ARTIST BIOS:Vivaldi: Juditha Triumphans

!
ARTIST BIOS: Vivaldi: Juditha Triumphans
Chicago Symphony Orchestra in Falla’s Three-Cornered
Hat. She will also debut with the Mitteldeutscher
Rundfunk in Rossini’s Giovanna d’Arco under James
Gaffigan.
Future seasons will see her at the Metropolitan Opera,
Royal Opera House-Covent Garden, San Francisco
Opera, Seattle Opera, Washington National Opera, Opera
Philadelphia, and English National Opera.
DANIELA MACK - mezzo-soprano, as Juditha - Daniela
Mack makes her debut in Boston as well as with Boston
Baroque this season.
Mezzo-soprano Daniela Mack has been acclaimed for her
“caramel timbre, flickering vibrato and crisp articulation"
(Opernwelt) as she “hurls fast notes like a Teresa
Berganza or a Frederica von Stade” (San Francisco
Chronicle). Ms. Mack was recently a finalist in the 2013
BBC Cardiff Singer of the World Competition.
In addition to her performance with Boston Baroque, this
season, Daniela Mack will also return to the San
Francisco Opera to reprise her performances as Rosina in
Il barbiere di Siviglia and she will create the role of
Jacqueline Kennedy in the world premiere of David T.
Little and Royce Vavrek’s JFK at the Fort Worth Opera.
She also will be making her Arizona Opera debut in the
title role of Carmen and will be seen in recital with tenor
Alek Shrader at the Tucson Desert Song Festival. On the
concert stage, Ms. Mack will debut with three orchestras
under Charles Dutoit: Orchestra de la Suisse Romande in
Ravel’s L’heure espagnole and L’enfant et les sortilèges,
Boston Symphony Orchestra in L’heure espagnole and
Recently, Daniela Mack has been seen at San Francisco
Opera as Rosmira in Handel’s Partenope in a production
by Christopher Alden, as well as Rosina. In the summer of
2014, she made important role and company debut: the
title role in Carmen at Santa Fe Opera in a new
production by Stephen Lawless. She also debuted at the
Lyric Opera of Chicago as the Kitchen Boy in David
McVicar’s production of Rusalka conducted by Andrew
Davis and returned to Madison Opera as Sister Helen
Prejean in Dead Man Walking. She has been seen at the
English National Opera in a new production of Julius
Caesar as Sesto under Christian Curnyn, the first time the
opera was produced at the ENO since the legendary 1979
production. She also debuted at Théâtre du Capitole in
Toulouse and Los Angeles Opera as Nancy in Albert
Herring, Washington National Opera as the Madrigal
Singer in Manon Lescaut, Deutsche Oper Berlin and
Verbier Festival as Cherubino in Le nozze di Figaro, Opéra
National de Bordeaux as Angelina in L’italiana in Algeri,
and Opera Colorado in Jean-Pierre Ponnelle's famous
production of La Cenerentola directed by Grischa
Asagaroff.
In concert, Ms. Mack has been heard with the Los
Angeles Philharmonic in Manuel de Falla’s La vida breve
under the baton of Rafael Frühbeck de Burgos and
Beethoven’s Symphony No. 9, Washington Chorus in
Beethoven’s Missa solemnis, Hong Kong Philharmonic in
Ravel’s Shéhérazade, and with the Sydney Symphony in
Canteloube’s Chants d’Auvergne and Falla’s Siete
canciones populares españolas. She also made her
Cincinnati May Festival debut in Mozart’s Requiem under
James Conlon and in an all-star gala at the Opera Theater
of San Antonio.
Daniela Mack is an alumna of the Adler Fellowship
Program at San Francisco Opera where she has appeared
as Idamante in Idomeneo Siebel in Faust and Lucienne in
Die tote Stadt for her house debut.
Boston Baroque 2015-2016
Daniela Mack
1
!
ARTIST BIOS: Vivaldi: Juditha Triumphans
In the 2011-2012 season, Leah Wool returned to the San
Francisco Symphony as the second mezzo-soprano in
Debussy’s The Martyrdom of St. Sebastien, bowed in
Glass’ Kepler and in concert with Spoleto Festival USA,
appeared with Gloria Musicae for Haydn’s Seven Last
Words of Christ and sang Handel’s Messiah with both
the Kansas City Symphony and the Cincinnati Symphony.
Her 2010-2011 season also included returns to Gotham
Chamber Opera as the title role in Montsalvatge’s El gato
con botas and Utah Opera as Hänsel in Hänsel und
Gretel, Rosina in Il barbiere di Siviglia with Opéra
Louisiane and the Mother in Amahl and the Night
Visitors with The Little Orchestra Society at Avery Fisher
Hall. On the concert stage, she returned to Avery Fisher
Hall in Copland’s In the Beginning and Beethoven’s Ninth
Symphony, debuted with the San Francisco
Symphony for the Duruflé Requiem and sang the roles of
Dido and also the Sorceress in concert performances
of Dido and Aeneas with the Portland Baroque
Orchestra and the Oregon Bach Festival.
LEAH WOOL - Mezzo Soprano, as Holofernes - Leah
Wool returns to Boston Baroque after her performances
as Minerva in the production and recording of
Monteverdi’s Il ritorno d’Ulisse in patria in 2014. Ms. Wool
has been hailed by Opera News as “among the more
distinctive and accomplished artists of her generation,
with a “voice of truly beautiful timbre."
The 2014-2015 season brought anticipated returns to two
companies: the San Francisco Symphony, for Handel’s
Messiah, conducted by Jane Glover, and the Utah Opera,
for Dorabella in Così fan tutte. Future seasons include
appearances with Boston Baroque and the Nashville
Symphony.
Leah Wool’s 2013-2014 season included a return to
Boston Baroque as Minerva in Monteverdi’s Il ritorno
d’Ulisse in patria, Beethoven’s Ninth Symphony with the
Wiener KammerOrchester under Mark Laycock and a
début with the Milwaukee Symphony Orchestra for
Handel’s Messiah.
Her 2012-2013 season brought appearances with
both Nashville Opera and Knoxville Opera as Angelina
in La Cenerentola; Sacramento Opera and Piedmont
Opera as Rosina in Il barbiere di Siviglia; and she bowed
with the Utah Symphony at Deer Valley Music Festival.
In the 2009-2010 season, she sang Hänsel with Kentucky
Opera, Rosina in Il barbiere di Siviglia with Knoxville
Opera and added three roles to her repertoire: the title
role in Handel’s Amadigi di Gaula with Boston Baroque,
Isabella in L’italiana in Algeri with Utah Opera and Betty
in Flora at the Spoleto Festival USA. On the concert
stage, she performed Händel’s Messiah with the Utah
Symphony and the Rochester Chamber Orchestra and
Rossini’s Petite Messe Solennelle with the Gloria
Musicae.
In 2008-2009, Ms. Wool sang the title role in La
Cenerentola with Orlando Opera, Meg in Little Women
with Syracuse Opera, Amastre in Xerxes with Boston
Baroque, and returned to the Metropolitan Opera to cover
Myrtale in Thaïs. In the summer of 2009, Ms. Wool made
her debut with Glimmerglass Opera as the Secretary in
Menotti’s The Consul.
In previous seasons, Ms. Wool appeared at the
Metropolitan Opera in performances of the Second
Bridesmaid in Le Nozze di Figaro and Marshal Murat’s
Adjutant in War and Peace, bowed as Angelina in La
Cenerentola with both Opera New Jersey (role début) and
Opera Fairbanks and joined fellow Yale Opera alumni in
concert at Weill Recital Hall as part of the inaugural “Yale
at Carnegie” series.
Boston Baroque 2015-2016
Leah Wool
2
!
ARTIST BIOS: Vivaldi: Juditha Triumphans
recently, Jemmy in the new production of Guillaume
Tell for which she received considerable critical acclaim.
Ms. Forsythe made her débuts at the Bavarian State
Opera, Munich as Dalinda Ariodante and as Barbarina
in Le nozze di Figaro at the Royal Opera House, Covent
Garden and the Theatre des Champs-Elysées in Paris.
She returned to Covent Garden to perform the roles
of Manto in Steffani’s Niobe, regina di Tebe under Thomas
Hengelbrock and Nannetta in Falstaff under Daniele Gatti,
described by Gramophone Magazine as “meltingly
beautiful." She also sang Nannetta for Opéra d’AngersNantes.
Amanda made her United States stage début with Boston
Early Music Festival, where her roles have included Niobe
and (recording) in Niobe, regina di Tebe, Aglaure in Lully's
Psyché, Venus Venus and Adonis (John Blow), Drusilla
L'incoronazione di Poppea, Pallas in Eccles’ The
Judgment of Paris and Edilia in Handel's Almira, for which
she received rave reviews.
AMANDA FORSYTHE, soprano as Vagaus - Amanda
Forsythe returns after her performance of Poppea in
Agrippina in Boston Baroque's 2014-15 season.
American soprano Amanda Forsythe sings the role of Euridice on the recording of Charpentier’s La descente
d'Orphée aux enfers with Boston Early Music Festival
which won the 2015 Grammy Award for Best Opera
Recording. She has been praised by Opera News for her
“light and luster," “wonderful agility and silvery top notes." She was a winner of the George London Foundation
Awards and was sponsored by them in her New York
recital début. She also received prizes from the
Liederkranz Foundation and the Walter W. Naumburg
Foundation.
Forsythe made her European operatic début in the role
of Corinna Il viaggio a Reims at the Rossini Opera Festival
in Pesaro which led to an immediate invitation to make
her début at the Grand Théâtre de Genève as Dalinda in
Ariodante where she was proclaimed “the discovery of
the evening” by Financial Times. She returned to the
Rossini Opera Festival to perform the role of Rosalia in
L’equivoco stravagante and Bellini duets in the ‘Malibran’
recital at the invitation of Joyce di Donato, and most
Amanda Forsythe's operatic repertoire also includes Iris in
Semele, Poppea in Agrippina, the title role in Partenope,
Amenaide in Rossini's Tancredi, Bastienne in Bastien und
Bastienne, Serpina in La serva padrona, Ninfa/
Prosperpina in Orfeo (Monteverdi), Amore in Il ritorno
d'Ulisse in patria, Oberto in Alcina, Dafne in Apollo e
Dafne, Atalanta in Xerxes and roles in Les Indes Galantes
and The Fairy Queen.
Amanda Forsythe’s concert engagements in North
America have included her recent débuts at the
Tanglewood Festival and Lincoln Center in the title role of
Teseo with Philharmonia Baroque and her début with
Seattle Symphony in Handel’s Messiah. Other highlights
have included Dorinda Orlando and Handel’s Il trionfo del
tempo with Early Music Vancouver, Dafne Apollo e Dafne
with Pacific Musicworks, and Haydn and Mozart arias
with Apollo’s Fire, Handel arias with Portland Baroque
Orchestra, Mozart’s Mass in C Minor with the Handel and
Haydn Society, and Haydn’s Creation and Messiah with
the Charlotte Symphony.
Boston Baroque 2015-2016
Amanda Forsythe
3
!
ARTIST BIOS: Vivaldi: Juditha Triumphans
premiered the role of Maria in Diego Luzuriaga's El Niño
de los Andes with VocalEssence of Minnesota and was
the soprano soloist for the American premiere of Siegfried
Matthus' Te Deum at the American Guild of Organists'
National Convention in 2008. A highlight for Ms. Tengblad
was appearing in a concert celebrating the 80th birthday
of composer Dominic Argento where the Minnesota Star
Tribune reported her to have given "the most affective
performance of the evening."
Ms. Tengblad performs with the Grammy-winning
ensemble Conspirare out of Austin, Texas; the Yale Choral
Artists, and Boston’s Blue Heron, Lorelei Ensemble,
Handel and Haydn Society, Boston Baroque, and
Emmanuel Music. Upcoming solo appearances include
Mozart's Waisenhausmesse and Bach's St. John Passion
with the Handel and Haydn Society, and Vivaldi's Juditha
triumphans devicta Holofernis bolbarie (Abra and Ozias)
and Mozart's Magic Flute (First Lady) with Boston
Baroque
SONJA DUTOIT TENGBLAD, soprano - as Abra and
Ozias - Sonja Tengblad returns to perform with Boston
Baroque following her performances as Giunone and La
Fortuna in the 2013-2014 season’s performances and
recording of Il Ritorno d'Ulisse in Patria.
Praised by the Boston Globe for her "crystalline tone and
graceful musicality", soprano Sonja DuToit Tengblad is a
versatile performer with credits spanning the Renaissance
era through the most current composers of our time.
Recent highlights include Cupid in Purcell’s King
Arthur with the Handel and Haydn Society, Knussen's
Symphony No. 2 with the Boston Modern Orchestra
Project, Mozart's Le Nozze di Figaro as Susanna, and her
Carnegie Hall and Lincoln Center debuts with the New
York City Chamber Orchestra. Upcoming solo debuts
include Messiah with the New Bedford Symphony
and Carmina Burana with the Austin Symphony
Orchestra. A lover of new music, Ms. Tengblad has premiered many
works and roles. She recently performed in the Boston
premiere of Kati Agocs' Vessel for three solo voices and
chamber ensemble with the Boston Modern Orchestra
Project and joined BMOP again as the soprano soloist for
Oliver Knussen's Symphony No. 2 last spring. She also
Boston Baroque 2015-2016
Sonja Dutoit Tengblad
4