The title character of Madama Butterfly is one of the defining roles in opera. Cio-Cio-san, a young geisha, clings to the belief that her marriage to an American naval officer is a loving and permanent one. The story, based on a literary work, sparks ideas about cultural and racial bias. The lyric beauty of Puccini’s score, especially the music for the thoroughly believable lead role, has made Butterfly timeless. Sung in Italian with English supertitles. #AOButterfly
Friday, March 17, 2017 at 8 PM
Sunday, March 19, 2017 at 3 PM
Maryland Hall for the Creative Arts
801 Chase Street, Annapolis, MD
Section A Tickets: $82
Section B Tickets: $67
Section C Tickets: $42
Student Tickets: $27
LOVE AND LOSS: MADAME BUTTERFLY’S FATE IN A CHANGING JAPAN
Saturday, February 25 | 3 PM | FREE!
Maryland Hall for the Creative Arts | 801 Chase Street, Annapolis
To register: email firstname.lastname@example.org, or call 410-267-8135
Daniel Masterson, retired USNA professor of history, author and noted scholar, will be discussing the opening of the Far East, why the United States, particularly the Navy, saw this as an opportunity, and the outcomes of the emerging relationship between Japan and the United States. Professor Masterson specialized in civil-military relations, race relations, modern Peru, immigration and the Japanese diaspora. He is the recipient of the Franklin D. Roosevelt Research Award, two Cornell University Research Awards, two National Endowment for the Humanities Awards to Cornell and Stanford Universities and numerous Naval Academy Research Awards as well as a presenter at the State Department’s Scholar-Diplomat Seminar.
THE ART OF KIMONO
Sunday, March 12 | 3 PM | $15 per person
Maryland Hall for the Creative Arts | 801 Chase Street
Click here to register
Japanese textile scholar and Consulting Curator for the recent Kimono and Obi exhibition at the Baltimore Museum of Art, Ann Marie Moeller will be talking about the textile’s history and how the kimono communicates information such as social class, marriage status, age, education, religious beliefs, and a sense of humor through its design and patterns. Several kimonos from the Opera’s collection will be on display, as well as a demonstration of how a kimono is worn. Ms. Moeller lectures nationally for a wide variety of institutions including the Smithsonian Associates, The Asia Society, The Smithsonian Renwick Gallery, The Textile Museum, The Smithsonian Museum of American Art and the Japan Information and Culture Center, Embassy of Japan. She is the main author of Reading Kimono: Nature Symbols and Motifs on Japanese Kimono to be published by Schiffer.
PRE-OPERA TALK: PUCCINI’S BUTTERFLY
Friday, March 17 at 6:45 PM & Sunday, March 19 at 1:45 PM | FREE!
Maryland Hall for the Creative Arts | 801 Chase Street, Annapolis
To register: email email@example.com, or call 410-267-8135
Opera authority and Annapolis Opera Advisory Trustee, Nancie Kennedy, will share her knowledge on the inspiration for Puccini’s story, how it was received by the public, notable performers who have portrayed the title roles, and other insights in her pre-performance presentations. The opera deals with controversial themes of racial and cultural bias, and its hauntingly lyrical score has made it a favorite with music lovers. Mrs. Kennedy’s music career includes teaching voice at The Peabody Institute and Eastman School of Music, where she was the acting chair of the voice faculty at the Eastman Community School of Music. She has been giving educational lectures prior to Annapolis Opera performances for over 10 years.
Meet the Artists
In her young career, Greek soprano Eleni Calenos is capturing critics’ and audiences’ admiration for the clarity, warmth and beauty of her lyric voice and her dignified characterizations. Of her performance as Cio-Cio-San in Madama Butterfly, the Houston Press said, “The phenomenon was the Cio-Cio-San of Greek soprano Eleni Calenos, whose nuanced characterization was a true wonder to hear. She sailed through her dramatic arias as if buoyed by the stirring music.” Engagements for 2014-2015 included Mimi in La bohème with Palm Beach Opera, Liù with the Middlebury Opera Company, and Madama Butterfly with Ashlawn Opera as well as Debussy’s L’enfant prodigue with the Metro Chamber Orchestra of New York, Rachmaninoff’s The Bells with the Lancaster Symphony Orchestra, and Madison Opera’s Opera in the Park. The 2015-2016 season sees her return to Odyssey Opera as L’Infante in Massenet’s Le Cid, Madison Opera as Mimi in La bohème, and Palm Beach Opera as Micäela in Carmen as well as her role debuts of Desdemona in Otello with the Phoenicia Music Festival and the title role in Tosca with Loft Opera. In concert she sings Verdi’s Requiem with the Grand Junction Symphony Orchestra and Queens College, and joins the Sheboygan Symphony Orchestra for Respighi’s Lauda per la Nativita del Signore.
Operatic engagements from the past few seasons include the role of the Countess in Le nozze di Figaro (Tulsa Opera, Austin Lyric Opera, Opera in the Heights in Houston, OSH Opera in NY, and a cover at the 2010 Glimmerglass Festival as a member of the Young American Artists Program), Antonia in Les contes d’Hoffmann (Palm Beach Opera), Micaëla in Carmen (Opera Idaho), Cio-Cio-San in Madama Butterfly (Evansville Philharmonic Orchestra, Shreveport Opera, Mississippi Opera & Opera Idaho), Nedda in I pagliacci (Shreveport Opera), Silvia in Mascagni’s Zanetto (Odyssey Opera), Gilda in Rigoletto (Sarasota Opera), Hanna Glawari in Die lustige Witwe (Zomeropera, Belgium), Mimi in La bohème (Opera Idaho), Donna Elvira in Don Giovanni and Valencienne in The Merry Widow (Utah Festival Opera), Donna Anna in Don Giovanni (Shreveport Opera), Fiordiligi in Così fan tutte (Barbados Music Festival), Giorgetta in Il tabarro (Harrisburg Opera Association), Liù in Turandot (Shreveport Opera, Boston Chorus Pro Musica), Medora in Il corsaro (Hellenic Music Foundation, NY), as well as Donna Elvira in Don Giovanni (Martina Arroyo Foundation). Of her performance as Donna Elvira, The New York Times said, “Eleni Calenos sang with a strong, clear soprano and was persuasive as a suffering yet haughty Donna Elvira.” Other performed roles in her repertoire include Pamina in Die Zauberflöte, and the title role of Suor Angelica.
As a concert soloist, Ms. Calenos recently sang the soprano solo in Brahms’ Ein Deutsches Requiem with the Lancaster Symphony Orchestra and appeared at Avery Fisher Hall in Rutter’s Magnificat. Her repertoire includes Mahler’s Symphony No. 2 and Beethoven’s Missa Solemnis (Queens College Choral Society, NY), Nielsen’s Hymnus Amoris and the title role in Handel’s oratorio Theodora (Hudson Valley Singers and the New York Metamorphoses Orchestra), as well as Strauss’ Vier letzte Lieder (Cambridge Symphony Orchestra). She has also sung Verdi’s Requiem (Penn State University, Masterworks Chorale, Boston University Symphony, Queens College Symphony), Poulenc’s Gloria, Barber’s Knoxville: Summer of 1915, and participated in the Meyerbeer Retrospective concert with Maestra Eve Queler (Opera Orchestra of New York). In 2006, she made a recording of George Tsontakis’ Mirologhia, which was released on the KOCH International Classics label with the Albany Symphony Orchestra.
Ms. Calenos has won numerous awards including the Gerda Lissner Foundation award (2010), the “Judges Award” from the Connecticut Opera Guild Competition (2009), the Audience Favorite award at the Irma Cooper Competition (2008), the Schuyler Foundation “Career Bridges” Award (2006-2008), and was a finalist of the Oratorio Society of NY Competition (2010), the Renata Tebaldi International Vocal Competition (2009), and the Concurso del Canto de Bilbao (2008). Ms. Calenos holds a Performance Certificate/Degree from the Opera Institute of Boston University, a Master of Music in Vocal Performance from Queens College, City University of New York, and a Diploma in Violoncello Performance from the Municipal Conservatory of Thessaloniki, Greece.
Winner of a 2012-13 Sullivan Career Grant, tenor Jason Slayden has been celebrated for the warmth and beauty of his voice, as well as demonstrating “considerable subtlety as an actor.” In the 2014-2015 season, Jason premiered with Gotham Chamber Opera in their double bill of Bohuslav Martinů’s Alexandre Bis and Veselohra na Mostĕ (Comedy on the Bridge) and returned to Arizona Opera as the Duke in Verdi’s Rigoletto. He then returned to the Jacksonville Symphony for Handel’s Messiah and made debuts with Florida Grand Opera as Ferrando in Mozart’s Cosi fan tutte, Austin Lyric Opera as Don Ottavio in Don Giovanni, and Ash Lawn Opera as Pinkerton in Madama Butterfly. The 2015-2016 season included his debut with Lyric Opera of Chicago as Tybalt in Roméo et Juliette, Virginia Opera as Rodolfo in La bohème, Cedar Rapids Opera Theatre as Alfredo in La traviata, Opera Santa Barbara as Rinuccio in Gianni Schicchi, Don José in Tragedy of Carmen with the Colorado Music Festival, Pinkerton with the Berkshire Opera Festival, and the Lexington Philharmonic for their Baroque Christmas Special concert. Future seasons include performances with Pacific Opera Victoria and Michigan Opera Theatre.
The 2013-2014 season brought several Verdi role debuts, including il Duca di Mantua in Rigoletto with Opera Memphis, Gabriele Adorno in Simon Boccanegra with Kentucky Opera, and Cassio in Otello for Nashville Opera. Also in 2014 was a reprise of his Roldofo for Arizona Opera’s La Bohème, hailed by the press as “impeccably expressive.” In concert that season he performed with the Jacksonville Symphony in Verdi’s Messa da Requiem, the Dayton Philharmonic for Beethoven’s Ninth Symphony and with L’Opéra de Montreal for their Gala 18th Edition: A Verdi Celebration. In Verdi’s Requiem with the Portland Symphonic Choir critics said, “Slayden supplied a heroic tenor that was remarkably expressive and supported with terrific stamina. His “Ingemisco teamquam reus” (“I groan as a guilty one”) beautifully forged power with lyricism.”
The 2012-13 season marked Jason’s international debut, which attracted much critical acclaim. As Rodolfo in Vancouver Opera’s La Bohème, critics praised him as a “heartfelt, note-perfect tenor,” and said, “His ‘Che gelida manina’ was refreshingly realistic . . . and was dramatically as well as musically interesting.” Prior to that he was a Filene Young Artist with Wolf Trap Opera, where he performed Don Ottavio in Don Giovanni, a recital with pianist Steven Blier, and the tenor solo in Beethoven’s Ninth Symphony with the National Symphony Orchestra. Additional engagements for the 2012-2013 season included his debut with Minnesota Opera in Thomas’s Hamlet as Laerte, and a return to Des Moines Metro Opera to premiere his first Roméo in Roméo et Juliette.
Mr. Slayden joined the Seattle Opera as a Young Artist for the 2011-2012 season, where he made his main stage debut as Uldino in Verdi’s Atilla. In the Young Artist program, he sang the title role in Massenet’s Werther and Ernesto in Donizetti’s Don Pasquale. In 2011, Jason won the Gerda Lissner Foundation First Prize, a George London Foundation encouragement award, and was a Metropolitan Opera National council semi-finalist. That same year, Mr. Slayden returned to the Santa Fe Opera as a principal artist to sing the role of Andres in Berg’s Wozzeck and, at the last minute, stepped in to sing two performances of La Bohème as Rodolfo. He was an apprentice artist at Santa Fe in the 2009 and 2010 seasons, where he was awarded the Donald Gramm Memorial Award and the Richard Tucker Memorial Award for apprentices. In addition, Mr.Slayden has been awarded both the Sullivan Foundation Career Grant and the Catherine Filene Shouse Career Development Grant.
In concert, Mr. Slayden has also performed as a soloist with the Dayton Philharmonic in Rossini’s Stabat Mater, the Seattle Youth Symphony in Verdi’s Messa da Requiem, Utah Symphony Orchestra in Roméo et Juliette by Hector Berlioz, Concert: Nova in Mahler’s Das Lied von der Erde and Musica Sacra Cincinnati in the Gounod Messe Solennelle de Saint-Cecile.
American mezzo-soprano Kathryn Leemhuis is widely gathering acclaim for having “a large, beautiful, dark instrument, intelligently used, and spot-on dramatic timing” (St. Louis Today), and her voice has been described as “stunning in its combination of musical and dramatic nuance” (Living at the Opera). Most recently, Ms. Leemhuis made her role and company debuts with Cincinnati Opera as Inez in Verdi’s Il Trovatore, and as the Mother in Menotti’s Amahl and the Night Visitors with the Cincinnati Chamber Orchestra. She returned to the Tanglewood Music Festival as Paquette in Bernstein’s Candide with the Boston Symphony Orchestra following a triumphant run as Dorabella in Mozart’s Cosi fan tutte with Fort Worth Opera. The Dallas Morning News hailed Ms. Leemhuis’s Dorabella as “ravishing,” declaring that “her sheer vocal beauty allied to nimbleness and an astonishing range of dynamic and coloristic nuance.” Ms. Leemhuis also recently returned to DuPage Opera as Dorabella in Cosi fan tutte, and made her debut with Dallas Opera as Javotte in Massenet’s Manon.
In the 2013-2014 operatic season, Ms. Leemhuis appeared as Carrie in Ash Lawn Opera’s production of Rodger & Hammerstein’s Carousel. She performed as the mezzo soloist in Haydn’s Missa in Angustiis with Chicago’s Music of the Baroque and as the mezzo soloist with the Apollo Chorus of Chicago in Handel’s Messiah. Ms. Leemhuis then traveled to Macon, Georgia to sing Hänsel in Humperdinck’s Hänsel und Gretel with the Macon Symphony Orchestra, and made her role and company debut as Florence Pike in Britten’s Albert Herring with Florentine Opera to great success. Additionally, Ms. Leemhuis appeared with the Richmond Symphony to present Berlioz’s Les nuits d’été, and the performance was graciously embraced: “Her dark lower register tones seemed to fill the considerable space of the Carpenter Theatre and impose a profound quiet on both the accompanying musicians and the audience. It was a remarkable display of artistry exercising spell-binding authority” (Virginia Classical Music).
The 2011-2012 season found Ms. Leemhuis understudying the role of Giulietta in Offenbach’s Les contes d’Hoffmann at the Lyric Opera of Chicago. She made her role debut as Suzuki in DuPage Opera’s production of Puccini’s Madama Butterfly, and sang the mezzo solo in Mendelssohn’s Die erste Walpurgisnacht with the Richmond Symphony Orchestra. Ms. Leemhuis also made a thrilling return to Opera Theatre St. Louis as Dorabella in a production of Mozart’s Cosi fan tutte. Opera News Magazine praised her rendition, asserting, “As Dorabella, mezzo-soprano Kathryn Leemhuis matched Willis-Sorensen in vocal beauty and musical sophistication, and showed a wonderful comic side, drowning her grief in macaroons and rendering ‘Smanie implacabili’ as a petulant rant.” Ms. Leemhuis’s 2010-2011 season included her company debut as Amaltea in Rossini’s Mosè in Egitto at the Chicago Opera Theater, and performances as Paquette in Bernstein’s Candide with both the esteemed Ravinia Festival and the Los Angeles Philharmonic at the Hollywood Bowl. Making her DuPage Opera debut, Ms. Leemhuis portrayed Zita in Puccini’s Gianni Schicchi, and culminated the season as Zerlina in Opera Theatre St. Louis’ production of Mozart’s Don Giovanni.
While in the Lyric Opera of Chicago’s Ryan Opera Center, Ms. Leemhuis portrayed the roles of Giovanna in Verdi’s Ernani, Glasa in Janácek’s Kát’a Kabanová, Javotte in Massenet’s Manon, and Kunstgewerblerin in Berg’s Lulu. She understudied Marguerite in Berlioz’s La damnation de Faust, Siebel in Gounod’s Faust, Varvara in Janácek’s Kát’a Kabanová, Kate Pinkerton in Puccini’s Madama Butterfly and Lola in Mascagni’s Cavalleria Rusticana. Ms. Leemhuis made two significant role debuts: Donna Elvira in Mozart’s Don Giovanni and Rosina in Rossini’s Il barbiere di Siviglia, both in Ryan Opera Center productions. She also performed Dorabella at the Tanglewood Music Center under the baton of Maestro James Levine, Flora in Verdi’s La traviata at Opera Colorado under Maestro Stephen Lord, and Tulip in the collegiate premiere of Bolcom’s A Wedding at Indiana University. Ms. Leemhuis has been young artist with esteemed programs such as Opera Theatre St. Louis’ Gerdine Young Artist Program, the Tanglewood Music Center, the Carmel Bach Festival, and Ravinia’s Steans Institute.
Ms. Leemhuis is the first place winner of the 2015 Shreveport Opera Singer of the Year Competition, the 2013 New York Lyric Opera Vocal Competition, the 2013 Opera at Florham Vocal Competition, the 2012 Bel Canto Competition, and the 2012 Heida Hermanns Competition. She is the second place winner of the 2013 Opera Birmingham Vocal Competition, the 2013 Florida Grand Opera Competition, the 2011 Gerda Lissner Foundation Vocal Competition, and the 2010 Fort Worth McCammon Competition. She is the third place winner of the 2010 Licia Albanese-Puccini Competition, and a National Semi-Finalist in the 2012 Metropolitan Opera National Council Auditions. Ms. Leemhuis has also received prizes from the Sullivan Foundation, the George London Foundation, the Orpheus Vocal Competition, and the Opera Columbus Vocal Competition.
Jacob Lassetter, baritone, is thrilled to make his Annapolis Opera debut as Sharpless in Madama Butterfly. With his powerful voice and commanding stage presence, he enjoys an exciting and vibrant career on both the operatic and concert stage. Critics have praised his dignified characterizations, his soaring high range, and his deep, rich tone quality.
In 2016 Mr. Lassetter sang Mendelssohn’s Elijah with the Bassi Brugnatelli Symposium in Robbiate, Italy, and Haydn’s Lord Nelson Mass in Minnesota’s Twin Cities. In 2015 he sang Beethoven’s Symphony no. 9 at the University of Wisconsin – Stevens Point, Bach’s Mass in B Minor with the Rochester Choral Arts Ensemble, and made his Wagner debut in the role of Wolfram in Tannhäuser with Apotheosis Opera in New York City.
Other recent performances include engagements with Music by the Lake as Horace Tabor in The Ballad of Baby Doe and in his signature role of Germont in La Traviata. He most recently sang Germont with Opera Theatre of the Rockies, and the role also served as his Italian debut at the Teatro Accademico in Castelfranco Veneto. He has earned critical acclaim for Orff’s Carmina Burana, performing with such companies as the Lexington Philharmonic, the Rochester Choral Arts Ensemble, the Ottumwa Symphony, the Grinnell Symphony, and the Chicago Bar Association Symphony Orchestra at Orchestra Hall in Chicago. He made his Orchestra Hall debut in Fauré’s Requiem with Manhattan Concert Productions. He has performed frequently with the Peninsula Music Festival, singing Beethoven’s Symphony no. 9, Verdi’s Requiem, and the title role of Le Nozze di Figaro.
Mr. Lassetter’s additional operatic credits include Michele in Il Tabarro, the title role in Don Giovanni, Enrico in Lucia di Lammermoor, Don Alfonso in Cosi fan tutte, and Griswold in Dominick Argento’s The Voyage of Edgar Allan Poe. Other concert credits include Walton’s Belshazzar’s Feast, Mozart’s Requiem, Handel’s Messiah, and Bach’s St. John Passion and St. Matthew Passion. A frequent recitalist, he made his debut at New York City’s Carnegie Hall in 2008 alongside his wife, soprano Karen Kanakis.
A 2016 Finalist in the National Opera Association Vocal Competition, Mr. Lassetter has been a Semi-finalist in the Marguerite McCammon Voice Competition, a Regional Finalist in the National Association of Teachers of Singing Artist Award Competition, and received the Encouragement Award from the Southern Ohio District of The Metropolitan Opera National Council Auditions. He is an alumnus of the Young Artist Programs of Chautauqua Opera, Des Moines Metro Opera, and Utah Festival Opera, and holds degrees from Louisiana State University, The University of North Texas, and the University of Cincinnati College-Conservatory of Music.
Praised by OPERA NEWS for his “fine comic flair and well-schooled voice,” tenor Anthony Webb is in demand throughout the United States for both opera and concert engagements. Recent highlights include his Carnegie Hall debut as Jack Prence in Merry Mount under the baton on Michael Christie, Goro (Madama Butterfly) with Opera Colorado, Harold “Mitch” Mitchell (A Streetcar Named Desire) with Union Avenue Opera, and Don Ottavio (Don Giovanni) with Union Avenue Opera and Tacoma Opera.
In 2016, he sang the role of Judas in the U.S. premiere of Sven-David Sandström’s St. Matthew Passion at Pacific Lutheran University, joining a prestigious cast lead by Angela Meade. Upcoming engagements include Beppe (I pagliacci) and Spoletta (Tosca) with Vashon Opera, and the tenor solo in Orff’s Carmina Burana with the San Antonio Symphony.
Anthony’s 2014-15 season included role debuts as Sam (Susannah) with St. PetersburgOpera, Mayor Upfold (Albert Herring) with Vashon Opera, and Count Almaviva (Il barbiere di Siviglia) with Crested Butte Music Festival. He sang the roles of Blasius and Gavin in the world premiere of Hugo Kauder’s Merlin, and was the tenor soloist in Carmina Burana with the Rochester Philharmonic Orchestra.
His 2013-14 season began with Little Opera Theater of New York’s revival of Gluck’s The Reformed Drunkard. THE NEW YORK TIMES declared, “the strongest impression was made by Anthony Webb, a nimble tenor, as Mathurin … an agile comedian.”
As a Gerdine Young Artist at Opera Theatre of St. Louis, Anthony appeared as Adolfo Pirelli in Sweeney Todd, and as Bantam Cock in the acclaimed 2012 U.S. premiere of Unsuk Chin’s Alice in Wonderland.
A native of Spanaway, Washington, Anthony holds a Master’s Degree from the Indiana University Jacobs School of Music, and a Bachelor’s degree in Music Education from Pacific Lutheran University. He is a 2010 District Winner of the Metropolitan Opera National Council Auditions, and a 2014 winner of the Irene Dalis Competition.
Mr. Adamson’s recent performances include leading roles and extensive chorus work in local opera houses and many singing venues. Most recently, Mr. Adamson made his debut with Opera Susquehanna as Timur in their concert production of Turandot. Last season Mr. Adamson made his solo debut on two grand opera stages: The Lyric Opera House, Baltimore, MD and The Kennedy Center Opera House, Washington, DC singing the roles of Fiorello in Lyric Opera Baltimore’s production of Il Barbiere di Siviglia, and as The Confederate Soldier in Washington National Opera’s premiere of Philip Glass’ newly written production of Appomattox. This past season Mr. Adamson also began an ongoing relationship with Chester River Chorale where he was invited as a guest soloist with the wonderful musicians and people of Maryland’s beautiful Eastern Shore. Previous season highlights include the roles of Marquis d’Obigny in La Traviata with Baltimore Concert Opera, Tonio in Pagliacci and Alfio in Cavalleria Rusticana with HUB Opera Ensemble, Samuel in The Pirates of Penzance with The Young Victorian Theater Company, and chorus work with Washington National Opera, Baltimore Lyric Opera, and Baltimore Concert Opera. He is regularly heard ministering to the congregation of Mt. Vernon United Methodist Church in Baltimore, MD where he performs sacred and contemporary works during radio broadcast worship services as well as serving as in a more traditional capacity as cantor for two Baltimore Catholic churches.
A believer in musical education for youth, Mr. Adamson performs in outreach programs with Baltimore Lyric Opera bringing opera to many elementary schools in the greater Baltimore area.
Mr. Adamson holds a Bachelor’s degree in Voice Performance from Westminster Choir College, and graduate work at Indiana University, Bloomington.
Catrin Rowenna Davies
Catrin Rowenna Davies
Described as having “…bright vocalism and flawless diction…” by the Baltimore Sun, mezzo-soprano Catrin Rowenna Davies has established herself as a presence on on the operatic and concert stage. Born in Washington, DC, and possessing EU citizenship, Ms. Davies has lived and performed in the United States, Canada, and the UK.
In 2016, she made her role debut with Lyric Opera Baltimore as Berta in Il barbiere di Siviglia. Other 2015-2016 performances include: the title role in Sullivan’s Iolanthe, the alto soloist in Bach’s St. John Passion, and the alto soloist in Beethoven’s 9th Symphony.
In 2014, Ms. Davies made an important role debut as Carmen. She had the very great pleasure of coaching with the inimitable Denyce Graves for these performances. Additionally, she had another role debut as Lola in Cavalleria Rusticana, and had her third appearance as a Messiah soloist with the Annapolis Chorale.
Highlights of the 2012-2013 season include: her solo debut on the stage of the Modell Performing Arts Center with Lyric Opera Baltimore in their Bravissimo Bel Canto! gala concert, and her Toronto debut as a soloist at the North American Festival of Wales. She also was the mezzo-soprano soloist in Einhorn’s Voices of Light with the Annapolis Chorale, in which the Baltimore Sun said her performance was “…serenely assured.”
Ms. Davies has performed roles with Lyric Opera Baltimore, Baltimore Opera, Lyric Opera of Cleveland, Annapolis Opera, Live Arts Maryland, Young Victorian Theatre Company, and Baltimore Concert Opera. As an oratorio soloist, she has been seen with Annapolis Chorale, Handel Choir of Baltimore, Annapolis Symphony Orchestra, Prince William Symphony Orchestra, and Peabody Symphony Orchestra. She is also a member of Lyric Opera Baltimore’s educational program. Ms. Davies is an avid recitalist, and is in demand for straight theater, musical theater, and cabarets.
A specialist in Welsh repertoire, Ms. Davies won the mezzo-soprano competition at the National Eisteddfod in Wales in 2012. She is also a three-time first-prize winner at the North American Festival of Wales. Following her victory at the National Eisteddfod, she was invited to perform in with the Three Welsh Tenors during their tour of the United States. In addition, she is a frequent soloist with Welsh choirs, and has performed with them at the Smithsonian, in Stratford (Canada) and Philadelphia, and in Wales.
Ms. Davies is a graduate of the Peabody Conservatory and the Royal Welsh College of Music and Drama. She was a Young Artist for the Lyric Opera of Cleveland. She also holds an honors degree in History from McGill University, Montreal, and a Master’s degree in Women’s Studies from Oxford University.
Director: Braxton Peters
Conductor: Ronald J. Gretz
Stage Manager: Joe Gladstone
Production Assistant: Rebecca Mount
Costume Designer: Lorraine vom Saal
Lighting Designer: Michael Klima
Patricia McKewen Amato: Rehearsal Accompanist