The annual competition took place this year on May 12 in Neidorff-Karpati Hall and showcased seven finalists — MSM voice students who exhibit outstanding talent and strong potential for careers in opera. As first-place winner, Yeongtaek receives a $15,000 prize, and Hannah and Anna Maria receive $10,000 and $5,000, respectively.
This year’s seven finalists were SeongBeom Choi (MM ’24), Anna Maria Vacca (BM ’22, MM ’24), Yeongtaek Yang (MM ’24), Katherine Malone (MM ’23, PS ’24), William Velasco (MM ’24), Hannah Jeané Jones (MM ’24), and Huiying Chen (MM ’23, PS ’24).
Pictured above are the 2024 winners with MSM personnel and this year’s distinguished panel of judges. Left to Right: Carleen Graham (Dean of MSM Vocal Arts), Brian Speck (Adjudicator), Hannah Jeané Jones (2nd Place), Yeongtaek Yang (1st Place), Anna Maria Vacca (3rd Place), Michaela Martens (Adjudicator), Kensho Watanabe (Adjudicator), and MSM President James Gandre.
Yeongtaek Yang sang Umberto Giordano’s “Nemico della patria” from Andrea Chénier and Wagner’s “O du, mein holder Abendstern” from Tannhäuser.
Hannah sang Rossini’s “Cruda Sorte! Amor Tiranno!” from L’italiana in Algeri and Jonathan Dove’s “I bought this suitcase in New York” from Flight.
Anna Maria sang Jonathan Dove’s “I bought this suitcase in New York” from Flight and Massenet’s “Ah! que mes sœurs sont heureuses” from Cendrillon.
From left to right: Hannah Jeané Jones, Yeongtaek Yang, Anna Maria Vacca, Carleen Graham
The distinguished judges for this year’s final competition are world-renowned American mezzo-soprano Michaela Martens; Metropolitan Opera Artistic Administrator Brian Speck; and celebrated conductor Kensho Watanabe.
American mezzo-soprano Michaela Martens is renowned internationally for portrayals of some of the most memorably dramatic roles in the repertoire. In addition to Klytämnestra/Elektra (San Francisco, Chicago Lyric Opera, Houston) and the Nurse/Die Frau ohne Schatten (Chicago Lyric Opera, Oper Graz), her other successes in Strauss include Adelaide/Arabella (San Francisco Opera) and Herodias/Salome (The Santa Fe Opera, Pittsburgh Opera). Among her other German roles are Kundry/Parsifal (Metropolitan Opera, Santiago Opera), Gertrud/Hansel and Gretel (Bavarian State Opera, Metropolitan Opera, San Francisco), Ortrud/Lohengrin (Vienna State Opera, Opera Graz) and Fricka/Das Rheingold (North Carolina Opera). Ms Martens has taken on works of composers as varied as Berlioz (Cassandre/ Les Troyens, San Francisco, Geneva), Massenet (title role/Hérodiade, Washington), Giordano (Countess/ Andrea Chénier, Metropolitan Opera), Bartók ( Judith/Bluebeard’s Castle, Metropolitan Opera, New Japan Philharmonic, ENO), Janáček (Kostelnička/Jenůfa, Zürich Opera, ENO), Virgil Thomson (Susan B. Anthony/The Mother of Us All, New York’s Hudson Opera House), Britten (Mrs. Sedley/Peter Grimes, Metropolitan Opera) and John Adams (Marilyn Klinghoffer/The Death of Klinghoffer, Metropolitan Opera, ENO).
She debuted at Carnegie Hall with the American Symphony Orchestra in the title role of Magnard’s rarely heard Bérénice. Additional recent concert engagements include Beethoven’s Symphony No. 9 (Cleveland Orchestra, Nashville Symphony, Indianapolis Symphony) Adams’ The Gospel According to the Other Mary (St. Louis Symphony at Carnegie Hall), Harbison’s Requiem (live recording and performance, Nashville Symphony) and the Verdi Requiem (Grant Park Music Festival, Spoleto Festival USA).
Ms. Martens has an active private studio in upstate New York. In addition to her private students, she has taught and held master classes at the Juilliard School, William Jewell College, the University of Washington, and Bard College. She is currently the voice instructor at the Lyric Opera of Kansas City.
Brian Speck is Artistic Administrator for the Metropolitan Opera, where he hears hundreds of singers each year in consideration for Met productions and is responsible for casting many roles in the company’s repertoire each season.
Prior to joining the Met, he served as Director of the Sarah and Ernest Butler Studio at Houston Grand Opera for eight years, recruiting singers and pianists and supporting the artistic and career development of the program’s artists. He is a regular adjudicator of competitions, including the Concurso Tenor Viñas, the Met’s Laffont Competition, Houston Grand Opera’s Eleanor McCollum Competition, the Jensen Foundation Vocal Competition, Opera Index, and others. During his time at HGO, he spearheaded an effort to provide online auditions for artists, increasing access for singers across the opera industry, and was a leader in OPERA America’s Performer Development Network.
Prior to his appointment with the Butler Studio, he served as HGO’s Company Manager and Artist Liaison, supporting the company’s guest artists and managing rehearsal planning and scheduling. He began his career in administrative positions with Aspen Opera Theater.
Also trained as a baritone, Speck holds music degrees from Rice University and Pepperdine University.
Critically acclaimed for “a combination of authority, charisma, and technical aplomb rarely found in a young conductor,” Kensho Watanabe is quickly establishing himself internationally as an artist known for his collaborative leadership and intelligently crafted performances. Following successful debut performances at the Metropolitan Opera last season with Kevin Puts’ The Hours and Terrence Blanchard’s Champion, Watanabe returns to the Met this season to conduct the full revival run of The Hours.
The 2022–23 season saw Watanabe’s subscription return to the Philadelphia Orchestra, with whom he maintains a close relationship following his tenure as Assistant Conductor from 2016–19. He also returned to the Sarasota Orchestra, the Rhode Island Philharmonic, and the RTE Concert Orchestra, while 10 making debuts with the Minnesota Orchestra, Edmonton Symphony, Orchestre Symphonique de Québec, and the Pasadena Symphony.
Equally at home in both symphonic and operatic repertoire, Watanabe opened his 2023–24 season by making his Detroit Opera debut with Puccini’s Madama Butterfly. In addition to his work at the Metropolitan Opera, Watanabe has led numerous operas, including performances of La bohème at Spoleto Festival USA in 2022. He has also previously worked with the Curtis Opera Theatre, the Castleton Festival, and Opéra de Montréal.
The Alan M. and Joan Taub Ades Vocal Competition is made possible by generous support from Joan Taub Ades and the late Alan M. Ades, longtime friends and benefactors of the school. Mrs. Taub Ades is an MSM trustee emerita.
2024 Ades Competition Finalists
About MSM Home Visit MSM Alumni Leadership The MSM Cultural Inclusion Initiative Fast Facts History News Offices & Staff Hire a Musician Careers at MSM Academic Calendar
Email This Page
Email Message
Page Reference (will be sent in email)
https://www.msmnyc.edu/news/meet-the-2024-ades-singing-competition-winners/
This site uses cookies to improve user experience. By continuing, you agree to our updated policy. To find out more, visit our cookie & information use policy.