One of America’s most thought-provoking, multi-faceted, and compelling artists, pianist Jeremy Denk is the winner of a 2013 MacArthur Fellowship, the 2014 Avery Fisher Prize, and Musical America’s 2014 Instrumentalist of the Year award. He has appeared as soloist with the Los Angeles Philharmonic, the Philadelphia Orchestra, and the symphony orchestras of Boston, Chicago, San Francisco, and London, and regularly gives recitals in New York, Washington, Boston, Philadelphia, and throughout the United States.
Steven Stucky, composer
Steven Stucky is one of America’s most highly regarded and frequently performed living composers. Winner of the 2005 Pulitzer Prize for his Second Concerto for Orchestra, he is a trustee of the American Academy in Rome, a director of New Music USA, a board member of the Koussevitzky Music Foundation, and a member of the American Academy of Arts and Letters and the American Academy of Arts and Sciences. He is also active as a conductor, writer, lecturer, and teacher.
With a distinctively rich, focused and sizable sound, Aubrey Allicock continues to make his mark among important opera companies and symphonies both at home and abroad. Mr. Allicock’s future engagements include a Metropolitan Opera and HD broadcast debut as Mamoud in The Death of Klinghoffer in the 2014-15 season; a Seattle Opera debut in the title role of Le nozze di Figaro and his Komische Oper Berlin debut as Escamillo in Carmen 2015.
Recently hailed as a “clarion-voiced tenor” by Anthony Tommasini (New York Times), Dominic Armstrong is a young tenor who has quickly established himself internationally as an artist of deep emotion and heartfelt musicality. Proof of this came in his recent, unexpected and well-received debut with the New York Philharmonic under the baton of Maestro Alan Gilbert, in the rarely heard Spring Symphony of Benjamin Britten.
Mary Birnbaum is a New York City-based stage director of theater and opera. Most recent credits include a chamber version of Eugene Onegin at Juilliard, Stephen Wadsworth’s Ring Cycle at Seattle Opera (associate director), and a new opera, Biennale, at the Barnes Foundation in Philadelphia. With an interest in dramaturgy, she specializes in new music/plays and has created productions for Juilliard, the Melbourne Opera Studio, American Opera Projects, LA’s Son of Semele Theater, the New Museum, and Bryant Park.
Rachel Calloway’s recognition continues at a very high level as a leading proponent and interpreter of contemporary music and the avant-garde. She has focused her career on works by living composers who champion their celebrated mentors.
Keith Jameson, tenor, a native of South Carolina, recently appeared as Bardolfo in Robert Carsen’s new production of Falstaff at the Metropolitan Opera, conducted by James Levine, and seen “Live from The Met in HD” movie theaters around the world. He also sang the Novice in Britten’s Billy Budd at the Metropolitan Opera, and Osman in Handel’s Almira with NYC’s operamission in the North American premiere staging of the entire opera at the historic Gershwin Hotel.
Hailed as one of opera’s most versatile baritones, Kim Josephson is a regular guest of leading opera companies, including the Metropolitan Opera where, since 1991, he has performed more than 230 performances of 24 roles including the title role in Rigoletto, Germont in La Traviata, Enrico in Lucia di Lammermoor, and Belcore in L’Elisir d’Amore to name a few.
The Knights, orchestral collective
The Knights are an orchestral collective, flexible in size and repertory, dedicated to transforming the concert experience. Driven by an open-minded spirit of camaraderie and exploration, they engage listeners and defy boundaries with programs that encompass their roots in the classical tradition and passion for musical discovery. For their outstanding virtuosity, innovative programs, and bold mission, The Knights are at the forefront of “the future of classical music in America” (Los Angeles Times).
The New York Times hailed Egypt native Ashraf Sewailam’s debut at Lincoln Center’s Avery Fisher Hall as a “stand out performance” and Opera News described his voice as “purring and velvety with an easily produced Ramfis-like top range with a majestic tone,” and his stage presence as “strong, mysterious and with mesmerizing intensity”. In his debut with New Zealand Opera as the assassin Sparafucile in Rigoletto, he was described as “hard to better, both vocally and dramatically”.
Lauded by Opera Magazine UK for her “stylistic mastery and ripe, sensual sound” American mezzo-soprano Peabody Southwell “is going places” (Los Angeles Times). She most recently appeared as the title role in Handel’s Agrippina with Opera Omaha conducted by Stephen Stubbs in a new production by James Darrah. Other work of the 2013-2014 season has included performances as the Third Lady with Los Angeles Opera in Barrie Kosky’s production of The Magic Flute conducted by James Conlon and a concert of Stravinsky with New World Symphony and conductor Michael Tilson Thomas in Miami and on tour to Chicago.
Robert Spano is one of the brightest and most imaginative conductors of his generation. As Music Director of the Atlanta Symphony Orchestra, he has enriched and expanded its repertoire and elevated the ensemble to new levels of international prominence and acclaim. As Music Director of the Aspen Music Festival and School, he oversees the programming of more than 300 events and educational programs for 630 students, including Aspen’s American Academy of Conducting.
Soprano Jennifer Zetlan is swiftly garnering recognition for her artistry and captivating stage presence. She has debuted on the stages of the Metropolitan Opera, New York City Opera, Seattle Opera, Santa Fe Opera and Florida Grand Opera. On the concert stage she has performed with the New York Philharmonic, the St. Paul Chamber Orchestra, the Indianapolis Symphony, the Juilliard Orchestra and has been heard at Carnegie Hall in recital and with Oratorio Society of New York, Musica Sacra, and the New York Youth Symphony.