Otello

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Regarded as one of the most accomplished singers on the international opera stage today, the American tenor Gregory Kunde appears regularly at the most prestigious opera houses around the world, working with conductors and orchestras of the highest calibre. Kunde’s achievements have been recognised with a number of awards, most recently ‘Male Singer of the Year’ at the 2016 International Opera Awards.

Highlights of the 2021/22 season include Manrico Il Trovatore for LA Opera, Title Role Otello at the Wiener Staatsoper, Canio Pagliacci at the Semperoper Dresden, Calaf Turandot for Hamburg State Opera and Énée Les Troyens and Title Role Otello for the Bayerische Staatsoper.

Recent highlights include the title role Otello at the Royal Opera House, Covent Garden, Calaf Turandot and title role Otello at the Gran Teatre del Liceu, Jean de Leyden Le prophète at the Deutsche Oper Berlin, the title role Don Carlos for Opéra Royal de Wallonie-Liège, Samson Samson et Dalila at the Metropolitan Opera, title role Otello for Opéra national de Paris and Opéra de Monte-Carlo, title role Andrea Chénier and Radames Aida at the Wiener Staatsoper, Calaf Turandot at the Teatro Real, Madrid, Renato des Grieux Manon Lescaut in concert for Dallas Opera, Don Alvaro La forza del destino at the Semperoper Dresden, title role Peter Grimes at the Palau de les Arts Reina Sofia, Valencia, Radames Aida at the Teatro Real, Madrid, and a return to the podium to conduct Il barbiere di Siviglia at the Teatro La Fenice.

On the concert platform, recent highlights include Title Role Ernani for the Teatro Nacional de Sao Carlos, Verdi Requiem and Calaf Turandot with the Israel Philharmonic Orchestra under the baton of Zubin Mehta, Das Lied von der Erde at the BBC Proms, Verdi Requiem in Bilbao, the title role Verdi Otello at the Cincinnati May Festival, title role Peter Grimes with Sir Antonio Pappano at the Accademia Nazionale di Santa Cecilia and Faust La damnation de Faust in concert at the Concertgebouw Amsterdam with Charles Dutoit.

Acclaimed throughout his earlier career for his performances in French and Italian bel canto roles, Kunde has now established himself as a leading exponent of many of the Verdi roles and other such dramatic repertoire. Since his critically acclaimed debut as Verdi Otello at La Fenice in 2012, he has performed this signature role in Valencia, Genoa, Salerno, Florence, Turin, Tokyo, Osaka, Nagoya, Seoul, and São Paulo. Since moving into this repertoire, Kunde earned the unique distinction of being the only tenor in recorded history to perform both Rossini Otello and Verdi Otello in the same season (2014/15 and 2015/16).

Kunde’s discography includes his solo album Vincerò! (Universal Music Group), Verdi Il Trovatore at Royal Opera House London (Opus Arte DVD), Berlioz Les Troyens at the Théâtre du Châtelet (Opus Arte DVD, Gramophone magazine’s ‘DVD of the Year’), Benvenuto Cellini (Virgin Classics CD, Gramophone’s ‘Opera Recording of the Year’), Benvenuto Cellini with Sir Colin Davis (LSO Live CD), and Verdi Otello from the Palazzo Ducale in Venice (Unitel DVD).

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Greek soprano Eleni Calenos is capturing admiration from critics and audiences for the clarity, warmth and beauty of her voice, and for her dignified characterizations. Of her performance as Tosca, Opera News said: "Eleni Calenos gave a performance for the ages, both vocally and dramatically", and The Wall Street Journal: "The real standout, however, was soprano Eleni Calenos' searing performance as Tosca — passionate, mercurial, heart-on-the-sleeve, with all the necessary vocal range, stamina and fire." In Madama Butterfly, the Houston Press said: "The phenomenon was the Cio-Cio San of Greek soprano Eleni Calenos, whose nuanced characterization was a true wonder to hear. She sailed through her dramatic arias as if buoyed by the stirring music."

This season, Ms. Calenos appeared as a soloist in The Seven Deaths of Maria Callas, a Marina Abramovic project with the Greek National Opera singing Tosca. She also created the role of Crise Bozzari in the world premiere of the opera Marco Bozzari with the Athens Philharmonia Orchestra. Upcoming performances include Beethoven's 9th Symphony with the Athens State Symphony under the baton of maestro Mihkel Kütson, the role of Liu in Turandot with the Evansville Philharmonic Orchestra, as well as the role of Lady Macbeth in Verdi's Macbeth with Opera Idaho.

In the 2019-2020, she made her debut with the Greek National Opera as Rosalinda in Die Fledermaus. She also appeared as Mimi in La Bohème with the Cleveland Opera Theater, as Cio-Cio San in Madama Butterfly with Opera Santa Barbara, was a featured soloist for Opera Omaha's Opera Outdoors concert. Due to COVID-19 she was not able to resume her role of the Countess in Le Nozze di Figaro with Shreveport Opera, as well as the 2020 fall tour in Glyndebourne as Cio-Cio San in Madama Butterfly.

In recent seasons, Ms. Calenos appeared as Santuzza in Cavalleria Rusticana with the Eptapyrgion Festival in Thessaloniki, Greece, as Mimi in La Bohème with Opera Santa Barbara, and as Cio-Cio San in Madama Butterfly with Shreveport Opera. She was the soprano soloist in the Maria Callas gala anniversary concert with the Thessaloniki State Symphony Orchestra of Greece, in her native city, and covered the role of Cio-Cio San in Madama Butterfly at the Glyndebourne Festival. In the fall of 2017, she had her debut in Germany with the Wiesbaden Staatstheater as Saida in the world premiere of the opera Schönerland by Søren Nils Eichberg. Other recent appearances include Giorgetta in Il Tabarro and the title role in Suor Angelica (Opera Delaware & Opera Company of Middlebury), Cio-Cio San in Madama Butterfly (Annapolis Opera & Ash Lawn Opera), Tosca (Opera Idaho & LOFT Opera), Mimi in La Bohème (Shreveport Opera & Palm Beach Opera), Desdemona in Otello (Phoenicia International Festival), Micaëla in Carmen (Palm Beach Opera), a New Year's Opera Gala at Athens' Megaron Concert Hall with the Athens State Symphony Orchestra of Greece, Mimi in La Bohème and an Opera in the Park concert (Madison Opera), the role of L'Infante in Le Cid (Odyssey Opera), and Liù in Turandot (Opera Company of Middlebury).

In past seasons, Ms. Calenos performed Silvia in Mascagni's Zanetto (Odyssey Opera), Antonia in Les Contes d'Hoffmann (Palm Beach Opera), Lia in Debussy's L' Enfant Prodigue (Metro Chamber Orchestra of NY), Liù in Turandot (Shreveport Opera & Boston Chorus Pro Musica), Micaëla in Carmen (Opera Idaho), Countess in Le Nozze di Figaro (Tulsa Opera & Austin Opera), Cio-Cio San in Madama Butterfly (Evansville Philharmonic Orchestra, Opera Idaho, Shreveport Opera, Mississippi Opera, & Opera in the Heights), Nedda in I Pagliacci(Shreveport Opera), Gilda in Rigoletto (Sarasota Opera), Hanna Glawari in Die lustige Witwe (Zomeropera, Belgium), Donna Elvira in Don Giovanni and Valencienne in The Merry Widow (Utah Festival Opera), Mimi in La Bohème (Opera Idaho), Donna Anna in Don Giovanni (Shreveport Opera), Fiordiligi in Così Fan Tutte (Barbados Music Festival), Medora in Il Corsaro (Hellenic Music Foundation, NY), Pamina in Die Zauberflöte and the title role of Suor Angelica with Boston University's Opera Institute, as well as Donna Elvira in Don Giovanni with the Martina Arroyo Foundation. Of her performance, The New York Times said, "Eleni Calenos sang with a strong, clear soprano and was persuasive as a suffering yet haughty Donna Elvira."Equally consummate in the concert/recital repertoire, Ms. Calenos has performed Beethoven's 9th Symphony and Missa Solemnis (Queens College Choral Society, NY), Mahler's Symphony No. 2 (Queens College Choral Society), Verdi's Messa da Requiem (Grand Junction Symphony Orchestra, Queens College's Choral Society, Penn State University, Masterworks Chorale, Boston University Symphony at Boston Symphony Hall), Respighi's Lauda per la Natività del Signore and Vivaldi's Gloria (Sheboygan Symphony Orchestra), and Libby Larsen's cycle Try me, Good King (National Opera Center, NY). She was also the soprano soloist in The Bells by Rachmaninov, and in Ein Deutsches Requiem by Brahms (Lancaster Symphony Orchestra). In the summer of 2013, ms. Calenos appeared at Avery Fisher Hall at Lincoln Center as the soloist in J.Rutter's Magnificat. Her concert repertoire also includes Strauss' Vier letzte Lieder (Cambridge Symphony Orchestra), Poulenc's Gloria, Barber's Knoxville: Summer of 1915, Nielsen's Hymnus Amoris and the title role in Händel's oratorio Theodora (Hudson Valley Singers). Eleni participated in the Meyerbeer Retrospective concert with Mo Eve Queler with Opera Orchestra of New York, and appeared as the principal soloist with Greek composer A. Paraskevas at Weil Recital Hall at Carnegie Hall (Distinguished Concerts International New York).

Her recordings include Mascagni's Zanetto with Odyssey Opera of Boston, and George Tsontakis' Mirologhia, which was released on the KOCH International Classics label with the Albany Symphony Orchestra.

Ms. Calenos boasts a long list of awards including the Gerda Lissner Foundation award (2010), and the "Judges Award" from the Connecticut Opera Guild Competition (2009). She also won the Audience Favorite award at the Irma Cooper Competition in Columbus, Ohio (2008), the Schyler Foundation "Career Bridges" Award (2006-2008). She was a finalist of the Oratorio Society of NY competition (2010), the Renata Tebaldi International Vocal Competition in San Marino (2009), and the Concurso del Canto de Bilbao (2008). She was one of the Young American Artists of Glimmerglass in 2010, and a participant of the Martina Arroyo Foundation program “Prelude to Performance” in 2006.

Eleni was a member of Boston University's Opera Institute between the years 2006 and 2008, and holds a Master's Degree in Vocal Performance from Queens College in New York, as well as a Diploma in Violoncello Performance form the Municipal Conservatory of Thessaloniki, Greece.

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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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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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Miss Schuman began her career as a mezzo-soprano singing Rossini and Mozart roles, as well as her signature role at that time, Carmen. Engaged by Peter Brook to perform the title role in his production of La Tragedie de Carmen, Miss Schuman sang in Paris, on a world tour, and at the Lincoln Center Theater. After switching to soprano, Schuman enjoying a career at the highest international level, specializing in the Mozartean repertoire, singing Donna Elvira in Don Giovanni and Contessa Almaviva in Le nozzle di Figaro at the Metropolitan Opera with James Levine conducting; Ilia in Idomeneo at La Scala with Riccardo Muti; and Ilia and Pamina at Vienna State Opera, under the baton of Nikolaus Harnencourt. She made her debut at the Salzburg Festival as Vitellia in La Clemenza di Tito, to great critical and popular acclaim. She repeated the role at Covent Garden, Glyndebourne, Madrid, and Lyon.

In a continually expanding repertoire, Mis Schuman debuted the role of Alice Ford in Verdi’s Falstaff at the Covent Garden with Bernard Haitink conducting; Rezia in Weber’s Oberon with Marc Minkowski at the Flemish Opera; the title role in Schumann’s Genoveva with the Edinburgh Festival and Opera North; Blanche in Poulenc’s Les Dialogues des Carmelites with Rome Opera and Seattle Opera; Madeleine in Strauss’ Capriccio in Toulouse and the Marshallin in Der Rosenkavalier at Pittsburgh Opera. She has sung the Puccini roles Liu in Turandot and Mimi in La Boheme in Zurich; Poppea in Cologne and Bologna; and the role of The Commander in the world premiere of Philip Glass’ The Voyage at the Metropolitan Opera.

After the birth of twins, Miss Schuman made the decision to stay home and raise her children, once they began school. After almost a decade, Schuman returned to the opera, once again as a mezzo, to sing opposite her husband, David Pittsinger, as Carlotta and Eugene O’Neill in the world premiere Blizzard on Marblehead Neck by Jeanine Tesori at the Glimmerglass Festival. Also, in that season, she appeared as Estelle Oglethorpe in John Musto’s Later the same evening. She returned to Glimmerglass to sing Elvira Griffiths in Tobias Picker’s An American Tragedy. Soon thereafter, Miss Schuman made her role debut as The Duchess of Argyll in Thomas Ades’ Powder her Face with Opera Philadelphia, to great acclaim. Returning there in 2016, she sang the role of The Mother in Missy Mazzoli’s world premiere opera, Breaking the Waves.

At the Ivoryton Playhouse, Schuman made her first professional foray into musical theater, as Bloody Mary in South Pacific, for which she received a Critic’s Circle nomination. She also sang the world premiere oratorio Letter from Italy by composer Sarah Meneely-Kyder, singing the role of Delia.

Recently, Miss Schuman sang and recorded the role of Grandma Mills in Ricky Ian Gordon’s world premiere The House without a Christmas Tree at Houston Grand Opera before returning to the Ivoryton Playhouse for The Fantasticks. Schuman returned to Opera Theater of St. Louis, after many years, to debut the role of Arnalta in The Coronation of Poppea. The same season, she sang The Countess in a newly realized version of Pique Dame at the Glimmerglass Festival.

On recording, Miss Schuman can be heard in the title role of Florencia en el Amazonas by Daniel Catan, which she recorded live at Houston Grand Opera (Albany records). She has also recorded the soprano solo in Handel’s Messiah (Koch) and the Bertoni mass, Veni Creator (Erato) under the baton of Claudio Scimone, and the role, Ruggiero, in Rossini’s Tancredi with Marilyn Horne (Sony). She can be seen on video as Poppea (Schwetzingen Fetstival), Donna Elvira (Royal Opera House, Covent Garden), Countess Almaviva (Madrid Opera), and in Letter from Italy. Recently released is Ricky Gordon’s House without a Christmas Tree on Pentatone.

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American bass-baritone David Pittsinger is renowned as a stage performer of the greatest distinction for his dramatic portrayals in the world’s major opera and concert houses and on Broadway. Signature roles include the title role in Boito’s Mefistofele, Mefistopheles in Gounod’s Faust, Scarpia in Tosca the Villians in Les Contes D’Hoffmann, the title role in Massenet’s Don Quichotte, Mozart’s Don Giovanni, Figaro and Count Almaviva in Le Nozze di Figaro, Nick Shadow in Stravinsky’s The Rake’s Progress, and Escamillo in Carmen. Mr. Pittsinger is a frequent performer at The Metropolitan Opera and has appeared in Live HD Broadcasts of The Magic Flute, Manon, Hamlet, and Les Contes D’Hoffmann. He recently created the role of Roy Disney in the World Premiere of Phillip Glass’ The Perfect American for Teatro Real Madrid, and Robert E Lee in Glass’ Appomattox for Washington National Opera at The Kennedy Center, as well as creating the role of Eugene O’Neill in the world premiere of Jeanine Tesori and Toni Kushner’s A Blizzard On Marblehead Neck at the Glimmerglass Festival opposite his wife Patricia Schuman. This past season included MET performances of Le Bret in Cyrano de Bergerac, and Palemon in Thais.

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José Sacín, 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.

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Bio coming soon...