Kyle Albertson, Bass- Baritone
Role: Carmen (Escamillo)
Bass-baritone Kyle Albertson is renowned not only for his versatile voice, confidence, and style, but also for his ability to bring a character to life on stage. A recent foray into the works of Wagner included his house début at Lyric Opera of Chicago in Das Rheingold, role and house débuts as Donner in the same work at Minnesota Opera, and covering Wotan in San Francisco Opera’s Ring cycle. The past season saw him perform Porthos in Les Trois Mousquetaires with Phoenicia Festival, JP Morgan in the world première of Tesla with SoBe Arts, DeGuiche in Cyrano with Opera Carolina, Sharpless in Madama Butterfly with New Jersey Festival Orchestra, and Sam in Trouble in Tahiti with Opera Parallèle at SFJazz. Upcoming engagements for the 2018-2019 season will include a return to the Lyric Opera of Chicago for Siegfried, a house debut with San Diego Opera to perform the role of Sparafucile in Rigoletto, and a reprisal of his performance as Liutenant Horstmayer in Silent Night with Arizona Opera.
Mysti Brooke Byrnes, Mezzo-soprano
Role: La Cambiale di Matrimonio (Clarina)
A native of Dallas, Texas, mezzo-soprano Mysti Byrnes performs regularly with the Michigan Opera Theatre where she has been seen in Tosca, Cyrano, Little Women, and Carmen. An avid recitalist and concertizer, she most recently appeared as a soloist in Voices of Light with the Rackham Choir. While completing her Master’s degree at the University of Michigan, Mysti performed the role of Vitellia in La clemenza di Tito and was a soloist in Bright Sheng’s new opera, Dream of the Red Chamber. She has also performed in the young artist programs of Songfest at Colburn, Bay Area Summer Opera Theatre Institute, and the University of Miami at Salzburg. A current resident of Detroit, Mysti works to bring musical opportunities to the youth of that city. She is delighted to be making her Festival debut this summer.
Jeff Byrnes, Baritone
Role: La Cambiale di Matrimonio (Norton)
A graduate of the University of Cincinnati College-Conservatory of Music and Louisiana State University, baritone Jeff Byrnes recently made his role debut as Sharpless in Madama Butterfly with Raylynmor Opera. Previous roles include El Dancairo in Carmen, William Dale in Silent Night, John Brooke in Little Women, Sonora in La Fanciulla del West, and Marcello and Schaunard in La Bohème. He was a national semi-finalist of the Metropolitan National Council Auditions in 2016, was a finalist in the 2017 Mildred Miller International Voice Competition and the 2017 Shreveport Opera Competition, and was recently awarded a grant from the Gerda Lissner Foundation. Byrnes has participated in the young artist programs at Michigan Opera Theatre, Opera Theatre of Saint Louis, Martina Arroyo's Prelude to performance, Dayton Opera, Des Moines Metro Opera, and the Seagle Music Colony. This summer, in addition to his debut at Festival of the Voice, Jeff returns to Opera Theatre of Saint Louis, performing the Baron and covering Germont in La Traviata as well as covering Sgt. Marcum in the world premiere of An American Soldier.
Matthew Ciuffitelli, Baritone
Role: La Cambiale di Matrimonio (Slook)
Of his performance at a Columbus Citizen’s Foundation Event: Opera Night Live!, Brooklyn Discovery raved that baritone “Matthew Ciuffitelli has resonance and power.” These qualities were equally in evidence when he appeared as Dr. Malatesta in Don Pasquale, Bob and Ben in The Old Maid and the Thief, Sergeant Belcore in L’Elisir d’Amore, the Sacristan in Tosca with Eastern Opera, Papageno in Nyack, Eisenstein in Amore Opera’s Die Fledermaus, and Prince Yamadori in New Jersey Festival Orchestra’s Madama Butterfly. Ciuffitelli has performed in The Telephone with Light Opera of New Jersey, Die Zauberflöte in New York’s Pardington Hall, and at Sarasota Opera as a featured resident artist singing the Official Registrar in the company’s production of Madama Butterfly. Last fall, he also covered Valentin in the St. Petersburgh Opera’s production of Faust. While in Chicago, Ciuffitelli had the unique opportunity to perform with the Rolling Stones at Chicago’s United Center and to appear in the U.S. premiere of the mixed-media work, Mountain Top, by Dutch avant-pop composer Jacob Ter Veldhuis.
Ginger Costa-Jackson, Mezzo-Soprano
Role: Carmen (Carmen)
A graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program and a Samling Scholar, mezzo-soprano Ginger Costa-Jackson recently sang Rosina in Il Barbiere di Siviglia on the Met stage, performed the title role in Carmen with the San Francisco Opera, and made her debut at Opera de Paris as Despina in a new production of Cosi fan Tutte. She performed her first Carmen ever in 2012 at Glimmerglass, while her European debut was as Lola in Cavalleria Rusticana at Barcelona’s Gran Teatre del Liceu. Future engagements include Dorabella in Cosi fan Tutte with the Seattle Opera, her Los Angeles Opera debut as Maddalena in Rigoletto, her return to the Opera de Paris for Cosi fan Tutte, Carmen with San Diego Opera, debuts with Washington Concert Opera in Maria di Rohan, with National Theatre Tokyo as Carmen, in Hong Kong as Musetta, and with Opera de Toulon as Rosina. She was recently joined by her two sisters in a Costa-Jackson sisters concert at the Nantucket Musical Arts Society, and one sister, soprano Miriam Costa-Jackson, will join her in Carmen in the role of Micaela.
Role: Micaela (Carmen)
Delighted to be returning to the operatic stage under the aegis of Festival Directors Maria Todaro and Louis Otey, soprano Miriam Costa-Jackson, a resident of Utah, has most recently sung the Queen of the Night in Mozart’s Die Zauberflöte at Brigham Young University and, at Utah State University, both Magda in Puccini's La Rondine and Rosita in Torroba's Luisa Fernanda. She was also a guest artist at the Italian Embassy in Washington and a soloist in the American Festival Chorus production of Orff’s Carmina Burana. Costa-Jackson began performing at age 14 and studied with Renata Scotto at Santa Cecilia in Rome and with Sherrill Milnes and Maria Zouves at their VOICExperience in Florida. The original Costa-Jackson opera singer, this mother of two is one of three Costa-Jackson Sisters and, with siblings Ginger and Marina, has toured Russia and Belarus twice; a highlight of the tour was an appearance with the late Dmitri Hvorostovsky in Minsk. Most recently, the sisters wound up a series of programs that took them from Nantucket to San Francisco with a concert with Sun Valley Opera.
Matthew Curran, Bass
Role: Carmen (Zuniga)
Praised by The Baltimore Sun for his “smooth, rich sound” and “stylish power,” bass Matthew Curran is a major talent on the rise who has sung on the stages of opera houses in cities ranging from Seattle to Atlanta to Zürich—and in roles ranging from the classic operatic and concert repertoire to the contemporary. Recent appearances include Sparafucile in Rigoletto with Opera Carolina, Opera Grand Rapids, and Toledo Opera; Ramfis in Aida and Orbazzano in Rossini’s Tancredi with Opera Southwest; Basil in Lowell Liebermann’s The Picture of Dorian Gray with Odyssey Opera; Terry in Breaking the Waves by Missy Mazzoli and Royce Vavrek at the Prototype Festival; Thomas Betterton in Carlisle Floyd’s Prince of Players with Little Opera Theater of New York; Don Iñigo Gomez in L’Heure Espagnole with Opera Memphis; and Pistola in Verdi’s Falstaff with Opera Delaware. Recent concert performances include Handel’s Messiah, Jesus in Bach’s St. John Passion, the Mozart and Verdi Requiems, and an evening of new music in Manhattan with Random Access Music.
Fidelia Esther Darmahkasih, Soprano
Role: La Cambiale di Matrimonio (Fanny)
A native of Indonesia, soprano Fidelia Darmahkasih is thrilled to be back at the Phoenicia International Festival of the Voice, this time performing the role of Fanny in La Cambiale di Matrimonio. She returns to us from a busy season that saw her make her debut with Bluffton University as soprano soloist in Handel’s Messiah, while at the same time continuing her active engagement with Michigan Opera Theatre in Detroit, where Ms. Darmahkasih was most recently seen in the company’s productions of Le Nozze di Figaro, The Summer King, and Toscathis past spring. Her other opera credits include Beth March in Little Women,Madame Lidoine in Dialogues of the Carmelites, and Patience in Patience.With Toledo Opera, she has also performed in The Pearl Fishers, Lucia di Lammermoor, Tosca, and Porgy and Bess. In addition to opera, Ms. Darmahkasih has a passion for oratorios. An enthusiastic cook and a young woman committed to helping others, she holds Bachelor’s and Master degrees from Bowling Green State University.
Adam Diegel, Tenor
Role: Carmen (Don José)
Tenor Adam Diegel regularly earns international acclaim for his impassioned dramatic sensibilities, powerful voice, and classic leading-man looks. Last season, Diegel performed two of his signature roles throughout the world as Pinkerton in Madama Butterfly at Opera Hong Kong and Palm Beach Opera and as Don José in Carmen at San Francisco Opera, PORTopera, and Opera San Antonio. Acclaimed as Cavaradossi in Tosca, a role he has performed at Glimmerglass Opera and will soon reprise with Palm Beach Opera, Diegel will also be back at The Metropolitan Opera for performances in Norma and Madama Butterfly and at Mill City Summer Opera for Don José yet again. Diegel also sang the title role in Verdi’s Don Carlo with Lithuanian National Opera, Ruggerio in La rondine with Opera Santa Barbara, Ismaele in Nabucco with The Metropolitan Opera and Opera Philadelphia, and the tenor solo in Verdi’s Requiem with Alabama Symphony Orchestra and Spokane Symphony. Additionally, Diegel currently serves as Artistic Director for Opera San Antonio. He holds degrees from Yale University and University of Memphis.
Eric Grant, Playwright
Born and raised in Michigan, Eric Grant has been writing stories for stage and screen since he was eight years old. He is a two-time recipient of the coveted Hopwood Award for Drama from the University of Michigan, where his work was performed in the annual PlayFest reading series three years in a row. His second play, Paris at Dawn, was given a full production by the famed Basement Arts student group in 2017. Grant interned at the John F. Kennedy Center for the Performing Arts in Washington, D.C., where the play being presented at the Festival, Bleecker Street, received its first professional staged reading. He recently moved to Chicago where he co-wrote Shalom! for The Second City while working at Goodman Theatre. This is Eric’s second year at the Phoenicia Festival; he unexpectedly stepped into the role of Assistant Director for 2017’s main-stage opera and will do so again this year, but Bleecker Street marks his debut as a Phoenicia artist. You can read more of Eric’s work in The Best Men’s Stage Monologues 2016 and in Five-Minute Plays.
Beth Greenberg, Stage Director
Role: La Cambiale di Matrimonio (Director)
Renowned for her work with the legendary New York City Opera, from classic revivals to new productions, and including the groundbreaking site-specific production of Il Tabarro staged aboard an historic ship moored in Red Hook, Brooklyn, Beth Greenberg is also widely known for her work developing new American opera. Working with composers like Gordon Beeferman, Tom Cipullo, Gerald Cohen, Lori Laitman, Nkeiru Okoye, Stella Sung, Dalit Warshaw, and Scott Wheeler among others, Greenberg collaborates on all phases of a new work's development, from first libretto reads to fully staged premieres. Recent world premieres include Opera Colorado's The Scarlet Letter (Laitman & Mason), The Three Feathers (Laitman & Gioia), The Red Silk Thread (Sung & Hilbert), and Pumped Fiction (Eaton). A Fulbright awardee and today a Guest Faculty member at Juilliard, Greenberg has staged works for Boston’s Odyssey Opera, the Crested Butte Music Festival, Utah Festival Opera, Pittsburgh Opera Center, Festival Opera of Walnut Creek, Syracuse Opera, Opera Delaware. and the Phoenicia Festival of the Voice. Worldwide, she has directed original productions of Carmen in Tokyo and Tosca in Lima.
Coburn Jones, Baritone
Role: La Cambiale di Matrimonio (Tobias)
Noted for his “warm baritone,” “resonant heft,” and skilled acting by the South Florida Classical Review, Coburn Jones is a student at the University of Miami but has already compiled a portfolio of significant roles in key venues. He was Kecal in the The Bartered Bride, Almaviva in Le Nozze di Figaro, Balthazar and Melchior in Amahl and the Night Visitors, and Warden Frank in Die Fledermaus with the Appalachian Opera theatre and has also performed Pedro in Man of La Mancha with Asheville Lyric Opera. With Frost Opera Theater, Jones performed the role of Pandolfe in Massenet’s Cendrillon and excerpts from Hamlet, Currently studying under the tutelage of Dr. Robynne Redmon, Jeffrey Buchman , and Maestro Alan Johnson, Jones’s future engagements include the role of second armored man in The Magic Flute this coming May with Orchestra Miami under the baton of Maestra Elaine Rinaldi. His appearance as Tobias Mill in La Cambiale di Matrimonio, under the direction of stage director Beth Greenberg, marks his debut at the Phoenicia Festival of the Voice.
Event: Sirens of Gospel
Four impressively stunning voices comprise the newly formed Lady Parts, an a capella group whose members bring to every performance a collective richness and variety of experience that spans the globe and includes some of the world's greatest performance venues. Their individual repertoire covers nearly every imaginable genre from early music to opera to big band to rock to new music. Together they create a kaleidoscope of vocal color and imagination that captivates and engages.
Richard Leech, Tenor
Role: Master Teacher (Master Class)
From the moment of his 1987 European debut with Berlin’s Deutsche Oper, to his debut two years later at the Met, to debuts in virtually all the world’s major opera houses, everyone knew that American tenor Richard Leech was a star. Over a 30-year career, he has interpreted the most demanding and well-known roles of the Italian, French, and German repertoire onstage and in recordings. Now, as Director of Resident Artist Programs at Michigan Opera Theatre, where he created and heads the company’s young artist development program, as a member of the faculty at Rutgers University’s Mason Gross School of the Arts and Rutgers Opera Institute, and in this Master Class at the Phoenicia Festival of the Voice, he brings his mastery of the vocal instrument and his wide-ranging experience to singers in the early stages of their careers. Raised in nearby Binghamton, Leech has sung everywhere and everything: opera and symphonic music, classical and contemporary and pops, solo and in company with world-class artists like himself in every genre. Little wonder he has received every award for distinction the music world can bestow.
Claudia Montero, Composer
Winner of two Latin Grammy Awards for best contemporary classical composition, Argentinean Claudia Montero has emerged as one of the most outstanding and acclaimed composers in Latin America today. The 2016-2017 season saw major premieres: at Galway International Arts Festival, the Piano Concerto Blanco y Negro with the RTÉ Concert Orchestra led by conductor David Brophy— a second performance followed in Dublin; and in Valencia, the Concerto for Guitar and Orchestra with the Valencia Orchestra, and the Concerto for Violin and String Orchestra, with violinist Emanuel Salvador and the Baltic Neopolis Orchestra. Her works have been performed in the USA, Canada, and Latin America, across Europe, in Turkey, Russia, South Korea, Estonia, and China among others. She has collaborated with major chamber music groups and with such instrumentalists as harpist Floraleda Sacci and guitarists José Luis Ruíz del Puerto, Wolfgang Weigel, and Isabel Siewers. Montero has released six CDs, most recently “Luminosa,” featuring the Concerto Blanco y Negro for piano and orchestra, performed by pianist Allison Brewster Franzetti and the Prague Philharmonic Orchestra led by Carlos Franzetti, and Homage to Tarrega with guitarist Piero Bonaguri.
Isai Jess Muñoz, Tenor
Role: Carmen (Remendado)
Praised by the New York Times for "deftly navigating the border of genuine emotion through his singing,” Isai Jess Muñoz has appeared with the New York City Opera, New York Philharmonic, the American Symphony Orchestra at Carnegie Hall, Alvin Ailey Dance on Broadway, the Israel Philharmonic under Zubin Mehta, and the Verbier Festival in Switzerland among many world venues. In addition to a full schedule of recitals throughout the US, he will appear later this year as the Witch in Hansel und Gretel with Opera Orlando. A graduate of the Cincinnati College-Conservatory of Music, Manhattan School of Music, and SUNY Stony Brook, Muñoz is also a member of the voice and opera faculty at the University of Delaware. Honored by the National Opera Association, by the National Association of Teachers of Singing, and by the Delaware Division of the Arts for his performance activities of Iberian and Latin American Song Literature as well as for his work in stage direction, Dr. Muñoz also serves as Chair and Senior Editor of the Sacred in Opera Initiative of the National Opera Association.
Event: Sirens of Gospel
Damien Sneed, a recipient of the prestigious Sphinx Medal presented annually to emerging Black and Latino classical musicians, is a multi-genre recording artist who has also garnered attention in jazz, gospel, and popular music. He made his conducting debut in 2015 at Carnegie Hall for Wynton Marsalis’ “Abyssinian 200: A Celebration,” a role he reprised on the recording of the work with Marsalis, Jazz at Lincoln Center Orchestra, and Chorale Le Chateau. Performer, composer, producer, arranger, vocal coach, and arts educator, Sneed has worked with such legends as Aretha Franklin, Stevie Wonder, Diana Ross, Ashford & Simpson, Jessye Norman, and Lawrence Brownlee. He is the founder and artistic director of Chorale Le Chateau and created the independent recording label LeChateau Earl Records in 2009.
Juan María Solare, Composer
Event: Sirens of Gospel
The Argentine composer and pianist was born in Buenos Aires and received his diploma in piano, composition, and conducting at the Conservatorio Nacional de Música Carlos López Buchardo. He also studied privately with Francisco Kröpfl. Now based primarily in Bremen, Germany, he teaches piano widely and, at the University of Bremen, teaches New Music Theatre and conducts the Ensemble Kagel. From December 2007 to April 2008, Solare was Assistant Professor at the Universidad Complutense de Madrid. He has given courses and lectures on contemporary music across Europe and at Texas A&M University in the U.S.. He also teaches piano and composition privately, has presented public seminars on tango music, and continues to give courses and lectures on contemporary music. Solare has composed some 300 works. His compositions are broadcast regularly throughout Europe and Latin America. He has received commissions from the Centro para la Difusión de la Música Contemporánea, the Kunststiftung NRW, the Bremen Music Council, and from Eva Espoleta. His Concertango was premiered by the Orchestra of Bremen University in 2004, conducted by Susanne Gläß.
Event: Sirens of Gospel, Damien Sneed featuring The Levites
Making its mark in the realm of spiritual music, the gospel group The Levites expands the boundaries of contemporary gospel by showcasing a soulful mix of traditional gospel, jazz, and contemporary compositions. The group is the brainchild of musician/composer/producer Damien Sneed, who, starting in 2004 and through a series of seemingly ordained encounters, was wowed, one singer at a time, by each individual member’s vocal talent and technical skill. Inspired to action, Sneed gathered them into a collective, taking advantage of the group’s diverse collection of musical backgrounds that stretch across gospel, jazz, pop, soul, Hip Hop, R&B, Afro-Pop, even Zydeco. Diversity on top of unique ability, faith, and a singular cohesion are what give The Levites their exclusive sound and widespread appeal.
Maria Todaro, Stage Director
Role: Carmen (Director)
A versatile artist and art entrepreneur, the multi-talented Maria Todaro is a stage director, opera singer, stunt artist, writer, conductor, singing teacher/vocal coach, and general director of The Phoenicia International Festival of Voice, which she co-founded in 2010. She made her U.S. stage-directing debut in 2015 with the New Jersey Orchestra’s production of Cavalleria Rusticana and has directed for NJO every season since. In October, 2017, at Detroit’s Michigan Opera theater, Todaro assisted Ron Daniels in his direction of Carmen and was the production’s fight choreographer; that October, she assisted international stage director Bernard Uzan in directing Cyrano de Bergerac. Other directing assignments include La Boheme in March 2016 and La Traviata in March 2017 with New Jersey Festival Orchestra, Don Giovanni in January 2018 with the South Dakota Symphony Orchestra, and Massenet’s Cinderella in Miami. At the Phoenicia Festival of the Voice, she directed La Boheme in August 2017 with a prestigious cast including Metropolitan Opera stars John Osborn, Lucas Meachem, Richard Bernstein, and Mireille Asselin, and she is the director of the featured production of Carmen in 2018.
Brian James Myer, Baritone
Role: Carmen (Morales and El Dancaire)
Possessed of “both voice and character to make him stand out in the crowd" (Sarasota Observer), baritone Brian James Myer’s 2018 debuts include soloist roles in Carmina Burana with Hawaii Symphony, Maximilian in Candide with Henderson Symphony, and Snowboy and Big Deal in West Side Story with the Grand Teton Music Festival. He’ll also return to Opera Las Vegas as Dandini in La Cenerentola. This versatile performer has shone in contemporary as well as classic opera—from Ponchel in the West Coast premiere of Kevin Puts' Silent Night to Schaunard in La bohème, and from the roles of Alessandro/Enrico and Gino Carella in the world premiere production of Mark Weiser's Where Angels Fear to Tread to Figaro in Barber of Seville and Masetto in Don Giovanni. His concert and recital schedule has included solo roles in Mozart’s Requiem and Coronation Mass, Milhaud’s Cantate de Psaumes, Bach’s Magnificat and Christmas Oratorio, Rutter’s Mass of the Children, Brahms’ Liebeslieder Walzer, and, in his Opera Orlando debut before sold-out audiences, The Three Baritones concert in their Opera in the Park summer concert series.
Laura Virella, Mezzo-Soprano
Role: Carmen (Mercedes)
Of her Long Beach Opera debut last June as the legendary Mexican artist Frida Kahlo in the eponymous opera by Robert Xavier Rodríguez, the LA Times called Puerto Rican mezzo-soprano Laura Virella an “instantly believable Frida, a capable singer and actor, compelling on stage.” Virella has established herself as a leading singer-actor of her generation. She has been described as “powerful, compelling and exceptional,” captivating audiences in Spain with what the press there called her “fabulous, powerful and excellent Carmen,” charming Austrian audiences with her “impressive, fervent Octavian,” and gaining fervent East Coast applause with performances in Britten’s The Turn of the Screw as Mrs. Grose and as Maddalena in Verdi’s Rigoletto. To her wide repertoire of operatic roles, Virella adds mastery of and passion for Puerto Rican art song, of which she is one of the world’s principal proponents. www.lauravirella.com
Megan Weston, Soprano
Role: Carmen (Frasquita)
“Superb, dramatic, a highlight!” said the Woodstock Times of Weston’s performance as Constance in the 2017 Phoenicia Festival’s world premiere of Les Trois Mousquetaires. Since then, Weston has concertized at Carnegie Hall, the United Nations, in Spain, and in such far-flung venues as Bora Bora and Antarctica. She toured Macau and Beijing with conductor Lü Jia and sang Yum-Yum in The Mikado with Opera de Tijuana, Nedda in Pagliacci with Madison Lyric Stage, Gilda in Rigoletto with Bard Conductors Institute, the Cape Symphony, and Opera Orlando. She premiered new works by Nico Muhly and others in The Day Before at Manhattan’s Symphony Space. Recognized for her "remarkable virtuosity and charm" (Financial Times) and for her “gorgeous lyric soprano” (Opera Magazine), Weston first gained attention as Lightfoot McLendon in the premiere of Carlisle Floyd’s Cold Sassy Tree with San Diego Opera and as Lisa in La Sonnambula at Caramoor Music Festival. Her recordings include Anne in Harold Farberman's Diamond Street with Hudson Hall and Albany Records. Catch her later this summer as Jenny in Stephen Sondheim’s Company at Madison Lyric Stage in Connecticut.
David Wroe, Principal Conductor
Role: Carmen (Conductor)
David Wroe is Music Director of the New Jersey Festival Orchestra and a regular conductor of L’Orchestre Régional de Normandie as well as our Festival’s Principal Conductor. A Principal conductor with New York City Opera (2000-2014), Assistant Conductor of the Boston Symphony Orchestra (1993-5), director or conductor of opera houses in Heidelberg, Opera Delaware, and Opera Teatro Grattacielo, Wroe recently opened the newly formed Fresno International Grand Opera. He has also conducted symphony and ballet orchestras across the country and around the world—from New Jersey to Saint Louis to Des Moines, and from Scotland to Lille to Jerusalem, throughout Austria and across Asia, where he has conducted the Taiwan National Symphony, Pusan and Daegu Philharmonic, Macau, Shenzhen, Nanjing, Wuhan, Guiyang, and Taipei Symphony Orchestras. Maestro Wroe has conducted for such soloists as cellist Mstislav Rostropovich, recorded with L’Orchestre National de Lille, and, with Anna Moffo, judged the Metropolitan Opera National Council and New Jersey Regional Auditions. His crossover work includes partnerships with Kristin Chenoweth, Mannheim Steamrollers, Three Irish Tenors, Natalie Merchant, Bob Newhart, Jackie Evancho, and Celtic Thunder, to name but a few.