Press

L2 Artists welcomes four new artists for worldwide management

L2 Artists is proud to welcome four new artists to their growing roster of international artists.

Soprano Diana Newman is a graduate of the Ryan Opera Center. This season she returns to the Lyric Opera of Chicago for their production of Siegfried, sings Carmina Burana with the Rochester Philharmonic, and makes her Alabama Symphony debut in performances of Beethoven’s Symphony No. 9.

Baritone Alexander Birch Elliott recently jumped onto the international scene, replacing an ill colleague at The Metropolitan Opera as Zurga in Pearl Fishers, eventually taking over the entire run of performances. Further performances this season include Silvio in Pagliacci for Opera Omaha, and Belcore in L’elisir d’amore with Virginia Opera.

Soprano Rachel Sterrenberg is a graduate of the Curtis Institute of Music and a former Resident Artist with Opera Philadelphia. Most recently she made her debut with The Atlanta Opera as Chan Parker in Charlier Parker’s YARDBIRD, a role she created at Opera Philadelphia with further performances at Lyric Opera of Chicago, English National Opera, and Madison Opera.

Tenor Jonathan Burton is heard around the world in the most demanding tenor repertoire. He is regularly heard as Canio in Pagliacci, Cavaradossi in Tosca, Calaf in Turandot, Manrico in Il trovatore, and Dick Johnson in La fanciulla del West. This seasons he appears with Lyric Opera of Chicago, Opera Omaha, Sarasota Opera, Knoxville Opera, and in various concerts throughout the United States.

Ben Makino receives critical acclaim for Frank Martin’s “Love Potion”

“Ultimately, the glory of “The Love Potion” is Martin’s magnificent score, which Benjamin Makino conducted meticulously. Makino, consistently sensitive to the work’s exquisite timing and placement of dynamics and color, made the most of the composer’s subtle chamber orchestra textures.” – Rick Schultz, Los Angeles Times

“With subtle but informative gestures, Makino led his players in sensible tempi and added pathos to the performance of this music written in a style that showed the influences of both Claude Debussy and Arnold Schoenberg. Although much of the orchestral music worked its magic in a subdued manner, this conductor partnered with the singers as they dramatized their parts on stage.” – Maria Nockin, Operawire

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