Young Victorian Theatre Company’s “From London to Baltimore” has been a big hit, and John was singled out in this excellent review! You’ve got one more chance to see it, this Sunday at 3 at the Gilman School.
John returns to the Young Victorian Theatre Company for From London to Baltimore, a greatest-hits show of Gilbert & Sullivan as part 1 of their 50th anniversary celebration. The shows are July 14th, 18th, and 21st at the Gilman School; more information can be found at yvtc.org.
On June 29th at Bethesda Presbyterian Church, the Bethesda Summer Music Festival presents Mozart’s Die Zauberflöte with John in the principal bass role of Sarastro. There are two performances that day, at 2:30 and 7:30. He will also appear in an art song recital and a preview show for the opera on June 22nd.
John has been the professional bass for Handel Choir of Baltimore this season, and he will be featured in their upcoming final major concert, Lux aeterna, performing the aria “Hier ist das rechte Osterlamm” as part of Bach’s Christ lag in Todes Banden, BWV 4. Other works on the program include two works by Sir John Tavener and a new work by Tawnie Olson.
The performance is Sunday, April 28, 4 PM at Church of the Redeemer on North Charles Street in Baltimore.
John returns to Bel Cantanti Opera to sing the role of Vasily Sobakin in Nikolai Rimsky-Korsakov’s opera The Tsar’s Bride.
Saturday, May 11, at 7:30pm
Sunday, May 12, at 3:00pm
Saturday, May 18, at 7:30pm
Sunday, May 19, at 3:00pm
Location: Randolph Road Theater – 4010 Randolph Rd, Silver Spring, MD. Tickets are available here.
Welcome spring with a concert featuring Bach’s delicate Cantatas 49 and 84, plus Handel’s masterful Organ Concerto Op. 4.
John joins Bach in Baltimore as the bass soloist for BMV 49 and the aria “Heir in meines Vaters Stätte” from BMV 32.
The concert takes place at 4pm at Grace United Methodist Church in Baltimore. Tickets are $25 Advance/ $27 Door and can be purchased here.
“[T]he Ghost Chorus deserves a nod, as well as the chorus for the Norwegian sailors, the Dutchman’s crew and the young women in Senta’s scene in Act 2. I thought the entire production was impressive and well-orchestrated.” Read More