Michele Angelini (tenor), was a part of Prelude to Performance's first season in 2005, performing the roles of Don Curzio in Le Nozze di Figaro and Count Almaviva in Il Barbiere di Siviglia. His European debut performance was in 2006 as Conte di Libenskof in Rossini's Il Viaggio a Reims at the Rossini Opera Festival in Pesaro. His many other performances have included a 2007 Opera Orchestra of New York debut as Rodrigo in Rossini's Otello, and his debut as Lindoro in L'Italiana in Algeri at the Teatro Communale in Bolgna the same year. He opened the 2007-2008 season at the Teatro dell'Opera in Rome as Ferrando in Così fan tutte and continued that year with the role of Ramiro in La Cenerentola with Connecticut Opera. During the 2009-2010 season at the Met, he covered both the roles of Tonio in La Fille du Régiment and Rinaldo in Armida, and will be returning to the Met for future commitments. In the 2010-2011 season, his performances included Don Ottavio in Don Giovanni at the Savonlinna Festival and Lindoro in L'Italiana in Algeri in Bilbao. Other upcoming engagements include a reprise of Libenskof in Florence, at the Teatro del Maggio Musicale, and the role of Scipione in Il Sogno di Scipione with Gotham Chamber Opera in NYC.

Sarah Beckman (soprano), Prelude to Performance participant in 2008, made her professional debut with the Amarillo Opera in 2009 as Fiordiligi in Cosi fan Tutte.  In 2010, she will join the Sarasota Opera as a Studio Artist.

Joseph Flaxman (baritone), Prelude to Performance participant in 2007, 2008, and 2009, (Cosi fan tutte (Gugliemo), Nozze di Figaro(Conte) and La Boheme (Marcello) has performed with Opera Memphis, Sarasota Opera, Opera Saratoga, Des Moines Metro Opera, Tri-Cities Opera, BARD Summerscape, Ash Lawn Opera, Brevard Music Center, American Opera Projects, Bronx Opera, Chelsea Opera, Opera Company of Brooklyn, Opera Manhattan, the Martina Arroyo Foundation, the Manhattan School of Music, and at Fredonia State University. Over the past year the Liederkranz Foundation, Opera Index, the Bel Canto Foundation Scholarship, Career Bridges, the Competizione dell'Opera, the Armel Opera competition, and the MacGraw Hill Young Artist Showcase on WQXR have all recognized his talents.

Adrian Gans (baritone), Role Preparation Class participant in 2005, made his New York City Opera debut in 2006 as Escamillo in Carmen and reprised the same role during the 2007-2008 season with the Toledo Opera and at the Staatsoper in Stuttgart. 

Rodrigo Garciarroyo (tenor), Prelude to Performance participant in 2007, 2008, and 2009, made his Alice Tully Hall, Lincoln Center debut in 2009 in the Verdi Requiem.

Ryan Speedo Green (bass), first participated in Prelude to Performance in 2010, when he performed the role of Sarastro in Die Zauberflöte. He returns to Prelude this summer as the Commendatore in Don Giovanni. In the intervening year, a great deal has happened. In March, he was chosen as one of five Grand Prize winners at the Metropolitan Opera National Council Auditions Finals in New York City, and shortly thereafter was accepted into the Met's prestigious Lindemann Young Artist Development Program for the upcoming season. Additionally, he was awarded a 2011 Sara Tucker Study Grant from the Richard Tucker Music Foundation, and was featured in a May 22, 2011 New York Times Sunday magazine article. He holds a bachelor's degree from the Hartt School of Music and a Masters in Voice Performance from Florida State University, and spent the 2010-2011 season as an Opera Colorado Young Artist. With Opera Colorado, he performed the roles of Colline in La Bohème and Don Magnifico in La Cenerentola.

Eui Jin Kim (bass), Prelude to Performance participant in 2007, was a young artist with Virginia Opera.  

Shu-Ying Li (soprano), Role Preparation Class participant in 2003, 2004, and 2005, made her New York City opera debut as Cio-Cio San in Madama Butterfly, during the company's tour to Japan and her house debut in the same role in 2005.

Robert Mack (tenor), Prelude to Performance participant in 2005 and 2006, has appeared in several roles with the New York City Opera, including the Ballad Singer in Floyd's Of Mice and Men, Pong in Turandot, Arturo in Lucia Di Lammermoor, and Rinuccio in Gianni Schicchi.

Leandra Ramm (mezzo-soprano), Prelude to Performance participant in 2007, was a young artist with the Toledo Opera.

Chen Reiss (soprano), Role Preparation Class participant in 2002, she has performed leading parts at the Vienna State Opera, Bavarian State Opera, Théâtre des Champs- Élysées, Teatro alla Scala, Semperoper Dresden, Deutsche Oper Berlin, Hamburg State Opera, Maggio Musicale Fiorentino, Opera Company of Philadelphia and the Israeli Opera. Accompanied by the Berlin Philharmonic and Sir Simon Rattle, Ms. Reiss sang the soundtrack to the film "Das Parfum."

Rachel Sliker (soprano), Prelude to Performance participant in 2008, was a young artist with Opera St. Louis and Aspen Music Festival.

Taylor Stayton (tenor), first came to Prelude in 2006 as a very young tenor, having just finished his junior year at Ohio State University. That year, he performed the role of Ernesto in Don Pasquale. He returned the following summer for the role of Ferrando in Così fan tutte. Since then, he has made his professional operatic debut (January 2010) as Fenton at the Teatro dell'Opera di Roma in a new Franco Zeffirelli production of Falstaff, as part of a cast which included Renato Bruson and Carlos Alvarez. His American professional debut that same season was as Osiride in Rossini's Mosè in Egitto with Chicago Opera Theater. His roles in the 2010-2011 season included, among others, Don Alvar in L'Africaine with Opera Orchestra of New York. In 2011-2012, he will join the Metropolitan Opera roster covering the tenor lead Tonio in La Fille du Régiment and the role of Percy in Anna Bolena. Mr. Stayton has won several prestigious vocal competitions, including First Prize in the Licia Albanese-Puccini Foundation International Voice Competition in 2009, and a First Prize award in the Gerda Lissner Foundation competition in 2011.

Noah Stewart (tenor), Prelude to Performance participant in 2005,(Nemorino, L'elisir d'amore) trained at the Julliard School of Music .  He participated in the 2006 San Francisco Opera Merola Program and the 2007/8 San Francisco Opera Adler Fellowship Program.  His North American engagements include: Macduff Macbeth and T. Morris Chester Appottomax (San Francisco Opera); Ismaele Nabucco, Cavaradossi Tosca and Rodolfo La Bohème (Michigan Opera Theater); Rodolfo (Opera Carolina); Narraboth Salome (Arizona Opera); Don José Carmen and The Prince A Flowering Tree (Chicago Opera Theater).  Other engagements include: Augustus Gloop The Golden Ticket and Rodolfo (Wexford Festival); Hassan Achterbahn (Bregenz)  Don José (Opera Africa) and Pinkerton Madama Butterfly (Opera North) .  He was recently selected to sing the role of Luigi Il tabarro at the Castleton Festival by Maestro Lorin Maazel.  He makes his Covent Garden debut in March 2012.  Noah Stewart is a DECCA recording artist.

Victoria Vargas (mezzo-soprano), Prelude to Performance participant in 2008, was a young artist with the Sarasota Opera and will be with the Chataqua Opera in the summer of 2010.

Martin Woods (baritone), Prelude to Performance participant in 2008, joined the Lyric Opera of Chicago in the fall of 2008 for its production of Porgy and Bess.

Mariana Zvetkova (soprano), Role Preparation Class participant in 2003, and 2004, has sung roles with La Scala Milano, Munich State Opera, Deutsche Oper Berlin, Tokyo National Theater, Radio France, and Semper Oper in Dresden, among others. Under the batton of Mo.Giuseppe Sinopoli, Ms. Zvetkova recorded Dvorak's Stabat Mater with Deutsche Gramophon; Beethoven's 9th Symphony with Radio France; Rachmaninoff's "Opera Highlights from Aleko—The Misery Knight—Francesca da Rimini" with Sofia National Opera; Mahler's 4th Symphony with Radio Sofia Orchestra.

 

Noah Stewart, Prelude to Performance participant 2005. "Prelude to performance came at a very special time for me a struggling artist in New York. I had just graduated from Juilliard and was finding my place in the world of music. I can remember it like it was yesterday when Ms. Arroyo called and asked me if I would be interested in singing Nemorino with Willie Waters conducting. I can only describe my experience as a privilege and blessing. Prelude acted as summer company for me. I had acting class, recitative class, coachings and rehearsals with Maestro Waters and Steve Crawford. I even had one on one coaching with the great baritone, Mark Rucker. I was so fortunate and lucky to have had such great artists and and colleagues around me in such a supportive and nurturing environment. Ms. Arroyo was and still is very involved with my career and repertoire advice which shows her commitment not only to the art form, but also to many other young people and musicians. Thanks you Martina and the rest of your superb Prelude Team. Bravi!"

 

Rick Christman, Voice Faculty, Benjamin T. Rome School of Music, Catholic University of America "Because three of my students were 2011 Prelude participants], I was afforded the opportunity to watch first hand your program in action from rehearsal to performance. Over the weeks I saw a wonderful transformation…. The growth that occurred in [all] these young singers due to the efforts of your highly professional faculty and mentors in such a short period of time was nothing short of amazing.

There are fewer and fewer places for young singers to sing and to train for a career on the world’s stages…. Your organization fills a huge void…. It is impossible to place a value on what Prelude to Performance is] providing for these young artists and for the future of opera."

Taylor Stayton, Prelude to Performance participant 2006 and 2007. "As a young singer, early in my undergrad, Prelude to Performance was my first real introduction to the preparatory steps to opera. Much of the knowledge that I obtained there put me on the right track for a successful start in this very challenging career. With Prelude's guidance I left the program with abounding confidence in my artistry. Martina Arroyo and the rest of the Prelude team have many years of skilled experience to share with young singers. Their instruction gave me the foundation that I still rely on today. Lastly, I am still in close contact with many of the singers and coaches that I met when I was there and have often called upon some of the seasoned singers on Prelude's staff when I need advice. Prelude to Performance is truly a necessity for a young singer."

Jonathan Morales, "The professional quality of the faculty w/ coaches, conductors, and instructors are nothing short of amazing. With a New York base of operations, and a seemingly endlessly well-connected network of legends ranging from the Metropolitan Opera to Broadway actors, Prelude to Performance gave me an unmatched insight as a young professional on how to approach performing an operatic role. What other program can you get feedback from opera stalwarts like Robert Lyall (New Orleans Opera Artistic Director), Ben Vereen (famous Broadway dancer/actor), Stephanie Blythe (Metropolitan Opera mezzo-soprano), and Martina Arroyo (the legend herself)? A fully staged and fully rehearsed production w/ full orchestra and chorus serves as perfect exposure for a young performer starting down the long journey of having an operatic career. Kudos to such a fantastic experience."

 

Luis Alvarado, Prelude to Performance participant 2011. "The program Prelude to Performance has been one of the greatest experience in my life. The fact of just working on the opera assigned and take the classes with a focus on that production helps a lot. Not that many programs offer you to perform in a real theater with an orchestra and full costume and I found this as a huge advantage on how to prepare a role. On top of that, getting the opportunity to work on my role with someone like Martina Arroyo,  has been a life lesson on how to be prepare and know how much more you can dig in to be prepared. Thank you so much for this great experience."

 

Rogelio Peñaverde, "There is no finer place to develop one's gift than somewhere where people inspire you with their wonderful talents and warm hearts... it is for this reason that I consider it a tremendous blessing to have been part of the Martina Arroyo Foundation's Prelude to Performance for the past 2 years. I wish it more power in the years to come! We need institutions like this which do not only cultivate young artists as performers, but more importantly as humane individuals with a passion to make a positive mark in this world with their art."

 

Sarah Beckham, Prelude to Performance participant 2008 - “The Martina Arroyo Program teaches an individual what he or she has to do every time they are preparing a role.”

Rodrigo Garciarroyo, Prelude to Performance participant in 2007, 2008, and 2009  - “We need to become good musicians, to train our voices to do the most wonderful things, and to become good actors.  Martina Arroyo and her Prelude to Performance program are devoted to this notion.”

Choong-Hun Lee, Prelude to Performance participant 2007 and 2009 - “This is an opportunity to learn a new role and to sing it in a condition rarely available to many young singers at the early stage of their careers.  This program has helped me launch my professional career.”

Alia Waheed, Prelude to Performance participant 2006 - “Since participating in The Martina Arroyo Prelude to Performance Summer Program 2006, my career has soared!  I am extremely grateful to Ms. Arroyo and the faculty for their shared knowledge and for giving me the opportunity to shine.”

Anonymous Comments from 2009 Prelude to Performance Participant Evaluations

“The classes were the best part.  I learned so much from each of the teachers.  Martina is a wealth of knowledge.  The performances were fun, but I gained the most from the work leading up to them.”

“It’s a terrific and valuable pleasure to focus entirely on the performance preparation process; these are the most important tools we need as performers.”

“Everything, from audition process and feedback, to duration of program was Excellent!”

“Best program I’ve been in, hope to be back next year!”

“By the time we got to the performances, I felt very comfortable and prepared.”

“I had a blast!  I feel so much more secure and happy about this profession than ever.  I’m really happy to have taken part in it.  I valued the great camaraderie among everyone.”

“I loved the program, it was exactly working on details that you don’t have time for in school!  Thank you for six amazing weeks!”

“I have to say that I really enjoyed the program!  It gave me a chance to work hard and better my craft.”