Curious about who you’ll be hearing at AOP and Lincoln Center Festival’s co-production of The Blind from July 9-14? While their vocal talent goes without saying, we think they’re a pretty good-lookin’ cast to boot…browse the list below, or jump to a name using one of the following quick-links!
Yulia Van Doren
Dominic Armstrong (Tenor) was heard during the 2012-13 season with the New York City Opera as Prologue and Peter Quint in Britten’s The Turn of the Screw and made debuts at the Lyric Opera of Chicago and at Carnegie Hall as Steve in Prévin’s A Streetcar Named Desire. He has also recently sung Shostakovich’s Moscow, Cheryomushki with Chicago Opera Theatre, Eisenstein in Die Fledermaus with Memphis Opera, and Remendado in Carmen at the Castleton Festival. He has also sung Flavio in Norma and Borsa in Rigoletto with the Opera Company of Philadelphia, the title role of La Clemenza di Tito at Chicago Opera Theatre, Parpignol in La Bohème at the Deutsche Oper Berlin, Reverend Horace Adams in Peter Grimes and Heinrich in Tannhaüser in Turin, Count Almaviva in Corigliano’s The Ghosts of Versailles at the Wexford Festival, the title role of Candide and as Ulisse in Il ritorno d’Ulisse in Patria at the Wolf Trap Opera, and Nemorino in L’Elisir d’Amore in Hong Kong. He was Grand Finalist in the 2008 Metropolitan Opera National Council Auditions. AOP credits include Composers and the Voice resident ensemble (2013-2014).
Sarah Brailey (Soprano) is sought-after in a broad and varied repertoire that ranges from the baroque to the present day. Recent highlights include solo performances at Alice Tully Hall in Mendelssohn’s Midsummer Night’s Dream with the American Classical Orchestra and Handel’s Messiah with the Trinity Choir and Trinity Baroque Orchestra. She has also recently sung Bach’s St. John Passion with the Boulder Bach Festival and his St. Matthew Passion at Trinity Wall Street. Highlights of next season include a tour with experimental a cappella vocal ensemble Roomful of Teeth and appearances with composer/performer John Zorn in New York City, England’s Huddersfield Festival, and Australia’s Adelaide Festival. AOP credits include The Scarlet Ibis.
Branch Fields (Bass) has performed with a number of opera companies in the U.S., including the Santa Fe Opera, New York City Opera, Boston Lyric Opera, Opera Carolina, Michigan Opera Theatre, Utah Opera, and Opera San Jose. He has also been heard in concert, with the Munich Philharmonic, National Symphony Orchestra, Santa Fe Symphony, Colorado Springs Philharmonic, and American Symphony Orchestra. He recently sang Emile de Becque in South Pacific with the Utah Festival Opera and at the Ogunquit Playhouse. Highlights of his 2012-13 season include Don Alfonso in Cosí fan tutte, King Balthazar in Amahl and the Night Visitors, and Frère Laurent in Roméo et Juliette in Bozeman, Montana; a benefit performance for the Open Heart Foundation of Tim Janis’ The Christmas Rose at Carnegie Hall; Sarastro in The Magic Flute for Opera on the James in Lynchburg, Virginia; and Méphistophélès in Gounod’s Faust in Fort Collins. AOP credits include Paul’s Case.
John McVeigh (Tenor) is heard during the 2013-14 season as Pang in Turandot with Hawaii Opera Theatre and returns to Houston Grand Opera for productions of Carmen and Das Rheingold. Recent operatic appearances include Goro in Madama Butterfly with PORTopera; Tybalt in Roméo et Juliette with Opera Colorado; Acis in Acis and Galatea at the Macau International Music Festival, Glimmerglass Opera, and Detroit Oratorio Society; Emilio in Handel’s Partenope at Glimmerglass Opera and New York City Opera; Pang with Arizona Opera; Lurcanio in Ariodante at New York City Opera and Houston Grand Opera; and productions of Das Rheingold, Ariadne auf Naxos, and Billy Budd at the Metropolitan Opera. Recent concert engagements include Haydn’s Creation with the Portland Symphony; Handel’s Messiah with the Philadelphia Orchestra, Boston Baroque, Winston Salem Symphony, and Charlotte Symphony Orchestra; Acis with Amsterdam’s Concert Radio Kamer Filharmonie; Bach’s St. Matthew Passion with the Dallas Symphony; Orff’s Carmina Burana with the Memphis Symphony; and Handel’s L’allegro at the Kennedy Center with the Mark Morris Dance Group.
Nicole Mitchell (Mezzo-soprano) is a native of Brooklyn and has performed regularly with AOP and The Walt Whitman Project promoting the works of New York composers, including Gilda Lyons’ Songs from the F Train cycle at Carnegie Hall’s Zankel Hall. She has also sung Tituba in Robert Ward’s The Crucible with New York City Opera, Sarasota Opera, and Piedmont Opera. In 2008, while a Tanglewood Vocal Fellow (2008), she sang in Kurt Weill’s The Rise and Fall of the City of Mahagonny. Earlier this year she was heard in recital at Brooklyn Navy Yard Center’s BLDG 92 Museum. AOP credits include Songs from the F Train and This Is the Rill Speaking.
Liam Moran (Bass) was heard this season at Opera Omaha as Dr. Grenvil in La Traviata, Annapolis Opera as Sparafucile in Rigoletto, Kentucky Opera as the Commendatore in Don Giovanni, and at New York’s St. Thomas Church and Lincoln Center’s Avery Fisher Hall in Handel’s Messiah. During the 2013-14 season he will sing Count Ceprano in Rigoletto and Gualtiero in I Puritani with Boston Lyric Opera and the Mozart Requiem with the Madison Symphony Orchestra.
Kyle Pfortmiller (Baritone) made his Metropolitan Opera debut as Marquis d’Obigny in a new production of La Traviata in 2010, and has also recently sung Papageno in The Magic Flute with Opera Carolina, and Valentin in Faust, Fred/Petruchio in Kiss Me Kate, and Henry Higgins in My Fair Lady with Utah Festival Opera and Music Theater. Next season he returns to the Met for Andrea Chénier and the company premiere of Nico Muhly’s Two Boys. AOP credits include Brahms, Barber, and John Adams with the String Orchestra of Brooklyn.
Barbara Rearick (Mezzo-Soprano) has sung with the orchestras of Houston, Baltimore, Hallé, and Berlin’s Rundfunk Sinfonieorchester (with whom she recorded Kurt Weill’s The Eternal Road). In 2011 she sang Mark Anthony Turnage’s Twice Through the Heart for the Chicago Symphony’s MusicNow series. She is a founding member of the Britten-Pears Ensemble, a London-based chamber group specializing in contemporary works. With the late Richard Rodney Bennett, she gave recitals at festivals and venues throughout the US and UK including Wigmore Hall and at the Aldeburgh Festival. She has also appeared on BBC World Service Radio, WQXR, and NPR and is on the voice faculty at Princeton University.
David Schmidt (Baritone) has performed a broad range of opera, concert, and musical theater on stages throughout the US and Italy. He joined the Metropolitan Opera Chorus this past summer for performances of Parsifal and Götterdämmerung. At Italy’s Spoleto Festival, he sang the premiere performance of an aria composed for a new production of The Telephone directed by composer Gian Carlo Menotti. He has also sung with the Nashville Opera, Anchorage Opera, Opera Memphis, Ensemble Studio Theatre, Des Moines Metro Opera, Missouri Symphony, and National Opera Company. AOP credits include OPERAtion Brooklyn and The Scarlet Ibis.
Faith Sherman (Mezzo-soprano) made her European debut at the English National Opera as the Pilgrim in Kaijia Saariaho’s L’amour de loin, and has also sung Sister Sophia in The Sound of Music at Carnegie Hall with the Orchestra of St. Luke’s, Bernstein’s Jeremiah Symphony at the Aspen Music Festival, Concepcion in L’heure espagnole at Oper Frankfurt; Beatrice in Berlioz’ Béatrice et Bénédict at Houston Grand Opera, and in the world premiere of Ricky Ian Gordon’s Rappahannock County at Virginia Opera. She is an alumna of the Juilliard School and Houston Grand Opera Studio Program.
Rosalie Sullivan (Mezzo-soprano) has performed with AOP, Opera Orchestra of New York, Central City Opera, Opera Omaha, and as soloist at Carnegie Hall with MidAmerica Productions. Recent appearances include Phil Kline and Jim Jarmusch’s Tesla in New York with American Contemporary Music Ensemble, David Jackson’s staged song cycle Model Love, and works by Paul Moravec, Mark Adamo, Martin Hennessy, Stephen Paulus, and Gerald Busby. Operatic highlights include Sesto in La Clemenza di Tito, Dorabella and Despina in Così fan tutte, Carmen and Mercedes in Carmen, and Zenobia in Radamisto. She has been a recipient of honors and awards from the Santa Fe Opera, the Merola Opera Board, Anna Sosenko Assist Trust, and the A E Ventures Foundation. AOP credits include Love/Hate, Patience & Sarah, and Model Love.
Yulia Van Doren (Soprano) has recently sung with the Nashville Symphony, Pasadena Symphony, Toronto Symphony Orchestra, Los Angeles Philharmonic, and City of London Sinfonia. She has also sung Monsigny’s Le roi et le fermier at Opera de Versailles, Lincoln Center, and Washington’s Kennedy Center, Scarlatti’s Tigrane at Opera de Nice, and made her Carnegie Hall debut in a new work by Angel Lam. A specialist in baroque repertoire she has sung at the Mostly Mozart Festival, Ravinia Festival, and Tanglewood Festival (Handel’s Orlando with the Philharmonia Baroque Orchestra); Kennedy Center (Charpentier’s Actéon with Opera Lafayette); Macao International Music Festival (Handel’s Acis and Galatea with Berlin’s Akademie für Alte Musik); and Houston and Baltimore Symphonies (Handel’s Messiah). She made her debut at Amsterdam’s Concertgebou with Radio Kamer Filharmonie as Galatea in Acis and Galatea and has sung Belinda in multiple tours of Dido and Aeneas (choreographed and directed by Mark Morris) and St. Teresa in Morris’ production of Virgil Thomson’s Four Saints in Three Acts at the Brooklyn Academy of Music.