Lyric Tenor Ziwen Xiang was born into a musical family in Hunan, China, and learned piano and singing from his father. He also studied ballet, Chinese classical dance, and then modern dance. After graduating with a Bachelor’s in Beijing, Mr. Xiang worked for China National Opera House (or China Central Opera) for five years, becoming a principal soloist. During this period, he performed operas and concerts in Italy, Syria, Turkey and other countries in Europe.
In July 2014, at the recommendation of Maestro James de Blasis, former artistic director of the Cincinnati Opera, Mr. Xiang made his U.S. opera debut as Alfredo in Verdi's La Traviata in Martina Arroyo's Young Artist Prelude Development Program in New York City. He then studied at Manhattan School of Music, in the studios of Joan Patenaude-Yarnell and Marlena Malas. He earned a Master's Degree in Voice in May 2016.
His opera credits include: Rodolfo in La Bohème and Prunier in La Rondine by Giacomo Puccini, Alfredo in La Traviata and the Duke in Rigoletto by Giuseppe Verdi; Fenton in The Merry Wives of Windsor by Otto Nicolai and Ernesto in Don Pasquale by Gaetano Donizetti. In addition, he was cover tenor soloist in Mozart's C Minor Mass and Verdi's Requiem, conducted by Mr. Kent Tritle, the music director of the prestigious Cathedral of St. John the Divine.
Opera conductor Maestro Anton Coppola loved his voice and musicality. The Italian national treasure, Artistic Director of The Roma Opera House, Maestro Rolando Nicolosi said to him: "You are absolutely a great pure Italian Tenor!" Currently, Mr. Xiang is studying with Diana Soviero, one of the greatest sopranos in the world, while holding performances in New York City.
Ziwen Xiang , Tenor
Amanda Rose Austin, SOPRANO
Soprano, Amanda Austin performs a wide range of repertoire from opera and art-song to musical theatre and contemporary works. This season Mrs. Austin will make her European debut in Sakrale Oper Berlin’s production of Dialogues des Carmélites as Blanche de la Force. Her recent roles include Norina in Don Pasquale, Suor Genovieffa in Suor Angelica, and Carolyn Bryant in the workshop premiere of Emmett Till by Mary D. Watkins & Clare Coss. In her ardor for contemporary works, Mrs. Austin has recently performed with Wynton Marsalis & The Chorale Le Chateau in Abyssinian Mass: A Gospel Celebration and premiered “Songs from Distant Planets” and “The Unshadowed Shore”, soundscapes by Peter Andreacchi. In 2016, Amanda participated in Songfest at Colburn's professional development program, collaborating with and performing alongside Libby Larsen, John Musto, Martin Katz, Margo Garrett, and Roger Vignoles. Amanda is the recipient of The Provost Award for Academic Excellence and Merit Scholarship from The Manhattan School of Music, Rising Star Award from The Magic Circle Opera & Repertoire Ensemble, John A. Plumber Memorial Scholarship and Sorel Foundation for Women in Music scholarship & PR/Artist Management Internship. Amanda holds a bachelors degree from The Manhattan School of Music where she is currently a first year masters degree candidate under the tutelage of Marlena Malas.
Kenneth Merrill, Pianist
Kenneth Merrill, pianist, harpsichordist, and conductor, is currently on the coaching faculty of The Juilliard School’s vocal arts department. He is also a faculty member of the Manhattan School of Music, where he teaches accompanying and song repertoire. He has collaborated in concert with such artists as Gérard Souzay, Anna Moffo, John Aler, Anthony Dean Griffey, Charlotte Hellekant, Jennifer Aylmer, Randall Scarlata, Faith Esham, Ruth Golden, Jeanette Thompson, and William Ferguson. Mr. Merrill specializes in many styles, from the early Baroque, the operas of Mozart and bel canto composers, to the operas of Britten. As a conductor of opera he recently led Mozart’s Don Giovanni with the Nevada Opera. He has conducted Handel’s Giulio Cesare with the Maryland Opera Studio, Britten’s A Midsummer Night’s Dream, Thomson’s The Mother of Us All, Puccini’s Gianni Schicchi, and Wolf-Ferrari’s Le donne curiose with the Juilliard Opera Workshop, and Britten’s The Rape of Lucretia, Poulenc’s Les mamelles de Tirésias, and Ravel’s L’enfant et les sortilèges at the Manhattan School of Music. He has been associated with the Aspen Music Festival and School since 1980.
B i o g r a p h y
