Yeletsky's Aria "Ya vas lyublyu" (“Я вас люблю”), Queen of Spades, P.I. Tchaikovsky

Recognized for his “impressive singing ... well supported tone and supple phrasing,” (Baltimore Sun) baritone Rob McGinness‘s recent venue debuts include Stern Auditorium at Carnegie Hall and the Kennedy Center Concert Hall. This season McGinness joins Arizona Opera as a member of the Marion Roose Pullin Arizona Opera Studio, where his assignments include Schaunard in La Bohème and Harlekin in Ariadne auf Naxos. Often portraying opera’s “bad boy,” McGinness’s operatic credits include the title roles in Eugene Onegin and Don Giovanni, as well as Marcello in La Bohème.

Song of the Indian Guest (Песня индийского гостя) Sadko, N. Rimsky-Korsakov

Dubbed a “standout” performer by Seen and Heard International, “bringing musicality plus an attractive and flexible leggiero sound to his assignment,” Allan has earned a reputation for performing a wide range of repertoire with absolute commitment to communication and artistry. A few past performances include: William Shakespeare in the world premiere of Phillip Hagemann’s The Dark Lady of the Sonnets; Nanki-poo, Gilbert and Sullivan’s Mikado, Washington Savoyards; Damon, Handel’s Acis and Galatea, Cincinnati Chamber Opera.

Olga’s Aria “Ah, Tanya, Tanya!” (“Ах, Таня, Таня!”), Eugene Onegin, P.I. Tchaikovsky

Madison Marie McIntosh, mezzo-soprano, has performed Ernesta (Un avvertimento aigelosi) at Caramoor and Delia (Il viaggio a Reims) with the Rossini Opera Festival in Pesaro. She covered Tancredi and sang the Eco with Will Crutchfield at Teatro Nuovo. This year, she won The American Prize in Vocal Performance in the women’s professional opera division. In 2019, she performed the role of Orlofsky (Die Fledermaus) at the Wiener Kammeroper as a result of having won First Prize in the Vienna Summer Music Festival Competition. “Vocal power,” “enchanting voice,” “velvety mezzo-soprano” (OperaWire).

“Do not sing to me, beautiful maiden”, S. Rachmaninoff

Soprano Asmik Arutiuniants was born in Tashkent, Uzbekistan. In 2010 she graduated her bachelor at State Conservatory of Uzbekistan. Roles Asmik performed in the conservatory Opera Studio included Susanna in Mozart’s Le Nozze di Figaro Mozart, and Violetta Verdi’s La Traviata. In 2009 she was invited to join the training group of the Alisher Navoi Opera and Ballet Theatre with which she performed the role of Marfa in The Tsar’s Bride, Lola in Cavalleria Rusticana by Mascagni, and the Princess in Gladkov’s musical The Bremen Town Musicians.

Following the internship, she sang the role of Leonora in an independent production of the opera Fidelio by Beethoven, funded by support of the Swiss and the German Embassy in Tashkent. In 2018 Asmik graduated assistant in the department of music at Florida Atlantic University, where she is pursuing the Master of Music in Vocal Performance. As a winner of the FAU 2016-2017 Concerto and

Aria Competition, she performed in February 2017 with the FAU Symphony Orchestra. She studied voice in the studio of Dr. Sandra McClain. In March of 2019, Asmik became a winner in the Voice Experience Opera Idol Competition in Chicago, IL. During the summer of 2018, she participated in three festival programs such as VOICExperience, Savannah VOICE Festival (full scholarship), Pittsburgh Festival Opera (Young Professional Artists Program as a Studio Artist) and Opera Fusion. In May of 2019, she made her debut in Rimsky-Korsakov’s opera The

Dr. Katerina Souvorova is an accomplished pianist as well as a distinguished professional opera and vocal coach. She earned her D.M.A., M.M, and Artist Diploma degrees with highest honors in piano performance from the Conservatory of Belarus. Following her studies, she taught piano at the Conservatory of Belarus. She also was a coach for the State Academy of the Bolshoi Opera in Minsk for more than ten years, where she worked with internationally known conductors, producers and singers.
Katerina Souvorova is Founder and General and Artistic Director of Bel Cantanti Opera. She started the company in 2003 working with a handful of young singers, in preparation for Menotti’s Amahl and the Night Visitors, Bel Cantanti’s first fully staged opera production. Through her love for the music and art of opera, and her desire to support young operatic talent, Dr. Souvorova continues to develop the company and lead it from one success to another.
Dr. Souvorova’s work was highly acclaimed by Joe McClellan, the late classical music critic emeritus of The Washington Post who said: "...Katerina Souvorova, [is] a pianist of international stature and vocal coach of extraordinary talent…We can credit her with a high level of skill, both in music and in human relations, and an even higher level of determination. Perhaps that is why, observing Souvorova in action, I keep being reminded of my first close operatic acquaintance, Sarah Caldwell."