Born in Russia, Ms. Petrachuk studied at Moscow Tchaikovsky Conservatory and is a graduate of Bern Opera Studio in Bern, Switzerland.
Her debut as a professional opera singer was with the State Theater Bern, Switzerland in 2010. She has also performed with Theater Biel (Switzerland), Ash Lawn Opera Festival, Opera Ischia (Italy), Dicapo Opera Theater NYC, Great Moscow Hall, Vocal Productions NYC and Opera Camerata. Some of her main roles performed include Fiordiligi, Mimi, Violetta, Nedda, Iolanta, Tatiana, Euridice, Flaminio, Lauretta, Adina, Donna Anna. In 2014, she made her debut at the Carnegie Hall with Steven Crawford, pianist and assistant conductor of Metropolitan Opera.
In 2012, Ms. Petrachuk received a grant by The Schuyler Foundation for Career Bridge and in 2015 she was one of the Finalists in the Vocal Arts DC Discovery Series Competition in Washington DC. In 2015, she won the Montpelier Art Center’s Classical Recital Series Competition.
In November 2015, Ms. Petrachuk successfully performed the World Premiere of a song cycle “Yulia” for soprano and strings by Emmanuel Duboi at Merkin Concert Hall at Kaufman Center, NYC in collaboration with renowned Italian pianist Carlo Pari. In December 2016, she had a recital at the Carnegie Weill Recital Hall with American pianist Michael Fennelly and performed a world premier of a song cycle “Winter Wood” by Emmanuel Dubois for soprano and harp.
In June 2017, she performed the role of Donna Anna in Mozart's opera Don Giovanni with the Vienna Music Festival in Vienna, Austria. And in July 2017, Yulia took a part at the Maryland Lyrica Young Artists Program. Recently, in January 2018, Yulia performed at Smetana Hall in Prague, Czech Republic with maestro Alfredo Sorichetti and New World Symphony Orchestra. Her future engagements include various operatic and concert series performances in USA, Italy, Austria, Russia and France.
Joshua Baumgardner is a fresh new voice in the world of classical music. With a voice that possesses both power and agility, Joshua's vocal repertoire is very broad and he has portrayed a wide variety of characters. Singing roles ranging from romantic leads to smaller, character roles, Joshua always brings new life, an exciting edge, and a unique personality into each of the characters he sings.
Mr. Baumgardner is a native of Abingdon, Virginia. Joshua received his B.M. in Vocal Performance at James Madison University under the tutelage of Dr. John Little, and an M.M. in Vocal Performance at Florida State University where he studied with tenor, Stanford Olsen and soprano, Shirley Close. In 2011 Joshua won FSU's prestigious Hannah Beaulieu Graduate Vocal Competition. Also while at FSU, Joshua had the privilege of working as a Graduate Teaching Assistant, teaching and maintaining a studio of primarily undergraduate students. It was during this time that Joshua discovered his ability to address each student’s individual strengths and weaknesses and convey the principles of a strong technique upon which to build the voice. It was also at FSU where Joshua discovered his passion for teaching, and the ability to spread his joy and excitement for singing on to each of his students.
Joshua has performed a variety of well known operatic roles such as Lensky
in Eugene Onegin, the misunderstood character of Nemorino in Donizetti's L'elisir d'amore, Rinuccio in Puccini's Gianni Schicchi, Ferrando in Mozart’'s Cosi Fan Tutte, Camille de Rossilon in Lehar’'s The Merry Widow, as well as more
obscure, contemporary works such as The Englishman in Ibert’s Angelique. Joshua has also had the great honor of performing several scenes as Lenny in Carlisle Floyd's Of Mice and Men at a benefit for the composer himself. Other roles Joshua has performed in scenes include Rodolfo in Puccini’s La Boheme, and Hoffmann in Offenbach’s Les Contes d’Hoffmann.
In 2010 Joshua made his European debut singing the role of Tamino from Mozart's Die Zauberflöte at the Mittelsächsisches Theater in Freiberg, Germany. Mr. Baumgardner also stepped in on short notice to sing several performances of The Armored Man in the same production after the house tenor became ill.
Joshua now teaches in Washington D.C. where he also maintains an active performing career that spans works from Haydn and Mozart, to modern, 20th century operas written with the intent of bringing young, new audiences into the world of classical music.
Alexandra Coburn, a contralto from Houston, Texas, is an undergraduate from Louisiana State University. She is currently studying in Washington D.C. at the Potomac Vocal Institute under Elizabeth Bishop. Recent roles she has performed include Mistress Quickly in Falstaff, La Principessa in Suor Angelica, and Marcellina in Le Nozze di Figaro
Called “winningly wily and dauntless” by Boston Classical Review, American mezzo-soprano Kate Jackman is a multifaceted musician and actress who excels in a variety of musical expression.
On stage, Kate performed the lead role in Oliver Knussen’s Higglety Pigglety Pop! at the Tanglewood Festival of Contemporary Music and “touchingly incarnated Jennie” (Alex Ross, The New Yorker). Other recent roles include Bradamante in Fargo-Moorhead Opera’s 2018 production of Alcina, Giovanna in Charlottesville Opera’s 2017 production of Rigoletto, the title role in Carmen with Maryland Concert Opera, The Beggar Woman in Baltimore Concert Opera’s Sweeney Todd, and Bloody Mary in Annapolis Opera’s 2016 production of South Pacific, a role she “performed well physically… with a sly grin heralding a lovely voice.” (Maryland Theater Guide)
As a winner of the DC Vocal Arts competition, Kate made her Kennedy Center recital debut in 2012. She has since performed at Carnegie Hall in Marilyn Horne’s The Song Continues series, at Seiji Ozawa Hall as a fellow at the Tanglewood Music Center, and in the Fall Island Vocal Arts Seminar.
In concert, Ms. Jackman has performed solos from Handel’s Messiah and Bach’s Christen, atzet diesen Tag over internationally televised programming with The Basilica of the National Shrine in Washington, D.C., Other concert credits include Narrator in Stravinsky’s L’Histoire du Soldat with the Lunar Ensemble, and Alto Soloist in both Beethoven’s Mass in C Major and Vivaldi’s Gloria with Maryland Choral Society.
This season, Kate will return to Baltimore Concert Opera to perform Beppe in L’amico Fritz. She will also perform the Mercedes in Annapolis Opera’s Carmen, and be featured as the alto soloist at the Kennedy Center’s Messiah..
William Meinert, bass, has been praised for his “evenly produced, promising bass” (Opera News) and "charismatic [and] exhilarating comic flair" (Boston Musical Intelligencer). This season, William performs Commendatore in Mozart's Don Giovanni with Baltimore Concert Opera, Commentator in Derrick Wang's opera Scalia/Ginsburg with Opera North, and Vodník in Dvořák's Rusalka with Madison Opera. During the 2017-18 season, he was the baritone soloist in Beethoven's Symphony No. 9 with Baltimore Youth Orchestra and a bass soloist in Monteverdi's Vespers of 1610 with American Bach Soloists. He also sang Uberto in Pergolesi's La Serva Padrona with Commonwealth Lyric Theater, as well as Dulcamara in Donizetti's L'elisir d'amore and Le philosophe in Massenet's Chérubin at Peabody Institute.
Highlights of previous seasons include Varlaam (Boris Godunov) with Commonwealth Lyric Theatre, Carceriere (Tosca) and Hortensius (La fille du régiment) with Opera North, Basilio (Il barbiere di Siviglia) with Loudoun Lyric Opera, Aeolus and Cold Genius (King Arthur) with American Bach Soloists Academy, Don Alfonso (Così fan tutte) with Old Towne Opera, and Sparafucile (Rigoletto) with Metro Opera Workshop of Detroit. Additional operatic performances include Figaro (Le Nozze di Figaro), Colline (La bohéme), Father Peter (Hansel and Gretel) and both Sarastro and Sprecher (Die Zauberflöte).
William has studied privately with Russell Penney, with Dolora Zajick at her Institute for Young Dramatic Voices, and currently studies with William Sharp at Peabody Institute.
Heralded as one of the most sought after bel canto baritones of the new generation, Chilean baritone Javier Arrey’s 2016-2017 season saw a triumph in his debut with the Wiener Staatsoper as Marcello (La Bohème) and joined the roster of The Metropolitan Opera as well as Don Giovanni at the Estates Theater in Prague.
Following an acclaimed debut as Jago (Otello) at the Castleton Festival under Lorin Maazel, a performance Washington Post described as, “menaced and connived but [Arrey] did so subtly and with a voice so lovely to listen to that his scheming seemed all the more threatening.” Javier returned there the following summer in the title role of Don Giovanni. Following success as Jago, Arrey is beginning to incorporate more Verdi into his already extensive repertoire. Other highlights from recent seasons include Melot (Tristan und Isolde), Marcello (La Bohème), Sharpless (Madama Butterfly), Malatesta (Don Pasquale) and Lescaut (Manon Lescaut) at Washington National Opera; Il Marito (Amelia al Ballo) at Opera de Monte-Carlo; Ben (The Telephone) and Il Marito (Amelia al Ballo) at Palau de les Arts Reina Sofia in Valencia; Silvio (I Pagliacci) at The National Centre for the Performing Arts-Mumbai under Antonello Allemandi; Alphonse (La favorite) with Washington Concert Opera under Maestro Antony Walker; and Sharpless (Madama Butterfly) and Giorgio (Il Postino) at the Teatro Municipal de Santiago. On CD, he can be heard as Lescaut on the recording of Manon Lescaut for Decca Classics under the baton of Plácido Domingo where the cast included Andrea Bocelli and Ana Maria Martinez. In addition to his work on the opera stage Arrey has proved to be a world-class interpreter of the concert repertoire most recently performing Carmina Burana in Europe in the Netherlands and also with Charlotte Symphony Orchestra under Christopher Warren-Green. His repertoire includes Fauré’s Requiem, Dvorák’s Biblical Songs, Bach's St. John’s Passion, Bach's Weihnachtsoratorium, Schumann's Dichterliebe, Brahms’ Ein deutsches Requiem and Mahler’s Lieder eines fahrenden Gesellen, among others. Javier Arrey was a finalist at the 2009 Cardiff Singer of the World competition (Song prize), winner of the CulturArte Prize at the 2011 Operalia Competition in Moscow, and also a graduate of Washington National Opera’s Domingo-Cafritz Young Artist program. Upcoming engagements include among others, his Metropolitan Opera debut as Shaunard (La Bohème) in the classic Franco Zeffarelli production and returns to Washington Concert Opera as Valdeburgo in Donizetti’s La Straniera under Maestro Antony Walker.
Katherine Sanford is a versatile and dynamic mezzo-soprano, hailing from Annapolis, MD. The 2015-2016 season included several important role debuts for Katherine, beginning with her performances as Dorabella in Così fan tutte with Nashville Opera, followed by performances as Prince Orlofsky in the company’s production of Die Fledermaus. In the summer of 2016, she sang the role of Iolanthe in the Young Victorian Opera Theatre’s production of Gilbert and Sullivan’s Iolanthe.
Other opera credits include Stephano in Romeo et Juliette, Hansel in Hansel and Gretel, Lucretia in The Rape of Lucretia, Ottavia in L’incoronazione di Poppea, 2nd Lady in Die Zauberflöte, Mercédès in Carmen, Lola in Cavalleria Rusticana, Donna Elvira in Don Giovanni, and Kate Pinkerton in Madama Butterfly.
Katherine is increasingly sought out for concert and oratorio work, and she looks forward to performing as the mezzo-soprano soloist in John Rutter’s Magnificat with the Easton Chorale Arts Society in December of 2016. In the spring of 2017, she will perform as the alto soloist in Haydn’s Lord Nelson Mass with the Baltimore Chorale Arts Society. Katherine was the alto soloist in St. John’s Passion by J.S. Bach, performing with members of the Detroit Symphony Orchestra and the Chancel Choir of Kirk in the Hills Presbyterian Church in the winter of 2013. She also performed as a pre-concert recitalist with the Detroit Symphony Orchestra in both 2012 and 2013, performing songs by Debussy and Strauss.
Katherine sang as a young artist with Nashville Opera, Opera Colorado, and Des Moines Metro Opera. She completed her Masters degree at the University of Michigan, and her undergraduate degree at the University of Maryland.
Praised for her “plush” voice by the Baltimore Sun and voice of “sweet clarity” by the Pittsburgh Post-Gazette, mezzo-soprano Kristen Dubenion-Smith enjoys an active performing career in oratorio, opera and sacred vocal chamber music, particularly specializing in music of the medieval, renaissance and baroque eras.
Recent notable engagements include performances with The Folger Consort, NYS Baroque, The Bach Sinfonia, the Catacoustic Consort of Cincinnati, Ohio, the Handel Choir of Baltimore, Magnificat Baroque of San Francisco, The Bach and Baroque Ensemble of Pittsburgh and with the Mark Morris Dance group, singing in the pit at the Kennedy Center with the Washington Bach Consort. Ms. Dubenion-Smith has also performed concerts with various ensembles at the Boston Early Music Festival, the Berkeley Early Music Exhibition, the Indianapolis Early Music Festival and the Washington Early Music Festival.
Ms. Dubenion-Smith’s operatic career spans more than a dozen opera roles performed throughout the United States. Some of her more notable roles have included Endimione in La Calisto, Hecuba in La Didone and Cupid in Venus and Adonis with American Opera Theater, Humility in Ordo Virtutum with the Peabody Early Music Department, Hansel in Hansel and Gretel with Peabody Opera Outreach and La Baronne in Chérubin with New Jersey Opera Theater.
Ms. Dubenion-Smith also has a keen interest in contemporary music. She has had the privilege to work with The Evolution Contemporary Music Series the past three seasons where she has performed works such as David Lang’s Pulitzer Prize winning piece The Little Match Girl Passion as well as Peter Lieberson’s Neruda Songs and works by Arvo Pärt. Most recently, Ms. Dubenion-Smith performed, for the composer, selections from the chamber opera Song from the Uproar by NYC based composer, Missy Mazzoli.
Originally from Michigan, Ms. Dubenion-Smith graduated from Alma College before moving to Baltimore to complete her studies in voice at the Peabody Institute. Still residing in Baltimore, in 2010, Kristen co-founded the award-winning D.C. based medieval trio, Eya. Eya is a unique ensemble seeking to refresh and invigorate the interpretation and performance of medieval music for women. You can learn more about Eya at www.eyaensemble.com
2013-2014 solo engagements include concerts with: Apollo’s Fire, The Washington Bach Consort, Eya Medieval Ensemble, The Evolution Contemporary Music Series, Easton Choral Arts, The Cathedral Choral Society, The New Dominion Chorale and The Bach Concert Series of Baltimore.
Antony Zwerdling returns to Easton Choral Arts Society as the Bass Soloist in Vaughan Williams’ Mass in G Minor. In previous seasons, he has sung as a soloist in Mozart’s Requiem, Handel’s Messiah, and Marauder’s Mount of Olives with the group. As an Oratorio singer, he has also appeared as a soloist and professional member of the ensemble with Handel & Haydn Society, Washington Bach Consort, Washington Master Chorale, Baltimore Choral Arts Society, Concert Artists of Baltimore, and Philharmonia Baroque. In addition, he has performed over twenty‒five operatic roles, including Papageno in The Magic Flute, Figaro in Il Barbiere di Siviglia, Eisenstein and Falke in Die Fledermaus, Sid in Albert Herring, Marcello and Schaunard in La Bohème , Mama Agata in Le Convenienze teatrali, and Pooh Bah in The Mikado.
He has performed with numerous opera companies, including Washington National Opera, Opera Lafayette, Wolf Trap Opera, Boston Lyric Opera, Lake George Opera, Washington Concert Opera, Opera Boston, and Ash Lawn Opera. He received his Bachelors degree from Northwestern University and Masters from Boston University. In 2007, he earned his Doctorate from Shenandoah Conservatory, writing about songs of Samuel Barber. Dr. Zwerdling is an active voice teacher, maintaining a studio at Hood College and College of Southern Maryland.
Hailed as “a lyric soprano of ravishing quality” by the Boston Globe, Laura Choi Stuart appears regularly with the Washington Bach Consort and the Washington Master Chorale, in addition to solo appearances with many area ensembles. Solo highlights of the 2016-17 season include Messiah and B Minor Mass with the Washington National Cathedral, Cantatas 140, 207a, and 10 with Washington Bach Consort, and Mozart Requiem with the McLean Orchestra.
Laura began her career in opera and has appeared on the mainstage with Boston Lyric Opera, Opera Boston, Annapolis Opera, Lake George Opera, the In Series, and Opera North in roles including Musetta, Adina, Gilda, Pamina, and Frasquita. Equally comfortable in recital and concert settings, Laura was honored for art song performance as 2nd prize winner at both the 2010 and 2012 National Association of Teachers of Singing Artist Awards and as one of the 2009 Art Song Discovery Series winners for the Vocal Arts Society. She received her training at The Santa Fe Opera Apprentice Program for Singers, Opera North, and Berkshire Opera, as well as The New England Conservatory and Dartmouth College. Laura is a student of Elizabeth Daniels and lives in Silver Spring, MD.
Born in Boston, MA, Joseph Regan is a successful singer and voice teacher based in the Mid-Atlantic region making appearances throughout the east coast. A regular performer at the Strathmore, Meyerhoff, and Kennedy Center Concert Halls, Mr. Regan has been privileged to sing under the batons of Marin Alsop, Christian Eschenbach, Masaaki Suzuki, Emil de Cou, Martin Issep, and many others. A specialist in French Mélodie, Mr. Regan is a deft interpreter of the unique poetic and musical characteristics that define this exquisite art form and is frequently engaged around the region to perform in this capacity. Joseph can be seen on the opera stage where he has performed the roles of Fenton from Verdi’s Falstaff, Tamino from Mozart’s Magic Flute, Jenik from Smetana’s Bartered Bride and many more.
Mr. Regan is also an accomplished performer of musical theatre. His credits include: Henrik in Sondheim’s A Little Night Music, Nicely-Nicely Johnson from Loesser’s Guys and Dolls, and has performed a number of cabaret and recital programs dedicated to the style. In addition to his work in opera and musical theatre, Mr. Regan is well known for his work in the field of oratorio. He has sung Handel, Haydn, Mendelssohn, Mozart, Rossini, and is particularly notable for his expertise singing Bach. He has performed the St. John Passion solos on multiple occasions and has performed more than a dozen of Bach’s Cantatas. Mr. Regan is also a highly sought after ensemble singer and sings regularly with top choral groups in the region, with whom he has toured much of the Eastern seaboard. Mr. Regan received his Bachelor and Master of Music degrees from the Peabody Institute of the Johns Hopkins University and his DMA in Voice Performance at the University of Maryland.