Mariana Poltorak
Soprano

Ukrainian soprano Mariana Poltorak is rapidly emerging as a compelling voice on the international operatic stage, garnering First Prize at the 2025 prestigious Ada Sari International Vocal Artistry Competition, and Fourth Prize at the 2025 International Stanisław Moniuszko Vocal Competition. In 2025 she will appear as Donna Elvira in Mozart’s Don Giovanni at the Da Ponte Opera Festival. In 2024 she performed the in Statkowski’s Philaenis at the Festival Muzyki Polskiej with the Krakow Philharmonic, showcasing her versatility in modern repertoire, and continuing a rich collaboration that includes her upcoming soloist appearance in Beethoven’s Symphony No. 9 in 2025.

Her 2022 portrayal of Cleone in Rossini’s Ermione at Rossini in Wildbad further solidified her standing as an exciting young interpreter of bel canto repertoire. Recently she also performed the role of Despina in Così fan tutte with the Krakow Academy.

Mariana’s formative training includes ongoing studies at the Warsaw Opera Academy and a Master’s degree from the Krzysztof Penderecki Academy of Music in Krakow (2016–2021). She also participated in the BelCanto Academie in Wildbad in 2022.

Her artistry has been recognized with numerous other awards, including the special Ewa Podłes Award at the 2025 Moniuzko Competition, and First Prize and a Special Award at the 2nd National Festival and Competition of Vocal Chamber Music named after Witold Friemann. She was also honored with the Lotte-Brauer Scholarship from the Lotte Lehmann Foundation and the Gaude Polonia Scholarship from the National Centre for Culture in Poland.

Mariana has enriched her vocal and interpretive skills through masterclasses and mentorships with leading figures in the vocal arts, including Olga Pasiecznik, Vesselina Kasarova, Edith Wiens, Mariusz Kwiecień, Tobias Truniger, Hedwig Fassbender, and Eytan Pessen, among many others.

Her deep commitment to both operatic and chamber repertoire, along with her compelling stage presence, positions Mariana Poltorak as a soprano of significant promise and growing international acclaim.

Praised by the New York Times for being “dramatically and musically alluring…notable for her burnished timbre and subtle phrasing,”

Marina Costa-Jackson
Soprano

Italian-American soprano Marina Costa Jackson is thrilling audiences throughout the US, Europe, and Asia. Engagements for the 2024-25 season include her Royal Opera House Covent Garden debut as Giulietta in Les Contes d’Hoffmann, her Italian debut as Tosca with Teatro Petruzzelli in Bari, Micaela in Carmen with Florida Grand Opera, and her role debut as Carmen with Nashville Opera. Future engagements include Mimi in La Boheme at New National Theatre in Tokyo, Tosca with Manitoba Opera, and Elisabetta in Verdi’s Don Carlos for Grange Park Opera. Most recent engagements include the title role in Suor Angelica and Lauretta in Gianni Schicchi with San Diego Opera, Minnie in Puccini’s La Fanciulla del West and the title role in Puccini’s Manon Lescaut for North Carolina Opera, Musetta in La Boheme with Utah Opera, her debut as Tosca with the Lyric Opera of Kansas City, Mimi in La Boheme with Los Angeles Opera, Tatyana in Eugene Onegin with Seattle Opera, and concerts with Seattle Opera and with CulturArte de Puerto Rico. Engagements canceled due to COVID-19 included Nedda in I Pagliacci with Michigan Opera Theatre, Mimi in La Boheme for Opéra national de Paris, and Amelia in Simon Boccanegra with the Washington Concert Opera.

In past season Marina has performed Elisabetta in Don Carlo with Grange Park Opera, Desdemona in Verdi’s Otello with the Savonlinna Opera Festival, the Bolshoi Opera, and Austin Lyric Opera, Violetta in Verdi’s La Traviata with Teatro San Carlos Lisbon, and Oper Köln, Maria in Donizetti’s Maria di Rohan with the Washington Concert Opera, Mimi for Oper Köln, Fiordiligi in Cosi fan tutte for Seattle Opera, Leonora in Il Trovatore for Musica Viva Hong Kong, Micaela in Bizet’s Carmen for Opéra national de Paris, the Verdi Requiem for Teatro Municipal de Santiago, Adalgisa in Belini’s Norma for Dallas Opera for which she was awarded the 2017 Maria Callas Debut Artist of the Year. She made her Royal Concertgebuow debut as Juilette in A Village Romeo and Juiette conducted my Mark Elder.

Ms. Costa Jackson has performed in concert with Dmitri Hvorostovsky, Andrea Bocelli, and debuted as one of the Costa-Jackson Sisters Trio in the International Festival “Palaces of St. Petersburg”.

Marina is a 2015 Metropolitan Opera National Council Awards finalist, and has won top awards from the Gerda Lissner Foundation, the Licia Albanese-Puccini Foundation International Vocal Competition, and the Opera Index Vocal Competition. In 2016 she was a second-place winner of Operalia and recipient of the Zarzuela Award. Notable awards include the Marcello Giordani Foundation Vocal Competition, the Belvedere Competition, the Mario Lanza Institute, and the George London Foundation. She is a 2016 graduate of the famed Academy of Vocal Arts in Philadelphia.

“Finally, we will not forget Aurélie Brémond in the role of Despina. What a revelation! Everything is there: the magnificent voice with extraordinary high notes, the agility and power, the presence, the comic power. She is lively and naughty, perfectly at ease, ready in every way to conquer the stage” – Sara Notarnicola, Cosi fanno Dell’opera

Aurélie Brémond
Soprano

Aurélie is a passionate, mischievous and sparkling French soprano. Born in Serre-Chevalier in the Hautes-Alpes, into a family of ski instructors, she defied the odds by choosing music at an early age. At 16, she entered the Conservatoire de Reims, and later the Conservatoire de Premier arrondissement de Paris, and completed her training at the Haute Ecole de Musique de Lausanne.

Since graduating in 2022, she has appeared regularly at the Opéra de Lausanne, where she has appeared at Despina in Mozart’s Cosi fan tutte, the Second Maid in Loewe’s My Fair Lady, Giannetta in Donizetti’s L’Elisir d’amore, Maguelonne in Pauline Viardot’s Cendrillon, and Noémie in Massenet’s Cendrillon.

Recent performances include Philomèle in Delibes’ le roi la dit with Opéra d’Avignon, Sophie in Mélodie à l’opéra by Valérie Marestin at the Théâtre Liger in Nîmes and the Théâtre de Pézenas, Princess Laoula in Chabrier’s L’étoile at the Opéra d’Avignon, and Susanna in Mozart’s Le Nozze di Figaro at the Théâtre de Pézanas.

Aurélie has appeared as a soloist in Bach’s Magnificat with the Orchestra Régional Avignon Provence, under the baton of Jean-Pierre Lecaudey, and in Brahms’ Requiem conducted by Stephen MacLeod. She is the winner of several international competition including the second prize at the Concours International Leopold Ballan, third prize and audience prize at the Concours International de Béziers, and the Prix de la Mélodie contemporaine at Concours International de Mâcon.

“Remember the name Conesa. She is young but that voice suggests a major future”  – Operawire 20201 – The Daily Telegraph 

Monica Conesa
Soprano

Cuban American soprano Monica Conesa is making a name for herself in the world of opera. At age 26, Monica made her debut at L’Arena di Verona in the title role of Aida under the baton of Maestro Marco Armiliato. Engagements in 2024-25 include her professional US debut as Nedda in I Pagliacci with Seattle Opera, her debut as the Countess in Mozart’s Le Nozze di Figaro  at Teatro Regio di Torino, and her debut as Tosca with Theater Bonn. Future engagements Future engagements include her return to Teatro De La Zarzuela di Madrid in Goyescas by E.Granados and a debut with New National Theatre Tokyo. Her most recent engagements include the title role in Bellini’s Norma under the baton of Maestro Muti at the Ravenna Festival, the title role in La Gioconda and Aida in the Teatro Filarmonico di Verona, a return to the Arena di Verona as Aida, and concert performances with Maestro Riccardo Muti in Ravenna, Jerash and Pompeii.  She also performed the title role in Dolores by Thomas Breton at the 2023 Festival Teatro Lirico Espagnol with Oviedo Filarmonica.

Ms. Conesa was awarded the first prize in the 2021 Premio Fausto Ricci Competition. Jury Chair Jose Carreras described her having, “an extraordinary, theatrical, and secure voice”.  That same year she was awarded first place in the prestigious International Singing Competition “Maria Caniglia” in Sulmona. In the summer of 2021, Monica studied at the European Music Institute Wien with Maestro Francisco Ariaza, and soon after she performed the role of Santuzza in Cavalleria Rusticana with L’accademia Nationale di Belcanto Italiano in Castelvetro di Modena.

“The Glimmerglass Festival – “Among the Young Artists who formed the Greek choruses, Ariana Wehr, with her alert leggiero soprano, was a particular standout, and she had a delightful bit as a sparky nurse in the maternity ward.”
– Fred Cohn, Opera News

Ariana Wehr
Soprano

Brazilian-American soprano, Ariana Wehr, is a graduate of the Cafritz Young Artist Program at the Washington National Opera. This season Ariana makes her debut with the Lyric Opera of Chicago in Blue, returns to Seattle Opera for The Magic Flute, performs Gretel in Hansel and Gretel with the Lakes Area Music Festival, and joins Chicago Opera Theatre for She Who Dared in the role of Rosa Parks (cover).  Most recently she sang the role of Micaela in Carmen with Portland Opera, returned to the Washington National Opera for Jeanine Tesori and Tazewell Thompson’s Blue as Girlfriend #1/Nurse/Congregant, and performed in Opera Lafayette’s production of Mouret’s La Fêtes de Thalie.  Ms. Wehr’s association with Blue includes its world premiere in 2019 for the Glimmerglass Festival where she received great critical acclaim.  She is also on the original cast recording released on PENTATONE.

Recently Ms. Wehr also made her Seattle Opera debut as Euridice in Gluck’s Orfeo, and returned to Seattle Opera for their production of Blue. She reprised her roles in Blue for her Pittsburgh Opera debut, and was featured in Washington National Opera’s production of Carmen for the Kennedy Center Honors on the CBS Television Network.  Ariana also recently made her Carnegie Hall debut in Requiem by Marc-André Bougie and Serenade to Music by Vaughan Williams.

Other performances include Despina in Cosi fan tutte for Opera in the Heights, Gretel in Hansel and Gretel in a return to Brava Opera Theater, Stravinsky’s Pulcinella with the Naples Philharmonic, Micaela in Carmen with Opera Louisiane, Amy March in Mark Adamo’s Little Women with Annapolis Opera, Konstanze in Mozart’s The Abduction from the Seraglio with Brava! Opera Theater, and Abigail Williams in Francesca Zambello’s production of The Crucible at The Glimmerglass Festival .

She was invited to sing in the Cardiff Singer of the World Competition in 2021 and in 2018 advanced to the Semi-Finals of the Metropolitan Opera National Council Auditions. For the Washington National Opera she has been seen as Barbarina in Le Nozze di Figaro, Susanna in the Domingo-Cafritz  performance of Le Nozze di Figaro, Ms. Holy in the world premiere of Mohammed Fairouz’s The Dictator’s Wife, Gretel in Hansel and Gretel, Frasquita in Carmen, Kahua in the world premiere of Better Gods, and Zerlina in Mozart’s Don Giovanni directed by Francesca Zambello.

“Adriana Ferfecka has already acclaimed herself at the Deutsche Oper Berlin and at the opera in Roman many others. She has a beautiful voice, a commanding stage presence, and an acting streak – what more could you want.”  Z operą w Nowy Rod

Adriana Ferfecka
Soprano

Polish soprano Adriana Ferfecka completed her vocal studies at Frydryk Chopin University of Music in Warsaw.  Engagements in 2024-25 include Daga in Penderecki’s The Black Mask and Echo in Ariadne auf Naxos at Theater Wielki. Next season she returns to Theater Wielki as Katya in The Passenger. Most recently she debuted with Opera Orchestre National Montpellier as Mimi in La Boheme, and returned to Theater Wielki in Warsaw as Mimi and Violetta in La Traviata.

Other recent engagements  include Mimi with the Deutsche Oper Berlin, Violetta in La Traviata with Theater Koblenz, Liu in Turandot with Teatro dell’Opera di Roma,  Micaela in Carmen with Theater Wielki, Sour Angelica at the Inauguration of the Ada Sari International Vocal Artistry Festival, Mimi in La Boheme for Wrocław Opera, Corinna in Il Viaggio a Reims for Teatro dell’Opera di Roma,   Susanna  in  Le Nozze  di Figaro in Cagliari, Gianni Schicchi for Dutch National Opera, Valencienne in Die lustige Witwe at Teatro La Fenice, Teatro dell’ Opera  di  Roma  and Teatro San Carlo in Naples, Micaela in Carmen for Deutsche Oper Berlin, Illia in Idomeneo in Rome, Adina in L’elisir D’amore at the Silesian Opera House in Bytom, Saffi in Die Zigeunerbaron at the Stanislaw Moniuszko Podlasie Opera, La Traviata in Grand Teatre Poznan.

Adriana has worked with many important conductors including Paolo Arrivabeni, Andrea Battistoni, Marc Albrecht, Donald Runnicles, Michele Mariotti, Diego Matheuz, Stefano Montanari, Ivan Repusic, Alexander Vedernikov, and Sebastian Weigle.

In 2015 she was admitted to the Young Artists Program of the Salzburg Festival, where she made her debut as Rosina in Il Barbiere di Siviglia. Between 2015 and 2017 she was a Scholarship Recipient at Deutsche Oper Berlin where she performed Zerlina in Don Giovanni, Frasquita in Carmen, Erste Dame in Die Zauberflöte, Xanthe in Die Leibe der Dananae, and made numerous concert appearances as well.

In 2015 she was a finalist at the Neue Stimme Competition in Dresden, and has been the winner of numerous international competitions including; the International Competition for Opera Singers “Ferruccio Taglavini” in 2014, the International Vocal Competition “Grand Prix De’l Opera” in Romania, the International Vocal Competition in Germany, first prize of the Concorso Internazionale Iris Adami Corradetti in 2016, 3rd prize at the Soroptimist Club Vercelli Prize at the 69th Viotti International Music Competition in 2018, Ottavio Ziino International Lyric Competition in 2014.

“If Floresta do Amazonas’ more programmatic qualities are heard in its instrumental sections, the most evocative moments occur in the floating vocalist passages of ‘Pássaro da florestra’, the gently swaying counters of ‘Veleiros’ or the seductive sultriness of ‘Canção do amor’, rendered here with taste and impeccable musical judgment by soprano Camila Provenzale.” – Gramophone

Camila Provenzale
Soprano

Italian-Brazilian soprano Camila Provenzale was a 2015 prize recipient of the Neue Stimmen Singing Competition in Germany. In 2016 she opened the season of the Bregenz Festival in Austria under baton of Maestro Paolo Carignani and the Vienna Symphony Orchestra, and in 2017 she made her made her French debut interpreting the role of Contessa di Almaviva in Mozart’s Le Nozze di Figaro at the Opéra de Toulon. In that same year she was a prize recipient of the Paris Opera Competition held in Paris at the Théâtre des Champs-Élysées.

A graduate of the Centre Perfeccionament at the Les Arts in Valencia, this season Camila performs Micaela in Carmen with Opera North in Leeds, Bachianas Brasileiras No.5 by Villa-Lobos with the Philharmonie de Paris, and Opera de Rouen Normandie, and Suite da Floresta do Amazonas with Técnica Real Filharmonía de Galicia. Upcoming performances include her Carnegie Hall debut under the baton of Marin Alsop with the São Paulo Symphony Orchestra, and Beethoven’s Ninth Symphony in Brazil with the São Paulo Symphony Orchestra.

Recent performances include Donna Anna in Don Giovanni for Théâtre des Champs-Élysées, Pamina in Die Zauberflöte for Teatro Solis, Hanna Glawari in Die Lustige Witge in Brazil, Donna Anna for Garsington Opera, and music by Villa Lobos and Philip Glass for her debut with the Orchestra dell ‘Accademia Nazionale di Santa Cecilia.

In 2019 Camila represented Brazil as a finalist in the Cardiff Singer of the World competition. Other prizes include the Giusy Devinu Competition in Cagliari/Italy, first prize in the Brazilian Maracanto competition, second prize in the Bidu Sayão competition, and was a prize recipient of the Neue Stimmen Singing Competition in Germany.

“In her company debut, Melissa Citro gave unstintingly of a bright and beautiful voice, singing with the utmost security and power. Her portrayal of the unhappy heroine was fully nuanced, demonstrating a complete understanding of this complex character. The song to the moon was ravishingly sung” – George Dansker – Opera News – Rusalka New Orleans Opera

Melissa Citro
Soprano

Last season Melissa debuted the role of Turandot with Fargo Moorhead Opera and returned to the Metropolitan Opera for Elisabeth (cover) in Wagner’s Tannhauser.  Her other recent engagements include the title role in Tosca with Opera Colorado, the role of Minnie in La Fanciulla del West both with Michigan Opera Theatre and Opera Colorado, the role of Marina in Dvorak’s rarely heard Dmitrij at the Bard Music Festival, Gutrune in San Francisco Opera’s production of Wagner’s Ring, where she also covered Brunnhilde in Siegfried and Sieglinde in Die Walkure,  a return to the Metropolitan Opera for Die Walkure,  and her debut as Tosca at Opera Southwest.

Ms. Citro made her Washington Opera debut as Gutrune, in their production of Wagner’s Gotterdammerung.   She returned to New Orleans Opera as Rosilinde in Die Fledermaus, and made her debut with the Detroit Symphony Orchestra in Mahler’s 2nd Symphony. The soprano made her debut with San Francisco Opera as Freia in Das Rheingold. San Francisco Opera also saw Ms. Citro as Gutrune in Götterdämmerung, and as Senta in Der Fliegende Hollander (cover). The soprano made her role debut as Sieglinde in Wagner’s Die Walküre with Virginia Opera, and returned to the Metropolitan Opera, where she covered Renee Fleming in the title role in Dvořák’s Rusalka. She joined the San Francisco Opera and the Metropolitan Opera casts of The Makropulous Case, where she covered Karita Mattila as Emilia, and made her role debut as Senta in Lyric Opera of Kansas City’s production of Der Fliegende Hollander. Ms. Citro performed the role of Rusalka with New Orleans Opera, and the title role of La Wally in her debut with the Dallas Opera. She made her debut with Glimmerglass Opera as Magda Sorel in Menotti’s The Consul, and returned to the Los Angeles Opera to sing the roles of Ortlinde and Third Norn where she also covered the roles of Sieglinde and Guturne in Wagner’s Der Ring des Nibelungen.  The Soprano joined the Hawaii Opera Theatre as Ortlinde in Die Walküre, and debuted with the Richmond Symphony Orchestra in Strauss’ Vier Letzte Lieder with conductor Marc Taddei. Ms. Citro made her Los Angeles Opera debut as the Nursing Sister in Suor Angelica, directed by William Friedkin with James Conlon. In prior engagements in Los Angeles, the soprano covered the roles of Elisabeth in Tannhäuser, Gertrude in Hänsel und Gretel and the title role of Jenůfa. Ms. Citro made her international debut in the title role of Janáček’s Jenůfa in Calixto Bieito’s acclaimed production for the Stuttgart Opera. Earlier engagements include Fiordiligi in Cosi fan Tutte with San Francisco Opera’s Merola Program and Western Opera Theater, and the High Priestess in Rameau’s Hippolytus and Aricia with Opera Theatre of Saint Louis. As a Fellowship Artist at Music Academy of the West, her role assignments included the title role in Ariadne auf Naxos and Lady Billows in Britten’s Albert Herring.

Ms. Citro was a Grand Finals Winner of the Metropolitan Opera National Council Auditions. Additional awards include the George London Award, the Richman Award from Opera Theatre of Saint Louis, and the First Place winner of the Mario Lanza Competition.  She was a scholarship winner at the Westminster Choir College and the Juilliard School.

“The premiere was an evening of great debuts, above all, Stéphanie Müther as Brünnhilde. Müther has the radiant highs that Brünnhilde needs, and she masters the dramatic outbursts as in the oath scene, but because of her warm and deep middle register she can go into the duets with Siegfried with a great deal of beauty in the voice. In the final scene she delivers a brilliantly sung Brünnhilde, which immediately puts her into the Olympus of the great Wagner voices”
– Theater Chemnitz, A.H. Hölscher, O-Ton

Stéphanie Müther
Soprano

Described as a voice “possessing immense power”, dramatic soprano Stéphanie Müther recently sang her first complete Ring Cycle as Brünnhilde at Theater Chemnitz to critical acclaim. She sang the same role at the Biwako Hall (Kyoto) which completed a full Ring Cycle in 2020.

Engagements this season include another complete Ring Cycle, this time working with stage director Peter Konwitschny at Theater Dortmund where she also recently made her role debut as Turandot, Ortrud in Wagner’s Lohengrin, for both Theater Dortmund and for her return to Theater Chemnitz, and Elvira in Verdi’s Ernani for Ópera de Oviedo.  She completed last season as the Zweite Norn in Götterdämmerung for the Bayreuther Festspiele. Prior to that she was seen as Brünnhilde for Theater Chemnitz (Götterdämmerung) and for Theater Dortmund (Walküre), Ortrud for both Opera Leipzig and Theater Chemnitz, Tosca for Konzert Theater Coesfeld and for Theater Dortmund, and Isolde for Theater Chemnitz.

Stéphanie began her stage career as a mezzo singing roles like Herodias, Fioretta (I Medici) and Sesto but successfully transitioned into a dramatic soprano debuting as Lady Macbeth at Theater Erfurt in 2016. She has worked with stage directors Valentin Schwarz, Katharina Thalbach, Michael Hampe, Vera Nemirova and conductors Claudio Abbado, Mariss Jansons, Charles Dutoit, Cornelius Meister, Daniele Callegari, and Joana Mallwitz. Stéphanie holds a master’s degree from Conservatoire Geneva, site Neuchâtelois under the tutelage of Jeanne Roth and was a member of the Swiss Opera Studio between 2005 – 2007.

Her repertoire encompasses such roles as Marie (Wozzeck), Mrs. Grose (Turn of the Screw), Gertrud (Hänsel und Gretel), Lady Macbeth (Macbeth), Eboli (Don Carlo), the title roles of Puccini’s Turandot, Tosca, and Brünhilde, Ortrud, and Isolde. She is especially dedicated to the Spanish song literature which she was introduced to through her work with Teresa Berganza.

“You didn’t need to understand the text about the “silvery moon in the velvet night” in Dvorak’s “Song to the Moon” from Rusalka: It was all right there in the silvery orchestrations, and in the velvet soprano voice of Elena Perroni.” – Philadelphia Inquirer – Welch National Opera 2021 – The Daily Telegraph

Elena Perroni
Soprano

Ms. Perroni made her professional debut with Opera Philadelphia, singing the role of Doris Parker in Charlie Parker’s Yardbird, at the legendary Apollo Theatre in New York City, and reprised the role in her English National Opera debut.  As a graduate of the world-renowned Curtis Institute of Music, last season she joined other fellow alumni for a European chamber music tour to Greece, Italy, Germany, and Spain, and she was also heard in concert with the Cleveland Chamber Music Society. This past fall she returned to her native country for Mimi in La Boheme with the West Australian Opera and performed Gilda in Rigoletto with New Zealand Opera.  Future engagements include Mimi in La boheme with Opera Queensland and New Zealand Opera, her debut with Colorado Symphony in an all Mozart program, and Britten’s War Requiem with the Dusseldorf Symphony.

Recent engagements include the title role of Iolanta with West Australian Opera, and Britten’s War Requiem with the West Australian Symphony Orchestra alongside maestro Asher Fisch, both which received great acclaim. She also recently debuted Carnegie Hall performing Schubert’s Mass in G, Brahms’ Ein Deutches Requiem with West Australian Symphony Orchestra, and made her role debut as Violetta in Verdi’s La Traviata for West Australian Opera.

In addition to her recent successes on the operatic stage, Ms. Perroni is quickly making a name for herself in the concert hall.  In 2017, she made her Philadelphia Orchestra debut singing selections from Dvorak’s Rusalka. She returned to the Philadelphia Orchestra  in 2018 in a concert featuring selection from Eugene Onegine as Tatyana, and for Nuits d’ete. Other concert engagements include Mimi in La Boheme with Quad Cities Symphony Orchestra, Juliet in Tchaikovsky’s Romeo & Guliet with the New Jersey Symphony Orchestra, Sister Constance in Poulenc’s Dialogues des Carmelites with West Australian Opera, and Maria in Leonard Berstein’s West Side Story, with the Reno Philharmonic.

Ms. Perroni is a recent graduate of the world renowned Curtis Institute of Music, where she has performed many leading roles including Adina in Donezetti’s  L’elisir d’Amore, the title role in Massenet’s Manon, Anne Truelove in Stravinsky’s  The Rake’s Progress, Susanna in Mozart’s Le Nozze di Figaro, as well as Lauretta Puccini’s Gianni Schicchi, and Magda in La Rondine.  Ms. Perroni has also performed the leading roles of Mimi in La Boheme and Gilda in Verdi’s Rigoletto at the Chautauqua Music Festival.

In 2018 Elena was both a NY regional winner in the Loren L. Zachery competition and a semi-finalist in the Belvedere Competition.