Deborah York,Gillian Webster,Mark Rucker,Helene Schneiderman

Gillian Webster
Born in Scotland, soprano Gillian Webster studied at the Royal
Northern College of Music and the National Opera Studio. Her
most recent engagements have included the Countess LE NOZZE DI
FIGARO, in Portugal; Aci, Galatea e Polifemo with Paul
McCreesh at London’s Wigmore Hall and Vienna’s Konzerthaus; as
well as Haydn Creation with The Ulster Orchestra.
Gillian has appeared regularly at the Royal Opera House in
roles
including
Pamina
and
First
Lady
DIE
ZAUBERFLOTE; Contessa LE NOZZE DI FIGARO; Ilia IDOMENEO;
Servilia LA CLEMENZA DI TITO; First and Second Nieces PETER
GRIMES; Micaëla CARMEN; Mimi LA BOHEME; Euridice ORFEO ED
EURIDICE; Marzelline FIDELIO; Woglinde and Wellgunde DER RING
DES NIBELUNGEN; and the title roles in LE COQ D’OR and KATYA
KABANOVA. She has also sung Pamina DIE ZAUBERFLOTE and
Leila LES PECHEURS DE PERLES for English National Opera.
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Samuel Krum
Senior Artist Manager
London Office
t: +44 (0)20 7580 7758
e: sam@robert-gilder.com
Mark Rucker
From the time of his debut as Renato in Un ballo in
maschera with Luciano Pavarotti for the Opera Company of
Philadelphia, American baritone Mark Rucker has been in demand
in opera houses and on concert stage throughout the world.
He most recently sang his first Holländer from Wagner’s Die
Fliegende
Holländer for Òpera Royal de Wallonie. In a
performance at Wiener Staatsoper as Stankar in Stiffelio, the
Wiener Zeitung declared:
“The star of this opera ages throughout the world. evening was
neither on the stage nor in the orchestra pit. The revival of
Verdi’s “Stiffelio” became, at the state opera, the unexpected
triumph for a singer, that did not act the role in this
evening at all: Mark Rucker was at the edge of stage and sang
Stankar from a music stand … The big aria of Stankar at the
beginning of the third act was one of those moments, which
constitutes the wonder of opera. Owing to the strength of the
music, the magic of the moment and vocal intensity, Mark
Rucker was able to construct excitement. Cheers of
jubilation.” – Wiener Zeitung.
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”contact”
Samuel Krum
Senior Artist Manager
London Office
t: +44 (0)20 7580 7758
e: sam@robert-gilder.com
Helene Schneiderman
The American mezzo-soprano Helene Schneiderman was born in
Flemington, New Jersey and began her studies at Westminster
Choir College, Princeton. She completed a Master of Music in
Voice Performance at the University of Cincinnati College of
Music and went on to gain an Artists’ Diploma in Opera in
1981. After graduating, Helene moved to Germany, where in
1982, she joined the Heidelberg Opera Ensemble and since 1984
has been a member of the Staatstheater Stuttgart. As well as
her work with Stuttgart, she has made guest performances with
many major European and American Opera Companies including
Munich State Opera, Karlsruhe, Düsseldorf, Hamburg, Orlando,
Florida and New York City Opera.
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”contact”
Robert Gilder
Managing Director
London Office
t: +44 (0)20 7580 7758
e: rgilder@robert-gilder.com
Rachael Lloyd
“Best of all is Rachael Lloyd’s dignified Dido, rich voiced
and flawlessly delivered”
Dido and Aneas (Signum Records)
Kate Molleson
British Mezzo-soprano Rachael Lloyd continues to enjoy success
in the UK and is also establishing herself as an artist in
mainland Europe. Recent engagements include the title
role CARMEN at the Royal Albert Hall for Raymond Gubbay,
Pitti-Sing THE MIKADO at English National Opera, Sister THE
HOUSE TAKEN OVER at Festival d’Aix-en-Provence, Aristea
L’OLIMPIADE for the Buxton Festival, Amastre SERSE for English
Touring Opera, Maddalena RIGOLETTO for Iford Arts, her German
debut in the title-role DIDO & AENEAS for TPT Theater
Thüringen in Gera, Cornelia GIULIO CESARE IN EGITTO for the
Glyndebourne Festival, Meg Page FALSTAFF for Glyndebourne on
Tour and Kate Pinkerton MADAMA BUTTERFLY at the Royal Opera
House.
Future engagements include Third Lady THE MAGIC FLUTE and
Pitti-Sing THE MIKADO at English National Opera and Alisa in a
new production of LUCIA DI LAMMERMOOR at the Royal Opera
House, directed by Katie Mitchell and conducted by Daniel
Oren.
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”contact”
Samuel Krum
Senior Artist Manager
London Office
t: +44 (0)20 7580 7758
e: sam@robert-gilder.com
Tara Venditti
American mezzo-soprano TARA VENDITTI has been acclaimed on
four continents as a “consummate singing actor” (Frankfurter
Rundschau) in a wide-ranging repertoire spanning over four
centuries’ worth of music.
In the 2015-2016 season, Ms.
Venditti made her Wuhan Philharmonic debut as CARMEN, a role
with which she has become singularly identified in recent
seasons, thus marking the first occasion that a Western opera
has ever been performed in Wuhan. Ms. Venditti went on to
make both her Parisian debut and Théâtre du Châtelet debut in
the French premiere of Sondheim’s PASSION, covering Natalie
Dessay in the role of Fosca and performing the role of Fosca’s
Mother. Future roles include Aldonza MAN OF LA MANCHA for
Portland Opera (US), her role debut as Isabella L’ITALIANA IN
ALGERI for Sarasota Opera and the title-role CARMEN for
Florida Grand Opera.
Sought after for her “richly sung and electrifying” (Metro
London) portrayals of CARMEN which number 72 to date and
counting, Ms. Venditti has performed the role with Opera
Holland Park (London), Staatstheater Mainz, two separate
productions at Staatstheater Darmstadt, Theater Bremen,
Theater Freiburg, Theater Münster, Kentucky Opera, and the
Wuhan Philharmonic Orchestra. Ms. Venditti’s “incandescent”
Carmen portrayals have been hailed by audiences and critics
alike in sold out performances to standing ovations.
In recent seasons, Ms. Venditti has made debuts with several
major international opera houses and orchestras, including
Teatro alla Scala as Frasquita (mezzo-version) CARMEN under
the baton of Gustavo Dudamel, rejoining the maestro for an
ensuing concert version of the opera in Caracas with the Simón
Bolívar Orchestra; Royal Opera House Covent Garden as Handel’s
TAMERLANO with the Orchestra of the Age of Enlightenment under
the baton of Ivor Bolton; Capella Cracoviensis (Krakow) under
the baton of Alessandro De Marchi in the title role of
Handel’s SOLOMON and Opéra-Théâtre de Metz as Ophélie in the
world premiere of Pierre Thilloy’s LE JOUR DES MEURTRES.
Other opera companies with which Ms. Venditti has appeared as
a soloist include Opéra National de Lyon, New York City Opera,
Glimmerglass Opera, Opera Memphis, Opera Birmingham, Center
for Contemporary Opera, American Music Theater Festival,
Connecticut Grand Opera, Theater Bielefeld.
For four seasons Ms. Venditti was a soloist at Staatstheater
Nürnberg, where some of her roles included Mère Marie
DIALOGUES DES CARMÉLITES, Suzuki MADAMA BUTTERFLY, Hänsel
HÄNSEL UND GRETEL, Lola CAVALLERIA RUSTICANA, Siebel FAUST,
Aldonza MAN OF LA MANCHA, Rosina IL BARBIERE DI SIVIGLIA,
Maddalena RIGOLETTO, Olga EUGENE ONEGIN, Orfeo ORFEO ED
EURIDICE (Gluck), the title role in DIE GROSSHERZOGIN VON
GEROLSTEIN and the roles of Flosshilde and Schwertleite in the
company’s production of DER RING DES NIBELUNGEN, conducted by
Philippe Auguin. This production also toured to the Beijing
Music Festival, where it was the first ever Ring Cycle
performed in China, going on to earn a “Best of the Fest”
award for the ensemble.
A champion of 20th and 21st century repertoire, Ms. Venditti
is a first choice among composers and new music organizations,
having participated in premieres of numerous new works in New
York (including New York City Opera’s CENTRAL PARK TRILOGY),
Philadelphia, Green Bay, Memphis, Santa Fe, and most recently
Staatstheater Darmstadt’s production of Luigi Nono’s epic work
PROMETEO (July 2015).
Ms. Venditti has proven herself a
unique interpreter of the music of Kurt Weill. In 2015 she
debuted with the ORF Radio Symphony Orchestra Vienna at the
Wiener Konzerthaus with a compelling program of Weill’s “radio
music”, including his cantata written for radio performance
THE BALLAD OF MAGNA CARTA.
She also bowed at the Israeli
Opera Tel Aviv as Leocadja Begbick in AUFSTIEG UND FALL DER
STADT MAHAGONNY, conducted by David Stern.
An alumna of the prestigious Oberlin Conservatory (Dean’s
Scholar) B.Mus., Manhattan School of Music (Merit Scholar) M.
Mus., Ms. Venditti held the position of Associate Teacher of
Singing for the University Conservatories of Nürnberg-Augsburg
from 2006-2008, continues to lead masterclasses worldwide for
Universities and Opera Companies, and also maintains a
successful private teaching studio of working singers.
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Contact:
Robert Gilder
Managing Director
rgilder@robert-gilder.com
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Linda Brovsky
Linda Brovsky’s innovative productions are found on operatic
stages throughout North America, including San Francisco
Opera, Santa Fe Opera, Seattle Opera, Los Angeles Opera, San
Diego Opera, Opera Theatre of St. Louis, Glimmerglass Opera,
Palm Beach Opera, Austin Lyric Opera, Florentine Opera, Opera
Pacific and Cincinnati Opera among many other with repertoire
ranging from standard classics to world premieres.
Recent
credits include a critically acclaimed new production of Don
Quichotte for Seattle Opera, Rigoletto for both Cincinnati
Opera and Pittsburgh Opera, The Magic Flute for Apollo’s
Fire Baroque Orchestra, a double bill of Suor Angelica and
Gianni Schicchi for Temple University, Song of a Dream for
Chicago’s Auditorium Theatre and Le Nozze di Figaro for IVAI
in Tel Aviv, Israel.
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Branch Fields
Branch Fields, whom Opera America describes as
“a bass of resonant richness,” and The New York Times declared
to be “a gifted young bass,” is delighting audiences and
critics alike, whether it be in opera, concert, or musical
theater. He has sung with Santa Fe Opera, New York City Opera,
Boston Lyric Opera, Opera Carolina, Michigan Opera Theatre,
Utah Opera, Opera San Jose, and many other regional companies
throughout the U.S. In concert, Branch has performed with the
Munich Philharmonic, National Symphony Orchestra, Santa Fe
Symphony, Colorado Springs Philharmonic, and the American
Symphony Orchestra. Branch’s versatility as a singing actor
led to his Broadway debut in SOUTH PACIFIC, understudying the
role of Emile de Becque in the Lincoln Center Theater
production, which won 7 Tony Awards.
This past season, Mr. Fields was engaged by Opera in
Williamsburg as Raimondo LUCIA DI LAMMERMOOR, and by Virginia
Opera as 2nd Soldier SALOME. In December, he was asked to be
the guest artist for the Williamsburg Community Chapel
Christmas Concerts, attended by 8000 people, and performed the
bass solos in Handel’s MESSIAH at the Williamsburg UMC and at
the Sandler Center with Symphonicity. 2015 began with the
Mozart REQUIEM, again with Symphonicity, and Verdi’s REQUIEM
in Ft. Meyers, Florida with the Gulf Coast Symphony. He
reprised Sarastro for Anchorage Opera’s THE MAGIC FLUTE; and
was Father Truelove THE RAKE’S PROGRESS with Utah Opera. The
season ended with a reprise of Raimondo at Opera Fort Collins.
Mr. Fields spent the summer close to home in a 34 performance
run of his critically acclaimed portrayal of Emile de Becque
SOUTH PACIFIC for Virginia Repertory Theater. He has been
nominated for a 2015 RTCC Artsie Award in the “Best Actor in a
Musical” category for his performance of Emile de Becque for
Virginia Repertory Theater.
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Contact:
Robert Gilder
Artist Manager
rgilder@robert-gilder.com
Tony Dillon
Veteran bass Tony Dillon has appeared with
leading opera companies and symphony
orchestras throughout the United States. A
versatile artist, his repertoire ranges
from the works of Peri and Cavalli to world
premieres including operas and song cycles
of Coppola, Earnest, Mlyn, Fink and others.
Mr. Dillon has been reviewed by the Los
Angeles Times as “Delightful“, “stentorian
and richly textured,” well known for his
interpretation of Benoit and Alcindoro in LA BOHEME.
Mr
Dillon has played these roles for Seattle Opera, Michigan
Opera Theater, Austin Lyric Opera, Madison Opera, Amarillo
Opera, Des Moines Metro Opera, Tulsa Opera, and Kentucky
Opera. Recent engagements include Dr. P THE MAN WHO MISTOOK
HIS WIFE FOR A HAT with Indianapolis Opera, Benoit and
Alcindoro LA BOHEME with Tulsa Opera, the roles Older
Passenger and Steward in Weinberg’s THE PASSENGER with Florida
Grand Opera, and Pope Urban and Cardinal Barberini GALILEO
GALILEI with the Des Moines Metro Opera.
Other operatic roles include Dr. Grenvil LA TRAVIATA, Father
Trulove THE RAKE’S PROGRESS, Monterone RIGOLETTO, the
Speaker DIE ZAUBERFLÖTE, Luther/Crespel LES CONTES D’HOFFMANN,
and Sir Robert Cecil GLORIANA all with Des Moines Metro Opera,
Alidoro LA CENERENTOLA with Tulsa Opera, Don Basilio IL
BARBIERE DI SIVIGLIA with Opera Birmingham and Opera Idaho,
Grandpa Moss THE TENDER LAND and Don Alfonso COSI FAN
TUTTE with Madison Opera, Bonze MADAMA BUTTERFLY with the
Midland Symphony Orchestra and the Sacristan TOSCA with the
Rockford Symphony.
He has also performed the
Sacristan TOSCA with Pittsburgh Opera, Don Alfonso COSI FAN
TUTTE with City Opera of the Quad Cities and El Paso Opera,
Crespel/Luther/Schlemil LES CONTES D’HOFFMANN and the Old
Hebrew SAMSON ET DALILA with Cleveland Opera, the titlerole DON PASQUALE with Lyric Opera of San Antonio, Dr.
Grenvil LA TRAVIATA with Pittsburgh Opera, Grandpa Moss THE
TENDER LAND with Opera Omaha, Candy OF MICE AND MEN with the
Washington Opera, Raimondo LUCIA DI LAMMERMOOR with
Mississippi Opera, Simone GIANNI SCHICCHI with Los Angeles
Opera, Zuniga CARMEN with Central City Opera, The Rev.
Winemiller SUMMER AND SMOKE, H.G. Wells and Guadagno in Anton
Coppola’s SACCO & VANZETTI and Frank DIE FLEDERMAUS with Tampa
Bay Opera, and Don Basilio in the New York City Opera National
Company tour of IL BARBIERE DI SIVIGLIA.
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https://www.youtube.com/watch?v=1a6Tgd0MHgM
Artist Website
Contact:
Robert Gilder
Managing Director
rgilder@robert-gilder.com
Michael Scarcelle
Garnering praise for his combination of vocal beauty,
musicality and charisma, bass-baritone Michael Scarcelle has
proven his versatility in concert, recital, opera and theatre.
Recent performances include Figaro THE MARRIAGE OF FIGARO with
Opera Theatre of Pittsburgh, Papageno THE MAGIC FLUTE with
Anchorage Opera, bass soloist in Greenwich Choral Society’s
concert of Händel’s JUDAS MACCABAEUS, Herrmann Augustus
CANDIDE with Leipzig MDR Symphony Orchestra, Poo-Bah MIKADO
with Mobile Opera, HYDROGEN JUKEBOX with Skylight Music
Theatre, Poo-Bah MIKADO with Shreveport Opera. Other
performance highlights include Demetrius A MIDSUMMER NIGHT’S
DREAM with Opera Naples, King Melchior AMAHL AND THE NIGHT
VISITORS, Beaupertuis in Nino Rota’s THE ITALIAN STRAW HAT and
Don Pedro LA PÉRICHOLE with Amarillo Opera, The Pirate King
THE PIRATES OF PENZANCE with Anchorage Opera, Alidoro LA
CENERENTOLA and Ceprano RIGOLETTO with Salt Marsh Opera, and
the role of Death in Holst’s SAVITRI with Little Opera Theater
of New York, for which The New York Times praised his
“forbidding, resonant bass-baritone.”
In 2015 he made his
Carnegie Hall debut as Masolino in American Symphony
Orchestra’s performance of Schillings’ MONA LISA, then
performed at the hall again with New York City Chamber
Orchestra as soloist for both Duruflé Requiem and Fauré
Requiem.
Mr. Scarcelle made his European debut singing Crespel LES
CONTES D’HOFFMANN and Marchese LA TRAVIATA with Festival
lyrique international de Belle-Île-en-Mer and returned to the
festival as Schaunard LA BOHÈME. Other notable performances
abroad include Plutone ORFEO in Chiari, Italy, and Escamillo
CARMEN, Figaro LE NOZZE DI FIGARO and Dominick in the world
premiere of Georg Kreisler’s DAS AQUARIUM with Volkstheater
Rostock. For his performance as Elviro in Boston Baroque’s
production of SERSE, Opera News wrote “bass Michael Scarcelle
possessed an appealing, charismatic stage presence and a spoton sense of comic timing reminiscent of a young Cary Grant”
and Boston Globe noted his “fluidly sung comic relief.”
He recently made his debut with Munich Philharmonic performing
Herrmann Augustus CANDIDE, a role he reprised with London
Symphony Orchestra at the Barbican Theatre, Die Deutsche
Kammerphilharmonie Bremen at Bremen’s Glockenspiel and
Tonkünstler-Orchester Niederösterreich at Vienna Konzerthaus.
His bass aria in Bach Magnificat (nationally televised from
the National Cathedral) was praised by The Washington Post as
“fresh” and “animated”. Other notable concert engagements
include Avery Fisher Hall performances as bass soloist for
Händel’s Messiah and Verdi Requiem, Schütz Fili Mi Absalon
with St. Luke’s Trombone Quartet, Händel Messiah with
Norddeutsche Philharmonie; Mozart Mass in C Minor; Haydn Lord
Nelson Mass and Bach Cantatas 4 and 111 with Yale Symphony
Orchestra; Haydn Theraisienmesse and Händel Alexander’s Feast
at Hunter College; Bach Cantata 182 with St. Bartholomew’s
Church New York City, and a concert of Broadway music with the
Macedonia Philharmonic Orchestra that earned him a Cultural
Diplomacy award from the United States Embassy.
Other performances include Hanezò L’AMICO FRITZ with Sarasota
Opera, Friar Laurence (cover) ROMEO AND JULIET and Monterone
(cover) RIGOLETTO with Opera Theater of St. Louis, the Police
Sergeant THE PIRATES OF PENZANCE with Colorado Symphony;
Filiberto (cover) IL SIGNOR BRUSCHINO with Gotham Chamber
Opera, Masetto DON GIOVANNI with H&K Arts Japan, Alessio LA
SONNAMBULA with Salt Marsh Opera, Ceprano RIGOLETTO with
Westfield Symphony Orchestra, Pistola FALSTAFF and Guglielmo
COSI FAN TUTTE with Hunter College, Marco GIANNI SCHICCHI,
Valere LE MÉDECIN MALGRÉ LUl, Erminio IL TRIONFO DELL’ONORE,
Antonio LE NOZZE DI FIGARO and Sprecher DIE ZAUBERFLÖTE with
Yale Opera, Michele IL TABARRO at Catholic University,
Schlémil LES CONTES D’HOFFMANN, Lucas THE STUDENT PRINCE and
Sculpteur LE JONGLEUR DE NOTRE DAME with Central City Opera
where, as an apprentice artist, he was singled out by Opera
News as “particularly promising, for cultivated sonorous
vocalism and good stage presence.
Michael Anthony McGee
Hailed by Opera News as possessing “a sturdy baritone and
terrific swagger with equal portions of baritonal power and
graceful subtlety”, Michael Anthony McGee is enjoying
successes on both the operatic and concert stages, in all
styles from the Renaissance to Contemporary repertoire. Mr.
McGee has sung leading roles throughout the United States,
including the title roles in both Verdi’s Falstaff and
Puccini’s Gianni Schicchi with the Seattle Opera Young Artist
Program, Alphonse La favorite and the title role in Borodin’s
Prince Igor with San Francisco Opera’s Merola Opera Program,
the American premiere of Tan Dun’s Tea: A Mirror of Soul and
Orest Iphigénie en Tauride at Santa Fe Opera, and Hermann
Ortel Die Meistersinger at the Tanglewood Music Festival under
the baton of Maestro James Levine. Recent engagements include
Francesco del Giocondo in Max von Schilling’s Mona Lisa with
the American Symphony Orchestra at Carnegie Hall.
Future
engagements include Zurga Les Pêcheurs de Perles with Israeli
Opera.
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