Falstaff

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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.

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Charismatic baritone Brian Major continues to be praised by critics for his “velvety voice” and “commanding stage presence.”

During the 2021-2022 season, Mr. Major made his role debut as Scarpia in Tosca with Opera Columbus, sang the role of Taylor in the world premiere of Undying Love at Hearing in Color in Chicago, was set to perform as the bass soloist in Handel’s Messiah with Grand Bend Center for Music (COVID19), returned to Sarasota Opera as Ezio in Atilla and made his Boston Lyric Opera debut as Emile Griffith in Champion. He also returned to the Columbus Symphony to sing Schaunard in La bohème, joined Opera Carolina as Amonasro in Aida, made a debut with the Schenectady Symphony Orchestra singing the title role of Don Giovanni, sang in a concert of operatic excerpts with the Elkhart Country Symphony and performed at Carnegie Hall as a soloist in Mozart’s Mass in C, K. 220 and Vaughan Williams’ Serenade to Music with MidAmerica Productions. In the summer of 2022, he joined Cincinnati Opera as the cover of Castor in the world premiere of Gregory Spears and Tracy K. Smith’s Castor and Patience. In 2022-2023, Mr. Major will make his role debut as Ford in Verdi’s Falstaff with Maryland Lyric Opera and will join the roster of The Metropolitan Opera where he will make his house debut as Baron Douphol in La traviata and cover Benny “Kid” Paret in Champion.

During the 2020-2021 season, Mr. Major was engaged to make his Chautauqua Orchestra debut singing in Paul Moravec and Mark Campbell’s Sanctuary Road and performing selections from Porgy & Bess, his Opera on the James debut as Scarpia in Tosca, and a debut with Maryland Lyric Opera as Ford in Falstaff (COVID19). In the spring of 2021, Mr. Major returned to Opera Grand Rapids as Gary in Douglas Pew’s Penny and joined Lyric Fest for a filmed recital of Kurt Weill songs, the Princeton Festival for an Opera Gala, and Opera Delaware for a concert of Shakespeare selections.

In the fall of 2019, Mr. Major joined Madison Opera for their production of Tosca, and a debut with Maryland Lyric Opera as Ford in Falstaff (COVID19). In the spring of 2021, Mr. Major returned to Opera Grand Rapids as Gary in Douglas Pew’s Penny and La traviata as Baron Douphol and covered the role of Germont. In 2020, Mr. Major returned to Toledo Opera as Marcello in La bohème, made his South American debut as Amonasro in Aida with Theatro Municipal de São Paulo, and was slated to make his Princeton Festival debut as Germont in La traviata (COVID19).

During the 2018-2019 season, Mr. Major made debuts with Toledo Opera, Opera Grand Rapids, and Opera Carolina in their productions of The Magic Flute and Carmen where he sang the roles of The Speaker and El Dancaïro. Other season highlights include his turn in the title role of Gianni Schicchi, a recital for the Shivers Concert Series in Colorado Springs, Colorado, and Brahms’ Ein deutsches Requiem with The Colorado College Summer Music Festival. Mr. Major was also a featured musical guest at An Evening of Joyful Praise at the historic Great Auditorium in New Jersey and closed out his season as the baritone soloist in Orff’s Carmina Burana with the Boston University Tanglewood Institute.

Past season credits include his debut with Opera Columbus and Columbus Symphony Orchestra in a collaborative production of Aida as Amonasro. Mr. Major also presented Kirke Mechem’s Songs of the Slave in Boston Symphony Hall and reprised the role of Amonasro in a debut with Opera Theatre of the Rockies in their twentieth-year celebration where Mr. Major’s voice was described as “honey-filled and capable of organic, dramatic expression.” Quickly gaining renowned acclaim for his proficiency in the iconic dramatic repertoire, Opera News praised Mr. Major’s Escamillo as “embracing the love of the spotlight” and “never losing the strength of the vocal line.” Mr. Major has performed with Opera Saratoga as Giorgio in Catan’s Il Postino, with Opera in the Heights where he gave a “sexy and despicable, full-bodied and broad” performance of the title role in Don Giovanni, with Opera Company of Middlebury where he sang the role of Germont in La Traviata, and in Montpellier, France where he performed an all-French Opera concert with Maestro Michel Plasson. Other operatic credits include Enrico in Lucia di Lammermoor, Count Almaviva in Le nozze di Figaro, 1st Nazarene in Salome, and George Milton in Of Mice and Men.

An accomplished recitalist and concert artists, Mr. Major has been the baritone soloist in Handel’s Messiah, Vaughan Williams’ Five Mystical Songs, and Mendelssohn’s Elijah. These works were performed with The Siena Chamber Orchestra in Italy, Sun Valley Opera in Idaho, Des Moines Symphony Orchestra, and the Michigan State University Symphony Orchestra. Mr. Major has won numerous awards and honors on the competition circuit including 2nd Prize at the Harold Haugh Opera Vocal Competition, 1st prize at the Opera Ebony Vocal Competition, 3rd prize at the Annapolis Opera Vocal Competition, 2nd prize at the Opera at San Nicola Vocal Competition, 1st prize at Harlem Opera Theater’s Vocal Competition, 1st prize at the Atlanta Music Club Vocal Competition, and an Encouragement Prize at the Palm Beach Atlantic Vocal Competition. Mr. Major holds degrees from Morehouse College, Boston University, and Michigan State University.

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American soprano Mary Feminear’s voice has been described as “luminous…full of longing and sensual promise” by the critic of the Wall Street Journal, and by the critic of the New York Times as showing “versatility [as Magdalene] in her sorrowing and then in her transcendent joy.” Among her 2019-20 engagements are the Countess in Le nozze di Figaro with Maryland Lyric Opera, and Pallade, Damigella, and Venere in L’incoronazione di Poppea with Opera Delaware. In the summer of 2020, Ms. Feminear is soloist in Beethoven’s Mass in C Major in her debut with the Grant Park Music Festival. Her engagements in the 2020-21 season include a return to Opera Omaha as the Countess.

Ms. Feminear’s engagements in the 2018-19 season included a return to Grand Théâtre de Genève as Micaëla in Carmen, and concerts with Maryland Lyric Opera, where she appeared as Donna Elvira in Don Giovanni and Susanna in Le nozze di Figaro. Engagements for the 2017-18 season included Zerlina in Don Giovanni at the Grand Théâtre de Genève, Ginevra in Handel’s Ariodanteand soloist in Mariana Sadovska’s The Wreck at the Opera Omaha One Festival, and Amore in Cavalli’s Il Giasone at the Château de Versailles.

As a member of the Troupe des Jeunes Solistes at Grand Théâtre de Genève, she performed a number of roles, including Musetta in La bohème, Amore in Il Giasone, Mimì in Scènes de la vie de Bohème, Nanetta in Verdi’s Falstaff, and Helena in Britten’s A Midsummer Night’s Dream. Ms. Feminear’s other opera credits include the title role in Handel’s Semele at Opera Omaha and Seattle Opera, Pamina in Die Zauberflöte with Pacific MusicWorks, Proserpine in Charpentier’s La descente d'Orphée aux enfers with Gotham Chamber Opera, and Polissena in Handel’s Radamistoat Juilliard.

She has also appeared in concert, with performances of Monteverdi’s Orfeo with Pacific MusicWorks, Tchaikovsky’s Orleanskaya Deva with Grand Théâtre de Genève, Handel’s La resurrezione with William Christie and Juilliard415, and the St. Matthew Passion with Juilliard415 at Alice Tully Hall.

Ms. Feminear is a recipient of the Novick Career Advancement Prize, the Makiko Narumi Memorial Prize, and the Hardesty and Beverley Peck Johnson Award. She holds an Artist Diploma in Opera Studies and a Bachelor of Music degree from the Juilliard School and a Master of Arts degree from Teacher’s College at Columbia University.

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Soprano Teresa Perrotta joins the Washington National Opera as a Cafritz Young Artist for the 22/23 season, where she will make her Kennedy Center debut in Elektra (Fünfte Magd) followed by La bohème (Musetta). Additional debuts include Nabucco (Anna) with Washington Concert Opera and in the summer of 2023, she will return to The Glimmerglass Festival to make her mainstage debut in La bohème (Mimì).

Ms. Perrotta spent the past two summers with The Santa Fe Opera, where she performed in Falstaff (Alice Ford) and A Midsummer Night’s Dream (Helena). She made her international debut in The Ghosts of Versailles (Marie Antoinette) at L’Opéra royal de Versailles in 2019.

An advocate of contemporary opera, Teresa has workshopped many important new operas including Gregory Spears’ The Righteous (Sheila), Kevin Puts’ The Hours (Clarissa Vaughan), and Tobias Picker’s Awakenings (Rose).

Ms. Perrotta has placed in numerous competitions including the Gerda Lissner Foundation International Competition, The Metropolitan Opera Laffont Competition Districts, the Lotte Lenya Competition, Butler Opera International Voice Competition, and the Corbett Opera Competition.

Teresa received her undergraduate degree from the Eastman School of Music and her master’s degree and artist diploma from the University of Cincinnati College-Conservatory of Music (CCM). She has been a Young Artist with The Santa Fe Opera, The Glimmerglass Festival, Chautauqua Opera, and Ohio Light Opera.

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This season, Ms. Blaustein will perform the role of the Countess Almaviva in Annapolis Opera’s production of Le nozze di Figaro, Nanetta in Falstaff with Maryland Lyric Opera, and Pamina in The Magic Flute for Opera Theatre of St. Louis’ digital series. She will also be seen in concert as the soprano soloist in Mozart’s Requiem with New Choral Society, and in Gala concerts with Opera Edwardsville and the Mid-Atlantic Symphony Orchestra. Rachel will also make recordings of both The Garden of the Finzi-Continis and The Lord of Cries, which have commercial releases in 2023.

Previous engagements included an exciting debut as Tatyana in Eugene Onegin with Opera NEO, Adina in L’elisir d’amore with Opera Santa Barbara, performances as soprano soloist in Bach’s Mass in B Minor with the Milwaukee Symphony Orchestra, covers of Eurydice in Orphée et Eurydice and Maria Celeste in Galileo Galilei with Des Moines Metro Opera, Nannetta in Falstaff with Chautauqua Opera, and Kenzie in the Lyric Opera of Chicago’s Lyric Unlimited touring production of Earth to Kenzie. Ms. Blaustein was scheduled to join The Glimmerglass Festival for their 2020 season singing Despina in Così fan tutte and covering Sister Margaretta in The Sound of Music, and return to Opera Santa Barbara as Beth in Little Women, but these events were canceled due to the Covid-19 pandemic.

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Allegra was recently seen as Angelina in La Cenerentola at Boston Midsummer Opera, The Page in Salome at The Spoleto Festival, Siebel in Faust at Washington National Opera and the title role in Carmen in a semi-staged production with the Fort Wayne Philharmonic. Future engagements include Maddalena in Rigoletto with Austin Opera, Rinaldo in Rinadlo at the Glimmerglass Festival. As a 2018 graduate from the Washington National Opera’s Domingo-Cafritz Young Artist Program she was seen as Rosina in The Barber of Seville (Emerging Artist Performance), Tebaldo in Don Carlo, Sister 2 in Provin’ Up, The Fox/A Rose in The Little Prince, Ruggiero in Alcina (Emerging Artist Performance), the title role in The Dictator’s Wife, Cherubino in Le Nozze di Figaro (Emerging Artist Performance) and Kate Pinkerton in Madame Butterfly. She was also seen as Tancredi in Erminia with Opera Lafayette, Arsamenes in Xerxes at the 2017 Glimmerglass Festival as well as the roles of Olga in Eugene Onegin with Syracuse Opera and Isaura inTancredi with Opera Philadelphia. Allegra was a 2015 Metropolitan Opera National Council Auditions Grand Finalist.

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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.

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Proving himself a formidable talent and a rising star to watch in the opera world, Tenor Yi Li is quickly gaining attention across the globe. Most recently, Li débuted the role of Cheng Quing in Meredith Monk’s ATLAS with the Los Angeles Philharmonic, and moved into bigger repertoire, debuting the role of Dick Johnson in La fanciulla del West in Maryland Lyric Opera’s inaugural season. He subsequently returned there as Edgardo in Lucia di Lammermoor and Turridu/Luigi in Il Tabarro/Cavalleria Rusticana as well as returned to The Metropolitan Opera as the Young Lover in Il tabarro.

Upcoming engagements include a return to Maryland Lyric Opera for Turandot and his debut at Opera Tampa in Cavalleria Rusticana.

Other operatic engagements include the role of Nadir in Les pêcheurs de perles with Toledo Opera; Nicias in Thaïs with China National Centre for the Performing Arts in Beijing; Don Ottavio in Don Giovanni with Intermountain Opera Bozeman, Nashville Opera, and the Baltimore Symphony Orchestra; Cassio in Otello at The National Center Performing Arts in Beijing; the role of Alfredo in La traviata with Finger Lakes Opera; and his performance in Huang Ruo’s innovative contemporary opera, Paradise Interrupted. Mr. Li has also joined the esteemed roster of The Metropolitan Opera for productions of Manon Lescaut, Roméo et Juliette, and Der fliegende Holländer.

Concert engagements include Mahler’s Symphony No. 8 with Canterbury Chorale at Carnegie Hall, Indianapolis Opera’s Opera’s Rising Stars Concert and a Chinese New Year Concert with Shenzen Symphony Orchestra at The Kennedy Center.

Mr. Li recently graduated from Washington National Opera’s revered Domingo-Cafritz Young Artist Program where his assignments included Rodolfo in La bohème and productions of Die Zauberflöte and Dialogues des Carmélites. At San Francisco Opera’s world-renowned Merola Program, assignments included Belfiore in La finta giardiniera, Smith in Bizet’s La jolie fille de Perth, and Lionel in Martha.

Mr. Li’s training includes an Artist Diploma in Voice from University of Cincinnati’s College Conservatory of Music (CCM), where he performed Tamino in Die Zauberflöte, Don Ottavio in Don Giovanni, and Ruggero in La rondine. During his time there, he also performed The Duke in Rigoletto at Cincinnati Opera and Don José in Carmen at CCM Spoleto Festival. He also holds Bachelor and Master of Music degrees from Sichuan Conservatory in China, where performances include Alfredo in La traviata, Pinkerton in Madama Butterfly, Rodolfo in La bohème, and Cavradossi in Tosca.

Finding success on the emerging artist competition circuit, Yi Li’s talent has been recognized by several elite foundations and organizations. Mr. Li was a Grand Final Winner of the Metropolitan Opera National Council Auditions, a finalist at Operalia: The World Opera Competition, Winner of the Sullivan Musical Foundation Award, China’s representative at the Cardiff Singer of the World Competition, 3rd Prize at the Gerda Lissner Foundation International Vocal Competition, Finalist in the 49th International Singing Competition of Toulouse, and won the Grand Prize in Opera Columbus Irma M. Cooper Vocal Competition and CCM’s Corbett Scholarship Competition. He also received a grant from Giulio Gari Foundation and performed at their annual gala.

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Tenor Mauricio Miranda has recently performed with MDLO as The Emperor Altoum in Turandot by Puccini, as Il Conte di Lerma in Don Carlo by Verdi, as Don Curzio in Le nozze di Figaro by Mozart, and as Joe in La fanciulla del West by Puccini. His future roles with MDLO include The Judge in Un ballo in maschera and Doctor Caius in Falstaff by Verdi.

During his career, Miranda has performed at the Kennedy Center, Strathmore Music Center, Palacio Euskalduna and Teatro La Laboral (Spain); Teatro Goldoni (Italy), Teatro Municipal de Santiago (Chile), among others. His oratorio repertoire includes works by Bach, Handel, Vivaldi, Mozart, Rossini, Beethoven and Schubert, and he has given concerts in Chile, Argentina, Peru, France, Germany, Austria, Italy, Spain and the United States. He performed with conductors such as Louis Salemno, Dimitry Jurowsky, Jan Latham-Koenig, Roberto Rizzi-Brignoli, and Daniele Rustioni; and directors such as Emilio Sagi, Anne Bogart, Hugo de Ana and Jean Louis Grinda. Miranda has sung Mozart's Requiem at the Washington National Cathedral, and the role of Eros in the U.S. premiere of Debussy's opera Diane au bois. His soloist career began in South America, and he continued his training in Europe and North America with Bruno Pola in Germany, Isabel Penagos in Spain and Diana Soviero in the U.S.

He graduated from the Cafritz Young Artist Program at the Washington National Opera. Miranda received his degree in Music Theory from the National Conservatory of the University of Chile and was the winner of the prestigious FONDART scholarship.

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Tenor Joseph Michael Brent, a native New Yorker, began his operatic career as a doctoral student at the University of Georgia, Athens. Since graduating in the fall of 2014, Dr. Brent’s lyric tenor voice has continued to gain recognition around the United States and abroad. Most recently, he became the inaugural tenor resident artist of the Michigan Opera Theatre Studio, under the artistic direction of internationally acclaimed tenor Richard Leech and opera impresario Dr. David Dichiera. He completed two seasons as resident artist, ending his tenure at the Michigan Opera Theatre in the spring of 2017.

As a member of the Michigan Opera Theatre Studio Dr. Brent’s roles included Theodore “Laurie” Lawrence (Little Women), Martin (The Tender Land), the Kronprinz (Silent Night), Malcolm (Macbeth), Trin (La Fanciulla del West), and Remendado (Carmen).

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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.