Bass Alexander Hahn’s recent performances include his debut with the Beethoven Easter Festival of Warsaw as Pietro in Simon Boccanegra, Figaro in Le Nozze di Figaro with Bronx Opera, Monterone with in Rigoletto with Opera Theater of Connecticut, Colline in La Bohème with Stony Brook Opera, , and the bass-baritone soloist in Beethoven’s Symphony No. 9 with EOS Orchestra of Beijing. Mr. Hahn’s operatic credits include performances of Lorenzo in I Capuleti e i Montecchi, King René in Iolanta, Leporello in Don Giovanni, Don Alfonso in Così fan tutte. Mr. Hahn he earned both a Master’s degree in Music and an Artist Diploma from Yale School of Music. His Bachelor’s degree in Music is from Mannes College of Music.
Bass-baritone DORIAN McCALL has been described as having a “warm, even baritone” with a “rich and flexible voice” and recognized as having “great style, musically and physically” on stage (MONC). In the current season Mr. McCall debuted as the titular characters in Mozart’s Le nozze di Figaro at the Blooming Voce Opera Workshop and Puccini’s Gianni Schicchi and covered Donizetti’s Don Pasquale with OU Opera. He also debuted as Polyphemus in Handel’s Acis and Galatea. He was also the Bass-baritone soloist for Bach’s BWV 211 with the Enid Symphony and Schumann’s Requiem with the Symphony of Southeast Texas.
Emily Misch’s 2016-2017 season includes the Ravinia Festival’s Steans Music Institute, Kate Alterman in The Triangle Fire at New York University, and concert performances of Carmina Burana and Exsultate, jubilate, K. 165 with the Westchester Choral Society, Huntington Choral Society, and Greenville Symphony Orchestra. Operatic roles include Zerlina in Don Giovanni, Fire/Princess/Nightingale in L’enfant et les Sortilèges, and the Controller in Jonathan Dove’s Flight. She has received prizes from the Metropolitan Opera National Council (2017 Eastern Region Finalist) and the Gerda Lissner Foundation, and participated in training programs at Wolf Trap Opera Company, Opera North (NH), and Opera on the Avalon. She received a BA in Music from Yale University, where she graduated magna cum laude.
American Singer, Jared Guest, has been described as having a “robust baritone.” 2016-17 sees Guest returning to Opera Colorado as Sonora in Puccini’s La fanciulla del West and debuting with Salt Marsh Opera as Dandini in Rossini’s La Cenerentola. He also joins Sarasota Opera’s Studio covering the roles of Sharpless (Madama Butterfly) and Taddeo (L’italiana in Algeri). Role credits include: Ford (Falstaff), Escamillo (Carmen), Sharpless (Madama Butterfly), Figaro (Il barbiere di Siviglia), Papageno (Die Zauberflöte), Faninal (Der Rosenkavalier), and Belcore (L’elisir d’amore). Guest is a District winner and Encouragement Award Recipient of the Metropolitan Opera National Council Auditions.
Baritone Jesse Malgieri has been engaged by the Munich Philharmonic, Santa Fe Opera, North Carolina Opera, Central City Opera, Sarasota Opera, the Orquesta Sinfónica de Galicia, Spain, and the festivals of Caramoor, Princeton, and Castleton. He has won awards from the Metropolitan Opera National Council, the Gerda Lissner Foundation, the Chateauville Foundation, and the Bel Canto Foundation. Upcoming, Jesse returns to the Princeton Festival as Don Quixote in Man of La Mancha, debuts with the Hawaii Performing Arts Festival as Poo-Bah in The Mikado, and stars in Moto Osada’s opera Four Nights of Dream in New York City and Tokyo, Japan.
Soprano Jessica Fishenfeld recently completed her Young Artist residency with Palm Beach Opera, where she sang Mabel (The Pirates of Penzance family performance), Norina (Don Pasquale family performance), Frasquita (Carmen), Najade (Ariadne auf Naxos), Kate Pinkerton (Madama Butterfly), and covered Gilda (Rigoletto). She finishes the season premiering a principal role in Sirens for the Cutting Edge Concerts New Music Festival, and debuts with the Newport Music Festival. She recently sang concerts with the Center for Contemporary Opera and the Music for Montauk Festival, Zerlina (Don Giovanni) excerpts at the Metropolitan Opera Guild, Susanna (Le nozze di Figaro) at Miami Music Festival, and was a finalist in the 2015 Ades Vocal Competition.
American Mezzo-Soprano Kara Dugan has been praised by the New York Times for her “vocal warmth and rich character.” She earned both her Master and Bachelor of Music degrees from The Juilliard School, and this June she will make her San Francisco Symphony debut. Earlier this year, Kara toured the United States and Holland as the Soprano II soloist in Bach’s Mass in B minor with Juilliard415 under the baton of Ton Koopman. She has been seen as Papagena in Mozart’s Die Zauberflöte and Cherubino in Mozart’s Le Nozze di Figaro. This summer she will join Ravinia’s Steans Institute.
Lawson Anderson is a native of Atlanta, Georgia and graduated with majors in music and economics from the University of Virginia in 2009 and with an MBA from Columbia Business School in 2015. Recent performances include Don Giovanni in NYC and Cleveland, and he will sing Mozart’s Figaro in Berlin in August. Additionally, he makes his Carnegie Hall debut in concert singing Wagner this spring and will sing the bass solo in the Verdi Requiem in Italy in July 2017. Lawson is also a three-time District 1st place winner and Region Finalist in the MONC Auditions; 2017 First Prize winner in the Gerda Lissner IVC; and a 2016 winner and International grand finalist of the Anita Cerquetti Competition.
Opera News has praised Liz Lang for her “comedic timing and clear resonant tone.” Liz holds an M.M. in Vocal Performance from the Eastman School of Music in the studio of Rita Shane. Opera experience includes: Adina (L’elisir d’amore), Violetta (La Traviata), Papagena (Die Zauberflöte), Atalanta (Xerxes), Blanche (Dialogues of the Carmelites), Frasquita (Carmen), and Iris (Semele, professional debut, Opera Omaha). Recent concert experience includes: Strauss’s Brentano Songs at The Juilliard School, soloist in Brahms’s Ein Deutsches Requiem, and Faure’s Requiem with The Really Big Chorus (UK). This May, Liz will appear with members of the Riverside Choir in NYC as the soloist in Rutter’s Requiem.
Washington, DC native Melanie Ashkar, mezzo-soprano, is known for the “rich texture” of her voice and her “delightfully expressive” stage presence. She has appeared across New York City as Earth (Los Elementos) with New York City Opera, Lucretia (The Rape of Lucretia) with Utopia Opera, Bradamante (Alcina) with OperaRox Productions, and as Jo (Little Women), Older Woman (Flight) and La Zia Principessa/Zita (Suor Angelica/Gianni Schicchi) with Mannes Opera. Upcoming performances include Suor Angelica/Gianni Schicchi with Martina Arroyo Prelude to Performance and Olga in Eugene Onegin with Utopia Opera. In the fall, Ms. Ashkar joins the Resident Artist Program at Utah Opera.
Career Bridges congratulates 2017 winner Sylvia D’Eramo on her winning the 2019 Metropolitan Opera National Council Audition Florida District Auditions. She is now a National Semifinalist and will be competing on stage in March. Sylvia is a graduate of SUNY Purchase and the Yale School of Music, where in the 2016-17 Season she sang the challenging role of Abigail in Robert Wards’ “The Crucible” recorded by Albany Records. She has Joined the Palm Beach Opera apprentice program and is featured as as Adele in “die Fledermaus: In 2018 she was a member of the prestigious Santa Fe Opera Apprentice Program
Hailed by the San Francisco Gate for her vocal “power and florid elegance”, soprano Teresa Castillo is a recent participant at San Francisco Opera’s prestigious Merola Opera Program and placed 1st in the Anita Cerquetti International Opera Competition in Montecosaro, Italy. This summer, she returns to Bel Canto at Caramoor as a Young Artist and will sing on the Opening Night Gala and is singing the Soprano Solo in Rossini’s Petite Messe Solennelle. 2018, she will make her debut with the Virginia Opera covering the roles of Lucia in Lucia di Lammermoor and Tytania in A Midsummer Night’s Dream.
Bass baritone Eugene Richards made his professional opera debut in Opera Las Vegas’ production of Rossini’s Barber of Seville as The Sergeant. He returned to the company in their 2015 production of Puccini’s Madama Butterfly as The Bonze and their 2016 production of Carmen as Morales. He will again be working with the company in their 2017 production of Rigoletto as Monterone. Additionally, Eugene has spent the last three summers as part of Dolora Zajick’s Institute for Young Dramatic Voices in the American Wagner Project division where he is studying the helden baritone repertoire.
Canadian-Armenian bass-baritone Vartan Gabrielian attends Curtis Institute of Music under the tutelage of Marlena Kleinman Malas, and Armen Boyajian in pursuit of a Bachelor’s Degree in Vocal Performance. Future engagements include a return to the Chautauqua Summer Voice Program as a guest artist performing Schubert’s final song cycle, Schwanengesang, with his mentor Mikael Eliasen. In 2018 he will make his professional debut singing Sparafucile in Opéra de Montréal’s production of Rigoletto. During the 2016-2017 Curtis Opera Theatre season, Gabrielian performed the role of Collatinus in their production of The Rape of Lucretia and then went on to perform as General Groves in the critically acclaimed staging of John Adams’ Dr. Atomic.
Korean-Chinese Soprano, Yulan Piao, completed her master degree at the Manhattan School of Music. She received third prize in the 2017 Gerda Lissner International Vocal Competition and first prize in the Five Towns Music and Art Foundation. She made her professional debut singing the role of Gilda in Rigoletto in South Korea. Previous credits include La bohème (Mimì), Die Zauberflöte (Pamina), Luisa Miller (Luisa), Così fan tutte (Fiordiligi), Opera Scene work includes La Rondine (Magda), Die lustigen Weiber von Windsor (Frau Fluth), Manon (Manon), Carmen (Micaela) and Lucia di Lammermoor (Lucia). Last summer she performed as Mimì in Puccini’s La bohème in IVAI program in New York City. She will be joining the Martina Arroyo Foundation this summer.
Cuban-American, Mezzo-Soprano Zaray Rodriguez is a first year member at the Opera Institute at Boston University. Ms. Rodriguez’ recent operatic credits include Zita (Gianni Schicchi), La Zia Principessa (Suor Angelica), Federico Garcia Lorca (Ainadamar), Mezzo (Hydrogen Jukebox), Aunt Hannah Watkins (Emmeline), and Cherubino (Le Nozze di Figaro). As a proponent of New Music, Ms. Rodriguez’ professional recording credits include the premiere of Visions and Ecstasies: A Mass with Naxos Recording and Clerk (The Death of Webern) with Albany Records. An alumna of Seagle Music Colony (2016) Rodriguez makes her debut as a Fellowship Young Artist at Aspen Music Festival 2017.