Don't miss a minute of the 2011-12 Season!
Béatrice et Bénédict
The Midsummer Marriage
I Capuleti e i Montecchi
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Artist Information
Performers
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Marie Lenormand, Romeo
Opera Boston debut
Most recently, masterful French mezzo-soprano Marie Lenormand was applauded for her performance as Cherubino in Le nozze di Figaro with Houston Grand Opera. She makes her debut with the New York Philharmonic as The Fox in The Cunning Little Vixen, and returns to France to sing 8 scènes de Faust with the Berlioz Festival in la Côte-Saint-André. Her 2011-2012 season continues with performances of Così fan tutte - first as Dorabella for the Lyric Opera of Kansas City and then as Despina with New York City Opera. She also appears as Romeo in Opera Boston’s production of I Capuleti e i Montecchi. Last season, she was heard asUrbain in Meyerbeer’s Les Huguenots at Bard Summerscape, Fragoletto in Offenbach’s Les Brigands at the Grand Théâtre de Bordeaux and at l’Opéra du Luxembourg, Lapak in The Cunning Little Vixen in Florence, and Cherubino at l’Opéra de Rouen. After completing a dazzling turn in the title role in Ambroise Thomas’ Mignon at l’Opéra comique de Paris, her performance was met with popular and critical accolades. In recognition of her portrayal, the French national press awarded her the honor of “2010 Musical Revelation.” Marie was the first vocal artist in six years to win the award after a string of renowned conductors and a string quartet.
Marie has sung Dorabella with l’Opéra de Rouen, Arsamene in Haendel’s Serse with Boston Baroque, Hermia in Britten’s A Midsummer Night’s Dream at Houston Grand Opera, Annio in Mozart’s Clemenza di Tito at l’Opéra d’Avignon, Siebel at Madison Opera and Cherubino at Cincinnati Opera. She appeared in concert with François-Xavier Roth and Les Siecles in Mozart’s Requiem in Aix en Provence, France, and with Houston baroque ensemble Ars Lyrica.…
Previously, Marie performed in recital with the Southeastern Festival of Song in Atlanta and Dallas. She went back to New Orleans Opera to sing Siebel with Paul Groves as Faust, made her debut with the Bochum Orchestra in Germany, singing Le Nuits d’été with Steven Sloane conducting, before a series of Handel’s Messiah with the Winston-Salem Symphony. She reprised Aloès in L’Etoile by Chabrier at l’Opéra du Luxembourg, before joining le Gradus ad Musicam ensemble in Nancy, France, for Pergolèse’s Stabat Mater. She returned to the Grand Théâtre de Bordeaux in the spring for Siebel in a new Faust production by J.P.Clarac and O.Deloeil. For her debut with San Francisco Opera, Marie was delighted to reprise the role of The Fox, a role she created in worldwide premiere of The Little Prince by Rachel Portman for Houston Grand Opera in 2003. She then sang in concert for the opening night gala of Berkshire Opera in Massachussets, and spent the rest of the summer at Seiji Ozawa’s Saito-Kinen Festival, in Japan, singing Lapak and covering the Fox, in a beautiful new production of The Cunning Little Vixen by Laurent Pelly and conducted by Seiji Ozawa.
Marie has also sung Rosina in Il barbiere di Siviglia with Dallas Opera followed by Siebel in Faust with Houston Grand Opera. Additionally, she made her debut with Chicago Opera Theater as Penelope in Monteverdi’s Il Ritorno d’Ulisse in Patria and reprised her Siebel with Cincinnati Opera. She debuted with the London Symphony Orchestra conducted by Francois-Xavier Roth as the alto solo in Beethoven’s Symphony No.9 at the Florida International Festival in Daytona Beach.
Marie has performed Siegrune in Die Walküre at the Châtelet under Christoph Eschenbach, was heard in Chabrier’s L’Etoile in Angers and Nantes, and sang Rosina in Il barbiere di Siviglia and Dorabella in Così fan tutte in Stuttgart. In January 2006, she sang Cidippe in Aristeo and the title role in Bauci e Filemone by Glück, recorded under the label Ambroisie. Also, she appeared in recital with Steven Blier in a program entitled “The Banquet Years” in New York and with the Vocal Arts Society in Washington, DC.
She has made her debuts with New Orleans Opera as Nicklausse in Les Contes d’Hoffmann, Opera Pacific as Cherubino in Le nozze di Figaro, and performed Zerlina in Don Giovanni at La Cité de la Musique in Paris under the baton of Emmanuel Krivine with his newly established orchestra, La Chambre Philharmonique in February. Marie was a member of the Houston Grand Opera Studio from 1999 to 2002. A distinguished oratorio singer, she was the alto soloist in Haydn’s Lord Nelson Mass under Robert Shaw, as well as in Elijah with a cast headed by Sherrill Milnes. |
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Hae Ji Chang, Giulietta
Opera Boston debut
Soprano Hae Ji Chang recently received her Artist Diploma at New England Conservatory. She earned her master's degree at Manhattan school of Music, she has performed the roles of Lauretta in Gianni Schicchi, Lydie in Pénélope, and the title role in scenes from Maria Stuarda. Ms. Chang received her Bachelor of Music degree and Master of Music degree from Seoul National University where she performed Donna Anna in Don Giovanni. She recently performed Pamina in The Magic Flute at New England Conservatory. Ms. Chang also sang Susanna in Le nozze di Figaro at Aspen Music Festival where she performed Pamina in The Magic Flute and Zerlina in Don Giovanni in a scenes program. Ms. Chang has won numerous awards and honors, including a Schuyler Foundation for Career Bridges Grant Award, first prize in Dong-A Music Competition, first prize in E-Hwa Kyung-Hyang Music Competition, second prize in Shin, Young-Ok Music Competition, and second prize in Schubert Lieder Competition. She was also awarded a President's Award from Manhattan School of Music. Ms. Chang covers Giannetta from L'elisir d'Amore at New York City Opera in March and Mélisande from Pelléas et Mélisande at Opera Theatre of Saint Louis in June. |
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Ben Wager, Capellio
Opera Boston debut
During the 2010-2011 season, Mr. Wager continues to maintain a presence in both North American and European opera houses. In the United States, he makes debuts with Opera Cleveland as Nourabad in Les pêcheurs de perles and the Dallas Opera as Masetto in Don Giovanni, and returns to Minnesota Opera for the role of Hindley Earnshaw in Bernard Herrmann’s Wuthering Heights. As a member of the ensemble of the Deutsche Oper Berlin, which he joined in 2009, he will sing Panthus in Les Troyens, Doctor Grenvil in La traviata, Angelotti in Tosca, and Escamillo in Carmen, among other roles.
Ben Wager's 2011-2012 season includes dual appearances at Minnesota Opera, as General Audebert in the world premiere of Silent Night, and Raimondo in Lucia di Lammermoor. Additionally, he returns to the Oregon Symphony as the bass soloist in Haydn's The Creation under the baton of Carlos Kalmar, and makes his debut with Opera Boston as Capellio in I Capuleti e i Montecchi. Future seasons will include a return to Opera Company of Philadelphia and a new production with Kentucky Opera.
For the 2009-2010 season, Mr. Wager’s assignments at the Deutsche Oper included Zuniga in Carmen, Angelotti in Tosca, and Sarastro in an abridged version of Die Zauberflöte. Additional engagements for the season included Beethoven’s 9th Symphony with the Mozarteum of Salzburg under Ivor Bolton, Rossini’s Stabat Mater with the Oregon Symphony led by Carlos Kalmar, and his debut with the Los Angeles Opera as Julian Pinelli in Schreker’s Die Gezeichneten.
During the 2008-2009 season, he concluded his residency at the Academy of Vocal Arts as Enrico in Anna Bolena, Il Vescovo in La fiamma, and Raimondo in Lucia di Lammermoor, joined Minnesota Opera to sing the bass roles in the North American premiere of Jonathan Dove's Adventures of Pinocchio, and made his debut at Opera Company of Philadelphia as Collatinus in The Rape of Lucretia.
Mr. Wager spent the summer of 2008 as a member of the prestigious Merola Opera Program at San Francisco Opera, where he sang the role of Il Commendatore in Catherine Malfitano’s production of Don Giovanni.
Other notable engagements include: Masetto in Don Giovanni for his debut at Chicago Opera Theater, under the baton of Jane Glover; Monterone in Rigoletto and Der Sprecher in Die Zauberflöte with Opera New Jersey; and appearances as Kaspar in Der Freischütz, Gremin and Zaretsky in Eugene Onegin, Basilio in Il barbiere di Siviglia, and the bass soloist in Mozart’s Mass in C Minor with the Academy of Vocal Arts. |
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Sergey Romanovsky, Tebaldo
Opera Boston debut
Tenor Sergey Romanovsky was born in Mineralny Vody - a small town in central Russia and has recently joined the Tchaikovsky State Conservatory and the Moscow Academy of Choral Arts where he works with vocal coach Dmitry Vdovin.
Sergey is already a prize winner in several major competitions including the Internationl Bella Voce Vocal Competition in Moscow (2005). He was also awarded a special grant by the New Names Charity Foundation in 2005 and has since toured in Germany with New Names Foundation’s concert program.
Recently he received high acclaim for his debut performance as Tebaldo in I Capuleti e Montecchi at the opening night of the 08/09 season of the Moscow State Philharmonic Society opposite Patrizia Ciofi and Anna Bonitatibus and made his debut at La Scala in Milan with Libenskoff in Il Viaggio a Reims. He also recently sang Ernesto in Don Pasquale at the Norske Opera in Oslo, Lensky in Eugene Onegin in Lille and Amiens, Rachmaninov's The Bells with the RSNO.
He has recently sung Il Barbiere di Siviglia at the Opera de Wallonie followed by Così fan tutte with Christophe Rousset and Les Talens Lyriques. Future engagements include Il Barbiere di Siviglia at the Bordeaux Opera, La Fille du Regiment, and Rachmaninov's The Bells with the Atlanta Symphony Orchestra.
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Grigory Soloviev, Lorenzo
Opera Boston debut
Bass Grigory Soloviov is a 2007 graduate of the Moscow State Conservatory and a 2009 graduate of Washington National Opera’s Domingo-Cafritz Young Artist Program. As a member of the program, he has performed Leporello in Don Giovanni under the baton of Plácido Domingo, Count Ceprano in Rigoletto conducted by Giovanni Reggioli, Apostolo Gazella in Lucrezia Borgia and Marchese D’Obigny in La Traviata, as well as numerous recitals, scenes and concerts.
In 2010-2011, the bass returns to Washington National Opera for the 1st Soldier in Salome, Opéra de Monte-Carlo as Tom in Un ballo in maschera and Zaretski in Eugene Onegin, appears as a soloist for Opéra de Montréal's annual Le Gala, and also sings Masetto in Don Giovanni for his debut at Opéra de Lyon. In the summer of 2011, Grigory Soloviov makes his debut with Festival d'Aix-en-Provence as Polyphemus in Acis and Galatea.
Mr. Soloviov's 2011-2012 season will include further performances of Polyphemus at the Teatro La Fenice in Venice, his debut with Opera Boston as Lorenzo in I Capuleti e i Montecchi, and an appearance with the Princeton Symphony, for a double-bill of Cone's Duchess of Malfi and Rachmaninoff's The Bells. Future seasons include a return to Opéra de Monte-Carlo.
In the 2009-2010 season, Mr. Soloviov sang the Verdi Requiem with Cathedral Choral Society and returned to Washington National Opera to sing Don Basilio in Il Barbiere di Siviglia, Pistola in Falstaff, and Truffaldin/Lakai in Ariadne auf Naxos. In the spring of 2010, he made his Metropolitan Opera debut in The Nose by Schostakovich under the baton of Valery Gergiev, and sang Lodovico in Otello with Palm Beach Opera. In August 2010, he sang Sparafucile to Plácido Domingo's Rigoletto at the Reignwood Theater in Beijing, under the direction of Eugene Kohn.
In 2008, Mr. Soloviov made debuts with two of America's finest orchestras: the National Symphony under the baton of Leonard Slatkin, singing Zaretski in Eugene Onegin, followed by the role of Colline in La Bohème with the Philadelphia Orchestra led by Rossen Milanov.
In the first years of his career he has performed with Washington National Opera, Palm Beach Opera, Opera de Monte-Carlo, Connecticut Grand Opera, Opera Company of Brooklyn, New Opera Festival di Roma, and the Opera Ischia Festival. He has been a prize winner in the Elardo International Competition, the Sullivan Foundation Awards, the Opera Index Awards, and received the Rising Star Prize in the 2007 Tchaikovsky International Competition in Moscow and the 3rd Prize in the Palm Beach Opera Vocal Competition.
Mr. Soloviov sings a broad base of repertoire. His roles include, among others, Sarastro in Die Zauberflöte, Colline in La Bohème, Sparafucile in Rigoletto, Prince Gremin in Eugene Onegin, Bartolo in Le Nozze di Figaro, and Narumov in Queen of Spades. |
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Production Artists
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Gil Rose, Conductor
Music Director for Opera Boston
Read full biography
Website |
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Cameron Anderson, Scenic Designer
Previously with Opera Boston: The Midsummer Marriage, 2011
Cameron has designed extensively for both opera and theater — in the United States and in Europe and South America. She recently designed Simon Boccanegra at the Teatro Colon in Buenos Aires. She has upcoming engagements at Vancouver Opera, Opera Boston, and South Coast Rep. In January she will open West Side Story in Norway, which will be the inaugural production at the new state of the art Kilden Performing Arts Center.
Recent opera credits include: A Triple Bill of Gianni Schicchi, Seven Deadly Sins and Les Mamelles de Tirésias, Three Decembers, A Little Night Music, and West Side Story, all directed by Ken Cazan at Central City Opera. Other projects with Mr. Cazan include The Barber of Seville, at the Opera Theatre of St Louis, and Das Liebesverbot at the Bing Theatre, USC. Other recent opera projects include: La Cenerentola directed by Kevin Newbury at Glimmerglass Opera, Maria Padilla at the Minnesota Opera, Cosi Fan Tutte for the Seattle Opera, Don Giovanni and La Bohème at Wolf Trap Opera, Don Pasquale at Pittsburgh Opera, Scenes of Gypsy Life for Gotham Chamber Opera, The Consul for Opera Boston, and La Bohème for the San Francisco Opera Center.
Recent theater credits include A Midsummer Night’s Dream and Emilie for South Coast Rep, The Language of Trees, directed by Alex Timbers at The Roundabout Theater Company Underground, A Feminine Ending, directed by Blair Brown, for Playwrights Horizons, Underground for David Dorfman Dance at BAM, Massacre (Sing to Your Children), directed by Kate Whorisky, at LAByrinth Theatre Company, Dead City, directed by Daniela Topol for New Georges, Heddatron, directed by Alex Timbers, for Le Freres Corbusier, Fault Lines, by Stephen Belber, directed by David Schwimmer, The Screwtape Letters, (309 performances at the West Side Theater in NYC), and enjoyed runs in Chicago and Washington D.C. and is still on a National Tour, Dixie’s Tupperware Party, directed by Alex Timbers at Ars Nova, and Escape from Bellevue, directed by Alex Timbers at The Village Theater. Cameron received her M.F.A. in scenic design at the College-Conservatory of Music at the University of Cincinnati, and her B.A. at Wesleyan University.
Learn (and see) more at http://www.cameronanderson.net |
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Christopher Ostrom, Lighting Designer
Mr. Ostrom’s career with Opera Boston spans 14 seasons and nearly 40 productions, most recently Maria Padilla, Cardillac, Fidelio, La Grande- Duchesse de Gérolstein, Tancredi, The Bartered Bride, Ernani, The Rise and Fall of the City of Mahagonny, The Pearl Fishers, Semele and the North American premiere of Peter Eötvös’ Angels and America. Other credits include Stiffelio, The Crucible, Vanessa, Suor Angelica, Gianni Schicchi, Once Upon a Mattress, The Cunning Little Vixen, The Consul and Werther (Chautauqua Opera), The Crucible (Mobile Opera), Tosca (Opera Providence) The Magic Flute and Rigoletto (Tulsa Opera), Inventing Van Gogh (Asolo Rep), And Now Ladies and Gentlemen, Miss Judy Garland (Backyard Productions), Dido and Aeneas, Hansel and Gretel and Albert Herring (New England Conservatory) and the world premiere of Eric Sawyer and John Shoptaw’s Our American Cousin (Academy of Music, Northampton MA). Other credits include productions for Lyric Stage, New Repertory Theatre, Stoneham Theatre, Cape Repertory Theatre, Wellfleet Harbor Actors Theatre, Provincetown Repertory Theatre, Boston Ballet, Snappy Dance Theatre, Northeast Youth Ballet, Massachusetts Youth Ballet, Toronto Symphony, National Arts Center (Ottawa), Christmas Revels, The Walnut Hill School, Northeastern University, Quinnipiac University and The Boston Conservatory. |
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