Bach-Millennium Music

Summer Opera Program 2026 presents:

Mozart

Die Zauberflöte

A Journey Through Enlightenment and Love

Die Zauberflöte — Summer Opera Program 2026 poster: a golden flute and songbird against a starry night sky

AND Concerts

with Favorite Arias and Ensembles

July 23- August 16, Santa Clara University

Welcome

Mission

Bach-Millennium Music is a non-profit company, organized to empower singers, conductors and vocal coaches in their pursuits of artistry in the field of opera by offering unique, intensive educational training programs where students can learn and excel through daily practice with a resident professional orchestra, master classes, individual lessons, seminars, workshops and public performing opportunities.

Board of Directors

Milena Georgieva Bach, President, Founder
Kristiyan Dzhamalov, Vice-President, Technology and Strategy
Timothy Bach, Co-Founder, Treasurer
Gabriela Pavlova, Secretary

Advisory Board

Sylvia Anderson
Patricia Craig
Pamela Fry
Matthias Kuntzsch
Clifford (Kip) Cranna

Bach-Millennium Music is supported by
SVCreates, in partnership with the County of Santa Clara

We thank our donors

Kristiyan and Vesela Dzhamalov
Bonnie Hampton
Stoyanka Georgieva
Catherine Bullock
Peter Kaas
Julie Zhu
Zhuojun Grace Huang
Sirma Tzoutzova and Wendy Hales
Joseph Schmitt
Valerie Marie Pierce
Alex Katsman and Varvara Milinder
Irina Aveni
Jacky Liang
Borislav Ganov
Navid Jalali Heravi
Christine Teng-Henson
Sharon Spivack
Chenzhi Feng
Benevity Cause
Timothy and Milena Bach
Summer 2026

Concert Calendar

For more information and tickets, please visit www.Bach-MillenniumMusic.org

Saturday, August 1, 7 pm Selection of Opera Arias with pianists Mai-Linh Pham, Steven Bailey Santa Clara University, Recital Hall
Friday, August 7, 7 pm Favorite opera arias and ensembles with orchestra, First program Santa Clara University, Recital Hall
Saturday, August 8, 7 pm Favorite opera arias and ensembles with orchestra, Second program Santa Clara University, Recital Hall
Friday, August 14, 7 pm Die Zauberflöte (The Magic Flute) by Mozart Santa Clara University, Mayer Theater
Saturday, August 15, 7 pm Die Zauberflöte (The Magic Flute) by Mozart Village Theatre & Art Gallery, Danville
Sunday, August 16, 2 pm Die Zauberflöte (The Magic Flute) by Mozart Santa Clara University, Mayer Theater

Orchestra

Violin

Cuna Kim, Concertmaster
Jiyuan Yang
Alexandra Gonzales
Jaimie Yoon
David Wang
Ruby Ro

Viola

Minji Kim
Seyoun Park
Yang Yang

Cello

Calvin Kung
Zofia Sabee

Bass

Abhi Vinnakota

Harp

Dan Levitan

Flute

Emma Westerfield
Hyejung Baik

Oboe

Max Hollander
Katie Rusilov

Clarinet

Liam Cameron
Ben Taylor

Bassoon

Iain Forgey
Susan Diasa

Horn

Yolanda Zheng
Daniel Cooper

Trumpet

Christopher Wilhite

Trombone

Mason Chambers

Saturday, August 1, 2026

Beloved Arias and Art Songs

Gluck, Paride ed Elena, O del mio dolce ardor

Jason Yang, baritone
Mai-Linh Pham, piano

Mozart, Don Giovanni, Vedrai carino

Zhangguanglu Wang, soprano
Hao Wu, piano

Foster, Beautiful Dreamer

Brooks Liang, baritone
Mai-Linh Pham, piano

Strauss, Die Fledermaus, Ich lade gern mich Gäste ein

Anastasia Miin, soprano
Mai-Linh Pham, piano

Tosti, Non t’amo piu

David Wu, tenor
Hao Wu, piano

Menotti, The Medium, Monica's Waltz

Olivia Siri, soprano
Steven Bailey, piano

Scarlatti, Le violette

AJ Sotelo, soprano
Steven Bailey, piano

Fauré, Mai

Pranav Balaji, tenor
Mai-Linh Pham, piano

Mendelssohn, Minnelied

Pranav Balaji, tenor
Mai-Linh Pham, piano

Verdi, Rigoletto, Caro nome

Xinyi Liu, soprano
Steven Bailey, piano

~ Intermission ~

Argento, Spring

Anastasia Miin, soprano
Mai-Linh Pham, piano

Donizetti, Don Pasquale, Bella siccome un angelo

Brooks Liang, baritone
Mai-Linh Pham, piano

Mozart, Don Giovanni, Batti, batti, o bel Masetto

Zhangguanglu Wang, soprano
Hao Wu, piano

Mozart, Così fan tutte, Una donna a quindici anni

Tianna Vanderhoeven, soprano
Mai-Linh Pham, piano

Bellini, I Capuleti e i Montecchi, Eccomi in lieta vesta… Oh! quante volte

Gabriela Martinez, soprano
Steven Bailey, piano

Weill, Street Scene, Lonely House

James Coaxum, tenor
Mai-Linh Pham, piano

Mozart, Die Zauberflöte, Ach, ich fühls

Zhangguanglu Wang, soprano
Hao Wu, piano

Sondheim, Sweeney Todd, Green Finch and Linnet Bird

Olivia Siri, soprano
Hao Wu, piano

Schubert, Der Hirt auf dem Felsen (The Shepherd on the Rock)

Gabriela Martinez, soprano
Liam Cameron, clarinet
Mai-Linh Pham, piano

Concert Program A · Friday, August 7, 2026

Favorite Opera Arias and Ensembles

Mozart, Die Zauberflöte, overture

Brendan Lockhart, conductor

Handel, Alcina, Tornami a vagheggiar

Gabriela Martinez, soprano
Brendan Lockhart, conductor

The enchantress Alcina rejoices as she believes her beloved has returned to her. Sparkling with dazzling coloratura, this aria captures the joy, charm, and brilliance of Handel's operatic style.

Gluck, Paride ed Elena, O del mio dolce ardor

David Wu, tenor
Hao Wu, conductor

Paris sings a heartfelt declaration of love to Helen, expressing tenderness and unwavering devotion. One of Gluck's most beloved melodies, the aria exemplifies graceful simplicity and emotional sincerity.

Handel, Serse, Va godendo

AJ Sotelo, soprano
Alexander Katsman, conductor

The clever Atalanta delights in the success of her schemes, celebrating the confusion she has created among the lovers around her. The aria sparkles with playful wit and lively virtuosity.

Mozart, Die Zauberflöte, Dies Bildnis ist bezaubernd schön

Vicente Alvarez, tenor
Brendan Lockhart, conductor

Upon seeing Pamina's portrait, Prince Tamino is instantly captivated and realizes he has fallen in love. This lyrical aria marks the beginning of his journey toward wisdom, courage, and true love.

Mozart, Die Zauberflöte, Der Hölle Rache

Xinyi Liu, soprano
Alexander Katsman, conductor

The Queen of the Night commands her daughter Pamina to avenge her by killing Sarastro. Renowned for its breathtaking high notes and dazzling vocal fireworks, it remains one of opera's most famous soprano arias.

Mozart, Le nozze di Figaro, Opening Duet (Susanna–Figaro)

Xinyi Liu, soprano
Jason Yang, baritone
Alexander Katsman, conductor

As they prepare for their wedding, Figaro and Susanna happily imagine their future together. Their playful conversation quickly reveals the warmth, humor, and quick wit that make Mozart's comic masterpiece so beloved.

Mozart, Le nozze di Figaro, Deh vieni, non tardar

Tianna Vanderhoeven, soprano
Alexander Katsman, conductor

Susanna playfully sings a love song intended to deceive the Count while secretly reassuring her beloved Figaro. Graceful and enchanting, the aria is one of Mozart's finest portrayals of tenderness and wit.

Donizetti, L'elisir d'amore, Una furtiva lagrima

James Coaxum, tenor
Brendan Lockhart, conductor

Nemorino notices a single tear in Adina's eye and realizes she truly loves him. This tender, unforgettable aria captures one of opera's most touching moments of hope and quiet happiness.

Donizetti, L'elisir d'amore, Prendi, per me sei libero... Il mio rigor

Cristina Mora, soprano
Alexander Katsman, conductor

Moved by Nemorino's selfless devotion, Adina confesses her love and releases him from his military obligation. The aria reveals her transformation from playful flirtation to genuine affection.

Donizetti, L'elisir d'amore, Adina–Nemorino Duet

Cristina Mora, soprano
James Coaxum, tenor

The reunited lovers celebrate their happiness after misunderstandings and heartache. Filled with warmth and lyrical charm, the duet brings Donizetti's beloved comedy to a joyful conclusion.

Intermission

Bernstein, Trouble in Tahiti, There's a Law

Jason Yang, baritone
Alexander Katsman, conductor

In this witty and jazzy number, Sam confidently explains his view of success, relationships, and modern life. Bernstein's score brilliantly blends Broadway energy with biting social commentary.

Bellini, La sonnambula, Ah! non credea mirarti... Ah! non giunge

Cristina Mora, soprano
Alexander Katsman, conductor

Believing her happiness lost, Amina mourns with heartbreaking tenderness before her innocence is finally revealed. The sorrowful opening blossoms into a brilliant celebration of love and joy, showcasing Bellini's incomparable gift for lyrical melody.

Haydn, The Creation, By Thee with Bliss

Tianna Vanderhoeven, soprano
Brooks Liang, baritone
Jason Yang, conductor

Adam and Eve offer joyful praise for the beauty and harmony of the newly created world. This radiant duet expresses gratitude, innocence, and hope in one of Haydn's greatest masterpieces.

Mozart, Così fan tutte, In uomini, in soldati

Olivia Siri, soprano
Jason Yang, conductor

Despina mischievously advises the young women not to place too much trust in men. Full of humor and sparkling charm, the aria captures the playful spirit of Mozart's celebrated comedy.

Donizetti, La fille du régiment, Chacun le sait

Zhangguanglu Wang, soprano
Alexander Katsman, conductor

Marie proudly recalls being raised by an entire regiment of French soldiers. Bright, energetic, and full of military spirit, the aria perfectly introduces the opera's spirited heroine.

Giordano, Fedora, Amor ti vieta

Frank Watnick, tenor
Alexander Katsman, conductor

Count Loris declares that love cannot be resisted, however dangerous it may be. Though lasting barely a minute, this passionate aria is one of the most powerful tenor moments in the verismo repertoire.

Kálmán, Die Csárdásfürstin, Tanzen möcht’ ich

Zhangguanglu Wang, soprano
Vicente Alvarez, tenor
Alexander Katsman, conductor

The lively Stasi and the charming Count Boni flirt, tease, and celebrate young love with irresistible Hungarian rhythms. Overflowing with elegance, wit, and dance-like energy, the duet is a highlight of operetta.

Lehár, Die lustige Witwe, Act I, No. 2: Camille–Valencienne Duet

Gabriela Martinez, soprano
Frank Watnick, tenor
Alexander Katsman, conductor

Camille and Valencienne struggle to conceal their growing affection despite the risks it poses. Lehár combines sweeping romantic melodies with graceful Viennese charm in this unforgettable operetta duet.

Concert Program B · Saturday, August 8, 2026

Favorite Opera Arias and Ensembles

Mozart, Die Zauberflöte, Overture

Jason Yang, conductor

Mozart, Die Zauberflöte, Papageno's Aria, Ein Mädchen oder Weibchen

Brooks Liang, baritone
Alexander Katsman, conductor

Papageno dreams of finding a loving wife with whom he can share a simple, happy life. Overflowing with warmth and humor, this charming aria reveals the bird-catcher's most heartfelt wish.

Mozart, Die Zauberflöte, Papageno's Aria, Der Vogelfänger bin ich ja

Jason Yang, baritone
Brendan Lockhart, conductor

Papageno cheerfully introduces himself as a carefree bird-catcher who delights in nature and dreams of finding a sweetheart. One of Mozart's most beloved comic arias, it perfectly captures his playful personality.

Mozart, Die Zauberflöte, Act II Quintet, “Wie? Wie? Wie?”

Olivia Siri, soprano
Tianna Vanderhoeven, soprano
Megan Gurer, mezzo-soprano
Frank Watnick, tenor
Jason Yang, baritone
Brendan Lockhart, conductor

The Three Ladies discover Papageno and Tamino together and are astonished to find Papageno unable to speak because of his punishment. Filled with comic misunderstandings and sparkling ensembles, this quintet is one of the opera's most delightful moments.

Mozart, Idomeneo, Se il padre perdei

Zhangguanglu Wang, soprano
Alexander Katsman, conductor

Ilia reflects on the loss of her father and homeland while struggling with her growing love for the son of her family's enemy. Mozart combines noble expression with profound emotional sensitivity in this moving aria.

Mozart, Le nozze di Figaro, Se vuol ballare

Jason Yang, baritone
Hao Wu, conductor

Figaro cleverly vows to outwit his employer, Count Almaviva, after discovering the Count's plans to pursue Susanna. Beneath its elegant melody lies a spirited declaration of wit triumphing over privilege.

Verdi, Un ballo in maschera, Saper vorreste

AJ Sotelo, soprano
Alexander Katsman, conductor

The lively page Oscar teasingly refuses to reveal a secret, delighting in playful mischief and sparkling conversation. Verdi's brilliant writing makes this aria a joyful display of agility and charm.

Lehár, Das Land des Lächelns, Dein ist mein ganzes Herz

Frank Watnick, tenor
Alexander Katsman, conductor

Prince Sou-Chong declares his complete devotion to the woman he loves in one of operetta's most famous tenor arias. Its soaring melody and heartfelt passion have made it a timeless concert favorite.

Donizetti, Linda di Chamounix, Ah! tardai troppo… O luce di quest'anima

Gabriela Martinez, soprano
Alexander Katsman, conductor

Believing all hope is lost, Linda begins in sorrow, only to discover that happiness has returned. The aria culminates in a dazzling display of coloratura celebrating love, joy, and renewed hope.

Intermission

Handel, Samson, Total Eclipse

Pranav Balaji, tenor
Alexander Katsman, conductor

Blinded and imprisoned, Samson mourns the loss of both his sight and his former glory. This deeply moving aria is one of Handel's most profound expressions of suffering and spiritual reflection.

Weber, Der Freischütz, Kommt ein schlanker Bursch gegangen

Olivia Siri, soprano
Alexander Katsman, conductor

Ännchen cheerfully teases her friend Agathe with a lighthearted song about love and courtship. Its graceful melodies and playful spirit provide a delightful contrast to the opera's darker themes.

Strauss, Die Fledermaus, Ich lade gern mir Gäste ein

Anastasia Miin, mezzo-soprano
Alexander Katsman, conductor

Prince Orlofsky welcomes guests to an extravagant masquerade where anything can happen. This elegant and witty aria sets the stage for one of operetta's most sparkling evenings of comedy and mistaken identities.

Strauss, Die Fledermaus, Mein Herr Marquis

Tianna Vanderhoeven, soprano
Alexander Katsman, conductor

Rosalinde cleverly disguises herself and laughingly mocks the man who fails to recognize her. Better known as the "Laughing Song," this dazzling aria is a showcase of brilliance, elegance, and humor.

Mozart, Don Giovanni, Deh vieni alla finestra

Brooks Liang, baritone
Alexander Katsman, conductor

Don Giovanni serenades a young woman beneath her window with irresistible charm and gentle lyricism. Accompanied by mandolin, this intimate aria reveals the seductive elegance of Mozart's unforgettable antihero.

Mozart, Don Giovanni, Là ci darem la mano

Tianna Vanderhoeven, soprano
Brooks Liang, baritone
Brendan Lockhart, conductor

Don Giovanni attempts to persuade the innocent Zerlina to leave her fiancé and follow him. Beginning as a gentle seduction, the duet blossoms into one of Mozart's most beautiful and psychologically subtle creations.

Thomas, Hamlet, À vos jeux, mes amis

Xinyi Liu, soprano
Alexander Katsman, conductor

Before descending into madness, Ophélie joins the festivities with apparent joy while inner tragedy quietly unfolds. The scene culminates in one of the most celebrated coloratura showpieces in the French operatic repertoire.

Sorozábal, La tabernera del puerto, No puede ser

Vicente Alvarez, tenor
Alexander Katsman, conductor

Leandro struggles to reconcile his love with the rumors surrounding the woman he adores. This passionate Spanish romanza, filled with soaring lyricism and dramatic intensity, has become one of the greatest tenor favorites.

Kálmán, Die Csárdásfürstin, Tanzen möcht' ich

Cristina Mora, soprano
Vicente Alvarez, tenor
Alexander Katsman, conductor

Stasi dreams of dancing, romance, and carefree happiness in this sparkling operetta duet. Overflowing with Viennese elegance and Hungarian charm, it perfectly captures the joyful spirit of Kálmán's beloved masterpiece.

Bach-Millennium Music presents

Wolfgang Amadeus Mozart

Die Zauberflöte

(The Magic Flute)

Singspiel in two acts
Libretto by Emanuel Schikaneder
Premiere: September 30, 1791

August 14 & 16, Mayer Theater, Santa Clara University
August 15, The Village Theatre & Art Gallery, Danville

Alexander Katsman, music director & conductor
Milena Georgieva Bach, stage director, projection designer
Homa Ahmed, costume designer
Carolyn Guggemos, lighting design (Santa Clara University, Performing Arts Center)
Jean Lau, lighting assistant (Santa Clara University, Performing Arts Center)
Steven Bailey, music preparation/coach
Starr Chen, supertitles operator
Sharon Peng, makeup consultant
Resident Orchestra

Cast in order of appearance

Frank WatnickTamino (8/14, 8/15)
Vicente AlvarezTamino (8/16)
Olivia SiriFirst lady, attendant to the Queen
Tianna VanderhoevenSecond lady, attendant to the Queen (8/14, 8/15)
Rose KreiderSecond lady, attendant to the Queen (8/16)
Megan GurerThird lady, attendant to the Queen
Jason YangPapageno, a birdcatcher
Xinyi LiuQueen of the Night
James CoaxumMonostatos, Second Priest, 1st Armored man
Gabriela MartinezPamina, daughter of the Queen
Ziang (David) WuFirst boy, Slave
Pranav BalajiSecond boy, Slave
AJ SoteloThird boy
Brooks LiangSpeaker Priest
Brendan Lockhart2nd Armored man
Zhangguanglu WangPapagena (8/14, 8/15)
Cristina MoraPapagena (8/16)
Extra ChorusNiral Bhavsar

Mozart's Die Zauberflöte (The Magic Flute)

Music by Wolfgang Amadeus Mozart (1756–1791) · Libretto by Emanuel Schikaneder
Premiered on September 30, 1791, at the Freihaus-Theater auf der Wieden, Vienna

One of the world's most beloved operas, Die Zauberflöte (The Magic Flute) is a timeless fairy tale that blends comedy, romance, adventure, and profound philosophical ideas. Written during the final months of Mozart's life, the opera was premiered just weeks before his death and has remained one of the most frequently performed works in the operatic repertoire.

The story follows the young Prince Tamino, who embarks on a perilous journey to rescue the beautiful Pamina, daughter of the mysterious Queen of the Night. Along the way he is joined by the delightful bird-catcher Papageno, whose humor and humanity provide a charming contrast to Tamino's noble quest. Guided by a magical flute and enchanted bells, the two encounter trials of courage, wisdom, friendship, and love.

As the story unfolds, appearances prove deceptive. Characters who initially seem heroic reveal hidden flaws, while those who appear threatening emerge as wise and compassionate leaders. Through these unexpected twists, Mozart and Schikaneder invite us to look beyond prejudice and seek truth through reason, virtue, and understanding.

Although inspired by fairy tales and fantasy, The Magic Flute reflects many of the ideals of the Enlightenment—the eighteenth-century movement that celebrated knowledge, justice, tolerance, and the pursuit of wisdom. The opera also incorporates symbolic elements associated with Freemasonry, of which both Mozart and Schikaneder were members. The recurring use of the number three, the ceremonial trials, and the triumph of light over darkness all carry symbolic significance while remaining accessible to audiences of every background.

Musically, The Magic Flute offers an extraordinary variety of styles. It includes dazzling virtuoso arias such as the Queen of the Night's famous "Der Hölle Rache," lyrical expressions of love including Tamino's "Dies Bildnis ist bezaubernd schön" and Pamina's heartfelt "Ach, ich fühl's," joyful ensembles, and unforgettable comic scenes featuring Papageno. Mozart's remarkable ability to portray each character through music gives the opera its enduring emotional power.

More than two centuries after its premiere, The Magic Flute continues to captivate audiences of all ages. Its enchanting blend of fantasy, humor, unforgettable melodies, and universal themes reminds us that genuine wisdom is found not through power or wealth, but through compassion, integrity, perseverance, and love.

We invite you to enjoy this magical journey and discover why The Magic Flute remains one of the greatest masterpieces in the history of opera.

Did You Know?

Curious Facts About The Magic Flute

Mozart conducted the premiere himselfThe Magic Flute premiered on September 30, 1791, in a suburban theater in Vienna. Mozart conducted from the fortepiano—just over two months before his death at the age of 35.
Mozart never knew how famous the opera would becomeAlthough the premiere was a success, Mozart died only ten weeks later. Today, The Magic Flute is among the most frequently performed operas in the world.
The Queen of the Night's famous aria reaches one of the highest notes in operaThe spectacular aria "Der Hölle Rache" ascends to a breathtaking high F6, making it one of the most technically demanding coloratura soprano arias ever written.
Papageno's bells are just as powerfulWhile Tamino's flute calms nature and protects him from danger, Papageno's enchanted bells make enemies dance uncontrollably—a comic counterpart to Tamino's noble magic.
It was written for ordinary people—not the imperial courtUnlike many operas of the time, The Magic Flute premiered in a popular public theater rather than an aristocratic opera house. It was intended to entertain audiences from every social class.
The librettist played PapagenoEmanuel Schikaneder—actor, impresario, theater manager, and Mozart's close friend—not only wrote the libretto but also created the role of Papageno and performed it at the premiere.
Who is the real villain?Audiences often assume the Queen of the Night is the heroine because she appears first. As the opera unfolds, Mozart gradually reveals that appearances can be deceptive—a central message of the work.
The number three appears everywhereBecause Mozart and Schikaneder were Freemasons, the opera is filled with symbolic groups of three: Three Ladies, Three Boys, Three Temples, Three chords opening the overture, Three trials, Numerous musical phrases built in groups of three
Papageno almost never leaves the stageAlthough he is not the title character, Papageno appears in much of the opera and has more spoken dialogue than almost any other role.
The Magic Flute belongs to a unique genreRather than being a traditional opera, it is a Singspiel, a German form combining sung numbers with spoken dialogue—much like today's musical theater.
Mozart's final operaThe Magic Flute was the last opera Mozart completed before his death. His unfinished Requiem remained incomplete at the time of his passing.
A favorite of famous scientistsAlbert Einstein reportedly admired The Magic Flute, saying that Mozart's music revealed "the beauty of the universe" more clearly than many scientific explanations.
Did You Know About Bach-Millennium Music?This production is presented as part of Bach-Millennium Music's 9th Summer Opera Program in residence at Santa Clara University. The company brings together emerging artists from across the United States and around the world to study and perform with a resident orchestra and distinguished faculty. This production features English dialogue and English supertitles, making Mozart's masterpiece accessible to audiences experiencing opera for the first time while preserving the original German musical text.
The Artists

Summer Opera Program 2026 Participants

Vicente Alvarez
Vicente Alvarez
tenor

Vicente Andrés Álvarez Maire holds a Bachelor of Arts from the University of Chile. He has collaborated with the Chorus of the Municipal Theatre of Santiago in major productions, including Gioachino Rossini’s Stabat Mater, Richard Wagner’s The Flying Dutchman, Giuseppe Verdi’s Requiem, and Ludwig van Beethoven’s Ninth Symphony. As a soloist, he has appeared in opera productions directed by soprano Verónica Villarroel, performing the roles of Alfredo in La traviata and Rodolfo in La Bohème at the El Tranque Cultural Center. He has also interpreted the role of El Remendado in Carmen at the Lucho Gatica Regional Theatre, under the stage direction of Gian Paolo Martelli. In 2024, he took part in the Solístico de Santiago season under the baton of conductor Paolo Bortolameolli, performing excerpts from Puccini’s Madama Butterfly.

Pranav Balaji
Pranav Balaji
tenor

Pranav Balaji is a rising seventeen-year-old classical vocalist who brings eight years of rigorous technical training to this production of Die Zauberflöte. He recently appeared as The Youth in Felix Mendelssohn’s Elijah. A dedicated performer, Pranav was selected for the prestigious California State Summer School for the Arts (CSSSA) and the Oregon Bach Festival’s Stangeland Family Youth Choral Academy (SFYCA). He currently studies voice privately under Dr. Maria Maxfield. Pranav is thrilled to transition from the musical theatre stage to his professional opera debut and thanks his family and mentors for their endless support of his artistry.

James Coaxum
James Coaxum
tenor

James Coaxum is an emerging tenor recognized for expressive musicianship and a growing presence on the operatic stage. His recent highlights include a summer 2025 appearance with Keystone Opera in Le nozze di Figaro (The Marriage of Figaro) as Don Basilio and Don Curzio, along with performances as Nemorino in scenes from Donizetti’s L’elisir d’amore and Sam Kaplan in scenes from Kurt Weill’s Street Scene. A graduate of Norfolk State University with a degree in Vocal Performance, he also studied music and sang with Old Dominion University’s Concert Choir and Diehn Chorale from 2010 to 2013. He currently performs with the Virginia Opera in Hampton Roads.

Megan Gurer
Megan Gurer
mezzo-soprano

Mezzo-soprano and composer Megan Gürer is a master’s student at the San Francisco Conservatory of Music studying Technology and Applied Composition. She studies voice with Milena Georgieva Bach. Whether composing music or performing for a live audience, Megan’s passion for musical story-telling is at the forefront of her artistic endeavors. Her recent operatic engagements include Cherubino in Mozart’s Le nozze di Figaro (Bach-Millennium Music) and dritte Magd in Richard Strauss’s Elektra (Dramatic Voices Program Berlin). She received her undergraduate degrees in voice performance and composition from UC Davis. Outside of music, she enjoys cooking and spending time in nature.

Brendan Lockhart
Brendan Lockhart
conductor

Brendan Lockhart (he/they) is a conductor, music director, and bass-baritone from Waterford, Michigan, and a rising senior at the University of Michigan. He loves working with singers on stage works and is pursuing a career in opera conducting. As a conductor, Brendan has led productions of Rodgers and Hammerstein’s 'Oklahoma!' and 'Cinderella', as well as West Side Story (Bernstein/Sondheim). Other work at U-M includes music directing the recent world premiere of 'The Laugh of the Medusa' by Thani Brant, and in November, he will conduct MUSKET's production at the Power Center for the Performing Arts.

Brooks Liang
Brooks Liang
baritone

Brooks Liang is a 16-year-old baritone and a sophomore at Archbishop Mitty High School. He performs across classical, musical theater, pop, and jazz styles. Brooks is a First Place winner of the NATS National Auditions (Youth Classical category) and has earned Second Place in both the CS Vocal Competition and the Schmidt Vocal Competition (Northern California). He is passionate about storytelling through music and continues to develop his artistry on stage.

Xinyi Liu
Xinyi Liu
soprano

Xinyi Liu, soprano, is currently pursuing dual degrees in Voice/Opera and Psychology at Northwestern University. At Northwestern, she has performed Emmie in Albert Herring, Laurette in Le Docteur Miracle and has covered Mabel in Pirates of Penzance. This past summer Liu sang the role Adele in Die Fledermaus in Scharbeutz, Germany, with Middlebury German for Singers program. She has sung in UW Madison’s opera workshop in scenes from Roméo et Juliet, Lakmé, Der Rosenkavalier (Sophie), and Alcina (Morgana). Liu has been studying traditional Chinese music and Beijing Opera style since she was eight years old, she is dedicated to create global connections through music.

Gabriela Martinez
Gabriela Martinez
soprano

With roots in Anchorage, Alaska and Tucson, Arizona, soprano Gabriela Martinez is equally passionate about opera and choral music. She has performed roles including Susanna in Le nozze di Figaro, Adele in Die Fledermaus, Monica in The Medium, and Marie in La fille du régiment. This summer, she performs Pamina in Die Zauberflöte. An accomplished concert soloist, she has appeared in major works including Handel’s Messiah, Brahms’ Ein Deutsches Requiem, and Mahler’s Second Symphony. Recent performances include J.S. Bach’s Ein feste Burg ist unser Gott and Schubert’s Der Hirt auf dem Felsen. Gabriela holds degrees from the San Francisco Conservatory of Music and Indiana University.

Anastasia Miin
Anastasia Miin
mezzo-soprano

Anastasia is a 16-year-old vocalist from California with a strong background choir and piano. She has spent years cultivating her artistry, recently achieving recognition in 2026 as a NATS National Classical Semifinalist, placing 2nd at NATS Cal-Western, and naming as a Schmidt Finalist. For Anastasia, music serves as both a creative outlet and a source of balance. In the midst of a demanding academic schedule, singing provides clarity and focus, allowing her to reset and reconnect. At this program, she looks forward to intensive instruction, collaborating with other musicians, and further developing her voice in a rigorous and supportive environment.

Cristina Mora
Cristina Mora
soprano

Costa Rican soprano Cristina Mora won the 2023 Costa Rican National Symphony Orchestra Young Soloists Competition. Her stage versatility includes roles such as Adina (L’Elisir d’Amore), Lucy (The Telephone), Knabe 1 (Die Zauberflöte) and the Marquesita del Bierzo (El Barberillo de Lavapiés). She has performed at major venues like the National Theatre of Costa Rica and collaborated with ensembles including the SFCM Historical Performance Ensemble and the Tzintzuni Philharmonic. Currently, she is based in the United States, pursuing her first year of a Master’s in Voice at the San Francisco Conservatory of Music under the tutelage of the renowned mezzo-soprano Susanne Mentzer.

Olivia Siri
Olivia Siri
soprano

Lyric Soprano Olivia Siri holds a Master of Music in Vocal Performance from California State University, Fullerton. Recognized for her strong musicianship and an expressive stage presence, some previous roles include Miss Wordsworth (Albert Herring), Rima in the West Coast premiere of Elizabeth Greene’s Hajar, 2nd Lady (Die Zauberflöte), and covering Noémie in Massenet’s Cendrillon. As a chorister, she regularly appears in major works with Pacific Chorale, most recently Ravel’s “Daphnis et Chloé”. A Bay Area native, Olivia has attended training programs such as Bach-Millennium Music, Miami Music Festival, and Opera Seme and is currently based in Southern California.

AJ Sotelo
AJ Sotelo
soprano

AJ Sotelo is a soprano currently based in the San Francisco Bay Area. They hold a Bachelor of Arts in Music Theory and Composition and a Master of Music in Vocal Performance. Significant roles include Mlle. Silberklang in "Der Schauspieldirektor" (Mozart), Belinda in "Dido and Aeneas" (Purcell), and Buff in "Der Schauspieldirektor" as a character role. Along with vocal performances, Sotelo has also composed vocal works, including an operetta titled "Blossoms of Springtime." AJ gives special thanks to their teacher Jane Randolph and their spouse LJ for all of their love and support.

Tianna Vanderhoeven
Tianna Vanderhoeven
soprano

Tianna Vanderhoeven is currently pursuing a Bachelor of Music in Performance at Brock University, studying with Dr. Leanne Vida. She began her studies with Vicky Vlassis-Radulovich, completing her RCM Grade 8 voice exam, and making her professional debut as soprano soloist in the Combined Voices in Praise concerts. Tianna enjoys performing for various festivals and competitions, where she has received multiple awards. She has also been featured in RBC’s Music at Noon series and was a soloist in the Niagara Voice of Praise concert. She is currently preparing to premiere a composition by Jonathan Kingma and is looking forward to her first solo recital.

Frank Watnick
Frank Watnick
tenor

Frank Watnick is an emerging lyric tenor based in Los Angeles who has performed throughout the United States and abroad. He holds bachelor's and master's degrees in Vocal Performance from Chapman University and California State University, Fullerton. His operatic credits include Sam Kaplan (Street Scene), Nerone (L’incoronazione di Poppea), Lenski (Eugene Onegin), Basilio and Curzio (Le nozze di Figaro), Leukippos (Daphne), Rodolfo (La Bohème), and the Duke of Mantua (Rigoletto). Recent engagements include Don Ottavio (Don Giovanni), Vaudémont (Iolanta), Tebaldo (I Capuleti e i Montecchi), and cover assignments in Fra Diavolo and Turandot. An award-winning artist, Frank has earned Absolute First Prize in the Special Venue Music Awards, Second Prize in the Los Angeles International Liszt Competition, and was a finalist in the Redlands Bowl Young Artist Vocal Competition. This season, he debuts as Tamino in Die Zauberflöte with the Berlin Opera Academy before reprising the role with Bach-Millennium Music.

Zhangguanglu Wang
Zhangguanglu Wang
soprano

Zhangguanglu Wang is a light lyric coloratura soprano with over 20 years of vocal training, studying with Jane Randolph and Terence Goff. She won First Prize at the 2024 Cultures of China Water Cube Cup Final. Opera credits include Barbarina (cover) in Le Nozze di Figaro, chorus in La Traviata (Livermore Valley Opera) and Madama Butterfly (San Jose Opera). She is also a member of the SF symphony chorus, and an active soloist with the UC Berkeley Baroque Ensemble and the Bay Area Music Circle. Fluent in German, Italian, French, Chinese, and English, she balances music with her work as a consultant at Ernst & Young in San Francisco.

Ziang (David) Wu
Ziang (David) Wu
tenor

David Wu is a recent graduate of Amador Valley High School who has been learning classical music since 2015. He has performed in productions of Into the Woods and even got to perform as Aeneas from Dido and Aeneas. Moreover, he had his first solo recital in February of 2025. Currently, he is headed to UCLA this year for a degree in Music Education.

Jason Yang
Jason Yang
conductor, baritone

Jason Yang is a third-year undergraduate studying Choral Music at the University of Southern California (USC). Most recently, he was a participant in the Western American Choral Directors Association (WACDA) conducting masterclass. Yang was assistant conductor for Baroque Collegium LA, and has conducted as a part of USC's ACDA student chapter. He sings with the USC Chamber Singers and Thornton Baroque Sinfonia. He studies with Dr. Tram Sparks.

RK
Rose Kreider
mezzo-soprano

Rose Kreider is an emerging mezzo-soprano based in Los Angeles, California. An active performer, she has regular engagements with Southern California based companies, including recent and upcoming work with Opera Santa Barbara, Mission Opera, Palm Springs Opera Guild, California Opera Association (Fresno), and Angels Lyric Opera. Recent roles include Loma Williams (Cold Sassy Tree, Carlisle Floyd), Second and Third Ladies (Die Zauberflöte), Aunt Sue (Slow Dusk, Carlisle Floyd), the Turnspit (Rusalka), Dorabella (Cosí fan tutte), and Jennie Hildebrand (Street Scene). Rose has been a regular member of the Opera Santa Barbara chorus since 2023, including productions of Carmen, Cavalleria Rusticana, and Elmer Gantry. She holds a Bachelor of Music degree in Vocal Performance from California State University, Northridge, and currently studies with Jessica Tivens-Schneiderman.

Guest Artist

Isaiah Musik-Ayala
Isaiah Musik-Ayala
bass

After a triumphant debut with the LA Phil in 2024 under the baton of Thomas Adès, American bass Isaiah Musik-Ayala has since made debuts with Virginia Opera, Anchorage Opera, Greenville Symphony, Opera In The Heights in Houston; and with Opera Modesto, Pocket Opera, Festival Opera, and the San Francisco Early Music Society in the SF Bay Area. With a voice that the New York Times has described as “burly and resonant,” and the San Francisco Classical Voice has called “commanding and compelling,” Isaiah has been gaining recognition as a performer to watch. Recent highlights include Melisso in Alcina, Vodnik in Rusalka, Alidoro in La Cenerentola, Orgon in Tartuffe, Haly in L'Italiana in Algeri, Figaro in Le nozze di Figaro, Rocco in Fidelio, Banquo in Macbeth, Prince Gremin in Eugene Onegin, Basilio in Il Barbiere di Siviglia, Colline in La bohème, and the Groundskeeper in the new opera Last Days.

The Teachers

Faculty

Alexander Katsman
Alexander Katsman
Music Director & Conductor

Alexander Katsman is the Artistic and Music Director for Livermore Valley Opera. Alumnus of the San Francisco Opera’s Merola Program, Mr. Katsman received his M.M. from St. Petersburg Rimsky-Korsakov State Conservatory and his B.M. cum laude from Mussorgsky College of Music in St. Petersburg, Russia. Since his arrival in the United States, Alexander has been sought after as a conductor and collaborative pianist. He conducted for Opera San Jose, West Bay Opera, Martinez Opera, Bayshore Lyric Opera, Berkeley West Edge Opera, Oakland Lyric Opera, Solo Opera, San Francisco Lyric Opera, Opera Academy of California, Peninsula Teen Opera, Diablo Light Opera, Town Hall Theater, and also at CalState University East Bay and Diablo Valley College. Recently Alexander was rehearsal conductor for Castleton Festival’s Berkeley performances of Albert Herring and The Rape of Lucretia. He was also Artistic Director for the Alexander Vocal Series, premier vocal recital series in Piedmont, California. His conducting credits include over 60 opera, operetta, and musical theater productions, including Orfeo et Euridice, Don Giovanni, Le nozze di Figaro, The Magic Flute, The Impresario, The Apothecary, La Cenerentola, L’italiana in Algeri, La Traviata, Rigoletto, Un Ballo in maschera, Madama Butterfly, Tosca, La bohème, Suor Angelica, Gianni Schicchi, Andrea Chénier, Pagliacci, Cavalleria Rusticana, Der Rosenkavalier, Die Fledermaus, Faust, Romeo et Juliette, La Juive, Carmen, Manon, The Bartered Bride, The Merry Widow, Mikado, Trouble in Tahiti, Kismet, Sweeney Todd, The Student Prince, Fiddler on the Roof, The Music Man, Carousel, and The Most Happy Fella. Mr. Katsman serves on conducting faculties of Bay Area Summer Opera Theater Institute and Opera Academy of California. He is also on the coaching staff at the San Francisco Conservatory. This is Mr. Katsman ninth season with Bach-Millennium Music.

Jane Randolph
Jane Randolph
Voice

Jane Randolph’s 40 years of experience teaching voice to students has led her across North America, from L’Atelier de L’Opéra de Montréal and L’Université de Montréal to establishing private studios in San Diego, San Francisco and New York. Her students have sung in major national and international opera companies and have been winners of countless prestigious competitions, such as the Metropolitan Opera National Council Auditions, the San Francisco Opera Auditions and the Operalia-Domingo Competition. After completing her studies at the University of California–Santa Barbara, the University of California–Los Angeles and the Hochschule für Musik in Freiburg, Germany, Ms. Randolph spent four seasons as a coloratura soprano at the Staatstheater in Luzern, Switzerland. She subsequently enjoyed an extensive career in opera, recital and oratorio in the United States, Europe and Australia. Ms. Randolph is renowned for her commitment to her students as well as her passion for the art of singing. Ms. Randolph has taught at Bach-Millennium Music since 2017.

Matthew Worth
Matthew Worth
Voice

A Professor of Voice at the San Francisco Conservatory of Music, baritone Matthew Worth has performed the title role in Il barbiere di Siviglia with Boston Lyric Opera and the title role in the world premiere of JFK with Fort Worth Opera. He has performed leading roles at Santa Fe Opera, Lyric Opera of Chicago, Minnesota Opera, Pittsburgh Opera, and Washington National Opera under luminary conductors including James Levine, Lorin Maazel, and Sir Andrew Davis.

Milena Georgieva Bach
Milena Georgieva Bach
Founder & Artistic Director

Milena Georgieva Bach is Founder and Artistic Director of Bach-Millennium Music. Miss Georgieva made her operatic debut in Europe and performed roles in Aida, La Bohème, Tosca, Il Trovatore, Tannhäuser and others in France, Italy, Germany and Bulgaria. Miss Georgieva is a regular soloist in the San Francisco Bay Area, performing opera and oratorio repertoire. Performances include roles in Der Freischütz, Der Rosenkavalier, Il Trovatore, Suor Angelica, Il Tabarro and others. Concert work includes Messa da Requiem by Verdi, Te Deum by Dvořák, 9th Symphony by Beethoven, War Requiem by Britten, Lobgesang by Mendelssohn and solo recitals. Milena Georgieva Bach holds Master’s and Professional Studies diplomas from the San Francisco Conservatory of Music and Bachelor’s diploma from the State Academy of Music in Sofia, Bulgaria. Miss Georgieva Bach is Founder of Association Opera Sofia, a performing non-profit organization in Bulgaria and has previously worked as Program Director for BASOTI, a San Francisco non-profit. Milena Georgieva Bach is an active teacher and adjudicator.

Clifford (Kip) Cranna
Clifford (Kip) Cranna
Guest Lecturer

Guest lecturer Clifford (Kip) Cranna, Dramaturg Emeritus of San Francisco Opera, served on the staff for over forty years and was Director of Music Administration for over thirty years. In 2008 he was awarded the San Francisco Opera Medal, the company’s highest honor, and in 2012 he received the Bernard Osher Cultural Award for distinguished efforts to bring excellence to a cultural institution. In 2014 he received the Star of Excellence Award for outstanding service to the programs of the San Francisco Opera Guild. He holds a B.A. in music from the University of North Dakota and a Ph.D. in musicology from Stanford University. For thirty years he was Program Editor and Lecturer for the Carmel Bach Festival. He lectures and writes frequently on music, teaches at the Fromm Institute at USF and the Osher Lifelong Learning Institute at U.C. Berkeley and Dominican University, and moderates the SF Opera Guild “Insight” panel discussions.

Mai-Linh Pham
Mai-Linh Pham
Piano & Coaching

Pianist Mai-Linh Pham has performed extensively throughout the United States and abroad. Her concerts range from performances at the John F. Kennedy Center for the Performing Arts in Washington D.C., to the Presidential Palace in Tegucigalpa, Honduras. She has been a faculty member at the Bay Area Summer Opera Theater Institute, Classical Singing in New York, and has served as music director of the opera workshop program at Notre Dame de Namur University. She has worked with such diverse artists as Elly Ameling, Frederica Von Stade, Barbara Bonney, and composers Jake Heggie, John Harbison and Libby Larsen. She is currently on the faculty at the University of Maryland, College Park where she is the Principal Coach for the Voice/Opera division as well as the Piano Division coordinator. Previously, she held the position of Principal Coach and Associate Chair of the Voice Department at the San Francisco Conservatory of Music, where she taught for 22 years. Her students have appeared onstage at prestigious opera houses throughout the world such as the Metropolitan Opera, Chicago Lyric Opera, San Francisco Opera and Staatsoper Berlin. She received her BM from Oberlin Conservatory, MM from San Francisco Conservatory and a DMA in Collaborative Piano and Coaching from the University of Minnesota. Her major teachers include Margo Garrett, Timothy Bach, and Peter Takács.

Timothy Bach
Timothy Bach
Co-Founder & Piano

Timothy Bach is founder and director of the Collaborative Piano Program at the San Francisco Conservatory of Music. He has appeared in performances in the United States, Europe and Asia with artists such as mezzo-soprano Elena Obratsova, soprano Jane Marsh, tenor David Gordon, violinists Chee Yun and Jennifer Koh and cellists Hai-Ye Ni and Wendy Warner. He has recorded on the Crystal and Cantabile labels and has been broadcast on National Public Radio. He has also been official keyboardist at the Carmel Bach Festival, Music Academy of the West, Banff Festival of the Arts, I.M. Klein International String Competition and the Gregor Piatigorsky Memorial Cello Seminars. He is a founder of California Summer Music. In addition, he has assisted many artists in master classes including Yo-Yo Ma, Lynn Harrell, Zara Nelsova, Janos Starker, Hans Hotter, Peter Pears, Martial Singher, Gerard Souzay and Thomas Hampson. Bach completed a D.M.A. with highest honors at the University of Southern California, after studies with Gwendolyn Koldofsky, Brooks Smith and Adolf Baller. He also has served as acting dean of the San Francisco Conservatory of Music. Mr. Bach is partnering with his wife Milena Georgieva Bach in producing Bach-Millennium Music.

Hao Wu
Hao Wu
Piano & Coaching

Hao Wu is Associate Professor of Accompanying at the Shenyang Conservatory of Music and a guest graduate instructor at Shandong Normal University in China. He earned a Professional Studies Diploma in Collaborative Piano under the guidance of Professor Timothy Bach and has served as a staff pianist at the San Francisco Conservatory of Music since 2018. Throughout his career, Mr. Wu has conducted, directed, and performed in more than 250 concerts and recitals across China and the San Francisco Bay Area. As a collaborative pianist and vocal coach, he has worked with internationally acclaimed singers including Yijie Shi, Ao Li, Ying Huang, Xiuying Li, and Chuanyue Wang, and has served as a visiting coach for the China National Symphony Orchestra Chorus. Mr. Wu received his bachelor's degree in Piano from Shandong Normal University and his master's degree in Accompaniment from the Shenyang Conservatory of Music. Awarded a full scholarship by the Chinese government, he continued his studies at the Saint Petersburg Conservatory, graduating with distinction. His honors include the 2017 Kristin Panconin Award at the San Francisco Conservatory.

Steven Bailey
Steven Bailey
Piano & Coaching

Steven Bailey joined the faculty of University of Maryland in Fall of 2022 as the Principal Coach and Pianist for the Maryland Opera Studio. He is a pianist of wide-ranging versatility and has performed extensively throughout the United States and abroad as soloist and collaborative musician in repertoire from the Baroque era through the present. He previously taught at the San Francisco Conservatory of Music and was music director for several productions of the San Francisco Parlor Opera. Mr. Bailey has appeared in concert with singers such as Deborah Voigt, Frederica von Stade, Susanne Mentzer, Elsa van den Heever, Christine Brewer and Thomas Moser. He has performed as concerto soloist with Symphony Parnassus, Diablo Valley Symphony, UC-Davis Symphony and other orchestras. He often collaborates with composers, including Jake Heggie, David Conte, Elinor Armer, John Corigliano, Mark Adamo and Vartan Aghababian, in premieres and performances of their music. He is a co-founder of the vocal chamber music ensemble CMASH and is featured with CMASH soprano Ann Moss on her CDs “Currents” and “Love Life”, both recorded at Skywalker Sound and produced by Grammy Award-winning producer Leslie Ann Jones.

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