Show Dates: September 20 & 22
Venue: Martin Woldson Theater at The Fox
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 Syphony 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.