Madeleine Gray, mezzo soprano, was born in New York, but for many years made her home in the United Kingdom, where she studied at Cambridge University and the Royal Northern College of Music. A regular performer in the Baltimore/Washington area, she will also be seen this spring as Frugola “Trittico” with Baltimore Concert Opera. She performed many times with the former Baltimore Opera, where her roles included, among many others, Berta “Il Barbiere di Siviglia,” Baba “The Medium,” Marcellina “le Nozze di Figaro” and Anna “Maria Stuarda.” In 2012 she will perform in the inaugural season of the new Lyric Opera Baltimore as Marcellina in “le Nozze di Figaro.”
Other recent US performances include Aurelia in “The Chocolate Soldier” at the Bard Festival in New York, The Witch “Hansel and Gretel” with Opera on the James, Katisha “Mikado” and Marcellina in “le Nozze di Figaro” with Annapolis Opera, Mama Lucia “Cavalleria Rusticana” for Washington National Opera and Toledo Opera and Emilia “Otello” with Opera Roanoke. Past concert appearances include alto soloist in “Messiah” with the Annapolis Chorale, mezzo soloist in Beethoven’s “9th Symphony” with the York Symphony and Quad City (Iowa) Symphony orchestras, her Avery Fisher Hall debut as alto soloist in “Messiah” with the National Chorale and a return to the National Cathedral Choral Society as mezzo soloist in the Mozart “Requiem.” She and her husband, musician, writer and lecturer Bill Scanlan Murphy, recently collaborated on the words and music program, “Telltale Hearts and Twilight Fancies: music inspired by the life and works of Edgar Allan Poe.” Hear Madeleine sing!
Christina Lamberti, soprano, has gained international attention with versatility of repertoire, gleaming tone, and soulful presence. She has not only garnered attention from portrayals at notable companies such as San Francisco Opera and Singapore Lyric Opera, but has also had a long standing relationship with the innovative Theatre Regensburg in Germany since 2006. For the 2008 Regensburg season, she sang numerous performances of the titles roles in “Norma” and in “Manon Lescaut”. In the 2006/07 season, she performed four major roles in repertory with astounding success and unprecedented ease. These operas and roles included “Un Ballo in Maschera” (Amelia), “La Clemenza di Tito” (Vitellia), “Don Giovanni” (Donna Elvira) and “Otello” (Desdemona). Before her Regensburg debut, she made her European debut as Vitellia in Mozart’s “La Clemenza di Tito” at the Estonian National Opera in Tallinn, which was highly acclaimed by both the press and audiences alike. In September 2007, she opened the season at the Slovenian National theatre in Maribor premiering in “La Callas” (a tribute to Maria Callas).
Ms. Lamberti covered Lisa in “Pique Dame” at San Francisco Opera, where she had already covered Duchess of Parma in a new production of Busoni’s “Doktor Faust”. While in San Francisco, she caused a sensation standing in for Carol Vaness in Act III as Elettra in “Idomeneo.” After a concert of arias by Verdi, Puccini and Boito in the American press proclaimed her as a “discovery” and “the Verdi soprano of the future.”
Her roles range from Leonora in “Il trovatore” (Singapore Lyric Opera) to the title role in “Iphigénie en Tauride” (San Francisco Opera Center). During her three years as an Adler Fellow, Ms. Lamberti sang the roles of Clotilde in “Norma,” Fifth Maid in “Elektra,” and Fortuna in “L’incoronazione di Poppea” for the San Francisco Opera. For the San Francisco Opera Center, in addition to Iphigénie, she sang Fiordiligi in “Così fan tutte.” Ms. Lamberti made her Festival Opera debut as Donna Anna in “Don Giovanni.”
Ms. Lamberti, originally from Phillipsburg, New Jersey, began her studies at Westminster Choir College. She apprenticed at the Pittsburgh Opera Center under the direction of Tito Capobianco, singing Suzel in “L’amico Fritz,” and the title role in “Giovanna d’Arco.” At Philadelphia’s Academy of Vocal Arts, Ms. Lamberti portrayed Mimi in “La Bohème,” Tatyana in Eugene” Onegin,” Donna Elvira in “Don Giovanni,” Fiordiligi in “Così fan tutte,” and Alice Ford in “Falstaff.” After her Opera Company of Philadelphia debut as Sacerdotessa in “Aida,” she won an Adler Fellowship with the San Francisco Opera. Hear Christina sing!
Shouvik Mondle, baritone, was born in Calcutta, India, and grew up in the San Francisco Bay Area where he received a Bachelor’s of Music with Honors in Vocal Performance from the San Francisco Conservatory of Music. A prolific performer, Mr. Mondle has sung under the auspices of Virginia Opera, Fresno Grand Opera, New Jersey State Opera, Natchez Festival of Music, Nashville Opera, Westfield Symphony, Baltimore Lyric Opera, Annapolis Chamber Orchestra, Mid- America Productions, Sacramento Opera, San Francisco Opera Guild, Theatreworks, and his alma mater, S.F.C.M., among others.
His stage credits include the title character of “Rigoletto,” Mr. Ford in Falstaff, Baron Scarpia in “Tosca,” the title character of Macbeth, Germont in “La Traviata,” the title character of “Don Giovanni,” Sharpless in “Madama Butterfly,” Enrico in “Lucia di Lammermoor,” Marcello in “La Boheme,” Belcore in “L’Elisir d’Amore,” Ping in “Turandot,” Der Konig in Carl Orff’s “Die Kluge,” Guglielmo in “Cosi fan Tutte,” Count Almaviva in “Le Nozze di Figaro,” Mr. Ford in “Merry Wives of Windsor,” Escamillo in “Carmen,” Melisso in Handel’s “Alcina,” Count in Schubert’s “The Conspirators,” “Number 7” in Conrad Susa’s “Transformations,” and Lt. Torasso in the West Coast Premiere of Stephen Sondheim’s “Passion.” Mr. Mondle is also proud to have created the starring role of General Mariano Guadalupe Vallejo in the critically acclaimed World Premiere of David Conte’s “The Dreamers.”
Noteworthy engagements include Sharpless in “Madama Butterfly” with Fresno Grand Opera, Mr. Ford in Falstaff with the Natchez Festival, the title role of Rigoletto with Pocket Opera of San Francisco, Germont in “La Traviata” with the Annapolis Chorale, soloist roles in “Carmina Burana” and “Messiah” with Annapolis Chorale, Baron Scarpia with the Natchez Festival, a Carnegie Hall debut in Mozart’s “Versprae Sollenes de Confessore,” Sharpless with the Westfield Symphony, the title role of Macbeth with New Jersey State Opera and Pocket Opera of San Francisco, Eugene Onegin and Baron Scarpia with Pocket Opera, baritone soloist in Puccini’s “Messa di Gloria,” “Faure’s Requiem” and “Schubert’s Mass in G,” Fred Graham in “Kiss Me Kate,” baritone soloist in “Brahms Requiem” with the Annapolis Chorale and Annapolis Chamber Orchestra.
Mr. Mondle just reprised the role of Phantom in Jakarta, Indonesia, to much critical acclaim, a role that he had previously performed in a large-scale stadium European tour of the original American musical, Ivan Jacobs’ “Phantom of the Opera.” Continuing his happy association with Live Arts Maryland, Mr. Mondle sang the title role in “Don Giovanni,” El Gallo in “The Fantasticks,” Captain Von Trapp in “The Sound of Music,” Aeneas in “Dido and Aeneas,” Don Quixote in “Man of La Mancha,” soloist in Dvorak’s “Te Deum,” Jesus in Bach’s “St. Matthew Passion,” and soloist in Carl Orff’s “Carmina Burana.” He lives and teaches private voice lessons in Annapolis. For more information on lessons, contact firstname.lastname@example.org. Hear Shouvik sing!
Jonathan Winell, tenor, is known for his impressive artistry, beautiful tone and easy, thrilling top. Beginning to make his mark on the operatic stage, he recently had his Lincoln Center debut at Avery Fisher Hall as Baroncelli in Wagner’s “Rienzi” with The Opera Orchestra of New York under the baton of Eve Queler. In late 2011, he appeared as Alméric in Tchaikovsky’s “Iolanta” with the Dicapo Opera Theatre.
As an Apprentice Artist with Central City Opera in 2011, Mr. Winell covered Rinuccio in “Gianni Schicchi” and performed as Le Journaliste in Poulenc’s “Les Mamelles de Tirésias” and Léon in Pasatieri’s “Signor Deluso.” In 2010, he covered and performed Ernesto in “Don Pasquale” as a Studio Artist with Opera New Jersey. He also appeared in the Opera New Jersey Concert Series on numerous occasions throughout 2010-11. He was Tamino in “Die Zauberflöte” with New York Lyric Opera in 2010, and Percy in “Anna Bolena” at the Academy of Vocal Arts in 2008. He appeared as Nadir in “Les Pêcheurs de Perles” with the Connecticut Concert Opera in 2007 and participated in several opera concerts with the CCO. He also performed the roles of Camille in “The Merry Widow” and The Duke in “Rigoletto”, both at the Hartt School of Music.
Mr. Winell traveled to Florence, Italy for three summers to study Italian at La Scuola Leonardo da Vinci. While there, he attended the Florence Voice Seminar for two summers at the invitation of Benita Valente, Director, as well as the Bel Canto Institute, under the direction of Jane Klaviter, Founder and Artistic Director. At the Institute, he was awarded a two-concert singing engagement with the Vermont Philharmonic Orchestra under the direction of Lou Kosma.
An award-winning tenor, he received grants from the Giulio Gari Foundation and the Bel Canto Vocal Scholarship Foundation/Arturo Coppola Memorial Award. In 2011, he was an Eastern Region Finalist at the Met National Council Auditions. He has also placed in a number of competitions including third in the Gerda Lissner Competition in 2010 and 2011; fourth in Il Comitato Amici del Loggiato, La Spezia, Italy in 2009; and fifth in the Queens Opera Association Vocal Competition in 2007.
Mr. Winell began his vocal studies in 2002, with dramatic soprano, Doris Jung Popper, with whom he continues to work. In 2007, he graduated from the Hartt School of Music and during the 2008-09 season was an Artist in Residence at the Academy of Vocal Arts. In 2010, he returned to New York City to study with the world-renowned voice teacher, Patricia McCaffrey. Over the years he has worked with many great coaches and conductors, among them Jane Klaviter and Bob Morrison of the Metropolitan Opera, Kathy Olsen, Laurent Philippe, Christofer Macatsoris, John Moriarty and Eve Queler. Hear Jonathan sing!