Russian-American soprano Inna Dukach has been praised for “an immediately appealing, youthfully rich and velvety voice.” Most recently, Ms. Dukach made her house and role debut as Matilde Neruda in Virginia Opera’s Il Postino, made her role debut as Antonia/Giulietta/Stella in Les contes d’Hoffmann with Nashville Opera, sang Countess Almaviva in Le nozze di Figaro with Inland Northwest Opera, and appeared on the concert stage as a soloist for Rachmaninoff’s The Bells with the Portland Symphony (Maine). Ms. Dukach made her London debut at Royal Opera House, Covent Garden as Musetta in La bohème, and her Metropolitan Opera debut as the title role in Madama Butterfly. She created the role of Ina in the world premiere of Steal a Pencil with Opera Colorado and was chosen to sing the role of Mimì in La bohème for two consecutive seasons at New York City Opera, a role she has also sung with Opera Colorado, Pensacola Opera, Kaohsiung Symphony Orchestra, Lubbock Symphony, and the Rochester Philharmonic.
Gregory Turay is thrilled to return to New York City Opera and excited to make his Bryant Park debut in the role of Rodolfo. Mr. Turay has performed at leading opera houses throughout the world including The Metropolitan Opera, The New National Theatre of Tokyo, English National Opera, Deutsche Oper Berlin, Netherlands Opera, Wroclaw Opera in Poland, Opera Bordeaux, San Francisco Opera, Boston Lyric, Palm Beach Opera, Lyric Opera of Chicago, Opera Theatre of St. Louis, and Seattle Opera. He can be seen on DVD in The Merry Widow with San Francisco Opera and heard on CD in William Bolcom’s A View from the Bridge, singing Rodolfo, a role he created. Mr. Turay has appeared in concert with St. Louis Symphony, Cleveland Symphony, San Francisco Symphony, Boston Symphony, Ravinia Festival, Edinburgh Festival, Spoleto, Salzburg, and numerous others. He has sung with conductors such as James Levine, Seji Osawa, and with John Williams at the 2006 Kennedy Center Awards in Washington D.C. He has won awards from numerous prestigious organizations including The Young Concert Artists, The Metropolitan Opera National Council, the Catherine Pope Foundation, and the Richard Gaddes Award with St. Louis Opera. In 2000, Mr. Turay was awarded one of the industry’s highest honors when he was named the Richard Tucker Award recipient.
Soprano Elizaveta Ulakhovich was born in St. Petersburg, Russia. She attended the Music College N.A.Rimsky-Korsakov and the St. Petersburg State Conservatory. She was a member of the 2017 class of the People's Artist of the RSFSR E.S. Gorokhovskaya, where she graduated summa cum laude. As a Young Artist with the Bolshoi Theatre of Russia, under the direction of Honored Art Worker D.Vdovin, Elizaveta won several awards, including Third Prize of the 9th International Competition S.Monyushko "Ubelskaya swallow” in Minsk, Belarus, and a special award of the 32nd international competition "Ismaele Voltolini" in Buscoldo, Italy. She was also involved in the world-premiere productions of the monoopera Cormorant, Samson and Delilah, based on Elena Skulskaya’s novel, and Tallinn and M. Weinberg's opera Idiot. Samson and Delilah was broadcast on Estonian national radio and television. She also performed over 100 concerts on many stages of Russia, including the Beethoven Hall of the Bolshoi Theatre and Philharmonic Hall of St. Petersburg. After moving to New York, Elizaveta was the winner of the Third Prize in the Giulio Gari International Vocal Competition, the finalist of the “Getting to Carnegie” competition, and given a special award of the Opera at Florham competition. In 2020, Elizaveta signed a contract with Lombardo Associates Artist Management. Last summer, she performed the leading soprano role of Matella in Handel’s Silla for Chicago Summer Opera. Elizaveta made her New York City Opera debut in the summer of 2022. She is very thankful for her voice teacher Michael Paul, her many artistic mentors, and her family for all of their support.
Argentinian baritone Gustavo Feulien was most recently hailed by Opera News: “the sonorous baritone Feulien cut a terrifying figure as a wolfish, analytical Scarpia.” This season he sang Payador in Piazzolla’s María de Buenos Aires with Opera San Antonio, a role that he recently performed at the Theatro Municipal de São Paolo and with the Atlanta Opera. Feulien also performed as Zurga in Les pêcheurs de perles at the Teatro Colón in Argentina. With New York City Opera he sang Silvio in Pagliacci and Marcello in La Bohème in the Bryant Park Summer Series. Signature roles performed in the United States, Europe, Asia, and Latin America include Scarpia (Tosca), Silvio (Pagliacci), Belcore (L’elisir d’amore), Count Almaviva (Le nozze di Figaro), Marcello (La Bohème), Sharpless (Madama Butterfly), Conte di Luna (Il Trovatore), Escamillo (Carmen), Herald (Lohengrin), Malatesta (Don Pasquale), title roles in Don Giovanni and Rigoletto, as well as Russian repertoire such as Eugene Onegin and Robert in Tchaikovsky’s Iolanta, among others.
Carl DuPont is an artist, innovator, and educator dedicated to Transformational Inclusion in the arts and Care of the Professional Voice. His “rich, nuanced baritone” (Columbus Underground) has held center stage in performances at the Glimmerglass Festival, Opera Carolina, Opera Columbus, Annapolis Opera Company, First Coast Opera, Toledo Opera, Opera Saratoga, Sarasota Opera, Cedar Rapids Opera, El Palacio de Bellas Artes, Opera Company of Brooklyn, The IN Series, Carnegie Hall, the Kennedy Center, and Leipzig Opera. His articles can be found in The Laryngoscope and the Voice and Speech Review. DuPont can be heard on the world premiere recordings of the Caldara Mass in A Major, The Death of Webern, and his solo album, The Reaction. He is currently an associate professor of voice at the Johns Hopkins University’s Peabody Institute and Artistic Director of the Washington National Opera Institute at the John F. Kennedy Center for the Performing Arts.
Alexander Boyd, Schaunard
Currently based in Tampa, Florida, Alexander Boyd recently appeared as Escamillo (Carmen) with the Glacier Symphony, Don Pizarro (Fidelio) with St Petersburg Opera, and Sharpless (Madama Butterfly) with Teatro Lirico D'Europa. Alex has received scholarships from both the Bradenton and Sarasota Opera guilds in Florida, placed second in the New York Lyric Opera’s 2016 vocal competition, and was a semifinalist in Opera Tampa’s 2019 D’Angelo Young Artist Vocal Competition and the Mildred Miller 2018 Vocal Competition. Other performance highlights include Scarpia (Tosca) and Bruschino (Il signor Bruschino) with Sarasota Opera, Tonio (Pagliacci) and King Melchior (Amahl and the Night Visitors) with St. Petersburg Opera, The Imperial Commissioner (Madama Butterfly) with Tulsa Opera, Donner (Das Rheingold) and Robert Redgate (Mr. Rogers’ Operas) with Pittsburgh Festival Opera, Monterone (Rigoletto) with Opera Project Columbus, Mr. Gobineau (The Medium) with Opera Maine, and Don Basilio (Il Barbiere di Siviglia) with Kenosha Opera Festival.
Joseph Rescigno ( Conductor )
Joseph Rescigno has conducted music spanning from Bach through the modern era for companies on four continents. Permanent engagements have included the Florentine Opera Company of Milwaukee, WI, where he served as Artistic Advisor and Principal Conductor for 38 seasons beginning in 1981. He has also been Music Director of La Musica Lirica since 2005. As a guest, he has mounted the podium of more than 50 companies such as the Montreal Symphony and New York City Opera (debut 1985). Maestro Rescigno’s discography includes two operatic world premieres and studio recordings of operatic and symphonic works. The University of North Texas Press published his Conducting Opera: Where Theater Meets Music in 2020. A native New Yorker, Joseph Rescigno comes from a long line of musicians on both sides of his family. He trained as a pianist and has studied and performed music since childhood.
Michael Capasso ( Director )
Michael Capasso is the General Director of the New York City Opera. He has produced, directed, and toured opera and musical theater productions in the U.S. and abroad for 40+ years. In June of 2014, he led the successful effort to bring the New York City Opera out of bankruptcy. The revitalized New York City Opera returned to the stage in January 2016 with a celebratory production of Tosca. In 1981, he, along with Diane Martindale, founded New York’s Dicapo Opera Theatre. Over the 30 years of his leadership, Dicapo Opera Theater presented myriad diverse programming to the New York public. In addition to his work with the Dicapo Opera Theatre, Mr. Capasso has directed operas at l’Opéra de Montréal, Mallorca Opera, Toledo Opera, Connecticut Opera, New Jersey State Opera, Opera Carolina, and Orlando Opera among others. Mr. Capasso founded the National Lyric Opera in 1991, a touring company that has brought fully staged operas to communities in the American Northeast.
Kathryn Olander ( Pianist and Music Coach )
Recently hailed by Opera News for her “impressive playing,” Kathryn Olander is a frequent assistant conductor/pianist with New York City Opera as well as many regional opera houses. In addition to coaching privately she has held coaching positions with the Juilliard School of Music, Manhattan School of Music, and Chautauqua Institute. An avid recitalist, highlights include performances at Carnegie Hall’s Weill Hall and Zankel Hall, The Appel Room at Jazz at Lincoln Center, The Metropolitan Museum of Art, Bryant Park's concert series, the Hungarian Consulate of New York and the Polish Consulate of New York, and Bechstein Hall. Ms. Olander is a regular pianist with Reaching for the Arts and Opportunity Music Project, specializing in bringing music to underserved communities and Creative Stage. Ms. Olander began teaching piano at Northeastern University while earning her Bachelor of Music in Piano Performance at New England Conservatory and has since maintained a studio of private piano students.