Joshua Bornfield has been called “a completely new and original voice” (Phyllis Bryn-Julson). He has won awards for his chamber work (“simplificulticity,” 2010 Virginia McCarty-deLillo Award) and choral music (“Mi Chamocha,” 2010 Donald Sutherland Award). His recent opera “Strong Like Bull,” a commission from The Figaro Project (opera collective), received national press from both CBS and sequenza21.com. Joshua has been commissioned to compose music for Toronto Opera, the Lorelei Ensemble, the Boston Handel & Haydn Society, and members of the United States Army Field Band. He is a composer-in-residence for The Johns Hopkins University, The Figaro Project, and the wildUp modern music collective in Los Angeles, California. Joshua is currently based in Baltimore.
Arizona-born tenor Stephen Campbell holds a Bachelor’s degree in vocal performance from the University of Colorado and a Master’s degree from the Peabody Conservatory. Since putting away the trumpet in favor of the voice, Stephen has had the great pleasure of studying with Professor Julie Simson and Dr. Stanley Cornett, performing numerous sacred works in the community, and singing in opera productions from Colorado to the North East. Stephen enjoyed his solo opera debut with a pair of title roles in Leonard Bernstein’s Candide and Benjamin Britten’s Albert Herring. Some other favorite past roles include: Don Ottavio in Who Killed Don Giovanni? with The Figaro Project, Tamino in Die Zauberflöte with Maryland Concert Opera, Beppe in Pagliacci with Repertory Opera Theater of Washington, Eisenstein in Strauss’ Die Fledermaus, Don Basilo/Curzio in the premiere performance of The Figaro Project, Guillot in Manon and Le Mari in Poulenc’s Les Mamelles de Tirésias. Stephen is the recipient of the Anita Erdman Award in Opera from the Peabody Conservatory.
Taiwanese pianist Hui-Chuan Chen began piano lessons at age six and has performed widely throughout the United States, Europe, and Asia. While an undergraduate, she was the winner of the Wonderlic Piano Competition in Baltimore, placed second place in the Kaohsiung City Competition, third prize in the University Piano Competition, and fourth place in the Kawai Competition. She was also engaged as rehearsal pianist for Taiwan’s National Symphony Orchestra for two years. Upon graduation, Hui-Chuan moved to Baltimore to pursue graduate studies at The Peabody Institute, where she served as class accompanist for Thomas Grubb, John Shirley-Quirk, Phyllis Bryn-Julson, and William Sharp. An active chamber musician, Hui-Chuan has worked with pianists Leon Fleisher and Sergei Dorensky and coached with Christian Tezlaff, Pamela Frank, Victor Danchenko, Roberto Diaz, Laurence Lesser, Richard Aaron, Graham Johnson, Martin Katz, Margo Garrett, Herbert Greenberg, Stephen Wyrczynski, Amit Peled and Marina Piccinini. She accompanied soprano Shou- Hua Su at the National Recital Hall in Taipei, Taiwan in 2003, and, in 2004, collaborated with mezzo-soprano Chi-Chun Chan in the same hall. Hui-Chuan has participated in numerous festivals, including the Chigiana Accademia in Siena, Italy, and the Universität Mozateum in Salzburg. In the summer of 2009, she was awarded a fellowship to attend the Aspen Festival of Music, where she was invited back as a staff accompanist in 2011. In the summer of 2012, Hui-Chuan participated in Songfest, where she performed Schumann's Spanish Lieder for vocal ensemble under the instruction of Graham Johnson. Hui-Chuan is currently a doctoral student in the studio of Ellen Mack at the Peabody Institute.
Soprano Kimberly Christie was praised by the Washington Post for her "uninhibited movement and shining vocal abilities” as Ernestine in M. Choufleuri restera chez lui le with Bel Cantanti Opera. Also with Bel Cantanti, Kimberly has performed the role of Clorinda in Rossini’'s La Cenerentola, which was hailed by Maurice Saylor as “one of the great joys of the opera” and her aria, “a wild ride that brought down the house.” She recently made her debut with the Annapolis Chorale as Bonnie in Anything Goes! and had the pleasure of performing with them again as a soloist in Bach’s Mass in B Minor. This past June saw Kimberly with the Advent Project of Vienna, VA performing as a soloist in Schubert's Mass in G Major and Bach’s Christ lag in Todes Banden. Other recent opera credits include Mary Warren in The Crucible with Peabody Opera, Adele (cover) and Sally in Die Fledermaus with Carol Community College, Serpina in La serva padrona with the Baltimore Vocal Arts Foundation, Nella in Gianni Schicchi with Peabody Opera, Blondchen in Die Entführung aus dem Serail with ConcertOPERA, and Clara in Offenbach’s La vie Parisienne with the Franco-American Vocal Academy (FAVA). Kimberly received her Master of Music degree in vocal performance from Peabody Conservatory in May 2012 and was granted the Anita Erdman Award in Opera upon graduation. She holds a Bachelor of Music degree from Rutgers University where she received the award for outstanding vocalist. Kimberly has also studied with FAVA in Excideuil, France under tenor William Lewis, and at the International Vocal Arts Institute in Tel Aviv, Israel with Metropolitan Opera coach Joan Dornemann. This season will also see Kimberly sing as Artist-in-Residence for the Long Island Choral Society in their three major concerts featuring works by Vivaldi, Handel and Mozart. In December, Kimberly is delighted to sing her first Handel Messiah at the Weinberg Center for the Arts in MD and as a soloist with the Kennett Square Symphony Orchestra as the First Place winner of their 2012 competition.
Los Angeles-born bass-baritone Jeremy Hirsch is currently pursuing a Bachelor of Music degree from the Peabody Conservatory. Jeremy recently had the pleasure of performing the roles of Bottom and Theseus in Britten’s A Midsummer Night’s Dream with the Halifax Summer Opera Workshop. Other recent roles include Don Alfonso in a concert production of Così fan tutte, Il Commendatore/Stage Manager in Who Killed Don Giovanni? with The Figaro Project, Francis Nurse in The Crucible, L’arbre in L’enfant et les sortileges, and Le Monsieur Barbu in Les Mamelles de Tirésias. In addition to opera, Jeremy is a dedicated advocate of song performance and was a Young Artist at SongFest in 2010 and 2011. While in Baltimore, he can be found performing song in concert with HexaCollective. Jeremy currently studies with baritones William Sharp and Steven Rainbolt.
Jennifer Hughson is a young clarinetist embarking on a career as an orchestral and chamber musician. Born in Washington, D.C., Jennifer has played in many orchestras and chamber recitals and has a special affinity for new music. Jennifer currently holds the principal clarinet position in the Ars Nova Chamber Orchestra in Washington, D.C., and has also played with the Baltimore Chamber Orchestra, the Camerata Orchestra in Bloomington, Indiana, and the Columbus Symphony Orchestra in Columbus, Indiana. As a chamber musician, Jennifer has performed in the National Concert Hall in Dublin, Ireland and many other venues in the United States. Jennifer has played under the baton of Luis Biava, David Effron, Arthur Fagen, Teri Murai, and Markand Thakar in orchestral settings, David Dzubay and Gene Young in new music ensembles and Stephen Pratt in wind ensembles. Through her studies she has had the opportunity to play in masterclasses for the Brentano String Quartet, Joe Burgstaller, James Campbell, and Richard Stoltzman. She has also had the pleasure of coaching with Arnaldo Cohen, Eli Eban, Seth Knopp, Maria Lambros, and Yael Weiss. Jennifer is the recipient of music scholarships from both Indiana University and the Peabody Conservatory, where she also received the Grace Clagget Ranney Endowed Memorial Prize in chamber music. Jennifer holds a Bachelor of Music degree from Indiana University and a Master of Music degree from the Peabody Conservatory where she studied with Howard Klug and Steven Barta, respectively.
Mezzo-soprano Kate Jackman is multifaceted musician and actress who excels in both concert and operatic repertoire. In summer 2012, Kate "touchingly incarnated Jennie" (Alex Ross, The New Yorker), the lead role in Oliver Knussen's Higglety Pigglety Pop! at the Tanglewood Music Festival and was praised for being "winningly wily and dauntless, and in good voice" (David Wright, Boston Classical Review). Other recent roles include Hansel in Hansel and Gretel, Prince Orlofsky in Die Fledermaus, Baba the Turk in The Rake’s Progress, Elizabeth Proctor in The Crucible, La Ciesca in Gianni Schicchi, and Dinah in Trouble in Tahiti – a role she “sang with considerable nuance and communicative weight” (Tim Smith, The Baltimore Sun). In 2011, Kate premiered the role of Margaret in Paul Mathews' Piecing It Apart and the role of Wise Waning in Douglas Buchanan's Lux et Tenebrae for The Figaro Project’s Contemporary Opera Trio. In competition, Kate was a winner in the 2011 DC Vocal Arts Society Young Artist Competition and has also received honors from the 2010 Marie E. Crumb Vocal Competition and the 2011 Kennett Square Vocal Competition. She has performed at the Scandinavia House in New York City and performed works by Messiaen, Debussy, and Shostakovich in Seiji Ozawa Hall. This season, Kate will perform the roles of Cherubino in Le Nozze di Figaro and The Marquise in La fille du régiment with Maryland Concert Opera, Lucretia in the The Rape of Lucretia with HexaCollective, and Evelyn Lincoln in the world premiere of Joshua Bornfield’s Camelot Requiem with The Figaro Project. She will also sing with The Baltimore Symphonia in their performance of Manuel de Falla’s El Amor Brujo. Kate holds a Master of Music degree from the Peabody Institute and a Bachelor of Music degree cum laude from the University of North Texas.
Cellist Peter Kibbe, son of Los Angeles, was born into a family of classical musicians and composers, and has studied with some of the finest teachers on both coasts of the United States. Having worked as an orchestral, chamber, solo, improvisatory, and contemporary musician, Peter is comfortable with many playing styles and in varied, eclectic performance settings. Peter obtained a degree from the Peabody Conservatory of The Johns Hopkins University under the tutelage of Alan Stepansky, former principal of the New York Philharmonic, and has had the privilege of working with many of today’s most respected performers and conductors, including Michael Tilson Thomas, Kent Nagano, Grant Gershon, Stevie Wonder, and John Legend, to name a few. He has performed with numerous orchestras for capacity audiences across the United States and parts of Europe, including acclaimed concerts at Los Angeles’ Walt Disney Concert Hall and New York’s Carnegie Hall. Peter is currently a member of several ensembles in Baltimore, including The Lunar Ensemble, dedicated to new and cutting edge works, and specializing in Arnold Schoenberg's masterwork Pierrot Lunaire. Recently Peter was selected to perform a complex contemporary cello concerto by composer Daniel Thomas Davis as soloist with the Peabody Camerata and is always expanding his repertoire of 21st-century works. Peter plays on a 2004 Cremonese instrument made by Roberto Collini and has two very handsome cats.
Praised for her "pure, gleaming timbre" and "bright, agile singing" (Baltimore Sun), soprano Lisa Perry has become a familiar face within the Baltimore/ Washington, D.C. music scene. Recent performances include the Lady with the Hand Mirror in Postcard from Morocco (Dominick Argento), De Materie (U.S. professional premiere; Louis Andriessen), Music for 18 Musicians (Steve Reich), Letters from Zelda (world premiere; Sean Doyle), le feu, princesse, and rossignol in L'enfant et les sortileges (Maurice Ravel), Red Giant (world premiere; Adam Matlock), Mysteries of the Macabre (György Ligeti) and Ancient Voices of Children (George Crumb). As a founding member of The Lunar Ensemble, Lisa has performed Arnold Schoenberg’s Pierrot Lunaire—for which the ensemble is named—throughout Maryland, New York, and Pennsylvania with critical acclaim.
Lisa received her Bachelor’s Degree in Music Composition and Theory from Michigan State University (2008) and her Master’s Degree from Peabody in Voice Performance (2011). She is currently pursuing a Doctor of Musical Arts degree from Peabody under the direction of Phyllis Bryn-Julson. Upcoming performances include Tree Stone (Stephen Albert) with the Great Noise Ensemble at the John F. Kennedy Center for the Performing Arts, Mysteries of the Macabre (Ligeti) with the SONAR Ensemble, and the title role in Peabody’s production of Lakmé (Léo Delibes).
Mezzo-soprano Leslie Procter is a promising young singer with a dynamic presence on the recital and operatic stage. She was most recently seen performing Dorabella with the Peabody Mozart Ensemble. Other recent opera roles include Tessa in The Gondoliers, Sally in A Hand of Bridge, the Mistress of the Novices in Sister Angelica, Njegus in The Merry Widow, and the title character of Dan Shore’s The Beautiful Bridegroom. Upcoming roles include Mistress Bentson in Lakmé and Third Lady in Die Zauberflöte. Leslie’s solo concert engagements include Britten’s Rejoice in the Lamb, Mendelssohn’s Hymn of Praise, Handel’s Messiah, and a concert of arias with the Capstone Chamber Orchestra. Leslie was a first prize winner in the Alabama National Association of Teachers of Singing competition, and she was the second-place winner in the first Edward Corwin White voice competition at the University of Alabama. Leslie holds a Bachelor of Music degree from the University of Alabama and is currently pursuing a Master of Music degree at the Peabody Conservatory in the studio of Dr. Stanley Cornett. Past teachers include Edward White and Doff Procter.
Since her arrival in Baltimore, Lauren Rausch has been an active freelance musician and teacher. Rausch has performed with many ensembles in the area, including the Washington Performing Arts Society and Mid-Atlantic Symphony. As a devoted performer of new music, Rausch acts as the Managing Director and member of SONAR, an emerging new music ensemble in Baltimore, and also performs with hexaCollective and Newprism ensembles. She will appear this season as a soloist for Baltimore’s Evolution Contemporary Music Series and Peabody’s new music ensemble, Camerata. Lauren has attended numerous summer music festivals, including the Aspen Music Festival and School, the Banff Centre, and the Meadowmount School of Music. After graduating with a Bachelor of Music degree in violin performance from Arizona State University, Ms. Rausch became a Graduate Teaching Fellow and teaching assistant at the University of Oregon. While in Oregon, she joined the Eugene Symphony Orchestra and taught in the University’s Community Music Institute as a violin teacher and chamber coach. Lauren earned a Master of Music degree in violin performance and pedagogy and received an award for outstanding performer in strings. Rausch joined the faculty at Cecil College in fall 2012 as Strings Instructor. She is also currently on the violin faculty at the Peabody Preparatory, the Baltimore School for the Arts, and the Baltimore Symphony’s ORCHKids. Ms. Rausch is currently pursuing a Doctor of Musical Arts degree in violin performance at the Peabody Conservatory with Violaine Melançon.
Alex Rosen is a sophomore at the Peabody Institute of the Johns Hopkins University as a double major in piano and vocal performance. He made his solo debut as Gherardino in the LA Opera production of Puccini’s Gianni Schicchi at age 9, and subsequently sang the role of Harry in Benjamin Britten’s Albert Herring with The Music Academy of the West, Santa Barbara, and again in a production at Cal State Northridge. Alex began studying piano at age 4. He has studied with Susan Day and Dr. Karen Owen, and presently studies with Kevin Fitz-Gerald, Associate Professor of Keyboard Collaborative Arts and Keyboard Studies at USC. Alex has won various awards for piano performance, including prizes at the Southwest Youth Music Festival, Fullerton Ensemble Competition, Bach Festival, Chapman College Piano Competition, the William Grant Still competition, the Young Musicians Foundation, as well as at many competitions of the San Gabriel Valley and Pasadena branches of Music Teachers Association of California (MTAC). As a member of various LACC ensembles, Alex sang in LA Opera productions of Turandot, Le Damnation de Faust, Die Frau Ohne Schatten, Der Rosenkavalier, Carmen, Pagliacci, Tosca and Parsifal. In addition, he sang with the LA Philharmonic and the LA Master Chorale in performances of John Adams’ El Nino, Carmina Burana, and Mahler’s 3rd Symphony. At the Hollywood Bowl he sang in Tosca and Bernstein’s Mass. In Peabody’s 2010-2011 season, Alex sang the roles of Le Comte des Grieux in Peabody Opera Theater’s production of Manon, the Tree in Ravel’s L’enfant et les Sortileges, and the Bearded Man in Poulenc’s Les Mamelles des Tiresias. In the fall of 2011, he will sing the role of Il Commendatore in Repertory Opera Theater of Washington’s production of Don Giovanni. Alex studies piano with Ellen Mack and voice with William Sharp.
Prize-winning soprano Jessica Hanel Satava has been recognized for her rich tone and expressive musicianship. Recent opera roles include Donna Elvira in Don Giovanni, Mimi and Musetta in La bohème, The Voice from Heaven in Verdi’s Don Carlo, Lauretta in Gianni Schicchi, Inez in Il Trovatore, Lisette in La Rondine, Nella in Gianni Schicchi, Beatrix in Offenbach’s Les Bavards, Polly in The Threepenny Opera, and Miss Pinkerton in The Old Maid and the Thief. Jessica created the title role in the world premiere of Christopher Bassett’s opera, Janine of Newark, and premiered the role of Ekaterina in the world premiere of Joshua Bornfield’s opera, Strong like Bull with The Figaro Project. She has performed with Opera Lancaster, Center Stage Opera, Repertory Opera Theater of Washington, Bay Area Summer Opera Theater, Peabody Opera Theater, South Bend Civic Theater, and Bethel College. Jessica’s talent has been recognized with awards from the Baltimore Music Club Competition, the Marian B. and Samuel Bernstein Memorial Prize for Opera, the Russell T. Wonderlic Competition for Voice, the Kennett Symphony Voice Competition, the National Association of Teachers of Singing (Michigan), and the Marie E. Crump Vocal Arts Competition. Jessica’s New York recital debut took place in Merkin Hall and featured the premiere of a song cycle written by composer Keith Kramer, which can be heard on his latest release of chamber compositions.
Stage director and baritone William Schaller was born in Florida, raised in North Carolina, and trained in Baltimore. After completing his undergraduate degree in music at Guilford College, he moved on to two consecutive degree programs, an MM and GPD in Vocal Performance, at the Peabody Institute of The Johns Hopkins University in Baltimore, MD. He recently directed the world premiere performance of Joshua Bornfield's Strong Like Bull for Baltimore's The Figaro Project. He made his directorial debut in 2010 at Peabody in the world premiere of Joshua Bornfield’s On Your Own Time and served as Assistant Director under Roger Brunyate for Peabody Opera Theater’s production of Manon and under Garnett Bruce for Peabody Opera Theater’s double-bill of Les Mamelles de Tirésias and L’enfant et les Sortilèges. He has appeared in numerous opera productions, most recently the title role in Gianni Schicchi, Frank in Die Fledermaus, and Barone Douphol in La Traviata.
Already known as a pianist of dazzling virtuosity and penetrating musicianship, Michael Sheppard is also spreading his wings as a composer, arranger, and transcriber. Trained by the legendary Leon Fleisher and the scholarly but passionate Ann Schein at the Peabody Conservatory, Michael was selected by the American Pianists Association as a Classical Fellow. This designation led to the recording of his Harmonia Mundi CD of 2007 and in late 2012 another recording will be released by Azica, a Cleveland-based label distributed worldwide by Naxos Records. The APA fellowship provided a tour of Southern Asia and the Middle East, done in collaboration with the US Department of State. During this tour, he performed with numerous national orchestras, played chamber music with resident ensembles, and played in solo recitals as well as diplomatic events. He additionally found time to do master classes and conducted informal presentations in secondary schools and universities. Back in the US, Michael made his debut at the Kennedy Center and has since performed standard piano repertoire with numerous orchestras nationwide in addition to recitals, more master classes, broadcasts and chamber performances as a member of the Monument Trio. He has returned to Asia, Europe and performed at Carnegie Hall as well. Receiver of a Tanglewood Music Center Fellowship and another from the LaGesse Foundation, Sheppard took a major prize in the National Federation of Music Clubs National Competition. As an interpreter of great acclaim of operatic transcriptions and musical theater scores, Michael today stands at a crossroads, spending large amounts of time writing as well as performing and teaching. He has worked closely with fellow composers John Corigliano, Christopher Theofanidis, Michael Hersch, Robert Sirota and with the late Nicholas Maw, demonstrating a deep love of new music. His catalogue of works, numbering in the dozens, is about to be published and marketed by a new entrepreneurial music publishing company beginning in the fall of 2012. Michael is a native of Philadelphia and resides in Baltimore where he often enjoys performing chamber music with Baltimore Symphony Principal cellist Dariusz Skorazewski and Hong Kong Philharmonic Concertmaster Igor Yuzefovich in the Monument Trio. He is also a teacher at the Baltimore School for the Arts. Recently, he has reconnected with old friends and fabulous musicians Gwendolyn Burgett, Thomas Rosenkranz, and Svetoslav Stoyanov to form a two-piano, two-percussion music group calling itself "Hammer/Klavier."
Described by Tim Smith of The Baltimore Sun as a “remarkably fluid and expressive” conductor, Blair Skinner currently serves as the Founder and Music Director of Charm City Collegium, the Executive Director and Conductor of SONAR New Music Ensemble, and the Resident Conductor of The Figaro Project. Previously Blair worked as a cover conductor with the Baltimore Symphony Orchestra and Lyric Opera Baltimore. He has led performances with the National Arts Center Orchestra in Ottawa, Ontario, the Chicago Chamber Orchestra, the North Shore Chamber Orchestra, the Repertory Opera Theater of Washington, The Peabody Symphony Orchestra, Peabody Chamber Opera, The Northwestern University Symphony Orchestra, The Northwestern University Philharmonia, the Wheaton College Symphony Orchestra and Opera Music Theater, and with members of ensemble dal niente, one of Chicago’s leading new music ensembles. Blair was also a founding member and director of Canticum Novum, an ensemble based in Wheaton, IL, dedicated to historically-informed performances of the Baroque and Pre-Classical repertoire on modern instruments. He is currently pursuing a Doctor of Musical Arts Degree at the Peabody Institute of The Johns Hopkins University as a conducting student of Gustav Meier and Markand Thakar. He received a Master of Music degree in Orchestral Conducting from the Bienen School of Music at Northwestern University under the mentorship of Victor Yamposlky. Additional studies have taken place at the Tanglewood Music Center, National Arts Center, Pierre Monteux School, International Conducting Workshop and Festival, and the Brevard Music Center. Other conducting influences include John Nelson, Pinchas Zukerman, Leon Fleischer, Stefan Asbury, Mario Venzago, Marin Alsop, Michael Jinbo, Paul Vermel, Kenneth Kiesler, Mallory Thompson, and Robert Hasty.
Terry Sweeney is currently pursuing his BM in Percussion Performance at the Peabody Conservatory in the studio of Robert Van Sice and David Skidmore. Terry began his percussion studies with Marcus Bearrs and Gwendolyn Burgett Thrasher. He attended the Aspen Music Festival and School in 2011 and 2012, studying with David Herbert in 2012 and performing with the Aspen Festival and Chamber Orchestras. Terry is the percussionist with the Baltimore-based chamber groups the Lunar Ensemble and the Sonar New Music Ensemble. Terry has been recently appointed to the Peabody Preparatory faculty. He has participated in master classes with Tom Freer, Markus Rhoten, Cynthia Yeh, Tim Genis, Tom Stubbs, Kunihiko Komori and Sō Percussion.
Pianist Ta-Wei Tsai is a versatile musician with a wide variety of interests in the arts. Since making the United States his home in 2004, Ta-Wei has performed throughout the East Coast as a recitalist, chamber musician, and a collaborative pianist. A recipient of numerous awards in the United States and Taiwan, Ta-Wei has participated in master classes with such distinguished pianists as Diane Andersen, Hung-Kuan Chen, Robert Levin, John Perry, and Russell Sherman. His interests in chamber music have led to engagements with the New England Chamber Music Foundation, participation at the Sarasota Music Festival (Florida), and the Garth Newel Music Center (Virginia). Ta-Wei was the resident pianist for The Figaro Project during the 2011-2012 season and performed a wide variety of repertoire including Mozart’s Don Giovanni in its entirety. Ta-Wei is currently pursuing a Master of Music in piano performance under the tutelage of Boris Slutsky at the Peabody Conservatory in Baltimore, MD. He holds a full-scholarship as a Graduate Assistant in Accompanying. His past musical influences and teachers include Marian Hahn, Sylvia Chambless, and A. Ramon Rivera.
A native of Seattle, Washington, soprano Caitlin Vincent made her international debut in 2007 as Amour in Clérambault’s solo cantata “Amour piqué par une abeille” at Le Mois Molière in Versailles, France. Caitlin has received first place honors from the Performing Arts Festival of the Eastside (PAFE) and both MD/DC/VA and Pacific Northwest chapters of the National Association of Teachers of Singing (NATS) Vocal Competition, as well as second prize in the Frost School of Music at Salzburg Recital Competition and the George Woodhead Prize for Voice. In June 2012, Caitlin participated in the Professional Program of SongFest at Colburn, where she performed in masterclasses with Graham Johnson, Martin Katz, Margo Garrett, Jake Heggie, Amy Burton, and John Musto. Recent opera roles include Zerlina in Who Killed Don Giovanni?, Susanna in Le nozze di Figaro, Belinda and 1st Witch in Dido and Aeneas, Dew Fairy/Sandman in Hansel and Gretel, Sister Constance in The Dialogues of the Carmelites, and L'écureuil in L'enfant et les sortilèges. In April 2011, Caitlin premiered the role of Janey in Paul Mathews’ opera Piecing it Apart, a performance for which she was described as a “standout” by Sequenza21.com. Equally praised for her interpretations of concert repertoire, Caitlin has performed with the Annapolis Chorale, Central Maryland Chorale, Maryland Choral Society, and Evergreen Philharmonic in such works as Bach’s Mass in B Minor and Cantata 51, Mendelssohn’s “Lobgesang,” Monteverdi’s Vespers of 1610, Mozart’s Exsultate, jubilate and Mass in C Minor, and Vivaldi’s Magnificat. A classically-trained ballet dancer, Caitlin holds degrees from Harvard University and the Peabody Conservatory.
Melissa Wertheimer is a diverse performer of solo, chamber, and orchestral music. She is a piccolo specialist, new music enthusiast, and dedicated scholar of women in music. In Baltimore, Melissa is the Instrumental Artistic Director of hexaCollective and a member of SONAR New Music Ensemble. She has also performed as piccolo/second flute with the Baltimore Chamber Orchestra and Concert Artists of Baltimore. With the Dahlia Flute Duo, Melissa has performed and lectured in 11 states and continually premieres new works. The Duo has received grants from Yamaha, the College Music Society, the Baltimore Office of Promotion and the Arts, and the Peabody Institute. In 2009, Melissa won second place in the Piccolo Artist Competition of the Flute Society of Washington, DC; in 2007, she was the first student in the history of Ithaca College to win the Concerto Competition on piccolo. An artist-teacher, Melissa is currently Adjunct Faculty at Howard Community College in Columbia, MD and on the faculty of HCC’s community music division. An ardent advocate for educational outreach music programs, Melissa performs with the Baltimore-based Golden Egg Ensemble and is a guest instructor and performer for the Peabody Institute Jr. Bach Program. Melissa is also a music history instructor for the Peabody at Homewood Program of the Johns Hopkins University. Her article “The Patch-Work Musical Life” was published in the Journal of the International Alliance for Women in Music in summer 2012. Melissa is a Doctoral candidate in flute at Peabody in the studio of Marina Piccinini and holds a MM in Piccolo from Peabody and BM in Flute from Ithaca College. Her teachers include Laurie Sokoloff, Marcia Kämper, Wendy Herbener Mehne, and Carron Moroney.
Recently appearing as Barbarina in Le nozze di Figaro with Lyric Opera Baltimore, soprano Melissa Wimbish is becoming a familiar face to Baltimore audiences. Of the performance, The Baltimore Sun praised her “bright voice” and “knack for animating phrases” while Opera News noted her “promising soprano.” Melissa made her Kennedy Center recital debut as a winner of the 2011 Vocal Arts Society Discovery Series and was hailed for “absolutely gorgeous pitch and phrasing” in the 2012 Denver Philharmonic Young Artist Competition awards concert. Operatic appearances include Cunegonde, Manon, Elle in Poulenc’s monodrama La Voix humaine, and the Soprano in Postcard from Morocco. Melissa is covering the role of Bubikopf (Der Kaiser von Atlantis) for the NYC-based company Opera Moderne in November 2012. She will collaborate with several Baltimore artists in upcoming recitals this fall and spring including personal debuts of Ravel’s La Chanson d’Eve and Chansons Madécasses. With The Figaro Project’s composer-in-residence, Joshua Bornfield, Melissa will be premiering Secret 12 in January 2013.
A native of North Carolina, baritone Nathan Wyatt has been praised as a "standout" with a "sensitive and natural" voice. Recent opera roles include John Proctor in The Crucible, the Inspector in Who Killed Don Giovanni?, Alexander Kerensky in the world premiere of Joshua Bornfield’s Strong like Bull, Le Directeur and Le Gendarme in Les Mamelles de Tirésias, Figaro in Le nozze di Figaro, Lescaut in Manon, Guglielmo in Cosí fan tutte, and The Forester in The Adventures of Sharp-Ears the Vixen. Nathan has also performed as bass soloist in Handel’s Messiah, Haydn’s Mass in time of War and The Seasons, Bach’s Magnificat, and Vaugham Williams’ Dona Nobis Pacem. In the fall of 2011, Nathan made his Carnegie Hall debut under the direction of Marin Alsop in the Baltimore Symphony Orchestra’s production of Arthur Honneger’s Jeanne d’Arc au bûcher. In both 2012 and 2011 Nathan was the recipient of the Marc and Eva Stern Fellowship at SongFest at Colburn where he participated in masterclasses and performances with Graham Johnson, Martin Katz, Roger Vignoles, William Sharp, Jake Heggie, Amy Burton, and John Musto. In June 2012, Nathan gave the world-premiere performance of "Gettysburg: July 1, 1863," with text by Jane Kenyon and music by Grammy Award winner and Pulitzer Prize recipient William Bolcom. The piece was commissioned by SongFest with the support of The Elizableth and Michel Sorel Charitable Organization, Inc. In September 2012, Nathan gave the world-premiere performance of Jake Heggie’s "Epilogue: Under the Blessing of your Psyche Wings" for the opening of Opera America’s National Opera Center in New York City.