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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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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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 engagements include Dorothy Hindman’s Pillowbook 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.

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Alexandria Hoffman

Alexandria Hoffman has been the Millinery Assistant to Corrina Griffin for Radio City’s Christmas Spectacular since 2011, and the Costume Administrator at Glimmerglass Theater Festival since 2012. Alex hold an MA from NYU in Visual Culture: Costume Studies and a BA from UCSB in History and Theater, emphasis Costume Design. The Seafarer, (Floriday Repertory Theater); Anoush, Roudolf Kharatian (Ballet 2021); The Grass is Greenest at the Houston Astrodome, Brandon Stock (Outside Inside at NYCFringe); “Cross”, Gerry Maravilla (Isosceles Media). Assistant Costume Design- Off Broadway: That Poor Dream, Kate Fry (The Assemly); The Architecture of Becoming, Kate Fry (Women’s Project Theater); Philosophy for Gangsters, Sarah Cogan (Rotten Apples Theatrical); One Night, Jessica Jahn (Rattlestick at Cherry Lane Productions); F#%ng Up Everything, Melissa Trn; Totally Tubular Time Machine, Sarah Cogan. Other: “The Story of Vice”, Kama Royz (National Geographic Productions); “Cop Show”, Michael Bevins (M.E.G.A. Films); “How You Look at It”, Stefanie Genda (How You Look at It LLC); Marry Harry, Stefanie Genda (American Theater Group); The Cripple of Inishmaan, Stefanie Genda (Hartt School). www.ahcostumedesign.com

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Fiona Gillespie Jackson

Praised for her “brilliant sound” (San Francisco Classical Voice), and “silver tone” (The Reading Eagle), soprano Fiona Gillespie Jackson has appeared as a soloist and chorister with such ensembles as Apollo’s Fire, Skylark Ensemble, Mountainside Baroque, Kinnara Ensemble, The Bach Choir of Bethlehem, The Crossing, Ensemble VIII, The Reading Symphony Orchestra, the Bach Vespers at Holy Trinity Lutheran, AMPERSAND, Inwood Consort, The Denton Bach Society, the Williamsport Symphony Orchestra, and Bricolage Project (founder). Recent on- and off-stage credits include Miles in Benjamin Britten’s The Turn of the Screw and AD/Sound Technician/Props for Menotti’s The Old Maid and the Thief with Opera Modo in Detroit, MI; the title role in Lully’s Armide with EnsembleOrquesta in the UK; Director of Humperdinck’s Hansel und Gretel at Lycoming College. Fiona teaches voice at Muhlenberg College in Allentown, PA, and has presented workshops on Early Music and small ensemble singing at The Conservatory of Puerto Rico in San Juan, and at the University of Hawa’ii in Honolulu.

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Elyse Anne Kakacek

Elyse Anne Kakacek is an award-winning soprano said to be “a stand out performer”(OperaNews) with a “sparkling soprano voice” (ChicagoHerald). She has performed over 30 operatic roles, some favorites including Norina in Don Pasquale, Gretel in Hansel und Gretel, Susanna in Le nozze di Figaro and Pamina in Die Zauberflote. An advocate of new works, Ms. Kakacek premiered 6 Flash Operas with Experiments in Opera last year, working closely with composers and librettists (from THE NEW YORKER and Saturday Night Live). She has sung in venues such as Carnegie Hall, Symphony Space, Preston Bradley Hall, La Mama Experimental Theatre, and Cornelia Street Café. In May, she will rejoin Experiments in Opera to premiere Matthew Welch’s new opera And Here we Are at National Sawdust. She is a proud recipient of The Lynne Harvey Foundation Scholarship from the Musician's Club of Women. Please “like” her on Facebook for schedules and updates!  

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Laura Mitchell

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).

Core Artist and Operations Director

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Joyce Yin

Soprano Joyce Yin, praised by New York Concert Review for singing with an “otherworldly quality,” brings a committed physicality and depth of emotional connection to the stage. This season, Joyce sings the Pergolesi Stabat Mater, Libby Larsen’s Try Me Good King, and Clara Schumann’s Sechs Lieder. A performer whose “deft characterization” is “matched by her fearless singing” (Entertainment Hour), Joyce particularly enjoys exploring the nuances of determined women such as Susanna (Le nozze di Figaro), Morgana (Alcina), and Gilda (Rigoletto). Recent highlights include Ines in Donizetti’s La Zingara with Amore Opera, Linfea in La Calisto with dell’Arte Opera Ensemble, the title role in Caccini’s Euridice with Cantanti Project, and her debut with the Buffalo Philharmonic as the soprano soloist in the Messiah. Joyce is a winner of the Met Auditions Audience Choice Award and the Musical Merit Foundation of San Diego. She graduated with her M.M. in Opera Performance from Arizona State University. Please visit www.joyceyin.com and @joycesings for updates.

Core Artist and Artistic Director

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Sara Lin Yoder

Soprano Sara Lin Yoder’s midwestern work ethic coupled with 37 years of combined performance experience across 4 different instruments makes her an impeccable musician and a dynamic storyteller. Sara Lin’s “arresting dignity and presence that grips both the eye and the ear” entranced audiences in her performances in the title role of L’incoronazione di Poppea. Her knack for comedy in the roles of Despina (Cosi fan tutte), Clorinda (La Cenerentola), and Ida (Die Fledermaus) left audiences roaring with laughter, while heart-warming renditions of Nanetta (Falstaff), Constance (Dialogues of the Carmelites), and Laurie (The Tender Land) brought them to tears. Sara Lin’s interest in new music was discovered in 2012 while workshopping the role of Jessica in Aldridge/Garfein’s production of Sister Carrie. Since then, she has workshopped Aschera in Kerer/Mazzola’s Apocalypse: Now and Then, Susan in Redler/Campbell’s A Song for Susan Smith,  and Mary in Heggie/Scheer’s It’s a Wonderful Life. Sara Lin lives in New York City.

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