Elizabeth Sarian, mezzo-soprano, is known for her unique vocal timbre, sensitive artistry, and refreshing sense of humor. She is currently a Master’s student studying at Peabody Conservatory of the Johns Hopkins University. Originally from Long Island, New York, Elizabeth is a recent graduate of Hofstra University, where she earned her B.S. in Music Performance. In November of 2015, Elizabeth was seen performing the role of Mae Jones in Peabody Opera's production of Street Scene at the Modell Performing Arts Center at the Lyric in Baltimore. Elizabeth is also singing the role of 3rd lady in Peabody’s Outreach production of Magic Flute, Papageno! Previous opera credits include the Sorceress in Purcell’s Dido and Aeneas, Mathurine in Gluck’s L’ivrogne corrige, Marie in Schubert’s Die Verschworenen, and Melissa in Gilbert and Sullivan’s Princess Ida. Elizabeth has also studied at several summer festivals such as the Westchester Summer Vocal Institute, Oyster Bay Music Festival, and mostly recently, Songfest, where Elizabeth performed in master classes with renowned artists John Aler, Susanne Mentzer, and Ann Murray.
Jessica Albrecht, BM University of Maryland, is currently pursuing a Masters of Music at the Peabody Institute in the studio of Alan Stepansky, former New York Philharmonic cellist. She performs regularly with Perfect Harmony String Ensemble and the Peacherine Ragtime Society Orchestra, hailed by the Washington Post as “the premier American ragtime ensemble.” Albrecht is a founding member of Ensemble Deburau, a contemporary chamber ensemble based in College Park. She has performed at prestigious venues such as the Kennedy Center, the Modell Performing Arts Center at the Lyric, and the National Gallery of Art in Washington, D.C. Albrecht is a Finalist in the Arts of the merit-based Maryland Distinguished Scholarship, the 2013 recipient of the highly selective Clifford Arnold Bernsen Memorial Scholarship Fund, and was recently awarded the Tretter Award in chamber music. She teaches private cello lessons in the College Park area as well as freelances throughout D.C. and Baltimore.
Virginia-born bass-baritone Daryl Yoder was raised in southern Africa and received hismusical training at the Oberlin Conservatory and Boston University. Highlights of recent seasons include concert appearances with the baroque ensemble Three Notch’d Road at Shenandoah University’s Bach-Handel Festival, Monteverdi’s Vespers of 1610 with Third Practice, Membra Jesu Nostri of Buxtehude at Emmanuel Church in Baltimore, and the D.C. premiere of Louis Andriessen’s opera/oratorio La Commedia with the Great Noise Ensemble. On the opera stage, he debuted with Bel Cantanti Opera as Elviro in Serse (Handel) and returned to Opera Lancaster’s production of Amahl and the Night Visitors for a second season as Balthazar. This past spring he created the role of Frank Spearman in Frances Pollock’s acclaimed new opera Stinney. He has also been seen as Dulcamara (L’elisir d’amore), Tevye (Fiddler on the Roof), Micha (The Bartered Bride), Betto (Gianni Schicchi), and Daniel Webster (The Mother of Us All) in addition to roles in The Marriage of Figaro, The Barber of Seville, La Clemenza di Tito, H.M.S. Pinafore, The Mikado and more. His concert performances include the solos in the Requiems of Mozart, Brahms, Fauré and Duruflé, Handel’s Messiah, Haydn’s Creation, Rossini’s Petite Messe Solennelle as well as many smaller works. A lover of art song, his recital programs range from the great cycles of Schubert and Schumann to Chabrier, Finzi and Mussorgsky.
Tenor George Wilkerson, Jr. hails from Wilmington, Delaware and was born into a large family of jazz musicians. While singing has always been an important part of his life, he was initially trained as a percussionist. It was during his undergraduate studies that he began concentrating on voice performance. He has extensive experience in opera and musical theater; most notably, performing the roles of Beppe in I Pagliacci, Alfred in Die Fledermaus, Tamino in Die Zauberflöte, Bill in A Hand of Bridge, Professor Bhaer in Little Women: The Musical, Chauvelin in The Scarlet Pimpernel, and Jake in Side Show. In addition to being a performer, Mr. Wilkerson thoroughly enjoys his careers as a voice teacher, conductor, and director and has taught band, choir, applied voice, and drama for over ten years. He holds the Bachelor of Science degree in Music Education from West Chester University of Pennsylvania and the Master of Arts degree in Music (Voice) from Morgan State University. He is currently pursuing the Doctor of Musical Arts degree in Voice Performance from the Shenandoah Conservatory at Shenandoah University in Winchester, Virginia under the tutelage of Dr. Byron Jones.
Mezzo-soprano Kyle Engler has been praised for her extreme versatility in both opera and chamber music. The Baltimore Sun has called her “a virtuoso of a high order” and “dramatic and visceral.” On the operatic stage, she has sung the roles of the Secretary in Menotti’s The Consul with Washington Opera, Charlotte in Werther, Dorabella in Cosi fan tutte, Lucretia in The Rape of Lucretia, Mercedes in Carmen, Indiana Elliott in The Mother of Us All, and Cherubino in Le Nozze di Figaro, among others. Engler performed to great reviews when cast by Placido Domingo in the role of Lydia Dudley in Washington National Opera’s premier production of Democracy, An American Comedy by Scott Wheeler. She was also invited to perform in Augusta Read-Thomas’ opera Ligeia, commissioned and conducted by Mstislav Rostropovich, at the Recontres musicales d’Évian in Évian, France. She has been featured with several orchestras throughout North America performing works such as Barber’s Knoxville: Summer of 1915, Elgar’s Sea Pictures, Berlioz’s Les Nuits d’Été, Beethoven’s Symphony No. 9, and Mahler’s Lieder eines fahrenden Gesellen. Engler is a member of the Morpheus Trio along with pianist Daniel Lau and hornist Larry Williams and Director of Vocal Studies at McDaniel College.
Catrin Rowenna Davies, mezzo-soprano, is a graduate of the Peabody Conservatory and the Royal Welsh College of Music and Drama in Cardiff, Wales. In addition, she holds an honors degree in history from McGill University, Montreal, and a master's degree in Women's Studies from Oxford University. Ms. Davies specializes in Welsh repertoire and three times has won the first prize at the North American Festival of Wales. She has also competed at the National Festival in Wales, winning the mezzo-soprano competition in 2012. With regards to opera, she has performed roles with Baltimore Opera, Lyric Opera of Cleveland, Annapolis Opera, Live Arts Maryland, Young Victorian Theatre Company, and Baltimore Concert Opera. Favorite roles include: Orlofsky in Die Fledermaus, the Fairy Queen in Iolanthe, Phoebe in Yeomen of the Guard, Pitti Sing in The Mikado, Meg in Little Women, and Carmen in Carmen, which she performed in 2014 after coaching with renowned mezzo-soprano, Denyce Graves. As an oratorio soloist, she has been seen with Annapolis Chorale, Handel Choir of Baltimore, Annapolis Symphony Orchestra, Prince William Symphony Orchestra, and Peabody Symphony Orchestra. She is also a member of Lyric Opera Baltimore’s educational program. Ms. Davies is an avid recitalist, and is also in demand for straight theater, musical theater, and cabarets.
On both opera and concert stages, soprano Thea Tullman Moore has delighted audiences with her “crystalline voice and natural stage presence” (Wall Street Journal). She has sung roles with Chicago Opera Theater, Opera Festival of New Jersey, and Central City Opera, and has performed at Lincoln Center, Merkin Concert Hall, and The Actors Institute of New York. As part of the Monteverdi series at the Brooklyn Academy of Music, she sang the role of La Musica in Orfeo and was praised by the Chicago Tribune for her “shining vocal grace.” Other roles include Poppea in The Coronation of Poppea, Lucia in The Rape of Lucretia, and Flora in The Turn of the Screw. A lauded interpreter of art song, Thea has been heard in recital at the Ravinia Festival, Aspen Music Festival, and the Académie musicale de Villecroze in Provence. A native of Chicago, she graduated Phi Beta Kappa from Vassar College and received her Master of Music degree from the Manhattan School of Music. Thea is the founder and executive director of Baltimore Musicales.
American baritone Jason Buckwalter is known for his “super-sized characters” (The Sybaritic Singer) and “theatrical fire” (Baltimore City Paper). A native of Landenberg, Pennsylvania, Jason now lives in Baltimore and performs throughout Maryland, Virginia, D.C., Delaware, and Pennsylvania. Equally comfortable in opera, musical theater, oratorio, and song repertoire, he has performed with a wide variety of companies including the Washington National Opera, Maryland Opera, Baltimore Concert Opera, Annapolis Chorale, Young Victorian Theatre Company, and The Figaro Project. Operatic roles include Papageno in Die Zauberflöte, Belcore in L’elisir d’amore, Count Almaviva in Le Nozze di Figaro, Schaunard and Marcello in La bohème, and Frank and Dr. Falke in Die Fledermaus. Jason performs regularly with Maryland Opera's outreach program, bringing opera to elementary school students and classic musical theater and American standards to senior centers throughout Maryland.
Mezzo-soprano Erica Convery is already recognized nationally as a major young talent, both in concerts and in operatic performances. Audiences recently heard Ms. Convery as Prince Orlofsky in Die Fledermaus with Berks Opera Workshop, Lola in Cavalleria Rusticana with Maryland Lyric Opera, Der Komponist in Ariadne auf Naxos with The Singer's Theater of Washington and as Dorothee in Cendrillon with Bel Cantanti Opera. Other upcoming engagements include Cherubino in Le Nozze di Figaro with Carroll Opera Theatre in August 2015 and Alto Soloist in Mozart’s Vesperae solennes de confessore and Regina Coeli with the Harford Choral Society. Ms. Convery resides in Baltimore, Maryland.
“Soprano Jessica Satava lent great beauty and intensity of feeling to her performance.” (The Baltimore Sun, 2015) Ms. Satava has appeared as both Lauretta and Nella in Gianni Schicchi, La Contessa in Le nozze di Figaro, Musetta in La bohème, Donna Elvira in Don Giovanni, Inez in Il Trovatore, Voce dal Cielo in Don Carlo, Julie in Carousel, Laurey in Oklahoma!, Polly in The Threepenny Opera, and as Mimí and Micaëla in concert performances of La bohème and Carmen. She has appeared with orchestra as the soprano soloist in Górecki’s Symphony No. 3, Rutter’s Requiem, Vaughan Williams’ Dona nobis pacem, Brahms’ Ein Deutches Requiem, Schubert’s Mass in G, Bruckner’s Te Deum, Handel’s Messiah, Saint-Saëns’ Oratorio de Noël, Dvořák’s Stabat Mater, Mozart’s Requiem and Bach’s St. John Passion, Mass in B minor and Wie schön leuchtet der Morgenstern, BWV 1, and Meine Seel erhebt den Herren, BWV 10. The 2017-18 season will include a return to the soprano solos in Brahms’ Ein Deutches Requiem for both LiveArts MD and the Maryland Choral Society, Bach’s Mass in B minor, and Beethoven’s Choral Fantasy with her husband Joseph Satava as piano soloist with The Annapolis Chorale and Chamber Orchestra.
Tenor Aaron Halevy began his study of opera in 2009 when he participated in the Laboratori di Ricerca e di Perfezionamento Musicale, in the Tuscan mountains of Italy, where he studied Bel Canto technique with renowned soprano, Antonella Banaudi. In spring of 2013 he left a career in politics to sing Pinkerton in his professional debut in Bel Cantanti's production of Madama Butterfly. This has been followed by the role of Eisenstein in Die Fledermaus; Tanzenmeister/Scaramuccio in Singer's Theater of Washington's production of Ariadne Auf Naxos; Beppe in Maryland Lyric Opera's production of Pagliacci; as well as the roles of Aegisth/Junger Deiner in Manhattan Opera Studio's production of Elektra. In 2014 Aaron joined the Opera Singer's Initiative, based out of New York City, which has brought him concert performances at Lincoln Center and other venues in the greater Manhattan area. Aaron's 2015 roles include Don Ottavio with DC's In Series in their production of Don Giovanni; and Benedict in Sterling Opera's Béatrice et Bénédict.
Baritone Rob McGinness has been praised by the Baltimore Sun for his “impressive singing . . . well-supported tone and supple phrasing.” This season Rob is looking forward to both his Kennedy Center and Carnegie Hall solo debuts. His season will also include performances with New York’s PROTOTYPE Festival, the Maryland Symphony Orchestra, and Washington National Opera. Often featured portraying opera’s “bad boy,” Rob’s operatic credits include the title roles in Eugene Onegin and Don Giovanni, as well as Marcello in La bohème. He has also sung Enrico in Lucia, Count Almaviva in Le nozze di Figaro, and Eisenstein in Die Fledermaus, a performance lauded for a “bright baritone and winning jitteriness” by the Cleveland Plain Dealer. As a featured soloist, Rob has performed Mahler’s Songs of a Wayfarer, the Duruflé Requiem with the Peabody Symphony Orchestra, and the Brahms Requiem with Portsmouth Pro Musica. Other concert credits include Carmina Burana with Columbia Pro Cantare and Schubert’s Mass in G with Concert Artists of Baltimore, where Rob’s performance was lauded by the Baltimore Sun’s Tim Smith for its “poetic warmth.” Next season Rob is thrilled to be joining Marion Roose Pullin Arizona Opera Studio, performing multiple roles including Schaunard in La bohème and Harlekin in Ariadne auf Naxos.
Bass-baritone Jarrod Lee, native of Sylacauga, Alabama, has received rave reviews from D.C. Metro Theater Arts, Opera News, and The Washington Post. This summer, Jarrod made his European debut in concert with the American Institute of Musical Studies in Graz, Austria. Upcoming performances include Amazing Grace concert presented by Annapolis Opera. Past performances include: The Baron, a Judge, and Señor in Candide with the Washington National Opera, Bailli in Werther with Opera Delaware, Sacristan in Tosca with the Maryland Symphony Orchestra, Bonze in Madama Butterfly with Annapolis Opera, Loud Speaker in Emperor of Atlantis with the In Series, Benoit and Alcindoro in La bohème with the Aspen Music Festival, Paulus and Hlabeni in Lost in the Stars with the Washington National Opera. Jarrod is a 2018 winner of the Annapolis Opera Vocal Competition, a semifinalist in the Meistersinger Vocal Competition in Austria, and a 2016 Finalist in the Harlem Opera Theater Vocal Competition. In 2013 Jarrod participated in Renée Fleming’s American Voices at the Kennedy Center for the Performing Arts. As a soloist, Jarrod has performed for President Barack Obama during his visit to Metropolitan A.M.E Church, D.C. In newer works, Jarrod premiered the role of Joe Louis in Shadowboxer: An opera based on the life of Joe Louis by Frank Proto with Maryland Opera Studio, and Jarrod was featured with pianist Dana Kristina-Joi Morgan for In the Smoke of the Sting by Tom Minter, commissioned by Washington National Opera.
Praised for “astounding technical vocal ability, solid song interpretation and stage presence,” soprano Annie Gill continues to gain recognition as a distinctive emerging artist. Particularly excelling in the repertoire of Mozart and Puccini, Ms. Gill has been commended for having “a glorious voice–opulent from top to bottom” and possessing an extensive variety of vocal colors. Recently, Ms. Gill performed the role of Mabel in The Pirates of Penzance with Opera Camerata of Washington at the Ambassador of the United Kingdom’s Residence in Washington, DC. Earlier in 2017, she sang the role of The Mother in Amahl and the Night Visitors with Opera AACC and the Maryland Concert Society. In 2016, she performed the roles of Lauretta in Gianni Schicchi with Opera Camerata of Washington and Serpina in The In Series’ production of La Serva Padrona, receiving enthusiastic reviews for handling “the rollercoaster range from high to low of Pergolesi’s score with aplomb.” Other roles include the title roles in Madama Butterfly, Suor Angelica, and Massenet’s Manon, La Contessa (Le nozze di Figaro), Micaëla in Carmen, Fiordiligi (Così fan tutte), Nedda (Pagliacci), Rosalinde (Die Fledermaus), Mimì and Musetta (La bohème), Donna Anna and Donna Elvira (Don Giovanni), and Pamina (The Magic Flute). In addition to her classical singing career, Ms. Gill is a voice-over artist and acts in commercials and television, notably appearing
as the “Opera Singer” in the Season 2 Finale of House of Cards.
Mexican-American tenor Joshua Thomas Diaz is an up-and-coming talent from Texas praised for his lyrical, Italianate voice and sensitive musicality. Recently, Josh was seen in the roles of Don José in Bizet’s Carmen, Mayor Upford in Britten’s Albert Herring, the Schoolmaster in Janáčeck’s The Cunning Little Vixen, Beppe in I pagliacci, and the Witch in Humperdinck’s Hansel and Gretel. Past roles include the Chevalier in Poulenc’s Les Dialogues des Carmélites, Caliban in Ariel’s Tempest, and Judge Danforth in The Crucible. Josh was also tenor soloist for The Defiant Requiem: Verdi in Terézin with the Peabody Symphony Orchestra and the Peabody/Hopkins Chorus. Josh received his Master of Music in Voice at Peabody Conservatory in 2013 where he continues his post-graduate studies in the studio of Dr. Stanley Cornett as a candidate of the Graduate Performance Diploma in Opera. Josh graduated from the University of Notre Dame, earning his Bachelor of Arts in Vocal Performance, Music History and a Minor in Italian. With Opera ND, Josh played Francis Flute in Britten’s A Midsummer Night’s Dream, Bénédict in Berlioz’s Béatrice and Bénédict, the title role in Les Contes d’Hoffmann, and the roles of Don Basilio and Don Curzio in Le nozze di Figaro.
Praised for her “magnificent, expressive soprano sound” and “requisite emotion, physically as well as vocally” (ShowBizRadio), Keely Bosworth Borland is quickly establishing herself as a dynamic lyric coloratura soprano. Ms. Borland has had an exciting 2018/2019 season thus far with a wide variety of performances including Fiona MacLaren/Brigadoon, Gianetta/The Gondoliers, and Soprano Soloist in Baltimore Choral Arts Society’s presentation of David Lang’s the little match girl passion. Additional performance highlights include Rapunzel/Into the Woods (St. Petersburg Opera), First Lady/The Magic Flute (Fargo-Moorhead Opera), Gretel/Hansel and Gretel (Opera Louisiane), Soprano Soloist in Haydn’s Die Schöpfung with Choralis and both Vivaldi’s Gloria and Handel’s Messiah with the Westmoreland Choral Society. Ms. Borland has been a Young Artist at St. Petersburg Opera, Fargo-Moorhead Opera, Charlottesville Opera, as well as a Professional Artist at the Shenandoah Valley Bach Festival, SongFest, and Opera Naples’ inaugural Renata Scotto Opera Program. Exciting forthcoming projects include a return to the Young Victorian Theatre Company for a Gilbert & Sullivan concert and a solo recital with the Tuesday Concert Series DC featuring works by Piaf, Porter, Gershwin, Kern, Trenet, Chaminade, and Herbert.
Andrew Etherington, tenor, originally hails from Overland Park, KS--a suburb of Kansas City. Andrew was very active in theatre and was introduced to singing via the multiple musicals performed at his high school. It was at this time that he was forced, against his will, to take voice lessons for the first time and would fall in love with the classical singing technique. Thanks, Mom! Andrew would go on to receive an undergraduate degree from Ole Miss, as well as a Master's degree from the Peabody Institute in Vocal Performance and Pedagogy. He currently studies with Dr. Steven Rainbolt and coaches with Dr. Robert Muckenfuss. As a performer, Andrew is active in professional choruses in multiple productions in opera houses in Baltimore and at the Kennedy Center in Washington, D.C. Andrew is actively pursuing his dream of being a professional opera singer and makes his home in Baltimore, MD. He enjoys tremendous support from his wife Elizabeth and his family in Kansas City.
Patricia McKewen Amato’s extensive operatic experience includes duties as conductor, coach, and accompanist at the AIMS Institute in Graz, Austria, Brevard Music Festival, Aspen Music Festival, Peabody Institute, Cumberland Valley Chamber Orchestra, and the Young Victorian Theatre. She served as assistant music director of the Baltimore Opera Company and music director of its touring company; music director/conductor for Annapolis Opera, Maryland Lyric Opera, Brevard Music Festival, Opera Americana, Washington Savoyards, Peabody Institute of Johns Hopkins University, and Rep Stage; and assistant conductor/chorus master for Washington Summer Opera and Opera AACC. A versatile pianist, Ms. Amato frequently performs with the Children’s Chorus of Maryland, Annapolis Opera, Annapolis Chorale, Baltimore Choral Arts, Baltimore Symphony, Maryland Symphony, Baltimore Opera, Prince George’s Opera and Philharmonic, Chesapeake Chamber Opera, and Metropolitan Opera regional competitions. She is a coach/accompanist and assistant music director of Music for the Stage at Towson University. She holds a BM from the Catholic University of America (magna cum laude), a MM from the University of Houston (magna cum laude), and certificates in lieder, opera, and chamber music from The American Institute of Musical Studies in Graz, Austria.
Praised by the Baltimore Sun for his “admirable technical confidence and expressive sensitivity,” John Wilson has performed extensively on the piano, as well as celesta, organ, and harpsichord, in a variety of roles from soloist to ensemble musician to répétiteur. Mr. Wilson serves as Principal Keyboardist for the Reading Symphony. Recent highlights include concerto performances with the New Amsterdam Symphony and Concert Artists of Baltimore, as well as a recital at Yamaha Artists Services in New York City. Current Artistic Residencies include performances at the Miami Frost School of Music and Towson University’s Center for the Fine Arts. Mr. Wilson has served as répétiteur for Baltimore Lyric Opera since 2012. He has also recently collaborated with trumpeter Josef Burgstaller, as well as violinists Daniel Hope, and Robert McDuffie. As an orchestral pianist, Wilson has worked with conductors Leonard Slatkin, Nicholas McGegan, Robert Spano, David Robertson, Stéphane Denève, and others, playing for the Baltimore Symphony, New Jersey Symphony, New World Symphony, Aspen Festival Orchestra, Aspen Philharmonic, and Aspen Chamber Orchestra. Mr. Wilson earned his Bachelor of Music and Master of Music degrees at Peabody Conservatory as a recipient of the Presser Award and the Clara Ascherfield Award, studying with Marian Hahn and Benjamin Pasternack. In 2012, Mr. Wilson made his solo performance debut at Carnegie Hall’s Weill Hall.
Pianist Joseph Satava has a diverse repertoire with performances spanning the standard repertoire, chamber music, and works just composed. Dr. Satava has collaborated with orchestras and conductors and performed at festivals across Europe, Canada, and the U.S. His performances have included appearances with the South Bend Symphony Orchestra, the Jefferson Symphony Orchestra, the Millennium Orchestra, the Susquehanna Symphony Orchestra, the Aspen Summer Music Festival, the Kneisel Hall Chamber Music Festival, Music Academy of the West, the American Conservatory of Fontainbleau, France, and the Banff Centre. Dr. Satava has appeared in Alice Tully Hall as part of the Focus! Festival for Contemporary Music and at Merkin Hall in New York City. In 2011, he received the Maryland State Arts Council Individual Artist Award in Classical Music Solo Performance, and was named a finalist in The American Prize for Piano. He has taken prizes in the Bradshaw and Buono International Piano Competition, the Miecyslaw Munz Piano Competition, the Jefferson Symphony Orchestra Concerto Competition, the Peggy and Yale Gordon Piano competition, and was named a Promising Young Artist by the National Society of Arts and Letters. Dr. Satava received his DMA from the Peabody Conservatory, a master’s degree from the Juilliard School and a bachelor’s degree from the Peabody Conservatory.