Damien Geter, Guest Composer Fall 2025
Damien Geter is an acclaimed American composer who infuses classical music with various styles from the Black diaspora to create music that furthers the cause for social justice, as well as a celebrated bass-baritone – “amazing to listen to. Possessed of a rolling, resonant voice even at the lowest register” (Northwest Reverb) – whose varied credits include performances from the operatic stage to the television screen. He is Richmond Symphony’s Composer-in-Residence through 2026 and serves as Interim Music Director & Artistic Advisor at Portland Opera.
Geter’s rapidly growing and “invigoratingly fresh” (Opera Today) body of work includes chamber, vocal, orchestral, and full operatic works, with his compositions praised for their “skillful vocal writing” (Wall Street Journal). In the 2024/2025 season, the world premiere of Geter’s new major opera, Loving v. Virginia, concludes Virginia Opera’s 50th anniversary season. Based on the true story of Mildred and Richard Loving, the opera is co-commissioned by Virginia Opera and Richmond Symphony, co-produced by Virginia Opera and Minnesota Opera, and features a libretto by Jessica Murphy Moo, Denyce Graves as director, and Adam Turner conducting. Another new opera of Geter’s, Delta King’s Blues, commissioned by IN Series, will be workshopped in January 2025 and premiered later that year. His song, Amanirenas, commissioned by soprano Karen Slack for her African Queens art song program, tours at Washington Performing Arts, the Ravinia Festival, Aspen Music Festival, 92nd Street Y New York, the Nashville Symphony, and Friends of Chamber Music Denver. His newly commissioned song, Gentle lady, do not sing, is included on the Choral Scholars University College Dublin’s album, Music by James Joyce, Volume I (September 2024, Signum Classics).
As conductor this season, he leads Paul Moravec’s opera The Shining, based on Stephen King’s iconic novel, at Portland Opera, and Carmel Symphony Orchestra’s Opening Night Gala, America the Beautiful concert.
Future commissions include world premieres with the Richmond Symphony and Nathaniel Dett Chorale, plus a new operatic production at Portland Opera in 2026.
In the 2023/2024 season, Des Moines Metro Opera presented the full-length world premiere of Geter’s opera, American Apollo, starring Justin Austin, William Burden, and Mary Dunleavy, with a libretto by Lila Palmer and David Neely conducting. Opera Now proclaimed Geter’s orchestrations created “a kaleidoscopic ‘American Impressionism’, with borrowings from other genres of the time, creating a diverse palate to accommodate the vivid characters” and Opera Today stated the composer’s “sound palette and approach is very much his own distinct amalgamated voice”. Last season, Chicago Symphony Orchestra programmed Geter’s Annunciation on the concert Montgomery and the Blacknificent 7; Richmond Symphony premiered Sinfonia Americana; his song cycle COTTON saw its New York premiere at the 92nd Street Y, starring Denyce Graves and Justin Austin; Oregon Bach Festival presented his new Bach transcription after Prelude and Fugue No. 2 in C Minor from The Well-Tempered Clavier; and the Recording Inclusivity Initiative recorded his String Quartet No. 1 “Neo-Soul”.
In 2022, Geter had six premieres as a composer, including his large work, An African American Requiem, in partnership with Resonance Ensemble and the Oregon Symphony with subsequent performances at the Kennedy Center; I Said What I Said for Imani Winds, co-commissioned by Anima Mundi Productions, Chamber Music Northwest, and The Oregon Bach Festival; his one-act opera Holy Ground for Glimmerglass Opera; Elegy for the American Guild of Organists; The Bronze Legacy for Chicago Symphony Orchestra; and the chamber version of American Apollo for Des Moines Metro Opera.
Called “superb” by The News Tribune, DC Theater Arts praises his “commanding presence and voice full of bass-baritone gravitas”. Last season, Geter portrayed the role of abolitionist and historian William Still to great critical acclaim in Pulitzer Prize-winning composer Paul Moravec’s oratorio Sanctuary Road, presented by Virginia Opera, and based on the writings of Still, who is credited with helping nearly 800 enslaved African Americans escape to freedom. He also joined Auburn Symphony Orchestra in Ralph Vaughan Williams’ A Sea Symphony and Rembrandt Chamber Musicians in The Wayfarer’s Melodies: A Musical Journey, singing the John Ireland Songs of a Wayfarer cycle.
Recent season highlights include Geter’s Metropolitan Opera debut in the Grammy award-winning production of Porgy and Bess as the Undertaker. He performed the title role of Quamino in the world premiere of Errollyn Wallen’s Quamino’s Map with Chicago Opera Theatre; as Angelotti in Tosca with the Portland and Eugene Operas; as Archibald Craven in The Secret Garden with Hawaii Opera Theatre; and as Sam in Reno Symphony’s Voices of a Nation: Trouble in Tahiti. In concert, Geter performed as the bass soloist in Beethoven’s Symphony No. 9 with the Richmond Symphony and Fresno Philharmonic, Handel’s Messiah with North Carolina Symphony, and in the role of William Still in Sanctuary Road with the Oakland Symphony.
On television, Geter made his TV debut as John Sacks on NBC's Grimm and was seen in Netflix's Trinkets. Musical theater credits include Kevin Rosario in Lin Manuel-Miranda's In the Heights and Pontius Pilate in Jesus Christ Superstar.
Geter is an alumnus of the Austrian American Mozart Festival and the Aspen Opera Center, and was a semifinalist for the Irma Cooper Vocal Competition. He toured with the prestigious American Spiritual Ensemble, a group that helps promote preserving the American art form the spiritual.
He is the owner of DG Music, Sans Fear Publishing. Music in Context: An Examination of Western European Music Through a Sociopolitical Lens, the book he co-authored, is available on Amazon, or directly from the publisher, Kendall Hunt.
Guest Vocalists
Jason Ferrante, tenor
American tenor and voice teacher Jason Ferrante has been praised by Opera News for "singing up a stylish storm" and by the Sarasota Herald Tribune as "one of the best voices I have heard in a very long time." Most recently, Ferrante appeared with Pensacola Opera as Arturo in Lucia di Lamermoor, and in debuts with Hawaii Opera Theater as Remendado in Carmen, Sacramento Philharmonic and Opera as Basilio in Le Nozze di Figaro and Piedmont Opera as Sancho in Man of La Mancha. In addition to a busy schedule of masterclasses and lessons with training programs and schools throughout the country, he was also seen as Beadle Bamford in a new production of Sweeney Todd with Opera Omaha, Don Basilio and Don Curzio in Le Nozze di Figaro in his debut with both Virginia Opera and Knoxville Opera, the Fourth Jew in Salome in his debut with Tulsa Opera, the tenor soloist in Stravinsky’s Pulcinella with the Salisbury Symphony and a debut with the Palm Beach Symphony as tenor soloist in Mozart's Requiem conducted by Gerard Schwarz.
With two decades of experience on the operatic stage in over 80 different roles and on the concert stage as a tenor soloist , Ferrante also maintains a career as a sought-after voice teacher, having taught singers who appear on the greatest stages of the world as soloists, recording artists, and winners in major competitions. In 2025, he served as a vocal consultant/ faculty member to the young artists programs at Banff, Portland Opera, Canadian Opera Company, Pensacola Opera, Brevard, Florentine Opera, Arizona Opera, Nashville Opera, Jen Rowley's Aria Bootcamp and Charlottesville Opera and gave masterclasses at University of Arizona, University of Toronto, Sacramento State University, University of North Carolina School of the Arts, Arizona State University and University of Wisconsin Milwaukee as the Vilas Artist-In-Residence.
In recent seasons, Ferrante made his debut with the New World Symphony as the tenor soloist in Nico Muhly's Keep in Touch conducted by the composer, Beppe in Pagliacci with Opera Omaha, Bardolfo in Falstaff with Intermountain Opera, a debut with Nashville Opera as Little Bat in Susannah, a return to the Key Chorale as the tenor soloist in Elijah, his first performances as Remendado in Carmen with the Bar Harbor Music Festival and Little Victor in Kevin Puts and Mark Campbell's Elizabeth Cree, a role he created for Opera Philadelphia and reprised with Chicago Opera Theater.
More information: Jason Ferrante
Tesia Kwarteng, mezzo soprano
Tesia Kwarteng is a versatile and multi-faceted Ghanaian-American artist who is equally at home on the operatic stage, on screen, and in the studio. Upcoming and recent highlights for Ms. Kwarteng include Ruth in The Pirates of Penzance with Tulsa Opera, a concert appearance with Symphony of the Americas, a role and house debut as Maddalena in Verdi’s Rigoletto with Cincinnati Opera, creating the role of Ida Mae in the world premiere of Damien Geter’s American Apollo with Des Moines Metro Opera, Jenny in The Threepenny Opera with Opera Columbus, The Cartography Project with Washington National Opera, and creating the role of Annette Byrd in the world premiere of Damien Geter’s Loving v. Virginia with Virginia Opera.
Engagements of note for Ms. Kwarteng during the 2023-2024 season included a house and role debut in the title role of Carmen with Opera Columbus, Marcellina in Le nozze di Figaro for another house debut with Portland Opera, and a house debut with Virginia Opera in Damien Geter’s Sanctuary Road. Highlights of the 2022-2023 season included a Broadway debut as Lady Catherine in Lincoln Center Theater‘s new production of Lerner & Lowe’s Camelot, featuring a book by Academy and Emmy Award-winning writer Aaron Sorkin and directed by Bartlett Sher.
During the 2021-2022 season, Ms. Kwarteng made her principal debut at The Metropolitan Opera as a Pit Singer in Brett Dean’s Hamlet and also made her Off-Broadway debut at Lincoln Center Theater in Ricky Ian Gordon and Lynn Nottage’s new opera Intimate Apparel, where she was seen as Mayme and in the ensemble. Tesia also covered the role of Ruby/Sinner Woman in Terence Blanchard’s Fire Shut Up In My Bones at The Metropolitan Opera and sang the role of Woman 5 in Letters That You Will Not Get: Women’s Voices from The Great War with American Opera Projects and the role of Maurya in What Lies Beneath with On Site Opera. She also participated in a workshop for Written in Stone at Washington National Opera, where she sang the role of Laurel in Carlos Simon’s It All Falls Down and Victoria Wilson in Kamala Sankaram’s Rise.
A champion of contemporary compositions, Tesia has performed in several world premieres and workshops of new works, including the role of Bertha in Terence Blanchard’s Fire Shut Up In My Bones with Opera Theater of Saint Louis, Lee in Marie Begins, a soloist in Beyond Liberty with Thomas Hampson at The Glimmerglass Festival, Frances in a workshop performance of the new chamber opera The Flood at Opera Columbus, Melba Patillo in excerpts from Little Rock 9 by Kennedy Center Honoree Tania Leon at the MacDowell Colony National Benefit, the ensemble of Dear Erich at New York City Opera and Harriet Tubman: When I Crossed that Line to Freedom with American Opera Projects, Abigail in Sleepy Hollow: The Musical at the New York New Works Theater Festival, and the premiere of Jeremy Gill’s art song Rose (based on Ann Patchett’s book The Patron Saint of Liars, which was written for Ms. Kwarteng and performed at Chautauqua Opera).
More information: Tesia Kwarteng
Adam Richardson, baritone
Baritone Adam Richardson is a celebrated artist known for his captivating performances across opera, concert, and theatre stages. Praised by Opera News for his “gorgeous textured baritone,” Richardson’s career has been marked by a series of impressive achievements and notable debuts. In the 2024-2025 season, Richardson will perform as the baritone soloist with the Long Beach Symphony, cover the role of Daggoo in Moby Dick at the Metropolitan Opera, and prepare for the 2025 world premiere of Loving vs. Virginia as Raymond Green with Virginia Opera. The 2023-2024 season featured Richardson’s debut with the Metropolitan Opera in X: The Life and Times of Malcolm X in the role of ‘Friend’, Virginia Opera in Sanctuary Road, and Music Theatre Wichita. Additionally, he returned to Opera in the Heights as Schaunard in La Bohème. The 2022-2023 season showcased Richardson in diverse roles and projects. He portrayed Yoshio in Hanjo with Catapult Opera, a role he reprised at Teatro Sociale di Trento, Italy. A significant highlight was his house debut with Opera Omaha, where he commanded the title role in X: The Life and Times of Malcolm X. He was seen in the world premiere of Factotum at Lyric Opera of Chicago and his return to the role of John Mack at Pittsburgh Opera in We Shall Not Be Moved, a work he originated and premiered in 2017. Richardson also made his film debut in the famed Blue’s Clues franchise with Blue’s Clues Big City Adventure. The 2021-2022 season saw Richardson in the Off-Broadway cast of Ricky Ian Gordon’s Intimate Apparel at Lincoln Center Theater. He appeared as Sciarrone in Tosca at Cincinnati Opera, gave a debut recital with Linton Chamber Music, and performed a Liederabend with Beth Morrison Projects. Richardson also debuted at Barrington Stage Company as Mr. Lindquist in Stephen Sondheim’s A Little Night Music.
Throughout previous seasons, Richardson’s career has been punctuated by remarkable milestones. He spent 18 months on a Broadway National Tour and participated in the virtual Night of Black Excellence Gala with Fort Worth Opera. He engaged in THE MOVE Project with the University of Utah and presented a debut recital titled Stand the Storm with Extensity Concert Series. His roles included Guglielmo in Così Fan Tutte with Opera in the Heights and John Mack in We Shall Not Be Moved at Opera Philadelphia, The Apollo, and Dutch National Opera. He debuted with Amarillo Opera in the title role of Joshua’s Boots and performed as Jake in Porgy and Bess at esteemed venues like Alte Oper Frankfurt, Staatsoper Hamburg, and Opera de Massy. Richardson has also been featured at Central City Opera as Sciarrone in Tosca and Horace Tabor in The Ballad of Baby Doe. He has been a studio member at various renowned companies, including Opera Santa Barbara, Caramoor, Cincinnati Opera, Opera North, and The Brevard Music Festival. Richardson’s artistic accomplishments have been duly recognized through numerous awards. He was named the New Mexico District Winner of the Metropolitan Opera National Council Competition and emerged as a finalist in the Giulio Gari Competition. He received the Encouragement Award from the Gerda Lissner Song Competition and Harlem Opera Theatre and the Young Talent Award from the Lotte Lenya Competition. Richardson secured second place in the Pittsburgh National Arts and Letters competition and was a two-time Benjamin Matthews Competition finalist. Hailing from Smithfield, Virginia, Richardson is a Carnegie Mellon University graduate with a Bachelor of Fine Arts degree and a graduate of The Juilliard School, where he earned a Master’s degree.
More information: Adam Richardson
Jixue Yang, piano
Born in China, Jixue Yang is a classically trained pianist who explores the voices and aesthetics of contemporary artists through interdisciplinary collaboration, expanding the piano’s expressive possibilities across acoustic and experimental dimensions.
She has received the Gold Award at the Singapore International Music Competition, Second Prize at the Charleston Contemporary Music Competition, and top prizes at the Ad Libitum Piano Competition, and was named Pianist of the Season. She has performed at venues such as Akoesticum, Hochschule für Musik Leipzig, Konzertsaal der HfM Dresden, DiMenna Center, Frederick Loewe Theater, and Opera America. Her past residencies include SinusTon Festival, Nief-Norf Summer Festival, Steinhardt Pulsing and Shaking Music Festival, Creative Dialogue IX, Negentropy Nexus by Absonus Lab, Cortona Sessions, and Drama Et Musica Series.
Yang has served as a guest artist at institutions including the University of Florida, University of Pennsylvania, Bowling Green State University, and Hochschule für Musik Franz Liszt Weimar, presenting lectures, workshops, and performances that amplify underrepresented voices in contemporary music.
A founding member of the electroacoustic trio Apply Triangle, she co-produced their acclaimed three-volume album Oxalis Triangularis, which was supported by Chamber Music America’s Ensemble Forward Awards and praised by I Care If You Listen and Neon Music Reviews for its artistic breadth and sonic innovation. She has also worked with Klangforum Wien, Infrasound Ensemble, BlackBox Ensemble, and MSM Orchestra.
Her ongoing project imUnsure—which merges piano, electronics, and visual media to explore diasporic narratives by East Asian women artists—is supported by the Houston Arts Alliance, Manhattan School of Music, Indiana State Contemporary Music Festival, THE BLANC Gallery NYC, and the Houston Montrose Project.
Yang earned her B.M. in Classical Piano and M.M. in Contemporary Performance from Manhattan School of Music, where she is now completing her D.M.A. Her teachers include Anthony De Mare, Margaret Kampmeier, Phillip Kawin, Solomon Mikowsky, Inesa Sinkevych, and Christopher Oldfather.
The Contemporary Music Festival committee is sorry to announce that the 59th Annual Festival will not feature a guest orchestra. We hope that future festivals can return to our 56-year heritage of hosting a professional orchestra. Our deepest thanks to the Indianapolis Chamber Orchestra who was our faithful orchestra-in-residence from 2007-2022.