Rusalka Cast
Renée Rapier
Ježibaba
American Mezzo Soprano Renée Rapier brings her “dark, velvety mezzo and smoothly controlled, unfailingly eloquent phrasing to match” (Opera News) as well as a “razor-sharp focus” (Bay Area Reporter) to the operatic stage.
Ms. Rapier recently made her Wagnerian debut as Grimgerde in San Francisco Opera’s visionary Ring Cycle, as well as her role debut as Donna Elvira in Don Giovanni with Opera Steamboat. Other recent appearances include Beethoven’s 9th Symphony with the San Francisco Symphony, Suzuki in Madama Butterfly at both Opera Theatre of St. Louis and Seattle Opera, Mercédès in Calixto Bieito’s provocative production of Carmen at San Francisco Opera, and a critically-acclaimed debut as Rosina in Il Barbiere di Siviglia with Opera San Jose.
Other notable engagements include a return to LA Opera singing Cherubino in both Le Nozze di Figaro and John Corigliano’s The Ghosts of Versailles, a debut at Chicago’s Ravinia Festival as both the Page in Salome and Cherubino in Le Nozze di Figaro, her international debut as Olga in Eugene Onegin with the Seoul Philharmonic, Cornelia in Giulio Cesare with Wolf Trap Opera, and a debut with Opera San Antonio as Mrs. Fox in Tobias Picker’s Fantastic Mr. Fox.
In her 2018/2019 season Ms. Rapier returned to the LA Phil in collaboration with The Industry and MacArthur ‘Genius’ Grant winner Yuval Sharon for a new production of John Cage’s Europeras 1&2, and to Opera San Jose to sing Suzuki in Madama Butterfly and will make her Mahler debut, singing his Rückert Lieder with the Peninsula Symphony.
Renee’s 2019/2020 season includes debuts with the Tulsa Opera, Opera Calgary, and the Jackson Symphony.
For more information visit www.reneerapiermezzo.com.
Christie Conover
Rusalka
Soprano Christie Conover fuses a rich, warm sound, personal grace, and dramatic sincerity to create what audiences and critics alike have called a standout performer. Recent seasons include performances as Pamina (Die Zauberflöte) with Komische Oper Berlin, Minnesota Opera and Grand Junction Symphony Orchestra; Caroline Abbott (Where Angels Fear to Tread – world premiere) with Opera San Jose; Musetta (La bohème), Liù (Turandot), and Anna (Nabucco) with Minnesota Opera; Micaëla (Carmen) with Livermore Valley Opera and Opera Fort Collins; Susanna (Le Nozze di Figaro) and Juliette (Roméo et Juliette) with Livermore Valley Opera; and Contessa (Le Nozze di Figaro), Clorinda (La Cenerentola) with Opera Colorado. Additional organizations include the Colorado Symphony Orchestra, Colorado Springs Philharmonic, Colorado Music Festival, Boulder Chamber Orchestra, Littleton Symphony, Billings Symphony, Helena Symphony, Altius Quartet, and the Bakken Trio. Ms. Conover has placed at numerous competitions, including the Metropolitan Opera National Council Auditions (Rocky Mountain Region), top prize with the Denver Lyric Opera Guild Competition and the National Federation of Music Clubs Young Artist Competition, the Irene Dalis Competition, the Loren L. Zachary National Vocal Competition, and the Grand Junction Symphony Young Artist Competition. She was proud to represent her home state of Montana as a contestant in the 2007 Miss America Pageant and traveled extensively speaking to students on a platform close to her heart: “Music Makes the Difference.” Read and hear more at www.ChristieConover.com.
Ben Gulley
Prince
Ben Gulley, operatic tenor & cultural entrepreneur, has won numerous awards and competitions throughout the nation (Metropolitan Opera, Richard Tucker Finalist, Palm Beach Opera, Hellam, Girda Lissner) and been featured with symphonies, theaters and opera companies around the globe. Ben’s career is filled with lead and feature roles in opera, solo engagements, film and nationwide touring. This coming 2018-20 season highlights will/have seen Mr. Gulley’s returns to Opera San Luis Obispo as Tamino in Die Zauberflöte, his return to Sarasota Opera as Ismaele in Verdi’s Nabucco with Maestro DeRenzi, headlining the Lyric Opera of Kansas City Opera Ball, debut as Doctor Marianus in Mahler’s 8th with South Dakota Symphony, and headlining Christmas Pops concerts with Jacksonville Symphony, to name a few. Last season included his CARNEGIE HALL debut with The American Symphony, debuts with Opera Idaho, Opera Orlando, Hamburg Staatsoper, Sarasota Opera, concerts with David Foster, Orlando Phil, FYSO and Montverde Academy, amongst others. In addition to his career in classical forms, Ben is also a singer/songwriter and has released his debut solo album of original music IN BETWEEN (available on every major music distribution service) and helped compose/develop two musicals with Rocky Mountain Repertory Theater and the Kansas City Repertory Theater. Follow him on Facebook, Twitter and Instagram: @bengulleythinks For upcoming performances; www.bengulley.com.
Lauren Frey
Foreign Princess
Soprano Lauren Frey hails from Pittsburgh, PA. She is thrilled to be back with Opera Steamboat after joining the company last summer as Donna Anna in Don Giovanni. Last year, she also debuted the role of Violetta in the cover matinee performance of La Traviata with St. Petersburg Opera. In 2017, she returned to the role of La Contessa (Le nozze di Figaro) with New York Lyric Opera after having made her New York City debut with the role in 2015. She sang her first Konstanze (Die Entführung aus dem Serail) in 2016 and Musetta (La Boheme) in 2015. Lauren debuted with New York City Opera in 2016 and made her international debut in 2013.
Recently, Lauren has received 2nd Place with The American Prize Competition and been a semi-finalist with the Annapolis Voice Competition. In 2015, she was a semi-finalist with Brava! Opera Theater James M. Collier Vocal Competition. Lauren won the prestigious Career Bridges Grant and 3rd Place in the Metropolitan Opera National Council Regional Auditions in 2014. She received an Honorable Mention Award with the Philadelphia Orchestra’s Albert M. Greenfield Competition. In 2012, Lauren won the Metropolitan Opera National Council District Auditions.
Other role credits include the title role in Semiramide, Countess (Capriccio), Micaela (Carmen), Cleopatra (Giulio Cesare), the title role in Alcina, Die Erste Dame (Die Zauberflöte), and Fiordiligi (Così fan tutte). LaurenFreySoprano.com.
Andrew W. Potter
Vodník
A bass vocalist of increasing demand who towers at an imposing and athletic 6’10”, Andrew Potter is a true Basso who has been welcomed by audiences and critics across the country for a larger-than-life Mr. Potter’s mellifluous sonority lends itself beautifully to profundo roles like Sarastro in Die Zauberflöte and Osmin in Die Entführung, while he has demonstrated the range and physicality to perform buffo roles like Dottor Bartolo in Il barbiere di Siviglia and Uberto in La Serva Padrona; as well as the flexibility and agility to sing challenging Handelian roles including Zoroastro in Orlando, Ariodate in Serse, and Argante in Rinaldo. Having also shown a powerful upper extension of his basso, Mr. Potter has been lauded by critics in Bass-Baritone roles such as Escamillo in Bizet’s Carmen; and Scarpia in Puccini’s Tosca. Mr Potter has graced the stages of some of America’s most exciting regional companies, like Indianapolis Opera, Winter Opera St. Louis, Des Moines Metro Opera, Pacific Opera Project, Tulsa Opera, Opera Steamboat, Connecticut Lyric Opera, Mid Ohio Opera, and many more.
This season, Mr. Potter has role debuts of Vodnik in Rusalka, Prince Gremin in Eugene Onegin, Ferrando in Il Trovatore, and Hunding in Die Walküre; along with many reprisals of some of his favorite roles across the country. awpotter.com
Recommended Age For Opera
Opera Steamboat recommends children under the age of 6 do not attend main stage opera performances. Most operas are over 2-1/2 hours, and it is quite frequent that the 1st act of an opera can be over 1 hour. It is a long time to sit quietly. Even the best-behaved children (and sometimes adults) have trouble sitting through an entire performance.
How do I know if the opera is suitable for children?
Not every opera is suitable for children. Many contain adult subject matter and often depict violent themes. Since these are stage productions, it is probable that what your children would see on the stage during an opera performance is far less graphic than most video games that they play.
CURRENT SPONSORS
