Lead support for The Song Continues is provided by the AE Charitable Foundation.
This concert is part of the Marilyn Horne legacy at Carnegie Hall.
The Song Continues is supported, in part, by the Ann and Gordon Getty Foundation.
Workshops and masterclasses are made possible, in part, by Mr. and Mrs. Nicola Bulgari and The Gladys Krieble Delmas Foundation.
The Song Continues is part of the Marilyn Horne legacy at Carnegie Hall.
This concert and the Pure Voice series are sponsored by the Jean & Jula Goldwurm Memorial Foundation in memory of Jula Goldwurm.
Decca recording artist and winner of the 2005 BBC Singer of the World Competition, Nicole Cabell is one of today’s most sought-after lyric sopranos. Her solo debut album, Soprano, was named Editor’s Choice by Gramophone, and has received critical acclaim and several prestigious awards, including an ECHO Klassik Award and the 2007 Georg Solti Orphée d’Or from L’Académie du Disque Lyrique.
Ms. Cabell’s 2017–2018 season includes performances of Countess in Mozart’s Le nozze di Figaro with Grand Théâtre de Genève and Michigan Opera Theatre, Flavia in Cavalli’s Eliogabalo with Dutch National Opera, and Micaela in Bizet’s Carmen with the Atlanta Opera. Ms. Cabell also performs in recitals at the Frankfurt Opera and in Chicago, Ann Arbor, and Louisville. In concert, Ms. Cabell performs and records a duo program with Alyson Cambridge and the Lake Forest Symphony, and performs Bernstein’s A White House Cantata with the Netherlands Radio Philharmonic Orchestra, Mendelssohn’s Elijah with the Oregon Bach Festival, and Mahler’s Symphony No. 2 with the Yomiuri Nippon Symphony Orchestra. Future engagements include returns to London and Cincinnati, as well as a debut in Pittsburgh.
Ms. Cabell’s 2016–2017 season featured her debut as Bess in Gershwin’s Porgy and Bess with the Sydney Symphony Orchestra. She also sang performances of Mimi in Puccini’s La bohème with the Minnesota Opera and Cincinnati Opera, and Countess with the Angers Nantes Opera. In concert, she sang Ravel’s Shéhérazade with the Baltimore Symphony Orchestra and Rochester Philharmonic Orchestra, Mahler’s Symphony No. 2 with the Nashville Symphony, and Beethoven’s Missa solemnis with the Oregon Bach Festival.
Alabama-born soprano Susanna Phillips, recipient of the Metropolitan Opera’s 2010 Beverly Sills Artist Award, continues to establish herself as one of today’s most sought-after singing actors and recitalists.
In the 2017–2018 season, Ms. Phillips returns to the Metropolitan Opera for a 10th consecutive season to sing her acclaimed Musetta in Puccini’s La bohème, which will be broadcast through the Met’s Live in HD series. She will also make her role debut as Birdie in Blitzstein’s Regina in her debut with the Opera Theatre of Saint Louis, sharing the stage with Susan Graham and James Morris. Orchestral engagements this season include Brahms’s Ein deutsches Requiem with the Oratorio Society of New York, Mendelssohn’s Elijah with Music of the Baroque in Chicago, concerts in New York and Chicago with the Chamber Music Society of Lincoln Center, Barber’s Knoxville: Summer of 1915 with Teddy Abrams leading the Milwaukee Symphony Orchestra, Strauss’s Four Last Songs with the Valdosta Symphony Orchestra, and Poulenc’s Gloria with the Colorado Symphony. She also gives a recital at the Collaborative Arts Institute of Chicago.
The 2016–2017 season saw Ms. Phillips return to the Metropolitan Opera as Clémence in the Met premiere of Kaija Saariaho’s L’amour de loin, conducted by Susanna Mälkki, and as Musetta in La bohème. In March 2017, Ms. Phillips made her Opernhaus Zürich debut as Donna Anna in Mozart’s Don Giovanni. She also appeared as Cleopatra in Handel’s Giulio Cesare with Boston Baroque and Martin Pearlman.
Described as having “a voice that is both fluid and expressive” (Opera News) and “a rich, gleaming tone” (Opera Canada), Turkish-Canadian mezzo-soprano Beste Kalender recently made her Russia debut with Helikon Opera, and performed at Minsk’s Bolshoi Theatre. Ms. Kalender made her Carnegie Hall debut in 2017 as part of The Song Continues, and was featured as the New Artist of the Month by Musical America Worldwide shortly thereafter. Ms. Kalender made her professional role debut in the title role of Bizet’s Carmen with the Calgary Opera, where she was a member of the Emerging Artists Program. After stepping in to cover the role at the last minute on the opera’s opening night, her dramatic interpretation was widely acclaimed.
Ms. Kalender was named Jeunes Ambassadeurs Lyriques du Canada for the fifth time in 2017. She was a finalist at the 2016 Opéra Concours International de Chant de Marmande in France; winner of the 2016 Sylva Gelber Music Foundation Award; recipient of the 2015 and 2017 Canada Council for the Arts Grants for Professional Musicians; and inaugural recipient of the 2017 Stuart Hamilton Memorial Award. She also won the Bourse Lyrique Coréen and Bourse Lyrique Allemande, and recently represented Canada in South Korea at the Jeonju International Sori Festival; in Italy, performing Giovanna in Rigoletto at Teatro Comunale di Bologna; and in Germany.
Ms. Kalender’s US role debut was in the title role of Music Academy of the West’s production of Rossini’s La cenerentola in 2015. Her repertoire includes Zerlina (Don Giovanni), Bianca (The Rape of Lucretia), Giovanna (Rigoletto), Hänsel (Hänsel und Gretel), Mercedes (Carmen), Fox (The Cunning Little Vixen), Cherubino (Le nozze di Figaro), Ellen (Three Sisters who are not Sisters), and the title role in Tancredi.
Highly acclaimed for her “passionate intensity and remarkable vocal beauty,” Grammy Award–winning mezzo-soprano Isabel Leonard continues to thrill audiences both in the opera house and on the concert stage. In repertoire that spans from Vivaldi and Mozart to Thomas Adès, she has graced the stages of the Metropolitan Opera, Vienna State Opera, Paris Opera, Lyric Opera of Chicago, San Francisco Opera, Salzburg Festival, Bavarian State Opera, and Glyndebourne Festival Opera as Rosina in Il barbiere di Siviglia, Angelina in La cenerentola, Cherubino in Le nozze di Figaro, Dorabella in Così fan tutte, Blanche de la Force in Dialogues des Carmélites, and the title roles in Griselda, La périchole, and Der Rosenkavalier, as well as Sesto in Mozart’s La clemenza di Tito and Handel’s Giulio Cesare.
Ms. Leonard has appeared with some of the foremost conductors of her time, including James Levine, Valery Gergiev, Charles Dutoit, Gustavo Dudamel, Esa-Pekka Salonen, Franz Welser-Möst, Edo de Waart, James Conlon, Andris Nelsons, and Harry Bicket. She has also appeared with the Cleveland Orchestra, Chicago Symphony Orchestra, New York Philharmonic Orchestra, Boston Symphony Orchestra, Accademia Nazionale di Santa Cecilia, Vienna Philharmonic, and Los Angeles Philharmonic, among others.
Ms. Leonard is in constant demand as a recitalist, and is on the Board of Trustees at Carnegie Hall. She is a recent Grammy Award–winner for Mr. Adès’s The Tempest (Best Opera Recording), and the recipient of the 2013 Richard Tucker Award. Ms. Leonard recently joined the supporters of the Prostate Cancer Foundation to lend her voice in honor of her father, who died from the disease when she was in college.
Italian-American tenor Leonardo Capalbo has garnered international acclaim for his performances throughout the United States and Europe. Lauded for his rich, lyric voice and dramatic intensity, Mr. Capalbo has received acclaim at venues that include Berliner Staatsoper, Teatro Real Madrid, Opéra National de Lyon, Teatro Regio di Torino, Teatro dell’Opera di Roma, Semperoper Dresden, Grand Théâtre de Genève, Welsh National Opera, New York City Opera, Lyric Opera of Chicago, and Glyndebourne Festival Opera, among others.
During the 2017–2018 season, Mr. Capalbo makes his Festspielhaus Baden-Baden debut as Rodolfo in La bohème, a role he also performs in a new production at Theater St. Gallen. Mr. Capalbo also returns to Teatro Real to star as Robert Devereux, Earl of Essex in Sir David McVicar’s new production of Britten’s Gloriana, and to Warsaw’s Teatr Wielki as Don José in Carmen, which is quickly becoming one of his signature roles. Last season, Mr. Capalbo returned to the Royal Opera House, Covent Garden, to perform the title role in Offenbach’s Les contes d’Hoffman, and made his debut at Perm State Opera as Rodolfo in La bohème with Teodor Currentzis. Additional engagements included Don José in Sevilla and at the inaugural Grange Festival, Gustavo in Un ballo in maschera at Kungliga Operan, Duca in Rigoletto at Wichita Grand Opera, and Alfredo in La traviata at Teatr Wielki.
American tenor Russell Thomas is lauded for the power and beauty of his voice, and has distinguished himself in appearances across the United States and abroad in many of the most beloved opera roles. Mr. Thomas recently appeared as Loge in Wagner’s Das Rheingold in the production that marked the conclusion of Alan Gilbert’s role as music director of the New York Philharmonic. He also made his debut at the Salzburg Festival, singing the title role in Mozart’s La clemenza di Tito, and joined the Boston Symphony Orchestra at Tanglewood Music Festival for two concerts conducted by Andris Nelsons: the first as Cavaradossi in the second act of Puccini’s Tosca and the second as the tenor soloist in Beethoven’s Symphony No. 9.
This season commenced with Mr. Thomas’s role debut in the title role of Verdi’s Otello in concert with the Atlanta Symphony Orchestra and its music director, Robert Spano, followed by his first Rodolfo in Puccini’s La bohème at the Metropolitan Opera, where he was last heard as Ismaele in Verdi’s Nabucco (broadcast worldwide through the Met’s Live in HD series). Mr. Thomas also appears as Florestan in Beethoven’s Fidelio with the Finnish Radio Symphony Orchestra under Hannu Lintu in Helsinki this season, as well as in a company debut at the Washington National Opera, where he sings the title role in Verdi’s Don Carlos. He will also perform as the tenor soloist in Verdi’s Requiem with the National Symphony Orchestra and Gianandrea Noseda, and as Tito in the Dutch National Opera’s production of Mozart’s La clemenza di Tito. Mr. Thomas returns to the Los Angeles Philharmonic for staged performances of Mahler’s Das Lied von der Erde with Gustavo Dudamel and Yuval Sharon. Future appearances include returns to the Lyric Opera of Chicago, Deutsche Oper Berlin, Canadian Opera Company, and the San Francisco, Metropolitan, and Los Angeles operas. He will also debut with the Houston Grand Opera and the Bayerische Staatsoper.
Recognized for his charismatic portrayals and commanding voice, baritone Lester Lynch has received rave reviews in some of Verdi’s most important baritone roles, from Scarpia and Rigoletto to Count di Luna.
Highlights of Mr. Lynch’s recent engagements include the title role in Rigoletto with the Canadian Opera Company; Gerald in Andrea Chénier with the Bregenzer Festspiele; Carbon in Cyrano de Bergerac with San Francisco Opera; Herald in Lohengrin with Lyric Opera of Chicago; Porgy in Porgy and Bess with Washington National Opera; and Scarpia in Tosca with Glimmerglass Opera. Additional engagements include leading roles with Opera Company of Philadelphia, Los Angeles Opera, Washington Master Chorale, Cleveland Orchestra, Nashville Symphony, and Cincinnati Symphony.
Baritone Edward Parks has been hailed for his “warm, velvety baritone” (The New York Times), and was awarded third prize in Placido Domingo’s 2015 Operalia Competition. He was also presented in the organization’s “Voices of 2015” concert in Hungary. Mr. Parks recently received critical acclaim singing the title role in Santa Fe Opera’s world premiere of The (R)Evolution of Steve Jobs, and sang several performances of Figaro at the Metropolitan Opera, where he covered the role in Il barbiere di Siviglia. He also performed Mercutio with Opéra de Monte Carlo on tour in Oman, the Count in Le nozze di Figaro with Lyric Opera of Kansas City, Marcello in La bohème with Minnesota Opera, and Escamillo in Carmen with Nashville Opera. His 2017–2018 season includes Inman in Cold Mountain with North Carolina Opera; Belcore in L’elisir d’amore with Opera Oviedo in Spain; Valentin in Faust with Lyric Opera of Chicago and Portland Opera; Escamillo in Carmen with Atlanta Opera; and a return to the Metropolitan Opera to cover the Count in Le nozze di Figaro.
Additional career highlights include Mr. Parks’s return to the Metropolitan Opera for productions of La bohème, Die Zauberflöte, and Don Carlo; Laurent in Chicago Opera Theater and Long Beach Opera’s co-production of Tobias Picker’s Thérèse Raquin; recitals with Susan Graham for the Marilyn Horne Foundation; Orff’s Carmina Burana with the Prague Proms International Music Festival and the Czech National Symphony Orchestra; debuts at the Atlanta Opera as Valentin in Faust and Central City Opera as the Count in Le nozze di Figaro; Marcello in La bohème and Sharpless in Madama Butterfly at PORTopera; Zurga in Les pêcheurs de perles at the Michigan Opera Theater; and Count Almaviva at the Opera Theatre of St. Louis.
Warren Jones enjoys a notably eclectic career that has taken him to every corner of the musical world. He was recently named artist-in-residence at the world-renowned Mason Gross School of the Arts at Rutgers University in New Jersey, and performs with some of today’s best-known artists, including Stephanie Blythe, Anthony Dean Griffey, Bo Skovhus, Eric Owens, John Relyea, and Richard “Yongjae” O’Neill. He is also the Robert and Mercedes Eichholz Principal Pianist for Santa Barbara–based chamber music group Camerata Pacifica, and has partnered with such great performers as Marilyn Horne, Håkan Hagegård, Kathleen Battle, Samuel Ramey, Christine Brewer, Barbara Bonney, Carol Vaness, Judith Blegen, Salvatore Licitra, Tatiana Troyanos, Thomas Hampson, James Morris, and Martti Talvela. He is a long-time member of the faculty of the Manhattan School of Music and Music Academy of the West, and received Music Teachers National Association’s 2011 Achievement Award, the organization’s highest honor.
Mr. Jones was selected as Musical America’s 2010 Collaborative Pianist of the Year. He has been invited to perform at the White House for state dinners in honor of the leaders of Canada, Russia, and Italy, and has also been invited three times by the Justices of the United States Supreme Court to perform in musical afternoons. A graduate of New England Conservatory of Music and San Francisco Conservatory of Music, Mr. Jones currently serves on the former’s board of visitors and has been honored with a doctorate degree from the latter. His discography includes 31 recordings on every major label in a wide range of repertory, and his conducting repertory is similarly varied. He has led sold-out, critically acclaimed performances of Mascagni’s L’amico Fritz, Rossini’s Il barbiere di Siviglia, and Mozart’s Die Zauberflöte, and he conducted the world premiere of a new operatic version of A Christmas Carol at the Houston Grand Opera in 2014. Mr. Jones returned to the Merola Opera Program at the San Francisco Opera for performances of Donizetti’s Don Pasquale in the summer of 2015, and in February 2016, he led an innovative new production of Menotti’s The Telephone and Bernstein’s Trouble in Tahiti for Tri-Cities Opera.
One of the world’s most in-demand collaborators, Martin Katz has been called “the gold standard of collaborative pianists today.” He has performed with the world’s most celebrated vocal soloists for four decades and has appeared and recorded regularly with Marilyn Horne, Frederica von Stade, Karita Mattila, Samuel Ramey, David Daniels, Lawrence Brownlee, José Carreras, Cecilia Bartoli, Dame Kiri Te Kanawa, and Kathleen Battle.
A native of Los Angeles, Mr. Katz’s piano studies began at the age of five. He attended the University of Southern California and studied accompanying with Gwendolyn Koldofsky. Recently, conducting has played a significant role in Mr. Katz’s career; he has partnered with several of his soloists on the podium, and has conducted several staged productions for University of Michigan’s Opera Theatre, Music Academy of the West, and San Francisco Opera’s prestigious Merola program.
Mr. Katz is also a committed teacher. Since 1984, he has led the University of Michigan’s collaborative piano program, and played an active part in opera productions. He has been a pivotal figure in the training of countless young singers and pianists, leading the University of Michigan to create the Artur Schnabel professorship for him. In addition to his work at the University of Michigan, Mr. Katz is a regular guest at SongFest, Santa Fe Opera, San Francisco Opera, San Francisco Conservatory, Tokyo’s New National Theatre, and Chicago College of Performing Arts, as well as innumerable music schools in the US and Canada. Mr. Katz is the author of a comprehensive guide to accompanying, The Complete Collaborator, published by Oxford University Press.