The mission of the Falmouth Chorale is to share with our
audiences the joy of singing and to communicate with passion the marvelous and varied choral music which has been created over the centuries.
Passionate Voices of the Upper Cape
Javier Arrebola at the New England Conservatory; a song recital Angel Spirits: Music of World War One with baritone David McFerrin and pianist Jerry Noble for both Jamestown Concert Association (NY) and Harvard University; and Brahms’ Requiem with conductor Robert Duff and the Handel Society of Dartmouth College. After the New Year, the season continues with Carson Cooman’s Revelations of Divine Love with Nashoba Valley Chorale; Turina’s Poema en forma de Canciones for a debut Faculty Recital appearance at Wellesley College with pianist David Collins; Rossini’s Petite Messe Solenelle with Oratorio Chorale in Portland, ME; Debussy’s Ariettes Oubliées for pianist Tanya Blaich’s Faculty Recital at New England Conseratory; Mozart's Requiem with Falmouth Chorale; Purcell’s The Tempest (as Amphytrite) with The Henry Purcell Society of Boston; Brahms’ Requiem with Tufts Concert Choir and Chamber Singers; and Mendelssohn's Psalm 42 and Fauré’s Requiem with Concord Chorus.
During recent seasons, Ms. Selig has appeared as Micaela in Carmen with Dayton Opera; Sybil Vane in Liebermann’s The Picture of Dorian Gray with Odyssey Opera; Pamina in The Magic Flute with Boston Lyric Opera; Musetta in La Boheme and Zerlina in Don Giovanni with Central City Opera; Rose in Street Scene, Mary Warren in The Crucible, and Marion in The Music Man all with Chautauqua Opera; both Curley’s Wife in Floyd’s Of Mice and Men and Donna Elvira in Don Giovanni with Kentucky Opera; and Bella in Tippett’s A Midsummer Marriage with Boston Modern Orchestra Project.
On the concert stage, recent highlights include Mozart’s Requiem with Brown University; Strauss songs with Wheeling Symphony Orchestra; the US premiere of C. Herbert Parry’s Invocation to Music with Harvard-Radcliffe Chorus; Mahler’s Symphony No. 4 with Asheville Symphony; Brahms’ Requiem with Buffalo and Dayton Philharmonics; Bach Cantatas 36, 92 and 97 with Boston’s Handel and Haydn Society; Orff’s Carmina Burana with Fairbanks Symphony; Haydn’s Creation with Harvard University Choirs; Gorecki’s Symphony No. 3 with Kentucky Symphony; Bach’s St. Matthew Passion with Masterworks Chorale and Handel’s Messiah with Rhode Island Philharmonic.
Recordings include Marcia Kraus’ Three Fairy Tales for Soprano, Oboe and Piano with Centaur Records and both Virgil Thomson’s Four Saints in Three Acts and Paul Moravec’s Blizzard Voices with Boston Modern Orchestra Project and BMOP Sound.
Ms. Selig earned an Artist Diploma in Opera and MM in Voice degrees from Cincinnati College-Conservatory of Music and a summa cum laude BM/BA in Voice and English from the University of Michigan. She spent two seasons each as an Apprentice artist with Chautauqua Opera, Santa Fe Opera and Pittsburgh Opera; was a fellow at both the Ravinia Festival Steans Institute and Tanglewood Music Center; and studied at the Accademia Musicale Chigiana in Siena and Istituto il David in Florence. www.deborahselig.com
Bachelor of Science in Music Education from the University of Connecticut. She has been a young artist with Opera North, Connecticut Opera, and AIMS in Graz, and has been an award winner in competitions with The Metropolitan Opera National Council, Sullivan Foundation, Connecticut Opera Guild, Palm Beach Opera, and Opera Theater of Connecticut
Ms. Ziegler teaches voice at the University of Connecticut and also maintains a private studio. Her students have performed with various opera companies and symphonies around the U.S. and internationally including Opera Theater of Pittsburgh, Opera Theater of Connecticut, Opera in the Ozarks, New Haven Symphony, Eastern CT Symphony, Skidmore Symphony, and the AIMS Festival Orchestra. Alumni from Ms. Ziegler’s studio continued their education with scholarships at renowned conservatories and universities such as The New England Conservatory, Eastman School of Music, Oberlin Conservatory, University of Maryland, Ithaca Conservatory, and the University of Minnesota. Ms. Ziegler was a 2012 NATS Teaching Intern with George Shirley. She currently resides in Storrs, CT with her husband, Steffen, and three sons, Samuel, Jacob, and Timothy.
Meredith Ziegler, Mezzo-Soprano
Praised for her “stunning voice” and “delightful portrayals”, Meredith Ziegler has impressed critics and audiences alike with her warm lyric mezzo-soprano voice and her engaging characterizations. Ms. Ziegler's leading operatic roles include Rosina in Il Barbiere di Siviglia (Opera Company of Middlebury, Opera Theater of Conecticut), Dorabella in Cosi fan tutte (Granite State Opera, Cape Cod Opera), Dido in Dido & Aeneas (Connecticut Lyric Opera), Dinah in Trouble in Tahiti (Connecticut Concert Opera), Hänsel in Hänsel & Gretel (Opera Theater of Connecticut), and Meg Page in Falstaff (Opera North). As a Resident Artist with Connecticut Opera, Ms. Ziegler performed the roles of Mercedes in Carmen, Zulma in L'Italiana in Algeri, and Inez in Il Trovatore.
Internationally, Ms. Ziegler’s work has taken her to Graz, Austria where, she was a soloist with the AIMS Festival Orchestra for performances of Bernstein’s Arias & Barcarolles. Closer to home she appeared as a soloist in Rutter's Magnificat and Handel's Messiah with the Falmouth Chorale, Berlioz’s Les Nuits d’été with the Holyoke Civic Symphony, and Haydn’s Lord Nelson Mass the New Haven Oratorio Choir. Additionally, Ms. Ziegler was a member of the Metropolitan Opera Extra Chorus.
Ms. Ziegler holds a Master of Music in voice from the University of Connecticut, as well as a Bachelor of Arts in Music and a
Gregory Zavracky, tenor
Praised for his fine musicality, “glowing intensity,” and “clarion tone,” Gregory Zavracky maintains an active performance schedule on concert and opera stages alike. Recent engagements include the Officer in The Barber of Seville with Boston Lyric Opera, Count Almaviva in The Barber of Seville with Townsend Opera, Tamino in Boston Lyric Opera’s family production of The Magic Flute, Gherardo in Gianni Schicchi and Buoso’s Ghost with Lake George Opera, Ferrando in Così Fan Tutte and Camille in The Merry Widow with Cape Cod Opera, Ernesto in Don Pasquale with Opera in the Heights in Houston, Lechmere in Owen Wingrave with Boston University Opera Institute, Don Ottavio in Don Giovanni with Metrowest Opera, Face on the Barroom Floor with Charleston Chamber Opera, Don Ramiro in La Cenerentola with Capitol Heights Lyric Opera, and Prince Dauntless in Once Upon a Mattress and Schmidt in Werther with Chautauqua Opera, where he also covered Nemorino in the Elixir of Love.
Gregory has recently sung in the world premieres of Matthew Aucoin's Crossing with the American Repertory Theater, the Five Borough Songbook with Five Boroughs Music Festival, David Wolfson's Faith Operas with Hartford Opera Theater, Steven Sametz's A Child's Requiem with the University of Connecticut
Saturday March 16, 2019 4PM
Sunday March 17, 2019 3PM
Simon Center for the Arts,
Falmouth Academy, Falmouth
Far Cry for Bernstein’s Benediction (from Concerto for Orchestra). He also returns to Odyssey Opera for Gounod’s La Reine de Saba, he performs Rachmaninoff’s The Bells with the New England Philharmonic, he presents the Defiant Requiem Foundation’s Hours of Freedom in New York City’s Zankel Hall, and he reprises Bernstein’s Arias and Barcarolles with mezzo-soprano Sandra Piques Eddy. Highlights from the 2017-18 season included three appearances with the Boston Symphony Orchestra: The Damnation of Faust, Tristan und Isolde, and Schumann’s Neujahrslied (the latter two under music director Andris Nelsons); Schoenberg’s Ode to Napoleon with the Boston Chamber Music Society; and Creon and the Messenger in Stravinsky’s Oedipus Rex with Emmanuel Music. An exceptionally versatile artist, Mr. Kravitz’s repertoire ranges from Bach to Verdi to Sondheim to cutting-edge contemporary composers such as Matthew Aucoin, Mohammed Fairouz, Paul Moravec, and Elena Ruehr. Mr. Kravitz has recorded for the Naxos, BIS, Sono Luminus, Koch International Classics, BMOP/sound, Albany Records, and New World labels. His distinguished legal career has included clerkships with the Hon. Sandra Day O'Connor and the Hon. Stephen Breyer.
David Kravitz, baritone
Hailed as “a charismatic baritone” by the New York Times, “magnificently stentorian and resonant” by Opera News, and “a first-rate actor” by Opera (UK), David Kravitz’s recent opera engagements include lead roles at Washington National Opera (Davis Miller in the world premiere of Approaching Ali), Chautauqua Opera (Captain Balstrode in Peter Grimes), Skylight Music Theatre (Scarpia in Tosca), Opera Santa Barbara (The Forester in The Cunning Little Vixen), Grand Harmonie (Don Pizarro in Fidelio), Opera Saratoga (Don Magnifico in La Cenerentola), Charlottesville (Ash Lawn) Opera (Tevye in Fiddler on the Roof), Boston Lyric Opera (Abraham in Clemency), Emmanuel Music (Nick Shadow in The Rake’s Progress and Nick Carraway in The Great Gatsby), and the New England Philharmonic (Wozzeck in Wozzeck). He created the lead role of De Sade in Nicola Moro’s Love Hurts at the Piccolo Teatro in Milan, Italy, and at Symphony Space in New York. His many concert appearances include the Boston Symphony Orchestra, the Philadelphia Orchestra, the Baltimore Symphony, the Virginia Symphony, the Santa Fe Chamber Music Festival, Emmanuel Music, Boston Modern Orchestra Project, and Boston Baroque. The 2018-19 season brings debuts with two orchestras: the Jacksonville Symphony for Leporello in Don Giovanni, and A
Soprano Deborah Selig’s voice has been described by the press as “radiant,” “beautifully rich,” “capable of any emotional nuance,” and “impressively nimble.” Ms. Selig performs repertoire spanning music from the baroque to contemporary in opera, oratorio and art song across the United States. Ms. Selig also is passionate about teaching and mentoring the next generation of singers, currently serving on the voice faculties of Wellesley College, Brown University, and the summer Boston University Tanglewood Institute.
Ms. Selig’s 2018-19 season includes Beethoven’s 9th Symphony with conductor JoAnn Falletta and Buffalo Philharmonic; Brahms’ Liebeslieder Waltzes benefitting “Music for Food” with pianists Cameron Stowe and
With Soloists and Orchestra
Orchestra, Ketty Nez’s The Fiddler and the Old Woman of Rumelia with the Xanthos Ensemble and James Yannatos’ Rocket’s Red Blare with Intermezzo Opera, and Three American Songs by Anthony DeRitis (soon to be released on CD).
A Gerda Lissner Foundation Encouragement Award recipient, a Liederkranz Competition finalist in the art song divison, and a finalist in the Connecticut Opera Guild Competition, Gregory’s concert experience includes opera and pops concerts with both the Chautauqua and Utah Symphony, Handel’s Messiah with the Rhode Island Philharmonic, Haydn’s Lord Nelson Mass and Mozart’s Vespers with the Providence Singers, Schubert’s Mass in G with Coro Allegro; Britten’s Les Illuminations with the Aurea Ensemble; the Bach Magnificat and Cantata 191 with Back Bay Chorale, Janácek’s Otcenás and Respighi’s Lauda per la Natività with Chorus Pro Musica, Carmina Burana with Masterworks Chorale; Mendelssohn’s Elijah and Haydn’s Creation with Nashoba Valley Chorale; Mozart’s Mass in C minor with Quincy Choral Society, and Bach’s B Minor Mass with the Connecticut Virtuosi.
As a composer, Gregory's works include several song cycles, three operas, and a number of choral and chamber works. A two-time finalist for the NATS Art Song Award for his song cycles Slabs of the Sunburnt West and Sea Garden, recent performances of his works have been heard at Virginia Tech, Smith College, the Music at Norway Pond, the Cosmos Club in DC, Calliope’s Call recital series, the Cotuit Center for the Arts, and Boston University. In 2011, his madrigal, Sighs are my food, won first place in the Cambridge Chamber Singers composition competition.
Gregory currently teaches voice at the University of Connecticut, Brown University, and Boston University Tanglewood Institute. He received his Doctorate of Musical Arts from Boston University. Previous degrees include a Bachelor of Arts in music from Emory University, followed by two Master of Music degrees from New England Conservatory in voice performance and opera studies as a student of Edward Zambara. His recent article, "A Guide to Libby Larsen's My Ántonia," was published in the March/April 2018 Journal of Singing.