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)
In 2017, Jennifer Roderer made her house debut at the Metropolitan Opera in Alfano's Cyrano de Bergerac. In 2015, she created the role of Shifrah Puah in Ben Moore and Nahma Sandrow's new opera Enemies, A Love Story for Palm Beach Opera and joined the roster of the Met where she covered in Lulu and later in Jenufa.
She recently made debuts with Spoleto Opera as Kabanicha in Kat'a Kabanova, Chautauqua Opera debut as Quickly in Falstaff, a role she has also performed with Opera Roanoke and Crested Butte Music Festival, Syracuse Opera as Marcellina in Le Nozze di Figaro and Mrs. Lovett in Sweeney Todd, and reprised Amneris in Aida with New Jersey Festival Orchestra. Other performances include Azucena in Il Trovatore for Opera Roanoke, and the Witch in Hansel & Gretel with Utah Opera, a signature role she has also performed with Opera Company of Philadelphia, New York City Opera, Phoenix Symphony, Tulsa Opera and Opera Roanoke, among others.
With City Opera she has performed a diverse array of operas including Patience, Plateé, Dead Man Walking, Lysistrata, and Little Women. In 2005, she made a critically acclaimed debut at the Teatro Colòn in Buenos Aires as Fricka in Die Walküre, conducted by Charles Dutoit. Other Wagnerian credits include Die Walküre for Lyric Opera of Chicago, Opera Pacific and Seattle Opera, a Flowermaiden in Parsifal with the Los Angeles Philharmonic conducted by Pierre Boulez, as well as several orchestral concerts with the Wagner Society of Washington D.C. in excerpts from Lohengrin (Ortrud), Götterdämmerung (Waltraute), and Siegfried (Erda). Oft-repeated roles include Mrs. Grose in Turn of the Screw (Toledo Opera, Lyric Opera of Kansas City and Lorin Maazel’s Chateauville Foundation) and Ruth in The Pirates of Penzance (Lyric Opera of Kansas City, Indianapolis Opera and Opera a la Carte).
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
A tenor, John Matthew Myers, was declared an “artist to watch” by Opera News, and has rapidly established himself among the ranks of today's exceptional young voices. He has collaborated with companies such as the Verbier Festival, Santa Fe Opera and LA Opera, and made his surprise Los Angeles Philharmonic debut in 2017 as Mao in John Adams’s Nixon in China conducted by the composer. His breakout performance was hailed by the Los Angeles Times as “brightly lighted to match his declaiming voice.” The winner of Vocal Arts DC’s 2017 Art Song Discovery Competition, he gives recitals this season at the Kennedy Center for the Performing Arts and the Phillips Collection. Currently a resident artist at the Academy of Vocal Arts in Philadelphia, he has garnered acclaim for his “lovely, warm tenor of considerable promise” (Opera News) and “insightful and beautifully nuanced performances” (Fort Worth Star-Telegram). He was a Gerdine Young Artist with the Opera Theatre of Saint Louis, a 2016 District Winner and Regional Finalist in the Metropolitan Opera National Council Auditions, and a 3rd Place winner in the 2017 Gerda Lissner Foundation International Vocal Competition.
Further activities in 2017-2018 include a performance with the Cathedral Choral Society in Washington DC under the baton of Kent Tritle in Mozart’s Requiem and Doctor Marianus in Mahler’s Symphony No. 8 at Carnegie Hall’s Stern Auditorium Perelman Stage with the Canterbury Choral Society. Elsewhere in the U.S. he performs Beethoven’s Symphony No. 9 with Marcelo Lehninger and Grand Rapids Symphony Orchestra, Mozart’s Requiem with Nir Kabaretti and Southwest Florida Symphony, and Allentown Symphony Orchestra alongside Angela Meade for an evening of opera arias. He continues his collaboration with the Academy of Vocal Arts as Bacchus in Ariadne auf Naxos in March 2018.
In 2016-17, his performances included the Duke of Mantua in Verdi’s Rigoletto and Prince Sinodal in Rubinstein’s The Demon with the Academy of Vocal Arts, Britten’s War Requiem with Great Music in a Great Space in The Cathedral Church of Saint John The Divine, and Mahler’s Symphony No. 8 with Berkshire Choral International under the baton of Kent Tritle.
Recent operatic roles in his repertoire included Pollione in Norma, Don Jose in Carmen, Cassio in Otello, Eisenstein in Die Fledermaus, Ferrando in Cosi fan tutte, Trin in La Fanciulla del West, Valerio in Mercadante's Virginia, Ophide in Rossini’s Moïse et Pharaon, 6th Diener in Capriccio, 3rd Jew in Salome, Steve Wozniak in Mason Bates’s The (R)evolution of Steve Jobs, and Junior/Charlie in Jennifer Higdon’s Cold Mountain. He has collaborated with Long Beach Opera in Michael Gordon’s Van Gogh, Gabriela Ortiz’s Camelia la Tejana: Unicamente La Verdad, Stewart Copeland’s Tell Tale Heart, and as Monsieur Grivet in Tobias Picker’s Thérèse Raquin, the latter of which he performed in his debut at Chicago Opera Theater. Additional credits include Rodolfo in La Boheme, the title role in Bernstein’s Candide, Lensky in Eugene Onegin, Agenore in Mozart’s Il Re Pastore, Antinoüs in Faure’s Pénélope, Fenton in Falstaff, and the Jazz Trio Tenor in Bernstein's Trouble in Tahiti.
A frequent concert artist, John has performed Britten’s War Requiem at Carnegie Hall with the Oratorio Society of New York, Jocelyn Hagen’s Amass at Alice Tully Hall with Kent Tritle for his Lincoln Center debut with Musica Sacra, Vaughan Williams’s Serenade to Music with the Wexford Festival Orchestra, Mendelssohn’s Elijah with the Fairfield Chorale, and Brahms’s Liebeslieder Waltzes and other quartets with Performance Santa Fe. John has had the pleasure of performing in concert with composers Ricky Ian Gordon and Ben Moore at the Chautauqua Institute Music Festival, Opera America's Salon Series: Exploring American Voices and the Van Cliburn Foundation's Modern at the Modern Concert Series in Fort Worth, TX. He was a soloist with the Mark Morris Dance Group in their performances of The Muir as well as soloist in September Songs: The Legacy of Kurt Weill with the American Musical Theatre Ensemble.
John received his graduate and undergraduate degrees from the Manhattan School of Music with additional studies at the Verbier Festival Academy, Chautauqua Institute, and Music Academy of the West.