Opera stars share stage with CCM Philharmonia in Sept. 20 concert

A native of Crestwood, Kentucky, soprano Amanda Woodbury has been praised by the San Francisco Chronicle as having a voice that is “bright, beautifully colored, and full of strength and passion.” The 2025 – 2026 season sees Ms. Woodbury’s return to the Metropolitan Opera to sing her signature role of Violetta in La Traviata conducted by Antonello Manacorda, as well as to cover the role of Elvira in a new production of I Puritani. Ms. Woodbury also makes her return to Washington Concert Opera in the role of Elettra in a concert performance of Idomeneo.

The 2024 - 2025 season saw Ms. Woodbury’s role debut as the title character in Luisa Miller, joining Washington Concert Opera with less than a week notice and earning rave reviews. She also returned to the role of Violetta Valery in Palm Beach Opera’s production of La Traviata under the baton of music director and principal conductor, David Stern. Ms. Woodbury also made her house debut at Irish National Opera, again reprising her signature role of Violetta in Olivia Fuchs’ production of La Traviata at the historic Gaiety Theatre.  She joined the Indianapolis Symphony as the soprano soloist in both Mahler’s 4th Symphony and Mozart’s Exultate Jubilate.

Recent seasons saw Ms. Woodbury’s house debut at Opéra national du Lorraine as Electre in Lorenzo Ponte’s production of Idomeneo, conducted by Jakob Lehmann. She also made her return to Los Angeles Opera for her role debut in the title role of Lucia di Lammermoor, of which the LA Times said “all flows from her without effort.” Ms. Woodbury also returned to the Metropolitan Opera to sing Adina in Bartlett Sher’s production of L’elisir d’Amore, while covering Donna Anna in a new production of Don Giovanni.

Career highlights include Ms. Woodbury’s debut with the Glyndebourne Festival as Countess in the Michael Grandage production of Le nozze di Figaro, multiple appearances at the Metropolitan Opera including Countess in Le nozze di Figaro, a role debut as Juliette in the new Bartlett Sher production of Roméo et Juliette, Leïla in Les Pêcheurs des perles, Woglinde in Robert Lepage’s productions of Das Rheingold and Götterdämmerung, Tebaldo in Don Carlo, appearances on the Rising Stars concert series, and covers of the title role in Manon, Norina in Don Pasquale and Antonia in Les contes d’Hoffmann. Ms. Woodbury has also been regularly seen on the stage of LA Opera with roles including Micaëla in Carmen, Musetta in La bohème, and Papagena in Die Zauberflöte. Additional operatic highlights include the role of Violetta in La traviata with both the Glimmerglass Festival and San Antonio Opera, Pia in Donizetti’s Pia de’ Tolomei with the Spoleto festival, the title role in Bellini’s La straniera with Washington Concert Opera, her role debut as Marguerite in Faust with Tulsa Opera, Konstanze in Die Entführung aus dem Serail with Des Moines Metro Opera, Madison Opera, Opera Omaha, and Dayton Opera, Pamina in Die Zauberflöte with Madison Opera, Donna Anna in Don Giovanni with the Merola Opera Program, and Lauretta in Gianni Schicchi at the Aspen Music Festival. Ms. Woodbury was scheduled to make her debut with the Glyndebourne Festival in the role of Konstanze in Die Entführung aus dem Serail, and her debut with Opera Hong Kong as Opehlia in Thomas’ Hamlet, both of which were cancelled due to COVID-19.

Concert work includes her LA Phil debut as the soprano soloist in Beethoven’s Choral Fantasy conducted by Gustavo Dudamel, Handel’s Messiah with the Mormon Tabernacle Choir, Mahler’s Symphony Number 8 and Haydn’s Creation with the Cincinnati May Festival conducted by James Conlon, the soprano soloist in Carmina Burana with the Aspen Music Festival, Fauré’s Requiem with the Alabama Symphony Orchestra, and her international debut singing Ophelia’s mad scene from Hamlet by Thomas with Tokyo Metropolitan Symphony Orchestra. Additional appearances include American Symphony Orchestra for a concert of Bach Arias, marking her Alice Tully Hall debut, and Mozart Mass in C with the New Choral Society. 

In 2014 Ms. Woodbury was honored as a Grand Final Winner of the Metropolitan Opera National Council Auditions and second place and audience choice award in Plácido Domingo’s Operalia competition. Ms. Woodbury was also awarded both a Sarah Tucker Study Grant and Richard Tucker Career Grant, as well as Second Place and audience choice award in both the Eleanor McCollum Houston Grand Opera competition and the Dallas Opera competitions.

Ms. Woodbury received a Master of Music Degree in Vocal Performance at the University of Cincinnati College-Conservatory of Music, a Bachelor of Music degree at Indiana University, and currently resides in New York.

Tenor M. Andrew Jones enchants audiences with his powerful vocal presence and unwavering passion. His artistry showcases the very essence of contemporary operatic excellence, earning accolades from critics and fellow artists alike.

Recent performances include Tamino in Die Zauberflöte and Vaudemont in Iolanta by Tchaikovsky with Queen City Opera. His portrayal of Lenski in concert with Queen City Opera, mesmerized audiences with his "firm, heroic" sound full of depth and emotion. Much acclaim has followed his portrayals of Max in Der Freischütz and Mime in Siegfried at Valhalla Productions in San Francisco, solidifying his reputation as a versatile and technically adept artist. Notable performances include Gulbrand in Queen City Opera’s production of Undina by Tchaikovsky, Don Ottavio in Don Giovanni,Pedrillo in Die Entführung aus dem Serail with Queen City Opera, as well as roles such as the 1st Armored Man/Second Priest in Die Zauberflöte with Dayton Opera, The Messenger in Aida, and the Innkeeper in Der Rosenkavalier with Cincinnati Opera.

Furthering his commitment to the arts, Jones holds a Master's of Music in Vocal Performance from the University of Cincinnati - College Conservatory of Music, under the tutelage of the distinguished Kenneth Shaw, and a Bachelor of Arts in Music from Luther College, guided by the esteemed Ed Andereck.

Sahoko Sato Timpone, DMA, joined CCM's faculty as Associate Professor of Voice on Aug. 15, 2025.

Praised by the New York Times as “impressive” and by New York Arts for her “rich, glowing” tone, Japanese American mezzo-soprano Sahoko Sato Timpone has appeared in opera and concert performances throughout North America, Europe and Asia.

Recent performances include Verdi’s Requiem at Carnegie Hall with Masterwork Chorus, Mary in Wagner’s Der Fliegende Holländer with Opera Maine, Mahler’s Second and Third Symphonies and Rückert Lieder with the Tallahassee Symphony Orchestra and the Florida State University Symphony, and Tryptique by Raymond Moulaert with Terra Nova Collective in Belgium.

Career highlights include her Carnegie Hall debut in A Midsummer Night’s Dream with the Academy of St. Martin in the Fields under Sir Neville Marriner, narrated by Christopher Plummer; operatic roles with the Seiji Ozawa Opera Academy, Tokyo Spring Festival (formerly Tokyo Opera Nomori) and the Saito Kinen Festival — all under the direction of Seiji Ozawa — as well as with Opera Maine, St. Petersburg Opera, Syracuse Opera, Chautauqua Opera, Baltimore Opera and Berkshire Opera. She received critical acclaim for her Off-Broadway debut in ¡Figaro 90210! (Ms. Sun-Yi Nam/Marcellina), and performed in the New York premiere of Carlisle Floyd’s Prince of Players with the Little Opera Theatre of New York. Additional concert engagements include solo appearances with the Seattle Symphony, Oregon Symphony, Sapporo Symphony, Singapore Symphony Orchestra and the New York Choral Society, as well as performances of Verdi’s Requiem with Music Worcester and Mozart’s Requiem with the Tallahassee Community Chorus.

An advocate for new music and art song, she has performed at venues such as Weill Recital Hall at Carnegie Hall, Steinway Hall, Barcelona’s Sagrada Familia, the National Association of Teachers of Singing (NATS) Art Song Composition Award Recital, and the Art Song Preservation Society of New York. Her international recital appearances include Granada, Spain, as First Prize winner of the Miguel Zanetti International Spanish Song Competition. Her solo album Songs of Japonisme: Early 20th Century Art Song from Japan and the West with pianist Kenneth Merrill was released by Sheva Collection/Naxos. She has premiered new works including David Soldier’s Eighth Hour of Amduat (Mulatta Records).

A sought-after clinician, lecturer and researcher, Timpone has presented for organizations such as NATS, the National Opera Association (NOA), the College Music Society (CMS), and the New York Singing Teachers' Association (NYSTA), as well as at institutions across Asia and Europe. Her students have earned major roles and placements in young artist programs and competitions throughout the United States and internationally.