
JONATHAN EATON
Artistic Director of Lyric Arts France and Festival Opéra Bastide
Jonathan Eaton has directed widely in opera houses throughout North America and Europe. His productions ran at New York City Opera for fifteen years and included Turandot, Carmen, and Cavalleria Rusticana and I Pagliacci, which were televised for nationwide broadcast on “Great Performances Live from Lincoln Center.” Other companies he has worked for in the US include Chicago Lyric, San Francisco, Philadelphia, Dallas and San Diego operas, with multiple productions at the Santa Fe and Spoleto festivals. In Canada he has directed for the Canadian Opera and Vancouver Opera; in Britain, the Royal Opera Covent Garden, English National, Welsh National and Opera North; in Germany, the Hannover, Würzburg Dessau and Bielefeld operas, and multiple productions for the Bochumer Symphoniker and Ruhr Triennale. Other European companies include The Netherlands Opera and in France the operas of Nantes, Lyons and Nancy.
He served as Artistic Director of Pittsburgh Festival Opera for 20 years, directing more than forty productions. Among these were a series of Kurt Weill works with conductor Julius Rudel, including Lost in the Stars and the American premiere of Die Bürgschaft, which was also featured in the Weill Festspiele in Dessau Germany. In addition Eaton led a historic revival of Duke Ellington’s Beggar’s Holiday, and presented Daron Hagen’s Shining Brow, an opera about Frank Lloyd Wright, on the terraces of Fallingwater. He created Pittsburgh’s first Ring Cycle in Jonathan Dove’s reduced orchestration with the Pittsburgh Symphony Orchestra.
In addition to his work for Pittsburgh Festival Opera, Eaton served as Artistic and Stage Director of !SING—DAY OF SONG for Ruhr 2010 Cultural Capital of Europe. He led a series of projects over three years encouraging singing, which culminated in June 2010 with more than a million people singing in 53 cities simultaneously, 500 choral concerts and a fully-staged mega-concert with 58,000 singers which he directed in the Schalke football stadium, and which was televised by WDR and broadcast across Europe.
Eaton currently serves the University of North Texas as Director of Opera and Bill and Margot Winspear Chair in Opera Studies. He was also Professor of Opera at CCM in Cincinnati, and Director of Opera at Carnegie Mellon University and the Cleveland Institute of Music.

ANNEMARIE KREMER
Soprano, Special Guest of Honor
Annemarie Kremer studied singing and piano at the Maastricht Conservatory, and later dance. She made her debut at ILIA at the Stadttheater Aachen in Mozart's Idomeneo. Since then she has been singing at the most prestigious opera houses in Europe and the world. Recently she had great personal successes as Isolde at the Opéra de Lille, Heliane at the Nederlandse Reisopera, Salome at the Opera Leipzig, Wozzeck (Marie) at the Opéra de Monte Carlo and Gran Teatre del Liceu in Barcelona, Salome at the State Opera House in Budapest, Macbeth (Lady Macbeth) at the Felsenreitschule Salzburg, Manon Lescaut at the Deutsche Oper Berlin conducted by Sir Simon Rattle, Isolde at the State Opera House of Karlsruhe, Violanta at Teatro Regio di Torino, and Ariadne auf Naxos at the Nederlandse Reisopera.

STEPHEN DUBBERLY
Coach and Musical Director
Stephen Dubberly is a faculty member in the division of vocal studies at the University of North Texas, where he coaches singers and teaches courses in diction and vocal repertoire. He served as UNT Opera’s music director for 19 years. He has conducted for Opera Theatre of Saint Louis, Fort Worth Opera, Des Moines Metro Opera, Knoxville Opera, San Antonio Opera, Opera in the Ozarks, Abilene Opera, Amarillo Opera, Utah Lyric Opera, Red River Lyric Opera, Opera Breve, American Bel Canto Opera, Teatro Goldoni (Venice), and Teatro Accademico (Castelfranco, Italy).
Stephen currently serves as artistic director of Dallas-based Opera in Concert and Opera in Concert in Italy. He has taught and coached extensively throughout the United States as well as in Canada, México, Costa Rica, Italy, and South Korea. He was associate conductor and chorus master for Fort Worth Opera for eight years.
Stephen has collaborated with numerous singers, including Kelly Anderson, Audrey Babcock, Kevin Burdette, Duane Croft, Richard Croft, Mignon Dunn, Kallen Esperian, Elizabeth Futral, Christine Goerke, Denyce Graves, Anthony Rolfe Johnson, Matthew Polenzani, David Portillo, Melanie Sonnenberg, David Sundquist, Arthur Woodley, and Stella Zambalis.
Stephen began his musical training in Mercedes and Montevideo, Uruguay, and received MM and DMA degrees from Yale University.

FRANÇOIS TESTORY
Stage director
After finishing his training at Maurice Béjart’s School, Mudra, director/actor/dancer François Testory turned down the opportunity to join Ballet Du XXième Siècle and instead, ran away, as he likes to say, with the circus, to join the legendary Lindsay Kemp Company. He has collaborated in the creation of an array of shows, concerts and arts performances such as: Neil Bartlett and Nicolas Bloomfield’s musicals Sarrasine and Night After Night at Royal Court London; Christopher Bruce’s God’s Plenty and Cruel Garden for Ballet Rambert, DV8’s The Cost Of Living; S. Vincenze and F. Bock’s L’Altrove; Rose English’s Ornamental Happiness; Punch Drunk’s The Drowned Man; Gecko Physical Theatre’s The Overcoat, Missing and The Institute, La Messe De Nostre Dame (G. de Machaut) with the polyphony ensemble Graindelavoix; Serena Korda’s art installation Decosa Tradition and Laid To Rest; David Glass’ Mortgage and L. Bernstein’s musical On The Town. François has also collaborated as a vocalist with electro-bands Laniakia, Coil and Von Manget and has produced two solo performances Empire, A Song and Dance Consideration with Simon Vincenzi and Medea, Written In Rage a monologue written by Jean René Lemoine, directed by N. Bartlett.

DAVID ŠTECH
Coach / Musical Director
David Štech is a distinguished conductor renowned for his extensive experience with opera, symphony orchestras and choral groups. He has held roles such as Associate Conductor for the dell’Arte Opera Ensemble and the New York Lyric Opera. He is Music Director Emeritus of the American Opera Group in Chicago and the Astoria Symphony Orchestra in New York City. He was Assistant Conductor at Sarasota Opera and the long-time Assistant Conductor and Chorus Master at St. Petersburg Opera. David’s recent guest conducting engagements include The Florida Orchestra and Brooklyn Ballet.
In the realm of education, Štech is the founder and Artistic Director of the New York Conducting Institute. His dedication to pedagogy is further evidenced by his tenure at the University of Illinois Chicago, Roosevelt University, and, notably, the Manhattan School of Music, where he taught for eight years.
He began his academic journey at California State University, Chico, earning a Bachelor of Arts in Organ Performance and a minor in Choral Conducting. Subsequently, he secured his Master of Music in Orchestral Conducting from Northwestern University and a Professional Studies Diploma in Collaborative Piano from the Manhattan School of Music. His commitment to musical excellence has been acknowledged through fellowships at the Tanglewood Music Center and the Chicago Civic Orchestra.

FACUNDO NAHUEL AGUILAR
Assistant Director, Les Fantastiques
Facundo Nahuel Aguilar is a passionate and dedicated aspiring stage director currently in his third year at the prestigious Institute of Advanced Studies in Art - Teatro Colón (ISATC). With a background in opera stage direction, dance, and theater, he has cultivated a diverse set of skills that complement his creative vision.
Facundo has collaborated with esteemed directors and production teams across Argentina and internationally, contributing to operatic and theatrical works that resonate with audiences. His experience includes assisting in productions of Puccini's Gianni Schicchi and Suor Angelica, as well as Mozart's Die Zauberflöte, under the guidance of renowned directors in Berlin.
With a meticulous approach to staging and a deep respect for the art form, Facundo brings enthusiasm, adaptability, and a collaborative spirit to every project he undertakes. As Assistant Director at this festival, he is committed to supporting the director's artistic vision while ensuring the seamless execution of each production element.
Facundo’s expertise in choreography, set coordination, and dramaturgy, combined with his technical proficiency, enables him to be a valuable asset to any creative team. His work reflects his dedication to storytelling and his aspiration to contribute meaningfully to the world of opera and theater.

JEFF MARTIN
Coach
Based in Germany, the American tenor Jeff Martin has established himself as a most versatile performer on the operatic, as well as the concert stage. His command of languages and diversified repertoire have earned him success in a multitude of genres, from Bach's Passions to operas of the 20th and 21st century.
In recent years he has had the privilege to work with stage directors such as Dmitri Tcherniakov (Lady Macbeth of Mtsensk—Lyon), David Bösch (Die Gezeichneten—Lyon), Yoshi Oida (Peter Grimes—Lyon), John Fulljames (Benjamin, dernière nuit—Lyon), Stephen Lawless (Der Rosenkavalier—Bolshoi), and Keith Warner (Wahnfried—Karlsruhe). In collaboration with conductors including Kazushi Ono, Peter Rundel, Bernhard Kontarsky, Alejo Perez, Arthur Fagan, Friedemann Layer, and John Nelson, Jeff Martin has enjoyed great success with his interpretations roles including Mime and Loge (Der Ring des Nibelungen), David (Die Meistersinger von Nürnberg), Herodes (Salome), Hauptmann (Wozzeck), and Evangelist (St. Matthew Passion)
Equally at home in the field of contemporary music, Jeff Martin has been entrusted with major roles in four world premieres since September 2015. As 1st Inquisitor in Giordano Bruno by Francesco Filidei (T&M Paris, Rundel/Gindt), as Berthold Brecht in Benjamin, dernière nuit by Michel Tabachnik (Opéra de Lyon, Kontarsky/Fulljames), as Mönchsfisch in Paradis by Nana Forte (Landestheater Bregenz, Lack/Pison) and Houston Chamberlain in Wahnfried by Avner Dorman (Staatstheater Karlsruhe, Brown/Warner).
After completing his studies in Princeton and Cincinnati, Jeff Martin began his European career in Germany, where he continues to build an ambitiously varied repertoire. He has performed in many important opera and concert halls including Bolshoi Theater Moscow, Opéra de Lyon, Staatsoper München, Staatsoper Stuttgart, Staatsoper Dresden, Staatsoper Hamburg, Oper Köln, Opéra National du Rhin Strasbourg, Cathedral of Notre Dame (Ensemble Orchestral de Paris), Staatstheater Nürnberg, Theater Dortmund, and Nationaltheater Mannheim.

KARA CORNELL
Mezzo soprano, Coach
New York native Kara Cornell (she/her) is a versatile opera, musical theater and concert performer who is known as "a singer who can balance impeccable production and phrasing with enthusiastic and colorful dramatics." (Berkshire Review for the Arts) Her intuitive acting skills and expressive portrayal of roles has hailed her "accomplished and electrifying" (Opera Insider) with roles ranging from a "totally endearing" Cinderella (St. Petersburg Times) to a "seductive, wounded, damaged and dangerous" Carmen (The Troy Record).
Classic operatic roles that Kara has recently performed include CARMEN (Hubbard Hall Opera Theater NY, Opera Theater of Pittsburgh, Long Island Opera, St. Petersburg Opera FL), "Orfeo" in ORFEO ED EURIDICE (Opera Theater of Pittsburgh, Mosaic-Arts NY), “Sesto” in GIULIO CESARE (Upstate Chamber Opera NY), "3rd Lady" in THE MAGIC FLUTE (Opera Saratoga) and "Rosina" in IL BARBIERE DI SIVIGLIA (Raylynmor Opera NH, St. Petersburg Opera FL, Center City Opera PA, Utah Festival). Contemporary roles performed include "Dinah" in TROUBLE IN TAHITI (Union Avenue Opera MO, Resonance Works | Pittsburgh, Indianapolis Chamber Orchestra), "Minskwoman" in John Dove's FLIGHT (Opera Fayetteville), "Eliza Doolittle" in MY FAIR LADY (Smithtown Center for the Performing Arts NY, CM Performing Arts Center), "Cinderella" in INTO THE WOODS (St. Petersburg Opera), "Beth" in MERRILY WE ROLL ALONG (Theater Co. at Hubbard Hall), "Jo"/"Alma" in LITTLE WOMEN (Center City Opera/Pittsburgh Opera) and the lead role of "Isabelle Eberhardt" in Missy Mazzoli's SONG FROM THE UPROAR (Opera Ithaca). Other musical theater productions of note include primary roles in COMPANY, A LITTLE NIGHT MUSIC, JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT, THE SECRET GARDEN, LITTLE SHOP OF HORRORS, THE SOUND OF MUSIC, THE MOST HAPPY FELLA and PIPPIN.
Kara has over 20 years experience teaching and mentoring singers in the musical theater, classical, choral, pop and rock genres. Since 2023 Kara has been a full-time voice professor in the Department of Music & Musical Theatre at State University of New York at Geneseo, with past experience teaching most notably at Carnegie Mellon University, East Carolina University, Seton Hill University and Russell Sage College.

MUNTZUNG WONG
Coach and pianist
Recognized for her artistry and musical versatility, Mun-Tzung Wong leads a professional career as a pianist, conductor, mezzo-soprano, vocal and instrumental coach, and pedagogue. Ms. Wong is currently the Music Director of the Riverdale Choral Society in New York City and Music Director and Choirmaster at St. John’s Anglican Church in Passaic. Recently, she was the guest conductor of Donizetti’s Anna Bolena with Dell’arte Opera Ensemble. She has served as assistant conductor at the International Vocal Arts Institute, St. Petersburg Opera Company, New Rochelle Opera, Regina Opera, Norwalk Symphony Orchestra, Missouri Symphony Orchestra, Macau Youth Symphony, and Orchestra dell’Opera di Parma.
MunTzung has seamlessly combined her roles as a conductor and pianist. She has appeared as a pianist on WQXR and performed at venues such as Carnegie Hall, Symphony Space, Alice Tully Hall, Steinway Hall, and Lincoln Center. Featured in an article on music entrepreneurship in Forbes Magazine, Ms. Wong is the founding executive director of the New York Conducting Institute. She maintains a private instrumental and vocal coaching studio in New York City.
Ms. Wong received a Bachelor of Arts in Piano Performance from The Chinese University of Hong Kong and earned diplomas from the Royal School of Music and Trinity College, London. She obtained two advanced degrees in Piano Performance from the renowned Manhattan School of Music and has participated in myriad masterclasses and workshops, studying under luminaries such as Nicholas Mann, André-Michel Schub, David Krakauer, Larry Rachleff, Donald Schleicher, and Paul Nadler.

ANNE MAUGARD
Mezzo-soprano
Alongside piano, harpsichord, and musicology studies (Master's-Sorbonne IV), Anne Maugard also studies singing in Italy with soprano Gabriella Ravazzi and in France with Lionel Sarrazin. She has been honing her skills for the past 5 years with Jacques Chuilon.
As a mezzo-soprano, she is regularly invited by ensembles such as Pierius (Christophe Gautier), Macadam Ensemble (Etienne Ferchaud), Pygmalion (Raphaël Pichon), Les cantates spirituelles (Mickaël Durand-Gaëlle Coulon), Le concert étranger (Itay Jedlin), Stiftsmusik Stuttgart (Kay Johannsen), Les Musiciens du Louvre (Marc Minkowski), Les arts florissants (William Christie - Paul Agnew), Les Siècles (François-Xavier Roth), le Choeur de Chambre de Namur (Patrick Davin - Christophe Rousset - Leonardo Garcia Alarcon), with whom she tours extensively and records (repertoires ranging from the Renaissance period to Romantic music).
Since 2001, she has been regularly participating in festivals in France and abroad (Ambronay, Beaune, Utrecht, Bach Vokal Stuttgart, International Gluckfestspiele Nürnberg). She performs in major European concert halls: Concertgebouw in Amsterdam, Konzerthaus in Vienna, Auditorio Nacional in Madrid, Philharmonie in Luxembourg, London Barbican Center, Théâtre du Châtelet, Théâtre de Champs-Elysées, Salle Pleyel, Cité de la Musique, Opéra Garnier.
She interprets roles in operas by Vivaldi, Handel, Gluck, Mozart, and Rossini, as well as works by Monteverdi, Carissimi, Scarlatti, Lotti, Caccini, Bach, and Haydn.
Bach, her favorite composer, is the subject of a record of airs for obligate instruments released by Quantum Classic in 2010. She has also recorded Orlando Di Lasso's Magnum Opus Musicum with La Fenice, a Charpentier-Couperin record with Les Demoiselles de Saint-Cyr (Ambronay label), a record dedicated to Henry Du Mont under the direction of Bruno Boterf, the Lamentazione record with Les Arts Florissants released by Erato, and many others.
She created the role of the Angel in Schau nicht zuruk Orfeo by Stefan Hackenberg, directed by Nina Kühner (with Frances Pappas in the role of Orpheus) in 2010 at the International Gluckfestspiele in Nuremberg and participated in the latest creation of Régis Campo for the Pierius ensemble in 2018 at the Church of Val de Grâce. She is preparing a show on Wine and the Divine with the Hope ensemble (soprano, mezzo, electronic, and Cristal Baschet), as well as a baroque/electro album with composer Marc-Antoine Millon for 2022/2023.
Artistic coaching, teaching, and direction: trained in artistic coaching at the Harmoniques training center in Paris, directed by Jean-Francis Zermati, she collaborates on various projects of musical theater, operas, and multidisciplinary creations (actor work, interpretation, staging, preparation of singers, choirs, and ensembles). She teaches singing, choral singing, and the interpretation of early music (basso continuo, choir direction, and baroque music ensemble) at the Conservatoire Départemental de l'Aveyron since October 2021. Regularly invited for juries, she also gives masterclasses in summer as part of the Antiphona Academy in Toulouse.
Stage direction: she works notably with the Alla Voce company on their shows Cello’péras and La ballade d’Orphée. She directs projects for the Académie Musicale du Rouergue, Actéon by Charpentier (2013), Pygmalion by Rameau (2014). For the same year, she also prepared the staging and the title role of Dido and Aeneas by Purcell with the Choeur de Chambre des Deux-Sèvres directed by Anne Koppé and Le Festin d’Alexandre, a baroque music ensemble from Niort, six performances were given in Nouvelle Aquitaine in 2021/2022.
Eclectic in her tastes and practices, she has been a guest artist of the Balkanes group since January 2018, whose voices are present on the latest album by André Manoukian, Anoush.