Amanda Hall is a graduate of the Opera Program at the Yale School of Music and has earned a Master of Music degree from the University of Southern California and Bachelor of Arts in Music from La Sierra University. She has twice been a Regional Finalist in the Metropolitan Opera National Council Auditions and has been the recipient of Opera Buff's Performance Scholarship, AEIOU Opera Scholarship, Thornton Merit Scholarship, Leni Fe Bland Vocal Scholarship. She was also the winner of the La Sierra Sinfonia Concerto Competition and a finalist in the Palm Springs Opera Guild Competition.
In 2010-11 she sang Violetta in La Traviata with Western Plains Opera Company, joined the roster of New York City Opera for its production of A Quiet Place, sang the role of Donna Anna in Don Giovanni as a guest artist with Yale Opera, appeared as soloist in Verdi's Requiem with Lynn University, and in Haydn's The Creation with the Idaho State Civic Symphony.

This devilishly good looking bass has charmed audiences in cities like Ft. Worth, Sacramento, Kansas City, Dallas, Detroit and Santa Barbara. He got his major break with the Fort Worth Opera and went on to hone his skills at the prestigious Merola Opera Program.

The Texas native graduated from Baylor University and was a finalist in the Loren L. Zachary Foundation Competition, Dallas Opera Guild Competition, Fort Worth Opera’s McCammon Voice Competition, Shreveport Opera’s Singer of the Year Competition, and was the recipient of the Thomas Stewart Award for Vocal Excellence at Baylor University.

A founding member of the groundbreaking and innovative Center Opera (which later became Minnesota Opera), LeRoy’s early career included new and improvisational opera with that group, as well as traditional operatic and orchestral work throughout the U.S., Canada, Mexico, Germany and the U.K. -- even Moscow, USSR in 1991 with a US State Department-sponsored tour of The Balcony, an American contemporary opera.
 
LeRoy Lehr is familiar to live Metropolitan Opera broadcast audiences as Doctor Grenvil in La Traviata, Hans Schwartz in Die Meistersinger von Nurnberg, and the Jailer in Tosca, roles which he has repeated over several broadcast seasons. Other Met appearances in recent seasons include War and Peace, Werther, Andrea Chenier, Salome, A Midsummer Night’s Dream, Sly, The Gambler, The Queen of Spades, The Rake’s Progress, The Bartered Bride, The Great Gatsby, Susannah, Le Nozze di Figaro, La Boheme, Nabucco, Pelleas et Melisande and Romeo et Juliette. Mr. Lehr has also performed at New York City Opera as the King of Clubs in The Love for Three Oranges, as Horace Giddens in Regina, and as Sarastro in The Magic Flute.

Brian Cheney is emerging as one of the most unique and thrilling American tenors of his
generation. No stranger to the concert stage, Mr. Cheney’s oratorio and concert experience ranges from critically acclaimed performances of Handel’s Messiah in New York City, Providence, and Philadelphia to Mendelssohn’s Elijah, Britten’s Saint Nicolas, Mozart’s Requiem as well as Leonard Bernstein’s Candide. An accomplished recitalist, he has been praised for his “wonderful gift for capturing the nuances and emotions in songs of any language. “ He recently made his Weill Hall at Carnegie Hall debut with dear friend and pianist, Catherine Venable with whom he has performed recitals and concerts throughout the United States. The New York Sun declared
that “Cheney exhibited such control, expressiveness and pure vocal beauty that he
certainly had the full house at Weill Recital Hall in the palm of his hand all evening. “
In addition to his stage, concert, and recital performances, Mr. Cheney maintains an active
interest in teaching and was recently appointed to the faculty of the Conservatory of Music
at Capital University, Columbus, Ohio and Department of Music at Otterbein College,
Westerville, Ohio.
In addition to his Carnegie Hall debut, highlights from his last two seasons include: the role of Cortez in the world premier of Daniel Steven Crafts opera La Llorona, the Duke in the Asheville Lyric Opera’s production of Rigoletto, and tenor soloist in Mendelssohn: The Man & His
Music at Grace Cathedral in San Francisco.
Mr. Cheney is a native of Michigan and attended Manhattan School of Music and Temple University. He makes his home with the three most important

The Founder and Artistic Director of Opera Naples, Ms Pearce has earned international acclaim as an operatic and concert singer over her 30 year career. Most noted for her distinctive portrayals of such operatic heroines as Violetta, Tosca, Donna Anna, the Hoffmann heroines and Marguerite,she has performed in over 50 American and European Opera Houses and been a concert soloist at Carnegie Hall, Lincoln Center, Dorothy Chandler Pavillion and The Kennedy Center, to name a few. Her formal studies began at The Cleveland Institute of Music and finished with a double major in acting and opera performance at University of Southern California. She was a resident Young Artist with both the San Diego Opera and the Cincinnati Opera where she further refined her stage craft. Over the last seven years she has devoted her energies to producing Opera Naples grand operas and guiding the company's growth. She also stage directs and continues to sing regionally and with Opera Naples.

Acclaimed by Opera News as “gifted and fiercely committed … [with a] spacious and reverberant” baritone voice, Wes Mason is quickly being recognized as “one of America’s most promising baritones.” (Voix des Artes) In 2011, he created the leading role of Reinaldo Arenas to great praise in the world premiere of Jorge Martín’s Before Night Falls with Fort Worth Opera.
Mr. Mason has appeared with the Glimmerglass Festival, Fort Worth Opera, Michigan Opera Theatre, Virginia Opera, the Seagle Music Colony and the Crested Butte Music Festival. Among his roles are the title role in Eugene Onegin, Marcello and Schaunard in La Bohème, as well as Masetto and the title role in Don Giovanni. Additionally, the 2012 season presents his debuts as Pelléas in Debussy’s Pelléas et Mélisande and Belcore in Donizetti’s L’elisir d’Amore.
Mr. Mason was a 2008 Metropolitan Opera National Council Audition Regional Finalist. A native of Norfolk, Virginia he holds a Bachelor of Music from the University of Michigan with honors and is currently a third-year resident artist with the Academy of Vocal Arts in Philadelphia where he studies with Bill Schuman.

A native of Guyana, Ms. Sulker has been a featured artist in two San Francisco Opera productions: The Mother of Us All and Louise. This young soprano has sung leading roles with many other companies, including Union Avenue Opera, West Bay Opera, Berkeley Opera, San Francisco Lyric Opera, and Oakland Opera Theater. Ms. Sulker created the role of Corina in the world-premiere of David Conte’s opera Firebird Motel. In concert, Ms. Sulker has performed the soprano solos in Handel’s Messiah and Bach’s Non sa che sia dolore with American Bach Soloists in San Francisco’s Grace Cathedral. She has sung St. Teresa I (Four Saints in Three Acts) and Monteverdi’s Lamento della ninfa for Mark Morris Dance Group in Berkeley’s Zellerbach Hall. Her film resume includes a soundtrack performance for the movie Mimic and an on-camera operatic appearance for the forthcoming feature film, Jackson directed by J.F. Lawton. Ms. Sulker graduated from Bennington College as a vocal performance major.

Last season with New York City Opera, Jason Hardy gave a highly-acclaimed performance as Leporello in a new production of Don Giovanni. Jason’s recent operatic engagements include the title role in Le nozze di Figaro with Michigan Opera Theater, Madison Opera, Opera Omaha, and Opera Birmingham, Don Alfonso in Così fan Tutte and the Speaker in Die Zauberflöte with The Atlanta Opera, and Cadmus/Somnus in Semele with Florentine Opera. He was also seen in recital under the auspices of the Marilyn Horne Foundation and in-concert for Verdi’s Requiem in Prague and Haydn’s Creation in Montreal with the Berkshire Choral Festival, and for Stravinsky’s Les Noces with the New York City Ballet, and the Los Angeles Philharmonic. Upcoming engagements include the roles of Grandpa George/Mr. Beauregard in The Golden Ticket with The Atlanta Opera, Leporello with Portland Opera, and Figaro with Arizona Opera.
Jason has also been seen as Leporello with Orlando Opera, Colline with Nashville Opera, and Palm Beach Opera, Don Magnifico in La Cenerentola with Connecticut Opera and Wolf Trap Opera, Dulcamara in L’elisir d’amore with Cleveland Opera and Wolf Trap Opera, Don Alfonso in Così fan Tutte and Frank in Die Fledermaus with the Merola Opera Program of the San Francisco Opera

An Opera Naples favorite, Franz Vote is one of the finest operatic conductors of his generation. His performances at the Metropolitan Opera and theaters in Europe and the United States have garnered praise from critics worldwide. Called a “singer’s conductor” by reviewers, the Los Angeles native has collaborated with many of the world’s most prominent operatic artists: Hildegard Behrens, Stephanie Blythe, Placido Domingo, Jane Eaglen, Renée Fleming, Galina Gorchakova, Ben Heppner, James King, Susanne Mentzer, Luciano Pavarotti, Samuel Ramey and Deborah Voigt, to name only a few. His rapport with musicians, both on stage and in the orchestra pit, elicits music-making of the highest level.

Another favorite of Opera Naples, Robert Swedberg was general director of Orlando Opera in Orlando, Florida, from 1990 to April, 2007. Prior to that, he held positions as general director of the Syracuse Opera in New York, manager and artistic director of the North Carolina Opera in Charlotte, North Carolina, and director of special educational projects for Seattle opera.  He has also been director of opera studio programs at both the University of Central Florida and Syracuse University.

Mr. Swedberg became active as a stage director while on the staff of the prestigious Pacific Northwest Wagner Festival in Seattle Washington, where he was assistant director for Wagner’s Ring Cycle from 1978 to 1982.  Since then, he has produced or directed more than 125 productions, and especially enjoys the challenge of the more unusual operatic repertoire, which has included new productions of Abduction from the Seraglio, The Tales of Hoffmann, The Coronation of Poppea, Don Pasquale, The Magic Flute, L’Enfant et les Sortileges, La Clemenza di Tito, H.M.S. Pinafore, Trial by Jury, and Gianni Schicchi, for several companies in the United States. He also produced and directed the double bill presentation of I Pagliacci and Carmina Burana for Orlando Opera in 2003, featuring choreographer Debra Brown and her troupe of Cirque du Soleil performers. That same year, he began to direct international productions, including The Magic Flute for both the Macau Music Festival, and the Beijing Music Festivals in China, La Sonnambula in Mallorca, Spain, and La Boheme in Hof, Bamberg, and Bayreuth, Germany. Robert was on the Board of Directors of  OPERA America, the service organization for all opera companies in North America from 2002- 2007, and also hosts a weekly program: Opera with Robert Swedberg at 6:00 p.m. (Eastern) on 90.7 WMFE-FM, audio streamed at www.wmfe.org .