2018 Competition

The 6th Annual Handel Aria Competition will take place on Friday, June 8, 2018 at 7:30 in Mills Hall of the University of Wisconsin Madison Mead Witter School of Music.  The seven finalists, selected from a field of 113 applicants from around the world, will be accompanied by the Madison Bach Musicians under the direction of Trevor Stephenson. General admission tickets at $15 will be available at the door.

The  finalists in the 2018 Handel Aria Competition:

Sarah Coit, mezzo-soprano, from Spring Hill, FL
Sarah Hayashi, soprano from Ellicott City, MD
Suzanne Karpov, soprano from New York, NY
Amanda Keenan, soprano from Los Angeles, CA
Lindsay Metzger, mezzo-soprano, from Chicago, IL
Andrew Rader, countertenor, from Indianapolis, IN
Sarah Yanovitch, soprano, from Boston, MA

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Sarah Coit, mezzo-soprano

Sarah Coit is a native of Spring Hill, FL. As a Gerdine Young Artist with Opera Theatre of St. Louis, she covered Richard in the American Premiere of Handel’s “Richard the Lionheart”. She was a 2017 National Semi-Finalist in the Metropolitan Opera National Council Auditions and a 2018 George London Competition Finalist. She has performed with the Santa Fe Opera, Utah Opera, Utah Symphony, and Michigan Opera Theatre. Upcoming performances include a workshop of John de los Santos and Clint Borzoni’s “The Copper Queen” for Arizona Opera, the World Premiere of Dan Visconti and Cerise Jacobs’ “interactive video game opera” “PermaDeath” in Boston, and Mercédès in Carmen with Seattle Opera. Sarah holds Music Studies and Theatre Performance Bachelor Degrees from the University of South Florida and a Masters in Vocal Performance from the University of Michigan.

 

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Sarah Hayashi, soprano

Sarah Hayashi started her operatic studies at the Peabody Conservatory in Baltimore before continuing at the Royal College of Music in London and the Wales International Academy of Voice in Cardiff. Her operatic roles include the Fire, the Princess, and the Nightingale “L’Enfants et les Sortilèges”, Miss Ellen “Lakmé” [Peabody Opera Theatre]; Erste Knabe “Die Zauberflöte”, Emmie “Albert Herring” [Royal College of Music]; Belinda “Dido and Aeneas” [Little Patuxent Opera]; Euridice “Orphée aux Enfers” [Bel Cantanti Opera and Bearwood Opera]; Despina “Cosi fan tutte” [Seastar Opera]. This past January, Sarah made her role debut as Blonde Abduction from the Seraglio for the Bronx Opera. Sarah was a finalist in the London Handel Singing Competition, a winner of the RCM Concerto Competition, a winner of the RCM Early Music Competition, and a semi-finalist at the International Cesti Competition. Sarah is also a founding member of the Baroque chamber quartet, Chaconne Ensemble. With the group, she has performed throughout London, including at the Handel & Hendrix Museum in London, and at the Utrecht Early Music Fringe Festival.

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Suzanne Karpov, soprano

Suzanne Karpov has been hailed by the San Francisco Chronicle for her “elegant” soprano, both “incisive and tender”. A native of New York, Ms. Karpov recently made her Carnegie Hall debut as the soloist in Poulenc’s Gloria with DCINY in which she was praised for her “angelic voice” by The New York Concert Review. Equally at home on both the operatic and the concert stages, Ms. Karpov’s repertoire spans from the Baroque to the 21st century. This season Ms. Karpov appeared with the Washington Bach Consort in Handel’s Messiah, Haydn’s Creation with the UC Davis Symphony Orchestra and Chorus, the Boston Early Music Festival, her debut in San Francisco with American Bach Soloists in performances of Handel’s Messiah, her debut with The Richmond Symphony in Handel’s Messiah, and her Kennedy Center Concert Hall debut as the soprano soloist in their annual Messiah Sing-Along.

Amanda Keenan

Amanda Keenan, soprano

Soprano and Southern California native Amanda Keenan received her music degree from California State University-Fullerton. Since beginning her career in Los Angeles, she’s performed on both opera and symphony stages. Notable solo engagements have included Carmina Burana, Mozart’s Requiem, Mahler’s Second Symphony, and C.P.E. Bach’s Magnificat. She “captivated” San Francisco audiences in Bach’s B Minor Mass and Purcell’s King Arthur with the American Bach Soloists. In February, Amanda made her Pacific Symphony debut as Adele in Die Fledermaus, and she is looking forward to singing the role of Dorinda in Handel’s Orlando with the Corona Del Mar Baroque Orchestra in June.

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Lindsay Metzger, mezzo-soprano

Current Ryan Opera Center mezzo-soprano Lindsay Metzger has been featured on the Lyric Opera of Chicago stage in Le nozze di Figaro, Der Rosenkavalier, Lucia di Lammermoor, Don Quichotte and Carmen. She was an apprentice artist with Des Moines Metro Opera and a studio artist with Milwaukee’s Florentine Opera (Giannetta/L’elisir d’amore). Among her other recent portrayals have been Daphné/ Charpentier’s La descente d’Orphée aux enfers, Cherubino/Le nozze di Figaro, the title role/Ariodante, and Béatrice/Béatrice et Bénédict. She is a winner of the Metropolitan Opera National Council District Auditions, Luminarts Women’s Classical Voice Fellowship, Best Vocal Artist Award from the American Opera Society, and Virginia Cooper Meier Award from the Musician’s Club of Women. In 2018 Metzger will return to the Harris Theater’s Beyond the Aria recital series, perform Nicklausse/Les contes d’Hoffmann at the Aspen Music Festival and make her Dallas Opera debut as Mercédès/Carmen.

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Andrew Rader, countertenor

Andrew Rader has performed on three continents. He has sung the title role in Giulio Cesare, Oberon in A Midsummer Night’s Dream, Eustazio in operamission’s Rinaldo, and he was the cover for the three countertenors in Adams’ The Gospel According to the Other Mary. In the summer of 2018, he will be performing the role of Silvio in operamission’s new production of Il Pastor Fido. Concert work includes St. John Passion, Come, Ye Sons of Art, Fire and Ice: Michelangelo the Writer, Messiah, Vivaldi’s Gloria, Chichester Psalms, Handel Dixit Dominus, and L’Amfiparnaso, Carmina Burana, Bach Mass in G Minor and numerous cantatas, including Vergnügte Ruh (BWV 170). Not only at home in Baroque and Modern music, he specializes in a varied repertoire, including jazz, bel canto, and lieder. Whether in concert, stage, or chamber repertoire, he has been consistently praised for his clear, strong tone and effective use of text.

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Sarah Yanovitch, soprano

Recognized by The Boston Globe as “a name to keep an eye on”, soprano Sarah Yanovitchis a graduate of the Early Music Voice program through the Yale Institute of Sacred Music. Ms. Yanovitch is a frequent soloist with Handel and Haydn Society and artistic director Harry Christophers. She made her solo debut at Tanglewood with H+H last summer singing Purcell’s Fairy Queen, and will sing the role of Belinda in Purcell’s Dido and Aeneas with Christophers next season. In demand as both a soloist and chamber musician, Sarah recently made her debuts with Bach Collegium San Diego and Seraphic Fire. Other recent and upcoming solo engagements include Bach’s Mass in B Minor with Masaaki Suzuki and Juilliard 415 and again with Harry Christophers and H+H, Bach’s Christmas Oratorio with Emmanuel Music, Handel’s Judas Maccabaeus with conductor Scott Allen Jarrett, and BWV 80 with the Virginia Symphony.

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