Vanessa Becerra

Vanessa Becerra

Vanessa Becerra, soprano

Vanessa Becerra
Vanessa Becerra

Emerging soprano Vanessa Becerra has received acclaim for her “opulent” and “silvery” voice, and for her dynamic stage presence. A graduate of LA Opera’s Domingo-Colburn-Stein Young Artist Program, her performances during her tenure included Papagena in Die Zauberflöte, Barbarina in Le nozze di Figaro, and Annina in La traviata. She was also featured as Gossip 2 in the Grammy-nominated recording of The Ghosts of Versailles. A native of Fort Worth, Texas, Ms. Becerra made her professional debut with Fort Worth Opera in 2014, in the highly acclaimed production of With Blood With Ink for which she was praised for her “passionate theatrical intensity” (Wall Street Journal) and her “irresistible characterization” (Opera News).

Summer 2018 began an exciting series of performances as Maria in Francesca Zambello’s modern retelling of Leonard Bernstein’s iconic West Side Story. She debuted the role at the opening of the 2018 Glimmerglass Festival which is followed by her Lyric Opera of Kansas City debut and lastly at Atlanta Opera. In the fall she joins the roster of the Metropolitan Opera covering Papagena as well as Brigitte in Tchaikovsky’s Iolanta, followed by her return to Opera Omaha to portray Elisabeth in Philip Glass’s Les Enfants Terribles directed by James Darrah.

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The 2017-18 season brought several debuts for Ms. Becerra beginning with LA Phil’s concert of excerpts from The Magic Flute conducted by Gustavo Dudamel where she sang the role of Papagena. Shortly thereafter she debuted the role of Sophie in Werther with Baltimore Concert Opera and Opera Delaware, and finished the winter season returning to Opera San Jose where she sang the title role in Alma Deutscher’s Cinderella under the baton of Jane Glover for which OperaWire stated, “Soprano Vanessa Becerra sings Cinderella with vivacious, ardent and luminous voice, coasting through the various musical moods the young composer has set for her with ‘elan’ and great warmth.” She began the spring with her San Francisco Symphony debut singing “a charismatic, eloquent Paquette” (San Francisco Chronicle) in Candide with Michael Tilson Thomas at the baton, followed by debuts with the Dallas Opera Orchestra in a program of Donizetti favorites, Lyric Opera of Chicago as Miss Lightfoot in Fellow Travelers, Opera Omaha as Glauce in Medea, and lastly with Atlanta Opera as Johanna in Sweeney Todd.

The 2016-2017 season held debuts for Ms. Becerra with the San Antonio Symphony where she sang the soprano solos in Handel’s Messiah, North Carolina Opera in Patrick Morganelli’s Hercules vs. Vampires, and Opera San Jose where she “made her company debut as an opulent-voiced Musetta” in their production of La bohème.

Ms. Becerra enjoys a long relationship with The Glimmerglass Festival where she was a member of the famed young artist program. In the summer of 2015 she covered Pamina in The Magic Flute and returned as a young artist the following summer to portray Musetta where she was described as a “scene-stealing minx with a glorious soprano voice.” Other training programs for Ms. Becerra include the Apprentice Program at Des Moines Metro Opera (2014) and Wolf Trap Opera’s Studio Artist Program (2013). Ms. Becerra also studied at the Seagle Music Colony where she performed the roles of Zerlina in Don Giovanni and Johanna in Sweeney Todd.

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Monica Dewey

Monica Dewey

Monica Dewey, soprano

Beth Lytwynec

Praised by the American Prize for having “a superb, rich instrument that is capable of such a range of colors” and “a flexible voice that has great professional potential”, Monica Dewey is a young soprano entering the professional operatic and voice scene.

Monica began the 2017/18 season with her debut at San Francisco Opera singing Pousette in Manon. Monica continued the season with a debut at Michigan Opera Theatre where she sang Alice B. Toklas in Ricky Ian Gordon’s 27. As the soprano studio artist at Michigan Opera Theatre, Monica worked alongside Ricky Ian Gordon to prepare the production.

In the summer of 2017, Monica made her professional debut as Servilia in La clemenza di tito with Opera Theatre of Saint Louis. She was also featured in a scenes concert as Marie in La fille du regiment and Cunegonde in Candide. Monica returns to Opera Theatre of Saint Louis this summer to sing Alexandra Giddens in Marc Blitzstein’s Regina and again in 2019 as Susanna in The Marriage of Figaro.

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In September of 2016, Monica gave her final performance as a student at Indiana University in the title role of La fille du regiment. Under the baton of Marzio Conti, Monica was deemed “quite perfect as Marie” by Indiana Public Media and “electric” by Peter Jacobi at the Herald Times.

As a student at Indiana University, she performed Rosina in Il barbiere di Siviglia and Morgana in Alcina. She also appeared as Dalinda in Ariodante with the Chautauqua Voice Institute and Pamina in Die Zauberfloete with Lyric Opera Studio Weimar.

Monica was most recently awarded first place at the Gulf Coast region of the Metropolitan Opera National Council Auditions, advancing to the Semi-Finals in New York City. In addition, Monica has received awards from The Sullivan Foundation, The American Prize, and the Arleen Auger Memorial Scholarship. In 2017, she was awarded first prize in the 10th International Hilde Zadek Voice Competition at the Musikverein in Vienna. In addition to the first prize award, Monica received the Special Prize of Sponsors and Donors, Special Prize of the Media Jury, and a future engagement in a leading role with Oper Köln in Cologne, Germany.

Monica received her Master of Music degree from Indiana University’s acclaimed Jacobs School of Music. Prior to her studies at IU, Monica obtained a dual bachelors degree in Music and Arts Administration from the University of Kentucky.​

Monica has been a young artist with Opera Theatre of Saint Louis (2016, 2017), Chautauqua Voice Institute (2014, 2015), Lyric Opera Studio Weimar (2013), and Harrower Opera Workshop (2012, 2013). Monica has studied voice with Patricia Stiles, Carol Vaness, Everett McCorvey, Marlena Malas, and Elizabeth Colson. She has coached with Gary Arvin, Arthur Fagen, Kevin Murphy, Heidi Grant Murphy, and Eiddwen Harrhy, in addition to the many wonderful faculty members listed in the programs above.

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Jacqueline Echols

Jacqueline Echols

Jacqueline Echols, soprano

Beth Lytwynec

Lyric soprano Jacqueline Echols has been praised for her “dynamic range and vocal acrobatics” (Classical Voice) in theaters across the United States. Ms. Echols’ 2018/19 season begins with her return to the Kennedy Center in the title role of Verdi’s La Traviata for a new production by Washington National Opera, directed by Francesca Zambello. She reprises the role later in the season in her debut with Palm Beach Opera. Following her debut with the Ann Arbor Symphony Orchestra for their 2017 season opening gala concert, she returns to the orchestra for her first performances of Beethoven’s Symphony No. 9 in April. Also on the concert stage, she makes her debut in December with the Memphis Symphony for performances of Messiah. A frequent performer of both standard and contemporary repertoire, Echols debuted the role of Helen in the world premiere performances of The Summer King at the Pittsburgh Opera in 2017, and reprised the role in her hometown of Detroit with Michigan Opera Theater in 2018. She has performed the role of Pip in Heggie’s Moby Dick with the Los Angeles, Dallas, and Pittsburgh Operas, as well as the role of Sister Helen in the composer’s Dead Man Walking with Washington National Opera.

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Recent seasons have seen Ms. Echols with North Carolina Opera as Gilda in Rigoletto, the title role in La Traviata, and Musetta in La bohème, as well as with the Glimmerglass Festival as Pamina in Die Zauberflöte, Giulietta in King for a Day, and Echo in Ariadne auf Naxos. She reprised the role of Musetta in 2017 in concert with the Rochester Philharmonic Orchestra, conducted by Music Director Ward Stare. A graduate of Washington National Opera’s Domingo-Cafritz Young Artist Program, she was seen in previous seasons at the Kennedy Center as Micaëla in Carmen, the Unicorn in the world premiere of Jeanine Tesori’s The Lion, the Unicorn, and Me, Clorinda in La Cenerentola, and Woglinde and Forest Bird in Wagner’s full Ring Cycle conducted by Music Director Philippe Auguin. She made her debut with the Tanglewood Festival reprising the role of Woglinde in Das Rheingold, conducted by Andris Nelsons.

Additional appearances include Cincinnati Opera as Countess Ceprano in Rigoletto, First Lady in The Magic Flute, and Clara in Porgy and Bess; Micaela in Carmen with Eugene Opera; and New York Harlem Productions as both Clara and Bess in Porgy and Bess, for which she was featured in the documentary Porgy and Me which premiered in Germany in January 2010.

Ms. Echols is a 2012 second prize winner at the Gerda Lissner International Vocal Competition. She completed her master’s degree and artist diploma at the University of Cincinnati College-Conservatory of Music (CCM), where she appeared as the Female Chorus in The Rape of Lucretia, the Countess in The Marriage of Figaro, Anne Truelove in The Rake’s Progress, and Pamina in The Magic Flute.

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Pureum Jo

Pureum Jo

Pureum Jo, soprano

Pureum Jo
Pureum Jo

Her tone and presence described as “riveting,” “mesmerizing,” and “ravishing” by Opera News, the New York Times, and Time Out New York, soprano Pureum Jo is an alumna of Houston Grand Opera’s Studio Program, where she captivated audiences as Pamina and Papagena in Die Zauberflote, and Barbarina in Le nozze di Figaro. Equally at home in contemporary music, Ms. Jo appeared with the company as the Rose in Rachel Portman and Nicholas Wright’s The Little Prince, Becca in the world premiere of Gregory Spears and Royce Vavrek’s O Columbia, and as Miss Frayne in the latest world premiere by the legendary Carlisle Floyd, Prince of Players. In the current season, Ms. Jo returns to Houston Grand Opera as Musetta in La bohéme and will be heard in the world premiere of Beauty and Sadness, an opera by Elena Langer based on the final novel of Nobel Prize winner Yasunari Kawabata.

Recent engagements include her first season with The Glyndebourne Festival for the their production of Giulio Cesare; joining the roster of Lyric Opera of Chicago for Orphée & Eurydice; and her San Francisco Opera debut as Dai Yu in the world premiere of Bright Sheng’s Dream of the Red Chamber.  Additionally, she returned to the Sarasota Orchestra for an evening of Mozart concert arias with Music Director Anu Tali, sang Micaëla in Carmen with Boston Youth Symphony Orchestra, and made her role debut as Susanna in Le nozze di Figaro with Opera Naples and Music Director Ramon Tebar.

In the 2016-2017 season, Ms. Jo made her San Francisco Opera debut in the company’s latest commission as Dai Yu in the world premiere of Bright Sheng’s Dream of the Red Chamber, which also traveled to the Hong Kong Music Festival in the Spring. Additional performances included her fourth appearance with New York City’s Voices of Ascension in performance of Mozart’s Esultate Jubilate and Haydn’s Lord Nelson Mass, her debut with Sarasota Orchesta in performances of Mozart’s Requiem, and as Pamina with Opera Naples under the baton of Music Director Ramon Tebar.

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In the 2017-2018 season, Ms. Jo joins Lyric Opera of Chicago for the first time in their production of Orphée & Eurydice. She also returns to the Sarasota Orchestra for an evening of Mozart concert arias with Music Director Anu Tali, returns to Opera Naples for her role debut as Susanna in Le nozze di Figaro, and sings Micaëla in Carmen with Boston Youth Symphony Orchestra. Additionally, she will be heard in recital in San Antonio, TX with baritone Michael Sumuel.

Ms. Jo appeared in the title role in Toshio Hosokawa’s Matsukaze with the Lincoln Center Festival and the Spoleto Festival U.S.A., a performance for which Opera News wrote, “You could take neither your eyes nor your ears off her.” She recently sang with the Baltimore Symphony Orchestra as Zerlina in Don Giovanni, and made her San Francisco Symphony debut in their 16th annual Chinese New Year Concert. She has performed regularly at the Aspen Music Festival as Juliette in Roméo et Juliette, Micaëla in Carmen, the High Priestess in Aida, and most recently as Musetta in La bohème. Other roles include Blanche in Dialogues des Carmélites, Fraarte in Radamisto, and Sandrina in La finta giardiniera.

An accomplished concert soloist and recitalist, Ms. Jo has appeared in recital with Houston Grand Opera, Alice Tully Hall, and the Aspen Music Festival. She sang in “A Concert of Comic Operas,” co-presented by The Metropolitan Opera and the Juilliard School and conducted by James Levine, and was the soprano soloist in Mozart’s Requiem Mass and Coronation Mass, Haydn’s Mass in Time of War, and in a concert of Mozart and Mendelssohn oratorio arias with New York City’s Voices of Ascension. Additionally, she has performed at Carnegie Hall in Marilyn Horne’s The Song Continues. Originally from South Korea, Ms. Jo holds two degrees from the Juilliard School.

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© L2 Artists 2018 Designed by Audrey Saccone / Copy by Patrick Kirkland

Toni Marie Palmertree

Toni Marie Palmertree

Toni Marie Palmertree, soprano

Beth Lytwynec

Toni Marie Palmertree is currently a second-year member of the prestigious Adler Fellowship Program at San Francisco Opera. During her time in the program, she has been heard as Barena in Jenufa, Voice of Heaven in Don Carlo, and High Priestess in Aida. Additional assignments include covering Elisabetta in Don Carlo, Violetta in La traviata, and the title role in Madama Butterfly. In November of 2016, Ms. Palmertree was called to step onto the War Memorial stage as Cio-Cio San on three hours’ notice. Of her performance, Janos Gereben from San Francisco Classical Voice wrote: “The young soprano not only met the challenge, but she claimed her place among the finest vocal interpreters of the role heard here recently.” During the coming season, Ms. Palmertree will return to the San Francisco stage as Liu for six performances of Turandot.

Other recent performances include Giorgetta in Il tabarro and the title role in Suor Angelica for West Bay Opera’s production of Puccini’s Il trittico, and a recital performance with pianist Ronny Michael Greenberg in Berkeley, CA. A 2015 participant of the Merola Opera Program, Ms. Palmertree is also a recent recipient of the The Richard F. Gold Career Grant by the Shoshana Foundation. She is proud to hold many awards including winner of The Metropolitan Opera National Council District Awards, finalist in The International Moniuszko Voice Competion, and The Classical Singer Voice competition.  Further awards include First place in the Long Leaf Opera of North Carolina voice competition, The Kennett Square Symphony Voice Competition, and The Marcella Sembrich competition.  She was awarded third place in the National Opera Association Voice Competition, the James Parkinson Opera Competition and was second place winner of the Sylvia Green Voice Competition.

'Tu, tu piccolo iddio'

by Giacomo Puccini | Excerpt from "Madama Butterfly"

L2 Artists, LLC

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L2 Artists, LLC

+1 (212) 419-2986

106 West 32nd Street
Floor 2
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© L2 Artists 2018 Designed by Audrey Saccone / Copy by Patrick Kirkland