Archives for March 2017

Adrian Rosas, bass-baritone

Adrian Rosas
Photo by Vanessa Rosas Photography

Appearing in the concert The Apostles, which was performed on May 12, 2017 at Carnegie Hall.

Adrian Rosas has performed with opera companies such as the Seattle Opera, Opera Theatre of St. Louis, Opera Saratoga, Houston’s Opera in the Heights, and the Detroit Opera House. He has most recently appeared as Nick Shadow in Stravinsky’s The Rake’s Progress with the Pacific Opera Project. Previously, he has appeared as Collantinus in Benjamin Britten’s The Rape of Lucretia and as Basilio in Rossini’s Il barbiere di Siviglia with LoftOpera; as Rocco in Beethoven’s Fidelio with Grand Harmonie; as Sir Richard Cholmondeley in Andrew Sullivan’s The Yeoman of the Guard and as the title role in Don Giovanni with Winter Opera Saint Louis; as Diego in Robert Xavier Rodriguez’s Frida and as Cascada in Franz Lehár’s The Merry Widow with Michigan Opera Theatre; and as Sergeant in Il barbiere di Siviglia and as Procolo in Donizetti’s Viva la Mamma with Seattle Opera.

As a champion of new and modern music, Mr. Rosas has worked on a variety of newly written works, including Peter Ash’s The Golden Ticket, Robert Xavier Rodriguez’s Frida, Petr Kotik’s Master-Pieces, Matt Aucoin’s Whitman, and other newly written operas with the American Lyric Theater in New York and the Ostrava Center for New Music in the Czech Republic. He has also been featured in performances at Carnegie Hall in various concerts, oratorios, and as the Angel Gabriel in the premiere of Marcos Galvany’s Oh My Son, and has performed at the New York Festival of Song as well as in various performances at Merkin Concert Hall and Alice Tully Hall.

Mr. Rosas holds a Bachelor of Music degree from Western Michigan University and a Master of Music degree from The Juilliard School.

Spring 2017

Paul McNamara, tenor

Paul McNamara
Photo by Frances Marshall Photography

Appearing in the concert The Apostles, which was performed on May 12, 2017 at Carnegie Hall.

Originally from Ireland and based in Berlin, Paul McNamara has sung in theaters throughout Europe, where his many notable successes have included his recent debut at La Fenice (Venice) as Wagner’s Tannhäuser and his critically-acclaimed performances at the Deutsche Oper Berlin in Braunfels’ Szenen aus dem Leben der Heiligen Johanna. Operatic engagements elsewhere include the Teatr Wielki in Warsaw; Théâtre Royal de la Monnaie in Brussels; NI Opera; Cape Town Opera; the Opera Lesna in Sopot (Poland); Opera Ireland; the Janáček Festival in Brno; the National Opera in Almaty, Kazakhstan; the Theatro Municipal in Rio de Janeiro; and with the Salzburg Easter Festival in a coproduction with the Beijing Music Festival. Concert appearances have taken him to many of the world’s leading venues, including the Berlin Philharmonie, the Amsterdam Concertgebouw, and Carnegie Hall.

In addition to Wagner’s Erik, Loge, Tannhäuser, Tristan, and Parsifal, Mr. McNamara’s extensive repertoire encompasses roles by Monteverdi, Cavalli, Mozart, Weber, Meyerbeer, Tchaikovsky, Leoncavallo, Dvořák, Strauss, Janáček, Zemlinsky, Berg, Britten, and André Previn.

Recent appearances include debuts with the Netherlands Radio Philharmonic Orchestra and Deutsches Symphonie-Orchester, at the opera in Bonn in Wagner’s Der fliegende Holländer, and at the Leipzig Opera in Richard Wagner’s Das Liebesverbot and Richard Strauss’ Arabella. Elsewhere, Mr. McNamara reprised his much lauded interpretation of Herodes at the opera in Linz and appeared as Tannhäuser at the Wartburg zu Eisenach, as well as in new productions of this opera in Aachen, Innsbruck, and Venice.

Spring 2017

Alfred Walker, bass-baritone

Alfred Walker
Photo by Walter Hill

Appearing in the concert The Apostles, which was performed on May 12, 2017 at Carnegie Hall.

In the 2016–17 season, Alfred Walker has appeared as Wotan in Das Rheingold with North Carolina Opera, Méphistophélès in Berlioz’s La damnation du Faust at the Teatro Municipal de Santiago, Josh Gibson in the world premiere of Sonenberg’s The Summer King with Pittsburgh Opera, Porgy in Porgy and Bess with the Sydney Symphony, and performed Beethoven’s Symphony No. 9 with the Phoenix Symphony. Last season, he joined Oper Köln and Seattle Opera for the title role in Der fliegende Holländer, the Komische Oper Berlin as the Four Villains in Les contes d’Hoffmann, and Utah Opera for Amonasro in Aida. He also joined the New Japan Philharmonic for Bluebeard in Bluebeard’s Castle and the Caramoor International Music Festival as Pizarro in Fidelio, and sang Beethoven’s Symphony No. 9 with the Vancouver Symphony Orchestra and Verdi’s Requiem with the Boston Philharmonic.

Mr. Walker’s other recent operatic engagements include Der fliegende Holländer, Amfortas in Parsifal, and Amonasro in Aida at Theater Basel; Parsi Rustomji in Satyagraha at the Metropolitan Opera; Orest in Elektra at Teatro alla Scala, Deutsche Opera Berlin, Seattle Opera, and the San Sebastián Festival; Four Villains in Kosky’s new production of Les contes d’Hoffmann at Den Norske Opera; Allazim in Zaide at Festival d’Aix-en-Provence, Wiener Festwochen, Barbican Center, and the Mostly Mozart Festival; Der fliegende Holländer at the Geneva Wagner Festival, Théâtre de Caen, and Grand Théâtre de Luxembourg; Kurwenal in Tristan und Isolde at Angers Nantes Opera and Opéra de Dijon; Creonte in Medea at Opéra national de Lorraine; Telramund in Lohengrin at Ópera de Oviedo; Porgy in Porgy and Bess with the Los Angeles Philharmonic, Boston Philharmonic, and Toronto Symphony Orchestra; and Achilla in Giulio Cesare and Colline in La bohème with San Diego Opera. On the concert stage, he has joined the Boston, Atlanta, and Baltimore Symphony Orchestras, Stuttgarter Philharmoniker, Utah Symphony, Grand Park Music Festival, and Houston Symphony.

Spring 2017

Jennifer Check, soprano

Jennifer Check
Photo by Kristin Hoebermann

Appearing in the concert The Apostles, which was performed on May 12, 2017 at Carnegie Hall.

Jennifer Check has most recently appeared in Verdi’s Requiem with the Virginia Symphony Orchestra. Previously, she performed in Verdi’s Requiem as a part of the hallmark Defiant Requiem presentation with the Detroit Symphony Orchestra and Chicago Philharmonic. This season, she returned to the Metropolitan Opera roster as the High Priestess in Aida and in its production of Saariaho’s L’amour de loin, and also joined the roster of the Lyric Opera of Chicago for Norma. Last season, she returned to Utah Opera for the title role in Aida, gave her first performances of Desdemona in Otello with Berks Opera, and returned to the Metropolitan Opera for Anna Bolena and Maria Stuarda. On the concert stage she joined the Aspen Music Festival for Saariaho’s Cinq reflets.

She recently debuted three other Verdi titles—Macbeth with Palm Beach Opera, Il trovatore with Utah Opera, and Don Carlos at Caramoor—and sang her first Ariadne auf Naxos with Toulon Opera. Other recent performances include Don Giovanni with Metropolitan Opera; Muhly’s Dark Sisters with Gotham Chamber Opera and Opera Philadelphia; Norma with Palm Beach Opera and Opera Philadelphia; Elektra in London, Tokyo, and Detroit; Iphigénie en Tauride in Valencia; Dialogues des Carmélites at Caramoor and with Austin Opera; and The Legend of the Invisible City of Kitezh in Amsterdam. At the Metropolitan Opera, she has sung in previous productions that include Die Frau ohne Schatten, Turandot, Don Carlo, Gianni Schicchi, and Stiffelio.

Concert performances include engagements of Verdi, Strauss, Beethoven, and Mahler with the symphony orchestras of Shanghai, Milwaukee, New Jersey, Boston, Verbier Festival, Spoleto Festival U.S.A., Charlotte, Utah, and Memphis, among others.

Spring 2017

Sara Murphy, mezzo-soprano

Sara Murphy

Appearing in the concert The Apostles, which was performed on May 12, 2017 at Carnegie Hall.

Sara Murphy recently made her European debut at Opera Theater of Rome as Ulrica in Verdi’s Un Ballo in Maschera. Her current season continues with the role of The Wife in the world premiere of Gisle Kverndokk’s sacred opera Upon this handful of earth. Opera News named the recent release of Hindemith’s The Long Christmas Dinner with the American Symphony Orchestra, in which she portrays Mother Bayard and Ermengarde, one of the “Top Ten Opera Recordings of 2015.”

Past season highlights include Ligeti’s Requiem and Schnittke’s Nagasaki with the American Symphony Orchestra, and Verdi’s Otello, Mendelssohn’s Elijah, Mahler’s Symphony No. 8, Beethoven’s Symphony No. 9, and Tchaikovsky’s Ode to Joy at the Cincinnati May Festival. Ms. Murphy’s portrayal of Britten’s Phaedra, Barber’s Dover Beach, and High Priestess in Aida at Ravinia with the Chicago Symphony Orchestra won acclaim from the Chicago Tribune. She enjoys frequent performances of Verdi’s Requiem, Handel’s Messiah, Mahler’s Symphony No. 8, Wagner’s Wesendonck Lieder, Mahler’s Rückert Lieder, and Elgar’s Sea Pictures.

Ms. Murphy 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.

Spring 2017