Taylor Raven, Mezzo-soprano
Ms. Raven recently made her debut as Hannah After in Kaminsky’s As One with Seattle Opera, her interpretation of the role garnered praise from critics. As noted in The Stranger, “Raven's vocal and acting abilities are impossible to overstate… her soprano is soul-piercing”. This season Ms. Raven joined Pittsburgh Opera as a Resident Artist. She performed as Oronte in Handel’s Riccardo Primo, Hannah After in Kaminsky’s As One, as well as cover Flora in Verdi’s La Traviata, and she will cover the role of Grace in their world premiere of Sonenberg’s The Summer King. In the summer of 2016, she was a participant of the Merola Opera Program under the batons of Maestros Rory Macdonald and Eric Weimer. As a member of the ensemble of Merola's Schwabacher Summer Concert she performed excerpts as Giovanna Seymour (Anna Bolena), Mère Marie (Dialogues des Carmélites), Arsamene (Serse), Orlovsky (Die Fledermaus), and Isolier (Le Comte Ory); as well as covered Dorabella (Così fan tutte). As an Emerging Artist with Virginia Opera in 2016, Ms. Raven created the role of Marian Anderson in their community tour of Deep River: The Marian Anderson Journey. As a Studio Artist with Central City Opera in 2015, Ms. Raven performed in scenes as Carmen (Carmen), Mrs. Olsen (Street Scene), and Effie (The Ballad of Baby Doe). With Central City Opera, she received the Adelaide Bishop award for excellence in performance. In the spring of 2015, Ms. Raven won first place in the Denver Lyric Opera Guild Competition. She also had a string of successful performances with the University of Colorado’s Eklund Opera. Her credits include Die Knusperhexe (Hänsel und Gretel), Ruth (The Pirates of Penzance), Ottavia (L’incoronazione di Poppea), and Angelina (La Cenerentola). Of her Angelina, the Daily Camera (Boulder, Colorado) stated she was “…sheer radiance, nimbly navigating the role's famous coloratura while projecting great emotion.” With Colorado’s New Opera Workshop in 2014, Ms. Raven premiered the role of Miss Loring in the world premiere of The Master by Alberto Caruso. Other opera credits include Martha (Dream Lovers), La Voix (Les Contes D’Hoffman), and Annio (La Clemenza di Tito). Her concert credits include alto soloist in the Duruflé Requiem, Mahler’s Kindertotenlieder, and the role of Žofka in Janáček’s The Diary of One Who Disappeared. Ms. Raven holds degrees from University of North Carolina, Chapel Hill, and University of Colorado, Boulder.
Cody Quattlebaum, Bass-Baritone
Bass-Baritone Cody Quattlebaum from Ellicott City Maryland, is currently earning an M.M. in Voice Performance at The Juilliard School. He received his BM from Cincinnati Conservatory of Music University of Cincinnati. He has appeared as Figaro in Le Nozzedi Figaro, Lautsprecher in Der Kaiser von Atlantis, Der Fischer in Matsukaze,
and Colonel in a premiere workshop of Daniel Catán’s Meet John Doe. Recently he performed as Guglielmo in Così fan Tutte as a participant of the Merola Opera Program. He has also made his Carnegie Hall debut under Maestro Mark Shapiro and has been awarded prizes from the Corbett Opera, James Toland, Gerda Lissner, Liederkranz, CAM Heida Hermanns, and Opera Index competitions, and is a semifinalist in the 2016-2017 Metropolitan Opera National Council Auditions. In the spring of 2017, he will appear as Claudio in Agrippina and perform as a featured artist in The Juilliard Honors Recital.
Mark Morash, Pianist
Mark Morash is a conductor and pianist originally from Halifax, Canada. Currently he serves as the Director of Musical Studies for San Francisco Opera Center. There, he has conducted for the Merola Opera Program, the Adler Fellow Showcase, and Western Opera Theater. He has also led performances of A Streetcar Named Desire, La Serva Padrona and Trouble in Tahiti for Opera Santa Barbara, Rigoletto for Opera Colorado, and Don Giovanni and The Turn of the Screw for the Lincoln Theater in Yountville, California. San Francisco Opera Center performances have included Gianni Schicchi, Argento’s Postcard from Morocco, The Barber of Seville, The Rape of Lucretia, Albert Herring, Così fan tutte, Die Fledermaus, The Merry Wives of Windsor, and Pasatieri’s The Seagull. Recent performances include conducting debuts with Canada’s Manitoba Chamber Orchestra, as well as with Hawaii Opera Theater leading Previn’s A Streetcar Named Desire. Upcoming, Morash leads Rossini’s La Cenerentola. As a collaborative pianist, Morash’s performances have taken him throughout the United States of America, Canada, as well as to Japan and Russia. Artists with whom Morash has appeared include Leah Crocetto, Melody Moore, Elza van den Heever, Quinn Kelsey, and Michael Schade. He has accompanied numerous emerging singers in San Francisco Opera’s esteemed Schwabacher Debut Recitals. He performed in the west coast premiere of Ned Rorem’s song cycle Evidence of Things Not Seen for Other Minds Music Festival. In addition to his work with young artists in San Francisco, Morash has done master coach residencies for Pacific Opera Victoria, Hawaii Opera Theatre, for the Kia Ora and Malvina Major Foundations in New Zealand, and most recently for the Opera on the Avalon program in St. John’s, Newfoundland, Canada. He has been involved with the Opera Center of Pittsburgh Opera, Wolf Trap Opera, Banff Centre, as well as having taught at the University of Toronto. He has given masterclasses throughout the United States and Canada. Recent piano performances include a chamber music concert in San Francisco Opera’s newly minted “Chamberworks” series, as well as a Schwabacher Debut Recital with Korean baritone Kihun Yoon. Morash is a graduate of the University of Michigan where he studied collaborative piano with Martin Katz.
Cuatros canciones sobre textos Gallegos - Antón G. Abril
Cinco canciones negras – Xavier Montsalvatge
Trois chansons de Bilitis – Claude Debussy
Quatre chansons de Don Quichotte – Jacques Ibert
Unvergänglichkeit – Erich Wolfgang Korngold
Vier Lieder, Op. 2 – Alban Berg
*(program subject to change)