Danielle Orlando is an accompanist to international opera singers and a vocal coach and artistic consultant to prestigious musical organizations throughout the world. She has appeared with esteemed singers in such venues as the Phillips Collection, Théatre du Châtelet, and Carnegie Hall; and for the United States Supreme Court, the Schubert Club, Vocal Arts D.C., Music at the Morgan Library, Good Morning America, Live with Regis and Kathie Lee, The Rosie O’Donnell Show, and many many more. She also appears in the documentary The Audition. Ms. Orlando has performed recitals for the Harriman-Jewell Series and has appeared at the Florida Opera and Astoria Music festivals, Festival Castell de Peralada (Spain), and Festival International Hautes-Laurentides (Canada).
Ms. Orlando served as accompanist, judge, and artistic coordinator for the Luciano Pavarotti International Voice Competitions and worked with Gian Carlo Menotti at the Festival dei Due Mondi for nine seasons. She was the artistic administrator and head of music staff for the Opera Company of Philadelphia and has served on the music staffs of the Metropolitan, Washington National, and San Francisco operas; Teatro Colón in Buenos Aires; Dresden Semperoper; and Savonlinna Opera Festival.
Ms. Orlando is a guest judge for the Metropolitan Opera National Council Auditions and a guest coach for the Domingo-Cafritz and Palm Beach young artist programs. Recent residencies include Curtis Summerfest, the University of Tennessee—Knoxville, and the Peking University Academy of Opera in Beijing. She will lead master classes at the Shanghai Conservatory of Music in Summer 2018.
Ms. Orlando holds bachelor’s and master’s degrees from Temple University, where she studied with Harvey Wedeen and Lambert Orkis. She also studied at the Eastman School of Music with David Burge. Ms. Orlando joined the faculty of the Curtis Institute of Music in 1986, and is also master coach at the Academy of Vocal Arts.
Kirsten Chambers made her Metropolitan Opera house debut on short notice in 2016 in the title role of Salome. Her Carnegie Hall debut came on just two days’ notice when she sang the fiendishly difficult role of Maria in Richard Strauss’ Friedenstag with the American Symphony Orchestra. Her 2016-17 season started when she joined the roster of the Metropolitan Opera for the first time this fall as a cover of Isolde in Tristan und Isolde.
Upcoming highlights include the title role in Die Ägyptische Helena in a return to Odyssey Opera in Boston, a return the Metropolitan Opera roster to cover Helmwige in Die WalkÜre and creating an innovative new opera with White Snake Projects called "I am a dreamer who no longer has dreams".
Engagements include Infantin in Der Zwerg with Odyssey Opera in Boston, the Angel in Angels in America for New York City Opera, Erwartung with The Orchestra Now, and the title role of Salome with Florida Grand Opera.
Baritone Luis Ledesma has established a reputation as a "rich and well controlled baritone (Opera News). He frequently portrays the heroes and villains of Puccini, Verdi and the bel canto masters as well as roles in recent new works in Spanish including Florencia en el Amazonas and El pasado nunca se termina.His operatic and concert career has advanced in Europe, the United States and South America and includes theaters such as Teatro alla Scala (Luisa Fernanda), the Liceu in Barcelona (Alphonse in La favorite, Riccardo in I puritani and Marcello in La bohème), Klangbogen Festival in Vienna (Leoncavallo's La bohème), Wexford Festival (Don Pasquale), Teatro Municipal de Santiago (Escamillo), Semperoper in Dresden (Marcello), several roles for Koeln Oper (including Don Carlo and Germont), Teatro Colon in Buenos Aires (Figaro in Il barbiere di Siviglia)
Bellas Artes in Mexico City (Marcello, Germont, and Escamillo ), Macau Festival (Sharpless), Teatro Nacional de Sao Carlos (Marcello), Graz Oper (Escamillo), L’opera de Montreal (Jack Rance in La fanciulla del West), Manitoba Opera (Escamillo), Opera Lyra Ottawa (Tonio), the Philadelphia Orchestra (Marcello in a concert version of La boheme and Beethoven Nine) and the Savonlinna Opera Festival (Enrico in Lucia di Lammermoor and Escamillo), Bucharest National Opera (Scarpia) and Hungarian State Opera (Alfio and Tonio).
In the United States, Mr. Ledesma has sung with many companies, including Houston Grand Opera, Lyric Opera of Chicago, San Diego Opera, Palm Beach Opera, Florida Grand Opera, Washington Opera, New York City Opera, Arizona Opera, Michigan Opera Theatre, Atllanta Opera, Santa Barbara Opera, Anchorage Opera, Santo Domingo, Madison Opera, Nashville Opera, Portland Opera, Indianapolis and Connecticut Opera, Opera Pacific, Lyric Opera of Kansas City, Opera Carolina, Memphis Opera, San Antonio Opera, New Jersey Opera, Minnesota Opera, Florentine Opera, and Hawaii Opera. He also sang two tours with Andrea Bochelli, performing in famous venues such as Madison Square Garden, Hollywood Bowl, Hard Rock Café in Hollywood, Florida, and the Auditorio Nacional Mexico City.
The 2017-2018 season begins with performances of Figaro in Il barbiere di Siviglia for the Astoria Music Festival. Mr. Ledesma will make two new role debuts in the fall, Zurga in Les Pêcheurs de Perles with Toledo Opera followed by El Duende in Piazzola's Maria de Aires for Nashville Opera. Last season featured performances of Florencia en el Amazonas with NYCO and Sinfonica Nacional del Estado de Mexico, Madama Butterfly for Palm Beach Opera and Il barbiere di Siviglia in San Antonio.
Mr. Ledesma made his Carnegie Hall debut in the Faure Requiem and returned for Dvorak’s Te Deum. He has sung Beethoven’s Ninth Symphony at the Mann Music Center with The Philadelphia Orchestra and with The Chamber Orchestra of Philadelphia. He has performed a variety of orchestral repertoire including Mozart's Coronation Mass, Orff's Carmina Burana with the Louisville Orchestra, a series of Christmas concerts in Hannover with the NDR Radiophilharmonie and a Verdi concert presented in Die Alte Opera Frankfurt. He also performed Beethoven’s Ninth Symphony for the Filarmonica de Jalisco and Gala concerts with Tampa Opera and with Festival Cultural Zacatecas, and a solo with Festival Classique des Hautes-Laurentides in Mont-Tremblant, Canada. His concert performances include La bohème (Marcello) at the Vail Festival and the Mann Music Center with The Philadelphia Orchestra and Beethoven’s Ninth Symphony and Handel’s Messiah in Spain with the Orquesta Sinfonica de Asturias.
Born and raised in New York, Composer/Vocalist/Conductor Charles Coleman has lived an extraordinary musical life that began as a boy soprano in the Metropolitan Opera and most recently triumphed when the London Symphony Orchestra performed his two works Drenched and Bach Inspired.
Coleman has written more than 100 compositions starting with Five Songs of Mother Goose (1993) for Soprano and Piano which was published by Vanguard Music in 1993. Young Words for Chamber Ensemble was commissioned in 1995 by Litchfield Performing Arts of Connecticut and was choreographed by the Pilobolus Dance Company.
After his funky Rut Strut for Chamber Ensemble was performed in the New York Public Theatre’s Joe’s Pub in 2000, Coleman received a commission to write a major symphonic work celebrating the opening of The Cincinnati Symphony Orchestra’s 2001-2002 season with its then new Music Director, Paavo Järvi. Streetscape for Full Orchestra – a furious walk through the streets of Coleman’s native Manhattan, was first performed on September 14, 2001 in Cincinnati, three days after the destruction of the World Trade Center.
More commissions followed including Pavement (2002) with the Dogs of Desire chamber orchestra conducted by David Alan Miller. Red Oak Dawn (2006) premiered by New Jersey Symphony conducted by Neeme Järvi. His Violin Concerto (2013) commissioned by Violinist, Tatiana Berman and the Constella Music Festival. And his orchestral works Drenched (2018) and Bach Inspired (2018) commissioned by the MDR Symphony Orchestra of Leipzig and later that year, performed by the London Symphony Orchestra led by Kristjan Järvi.
In early 2007, Coleman spent five weeks as the resident composer of the Cincinnati Symphony teaching, composing and lecturing as part of "Music Alive," a program that partners the "Meet the Composer" Foundation with the American Symphony Orchestra League. The main event of this residency featured the Cincinnati Symphony commissioned world premiere of his Deep Woods, performed on May 3, 2007 at the CSO Music Hall conducted by Paavo Järvi. Coleman returned to New York the following week to premiere his new chamber opera, Redemption, commissioned by Golden Fleece Ltd.
Coleman’s work appears on many recordings, notably “Absolute Mix” (CCn’C 00702) which won the German Record Critics Award in the year 2000. He's a regular composer and performer with Composer Concordance based in New York.
Marc Moncusí ha dirigido la Orquesta Sinfónica de Beijing, Orquesta Filarmónica de la
Ciudad de México, OFUNAM (Ciudad de México), Orquesta Filarmónica de Denver,
Orquesta Sinfónica del Estado de México, Orquesta Sinfónica de Barcelona y Nacional
de Cataluña, Orquesta Sinfónica del Teatro Nacional Claudio Santoro de Brasilia y la
Orquesta Sinfónica do Paraná en los conciertos conmemorativos de la Semana de
Europa 2014 en Brasil, Orquesta Sinfónica de Haifa, Orquesta de Cámara de
Florencia, Orquesta Filarmónica de Silesia (Polonia), Orquesta Filarmónica de Wuhan
(China), Orquesta Sinfónica Nacional de Chile, Orquesta Sinfónica de Entre Ríos
(Argentina), Orquesta Sinfónica de El Cairo, Orquesta do Norte (Portugal), Orquesta
Sinfónica de la UANL en Monterrey, Orquesta Sinfónica de Aguascalientes (México),
Orquesta Sinfónica de la Universidad de Guanajuato (México), Orquesta de Cámara
de Bellas Artes (México), Orquesta Sinfónica de San Luis Potosí (México), Orquesta
Sinfónica del Estado de Michoacán (México), The Hotchkiss Philharmonic (EEUU),
Orquesta Sinfónica de Yucatán (México), Orquesta Filarmónica de Zacatecas
(México), Orquesta Juvenil Universitaria Eduardo Mata (Ciudad de México), Orquesta
Sinfónica Sinaloa de las Artes (México), clases magistrales con la Orquesta del
Conservatorio Nacional de Música de México, Orquesta Internacional Virtuosos de
Madrid en el marco del 19 Concurso Internacional de Piano “Compositores de España”
donde también fue miembro del jurado, “Grupo Enigma” Orquesta de Cámara del
Auditorio de Zaragoza, Harmonie Ensemble-Orchestra, Strauss European International
Orchestra, Orquesta de Cámara de La Habana, Orquesta Sinfónica del Gran Teatro de
La Habana, Orquesta Filarmónica de Medellín, Joven Orquesta Nacional de Cataluña,
Orquesta Sinfónica Nacional de Cuba, Orquesta Sinfónica Nacional Juvenil de Chile,
Solistas de la Civic Orchestra of Chicago, etc.
En el año 2001, Marc Moncusí fue director asistente de Julius Rudel en
Pittsburgh en la primera producción mundial en inglés de la ópera “Die
Bürgschaft” de Kurt Weill y en el 2011 fue director asistente en el Teatro de La
Zarzuela de Madrid y en el Gran Teatro del Liceo de Barcelona en el estreno
mundial de la ópera “Yo, Dalí” de Xavier Benguerel bajo la dirección de Miquel
Ortega. Ha dirigido la Orquesta de la Volksoper de Viena y Sinfónica de Munich
como asistente de David Giménez en el Belcanto Concert Tour 2015 con Diana
Damrau y Nicolas Testé. En el campo operístico ha dirigido Madama Butterfly
(Gran Teatro de La Habana, 2012), El Barbero de Sevilla (Medellín, 2014), Doña
Francisquita (Medellín, 2016), así como las grabaciones de las óperas de cámara
“El Paradís de les muntanyes” y “URBS” de Jesús Rodríguez Picó con el
Barcelona Modern Project.
El 2004 fundó el Barcelona Modern Project con el que tiene grabados diversos CDs;
unos monográficos de Xavier Benguerel, J.M. Mestres Quadreny, Anna Bofill y José
Luis de Delás; un CD de primeras grabaciones mundiales de unos conciertos inéditos
de L. Balada, J. Rodríguez Picó y J. Guinjoan; un CD grabado en directo en diciembre
del 2008 en el MNCARS de Madrid, así como un monográfico dedicado a la figura del
compositor Cristóbal Halffter grabado en directo por Radio Bremen en la Sendesaal de
Bremen en Octubre del 2010 y producido por el Instituto Cervantes.
Con el Barcelona Modern Project ha actuado en Viena (Festival Spanien Modern 2009
y 2011), Auditorio del MNCARS de Madrid en el ciclo del CDMC, Sala Mompou de
Barcelona, Auditorio de la Fundación Catalunya La Pedrera (Barcelona), Fundación
Miró de Barcelona, Sendesaal de Bremen en el ciclo Polifonía de Compositores
organizado por el Instituto Cervantes (Bremen 2010), Festival Aujord ́hui Musiques
2010 de Perpignan, etc.
Marc Moncusí ha trabajado con artistas de la talla del trompista Abel Pereira, la
soprano Ximena Agurto, las mezzos Mónica Danilov y Ana Häsler, los pianistas
Raphael Lustchevsky, Zbigniew Raubo, Fabio Witkowski y Cecilio Tieles, los
guitarristas Raúl Zambrano, Jay Sorce y el Cuarteto Sensemayá, los violinistas Adrian
Justus, Evelio Tieles, Salma Sorour, y Emanuel Salvador, los violonchelistas Asaf
Kolerstein y Adolfo Ramos, la violista Felisa Hernández, los tenores Antoni Comas,
Francesc Garrigosa, Ricardo Bernal, Oscar Marín, Nester Martorell y Jesús Álvarez, el
gran barítono argentino Omar Carrión y Lluís Síntes, el oboísta israelí Yigal Kaminka,
la flautista Mariaceli Navarro, los directores de escena Carlos Palacios, José Darío
Marc Moncusí ha dirigido en auditorios como el National Center of Performing Arts de
Beijing, Qintai Concert Hall de Wuhan (China), Teatro Cláudio Santoro de Brasilia,
Palacio de Bellas Artes de Ciudad de México, Sala Nezahualcóyotl de Ciudad de
México, Gran Teatro de la Habana, Ópera de El Cairo, Centro Cultural Ollin Yoliztli de
Ciudad de México, Sala Felipe Villanueva de Toluca (México), Teatro Universitario de
la UANL (Monterrey, México), Herzliya Center for Performing Arts (Israel), Teatro
Metropolitano de Medellín, Sendesaal de Bremen, Silesian Philharmonic Concert Hall,
Katherine M. Elfers Hall (Lakeville, EEUU), etc.
Desde la temporada 2005-06 es director artístico de la Asociación de Conciertos de
Reus (España) y desde el 2018 profesor invitado del Conservatorio Nacional de
Música de México. Asimismo es invitado regularmente a impartir clases magistrales de
dirección de orquesta en la Academia Diesis en Sevilla, Harmonie Ensemble y AIDO
“José Collado” en Valencia, entre otras instituciones.
Entre sus próximos compromisos destacan la Gala Lírica Verdi en el Festival
Internacional di Mezza Estate en Italia con la Orquesta Sinfónica Abruzzese, la
dirección musical de Otello en la Astrakhan State Opera (Rusia), la dirección musical
de Don Giovanni en el Conservatorio Nacional de Música de México, Orquesta
Filarmónica de Acapulco, Orquesta Sinfónica Sinaloa de las Artes, Filarmónica de
Toluca, Filarmónica de Chihuahua, Camerata de Coahuila, Sinfónica de la UAEH,
ópera en Opera Romana Craiova (Rumania), Orchestra Sinfónica Siciliana (Palermo,
Italia), gala lírica española en Caracas con la Orquesta Gran Mariscal de Ayacucho,
Orquesta Sinfónica del Teatro Nacional Claudio Santoro de Brasilia, Orquesta
Sinfónica Simón Bolívar (Caracas), etc.
Marc Moncusí inició sus estudios musicales a la edad de 6 años con su madre.
Estudió en el Conservatorio Superior de Música del Liceu de Barcelona, dirección de
orquesta en el Real Conservatorio Superior de Música de Madrid y en la Universidad
Carnegie Mellon de Pittsburgh (Master of Music), diplomándose con una tesis sobre la
Sinfonía N.4 “New York” de Roberto Gerhard. Posteriormente amplió su formación con
Jesús López Cobos en la Orquesta Sinfónica de Cincinnati (2000-2001) y en la
Deutsche Staatsoper de Berlín invitado por Daniel Barenboim (2001-2004).
Vocal coach/Concert pianist/Russian Ukrainian diction and repertoire coach/Conductor
A native of Odessa, Ukraine, Violetta Zabbi is an accomplished pianist, conductor and coach. She received her BM and MM in "Piano Performance" and PhD in “ Musicology” from Odessa State Academy of Music.
Dr. Zabbi has been involved in over 100 different opera projects while living in New York for the past 18 years. She is currently on the faculties of Adelphi University and Brooklyn College. She is the music director and conductor with Vocal Productions NYC, New York Opera Studio and the Delaware Valley Opera. She appears as a pianist and coach with Regina Opera, Hofstra University and Opera Manhattan Repertoire. For the past 5 seasons she has performed with DCINY International at Carnegie Hall and Avery Fisher Hall.
Dr. Zabbi is a member of AMAO - American Masters Academy of Music- special , intense vocal program in Moscow, Russia.
In addition to her carrier as vocal coach, Dr.Zabbi served as a Piano Professor and later Vice President of Long Island Conservatory from 1998 to 2011 where she had great success for teaching Piano Performance in all levels. Her students were passing all NYSSMA levels, participating and winning local and international competitions.
Mexican-American baritone David Robinson began his career at age 19 as a soloist in Mexico with the National Opera Company, which is housed in the Palace of Fine Arts. He remained five seasons with the company. Twice finalist and winner at the National voice competition, Carlo Morelli. After he graduated from the university with a Business degree with a focus on arts administration, he was granted a Fulbright scholarship, which allowed him to continue his studies of vocal performance in New York and in the Academy of Vocal Arts in Philadelphia. Further scholarships took him three times to Tel-Aviv to participate with the Israel Vocal Arts Institute Summer Program. He also was part of the Studio Artists at Sarasota Opera. A Belvedere Competition Finalist and an Alta Classica voice competition (New York) first place winner.
In Vienna he sang as a soloist in Theater an der Wien (Luisa Fernanda) with Plácido Domingo and in the Wiener Konzerthaus; he also performed roles in Leonard Bernstein’s “Candide’ with Kristjan Jävi as the conductor and sang with the Arnold Schönberg Chor. He has sung as a soloist in the American, European and Asian continents with companies such as the New National Opera of Tokyo, Los Angeles Opera, Sarasota Opera, Lyric Opera of San Diego, Opera Society of Hong Kong, Opera North, Connecticut Grand Opera, Palm Beach Opera, Bremen Music Festival, Théâtre du Châtelet, Wiener Konzerthaus, London Symphony, Theater an der Wien and the Munich Philharmonic among others; and with Washington National Opera and Opera Orchestra of New York in the Kennedy Center, Carnegie Hall and Lincoln Center respectively. His repertoire includes more than 60 lead and comprimario roles.
Being a versatile performer David Robinson made his debut in musical theatre in “Man of La Mancha” of which the San Diego Tribune said: "The most impressive and subtle voice belongs to newcomer David Robinson...had clarity and emotional power.”
In operetta he sang roles in Lehar's “The Merry Widow”, Strauss' “Die Fledermaus” and in Romberg’s “The Desert Song” of which the Philadelphia Inquirer mentioned: "The show only provides one solo for this role, but David Robinson's remarkable, soaring voice makes you wish for more."
David also made his debut in the movie “The Bohemians” as the Landlord, Al P. Benoit; an adaptation of Puccini’s “La Bohème”, which can be viewed at CUETV.ONLINE. (Director: José Luis Cortés).
He was invited to tour China with the Vienna Festival Orchestra. He performs regularly as a singer and actor in opera, as well as a soloist in oratorio, operetta, musicals and zarzuela. He could be heard in concerts in the Philippines, Spain, Austria and New York and in Yachats Music Festival in Oregon. In Mexico he was invited to perform the title role of the opera Nabucco and Amonasro in Aïda with the Philharmonic Orchestra of Toluca and as Tonio in I Pagliacci in Xalapa, Veracruz; other performances include Eisenstein (Die Fledermaus) and the title role in Rigoletto and a concert at Teatro de la Ciudad in Mexico City among others. He performs with “The Opera Locos”, created by Yllana; which won several awards at the Metropolitan Theater and Musical Awards of Mexico (2019) as one of the Top 5 Music shows in Mexico. See below recent performance highlights.
David Robinson holds a Master in Cultural Management with the University of Alcalá de Henares in Madrid and has collaborated in Mexico, United States and Austria with many arts organization in the production and organization of artistic and Community Arts events. He collaborates with organizations that are interested in developing cultural exchange and international understanding between cultures. The Fall of 2015 he was invited to teach at the National Conservatory of Music in Mexico City where he was the director of the Young Artists Program, and has taught languages, diction, and voice.
Juan del Bosco
President and Founder
Internationally acclaimed tenor, Juan Del Bosco made his debut at Carnegie Hall and Apolo Theater in 2016 and has performed at Palacio de Bellas Artes (Mexico City) and Lincoln Center in years past. Mr. Del Bosco frequently performed for European media outlets and royalty. He also performed the Mexican National Anthem at Tennis’ Davis Cup. He won the José Mojica Price for the best tenor at Concurso San Miguel, one of the most prestigious competitions in Latin America.
The Mexican tenor Juan Del Bosco has sung, the title role in Haydn’s Orlando Paladino, Riunuccio (Gianni Schicchi), King Artbano (La Dorichlea), The Duke (Rigoletto), Roméo (Roméo et Julieta), Faust (Faust), Tamino (Die Zauberflöte), Canio (I Pagliacci), and Eisenstein (Die Fledermaus).
Juan Del Bosco is the Founder and President of International Sumner Opera Festival of Morelia, which its first year become the 3rd largest Festival in Mexico. Mr. Del Bosco is also the Founder of Passion for the Opera, which will aims to support operatic vocal careers.
Internationally acclaimed conductor Jorge Parodi has worked extensively in North America, Latin America, Europe, and Asia. Recent credits include Rossini’s Il barbiere di Siviglia and Mozart’s Le nozze di Figaro for Opera Tampa; Piazzolla’s María de Buenos Aires for New York City Opera, The Atlanta Opera and Opera Grand Rapids; Donizetti’s Lucrezia Borgia and Bellini’s I Capuleti e i Montecchi for Buenos Aires Lírica (Argentina); Britten’s The Turn of the Screw for the Castleton Festival in Virginia and The Banff Centre (Canada); Offenbach’s Les contes d’Hoffmann for Opera Orlando; Ravel’s L’enfant et les sortilèges for The Juilliard School at Lincoln Center and the World Premiere of Rhoda and the Fossil Hunt, the latest opera by John Musto –a coproduction of On Site Opera, Lyric Opera of Chicago Lyric’s Unlimited and Pittsburg Opera-. Upcoming engagements include his return to The Atlanta Opera and Opera Tampa, and his debut at Chautauqua Opera.
Reviewed as having “the most expressive conducting hands since Stokowski” by the New York Daily News, Argentinean born Jorge Parodi has also worked with such companies as the Teatro Colón in Argentina, the Volgograd Opera in Russia, the Encuentros Internacionales de Opera in Mexico, the Tokyo International Vocal Arts Academy in Japan, and the International Vocal Arts Institute in Israel. He has collaborated with such artists as Isabel Leonard, Eglise Gutierrez, Tito Capobianco, Sherrill Milnes, Aprile Millo and Rufus Wainwright and has assisted conductors Lorin Maazel and Julius Rudel, among others.
Maestro Parodi is the Music Director of Opera in Williamsburg (Virginia), where he has conducted Rigoletto, Il trovatore, L’elisir d’amore, Lucia di Lammermoor, La cenerentola and Le nozze di Figaro, among other titles. He is also the Music Director of the Senior Opera Theatre at the Manhattan School of Music, where he has led its productions to critical acclaim, including Schubert’s Die Verschworenen –that the New York Times praised as being “superbly performed” and the American premieres of Le Roi l’a dit by Délibes and Nina by Paisiello. A featured interview by editor-in chief F. Paul Driscoll to Maestro Parodi and his work with MSM Senior Opera Theater appeared in the March ’18 edition of Opera News.
Tenor / Project manager
He has a degree in vocal performance from the Autonomous University of Nuevo León (UANL) with a master's degree in Business Administration. He began his musical studies in the city of Monterrey in 2006 under the vocal direction of the soprano Graciela Suárez. He has taken classes with the tenors Sergio Blázquez, Adriano Pinheiro, with the sopranos Yvonne Garza, the mezzo Rocío Tamez and the baritones, Arturo Rodríguez, Óscar Martínez and Luis Ledesma.
He was part of the opera workshop of the Autonomous University of Nuevo León as well as the opera workshop "Canto en escena".
He actively participates in the Nuevo León opera in the Nuevo León opera choir. He has sung the role of Tamino in "The Magic Flute" by WA Mozart, the witch, as a countertenor in the opera "Hansel and Gretel" by E. Humperdinck (Spanish adaptation), "Kabil" in the premiere of the opera "En busca de las palabras” by composer Roberto Carlos Flores, Notaro from the opera “Don Pasquale” by G. Donizetti, Jesus in “Christ on the Mount of Olives” by L.V. Beethoven, Ferrando in the opera “Cosí fan tutte” by W. A. Mozart and Javier Moreno from the zarzuela “Luisa Fernanda” by Federico Moreno Torroba. He has worked with musicians, producers and directors such as Boris Chalakov, Mónica Garza, Claudio Tarris, Ivet Pérez, Noé Macías, Beania Salcedo, Héctor Sosa, Lucía Torres, Yvonne Garza, Rodrigo Ilizaliturri, Alfredo Ibarra and Arturo Rodríguez.
In 2017 he began as a producer with the project "Opera 360". He managed and coordinated in 2018 the master classes of the baritone Luis Ledesma at the Escuela Superior de Música y Danza de Monterrey and the Facultad de Música de la UANL.
With Opera 360 he produces and participates as narrator in "La cantata del café" composed by Johann Sebastian Bach. In April 2019, he is invited to take his children's opera company “Ópera 360” to the city of Bogotá, Colombia to bring two children's operatic works (one of them Mexican opera). From 2016 to 2020 he worked as Administrative Director of the Esperanza Azteca Nuevo León Orchestra. In 2021 he was invited to collaborate as a digital marketing strategist at the International Summer Opera Festival of Morelia (ISOFOM), in Michoacán.
In 2020 and 2021 he is accepted into the ISOFOM as an active participant playing the roles of Don Basilio (“Le nozze di Figaro” W. A. Mozart) and cover of Rodolfo (“La boheme” Giacomo Puccini).
He is currently the musical director of the schola Cantorum belonging to the Sacred Music Commission of the Archdiocese of Monterrey. He is also the founding director of the Opera 360 company and the sacred project “Via Sacra”.
Jesús is a 23 year old Chicago native, currently studying business administration at Universidad Michoacana de San Nicolás de Hidalgo in Morelia. I am constantly striving to learn more about art, music, and the world. Working with the International Summer Opera Festival Of Morelia has given me the opportunity to grow as a professional and as a creative, and I know it will for you too. "