by Gilbert & Sullivan
October 28, 2022 | 7:30 PM
October 30, 2022 | 2:00 PM
EGR Performing Arts Center
Season subscriptions now available.
Individual tickets go on sale July 30.
Eve Summer | Stage Director
Hailed “a rising star of stage directing [whose] approach to directing refreshes hope for the future of opera,” Eve Summer is a director, producer, and choreographer.
She has been described as having “a gift for translating classic symbolism into familiar detail with just enough flippancy to bring out the fun of the opera without skewing the emotional equation.” This summer Eve is in residence at Opera Saratoga directing The Barber of Seville. Some recent directing credits include The Glimmerglass Festival, Trouble in Tahiti; Opera Columbus, Tosca, Don Giovanni; Curtis Opera Theatre, Così fan tutte, Albert Herring; Opera Grand Rapids, Così fan tutte, The Mikado, Don Giovanni; Tulsa Opera, The Little Prince; Opera Orlando, The Tales of Hoffmann, Lizbeth; Opera Carolina, Don Giovanni; Connecticut Early Music Festival, Xerxes; A.J.Fletcher Opera Institute at UNCSA, Volpone; Opera Tampa & Opera in Williamsburg, The Pearl Fishers; MassOpera, Carmen; Boheme Opera New Jersey, Aida, Lucia di Lammermoor; and the world premiere of Larry Bell’s opera Holy Ghosts at the Berklee Performance Center.
Eve’s work has been called “eye-poppingly contemporary,” “a riveting, glorious production from beginning to end,” and “can only be described as brilliant.” Critics raved that her production of Xerxes was “a delight, and a testament to Summer’s gift for banishing stodginess from an art form too often seen as fossilized and elitist.” Critics hailed her recent Albert Herring at Curtis as “exuberant and delightful,” “a drawing room tour de force,” and declared “It is hard to imagine how the performance could have been improved. It was sensational.” Her style is naturalistic, modern, and rooted in the visceral truthfulness of stage plays where she started her directing career. Her theater productions have included The Merry Wives of Windsor, Extremities, A Midsummer night’s Dream, The Woolgatherer, ‘Art,’ Two Gentlemen of Verona and her own play Neighbors, an adaptation of the novel of the same name by Thomas Berger.
A former professional ballet dancer and choreographer, Eve’s choreography credits include a commission to choreograph a new ballet, Jeanne’s Fantasy, by composer Mark Warhol for the premiere with Contrapose Dance and Fort Point Theatre Channel, Elektra at Des Moines Metro Opera, Falstaff at Opera Colorado, and Don Giovanni at Boston Opera Collaborative. She recently collaborated with renowned choreographer Karole Armitage on the critically acclaimed American premiere of Philip Glass’ Opera-Ballet The Witches of Venice at Opera Saratoga. Eve has served as staff director and choreographer at many opera companies including Boston Lyric Opera, The Glimmerglass Festival, Des Moines Metro Opera, Opera Colorado, Tulsa Opera, Opera Saratoga, and Opera Boston.
Austin McWilliams | Conductor
Austin McWilliams, conductor and countertenor, strives to present compelling, intriguing music that is directly relevant to the communities in which it is performed.
He is the Associate Conductor and Director of Music Education at Opera Grand Rapids, where he acts as both chorus master and head of the contemporary opera series dedicated to marginalized communities. In 2022 he conducted the world premiere of Frances Pollock’s Stinney about George Stinney, a 14-year-old black boy who was wrongfully convicted and executed in 1944. Austin is also an Adjunct Professor of Choral Studies at Western Michigan University, where he conducts the university operas and choral ensembles and teaches several courses. He is the choir director at Fountain Street Church, a non-denominational, non-creedal institution that serves as a venue for radical speakers and ideologies, and is Co-Artistic Director of the Ad Astra Music Festival, a classical music festival in Russell, Kansas, known for its innovative and unique programming. In 2021 at Ad Astra he conducted the world premiere of Anna Pidgorna’s new opera Our Trudy about the life of a local art teacher. He is a faculty member at Missouri Scholars Academy, an annual, month-long governor’s school for gifted high school juniors in his native state. In 2019, Austin earned a Master of Music degree in choral conducting at WMU under Kimberly Dunn Adams. There he designed a recital on HIV/AIDS awareness in collaboration with several community organizations, and he earned the School of Music Graduate Award for Excellence in Teaching. Austin graduated in 2017 from the University of Illinois at Urbana-Champaign with a Bachelor of Science degree in computer engineering.
Steven Condy | Major General Stanley
The Washington Times enthused that he has “the comic timing of John Candy and a voice that remains flexible, rich and true through every intricacy,” and Anthony Tomassini of the New York Times offered that he would “vote the prize for the most naturally clear diction of the cast to the hardy baritone Steven Condy.”
Renowned for his interpretation of Dr. Bartolo in Il barbiere di Siviglia, recently, the Boston Music Intelligencer raved of his “most delightfully surprising and truly brilliant performance…the agility of his voice, not only in negotiating the vocal roller-coasters, but also in creating comically nuanced coloring, combined with his clumsily agile physicality and an edgy-but-not-threatening delivery of the role as a whole, stole the show. Based on his performance, the opera might well be re-titled Don Bartolo.” He performed the role at Houston Grand Opera, San Francisco Opera, Washington National Opera, Boston Lyric Opera, Portland Opera, Madison Opera, Opera Memphis, Virginia Opera, Sarasota Opera, and Austin Lyric Opera, among many others.
The title role in Verdi’s Falstaff is another signature role in Mr. Condy’s repertoire, which he performed at companies such as Utah Opera, Indianapolis Opera, Chautauqua Opera, Kentucky Opera, and most recently, Opera San Jose. Of his Falstaff, Opera News hailed: “Dominating the proceedings was Steven Condy’s hilariously larger-than-life yet totally believable and sympathetic Sir John. Condy never let his skillful embodiment of the fat knight’s physical and behavioral grotesqueries affect the inherent beauty of his singing; his warm, manly tone, fine legato and ready mezza voce reminded one just how squarely within the bel canto tradition the role of Falstaff lies.”
As a concert artist, Condy graces stages throughout the country earning critical acclaim. From his recent appearance as a soloist in Beethoven’s Ninth Symphony with the Lincoln Symphony, The Lincoln Journal Star wrote: “Baritone Steven Condy… began the poem that inspired the Ninth, his powerful voice booming through the hall.” Highlights of concert appearances include Handel’s Messiah with the Columbus Pro Musica Chamber Orchestra, Masterworks Chorus at Carnegie Hall, and La Orquesta Sinfónica del Principado de Asturias in Oviedo, Spain; Belshazzar’s Feast and Gordon Getty’s Plump Jack with New Mexico Symphony Orchestra; and gala concerts with the Indianapolis Symphony and the Orquesta Sinfónica Sinaloa de las Artes in Mazatlan, Mexico.
This season, he will perform the role of Scarpia in Tosca with Opera Carolina, as well as Major General Stanley in The Pirates of Penzance with Opera Grand Rapids. He holds a Bachelor of Music degree from the University of Hartford and a Master of Music degree from Yale University’s School of Music. He also holds the position of Music Recruitment and Events Coordinator at Cairn University, where he also serves as adjunct faculty and co-director of Opera Theater.
Andrew Potter | The Pirate King
Andrew Potter, bass has garnered increasing demand across the country for his larger-than-life stage presence and voice to match.
Of his recent performance in L’elisir d’amore, Opera Today hailed, “With his huge, all‐encompassing bass voice and precise comic timing he nearly stole the show.”
This past season, Andrew has been one of the lucky ones to be able to continue to perform, in addition to a series of virtual concerts, he joined Opera Santa Barbara as the title role in Don Pasquale, Pacific Opera Project as Sam in Trouble in Tahiti, Southern Illinois Festival for Covid fan Tutte, Mid-Ohio Civic Opera for Mozart Great Mass in C Major, Tulsa Opera for Gianni Schicchi, Indianapolis Opera for Don Giovanni, and Eugene Opera for The Magic Flute.
Next, he will perform René, King of Provence in Iolanta with Pacific Opera Project, Sparafucile in Rigoletto with Opera Orlando, Simone in Gianni Schicchi and Sam in Trouble in Tahiti with Mid-Ohio Civic Opera, and Belcore in L’Elisir d’Amorewith Livermore Valley Opera. He will also make a debut with Seattle Opera in 2023.
Previous engagements have included Prince Gremin in Eugene Onegin with Livermore Valley Opera, Poo-Bah in Mikadowith Opera Grand Rapids, Sulpice in Daughter of the Regiment and Dr. Dulcamara in L’elisir d’amore with Winter Opera St. Louis, Sherlock Holmes and the Case of the Fallen Giant with American Lyric Opera, The Bonze in Madama Butterflywith St. Petersburg Opera, Hunding in Die Walküre, Fafner in Das Rheingold and Colline in La bohème with Pittsburgh Festival Opera, Vodnik in Rusalka with Steamboat Opera, Osmin in Die Entführung with Opera Orlando, Colline in La bohème with Anchorage Opera and Indianapolis Opera, his Tulsa Opera début as The King in The Little Prince, Sarastro in The Magic Flute and Il Commendatore in Don Giovanni with Pacific Opera Project, the role of Death in the world premiére of Rick Sowash’s Death and the Everyman, Don Alfonso in Così fan tutte, and Escamillo in Carmen with Mid-Ohio Opera, and Simone in Gianni Schicchi, Sarastro in Die Zauberflöte and Ferrando in Il trovatore with Southern Illinois Music Festival.
Additionally, Andrew has performed across the country proficiently demonstrating the vocal power and sonority to sing such roles as Mephistopheles in Gounod’s Faust and Sarastro in Die Zauberflöte, the range and physicality to perform buffo roles like Don Bartolo in Il barbiere di Siviglia, Don Alfonso in Così fan tutte, Don Magnifico in Cenerentola; and the flexibility and agility to sing challenging Handelian roles including Zoroastro in Orlando, Ariodate in Serse, and Argante inRinaldo.
With years of studying under renowned teachers such as Rick Christman, Braeden Harris, and Kenneth Shaw; Andrew became a standout in mainstage roles at several of the nation’s most prestigious Young Artist programs such as Des Moines Metro Opera, St. Petersburg Emerging Artist Program, and the Tyler Young Artist Program.
Drake Dantzler | Frederic
Drake Dantzler is a frequent performer of opera, oratorio and song.
Mr. Dantzler was hailed in Opera News as “a real find: he has a voice of molten silver, immaculate musicianship and an expressive stage persona.” Mr. Dantzler appears across the country as a leading tenor in operatic roles such as Rodolfo, Almaviva, Alfredo, Tamino, Ernesto, Don Ottavio, and Gérard in Lakmé amongst others. He has performed with companies such as Opera Grand Rapids, Toledo Opera, Central City Opera, Des Moines Opera, Union Avenue Opera, Opera Theater of the Rockies, and others. Mr. Dantzler is an active promoter and performer of operetta, and he has extensively appeared across the country. Roles range from standards such as Frederick from The Pirates of Penzance,Nanki-Poo from The Mikado, Camille from The Merry Widow, and Eisenstein in Die Fledermaus, too less frequently seen roles like Verrada from Sousa’s El Capitan, Duke of Dunstable from Patience, and Count René in Lehar’s The Count of Luxembourg.
Concert engagements for Mr. Dantzler include numerous appearances as the tenor soloist in Handel’s Messiah with organizations across the country. His concert repertoire spans The Creation, Carmina Burana, the Britten Serenade for Tenor, Horn and Strings, the Mozart Requiem, the Evangelist in Bach’s St. Matthew’s Passion, Beethoven’s Ninth Symphony, and many other concert works. As a cross over artist, Mr. Dantzler appears with orchestras in Rodgers and Hammerstein galas.
Mr. Dantzler has presented recitals and master classes across the United States, with particular emphasis on modern musical programs, and he has presented research on voice science at academic conferences across the United States and Europe. Mr. Dantzler is on faculty at Oakland University where he teaches classical and contemporary voice, voice science, and directs the opera studies program.
Jennie Judd Reyes | Mabel
An avid soloist and collaborator, Reyes enjoys a diverse career in performing early works, contemporary music, sacred repertoire, musical theatre, art song, and opera.
Past performances include Cunegonde in Berstein’s Candide, Mabel in the Pirates of Penzance (Gilbert & Sullivan Opera Company of Chicago), Proserpine in Charpentier’s La descente d’Orphée aux enfers, Maria in The Sound of Music (Shadblow Theatre), soloist with the Illinois Valley Symphony Orchestra, ensemble in NOAH and Miracle of Christmas (Sight & Sound Theatres) and is a member of the Holland Bach Society and Vox GR, a professional choral ensemble in Grand Rapids.
Ms. Reyes was a young artist at the Janiec Opera Company where she received the Linda Candler Award for Outstanding Opera Student. She is a proud alumna of The University of Michigan (M.M. in Vocal Performance) and Wheaton College (B.M. in Vocal Performance) where she studied with Carmen Pelton, David Daniels, and Carolyn Hart. She resides in Holland, Michigan with her husband Eric, where she teaches voice lessons to young singers.
Diane Schoff | Ruth
Diane Rae Schoff, Mezzo-Soprano, is a regular character on stages around the Midwest.
In 2022, she returns to Opera Grand Rapids as one of her very favorite characters, Ruth, in their production of The Pirates of Penzance. Ms. Schoff returned to the newly named Detroit Opera (formerly Michigan Opera Theater) for their 21/22 season in their revival of the Original production of Frida and in Bliss at the historic Michigan Building Parking Garage, where singers and instrumentalists played and sang the same glorious 3 minutes of music from the end of Mozart’s Le Nozze di Figaro for 12 hours. In 2020, Ms. Schoff was honored to join Detroit Opera for her role debut of Zita in their production of Gianni Schicci. During her time in Michigan, having found an artistic home at Detroit Opera, Ms. Schoff has performed many roles including, the 2nd maid in Elektra, Natalia Trotsky in Frida, The 2nd Lady in Die Zauberflote and Aunt Cecilia in Little Women. Recent performances in surrounding areas include joining Opera Grand Rapids as Katisha in their production of The Mikado and Toledo Opera as the 3rd Lady in The Magic Flute and the Old Baroness in Vanessa. Ms. Schoff received high praise for her company and role debut with Opera Carolina as Marcellina in their 2017 production of Le Nozze di Figaro. Opera News said, “It would be hard to imagine a better portrayal of Marcellina, both physically and vocally than that of Diane Schoff.” Opera Carolina has hosted Ms. Schoff on many occasions delighting audiences with her “look that could drop a horse at 50 feet” (Toledo Blade) as The Duchess of Crackenthorpe in La Fille du Regiment and as Mme Larina in Eugene Onegin. Ms. Schoff can often be heard and seen in the Opera in the Parks with Detroit Opera’s outreach concerts and at Spirit Plaza. An avid performer of concert, oratorio, and classical works with orchestra, she recently debuted with Orchestra Sono as the alto soloist in Haydn’s Lord Nelson mass and the Schubert mass in G. Diane holds the honor of being a National Semifinalist in the Metropolitan Opera Competition, and is a graduate of the world renowned San Francisco Opera’s Merola apprentice program.