Soprano Christina Kay is a versatile singer with a particular enthusiasm for early and contemporary music. She was recently seen as Daphne in David Chesky’s new satirical opera, La Farranucci, and as Lead Singer in Petr Kotik’s chamber opera, Master-Pieces, for which she was praised for portraying a “vital, intelligent, generous and deeply rewarding” Gertrude Stein. Christina has enjoyed collaborations with Wisconsin’s Fresco Opera Theatre, where she premiered the role of Young Clara in a new dramatic production about Clara Schumann, featuring the music of the Schumanns and Brahms. She also appeared with Fresco as Gretel in a garage opera outreach of Hansel and Gretel, and as a Mermaid-Alien in a Star Wars-themed Rinaldo. Other roles include Dalinda in Ariodante, Second Woman and First Witch in Dido and Aeneas, and First Spirit in Die Zauberflöte. An active soloist and chorister, Christina has sung with many professional groups and enjoys her weekly position at Fifth Avenue Presbyterian Church.

New York based soprano Rachel Duval has made a name for herself as an unconventional classical performer. A former trapeze artist and internationally acclaimed performance poet, Ms. Duval performed on Spanish National Television singing Puccini, German local television as the featured poet at the German National Slam, and was honored to be part of the world premier of the hip-hopera Stomping Grounds at The Glimmerglass Festival in 2017. Rachel sings both lyric soprano and baroque mezzo soprano roles, including: Damon in Acis and Galatea (Westchester Baroque Festival), Rosalba in Florencia en el Amazonas (Opera Steamboat), Angelica in Händel’s Orlando (Cantanti Project), and Sarah in Kamala Snkaram’s virtual reality opera The Parksville Murders (Opera On Tap). Last spring, Rachel made her off-Broadway debut singing Queen Vashti in The Queen’s Dilemma at the prestigious Center for Jewish History. Ms. Duval also works as an Executive Speaker Coach and voice teacher, and is a full time mother of two.

Soprano Mithuna Sivaraman is thrilled to make her role debut as Clizia with Cantanti Project. Since relocating from San Francisco in 2018, she performed the role of Drusilla (L’incoronazione di Poppea) with New York Lyric Opera Theater, and appeared in the ensemble of New Camerata Opera’s double bill of Venus and Adonis/Savitri (she also covered the role of Savitri). Other roles include Belinda (Dido and Aeneas), Gretel (Hansel and Gretel), and First Spirit (Die Zauberflöte). Mithuna is also an experienced choral artist, and is singing her first season with Downtown Voices at Trinity Wall Street. Furthermore, Mithuna is extensively trained in Hindustani and Carnatic voice, with teachers including Ustad Vilayat Khan and D.K. Pattammal. In her non-singing life, Mithuna is a seasoned transfer pricing specialist with the international tax practice at Ernst & Young LLP. She graduated from the School of Foreign Service at Georgetown University in 2008, earned her JD from Emory Law in 2013, and is a California-licensed attorney.

María Brea, soprano, is a native of Caracas, Venezuela. This September 2018, Ms. Brea starts the season singing two recitals, the first one with Voces Unidas in New York City and the second one with the St. Hugh- Steinway concert series in Miami. María makes her debut at Opera Tampa in February 2019 singing the title role in the world premiere of Maestro Coppola’s Lady Swanwhite. She most recently sang the role of Nanetta in Falstaff with the Martina Arroyo’s Prelude to Performance. She performed Micaëla in Carmen with West Bay Opera 2018. She performed the role of the Bird in Glass-Moran’s Juniper Tree at Wolf Trap Opera. She won the first prize in the Giulio Gari Competition 2017 and New York Lyric Opera 2016. Ms. Brea also won second prize in the Gerda Lissner International Vocal competition 2017 and she received an Encouragement award from The Metropolitan Opera National Council, Connecticut District 2017 and The Gerda Lissner Lieder/ Song.

Maria Brea, soprano, es originaria de Caracas, Venezuela. Este septiembre de 2018, la Srta. Brea comienza la temporada cantando dos recitales, el primero con Voces Unidas en la ciudad de Nueva York y el segundo con la serie de conciertos St. Hugh-Steinway en Miami. María hace su debut en Opera Tampa en febrero de 2019 cantando el papel principal en el estreno mundial de Lady Swanwhite del Maestro Coppola. Recientemente, ella cantó el papel de Nanetta en Falstaff con Prelude to Performance de Martina Arroyo. Ella interpretó a Micaëla en Carmen con West Bay Opera 2018. Actuó como Bird in Glass-Moran 's Juniper Tree en Wolf Trap Opera. Ganó el primer premio en el Giulio Gari Competition 2017 y en New York Lyric Opera 2016. La Srta. Brea también ganó el segundo premio en el Gerda Lissner International Vocal Competition 2017 y recibió un premio de estímulo del Consejo Nacional de la Metropolitan Opera, Distrito de Connecticut 2017 y La Gerda Lissner Lieder / Cancion.

A recent graduate of Mannes School of Music and Yale University, New York-based soprano Marisa Karchin is establishing herself as a compelling and versatile performer of art song, opera and concert works. To begin the 2018-19 Season, she joins Dayton Opera as an Artist in Residence, and makes her Weill Recital Hall debut in recital as winner of the 2018 Joy in Singing International Art Song Competition. Last season, Marisa was featured in a new production of Moto Osada’s Four Nights of Dream in NYC and Tokyo, and also performed with the Light Opera of NY, the Canadian Vocal Arts Institute, and the Chelsea Music Festival’s “Bach 333” series. Other recent roles include Angelica in Orlando (Cantanti Project), Shirley Temple in Robert Ashley’s DUST (Mannes), and Nanetta (cover) in Falstaff (Opera Saratoga). An avid interpreter of new music, Marisa has recently been featured with the Washington Square Contemporary Music Society, Lehigh University’s Very Modern Ensemble, and Venice’s Plurimo Ensemble.

Marisa Karchin, soprano de Nueva York y recién graduada de la Mannes School of Music y la Universidad de Yale, se está convirtiendo en una intérprete versátil y convincente de obras de arte, ópera y conciertos. Para comenzar la temporada 2018-19, se une a Dayton Opera como artista residente, y hace su debut en el Weill Recital Hall en un recital como ganadora de la competencia de 2018 Joy in Singing International Art Song. La temporada pasada, Marisa apareció en una nueva producción de Four Nights of Dream en Nueva York y Tokio compuesta por Moto Osada, y también actuó con la Light Opera de NY, el Instituto de Artes Vocales de Canadá y la serie "Bach 333" del Chelsea Music Festival. Otros papeles recientes incluyen Angélica en Orlando (Proyecto Cantanti), Shirley Temple en DUST (Mannes) de Robert Ashley y Nanetta (suplente) en Falstaff (Opera Saratoga). Una ávida intérprete de la nueva música, Marisa ha sido presentada recientemente con la Washington Square Contemporary Music Society, Very Modern Ensemble de Lehigh University y Plurimo Ensemble de Venice.

Soprano Angela Dixon is faculty of music at Ethical Culture School in Manhattan and holds a certificate in the Kodály method of music education. She currently studies voice with Hilda Harris, professor of music at the Manhattan School of Music. Angela holds a Bachelor of Musical Arts in voice performance from the University of Michigan, where she studied with Emeritus Dean Willis Patterson. Patterson compiled the Anthology of Art Songs by Black American Composers with Angela organizing and distributing this landmark song collection. Angela holds an M.A. in dance history and cultural studies from New York University. She combined her love of music and dance in her Masters thesis performance, exploring the intersection between flamenco and African-American music as she delved into the poetry of Langston Hughes and Federico Garcia Lorca. She is the proud mother of two daughters Luna (4) and Rose (1) and enjoys making music with them and her husband David.

Coloratura soprano Jane Hoffman is a true singing actor who brings an engaging stage presence and expressive voice to a variety of repertoire. She has performed with the Victor Herbert Renaissance Project, New Camerata Opera, Pasadena Opera, Utopia Opera, and the Emerald City Opera Artist Institute. She has sung roles such as Elizabeth ‘Baby Doe’ Tabor, Adele, Olympia, and Le Feu (Ravel). Jane is particularly in demand as a performer of new works; she has premiered multiple works as a Core Company Resident with the Fresh Squeezed Opera Company, and she recently premiered scenes from The Contract Player with OperaRox Productions. She is also a member of the chamber music duo Reed & Word. Jane is an alumna of Sarah Lawrence College and the Manhattan School of Music, and is currently a student of David Jones. She is thrilled to be a part of this concert, which will be her second appearance with Cantanti Project.

French-Argentinean Soprano Eugenia Forteza has been praised for her “soulful mood” (Opera Wire) and “fine tone and spirited acting” (Voce di Meche). Eugenia was a Finalist and Opera Role Prize Winner at the 2017 Concorso Internazionale di Canto Katia Ricciarelli in Cerisano, Italy. Recent career highlights include the role of Christmas Past in A Christmas Carol by Jarrar-Goodwin with Gramercy Opera, La Suora Infirmiera in Suor Angelica with IVAI NYC and De Falla’s Siete Canciones Populares Españolas in Philadelphia. The summer season will take Eugenia to Italy, Colombia, and Canada for various projects. Eugenia is thrilled to be working with Jarrar-Goodwin again and to be a part of the original cast of Tabula Rasa. Eugenia is based in NYC, where she is a roster singer with Opera on Tap, the founder of 360° of Opera, and part of the Shoperatic and Lenny’s Studio PR teams. Please visit www.eugeniaforteza.com for more information and follow along on social media at @fortezaeugenia and @360ofOpera.

Praised for her “brilliant sound” (San Francisco Classical Voice), and “silver tone” (The Reading Eagle), soprano Fiona Gillespie Jackson has appeared as a soloist and chorister with such ensembles as Apollo’s Fire, Skylark Ensemble, Mountainside Baroque, Kinnara Ensemble, The Bach Choir of Bethlehem, The Crossing, Ensemble VIII, The Reading Symphony Orchestra, the Bach Vespers at Holy Trinity Lutheran, AMPERSAND, Inwood Consort, The Denton Bach Society, the Williamsport Symphony Orchestra, and Bricolage Project (founder). Recent on- and off-stage credits include Miles in Benjamin Britten’s The Turn of the Screw and AD/Sound Technician/Props for Menotti’s The Old Maid and the Thief with Opera Modo in Detroit, MI; the title role in Lully’s Armide with EnsembleOrquesta in the UK; Director of Humperdinck’s Hansel und Gretel at Lycoming College. Fiona teaches voice at Muhlenberg College in Allentown, PA, and has presented workshops on Early Music and small ensemble singing at The Conservatory of Puerto Rico in San Juan, and at the University of Hawa’ii in Honolulu.

Elyse Anne Kakacek is an award-winning soprano said to be “a stand out performer”(OperaNews) with a “sparkling soprano voice” (ChicagoHerald). She has performed over 30 operatic roles, some favorites including Norina in Don Pasquale, Gretel in Hansel und Gretel, Susanna in Le nozze di Figaro and Pamina in Die Zauberflote. An advocate of new works, Ms. Kakacek premiered 6 Flash Operas with Experiments in Opera last year, working closely with composers and librettists (from THE NEW YORKER and Saturday Night Live). She has sung in venues such as Carnegie Hall, Symphony Space, Preston Bradley Hall, La Mama Experimental Theatre, and Cornelia Street Café. In May, she will rejoin Experiments in Opera to premiere Matthew Welch’s new opera And Here we Are at National Sawdust. She is a proud recipient of The Lynne Harvey Foundation Scholarship from the Musician's Club of Women. Please “like” her on Facebook for schedules and updates!  

Soprano Sangying Li is originally from Hunan, China. Li completed a Bachelor's Degree in Music Education from Central China Normal University and a Master's Degree in vocal performance from Temple University in Philadelphia. After seeing her perform in Philadelphia's Academy of Vocal Arts Russian Opera Workshop, classical music critic Marakay Rogers remarked that Li "demonstrated magnificent voice and a controlled vibrato along with a clear understanding of what she was singing." Since moving to New York City, she has performed operatic roles such as Olympia (Tales of Hoffman), the Sandman and the Dew Fairy (Hansel and Gretel), and Barbarina (The Marriage of Figaro). Through her participation in New York Lyric Opera Theatre's Summer Program, she performed on three of New York's most distinguished stages, including the Lincoln Center, Carnegie Hall, and National Opera Center. When not working her technique and repertoire, she enjoys cooking, fashion and heavy metal.

Soprano Rebecca Richardson has performed throughout the United States as well as in Germany, Austria, the Czech Republic, and Australia and has made appearances in such musical landmarks as Carnegie Hall, the Sydney Opera House, and Smetana Hall. Rebecca recently made her Cantanti Project debut as the Jazz Singer/ Lee Miller in the world premiere of Tabula Rasa, a jazz opera written by Felix Jarrar and Bea Goodwin. Past roles and scenes include L’Éternita/ Furia in La Calisto, Helena in A Midsummer Night’s Dream, Manon in Manon, Magda in La Rondine, Pamina and First Lady in Die Zauberflöte, Marguerite in Faust, Donna Elvira in Don Giovanni, Beth in Little Women, and Jay in Cunning Little Vixen. Accomplished in early music and oratorio, Rebecca has performed such masterpieces as selections from Monteverdi’s Eight Book of Madrigals, Bach’s Cantata BWV 120, Haydn’s Lord Nelson Mass, Mozart’s Requiem, Fauré’s Requiem, and Rutter’s Requiem.

Soprano Laura Snyderman prides herself in performing a variety of styles, from Aperghis to J.S. Bach. Laura sang Gilda in an excerpt of Rigoletto with the Ashdod Symphony Orchestra in Jerusalem. She debuted Julia in the world premiere of Moshe Zorman’s opera Albert, and Chloe in an “outstanding performance” of Thomas Whitman’s revised chamber opera, Sukey in the Dark. Other credits include Suor Dolcina in Suor Angelica with Bel Cantati Opera, Barbarina in Le nozze di Figaro under the baton of Keith Chambers, and Papagena in Die Zauberflöte under the direction of Benoit Renard with Manhattan Opera Studio. She was a featured artist with the Smithsonian Institute Fabergé Egg and Russian Romance Seminar, the Union Square Chamber Art Series, the Sowebo Arts and Music Festival, and Blank Space Baltimore. Recently, Laura’s performance of Alban Berg’s “Die Nachtigall,” was presented twice on Maryland PBS. Laura recently completed her education at the Peabody Conservatory in the studio of Elizabeth Futral.

Soprano Joyce Yin, praised by New York Concert Review for singing with an “otherworldly quality,” brings a committed physicality and depth of emotional connection to the stage. This season, Joyce sings the Pergolesi Stabat Mater, Libby Larsen’s Try Me Good King, and Clara Schumann’s Sechs Lieder. A performer whose “deft characterization” is “matched by her fearless singing” (Entertainment Hour), Joyce particularly enjoys exploring the nuances of determined women such as Susanna (Le nozze di Figaro), Morgana (Alcina), and Gilda (Rigoletto). Recent highlights include Ines in Donizetti’s La Zingara with Amore Opera, Linfea in La Calisto with dell’Arte Opera Ensemble, the title role in Caccini’s Euridice with Cantanti Project, and her debut with the Buffalo Philharmonic as the soprano soloist in the Messiah. Joyce is a winner of the Met Auditions Audience Choice Award and the Musical Merit Foundation of San Diego. She graduated with her M.M. in Opera Performance from Arizona State University. Please visit www.joyceyin.com and @joycesings for updates.

Core Artist and Artistic Director

Soprano Sara Lin Yoder’s midwestern work ethic coupled with 37 years of combined performance experience across 4 different instruments makes her an impeccable musician and a dynamic storyteller. Sara Lin’s “arresting dignity and presence that grips both the eye and the ear” entranced audiences in her performances in the title role of L’incoronazione di Poppea. Her knack for comedy in the roles of Despina (Cosi fan tutte), Clorinda (La Cenerentola), and Ida (Die Fledermaus) left audiences roaring with laughter, while heart-warming renditions of Nanetta (Falstaff), Constance (Dialogues of the Carmelites), and Laurie (The Tender Land) brought them to tears. Sara Lin’s interest in new music was discovered in 2012 while workshopping the role of Jessica in Aldridge/Garfein’s production of Sister Carrie. Since then, she has workshopped Aschera in Kerer/Mazzola’s Apocalypse: Now and Then, Susan in Redler/Campbell’s A Song for Susan Smith,  and Mary in Heggie/Scheer’s It’s a Wonderful Life. Sara Lin lives in New York City.