Become entangled in the storytelling of The Secret Gardener (La finta giardiniera) as performers and audience members meet in the beautiful setting of Caramoor’s Sunken Garden. Written by an 18-year-old Mozart, The Secret Gardener is a story of love, madness, and redemption that unfolds in the lush grounds of a beautiful garden. Disguises and mistaken identities abound in Mozart’s charming tale of a triple love triangle! Enjoy a summer evening outdoors with this lighthearted comic opera, performed in English. Seating is extremely limited for this unique performance, so be sure to book well in advance!
Produced in collaboration with On Site Opera.
Ashley Kerr (Sandrina)
Emalie Savoy (Arminda)
Katrina Galka (Serpetta)
Kristin Gornstein (Ramiro)
Chad Johnson (Belfiore)
Michael Kuhn (Podesta)
Jorell Williams (Nardo)
Geoffrey McDonald, conductor
Eric Einhorn, director
Kelley Rourke, English translation & dialogue
Yoni Kahn & Thomas Carroll, chamber orchestration
Beth Goldenberg, costume designer
Afterglow Reception for All Audience Members
Ashley Kerr, soprano
Praised for her “plush and seductive” tone, soprano Ashley Kerr is rapidly garnering attention from critics and opera companies alike. Most recently, Ms. Kerr debuted as Ciocio San in Madama Butterfly with Salt Marsh Opera and the soprano soloist in Orff’s Carmina Burana with the New Jersey Festival Orchestra. In the fall of 2014, Ms. Kerr made her Lincoln Center debut in concert with the Opera Orchestra of New York under the baton of Eve Queler at Alice Tully Hall.
Other recent performances include role debuts of Mimì and Musetta in La bohème and a triumphant return to Le nozze di Figaro as Countess Almaviva. In 2013, Ms. Kerr sang the title role in Carlisle Floyd’s Susannah in the United States and Tel Aviv, Israel. In October 2012, Ms. Kerr made her European debut as Sally Follett in A Death in the Family in an award-winning joint production with the Center for Contemporary Opera and the Armel Festival. During the 2012 Fort Worth Opera Festival season, Ms. Kerr triumphed as Myrrhine in their production of Mark Adamo’s Lysistrata. She has also performed with the Virginia Opera, Caramoor, Crested Butte Music Festival, and Opera Carolina.
A dedicated interpreter of new music, Ms. Kerr has been involved in the workshops and premieres of many new works including Jorge Martín’s Before Night Falls, Stephen Schwartz’s Séance on a Wet Afternoon, and Persis Parshall Vehar’s Eleanor Roosevelt. Ms. Kerr has received awards from various competitions including the Metropolitan Opera National Council Auditions, the Giulio Gari Foundation, the Licia Albanese-Puccini Foundation and the Violetta DuPont Vocal Competition.
Emalie Savoy, soprano
Soprano Emalie Savoy was awarded First Prize in Voice at the prestigious 2015 ARD International Music Competition in Munich, Germany. In addition, she received prizes of distinction from the German theater magazine Orpheus, and a debut CD recording prize from the GENUIN Classics label.
Praised for the “gleaming richness” of her voice by The New York Times, the young American soprano is a compelling and dynamic vocal artist. The lyric beauty of her voice and the singular passion she brings to her performances have touched audiences worldwide. Upcoming engagements include Erste Dame in Mozart’s Die Zauberflöte at the Grand Théâtre de Genève, conducted by Gergely Madaras and directed by Daniel Kramer, performances as the Countess in Mozart’s Le nozze di Figaro at the 2016 Castleton Festival, conducted by Rafael Payare and directed by Maria Tucci, and the release of her forthcoming debut album in 2016 with GENUIN Classics.
Ms. Savoy has performed to great acclaim in both operatic and concert repertoire, making her Metropolitan Opera debut in 2012 as Kristina in Leoš Janáček’s The Makropulos Case, conducted by Jiří Bělohálovek. In recognition of her outstanding artistic achievement and potential, she was a recipient of a 2013 Leonore Annenberg Fellowship, the 2012 Hildegard Behrens Foundation Young Artist Humanitarian Award, and she was awarded the 2011 Leonie Rysanek Grand Prize at the George London Foundation Competition.
Recent engagements included performances of the role of Sylviane in the Metropolitan Opera’s new production of Die lustige Witwe; Erste Dame in Mozart’s Die Zauberflöte at the Salzburger Landestheater with the Mozarteum Orchestra Salzburg; the role of Anna in the world premiere of Schubertstrasse 200 at the Salzburger Landestheater with the Mozarteum Orchestra Salzburg; soprano soloist in Handel’s Messiah with the Oratorio Society of New York at Carnegie Hall; a performance of selections from Britten’s Russian language cycle, “The Poet’s Echo,” at Weill Recital Hall with pianist Natalia Katyukova; Céphise in Rameau’s Pygmalion with On Site Opera, conducted by Jennifer Peterson; and Ms. Savoy was featured in recital by the BIG ARTS foundation on Sanibel Island, Florida, with pianist Nathan Brandwein.
A native of Albany, New York, Ms. Savoy completed The Metropolitan Opera’s Lindemann Young Artist Development Program, and holds Bachelor and Master of Music degrees in Vocal Performance from The Juilliard School. In addition, she studied at the Gerard Mortier International Opera Studio at the Salzburg State Theater, the Chautauqua Institution, and the Internationale Meistersinger Akademie in Neumarkt, Germany with soprano Edith Wiens.
Katrina Galka, soprano
The Oregonian praises soprano Katrina Galka for her recent performances of Adina in L’elisir d’amore, exclaiming that she “looked like a young Glenn Close, projecting power over Nemorino as she thrilled with fine coloratura filigree and pure high notes.” In the 2017-18 season, she returns to Portland Opera to debut the role of Gilda in Rigoletto. She also returns to Arizona Opera as Cunegonde in Candide, Rosina in Il barbiere di Siviglia, Woglinde in Das Rheingold, and a quartet of roles in Morganelli’s Hercules vs Vampires as well as joins the Las Vegas Philharmonic for Handel’s Messiah. Last season, she made role and company debuts with Atlanta Opera for Blondchen in Die Entführung aus dem Serail and at the Glimmerglass Festival as Atalanta in Xerxes. She also joined Arizona Opera as the First Wood Nymph in Rusalka, Clorinda in La cenerentola, and for its world premiere of Bohlmer’s The Riders of the Purple Sage and Dallas Opera as Voice I in Cuomo’s Arjuna’s Dilemma, presented as the company hosted the annual Opera America conference.
The soprano recently is a former resident artist of Portland Opera, at which she sang a host of role debuts that include Adina in L’elisir d’amore, Johanna in Sweeney Todd, Elvira in L’italiana in Algeri, Papagena in Die Zauberflöte, Frasquita in Carmen, Adult Kim in Show Boat, and Ida in Die Fledermaus. She sang prior performances of Papagena in Die Zauberflöte, Isabel in The Pirates of Penzance, and covered Soeur Constance in The Dialogues of the Carmelites with Opera Theatre of Saint Louis, at which she has been both a Festival Artist and a Gerdine Young Artist. She joined the CoOperative Program as Marie in La fille du régiment and sang the Cat in Schuller’s The Fisherman and his Wife with Odyssey Opera and the Boston Modern Opera Project. On the concert stage, she has joined the Rhode Island Civic Chorale for the Angel in Respighi’s Laude to the Nativity and Handel’s Messiah. She sang Elvira in excerpts of L’italiana in Algeri with the Oregon Symphony and Violetta in excerpts of La traviata with the Metropolitan Youth Symphony. With various Dallas-based chamber ensembles and orchestras, she has sung Fauré’s Requiem, Mozart’s Exsultate Jubilate, and Bach’s St. John Passion. In 2011, Katrina performed in the east coast premiere of Jake Heggie’s Pieces of 9/11 as the Girl Soprano, with Mr. Heggie at the piano.
Ms. Galka is a three-time regional award winner in the Metropolitan Opera National Council Auditions. She is the first-place winner of the Mario Lanza Scholarship and has received further awards from the National Opera Association Vocal Competition, Marcello Giordani International Vocal Competition, and the Heida Hermanns International Vocal Competition. She holds a Master of Music from Boston University, at which she sang Servilia in La clemenza di Tito, Carolina in Il matrimonio segreto, and Rosalba in Catan’s Florencia en el Amazonas. She earned a Bachelor of Music from Southern Methodist University, from which she graduated summa cum laude.
Kristin Gornstein, mezzo-soprano
Kristin Gornstein, mezzo-soprano, sings with some of the most exciting and innovative companies in the classical world in cities throughout the US and beyond. Hailed as, “rich-voiced” (The New York Times) and “a fine actress with a deep spacious sound” (Parterre.com), Kristin portrays both comic and dramatic roles with equal relish. This season she premiered the role of Paul in Kurt Vonnegut’s only opera, Happy Birthday Wanda June, with Indianapolis Opera, sang the Soprano II solos in several concerts with the acclaimed choral series Sacred Music in a Sacred Space in New York, and will rejoin the ensemble in Dido and Aeneas with the groundbreaking Mark Morris Dance Group at BAM.
In 2015, Kristin was a vocal fellow at the Tanglewood Music Center, performing works by Bach, Korngold, and Golijov. She also debuted the role of Rosina in Il Barbiere di Siviglia and the title role in Britten’s The Rape of Lucretia with Loft Opera in Brooklyn, NY, both to critical acclaim. Other recent performances abroad include shows in Stockholm and Rotterdam with the Opera Mecatronica ensemble, Alto soloist in Handel’s Messiah, and the Second Soprano soloist in Mozart’s Mass in C Minor in Beirut, Lebanon. Originally from Indiana, Kristin now lives in Brooklyn.
Chad Johnson, tenor
Noted as a “blond hunk with a bright tenor sound,” Chad Johnson has impressed audiences and critics throughout his career. This fall, Johnson sings as the tenor in Ensemble for the Romantic Century’s production of Van Gogh’s Ear at The Pershing Square Signature Center in New York City.
Mr. Johnson has led quite a prolific career as a tenor in a variety of operas across North America. Recently, he has taken on many great tenor roles including Niklaus Sprink in Silent Night with Michigan Opera Theatre, Fort Worth Opera, and in his début with The Wexford Festival; Don Ottavio in Don Giovanni with Opera Orlando and New Orleans Opera; Tonio in La fille du régiment with Mill City Summer Opera; Gerald in Lakmé with Minnesota Opera and Florida Grand Opera; Lenski in Eugene Onegin with Florida Grand Opera; Peregrino in Vía Láctea with OperaBend; Nadir in Les pêcheurs de perles with Virginia Opera and Opera Carolina; Ruggero in La rondine with Fresno Grand Opera; Lysander in Britten’s A Midsummer Night’s Dream with Boston Lyric Opera; Jacquino in Fidelio with Opera Omaha; Emilio in Il sogno di Scipione with Gotham Chamber Opera; and Lance in the rarely performed Gluck opera entitled L’arbre enchanté with Fire Island Opera for their inaugural season.
Previous career highlights include Paolino in Il matrimonio segreto at Brooklyn Academy of Music and Ferrando in Così fan tutte with Tanglewood Music Center under the baton of Maestro James Levine. From this performance, Opera News raved: “The excellent tenor Chad Johnson provided some deeply felt moments as his Ferrando struggled to stay in the game, and all of his arias rang true.”
Johnson was a member of multiple young artist programs at many houses throughout the country including Chicago Opera Theater, Florida Grand Opera, and Glimmerglass Opera as well as Santa Fe Opera’s Apprentice Artist Program. With Florida Grand Opera’s young artist program, he sang many roles including the Second Jew in Salome, Benvolio in Roméo et Juliette, Gastone in La traviata, Joszef in the North American première of Ede Donath’s Szulamit, and Pong in Turandot.
Chad Johnson studied at Western Michigan University, the University of Kentucky, and the American Institute of Musical Studies’ Opera Studio in Graz, Austria. Johnson won the Four Cities District Metropolitan Opera National Council Auditions, and first prize in the Licia Albanese-Puccini Foundation Competition.
Michael Kuhn, tenor
Described as “an artist of almost terrifying magnetism” (New York Observer) and praised for his “clear and robust” tenor (Opera News), Michael Kuhn is a versatile singer/actor specializing in the fields of opera, musical theatre, and concert works. Recent career highlights have included two Off-Broadway runs of Vid Guerrerio’s critically-acclaimed ¡Figaro! 90210 as Basel, Lázaro in Jorge Martín’s Before Night Falls with Florida Grand Opera, and Gabriel von Eisenstein in Die Fledermaus with Houston’s Opera in the Heights, a performance hailed by The Houston Press as “polished, soignee and hot to trot.” Later this season, Michael returns as a soloist with The Carolina Philharmonic and makes his debut with On Site Opera as Podestà in Mozart’s The Secret Gardner.
Michael has performed with companies such as Florida Grand Opera, Opera Theatre of St. Louis, Central City Opera, Virginia Opera, The Princeton Festival, Syracuse Opera, Brooklyn’s LoftOpera, and Opera in the Heights. With a special passion for new music, Michael has participated in several workshops, scenes and premiers with the Center for Contemporary Opera, American Lyric Theatre, Baltimore’s CenterStage and notably with the Foundation for Filipino Artists in the U.S. premiere of Spoliarium at the Tribeca Performing Arts Center.
Equally at home in Broadway repertoire, Michael has been seen recently as Mr. Erlanson in A Little Night Music, Padre in Man of La Mancha and Tobias in Sweeney Todd. In the concert realm, Michael was heard both nationally via broadcast and in Jordan Hall in the premiere of Illuminessence, prayers for peace, a Vatican-commissioned oratorio performed as part of The New England Conservatory’s ten-year memorial concert for September 11th. He has performed as a soloist with The Carolina Philharmonic, Atlantic Symphony Orchestra, Symphony by the Sea, Bourbon Baroque, and the Grace Chorale of Brooklyn in works such as Handel’s Messiah, Mozart’s Requiem, and Bach’s Christmas Oratorio.
Michael is a native of Crofton, MD and currently resides in New York City. He is an alumnus of New England Conservatory (MM Vocal Performance) and Syracuse University (BM Music Industry).
Jorell Williams, baritone
Baritone Jorell Williams has been hailed by Opera News as having “a solid vocal core and easy, natural production” and The New York Times for being “magnificent” and “rich toned,” as well as having “perfect” comedic timing. His 2015-2016 season included debuts with the Bay Chamber Music Festival as Escamillo in La tragedie de Carmen, PORTOpera as Morales in Carmen, Rochester Lyric as Frediano/Ippolito in John Musto’s Bastianello, and a return to the Chautauqua Institution as soloist with Wynton Marsalis and Jazz at Lincoln Center Orchestra for Marsalis’ Abyssinian Mass.
Engagements for the 2016-2017 season included his debut as Hannah-Before in Laura Kaminsky’s critically acclaimed As One with Seattle Opera, Baritone soloist in Durufle’s Requiem and excerpts of Joplin’s Treemonisha with the Kingston Chamber Choir, and he will reprise the role of Vernon Addams, a role he created, in a production of Hilliard and Boresi’s Blue Viola with Lyric Opera of the North. Recent appearances include Urban Arias, Santa Fe Opera, Orchestra of St. Luke’s, Caramoor, Songfest LA, and Ravinia Festivals, New York City Center Encores, American Opera Projects, American Repertory Theater, and the Metropolitan Opera/Lincoln Center Theater workshop of Nico Muhly’s Two Boys.
Jorell is a recipient of the 2016 Marc and Eva Stern Fellowship at Songfest, and garners top awards from the Gerda Lissner International Competition, Kurt Weill Foundation, Licia Albanese Puccini Foundation, Schuyler Foundation for Career Bridges, Liberace Foundation, Serge Koussevitzky Foundation, Liberace Foundation, and the Charles A. Lynam Competition.
Grand Harmonie brings vibrant, historically-informed, period-instrument performances of Classical and Romantic music to audiences across the Northeast. Founded in 2012 by a group of wind players interested in exploring the repertoire of Harmonie bands of the 18th century, the scope of the ensemble rapidly expanded to encompass a vast array of concert settings. Now in its fifth season, performances have included Harmoniemusik, salon concerts with fortepiano, mixed chamber music with brass and strings, full symphony orchestra, and both concert and fully-staged opera. A key player in the arts community, Grand Harmonie enjoys collaborations with numerous organizations and universities, and appears on multiple concert series in both Boston and New York.
Recent collaborations include performances with Harvard University Choir, Boston Opera Collaborative, Lorelei Ensemble, Bach Vespers NYC, GEMS Midtown Concerts, Met Museum Gallery Concerts, and more. The ensemble, a proven educational resource, has been invited to give performances and master classes in historical performance practice at Harvard University, MIT, Princeton University, The Longy School of Music of Bard College, NYU, the University of Washington, and Palm Beach Atlantic University.
Geoffrey McDonald, conductor
Hailed by The Philadelphia Inquirer as a “promising and confident” member of the new generation of American conductors, Geoffrey McDonald commands a broad repertoire with extensive experience in operatic, symphonic, and choral works. He is steadily gaining recognition for his versatility — “an agile conductor … whose pacing is sure in both reflective and restless passages” (The New York Times) — and for his “original and flexible musical imagination” (The New York Observer).
Geoffrey’s passion for promoting new or neglected pieces and his enthusiasm for fresh, innovative presentation combine in his work as Music Director of On Site Opera, whose immersive production of Paisiello’s Barbiere di Siviglia in the summer of 2015 earned wide critical acclaim. Opera News wrote: “[McDonald] led with brio and admirable ensemble,” while The New York Times noted, “the conductor, Geoffrey McDonald, drew stylish, nimble playing.” This success followed recent productions of Handel operas, Orlando and Alcina, for which he partnered with director R.B. Schlather to create inventive art-installation-opera: “Conductor Geoffrey McDonald repeated the miracle of nuanced coordination [in On Site Opera’s production of Paisiello’s Barber of Seville] between orchestra and singers he recently accomplished with Orlando downtown” (The New York Observer).
He has acted as Assistant Conductor for Opera Philadelphia, the American Symphony Orchestra, and Gotham Opera. A dedicated educator, he has served on the faculties of Bard College and the Longy School of Music, and was Music Director of the Philadelphia Young Artists Orchestra and the Columbia University Bach Society. He is an active composer, and an original member (cellist/songwriter) of indie rock band Miracles of Modern Science. He earned his Masters in Conducting at Mannes College, and his Bachelors in Music at Princeton University.
Eric Einhorn, director
Eric Einhorn has been praised by The Austin Chronicle as “a rising star in the opera world” and by Opera News for his “keen eye for detail and character insight.” He is the co-founder of On Site Opera, a company dedicated to immersive, site-specific productions. Mr. Einhorn has directed productions for Chicago Lyric Opera, Glimmerglass Opera, Pittsburgh Opera, Ft. Worth Opera, Wolf Trap Opera, Florentine Opera, Austin Lyric Opera, Utah Opera, Michigan Opera Theater, the Pacific Symphony, and Gotham Chamber Opera. He has been a member of the stage directing staff at the Metropolitan Opera since 2005.
The Pittsburgh Post-Gazette named Mr. Einhorn’s production of Dialogues des Carmélites for Pittsburgh Opera one of the top ten classical music performances of 2011. He originally created the production for Austin Lyric Opera in 2009 and was awarded “Best Opera” at the Austin Critics’ Table Awards in addition to garnering him a nomination for “Best Director.” During summer of 2014, he directed Rameau’s Pygmalion at Madame Tussauds New York and the Lifestyle-Trimco mannequin showroom. This production featured the world’s first implementation of supertitles for Google Glass.
Kelley Rourke, English translation & dialogue
Kelley Rourke is a librettist, translator and dramaturg. With composer John Glover, she wrote the opera Lucy (Milwaukee Opera Theatre, Nautilus Music-Theater, American Opera Projects, UrbanArias) and the orchestral song cycle Natural Systems (New York Youth Symphony at Carnegie Hall, San Francisco Conservatory’s BluePrint Series); the duo teamed up with baritone/guitarist Andrew Wilkowske to create Guns ‘n Rosenkavalier (Milwaukee Opera Theatre, Mill City Opera, Rockwood Music Hall). The Glimmerglass Festival commissioned Kelley to write the youth operas Odyssey (2015), with music by Ben Moore, and Wilde Tales (2016), with music by Laura Karpman.
Kelley has also created fifteen new English adaptations for standard and not-so-standard repertory, which have been heard at companies including English National Opera, The Glimmerglass Festival, Washington National Opera, Welsh National Opera, Boston Lyric Opera, The Atlanta Opera, Opera Theatre of Saint Louis, and Apotheosis Opera, among others. These collaborations with dead composers have been hailed as “crackingly witty” (The Independent, London) and “remarkably well wedded to the music and versification in arias” (The New York Times). Upcoming projects include Robin Hood with Ben Moore (The Glimmerglass Festival, 2017) and a new evening-length piece, with music by John Glover, for Del Sol Quartet and Jesse Blumberg. Kelley is resident dramaturg for both The Glimmerglass Festival and Washington National Opera.
Sunday March 11 3:00pm
Sunday April 22 3:00pm
Saturday June 16 8:30pm
Thursday June 28 7:00pm
Sunday July 22 4:00pm
Thursday July 26 7:00pm
Sunday July 29 4:00pm