May 13 & May 15, 2022
MDLO returned once again to the Strathmore for concert performances of Verdi’s grand opera of forbidden passion and political intrigue, Don Carlo, May 13 & 15, 2022. Based on the historical characters and events of the Spanish Inquisition, Don Carlo features some of Verdi’s most beautiful music, woven together with a story of personal, political, and theological conflicts, including the unforgettable “Grand Inquisitor” scene. The celebrated cast included three international stars making their MDLO debuts—Arturo Chacón-Cruz as Don Carlo, Elaine Alvarez as Elisabetta, and Andrea Silvestrelli as King Filippo—alongside returning MDLO favorites Mark Delavan as Rodrigo, Catherine Martin as Princess Eboli, and Kenneth Kellogg as the Grand Inquisitor. MDLO Music Director Louis Salemno led the MDLO Orchestra & Chorus in interpreting all the majesty of Verdi’s epic score.
MD Theatre Guide
Washington Classical Review
Photos & Video
Meet the Artists
Arturo Chacón-Cruz, a native of Sonora, Mexico, has established himself in recent years as a leading tenor with exciting appearances in renowned theaters and concert halls across the globe. He has sung over 60 roles in more than 30 countries. Since winning Plácido Domingo’s Operalia Competition in 2005, Arturo’s career has seen a successful and steady development. His repertoire spans from Bellini and Donizetti to Puccini and Verdi. Some of his more sought after roles are: Rodolfo, the Duke of Mantua, Alfredo, Jacopo Foscari, Gabriele Adorno, B.F. Pinkerton, Hoffmann, Werther, and Romeo to name a few. He has sung private recitals for His Majesties Queen Sofia and King Juan Carlos of Spain, as well as another one for all the leaders of Iberoamerica, and His Majesty King Felipe of Spain.
Recent highlights include role debuts as Cavaradossi in TOSCA, Ismael in NABUCCO, and Rodolfo in Verdi’s LUISA MILLER in Oviedo, Valencia and Barcelona respectively. He also sang his first Nemorino in Donizetti’s ELIXIR OF LOVE in Palermo, Italy and afterwards he performed it again in Macau, China. Other recent performances include: The Duke in RIGOLETTO (Verona, Naples, Budapest, Hamburg, Los Angeles and Florence), LA BOHEME (San Francisco and Hamburg), LA TRAVIATA (Munich, Valencia, Moscow, Rome and Oman), Ruggero in Puccini’s LA RONDINE in Genova, Faust in Berlioz’s LA DAMNATION DE FAUST in Mexico City’s Bellas Artes, the Teatro Colon in Buenos Aires and at the Bolshoi Theater in Moscow, WERTHER in Barcelona and Budapest, Des Grieux in Massenet’s MANON in Monte Carlo, Don Jose in CARMEN (Tel Aviv, Lyon, Palermo and Zurich), as well as a critically acclaimed role debut as Macduff (Verdi’s MACBETH) in Los Angeles and later in Vienna. He made his La Scala di Milano debut as Hoffmann in Offenbach’s THE TALES OF HOFFMANN, and received a very warm reception from the audience and press.
Recent collaborations with star directors Sofia Coppola (LA TRAVIATA, with Valentino costumes) and Woody Allen (GIANNI SCHICCHI, available in DVD and BluRay by Sony) resulted in international acclaim and all sold out performances in Los Angeles, Valencia and Rome. Upcoming performances include two Verdian role debuts: Oronte in I LOMBARDI ALLA PRIMA CROCIATA, in Montecarlo and King Gustavo III in UN BALLO IN MASCHERA in Norway. He will be Alfredo in LA TRAVIATA in Seville, Hoffmann in THE TALES OF HOFFMANN in Berlin, among many others. After the Covid-19 pandemic lockdown he returned to Barcelona to perform Alfredo in LA TRAVIATA and the title role in Offenbach’s THE TALES OF HOFFMANN as his first stop.
In addition to an extensive existing operatic discography, the artist’s first solo CD is available. “Arturo Chacón le canta a México”, features some of the most beautiful Mexican music ever written, and is accompanied by the Orquesta Filarmónica de Sonora. Chacón-Cruz has received many honors and awards throughout the years. The most recent one being the “Moncayo Medal” in Jalisco, Mexico, he was also “GQ Man of the Year 2018” in Mexico. He was the “Jan Shrem and Maria Manetti Emerging Star” of 2017 for the San Francisco Opera. He received the Alfonso Ortíz Tirado medal in 2013 (Sonora’s highest cultural award), the Distinguished Sonoran Medal 2009, the Culturarte de Puerto Rico, the Opera de Valencia and the Plácido Domingo Zarzuela Awards in Operalia 2005 in Madrid’s Teatro Real. He received the Eleanor McCollum 1st Prize Award, and Audience Choice Award with the Houston Grand Opera in 2003, among many others.
Arturo shares a long and important relationship with two of the reigning opera singers of our day, Plácido Domingo and Ramón Vargas. Since discovering Arturo in 2000, Plácido Domingo has remained Arturo’s friend and mentor, and the two have shared the operatic stage and concert platform many times. Arturo was awarded the Plácido Domingo Scholarship in 2002, and Mr. Domingo himself helped launch his international career after his success in the Operalia Competition. Arturo also enjoys a nurturing friendship with Ramón Vargas who became a mentor, teacher and friend over a decade ago.
Cuban-American soprano Elaine Alvarez burst onto the international opera scene in 2007, making a break-out company debut with her soulful portrayal of Mimi in Puccini’s La bohème at the Lyric Opera of Chicago. Conducted by Sir Andrew Davis and directed by Renata Scotto, critics were unanimous with praise: "Conveying lyric pathos seems to come as naturally to Alvarez as breathing" (Chicago Tribune).
Characterized by a distinct "buffed bronze soprano" (Opera News), Alvarez has blossomed into a true spinto d’agilita, delivering performances rich with "melting, voluminous sound" (Frankfurter Allgemeine), "spectacular agility" (Opera World Magazine), and "a profoundly genuine sentimentality" (Miami Herald).
In June of 2019, Ms. Alvarez made a stunning 11th hour debut as Aïda under the baton of legendary Maestro Riccardo Muti, marking her debut with the Chicago Symphony Orchestra. Elaine previously joined Maestro Muti on tour with the Ravenna Festival Italy and the Orchestra e Coro Maggio Musicale Fiorentino in concert performances of Rossini’s Stabat Mater.
Other notable engagements have featured Alvarez in numerous role and house debuts of iconic leading ladies including Tosca with Choregies d’Orange and Opera de Oviedo; Kat’a Kabanova with Boston Lyric Opera; a return to Mimi for Opera National de Bordeaux; a role and house debut for San Diego Opera as Florencia en el Amazonas; major Verdi debuts as Elvira in Ernani, Hélène in the rarely produced Jerusalem, and the title role of Aïda under the baton of long-time collaborator Speranza Scappucci for Opera Royal de Wallonie, with a return to ORW for her first foray into the bel canto repertoire as Donizetti’s infamous Tudor Queen, Anna Bolena.
The 2019-2020 COVID-19 affected season featured a return to Anna Bolena at the Royal Opera House Muscat on tour with Opera Royal de Wallonie, the title role in Cecilia Valdez with the iconic Teatro de la Zarzuela in Madrid, a featured soloist debut with the Sphinx Virtuosi Ensemble of Manuel de Falla’s Siete Canciones Populares for voice and chamber orchestra as well as cancelled performances as Donna Anna in Don Giovanni with Minnesota Opera, Beethoven’s Symphony No 9 with Jacksonville Symphony, and a company debut as Tosca for Chautauqua Opera. Engagements for this season and beyond include performances with the Columbus Symphony (cancelled) as well as appearances with Fort Worth Opera, Livermore Valley Opera, and the Jacksonville Symphony.
Alvarez made her professional debut in 2006 as Pamina in Mozart’s Die Zauberflöte for Oper Leipzig. She then returned to the company for the following two seasons as a member of their Resident Ensemble, debuting repertoire that would go on to become signature roles for the young soprano, including first performances of Mimi, Violetta in Verdi’s La Traviata, Donna Anna in Mozart’s Don Giovanni, and a triumphant turn as Magda di Civry in a new production of La Rondine.
Since then, Alvarez has gone on to perform at some of the world’s leading opera houses including Oper Frankfurt, with celebrated performances of La rondine alongside Joseph Calleja, and Mimi in the company revival of La bohème; a return to Mimi for Teatro Carlo Felice in Genoa, Virginia Opera, Finger Lakes Opera and Arizona Opera; Micaela in Carmen for Florida Grand Opera as well as the Lyric Opera of Chicago; the title role in Catan’s La Hija de Rappaccini for Gotham Chamber Opera; Contessa Almaviva in Le nozze di Figaro with Opera Cleveland; another turn as Magda in La rondine for Lithuania’s Pazaislis Music Festival; a new production of La Traviata for Theater St. Gallen in Switzerland; La Comtesse de Breville in the world premiere of Stephen Hartke’s The Greater Good for Glimmerglass Opera, commercially released by Naxos Records; and a Bayerische Staatsoper debut as Violetta alongside Jonas Kaufmann and Simon Keenlyside. Ms. Alvarez also joined the roster of the Metropolitan Opera understudying the roles of Mimi (2016-2017), (2018-2019) and Antonia in Les contes d’Hoffmann (2017-2018).
On the concert platform, Ms. Alvarez made her New York recital debut in 2007 as a Grand Prize Winner of the Marilyn Horne Foundation Competition. She then appeared as a featured performer for the Horne Foundation’s Annual Gala Concert at Carnegie Hall in 2010, alongside longtime mentor Warren Jones. Other notable concert credits include Mozart’s Mass in C minor with the Gewandhaus Orchestra; a debut recital at the Kennedy Center in Washington, D.C. for The Vocal Arts Society; featured guest artist with the New World Symphony; and Soprano Soloist in Vaughan-Williams’ Serenade to Music and Beethoven’s Symphony No 9 with the Traverse City Symphony. In 2018, Ms. Alvarez joined fellow distinguished Manhattan School of Music alumni for Beethoven's 9th Symphony in a Centennial Celebration Concert marking the 100th Anniversary of the famed New York City conservatory.
Ms. Alvarez has enjoyed the privilege of collaborating with some of the most distinguished conductors and stage directors working in opera today including Maestros Paolo Arrivabeni, Paul Daniel, Alain Altinoglu, Giampaolo Bisanti, Daniel Oren, Axel Kober, Dean Williamson, Roderick Cox, Pablo Gonzales, Maurizio Barbacini, Joel Revzen, Marc Soustrot, Adam Turner, Keri-Lynn Wilson, Neal Goren, David Angus, Joseph Mechavich, and Luciano Acocella; and Directors Jonathan Miller, Jean-Louis Grinda, Stefano Mazzonis di Pralafera, Peter Konwitschny, Renaud Doucet, Rebecca Taichman, Tim Albery, Arnaud Bernard, Nadine Duffaut, Peter Kazaras, Chas Rader-Shieber, Candace Evans, Sam Helfrich, and Frank Corsaro, among others.
Born in Miami, Florida, Ms. Alvarez began her musical studies as a child with her mother Yasmin, a distinguished classical music professor trained in her native Cuba. It was in those early years that Alvarez’s love of classical music would be nurtured and encouraged by her family and the wonderful teachers and mentors who came into her life, most especially Geraldine Suarez-Novak and the late Cuban tenor, Cesar-Antonio Suarez. Alvarez is a high school graduate of the prestigious New World School of the Arts and holds Bachelor’s and Master’s degrees from Manhattan School of Music, studying with Joan Patenaude-Yarnell and Warren Jones. Further study continued at the Music Academy of the West in Santa Barbara, California, the Academy of Vocal Arts in Philadelphia, Pennsylvania, and the Accademia Nazionale di Santa Cecilia in Rome, Italy, studying most notably with Marilyn Horne and Renata Scotto. Ms. Alvarez currently studies with Manuel Perez and Anthony Manoli and resides in New York City with her Yorkshire Terrier, Lola the Wonder Pooch.
Mark Delavan, a singer of “incisive vocal power and fierce theatrical acuity,” is sought after throughout the United States and Europe for the most demanding roles in his operatic repertoire. He regularly appears in the title roles of Der fliegende Holländer, Falstaff, and Rigoletto, and as Iago in Otello, Scarpia in Tosca, Jochanaan in Salome, and Amonasro in Aida. In addition, as a strong character actor on stages throughout the country, he has proved himself a crossover artist of immense skill. Most recently, Delavan starred as Phil Arkin in Milk and Honey with York Theatre Company, to critical acclaim. Of his performance, critics hailed his “rich, resonant voice,” with “impressively clear high notes.”
This season, Mr. Delavan performs the role of Michele/Alfio in Tabbaro/Cavalleria Rusticana with Maryland Lyric Opera, Amfortas in Parsifal with Indiana University Opera Theater, Jocanaan in Salome with the Dallas Symphony, Tonio in I Pagliacci with Michigan Opera Theater, and joins The Metropolitan Opera for their production of Tosca. Last season, Delavan returned to The Metropolitan Opera for their productions of La Fanciulla del West, Aida and Falstaff, performed in a concert performance of La Fanciulla del Westas Jack Rance in the Inaugural Season of Maryland Lyric Opera and reprised the title role of Falstaff with Dallas Opera. He will return to Dallas Opera in 2020.
At the Metropolitan Opera, Mr. Delavan took his interpretation of Wotan in cycles of Der Ring des Nibelungen under Fabio Luisi to critical acclaim. He has also performed at the esteemed house, the title roles of Simon Boccanegra and Nabucco, and has appeared as Scarpia in Tosca, Amonasro in Aida, Tomsky in Pique Dame, Alfio in Cavalleria rusticana, Carlo in La forza del destino, Gianciotto in Zandonai’s Francesca da Rimini, and as Gerard in a major revival of Andrea Chénier.
Internationally, Delavan has worked most frequently with the Deutsche Oper Berlin, in performances of Wotan in Der Ring des Nibelungen, as well as in stand-alone performances of Das Rheingold and Die Walküre led by Donald Runnicles, as Scarpia in Tosca, Jupiter in Die Liebe der Danae, Alfio/Tonio in the double-bill of Cavalleria rusticana/Pagliacci, and Iago in Otello. He débuted as Jochanaan in Salome at Teatro Carlo Felice in Genova under Fabio Luisi and went on to perform the role in productions with Barcelona’s Gran Teatre del Liceu and in concert with the Prague State Opera. He also has sung Jack Rance in La fanciulla del West for Den Jyske Opera and Scarpia in Tosca with the Canadian Opera Company.
With the San Francisco Opera he created the role of Giovanni in the world première of Marco Tutino’s Two Women (La Ciociara) and has appeared there as Scarpia in Tosca and Wotan in Die Walküre. With the Lyric Opera of Chicago, Delavan was most praised for his creation of the role of Snooks Brenner in the world première of William Bolcom’s A Wedding, directed by Robert Altman and conducted by Dennis Russell Davies. He has also appeared with the company as Amfortas in Parsifal, Alfio/Tonio in Cavalleria rusticana/I pagliacci, Scarpia in Tosca, Germont in La Traviata, Renato in Un ballo in Maschera, Robert Carsens staging of Gluck’s Iphigenie en Tauride (Louis Langrèe conducting) and David McVicar’s production of Verdi’s Il trovatore (Bruno Bartoletti conducting).
Notable engagements in the US also include, Don Carlo in La forza del destino at Washington National Opera, the title role of Der fliegende Holländer with Arizona Opera, the Four Villains in Les contes d’Hoffmann at Palm Beach Opera, Jack Rance in La faniculla del West for Michigan Opera Theatre, Iago in Otello for Opera Philadelphia, and the title roles in Rigoletto, Nabucco and Falstaff, as well as Scarpia in Tosca for Pittsburgh Opera. He has made several appearances with Santa Fe Opera including Mandryka in a new production of Arabella and Jack Rance in La faniculla del West, performed Amonasro in Aida for Atlanta Opera and at the Ravinia Festival with the Chicago Symphony Orchestra under James Conlon, and performed Kurt Weill’s The Road of Promise with the Collegiate Chorale at Carnegie Hall and with the New York Choral Society in Mendelssohn’s St. Paul.
A popular performer with the former New York City Opera, Mr. Delavan has sung in numerous productions with the company, including the title roles in Der fliegende Holländer, Rigoletto, Macbeth, and Falstaff, as well as starring in the title role of Stephen Sondheim’s Sweeney Todd to great critical acclaim. Mr. Delavan’s NYCO credits also include the roles of the four villains in Les contes d’Hoffman, Scarpia (telecast live on PBS for ‘Live From Lincoln Center’), Ezio in Attila, Escamillo in Carmen, Enrico in Lucia di Lammermoor, the Duke of Nottingham in Roberto Devereux and in new productions of The Ballad of Baby Doe as Horace Tabor, Il trittico as Michele and Gianni Schicchi, and Salome.
Born in Princeton, New Jersey, Mr. Delavan earned a Bachelor of Music degree from Oral Roberts University. He was a national finalist of the Metropolitan Opera auditions and an Adler Fellow with the San Francisco Opera.
Praised by The Washington Post for her "gorgeous, warm voice that you want to keep listening to," American mezzo-soprano Catherine Martin continues to make an impact in repertoire ranging from Verdi and Wagner to Strauss and Bellini. The 2021-2022 brings Ms. Martin to Kentucky Opera for her role debut as Orfeo in Orfeo ed Eurydice, Opera Carolina as Amneris is Aida, Dallas Opera as the Minkswoman in Flight, Rochester Philharmonic Orchestra as the Witch in Hansel and Gretel, and Maryland Lyric Opera as Eboli in Don Carlos. In the previous season, Ms. Martin appeared as Waltraute in Twilight: Gods with Michigan Opera Theatre and Lyric Opera of Chicago as well as postponed or cancelled productions of Lohengrin with The Dallas Opera and Dead Man Walking with The Metropolitan Opera. Her 2019-2020 season included Wellgunde in Götterdämmerung with the National Taichung Theatre in Taiwan, the cover of Sister Helen Prejean in Dead Man Walking and singing the 2nd Norn in Götterdämmerung and Waltraute in Die Walküre at Lyric Opera of Chicago, and covering Marguerite in Berlioz’s Le damnation de Faust with the Metropolitan Opera.
Highlights from recent seasons include Sister Helen Prejean in Dead Man Walking with Minnesota Opera and Dayton Opera as well as covering Sister Helen at Washington National Opera; performances in various roles from Wagner’s Ring Cycle with Lyric Opera of Chicago, Houston Grand Opera, Washington National Opera, Boston Symphony Orchestra at Tanglewood, the Dallas Symphony, and National Taichung Theatre in Taiwan; Amneris in Aïda with Houston Grand Opera, Opera Colorado, and Opera Santa Barbara; Adalgisa in Norma with Florida Grand Opera; Der Komponist in Ariadne auf Naxos at The Glimmerglass Festival; Hécube and covering Didon in Les Troyens with Lyric Opera of Chicago; Maddalena in Rigoletto with New Orleans Opera and Opera Santa Barbara; Herodias in Salome with Dayton Opera; Meg in Falstaff with Intermountain Opera; Leonora in La favorita with New Amsterdam Opera; Wowkle in La fanciulla del West with Maryland Lyric Opera; Annina and the cover of Octavian in Der Rosenkavalier with the National Symphony Orchestra; Lieder eines fahrenden Gesellen with the American Youth Philharmonic Orchestra; and Messiah with the Handel Oratorio Society.
Ms. Martin is also an avid interpreter of contemporary opera. She has appeared as Mary in the world premiere of The Lion, the Unicorn, and Me with Washington National Opera; Genevieve in The Long Christmas Dinner with American Symphony Orchestra; Tamara in Enemies, A Love Story with Kentucky Opera; Eva Crowley in An American Dream with Lyric Opera of Chicago; Sara Miller in Approaching Ali with Washington National Opera; and the world premiere of Angela Rice’s Thy Will Be Done with the National Chorale at Lincoln Center.
An alumna of the Houston Grand Opera Studio she has performed Dorabella in Così fan tutte, Suzuki in Madama Butterfly, Anna in Maria Stuarda, Flora in La traviata, Berta in Il barbiere di Siviglia, and Dryad in Ariadne auf Naxos with HGO. There, she worked extensively with conductor Patrick Summers and covered artists such as Susan Graham, Joyce DiDonato, and Michelle DeYoung in roles such as Der Komponist, Sister Helen, and the title roles of Xerxes and The Rape of Lucretia. She was a member of The Glimmerglass Festival Young Artists Program, where she made her role debut as Amneris, and was a Filene Young Artist with Wolf Trap Opera. Ms. Martin was a Grand Finalist, the sole mezzo soprano, and only female representing the United States in the 2017 International Viñas Competition held at Barcelona’s Gran Teatre del Liceu. She received Richard Tucker Award nominations in 2015, 2016, and 2017 and was 2nd Place winner of the 2016 Maryland Lyric Opera Competition, 2nd place winner in the 2013 Jensen Competition, a semi-finalist in the 2012 Metropolitan Opera National Council Auditions, a finalist in 2012 and an Encouragement Award winner in 2013 in the George London Competition, winner of the 2011 National Opera Association Competition, a semi-finalist in the Hans Belvedere Competition, and has won awards from the Eleanor McCollum Competition at Houston Grand Opera, The Dallas Opera Guild, and Annapolis Opera. She has received The Richard F Gold Career Grant at both Houston Grand Opera and Wolf Trap and the Catherine Filene Shouse Career Grant. A native of San Antonio, Texas, she holds a master’s degree from the University of Cincinnati College-Conservatory of Music and a bachelor’s degree from the University of North Texas.
Andrea Silvestrelli is one of the most sought-after ‘bassi profondi’ on the international opera scene. Garnering critical acclaim for his debut at the Lyric Opera of Chicago in Rigoletto, the Chicago Sun-Times reported, “There were wild cheers for Andrea Silvestrelli …who brought a terrifying, sepulchral tone to the assassin Sparafucile.” The Chicago Sun concurred, “Andrea Silvestrelli wielded a big, black, menacing bass in his debut as the assassin Sparafucile.”
The current season opens with performances l'Orco in Il Piccolo Marat from Mascagni, with Hagen in Götterdämmerung in a return to the Taichung National Theater in Taiwan, followed by performances of the Grand Inquisitor in Don Carlo with the Dallas Opera and Sparafucile in Rigoletto with Opera San Antonio. Last season, he was Fafner in Siegfried in Taiwan, and Geronte in Manon Lescaut and Pistola in Falstaff with the Dallas Opera. In the 2017-2018 season, Mr. Silvestrelli was heard as Hunding in Die Walküre in Taiwan, returned to Lyric Opera of Chicago as Nourabad in Les pêcheurs de perles and Timur in Turandot, and sang the Grand Inquisitor in Don Carlo with Washington National Opera. In spring 2018, he performed in San Francisco Opera’s Ring Cycle as Fasolt in Das Rheingold and Hagen in Götterdämmerung.
Mr. Silvestrelli’s performances in the 2016-2017 season included Fafner in Das Rheingold with National Taichung Theater, Oroveso in Norma with Lyric Opera of Chicago, Hagen in Götterdämmerung with Houston Grand Opera, and the Commendatore in Don Giovanni and Sparafucile in Rigoletto, both with San Francisco Opera. With SFO in 2015-2016, he sang the role of Wurm in Luisa Miller, The Night Watchman in Die Meistersinger von Nürnburg, Don Basilio in Il barbiere di Siviglia, and the Grand Inquisitor in Don Carlo. He also returned to Erl, Austria for performances of the Ring Cycle at the Tiroler Festspiele.
Praised for his "commanding stage presence" and "rich, resonant bass", Kenneth was born and raised in Washington, D.C, music has been a part of his life since grade school. Nurtured in the public school system by amazing music teachers, began formal training at the Duke Ellington School of the Performing and Visual Arts as a Vocal and Visual Arts student.
Among his roles are staples of opera repertoire: The title role, in Mozart’s Don Giovanni, as well as Leporello and Il Commendatore, Mephistopheles in Gounod’s Faust, Don Alfonso in Mozart’s Cosi fan tutte, Ramfis and Il Re in Verdi’s Aida, Colline in Puccini’s La Boheme, the title role of Handel’s Hercules, The King in Handel’s Ariodante, Osmin in Mozart’s Die Entführung aus dem Serail, Sarastro and the Speaker in Mozart’s Die Zauberflöte, Sparafucile in Verdi’s Rigoletto, Fasolt in Wagner’s Das Rheingold. Jeanine Tesori and Tazewell Thompson's opera Blue was written for him. It was named the best new opera of 2020 by the Music Critics Association of North America.
Never afraid to step outside of the box of traditional repertoire, Mr. Kellogg has been involved with several new operas. He sang the role of Queequeg in the workshop of Jake Heggie’s acclaimed, Moby Dick at San Francisco Opera. He led the cast in the west coast premier of Terence Blanchard’s Champion: An Opera in Jazz, as the champion boxer, Young Emile Griffith, to rave reviews with Opera Parallele. He has been a guest at the Opera America’s New Works Forum in NY, where among other roles, he brought to life the character of Sam Bankhead in Dan Sonenberg’s Opera, The Summer King, about the life of Negro League great, Joshua Gibson. He is a frequent collaborator with small companies pushing the boundaries of the Art of Opera and has lent his voice to several voice-over projects.
Mr. Kellogg has managed a very active performing schedule between the US and Europe. He has worked with many leaders in the field at houses including San Francisco Opera, LA Opera, Washington National Opera, Seattle Opera, Atlanta Opera, Washington Concert Opera, Canadian Opera Company, Opera Tampa, Opera Memphis, Opera North Carolina, Opera Parallele, and is set to make several role and house debuts. His European debut was in the role of Sarastro at Opera de Oviedo where he returned to sing the devil himself, Mephistopheles in Faust. He also sang the same 2 roles with Opera de Lausanne.
He in an Alumnus of the Adler Fellowship Program at San Francisco Opera and the Domingo-Caftriz Emerging Artist Program at Washington National Opera. He also trained at the Academy of Vocal Arts, Wolf Trap Opera and holds degrees from the University of Michigan and Ohio University. He is a frequent guest lecturer for organizations about music. He is an advocate for artist rights and uses his certification from Cornell University to consult with performing arts organizations on their Diversity, Equity and Inclusion initiatives.
South Korean Soprano Nayoung Ban is a young and dedicated operatic soprano with a sizeable and remarkably warm Bel Canto voice. She has been praised for vocal color, stage personality, and musicality beyond her years. Ms.Ban’s upcoming performances include Susanna(Le Nozze di Figaro) with Opera Ithaca and A Voice from Heaven(Don Carlo) with Maryland Lyric Opera. Recently Ms.Ban made her début with Maryland Lyric Opera debut performing the Title role of Lucia di Lammermoor where she also appeared as Gilda(Rigoletto), Musetta(La bohème), Pamina(Die Zauberflöte) and Blonde(Die Entführung) in their Concerts. Additionally, she performed Musetta(La Bohème) with Opera Ithaca and and Lauretta (Gianni Schicchi) with Mannes Opera where she also appeared as Euridice (Orfeo di Euridice), Vixen (The Cunning Little Vixen), Giulietta in (I Capuleti e Montecchi) and Juliette (Roméo et Juliette) with Mannes Opera Opera Scene Performance. Ms. Ban also has performed as a Soprano Soloist in ‘Hear my prayer’ by F.Mendelssohn with Peniel Women’s Choir, T.Dubois’s The Seven Last Words of Christ with Christian Broadcasting System of New York, Soprano Soloist in Gounod’s St.Cecilia Mass with GNC Orchestra and Soloist in Handel’s Messiah with New Hope Reformed Church of New York.
Soprano Nayoung Ban has her Professional Studies in Mannes College of Music, holds her Master’s degree at Manhattan School of Music and a Bachelor of Music degree at ChungAng University in Korea where she also has her Bachelor's Degree.
Baritone SeungHyeon Baek is quickly gaining recognition, throughout the American Opera circuit, as a young artist of significant talents and versatility. Specifically, he has been applauded and recognized for recent performances, over the past few seasons, for his “full, generous baritone voice” and his considerable “histrionic abilities combined with his rich artistry.” Last season, he performed the role of Marcello in La boheme with Opera Ithaca and Symphony of the Mountains and Count di Luna in Il trovatore with Opera San Jose.
Mr. Baek’s upcoming performances include Yamordi/Grand Inquisitor in Madama Butterfly with Canadian Opera Company, Frate/(Rodrigo) in Don Carlo with Maryland Lyric Opera, and the title role of Rigoletto with Opera Orlando.
Mr. Baek made several débuts including his début with Opera Tampa performing the role of Count Almaviva in Le nozze di Figaro where The Tampa Bay Times praised his “commanding baritone.” He also made a role début as Tonio in Pagliacci, and house débuts with Opera North as Sharpless in Madama Butterfly and New York City Opera as Billy Jackrabbit in La fanciulla del West. Additionally, he performed the title role in Gianni Schicchi with St. Petersburg Opera, and Lord Enrico Ashton in Lucia di Lammermoor, Sonora in La fanciulla del West as well as a soloist in An Evening of Puccini concert all with Maryland Lyric Opera, Figaro in Il barbiere di Siviglia with MidAtlantic Opera, Tonio in Pagliacci with Opera Ithaca and Dandini in La Cenerentola with Opera Ithaca and New York City Opera for their Park Concert Series.
As a Concert artist, Mr. Baek made his début at Carnegie Hall as a soloist in Fauré’s Requiem with MidAmerica Productions and as a soloist in Dvorak’s Te Deum. He also performed as a soloist in Dubois’s The Seven Last Words of Christ with Christian Broadcasting System of New York, Dvořák’s Te Deum with Adelphi Chamber Orchestra and made his Lincoln Center Concert début with InterSchool Orchestras of New York as a soloist in Rose Theater at Jazz at Lincoln Center.
A native of South Korea, SeungHyeon Baek received a Professional Studies Degree in Mannes College of Music. During his professional studies, he performed the title role of Gianni Schicchi, Don Alvaro in Il viaggio a Reims and Di Cosimo in the New York Premiere of Daniel Catán’s Il Postino with Mannes Opera. He also holds his master’s degree at Manhattan School of Music where he appeared as Pandolfe in Cendrillon and Peter in Hansel and Gretel as well as Valentin in Faust with the Manhattan School of Music Opera Repertory Ensemble. Additionally, Mr. Baek holds a Bachelor of Music degree at ChungAng University in Korea. He has won NJ State Opera’s Alfredo Silipigni Competition in 2017 and Career Bridges Competition in 2015.
Bass-baritone Hunter Enoch joined the Cafritz Young Artist program at Washington National Opera in the fall of 2015. During his time with the company, he was heard as Count Almaviva in the Young Artist performance of Le nozze di Figaro, a Corporal in The Daughter of the Regiment, ADC in The Dictator’s Wife, covered Joseph De Rocher in Dead Man Walking, and sang Sharpless in the Young Artist performance of Madame Butterfly. His WNO debut was as Moralés in Carmen and he was later heard as James Miller in the world premiere of Better Gods. In the 2019-2020 season, Mr. Enoch returned to WNO as Montano in Otello, and sang the role of Kurwenal in Act 2 of Tristan und Isolde with the National Symphony Orchestra under the baton of Gianandrea Noseda at both the Kennedy Center and at Lincoln Center, and performed Palémon with Maryland Lyric Opera. In the 2018-19 Mr. Enoch performed the role of William Dale in Silent Night at Washington National Opera, made his company and role debut as Scarpia for Opera Birmingham, and sang Happy in La Fanciulla del West and Raimondo in Lucia di Lammermoor for Maryland Lyric Opera, and debuted Wotan with Pacific Northwest Opera in The Ring in One Evening. This season Mr. Enoch will sing Scarpia with Anchorage Opera and returns to Pacific Northwest Opera as Germont in La Traviata.
Heralded as one of the most sought after and versatile Belcanto baritones of the emerging generation, Chilean baritone Javier Arrey recently did his Metropolitan Opera debut as Schaunard (La Boheme) in the classic Franco Zeffirelli production and joined the roster of The Metropolitan Opera; he also did an acclaimed debut at the Wiener Staatsoper as Marcelloin La Boheme.
Engagements in recent seasons include, among others: Alfio (Cavalleria Rusticana) at Boston Lyric Opera; Valdeburgo (La Straniera) and Riccardo (I Puritani) at Washington Concert Opera; Giovanni (Don Giovanni) at the Estates Theater in Prague and Castleton Festival; Silvio (I Pagliacci) at the NCPA Mumbai under Antonello Allemandi; Giorgio (Il Postino) and Garibaldo (Rodelinda) at the Teatro Municipal de Santiago.
Following an acclaimed debut as Jago (Otello) at the Castleton Festival under Lorin Maazel, a performance The Washington Post described as "menaced and connived but [Arrey] did so subtly and with a voice so lovely to that his scheming seemed all the more threatening." Praises came also from Mo. Lorin Maazel who published: "Jago was stunningly sung and acted by Javier Arrey [who] manages to give shape to the jealous demon within Otello"
On CD, Mr.Arrey can be heard as Lescaut on the recording of Puccini's Manon Lescaut for Decca Classics alongside Andrea Bocelli and Plácido Domingo.
In addition to his work on the opera stage Arrey has proved to be a world-class interpreter of the concert repertoire most recently performing Carmina Burana in Europe and Dvorák's Biblical Songs & Gypsy Songs in Czech Republic. His repertoire includes Fauré's Requiem, Bach St.John Passion BWV 245, Bach Weihnachtsoratorium BWV 248, Bach Cantata BWV
82, Schumann's Dichterliebe, Brahms's Ein deutsches Requiem and Mahler's Lieder Eines Fahrenden Gesellen, among others.
In 2017, Mr. Arrey received the "Congressional Medal of Honor" at the National Congress of Chile in recognition of his artistic career and his social labor bringing the Opera to populations who have no access to live performances. In 2011 Javier Arrey was the winner of the CulturArte Prize at Operalia Competition in Moscow and in 2009 he was finalist at the Cardiff Singer of the World competition (Song prize). Mr.Arrey is a graduate of The Washington National Opera "Domingo-Cafritz Young Artist Program" and Dolora Zajick's Program Institute for "Young Dramatic Voices"
Future engagements include, among others his debut as Germont (La Traviata, Verdi) at the
Teatro Municipal de Santiago under Mo. Rizzi Brignoli.
Previous appearances of tenor Mauricio Miranda with Maryland Lyric Opera include Joe in La fanciulla del West, in An evening of Puccini, and as Venditore di canzonette in Il Tabarro. Future roles with MDLO include Don Curzio in Le nozze di Figaro. Miranda has performed at Palacio Euskalduna in Bilbao; Teatro Goldoni in Livorno, Teatro La Laboral in Gijon; Gran Teatro Nacional in Lima; Teatro Municipal de Santiago and at the Kennedy Center in Washington D.C. He performed in two world premieres: as Recruit 3 in Viento Blanco by Sebastian Errázuriz at Teatro Municipal de Santiago, and as Dr. Steve Vergara in A Game of Hearts by Douglas Pew with the WNO. His oratorio repertoire includes works by Bach, Händel, Vivaldi, Mozart, Rossini, Beethoven and Schubert. He has performed concerts in Chile, Argentina, Peru, France, Germany, Italy, Spain and United States. He worked with such conductors as Louis Salemno, Dimitry Jurowsky, Jan Latham-Koenig, Roberto Rizzi-Brignoli, Matteo Pagliari, and Daniele Rustioni. Miranda has worked with directors Emilio Sagi, Anne Bogart, Hugo de Ana and Jean Louis Grinda. He sang Mozart’s “Requiem” at the Washington National Cathedral; has sung the role of Eros in the U.S. premiere of the opera "Diane au bois" by Claude Debussy with Virginia Chamber Orchestra, conducted by Emil De Cou. Miranda began his solo career in Chile and South America, and continued his training in Europe and North America. He graduated from the Washington National Opera’s Cafritz Young Artist Program. Mauricio Miranda earned his Master of Arts in Music Theory from the National Conservatory of the Universidad de Chile and was the winner of the prestigious FONDART price and scholarship.
José Sacin, Peruvian Baritone and Artistic Director of Opera NOVA, has performed in companies such as The Washington National Opera, Opera Delaware, Caramoor Festival, Opera Camerata of Washington, Teatro Municipal de Lima, Mediterranean Opera Festival, Maryland Lyric Opera, Auditorio Nacional de Madrid and the Rachmaninov Hall in Moscow, Teatro Nacional de San Jose, Opera North and the Baltimore Opera. Main opera roles include Scarpia in Tosca, Giorgio Germont in La Traviata, Dr. Bartolo in Il Barbiere di Siviglia, Count Almaviva in Le Nozze di Figaro, Enrico in Lucia di Lammermoor, Dulcamara in L’elisir d’amore, Tonio in Pagliacci, Alfio in Cavalleria Rusticana, Don Magnifico in La Cenerentola, Marcello in La Bohème, Count Di Luna in Il Trovatore, Don Alfonso in Cosi fan tutte, Vidal in Luisa Fernanda and the title roles in Gianni Schicchi, Don Giovanni, Macbeth, Falstaff and Rigoletto. Sacin is very active in the recital stage performing Schubert’s Winterreise, Schumann’s Dichterliebe and programs of Latin American Art Songs and Italian Art Songs. He appears in the Naxos recording of Ramirez’s Misa Criolla with the Choral Arts of Washington.
As a conductor, Sacin has performed in Hansel and Gretel, La Cenerentola, Il Barbiere di Siviglia, Treemonisha, Die Zauberflöte, Verbena de la Paloma, Monkey See Monkey Do and El Barberillo de Lavapies.
Adam Cioffari recently returned to the Pittsburgh Festival Opera Fasolt in Rhinegold and Judge Turpin in Sweeney Todd, followed by Handel's Messiah, and the Mozart Requiem with the Columbus Symphony Orchestra. Other appearances include the Commentator in the world premiere of Wang’s Scalia/Ginsburg at the Castleton Festival, the Musiklehrer in Ariadne auf Naxos at The Glimmerglass Festival, Papageno in Die Zauberflöte at the Teatro Municipal de Santiago, Colline in La Boheme with Knoxville Opera, and Masetto with Austin Opera. He has performed with the Los Angeles Philharmonic, the Theatre Capitole de Toulouse, Staatsoper Stuttgart, and Komische Oper Berlin. A former member of the Houston Grand Opera Studio, he was also a participant of the Merola Opera Program, the Music Academy of the West, Aspen Opera Theater, and is a graduate from Indiana University Jacobs School of Music.
Louis Salemno is the Music Director of Maryland Lyric Opera and is the principal conductor for all its performances, including the recent Thaïs, La fanciulla del West, and the MDLO Orchestra concert featuring pianist Leon Fleisher. He oversees the recruitment and training of the emerging artists of the MDLO Institute and leads the team responsible for auditioning, hiring, and managing the MDLO Orchestra and Chorus.
Maestro’s long and storied international conducting career includes posts at some of the world’s leading opera houses, including Teatro alla Scala in Milan, Gran Teatre del Liceu in Barcelona, Lyric Opera of Chicago, San Francisco Opera, Houston Grand Opera, and New York City Opera, among many others. He studied with Nadia Boulanger in France and was mentored by the legendary Kurt Herbert Adler, Krzysztof Penderecki, Gianandrea Gavazzeni and Bruno Bartoletti. As a pianist, he has appeared in recital with Montserrat Caballe and Denyce Graves.
As a mentor, he held the post of Resident Coach for Washington National Opera’s acclaimed Domingo-Cafritz Young Artist Program for nearly a decade, where he also trained conducting students as well as visiting conductors in preparation for performances. He has also mentored singers at the Palau de les Arts Reina Sofía in Valencia and the Teatro Colón in Buenos Aires. He studied piano with Mieczyslaw Horszowski and conducting with Max Rudolf at The Curtis Institute of Music in Philadelphia.
Stage director David Gately is known for his vivid story telling and lively and clever productions. Last season his concert staging of Angels in America with the BBC Symphony Orchestra was praised for being "brilliantly resourceful" (This Is London) and it was reported that "Gately’s dynamic semi-staging made a strong argument for a full production of Angels." (The Independent) With the Manitoba Opera his direction of Il Barbiere di Siviglia was said to use "nuance and creative physical comedy, resulting in a superb production brimming with energy." (Winnipeg Free Press).
Recent productions of note include his direction of L’Elisir d’Amore with Dallas Opera, Madama Butterfly with Seattle Opera, La Bohème with Florida Grand Opera, Carmen in New Orleans, Les Contes D’Hoffman in Edmonton, Die Zauberflöte with the Cincinnati and Vancouver Operas, A Midsummer Night’s Dream with both the Florentine Opera and Glimmerglass Opera, Falstaff with Opera Omaha, and Rigoletto with Utah Opera. His hugely successful "wild west" production of Don Pasquale which was most recently hailed as a "contemporary classic" by the Denver Post has been mounted by San Diego Opera, Kentucky Opera, Opera Colorado, Calgary Opera, Chautauqua Opera, Virginia Opera, Dayton Opera, Canadian Opera Company, Opera Omaha, Edmonton Opera and the Fort Worth Opera.
Mr. Gately spends the 2010-11 season directing La Bohème with Atlanta Opera, Lucia di Lammermoor with Calgary Opera, both Hansel and Gretel and Little Women with Utah Opera, Faust with San Diego Opera, and Giulio Cesare with Fort Worth Opera. Upcoming seasons include engagements with Opera Colorado, San Diego Opera, and Fort Worth Opera among others.
During the 2009 – 2010 season he directed Il Barbiere di Siviglia with Washington National Opera, Opera Colorado and Manitoba Opera, L’Elisir d’Amore with Atlanta Opera, Simon Boccanegra for its premiere with L’Opéra de Montréal, and the World Premiere production of Before Night Falls with the Forth Worth Opera where the Dallas Morning News wrote that he "supplies a physically gripping staging." In addition, he directed Angels in America with the BBC Symphony Orchestra at the Barbican Centre in London for the United Kingdom premiere of the work.
Over the course of the last several seasons he directed productions of Hansel and Gretel with the Washington National Opera, Rigoletto with Arizona Opera, La Cenerentola with Atlanta Opera, Cosi Fan Tutte with the Florida Grand Opera, Carmen and Ariadne auf Naxos with Vancouver Opera, Don Pasquale with Opera Colorado Le Nozze di Figaro with the Utah Opera, Carmen with Austin Lyric Opera, and Lucia di Lammermoor with L’Opéra de Montréal where his direction was called "elegant, realistic and almost balletically integrated with the music." (The Gazette) In addition, he directed two productions with the Fort Worth Opera: La Cenerentola and Dead Man Walking, where he was praised for "his keen combination of insight and imagination…creating an aura of day-to-day reality on stage that in turn gave the opera its gripping emotional effect." (Theater Jones)
His recent production of La Cenerentola with the Connecticut Opera was called "a triumph. It was funny and clever, full of youthful energy and razor-sharp musicianship. Stage Director David Gately was inspired. The placement and movement of characters onstage was clever and often allowed sound to move in stereo from side to side." (Courant) At the Fort Worth Opera he directed the North American premiere of Angeles in America where he was praised for his "immense level of creativity," (Pegasus News) as well as Lucia di Lammermoor where he was hailed for his staging which was both "savvy and sensitive." (Dallas News)
Additional career highlights include directing Carmen and La Bohème with Florida Grand Opera, La Traviata, La Bohème, L’Italiana in Algeri, Little Women, Salome, Norma, Il Barbiere di Siviglia, Falstaff, and Don Pasquale all with Fort Worth Opera, Das Rheingold at Ava, Sweeney Todd at the Brevard Festival, and Weill's The Tsar Has His Photograph Taken at the Fringe Festival in Boston. In addition, he directed Hansel and Gretel with Utah Opera, Don Paquale with L’Opéra de Montréal, Arizona Opera, San Diego Opera, Calgary Opera and Edmonton Opera, Les Contes D’Hoffman with Tulsa Opera, Cosi Fan Tutte with Kentucky Opera, Ariadne Auf Naxos, Orpheus in the Underworld, Kiss Me Kate and Madama Butterfly at the Brevard Music Colony, Der Rosenkavalier with Vancouver Opera, and The Turn of the Screw with the New England Conservatory.
He also staged productions of La Bohème with Vancouver Opera, The Mikado with Edmonton Opera, L’Italiana in Algeri with Central City Opera, Le Nozze di Figaro with the Academy of Vocal Arts, and the Seven Deadly Sins with Boston University. He directed A Midsummer Night’s Dream with the Florentine Opera, Il Barbiere di Siviglia with Opéra de Québec, and Die Zauberflöte with the Shreveport Opera. Mr. Gately’s production credits also include Manon, Smetana’s Two Widows, Die Fledermaus, The Rape of Lucretia, Gianna Schicchi, I Pagliacci, The Merry Widow, Candide, Amahl, Don Giovanni, Otello, Samson et Dalila, Aida, Turandot, La Fille du Regiment, Le Comte Ory, Lucia, Les Pecheurs des Perles, Lakme and The Ballad of Baby Doe.
Stuart Duke, Lighting Designer, is delighted to be making his MDLO Debut. Recent designs include Il Barbiere di Siviglia for Palm Beach Opera, Fun Home at Weston Playhouse, and Matilda at Walnut Street Theatre. His regional opera credits include Indianapolis Opera, Opera Company of Philadelphia and Opera Memphis. He designed lighting for Kathleen Battle and Grover Washington Jr. in concert at Carnegie Hall and for the Indianapolis Symphony Orchestra’s Yuletide Celebration. In New York, Stuart has designed lighting for Orwell in America, The Rothschilds, Cast of Characters, Home Games, The Matchmaker, Frankie (directed by George Abbott) and jon & jen. His regional credits include the world premiere of The Night Seasons, written and directed by Horton Foote, a revival of Rags for the Paper Mill Playhouse, and Christopher Lloyd in Death of a Salesman. Stuart has been nominated three times for the Helen Hayes Award for his work at D.C.'s Studio Theatre and Folger Shakespeare Theatre.
Sarah is delighted to make her projection design debut with MDLO. Previous MDLO credits include Turandot as assistant lighting designer. Recent designs include America's Requiem: A Knee on The Neck (World Premiere, Lighting Design, National Philharmonic); Fidelio (Lighting and Projection Design, Houston Symphony Orchestra); Die Fledermaus (Lighting Design, Stanford LIVE).
Sarah also served as the Assistant Lighting Designer for the San Francisco Opera for the 2014 - 2016 Spring and Fall seasons including productions of Two Woman (World Premiere), Sweeney Todd, La Boheme, Norma, Madame Butterfly, and Showboat. Recent regional projection design credits for theatre include Tomas and the Library Lady, And in this Corner: Cassius Clay, School House Rock Live, and Snowy Day (Children's Theatre of Charlotte); Corduroy, Escape from Peligro Island (Imagination Stage); Becoming Dr. Ruther (Theatre J); She the People (Second City at Woolly Mammoth); Watsons go to Birmingham (Kennedy Center); E2, All She Must Possess, The Other Place (Rep Stage); Queens Girl in the World, Queens Girl in Africa (Everyman Theatre); Paper Dolls, Queens Girl in Africa (Mosaic Theatre Company); Sarah resides in Baltimore with her dog and two pandemic kittens. www.sarahtundermann.com
|Don Carlo:||Arturo Chacón-Cruz|
|Elizabeth of Valois:||Elaine Alvarez|
|Princess Eboli:||Catherine Martin|
|Celestial Voice:||Nayoung Ban|
|Flemish Deputy:||Hunter Enoch|
|Flemish Deputy:||Javier Arrey|
|Flemish Deputy:||Jose Sacín|
|Flemish Deputy:||Adam Cioffari|
|Flemish Deputy:||SeungHyeon Baek|
|Visual Supervisor:||David Gately|
|Lighting Designer:||Stuart Duke|
|Projection Designer:||Sarah Tundermann|
In 16th Century Spain, the prince Carlo despairs that he has lost the love of his life. Though he was betrothed to Elisabetta di Valois as part of a peace treaty with France, it was later decided that she would instead marry his father, King Philip the Second. Unfortunately, this was after he and Elisabetta had met and immediately fallen in love. Outside the tomb of his grandfather, Holy Roman Emperor Charles the Fifth, Carlo encounters an old monk, whose prayer fills the young man with unease. Carlo’s best friend Rodrigo, the Marquis of Posa, arrives, and Carlo to turn his attention towards the cause of Flanders (The Netherlands), whose people are being oppressed by the current regime. The two men pledge their undying loyalty to each other. In the palatial gardens, the noblewoman Eboli entertains fellow women of the court with a song about mistaken identities, which foreshadows later events. Rodrigo arrives and distracts Eboli while he informs Queen Elisabetta of Carlo’s wishes to speak with her in private. Though Carlo’s pretext is to inquire about a potential diplomatic mission, the conversation quickly turns to their forbidden love. Elisabetta tries hard to maintain her resolve, despite Carlo’s growing desperation. As he rushes off, the King enters, furious that the Queen has been left unattended. He angrily dismisses her errant lady-in-waiting, and the rest of the court files out, leaving the King alone with Rodrigo. The brash young man confronts the King about the turmoil in Flanders. Surprisingly, the King hears him out, though he warns Rodrigo to beware of the Grand Inquisitor. He requests that the Marquis remain by his side as his new confidant, and asks him to spy on his son and his wife, who he suspects are committing infidelity.
Late at night, Carlo arrives for what he thinks is a rendezvous with the Queen, as he has received an anonymous love letter. It turns out that the letter came from Eboli. She quickly figures out that Carlo loves Elisabetta and not her. Highly offended, Eboli threatens to expose this to the court. A huge crowd has turned out for an Auto-Da-Fe (a public ceremony in which heretics are burned at the stake.) Carlo appears with several deputies from Flanders, begging the King to show mercy on the troubled country. The King angrily refuses, and Carlo draws his sword. Rodrigo disarms Carlo himself. Feeling betrayed, Carlo is led off to prison. As the condemned heretics are burned alive, a voice from the heavens sings of their salvation.
Alone in his study, the King laments that his young wife has never loved him. He longs for the peace that only the grave can bring. The Grand Inquisitor arrives, and demands that not only must Carlo be executed for treason, but Rodrigo as well. The King protests, and the Inquisitor rebukes the King for his insolence and departs, the tension between the two powerful men at an all-time high. Elisabetta runs in, demanding justice for the theft of her jewelry box. The King has the box, and opens it, discovering a portrait of Carlo. He accuses his wife of infidelity, and she faints. After The Queen has been revived, Eboli confesses her crimes: she was jealous and wanted to hurt the Queen, so she stole the jewelry box, and also became the King’s mistress. Elisabetta coldly gives Eboli the choice between exile or the convent. Eboli decides that her final act before joining the convent will be to rescue Carlo. In prison, Rodrigo arrives and urges Carlo to not give up the Flanders cause. Rodrigo is then shot by the Inquisitor’s men, and dies in his friend’s arms. An angry mob storms the prison and Carlo escapes with Eboli in the chaos. The Grand Inquisitor arrives and quells the riot.
Outside the tomb of Charles the Fifth, Elisabetta has one final meeting with Carlo before his departure for Flanders. They embrace, hoping that they can perhaps be together in the next life, but are soon interrupted by The King, The Inquisitor and his men. As they plan to execute Carlo, the voice of the mysterious monk is heard once again….his voice is recognized as that of the dead Emperor. Everyone is stunned as the monk leads Carlo into the tomb.