A finalist in the Metropolitan Opera National Council competition north east region 2018, and a grant recipient of both the Wagner Society of New York 2020 as well as the Olga Forrai Foundation 2022, Jeremy Brauner has been receiving recognition and accolades as an up and coming dramatic tenor with “a voice of unbridled power, with a spine-tingling squillo”. – Operawire

Franco Pomponi is critically acclaimed for the rich, expressive beauty and powerful virility of his voice, with a cultivated musical style and unmatched dramatic intensity that has brought him to many of the world’s most prestigious opera houses and concert halls.

He made his European debut as the title role in Hamlet at the Gran Teatro del Liceu in Barcelona, conducted by Bertrand de Billy. Hamlet has become one of his signature roles. He has continued to win critical praise for his dynamic portrayal, most recently under the baton of Marc Minkowski for his Théâtre Royale de la Monnaie in Brussels directed by Olivier Py and in a new production by Vincent Boussard for his Opéra de Marseille (which won Opéra Magazine’s “Best Opera”). He was Zurga along-side Javier Camarena in a new production of Les pêcheurs de perles at Opernhaus Zürich, followed immediately in the title role of Don Giovanni at the Bolshoï in Moscow, directed by Dmitri Tchernakov and conducted by Teodor Currentzis. Also Roi Alphonse in Le Cid with Roberto Alagna, televised on Mezzo, “Opera of the Year.”

Franco Pomponi created a sensation in his Paris debut at the Théâtre du Châtelet as Pentheus in Henze’s The Bassarids and continued to build on his Paris triumph at Châtelet in the title role of Sweeney Todd, and as Richard Nixon opposite June Anderson and Sumi Jo in a new production of Nixon in China televised on Mezzo.

Franco’s Italian debut came at Teatro Massimo in Palermo as Nick Shadow in The Rake’s Progress, directed by Cesare Lievi, and returned the next season as Frank/Fritz in Pier Luigi Pizzi’s production of Die tote Stadt. At Teatro Lirico in Cagliari he had great success as Johnny in Nino Rota’s Napoli milionaria!

Recently, Franco was heard as the Prisoner in Dallapiccola’s masterpiece Il prigioniero and Ezio in Attila by Verdi in Chicago and in the title role of Gianni Schicchi to great critical success at Florida Grand Opera, in the title role of Don Giovanni in a new production by David Bösch at the Grand Théâtre de Geneve conducted by Stefan Soltesz, in the title role in a new production by Chen Shi-Zheng of Eugene Onégin at the Spoleto Festival USA, as Pentheus in Henze’s The Bassarids with Orquesta Nacional de España in Madrid under Kent Nagano, and as Prospero in a new production of The Tempest by Adès, his Hungarian State Opera debut in Budapest. Franco’s active concert season heard him in Taormina, Sicily for a Puccini Gala in September, and in Chicago for Puccini Forever!, in Naples and St. Augustine, Florida, in Costa Mesa, with the Pacific Symphony, in Chicago in Haydn’s Mass in Time of War and in New York for a solo recital at Carnegie Hall.

Pomponi is well know for his Escamillo in Carmen, a role in which he has been heard at the New York City Opera (NYC debut), Los Angeles Opera (under Luisotti), Florida Grand Opera, Opéra de Toulon (under Carella), San Antonio (under Patrón de Rueda), Helsinki (under Fournillier), at Die Glocke in Bremen (under Minkowski), and in Doha, Qatar (under Abbassi).

Franco Pomponi many achievements include:

Schaunard in La bohème with the (Metropolitan Opera), Marcello in La bohème with Opéra Lausanne, Michele in Il tabarro (OFC), Lescaut in Manon Lescaut (Spoleto Festival USA), Jack Rance in Fanciulla del West (KYO), Ping, Turandot (Lyric Opera of Chicago), the title role in Don Giovanni with Grand Théâtre de Genève, Opéra National de Montpellier, Greek National Opera in Athens, the Bolshoï Opera, Moscow, and in Guangzhou, China, Guglielmo in David McVicar’s production of Così fan tutte (Opéra National du Rhin), Ezio in Attila, Seid in Il corsaro (OFC), Count di Luna in ll trovatore (Austin Lyric Opera), Ford in Falstaff (Canadian Opera Company, Santa Fe Opera), Germont in La traviata (Grant Park Music Festival), Paolo Albiani in Simon Boccanegra (Grand Théâtre de Genève), Ernesto in Il pirata (Washington Concert Opera), Belcore in Stefano Poda’s new production of L’elisir d’amore (Opéra National du Rhin in Strasbourg), Enrico in Lucia di Lammermoor (Opera Omaha), Malatesta in Don Pasquale (Lyric Opera of Chicago) conducted by Paolo Olmi, Four Villains in Les contes d’Hoffmann (Finnish National Opera), Golaud in Pelléas et Mélisande (Nationale Reisopera, Netherlands), Arcalaüs in J.C. Bach’s Amadis des Gaules, (Opéra Comique), and Hérode in Massenet’s Hérodiade (U.K. debut), Valentin in Faust (Opéra de Toulon), Carbon/Valvert in Cyrano de Bergerac with Placido Domingo (Théâtre du Châtelet and Teatro Real in Madrid). In the 20th and 21st century repertoire he has played Stanley Kowalski in Colin Graham’s production of A Streetcar Named Desire (New Orleans), Prospero in The Tempest by Adès, (Hungarian State Opera), Richard Nixon in Nixon in China, Storyteller in A Flowering Tree, by John Adams (Châtelet, Paris), Nick Shadow in Rake’s Progress (Teatro Massimo), title role Il prigioniero by Dallapiccola (OFC), Tarquinius in Rape of Lucretia

Passion is guaranteed when it comes to Hungarian born Viktoria Vizin, the internationally acclaimed mezzo-soprano whose name is often seen in the world’s most prestigious houses such as the Metropolitan Opera, Hungarian State Opera House, Chicago Lyric or Royal Opera House Covent Garden.

Ms. Vizin has embarked on an exciting dramatic mezzo-soprano repertory in her past seasons. This includes her debut of the double bill production of Opera Festival of Chicago, when Ms. Vizin demonstrated excellent ownership of her artistry by singing the role of Mother in Dallapiccola’s The Prisoner followed by Menotti’s The Medium in the title role.

Between 2017-2022 Ms. Vizin toured the world with the double bill of Peter Eötvös: Senza Sangue (Nina), and Bartòk’s Bluebearded’s Castle (Judith).

Her earlier success includes: Waltraute in Götterdämmerung (Teatro Massimo 2016) directed by Graham Vick, Charlotte in Werther (Scottish Opera debut 2013), The Composer in Ariadne auf Naxos (Budapest 2013, 2015), Phèdre in Rameau’s Hypolite et Aricie, Dejanira in Handel’s Hercules (Budapest 2012, 2013), Nerone in the L’Incoronazione di Poppea (2016 Palace of Arts), the Wagner Ring Cycle as Flosshilde, 1st Norn and Schwertleite at the Luzerne Festival conducted by Jonathan Nott (2013), Preziosilla in La Forza del Destino (Gran Theatre de Luxembourg 2013), Dulcinee in Don Quichotte (Den Jyske Opera 2014), and Donna Elvira in Don Giovanni (Bartok Plus Festival).

Viktoria Vizin is known as one of the world’s known Carmens, which role she played over 100 times in 17 productions from the Metropolitan Opera to the Covent Garden in 3 continents.

Ms. Vizin has a passion for contemporary performing arts. In addition to her operatic performances Ms. Vizin has also appeared in a major motion picture co-starring Michael Madsen and Vinny Jones (Magic Boys, 2009), starred in the theatrical play Carmen Disruption by the Tony Award winner playwright Simon Stephens at Almeida Theatre, in Londons East End (2015), was featured in an audiovisual performance “1956” both in Budapest and New York (2016), received critical acclaim for a successful world premier of her contemporary opera piece – The Witch – where she not only debuted as a singer, but also as a co-writer of the operatic piece. (International Kodaly Festival, Hungary 2013), as well as debuted two additional co-produced and performed 1- act contemporary opera “…and Echo” (2019 Hungary, 2022 USA) and Aldegunda (world premiered at Jarvis Opera Hall, Chicago).

Bass Christopher Filipowicz was most recently heard as the off stage voice in Lyric Opera of Chicago’s production of Janáček’s Jenůfa where he will be a regular member of the chorus beginning in the 2024/25 season. He was previously seen at Lyric as the servant in Verdi’s Macbeth and as the Speaking Priest in their 2017 production of Die Zauberflöte. In 2023 Christopher debuted with the chorus of the Metropolitan Opera for their performances of Verdi’s Requiem. As a former member of the Regular Chorus of San Francisco Opera, he made his mainstage debut as Une Voix in Massenet’s Manon during the 2017-18 season. He was also seen as Ed in Jake Heggie’s “It’s a Wonderful Life” with San Francisco Opera as well as with the San Francisco Choral Society in performances of Mozart’s Great Mass in C minor and Amy Beach’s Canticle of the Sun. Career highlights include Tom in Un ballo in maschera with Livermore Valley Opera as part of their 2017-18 season, Sarastro and Der Sprecher in Die Zauberflöte with Opera San Jose, Ferrando in Il trovatore with West Bay Opera, covering Don Basilio in Il barbiere di Siviglia at Music Academy of the West, Don Bartolo in Mozart’s Le nozzi di Figaro and Zuniga in Bizet’s Carmen as a young artist with Nashville Opera, as well as performances with Wolf Trap Opera, Sarasota Opera, and others. He holds degrees from DePaul University and the San Francisco Conservatory of Music, and has studied voice with Dr. Julia Nielsen, Susan Charles, and Cesar Ulloa.

Since his 2004 Metropolitan Opera debut as ‘Mime’ in Das Rheingold conducted by legendary conductor James Levine, David Cangelosi has returned to the Met in Magic Flute, Andrea Chenier, Il tabarro, The Tales of Hoffmann, Die Meistersinger von Nürnberg, Le Nozze di Figaro, Madama Butterfly, Tosca, and other ‘Ring‘ related assignments. He rejoined the Metropolitan Opera roster in 2021/2022 to sing the role of Monostatos in their Holiday Presentation of The Magic Flute and returned to the MET roster in 2023.

He has performed his signature role of Mime with the Lyric Opera of Chicago, San Francisco Opera, Washington National Opera, Opéra de Montréal, Boston Wagner Society, and the Boston Symphony Orchestra at Tanglewood. Additionally, he performed Mime in Das Rheingold and Siegfried with the Hong Kong Phil, both of which were recorded on Naxos and conducted by Jaap van Zweden (New York Philharmonic). Other notable ‘Ring’ highlights include a recording of the ‘Forging Scene’ (Siegfried) with Placido Domingo for EMI Classics’ Scenes from the Ring, and a special presentation of Siegfried with Juneau Lyric Opera.

Recent and upcoming engagements include hosting the 50th Anniversary celebration of Chicago Opera Theater, his Pacific Symphony debut as Mime in Das Rheingold (2025); Des Moines Metro Opera debut in a new production of Cunning Little Vixen (2025); a special 50th Anniversary production of Die Fledermaus with Juneau Lyric Opera (2025); an Opera Festival of Chicago debut in Dallapiccola’s Il Prigioniero (2024); The Nose with Chicago Opera Theater (2023); and a role debut of Edrisi for Chicago Opera Theater’s new production of King Roger (2022).

Cangelosi has performed the roles of Mosquito/Schoolmaster in the original multi-media production of Cunning Little Vixen with the Cleveland Orchestra in Cleveland and toured Vienna, Luxembourg and Detroit Opera with the same. Recent notable highlights marked a return to Carnegie Hall for the U.S. Premiere of Bohuslav Martinu’s Juliette with the American Symphony Orchestra, and his role debut as the Blind Judge in Das Wunder der Heliane with the Bard Music Festival; his Houston Grand Opera debut with Tosca and Eugene Onegin as well as Tosca and Magic Flute with Washington National Opera. Additional recent performances include Shuisky in Boris Godunov with the Dallas Opera and he has returned to the company for Moby Dick, Madame Butterfly, Tosca, and Magic Flute along with a concert version of Boris Godunov with the Anchorage Symphony and Der Rosenkavalier with the Boston Symphony Orchestra.

Major career highlights include televised performances of Paglicacci in the legendary Franco Zeffirelli production starring Placido Domingo; the Saito-Kinen Festival in Matsumoto, Japan; Die Entführung aus dem Serail with Ensemble Orchestral de Paris, along with Le Nozze di Figaro and Die Zauberflöte with Paris Opera (Bastille/Garnier); performances as the Witch (Hansel & Gretel) with Opera Fairbanks and Western Plains Opera, new productions of Die Fledermaus and Tosca with the Canadian Opera Company (COC, Toronto); Magic Flute, Turandot, Salome and Tales of Hoffmann with Santa Fe Opera.

Cangelosi made his cinematic debut at the Venice Film Festival in the feature film Tosca starring Angela Gheorghiu and Roberto Alagna along with his debut at the Hollywood Bowl in a concert version of The Magic Flute with the Los Angeles Philharmonic. He debuted at the Spoleto Festival (U.S.A.) singing the roles of the Noctambulist/Pape des Fous in Louise and performed as a featured soloist for their Intermezzi Recital Series. A decades-long veteran of Lyric Opera of Chicago, Mr. Cangelosi made his debut in Salome in 1996 and returned for 20 consecutive seasons singing dozens of principal roles, concert performances, and hosting special events. A pandemic shortened 2021 season would have found Mr. Cangelosi in his role debut as Loge in Das Rheingold at Teatro Colón, Buenos Aires.

Recital/Concert performances include multiple recital appearances in Birmingham Alabama, The Montgomery Symphony, Vann Vocal Institute Celebrity Recital Series, Davis Concert Hall (UAF) with Opera Fairbanks, concert tours of Alaska, and the PACC Concert series in Boston.

Mr. Cangelosi has also served as Distinguished Artist-in-Residence at Huntingdon College as well as the Artistic/Program Director for the Vann Vocal Institute in Montgomery, Alabama for the past 17 years. He actively travels the country as a recitalist, symphonic guest-artist, competition adjudicator, and Master Class instructor for aspiring vocalists at such well-regarded venues as Roosevelt University/Chicago Summer Opera, Chicago Opera Theater, Baldwin-Wallace University, Fairbanks University, and Minot University among others.

Praised for her versatility and range, lyric soprano Angela De Venuto is quickly establishing herself as a formidable presence in the classical music world. Her recent performances include appearing as a soloist in Beethoven’s Symphony No. 9 with the Lake Forest Civic Orchestra, performing Mozart’s concert aria, “Bella mia fiamma, addio” with the Intermezzi Ensemble, and premiering the role of Flo in The Eleanors by Jodi Goble with the Savannah Voice Festival. Other highlights include her role debut as Musetta in La Bohème, and her portrayal of the title character of Alice Riley by Michael Ching under the baton of Andrew Bisantz at the Savannah Voice Festival. This season, Ms. De Venuto will make her debut with the Opera Festival of Chicago, where she will cover the role of Fiora in Montemezzi’s L’Amore dei Tre Re, as well as perform in concert.

Alongside her husband and duo partner, Leo Radosavljevic, Ms. De Venuto was a finalist in the Federation of the Art Song Competition. She also performed Villa-Lobos’s Bachianas Brasileiras under the direction of Maestro Marin Alsop. Throughout her career, she has portrayed a broad range of characters, including Emily Webb (Our Town), Mrs. Grose (The Turn of the Screw), Drusilla (L’Incoronazione di Poppea), Lauretta (Gianni Schicchi), Angélique (Angélique), Adele (Die Fledermaus), Amore (The Return of Ulysses) with DePaul Opera Theatre, Rosina (Il Barbiere di Siviglia), Zerlina (Don Giovanni), Susanna (Le Nozze di Figaro), and premiered the roles of Sarah Davenport and Jane in Michael Ching’s Anna Hunter with the Savannah Voice Festival. She has also appeared as Despina (Così fan tutte) with DuPage Opera Theatre, Miss Jessel (The Turn of the Screw) with Chicago Fringe Opera, Marzelline (Fidelio) with Intermezzi, and Maria (West Side Story) with the Northwest Chicago Symphony.

In concert and recital, Ms. De Venuto has been a soloist with several esteemed ensembles, including Ensemble 20+ (a Chicago-based contemporary music group), the Music Institute of Chicago, the Metropolis Chamber Orchestra, St. Paul’s Chamber Orchestra of Evanston, and DePaul University’s Symphony Orchestra. She has performed major choral works such as Mozart’s Requiem and C Minor Mass, Faure’s Requiem, Handel’s Messiah, Vivaldi’s Gloria, Schubert’s Mass in G Major, and Orff’s Carmina Burana. In addition to the standard repertory, Ms. De Venuto’s affinity for new music has made her a sought after interpreter by many of today’s established and up and coming composers of vocal music. Notable new music credits include, Comala Suite by Zohn-Muldoon, Poems of Amy Lowell by Benjamin Krause, and Estonian folk texts set by Leo Radosavljevic. She has collaborated with renowned composers such as Thomas Pasatieri, Libby Larsen, and her husband, Leo Radosavljevic.

Ms. De Venuto’s accolades include first-place prizes in the Evanston Music Club Competition (2018), the Classical Singer Emerging Professional Division (2017), the Musician’s Club of Women (2017), and the Sherrill Milnes Opera Idol competition (2016). She was also a quarter-finalist in the 12th International Telemann Competition in Magdeburg, Germany (2023), and a regional finalist in the Metropolitan Opera National Council competition (2019). In collaboration with her husband, she received second place in Chicago’s third annual SongSlam Art Song competition for his setting of Eleanor Roosevelt’s 1948 address to the United Nations (Words of Eleanor).

Jade Dashá is a Chicago based mezzo. Jade has been seen in collaboration with the Opera Festival of Chicago, Thompson Street Opera, Cedar Rapids Opera, Opera Steamboat, Lyric Opera of Chicago: Unlimited, Central City Opera, Opera Neo and Chicago Opera Theater.

Jade has been recognized with several awards, including being named an Encouragement Winner at the Metropolitan Opera National Council Auditions in 2020. She additionally received the Casa Italia Josephine L. LiPuma Vocal Scholarship, the Farwell Trust Aware from Musicians Club of Women and the Adelaide Bishop Memorial Award from Central City Opera.

Tenor Eric Wassenaar is recognized for his dynamic performances across opera, musical theater, and concert stages. In 2026 he joins the Opera Festival of Chicago singing the role of Poisson in Cilea’s Adriana Lecouvreur. During the 2025 season, he covered the role of Beppe in Pagliacci with the Opera Festival of Chicago and debuted the role of Pinkerton in Madama Butterfly with the International Opera Institute. He was an Artist in Residence in 2017 – 2018 with Pensacola Opera, debuting the role of Goro in Madama Butterfly and The Padre in Man of La Mancha, while also starring in María de Buenos Aires. He premiered as tenor soloist in Handel’s Messiah and Ariel Ramirez’s Misa Criolla with the Pensacola Choral Society.

In the summer of 2017, he appeared with Chautauqua Opera as an Apprentice Artist, performing in the U.S. stage premiere of Respighis L’Orfeo (Pastore) and Philip Glass’s Hydrogen Jukebox. Concert highlights include collaborations with the Chautauqua Symphony Orchestra under Steven Osgood and a pops program with conductor Stuart Chafetz.

A Sioux Falls native, Wassenaar holds a Master of Music from the University of Colorado Boulder and a Bachelor of Fine Arts from Augustana University.