Joseph Beutel, bass-baritone

Joseph Beutel
Photo by Matt Simpkins Photography

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

Indiana native Joseph Beutel has most recently appeared as the Hotel Manager/Duke/Judge in Ades’ Powder Her Face with Skylight Music Theatre. Previously, he has appeared in Martinů’s Alexandre bis/Comedy on the Bridge with Gotham Chamber Opera, as Sulpice in La fille du régiment with Fargo-Moorhead Opera, as Sam in Verdi’s Un ballo in maschera with the Boston Youth Symphony Orchestras, as der Tod in Viktor Ullmann’s Der Kaiser von Atlantis with Opera Moderne in Vienna, as Nourabad in Bizet’s Les pêcheurs de perles with Baltimore Concert Opera and Opera Delaware, as the British Major in the world premiere of Kevin Puts’ Silent Night with Minnesota Opera, and as Lamoral in Strauss’ Arabella with the Santa Fe Opera.

Mr. Beutel was a winner of the Sullivan Foundation Career Development Award in 2011 and Encouragement from the Gerda Lissner Foundation in 2012. He performed with the recent New York Philharmonic production of Carousel and American Lyric Theater’s workshops of two new operas, La reina and The Turing Project.

In addition to his operatic endeavors, Mr. Beutel has also been seen in many oratorio and cantata works. He has recently performed the cantatas Siehe, ich will viel Fischer aussenden (BWV 88) and Gottes Zeit ist die allerbeste Zeit (BWV106) in New York. He has also performed the Saint Matthew Passion as Aria soloist, Christ Lag in Todesbanden (BWV 4), Singet dem Herrn (BWV 190), and solo cantata Ich habe Genug (BWV 82). He has sung Handel’s Messiah with the prestigious “Ensemble viii” in Austin, Texas, and performed in recital in various places across the country. He made his debut with the Santa Fe Symphony singing Handel’s Messiah.

Spring 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

Katherine Pracht, mezzo-soprano

Katherine Pracht

Appearing in the concert Bernstein and the Bostonians, performed on November 18, 2016 at Carnegie Hall.

Mezzo-soprano Katherine Pracht’s recent and upcoming engagements include her return to Opera Philadelphia as Flora in La Traviata, Meg in Falstaff with Opera on the James, and several concert appearances including Mahler’s Das Lied von der Erde with the York Symphony, her return to Carnegie Hall performing a program of Sir Karl Jenkins’ works with Distinguished Concerts International New York, Philip Glass’ Symphony No. 5 with The Washington Chorus, composer Bright Sheng’s The Intimacy of Creativity 2017 festival at the Asia Society Hong Kong Center, and her debut with the Grand Rapids Symphony performing Peter Lieberson’s Neruda Songs.

During the 2014–15 season, Ms. Pracht was highly involved with Opera Philadelphia’s mission to workshop and perform new American operas, developing the role of Baroness Pannonica de Koenigswarter in workshops of Daniel Schnyder’s Charlie Parker’s YARDBIRD and covering the role in its world premiere performance, and also developing the role of Glenda in We Shall not be Moved. She performed the role of Meg in Little Women with Opera on the James and made her role debut as Sharon Falconer in Elmer Gantry with Florentine Opera. During that season, Ms. Pracht’s concert appearances included Elijah with the Blacksburg Master Chorale; Mozart’s Requiem with the Choral Society of Grace Church, NYC; Beethoven’s Ninth Symphony with the Black Pearl Orchestra; and Prokofiev’s cantata Alexander Nevsky with the Georgia Symphony.

Ms. Pracht has been a Metropolitan Opera Competition Regional finalist in San Antonio, Memphis, and twice in Minneapolis, where, in 2006, she won the Outstanding Mezzo Award.

Fall 2016

Kirsten Chambers, soprano

Kirsten Chambers
Photo by Holz Germany

Appearing in the concert Troubled Days of Peace, performed on October 19, 2016 at Carnegie Hall.

Soprano Kirsten Chambers joined the roster of the Metropolitan Opera this fall to cover the title roles of Salome and Isolde in Tristan und Isolde. In the 2015–16 season, she debuted as the Foreign Princess in Rusalka at Lyric Opera of Kansas City and Leonore in Fidelio with New Amsterdam Opera of NYC. In July 2015, she made a highly successful European debut at the Savonlinna Opera Festival as Elsa in Lohengrin. She also appeared as a featured soloist in excerpts from Lohengrin with the Oulu Symphony in both Oulu and Helsinki and later at the Mikhailovsky Theatre in St. Petersburg in promotional concerts for Savonlinna Opera Festival. She reprised the role of Elsa in Lohengrin for the Hong Kong Arts Festival. In concert she performed Isolde’s Liebestod from Tristan und Isolde with the Hong Kong Philharmonic and Brünnhilde’s Entrance from Die Walküre with Orchestra Kentucky. In 2015 she debuted the role of Salome at Opera Hong Kong. For Opéra de Rennes, she reprised Elsa in Lohengrin.

Ms. Chambers was with Arizona Opera for Turandot and Opera Saratoga for Tosca. She was featured in Nora in the Great Outdoors with American Opera Projects at Lincoln Center and as Santuzza and Tosca with the Cardona Opera Theater. With Toledo Opera she was Strauss’ Ariadne and Nedda in Pagliacci for Bronx Opera.

A champion of new music, Ms. Chambers has been recorded on the Newport Classics Label and appeared numerous times with American Lyric Theater and American Opera Projects.

Fall 2016

Carsten Wittmoser, bass-baritone

Carsten Wittmoser

Appearing in the concert Troubled Days of Peace, performed on October 19, 2016 at Carnegie Hall.

Carsten Wittmoser became an ensemble member of the Staatstheater Stuttgart, followed by contracts with the Landestheater Linz, the Opera of Freiburg, and the Hamburgische Staatsoper. Roles he performed in these houses include Seneca in L’incoronazione di Poppea, Sarastro in Die Zauberflöte, Colline La bohème, Raimondo in Lucia di Lammermoor, the Doctor in Wozzeck, Don Alfonso in Così fan tutte, Hermann in Tannhäuser, and Sparafucile in Rigoletto. Guest engagements include Hermann in Tannhäuser at the Staatsoper Berlin, the Bayerische Staatsoper, and the Volksoper in Vienna; and Ramfis in Aida, Daland in Der fliegende Holländer (after becoming a finalist in their International Wagner-Competition), and Pogner in Die Meistersinger von Nürnberg with the Seattle Opera.

Recent engagements include his Deutsche Oper Berlin debut as Escamillo in Carmen, Don Pizarro in Fidelio with the Michigan Opera Theatre and the Singapore Symphony Orchestra, a debut at Teatro Real Madrid as Cecco del Vecchio in Rienzi (a role he has also sung in Bayreuth), Baron Scarpia in Tosca with the Tiroler Festspiele Erl, Basilio in Il barbiere di Siviglia at the Palacio de Bellas Artes in Mexico City, cover for Animal tamer/Rodgrio in Lulu with the Metropolitan Opera, a Carnegie Hall debut as Lord Humphrey in Marschner’s Der Vampyr, and Jupiter in Strauss´ Die Liebe der Danae at Bard SummerScape.

In concert, he has appeared at the Wiener Musikverein with the Wiener Philharmoniker, at the Stuttgart Liederhalle, at the Lugano Festival alongside Martha Argerich, in the Herkulessaal in Munich, at the Lucerne Festival, and in Taiwan with the Taiwan Symphony Orchestra.

Fall 2016

Ricardo Lugo, bass

Ricardo Lugo
Photo By Tim Hill

Appearing in the concert Troubled Days of Peace, performed on October 19, 2016 at Carnegie Hall.

Puerto Rican bass Ricardo Lugo made his Metropolitan Opera debut as Un Barnabotto in La Gioconda and has since been involved in multiple productions with the company, including The Nose, Ariadne auf Naxos, Khovanshchina, Billy Budd, La fanciulla del West, Adriana Lecouvreur, Macbeth, The Gambler, Otello, Tannhäuser, Tosca, Turandot, Manon Lescaut, and Salome. In recent seasons Mr. Lugo has joined Michigan Opera Theater as Timur in Turandot, Alfieri in Bolcom’s A View from the Bridge, and Don Fernando in Fidelio, and has sung Dulcamara in L’elisir d’amore with Opera Memphis and Mr. Page in The Merry Wives of Windsor with Boston Midsummer Opera. With the San Francisco Opera he has appeared as Reinmar von Zweter in Tannhäuser, the Second Priest in Die Zauberflöte, Sarastro in their adapted “Magic Flute” for families, and covered Banquo in Macbeth. Additional recent highlights include his return to The Metropolitan Opera as Hans Schwarz in Die Meistersinger von Nürnberg and Il bonzo in Madama Butterfly; the Prison Guard in Lady Macbeth of Mtsensk, the Sacristan in Tosca, and Bartolo in Le nozze di Figaro with Sarasota Opera and the Princeton Festival. In the 2016–17 season he will return to Michigan Opera Theater as the French General in Silent Night, debut with Virginia Opera as Timur in Turandot, and return to the Metropolitan Opera for Salome.

Fall 2016