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Opera in Bloom Artist Information!     


























Richard Coleman, baritone, is a rising young singer from Dallas, TX. Richard made his operatic debut as Colline in Louisiana State University's production of La bohéme. While at LSU, he made appearances as Escamillo (La tragedié de Carmen) and Don Alfonso (Cosi fan tutte). Richard also performed in outreach productions as Belcore (Elixir of Love) and The Giant (Jack and the Beanstalk). Richard is a recent graduate of Florida State University’s Master's program in Vocal Performance. While at FSU, he has portrayed Leporello (Don Giovanni), Nick Shadow (The Rake’s Progress), and Germont (La traviata). He also sang the Frog King in Lori Laitman’s The Three Feathers for FSU outreach program. In 2016, Richard was the 1 place winner of the St. Petersburg Opera Guild competition and received the Strauss Award from the Orpheus Vocal Competition. Richard has been a Young Artist with Sarasota Opera, Chautauqua Opera, and Music Academy of the West.



Exciting young tenor Joshua Collier was hailed as “a great Italian tenor on the make” by Classical Scene in his June 2016 role debut as Roméo in Roméo et Juliette, with Opera 51. Mr. Collier, hailed by Classical Voice of North Carolina for his “exceptionally pleasing tone, and excellent command of [his] high range” is a tenor equally comfortable with opera, operetta, musical theater, oratorio, and concert work. He relocated to Boston after four years of study with soprano Marilyn Taylor during his undergraduate career at the North Carolina School of the Arts (as the A. J. Fletcher Opera Scholar), where he performed with Piedmont Opera, the Wilmington, Winston­-Salem, and Greensboro Symphonies. He has since earned a Master’s degree in Vocal Performance at New England Conservatory, under the tutelage of tenor Bradley Williams. At NEC, he has had the privilege to work with Maestros Stephen Lord (Britten’s Paul Bunyan, d. James Robinson) Joel Revzen (Offenbach’s La Périchole), and Joseph Flummerfeldt (Mozart’s Coronation Mass) as well as a solo recital performance with John Moriarty, and has become one of the most sought-after tenors in the Boston area for both new music and standard repertoire.










Ryan Hill, a baritone from Ft. Lauderdale, Florida, has been hailed by reviewers as “scene-stealing” and possessing a voice which “rang vibrantly throughout the hall.” In recent seasons, Ryan has sung Barone Douphol in La Traviata (Opera Naples), Ford in Falstaff (Seagle Music Colony), the Pirate King in The Pirates of Penzance (Natchez Festival of Music), Lanceotto Malatesta in Sergei Rachmaninov’s Francesca da Rimini (Russian Opera Workshop) and Melchior in Amahl and the Night Visitors (Berks Opera Company). He has also covered the roles of Germont in La Traviata , Escamillo in Carmen and The Son in Michael Torke’s Strawberry Fields. In addition to his operatic roles, Ryan has performed musical theater roles such as Tony Esposito in The Most Happy Fella, the Wolf in Into the Woods and Mayor Shinn in The Music Man. In the realm of 21st century music, Ryan has participated in a workshop of Evan Mack’s Roscoe which had its world premiere this summer at Seagle Music Colony where he sang in the ensemble, and debuted the role of John in Whitney George’s The Yellow Wallpaper (Fresh Squeezed Opera) in New York City this past spring. He has participated in Young Artist programs with Opera Naples, Natchez Festival of Music, Russian Opera Workshop, Cedar Rapids Opera Theater and Seagle Music Colony, and has been a semi-finalist in the Orpheus National Vocal Competition and, most recently, in the Opera Columbus Cooper-Bing Vocal Competition. Ryan is a graduate of the Cleveland Institute of Music and the University of Miami (FL). 











Clara Nieman, praised for her “full mezzo” that “brilliantly captures” the emotions of her characters, appears in 2016-17 with Kentucky Opera as Suzuki in Madama Butterfly and Pitti-Sing in The Mikado, Crested Butte Music Festival as Zita in Gianni Schicchi and Théodorine in L’île de Tulipatan, and the Lexington Philharmonic as mezzo-soprano soloist in Stephen Paulus’ “To Be Certain of the Dawn.” In the 2017-18 season she will return to Kentucky Opera as Dryade in Ariadne auf Naxos, Jade Boucher in Dead Man Walking, and both Rosina and Berta in Il barbiere di Siviglia.

In recent seasons Clara has sung Marcellina in Le Nozze di Figaro (Opera Saratoga), Olga in Eugene Onegin(Chautauqua Opera), Flora in La Traviata (Fort Worth Opera, Opera Birmingham, Opera Naples), The Contralto in The Four Note Opera (Opera Naples,) the Mother in Hansel and Gretel (Performance Santa Fe), and Sor Rosa in With Blood, With Ink (Fort Worth Opera). Other favorite roles performed include Angelina in La Cenerentola, Vera Boronel in The Consul, Clarina in Il Cambiale di matrimonio, and Grace Ansley in Roman Fever.










Soprano Tamara Ryan has been hailed by The Boston Globe as a "breathtakingly solid" soprano, by the New England Theater Geek as "a performer of note," and by the Boston Musical Intelligencer as having "the comedic genius of Madeline Kahn" as well as a "captivatingly expressive strength." Recent engagements include performances with MetroWest Opera (Noémie), Longwood Opera (Musetta), Emerald City Opera (Susanna), OperaHub (Della/Malwina,  Leonora, Titania/Hippolyta), the Harvard Early Music Society (First Witch), Opera Fayetteville (Controller, Kitty Hart, Amy March, The Rose, Sibyl Vane), Opera Brittenica (Governess), the Boston Opera Collaborative (Stephanie), Lowell House Opera (Ofelia), and the Savannah Children's Choir. Tamara performed as part of the highly competitive Marcello Giordani Young Artist Program with the Crested Butte Music Festival where she covered the role of Bubikopf in Viktor Ullman's Der Kaiser von Atlantis; she has also performed as a young artist with Opera Saratoga and Emerald City Opera.       
Passionate about new music , she made her professional debut with Philadelphia area new music group, Orchestra 2001, singing The Rossetti Songs, a cycle written for her by prize-winning composer, Thomas Whitman; and has been excited to return the ranks of the well-beloved Boston Opera Collaborative for the 2016-17 season to sing the title role in Danielle DeMatos' Ondine as well as Madame de Tourvel (a role premiered by Renee Fleming in 1994) in Conrad Susa's The Dangerous Liaisons.      
A Fayetteville native, Tamara feels immensely privileged to be able to create her favorite art form in her favorite place in her role as founder and General Director of Opera Fayetteville. 




Morgan Whitney, soprano, has appeared as Blanche (Dialogues of the Carmelites), Nannetta (Falstaff), Sandman (Hansel and Gretel), First Knitter (A Game of Chance), La Ciesca (Gianni Schicchi), and Laetitia (The Old Maid and the Thief). She has been featured in such programs as CoOperative, the International Vocal Arts Institute, the Texas Music Festival, the Midwest Institute of Opera, and the Cincinnati Summer Opera Studio. She was twice a soloist in the annual Westminster Art Song Festival with Dr. J.J. Penna. Morgan earned her Master of Music in Vocal Performance at Westminster College of the Arts and studies with Nova Thomas. 

















Jeremiah Albers is a writer and director from Norfolk, Virginia. Past directing credits include: Canaveral, Angels in America: Perestroika, God of Carnage,Rumors, Once On This Island, Ruthless!, The Laramie Project, The Great American Trailer Park Musical, Wanderlust, Tuesdays With Morrie, The Pushers, Tall Tales, and Shadowlands. He is also the co-librettist/lyricist for the off-Broadway musical Cuff Me: The Unauthorized Fifty Shades of Grey Musical. Previously he served as the chief theater critic and theater editor for AltDaily, Norfolk’s online alternative culture magazine. He holds a BA in Theater from Old Dominion University, and is currently a second year MFA candidate in Directing at University of Arkansas.














Pianist and conductor, Cris Frisco is a collaborative musician equally at home in the worlds of both classical and popular music.  He prepares singers for performances at the Metropolitan Opera, Broadway theaters, with major symphony orchestras, and in international concert venues.  He has worked on several recent Broadway productions as well as in major regional theaters including the Walnut Street Theater, McCarter Theatre Center, The Princeton Festival, Muhlenberg Summer Music Theater, The Theatre Outlet, and 1812 Productions.  A committed educator for the next generation of performing artists, he has served on the faculty of Mason Gross School of the Arts at Rutgers Univeristy and Westminster Choir College and the coaching staff of the Mannes School of Music, New School for Drama, The Opera Theater and Music Festival of Lucca, Italy, and Wichita State University’s summer study program in Florence.  Cris’s television appearances include an annual holiday special for the QVC network, which is broadcast throughout the United States, England, Germany, and Japan as well as for PBS’s Andrea Boccelli in Central Park, Tempo! and Philly Live.  He is also the founder and artistic director of The New Voice Project, a fledgling non-profit arts organization that commissions and presents new performing and visual arts projects. 

Shana Gold’s Off-Broadway/world premiere directing credits include: Lameece Isaaq’s Food and Fadwa (New York Theatre Workshop), Goldor & Mythyka : a hero is born by Lynn Rosen (New Georges), Stanton Wood’s Polaris (Urban Stages), and In the Crossing by Leila Buck (The Culture Project). Regional Credits include: Hkeelee (Talk to me) by Leila Buck at Arena Stage/Mosaic Theatre, The Storyteller by Nathalie Handal (The Kennedy Center); Uncle by Lee Blessing (Arkansas Rep) Gina Gionfriddo’s Rapture Blister Burn, 4000 Miles by AmyHerzog, Proof by David Auburn and Glen Berger’s Underneath The Lintel (TheatreSquared); Detroit by Lisa D’amour (Theatreworks); John Walch’s 
Transatlantic (Alabama Shakespeare Festival); and A Public Education by Jeff Talbott and Mr. Wheeler’s by Robert Zellers for Pioneer Theatre’s Play by Play Festival. Her production of John Walch’s Circumference of a Squirrel received the Austin Critics Table Award for Best New Play, Best Director, and the Austin Chronicle's Top Ten List. Shana’s work in new play development has also been seen at: Vassar College/New York Stage and Film, MCC, New Dramatists, The Lark, Women’s Project/WP, Ensemble Studio Theatre, Silk Road Theatre Project (Chicago), Roundabout, and Manhattan Theatre Club’s Sloane Series. She has her MFA in Directing from Brooklyn College where she was the recipient of the Buchwald Prize in Directing and has taught and directed for: the Lincoln Center Theatre's Education and Outreach program, Brooklyn College, Theatre for a New Audience, Juilliard, Southwestern University, NYU-Tisch, and Playwrights Horizons Theatre School. Shana is a member of the Lincoln Center Directors Lab, the Soho Rep Writer/Director Lab, and a New Georges Affiliated Artist. Member: Society of Directors and Choreographers. Recently: A workshop of Ibsen’s An Enemy of the People adapted by Sybil Kempson at Classic Stage Company. Ismail Khalidi’s Tennis at Nablus (NYU-Abu-Dhabi).


Steven Marzolf is a Professor of Theatre at the University of Arkansas and is a professional actor and director. He has been a member of the actors union (AEA) since 2011 and has directed several productions professionally and academically. Directing credits include: The Glass Menagerie with Riverside Theatre in Iowa City, Romeo and Juliet: In Concert, a co-production with Theatresquared & The South Arkansas Symphony, The Taming of the Shrew with The Classical Edge, The War To End All Wars, which he co-wrote and directed for Echo Theatre Company in Tulsa, The Country Wife for the Aphra Behn Society, Crave with The Side Project in Chicago, The Trojan Women with The Stella Adler Institute in NYC, and several productions with the University of Tulsa and University of Arkansas. Acting credits include: Cyrano in Cyrano De Bergerac with Riverside Theatre in Iowa City, Coriolanus in Coriolanus with The Old Globe Theatre, Romeo in Romeo and Juliet with Notre Dame Shakespeare, along with several more productions at The Old Globe Theatre, La Jolla Playhouse, Milwaukee Rep, Chicago Shakespeare Theater, Theatresquared, Riverside Theatre and Steppenwolf Theatre Company (where he was apart of the original production of the 2008 Pulitzer Prize winning play August: Osage County). He holds an MFA in acting from The Old Globe Theatre/University of San Diego Professional Actor Training Program.





Cole Wimpee's directing / producing credits include (New York) at P.S.122, Ohio Theatre, The Tank, Dixon Place, JACK, The Brick, Galapagos Art Space, Player's Theatre, Bushwick Starr, and Brooklyn Fireproof. (Regionally) Collaboraction in Chicago, Know  in Cincinnati, EMP in Baltimore,  Fridge in D.C., Mudlark in NOLA, Tricklock in Albuquerque, WaterTower in Dallas, and with various groups in Austin including Esther's Follies, The Vortex, Blue Theatre, Off Center, and Physical Plant. In addition to being an Irene Ryan acting finalist at the ACTF Kennedy Center, he has studied abroad with the Royal Shakespeare Co. and was the recipient of Austin Critic's Table award for Best Supporting Actor with Rubber Repertory. Currently, he's an MFA candidate in Directing at U of A where he's previously staged Angels in America: Millennium Approaches and Hedda Gabler in cooperation with the Fay Jones School of Architecture & Design.