Ravinia 2019, Issue 2, Week 3

SARAH COIT, mezzo-soprano Mezzo Sarah Coit was at RSMI in 2018, follow- ing competing as a national semifinalist in the 2017 Metropolitan Opera National Council Au- ditions. In addition to holding degrees in music and theater from the University of South Flor- ida and a master’s degree from the University of Michigan, she is a prizewinner of the Han- del Aria Competition and the George London Foundation. While an apprentice with Opera Theatre of Saint Louis, Coit covered the title role of the American premiere of Handel’s Richard the Lionheart , and during her two seasons as a resident artist of Utah Opera, she appeared as Mercédès in in Bizet’s Carmen and Zerlina in Mozart’s Don Giovanni and sang the Shepherd, White Cat, and Squirrel in Ravel’s L’enfant et les sortilèges with the Utah Symphony. Then, as an apprentice with Sante Fe Opera, she portrayed Alisa in Donizetti’s Lucia di Lammermoor and covered the roles of Erika in Barber’s Vanessa and Laurene Powell Jobs in the world premiere of Mason Bates’s The (R)evolution of Steve Jobs . Over the past year, Coit workshopped the role of Addison Moore in Clint Borzoni’s The Cop- per Queen with Arizona Opera and originated the role of Adonis in Dan Visconti’s video game opera PermaDeath with White Snake Projects in Boston. She also made her Seattle Opera debut reprising Mercédès and will join West Edge Op- era as Jenny Diver in Weill’s The Threepenny Op- era later this summer. Next season she will sing her first Olga in Tchaikovsky’s Eugene Onegin with Livermore Valley Opera and portray Ros- ina in Rossini’s The Barber of Seville with Utah Opera. STEPHEN CARROLL, tenor Tenor Stephen Carroll was at RSMI in 2018 and recently made his debut with Virginia Op- era as Don Ottavio in Mozart’s Don Giovanni , having spent last season as an apprentice with the company appearing as the First Philistine in Saint-Saëns’s Samson et Dalila , Harry in Puc- cini’s La fanciulla del West , Snout in Britten’s A Midsummer Night’s Dream, and Normanno in Donizetti’s Lucia di Lammermoor . His recent credits also include Dr. Blind in Strauss’s Die Fledermaus at Santa Fe Opera, Cassio in Verdi’s Otello at Dayton Opera, the title role in Act 2 of Wagner’s Siegfried at Queen City Opera, and Steve in Previn’s A Streetcar Named Desire with Kentucky Opera. While an apprentice at the Glimmerglass Festival, Carroll appeared as Mal- colm in Verdi’s Macbeth and the First Armored Man in Mozart’s The Magic Flute , as well as in the jazz trio in Bernstein’s Trouble in Tahiti , and with Opera North he sang Lt. Joseph Cable in South Pacific . He has also apprenticed with San- ta Fe Opera, Sarasota Opera, and Central City Opera. In concert, Carroll has been a soloist in Britten’s Saint Nicolas cantata with the William- sport Chamber Choir, Handel’s Messiah with the Rochester Chamber Orchestra and the Dayton Philharmonic, and Haydn’s “Lord Nelson” Mass with the Asheville Symphony Orchestra. Active in contemporary music, he covered the ten- or solo for the premiere of Jake Heggie’s Ahab Symphony ; workshopped roles for the premieres of Clint Borzoni’s The Copper Queen , Heggie’s Great Scott , and Stella Sung’s The Book Collector ; and originated the role of Niobe in Dan Viscon- ti’s video game opera PermaDeath with White Snake Projects in Boston. EDWARD CLEARY, baritone Baritone Edward Cleary was at RSMI in 2018 and recently capped off a year as an Emerging Artist with Virginia Opera, having earned de- grees from Boston University and the Mannes College of Music. His stage credits include the title role of Puccini’s Gianni Schicchi , Minks- man in the New York premiere of Jonathan Dove’s Flight , Dulcamara in Donizetti’s L’elisir d’amore , Don Prudenzio in Rossini’s Il viaggio a Reims , and Gideon March and Dashwood in Mark Adamo’s Little Women at Mannes as well as Gregorio in Gounod’s Romeo et Juliette at Boston, where he earned the Ellalou Dimmock Award, the school’s top honor for singers. Cleary also won a grant from the Gerda Lissner Com- petition in 2016. Other performance highlights include the opening concert of the Opus Arts Festival in Jerusalem with the Israeli Camerata and portraying Count Malcolm in Sondheim’s A Little Night Music with Norway’s Lidal North. This season Cleary joined the Performer Diplo- ma program at Indiana University, where he undertook the title role of Mason Bates’s The (R)evolution of Steve Jobs . RAVINIA MAGAZINE | JUNE 17 – JUNE 23, 2019 98