Falstaff

From: Claremont, California. LA Opera: Guccio in Gianni Schicchi (2008, debut); over a dozen roles to date including Monterone in Rigoletto (2018); Father in Hansel and Gretel (2018); Figaro in The Marriage of Figaro (2022); Leporello in Don Giovanni (2023); Capulet in Romeo and Juliet (2024). He is a 2021 recipient of the Eva and Marc Stern Artist Award.

Bass-baritone Craig Colclough initially studied as a cellist and eventually attended the University of Redlands in California. Before training with Wolf Trap Opera and Florida Grand Opera, he began his career appearing in several roles with LA Opera. The company awarded him the Eva and Marc Stern Artist Award during the 2020/21 season, celebrating artists with deep connections to LA Opera.

Verdi’s Macbeth has become a signature role, serving as Colclough’s debut at the Metropolitan Opera, Lyric Opera of Chicago, Bayerische Staatsoper and Luxembourg Opera. 2022 saw his return to the Royal Opera House Covent Gardens where he reprised his role as Telramund in Wagner’s Lohengrin. Colclough is currently building the character of Alberich under the direction of Brigitte Fassbaender for the Tiroler Festspiele in Austria. Having debuted Alberich in her 2021 Rheingold to great acclaim, Colclough will complete the cycle in 2024.

The 2022/23 season saw Colclough as Figaro in The Marriage of Figaro at LA Opera, Sharpless in Madama Butterfly at the Atlanta Opera with continued appearances as Monterone in Rigoletto at the Metropolitan Opera. The 2018/19 season included appearances as Peter in Hansel and Gretel at LA Opera, Fra Melitone in La Forza del Destino for his company debut with Oper Fankfurt, as well as the Storyteller in A Flowering Tree for his company debut with Opera Queensland. During the summer, he returned to the title role of Don Pasquale with the Berkshire Opera Festival.

A house favorite with Belgium’s Opera Vlaanderen, he has appeared with the company as Telramund, Kurwenal, Macbeth and the title role of Falstaff, in a production directed by Oscar-winning actor Christoph Waltz.

Known for his versatility, Craig Colclough has appeared as Peter Vogel in Korngold's Der Ring des Polykrates with the Dallas Opera; Hare in the world premiere of Burke and Hare with Boston Lyric Opera; Pistola in Falstaff with the Royal Opera House, Covent Garden; and Doristo in L’arbore di Diana with Minnesota Opera.

He has collaborated with acclaimed conductor Gustavo Dudamel for performances of Timur in Turandot with the Simon Bolivar Symphony Orchestra of Venezuela and Beethoven’s Ninth Symphony with the Los Angeles Philharmonic.

Additional credits include the Israeli Symphony Orchestra, California Philharmonic, Capitol Records, Abbey Road Studios and the soundtrack of the film Rolled.

Learn more at CraigColclough.com.

From: Chicago, Illinois. LA Opera: Musetta in La Bohème (2007, debut); Mary in Highway 1, USA (2024).

Soprano Nicole Heaston has appeared with opera companies throughout the world, including the Metropolitan Opera, Houston Grand Opera, San Francisco Opera, Dallas Opera, Washington National Opera, Semperoper Dresden and the Glyndebourne Festival in England.

To begin the 2024/25 season, the soprano returned to the role of Claire Devon in the North American premiere of Missy Mazzoli’s The Listeners at Opera Philadelphia. She headlines Lyric Opera of Chicago's spring 2025 performances of that opera, making her company debut. With the National Symphony Orchestra, she sings the title role in Samuel Barber's Vanessa. Other engagements during the season include a Christmas program with Houston’s Mercury Chamber Orchestra and the role of Armida in Detroit Opera’s production of Handel’s Rinaldo.

A richly varied 2023/24 season included her returns to LA Opera as Mary in William Grant Still’s Highway 1, USA and to Houston Grand Opera as Alice Ford in Falstaff. With Philharmonia Baroque, she sang the unique combination of Anna/Dido in Errollyn Wallen’s Dido’s Ghost and Dido in Purcell’s Dido and Aeneas. During the spring of 2024, she made an anticipated role debut as Thaïs with Utah Opera.

She began the 2022/23 season with the world premiere of Missy Mazzoli’s The Listeners at the Norwegian Opera. She also sang Amore in Orfeo ed Euridice with San Francisco Opera and the Countess in The Marriage of Figaro with Houston Grand Opera.

Learn more at NicoleHeaston.com.

Ernesto Petti, born in Salerno in 1986, is among the best-known emerging baritones on the international opera scene. A graduate of the Accademia di Alto Perfezionamento in Torre del Lago Puccini, he was a member of the Centre de Perfeccionament Plácido Domingo at the Palau de les Arts in Valencia. He made his very young debut as Eagro in Gluck's Orfeo ed Euridice at the Festival della Valle d'Itria in Martina Franca, but his first important part was as Giorgio Germont in La Traviata in 2015 in the Roman Amphitheatre in Lecce.

His recent and future engagements include Giorgio Germont in La Traviata at the Teatro Lirico Cagliari, at the Opéra Grand Avignon and on tour in Italy; Renato in Un Ballo in Maschera at the NCPA in Beijing, Gran Teatre del Liceu in Barcelona, Piacenza, Ravenna and Ferrara; Enrico in Lucia di Lammermoor at the Deutsche Oper Berlin, Teatro Petruzzelli in Bari, Teatro San Carlo in Naples and at the Theater Basel; Paolo in Simon Boccanegra at the Concertgebouw in Amsterdam; Carlo Gérard in Andrea Chénier at the Teatro Alighieri in Ravenna; Marcello in La Bohème and Ford in Falstaff at the Teatro Petruzzelli in Bari; Mascagni's Iris at the Konzerthaus in Berlin; Alfio in Cavalleria Rusticana at the Teatro Massimo in Palermo; the title role in Rigoletto at the Sydney Opera House; Tonio in Pagliacci at the Teatro Verdi in Salerno; Rodrigo in Don Carlo in Piacenza and Reggio Emilia; and Escamillo in Carmen at the Teatro San Carlo in Naples

From: Seattle, Washington.

American soprano Deanna Breiwick, hailed by the New York Times for her “sweet sound and floating high notes” and for being a “vocal trapeze artist,” is enjoying an exciting and diverse career. In the 2024/25 season, she sings Lisette in La Rondine at Opéra de Monte Carlo, Adele in Die Fledermaus at Opera Theatre of St. Louis, and joins the Utah Symphony for Mozart’s Requiem, the Allentown Symphony for Vaughan Williams’ Dona Nobis Pacem. 

In the 2023/24 season, Ms. Breiwick returned to the Dallas Opera for the world premiere of Joby Talbot’s The Diving Bell and the Butterfly, singing the role of Claude. In concert, she performed Lisette in La Rondine with Washington Concert Opera, Messiah with the Oregon Symphony, Vaughan Williams’ Dona Nobis Pacem with the Venice and Owensboro Symphonies, and held a residency with the Moab Music Festival.

In the 2022/23 season, Ms. Breiwick made her debut at San Francisco Opera as Sister Constance in Dialogues of the Carmelites, conducted by Eun Sun Kim. She returned to Bayerische Staatsoper for Adele in Die Fledermaus, and made debuts at the Gran Teatre del Liceu in Barcelona as Drusilla in L’incoronazione di Poppea, the Atlanta Opera as Cunegonde in Candide and with Philharmonia Baroque Orchestra as Oriana in Amadigi.

At the Metropolitan Opera, Deanna Breiwick has been featured as La Charmeuse in Thaïs, a Flower Maiden in Parsifal, a Shadow in the North American premiere of Nico Muhly’s Marnie, Najade in Ariadne auf Naxos, and a featured soloist in the company’s Summer Recital Series. Elsewhere, Ms. Breiwick performed Amore in Gluck’s Orfeo ed Euridice with Seattle Opera, the roles of Bradamante and Pittura in Il Palazzo Incantato by Alarcon with Opéra National de Lorraine, Opéra di Dijon and the Royal Opera of Versailles and debuted with Detroit Opera as Gretel in Hansel and Gretel, Opera Philadelphia as Aveline Mortimer in Elizabeth Cree, Rosasharn in Ricky Ian Gordon’s The Grapes of Wrath, Adina in L’Elisir d’Amore and Despina in Così fan tutte at Opera Omaha, performed Nannetta and debuted the role of Cunegonde in Candide at Des Moines Metro Opera, and Norina in Don Pasquale for a house debut with Berkshire Opera Festival. A frequent guest at Opera Theatre of St. Louis, she has appeared as Mabel in The Pirates of Penzance, Johanna in Sweeney Todd, and Rosasharn. 

She has been an ensemble member of Opernhaus Zürich and the Bayerische Staatsoper.

Learn more at DeannaBreiwick.com.

From: Riverside, California. LA Opera: Normanno in Lucia di Lammermoor (2022, debut); Spoletta in Tosca (2022); Male Chorus in The Rape of Lucretia (2023); Don Curzio in The Marriage of Figaro (2023); Ramses in Moses (2023); Roderigo in Otello (2023); Don Ottavio in Don Giovanni (2023); Young Man / Second Villager in Frida y Diego (2023); Ferrando in Cosi fan tutte (2025). He is an alumnus of the Domingo-Colburn-Stein Young Artist Program (2022-24).

The American-born Cuban and Colombian tenor Anthony León is quickly developing an international performing career. He was a 2023 grand finals winner of the Metropolitan Opera Laffont Competition and the 2022 first place winner of Operalia, where he also won the zarzuela prize.

His engagements for the summer of 2024 include Telemaco in Il Ritorno d'Ulisse at the Festival d’Aix-en-Provence, Arbace in Idomeneo with the Chicago Symphony Orchestra at the Ravinia Festival, and Beethoven's Symphony No. 9 with the LA Philharmonic at the Hollywood Bowl.

His appearances in the 2023/24 season included Don Ottavio in Don Giovanni at LA Opera and Nadir in The Pearl Fishers with the Cologne Opera. He also created the role of the Consumer in the world premiere of Ellen Reid's The Shell Trial at the Dutch National Opera. In the summer of 2024, he appeared in Ravel's L’Enfant et les sortilèges with the Salzburg Festival’s Young Singers Project and performed at the Aix-en-Provence Festival.

For the 2022/23 season, his appearances included several roles with LA Opera, Pelléas in Impressions de Pelléas with James Conlon at the Ebell of Los Angeles, and Beethoven's Symphony No. 9 with the Los Angeles Chamber Orchestra.

Previous appearances include singing Remendado in Carmen at Santa Fe Opera, Ernesto in Don Pasquale at New England Conservatory and being on tour performing the roles of Giove and Amphinome in Monteverdi’s Il ritorno d’Ulisse in patria with the ensemble I Gemelli. On tour, Anthony performed at Théâtre des Champs-Elysées in Paris, France; Arsenal Theater in Metz, France; and Victoria Hall in Geneva, Switzerland. A recorded album is in the works and is set to be released in 2023. In the fall of 2021, Anthony also presented the role of Count Almaviva in the Opera Theatre of St. Louis production of The Barber of Seville. During the summer of 2021, Anthony was an Apprentice Artist at Santa Fe Opera covering the role of Lysander in A Midsummer Night’s Dream. In addition to these contracts, Anthony has performed in other leading roles recently such as Le Chevalier in Dialogue des Carmélites, Agenore in Mozart's Il re pastore, Nemorino in L’elisir d’amore, Tamino in The Magic Flute, the Witch in Hansel and Gretel, and Frederic in The Pirates of Penzance.

Recent honors include receiving a Career Development Grant from the Sullivan Foundation. Other accolades include being named “Best up-and-comer” in the Inland Empire Magazine’s “Best of the Best 2019” list and being awarded the Wendy Shattuck ‘75 Presidential Scholarship for Vocal Studies among other prestigious awards.

Anthony holds a bachelor of music from La Sierra University and a master of music degree concentrating in vocal performance from the New England Conservatory of Music in Boston, studying under the tutelage of Bradley Williams.

Learn more at AnthonyLeonTenor.com.

From: Seoul, South Korea. LA Opera: Suzuki in Madama Butterfly (2024, debut).

Lauded by the New York Times as a “vibrant mezzo soprano” and a “dark toned, agile mezzo-soprano,” Hyona Kim joined the Dortmund Opera in Germany as a member of the ensemble in 2018 and made her much acclaimed house and role debut singing Amneris in Aïda. Other parts that she performed at the Dortmund Opera are Suzuki in Madama Butterfly, Tzippie in Oliver Knussen’s Where The Wild Things Are and the title role in the German premiere of Frédégonde by Ernest Guiraud, Paul Dukas and Camille Saint-Saëns, Ortrud in Lohengrin and Nancy Tang in Nixon in China. Kim joined the Metropolitan Opera for the 2022/23 season covering the role of Eboli in Don Carlo. She made her San Francisco Opera debut singing a leading role, Lady Wang in Bright Sheng’s world premiere Dream of the Red Chamber under George Manahan in 2016 and was critically acclaimed as an “Unstoppable powerhouse” by the San Francisco Chronicle and performed the same role with Hong Kong Arts Festival under Muhai Tang. She returned to San Francisco Opera for the revival of Dream of the Red Chamber and for Madama Butterfly.

She has also sung with the New York City Opera, Romanian National Opera Cluj-Napoca, Opera Carolina, Opera Lancaster, Opera Company of Middlebury among others. Other roles which she has performed around the world include Azucena in Il Trovatore, Mistress Quickly in Falstaff, Hermia in A Midsummer Night’s Dream, Wowkle in The Girl of the Golden West, Olga and Larina in Eugene Onegin and many more.

Hyona Kim was a national finalist in the Metropolitan Opera National Council Auditions and performed with the Metropolitan Opera Orchestra conducted by Marco Armiliato at Lincoln Center. She also was the grand winner of the Joy in Singing Competition and performed the winner’s solo recital at Merkin Concert Hall in New York City. She was a first prize winner of the Gerda Lissner Competition, and a multiple grant winner at the Licia Albanese-Puccini and Giulio Gari Competitions. She is a grant recipient of the Olga Forrai Foundation and won the Jennie Tourel prize in the Poulenc Competition. She also won the Suri Competition and the Schubert Lied Competition in her native country, South Korea, where she earned her bachelor’s degree at Ewha Womans University. She received her master’s degree and professional studies diploma from Mannes College of Music in New York City and was chosen to be the recipient of the Marian Marcus Wahl Memorial Award, awarded to a graduating singer showing particular excellence. During her time as a member of the Mannes Opera, she performed many roles with the Metropolitan Opera conductor Joseph Colaneri such as Dorabella in Cosi fan tutte, Marcellina in The Marriage of Figaro and Annina in La Traviata.

Apart from the Mannes College of Music, she has participated in many festivals and projects, including the Aspen Music Festival, the Music Academy of the West, International Vocal Arts Institute, the Natchez Music Festival and the Martina Arroyo Foundation. She made her Houston Grand Opera debut originating the role of Hal-Mo-Ni (grandmother) in Jeeyoung Kim’s From My Mother’s Mother at HGOco, and also has performed the lead role, Lily in Su Lian Tan’s opera Lotus Lives at Distler Hall at Tufts University in Boston. Kim has sung with the Nashville Symphony and the Sinfonia da Camera as the soloist in Handel’s Messiah and Verdi’s Requiem respectively.

She made her Carnegie Hall debut with New England Symphonic Ensemble singing the alto solo in Vivaldi’s Gloria and also performed with PyeongChang Music Festival in South Korea as the alto soloist in Beethoven’s Symphony No. 9. She was invited by Harare International Festival of the Arts in Zimbabwe for an opera gala concert and song recital. She was the featured alto soloist in numerous concerts including performances of Bach’s St. John Passion, St. Matthew Passion and Mendelssohn’s Elijah. Passionate about chamber music and art song, Ms. Kim has appeared in many chamber music concerts and recitals with Mannes Baroque Chamber Players, the Guinnes Quartet as part of Viva Virginia International Festival of Music, and also in several concerts of Ensemble 212, in works such as: Mahler’s Symphony No. 2 and No. 3, world premieres for Chamber Orchestra both by Yoon Jae Lee, and Der Abschied from Das Lied von der Erde featured with Michael Mao Dance. She has participated in Stephanie Blythe and Alan Smith’s Fall Island Vocal Arts Seminar which only performs art songs by living American composers. Kim also has sung with Brooklyn Art Song Society in their concert series of Les six: Francis Poulenc and Songs of Mahler. Upcoming engagements include a house debut at the Royal Danish National Opera in Copenhagen as Suzuki in Madama Butterfly as well as the Belgrade Philharmonic Orchestra in Serbia in the same role. Her Metropolitan Opera return includes participation in the production of Tannhäuser.

Learn more at KimHyona.com.