Our soloists!

I’m so happy to announce our soloists for the Haydn Missa in tempore belli on January 27, 2018:

Soprano Deborah Selig’s voice has been described by the press as “radiant,” “beautifully rich,” “capable of any emotional nuance,” and “impressively nimble.” Recent operatic highlights include Micaela in Carmen with Dayton Opera, Pamina in The Magic Flute with Boston Lyric Opera, Musetta in La Boheme with Central City Opera, Rose in Street Scene with Chautauqua Opera, and Donna Elvira in Don Giovanni with Kentucky Opera. This season includes Regina Isabella in Donizetti’s L’assedio di Calais with Odyssey Opera.

A striking and versatile artist on the concert stage, Ms. Selig has performed many song recitals and soloed with orchestras across the United States. Highlights include Mahler’s Symphony No. 4 with Asheville Symphony, Brahms’ Requiem with Dayton Philharmonic, Bach Cantatas 37, 92 and 97 with Handel and Haydn Society, Orff’s Carmina Burana with Fairbanks Symphony (AK), Haydn’s Creation with Harvard University Choirs, Bach’s St. Matthew Passion with Masterworks Chorale, Mendelssohn’s Elijah with Nashoba Valley Chorale, and Handel’s Messiah with Rhode Island Philharmonic. This season includes Mozart’s Requiem with Brown University Chorus, Brahms’ Requiem with Harvard-Radcliffe Collegium Musicum, Haydn’s Paukenmesse with Nashoba Valley Chorale, orchestrated Strauss songs with Wheeling Symphony Orchestra, and song recitals in Vermont, Connecticut, Providence and Washington, DC.

Currently on voice faculty at Brown University and Boston University Tanglewood Institute, Ms. Selig earned an Artist Diploma and MM degrees from Cincinnati College- Conservatory of Music and a summa cum laude BM/BA in Voice and English from the University of Michigan. Apprenticeships included Chautauqua Opera, Santa Fe Opera, Pittsburgh Opera, Ravinia Festival Steans Insitute and Tanglewood Music Center. www.deborahselig.com

Hailed by Classical Voice of New England as “thoroughly delightful” and a “consummate storyteller, musician and artist,” Emily Jaworski is earning a reputation for excellence and constantly surprising audiences with her versatility. From the oratorios of Bach to the art songs of Brahms and Copland, to jazz, pop and musical theatre; on the opera stage or in professional ensembles, Emily is committed to forging a deep emotional connection with every piece she sings.

In recent seasons, Ms. Jaworski has been honored to debut mezzo-soprano solos in three world premieres by Jonathan Santore – Solstices (2014), Battle-Pieces (2015) and Requiem: Learning to Fall (2016), the performance of which is now available on There Are Many Other Legends, a compilation of Santore’s works released by Navona Records. In the fall of 2016, Emily collaborated with colleagues in multiple disciplines to co-create Brilliant Being, which combined improvised dance and vocal music with interactive projections and new electronic music by Santore.

Recent opera roles include Carmen with Longwood Opera, Lola in Cavalleria Rusticana with the Pioneer Valley Symphony, and the Old Lady in Candide with the Manchester Choral Society. Other recent appearances include Bach’s Magnificat and Mass in B Minor, the Durufle Requiem, Handel’s Messiah and Dixit Dominus and the Dvořak Stabat Mater; Sharon in Master Class and Abby in The Musical of Musicals! The Musical; as Italian Renaissance poet Gaspara Stampa in the New England premiere of John Ratledge’s cantata The Divine Siren, and on the recital stage in venues throughout New Hampshire and Boston. She is a member of the New Hampshire Master Chorale and the chamber choir Voices 21c. Ms. Jaworski’s love of research, dedication to musical details and commitment to text have led to honors from the Joy in Singing Foundation, the Friday Morning Music Club, and the American Traditions Competion.

Emily is a two-time participant in Ann Baltz’s groundbreaking OperaWorks training program and has also participated in the Bassi Brugnatelli Singing and Conducting Symposium in Robbiate, Italy, Bay View Music Festival, Opera Academy of California, and New York Opera Studio. She holds a Master of Music degree from Boston University, and a Bachelor of Arts in Music from Susquehanna University, and is currently pursuing her doctorate at Boston University in the studio of Dr. Lynn Eustis.

Ms. Jaworski is a frequent adjudicator, masterclass teacher and clinician, and has presented at Susquehanna University, Keene State College, The All New England Choral Festival, Connecticut Music Educators’ Association, and the Unitarian Universalist Musicians’ Network. In the summer of 2015, she was a teaching artist at the Härnosänds Summer Opera Festival in Sweden. Emily maintains a full voice studio at Plymouth State University in New Hampshire.


Praised for his fine musicality, “glowing intensity,” and “clarion tone,” Gregory Zavracky maintains an active performance schedule on concert and opera stages alike. Recent engagements include the Officer in The Barber of Seville with Boston Lyric Opera, Count Almaviva in The Barber of Seville with Townsend Opera, Tamino in Boston Lyric Opera’s family production of The Magic Flute, Gherardo in Gianni Schicchi and Buoso’s Ghost with Lake George Opera, Ferrando in Così Fan Tutte and Camille in The Merry Widow with Cape Cod Opera, Ernesto in Don Pasquale with Opera in the Heights in Houston, Lechmere in Owen Wingrave with Boston University Opera Institute, Don Ottavio in Don Giovanni with Metrowest Opera, Face on the Barroom Floor with Charleston Chamber Opera, Don Ramiro in La Cenerentola with Capitol Heights Lyric Opera, and Prince Dauntless in Once Upon a Mattress and Schmidt in Werther with Chautauqua Opera, where he also covered Nemorino in the Elixir of Love.

Gregory has recently sung in the world premieres of Matthew Aucoin’s Crossing with the American Repertory Theater, the Five Borough Songbook with Five Boroughs Music
Festival, David Wolfson’s Faith Operas with Hartford Opera Theater, Steven Sametz’s A Child’s Requiem with the University of Connecticut Orchestra, Ketty Nez’s The Fiddler and the Old Woman of Rumelia with the Xanthos Ensemble and James Yannatos’ Rocket’s Red Blare with Intermezzo Opera, and Three American Songs by Anthony DeRitis (soon to be released on CD).

A 2009 Gerda Lissner Foundation Encouragement Award recipient, a 2010 Liederkranz Competition finalist in the art song divison, and a 2011 finalist in the Connecticut Opera Guild Competition, Gregory’s concert experience includes opera and pops concerts with both the Chautauqua and Utah Symphony, Handel’s Messiah with the Rhode Island Philharmonic, Haydn’s Lord Nelson Mass and Mozart’s Vespers with the Providence Singers, Schubert’s Mass in G with Coro Allegro; Britten’s Les Illuminations with the Aurea Ensemble; the Bach Magnificat and Cantata 191 with Back Bay Chorale, Janácek’s Otcenás and Respighi’s Lauda per la Natività with Chorus Pro Musica, Carmina Burana with Masterworks Chorale; Mendelssohn’s Elijah and Haydn’s Creation with Nashoba Valley Chorale; Mozart’s Mass in C minor with Quincy Choral Society, and Bach’s B Minor Mass with the Connecticut Virtuosi.

Gregory received his Doctorate of Musical Arts from Boston University. Previous degrees include a Bachelor of Arts in music from Emory University, followed by two Master of Music degrees from New England Conservatory in voice performance and opera studies as a student of Edward Zambara. He currently teaches voice at the University of Connecticut, Brown University, Eastern Connecticut State University, and Boston University Tanglewood Institute.

Hailed for his “authoritative singing” and “velvet tone,” Baritone Ryne Cherry is a Boston-based singer comfortable in Opera, Oratorio, and Choral Music. He has performed with Boston Lyric Opera, the Boston Pops, Opera Company of Middlebury, Ash Lawn Opera, Opera Tampa, Boston Youth Symphony Orchestra, Back Bay Chorale, and Beth Morrison Projects. Ryne recently completed engagements with BMP and was a returning summer 2017 vocal fellow at the Tanglewood Music Center where he performed as a soloist in concerts with Dawn Upshaw, Emanuel Ax, and Stephanie Blythe. Future engagements include programs with Handel and Haydn, the Boston Lyric Opera in Kurt Weill’s The Threepenny Opera, and as a featured soloist with Boston Baroque in their upcoming production of Beethoven’s Fidelio.


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