Jūratė Švedaitė , soprano
Possessing a vocal artistry and stage presence capable of “transfixing audiences with moments of opera magic,” Lithuanian soprano, Jūratė Švedaitė, has performed throughout Europe and the United States with the Lithuanian National Chamber Orchestra, Connecticut Lyric Opera, Eastern Connecticut Symphony Orchestra, Connecticut Virtuosi Chamber Orchestra, Kaunas (Lithuania) Chamber Orchestra, Classical Orchestra of Piła (Poland) and the Lithuanian National Ensemble “Lietuva” among others.
Ms. Švedaitė has appeared in venues as varied as Carnegie Hall, the Lithuanian National Opera and Ballet Theatre and Foxwood’s Resort and Casino.
On the operatic stage, Ms. Švedaitė has performed more than 20 leading roles including Cio-Cio San in Madama Butterfly, the diva Tosca, Violetta in La Traviata, Mimi in La Bohème, Contessa in Le Nozze di Figaro, Donna Anna in Don Giovanni, Desdemona in Otello, Senta in Die Fliegende Hollander, Marguerite in Faust and Micaela in Carmen.
An active performer of sacred works and oratorios as well, her credits include Bach’s Mass in B minor, Mozart’s Requiem, Brahm’s Ein Deutsches Requiem, Verdi’s Requiem and Orff’s Carmina Burana.
The granddaughter of one of Lithuania’s most revered composers and arrangers of traditional music, Jonas Švedas, Ms. Švedaitė attended the Lithuanian Music Academy where she earned Bachelor and Master Degrees in Opera Performance and Vocal Instruction.
Ms. Švedaitė resides in Southeastern Connecticut where she is an Associate Professor at Connecticut College.
Cybil Jones-Juárez, mezzo-soprano
Originally from North Dakota, Cybil Jones-Juarez earned a Bachelor’s Degree in Vocal Performance from the University of Northwestern in Saint Paul, MN.
She appeared in the premier of Libby Larsen’s opera Barnum’s Bird at the Library of Congress in Washington, D.C. with VocalEssence, founded as the Plymouth Music Series, with whom she sang for two seasons as a member of their professional choir, the “Ensemble Singers”. Cybil has also appeared as a soloist with the Connecticut Chamber Orchestra in J. S. Bach’s cantata Gott der Herr, ist Sonn und Schild. Other concert appearances include Handel’s Messiah, Haydn’s Lord Nelson Mass and Mozart’s Requiem.
Cybil maintains an active voice and piano teaching schedule and is currently on the faculty of the Neighborhood Music School in New Haven. She is also the pianist at BE Free Church.
Daniel Juarez, tenor
Tenor Daniel Juárez is well-known to New England opera audiences, having appeared in the past several seasons with Opera Theater of Connecticut, Connecticut Lyric Opera, MetroWest Opera, Western Connecticut State University Opera Studio, and in various recital and concert venues throughout the region. His recent operatic credits include Radames in Verdi’s Aida, Canio in Leoncavallo’s I Pagliacci, Cavaradossi in Tosca, Don José in Bizet’s Carmen, the title role in Gounod’s Faust, Rodolfo in Puccini’s La Bohème, The Italian Singer in Strauss’ Der Rosenkavalier, Pinkerton in Puccini’s Madama Butterfly, and Erik in Wagner’s The Flying Dutchman. In May 2019 Daniel made a role debut as Verdi’s Don Carlo with Connecticut Lyric Opera.
Daniel has also been featured as the tenor soloist in a number of oratorio and concert performances, including Handel’s Messiah, Mozart’s Requiem and Vesperae Solennes de Confessore, J.S. Bach’s Magnificat, Ariel Ramirez’ Misa Criolla, Heinrich Schütz’ Sieben Worte Jesu Christi am Kreuz, and Theodore Dubois’ Seven Last Words of Christ.
Daniel is a graduate of the Yale University School of Music, a former Minnesota Opera Studio Artist, and onetime finalist in the Southwest Region Metropolitan Opera National Council auditions. He makes his home in New Haven, CT with his wife and two sons.
Andrew Potter, bass
Andrew Potter has garnered increasing demand across the country for his larger than life stage presence and voice to match. Of his performance in L’elisir d’amore, Opera Today hailed, “With his huge, all‐encompassing bass voice and precise comic timing, he nearly stole the show.” This past summer, Potter performed the role of The Bonze in Madama Butterfly with St. Petersburg Opera, reprised the role of Hunding in Die Walküre with Pittsburgh Festival Opera, sang Vodnik in Rusalka with Steamboat Opera, and performed Escamillo in Carmen with Mid-Ohio Opera. Upcoming engagements include Prince Gremen in Eugene Onegin with Livermore Valley Opera, Poo-Bah in Mikado with Opera Grand Rapids, Sulpice in Daughter of the Regiment with Winter Opera St. Louis, and Il Commendatore in Don Giovanni with Indianapolis Opera.
Andrew has performed across the country demonstrating with proficiency the vocal power and sonority to sing such roles as Mephistopheles in Gounod’s Faust and Sarastro in Die Zauberflöte, the range and physicality to perform buffo roles like Don Bartolo in Il barbiere di Siviglia, Don Alfonso in Così fan tutte, Don Magnifico in Cenerentola; and the flexibility and agility to sing challenging Handelian roles including Zoroastro in Orlando, Ariodate in Serse, and Argante in Rinaldo.
With years of studying under renowned teachers such as Rick Christman, Braeden Harris, and Kenneth Shaw, Andrew became a standout in mainstage roles at several of the nation’s most prestigious Young Artist programs such as Des Moines Metro Opera, St. Petersburg Emerging Artist Program, and the Tyler Young Artist Program.
Having proven his vocal diversity on stage performing roles spanning from basso roles like Osmin in Die Entführung, to varying Bass-Baritone roles such as Escamillo in Bizet’s Carmen and Scarpia in Puccini’s Tosca; his is truly a vocal range granting incredibly rare versatility – making him stand out among the growing community of low voices.
Alexis Zingale began her piano studies at the age of four and presented her first solo recital program at age nine. Ms. Zingale has performed throughout the U.S. and Canada as soloist and collaborator, and is among the most actively sought-after collaborators in New England. Her repertoire includes hundreds of sonatas, concert pieces, art songs, and orchestral transcriptions. Ms. Zingale studied with Edward Auer, Russell Hirshfield, Patricia Lutnes and Leena Kareoja-Crothers, and she has had significant coaching with Vladimir Feltsman.
Her recent performance experiences vary from finalist at the Hugo Kauder International Music Competition for Piano and the Sorel Medallion in Collaborative Piano, accompanying entrants to the Naumberg International and Young Concert Artists International competitions, and to solo and collaborative performances on the University of Maryland New Music Maryland series, and numerous performances on Neighborhood Music Schools Bach’s Lunch and Faculty Fridays series. Notable venues for her performances include the Miller Theatre in New York City, Ed Landreth Hall at Texas Christian University, Kilbourn Hall at the Eastman School of Music, and Sprague Hall, Woolsey Hall and Battell Chapel in New Haven.
Ms. Zingale has performed as soloist and collaborator with the Wallingford Symphony Orchestra, the Hamden Symphony Orchestra, and the Brevard Music Center Festival Orchestra, and with the Brevard Music Center faculty chamber ensemble. Ms. Zingale has given international and local premieres of new works by young composers. She performed on reed organ with the New Haven Oratorio Choir, and on harpsichord with new music ensemble Alarm Will Sound. Ms. Zingale has recorded for Peer Music Classical and the Charles Ives Society, and her performances have been broadcast on Connecticut Public Radio.
She is currently a piano faculty member and staff accompanist at the Neighborhood Music School in New Haven, CT and a faculty member at the Suzuki Music School of Westport.