Rebecca Luttio - Sue Auclair Promotions

Rebecca Luttio
E m e r g i n g m e z z o - s o p r a n o ,
Rebecca Luttio is quickly gathering
attention for a voice described as
“red velvet” and exciting audiences
with a daring, dramatic sensibility.
This Spring, Ms. Luttio will be
making her professional debut with
the Florida Grand Opera singing
“Zerlina” in one of Mozart's most
acclaimed operas, Don Giovanni.
As a member of their elite Resident
Artist Program this season, Ms.
Luttio is covering “Nicklausse” in
Les Contes D’Hoffmann as well as
performing in a number of recitals
in the greater Miami area.
Photo by Susan Wilson
role in La Tragédie de Carmen, and also gave a much acclaimed performance.
In the 2009-10 season, Ms. Luttio
returned to the Chicago Opera
Theater as a young artist, covering
the leading role of “Medea” in
Cavalli’s Giasone. In the previous
season, Ms. Luttio covered the title
Additionally this year, Ms. Luttio was invited to reprise her role as “Suky Tawdry” in John Gay/Benjamin Britten’s The Beggar’s
Opera, and was featured as one of the two “Lay Sisters” in Suor Angelica for the Châteauville Foundation on the estate of the
illustrious Maestro Lorin Maazel. Ms. Luttio was also invited to cover the title role in The Rape of Lucretia in the previous 2009
Castleton Festival.
Currently residing in Boston, Ms. Luttio recently received a Master of Music in Vocal Performance after a very successful two years
at the New England Conservatory of Music. Ms. Luttio was cast in leading roles in every main-stage opera offered and was also
chosen among two students to represent New England Conservatory for the Marilyn Horne Foundation competition her very first
year.
Ms. Luttio has sung in several young artist programs both domestic and abroad, including Operafestival di Roma, American
Austrian Mozart Academy, Oberlin in Italy, Opera North, and the Chicago Opera Theater. Other operatic roles include “Dinah” in
Trouble in Tahiti, “Despina” in Cosi Fan Tutte, the "Widow" in The Boor, “Rosa Gonzales" in Summer and Smoke, "Clori" in
“L'Egisto, and “Marcellina” in Le Nozze di Figaro. Distinctions include merit vocal and dance scholarships from St. Olaf College,
American Musical and Dramatic Academy and New England Conservatory for a Master of Music in Vocal Performance. Ms. Luttio
is also a two-time scholarship winner from the Society of Singers.
A native of Seattle, Washington, Ms. Luttio owes much of her captivating stage presence to her extensive training in classical
ballet, and made her professional debut in the Pacific Northwest Ballet’s The Nutcracker at the age of nine. Ms. Luttio has also
studied ballet, tap, jazz, and musical theatre at the American Musical and Dramatic Academy in New York City, and at St. Olaf
College in Northfield, Minnesota from which she also holds a Bachelor of Arts in Psychology.
As a versatile actress, Ms. Luttio recently made her professional theatre debut at the American Repertory Theatre of Cambridge,
as “Simonetta” in the world premiere of Stephen Greenblatt and Charles Mee’s Cardenio, and remains active in the Boston theater
community.

Aliana de la Guardia
Contemporary soprano and actor, Aliana de la Guardia has been recognized in the Boston area as “an anomalous player on the
Boston music scene” (Stuff Magazine).
The Cuban-American performer and New Jersey native began her training in theater and film at age fifteen, and completed
professional studies in voice and oepra at The Boston Conservatory.
As an avid performer of contemporary
classical music, she has performed
works by composers such as: Berio,
Birtwistle, Gorecki, Harvey, Kurtág,
Sciarrino, and Webern, as well as
c o l l a b o r a t i n g w i t h m a n y l o c a l
composers.
As premiere soprano and General
Manager of Guerilla Opera, a
c o n t e m p o r a r y c h a m b e r o p e r a
ensemble whose mission is to foster a
new repertoire of progressive chamber
o p e r a s a n d t o p e r f o r m t h e m
unconducted in intimate settings, she
has co-produced 6 operas and
premiered 5 roles including “Sarah
Palin/Diane Sawyer” in Hughes’s Say It
Ain’t So, Joe, which received national
attention in 2009, and most recently
revived the role of the “Dog” in Rudolf
Rojahn’s Heart of a Dog, a production
which traveled to Memphis in February
2011, as well as premiering the role in 2007. Additional Guerilla Opera credits include Estelle in No Exit, by Andy Vores; June
Jackson in We Are Sons, by Rudolf Rojahn; and the title role in Rumpelstiltskin, by Marti Epstein.
Operagasm writes: “De la Guardia’s work in new opera is proof of the genre’s viable potential as entertainment. By working directly
with composers, she is a part of the creative process of inventing new styles and techniques for singing. Her contemporary music
projects are able to connect young audiences with music about the cultural fascinations of our times.”
De la Guardia’s experience extends to traditional opera theater as well. She “Triumphed” (Scene and Heard International) as Flora
in Granite State Opera’s production of Verdi’s La Traviata and was deemed “Likable and pleasing” (The Boston Globe) as Helena in
Britten’s A Midsummer Night’s Dream.
In November 2009 de la Guardia founded Dirty Paloma with a mission to engage and expose innovative artists, and to explore
intimate programing with an emphasis on works for small ensemble. The first season of Dirty Paloma saw the world premier of 3
new works by Boston area composers, in concerts whose programming spanned repertoire from Baroque to Contemporary. The
Boston Musical Intelligencer wrote: “Aliana de la Guardia is be commended for inventing Dirty Paloma and for presenting such a
stunning first performance.”
Since 2004, the Ludovico Ensemble, a contemporary chamber ensemble that dually promotes rarely heard works of the European
avant-garde as well as works by Boston-area composers, has engaged de la Guardia to perform and premiere contemporary
chamber works. Composer Jonathan Harvey praised de la Guardia’s and the ensemble’s performance of his Cantata X: Spirit
Music as “a splendid rendition!” The ensemble received international attention in February 2009 when de la Guardia and violinist
Gabriela Diaz were invited to perform Kurtág’s famous cycle for violin and soprano, Kafka Fragments, for Public Radio
International.
Upcoming performances include: Cape Cod Opera’s 2011 “First Night” concert series and 2012 production of Candide;
premiering two new opera during Guerilla Opera’s 2011-2012 season; singing Schönberg’s Book of the Hanging Gardens during
Ludovico Ensemble’s 2011-2012 season; and as a guest star on ABC’s Body of Proof.

Jonathan Nussman
Jonathan Nussman is a baritone whose varied interests include opera, theater, and art song, with a special emphasis on music
from the 20 th and 21 st centuries. His strong musicality and thoughtful interpretation make him a unique performer and contributor
to the Boston music scene.
Growing up in Charlotte, North Carolina, Mr. Nussman began singing, acting, and composing at an early age. His formal training
began at the University of North Carolina at Chapel Hill, where he studied voice under Timothy W. Sparks, piano under Zina
Astrakhan, and composition with Allen Anderson.
While at UNC, he was an active and dedicated performer, appearing in
frequent recitals and choral concerts, singing with the UNC Chamber
Players and the UNC Early Music Ensemble, and appearing in productions
of both the UNC Opera and Theater departments. His varied theatrical
performance experiences include works by Shakespeare, Stoppard,
Brecht, and Beckett.
Mr. Nussman moved to Boston in 2006 to pursue his master’s studies at
The Boston Conservatory. While there, he divided his time between laying
the foundation of a solid education in traditional vocal and operatic
repertoire and debuting new works by student and faculty composers. He
appeared in many of the Opera Department’s main-stage and scenes
programs, as well as productions with the conservatory Theater
Department and throughout the Boston community. Since graduating
with his M.M., he has collaborated with many local opera companies,
including Guerilla Opera (where he sang in the 2008 premiere performance
of We Are Sons by Rudolph Rojahn), as well as appeared in productions
with Opera Boston, Longwood Opera, MetroWest Opera, the North of
Boston Arts Center, Opera del West, the MIT Gilbert and Sullivan Players,
Boston Opera Collaborative, New England Light Opera and OperaHub. In
addition to his experiences with Guerilla Opera, he has had the privilege of
working in close collaboration with Boston-area composers John
Murphree, Jeffrey Brody, and Marti Epstein. In the spring of 2011, he will
sing the title role in the premiere performance of Brody’s new opera The
Picture of Dorian Gray with Longwood Opera.
The Fall of 2009 marked the beginning of his collaboration with soprano
Aliana de la Guardia in a series of innovative recitals under the banner of
Dirty Paloma productions. Their debut recital was presented at St. Paul’s
Episcopal Church in Brookline, with subsequent performances at The
Boston Conservatory and the First Parish in Westwood in 2010. His performance in this program was decribed as “stunning” by
The Boston Music Intelligencer.
As a recitalist, Mr. Nussman’s repertoire includes major song cycles and chamber pieces by such composers as Barber,
Butterworth, Fauré, John Harbison, Honegger, Brahms, Ibert, Britten, Schubert, Schumann, Wolf, and Poulenc. Notable operatic
roles include Papageno (Die Zauberflöte), Guglielmo (Così fan tutte), Count Almaviva (Le Nozze di Figaro), Bluff (The Impresario),
Colas (Bastien und Bastienne), Don Inigo Gomez (L’heure espagnole), Angelotti (Tosca), Yamadori, (Madama Butterfly), Melchior
(Amahl and the Night Visitors), John Brooke (Little Women) and Junius (The Rape of Lucretia).

Aaron Styles
Aaron Styles recently graduated with his Master's of Music
from Boston Conservatory. While studying there he had the
pleasure of performing such roles as Capellio in I Capuleti e i
Montecchi, Ariodate in Serse and Aeneas in Dido and Aeneas.
He graduated with his Bachelor's Degree in 2006 from Texas
Christian University and has also been blessed with the
opportunity to sing in the chorus of the Fort Worth Opera
Company. While with Fort Worth Opera, he also performed
several roles including Klaus in the world premiere of Thomas
Pasatieri's Frau Margot. Mr. Styles has also received training at
the AIMS program in Graz, Austria, at The Seagle Music
Colony in up-state New York and at The Flagstaff in Fidenza
program in Italy. Other performances include roles in Don
Giovanni, Cosi fan Tutte, Oklahoma and Anything Goes.