Soprano Diana Stoic is a Chicago-area native who is garnering acclaim on opera and concert stages in Illinois and throughout the Midwest. Productions with Chicago Fringe Opera Lucrezia During her time as a student she also gave world premieres of many works, including: “Could” by Pete Fernandez, Just Ann by Rebecca Burkhardt and Cynthia Goatley, Joy by John Schwabe, and Festival te Deum by David Childs.
in Music and Theatre from the University of Northern Iowa, where she studied with Jeffrey Brich. Before that, she graduated magna cum laude and Pi Kappa Lambda with a B.A. from the Chicago College of Performing Arts in May of 2016. In 2012 she won the senior division of the Iowa chapter of NATS student auditions and the next year she took home second place in the graduate division.Ĭurrently a student of Allan Glassman, Ms. Additionally, she presented or has been featured in recitals for the Chicago College of Performing Arts, the University of Northern Iowa, and the Chicago Art Institute. Other opera credits include Mother in Menotti’s Amahl and the Night Visitors and Azucena in a gala presentation of Verdi’s Il trovatore. Armstrong made her operatic debut in 2011 as Third Lady in Die Zauberflöte at the Gallagher Bluedorn Performing Art Center, and this last year, she received her Chicago premiere at CCPA where she was featured as The Wife in Thomas Pasatieri’s The Women, Suzette in Milton Granger’s Bluebeard’s Waiting Room, and Ottavia in Monteverdi’s L’incoronazione di Poppea.
#Thompson street opera bobok series#
Her other engagements include Beethoven 9 with Chicago combined choirs, and a series of concerts in collaboration with Old Capitol Opera. Armstrong begins the 2016/2017 season as an Artist with Chicago Fringe Opera, performing in Missy Mazzoli’s Song from the Uproar, an opera inspired by the journals of Isabelle Eberhardt, detailing her fantastic seven-year odyssey through the desserts of North Africa and Ted Rorem’s Our Town, a tongue in cheek commentary on American life, based on the play by Thornton Wilder about the small fictional town of Grover’s Corners and the daily lives of its citizens. Paul’s Cathedral at Ground Zero, and Chicago’s Auditorium Theatre. This motivation has afforded her many unique opportunities to sing for esteemed individuals such as his Holiness the 14th Dalai Lama of Tibet, and at such celebrated locations as St.
Driven by the desire to inspire in others a curiosity for more knowledge about music, she seizes every opportunity to share her vocal talents. Praised for her expressiveness and richly colorful tone, mezzo-soprano Ashley Armstrong is known for her musicianship as well as her scholarship. CFO Music Director Catherine O’Shaughnessy conducts from the piano, with stage direction by Cederquist and designs by CFO company member Brad Caleb Lee. The opera features five CFO season artists: Ashley Armstrong (from CFO’s fall production “Song from the Uproar”) in the title role, including Matthan Ring Black (baritone), Gabriel Di Gennaro (baritone), Diana Stoic (soprano) and Tobias Wright (tenor) in the comic cast. We’re thrilled to return to the Chopin Theater for this event.” “Our performances of “Lucrezia” take that idea to the next level, capturing the sexiness and silliness of Bolcom’s wonderful music and Campell’s cheeky text by placing it in the immersive and convivial setting. “Audiences loved our recent take on Bernstein’s “Trouble in Tahiti”, which paired that jazzy opera with a pre-show set of jazz standards,” says Chicago Fringe Opera Artistic Director George Cederquist. In its unique site-specific style, the CFO production places the audience around the action, with a pre-show cabaret - complete with cash bar - featuring the cast of “Lucrezia” singing a selection of Bolcom’s best art songs. The piece is performed by four hands at two pianos. A game of seduction and love, riddled with humor and coy femininity, “Lucrezia” features the iconic art song style of Bolcom (“McTeague”, “A View from the Bridge” and “A Wedding”, all commissioned and premiered by Lyric Opera of Chicago), with a pun-laced libretto by Mark Campbell (“Silent Night”). The 50-minute romp is a zarzuela riff on Machiavelli’s story “La Mandragola”, in which Lucrezia, an intelligent seductress, takes charge of her own needs and tricks her suitors into not only giving her pleasure but also their money.
0 kommentar(er)
