Monday, August 15
Milestones of American Opera
A concert featuring great American operatic works by composers including Carlisle Floyd, Ricky Ian Gordon, Douglas Moore, Tobias Picker, Robert Ward, and Iain Bell.
Monday, September 12
Romance in Opera
Love stories as passionate as the music itself. Featuring scenes from the operas La bohème, La traviata, Manon Lescaut, Manon, and Eugene Onegin.
Director of the New York City Opera. He has produced, directed, and toured opera and musical theater productions in the U.S. and abroad for over 30 years. In June of 2014, he led the successful effort to bring the New York City Opera out of bankruptcy. The revitalized New York City Opera returned to the stage in January 2016 with a celebratory production of Tosca. In 1981, he, along with Diane Martindale, founded New York’s Dicapo Opera Theatre. Over the 30 years of his leadership, Dicapo Opera Theater presented a diverse programming to the New York public. In addition to his work with the Dicapo Opera Theatre, Mr. Capasso has directed operas at l’Opéra de Montréal; Mallorca Opera; Toledo Opera; Connecticut Opera; New Jersey State Opera; Opera Carolina; and Orlando Opera among others. Mr. Capasso founded the National Lyric Opera in 1991, a touring company that has brought fully staged operas to communities in the American Northeast.
Recently hailed by Opera News for her “impressive playing,” Kathryn Olander is a frequent assistant conductor/pianist with New York City Opera as well as many regional opera houses. In addition to coaching privately she has held coaching positions with the Juilliard School of Music, Manhattan School of Music, and Chautauqua Institute. An avid recitalist, highlights include performances at Carnegie Hall’s Weill Hall and Zankel Hall, The Appel Room at Jazz at Lincoln Center, The Metropolitan Museum of Art, Bryant Park’s concert series, the Hungarian Consulate of New York and the Polish Consulate of New York, and Bechstein Hall. Ms. Olander is a regular pianist with Reaching for the Arts and Opportunity Music Project, specializing in bringing music to underserved communities and Creative Stage. Ms. Olander began teaching piano at Northeastern University while earning her BM in piano performance at New England Conservatory and has since maintained a studio of private piano students.
Hailed by the New York Times as “rich voiced” and by Opera News for his “interesting and convincing portrayal of Scarpia, most impressive in Te Deum” in Tosca, Argentinean-American baritone Gustavo Feulien continues his career with great success. Most recently, Gustavo performed as Scarpia in Tosca with Maryland Symphony Orchestra and this season he will return to the role with Gulfshore Symphony.
For his New York City Opera debut as Silvio in Pagliacci, critics hailed his performance as “…a most imposing Silvio with sharp, powerful gestures in both his acting and singing; his duet…was both ardent and tender” and “…the love scene with Silvio, rakishly sung by Gustavo Feulien, drew bravos from many in the audience.” This season, Gustavo will sing Silvio with Boheme Opera in New Jersey. Gustavo made his role debuts as Marcello in La bohème with Wichita Grand Opera, as Scarpia in Tosca with Loft Opera, and as Sharpless in Madama Butterfly with Gulfshore Opera. Additionally, Mr. Feulien had a successful European debut as Belcore in L´elisir d´amore and as Count Almaviva in Le nozze di Figaro with Theater Bremen in Germany.
Praised as an artist who “exudes power in every detail of her body language and voice,” mezzo-soprano Elissa Pfaender is a dynamic artist whose experience allows her to successfully perform a variety of repertoire. This upcoming summer, Ms. Pfaender will be a Gerdine Young Artist with Opera Theatre of Saint Louis, debuting the role of Dr. Landau in the world premiere of Tobias Picker’s Awakenings, as well as covering Third Lady (The Magic Flute). Ms. Pfaender has also performed with New York City Opera, Sarasota Opera, Savannah Voice Festival, Manchester Music Festival, the National Endowment for the Arts YoungArts Foundation and more. During her time as an Apprentice Artist with Sarasota Opera for their 60th Anniversary Season, Ms. Pfaender was awarded the prestigious “Anne J. O’Donnell Outstanding Apprentice Artist Award” by the Sarasota Opera Guild for her talent, skills and musicianship. Equally at home with concert work, she has performed as a soloist for Bach’s Magnificat and Schubert’s Mass in G with orchestra. She has received awards and honors from the NEA YoungArts Foundation, the National Opera Association, the Houston Saengerbund, Riverside Opera Company, Tuesday Musical Association, Chicago Classical NATS, and New Jersey Classical NATS.
Marsha Thompson began her musical studies as a violinist. She has sung the roles of Tosca, Aida, Abigaille, Sieglinde, Violetta, and several other leading ladies. the role of Violetta as “…a warm agile difficult role to cast, a big sing with a wide dramatic and vocal range; soprano Marsha Thompson was up to all the challenges the score threw at her. Her high pianissimo singing was exquisite.” Ms. fall of 2022. She has performed with New York City Opera, Union Avenue Opera, New York Grand Opera, and Opera Carolina as well as having won numerous prizes in national competitions with the Metropolitan Opera National Council, The Gerda Lissner Foundation, Orlando Opera Competition, and many others. www.marshathompson.com, Instagram: @LaDivaria
Korean tenor Woo Young Yoon recently made his role debut in Berlioz’s Le Damnation de Faust with the Orquesta Sinfónica Nacional de Costa Rica with Maestro John Nelson. Recently he also debuted as Tonio (The Daughter of the Regiment) in the Merola Grand Finale on the stage of San Francisco Opera. In the spring of 2019 he returned to San Francisco Opera for a recital in the Schwabacher Recital Series. His debut at Stern Auditorium in Carnegie Hall performing Mozart’s Regina Coeli with MidAmerica Productions will be made in the summer of 2022. This season Woo Young performs Almaviva in Rossini’s The Barber of Seville with Knoxville Opera, Beethoven’s 9th Symphony with the Lubbock Symphony, and returns to the Orquesta Sinfónica Nacional de Costa Rica for Christs am Ölberge with Maestro John Nelson. Mr. Yoon has distinguished himself in a variety of major competitions, most recently as the 2019 Orpheus Competition Grand Prize winner.
New York City Opera
Since its founding in 1943 by Mayor Fiorello La Guardia as “The People’s Opera,” New York City Opera (NYCO) has been a critical part of the city’s cultural life. During its history, New York City Opera launched the careers of dozens of major artists and presented engaging productions of both mainstream and unusual operas alongside commissions and regional premieres. The result was a uniquely American opera company of international stature. For more than seven decades, New York City Opera has maintained a distinct identity, adhering to its unique mission: affordable ticket prices, a devotion to American works, English-language performances, the promotion of up-and-coming American singers, and seasons of accessible, vibrant and compelling productions intended to introduce new audiences to the art form. Stars who launched their careers at New York City Opera include Plácido Domingo, Catherine Malfitano,
Sherrill Milnes, Samuel Ramey, Beverly Sills, Tatiana Troyanos, Carol Vaness, and Shirley Verrett, among dozens of other great artists. New York City Opera has a long history of inclusion and diversity. It was the first major opera company to feature African American singers in leading roles (Todd Duncan as Tonio in Pagliacci, 1945; Camilla Williams in the title role in Madama Butterfly, 1946); the first to produce a new work by an African-American composer (William Grant Still, Troubled Island, 1949); and the first to have an African-American conductor lead its orchestra (Everett Lee, 1955). A revitalized City Opera re-opened in January 2016 with Tosca, the opera that originally launched the company in 1944. Outstanding productions during the four years since then include: the world premieres of Ian Bell and Mark Campbell’s Stonewall, which NYCO commissioned and developed, legendary director Harold Prince’s new production of Bernstein’s Candide; Puccini’s beloved La fanciulla del West, and the New York premiere of Daniel Catán’s Florencia en el Amazonas- the first in its Opera en Español series. Subsequent Opera en Español productions include the New York premiere of the world’s first mariachi opera, José “Pepe” Martinez’s Cruzar la Cara de la Lama, Literes’s Los Elementos, and Piazzolla’s María de Buenos Aires. In addition to the world premiere of Stonewall, the
productions in NYC’s Pride Initiative, which produces an LGBTQ- themed work each June during Pride Month, include the New York premiere of Péter Eötvös’s Angels in America and the American premiere of Charles Wuorinen’s Brokeback Mountain. New York City Opera has
presented such talents as Anna Caterina Antonacci and Aprile Milo in concert, as well as its own 75th Anniversary Concert in Bryant Park, one in a series of the many concerts and staged productions that it presents each year as part of the Park’s summer performance series. City Opera’s acclaimed summer series in Bryant Park brings free performances to thousands of New Yorkers and visitors every year. New York City Opera continues its legacy with main stage performances at Jazz at Lincoln Center’s Rose Theater and with revitalized outreach and education programs at venues throughout the city, designed to welcome and inspire a new generation of opera audiences. City Opera’s acclaimed summer series in Bryant Park brings free performances to thousands of New Yorkers and visitors every year.
|Date / Time||Monday, August 15 and Monday, September 12 7:00 – 8:00 PM|