Dana Brown, pianist, has been heard at the Tanglewood Festival, the Ravinia Festival, and many times on WFMT Radio as a collaborator, in addition to performances on WTTW’s “Chicago Tonight”, Light Opera Works of Evanston, L’Opera Piccola, the Chicago Cultural Center and the Chicago Humanities Festival. As a coach, he has been on the faculty of Northwestern University, the Intermezzo Young Artists Program, the Opera and Music Festival of Lucca, Italy, and most recently the Taos Opera Institute in Taos Ski Valley, New Mexico. He was the coach for the 2008-2011 seasons of the Civic Music Association’s Support Our Singers Program in conjunction with the Metropolitan Opera National Council Auditions, Wisconsin District. He is also a staff pianist for the Ryan Opera Center at the Lyric Opera of Chicago; at Lyric he has played in the lessons and masterclasses of Marilyn Horne, Renata Scotto and Renée Fleming.
He is the Associate Professor of Opera and Vocal Coaching at the Chicago College of Performing Arts at Roosevelt University, where he has taught and coached since 2001. At CCPA he musically directs opera, coaches graduate and undergraduates in the vocal performance programs, and teaches singer-specific classes in diction, art song literature and business practices. Several recent productions at CCPA include Ravel/L’Heure Espagnole and L’Enfant et les sortilèges, Poulenc/Les Mamelles de Tirésias, Britten/Turn of the Screw and Albert Herring and Mozart/Le Nozze di Figaro. He is also co-artistic director of a new summer program for emerging singers, the Up North Vocal Institute, held in Boyne, Michigan.
He is a graduate of the University of Michigan, where he studied with renowned accompanist Martin Katz.
Nicole Cabell, the 2005 Winner of the BBC Singer of the World Competition in Cardiff and Decca recording artist, is fast becoming one of the most sought-after lyric sopranos of today. Her solo debut album, “Soprano” was named “Editor’s Choice” by Gramophone and has received several prestigious awards: the 2007 Georg Solti Orphée d’Or from the French Académie du Disque Lyrique and an Echo Klassik Award in Germany.
Ms. Cabell’s current season showcases her command of Mozart’s music, as she sings the Countess in Mozart’s Nozze di Figaro in Montreal, Pamina in Die Zauberflöte at the Lyric Opera of Chicago and Donna Elvira in Don Giovanni in Tokyo. She will also be heard as Juliette in Roméo et Juliette with the Palm Beach Opera and Leïla in Les Pêcheurs de Perles at the Santa Fe Opera. In concert, she will be heard in London, Chicago, Cincinnati, Toronto, Atlanta, San Diego and St Petersburg. Future engagements include a debut with the San Francisco Opera in a leading role.
She appeared last season at the Metropolitan Opera and the Lyric Opera of Chicago as Micaela in Carmen, at the Royal Opera House, Covent Garden as Leila in Les Pêcheurs de Perles, and made an exciting role debut: Donna Elvira in Don Giovanni with the Oper Köln and the Deutsche Oper, Berlin. In concert, she appeared with the Edinburgh Festival as the Mater Gloriosa in Mahler’s Symphony No. 8, followed by Gala Opening Concerts in Kuala Lumpur with the Malaysian Philharmonic Orchestra and their music director, Claus Peter Flor. Nicole Cabell sang solo recitals in Toronto and Louisville, KY.
Other recent engagements include Musetta in La Bohème at the Metropolitan Opera and for Miss Cabell’s debut at the Teatro Colon in Buenos Aires as well as Adina in L’Elisir d’Amore and the Countess in Le Nozze di Figaro at the Lyric Opera of Chicago. She also made debuts with the New Orleans Opera as Juliette in Romeo et Juliette and with the Atlanta Opera as Pamina. In concert, she debuted with three major orchestras: the New York Philharmonic in Opera Aria Concerts in New York and in Vail with Bramwell Tovey, the Boston Symphony in Beethoven’s Symphony No. 9 with Kurt Masur and the Cleveland Orchestra with its music director, Franz Welser-Möst, in Brahms’ Ein deutsches Requiem. Nicole Cabell returned to the Chicago Symphony Orchestra for performances of Mahler’s Symphony No. 4 with Markus Stenz, sang Mahler’s Symphony No. 2, first with the Singapore Symphony and John Nelson, then with the Accademia di Santa Cecilia and Antonio Pappano in Rome.
Ms. Cabell debuted with the Royal Opera House, Covent Garden as Eudoxie in concert performances of La Juive, the Orchestra of St. Luke’s at Carnegie Hall in Poulenc’s Gloria, the Santa Fe Opera as Musetta in La Bohème, the Opéra de Montpellier as Adina in L’Elisir d’Amore, the Deutsche Oper in Berlin as Juliette, Ilia in Idomeneo and Pamina in Die Zauberflöte. Another important recording project was the title-role of Donizetti’s Imelda de’ Lambertazzi for Opera Rara, which she also performed in concert in London. She made her extremely successful Orchestra Hall debut with the Chicago Symphony in concerts of Tippett’s A Child of Our Time with Sir Andrew Davis conducting. She also made her European debut in concerts of Brahms’ Ein deutsches Requiem with the Accademia di Santa Cecilia in Rome with Antonio Pappano and Thomas Hampson.
Nicole Cabell holds a Bachelor’s Degree in Vocal Performance from the Eastman School of Music. She joined the CCPA faculty in 2013.
Cynthia Clarey, a graduate of Howard University and The Juilliard School, was born in Smithfield, VA and raised in Rocky Mount, NC. She performed most of her early roles with the Tri-Cities Opera Company in Binghamton, NY. Her reputation as a consummate singing actress has led to engagements throughout the world. In the United States, she has sung leading roles with major companies in New York, Houston, Dallas, Chicago, Santa Fe, Philadelphia, Boston and St. Louis. Her work extends to performances in England, France, Germany, the Netherlands, Hungary, Austria, Japan, Hong Kong, Italy, Israel, Spain, Austria, and South Africa.
Highlights of her repertoire include Handel’s Ariodante, Thomas’ Mignon, and Bellini’s La Straniera at the Wexford Festival; Monteverdi’s L’incoronazione di Poppea and Gershwin’s Porgy and Bess at the Glyndebourne Festival; Berg’s Lulu at the Chatelet in Paris and Offenbach’s Robinson Crusoe at the Opera Comique. She sang leading roles in several premieres, including Thea Musgrave’s Voice of Ariadne, which was her New York City Opera debut, Anthony Davis’ Under the Double Moon, Minoru Miki’s Actor’s Revenge, and Myron Fink’s Chinchilla. The role of Carmen has been the cornerstone of her career, and she has sung the role in Houston, Toronto, Madrid, Barcelona, Paris, Tokyo, Berlin, Innsbruck, Budapest and Australia. She toured in seven countries with Peter Brook’s innovative La tragedie de Carmen.
Her concert career has included performances with the Chicago Symphony, Boston Symphony, Houston Symphony, St. Louis Symphony, National Symphony, New York Philharmonic, London Philharmonic, Berlin Philharmonic, and the Jerusalem Symphony.
Cynthia’s recordings include Duffy’s A Time for Remembrance, Berg’s Lulu, Tippett’s The Ice Break and A Child of Our Time, Weill’s Lost in the Stars, and the Grammy nominated Porgy and Bess conducted by Sir Simon Rattle. The films of Porgy and Bess and L’incoronazione di Poppea are available on DVD.
Countertenor Mark Crayton created the role of the “First Minstrel” in The Holland Festival’s production of Peter Onnes opera/theatre piece Pantagruel et Gargantua. In 2002-2003, Mark Crayton was invited by the composer Philip Glass and the Tony Award director Mary Zimmerman to sing in the world premiere performances of Glass’ opera Galileo Galilei in Chicago, New York City and London. In addition, Mark Crayton was chosen by composer John Kander and lyricist Fred Ebb to sing the role of Louis Perch in their new musical called The Visit starring Chita Rivera.
Recent seasons have included performances at Lincoln Center’s Avery Fisher Hall, Carnegie Hall, Chicago’s Orchestra Hall, Opera Theatre of St. Louis (American Premier of Goehr’s Arianna), Seattle Opera (Handel’s Giulio Cesare), San Diego Opera (Handel’s Giulio Cesare), Lyric Opera of Chicago (Handel’s Partenope), and the Kennedy Center. Equally at home on the recital and concert stage, Mr. Crayton has performed on Chicago’s Jewel Box and Dame Myra Hess series as well as recitals with Ars Musica Chicago, at Washington, D.C.’s Phillip’s Collection, at Weill Hall in New York City, as well as Amstelrande in Amsterdam and Grovesnor Chapel in London. Mr. Crayton has been a return guest artist every summer with the Oberlin Baroque Orchestra at Oberlin Conservatory’s Baroque Performance Institute since 1993. This past summer he also taught at the Italian Operatic Experience in Montecatini Terme Italy.
Mr. Crayton has appeared with the Houston Symphony, Indianapolis Symphony, Sarasota Symphony, Fargo Symphony, Sheboygan Symphony, Milwaukee Symphony, Chicago’s Music of the Baroque, Chicago Baroque Ensemble, Ensemble Voltaire, La Pettite Bande, the Netherlands Kammerkoor, El Ayre Español, as well as many others. Mark Crayton has developed quite a reputation for his interpretation of Bernstein’s Chichester Psalms, which he has performed 162 times. This past season’s Chicago appearances included Ulnufo in Handel’s Rodelina as part of Handel Week, appearances with Haydn by the Lake as well as a new project of music based on the writings of Henry VIII and his wives with Yasuko Oura, piano and Susanna Phillips, soprano, at Roosevelt University’s Ganz Hall. Outside of Chicago, Mr. Crayton sang recitals in London, New York City, and Washington D.C. as well as presenting masterclasses here in the United States as well as Europe. www.markcrayton.com
With an extensive background in dramaturgy and a growing resume as a stage director, Andrew Eggert is a director to watch. In the 2012-13 season, he directed the US premiere of Clemency by James MacMillan for Boston Lyric Opera and Bluebeard’s Castle for Opera Omaha. He has enjoyed a longstanding relationship with Chicago Opera Theater where he directed Mosè in Egitto and La Tragédie de Carmen as well as serving eight seasons as an assistant director. He is a regular collaborator of Stage Director Diane Paulus having served as Associate Director on a number of projects including the world première of Death and the Powers at the Opéra de Monte Carlo, as well as US performances at the American Repertory Theatre and Chicago Opera Theater; Die Zauberflöte at Canadian Opera Company; and Gotham Chamber Opera’s production of Il mondo della luna at the Hayden Planetarium.
As an assistant director, he has worked with directors including David Schweizer, Kenneth Cazan, Lillian Groag, Tazewell Thompson, Andrei Serban, Francisco Negrin, and James Robinson. He has been a guest stage director at the Chicago College of Performing Arts, Princeton University, and the Yale Baroque Opera Project, and has worked with the young artist programs of Glimmerglass Opera, Santa Fe Opera, and Wolf Trap Opera. His new production of Mourning Becomes Electra was selected as a winner of Opera America’s 2009 Director-Designer Showcase. As dramaturg, he has worked with Rebecca Taichman on Telemann’s Orpheus and Michael Counts on Mosè in Egitto, both for the New York City Opera. Mr. Eggert is a graduate of Yale University and is currently pursuing a PhD in historical musicology at Columbia University.
Scott Gilmore’s operatic credits as coach, assistant conductor and chorus master include the San Francisco Opera, Salzburg Festival, Cologne Opera, Opéra de Lyon and Opera Australia. He has worked with major international conductors, including Daniel Barenboim, James Conlon, Charles Mackerras, Michelangelo Veltri, Carlo Felice Cillario and Kent Nagano. As a recital accompanist, he has performed in New York’s Carnegie Hall, Dublin’s National Concert Hall and in numerous recitals in London, Chicago, San Francisco, Los Angeles, Cologne, Sydney and Melbourne. He has recorded on CD, radio, television and video for Unitel, the BBC, ABC, RTE and WFMT Chicago.
His work in the training and development of singers has taken him to positions with the Centre de formation lyrique of the Opéra national de Paris, London’s Guildhall School of Music & Drama, the San Francisco Opera Center and the young artist programs of Cologne Opera, Opera Australia, Santa Fe Opera, and Florida Grand Opera. He is an adjudicator for the Metropolitan Opera National Council Auditions. He was co-artistic director with Christine Bullin of Opera Overture, a program in Malibu, California for singers aged 16-21, and is a guest faculty member of Dr Doreen Rao’s Choral Music Experience, directing opera workshops for children. He is a contributing editor to Boosey & Hawkes’ Choral Music Experience series, translating and editing scenes from operatic literature for young people. The San Francisco Chronicle dubbed him “a singer’s colleague and best artistic friend.”
He is currently Director of Musical Studies at Chicago Opera Theater, and Assistant Professor of Opera and Vocal Coaching and Director of the Professional Diploma in Opera Program at Chicago College of Performing Arts, Roosevelt University, where he studied piano with Dr Ludmila Lazar.
A regular at the Metropolitan Opera, tenor Allan Glassman triumphed as Herod in a new production of Salome starring Karita Mattila in 2004, and has since been heard in the MET’s productions of Die Frau Ohne Schatten, Boris Godunov, The Great Gatsby,Carmen, Elektra, Katya Kabanova, The Ghost of Versailles, Mussorgsky’s Khovanshchina, Salome, Wozzeck, and in 2012 as Red Whiskers in Billy Budd. He returns there this season as the Hunchback Brother in Die Frau ohne Schatten and will also cover the role of the Captain in Wozzeck.
Hailed as the Otello of his generation, in the past few seasons alone he has performed the role with Opera Company of Philadelphia, Arizona Opera, Palm Beach Opera, Dallas Opera, Des Moines Metro Opera, and at the Chautauqua Opera. Mr. Glassman’s recently noted engagements in North America have included Herod in Salome at San Diego Opera and Dallas Opera, Shuisky in Boris Godunov with San Diego Opera, The Witch in Hänsel und Gretel at the Portland Opera, Canio in I Pagliacci at the Arizona Opera, Chautauqua Opera, and Nashville Opera, Erik in Der Fliegende Holländer in concert with the Syracuse Opera, Walter Engelmann in Pasatieri’s Frau Margot at Fort Worth Opera, Canio in I Pagliacciand Pollione in Norma at Palm Beach Opera, Calaf in Turandotand Eisenstein in Die Fledermaus with Opera New Jersey, and Sacco in Sacco and Vanzetti at the Tampa Bay Performing Arts Center.
International performances have include Manrico in Il Trovatore with the Deutsche Staatsoper Berlin; Samson in Samson and Dalilah at the New Israeli Opera in Tel Aviv; the Prince in Rusalka in the Czech Republic; title role in Ernani, Don Jose in Carmen, and I Vespri Siciliani with L’Opéra de Nice; I Vespri Siciliani with Den Norske Opera; Cavaradossi in a new production of Tosca at the Belleayre Music Festival; Carmen with Opera Valencia in Spain; and the Prince in Rusalka with Oper Frankfurt. In concert he has sung Verdi’s Requiem with L’Opéra de Nice, and Mahler’s Lied von der Erde with the Xalapa Symphony in Mexico. Additional noted U.S. engagements have included Samson in Samson and Dalilah at the former Opera Pacific, Calaf in Turandot, Shuisky in Boris Godunov, and Boris in Katya Kabanova with Florida Grand Opera, the title role in Idomeneo with The Los Angeles Opera, where he was double cast with Placido Domingo, and Herod in Salome with Fort Worth Opera. Mr. Glassman joined the CCPA faculty in 2013.
Soprano Judith Haddon brings to her teaching the experience and knowledge of a major international career. She has sung at the Metropolitan Opera, Covent Garden, Chicago Lyric, San Francisco, Barcelona Liceo, Hamburg Stadtsoper, New York City Opera, Israel Philharmonic, Seattle Opera and Houston Grand Opera. She has performed under the baton of James Levine, Zubin Mehta, Sir Charles Mackerras, Nello Santi, James Conlon, Christopher Keene, and Christoff Perek, and has been directed by Zefferelli, Ponelle, Hal Prince, and Jonathan Miller. Dubbed by her colleagues as “a singer’s singer,” she has shared the stage with some of the world’s great singers: Pavarotti, Freni, Ghiaurov, Hadley, Ramey, Shicoff, Van Dam, von Stade, Hakegaard, Hampson, Talvela, and Rysanek, to name a few. Her most celebrated roles include Mimi, Jenufa, Manon, Micaela, Tatiana in Eugene Onegin, Liu, Katya Kabanova, Rusalka, Marenka in The Bartered Bride, Violetta, Adina, Nedda, Antonia, and especially Butterfly, which she performed to critical acclaim in a “Live from Lincoln Center” broadcast. Earlier roles included Susanna, Nannetta, Zerlina, and Despina.
Ms. Haddon studied at the University of Illinois and the American Opera Center at the Juilliard School, and was a winner of the prestigious National Opera Institute Grant two years in a row. Her teaching promotes a strong foundation based on her own international education; her teachers include the legendary Marlena Malas, and she has coached with such greats as Peter Herman Adler, Janine Reis, Joan Dornemann, Walter Tausig, John Wustman, Luigi Ricci, Mirella Freni, Renata Scotto, and Ileana Cotrubas. In addition to her students at CCPA, she teaches privately and has done master classes in Chicago, New York, Wisconsin, Michigan, Santa Fe, Italy, England and Japan. Her students are performing in opera houses and concert venues around the world.
Baritone Bruce Hall’s international operatic and concert career has included appearances at Lyric Opera of Chicago, Chicago Opera Theater, and the Cologne, Stuttgart, Netherlands, Seattle, Michigan, Cleveland, and St. Louis opera companies. He has made more than 200 appearances on PBS television and NPR. He has been a soloist with Aspen, Meadowbrook, Artpark, and Grant Park Music Festivals as well as the Rotterdam Philharmonic, the Westdeutsche and Südwestfunk Radio Orchestras, and many American orchestras. He has appeared on Grammy-nominated recordings with New World Records and Albany Records. Before joining the Roosevelt University faculty, he taught at Northwestern University, Auburn University (opera director) and Virginia Tech (choral). He has conducted choirs on international tours and competitions, including the International Musical Eisteddfod in Llangollen, Wales.
His students can be found on the rosters of many international opera companies, including The Metropolitan Opera, Lyric Opera of Chicago, Zurich Opera, Canadian National Opera, English National Opera, Chicago Opera Theatre, New York City Opera, Seattle Opera, Houston Opera, Santa Fe Opera, and other major opera houses throughout the world. His students have participated in apprentice and summer programs with the Metropolitan Opera Lindemann Program, Lyric Opera of Chicago Ryan Center, Merola, Wolf Trap, Chautauqua, Central City, Aspen, Santa Fe, Glimmerglass, Sarasota, Virginia Opera, Pittsburgh Opera, Castleton Festival, Cleveland Opera, Michigan Opera Theater, Indianapolis Opera and St. Louis Opera. His students have won major singing competitions, including Grand Prize winners and multiple national Semi-Finalists of the Metropolitan Opera National Auditions. www.bruce-hall.com
Jonita Lattimore made her Lyric Opera of Chicago debut in Kurt Weill’s The Rise and Fall of the Cityof Mahagonny, and was also seen on Lyric’s stage as Micaela in Bizet’s Carmen. She recently performed the role of Countess Almaviva in Le Nozze di Figaro with Tulsa Opera, and debuted in the title role in the world premiere and recording of James Niblock’s Ruth at Blue Lake Fine Arts Festival. With Houston Grand Opera she appeared as Marguerite in Faust, First Lady in Die Zauberflöte, and presented the world premieres of Harvey Milk, The Book of the Tibetan Dead, and Jackie O, which was recorded on Decca. She made her Paris debut at the Bastille Opera as Serena in Porgy and Bess.
Recent season highlights have included a debut with Orquesta Sinfonica Nacional de Mexico, Serena in the Lyric Opera of Chicago’s production of Porgy and Bess, the Fauré Requiem with Eugene Symphony, Verdi’s Requiem with the Virginia and Colorado symphonies, the Louisiana Philharmonic under Carlos Miguel Prieto in Brahms’ Requiem,Szymanowsky’s Stabat Mater at Grant Park, Villa-Lobos’ Three Songs from Floresta do Amazonas with the Houston Symphony, a special Christmas concert tour in Lisbon with the Orquestra Metropolitana de Lisboa, a concert commemorating Martin Luther King with the Chicago Sinfonietta, Beethoven’s Symphony No. 9 with the Calgary Philharmonic, Verdi’s Requiem with Helena Symphony and a recital, “Dvorak & American Soul,” presented by New York Festival of Songs at Weill Recital Hall.
Other recent oratorio and symphonic highlights include the Dvorak Requiem with the N. O. Tonkünstler Orchestra of Vienna, the Brahms Requiem in her debut with the Northern Israel Symphony, Beethoven’s Ninth Symphony with the Winter Park Bach Festival, Elgin Symphony and Albany Symphony, Britten’s Spring Symphony as well as the Brahms Requiem and Rosenkavalierall at Grant Park Music Festival, and Bernstein’s Songfest with the Chicago Sinfonietta. In 2003 she performed Mozart’s Exultate Jubilate and a Live at Ravinia concert of Berlioz selections, which aired live on WFMT, Chicago’s public broadcast radio network. With Boston Landmarks Orchestra she sang operatic arias and a world premiere ensemble work for three sopranos, May We Live,by Boston composer, Patricia Van Ness. Overseas, she appeared at the Edinburgh Festival and debuted in Italy with the Orchestra della Toscana in concerts and radio performances. She is the soprano soloist in Robert Avalon’s Sextet de Julia de Burgos, recorded on Centaur.
A winner of the Metropolitan Opera, Liederkranz, Opera Index, and Sullivan competitions and featured by Opera News as a singer to “Keep Your Eye On,” Kurt Link has earned a reputations one of America’s finest basses, both in opera and oratorio.
Mr. Link has won critical acclaim for a repertoire that has embraced major operatic roles from Purcell to Henze, and from Mozart to Wagner. He has sung Baron Ochs, Daland, Figaro, Leporello,Osmin, Rocco, Sarastro, Ramfis, Colline, Mephistopheles and other major bass roles with companies such as the Metropolitan Opera, New York City Opera, Lyric Opera of Chicago, La Monnaie, Santa Fe Opera, Houston Grand Opera, Canadian Opera Company, Washington Opera, Dublin Grand Opera, Florida Grand Opera, Atlanta Opera, New Israeli Opera, the opera companies of Portland, Minnesota, Michigan, St. Louis, Arizona, Utah, Edmonton, and the opera festivals of Chautauqua, Wexford (Ireland), Hong Kong, Wolf Trap, Glimmerglass, and Spoleto (USA and Italy).
He is equally at home in symphonic works, and has sung The Creation, St. Matthew Passion, Missa Solemnis, the Requiem Masses of Verdi, Mozart, and Faure, Bach’s Mass in b minor, Beethoven’s Ninth Symphony, and many other works with the orchestras of Chicago, Philadelphia, Montreal, Tokyo, Baltimore, St. Louis, Atlanta, Florida, Israel, Minneapolis, San Diego, Indianapolis, Charleston, Denver, Phoenix, San Antonio, and Milwaukee, as well as the Aspen, Chautauqua, Spoleto, Finger Lakes, and Grant Park festival orchestras. He has appeared as orchestral soloist with such distinguished conductors as Claudio Abbado, Daniel Barenboim, Charles Dutoit, Margaret Hillis, Erich Leinsdorf, Ricardo Muti, Eugene Ormandy, Leonard Slatkin, Sir Georg Solti, Edo de Waart, and David Zinman.
Mr. Link is heard on the Grammy Award winning recording of Schoenberg’s Moses and Aaron with the Chicago Symphony, conducted by Sir Georg Solti.
Hailed by The New York Times as “representative of the best type of American singing actor,” Richard Stilwell has appeared regularly with the major opera companies of the United States and Europe. His performances have taken him to LaScala, Covent Garden, the Paris Opera, Deutsche Oper Berlin, the Vienna Staatsoper, Teatro de la Zarzuela Madrid, the Holland Festival, and Glyndebourne Festival, as well as the San Francisco, Los Angeles, Dallas, Chicago, Washington, St. Louis, Seattle, and Metropolitan Operas in the United States.
Stilwell has collaborated with Leopold Stokowski, Aaron Copland, Leonard Bernstein, James Levine, Zubin Mehta, Seiji Ozawa, Sir Colin Davis, Andre Previn, James Conlin, and Lorin Maezel. His recordings include Nozze di Figaro (Haitink), Pelleas et Melisande (von Karajan), the CBS Il Ritorno d’Ulisse by Monteverdi, and both Messiah and the Brahms Requiem with the Atlanta Symphony (Robert Shaw). Stilwell also appears in the Unitel film of Falstaff with Sir Georg Solti, and on the soundtrack of the Academy award winning film, Amadeus.