Soprano Alexandra Razskazoff was named a Grand Finals Winner in the 2022 Metropolitan Opera Laffont Competition. She is acclaimed by The New York Times as a “richly faceted, slinky soprano,” whose soprano is “rich, distinctive of timbre, and penetrating, and possess[es] a lovely bloom on top” (Opera News).

In 2025, Alexandra makes her debut with the Pacific Symphony in Costa Mesa, CA, reprising the role of Wellgunde in Das Rheingold. She then joins Vero Beach Opera as Nedda in I Pagliacci, a role which she then covers with the Lyric Opera of Chicago. She then goes on to sing Violetta in La traviata with Teatro Municipal de Santiago, Chile and returns to The Atlanta Opera as Wellgunde in Götterdämmerung. Her 2024 season included engagements with The Atlanta Opera as Ortlinde (Die Walküre) and Second Lady (Die Zauberflöte). She previously made her house debut in 2023 as Wellgunde (Das Rheingold). She also joined Teatro Municipal de Santiago, Chile in 2023 to make her role debut as Micaëla (Carmen).

Cuban-American soprano, Catherine Antonia Samartin, is described as a passionate and expressive performer with her dance, modeling, and stage/film-acting background adding a higher level of artistry and depth to each performance.

Most recently, she sang title role in Donizetti’s Anna Bolena with Independent Opera Company, the starring role of Maritza in Mesopotamian Opera Company’s new production of The Blur, and Blanche de la Force in Independent Opera Company’s production of Dialogues of the Carmelites. Other operatic roles include Valencienne in Mission Opera’s production of The Merry Widow, Sally in Pacific Opera Project’s new libretto of Die Fledermaus-The Bat’s Revenge, the principal role of Murderess-Charlotte Corday in the West Coast Premiere of Girondines with Mission Opera, Juliette in Romeo et Juliette with Valley Opera and Performing Arts, Gilda in Rigoletto, Countess Almaviva in Le Nozze di Figaro, Donna Anna in Don Giovanni in Berlin and most recently in Los Angeles.

Baritone Jonathan Wilson is a dedicated performer of vocal music from opera to concert works and musical theater. He has been praised by the Chicago Classical Review as a “superb actor” with a “resounding and luxurious” voice.

Recently, Jonathan performed as Silvio in Pagliacci and covered the role of Manfredo in Montemezzi’s L’amore dei tre re as part of Opera Festival Chicago’s summer season. Earlier this year, he debuted the title role in Tchaikovsky’s Eugene Onegin with Opera Aeterna, performed as Escamillo in Carmen with Chicago Opera Productions, and sang Belcore in L’elisir d’amore with the New Philharmonic Orchestra. Other notable roles in Jonathan’s repertoire include the title role in Pelléas et Mélisande, Dottore Malatesta in Don Pasquale, and John Brooke in Adamo’s Little Women. As part of his work with Lyric Opera of Chicago, Jonathan performed as baritone soloist in Mozart’s Thamos, King of Egypt, sang the role of the Usher in Verdi’s Rigoletto, and went on as cover for the role of Jailer in Puccini’s Tosca.

Also an avid performer of contemporary chamber opera, Jonathan’s recent roles include Manfred in Two Remain (Heggie), Hannah-before in As One (Kaminsky), and the titular character in a Tom Waits adaptation of Woyzeck, each with Chicago Fringe Opera. His appearances as The Poet in When Adonis Calls (Borzoni) and as Robert Dziekański in I will fly like a bird (Plant) with Chicago-based Thompson Street Opera Company also received critical acclaim.

On the concert stage, Jonathan regularly sings with many of Chicagoland’s top ensembles. As a soloist, he has performed with the Northwest Indiana Symphony Orchestra, the New Philharmonic Orchestra, the South Shore Orchestra, and many Chicago-area sacred organizations. He also routinely sings as part of the Lyric Opera Chorus, the Chicago Symphony Chorus, and the Grant Park Chorus.

A versatile singer and actor, Anthony Reed’s operatic credits include Figaro Le nozze di Figaro, Sarastro Die Zauberflöte, Masetto Don Giovanni, Don Basilio Il Barbiere di Siviglia, Frère Laurent Roméo et Juliette, and Collatinus The Rape of Lucretia among others.

Equally at home on the concert stage, Anthony has performed Mozart’s Requiem, Haydn’s Creation, selections from Bach’s B Minor Mass and Handel’s Messiah, and Handel’s Missa in Tempore Belli. He has performed with the San Francisco Opera Orchestra, Lyric Opera of Chicago Orchestra,  Nashville Symphony, Philharmonia Baroque, and the Aurora Orchestra, among others. His 2017 concept recital The Woods “…repurposed a duo recital into something fresh.” (SF Cassical Voice) and showcased Anthony’s unique ability to create rather than simply interpret.

His virtual programming appearances range from an all-female-baroque-composer recital with the Collaborative Arts Institute of Chicago to recitals on Chicago’s WFMT classical music station, and Lyric Opera of Chicago’s  Master Classes with Sir Andrew Davis, Sole e Amore, Magical Music Around the World, and Rising Stars in Concert.

Since making his New York City Opera debut in 1972, Chicagoan WILLIAM POWERS has performed over 100 operatic roles with the major opera companies in the United States, Europe, and South America.  While the stylistic range of his portrayals spans the gamut from Renaissance (Monteverdi’s ORFEO for San Francisco) to Contemporary (Pasatieri’s SEAGULL for Washington DC), Powers has earned an enviable reputation as a “heavy” – due in large part to the dark, penetrating color of his voice – thus the portrayal of rogues and villains has dominated his career.  His teachers and mentors, George London and Norman Treigle, have also added to the intensity of the acting aspect of Powers’ delivery – for which he has become well-known.

Mr. Powers has been the creator of many new roles through world-premiers or important revivals…most recently singing the villain “Meyer Wolfsheim” for the premier of Harbison’s  THE GREAT GATSBY at the Metropolitan Opera in New York; other new creations have included Penderecki’s  PARADISE LOST  for Chicago’s Lyric Opera; Herrmann’s  WUTHERING HEIGHTS  for Portland; Stewart Copeland’s HOLY BLOOD AND CRESCENT MOON  for Cleveland; and Petrassi’s SESTINA D’AUTUNNO for Italy’s Spoleto Festival.  Of re-creations, Powers offered the role of  “Celio” for the 50th  Anniversary production of Prokofiev’s THE LOVE OF THREE ORANGES for Chicago; the rarely heard  BETLY of Donizetti for Strasbourg, and the  French version of Donizetti’s LA FAVORITE for the Theatre d’Champs-Elysees and the Opera Comique in Paris; the creation of the Italian version of  THE LADY MACBETH OF THE MTZENSK DISTRICT for Spoleto; and the American premier of G. F. Handel’s PORO, RE DI INDIE  for Kennedy Center’s Handel Festival in Washington DC.

David Greene is thrilled to return to Opera Festival of Chicago after his performances with the festival as the Dancing Master and Lamplighter in Manon Lescaut, and as part of the chorus in Il prigioniero. A Chicago native, he studied vocal performance at DePaul University. David has also showcased his talents at the Chicago Symphony’s Overture Council salons and the Holiday Harmonies Salons. His album, “Home for the Holidays,” features a collection of holiday classics.

David’s musical career includes collaborations with Musical Theatre Works, Chamber Opera of Chicago, and Theatre at the Center. Outside of music, he leads the Opus Team at Compass, working as a realtor in Chicago.

David extends heartfelt thanks to his husband, John, for his constant support, and to his voice teacher, Carl Lawrenz, for his invaluable guidance and mentorship.