Elizabeth Caballero, BUTTERFLY
Soprano Elizabeth Caballero is a frequent guest of numerous American and international opera houses, festivals and concert venues.
Her repertoire encompasses staples of the dramatic coloratura and full lyric repertoire, including Mimì (La Bohème) (Metropolitan Opera, New York; New York City Opera; Florida Grand Opera; Hawaii Opera Theater; Central City Opera); the title role in Puccini’s Madama Butterfly (Staatsoper unter den Linden, Berlin), Musetta (La Bohème) (Metropolitan Opera, New York); Violetta (La Traviata) (Opera Naples; Opera Carolina; Florentine Opera; Madison Opera; Pacific Symphony; Orlando Philharmonic; Compañía Lírica Nacional de Costa Rica); Magda (Puccini’s La Rondine) (Florida Grand Opera; Teatro Verdi, Trieste, Italy); both Contessa di Almaviva and Susanna (Le Nozze di Figaro) (Florida Grand Opera, and Seattle Opera, respectively); both Donna Anna (Madison Opera) and Donna Elvira (Don Giovanni) (New York City Opera; Seattle Opera; Lyric Opera Kansas City) among many others.
In concert, she has sung the soprano solos in John Rutter’s Requiem (Carnegie Hall, New York); Orff’s Carmina Burana (Hawaii Opera Theater; Asheville Symphony; National Chorale, Florida Orchestra); Verdi’s Requiem (Spokane Symphony; Opera Grand Rapids), Rachmaninov’s The Bells and Poulenc’s Gloria (Crane Chorus and Symphony Orchestra), and the orchestral song cycle Honey and Rue (Previn) (Pacific Symphony).
For more information: https://elizabethcaballero.com/about/
Chad Shelton, PINKERTON
Opera News praises tenor Chad Shelton for one of his trademark roles, claiming that his “Don José was the dramatic heart of this production; this was a performance that grew in complexity as he struggled to reconcile the forces of loyalty, lust and fate. Shelton owned the final scene, as his character descended into despair fueled by psychotic obsession. His bright tone amplified the intensity of the last gripping moments.”
In the 2018-19 season, he returns to the Seiji Ozawa Music Academy to reprise his acclaimed performances of Don Jose in Carmen. He also continues the success begun last season with Pollione in Norma, reprising the role with North Carolina, returns to Houston Grand Opera as the leading tenor in the world premiere of Tarik O’Regan’s The Phoenix, the Metropolitan Opera as Roderigo in Otello, and Florentine Opera as Charles II in Floyd’s Prince of Players. Future engagements include multiple returns to Houston Grand Opera and a debut with Calgary Opera. Last season, he returned to Houston Grand Opera for two exciting role debuts: Pollione in Norma and Aegisth in Elektra before returning to the Metropolitan Opera roster for the latter title. He also returned to Austin Opera as Don Jose in Carmen and the Phoenix Symphony for Beethoven’s Symphony No. 9.
For more information: https://www.sempreartists.com/chad-shelton
Sandra Piques Eddy, SUZUKI
Sandra Piques Eddy, praised for her “dark, sensuous mezzo and charming stage presence” (Opera Magazine) begins this season by returning to Florentine Opera to sing and record the role of Mistress Revels in Carlisle Floyd’s Prince of Players, then travels to the Metropolitan Opera to perform the role of Novice (and cover the role of Abbess) in Suor Angelica. Sandra rings in the New Year in Japan at the Hyogo Performing Arts Center for a New Year’s Eve Concert of Timeless American Musicals. Ms. Eddy is delighted to reprise the role of Carmen with Maestro Seiji Ozawa on tour in Japan in March. On the concert platform, the artist joins Harry Christophers and the Handel and Haydn Society in performances of the Mozart Requiem.
Recent career successes include creating the role of Young Wife in the World Premiere of Scott Wheeler’s Naga, part of the Ouroboros Trilogy, produced by Beth Morrison Projects in Boston, her role debuts as Dido in Dido and Aeneas with Florentine Opera, as Orfeo in Gluck’s Orfeo ed Euridice at Portland Opera, and as Meg Page in Falstaff with Opera Colorado Opera, company debuts as Carmen with Michigan Opera Theatre, Rochester Philharmonic and Spokane Symphony.
For more information: http://www.sandrapiqueseddy.com/artist.php?view=bio
Corey McKern, SHARPLESS
Praised by New York Classical Review for his “crisp singing and articulation” and the Boston Globe for “wielding an elegant baritone,” American baritone Corey McKern continues to be a singer to watch. He appears with opera companies and symphonies throughout the United States and on international stages.
Among the scheduled highlights in Mr. McKern’s 2016/17 performance season is his role debut as Owen Hart in Dead Man Walking with Pensacola Opera. On the concert platform he will be heard with the Talahassee Symphony and in recital at the University of Montevallo in Birmingham. Corey also enters his second year as a Visiting Professor of Music at the University of West Florida.
In the 2015/16 Season Corey McKern appeared as a soloist with the Phoenix Symphony in Handel’s Messiah, as well as with the Seattle Symphony and Puerto Rico Symphony Orchestra in Beethoven’s Symphony no. 9. Corey also made an exciting return to Carnegie Hall as a soloist in Beethoven’s Mass in C with the New York Choral Society. On the opera stage, Corey returned to Pensacola Opera as Danilo in Lehár’s The Merry Widow and Nashville and Florentine Operas as Eisenstein in Die Fledermaus.
For more information: http://www.coreymckern.net/aboutcorey.html
Brandon Michael, GORO
The Coeur D’Alene Press writes: “The night belongs to the Beast… Michaels voice shines.” Brandon Michael has performed on such stages as Carnegie Hall, Second Story Rep, The Public Theater, and Village Theater. His theater musical theater roles include Emile DeBecque/South Pacific, Curly/Oklahoma, Sky Masterson/Guys and Dolls, Pirelli/Sweeney Todd, Joey/Most Happy Fella, The Beast/Beauty and the Beast. Mr. Michael was a featured soloist in the 2003 Remy Martin Concert of Excellence in NY and has been recorded on Sony Records. He has sung the roles of Spoletta/Tosca, El DonCairo/Carmen, Don Basilio/Il Nozze Di Figaro and The Witch/Hansel and Gretel with the Inland Northwest Opera. Recently, he appeared with screen legend Ed Asner in his touring show “God Help Us.” Mr.Michael lives in North Idaho where he runs a private voice studio.
Dean Williamson, CONDUCTOR
Dean Williamson is widely known throughout the United States for his perceptive and commanding conducting. His ambitious and versatile career in standard and contemporary repertoire earns the conductor worldwide acclaim. The Washington Post says “a brilliantly directed, beautifully sung and endlessly funny Barber of Seville…the orchestra, which played the sparkling overture and the vivid storm music with grace and color under the expert baton of Dean Williamson.” The Seattle Times says “Williamson keeps a sure, steady hand on the singers and the orchestra…realizing the shimmering and otherworldly textures of the score.” This season, Maestro Williamson conducts for Nashville Opera where he’s entering his 4th season as Music Director with productions of La Traviata, and Jake Heggie’s Three Decembers. Additionally, he conducts Le nozze di Figaro with Arizona Opera and Philip Glass’ Hydrogen Jukebox at Washington University.
Fenlon Lamb, STAGE DIRECTOR
Opera News called Fenlon Lamb “moving and convincing” and Seen and Heard International complemented her “well-honed theatrical sensibility.” Ms. Lamb brings these qualities of experience and perspective as an outstanding singing actress to her work as a stage director.
Fenlon returned to Bar Harbor Music Festival for their 51st season, where she serves as Director of Opera and Vocal Programming, in the role of Producer of the Pops Concert “He Said, She Said” as well as Don Pasquale which was directed by Joseph DeSota. She has designed and directed engaging productions of Carmen, L’elisir d’amore, Madama Butterfly, Il barbiere di Siviglia, Le nozze di Figaro, La bohème, La Cenerentola, and Don Giovanni at the Bar Harbor Music Festival.
Following her direction of Madama Butterfly with Inland Northwest Opera, Ms. Lamb will direct Madison Opera’s production of La Traviata, Palm Beach Opera’s Hansel und Gretel, Pensacola Opera’s Don Giovanni, Arizona Opera’s Riders of the Purple Sage and Opera Santa Barbara’s Romeo et Juliette.
Heather Parker, DESPINA
Described by Opera News as “radiating glamour, both vocally and physically…” American soprano Heather Parker captivates audiences of opera and concert alike, with her warm and colorful voice, alluring spirit, and dynamic stage presence. A versatile singing actress, Parker possesses an uncommon gift of expressing the full range of human emotions, while bringing every word to life. Ms. Parker’s career highlights include Musetta in La Bohème with the Jacksonville Symphony, and Spokane Symphony, Adina in L’elisir d’amore with Granite State Opera, Tytania in A Midsummer Night’s Dream with Opera North, Norina in Don Pasquale with Spokane Opera, and Zerlina in Don Giovanni with the Jacksonville Symphony, Spokane Opera, and Annapolis Opera. Concert works include the soprano solos in Hadyn’s The Seasons, Handel’s Messiah, and Mozart’s C Minor Mass.
Derrick Parker, DON ALFONSO
Hailed by Opera News for his “vividly flavored vocalism” and “tall and commanding” presence, Derrick Parker appeared Seattle Opera for Jake in Porgy and Bess in the 2017-18 season. In the 2016-17 season he sang Raimondo in Lucia di Lammermoor with Utah Opera, and Mozart’s Requiem with Utah Symphony. He recently sang Porgy in Porgy and Bess with Baltimore Symphony, Ramfis in Aida with Utah Opera, Le fauteuil and L’arbre in L’enfant et les sortileges with Utah Symphony, and Joe in Showboat with Kentucky Opera. Mr. Parker marked his European operatic debut with performances of Mel in Tippett’s The Knot Garden at the Scottish Opera and performed as Crown in Porgy and Bess with Cape Town Opera on tour in Sweden as well as in Africa.
Tess Altiveros, FIORDILIGI
Praised for “a ripe, sensual lyric soprano”(Opera News), Tess Altiveros will make her Carnegie Hall debut in the premiere of John Muehleisen’s Borders in May of 2019. She performs regularly with Seattle Opera, Colorado Symphony and Skylark Opera Theatre in St. Paul. She performed as the Merry Widow with Inland Northwest Opera in for Opera on the Lake in 2018.
Other roles include Clorinda in Seattle Opera’s The Combat, Hannah in The Merry Widow (Inland Northwest Opera), Pamina in Die Zauberflöte (Pacific Symphony), Maria in West Side Story (Central City Opera/Boulder Philharmonic), Bach St. Matthew Passion (Colorado Symphony, staged), Donna Elvira in Don Giovanni (Skylark Opera Theatre), Musetta in La Bohème under the baton of Mo. Andrew Litton (Colorado Symphony), Carmen in La Tragédie de Carmen (Skylark Opera Theatre), Susanna in The Marriage of Figaro (Angels & Demons Entertainment), Miss Jessel in Turn of the Screw (Eugene Opera) and leading ladies with Vespertine Opera Theater (Les Mamelles de Tirésias, La Voix Humaine, La Bohème).
Laurel Semerdjian, an American mezzo-soprano of Armenian descent, has recently been hailed as “a dramatic and musical tour de force” (Pittsburgh Tribune) for her portrayal of Asakir in Pittsburgh Opera’s production of Mohammed Fairouz’s Sumeida’s Song. Her voice has been praised for its “guttural low notes” (Pittsburgh Post-Gazette) and “appealing weight, intensity and flexibility”.
In the 2018–2019 season, Ms. Semerdjian rejoined Pittsburgh Opera as Suzuki in Madama Butterfly, served the Tacoma Opera with a debut in the title role of The Rape of Lucretia. During the 2017–2018 season, Ms. Semerdjian performed with Sarasota Opera, as Flora in La traviata, and Syracuse Opera, as Suzuki in Madama Butterfly. She had company debuts with St. Petersburg Opera (Florida) as Dritte Dame in Die Zauberflöte, with Pittsburgh’s Resonance Works as Ježibaba in Rusalka, and with Washington Concert Opera as a guest soloist in their Opera’s Greatest Heroines gala concert.
Max Mendez, GUGLIELMO
Max Mendez has spent the last thirty years as a concert, theater, and opera artist. He has sung to critical success in the Northwest Bach Festival, the Spokane Symphony, and Spokane Opera. As an opera artist, he has performed with Los Angeles Music Center Opera, Opera Pacific, Spokane Symphony Orchestra, Spokane Opera, Opera Idaho, and Opera Coeur d’Alene (INO). Roles include Guglielmo (Cosí fan tutte), Malatesta (Don Pasquale), Schaunard (La Boheme), and Zuniga (Carmen). He has performed with many of the finest concert ensembles in the Inland Northwest including; the Spokane Symphony Orchestra, Walla Walla Symphony, Mid-Columbia Symphony, Mozart in the Park, Coeur d’Alene Symphony Orchestra, Westminster Chamber Orchestra, Allegro: Baroque and Beyond, Zephyr, Clarion Brass and the Northwest Bach Festival. His versatility as a singer ranges from opera and oratorio to musical theatre, cabaret, and popular styles. As an ensemble singer, Max toured China with Kentucky Harmony and the Chuck Nation Band. Max is a founding member and artistic director of Spokane Choral Artists and a proud member of Male Ensemble Northwest (MEN). Max currently is on faculty and Director of Choirs at North Idaho College in Coeur d’Alene, Idaho.
Tim Augustin, FERRANDO
A regular with The Washington National Opera, his past productions include more than twenty roles and over 250 performances. More recently, Tim performed the role of Ferrando in Così Fan Tutte with Baltimore Concert Opera. A much sought-after performer for his interpretive artistry, Tim is also regular performer with Washington D.C.’s most respected musical organizations including the National Symphony Orchestra, The National Chamber Orchestra, the Master Chorale of Washington, the Cathedral Choral Society, Masterworks Chorus, and many others. Tim has performed in such venues as Carnegie Hall and Alice Tully Hall in New York, on all of the stages at The Kennedy Center in Washington, The Mormon Tabernacle, and The Ordway Theater in St. Paul.
Edmund Brown recently earned his bachelor’s degree in Vocal Performance studying with tenor Christopher Pfund at the University of Idaho. During his time as an undergraduate student he has enjoyed portraying several roles, including Simone in Gianni Schicchi, Pandolfe in Cendrillon, Seneca in L’incoronazione di Poppea, Escamillo in Carmen, and most recently Sid in Albert Herring. Edmund has also enjoyed participating in opera outreach productions for surrounding schools, playing Figaro in an abridged Il barbiere di Siviglia, Colas in Bastien und Bastienne, and is looking forward to performing the role of Aaron Blunder in Inland Northwest Opera’s production of The Toy Shop.
Dylan Aguayo is from Deland, Florida and is currently studying Clarinet Performance with Shawn Copeland and Voice Performance with Christopher Pfund at the University of Idaho. Dylan has been seen playing the roles of Marco in the UI’s 2017 production of Gianni Schicchi by Puccini, Bastien in Mozart’s Bastien and Bastienne in the 2018 Spring Outreach show, and Count Almaviva in the 2018 Fall Outreach show of Barber of Seville by Rossini. His most recent role was the title character in UI’s production of Albert Herring by Benjamin Britten.
Madelein Bowman is a mezzo-soprano currently studying at the University of Idaho. She will graduate having performed roles including Nancy in Benjamin Britten’s Albert Herring, La Ciesca in Puccini’s Gianni Schicchi, and the title role in Bizet’s Carmen. This summer, Madelein is excited to perform outreach with Inland Northwest Opera as Pauline in The Toy Shop by Seymour Barab.
Michael Heitmann has performed throughout the United States for opera companies like Seattle Opera, Tacoma Opera, Opera Coeur d’Alene, Puget Sound Concert Opera and Northwest Opera in the Schools, Etc…, and Opera on Tap. Some of his roles include the title role in Don Giovanni, Count Almaviva (Le nozze di Figaro), Father (Hansel and Gretel), Reverend Olin Bitch (Susannah), Ben (The Telephone), and Bello (La fanciulla del West). Michael is excited to contribute as a part of the Inland Northwest Operas The Toy Shop by Seymour Barb as The Toymaker.