Tuesday, August 2, 6pm

Join us for a night of local oysters and opera at the home of Terry Kahn & Lesley Silvester

Oysters by Lucky Lips Oysters with Jason Weisman!

Enjoy local oysters and other hor d’oeuvres, beverages and the music of the NY Opera Society. This is a fundraiser for Truro Center for the Arts and vaccinations are required!

The New York Opera Society (NYOS) develops new audiences for opera by commissioning, creating, and funding exemplary productions. To that end, NYOS serves as a conduit to the public by disseminating important messages, musical inspiration, and seminal artistic performances via partnerships with major performance venues, corporations, nonprofits and governments to present the work of our artists. In its most recent season, NYOS commissioned and co-presented the world premiere of Upon this Handful of Earth with Sacred Music in a Sacred Space in NYC and a highly lauded excerpted world premiered staged reading of Letters from Ruth at the National Gallery of Art in Washington, D.C.; both works by Gisle Kverndokk and Aksel-Otto Bull. NYOS has also commissioned the first operatic version of Tres Sombreros de Copa by Ricardo Llorca which premiered in Brazil and will have its Spanish premiere at Teatro de la Zarzuela in Madrid in November 2019. Previously, NYOS has produced the Lincoln Center and United States premiere of its contemporary Spanish opera, Las Horas Vacias, by Guggenheim fellow and Juilliard faculty member Ricardo Llorca; three tours and world premieres of NYOS’ commissions from Gisle Kverndokk’s and Wiik’s Max & Moritz: A Cartoon Opera in Seven Pranks and Supersize Girl. Other notable NYOS evenings have taken place at the National Gallery of Art, the Chicago Cultural Center, the Embassy of Italy, New York’s World Financial Center, Lincoln Center’s Alice Tully Hall, and the United Nations. Audiences have included the Royal Couple of Norway, the Undersecretary of Defense in Washington, D.C., Queen Sofia of Spain (at a gala in her honor), Barbara Walters, Stanley Tucci/Martin Scorsese (at a gala in their honor), and nearly every European and South American Consulate. NYOS has been favorably featured in The Washington Post, on PBS, in a feature article in The Wall Street Journal, and Opera News. NYOS is led by Executive Director Jennifer Cho and a dedicated Board of Directors chaired by philanthropist, Lesley Silvester.

Hailed for her “mezzo-tinted lower register rising to a wonderful warm top, (The Washington Post) American soprano Colleen Daly carefully balances her engagements on the concert and opera stages.This season sees her join Baltimore Chorale Arts for Orff’s Carmina Burana. Her 2019-2020 season washighlighted by Micaëla in Carmen for Tulsa Opera, Beethoven’s Symphony No. 9 for the Carmel Symphony, and a remount of Wachner’s Rev. 23 for the Prototype Festival. Floyd’s Susannah for the Annapolis Opera and Antonia in Les contes d’Hoffmann for Delaware Opera are postponed due to the Coronavirus pandemic. Her 2018-2019 season included Dvořák’s Stabat Mater with the Vancouver Symphony, Musetta in La bohème for the Fairfax

symphony and the Charlottesville Opera, Donna Annain Don Giovanni for Baltimore Concert Opera, and Verdi’s Requiem with Santa Barbara Symphony. Recent credits include the World Premiere of Julian Wachner’s opera Rev.23 with White Snake Projects in Boston, the title role in Floyd’s Susannah for Baltimore Concert Opera, Martin’s In Terra Pax with the Grant Park Festival, Dvorak’s Te Deum with the Washington Cathedral Choral Society and CarminaBurana with the Washington Chorus at the Kennedy Center. She joined the Windsor Symphony as Countess Almaviva in a concert version of Le nozze di Figaro and the Annapolis Opera for Violetta in La Traviata. She also sang Mahler’s Symphony no. 2 with the Bozeman Symphony, Beethoven’s Symphony no. 9 for the Williamsburg Symphony and covered the role of Cunégonde in Candide for the WashingtonNational Opera. Ms. Daly debuted internationally with the Calgary Philharmonic as Madeline in Philip Glass’ setting of The Fall of the House of Usher, and was immediately reengaged for Mahler’s Symphony No. VIII. She returned to the Kennedy Center Concert Hall as a soloist in the Washington Chorus’s presentation ofRalph Vaughan Williams’ A Sea Symphony and first appeared with the Bozeman Symphony in Verdi’s Requiem. Notable roles include Musetta in La bohème with Annapolis Opera, Lyric Opera of Baltimore and Des Moines Metro Opera; Violetta in Opera Delaware’s production of La traviata, which she also covered at New York City Opera; Fiordiligi in Così fan tutte with Intermountain Opera; Micaëla in both LaTragédie de Carmen with Syracuse Opera and in Carmen with Baltimore Concert Opera; the Countess in Annapolis Opera’s production of Le nozze di Figaro; and the title role of Thaïs at Opera Company of Middlebury. In the winter of 2016, Ms. Daly returned to one of her signature roles, Micaëla in the Maryland Symphony Orchestra’s presentation of Carmen, and was later presented in her role debut asFidelia in Puccini’s rarely heard Edgar with the Baltimore Concert Opera.Her work as a concert and recital soloist has been widely recognized in performing such works as Mozart, Brahms, Fauré, and Rutter Requiem Masses, Mendelssohn’s Elijah, Händel’s Messiah, Haydn’s Creation, Lord Nelson Mass, and Missa Solemnis, Poulenc’s Gloria, Mozart’s Davide penitente, and Stravinsky’s Les Noces. Colleen has appeared with the Columbus Symphony, the Mid-Atlantic Symphony, the Master Chorale of Washington in her Kennedy Center debut, Washington Concert Opera, the Post- Classical Ensemble, the New Dominion Chorale, the Maryland Philharmonic Orchestra, and the Händel Society of Dartmouth, among others. On the recital stage, she presented a program of art song inspired by works in the permanent collection at the Phillips Gallery, and reprised a portion of her program at the Kennedy Center, which was streamed live worldwide.

JARROD LEE, BARITONE Jarrod Lee, baritone and librettist, hails from Alabama and presently resides in Maryland. He has received rave reviews from Opera News and The Washington Post. Jarrod has performed roles and/or covered roles with Annapolis Opera, Baltimore Concert Opera, In Series, Lyric Opera of Chicago, Maryland Opera, Metropolitan Opera, Opera Delaware and Washington National Opera. Jarrod’s past roles have included Undertaker in Porgy and Bess, Angelotti/Jailor in Tosca, Le Bailli in Werther, Le Chat/ L’horloge in L’enfant et les sortilege. Jarrod has also performed in community outreach works commissioned by Washington National Opera called In the Smoke of the Sting and Just out the Window by Tom Minter. Jarrod was a finalist in the Annapolis Opera, the Harlem Opera Theater Vocal Competitions and a semifinalist in Austria’s Meistersinger. In new works, Jarrod premiered the role Levi in the Afrofuturistic opera ballet called Cloud Nebula by Scott Patterson with Afro House Baltimore, and Joe Louis in Shadowboxer by Frank Proto and John Chenault with the Maryland Opera Studio. Jarrod has also participated in American Voices at the Kennedy Center, curated by Renée Fleming and Jarrod had the honor of performing for President Barack Obama as a featured soloist with the historic Metropolitan A.M.E Church. For updates: www.JarrodLee.com / Website.

VALE RIDEOUT, TENOR Vale Rideout is celebrated for his “clarion” and “soaring and impassioned” tenor voice (Opera News). Equally comfortable with standard and contemporary repertoire, he is continually in demand on the operatic and concert stage throughout the United States, and as a distinguished recording artist.

In recent seasons, Mr. Rideout has sung Villers in Carlisle Floyd’s Prince of Players and Camille in The Merry Widow with Florentine Opera Company; Hades in the premiere of Julian Wachner’s REV 23 with the Boston New Music Festival; Britten’s War Requiem with Fresno Philharmonic; Carmina Burana with North Carolina Symphony; the U.S. premiere of Ēriks Ešenvalds’ St. Luke Passion with Highland Park Orchestra in Dallas; Bach’s St. Matthew Passion with Arcadia Chorale and Wilkes University Chorus, and a Bernstein “Marathon” at the New York Festival of Song.

Mr. Rideout’s work as a Britten specialist has been acclaimed by the New York Times, whose critic wrote that his voice “…has remarkable purity in the high range and is able to maintain a sleek polish across the dynamic range. With his excellent diction and natural, smooth-flowing delivery light on vibrato, he was an ideal match for Britten.” Mr. Rideout has performed Britten’s War Requiem with several leading orchestras, including New York Philharmonic and Los Angeles Philharmonic, both under Lorin Maazel; and the Serenade for Tenor, Horn, and Strings at Trinity Wall Street in New York and with Wisconsin Philharmonic. His recent Britten opera performances include Peter Quint in The Turn of the Screw with Boston Lyric Opera and Central City Opera, and Male Chorus in The Rape of Lucretia with Cal Performances under Lorin Maazel. His work with Britten’s repertoire can be heard on his debut solo recording, Britten & Finzi Song Cycles (Acis).

Mr. Rideout’s operatic roles include Mime in Das Rheingold with North Carolina Opera; the title role in Stravinsky’s Oedipus Rex with the Washington Chorus at the Kennedy Center; Tamino in Die Zauberflöte with Opera Coeur d’Alene and Nashville Opera; Alfred in Die Fledermaus with San Francisco Opera and New Orleans Opera; Alfredo in La traviata with Eugene Opera, Roméo in Roméo et Juliette with Kentucky Opera; the title role of Faust with Opera Tampa; Nadir in Les pêcheurs de perles with Hawaii Opera Theatre; Edgardo in Lucia di Lammermoor with Central City Opera; and Edgar in Der Vampyr with American Symphony Orchestra.

Mr. Rideout frequently brings his musicianship to contemporary opera, including recent performances as the title role in Stewart Copeland’s The Invention of Morel and the main antagonist in Hannah Lash’s Beowulf in Opera America’s New Opera Showcase; Davey Palmer in Dove’s Siren Song with Hawaii Opera Theatre; Roderick in Glass’ The Fall of the House of Usher with Nashville Opera; Tancredi in Musto’s The Inspector with Wolf Trap Opera; and Stage Manager in Rorem’s Our Town with Central City Opera.

Recent concert engagements include the world premiere of Joseph Vella’s The Hyland Mass at St. Patrick’s Cathedral in New York; Stravinsky’s Les noces and Philip Glass’ Symphony No. 5 at Trinity Wall Street; Britten’s War Requiem with the Washington Chorus; Mendelssohn’s St. Paul with New York Choral Society at Carnegie Hall, and Berlioz’ La damnation de Faust with Richmond Symphony Orchestra. He has sung Messiah with Seattle Symphony Orchestra, Haydn’s Paukenmesse with Berkshire Choral Festival; and Beethoven’s Symphony No. 9 with Symphonica Toscanini in Rome and Brussels, conducted by Lorin Maazel.

Mr. Rideout can be heard on several acclaimed recordings of 20th century and contemporary opera, including two Grammy-winning recordings with Florentine Opera Company: Frank in Aldridge’s Elmer Gantry (Naxos), and Igneo in Davis’ Rio de Sangre (Albany Records); and as Edgar in the company’s Grammy-nominated recording of Floyd’s Wuthering Heights (Reference Recordings). He also sang on the Grammy-nominated recording of Steven Stucky’s August 4th, 1964 under Jaap Van Zweden with Dallas Symphony Orchestra (Dallas DSO Live); Beethoven’s Symphony No. 9 under Leonard Slatkin with Detroit Symphony Orchestra (DSO Live From Orchestra Hall); David Schiff’s Gimpel the Fool, Marvin David Levy’s Masada, and Weill’s The Eternal Road (Naxos); Carmina Burana with New Jersey Symphony Orchestra (NJSO Records); The Ballad of Baby Doe with Central City Opera (Newport Classics); and The Inspector with Wolf Trap Opera (Wolf Trap Records).