Rigoletto

Giuseppe Verdi

February 24, 2007 7:30 pmMarch 2, 2007 7:30 pmMarch 4, 2007 2:30 pmMarch 10, 2007 7:30 pm

Direction

Valéry Ryvkin

Stephanie Sundine

Franco Colavecchio

Mark Somerfield

Artists

Michael Corvino

Hanan Alattar

Craig Hart

Tihana Herceg

Matthew Treviño

John Sauvey

Matthew Peña

Deborah Bertling

Nikolaus Schiffmann

Location

Lobero Theatre33 E Canon Perdido StSanta Barbara, CA 93101

Cast & Credits

Direction

Conductor:

Stage Director:

Set Design:

Lighting Design:

Artists

Rigoletto:

Gilda:

The Duke:

Melania Taylor Burgess

Constantinos Kritikos

Wendy Castellanos-Wolf

Constance Hoffmann

François-Pierre Couture

Opera News praises Corey Bix for his “clear sense of drama and self-possession, exhibiting sturdy, unwavering control, flinty resonance and confident high notes.” In the 2017-18 season, he makes his Canadian Opera Company debut as Elemer in Arabella. Last season, he returned to Virginia Opera for his first performances of Max in Der Freischütz, the Lyric Opera of Chicago as Énée and Helenus in Les Troyens, and joined the Metropolitan Opera roster for its production of Der fliegende Holländer. He recently returned to San Francisco Opera as Augustin Moser in Die Meistersinger von Nürnberg and also for its production of Jen?fa, joined Virginia Opera as Erik in Der fliegende Holländer, Austin Lyric Opera to reprise his acclaimed portrayal of Lennie in Of Mice and Men, and sang Mahler’s Das Lied von der Erde at the Centro Nacional de las Artes in Mexico City.

Mr. Bix recently made a triumphant role debut as Énée in Les Troyens with San Francisco Opera. His other recent performances include his European debut and return to Greek National Opera as the Prince in Rusalka with Greek National Opera and the title role of Stravinsky’s Oedipus Rex; Bacchus in Ariadne auf Naxos with Washington National Opera, Vienna Volksoper, Fort Worth Opera, Badisches Staatstheater Karlsruhe, and The Glimmerglass Festival; Erik in Der fliegende Holländer with Los Angeles Opera, Hungarian National Opera, and Arizona Opera; Kaiser in Die Frau ohne Schatten with Oper Graz; Walther in Die Meistersinger von Nürnberg with Theater Kiel; the title role of Flotow’s Alessandro Stradella with the Stadttheater Giesen; Heinrich in Tannhäuser; in addition to joining the Teatro alla Scala and Savonlinna Festival for their productions of Lohengrin and the Cleveland Orchestra for its tour of Daphne. He has sung both Florestan in Fidelio and Lennie in Of Mice and Men with Utah Opera and Tulsa Opera, Sir Edgar Aubry in Der Vampyr with New Orleans Opera, Aegisth in Elektra with Des Moines Metro Opera, and Alfred in Die Fledermaus with Anchorage Opera. He sang the First Senator in Die Gezeichneten while covering the role of Albiano under the baton of James Conlon at Los Angeles Opera and joined San Francisco Opera for the Fourth Jew in Salome. With Santa Fe Opera he covered Yonas in Saariaho’s Adriana Mater, the title role of Lucio Silla, and Tamino in Die Zauberflöte and sang Dr. Caius in Falstaff and the Second Jew in Salome. His other recent performances include Don Jose in Carmen with the Aspen Opera Theater with Julius Rudel conducting as well as with the Glacier Symphony in Montana, Tamino in the workshop of the family version of Die Zauberflöte with the Metropolitan Opera, and Sam in Susannah with New York Opera Projects.

Mr. Bix joined the American Symphony Orchestra for Szymanowski’s Symphony No. 3, Pharaoh in Dessau’s Hagadah shel Pessach, and Pheobus de Chateuoers in Schmidt’s Notre Dame, the Cathedral Choral Society for Janá?ek’s Glagolitic Mass at the National Cathedral in Washington D.C., and Palm Beach Symphony for Mozart’s Requiem. At the Bard Music Festival, he sang excerpts of Die Meistersinger von Nürnberg in concert along with a recital of German and joined the Wagner Society of Washington D.C. for a concert that included excerpts of Siegmund in Die Walküre and Walther in Die Meistersinger von Nürnberg. He sang the Fourth Jew in concert performances of Salome with Philadelphia Orchestra under the baton of Yannick Nézet-Séguin. He presented a recital with soprano Lauren Flanigan under the auspices of the George London Foundation at the Morgan Library as well as solo programs for the Wagner Society of New York and at his alma mater of Simpson College.

Mr. Bix is the 2008 winner of the Robert Lauch Memorial Grant from the Wagner Society of New York and the 2007 winner of the George London/Kirsten Flagstad Award for a singer with potential for a Wagnerian career as well as the foundation’s prestigious Vienna Prize. Additionally, he has been a prizewinner in both the New England and Southeast regions of the Metropolitan Opera National Council Auditions. He is a former member of the apprentice programs of the Santa Fe Opera, Florida Grand Opera, Glimmerglass Opera, and Des Moines Metro Opera and earned a Master of Music from New England Conservatory and his Bachelor of Music from Simpson College.

Praised for her “thrilling vocal color” and “sweetly winning” presence, American soprano Anya Matanovic made her international opera debut as Musetta in Franco Zeffirelli’s captivating production of Puccini’s La bohème with the New Israeli Opera’s. In her debut with the Glimmerglass Festival as Micaëla, she was praised for her “sinuous soprano with its golden timbre and silky-smooth legato, [which] charmed the ears immediately…” and “first-class performance” (David Abrams, Musical Criticism).

Praised for her “thrilling vocal color” and “sweetly winning” presence, American soprano Anya Matanovic (ma ta’ no vich) made her international opera debut as Musetta in Franco Zeffirelli’s captivating production of Puccini’s La bohème with the New Israeli Opera. In her debut with the Glimmerglass Festival as Micaëla, she was praised for her “sinuous soprano with its golden timbre and silky-smooth legato, [which] charmed the ears immediately…” and “first-class performance” (David Abrams, Musical Criticism).

This season sees the soprano make her company and role debut as Mimi in La bohème with Opera Colorado, and debut with the Eugene Concert Choir for Mozart’s Mass in C Minor. Next season, she will return to Utah Opera, and make her debut with the North Carolina Symphony. The 2016-2017 season began with an anticipated return to Seattle Opera, as Gretel in Hansel and Gretel. The season also included notable role debuts, including Anne Trulove in The Rake’s Progresswith Boston Lyric Opera, and Mabel in Pirates of Penzance with Lyric Opera of Kansas City. She also appeared in concert with the Cleveland Orchestra and Cincinnati Symphony for Mendelssohn’s A Midsummer Night’s Dream. Ms. Matanovic’s 2015-2016 season featured a debut with New Orleans Opera as Adele in Die Fledermaus.

The 2014-2015 season brought anticipated role debuts for Ms. Matanovic, as Violetta in La traviata with Boston Lyric Opera, as well as Stella in Previn’s A Streetcar Named Desire in a return to Kentucky Opera. In the 2013-2014 season the soprano debuted with Opera Memphis, as Gilda in Rigoletto, Arizona Opera, for Musetta in La bohème, the Qatar Philharmonic Orchestra, for Carmina Burana under Alastair Willis, and made a return to the Boston Youth Symphony, as Pamina in The Magic Flute.

During the 2012-2013 season, Anya Matanovic returned to Seattle Opera for Marzelline in Fidelio, and was praised for her “crystalline” and “substantial” tone (Seen and Heard International). She made her role debut as Gilda in Rigoletto with Boston Youth Symphony Orchestra and sang Pamina with both the Crested Butte Music Festival and Utah Opera. She closed the season as Wanda in a new production of Offenbach’s The Grand Duchess of Gerolstein with Santa Fe Opera.

In the 2010-2011 season, Anya Matanovic essayed her first Susanna in Le nozze di Figaro with Madison Opera, returned to Seattle Opera for Erste Dame in Die Zauberflöte, reprised the role of Gretel in Hänsel und Gretel with Utah Opera, and made her anticipated role and company debut with the Glimmerglass Festival as Micaëla in Carmen, conducted by Music Director David Angus.

The 2009 – 2010 season saw Ms. Matanovic‘s company debut as Gretel in Hänsel und Gretel with Kentucky Opera, her official stage debut with Seattle Opera, as Nannetta in Falstaff, an appearance at Madison Opera’s “Opera in the Park”, and her debut with the Richmond Symphony as the soprano soloist in Orff’s Carmina Burana.

In the fall of 2008, Ms. Matanovic made her Opera Cleveland debut as Gretel in Humperdinck’s Hänsel und Gretel, conducted by Artistic Director Dean Williamson, and returned for their spring production of Verdi’s Falstaff as Nannetta. In summer of 2009, she joined the Seattle Opera artist roster for their internationally revered production of Wagner’s Der Ring des Nibelungen, directed by Stephen Wadsworth.

Other notable engagements include New York City Opera, as Frasquita in Bizet’s Carmen, as well as productions of Massenet’s Cendrillon, La bohème, and Purcell’s King Arthur, and Santa Fe Opera, as a “pert, appealing” Papagena in Mozart’s Die Zauberflöte.

Ms. Matanovic is a graduate of the Seattle Opera Young Artist Program, where she appeared in their productions of Britten’s The Turn of the Screw, as Flora, Mozart’s La Serva Padrona, as Serpina, and Falstaff, as Nannetta.

Anya Matanovic made her professional opera debut, directly from her undergraduate studies, as Mimì in the Los Angeles commercial engagement of Baz Luhrmann’s Tony Award-winning production of La bohème. She appeared in University of Southern California’s Thornton School of Music productions of The Crucible, Gianni Schicchi, and Hänsel und Gretel.

Ms. Matanovic is equally comfortable on the concert stage, having appeared with the Portland (OR) Chamber Orchestra, Hoku Concert Series in Hawaii, the Palm Springs Orchestra and the Music of Remembrance Concert Series in Seattle. Ms. Matanovic was also a Regional Finalist in the Metropolitan Opera National Council Auditions and has been a prizewinner in competitions sponsored by such institutions as the Gerda Lissner Foundation, Opera Buffs, Leni Fe Bland, and the Sun Valley Opera.She is a co-founder of NachtMusik, an operatic outreach group dedicated to bringing opera to the many different communities of Los Angeles.

Anya was born in Madison, Wisconsin and raised in Issaquah, Washington to a Slovenian-born father and an American mother. The soprano, her husband, television writer John P. Roche, and their daughter, Zara, spend their time between Vermont, Los Angeles and New York.

www.anyamatanovic.com

Nandani Maria Sinha

Mezzo-soprano Nandani Maria Sinha is an acclaimed performer of German and Indian descent. Born in the United States, Nandani began her formal training in in Germany before returning to the US, where she earned degrees from Cornell University and California State University at Los Angeles. Nandani began the 2017 - 18 season with the Los Angeles Opera Chorus in Beth Morrison Project's production of The Hubble Cantata by Paola Prestini. For Music at Westwood this season, she serves as the Alto Soloist in the Bach Magnificat, Handel's Messiah, and Dvorak's Mass in D. She also sang the Old Lady in Candide for LA Opera's series for educators and was a featured ensemble member for their production of Jack Perla’s Jonah and the Whale. She finishes the season with concert performances of Dvorak’s Stabat Mater with Palisades Symphony Orchestra and Beethoven's Ninth Symphony and Bernstein selections with the California Philharmonic. She will also be seen as the Wardrobe in 5 Star Theatricals’ production of Beauty and the Beast, which also stars members of the original Broadway cast. Nandani made her debut with Opera Santa Barbara as La maestra della novizie in Suor Angelica, and returned for recent productions of The Cunning Little Vixen and La Rondine. Other recent highlights include the title role in La Cenerentola (Repertory Opera Company), Amneris in Aida (Marina Del Rey Symphony), The Mother in Amahl and the Night Visitors (Malibu Coast Chamber Opera), Mrs. Ott in Susannah (Opera Pasadena), and Rosina in Il Barbiere di Siviglia and Prince Orlofsky in Die Fledermaus with Repertory Opera Company. Ms. Sinha has also been a frequent soloist at St. Patrick’s Cathedral in New York City, the Franz Liszt Chamber Orchestra, and a recitalist in London, France, Austria and Germany. Additionally, she has presented recitals throughout South Africa for the No.1 Ladies’ Opera Festival. A great proponent of new music, Nandani has sung in the world premieres of multiple compositions by Annenberg Foundation Composition Fellow Maria Newman. Recently, she premiered the role of Lily and Our Lady in the musical Golden with music written by Grammy Award Winner Nathan Wang for the Paderewski Cycle Competition. Ms. Sinha was the first-prize winner in the 2012 Franz Liszt International Competition, and in 2014 she earned two additional International Prizes from the same organization, including a special award for “Best Vocal Interpretation of a Work by Franz Liszt.” Nandani was a winner of the Hollywood Opera Reading Club Vocal Scholarship Competition and has been a recipient of scholarships from the Opera Buffs and Celestial Opera. In 2013 and 2014, she was a Marc and Eva Stern Fellow at Songfest, where she worked closely with William Bolcom, John Musto, Jake Heggie, Libby Larsen, Susanne Mentzer, Margo Garrett, and Martin Katz.

www.mezzonani.com

Ashley Kay Armstrong

Samuel Ramey

For almost three decades, Samuel Ramey has reigned as one of the music world’s foremost interpreters of bass and bass-baritone operatic and concert repertoire. Over the course of his career, he has demonstrated astounding versatility, singing roles ranging from Argante in Handel’s Rinaldo, which was the vehicle of his acclaimed Metropolitan Opera debut in 1984, to the dramatic proclamations of the title role in Bartok’s Bluebeard’s Castle, which he sang in a new production at the Metropolitan Opera televised by PBS. Mr. Ramey’s interpretations embrace the bel canto of Bellini, Rossini and Donizetti; the lyric and dramatic roles of Mozart and Verdi; and the heroic roles of the Russian and French repertoire. In recent seasons, he has been seen at the Metropolitan Opera as Timur in Franco Zeffirelli’s production of Turandot. Other recent engagements include Don Basilio (Il Barbiere di Siviglia), Rambaldo (La Rondine), and Pope Leo at the Met; Claudius (Hamlet) with Washington National Opera; Scarpia (Tosca) at Deutsche Oper Berlin; Méphistophélès in Nice; and the Grand Inquisitore (Don Carlos) with Houston Grand Opera. Mr. Ramey is well-known for his portrayals of devils and villains; Méphistophélès in Gounod’s Faust has become his most-performed role with over 200 performances in more than twenty productions. He is equally well-known throughout the world for his performances of Boito’s Mefistofele, including over 70 performances in the Robert Carsen production of this work specifically created for Mr. Ramey. He has also sung many performances of Berlioz’ devil in La damnation de Faust and the sinister Nick Shadow in Stravinsky’s The Rake’s Progress. In 1996 Mr. Ramey presented a sold-out concert at New York’s Avery Fisher Hall titled "A Date with the Devil" in which he sang fourteen arias representing the core of this repertoire, and he continues to tour this pro gram throughout the world. Throughout his career, Samuel Ramey has appeared on all the world's greatest stages, including the Metropolitan Opera, Teatro alla Scala, Royal Opera, Covent Garden, Vienna Staatsoper, Opéra de Paris, Arena di Verona, Deutsche Oper Berlin, San Francisco Opera, Lyric Opera of Chicago, Houston Grand Opera, Teatro la Fenice, Teatro Colon, and the operas of Munich, Hamburg, Geneva, Florence, Zürich and Amsterdam, among others. He has worked with major conductors including Claudio Abbado, the late Leonard Bernstein, James Conlon, Sir Colin Davis, Valery Gergiev, Bernard Haitink, Lorin Maazel, Riccardo Muti, Kent Nagano, Seiji Ozawa, Sir Simon Rattle, Julius Rudel, the late Sir Georg Solti, and the late Herbert von Karajan. Samuel Ramey holds the distinction of being the most recorded bass in history. His more than eighty recordings include complete operas, recordings of arias, symphonic works, solo recital programs, and popular crossover albums on every major label. In 1998 the French Ministry of Culture awarded him the rank of Commander in the Order of Arts and Letters. Mr. Ramey is a native of Colby, Kansas.

Stage Director Alison Moritz’s recent productions have been lauded as “about as gorgeous and accessible as any opera anywhere” (The Commercial Appeal), and her work has been praised for its “incredible economy of resources, lean production design, and eye for jest and banter” by The Orlando Examiner.

A “rising young star on the contemporary American opera scene” (89.5 Tulsa), Ms. Moritz’s diverse projects for 2017-2018 include the world premiere of Missy Mazzoli and Royce Vavrek’s newest opera Proving Up (Washington National Opera, AOI), as well as new productions of Orpheus in the Underworld (New Orleans Opera), Die Entführung aus dem Serail (Madison Opera), Trouble in Tahiti (Opera Santa Barbara), and a genre-bending triple bill of rarities for Bard Conservatory (Pulcinella, Full Moon in March, and Svadba). This season, Ms. Moritz also directs a new staging of Madama Butterfly (Syracuse Opera), collaborates with IlluminArts to profile artist Ana Mendieta, joins the Santa Fe Opera directing staff, and continues ongoing collaborations with the Resonant Bodies Festival and The Knights.

Alison’s exciting 2016-2017 season included several innovative productions of American operas: The Manchurian Candidate (Austin Opera), Candide (Orlando Philharmonic), The Tender Land (Crane School of Music), Our Town (Townsend Opera, Fresno Grand Opera), Hydrogen Jukebox (Tri-Cities Opera), Cabildo, and Gallantry (Central City Opera). Recently, the Austin Chronicle named Alison’s production of The Manchurian Candidate the #1 Classical Music/Dance event of 2016, and the production received seven Austin Critic’s Award Nominations and four wins (including “Best Opera Production”).

Previously, Alison served as the Resident Assistant Director at both the Minnesota Opera and The Atlanta Opera. Her professional credits include engagements with Seattle Opera, Opera Theatre of St. Louis, Wolf Trap Opera, Central City Opera, Opera Memphis, and Chautauqua Opera. As a teacher and guest director, Alison has taught at Eastman School of Music, Maryland Opera Studio, Crane School of Music, and for Steven Blier and Caramoor’s Vocal Rising Stars program.

Alison continues both her acting training and administrative interests and has worked and trained with companies such as the SITI Company of New York City, OPERA America, Geva Theatre Center, Third Rail Projects, Nautilus Music Theater, and Shakespeare Festival St. Louis. She holds a B.A. in Music and Art History from Washington University in St. Louis and an M.M. from Eastman School of Music, and was the recipient of the 2015-2016 recipient of the SDCF/Kurt Weill Foundation Fellowship. Alison is based in New York City and St. Louis, Missouri.

J. Gordon Schontzler *

Jonathan Walker-VanKuren

Denise DeBellefeuille

Cassandra Zoe Velasco

Andrew Bidlack

Featured by Opera News as one of their 'top 25 brilliant young artists' (October 2015), tenor Andrew Bidlack began the 2016-17 Season at Dallas Opera where he prepares two new roles: Lensky in Eugene Onegin and Greenhorn/Ishmael in Moby. He develops the role of Christopher Morcom in The Life and Death(s) of Alan Turing (by Justine Chen and David Simpatico) for American Lyric Theater, and travels to Madison Opera for the role of Tamino in Die Zauberflöte. Also in Madison he performs with the Madison Symphony Orchestra Principle Organist in a program of arias from Handel's Messiah, Mendelssohn's Elijah, and other opera favorites. He reprises Rob Hall in a concert performance of Joby Talbot's Everest at Dallas Opera, and Getry's rarely heard opera Zémire et Azor makes great use of the artist's flexible coloratura when he sings the title role at Saratoga Opera.

Recent highlights include his European and UK debut in the challenging role of Private John Ball in In Parenthesis, Welsh National Opera's world-premiere by Iain Bell, directed by David Poutney and conducted by Carlo Rizzi with performances at the Royal Opera House Covent Garden; and his Metropolitan Opera of New York debut as Beppe in I pagliacci, where he also sang the Lamplighter while covering Edmondo Manon in Lescaut for which he won critical accolades. At Arizona Opera he joined the production of Florencia en el Amazonas as Arcadio.

Bidlack is a frequent interpreter of contemporary music; he created the roles of Rob Hall in Joby Talbot's Everest at Dallas Opera and that of Irving Tashman in Ricky Ian Gordon's Morning Star at Cincinnati Opera. He workshopped Greenhorn/Ishmael in the developmental production of Moby Dick at San Francisco Opera while he was an Adler Fellow and inaugurated Tandcredi in The Inspector (John Musto) at Wolf Trap. As a Merolino, he created the role of Charles Carter in Thomas Pasatieri's The Hotel Casablanca. Making his debut with Lyric Opera of Chicago, he appeared at Carnegie Hall as The Young Collector in their production of A Streetcar Named Desire with Renée Fleming, a role he also sang in Chicago. At Dallas Opera, he sang Sandy in The Lighthouse for the inception of their Chamber Opera Series.

With a large number of Rossini/Mozart and bel canto roles also to his credit, Andrew has appeared as Tamino in Die Zauberflöte, Don Ottavio in Don Giovanni, Almaviva in Il barbiere di Siviglia, and Ferrando in Così fan tutte at Florida Grand Opera; Rodrigo in Rossini's Otello at Opera Southwest; Almaviva and Don Ramiro La cenerentola at Opera Omaha; Tonio in La fille du régiment at Palm Beach Opera and PORTopera; Pedrillo in Die Entführung aus dem Serail and Arturo in Lucia di Lammermoor at San Francisco Opera; Nemorino in L'elisir d'amore at Empire State Lyric Theater; and Bastien in Bastien and Bastienna at Des Moines Metro Opera.

Marlyn Bernard Bernstein +

. Theatre Company of Upland

Emily Langford Johnson

Thorsteinn Arbjörnsson

Alexia Tillinghast-Trickett

Kristin Noelle Anderson

Mezzo-soprano Nina Yoshida Nelsen has been hailed as a “rich voiced, expressive mezzo-soprano” by San Francisco Classical Voice and “appealingly direct and honest in tone and bearing” by Richard Dyer of the Boston Globe. Nina was most recently seen at Opera Santa Barbara as the Secretary in The Consul (2014). Previous performances with the company include both Kate Pinkerton (2003) and Suzuki (2012) in Madama Butterfly. Her Suzuki has also been heard at New York City Opera, Utah Opera, The Atlanta Opera, Sarasota Opera, Manitoba Opera, the Phoenicia International Festival of the Voice, and at Royal Albert Hall in London. Ms. Nelsen has performed leading roles in the world premieres of several important new operas, including the role of Mama in Jack Perla's An American Dream with Seattle Opera, Khanh in Huang Ruo's Bound and the role of Woman in Marty Ragen's Memory Stone (both with Houston Grand Opera). Other operatic highlights include the Mother in Amahl and the Night Visitors at Avery Fisher Hall and Cherubino in Le nozze di Figaro with Utah Opera. Ms. Nelsen is also in-demand as a concert soloist. She has sung the alto solo in Beethoven’s Symphony #9 at Carnegie Hall, with the Santa Fe Concert Association, the Southwest Florida Symphony, and the Santa Barbara Symphony. She has sung Verdi's Requiem with the Guelph Symphony Orchestra and the Bakersfield Symphony Orchestra, Mozart's Requiem with the Santa Barbara Symphony and the Southwest Florida Symphony, Handel’s Messiah with the Nashville Symphony, Mozart’s Coronation Mass with the Santa Barbara Symphony and the Peoria Symphony, and Mahler's Songs of a Wayfarer with the Grand Junction and Flagstaff Symphony Orchestras. Ms. Nelsen has received awards and recognition from the Gerda Lissner, Profant, and Santa Barbara's Performing Arts Scholarship Foundations; she was a National Finalist in the vocal competitions of the Jensen Foundation, the Loren L. Zachary Society, and the Metropolitan Opera. She is a 2009 graduate of the Academy of Vocal Arts (AVA) in Philadelphia, where she studied with Bill Schuman; she is also an alumna of the Opera Institute at Boston University.

Anthony Roth Costanzo

Ventura Limoncello Company

Brad Dalton

Yannis Adoniou

Rhoslyn Jones

Christopher Bengochea

Rosemary Wagner-Scott

William Christensen

Dauri Dennedy

Lori Phillips

Arthur Allen Seidelman

Britt Jewett- Studio 7

Palmina Winery

Tammy Coil

Jessica Medoff & Michael Bunchman

Husband and wife Michael Bunchman and Jessica Medoff are fast becoming one of the country's finest musical duos bridging the gap and blurring the lines between classical, music theater, art song and popular music. As co-creators of three original cabarets, the pair has delighted audiences coast to coast with their unique blend of genres and their undeniable musical chemistry. Both classically trained, the couple met while studying music at the University of Colorado in Boulder.

First Place Winner of the 2010 Shreveport Singer of the Year competition, Jessica defines the Renaissance woman in music throughout all genres; Critic Jon Sobel says "Jessica Medoff is perfectly spectacular - If she doesn't have a fan club, someone should start one." In addition to singing leading roles in Don Giovanni, La Bohème, Suor Angelica, Carmen, The Merry Widow, and the soprano solos in Verdi's Requiem, she has performed impressive turns in more adventurous repertoire including Judith in Bartok's Bluebeard's Castle and the Governess in Britten's Turn of the Screw. On the musical theater stage she has been seen as Maria in The Sound of Music, Dorothy in The Wizard of Oz, Nancy in Oliver! and Aldonza in Man of La Mancha.

Highlights of Michael's solo career include performances with the Ridgefield Symphony, the Antara Ensemble of New York City, the Aspen Music Festival chamber series, and the Breckenridge Music Festival. In addition to his solo career, Michael is an avid collaborator and is currently recording a disc of French mélodies with Metropolitan Opera flutist Harold Jones.

As a pair, Jessica and Michael continue to impress audiences throughout the United States with their style, charm and commitment to text and music. Says Jon Sobel, "One remarkable thing about [the duo] is the two performers' seamless connection; it's as if they can read each others' minds, piano and voice flowing together in perfect sympathy. This makes just about any song they perform something more than the sum of its parts."

Kristin Noelle Anderson

The Santa Barbara Children's Chorus

Lucas Benjaminh Krech

Zulimar López-Hernández

Virginia Opera/John Pascoe

Roger H. Davidson is Professor Emeritus of Government and Politics at the University of Maryland, College Park, and Visiting Professor of Political Science at the University of California, Santa Barbara. From 1980 to 1988 he held the post of Senior Specialist in American National Government and Public Administration with the Congressional Research Service, U.S. Library of Congress. He is a Fellow of the National Academy of Public Administration.

Born in Washington, DC, and raised in Fort Collins, CO, Dr. Davidson attended the University of Colorado and received his Ph.D from Columbia University. He began his teaching career at Dartmouth College, moving to the University of California, Santa Barbara (1968-1980), where he served as chairman of the political science department and associate dean of Letters and Science. He has been a visiting professor at Johns Hopkins, Georgetown, American, and George Washington universities, and has lectured or conducted seminars on U.S. politics and policy making throughout this country and in Europe, South America, Africa, India, Japan, Australia, New Zealand, and other South Pacific countries. In 2002 he was John Marshall Professor at the University of Debrecen, Hungary, awarded by the Hungarian Fulbright Commission. He was named Visiting Distinguished Political Scientist at Santa Barbara City College in 2005-2006. Dr. Davidson is listed in Who’s Who in America.

Dr. Davidson’s musical interests began early. In his youth he took piano lessons and sang in high school and university choirs. His passion for opera (and Broadway musicals) blossomed during his years in New York City as a graduate student at Columbia University—hearing legendary singers at the old (and new) Metropolitan Opera House. In Washington, DC, he subscribed to the Washington National Opera; he has attended many opera performances in the US and abroad.

Dr. Davidson is co-chair of the UCSB Affiliates, board member of the Architectural Foundation of Santa Barbara, and a docent for both the Architectural Foundation and the Santa Barbara Historical Society. He and his wife Nancy subscribe to and support OSB, Santa Barbara Symphony, Camerata Pacifica, UCSB’s Arts and Lectures series, and CAMA. They are members of the Council of Contributors of the Music Academy of the West and especially follow their vocal music program. Dr. Davidson serves on MAW’s Advancement Committee.

Beverly O'Regan Thiele

Luis Alejandro Orozco

Lee Poulis is “virile and heroic in both appearance and vocalism” (Opera News) and has been praised for his “dark baritone, rich in color.” Twice named Best Young Singer by Die Welt, Mr. Poulis has performed at the Staatsoper Unter den Linden of Berlin, Teatro Real of Madrid, the Opera of Bilbao, and the Teatro Municipal of Santiago. He performed the title role in the national premieres of Doctor Atomic in Germany and at the Finnish National Opera. In the 2017-18 season, he appeared in Handel's Messiah with the Florida Orchestra, Carmina Burana with Long Beach Camerata, Bach's Mass in B Minor with the New York Choral Society at Carnegie Hall, and Cantata #82, "Ich habe genug" with the Jacksonville Symphony. Career highlights include Zurga in Les Pêcheurs de perles with Fort Worth Opera and Sarasota Opera, Enrico in Lucia di Lammermoor with Dayton Opera and the Belleayre Festival Opera, Marcello in La bohème with Toledo Opera and Deutsche Oper am Rhein, Valentin in Faust with Lyric Opera Baltimore and Theater Chemnitz (Germany), the title role of Don Giovanni with Sarasota Opera, and Heathcliff in Herrmann’s Wuthering Heights with Minnesota Opera. He was a member of the ensemble at Theater Bonn, where he performed roles including Wolfram in Tannhäuser, Pantalon in Prokofiev’s The Love for Three Oranges, Germont in La traviata, Yeletsky in Pique Dame, Renato in Un ballo in maschera, and Michonnet in Adriana Lecouvreur. His frequent appearances at Washington National Opera include Papageno in Die Zauberflöte, Dandini in La Cenerentola, and Senator Raitcliffe in the world premiere of Scott Wheeler’s Democracy. He has also been on the roster of San Francisco Opera and Lyric Opera of Chicago. He made his his Opera Santa Barbara debut as Ford in Falstaff in 2014. Mr. Poulis’ concert engagements include baritone soloist in Handel's Messiah, Beethoven’s Symphony No. 9, and in the Mozart, Fauré, and Brahms Requiem settings with organizations such as the Masterworks Chorale, Kansas City Symphony, American Youth Symphony, Waltham Philharmonic, the Atlantic Union College and the Gemini Youth Orchestra. Mr. Poulis has also appeared in recital with the Marilyn Horne Foundation at Carnegie’s Weill Hall as well as in Washington D.C. with the Washington Vocal Arts Society. Lee Poulis won first prize in the 2008 Liederkranz Foundation Vocal Competition, the 2008 Francisco Viñas International Voice Competition, and the 2007 Chester Ludgin International Verdi Baritone Competition, as well as an Encouragement Award recipient in the 2008 George London Foundation Awards competition. He is an alumnus of Washington National Opera’s Domingo-Cafritz Young Artist Program, San Francisco Opera’s Merola Program, and Music Academy of the West. Mr. Poulis is a graduate of Harvard University.

Elliott Carlton Hines

Kostis Protopapas was named General Director of Opera Santa Barbara in December 2017, after two-and-a-half seasons as Artistic Director. Under his leadership the company ended the 2017-18 season with an operating surplus, while gaining acclaim for the mainstage productions of Manon and The Barber of Seville, and breaking new ground with staged productions for both the Santa Barbara Youth Opera and the Chrisman Studio Artists.

During his time as Artistic Director and principal conductor, Kostis brought a unified vision to OSB’s musical and production values, strengthening the orchestra, chorus, engaging some of the country’s most promising young directors and singers, and building a high-performing production team. The result was productions of both familiar and new repertoire that are counted among the finest in the company’s history.

In the company’s 25^th anniversary season, Kostis oversees three mainstage productions, including new productions of Tchaikovsky’s Eugene Onegin and Ward’s The Crucible, a 25^th anniversary gala concert, the company’s first-ever student matinee production, as well as productions featuring the Santa Barbara Youth Opera and the Chrisman Studio Artists.

In addition to successful mainstage performances, under Kostis’ leadership Opera Santa Barbara saw the creation of the Santa Barbara Youth Opera, a program providing educational and performance opportunities for school-age children, the expansion of the company’s Studio Artists program to a season-long residency, and an impressive geographic range covering much of the Central Coast in the company’s outreach and educational activities.

2016 saw the end of Kostis' long association with Tulsa Opera, where he served as Artistic Director from November 2007 until May 2016, as Interim Executive Director from November 2011 until February 2013 and as Associate Conductor and Chorus Master from 2001 until 2007. During his 15-year tenure with the company, Kostis conducted 30 productions of a diverse repertoire extending from popular classics like La Boheme and Carmen to contemporary American works like Elmer Gantry and A Streetcar Named Desire. About his 2011 Barber of Seville performances, Alex Ross of The New Yorker wrote, “Most impressive was the fluid idiomatic playing of the orchestra… In any city, it’s rare to find a conductor that sets the right tempo so consistently that you stop noticing he's there.”

Between 2002 and 2008 Kostis was also an Assistant Conductor for the Lyric Opera of Chicago, LA Opera and Santa Fe Opera. At the Lyric Opera of Chicago, he also served as Assistant Chorus Master under Donald Palumbo for two seasons. Kostis started his career on the music staff of Virginia Opera and Opera Memphis; he conducted at Opera in the Ozarks every summer from 2000 to 2004; has been a regular guest conductor at Union Avenue Opera in St. Louis since 2007 and a guest conductor for the Des Moines Metro Opera, Opera Columbus, Shreveport Opera, El Paso Opera, Winter Opera St. Louis and the Westmoreland Symphony.

Born in Athens, Greece, Kostis Protopapas studied Archaeology and History of Art at the University of Athens before coming to the United States in 1993, on an Onassis Foundation scholarship, to study piano at The Boston Conservatory and conducting at Boston University. He became an American citizen in 2011 and splits his time between Santa Barbara and Chicago, with his wife, soprano and stage director Cathleen Dunn-Protopapas, and their four cats, Gus, Miles, Zsa-Zsa and Gigi.

http://kostis-protopapas.com

Named artistic director of Opera Santa Barbara in August 2015, Kostis Protopapas made his company conducting debut with Carmen in November 2016.

2016 saw the end of Kostis' long association with Tulsa Opera, where he served as Artistic Director from November 2007 until May 2013, as Interim Executive Director from November 2011 until February 2013 and as Associate Conductor and Chorus Master from 2001 until 2007. During his 15-year tenure with the company, Kostis conducted 30 productions of a diverse repertoire extending from popular classics like La Boheme, Carmen and Cavalleria Rusticana/I Pagliacci to contemporary American works like Elmer Gantry, Of Mice and Men and A Streetcar Named Desire. About his 2011 Barber of Seville performances, Alex Ross of The New Yorker wrote "Most impressive was the fluid idiomatic playing of the orchestra... In any city, it's rare to find a conductor that sets the right tempo so consistently that you forget he's there."

Kostis' leadership at Tulsa Opera focused on furthering the company's long-standing reputation for artistic excellence and expanding the company's commitment to contemporary and American opera. Under his leadership the company produced a major American work each season between 2011 and 2016. Other key initiatives of his tenure included the development of the Tulsa Studio Artists Program, the expansion of company's outreach and educational programs, and the forging of new partnerships with arts organizations in Tulsa and beyond.

Between 202 and 2008 Kostis was also an Assistant Conductor for the Lyric Opera of Chicago, LA Opera and Santa Fe Opera. At the Lyric Opera of Chicago he also served as Assistant Chorus Master under Donald Palumbo for two seasons. Kostis started his career on the music staff of Virginia Opera and Opera Memphis; he conducted at Opera in the Ozarks every summer from 2000 to 2004; has been a regular guest conductor at Union Avenue Opera in St. Louis since 2007 and a guest conductor for the Des Moines Metro Opera, Opera Columbus, Shreveport Opera, El Paso Opera, Winter Opera St. Louis and the Westmoreland Symphony. In 2016-17 he will return to Winter Opera St. Louis to conduct La Cenerentola.

Born in Athens, Greece, Kostis Protopapas studied Archaeology and History of Art at the University of Athens before coming to the United States in 1993, on an Onassis Foundation scholarship, to study piano at The Boston Conservatory and conducting at Boston University. He became an American citizen in 2011 and splits his time between Chicago and Santa Barbara, with his wife, soprano and stage director Cathleen Dunn-Protopapas, and their four cats, Gus, Miles, Zsa-Zsa and Gigi.

http://kostis-protopapas.com

Leann Sandel-Pantaleo