Tatev, native of Yerevan, Armenia, is making her mark in the US with her “warm and unique sound” and “soaring top notes.”
She recently earned third place in The Premiere Opera Foundation International Vocal Competition after receiving an Encouragement Award from the Georgia District of The Metropolitan Opera Laffont Competition. In 2021, Tatev returned to Teatro Nuovo as a Studio Artist where she covered the role of Berta in the first post-pandemic, full-cast, live concert production of Il barbiere di siviglia in NYC. As an Apprentice Artist with Sarasota Opera, Ms. Baroyan appeared as Papagena in Die Zauberflöte. Other operatic roles include: Alaide study-cover (La Straniera) with Teatro Nuovo, Nuri cover (Tiefland) with Sarasota Opera, the title role in Le nozze di Figaro, Adele (Die Fledermaus) with Komitas Conservatory, Zerlina (Don Giovanni), and others. Some partial roles she has sung during her studies in the Komitas Conservatory: Manon (Manon), Nanetta (Falstaff), and Musetta (La bohème). In 2019, she was the winner of the Florida District of The Metropolitan Opera National Council Auditions. In concert, she has performed the B Minor Mass (Bach) at the Church of St. Hagob, Exultate Jubilate (Mozart), and has been featured in Stabat Mater (Rossini).
Lisa Chavez was most recently seen with NYCO in a “star turn” as Maggie in the premiere of Bell’s Stonewall. Other roles performed with the company include the title role in Dolores Claiborne, Paula in Florencia en el Amazonas, the title role in Carmen, and she was also involved in the Hal Prince production of Candide. She has been described as possessing a “plush storm of a voice” and for being “a powerhouse vocally and emotionally.” Other recent performances include Dido in Dido and Aeneas, the title role in Carmen, Rosina in Il Barbiere di Siviglia, Fenena in Nabucco, and Madame de Criossy in Dialogues of the Carmelites with Sarasota Opera. For the 2013-2014 and 2014-2015 season she was a principal resident artist with Opera San Jose. Roles sung with Opera San Jose include: Isabella in L’Italiana in Algeri, Donna Elvira in Don Giovanni, Hansel in Hansel and Gretel, Maddalena in Rigoletto, Harriet Herriton in the professional premiere of Where Angels Fear to Tread, Suzuki in Madama Butterfly, Meg Page in Falstaff, and Third Lady in Die Zauberflöte. Lisa returned in 2016 as a guest artist in the title role of Carmen. Memorable roles include; Amneris in Aida, Elizabeth Proctor in The Crucible (telecast live on Mezzo TV), Federico García Lorca in Ainadamar, Dinah in Trouble in Tahiti, Secretary in The Consul.
Mark Delavan, a singer of “incisive vocal power and fierce theatrical acuity,” is sought after throughout the United States and Europe for the most demanding roles in his operatic repertoire. He regularly appears in the title roles of Der fliegende Holländer, Falstaff, and Rigoletto, and as Iago in Otello, Scarpia in Tosca, Jochanaan in Salome, and Amonasro in Aida. In addition, as a strong character actor on stages throughout the country, he has proved himself a crossover artist of immense skill, starring as Phil Arkin in Milk and Honey with York Theatre Company, to critical acclaim. This season, Delavan returns to Maryland Lyric Opera for the title role in Falstaff, and the Dallas Opera as Father in Hansel and Gretel. He will also return to Dallas Symphony in 2024 as Wotan in their concert performances of Der Ring des Nibelungen.
Praised by the New York Times for her “bright, sizable and expressive voice,” Mexican-born American soprano Kristin Sampson’s 2020-2022 engagements include a guest artist appearance and debut with the Kauno Filharmonijain in Lithuania under the baton of Maestro Constantine Orbelian, a company debut with Opera Grand Rapids as Liù in Turandot, role debuts as Marguerite in Faust and Musetta in La bohème with the Washington Opera Society, featured soloist with the Phoenicia International Festival of the Voice, and summer concert performances with New York City Opera. Ms. Sampson is a two-time recipient of a grant from the Olga Forrai Foundation and has performed with the New York City Opera, Opera Carolina, Santa Fe Opera, Opera Orchestra of New York, Dicapo Opera Theatre, Augusta Opera, El Paso Opera, and the National Lyric Opera among others; and internationally with the Teatro del Giglio in Lucca, Teatro Goldoni in Livorno, Teatro Verdi in Pisa, Magyar Tavak Fesztiválja, Opera Society of Hong Kong, Armel Opera Festival, National Theater of Szeged, Teatro Municipal de Santiago, and Teatro dell'Opera di Roma. Signature roles include Minnie in La fanciulla del West, Tosca in Tosca, Cio-Cio-San in Madama Butterfly, Mimì in La bohème, Nedda in Pagliacci, Adriana Lecouvreur in Adriana Lecouvreur, and Liù in Turandot. www.Kristinsampson.com
Victor Starsky is a native of Richmond Hill, New York, where he has learned and practiced his craft as a teacher, martial artist, and professional musician. Mr. Starsky was a participant of the 2019 Merola Opera Program and a 2020 San Francisco Opera Adler Fellow where he gratefully received the prestigious Shoshana Foundation’s Richard F. Gold Career Grant. Victor performed the role of Lt. B.F. Pinkerton in Madama Butterfly with Long Island Opera and made his role debut as the Duke in Verdi’s Rigoletto at Opera Modesto. In February 2020, he performed the role of Don José in his company debut with Opera Tampa. Opera Today writes: ”Victor Starsky's Don José is terrifying and compelling, with a voice that performs vocal acrobatics with strength and beauty that remains undiminished through his final line." Victor made his Carnegie Hall debut in April 2019 as the tenor soloist in Haydn’s Lord Nelson Mass. In 2018, he traveled to Italy to perform the role of Alfredo in La Traviata, conducted by Audrey Saint-Gill. Victor sang Il Postiglione in La Fanciulla del West and Rodolfo in La Bohème with New York City Opera, and Tony in West Side Story with Opera North. In 2014, Mr. Starsky received the honor of a lifetime to perform the role of The Celebrant in Leonard Bernstein’s MASS with its premier conductor, Maestro Maurice Peress. Victor is blessed beyond expression to be a proud father and husband.
Michael Capasso ( Emcee )
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 over 30 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 a 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 ( Music Director and pianist )
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.