Described as “luminously expressive” with a “silvery voice” that “moves from innocence to devastation with an actor’s ease,” Anna is passionate about bringing new voices, stories, and musical ideas to life. She enjoys an eclectic career that takes her all over the world – premiering new works by living composers, performing old favorites by dead ones, and recording a wide variety of sounds for film and television. Anna is thrilled to once again explore the spectrum of music making in her 2022|23 season, which she will open as the soprano soloist in Haydn’s Creation with the LA Master Chorale.

A lover of new music and performance, Anna made her debut on the new music scene with the LA-based company The Industry, singing the ethereal soprano role of L in scenes from Anne LeBaron’s LSD: The Opera.  Since then, she has performed in a stunning array of new productions and premieres, including the role of the Controller in Opera Omaha’s production of Jonathan Dove’s Flight, Bernstein’s Mass with the LA Phil, and creating the role of Bibi in the world premiere of Ellen Reid’s Pulitzer Prize-winning opera p r i s m with LA Opera and Beth Morrison Projects. Her performance in p r i s m was described as “revelatory” (Catherine Womack, I Care If You Listen), and subsequently led to a successful run at Theatro Municipal de São Paulo.

Anna also performs roles from the standard operatic canon and concert repertoire. Highlights include Orff’s Carmina Burana, and myriad Baroque and Classical works such as Handel’s Messiah and Dixit Dominus; Mozart’s Exsultate, Jubilate, Requiem, Vesperae solennes de confessore, and Mass in C Minor; and Bach’s St. Matthew Passion and Mein Herze schwimmt im Blut. Recently, she premiered a staged and reimagined version of Orlando di Lasso’s Lagrime di San Pietro with 20 other singers from the LA Master Chorale, which launched a worldwide tour through the Ravinia Festival, the Salzburg Festival, and in Australia, Mexico, England, France, Germany, and several U.S. states.

Outside the world of classical vocals, Anna enjoys a stimulating and versatile career as a session singer. Her voice appears in various film and TV soundtracks, including The Lion King (2019), Mulan (2020), Star Wars: Episode IX – The Rise of Skywalker, Creed, Minions, as well as in Danny Elfman’s latest album, Big Mess. Her solo soprano vocals can be heard dramatically soaring over orchestra and choir in the films Birds of Prey (2020) and Keanu (2016), as well as the Netflix series Midnight Mass.

Listen to Anna here, and get more information at annaschubertsoprano.com

Liv Redpath is one of the most promising young soprano leggero on the opera and concert stage today. During the disrupted 2020-21 season, Ms. Redpath was scheduled to open the Los Angeles Philharmonic season at Disney Hall, sharing a program with Lang Lang under the direction of Gustavo Dudamel before traveling to New York to open the Carnegie Hall season with the same program; join Alan Gilbert to make her debut with the Boston Symphony Orchestra singing Nielsen’s Symphony #3; sing Poulenc’s Gloria and a world-premiere new composition by Peter-Jan Wagemans conducted by Karina Canellakis with the Radio Filharmonisch Orkest; perform Handel’s Messiah with the New York Philharmonic and National Symphony, both conducted by Fabio Biondi; return to the Metropolitan Opera to cover Rosina in Rossini’s Il Barbiere di Siviglia under Roderick Cox and sing the role of the fifteen-year old girl in Berg’s Lulu led by Sebastian Weigle; take on the title role of Haydn’s Armida with the Bregenzer Festspiele, and make her debut with La Monnaie singing Madame Herz in Mozart’s Der Schauspieldirektor conducted by Alain Altinoglu in performances at the Palais des Beaux-Arts.

During the 2019-20 season, Ms. Redpath made her role and house debut at Deutsche Oper Berlin singing Marguerite de Valois in David Alden’s production of Meyerbeer’s Les Huguenots under the baton of Alexander Vedernikov and covered the role of Sophie in Robert Carsen’s production of Der Rosenkavalier by Richard Strauss at the Metropolitan Opera conducted by Sir Simon Rattle. Concert appearances included singing the role of Crobyle in Massenet’s Thaïs with Toronto Symphony Orchestra conducted by Sir Andrew Davis that was recorded for release on the Chandos label; Mahler’s Symphony No. 4 with conductor Yaniv Dinur and the New Bedford Symphony; and an evening with the Bakken Trio in her native Minnesota to sing Boulanger’s Clairières dans le ciel, Fauré’s La Bonne Chanson, and André Previn’s Four Songs.

Soprano Laquita Mitchell consistently earns acclaim on eminent international opera and concert stages worldwide.  In her compelling début as Bess in Porgy and Bess with the San Francisco Opera, Opera News said “Laquita Mitchell, in her first outing as Bess, dazzled the SFO [San Francisco Opera] audience with her purity of tone and vivid theatrical presence.” She has since reprised the role with The Atlanta Opera, The Tanglewood Festival, Madison Symphony, Boston Symphony Orchestra, Cleveland Orchestra, Toledo Opera, Springfield Symphony, Baltimore Symphony, Santa Barbara Symphony, Jacksonville Symphony, Sheboygan Symphony, Traverse City Symphony, the Margaret Island Open-Air Theatre in Budapest for their summer festival, and as the season opener for the Energa Sopot Classic Festival with the Polish Chamber Philharmonic Orchestra. Additionally, PBS invited Ms. Mitchell to perform a solo recital including excerpts from Porgy and Bess with pianist Craig Terry for the Television Critics Association Press Tour in Los Angeles in preparation for the broadcast and DVD release of SFO’s Porgy and Bess.

Her performance as Bess is constantly received with critical acclaim, Opera News hailed that her “fine voice has a lovely tonal sheen and soaring high notes” and the Boston Globe wrote “Laquita MItchell showed off a supple and refined soprano as Bess, infusing the role with a touching vulnerability and innocence.” This season, Ms. Mitchell reprises the role of Bess in Porgy and Bess with Grange Park Opera in the UK, Lithuanian State Symphony and Harrisburg Symphony and performs as a soloist in Sanctuary Road and Porgy Suite with the Columbus Symphony.  She will also perform in Colorado Symphony’s Valentine’s Day concert and make a long-awaited role debut as the title role in Aida for Virginia Opera.

Notable engagements include her creation of the role of Josephine Baker in Tom Cipullo’s Josephine for Opera Colorado, Coretta Scott King in I Dream with Opera Grand Rapids, Toledo Opera and Opera Carolina, Violetta in La traviata Opera Memphis, New York City Opera, and Edmonton Opera, and Donna Anna in Don Giovanni with Florentine Opera and Portland Opera. Recent concert engagements include the soprano solo in Beethoven’s Symphony No. 9 with Berkeley Symphony, Mahler’s Symphony No. 2 with Missoula Symphony, the world première of Moravec’s Sanctuary Road at Carnegie Hall with Oratorio Society of New York and her return to the Philadelphia Orchestra to perform in their Academy Ball alongside Steve Martin and led by Yannick Nézet-Séguin.

In her role début as Violetta in La traviata with New York City Opera, she was labeled “extraordinary,” thanks to her “wide expressive range and big-hearted sound that contains just a hint of sexy smokiness. Her ‘Sempre libera’ was enlivened by a rhythmic clarity that made it seem almost danceable.” Other appearances include Leonora in Il trovatore in South Carolina as well as with Nashville Opera; Countess in Le nozze di Figaro with Toledo Opera;  the role of Sharon in Terrance McNally’s Master Class at the Kennedy Center; Musetta in La bohème in a return to the Los Angeles Opera; Mimì in La bohème with Cincinnati Opera, and at the Utah Symphony and Opera; Donna Anna in Don Giovanni with Florentine Opera, Portland Opera, and Opera New Jersey; Clara in Porgy and Bess with Los Angeles Opera, Washington National Opera, Opéra Comique in Paris and on tour in Caen and Granada, Spain; and Micaëla in Carmen with New York City Opera, Opera Pacific, and most recently, Cincinnati Opera, where the Cincinnati Enquirer hailed “Mitchell shone in the role of Micaëla, the peasant girl who loves Don José. She was a natural actress, and sang with expressive beauty whenever she was onstage.”

An active concert artist, Ms. Mitchell recently performed Beethoven’s Symphony No. 9 with the Philadelphia Orchestra at Saratoga Performing Arts Center; Over the Rainbow – an evening honoring Harold Arlen at Weill Recital Hall at Carnegie Hall; Barber’s Knoxville: Summer of 1915 with the Louisville Orchestra; a début with the New World Symphony in Alberto Ginastera’s Cantata para la América Mágica; the world première of composer Steven Stucky’s August 4, 1964 with Dallas Symphony Orchestra; her Boston Symphony Orchestra début as the soprano soloist in Wynton Marsalis’ All Rise under the direction of Kurt Masur; and the soprano solo in Tippett’s A Child of our Time with the Washington Chorus at Kennedy Center. She has also performed with the Philadelphia Orchestra, New Jersey Symphony, Princeton Symphony Orchestra, the New York Symphonic Ensemble at Alice Tully Hall, and with Branford Marsalis and the Garden State Philharmonic. Additionally, she performs in recitals annually at Harare International Festival of the Arts in Zimbabwe.

Ms. Mitchell is an alumna of the Houston Grand Opera Studio, where she performed a variety of roles including stand-out performances in contemporary operas such as Orquidea in Daniel Catán’s Salsipuedes (world première), Myhrrine in Mark Adamo’s Lysistrata (world première), Barena in David Alden’s production of Jenůfa, and The Water in Rachel Portman’s The Little Prince (world première) directed by Francesca Zambello and conducted by Patrick Summers. Ms. Mitchell was previously a member of the San Francisco Opera’s world-renowned Merola Program. She then joined Wolf Trap Opera in performances as Alice Ford in Antonio Salieri’s Falstaff, Donna Elvira in Don Giovanni, and presented a recital with renowned pianist Steven Blier.

A native of New York City, Ms. Mitchell was a 2004 Metropolitan Opera National Council Auditions Grand Prize Winner and was awarded a Sara Tucker Award. She was also the First Prize Winner of the Wiener Kammer Oper’s Hans Gabor Belvedere Competition, making her the first American to win this competition in over twenty years. Additionally, Ms. Mitchell was the First Prize Winner of the Houston Grand Opera Eleanor McCollum Competition for Young Singers, as well as the winner of the Audience Choice award. Ms. Mitchell holds a Master of Music degree and the Professional Studies Certificate at the Manhattan School of Music and completed undergraduate studies at Westminster Choir College.

A native of Moscow, Dina Kuznetsova is an alumna of the Ryan Opera Center at Lyric Opera of Chicago. Soprano Dina Kuznetsova went on to star in a number of productions there including The Cunning Little Vixen, Rigoletto, Romeo et Juliette and, marking her role debut as Tatyana, Eugene Onegin under the baton of Sir Andrew Davis.

Dina Kuznetsova has attracted the attention of the world’s major opera companies for her outstanding musicianship and compelling stage presence. Dina Kuznetsova has performed in many of the world’s greatest opera houses, from the Metropolitan Opera, Royal Opera House, Berlin’s Staatsoper, Wiener Staatsoper, and Munich’s Bayerische Staatsoper to the San Francisco and Chicago Lyric Operas.

Kuznetsova’s signature roles have included Verdi’s Gilda (Rigoletto), Violetta (La Traviata) and Alice Ford (Falstaff); Puccini’s Mimi and Musetta (La Boheme), Lauretta (Gianni Schicchi); Tchaikovsky’s Tatiana (Eugene Onegin); Bellini’s Giulietta (I Capuleti e i Montecchi); Mozart’s Donna Anna (Don Giovanni) and Pamina (Magic Flute); Donizetti’s Adina (L’elisir d’amore); Juliette in Gounod’s Romeo et Juliette. Her passionate portrayal of Tchaikovsky’s Tatyana (Eugene Onegin) has brought her huge success at Lyric Opera of Chicago, at Opera national de Lille and with the Russian National Orchestra under Mikhail Pletnev.

In most recent seasons Dina Kuznetsova made her outstanding debut as Dvorak’s Rusalka at Glyndebourne Festival and her highly-acclaimed debut as Cio Cio San (Madama Butterfly) at English National Opera. Kuznetsova’s other recent highlights have included Rusalka and Katya Kabanova for Teatro Municipal de Santiago de Chile; Katya Kabanova for Staatsoper Hamburg; Francesca da Rimini at The Metropolitan Opera with Marco Armiliato; Desdemona (Otello) with the Gulbenkian Orchestra and Lisa (Pique Dame) with the Sydney Symphony Orchestra under Vladimir Ashkenazy.

A keen recitalist and chamber musician, Dina Kuznetsova appears regularly at both the New York Festival of Song and the Chamber Music Society of Lincoln Center.

Dina Kuznetsova has worked with such conductors as Daniel Barenboim, Sir Andrew Davis, Gennady Rozhdestvensky, Mikhail Pletnev, Vladimir Jurowski, Vladimir Ashkenazy, Vassily Sinaisky, Antonio Pappano, Lawrence Foster, Donald Runnicles, Jesus Lopez-Cobos, Gianluca Marciano, Konstantin Chudovsky and others.

Praised by the Boston Globe for her “lustrous” voice, German-born soprano Kala Maxym has performed on opera stages and in concert venues across the United States and abroad.

For much of her operatic career, Kala performed as a mezzo-soprano, playing such roles as Hänsel in Hänsel und Gretel, Stéphano in Roméo et Juliette, Dorabella in Così fan tutte , Anna I in Die Sieben Todesünden, Flora in La traviata and Alisa in Lucia di Lammermoor, Giovanna in Rigoletto, Nancy in Albert Herring, and Nefertiti in Akhnaten. One of her first soprano roles, Elle in La voix humaine, remains one of her favorites.

Most recently, Kala performed with the Spokane Symphony as soprano soloist in the New Year’s Eve performance of Beethoven’s 9th Symphony under the baton of Maestro Eckart Preu, a role she will reprise with Long Beach Symphony in June 2019. Kala was a featured soloist in “UnSung Heroes” with Pacific Chorale and has also sang the soprano solo in Bernstein’s “Mass” with the Pacific Chorale & Pacific Symphony at Segerstrom Center for the Arts. Recently, she presented Villa-Lobos’ beloved “Bachianas brasileiras No. 5” at Art Share-LA for a concert benefiting the ACLU of Southern California and also sang for the annual “Fire Bird” Dinner at the Segerstrom Center for the Arts with pianist Karolina Rojahn.

She has appeared in concert at Hawai’i Public Radio, the Chicago Cultural Center, Faulkner Library in Santa Barbara, the University of Albany, Wilton’s Music Hall in London, Deutsches Haus at New York University, Les Azuriales Opera in Cap Ferrat, France, and the Aspen Music Festival among others. She has also sung in many leading choirs, such as the Canterbury Cathedral Choir, the Choral Arts Society of Washington, Musica Viva, and San Francisco Choral Artists. Kala is currently a staff singer with the Pacific Chorale and the Long Beach Camerata Singers.

Dedicated to using her voice for good, Kala has organized and performed numerous recitals to benefit causes such as Doctors Without Borders, Colegio Insular Robinson Crusoe (Chilean Earthquake Relief), Pamoja Tunaweza (Together We Can, Tanzania), the ACLU of Southern California, and the Icla da Silva Foundation, among others. She has sung for Chilean Presidents Michelle Bachelet and Sebastián Piñera as well as at the London Inaugural Ball for President Barack Obama.

In addition to her life as a singer, Kala has also worked as a Senior Program Analyst for the Criminal Division of the United States Department of Justice – OPDAT, as a gemologist, and as a Customer Success Manager for Smartling, a technology company in the translation/localization space. She is fluent in Spanish and German, is a certified Spanish-English translator (New York University), certified Grant Writer (San Diego State University), California Wine Appellation Specialist (San Francisco Wine School), and WSET Level 2 Certified through The Wine House LA.

Kala holds a Bachelor of Arts Degree in Political Science from Barnard College of Columbia University (magna cum laude, Phi Beta Kappa) and a Master of Music degree in Opera Performance from The Boston Conservatory.

She lives in Los Angeles with her two orange Bronx street cats, Caspar and Ollie. Kala is a former bone marrow donor and proudly sits on the board of the Icla da Silva Foundation, the leading bone marrow recruitment center in the country for the National BeTheMatch registry.

In collaboration with artists ranging from Plácido Domingo to Sting, Camille Zamora has garnered acclaim for her “dramatic and nuanced” (The New York Times) interpretations of repertoire ranging from Mozart to tango. Equally, at home in concert, recital, and on the operatic stage, Camille is known for her “dignity and glowing sound” (The New York Times) in “luminous, transcendently lyrical” performances (Opera News) that “combine gentility and emotional fire” (The Houston Chronicle).

This past season featured Camille’s Kennedy Center debut, performances at the U.S. Capitol with Yo-Yo Ma, concerts of classic tango with Fort Worth Symphony and Florida Orchestra, and five new operatic roles, including a tour de force double-bill of La Voix Humaine and I Pagliacci with Opera Columbus. She also re-created the principal soprano role of Lucia in Hindemith’s The Long Christmas Dinner with American Symphony Orchestra at Lincoln Center, the live recording of which topped the New York Times’ Classical Playlist and was chosen one of Opera News’ Best Recordings of the Year.

Other recent highlights include music of Enrique Granados with Yo-Yo Ma and Cristina Pato in 2016 documentary film The Music of Strangers by Academy Award winner Morgan Neville; the narrated concert Twin Spirits: Robert and Clara Schumann with Sting, Nathan Gunn, and Joshua Bell at Lincoln Center and LA’s Music Center; and concerts of American Songbook classics by Gershwin, Berlin, Ager, and Arlen with Late Show bandleader Jon Batiste in Los Angeles and New York City for the Spring 2016 opening of the new Steinway Hall.

Camille’s operatic appearances include Donna Elvira in Don Giovanni at Anchorage Opera; Ilia in Idomeneo at Boston Lyric Opera; Despina in Così fan tutte at Glimmerglass Opera and Virginia Opera; Rosita in Luisa Fernanda at LA Opera; Elle in La Voix Humaine at Auckland Opera, Phoenicia Festival, Opera Columbus, and Bay Chamber Festival; Mimì in La bohème at Opera on the James; Nedda in I Pagliacci at Opera Columbus; Amore/Valetto in L’incoronazione di Poppea at Houston Grand Opera; The Countess in The Marriage of Figaro at On Site Opera; and Europa in Die Liebe der Danae, The Countess in Die Verschworenen, and Masha in The Chocolate Soldier at Bard Summerscape. Other signature roles include Blanche in Dialogues des Carmélites, The Governess in The Turn of the Screw, and the title roles in Susannah, Alcina, and Anna Bolena, of which the Houston Chronicle recently wrote, “Camille Zamora digs deep into Anna Bolena with the richness of her colorful and unwaveringly powerful soprano instrument… a consummate actress whose ability to get inside her character is phenomenal.”

In concert, Camille has appeared with the Orchestra of St. Luke’s, London Symphony Orchestra, Guadalajara Symphony, Aberdeen Festival Orchestra, Boston Festival Orchestra, Rochester Philharmonic, and in live broadcasts on NPR, BBC Radio, Deutsche Radio, and Sirius XM. Highlights on the concert stage include Brahms’ Liebeslieder with Leon Fleisher at Aspen Music Festival, Beethoven’s Mass in C at Alice Tully Hall, Mahler’s Symphony No. 2, The Resurrection with Chattanooga Symphony, and Schubert Lieder for the opening night of American Ballet Theater in a performance The New York Post called “one of the best received moments of the evening… quiet, monumentally serene Schubert art songs, beautifully rendered by soprano Camille Zamora.” Camille has sung Bach’s Magnificat at Carnegie Hall, and, also at Carnegie Hall, the premiere of Christopher Theofanidis’ Song of Elos, a performance she repeated at the American Academy in Rome. She made her Lincoln Center Festival debut in Bright Sheng’s Poems from the Sung Dynasty for Soprano and Orchestra in a performance praised by The New York Times as “dramatic and nuanced,” and premiered GRAMMY-winner Robert Aldridge and Herschel Garfein’s Away but Not Far Away as part of The AIDS Quilt Songbook @ 20 at Cooper Union’s Great Hall. A champion of contemporary music, Camille performed Aaron Jay Kernis’ Simple Songs for Soprano and Orchestra at the Bowdoin Festival under the baton of the composer, and works of Ricky Ian Gordon with the composer at the piano at Lincoln Center. She has premiered works by Franghiz Ali-Zadeh, Bernd Franke, Roberto Sierra, Henry Brant, and Richard Wargo with companies including Spoleto Festival USA, New York Festival of Song, Continuum, and American Opera Projects. In addition to the award-winning original language recording of Hindemith’s The Long Christmas Dinner (Bridge Records), Camille’s recordings of twentieth and twenty-first century works include The Music of Chris Theofanidis (Albany Records), Strauss’ Die Liebe der Danae (ASO), New Music with Guitar / David Starobin (Bridge) and the world premiere recording of Scott Gendel’s “At Last” with Yo-Yo Ma on An AIDS Quilt Songbook: Sing for Hope (Naxos/GPR).

Hailed as a leading interpreter of classical Spanish song by NBC Latino and the Congressional Hispanic Caucus, Camille has performed and recorded principal roles in zarzuelas including La Verbena de la Paloma, La Revoltosa, Luisa Fernanda, and La Tabernera del Puerto. Her performances of classical Spanish repertoire have been heard on five continents, in series ranging from Carnegie Hall’s Musical Connections to Zimbabwe’s Harare International Festival. Tango Caliente, Camille’s concert of classic Argentine orchestral songs arranged for her by GRAMMY Award winner Jeff Tyzik, tours nationally under Tyzik’s baton in the 2016/17 season.

A graduate of The Juilliard School, Camille is the Co-Founder of Sing for Hope, a leading arts non-profit that mobilizes artists in volunteer service and presents projects – such as NYC’s Sing for Hope Pianos – that make the arts accessible to all. She has presented and performed at Fortune Most Powerful Women Summit, Skoll World Forum, Opera America, Aspen Ideas, and The UN, and is a regular arts and culture contributor to The Huffington Post. A 2016/17 Kennedy Center Citizen Artist, Camille has been honored with a World Harmony Torch-Bearer Award, a Congressional Hispanic Caucus Recognition, a 100 Hispanic Women Community Pride Award, and been named one of the Top 50 Americans in Philanthropy by Town & Country, NY1’s New Yorker of the Week, and one of CNN’s Most Intriguing People.

Recently cited by the New York Times for her “especially lovely” singing, Elissa Johnston enjoys diving into repertoire ranging from Bach, Handel and Mozart to Messiaen, Carter and Reich.

Elissa appears this season with the National Symphony of Costa Rica singing Canteloube’s Chants d’Auvergne, with Albany Symphony in Michael Daugherty’s To the New World, with Long Beach Symphony in Brahms Requiem, with the Riverside Philharmonic in Berlioz Les Nuits d’éte, and in Peter Sellars’ touring production of Music to Accompany a Departure, which opened the 2023 Salzburg Festival. Elissa will also sing in American Ballet Theater’s North American premiere of Woolf Works, music by Max Richter, this Spring at Segerstrom Hall. Recent performances include the world premiere and recording of James MacMillan’s Fiat Lux with Pacific Symphony, Die Staat by Louis Andriessen, conducted by John Adams with the L.A. Philharmonic, Poulenc Gloria at the Palau de la Musica in Barcelona, arias by Handel and Scarlatti with the Los Angeles Chamber Orchestra, and performances with Street Symphony in Bach’s Wedding Cantata No. 202. Elissa has frequently appeared as soloist with the Los Angeles Master Chorale, in Handel’s Dixit Dominus, the west coast premiere of Reena Esmail’s This Love Between Us, and in Stravinsky’s Les Noces. As a member of the ensemble, she also appeared in Peter Sellars production of Di Lasso’s Lagrime di San Pietro under Grant Gershon, in performances worldwide, including at the Salzburg Festival, the Ravinia Festival, Melbourne International Arts Festival and the Auckland Arts Festival. She made her Carnegie Hall debut with the Pacific Symphony under Carl St. Clair, singing the role of Sarada Devi in Philip Glass’ The Passion of Ramakrishna, as part of Carnegie’s yearlong celebration of Philip Glass’ 80th birthday.

Elissa is especially fond of singing chamber music and in recital, and has appeared numerous times with Le Salon de Musique, Pittance Chamber Music, Salastina, Jacaranda Music, Sunset Chamber Music, Piano Spheres and Southwest Chamber Music. She sang in the quartet version of David Lang’s Little Match Girl Passion, sharing a program with Eighth Blackbird at the Ravinia Festival, and has performed Messiaen’s epic song cycle HARAWI numerous times with pianist Vicki Ray.

Elissa can be seen in the Los Angeles Philharmonic Soundstage live capture recording of John Adams’ Grand Pianola Music, under Gustavo Dudamel at the Hollywood Bowl, and can be heard in recordings of Chinary Ung’s

AURA on Presto Classical, and SPIRAL XII on Bridge Records, James Newton’s Mass and In a Moment, in the Twinkling of an Eye in James Newton: Sacred Works on New World Records, Danny Elfman’s Serenada Schizophrana on Sony BMG Masterworks, Jorge Liderman’s Song of Songs on Bridge Records, and on numerous film soundtracks.