Jodi Karem
Soprano
Jodi Karem has performed with such companies as Center for Contemporary Opera, Florentine Opera, Cape Cod Opera, Opera Grand Avignon, Armel Opera Festival, Carnegie Hall, Long Leaf Opera, Springfield Regional Opera, Skylight Opera, Natchez Opera Festival, Apotheosis Opera and others. In 2023, Ms. Karem will perform with St. Pete Opera, covering the role of Leonore (Fidelio). Other roles include Alice Ford, Venus (Tannhaüser), Santuzza, Suzuki, Eboli, Carmen, Witch (Hansel & Gretel), Flora, and Ericka. Ms. Karem has extensive concert experience, performing concerts throughout the United States, Europe and the Middle East. Recent concert performances include guest solo artist with the Athena Music Foundation in Dubai, UAE and with New York Dramatic Voices in excerpts from La Gioconda and La Fanciulla del West. Other performances include a recent performance at Carnegie Hall as a Soloist in Mozart's Vesperae solennes de confessore, as a soloist at Carnegie Hall in Mozart's Requiem, soloist in the Dayton Philharmonic's Messiah, as guest artists with the Canton Symphony Orchestra, as a soloist with the Louisville Orchestra, a concert and master class at Wabash College, as a soloist with the Palm Beach Theatre Guild, Waukegan Public Library Concert Series, Northwest Community Church Concert Series, and Carmen preview concerts with Florentine Opera in Milwaukee.
Nicholas Simpson
Tenor
The 2022-2023 season will see Nicholas returning to Lincoln Center to sing Paolo Erisso in the heroic bel canto masterpiece Maometto II, and being featured as the title role of Wagner’s Lohengrin in a showcase with the Metropolitan Opera Guild and Wagner Society of New York, along with performances as the tenor soloist in Handel’s Messiah in New York and in Washington DC.
In May of 2022, Nicholas made his debut at Carnegie Hall with the New England Symphonic Ensemble as the tenor soloist in Vaghan Williams’ Serenade to music, and Mozart’s Regina coeli and Missa brevis.
In the summer of 2021 Nicholas performed the role of Almaviva with Teatro Nuovo at New York’s Lincoln Center. A departure in repertoire for Mr Simpson, he was nevertheless widely lauded. Opera Wire’s Chris Ruel noted that Nicholas is a “fantastic young tenor at his best, combining compelling acting with technical virtuosity,” Anthony Tommasini of The New York Times relished in his “Bright sound and expansive lyricism... embellishments emanated from the melody and the mood,” while Opera News’ Judith Malafronte noted that ““Nicholas Simpson’s Count Almaviva grew in confidence over the evening, and his bright sound and winning music-making, as well as his impersonations, were a delight….the highlight of the evening.” These performances marked the triumphant first full length opera performances in New York since the beginning of the Covid-19 pandemic.
Fernando Lopez
Piano
Mr. Lopez has participated in various music festivals such as the Eastern Music Festival in North Carolina, the Piano Academy & Festival International in St. Andrews, Canada, and the Brancaleoni International Music Festival in Piobbico, Italy. Additionally, Mr. Lopez is an active collaborative pianist in the Tampa Bay area. Mr. Lopez holds a Bachelor of Music degree from the University of Arizona, and a Master of Music degree from the University of South Florida. Over the years, Mr. Lopez has cultivated an engaging curriculum for his students, grounded in his passion for teaching music through the piano. His extensive experience with children and adults alike yields a teaching style that is uniquely adaptable to the individual student; one that incorporates custom-fit nuances for each student to maximize his or her focus, engagement, and progress. He is currently an adjunct faculty at the State College of Florida in Bradenton, where he teaches class piano and applied piano. Additionally, he has his private studio at his home in Temple Terrace.
TODAY'S PROGRAM:
O soave fanciulla (La Boheme) by G. Puccini
This closing number in Act 1 of La Boheme is one of the most romantic duets in the opera. It is the point of the story that Rodolfo (sung by a tenor voice) and Mimi (sung by a soprano voice) realize that they have fallen in love with each other. Just before this duet, Rodolfo’s friends call out to him to join them, but he wants to stay near Mimi. She suggests they all go out to the café together. Rodolfo mentions how cold it is outside, but Mimi says that she will stay near him. At the end the duet, the couple walks arm in arm to go to Café Momus together singing “Amor” (Love).
Tosca Duet, Act 1 (Tosca) by G. Puccini
Just prior to this duet, Mario Cavaradossi has helped his friend, Angelotti, who is in hiding for his political views. Meanwhile, Tosca is calling for Mario to open the door for her. She enters, jealously questioning him about to whom he is speaking and why the door was locked. She then offers her prayers to Mary and reminds Mario that she has to sing a short concert that evening and then she will meet him to go to his villa. At this point, she sees the painting of the Madonna that Mario is working on and recognizes it to be Marchesa Attavanti. She then flies into a jealous fit, thinking that Mario is unfaithful. Mario reassures Tosca of his love and faithfulness and she tells him to tell her more words that heal her heart. After more romantic exchange, she leaves, telling Mario to change the eyes in the painting to brown (“Ma falle gli occhi neri!”).
Tu qui, Santuzza (Cavalleria rusticana) by P. Mascagni
In a Sicilian village on the morning of Easter, Santuzza finds herself looking for Turiddu, her lover. She suspects that he has reunited with his former lover, Lola, who is now married to Alfio. As Santuzza sees Turiddu, she confronts him to tell her the truth about his relationship with Lola. He becomes angry and demands that Santuzza stops pursuing him with her jealousy. She becomes so desperate to stay in a relationship with Turiddu that she tells him to beat her and insult her, but don’t leave her. This argument ends in an explosion of emotion and she curses Turridu as he leaves her.
Isolde Liebestod by Wagner / Liszt
As Isolde looks upon Tristan while in a trance, she believes that he is coming back to life. She hears a melody around her, making her hallucinations stronger and stronger until she dies next to Tristan. This piece is a transcription of the aria without the vocal part, and is often performed in orchestra performances.
Being Alive (Company) by S. Sondheim
The Physician (Nymph Errant) by C. Porter
Bring Him Home (Les Misérables) by C. Schönberg
When the Children are Asleep (Carousel) by O.Hammerstein II & R. Rodgers
