Alan Gilbert

Alan Gilbert, former Music Director of the New York Philharmonic, launches a new appointment as chief conductor designate of Hamburg’s NDR Elbphilharmonie Orchestra this fall, shortly after the opening of its already iconic new home. The Grammy Award–winning conductor previously served as principal guest conductor of the orchestra (then known as NDR Symphony Orchestra Hamburg) for more than a decade, and will assume the role of chief conductor in September 2019. This position follows his truly transformative eight-year tenure as Music Director of the New York Philharmonic, during which, through such key initiatives as the NY PHIL BIENNIAL, he succeeded in making the Orchestra a leader on the cultural landscape. Alan Gilbert is also conductor laureate of the Royal Stockholm Philharmonic and the founder and president of Musicians for Unity. With the endorsement and guidance of the United Nations, this new organization will bring together musicians from around the world to perform in support of peace, development, and human rights.

Alan Gilbert makes regular guest appearances with orchestras including the Berlin Philharmonic, Amsterdam’s Royal Concertgebouw Orchestra, The Cleveland Orchestra, Boston Symphony Orchestra, The Philadelphia Orchestra, Dresden Staatskapelle, and Orchestre Philharmonique de Radio France. He has led operatic productions for Milan’s Teatro alla Scala, The Metropolitan Opera, Los Angeles Opera, Zurich Opera, Royal Swedish Opera, and Santa Fe Opera, where he was the inaugural music director.

His discography includes The Nielsen Project, a box set recorded with the New York Philharmonic, and John Adams’s Doctor Atomic, captured on DVD at The Metropolitan Opera, for which he won a Grammy Award. He received Emmy Award nominations for Outstanding Music Direction in PBS’s Live From Lincoln Center broadcasts of two star-studded New York Philharmonic productions: of Sweeney Todd and Sinatra: Voice for a Century.

Alan Gilbert has received Honorary Doctor of Music degrees from the Curtis Institute of Music and Westminster Choir College, as well as Columbia University’s Ditson Conductor’s Award. He is a member of The American Academy of Arts & Sciences, and was named an Officier de l’Ordre des Arts et des Lettres by the French government. At The Juilliard School, he is the first holder of the William Schuman Chair in Musical Studies and serves as Director of Conducting and Orchestral Studies. After giving the annual Royal Philharmonic Society Lecture on Orchestras in the 21st Century: A New Paradigm during the New York Philharmonic’s EUROPE / SPRING 2015 tour, he received a 2015 Foreign Policy Association Medal for his commitment to cultural diplomacy.

Louisa Muller

In recent seasons Louisa Muller (director) has made directing debuts at The Metropolitan Opera, Lyric Opera of Chicago, Houston Grand Opera, Grand Théâtre de Genève, Opera Queensland, and Atlanta Opera. She earned critical acclaim for new productions of John Corigliano’s The Ghosts of Versailles and Britten’s The Rape of Lucretia, both for Wolf Trap Opera. She is in her ninth season on the directing staff of The Metropolitan Opera, where she has directed revivals of Mascagni’s Cavalleria rusticana and Leoncavallo’s Pagliacci, Donizetti’s L’elisir d’amore, and Mozart’s Don Giovanni. This season she directs a new production of Puccini’s Tosca with the National Symphony Orchestra at Wolf Trap Opera, returns to The Met to direct Don Giovanni and assist Robert Lepage on Kaija Saariaho’s L’Amour de loin, serves as associate director for Bizet’s Carmen at Lyric Opera of Chicago, and works with young singers at Rice University, London’s National Opera Studio, and the Scuola di Belcanto Urbania.

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David C. Woolard

Costume designer David C. Woolard received Tony Award nominations for Richard O’Brien’s The Rocky Horror Show and The Who’s Tommy. He has designed more than 20 shows on Broadway and more than 200 shows around the world. Highlights include musicals such as Bernstein’s West Side Story and Adler and Ross’s Damn Yankees, as well as operas such as Jennifer Higdon’s Cold Mountain and Joby Talbot’s Everest. In addition to his Tony nominations, Mr. Woolard has won a Drama Desk Award and the Henry Hewes Design Awards, and was nominated for an Olivier Award.

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Eric Owens

Bass-baritone Eric Owens has a unique reputation as an esteemed interpreter of classic works and a champion of new music. Equally at home in orchestral, recital, and operatic repertoire, he brings his powerful poise, expansive voice, and instinctive acting faculties to stages around the world. In the 2017–18 season Mr. Owens returns to Lyric Opera of Chicago to make his role debut as Wotan in David Pountney’s new production of Wagner’s Die Walküre. He also sings Filippo II in Verdi’s Don Carlo at Washington National Opera, Don Basilio in Rossini’s Il barbiere di Siviglia at Houston Grand Opera, Enrico in Donizetti’s Anna Bolena at Canadian Opera Company, and the Forester in Janáček’s The Cunning Little Vixen at the Glimmerglass Festival, where he serves as artist-in-residence and artistic advisor. Concert appearances include Rossini’s Stabat Mater with the Chicago Symphony Orchestra conducted by Riccardo Muti; Verdi’s Requiem with both the National Symphony Orchestra, led by Gianandrea Noseda, and the Nashville Symphony Orchestra; and Mendelssohn’s Elijah with Music of the Baroque. Eric Owens launched the 2016–17 season as Wotan in David Pountney’s new production of Wagner’s Das Rheingold at Lyric Opera of Chicago. He sang a trio of operas at The Metropolitan Opera that included The Met premiere of Kaijo Saariaho’s L’Amour de Loin, a new production of Rusalka, and a revival of Mozart’s Idomeneo, all broadcast through The Met’s Live in HD series. Concert highlights included joining Alan Gilbert and the New York Philharmonic for performances as Wotan in Das Rheingold and of Beethoven’s Ninth Symphony, which he also performed at the Cincinnati May Festival as its artist-in-residence, Orest in Richard Strauss’s Elektra at the Verbier Festival, and Méphistophélès in Berlioz’s La Damnation de Faust with the New Zealand Symphony Orchestra. He served as the New York Philharmonic’s Mary and James G. Wallach Artist-in-Residence in the 2015–16 season.

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Jamie Barton

Recently honored with the 2017 Beverly Sills Artist Award by The Metropolitan Opera, mezzo-soprano Jamie Barton (Fricka) is also the winner of the 2015 Richard Tucker Award, both Main and Song Prizes at the 2013 BBC Cardiff Singer of the World Competition, and the 2007 Metropolitan Opera National Council Auditions.

This season, Ms. Barton released her debut solo album, All Who Wander, featuring songs by Mahler, Dvořák, and Sibelius. She returned to The Metropolitan Opera as Fenena in Verdi’s Nabucco and Jezibaba in a new production of Dvořák’s Rusalka, both simulcast in cinemas worldwide, and to Houston Grand Opera as Waltraute / Second Norn in Wagner’s Götterdämmerung. She will make her Deutsche Oper Berlin debut this summer as Princess Eboli in Verdi’s Don Carlo.

The winner of the 2014 International Opera Award in the Young Singer category and the 2014 Marian Anderson Award, Ms. Barton has recently appeared as Adalgisa in Bellini’s Norma at The Met, Los Angeles Opera, and San Francisco Opera; Giovanna Seymour in Donizetti’s Anna Bolena at The Met and Lyric Opera of Chicago; Fricka in Wagner’s Das Rheingold and Die Walküre at Houston Grand Opera; Waltraute / Second Norn at Washington National Opera; Cornelia in Handel’s Giulio Cesare at Oper Frankfurt; and Fenena at Seattle Opera and Royal Opera, Covent Garden.

Ms. Barton’s concert engagements include recent debuts at London’s Wigmore Hall and with the Atlanta Symphony Orchestra, as well as returns to the Toronto and Iceland symphony orchestras. Ms. Barton premiered Jake Heggie’s The Work at Hand at Carnegie Hall with the Pittsburgh Symphony Orchestra, and will return to New York next season for the World Premiere of Iain Bell’s Of You, commissioned by Carnegie Hall. Other 2017–18 engagements include debuts with Madrid’s Teatro Real, London Symphony Orchestra, and Taiwan’s National Taichung Theater, as well as returns to Houston and New York as Adalgisa, to Washington, D.C. as Princess Eboli, and to San Francisco for Wagner’s Ring Cycle. 

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Christopher Purves

Highlights of Christopher Purves’s (Alberich) 2016–17 season include the title role in Richard Jones’s new production of Mozart’s Don Giovanni for English National Opera; The Protector in George Benjamin’s Written on Skin for Royal Opera, Covent Garden; the title role in Barrie Kosky’s production of Handel’s Saul at the Adelaide Festival; and Alberich in Wagner’s Götterdämmerung for Houston Grand Opera. Recent highlights include Written on Skin led by Alan Gilbert at Lincoln Center’s Mostly Mozart festival as well as on tour with the Mahler Chamber Orchestra; his debut at the Opéra national de Paris in Schoenberg’s Moses und Aron; Alberich in Götterdämmerung at the Bavarian Staatsoper and in Wagner’s Siegfried with Canadian Opera Company and Houston Grand Opera; his return to Glyndebourne Festival Opera as the Gamekeeper in Janáček’s The Cunning Little Vixen; the title role in Puccini’s Gianni Schicchi at Opera North; Golaud in Debussy’s Pelléas et Mélisande at Welsh National Opera; and the title role in Saul for Glyndebourne Festival Opera. Other operatic highlights include appearances at Royal Opera, Milan’s Teatro alla Scala, Salzburg Festival, Berlin Staatsoper, and Netherlands Opera.

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Russell Thomas

In the 2016–17 season, tenor Russell Thomas (Loge) returns to The Metropolitan Opera to sing Ismaele in Verdi’s Nabucco; Canadian Opera Company and Lyric Opera of Chicago as Pollione in Bellini’s Norma; and Los Angeles Opera as Cavaradossi in Puccini’s Tosca. He also makes his debut at the Salzburg Festival singing the title role in Mozart’s La clemenza di Tito. Concert highlights this season include performances of Mahler’s Das Lied von der Erde with the Detroit and Atlanta Symphony Orchestras, Florestan in Beethoven’s Fidelio with the Houston Symphony Orchestra, and Beethoven’s Symphony No. 9 with the Boston Symphony Orchestra at Tanglewood. Future engagements include debuts with the Bavarian Staatsoper, Washington National Opera, and Netherlands Opera, and returns to San Francisco Opera, Lyric Opera of Chicago, Canadian Opera Company, and Oper Frankfurt. Mr. Thomas’s role debuts last season included Turiddu in Mascagni’s Cavalleria rusticana with Deutsche Oper Berlin, the title role of a new production of Verdi’s Stiffelio with Oper Frankfurt, Don José in Bizet’s Carmen with Canadian Opera Company, and Florestan in Beethoven’s Fidelio with Cincinnati Opera. He made his Los Angeles Opera debut as Pollione in Norma and reprised his portrayal of Lazarus in John Adams’s The Gospel According to the Other Mary in Strasbourg.

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Kelley O'Connor

Grammy Award–winning mezzo-soprano Kelley O’Connor has emerged as one of the most compelling performers of her generation. During the 2017–18 season, her symphonic calendar includes performances of Bernstein’s Symphony No. 1, Jeremiah, with Alan Gilbert and the New York Philharmonic and with Jahja Ling and the San Diego Symphony; Beethoven’s Missa solemnis with David Robertson and the St. Louis Symphony; Mahler’s Eighth Symphony with Andrés Orozco-Estrada leading the Tonkunstler Orchestra; and Mahler’s Des Knaben Wunderhorn with Krzysztof Urbański and the Indianapolis Symphony Orchestra. She returns to the Kennedy Center for John Adams’s The Gospel According to the Other Mary, marking her first collaboration with Gianandrea Noseda, and sings Beethoven’s Ninth Symphony with Jun Märkl and the Milwaukee Symphony Orchestra. Ms. O’Connor gives the World Premiere of a song cycle by Bryce Dessner at Carnegie Hall with Robert Spano leading the Orchestra of St. Luke’s; later in the season she joins Robert Spano and the Atlanta Symphony for the World Premiere of a new work written for her by Michael Kurth.

Her recent highlights include Wagner’s Wesendonck Lieder with Matthias Pintscher conducting the Indianapolis Symphony Orchestra, Mahler’s Das Lied von der Erde with Louis Langrée and the Detroit Symphony Orchestra and with Donald Runnicles and the Atlanta Symphony Orchestra, Ravel’s Shéhérazade with Esa-Pekka Salonen and the Philharmonia Orchestra, Berio’s Folk Songs with Daniel Harding and the London Symphony Orchestra, and Lieberson’s Neruda Songs with Christoph Eschenbach and the National Symphony Orchestra, Bernard Haitink and the Chicago Symphony Orchestra, Robert Spano and the Minnesota Orchestra, and David Zinman leading the Berlin Philharmonic.

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Morris Robinson

Morris Robinson (Fasolt), a graduate of The Metropolitan Opera Lindemann Young Artist Development Program, made his Metropolitan Opera debut in 2002 in Beethoven’s Fidelio. He has since appeared there as Sarastro in Mozart’s The Magic Flute, Ferrando in Verdi’s Il trovatore, and in productions of Verdi’s Aida and Nabucco, Wagner’s Tannhäuser, Berlioz’s Les Troyens, and Richard Strauss’s Salome. He has also appeared at San Francisco Opera, Chicago Lyric Opera, Los Angeles Opera, Houston Grand Opera, Washington National Opera, Dallas Opera, and the Aix-en-Provence Festival. His many roles include Osmin in Mozart’s The Abduction from the Seraglio, Ramfis in Aida, Sparafucile in Verdi’s Rigoletto, Commendatore in Mozart’s Don Giovanni, Grand Inquisitor in Verdi’s Don Carlos, Timur in Puccini’s Turandot, and Fasolt in Wagner’s Das Rheingold.

A prolific concert singer, Mr. Robinson recently made his BBC Proms debut in a televised performance of the Verdi Requiem. He has also appeared in concert at Carnegie Hall and with the Philadelphia, Los Angeles Philharmonic, and Met Chamber orchestras; the Chicago, Boston, Montreal, and São Paulo symphony orchestras; and at the Ravinia, Mostly Mozart, Tanglewood, Cincinnati May, Verbier, and Aspen festivals. In recital he has been presented by Spivey Hall in Atlanta, the Philadelphia Chamber Music Society, and The Metropolitan Museum of Art.

This season, Mr. Robinson made his debut at Milan’s Teatro alla Scala in the title role of the Gershwins’ Porgy and Bess and returned to The Met for The Magic Flute and Aida, and to Los Angeles Opera in The Abduction from the Seraglio. Upcoming engagements include returns to Washington National Opera, Los Angeles Opera, Dallas Opera, Boston Symphony Orchestra, and the Ravinia and Tanglewood festivals.

Mr. Robinson’s first album, Going Home, was released by Decca.

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Stephen Milling

Danish bass Stephen Milling (Fafner) made his critically acclaimed debut at the 2015 Bayreuth Festival as Hagen in Wagner’s Götterdämmerung led by Kirill Petrenko. Mr. Milling has been acclaimed for his performances as Gurnemanz in Wagner’s Parsifal, which he has performed at the Vienna Staatsoper under Simon Rattle, at the Salzburg Festival under Christian Thielemann, and on DVD for Deutsche Grammophone. His other Wagnerian highlights include Hunding in Die Walküre at The Metropolitan Opera; Fasolt in Das Rheingold at the BBC; King Marke in Tristan und Isolde at the Berlin Staatsoper, Vienna Staatsoper, and with the Los Angeles and Berlin Philharmonic orchestras; Daland in The Flying Dutchman at the Bavarian Staatsoper; and both Landgraf in Tannhäuser and Viet Pogner in Die Meistersinger von Nürnberg at the Royal Opera, Covent Garden.

Mr. Milling’s recent performances include Philip II in Verdi’s Don Carlos at San Francisco Opera and Opera National du Rhin, Rocco in Beethoven’s Fidelio at Gran Teatre del Liceu, Padre Guardiano in Verdi’s La forza del destino at Palau de les Artes in Valencia, Kaija Saariaho’s Adriana Mater at Opéra national de Paris, Sparafucile in Verdi’s Rigoletto at The Met, and Sarastro in Mozart’s The Magic Flute at Royal Opera and the Vienna Staatsoper.

Trained at the Royal Danish Academy of Music, Stephen Milling joined the Royal Danish Opera in 1994. His debuts at Milan’s Teatro alla Scala as Don Fernando in Fidelio and as Fasolt and Hunding in Seattle Opera’s Ring Cycle launched his international career.

Stephen Milling made his Berlin Philharmonic debut in the Verdi Requiem led by Mariss Jansons. His recordings include Les Troyens with the London Symphony Orchestra, led by Colin Davis, and DVDs of Wagner’s Der Ring des Nibelungen, staged by La Fura dels Baus in Valencia, and The Copenhagen Ring, Tannhäuser, and Maskarade with Kasper Holten at the Royal Danish Opera.

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Rachel Willis-Sørensen

Soprano Rachel Willis-Sørensen (Freia) won First Prizes at the 2014 Operalia competition in Los Angeles and at the 2011 Hans Gabor Belvedere Singing Competition, and she was a winner of the 2010 Metropolitan Opera National Council Auditions. She holds both bachelor and master of music degrees from Brigham Young University and is a recent alumna of the Houston Grand Opera Studio.

She was a member of the ensemble at the Dresden Semperoper, where she sang the title role in Lehár’s The Merry Widow, Fiordiligi in Mozart’s Così fan tutte, Vitellia in Mozart’s La clemenza di Tito, Elettra in Mozart’s Idomeneo, Diemut in Richard Strauss’s Feuersnot, Rosalinde in J. Strauss II’s Die Fledermaus, and Mimi in Puccini’s La bohème.

Recent roles include Countess Almaviva in Mozart’s The Marriage of Figaro at The Metropolitan Opera, Vienna Staatsoper, and Royal Opera, Covent Garden; Fiordiligi in Così fan tutte and Donna Anna in Mozart’s Don Giovanni at Houston Grand Opera; Gutrune in Wagner’s Götterdämmerung at Royal Opera; Eva in Wagner’s Die Meistersinger von Nürnberg at San Francisco Opera; Elsa in Wagner’s Lohengrin with Deutsche Oper Berlin; and Donna Anna at the Vienna Staatsoper. This season she sings Marschallin in Richard Strauss’s Der Rosenkavalier, Eva at Royal Opera, and Elsa at Zurich Opera.

Ms. Willis-Sørensen’s recent concert performances include Mahler’s Symphony No. 2, Resurrection, with the Dresden Staatskapelle; Beethoven’s Symphony No. 9 with the Orchestra della Accademia Nazionale di Santa Cecilia and with the Los Angeles Philharmonic Orchestra at the Hollywood Bowl; Mahler’s Symphony No. 9 with the Israel Philharmonic Orchestra at the Dresden Festival; and Agathe in Weber’s Der Freischütz in concert with the Orchestra of the Age of Enlightenment.

This season’s concert engagements include the Countess in The Marriage of Figaro and R. Strauss’s Four Last Songs with the Milwaukee Symphony Orchestra, and Leonora in Beethoven’s Fidelio with the Orchestra della Accademia Nazionale di Santa Cecilia.

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Brian Jagde

In the 2016–17 season American tenor Brian Jagde (Froh) makes his role debuts as Radamès in Verdi’s Aida, at San Francisco Opera, and Maurizio in Cilea’s Adriana Lecouvreur, at Royal Opera, Covent Garden. He also sang Pinkerton in Puccini’s Madama Butterfly at Palermo’s Teatro Massimo and Washington National Opera, and in summer 2017 he makes his debuts at Madrid’s Teatro Real as Macduff in Verdi’s Macbeth and at Oper Stuttgart as Cavaradossi in Puccini’s Tosca. He and soprano Joyce El-Khoury performed as part of the first Mondavi Center–hosted concert at the new Anne E. Pitzer Center in Davis, California. Next season he returns to San Francisco Opera as Calaf in Puccini’s Turandot and to Deutsche Opera Berlin as Cavaradossi in Tosca and in Korngold’s Das Wunder der Heliane and makes his Zurich Opera debut as Cavaradossi and Seattle Opera debut as Radamès.

Mr. Jagde’s previous engagements include debuts at The Metropolitan Opera as Count Elemer in Richard Strauss’s Arabella and Royal Opera as Pinkerton; Don José in Bizet’s Carmen at San Francisco Opera, Deutsche Oper Berlin, Teatro San Carlo, and Opéra de Limoges; Cavaradossi at Santa Fe Opera and Deutsche Oper Berlin; Rodolfo in Puccini’s La bohème with Ópera de Bellas Artes; Ismaele in Verdi’s Nabucco at the Palau de les Arts Reina Sofia; and the Prince in Dvořák’s Rusalka at Houston Grand Opera and Opera San Antonio. He was also seen as Bacchus in Richard Strauss’s Ariadne auf Naxos at Minnesota Opera and Palm Beach Opera; Pinkerton at San Francisco Opera; Matteo in Arabella with Minnesota Opera; Rodolfo with the Munich Philharmonic and at the Castleton Festival; and Narraboth at Santa Fe Opera and Opera San Antonio. Mr. Jagde made his European debut as Massenet’s Werther and as Macduff in Macbeth at Poland’s Teatr Wielki Opera Poznan.

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Christian Van Horn

This season, bass-baritone Christian Van Horn (Donner) returned to the Lyric Opera of Chicago for Bizet’s Carmen and Bizet’s Les Troyens, The Metropolitan Opera as Colline in Puccini’s La bohème, and Dallas Opera for Bellini’s Norma, and made his debuts with the Collaborative Arts Institute of Chicago, San Francisco Symphony, and at Ottawa’s National Arts Centre.

Mr. Van Horn has appeared in concert at the Salzburg Easter Festival with the Berlin Philharmonic and Simon Rattle, at Carnegie Hall in a concert programmed by the Emerson String Quartet as part of its Perspective Series, and in Tippett’s A Child of Our Time with the Chicago Symphony Orchestra, Beethoven’s Missa solemnis with the Melbourne Symphony Orchestra, Beethoven’s Symphony No. 9 with the Pacific Symphony, and the opening concerts of the Bard Music Festival. Mr. Van Horn has also appeared at San Francisco Opera, Santa Fe Opera, Los Angeles Opera, Canadian Opera Company, Bavarian Staatsoper, Rome Opera, Stuttgart Opera, Grand Théâtre de Genève, and Netherlands Opera, and at the Salzburg and Munich Festivals.

He recorded the title role in Mozart’s The Marriage of Figaro for Sony Classical, and recently appeared in The Met’s HD broadcast of Verdi’s Falstaff.

Christian Van Horn received his master’s degree in music from Yale University and is a graduate of the Lyric Opera Center for American Artists at the Lyric Opera of Chicago. His numerous honors include winning at the 2003 Metropolitan Opera National Council Auditions, a 2003 Sarah Tucker Study Grant, First Place at the 2002 MacAllister Competition Collegiate Division, a prize in the 2002 Liederkranz Foundation Vocal Competition, and the Richman Award from Opera Theatre of St. Louis.

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Peter Bronder

Born in England to German-Austrian parents, tenor Peter Bronder (Mime) began his career as principal tenor at Glyndebourne and Welsh National Opera. He made his American debut as Mime in Wagner’s Siegfried with The Cleveland Orchestra, followed by his Metropolitan Opera debut in 2005.

He has also appeared as Mime at Milan’s Teatro alla Scala, Berlin Staatsoper, Municipal Theatre of São Paulo, Barcelona’s Gran Teatre del Liceu, and Palermo’s Teatro Massimo. He has appeared as Loge in Wagner’s Das Rheingold at the Edinburgh International Festival, Oper Stuttgart, and the Ruhrtriennale Festival.

His other signature roles include Herod in Richard Strauss’s Salome, which he has performed in Milan, Madrid, Frankfurt, São Paulo, and Hong Kong; at the Bolshoi; and earlier this season with the Frankfurt Radio Symphony. He sang the title roles in Wagner’s Rienzi in Frankfurt, Britten’s Peter Grimes in Bielefeld, Pfitzner’s Palestrina in Frankfurt and Zurich, and Zemlinsky’s Der Zwerg in Frankfurt, Seville, and Lisbon. He has appeared as Erik in Wagner’s The Flying Dutchman in Rouen and Paris, as Shuisky in Musorgsky’s Boris Godunov in Turin, and as Luzio in Wagner’s Das Liebesverbot in Frankfurt and Madrid.

Mr. Bronder is a regular guest at the Royal Opera, Covent Garden, where roles have included Arturo in Donizetti’s Lucia di Lammermoor, Cassio in Verdi’s Otello, Pedrillo in Mozart’s The Abduction from the Seraglio, Andres in Berg’s Wozzeck, Selem in Stravinsky’s The Rake’s Progress, First Jew in Salome, and Trabuco in Verdi’s La forza del destino. In 2016–17 he returned to the Royal Opera as Yarushkin in Shostakovich’s The Nose.

Peter Bronder’s recent roles also include the Moneylender in Rachmaninoff’s The Miserly Knight with the London Philharmonic Orchestra, and Hauptmann in Wozzeck at Oper Frankfurt. Other notable credits include the Bregenz Festival, Bavarian Staatsoper, La Monnaie, and San Francisco Opera.

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Jennifer Zetlan

This season Jennifer Zetlan (Woglinde) ended a run in Jerry Bock and Sheldon Harnick’s Fiddler on the Roof, directed by Bartlett Sher on Broadway, makes her European debut with the Stuttgart Staatstheater in Purcell’s The Fairy Queen, and creates the title role in the World Premiere of Louis Karchin’s Jane Eyre with the Center for Contemporary Opera, to be recorded by Naxos next season. She sings the soprano solos in Bruckner’s Te Deum and Mozart’s Mass in C minor with the Oratorio Society of New York at Carnegie Hall and on tour in Montevideo, Uruguay (in her South American debut). She also performs at Carnegie Hall as a celebrated alumna of Mannes College of Music in its Centennial Celebration concert, and performs in recital with pianists David Shimoni and composer Ricky Ian Gordon. In the summer she appears as Laurey in Charlottesville Opera’s new production of Rodgers & Hammerstein’s Oklahoma!

Ms. Zetlan has been featured in the premieres of numerous American operas including Ned Rorem’sOur Town, Matt Aucoin’s Crossing, Steven Stucky and Jeremy Denk’s The Classical Style, Ricky Ian Gordon’s Morning Star, Nico Muhly’s Two Boys and Dark Sisters, Daron Hagen’s Amelia, and David Diamond’s Six Arias from The Noblest Game. Other contemporary works include Purcell/Kaija Saariaho’s The Tempest Songbook, Ligeti’s Requiem, Osvaldo Golijov’s 3 Songs for Soprano, John Tavener’s Requiem, and Richard Ayres’s No. 42, In The Alps with Alarm Will Sound.

Ms. Zetlan has performed in concert with the New York Philharmonic; the Milwaukee, Indianapolis, Omaha, Baltimore symphony orchestras; and the St. Paul Chamber Orchestra, American Composers Orchestra, Juilliard Orchestra, Lexington Philharmonic, and the National Chorale. She has been heard at Carnegie Hall with the Oratorio Society of New York, Musica Sacra, Alarm Will Sound, American Symphony Orchestra, MasterVoices (formerly Collegiate Chorale), and the New York Youth Symphony.

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Jennifer Johnson Cano

Jennifer Johnson Cano is noted for her commanding stage presence and profound artistry with a warm, velvety timbre. Winner of a 2012 Richard Tucker Career Grant and 2014 George London Award, she joined the Lindemann Young Artist Development Program at The Metropolitan Opera in 2008 and was the First Prize winner of the 2009 Young Concert Artist International Auditions.

Ms. Cano has given more than 100 performances at The Metropolitan Opera, with recent roles including Bersi in Giordano’s Andrea Chenier, Emilia in Verdi’s Otello, Hansel in Humperdinck’s Hansel and Gretel, Meg Page in Verdi’s Falstaff, Mercedes in Bizet’s Carmen, Nicklausse in Offenbach’s The Tales of Hoffmann, and Wellgunde and Waltraute in Wagner’s Ring Cycle. Other appearances include Donna Elvira in Mozart’s Don Giovanni with the Boston Lyric and Arizona Operas, the title role in Bizet’s Carmen with Boston Lyric Opera, Orfeo in Gluck’s Orfeo et Eurydice with Des Moines Metro Opera, Diana in Cavalli’s La Calisto with Cincinnati Opera, and Marguerite in Berlioz’s The Damnation of Faust with the Tucson Symphony. She has worked with conductors including Marin Alsop, Andrew Davis, Manfred Honeck, James Levine, Yannick Nézet-Séguin, Robert Spano, Osmo Vänskä, and Franz Welser-Möst. Last season, she made her European debut performing John Adams’s El Niño on tour with Mr. Adams and the London Symphony Orchestra in London and Paris, and with Markus Stenz and the Netherlands Radio Philharmonic at Amsterdam’s Royal Concertgebouw.

In 2017–18 Ms. Cano portrays Orfeo with Opera Theatre of Saint Louis, and The Sharp Eared Fox in Janáček’s The Cunning Little Vixen in concert with the Bavarian Radio Symphony Orchestra and The Cleveland Orchestra in Cleveland, Vienna, and Luxembourg. Orchestral engagements include Beethoven’s Ninth Symphony on tour with the Los Angeles Philharmonic; Handel’s Messiah with the New York Philharmonic and Colorado Symphony Orchestra; Bernstein’s Jeremiah Symphony with the Atlanta, Phoenix, and Charlotte symphony orchestras; Mozart’s Requiem with the San Diego Symphony Orchestra; and Brahms’s Alto Rhapsody and Beethoven’s Ninth Symphony with the New Haven Symphony Orchestra.

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Tamara Mumford

This season mezzo-soprano Tamara Mumford (Flosshilde) returned to The Metropolitan Opera for the new production of Kaija Saariaho’s L’Amour de loin and appeared in concert with the Berlin Philharmonic and the Boston, San Francisco, and Simón Bolívar symphony orchestras on tour in Europe. This summer she returns to the Britt and Tanglewood Festivals. Next season she returns to The Met for Mozart’s The Magic Flute and appears in concert with the Los Angeles Philharmonic and National Symphony Orchestra and at The Chamber Music Society of Lincoln Center.

A graduate of The Metropolitan Opera’s Lindemann Young Artist Development Program, Ms. Mumford made her Met debut as Laura in Verdi’s Luisa Miller and has since appeared with the company in more than 140 performances. Other recent opera engagements have included Rossini’s Aureliano in Palmira and Donizetti’s Lucrezia Borgia at the Caramoor Festival; Tchaikovsky’s Iolante at Dallas Opera; Henze’s Phaedra, Britten’s The Rape of Lucretia, and the World Premiere of Daniel Schnyder’s Yardbird at Opera Philadelphia; Purcell’s Dido and Aeneas at the Glimmerglass Festival; and Monteverdi’s L’incoronazione di Poppea at the Glyndebourne Festival and BBC Proms.

Also an active concert performer, Ms. Mumford has appeared at Carnegie Hall with James Levine and the Met Chamber Orchestra. She has also appeared with Gustavo Dudamel and the Los Angeles Philharmonic in the World Premiere tour of John Adams’s The Gospel According to the Other Mary, and on a U.S. and European tour of Mahler’s Symphony No. 3. Other concert engagements include appearances at the Hollywood Bowl and the Ravinia, Tanglewood, Grand Teton, and Bravo! Vail festivals. In recital she has been presented in New York by both the Marilyn Horne Foundation and The Metropolitan Museum of Art, and in Philadelphia by the Philadelphia Chamber Music Society.

Learn more about Tamara Mumford