The Original BYOB Opera: Enjoy drinks and experience opera in a casual, unique setting.
You bring wine, soft drinks, etc. to enjoy during the show and we provide the cups.
New ticket specials
Adult=$35 each or two for $50. Students with ID=$25 or two for $40. Buy seats in advance at http://
Many of our artists go on to the Metropolitan Opera, San Francisco Opera, Lyric Opera of Chicago, La Scala, NY Philharmonic, LA Philharmonic, San Francisco Symphony, etc. They love to return to OCB to try out or brush off roles without pressure.
The Opera Company of Brooklyn’s famous Bring Your Own Beverage (BYOB) Opera Series returns with Beethoven’s Fidelio on Saturday, 11/8 in Manhattan at 353 W 48th Street. Our BYOB event locations, in Inwood, Manhattan, are announced via email one day before each opera to ticket buyers.
12/13, 7PM, The Telephone & Amelia Goes to the Ball, BYOB in Inwood, Manhattan, 10034
Electra, Rachel Hippert (Noelle Banks, Alexis Cregger)
Idomeneo, Brent Turner (Christopher Eaglin, Jon Thomas Olson)
Arbace, Gerald Yarbray (Joseph Flaxman)
High Priest, Byron Singleton (Jon Thomas Olson)
Voice of Neptune, Scott Tomlinson (Rocky Sellers)
Peruvian-born bass-baritone, Ivan Amaro, has been acclaimed by critics for his vibrant voice and his exceptional communication of the characters he performs. He has many opera roles to his credit: Rigoletto, Germont , Don Carlo, Il Conte di Luna, Ferrando, Sulpice, Enrico, Dulcamara, Count Almaviva, Figaro and Bartolo (both from Il Barbiere di Siviglia and Le Nozze di Figaro) , Don Magnifico, Bruschino Padre, Don Pasquale, Slook, Tobia Mill, Marcello, Benoit/Alcidoro, Tonio, Leporello, Papageno, Don Alfonso, Crespel , Elviro, Salieri, Chorazy, Mr. Gobineau, Pizarro, and Sancho Panza, among many others, totaling more than 80 roles, including also operetta, zarzuela, and oratorio ones. Mr. Amaro is also an archaeologist and archaeomusicologist with published works.
Noelle Banks is a Full Lyric Soprano who holds a B.F.A. in Vocal Performance from Carnegie Mellon University and a M.M. in Voice from the University of Cincinnati College Conservatory of Music. Her performance credits include Susannah (Susannah), First Lady (Die Zauberflöte), Mother (Amahl and the Night Visitors) and Sr. Blanche (Dialogues of the Carmelites). She has sung with the Pittsburgh Opera, Opera Theatre of Pittsburgh, Cincinnati Opera and Des Moines Metro Opera. Noelle most recently performed the role of Countess Almaviva in New York Lyric Opera’s performance of Le Nozze di Figaro.
Sarah Beckham-Turner is a Texas native soprano who recently sang Pamina in Mozart’s Die Zauberflöte with Opera Saratoga where she was praised as being “soaring and lovely” and “stealing the stage.” Sarah has performed Josephine in H.MS. Pinafore and Anna Gomez in The Consul with Opera New Jersey, Fiordiligi in Cosi fan Tutte and Desdemona in Rossini’s Otello with Opera in the Heights, Fiordiligi in Cosi fan Tutte and Elena in The Italian Straw Hat with Amarillo Opera, Fiordiligi with Asheville Lyric Opera, and Frasquita in Carmen with Lyric Opera Virgina. Other companies with whom she has performed include Opera North, Center City Opera Theater of Philadelphia, Sarasota Opera, Florida Opera Theater, Lake George Opera, and Boston Concert Opera.
A native of Nice, France, and a graduate of the Manhattan School of Music, Soprano Béatrice Beer, has performed Mimì, the Countess, Desdemona, Santuzza, Alice Ford, Queen Elisabeth (Roberto Devereux) and last summer her first Nedda (Pagliacci) along with the lead role of Jadja in Joseph Beer’s Polnische Hochzeit. Upcoming: Donizetti’s Lucrezia Borgia, Pia de Talome and the lead in l’Oracolo (by Leone). Ms. Beer has been reviving the music of her father, the late “Holocaust composer” Joseph Beer, with European premiere publisher Doblinger Musikverlag.
Eudora Brown, soprano, will perform Berg’s “Sieben Fruhe Lieder” as well as the final scene from Salome in recital this September with pianist Jeffrey Swann and the Wagner Society of Washington DC. In December she will perform the role of Liu with Opera Hong Kong. She performed the soprano solo in Beethoven’s Choral Fantasy with the Boston Symphony Orchestra for the Tanglewood 75th Anniversary Celebration with Maestro David Zinman and pianist Peter Serkin. She recently participated in the American Wagner Project with Ms. Dolora Zajick. She has sung with conductors Seiji Ozawa, Robert Spano, Graeme Jenkins, Antony Walker, Kenneth Montgomery and Jane Glover and has performed with the Dallas Opera, Santa Fe Opera, Boston Lyric Opera, Opera Theater of Chicago, Washington Concert Opera and at the National Cathedral.
Mezzo-soprano, Helena Brown: Having a “stunningly large round sound,” (Voce di Meche) she recently made her Chautauqua Opera debut as the Aunt in Puccini’s Brescia version of Madam Butterfly. Other performing credits include Dritte Dame (Die Zauberflöte) at New York Opera Exchange; Witch (Hänsel und Gretel), Klementia in Hindemith’s rarely performed Sancta Susanna, Angel and Queen Jezebel (Elijah), in which she was acclaimed by the New York Times for having sung “attractively…especially in her duskier moments as Queen Jezebel,” and Madame Halitiere (Cendrillon), the Amato Opera-in-Brief – all at Manhattan School of Music. She has performed in festivals such as the Opera Studio of Richard Crittenden in Boston, where she sang La Zia Principessa (Suor Angelica), the International Vocal Arts Institute in Virginia, and Lied Austria International in Graz.
Katherine Corle performed the Contessa in Le nozze di Figaro with the Burgas Opera in Bulgaria, where she also covered the role of Mimì (La bohème). She sang the role of Frasquita and covered Micaëla in Carmen with the Hradec Kralove International Summer Opera Festival in the Czech Republic. She has appeared frequently with Light Opera of New York, including Gretchen in The Student Prince and covering Marianne in The New Moon. Other recent New York performances include Echo (Ariadne auf Naxos) and First Lady (Die Zauberflöte) with Manhattan Opera Studio, Fiordiligi (Così fan tutte) at the Metropolitan Opera Guild with Sing Through Central, and the title role in Suor Angelica with Trinity Opera. She received her B.F.A. with honors from NYU’s Tisch School of the Arts and studies voice with Dorothy Stone.
Alexis Cregger, Soprano -Ms. Cregger hails from Winchester, MA and currently resides in New York City. She has performed with OperaDelaware, Chelsea Opera, Regina Opera, Opera Manhattan, the Helena Symphony, the Blue Hill Troupe, the Atlantic Coast Opera Festival and the Gilbert & Sullivan Opera Company in Buxton, England. Her roles include the Queen of the Night, Pamina, Baby Doe, Lucia di Lammermoor, Mimi & Musetta in La Bohème, and Rosalinda in Die Fledermaus. In October 2013 she was featured in the New York Times Arts section in relation to her performance as Queen of the Night in Amore Opera’s Das Labyrinth (Magic Flute II), an American Premiere.
Jonathan Dauermann is a rising performer whose singing career has already taken him around the world. This past summer, he made his Canadian debut with the Opera on the Avalon festival in St. John’s, Newfoundland as Theseus in A Midsummer Night’s Dream. Later, he debuted with dell’Arte Opera Ensemble, appearing as Bardolf in Salieri’s Falstaff and covering Banco in Verdi’s Macbeth. Last season, he appeared with Regina Opera as Sparafucile in Rigoletto (where critics praised him as having “subterranean notes. His resonant basso… [was] perfect.”) and made debuts with Bronx Opera, Utopia Opera, and enCANTA Collective. For further information on Mr. Dauermann’s engagements, please visit www.jonathandauermann.co
American soprano Stacy Dove is a versatile vocalist and powerful performer. This fall, Miss Dove joins the Metropolitan Opera Guild in their tour of Mozart’s The Magic Flute as First Lady and Papagena. She made her professional mainstage debut with Opera Roanoke as Zweite Dame in Die Zauberflöte, covering the role of Pamina. Additionally, Stacy has appeared with Nashville Opera, Opera Carolina, Greensboro Opera, Capital Opera Raleigh and at the Eastern Music Festival as Pamina (Die Zauberflöte) and Mercédès (Carmen – Cover), and in scenes as Musetta (La Bohème), Violetta (La Traviata), Norina (Don Pasquale) and Lauretta (Gianni Schicchi).
Christopher Eaglin most recently sang Vaudemont in Opera Slavica production of Iolanta in NYC praised for his “emotional vocalism”. He previously was part of the International Vocal Arts Festival performing Brahms Liebeslieder and scenes from Don Giovanni and Most Happy Fella. He has also sung Don Ottavio with CoOPERAtive Opera in NJ, Tamino with New York Opera Forum, and Steva from Jenufa by Janacek performed by Opera Slavica. He is the winner of the Metropolitan International Music Festival and a finalist for Joy in Singing. Prior to focusing on sining, Mr. Eaglin worked on economic development and climate change in Southern Africa.
Japanese Soprano Aine Hakamatsuka is the winner of the 2013 Yokohama International Music Competition. She has performed roles including Susanna (Le nozze di Figaro), Gretel and Taumännchen (Hänsel und Gretel), Lucia (The Rape of Lucretia), Belinda (Dido and Aeneas), and Kate (Pirates of Penzance). Equally gifted as a concert performer, she has been seen as guest soloist performing Beethoven’s Symphony No.9 with the Salina Symphony. Ms. Hakamatsuka received her Master of Music degree from Manhattan school of music in 2014 and Bachelor of Arts degree from Kansas Wesleyan University. While at Kansas Wesleyan University, she also performed with Wichita Grand Opera.
Young dramatic coloratura soprano Rachel Anne Hippert has recently performed with such local companies as the New York Opera Exchange (“Fiordiligi” in Così fan tutte) and the Brooklyn Philharmonia Chorus (soprano solo in Carmina Burana). Her upcoming engagements include “Isabelle” (Robert le diable) in Clef Note Productions’ November bel canto opera scenes concert, directed by Evelyn La Quaif, and she will be returning to the Brooklyn Philharmonia as the soprano soloist in Poulenc’s Gloria this December. Ms. Hippert earned her B.M. in voice performance from Boston University, is an alumna of Ann Baltz’s Operaworks Advanced Artist Program, Sherril Milnes’ V.O.I.C.Experience!, and Simon Estes’ Young Artist Performance Program. She currently studies with Metropolitan Opera veteran Atarah Hazzan.
Mr. Hollie is thrilled to be making his debut with Opera Company of Brooklyn. His 2013-2014 season concluded with a critically-acclaimed role and company debut as Malcolm in Verdi’s Macbeth with dell’Arte Opera Ensemble. Mr. Hollie’s operatic repertoire spans a diverse range of comedic and dramatic roles including the Pilot in The Little Prince, Pinkerton in Madama Butterfly, Pang in Turandot, Gherardo in Gianni Schicchi, Don Jose in Carmen, and Cavaradossi in Tosca. For an up-to-date schedule of Mr. Hollie’s singing engagements, please visit www.marqueshollie.com.
Winnie Nieh, soprano, won First Place in the 2012 St. Andrews Arts Council International Aria Competition, Third Place and Audience Favorite in the 2013 Madison Early Music Festival’s Handel Aria Competition, and competed at Carnegie Hall as a National Finalist in NY Lyric Opera’s 2014 National Competition. A versatile artist with perfect pitch praised for her “fantastic facility” and “clarity of tone”, she has performed as a soloist with legendary Maestro Helmuth Rilling and collaborative pianist Graham Johnson. Ms. Nieh graduated from Harvard, holds Associate of Trinity College London diplomas in voice, violin and piano, and was a Resident Artist with Opera Company of Brooklyn.
David Perper’s opera credits include, Des Grieux in Massenet’s Manon, in New York City, Alfred, in Die Fledermaus, with Crystal Opera in Norwalk, CT, Eisenstein in Die Fledermaus as well as Don Ottavio, in Don Giovanni at Opera in the Heights, TX, Arnalta (his first female role) in Monteverdi’s Il Coronazione di Poppea, with Opera Neo, in San Diego, CA, and Light Opera of New Jersey Orpheus in the underworld singing the role of Mercury. David has also performed with Natchez Opera, MS as well as the Delle Arte Ensemble, NYC. Mr. Perper has concertized in the US, Europe, Israel and Canada.
Bass-Baritone, Rocky Sellers, has performed with various companies including: The Santa Fe Opera, Sarasota Opera, Regina Opera, Opera Naples, Opera Saratoga, The Natchez Festival of Music, Delaware Valley Opera Company, Dell’arte Opera Ensemble, The Manhattan Opera Studio, New York Lyric Opera, The Seoul International Program, the Manhattan School of Music Opera, and The University of Tennessee- Knoxville Opera. Mr. Sellers’ previous operatic credits show his wide dramatic range of both Bass repertoire as well as Bass- baritone. Roles including: Baron Ochs (Der Rosenkavalier), Banquo (MacBeth), Dr. Bartolo/ Don Basilio (Il Barbiere di Siviglia) , Sparafucile/Monterone (Rigoletto), Leporello/ Commendatore (Don Giovanni) , Sarastro/ Papageno (The Magic Flute), Figaro/ Dr. Bartolo (Le Nozze di Figaro), Betto (Gianni Schicchi), Presto (Les Mamelles de Tiresias), Doctor Malatesta (Don Pasquale) and Wolfgang Big Bad (Three Little Pigs). He has received awards from The Metropolitan Opera National Council Auditions, the Grady-Rayam Foundation (winner), The Kennett Symphony Voice competition (winner), The American Prize (3rd place) and NATS. His 2014-15 season includes his debut with Connecticut Lyric Opera in their productions of Der Rosenkavalier as Baron Ochs and La Boheme as Alcindoro in addition to his return to Regina Opera to sing the role of Dr. Bartolo in Il Barbiere di Siviglia. Mr. Sellers is a graduate of The University of Tennessee-Knoxville and pursued further studies at The Manhattan School of Music.
In the 2013-’14 season, American tenor Brent Reilly Turner debuted with Syracuse Opera, Opera Louisiane, and Ash Lawn Opera. In 2013, Turner took 1st place in the Orpheus Vocal and Florida Suncoast Opera Competitions. In 2014, Turner took top prizes at the Peter Elvins Vocal and Mary Jacobs Smith Singer of the Year Competitions, 2nd place honors at the Dallas Opera Guild Competition, and 3rd place in the Irma M. Cooper Competition. Turner was an encouragement award recipient in the Wagner Division of this year’s Gerda Lissner Vocal Competition in New York City. Mr. Turner has participated with several major Young Artist programs including Santa Fe Opera, Utah Opera, Ash lawn Opera, Opera North, and Opera Saratoga.
Gerald Yarbray, Baritone, hails from the land of Jessye Norman, Augusta, GA and holds a BM from Columbus State University and an MM from Georgia State University. His roles include Danilo in The Merry Widow, Escamillo in Carmen, title role in Puccini’s Gianni Schicchi, John Brooke in Little Women, Don Alfonso in Cosi Fan Tutte, Ford in Verdi’s Falstaff, Doctor Bartolo in The Barber of Seville, Amonasro in Aida, Pandofe in Massenet’s Cendrillon, Mr. Gobineau in The Medium, Martin Luther King in the Premier of King the Opera based on the studies and teachings of Martin Luther King Jr, the Giant in Jack and the Beanstalk and the Wolf in Little Red Riding Hood for community outreach. Concert performances includes Beethoven’s 5th, Schubert’s Mass in C, Bach’s Cantata 54, and Faure’s Requiem. He has served as Phi Mu Alpha, Xi Gamma Chapter President and Board Member of the Classical Singer National Forum, as well Feeding the Homeless Organization Fonder, which is on it’s 7th year of operation.
Maestro Jay Meetze, OCB Artistic and Music Director, FounderAccording to CNN, “Conductor Jay Meetze has been instrumental in making opera accessible to a wider audience. Meetze attracts a new generation of music lovers.” Maestro Jay Meetze, founder, Artistic & Music Director of Opera Company of Brooklyn, is also the Music Director of Philadelphia’s Atlantic Coast Opera Festival. Mr. Meetze is lauded for his “passionate and undeniably impressive command of performances” and “sympathetic leadership of the forces of the OCB.” (Metropolitan Opera’s Opera News). Opera News named his Grammy-nominated CD “BEST OF THE YEAR” and “CRITIC’S CHOICE,” recorded on Albany Records and features music by and with Thomas Pasatieri, whose many film orchestrations include Finding Nemo, Little Mermaid, Shawshank Redemption, American Beauty. The CD is sung by San Francisco Opera Center’s Director Sheri Greenawald and Manhattan School of Music’s Ashley Putnam. “Magic is wielded in the hands of Meetze.” American Record Guide. Meetze has worked with countless leading singers, instrumentalists, conductors and stage directors from the Metropolitan Opera, New York Philharmonic, New York City Opera, LA Phil, San Francisco Symphony and Opera. “Jay Meetze achieved impressive results. The orchestra followed Mr. Meetze lead quite aptly.” The New York Times. He has conducted performances with members of the Cincinnati Symphony Orchestra, Northern Kentucky Symphony, Flint Symphony Orchestra of Michigan, Rannaana Symphonette (Israel) and New Jersey’s Stony Hill Players and has worked as an assistant conductor for Cincinnati Opera, Opera Theatre of Lucca Italy, Elysian Opera, Regina Opera and Cosmopolitan Symphony Orchestra of New York. An active member of the New York Philharmonic’s Conductors Table, American Symphony Orchestra League and the Conductors Guild he has presented workshops at various regional universities and high schools, as well as serving as an adjudicator for competitions. He has served on the faculty of the International Vocal Arts Institute in Tel Aviv (Israel) and the Manhattan School of Music’s Summer Music Camp. “Conductor Jay Meetze’s Flute was a game, witty and endearing…” New York Post. Meetze graduated from Michigan State University, majoring in vocal music education. His understanding of the singing voice and rapport with artists made him a sought-after conductor. He received a Master’s of Music in Orchestral Conducting from Cincinnati College-Conservatory of Music on a full scholarship. Meetze’ travels led him to Glimmerglass Opera, Tanglewood and the International Vocal Arts Institute in Tel Aviv. After conducting with the American Symphony Orchestra League, which led to jobs in Lucca, Italy and others, Meetze moved to Manhattan to start an accessible opera company, Opera Company of Brooklyn. “The company was well-prepared and the singers and orchestra obviously appreciated Meetze’ loving attention to detail. He has a keen ear for nuance, and made subtle adjustments that were particularly helpful.” Classical Singer Magazine. On Good Morning America with MythBusters, Meetze provided artists to demonstrate the voice can only break crystal when artists sing the pitch of the glass and greatly amplified. His work has made front-page of the Wall Street Journal, covered internationally by major news via Associated Press, on National Public Radio, 1010WINS, WNYC and ZDF (German Public TV), guest appearances on WNYC, in Life, NY Magazine, Crain’s New York Business, Frommer’s and two art administration books. “The ensemble numbers rang through with clarity and shimmer. It was a joyful afternoon, a reminder that opera was once a “pop” art and, under the right circumstances, still is..,” New York Daily News. “It’s to bring in the newer, younger audiences…Meetze overflows with ideas,” New York Daily News. His innovative vision for opera, featured on the Jeopardy quiz show, is to reach out to the thousands of “nontraditional” patrons who enjoy opera but who may not feel comfortable in a large opera house. Since audiences are not going to opera, he takes it to them. Lucky audience members hear top-flight artists, many are enjoying national and international careers. “Undeniably impressive. Well-sung and winningly acted by a talented, intrepid cast,” New York Times. “Meetze is changing the public perception of opera with a common sense approach, coupled with an infectious enthusiasm. It would be hard for even the most operaphobic to resist,” Classical Singer Magazine. Artists who know his work: Martina Arroyo, Mignon Dunn, Simon Estes, Carlisle Floyd, Denyce Graves, Elaine Malbin, Itzhak Perlman, Joseph Rescigno, Ira Siff, Frederica Von Stade, Richard Woitach, Francesca Zambello.
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