Sishel Claverie

Mexican Mezzo-soprano Sishel Claverie has sung 31 operatic roles to date and has been seen in recital in several cities across the United States, singing a wide range of repertoire. An active advocate of opera for the youth, she’s been a member of HGO’s Opera To Go!, Bridge Arts Ensemble and Utah Opera’s Professional Outreach Program, participating in more than fifteen productions specially tailored to children and teenagers, having sung nearly 600 performances. Recent engagements include the role of Charlotte in Sondheim’s A Little Night Music with Alamo City Opera. She also performed Carmen with the Heartbeat Opera, which was praised by the New York Times as “Riveting”. Last year had her NYCO debut in the revival of Candide, directed by Harold Prince. Next year she will perform the role of Maria in Piazzolla’s tango-opera Maria de Buenos Aires with Opera In The Heights, and she will premier her first solo show, titled “Soleful,” at The Tank in NYC.

La mezzo-soprano mexicana Sishel Claverie ha cantado 31 papeles operísticos hasta la fecha y se ha visto en recital en varias ciudades de los Estados Unidos, cantando una amplia gama de repertorios. Abogada activa de la ópera para los jóvenes, ha sido miembro del programa Opera Out Go! De HGO Opera To Go !, del Bridge Arts Ensemble y Utah Opera, participando en más de quince producciones especialmente diseñadas para niños y adolescentes, y ha cantado cerca de 600 presentaciones. Los compromisos recientes incluyen el papel de Charlotte en A Little Night Music de Sondheim con Alamo City Opera. También interpretó a Carmen con la Heartbeat Opera, que fue elogiada por el New York Times como "Riveting". El año pasado tuvo su debut en NYCO en el renacimiento de Candide, dirigida por Harold Prince. El próximo año interpretará el papel de María en la ópera de tango Piazzolla, María de Buenos Aires, con Opera In The Heights, y estrenará su primera exposición individual, titulada Soleful, en The Tank en Nueva York.

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María Brea

María Brea, soprano, is a native of Caracas, Venezuela. This September 2018, Ms. Brea starts the season singing two recitals, the first one with Voces Unidas in New York City and the second one with the St. Hugh- Steinway concert series in Miami. María makes her debut at Opera Tampa in February 2019 singing the title role in the world premiere of Maestro Coppola’s Lady Swanwhite. She most recently sang the role of Nanetta in Falstaff with the Martina Arroyo’s Prelude to Performance. She performed Micaëla in Carmen with West Bay Opera 2018. She performed the role of the Bird in Glass-Moran’s Juniper Tree at Wolf Trap Opera. She won the first prize in the Giulio Gari Competition 2017 and New York Lyric Opera 2016. Ms. Brea also won second prize in the Gerda Lissner International Vocal competition 2017 and she received an Encouragement award from The Metropolitan Opera National Council, Connecticut District 2017 and The Gerda Lissner Lieder/ Song.

Maria Brea, soprano, es originaria de Caracas, Venezuela. Este septiembre de 2018, la Srta. Brea comienza la temporada cantando dos recitales, el primero con Voces Unidas en la ciudad de Nueva York y el segundo con la serie de conciertos St. Hugh-Steinway en Miami. María hace su debut en Opera Tampa en febrero de 2019 cantando el papel principal en el estreno mundial de Lady Swanwhite del Maestro Coppola. Recientemente, ella cantó el papel de Nanetta en Falstaff con Prelude to Performance de Martina Arroyo. Ella interpretó a Micaëla en Carmen con West Bay Opera 2018. Actuó como Bird in Glass-Moran 's Juniper Tree en Wolf Trap Opera. Ganó el primer premio en el Giulio Gari Competition 2017 y en New York Lyric Opera 2016. La Srta. Brea también ganó el segundo premio en el Gerda Lissner International Vocal Competition 2017 y recibió un premio de estímulo del Consejo Nacional de la Metropolitan Opera, Distrito de Connecticut 2017 y La Gerda Lissner Lieder / Cancion.

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Jonathan Z. Harris

Bass-baritone Jonathan Z. Harris is a native New Orleanian based in New York City. He has been a two-time Regional Finalist in the Metropolitan Opera National Council Auditions. Holding degrees from Brown University and the University of Michigan, Jonathan has been an Apprentice Artist with Sarasota Opera, Des Moines Metro Opera, Opera Saratoga, and Chautauqua Opera. He was also a two-year Resident Artist with Dicapo Opera and has performed with the Opera Company of Middlebury, Opera MODO, PORTopera (now Opera Maine), Bronx Opera, and dell’Arte Opera Ensemble. Role highlights include Leporello in Don Giovanni, Don Alfonso in Così fan tutte, Papageno in The Magic Flute, Don Basilio in Il barbiere di Siviglia, Peter Quince in A Midsummer Night’s Dream, Superintendent Budd in Albert Herring, Simone and Betto in Gianni Schicchi, George Benton in Dead Man Walking, and Pistol in Falstaff.

Bajo-Baritono Jonathan Z. Harris es un nativo de Nueva Orleans con sede en la ciudad de Nueva York. Ha sido finalista regional en dos ocasiones en las audiciones del Consejo Nacional de la Ópera Metropolitana. Graduado de la Universidad de Brown y la Universidad de Michigan, Jonathan ha sido artista aprendiz en la Ópera de Sarasota, en el Metro de Des Moines, en la Ópera de Saratoga y en la Ópera de Chautauqua. También fue un artista residente de dos años con Dicapo Opera y ha actuado con la Opera Company of Middlebury, Opera MODO, PORTopera (ahora Opera Maine), Bronx Opera y dell’Arte Opera Ensemble. Entre los personajes de opera destacados se incluyen Leporello en Don Giovanni, Don Alfonso en Così fan tutte, Papageno en La Flauta Magica, Don Basilio en El Barbero de Sevilla, Peter Quince en El sueño de una noche de verano, el Superintendente Budd en Albert Herring, Simone y Betto en Gianni Schicchi. George Benton en Dead Man Walking, y Pistol en Falstaff.

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Marisa Karchin

A recent graduate of Mannes School of Music and Yale University, New York-based soprano Marisa Karchin is establishing herself as a compelling and versatile performer of art song, opera and concert works. To begin the 2018-19 Season, she joins Dayton Opera as an Artist in Residence, and makes her Weill Recital Hall debut in recital as winner of the 2018 Joy in Singing International Art Song Competition. Last season, Marisa was featured in a new production of Moto Osada’s Four Nights of Dream in NYC and Tokyo, and also performed with the Light Opera of NY, the Canadian Vocal Arts Institute, and the Chelsea Music Festival’s “Bach 333” series. Other recent roles include Angelica in Orlando (Cantanti Project), Shirley Temple in Robert Ashley’s DUST (Mannes), and Nanetta (cover) in Falstaff (Opera Saratoga). An avid interpreter of new music, Marisa has recently been featured with the Washington Square Contemporary Music Society, Lehigh University’s Very Modern Ensemble, and Venice’s Plurimo Ensemble.

Marisa Karchin, soprano de Nueva York y recién graduada de la Mannes School of Music y la Universidad de Yale, se está convirtiendo en una intérprete versátil y convincente de obras de arte, ópera y conciertos. Para comenzar la temporada 2018-19, se une a Dayton Opera como artista residente, y hace su debut en el Weill Recital Hall en un recital como ganadora de la competencia de 2018 Joy in Singing International Art Song. La temporada pasada, Marisa apareció en una nueva producción de Four Nights of Dream en Nueva York y Tokio compuesta por Moto Osada, y también actuó con la Light Opera de NY, el Instituto de Artes Vocales de Canadá y la serie "Bach 333" del Chelsea Music Festival. Otros papeles recientes incluyen Angélica en Orlando (Proyecto Cantanti), Shirley Temple en DUST (Mannes) de Robert Ashley y Nanetta (suplente) en Falstaff (Opera Saratoga). Una ávida intérprete de la nueva música, Marisa ha sido presentada recientemente con la Washington Square Contemporary Music Society, Very Modern Ensemble de Lehigh University y Plurimo Ensemble de Venice.

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Strategic Development Manager

Strategic Development Manager Melissa Gerstein specializes in program management, marketing, and artistic administration. In addition to her work at The Conference Board, a nonprofit organization that specializes in global, independent business membership and research, she previously curated and managed public programs at the Bard Graduate Center Gallery. Currently, she serves on the Board-of-Trustees for the New York City Museum Educators Roundtable (NYCMER). This past June she produced MAKE MUSIC NEW YORK MASS APPEAL: MIDSUMMER MOZART’S REQUIEM, the first event of its kind, working with partners including WQXR, Borough of Manhattan Community College (BMCC), and the 9/11 Memorial Museum.

Ms. Gerstein most recently served as the Public Relations and Marketing Director for the Art Song Preservation Society, a company where she helped produce concerts, masterclasses and special events. She also served on the Board of Directors for the Underworld Productions Opera Company (2012-2015) and the Amore Opera Company (2009-2011).

Ms. Gerstein received her B.M. from SUNY Purchase Conservatory and her M.M. from Manhattan School of Music (Classical vocal performance). Her background includes training and performance at the American Singers’ Opera Project in New York City, Académie Internationale d’Eté de Nice in France, University of Miami’s Summer in Salzburgand the Spoleto Vocal Arts Symposium in Italy. She has also performed with such opera groups as the dell’arte Opera Ensemble, the Little Opera Company of New York, Amato Opera, Chelsea Opera, and One World Symphony Orchestra.

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Human Capital Manager

Human Capital Manager Brittany Fowler advises on people programs and volunteer strategy at Cantanti Project.

As a mezzo-soprano, her recent and upcoming engagements include Dorothy Hindman’s Pillowbook with Fresh Squeezed Opera, Venere in the Cantanti Project’s Euridice, the alto soloist in Buxtehude’s Membra Jesu Nostra in Pennsylvania, La Beata Vergine in Sances’ Le Lachrime di San Pietro with the New York Continuo Collective, and First Lover/Evil Tongue 2 in a workshop of Kate Soper’s The Romance of the Rose. Her operatic roles include Larina (Eugene Onegin), Ottavia (L’incoronazione di Poppea), Meg (Little Women), The Mother (Amahl and the Night Visitors), and La Musica (L’Orfeo). She received her BA in Music and Italian Studies from Wesleyan University; her training includes young artist residencies with the Boston Early Music Festival and Opera North as well as studies at the University of Bologna in Italy.

Outside of opera, Brittany is an internal recruiter at Kickstarter. She was a Senior Strategist for several years at Team Theory, where she helped build teams for early stage seed and Series-A start-ups. Prior employers also include Napa Group, where she was an Assistant Vice President in Product Development, and Crimson Hexagon, where she advised on Italian social media analyses.

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Core Artist, Co-Founder & Operations Director

Operations Director Laura Mitchell holds a B.A. in Music and minor in Mathematics from UC San Diego and an Artist Diploma from the prestigious University of Cincinnati’s College Conservatory of Music. Her administrative background includes IT Project Management, Business Analysis and Systems Analysis & Integration. Her personal mission as an administrator of an arts organization is to create a space that celebrates the singer as much as the company; to create a space where singer’s opinions matter and where they can learn to make their own decisions as musicians. Laura is passionate about leveraging the booming market of free technologies to enhance the experience for both singers and productions in a cost-effective way.

At CCM, she performed the roles of Fiordiligi, Musetta, Susanna, and the title roles in Alcina and Manon. Laura has worked with Lyric Opera Virginia, Sarasota Opera, San Diego Opera, New York Lyric Opera Theater, along with programs in several other countries. Her performances are often praised for “captivating” performances (Classical Singer Magazine), and “nuanced delivery” (Oberon’s Grove).

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Angela Dixon

Soprano Angela Dixon is faculty of music at Ethical Culture School in Manhattan and holds a certificate in the Kodály method of music education. She currently studies voice with Hilda Harris, professor of music at the Manhattan School of Music. Angela holds a Bachelor of Musical Arts in voice performance from the University of Michigan, where she studied with Emeritus Dean Willis Patterson. Patterson compiled the Anthology of Art Songs by Black American Composers with Angela organizing and distributing this landmark song collection. Angela holds an M.A. in dance history and cultural studies from New York University. She combined her love of music and dance in her Masters thesis performance, exploring the intersection between flamenco and African-American music as she delved into the poetry of Langston Hughes and Federico Garcia Lorca. She is the proud mother of two daughters Luna (4) and Rose (1) and enjoys making music with them and her husband David.

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Jane Hoffman

Coloratura soprano Jane Hoffman is a true singing actor who brings an engaging stage presence and expressive voice to a variety of repertoire. She has performed with the Victor Herbert Renaissance Project, New Camerata Opera, Pasadena Opera, Utopia Opera, and the Emerald City Opera Artist Institute. She has sung roles such as Elizabeth ‘Baby Doe’ Tabor, Adele, Olympia, and Le Feu (Ravel). Jane is particularly in demand as a performer of new works; she has premiered multiple works as a Core Company Resident with the Fresh Squeezed Opera Company, and she recently premiered scenes from The Contract Player with OperaRox Productions. She is also a member of the chamber music duo Reed & Word. Jane is an alumna of Sarah Lawrence College and the Manhattan School of Music, and is currently a student of David Jones. She is thrilled to be a part of this concert, which will be her second appearance with Cantanti Project.

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Liz Bouk

Liz Bouk is a transgender man, living his life as a man in a female body. Pants roles afford Liz the opportunity to express his inner truth with his “silky mezzo” (New York Times): as Octavian, Komponist, Orlovsky, and now as Tristan Tzara! Liz is equally drawn to -and has won acclaim for- roles featuring women driven to extremes, from Lucretia to Carmen. Opera News praised Liz’s “impressive firmly-grounded contralto” as the cast-aside but merciful wife, Augusta Tabor, in Utopia Opera’s The Ballad of Baby Doe. He recently brought to life Fosca, a woman trapped by circumstances, society, gender, and her physical appearance, in Sondheim’s Passion. Liz has been featured in new works with Gramercy Opera, The Society for New Music, Anonymous Ensemble, and The Center for Contemporary Opera. With OperaRox Productions this August he will create the agender role of Eusebuis in Ghost Variations with music by Tony Manfredonia and libretto by Aiden Kim Feltkamp. 

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Megan Atchley

Megan Atchley is a New York based violinist dedicated to creating musical experiences that resonate with her audiences aesthetically, politically and bodily. She performs a wide array of styles from classical to jazz in venues such as Lincoln Center, the Bowery Ballroom and Le Poisson Rouge. As Artistic Director for the Firey Strings Company and a frequent performer with various new music ensembles including Wordless Music Orchestra, ShoutHouse and the International Contemporary Ensemble, Megan is dedicated to creating exciting contemporary music. A committed music educator, Megan founded and directs the violin program at Girls Prep Middle School in addition to holding faculty positions with InterSchool Orchestras and Third Street Music School. As a scholar and passionate feminist, Megan presented a lecture-recital at the 2011 Feminist Theory and Music Conference on the work of Kaija Saariaho. Megan’s credits as a recording artist include releases on Deutsche Grammophon and ShoutHouse.  She holds degrees from NYU Steinhardt and Ithaca College.

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Mario Arévalo

Mario Arévalo, tenor, has been praised by The New York Classical Review for his deftly well done debut with New York City Opera in I Pagliacci. Voce di Meche says “Mr. Arévalo has a beautiful instrument, an effortless tone, and a warm Latin sound.” Mr. Arévalo recently made his recital debut in El Salvador at the Teatro Nacional and has also performed with Virginia Opera, Florida Grand Opera, and Boston Lyric Opera. Mr. Arévalo is an Ambassador of Goodwill for The Fine Arts and Culture, a title given by The Association of El Salvador United Nations, and is the Founder and Artistic Director of Una Voz Un Mundo, an arts initiative committed to humanitarian aid, arts advocacy, and the celebration of cultural openness and diversity. Mr. Arévalo was born in San Vicente, El Salvador. He received his Bachelor’s from Purchase College and graduated from the prestigious College of Fine Arts at Boston University, where he received his Master of Music in Voice Performance.

Mario Arévalo, tenor, ha sido elogiado por The New York Classical Review por su hábil debut en la Ópera de Nueva York en I Pagliacci. Voce di Meche dice “Sr. Arévalo tiene un hermoso instrumento, un tono sin esfuerzo y un cálido sonido latino ”. El Sr. Arévalo recientemente realizó su recital en El Salvador en el Teatro Nacional y también ha actuado con Virginia Opera, Florida Grand Opera y Boston Lyric Opera. El Sr. Arévalo es un Embajador de Buena Voluntad de Bellas Artes y Cultura, un título otorgado por la Asociación de El Salvador de las Naciones Unidas, y es el fundador y director artístico de Una Voz Un Mundo, una iniciativa artística comprometida con la ayuda humanitaria, la promoción de las artes y la celebración de concientazion y diversidad cultural. El Sr. Arévalo nació en San Vicente, El Salvador. Recibió su licenciatura de Purchase College y se graduó de la prestigiosa Facultad de Bellas Artes de la Universidad de Boston, donde recibió su Maestría en Música en Voz.

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Lydia Dahling

Soprano Lydia Dahling is an emerging singer known for her dynamic and intimate performances and her wide range of vocal colors. This season she sings Melinda in selections from Bánk bán and Proserpina in Caccini's L'Euridice with The Cantanti Project, for which she also served as dramaturg. Last season, she sang Dorinda (Orlando) and the title role of Dido and Aeneas, and joined the Academy of Sacred Drama as Obbedienza in Bassani's 1689 oratorio Giona. Her interpretation of Zerlina (Don Giovanni) with Mannes Opera was called “sweet voiced” by Opera News. Other credits include Kate Pinkerton (Madama Butterfly) with Sugar Creek Opera, Pamina (The Magic Flute) and the title role of Alcina. Also a performer of chamber music, she has performed works by Shostakovich, Berg, and Respighi. Dahling holds degrees from the Indiana University Jacobs School of Music and Mannes College. She is also the co-host of the podcast “Straight From the Wolf’s Mouth”. A native of Indiana, she currently resides in New York City.

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Maria Didur

Russian pianist Maria Didur holds a Bachelor's degree in piano performance from Manhattan School of Music and Master's degree in music education from Hunter College in New York City. Ms. Didur was in high demand as a collaborative pianist in the San Diego area for the past eight years. She was the primary accompanist for SDSU choirs, SDSU graduate conducting studio, as well as vocal and instrumental studios at SDSU and USD. She has also worked with San Diego Opera Chorus and other high profile choirs such as Bach Collegium San Diego, San Diego Pro Arte Voices, Sacra/Profana and the San Diego Summer Choral Festival. She moved back to NYC in August and currently holds the position of music director at Manhattan School for Children.

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Dorian Baroque

Dorian Baroque is one of New York’s most exciting early music ensembles performing orchestral, chamber, and operatic music on period instruments. The ensemble was founded as a means for musicians of diverse musical paths to come together and push the boundaries of historical performance. The organization’s unique philosophy to music making focuses on exploring the versatility of historical instruments while adhering to the principles of baroque artistry – opulence, exuberance, dissonance, and ornate grandeur. Since its debut in 2012, Dorian Baroque has collaborated with some of the most distinguished early music specialists in the field and continues to flourish in the growing movement of historical performance practice that has taken New York City by storm.

Dorian Baroque es uno de los conjuntos de música antigua más emocionantes de Nueva York. Música orquestal, de cámara y operística en instrumentos de época. El conjunto fue Fundado como un medio para que músicos de diversos caminos musicales se unan y empujen Los límites del desempeño histórico. La filosofía de la organización es la creación musical y se centra en explorar la versatilidad de los instrumentos históricos, mientras que Adhiriéndose a los principios del arte barroco: opulencia, exuberancia, disonancia y grandeza adornada. Desde su debut en 2012, Dorian Baroque ha colaborado con algunos de los más distinguidos especialistas en música antigua en el campo y continúa floreciendo en El creciente movimiento de prácticas de rendimiento histórico que ha tomado la ciudad de Nueva York como una tormenta.

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Linda Collazo

Mezzo-Soprano Linda Collazo is a graduate of the Aaron Copland School of Music. In 2018, she was the soloist in Mozart’s Requiem with the Forest Hills Choir, covered the role of Meg in Falstaff in Martina Arroyo’s Prelude to Performance, and played Dinah in Bernstein’s Trouble in Tahiti and Cherubino in Le Nozze di Figaro at Queens College. She has performed as La Cesca in Gianni Schicchi with “Si parla, si canta” and Prince Orlofsky in Die Fledermaus with the Queens College Opera Theater. Linda has won the Friday Woodmere Music Club’s Young Artist Competition in 2018 and the Bronx Arts Ensemble Young Artist Contest in 2016. She won honorable mention in the Five Towns Music Competition, and was a finalist in the Civic Morning Musicals and the NY International Voice Competitions. In the Winter of 2019, Linda will be an Apprentice Artist at the Sarasota Opera. Linda is from the Bronx and is a student of Sherry Overholt.

Mezzo-soprano Linda Collazo se graduó en la Escuela de Música Aaron Copland. En 2018, fue solista en Requiem de Mozart con el Coro de Forest Hills, cubrió el papel de Meg en Falstaff en Prelude to Performance de Martina Arroyo, y interpretó a Dinah en Trouble de Bernstein en Tahiti y Cherubino en Le Nozze di Figaro en Queens College. Ha actuado como La Cesca en Gianni Schicchi con "Si parla, si canta" y el Príncipe Orlofsky en Die Fledermaus con el Teatro de Ópera de Queens College. Linda ganó el Concurso de Jóvenes Artistas del Viernes Woodmere Music Club en 2018 y el Concurso de Jóvenes Artistas del Bronx Arts Ensemble en 2016. Obtuvo una mención honorífica en el Concurso de Música de Five Towns, y fue finalista en los Civic Morning Musicals y en el Concurso Internacional de Voz de Nueva York. . En el invierno de 2019, Linda será una aprendiz de artista en la Ópera de Sarasota. Linda es del Bronx y es estudiante de Sherry Overholt.

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Frank D. Fainer

Frank D. Fainer, Paraguayan-American singer and actor, is known for his venturesome acting choices on the stage and on screen. Frank’s favorite roles include Dandini (La Cenerentola), Guglielmo (Così fan tutte), the Pirate King (Pirates of Penzance), Stephen Sondheim (Side by Side by Sondheim), Schaunard (La bohème), and Jesus (Godspell). In the summer of 2014 Frank attended Song Fest to perform contemporary works with John Musto, and in 2016 he earned a Bachelor of Music in voice at the University of Colorado at Boulder under the guidance of Patrick Mason. As a two year participant in the intensive Scottsdale Conservatory Theatre program, Frank fine-tuned the skills of theatre acting in the indepth role study of Tom in The Glass Menagerie. Frank resides in New York City.

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Eugenia Forteza

French-Argentinean Soprano Eugenia Forteza has been praised for her “soulful mood” (Opera Wire) and “fine tone and spirited acting” (Voce di Meche). Eugenia was a Finalist and Opera Role Prize Winner at the 2017 Concorso Internazionale di Canto Katia Ricciarelli in Cerisano, Italy. Recent career highlights include the role of Christmas Past in A Christmas Carol by Jarrar-Goodwin with Gramercy Opera, La Suora Infirmiera in Suor Angelica with IVAI NYC and De Falla’s Siete Canciones Populares Españolas in Philadelphia. The summer season will take Eugenia to Italy, Colombia, and Canada for various projects. Eugenia is thrilled to be working with Jarrar-Goodwin again and to be a part of the original cast of Tabula Rasa. Eugenia is based in NYC, where she is a roster singer with Opera on Tap, the founder of 360° of Opera, and part of the Shoperatic and Lenny’s Studio PR teams. Please visit for more information and follow along on social media at @fortezaeugenia and @360ofOpera.

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Brittany Fowler

Noted for her lyrical pathos and comedic flair, mezzo-soprano Brittany Fowler has been praised by the New York Times for her “dynamically fluid characterization”. Recent and upcoming engagements include Venere in the Cantanti Project’s production of Euridice, the alto soloist in Buxtehude’s Membra Jesu Nostra in Pennsylvania, La Beata Vergine in Sances’ Le Lachrime di San Pietro with the New York Continuo Collective, and First Lover/Evil Tongue 2 in a workshop of Kate Soper’s The Romance of the Rose. Her operatic roles include Larina (Eugene Onegin), Ottavia (L’incoronazione di Poppea), Meg (Little Women), The Mother (Amahl and the Night Visitors), and La Musica (L’Orfeo). Brittany received her BA in Music and Italian Studies from Wesleyan University; her training includes young artist residencies with the Boston Early Music Festival and Opera North as well as studies at the University of Bologna in Italy.

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