Handel's Messiah - SOLD OUT

Special Event

Rosary Cathedral

December 2, 2018

Concert Time: 4:00 pm

Sara Jobin, conductor
Toledo Choral Society
Terra State Choral Society

Handel's Messiah returns to the glorious acoustic of the Rosary Cathedral. The TSO joins forces with local choirs and international vocalists in this holiday tradition. Last year's performance sold out, so get your tickets to the Messiah of the season!

Please contact the Box Office at 419.246.8000 for information on child/student ticket pricing.

Grammy-nominated conductor Sara Jobin dedicates her talent to the One who gave it to her.  She especially loves conducting sacred music of all faiths, opera, new and American repertoire.  This season will include her Los Angeles Philharmonic debut leading a world premiere by Bryce Dessner in Disney Hall, as part of the Green Umbrella Series.

Currently she serves as Artistic Director of the Center for Contemporary Opera in New York, and simultaneously as Music Director for the Inayati Order, a worldwide interfaith mystical fellowship headquartered in Richmond, Virginia.  Previously she served as Resident Conductor of the Toledo Symphony and Associate Conductor of the Toledo Opera.

In 2004 she had the honor of making history as the first woman to conduct mainstage subscription performances at San Francisco Opera, conducting Tosca with Carol Vaness and Der fliegende Holländer with Nina Stemme, and has returned to their podium for 16 performances of five different productions since then including Philip Glass' Appomattox and the world premiere production of The Secret Garden.  She has guest conducted the opera companies in Arizona, Baltimore, Pittsburgh, Santa Barbara, Anchorage, Tacoma, and Idaho, as well as the Dayton Philharmonic, Symphony Silicon Valley, Orchestra of St. Luke's, and the Bochumer Philharmoniker.  Internationally, she has also led American operas in Szeged and Avignon and brought one in workshop form to Shanghai. Her first full-length recording, the comedy Volpone by John Musto, was nominated for a 2010 Grammy for Best Opera Recording. Her discography also includes a Brubeck premiere with beloved mezzo Frederica von Stade.

As a freelancer Ms. Jobin particularly seeks out projects that increase cross cultural or interfaith understanding.  In Toledo she produced a “Never Again” concert of music written and performed in the WWII concentration camps, and in 2016 produced and conducted a performance of the Bach B minor Mass at Dachau in memory of Noorunisa Inayat Khan, a Sufi who gave her life as a British spy in WWII.  She premiered Mohican composer Brent Michael David’s The Purchase of Manhattan, told from the Native American perspective, at the Marble Collegiate Church in New York, and has conducted workshop performances of Shelia Silver’s A Thousand Splendid Suns in New York, Key West and at the Opera America New Works Forum.

Named a Leonard Bernstein Music Scholar by Harvard College, Jobin tends to defy traditional categories. She earned her black belt in judo on the same day as conducting Beethoven's Fifth for the first time. She sang for many years in the Glide Ensemble, a gospel choir featured in the movie The Pursuit of Happiness with Will Smith.  Seeking to reduce her carbon footprint and increase her health, she prefers to ride a bicycle for transportation.

Jobin comes from a multi-colored, multi-faith family with a strong tradition of social justice activism.  She pledges her talent to increase the peace.

Declared “luminous” by the New York Times and “eloquent” by the Wall Street Journal, soprano Caitlin Lynch is captivating audiences with her portrayals of iconic leading ladies. With a repertoire that encompasses Mozart to Verdi and Handel to Heggie, Ms. Lynch brings her dynamic portrayals of both classic and contemporary operas to stages around the world. 

This season, the soprano makes her company debut with San Diego Opera, singing the Countess in Le nozze di Figaro. She makes returns to Palm Beach Opera as Donna Anna in Don Giovanni, and to the Seiji Ozawa Music Academy as Micaëla in Carmen. The summer brings a return to Chautauqua Opera, debuting the role of Marie Antoinette in Ghosts of Versailles. Future seasons include an appearance with Arizona Opera.

The 2017-2018 season brought a return to the Metropolitan Opera to sing the Countess in Le nozze di Figaro, a role she also performed with Palm Beach Opera. She also appeared with the Mostly Modern Festival as the soprano soloist in Robert Paterson’s Walt’s America.

2016-2017 brought two major debuts for Ms. Lynch: with English National Opera for Donna Anna in Don Giovanni, and Micaëla in Carmen, conducted by Seiji Ozawa at his Music Academy. The soprano also returned to the stage of the Metropolitan Opera as Pamina in The Magic Flute, conducted by Antony Walker, and Utah Opera as Donna Elvira in Don Giovanni. In concert, she joined the St. Louis Symphony and music director David Robertson for Mozart’s Requiem.

During the 2015-2016 season, Ms. Lynch appeared as The Countess in Le nozze di Figaro with Seattle Opera, returned to The Metropolitan Opera for Le nozze di Figaro and Die Entführung aus dem Serail, and sang Violetta in La traviata with Chautauqua Opera. On the concert stage she sang Beethoven’s 9th Symphony with Seattle Symphony, Dvořák’s Stabat Mater with Omaha Symphony, and Händel’s Messiah with Calvin Oratorio Society. Ms. Lynch made her Metropolitan Opera début performing Biancofiore in Zandonai’s Francesca da Rimini and returned as Cynthia in Nico Muhly’s world-première production of Two Boys, as well as their new production of Le nozze di Figaro.

Additional recent engagements include: the role of Yadwiga in the world première of Ben Moore’s Enemies, a Love Story at Palm Beach Opera, Marguerite in Faust at Michigan Opera Theatre, Violetta in La Traviata with Arizona Opera and Des Moines Metro Opera; and a return to the Spoleto Festival USA as the Soprano Soloist in John Adams’ El Niño. Concert engagements include Beethoven’s Ninth Symphony with Seattle Symphony, Orff’s dramatic cantata Carmina Burana with Seattle Symphony, Milwaukee Symphony, and Alabama Symphony, Ein Deutsches Requiem with the Grant Park Music Festival, and Händel’s Messiah at Pacific Symphony and Milwaukee Symphony.

She received international acclaim for creating the role of Eliza in Nico Muhly’s new chamber opera, Dark Sisters, which premiered at the Gotham Chamber Opera in New York with subsequent performances at the Opera Company of Philadelphia. The Associated Press proclaims, “It’s most of all Eliza, portrayed by the compelling soprano Caitlin Lynch, who commands our attention and sympathy,” and The New York Post states “Caitlyn Lynch unfurled a shimmering soprano as rebellious wife Eliza.”

Ms. Lynch, known for her dynamic interpretation of new music, has also worked closely with composers such as Jake Heggie, who engaged her to sing the world première of his new song cycle, Another Sunrise, commissioned by Music of Remembrance in Seattle. This led to a world-première performance of a commission by Jake Heggie with Music of Remembrance entitled, Farewell, Auschwitz!

In her signature role of Countess Almaviva in Le nozze di Figaro, which she has performed with the Glimmerglass Opera, Lyric Opera Baltimore, Michigan Opera, and Opera Lyra Ottawa, critics touted “Time stands still when Caitlin Lynch sings. Her honeyed tone and sweetness of expression as Countess Almaviva goes straight to the heart.” She is also in demand in other important Mozart roles such as such as Donna Anna (Pittsburgh Opera, Green Mountain Opera Festival, Michigan Opera Theatre) and Donna Elvira in Don Giovanni (Madison Opera, Opera Carolina); Konstanze in Die Entführung aus dem Serail (Arizona Opera); Erste Dame in Die Zauberflöte (Dallas Opera); and Fiordiligi in Così fan tutte (Opera Carolina, Arizona Opera, Palm Beach Opera).

Additional performances have included Micaëla in Carmen at Seattle Opera; Alice Ford in Falstaff with Opera Cleveland and the Boston Youth Symphony; Musetta in La bohème at Nashville Opera; Leïla in Les pêcheurs des perles at Opera Cleveland; and Mrs. Gobineau in The Medium at Spoleto Festival USA.

On the concert stage, Ms. Lynch has collected accolades for her performances in Orff’s dramatic oratorio Carmina Burana: “The highpoint of vocal soli was Caitlin Lynch, whose projection and fullness of sound perfectly suited the role. She was consistently in control of color, creating a resonant, shimmering tone.” Other notable concert appearances include Mozart’s Requiem with Kentucky Symphony Orchestra; Händel’s Messiah with the Lexington Philharmonic, Ann Arbor Symphony, Pacific Symphony and Milwaukee Symphony; Carl Nielson’s Symphony No. 3, Op. 27 with the Cincinnati Symphony Orchestra; a Mendelssohn concert with the Glimmerglass Opera; Monteverdi’s Lamento della Ninfa with the Grandin Festival; a concert with the Columbus Symphony entitled “Beyond the Score”; Madison Opera’s Gala Concert in the Park series; and a recital with tenor Paul Appleby at the Aspen Music Festival.

She was awarded first-place in the 2008 Houston Grand Opera Competition, and subsequently made her main-stage début as Hero in Beatrice et Benedict, Female Soloist in the American première of Chorus!, and in A Midsummer Night’s Dream. Additional awards include a Sara Tucker Grant, first place in the Irma M. Cooper Opera Columbus Competition, the encouragement award from Opera Index and the Jensen Foundation Voice Competition, and 2nd place winner of the Palm Beach Opera Competition.

Ms. Lynch completed the Seattle Opera Young Artist Program, where she performed Micaëla in Carmen and Alice Ford in Falstaff. As part of Glimmerglass Opera’s Young Artist Program, she sang Cleopatra in Giulio Cesare for their Gala Concert at the Morgan Library, and in productions of Orphée et Eurydice and Orfeo during their summer season. Other performances included Oasis in L’étoile with the Cincinnati Opera, and several roles at the University of Cincinnati CCM: Donna Anna in Don Giovanni, Ginevra in Ariodante, and Philippa in Babette’s Feast.

American mezzo-soprano Kathryn Leemhuis has performed with international opera companies such as the Lyric Opera of Chicago, Dallas Opera, Cincinnati Opera, Teatro Colón, Fort Worth Opera, Opera Theatre of St. Louis, Florentine Opera, Chicago Opera Theater, Ash Lawn Opera, and Annapolis Opera, among others. One of her most notable roles is Dorabella in Mozart’s Cosi fan tutte, for which Kathryn has been hailed as “ravishing,” adding that “her sheer vocal beauty allied to nimbleness and an astonishing range of dynamic and coloristic nuance,” (Dallas Morning News). Her other prominent roles include Suzuki in Puccini’s Madama Butterfly, Dido in Pucell’s Dido and Aeneas, Zerlina in Mozart’s Don Giovanni, the Mother in Menotti’s Amahl and the Night Visitors, Paquette in Bernstein’s Candide, Hänsel in Humperdinck’s Hänsel und Gretel, Giulietta in Offenbach’s Les contes d’Hoffmann, Amaltea in Rossini’s Mosè in Egitto, and Florence Pike in Britten’s Albert Herring.

As a mezzo-soprano soloist on the concert stage, Kathryn has performed at Carnegie Hall, the Ravinia Festival, the Grant Park Music Festival, the Boise Philharmonic, with the Los Angeles Philharmonic at the Hollywood Bowl, and the Boston Symphony Orchestra at the Tanglewood Music Festival. She performed with Chicago’s Music of the Baroque in both Haydn’s Missa in Angustiis and Mass in the Time of War, with the Apollo Chorus of Chicago in Händel’s Messiah, and with Gloriae Dei Cantores in Mozart’s Requiem and Vaughan Williams’ The Pilgrim’s Progress. She has also performed multiple times with the Richmond Symphony, presenting Berlioz’s Les nuits d'été, Berlioz’s Roméo et Juliette, and Mendelssohn’s Die erste Walpurgisnacht. Kathryn’s performance of Les nuits d'été was graciously embraced: “Her dark lower register tones seemed to fill the considerable space of the Carpenter Theatre and impose a profound quiet on both the accompanying musicians and the audience. It was a remarkable display of artistry exercising spell-binding authority," (Virginia Classical Music).

 During her years as a young artist, Kathryn performed multiple roles in the Lyric Opera of Chicago’s Ryan Opera Center, including Giovanna in Verdi’s Ernani, Glasa in Janácek's Kát'a Kabanová, Javotte in Massenet’s Manon, and the Kunstgewerblerin in Berg’s Lulu. She understudied Marguerite in Berlioz's La damnation de Faust, Siebel in Gounod's Faust, Varvara in Janácek's Kát'a Kabanová, Kate Pinkerton in Puccini’s Madama Butterfly, and Lola in Mascagni’s Cavalleria Rusticana. Kathryn was also a young artist with Opera Theatre St. Louis’ Gerdine Young Artist Program, the Carmel Bach Festival, Ravinia’s Steans Institute, and the Tanglewood Music Center, where she performed Dorabella under the baton of Maestro James Levine.

As a singer in the competition arena, Kathryn has won several prizes, most notably with the Shreveport Opera, the New York Lyric Opera, the Opera at Florham, the Bel Canto Competition, the Heida Hermanns Competition, the  National Opera Association, the Opera Birmingham, the Florida Grand Opera, the Gerda Lissner Foundation, the Fort Worth McCammon Foundation, the Licia Albanese-Puccini Foundation, the Sullivan Foundation, the George London Foundation, the Giulio Gari Foundation, the Orpheus Vocal Competition, and the Opera Columbus Vocal Competition. She was a National Semi-Finalist in the 2012 Metropolitan Opera National Council Auditions.

Leemhuis holds a Bachelor of Music degree from the Oberlin College Conservatory of Music, a Master of Music degree from the Indiana University Jacobs School of Music, and a Doctor of Musical Arts degree from the University of Cincinnati College-Conservatory of Music. In addition to performing internationally, she is an Assistant Professor of Voice and Opera at Temple University’s Boyer College of Music and Dance in Philadelphia. Leemhuis is a native of Columbus, Ohio.

Brian Skoog is an American tenor known for his "strong voice" and "lovely vocal quality" (Cleveland Classical). A previous Toledo Opera Resident Artist, Skoog made his Toledo Opera debut in 2017 as Don Curzio in Mozart’s Le nozze di Figaro. While in Toledo, he also sang the role of Tamino in the Opera on Wheels touring presentation of Mozart’s The Magic Flute. In the summer of 2018, he again performed the role of Tamino in The Magic Flute for the Nina Odescalchi Kelly Family Matinee at Central City Opera, where he also sang the dual role of Larry/Matt in the 40th Anniversary Production of Henry Mollicone's The Face on the Barroom Floor. In 2018, Skoog made his Nashville Opera debut, singing Theseus in Patrick Morganelli's Hercules vs. Vampires and Elder Hayes in Carlisle Floyd's Susannah. He also recently made company debuts with Utah Festival Opera (Mark Smeaton in Rex, Jacey Squires in The Music Man), Dayton Opera (Le Remendado in Bizet's Carmen). In 2018, Skoog will perform the role of Tebaldo in Bellini's I Capuleti e i Montecchi with The Cleveland Opera. Skoog has previously appeared with The Cleveland Opera as Tamino in Die Zauberflöte, Jenik in The Bartered Bride, Goro in Madama Butterfly, and Ruiz in Il trovatore. Skoog is a graduate of the Aspen Opera Theatre Center in Aspen, Colorado.

Skoog is an active performer of oratorio and concert work across the United States. Having made his debut with the Dayton Philharmonic Orchestra in December 2016 as the tenor soloist for Messiah, Skoog was again featured on the 2017-2018 DPO season, singing solos for Bach's cantata Ein feste Burg ist unser Gott, BWV 80 as well as Beethoven's Choral Fantasy. In the fall of 2017, he appeared in Cleveland, Ohio as the tenor soloist for the world premiere of Margaret Brouwer's Voice of the Lake: An Oratorio for Vocal Soloists, Choirs, and Instruments. Seen and Heard International praised his "brilliant" singing and called him "one of the highlights.” He will reprise his role in Voice of the Lake in Cleveland and Cincinnati performances in 2018. Last season, Skoog appeared in a series of performances of Robert Schumann's Dichterliebe through The Cleveland Opera. Skoog has frequently appeared in concert with chamber group M.U.S.i.C., recently performing operatic excerpts with the M.U.S.i.C. International Chamber Orchestra as well as singing Johannes Brahms's Liebeslieder Waltzer. In November of 2016, he was the tenor soloist for Benjamin Britten's Rejoice in the Lamb with organist Karel Paukert.

Skoog completed his graduate work at the Cleveland Institute of Music, where he studied with acclaimed tenor Vinson Cole and appeared in many leading roles with CIM Opera Theatre under the direction of David Bamberger and the baton of Harry Davidson. Skoog received his Bachelor of Music from the University of Alabama, where he studied with Sandra Walker and Doff Procter. During his time at Alabama, he performed as a soloist with The University Singers under Dr. John Ratledge at Carnegie Hall and the Seoul Arts Center in South Korea.

Jonathan Lasch has been described by critics as possessing a voice of “arresting color and heft,” that is “smooth and flexible,” “thrillingly resonant and firm-lined,” a singer able to “balance a big, powerful sound with a light-handed facility with which he makes every note of the fast passagework perfectly clear,” a performer who is a “master of the stage” and a “tour de force.” Most recently, Mr. Lasch performed the roles of Sam in Trouble in Tahiti with Great Lakes Chamber Music Festival and Hannah Before in As One with Aepex Contemporary Performance at Kerrytown Concert Hall.  Other recent roles include Leporello in Don Giovanni and Marco in A View from the Bridge with Michigan Opera Theater, Captain Corcoran in H.M.S. Pinafore with Piedmont Opera, Scarpia in Tosca for Opera Saratoga’s Pasta and Puccini Night, Marcello in La bohème with Arbor Opera Theatre and Bar Harbor Music Festival, Masetto in Don Giovanni with Green Mountain Opera Festival, Sharpless in Madama Butterfly with Fargo Moorhead Opera, the title role in Le Nozze di Figaro for Princeton Festival, Papageno in Die Zauberflöte with Master Players Concert Series at University of Delaware and Fargo Moorhead Opera, and Ford in Falstaff with Aspen Opera Theater Center.

An accomplished concert artist, Lasch has sung the premiere of Rene Clausen’s Passion at Minnesota Orchestra Hall, Mozart’s Requiem at Carnegie Hall with Manhattan Concert Productions; Händel’s Messiah with Houston Symphony, Milwaukee Symphony, and Calvin Orotorio Society, Beethoven’s 9th Symphony with Adrian Symphony, Bach’s Ich habe genug with Trinity Lutheran Church Foundation Series; and performances of Fauré’s and Duruflé’s Requiem, Henry Mallicone’s Beatitude Mass, The Creation, The Five Mystical Songs, and Dover Beach with The Emerson String Quartet. He was also featured as a recitalist in Spain (Leon, Salamanca, Soria, and Baiona La Real).  This season Mr. Lasch will sing Handel’s Messiah with the Toledo Symphany, his first performance of Orff’s Carmina Burana with the Adrian Symphony in May, and will perform Schubert’s Schwanengesang several times in venues across Michigan in September.

While earning an Artist Diploma in Opera at University of Cincinnati’s College-Conservatory of Music, Jonathan’s roles included the title role in Verdi’s Falstaff, Melisso in Alcina, Shrike in the Midwest première of Lowell Liebermann’s Miss Lonelyhearts, and Marcello in La bohème.  During his Doctoral studies at the University of Michigan, then preDr. Lasch, reprised the title role in Falstaff and also sang his premiere of the title role in Don Giovanni.  Mr. Lasch performed Ford in Falstaff and Escamillo in La tragédie de Carmen with Seattle Opera’s Young Artist Program and Tarquinius in The Rape of Lucretia with Portland Opera.  Jonathan was a Glimmerglass Opera Young American Artist for two summers where he performed Achilla in Giulio Cesare, and covered Scarpia in Tosca and Friedrich in Wagner’s comic opera Das Liebesverbot.

Mr. Lasch was fortunate to learn from some of the best training programs in the United States, having participated in the Young Artist Programs at Glimmerglass Opera, Seattle Opera, Portland Opera, Chautauqua Opera, Connecticut Opera and the Aspen Opera Center. Dr. Lasch holds Bachelor and Master of Music degrees from The Hartt School at University of Hartford, an Artist Diploma in Opera from The University of Cincinnati College-Conservatory of Music, and a Doctorate of Musical Arts from The University of Michigan School of Music, Theatre, and Dance.  Through these programs he was able to study with some of the foremost baritone pedagogues of today, including; William McGraw, Stephen Lusmann, Stephen King, Mark Oswald and Mark Schnaible, as well as ‘Breathing Specialist’ Deb Birnbaum and renowned Wagnerian soprano, Jane Eaglen.  Dr. Lasch has taught voice at Concordia College in Moorhead, MN, Adrian College, University of Michigan, and will return to Wayne State University in Detroit as Assistant Professor and Coordinator of Voice this coming school year.  Jonathan enjoys living in Ferndale, Michigan with his wife and three kids, and is excited to start and grow the concert series and eventual training program ‘Detroit Song Collective’ with his wife and world-renowned soprano, Caitlin Lynch.

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