Mary Wilson, soprano

Has performed with: Musica Angelica, Arizona Opera, Cincinnati Symphony, Santa Fe Symphony, Detroit Symphony, Portland Symphony, American Bach Soloists, Dayton Opera, Opera Theatre of St. Louis, Omaha Symphony, Tucson Symphony, Deleware Symphony, St. Paul Chamber Orchestra

Premiere performances: Grand Duchess Christina in world premiere of Philip Glass’ Galileo Galilei in Chicago and New York; Controller in American premiere of Dove’s Flight at Opera Theatre of St. Louis; La Colorature in American premiere of Laurent Petitgirard’s Joseph Merrick, The Elephant Man with the Minnesota Opera

Opera roles include: Susanna in Le Nozze di Figaro with Arizona Opera and Dayton Opera, Rosina in Il Barbiere di Siviglia with Dayton Opera, Zerbinetta in Ariadne auf Naxos with Tulsa Opera, Penelope in Britten’s Glorianna with Opera Theatre of St. Louis

Raves: “She proved why many in the opera world are heralding her as an emerging star. She is simply amazing, with a voice that induces goose bumps and a stage presence that is mesmerizing.” –Arizona Daily Star

Last LAMC appearance: Bach’s B minor Mass in March, 2008

Awards: National Finalist in the 1999 Metropolitan Opera National Council Auditions; Adams Fellowship at the Carmel Bach Festival; 2004 “Emerging Artist” by Symphony Magazine

back to top

Diana Tash, mezzo soprano

Has performed with: Opera Pacific, Los Angeles Philharmonic, Long Beach Opera, San Diego Opera, Santa Barbara Chorale Society, Akron Symphony, Los Angeles Jewish Symphony

Opera roles include: Mercedes in Carmen with LA Opera, Ariadne in L’abandon d’Ariadne with Long Beach Opera, and as a resident artist in Elektra, Der Rosenkavalier, Le Nozze di Figaro, Un Ballo en Maschera, Die Entfürung aus dem Serail, L’italiana in Algeri and Cosí fan Tutte with LA Opera

Festival appearances: Elegy for Young Lovers and The Rape of Lucretia at the Alderburgh Festival; Idomeneo and Haydn’s Creation Mass at the Aspen Music Festival

Awards: Winner, Metropolitan Opera’s Western Regional Auditions

back to top

Robert MacNeil, tenor

Has performed with: San Diego Chamber Orchestra, Southwest Chamber Music, New West Symphony, Mormon Tabernacle Choir, Central Union Philharmonic (Beijing), Oregon Symphony, Aspen Chamber Orchestra, Pacific Symphony, Long Beach Opera, California Philharmonic

Opera appearances include: Tannhäuser, Der Rosenkavalier, Il Trovatore, Fidelio, La Bohème and Il Tabarro with LA Opera; Idomeneo with San Francisco Opera; Salome with Opera Pacific

Festival appearances: Orff’s Die Kluge at the Ojai Festival, Berlioz’ Requiem at the Sydney Choral Festival, Oregon Festival of American Music, Cascade Music Festival

Recordings: Martin in Copland’s The Tender Land, released on the Koch International Label

Awards: National Finalist in the Metropolitan Opera National Council Auditions

back to top

Eric Owens, bass-baritone

Has performed with: New York Philharmonic, Los Angeles Philharmonic, Philadelphia Orchestra, San Francisco Symphony, Cleveland Orchestra, Atlanta Symphony, Seattle Symphony, Detroit Symphony, Pittsburgh Symphony, Toronto Symphony, Minnesota Orchestra, Baltimore Symphony

Premiere performances: Grendel in Elliot Goldenthal’s Grendel with LA Opera and at the Lincoln Center Festival; General Leslie Groves in John Adams’ Doctor Atomic with San Francisco Opera; Storyteller in John Adams’ The Flowering Tree at Peter Sellars’ New Crowned Hope Festival in Vienna (recorded on Telarc)

Opera roles include: Doctor Atomic and Sarastro in The Magic Flute at the Metropolitan Opera; Lodovico in Otello at San Francisco Opera; Oroveso in Norma at Royal Opera, Covent Garden; Ramfis in Aida at Houston Grand Opera; Sparafucile in Rigoletto, Ferrando in Il Trovatore and Colline in La Bohème at Los Angeles Opera; the Speaker in Die Zauberflöte at Paris Opera (Bastille); the King of Scotland in Ariodante and Seneca in L’Incoronazione di Poppea at English National Opera; Collatinus in Rape of Lucretia at Glimmerglass Opera

Raves: “consistently charismatic, theatrically and vocally” –New York Magazine; “absolutely remarkable” –The Philadelphia Inquirer; “His hefty, tonally focused, richly colored voice cut through the tumult of Goldenthal’s schore, and his vital, naturalistic acting gave heart to a high-tech spectacle.” –Alex Ross, The New Yorker

Awards: First prize in the Metropolitan Opera National Council Auditions, the Plácido Domingo Operalia Competition, New York’s Opera Index Career Grant Auditions and the Luciano Pavarotti International Voice Competition; a 2003 Marian Anderson Award; a 1999 ARIA award.

back to top