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The Met Opera and Juilliard Present "A Concert of Comic Operas," Conducted by James Levine, on February 11, 14, and 16, 2014 in Juilliard's Peter Jay Sharp Theater

Subhead

Featuring Excerpts and Scenes from Operas By Berlioz, Donizetti, and Mozart, and Stravinsky's "Mavra"

Start Date

Friday, February 7, 2014

Press Release Images

James Levine (Photo by Koichi Miura)
James Levine (Photo by Koichi Miura)

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The Metropolitan Opera and The Juilliard School present “A Concert of Comic Operas” featuring varied excerpts and scenes from operas by Berlioz, Donizetti, and Mozart, and Stravinsky’s rarely-performed Mavra, conducted by James Levine. The program includes Mozart’s Die Entführung aus dem Serail (Act 1); Stravinsky’s Mavra; Berlioz’s Benvenuto Cellini (Act 1, Scene 1); and Donizetti’s L’elisir d’amore (Act 1, Part 2). Performances take place on Tuesday, February 11 and Friday, February 14, 2014 at 8 PM; and Sunday, February 16, 2014 at 2 PM in Juilliard’s Peter Jay Sharp Theater. Met Opera Music Director James Levine conducts the Juilliard Orchestra and singers from the Met Opera’s Lindemann Young Artist Development Program, as well as singers from the Ellen and James S. Marcus Institute for Vocal Arts at Juilliard. Director Edward Berkeley will direct the program in a semi-staged concert version.

Singing in Mozart’s Die Entführung aus dem Serail (Act 1) will be Benjamin Bliss as Pedrillo; Ying Fang as Konstanze; Ryan Speedo Green as Osmin; Andrew Stenson as Belmonte; and Jake Alan Nelson as Selim (spoken role). The cast for Stravinsky’s Mavra includes Benjamin Bliss as Vassili, the Hussar; Mary-Jane Lee as Parasha; Lacey Jo Benter as The Neighbor; and guest artist Margaret Lattimore as The Mother. Singing in Berlioz’s Benvenuto Cellini (Act 1, Scene 1) will be Brandon Cedel as Balducci; Ying Fang as Teresa; Anthony Kalil as Cellini; and Yunpeng Wang as Fieramosca. The cast for Donizetti’s L’elisir d’amore (Act 1, Part 2)  includes Mario Chang as Nemorino; Ying Fang as Adina; Ryan Speedo Green as Dulcamara; Alexey Lavrov as Belcore; and Pureum Jo as Giannetta.

Conductor Daniel Stewart will be leading the singers and the Juilliard Orchestra on February 11 for Mavra; on February 14 for Die Entfuhrung aus dem Serail; and on February 16 for Benvenuto Cellini.

Tickets at $40 for orchestra seating and $30 for mezzanine level are available online at www.juilliard.edu/MetJuilliard, through CenterCharge (212) 721-6500, or at the Janet and Leonard Kramer Box Office at Juilliard. Box Office hours are Monday through Friday from 11 AM to 6 PM. For further information, call (212) 769-7406.

The Metropolitan Opera’s Lindemann Young Artist Development Program and The Juilliard School Partnership was announced in February 2008. The Lindemann Young Artist Development Program is under the leadership of James Levine, artistic director, and Brian Zeger, executive director. Mr. Zeger also is artistic director of the Ellen and James S. Marcus Institute for Vocal Arts at Juilliard. This collaboration aims to use the resources of both institutions to identify and educate the finest young opera singers and collaborative pianists for careers in the world’s great opera houses.

This is the fourth collaboration between the Met Opera and Juilliard. Last season’s critically-acclaimed co-production featured Mozart’s Così fan tutte, directed by Stephen Wadsworth and conducted by Alan Gilbert. Previous co-productions have included a concert staging of Gluck’s Armide in 2012, directed by Fabrizio Melano and conducted by Jane Glover, and Stephen Wadsworth’s 2011 production of Smetana’s The Bartered Bride, conducted by James Levine.

Metropolitan Opera Music Director James Levine returns this season to conduct the Met’s new production of Falstaff and the revivals of Così fan tutte (both of which will be transmitted live in HD), and Wozzeck, as well as all three concerts of the MET Orchestra’s annual subscription series at Carnegie Hall. Maestro Levine has developed a relationship with the Met that is unparalleled in its history and unique in the musical world today. He conducted the first-ever Met performances of Mozart’s Idomeneo and La Clemenza di Tito, Gershwin’s Porgy and Bess, Stravinsky’s Oedipus Rex, Verdi’s I Vespri Siciliani, I Lombardi, and Stiffelio, Weill’s Rise and Fall of the City of Mahagonny, Schoenberg’s Erwartung and Moses und Aron, Berg’s Lulu, Rossini’s La Cenerentola, and Berlioz’s Benvenuto Cellini, as well as the world premieres of John Corigliano’s The Ghosts of Versailles and John Harbison’s The Great Gatsby; all told, he has led nearly 2500 performances of 85 different operas at the Met since his company debut in 1971 leading Tosca. A book and documentary film celebrating Mr. Levine’s 40th anniversary with the company were released in the summer of 2011. Maestro Levine inaugurated the “Metropolitan Opera Presents” television series for PBS in 1977, founded the Met’s Lindemann Young Artist Development Program (LYADP) in 1980, returned Wagner’s complete Ring to the repertoire in 1989 (in the company’s first integral cycles in 50 years), and reinstated recitals and concerts with Met artists at the opera house—a former Met tradition. Expanding on that tradition, he and the MET Orchestra began touring in concert in 1991, and since then have performed around the world including at Expo ’92 in Seville, in Japan, on tours across the United States and Europe, and regularly during and after the opera season at Carnegie Hall. In addition to his responsibilities at the Met, Mr. Levine has had a distinguished career as a pianist and an active and avid recital collaborator, especially in Lieder and song repertoire.

Edward Berkeley is director of the Aspen Opera Theater Center where he has directed classics as well as new operas by Bright Sheng, Augusta Read Thomas, Michael Torke, Mark-Anthony Turnage, and Bernard Rands. This past season he directed the much-acclaimed production of Peter Grimes conducted by Robert Spano, starring Anthony Dean Griffey. He is a long-time faculty member of The Juilliard School and teaches Shakespeare at Circle in the Square Theater School. He was Artistic Director of New York's Willow Cabin Theater Company where he directed the Tony Award- and Drama Desk-nominated Wilder, Wilder, Wilder and productions for which he received numerous awards. Mr. Berkeley's New York Shakespeare Festival productions include Pericles and best revival winner The Tempest. He directed Beatrice and Benedict and l’Histoire du Soldat at the New York Philharmonic and John Adams's El Niño with the Atlanta Symphony and at Ravinia. Mr. Berkeley has also directed at the Library of Congress, Williamstown Theater Festival, and Old Globe Theater. In New York Mr. Berkeley directed the premiere of Ned Rorem's Our Town, Thomas Adès' Powder Her Face, and The Kaiser from Atlantis (which he also directed in L.A., Miami, Houston, Spoleto, and at Ravinia). Mr. Berkeley was an acting consultant for the Metropolitan Opera's Lindemann Young Artist Development Program, on guest faculty at Princeton University and Williams College, and a Dayton-Hudson and Benedict Distinguished Professor at Carleton College. He directed his own adaptation of Mendelssohn's A Midsummer Night's Dream at the New York Philharmonic, The Tender Land, Two Faces of Romeo and Juliet, a combining of Bernstein and Gounod, Madama Butterfly for Houston Grand Opera, and John Adams's The Death of Klinghoffer and Monteverdi’s L’incoronazione di Poppea at Juilliard.

Daniel Stewart is from San Francisco and in his second year of the Met's Lindemann Young Artist Development Program. He is currently music director of the Santa Cruz Symphony, was the recipient of the 2010 Aspen Music Festival's James Conlon Conducting Prize, and recently made debuts with the St. Louis Symphony and the New World Symphony. He has worked with the orchestras of the Metropolitan Opera, Boston Symphony, Hessischer Rundfunk, and Oper Frankfurt, and has served as cover conductor for The Philadelphia Orchestra, Los Angeles Philharmonic, St. Louis Symphony, Atlanta Symphony, and Opera Company of Philadelphia. He previously served as principal violist with numerous orchestras and remains an avid composer. He is a graduate of the Curtis Institute of Music and the Indiana University School of Music.

The Singers

Lacey Jo Benter, hailing from Cedar Rapids, Iowa, is in the Artist Diploma of Opera Studies program at The Juilliard School where she studies with Marlena Malas. She has appeared on the Juilliard stage as Ma Moss in Copland’s The Tender Land, Madame de Croissy in Poulenc’s Dialogues des Carmélites, Zita in Puccini's Gianni Schicchi, and Maurya in Vaughn Williams’ Riders to the Sea. In 2013, she attended the Chautauqua Institution where she reprised the role of Madame de Croissy and appeared as Donna Elvira in Mozart’s Don Giovanni. Ms. Benter has been a Bonfils-Stanton Apprentice Artist for Central City Opera and has attended the Castleton Festival where she worked with Lorin Maazel in Puccini’s Il trittico. She is a recipient of the Regina Sarfaty Rickless and Miriam Sarfaty Babin Voice Scholarship, the Michael L. Brunetti Memorial Scholarship in Voice, the Alice Tully Scholarship, and an award from the Hardesty & Beverley Peck Johnson Fund.

Benjamin Bliss, from Kansas City, Missouri, is in his first year of the Met Opera Lindemann Young Artist Development Program. Most recently, he was a member of the Domingo–Thornton Young Artist Program (now the Domingo–Colburn–Stein Young Artist Program) at the Los Angeles Opera, where he made his debut in the 2010–11 season as Benvolio in Roméo et Juliette. In 2012–13, he sang Daniel in L.A. Opera’s production of The Festival Play of Daniel in the Cathedral of Our Lady of the Angels, and Alfredo in La Traviata and Zelfirino in Il Viaggio a Reims at Wolf Trap Opera. Mr. Bliss has appeared as the Guard/Revolutionary in Krenek’s The Secret Kingdom and as Harlequin in Ullmann’s The Emperor of Atlantis with the Colburn Orchestra conducted by James Conlon. He has been the tenor soloist for Bach’s Magnificat with the Los Angeles Chamber Orchestra and for Bach's St. Matthew Passion with the La Jolla Symphony. He also sang the role of Male Chorus in Britten's The Rape of Lucretia with the Colburn Orchestra and Maestro Conlon and made his Los Angeles Philharmonic debut singing Bach under the baton of Gustavo Dudamel. Mr. Bliss is the recipient of the 2013 Operalia Don Plácido Domingo Sr. Zarzuela Prize. He was a second-place winner in the Metropolitan Opera National Council Auditions in the Western region in the 2012–13 season and a finalist in the Palm Springs Opera Guild Competition and the Loren Zachary Society Competition. Mr. Bliss holds a bachelor of fine arts in film production and a minor in music from Chapman University.

Brandon Cedel, from Charleston, South Carolina, is in his first year of the Met Opera Lindemann Young Artist Development. He made his company debut in the Met’s 2013 Summer Recital Series and his house debut as a Watchman in Strauss’s Die Frau ohne Schatten this past November. He is a 2013 winner of the Met’s National Council Grand Finals, a 2012 winner at the George London Awards and the Sullivan Award from the Sullivan Foundation, and a recipient of the Sara Tucker Study Grant from the Richard Tucker Music Foundation. He was also the first-place winner at the Giulio Gari Foundation Competition, Palm Beach Opera Vocal Competition, S. Livingston Mather Scholarship Competition, and Sue Goetz Ross Memorial Competition. In 2011, he was the Grand Prize winner at the Gerda Lissner International Vocal Competition. He also has received awards from the Liederkranz Foundation Vocal Competition, Licia Albanese–Puccini Foundation, Loren L. Zachary National Vocal Competition, Opera Index, Letters and Arts Foundation, and the Mario Lanza Competition. He has performed with the Opera Company of Philadelphia, Curtis Opera Theater, Opera Santa Barbara, Music Academy of the West, Opera Orchestra of New York, Castleton Festival, Royal Opera House Oman, and the Chautauqua Institution. He has also worked with orchestras including the Los Angeles Philharmonic, Philadelphia Orchestra, Harrisburg Symphony, Hershey Symphony, and the Marina Del Rey Symphony. His repertoire includes Figaro in Le nozze di Figaro, Leporello in Don Giovanni, Méphistophélès in Gounod’s Faust, the Forester in Janáček’s The Cunning Little Vixen, Antony in Barber’s Antony and Cleopatra, and Colline in La bohème. Mr. Cedel received his undergraduate degree from the Curtis Institute of Music. He was also a student at the Music Academy of the West, the Chautauqua Institution, and The Juilliard School’s Pre-College Division. He has been heard in recital and concert with Chicago’s Music in the Loft, the William Walton Estate in Ischia, the Castleton Festival, Tri Counties Association, Longwood Gardens, the Richard Tucker Music Foundation, the Cleveland Men’s Chorus, the Haverford Singers, and the Over the Rainbow Foundation. Future engagements include Opera Orchestra of New York, Philadelphia Chamber Music Society, Boston Lyric Opera, Opera Theatre of St. Louis, Los Angeles Philharmonic, the Metropolitan Opera, and the Glyndebourne Festival.

Mario Chang, from Guatemala City, Guatemala, is in his third year of the Met Opera Lindemann Young Artist Development Program and begins his first year in the Artist Diploma in Opera Studies Program at The Juilliard School. He made his Met debut in the 2012–13 season as the Fourth Esquire in the new production of Parsifal. He participated in the company’s 2013 Summer Recital Series and this month was heard at the Met as the Italian Singer in Der Rosenkavalier. Recent career highlights include a concert honoring Giuseppe Verdi with Puerto Rico’s Teatro de la Opera, his Israeli debut as Chevalier de la Force in Dialogues des Carmélites with the International Vocal Arts Institute in Tel Aviv, his Carnegie Hall debut with the Musical Olympus Foundation, and his debut with the Orchestre Symphonique de Bretagne in Rennes, France. Mr. Chang’s operatic performances include Nemorino in L’elisir d’amore with the Paiz International Cultural Festival and Gaston in La Traviata with Centro Cultural Miguel Ángel Asturias, both in his hometown, and Don Ottavio in Don Giovanni with Teatro Lirico D’Europa. He has appeared in concert in Mozart’s Requiem with Orquesta Sinfónica Nacional de Guatemala and in Beethoven’s Symphony No. 9 with Orquesta Centroamericana in Nicaragua. He was also a guest soloist with the St. Petersburg State Cappella Symphony Orchestra at Festival Music Olympus in Saint Petersburg. Mr. Chang is the recipient of a career grant from the Festival Musique et Vin au Clos Vougeot in Burgundy, France, the 2013 Hildegard Behrens Foundation Award for promising young classical artists and the 2011 overall first prize, the Plácido Domingo Prize, and the “Amigos de Sabadell” Prize from the Francisco Viñas Competition. He also received awards from the Concurso Canto Lírico de Trujillo, the Asociación Artista del Año, and the Asociación Dante Alighieri.

Ying Fang, from Ningbo, China, is in her first year of the Met Opera Lindemann Young Artist Development Program and the Artist Diploma in Opera Studies Program at The Juilliard School. Most recently, she sang the Contessa di Folleville in Rossini's Il Viaggio a Reims with Wolf Trap Opera and Orff’s Carmina Burana with the Choral Arts Society of Washington’s National Symphony Orchestra. She participated in the Met’s 2013 Summer Recital Series and made her house debut as Mme. Podtochina’s Daughter in Shostakovich’s The Nose this past September. In the 2012–13 season, Ms. Fang sang the title role of Mozart’s Zaide with the New World Symphony and Bellezza in Handel’s Il trionfo del tempo e del disinganno with Juilliard415, conducted by William Christie at Alice Tully Hall. She was also heard as Pamina in Die Zauberflöte with the Aspen Opera Theater Center, and as Zerlina in Don Giovanni and Fanny in Rossini’s La cambiale di matrimonio, both at Juilliard. At the age of 22, Ms. Fang was the recipient of China’s most prestigious award, the 2009 Seventh Chinese Golden Bell Award for Music, as well as the annual outstanding student award from the Shanghai Conservatory. She holds a bachelor of music degree from the Shanghai Conservatory and a master of music degree from The Juilliard School.

Ryan Speedo Green, from Suffolk, Virginia, is in his third year of the Met Opera Lindemann Young Artist Development Program. In the 2013–14 season, he returns to the Met to sing Bonze in Madama Butterfly and the Jailer in Tosca. He made his company debut as part of the 2011 Summer Recital Series and his house debut last season as the Mandarin in Turandot and the Second Knight in Parsifal. He also debuted with Utah Opera singing Don Basilio in the The Barber of Seville and Don Profondo in Rossini's Il Viaggio a Reims with Wolf Trap Opera. Other engagements include the Commendatore in Don Giovanni at The Juilliard School, Colline in La bohème with Central City Opera, the bass solo in Verdi’s Requiem with Hartford Chorale, Mozart’s “Coronation” Mass with the Virginia Symphony, and Beethoven’s Symphony No. 9 with the Norwalk Symphony Orchestra. Mr. Speedo Green also was a featured soloist in a celebration of composer Carlisle Floyd’s 85th birthday with the Florida State University Department of Music, directed by Mr. Floyd. As a resident artist with Opera Colorado, he performed Colline in La bohème and Don Magnifico in La Cenerentola. He was Grand Finals winner in the Met’s 2011 National Council Auditions, as well as the recipient of a 2011 Sara Tucker Study Grant from the Richard Tucker Music Foundation, and a recent finalist in the Palm Beach Opera Competition. Mr. Speedo Green received his master of music degree from Florida State University and his bachelor of music degree from the Hartt School of Music.

Soprano Pureum Jo, a native of Korea, is a master of music student at The Juilliard School, where she studies with Marlena Malas. Ms. Jo has appeared as Matsukaze in Matsukaze (Spoleto Festival USA, Lincoln Center Festival), Blanche in Dialogues des Carmélites (Chautauqua Institution), Sandrina in La finta giardiniera and Fraarte in Radamisto (The Juilliard School). She has covered Norina in Don Pasquale and Giulia in La scala di seta (The Juilliard School). She also has performed at Alice Tully Hall and Carnegie Hall, including performances with the Marilyn Horne Foundation Annual Recital The Song Continues…, Juilliard’s Wednesdays at One series, Songfest coached by Brian Zeger, and Juilliard415. Ms. Jo has appeared as a soloist in Haydn’s Mass in Time of War and Mozart’s Laudate Dominum with Voice of Ascension in New York City. She is the recipient of the Anna Case MacKay Scholarship.

Anthony Kalil, from Goshen, Indiana, is in his second year of the Met Opera Lindemann Young Artist Development Program. He made his Met debut in November as the Young Man in Die Frau ohne Schatten and returns this month as the First Guard in The Magic Flute. He made his professional debut as Alfredo in La Traviata with Opera on the Avalon in St. John’s, Newfoundland, Canada. Other performances include his Alice Tully Hall debut in a gala concert with the I Sing Beijing Program, the tenor solo in Beethoven’s Symphony No. 9 with the Norwalk Symphony Orchestra, Lenski in Eugene Onegin with Vashon Opera, and the I Sing Beijing Program in Beijing, China. Further career highlights include Rodolfo in La bohème, Cavaradossi in Tosca, Pinkerton in Madama Butterfly, the Duke of Mantua in Rigoletto, Canio in Pagliacci, and Eisenstein in Die Fledermaus. Mr. Kalil is the recipient of a 2013 Sara Tucker Study Grant from the Richard Tucker Music Foundation and second prize from the 2013 Gerda Lissner Competition. He was a semi-finalist in the Met’s 2011 National Council Auditions.

Grammy® nominated, mezzo-soprano Margaret Lattimore has been praised for her “glorious instrument” and as an “undisputed star…who has it all – looks, intelligence, musicianship, personality, technique, and a voice of bewitching amber color.” (The Boston Globe) During the 2013-14 season, Ms. Lattimore returns to the Metropolitan Opera as the Countess in Andrea Chénier, the Third Lady in The Magic Flute, and for the North American premiere of Nico Muhly’s Two Boys. She also makes her recital debut at the Library of Congress, returns to the Bach Festival Society of Winter Park for Prokofiev’s Alexander Nevsky, and performs Beethoven’s Symphony No. 9 and Brahms’ Alto Rhapsody with the Louisiana Philharmonic Orchestra. After winning the Metropolitan Opera National Council Auditions at the age of 24, Margaret Lattimore joined the Met Opera Lindemann Young Artist Development Program. In October of that same year, she made her Met debut as Dorotea in Stiffelio. Her subsequent engagements at the Met include Jordan Baker in The Great Gatsby, Meg Page in Falstaff, and Marcellina in Le nozze di Figaro. Recent highlights include the world premiere of Nico Muhly’s Dark Sisters with Opera Philadelphia and Gotham Chamber Opera and performances with New York City Opera, Washington National Opera, Dallas Opera, Michigan Opera Theatre, Florida Grand Opera, Central City Opera, San Diego Opera, and Boston Lyric Opera. Margaret Lattimore is a graduate of the Crane School of Music at the State University of New York at Potsdam where she met her voice teacher, Patricia Misslin. She resides with her husband and young son in New York.

Alexey Lavrov, from the Komi Republic, Russia, is in his second year of the Met Opera Lindemann Young Artist Development Program. He can be heard at the Met this season as Count Dominik in Arabella, the Huntsman in Rusalka, and Yamadori in Madama Butterfly. He made his company debut last season as the Herald in Otello and the Flemish Deputy in Don Carlo. Other recent career highlights include a recital with the Friends of Chamber Music Society of Miami with Ken Noda, Donald in Billy Budd at the Teatro Municipal de Santiago, Chile, and a Flemish Deputy in Don Carlo at the Théâtre du Capitole Toulouse. Mr. Lavrov made his debut as Demetrius in A Midsummer Night’s Dream at the Stanislavsky and Nemirovich-Danchenko Music Theatre in Moscow. He was also the fourth-prize winner in the Concurso Internacional de Canto Competition at Buenos Aires’s Teatro Colón. Other career highlights include his debut at the Mikhailovsky Theatre, where he sang Silvio in Pagliacci and Robert in Iolanta, and the title role of Eugene Onegin at Germany’s Kammeroper Schloss Rheinsberg Festival and on tour with the Mikhailovsky Theatre in Japan. Mr. Lavrov was a member of the Young Artist Program at the Moscow’s Bolshoi Theatre, where he sang Moralès in Carmen, Shchelkalov in Boris Godunov, and Robert in Iolanta. He was the winner of the 2010 Hariclea Darclée International Voice Competition and the Three Centuries of Classical Romance Singing Competition. He is also a recipient of the second prize from the Byulbyul International Vocal Competition and the third prize from the Elena Obraztsova International Competition, and received a diploma from the International Rachmaninov Competition. Mr. Lavrov studied voice at the Republican Art College, Syktyvkar and the St. Petersburg State Conservatory. He is the 2014 recipient of the Hildegard Behrens Foundation Award.

Mary-Jane Lee, from Lethbridge, Alberta, Canada, is in her first year of the Met Opera Lindemann Young Artist Development Program. Most recently, she was featured as the Governess in The Turn of the Screw, Female Chorus in The Rape of Lucretia, and the Countess in Capriccio with the Santa Fe Opera Apprentice Showcase. She has sung Rosalinde in Die Fledermaus with Wichita Grand Opera, and the Countess in Le nozze di Figaro and Musetta in La bohème with Aspen Opera Theater Center. Further career highlights for Ms. Lee include the title role of Arabella, Ciesca in Gianni Schicchi, the Prima Donna in the Prologue of Ariadne auf Naxos, Donna Elvira in Don Giovanni, Desirée Armfeldt in Sondheim’s A Little Night Music, Micaëla in Carmen (with the Chautauqua Institution), Adina in L’elisir d’amore, the Mother in Menotti’s Amahl and the Night Visitors, the title role in Douglas Moore’s The Ballad of Baby Doe, and in Moreno Torroba’s Luisa Fernanda with Utah State University Opera Theater. A recipient of the Cecilia Bartoli Scholarship, the Anna Case MacKay Memorial Award, and the prize of the Jerry and Nanette Finger Foundation, Ms. Lee also received awards from the Metropolitan Opera National Council Auditions, the Palm Beach Opera Vocal Competition, and the Dallas Opera Guild Competition. She received her master’s degree in vocal performance from Rice University’s Shepherd School of Music and completed her bachelor of music degree at Utah State University, with additional training from the Santa Fe Opera Apprentice Program, Aspen Music Festival, and the Chautauqua Institution.

Baritone Jake Alan Nelson, from Plano, Texas, is an undergraduate student at The Juilliard School studying with Sanford Sylvan. While performing various theater and musical theatre roles, he also worked as a master carpenter and sound technician in the North Dallas area for the past six years. In the last year, Mr. Nelson was seen in the Metropolitan Opera and The Juilliard School’s co-production of Mozart's Così fan tutte directed by Stephen Wadsworth, Le donne curiose directed by Mary Birnbaum, and a Russian Liederabend coached by Gina Levinson. This past summer, he attended Dolora Zajick's Institute for Young Dramatic Voices in Salt Lake City, Utah where he studied with Ms. Zajick, Richard Bado, Anthony Manoli, and Kathryn LaBouff. This season, he appeared as Figaro in a Juilliard production of Le nozze di Figaro. Mr. Nelson is a recipient of the Philo Higley Scholarship, Otto Lehmann Scholarship, and the Grunin Prize in Voice.

Andrew Stenson, from Rochester, Minnesota is in his second year of the Met Opera’s Lindemann Young Artist Development Program. In the 2013-14 season, Mr. Stenson will sing the role of Demetrius in the return of The Enchanted Island at the Met, and he will also return to Seattle Opera to sing Tonio in La fille du regiment. In the 2012-13 season, he sang the Third Esquire in Parsifal at the Met.  Further career highlights include his debut with the San Francisco Symphony in Handel’s Messiah and Brighella in a new production of Ariadne auf Naxos with the Glyndebourne Festival Opera. As a member of the Seattle Opera Young Artist Program, Mr. Stenson performed Don Ottavio in Don Giovanni, the title role in Werther, and Ernesto in Don Pasquale. On the Seattle Opera mainstage, he performed Arturo in Lucia di Lammermoor, Remendado in Carmen, and Orphée in Orphée et Euridice. Recent engagements include Cassio in Knoxville Opera’s production of Otello, Man with Old Luggage in Argento’s Postcard from Morocco as an apprentice artist in San Francisco Opera’s Merola Program, Jimmy O’Keefe in John Musto’s Later the Same Evening, and Martin in The Tender Land with Glimmerglass Opera. Mr. Stenson was also a Young Artist with the Santa Fe Opera where he covered Head Man in The Letter and received the D. Gramm Memorial Award. He was a Regional Finalist in the 2010 Metropolitan Opera National Council Auditions and the recipient of a 2011 Sara Tucker Study Grant from the Richard Tucker Foundation. Mr. Stenson completed his master’s degree in music at Cincinnati College-Conservatory of Music and earned his bachelor of arts in music from Luther College. 

Yunpeng Wang, from Shenzhen, China, is in his first year of the Met Opera Lindemann Young Artist Development Program. Most recently, he participated in the Rossini Opera Festival’s Accademia Rossiniana and in the Festival’s production of Il Viaggio a Reims in Pesaro, Italy. In the 2012–13 season, he made his Carnegie Hall debut in collaboration with the Musical Olympus Festival and his Alice Tully Hall debut with the I Sing Beijing Program and the New York City Opera Orchestra. He won three awards at Plácido Domingo’s Operalia Competition, including second prize, the Zarzuela prize, and the audience award. As a winner of Operalia, he appeared in the “Voices of 2012” concert with the Budapest Symphony Orchestra MÁV in Pécs, Hungary. Other recent engagements include Beethoven’s Symphony No. 9 with the Hartford Symphony and the Yellow River Cantata by Xian Xinghai. Mr. Wang has also sung at the National Centre for the Performing Arts in Beijing, Hong Kong Cultural Centre, Tianjin Grand Theatre, and Zhongshan Concert Hall in Beijing, China. His roles include Athanaël in Thaïs, Guglielmo in Così fan tutte, Marco in Gianni Schicchi, Eisenstein in Die Fledermaus, and the Sorcerer in Dido and Aeneas. He received a bachelor’s degree in music from the Central Conservatory in Beijing and a master’s degree in vocal performance from the Manhattan School of Music. Future engagements include Silvio in Pagliacci at the National Centre for the Performing Arts in Beijing.

About the Met’s Lindemann Young Artist Development Program

Founded in 1980 by James Levine, the Met’s Lindemann Young Artist Development Program, named after benefactors Mr. and Mrs. George Lindemann, has served as a training program for many well-known artists, including Stephanie Blythe, Dwayne Croft, Paul Groves, Nathan Gunn, Mariusz Kwiecien, Aprile Millo, Sondra Radvanovsky, and Dawn Upshaw. Participants receive a yearly stipend in addition to musical and language coaching with the Met’s artistic staff. Through the Juilliard partnership, the Met’s Lindemann Program and Juilliard Vocal Arts share some full-time faculty, guest faculty, master classes, and a host of other resources, offering a rich developmental environment to educate the next generation. Juilliard’s related educational courses are available to the young artists, and participants also have access to the extensive resources of Juilliard’s Lila Acheson Wallace Library. Likewise, Juilliard students now enjoy access to master classes, dress rehearsals, and performances at the Met as a result of the new collaboration, enabling students at every level to take advantage of the world-class opera across the plaza. Juilliard students may participate as guest artists of Lindemann presentations, and Lindemann artists appear as guest artists at Juilliard performances, thus increasing the potential for performance opportunities for all participants. The Met’s young artist program always has been open to participants with a variety of educational backgrounds from the United States and abroad. Auditions are held annually at the opera house. Participants take part in the program for a maximum of three years, with contracts renewed on an annual basis.

About Juilliard’s Ellen and James S. Marcus Institute for Vocal Arts

Juilliard’s Ellen and James S. Marcus Institute for Vocal Arts annually enrolls approximately 70 singers in a variety of undergraduate (bachelor of music, diploma) and graduate degree programs (master of music, graduate diploma, artist diploma). Juilliard Opera presents fully-staged productions each season, casting Juilliard students from all of the department’s degree and diploma programs in all roles, working with prominent international guest conductors and directors. The Juilliard School has presented staged operas since 1929, with a full department created the following year. Master classes at Juilliard have featured Sir Thomas Allen, Joyce DiDonato, Renée Fleming, and Renata Scotto. Among the world-renowned singers who have studied at Juilliard are Simon Estes, Renée Fleming, Audra McDonald, Leontyne Price, Risë Stevens, Tatiana Troyanos, and Shirley Verrett. Recent alumni include Paul Appleby, Julie Boulianne, Sasha Cooke, Haeran Hong, Erin Morley, Emalie Savoy, Shenyang, and Jennifer Zetlan.

Juilliard Opera is supported by the vision and generous lead funding of the International Foundation for Arts and Culture and its Chairman, Dr. Haruhisa Handa.

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Contacts:

 

Lee Abrahamian / Peter Clark / Sam Neuman

Metropolitan Opera

(212) 870-7457, [email protected] / [email protected] / [email protected]

 

Janet Kessin / Gloria Gottschalk

The Juilliard School

(212) 721-0965, [email protected]