Soprano Jennifer Grimaldi made her European debut as the soprano soloist in Mendelssohn’s Elijah with the Charlemagne Orchestra in Brussels, under the direction of Bartholomeus-Henri Van de Velde. Upcoming engagements for Ms. Grimaldi include and the Vier letzte Lieder of Richard Strauss at Symphony Space in New York City, with the New Amsterdam Symphony Orchestra under the direction of Theresa Cheung. She also sang in Canterbury's recent production of Mendlessohn's Elijah. She is singing the soprano role of Una Poenitentium.
Additional major highlights for Ms. Grimaldi include the soprano soloist in: Mahler’s Symphony No. 8 and Symphony No. 2 under the baton of Carlo Miguel Prieto with the Mineria National Symphony Orchestra of Mexico City, as well as both the Nashua and Lexington Symphony Orchestras, Wagner’s Wesendonck Lieder and the Vier letzte Lieder of Richard Strauss with the New York Repertory Orchestra, both under the direction of David Leibowitz, Brahms’ Ein Deutsches Requiem with the Flint Symphony in Michigan under the direction of Enrique Diemecke, Beethoven’s 9th Symphony with the Sheboygen Symphony in Wisconsin under the direction of Kevin McMahon and in NYC under the direction of David Leibowitz with the New York Repertory Orchestra and the Young New Yorkers’ chorus. Ms. Grimaldi also recently sang role of Senta in a concert version of excerpts from Wagner’s Der fliegende Höllander with the Chappaquaua Orchestra under the direction of Michael Shapiro.
Fredrika Brillembourg opened the Inaugural NY Philharmonic Biennial Festival to universal critical acclaim. The New York Times called her performance as the Narrator in the US Premiere of Toshio Hosokawa’s The Raven with the Gotham Chamber Opera “vocally plush and dramatically courageous,” while the Financial Times described her as “tireless and astonishingly lithe while singing the impossible solos with sensuality when needed and abiding beauty.”
The American mezzo-soprano has appeared at major opera houses including the Théâtre Royal de la Monnaie, De Nederlandse Opera, the Grand Theatre de Genève, the Opera de Lyon, the Washington National Opera, the Seattle Opera, the Teatro la Fenice, the Teatro Nacional de Sao Carlos, Lisbon and the Frankfurt Opera; as well as at the Festival d’Aix-en-Provence and at the Bregenz Festival. She has performed with prestigious orchestras such as The Bavarian Radio Symphony Orchestra, the City of Birmingham Symphony Orchestra, The Royal Concertgebouw Orchestra and the Mahler Chamber Orchestra singing under the baton of among others: Antonio Pappano, Sir Jeffrey Tate, Ingo Metzmacher, Daniel Harding, Kazushi Ono, Mark Albrecht, Manfred Honeck, Kent Nagano and Placido Domingo.
As a member of the ensemble in Bremen from 1995-2001 she sang all the main roles of the mezzo repertoire including: Carmen, Charlotte, Marguerite, Octavian, the Composer, Brangaene, Adalgisa and Orphée. She created the role of Jitsuko Hondo in both the world premiere and Japanese premiere of Toshio Hosokawa's opera Hanjo. In 2017, she made her debuts at the Concertgebouw Amsterdam (Ottorino Respighi’s Il Tramonto), the Deutsche Oper Berlin (Charles Gounod’s Faust) and at the Badisches Staatstheater Karlsruhe (Principessa di Bouillon in Francesco Cileas Adriana Lecouvreur).
On CD Fredrika Brillembourg is featured as: Suzuki (Madama Butterfly, Naxos); in solo arias with the Berlin Symphony, Stravinsky Les Noces, (dir. Sylvain Cambreling), and The Verdi Requiem (dir. Placido Domingo) and on DVD: as Enrichetta di Francia in Bellini’s I Puritani, a Francisco Negrin production from De Nederlandse Opera, conducted by Giuliano Carella. She was the first singer in the history of the Bremen Theater to win both the Kurt Hübner Prize and the Bremen Volksbühne Prize.
In the 2017/18 Season Fredrika Brillembourg will return to the Deutsche Oper Berlin (dir. Jacques Lacombe) and to the Stuttgart Opera (dir. Marc Soustrot) for further performances as Marthe Schwertlein in Gounod’s Faust as well as to the Badisches Staatstheater Karlsruhe to reprise the Principessa di Bouillon in Katharina Thoma’s production of Adriana Lecouvreur (dir. Johannes Willig). She will also return to New York’s Carnegie Hall to sing Gustav Mahler’s Eighth Symphony, where she is singing to role of Mulier Samaritana
Sidney Outlaw delights audiences in the US and abroad with his rich and versatile baritone and engaging stage presence. A graduate of the Merola Opera Program and the Gerdine Young Artist Program at Opera Theatre of Saint Louis, this rising American baritone from Brevard, North Carolina recently added a GRAMMY nomination, for the Naxos recording of Milhaud’s 1922 opera trilogy, L’Orestie d’Eschyle (in which he sang the role of Apollo) to his list of accomplishments. He is singing the role of Pater Ecstaticus in Mahler's Eighth Symphony.
His 2017-17 season included Mercutio in Romeo et Juliette with Madison Opera, Vaughan Williams’ Dona nobis pacem with the Memphis Symphony Orchestra, Faure’s Requiem and Mechem’s Songs of the Slave with Manhattan Concert Productions at Carnegie Hall, and Bach’s B Minor Mass with the Oratorio Society of New York. He sang the role in May 2017of Elijah with the Canterbury Choral Society’s production of Mendelssohn’s oratorio of the same name.
The prior season saw his Dandini in La Cenerentola with the Greensboro Opera, appearances with the Charlotte Symphony, the Bridgehampton Chamber Music, and the Colour of Music Festivals, his Spoleto Festival debut as Jake in Porgy and Bess, and Madison Opera’s Opera in the Park.
Mr. Outlaw made his English National Opera debut as Rambo in The Death of Klinghoffer. He has been a featured recitalist with Warren Jones at Carnegie Hall. He traveled to Guinea as an Arts Envoy with the US State Department, singing a program of American music in honor of Black History Month and inn remembrance of Dr. Martin Luther King, Jr.
Bass Matthew Anchel, praised for his “magnetic, deep voice,” by the New York Times, was a Grand Finalist in the 2013 Metropolitan Opera National Council Auditions. The 2017-18 season will be his fourth on the Metropolitan Opera roster, covering in new productions of The Exterminating Angel and Cendrillon. He will also join Santa Fe Opera to cover Tsar Dodon in their production of The Golden Cockerel, he will debut with St. Petersberg Opera as Sarastro in The Magic Flute and sing the Bass Solo, Pater Profundus, in Mahler 8 at Carnegie Hall with the Canterbury Choral Society, his fourth performance with them.
He has also performed with Los Angeles Opera, Opera Theatre of St. Louis, Oper Leipzig, Opera San Jose, Anchorage Opera, The Spoleto Festival, Opera San Antonio, Los Angeles Philharmonic, Caramoor Festival, Merola Opera Program, and Music Academy of the West among others. Mr. Anchel will be joining Oper Stuttgart for the 2018-2019 season singing in multiple productions.
Born and raised in New York City, Matthew’s early education included St. Hilda’s and St. Hugh’s School, whose Upper Division Chorus is also singing in this performance. He graduated from the famed LaGuardia Performing Arts High School, and later attended the Manhattan School of Music.
Soprano Jolle Greenleaf is one of today’s foremost figures in the field of early music. Balancing a career as a leading soloist and an innovative impressaria, she is in great demand as a guest artist and is artistic director of the New York City-based early music ensemble TENET. She is singing the role of Mater Gloriosa in this performance of Mahler's Eighth Symphony.
Originally from California, Ms. Greenleaf attended the University of California at Santa Barbara before moving to New York City and completing a Masters in Music at Mannes College of Music. She studied in Amsterdam and the Hague, the Netherlands before returning to New York City
Ms. Greenleaf has been hailed by The New York Times as a “golden soprano” and “a major force in the New York early music-scene.” She is a celebrated interpreter of the music of Bach, Buxtehude, Handel, Purcell and, most notably, Claudio Monteverdi. Ms. Greenleaf was named the artistic director of TENET in 2009, where she sings and directs the ensemble in repertoire spanning the Middle Ages to the present day. Her flair for imaginative programming has been lauded by The New York Times as “adventurous and expressive,” as well as “smart, varied and not entirely early.”.
Ms. Greenleaf has performed as a soloist in venues throughout the U.S., Scandinavia, Europe, and Central America for important presenters including Vancouver Early Music Festival, Denmark’s Vendsyssel Festival, Costa Rica International Music Festival, Puerto Rico’s Festival Casals, Utrecht Festival, at Panama’s National Theater, and San Cristobal, the Cathedral in Havana, Cuba. (241)
Sara Murphy, “a gorgeous, deep, dark mezzo-soprano” (New York Times), is a vocal artist who has been called “absolutely unforgettable for her versatility and ability to conquer any sensitive soul” (El Nacional, Dominican Republic).
Sara’s current season includes Mahler’s 8th Symphony and Handel’s Messiah at Carnegie Hall, where she is a frequent soloist, and a debut with the RAI Orchestra as Mary in Wagner’s Der fliegende Holländer conducted by James Conlon.
Sara recently made her European debut at Opera Theater of Rome as Ulrica in Verdi’s Un Ballo in Maschera under the baton of Jesús López-Cobos. Opera News named the release of Hindemith’s The Long Christmas Dinner in which Sara portrays Mother Bayard and Ermengarde one of the “Top Ten Opera Recordings of 2015.”
Past season highlights include the Cincinnati Symphony at the May Festival, conducted by James Conlon: Verdi’s Otello, Mendelssohn’s Elijah, Mahler Symphony No. 8, Beethoven Symphony No. 9 and Tchaikovsky’s Ode to Joy. With the American Symphony Orchestra and conductor Leon Botstein she has performed Elgar’s The Apostles, Ligeti Requiem, Schnittke’s Nagasaki and Hindemith’s The Long Christmas Dinner. Her portrayal of Britten’s Phaedra, Barber’s Dover Beach and High Priestess (Aida) at Ravinia with the Chicago Symphony Orchestra conducted by James Conlon won acclaim from the Chicago Tribune: “a rich, voluminous mezzo voice, excellent diction and an acute feeling for words and music.” She enjoys frequent performances of Verdi Requiem, Handel’s Messiah, Mahler Symphony No. 8, Wagner’s Wesendonck Lieder, Mahler’s Rückert Lieder and Elgar’s Sea Pictures and Dream of Gerontius.
Sara holds degrees from Oberlin College and Catholic University. She is a first-prize winner of the Oratorio Society of New York Solo Vocal Competition, and a grant recipient of Inter-Cities Performing Arts and the Wagner Society of New York.
After seven busy and exciting seasons living and working in Europe, Ms. Fout has recently returned to the United States, appearing with orchestras and opera companies across the country. Ms. Fout’s dramatic appearances have included turns with New York City Opera, Spoleto Festival, Vancouver Opera, Minnesota Opera, Atlanta Opera, Palm Beach Opera, Arizona Opera, Gotham Chamber Opera, Austin Lyric Opera, and Wolf Trap Opera, and Deutsches Nationaltheater Weimar where she has acquired roles in her repertoire such as Mozart ladies Fiordiligi in Cosi fan Tutte, Countess Almaviva in The Marriage of Figaro, Donna Anna in Don Giovanni, Pamina in The Magic Flute, and Elettra in Idomeneo, as well as the title roles in Susannah, La traviata, and Alcina. Other leading roles she has brought to the stage include Mimi in La boheme, Pat Nixon in Nixon in China, the Governess in Turn of the Screw, Micaela in Carmen, Rosalinda in Die Fledermaus, Romilda in Serse, and Rose in Street Scene.
Ms. Fout joined Theater St. Gallen in Switzerland in 2006, where she appeared in the premieres of Don Giovanni as Donna Anna, Wiener Blut as the Countess Zedlau, and in Die lustigen Weiber von Windsor as Frau Fluth. She remained on the full time roster for the next six seasons, for nearly twenty leading roles .
After her recital with Spoleto USA, Charleston’s Post and Courier enthused: “Enter Angela Fout, as fine a vocalist as Spoleto has seen in many a year…her personality lent the set dramatic truth, and her voice subtle beauty.” Other concert engagements for Ms. Fout include a solo recital at the renowned Musical Instrument Museum in Arizona, Beethoven's Egmont, Op. 84 with Sinfonieorchester St. Gallen, solo appearances with Maryland Symphony Orchestra and Annapolis Opera Orchestra, Baucis in Philemon and Baucis with Orchestra of St. Luke's, a Gilbert and Sullivan Concert with the National Symphony, Mozart’s Requiem with the Wheeling Symphony, Killer B's and South of the Border recitals with Stephen Blier at Wolf Trap. Ms. Fout has appeared as a soloist in An Evening of Chamber Music, The Wednesday at One series, and the prestigious Juilliard Honors Recital at Alice Tully Hall.
Baltimore native Angela Fout completed her Bachelor of Music degree at The Juilliard School, where she received a full merit scholarship, and then moved directly into the Juilliard Opera Center. Upon completion of her studies, Juilliard Opera Center awarded her their most prestigious prize, the DeRosa Career Grant.
John Matthew Myers