American tenor Matthew Polenzani is one of the most gifted and distinguished lyric tenors of his generation. His elegant musicianship, innate sense of style, dramatic commitment, and timeless artistry have established his continued presence at leading opera, concert, and recital venues worldwide.

The 2018–2019 season includes a return to the Lyric Opera of Chicago for Mr. Polenzani’s signature title role in Mozart’s Idomeneo, which has been called a “poignant, gripping performance” (The New York Times). He also sings Rodolfo in Puccini’s La bohème at Palermo’s Teatro Massimo; makes role debuts as Vaudémont in Tchaikovsky’s Iolanta and in the title role of Mozart’s La clemenza di Tito at the Metropolitan Opera; and travels to San Francisco Opera for his role debut as Don José in Bizet’s Carmen. Concert appearances this season include a performance of Verdi’s Requiem with the Orchestre Métropolitain de Montréal, a concert series with the New World Symphony, and a gala concert for Palm Beach Opera.

Mr. Polenzani has starred in more than 300 performances at the Met. Career highlights include the premieres of Bartlett Sher’s production of Donizetti’s L’elisir d’amore, which opened the Met’s 2012 season, and Sir David McVicar’s production of Donizetti’s Maria Stuarda (available on DVD from Erato Records); Willy Decker’s production of Verdi’s La traviata; Julie Taymor’s legendary staging of Mozart’s Die Zauberflöte (available on DVD from the Met); and revivals of Offenbach’s The Tales of Hoffmann, Gounod’s Roméo et Juliette, Mozart’s Don Giovanni and Così fan tutte, Rossini’s Il barbiere di Siviglia and L’italiana in Algeri, Verdi’s Rigoletto and Falstaff, Donizetti’s Don Pasquale, and Wagner’s Die Meistersinger von Nürnberg (available on DVD from Deutsche Grammophon).

Mr. Polenzani is constantly in demand for concert engagements with the world’s most influential conductors, including James Conlon, Sir Colin Davis, Riccardo Frizza, Rafael Frühbeck de Burgos, Louis Langrée, Riccardo Muti, Sir Antonio Pappano, Sir Simon Rattle, Wolfgang Sawallisch, Leonard Slatkin, Sir Jeffrey Tate, Michael Tilson Thomas, Franz Welser-Möst, David Zinman, Riccardo Chailly, and Daniel Harding. He frequently performs with premiere orchestras in the United States and Europe, including the Boston Symphony Orchestra, Chicago Symphony Orchestra, Cincinnati Symphony Orchestra, St. Louis Symphony Orchestra, The Cleveland Orchestra, Los Angeles Philharmonic, New York Philharmonic, San Francisco Symphony, Minnesota Orchestra, Berliner Philharmoniker, Orchestra dell’Accademia Nazionale di Santa Cecilia, Orchestre National de France, and Munich Philharmonic.

Mr. Polenzani is the recipient of the 2004 Richard Tucker Award, the Met’s 2008 Beverly Sills Artist Award, and the 2017 Opera News Award. An avid golfer, he makes his home in suburban New York with his wife, mezzo-soprano Rosa Maria Pascarella, and their three sons.

Pianist Julius Drake lives in London and enjoys an international reputation as one of the finest instrumentalists in his field, collaborating with many of the world’s leading artists both in recital and on recordings. He appears regularly at all the major music festivals and venues, including the Aldeburgh Festival, Edinburgh International Festival, Munich Opera Festival, Salzburg Festival, Schubertiade Festival, Lincoln Center, London’s BBC Proms and Wigmore Hall, and Amsterdam’s Concertgebouw.

Mr. Drake’s many recordings include a widely acclaimed series with Gerald Finley for Hyperion, for which Songs by Samuel Barber, Schumann: Dichterliebe and Other Heine Settings, and Britten: Songs and Proverbs of William Blake won Gramophone Awards; award-winning recordings with Ian Bostridge for EMI; several recitals for Wigmore Hall Live with Alice Coote, Joyce DiDonato, Lorraine Hunt Lieberson, Christopher Maltman, and Matthew Polenzani, among others; Kodály and Schoeck sonatas with cellists Natalie Clein and Christian Poltéra for Hyperion and BIS; Tchaikovsky and Mahler with Christianne Stotijn for Onyx; English songs with Bejun Mehta for Harmonia Mundi; and Schubert lieder (Poetisches Tagebuch) with Christoph Prégardien, winner of the 2016 German Record Critics’ Award.

Mr. Drake recently embarked on a major project to record the complete songs of Franz Liszt for Hyperion (the second recording in the series, with Angelika Kirchschlager, won the 2012 BBC Music Magazine Award), as well as a series of four Schubert recitals live at London’s Wigmore Hall with Mr. Bostridge.

Performances this season include recitals in the Julius Drake and Friends series at London’s historic Middle Temple Hall, as well as concerts in Cologne, Brussels, and Schwarzenberg with Mr. Bostridge; in Amsterdam, Madrid, London, and Philadelphia with Sarah Connolly; in Vienna, Zurich, and Leeds with Ms. Kirchschlager; in Vienna, Hamburg, and London with Mr. Finley; in Bilbao and Vilabertran with Mr. Prégardien; in Copenhagen with Ms. Coote; and in New York with Mr. Polenzani. Additional engagements include a tour of the US with Holger Falk, a tour of South Korea with Mr. Bostridge, and a recording of Dvořák’s Stabat Mater with the Bavarian Radio Chorus in Munich.

A naturally gifted singer noted for her commanding stage presence and profound artistry, Jennifer Johnson Cano has garnered critical acclaim. Highlights of the current season include her role debut as Offred in Poul Ruders’s The Handmaid’s Tale with Boston Lyric Opera, and appearances as Emilia in Verdi’s Otello and Meg Page in Verdi’s Falstaff at the Metropolitan Opera. She also collaborates with the Pittsburgh Symphony Orchestra, Cincinnati Symphony Orchestra, Colorado Springs Philharmonic, and Chamber Music Society of Lincoln Center. Ms. Cano takes part in two world premiere performances this season: Paul Moravec’s A New Country and Gregg Kallor’s Sketches from Frankenstein Suite. She joined soprano Anna Netrebko and pianist Malcolm Martineau at Carnegie Hall earlier this season.

Ms. Cano has given more than 130 performances at the Met, with recent roles including Bersi (Giordano’s Andrea Chénier), Mercédès (Bizet’s Carmen), Nicklausse (Offenbach’s The Tales of Hoffmann), Wellgunde (Wagner’s Der Ring des Nibelungen), and Waltraute (Wagner’s Götterdämmerung). Additional operatic appearances have included Donna Elvira in Mozart’s Don Giovanni with Boston Lyric Opera and Arizona Opera; the Sharp-Eared Fox in Janáček’s The Cunning Little Vixen with The Cleveland Orchestra; the title role in Bizet’s Carmen with  Boston Lyric Opera; Orphée in Gluck’s Orphée et Eurydice with Opera Theatre of Saint Louis and Des Moines Metro Opera; Diana in Cavalli’s La Calisto with Cincinnati Opera; and Marguerite in Berlioz’s La damnation de Faust with the Tucson Symphony Orchestra. She has recently worked with an impressive array of conductors who include Yannick Nézet-Séguin, Franz Welser-Möst, Gustavo Dudamel, Manfred Honeck, Marin Alsop, Robert Spano, Louis Langrée, Osmo Vänskä, and Sir Andrew Davis.

A native of St. Louis, Missouri, Ms. Cano made her professional operatic debut with the Opera Theatre of St. Louis. Among her honors are first prize in the Young Concert Artists International Auditions, as well as a Sara Tucker Study Grant, Richard Tucker Career Grant, and George London Award.

A naturally gifted singer noted for her commanding stage presence and profound artistry, Jennifer Johnson Cano has garnered critical acclaim. Highlights of the current season include her role debut as Offred in Poul Ruders’s The Handmaid’s Tale with Boston Lyric Opera, and appearances as Emilia in Verdi’s Otello and Meg Page in Verdi’s Falstaff at the Metropolitan Opera. She also collaborates with the Pittsburgh Symphony Orchestra, Cincinnati Symphony Orchestra, Colorado Springs Philharmonic, and Chamber Music Society of Lincoln Center. Ms. Cano takes part in two world premiere performances this season: Paul Moravec’s A New Country and Gregg Kallor’s Sketches from Frankenstein Suite. She joined soprano Anna Netrebko and pianist Malcolm Martineau at Carnegie Hall earlier this season.

Ms. Cano has given more than 130 performances at the Met, with recent roles including Bersi (Giordano’s Andrea Chénier), Mercédès (Bizet’s Carmen), Nicklausse (Offenbach’s The Tales of Hoffmann), Wellgunde (Wagner’s Der Ring des Nibelungen), and Waltraute (Wagner’s Götterdämmerung). Additional operatic appearances have included Donna Elvira in Mozart’s Don Giovanni with Boston Lyric Opera and Arizona Opera; the Sharp-Eared Fox in Janáček’s The Cunning Little Vixen with The Cleveland Orchestra; the title role in Bizet’s Carmen with  Boston Lyric Opera; Orphée in Gluck’s Orphée et Eurydice with Opera Theatre of Saint Louis and Des Moines Metro Opera; Diana in Cavalli’s La Calisto with Cincinnati Opera; and Marguerite in Berlioz’s La damnation de Faust with the Tucson Symphony Orchestra. She has recently worked with an impressive array of conductors who include Yannick Nézet-Séguin, Franz Welser-Möst, Gustavo Dudamel, Manfred Honeck, Marin Alsop, Robert Spano, Louis Langrée, Osmo Vänskä, and Sir Andrew Davis.

A native of St. Louis, Missouri, Ms. Cano made her professional operatic debut with the Opera Theatre of St. Louis. Among her honors are first prize in the Young Concert Artists International Auditions, as well as a Sara Tucker Study Grant, Richard Tucker Career Grant, and George London Award. Ms. Cano appears courtesy of The Metropolitan Opera.

Kathleen O’Mara is a soprano from Fort Washington, Pennsylvania. She graduated from Westminster Choir College with a bachelor of music degree in voice in May 2018. Ms. O’Mara currently attends The Juilliard School, where she is pursuing a master of music degree with Edith Wiens and is a Toulmin Scholar. She has performed the title role in Gilbert and Sullivan’s Iolanthe and Zemire in Grétry’s Zémire et Azor with Westminster Opera Theatre, and has covered the roles of First Lady in Mozart’s Die Zauberflöte at the CoOPERAtive Program; Barbarina in Mozart’s Le nozze di Figaro at Music Academy of the West; and the Governess in Britten’s The Turn of the Screw at Juilliard. Ms. O’Mara has participated in programs that include Curtis Summerfest and the Houston Grand Opera’s Young Artists Vocal Academy.

Mezzo-soprano Marie Engle is pursuing a master’s degree at The Juilliard School, where she studies with Marlena Malas and is a Toulmin Scholar. After completing her undergraduate studies at Northwestern University, Ms. Engle performed with Vienna’s award-winning Arnold Schoenberg Choir on stages at Lincoln Center and in Barcelona, Austria, and Hong Kong. She also participated in the 2016 season of the Franz Schubert Institute in Baden bei Wien, and has since been actively involved in recital work in Austria, Canada, and the US. In addition to numerous recitals—including her debut in Schoenberg’s Pierrot Lunaire at Juilliard’s ChamberFest—Ms. Engle recently made her debut with the Juilliard Opera singing Ramiro in Mozart’s La finta giardiniera and Un pâtre in Ravel’s L’enfant et les sortilèges. She studied at the Chautauqua Institution in 2018, where she performed Mercédès in Bizet’s Carmen.

Mezzo-soprano Megan Esther Grey is in her first year in the Metropolitan Opera’s Lindemann Young Artist Development Program. A Grand Finalist at the 2018 Metropolitan Opera National Council Auditions, she is a recent graduate of the University of Northern Iowa, where she completed her master’s degree and performed the role of Hänsel in Humperdinck’s Hänsel und Gretel. In 2018, Ms. Grey was involved in her first production at the Met, where she covered the Second Lay Sister in Puccini’s Suor Angelica. She also performed in San Francisco Opera’s Schwabacher Summer Concert with the Merola Opera Program, and covered Baba the Turk and Mother Goose in Stravinsky’s The Rake’s Progress. In 2017, Ms. Grey sang Proserpina in the US stage premiere of Monteverdi’s L’Orfeo (Respighi orchestration) at Chautauqua Opera Company, where she spent two summers as a studio artist. Additional roles include the title role in Ravel’s L’enfant et les sortilèges, Mrs. McLean in Floyd’s Susannah, and Mrs. Page in Nicolai’s The Merry Wives of Windsor. Ms. Grey is the recipient of honors from Opera Index, the National Opera Association, and Classical Singer Magazine, among others.