An Evening of Vocal Music
Brahms op. 52 Liebeslieder Wälzer anchor an evening program featuring four of the greater Washington D.C.’s prominent singers, alongside two pianists, heard in quartets, duets, and as soloists. In addition to the Brahms, the sextet joins forces for selections from Florent Schmitt’s Chansons à Quatre Voix, a work whose champions include the American conductor JoAnn Falletta. A mélange of duets, solos, and piano works round out the program.
Laura Choi Stuart, soprano
Gabriela Estephanie Solis, mezzo-soprano
Aaron Paige, tenor
Richard Giarusso, bass-baritone
Jonathan King, piano
Andrew Jonathan Welch, piano
Spotlight on our Artists:
Hailed as “a lyric soprano of ravishing quality” by the Boston Globe, Laura Choi Stuart has appeared on the mainstage with Boston Lyric Opera, Opera Boston, Annapolis Opera, Lake George Opera, the In Series, and Opera North in roles including Musetta, Adina, Gilda, Pamina, and Frasquita.
Based in the Washington, D.C. area, Laura appears regularly with the Washington Bach Consort and the Washington Master Chorale, in addition to solo appearances with many area ensembles. Upcoming highlights include the D.C. premiere of Jacob Turrin's And Crimson Roses Once Again Be Fair with the New Orchestra of Washington and Washington Master Chorale, a return to the Washington National Cathedral for Messiah and Mozart Requiem, Brahms Requiem with the Washington Chorus, Faure Requiem with the Choral Arts Society of Washington, and a featured solo concert of Bach and Vivaldi cantatas with the Washington Bach Consort.
Equally comfortable in recital and concert settings, Laura was honored for art song performance as 2nd prize winner at both the 2010 and 2012 National Association of Teachers of Singing Artist Awards and as one of the 2009 Art Song Discovery Series winners for the Vocal Arts Society.
Laura received her training at The Santa Fe Opera Apprentice Program for Singers, Opera North, and Berkshire Opera, as well as The New England Conservatory and Dartmouth College.
Gabriela Estephanie Solis, mezzo-soprano, is an avid interpreter of early and sacred music. In the San Francisco Bay Area she regularly performs as a soloist with the California Bach Society and as a member of the American Bach Soloists Choir. Operatic engagements include the roles of Dido in Purcell’s Dido and Aeneas, Bradamante in Handel’s Alcina, Endimione in Cavalli’s La Calisto, and Orineo in Cavalli’s L’Erismena (Amherst Early Music Festival). In the summer of 2019 she will participate in the Boston Early Music Festival Young Artist Training Program. She has also performed as a soloist in numerous concert works of the Baroque, including Buxtehude’s Membra Jesu Nostri, Vivaldi’s Gloria and Nisi Dominus, Pergolesi’s Stabat Mater, Zelenka’s Missa Votiva, Handel’s Messiah, and numerous works by J.S. Bach. Other major works include Vaughan Williams’s Serenade to Music, Copland’s In the Beginning, and Bernstein’s Chichester Psalms. Her most recent engagements include winning the Bethlehem Bach Aria Competition and traveling to Weimar and Leipzig, Germany to perform Bach cantatas with Helmuth Rilling. She is a recent alumna of the University of Notre Dame, where she completed graduate studies in sacred music and vocal performance, and now resides in Baltimore.
Praised by The Washington Post for his “expressive and perfectly controlled voice,” Richard Giarusso maintains an active career as a bass-baritone, working regularly with some of the most prominent professional ensembles throughout the greater DC region.
While at home in a variety of repertoire, he has developed a particular proficiency in the performance of early music and lieder. Dr. Giarusso served for many years as a member of the singing faculty at Berkshire Choral International. In Boston, he appeared with several acclaimed ensembles and sang five years with the Choir of the Church of the Advent, gaining fluency in a repertoire ranging from plainchant to world premieres with a special emphasis upon Renaissance polyphony. In the greater DC area, he maintains associations with many of the most prominent professional ensembles in the city, including the Washington Bach Consort, the Folger Consort, and the Choirs of the Washington National Cathedral.
A specialist in the German lied, his article on Schubert’s Schwanengesang was published in 2016 as part of a volume of essays from Oxford University Press. Performances of the this repertoire, with both historical and modern instruments, have been a staple of his professional activity for nearly twenty years. He has studied voice with Keith Kibler, Pamela Dellal, and Elizabeth Daniels, and has performed in masterclasses with Lorraine Hunt Lieberson, Mitsuko Shirai, and Hartmut Höll. He has coached German lieder with Robert Levin, Malcolm Bilson, and John Shirley-Quirk.