We are excited to share the bios of the four soloists for our upcoming performance of Dvořák's Stabat Mater on April 30 at 2:30 pm at the Church of the Incarnation.
Celebrated by the New York Times for her “rare talent that can send chills down a listener’s spine even in familiar music,” Jennifer Check returns to Verdi’s Requiem in the hallmark Defiant Requiem presentation with the Detroit Symphony Orchestra and Chicago Philharmonic. She also returns to the Metropolitan Opera roster as the High Priestess in Aida and for its production of Saariaho’s L’amour de loin and joins the Lyric Opera of Chicago roster for Norma. Last season, she returned to Utah Opera for the title role of Aida, her first performances of Desdemona in Otello with Berks Opera, and returned to the Metropolitan Opera for Anna Bolena and Maria Stuarda. On the concert stage she joined the Aspen Music Festival for Saariaho’s Cinq reflets. She recently debuted three other Verdi titles: Macbeth (Nancy, Palm Beach), Il trovatore (Utah Opera), and Don Carlos (Caramoor) and sang her first Ariadne auf Naxos (Toulon). Other recent performances include Don Giovanni (Metropolitan Opera), Muhly’s Dark Sisters (Gotham Chamber Opera, Opera Philadelphia), Norma (Palm Beach, Philadelphia), Elektra (London, Tokyo, Detroit), Iphigénie en Tauride (Valencia), Dialogues des Carmélites (Caramoor, Austin), and The Legend of the Invisible City of Kitezh (Amsterdam).
Hailed as a “vibrant stage personality” matched with a “sizable creamy mezzo,” Carla Jablonski’s vocal versatility has captivated audiences across the globe. Ms. Jablonski was most recently praised for inhabiting the title role in Dido and Aeneas with “impressive sophistication.” She joined The Metropolitan Opera for Die Meistersinger von Nürnberg and a new production of Verdi's Otello. At Florida Grand Opera she sang Dorabella in Cosi fan tutte followed by performances of the Secretary in The Consul. Past seasons include various roles with Wolf Trap Opera, Opera Santa Barbara, Central City Opera, and Chautauqua. Equally at home on the concert stage and an advocate of new music, Ms. Jablonski made her Lincoln Center debut at Alice Tully Hall singing Five Songs by Charles Ives arranged for orchestra by John Adams, followed by her Carnegie Hall debut as the alto soloist in Handel’s Messiah. She also has sung as a featured soloist with the Saint Paul Chamber Orchestra, New York Festival of Song, Caramoor International Music Festival, and American Opera Projects, among others. Upcoming, Ms. Jablonski is featured on a tango album of specially arranged and newly commissioned Piazzolla songs in collaboration with The Neave Trio. She holds a Master of Music from The Juilliard School and a Bachelor of Music from Manhattan School of Music and is a proud recipient of a Drama Desk Award.
Praised by Opera News for his “galvanizing presence” tenor Jonathan Tetelman joins the Milan Festival Orchestra in Lake Como, Italy for his first performances of Verdi’s Requiem, the Orchestra Now for Elgar’s Dream of Gerontius, Opera Company of Middlebury for Luigi in Il Tabarro, and New England Symphonic Ensemble for Mozart’s Coronation Mass. He also joins the St. George’s Choral Society for performances of Dvorak’s Stabat Mater, the Greenwich Choral Society for Bizet’s Te Deum and Puccini’s Messa di Gloria, and Gulf Shore Opera for concert performances including selections from La Traviata, La boheme, and Rigoletto. Next season, the tenor joins the roster of the Metropolitan Opera and sings his first performances of Duca in Rigoletto with the Berkshires Opera Festival. Last season, he joined the Martina Arroyo Foundation as Eisenstein in Die Fledermaus and Teatro Grattacielo covering Agamemnone in Gnecchi’s Cassandra. As a young artist with Opera North, Mr. Tetelman sang Steven Sankey in Weil’s Street Scene, Freddy Eynsford-Hill in My Fair Lady, and Alfredo in La Traviata. Additionally, he joined the New York Opera Exchange for performances of Alfredo in La Traviata, and attended the International Vocal Arts Institute in Blacksburg, Virginia performing as Elder Gleaton along with direction by composer Carlise Floyd, in his masterpiece, Susannah.
Bass Matthew Anchel, called "a voice to watch" by the Wall Street Journal and praised for his “magnetic, deep voice” by the New York Times, was a Grand Finalist in the 2013 Metropolitan Opera National Council Auditions. This season he will sing the role of Sparafucile with Anchorage Opera; the bass solos in the U.S premiere of The Hyland Mass: A Prayer for Unity and Diversity by Joseph Vella with New York Choral Society at St. Patrick’s Church in New York City; and the role of Sun Tze in a workshop performance of REV. 23 with the Prototype Festival. He will make his Carnegie Hall debut singing Haydn’s Mass in Time of War and join The Metropolitan Opera for their productions of The Magic Flute, Idomeneo, and Der Rosenkavalier. Next season he will return to the The Metropolitan Opera for their productions of The Exterminating Angel and Cendrillon and sing Sarastro in The Magic Flute with St. Petersburg Opera. Recent engagements include Handel’s Messiah with the Annapolis Chorale, B Minor Mass with Canterbury Choral Society, Marpa in Mila, Great Sorcerer with American Lyric Theater, Zuniga in Carmen with the Savannah Voice Festival, and singing #8 in Transformations with the Merola Opera Program. Past highlights include two seasons covering in five productions with The Metropolitan Opera, Sarastro in The Magic Flute with Opera Theatre of St. Louis, a season with Oper Leipzig, performing in eight productions, Alidoro in La Cenerentola with Knoxville Opera, Ferrando in Il Trovatore and The Bonze in Madama Butterfly with Opera San Jose, and Don Alfonso in Lucrezia Borgia with Loft Opera. Mr. Anchel was a Young Artist with LA Opera, Opera Theatre of St. Louis, and Caramoor. He has won awards from The George London Foundation, Loren L. Zachary Foundation, Sullivan Foundation, Fritz and Lavinia Jensen Foundation, Palm Beach Vocal Competition, and Opera Index.