Faculty and Staff
Mr. Zeller made his Metropolitan Opera debut in 1989 and has appeared there for 11 seasons. In 2002–03, he appeared in lead roles in three new productions: Ernesto in Bellini’s Il Pirata with Renée Fleming and Marcello Giordani, Eddie in William Bolcom’s A View from the Bridge (based on the play by Arthur Miller), and Chorebe opposite Deborah Voigt and Ben Heppner in Berlioz’s Les Troyens, conducted by Maestro James Levine.
His other assignments at the Metropolitan Opera have included the title role in Verdi’s Macbeth, the title role in Tchaikovsky’s Eugene Onegin, Marcello in Puccini’s La Bohème, Barak in R. Strauss’ Die Frau ohne Schatten, Enrico in Lucia di Lammermoor, Don Carlo in Verdi’s Ernani, Rangoni and Schelkalov in Mussorgsky’s Boris Godunov in two different productions, Thoas in Gluck’s Iphigenie en Tauride, Kothner in Wagners’s Die Meistersinger, and Sprecher in Mozart’s The Magic Flute, as well as performances of Giordano’s Andrea Chénier, Gounod’s Faust, and his Met Opera debut as Count Ceprano in Verdi’s Rigoletto.
He has appeared in lead roles with the Chicago Lyric Opera, New York City Opera, Berlin Staatsoper, Hamburgische Staatsoper, Deutsche Opera am Rhein, English National Opera at the Barbican in London, the Edinburgh Festival, and Vienna Festival, as well as many other international and regional opera houses throughout the world, including the Philadelphia, Minnesota, Cincinnati, San Diego, Portland, New Orleans, and New Jersey opera companies.
Mr. Zeller was featured in 2001 in an Emmy-nominated nationwide TV broadcast of Live from Lincoln Center singing Mozart’s Requiem with the Mostly Mozart Festival, conducted by Gerard Schwarz.
Mr. Zeller has sung with nearly all of the major orchestras in the U.S., including the Philadelphia Orchestra, Chicago Symphony, Cleveland Orchestra, the Boston Symphony, and the National Symphony at Kennedy Center. Highlights of past seasons include appearances with the Boston Symphony Orchestra under the baton of James Levine in Berlioz’s Les Troyens and the title role in Mendelssohn’s Elijah with both the Chicago Symphony at Ravinia and in a nationwide radio broadcast over 500 stations with the Cleveland Orchestra.
His performances at New York’s Carnegie Hall include Orff’s Carmina Burana, Handel’s Messiah, Verdi’s Requiem, Mozart’s Requiem, Bloch’s Sacred Service, Catalani’s La Wally, Faure’s Requiem, and many others.
On the concert stage, he has performed with the Baltimore, Cincinnati, Dallas, Minnesota, San Francisco, Seattle, Detroit, St. Louis, Oregon, and St. Paul chamber orchestras; the Colorado, San Antonio, Nashville, Tulsa, Toledo, Buffalo, Columbus, Richmond, Tampa, Huntsville, Florida, New World, Grant Park, Indianapolis, Johnstown, Rochester, Akron, Wichita, Kalamazoo, Baton Rouge, Grand Rapids, Jacksonville, Charleston, Memphis, Phoenix, and San Diego symphonies; and many other orchestras, professional choruses, and gala events.
His international orchestra credits feature appearances with the Toronto, Montreal, Winnipeg, and Ottowa symphonies; the Nord Deutscher Rundfunk (Hanover); the MDR Symphony Orchestra (Leipzig); the Dresden Staatskapelle; the Czech, Tokyo, Korea, and Rotterdam philharmonics; the Bergen Philharmonic Orchestra (Norway); the Orquesta Sinfonia de Mineria; and the Orchestre Philharmonique de Monte- Carlo, among many others.
Richard Zeller’s recordings include the critically-acclaimed Merry Mount by Howard Hanson, Deems Taylor’s Peter Ibbettson with Naxos, and the world premiere of Henri Lazarof’s Fifth Symphony on Centaur Records – all recorded with Gerard Schwartz and the Seattle Symphony Orchestra. He has also recorded Dvorak’s Te Deum with Zdenec Macal and the New Jersey Symphony for Delos, David Schiff’s Gimpel the Fool for Naxos, Beethoven’s Symphony No. 9 for Centaur Records, and Virgil Thompson’s Lord Byron and Aaron Copland’s The Tender Land for Koch International. He has recorded Luigi Dallapiccola’s opera Volo di notte with American Symphony Orchestra conducted by Leon Botstein, and his most recent release is Mahler’s Das Lied von der Erde with the Martingale Ensemble on MSR classics.
Daniel Helfgot' credits include well over 200 productions of over 100 operas, operettas and zarzuelas from the Baroque to several world premieres. His international credits include shows in Argentina, Albania, Austria, Canada, Costa Rica, Finland, Germany, Mexico, Panama, and Sweden.
In the US he has directed for such companies as Baltimore; Billings, Festival Opera (California), Chattanooga, Eugene, Knoxville, Memphis, Orlando, Shreveport, Pennsylvania Festival, Sacramento, Spring Opera and Western Opera Theater of San Francisco, Utah Opera, Utah Festival, Virginia Opera, etc.
Daniel Helfgot is the author of The Third Line, a book that aims at developing acting skills and actual construction and use of a ‘third line’ for a given role. In addition to techniques of interpretation, Helfgot’s method offers strategies on how to best approach stage performances, auditions, recitals, and competitions.
Maestra Barbara Day Turner is the founder and music director of the San José Chamber Orchestra. An ardent advocate for new music, she has premiered more than 140 new works with San José Chamber Orchestra alone, as well as leading the first performances of 5 American operas. She has become well known for creative and engaging programming. Named a 2012 Silicon Valley Arts Council “On Stage” Artist Laureate, Maestra Day Turner recently completed 15 seasons as Music Administrator and Conductor of the Utah Festival Opera and Musical Theatre. She frequently guest conducts for orchestras and opera companies in the US, Germany and Mexico, and conducted for Opera San José for 18 years. Day Turner regularly serves as a judge for the Irving M. Klein International String Competition, and on the advisory boards of OperaNeo in San Diego, the Delphi Trio, and on the board of directors for the National Women’s Philharmonic Advocacy association. The Maestra holds a masters degree in harpsichord performance from San José State University, with advanced studies with the legendary Fernando Valenti.
The voice of Baritone Anton Belov has been called “rich and mellifluous” by the New York Times, while his recent appearance as the soloist in Carmina Burana was described by Florida Weekly as "captivating in every way, casting a mystical spell over the audience." He earned praise from critics and audiences alike for his portrayals of Enrico (Lucia di Lammermoor), Don Giovanni, Germont (La Traviata), Count di Luna (Il trovatore), Eugene Onegin, Escamillo in Carmen and Figaro in Le nozze di Figaro. Mr. Belov is the first-place winner of eight vocal competitions including the George London Competition and Metropolitan Opera National Council Auditions. A native of Moscow, Anton Belov holds a Doctorate of Music degree from the Boston University and a Master of Music Degree from The Juilliard School. Dr. Belov is an associate professor of music at Linfield College in McMinnville, Oregon.
Hannah Penn, mezzo-soprano, enjoys a diverse career as a performer of opera, oratorio, and recital literature. Frequently praised for her musicality and the timbre of her voice, Ms. Penn has recently been called “…a major talent”, and “…an intelligent and wonderfully musical singer” by Portland’s Willamette Week, and was praised for having “…intriguing colors at both ends of her range” by The Oregonian. She has sung more than twenty operatic roles with Glimmerglass Opera, Florida Grand Opera, Portland Opera, Tacoma Opera, and other companies. Ms. Penn frequently performs with Portland Opera, most notably as the title role in Carmen, Julie in Show Boat, and L’enfant in Ravel's L'enfant et les sortileges. Ms. Penn also enjoys a full concert schedule, having been featured with orchestras around the country, including several appearances with the Oregon Symphony, , and the Seattle Baroque, the Portland Baroque Orchestra, and the Florida Philharmonic. Ms. Penn is also a dedicated and passionate teacher, on faculty at Portland State University and Linfield College.
Music director and bass-baritone Ian Pomerantz is a specialist in the French baroque vocal repertoire, and is the co-founder and artistic director of Les Enfants d’Orphée, an ensemble dedicated to bringing the music of the French Baroque to North American audiences. With Les Enfants, he also revived cantatas by Clérambault as a part of the John Kleshinsky Concert Series in Boston. Pomerantz joined the GRAMMY Award-winning Boston Early Music festival in the North American premier of Campra’s opera Le Carnival de Venise. Pomerantz leads a revival of Louis Saladin’s Canticum Hebraïcum of the 1680’s, and joins Byron Schenkman and Friends as a guest soloist in reviving Handel’s cantatas for bass voice. Pomerantz holds a Bachelor of Music in Voice Performance from Westminster Choir College, Masters of Music in Voice from Longy School of Music of Bard College, and is completing a doctorate focused on French repertoire at the Hartt School, with additional study in France.
ALEXIS SILVER is a New York City based dancer. She is a member of The New York Baroque Dance Company, and has toured the US and abroad, performing in Handel’s Teseo at the International Handel Festival in
Göttingen, Germany, Festival de Música Antigua Esteban Salas in Havana, Cuba, and in Rameau’s Le Temple de la Gloire with Philharmonia Baroque Orchestra. As a member of the Boston Early Music Festival Dance
Company, Alexis performed in Purcell’s Dido and Aeneas, Charpentier’s La
Descente d'Orphée aux Enfers and La Couronne de Fleur, Handel’s Almira,
and Campra’s Le Carnaval de Venise. She performs with Balam Dance
Theater, Sarah Skaggs, and has presented her solo choreography at the Washington National Cathedral. Born in Copenhagen, Denmark, she grew up in Berkeley, CA and Boston, MA. She trained with Ronn Guidi’s
Oakland Ballet, The Joffrey Ballet School, Marcus Schulkind, and Nordic
Baroque Dance Company’s International Summer Academy. Alexis is also an accomplished photographer, www.asilverphotography.com. Sarah
Lawrence College: B.A. Liberal Arts; London Contemporary Dance School:
Certificate of Higher Education.
Soprano Amy Hansen’s lithe, exquisite voice and breath-taking acting have won her acclaim on operatic and symphonic stages alike. Opera Canada wrote, “Hansen was the complete Lakmé…she encompassed the virtuoso writing with ease, the top of her voice radiant, her lyrical singing meltingly beautiful…her acting pointed and convincing at every turn” of her title role performance with Calgary Opera. A featured soloist at the Kennedy Center, the Washington Post reported, "[the National Symphony Orchestra] accompanied soprano Amy Hansen, who lavished impressive coloratura skills on arias of Mozart..." The Oregonian called her “stellar”, “adorable”, and, when she debuted with Oregon Symphony, "Hansen sang the wickedly high "Queen of the Night" aria with poise and drama…she absolutely nailed the infamous high F's… and the audience loved her."
Ms. Hansen’s contagious joy and effortless beauty continue to make her an audience favorite, as when she sang Despina in Portland Opera and Brooklyn Philharmonic productions of Cosí fan tutte. "But the prize of the evening goes to Hansen's adorable Despina...Hansen delivered splendidly..." Willamette Week .
Here in Oregon, you may have heard Ms. Hansen singing soprano solos for Mozart’s Requiem, Dvorak’s Stabat Mater, Verdi’s Requiem, Brahms’ Ein Deutsches Requiem, Haydn’s Creation, and Orff’s Carmina Burana. Perhaps you saw Ms. Hansen performing with the Oregon Symphony, the Eugene Symphony, Portland Opera, Third Angle, the Portland Symphonic Choir, at the Cascade Festival of Music, or Portland's Festa Italiana. For Portland Summerfest’s Opera in the Park, in the Washington Park Rose Garden, her roles include Gilda in Rigoletto, Violetta in La Traviata, Micaela in Carmen, and Adele in Die Fledermaus.
Ms. Hansen graduated with honors from Oberlin College Conservatory and Indiana University, concertized extensively as a resident artist with the Portland Opera. She lived in New York City, working with the Metropolitan Opera. Now she happily resides in Oregon with her family and teaches at Oregon and Portland State Universities.
Susan McDaniel has appeared widely as a solo and collaborative pianist, including regional and national concert tours and recitals in France, Germany, Switzerland, and the Czech Republic. She received a B.A. in music from Linfield College, where she studied with Jill Timmons, and a M.M. in vocal accompanying from Manhattan School of Music, where she was a student of Warren Jones. Susan has been a member of the music staff at Seattle Opera, Portland Opera, and Utah Festival Opera as well as music director and pianist for the San Diego Opera Ensemble, Off-Center Opera (Seattle), and Puget Sound Concert Opera. In addition to maintaining an active performing career as a member of Northwest Art Song and the Northwest Piano Trio, she is a lecturer at the University of Portland, teaching lyric diction and lyric theater workshop and serving as both a coach and accompanist for singers and instrumentalists.
Laurel Peterson (Costume Designer) holds her BA in Fine Arts from Linfield College and MFA in Costume Design from Boston University. Laurel is the costumer at Linfield College where she designs costumes, hair and makeup, runs the costume shop and teaches costume design and makeup courses. She has received Meritorious Achievement Awards from the Kennedy Center American College Theatre Festival for a number of her designs at Linfield. Some of Laurel’s recent designs include She Kills Monsters and Jekyll and Hyde at Linfield College Theatre and Tartuffe for Valley Shakespeare at Western Oregon University.
Rob holds an MFA in scenic design from Northern Illinois University and a BA in theatre from Linfield College. He works as the Technical Director and resident Sound Designer for the theatre program at Linfield. Other scenic design credits include shows at Theatre 33, Profile Theatre, Lakewood Theatre and Broadway Rose Theatre.
The Kennedy Center/American College Theatre Festival has recognized Rob's technical work on several past productions at Linfield.