Mozart's Don Giovanni
Director- Robert Neu
Conductor- Elaine Rinaldi
Stage Manager - Fran Falcone
Rehearsal Pianist - Robin Jensen
Costume Designer - Grant Preisser
Lighting Designer - Jon Whiteley
Hair & Make-Up Designer - Nicole Dupre
Scenic Designer - Grant Preisser
Chorus Master - Robin Jensen
Choreographer - Arcadian Broad
Don Giovanni - Gabriel Preisser
Leporello - Todd Donovan
Commendatore -Rod Nelman
Donn'Anna - Janette Zilioli
Ottavio - Chad Johnson
Donna Elvira - Julia Radosz
Zerlina - Sarah Nordin
Masetto - Tyler Putnam
Lyric baritone Gabriel Preisser maintains a very active and diverse performance schedule across the US with over 40 operatic and music theatre roles in his repertory including Danilo in The Merry Widow with Utah Festival Opera, Figaro in Il barbiere di Siviglia with St Petersburg Opera, Harold Hill in The Music Man with Colorado Symphony, Le Mari in Les Mamelles de Tiresias with Opera Parallele, Albert in Werther with Minnesota Opera, Billy Bigelow in Carousel with Minnesota Orchestra, and Prince Ottokar in Der Freishütz with Des Moines Metro Opera to name a few. The New York Times called his performance as Lt Gordon with Opera Philadelphia “wonderful” and Opera News has praised him for his “handsome voice, charismatic energy, and timbral allure.” He has also been praised for having a “matinee idol’s charm and charisma,” “a beautiful, luscious baritone,” and “a compelling, commanding stage presence.”
This season, he makes a company debut with Michigan Opera Theatre returning to the role of Lt Gordon in Silent Night, he takes on Mercutio and Dandini with Opera Tampa and can be seen in the title role of Don Giovanni with Opera Orlando.
Mr. Preisser has made a name for himself as a versatile, cross-over performer and has especially been active in new works. He created the role of Lt. Gordon in Kevin Puts’ Pulitzer Prize winning Silent Night at Minnesota Opera with subsequent performances at Opera Philadelphia and Cincinnati Opera. His performance as Lt. Gordon with Minnesota Opera was also broadcast nationally on PBS in 2013 and 2014. He recently took on the role of Farmer Bean in Tobias Picker’s Fantastic Mr Fox both with Opera San Antonio and Odyssey Opera of Boston. He can be heard on the first official audio recording of Fantastic Mr Fox under the baton of Gil Rose with the Boston Modern Orchestra Project. He has also performed the title role in Aldridge’s Elmer Gantry, Tom Joad in Gordon’s The Grapes of Wrath, Riolobo in Catan’s Florencia en el Amazonas, Antonio in Hagen’s New York Stories, John Brooke in Adamo’s Little Women, and the Shoe Salesman/Puppet role in Argento’s Postcard from Morocco.
On the concert stage he is garnering a reputation for his dynamic interpretation of Orff’s Carmina Burana which he has performed with the Winter Park Bach Festival, Atlanta Ballet, Gulf Coast Symphony, and others. He has also been heard as a soloist in William Walton’s Belshazzar’s Feast with Jacksonville Symphony and the Canterbury Chorale, Bach’s Coffee Cantata with Orlando Philharmonic, Bach’s St John’s Passion with the Houston Bach Society, and Handel’s Messiah with Ars Lyrica and The Messiah Choral Society. In addition, he is a frequent recitalist throughout the US and a proponent of American composers such as Charles Ives, Carlisle Floyd, Aaron Copland, John Duke, and others.
He was a district winner in the 2010 Metropolitan Opera National Council Competition and won the American finals of the International Lirico Concorso Competition in 2011. Mr. Preisser was a resident artist at Minnesota Opera, Kentucky Opera, Pensacola Opera, and an apprentice artist at Des Moines Metro Opera. He graduated summa cum laude from Florida State University with a double major in Vocal Performance and Commercial Music and completed a Masters in Voice at the University of Houston.
American Bass-Baritone, Todd William Donovan, has been described by critics as a singer full of confidence, dominating the stage. He is known for his powerful and resonant voice and expressive acting. Mr. Donovan is comfortable both on the Opera and Musical Theater stage where he has performed throughout the United States.
Opera News Online described Mr. Donovan's performance of Lt. Gunter in Anton Coppola's world premiere of La coupe et les levres: Mr Donovan revealed a fine, fresh baritone and used the French language to mold long, shapely musical lines. St. Petersburg Times Critic, John Fleming has described Mr. Donovan's performances as rich, passionate and powerful; A solid performer with splendid acting throughout, bringing down the house.
Mr. Donovan's most recent operatic roles include: Olin Blitch in Floyd's Susannah, 2014, where he was described as "a swaggering rooster," and "Blitch could be a cardboard villain but Donovan's performance makes him something more, giving fuller dimension to the character…" Scarpia in Puccini's Tosca in 2013, "giving a deliciously evil interpretation," Mefistofele in Boito's Mefistofele, Don Basilio in Il Barbiere di Siviglia; Dr. Falke in Die Fledermaus; Colline in La Boheme; Leporello in Don Giovanni; Baron Zeta in The Merry Widow; and Marchese D'Obigny in La Traviata. Todd has also appeared as Wotan with New Century Opera's Ring Cycle in Wagner's Das Rheingold, Die Walkure and Siegfried. In the Gilbert and Sullivan operettas, he has sung the roles of The Modern Major General in The Pirates of Penzance, Captain Corcoran in H.M.S. Pinafore, and the Mikado in The Mikado.
Mr. Donovan's most recent musical theater was in the roles of Alfred P. Doolittle in My Fair Lady, the Baker in Sondheim's Into the Woods, and Count Carl Magnus in, A Little Night Music. He also covered the role of Sweeney Todd in Sondheim's Sweeney Todd in 2013.
Mr. Donovan has won numerous competitions including 1st place Oxnard $12,000 Gold Medal Award and the Johnny Mercer Award in the American Traditions Competition at the 2009 Savannah Music Festival, singing in multiple music genres including songs from the American Songbook, jazz, musical theater, pop and opera.
Mr. Donovan's Oratorio and concert repertoire include, Handel's Messiah, the Mozart Requiem, Fauré Requiem, Haydn's Theresiennemesse, Paukenmesse, Harmoniemesse, Nicolaimesse, Die Schöpfung, and Die sieben letzten Worte unseres Erlösers am Kreuze, Bloch's Avodath Hakodesh: Sacred Service, Schubert's Mass No. 2 in G, Beethoven's Christ on the Mount of Olives, 9th Symphony and Mass in C, Orff's Carmina Burana, , and Mendelssohn's Elijah.
Mr. Donovan has sung at the Classical Music Festival in Eisenstadt, Austria for the past six seasons and returns in 2014 to sing Beethoven's Missa Solemnis and Haydn's Schöpfungmesse.
With a repertoire that includes over 70 roles, Rod Nelman has performed leading roles with Washington National Opera, Arena di Verona, Long Beach Opera, Florida Grand Opera, New York City Opera, Opera Nante, Kentucky Opera, Utah Opera, Indianapolis Opera, Michigan Opera Theater, Florentine Opera, Fort Worth Opera among others, and has been on the roster of the Metropolitan Opera beginning 2009.
A versatile singing actor, Rod’s roles run the gamut from the comedic to the dramatic. He has performed Leporello in “Don Giovanni”, Bartolo in both “Barbiere” and “Figaro”, Mustafa in “L’italiana”, Dulcamara in “Elixir”, Don Magnifico in “Cenerentola” Sulpice in "Daughter", Alfonso in “Cosi”, the title role in “Don Pasquale”, Osmin in “Abduction”, Basilio in “Barbiere”, Mephistopheles in “Faust”, Fasolt in “Rheingold”, Wotan and the Wanderer in ”The Ring”, Commendatore in “Giovanni”, Count Rodolfo in “Sonnambula”, Scarpia and The Sacristan in “Tosca”, Monterone in “Rigoletto”, Morosus in “Die Schweigsame Frau”, Colline and Shaunard in “La Boheme”, Timur in “Turandot”, Dr. Grenvil in “La Traviata”, and Padre Anton in “El Gato Montes”.
An accomplished musician his vast repertoire includes contemporary works such as Kissinger in “Nixon in China”, Einstein in “Einstein on Mercer Street” (Kevin Puts), Leopold Mozart in “Letters Riddles and Writs” (Michael Nyman), Kublai Khan in “Marco Polo” (Tan Dun), the title role in “Sweeney Todd”, Ben in “Regina” (Marc Blitzstein), Wesener in “Soldaten” (Manfred Gurlitt), George in “Of Mice and Men” and Blitch in “Susannah”.
On the concert stage he has appeared with the Milwaukee Symphony as bass soloist in Mozart’s Mass in C-minor, Virginia Symphony as bass soloist in Handel’s Messiah, El Paso Symphony as bass soloist in Mozart’s Mass in C-minor, Michigan State University Orchestra as bass Soloist in the Verdi Requiem, Lansing Symphony in a recital of Copland’s “Old American Songs”, Orlando Philharmonic in Mozart’s Concert aria “Per questa bella mano”, and Jacksonville Symphony as bass soloist in Beethoven’s Ninth Symphony.
Future performances include Dulcamara in “Elixir” with Knoxville Opera, Bartolo in “Barbiere” with the Santa Fe Concert Association, Benoit and Alcindoro in "La Boheme" with Lyric Opera of Kansas City, Dulcamara in "Elixir" with Shreveport Opera, Bass soloist in Stravinky's Pulcinella with Michael Tilson Thomas and the New World Symphony and with Chicago Opera Theatre, and a return to the Metropolitan Opera as Don Magnifico (cover) in “Cenerentola” and Don Alfonso (cover) in "Cosi".
Noted as a “blond hunk with a bright tenor sound,” Chad Johnson has impressed audiences and critics throughout his career. This season’s engagements include the roles of Niklaus Sprink in Silent Night with Michigan Opera Theatre and Lenski in Eugene Onegin with Florida Grand Opera.
Mr. Johnson has led quite a prolific career as a tenor in a variety of operas across North America. Recently, he has taken on many great tenor roles including Niklaus Sprink in Silent Night with Fort Worth Opera and in his début with The Wexford Festival; Tonio in La fille du regiment with Mill City Summer Opera; Gerald in Lakmé with Minnesota Opera and Florida Grand Opera; Peregrino in Vía Láctea with OperaBend; Nadir in Les pêcheurs de perles with Virginia Opera and Opera Carolina; Ruggero in La rondine with Fresno Grand Opera; Lysander in Britten’s A Midsummer Night’s Dream with Boston Lyric Opera; Jacquino in Fidelio with Opera Omaha; Emilio in Il sogno di scipione with Gotham Chamber Opera; and Lance in the rarely performed Gluck opera entitled L’arbre enchanté with Fire Island Opera for their inaugural season.
Previous career highlights include Don Ottavio in Don Giovanni with New Orleans Opera, Paolino in Il matrimonio segreto at Brooklyn Academy of Music, and Ferrando in Così fan tutte with Tanglewood Music Center under the baton of Maestro James Levine. From this performance, Opera News raved: “The excellent tenor Chad Johnson provided some deeply felt moments as his Ferrando struggled to stay in the game, and all of his arias rang true.”
As a member of the young artist program at Chicago Opera Theater, Chad covered the role of the Male Chorus in Britten’s The Rape of Lucretia. He was also a member of the Santa Fe Opera’s Apprentice Artist Program and the Young Artist Ensemble at Florida Grand Opera where he sang many roles, including the Second Jew in Salome, Benvolio in Roméo et Juliette, Gastone in La traviata, Joszef in the North American première of Ede Donath’s Szulamit, and Pong in Turandot. With Glimmerglass Opera, as a member of the Young American Artists Program, he sang the role of Harry in La fanciulla del West.
He is also active as a concert soloist performing with the Atlanta Symphony, St. Paul Chamber Orchestra, Tanglewood Festival Orchestra, Boston Pops, Sun Valley Symphony Orchestra, San Diego Chamber Orchestra and Master Chorale, Kalamazoo Symphony Orchestra, AIMS Festival Orchestra, Symphony of the Americas and New World Symphony. Recent engagements include the tenor soloist in Beethoven’s Symphony No. 9 with Texas Christian University, a return to Savannah Voice Festival in a gala concert, the tenor soloist in Christ on the Mount of Olives with New York City Master Chorale, and performed a Gala Concert with Maestro Jerry Steichen. He has been a featured soloist in such works as Mozart’s Requiem and Coronation Mass, Händel’s Messiah, Vaughan Williams’ Serenade to Music, Bach’s Magnificat, Orff’s Carmina Burana, and numerous recitals and concerts. Additional performances include Mozart’s Coronation Mass and Haydn’s Missa in Angustiis with the New York Choral Society, a New Year’s Eve concert with the Alabama Symphony, Mozart’s Requiem with Modesto Symphony Orchestra, Britten’s Spring Symphony for MidAmerica Productions, and a pops program with Long Beach Symphony.
Chad Johnson studied at Western Michigan University, the University of Kentucky, and the American Institute of Musical Studies’ Opera Studio in Graz, Austria. Johnson won the Four Cities District Metropolitan Opera National Council Auditions, and first prize in the Licia Albanese-Puccini Foundation Competition.
Julia Radosz is quickly establishing herself with the works of Verdi, Mozart, and the Bel Canto repertoire.
She has been praised by Musical America as a“lovely lyric soprano”, impressing with her “warm tone and agile phrasing” (Austin XL). Her recent debut of La Traviata with Northern Dutchess Symphony Orchestra and Delaware Valley Opera met with much enthusiasm for her “astonishing performance, brilliant soprano and thrilling embellishments that were augmented by the most subtle and heart-rending acting” (Voche di Meche).
In the 2016-2017 season, Ms. Radosz will make two role debuts as Musetta (La Bohème) with Wichita Grand Opera and Donna Elvira (Don Giovanni) with Opera Orlando. She performed concerts with Northern Dutchess Symphony Orchestra featuring excerpts from La Traviata and La Bohème, and with Litha Symphony Orchestra featuring works by Wagner, Mussorgsky, and Fauré. During the summer of 2016, she joined Bel Canto at Caramoor's Young Artist Program and was a featured soloist in several concerts.
The previous season, Ms. Radosz reprised the role of Gilda in Rigoletto and Lauretta (Gianni Schicchi) with North Shore Music Festival, performed in a concert featuring works of Verdi, Donizetti, and Leoncavallo with Annapolis Opera, and sang excerpts from Rigoletto and La Traviata with Gulfshore Opera in their inaugural season concert Viva Verdi, under the baton of Maestro Paul Nadler. She premiered the lead role of Olympia in of Haim Elisha's A Certain Quiet with Theater for the New City. Ms. Radosz was also called upon last minute by Miami Lyric Opera where she sang to great acclaim under the baton of Imre Pallo. The Miami Herald wrote: "[Julia Radosz'] captivating personality and pinpoint coloratura riveted attention.”
During the 2013-2014 season, Ms. Radosz appeared as Berenice in Rossini's L'occasione fa il ladro with Little OPERA Theatre of NY, Lauretta in Gianni Schicchi with Raylynmor Opera, and Lydia Larkspur in the NY Premiere of Kirke Mechem's The Rivals with Bronx Opera, in which she was praised by The New York Times for her “properly dreamy, petulant Lydia” and Broadway World for her “strong, musically adept performance." She also performed several recitals themed on the artistry of Marcella Sembrich and Jenny Lind.
While in residency with Tri-Cities Opera, Ms. Radosz made many role debuts, including Gilda (Rigoletto), Fiordiligi (Cosí fan tutte), Adina (L’elisir d’amore), Susanna (Le nozze di Figaro), Antonia (Les Contes d’Hoffman), and received much praise for her “Spinning top . . . impressive chest register” and “pliable, rich soprano” (Broome Arts Mirror).
Previous roles include Helena (A Midsummer Night's Dream) and Magnolia Hawks (Showboat) with Opera Naples, Tormentilla in Ralph Vaughn Williams’ The Poisoned Kiss with Bronx Opera, Rose-Marie with Light Opera of New York, and Donna Anna (Don Giovanni) with Cape Cod Opera. With The Butler Opera Center, Ms. Radosz has sung Susannah, the Governess in Turn of the Screw, Lady Madeline in the American premiere of Debussy’s opera La Chute de la Maison Usher, and Pamina (Die Zauberflöte), in Costa Rica, Mexico, and Austin, in which she was lauded for her “technically sound, rich performance” (The Austin Chronicle).
Ms. Radosz has garnered numerous awards, including: Winner of the Jenny Lind Competition, Connecticut Concert Opera Competition, Marcella Kochanska Sembrich Vocal Competition, and the 5 Towns Music and Arts Foundation Competition, a Grant Winner from The CareerBridges Foundation, 2nd Place in the Kosciuszko Foundation's Marcella Sembrich Vocal Competition, 2nd Place in the National Federation of Music Club's Biennial Young Artist Awards, 3rd place in New Jersey State Opera's Alfredo Siligpigni Competition, the Bel Canto Award at the Orpheus Competition, finalist in the Liederkranz Competition General Opera Division, and a guild encouragement recipient at the Palm Beach Opera Competition.
Rising-star mezzo-soprano Sarah Nordin is building an enviable reputation as an artist of brilliant technique and artistry, both as a singer and as an actress. Her "luscious" voice has been praised by Opera News, as has her ability to “hold her own with the big guns” as Lola CAVALLERIA RUSTICANA with Orlando Opera. Ms. Nordin’s warm, rich voice easily fills the largest opera and concert venues and she has received critical praise for her skills as a comedienne in numerous roles including Orlofsky DIE FLEDERMAUS and Isabella L’ITALIANA IN ALGERI. Recent Mozart roles include Dorabella COSI FAN TUTTE with Opera Tampa, Winter Opera of St Louis and Florida Opera Theatre, and Cherubino LE NOZZE DI FIGARO with both Opera del West and Long Island Opera, with the St. Louis Post enthusing that Ms. Nordin’s brought to the role of Dorabella “a rich mezzo-soprano that fit Mozart’s music like a glove.”
Other recent roles include the title-role CARMEN in concert with the Livingston Symphony Orchestra, Flora LA TRAVIATA with Opera Tampa, Tisbe LA CENERENTOLA and Third Lady DIE ZAUBERFLÖTE with Salt Marsh Opera, Angelina (cover) LA CENERENTOLA for Orlando Opera, Zita GIANNI SCHICCHI and Marcellina LE NOZZE DI FIGARO with Hubbard Hall Opera Theatre, Isabella L’ITALIANA IN ALGERI, Meg FALSTAFF with Taconic Opera, and Prince Orlofsky DIE FLEDERMAUS with Geneva Light Opera and St. Petersburg Opera. Sarah has worked with many of the most prestigious companies in the US including Opera Theatre of Saint Louis, Central City Opera, Caramoor Opera and Opera North. Ms. Nordin has worked on the Metropolitan Opera’s productions of LES TROYENS, PARSIFAL, OTELLO, BORIS GODUNOV, NABUCCO and TURANDOT. She has been involved in three HD live broadcasts from the Met and joined them for their Japan tour in 2012. She has also traveled extensively throughout Europe and the United States as a soloist with the American Spiritual Ensemble.
Ms. Nordin earned her Master of Music degree from the University of Tennessee and her Bachelor of Music degree from Lee University. She is also an accomplished French horn player and an award winning ballroom dancer.
Bass Tyler Putnam is quickly gaining national recognition as an important young opera singer. 2016 engagements include José Castro LA FANCIULLA DEL WEST with Opera Omaha, Chief of Police EVANGELINE with The Longfellow Chorus and Luther Billis SOUTH PACIFIC with St. Petersburg Opera.
In 2015 he returned to The Santa Fe Opera as an apprentice where he sang the role of Thomas COLD MOUNTAIN and appeared in RIGOLETTO and SALOME. “Tyler Putnam sang with knowing power as the Second Soldier” – Opera Today. He also created the role of Kobun for the workshop of THE (R)EVOLUTION OF STEVE JOBS by Mason Bates which will debut at Santa Fe Opera in 2017. Other roles that season included Bartolo FIGARO 90210 with Dartmouth College, Sarastro THE MAGIC FLUTE with both Raylynmor and Salt Marsh Operas, The Imperial Commissioner MADAMA BUTTERFLY with Salt Marsh Opera, the Monk DON CARLOS with Sarasota Opera and a debut with the Omaha Symphony as the bass soloist in Dvořák’s STABAT MATER and Handel’s MESSIAH.
In 2014 he covered the role of Rocco FIDELIO at Santa Fe and sang Ceprano RIGOLETTO with Opera Omaha. He garnered critical reviews as the title role in Carlisle Floyd’s MARKHEIM with Little Opera Theatre of NY. “Bass Tyler Putnam gave a superb performance in the title role, alternately self-serving, malevolent and tragic. MARKHEIM is something of a tour de force for bass and Putnam proved more than up to the task” – Opera News. Mr. Putnam also joined Sarasota Opera as a Studio Artist covering Ferrando IL TROVATORE, Don Basilio THE BARBER OF SEVILLE and the Papal Legate in Verdi’s JERUSALEM. He ventured into the New York “indie opera” scene singing the role of Mr. B in Yoav Gal’s new opera THE DWARF directed by Doug Fitch.
Other performances include Raimondo LUCIA DI LAMMERMOOR with Opera North USA as well as portraying the comic Luther Billis SOUTH PACIFIC. Tyler has appeared with Gotham Chamber Opera covering Nerbulone in Cavalli’s ELIOGABOLO. Other roles in NYC include a concert version of Verdi’s ERNANI and covering the Commendatore for The Juilliard School’s graduate production of DON GIOVANNI directed by Stephen Wadsworth and conducted by Gary Thor Wedow.
In the summer of 2011 Mr. Putnam made his European debut singing a recital with Concerti in Monte Argentario in Porto Ercole and Porto Santo Stefano, Italy.
No stranger to musical theater, Mr. Putnam performed Macheath THE THREEPENNY OPERA with the Princeton Festival, and at the New London Barn Playhouse in New Hampshire, Kodaly SHE LOVES ME, Evelyn Oakleigh ANYTHING GOES and Franz Liebkind in Mel Brooks’ THE PRODUCERS. Other musical theater experience includes Terry Connor SIDE SHOW, Mr. Mushnik LITTLE SHOP OF HORRORS, Young Joe DAMN YANKEES, Pangloss CANDIDE and Harold Hill THE MUSIC MAN.
Mr. Putnam has won prizes from The Sullivan Foundation (Career Development Grant 2014), The Metropolitan Opera National Council Auditions (Boston District winner 2011), and the Schuyler Foundation for Career Bridges (Top Prize 2012 and 2013).
Mr. Putnam grew up on Chebeague Island, Maine and is a graduate of Dartmouth College. He studies voice with Randolph Mickelson and Francis Keeping in New York City.
Robert Neu, known for his highly theatrical and musically sensitive work, has directed more than eighty productions of operas, musicals and plays throughout the country. A pioneer in the field of semi-staged operas with symphony orchestras, Neu has worked closely with the Minnesota Orchestra presenting acclaimed productions ofCandide, Fidelio, Hansel and Gretel (which has been revived three times), Tosca, Carmen, Peer Gynt (which he also co-adapted), La Boheme, La Traviata, Bernstein’s Mass, The Magic Flute, Die Fledermaus and Carousel. For the Colorado Symphony, he has directed Tosca and The Music Man. Cincinnati Symphony and Cincinnati Pops audiences have seen his productions of The Music Man, The Magic Flute, Peer Gynt and The Sound of Music.
His fully-staged productions include Cosi fan tutte with Cincinnati Chamber Orchestra, La Boheme with West Virginia Opera, Trouble in Tahiti for the Minneapolis Fringe Festival, and The Marriage of Figaro for Bellevue Opera. Over the past decade, Neu has established an on-going relationship with Skylark Opera for which he has directed a wide variety of operettas, operas and musicals including Naughty Marietta, Don Pasquale, The Merry Widow, On the Town, Wonderful Town, The Fantasticks, Candide and Putting It Together. Also an audience favorite with Lyric Opera of the North, he has directed its productions of Don Pasquale, The Face on the Barroom Floor, Carmen and The Barber of Seville. Additional work seen at numerous theaters throughout the Minneapolis region includes Oliver, The Sound of Music, Fiddler on the Roof, Patience, Becky’s New Car, Death of a Salesman, Art, Godspell, Blithe Spirit and The Laramie Project.
During the 2015-16 season, Neu made his debuts with Central City Opera/Boulder Philharmonic in a highly-acclaimed staging of St. Matthew Passion, and with the Gulf Coast Symphony with a production of La Boheme. Upcoming engagements include his debuts with Emerald City Opera for Florencia en el Amazonas and with Jacksonville Symphony for a remounting of Hansel and Gretel, and return engagements with the Colorado Symphony for La Boheme and St. Matthew Passion. Of particular note is a site-specific production of The Marriage of Figaro performed in the James J. Hill House in St. Paul, Minnesota. In addition, Neu has recently been named Interim Artistic Director of Skylark Opera.
In the past ten years, nine of Neu’s productions have received “Best of the Season” citations from various media including Minneapolis Star Tribune, Cincinnati Post, St. Paul Pioneer Press and Minnesota Public Radio. His production of The Laramie Project received awards for Best Ensemble and Outstanding Theater Event of the 2014 season from Broadway World.
Neu teaches masterclasses in audition techniques for the University of Minnesota’s opera department, and he is a Resident Director at Lyric Arts Theater in Minneapolis. He is a graduate of The Juilliard School.
Elaine Rinaldi, Founder and Artistic Director of Orchestra Miami, is a Miami native who has chosen to return home and reinvest in her community. Under her artistic supervision and direction, Orchestra Miami has performed high quality classical music concerts to literally thousands of people through its annual Free Outdoor Concerts and introduced over 23,000 school children to classical music through its collaboration with the MDCPS Cultural Passport Program and In-School Performances. Critics have called her work “absolutely exceptional” (El Nuevo Herald). Of her work, Lawrence Budmen of the Miami Herald wrote “Rinaldi clearly has a penchant for offering interesting thematic programming and promising soloists” and Daniel Fernandez of El Nuevo Herald wrote, “Rinaldi is a conductor who marries her professionalism with an exquisite sensitivity”.
In addition to her work with Orchestra Miami, Rinaldi is much in demand as an opera conductor. Her recent engagements have included debuts at Mezzano Romantico Summer Festival (Fiera di Primiero, Italy) leading performances of Suor Angelica/Gianni Schicchi and at the Tri-Cities Opera leading sold-out performances of Don Giovanni. She was the Principal Guest Conductor at the Dicapo Opera Theatre from 2001-2006 and has led several tours for the National Lyric Opera, twice appeared as a guest conductor with the Albany Symphony for the Shaker Mountain Performing Arts Festival, and conducted performances of La Traviata for Island Opera Theater in Key West, FL. Rinaldi has held many positions as an Assistant and/or Cover Conductor in many of this country’s leading regional opera theaters. From 1997-2000, she held the positions of Resident Associate Conductor and Chorus Master at the Florida Grand Opera in Miami. Critics called her work with the chorus “exquisite”, and Tim Smith of the Ft, Lauderdale Sun Sentinel said “the chorus, under Elaine Rinaldi’s direction, gets better and better.”(La Boheme).
Her awards have include the Agnis Varis/Intercities Performing Arts grant, the League of American Orchestra’s mentorship with Joann Faletta, Finalist for the American Prize for Orchestral Conducting and Orchestra Performance, the Newton Swift Prize for Accompanying at the Mannes College of Music and the M. B. Byrd full tuition scholarship at the University of Miami Frost School of Music. As an educator, Rinaldi has taught at many opera training programs, and given master classes at several universities throughout the United States. At Intermezzo Summer Opera Training Program, she conducted performances of Die Zauberflöte and Suor Angelica, and led performances of Handel’s Orlando for BAYSOTI in San Francisco. Other coaching positions included running the Young Arts program and Summer Institute at Dicapo Opera, staff coach at the Martina Arroyo “Prelude to Performance” and Adjunct Professor at the University of Miami from 2007-2015.
In addition to her work with Orchestra Miami, Ms. Rinaldi maintains an active presence on the stage as a chamber musician and recital accompanist, and works with some of the most recognizable names in the world of opera in her private coaching studio in New York City. Notable recital engagements have included performances with Metropolitan Opera stars Olga Makarina, Eglise Gutierrez, Elizabeth Caballero and Russell Thomas. Most recently, she accompanied soprano Yunah Lee in a recital tour of Japan and appeared as a guest artist with the 2014 Palm Beach Chamber Music Festival.
With over 15 productions under her belt, Nicole Dupre has definitely turned her passion into a beautiful career. Opera and Stage Makeup are Nicole’s specialty, and she has lent her skills to Orlando’s Opera and Theatre community since 2011. Most recently as Hair and Makeup Designer for The Orlando Ballet’s production of Don Quixote at The Dr. Phillips Center for The Performing Arts, as well as Florida Opera Theatre’s performances of Cosi Fan Tutte and Master Class also at the Dr. Phillips Center. Nicole is most excited to be continuing her role as designer with the newly minted Opera Orlando, and their double bill of Mozart’s “IMPRESSARIO” and Poulenc’s “LES MAMELLES DE TIRESIAS”.
Nicole’s previous design work was seen in the Orlando Philharmonic's productions of Tosca, La Traviata, Madama Butterfly, Barber of Seville and The Marriage of Figaro to name a few.
When not backstage, Nicole can be found behind the camera on television and film sets working with clients like NBC, WESH 2, Golf Channel, Odyssey Creative and many other productions throughout Florida. Art is truly Nicole’s passion and when not doing makeup, she explores other creative visual art mediums.
ARCADIAN BROAD - Choreographer
Joined Orlando Ballet in 2011
Arcadian Broad began dancing at age 9 and was a finalist for the title role of “Billy” in the Broadway musical Billy Elliot. At 13 he made his TV debut as a semi-finalist on season 4 of NBC’s America’s Got Talent and was a guest on the ELLEN show soon after. He has won numerous medals in the American Dance Competition and YAGP including the ADC prize from 2006-2011. He also has trained on full scholarship at Orlando Ballet School, the Carreno Festival and the Juilliard School. At 16, Arcadian was the youngest to be hired into Orlando Ballet under Artistic Director Robert Hill. With Hill’s guidance Arcadian has branched out into the world of choreography for the company and abroad. Arcadian also has a presence in the film industry. This is Arcadian’s fourth season with Orlando and he would like to thank everyone who has touched his life and guided him to the man he is becoming today.