Validate.
Venerate.
Vindicate.
March 6 in New York City
Immerse yourself in the joys and strife of womanhood in a Baroque exploration of empowerment through the lens of early classical music. With compositions by both male and female-identifying composers, the recital spans the emotional spectrum from anguish to charm and whimsy. Mezzo-Soprano, Michaela Wright brings the pieces to life with a chamber ensemble of top notch musicians under the music direction of Caitlyn Koester and the direction of Producer Rocky Duval. Through intentional lighting, staging, dramatic readings, and a focus on shared humanity, the recital seeks to bridge the hundreds -year gap between the audience and the originators of the works.
Michaela Wright
Michaela Wright is a Mezzo-Soprano and voice teacher based in Western North Carolina with deep roots in Central Florida. Her singing career has taken her around the world, most recently, to Prague, where she performed in the Divadlo na Vinohradech with Opernfest Prague.
She recently made her role debut with Opera Orlando in Baseball: A Musical Love Letter , made her Orlando Fringe debut as Mina in The Bloody Hatchet (Nathan Felix Opera Productions) and was seen as Hansel in Hansel and Gretel with Opera del Sol at The Dr. Phillips Center for the Performing Arts, as Igor Stravinsky in the world premiere of Nathan Felix’s ‘No.5’ at Timucua Arts, and as the Alto Soloist for “The Messiah.”. She was also recently seen as Sarah in Stephen Sondheim’s “Company” and Lori Laitman’s “Three Feathers” with Opera Steamboat.
In recent years, has sung the roles of Orfeo in Gluck’s Orfeo Ed Euridice (The Armory Free Theatre,) The Fox in Janácek’s Cunning Little Vixen (The Krannert Center for the Performing Arts,) Bianca in Britten’s The Rape of Lucretia (The Krannert Center,) and performed as the Mezzo Soprano soloist for The Mozart Requiem in Terry Concert Hall. She has also sung in La Boheme (directed by Nathan Gunn and Sarah Wigley,) Pirates of Penzance (Sinfonia da Camara,) Take Flight (a 29-hour reading of the new musical directed by Broadway lyricist, Richard Maltby,) and in a workshop presentation of the new opera, Sensorium Ex (Composed by Paola Prestini and produced by The Beth Morrison Project.)
Over the past few years, Michaela has been involved with numerous New Music festivals including The ARC Project, All Score Urbana’s Community of Song, New Music Mosaic, and New England Conservatory's Virtual Composition Seminar Concert. She has premiered several works including “Internal Monologs” by Jacksonville-based composer, Bob Moore, “I Taste a Liquor Never Brewed” by Brooks Clarke, “Appalachian Lament” by Caleb Wiggins, “Kingdom by the Sea” by Tiffany Adams, “Float” by Serena Ryan, and “Assertion” by Pepijn Streng.
In addition to her work in classical music, Michaela has much experience performing musical theater. She has most recently been seen as Logainne Schwartzandgrubenierre in The 25th Annual Putnam County Spelling Bee, Rebecca in Weird Romance, and Ginger in The Best Little Whorehouse in Texas.
Michaela is an experienced and gifted educator as well. She works as a Teaching Artist for A NoteWorthy Music Studio, Central Florida Vocal Arts, and maintains a private studio. During her studies in Illinois, she held a graduate teaching assistantship teaching private voice through the Unit One Music Program.
Michaela holds Master of Music in Opera Performance and Literature from The University of Illinois at Urbana-Champaign where she studied privately with Jerold Siena. She also holds a Bachelor of Music in vocal performance and a Minor in Education from Jacksonville University where she studied privately with Dr. Jay Ivey. She currently studies privately with world-renowned Mezzo-Soprano, Michelle DeYoung.
Validate. Vindicate. Venerate.
Validate. Vindicate. Venerate.
Founded in the fall of 2016 by Megan Gillis and Kathleen Spencer, City Lyric Opera has emerged as a champion for artistic excellence and creativity in the heart of New York City's cultural landscape. Over the course of eight seasons, City Lyric Opera has proudly curated twelve fully staged productions, providing paid performance opportunities to hundreds of local artists. From captivating main-stage operas to intimate salon concerts, public showcases, and educational workshops, our organization has remained devoted to nurturing artistic expression within a diverse and inclusive community.
Distinguished as one of the nation's few female-led opera companies, City Lyric Opera boasts a 100% female self-identifying leadership team. Embracing a philosophy rooted in inclusivity and collaborative spirit, we are dedicated to fostering an environment where all artists feel empowered to contribute and thrive.
Since it’s inception, City Lyric Opera has championed a fusion of exceptional musicianship and unparalleled audience engagement, offering a transformative operatic experience devoid of judgment or financial constraints. From performances throughout Manhattan, Brooklyn, and Queens, we have continuously pushed the boundaries of traditional opera, redefining its essence and accessibility.
In the 23-24 Season, City Lyric Opera embarked on a groundbreaking transition to an artist-submission-based model for repertoire selection. Under this approach, artists take the helm of their own creative journey, supported by City Lyric Opera's knowledge, support, and resources. This shift amplified CLO’s impact within the community and served as a catalyst for the empowerment and elevation of local talent.
At City Lyric Opera, we firmly believe that empowered artists are the architects of inspiring and empowering art.