Deborah Colker trained in classical piano and volleyball before dance. In 1979, she joined the contemporary dance group Coringa in Rio de Janeiro. These years forged her interest in working with professionals from different backgrounds and creating dance that synthesizes art and everyday life.     In 1984, she began specializing in devising movement for scenic and visual arts. She worked on over forty plays including A Midsummer Night's Dream, directed by Werner Herzog.   Deborah’s work resists homogeneity and embraces diversity. When founding the Companhia de Dança Deborah Colker in1994, she gathered a troupe of two classical dancers, three contemporary dancers, a break-dance champion, an Olympic gymnast, a model, and an actress. The company won the 2001 Olivier Award for Outstanding Achievement in Dance and has performed across four different continents.     Deborah became the first woman to create and direct a show for Cirque du Soleil with Ovo (2009). She was the movement director of the 2016 Olympics Opening Ceremony, commanding over 3000 people. Deborah won the 2018 Prix Benois de la Danse for Cão Sem Plumas. Her newest work, Cura, is currently touring Brazil.     

Paolo Bortolameolli is Music Director of the Orquesta Sinfónica Nacional Esperanza Azteca (México) and Principal Guest Conductor of Filarmónica de Santiago (Chile). Having conducted every significant orchestra in his Chilean homeland, Paolo has regular conducting relationships across Latin and North America, Europe and Asia.  His recent activity has included return engagements in Poland with the Polish National Radio Symphony Orchestra, in Italy with the Orchestra Haydn, in Venezuela with the Orquesta Sinfónica Simón Bolivar and in the United States with the San Francisco Symphony, Kansas City Symphony, Charlotte Symphony and the Los Angeles Philharmonic.  Paolo’s relationship with the LA Philharmonic continues through 2022, where he will conduct concerts at the Hollywood Bowl. Having conducted subscription concerts every season since his arrival in LA, past notable performances include a landmark new production of Meredith Monk’s inventive opera, ATLAS, performed at Walt Disney Concert Hall in Los Angeles in 2019.  Paolo brings his insatiable artistic curiosity to his varied operatic work. Upcoming projects include appearances at the Opera de Paris for performances of “Tosca”, at the Gran Teatre del Liceu for “Die Zauberflöte”, as well as in Chile for concerts with the Filarmónica de Santiago of Mahler’s Symphony No. 2. He will also make his debut with Detroit Opera in Golijov’s “Ainadamar”.  Paolo is passionately committed to new music and audiences. Recent new commissions include the world premiere of Miguel Farías’s Estallido with the Los Angeles Philharmonic, which was dedicated to Paolo. He is currently Artistic Director of the Esperanza Azteca National Symphony Orchestra as part of an educational residency run by the Fundación Azteca de Grupo Salinas in Mexico. Paolo has also developed innovative projects such as “Ponle Pausa”, a project that seeks to rethink the concept of music education through the implementation of short videos and concerts targeting social network users.    In 2018, he was a guest-lecturer for a TED Talk in New York and in 2020, he released his first book: RUBATO Procesos musicales y una playlist personal.  Paolo holds a Master of Music degree (Yale School of Music, 2013), a Graduate Performance Diploma (Peabody Institute, 2015), a Piano Performance Diploma (Universidad Católica de Chile, 2006), and a Conducting Diploma (Universidad de Chile, 2011). 

With a voice described as “lusciously-colored” by Opera News and chosen as one of WQXR’s ’20 for 20’ Artists to Watch, soprano Gabriella Reyes is a rising star on the operatic stage. A former member of the Lindemann Young Artist Development Program at the Metropolitan Opera, Gabriella returns to the Met in the 2021/22 season as both Liu Turandot and Musetta La Boheme. She also makes her Paris Opera debut, appearing as Cio-Cio San Seven Deaths of Maria Callas before debuting with the Lyric Opera of Chicago as Rosalba Florencia en los Amazonas, and with Glyndebourne this summer for her role debut as Mimi La bohème. In concert. she appears with the Los Angeles Philharmonic as Marzelline Fidelio and Musetta with the Jacksonville Symphony. Highlights of previous seasons include the roles of Liù Turandot, First Lady The Magic Flute, Nella Gianna Schicchi and the High Priestess Aida for the Metropolitan Opera, the latter of which was described as “hair-raising” by the New York Classical Review. Gabriella also made her highly acclaimed Santa Fe Opera debut in the summer of 2019 as Musetta La bohème. In concert, previous seasons also include appearances in Die Zauberflöte (excerpts) and Bachianas Brasileiras with the Los Angeles Philharmonic, led by Gustavo Dudamel, alongside appearances as a soloist with the New York Choral Society, and the New Haven Symphony Orchestra in Beethoven’s Symphony No. 9. She also appeared with the Montclair Orchestra and David Chan in Behzad Ranjbaran’s Songs of Eternity and with the New Jersey Symphony Orchestra in a programme of Mozart. In the 2022/23 season, Gabriella will return to The Metropolitan Opera to perform as Rosalba Florencia en los Amazonas before making her Dresden Semperoper debut as Musetta La bohème. Further to this, she will appear with the San Francisco Symphony for a series of Beethoven’s Symphony No. 9. Concerts before making debuts with Detroit Opera as Margarita Xirgu Ainadamar, and with Washington National Opera as Mimi La Boheme. A 2019 Lincoln Center Emerging Artist (Metropolitan Opera), she was a recipient of a Sara Tucker Study Grant from the Richard Tucker Foundation in 2018 and was also a grand finalist in the 2017 Metropolitan Opera National Council Auditions. She is a graduate of the Boston Conservatory.

Colombian-American soprano Vanessa Vasquez, winner of the 2017 Metropolitan Opera National Council Auditions, recently completed a four-year residency at the prestigious Academy of Vocal Arts in Philadelphia, where she has been heard as Mimì in La bohème, Gilda in Rigoletto, Donna Anna in Don Giovanni, and Violetta in La traviata. This season Ms. Vasquez makes her debut at the Paris Opera singing Liu in Turandot. She also performs for the first time at Seattle Opera as Mimi in La bohème. She returns to The Santa Fe Opera to sing the Countess in a new production of Le Nozze di Figaro. Her additional return engagements include Washington National Opera and Arizona Opera to sing her first performances of Micaëla in Carmen. In the 2019-2020 season, Vanesa Vasquez made her debut with the Canadian Opera Company in the role of Liù in Turandot, and with Washington National Opera singing her first performances of Donna Anna in Don Giovanni. Previously, she debuted with Arizona Opera as Violetta in La traviata, and with The Santa Fe Opera and Opera Philadelphia, both as Mimi in La bohème. She made her professional opera debut in summer 2017 as Liù in Turandot with Des Moines Metro Opera. With Oberlin in Italy, she performed Countess Almaviva in Le nozze di Figaro. On the concert stage, she debuted with the Philadelphia Orchestra in J.S. Bach’s cantata Nach dir, Herr, verlanget mich and with the New York Choral Society in Haydn’s Lord Nelson Mass. She made her debut with the New York Philharmonic as soprano soloist in Beethoven’s Choral Fantasy, and she was soprano soloist in Honneger’s King David and Poulenc’s Gloria with Voices of Ascension. She was a featured soloist with the Philadelphia Orchestra under Yannick Nézet-Séguin in the Academy of Music 160th Anniversary Concert and Ball.

Daniela Mack delivers a fiery Rosina in a punchy, vibrant mezzo that’s deeply satisfying. —The Times

Mezzo-soprano Daniela Mack has been acclaimed for her “caramel timbre, flickering vibrato, and crisp articulation” (Opernwelt) as she “hurls fast notes like a Teresa Berganza or a Frederica von Stade” (San Francisco Chronicle). Recently Daniela created the role of Elizabeth Cree in the world premiere of Kevin Puts and Mark Campbell’s Elizabeth Cree at Opera Philadelphia and returned for Carmen. She returned to the Washington National Opera as Bradamante in Alcina, and debuted at the Seattle Opera as Berlioz’s Béatrice in Béatrice et Bénédict.