Victoria lives and works in New York City.  Dedicated to Fresh Squeezed Opera's mission of promoting new opera, she has worked with FSO in many capacities, both on and off the stage and is excited to continue this work with Sunny Knabel’s “Song of the Redwood-Tree.”

Shane Brown was born in Ocean City, New Jersey. He began studying voice at age eight with Nancy Fox, a local voice teacher. He was a founding member of The Youth Opera Company of South Jersey, and appeared in many of their performances in the Cape May and Atlantic County areas. Shane attended ChARTer Tech High School for the Performing Arts in Somers Point, New Jersey where he studied voice. He later went on to The Mason Gross School of the Arts at Rutgers University where he pursued a BM in Voice Performance. The connections made, and experience acquired at Rutgers brought Shane to The Castleton Festival in 2013 and 2014 where he participated in the Castleton Young Artist Training Program under Maestro Lorin Maazel. Since then, Shane has continued performing in opera, concert, and choral settings in the New Jersey and New York areas. Shane currently lives in Bergenfield, New Jersey.

Audiences throughout the U.S. have heard Ecuadorian and Puerto-Rican Mezzo-Soprano Linda Collazo at venues including Carnegie Hall, the United Nations, Lincoln Center, the United Palace Theater, and Repertorio Español, as well as in theaters throughout Europe. Described as having a voice that is “elastic and luxurious…” (Ars Raving Mad), Linda began her 2018/19 season as an Apprentice Artist in Sarasota Opera’s Winter 2019 season singing the role of the Solo Handmaiden in Puccini's Turandot. She later went on to sing the role of María Magdalena in El Caminante de Nazaret, a new opera by Rafael Grullon, with the Mimesis Ensemble, was the mezzo-soprano soloist in Ben Yamolinsky's The Constitution with the Vertical Player Repertory Theater, covered the role of Prince Orlofsky in Strauss II's Die Fledermaus with Martina Arroyo's Prelude to Performance, and sang the roles of Vera Boronel and the Café Singer in Menotti's The Consul with Encompass New Opera Theater. Her recent awards include first prize in the Friday Woodmere Music Club’s Young Artist Competition and first prize in the Bronx Arts Ensemble Young Artist Competition. Linda received her Bachelor of Music from The Aaron Copland School of Music at Queens College, where she met and worked with Sherry Overholt. Ms. Collazo was a CUNY Macaulay Honors Scholar, Richard and Mica Hadar Foundation Scholar. Linda is the co-founder of Voces Unidas, a Latinx opera group dedicated to showcasing the opera and art songs from their cultures. 

Praised for her “magnetic” stage presence (NY Classical Review), “warm, golden voice” (Classical.Music.NYC), and “glossy high register” (Sundsvalls Tidning), soprano Chelsea Feltman is a dynamic performer whose repertoire spans from the baroque to contemporary periods, including musical theater, the American songbook, and art rock. She has studied and performed at Tanglewood, Académie International d’Eté in Nice, La Lingua Della Lirica in Novafeltria, Italy, as Gretel in San Jose, Costa Rica, and as Gilda, Lucia, and Blondchen in concert at the Härnösand Summer Opera Festival in Sweden, where she has been a member of the resident ensemble since 2014. Last year, she made her off-Broadway debut as Lize in The Sorceress at the acclaimed National Yiddish Theatre Folksbiene. Chelsea is an alumna of The Juilliard School, where she completed her undergraduate studies with Edith Bers, and Mannes College of Music, where she received her master’s degree and was a member of the Mannes Opera Program for two years, studying with Ruth Falcon and Beth Roberts. An avid performer of new music, she has sung the works of Del Tredici with Mo. Lowell Liebermann and MACE, performed the New York premiere of Melissa Dunphy’s Tesla’s Pigeon with The Secret Opera, and appeared in the world premiere of Daniel Felsenfeld’s The Inner Circle at The Brick Theater. Chelsea has also appeared as soprano soloist in Handel’s Messiah with the Metro Chamber Orchestra and as a soloist in Charpentier’s cantata In Nativitatem Domini Canticum. She appears in an upcoming documentary on David Del Tredici, both as a soloist and in conversation with the composer himself. 

Elyse Anne Kakacek is an American lyric soprano praised for her passionate and artful performances in opera, oratorio and contemporary music.  She has been acclaimed as a “stand out performer” (Opera News) who “can seemingly trill on any note in her scale and hold it out for an entire page of the score” (Vocal Arts Chicago). Last season, Elyse created the role of Maleine with dell'Arte Opera Ensemble in its first commission, Princess Maleine, awarded to Bea Goodwin (libretto) and Whitney George (music), as part of the company’s “Voices from the Tower” Festival in August of 2019. She appeared as the Soprano 1 soloist for Mozart’s Great Mass in C minor with the Long Island Symphonic Association.  Elyse was also the soprano soloist in Franz Liszt’s Sainte Cecile Legende for a promenade concert at the David A. Koch Theatre at Lincoln Center under the baton of Balint Karosi as a part of the Hungarian State Opera’s residency in New York. An advocate for new music, Elyse has worked closely with composers such as Whitney George, Aaron Siegel, Jason Cady, Cristina Lord, Matthew Welch, Gianluca Verlingieri, Balint Karosi, Felix Jarrar and Valerie Saalbach. In 2016 she created the role of Karen in Verlingierei’s The Courtship which she premiered in Boston and NYC. Elyse made her Carnegie Hall (Weill) debut interpreting the new works of composer Georgia Shreve with the Manhattan Contemporary Ensemble under the baton of Richard Aulden Clark, and later recorded these works for Ms. Shreve at the legendary Avatar Studios. Other operatic career highlights include Micaela in Carmen, Nedda in I Pagliacci, Gretel in Hänsel und Gretel, Susanna in Le Nozze di Figaro, Despina in Così fan Tutte,  Norina in Don Pasquale, Musetta in La Bohème, Flora in The Turn of the Screw, Lucia in The Rape of Lucretia, Clorinda in La Cenerentola and Pamina in Die Zauberflöte. 

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Olanna Goudeau continues to captivate audiences with her dazzling coloratura, rich lyricism, crystalline upper range and her sparkling stage presence. The Port Arthur, TX native made her National TV debut on Season 9 of NBC’s America’s Got Talent, as one half of the opera duo, ACTE II. Since her appearances on the show she has toured both the US and abroad to great acclaim. Olanna began her 2019 season with a bang as a featured artist at Carnegie Hall for a concert of music by African-American Composers. Other performance highlights include “Jubilation”, an evening of live music and immersive images at the Museum of Discovery in Fort Collins, Colorado and a recent debut performance of Duke Ellington’s Sacred Sunday at Birdland Jazz Club sponsored by the Duke Ellingon Center for the Performing Arts.

Soprano Sara Lin Yoder’s, midwestern work ethic coupled with 39 years of combined performance experience across 4 different instruments makes her an impeccable musician and a dynamic storyteller. Sara Lin’s “arresting dignity and presence that grips both the eye and the ear” entranced audiences in her performances in the title role of L’incoronazione di Poppea. Her knack for comedy in the roles of Despina (Cosi fan tutte), Clorinda (La Cenerentola), and Ida (Die Fledermaus) left audiences roaring with laughter, while heart-warming renditions of Nanetta (Falstaff), Constance (Dialogues of the Carmelites), and Laurie (The Tender Land) brought them to tears. Sara Lin’s interest in new music was discovered in 2012 while workshopping the role of Jessica in Aldridge/Garfein’s production of Sister Carrie. Since then, she has workshopped Aschera in Kerer/Mazzola’s Apocalypse: Now and Then, Susan in Redler/Campbell’s A Song for Susan Smith, Mary in Heggie/Scheer’s It’s a Wonderful Life, and premiered the role of Kiki in Jarrar/Goodwin’s Tabula Rasa. Sara Lin is a member of Ecce Shnak and lives in New York City. 

As a passionate advocate for contemporary music, she is particularly in demand as a performer of new works; she recently premiered scenes from The Contract Player with OperaRox Productions, and she has premiered multiple works as a Core Company Resident with the Fresh Squeezed Opera Company.  In 2017, Jane debuted two new roles: Elizabeth 'Baby Doe' Tabor in The Ballad of Baby Doe with Utopia Opera, and Adele in Die Fledermaus with Amore Opera. She spent 2016 focusing on recital repertoire, performing on Long Island with the Red Door Chamber Players in a series of recitals which explored the music of Latin America and Spain. Earlier in 2016 she returned to Pasadena Opera to cover Mrs. Gleaton in Carlisle Floyd’s Susannah, conducted by Dana Sadava and directed by Sara Widzer.  Jane has performed roles such as Blondchen (Die Entführung aus dem Serail), Frasquita (Carmen) and Olympia (Les contes d’Hoffmann). In concert she has performed as a soloist in works such as Couperin’s Leçons de Ténèbre and Bach’s cantatas BWV 140 “Wachet auf” and BWV 202 “Weichet nur.” She received a Master of Music degree in Voice from the Manhattan School of Music, where she sang the role of Daniel in the New York premiere production of Handel’s Susanna conducted by Kenneth Cooper; she also co-wrote & performed in MSM’s outreach group Discover Opera, touring a forty minute musical to local schools.