top of page
Bravissimo 1348x490.jpg


I Puritani

Suoni la tromba

Music by Vincenzo Bellini Libretto by Carlo Pepoli

Lucia di Lammermoor

Love Scene

Marriage Scene

Wolfscrag Intermezzo

Mad Scene

Music by Gaetano Donizetti | Libretto by Salvadore Cammarano



Finale of Act 1

Prelude to Act 2

Finale of Act 2

Music by Vincenzo Bellini Libretto by Felice Romani


Lucia - Christine Lyons

Norma - Rochelle Bard

Alisa/Adalgisa - Madison Marie McIntosh

Edgardo/Pollione - Matthew Vickers

Enrico/Riccardo - Andrew Manea

Raimondo/Oroveso - Ben Wager

Arturo - Samual Keeler

Dancers - Chris Fotis

                 Clare Lillig

Chorus - William Clark

                Mercy Dion

                Samual Keeler

                Kevin Paton-Cole

                Amanda Staub

                Hannah Wardell

                Rebecca Wood


Violin - Celaya Kirchner, Celeste Blase

Viola - Christof Huebner

Cello - Kirsten Walsh

Flute - Sara Nichols

Clarinet - David Drosinos

Piano - James Harp


Director - James Harp

Asst. Director/Choreographer - Erica Marie Ferguson

Stage Manager - Aaron Sherber

Costumer - April Forrer

Make Up - Chris Fotis

Wigs - House of Bankerd

Set Design - Chuck Atwell, Jericho Stage


The Church of the Redeemer

Costumes courtesy of Tri-Cities Opera Company, Inc.

St. Mark's Lutheran Church

Engagement of this event's opera performers is through the generosity of the Loretta Lee Ver Valen Endowment Fund for Leading Operatic Artists.

This performance is supported in part by the Maryland State Arts Council (

Artist bios
Lyons, Christine; Credit- Yanina May Square.jpg

CHRISTINE LYONS is a critically acclaimed soprano whom Broadway World has hailed a “true virtuosa.” She has been praised for her “potent soprano” by Opera Magazine, as well as her “power and poise” by Classical Voice America. This 2022-23 season, Lyons sings the title role in Handel’s Agrippina with Florida Grand Opera, covers the title role in John Adams’ Antony and Cleopatra with San Francisco Opera, and joins Toledo Opera for Celebration del Coro with excerpts of Puccini's Liú in Turandot and Bernstein's Cunegonde in Candide.  Other roles include Amenaide in Rossini's Tancredi with Teatro Nuovo, Madama Butterfly with Baltimore Concert Opera, and Adina in City Lyric Opera's L'elisir d'amore.  Concert engagements include the Baltimore Symphony Orchestra, the Maryland Symphony Orchestra, the Queens Symphony Orchestra, and the St. Veronica Orchestra of New York.  


Critically acclaimed soprano ROCHELLE BARD has been described as an ‘exquisite singing actress, brilliant and heartbreaking.’  Specializing in bel canto and Verdi repertoire, Ms. Bard made her debut in the title role of Norma with Knoxville Opera.  The much-anticipated 2022-23 season begins with the debut role of warrior princess Odabella in Attila with Sarasota Opera, followed by a reprise of the intense Abigaille in Verdi's Nabucco with Opera Ithaca, and a return to the pinnacle role of Bellini's Norma with Opera Tampa.  The 2018-19 season included exciting role debuts as Abigaille in Nabucco with Sarasota Opera and the title role in Aida with Washington Opera Society, along with a company debut with Hawaii Opera Theater in the title role of Tosca.  Ms. Bard also performed her first Rosalinda in Die Fledermaus with Opera Tampa, and the title role in Tosca with Opera Theater of Connecticut.

McIntosh, Madison Marie Square.jpeg

“Sparkling” mezzo-soprano MADISON MARIE MCINTOSH has been praised for her “wondrously flexible voice,” “prodigious vocal skills,” and “richly textured and strong lower register” (Voce di Meche).  She won The American Prize in Vocal Performance in 2020 and later performed a benefit concert for The American Prize that featured world premieres of works by eight composers. Madison has performed Ernesta (Un avvertimento ai gelosi) at Caramoor, Delia (Il viaggio a Reims) with the Rossini Opera Festival in Pesaro, Alto Soloist (Messiah) with New Amsterdam Opera, and other roles nationally and internationally. In 2022, she reprised the title role in La Cenerentola with Fargo Moorhead Opera; reprised the title role in Giulio Cesare in Egitto with Connecticut Lyric Opera; and performed in concerts with Gulfshore Opera, the Art Song Preservation Society of New York, and the Wagner in Vermont Festival.

Vickers, Matthew Square.jpg

American tenor MATTHEW VICKERS has been praised for his “brilliant and golden voice” (Die Kleine Zeitung), his “burnished sound and confident acting” (National Post), and hailed as “a gutsy performer whose glowing tenor voice has interestingly dark, baritonal undertones” (Opera Now).  In the 2022-2023, Mr. Vickers sings Alfredo in La traviata with Opera Delaware/Opera Baltimore, Pollione in Norma with Opera Tampa, and returns to Lyric Opera of Chicago to cover the title role in Ernani. In the 2021-2022 season, he debuted with Lyric Opera of Chicago as Malcolm in Macbeth, sang Canio in Pagliacci with Opera in Williamsburg, returned to one of his signature roles, Rodolfo in La bohème, with Virginia Opera, sang Foresto in Attila with Sarasota Opera, and made his role and company debut at Baltimore Concert Opera as Maurizio in Adriana Lecouvreur.

Manea, Andrew Square.jpeg

Lauded for his “Charming…robust baritone…” rising Romanian-American baritone ANDREW MANEA recently made his role debut as the Duke of Nottingham in Roberto Devereux with the San Francisco Opera. These performances “thrust him into the spotlight, solidifying his status as the next leading baritone of his generation…” (Opera Wire).​  Mr. Manea has since made both his house and role debut with Palm Beach Opera as Figaro in Il barbiere di Siviglia, and was scheduled to join the roster of Lyric Opera of Chicago for Der Ring des Niebelungen (COVID-19 cancellation). In the current season he debuts with Arizona Opera as Escamillo in Carmen and Opera Omaha as Lorenzo in I Capuleti e i Montecchi, and returns to Palm Beach Opera as Danilo in The Merry Widow.

Wager, Ben Square.jpeg

Ben Wager is a 2009 graduate of the Academy of Vocal Arts in Philadelphia, where his roles included: Raimondo in Lucia di Lammermoor, Enrico in Anna Bolena, the title role in Mendelssohn’s Elijah, Sparafucile in Rigoletto, Don Alfonso in Così fan tutte and Padre Guardiano in La forza del destino.  This season, Mr. Wager joins UrbanArias as Edwin Cheney in Daron Hagen’s Shining Brow, and returns to his alma mater, the Academy of Vocal Arts, to sing Wotan in their production of Das Rheingold. Future seasons include a return to Dallas Opera.

Last season featured a return to the Lyric Opera of Kansas City for performances of the Police Sergeant in Pirates of Penzance, a return to the Deutsche Oper Berlin in a variety of roles, as well as a solo recital with the Philadelphia Chamber Music Society. 

SamKeelerHeadshot2022 (1)-min.jpeg

Tenor SAMUAL KEELER has been hailed for his “rich tenor,” (Culpepper Times) “strong vocals and crisp, clear delivery” (DC Theatre Scene). He recently appeared on stage in concert alongside Michael Spyres as part of the Guild Hall/Bel Canto Boot Camp Resident Artist Series. His most recent roles include Don Ottavio in Mozart’s Don Giovanni, Alfredo in Verdi’s La Traviata, Frederic in Gilbert & Sullivan’s The Pirates of Penzance, Sam Kaplan in Kurt Weill’s Street Scene, Don Curzio & Don Basilio in Mozart’s Le nozze di Figaro, and Lurcanio in Handel’s Ariodante. He keeps a regular performance schedule as a soloist in the greater Philadelphia region.  He holds a Bachelor of Arts in Italian language which led him to an interest in Neapolitan Music, the Neapolitan Dialect, and Italian songs of the 19th and 20th centuries.  Keeler is a current student of Gioachino LiVigni and is a graduate of the Maryland Opera Studio at University of Maryland, College Park.

bottom of page