OCTOBER, 2023 | online
LAURA CLAYCOMB
(Teatro alla Scala, Salzburger Festspiele, Glyndebourne, Staatsoper Unter den Linden, Paris Opera,
San Francisco Opera, Houston Grand Opera, Los Angeles Opera, Bolshoi Theater, Grand Théâtre de Genève,
London Symphony Orchestra, BBC Proms)
RAINELLE KRAUSE
(Staatsoper Berlin, Deutsche Oper Berlin, Theater Basel, Dallas Opera, Royal Danish Opera,
Houston Grand Opera, Oper Köln, North Carolina Opera, Concertgebouw Amsterdam)
AMANDA HALGRIMSON-WALZER
(Deutsche Oper Berlin, Oper Köln, La Scala, Vienna Philharmonic Orchestra)
RACHEL ZATCOFF
(Broadway, New York City Opera, Anchorage Opera, West End, Israeli Opera House Tel Aviv,
Alte Oper Frankfurt, Syracuse Opera, Opera North)
(Teatro alla Scala, Salzburger Festspiele, Glyndebourne, Staatsoper Unter den Linden, Paris Opera,
San Francisco Opera, Houston Grand Opera, Los Angeles Opera, Bolshoi Theater, Grand Théâtre de Genève,
London Symphony Orchestra, BBC Proms)
RAINELLE KRAUSE
(Staatsoper Berlin, Deutsche Oper Berlin, Theater Basel, Dallas Opera, Royal Danish Opera,
Houston Grand Opera, Oper Köln, North Carolina Opera, Concertgebouw Amsterdam)
AMANDA HALGRIMSON-WALZER
(Deutsche Oper Berlin, Oper Köln, La Scala, Vienna Philharmonic Orchestra)
RACHEL ZATCOFF
(Broadway, New York City Opera, Anchorage Opera, West End, Israeli Opera House Tel Aviv,
Alte Oper Frankfurt, Syracuse Opera, Opera North)
JULIE WYMA, EXECUTIVE DIRECTOR
ANASTASIA INNISS, ARTISTIC DIRECTOR
ANASTASIA INNISS, ARTISTIC DIRECTOR
MASTERCLASS DESCRIPTION
Coming soon.
MASTERCLASS SESSIONS
Coming soon.
HOW TO APPLY
APPLICATION CHECKLIST
1. Curriculum Vitae/Resume
2. Photo
3. Links to sound samples (video preferred)
- two arias of free choice
- at least one demonstrating coloratura
Please email all application materials to operaprogramsberlin@gmail.com
1. Curriculum Vitae/Resume
2. Photo
3. Links to sound samples (video preferred)
- two arias of free choice
- at least one demonstrating coloratura
Please email all application materials to operaprogramsberlin@gmail.com
THERE IS NO FEE TO APPLY | THE PROGRAM HAS NO AGE LIMIT
REGISTRATION
Register via your preferred payment method following the links below. Please note that you will only be able to register as an observer. If you would like to take part as an active participant, you will need to apply to the masterclass series. Please see APPLICATION section on how to apply. Upon acceptance, you will be send a link to complete tuition payment within one week of receipt.
€150.00 - active participant
- participation in one masterclass
- observing all other masterclasses
- 60-day replay of all masterclass videos
- materials and resources by all faculty members
- live access to all masterclasses
Please note that Opera Programs Berlin does not charge administration fees for any of its programs.
Therefore, all payment transaction fees must be covered on the sender's side.
Opera Programs Berlin does not cover any transaction fees.
Therefore, all payment transaction fees must be covered on the sender's side.
Opera Programs Berlin does not cover any transaction fees.
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Julie Wyma IBAN: DE40 1001 1001 2629 3903 16 BIC: NTSBDEB1 Krüllsstr 3 12435 Berlin Deutschland |
FACULTY
LAURA CLAYCOMB
Grammy® Award winning soprano Laura Claycomb has firmly established herself as one of the finest operatic coloratura sopranos of her generation, best known for her ethereal high notes, impeccable musicianship, and dramatic stage presence. Ms. Claycomb has appeared repeatedly with the Paris Opera, San Francisco Opera, Houston Grand Opera, Los Angeles Opera, Grand Théâtre de Genève, Théâtre de la Monnaie, the London Symphony Orchestra, the San Francisco Symphony, the Los Angeles Philharmonic, Le Concert d’Astrée, and the Cleveland Orchestra. Further career highlights range from engagements at the Salzburg Festival and the Lucerne Festival, to the BBC Proms and the title role of Linda di Chamounix at Teatro alla Scala in Milan.
2018 and beyond finds her in Dallas for her first Donna Anna in Don Giovanni, in Paris for Stabat Maters by Scarlatti and Pergolesi with Speranza Scappucci and Il Pomo D’Oro, in Israel for Mozart with Alexander Bernstein and the Israel Camerata, in a recital and masterclass tour in the U.S., and with the Houston Symphony for Carmina Burana.
2016/17 found Laura in Beijing, China as Tytania in A Midsummer Night’s Dream, in Geneva as Malwina in Marschner’s Der Vampyr, in concerts led by Emmanuelle Haïm with Le Concert D’Astrée at Paris’ Théâtre des Champs-Elysées and with the Los Angeles Philharmonic in Disney Hall, as well as in Bernstein’s Symphony No. 3 (Kaddish) with Marin Alsop and the London Symphony Orchestra at the Barbican.
2015/16 saw Laura as Tytania with the Bergen National Opera, as Ophélie in a concert version of Hamlet in Moscow, as well as Strauss’ Brentano Lieder with the San Francisco Symphony and Michael Tilson-Thomas, the title role in the world premiere of Lori Laitman’s The Scarlet Letter and galas in Israel.
The 2014-2015 season saw her as Amina in La sonnambula at the Bolshoi Theater, concert engagements with the Oregon Symphony and Palermo Opera for Carmina Burana, Mercury Baroque in a performance with David Daniels, as Lucia di Lammermoor with New Orleans Opera, Cunegonde in Candide with Maggio Musicale Fiorentino, and in Pergolesi’s Stabat Mater with Maestra Speranza Scapucci, likewise in Florence.
In the 2013-2014 season Ms. Claycomb made her Glyndebourne debut as Zerbinetta in Ariadne auf Naxos with music director Vladimir Jurowsky conducting, which was released on DVD/BlueRay. Additionally, she sang her first Queen of the Night in Die Zauberflöte and Mozart’s Der Schauspieldirektor with the Bregenz Festival, reprised her Adele in Die Fledermaus at Houston Grand Opera, returned to the Israeli Philharmonic for Carmina Burana and to the San Francisco Symphony for Beethoven’s Missa Solemnis, debuted the role of the Czarina of Shemakha in Rimsky-Korsakov’s The Golden Cockerel with Bergen Opera, and returned to the Los Angeles Philharmonic and the Swedish Radio Orchestra in Lutoslawski’s Chantefleurs et Chantefables with Lionel Bringuier.
Ms. Claycomb began her career as an Adler Fellow at San Francisco Opera, where she performed over a dozen roles including Papagena in Die Zauberflöte, Zerbinetta in Ariadne auf Naxos, and Marie in La fille du régiment. She first captured international attention at the age of 24, when she assumed the role of Giulietta in Bellini’s I Capuleti e i Montecchi at the Grand Théâtre de Genève. She has since sung Giulietta with the Bastille Opera, Los Angeles Opera, Pittsburgh Opera and the Bayerischer Rundfunk Orchester in Munich. Since her meteoric rise to prominence, Ms. Claycomb has proven herself to be an exceptionally versatile soprano, performing more than 75 roles in dozens of works by composers from Monteverdi to Messiaen.
In recent years, Ms. Claycomb performed her signature roles of Gilda in Rigoletto with Dallas Opera (earning her the Dallas Opera’s Maria Callas Debut Artist Award) and Zerbinetta in Ariadne auf Naxos with the Houston Grand Opera, Konstanze in Die Entführung aus dem Serail at the Grand Théâtre de Genève and with Sebastian Weigle at the Berlin Staatsoper Unter den Linden, the title role in Donizetti’s Lucia di Lammermoor with Pittsburgh Opera and in Tel Aviv with Daniel Oren conducting, Romilda in Handel’s Serse with Houston Grand Opera, the heroines in Offenbach’s Les contes d’Hoffmann in Moscow, and Anne Trulove in Stravinsky’s The Rake’s Progress in Lyon, Brussels, and the Opéra National de Paris.
Ms. Claycomb has emerged as a concert repertoire powerhouse, having performed with the Philadelphia Orchestra, Rotterdam Philharmonic and Les Arts Florissants, among those already mentioned. She has tackled soloist roles in Orff’s Carmina burana (National Symphony, LA Philharmonic and Danish Radio Symphony with the late Frühbeck de Burgos), Brahms’ Deutsches Requiem, Handel’s Messiah, Faure’s Requiem, Beethoven’s Missa solemnis and oratorio Christus am Ölberge, the latter with the Accademia di Santa Cecilia in Rome. Ms. Claycomb is among today’s foremost Mahler sopranos, having sung solos in the composer’s Symphonies Nos. 2, 4, and 8 with the San Francisco Symphony Orchestra, London Symphony Orchestra, Pittsburgh Symphony, Maggio Musicale di Firenze, and Simón Bolívar Youth Orchestra of Venezuela, with Tilson-Thomas, Gergiev, Honeck, Inkinen, and Abbado/Mattheuz. She appeared to great acclaim in Mahler’s Symphony No. 2 at Carnegie Hall and on a European tour with Michael Tilson Thomas and the SFSO. She has been featured on San Francisco Symphony/Michael Tilson Thomas albums of Mahler’s Symphony Nos. 4and 8, the latter of which was awarded three Grammy® awards in 2009. She also recorded Mahler’s Symphony No. 4 with Valery Gergiev and the London Symphony Orchestra.
High-profile productions starring Ms. Claycomb that led to live recordings include Katharina Thoma’s 2013 Glyndebourne production of Ariadne auf Naxos, Alan Platel and Fabrizio Cassol’s Pitié with Cypres Records, Berlioz’s Benvenuto Cellini with the London Symphony Orchestra under the baton of Sir Colin Davis as well as with Roger Norrington and the Radio-Sinfonieorchester Stuttgart des SWR, and Robert LePage’s production of Stravinsky’s The Rake’s Progress in Brussels.
Ms. Claycomb’s extensive recording catalog includes numerous albums of bel canto operas and chamber music with Britain’s Opera Rara label such as Handel’s Arcadian Duets with Emmanuelle Haïm and Le Concert D’Astrée, Ligeti’s Le grand macabre with Esa-Pekka Salonen and the London Sinfonietta, Carmina burana with the London Symphony Orchestra and Richard Hickox (Chandos) as well as Fauré’s Requiem with the San Francisco Boys’ Choir and Ian Robertson.
Ms. Claycomb has collaborated with renowned conductors Pierre Boulez, Patrick Summers, Richard Hickox, Yannick Nezet-Seguin, Daniel Oren, Pinchas Steinberg, Paavo Järvi, and Sir Colin Davis and has originated many new productions with high-profile stage directors including Peter Sellars, Julie Taymor, Katharina Thoma, James Robinson, and David Alden. Early in her career, she earned the Silver Medal at the International Tchaikovsky Competition in Moscow, the Pegasus Prize at Spoleto Festival in Italy, the Operetta Prize at the Belvedere Competition in Vienna, and first prize in the National Opera Association Competition in the U.S. She has developed a strong interest in the training and nurturing of the next generation of operatic artists and currently serves as consultant for the Bolshoi Young Artist Program, giving master classes there and at the Centre for Operatic Studies in Sulmona, Italy. A native of Texas, Ms. Claycomb resides with her husband and son in Italy.
Grammy® Award winning soprano Laura Claycomb has firmly established herself as one of the finest operatic coloratura sopranos of her generation, best known for her ethereal high notes, impeccable musicianship, and dramatic stage presence. Ms. Claycomb has appeared repeatedly with the Paris Opera, San Francisco Opera, Houston Grand Opera, Los Angeles Opera, Grand Théâtre de Genève, Théâtre de la Monnaie, the London Symphony Orchestra, the San Francisco Symphony, the Los Angeles Philharmonic, Le Concert d’Astrée, and the Cleveland Orchestra. Further career highlights range from engagements at the Salzburg Festival and the Lucerne Festival, to the BBC Proms and the title role of Linda di Chamounix at Teatro alla Scala in Milan.
2018 and beyond finds her in Dallas for her first Donna Anna in Don Giovanni, in Paris for Stabat Maters by Scarlatti and Pergolesi with Speranza Scappucci and Il Pomo D’Oro, in Israel for Mozart with Alexander Bernstein and the Israel Camerata, in a recital and masterclass tour in the U.S., and with the Houston Symphony for Carmina Burana.
2016/17 found Laura in Beijing, China as Tytania in A Midsummer Night’s Dream, in Geneva as Malwina in Marschner’s Der Vampyr, in concerts led by Emmanuelle Haïm with Le Concert D’Astrée at Paris’ Théâtre des Champs-Elysées and with the Los Angeles Philharmonic in Disney Hall, as well as in Bernstein’s Symphony No. 3 (Kaddish) with Marin Alsop and the London Symphony Orchestra at the Barbican.
2015/16 saw Laura as Tytania with the Bergen National Opera, as Ophélie in a concert version of Hamlet in Moscow, as well as Strauss’ Brentano Lieder with the San Francisco Symphony and Michael Tilson-Thomas, the title role in the world premiere of Lori Laitman’s The Scarlet Letter and galas in Israel.
The 2014-2015 season saw her as Amina in La sonnambula at the Bolshoi Theater, concert engagements with the Oregon Symphony and Palermo Opera for Carmina Burana, Mercury Baroque in a performance with David Daniels, as Lucia di Lammermoor with New Orleans Opera, Cunegonde in Candide with Maggio Musicale Fiorentino, and in Pergolesi’s Stabat Mater with Maestra Speranza Scapucci, likewise in Florence.
In the 2013-2014 season Ms. Claycomb made her Glyndebourne debut as Zerbinetta in Ariadne auf Naxos with music director Vladimir Jurowsky conducting, which was released on DVD/BlueRay. Additionally, she sang her first Queen of the Night in Die Zauberflöte and Mozart’s Der Schauspieldirektor with the Bregenz Festival, reprised her Adele in Die Fledermaus at Houston Grand Opera, returned to the Israeli Philharmonic for Carmina Burana and to the San Francisco Symphony for Beethoven’s Missa Solemnis, debuted the role of the Czarina of Shemakha in Rimsky-Korsakov’s The Golden Cockerel with Bergen Opera, and returned to the Los Angeles Philharmonic and the Swedish Radio Orchestra in Lutoslawski’s Chantefleurs et Chantefables with Lionel Bringuier.
Ms. Claycomb began her career as an Adler Fellow at San Francisco Opera, where she performed over a dozen roles including Papagena in Die Zauberflöte, Zerbinetta in Ariadne auf Naxos, and Marie in La fille du régiment. She first captured international attention at the age of 24, when she assumed the role of Giulietta in Bellini’s I Capuleti e i Montecchi at the Grand Théâtre de Genève. She has since sung Giulietta with the Bastille Opera, Los Angeles Opera, Pittsburgh Opera and the Bayerischer Rundfunk Orchester in Munich. Since her meteoric rise to prominence, Ms. Claycomb has proven herself to be an exceptionally versatile soprano, performing more than 75 roles in dozens of works by composers from Monteverdi to Messiaen.
In recent years, Ms. Claycomb performed her signature roles of Gilda in Rigoletto with Dallas Opera (earning her the Dallas Opera’s Maria Callas Debut Artist Award) and Zerbinetta in Ariadne auf Naxos with the Houston Grand Opera, Konstanze in Die Entführung aus dem Serail at the Grand Théâtre de Genève and with Sebastian Weigle at the Berlin Staatsoper Unter den Linden, the title role in Donizetti’s Lucia di Lammermoor with Pittsburgh Opera and in Tel Aviv with Daniel Oren conducting, Romilda in Handel’s Serse with Houston Grand Opera, the heroines in Offenbach’s Les contes d’Hoffmann in Moscow, and Anne Trulove in Stravinsky’s The Rake’s Progress in Lyon, Brussels, and the Opéra National de Paris.
Ms. Claycomb has emerged as a concert repertoire powerhouse, having performed with the Philadelphia Orchestra, Rotterdam Philharmonic and Les Arts Florissants, among those already mentioned. She has tackled soloist roles in Orff’s Carmina burana (National Symphony, LA Philharmonic and Danish Radio Symphony with the late Frühbeck de Burgos), Brahms’ Deutsches Requiem, Handel’s Messiah, Faure’s Requiem, Beethoven’s Missa solemnis and oratorio Christus am Ölberge, the latter with the Accademia di Santa Cecilia in Rome. Ms. Claycomb is among today’s foremost Mahler sopranos, having sung solos in the composer’s Symphonies Nos. 2, 4, and 8 with the San Francisco Symphony Orchestra, London Symphony Orchestra, Pittsburgh Symphony, Maggio Musicale di Firenze, and Simón Bolívar Youth Orchestra of Venezuela, with Tilson-Thomas, Gergiev, Honeck, Inkinen, and Abbado/Mattheuz. She appeared to great acclaim in Mahler’s Symphony No. 2 at Carnegie Hall and on a European tour with Michael Tilson Thomas and the SFSO. She has been featured on San Francisco Symphony/Michael Tilson Thomas albums of Mahler’s Symphony Nos. 4and 8, the latter of which was awarded three Grammy® awards in 2009. She also recorded Mahler’s Symphony No. 4 with Valery Gergiev and the London Symphony Orchestra.
High-profile productions starring Ms. Claycomb that led to live recordings include Katharina Thoma’s 2013 Glyndebourne production of Ariadne auf Naxos, Alan Platel and Fabrizio Cassol’s Pitié with Cypres Records, Berlioz’s Benvenuto Cellini with the London Symphony Orchestra under the baton of Sir Colin Davis as well as with Roger Norrington and the Radio-Sinfonieorchester Stuttgart des SWR, and Robert LePage’s production of Stravinsky’s The Rake’s Progress in Brussels.
Ms. Claycomb’s extensive recording catalog includes numerous albums of bel canto operas and chamber music with Britain’s Opera Rara label such as Handel’s Arcadian Duets with Emmanuelle Haïm and Le Concert D’Astrée, Ligeti’s Le grand macabre with Esa-Pekka Salonen and the London Sinfonietta, Carmina burana with the London Symphony Orchestra and Richard Hickox (Chandos) as well as Fauré’s Requiem with the San Francisco Boys’ Choir and Ian Robertson.
Ms. Claycomb has collaborated with renowned conductors Pierre Boulez, Patrick Summers, Richard Hickox, Yannick Nezet-Seguin, Daniel Oren, Pinchas Steinberg, Paavo Järvi, and Sir Colin Davis and has originated many new productions with high-profile stage directors including Peter Sellars, Julie Taymor, Katharina Thoma, James Robinson, and David Alden. Early in her career, she earned the Silver Medal at the International Tchaikovsky Competition in Moscow, the Pegasus Prize at Spoleto Festival in Italy, the Operetta Prize at the Belvedere Competition in Vienna, and first prize in the National Opera Association Competition in the U.S. She has developed a strong interest in the training and nurturing of the next generation of operatic artists and currently serves as consultant for the Bolshoi Young Artist Program, giving master classes there and at the Centre for Operatic Studies in Sulmona, Italy. A native of Texas, Ms. Claycomb resides with her husband and son in Italy.
RAINELLE KRAUSE
Known for her absolute precision and fiery coloratura, soprano Rainelle Krause is a versatile and compelling singer. She recently made debuts with Theater Basel as Tania in Al gran sole carico d'amore and with the Staatsoper Berlin, and Deutsche Oper Berlin as Die Königin der Nacht in Mozart’s Die Zauberflöte. Other engagements include Pat Nixon in the Princeton Festival’s Nixon in China, the cover of Zerlina in Don Giovanni with The Dallas Opera, guest soloist with Voices of Change for their Holocaust memorial performance, and featured artist for Opus Opera’s event, Mystique, a circus and opera collaboration.
Performances for 2020-2021 included further engagements as Die Königin der Nacht in Die Zauberflöte with the Royal Danish Opera, Theater Basel, Staatsoper Berlin, and Deutsche Oper Berlin. The 2021-2022 season sees her as Oscar in Un ballo in maschera with Royal Danish Opera, debuts with Houston Grand Opera and Oper Köln for Die Zauberflöte, Die Zauberflöte with Theater Basel and North Carolina Opera, and the Princess in The Snow Queen under the baton of Kent Nagano in her debut with the Concertgebouw Amsterdam.
Ms. Krause has been awarded First Place in the Fielder Grant Competition, Third Place and Audience Favorite in the Orpheus Competition, and has been chosen as one of four winners in the Texas Camerata’s Baroque Aria Competition. She was a finalist in the Lois Alba Competition in Houston as well as the International Mildred Miller Competition in Pittsburgh, a Regional Finalist with the Metropolitan National Council Auditions in New Orleans and St. Louis, and a semi-finalist with the Licia Albanese Puccini Foundation and Gari Foundation competitions in New York City. Ms. Krause trained as young artist with the Sankt Goar International Music Festival and Academy in Germany, the Opera Works Advanced Artist Program in Los Angeles in summer 2013, Opera Las Vegas in spring 2013, and the Taos Opera Institute and Opera Nova Costa Rica in 2012. In 2014, she was invited back to Taos as a guest artist, performing in venues all across Taos and Santa Fe.
Some Ms. Krause’s concert credits include a concert version of La Traviata with the Irving Symphony Orchestra, Beethoven's Ninth Symphony with the Plano Symphony Orchestra, Bach’s Jauchzet Gott with members of the Virginia Symphony Orchestra, Vaughan Williams' Dona nobis pacem and Haydn's Pauken messe with the Amarillo Master Chorale, Orff’s Carmina burana with the Plano Symphony, and Vivaldi’s Magnificat with the North minster Presbyterian Church in Indianapolis.
Ms. Krause has performed with Fort Worth's Casa Mañana Theatre in their production of The Sound of Music, as well as the Fort Worth Opera chorus in Le pêcheurs de perles, La Traviata, and Hamlet. She holds a Bachelor of Music (2010) and a Master of Music (2012) in Vocal Performance from Indiana University’s Jacobs School of Music in her hometown of Bloomington, IN. She currently lives in the Dallas-Fort Worth area, and trains on aerial silks.
Known for her absolute precision and fiery coloratura, soprano Rainelle Krause is a versatile and compelling singer. She recently made debuts with Theater Basel as Tania in Al gran sole carico d'amore and with the Staatsoper Berlin, and Deutsche Oper Berlin as Die Königin der Nacht in Mozart’s Die Zauberflöte. Other engagements include Pat Nixon in the Princeton Festival’s Nixon in China, the cover of Zerlina in Don Giovanni with The Dallas Opera, guest soloist with Voices of Change for their Holocaust memorial performance, and featured artist for Opus Opera’s event, Mystique, a circus and opera collaboration.
Performances for 2020-2021 included further engagements as Die Königin der Nacht in Die Zauberflöte with the Royal Danish Opera, Theater Basel, Staatsoper Berlin, and Deutsche Oper Berlin. The 2021-2022 season sees her as Oscar in Un ballo in maschera with Royal Danish Opera, debuts with Houston Grand Opera and Oper Köln for Die Zauberflöte, Die Zauberflöte with Theater Basel and North Carolina Opera, and the Princess in The Snow Queen under the baton of Kent Nagano in her debut with the Concertgebouw Amsterdam.
Ms. Krause has been awarded First Place in the Fielder Grant Competition, Third Place and Audience Favorite in the Orpheus Competition, and has been chosen as one of four winners in the Texas Camerata’s Baroque Aria Competition. She was a finalist in the Lois Alba Competition in Houston as well as the International Mildred Miller Competition in Pittsburgh, a Regional Finalist with the Metropolitan National Council Auditions in New Orleans and St. Louis, and a semi-finalist with the Licia Albanese Puccini Foundation and Gari Foundation competitions in New York City. Ms. Krause trained as young artist with the Sankt Goar International Music Festival and Academy in Germany, the Opera Works Advanced Artist Program in Los Angeles in summer 2013, Opera Las Vegas in spring 2013, and the Taos Opera Institute and Opera Nova Costa Rica in 2012. In 2014, she was invited back to Taos as a guest artist, performing in venues all across Taos and Santa Fe.
Some Ms. Krause’s concert credits include a concert version of La Traviata with the Irving Symphony Orchestra, Beethoven's Ninth Symphony with the Plano Symphony Orchestra, Bach’s Jauchzet Gott with members of the Virginia Symphony Orchestra, Vaughan Williams' Dona nobis pacem and Haydn's Pauken messe with the Amarillo Master Chorale, Orff’s Carmina burana with the Plano Symphony, and Vivaldi’s Magnificat with the North minster Presbyterian Church in Indianapolis.
Ms. Krause has performed with Fort Worth's Casa Mañana Theatre in their production of The Sound of Music, as well as the Fort Worth Opera chorus in Le pêcheurs de perles, La Traviata, and Hamlet. She holds a Bachelor of Music (2010) and a Master of Music (2012) in Vocal Performance from Indiana University’s Jacobs School of Music in her hometown of Bloomington, IN. She currently lives in the Dallas-Fort Worth area, and trains on aerial silks.
AMANDA HALGRIMSON-WALZER
Soprano Amanda Halgrimson-Walzer started her career with Chicago’s Grant Park Symphony after graduating from Northern Illinois University.
She performed two years with National Opera Company, traveling the US singing two hundred fifty performances. After singing Lucia and the Queen of the Night in Sacramento and Houston Grand she won the Metropolitan Opera Auditions and came to Europe in her debut as the Queen of the Night in the Netherlands. She moved on through the major houses in Europe including La Scala with Maestro Wolfgang Sawallisch.
Ms. Halgrimson-Walzer settled in Berlin Germany at the Deutsche Oper which was her home for 11 years. Amanda has sung everything from Handel to Wagner! Her recording career includes the Beethoven Missa Solemnis with Sir Roger Norrington and Gianluigi Gialmetti, The 9th of Beethoven with Norrington, Peter Maag, and the infamous “Matthausen 2000” performance at the concentration camp, with Sir Simon Rattle.
Ms. Halgrimson-Walzer's recordings include: The Beethoven 9th with Maestro Peter Maag. The Hummel Messe with Martin Haselböck, and The Creation as well with Haselböck Donna Anna in the EMI recording of Mozart’s Don Giovanni with Sir Roger Norrington and The Protagonist by Kurt Weil the role of Catherine with John Mauceri.
After 35 years in the business she retired from the stage but not from singing. She spends her time raising money for those in need and enjoying life with her husband Klaus, sons Charles, and Mark and his wife Nadja. Ms. Halgrimson-Walzer also has enjoyed teaching privately, sharing the wonderful things she learned from her voice teachers, Mae Barron, Dorothy Kittaka, Diane Ragains, Dr. Ronald Combs, Carlo Bergonzi, Renata Tebaldi, Richard Conrad and Dr. Irmgaard Hartmann.
Soprano Amanda Halgrimson-Walzer started her career with Chicago’s Grant Park Symphony after graduating from Northern Illinois University.
She performed two years with National Opera Company, traveling the US singing two hundred fifty performances. After singing Lucia and the Queen of the Night in Sacramento and Houston Grand she won the Metropolitan Opera Auditions and came to Europe in her debut as the Queen of the Night in the Netherlands. She moved on through the major houses in Europe including La Scala with Maestro Wolfgang Sawallisch.
Ms. Halgrimson-Walzer settled in Berlin Germany at the Deutsche Oper which was her home for 11 years. Amanda has sung everything from Handel to Wagner! Her recording career includes the Beethoven Missa Solemnis with Sir Roger Norrington and Gianluigi Gialmetti, The 9th of Beethoven with Norrington, Peter Maag, and the infamous “Matthausen 2000” performance at the concentration camp, with Sir Simon Rattle.
Ms. Halgrimson-Walzer's recordings include: The Beethoven 9th with Maestro Peter Maag. The Hummel Messe with Martin Haselböck, and The Creation as well with Haselböck Donna Anna in the EMI recording of Mozart’s Don Giovanni with Sir Roger Norrington and The Protagonist by Kurt Weil the role of Catherine with John Mauceri.
After 35 years in the business she retired from the stage but not from singing. She spends her time raising money for those in need and enjoying life with her husband Klaus, sons Charles, and Mark and his wife Nadja. Ms. Halgrimson-Walzer also has enjoyed teaching privately, sharing the wonderful things she learned from her voice teachers, Mae Barron, Dorothy Kittaka, Diane Ragains, Dr. Ronald Combs, Carlo Bergonzi, Renata Tebaldi, Richard Conrad and Dr. Irmgaard Hartmann.
RACHEL ZATCOFF
Born and raised in Philadelphia, Rachel Zatcoff is a Broadway actress and classically trained soprano. Rachel recently completed a year and a half run Off-Broadway as Tsaytl in Fiddler on the Roof (in Yiddish) directed by Joel Grey. She made her Broadway debut as Christine Daaé in The Phantom of the Opera. She has also performed with the International Tour of West Side Story in the role of Maria.
Rachel made her New York City Opera debut in Candide directed by Hal Prince. She later made her principal debut at the company with the new jazz opera, Dear Erich, in the role of Lili. Other favorite performances include A Little Night Music at Syracuse Opera, The Secret Garden at TUTS, and Street Scene at Opera North.
Rachel enjoys drinking red wine, talking to the moon, being a libra, eating all of the cheese, performing, auditioning, reading, teaching, learning, and celebrating life in New York City. Her favorite roles are wife to Seth and mama to Alfie.
Born and raised in Philadelphia, Rachel Zatcoff is a Broadway actress and classically trained soprano. Rachel recently completed a year and a half run Off-Broadway as Tsaytl in Fiddler on the Roof (in Yiddish) directed by Joel Grey. She made her Broadway debut as Christine Daaé in The Phantom of the Opera. She has also performed with the International Tour of West Side Story in the role of Maria.
Rachel made her New York City Opera debut in Candide directed by Hal Prince. She later made her principal debut at the company with the new jazz opera, Dear Erich, in the role of Lili. Other favorite performances include A Little Night Music at Syracuse Opera, The Secret Garden at TUTS, and Street Scene at Opera North.
Rachel enjoys drinking red wine, talking to the moon, being a libra, eating all of the cheese, performing, auditioning, reading, teaching, learning, and celebrating life in New York City. Her favorite roles are wife to Seth and mama to Alfie.
