Our Fourth Annual Feast
10-Minute Operas with food and drink
October 26-28, 2018 at Longy School of Music of Bard College
in partnership with
People Love Opera Bites!
"Delightfully thought-provoking and fun...a delicious program celebrating life’s sweetest and sometimes most sour moments with cleverness and heart."
"The snappy selection of short-form pieces was very palatable to the viewer. From a love triangle amongst goddesses and mortals to a fetus’ existential crisis in utero, each “bite” had a different flavor."
"Boston Opera Collaborative struck gold again with this refined selection of short and sweet works."
Boston Opera Collaborative and Longy collaborate once again on an evening of opera and revelry in a cabaret-style setting. The seven short operas in this year’s production include six brand new commissions and one U.S. premiere. Join us for an evening of short operas in English, accompanied by a small instrumental ensemble and served up with festive food and drink!
A Case of Anxiety
Tony Solitro, composer. Mark Harvey Levine, librettist
based on the play by Mark Harvey Levine
Life is a dangerous business - there are so many ways you could die. The anxiety is almost enough to keep a person from living!
Marti Epstein, composer. Claudia Barnett, librettist
based on the play by Claudia Barnett
When a friend dies, it’s hard not to keep seeing her everywhere. And it’s even harder not to strike up a conversation with the woman who looks exactly like her.
Scott Wheeler, composer & librettist
based on the play by Don Nigro
In a forest outside of Athens, Puck and his gang of fairies face an existential crisis: what happens when nobody believes in fairies anymore?
The Battle of Bull Run Always Makes Me Cry
Jonathan Bailey Holland, composer & librettist
based on the play by Carole Real
Dating can be so awkward. Especially when that hot guy is – really?? – a Civil War fanatic.
Rachel J. Peters, composer & librettist
based on the play by Liz Bartucci
What if dogs, like cats, had more than one life? What if they came back as humans? What if that attractive guy at the party reminds you of your dearly departed pooch?!
Eva Kendrick, composer. Mark Harvey Levine, librettist
based on the play by Mark Harvey Levine
Ah, fortune cookies. A tasty and optimistic end to a Chinese meal. Unless your cookie’s fortune seems to have it in for you.
Sam Wilson, composer. Lila Palmer, librettist
1939: As two young sisters evacuate London by train at the start of World War II, they’re unaware of the ways their lives are about to diverge.
Cast & Creative Team
Soprano Megan is praised her dramatic and comedic presence on stage. The Boston Musical Intelligencer called her portrayal of Paquette in Lowell House Opera’s production of Candide "torchy." Recent engagements include La Fée (cover) in Cendrillon with Cambridge Chamber Ensemble, soloist for Boston Civic Symphony's Holiday Pops, Parpignol in MetroWest Opera's La Femme Boheme, and solo concerts on the Block Island Summer Concert Series. www.meganbisceglia.com
Hailed by Opera Today as a "polished, soaring soprano," Jennifer completed her masters in vocal performance at the New England Conservatory. A versatile vocalist and educator, Jennifer serves on the voice faculty of the NEC Preparatory School and School of Continuing Education. She regularly performs with Boston Opera Collaborative and Opera on Tap. She is currently pursuing her MBA in Music Business from Berklee College of Music and SNHU.
Baritone Junhan Choi, a native of South Korea, was recently awarded three special prizes at the 54th Viñas international voice competition in Barcelona which are ‘Mercedes Viñas’, ‘Victoria de los Ángeles’, and ‘Franz Schubert’. He also won 1st place in MetroWest Opera’s Vocal Competition and placed 4th with Audience Favorite prize at Rochester’s Classiac Idol Vocal Competition in 2017. Mr. Choi holds Master’s degree and Graduate Diploma from New England Conservatory of Music.
Carley DeFranco has been commended for her “stunningly exquisite, silvery smooth voice” (Melrose Free Press) and “warm, supple soprano” (Boston Musical Intelligencer). Recent credits include the title role in Alcina (Opera del West), Susanna in Le nozze di Figaro (Greater Worcester Opera), Yvette in La Rondine: Remix, Clara in a staged, immersive presentation of Fraunenliebe und Leben and From the Diary of Virginia Woolf (BOC). Carley received her MM from Longy School of Music of Bard College.
Praised for his “masterful acting” and “fine singing,” tenor Ethan DePuy brings his unique dramatic style to works ranging from the Baroque era to now. DePuy’s engagements have included work with Chautauqua Opera, Charlottesville Opera, Opera Sacra, Arizona State Lyric Opera Theater, Odyssey Opera, Brevard Music Center, and the Western New York Chamber Orchestra. A native of Rochester, NY, Ethan earned degrees in voice and opera performance from SUNY Fredonia and Arizona State University.
Soprano, Carina DiGianfilippo, is excited to return to BOC for a second season, having portrayed Musetta in Puccini’s La Bohème last season to great acclaim. This year, she will perform in Opera Bites, singing in a work by composer Jonathan Bailey Holland entitled Bull Run. Other Boston credits include Zerlina in Mozart’s Don Giovanni with Nempac Opera, a role she performed once before at the Estates Theatre in Prague under the direction of Sherrill Milnes. www.carinadigianfilippo.com
Mitch FitzDaniel, baritone, is a Boston-based singer originally from California. Highlights from past seasons include Hydrogen Jukebox (BU Opera Institute), Schaunard and Benoit/Alcindoro in La Boheme (BOC and Pittsburgh Festival Opera), and Charlie in Jake Heggie’s Three Decembers (FRINGEPVD). A passionate advocate for contemporary American song, Mr. FitzDaniel has sung for the New Music on the Point Festival (‘16), Fall Island Vocal Arts Seminar (‘17) and the Boston Art Song Society ('17).
Ann Fogler, mezzo-soprano, is Boston based. She has been featured as a young artist in the Bonfils-Stanton Foundation program at Central City Opera for the past two summers, and Ms. Fogler has performed as a soloist with Opera Hub, Boston Art Song Society, Old South Church, The Boston Conservatory, Opera in the Ozarks at Inspiration Point, OC Ars Vocalis Academy in Rome, Italy, and the Music Festival of the Adriatic in Duino, Italy.
Celeste Godin is pleased to return to Boston Opera Collaborative, having appeared last season as Mimi (La Bohème). She has also recently performed with Odyssey Opera and BYSO (chorus), MetroWest Opera (Miss Havisham in Miss Havisham's Wedding Night, Rodolfo in La Femme Bohème), Lowell House Opera (Echo, Ariadne auf Naxos), White Snake Productions (Ku cover, Gilgamesh), NEMPAC (Donna Anna, Don Giovanni) and Teatro Nuovo (Creusa cover, Medea in Corinto).
Mezzo-soprano Emily Harmon has appeared with companies including Pittsburgh Festival Opera, Boston Lyric Opera, Boston Youth Symphony Orchestra, Beth Morrison Projects, and MetroWest Opera. Favorite past operatic roles include Amastre (Xerxes), the Marquise de Merteuil (The Dangerous Liaisons), Dido (Dido and Aeneas), and the Old Lady (Candide). In concert, Emily has performed the alto solos in Beethoven’s Ninth Symphony, Handel's Messiah, Mozart's Requiem, and Arvo Pärt's Stabat Mater.
Soprano, Alyssa Hensel recent performances include: solo appearance with the Tanglewood Festival Chorus (Bernstein’s Chichester Psalms) Assistant B (Womb with a View), April #2 (Symposium), Vitellia (La Clemenza di Tito), Eliza (Dark Sisters) and Louisa Berry (A Letter to Vanguard, new commission). Hensel attended Oberlin Conservatory (B.M. ‘14, Voice) and The Boston Conservatory (M.M. ‘17, Voice). For more info and updates on her performance schedule, please visit: www.alyssahensel.com
This past season Stephanie Hollenberg appeared as Gretel (Hansel & Gretel) with Music Academy International, Leonora (The Beautiful Bridegroom) with MassOpera, Marguelonne (Cendrillon) with Cambridge Chamber Ensemble, and Holly (Rapture) in BOC’s Opera Bites, additionally covering Zerlina (Don Giovanni) with NEMPAC. Previously she performed Papagena (Die Zauberflöte) with MAI, Tibrino (Orontea) with Haymarket Summer Opera Course, Sandman (Hansel & Gretel), and Eva (An Embarrassing Position).
Wes Hunter, praised for his "drama, heart, and shining tone," most recently performed as Count Ory in Rossini's Le Comte Ory, Gastone in Verdi's La Traviata, Oronte in Handel's Alcina, Laurie in Adamo's Little Women, and Lindoro in Rossini's L'Italiana in Algeri. Hunter has also performed as a soloist in concert repertoire across the east coast including Mozart's Mass in C minor, Vaughan Williams' Serenade to Music, Handel's Messiah, Britten's Rejoice in the Lamb, and Schubert's Mass in G.
Mezzo-soprano Rebecca Krouner joins BOC for her second season, after singing Hannah After in As One and in Opera Bites last year. Rebecca was a resident artist at Opera San Jose and holds an MM from Manhattan School of Music and a BA from Brown University. Roles performed include Carmen, Komponist, Azucena and Orlofsky. She's performed locally with Odyssey Opera, MetroWest Opera, Lowell House Opera, Panopera, the Boston Civic Symphony, the Wellesley Symphony Orchestra, and Grand Harmonie.
American Baritone, Andrew Miller, is known for his "warm, robust baritone" and "fine comic sensibilities". Andrew made his BOC debut as Vicomte de Valmont in The Dangerous Liaisons. Previous credits include: Boston Midsummer Opera, Odyssey Opera, Opera Theater Cape Cod, OperaHub, NEMPAC Boston, The Boston Conservatory, Janiec Opera Company and Fort Worth Opera. Andrew trained at the Brevard Music Festival and completed his B.M. at The Boston Conservatory. Andrew is a native of Arlington, TX.
Soprano Tamara Ryan has been hailed by The Boston Globe as a "breathtakingly solid" soprano,” by the New England Theater Geek as "a performer of note," and by the Boston Musical Intelligencer as having "the comedic genius of Madeline Kahn" and a "captivatingly expressive strength.” The Cleveland Plain Dealer finds her "charming" and "fearless.”
Jean Anderson Collier works often with the Boston Opera Collaborative as a music director, coach, and pianist. She coaches opera, art song and diction at The Boston Conservatory at Berklee and also teaches at New England Conservatory. She is organist and choir director at St. Luke’s Episcopal Church in Scituate, and performs as a collaborative pianist in the US and Europe.
Katie Barr is an in-demand collaborative pianist, vocal coach, and teacher in the Boston area. Ms. Barr is making her Boston Opera Collaborative debut as music director and coach for Opera Bites. She is a studio accompanist at The Boston Conservatory at Berklee, and pianist with Harvard pro Musica and Opera on Tap. Previous credits include Brookline Symphony Orchestra, Boston Conservatory Opera, BoCoStOp, The Brookline Consort, Manitoba Underground Opera, and NEMPAC Opera Project.
Adrienne Boris (Stage Director) joins BOC for her fourth Opera Bites. Recently she co-produced and directed the world premiere of DIVAS, a new play with opera music by Laura Neill with OperaHub. She has also directed at Opera North, Opera Providence, Long Island Lyric Opera, NEMPAC, and others. Her production of Or, by Liz Duffy Adams, was recently nominated for three Elliot Norton Awards. MFA Directing, Boston University.
Ingrid Oslund is a queer, feminist theater maker with the goal of creating bold, innovative experiences that excite and challenge audiences. As a playwright, director, choreographer and teaching artist in the Boston area, she has worked with many demographics making theater in unique settings, such as an abandoned City Sports and a corporate office mid-construction. Her previous work with Boston Opera Collaborative includes Assistant Director of Faust et Marguerite and Opera Bites: 2016.
Acclaimed for his musical creativity, sensitive conducting, and adventurous spirit, Maestro Daniel P. Ryan is a sought-after conductor, composer, and singer based in Boston. He is currently the Director of Choral Activities at Clark University, Associate Conductor with VOICES BOSTON, conductor with the Boston City Singers and on the faculty of Interlochen Arts Camp. Ryan has upcoming engagements with Moravian Philharmonic Orchestra, Boston Opera Collaborative, and MassOpera.
Greg Smucker is a director and teacher of theater and opera. He studied with the late Wesley Balk, a noted pioneer in the field of singer-actor training. Greg was co-founder and artistic director of 15 HEAD, a Minneapolis theater company, and was managing director of Theatre for Young America in Kansas City. He has taught acting for New England Conservatory and for the American Institute for Musical Studies in Graz, Austria.
Patricia-Maria Weinmann has worked with many national opera companies and festivals including Utah Opera, Opera on the James, Syracuse Opera, Florida Grand Opera, Seagle Music Colony, Boston Lyric Opera, Central City Opera, Opera Boston, Ashlawn Opera Festival, the American Opera Project, Opera Providence, and Mississippi Grand Opera. Recent directing engagements have included Miss Havisham’s Wedding Night, Hansel and Gretel, Cosi fan tutte, The Mikado, The Pirates of Penzance, and Cole!.
Chelsea Whitaker is a Boston-based collaborative pianist. Her most recent work includes vocal coaching at the Boston University Tanglewood Institute; a staff pianist position in the voice department at Boston University; teaching fellowships at New England Conservatory in the voice and piano departments; and a New York City debut performance at Merkin Hall in collaboration with Stephanie Blythe, Alan Louis Smith, and Steven Carroll.
Marti Epstein (Absent Grace)
Marti Epstein is a composer whose music has been performed by the San Francisco Symphony, The Radio Symphony Orchestra of Frankfurt, the Pro Arte Chamber Orchestra of Boston, Ensemble Modern, and members of the Boston Symphony. She has completed commissions for the Foxborough Musical Association, the Fromm Foundation, The Munich Biennale, the Iowa Brass Quintet, the CORE Ensemble, Pro Arte Chamber Orchestra, Longy School of Music, the Ludovico Ensemble, Guerilla Opera, the Radius Ensemble, Tanglewood Music Center, and the Callithumpian Consort. In 2005, she was a recipient of a Massachusetts Cultural Council Grant. Marti has been a fellow at the Tanglewood Music Center (1986, 1988), and has been in residence at the MacDowell Colony (1998, 1999). Marti was Composer-in-Residence for the Radius Ensemble in 2009 and 2010. Cellist Rhonda Rider recently premiered and recorded so near, so far, a piece Marti wrote for Rhonda’s recent residency at the Grand Canyon. Marti’s new string quartet, Hidden Flowers was commissioned by the Tanglewood Music Center for the 2012 Festival of Contemporary Music 2012, where it was premiered in August 2012. In November 2015, Marti released Hypnagogia, a CD of her chamber music. During the 2017-2018 concert season, Marti’s work was featured extensively alongside the work of Anton Webern on the Trinity Wall Street’s Time’s Arrow Festival. Marti is Professor of Composition at Berklee College of Music and also teaches composition at Boston Conservatory. http://marti-epstein.squarespace.com/
Jonathan Bailey Holland (The Battle of Bull Run Always Makes Me Cry)
Jonathan Bailey Holland’s works have been commissioned and performed by numerous ensembles, including the orchestras of Atlanta, Baltimore, Cincinnati, Cleveland, Dallas, Detroit, Indianapolis, Memphis, Minnesota, Philadelphia, San Antonio, and St. Louis; as well as the Da Capo Chamber Players, Eighth Blackbird, Radius Ensemble, Transient Canvas, and many others. A recipient of a 2015 Fromm Foundation Commission, he has received honors from the American Academy of Arts & Letters, American Music Center, ASCAP, the Presser Foundation, and more. During the 2018-2019 season he will serve as Composer-in-Residence for the Cincinnati Symphony, which will feature the premiere of a new work for chorus and orchestra. Holland serves as Chair of Composition, Contemporary Music, and Core Studies at Boston Conservatory at Berklee, and faculty co-chair of the Low-Residency MFA program in Music Composition at Vermont College of Fine Arts. www.jonathanbaileyholland.com
Eva Conley Kendrick (Misfortune)
Eva Conley Kendrick writes in many mediums including opera, musical theatre, chamber music, song cycles and orchestral works. Awards include the Judith Lang Zaimont Prize from the International Alliance of Women in Music, 16 ASCAPLU$ awards, and grants from the American Composers Forum and the Massachusetts Cultural Council. She received an Honorable Mention from The American Prize in the Opera/Theater Division (2016) and has also been a Semi-Finalist (2017) and was a Semi-Finalist in the Chamber Music Division (2016). She is the Chair of the Music Theory & Composition Department at the Community Music Center of Boston, where she is Composer-in-Residence; Music Director of First Parish Unitarian Universalist of Medfield; Professor of Voice and Music Theory at Dean College, and Director of the Eva Kendrick Voice Studio. She holds a Masters of Music in Composition with Distinction from the Longy School of Music. For more, please visit www.evakendrick.com.
Rachel J. Peters (Steve)
Rachel J. Peters’s operas: Rootabaga Country (Sarasota Opera), The Wild Beast of the Bungalow (Center for Contemporary Opera), Companionship (Fort Worth Opera) Pie, Pith, and Palette (The Atlanta Opera), Monkey Do (Rhymes With Opera). Musicals: Only Children (NYU Tisch Mainstage), Tiny Feats of Cowardice (NYC Fringe), Write Left (Playwrights Horizons Theatre School), Tomato Red (UC Irvine), Octopus Heart (NYU Steinhardt). Scores for plays: Stretch (a fantasia) (New Georges), Tania in the Getaway Van (Flea Theater), Transatlantic (Arkansas Rep), The Bacchae (Asolo Rep Conservatory). Concert works: Ethel Smyth Plays Golf in Limbo (Semperoper Dresden), Jack's Vocabulary (Hartt SPASM), And Then (BayPath College), and Fronds: The Wisdom of Fanny Fern(Walt Whitman Project). Songs performed at Lincoln Center, National Opera Center, Symphony Space, cabarets/theatres nationwide. Contributor to The AIDS Quilt Songbook. Residencies: Kimmel Harding Nelson, Yaddo, Brush Creek Arts. Fellowships: New Dramatists Composer-Librettist Studio, American Opera Projects, John Duffy Institute for New Opera. www.racheljpeters.com
Tony Solitro (A Case of Anxiety)
Tony Solitro composes concert and stage music that is “fraught with tension” and “amusingly intricate.” His mythology-infused comedy Triangle will be presented during the National Opera Association’s 2019 Conference in Salt Lake City as one of three finalists for the Dominick Argento Chamber Opera Competition. Awarded the Grand Prize in the David Walter Composition Competition (International Society of Bassists), Tony’s string quintet Shadow Confrontations was composed for bassist Joseph Conyers (Assistant Principal, Philadelphia Orchestra) and recorded with the Daedalus Quartet. He was awarded fellowships and artist residencies at Yaddo, Brush Creek, Kimmel Harding Nelson, and VCCA. He earned his PhD as a recipient of the George Crumb Fellowship from the University of Pennsylvania and his MM from the Longy School of Music on a Nadia and Lili Boulanger Scholarship. www.tonysolitro.com
Scott Wheeler (Midsummer)
Scott Wheeler’s four full-length operas have been commissioned by the Metropolitan Opera/Lincoln Center Theatre, Washington National Opera, White Snake Projects and Boston Lyric Opera. Scott’s 2017 violin sonata, The Singing Turk, was commissioned and premiered by Sharan Leventhal, and will be performed on the Boston Celebrity Series in November 2018 by Gil Shaham and Akira Eguchi. Scott’s most recent CDs include Portraits and Tributes, featuring pianist Donald Berman, on Bridge, and Light Enough, featuring baritone Robert Barefield and pianist Kelly Horsted, on Albany. Other Wheeler CDs include Crazy Weather, with the Boston Modern Orchestra Project conducted by Gil Rose, Wasting the Night -- songs for voice and piano, and the opera The Construction of Boston, both available on Naxos. Scott is Senior Distinguished Artist in Residence at Emerson College in Boston, where he teaches musical theatre and songwriting. www.scottwheeler.org
Sam Wilson (Sunshine Girl)
Samuel is a composer, arranger and freelance musician who recently graduated from the Guildhall School of Music and Drama. Whilst at Guildhall, Samuel composed for several of the school’s top musicians and ensembles. He also wrote a short opera in collaboration with the London Transport Museum and Workshopera. Additionally, he worked alongside the drama department as a composer and advisor on several productions and founded the ever-popular and still-running Guildhall Pops Orchestra.
In 2014 Samuel was appointed Composer in Association for the City Chamber Choir, and after several successful commissions has been appointed Composer in Residence. Recent projects have included a Christmas work for choir and piano, ‘I Heard the Bells’, and a work for choir and chamber orchestra, ‘Spring’.
As an arranger Samuel has recently worked with the Tower of London, RADA, the Almeida Theatre, the London Musical Theatre Orchestra and the Maltese Philharmonic. His arrangements have ranged in scale from popular tunes for flute and harp, to medium-sized chamber and pop groups, all the way to symphonic re-imaginings in varying styles. He has also acted as a score editor and copyist for a variety of individual clients.
He is the music co-ordinator for Crossway, a new church plant in Stratford, and lives in London with his wife, Sara.