Season Finale: Beethoven Symphony No. 9 Featured Soloists

Amy Owens, Soprano, enjoys a diverse career in concert work, opera, new music, and alternative pop. She has appeared in concert in venues ranging from Wolf Trap to Carnegie Hall with renowned orchestras across the United States, including the National Symphony Orchestra, Utah Symphony, Reno Philharmonic, Omaha Symphony, Virginia Symphony, Buffalo Philharmonic, and New Mexico Philharmonic. Her operatic engagements have taken her to Santa Fe Opera, Wolf Trap Opera, Dallas Opera, Utah Opera, Central City Opera, On Site Opera, and others. She appears regularly with the New York Festival of Song, and she has collaborated with many composers including William Bolcom, Matthew Aucoin, Bright Sheng, and Paola Prestini. Her debut album of original music, HAETHOR, was recently released to acclaim in the electronica world. As a budding conductor, she was selected to participate in the Hart Institute for Women Conductors at Dallas Opera in 2018. She has received awards from several organizations, including the Sullivan Foundation, the George London Foundation, the Metropolitan Opera National Council Auditions, and the Santa Fe Opera. For more information, visit http://amyowenssoprano.com/

A true singing actor, Ann McMahon Quintero, Mezzo-Soprano, has never known a life without an audience to entertain. From her early days as a an instrumentalist, chorister, and dancer, she has evolved into a mezzo-soprano who enjoys a career on the operatic and concert stage where her rich voice has been praised for “warm, honeyed tones” (Baltimore Sun), and “fully nuanced” portrayals of characters ranging from Verdi’s Amneris, Azucena, and Mistress Quickly, to the Old Lady in Candide. In all she does, Ms. Quintero brings to the stage deep intelligence, brilliant artistry, and unmatched confidence.

Ann McMahon Quintero’s recent orchestral engagements have included appearances with Boston Baroque as soloist in Mozart’s Requiem, Beethoven’s Symphony No. 9, Haydn’s Requiem in C Minor, and in their annual Messiah. She has also sung Messiah with the Charlotte Symphony and the Alabama and National Symphony Orchestras. Ms. Quintero has performed as soloist for Beethoven’s Symphony No. 9 with the Williamsburg and Columbus Symphonies, and the Buffalo Philharmonic. She has also recorded Mahler’s Symphony No. 8 under the direction of Joann Falletta with the Virginia Arts Festival.

Nationwide engagements with The Defiant Requiem Foundation performing Hours of Freedom: The Story of the Terezín Composer and Defiant Requiem have brought Ms. Quintero to Chicago, Detroit, New York’s Lincoln Center and Carnegie Hall, and Boston Symphony Hall. She has also performed the Verdi Requiem with the Buffalo Philharmonic, Cathedral Choral Society Washington, Brevard Music Center, Berkshire Choral International, Southwest Florida Symphony, and the South Bend Symphony.

Ann McMahon Quintero is a 2006 winner of the Sara Tucker Study Grant from the Richard Tucker Music Foundation, placed in the Licia Albanese-Puccini Foundation International Vocal Competition, the George London Foundation, Sullivan Foundation, and was a semi-finalist in Plácido Domingo’s Operalia. She sang at the National Endowment for the Arts Opera Honors Inaugural Awards Concert in 2008. Ms. Quintero was a 2002 Grand National Finalist in the Metropolitan Opera National Council Auditions and made her first appearance on the Met stage in the Grand Finals Concert with Julius Rudel.

Tenor Peter Scott Drackley has been lauded by Opera News as having “showed vocal confidence [...] his luminous head voice blooming with expansive and penetrating phrases,” and by Opera Today as bringing "the performance to an awestruck standstill with his exquisitely (singing). He cuts a fine figure throughout the performance, with an intense stage presence”, Peter Scott Drackley has performed such operatic roles as Rodolfo in Puccini’s La Bohème, Gerald in Delibes’ Lakmé, Tom Rakewell in Stravinsky’s The Rake’s Progress, Male Chorus in Britten’s The Rape of Lucretia, and Alfredo in Verdi’s La Traviata, a role he partially performed in concert at the John F. Kennedy Center for Performing Arts.

Mr. Drackley is a frequent concert soloist, having sung in Handel’s Messiah, Schubert’s Mass in G, Mendelssohn’s Elijah, Beethoven’s Missa Solemnis, Mozart’s Requiem, and Beethoven’s 9th Symphony. He also debuted the role of Antonin Scalia in Derrick Wang’s Opera Scalia/Ginsburg at the Supreme Court, a concert that was featured on National Public Radio’s All Things Considered. 

A student of Alexandra LoBianco, Mr. Drackley has performed with the Utah Festival Opera, Skylight Music Theatre, Baltimore Concert Opera, the Strathmore Mansion, the National Cathedral, Teatro Grattacielo, Lyric Opera Baltimore, and as a soloist at Carnegie Hall. He recently made his role debuts as Il Duca di Mantova in Verdi's Rigoletto with Anchorage Opera in Alaska, and as Macduff in Verdi's Macbeth with Loft Opera in New York City. He also sang the tenor solo in Mozart's Requiem with the Lancaster Symphony, and returned to Sarasota Opera to cover Avito in Montemezzi's L'amore dei Tre Re, and returned to Santa Fe Opera as an Apprentice Artist to cover Edgardo in Donizetti's Lucia di Lammermoor and Alfred in Johann Strauss Jr.’s Die Fledermaus. 

Mr. Drackley recently triumphed in five role debuts in six months, including Riccardo in Verdi's Un Ballo in Maschera with Opera in the Heights in Houston, Nemorino in Donizetti’s L’Elisir d’Amore with Winter Opera of St. Louis, the tenor solo in Verdi's Requiem with the Helena Symphony, Turiddu in Mascagni’s Cavalleria Rusticana with Boheme Opera New Jersey, and Fernando in Donizetti's La Favorita with New York City's New Amsterdam Opera. Next season, Mr. Drackley returns to Anchorage Opera to sing Rodolfo in Puccini's La Bohème, and to Winter Opera St. Louis to debut the role of Pollione in Bellini's Norma. He will perform in the Opening Gala Sing it Loud! for the Londontowne Symphony in Annapolis, Maryland, singing selections from Verdi's Aida, Puccini's Turandot, Bizet's Carmen, and many others, as well as returning to Lancaster, Pennsylvania’s Penn Square Music Festival to perform Death by Puccini, singing Rodolfo in Act III of La Bohème, Mario Cavaradossi in Act II of Tosca, and F. B. Pinkerton in Act III of Madama Butterfly. 

Matthew Curran, Bass, is a Princeton native. Praised for his smooth, rich sound and stylish power by The Baltimore Sun, he brings a blend of intelligent musicianship and strong dramatic instincts to a variety of roles. Having sung on the stages of the Zürich Opera, Seattle, Atlanta, Memphis, and many other regional opera houses, he is a major talent on the rise. His operatic repertoire includes Filippo in Verdi’s Don Carlo, Sarastro in Mozart’s Die Zauberflöte, Oroveso in Bellini’s Norma, Frère Laurent in Gounod’s Roméo et Juliette, and Colline in Puccini’s La Bohème. On the concert stage, Beethoven’s Ninth Symphony, Handel’s Messiah, Mozart’s, Verdi’s, and Brahms’s Requiems, and the great Bach Oratorios. His most recent season included Sparafucile in Rigoletto with Opera Carolina, Opera Grand Rapids, and Toledo Opera, Judge Turpin in Sweeney Todd with Baltimore Concert Opera, Simone in Gianni Schicchi with Opera Delaware, and Zuniga in Carmen with the Phoenicia International Festival of the Voice. 2016-2017 engagements included Orbazzano in Rossini’s Tancredi with Baltimore Concert Opera and Opera Southwest, a debut with Odyssey Opera to sing Basil in Lowell Liebermann’s The Picture of Dorian Gray, Terry in Breaking the Waves, a new opera by Missy Mazzoli and Royce Vavrek in its New York premiere at the Prototype Festival, and Thomas Betterton in the New York premiere of Carlisle Floyd’s new opera, Prince of Players, with Little Opera Theater of New York. Concerts included Handel’s Messiah in Prescott, Arizona, Jesus in Bach’s St. John Passion at Duke University Chapel, Mozart’s Requiem at University of Georgia and Verdi’s Requiem at Hamilton College. 2015-2016 included the roles of Ramfis in Aida at Opera Southwest and Baltimore Concert Opera, Don Iñigo Gomez in L’Heure Espagnole with Opera Memphis, and Pistola in Falstaff with Opera Delaware. www.matthewcurran.net