Adrian G. Horn, Director of the Finger Lakes Choral Festival,
has had a lifetime of involvement in virtually every aspect of choral music. He sang with Robert
Shaw for two years while still in high school, interrupted his musical training by serving as a
paratrooper with the 82nd Airborne Division to secure the GI bill for college, received a BS in vocal
performance at SUNY Fredonia (where he was Captain of the baseball team and also played semi-pro
football with the Fredonia Orioles) and a Masters Degree specializing in Choral Music from Columbia University,
where he concurrently was employed an Instructor in Music Education. After teaching public school music for two years, Mr.
Horn entered the Navy and was appointed Director of the Naval Aviation Cadet Choir while undergoing training as a Naval
After completing his tour of duty, Mr. Horn became a
professional chorister with the San Francisco Symphony and San Francisco Opera. Subsequently, he
entered the doctoral program at Columbia University, but was sidetracked from completing a thesis
on developing community choruses by the priority of putting his ideas into action. What followed
was a remarkable adventure of choral activities, including:
Founding Director, San Francisco Choral Society, a 250 voice symphonic chorus, regularly performing
before sold-out houses at Davies Symphony Hall
As a conductor,
Mr. Horn has an extraordinary ability to inspire singers to bring passion and meaning to their music.
Singers stay on their toes because they don't want to miss any of his colorful comments or unique
musical insights. At one rehearsal, before a chorus and orchestra of nearly 500 performing the Berlioz
Requiem* at the cavernous San Francisco Civic Auditorium he quipped, "All I wanted to do was get
some people together to sing, and the whole thing got totally out of hand."
At the height
of his success with the San Francisco Choral Society, after conducting three sold-out performances of Carmina Burana
at Davies Symphony Hall in October 1992, Mr. Horn left San Francisco to pursue perhaps his most challenging
career, stay-at-home-Dad. But music always seemed to follow, as did the Directorship of the Sequim Community Chorus in
Washington, and after relocating to New York, the Jamestown Choral Society.
The Finger Lakes Choral Festival, now entering its fourteenth season, is the current focus
of Mr. Horn's life-long obsession with bringing people together to sing great choral music.
Requiem Redux. In August 2012, Mr. Horn organized and presented a performance
of the Berlioz Requiem at Davies Symphony Hall in San Francisco,
combining 300 singers and musicians from New York and San Francisco, hailed by San Francisco Classical Voice as the "Mega-Concert of the Year -- or years, and that it "Exceeded all expectations."
The performance used a new edition of the Requiem created by Mr. Horn which added an alto
part to the score. Berlioz' original score was written for soprano, tenor and bass only. His edition can be
found and partially perused using the following link:
Berlioz Requiem SATB Edition
Kathryn Lewek is rapidly establishing herself as one of the most promising coloratura
sopranos of this generation. Ms. Lewek’s interpretation of her signature role, a quintessential Mozart villain, Queen
of the Night, has garnered international critical acclaim: “Kathryn Lewek was sensational as The Queen of the Night.
She produced all those acrobatic vocal runs effortlessly, without a single note out of place.” She performed the role
in productions of Die Zauberflöte in débuts with
Deutsche Oper Berlin, Bregenzer Festspiele, the Metropolitan Opera, Washington National Opera, Festival d’Aix-en-Provence,
Opera Leipzig, Opera de Toulon, English National Opera, Nashville Opera, and the Lyric Opera of Kansas City. Last
season alone, she reprised the Queen in débuts worldwide with The Royal Danish Opera, Wiener Staatsoper, Houston Grand
Opera, Welsh National Opera, and in a return to The Metropolitan Opera. This season, she appeared in the role at Teatro Real
season, Lewek made a string of exciting role débuts: Teresa in Benvenuto Cellini at Gran Teatre del Liceu in Barcelona; the title role in Maria Stuarda at Edmonton Opera; and Konstanze in Die Entführung aus dem Serail at Deutsche Oper Berlin. In concert, she sings Bach’s Christmas Oratorio under Maestro John Nelson with Orchestre symphonique de Montréal; Händel’s Messiah at Carnegie Hall; and Carmina Burana
with the Dallas Symphony. Future seasons through 2018 include exciting role and company débuts at Lyric Opera of Chicago,
Canadian Opera Company, as well as multiple returns to The Metropolitan Opera.
Recent performances also included the role of La Fée in
Cendrillon with New Orleans Opera; Angelica in Händel’s
Orlando with the Hobart Baroque in Tasmania in which she was
nominated for a Helpmann Award; a role début in the title role of a new production of Lucia di Lammermoor
at Opera Carolina and Toledo Opera; made a company début with Glimmerglass
Opera as Cunegonde in Francesca Zambello’s Candide; and
performed Haydn’s Creation under the baton of the illustrious
European débuts also include Dolcina in Suor Angelica
with the Deutsches Symphonie Orchester and the role of Jessica in the world première of André Tchaikowsky’s
Kupiec Wenecki (The Merchant of Venice) with Bregenzer Festspiele.
This production was awarded the International Opera Award 2014 in the category “Best World Première”.
Having been widely lauded for her numerous
operatic and oratorio performances, Ms. Lewek is also gaining attention for her decisive interpretations of contemporary art
song and vast concert repertoire. She enjoyed appearances at Alice Tully Hall at Lincoln Center, on the Perelman Stage at
Carnegie Hall, with the Rochester Philharmonic Orchestra, the Santa Barbara Symphony, Toledo Symphony, Musica Sacra, the Fairfield
County Chorale, the Berkshire Choral Festival, the Great Neck Choral Society, the Greenwich Choral Society, and the Rochester
Chamber Orchestra. With these and other orchestras, she performed in Händel’s Messiah, Mozart’s C Minor Mass, Orff’s
Carmina Burana, Brahms’ Requiem, Haydn’s Missa
in tempore belli, Mozart’s Krönungsmesse (Coronation
Mass), Haydn’s Große Orgelmesse, Bach’s Magnificat, Mozart’s
Requiem, Mendelssohn’s Elijah, Bach’s Judas Maccabeus,
Zelenka’s Te Deum, and Bach’s Mass
in B Minor.
Megan McFadden, Mezzo Soprano, bio pending.
| Matthew Valverde, Tenor,
is quoted in the New York Classical Review as having a huge, handsome tenor voice. He is a candidate for the degree
of Doctor of Musical Arts in vocal performance and literature at the Eastman School of Music.
An avid concert soloist, Matthew
has performed in Texas and New York in performances of Bach’s Magnificat and St. John Passion, Handel’s
Messiah, Mendelssohn’s Elijah, Dvořák’s Stabat Mater, Vaughn Williams’s
Serenade to Music, Mozart’s Requiem, and Britten’s Serenade and War Requiem.
He has been a featured soloist with the Rochester Philharmonic Orchestra, Rochester Chamber Orchestra, Rochester Oratorio
Society, and the Eastman School’s orchestras. He was the tenor soloist in the New York premiere of Vivaldi’s Dixit
Dominus, RV 807 with First Inversion Vocal Ensemble last November.
Matthew has appeared with the Eastman Opera Theatre
as Sam in Weill’s Street Scene, as Paolino in Cimarosa’s Il matrimonio segreto, as Vašek
in Smetana’s Bartered Bride. He was a guest artist as Apollonia in Haydn’s La canterina with
the Nazareth College Opera. Matthew made his Carnegie Hall debut in May 2014 with the RPO as Jonathan Banks in Howard Hanson’s
He participated in the 2014 Vancouver International Song Institute’s Song Scholarship Program,
the 2012 Art Song Festival at Baldwin-Wallace College, and the Marilyn Horne Foundation’s The Song Continues...2010
at Carnegie Hall.
A recipient of Eastman’s 2012-13 Teaching Assistant Prize, Matthew has a passion for vocal pedagogy
and teaching voice. He serves on the voice faculties of Nazareth College and the Eastman Community Music School and has taught
at the Clear Creek Music Festival in Halfway, Oregon and at Summer @ Eastman’s Music Horizons program.
Jonathan Beyer is a baritone who has performed with the Metropolitan Opera, Oper Fraknfurt, Florida
Grand Opera, Pittsburgh Opera, Dallas Opera, St. Louis Opera Theater, Austin Lyric Opera, Fort Worth Opera, Hong Kong Opera,
Teatro Petruzzelli, Opera Company of Philadelphia, Boston Lyric Opera, Opera de Montreal, Royal Opera House in Oman and others.
He has also appeared with the Chicago Symphony, Philadelphia Orchestra, Pittsburgh Symphony, Indianapolis Symphony, Netherlands
Radio Orchestra, Munich Philharmonic, Baton Rouge Symphony, Vermont Symphony, Southwest Michigan Symphony, Detroit Symphony,
the Erie Philharmonic and the Festival at Aix-en-Provence.
Mr. Beyer was a National Finalist in the Metropolitan
Opera National Council Competition. He was the 1st Place Winner at the Marian Anderson Prize for Emerging Classical
Artists. He has also won the Geroge London Foundation, Sullivan Foundation, McCammon Competition, Irma M. Cooper Competition,
Violetta DuPont Competition, Rochester’s Classical Idol, New Jersey Verismo Competition, Philadelphia Orchestra Competition,
Astral Artist Auditions, Pittsburgh Concert Society Auditions, SAI Competition, American Opera Society Competition, the Union
League Civic and Arts Foundation Competition, and the Bel Canto Foundation. He has also received awards from the Lissner,
Jensen, and Solti Foundations, Zachary, Dalis, Liederkranz, Orpheus, Liederkranz, Neue Stimmen, Palm Beach Opera, and Lynam
Competitions, Sosenko, Lanza, Iturbi, Gari and Puccini Foundations, National Opera Associations.
An avid recitalist, Mr. Beyer has performed in recital through the Vocal Arts
Society, Marilyn Horne Foundation, Carnegie Hall Foundation, Chicago Cultural Center, Judith Raskin Foundation, Bertlesmann
Foundation, Huntsville Chamber Music Guild, Pittsburgh Concert Society, Van Cliburn Foundation, Over the Rainbow Foundation,
Astral Artists, and the Marian Anderson Foundation. He has degrees from the Curtis Institute of Music and the Chicago
College of Performing Arts at Roosevelt University.
Upcoming engagements include LA BOHEME with Boston Lyric Opera, MERRY WIDOW with the Chicago Lyric Opera, DON
PASQUALE with Opera Naples, BARBIERE DI SIVIGLIA with Pittsburgh Opera, SALOME with the Detroit Symphony Orchestra, NOZZE
DI FIGARO with the Castleton Festival, DIE FLEDERMAUS with Florentine Opera and concerts with Vero Beach Opera and the Van
Meet the Accompanists
Dr. Ines Draskovic has performed throughout Europe and United
States. she is a graduate of University of Belgrade (Belgrade, Yugoslavia), Ithaca College (MM) and Eastman
School of Music (DMA). Her teachers include Alexei Nasedkin, Phiroze Mehta and Rebecca Penneys. Dr.
Draskovic has won several piano competitions, including the Ithaca College Concerto Competition,
Republic of Serbia Piano Competition and Piano Competition in Stresa, Italy, where she
was a finalist. She has participated in festivals and masterclasses in Europe and United States (Colorado). Formerly
a faculty member at Ithaca College, Dr. Draskovic is currently teaching at the Finger Lakes Community
College in Canandaigua, NY. In addition to her solo career, she performs regularly with the Finger
Lakes Chorale and College Singers.