Filene Center

STARias: Opera’s
Most Powerful Moments

Wolf Trap Opera Artists and Alumni
National Symphony Orchestra

Christopher Allen, conductor


Celebrate 50 years of opera at Wolf Trap with evocative arias from Wolf Trap Opera’s internationally renowned alumni alongside current young artists. Tamara Wilson, Michelle DeYoung, Paul Groves, Robert Watson, Ryan Speedo Green, and Raymond Aceto join Christopher Allen and the National Symphony Orchestra in the most dramatic moments from some of the world’s great operas. Seduction, struggle, deceit, atonement, love lost and found: the music of Gounod, Puccini, and Verdi provide a musical framework for the most powerful emotions of the human experience.


Recipient of the 2017 Sir Georg Solti Conducting Award, Christopher Allen is featured in Opera News as “one of the fastest rising podium stars in North America.” He has led acclaimed performances with the Atlanta Symphony, Los Angeles Opera, Opera Philadelphia, English National Opera, Lyric Opera of Chicago, Opera Theatre of Saint Louis, Washington National Opera, Michigan Opera Theatre, Florida Grand Opera, Atlanta Opera, Daegu Opera House in South Korea, and China National Opera Orchestra and Chorus. As The John L. Magro Resident Conductor at the Cincinnati Opera, Allen conducted three consecutive summer productions and led the Cincinnati Symphony in three annual concerts at Washington Park Concert.

In the 2020-21 season, Allen returned to Florida Grand Opera and Michigan Opera Theatre, conducting Mozart’s Don Giovanni, and Puccini’s La Bohème for his debut at Arizona Opera, in addition to touring the United States as director of the Bel Canto Trio. Shortly afterward, COVID-19 forced the cancellation of his engagements at Opera Omaha’s One Festival, Opéra de Montréal, Frankfurt Oper, and Cincinnati Opera. He closes out the current season leading the broadcast of Lyric Opera of Chicago’s Rising Stars concert, making debuts with the National Symphony in the STARias concert at Wolf Trap, and the Korean Symphony Orchestra, where he’ll conduct a subscription concert. The 2021-22 season includes re-engagements with Cincinnati Opera, conducting Aida, and Arizona Opera, leading performances of Carmen, in addition to debuts at Opéra de Montréal with Magic Flute, and Opera Omaha with I Capuleti e i Montecchi.

Allen launched his career as a recipient of the Bruno Walter Conducting Award and Memorial Career Grant, and was mentored by Plácido Domingo and James Conlon, who brought him to the Los Angeles Opera as Associate Conductor. During his tenure, Allen led the musical preparation for John Corigliano’s acclaimed The Ghosts of Versailles, which won a Grammy Award for Best Opera Recording. Cited by Musical America as Artist of the Month and one of 25 Stars Still Rising, Allen received a Solti Foundation U.S. Career Assistance Award and was an International Opera Awards nominee. More recently, he was the recipient of the Young Alumni Award from the Cincinnati College Conservatory of Music. 

His artistic pursuits extend beyond his role as a conductor. Committed to education, he works with young artists at the Los Angeles Opera, Ryan Opera Center at Lyric Opera of Chicago, New England Conservatory, A.J. Fletcher Institute at University of North Carolina School of the Arts, and Aspen Music Festival and School. Invited for an interview on National Public Radio, Allen took the opportunity to underscore the vital role that the arts play in American society. 

As an award-winning pianist, he has performed at Carnegie Hall, the John F. Kennedy Center for the Performing Arts, and most recently on film in Poulenc’s La Voix Humaine, starring Patricia Racette and directed by James Darrah. Other projects this season include a workshop of Iain Bell’s monodramas Comfort Starving/The Man with the Night Sweats, and a release of Beneath the Sky, featuring works by American composers performed by Allen. 

Offstage, Allen is a multimedia visual artist and playwright. His artistic short film NIOBE, which he wrote and directed during the COVID-19 lockdown, was screened at numerous film festivals, garnering awards for Best First Time Director, Best Screen Dance Short, and Best Dance Film, among other accolades. Allen is also the Creative Director of Shokat Projects, a production company dedicated to the creation of new, interdisciplinary works.


American bass Raymond Aceto has established an important presence among the world’s leading opera companies and symphony orchestras. His performances continue to gather both popular and critical acclaim.

Aceto’s recent seasons included his return to the Metropolitan Opera for performances in Bizet’s Les Pêcheurs de Perles under conductor Emmanuel Villaume and in Sir Richard Eyre’s production of Carmen. Following his 2016 debut at Washington National Opera in Francesca Zambello’s RING Cycle, he returned to the Kennedy Center in 2019 as Méphistophélès in Gounod’s Faust. He reprised the roles of Hunding and Fafner in Zambello’s RING Cycle with the San Francisco Opera, led by Donald Runnicles.

A frequent presence on the world’s international stages, Aceto performed a new production of Nabucco for the 20th Anniversary Celebration of the Shanghai Grand Theater, conducted by Daniel Oren. He also appeared with the Cleveland Orchestra on tour to Vienna’s Musikverein as Harasta in The Cunning Little Vixen under the baton of Music Director Franz Welser-Most and directed by Yuval Sharon. In 2015 he traveled to Japan with the Royal Opera House, Covent Garden as Banquo in Macbeth and Il Commendatore in Don Giovanni with Sir Antonio Pappano conducting. A regular collaborator with leading symphony orchestras, he has recently been seen as a soloist for Verdi’s Requiem with the Oregon and Grand Rapids Symphonies, Bruckner’s Te Deum with the Atlanta Symphony Orchestra, Mozart’s Requiem with the Rochester Philharmonic Orchestra under Music Director Ward Stare, and Wagner’s Der Fliegende Holländer with the St. Louis Symphony under Music Director David Robertson.

His operatic appearances in the U.S. include Roméo et Juliette, La fanciulla del West, King Roger, and Rigoletto with Santa Fe Opera; Nabucco, Aida, Don Giovanni, and Rigoletto at the Metropolitan Opera; Nabucco, Macbeth, Il barbiere di Siviglia, Das Rheingold, Siegfried, Samson et Dalila, Les pêcheurs de perles, Rise and Fall of the City of Mahagonny, Aida, Manon, and Boris Godunov with the Lyric Opera of Chicago; Macbeth, Aida, Turandot, Aida, and Susannah with the San Francisco Opera; Tosca, L’incoronazione di Poppea, Rigoletto, Lucia di Lammermoor, Simon Boccanegra, Boris Godunov, Carmen, Die Zauberflöte, and Don Giovanni with Houston Grand Opera; Don Giovanni, Il Barbiere di Siviglia, Lucia di Lammermoor, Rigoletto, La bohème, Das Rheingold, Luisa Miller, and Die Zauberflöte with The Dallas Opera; Méphistophélès in Gounod’s Faust and Vodnik in Rusalka with New Orleans Opera; and Wagner’s RING Cycle at Washington National Opera. He has appeared in leading roles with the opera companies of Seattle, Philadelphia, Cincinnati, Baltimore, Boston, Colorado, Pittsburgh, North Carolina, and Cleveland, as well as the opera festivals in St. Louis and Spoleto (USA).

On the international stage, Aceto has been seen in at the Royal Opera House, Covent Garden; Gran Teatre del Liceu; Deutsche Oper Berlin; Vienna Staatsoper; Teatro Real Madrid; Netherlands Opera; Oper Frankfurt; Arena di Verona; Teatro Comunale di Bologna; La Monnaie; Teatro Comunale di Firenze; Carmen at Teatro Massimo; Canadian Opera Company; L’Opéra de Montréal.

In concert, Aceto has appeared with leading symphony orchestras across the world, including the Dallas Symphony, Boston Symphony Orchestra, Cleveland Orchestra, Dallas Symphony, New West Symphony, Phoenix Symphony, Colorado Symphony, and BBC Scottish Symphony Orchestra at London’s Royal Albert Hall, among others. He made his Alice Tully Hall debut as Balthazar in a concert performance of Donizetti’s La Favorite with L’Opéra Français de New York, and his Carnegie Hall debut as Andrea Cornaro in Caterina Cornaro with the Opera Orchestra of New York.

A graduate of the Metropolitan Opera’s Young Artist’s Development Program, the Ohio-born bass has appeared frequently with the company since his debut as the Jailer in Tosca during the 1992-1993 season. In 1995 and 1996, Aceto was awarded Richard Tucker Foundation Career Grants, and in 1994 he was a recipient of a Sullivan Foundation Award. In 1996, he traveled to Japan for performances and a recording of The Rake’s Progress with Seiji Ozawa conducting. Aceto can also be heard in the role of Capellio in Teldec’s recording of I Capuleti e i Montecchi.

MICHELLE DeYOUNG, mezzo-soprano

Mezzo-soprano Michelle DeYoung continues to be in demand throughout the world, appearing regularly with the New York Philharmonic, Boston Symphony Orchestra, Chicago Symphony Orchestra, Cleveland Orchestra, San Francisco Symphony, Pittsburgh Symphony Orchestra, London Symphony Orchestra, BBC Symphony Orchestra, Vienna Philharmonic, and the Concertgebouworkest. She has also performed at the prestigious festivals of Ravinia, Tanglewood, Saito Kinen, Edinburgh, and Lucerne. In Australia she has appeared multiple times with Sydney Symphony and recently sang Kundry in concert performances of Parsifal at Opera Australia.

Equally at home on the opera stage, DeYoung has appeared with the Metropolitan Opera, Lyric Opera of Chicago, Teatro alla Scala, Bayreuth Festival, Berliner Staatsoper, and the Paris Opera.  Her many roles include Fricka, Sieglinde, and Waltraute in The Ring Cycle; Kundry in Parsifal; Venus in Tannhäuser; Brangäne in Tristan und Isolde; Eboli in Don Carlo; Amneris in Aida; Santuzza in Cavellaria Rusticana; Ježibaba in Rusalka; Marguerite in Le Damnation de Faust; Dido in Les Troyens; Judith in Bluebeard’s Castle; and Jocaste in Oedipus Rex. She also created the role of the Shaman in Tan Dun’s The First Emperor at the Metropolitan Opera.

A multi-Grammy Award-winning recording artist, DeYoung’s impressive discography includes Das Rheingold, Die Walküre, and Götterdämmerung with the Jaap van Zweden and the Hong Kong Philharmonic Orchestra (Naxos);  Kindertotenlieder, Mahler’s Symphony No. 3, and Das Klagende Lied with Michael Tilson Thomas and the San Francisco Symphony (SFS Media); Les Troyens with Sir Colin Davis and the London Symphony Orchestra (LSO Live!); and Mahler Symphony No 3 with both the Chicago Symphony Orchestra and Bernard Haitink (CSO Resound), and the Pittsburgh Symphony and Manfred Honeck (Challenge Records International). Her most recent recording of Mahler’s Das Lied von der Erde with the Shanghai Symphony Orchestra (Deutsche Grammophon) was released in July 2021.

This season, DeYoung appeared in concert with the Shanghai Symphony Orchestra, Philadelphia Orchestra, and Cincinnati Symphony Orchestra. This summer she returns to the Ravinia and Aspen Music Festivals, and next season her many engagements include appearances with the Sydney Symphony Orchestra, NDR Elbphilharmonie Orchestra, Orchestre National de Lille, Belgium National Orchestra, San Diego Symphony, and the Colorado Symphony.

RYAN SPEEDO GREEN, bass-baritone

Grammy Award-winning bass-baritone Ryan Speedo Green has quickly established himself as an artist of international demand at the world’s leading opera houses. Green opens the Metropolitan Opera’s 2021-2022 season as Uncle Paul in Terrence Blanchard’s Fire Shut Up in my Bones, and also reprises his Grammy Award winning role of Jake in Porgy and Bess, Colline in La bohème, and sings Truffaldino in Ariadne auf Naxos which will be broadcast as part of the Met’s Live in HD series. Green also makes his house debut with Washington National Opera as Escamillo in Carmen, directed by Francesca Zambello and conducted by music director Evan Rogister.

In the 2020-2021 season Green made his house debut as Jake in Porgy and Bess with Theatre an der Wien, as well as his house debut with Palm Beach Opera singing both Colline in La bohème and Sprecher in Die Zauberflöte. Green also made his debut with Columbus Opera for a digital residency and broadcast of the stage version of his best-selling book: Sing for Your Life. Concert engagements include appearing as featured soloist with San Diego Symphony for the opening of their new outdoor venue, The Shell; an All Star Concert with Isabel Leonard at Austin Opera, which will be broadcast on Austin PBS; a concert of arias with the Virginia Arts Festival conducted by Virginia Opera music director Adam Turner; and Beethoven’s Symphony Number 9 with Tulsa Symphony. Green was also the first Artist in Residence for the Texas Opera Alliance, where he held masterclasses and community events for Houston Grand Opera, Dallas Opera, Austin Opera, Forth Worth Opera, and Opera San Antonio.

Highlights of Green’s performances at the Metropolitan Opera include his role debut as Jake in James Robinson’s new production of the Gershwin’s Porgy and Bess which won a Grammy Award and Colline in the iconic Zeffirelli production of La bohème. Additional highlights include the King in Aida, Oroe in Semiramide, Rambo in the premier of The Death of Klinghoffer conducted by David Robertson, the Second Knight in a new production of Parsifal, the Bonze in Madama Butterfly, and the Jailer in Tosca. Additional operatic engagements include Ferrando in Il trovatore with Opera de Lille’s traveling production, Third King in Die Liebe der Danae with the Salzburg Festival, his house and role debut as Osmin in the James Robinson production of Die Entführung aus dem Serail at Houston Grand Opera, as well as his house and role debut as Escamillo in Carmen with Opera San Antonio.

At the Wiener Staatsoper, Green has been seen as Fasolt in Das Rheingold, Don Basilio in Il Barbiere di Siviglia, Varlaam in Boris Godunov, Ferrando in Trovatore, Raimondo in Lucia di Lammermoor, and Banquo in Macbeth, among many more.

Orchestral appearances include Beethoven’s Ninth Symphony with Los Angeles Philharmonic, conducted by Gustavo Dudamel at the Hollywood Bowl; the Philadelphia Orchestra; the Chicago Symphony Orchestra at the Ravinia Festival; and the Florida Symphony and Norwalk Symphony Orchestras.

Green’s awards include National Grand Finals winner of the 2011 Metropolitan Opera National Council Auditions, a 2014 George London Foundation Award, a 2014 Annenberg grant recipient, a 2014 Gerda Lissner Foundation First Prize winner, both the Richard and Sara Tucker Grants from the Richard Tucker Foundation, and a finalist in the Palm Beach Opera Competition.

A native of Suffolk, VA, Green received a master’s degree in music from Florida State University, a bachelor’s degree in music from the Hartt School of Music, and was a member of the Metropolitan Opera Lindemann Young Artist Development Program.


One of the great American tenors of his generation, Paul Groves continues to enjoy an impressive international career performing on the stages of the world’s leading opera houses and most prestigious concert halls.

Groves began his 2019-2020 season performing La Damnation de Faust in concert with the Shanghai and Beijing Symphonies. He also returned to the Metropolitan Opera for his 27th season with the company in performances of Chekalinsky in The Queen of Spades and Tamino in The Magic Flute.

Recent seasons saw Groves at Opera de Lyon for performances as Faust in Boito’s Mefistofele, his debut at the National Kaohsiung Center for the Arts in Taiwan as the title role in Candide, and his debut as Herod in Salome with the Spoleto Festival USA. A veteran of the concert stage, Groves appeared with the Los Angeles Philharmonic for Stravinsky’s Persephone with Esa-Pekka Salonen, the Indianapolis Symphony for Bruckner’s Te Deum with Krzysztof Urbanski, and the BBC Scottish Symphony Orchestra for Mahler’s Das Lied von der Erde with Donald Runnicles. Recent performances include as Wilhelm Arndt in The Ring of Polykrates with the Dallas Opera under Music Director Emmanuel Villaume, Faust in a concert production of La Damnation de Faust with the Boston Symphony Orchestra, Benjamin Britten’s War Requiem with Opera de Lyon, Beethoven’s Symphony No. 9 with the Rochester Philharmonic, Haydn’s Creation with the Prague Philharmonia, and Das Lied von der Erde alongside Sasha Cooke at the Santa Fe Chamber Music Festival.

Additional highlights of recent seasons include a rare role debut singing Alessandro Cesare in Cavalli’s Eliogabalo with theOpéra national de Paris, his first performances in the title role of Wagner’s Parsifal with the Lyric Opera of Chicago led by Sir Andrew Davis, appearances as Admète in Gluck’s Alceste with Madrid’s Teatro Real, Nicias in Massenet’s Thais with the Los Angeles Opera, and Pylade in Iphigénie en Aulide with Theater an der Wien.

Groves came to national attention as a winner of the Met’s National Council Auditions in 1991. A graduate of the Metropolitan Opera’s Young Artists Development Program, Groves made his Metropolitan Opera debut in 1992 as the Steuermann in Der fliegende Holländer. Groves returned to the Met for performances as Camille de Rosillon in their new production of The Merry Widow, opposite Placido Domingo and Frederica von Stade; Ferrando in a new production of Cosi fan tutte; Tom Rakewell in The Rake’s Progress; Lysander in Britten’s A Midsummer Night’s Dream; Belmonte in Die Entführung aus dem Serail; Fenton; and Don Ottavio in nationally-televised season-opening performances of Don Giovanni opposite Bryn Terfel and Renée Fleming. In 2006, he created the role of Jianli in the world premiere of Tan Dun’s The First Emperor. Groves made his debut with San Francisco Opera as Fenton, and he returned for performances as Ferrando, Belmonte, and Pylade. His debut with Lyric Opera of Chicago was in 1998 as Nadir in a new production of Les pêcheurs de perles, and Los Angeles Opera audiences first saw him in the title role in La damnation de Faust.

Groves has performed in top opera houses around the world including La Scala, Carnegie Hall, London’s Royal Albert Hall, the Théâtre Musical de Paris, Châtelet, London’s Royal Opera, Covent Garden, the Vienna Staatsoper, Bayerische Staatsoper, among many others. He made his debut at La Scala in 1995 as Tamino in the opening night performance of Die Zauberflöte, and has returned in several roles including Nemorino in L’elisir d’amor—the first American tenor invited to La Scala for this role.  A gifted musician, Groves is continually in demand for concerts with the world’s leading orchestras and conductors. He has performed with the New York Philharmonic, Boston Symphony Orchestra, San Francisco Symphony Orchestra, Philadelphia Orchestra, Cleveland Orchestra, Los Angeles Philharmonic, and Atlanta Symphony Orchestra. Internationally he has made appearances with the Munich Philharmonic, the Berlin Philharmonic Orchestra, the BBC Symphony, the Orchestre de Paris, the Orchestre National du Capitôle de Toulouse, Deutsche Oper Berlin, Netherlands Opera, and many more.


Hailed by Opera News for his “solid, ringing tones” and The Dallas Morning News for his “well-wrought tenor, with baritonal richness in the lower register and a fine blaze on top,” American tenor Robert Watson made his professional debut with San Francisco Opera in 2012 as a Noble in Wagner’s Lohengrin. The following season, he returned to SFO to create the role of Henry Cox in the world premiere of Picker’s Dolores Claiborne.

In 2016, Watson became a member of the esteemed ensemble of Deutsche Oper Berlin where he has performed a multitude of roles including Ismaele in Nabucco, Grigori in Boris Godunov, Bois-Rose in Les Huguenots, Cavaradossi in Tosca, Erik in Der fliegende Holländer, and the messenger in Aïda. The 2018-2019 season saw him as a soloist for Verdi’s Requiem, Alfred in Die Federmaus, the title role in Les contes d’Hoffman, Grigorij in Boris Godunov, Don José in Carmen, and Narraboth in Salome, all with Deutsche Oper Berlin. In addition, he made debuts as the Prince in Rusalka with Stadttheater Klagenfurt, Don José with San Diego Opera, Cavaradossi in Tosca with Washington National Opera, and the Drum Major in Wozzeck with Des Moines Metro Opera. Most recently seen as Canio in Palm Beach Opera’s I pagliacci upcoming engagements include his Metroploitan Opera debut in Die Meistersinger von Nürnberg, Cavaradossi in Tosca with the Lyric Opera of Kansas City and debuts with Santa Fe Opera and Lyric Opera of Chicago.

Additional highlights include debuts with the Opera Orchestre National Montpellier as Don José in Carmen and Opera de Lille as Ismaele in Nabucco, and Dvorak’s Requiem with the Philharmonischer Chor Siegen and Der Städtische Musikverein Hamm​

Watson was a two-time Filene Young Artist at Wolf Trap Opera where he sang Lieutenant B.F. Pinkerton in Madama Butterfly with the National Symphony Orchestra, Begearss in Corigliano’s The Ghosts of Versailles, and the titular character in Milhaud’s Le pauvre matelot. He is an alumnus of the Merola Opera Program at San Francisco Opera, the Opera Santa Barbara Studio, the Palm Beach Opera Benenson Young Artist Program, and the Dolora Zajick Institute for Young Dramatic Voices.

Watson has appeared in concert as the tenor soloist in Beethoven’s Symphony No. 9 with the Philadelphia Orchestra and the Kansas City Symphony, and in Verdi’s Requiem with the Florence Masterwork’s Choral Society. He has performed in recital at The Phillips Collection in Washington, D.C.

Watson has been awarded prizes in the Opera Index, Gerda Lissner and Irene Dalis competitions. He is a two-time recipient of a Richard F. Gold Career Grant from the Shoshana Foundation and a Catherine Filene Shouse Education Career Grant. He is a two-time Metropolitan Opera National Council Auditions regional finalist. A native of Kansas City, he attended the San Francisco Conservatory of Music and is a graduate of Oklahoma City University’s Bass School of Music.


Soprano Tamara Wilson has gained international recognition for her interpretations of Verdi, Mozart, Strauss and Wagner. She is the 2016 recipient of the prestigious Richard Tucker Award, an annual prize conferred by the Richard Tucker Music Foundation given to a rising American opera singer on the “threshold of a major international career.”

Other recent honors include a 2016 Olivier Award nomination and receipt of the Revelation Prize by the Argentine Musical Critics Association. Wilson is also a Grand Prize Winner of the Annual Francisco Viñas Competition held at the Gran Teatre del Liceu in Barcelona, Spain.

Opera performance highlights in Wilson’s recent seasons included Beethoven’s Symphony No. 9 in a special Christmas performance and television broadcast with the Royal Concertgebouw Orchestra, a return to The Metropolitan Opera as the title role in Aida, the role of Leonora in Il trovatore at Lyric Opera of Chicago, Desdemona in Otello at the Canadian Opera Company, the title role in Ariadne auf Naxos at Teatro alla Scala, and Chrysothemis in Elektra at Opernhaus Zürich. In concert Wilson presented Mahler’s Symphony No. 8 at the BBC Proms at the Royal Albert Hall and at the Edinburgh International Festival, as well as with the Swedish Radio Symphony Orchestra and the Los Angeles Philharmonic. She also sang Bruckner’s Te Deum at Teatro alla Scala, and Ariadne in Ariadne auf Naxos with the Cleveland Orchestra. In the summer of 2019, she performed her signature role of Aida at Arena di Verona followed by a special guest performance at The Santa Fe Opera’s summer Gala and a recital at the Song Source Festival.

Wilson made her acclaimed Metropolitan Opera debut in Aida and London debut in Calixto Bieto’s new production of La forza del destino at the English National Opera, for which she received an Olivier Award nomination. She also inaugurated the new opera house in Kyoto, Japan with Seiji Ozawa as Rosalinde in Die Fledermaus.

She was heard at Oper Frankfurt for her first performances as the Empress in Die Frau ohne Schatten conducted by Sebastian Weigle and subsequently released by Oehms Classics. She recently debuted at the Bayerische Staatsoper and Opernhaus Zürich in Don Carlo. She debuted at the Deutsche Oper Berlin in Un ballo in maschera, triumphed in Act 3 of Die Walküre as Brünnhilde with the BBC National Orchestra of Wales at Royal Albert Hall, and debuted with the Concertgebouw Orchestra conducted by Valery Gergiev in Act 3 of Die Walküre as Sieglinde.

A noted interpreter of Verdi roles, she has been seen as Elisabeth de Valois in Don Carlos (Houston Grand Opera); Amelia in Un ballo in maschera (Washington National Opera, Houston Grand Opera, Florida Grand Opera, and Teatre Principal de Maó in Menorca); Elvira in Ernani (Théâtre du Capitole in Toulouse); Elisabetta in Don Carlo (Bayerische Staatsoper, Zurich Oper, and Oper Frankfurt); Lucrezia Contarini in I due Foscari (Théâtre du Capitole, Teatro Municipal de Santiago and Netherlands Radio Orchestra); Leonora in Il trovatore (Gran Teatre del Liceu, Houston Grand Opera, Théâtre du Capitole under Daniel Oren and Palma de Mallorca); Desdemona in Otello (Cincinnati Symphony and James Conlon); Alice Ford in Falstaff (Washington National Opera debut); Amelia Grimaldi in Simon Boccanegra (Canadian Opera Company); the title role in Aida (Opera Australia, Teatro de la Maestranza, and Teatro Municipal de Santiago); Marchesa del Poggio in Un giorno di regno (Wolf Trap Opera); and Gulnara in Il corsaro (Washington Concert Opera), among many more.

On the concert stage, Wilson debuted with The Cleveland Orchestra in Beethoven’s Symphony No. 9 under Franz Welser-Möst, the National Symphony in Mendelssohn’s Symphony No. 2 (“Lobgesang”) with Matthew Halls, and with the Orchestra of the Age of Enlightenment in Verdi’s Messa da Requiem conducted by Marin Alsop at the BBC Proms.



Dan and Gayle D’Aniello,
Wolf Trap 2021 Season Underwriters

PNC Credit

Anne R. Kline and Geoffrey Pohanka,
Performance Sponsors