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Sungho Kim is a Korean tenor who has established himself as a leading lyric tenor on the German operatic scene. A member of the ensemble at Oper Dortmund since the 2020/21 season, he has sung a wide range of major roles including Rodolfo (La bohème), Belmonte (Die Entführung aus dem Serail), Tamino (Die Zauberflöte), Léopold (La Juive), Alfredo (Die Fledermaus), Alfredo Germont (La traviata), and Don Ottavio (Don Giovanni), as well as appearing in contemporary works including the world premiere of Die Reise zu Planet 9. After making his Verbier Festival debut as Rodolfo in 2021, he returned to the Festival in summer 2025 as Rinuccio in Gianni Schicchi, marking a significant moment in his ongoing association with Verbier.
This season, soprano Sylvia D’Eramo joined the prestigious Metropolitan Opera Lindemann Young Artist Development Program. She previously trained with the Los Angeles Opera in its Young Artist Program, where she covered Mimì in La Bohème, and sang Fosforo and Euretti in Landi’s La Morte d’Orfeo. She made her debut with Lyric Opera Kansas City as Musetta in La Bohème. She was slated to join the Britt Festival Orchestra in Beethoven’s Ninth Symphony, conducted by Teddy Abrams (cancelled). In 2019 D’Eramo returned to Santa Fe Opera for her second year as an Apprentice, where she covered Mimi in La Bohème and sang Barena in Jenůfa. In 2017-18 she joined Santa Fe Opera as an Apprentice Artist singing Cugina in Madama Butterfly. Sylvia is a graduate of the Yale School of Music, where she performed various roles. In concert, she joined the Yale Philharmonia for Beethoven’s Ninth Symphony under Maestro Marin Alsop. D’Eramo has been the recipient of multiple awards: national semifinalist in the Metropolitan Opera’s National Council Auditions; Grant Award from the Santa Fe Opera; career grant from Giulio Gari Foundation; encouragement award from Jensen Foundation. Sylvia D’Eramo appears by kind permission of The Metropolitan Opera Lindemann Young Artist Development Program.
Originally from Québec city, Jean-Philippe Mc Clish holds a master’s degree and an artist diploma in opera performance from McGill University’s Schulich School of Music, where he studied with soprano Dominique Labelle. Previous roles include Don Alfonso in Così fan tutte (Opéra de l’Université de Montréal) as well as Raimondo in Lucia di Lammermoor, Il Re in Ariodante, Készakállú in Bluebeard’s Castle, Falke in Die Fledermaus, Garibaldo in Rodelinda and Dulcamara in Elisir d’amore (Schulich School of Music). He also sang the King in Fête Galante (Smyth) with opera5. As a soloist, he has performed in Handel’s Messiah (Ensemble Sinfonia), Rossini’s Petite messe solennelle (Chœur polyphonique de Rimouski), Carl Orff’s Carmina Burana (Kingston Symphony), along with the Requiems of Brahms (Orchestre symphonique de Lévis) and Mozart (Orchestre symphonique de Trois-Rivières). With l’Opéra de Montréal, Jean-Philippe sang in 2019-2020 the part of the Captain in Eugene Onegin, the Second Prisoner in Fidelio, as well as covering Raimondo in Lucia di Lamermoor. He was supposed to sing the role of the second Armoured guard and covering Papageno in the Komishe Oper production of Zauberflöte at Opéra de Montréal. A production cancelled due to Covid19. He was also singing with the Jeunes Ambassadeurs Lyriques (2018-2019). Who gave him the opportunity to sing with Regensburg Opera. He is a grant recipient from the Jacqueline Desmarais Foundation (2019) and the Art Song Foundation award (2019). Jean-Philippe will be singing this year the role of Antonio and covering Figaro in Nozze di Figaro with Opéra de Montréal. He would also normally have been singing the rôles of Dr. Grenvil in Traviata and the Mayor in Jenufa. Two production that will be presented in the season of 2021-2022 instead. He will be part of the prestigious Verbier Festival for the summer 2021. Jean-Philippe is currently a resident artist at Opera de Montreal.
Brought up in Derbyshire, Bass-Baritone Edward Jowle is a postgraduate at the Royal College of Music, studying with Russell Smythe and Gary Matthewman. A 2019/20 Samling Scholar, he is supported by the Drake Calleja Trust, the Josephine Baker Trust and the recipient of the RCM Rose Williams Scholarship. Recent Operatic work includes: Guglielmo (Cosí fan tutte/Devon Opera); Elviro (Serse/Accademia Europea Dell’Opera); Papageno (Die Zauberflöte/Westminster Opera); Lord Dunmow (A Dinner Engagement), Snug (A Midsummer Nights Dream/RCM Opera Studio); Falke (Die Fledermaus/Nanyang Academy of Fine Arts); Gendarme (Les Mamelles de Tirésias/Euphonia Studio); Alidoro (La Cenerentola/Bedford Park Festival) Cecil (Maria Stuarda) for Magnetic Opera/Edinburgh Festival Fringe; and Adonis (Venus and Adonis/Brighton Early Music Festival). Recent concert highlights include Handel Messiah (Nevill Holt); Bach B Minor Mass (Lloyds Choir); Berlioz L’enfance du Christ (Scherzo Ensemble); Finzi Let us Garlands bring (East London Symphony Orchestra); Oli Tarney St Mark Passion (Endellion Festival) Mozart Requiem (Orchestre Symphonique de Canet et Rousillon, France) and Elgar The Apostles (London Philharmonic Orchestra). Acting work includes Lomov/Narrator/Smirnov (Chekhov Tripple Bill: The Proposal/On the Evils of Tobacco/The Bear) for Euphonia Studio. Edward has worked with conductors including Martyn Brabbins, Michael Rosewell, Jonathan Peter Kenny and Natalie Murray Beale, as well as directors including Iqbal Khan, James Conway, Liam Steel, Bill Bankes-Jones and Rodula Gaitanou. He has participated in masterclasses with Gerald Finley, Dennis O’Neill, Sir Thomas Allen and most recently with Thomas Quasthoff at the Wigmore Hall. Forthcoming projects include Masetto (Don Giovanni) for Nevill Holt,. Gendarme (Les mamelles de Tirésias) for British Youth Opera and a recital for the Oxford Lieder Festival with Ana Manastireanu. He will also appear at this year’s Verbier Festival as part of the Atelier Lyrique Young Artist Programme, playing Colline in the festival production of La Bohème. Edward is delighted to be continuing his studies at the RCM in September as a a member of the Opera Studio.
American soprano Angela Meade made her professional operatic debut on the Met stage in 2008, stepping in for an ill colleague to sing Elvira in Verdi’s Ernani. Since then she has become known for excelling in the most demanding heroines of the 19th-century bel canto repertoire, and the operas of Verdi and Mozart, receiving such accolades as Washington National Opera’s 2013 Artist of the Year. Returns to the Met have included the title roles in Norma and Sir David McVicar’s new Anna Bolena, and as the Countess in Le nozze di Figaro. Highlights of recent seasons include Semiramide and Mefistofele at the MET, Norma and Ermione at San Carlo in Naples, Aida at the Liceu in Barcelona and at the Arena di Verona, Die Walküre at the Seattle Opera, Simon Boccanegra at the Festival Verdi in Parma, Il trovatore at the Teatro Massimo in Palermo and at the Teatro de la Maestranza in Seville.
Egyptian soprano Fatma Saïd’s list of accolades for El Nour, her 2020 debut album with Warner Classics, included BBC Music Magazine’s Newcomer of the Year and Vocal Award, Opus Klassik’s 2021 Young Artist of the Year, and the Gramophone Award for Song. Her 2021/22 season began with a gala concert in Istanbul with Rolando Villazón, to be followed by recitals at Concertgebouw Amsterdam, deSingel Antwerp and DeutschlandFunk Cologne. Her season also includes concerts with the Cleveland Symphony Orchestra, City of Birmingham Symphony Orchestra, DSO Berlin and Orchestre Philharmonique de Monte-Carlo, and a debut at the Opéra de Rouen as Pamina. Previously a BBC Radio 3 New Generation Artist, Saïd also regularly represents her home country as an ambassador for culture and education, and in 2016 became the first opera singer ever to be awarded Egypt’s Creativity Award.
Baritone Alexander York, from Wisconsin, begins his second season in the Académie of the Opéra national de Paris, where he will be seen in Don Carlo as a Flemish Deputy and in L’Enfant et les Sortilèges as L’Horloge comtoise and Le chat. Last season, he sang Dr. Falke in Die Fledermaus. York recently made his Bayerische Staatsoper debut in Viktor Ullmann’s Der zerbrochene Krug in the role of the Bedienter. In 2017, he sang the role of James Ramsey in the world premiere of Zesses Seglias’ To the Lighthouse at the Bregenz Festival. York made his European debut as Belcore in L’elisir d’amore at Theater Augsburg in 2016 ; also in Augsburg, York played Angelotti in Tosca, the Captain in Karl Amadeus Hartmann’s Simplicius Simplicissimus, and Weickmann/Fuhrmann in Hans Thomalla’s Kaspar Hauser. Equally at home on the concert stage, York has performed with the Münchener Rundfunkorchester, Heidelberger Symphoniker, and the Jewish Chamber Orchestra Munich. York was awarded the prestigious Fulbright Research Grant to study Lied in Munich in 2016, and upon joining the Académie in Paris, he received the Richard F. Gold Career Grant.
Stephen Marsh is the 2018 recipient of the Paulette Bisley and Eleanor Blakemore Opera Scholarships with Melba Opera Trust. He made his professional debut in Victorian Opera’s Sleeping Beauty in 2017 and was also a developing artist, performing in Hansel and Gretel, Heroes and Villains (a gala concert) and Gordon Kerry’s The Snow Queen. Stephen was a member of the Opera Scholars Australia program for 6 years. Other companies he has performed with are Melbourne Opera (2012 – 2017 seasons), Melbourne Lyric Opera and Shoestring Opera Company. He has received multiple scholarships including the Barbara Pigdon Memorial, the Betty Amsden AO Scholarship ‘Opera Scholar of the Year’ for the Australian Music Events 2016/17 season and the John Duncan scholarship.
Originaire du sud de l’Italie et née en 1978, Maria Agresta sort diplômée du conservatoire Guiseppe Martucci de Salerne puis rejoint l’institut de musique Vecchi-Tonelli de Modène. Ce n’est qu’en 2006 que cette jeune soprano obtient ses premiers rôles, avec Rosina dans Le Barbier de Séville de Rossini, au Teatro Lirico Sperimentale de Spoleto. En 2007, elle y interprète Leonora dans Le Trouvère de Verdi. Elle obtient également le rôle de Desdémone dans Otello de Verdi, dans les théâtres italiens de Teramo, Papeterie, Ortona et Pescara.
En 2011, elle interprète la Duchesse Hélène des Vêpres Siciliennes de Verdi au Teatro Regio de Turin, dirigée par Gianandrea Noseda. Elle se voit rapidement offrir de grands rôles, comme le rôle-titre de Norma de Bellini à Tel-Aviv, puis Mimi dans La Bohême aux Arènes de Vérone, La Traviata à Cagliari ou encore Amelia dans Simon Boccanegra à l’Opéra de Rome. La Scala lui ouvre ses portes en 2012 avec le rôle de Donna Elvira dans Don Giovanni. Vérone l’accueille alors de nouveau pour sa prise du rôle de Liu dans Turandot. En 2013, elle interprète Elvira dans I Puritani de Bellini pour ses débuts à Paris-Bastilleen remplacement de Natalie Dessay, puis prend le rôle de Leonora dans Oberto, Comte de Saint-Boniface de Verdi à La Scala. Elle débute également à La Fenice de Venise en Amalia dans Les Brigands.
En 2014, elle fait ses débuts à Covent Garden dans le rôle de Lucrezia Contarini de I due Foscari sous la direction d’Antonio Pappano. En 2015, elle débute au Théâtre des Champs-Elysées et à Zürich dans Norma et à l’Opéra d’Etat de Vienne avec La Bohème, qui lui offre également ses débuts au Met en 2016. Cette année-là, elle débute à l’Opéra d’Etat de Bavière dans La Traviata (qu’elle reprend à l’Opéra allemand de Berlin l’année suivante). Toujours en 2016, elle prête sa voix à Marguerite dans Faust (Gounod) au Festival de Salzbourg, puis reprend le rôle-titre de Norma pour ses débuts au Teatro Real de Madrid. Elle retourne au Met en 2017 en Micaëla dans Carmen et débute à l’Opéra de Monte-Carlo avec Le Trouvère. En 2018, Zürich lui offre sa prise du rôle-titre de Luisa Miller, tandis qu’elle débute à l’Opéra d’Etat de Berlin avec celle d’Alice Ford dans Falstaff et à l’Opéra de Chicago avec Le Trouvère. En 2019, elle prend le rôle-titre d’Anna Bolena à Rome et celui d’Elisabeth de Valois dans Don Carlo à Madrid.
Bassoonist Pierre Gomes studied at the Conservatoire National Supérieur de musique in Lyon with Carlo Colombo before being accepted to the Munich Philharmonic Academy. He performed as member of the Verbier Festival Orchestra and of the Gustav Mahler Youth Orchestra before joining the Verbier Festival Chamber Orchestra in 2011 and being invited to join the National Orchestra of Metz in 2012. He was also
invited by Claudio Abbado to play in the esteemed conductor’s Orchestra Mozart Bologna. Gomes has performed under the direction Bernard Haitink, Lorin Maazel, Zubin Mehta, Valery Gergiev, Daniel Harding, Herbert Blomstedt, Semyon Bychkov and Kurt Masur, and has collaborated with François Leleux, Christian Zacharias, Martin Fröst and Renaud Capuçon. He is a professor at the Luxembourg Conservatory and has been invited to lead masterclasses in Colombia, Israel and Palestine.