New season pairs Met and Vienna State Opera veterans with the company’s own homegrown talent across Pagliacci, Hansel and Gretel and Turandot.

Virginia Opera has locked in the singers for its 2026-27 season, and the casting sheet reads like a study in contrasts: a soprano fresh off Vienna State Opera stages next to performers the company grew from scratch. That’s kind of the point. Across three productions, the company is leaning hard into a formula that’s worked for it before: put international names next to its own Herndon Foundation Emerging Artists and let the results speak for themselves.

“This season will feature the thrilling Virginia Opera mainstage debuts of several internationally acclaimed artists while also showcasing the exceptional up-and-coming talent represented by our Herndon Foundation Emerging Artists,” said Adam Turner, the company’s artistic director and chief conductor. “Grandeur and spectacle, a family-friendly fairytale, and a high-stakes emotional rollercoaster — audiences will experience world-class performances from some of the finest singers in opera today.”

The season runs across the company’s usual three homes: the Harrison Opera House in Norfolk, the Carpenter Theatre at Richmond’s Dominion Energy Center, and the Center for the Arts at George Mason University in Fairfax.

Click here to read more!

“This season will feature the thrilling Virginia Opera mainstage debuts of several internationally acclaimed artists while also showcasing the exceptional up-and-coming talent represented by our Herndon Foundation Emerging Artists,” said Adam Turner, Artistic Director and Chief Conductor. “Grandeur and spectacle, a family-friendly fairytale, and a high-stakes emotional rollercoaster — audiences will experience world-class performances from some of the finest singers in opera today.”

Opening the season in November, Pagliacci features a dynamic blend of internationally recognized artists making their Virginia Opera debuts alongside familiar faces returning to the company’s stages. Internationally acclaimed soprano Kathryn Lewek makes her Virginia Opera debut as Nedda in the Norfolk and first Richmond performances, while returning favorite Sarah Tucker, last seen as Micaela in Carmen, assumes the role for the second Richmond performance and both Fairfax performances. Tenor Zach Borichevsky returns following his acclaimed performance as Don José in Carmen, joined by baritone Kidon Choi, making his Virginia Opera debut as Tonio after appearances with leading companies including San Francisco Opera, Lyric Opera of Chicago, and the Metropolitan Opera’s prestigious Lindemann Young Artist Development Program. Former Herndon Foundation Emerging Artist Hunter Enoch returns to Virginia Opera in the role of Silvio following an impressive career that has included Washington National Opera and Opera Theatre of Saint Louis, while current Herndon Foundation Emerging Artist Carlos Ahrens completes the ensemble as Beppe. Together, the cast reflects Virginia Opera’s tradition of pairing internationally celebrated artists with performers who have developed lasting relationships with the company. Pagliacci will be directed by Virginia Opera favorite Kyle Lang, whose most recent company production was the acclaimed Intelligence in 2026. Artistic Director and Chief Conductor Adam Turner will conduct the production. Scenic design is by Steven C. Kemp, whose striking sets were last seen in Virginia Opera’s Intelligence.

Hansel and Gretel showcases Virginia Opera’s commitment to cultivating the next generation of operatic talent by featuring an entirely Herndon Foundation Emerging Artist cast. Soprano Maggie Kinabrew stars as Gretel opposite mezzo-soprano Melanie Dubil as Hansel, with Lindsey Polcyn portraying both Gertrude (Mother) and the Witch, Joel Clemens as Peter (Father), and Nia Spaulding in the dual roles of the Dew Fairy and Sandman. Representing some of opera’s brightest rising talent, these young artists bring experience from prestigious training programs and companies including Santa Fe Opera, Opera Theatre of Saint Louis, The Glimmerglass Festival, Sarasota Opera, Central City Opera, and Boston Baroque. The production underscores Virginia Opera’s long-standing commitment to cultivating the next generation of opera performers by placing its Emerging Artists at the center of one of the repertoire’s most beloved works. Hansel and Gretel marks the Virginia Opera directorial debut of Stephanie Havey. Director of Emerging Artists, Associate Conductor, and Chorus Master Brandon Eldredge will conduct the production. Scenic design is by Steven C. Kemp.

The season concludes with Puccini’s monumental Turandot, featuring a cast that combines internationally established dramatic voices with several artists who have longstanding ties to Virginia Opera. Soprano Alexandra LoBianco makes her Virginia Opera debut in the title role after acclaimed performances with the Metropolitan Opera, Vienna State Opera, Lyric Opera of Chicago, and Seattle Opera. Tenor Samuel White, following his noteworthy appearance at last season’s Virginia Opera Gala, makes his mainstage debut as Calaf after recent success as both Calaf and Canio as well as winning the George London Award, one of the most prestigious opera competitions for young singers. Returning favorite Symone Harcum, herself a former Herndon Foundation Emerging Artist, brings her celebrated artistry to the role of Liù following acclaimed appearances with Opera Philadelphia, Minnesota Opera, and Virginia Opera. Bass Kevin Thompson returns after last season’s Intelligence to portray Timur, one of his signature roles, while former Herndon Foundation Emerging Artist David Blalock returns as Pong after more than a decade of appearances with Virginia Opera and an ongoing career with the Metropolitan Opera. Current Herndon Foundation Emerging Artists Joel Clemens, Carlos Ahrens, Yichen Xue, and Xiaojie Ji round out the imperial court as Ping, Pang, A Mandarin, and Emperor Altoum, respectively, creating a cast that seamlessly blends internationally renowned performers, returning Virginia Opera artists, and exceptional emerging talent. Turandot reunites Virginia Opera with director Kyle Lang. Artistic Director and Chief Conductor Adam Turner conducts Puccini’s monumental masterpiece, with scenic design by Steven C. Kemp.

Principal Casting
Pagliacci

• Kathryn Lewek as Nedda (Nov. 6, 8 & 13)
• Sarah Tucker as Nedda (Nov. 15, 21 & 22)
• Zach Borichevsky as Canio
• Kidon Choi as Tonio
• Hunter Enoch as Silvio
• Carlos Ahrens as Beppe

Hansel and Gretel

• Maggie Kinabrew as Gretel
• Melanie Dubil as Hansel
• Lindsey Polcyn as Gertrude (Mother)/The Witch
• Joel Clemens as Peter (Father)
• Nia Spaulding as Dew Fairy/Sandman

Turandot

• Alexandra LoBianco as Turandot
• Samuel White as Calaf
• Symone Harcum as Liù
• Kevin Thompson as Timur
• David Blalock as Pong
• Joel Clemens as Ping
• Carlos Ahrens as Pang
• Yichen Xue as A Mandarin
• Xiaojie Ji as Emperor Altoum

For more information about Virginia Opera’s 2026-2027 season, visit vaopera.org.

###

About Virginia Opera

Virginia Opera, the official opera company of the Commonwealth of Virginia, is one of the finest regional opera companies in the nation and is the only company to perform regularly in three separate main stage venues: the Harrison Opera House in Norfolk, the Carpenter Theatre at the Dominion Energy Center in Richmond, and Center for the Arts at George Mason University in Fairfax. Organized in 1974, Virginia Opera is respected nationwide for the identification and presentation of the finest young artists, for the musical and dramatic integrity of its productions, and for the ingenuity and variety of its education and outreach programs.

Follow Virginia Opera on social media
Facebook: @vaopera
Twitter: @vaopera
Instagram: @vaopera

In the 2025-26 season, David returned to the Metropolitan Opera for their productions of Il Barbiere di Siviglia and Salome, joined Charlottesville Opera to make his debut as Frederic in Pirates of Penzance, returned to Carnegie Hall as tenor soloist in Schubert’s Mass in G, and joined the Indianapolis Symphony for their annual Yuletide Celebration concerts. He also joined the faculty at the University of Notre Dame as an adjunct professor of Voice, and returned to the role of Pong in Turandot with the Pacific Symphony.

During the 2023-24 season, Mr. Blalock made an exciting return to Madison Opera where he sang the title role in The Anonymous Lover by Chevalier de Saint-Georges. He then returned to the Metropolitan Opera to cover Pong in Turandot, and joined MidAmerica Productions as the tenor soloist in Schubert’s Mass in G and Forrest’s The Dawn from on High at Carnegie Hall. Other engagements during the season included L’elisir d’amore  with Opera Grand Rapids, and Bruckner’s Te Deum with Duluth Superior Symphony Orchestra.

In 2023, Mr. Blalock began with a reprisal of Ferrando in Così fan Tutte with the Newport Music Festival and returned to Madison Opera to sing Second Jew in Salome. He then debuted the role of the Duke in Rigoletto with Opera Columbus, covered Anthony in Sweeney Todd with Opera Tampa, performed Macduff in Working for the Macbeths with American Lyric Theatre, and returned to the Metropolitan Opera where he sang Gastone in La Traviata and covered Thierry and Chaplain in Dialogues des Carmélites. Mr. Blalock also reprised Alfredo in La Traviata with Opera Columbus, Tamino in Die Zauberflöte with Indianapolis Opera, and was scheduled to reprise Young Thompson in Glory Denied with Permian Basin Opera (cancelled due to COVID).

In 2021-22, Mr. Blalock returned to the Metropolitan Opera for productions of Ariadne auf Naxos and Turandot. Other engagements during the season included Ferrando with Bar Harbor Music Festival, Tamino with Pensacola Opera, a recording of Glory Denied with Atlanta Opera, and a residency at Texas Tech University with Jeni Houser. He ended his season by reprising Tamino with the Northern Lights Music Festival and singing a concert of opera arias and highlights with St. Croix Valley Opera.

In addition to his Metropolitan Opera debut as Pong in Turandot, Mr. Blalock’s 2019-20 season included Don Ottavio in Don Giovanni with Pensacola Opera, his debut with the South Dakota Symphony Orchestra for Messiah, and a concert of Mozart, Puccini, and Verdi with the Firelands Symphony Orchestra. Scheduled 2020 performances that were cancelled due to COVID-19 include a return to Madison Opera as the title character in Orpheus in the Underworld, a return to Virginia Opera as Frederic in Pirates of Penzance, and a reprisal of Count Almaviva in On Site Opera’s highly acclaimed production of Paisiello’s Barber of Seville at Caramoor.

Mr. Blalock began the 2018-19 season as Pelléas in Debussy’s Pelléas et Mélisande with West Edge Opera, followed by a return to Virginia Opera as Sam in Street Scene, Alfredo in La Traviata with Arizona Opera, Nemorino in L’elisir d’amore with Piedmont Opera, Mendelssohn’s Lobgesang with the Duluth Symphony, and a return to Don Ottavio in Don Giovanni with Opera Hong Kong. He also joined Madison Opera for their summer Opera in the Park celebration, a concert of arias and opera highlights.

Highlights of the 2017-18 season included a debut with Opera San Jose as Ferrando in Così fan tutte, a concert of arias and opera highlights with the San Francisco Symphony, a role debut as the title character in La Clemenza di Tito with the Maryland Opera Studio, a return to Virginia Opera as Lysander in A Midsummer Night’s Dream, and Messiah with Fairbanks Symphony Orchestra and Virginia Symphony.

Performances in the 2016-17 season include his debut with Washington National Opera, performing the Ring Announcer in Champion, Roderigo in Otello with the Minnesota Orchestra, Nikolaus Sprink in Silent Night with Atlanta Opera, Rodolfo in La Bohème with the Greater Bridgeport Symphony,  the Second Jew in Salome with Minnesota Orchestra, and Count Almaviva in the North American premiere of Portugal’s The Marriage of Figaro with On Site Opera.  Mr. Blalock spent the summer of 2015 as Ricky in the world premiere of Jeremy Howard Beck’s The Long Walk at Opera Saratoga. His busy 2015-16 season included both Handel’s Messiah and Pong (Turandot) with the Pacific Symphony, Toby in Sweeney Todd with Mill City Summer Opera, a Viennese Operetta concert with the Richmond Symphony, Beethoven’s Choral Fantasy at UN Assembley Hall with the Shanghai Symphony, Jacques Brel is Alive and Well in Paris with Performance Santa Fe, and a return to Virginia Opera as the Steersman in The Flying Dutchman.

In the 2014-15 season, Mr. Blalock sang Jaquino in Beethoven’s Fidelio with Madison Opera, Don Ottavio in North Carolina Opera’s production of Don Giovanni, Jonathan Dale in Silent Night with Lyric Opera of Kansas City, Toby in Sweeney Todd at Virginia Opera, Count Almaviva in Il Barbiere di Siviglia (Paisiello) with On Site Opera, and debuted as Rodolfo in La Bohème with Greenville Lyric Opera. As a Virginia Opera Emerging Artist during the 2013-14 season, Mr. Blalock was seen as First Priest in The Magic Flute, Brighella in Ariadne auf Naxos and Le Remendado in Carmen. From 2012-13, Mr. Blalock spent two summers as an apprentice with The Santa Fe Opera, singing Bertram in Rossini’s La Donna del Lago, Infirmary Patient in the world premiere of Theodore Morrison’s Oscar, and covering Welko and Jankel in Strauss’ Arabella. In the spring of 2013, Mr. Blalock made his Fort Worth Opera debut as Young Thompson in Tom Cipullo’s Glory Denied, while also covering Rodolfo in La bohème. He spent the summer of 2011 as a studio artist with Central City Opera, singing Morales in their family performance of Carmen.

From 2009-11, Mr. Blalock was a member of the Maryland Opera Studio in College Park, MD, as a baritone. He sang several roles with the Studio, including Figaro in Il Barbiere di Siviglia, Riolobo in Daniel Catan’s Florencia en el Amazonas, and The Ring Announcer in the world premiere of Shadowboxer, an opera detailing the life of boxer Joe Louis. Mr. Blalock has performed as a young artist with the Seagle Music Colony and Ash Lawn Opera, singing roles in La Cenerentola, La bohème, The Magic Flute, and Brigadoon. He received his undergraduate degree from UNC Greensboro in 2009, where his credits include roles in La Vida Breve, The Ballad of Baby Doe, and The Tender Land.

Mr. White is a 2024 recipient of the George London Award from the George and Nora London Foundation Competition, and recently joined San Francisco Opera’s prestigious Merola Opera Program as an apprentice artist. As young artist with Santa Fe Opera, he covered The Prince in Rusalka, while also singing scenes in concert as Walther von Stolzing in Die Meistersinger von Nürnberg and the False Prince in Boris Godunov. He also covered the role of Licinio in Teatro Grattacielo’s production of La Vestale celebrating 100 years of Maria Callas. He has covered the roles of Pinkerton in Madama Butterfly with Tulsa Opera and Count Loris Ipanov in Fedora with Teatro Grattacielo. His other performance credits include Matthew Gurney in Tobias Picker’s Emmeline, Aeneas in Dido & Aeneas, and Eisenstein in Die Fledermaus.

He has completed training in such institutions as The Aspen Opera Center, The Glimmerglass Festival, Opera in the Ozarks, and  Lyric Opera Studio Weimar, and holds a Bachelor and Masters of Music from The Florida State University and a Postgraduate Certificate from Manhattan School of Music.

Recently, Mr. Enoch made his début with Opera Theatre of Saint Louis as Scarpia in their production of Tosca and returned to Pacific Northwest Opera as Iago in Otello after joining them for La Traviata in his role début as Germont. He joined Maryland Lyric Opera to sing the title role in Le nozze di Figaro, the Mandarin in Turandot, and Flemish Deputy in Don Carlo, and he performed Scarpia with Anchorage Opera, and Donner in Das Rheingold with Miami Music Festival, both in productions which were postponed from 2020 due to COVID-19. Prior to the pandemic, he returned to Washington National Opera as Montano in Otello, sang the role of Kurwenal in Act 2 of Tristan und Isolde with the National Symphony Orchestra under the baton of Gianandrea Noseda at both the Kennedy Center and at Lincoln Center, and sang Palémon in Thaïs with Maryland Lyric Opera.

Mr. Enoch is an alum of the prestigious Cafritz Young Artist program at Washington National Opera. During his time with the company, he was engaged as Count Almaviva and Sharpless in the Cafritz performances of Le nozze di Figaro and Madama Butterfly, a Corporal in The Daughter of the Regiment, ADC in The Dictator’s Wife, and cover for Joseph De Rocher in Dead Man Walking. His WNO début was as Moralès in Carmen, and he was later heard as James Miller in the world premiere of Better Gods. While at WNO Mr. Enoch returned to The Glimmerglass Festival as a guest artist, singing Marcello in La bohème and covering the role of John Proctor in The Crucible, following his festival début as Sharpless in the Young Artist performance of Madama Butterfly the previous summer. After leaving the Cafritz program, he was heard as Zuniga in Carmen with Rochester Philharmonic, Escamillo in Carmen with The Washington Chorus at The Kennedy Center, and in Bernstein’s Songfest with National Symphony Orchestra. He made his Detroit Symphony Orchestra début as Ping in Turandot, followed by his role début as the Four Villains in Les contes d’Hoffmann at the Aspen Music Festival. Mr. Enoch then went on to sing the role of William Dale in Silent Night with WNO, make his company and role début as Scarpia for Opera Birmingham, and sing Happy in La Fanciulla del West and Raimondo in Lucia di Lammermoor for Maryland Lyric Opera.

Other training includes an artist residency with the Academy of Vocal Arts, where he appeared as Taddeo in L’italiana in Algeri, Marcello in La bohème, and Valentin in Faust; the Emerging Artist program at Virginia Opera where he sang Moralès in Carmen and Wig Maker in Ariadne auf Naxos; Seattle Opera’s young artist program, where he sang Il Cavaliere di Belfiore in Un giorno di regno; Chautauqua Opera as a Studio Artist; and two seasons in the Studio Artist program at Wolf Trap Opera. He earned his Bachelor of Music and Master of Music degrees from University of Cincinnati’s College-Conservatory of Music. Mr. Enoch appeared as a semifinalist in The Metropolitan Opera’s Laffont Competition and is the recipient of the Sullivan Foundation’s Career Development Award.

The previous season, Kidon returned to Opera San Josè for La bohème (Marcello) which was followed by his company debuts with Arizona Opera in Aida (Amonasro) and The Atlanta Opera in La bohème (Marcello). Additionally, he joined the LA Opera to cover the title role in Rigoletto. In 23/24 he debuted with San Diego Opera for Madama Butterfly (Sharpless), a return to The Cleveland Orchestra for Die Zauberflöte, and he joined the roster of the Lyric Opera of Chicago for Aida. In concert, he appeared with the KBS Symphony in Korea for Beethoven Symphony No. 9.  Kidon recently returned to The Korea National Opera for Les Contes d’Hoffmann (Four Villains), made his role and company debut with Opera San José for Tosca (Scarpia), and his company debut with San Francisco Opera for Madama Butterfly (Prince Yamadori) and Die Frau ohne Schatten (Night Watchman #2).

Kidon made his debut with The Cleveland Orchestra in Otello (Montano) conducted by Franz Welser-Möst and returned to Wolf Trap Opera for La traviata (Germont). Recent appearances include La fanciulla del West (Jack Rance) with The Korea National Opera, scenes from Verdi’s Otello at the Bay Street Theatre followed by debuts at North Carolina Opera in I pagliacci (Tonio) conducted by Keitaro Harada and Opera Idaho in La bohème (Marcello).

He debuted at Wolf Trap Opera as the title role in Rigoletto and returned to Chautauqua Opera for Rigoletto following his debut in La bohème (Marcello). Additional performance credits include in La traviata (Germont), Aida (Amonasro), Così fan tutte (Don Alfonso), L’elisir d’amore (Dr. Dulcamara), Haydn’s Orlando Paladino (Rodomonte), and in Hänsel und Gretel (Peter). On the concert stage he has appeared with the Philadelphia Orchestra in Beethoven’s Symphony No. 9 conducted by Yannick Nézet-Séguin.

As a member of the prestigious Lindemann Young Artist Development Program at The Metropolitan Opera, he was seen in La fanciulla del West (José Castro) conducted by Marco Armiliato, Otello (Herald) conducted by Gustavo Dudamel, and Madama Butterfly (Prince Yamadori) conducted by Jader Bignamini.

Kidon is a Sullivan Foundation Grant recipient. He received second prize in the Giulio Gari International Vocal Competition, fourth prize in the Loren L. Zachary Competition, first prize in the Alfredo Silipigni Vocal Competition, first prize/audience prize in the Cooper-Bing competition, third prize in the Opera at Florham Vocal Competition, second prize in the Gerda Lissner Competition, the Major Award in the Opera Index Vocal Competition, and was also a grant winner in the Licia Albanese Puccini Foundation auditions.

Kidon earned his professional studies diploma from Mannes School of Music, his master’s degree at Manhattan School of Music, and his bachelor’s degree from Hanyang University in Seoul, South Korea.

Lewek continued to expand her repertoire with a series of role debuts in the 2025/26 season. The soprano made her highly anticipated debut in the title role of Alcina in concert performances in Paris, Barcelona and Montpellier with the Ensemble Artaserse and maestro Philippe Jaroussky. Lewek also took on the role of Elettra for the first time in Calixto Bieito’s new production of Idomeneo at La Monnaie. Later in the season, the soprano made another exciting debut in the title role of Salome at the Cincinnati Opera. Lewek reprised her portrayal of Juliette in Gounod’s Roméo et Juliette in the concert performance with the Orchestre National de France conducted by Clelia Cafiero at the Théâtre des Champs-Élysées. Opéra de Nice saw Lewek’s interpretation of Violetta in La Traviata staged by Silvia Paoli and conducted by Andrea Sanguineti.

Kathryn Lewek also revisited Mozart’s Queen of the Night in four productions of The Magic Flute. At the Royal Opera House in London, she joined David McVicar’s production conducted by Marie Jacquot. At the Berlin State Opera, Lewek starred alongside René Pape in August Everding’s staging of the opera, which reconstructs the iconic 1816 set design; with the Deutsche Kammerphilharmonie Bremen, she graced semi-staged performances on a four-city tour. In Rolando Villazón’s new production with Roberto González-Monjas conducting, Lewek starred as the Queen of the Night at the Mozart Week festival. Among other highlights of the concert season was a baroque concert in Madrid with Ensemble Artaserse under the baton of Philippe Jaroussky and two concerts at Carnegie Hall: Handel’s Messiah with the Oratorio Society of New York and the Classics for Christmas with Musica Sacra.

Highlights of recent seasons include Lewek’s acclaimed debut as Gilda in Verdi’s Rigoletto at LA Opera and Cincinnati Opera, her first performances as Micaëla in Nashville Opera’s Carmen, as well as her house and role debuts as Puccini’s Musetta in Opera Colorado’s La bohème. Lewek also created the soprano role in the 2024 world premiere of Music for New Bodies, a DaCamera co-commission from Matthew Aucoin and Peter Sellars, which is soon to be released as a studio album. Lewek portrayed all Four Heroines in Les contes d’Hoffmann at the 2024 Salzburg Festival, repeating her previous success at Deutsche Oper Berlin and Florida’s Palm Beach Opera; headlined Gounod’s Roméo et Juliette at Palm Beach Opera and Ohio’s Toledo Opera; and starred in the title role of Delibes’s Lakmé at Opéra de Nice and in a concert performance with the China National Opera House Symphony in Beijing.

Lewek is today’s reigning Queen of the Night. Since making her first appearance as Mozart’s antiheroine in 2011, she has sung the formidably challenging role more than 300 times with leading companies worldwide. These include London’s Royal Opera House, the Vienna State Opera, Deutsche Oper Berlin, Munich’s Bavarian State Opera, Madrid’s Teatro Real, the Royal Danish Opera, Festival d’Aix-en-Provence, Lyric Opera of Chicago, Houston Grand Opera and New York’s Metropolitan Opera, where she has performed it a record-breaking 73 times. As the New Yorker’s Alex Ross observes, “she executes this stratospherically difficult role better than anyone alive.”

Among other career highlights is Lewek’s Salzburg Festival and role debuts as Ginevra opposite Cecilia Bartoli in Handel’s Ariodante, with which Lewek travelled to Opéra de Monte-Carlo before returning to Salzburg to make her role debut as Eurydice in new staging of Offenbach’s Orpheus in the Underworld. Other key firsts include her role debuts as Countess Adèle in Rossini’s Le comte Ory at Lyric Opera of Chicago, Teresa in Berlioz’s Benvenuto Cellini at Barcelona’s Gran Teatre del Liceu, and as Cunegonde, in Bernstein’s Candide for Glimmerglass Opera. It was Lewek who created the role of Jessica in the Bregenz Festival’s world premiere production of André Tchaikowsky’s The Merchant of Venice, winner of the International Opera Award for Best World Premiere of 2014. Lewek’s other notable operatic engagements include her portrayal of Konstanze in Die Entführung aus dem Serail for Lyric Opera of Kansas City, following previous appearances in the role at Deutsche Oper Berlin and Munich’s Bavarian State Opera. She made her house and title role debuts in Donizetti’s Maria Stuarda at Canada’s Edmonton Opera; gave her first performances as La Fée in New Orleans Opera’s company premiere of Massenet’s Cendrillon; and sang Angelica in Handel’s Orlando on a European tour with Italy’s Il Pomo d’Oro ensemble, after debuting the role at Australia’s Hobart Baroque Festival, for which she won the coveted Helpmann Award. At Toledo Opera, where she is a firm audience favorite, Lewek has made role debuts as Violetta in a new treatment of Verdi’s La traviata, as Rosina in a new staging of Rossini’s Il barbiere di Siviglia, and as Zerlina in Mozart’s Don Giovanni. Since making her house and title role debuts in Donizetti’s Lucia di Lammermoor at Opera Carolina, in a co-production with Toledo Opera, she has reprised the role for a new production at Opéra de Nice.

When Lewek made her Carnegie Hall debut with the Oratorio Society of New York in 2012, she impressed the New York Times with the “communicative verve and thrilling beauty” of her performance. This marked the first of her annual performances of Handel’s Messiah at the venue, for which she has since returned each holiday season with both the Oratorio Society and Musica Sacra New York. Other concert highlights include “Celebrating Leonard Bernstein at 100” with Washington National Opera, Bach’s B-minor Mass with Chicago’s Soli deo Gloria ensemble, his Christmas Oratorio with the Orchestre symphonique de Montréal, Orff’s Carmina Burana with the Dallas Symphony, and Haydn’s Creation under John Nelson’s leadership. Performing choral works by Bach, Beethoven, Brahms, Carissimi, Handel, Haydn, Mendelssohn, Monteverdi, Mozart, Orff, Verdi and Zelenka, she has appeared at Lincoln Center’s Alice Tully Hall, Carnegie Hall and other venues with ensembles including the Rochester Philharmonic, Santa Barbara Symphony and Chicago’s Music of the Baroque. She also regularly performs in gala concerts and solo recitals nationwide, sometimes in collaboration with her husband, tenor Zach Borichevsky. In response to the global food crisis, the couple recently streamed a special concert to benefit the United Nations World Food Program. Lewek is also dedicating herself to teaching, having held a residency at Belmont University and serving as artist-in-residence at the University of Memphis in 2025/26.

Lewek made her operatic album debut with a pair of German rarities, Orff’s Gisei and Weingartner’s Die Dorfschule, both recorded live for the CPO label at Deutsche Oper Berlin. More recently, two of her Salzburg successes were captured live for Blu-Ray DVD release by Unitel Edition: Ariodante and Orphée aux Enfers, which was nominated for a 2021 International Classical Music Award. Other operatic releases include Handel’s Apollo e Dafne and Armida abbandonata, both recorded with Il Pomo D’Oro for Pentatone. Her star turn in the Metropolitan Opera’s Magic Flute has twice streamed live to cinema audiences worldwide in the company’s award-winning Live in HD series: first in Julie Taymor’s holiday production and then, capturing the soprano’s record-breaking 50th Met performance as Mozart’s Queen of the Night, in the celebrated staging by Simon McBurney. Lewek also performs contemporary American Art Song on two Albany Records titles: Kathryn Lewek sings Cary Ratcliff, recorded with the composer at the piano, and Quicksilver, which features her account of David Liptak’s Songs for Persephone.

At the 2013 Operalia World Opera Competition, Kathryn Lewek took two top prizes, the highly competitive Audience Favorite Award among them. A graduate of the University of Rochester’s Eastman School of Music, where she earned bachelor’s and master’s degrees in voice performance and literature, she lives in Connecticut with her husband and their two young children.

Virginia  Opera has announced its 2026-2027 class of Herndon Foundation Emerging Artists.

This year, the program welcomed nine singers and collaborative pianist Oleg Bellini for a season of performances and mentorship. Returning to the program are soprano Maggie Kinabrew, mezzo soprano Melanie Dubil, and Bellini. Kinabrew will make her role debut as Gretel in “Hansel and Gretel” this season, while Dubil will sing the title role of Hansel.

Joining the program for the first time are tenor Douglas Culclasure, baritone Joel Clemens, tenor Carlos Ahrens, soprano Nia Spaulding, mezzo soprano Lindsey Polcyn, baritone Yichen Xue, and tenor Xiaojie Ji.

“One of the greatest responsibilities of any  opera company is investing in the artists who will shape the future of this art form,” said Adam Turner, Artistic Director and Chief Conductor of Virginia Opera, per an official press release. “Our Emerging Artists Program gives extraordinary young singers the opportunity to refine their craft while performing alongside established professionals in a supportive, demanding artistic environment.”

Click here to read more!

Recognized as one of the nation’s most competitive young artist programs, the Herndon Foundation Emerging Artists Program receives more than 700 applications each year and provides rising opera professionals with invaluable performance experience, individualized coaching, and mentorship from Virginia Opera’s artistic leadership. Throughout the season, Emerging Artists appear in mainstage productions, educational tours, donor events, community performances, and the company’s Variations series while working alongside internationally acclaimed guest artists and conductors.

“One of the greatest responsibilities of any opera company is investing in the artists who will shape the future of this art form,” said Adam Turner, Artistic Director and Chief Conductor of Virginia Opera. “Our Emerging Artists Program gives extraordinary young singers the opportunity to refine their craft while performing alongside established professionals in a supportive, demanding artistic environment. We’re thrilled to welcome this remarkable class of artists to Virginia Opera.”

Returning to the program are soprano Maggie Kinabrew, mezzo-soprano Melanie Dubil, and collaborative pianist Oleg Bellini.

Kinabrew returns following appearances last season as Clorinda in Cinderella (La Cenerentola), the High Priestess in Aida, the 2025 Variations series, and Dragon’s Breath. During the 2026-2027 season, she appears in The Three Little Pigs, Variations, the chorus of Pagliacci, and makes her role debut as Gretel in Hansel and Gretel. An Apprentice Artist with Sante Fe Opera, Kinabrew is the recipient of the 2025 “Facing Forward” Grant from the Jensen Foundation Competition and has also performed with The Glimmerglass Festival and Palm Beach Opera.

Dubil returns after last season’s portrayal of Tisbe in Cinderella (La Cenerentola) and her appearances in the 2025 Variations series and Dragon’s Breath. This season, she performs in The Three Little Pigs, Variations, the chorus of Pagliacci, and sings the title role of Hansel in Hansel and Gretel. She is the recipient of the Emerging Artist Award in the Lotte Lenya Competition and has appeared with Opera Colorado and Central City Opera.

Bellini returns as collaborative pianist for The Three Little Pigs and Variations. Previously a Resident Collaborative Pianist with Opera Colorado, he served as principal coach and pianist for the company’s educational outreach productions and worked on the music staff for numerous mainstage productions.

Joining the program for the first time are tenor Douglas Culclasure, baritone Joel Clemens, tenor Carlos Ahrens, soprano Nia Spaulding, mezzo-soprano Lindsey Polcyn, baritone Yichen Xue, and tenor Xiaojie Ji.

Among this year’s artists are winners and finalists of the Metropolitan Opera Laffont Competition, Resident and Apprentice Artists with companies including The Glimmerglass Festival, Santa Fe Opera, Opera Theatre of Saint Louis, Des Moines Metro Opera, and Sarasota Opera, as well as performers who have appeared with leading regional opera companies and symphony orchestras throughout the United States.

Throughout the season, the Emerging Artists will perform featured and supporting roles across Virginia Opera’s 2026-2027 season, with several artists taking on major principal assignments.

“Our goal is to prepare these artists for long, successful careers by giving them meaningful performance opportunities and individualized mentorship,” said Brandon Eldredge, Virginia Opera’s Director of Emerging Artists/Associate Conductor & Chorus Master. “Every season we’re inspired by the talent, curiosity, and dedication they bring to the rehearsal room. Audiences will have the opportunity to watch these exceptional young professionals at an exciting moment in their careers.”

Virginia Opera’s Herndon Foundation Emerging Artists Program has launched the careers of hundreds of singers who now perform on the world’s leading opera stages. Recent alumni include: Brian Jagde, Megan Marino, Jeni Houser, David Blalock, Kristen Choi, Hunter Enoch, Martin Bakari, Shannon Jennings, and Symone Harcum.

For more information about Virginia Opera’s 2026-2027 season, visit vaopera.org.

###

About Virginia Opera
Virginia Opera, the official opera company of the Commonwealth of Virginia, is one of the finest regional opera companies in the nation and is the only company to perform regularly in three separate main stage venues: the Harrison Opera House in Norfolk, the Carpenter Theatre at the Dominion Energy Center in Richmond, and Center for the Arts at George Mason University in Fairfax. Organized in 1974, Virginia Opera is respected nationwide for the identification and presentation of the finest young artists, for the musical and dramatic integrity of its productions, and for the ingenuity and variety of its education and outreach programs.

Follow Virginia Opera on social media
Facebook: @vaopera
Twitter: @vaopera
Instagram: @vaopera