Artist Information

Stephanie Blythe, La Grande-Duchesse

Opera Boston debut

Mezzo-soprano Stephanie Blythe is considered to be one of the most highly respected artists of her generation. She has appeared in the great opera houses of the world including the Metropolitan Opera, San Francisco Opera, Royal Opera House Covent Garden, and the Paris Opera. Her many roles include the title roles in Carmen, Samsom et Dalilah, La Grande-Duchesse de Gérolstein, Tancredi, Mignon, Orfeo ed Euridice, and Guilio Cesare; Frugola, Principessa, and Zita in Il Trittico, Amneris in Aida, Azucena in Il Trovatore, Ulrica in Un Ballo in Maschera, Baba the Turk in The Rake's Progress, Jocasta in Oedipus Rex, Mère Marie in Dialogues des Carmélites; Isabella in L'Italiana in Algeri, Fricka in both Das Rheingold and Die Walküre, and Mistress Quickly in Falstaff.   An accomplished concert singer, she has appeared with the New York Philharmonic, Boston Symphony Orchestra, Chicago Symphony Orchestra, Los Angeles Philharmonic, San Francisco Symphony, Philadelphia Orchestra, Halle Orchestra, and the Orchestra of the Age of Enlightenment. She has also been presented in recital at Zankel Hall, Alice Tully Hall, the 92nd Street Y, and the Metropolitan Museum of Art in New York; the Vocal Arts Society in Washington, DC; the Cleveland Art Song Festival, the University Musical Society in Ann Arbor, the Philadelphia Chamber Music Society, Shriver Hall in Baltimore, and the Ravinia Festival.  Ms. Blythe recently starred in the Metropolitan Opera’s live HD broadcasts of Orfeo ed Euridice and Il Trittico. She also recorded Alan Smith’s Covered Wagon Woman with the Chamber Music Society of Lincoln Center for the CMS Studio Recording label, and her recordings of works by Mahler, Brahms, and Wagner and of arias by Handel and Bach are available on the Virgin Classics label. 

This season Ms. Blythe makes her house debuts at the San Francisco Opera as Azucena and at Opera Boston as the title role in La Grande Duchesse de Gérolstein, and also returns to the Metropolitan Opera for Il Trittico and to the Seattle Opera as Mistress Quickly. She also appears in Carnegie Hall with both the Metropolitan Opera Orchestra and the Boston Symphony Orchestra. This summer she appears in the BBC Proms Opening Night concert and returns to Tanglewood for the Mahler Symphony No. 2 with James Levine, and next season she appears as Fricka in the Metropolitan Opera’s new productions of Das Rheingold and Die Walküre and makes her debut at the Lyric Opera of Chicago in Un Ballo in Maschera and The Mikado.

Ms. Blythe was named Musical America’s Vocalist of the Year for 2009. Her other awards include the 2007 Opera News Award and the 1999 Richard Tucker Award.

James Maddalena, General Boum

Previously with Opera Boston: John Proctor, The Crucible, 2005; Kecal, The Bartered Bride, 2009

James Maddalena last appeared with Opera Boston as Kecal in The Bartered Bride, and before that as John Proctor in The Crucible.  He first gained international recognition for the title role of John Adams’ Nixon in China, performed throughout the world. His association with Adams continued with the roles of the Captain in The Death of Klinghoffer and Jack Hubbard in Doctor Atomic. He has appeared with many of the world’s leading opera companies including New York City Opera, San Francisco Opera, Frankfurt Opera, and Glyndebourne, as well as with the Chicago Symphony, Los Angeles Philharmonic, Boston Symphony, San Francisco Symphony, Royal Scottish Orchestra and the London Symphony Orchestra. He is a frequent collaborator with director Peter Sellars and has sung in Sellars' productions of Mozart operas as well as productions of Haydn, Handel and Adams.  Mr. Maddalena has collaborated with other composers, including John Harbison, Elliot Goldenthal, Domenic Argento, and Michael Tippett. He sang the premieres of Stewart Wallace’s Harvey Milk, David Carlson’s The Midnight Angel and Mark Adamo’s Little Women, all with Houston Grand Opera. He premiered Goldenthal’s Fire Water Paper with the Pacific Symphony, recorded for Sony Classical. He gave the premiere of Harbison’s Four Psalms with the Chicago Symphony Orchestra, the title role in the premiere of Kirke Mechem’s John Brown at the Lyric Opera of Kansas City and in fall 2008, the role of Art Kamen in Wallace’s The Bonesetter’s Daughter. In July, 2009, he will premiere Paul Moravec’s The Letter with Santa Fe Opera.  James Maddalena has recorded for Decca/London, BMG, Classical Catalyst, Nonesuch, Teldec, Sony Classical, Harmonia Mundi, and EMI. In February 2011, Mr. Maddalena will perform the role of Nixon in Nixon in China at the Metropolitan Opera.

Wendy Bryn Harmer, Wanda

Previously with Opera Boston: Vitellia, La Clemenza di Tito, 2006

Up-and-coming soprano Wendy Bryn Harmer returns to Opera Boston after making her house debut as Vitellia in La Clemenza di Tito (2006).  This season, she will continue to build her relationship with the Metropolitan Opera when she appears as First Lady in Die Zauberflöte. A graduate of their Lindemann Young Artist Development Program, she recently appeared there as Freia in Das Rheingold as well as roles in the other operas that comprise the complete Ring Cycle, and in their productions of Le nozze di Figaro, The Magic Flute (which was broadcast in HD in movie theaters around the world), War and Peace, Parsifal, Die Agyptische Helena, and Jenůfa. Next season she returns as Freia in the new production of Das Rheingold by Robert Lepage. This season also sees Ms. Harmer’s debut at the San Francisco Opera in Die Walküre.Other past engagements have included her debut at the Palm Beach Opera as Adalgisa in Norma, and Mimi in La Bohéme at the Utah Opera Festival.

Scott Ramsay, Fritz

Previously with Opera Boston: Jupiter, Semele, 2008

Scott Ramsay returns to Opera Boston after his house debut as Jupiter in Semele (2008).  Mr. Ramsay's 2009-10 season features several role debuts, including his return to Opera New Jersey as Belmonte in Die Entführung aus dem Serail and the title role in a new production of Gounod’s Faust with Eugene Opera. Other opera engagements this season include Rodolfo in La bohème with Duluth Festival Opera, his return to Arizona Opera as Ferrando in Così fan tutte and Edgardo in Lucia di Lammermoor with Vermont’s Green Mountain Opera Festival. In addition, he sings as soloist in “Songs by Edward T. Cone” (Princeton University); Beethoven’s Symphony No. 9 (Duluth-Superior Symphony Orchestra); Messiah (Nashville Symphony); Tchaikovsky and Taneyev's Romeo and Juliet (Pacific Symphony); “Three Tenors Encore” (Opera on the James); Verdi’s Requiem (Louisville Orchestra, also Milwaukee’s Bel Canto Chorus with Milwaukee Symphony Orchestra, and Rochester Philharmonic Orchestra); Mozart’s Requiem (Music of the Baroque, under Jane Glover, also Pasadena Symphony Orchestra); Mozart’s Requiem and “Villanelle” and “Au Cimetière” from Berlioz’ Les Nuits d’été (Pasadena Symphony); and the title role in Judas Maccabeus (Berkshire Choral Festival). Recent highlights include the Painter & Sailor in a new production of Lulu (Lyric Opera of Chicago under Sir Andrew Davis), Nemorino in L’elisir d’amore (Michigan Opera Theatre, under Stephen Lord, also Opera Grand Rapids); Roméo in Roméo et Juliette (Syracuse Opera); Orff’s Carmina Burana (Berkshire Choral Festival and Springfield Symphony Orchestra); Grier’s Songs from Spoon River (Ravinia Festival); Messiah (Pacific Symphony Orchestra); Beethoven’s Symphony No. 9  (Pasadena Symphony Orchestra); Bach’s Cantatas Nos. 41, 109 & 205 (Bach-Collegium Stuttgart); Mozart’s Requiem (Jacksonville Symphony Orchestra); and Verdi’s Requiem (Berkshire Choral Festival, conducted by Murry Sidlin, at the Terezin Memorial Commemoration in Prague).

Lee Gregory, Prince Paul

Opera Boston debut

Lee Gregory makes his debut with Opera Boston in La Grande-Duchesse de Gérolstein.  In the 2009-2010 season he sings Silvio in I pagliacci with Opera Omaha, the title role in Le nozze di Figaro with Eugene Opera, Junius in The Rape of Lucretia with Toledo Opera, Mercutio in Roméo et Juliette with Opera Columbus, Carl Magnus in A Little Night Music in a return to Opera Theatre of St. Louis, and William in Glass’ The Fall of the House of Usher with Nashville Opera. His 2008-09 season included Maximilian in a semi-staged version of Candide with Toledo Opera, the role of Wilhelm in Corigliano’s Ghosts of Versailles with Opera Theatre of Saint Louis, and Leporello in Don Giovanni with Eugene Opera. Recent highlights include his debut with Opera Pacific as Schaunard in La bohème; Belcore in L’elisir d’amore with Opera Naples; a recital at Bates College with soprano Kelly Kaduce;appearances with Boston Midsummer Opera as Escamillo in Carmen, in an evening of staged arias and ensemble selections entitled “Tales of Offenbach,” and a production entitled “The Marriages of Mozart”; Marcello in La bohème with ProCantus Lyric Opera; an appearance with the Pacific Symphony Orchestra in a concert of Bernstein repertoire; his New York City Opera debut as Moralès in Carmen; Mercutio in Roméo et Juliette with Toledo Opera and Nashville Opera; Mr. Marshall in Regina at Bard’s SummerScape Festival and John Brooke in Little Women with Dayton Opera.  Mr. Gregory’s future engagements currently include Schaunard in La bohème with Michigan Opera Theatre.

Torrance Blaisdell, Baron Puck

Previously with Opera Boston: King Ouf, L’étoile, 2006; The Nose, The Nose, 2009

Torrance Blaisdell returns to Opera Boston after singing the title role in Shostakovitch's The Nose (2009) and King Ouf in L’Étoile (2005).  This fall he performed in Michigan Opera Theatre’s revival of Richard Danielpour’s Margaret Garner in both Detroit and Chicago and last season with Michigan in the world premiere of David DiChiera’s opera Cyrano in Detroit and with the Opera Company of Philadelphia.  Recently, he has performed Don Basilio in The Marriage of Figaro with Michigan Opera Theatre and Opera New Orleans.  Other recent engagements include:  Pong (Turandot), and Andres/Cochenile/Frantz (Les Contes D'Hoffman) for New York City Opera;and Iroin Il Ritorno d'Ulisse in Patria for Glimmerglass Opera.  Recently, Mr. Blaisdell debuted with the National Symphony Orchestra under the baton of Leonard Slatkin, and with the Hong Kong Symphony, both in productions of Salome.

David Kravitz, Baron Gong

Previously with Opera Boston: Ottokar, Der Freischütz, 2008; Cadmus/Somnus, Semele, 2008; Mr. Kofner, The Consul, 2005; Thomas Putnam, The Crucible, 2005; Krusina, The Bartered Bride, 2009

David Kravitz has been widely praised for his work on both the operatic and the concert stages.  He last appeared with Opera Boston as Krušina in The Bartered Bride.  He has enjoyed a rich variety of opera engagements including:  the Boston Symphony Orchestra’s production of Schoenberg’s Moses und Aron and Les Troyens under the baton of James Levine, Olivier in Strauss’s Capriccio with New York City Opera, Dr. Grenvil in La traviata and Mr. Kofner in The Consul with Glimmerglass Opera, Germont in La traviata with the Pioneer Valley Symphony, Prince Ottakar in Der Freischütz with Opera Boston, Cadmus/Somnus with Opera Boston in Handel’s Semele, Martin y Soler’s Una Cosa Rara with Opera Theatre of St. Louis and Purcell’s King Arthur with Boston Baroque. This summer, Mr. Kravitz will create the role of Lord Salt in the world premiere of Peter Ash's The Golden Ticket at Opera Theatre of St. Louis. In the fall of 2010, he creates the role of the United Nations Delegate in the world premiere of Tod Machover's Death and the Powers in Monte-Carlo. Recent concert repertoire: Mendelssohn's Elijah under Rafael Frühbeck de Burgos with the Boston Symphony Orchestra, Handel's Messiah with the Philadelphia Orchestra, Bach’s St. Matthew Passion under Bernard Haitink with the Boston Symphony Orchestra; Handel's Messiah in Carnegie Hall; Bach's St. Matthew Passion with the Lincoln (NE) Symphony under Edward Polochick, Bach’s B Minor Mass with Emmanuel Music, Mahler’s Lieder Eines Fahrenden Gesellen with the New England Philharmonic and Carmina Burana, Kurt Weill's Flight of the Lindberg and Charles Fussell's High Bridge (Boston premieres).

Frank Kelley, Népomuc

Previously with Opera Boston: Police Inspector, The Nose, 2009; Fatty, The Rise and Fall of the City of Mahagonny, 2007; The Magician, The Consul, 2005; Raoul, La vie parisienne, 2004; Police Inspector, The Nose, 2009; Circus Master, The Bartered Bride, 2009

Frank Kelley has previously appeared with Opera Boston in productions of The Bartered Bride, The Nose, The Consul, La Vie Parisienne and The Rise and Fall of the City of Mahagonny.  Recent and upcoming engagements include Grandpa Joe in the world premiere of The Golden Ticket with Opera Theater of St. Louis, the role of Eddie Fislinger in Elmer Gantry with Florentine Opera and Nashville Opera, Basilio in Le nozze di Figaro with Opera Grand Rapids; Spoletta with Florentine Opera, The Beggars Opera with Aston Magna, Turandot with Concert Opera Boston as well as The Bach St. Matthew Passion with the Baldwin-Wallace Bach Festival and the Schütz and Bach St. Matthew Passions with Emmanuel Music. Other highlights include Stravinsky’s Pulcinella Suite with the St. Louis Symphony, Master of Ceremonies in The Queen of Spades with the National Symphony Orchestra, Monteverdi’s Vespro della Beata Vergine with National Arts Centre Orchestra, the St. John Passion with Emmanuel Music and the Berkshire Choral Festival and The Messiah with Richmond Symphony and International Music Foundation in Chicago. Recent recordings include the title role in Monteverdi’s Orfeo; The Prairie by Lukas Foss; Rameau's Orfée, and A Full Moon In March by John Harbison.  Other recordings include:  three Deutsche Harmonia Mundi CD’s with the ensemble Sequentia: “Aquitania”, “Shining Light”, and “Saints”; a Teldec release of Stravinsky’s Renard with Hugh Wolff and the St. Paul Chamber Orchestra; a London recording of Bach Cantatas with The Bach Ensemble led by Joshua Rifkin, and Kurt Weill’s Das Kleine Mahagonny with Kent Nagano, available on London videotape and on CD from Erato.

Angela Hines Gooch, Olga

Previously with Opera Boston: Company, Candide, 2003; The Crucible, 2005; The Rise and Fall of the City of Mahagonny, 2007;Voice of the Fountain, Ainadamar, 2007; Brautjungfern, Der Freischütz, 2008

Angela Gooch is a familiar face to Opera Boston aficionados having appeared in numerous company productions including Candide, The Crucible, The Rise and Fall of the City of Mahagonny, as the Voice of the Fountain in Golijov’s Ainadamar, The Bartered Bride, Madame White Snake and, most recently as Brautjungfern in Weber's Der Freischütz. Ms. Gooch created the role of Mary Lincoln in Eric Sawyer’s Our American Cousin which recently had its world premiere with the Boston Modern Orchestra Project and can be heard on the BMOP/sound label.  Other operatic roles include Adele in Die Fledermaus, Nella in Gianni Schicchi, Sophie in Der Rosenkavalier, Lucy in The Telephone and Norina in Don Pasquale.  She has appeared as a featured performer at international venues including Lincoln Center’s Alice Tully Hall and at the Casa Verdi in Italy.  Ms. Gooch is the Head of the voice program at The Walnut Hill School for the Arts and is music director for the Opera Theatre of Weston, Vermont.

Emily Marvosh, Charlotte

Emily Marvosh, mezzo-soprano, is active in opera and oratorio in the Boston area. As a soloist, she has performed with Boston Lyric Opera, the Back Bay Chorale, L'academie, Longwood Opera and Intermezzo Chamber Opera; she is also a frequent soloist with the Marsh Chapel Choir Bach Cantata Series. In 2005 Miss Marvosh sang the role of Meg in the New England premiere of Mark Adamo's Little Women, and also recently premiered the song cycle In the Sky She Floats. Recent concert performances include solo appearances with the Charlotte Symphony Orchestra, Harvard University, the Providence Singers, and Seraphic Fire and Firebird Chamber Orchestra. 2010 engagements include the Oregon Bach Festival under the direction of Helmut Rilling and the Berkshire Choral Festival. She holds degrees from Central Michigan University and Boston University.

Megan Roth, Amélie

Megan Roth is an avid performer of opera, oratorio, and art song throughout the northeast and in New York.  In the 2009-2010 season, she made her debut with Boston Midsummer Opera as Dorabella in Così fan tutte.  She has also sung with Opera Boston in the world premiere of Madame White Snake, in the Boston premier of Ainadamar, with Boston Baroque in Handel’s Semele, where she covered the roles of Athamas and Ino, and with Opera del West, where she performed the title role in Rossini’s La Cenerentola.  Ms. Roth was acclaimed for her American Repertory Theatre debut in Britannicus, a play in which she performed the role of Octavia, a character she created with director Robert Woodruff.  Recently, she was the soloist for the Duruflé Requiem with the Marblehead Festival Chorus, a group with whom she frequently performs.

Kim Soby, Iza

Praised for her sincere musicianship and heartfelt performances, soprano Kimberly Soby brings an exquisite balance of beauty and intelligence to her vast repertoire.   Currently finishing her second Master’s degree at the New England Conservatory, Ms. Soby has been seen in such leading roles as Susanna in Le Nozze di Figaro, Monica in The Medium, Mme. Silverpeal in The Impresario and Gretel in Hansel and Gretel.  A champion of new music, Ms. Soby has premiered numerous works in the Northeast region, most recently completing a series of concerts in Jordan Hall.  Ms. Soby’s awards include Finalist in the Jenny Lind Competition, Semi-finalist in the Orpheus Vocal Competition, Winner of the Amici Vocal Competition and 2nd place in the NEC Concerto Competition.  She received her undergraduate training at the University of Connecticut and is currently an Opera Fellow with Opera Boston.

Gil Rose, Conductor

Music Director for Opera Boston

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David Kneuss, Stage Director

David Kneuss has just completed his nineteenth season as the Executive Stage Director of the Metropolitan Opera. Mr. Kneuss has also directed productions for the opera companies of San Francisco, Washington, D.C., Boston, Bonn, Germany and the Maggio Musicale Fiorentino in Florence, Italy. In Japan, he has directed Falstaff, Tosca, Il Barbiere di Siviglia, Die Zauberflöte and Pélleas et Mellisande for the Hennesey Opera Series. Beginning in 2000, he directed the Da Ponte trilogy of Mozart operas (Le Nozze di Figaro, Così fan Tutte and Don Giovanni) to launch the new Seiji Ozawa Ongaku-Juku Opera Project in Japan and followed with Die Fledermaus.  In the fall of 2005, his production of Il Barbiere di Siviglia for the Ongaku-Juku was performed in Beijing and Shanghai, China before touring Japan. Summer of 2007, Kneuss directed Carmen and a reprise of Die Fledermaus in 2008 also for Ozawa and the the Juku Opera Project.

Having a career-long association with Seiji Ozawa, David Kneuss first staged opera for Ozawa and the Boston Symphony Orchestra at Tanglewood, collaborating on productions of Tosca, Boris Godunov, Fidelio, Orfeo ed Euridice, Béatrice et Bénédict, Bach's St. Matthew Passion, Pique Dame, Salome, Idomeneo, Falstaff, Stravinksy's A Rake's Progress, and Madama Butterfly. Pique Dame, staged initially at Tanglewood in 1990 and then at Symphony Hall and Carnegie Hall in October 1991, was named as one of 1991's Best Musical Events by the New York Times. A Rake's Progress and Madama Butterfly were voted Best Opera Production for 1995 and 1999, respectively, by Richard Dyer of the Boston Globe.

In 1996, Mr. Kneuss created a critically acclaimed Les Mamelles de Tirésias (Poulenc) which was performed at the Saito Kinen Festival, filmed by NHK for Japanese release, and performed again at the Tanglewood Music Center in the summer of 1997. In the summer of 2001, Mr. Kneuss staged Ravel’s L’heure Espangole at the Tanglewood Music Center and staged Falstaff in the year 2000, both of which were conducted by Mo. Ozawa. Last summer, Mr. Kneuss created a production of Britten’s A Midsummer Night’s Dream also for the Tanglewood Music Center.

 In the summer of 1999, at the Saito Kinen Festival, Mr. Kneuss directed Damnation of Faust, the first outdoor opera production at Matsumoto Castle in Matsumoto, Nagano.  His recent Peter Grimes, a joint venture between the Maggio Musicale Fiorentino and the Saito Kinen Festival of Matsumoto, began as a production at the Tanglewood Music Center to celebrate the fiftieth anniversary of the American premiere of that opera.  This event was featured in a film entitled A Tale of Tanglewood.  In September 2007 Mr. Kneuss directed The Queen of Spades also for the Saito Kinen Festival.

Robert Perdziola, Scenic and Costume Designer

Robert Perdziola has designed sets and costumes in the United States for the Metropolitan Opera, Lyric Opera of Chicago, San Francisco Opera, Santa Fe Opera, Opera Theatre of Saint Louis, Skylight Opera Theatre, Glimmerglass Opera, Manhattan School of Music, and the Juilliard School of Drama.  Last year Robert received a Helpmann nomination for his “Arabella” costumes at the Sydney Opera House.  In 2006, He designed costumes for the world premier of David Carlson and Colin Graham’s new opera, “Anna Karenina,” performed at the Florida Grand Opera and OTSL.  In the UK he has designed “Le Nozze di Figaro” and “Cosi Fan Tutte”  at the Garsington Opera in England.  Other works in Europe include “Cosi Fan Tutte” (Opera Monte Carlo, ) and Gounod’s “Faust” (Niedersachsische Staatsoper Hannover).  His designs for theatre are frequently seen at the Shakespeare Theatre in Washington DC, the Signature Theatre, and Arena Stage.  Robert is the recipient of three Helen Hayes Awards for costume design (“The Country Wife,” “Don Carlos,” and “Lady Windermere’s Fan”) and the Irene Sharaff Young Master Award. Ballet designs include works for American Ballet Theatre, San Francisco Ballet, and Miami City Ballet.

Christopher Ostrom, Lighting Designer

Mr. Ostrom's career with Opera Boston spans twelve seasons and over thirty productions, most recently Tancredi, The Bartered Bride, Ernani, The Rise and Fall of the City of Mahagonny, The Pearl Fishers, Semele and the North American premiere of Peter Eötvös' Angels and America.  Other credits include Stiffelio, The Crucible, Vanessa, Suor Angelica, Gianni Schicchi, Once Upon a Mattress, The Cunning Little Vixen, The Consul and Werther (Chautauqua Opera), The Crucible (Mobile Opera), Tosca (Opera Providence) The Magic Flute and Rigoletto (Tulsa Opera), Inventing Van Gogh (Asolo Rep), And Now Ladies and Gentlemen, Miss Judy Garland (Backyard Productions), The Good War, Hockey Mom Hockey Dad and  How Many Miles to Basra? (Stoneham Theatre) Hansel and Gretel (New England Conservatory) and the world premiere of Eric Sawyer and John Shoptaw's Our American Cousin (Academy of Music, Northampton MA).  His local credits include productions for Lyric Stage, New Repertory Theatre, Cape Repertory Theatre, Wellfleet Harbor Actors Theatre, Provincetown Repertory Theatre, Boston Ballet, Snappy Dance Theatre, Northeast Youth Ballet, Massachusetts Youth Ballet, Christmas Revels, The Walnut Hill School, Northeastern University and The Boston Conservatory.

Anne Nesmith, Hair and Makeup Designer

New York: Off-Broadway: Theatre III, The Servant of Two Masters Regional:  Shakespeare Theatre Company: The Liar, The Alchemist, Design for Living, The Dog in the Manger, The Way of the World, Major Barbara, Julius Caesar, Anthony and Cleopatra, The Imaginary Invalid, Romeo and Juliet;  Ford’s Theatre: The Rivalry; Signature Theatre: Sweeney Todd, Showboat, Ace, See What I Wanna See, Dirty Blonde; Woolly Mammoth Theatre Company: Clybourne Park; Annapolis Opera: Tosca, Cavalleria Rusticana, Pagliacci, Carmen, The Barber of Seville;  Arena Stage: The Fantasticks; Everyman Theatre: The Mystery of Irma Vep, The Cherry Orchard; Opera Delaware; Opera Roanoke; Todi Festival: Eugene Onegin, Trouble in Tahiti; Olney Theatre Center: King of the Jews (World Premier), The Constant Wife, Oliver!, Carousel, The Heiress; Washington Ballet, The Nutcracker; Roundhouse Theatre: One Flew Over the Cuckoo’s Nest; Fort Worth Opera: Don Pasquale; Baltimore Opera Company Resident Wig and Makeup Designer.  Wig construction: Broadway: The Greenbird (Julie Taymor, dir); Scooby Doo! Live tour; 42nd Street (Asian tour) Other: The Smithsonian National Portrait Gallery’s Cultures in Motion Program - Hepburn Herself: Makeup Artist for The Military Channel’s Great Planes.