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Welcome to Bel Cantanti, an opera company within the Washington D.C. Metropolitan area devoted to giving performance experience to both seasoned and aspiring professionals. Between the beautiful singing and glorious music, you will find yourself thoroughly captivated.
"Bel Cantanti Opera continues to be one of the best kept musical secrets in the Washington area."

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"The future of opera as fun rather than spectacle or museum piece, lies with such groups as Bel Cantanti Opera."

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"Bel Cantanti… reaffirmed the belief that we are living in a golden age of opera and the hope that opera in America has a promising feature. Bel Cantanti … makes the special magic of opera happen.”
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“… an absolute delight for opera aficionados and the perfect opportunity for timid newbies to be surprised at just how much fun opera can be.”

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"Bel Cantanti Opera has emerged as a great showcase for area talent."

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"Bel Cantanti…shows a serious, focused orientation, high ambition and significant potential."

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Our Artists

Soprano Meghan McCall (Gilda in Rigoletto, Adina in L'Elisir d'Amore, Gretel in Hansel and Gretel, Marie in La Fille du Regiment, Lucia in Lucia di Lammermoor, Susanna in Le Nozze di Figaro, Blondchen in Die Entfuhrung aus dem Serail, Norina in Don Pasquale, Giulietta in I Capuleti e i Montecchi, Serpina in La Serva padrona, Zerlina in Don Giovanni).

When I first met Katerina Souvorova, Bel Cantanti Opera Company had just been formed. I was a budding operatic soprano with dreams as vast as the sky but opportunities as scarce as stars in the city. The small but mighty Bel Cantanti Opera Company embraced me with open arms, giving me not just a stage, but a family that believed in my talent. My first performances with Bel Cantanti were the emerging point in my very new career; it was here that I discovered the true power of my voice and the magic of opera. The mentors and fellow performers at Bel Cantanti Opera Company were instrumental in shaping my skills and confidence. Their unwavering support and dedication to the arts nurtured my growth in ways I could never have imagined. Every rehearsal was a lesson in perseverance, passion, and the joy of creating something beautiful together. I owe so much of my success to this incredible company. They provided me with the opportunity to perform, to fail, and to rise again, each time stronger than before. Their commitment to fostering young talent and bringing opera to the community is truly inspiring. Bel Cantanti Opera Company is a beacon for emerging artists like me, and they need your support to continue their vital work. Your donations can help sustain this haven of creativity and excellence, ensuring that future generations of singers have the same opportunities I did. Please consider contributing to this remarkable company. Your generosity will resonate through every note sung, every story told, and every heart touched by the magic of opera.

Tenor Issachah Savage (King Kaspar in Amahl and the Night Visitors , Young Gypsy in Aleko).

Everyone indeed wants to sing at big houses like the Metropolitan Opera, La Scala, Lyric Opera, etc; and it’s with good reason because they are some of the great companies of the world. However, a lesser recognized truth is that much smaller and regional companies are owed a great debt by the industry. It is companies like Bel Cantanti Opera that help to prepare young singers for the big houses. The opportunities Bel Cantanti produces for young artists are exceptional. By offering year-round platforms that bridge the gap between academic training and professional performance, Bel Cantanti not only identifies young talents but allows them to deepen their understanding through a full-scale opera. I first sang for Bel Cantanti while I was pursuing a master’s degree. During that time, it was very important to me that I start performing and honing my skills in non-collegiate settings. I knew I was not ready for the big leagues but I wanted to do more than school productions. I remember the first time I had the opportunity to sing for Bel Cantanti. I was very green and extremely nervous, but I was so thrilled I got hired. I offer a big thanks to Katerina Souvorova and Bel Cantanti for bridging the gap for so many and providing professional experiences that gave me further insight into what would be required down the road.     -With Warm Gratitude, Issachah



Tannhäuser (2021) LA Opera. Photo Credit: Cory Weaver.
Die Walkure (2019) Opéra National de Bordeaux. Photo Credit: Eric Bouloumié.
Idomeneo (2019) Salzburger Festpiele. Photo Credit: Barbara Gindl.

Soprano Danielle Talamantes (Rosina in Il Barbiere di Siviglia , Susanna in Le Nozze di Figaro).

I was beyond ecstatic when Katerina Souvorova took a chance on an emerging artist with not a single operatic role under her belt to perform the role of Rosina in Rossini’s Il barbiere di Siviglia. Whatever she saw in me in my very first audition (in that classic post-academic/pre-launch limbo) was enough to trust that I would do Bel Cantanti proud and then some. Subsequent performances with the company lifted me up in my formative years and helped me reach the pinnacle of all, the Metropolitan Opera. What Katerina and Bel Cantanti have done and continue to do for our arts ecology is simply priceless and cherished.     -Danielle Talamantes.



Carmen. (2015) Just before taking the very first bow at the Met.
La Traviata. With Quinn Kelsey, Hawaii Opera Theatre.
La Traviata. With Pene Pati, tenor.
La Boheme. With tenor Andrew Owens. Jacksonville Symphony, 2022.

Baritone Zachary Nelson (Antonio in Le Nozze di Figaro, Marcello in La Boheme).

Bel Cantanti gave me my first professional opera jobs while I was in college at The Catholic University of America. Katerina cast me in "Le Nozze di Figaro" as Antonio, and Marcello in "La Boheme". In just these two operas, I have now done over a dozen productions, 100+ performances, and performed them at houses like The Lyric Opera of Chicago, Santa Fe Opera, The Dresden Semperoper, and many more.
I would not be the performer I am today without Katerina Souvorova and Bel Cantanti giving me my start.




La Boheme at Lyric Opera of Chicago with Michael Fabiano (Rodolfo). Credit: Todd Rosenberg.
Le Nozze di Figaro at Santa Fe Opera with Lisette Oropesa (Susanna), Susanna Phillips (La Contessa),
and Daniel Okulitch (Il Conte). Credit: Ken Howard.

Countertenor Nicholas Tamagna (Cesare in Giulio Cesare).

Bel Cantanti was a significant opportunity for me as a young singer who was in transition, having completed his studies a few years earlier as a baritone and newly discovering his abilities as a countertenor only after finishing his formative studies. I was newly a countertenor when I was hired by Bel Cantanti to sing the title role in Händel’s Giulio Cesare in Egitto. This was an invaluable experience for me to sink my teeth into such a mammoth role so early on in my career development alongside such supportive and artistically inspiring people, such as Ekaterina Souvorova and the entire team, who helped create this wonderful production. Young singers don’t always have a safe environment in which to debut new roles and stretch their repertoire. As a singer, who trained in a different voice fach, I exited my education needing such opportunities to establish myself as a young singer in the professional world. Bel Cantanti really helped me do just that. I have gone on to sing nearly 21 Händel roles in houses spanning the globe, including The Metropolitan Opera (2020, Agrippina), Händelfestspiele Halle (2019, Alcina), Händelfestspiele Karlsruhe (2014-15, Riccardo Primo), San Francisco Opera (2024, Partenope). I have since established myself as a foremost countertenor in the baroque repertoire since my debut in 2014, having worked in major houses across Europe, the United States and Australia. Thank you Bel Cantanti for a being a significant part of what helped launch my career as a young aspiring singer. Mean every word!



Oronte in Ricardo Primo at Handel-Festspiele in Karlsruhe, 2015.
Siroe in Re di Persia at Nederlandse Reisoper, 2018.
Polinesco in Ariodante Theater Münster, 2015.
Narciso inAgrippina (with Joyce di Donato) at MET Opera, 2020.
Disinganno in Il Trionfo at Staatstoper Hannover, 2020.
Guistino in Legrenzi’s Guistino at Pinchgut Opera in Sydney, 2023.

Soprano Emily Casey (Giulietta in I Capuleti e i Montecchi, Micaela in Carmen, Guest singer in Die Fledermaus, Lauretta in Gianni Schicchi, Konstanze in Die Entfuhrung aus dem Serail).

Bel Cantanti Opera Company has been pivotal for me as an emerging singer. Working with General Director Katerina Souvorova, who has an incredible grasp of the operatic repertoire, has pushed me to new heights. Her passion and expertise are truly inspiring. One of the best things about Bel Cantanti is their mix of artists at different career stages. Katerina's support for young singers is unmatched. She provides them with opportunities to learn and grow by performing alongside seasoned professionals, giving them a taste of the professional opera world. Debuting roles here has given me the confidence and experience I needed for opportunities in larger venues. Singing with Bel Cantanti means working with incredibly talented colleagues who are performing in major houses worldwide. The friendships and connections I've made here are for life. The company feels like a family—everyone helps each other out, and the camaraderie is strong. This supportive environment has made my time with Bel Cantanti truly special and invaluable for my career. In short, Bel Cantanti, with Katerina's brilliant leadership, has shaped me into a better artist and given me experiences I'll always cherish. It's more than just an opera company—it's a family.

Mezzo Soprano Taylor Alexis Dupont (Lel in The Snowmaiden, Ratmir in Ruslan and Ludmila).

I worked with Bel Cantanti while attending school at Peabody Conservatory. I was so fortunate to be involved in two operas: "Snegurochka" (Snowmaiden) by Rimsky Korsakov and "Ruslan and Ludmila" by Glinka, involving a language I was studying: Russian.
This was a phenomenal and unique experience I could not have had anywhere else.
Katerina is a devoted curator for the arts and helps young professionals like me get invaluable and unique experiences not easily found in DC or other parts of the USA.




The Passion of Mary Cardwell Dawson. Phoebe. Washington National Opera, 2023.
The Rip Van Winkles. Audrey. The Glimmerglass Festival, 2023.
Taking Up Serpents. Reba/Young Mother. The Glimmerglass Festival, 2022.
The Passion of Mary Cardwell Dawson. Phoebe. The Glimmerglass Festival, 2022.

Francois Loup (Pasquale in Don Pasquale, Schlendrian in Coffee Cantata. Stage Director in Die Entführung aus dem Serail, Don Pasquale, Coffee Cantata and La Serva Padrona).

In my career, I sang many times the role of Don Pasquale but the atmosphere created by Katerina, her superb conducting and human collaboration with all the young artists she brought on stage, will always remain the best part of my memory.
After these performances, Katerina asked me to direct "Die Entfuhrung aus dem Serail" by W.A. Mozart.
The cast was chosen by her professional care, which made the numerous performances a great success.
François Loup


Bass-Baritone Kevin Short (Osmin in Die Entfuhrung aus dem Serail).

I’ve had the good fortune to work with Katerina Souvorova a couple of times in a concert setting of Russian music and in Bel Cantanti’s wonderful production of Mozart’s “Die Entfuhrung aus dem Serail.” I had outstanding experiences on both occasions. I found Maestra Souvorova to be wonderful musician and her extremely high music values were always on full display and served as a brilliant template for everyone involved. I’ve had nothing but thoroughly enjoyable and incredibly satisfying experiences working with her and her excellent company which is small but punches far above it’s weight class.



Porgi in Porgi and Bess. MET Opera, 2021.
Zaccaria in Nabucco Florida Grand Opera, 2014.
Amonasro in Aida. Opera Birmingham, 2010.
The Dutchman in Der fliegende Holländer. Sarasota opera, 2014.
Dr. Grenvil in La Traviata. (Lisette Oropesa). MET, 2020.