Director of Production
…Jana McIntyre continues to forge a path for herself with her “dancer’s grace, mercurial wit, and vibrant soprano tone” (Opera News). “With movie star looks and the poise to match, she has everything it takes to make it to the top.” (Opera Wire).
The 2021-2022 season sees Jana in her first title role debuts as Semele in Semele in a return to Opera Santa Barbara as well as Aminta for a new production of Die Schweigsame Frau with Bard SummerScape Festival. Workshop and concerts of recently written music rounded out her season. With the Rally Cat in New York City, she created the role of Marianne in recording and workshop of Aferidan Stephens and Marella Martin Koch’s Elinor and Marianne based on the Jane Austen novel Sense and Sensibility. She also performed in chamber concert with Jerod impichchaachaaha Tate and Tulsa’s Signature Symphony.
Ms. McIntyre was lucky to perform through the pandemic singing Norina in Don Pasquale for her hometown debut with Opera Santa Barbara as well as joining the rosters of Palm Beach Opera (Die Zauberflöte) and Tulsa Opera (Rigoletto). She was scheduled to make company debuts with Opera Theatre of Saint Louis and Canadian Opera Company among other notable returns to theaters which have been postponed/canceled due to the pandemic.
She was recently named a George London Foundation top prize winner as well as a Metropolitan Opera National Council grand finalist. She performed Ännchen in Heart Beat Opera’s new production of Der Freischütz and joined Santa Fe Opera for their workshop of the completed version of M. Butterfly in New York City and for whom she was to return as Sister 1 in Mark Adamo and John Corgliano’s newly commissioned Lord of Cries which was canceled last March. She also debuted with the Sacramento Philharmonic singing from Così fan tutte and Le nozze di Figaro as Despina and Susanna in their “Mozart Favorites” Concert.
Miss McIntyre won first prize in the Alan M. and Joan Taub Ades Competition which gave her the opportunity to travel to Buenos Aires to sing a series of concerts at various venues including El Salon Dorado at the Teatro Colón. She is an award winner from the Jensen Foundation, Giulio Gari Foundation, George London Foundation, Art Song Preservation Society, Metropolitan National Council, among others. She is a Richard F. Gold grant recipient from the Shoshana Foundation, and the winner of the Eisenberg-Fried Concerto Competition at Manhattan School of Music.
Jana has been an apprentice with Tulsa Opera, Santa Fe Opera, and the Merola Opera Program. She did her academic work at the University of California, Los Angeles in Psychology (B.A.) and Music (B.A.). She received her Masters in Vocal Performance from the Manhattan School of Music.
The San Francisco Chronicle exclaims, “For theatrical charisma and musical bravado, it would be hard to top the performance of baritone Efraín Solís.” He is a recent graduate of the San Francisco Opera Adler Fellowship and while with the company, sang his first performances of Papageno in Die Zauberflöte, Dandini in La cenerentola, Schaunard in La bohème, Silvano in Un ballo in maschera, Sciarrone in Tosca, and Prince Yamadori in Madama Butterfly. In the 2020-21 season, he joins Opera San Jose and Florida Grand Opera as Charlie in Heggie’s Three Decembers and Utah Opera as Escamillo in La tragédie de Carmen. Future engagements include Figaro in Le nozze di Figaro with Opera San Jose and a return to Opera Southwest, originally scheduled for this season. Last season, he returned to Utah Opera as Lieutenant Audebert in Puts’ Silent Night and Virginia Opera as Di Cosimo in Catán’s Il postino in joining the Cincinnati Song Initiative for a program of songs by Granados and Turina. His debut with the Los Angeles Philharmonic as the Peasant in Schönberg’s Gurrelieder and return to the role of Schaunard in La bohème with Fort Worth Opera were unfortunately cancelled due to COVID-19 pandemic.
He joined Houston Grand Opera’s HGOCo, New York City Opera, and El Paso Opera as Mark in Martinez’s Cruzar la cara de la luna. Other recent performances for the baritone include Mercutio in Roméo et Juliette with Utah Opera, Opera Carolina, Virginia Opera, and Toledo Opera; Figaro in Le nozze di Figaro with Opera Memphis and Livermore Valley Opera; Slook in La cambiale di matrimonio with Nicholas McGegan conducting Philharmonia Baroque; El Payador in Piazzola’s Maria de Buenos Aires with Opera Southwest, Golaud in Pelléas et Mélisande and Glass’ Hydrogen Jukebox with West Edge Opera; Fiesque in Maria di Rohan with Washington Concert Opera, Gaspar in Rita with the New Century Chamber Orchestra, and Dick in Blitzstein’s The Cradle Will Rock with Opera Saratoga. He joined both Opera Delaware and Baltimore Concert Opera for concerts of opera favorites.
Mr. Solis sang his first performances of Mahler’s Lieder eines fahrenden Gesellen with the Palo Alto Philharmonic and Brahms’ Ein deutsches Requiem as a guest artist at Concordia College. He joined the Berkeley Community Chorus and Orchestra for Britten’s War Requiem and both Las Vegas Philharmonic and New Choral Society for Handel’s Messiah. An active recitalist, he has previous joined the New York Festival of Song for multiple programs of Spanish repertoire and has been presented in a Schwabacher Debut Recital in San Francisco and offered an additional recital program at the El Camino College Center for the Arts.
He is an alumnus of the prestigious Merola Opera Program in association with San Francisco Opera, at which he sang Junius in The Rape of Lucretia and covered Count Almaviva in Le nozze di Figaro. He is also a former member of Opera Santa Barbara’s Studio Artist Program. In 2013, he was a Grand Finalist in the Metropolitan Opera National Council Auditions and sang arias from Rodelinda and Le nozze di Figaro on the famed company’s stage with Marco Armilianto conducting. He was also a finalist in Houston Grand Opera's Eleanor McCollum Competition and the Loren L. Zachary Society for the Performing Arts National Vocal Competition. He holds a Master of Music from San Francisco Conservatory of Music, at which he sang Guglielmo in Così fan tutte and Mahler’s Lieder eines fahrenden Gesellen and while at Chapman University, his performances included Beethoven’s Mass in C and Puccini’s Messa di Gloria.
Praised by the Colorado Spring's Gazzette for his "stunning" singing with "power and beauty", Matthew Peterson is an up and coming Baritone acclaimed for his rich voice and expressive acting ability.
A Colorado native, Matthew has performed with many of Colorado’s premiere musical organizations including Central City Opera, the Colorado Ballet, Opera Colorado, Boulder Symphony, the Boulder Philharmonic, and numerous others.
He has also sung nationally with Virginia Opera, the Fort Hayes Symphony, and Opera in the Ozarks. Roles include Silvio in Pagliacci, the title role of Don Giovanni, Figaro in Le Nozze di Figaro, Belcore in L’elisir d’Amore, and Polyphemus in Acis and Galatea. As a sought after soloist, he's performed in a number of large scale works including Orff’s Carmina Burana, Mozart’s Requiem, Mendelssohn's Die erste Walpurgisnacht, and premiered the dance oratorio Ode to Nature that was recorded and released by Albion Records.
In 2019, Matthew won 1st place in the Denver Lyric Opera Guild competition. Recent performance highlights include his appearance as the Baritone soloist in the Colorado Ballet’s performance of Carmina Burana, Polyphemus in Central City Opera’s Acis and Galatea, and A-rab in a sold out run of the concert version of West Side Story with the Boulder Philharmonic. Last summer, Matthew returned to Central City Opera to sing the Novice's Friend and cover the title role of Britten's Billy Budd. This year, Matthew has joined the prestigious Yale School of Music to study with legendary bass Richard Cross and will be involved in various performances and recitals.