FIGARO! Concert Finale Featured Artists

Don Curzio

Matthew Cimino was last seen with the Norwalk Symphony as the smuggler Remendado in their production of Carmen. Other performing credits have included Oronte in Alcina, Count Almaviva in Il Barbiere di Sivigla and Pedrillo in Die Entfuhrung aus dem Serail (HillHouse Opera) as well Ralph Rackstraw in The Sorcerer, Nanki-Poo in The Mikado and Alfred in Die Fledermaus (Trouper’s Light Opera). In addition to performing, Matthew is the assistant director of Liturgical Choir at Sacred Heart University, adjunct professor of voice at Southern Connecticut State University and a private piano teacher. He holds a Master's of Music in Vocal Performance from the University of Connecticut as well as a Bachelor’s in voice from the New England Conservatory of Music in Boston.


A well-known bass-baritone in Connecticut, Michael Costantino’s singing spans a wide range of styles and roles. He is equally adroit across the many operatic roles he has performed (Papageno to Pasquale to Tonio), his musical theater favorites (Lord Chancellor to Lancelot to Jesus), American song (Ives to Rorem to Hoiby), and jazz... and crafts solo recitals that mix them all up. Festooned with a liberal wit, a high metabolism, and a Type A streak, the stage is a natural outlet for his ridiculousness. Costantino also arranges, conducts, composes, acts, directs, teaches, does voice-overs, and is a digital recording engineer, all the while holding down a career as a User Experience Architect for Warner Music Group. His undergraduate degrees are in Music and Astrophysics from Williams College, where he also received a fellowship for creative work, and his graduate degrees are in Voice and Conducting from the University of Michigan. He is married, still plays ultimate frisbee, and enjoys backpacking with his son.


Known for her “serenely captivating” operatic presence “and disarming intimacy,” (NY Times),  Abigail Fischer has made a vibrant career starring in contemporary operas such as Missy Mazzoli's Song from the Uproar and Du Yun's 2017 Pulitzer Prize-winning Angel's Bone, as well as in more classic operas such as the title roles in Carmen and Cenerentola, with companies such as Los Angeles Opera, Chautauqua Opera and Cincinnati Opera.  Ms. Fischer has performed as a soloist with the Boston Symphony Orchestra, Los Angeles Philharmonic, Kansas City Symphony, Milwaukee Symphony, Columbus Symphony, Rhode Island Symphony and Virginia Symphony. As an early music performer, she has worked with the American Bach Soloists, Rebel Baroque, Early Music New York, Boston Baroque and Mercury Houston. In 2017 she made her Italian stage debut in Bolzano, Italy in Toshio Hosakawa's The Raven, a setting of the Edgar Allan Poe text. She has sung the title role in Britten's Rape of Lucretia with Opera Memphis, Testo in Monteverdi's Il Combattimento with Gotham Chamber Opera, and premiered Lee Hoiby's This is the Rill Speaking with American Opera Projects. Originally trained as a cellist, Ms. Fischer has worked often as a vocal chamber musician, from the Marlboro Music Festival and Chamber Music Northwest, to St. Luke's Chamber Ensemble. She has premiered Elliott Carter's Mad Regales and Bernard Rands' Walcott Songs at the Tanglewood Music Festival, numerous John Zorn chamber works all over the world including the Lincoln Center Festival, and Nico Muhly's Elements of Style, also at Lincoln Center. She is a graduate of the Eastman School of Music (MM), Vassar College (BA) and Lorenzo di Medici in Florence, Italy.


Spencer Hamlin has been praised by Opera News for his “dazzling Italianate voice” and “scintillatingly smooth leggiero tenor” after performances of Tonio in La Fille du Régiment and Alfred in Die Fledermaus with Martina Arroyo’s Prelude to Performance series. This summer, Hamlin returned to Prelude, singing Rinuccio in Gianni Schicchi. Hamlin recently made his New York City Opera debut as Detective Thibodeau in the New York premiere of Tobias Picker’s Dolores Claiborne. After hearing Hamlin as Nemorino in UConn Opera Theater’s production of L’Elisir d’Amore in February 2015, the Pulitzer Prize winning former Washington Post music critic Tim Page wrote: “Spencer Hamlin has a sweetly lyrical high tenor voice, which he deploys with immaculate taste, and his acting is communicative and persuasive.” Hamlin received his masters degree from the University of Connecticut where he studied under Dr. Constance Rock. Other roles have included Ernesto in Don Pasquale, The Witch in Hansel and Gretel, Almaviva in Il barbieri di Siviglia, the title role in Albert Herring, Henrik in A Little Night Music, Tamino in Die Zauberflöte, Judge Danforth in The Crucible, Laurie in Little Women, and Percy Grainger in the U.S. Premier of Justin Dello Joio’s Blue Mountain. Hamlin has performed with New York City Opera, Martina Arroyo’s Prelude to Performance series, Connecticut Lyric Opera, Opera Theater of Connecticut, Hartford Opera Theater, Wendy Taucher Dance Opera Theater, Hartford Symphony Orchestra, Rhode Island College Symphony Orchestra, and various ensembles at the University of Connecticut.


Mary Petro Noonan received a Bachelor of Music from DePaul University and a Master of Music from Yale University. Mary made her Houston Grand Opera debut in the world premiere of Harvey Milk. Other 20th Century roles include Female Chorus in Britten’s Rape of Lucretia and Miriam in Lee Hoiby’s The Scarf. A versatile and curious artist, Mary expanded her repertoire to include Iolanta in Tchiakovsky’s Iolanta, Tatyana in Eugene Onegin as well as Yum Yum in Gilbert and Sullivan’s Mikado. She has been seen by New York audiences as Mimi in La Bohéme, Margarita/Helen of Troy in Mephistofele, Micaela in Carmen, Desdemona in Otello, Georgetta in Il Tabarro, Nedda in Pagliacci and the title roles in Tosca, Suor Angelica and Dona Flor. She has appeared in concert at Alice Tully Hall with the Licia Albanese Puccini Foundation and made her Carnegie Hall debut singing Pamina in The Magic Flute with the New England Symphonic Ensemble. For international audiences, Mary has sung Pamina for the Rome Festival Opera, Margarita in Mephistofele in Tel Aviv, Israel, and Mimi in Castres, France. As an orchestral soloist, she has performed Barber’s Knoxville: Summer of 1915 at the Kennedy Center in Washington, D.C., the Garden State Philharmonic in NJ and the Chappaqua Orchestra, and Barber’s Andromache’s Farewell and Mercedes in Carmen with Norwalk Symphony in CT. Mary is a winner of the Metropolitan National Council Auditions and The Bel Canto Foundation Competition. She has spent the past 10 seasons in the extra chorus of the Metropolitan Opera and traveled with their tour to Tokyo, Japan. Mary recently returned from Cornwall, England where she served a week long residency as guest soloist at Truro Cathedral. She has performed similar residencies at cathedrals in Chester and Norwich.


Alexander Patrie has played many roles both on stage behind the conducting podium.  Patrie is the Music Director (K-8) at St. Aloysius School in New Canaan. He is also the bass section leader/cantor for the Chancel Choir at St. Peter Church in Danbury, CT. Patrie has also held many lead operatic roles including Frank Maurrant (Street Scene), Sarastro (Die Zauberflote), and Count Almaviva (Le Nozze di Figaro).  Since graduating from Western Connecticut State University, Patrie has held numerous conducting positions with various groups and has performed in a wide variety of spaces in and around the state. He is also an actively performing soloist, having performed with the Hartford, Waterbury, and Danbury Symphony Orchestras. Patrie is an avid collector of scores and is currently in the process of creating the Truth Memorial Music Library in New Canaan, CT.


Since making his operatic debut as Sparafucile in Verdi’s Rigoletto, Colin’s “majestic, orotund, ravishing bass” (Opera Today) has been heard in repertoire spanning continents and centuries. The 2016-17 season finds him making his company debut at Opera San Jose as Raimondo in Lucia di Lammermoor. He continues his residence in San Jose reprising Colline in La Bohème and Basilio in Il Barbiere di Siviglia. He will also make his role debut as Father Palmer in the West Coast Premiere of Kevin Puts and Mark Campbell’s Pulitzer Prizewinning Silent Night.  2016-17 will also feature several concert debuts including the Verdi Requiem with the La Jolla Symphony, and Dvorak’s Stabat Mater with the Berkeley Community Chorus and Symphony. Colin’s past performances have brought him to the stages of Seattle Opera, Opera Santa Barbara, Wolf Trap Opera, Austin Opera, Sarasota Opera, Des Moines Metro Opera, The St. Paul Chamber Orchestra, and Los Angeles Philharmonic. He has been featured as Alidoro in Rossini’s La Cenerentola, Collatinus in Britten’s The Rape of Lucretia, Seneca in Monteverdi’s L’incoronazione di Poppea, Mr. Kofner in Menotti’s The Consul, Il Frate in Verdi’s Don Carlo, Angelotti in Tosca, the Sprecher in Mozart’s Die Zauberflöte, Giorgio in the US Premiere of Paisiello’s rarely performed Nina, and as a “sonorous” (Classical King Seattle) Cadmus and Somnus in Handel’s Semele. Colin also continues to make strides in the Symphonic world. The St. Paul Pioneer Press said of Colin’s Messiah performance: “At the other end of the sonic spectrum was bass Colin Ramsey, who had tremendous power and clarity in his lowest notes, making “Why do the nations so furiously rage” into the kind of attention-grabbing interlude that Handel likely intended”. His concert repertoire also includes Jesus in Bach’s St. Matthew Passion, Rossini’s Petite Messe Solennelle, and the Bass solos in Handel’s Messiah, the Faurè Requiem, Beethoven Choral Fantasy and the Brahms Requiem. He is a winner of the Pasadena Opera Guild Competition, 3rd Prize winner in the Rocky Mountain Region of The Metropolitan Opera National Council Auditions and an Encouragement Award winner in the George London Foundation Competition. Colin has been trained at numerous young artist programs including those of Des Moines Metro Opera, Wolf Trap Opera, Sarasota Opera, Opera Santa Barbara and the Crested Butte Music Festival performing and understudying a number of roles and working with leading professionals in the classical field. He is an Alumnus of The Manhattan School of Music where he attended as a Presidential Scholar and Theodore Presser Foundation scholar. Upon graduating, he was honored by the Hugh Ross Award, given annually to a “singer of unusual promise.” Born New York City, Colin currently makes his residence in San Jose, CA.


Praised by Opera News for his “lovely timbre”, and “dramatic timing”, as well as the Washington Post for his “rich and gleaming” voice, Trevor Scheunemann quickly established himself as one of opera’s leading baritones. This season, Scheunemann performs Enrico in Lucia di Lamermoor with Florida Grand Opera and Ned Keene and Peter Grimes in a return to L’Opéra de Monte Carlo; sings Guglielmo in a concert performance of Così fan tutte, Count Almaviva in Le Nozze di Figaro with Charlottesville Opera and Norwalk Symphony Orchestra, and Händel’s Messiah with National Philharmonic and Britten’s War Requiem with Lehigh University; and returns to The Metropolitan Opera for Le Nozze di Figaro. Scheunemann is in demand at revered houses around the world for his thoughtful, original portrayals of opera’s leading baritones. Highlights of his resume include performances as Sharpless in Madama Butterfly with Théâtre du Capitol de Toulouse, Washington National Opera, and Teatro Municipal Santiago; Count Almaviva in Le Nozze di Figaro with San Francisco Opera, Washington National Opera, and Opéra National de Bordeaux; Guglielmo in Così fan tutte with Oper Frankfurt and Washington National Opera; the title role in Don Giovanni with L’Opéra de Monte Carlo; Escamillo in Carmen with Ópera de Puerto Rico; and Marcello in La Bohème at Atlanta Opera and Washington National Opera. After joining the roster of The Metropolitan Opera as Curio in Giulio Cesare, Scheunemann enjoyed several return engagements including a new production of Un Ballo in Maschera under Fabio Luisi, which was also broadcast as part of the Metropolitan Live in HD series; Morales in the new production of Carmen conducted by Yannick Nézet-Séguin; Schaunard in La Bohème; a new production of Guillaume Tell; and Sid in La Fanciulla del West. Additionally, he headlined The Met’s Rising Stars Tour in concert across the United States. In recent seasons, he made his San Francisco Opera début as Jake Wallace in La Fanciulla del West conducted by Nicola Luisotti; appeared at L’Opéra de Monte Carlo as Donner in Das Rheingold;  performed Rameau’s Dardanus with Emmanuelle Haïm at Opéra de Lille; and joined the Glyndebourne Festival as Mercurio in L’Incoronazione di Poppea conducted by Emmanuelle Haïm, in Graham Vick’s Eugene Onegin under the baton of Vladimir Jurowski, and as Melot in Tristan und Isolde, which was commercially released on CD. Mr. Scheunemann is also a champion of new and contemporary works. He originated roles in several productions including: Joe in Christopher Theofanidis’s Heart of a Soldier, inspired by the events of 9/11 and under the direction of Francesca Zambello at San Francisco Opera; der Graf F in René Koering’s adaptation of Heinrich von Kleist’s novella Der Marquise von O with L’Opéra de Monte Carlo; as well as Sgt. Marcum in Huang Ruo and David Henry Hwang’s An American Soldier and Gary Tate in Douglas Pew and Dara Weinberg’s Penny, both as part of the American Opera Initiative at Washington National Opera. A seasoned concert artist, Scheunemann possesses a diverse repertoire of oratorio and recital work. Favorite engagements include Carmina Burana under the baton of Kent Nagano with the Montreal Symphony; Brahms’ Ein Deutsches Requiem, Dvořák’s Stabat Mater, Vaughan Williams’ Dona nobis pacem, Britten’s Cantata Misericordium, and Purcell’s Come, Ye Sons of Art with The National Symphony; and Copland’s Old American Songs with Kansas City Symphony and Fairbanks Symphony Orchestra. Other concert highlights include performances of Händel’s Messiah and the Requiems of Faure and Mozart. Mr. Scheunemann is a distinguished alumnus of the world-renowned Domingo-Cafritz Young Artist Program at Washington National Opera. He was featured in a variety of roles including Schaunard in La Bohème, Masetto in Don Giovanni under the baton of Plácido Domingo, Marco in Gianni Schicchi, Larry Landau in Sophie’s Choice, and a commissioned work by Marvin Hamlisch with Plácido Domingo and Kristin Chenoweth at the Washington National Opera Golden Gala.Awards to Mr. Scheunemann’s credit include the Washington National Opera Artist of the Year, the third-place winner in Plácido Domingo’s Operalia, and Sara Tucker Study Grant from the Richard Tucker Foundation.

Katherine Whyte – Soprano

Katherine Whyte has performed on opera and concert stages across her native Canada, the United States and Europe. Opera Today has hailed her for her “keen artistic sensibility” while the San Francisco Classical Voice has praised her “her glamorous, vibrato-rich voice”.  Last season included her debut with the Dallas Opera as Pousette in Manon, a return to the Metropolitan Opera Company for their production of Rigoletto, the Countess in Le nozze di Figaro with Opera Saratoga, and concerts with the Kaohsiung Symphony Orchestra and the Orchestra of China’s National Opera at the Meet in Beijing Arts Festival. The 2016-2017 season included her return to the Metropolitan Opera for productions of Jenufa and Rigoletto, a debut with the Edmonton Symphony for Handel’s Messiah, Fauré’s Requiem with Manhattan Concert Productions at Carnegie Hall, and her debut with the Qingdao Symphony Orchestra in China. This season sees her return to the Metropolitan Opera for Parsifal as well as appearing in concert with the Mountain View International Festival of Song in Calgary, Alberta. Ms. Whyte’s 2014-2015 season included returns to the Metropolitan Opera Company as Brigitta in Iolanta and Canadian Opera Company as Iris in Semele at the Brooklyn Academy of Music. Additionally, she was a recitalist with the Rising Star Recital series with the Metropolitan Opera Company and the Orquesta Sinfonica Nacional in Beethoven's 9th Symphony, sang the Countess in the Princeton Festival’s production of Le nozze di Figaro, and gave a concert at the Canadian Embassy in Beijing to celebrate 45 years of diplomatic relations between Canada and China. Her performances during the 2013-14 season included her Vancouver Opera debut as Donna Anna in Don Giovanni, Beethoven’s Mass in C Major and Stravinsky’s Pulcinella with the Houston Symphony, Carmina Burana with the National Chorale, Mozart’s Requiem with the Alabama Symphony Orchestra, and Handel’s Messiah with the New Choral Society. Ms. Whyte made her debut with Canadian Opera Company in the 2011-2012 Season in the title role of Iphigénie en Tauride and returned the same season as Iris in Semele. Following her Metropolitan Opera debut in 2007 in Strauss’ Die ägyptische Helena, she has returned to the company for productions of The GamblerThe Enchanted Island, Two Boys, and Parsifal. Her other recent operatic appearances include Gilda in Rigoletto with English National Opera, the Countess in Le nozze di Figaro with Virginia Opera and Opera Hamilton, Pamina in Die Zauberflöte with Michigan Opera Theatre, Euridice in Gluck’s Orfeo ed Euridice with Atlanta Opera, and Iphis in Handel’s Jephta with Opéra National de Bordeaux.  Ms. Whyte’s appearances on the concert stage include Mozart’s Requiem and Handel’s Messiah with the Houston Symphony, Neilsen’s Symphony No. 3 with the San Francisco Symphony, Beethoven’s Symphony No. 9 with the National Chorale and Arkansas Symphony Orchestra, Mozart’s Mass in C-minor with the Vancouver Symphony, Brahms’ Ein deutsches Requiem with the Orquesta Sinfónica Nacional de Costa Rica, Mendelssohn’s A Midsummer Night’s Dream with the Colorado Symphony, and Handel’s Messiah with the National Symphony Orchestra. The winner of the 2007 Alice Tully Recital Competition, Ms. Whyte made her Carnegie Hall debut in Solo recital at Weill Hall in 2008.


Soprano Christine Taylor Price, from Tulsa, Oklahoma, is currently in the Artist Diploma in Opera Studies (ADOS) program of the Marcus Institute for Vocal Arts at the Juilliard School, where she also earned a Master of Music in Vocal Performance in 2016. ADOS is an intensive two-year advanced studies program for highly gifted and experienced singers at the post-Master’s level, led by mentor and lead teacher Stephen Wadsworth. In 2017, Ms. Price was the soprano soloist in Mahler’s Symphony No. 4 with the Juilliard Orchestra at Alice Tully Hall conducted by Edward Gardner of the Bergen Philharmonic Orchestra, Norway. She was featured in the NYFOS sponsored ‘Caramoor’s Vocal Rising Star’ production and at Merkin Concert Hall, with Steven Blier accompanying. This past spring, Ms. Price was live-streamed in a Master Class at Juilliard with Emmanuel Villaume. In April, she sang Susanna in Le Nozze di Figaro at Opera in Williamsburg, Jorge Parodi conducting. She was a 2017 Gerdine Young Artist at Opera Theatre of Saint Louis and made a role debut as the Governess in The Turn of the Screw at Opera Columbus, directed by Stephen Wadsworth. Christine was also a soloist in the live-streamed master class with Metropolitan Opera Maestro Fabio Luisi at Juilliard.Ms. Price performed the title role of Pamina in Juilliard’s production of Die Zauberflöte, conducted by David Stern and directed by Mary Birnbaum. In May 2016, she proudly made her Carnegie Hall debut as soloist with the Cecelia Chorus of New York, Mark Shapiro conducting. She also sang Bastienne in Bastien und Bastienne at the San Diego Mainly Mozart Festival with the Mainly Mozart Festival Orchestra, Michael Francis, conductor.  In 2015-16, Ms. Price was soprano soloist in Bach’s Magnificat as part of the Music Before 1800 series, accompanied by the Juilliard 415 Orchestra, conducted by Richard Egarr. Additional credits include soloist in Music Sacra’s Songs of the Divine: a capella Masterworks including the Deutsche Motette under the baton of Maestro Kent Tritle at St. John The Divine Cathedral, and featured soloist in Joyce Di Donato’s livestreamed master class at the Juilliard School.  2014-2015 accomplishments include Songfest at Alice Tully Hall, curated by the Marcus Institute, accompanied by Juilliard Artistic Director and pianist Brian Zeger, featuring music set to the texts of Charles Baudelaire. Ms. Price sang Lucia in Britten´s The Rape of Lucretia at the Juilliard School, was a featured soloist in Argento’s Six Elizabethan Songs with the New World Symphony, as well as soprano soloist in Mendelssohn’s A Midsummer Night’s Dream with the New York Philharmonic’s Young People’s Concert at Avery Fischer Hall. By special invitation she sang in legendary soprano Renata Scotto’s master class for the Lindemann Young Artist Development Program at the Metropolitan Opera. In summer 2015, Christine was a studio artist at Wolf Trap Opera performing Lucien in Corigliano’s The Ghosts of Versailles and covering the role of Susanna in Mozart’s Le Nozze di Figaro. Christine Taylor Price earned her Bachelor of Music degree in Vocal Performance from the Manhattan School of Music, where she sang the title roles in the Manhattan Summer Voice Festival Production of Cavalli’s La Calisto and the Manhattan School of Music Senior Opera production of La Doriclea. In 2012, She made her Alice Tully Hall debut as the soprano soloist in Mahler’s Symphony No. 4 with the Juilliard pre-college orchestra conducted by Adam Glaser. A graduate of the Juilliard Pre-College Division, she studies voice with Edith Wiens. Previous teachers include Pamela Armstrong, Lorraine Nubar, Ashley Putnam, and Joan Patenaude-Yarnell. Upcoming: Zerlina in Don Giovanni and The Rose in The Little Prince at Tulsa Opera in 2019.


Lisl Wangermann is a first-year student at Yale from Dallas, TX. She attended Booker T. Washington High School for the Performing and Visual Arts, and she is now majoring in music. She has previously played Amahl in Amahl and the Night Visitors, Yum-Yum in The Mikado, Lauretta in Gianni Schicci, and Luigia in Viva La Mamma. She has also been in the chorus of Donizetti's Elisir D'Amore, Mozart's The Magic Flute, Humperdinck's Hansel and Gretel, and Rodgers & Hammerstein's Oklahoma!   Lisl would like to thank her voice teacher, Janna Baty, and everyone at the NSO, for providing her with this amazing opportunity!