Vegas NATS, Cal-Western Regional NATS, the Vann Vocal Institute, Alabama MTNA, Southern Division MTNA, Nevada MTNA, Southwest Division MTNA, National MTNA, and Alabama Federation of Music Clubs. She has performed in master classes with David Cangelosi, Dr. Loraine Sims, Dr. Melanie Williams, Dr. Feryal Qudourah, Jennifer Larmore, Michael Sturm, Oresta Cybriwsky, Lawrence Brownlee, Dolora Zajick, and Barbara Dever. She has also performed at the International Music Festival at the American University of Sharjah and the Music by Women Festival at Mississippi University for Women. She studies voice with Dr. Linda Lister.

  • Valentine Baron, Soprano

    Valentine Baron

    Soprano

    The Girl

  • Valentine Baron, Soprano

    Valentine Baron

    Soprano

    Valentine Baron, soprano, originally from France has been appearing on stages in both France and the United States. In 2014, she moved to New York to pursue a Master of Voice Performance and Pedagogy at New York University (NYU). While in New York, she made her operatic debuts as Second Lady (The Magic Flute) at the Weill Recital Hall at Carnegie Hall, and Zerlina (Don Giovanni) at Opera America. Others performances include Gretel (Hansel und Gretel), La Fée (Cendrillon), Mlle Silberklang (Der Schauspieldirektor), Stella (La Fille du Tambour Major), Blanche de la Force (The Dialogues of the Carmelites), Eurydice (Orpheus in the Underworld) and the Vixen (The Little Cunning Vixen).

    In July 2019, she gave a recital in France raising funds for research on Epilepsy. In 2022, she will sing to help the research on breast cancer. Ms. Baron is currently finishing her Doctor of Musical Arts in Voice Performance in the studio of the soprano Dr. Linda Lister.

  • Marcie Ley Headshot

    Marcie Ley

    Soprano

    Old Woman/Trio

  • Marcie Ley Headshot

    Marcie Ley

    Soprano

  • Francisco Corredor casually smiling in a light colored suit.

    Francisco Corredor

    Tenor

    The Boy

  • Francisco Corredor casually smiling in a light colored suit.

    Francisco Corredor

    Tenor

    Francisco Corredor is a Puerto Rican/Colombian tenor, composer, and director born and raised in New York City. His comedic and lively operatic interpretations have been praised by Opera News, The New York Times, El Diario, The Brooklyn Daily Eagle, and the Oklahoman. A former artist with Tony Bennett’s Exploring the Arts Foundation and Martina Arroyo’s Prelude to Performance, he’s performed in some of New York’s most prestigious venues including Lincoln Center, Carnegie Hall, and Radio City Music Hall as well as abroad in France, Switzerland, Austria, and Israel. He’s also sung backup for Tony Bennett, Josh Groban, and Jennifer Hudson. As a singer songwriter, he’s performed throughout the New York piano bar scene and the famous Caveau de la Huchette in Paris, France. He is the composer and lyricist of “Happy Birthday David: The Musical!” which premiered at the People’s Improv Theater MainStage. His self produced EP, recorded in Paris as Frankie Amadeus, is currently available on music streaming platforms. Recently, he directed Vegas City Opera's The Ring Vegas! which won “Most Innovative Production” at the 360° of Opera 2020 Awards.

Tosca

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  • Joshua Horsch, posing with baton.

    Joshua Horsch

    Conductor

  • Joshua Horsch, posing with baton.

    Joshua Horsch

    Conductor


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    Praised for conducting with “steady acumen and considerable aplomb” and “awesome control” (Opera Today), Joshua Horsch is an extremely versatile operatic and symphonic conductor.  A two-time winner of the American Prize in Opera Conducting Joshua serves as Music Director and Principal Conductor of Opera Las Vegas. Joshua’s recent and upcoming conducting engagements include appearances with Atlanta Opera, Des Moines Metro Opera, Opera Orlando, Mobile Opera, Pacific Opera Project, Opera Las Vegas, Tri-Cities Opera, and Chicago Summer Opera.

    With a diverse repertoire of over fifty operas and a broad spectrum of orchestral and choral works, Joshua has recently held positions as a conductor/coach/chorus master on the music staff of the St. Louis Symphony Orchestra, Michigan Opera Theatre, Florida Grand Opera, North Carolina Opera, Opera Saratoga, Pensacola Opera, Fort Worth Opera, the Boulder Philharmonic Orchestra, and the Colorado Music Festival.  Joshua’s guest and workshop conducting includes work with the Baltimore Symphony Orchestra, the Omaha Symphony, the Oregon Bach Festival Orchestra and Chorus, the Cabrillo Festival Orchestra, the Bohuslav Martinu Philharmonic Orchestra, Orquestra Filharmonia de Chihuahua, the Lyatoshinsky Chamber Orchestra, the Newport Music Festival, the Colorado New Music Ensemble, the PENDULUM New Music Ensemble, the Boston Opera Collaborative, and the Boulder Bach Festival.

    As a dedicated interpreter of new works, Joshua has enjoyed a number of collaborations with many of today’s leading composers including Tom CipulloJennifer Higdon, and Libby Larsen.  For two seasons, Joshua served as Music Director/Conductor of the CU New Opera Workshop where he collaborated with composers Libby Larsen and Alberto Caruso as well as author Colm Tóibín and stage director Ron Daniels.  At Seagle Music Colony’s American Center for New Works Development, Joshua has conducted and played workshops for new works by Libby Larsen and Scott Eyerly.  For four seasons, Joshua served as conductor/co-founder of the Colorado New Music Ensemble where he programmed and conducted works ranging from John Corigliano’s Symphony No. 2 to Susan Botti’s chamber opera Telaio: Desdemona.  While a Festival Artist/Conductor at the Newport Music Festival, Joshua conducted members of the Rhode Island Philharmonic and Providence Singers in a series of contemporary choral/orchestral masterworks.

  • Audrey Chait, Director

    Audrey Chait

    Director

  • Audrey Chait, Director

    Audrey Chait

    Director

    Audrey Chait is a director, writer, and producer specializing in opera and multi-disciplinary performance art.

    In the 2020-2021 season, Ms. Chait directs the world premiere of Marie Begins for Westminster Opera Theater (online release), The Telephone for Parea Recital Series (online release), Gallantry for Northern Kentucky University, L’inganno felice for Opera Southwest, and Don Pasquale for Opera Las Vegas. In the 2019-2020 season, Ms. Chait directed The Bartered Brideand the North American premiere of Dark Star Requiem, both at CCM, and La fille du regiment for Winter Opera St. Louis. In summer 2021, Ms. Chait joins the prestigious Merola Opera Program.

    Previous directing credits include Bolcom's Dinner at Eight, and the Bach St. John Passion, both at CCM, Scalia/Ginsburg with Opera North, The Magic Flute (Outreach Tour) at Kentucky Opera, and La cenerentola at Opera Las Vegas. Her production of L’elisir d’amore at Winter Opera St. Louis in 2018 was nominated for a St. Louis Theater Critics Circle Award. Ms. Chait’s assistant director credits include Santa Fe Opera, the Glimmerglass Festival, Carnegie Hall, Portland Opera, and Opera Colorado.

    In her prior career as a producer and stage manager, Ms. Chait specialized in large-scale site-specific theatrical projects, including several collaborations with On Site Opera: at Madame Tussaud’s Wax Museum, the Cotton Club, and the Fabbri Mansion. She also oversaw a multi-venue TEDx conference produced at the Metropolitan Museum of Art. As an administrator, she worked for two years at the Marcus Institute for Vocal Arts at the Juilliard School.

    Ms. Chait holds a BA in Literary Arts from Brown University, where she studied playwriting and performance art with Erik Ehn. While at Brown, she was selected to travel to Berlin to meet with students in Daniel Barenboim's West-Eastern Divan Orchestra. In 2009, she directed her first opera and never looked back.

    Her writing (fiction, poetry, and plays) tends toward magical realism, broad comedy, and often incorporates operatic elements in both style and content.

  • Joe Svendsen, smiling in a shirt and tie.

    Joe Svendsen

    Chorusmaster

  • Joe Svendsen, smiling in a shirt and tie.

    Joe Svendsen

    Chorusmaster

    Joseph Svendsen an American conductor, tenor, and academic with experience in a diverse array of vocal music performance, study, and leadership. He serves as Co-Director of Choral Studies at the University of Nevada, Las Vegas and Director of Choirs and Devotional Music at Faith Community Lutheran Church in Summerlin. He is in his fifth season as chorus master for Opera Las Vegas.

    Svendsen has performed or conducted professionally in Ireland, England, Portugal, Spain, Italy, Germany, Austria, Czechia, South Korea, and Canada, as well as many of the finest performance venues across the United States. A leggero tenor, he specializes in Baroque repertoire and chamber choir, performing with various professional ensembles across the United States and Europe.

    Svendsen’s academic experiences are wide-ranging, teaching high school, college, church, and professional ensembles. He has presented at state, regional, national, and international professional conferences and symposia, with emphases in critical pedagogy in the choral rehearsal and sacred choral music. Svendsen specializes in repertoire from before 1800 and sacred music from a variety of faith and spiritual traditions, particularly Lutheranism.

    Svendsen holds a Doctor of Music in Conducting from Texas Tech University, a MM from the University of Illinois, and BAs from Luther College in Decorah, Iowa.

  • Alexandra Loutsion, posing in dark clothing.

    Alexandra Loutsion

    Soprano

    Floria Tosca

  • Alexandra Loutsion, posing in dark clothing.

    Alexandra Loutsion

    Soprano


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    Hailed as "fearless" (Opera News) and “masterful” (Tulsa World) 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.

    Ms. Loutsion begins the 21/22 season by joining the roster of the Lyric Opera of Chicago to cover in Macbeth (Lady Macbeth) followed by a role/house debut at Austin Opera for Fidelio (Leonore) and a house debut at Opera Las Vegas for Tosca (title role). Last season she debuted at Chicago Opera Theater in Sankaram’s Taking Up Serpents (Kayla) and Lyric Opera of Chicago in Twilight Gods (Brünnhilde) as well as a solo recital at Pittsburgh Festival Opera. She made her role/house debut with Minnesota Opera in Elektra (title role), followed by a return to Pittsburgh Opera for Florencia en el Amazonas (title role) and Palm Beach Opera for Tosca (title role). Alexandra made her international debut with the Canadian Opera Company in Elektra (Overseer), returned to Central City Opera for Il trovatore (Leonora), debuted with New Orleans Opera in Turandot (title role), and San Francisco Opera for Elektra (Overseer) and Turandot (title role cover).

    Puccini is a staple of Ms. Loutsion’s repertoire. In addition to singing Turandot with Pittsburgh Opera, Tulsa Opera, and New Orleans Opera, she has also brought her Tosca to Palm Beach Opera, Wolf Trap Opera, Sacramento Philharmonic & Opera, Fort Wayne Philharmonic, and Central City Opera, and Cio-Cio-San in Madama Butterfly to Palm Beach Opera, Wolf Trap Opera, and Opera on the James. Additional credits include Rusalka (Foreign Princess) with Arizona Opera, Florencia en el Amazonas (title role) with Arizona Opera, Don Giovanni (Donna Anna) with North Carolina Opera, Macbeth (Lady Macbeth) with Raylynmor Opera, Hansel and Gretel (Gertrude) with Dayton Opera, Wagner's Das Liebesverbot (Isabella) with the Ring Festival LA, and Macbeth (Lady-in-Waiting) with the Chicago Symphony Orchestra under Riccardo Muti.

    On the concert stage, Ms. Loutsion has sung the soprano solos in the Verdi Messa da Requiem with the Santa Fe Symphony and the Academy Chamber Orchestra of Pittsburgh and Beethoven Symphony No. 9 with the Cathedral Choral Society, West Virginia Symphony, Syracuse Symphoria, Erie Philharmonic, and as a guest soloist with the Ithaca College Chamber Orchestra. She recently debuted the soprano solos in the Hadyn Mass in Time of War with the Cathedral Choral Society of Washington D.C.

    An advocate for living composers and contemporary works, Ms. Loutsion has given performances of Nico Muhly’s Dark Sisters (Almera) with Pittsburgh Opera, Ricky Ian Gordon's Orpheus and Euridice (Euridice) at the Boston Court Performing Arts Center, Krausas' The Mortal Thoughts of Lady Macbeth (Witch 3) with Vera Ikon Productions, and in the West Coast Premiere of Lowell Liebermann's Miss Lonelyhearts (Fay Doyle). She can be heard as the soprano soloist on the soundtrack of the film Lucir y sombra.

  • Dan Sutin

    Daniel Sutin

    Baritone

    Baron Scarpia

  • Dan Sutin

    Daniel Sutin

    Baritone


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    Baritone Daniel Sutin recently sang the role of the villainous police chief Baron Scarpia in the Northern Lights Music Festival’s critically acclaimed production of Tosca, the first North American opera production to be performed with social distancing. Upcoming engagements include Don Fernando in Fidelio with Polish National Opera, and the title role in Rigoletto with Opera North. In 2019-20, Mr. Sutin covered the title role in Wozzeck at the Metropolitan Opera. The 2018-19 season marked his debut with Arizona Opera as Giorgio Germont in La Traviata. In 2017-18, Mr. Sutin’s engagements included Baron Scarpia in Boston Lyric Opera’s new production of Tosca, Giacomo in Giovanna d’Arco with Odyssey Opera, and his return to Chicago to cover Alberich in Siegfried. He also debuted with San Francisco Opera to cover Alberich in their complete Ring Cycle.

    In 2015-16, Daniel debuted the role of Jokanaan in Salome with the Detroit Symphony, sang Don Fernando in Fidelio with Cincinnati Opera, Iago in Otello with the Phoenicia Festival of Voice, Enrico Ashton in Lucia di Lammermoor with Boheme Opera of New Jersey, and covered the title role of Wozzeck and Alberich in Das Rheingold at Lyric Opera of Chicago, and Alberich in the complete Der Ring des Nibelungen at Washington National Opera. In 2014, Daniel Sutin sang the title role of Wozzeck at the Metropolitan Opera, stepping in at the last moment for an indisposed Thomas Hampson, and was the One-Eyed Brother in Die Frau ohne Schatten. Other engagements for the 2014-15 season included Biterolf in Tannhäuser (Lyric Opera of Chicago),and Sharpless in Madama Butterfly (Hawaii Opera Theatre). In 2013, he sang Giorgio Germont in La Traviata(Savonlinna Opera Festival, Finland), the title role of Rigoletto (Musica Viva, The Opera Society of Hong Kong), Konrad Nachtigall in Die Meistersinger von Nurmberg (Lyric Opera of Chicago), Tonio in I Pagliacci (Austin Lyric Opera), and Valentin in Faust (Boheme Opera of New Jersey). Highlights of the 2011-12 season include Mr. Sutin’s debut at Boston Lyric Opera in the title role of Macbeth, and Marcello in Opera Fairbanks’ production of La Boheme.

    In 2010-11, he returned to Lyric Opera of Chicago as Sonora in La Fanciulla del West, sang the role of Paolo Albiani in Simon Boccanegra (L’Opéra de Montréal), Iago in Otello (Palm Beach Opera), and was at the Metropolitan Opera for Wozzeck and Boris Godunov. In addition he sang Baron Scarpia in Las Vegas Opera’s Production of Tosca. 2009-10 season highlights: Peter, the Father (cover) in Hänsel und Gretel (Metropolitan Opera), title role of Rigoletto (San Antonio Opera and Nashville Opera), and Paolo in Simon Boccanegra (Canadian Opera Company. 2008-09 marked Mr. Sutin’s debut with the Royal Opera House, Covent Garden, as Sonora in La Fanciulla del West. In addition, he sang Sharpless in Madama Butterfly (Savonlinna Opera Festival, Michigan Opera Theatre). 2007-08 was his Lyric Opera of Chicago debut, as the One-Eyed Brother in Die Frau ohne Schatten. It also was his seventh season at the Metropolitan Opera, where he was Paris in Roméo et Juliette. Other season highlights include Giorgio Germont in La Traviata (Reisoper Nederlandse), and Sergeant Belcore in L’Elisir d’Amore (San Antonio Opera). Following a Verdi Gala for the Santa Barbara Opera to open the 2006-7 season, Mr. Sutin was heard at the Metropolitan in the world premiere of Tan Dun’s The First Emperor, and sang Orest in Elektra(Canadian Opera Company) and Conte di Luna in Il Trovatore (Caramoor Festival).

  • Dominick Chenes, Tenor, leaning against a brick wall.

    Dominick Chenes

    Tenor

    Mario Cavaradossi

  • Dominick Chenes, Tenor, leaning against a brick wall.

    Dominick Chenes

    Tenor


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    “…Dominick Chenes’ Rodolfo, whose remarkable stamina, vocal range, and dramatic capabilities pulled the show together into a compelling dramatic arc. His fragile relationship with Mimi was complex, and yet, by the end movingly simple…” -bachtrack, La Boheme, Welsh National Opera

    Reviewed in the Huffington Post as a “breakout star” and “powerhouse lyric tenor”, tenor Dominick Chenes’ many recent engagements include debuts with Opéra Royal de Wallonie-Liège as Pinkerton in Madame Butterfly, Alfredo in La Traviata for Tokyo New National Theatre, Lyric Opera of Chicago for Pinkerton in Madama Butterfly and Attila , Odyssey Opera for the Earl of Essex in Britten’s Gloriana, a debut with the Philadelphia Orchestra in concert arias, and Verdi’s Requiem with the Flint Symphony OrchestraThis season Dominick debuts Oper Leipzig in Bellini’s Norma (Pollione), a role he will also perform in Hong Kong later this season... Other future engagements include a return to Seattle Opera as Cavaradossi in Tosca and a return to Utah Opera for Nicias in Massenet’s Thaïs. Mr. Chenes also returns to Lyric Opera of Chicago to cover Cavaradossi.

    Most recent performances include Seattle Opera as Pinkerton in Madame Butterfly, Opera Colorado as Rodolfo in La Boheme, New Orleans Opera as Turiddu Cavalleria Rusticana, Valencia as Carlo in I Masnadieri conducted by music director Roberto Abbado, Cavaradossi in Tosca with the Reading Symphony, Musica Viva Hong Kong, for Pinkerton and Rodolfo, and La Reine de Saba with Odyssey Opera.

    Dominick’s Lyric Opera of Chicago debut was in the role of Faust (cover). He has performed Don Jose in Carmen with Palm Beach Opera, Alfredo in La Traviata at the Pa Skaret Opera Festival in Sweden, Riccardo in Un Ballo in Maschera with Austin Lyric Opera, debuted Grand Theatre de Genevre as Lopas in Les Troyens with Maestro Dutoit, Cavaradossi in Tosca with the Minnesota Opera, Pinkerton for Austin Lyric Opera, Don Jose with Utah Opera, and Rodolfo with the Welsh National Opera.

    Dominick is a graduate of the Academy of Vocal Arts where he has performed Rodolfo in La Boheme conducted by Christofer Macatsoris. Other roles at AVA include Alfredo is La Traviata, Gherman in Pique Dame, and Riccardo in Un Ballo in Maschera. He made his Alice Tully Hall debut with the Licia Albanese Puccini Foundation, as well as a concert for the Gerda Lissner Foundation in Zankel Hall.

    Dominick was awarded second prize from the Gerda Lissner Foundation, third prize from the Mario Lanza Competition and a Grant from the Licia Albanese-Puccini Foundation.  He was also a finalist in the Meistersinger Competition in Graz Austria.

  • Adelmo Guidarelli

    Adelmo Guidarelli

    Bass-Baritone

    Sacristan

  • Adelmo Guidarelli

    Adelmo Guidarelli

    Bass-Baritone

    Adelmo is excited to return to Opera Las Vegas for his fourth production! You saw him last season as Don Pasquale and since then he has portrayed various roles including Zuniga in Carmen with Salt Marsh Opera, Bartolo in Le Nozze di Figaro with Shreveport Opera, Don Alfonzo in Cosi Fan Tutte with Cedar Rapids Opera and Morales/Zuniga with Helena Symphony. He is a GRAMMY award winning soloist and in addition to opera landed two national TV commercials for SONY’s PS4 Pro “Opera Campaign,” one of which debuted during the 2018 Super Bowl game day coverage on NBC. He is a featured soloist on the GRAMMY award winning album “All The Sounds” by Lucy Kalantari and The Jazz Cats as “Mr. Opera Man” and has hosted a TV show called “Voices Among Us.” He won The MAC Award for “Best Comedy Performer” for the opera comedy show OPERATION OPERA, was invited by Ryan Seacrest to perform Mozart’s “Non più andrai” on his E! Channel series Bank of Hollywood, was heard on a national commercial for Lidia’s Italian Gourmet Kitchen, and is a featured soloist on a German Children’s CD called "Der Kleine Tanzbar Schubidu". He is also part of the SONY MBA (Music Business Association) catalog singing the seasonal hits “A Christmas Toast” and “Sing Your Song” (lyrics by Michael MacKenzie Wills). His debut solo album titled “Treasured Songs of Italy & Germany” spawned an International Association of Independent Recording Artists (IAIRA) certified International #1 hit for his dual language version of “Funiculi, Funicula”, and he won The Akademia Music Award for Best Gospel Song for his rendition of “Sweet Little Jesus Boy”. He is a voting member of The Recording Academy and an annual participant at the Grammy Awards.

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