Salome

Company appearances – Gertrude in Hansel and Gretel, February 2020

A graduate of Roosevelt University’s Chicago College of Performing Arts (CCPA) and Oberlin College Conservatory of Music, soprano Marcy Stonikas is a recipient of the prestigious Richard F. Gold Career Grant from the Shoshanna Foundation, as well as a winner of the George London Foundation Vocal Competition and First Prize Winner in the Wagner Division of the Gerda Lissner Foundational Vocal Competition. She is an alumna of the Young Artist Program at Seattle Opera, where she has since returned many times as a principal guest artist.

​During the 2023-2024 season, Ms. Stonikas joins Steven White and Opera Roanoke in concert, singing Strauss Four Last Songs and scenes from Ariadne auf Naxos, before traveling to Opera Colorado for her house debut as Senta in Der fliegende Holländer.

​Last season, Ms. Stonikas returned to the Metropolitan Opera to make her company stage debut as A Convict while covering the leading role of Ekaterina in Lady Macbeth of Mtsensk. In concert, she returned to the role of Leonore in Fidelio with the Indianapolis Chamber Orchestra. She also recently joined the roster of the Metropolitan Opera to cover the title role in their acclaimed production of Turandot.

​Notable operatic engagements include multiple appearances with Seattle Opera as the title roles in Turandot, Fidelio, and Ariadne auf Naxos, Miss Jessel in Turn of the Screw, Gertrude in Hansel and Gretel, Magda Sorel in The Consul, and the High Priestess in Aida; Chrysothemis in Elektra with Minnesota Opera; Senta in Der Fliegende Hölländer with Cincinnati Opera; further performances of Turandot with Atlanta Opera, Opera Naples, and Cincinnati Opera, with covers of the role at the Metropolitan Opera and Lyric Opera of Chicago; Leonore in Fidelio with Volksoper Vienna and Princeton Festival; Third Norn in Götterdämmerung and Gerhilde in Die Walküre for her debut with Washington National Opera; her role and house debut in the title role in Salome with Utah Opera; Ariadne with Berkshire Opera Festival; Tosca with Arizona Opera and Opera Santa Barbara; Gertrude with San Diego Opera; and multiple performances with Wolf Trap Opera as Antonia in Les contes d’Hoffmann, Rosaura in Wolf-Ferrari’s rarely staged Le donne cuirasse, and Donna Anna in Don Giovanni, which she also performed with Opera Santa Barbara. Miss Stonikas also had the unique opportunity to perform the roles of Irene and Mary in the American premiere of Jerry Springer: The Opera with Bailiwick Repertory Theatre in Chicago.

​Orchestral highlights include performances of Beethoven’s Ninth Symphony with San Antonio Symphony and the West Australian Symphony Orchestra; Mahler’s Symphony No. 8 with the South Dakota Symphony; and she sang a blumenmädchen in Parsifal with the Cleveland Orchestra, conducted by Pierre Boulez.

San Diego Opera debut

Kirsten Chambers is most known for her portrayal of the title role of SALOME, which she has sung at the Metropolitan Opera, Opera Hong Kong, and with Florida Grand Opera. Her Carnegie Hall debut came on two days’ notice when she sang the fiendishly difficult role of Maria in Richard Strauss’ FRIEDENSTAG with the American Symphony Orchestra. She first joined the roster of the Metropolitan Opera in 2016 as a cover of Isolde in TRISTAN UND ISOLDE and rejoined the Metropolitan Opera roster for DIE WALKÜRE. Highlights for 2019-23 include a return to the Metropolitan Opera as cover for Marie in WOZZECK, a return to Odyssey Opera to sing the title role in Strauss’ DIE ÄGYPTISCHE HELENA, making both her house and role debut with Indianapolis Opera as Donna Anna in DON GIOVANNI and with Opera Orlando as Marchesa del Poggio in UN GIORNO DI REGNO, and performing Leonore in FIDELIO with St. Petersburg Opera. In concert, she performed scenes from the title role of LORELEY by Catalani for Teatro Grattacielo, GÖTTERDÄMMERUNG at the Vienna Summer Music Festival, bel canto and verismo concerts with Maestra Eve Queler, Opera at Florham, Opera Orlando, Permian Basin Opera, St. Petersburg Opera. and with the Concert Opera of Greater Chicago singing selections from Verdi operas. She returned as Guest Soloist for the International Summer Opera Festival of Morelia and Shreveport Opera’s 25th Anniversary Gala. She also created a new opera with White Snake Projects in Boston and a new feature opera film FREYDIS AND GUDRID. She performed recitals and concerts at several universities: with Orchestra Ogden at Weber State University, the University of Maryland, and the University of Houston. Upcoming for 2024 are scenes from Donizetti, Verdi, & Wagner operas with Hope and Anchor Opera and orchestral concerts with the Monterrey Summer Opera Festival. Kirsten is most excited to be debuting the role of Mrs. Poe in THE VOYAGE OF EDGAR ALLEN POE with her favorite company, Odyssey Opera. Engagements for 2017-18 include Infantin in DER ZWERG with Odyssey Opera in Boston, the Angel in Angels in America for New York City Opera, ERWARTUNG with The Orchestra Now, Guest Soloist for selections from DER FLIEGENDE HOLLÄNDER and DIE WALKÜRE at the International Summer Opera Festival of Morelia, and the title role of SALOME with Florida Grand Opera. Her 2014-16 seasons began with her exciting debut in the title role of SALOME at Opera Hong Kong, and also she debuted Foreign Princess in RUSALKA at Lyric Opera of Kansas City and Leonore in FIDELIO for New Amsterdam Opera. For Opéra de Rennes, she reprised the role of Elsa in LOHENGRIN. Her European debut in 2013-14 was with Savonlinna Opera Festival as Elsa in LOHENGRIN. She also appeared as a featured soloist in excerpts from LOHENGRIN with the Oulu Symphony in both Oulu and Helsinki and later at the Mikhailovsky Theatre in St Petersburg in concerts for Savonlinna Opera Festival. Ms. Chambers reprised the role of Elsa in LOHENGRIN for the Hong Kong Arts Festival. In concert she performed Isolde’s Liebestod from TRISTAN UND ISOLDE with the Hong Kong Philharmonic and Brünnhilde’s Entrance from DIE WALKÜRE with Orchestra Kentucky. Ms. Chambers 2011-12 season began with a cover of the title role of TURANDOT with Arizona Opera and a concert performance of the title role of TOSCA with Opera Saratoga, followed by a staged performance of TOSCA with the Martha Cardona Opera and a return as Santuzza in CAVALLERIA RUSTICANA. At Toledo Opera she covered the title role in ARIADNE AUF NAXOS and sang Nedda in PAGLIACCI with the Bronx Opera. A champion of new music, Ms. Chambers has been recorded on the Newport Classics Label and has appeared with American Lyric Theater & American Opera Projects.

San Diego Opera debut

Hailed by The Chicago Tribune as a “Wonderfully natural singing actor”, through his innate sense of style, command of languages, and superior acting abilities, tenor Dennis Petersen is sought after for a variety of operatic roles. He has sung well over one hundred roles in his extensive career. Dennis sang for over 20 seasons with the Metropolitan Opera, Chicago Lyric Opera, and San Francisco Opera companies. He also sang often at the New York City Opera and many of Americas regional companies including Minnesota Opera. Mr. Petersen also sang regularly in Canada, Europe, and Japan. He was no stranger to the Symphonic and recital venues. Dennis Petersen has happily transitioned into a full-time voice teacher at MacPhail Center for Music and maintains a studio of around 50 students of all ages and genres. He is occasionally coaxed back onto the opera stage but primarily focuses his energy on his wonderful wife Denise, Grandsons, and Family. We also care for our goats and dogs at our country home near Northfield, MN.

Company appearances – Sparafucile in Rigoletto, February 2019

Renowned not only for his luxurious voice, confidence, and style but also for his versatility and ability to bring a character to life on stage, bass-baritone Kyle Albertson is taking the business by storm. This season will see Albertson join Maestro Gustavo Dudamel and the LA Philharmonic for Das Rheingold, The Dallas Opera for Elektra, Pittsburgh Opera for Der fliegende Holländer, and rejoin Virginia Opera for Siegfried. In 2024, Albertson will return to the Dallas Symphony for their stand-alone performances of Das Rheingold, Die Walküre, and Siegfried, as well as their full Ring Cycle, led by Maestro Fabio Luisi. Last season’s engagements included Wotan in Die Walküre for Virginia Opera, a return to the Metropolitan Opera for their new production of Don Giovanni, and the role of Prometheus in Die Vögel with Pacific Opera Victoria.

Mr. Albertson made his European début at Opera Köln in Germany as Frank Maurrant in Street Scene, and he returned to Oper Graz in Austria for their 21-22 season, performing the title role in Der fliegende Holländer in more than 12 performances, as well as Wotan in their concert performances of Loriot’s Der Ring an einem Abend. Additionally, he returned to the mainstage of the Metropolitan Opera as Angelotti in Tosca, sang Wotan in Das Rheingold for both Virginia Opera and Opera Santa Barbara, and débuted the title role in Bartok’s Bluebeard’s Castle with Opera Roanoke.

Kyle first joined The Metropolitan Opera roster for Don Giovanni and returned for five consecutive seasons in their productions of Le nozze di Figaro, Die Zauberflöte, Dialogues des Carmélites, The Merry Widow, and Manon. His 2020 and 2021 Metropolitan Opera engagements were to include covering the title role in Der fliegende Holländer, Claggart in Billy Budd, and Kurwenal in Tristan und Isolde. He was also slated to make his role débuts as Jochaanan in Salome and Pizarro in Fidelio.

​Albertson’s first foray into Wagner’s demanding vocal universe came in his house début at Lyric Opera of Chicago for their production of Das Rheingold, in which he subsequently performed the role of Donner in Minnesota Opera’s production shortly thereafter. He then went on to cover Greer Grimsley’s Wotan in Francesca Zambello’s production of Der Ring des Nibelungen for San Francisco Opera and returned to the Lyric Opera of Chicago for their production of Siegfried.

In his début as Wotan in Wagner’s epic masterpiece Die Walküre, in Maestro Jaap van Zweden final performance with the Dallas Symphony, Theater Jones exclaimed, “the most impressive aspect of this performance came undoubtedly from Wotan…his voice masterfully brought the character to life…Albertson’s interactions throughout the performance with his most beloved daughter, Brünnhilde, were ingeniously convincing. Coupled with Albertson’s commanding, though endearing, baritone, these moments did not seem like an opera concert at all, rather a fully realized engagement of dramatic and musical interpretation.” The Dallas News called his performance “gripping… I can’t recall the opera’s final parting of father and daughter so emotionally intense…this high-intensity performance will surely rank as a legend in Dallas musical history.” This tour-de-force performance left no doubt that the next great American Wotan had arrived.
Previous engagements have included his début as Scarpia in Tosca for Virginia Opera, Lieutenant Horstmayer in Silent Night with Opera San José, Escamillo in Carmen for the Phoenicia Festival, Sharpless in Madama Butterfly with New Jersey Festival Orchestra and the Northern Lights Music Festival, Zuniga in Carmen with Dallas Opera, Sacristan in Tosca with Houston Grand Opera, the Sergeant of Police in The Pirates of Penzance with The Atlanta Opera, Lescaut in Manon Lescaut with Opera Grand Rapids, DeGuiche in Cyrano with Michigan Opera Theatre and Opera Carolina, the title role in Sweeney Todd with Syracuse Opera, Sam in Trouble in Tahiti with Opera Parallel at SFJazz, and JP Morgan in the World Première of Tesla with SoBe Arts in Miami. In addition, he performed Lyndon B. Johnson in the workshop of David T. Little’s JFK and Bartolo in Il barbiere di Siviglia with Fort Worth Opera; Porthos in Les Trois Mousquetaires with the Phoenicia Festival; Rucker Lattimore in Cold Sassy Tree with Sugar Creek Opera Festival; and the roles of the Prison Warden in Dead Man Walking, Hobson in Peter Grimes, and the Duke in Roméo et Juliette, all with Des Moines Metro Opera.

As a sought-after concert artist, a few recent highlights include Bruckner’s Te Deum with Houston Symphony; Verdi’s Requiem with The Handel Society of Dartmouth; Handel’s Messiah with Boise Philharmonic; Papageno in Boston Youth Symphony’s concert performance of Die Zauberflöte at Symphony Hall; a Carnegie Hall début in Rutter’s Mass of the Children and a subsequent return for Kevin Padworski’s Wanderlust; and a concert version of Der Rosenkavalier with Christoph Eschenbach and the National Symphony.

Albertson is a graduate of the Santa Fe Opera Program, Minnesota Resident Artist Program, the Glimmerglass Festival, Aspen Opera Theater Center, and Chicago Opera Theater. He appeared in a variety of productions during his training including Les contes d’Hoffmann, Le nozze di Figaro, Un ballo in maschera, Roméo et Juliette, La donna del lago, and performed the roles of Escamillo in Carmen, Harašta in The Cunning Little Vixen, Geronimo in Cimarosa’s Il matrimonio segreto, Gus O’Neill in John Musto’s Later the Same Evening, Nilakantha in Lakmé, about which critics lauded, “Kyle Albertson made an imposing Nilakantha, bringing life to a character that is barely two-dimensional,” Quince in A Midsummer Night’s Dream, and Henry Kissinger in Nixon in China, praised by The Chicago Sun Times and The Chicago Tribune for his “watchful” and “effective” portrayal.

Albertson has placed as a finalist in several competitions such as The Gerda Lissner Foundation International Vocal Competition, the George London Foundation Competition, the Marcello Giordani Competition, the Liederkranz Competition, and the Metropolitan Opera National Council Auditions. He holds a Master of Music degree from DePaul University where he studied with world-renowned mezzo-soprano Susanne Mentzer, and a Bachelor of Music from the University of Northern Iowa where he studied with David Smalley. He is currently in the studio of Dr. Steven King.

https://www.kylealbertson.com/biography

Company appearances – Marie in Wozzeck (2007)

Nina Warren is an internationally acclaimed artist known for her interpretations of the most demanding dramatic soprano repertoire. This is illustrated by her recent triumphant return to the Teatro Colón as Turandot where she also had debuted Brünnhilde in Die Walküre with Charles Dutoit and starred in Konig Kandaules (recorded on the Capriccio label). Further Wagnerian roles include Brünnhilde in Götterdämmerung at the Teatro Petruzzelli, her MET debut as Gerhilde and then eight consecutive seasons there inclusive of the LePage Ring. Her career highlights include: Turandot with Los Angeles Opera, Sinaloa Festival of the Arts Mexico, Teatro Colon and Köln, Minnie in La fanciulla del West, with Los Angeles Opera and Essen Opera, Marie in Wozzeck with San Diego Opera, Leonore in Fidelio in Essen, Bonn and Nice, Tosca with Teatro Municipal in Santiago and New York City Opera, Emilia Marty in The Makropolous Case at the Janáček Festival Brno and Köln,  Kostelnička in Jenufa in Sao Paolo and Essen, Jonnie Spielt Auf with Köln Opera, Chrysothemis with Baltimore Opera, Schoenberg’s Erwartung with Canadian Opera, Lavinia in Mourning Becomes Elektra with Seattle Opera, Marie/Marietta in Die Tote Stadt in Köln and Spoleto, Senta in Frankfurt and Palm Beach, Salome in such theaters as Deutsche Oper Berlin, Stuttgart, Frankfurt, Dresden, Ghent, Antwerp, Trieste, Seattle Opera, Florida Grand Opera, Opera Pacific, and Baltimore Opera. She reprised her world premiere roles in Tan Dun’s Marco Polo (recorded on Sony Classics) with the Bergen National Opera and made her Lyric Opera of Chicago debut in The Passenger. In the 23/24 season she added to her Wagnerian roles, debuts as Isolde in Tristan und Isolde with Eugene Symphony Orchestra and Ortrud in Lohengrin with Utah Opera Festival.

San DIego Opera debut

Benjamin Werley — praised as having a “gleaming, flexible tenor” (Opera News)—was first bitten by the opera bug while attending a performance of Tosca. He has been pursuing an operatic career ever since.

Recent career highlights include Edgardo in Lucia di Lammermoor, and Cavaradossi in Tosca with St. Pete Opera, The Prince in Rusalka with Opera Ithaca, Cavaradossi with Anchorage Opera, Vaudémont in Iolanta with Pacific Opera Project, Nemorino in L’elisir d’amore, and Narraboth in Salome with Dayton Opera, Don Ottavio in Don Giovanni with Indianapolis Opera, Canio in Pagliacci with Salt Marsh Opera, Alfredo in La traviata with Cleveland Opera Theater, Red Whiskers in Billy Budd with Central City Opera, and Lippo Fiorentino in Street Scene with Virginia Opera.

A graduate of the Jacob’s School of Music at Indiana University, Werley participated in many prestigious young artist programs, including the Merola Opera Program, Santa Fe Opera, Florida Grand Opera, and Opera Colorado.

Company appearances: Karin is an alumna of SDO’s Young Artist Training Program (2019-2020).

Karin Wilcox, mezzo-soprano, first discovered her love of classical singing as a youth growing up in Germany, which would eventually develop into a passion for opera even as she completed a B.S. in Mathematics at Point Loma Nazarene University in San Diego, CA.

Since making her professional debut in San Diego Opera’s Core Chorus in 2010, Karin has remained active in both the Southern California and Colorado opera communities. Most notably, she has appeared in the roles of Miss Bentson in Lakmé with Opera Theatre of the Rockies, Madame de la Haltière in Cendrillon with Boulder Opera, The Secretary in The Consul with Breaking Glass Arts, Siebel in Faust with Valley Opera and Performing Arts, and Armelinde in Viardot’s Cendrillon with Lyric Opera of Orange County.

Karin was a founding member of Point Loma Opera Theatre.

Maestro Yves Abel is San Diego Opera’s Principal Conductor.  He made his Company debut in 2013 for performances of The Daughter of the Regiment. He returned in 2014 for Pagliacci, in 2016 for Madama Butterfly, in 2019 for Carmen, in 2022 for Roméo et Juliette, the Puccini Duo of Suor Angelica and Gianni Schicchi in 2023 and Don Giovanni and Madama Butterfly in 2024. He is the Chief Conductor designate of the NordwestDeutsche Philarmonie, Germany. A frequent guest with the world’s great opera companies, Yves Abel has conducted performances at the Royal Opera House, Covent Garden; La Scala, Milan; the Metropolitan Opera, New York; Lyric Opera of Chicago; San Francisco Opera; Seattle Opera; Glyndebourne Festival; Bayerische Staatsoper; Opéra National de Paris; Netherlands Opera; Grand Théatre de Génève; Teatro San Carlo, Naples; Teatro Communale Bologna; New National Theatre, Tokyo; Welsh National Opera and Opera North.  He has conducted new productions in Liceo (The Pearl Fishers), Munich (I Capuleti e i Montecchi), Geneva (Les Vêpres Siciliennes), Barcelona (Madama Butterfly), Bilbao (Norma), Toulouse (Lalo’s Le Roi d’Ys and The Tales of Hoffmann), Lisbon (Il Turco in Italia), Naples (Gounod’s Faust), Dallas (Ermione), Seattle (Il trovatore and Heggie’s The End of Affair), Monte Carlo Opera (Il Turco in Italia) and Santa Fe (Così fan tutte), and at the festivals of Pesaro, Caramoor, the Menuhin festival in Gstaad, and the Spoleto festival in Charleston and Spoleto, Italy. As Principal Guest Conductor of the Deutsche Oper, Berlin from 2005 to 2011, he conducted new productions of Don Pasquale, Simon Boccanegra, d’Albert’s Tiefland, and Carmen, as well as performances of The Marriage of Figaro, La traviata, Dialogues des Carmélites, La bohème and Carmina Burana. He is a frequent guest at the Vienna Staatsoper where his repertoire includes The Daughter of the Regiment, The Elixir of Love, Carmen, Madama Butterfly, Simon Boccanegra, A Masked Ball, and L’italiana in Algeri. In concerts he has performed with the Copenhagen Philharmonic Orchestra at the Tivoli Festival, the RTE National Symphony Orchestra, Dublin, the Rotterdam Philharmonic, the Orchèstre du Capitole de Toulouse, the Stavanger Symphony Orchestra, and the Filarmonica Arturo Toscanini in Parma. He has also conducted the Toronto Symphony, Montreal Symphony, Netherlands Philharmonic, San Francisco Symphony, Orchèstre National de Lyon, Orchestra of St. Luke’s New York, the Royal Liverpool, the Haydn Orchestra in Bolzano and the orchestras of Genoa, Naples, and Palermo among others. A Franco-Canadian, he has a particular affinity with the French repertoire and has won significant critical acclaim for his achievements as founder and Music Director of L’Opéra Francais de New York, with whom he has regenerated rare French operas and also performed the world premiere of Dusapin’s To be Sung. Since 1994, the company has performed regularly to capacity audiences at the Lincoln Center. He conducts at various festivals around the world including the Rossini Opera Festival in Pesaro and the Glyndebourne festival, among others. His recordings include Thaïs with Renée Fleming and Werther with Andrea Bocelli (Decca), Madama Butterfly with the Philharmonia Orchestra (Chandos), and two discs of French arias, one with Susan Graham and the City of Birmingham Symphony Orchestra (Erato) and the other with Patricia Petibon and the Orchestra of the Opera National de Lyon (Decca). His most recent recording, ‘Romantique’, is a disc of romantic arias with Elīna Garanča on Deutsche Grammophon. In 2009 he was awarded the title Chevalier de l’Ordre des Arts et des Lettres by the French Government.