LISTEN ON SPOTIFY
Friday, March 29, 2019
7:30 PM - Singletary Center for the Arts
A highlight of the season, LexPhil unites the choral forces from central Kentucky colleges for Verdi’s epic masterpiece, Requiem.
Featuring the combined college choirs from Asbury University, Berea College, Eastern Kentucky University, and Transylvania University.
D’Ana Lombard, soprano
Nancy Maultsby, mezzo-soprano
Cooper Nolan, tenor
Peixin Chen, bass
Ovation Partner: Landrum & Shouse LLP
Friday, April 5, 2019 at 8 PM - CLASSIC 102.1
Sunday, April 7, 2019 at 8 PM - WEKU 88.9
ABOUT THE ARTISTS
D’Ana Lombard joined the Houston Grand Opera Studio in the 2014-15 season after winning first prize in the 2014 Eleanor McCollum Competition Concert of Arias. Her roles performed at HGO included The Water in The Little Prince, First Wood Nymph in Rusalka, First Lady in The Magic Flute and Kate Pinkerton in Madame Butterfly.
From 2012-2014 the New York native was a member of the Domingo-Colburn-Stein Young Artist Program at Los Angeles Opera where she covered the title role in Massenet's Thaïs and sang Alisa in Lucia di Lammermoor under the baton of James Conlon.
This past August she sang Mimí in La bohème with Wolf Trap Opera at the Filene Center with the National Symphony Orchestra. Last summer, she sang Rosina in The Ghosts of Versailles with Wolf Trap Opera and Eva in the world premiere of Jack Perla’s An American Dream with Seattle Opera. In February of 2017 she will join North Carolina Opera as Countess Almaviva in Le Nozze di Figaro.
Awards include the Metropolitan Opera National Council Rohatyn Great Promise Award, the Licia Albanese-Puccini Foundation Encouragement Award, the Gerda Lissner Foundation Encouragement Award, the Marcello Giordani Foundation Award in memory of Sergio Franchi, Second Prize Award in 2016 from the Gerda Lissner Foundation, and a 2015 Sara Tucker Study Grant.
Nancy Maultsby, American mezzo-soprano, is in demand by opera companies and orchestras throughout the world. Her unique vocal timbre and insightful musicianship allow her to pursue a repertoire extending from the operas of Monteverdi and Handel to recent works by John Adams. She regularly performs the major heroines of nineteenth-century French, Italian, and German opera and the great symphonic masterpieces.
Highlights of Nancy Maultsby’s future and recent seasons include performances of Debussy’s Pelléas et Mélisande with the Cleveland Orchestra as Geneviève in a new semi-staged production by Yuval Sharon, conducted by Franz Welser-Möst, as well as at Cincinnati Symphony with Louis Langrée in a staging by James Darrah. At the Los Angeles Philharmonic, Ms. Maultsby performed the role of Julia in Lou Harrison’s Young Caesar, a reimagining of the classic piece by Yuval Sharon, which was later released on recording, and Bianca in Boston Lyric Opera’s production of The Rape of Lucretia. Ms. Maultsby also performed Handel’s Messiah with the New Jersey Symphony Orchestra, Mozart’s Requiem with the Indianapolis Symphony and Verdi’s Requiem with the Florida Orchestra, Akron Symphony and Eugene Symphony. Ms. Maultsby was also featured in performances of Beethoven’s Symphony No. 9 with the San Antonio Symphony conducted by Sebastian Lang-Lessing, Handel’s Messiah with the Baltimore Symphony Orchestra under the baton of Edward Polochick, as well as a return to Lyric Opera of Kansas City as Ježibaba in Dvořák’s Rusalka.
Nancy Maultsby’s other recent engagements include her role debut as Gaea in Strauss’ Daphne with the Cleveland Orchestra conducted by Franz Welser-Möst at Severance Hall in Cleveland and at New York’s Lincoln Center Festival; her role debut as Mrs. Sedley with the St. Louis Symphony in Britten’s Peter Grimes under the baton of David Robertson at Powell Hall in St. Louis and at Carnegie Hall, with additional performances of the role at the San Francisco Symphony conducted by Michael Tilson Thomas; her role debut as Mamma Lucia in Mascagni’s Cavalleria Rusticana with the Los Angeles Philharmonic at the Hollywood Bowl under the baton of Gustavo Dudamel; Beethoven’s Symphony No. 9 with the Atlanta Symphony Orchestra under the baton of Donald Runnicles, the Cleveland Orchestra at the Blossom Festival under the baton of Franz Welser-Möst, and with the Florida Orchestra; Haydn’s Paukenmesse with the San Diego Symphony conducted by Jahja Ling; Judith in Bluebeard’s Castle with the Wichita Symphony Orchestra; and Verdi’s Requiem with the Pacific Chorale and the Charlotte Symphony Orchestra.
Cooper Nolan, praised for his "bright, shining, tenor (Musical America)" and his "powerhouse voice (Opera News)", is increasingly making a name for himself as an important interpreter of some of opera's most famous tenor roles. He recently made two notable house debuts, with Oper Frankfurt as the title role in Verdi's Stiffelio, and with Theater Aachen as Bacchus in Ariadne auf Naxos, where he was praised for his "dramatic, shimmering lyrical, high-placed voice (Der Neue Merker)". Upcoming engagements for the 2018-2019 season include a role debut as Canio (I Pagliacci) with Opera San Jose, and Verdi's Requiem with the Lexington Philharmonic.
During the 2015-16 season, he sang Don José in Carmen with El Paso Opera and for his European debut with Theater Kiel. He will also spent a second summer at Santa Fe Opera, singing Tybalt in Roméo and Juliette while covering Dick Johnson in La Fanciulla del West. During the 2014-15 season, Mr. Nolan was a Resident Artist at Minnesota Opera, performing Don Jose in Carmen and Trin in La Fanciulla del West, in addition to covering Nemorino (L'elisir d'amore), and taking part in the world premiere of Kevin Puts' The Manchurian Candidate. In the summer of 2015, he joined the Apprentice Program at Santa Fe Opera, covering both Narraboth (Salome), and Teague in the world premiere of Jennifer Higdon's Cold Mountain. The 2013-14 season saw a number of important role debuts for Mr. Nolan. He sang Edgardo in Lucia di Lamermoor with Winter Opera St. Louis, Rodolfo in a semi-staged La Bohème with the Savannah Philharmonic, and then returned to the Savannah Philharmonic for an evening of operatic and musical theater favorites, including Puccini's "Nessun dorma". In the summer of 2014 he joined Glimmerglass Opera to cover Bacchus in its production of Ariadne auf Naxos.
In the summer of 2013, Mr. Nolan premiered another role, Luigi in Puccini's Il Tabarro, on the stage of the Norweigian National Opera House under the auspices of LidalNorth. With the Merola Opera Program of San Francisco Opera he sang excerpts from Rigoletto and Lucia di Lamermoor. Other performances highlights include Carmina Burana with the Savannah Philharmonic and Dance Alive National Ballet, Mendelssohn's Die Erste Waldpurgisnacht with the St. George's Choral Society, the Chevalier de la Force (Dialogues of the Carmelites) with LidalNorth, and an Italian Opera Gala with the New Jersey State Opera.
A recent graduate of Manhattan School of Music, Cooper was seen there in many roles, including the Duke (Rigoletto), Ulysse (Fauré's Penelope), Paco (La Vida Breve), and scenes as Don Alvaro (La forza del Destino) and the title role in L'amico Fritz. While there, he was selected to sing alongside Thomas Hampson in a Gala performance honoring Marilyn Horne. Upon graduation, he was presented with the Richard F. Gold Career Grant from the Shoshana Foundation, given to the most promising graduate of the Voice program. A two-time Metropolitan Opera National Council Auditions District Winner, Mr. Nolan lives in New York City.
Peixin Chen, a recent graduate of the Houston Grand Opera Studio, and a student of Dr. Stephen King, is recognized for his majestically resonant bass voice and for a keen dramatic instinct that he brings to a wide range of roles on the international opera stage. His repertoire spans from the comic parts of Donizetti, Mozart, and Rossini to the strong and serious of Puccini, Verdi, and Wagner. Peixin Chen has worked with an illustrious array of conductors and directors including Harry Bicket, Sebastian Lang-Lessing, Lorin Maazel, Giancarlo del Monaco, Andrés Orozco-Estrada, David Paul, Michel Plasson, David Pountney, James Robinson, Patrick Summers, and Francesca Zambello.
In the current season Peixin Chen makes his Opera Philadelphia debut as Sarastro in the acclaimed production of Die Zauberflöte co-directed by Suzanne Andrade and Barrie Kosky, with full-scale animation, created by Paul Barritt, takes to the stage of the Lyric Opera of Kansas City as Sparafucile in Rigoletto directed by David Gately, and debuts at the Bard Music Festival as the Old Patriarch in Dvořák’s Dmitrij conducted by Leon Botstein in a new production directed by Anne Bogart. With his home company, Houston Grand Opera, the Chinese bass bows as Don Bartolo in Il barbiere di Siviglia and as Oroveso in Norma.
Peixin Chen joined the Metropolitan Opera last season for productions of Aida and Salome and sang concert performances of the Verdi Requiem with the Houston Grand Opera Orchestra and Chorus conducted by Music Director Patrick Summers. He made a Detroit Symphony Orchestra debut with Beethoven’s Ninth Symphony led by Leonard Slatkin, having also sung this work with Andrés Orozco-Estrada and the Houston Symphony, and the bass joined Edo de Waart for staged performances of Le nozze di Figaro with the Milwaukee Symphony Orchestra.
Le nozze di Figaro featured prominently in the bass’ 2015-16 season assaying the title role in a new production by David Paul for Opera Saratoga and bowing as Bartolo at the Houston Grand Opera conducted by Harry Bicket in the company’s acclaimed production by Michael Grandage.
Recent company debuts include the roles of Sparafucile in Rigoletto at the Santa Fe Opera and Dulcamara in L’elisir d’amore for Washington National Opera. Mr. Chen has bowed as the King in Aida under the baton of Zubin Mehta as well as both Bartolo in Le nozze di Figaro and Basilio in Il barbiere di Siviglia at the National Center for the Performing Arts (NCPA), and in The Passenger at the Lincoln Center Festival at the Park Armory.
The bass’ roles with Houston Grand Opera have included Ferrando in Il trovatore, Bonze in Madama Butterfly, Montano in Otello, Sarastro in The Magic Flute, and Hunding in Die Walküre. As a member of the Merola Program under the auspices of San Francisco Opera, Peixin Chen sang Basilio in Il barbiere di Siviglia.
PRE-CONCERT BUFFET & HAPPY HOUR AT THE HILARY J. BOONE CENTER
Friday, March 29th 2019
First buffet seating begins at 5:00 pm.
Buffet Tickets: $28++ | Complimentary Parking!
Walk to the Singletary Center for the Arts after dining.
HAPPY HOUR: Begins at 5:00 PM, complimentary appetizers and cash bar! No reservation required for Happy Hour.
Check back soon for the buffet menu!
Please make a buffet reservation by calling The Boone Center at 859.257.1133.