Three Decembers

The Atlanta-based Taiwan native has delighted audiences with her brilliant approach to classical music. Seeking to democratize classical music by creating opportunities for diverse voices, Ting is recognized forher empathic leadership and advocacy for equity within the music industry.

This 2025-26 season, Ting returns to The Atlanta Opera and conducts the world premiere of Water Memory, the second world premiere of TAO commission she is leading. Early this season, she guest conducted Georgia Philharmonic with critical acclaims. In the previous seasons, she joined Staatsorchester Rheinische Philharmonie and Maestro Sergi Gili Solé as assistant conductor for a sold-out performance of Verdi’s Requiem at the Philharmonie Berlin in June 2024, and conducted Opera Orlando’s season opening production of Die Zauberflöte.

An award winner at the Mendelssohn Conducting Competition and the Kussewitzky Competition, Ting previously has led ensembles including the Peabody Youth Orchestra, Rochester Philharmonic, Augusta Symphony, Cincinnati Sinfonietta, BBC Concert Orchestra, Opera Philadelphia, the St. Petersburg Chamber Orchestra, and orchestras in Switzerland, France, Norway, Germany, Croatia, and Honduras.

An alum of The Dallas Opera Hart Institute for Women Conductors, Ting has won the Bruno Walter Memorial Fellowship, and was a quarterfinalist in the second edition of Paris’s La Maestra Conducting Competition.

An advocate of new music and a past Conducting Fellow at the Cabrillo Festival of Contemporary Music, Ting has conducted over twenty world premieres and has continued to champion living composers by actively commissioning large ensemble works.

Ting has been lauded for her leadership in equity and diversity initiatives in the field of classical music as a panelist with And We Were Heard, co-founder of The ADORE Project, founder and Artistic Director of Girls Who Conduct, and host of The Conductor’s Podcast, a space Ting created for conductors and students alike to learn more about the profession. Learn more at ChaowenTing.com 

Recent directing projects include productions of La Bohème for Portland Opera, Opera Grand Rapids, and Opera Carolina. Other recent productions include Carmen and The Elixir of Love for Charlottesville Opera.

Cara is passionate about New Work and has directed nine world premieres; Bernadette’s Cozy Book Nook by Joe Illick and Mark Campbell for Fort Worth Opera, Inheritance by Lei Liang and Matt Donovan at UC San Diego, Our Trudy by Anna Pidgorna and Maria Reva for Ad Astra Music Festival, Let’s Celebrate, three short chamber operas for White Snake Projects, I Give You My Home by Beth Weimann for Guerilla Opera, and The Leader by Karim Al-Zand and Kassandra by Anthony Brandt and Neena Beber, which both premiered at Opera in the Heights.

Cara has also directed new productions of contemporary operas: Glory Denied, After Life, Scalia/Ginsburg, The Last American Hammer, Penny, Second Nature, and An American Dream.

Other directing highlights include Hydrogen Jukebox at Chautauqua Opera Company, Rigoletto for HALO, Suor Angelica at Tri-Cities Opera, The Threepenny Opera for Syracuse Opera, The Sound of Music for Charlottesville Opera, The Elixir of Love for Piedmont Opera and Il Trovatore for Opera in the Heights.

As a teacher and guest director, Cara has taught at Oberlin Conservatory, The Boston University Opera Institute and directed productions for Loyola University at New Orleans, The Cleveland Institute of Music, UC San Diego, Depauw University and The Hartt School of Music.

Cara brings her extensive performance background and training as a dancer, actor, and singer to her work. She earned a BA in Dramatic Art and Dance from University of California at Berkeley. She pursued advanced acting training with the American Conservatory Theater and Williamstown Theater Festival and completed three years of post-baccalaureate studies in vocal performance at SUNY Fredonia.

Cara is a co-founder of Hup! Productions. Her feature film debut, For the Love of Friends, is currently streaming on PBS Passport. Other film directing projects include narrative short films C.I.T., and Dry. Cara is a producer and co-story writer of the horror comedy feature film Camp Wedding, distributed by Gravitas Pictures. She has also produced and directed many tribute videos, promotional videos, and behind the scenes mini-docs for the NEA Opera Honors, the NEA Jazz Masters, OPERA America, and the American Composers Orchestra. Learn more at caraconsilvio.com

She has appeared in the world premieres of Charles Wuorinen’s Haroun and the Sea of Stories with New York City Opera, Jeremy Howard Beck’s The Long Walk with Opera Saratoga, and Mark Adamo’s Becoming Santa Claus with The Dallas Opera. Her contemporary repertoire also includes Jan Arnold in Everest with Austin Opera, GPS in Embedded with Charlottesville Opera, Jo in Little Women with Madison Opera, and Khave in American Lyric Theater’s concert workshop of Alex Weiser and Stephanie Fleischmann’s Tevye’s Daughter, the premiere of Fierce Grace: Jeannette Rankin, a song cycle commissioned by OPERA America, at the Library of Congress among many others. 

Johnson has performed with the Metropolitan Opera, New York City Opera, Boston Lyric Opera, The Dallas Opera, Glimmerglass Opera, Sarasota Opera, Austin Opera, Madison Opera, Chautauqua Opera, Opera Saratoga, Opera Southwest, Baltimore Concert Opera, Eugene Opera, Mill City Summer Opera, Nashville Opera, Charlottesville Opera, and Germany’s Volkstheater Rostock. Her Metropolitan Opera appearances include Parsifal, Adriana Lecouvreur, Hänsel und Gretel, A Midsummer Night’s Dream, and Laura in Luisa Miller.

Her repertoire encompasses the title roles in Carmen, Tancredi, La Cenerentola, and Lizzie Borden; Rosina in Il barbiere di Siviglia; Despina in Così fan tutte; Suzuki in Madama Butterfly; and Elizabeth Proctor in The Crucible. With Boston Lyric Opera, she has earned acclaim as Dinah in Trouble in Tahiti, Baba the Turk in The Rake’s Progress, and the title character in Lizzie Borden, also performed at the Tanglewood Festival. Additional roles include Hermia in A Midsummer Night’s Dream, Zerlina in Don Giovanni, Maddalena in Rigoletto, Meg Page in Falstaff, Flora in La traviata, and the Page in Salome. At Chautauqua Opera, she sang La Musica, La Messaggera, and La Speranza in the U.S. stage premiere of Respighi’s realization of Monteverdi’s L’Orfeo.

On the concert stage, Johnson has appeared with the Minnesota Orchestra, National Arts Centre Orchestra under Pinchas Zukerman, Boston Pops Orchestra, Opera Orchestra of New York, New York Choral Society, The Washington Chorus, State College Choral Society, Westerly Chorus, Ars Antiqua, New York Festival of Song, and Wintergreen Music Festival, as well as the Metropolitan Opera’s Summer Recital Series. Concert highlights include Berlioz’s Les nuits d’été and L’Enfance du Christ, Beethoven’s Ninth Symphony, Mendelssohn’s Lobgesang and Elijah, Honegger’s King David, Mozart’s Requiem and Mass in C Minor, Vivaldi’s Gloria, Haydn’s Harmoniemesse, and Robert Cohen’s Alzheimer’s Stories at Carnegie Hall. She made her Italian debut in Rossini’s Stabat Mater under Paolo Olmi in a performance broadcast on RAI 1. Her performance of a world-premiere arrangement of Grieg’s Haugtussa with Brooklyn Rider at the Stillwater Music Festival was featured on NPR’s Performance Today.

A passionate teacher of voice and mentor to emerging composers and librettists, Johnson serves as Chair of Voice at Wintergreen Music Festival. She holds a master’s degree from Manhattan School of Music and a Bachelor of Music from St. Olaf College. A Minnesota native, she lives in New York with her family.

This season, she returns to Atlanta as Barbarina in Le Nozze di Figaro, makes her musical theater debut as Sarah in Ragtime with Opera Montana, and returns to Opera Baltimore as Yniold in Pelléas et Mélisande.

Last season featured a series of notable debuts, including Musetta in La Bohème at Opera Montana, Satirino/L’Eternità in La Calisto at the Glimmerglass Festival, and Jess in The Listeners with Opera Philadelphia. She also joined the Greenville Symphony as soprano soloist in Beethoven’s Ninth Symphony and closed the year as Papagena in Die Zauberflöte with The Atlanta Opera.

Other recent highlights include Zerlina in Don Giovanni with Opera Philadelphia and the world premiere of Steele Roots for Atlanta Opera’s 96-Hour Opera Project. Sheriff joined The Atlanta Opera Studio in 2023 following her time as a Young Artist at the Glimmerglass Festival, where she premiered the role of Calista in Rip Van Winkle.

In 2022, Sheriff won first prize in the prestigious Lotte Lenya Competition and appeared with Opera Delaware and Opera Baltimore. Additional credits include performances with Des Moines Metro Opera, Florida Grand Opera, and Seagle Music Colony, where she was acclaimed for her Susanna in Le Nozze di Figaro.

With a repertoire that spans from Mozart to contemporary premieres, Sheriff is recognized for her dynamic versatility, luminous voice, and compelling stage presence.

Last season, Mr. Myer joined Brooklyn Art Song Society for recitals featuring selected sacred songs from Hugo Wolf’s Spanische Liederbuch. He also sang Youssef Biboldo in Llantos 1492 with Opera Southwest, the title role in Don Giovanni with the Cleveland Institute of Music, and Dandini in La Cenerentola with Wichita Grand Opera. In the 2025-2026 season, Mr. Myer sings Belcore in L’elisir d’amore with Opera Modesto, Sacristan in Tosca with Opera Delaware/Opera Baltimore, Eisenstein in Die Fledermaus with Cedar Rapids Opera, and Ponchel in Silent Night with Opera Orlando, where he recently sang in concert as part of The Three Baritones. He also returns to Opera Delaware as Mathieu in Andrea Chénier. In concert, he sings as a soloist for Lyric Fest featuring works by Ravel, Caplet, Fauré, Weill, Polignac, and Porter, joins Lima Symphony Orchestra as a soloist for Carmina Burana, makes a return to Brooklyn Art Song Society to sing Brahms’ Die schöne Magelone, and sings a Spanish version of Brahms’ Requiem with Opera Southwest. 2026-2027 engagements include returning to Eisenstein with Knoxville Opera and joining Brooklyn Art Song Society in recital. 

Known for delivering hefty “panache” in many of opera’s favorite baritone roles (Broadway World), Mr. Myer tackled another Figaro with his performances at Tri-Cities Opera last season, marking fourteen performances in the title role in Il barbiere di Siviglia: in his debut with Opera Delaware and Opera Baltimore, in a bilingual version of the opera with Atlanta Opera, and as a resident artist with Opera San José and Florida Grand Opera. He also sang Fiorello and Bert (formally known as Berta) in a new production with Opera Orlando. Regarding his performance with Opera San José, James Sohre from Opera Today wrote: “I cannot recall encountering anyone in my many years of seeing this piece who exhibited anywhere near such a total command of the role, the style, the joyous abandon.” Neither a stranger to Le Dancaïre in Carmen, he has offered twelve performances with five different companies: Atlanta Opera, Grand Teton Music Festival, Hawaii Opera Theatre, Opera Las Vegas, and the Phoenicia Festival of the Voice. He has sung Papageno in Die Zauberflöte with Opera Orlando, Norwalk Symphony Orchestra, Opera Naples and Opera San José, Eisenstein in Die Fledermaus at the Bar Harbor Music Festival, Count Almaviva in Le nozze di Figaro with Tri-Cities Opera and Syracuse Opera, Second Nazarene in Salome with Bard Symphony Orchestra, and Dandini in La Cenerentola with Opera Las Vegas. Other roles include Masetto in Don Giovanni, Mercutio in Roméo et Juliette, Guglielmo in Così fan tutte, Moralès in Carmen, Shaunard in La bohème, Yamadori in Madama Butterfly, Dr. Falke in Die Fledermaus, Second Priest in Die Zauberflöte, Angelotti in Tosca, Maximilian in Candide, Snowboy/Big Deal in West Side Story, and the cover of Mr. Peachum in The Threepenny Opera. 

New works include several collaborations with New York City Opera including Alberto in the workshop and world premiere of The Garden of the Finzi-Continis (Gordon/Korie). For Alberto, Theatre Criticism writes: “Myers possesses an impressive baritone that fits beautifully with Gordon’s more sumptuous passages.” He exhibited “vocal depth” (The Wall Street Journal) as Young Erich in Ted Rosenthal’s jazz opera, Dear Erich; and as Carlos in the world premiere of Stonewall by Iain Bell and Mark Campbell, he showed “a lush voice that never sounded strained, even in the tensest moments” (Parterre Box). He joined the roster of The Metropolitan Opera as the cover of Marcellus/Player 4 in Brett Dean’s Hamlet, and has sung the leading role of Rey in Before Night Falls with Opera Southwest, David Miller in Approaching Ali and Leo Stein in Ricky Ian Gordon’s 27 with Opera Las Vegas, Milcom Negley in The Last American Hammer with Opera Grand Rapids, and the Minister in the US premiere of Alma Deutscher’s Cinderella, Alessandro/Enrico and Gino Carella in the world premiere of Mark Weiser’s Where Angels Fear to Tread, and Ponchel in Kevin Puts’ Silent Night with Opera San José. In high demand as a recitalist, Mr. Myer has presented Wolf’s Mörike lieder with the Brooklyn Art Song Society and joined Opera Delaware and Opera Baltimore for an LGBTQ+ themed recital. His song performances have included selected works by Gurney and Finzi with the Brooklyn Art Song Society, his New York Festival of Song debut in their “NYFOS Next” series performing new works by Mark Campbell, and solo recitals and concerts with Opera Las Vegas. He has sung as the baritone soloist in the Neue Liebeslieder Waltzes, Carmina Burana, Mozart’s Requiem and Coronation Mass, Milhaud’s Cantate de Psaumes, Bach’s Magnificat and Christmas Oratorio, and Rutter’s Mass of the Children in venues across North America. He performed as a member of “The Three Baritones” to sold-out audiences with Opera Orlando, whose album Christmas Around the World is available worldwide. He made his Asian debut with Jakarta Symphony Orchestra and sang with American Lyric Theater for InsightALT: Opera in Eden at Merkin Hall.

Mr. Myer is the recipient of awards from Chautauqua Opera, first place prizes in the National Association of Teachers of Singing (NATS) competitions in both Ohio and his native Nevada, and the Albert Rees Davis Scholarship from the Singers Club of Cleveland. Mr. Myer was engaged as a Resident Artist with Opera San José, Florida Grand Opera, and Chautauqua Opera, and has participated in outreach programs with the Palm Springs Opera Guild. Mr. Myer holds Bachelor’s degrees in Music Education and Romance Languages from University of Nevada Las Vegas and a Master’s degree in Vocal Performance from the Cleveland Institute of Music.