2016–2017 Company


Everett McCorvey, Artistic Director

National Chorale

Executive Producer and OperaLex Endowed Chair in Opera Studies
Professor of Voice & Opera-University of Kentucky, Lexington, Kentucky
Founder and Conductor – American Spiritual Ensemble

Everett McCorvey, tenor, is a native of Montgomery, Alabama. He received his degrees from the University of Alabama, including a Doctorate of Musical Arts. He has performed in many cities around the world and theaters across the country, including the Metropolitan Opera, the John F. Kennedy Center, Aspen and Blossom Music Festivals, Radio City Music Hall, and performances throughout Italy, England, Spain, the Czech and Slovak Republics, Austria, Japan, China, Brazil, Poland, Portugal, Hungary, Ireland, Mexico, Peru and France.

Among his many accomplishments, Dr. McCorvey was the catalyst for developing a widely recognized opera program at the University of Kentucky, which is listed by the Richard Tucker Foundation as one of the top recommended opera training programs.

Dr. McCorvey is also the Founder and Music Director of the American Spiritual Ensemble, a group of 24 professional singers performing spirituals and other compositions of African-American composers. In its nineteen-year history, the group has presented over 250 concerts, including 19 tours of the United States and 17 tours of Spain and other European countries. The unique sound molded by Dr. McCorvey has garnered the group world-wide attention and interest.


The National Chorale


The National Chorale, New York’s premier professional choral company, will be celebrating its 49th  Lincoln Center Season during 2016-2017, with infrequently performed works, and its continuing series of 20th century American Classics.

Founded in 1967, the National Chorale is the only professional choral company in the United States to have established and maintained an annual subscription season in the major New York City concert halls – 49 seasons in David Geffen Hall (formerly Avery Fisher Hall) with additional concerts at Carnegie Hall.  The Chorale presents a broad repertory of choral-orchestral works; seldom-performed works from many stylistic periods; opera-in-concert; American music theatre; and contemporary works, including commissions by the Chorale for its Lincoln Center Season.

In addition to its David Geffen Hall series, the Chorale has toured nationally; presented 19 summer seasons of New York Festival of American Music Theater concerts in Lincoln Center’s Damrosch Park and parks throughout the New York area; concert tours of New York State and New York City; vocal-instrumental chamber music series. and Concerts for Young People.

For 48 years the Chorale has also had a continuing major vocal-choral music education initiative in the New York public schools in cooperation with the NYC Department of Education and the NYC Department of Cultural Affairs. This initiative includes city-wide artist-in-residence programs; after-school high school choral programs; special contemporary music residencies; the popular New York City High School Choral Festival and the new Elementary and Middle School Choral Festivals.

In addition, the Chorale has a Partnership with the New York City Professional Performing Arts High School, entering into its its 7th year, providing vocal and choral training to young people who plan to enter the music profession as performers or music educators.


The Professional Performing Arts High School

PPAS AFH 12-15-14

The Professional Performing Arts High School works in partnership with the National Chorale, which provides vocal music instruction to PPAS Vocal students. These students live throughout New York City and are accepted into the school through a series of competitive auditions.

Students perform throughout the school year in both solo and ensemble performances. In addition to performances at the Professional Performing Arts High School, the Choir has performed at Avery Fisher Hall, Lincoln Center, The National Arts Club, The Signature Theater, the Manhattan Theater Club, by invitation for the NYC Department of Education’s School’s Chancellor, at the United Nations and the New York Stock Exchange in collaboration with UNICEF for the #Imagine project, at the Invitational New York City High School Choral Festival at Hunter College/CUNY, and at the Intrepid Air and Space Museum for the Dedication Ceremony of the Space Shuttle Enterprise.

National Chorale and PPAS will be entering their 7th year of Vocal Partnership in the 2016-2017 season.



2016 – 2017 Soloists

                                            A Gershwin Celebration,

                                       Friday, October 21, 2016 8 pm


Janinah Burnett 2 Janinah Burnett, Soprano joins the Chorale for the first time. Janinah Burnett’s artistry is profoundly carving her place as one of the most notable sopranos of our time, serving dramatic intent while producing exquisite sound. As Lolo in the revival of Harry Lawrence Freeman’s opera VooDoo The New York Times says that “Ms. Burnett relishing Lolo’s cries of power and pain are the opera’s highlight”. And Montreal Gazette agrees, exclaiming she “brought a storytelling quality as well as soprano pyrotechnics to Violetta [in La Traviata].” As Mimì in Baz Luhrman’s adaptation of Puccini’s La Bohème, Ms. Burnett received tremendous acclaim winning the Los Angeles Stage Alliance’s “Ovation Award” with a record 82 consecutive sold-out shows.

Ms. Burnett joined the Metropolitan Opera roster in 2008 for their productions of Carmen and La Bohème, and has since returned for Parsifal, Le nozze di Figaro, La Rondine, The Enchanted Island, Iphigénie en Tauride, and Manon. She next returns to the Met for Elektra, and will reprise the role of Leila in John Adams’ I was looking at the ceiling and suddenly I saw the sky at the Teatro dell’Opera di Roma.

Recently, Ms. Burnett participated in The Dream Unfinished, a concert in which classical musicians donated their time and talent in a concert honoring victims of social injustice, debuted the role of Harriet Tubman in the World Premier presentation of Harriet Tubman: When I Crossed that Road to Freedom with American Opera Projects to much acclaim and sang performances of Leila in John Adams’ I was looking at the ceiling and suddenly I saw the sky with Théâtre du Châtelet; Leïla in Les Pêcheurs de Perles with Opera Carolina, Marguerite in Faust with Opera Toledo, Bess in Princeton Festival’s production of Porgy and Bess.

Noted previous engagements include Lucy in Treemonisha in her debut at the Théâtre du Châtelet in Paris; Margru in Amistad at the Spoleto Festival U.S.A.; Micaëla in Carmen with the Michigan Opera Theatre and Arizona Opera; Mimì in La Bohème with Arizona Opera, Baltimore Opera, Manitoba Opera, and Nashville Opera; Susanna in Le nozze di Figaro with Lyric Opera Baltimore; Donna Anna in Don Giovanni with Opera Cleveland; Violetta in La Traviata with OperaColumbus; Claire in William Grant Still’s Troubled Island with New York City Opera; and Bess in Porgy and Bess at the Deutsche Oper Berlin, as well as with Cape Town Opera, Michigan Opera Theatre, Opera Grand Rapids, and in concert with The Israel Symphony Orchestra in Tel Aviv and Rishon LeZion with Mo. Asher Fisch, Lauretta in Gianni Schicchi and Norina in Don Pasquale with Connecticut Opera, Pamina in Die Zauberflöte and solo performances with the Dallas Symphony Orchestra.

Ms. Burnett is also widely known for her versatility. A former member of the sister group to Three Mo’ Tenors entitled Three Mo’ Divas, Ms. Burnett gave two performances of her own jazz arrangements with her band entitled The Janinah Burnet Quartet at the Cell Theater in NYC. She also gave a self titled, sold out solo jazz show at the Metropolitan Room also in NYC and sang with the Barcelona jazz Orchestra in Llivia, Spain. Ms. Burnett believes in giving all to her singing as well as giving back to the community with her own creative message. This belief led her to produce performances of her own writings juxtaposed with art songs, freedom songs, and spirituals entitled “I, Too Sing America: An Artistic Tribute to the victims of Social Injustice” which seeks to provide quality performances rooted in education, activism, committed artistic expression, and healing. Ms. Burnett was named Artist of the Year in 2011 at Syracuse Opera for her revered role debut as Leïla in Les Pêcheurs de Perles and is a featured singer in the Spike Lee film Red Hook Summer.



Karen Slcak 2

 Karen Slack, Soprano makes her premiere with the National Chorale in this evening’s performance. Hailed by critics for possessing a lustrous voice of extraordinary beauty and artistry of great dramatic depth American soprano Karen Slack has performed with major conductors in opera houses and concert halls around the world.  She was most recently seen in Verdi’s AIDA with Austin Opera,  Alice Ford in Verdi’s Falstaff with Arizona Opera and in the West Coast premiere of  Terence Blanchard’s Champion as Emelda Griffith with San Francisco’s Opera Parallele,  Litton’s Porgy and Bess Suite at the Bergen Festival in Norway,  Mahler  Symphony # 2 with Lexington Philharmonic, Beethoven’s 9th with both Quad City Symphony and Alabama Symphony and a house debut at the Lyric Opera of Chicago as Serena in  Francesca Zambello’s production of  Porgy and Bess which she has performed at both Washington National Opera and San Francisco Opera. She can be seen reprising the role of Serena in San Francisco Opera’s production that was released on DVD in 2015.

Other recent engagements include: Puccini’s Tosca and Leonora in Verdi’s Il Trovatore both with Arizona Opera, Barber’s Knoxville: Summer of 1915 on the Curtis Institute of Music Alumni Series,  Sister Rose in Heggie’s Dead Man Walking with both Madison Opera and Des Moines Metro Opera and Guest Soloist with the Lexington Chamber Music Festival. She has  also appeared in Verdi’s Aida with Lyric Opera of Kansas City and West Bay Opera, Cilla in Richard Danielpour’s Margret Garner with Michigan Opera Theater, Agnes Sorel in Tchaikovsky’s Maid of Orleans with San Francisco Opera and at Carnegie Hall, Violetta in Verdi’s La Traviata with both Sacramento Opera and West Bay Opera and in 2006 Karen stepped in to make her Metropolitan Opera debut and International broadcast debut in the title role of Verdi’s Luisa Miller.

Equally at home in concert repertoire she has been seen in Philadelphia, San Francisco, Spokane, Cincinnati, Phoenix, Italy, Gibraltar (Spain), Munich, Germany and in Australia as Desdemona in Verdi’s Otello with the Melbourne Symphony, Mahler Symphony No.2 with Latvian National Symphony, Verdi Requiem with both Madison Symphony and the Sacramento Choral Society, Vaughn Williams Dona Nobis Pacem with both Albany ProMusica Symphony and Sacramento Choral Society and a guest artist recital at Jackson State University. A 2004 graduate of the San Francisco Opera’s Adler Fellowship program  she was awarded a Schwabacher Debut Recital and was seen as Madame Arkadina in Pasatieri’s The Seagull and as Madeleine in the final scene from Strauss’ Capriccio. After her summer with the Merola Opera Program in 2002 she was invited to sing Mimi in Western Opera Theater’s National Tour of La Boheme. A native of Philadelphia, PA and a graduate of the prestigious Curtis Institute of Music she is also and alumna of the Santa Fe Opera Apprentice Program and the Steans Institute at the Ravinia Festival.

At age 18, Karen was the youngest winner in the history of the Rosa Ponselle International Competition for the Vocal Arts held in New York’s Alice Tully Hall. Since then she has gone on to win numerous competitions and  receive many vocal awards including the George London Award, Licia Albanese-Puccini Foundation, Montserrat Caballe International Competition, Metropolitan Opera National Council Auditions, Marian Anderson ICON Award, Liederkranz Award, Astral Artist, Florida Grand Opera Competition, Portland Opera Lieber Competition and the grand prize in the 1st annual Jose Iturbi International Competition for Voice held in Los Angeles, CA.

Upcoming engagements include:  Nashville Opera (debut) as Donna Anna in Mozart’s Don Giovanni, Serena in Gershwin’s Porgy and Bess with Sydney Symphony (Australia), Philadelphia Chamber Music Society recital with flutist Julietta Curenton, Sister Rose in Heggie’s Dead Man Walking with Lyric Opera of Kansas City, Verdi Requiem with Canton Symphony and Anna in Puccini’s Le Villi with Scottish Opera (debut).


Robert Mack

Robert Mack, Tenor also makes his debut with the Chorale this evening. Tenor Robert Mack’s career highlights include Remus, Treemonisha with The Collegiate Chorale; Snake/Vain Man, The Little Prince with NYCO; Alfredo, La Traviata with The Martina Arroyo Foundation. Performances with the New York City Opera include Goro, Madame Butterfly; Goopy, Haroun and the Sea of Stories; Remendado, Carmen; the Ballad Singer, Of Mice and Men; Pong, Turandot; Don Curzio, The Marriage of Figaro; Spoletta, Tosca; Second Shepherd, Daphne; Arturo, Lucia Di Lammermoor, and Rinuccio, Gianni Schicchi. Mack debuted the role of Sportin’ Life, Porgy and Bess with New York City Opera and Opera Carolina. He recorded the role of Sportin’ Life with The Nasvhville Symphony on Decca Records. Mack has toured with the nationally acclaimed “Three Mo’ Tenors” and in addition has made outstanding appearances with Houston Grand Opera, Opera Company of Philadelphia and Indianapolis Opera.

He sang the role of John/William Still in She Never Lost A Passenger with Syracuse Opera. He was also a featured tenor soloist for The Alvin Ailey American Dance Theatre’s signature work, Revelations. In past seasons he made debuts with Houston Grand Opera, Bastille in Paris and the Teatro Real in Spain. He has also performed in Italy, Germany, Japan and Luxembourg. Mack toured with Broadway’s National and European tour of Smokey Joe’s Café directed by Jerry Zaks and in 2002 he was directed by Stewart Lane in the production of Ain’t MisBehavin.

Robert enjoys involvement with The New York Festival of Song, American Opera Projects and is co-founder of Opera Noire of New York. Upcoming performances include Remendado in Carmen, Goro in Madame Butterfly and Fenton in Falstaff with The Martina Arroyo Foundation.




Kenneth Overton

Kenneth Overton, Baritone joins the Chorale for his first of two performance this Season. Heralded by the BBC for his “exceptional voice,” Kenneth made his New York City Opera mainstage debut in 2012 as Doctor Grenvil in Verdi’s La Traviata. That season, Kenneth also made an acclaimed debut in the world premiere of David Ott’s The Widow’s Lantern at Pensacola Opera, whereby he was immediately re-engaged to star as Joe in Showboat. 2012–13 included debuts with New Jersey Symphony (Bruckner Te Deum) and Tacoma Symphony Orchestra (Verdi concert).

In collaboration with pianist Kevin Miller, Kenneth released his first solo CD in the fall of 2013.  Been In De Storm So Long:  Songs My Fathers Taught Me, is his homage to the spiritual tradition that has been formative in his artistic life.  In step with this legacy, Kenneth is also co-founder and artistic director of Opera Noire of New York, a performing arts organization created to empower African-American artists to reach their full creative potential in a creative supportive environment.

Career highlights include Kenneth’s San Francisco Opera debut as Lawyer Frazier with in Porgy and Bess and Germont (La Traviata) with Sacramento Opera and Boheme Opera (NJ).  As a leading baritone, Kenneth has sung with Opera Memphis, Nashville Opera, Connecticut Opera, Chattanooga Symphony and Opera, Boheme Opera of NJ, Houston Ebony Opera Guild, Opera Delaware, Sacramento Opera and Opera Carolina. His roles with these companies include Papageno (Die Zauberflöte), Sharpless (Madama Butterfly), Leporello (Don Giovanni), Schaunard (La bohème), Ping (Turandot) as well as Angelotti (Tosca), Bello and Sid (La Fancuilla del West).

Kenneth’s interpretation of the title role in Porgy and Bess has been acclaimed as “breathtaking.” He made his international debut at Deutsche Oper Berlin in the critically-acclaimed production from South Africa’s Cape Town Opera. Kenneth portrayed Porgy with Opera Theatre of Pittsburgh, Opera Memphis, Opera Carolina, Lexington Opera Society, the Lithuanian State Symphony Orchestra, the Paducha Symphony and on tour throughout the British Isles. As Jake in Porgy and Bess, he performed at Stadttheater Klagenfurt and Princeton Opera Festival. In 2014, he debuted with Opera de Montreal and the Royal Danish Opera as Porgy.

Kenneth is widely recognized for his concert work, having performed with Phoenix Symphony, Norwalk Symphony,  Montclair State University, New Jersey’s Cathedral Basilica, Duluth Superior Symphony, Annapolis Symphony Orchestra, Yonkers Philharmonic, Oratorio Society of New Jersey, Summit Chorale Festival (NJ), New York City Opera’s Schomberg Series, Sarasota Symphony, San Antonio Symphony and Richmond Symphony.  His concert and oratorio repertoire includes Handel’s Messiah, Verdi’s Requiem, Vaughn Williams’ A Sea Symphony, Beethoven’s 9th Symphony, Schubert’s Mass in A-flat, Haydn’s Creation and Vaughan Williams’ Five Mystical Songs. Kenneth is also featured in the American Spiritual Ensemble as a soloist for annual performances in the USA and international tours of Spain, Ecuador and France.

Kenneth has a passion for both musical theater and new works, and he made his Broadway debut in Baz Luhrman’s La Bohème. He was featured in City Center Encores’ production and recording of Romberg’s The New Moon, and sang the role of Stephen Kumalo in Lost in the Stars with Skylark Opera. His Carnegie Hall debut was as the baritone soloist in Come Follow Me by Jackson Berkey with the Westfield Symphony Orchestra (Mid-America Productions). Kenneth has also excelled in diverse contemporary works including performances of Corps of Discovery by Michael Ching at Opera Festival of New Jersey; Six Characters in Search of An Author by Hugo Weisgall; and The Gilded Cage by Kioulaphides with Nexus Arts (NY).

Kenneth is a winner of the Liederkranz Competition, Connecticut Opera Guild Competition, Rosa Ponselle Competition (Meriden, CT) and a national winner of the Leontyne Price Vocal Competition.



Ami Brabson, Narrator (Porgy and Bess) is an actress known for her work Off-Broadway in Tough Titty at the Paradise Factory Theater, and the in The Way of The World Public Theater and her work on television in Homicide, Damages, Unforgettable, Law & Order, The Jury, The Beat, and One Life to Live. Regionally she has appeared in productions of Fences, The Old Settler, Splash Hatch on the E Going Down at Yale Rep, The Piano Lesson, Day of Absence, Two Trains Running, Come Down Burning, A Midsummer Night’s Dream, and Othello. She received her M.F.A. From the New York University Graduate Acting Program.





                                           Beethoven Symphony #9  

                                    Friday, November 18, 2016 8 pm


Angela one 220 copy 3

Angela Brown, Soprano makes her debut with the Chorale in this performance. Angela Brown personifies the ideal soprano: sheer vocal power; luxurious finesse; and shimmering, high pianissimos. With a charming personality larger than life, she unites opera, pops, and gospel in one sensational voice. A featured artist on the two-time, Grammy Award® winning recording “Ask Your Mama,” Angela’s international reputation continues to grow.

Her highly successful Metropolitan Opera debut in the title role of Aida captured instant attention from international print and broadcast media and catapulted Angela onto the world’s prestigious opera and symphonic stages. Headlines from The New York Times read:  “At last an Aida,” and CBS Weekend News proclaimed: “the future of opera has arrived!” followed by features on the front page of The New York Times, on CNN, in Oprah Magazine, Essence Magazine, Ebony Magazine, Classical Singer, Reader’s Digest, and Psychology Today.

While opera is the main catalyst for her career, Angela’s performance experience includes everything from star hostess on stage to producer and creator of Opera…from a Sistah’s Point of View, an inspired show that has gained international notoriety for bringing opera to the masses in the form of an edgy, yet educational, concert presentation.

Last season held new milestones for Angela when she co-starred in the new American opera, Charlie Parker’s Yardbird in the world-premiere performance with Opera Philadelphia, returned to her hometown of Indianapolis for the 2014 Yuletide Celebration series with the Indianapolis Symphony Orchestra, and sang on the newly-released and Grammy-winning recording of “Ask Your Mama,” composer Laura Karpman’s setting of the poem by Langston Hughes of the same title. The 2015-16 season includes performances with Asheville Symphony Orchestra, a collaboration with Tuskegee University Choir in a Christmas extravaganza, recitals for Riverside Symphonia and St. Philip’s Concert Series, solos with Carmel Symphony, and a concert version of Porgy and Bess with Buffalo Philharmonic. Angela will reprise the role of Addie Parker in Yardbird at The Apollo in New York City this April and again for Lyric Opera of Chicago and Madison Opera in 2017.

Earlier career highpoints include her collaboration with American composer Richard Danielpour. Her early success as Aida was immediately followed by world premier performances of Danielpour’s opera Margaret Garner in the role of Cilla with Opera Philadelphia, Cincinnati Opera and Michigan Opera Theater. The result was a triumph that led Mr. Danielpour to set the poetry of visionary Maya Angelou for Angela’s voice in an orchestral song cycle, A Woman’s Life, co-commissioned by Pittsburgh Symphony and Philadelphia Orchestra, recorded in 2012 with the Nashville Symphony and released on the Naxos label in 2013.

A noted interpreter of African-American spirituals, Angela released Mosaic, a collaborative recording featuring spirituals with guitar and piano, in October 2004 from Albany Records. In 2005, a live Christmas concert with the Indianapolis Chamber Orchestra and Indianapolis Opera Chorus was recorded by WFYI-PBS and broadcast throughout the United States. She guest starred on A Prairie Home Companion with Garrison Keillor radio show in 2009. In July 2010, Angela was presented in Shanghai at the World Expo 2010 as a guest of USA Pavilion and the United States Consulate. Angela was the only opera singer invited to perform for the USA Pavilion. She also opened the One Nation Working Together Rally in Washington, DC, by singing the National Anthem on the steps of the Lincoln Memorial, and was selected by Marvin Hamlisch to premier his song composed for her and the Indianapolis Children’s Choir in honor of The Indianapolis Prize.

Throughout her career, Angela has joined forces with symphonic pops legends Marvin Hamlisch, Jack Everly, and Erich Kunzel while traveling the world for classical performances at Lincoln Center, Paris Opera, Vienna State Opera, Capetown Opera, Deutsche Oper Berlin, Edmonton Opera, Calgary Philharmonic, Shanghai World Expo, Moscow Performing Arts Center, and more. But, she always welcomes a return home to her beloved Indianapolis for appearances with Indianapolis Symphony for their acclaimed Yuletide pops extravaganza, the Indianapolis Opera, or to sing the National Anthem for the Colts or Pacers.

Ms. Brown’s previous solo appearances include: Metropolitan Opera; National Opera of Paris; Bilbao Opera, Spain; Teatro La Fenice; Hamburg Opera; Vienna Staatsoper; Capetown Opera; Deutsche Oper Berlin; Opera Philadelphia; Cincinnati Opera; Pittsburgh Opera; Opera Pacific; Florentine Opera; Indianapolis Opera; Michigan Opera Theater; Opera Birmingham; Dayton Opera; Florida Grand Opera; The Philadelphia Orchestra; Pittsburgh Symphony; Auckland Philharmonia; Leipzip Radio Orchestra; Latvian National Symphony; Moscow Symphony Orchestra; Festival of St. Denis, France; Indianapolis Symphony; Cincinnati Pops; Cincinnati Symphony; Brevard Festival Orchestra; Roanoke Symphony; Madison Symphony; El Paso Symphony; Knoxville Symphony; Chautauqua Institution; Carmel (Indiana) Symphony; residencies and recitals at Skidmore College and Acadiana Symphony Orchestra; Calgary Philharmonic; Kalamazoo Symphony Orchestra; Buffalo Philharmonic; The Trumpet Awards; The Walker Theatre in Indianapolis; The Sun Valley Writers’ Conference; The Marian Anderson Award Ceremony; the Kimmel Center in Philadelphia and the John F. Kennedy Center for the Performing Arts in Washington, D.C. Angela has performed in recital throughout the United States, Canada, Spain, New Zealand and Africa.

A 1997 National Metropolitan Opera Council Auditions Winner, Ms. Brown received her Bachelor of Music degree in voice from Oakwood University in Huntsville, Alabama, where she studied with Ginger Beazley. She attended the Indiana University School of Music as a student in the studio of Virginia Zeani. Ms. Brown received the Indiana University African American Arts Institute’s inaugural Herman C. Hudson Alumni Award in 2006, given annually to recognize outstanding contributions made in the arts by former members of the Institute. Ms. Brown is featured in “Nineteen Stars of Indiana,” a book by Michael S. Maurer about nineteen, living Hoosier women with successful and inspirational life stories, released by Indiana University Press in December 2008. In fall 2009, Angela received the Governor’s Arts Award from the Governor of Indiana, a Spirit of the Prairie Award from Conner Prairie in Indiana, and was inducted into the Indianapolis Public Schools Hall of Fame.


Teresa Buchholz Teresa Buchholz, Mezzo joins the Chorale for the first time. An accomplished artist, known for her colorful, clear voice and thoughtful interpretation in both oratorio and opera, Teresa Buchholz is emerging as a promising mezzo-soprano in the world of singing. Performances have included the title role in Giulio Cesare in Egitto with Opera Roanoke, Mendelssohn’s Elijah with the Rhode Island Civic Chorale and Orchestra, Schubert’s Mass No. 6 in E Flat with the The New Jersey Choral Society, the role of Mathurine in Little Opera Theatre of New York’s run of Gluck’s one-act opera The Reformed Drunkard, the roles of Martha and Pantalis in a concert performance of Boito’s Mefistofele with the Collegiate Chorale at Carnegie Hall, Elliot Carter’s “Voyage” with the American Symphony Orchestra at Carnegie Hall, Mozart’s Requiem with the Helena Symphony (MT), Beethoven’s Symphony No. 9 with the Stamford Symphony (CT), appearances on opera galas with Opera at Florham and Kyrenia Opera, Mahler’s Das Lied von der Erde with The Gateway Chamber Orchestra (TN), Handel’s Messiah at Lincoln Center with Distinguished Concerts International New York, and a return to the Helena Symphony for C.P.E Bach’s Magnificat. In April 2013 she was the winner of the female division in the Nico Castel International Master Singer Competition at Carnegie Hall. Upcoming engagements include several appearances at the Bard Music Festival (Schubert and His World) including Brahms’ Alto Rhapsody and a selection of art songs, a return to the Stamford Symphony for Mozart’s Requiem, Brahms’ Liebeslieder Walzer and Neue Liebeslieder Walzer at Vassar College and Bard College, and a performance of Dan Forrest’s Requiem for the Living at Carnegie Hall with Mid-America Productions.

Other recent performances include the role of Mercedes in Carmen with Roanoke Opera, and soloist performances in Beethoven’s 9th Symphony with the Symphony of Northwest Arkansas. C.P.E Bach’s Magnificat and Haydn’s Paukenmesse with The Fairfield Chorale, Michael Tippett’s A Child of our Time with the Rhode Island Civic Chorale and Orchestra, Mozart’s Requiem with Manhattan Concert Productions at Alice Tully Hall in New York City and the OK Mozart Festival in Barltesville, OK, and return to the Bard Music Festival to perform Chausson’s Chanson perpétuelle with piano quintet, which the New York Times hailed as “beautifully sung by mezzo soprano Teresa Buchholz”.  She also performed the mezzo solos in Bloch’s Sacred Service in a series of concerts in the summer of 2012 with the Collegiate Chorale and the Israel Philharmonic with Zubin Mehta conducting in Tel Aviv, Israel and Salzburg, Vienna.  The previous year she made her Carnegie Hall debut with Mid-America Productions as mezzo soloist for Durufle’s Requiem. Other performances for the 2010-2011 season included solo engagements with Rhode Island Civic Chorale and Orchestra (Messiah), The New York Philharmonic (Mendelssohn’s Elijah), The Greenwich Choral Society (Bach’s Mass in B Minor), The Monmouth Civic Chorus (Bach’s Mass in B Minor) and a return to The Fairfield Chorale  (Norwalk, CT) for Mendelssohn’s Elijah.

After a successful solo debut with The Bard Music Festival in 2008, Teresa returned to the festival in August 2009 for a performance of Hans Eisler’s Tagebuch cantata. Other performances for the 2009-2010 season included solo engagements with The Duke Symphony (Dorabella in Cosí fan tutte), The Berkshire Bach Society (Bach’s Christmas Oratorio), and The East Texas Symphony (Handel’s Messiah) and a role with Teatro Grattacielo at Lincoln Center’s Rose Theatre (Serena in Wolf-Ferrari’s I Gioielli della Madonna).

Other appearances include a performance of Brahms duets (Op. 20 and 61) and a Rhinemaiden in a concert of Wagner opera excerpts with the Bard Music Festival, the second soprano solos in Mozart’s Mass in C Minor with the AmorArtis orchestra in Norwalk, CT, as well as solo recitals at Messiah College in Pennsylvania and St. Bartholomew’s Church in NYC.  Summer ‘08 marked her debut with Summer Opera Theatre in Washington DC as Carmen, where The Washington Times hailed her as “an outstanding Carmen, singing accurately and expressively while charging her character with a smoldering sexuality.”  Following that, her performance of Prokofiev arias for the Bard Music Festival was noted in the festival’s overall review in the New York Times.   In 2008 she also debuted with Asheville Lyric Opera and The Opera Company of North Carolina as Alisa in a shared production of Lucia di Lammermoor. In April ’08 she returned to The Duke Symphony Orchestra for the role of Hansel in Hansel and Gretel, where her Cherubino in La Nozze di Figaro was greeted with enthusiastic acclaim in ’06, and following that in May of ‘08 she returned to the Berkshire Bach society for the role of Orfeo in a semi-staged performance of Gluck’s Orfeo ed Euridice.

As an experienced oratorio soloist, Teresa has had past appearances with the Fordham University Choir for Mozart’s Requiem, and with the New Jersey Philomusica as Alto Soloist in Michael Haydn’s Requiem and Mozart’s Dominican Vespers. She has also been heard with the Bard College Symphonic Chorus as Maria in Respighi’s Laud to the Nativity and at Lincoln Center with the American Symphony Orchestra in Franz Schreker’s opera Der ferne Klang and Schumann’s oratorio Das Paradies und die Peri. She has appeared frequently with the Berkshire Bach society, where her appearances have included Handel’s Israel in Egypt, Pergolesi’s Stabat Mater, and J. S. Bach’s MagnificatCantata BWV 72 (“Ich habe genug”). Other notable performances have included Mozart’s c minor Mass and J. S. Bach’s Mass in b minor, both with the Chorus and Orchestra of St. Bartholomew’s Episcopal Church of New York City, and Pergolesi’s Stabat Mater with the New York Collegiate Chorale.  In making her Lincoln Center debut, Teresa was featured with the American Symphony Orchestra and Maestro Leon Botstein in a one-act opera by Paul Hindemith entitled Das Nusch-Nuschi.

A graduate of the Yale University Opera Program, Indiana University, and the University of Northern Iowa, Teresa has been delighted to have spent several summers as a young artist with the Santa Fe Opera, the Opera Theatre of St. Louis, and the Natchez Opera.


John Pickle

John Pickle, Tenor also debuts with the Chorale in this performance. Tenor John Pickle is quickly making a name for himself, most recently for his portrayals of Erik in Der fliegende Holländer, a role he debúted with Los Angeles Opera. Of a performance as the jilted hunter with Lyric Opera of Kansas City, The Kansas City Star raved, “Pickle’s emotionally wrought characterization drove this [performance] even harder home than usual.” In recent seasons, Mr. Pickle also enjoyed performances as Erik with Utah Festival Opera and Michigan Opera Theatre.  This season, Pickle will be performing Canio in Pagliacci with Opera Memphis, Verdi’s Requiem with Opera Grand Rapids, the role of Pinkerton in Madama Butterfly at Dayton Opera, Mahler’s Das Lied von de Erde with the Dayton Philharmonic, and the role of Alfred in Die Fledermaus at Florentine Opera.

Favorite engagements from recent seasons also include Canio in Pagliacci with Michigan Opera Theatre; Riccardo in Un ballo in maschera and Don José in Carmen with Opera Tampa; Radamés in Aïda with Dayton Opera; Turiddu and Canio in Opera Delaware’s double-bill production of Cavalleria Rusticana/Pagliacci; and the title role in Candide with Fresno Grand Opera. Mr. Pickle has also performed Cavaradossi in Tosca with Townsend Opera, Pinkerton in Madama Butterfly at Florida Grand Opera, Des Grieux in Manon Lescaut Mobile Opera, Beethoven’s 9th Symphony with Long Bay Symphony, and Verdi’s Requiem at Carnegie Hall.

Mr. Pickle is an established talent on symphonic concert and recital stages throughout the country. He made his Houston Symphony début this year as the tenor soloist in Mahler’s 8th Symphony.  Additional concert engagements this past season included the tenor solo in Verdi’s Requiem with the Mississippi Symphony Orchestra; Beethoven’s Ninth Symphony with the Lima Symphony; the tenor soloist in a Night of Verdi Hits concert with the Santa Barbara Symphony; Viva Verdi! concerts with Lyric Opera of Virginia; Missa Solemnis with Utah Festival Opera; Handel’s Messiah at Avery Fisher Hall; a Gala Concert at Northern Oklahoma College conducted by Gerald Steichen; a Valentine’s Day Concert with Northwest Arkansas Symphony; and a concert of opera arias entitled “Are we really 30?” at St. Bart’s Music Festival conducted by Steven Mercurio.

He made his Carnegie Hall début in 2008 performing Schubert’s Mass in G Major and the Mozart Requiem conducted by John Rutter, and performed the Mozart Requiem in the famed hall again in 2012.  Additionally, he performed Verdi’s Requiem with the Baton Rouge Symphony Orchestra; Händel’s Messiah with Greater Trenton Choral Society; Beethoven’s Mass in C Major with New Jersey Choral Society; Orff’s Carmina Burana with Cobb Symphony Orchestra and Long Bay Symphony; Bach’s St. John Passion with Rhode Island Civic Chorale and Orchestra; Bach’s Mass in B Minor with Gotham City Baroque Orchestra; Mendelssohn’s Elijah with First Congregational Church of Akron’s Concert Series; Rossini’s ironically titled Petite messe solennelle with Stonington Choral Society; Haydn’s Heiligmesse and the world première of Ed Lojeski’s Psalms of Passover with the New Jersey and Connecticut Choral Societies; and Gabriello Chiaramantesi/Un Cantore in Giordano’s rarely performed La cena delle beffe with Teatro Grattacielo in Alice Tully Hall.

Previous engagements include performing Cavaradossi in Tosca, Erik in Der fliegende Holländer, Calaf in Turandot, and a Gala Concert for Mobile Opera; Tybalt in Roméo et Juliette with Opera Grand Rapids; Rodolfo in La bohème for Baltimore Concert Opera; the Duke in Rigoletto with Center City Opera Theater; Manrico in Il trovatore and BRAVO! An Opera Celebration with Intermountain Opera Bozeman; a Giordano Gala and a production of Ricitelli’s I Compagnacci for Teatro Grattacielo; Edgardo in Lucia di Lammermoor, Cavaradossi in Tosca, Rodolfo in La bohème, and Pinkerton in Madama Butterfly with Opera Southwest; Kaspar in Amahl and the Night Visitors at Avery Fisher Hall; and Judge Danforth in The Crucible with Utah Festival Opera. Of a performance as Rodolfo, critics raved: “John Pickle brings a resilient, wonderfully placed sound and a sensitive musicality to Rodolfo that embraces each nuance of this rich score with an enviable mix of delicacy and strength.”

Additional recent engagements include Florentine Opera’s Gala Concert, an opera highlights concert with the Jefferson City Symphony; Victor Herbert’s 150th Birthday Celebration with Little Orchestra Society; a series of concerts entitled J’aime Paris Opéra! with the Las Colinas, Arlington, and Garland Symphonies; and a concert of opera’s greatest hits with Opera Idaho and the Boise Philharmonic.

Mr. Pickle has also been featured on several operetta recordings for the Albany Records and Newport Classic labels. These include Alexius in The Chocolate Soldier by Oscar Straus, Barry O’Day in Eileen, Captain Dick in Naughty Marietta and Lieutenant Karl in Sweethearts all by Victor Herbert; Prince Radjami in The Bayadere by Emerich Kalman; Schubert in Das Dreimäderlhaus by Franz Schubert and The Duke in Eine Nacht in Venedig by Johann Strauss.


Erik Kroncke

Erik Kroncke, Bass joins the Chorale for the first time. Since his debut in 2000, Erik Kroncke’s unique bass voice has been in demand by opera companies and orchestras all over the world. He has been heard in such varied repertoire as Sarastro in Die Zauberflöte, Osmin in Die Entführung aus dem Serail, Gremin in Eugene Onegin, Ramphis in Aida, Commendatore in Don Giovanni, Philip and the Grand Inquisitor in Don Carlos, Hunding in Die Walküre, Fafner in Das Reingold, and Daland in Der Fliegende Holländer.

He has appeared with many companies including the Sarasota Opera, Opera San José, Chautauqua Opera, Natchez Opera Festival, Green Mountain Opera, Bronx Opera, Austin Lyric Opera, Opera Fort Collins, Opera Colorado, Opera Theater of the Rockies, Hudson Opera Theater, Delaware Valley Opera, New Jersey Verismo Opera, Lyric Opera Virginia, and Opera in the Heights. Highlights include singing his first Daland in Der Fliegende Holländer with Opera Fort Collins and Mephistopheles in Faust, made his debut in Boston with Lowell House Opera in the role of Baron Ochs in Der Rosenkavalier, as well as his role debut of Padre Guardiano in La Forza del Destino.

He was the American Wagner and St. Bonaventura award winner from the Liederkranz competition in 2008. The same year, he made his South Korea debut with the Korean W Philharmonic in Seoul as the bass soloist in Beethoven’s 9th symphony as well as his debut with Opera San José as Gremin in Eugene Onegin.  As a studio artist with Sarasota Opera in 2009, he sang Boris in the coronation scene from Boris Goudenov with the Sarasota Opera Orchestra. He also sang his first Messiah performances in Connecticut and his home state of Vermont.

His symphonic and oratorio performances have included engagements with the New York Philharmonic, Danbury Symphony Orchestra, Chautauqua Symphony, Vermont Philharmonic, and the American Classical Orchestra in such varied repertoire as the Shostakovich 13th, Haydn’s the Seasons, as well as “The Three Basses” concerts.  2010 saw Mr. Kroncke as an award winner of the Gerda Lissner Wagner competition and his first concert performance of Die Winterreise with the Rochester Concert Series. In 2011, he sang the Grand Inquisitor in Don Carlo, Zuniga in Carmen and Don Alfonso in Cosi Fan Tutte. He made his debut as the Marchese in La Traviata with Lyric Opera Virginia as well as performed in various concerts throughout New England. 

2012 began with Beethoven’s 9th symphony on New Years day and continued with a role debut of Enrico VIII in Anna Bolena, then a concert of Mussorgsky’s Songs and Dances of Death. Colline in La Boheme, the Bonze in Madame Butterfly, and a series of concerts in the Northeast with Mary Jane Austin rounded out the year.

Mr. Kroncke has been an artist in residence at Natchez Opera Festival, an apprentice artist at Chautauqua Opera, and a winner of the 2002 and 2003 Friedrich Schorr Vocal Competition.


Annie Potts

Emmy and Golden Globe nominee Annie Potts will join the Chorale in a reading of the story GOODNIGHT MOON before its musical performance by the National Chorale. Ms. Potts has enjoyed a versatile and award winning career in film, television and theater. In addition to working with Tina Fey and Robert Carlock on the ABC Pilot FAMILY FORTUNE, some of her recent television credits include guest roles on SCANDAL, MAJOR CRIMES, GREY’S ANATOMY and THE FOSTERS as well as an arc on NBC’s CHICAGO MED.
While she is well known in the world of television, she is probably best known for her role as sassy secretary “Janine Melnitz” in the original GHOSTBUSTERS in addition to the sequel GHOSTBUSTERS II alongside Bill Murray and Dan Aykroyd. Other notable roles include her voice portrayal of “Bo Peep” in the classic children’s animated franchise TOY STORY, a role in PRETTY IN PINK and for her Emmy nominated role in the long running CBS drama DESIGNING WOMEN. She also appeared in the feature CORVETTE SUMMER in which she received a Golden Globe nomination for her performance.
Always one to engage in the unexplored, Annie made her Broadway debut a few years ago in GOD OF CARNAGE and has since appeared in the long-running, PIPPIN.
She will next be seen in the independent feature IZZY GETS THE FUCK ACROSS TOWN, HUMOR ME written and directed by Sam Hoffman and TWO FOR ONE, directed by Jon Abrahams. In addition to this she will be reviving her role of “Bo Beep” in the upcoming TOY STORY 4.




                                49th Annual Handel Messiah Sing-In  

                                Tuesday, December 20, 2016 7:30 pm


Jessica Sandidge 2

Jessica Sandidge, Soprano sings her first performance in the Messiah Sing-In. Of her recent performance in Donizetti’s Poliuto The New York Times wrote: “…Soprano Jessica Sandidge sang beautifully as Paolina, her dynamic control and expressive gesture notable throughout.”

Other recent performances include her Carnegie Hall debut as Soprano in Fauré’s Requiem with Manhattan Concert Productions and Countess Almaviva (Le nozze di Figaro) with Long Island Opera. She has performed such roles asDonna Anna (Don Giovanni), Micaela (Carmen), Violetta (La Traviata), Nedda (Pagliacci), Musetta (La Bohème), Freia (Das Rheingold), Janthe (Der Vampyr), and a New York Times acclaimed performance of Colette (The Reformed Drunkard) with Little Opera Theater of New York.

She has performed with such companies as Opera New Jersey, Martina Arroyo’s Prelude to Performance, New York Grand Opera, Opera Ischia, SongFest, Chelsea Opera, Lowell House Opera, and the Liederkranz Opera Theater.

She recently made her second appearance at Carnegie Hall singing Pamina (Die Zauberflöte) with the NY Metamorphosis Ensemble. Upcoming performances include Mimì (Bohème) at Prelude to Performance this summer, Soprano in Dan Forrest’s Requiem for the Living, Soprano in Ivo Antognini’s World Premiere of A Prayer for Mother Earth at Carnegie Hall, and Soprano in Handel’s Messiah with the National Chorale. She will also be joining the roster at the Metropolitan Opera next season covering Jano (Jenufa). 



Eric Brenner

Eric Brenner, Countertenor returns to the David Geffen Hall stage with the Chorale. Hailed for his “astonishing solo singing” and “penetrating eloquence” (New York Times), countertenor Eric S. Brenner has been privileged to perform on many of the world’s premier halls with many of the world’s finest conductors.  Eric made his solo debut in Bernstein’s Chichester Psalms at Cornell University.  He has sung the work many times since then, including performances at Carnegie Hall, Avery Fisher Hall, and at the Church of St. Ignatius Loyola with Sacred Music in a Sacred Space.  Some of Eric’s current projects include eight sold-out performances in the role of Doodle in Stefan Weissman’s and David Cote’s highly acclaimed chamber opera, Scarlet Ibis, singing opposite actress Lili Taylor in Suzanne Bocanegra’s Bodycast at CounterCurrent, Houston, TX; world premiers by Jessica Meyer and Doug Balliet with the Colonials; Volpino in Haydn’s Lo Speziale in Rochester, NY; and Tolomeo in Händel’s Giulio Cesare in Roanoke, VA.  Eric also covered David Daniels in the role of Didymus in Händel’s Theodora on tour with the choir of Trinity Wall Street and English concert under Maestro Harry Bickett.

Eric is a frequent alto and soprano soloist in Händel’s perennial favorite, Messiah.  Featured performances include Alice Tully Hall – “unearthly purity” (Wall Street Journal), “remarkable” (Downtown Express) – with the choir of Trinity Wall Street, directed by Julian Wachner; at St. Thomas Church with John Scott – “graceful line” (New York Times); and at St. John’s Cathedral in New Mexico as the soprano in an all-male solo quartet – “His aria…glowed with an angelic reverence” (Albuquerque Journal).

Ahh Bach… Eric has been incredibly lucky to sing more than 20 Bach cantatas with various groups including American Virtuosi, the Boulder Bach Festival, & as a regular soloist in the Bach at 1 music series at Trinity Wall Street.  Eric has also sung both alto and soprano solos on many of Bach’s larger masterworks including Magnificat, Mass in B-Minor, and St. John Passion.  Recently, Eric added the Dying Swan in Orff’s Carmina Burana to his repertoire with performances at Avery Fisher Hall (ow David Geffen Hall) with the National Chorale under Martin Josman and the Westchester Choral Society with guest conductor Paul Mueller.

An avid proponent of new music, Eric is inspired and humbled to have the chance to sing roles written especially for him in several new works.

This year, Eric continues his work as Doodle in Scarlet Ibis.  This powerful exploration of war, hope, death, and brotherly love is produced under the auspices of American Opera Projects, H.E.R.E., and Beth Morrison Projects.  Last year Eric was at the National Opera Theatre in Ukraine as the Poet in Virko Baley’s Holodomor, an unblinking look at the horrors of the Stalinist purges of 80 years ago which took the lives of over 4 million Ukrainians.  Composer Hannah Lash has written several works for Eric including Blood Rose, a lushly dark re-imagining of the Beauty and the Beast story.  This chamber opera, written for Eric, mezzo-soprano Kirsten Sollek, and the Jack Quartet, and featured in the 2010 VOX Contemporary Opera Lab of New York City Opera, will have new life on an upcoming recording.  Eric has also recorded and performed extensively with Pew and Guggenheim fellow Toby Twining.  He is also a sometime actor, singer, music-director, arranger, and composer on various projects with Rob Reese, Matt Shloss, and Amnesia Wars.

Born and raised in the wilds of Long Island, NY, Eric grew up in a house filled with music – especially rock & roll (he was at Woodstock – in utero). For all that, Eric didn’t sing a note in public until his junior year of high school. He began his musical training on violin and viola at age 8, but was much too shy to sing. Joining the Northport High School choir, under the inspired and passionate direction of Sandy Valerio, changed everything.  Since then, Eric has worked with so many incredibly gifted and generous musicians including William Appling (who told Eric what a countertenor was and introduced him to Chanticleer), Joseph Jennings, John Scott, Julian Wachner, Neal Goren, Nic McGegan, Andrew Parrott, and William Christie.



Roderick George, Tenor performs for the first time at the Sing-In. Tenor Roderick George has garnered acclaim in performances on the operatic and concert stages throughout the United States and abroad.  Regularly engaged as a soloist in major concert and oratorio works, his repertoire spans from Handel’s Messiah and Mozart’s Requiem, through Beethoven’s Ninth Symphony and Rossini’s Stabat Mater, to Carl Orff’s Carmina Burana and contemporary works by Adolphus Hailstork, Nathaniel Dett and H. Leslie Adams.

His international engagements have included performances throughout Russia with the Orpheus Radio Symphony Orchestra and the Symphony Orchestra of the Krasnoyarsk State Opera and Ballet Theatre. He has also made appearances at several international music festivals and venues including Festival Internacional de Musica Sacra in Ecuador, La Folle Journée, the largest classical music festival in France, the Cayman Arts Festival of the Grand Cayman Islands, the American Cathedral in Paris, the Lensoveta House of Culture in St. Petersburg, Russia, Wexford Opera House in Ireland and the Spaso House of the United States Embassy in Moscow.  On the operatic stage, Mr. George has performed a diversity of leading lyric tenor roles including Rodolfo in La Bohéme, Pinkerton in Madama Butterfly, Tamino in Die Zauberflöte, Don Ottavio in Don Giovanni, Alfredo in La Traviata, Roméo in Roméo et Juliette, Gérald in Lakmé, the title role of Albert Herring, Ferrando in Cosi fan tutte, Ralph Rackstraw in HMS Pinafore, Camille de Rosillion in The Merry Widow and Sportin’ Life in Porgy and Bess.  During the 2016-17 season, he will make his role debut as Nemorino in L’elisir d’amore with Opera Birmingham.

As an advocate for the performance and preservation of the American Negro spiritual, Mr. George has recorded and toured extensively as a soloist with the internationally acclaimed American Spiritual Ensemble. Recent appearances have included a performance at the Brevard Music Festival, a concert for broadcast on Minnesota Public Radio, and multiple tours of Spain.  A champion of American art song, his recital repertoire is highlighted by song literature based on poems of Paul Laurence Dunbar and Langston Hughes. In 2012, he premiered Adolphus Hailstork’s Four Romantic Love Songs for tenor and piano on poems of Dunbar at the African American Art Song Alliance Conference at the University of California-Irvine. In 2013, he premiered four art songs on poetry of African American poets, including two songs on texts of Dunbar and Hughes, composed by Alabama composer Mary Jackson.

In addition to his active performance career, Dr. George is Professor of Music and Voice Area Coordinator in the Department of Music at the University of Montevallo in Montevallo, Alabama.He was named the recipient of the 2013-2014 College of Fine Arts Distinguished Teacher Award. Among his credentials are the Doctor of Music degree in Voice Performance from the College of Music at The Florida State University and the Master of Music degree with emphases in opera and musical theater from the School of Music at Southern Illinois University(Carbondale). He received advanced training in opera at the American Institute of Musical Studies in Graz, Austria.



Kevin MaynorKevin Maynor, Bass joins the Chorale at the SIng-In for the first time. Mr. Maynor has scored success in over 50 operatic roles in five different languages. The first apprentice artist from the West to study at the Bolshoi in Moscow, Mr. Maynor is a Fulbright Award winner and a recipient of the George London Award as well as a Richard Tucker Career Grant winner. Critics have praised his charismatic stage presence as well as his superb voice and powerful, resonant tone” and the jewel in his dark bass voice.”

In 2015 – 2016, Kevin Maynor appeared at The New Jersey Performing Arts Center in the title role in the opera, Garvey by Michael Raphael. The season also included Homage to a King, a new dramatic oratorio  written for him and for French Horns and Trombones, by Julius Williams at Aljira, a center for contemporary art,  as well as a new Operatic work from Anthony Davis, FIVE, on the Central Park Five. Maynor also performed his acclaimed conceptual concert for voice and piano, Malcolm X: a commentary in Essex County Weequahic Park.  He will followed with JOE LOUIS by Count Basie, originally written for Paul Robeson.

Kevin has also performed the United States Premiere of Robeson by Adolphus Hailstork at The New Jersey Performing Arts Centerand brought  his work to the Musum of Modern Art in New York City as a soloist in the Migration Rhapsody, a celebration of The Migration Series of noted Painter Jacob Lawrence.

In 2013 – 2014, award winning Basso Kevin Maynor  created the title role in Robeson, by Adolphus Hailstork in Newark, NJ.  America’s bass performed the bass solos in the Verdi Requiem with The Choral Arts Society in Washington, D.C. in Honor and Memory of the late President John F. Kennedy at the Kennedy Center Concert Hall. He  performed a debut Recital with The New Jersey Performing Arts Center, “Paul Robeson Remembered”, followed by excerpts from the opera Robeson. Maynor sang a concert at New Jersey City University, “from The Repertoire of Paul Robeson”, with words from Robeson’s grandaughter Susan Robeson. He sang a recital of Mousorgsky, Brahms, and Schubert songs in Montgomery, New York.

Highlights of Mr. Maynor’s past seasons include a Carnegie Hall Recital appearance, Honor the Voice, with Jessye Norman, a nine state and 14 cities concert tour in America, followed by the Verdi Requiem and Brahms Requiem with the Santa Fe Symphony and Roanoake Symphony in Virginia. He Traveled over seas to perform a United States State Department Recital Tour in Europe, including Paris, Strasburg, Berlin, Munich, and Nuremberg, among other cities. The celebrated basso performed the role of Grabeau in Anthony Davis’ opera Amistad during the SPOLETO ,U.S.A. festival, with The Little Orchestra Society in Gian Carlo Menotti’s Amahl and The Night Visitor at Avery Fisher Hall in New York City.

Mr. Maynor has sung Hunding in Die Walkeure with both Scottish Opera and Opera Pacific,Fafner in Das Rheingold with the Opera del Teatro Municipal in Santiago, Chile, and has sung Sarastro in Die Zauberflote in many theaters. Mr. Maynor made his New York City Opera debut in Philip Glass’ Akhnaten, and later appeared at the Metropolitan Opera, where he sang the roles of both the Armchair and the Tree in Ravel’s L ‘Enfant et Les Sortileges with choreography and dance by the Netherlands Dance Theater. His impressive list of opera credits also include the San Francisco, Boston, Seattle, and Santa Fe Operas. His festival credits include Wolf Trap, Spoleto, the American Opera Festival in Cincinnati and the Music Under the Stars Festival in Milwaukee. He performed in the world premieres of Ulyssess Kay’s Frederick Douglass with New Jersey State Opera (in which he sang the title role) and Anthony Davis’ X with the America Music Theater Festival in Philadelphia.

His career includes work with The Santa Fe opera, Virginia Opera, Opera Carolina, Opera company of Boston, Orlando Opera, Connectict Opera, Connecticut Grand Opera, Palazzo di Musica in Spain, Edmonton Opera, Mississippi Opera, Dallas Opera, Chicago Music Theater, Long Beach Opera, Cinncinatti Opera, Art Park Opera, The State Theater in Pretoria South Africa, and many more.

Mr. Maynor is also a gifted recitalist and has performed a wide variety of programs throughout North America as well as France, England and Spain. He has appeared as soloist with orchestras across the country including the Buffalo Philharmonic, Fort Worth Symphony, New Orleans Symphony, Milwaukee Symphony , the Long Island Philharmonic as well as the Quebec Symphonie in Canada, The Santa Fe Symphony, The Fort Worth Symphony, Chattanooga Symphony, The Kalamazoo Symphony, The Texas Chamber Orchestra, The Canton Symphony, The Virginia Symphony, and The San Antonio Symphony. He has worked with such conductors as Dennis Russell Davies, Sarah Caldwell, Joann Falletta,  Roberto Manfredini, Christopher Keene, Klaus Donath, Gabor Otvos, Ferdinand Leitner, John Maucieri, Alberto Veronese, Richard Woitach, Eve Queler, Robert Shaw and Julius Rudel. Stage directors include Patrice Courier, Moshe Leiser, Bliss Hebert, Colin Graham, Mary Zimmerman, Shauneille Perry, Trazana Beverly, Gian Carlo Menotti, Roberto Oswald, Mark Lamos,  Rhoda Levine, Nathaniel Merrill, Bodo Igesz, George C. Wolfe and many more.

Kevin Maynor has recorded for Telarc , Fleur de Son Classics, Guild, Qualiton, Legato Records, and Sony Music (Beijing). Mr. Maynor has a diploma from the Manhattan School of Music, a Bachelor of Music Education degree from Bradley University, a Masters degree from Northwestern University and an Honarary Degree from the Moscow Conservatory. While in Bologna, Italy he studied with Paula Molinari at the Teatro Communale di Bologna. He is currently a Doctoral Candidate at Indiana Universiy in Bloomington.


                                   2016 Messiah Sing-In Conductors 

Adria Benjamin, Mannes Community Orchestra, NY, Conductor; Mannes Prep at The New School, Director of Orchestras

Constance Chase, U.S. Military Academy at West Point, Director, West Point Glee Club; Connecticut Chamber Choir, Artistic Director

Brett Karlin, Master Chorale, South Florida, Artistic Director and Conductor

Hugh Ferguson Floyd, Bingham L. Vick & Judith L. Vick Professor of Music, Voice Director; Furman Singers, Coordinator of Choral Activities; New York State Summer School of the Arts, Artistic Director

Alejandro Hernandez-Valdez, All Souls Unitarian Church, NYC, Director of Music; New Orchestra of Washington, Artistic Director & Co-Founder; Musica Viva, NY, Artistic Director; Victoria Bach Festival, Artistic Director

Gregory Hopkins, Convent Avenue Baptist Church, NYC, Minister of Music; Harlem Opera Theater, Harlem Jubilee Singers, Cocolo Japanese Gospel Choir, Artistic Director

Christine Howlett, Vassar College Choir, Poughkeepsie, NY, Chair, Director of Choral Activities; Cappella Festiva, Poughkeepsie, Artistic Director; Danbury Concert Chorus, CT, Music Director

James John, Aaron Copland School of Music, Queens College/CUNY, Director of Choral Activities; Cerddorion Vocal Ensemble, NYC, Artistic Director

Thomas Juneau, Juneau Vocal Alliance, Artistic Director; St. Joseph’s University, NJ, Director of Choral Activities; Summit Chorale, NJ, Music Director; Woodbridge Community Chorale, Conductor

Adam Lubke, Houghton College, Houghton NY, Associate Professor of Vocal Music and Conducting, Director of Choral Activities

Everett McCorvey, National Chorale, Artistic Director; University of Kentucky Opera Theater, Director; American Spiritual Ensemble, Founder and Director

John Palatucci, Orpheus Club Men’s Chorus, Ridgewood, NJ, Music Director

Jennifer Pascual, St. Patrick’s Cathedral, NYC, Director of Music; St. Joseph’s Seminary and College, Yonkers, NY, Director of Music

Vincent Rufino, College of Saint Elizabeth, Convent Station, NJ, Music Faculty; West Morris H.S. Director of Choral Music, Retired

Kathryn E. Schneider, New York City Bar Chorus, Music Director and Conductor

Michael Spierman, The Bronx Opera Company, NYC, Artistic Director, Orchestra of the Bronx, Music Director




                                                      Mozart Requiem

                                        Saturday, April 8, 2017  8 pm


Elizabeth de TrejoElizabeth de Trejo, Soprano returns to the David Geffen Hall stage with the Chorale. Elizabeth De Trejo has been praised an artist who “has it all- a shimmering coloratura of great agility and intriguing color as well as superb acting ability” (The Toledo Blade).  An artist with a rare affinity for the demanding primo ottocento (bel canto) style, she has been justly acclaimed for her performances of the title roles of Bellini’s Norma and Donizetti’s Lucia Di Lammermoor.  In the summer of 2016, she will perform a recital of bel canto repertoire with Maestro Eve Queler, founder and emerita Artistic Director of the Opera Orchestra of New York (OONY).  She will also make her Asian debut with concert performances at Korea’s Great Mountains Music Festival, presenting a program of Bellini arias and premiering a new work by composer Christopher Berg for soprano, cello, and piano.  And coming in the 2016-17 season, Ms. De Trejo has been invited back to Lincoln Center to perform as the soprano soloist in Mozart’s Requiem with the National Chorale in David Geffen Hall and will sing the Mahler 2 with the Allentown Symphony Orchestra.

Her 2015-2016 season included a return to Lincoln Center as the Soprano Soloist in Carmina Burana at David Geffen Hall and a reprise of the role of Donna Elvira Don Giovanni with the Savannah Music Festival.  Recent seasons have witnessed her performances as Fiordiligi in Cosi Fan Tutti (North Carolina Opera), Norma in Norma (St.Petersburg Opera, Florida), Lucia in Lucia Di Lammermoor (Opera Tampa), Violetta in La Traviata (Opera Tampa and Miami), Adina in  L’Elisir D’Amore (Dayton Opera), Marguerite in Faust (Opera Tampa), Juliette in Romeo et Juiliette, Poppea in L’Incoronazion Di Poppea, Cleopatra in Giuloi Cesare,  and both Donna Anna and Donna Elvira in Don Giovanni.

Ms. De Trejo made her Metropolitan Opera debut in Lulu during the 2009-2010 season.  Her international operatic credits include include performances in Milano as Adele in Die Fledermaus and Die Freundin in Der Fruhling (Lehar), and a live recording of with the Orchestra Verdi in the title role of Mascagni’s IL SI, performances as Despina Cosi Fan Tutti, Musetta La Boheme, and Clarice in Il Mondo Della Luna (Haydn) in Basel, Switzerland, and Die Königin die Nacht in Die Zauberflote Fur Kinder with the Opernhaus Zürich.  Ms. de Trejo had the privilege of working closely with Anton Coppola on his epic opera Sacco and Vanzetti, and the composer wrote a new aria for her character of Rosina.

A consummate recitalist and concert performer, Ms. De Trejo has given numerous concert of recital, oratorio, and symphonic repertoire in Europe and the United States.  She has worked with notable conductors and has appeared as guest soloist with many orchestras in such works as Mahler’s Symphony No. 4, Beethoven’s Mass in C, Bach’s Mass in B minor, and the Brahms, Fauré and Mozart Requiems, to name a few.  She has frequently performed at Carnegie Hall, debuting as a soloist under the baton of composer John Rutter, returning as Soprano Soloist in John Rutter’s Requiem and again as the Soprano Soloist in Carmina Burana.

Ms. De Trejo has received numerous awards from prominent vocal competitions, including the Gerda Lissner Opera Competition in New York, the MacAllister Opera Competition, the Metropolitan Opera National Council Auditions, the Jenny Lind Soprano Competition, the Rosa Ponselle Competition, the Giulio Gari Foundation Opera Competition and the Liederkranz Competition.  She  is also a recipient of a career grant from Career Bridges Foundation and the Sergio Franchi Foundation and was honored to be recommended for the Richard Tucker Career Grant Awards.

Ms. De Trejo received her Bachelor of Music in Performance from Loyola University and her Master of Music from Yale University.  After her studies, Ms. De Trejo was invited to join the prestigious International Opera Studio of the Opernhaus Zürich, and can be seen on the EMI Classics DVD of DER ROSENKAVALIER with Vasselina Kasarova, Nina Stemme, and Alfred Muff under the direction of Franz Welser-Möst and Sven Erich Bechtolf live from Opernhaus Zürich.
Unknown-4Blythe Gaissert, Mezzo-Soprano also returns to the Chorale for this performance. Blythe Gaissert has established herself as a fresh and exciting artist in great demand in the United States for opera, concert and recital engagements. This Texas native has received great praise from critics for her rich sound and intense, dramatic interpretations of operatic roles.

The 2015-16 season was representative of Ms. Gaissert’s strong interest in creating and performing new music and includes performances with American Opera Projects’ Composers and the Voice project where Ms. Gaissert is a resident artist. This season also brings two world premiere operas, first The Whole Truth by Robert Paterson with American Modern Ensemble in NYC and then Frau Schindler by Thomas Morse and Ken Cazan in an LA concert performance. She will also be performing with American Modern Ensemble in their season finale concert “Voices of Thunder” with music by David T. Little, Robert Beaser, and Marta Ptaszynska.

In 2014-15, Ms. Gaissert participated in American Opera Projects program Composers and the Voice final concert and performed the west coast premiere of the role of “Hannah After” in the groundbreaking chamber opera As One, which she also covered in it’s world premiere at BAM. The season also included a week residency at UC Davis including a solo recital with pianist Eric Zivian and performances of Mahler’s Ruckert Lieder, new operas by Martin Hennessey and Alden Terry, and Beethoven’s 9th Symphony with the Duluth Superior Symphony Orchestra.

Other performances include Ravel’s Trois Poemes de Stefan Mallarme and Copland’s American Songs with the Sarasota Orchestra, and a role debut of Prince Orlovsky with Sarasota Opera in Die Fledermaus. Gaissert returned to the Glacier Symphony in Montana to sing her first Das Lied von der Erde and debuted with the Duluth Symphony and Verdi’s Requiem. She performed with the Metropolitan Opera covering Siegrune in the groundbreaking production of Die Walkure and also created the role of Zellah in Matthew Harris’ opera The Mark of Cain with Chelsea Opera, sang with the National Chorale at Avery Fisher Hall (now David Geffen Hall) where she was a soloist in Beethoven’s 9th Symphony, and made her debut with the Sarasota Orchestra singing Berio’s Folk Songs with their new music series conducted by Dirk Meyer. Ms. Gaissert also covered both the title role of Mary and the role of Martha in the new Peter Sellars staging of John Adams dramatic oratorio The Gospel According to the Other Mary with The Los Angeles Philharmonic both in the US and on tour to London, Paris and Lucerne.

She has performed with the Lyrique en Mer Festival in Belle-Ile, France as Maddalena in Rigoletto, and  the Glacier Symphony to sing Elgar’s Sea Pictures. She has sung with the Metropolitan Opera, where she covered the Second Secretary in Nixon in China and Siegrune in Die Walkure. Other company debuts include Mother Marie of the Incarnation with Des Moines Metro Opera in their production of Poulenc’s Dialogues of the Carmelites, The Isrealitish Man in Handel’s Judas Maccabeus with Los Angeles Opera under the baton of James Conlon, the title role in the Rape of Lucretia with the Aldeburgh Festival in England, Carmen with Opera Southwest, as well as at the Aspen Music Festival under the baton of Julius Rudel and also in a semi staged concert version for Lake George Opera, Mere Marie in Dialogues of the Carmelites (also with Maestro Conlon),Maddelena in Rigoletto under the baton of Julius Rudel, (with the Aspen Opera Theatre Center) as well as with Sarasota Opera, Suzuki in Madama Butterfly with Opera Coeur D’Alene, Rose in Dinner and Delusion with the Cell Theatre/ Center for Contemporary Opera in NYC, Meadow Lake in the premiere of Dean Drummonds microtonal chamber opera Café Buffe, Smeton in Anna Bolena with DellArte Opera Ensemble NYC, Lady Angela in Patience (Sorg Opera), and Suzy in La Rondine with Sarasota Opera. Ms. Gaissert has also performed with the Cincinnati Opera and the Opera Teatro di Lucca. She has participated in many of the countrys major young artist programs such as the Merola Program at San Francisco Opera, Cincinnati Opera, Lake George Opera and Sarasota Opera.

Equally at home on the concert stage, Ms. Gaissert recently made her Carnegie Hall debut as the Alto soloist in Haydn’s Lord Nelson Mass and Mozart’s Solemn Vespers. She has also appeared in the American premiere of Gyorgy Ligeti’s Sippal, Dobbal, Nadihegiduvel, as well as the American premiere Louis Andriessen’s Y Despues with the Aspen Music Festival. Other concert performances include Alto Soloist in Zemlinsky’s Psalm 83 with James Conlon and the Cincinnati Symphony as well as multiple performances of Beethoven’s 9th Symphony. In 2011, Ms. Gaissert was the 2nd Prize Winner of the New York Oratorio Society’s Solo Competition. The finals of the competition took place in Weill Recital Hall at Carnegie Hall. In 2010, Ms. Gaissert was the first place winner in the National Opera Associations Artist Awards, and National Semi-Finalist and Alternate to the Finals in the NATSAA competition, and a Finalist in the Jensen Competition. In 2009 Ms. Gaissert was a finalist in the Giulio Gari Competition and was selected as one of the winners of the NYC round of the Mezzo TV competition which continued in Szeged, Hugary. In 2008 Ms. Gaissert was a Finalist in the Bel Canto Competition as well as Portland Opera’s Eleanor Lieber Competition.


Curran.D.HeadshotDaniel Curran, Tenor makes his debut with the Chorale. Daniel Curran is quickly gaining a reputation for his intensely intelligent performances on opera, theatre, and concert stages throughout the United States. Of a recent performance in the title role of La descente d’Orphée aux enfers with Gotham Chamber Opera, The New York Times hailed “as Orphée, his voice precise and penetrating, with careful diction and an affecting sense of seriousness. Mr. Curran ably met the demands of the role, which is written not for a booming modern tenor but for an haute-contre…simultaneously requiring intensity and preternatural poise.” This season’s engagements include performances of the roles Remendado in Carmen with Opera San Antonio, a reprisal of the role of Tybalt in Roméo et Juliette with Tampa Opera, and, in concert, a performance of Mozart’s Requiem with National Chorale.

Recent engagements include performances of the roles of Aristeus and Pluton in Virginia Opera’s production of Offenbach’s Orpheus in the Underworld, Cassio in Boston Youth Symphony Orchestra’s production of Otello, Ernesto in Don Pasquale with Opera on the James, Tony in a concert version of West Side Story with Experience Symphoria, Ernesto in Don Pasquale at Opera on the James, and Tybalt in Roméo et Juliette at Opera Grand Rapids and Lyric Opera of Baltimore.

Notable engagements from prior seasons include multiple shows with Pittsburgh Opera: the role of Cassio in Otello, Orphée in Cegeste, Tonio in La fille du régiment at Pittsburgh Opera, and the title role in Gregory Spears and Kathryn Walat’s Chamber Opera Paul’s Case based on the short story of the same title by Willa Cather. Additional engagements include Policeman in Adamo’s The Gospel of Mary Magdalene in a début with San Francisco Opera; Peter Quint in The Turn of the Screw in a début with West Edge Opera; First Jew in Salome at Opera San Antonio; Will Ladislaw in Middlemarch in Spring with Composers, Inc.; Count Almaviva in Il barbiere di Siviglia with San Francisco Opera’s Merola Program; and Don Ottavio in Don Giovanni as a young artist at Opera North. He also was involved in productions of the chamber opera Powder Her Face and Cosí fan tutte with New York City Opera and Florencia en el Amazonas at Washington National Opera.

On concert stages, Mr. Curran worked with William Christie in Alice Tully Hall in collaboration with Juilliard’s Historical Performance Program; appeared as tenor soloist in Vaughan Williams’ Hodie at Carnegie Hall; and performed a pops concert highlighting Rodgers and Hammerstein musicals with Southwest Florida Symphony, among other appearances. Also delighting musical theatre audiences, Mr. Curran appeared in the Encores! production of The Most Happy Fella at New York City Center, in An American Tragedy as Gilbert Griffiths at Glimmerglass Festival, and in Carousel also with Glimmerglass Festival and in his New York Philharmonic début in the Emmy-nominated Live from Lincoln Center production.

Mr. Curran holds a Master of Music degree from The Juilliard School. Roles performed include Tenor 5 (Hunter) in Juilliard’s production of Conrad Susa’s Transformations, First Commissioner in Poulenc’s Les Dialogues des Carmélites, Arnalta in Monteverdi’s L’incoronazione di Poppea, Gonzalve in Ravel’s L’heure espagnole and Rinuccio in Puccini’s Gianni Schicchi. Mr. Curran is the 2013 winner of the Metropolitan Opera National Council district competition in Pittsburgh. He has received many honors, including the Edgar Sholund Memorial Award, Steven Dunham Award, Rita Greenland Scholarship, the Rise Stevens Scholarship Fund, and the Marion L. Dears Memorial Scholarship.


Kenneth OvertonKenneth Overton, Baritone returns for a second performance this Season. Heralded by the BBC for his “exceptional voice,” Kenneth made his New York City Opera mainstage debut in 2012 as Doctor Grenvil in Verdi’s La Traviata. That season, Kenneth also made an acclaimed debut in the world premiere of David Ott’s The Widow’s Lantern at Pensacola Opera, whereby he was immediately re-engaged to star as Joe in Showboat. 2012–13 included debuts with New Jersey Symphony (Bruckner Te Deum) and Tacoma Symphony Orchestra (Verdi concert).

In collaboration with pianist Kevin Miller, Kenneth released his first solo CD in the fall of 2013. Been In De Storm So Long: Songs My Fathers Taught Me, is his homage to the spiritual tradition that has been formative in his artistic life. In step with this legacy, Kenneth is also co-founder and artistic director of Opera Noire of New York, a performing arts organization created to empower African-American artists to reach their full creative potential in a creative supportive environment.

Career highlights include Kenneth’s San Francisco Opera debut as Lawyer Frazier with in Porgy and Bess and Germont (La Traviata) with Sacramento Opera and Boheme Opera (NJ). As a leading baritone, Kenneth has sung with Opera Memphis, Nashville Opera, Connecticut Opera, Chattanooga Symphony and Opera, Boheme Opera of NJ, Houston Ebony Opera Guild, Opera Delaware, Sacramento Opera and Opera Carolina. His roles with these companies include Papageno (Die Zauberflöte), Sharpless (Madama Butterfly), Leporello (Don Giovanni), Schaunard (La bohème), Ping (Turandot) as well as Angelotti (Tosca), Bello and Sid (La Fancuilla del West).

Kenneth’s interpretation of the title role in Porgy and Bess has been acclaimed as “breathtaking.” He made his international debut at Deutsche Oper Berlin in the critically-acclaimed production from South Africa’s Cape Town Opera. Kenneth portrayed Porgy with Opera Theatre of Pittsburgh, Opera Memphis, Opera Carolina, Lexington Opera Society, the Lithuanian State Symphony Orchestra, the Paducha Symphony and on tour throughout the British Isles. As Jake in Porgy and Bess, he performed at Stadttheater Klagenfurt and Princeton Opera Festival. In 2014, he debuted with Opera de Montreal and the Royal Danish Opera as Porgy.

Kenneth is widely recognized for his concert work, having performed with Phoenix Symphony, Norwalk Symphony, Montclair State University, New Jersey’s Cathedral Basilica, Duluth Superior Symphony, Annapolis Symphony Orchestra, Yonkers Philharmonic, Oratorio Society of New Jersey, Summit Chorale Festival (NJ), New York City Opera’s Schomberg Series, Sarasota Symphony, San Antonio Symphony and Richmond Symphony. His concert and oratorio repertoire includes Handel’s Messiah, Verdi’s Requiem, Vaughn Williams’ A Sea Symphony, Beethoven’s 9th Symphony, Schubert’s Mass in A-flat, Haydn’s Creation and Vaughan Williams’ Five Mystical Songs. Kenneth is also featured in the American Spiritual Ensemble as a soloist for annual performances in the USA and international tours of Spain, Ecuador and France.

Kenneth has a passion for both musical theater and new works, and he made his Broadway debut in Baz Luhrman’s La Bohème. He was featured in City Center Encores’ production and recording of Romberg’s The New Moon, and sang the role of Stephen Kumalo in Lost in the Stars with Skylark Opera. His Carnegie Hall debut was as the baritone soloist in Come Follow Me by Jackson Berkey with the Westfield Symphony Orchestra (Mid-America Productions). Kenneth has also excelled in diverse contemporary works including performances of Corps of Discovery by Michael Ching at Opera Festival of New Jersey; Six Characters in Search of An Author by Hugo Weisgall; and The Gilded Cage by Kioulaphides with Nexus Arts (NY).

Kenneth is a winner of the Liederkranz Competition, Connecticut Opera Guild Competition, Rosa Ponselle Competition (Meriden, CT) and a national winner of the Leontyne Price Vocal Competition.