Robyn Rocklein is known for her vibrant and flexible zwischen- fach voice. She has appeared as a soloist in England, Austria, Germany, and throughout the USA.
On the concert stage, Robyn most recently appeared as a solist in Verdi’s Requiem in Maine. Other works include Bach’s Magnificat, Handel’s Messiah, Haydn’s Nelson Mass, Mendelssohn’s Psalm No. 42, Mozart’s C Minor Mass, Rossini’s Stabat Mater, Schubert’s Mass in D, and Vivaldi’s Gloria, among others.
Robyn has performed as a soloist with companies such as Opera Tampa, St. Petersburg Opera, Arizona Opera, Tucson Symphony Orchestra, and St. Andrew’s Bach Society. In the theatre, her roles include Musetta (La Bohême), Périchole (La Périchole), Iphigénie (Iphigénie en Tauride), Elizabeth (The Crucible), Carmen (Carmen), and Marian Paroo (The Music Man), among others.
Robyn was a finalist in the Meistersinger Competition (2009) in Austria, and the Charles A. Lynam International Vocal Competition (2008), and has won numerous competitions in the USA to include NATS Auditions (2012 & 2009) and the UA President’s Concerto Competition (2009). She holds a D.M.A. in vocal performance from Arizona State University.
Future engagements include: Mrs. Ott in St. Petersburg Opera’s Susannah and as a soloist in Pergolesi’s Stabat Mater with members of the Sarasota Orchestra.
Hailed as “excellent”, “impeccable”, “limpidly beautiful”, “impressive”, “stunning”, and “Boston’s best”, mezzo-soprano, Thea Lobo has appeared under conductors Gunther Schuller, Harry Christophers, Martin Pearlman and Helmut Rilling, and has been featured by the Firebird Ensemble, Carmel Bach Festival, The Bermuda Festival, and Europäisches Musikfest Stuttgart.
Ms. Lobo’s dedication to early music, especially the music of J.S. Bach, has seen her tour Japan performing Bach’s St. Matthew Passion solo-voice with Cambridge Concentus & Joshua Rifkin, invited to the Carmel Bach Festival as an Adams Fellow, a prizewinner at the Bach Vocal Competition for American Singers, and a Lorraine Hunt Lieberson Fellow with Emmanuel Music.
She has recently appeared with the Boston Early Music Festival, Sebago-Long Lake Music Festival, Berklee New Music, Amherst Early Music Festival, Cambridge Concentus, and the White Mountain Music Festival, and her 2015-16 season includes performances with Boston Landmarks Orchestra, True Concord, The Shakespeare Concerts, Guerrilla Opera, Andover Choral Society, Emmanuel Music, and the Brookline Symphony Orchestra.
Opera News praises tenor Jason Ferrante for “singing up a stylish storm” and for getting “the gold star for trills” and the Berkshire Eagle says he “seems to light every stage he mounts”.
This season, the Baltimore-native debuts with Atlanta Opera as both Goro in a new production of Madama Butterfly and as Don Basilio in Le Nozze di Figaro, sings a recital with pianist Caren Levine at the Manchester Music Festival in Vermont, performs as the tenor soloist in Messiah with the Sarasota Choral Society. returns to Florida Grand Opera as The Magician in The Consul and a sings in his debut with the Chicago Symphony Orchestra at Ravinia under the baton of James Conlon as the Fourth Jew in Salome.
In the 2013-14 season, the Baltimore native made his debut with the Boston Symphony Orchestra as the In Fourth Jew in Salome under the baton of Andris Nelsons, returned to Florida Grand Opera as Spoletta in Tosca, joined soprano Mary Wilson in recital in Sarasota, and was the tenor soloist in Handel’s Messiah at the Jacksonville Symphony Orchestra and the Boise Philharmonic. In the 2012-13 season, he returned to New York City Opera to cover Aronne in Mose in Egitto, debuted with Palm Beach Opera as the Fourth Jew in Salome, and made returns to the Orlando Philharmonic as Don Basilio in Le Nozze di Figaro and to the Bard Summerscape as Basile in Le Roi Malgré Lui.
Ferrante earned both Bachelor and Master of Music degrees from the Juilliard School where he held the Alice Tully Voice Scholarship and studied with the legendary Beverley Peck Johnson. His additional studies included three years at the Aspen Music Center, two years as an opera fellow at Tanglewood, and two years as a Filene Young Artist at Wolf Trap, where he was also a two-time winner of a Filene Shouse Grant.
He is quickly becoming a sought-out teacher of voice and singing. His students are singing around the world with opera companies including the Met, Covent Garden, English National Opera, Santa Fe, San Francisco, Opera Theatre of St. Louis, Glimmerglass and Wolf Trap. They have been winners in competitions including Operalia, Met National Council, Zachary Foundation, Sullivan Awards, the George London Foundation and members of young artists programs and major conservatories and universities. He currently serves as a vocal consultant to the young artists training programs at Arizona Opera, Nashville Opera and Florida Grand Opera. In 2014 he was a national panelist for the YoungArts competition and awards. He currently resides in Miami, FL.
Having fallen in love with classical music at a very young age, Tim Gemesi has been passionately singing since the age of 11. He spent all of his middle and high school years participating in programs such as the Sarasota Youth Opera, Booker High School’s program for Visual and Performing Arts, and the Sarasota Choral Society.
In 2005, at the age of 12, Tim was thrilled to join the Sarasota Choral Society and sing alto next to his mother, later as a tenor next to his father and older brother. Since then he has performed the choral portions of Handel’s Messiah over five times.
Currently a fifth-year double-degree student at Oberlin College and Conservatory, Tim plans on graduating next May with a degree in Vocal Performance and a degree in Anthropology. He held his Opera debut singing the role of Collatinus in Benjamin Britten’s Rape of Lucretia, and has had minor roles in Verdi’s Rigoletto, Kurt Weil’s Street Scene, and Donizetti’s L’elisir d’amore.
Tim feels very honored to be back as the bass soloist, a role he always admired as a child.