Heralded by the San Francisco Chronicle for her “knockout combination of vocal power and expressive eloquence”, soprano Marina Harris is quickly establishing herself as a talent to watch. An alumna of the prestigious Adler Fellowship program at the San Francisco Opera, Ms. Harris’ appearances with the company included four world premiere operas; Nolan Gasser’s The Secret Garden (in the role of Susan Sowerby), Mark Adamo’s The Gosepel of Mary Magdalene (Tamar/Girl/Seeker), Tobias Picker’s Dolores Claiborne (Maid), Jack Perla’s Love/Hate (Samantha), and covering numerous leading roles, most notably the role of Elsa in Lohengrin. In September 2013, she garnered national attention as a last-minute replacement for Patricia Racette in the role of Elena (Helen of Troy) in San Francisco Opera’s season-opening production of Boito’s Mefistofele.

Marina has also joined the roster of the Los Angeles Opera to cover the verismo roles of Nedda in Pagliacci and the title role in Madama Butterfly. She has made leading role debuts with Opera Idaho (Tatiana in Eugene Onegin), Pacific Opera Project (title role in Ariadne auf Naxos) and the Southern Illinois Music Festival (Mathilde in Guillaume Tell). Ms. Harris’ international credits include the Festival der jugend Stimmen in Switzerland and as a guest performer with the Sichuan Conservatory of Music in Chengdu, China. Upcoming engagements include Donna Anna in Don Giovanni with Opera Idaho, Street Requiem with the South Coast Chorale, Beethoven’s Symphony No. 9 with the Rio Hondo Symphony, a recital with the Wagner Society of Northern California, and more.

From the baroque period to contemporary, Marina has been featured as a soprano soloist in a diverse range of repertoire, including Mahler’s Symphony No. 2 (Resurrection), Brahms’ Ein Deutsches Requiem, Mendelssohn’s Symphony No. 2 (Lobgesang), Mozart’s Great Mass in C Minor, Verdi’s Requiem, Rossini’s Stabat Mater, and J.S. Bach’s Mass in B Minor. Additionally, she has performed in the West Coast premieres of Charles Stanford’s Stabat Mater and Cecelia MacDowall’s Magnificat with the Sacramento Choral Society and Orchestra. Ms. Harris has been a guest soloist with the Marin Symphony, the California Symphony, the West Los Angeles Symphony, and the San Francisco Chamber Orchestra, among others. In recital, Marina has appeared with Carnegie Hall’s Neighborhood Concert Series, with the Brava! Opera Theater, as part of The Song Continues with Marilyn Horne and the Weill Institute of Music, and with San Francisco Performances. She has also been featured on WQRX, New York’s leading classical radio station, along with baritone Norman Garrett and Ken Noda of the Metropolitan Opera.

In 2015, Ms. Harris was awarded the Dorothea-Glatt-Förderpreis in the triennial International Wagnerstimmen Competition, securing her place as one of the top singers of Wagnerian repertoire worldwide. Marina has won numerous other awards for her performances of the Wagnerian repertoire, including the 2015 George London Vienna Prize and the George London-Leonie Rysanek Award in 2014, and the Gerda Lissner Foundation’s Vocal Competition in both 2015 and 2017. She has received additional grants from the Wagner Society of Northern California, the Palm Springs Opera Guild Vocal Competition and the Loren L. Zachary International Vocal Competition.

Ms. Harris resides in New York City.


“Leading the charge for the women, meanwhile, was soprano Marina Harris, who brought bounteous sound and elegant, sumptuous phrasing to the final scene of Richard Strauss’ “Arabella.” Sopranos who can sing Strauss’ music this well are rare, and to be treasured.” -Joshua Kosman, San Francisco Chronicle

“Harris was magnificent in Tatyana’s marathon scene where she writes a love letter to Onegin, her beautiful soprano taking her through full range of emotion.” —Dana Oland, Idaho Statesman, February 2015

“There was something special about soprano Marina Boudart Harris.  Her first appearance in the Mozart was in the “Laudamus te,” and I found myself appreciating her rich, listenable tone.  Then it struck me that she was singing the long piece from memory — and smiling during the rests.  That air of confidence and grace somehow made the listening so much more pleasant.  And then there were the many vocal flourishes which she handled so adroitly.  During one of these I caught Kendrick glancing at her and smiling, appreciating her command of the music that they both obviously loved.” Dick Frantzreb, The Sacramento Choral Calendar, March 2015

“Soprano Marina Harris (sic) gave an amazingly finished and delicate performance of Lohengrin’s ‘Einsam in trüben Tagen’.” –Brian Kellow, Opera News, April 2014

Praised by Opera News as a “gleaming, pitch perfect soprano” and the Wall Street journal as “piercingly lovely” for her portrayal of the title role in Thais, soprano Leela Subramaniam is turning heads with her rapid ascent to opera stardom. After winning the prestigious Opera Foundation Björn Eklung Scholarship, Ms. Subramaniam was invited to join the Bayerische Staatsoper Opera Studio for the 2015-2016 season, where she appeared as Miss Wordsworth in Albert Herring, Barbarina in Le Nozze di Figaro, Papagena in Die Zauberflöte, Dew Fairy in Hänsel und Gretel, Countess Ceprano in Rigoletto, die Fünfzehrjahrige in Lulu, and die Hoher Schatten in the Opernfestspiele premiere of Hauke Berheide’s Mauerschau. In addition, she went on tour performing in many concerts with the Opera Studio, which featured excerpts from Mozart’s Lucio Silla, Idomeneo, and Verdi’s La Traviata.

Ms. Subramaniam made her Carnegie Hall debut performing Niece 1 in Peter Grimes with the St. Louis Symphony (which was named one of the top 10 performances of the year by The New York Times) and was featured on PBS in a concert in St. Louis featuring excerpts from Ricky Ian Gordon’s world premiere Twenty-Seven. She attended the Chautauqua Institution Voice Program, where she was seen as Sister Constance in Dialogues des Carmélites, and was a Gerdine Young Artist for two years at the Opera Theater of St. Louis where her assignments included Giannetta in L’Elisir d’Amore, Pamina in Die Zauberflöte, and Sadie in Terrence Blanchard’s Champion.

Previous credits include the title role in Thais, Lucia in Lucia di Lammermoor, and Angelica in Orlando Paladino at the Manhattan School of Music, in addition to performing Nero in Handel’s Agrippina and Sister Constance in Dialogues des Carmélites at University of California-Los Angeles, where she earned her Bachelor of Arts degree. This season Ms. Subramaniam makes her Münchner Gärtnerplatz Theater debut in Purcell’s King Arthur and her debut with LA Opera performing Thumbprint with Beth Morrison Projects.

Soprano Susan Foster is “perfectly cast” and “brings power and presence” to the title role of Puccini’s Turandot. Critically acclaimed as “a Turandot rarely revealed”, her 2012 Helpmann Award nominated performance with Opera Australia was recently released on DVD. In the 2013/14 season, she revisited the Ice Princess in her debut with Hawaii Opera Theater in their wildly successful production of Puccini’s final masterpiece. Upcoming engagements include her return in the 2014/15 season to the Bayerische Staatsoper for Helmwige in Die Walküre, which was her debut role there in 2012/13. She has performed the role of Helmwige frequently in recent seasons at Berliner Staatsoper, Teatro alla Scala (also recently released on DVD) and BBC Proms, all with Daniel Barenboim, in addition to performances with the Berliner Philharmoniker and Los Angeles Opera. Notable recent appearances include the title role in Turandot with San Francisco Opera, Savonlinna Opera Festival and Greek National Opera, Isolde in Tristan und Isolde with Los Angeles Opera and Russia’s Stars of the White Nights Festival, Sieglinde in Die Walküre in concert with Festspiel Baden-Baden, and Leonore in Fidelio with Opera Roanoke. As a highly sought after cover artist, she has served as Brünnhilde for San Francisco Opera’s full Ring Cycle, Isolde for The Metropolitan Opera and Teatro alla Scala, as Brünnhilde in Die Walküre for Teatro alla Scala and Los Angeles Opera, and as Turandot for The Metropolitan Opera.

Hailed for her thrilling, emotionally compelling performances in many of opera’s greatest soprano roles, Susan Foster has appeared as the title characters in Turandot, Tosca and Norma, as Leonora in Il Trovatore, Elisabetta in Don Carlo, as Mozart’s heroines Fiordiligi, Donna Anna, and Countess Almaviva, and as the soprano soloist in Verdi’s Requiem. Among the conductors she has been honored to work with are Daniel Barenboim, James Conlon, Valery Gergiev, Simon Rattle, Kent Nagano, Steven White and Giuseppe Finzi. She has performed with such companies as Los Angeles Opera, Washington National Opera, Lyric Opera of Chicago, Florida Grand Opera, Vancouver Opera, Pittsburgh Opera, New York City Opera and Chautauqua Opera, in addition to appearances with the Chicago Symphony Orchestra, the Chautauqua Symphony Orchestra, Youngstown Symphony Orchestra and West Virginia Symphony.

Ms. Foster received a Bachelor of Music degree in Vocal Performance from The Ohio State University and continued her professional training as a member of the Lyric Opera Center for American Artists at Lyric Opera of Chicago. She has been honored with numerous awards, including the Florida Grand Opera Olsen Artist Award, the Washington Summer Opera Guild Award, Grand Prize of the Greater Miami Opera YPO Competition and a Shoshana Foundation Grant. Her discography includes Opera Australia’s Turandot, La Scala’s Die Walküre, and Lyric Opera of Chicago’s Six Characters in Search of an Opera.

Soprano Jung Nan Yoon is emerging as a talented and versatile young singer who is rapidly gaining recognition on the operatic and concert stage with notable for unusual beauty of voice, extraordinary range and sincere musical artistry.

Recently, Ms. Yoon performed the role of Ok Hwa in Return Voyage at the Yeosu Expo Music festival; and she performed Mimì in La Bohème at the Seoul Open Air Opera. She then performed Cio-cio-san in Madama Butterfly at Flensburg Landes Theater in Germany, and she reprised the role for both Göteborgs Operan and Den Norske Opera & Ballett. Upcoming engagements include Micaëla in Carmen at the Seongnam Arts Center in Korea.

Ms. Yoon made her professional debut in 2001 with the Seoul Arts Center Opera as Donna Anna in Don Giovanni with great success. She performed the roles of Countess Almaviva in Le Nozze di Figaro and Pamina in Die Zauberflöte there as well. At Indiana University Opera Theater, she performed Cio-Cio San in Madama Butterfly, Mimì in La Bohème, Violetta in La Traviata and Handel’s Messiah. She then attended Juilliard, where she performed in Gianni Schicchi as Lauretta, Liù in Turandot, and Lidoine in Dialogues of the Carmelites. She also performed Liù in Turandot at Braunschweig Opera in Germany.

Ms. Yoon has been a prize winner in many distinguished music competitions including the Theatre Colon Competition, Tchaikovsky Competition, Queen Elisabeth Competition (Belgium), the Maria Callas Gran Prix (Greece), the Houston Grand Opera in Texas for the audience choice prize as well as Metropolitan Opera National Council Auditions for the Tri-State region. She also has won numerous awards such as the Donald Felton Memorial Award by the National Society of Arts and Letters, the Bain Scholarship Competition and Travel Gran Competition at Indiana University among many others.

Born in South Korea, Jung-Nan Yoon received her Bachelor Degree at the Korea National University of Arts, the Artist Diploma under Costanza Cuccaro at the Jacobs School of Music Indiana University, and the Opera Study Diploma at the Santa Cecilia Academia Opera in Italy. Currently Ms. Yoon is completing her Artist Diploma in Opera Study with Edith Bers and Marlena Malas at the Juilliard School, where she was awarded the Alice Tully Scholarship.

A native of Pusan, South Korea, So Young Park is a graduate of the Domingo-Colburn-Stein Young Artist program with the Los Angeles Opera, where she performed the role of Queen of the Night in The Magic Flute, Gossip in The Ghosts of Versailles and Barbarina in Le nozze di Figaro, as well as Pat Nixon in the Music Center’s 50th Anniversary Concert. Maestro Plácido Domingo also invited Ms. Park to perform with him as a soloist for his concert at the Seoul Olympic Gymnasium, South Korea, and she recently made her Los Angeles Philharmonic debut as a Soprano Soloist in Beethoven’s Choral Fantasy under the baton of Maestro Gustavo Dudamel. She has performed the Queen of the Night with Boston Lyric Opera, Aspen Music Festival, New England Conservatory, Los Angeles Opera, Houston Grand Opera (Miller Theater), the Glimmerglass Festival, Hawaii Opera Theatre, and Opera Colorado. Most recently, she performed the role of Zerbinetta in Ariadne auf Naxos with Opera Theatre of St. Louis. Miss Park returned to Los Angeles to perform Blonde in Die Entführung aus dem Serail, Top Daughter in Akhnaten and Olympia in The Tales of Hoffman. She also performed Poulenc’s Gloria with the New West Symphony, and the Queen of the Night with Naples Opera as well as taking part in the Metropolitan Opera’s summer concerts in the Parks series.
Recent engagements include the Queen of the Night and her debut with the Metropolitan Opera, Miss Schlesen in Satyagraha with the Los Angeles Opera, Gilda in Rigoletto with Opera Theater of St. Louis, the opera An American Dream with Lyric Opera of Chicago. Upcoming engagements include a return engagement to the Metropolitan Opera in a new production of La Cenerentola and as the Queen of the Night, as well as the Queen in Los Angeles, Houston Grand Opera, Washington National Opera and the Komische Oper Berlin on tour in Asia.
In the 2017 – 18 season, Miss Park joined the Metropolitan Opera and also sang Gilda in Rigoletto with the Michigan Opera Theater, Carmina Burana with the Los Angeles Master Chorale and the Los Angeles Philharmonic under the baton of Maestro Esa Pekka Salonen. Ms. Park earned her Artist Diploma and Master’s Degree from the New England Conservatory, where she performed Zerbinetta in the Prologue of Ariadne auf Naxos, Amore in Orfeo ed Euridice, Lisetta in the world premiere of the critical edition of Rossini’s La Gazzetta, and Adele in Die Fledermaus. She received her Bachelor’s Degree in Vocal Performance from Seoul National University, where she graduated first in her class and performed the roles of Violetta in La Traviata and Gilda in Rigoletto. Ms. Park has been honored as the 1st place recipient from the Y. A. Competition of Philharmonic Society of Arlington, the Forte International Music Competition in 2013, the NOA Caroline and Dominick Argento Vocal Competition, and the Metropolitan International Music Festival Competition. Also, she won the 4th prize and Audience prize at Opera Columbus Vocal Competition, was a finalist at The Eleanor McCollum Competition by Houston Grand Opera, and was a Quarter Finalist at the Competition in 2014.

After winning the Queen Sonja Competition in 2001, Arendalsposten said of Norwegian soprano Marita Sølberg, “It is a voice of almost mystic dimensions, great and fully grown and with a veil of the unspoken, as if it is brought forth from a deep secret source. Marita Sølberg has the potential to be one of our most shining stars.”

Ms. Sølberg studied at Trøndelag Music Conservatory and the Norwegian Academy of Music before graduating from the Norwegian Academy for Operatic Arts. She made her professional debut in 2002 at the Norwegian National Opera as Pamina in Die Zauberflöte, and since then has served as a principal singer for both Württembergische Staatsteater Stuttgart and Norwegian National Opera, amongst other engagements. In addition to the Queen Sonja Competition, she also has been awarded a Ruud-Wallenberg stipend, the Belvedere Singing Competition, and in 2011 she was granted the Tom Wilhelmsens Award. In 2012 she was awarded the highest music prize in Norway, “The Music Critics’ Prize”, for her performance of Mimì in La Bohème at Norwegian National Opera.

Ms. Sølberg is currently slated to join the roster of the Metropolitan Opera in a future production. Recent engagements include her house debut at Royal Opera Covent Garden as Antonia in Les Contes d’Hoffmann, Micaëla in Carmen at Minnesota Opera; Pamina in Zauberflöte at Los Angeles Opera; Mimì in La Bohème at Wiener Staatsoper; Donna Elvira in Don Giovanni, Solveig in Peer Gynt, Liù in Turandot, Mimì in La Bohème and Antonia in Les Contes d’Hoffman at Norwegian National Opera; the Countess in Le Nozze de Figaro at Teatro La Fenice; St. Matthew’s Passion on tour, with Minkowski conducting; the role of Kathrine Sigismund in The Fourth Watch of the Night, at both Norwegian National Opera and Savonlinna Opera Festival; Giulietta in I Capuleti e i Montecchi at Norwegian National Opera; Micaëla in Carmen; Drusilla and Virtú in L’Incoronazione di Poppea at the Norwegian National Opera; Solveig in Grieg’s Peer Gynt with the conductor Marc Minkowski; Cleopatra in Giulio Cesare in Beaune with the conductor Eduardo López Banzo; concerts with music by Henry Purcell, Handel and Joseph Haydn at the Salzburg Festival with the conductor Marc Minkowski; Pergolesi’s Stabat Mater and Stravinsky’s Pulcinella with the BBC Symphony Orchestra; Fauré’s Requiem with the conductor Lawrence Renes; Vivaldi’s Nulla in mondo pax sincera with the Israel Camerata; and Female Chorus in Britten’s Rape of Lucretia, Countess in Le Nozze di Figaro, and Pamina in Die Zauberflöte at Norwegian National Opera. She also returned to the Staatsoper Stuttgart for Celia in Lucio Silla, and recorded Handel’s Brockes Passion with the conductor Peter Neumann.

In 2009 Sølberg performed the role of Pamina in Die Zauberflöte at the Staatsoper Stuttgart, Handel’s Messiah in Moscow with the conductor Peter Neumann, and Felix Mendelssohn’s Elijah with Gothenburg Symphony Orchestra and the conductor Raphael Frühbeck de Burgos. Engagements the autumn of 2008 included Pamina in Die Zauberflöte, Gretel in Hänsel und Gretel and the title role in Zaide at the Staatsoper Stuttgart, and Gustav Mahler’s Symphony No. 2 with the conductor Zubin Mehta. She has also sung at a gala concert at the Norwegian National Opera, and excerpts from Handel’s Il Trionfo del tempo e del disinganno with the conductor Rinaldo Alessandrini.

In 2006-2008 while she was a principal singer at the Staatsoper Stuttgart, other engagements brought her to Gran Teatre del Liceu Barcelona, Teatro Real Madrid, Komische Oper Berlin and Norwegian National Opera. Her roles have included Michaëla in Carmen, Pamina in Die Zauberflöte, Servilia in La Clemenza di Tito, the title role in Zaide, Zerlina in Don Giovanni, Celia in Lucio Silla, Gretel in Hänsel und Gretel, Marzelline in Fidelio, Charmion in Massenet’s Cléopatre, and the Angel in Messiaen’s Saint Francois D’Assise.

Ms. Sølberg has worked with conductors such as Marc Minkowski, Zubin Mehta, Michel Plasson, Rinaldo Alessandrini, Manfred Honeck, Neeme Järvi, Phillip Herreweghe, Michael Hofstetter, Enrique Mazzola, Bruno Weil, Andreas Spering, Olaf Henzold, Konrad Junghänel, Miquel Ortega, Peter Neumann, Raphael Frühbeck de Burgos, Christoph König, Roman Brogli-Sacher and Shao-Chia Lü.

Ms. Sølberg has recorded the role of Solveig in Grieg’s Peer Gynt for the record label BIS (released in June 2005) and has sung it on numerous occasions in Scandinavia as well as in Barcelona, Madrid, Stuttgart, St. Petersburg and on tour in the US. In June 2006 she sang the role with the Berliner Philharmoniker and the conductor Neeme Järvi. The concert was transmitted live on German radio and television.

Korean Soprano Hye Jung Lee is quickly emerging as one of the top young coloratura sopranos with a silvery voice and expressive dramatic stage presence.

In 2019-2020 season, Lee will returned to Theater Kiel in three roles as Contessa di Folleville in Il viaggio a Reims, Lucia in a new production of Lucia di Lammermoor, Adele in Die Fledermaus and Sandrina in La finta Giardiniera.

Her 2018-19 schedule includes her role debut as Fiakermilli in Arabella at San Francisco Opera under the baton of Marc Albrecht, Rosina in Il Barbiere di Siviglia, Drusilla/Amore in L’incoronazione di Poppea, Elvire in La muette de Portici at Theater Kiel, and Ah Sing in Girls of the Golden West for her debut at Dutch National Opera in Amsterdam.

During the 2017-2018 Season, she returned to San Francisco Opera stage as Ah Sing in the world premiere of Girls of the Golden West by American composer, John Adams directed by Peter Sellars. She also sang Miss Lightfoot in Fellow Travelers at Minnesota Opera.

Her 2016-2017 opera engagements have included  Königin der Nacht from Die Zauberflöte with Saarländisches Staatstheater, Saarbrücken and Gilda from Rigoletto at Theater Kiel.

In 2015-2016 Season, She joined the ensemble member of Theater Kiel in Germany and she sang Königin der Nacht from Die Zauberflöte, Susanna from Le Nozze Figaro, Ortlinde from Walküre, Amor from Orphée et Eurydice, Woglinde from Das Rheingold. She has appeared as Madame Mao from Nixon in China with New Zealand Opera after her successful role debut in 2012.

In 2014-2015 Season, Lee made her Dayton Opera debut as Queen of the Night in The Magic Flute, concert debuts with the Philharmonic Orchestra in Kiel, Tucson Chamber Artists Chorus and Orchestra for Carl Orff’s Carmina Burana.

Hye Jung Lee’s 2012-2013 season included her house and role debut as Papagena in Die Zauberflöte,, Lisa in La sonnambula with Florida Grand Opera, directed by Renata Scotto . She will made role dubut as Olympia from Laurent Pelly’s New Producition of Les contes d’Hoffmann with San Francisco Opera under the baton of Patrick Fournillier. According to Opera News “Hye Jung Lee may well be the reigning Olympia of her generation; the soprano retained her effortless projection, laser focus and sweet tone to the top of her high E-flats and beyond. (She added a couple of high Fs to her ornamentation.) Lee, in a silvery gown, came onstage harnessed to a crane, which, timed to her vocal leaps, repeatedly hoisted her into the stratosphere. It was an aptly jaw-dropping appearance, which she topped by gliding around the stage on in-line skates.”

During the 2011-2012 season, she made a “show-stopping” debut with San Francisco Opera, as Madame Mao in Michael Cavanagh’ production of Nixon in China led by Lawrence Renes. According to San Francisco Chronicle, “But the evening’s most dazzling performance came from soprano Hye Jung Lee, just two years out of the Merola Opera Program, in a career-making triumph as Madame Mao. With its aggressive, almost shrieky high notes and sinewy vocal leaps, this is music that is designed to be practically unsingable – a Queen of the Night for the 20th century – and yet Lee made it seem technically easy, and gave it a fierce, gleaming beauty as well.”

As a concert artist, Ms. Lee made her debut at Issac Stern Auditorium in Carnegie Hall as a soloist in Mozart’s Mass in C Minor in 2009 with St. Cecilia Orchestra and Chorus. The following year, she returned to Carnegie Hall, singing as a soloist in Bach’s Weihnachts Oratorio. She has been praised by New York Times, “the most striking singer was Hye Jung Lee, the soprano. Her sound was sweet and focused, but its soubrette quality was deceptive: when she needed to project over the orchestra, Ms. Lee summoned considerable power.”

A graduate of Indiana University, her roles include Adele in Die Fledermaus, conducted by Constantine Kitsopoulos and Sophie in Der Rosenkavalier, conducted by David Effron. She was a member of San Francisco Opera’s Merola Young Aritst Program, where she performed as Giannetta from L’Elisir d’Amore, conducted by Martin Kats.

Hye Jung Lee has won numerous awards and competition including DAAD scholarships in 2006 and Career Bridge Grants in 2010. During the summer of 2011, she represented Korea for BBC Cardiff singer of the World and she was the one of the finalists in Cardiff, Wales. She is a third prize winner of the Maria Callas International Music Competition in Athene, Greece. Also she is a prize winner of the ARD International Music Competition and Shizuoka International Opera Competition. She was the regional finalist of Metropolitan Opera National Council Auditions in 2010, 2011 and one of the National Semi-Finalists in the Metropolitan Opera National Council Auditions in 2013.

Ms. Lee received her Bachelor’s of Music in vocal performance from Seoul National University and continued with Graduate studies at Dresden Musik Hochshule and Mannes College of Music. She holds an artist diploma from Indiana University where she studied with Costanza Cuccaro. She was a member of the prestigious Merola Opera Program of San Francisco Opera Center. She was a young artist of Florida Grand Opera.