Soloist

Efraín Solís is a recent graduate Adler Fellowship at San Francisco Opera, where he sang Papageno in Die Zauberflöte, Dandini in La cenerentola, and Schaunard in La bohème.

Other recent performances for the baritone include Figaro in Le nozza di Figaro (Opera Memphis, Livermore Valley Opera), Mercutio in Roméo et Juliette (Opera Carolina, Virginia Opera, Toledo Opera), Dick in Blitzstein’s The Cradle Will Rock (Opera Saratoga), Slook in La cambiale di matrimonio (Philharmonia Baroque), Gaspar in Donizetti’s Rita (New Century Chamber Orchestra), and Glass’ Hydrogen Jukebox (West Edge Opera).

He has joined the New Choral Society for previous performances of Handel’s Messiah and the Berkeley Community Chorus for Britten’s War Requiem. Additionally, he has been presented in recital with the New York Festival of Song, Schwabacher Debut Recital series, and El Camino College Center for the Arts. He is an alumnus of the Merola Opera Program San Francisco Opera and holds degrees from San Francisco Conservatory of Music and Chapman University.

Canadian baritone Hugh Russell continues to receive high praise for his charisma, dramatic energy and vocal beauty. He is widely acclaimed for his performances in the operas of Mozart and Rossini, and is regularly invited to perform with symphony orchestras throughout North America. At the center of his orchestral repertoire is Orff’s popular Carmina Burana, which Mr. Russell has performed with The Philadelphia Orchestra, The Cleveland Orchestra, Los Angeles Philharmonic, San Francisco Symphony, Houston Symphony, Pittsburgh Symphony, Seattle Symphony, Toronto Symphony, and Vancouver Symphony, among others. The New Orleans Times-Picayune said, “Baritone Hugh Russell also grasped the theatrical nature of Orff’s work, nearly stealing the show with a voice that ranged from organ-deep rumbles to flute-like falsetto – and an acting style that drew roars of laughter as he captured the bullishness of an intoxicated medieval abbot.”

In the current season, he performs Carmina Burana with the New Mexico Philharmonic, and in Mexico City under the baton of Carlos Miguel Prieto. He sings Rachmaninoff’s The Bells with the Orchestre Metropolitain de Montreal and Yannick Nezet-Seguin and will join Palm Beach Opera in the role of Major General Stanley in Pirates of Penzance. Last season, Hugh Russell joined Calgary Opera as Papageno in The Magic Flute. Orchestral engagements included Carmina Burana with the Columbus Symphony Orchestra and the Grand Rapids Symphony, as well as Rachmaninoff’s The Bells and with the Cincinnati Symphony. In the 2014-2015 season, Mr. Russell performed the role of Falke in Die Fledermaus with Vancouver Opera. Orchestral engagements included Faure’s Requiem with the Dallas Symphony, opera scenes with the Princeton Symphony, and Carmina Burana with the Rhode Island Philharmonic, the West Michigan Symphony, and the Louisville Orchestra.

Mr. Russell performed Carmina Burana with the Pittsburgh Symphony, the Israel Philharmonic, and the Detroit Symphony Orchestra in the 2013-14 season. Also that season, he debuted Mendelssohn’s Elijah with the Orquestra Sinfonica del Principado de Asturias in Oviedo, Spain.

On the operatic stage, he made his company debut with Cincinnati Opera as Father Palmer in Kevin Puts’ opera Silent Night, and sang Taddeo in L’italiana in Algeri in his debut with the Calgary Opera. In the 2012-2013 season, Mr. Russell made debuts with the Danish Radio Symphony, under the baton of the late Rafael Frühbeck de Burgos as well as with the Naples Philharmonic, both in performances of Carmina Burana. Additional performances included Rachmaninoff’s The Bells with the Madison Symphony Orchestra, and his return to Opera Theatre of St. Louis as General Stanley in The Pirates of Penzance.

The 2011-2012 season brought performances of Carmina Burana with the Indianapolis Symphony and new Music Director Krzysztof Urbanski, the National Symphony Orchestra, and Los Angeles Philharmonic under Mo. Rafael Frühbeck de Burgos, the Milwaukee Symphony under Andreas Delfs, and the Houston Symphony under Music Director Hans Graf. Mr. Russell appeared with the Kitchener-Waterloo Symphony and Music Director Edwin Outwater in a season-opening Gala, and returned later for performances of Mahler’s Songs of a Wayfarer. He returned to the Vancouver Symphony for concerts with Music Director Bramwell Tovey of Brahms’ Ein deutsches Requiem and Songs of a Wayfarer. He added John Adams’ The Wound-Dresser in performances with the Toledo Symphony and was heard in the title role of The Barber of Seville with Opera Hamilton.

During the 2010–2011 season, Mr. Russell made his UK debut as Virginio in Mercadante’s Virginia at the Wexford Festival. He joined Edo de Waart and the Milwaukee Symphony for performances of Vaughan Williams’ Sea Symphony and sang Papageno in Die Zauberflöte in his debut with Manitoba Opera. Additional performances included Carmina Burana with the Philadelphia Orchestra in Vail and at his alma mater, the Oberlin Conservatory. Mr. Russell began the 2009–2010 season as Lescaut in performances of Massenet’s Manon for Angers-Nantes Opéra. He returned to Atlanta Opera as Papageno in Die Zauberflöte and was heard in concert performances of Mahler’s Songs of a Wayfarer and Fauré’s Requiem with Indianapolis Symphony Orchestra and Carmina Burana with Kitchener-Waterloo Symphony Orchestra and Sarasota Symphony Orchestra.

Mr. Russell began the 2008–2009 season as Dandini in La Cenerentola with Atlanta Opera. He was also heard as Belcore in L’elisir d’amore with Arizona Opera, and made his role debut as Papageno in Die Zauberflöte with Pacific Opera Victoria and Orchestra London. He continued his success as baritone soloist in Carmina Burana with the Detroit Symphony Orchestra and Leonard Slatkin and with Pittsburgh Symphony, Vancouver Symphony, Edmonton Symphony, New Mexico Symphony and National Symphony Orchestra.

Mr. Russell has seen performances at the New York City Opera, where he made his company debut singing the title role in Il barbiere di Siviglia, as well as the Los Angeles Opera, where he sang Harlequin in Ariadne auf Naxos conducted by Kent Nagano. He was both an Adler Fellow and a member of the Merola Opera Program at San Francisco Opera, where he was heard in Ariadne auf Naxos and in Messiaen’s St François d’Assise. The San Francisco Classical Voice proclaimed, “He seems born for the stage. And with a lyrical voice boasting a strong and exciting top end, he is a complete performer.”

As a member of the Pittsburgh Opera Center, Mr. Russell sang the roles of Malatesta in Don Pasquale, the title role in Pelléas et Mélisande, and Guglielmo in Così fan tutte, a role he has also performed with Boston Baroque. Reviewing the latter performance, the Pittsburgh Tribune-Review wrote, “Baritone Hugh Russell was magnificent… His was also the most completely acted performance.” A further triumph with this company was his performance in Dominick Argento’s Postcard from Morocco. He has also been a regular performer with the New York Festival of Song and has sung in the Festival’s recitals at Merkin Concert Hall, the Kaye Playhouse, and the Kennedy Center in Washington, DC, and was cited by the New York Times for his “lovely sound.” On the orchestral concert stage, he has been heard in Carmina Burana with the Seattle and San Francisco Symphonies, in Fauré’s Requiem with the Orquestra de Sevilla, and in Tobias Picker’s Tres sonetos de amor with L’Orchestre Philharmonique de Strasbourg, among many others. Other recent operatic engagements have included the lead role of the Pilot in Rachel Portman’s The Little Prince with Boston Lyric Opera; Taddeo in L’italiana in Algeri with Vancouver Opera; Valentin in Faust with Pittsburgh Opera; and Taddeo in L’italiana in Algeri and Eisenstein in Die Fledermaus with Arizona Opera.

Opera News lauds Jeni Houser’s performances as “commanding and duplicitous, yet also vulnerable.” This season, Jeni Houser  makes debuts with Austin Lyric Opera as Zerbinetta in Ariadne auf Naxos and Central City Opera as the Königin der Nacht in Die Zauberflöte in addition to returning to Minnesota Opera for her first performances of Susanna in Le Nozze di Figaro and the Charmeuse in Thais.
 
Previous performances for Ms. Houser include Zerbinetta in Ariadne auf Naxos, Königin der Nacht in Die Zauberflöte, and Mrs. Grady in the world premiere of Moravec’s The Shining (Minnesota Opera), Königin der Nacht in Die Zauberflöte (Cincinnati Opera), Amy in Adamo’s Little Women and Olympia in Les contes d’Hoffman, (Madison Opera), Johanna in Sweeney Todd (Mill City Summer Opera, Madison Opera), Josephine in H.M.S. Pinafore (Opera Saratoga), Susanna in Marcos Portugal’s Le nozze di Figaro (On Site Opera). During two summers with the Glimmerglass Festival, Ms. Houser sang Königin der Nacht in the young artist performance of Die Zauberflöte and Najade in Francesca Zambello’s new production of Ariadne auf Naxos, in addition to covering Cunegonde in Candide. 

On the concert stage, she joined the Madison Symphony for Orff’s Carmina burana. With Abendmusik: Lincoln (Nebraska), she has sung Brahms’ Ein deutsches Requiem, Haydn’s Creation, and Mozart’s Requiem.

The Minneapolis Star Tribune praises tenor Joshua Dennis’ performances, exclaiming, “he made his sincerity believable, and his voice, a robust tenor with baritonal heft, rose to the high climaxes with ringing, ardent bravado.” In the 2017-18 season, he returns to Minnesota Opera to debut the role of the Duca in Rigoletto and makes his debut with Utah Opera as Greenhorn in a new production of Heggie’s Moby Dick. He also joins the Las Vegas Philharmonic for Handel’s Messiah and sings Mahler’s Das Lied von der Erde in a special arrangement at the XXI Festival International de Piano en Blanco & Negro in Mexico.

Recent performances include Alfredo in La traviata (Seattle Opera, Opera Columbus, Opera Idaho), Roméo in Roméo et Juliette (Minnesota Opera); Tamino in Die Zauberflöte (Michigan Opera Theate), Belmonte in Die Entführung aus dem Serail (Kentucky Opera), Ferrando in Così fan tutte (Ash Lawn Opera, Opera Naples), Jaquino in Fidelio (Santa Fe Opera, Houston Symphony), Werther (Opera Idaho), Faust (Annapolis Opera), Frederic in Pirates of Penzance (Eugene Opera), and Bern Venters in the world premiere of Bohmler’s Riders of the Purple Sage and Roy Dexter in the American premiere of Arizona Lady (Arizona Opera). He has sung previous performances of Handel’s Messiah as well as a concert of opera favorites with the Santa Fe Symphony.

The Oregonian praises soprano Katrina Galka, exclaiming that she “thrilled with fine coloratura filigree and pure high notes.” In the 2017-18 season, she returns to Portland Opera to debut Gilda in Rigoletto. She also returns to Arizona Opera as Cunegonde in Candide, Rosina in Il Barbiere di Siviglia, and Woglinde in Das Rheingold as well as joins the Las Vegas Philharmonic for Handel’s Messiah. Last season, she made role and company debuts with Atlanta Opera for Blondchen in Die Entführung aus dem Serail and at the Glimmerglass Festival as Atalanta in Xerxes. She also joined Arizona Opera as the First Wood Nymph in Rusalka, Clorinda in La cenerentola and Dallas Opera as Voice I in Cuomo’s Arjuna’s Dilemma, presented as the company hosted the annual Opera America conference.

While former resident artist of Portland Opera, she sang Adina in L’elisir d’amore, Johanna in Sweeney Todd, Elvira in L’italiana in Algeri, Papagena in Die Zauberflöte, and Frasquita in Carmen. She sang prior performances of Papagena in Die Zauberflöte and Isabel in The Pirates of Penzance with Opera Theatre of Saint Louis and joined the CoOperative Program as Marie in La fille du régiment.

On the concert stage, she has joined the Rhode Island Civic Chorale for the Angel in Respighi’s Laude to the Nativity and Handel’s Messiah. She sang Elvira in excerpts of L’italiana in Algeri with the Oregon Symphony. In 2011, Katrina performed in the east coast premiere of Jake Heggie’s Pieces of 9/11 as the Girl Soprano with Mr. Heggie at the piano.

Named one of NPR’s “Favorite New Artists of 2011,” American tenor Nicholas Phan is increasingly recognized as an artist of distinction. Praised for his keen intelligence, captivating stage presence and natural musicianship, he performs regularly with the world’s leading orchestras and opera companies. Also an avid recitalist, in 2010 he co-founded the Collaborative Arts Institute of Chicago (CAIC) to promote art song and vocal chamber music.

In the summer of 2017, he returns to the San Francisco Symphony for Berlioz’ Roméo et Juliette with Michael Tilson Thomas, to the Oregon Bach Festival, to the Thüringer Bachwochen’s Weimar Bach Academy, and to Wolf Trap for Carmina Burana with the National Symphony Orchestra and Gianandrea Noseda. Highlights of his upcoming 2017/2018 season include his debuts with the Minnesota Orchestra for Bach’s Christmas Oratorio, and the Orquestra Sinfônica de São Paulo for Britten’s War Requiem with Marin Alsop; and returns to the Chamber Music Society of Lincoln Center, Philharmonia Baroque, the Philadelphia Orchestra, the Chicago Symphony for Schubert’s Mass in E-flat with Riccardo Muti, and the Toronto Symphony for performances as the title role in Bernstein’s Candide. He also serves as artistic director of two festivals next season: Collaborative Arts Institute of Chicago’s sixth annual Collaborative Works Festival, and as the first singer to be guest Artistic Director of the Laguna Beach Music Festival.

Mr. Phan has appeared with many of the leading orchestras in the North America and Europe, including the Cleveland Orchestra, New York Philharmonic, Boston Symphony, Chicago Symphony, San Francisco Symphony, Los Angeles Philharmonic, Philadelphia Orchestra, National Symphony, Atlanta Symphony, St. Paul Chamber Orchestra, Orchestra of St. Luke’s, Philharmonia Baroque, Boston Baroque, Les Violons du Roy, BBC Symphony, English Chamber Orchestra, Strasbourg Philharmonic, Royal Philharmonic, Philharmonia Orchestra of London, and the Lucerne Symphony. He has also toured extensively throughout the major concert halls of Europe with Il Complesso Barocco, and appeared with the Oregon Bach, Ravinia, Marlboro, Edinburgh, Rheingau, Saint-Denis, and Tanglewood festivals, as well as the BBC Proms. Among the conductors he has worked with are Marin Alsop, Harry Bicket, Pierre Boulez, James Conlon, Alan Curtis, Rafael Frühbeck de Burgos, Charles Dutoit, Jane Glover, Manfred Honeck, Bernard Labadie, Louis Langrée, Nicholas McGegan, Zubin Mehta, John Nelson, Yannick Nézet-Séguin, Helmuth Rilling, David Robertson, Esa-Pekka Salonen, Masaaki Suzuki, Michael Tilson Thomas and Franz Welser-Möst.

An avid proponent of vocal chamber music, he has collaborated with many chamber musicians, including pianists Mitsuko Uchida, Richard Goode, Jeremy Denk, Graham Johnson, Roger Vignoles, Myra Huang and Alessio Bax; violinist James Ehnes; guitarist Eliot Fisk; harpist Sivan Magen; and horn players Jennifer Montone, Radovan Vlatkovic and Gail Williams. In both recital and chamber concerts, he has been presented by Carnegie Hall, London’s Wigmore Hall, the Metropolitan Museum of Art, the Chamber Music Society of Lincoln Center, the Philadelphia Chamber Music Society, Atlanta’s Spivey Hall, Boston’s Celebrity Series, and the Library of Congress in Washington, DC. In 2010, he co-founded the Collaborative Arts Institute of Chicago, an organization that promotes the art song and vocal chamber music repertoire of which he is Artistic Director.

Mr. Phan’s many opera credits include appearances with the Los Angeles Opera, Houston Grand Opera, Glimmerglass Festival, Chicago Opera Theater, Seattle Opera, Portland Opera, Glyndebourne Opera, Maggio Musicale in Florence, Deutsche Oper am Rhein, and Frankfurt Opera. His growing repertoire includes the title roles in Bernstein’s Candide, Stravinsky’s Oedipus Rex and Handel’s Acis and Galatea, Almaviva in Il barbiere di Siviglia, Nemorino in L’elisir d’amore, Fenton in Falstaff, Tamino in Die Zauberflöte, Don Ottavio in Don Giovanni, and Lurcanio in Ariodante.

Phan’s most recent solo album, Gods and Monsters, was released on Avie Records in January. His first three solo albums, A Painted Tale, Still Fall the Rain and Winter Words, made many “best of” lists, including those of the New York Times, New Yorker, Chicago Tribune and Boston Globe. Phan’s growing discography also includes a Grammy-nominated recording of Stravinsky’s Pulcinella with Pierre Boulez and the Chicago Symphony, the opera L’Olimpiade with the Venice Baroque Orchestra, Scarlatti’s La gloria di Primavera with Philharmonia Baroque, Bach’s St. John Passion (in which he sings both the Evangelist as well as the tenor arias) with Apollo’s Fire, and the world premiere recordings of two orchestral song cycles: The Old Burying Ground by Evan Chambers and Elliott Carter’s A Sunbeam’s Architecture.

A graduate of the University of Michigan, Mr. Phan is the 2012 recipient of the Paul C Boylan Distinguished Alumni Award. He also studied at the Manhattan School of Music and the Aspen Music Festival and School, and is an alumnus of the Houston Grand Opera Studio. He was the recipient of a 2006 Sullivan Foundation Award and 2004 Richard F. Gold Career Grant from the Shoshana Foundation.

Lauded by Opera News for her “velvety mezzo” as well as how she “phrased with elegance and articulated coloratura nimbly,” Zoie Reams returns to Houston Grand Opera for her second season as a Studio Artist in the 2017-18 season. She sings Flora in La traviata, Zweite Magd in Elektra, and Rosalia in West Side Story with the company following her debut last season as the Alto Winged Angel in the world premiere of Heggie’s A Wonderful Life, Third Secretary in Adams’ Nixon in China, and world premiere of Kaminsky’s Some Light Emerges for HGOco.

Also this season, she sings her first performances of Handel’s Messiah with the Las Vegas Philharmonic. Previous performances for the mezzo include Clarice in La pietra del paragone with Wolf Trap Opera, Tituba in Ward’s The Crucible with the Glimmerglass Festival, the Sandmännchen in Hänsel und Gretel with Opera Louisiane, and, on the concert stage, Bruckner’s Te Deum with the Houston Symphony. She was the second place winner of Houston Grand Opera’s Eleanor McCollum Competition (2016), first place winner of the Emerging Artist division of the Classical Singer Competition (2015), and second place winner of the Gulf Coast Region of the Metropolitan Opera National Council Auditions (2016). She holds a Master of Music degree from Louisiana State University, at which she sang Isabella in L’italiana in Algeri, Dido in Dido and Aeneas, Katisha in The Mikado, and Béatrice in Béatrice et Bénédict. She earned her Bachelor of Music at Lawrence University.