Chicago 430 S. Michigan Ave.Chicago, IL 60605(312) 341-3500
Schaumburg 1400 N. Roosevelt Blvd.Schaumburg, IL 60173(847) 619-7300
A native of North Carolina, he made his New York City Opera debut in 1973 as Don Ottavio in Mozart's Don Giovanni. He later joined the Metropolitan Opera as a principal artist in 1978, where he sang for 22 seasons. Best has sung with many of the country's major orchestras, including the New York Philharmonic, Los Angeles Philharmonic, the Chicago Symphony, Boston Symphony, San Francisco Symphony, the Philadelphia Orchestra and the Cleveland Orchestra. He has sung in France, Italy, and Canada, with the Casal's Festival in Mexico City, and toured Japan with the Metropolitan Opera.
Matthew Chellis' career highlights have included Tamino in Die Zauberflöte, Don Ottavio in Don Giovanni, Baron Lummer in Intermezzo, Trouffaldino in The Love For Three Oranges, Thespis / Mercure in Platée, Ugone in Flavio, Cascada in The Merry Widow (Live from Lincoln Center telecast), the Chevalier in The Dialogues of the Carmelites, Don Anchises the Podestà inLa Finta Giardinera, Nanki-Poo in The Mikado with New York City Opera; Almaviva in Il Barbiere di Siviglia and Reverend Samuel Parris in The Crucible with Chautauqua Opera; the Duke in Rigoletto with the Teatro Colón de Bogotá (Colombia); Roméo in Roméo et Juliette with Shreveport Opera; Ernesto in Don Pasquale with Calgary Opera and Edmonton Opera; Ramiro in La Cenerentola with Opéra de Québec and Calgary Opera; Tamino in Die Zauberflöteand Tebaldo in I Capuleti e i Montacchi with Atlanta Opera; Henrik in A Little Night Music with Utah Opera and Chautauqua Opera; Andres in Wozzeck with Dallas Opera; Pedrillo in Die Entführung aus dem Serail with Washington Opera; Nemorino in L’elisir d’amore and Almaviva in Il barbiere di siviglia with Lake George Opera; Little Bat in Susannah with Bohème Opera New Jersey; Brighella in Ariadne auf Naxos with Tulsa Opera; the Devil in Heinrich Sutermeister’s Die Schwarze Spinne with Gotham Chamber Opera; Ottavio in Don Juan In Prague with New Opera Works at the Brooklyn Academy of Music and in Prague, Czech Republic; and the title role in Candide with Michigan Theater.
Concert highlights have included Messiah with Boston’s Handel & Haydn Society (conducted by Christopher Hogwood), the National Symphony Orchestra (conducted by Nicholas McGegan), and the Masterwork Chorus at Carnegie Hall; Iago in Rossini’s Otello and Rodrigo in Rossini’s La Donna Del Lago with the Caramoor Festival; and a Pops Concert with the National Symphony Orchestra (conducted by Leonard Slatkin).
Cynthia Clarey, a graduate of Howard University and The Juilliard School, was born in Smithfield, VA and raised in Rocky Mount, NC. She performed most of her early roles with the Tri-Cities Opera Company in Binghamton, NY. Her reputation as a consummate singing actress has led to engagements throughout the world. In the United States, she has sung leading roles with major companies in New York, Houston, Dallas, Chicago, Santa Fe, Philadelphia, Boston and St. Louis. Her work extends to performances in England, France, Germany, the Netherlands, Hungary, Austria, Japan, Hong Kong, Italy, Israel, Spain, Austria, and South Africa.
Highlights of her repertoire include Handel’s Ariodante, Thomas’ Mignon, and Bellini’s La Straniera at the Wexford Festival; Monteverdi’s L’incoronazione di Poppea and Gershwin’s Porgy and Bess at the Glyndebourne Festival; Berg’s Lulu at the Chatelet in Paris and Offenbach’s Robinson Crusoe at the Opera Comique. She sang leading roles in several premieres, including Thea Musgrave’s Voice of Ariadne, which was her New York City Opera debut, Anthony Davis’ Under the Double Moon, Minoru Miki’s Actor’s Revenge, and Myron Fink’s Chinchilla. The role of Carmen has been the cornerstone of her career, and she has sung the role in Houston, Toronto, Madrid, Barcelona, Paris, Tokyo, Berlin, Innsbruck, Budapest and Australia. She toured in seven countries with Peter Brook’s innovative La tragedie de Carmen.
Her concert career has included performances with the Chicago Symphony, Boston Symphony, Houston Symphony, St. Louis Symphony, National Symphony, New York Philharmonic, London Philharmonic, Berlin Philharmonic, and the Jerusalem Symphony.
Cynthia’s recordings include Duffy’s A Time for Remembrance, Berg’s Lulu, Tippett’s The Ice Break and A Child of Our Time, Weill’s Lost in the Stars, and the Grammy nominated Porgy and Bess conducted by Sir Simon Rattle. The films of Porgy and Bess and L’incoronazione di Poppea are available on DVD.
Countertenor Mark Crayton created the role of the "First Minstrel" in The Holland Festival's production of Peter Onnes opera/theatre piece Pantagruel et Gargantua. In 2002-2003, Mark Crayton was invited by the composer Philip Glass and the Tony Award director Mary Zimmerman to sing in the world premiere performances of Glass' opera Galileo Galilei in Chicago, New York City and London. In addition, Mark Crayton was chosen by composer John Kander and lyricist Fred Ebb to sing the role of Louis Perch in their new musical called The Visit starring Chita Rivera.
Recent seasons have included performances at Lincoln Center's Avery Fisher Hall, Carnegie Hall, Chicago's Orchestra Hall, Opera Theatre of St. Louis (American Premier of Goehr's Arianna), Seattle Opera (Handel's Giulio Cesare), San Diego Opera (Handel's Giulio Cesare), Lyric Opera of Chicago (Handel's Partenope), and the Kennedy Center. Equally at home on the recital and concert stage, Mr. Crayton has performed on Chicago's Jewel Box and Dame Myra Hess series as well as recitals with Ars Musica Chicago, at Washington, D.C.'s Phillip's Collection, at Weill Hall in New York City, as well as Amstelrande in Amsterdam and Grovesnor Chapel in London. Mr. Crayton has been a return guest artist every summer with the Oberlin Baroque Orchestra at Oberlin Conservatory's Baroque Performance Institute since 1993. This past summer he also taught at the Italian Operatic Experience in Montecatini Terme Italy.
Mr. Crayton has appeared with the Houston Symphony, Indianapolis Symphony, Sarasota Symphony, Fargo Symphony, Sheboygan Symphony, Milwaukee Symphony, Chicago's Music of the Baroque, Chicago Baroque Ensemble, Ensemble Voltaire, La Pettite Bande, the Netherlands Kammerkoor, El Ayre Español, as well as many others. Mark Crayton has developed quite a reputation for his interpretation of Bernstein's Chichester Psalms, which he has performed 162 times. This past season's Chicago appearances included Ulnufo in Handel's Rodelina as part of Handel Week, appearances with Haydn by the Lake as well as a new project of music based on the writings of Henry VIII and his wives with Yasuko Oura, piano and Susanna Phillips, soprano, at Roosevelt University's Ganz Hall. Outside of Chicago, Mr. Crayton sang recitals in London, New York City, and Washington D.C. as well as presenting masterclasses here in the United States as well as Europe. www.markcrayton.com.
Soprano Judith Haddon brings to her teaching the experience and knowledge of a major international career. She has sung at the Metropolitan Opera, Covent Garden, Chicago Lyric, San Francisco, Barcelona Liceo, Hamburg Stadtsoper, New York City Opera, Israel Philharmonic, Seattle Opera and Houston Grand Opera. She has performed under the baton of James Levine, Zubin Mehta, Sir Charles Mackerras, Nello Santi, James Conlon, Christopher Keene, and Christoff Perek, and has been directed by Zefferelli, Ponelle, Hal Prince, and Jonathan Miller. Dubbed by her colleagues as "a singer's singer," she has shared the stage with some of the world's great singers: Pavarotti, Freni, Ghiaurov, Hadley, Ramey, Shicoff, Van Dam, von Stade, Hakegaard, Hampson, Talvela, and Rysanek, to name a few. Her most celebrated roles include Mimi, Jenufa, Manon, Micaela, Tatiana in Eugene Onegin, Liu, Katya Kabanova, Rusalka, Marenka in The Bartered Bride, Violetta, Adina, Nedda, Antonia, and especially Butterfly, which she performed to critical acclaim in a "Live from Lincoln Center" broadcast. Earlier roles included Susanna, Nannetta, Zerlina, and Despina.
Ms. Haddon studied at the University of Illinois and the American Opera Center at the Juilliard School, and was a winner of the prestigious National Opera Institute Grant two years in a row. Her teaching promotes a strong foundation based on her own international education; her teachers include the legendary Marlena Malas, and she has coached with such greats as Peter Herman Adler, Janine Reis, Joan Dornemann, Walter Tausig, John Wustman, Luigi Ricci, Mirella Freni, Renata Scotto, and Ileana Cotrubas. In addition to her students at CCPA, she teaches privately and has done master classes in Chicago, New York, Wisconsin, Michigan, Santa Fe, Italy, England and Japan. Her students are performing in opera houses and concert venues around the world.
David Holloway joined the Voice Faculty at Chicago College of Performing Arts after a thirty-year international career in opera. He sang leading roles for seven seasons with the Metropolitan Opera in New York City; and for ten years, he was leading baritone at the Deutsche Oper am Rhein in Düsseldorf/Duisburg, Germany. While based in Europe, Mr. Holloway performed with the opera houses in Aachen, Berlin, Bonn, Cologne, Frankfurt, Hamburg, Munich, Stuttgart and Monte Carlo. He sang the Toreador in Carmen for two seasons at the Glyndebourne Festival in England.
Mr. Holloway made his New York debut with the New York City Opera as Guglielmo in Cosi fan tutte. He sang with the City Opera for eight seasons altogether, while performing with major opera companies across the United States, including Boston, Central City, Cincinnati, Dallas, Fort Worth, Houston, Kansas City, New Orleans, Omaha, San Diego, Santa Fe, San Francisco, and Washington D.C. His repertoire of over seventy-five major roles encompasses Figaro in Il Barbiere di Siviglia, Figaro and Count Almaviva in Le nozze di Figaro, Giovanni in Don Giovanni, Onegin in Eugene Onegin, Caesar in Julius Caesar, Scarpia in Tosca, Papa Germont in La Traviata, and Rigoletto in Rigoletto.
As Chair of the Performance Department and one of the leading voice teachers at CCPA, Mr. Holloway still makes some major appearances: Most recently, he returned to the Chicago Opera Theater for performances as the Traveler and the six nemesis characters in Benjamin Britten's Death in Venice. He also sang in COT's highly acclaimed production of Comedy on the Bridge of B. Martinu and appeared as Don Alfonso in Cosî fan tutte in 2002. Mr. Holloway continues to perform in recitals and concerts, both in Chicago and around the country. In the fall of 2003, he was featured with bass Samuel Ramey (also a member of the CCPA faculty) singing the duet from I Puritani with the CCPA Orchestra, at the Auditorium Theatre in Chicago. In 2007, Mr. Holloway completed his third season as Director of the Apprentice Singers Program with the Santa Fe Opera, one of the most prestigious young artist programs in the U.S.
Jonita Lattimore made her Lyric Opera of Chicago debut in Kurt Weill’s The Rise and Fall of the City of Mahagonny, and was also seen on Lyric’s stage as Micaela in Bizet’s Carmen. She recently performed the role of Countess Almaviva in Le Nozze di Figaro with Tulsa Opera, and debuted in the title role in the world premiere and recording of James Niblock’s Ruth at Blue Lake Fine Arts Festival. With Houston Grand Opera she appeared as Marguerite in Faust, First Lady in Die Zauberflöte, and presented the world premieres of Harvey Milk, The Book of the Tibetan Dead, and Jackie O, which was recorded on Decca. She made her Paris debut at the Bastille Opera as Serena in Porgy and Bess.
Recent season highlights have included a debut with Orquesta Sinfonica Nacional de Mexico, Serena in the Lyric Opera of Chicago’s production of Porgy and Bess, the Fauré Requiem with Eugene Symphony, Verdi’s Requiem with the Virginia and Colorado symphonies, the Louisiana Philharmonic under Carlos Miguel Prieto in Brahms’ Requiem, Szymanowsky’s Stabat Mater at Grant Park, Villa-Lobos’ Three Songs from Floresta do Amazonas with the Houston Symphony, a special Christmas concert tour in Lisbon with the Orquestra Metropolitana de Lisboa, a concert commemorating Martin Luther King with the Chicago Sinfonietta, Beethoven’s Symphony No. 9 with the Calgary Philharmonic, Verdi's Requiem with Helena Symphony and a recital, "Dvorak & American Soul," presented by New York Festival of Songs at Weill Recital Hall.
Other recent oratorio and symphonic highlights include the Dvorak Requiem with the N. O. Tonkünstler Orchestra of Vienna, the Brahms Requiem in her debut with the Northern Israel Symphony, Beethoven’s Ninth Symphony with the Winter Park Bach Festival, Elgin Symphony and Albany Symphony, Britten’s Spring Symphony as well as the Brahms Requiem and Rosenkavalier all at Grant Park Music Festival, and Bernstein’s Songfest with the Chicago Sinfonietta. In 2003 she performed Mozart’s Exultate Jubilate and a Live at Ravinia concert of Berlioz selections, which aired live on WFMT, Chicago’s public broadcast radio network. With Boston Landmarks Orchestra she sang operatic arias and a world premiere ensemble work for three sopranos, May We Live, by Boston composer, Patricia Van Ness. Overseas, she appeared at the Edinburgh Festival and debuted in Italy with the Orchestra della Toscana in concerts and radio performances. She is the soprano soloist in Robert Avalon’s Sextet de Julia de Burgos, recorded on Centaur.
Please visit Ms. Lattimore's website here.
Samuel Ramey remains at the peak of an extraordinary international career of stage and recorded performances, continuing to triumph as an interpreter of a remarkably versatile bass and bass-baritone opera and concert repertory.
Although famed in particular for his “devil” roles in Faust, Mefistofele, La damnation de Faust, and The Rake’s Progress, and for his blockbuster “Date with the Devil” concerts, Ramey’s 50-plus admired portrayals also include the title roles of Le nozze di Figaro, Bluebeard’s Castle, Attila, Don Giovanni, Boris Godunov, Gianni Schicchi, and Don Quichotte, along with Olin Blitch/Susannah, Claggart/Billy Budd, Georgio/I Puritani, the four villains of Les contes d’Hoffmann, Raimondo/Lucia di Lammermoor, Zaccaria/Nabucco, Fiesco/Simon Boccanegra, Escamillo/Carmen, and Scarpia/Tosca, among many others. Ramey has performed these roles on all the major opera and concert stages of the world, and has made more recordings (more than 80) than any other bass in history.
Hailed by The New York Times as "representative of the best type of American singing actor," Richard Stilwell has appeared regularly with the major opera companies of the United States and Europe. His performances have taken him to LaScala, Covent Garden, the Paris Opera, Deutsche Oper Berlin, the Vienna Staatsoper, Teatro de la Zarzuela Madrid, the Holland Festival, and Glyndebourne Festival, as well as the San Francisco, Los Angeles, Dallas, Chicago, Washington, St. Louis, Seattle, and Metropolitan Operas in the United States.
Stilwell has collaborated with Leopold Stokowski, Aaron Copland, Leonard Bernstein, James Levine, Zubin Mehta, Seiji Ozawa, Sir Colin Davis, Andre Previn, James Conlin, and Lorin Maezel. His recordings include Nozze di Figaro (Haitink), Pelleas et Melisande (von Karajan), the CBS Il Ritorno d’Ulisse by Monteverdi, and both Messiah and the Brahms Requiem with the Atlanta Symphony (Robert Shaw). Stilwell also appears in the Unitel film of Falstaff with Sir Georg Solti, and on the soundtrack of the Academy award winning film, Amadeus.
Dana Brown, pianist, has been heard at the Tanglewood Festival, the Ravinia Festival, and many times on WFMT Radio as a collaborator, in addition to performances on WTTW’s “Chicago Tonight”, Light Opera Works of Evanston, L’Opera Piccola, the Chicago Cultural Center and the Chicago Humanities Festival. As a coach, he has been on the faculty of Northwestern University, the Intermezzo Young Artists Program, the Opera and Music Festival of Lucca, Italy, and most recently the Taos Opera Institute in Taos Ski Valley, New Mexico. He was the coach for the 2008-2011 seasons of the Civic Music Association’s Support Our Singers Program in conjunction with the Metropolitan Opera National Council Auditions, Wisconsin District. He is also a staff pianist for the Ryan Opera Center at the Lyric Opera of Chicago; at Lyric he has played in the lessons and masterclasses of Marilyn Horne, Renata Scotto and Renée Fleming.He is the Associate Professor of Opera and Vocal Coaching at the Chicago College of Performing Arts at Roosevelt University, where he has taught and coached since 2001. At CCPA he musically directs opera, coaches graduate and undergraduates in the vocal performance programs, and teaches singer-specific classes in diction, art song literature and business practices. Several recent productions at CCPA include Ravel/L’Heure Espagnole and L’Enfant et les sortilèges, Poulenc/Les Mamelles de Tirésias, Britten/Turn of the Screw and Albert Herring and Mozart/Le Nozze di Figaro. He is also co-artistic director of a new summer program for emerging singers, the Up North Vocal Institute, held in Boyne, Michigan.
Scott Gilmore’s operatic credits as coach, assistant conductor and chorus master include the San Francisco Opera, Salzburg Festival, Cologne Opera, Opéra de Lyon and Opera Australia. He has worked with major international conductors, including Daniel Barenboim, James Conlon, Charles Mackerras, Michelangelo Veltri, Carlo Felice Cillario and Kent Nagano. As a recital accompanist, he has performed in New York’s Carnegie Hall, Dublin’s National Concert Hall and in numerous recitals in London, Chicago, San Francisco, Los Angeles, Cologne, Sydney and Melbourne. He has recorded on CD, radio, television and video for Unitel, the BBC, ABC, RTE and WFMT Chicago.
His work in the training and development of singers has taken him to positions with the Centre de formation lyrique of the Opéra national de Paris, London’s Guildhall School of Music & Drama, the San Francisco Opera Center and the young artist programs of Cologne Opera, Opera Australia, Santa Fe Opera, and Florida Grand Opera. He is an adjudicator for the Metropolitan Opera National Council Auditions. He was co-artistic director with Christine Bullin of Opera Overture, a program in Malibu, California for singers aged 16-21, and is a guest faculty member of Dr Doreen Rao’s Choral Music Experience, directing opera workshops for children. He is a contributing editor to Boosey & Hawkes’ Choral Music Experience series, translating and editing scenes from operatic literature for young people. The San Francisco Chronicle dubbed him “a singer’s colleague and best artistic friend.”
He is currently Director of Musical Studies at Chicago Opera Theater, and Assistant Professor of Opera and Vocal Coaching and Director of the Professional Diploma in Opera Program at Chicago College of Performing Arts, Roosevelt University, where he studied piano with Dr Ludmila Lazar.