Kimberly Christie, soprano, will graduate in May with her Master of Music degree from Peabody Conservatory where she studies with Stanley Cornett. She also holds a Bachelor of Music degree from Rutgers University where she graduated cum laude and received the award for Outstanding Vocalist. She was praised by the Washington Post for her “uninhibited movement and shining vocal abilities” as Ernestine in M. Choufleuri restera chez lui le with Bel Cantanti Opera. Also with Bel Cantanti, Kimberly has performed the role of Clorinda in Rossini’s La Cenerentola, which was hailed by Maurice Saylor as “one of the great joys of the opera” and her aria, “a wild ride that brought down the house”. She recently made her debut with the Annapolis Chorale as Bonnie in Anything Goes! and is excited to join them again for the B Minor Mass. Other credits include Adele (cover) and Sally in Die Fledermaus with Carol Community College, Serpina in La serva Padrona with the Baltimore Vocal Arts Foundation, Nella in Gianni Schicchi with Peabody Opera, Blondchen in Mozart’s Die Entfuhrung aus dem Serail with ConcertOPERA, Philadelphia and Clara in Offenbach’s La vie Parisienne with the Frano-American Vocal Academy. She has studied with FAVA in Excideuil, France under tenor, William Lewis, and at the International Vocal Arts Institute in Tel Aviv, Israel with Metropolitan Opera coach, Joan Dornemann. In March, Kimberly will perform the role of Mary Warren in Peabody Conservatory’s production of The Crucible. You can also see her in May as a featured soloist in a concert event, “What’s Opera doc?!”, with the Repertory Opera Theater of Washington.
Catrin Rowenna Davies, mezzo soprano, is a graduate of the Peabody Conservatory and the Royal Welsh College of Music and Drama in Cardiff, Wales. She also holds an honors degree in history from McGill University, Montreal, and a Master’s degree in Women’s Studies from Oxford University. Ms. Davies specializes in Welsh repertoire and three times has won the first prize at the North American Festival of Wales. She has also competed “across the pond” at the National Festival in Wales. She has performed locally with Baltimore Opera, as Mrs. Nolan in The Medium; Live Arts Maryland, most recently in the role of Maria in The Sound of Music; Annapolis Symphony Orchestra; Opera AACC in the role of Orlofsky in Die Fledermaus; Young Victorian Theatre Company in the roles of the Fairy Queen in Iolanthe, Phoebe in Yeomen of the Guard, Pitti Sing in The Mikado, Constance in The Sorcerer, Hebe in HMS Pinafore, and Tessa in The Gondoliers (among others); and Annapolis Opera, also in the role of Pitti Sing. Ms. Davies performed at Lyric Opera of Cleveland in the role of Peep Bo in The Mikado, and the understudy of Dorabella in Così fan tutte and Meg in Little Women. She has performed with Wolf Trap Opera, Baltimore Concert Opera, and will join Washington Concert Opera this spring. Formerly a member of the Baltimore Opera chorus and Baltimore Opera’s educational program, she is now a part of Lyric Opera Baltimore’s educational program and chorus. Her solo oratorio work includes Mozart’s Requiem and Bach’s Magnificat.
Susan Fleming, mezzo soprano, is pleased to be joining Live Arts Maryland again this season. In September, she sang the role of Little Buttercup in Live Arts Maryland’s production of HMS Pinafore. She has appeared as soloist with the Green Bay (WI) and Abilene (TX) and Macon (GA) symphonies, in addition to the Tuscaloosa and Alabama symphonies, as well as such venues as the National Gallery of Art, the Kennedy Center for the Performing Arts, and the Library of Congress. Internationally, she has given concerts and recitals in Switzerland, Italy, Japan, England, and Romania. A specialist in American Art Song, Miss Fleming is in demand for recitals, appearing regularly on concert series in Maryland, Washington, DC, Alabama, Mississippi, Georgia, and Louisiana. Twice Miss Fleming was the recipient of fellowships for the Bach Aria Festival and Institute in Stony Brook, New York. Her extensive oratorio and concert experience includes a wide array of repertoire ranging from Monteverdi to Westergaard. Operatic roles include Prince Orlofsky (Die Fledermaus), Hansel (Hansel and Gretel), Miss Todd (The Old Maid and the Thief), Dido (Dido and Aeneas), Tessa (The Gondoliers), Ciesca (Gianni Schicchi), Dinah (Trouble in Tahiti), Alessandro (Tolomeo), Herself (The Proposal), and Volpino (The Apothecary). She sang the role of Flora in Opera Birmingham’s production of La Traviata in January 2002 and again in 2006 with the Annapolis Chorale. Most recently she appeared as Queen of the Fairies in Alabama Operaworks’ production of Gilbert and Sullivan’s Iolanthe and Mrs. Belemy in the Live Arts Maryland’s production of The Fantasticks last season. Miss Fleming travels to Chicago in April to perform Berio’s O King in concert, and recently performed again with the Tuscaloosa Synphony, and a Mozart Missa Brevis in Birmingham. A faculty recital at the University of Alabama in April and a special recital of Hoiby’s Bon Appétit! in Tuscaloosa round out this season. Miss Fleming is Professor of Voice and head of the Voice area at the School of Music at the University of Alabama.
Larry Molinaro, organist, and his interpretation of the music of Bach have won praise from critics and audiences alike for being innovative, thoughtful, informative and “a model of its kind” (Washington Post). His many solo performances of Bach’s music have been lauded as “engagingly played” (Washington Post), “powerful” and “compelling” (Baltimore Sun). Of Molinaro’s recreation of Felix Mendelssohn’s famous Bach recital at the Thomaskirche in Leipzig in 1840, the Washington Post wrote “…the organist’s propulsive, immaculately articulated playing revved the evening to a thrilling conclusion.” Following a performance of Bach’s “Goldberg Variations” music critic Tim Page (The Glenn Gould Reader) wrote “…it was obvious that Molinaro had thought long and hard about this music and had come up with arresting ideas.” Mr. Molinaro is a regular recitalist with the Live Arts Maryland Music at St. Anne’s series. He earned the Artist’s Diploma in organ performance from the Curtis Institute of Music in Philadelphia and continued his studies at Yale University’s School of Music where he was Frank Bozyan Scholar for Organ.
David Murray, baritone, is noted for his rich baritone voice, dramatic presence, and versatility as a performer. He has received acclaim from critics and audiences throughout the world. Recognized for his steady lyric tone, Mr. Murray has triumphed in many of the great operatic roles including, Figaro in Rossini’s The Barber of Seville, Germont in Verdi’s La Traviata, Eisenstein in J. Strauss’ Die Fledermaus and Count Almaviva in Mozart’s Le Nozze di Figaro. Equally at home on the concert stage, Mr. Murray has performed with the Boston Pops, Keith Lockhart and John Williams conducting, The Handel & Haydn Society, The Tokyo Philharmonic, The Telemann Orchestra of Japan, The New Japan Philharmonic, The Boston Academy of Music (Opera Boston), Theatre Lyrique d’Europe, Chorus proMusica, Boston Lyric Opera, Back Bay Chorale, as well as leading roles with Lake George Opera, Central City Opera, Eugene Opera, and Connecticut Concert Opera. Upcoming engagements include Michele in Puccini’s Il Tabarro and Gianni in Gianni Schicchi with Baltimore Concert Opera.
Frederic Rey, tenor, hails from Canada. His most recent performances include Captain Richard Warrington in Victor Herbert?s Naughty Marietta, Ralph in Gilbert and Sullivan?s HMS Pinafore, Goffredo in Handel?s Rinaldo, Edgardo in Donizetti?s Lucia di Lammermoor, and Tamino in Mozart?s The Magic Flute. Mr. Rey has performed with such companies as Washington National Opera, Sarasota Opera, Annapolis Chorale, Opera Theatre of Northern Virginia, Opera Vivente, Bay Atlantic Symphony, Hopkins Symphony, Southern Delaware Choral Society, Washington Savoyards, Lake George Opera, Opera AACC, Baltimore Opera and The Peabody Opera Theatre. He is a graduate of the Peabody Conservatory of Music of the Johns Hopkins University. Mr. Rey was a Young Artist in the 2010 Sarasota Opera Apprentice Program and the 2006 Lake George Opera Apprentice Program. He is a member of the Voice Faculty at Anne Arundel Community College.
Caitlin Vincent, soprano, is a native of Seattle, Washington and has been praised for her “sparkling” tone and pristine coloratura. Hailed as a “lovely performer” with “exemplary stage presence,” she made her international debut in 2007 as Amour in Clérambault’s solo cantata “Amour piqué par une abeille” at Le Mois Molière in Versailles, France. Ms. Vincent has received first place honors from the Performing Arts Festival of the Eastside (PAFE) and both MD/DC/VA and Pacific Northwest chapters of the National Association of Teachers of Singing (NATS) Vocal Competition. While studying for her Master’s degree in vocal performance at the Peabody Institute, Ms. Vincent was the recipient of two Peabody Career Development Grants, second place in the Frost School of Music at Salzburg Recital Competition, and the prestigious George Woodhead Prize for Voice. Recent opera roles include Susanna in Le nozze di Figaro, Belinda and 1st Witch in Dido and Aeneas, Dew Fairy/Sandman in Hansel and Gretel, Sister Constance in The Dialogues of the Carmelites, Zerlina in Don Giovanni, L’écureuil in L’enfant et les Sortilèges, and Rose Maybud in Ruddigore. In April 2011, Ms. Vincent premiered the role of Janey in Paul Mathews’ opera Piecing it Apart, a performance for which she was described as a “standout” by Sequenza21. Equally praised for her interpretations of concert repertoire, Ms. Vincent has performed as soprano soloist in Mendelssohn’s Lobgesang, Monteverdi’s Vespers of 1610, Mozart’s Exsultate, jubilate and Mass in C Minor, Vivaldi’s Magnificat, Handel’s motet Silete Vente and Bach’s Cantata Nos. 51, 96, and 211. Upcoming performances include Zerlina in Who Killed Don Giovanni? with The Figaro Project. For more information, please visit www.caitlinvincent.com.