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An Evening with Librettist Mark Campbell
Mark Campbell, Jennifer Aylmer, Wallis Giunta, Troy Cook, Matthew Tuell, Timothy Long
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Salon Series8/14/2014

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Excerpts from Silent Night, Rappahannock County, Lucrezia, The Inspector, A Letter to East 11th Street and Songs from an Unmade Bed performed by soprano Jennifer Aylmer, mezzo-soprano Wallis Giunta, tenor Matthew Tuell, baritone Troy Cook and pianist Timothy Long.

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About the Author: Mark Campbell is one of the most in-demand librettists working in opera today. In the past year alone he premiered four new works, including Silent Night for Minnesota Opera (music by Kevin Puts, directed by Eric Simonson), The Inspector for Wolf Trap Opera (music by John Musto, directed by Leon Major) and Rappahannock County for Virginia Opera, Virginia Arts Festival, University of Richmond and the University of Texas (music by Ricky Ian Gordon, directed by Kevin Newbury).

Campbell’s first opera was Volpone (Wolf Trap Foundation for the Arts, 2004; music by Musto; directed by Major). That was followed in 2007 by Later the Same Evening, an opera commissioned by the National Gallery of Art and the University of Maryland in conjunction with a retrospective of the work of Edward Hopper (music by Musto, directed by Major). The New York Festival of Song next commissioned him to write two one-act comic librettos and the result was Bastianello (music by Musto) and Lucrezia (music by William Bolcom), which appeared on a double bill at Weill Recital Hall in 2008. Other operatic works include Three Lost Chords (American Opera Projects and the Zipper Theatre, music by Lance Horne), and A Letter to East 11th Street (American Opera Projects and VOX, music by Martin Hennessy).

Later the Same Evening received its first professional production last summer at The Glimmerglass Festival, after student productions at the Manhattan School of Music and the University of Nebraska. Volpone was revived by Wolf Trap in 2007. Rappahannock County was performed at the University of Richmond and the University of Texas after its premiere. The Inspector goes to Boston Lyric Opera this spring and Silent Night to Opera Company of Philadelphia next year.

As a lyricist, Campbell penned all of the lyrics for Songs from an Unmade Bed, a theatrical song cycle with music by 18 composers, which was produced by New York Theatre Workshop in 2005, directed by David Schweizer and performed by Michael Winther. The show has since gone on to nearly a dozen productions nationwide and a few overseas, most recently in Perth. Other musicals for which he has written lyrics include: And the Curtain Rises, book by Michael Slade and music by Joseph Thalken (Signature Theatre, Washington, D.C., directed by Kristin Hanggi); The Audience (The Transport Group, directed by Jack Cummings), Splendora, book by Peter Webb, music by Stephen Hoffman (Bay Street Theatre, American Place Theatre, directed by Jack Hofsiss), Chang & Eng (SOBT), The Paradise Project (The Kitchen, music by Michael Torke), Akin (Music-Theatre Group at LaMama, music by Richard Peaslee), Ring Around the Rosie (music by Peaslee, produced by Music-Theatre Group at the Joyce Theatre) and Light Shall Lift Them (Harvey Theatre, Brooklyn Next Wave Festival).

Campbell’s awards include: first recipient of the Kleban Foundation Award for Lyricist, two Richard Rodgers Awards from the American Academy of Arts and Letters, a New York Foundation for the Arts Playwriting Fellowship, three Drama Desk Award nominations, a Rockefeller Foundation Award, a Jonathan Larson Performing Arts Foundation Award, and a GRAMMY® nomination.

Recordings of his works include the GRAMMY®-nominated Volpone (Wolf Trap Recordings), Later the Same Evening (Albany Records), Bastianello/Lucrezia (Bridge Classical) and Songs from an Unmade Bed (Sh-k-Boom Records). Songs from an Unmade Bed is published by Bill Holab Music. Recordings of The Inspector and Rappahannock County are in the works, on the Wolf Trap Recordings and Naxos labels, respectively.

American soprano Jennifer Aylmer has developed a sterling reputation for her beautiful voice, compelling stage portrayals and impeccable musicianship. The New York Times has hailed her for her “awesome accuracy,” while The Chicago Sun-Times has recommended that listeners to “bask in the aural delight of Aylmer’s dazzling shifts from regal command to cool insouciance and fatally attractive seduction.” This season also marks her directorial debut with Stony Brook State University. Additional upcoming engagements include a return to Portland Opera as Susanna in Le nozze di Figaro, performances of Despina in Cosí fan tutte for Opera Theatre of Saint Louis and concerts of Handel’s Messiah with Kansas City Symphony. The 2009-2010 season saw Aylmer returning to the Metropolitan Opera to cover the roles of Berta in Il barbiere di Siviglia and Mme. Pdtochina’s Daughter in The Nose, singing An American Songbook concert with Lyric Fest concert series and returning to the Alabama Symphony for Mozart’s Requiem.
 
American baritone Troy Cook recently debuted at both the Hamburgische Staatsoper as Marcello in La bohème, where he also performed his first Ford in Falstaff in the spring of 2010, and at the Royal Opera, Covent Garden as Guglielmo in Così fan tutte. Cook's 2011-2012 season includes appearances with Minnesota Opera as Father Palmer in the world premiere of Silent Night; the Jacksonville Symphony Orchestra as Marcello in La bohème; Opera Company of Philadelphia as Lescaut in Manon Lescaut; the Winston-Salem Symphony for performances of Carmina Burana; and Central City Opera as Marcello. Additionally, he joins Opera Rara for a recording of Donizetti's Caterina Cornaro. Future seasons will find him in multiple leading roles with Opera Company of Philadelphia.

Canadian mezzo-soprano Wallis Giunta joins the Metropolitan Opera Lindemann Young Artist Development Program for the 2011-2012 season singing the role of Phénice in their production of Gluck’s Armide. She also debuts with Fort Worth Opera as Cherubino in Le nozze di Figaro, Opera Lyra Ottawa as Lola in Cavalleria Rusticana and with the Toronto Symphony and Munich Radio Orchestras. Giunta is a graduate of the Canadian Opera Company Ensemble Studio (2009-2011), where she performed Zweite Dame in Die Zauberflöte, while covering Angelina in La Cenerentola and Idamante in Idomeneo. She debuted with Opera Atelier as Cherubino, with the Brooklyn Academy of Music as Pribaoutki in Stravinsky’s The Nightingale and Other Short Fables and appeared in recital for The New York Festival of Song and the Caramoor Festival. In 2010, Giunta attended The Ravinia Festival’s Steans Institute with a grant from The Canada Council for The Arts, and received Encouragement Awards at both The George London Competition and The Metropolitan Opera National Council Auditions.

Timothy Long has enjoyed a flourishing career as a conductor at such companies as Boston Lyric Opera, Opera Colorado, New York City Opera, Wolf Trap Opera, The Juilliard School, the Brooklyn Philharmonic, the Aspen Music Festival, the Oregon Bach Festival, the Théâtre Municipal de Castres, and off-Broadway for The New Group. As a pianist he has performed at Carnegie Hall, the Kennedy Center, Chicago’s Dame Myra Hess Concert Series, Alice Tully Hall, Boston’s Jordan Hall and at venues throughout Europe, North America and the Far East. Under music director Robert Spano he was assistant conductor of the Brooklyn Philharmonic for three seasons. Tim is a member of the Thlopthlocco Tribal Town and the Muscogee Creek Nation of Oklahoma.

Matthew Tuell has recently been praised for his “stylish singing” (Opera News) and “masterful” performance (Cabaret Scenes) as one of five principal singers in the world premiere of Ricky Ian Gordon’s Rappahannock County (co-commissioned by Modlin Center for the Arts at the University of Richmond, Texas; Performing Arts at the University of Texas in Austin; Virginia Arts Festival and Virginia Opera). He was also noted for his “appealing voice” (New York Times) and “standout” performance (Back Stage) as Cecco in Gotham Chamber Opera’s production of Il mondo della luna in the Hayden Planetarium. A former apprentice artist with The Santa Fe Opera, he made his principal artist debut there as Maintop in Billy Budd (while covering the role of Captain Vere) and also charmed audiences as Doctor Sinisgalli in the company’s “One Hour Opera” production of Nino Rota’s I due timidi in a cast featuring several other former apprentices.

Mark Campbell is one of the most in-demand librettists working in opera today. In the past year alone he premiered four new works, including Silent Night for Minnesota Opera (music by Kevin Puts, directed by Eric Simonson), The Inspector for Wolf Trap Opera (music by John Musto, directed by Leon Major) and Rappahannock County for Virginia Opera, Virginia Arts Festival, University of Richmond and the University of Texas (music by Ricky Ian Gordon, directed by Kevin Newbury).

Campbell’s first opera was Volpone (Wolf Trap Foundation for the Arts, 2004; music by Musto; directed by Major). That was followed in 2007 by Later the Same Evening, an opera commissioned by the National Gallery of Art and the University of Maryland in conjunction with a retrospective of the work of Edward Hopper (music by Musto, directed by Major). The New York Festival of Song next commissioned him to write two one-act comic librettos and the result was Bastianello (music by Musto) and Lucrezia (music by William Bolcom), which appeared on a double bill at Weill Recital Hall in 2008. Other operatic works include Three Lost Chords (American Opera Projects and the Zipper Theatre, music by Lance Horne), and A Letter to East 11th Street (American Opera Projects and VOX, music by Martin Hennessy).

Later the Same Evening received its first professional production last summer at The Glimmerglass Festival, after student productions at the Manhattan School of Music and the University of Nebraska. Volpone was revived by Wolf Trap in 2007. Rappahannock County was performed at the University of Richmond and the University of Texas after its premiere. The Inspector goes to Boston Lyric Opera this spring and Silent Night to Opera Company of Philadelphia next year.

As a lyricist, Campbell penned all of the lyrics for Songs from an Unmade Bed, a theatrical song cycle with music by 18 composers, which was produced by New York Theatre Workshop in 2005, directed by David Schweizer and performed by Michael Winther. The show has since gone on to nearly a dozen productions nationwide and a few overseas, most recently in Perth. Other musicals for which he has written lyrics include: And the Curtain Rises, book by Michael Slade and music by Joseph Thalken (Signature Theatre, Washington, D.C., directed by Kristin Hanggi); The Audience (The Transport Group, directed by Jack Cummings), Splendora, book by Peter Webb, music by Stephen Hoffman (Bay Street Theatre, American Place Theatre, directed by Jack Hofsiss), Chang & Eng (SOBT), The Paradise Project (The Kitchen, music by Michael Torke), Akin (Music-Theatre Group at LaMama, music by Richard Peaslee), Ring Around the Rosie (music by Peaslee, produced by Music-Theatre Group at the Joyce Theatre) and Light Shall Lift Them (Harvey Theatre, Brooklyn Next Wave Festival).

Campbell’s awards include: first recipient of the Kleban Foundation Award for Lyricist, two Richard Rodgers Awards from the American Academy of Arts and Letters, a New York Foundation for the Arts Playwriting Fellowship, three Drama Desk Award nominations, a Rockefeller Foundation Award, a Jonathan Larson Performing Arts Foundation Award, and a GRAMMY® nomination.

Recordings of his works include the GRAMMY®-nominated Volpone (Wolf Trap Recordings), Later the Same Evening (Albany Records), Bastianello/Lucrezia (Bridge Classical) and Songs from an Unmade Bed (Sh-k-Boom Records). Songs from an Unmade Bed is published by Bill Holab Music. Recordings of The Inspector and Rappahannock County are in the works, on the Wolf Trap Recordings and Naxos labels, respectively.

American soprano Jennifer Aylmer has developed a sterling reputation for her beautiful voice, compelling stage portrayals and impeccable musicianship. The New York Times has hailed her for her “awesome accuracy,” while The Chicago Sun-Times has recommended that listeners to “bask in the aural delight of Aylmer’s dazzling shifts from regal command to cool insouciance and fatally attractive seduction.” This season also marks her directorial debut with Stony Brook State University. Additional upcoming engagements include a return to Portland Opera as Susanna in Le nozze di Figaro, performances of Despina in Cosí fan tutte for Opera Theatre of Saint Louis and concerts of Handel’s Messiah with Kansas City Symphony. The 2009-2010 season saw Aylmer returning to the Metropolitan Opera to cover the roles of Berta in Il barbiere di Siviglia and Mme. Pdtochina’s Daughter in The Nose, singing An American Songbook concert with Lyric Fest concert series and returning to the Alabama Symphony for Mozart’s Requiem.
 
American baritone Troy Cook recently debuted at both the Hamburgische Staatsoper as Marcello in La bohème, where he also performed his first Ford in Falstaff in the spring of 2010, and at the Royal Opera, Covent Garden as Guglielmo in Così fan tutte. Cook's 2011-2012 season includes appearances with Minnesota Opera as Father Palmer in the world premiere of Silent Night; the Jacksonville Symphony Orchestra as Marcello in La bohème; Opera Company of Philadelphia as Lescaut in Manon Lescaut; the Winston-Salem Symphony for performances of Carmina Burana; and Central City Opera as Marcello. Additionally, he joins Opera Rara for a recording of Donizetti's Caterina Cornaro. Future seasons will find him in multiple leading roles with Opera Company of Philadelphia.

Canadian mezzo-soprano Wallis Giunta joins the Metropolitan Opera Lindemann Young Artist Development Program for the 2011-2012 season singing the role of Phénice in their production of Gluck’s Armide. She also debuts with Fort Worth Opera as Cherubino in Le nozze di Figaro, Opera Lyra Ottawa as Lola in Cavalleria Rusticana and with the Toronto Symphony and Munich Radio Orchestras. Giunta is a graduate of the Canadian Opera Company Ensemble Studio (2009-2011), where she performed Zweite Dame in Die Zauberflöte, while covering Angelina in La Cenerentola and Idamante in Idomeneo. She debuted with Opera Atelier as Cherubino, with the Brooklyn Academy of Music as Pribaoutki in Stravinsky’s The Nightingale and Other Short Fables and appeared in recital for The New York Festival of Song and the Caramoor Festival. In 2010, Giunta attended The Ravinia Festival’s Steans Institute with a grant from The Canada Council for The Arts, and received Encouragement Awards at both The George London Competition and The Metropolitan Opera National Council Auditions.

Timothy Long has enjoyed a flourishing career as a conductor at such companies as Boston Lyric Opera, Opera Colorado, New York City Opera, Wolf Trap Opera, The Juilliard School, the Brooklyn Philharmonic, the Aspen Music Festival, the Oregon Bach Festival, the Théâtre Municipal de Castres, and off-Broadway for The New Group. As a pianist he has performed at Carnegie Hall, the Kennedy Center, Chicago’s Dame Myra Hess Concert Series, Alice Tully Hall, Boston’s Jordan Hall and at venues throughout Europe, North America and the Far East. Under music director Robert Spano he was assistant conductor of the Brooklyn Philharmonic for three seasons. Tim is a member of the Thlopthlocco Tribal Town and the Muscogee Creek Nation of Oklahoma.

Matthew Tuell has recently been praised for his “stylish singing” (Opera News) and “masterful” performance (Cabaret Scenes) as one of five principal singers in the world premiere of Ricky Ian Gordon’s Rappahannock County (co-commissioned by Modlin Center for the Arts at the University of Richmond, Texas; Performing Arts at the University of Texas in Austin; Virginia Arts Festival and Virginia Opera). He was also noted for his “appealing voice” (New York Times) and “standout” performance (Back Stage) as Cecco in Gotham Chamber Opera’s production of Il mondo della luna in the Hayden Planetarium. A former apprentice artist with The Santa Fe Opera, he made his principal artist debut there as Maintop in Billy Budd (while covering the role of Captain Vere) and also charmed audiences as Doctor Sinisgalli in the company’s “One Hour Opera” production of Nino Rota’s I due timidi in a cast featuring several other former apprentices.

Mark Campbell is one of the most in-demand librettists working in opera today. In the past year alone he premiered four new works, including Silent Night for Minnesota Opera (music by Kevin Puts, directed by Eric Simonson), The Inspector for Wolf Trap Opera (music by John Musto, directed by Leon Major) and Rappahannock County for Virginia Opera, Virginia Arts Festival, University of Richmond and the University of Texas (music by Ricky Ian Gordon, directed by Kevin Newbury).

Campbell’s first opera was Volpone (Wolf Trap Foundation for the Arts, 2004; music by Musto; directed by Major). That was followed in 2007 by Later the Same Evening, an opera commissioned by the National Gallery of Art and the University of Maryland in conjunction with a retrospective of the work of Edward Hopper (music by Musto, directed by Major). The New York Festival of Song next commissioned him to write two one-act comic librettos and the result was Bastianello (music by Musto) and Lucrezia (music by William Bolcom), which appeared on a double bill at Weill Recital Hall in 2008. Other operatic works include Three Lost Chords (American Opera Projects and the Zipper Theatre, music by Lance Horne), and A Letter to East 11th Street (American Opera Projects and VOX, music by Martin Hennessy).

Later the Same Evening received its first professional production last summer at The Glimmerglass Festival, after student productions at the Manhattan School of Music and the University of Nebraska. Volpone was revived by Wolf Trap in 2007. Rappahannock County was performed at the University of Richmond and the University of Texas after its premiere. The Inspector goes to Boston Lyric Opera this spring and Silent Night to Opera Company of Philadelphia next year.

As a lyricist, Campbell penned all of the lyrics for Songs from an Unmade Bed, a theatrical song cycle with music by 18 composers, which was produced by New York Theatre Workshop in 2005, directed by David Schweizer and performed by Michael Winther. The show has since gone on to nearly a dozen productions nationwide and a few overseas, most recently in Perth. Other musicals for which he has written lyrics include: And the Curtain Rises, book by Michael Slade and music by Joseph Thalken (Signature Theatre, Washington, D.C., directed by Kristin Hanggi); The Audience (The Transport Group, directed by Jack Cummings), Splendora, book by Peter Webb, music by Stephen Hoffman (Bay Street Theatre, American Place Theatre, directed by Jack Hofsiss), Chang & Eng (SOBT), The Paradise Project (The Kitchen, music by Michael Torke), Akin (Music-Theatre Group at LaMama, music by Richard Peaslee), Ring Around the Rosie (music by Peaslee, produced by Music-Theatre Group at the Joyce Theatre) and Light Shall Lift Them (Harvey Theatre, Brooklyn Next Wave Festival).

Campbell’s awards include: first recipient of the Kleban Foundation Award for Lyricist, two Richard Rodgers Awards from the American Academy of Arts and Letters, a New York Foundation for the Arts Playwriting Fellowship, three Drama Desk Award nominations, a Rockefeller Foundation Award, a Jonathan Larson Performing Arts Foundation Award, and a GRAMMY® nomination.

Recordings of his works include the GRAMMY®-nominated Volpone (Wolf Trap Recordings), Later the Same Evening (Albany Records), Bastianello/Lucrezia (Bridge Classical) and Songs from an Unmade Bed (Sh-k-Boom Records). Songs from an Unmade Bed is published by Bill Holab Music. Recordings of The Inspector and Rappahannock County are in the works, on the Wolf Trap Recordings and Naxos labels, respectively.

American soprano Jennifer Aylmer has developed a sterling reputation for her beautiful voice, compelling stage portrayals and impeccable musicianship. The New York Times has hailed her for her “awesome accuracy,” while The Chicago Sun-Times has recommended that listeners to “bask in the aural delight of Aylmer’s dazzling shifts from regal command to cool insouciance and fatally attractive seduction.” This season also marks her directorial debut with Stony Brook State University. Additional upcoming engagements include a return to Portland Opera as Susanna in Le nozze di Figaro, performances of Despina in Cosí fan tutte for Opera Theatre of Saint Louis and concerts of Handel’s Messiah with Kansas City Symphony. The 2009-2010 season saw Aylmer returning to the Metropolitan Opera to cover the roles of Berta in Il barbiere di Siviglia and Mme. Pdtochina’s Daughter in The Nose, singing An American Songbook concert with Lyric Fest concert series and returning to the Alabama Symphony for Mozart’s Requiem.
 
American baritone Troy Cook recently debuted at both the Hamburgische Staatsoper as Marcello in La bohème, where he also performed his first Ford in Falstaff in the spring of 2010, and at the Royal Opera, Covent Garden as Guglielmo in Così fan tutte. Cook's 2011-2012 season includes appearances with Minnesota Opera as Father Palmer in the world premiere of Silent Night; the Jacksonville Symphony Orchestra as Marcello in La bohème; Opera Company of Philadelphia as Lescaut in Manon Lescaut; the Winston-Salem Symphony for performances of Carmina Burana; and Central City Opera as Marcello. Additionally, he joins Opera Rara for a recording of Donizetti's Caterina Cornaro. Future seasons will find him in multiple leading roles with Opera Company of Philadelphia.

Canadian mezzo-soprano Wallis Giunta joins the Metropolitan Opera Lindemann Young Artist Development Program for the 2011-2012 season singing the role of Phénice in their production of Gluck’s Armide. She also debuts with Fort Worth Opera as Cherubino in Le nozze di Figaro, Opera Lyra Ottawa as Lola in Cavalleria Rusticana and with the Toronto Symphony and Munich Radio Orchestras. Giunta is a graduate of the Canadian Opera Company Ensemble Studio (2009-2011), where she performed Zweite Dame in Die Zauberflöte, while covering Angelina in La Cenerentola and Idamante in Idomeneo. She debuted with Opera Atelier as Cherubino, with the Brooklyn Academy of Music as Pribaoutki in Stravinsky’s The Nightingale and Other Short Fables and appeared in recital for The New York Festival of Song and the Caramoor Festival. In 2010, Giunta attended The Ravinia Festival’s Steans Institute with a grant from The Canada Council for The Arts, and received Encouragement Awards at both The George London Competition and The Metropolitan Opera National Council Auditions.

Timothy Long has enjoyed a flourishing career as a conductor at such companies as Boston Lyric Opera, Opera Colorado, New York City Opera, Wolf Trap Opera, The Juilliard School, the Brooklyn Philharmonic, the Aspen Music Festival, the Oregon Bach Festival, the Théâtre Municipal de Castres, and off-Broadway for The New Group. As a pianist he has performed at Carnegie Hall, the Kennedy Center, Chicago’s Dame Myra Hess Concert Series, Alice Tully Hall, Boston’s Jordan Hall and at venues throughout Europe, North America and the Far East. Under music director Robert Spano he was assistant conductor of the Brooklyn Philharmonic for three seasons. Tim is a member of the Thlopthlocco Tribal Town and the Muscogee Creek Nation of Oklahoma.

Matthew Tuell has recently been praised for his “stylish singing” (Opera News) and “masterful” performance (Cabaret Scenes) as one of five principal singers in the world premiere of Ricky Ian Gordon’s Rappahannock County (co-commissioned by Modlin Center for the Arts at the University of Richmond, Texas; Performing Arts at the University of Texas in Austin; Virginia Arts Festival and Virginia Opera). He was also noted for his “appealing voice” (New York Times) and “standout” performance (Back Stage) as Cecco in Gotham Chamber Opera’s production of Il mondo della luna in the Hayden Planetarium. A former apprentice artist with The Santa Fe Opera, he made his principal artist debut there as Maintop in Billy Budd (while covering the role of Captain Vere) and also charmed audiences as Doctor Sinisgalli in the company’s “One Hour Opera” production of Nino Rota’s I due timidi in a cast featuring several other former apprentices.

Mark Campbell is one of the most in-demand librettists working in opera today. In the past year alone he premiered four new works, including Silent Night for Minnesota Opera (music by Kevin Puts, directed by Eric Simonson), The Inspector for Wolf Trap Opera (music by John Musto, directed by Leon Major) and Rappahannock County for Virginia Opera, Virginia Arts Festival, University of Richmond and the University of Texas (music by Ricky Ian Gordon, directed by Kevin Newbury).

Campbell’s first opera was Volpone (Wolf Trap Foundation for the Arts, 2004; music by Musto; directed by Major). That was followed in 2007 by Later the Same Evening, an opera commissioned by the National Gallery of Art and the University of Maryland in conjunction with a retrospective of the work of Edward Hopper (music by Musto, directed by Major). The New York Festival of Song next commissioned him to write two one-act comic librettos and the result was Bastianello (music by Musto) and Lucrezia (music by William Bolcom), which appeared on a double bill at Weill Recital Hall in 2008. Other operatic works include Three Lost Chords (American Opera Projects and the Zipper Theatre, music by Lance Horne), and A Letter to East 11th Street (American Opera Projects and VOX, music by Martin Hennessy).

Later the Same Evening received its first professional production last summer at The Glimmerglass Festival, after student productions at the Manhattan School of Music and the University of Nebraska. Volpone was revived by Wolf Trap in 2007. Rappahannock County was performed at the University of Richmond and the University of Texas after its premiere. The Inspector goes to Boston Lyric Opera this spring and Silent Night to Opera Company of Philadelphia next year.

As a lyricist, Campbell penned all of the lyrics for Songs from an Unmade Bed, a theatrical song cycle with music by 18 composers, which was produced by New York Theatre Workshop in 2005, directed by David Schweizer and performed by Michael Winther. The show has since gone on to nearly a dozen productions nationwide and a few overseas, most recently in Perth. Other musicals for which he has written lyrics include: And the Curtain Rises, book by Michael Slade and music by Joseph Thalken (Signature Theatre, Washington, D.C., directed by Kristin Hanggi); The Audience (The Transport Group, directed by Jack Cummings), Splendora, book by Peter Webb, music by Stephen Hoffman (Bay Street Theatre, American Place Theatre, directed by Jack Hofsiss), Chang & Eng (SOBT), The Paradise Project (The Kitchen, music by Michael Torke), Akin (Music-Theatre Group at LaMama, music by Richard Peaslee), Ring Around the Rosie (music by Peaslee, produced by Music-Theatre Group at the Joyce Theatre) and Light Shall Lift Them (Harvey Theatre, Brooklyn Next Wave Festival).

Campbell’s awards include: first recipient of the Kleban Foundation Award for Lyricist, two Richard Rodgers Awards from the American Academy of Arts and Letters, a New York Foundation for the Arts Playwriting Fellowship, three Drama Desk Award nominations, a Rockefeller Foundation Award, a Jonathan Larson Performing Arts Foundation Award, and a GRAMMY® nomination.

Recordings of his works include the GRAMMY®-nominated Volpone (Wolf Trap Recordings), Later the Same Evening (Albany Records), Bastianello/Lucrezia (Bridge Classical) and Songs from an Unmade Bed (Sh-k-Boom Records). Songs from an Unmade Bed is published by Bill Holab Music. Recordings of The Inspector and Rappahannock County are in the works, on the Wolf Trap Recordings and Naxos labels, respectively.

American soprano Jennifer Aylmer has developed a sterling reputation for her beautiful voice, compelling stage portrayals and impeccable musicianship. The New York Times has hailed her for her “awesome accuracy,” while The Chicago Sun-Times has recommended that listeners to “bask in the aural delight of Aylmer’s dazzling shifts from regal command to cool insouciance and fatally attractive seduction.” This season also marks her directorial debut with Stony Brook State University. Additional upcoming engagements include a return to Portland Opera as Susanna in Le nozze di Figaro, performances of Despina in Cosí fan tutte for Opera Theatre of Saint Louis and concerts of Handel’s Messiah with Kansas City Symphony. The 2009-2010 season saw Aylmer returning to the Metropolitan Opera to cover the roles of Berta in Il barbiere di Siviglia and Mme. Pdtochina’s Daughter in The Nose, singing An American Songbook concert with Lyric Fest concert series and returning to the Alabama Symphony for Mozart’s Requiem.
 
American baritone Troy Cook recently debuted at both the Hamburgische Staatsoper as Marcello in La bohème, where he also performed his first Ford in Falstaff in the spring of 2010, and at the Royal Opera, Covent Garden as Guglielmo in Così fan tutte. Cook's 2011-2012 season includes appearances with Minnesota Opera as Father Palmer in the world premiere of Silent Night; the Jacksonville Symphony Orchestra as Marcello in La bohème; Opera Company of Philadelphia as Lescaut in Manon Lescaut; the Winston-Salem Symphony for performances of Carmina Burana; and Central City Opera as Marcello. Additionally, he joins Opera Rara for a recording of Donizetti's Caterina Cornaro. Future seasons will find him in multiple leading roles with Opera Company of Philadelphia.

Canadian mezzo-soprano Wallis Giunta joins the Metropolitan Opera Lindemann Young Artist Development Program for the 2011-2012 season singing the role of Phénice in their production of Gluck’s Armide. She also debuts with Fort Worth Opera as Cherubino in Le nozze di Figaro, Opera Lyra Ottawa as Lola in Cavalleria Rusticana and with the Toronto Symphony and Munich Radio Orchestras. Giunta is a graduate of the Canadian Opera Company Ensemble Studio (2009-2011), where she performed Zweite Dame in Die Zauberflöte, while covering Angelina in La Cenerentola and Idamante in Idomeneo. She debuted with Opera Atelier as Cherubino, with the Brooklyn Academy of Music as Pribaoutki in Stravinsky’s The Nightingale and Other Short Fables and appeared in recital for The New York Festival of Song and the Caramoor Festival. In 2010, Giunta attended The Ravinia Festival’s Steans Institute with a grant from The Canada Council for The Arts, and received Encouragement Awards at both The George London Competition and The Metropolitan Opera National Council Auditions.

Timothy Long has enjoyed a flourishing career as a conductor at such companies as Boston Lyric Opera, Opera Colorado, New York City Opera, Wolf Trap Opera, The Juilliard School, the Brooklyn Philharmonic, the Aspen Music Festival, the Oregon Bach Festival, the Théâtre Municipal de Castres, and off-Broadway for The New Group. As a pianist he has performed at Carnegie Hall, the Kennedy Center, Chicago’s Dame Myra Hess Concert Series, Alice Tully Hall, Boston’s Jordan Hall and at venues throughout Europe, North America and the Far East. Under music director Robert Spano he was assistant conductor of the Brooklyn Philharmonic for three seasons. Tim is a member of the Thlopthlocco Tribal Town and the Muscogee Creek Nation of Oklahoma.

Matthew Tuell has recently been praised for his “stylish singing” (Opera News) and “masterful” performance (Cabaret Scenes) as one of five principal singers in the world premiere of Ricky Ian Gordon’s Rappahannock County (co-commissioned by Modlin Center for the Arts at the University of Richmond, Texas; Performing Arts at the University of Texas in Austin; Virginia Arts Festival and Virginia Opera). He was also noted for his “appealing voice” (New York Times) and “standout” performance (Back Stage) as Cecco in Gotham Chamber Opera’s production of Il mondo della luna in the Hayden Planetarium. A former apprentice artist with The Santa Fe Opera, he made his principal artist debut there as Maintop in Billy Budd (while covering the role of Captain Vere) and also charmed audiences as Doctor Sinisgalli in the company’s “One Hour Opera” production of Nino Rota’s I due timidi in a cast featuring several other former apprentices.

Mark Campbell is one of the most in-demand librettists working in opera today. In the past year alone he premiered four new works, including Silent Night for Minnesota Opera (music by Kevin Puts, directed by Eric Simonson), The Inspector for Wolf Trap Opera (music by John Musto, directed by Leon Major) and Rappahannock County for Virginia Opera, Virginia Arts Festival, University of Richmond and the University of Texas (music by Ricky Ian Gordon, directed by Kevin Newbury).

Campbell’s first opera was Volpone (Wolf Trap Foundation for the Arts, 2004; music by Musto; directed by Major). That was followed in 2007 by Later the Same Evening, an opera commissioned by the National Gallery of Art and the University of Maryland in conjunction with a retrospective of the work of Edward Hopper (music by Musto, directed by Major). The New York Festival of Song next commissioned him to write two one-act comic librettos and the result was Bastianello (music by Musto) and Lucrezia (music by William Bolcom), which appeared on a double bill at Weill Recital Hall in 2008. Other operatic works include Three Lost Chords (American Opera Projects and the Zipper Theatre, music by Lance Horne), and A Letter to East 11th Street (American Opera Projects and VOX, music by Martin Hennessy).

Later the Same Evening received its first professional production last summer at The Glimmerglass Festival, after student productions at the Manhattan School of Music and the University of Nebraska. Volpone was revived by Wolf Trap in 2007. Rappahannock County was performed at the University of Richmond and the University of Texas after its premiere. The Inspector goes to Boston Lyric Opera this spring and Silent Night to Opera Company of Philadelphia next year.

As a lyricist, Campbell penned all of the lyrics for Songs from an Unmade Bed, a theatrical song cycle with music by 18 composers, which was produced by New York Theatre Workshop in 2005, directed by David Schweizer and performed by Michael Winther. The show has since gone on to nearly a dozen productions nationwide and a few overseas, most recently in Perth. Other musicals for which he has written lyrics include: And the Curtain Rises, book by Michael Slade and music by Joseph Thalken (Signature Theatre, Washington, D.C., directed by Kristin Hanggi); The Audience (The Transport Group, directed by Jack Cummings), Splendora, book by Peter Webb, music by Stephen Hoffman (Bay Street Theatre, American Place Theatre, directed by Jack Hofsiss), Chang & Eng (SOBT), The Paradise Project (The Kitchen, music by Michael Torke), Akin (Music-Theatre Group at LaMama, music by Richard Peaslee), Ring Around the Rosie (music by Peaslee, produced by Music-Theatre Group at the Joyce Theatre) and Light Shall Lift Them (Harvey Theatre, Brooklyn Next Wave Festival).

Campbell’s awards include: first recipient of the Kleban Foundation Award for Lyricist, two Richard Rodgers Awards from the American Academy of Arts and Letters, a New York Foundation for the Arts Playwriting Fellowship, three Drama Desk Award nominations, a Rockefeller Foundation Award, a Jonathan Larson Performing Arts Foundation Award, and a GRAMMY® nomination.

Recordings of his works include the GRAMMY®-nominated Volpone (Wolf Trap Recordings), Later the Same Evening (Albany Records), Bastianello/Lucrezia (Bridge Classical) and Songs from an Unmade Bed (Sh-k-Boom Records). Songs from an Unmade Bed is published by Bill Holab Music. Recordings of The Inspector and Rappahannock County are in the works, on the Wolf Trap Recordings and Naxos labels, respectively.

American soprano Jennifer Aylmer has developed a sterling reputation for her beautiful voice, compelling stage portrayals and impeccable musicianship. The New York Times has hailed her for her “awesome accuracy,” while The Chicago Sun-Times has recommended that listeners to “bask in the aural delight of Aylmer’s dazzling shifts from regal command to cool insouciance and fatally attractive seduction.” This season also marks her directorial debut with Stony Brook State University. Additional upcoming engagements include a return to Portland Opera as Susanna in Le nozze di Figaro, performances of Despina in Cosí fan tutte for Opera Theatre of Saint Louis and concerts of Handel’s Messiah with Kansas City Symphony. The 2009-2010 season saw Aylmer returning to the Metropolitan Opera to cover the roles of Berta in Il barbiere di Siviglia and Mme. Pdtochina’s Daughter in The Nose, singing An American Songbook concert with Lyric Fest concert series and returning to the Alabama Symphony for Mozart’s Requiem.
 
American baritone Troy Cook recently debuted at both the Hamburgische Staatsoper as Marcello in La bohème, where he also performed his first Ford in Falstaff in the spring of 2010, and at the Royal Opera, Covent Garden as Guglielmo in Così fan tutte. Cook's 2011-2012 season includes appearances with Minnesota Opera as Father Palmer in the world premiere of Silent Night; the Jacksonville Symphony Orchestra as Marcello in La bohème; Opera Company of Philadelphia as Lescaut in Manon Lescaut; the Winston-Salem Symphony for performances of Carmina Burana; and Central City Opera as Marcello. Additionally, he joins Opera Rara for a recording of Donizetti's Caterina Cornaro. Future seasons will find him in multiple leading roles with Opera Company of Philadelphia.

Canadian mezzo-soprano Wallis Giunta joins the Metropolitan Opera Lindemann Young Artist Development Program for the 2011-2012 season singing the role of Phénice in their production of Gluck’s Armide. She also debuts with Fort Worth Opera as Cherubino in Le nozze di Figaro, Opera Lyra Ottawa as Lola in Cavalleria Rusticana and with the Toronto Symphony and Munich Radio Orchestras. Giunta is a graduate of the Canadian Opera Company Ensemble Studio (2009-2011), where she performed Zweite Dame in Die Zauberflöte, while covering Angelina in La Cenerentola and Idamante in Idomeneo. She debuted with Opera Atelier as Cherubino, with the Brooklyn Academy of Music as Pribaoutki in Stravinsky’s The Nightingale and Other Short Fables and appeared in recital for The New York Festival of Song and the Caramoor Festival. In 2010, Giunta attended The Ravinia Festival’s Steans Institute with a grant from The Canada Council for The Arts, and received Encouragement Awards at both The George London Competition and The Metropolitan Opera National Council Auditions.

Timothy Long has enjoyed a flourishing career as a conductor at such companies as Boston Lyric Opera, Opera Colorado, New York City Opera, Wolf Trap Opera, The Juilliard School, the Brooklyn Philharmonic, the Aspen Music Festival, the Oregon Bach Festival, the Théâtre Municipal de Castres, and off-Broadway for The New Group. As a pianist he has performed at Carnegie Hall, the Kennedy Center, Chicago’s Dame Myra Hess Concert Series, Alice Tully Hall, Boston’s Jordan Hall and at venues throughout Europe, North America and the Far East. Under music director Robert Spano he was assistant conductor of the Brooklyn Philharmonic for three seasons. Tim is a member of the Thlopthlocco Tribal Town and the Muscogee Creek Nation of Oklahoma.

Matthew Tuell has recently been praised for his “stylish singing” (Opera News) and “masterful” performance (Cabaret Scenes) as one of five principal singers in the world premiere of Ricky Ian Gordon’s Rappahannock County (co-commissioned by Modlin Center for the Arts at the University of Richmond, Texas; Performing Arts at the University of Texas in Austin; Virginia Arts Festival and Virginia Opera). He was also noted for his “appealing voice” (New York Times) and “standout” performance (Back Stage) as Cecco in Gotham Chamber Opera’s production of Il mondo della luna in the Hayden Planetarium. A former apprentice artist with The Santa Fe Opera, he made his principal artist debut there as Maintop in Billy Budd (while covering the role of Captain Vere) and also charmed audiences as Doctor Sinisgalli in the company’s “One Hour Opera” production of Nino Rota’s I due timidi in a cast featuring several other former apprentices.

Mark Campbell is one of the most in-demand librettists working in opera today. In the past year alone he premiered four new works, including Silent Night for Minnesota Opera (music by Kevin Puts, directed by Eric Simonson), The Inspector for Wolf Trap Opera (music by John Musto, directed by Leon Major) and Rappahannock County for Virginia Opera, Virginia Arts Festival, University of Richmond and the University of Texas (music by Ricky Ian Gordon, directed by Kevin Newbury).

Campbell’s first opera was Volpone (Wolf Trap Foundation for the Arts, 2004; music by Musto; directed by Major). That was followed in 2007 by Later the Same Evening, an opera commissioned by the National Gallery of Art and the University of Maryland in conjunction with a retrospective of the work of Edward Hopper (music by Musto, directed by Major). The New York Festival of Song next commissioned him to write two one-act comic librettos and the result was Bastianello (music by Musto) and Lucrezia (music by William Bolcom), which appeared on a double bill at Weill Recital Hall in 2008. Other operatic works include Three Lost Chords (American Opera Projects and the Zipper Theatre, music by Lance Horne), and A Letter to East 11th Street (American Opera Projects and VOX, music by Martin Hennessy).

Later the Same Evening received its first professional production last summer at The Glimmerglass Festival, after student productions at the Manhattan School of Music and the University of Nebraska. Volpone was revived by Wolf Trap in 2007. Rappahannock County was performed at the University of Richmond and the University of Texas after its premiere. The Inspector goes to Boston Lyric Opera this spring and Silent Night to Opera Company of Philadelphia next year.

As a lyricist, Campbell penned all of the lyrics for Songs from an Unmade Bed, a theatrical song cycle with music by 18 composers, which was produced by New York Theatre Workshop in 2005, directed by David Schweizer and performed by Michael Winther. The show has since gone on to nearly a dozen productions nationwide and a few overseas, most recently in Perth. Other musicals for which he has written lyrics include: And the Curtain Rises, book by Michael Slade and music by Joseph Thalken (Signature Theatre, Washington, D.C., directed by Kristin Hanggi); The Audience (The Transport Group, directed by Jack Cummings), Splendora, book by Peter Webb, music by Stephen Hoffman (Bay Street Theatre, American Place Theatre, directed by Jack Hofsiss), Chang & Eng (SOBT), The Paradise Project (The Kitchen, music by Michael Torke), Akin (Music-Theatre Group at LaMama, music by Richard Peaslee), Ring Around the Rosie (music by Peaslee, produced by Music-Theatre Group at the Joyce Theatre) and Light Shall Lift Them (Harvey Theatre, Brooklyn Next Wave Festival).

Campbell’s awards include: first recipient of the Kleban Foundation Award for Lyricist, two Richard Rodgers Awards from the American Academy of Arts and Letters, a New York Foundation for the Arts Playwriting Fellowship, three Drama Desk Award nominations, a Rockefeller Foundation Award, a Jonathan Larson Performing Arts Foundation Award, and a GRAMMY® nomination.

Recordings of his works include the GRAMMY®-nominated Volpone (Wolf Trap Recordings), Later the Same Evening (Albany Records), Bastianello/Lucrezia (Bridge Classical) and Songs from an Unmade Bed (Sh-k-Boom Records). Songs from an Unmade Bed is published by Bill Holab Music. Recordings of The Inspector and Rappahannock County are in the works, on the Wolf Trap Recordings and Naxos labels, respectively.

American soprano Jennifer Aylmer has developed a sterling reputation for her beautiful voice, compelling stage portrayals and impeccable musicianship. The New York Times has hailed her for her “awesome accuracy,” while The Chicago Sun-Times has recommended that listeners to “bask in the aural delight of Aylmer’s dazzling shifts from regal command to cool insouciance and fatally attractive seduction.” This season also marks her directorial debut with Stony Brook State University. Additional upcoming engagements include a return to Portland Opera as Susanna in Le nozze di Figaro, performances of Despina in Cosí fan tutte for Opera Theatre of Saint Louis and concerts of Handel’s Messiah with Kansas City Symphony. The 2009-2010 season saw Aylmer returning to the Metropolitan Opera to cover the roles of Berta in Il barbiere di Siviglia and Mme. Pdtochina’s Daughter in The Nose, singing An American Songbook concert with Lyric Fest concert series and returning to the Alabama Symphony for Mozart’s Requiem.
 
American baritone Troy Cook recently debuted at both the Hamburgische Staatsoper as Marcello in La bohème, where he also performed his first Ford in Falstaff in the spring of 2010, and at the Royal Opera, Covent Garden as Guglielmo in Così fan tutte. Cook's 2011-2012 season includes appearances with Minnesota Opera as Father Palmer in the world premiere of Silent Night; the Jacksonville Symphony Orchestra as Marcello in La bohème; Opera Company of Philadelphia as Lescaut in Manon Lescaut; the Winston-Salem Symphony for performances of Carmina Burana; and Central City Opera as Marcello. Additionally, he joins Opera Rara for a recording of Donizetti's Caterina Cornaro. Future seasons will find him in multiple leading roles with Opera Company of Philadelphia.

Canadian mezzo-soprano Wallis Giunta joins the Metropolitan Opera Lindemann Young Artist Development Program for the 2011-2012 season singing the role of Phénice in their production of Gluck’s Armide. She also debuts with Fort Worth Opera as Cherubino in Le nozze di Figaro, Opera Lyra Ottawa as Lola in Cavalleria Rusticana and with the Toronto Symphony and Munich Radio Orchestras. Giunta is a graduate of the Canadian Opera Company Ensemble Studio (2009-2011), where she performed Zweite Dame in Die Zauberflöte, while covering Angelina in La Cenerentola and Idamante in Idomeneo. She debuted with Opera Atelier as Cherubino, with the Brooklyn Academy of Music as Pribaoutki in Stravinsky’s The Nightingale and Other Short Fables and appeared in recital for The New York Festival of Song and the Caramoor Festival. In 2010, Giunta attended The Ravinia Festival’s Steans Institute with a grant from The Canada Council for The Arts, and received Encouragement Awards at both The George London Competition and The Metropolitan Opera National Council Auditions.

Timothy Long has enjoyed a flourishing career as a conductor at such companies as Boston Lyric Opera, Opera Colorado, New York City Opera, Wolf Trap Opera, The Juilliard School, the Brooklyn Philharmonic, the Aspen Music Festival, the Oregon Bach Festival, the Théâtre Municipal de Castres, and off-Broadway for The New Group. As a pianist he has performed at Carnegie Hall, the Kennedy Center, Chicago’s Dame Myra Hess Concert Series, Alice Tully Hall, Boston’s Jordan Hall and at venues throughout Europe, North America and the Far East. Under music director Robert Spano he was assistant conductor of the Brooklyn Philharmonic for three seasons. Tim is a member of the Thlopthlocco Tribal Town and the Muscogee Creek Nation of Oklahoma.

Matthew Tuell has recently been praised for his “stylish singing” (Opera News) and “masterful” performance (Cabaret Scenes) as one of five principal singers in the world premiere of Ricky Ian Gordon’s Rappahannock County (co-commissioned by Modlin Center for the Arts at the University of Richmond, Texas; Performing Arts at the University of Texas in Austin; Virginia Arts Festival and Virginia Opera). He was also noted for his “appealing voice” (New York Times) and “standout” performance (Back Stage) as Cecco in Gotham Chamber Opera’s production of Il mondo della luna in the Hayden Planetarium. A former apprentice artist with The Santa Fe Opera, he made his principal artist debut there as Maintop in Billy Budd (while covering the role of Captain Vere) and also charmed audiences as Doctor Sinisgalli in the company’s “One Hour Opera” production of Nino Rota’s I due timidi in a cast featuring several other former apprentices.

Mark Campbell is one of the most in-demand librettists working in opera today. In the past year alone he premiered four new works, including Silent Night for Minnesota Opera (music by Kevin Puts, directed by Eric Simonson), The Inspector for Wolf Trap Opera (music by John Musto, directed by Leon Major) and Rappahannock County for Virginia Opera, Virginia Arts Festival, University of Richmond and the University of Texas (music by Ricky Ian Gordon, directed by Kevin Newbury).

Campbell’s first opera was Volpone (Wolf Trap Foundation for the Arts, 2004; music by Musto; directed by Major). That was followed in 2007 by Later the Same Evening, an opera commissioned by the National Gallery of Art and the University of Maryland in conjunction with a retrospective of the work of Edward Hopper (music by Musto, directed by Major). The New York Festival of Song next commissioned him to write two one-act comic librettos and the result was Bastianello (music by Musto) and Lucrezia (music by William Bolcom), which appeared on a double bill at Weill Recital Hall in 2008. Other operatic works include Three Lost Chords (American Opera Projects and the Zipper Theatre, music by Lance Horne), and A Letter to East 11th Street (American Opera Projects and VOX, music by Martin Hennessy).

Later the Same Evening received its first professional production last summer at The Glimmerglass Festival, after student productions at the Manhattan School of Music and the University of Nebraska. Volpone was revived by Wolf Trap in 2007. Rappahannock County was performed at the University of Richmond and the University of Texas after its premiere. The Inspector goes to Boston Lyric Opera this spring and Silent Night to Opera Company of Philadelphia next year.

As a lyricist, Campbell penned all of the lyrics for Songs from an Unmade Bed, a theatrical song cycle with music by 18 composers, which was produced by New York Theatre Workshop in 2005, directed by David Schweizer and performed by Michael Winther. The show has since gone on to nearly a dozen productions nationwide and a few overseas, most recently in Perth. Other musicals for which he has written lyrics include: And the Curtain Rises, book by Michael Slade and music by Joseph Thalken (Signature Theatre, Washington, D.C., directed by Kristin Hanggi); The Audience (The Transport Group, directed by Jack Cummings), Splendora, book by Peter Webb, music by Stephen Hoffman (Bay Street Theatre, American Place Theatre, directed by Jack Hofsiss), Chang & Eng (SOBT), The Paradise Project (The Kitchen, music by Michael Torke), Akin (Music-Theatre Group at LaMama, music by Richard Peaslee), Ring Around the Rosie (music by Peaslee, produced by Music-Theatre Group at the Joyce Theatre) and Light Shall Lift Them (Harvey Theatre, Brooklyn Next Wave Festival).

Campbell’s awards include: first recipient of the Kleban Foundation Award for Lyricist, two Richard Rodgers Awards from the American Academy of Arts and Letters, a New York Foundation for the Arts Playwriting Fellowship, three Drama Desk Award nominations, a Rockefeller Foundation Award, a Jonathan Larson Performing Arts Foundation Award, and a GRAMMY® nomination.

Recordings of his works include the GRAMMY®-nominated Volpone (Wolf Trap Recordings), Later the Same Evening (Albany Records), Bastianello/Lucrezia (Bridge Classical) and Songs from an Unmade Bed (Sh-k-Boom Records). Songs from an Unmade Bed is published by Bill Holab Music. Recordings of The Inspector and Rappahannock County are in the works, on the Wolf Trap Recordings and Naxos labels, respectively.

American soprano Jennifer Aylmer has developed a sterling reputation for her beautiful voice, compelling stage portrayals and impeccable musicianship. The New York Times has hailed her for her “awesome accuracy,” while The Chicago Sun-Times has recommended that listeners to “bask in the aural delight of Aylmer’s dazzling shifts from regal command to cool insouciance and fatally attractive seduction.” This season also marks her directorial debut with Stony Brook State University. Additional upcoming engagements include a return to Portland Opera as Susanna in Le nozze di Figaro, performances of Despina in Cosí fan tutte for Opera Theatre of Saint Louis and concerts of Handel’s Messiah with Kansas City Symphony. The 2009-2010 season saw Aylmer returning to the Metropolitan Opera to cover the roles of Berta in Il barbiere di Siviglia and Mme. Pdtochina’s Daughter in The Nose, singing An American Songbook concert with Lyric Fest concert series and returning to the Alabama Symphony for Mozart’s Requiem.
 
American baritone Troy Cook recently debuted at both the Hamburgische Staatsoper as Marcello in La bohème, where he also performed his first Ford in Falstaff in the spring of 2010, and at the Royal Opera, Covent Garden as Guglielmo in Così fan tutte. Cook's 2011-2012 season includes appearances with Minnesota Opera as Father Palmer in the world premiere of Silent Night; the Jacksonville Symphony Orchestra as Marcello in La bohème; Opera Company of Philadelphia as Lescaut in Manon Lescaut; the Winston-Salem Symphony for performances of Carmina Burana; and Central City Opera as Marcello. Additionally, he joins Opera Rara for a recording of Donizetti's Caterina Cornaro. Future seasons will find him in multiple leading roles with Opera Company of Philadelphia.

Canadian mezzo-soprano Wallis Giunta joins the Metropolitan Opera Lindemann Young Artist Development Program for the 2011-2012 season singing the role of Phénice in their production of Gluck’s Armide. She also debuts with Fort Worth Opera as Cherubino in Le nozze di Figaro, Opera Lyra Ottawa as Lola in Cavalleria Rusticana and with the Toronto Symphony and Munich Radio Orchestras. Giunta is a graduate of the Canadian Opera Company Ensemble Studio (2009-2011), where she performed Zweite Dame in Die Zauberflöte, while covering Angelina in La Cenerentola and Idamante in Idomeneo. She debuted with Opera Atelier as Cherubino, with the Brooklyn Academy of Music as Pribaoutki in Stravinsky’s The Nightingale and Other Short Fables and appeared in recital for The New York Festival of Song and the Caramoor Festival. In 2010, Giunta attended The Ravinia Festival’s Steans Institute with a grant from The Canada Council for The Arts, and received Encouragement Awards at both The George London Competition and The Metropolitan Opera National Council Auditions.

Timothy Long has enjoyed a flourishing career as a conductor at such companies as Boston Lyric Opera, Opera Colorado, New York City Opera, Wolf Trap Opera, The Juilliard School, the Brooklyn Philharmonic, the Aspen Music Festival, the Oregon Bach Festival, the Théâtre Municipal de Castres, and off-Broadway for The New Group. As a pianist he has performed at Carnegie Hall, the Kennedy Center, Chicago’s Dame Myra Hess Concert Series, Alice Tully Hall, Boston’s Jordan Hall and at venues throughout Europe, North America and the Far East. Under music director Robert Spano he was assistant conductor of the Brooklyn Philharmonic for three seasons. Tim is a member of the Thlopthlocco Tribal Town and the Muscogee Creek Nation of Oklahoma.

Matthew Tuell has recently been praised for his “stylish singing” (Opera News) and “masterful” performance (Cabaret Scenes) as one of five principal singers in the world premiere of Ricky Ian Gordon’s Rappahannock County (co-commissioned by Modlin Center for the Arts at the University of Richmond, Texas; Performing Arts at the University of Texas in Austin; Virginia Arts Festival and Virginia Opera). He was also noted for his “appealing voice” (New York Times) and “standout” performance (Back Stage) as Cecco in Gotham Chamber Opera’s production of Il mondo della luna in the Hayden Planetarium. A former apprentice artist with The Santa Fe Opera, he made his principal artist debut there as Maintop in Billy Budd (while covering the role of Captain Vere) and also charmed audiences as Doctor Sinisgalli in the company’s “One Hour Opera” production of Nino Rota’s I due timidi in a cast featuring several other former apprentices.

Mark Campbell is one of the most in-demand librettists working in opera today. In the past year alone he premiered four new works, including Silent Night for Minnesota Opera (music by Kevin Puts, directed by Eric Simonson), The Inspector for Wolf Trap Opera (music by John Musto, directed by Leon Major) and Rappahannock County for Virginia Opera, Virginia Arts Festival, University of Richmond and the University of Texas (music by Ricky Ian Gordon, directed by Kevin Newbury).

Campbell’s first opera was Volpone (Wolf Trap Foundation for the Arts, 2004; music by Musto; directed by Major). That was followed in 2007 by Later the Same Evening, an opera commissioned by the National Gallery of Art and the University of Maryland in conjunction with a retrospective of the work of Edward Hopper (music by Musto, directed by Major). The New York Festival of Song next commissioned him to write two one-act comic librettos and the result was Bastianello (music by Musto) and Lucrezia (music by William Bolcom), which appeared on a double bill at Weill Recital Hall in 2008. Other operatic works include Three Lost Chords (American Opera Projects and the Zipper Theatre, music by Lance Horne), and A Letter to East 11th Street (American Opera Projects and VOX, music by Martin Hennessy).

Later the Same Evening received its first professional production last summer at The Glimmerglass Festival, after student productions at the Manhattan School of Music and the University of Nebraska. Volpone was revived by Wolf Trap in 2007. Rappahannock County was performed at the University of Richmond and the University of Texas after its premiere. The Inspector goes to Boston Lyric Opera this spring and Silent Night to Opera Company of Philadelphia next year.

As a lyricist, Campbell penned all of the lyrics for Songs from an Unmade Bed, a theatrical song cycle with music by 18 composers, which was produced by New York Theatre Workshop in 2005, directed by David Schweizer and performed by Michael Winther. The show has since gone on to nearly a dozen productions nationwide and a few overseas, most recently in Perth. Other musicals for which he has written lyrics include: And the Curtain Rises, book by Michael Slade and music by Joseph Thalken (Signature Theatre, Washington, D.C., directed by Kristin Hanggi); The Audience (The Transport Group, directed by Jack Cummings), Splendora, book by Peter Webb, music by Stephen Hoffman (Bay Street Theatre, American Place Theatre, directed by Jack Hofsiss), Chang & Eng (SOBT), The Paradise Project (The Kitchen, music by Michael Torke), Akin (Music-Theatre Group at LaMama, music by Richard Peaslee), Ring Around the Rosie (music by Peaslee, produced by Music-Theatre Group at the Joyce Theatre) and Light Shall Lift Them (Harvey Theatre, Brooklyn Next Wave Festival).

Campbell’s awards include: first recipient of the Kleban Foundation Award for Lyricist, two Richard Rodgers Awards from the American Academy of Arts and Letters, a New York Foundation for the Arts Playwriting Fellowship, three Drama Desk Award nominations, a Rockefeller Foundation Award, a Jonathan Larson Performing Arts Foundation Award, and a GRAMMY® nomination.

Recordings of his works include the GRAMMY®-nominated Volpone (Wolf Trap Recordings), Later the Same Evening (Albany Records), Bastianello/Lucrezia (Bridge Classical) and Songs from an Unmade Bed (Sh-k-Boom Records). Songs from an Unmade Bed is published by Bill Holab Music. Recordings of The Inspector and Rappahannock County are in the works, on the Wolf Trap Recordings and Naxos labels, respectively.

American soprano Jennifer Aylmer has developed a sterling reputation for her beautiful voice, compelling stage portrayals and impeccable musicianship. The New York Times has hailed her for her “awesome accuracy,” while The Chicago Sun-Times has recommended that listeners to “bask in the aural delight of Aylmer’s dazzling shifts from regal command to cool insouciance and fatally attractive seduction.” This season also marks her directorial debut with Stony Brook State University. Additional upcoming engagements include a return to Portland Opera as Susanna in Le nozze di Figaro, performances of Despina in Cosí fan tutte for Opera Theatre of Saint Louis and concerts of Handel’s Messiah with Kansas City Symphony. The 2009-2010 season saw Aylmer returning to the Metropolitan Opera to cover the roles of Berta in Il barbiere di Siviglia and Mme. Pdtochina’s Daughter in The Nose, singing An American Songbook concert with Lyric Fest concert series and returning to the Alabama Symphony for Mozart’s Requiem.
 
American baritone Troy Cook recently debuted at both the Hamburgische Staatsoper as Marcello in La bohème, where he also performed his first Ford in Falstaff in the spring of 2010, and at the Royal Opera, Covent Garden as Guglielmo in Così fan tutte. Cook's 2011-2012 season includes appearances with Minnesota Opera as Father Palmer in the world premiere of Silent Night; the Jacksonville Symphony Orchestra as Marcello in La bohème; Opera Company of Philadelphia as Lescaut in Manon Lescaut; the Winston-Salem Symphony for performances of Carmina Burana; and Central City Opera as Marcello. Additionally, he joins Opera Rara for a recording of Donizetti's Caterina Cornaro. Future seasons will find him in multiple leading roles with Opera Company of Philadelphia.

Canadian mezzo-soprano Wallis Giunta joins the Metropolitan Opera Lindemann Young Artist Development Program for the 2011-2012 season singing the role of Phénice in their production of Gluck’s Armide. She also debuts with Fort Worth Opera as Cherubino in Le nozze di Figaro, Opera Lyra Ottawa as Lola in Cavalleria Rusticana and with the Toronto Symphony and Munich Radio Orchestras. Giunta is a graduate of the Canadian Opera Company Ensemble Studio (2009-2011), where she performed Zweite Dame in Die Zauberflöte, while covering Angelina in La Cenerentola and Idamante in Idomeneo. She debuted with Opera Atelier as Cherubino, with the Brooklyn Academy of Music as Pribaoutki in Stravinsky’s The Nightingale and Other Short Fables and appeared in recital for The New York Festival of Song and the Caramoor Festival. In 2010, Giunta attended The Ravinia Festival’s Steans Institute with a grant from The Canada Council for The Arts, and received Encouragement Awards at both The George London Competition and The Metropolitan Opera National Council Auditions.

Timothy Long has enjoyed a flourishing career as a conductor at such companies as Boston Lyric Opera, Opera Colorado, New York City Opera, Wolf Trap Opera, The Juilliard School, the Brooklyn Philharmonic, the Aspen Music Festival, the Oregon Bach Festival, the Théâtre Municipal de Castres, and off-Broadway for The New Group. As a pianist he has performed at Carnegie Hall, the Kennedy Center, Chicago’s Dame Myra Hess Concert Series, Alice Tully Hall, Boston’s Jordan Hall and at venues throughout Europe, North America and the Far East. Under music director Robert Spano he was assistant conductor of the Brooklyn Philharmonic for three seasons. Tim is a member of the Thlopthlocco Tribal Town and the Muscogee Creek Nation of Oklahoma.

Matthew Tuell has recently been praised for his “stylish singing” (Opera News) and “masterful” performance (Cabaret Scenes) as one of five principal singers in the world premiere of Ricky Ian Gordon’s Rappahannock County (co-commissioned by Modlin Center for the Arts at the University of Richmond, Texas; Performing Arts at the University of Texas in Austin; Virginia Arts Festival and Virginia Opera). He was also noted for his “appealing voice” (New York Times) and “standout” performance (Back Stage) as Cecco in Gotham Chamber Opera’s production of Il mondo della luna in the Hayden Planetarium. A former apprentice artist with The Santa Fe Opera, he made his principal artist debut there as Maintop in Billy Budd (while covering the role of Captain Vere) and also charmed audiences as Doctor Sinisgalli in the company’s “One Hour Opera” production of Nino Rota’s I due timidi in a cast featuring several other former apprentices.

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