“Mr. Davila put in a robust and hot-blooded performance and showed off a burly, dark-hued tenor. He was especially convincing in his character’s impetuous and anguished utterances, which he emphasized with an appealing plangent ping.”
– Don José, Metropolitan Opera, Corinna da Fonseca-Wolheim for the New York Times

Rafael Davila
Tenor

Engagements in the 2024-25 season include his debut with Pittsburgh Opera as Turiddu in Cavalleria Rusticana, Turiddu and the role of Canio in Pagliacci with Sarasota Opera, and a return to the Florida Grand Opera as Don Jose. Future engagements include his debut for La Monnaie as Turiddu in Cavalleria Rusticana and a debut with Opera Dortmund. In the 2023-24 season Puerto Rican tenor Rafael Davila returned to the Metropolitan Opera to sing Don Jose in a new production of Carmen, and Ismaele in Nabucco. He also made his role debut as Samson in Samson et Dalila with Opera Colorado, debuted the Teatro Colon as Don Jose, and returned to Sarasota Opera as Rodolfo in Luisa Miller.

Performances at the Metropolitan Opera in 2022-23 included the roles of Giasone in Cherubini’s Medea opposite soprano Sandra Radvanovsky, Verdi’s Don Carlo, and Radames in Aida. In the past few seasons Rafael has also performed Cavaradossi in Tosca with Opera Colorado, Verdi’s Ernani at Sarasota Opera, Calaf in Turandot for the Evansville Philharmonic, and Don José in Carmen for Opera de Puerto Rico opposite Puerto Rican diva Ana Maria Martinez. Engagements prior to that include his debut at the Metropolitan Opera as Don José in Carmen, Des Grieux in Puccini’s Manon Lescaut for San Francisco Opera, Liceu de Barcelona and Opera de Valencia, the world-premiere of Jimmy Lopez’s Bel Canto for the Lyric Opera of Chicago, Turridu in Cavalleria Rusticana and Canio in Pagliacci at the Teatro San Carlo di Napoli and the Macerata Festival in Italy, Radames in Aida for Valencia, and his debut at the Mariinsky Theater in St. Petersburg in a Zarzuela Gala Concert.

Other notable debuts include Pollione in Norma opposite Angela Meade and Dolora Zajick for Washington National Opera, Ismaele in Nabucco for Opera de Bilbao Dick Johnson in La Fanciulla del West for Minnesota Opera, Don Alvaro in La Forza del Destino and the title role in Don Carlo for Washington National Opera, Calaf in Turandot for Opera de Puerto Rico, Lyric Opera of Chicago (cover), Manrico in Il Trovatore for Lyric Opera of Kansas City, Riccardo in Un Ballo in Maschera with Florida Grand Opera, and Rodolfo in Puccini’s La Boheme for Reisopera. He has sung the title role in Verdi’s Otello for Sarasota Opera, and Opera de Puerto Rico. Since his Metropolitan Opera debut as Don José, he has joined the company for productions of Aida, Luisa Miller, Tosca, Don Carlos, and Nabucco.

Rafael has appeared in the Zarzuelas Los Gavilanes, Luisa Fernanda, Maria La O, Cecilia Valdés, and El Huesped del Sevillano.  He has been nominated two times at The Grammy Awards for the recordings of Ariel Ramírez’s Misa Criolla and Rafael Hernández’s operetta Cofresi.

Ethan Burck
Tenor

Ethan Burck, originally from Aurora, Illinois, holds degrees from the Yale School of Music, the Curtis Institute of Music and Baldwin Wallace University. Last season he joined Opera Philadelphia for the U.S. premiere of Missy Mazzoli’s The Listeners.  Prior to that Ethan returned to the role of Tom Rakewell in The Rake’s Progress as well as Gherardo in Gianni Schicchi and one of the Brothers in Die sieben Todsünden at Yale University, as well as Massenet’s Werther.

In the 2022-2023 season Ethan had many opportunities within Yale including his portrayal of the Male Chorus in Benjamin Britten’s The Rape of Lucretia and his contributions as a member of the Chorus and Coryphée 1 in Le comte Ory and his first performance of Beethoven’s 9th Symphony with the Yale Symphony Orchestra. He also gained experience by performing scenes from notable operas such as Bizet’s Les pêcheurs de perles, Offenbach’s Les contes d’Hoffmann, and Tchaikovsky’s Eugene Onegin.

During the 2022-2023 season, Ethan also had the opportunity to debut with orchestras across the country, including the Cleveland Orchestra Youth Symphony Orchestra, Symphoria of Syracuse, and the Wichita Symphony. Notably, he also stepped in as the Shepard in Stravinsky’s Oedipus Rex during a last-minute performance with Opera Philadelphia, showcasing his adaptability and quick learning abilities.

Before joining Yale, Ethan was a 2021 Apprentice Artist at The Santa Fe Opera, and pursued his musical studies at the Curtis Institute of Music, where he had the opportunity to undertake roles such as Tito in Mozart’s La clemenza di Tito, Fernando in Mozart’s Cosi fan tutte, and Albert Herring in Benjamin Britten’s opera of the same name.

Ethan holds a Bachelor of Music from Baldwin Wallace University, where he explored a diverse range of roles, including Tom Rakewell in The Rake’s Progress, Young Jim in Glory Denied, and Paolino in Il matrimonio segreto. Other notable performances include Don José in The Tragedy of Carmen, Rinuccio in Gianni Schicchi, and Fenton in Falstaff.

“Angel Raii Gomez (Ernesto) was the Audience Choice winner at last year’s Giargiari Bel Canto Competition, and indeed his liquid, warmly Mediterranian timbre is a crowd-pleasing sound; he’s also an appealing presence. When Gomez eases up – as in both the “Sogno soave e casto” and “Tornami a dir” – he’s a rising star”
– Parterre Box 2023

Angel Raii Gomez
Tenor

Angel Raii Gomez, an emerging voice on the opera stage, is currently a member of the Metropolitan Opera’s Lindemann Young Artist Development Program.  He is a 2025 graduate of the Academy of Vocal Arts and National Finalist of the Metropolitan Opera Laffont Competition. Praised by critics for his “stage personality, tremendous wit and flare, and a heart-stopping pretty lyric tone”, he won the 2023 first prize in the prestigious Meistersinger Competition at AIMS in Graz, Austria, and the 2023 first prize in the Giargiari Bel Canto Competition.

In the 2024-25 season he sings the title roles in Mascagni’s  L’amico Fritz and Gounod’s Faust both at AVA, and debuts Carnegie Hall with Mozart’s Requiem. This past summer he debuted the roles of Duca di Mantova in Verdi’s Rigoletto and Pluton in Offenbach’s Orpheé aux enfers with Opera North in New Hampshire, and performed Beethoven’s 9^th Symphony with the Ocean City Pops. Future engagements include the Verdi Requiem with Portland Opera, Ravel’s L’enfant et les sortileges with San Diego Symphony, and Mozart’s Requiem with Columbus Symphony Orchestra.

Last season Angel debuted the role of Percy in Donizetti’s Anna Bolena at the Academy of Vocal Arts, followed by his much-anticipated debut there as Conte Almaviva in Rossini’s Il Barbiere di Siviglia. Other roles he has performed at AVA include Don Ottavio in Don Giovanni, Ernesto in Don Pasquale, Gastone in La Traviata, and Triquet in Eugene Onegin.  He has also performed Rinuccio in Puccini’s Gianni Schicchi, Don Jose in Carmen, Podesta in Mozart’s La Finta Giardiniera, and Haydn’s Lord Nelson Mass with the New Jersey Master Chorale.

“Dominick Chenes’ Rodolfo, whose remarkable stamina, vocal range, and dramatic capabilities pulled the show together into a compelling dramatic arc. His fragile relationship with Mimi was complex and yet, by the end, movingly simple…”
– Bachtrack La Boheme, Welsh National Opera

Dominick Valdés Chenes
Tenor

Reviewed in the Huffington Post as a “breakout star” and “powerhouse lyric tenor”, Dominick Chenes’ engagements in 2024-25 included his Metropolitan Opera debut in the role of Greenhorn in Jake Heggie’s Moby Dick, his role debut as Erik in Wagner’s Der Fliegende Hollander with Oper im Steinbruch, and his house debut as Pollione for Oper Leipzig.  Other engagements last season included Cavaradossi with the New Orleans Opera, and Turiddu with Opera Orlando. This coming season he debuts with Lyric Opera of Chicago in A Night of Mellon Collie and Infinite Sadness, sings the role of Solano in Delius’ The Magic Fountain at the Wexford Festival, debuts Florida Grand Opera as Calaf in Turandot, and debuts the Dallas Opera in concert. In the 2023-24 season he performed Pinkerton in Boston Lyric Opera’s Madama Butterfly, Pollione in Norma with the Boston Youth Symphony, the title role of Hoffmann in Les Contes d’Hoffmann for Palm Beach Opera, and Nicias in Thaïs for Utah Opera.

Dominick’s other recent engagements include Cavaradossi in Tosca for the Metropolitan Opera (cover), his role debut as Canio in I Pagliacci for the Sacramento Philharmonic, a return to Seattle Opera for Alfredo in La Traviata, a return to the Lyric Opera of Chicago for the title role of Don Carlos (cover), Pollione in Norma for Musica Viva Hong Kong, the Verdi Requiem for the Reading Symphony, and Don José in Carmen for Palm Beach Opera.

Dominick has performed Pinkerton for Opéra Royal de Wallonie-Liège, Seattle Opera, Austin Lyric Opera, and the Lyric Opera of Chicago (cover), Alfredo for Tokyo New National Theatre, and the Pa Skaret Opera Festival in Sweden, Cavaradossi for Seattle Opera, Reading Symphony, Minnesota Opera, San Francisco Opera (cover) and Lyric Opera of Chicago (cover), Don Jose for Utah Opera, and Las Vegas Opera, Turiddu in Cavalleria Rusticana for New Orleans Opera, Carlo in I Masnadieri conducted by Maestro Roberto Abbado for the Palau de les Arts Reina Sofia, Adoniran in La Reine de Saba with Odyssey Opera, Riccardo in Un Ballo in Maschera with Austin Lyric Opera, debuted Grand Theatre de Genevre as Iopas in Les Troyens with Maestro Dutoit, and Rodolfo in La Boheme with Opera Colorado, Musica Viva Hong Kong, and the Welsh National Opera.

Dominick was awarded second prize from the Gerda Lissner Foundation, third prize from the Mario Lanza Competition and a Grant from the Licia Albanese-Puccini Foundation.  He was also a finalist in the Meistersinger Competition in Graz Austria.

“Mr. Tanner left no doubt about his prowess, singing with a firm, generously sized voice and producing clarion top nots….” – The New York Times

Carl Tanner
Tenor

Carl Tanner has established an international career performing in the world’s most prestigious opera houses including the Metropolitan Opera, Opera National de Paris, Washington National Opera, Royal Opera House Covent Garden, Deutsche Oper Berlin, Teatro alla Scala, Teatro Real Madrid, New National Theatre of Tokyo and the Gran Teatre del Liceu de Barcelona, among others. In the 2024-25 season he returns to the Metropolitan Opera as Ahab (cover) in Jake Heggie’s Moby Dick. Last season he joined The Dallas Symphony as tenor soloist in Franz Liszt’s Faust Symphony, performed Canio in I Pagliacci with Opera Carolina, and joined the Greek National Opera at the Odeon of Herodes Atticus as Cavaradossi in Tosca. His other recent engagements include the title role in Otello with the Pacific Symphony Orchestra, Florestan in Fidelio with Opera North Carolina, Tucha in Ivan the Terrible with Grange Park, and Manrico in Il Trovatore with the Toledo Opera, and Radames in Aida with Opera Grand Rapids.

In the 2018 – 2019 season Mr. Tanner performed the title role of Verdi’s Otello at the Metropolitan Opera to great acclaim. The occasion also marked Gustavo Dudamel’s house debut. Immediately prior to this, he performed Otello at the Bolshoi Opera and Savonlinna Opera Festival. Recent engagements at the Metropolitan Opera have included Radames in Aida, Turiddu in Cavaleria Rusticana, Canio in I Pagliacci, Florestan in Beethoven’s Fidelio (canceled due to COVID), Luigi in Il Tabaro (cover), Manrico (cover) in Il Trovatore, and the title role in Samson (cover).

Other notable performances include Luigi in Il Tabarro for the Royal Opera House with Maestro Pappano, Radames with the Washington National Opera, Opera Colorado, San Diego Opera, Opera de Massy, Deutsche Oper Berlin, and the Gran Teatre del Liceu, Canio in I Pagliacci with the Korean National Opera, Opera North Carolina, Otello with the Gran Teatre del Liceu, Opera Hong Kong and with the Royal Opera House (cover), and Calaf in Puccini’s Turandot with San Diego Opera.

Past performances include Tosca at Deutsche Oper Berlin, La Fanciulla del West at the Opéra Royal de Wallonie de Liège, Madama Butterfly at the Opéra National de Paris, Il Trovatore at the Semperoper in Dresden and at the Staatsoper in Hamburg, Turandot in Hamburg, Carmen at the Maggio Musicale Fiorentino under the baton of Zubin Mehta, at the Teatro alla Scala and at the Teatro San Carlo, La Gioconda in Berlin and the Teatro Real de Madrid. His Royal Opera House debut was as Cavaradossi in Tosca.

“…Tenor, WooYoung Yoon scored big, with eight pure and glorious high C’s in Tonio’s aria, “Ah, mes amis!” from the Daughter of the Regiment. Unlike famous performers of this knotty aria, Yoon didn’t rush into the climaxing ninth high C. He paused, took a big breath with a sigh, bringing friendly laughter from the audience, and then hit the rafters and held the note right into the inevitable ovation.”  The 2018 Merola finale was grand indeed.” ……. Janos Gereben-San Francisco Classical Voice

WooYoung Yoon
Tenor

Tenor WooYoung Yoon has been praised for his “soaring high notes” and a voice that “conveys nobility” – Opera News. This season he returns to San Jose Opera for the roles of Tamino in Die Zauberflöte, and Rodolfo in La Boheme. Future engagements include the title role (cover) in The Monkey King with San Francisco Opera, and Rodolfo in La Bohème for his debut with Sarasota Opera.  He joined San Jose Opera last season as the Duke in Verdi’s Rigoletto, and Romeo in Gounod’s Romeo et Juliet.  In 2023 he made his role debut as Edgardo with the New York City Opera in their production of Donizetti’s Lucia di Lammermoor and returned later in the season for a concert commemorating the heroism of Chiune Sugihara which debuted at Carnegie Hall.  Additional highlights of last season include Mozart’s Requiem for the Evansville Philharmonic and a return to the NYCO for All Is Calm.

In previous seasons he joined Maestro John Nelson for Christus am Oelberg with the Orquesta Sinfonica National de Costa Rica, made his Carnegie Hall debut as the tenor soloist in Mozart’s Regina Coeli, debuted Almaviva in Il Barbiere di Siviglia with Knoxville Opera and the New York City Opera, and performed Beethoven’s Ninth Symphony with the Lubbock Symphony. Recent performances include the title roles in Les contes d’Hoffmann as a guest with Opera Theater Rutgers, and Le Damnation de Faust with Maestro Nelson and the Orquesta Sinfonica National de Costa Rica.

A 2018 Merola Young Artist, he returned to San Francisco Opera the following season for a recital in the Schwabacher Recital Series, before joining the New Jersey State Opera as Rodolfo in La Boheme.  He made his role debut as Don José in Carmen for the Trentino Music Festival, a role he later reprised for the Martina Arroyo Foundation. At the Manhattan School of Music, he performed the Mozartian roles Ferrando in Cosi fan tutte, Tito in La Clemenza di Tito, and Belmonte in Die Entführung aus dem Serail.

WooYoung will be heard in the final round of the 2023 Viñas competition in Barcelona in January. Among his numerous awards, he is a 2022 Opera Index Awards winner, A 2019 Grand Prize Winner in the Orpheus Competition, a Metropolitan Opera National Council Eastern Regional Finalist, a finalist in the Harbin competition, a semi-finalist in the Zachary Competition, winner of the Grand Prix Prize at the Talents of the World Voice Competition as well as the Audience Favorite Award, 3rd place winner in the Marcella Sembrich International Voice Competition, and a prize winner in the Altamura/Caruso International Voice Competition.