Katherine Doe is an active performer and teacher based in New York City. She recently appeared as the mezzo soloist in Bernstein's Symphony No. 1 and Songfest with the Queens College Symphony Orchestra, the alto soloist in Mozart's Requiem with the Queens College Choral Society, and made her international debut as alto soloist in Bach's St. John's Passion in Japan. This season she sang as Cherubino in Le nozze di Figaro with New York Opera Forum, and the Mother in Amahl and the Night Visitors with the Queens College Classical Singers Club. She will soon appear as Second Lady in Die Zauberflöte with the Queens College Opera Ensemble and the title role in Rinaldo with New York Opera Forum. She is a founding member of Os Ensemble, a choir specializing in new compositions.
Katy is currently completing her M.M in Classical Performance at the Aaron Copland School of Music, and studies voice with Sherry Overholt.

Liz Bouk is a transgender man, living his life as a man in a female body. Pants roles afford Liz the opportunity to express his inner truth with his “silky mezzo” (New York Times): as Octavian, Komponist, Orlovsky, and now as Tristan Tzara! Liz is equally drawn to -and has won acclaim for- roles featuring women driven to extremes, from Lucretia to Carmen. Opera News praised Liz’s “impressive firmly-grounded contralto” as the cast-aside but merciful wife, Augusta Tabor, in Utopia Opera’s The Ballad of Baby Doe. He recently brought to life Fosca, a woman trapped by circumstances, society, gender, and her physical appearance, in Sondheim’s Passion. Liz has been featured in new works with Gramercy Opera, The Society for New Music, Anonymous Ensemble, and The Center for Contemporary Opera. With OperaRox Productions this August he will create the agender role of Eusebuis in Ghost Variations with music by Tony Manfredonia and libretto by Aiden Kim Feltkamp. www.lizbouk.com 

Mezzo-Soprano Linda Collazo is a graduate of the Aaron Copland School of Music. In 2018, she was the soloist in Mozart’s Requiem with the Forest Hills Choir, covered the role of Meg in Falstaff in Martina Arroyo’s Prelude to Performance, and played Dinah in Bernstein’s Trouble in Tahiti and Cherubino in Le Nozze di Figaro at Queens College. She has performed as La Cesca in Gianni Schicchi with “Si parla, si canta” and Prince Orlofsky in Die Fledermaus with the Queens College Opera Theater. Linda has won the Friday Woodmere Music Club’s Young Artist Competition in 2018 and the Bronx Arts Ensemble Young Artist Contest in 2016. She won honorable mention in the Five Towns Music Competition, and was a finalist in the Civic Morning Musicals and the NY International Voice Competitions. In the Winter of 2019, Linda will be an Apprentice Artist at the Sarasota Opera. Linda is from the Bronx and is a student of Sherry Overholt.

Mezzo-soprano Linda Collazo se graduó en la Escuela de Música Aaron Copland. En 2018, fue solista en Requiem de Mozart con el Coro de Forest Hills, cubrió el papel de Meg en Falstaff en Prelude to Performance de Martina Arroyo, y interpretó a Dinah en Trouble de Bernstein en Tahiti y Cherubino en Le Nozze di Figaro en Queens College. Ha actuado como La Cesca en Gianni Schicchi con "Si parla, si canta" y el Príncipe Orlofsky en Die Fledermaus con el Teatro de Ópera de Queens College. Linda ganó el Concurso de Jóvenes Artistas del Viernes Woodmere Music Club en 2018 y el Concurso de Jóvenes Artistas del Bronx Arts Ensemble en 2016. Obtuvo una mención honorífica en el Concurso de Música de Five Towns, y fue finalista en los Civic Morning Musicals y en el Concurso Internacional de Voz de Nueva York. . En el invierno de 2019, Linda será una aprendiz de artista en la Ópera de Sarasota. Linda es del Bronx y es estudiante de Sherry Overholt.

Noted for her lyrical pathos and comedic flair, mezzo-soprano Brittany Fowler has been praised by the New York Times for her “dynamically fluid characterization”. Recent engagements include Dorothy Hindman’s Pillowbook Fresh Squeezed Opera, Venere in the Cantanti Project’s Euridice, the alto soloist in Buxtehude’s Membra Jesu Nostra in Pennsylvania, La Beata Vergine in Sances’ Le Lachrime di San Pietro with the New York Continuo Collective, and First Lover/Evil Tongue 2 in a workshop of Kate Soper’s The Romance of the Rose. Her operatic roles include Larina (Eugene Onegin), Ottavia (L’incoronazione di Poppea), Meg (Little Women), The Mother (Amahl and the Night Visitors), and La Musica (L’Orfeo). She received her BA in Music and Italian Studies from Wesleyan University; her training includes young artist residencies with the Boston Early Music Festival and Opera North as well as studies at the University of Bologna in Italy.

Mezzo-Soprano Kirsti Esch is a versatile musician garnering notice for her interpretations of Baroque and Wagnerian repertoire. Roles include: Arnalta (L'Incoronazione di Poppea, Trentino Music Festival), Gerhilde (Opera Company of Brooklyn) and Waltraute (NYLOT) in Die Walkure, The Mother (Hansel and Gretel, Opera Oggi), Nireno (Giulio Cesare, Hawaii Performing Arts Festival), Laura (Iolanta, Opera Slavica), King Ajax I (La Belle Hélène, Opéra du Périgord), Mae Jones (Street Scene, Mittelsächisches Theater).  Miss Esch has also been seen in concert in NYC (with Lauren Flanigan), Minneapolis (Minnesota Opera), London (Royal College of Music), Boston (Symphony Hall), Germany, France, and Iceland. Miss Esch is a graduate of Boston University. She currently studies with Bill Neill, and resides in Brooklyn.

Praised for her "agile and stylish" coloratura (Entertainment Hour), Allison Gish is a mezzo-soprano based in NYC.  She has made a number of role and company debuts this season, including Zita in Gianni Schicchi with ARE Opera and as Kathleen O’Fallin in Ricky Ian Gordon’s Morning Star with Onsite Opera, and she will join Cantanti Project for a second season as Mrs. Prin/Wine Mom in the world premiere of Felix Jarrar’s Tabula Rasa. She will also debut with Ars Musica as alto soloist in Rachmaninov’s All Night Vigil and Bach’s Mass in B Minor.  This summer, she will sing Lisotta in the American premiere of Salieri’s La Cifra (dell’Arte Opera Ensemble), the title role in Cavalli’s La Didone (Haymarket Opera Company) and Junon in Lully’s Cadmus et Hermione (Amherst Early Music Festival). Ms. Gish is a recent graduate of the Professional Studies Diploma program at Mannes College and completed her Bachelor of Music at Louisiana State University.

Mezzo-soprano Tara Gruszkiewicz has been praised for her “dusky, haunting timbre” and “magisterial delivery.” This season, Tara debuted as Schwertleite in Wagner's Die Walküre with the Tianjin Symphony Orchestra. During the past two years, Tara has expanded her opera and concert career to China, at venues including the NCPA in Beijing, the Shanghai Symphony Hall, the Tianjin Concert Hall, the Jiangsu Grand Theatre in Nanjing, and the Suzhou Arts & Culture center, as well as on CCTV and Jiangsu TV. Stateside and abroad, Tara’s has performed Zita (Gianni Schicchi), Bradamante (Alcina), La zia principessa (Suor Angelica), Sesto (La clemenza di Tito), Erste Norn (Götterdämmerung), Hänsel (Hänsel und Gretel), Le prince charmant (Cendrillon), La tasse chinoise (L’enfant et les sortilèges), Miss Todd (The Old Maid and the Thief) and Nettie Fowler (Carousel) at venues including Carnegie Hall, The Dimenna Center, Lincoln Center, and Symphony Space. Tara holds a Masters Degree from the Manhattan School of Music.

Known for her "hook-drenched, danceable, optimistic pop songs," Petra Jarrar has taken the music world by storm. The "Glamour Girl" singer has performed with "swagger" all over the world including sold out shows such at Knitting Factory, Webster Hall, The Cutting Room, Hard Rock Cafe (Osaka), and Mint LA. On top of fronting her own band and opening for pop stars such as Drake Bell, she's well known for staying true to her classical roots and embracing her love for opera on the stage. Since beginning work with her brother, Felix, and collaborative partner Brittany Goodwin, Petra has appeared in every world premiere of Jarrar/Goodwin's productions including The Fall of the House of Usher (Marlboro College, Dimenna Center, Jazz Gallery), A Christmas Carol (Montauk Club), and Songs of the Soul Beams (BAM Fisher Hillman Studio, (le) Poisson Rouge). Currently, Petra is in the process of recording her debut album and will be touring the USA throughout the summer. 

Heather Jones is an American mezzo who blends seamless technique with “mischievous freshness and enthusiasm” to create vulnerable and relatable characters across languages and eras. To that end, Heather recently performed contemporary works in collaboration with Opera Fayetteville (2018 Contemporary Opera Festival), the Albany Symphony (“Preach Sister, Preach” by Evan Mack), Sign & Sing ASL (world premiere of “Universal Drum” by Brad Balliet for singers, 27-piece percussion, and Deaf Actors), and American Lyric Theatre (opera workshops facilitated by Mark Adamo); and brought new life to old favorites with Opera Company of Middlebury (L’elisir d’amore set in a 1920s speakeasy), Opera Philadelphia (Carmen), and Opera Louisiane (The Magic Flute). Heather has received training from Opera Saratoga, Seagle Music Colony, Bel Canto at Caramoor, The CoOPERAtive Program, Westminster Choir College, and Mannes School of Music, and is thrilled to work with Cantanti Project again after joining them for their 2018 summer retreat.

Heather Jones es una mezzo estadounidense que combina una técnica perfecta con "frescura y entusiasmo traviesos" para crear personajes vulnerables y contables en todos los idiomas y épocas. Con ese fin, Heather realizó recientemente obras contemporáneas en colaboración con Opera Fayetteville (2018 Contemporary Opera Festival), Albany Symphony ("Preach Sister, Preach" de Evan Mack), Sign & Sing ASL (estreno mundial de "Universal Drum" de Brad Balliet para cantantes, percusión de 27 piezas y actores sordos, y American Lyric Theatre (talleres de ópera facilitados por Mark Adamo); y trajo una nueva vida a los viejos favoritos con la Opera Company of Middlebury (L'elisir d'amore ambientada en 1920), Opera Philadelphia (Carmen) y Opera Louisiane (The Magic Flute). Heather recibió capacitación de Opera Saratoga, Seagle Music Colony, Bel Canto en Caramoor, The CoOPERAtive Programme, Westminster Choir College y Mannes School of Music, y está encantada de trabajar nuevamente con Cantanti Project después de unirse a ellos en su retiro de verano de el 2018.

Originally from Paris, Texas, and now a resident of New York, Alaina Logee has sung with several companies city-wide performing roles such as the Countess in Le Nozze di Figaro and the title role of Suor Angelica with New York Lyric Opera. She has been seen in Des Moines Metro Opera, Sarasota Opera, and Siena Summer Music Festival. Miss Logee is a graduate of Texas Tech University and is currently a student of Mark Oswald. Upcoming performances include Haydn’s Lord Nelson Mass with the Cornerstone Chorale as the Alto soloist and as Third Lady in Mozart’s Magic Flute in Weimar. This is her fourth appearance with Cantanti Project.