Mezzo-soprano Adrienne Ivey graduated with honors from the University of Michigan with a Bachelor's degree in Vocal Performance and a Teaching Certificate in K-12 Vocal Music. She also holds a Master of Music degree from the University of Maryland's prestigious Maryland Opera Studio. An avid performer, she has toured with the New York Harlem Productions company of Gershwin’s Porgy and Bess, appearing as the Strawberry Woman in some of the most important European venues including the Komische Oper Berlin. Locally, she is not only a regular chorister with the Washington National Opera, but in the spring of 2013, she made her principal role debut as a "Madrigale" in Puccini's Manon Lescaut at the Kennedy Center. Aside from her many achievements as a performer, Mrs. Ivey has put her training as a music educator to good use for over 10 years. She is the founder and CEO of Ivey League lessons, located in Woodridge, VA.
Praised for his "outstanding, resonant bass" by Opera News and for his "sepulchral and frightening" tone by DC Metro Theater Arts, John T.K. Scherch recently performed in Washington Post music critic Anne Midgette's #1 performance of 2018, Viva V.E.R.D.I.: The Promised End, a show that juxtaposed text from King Lear with the Verdi Requiem, with The In Series. He was the bass soloist in Harford Choral Society's performance of Bach's Magnificat and will sing the bass solos in Bach's Cantata 49 and 32 with Bach in Baltimore, and will also appear in the role of Vasily Sobakin in Nikolai Rimsky-Korsakov's The Tsar's Bride with Bel Cantanti Opera in May. Last summer, John appeared in the title role of Gilbert & Sullivan's The Mikado with the Young Victorian Theatre Company; his other Baltimore appearances on stage include principal roles in Francesco Cavalli's La Calisto, Mozart's Cosi fan tutte, and Kurt Weill's Street Scene with Peabody Conservatory. John is the evening announcer on WBJC, where he hosts the all-request Listener's Choice program Friday evenings and runs First Impression, a convenient, centralized location on the internet for new music in and associated with Baltimore.
Soprano Ellie Yeonjung Kim, originally from Seoul, Korea, completed her Master of Music degree at the Manhattan School of Music in New York studying under Joan Patenaude-Yarnell. Ms. Kim’s operatic appearances include Barbarina in Le nozze di Figaro with the Dell'arte Opera Ensemble and Lucy in Menotti's The Telephone at the Korea National Theater. She was recognized with "great critical acclaim" by Opera News online for the role of Rita in Donizetti's Rita with the Martina Arroyo Foundation. Other repertoire includes Pamina in Die Zauberflöte, Sophie in Massenet's Werther, and Laetitia in Menotti's The Old Maid and the Thief. Ms. Kim was also featured in several opera gala concert performances at the KBS Hall in Seoul, Korea as a member of the Kim Ja-Kyung opera company. She was featured as a vocal soloist with the Washington Bach Consort for their 2013 season and she is a professional member of the Washington Master Chorale. Ms. Kim currently studies with Elizabeth Daniels.
Nigel Rowe is a newcomer to the DMV and is very excited to be making his Baltimore Musicales debut! Recent credits include: Shaina Taub and Laurie Woolery’s As You Like It (Keegan Theatre), The Lives Left Behind (Silver Finch Arts Collective), Flip Flop Cabaret (Monumental Theatre), Zarzuela a la Cubana (The InSeries), Infinite Future: Bernstein’s Lasting Impact (Monumental Theatre), and Duke Ellington’s Neighborhood (The InSeries). Nigel is also a teaching artist and music director for the Educational Theatre Company in Arlington, Virginia. He received his BFA from Carnegie Mellon University.
Known for her extensive vocal range, mezzo-soprano Elise Christina Jenkins has charmed audiences in repertoire ranging from opera and art song to operetta. Most recently, she joined The In Series for their Operetta Wonderland: The Magic of Victor Herbert. A frequent performer with Opera NOVA, she sang the role of Tisbe in Rossini’s La Cenerentola, Monisha in Scott Joplin’s Treemonisha, and in various outreach programs and recitals. Other operatic roles include Third Lady in Die Zauberflöte, Marcellina in Le nozze di Figaro, and Maman in L'enfant et les sortilèges, as well as the partial role of Waltraute in Wagner’s Die Walküre and La Badessa in Puccini’s Suor Angelica with the JMU’s German Opera Experience in Freiberg. Elise made her Italian debut in the Amalfi Coast Music and Arts Festival in Mairoi performing scenes from Mozart’s Così fan tutte and she later returned to Italy to sing Madre Maria in Francis Poulenc’s I dialoghi delle Carmelitane for La Musica Lirica’s International Music Festival in Novafeltria. As an oratorio soloist, Elise was invited to sing Handel’s Messiah at the Korean United Methodist Church of Koinonia for their Christmas Eve service with chamber orchestra under the baton of Dr. In Dal Choi. She received her Master’s Degree in Vocal Performance from George Mason University and she currently studies with Mr. Russell Penney. Elise cantors regularly at Old Presbyterian Meeting House in Alexandria, VA.
Hailed as “a singer’s dream” by Gramophone Magazine, pianist Andrew Stewart has worked with countless vocalists and instrumentalists; premiered works by composers including Garth Baxter, Hollis Thoms, and Spencer Huffman; and performed with a great many organizations, among them the Bach Society of Baltimore, OperaBelle, the Atlantic Guitar Quartet, Baltimore Musicales, the Choirs of Goucher College, the Annapolis Chorale, and Assisi Performing Arts in Italy. Recent performance highlights include the complete songs of Henri Duparc with soprano Kimberly Christie, Messiaen’s “Quartet For the End of Time” with Assisi Quartet at Princeton University and at the War Memorial in Baltimore, programs of art songs in Czech and Chinese with sopranos Annie Gill and Kerry Holahan, and a recital of arias and art songs with soprano Mary Claire Curran at Opera America in New York City. He is featured on the albums Katherine Keem Sings Songs and Arias by Garth Baxter (Centaur Records, 2014), Ask the Moon (Parma, 2018), and Resistance (Parma, 2019). Mr. Stewart has been associated with the Maryland Opera Company, formerly Lyric Opera of Baltimore, since 2003, and has given over a thousand performances to date as part of its education component. He teaches on the faculty of MOC's four-week summer program, assisting high school students in writing and producing an original one-act opera. Mr. Stewart studied with Charles Asche at the University of California, Santa Barbara, and with Marian Hahn at the Peabody Conservatory. He lives in Lutherville, Maryland with his family.
Soprano Rachel Sitomer has performed with opera companies across the mid-Atlantic region, including Opera Company of Brooklyn, Repertory Opera Theatre of Washington, Baltimore/Washington Repertory Opera Company, Riverbend Opera in McLean, VA, and Opera AACC in Arnold, MD. She made her New York City debut in the role of Monica in Chelsea Opera’s production of The Medium, a role which she “sang and act[ed] with beautiful subtlety.” Other notable roles include Gilda in Rigoletto, Zerlina in Don Giovanni, Papagena and Pamina in Die Zauberflöte. Dedicated to bringing the joy of opera to a wider population, Ms. Sitomer is a frequent performer with the D.C. Metro chapter of Opera on Tap, performing opera and musical theater repertoire in restaurants and bars in Washington, D.C. She has also participated in opera outreach performances with The Opera Company of Brooklyn, as Papagena in The Magic Flute and with Opera AACC as Hansel in Hansel and Gretel. Ms. Sitomer holds a B.A. in music (voice and violin) from Bucknell University (magna cum laude) and she maintains a violin and voice studio, teaching students ranging in age from six to adult. She is the music director at Ascension Catholic Church in Bowie, MD, a cantor at St. Andrew by the Bay Roman Catholic Church in Annapolis, MD, and the mother of two adorable boys.
Dr. Min Jin, tenor, has delighted audiences with his concert and opera performances throughout Korea and the U.S. His virtuoso singing has taken him to many of the major concert halls throughout the Metropolitan area such as Carnegie Hall and Lincoln Center as a recitalist, opera performer, as well as an oratorio soloist with choral societies. His opera performances include the leading tenor roles in La bohème, Rigoletto, Carmen, Otello, La Rondine, Lucia di Lammermoor, Roméo et Juliette, L’elisir d’amore, Manon, Werther, and several other roles with the New Jersey State Opera, Ann Arbor Opera, Aspen Opera, Rochester Mercury Opera, Dicapo Opera, NY Touring Opera, Academic Opera, Mannes Opera, Eastman Opera, PoHang Opera and Kwangju City Opera. As a soloist, he has performed with numerous regional orchestras on the East Coast and the Midwest. Concert credits include Britten’s Serenade for Tenor, Horn and Strings, Haydn’s Creation and The Seasons, Handel’s Messiah, Mozart’s Coronation Mass and Requiem, Dubois’s The Seven Last Words of Christ, Mendelssohn’s St. Paul and Elijah, Beethoven’s Missa Solemnis and Mass in C Major, and his Symphony No. 9, among others. Dr. Jin previously served as an Affiliate Professor at Grand Valley State University in Michigan. Currently, Dr. Jin is an Assistant Professor of Voice at Towson University in Maryland.
Known for his expressive voice of “liquid gold” and the “stage presence of a lion” Peruvian native José Sacin is considered one of the leading South American baritones of our time. He has performed and collaborated with the foremost figures of the opera and music world today including a nationally televised performance for Pope Benedict XVI alongside Placido Domingo at Nationals Stadium in Washington, DC; with Gregory Buchalter of the Metropolitan Opera; the Chilean soprano Veronica Villaroel; American soprano Alessandra Marc, Enrique Ricci and Will Crutchfield. He performed the world premiere of selected passages from the newly discovered version of Verdi's La Forza del Destino with Philip Gossett at the Caramoor International Festival. He has worked with the Washington National Opera, Opera de Lima, Opera Delaware, Baltimore Opera, Opera Camerata of Washington, Caramoor Opera Festival, Opera North, Choral Arts Society of Washington, Mediterranean Opera Studio, Maryland Opera Society, In Series, Opera New Hampshire, Opera NOVA, among others. Main roles include the title roles of Rigoletto, Macbeth, Gianni Schicchi and Don Giovanni, Germont (La Traviata), Tonio (Pagliacci), Alfio (Cavalleria), Figaro (Barber of Seville), Count Almaviva (Le Nozze di Figaro) and Rodrigo (Don Carlo). Sacin has extensive appearances in Spanish Zarzuelas like El Barberillo de Lavapies, Los Gavilanes, Luisa Fernanda, La Tabernera del Puerto, El Duo de la Africana and Bohemios.
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.
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.
British-American soprano Claire Galloway’s theatricality covers the gamut of “palpable pain” and “splendid, funny moments” (B.I.T.R.). She has performed such roles as Dinah in Bernstein’s Trouble in Tahiti, Contessa in Le Nozze di Figaro, and Donna Elvira in Don Giovanni. She has also premiered roles in Jonathan Dove’s Mansfield Park and Frances Pollock’s award-winning opera Stinney, seen in the 2019 Prototype Festival. In past seasons, Ms. Galloway has performed with Baltimore Concert Opera, the Savannah Voice Festival, Bel Cantanti Opera, and Stillpointe Theatre. This summer she will sing Vitellia in Mozart’s La Clemenza di Tito and Blanche in Poulenc’s Les Dialogues des Carmélites. This season she joined Baltimore Musicales in presenting a recital based on the life of Rosa Ponselle at the elegant George Peabody Library. Ms. Galloway is curator of the related exhibit of Ponselle’s own piano, gowns, and photographs at the Peabody Institute, where she currently teaches. An avid recitalist, Ms. Galloway’s innovative programing has resulted in the best attended concert event at the Baltimore War Memorial Arts Initiative in past seasons. A frequent soloist with Concert Artists of Baltimore, Ms. Galloway has also performed concert and oratorio works with Bach in Baltimore, the American Symphony Orchestra, and the Peabody Concert Orchestra.
A versatile artist and pedagogue, Jason Widney has performed throughout the mid-Atlantic. He is a frequent oratorio soloist and performs regularly with the Washington Bach Consort, singing solos in Cantata 178 and 100 as well as Christus in the St. John Passion. He has performed as a soloist in the Schütz Requiem with New Dominion Chorale and the St. Matthew Passion with Bach in Baltimore. He has also appeared as a soloist with the Handel Choir of Baltimore in Vaughan William's Mass in g minor and Handel's Messiah, and with the Baltimore Symphony Orchestra in Uematsu's Distant Worlds: The Music from Final Fantasy. His opera credits include Schaunard in Puccini's La bohème, Dancaïro in Bizet's Carmen, and Wagner in Gounod's Faust with the Baltimore Concert Opera and Don Inigo in Ravel's L'heure espagnole with the Baltimore Opera Company. Jason is proud to sing in the choir of the Washington National Cathedral where he has performed solos in the Duruflé Requiem among other works. Jason performs regularly with a number of professional choral ensembles in the area including Cathedra, Chantry, District 8 and the Bridge Ensemble. He serves on the faculties of Towson University, Goucher College and Anne Arundel Community College.
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.
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.