Tuesday, May 5, 2026

Verdi's Requiem: Meet the Soloists!

Our grand finale is coming up this weekend on Saturday, May 9 at 7:30pm at the Fox Cities Performing Arts Center. We'd love for you to join us in the hall!

Purchase tickets here!

Along with our special guests NEWVoices, we'd love for you to meet our soloists for Verdi's Messa da Requiem.

Marsha Thompson, soprano

Internationally acclaimed soprano Marsha Thompson effortlessly traverses the realms of classical and new vocal music. From prestigious opera houses to intimate concert halls, her voice has been noted as “leaving an indelible mark on the soul.” 

Born in Corpus Christi, Texas, and raised in Shreveport, Louisiana, she began her musical studies as a violinist at the Centenary College Suzuki School. Ms. Thompson studied violin and voice at the University of Houston, Music Academy of the West in Santa Barbara, and AIMZ in Graz, Austria. She has won numerous prizes in national competitions from the Metropolitan Opera National Council, Gerda Lissner Foundation, Orlando Opera Competition, Fort Worth Opera Competition, and several others. Her operatic roles include Tosca, Aida, Abigaille, Suor Angelica, Bess, and many other soprano heroines which she has appeared at Teatro Municipal de São Paulo, Opera Carolina, New York City Opera, New York Grand Opera, Piedmont Opera and several others. 

Ms. Thompson also maintains a career as a Chief of Staff and Executive Assistant in the financial services industry. She is the author of the book ‘The Passion for Happiness.’ You may read more about her at www.marshathompson.com

Kara Morgan, mezzo-soprano

Kara Morgan is a singing actress seeking out and lending her artistry to projects that broaden minds and inspire others. Career highlights include mainstage credits with Minnesota Opera, Fargo-Moorhead Opera, Pacific Opera Project, and An Opera Theatre; apprenticeships with Merola Opera, Sarasota Opera and Santa Fe Opera; and recognition from the Schubert Club, Opera Tampa D’Angelo Young Artist and Metropolitan Opera Laffont Competitions. As a Resident Artist with Minnesota Opera in the 2024-25 season, Kara debuts the roles of Stéphano (Roméo et Juliette) and Rosina (Il barbiere di Siviglia).




Josh Kohl, tenor

American tenor Joshua Kohl is known for his compelling stage presence and vocal clarity across a wide range of repertoire. He has performed with companies throughout the United States and Europe, including Minnesota Opera, Seattle Opera, Pittsburgh Opera, Dallas Opera, Sarasota Opera, Nashville Opera, Opera Omaha, Dayton Opera, Tulsa Opera, and Opera Santa Barbara, among others, as well as Musiktheater im Revier and Konzert Theater Bern.

He was a member of the ensemble at Theater Freiburg for six seasons, where he performed a broad range of roles and developed a versatile repertoire. In addition to his operatic work, he has appeared in concert with the Philharmonisches Orchester Freiburg in works such as Die Schöpfung and Das Lied von der Erde. Recent performances include Calaf in Turandot, Des Grieux in Manon in Freiburg, and the title role in Amleto with Opera Delaware, the latter praised as a “star-making performance, tireless to the last, intimate and passionate” by Parterre Box.

In addition to his performance career, Kohl serves as Artistic Director of Fargo-Moorhead Opera, where he works to strengthen the company’s artistic identity, deepen community engagement, and build collaborative partnerships.

Kohl studied at the University of Cincinnati, Boston University, and Yale University.

Andy Papas, bass

Praised for his “vocal power & finesse” and “irresistible hijinks,” baritone Andy Papas is sought after for his impeccable musicianship and mastery of comic repertoire. Mr. Papas began his 2024-2025 season as the title role in Verdi’s Falstaff with Pacific Northwest Opera, a role he has also covered for Opera Saratoga. In March, he sings Mustafa (L’Italiana in Algieri) in Houston for Opera in the Heights, and again in April for Anchorage Opera (AK). In May he sings Don Magnifico in La Cenerentola for Wichita Grand Opera, and he returns to the Pacific Northwest next fall in the other Cinderella, as Pandolfe in Cendrillon for Vashon Opera. Last season Mr. Papas re-joined the roster of Boston Lyric Opera as Magnifico (cover), and as cover in Matthew Aucoin’s Eurydice, and also returned to Opera Co. of Middlebury as Hortensius in La Fille du Regiment and as Stage Director for Rossini’s La Scala di Seta. The Major General (Pirates of Penzance) is a signature role for Mr. Papas, with prior performances for Opera Naples and Anchorage Opera, and he is the Modern Major General again next fall for Salt Marsh Opera (CT). 

Other noteworthy recent engagements for him include the title role in Don Pasquale for Union Avenue Opera and Opera Saratoga, Dr. Bartolo (Il Barbiere di Siviglia) for Anchorage Opera, Painted Sky Opera, and Opera Theater of Connecticut, the Music Master in Ariadne auf Naxos with Vashon Opera, Baron Zeta in The Merry Widow with Opera Saratoga, Pandolfe with Opera Company of Middlebury, and the title role in Falstaff and Tonio in Pagliacci with Raylynmor Opera. Mr Papas’ committed, musically sophisticated performances have consistently earned him praise for “creating a character both sinister and silly,” and for his “rich voiced portrayals... of considerable aplomb.” Mr. Papas made his debut in 2023 with The Ojai Music Festival alongside Rhiannon Giddens & Michael Abels, performing Owen/Johnson in Omar’s Journey, roles which he also covered in the Boston Lyric Opera production of Omar. He reprised his impassioned performance in Omar’s Journey for the Quad City Symphony Orchestra in February. Mr. Papas can be heard on Bridge Records as Bugs/Gent in The Cradle Will Rock, which he also performed with Opera Saratoga, on New World Records as part of White Snake Projects recording of The Ouroboros Trilogy: Naga, and on Albany Records as Stephano in the world premiere of composer Joseph Summer’s The Tempest. 

Mr. Papas completed his Master of Music at the University of Houston, and his Bachelor of Music at the University of Michigan. This winter he was the on-snow content producer for Bromley Mountain Ski Resort in the Green Mountains of Southern Vermont. He teaches students around the globe in opera courses such as The British Operas are Coming and Strauss in the Haus, and maintains a private voice studio. andypapas.com

Wednesday, April 29, 2026

FVSO's Grand Finale: Verdi's Requiem

Saturday, May 9 at 7:30pm
Fox Valley Symphony Orchestra with NEWVoices
GIUSEPPE VERDI: Messa da Requiem (90 min)
Join us for the post-concert reception in the lobby. 

Kevin Sütterlin, music director

Phillip Swan, chorus master

Marsha Thompson, soprano

Kara Morgan, mezzo-soprano

Josh Kohl, tenor

Andy Papas, bass

One of the most ambitious, and certainly the most theatrical, settings of the Requiem Mass, the traditional Catholic Mass for the dead, was written by a man of no professed religious faith—indeed, Verdi was a life-long agnostic. He was, however, a fervent believer in Italian musical culture, and the then not-yet-realized dream of Italian national unification. His Requiem was inspired by the passing of two cultural titans—the first, the composer Gioachino Rossini in 1868, and author and poet Alessandro Manzoni in 1873. 

Verdi had proposed the composition of a Requiem for Rossini in the immediate aftermath of his passing—he suggested that 13 Italian composers should each contribute a section of the mass—a collective outpouring of grief and respect for the operatic master. The project ultimately never cohered, and Verdi tabled the section that he had written, the Libera Me, Domine (Deliver me, Lord, from eternal death). After the death of Manzoni—the artist that Verdi revered above all others—he resurrected his project and composed the entirety of a new mass for the dead, adding his Libera Me as the final movement. The work was premiered to great acclaim in 1874, although some critics were appalled by the unabashedly operatic writing—no matter to Verdi, who fully intended his Requiem to be a work for the concert hall, not a liturgical setting. 

The work is scored for chorus, four vocal soloists (soprano, mezzo-soprano, tenor, and bass) and a sizeable orchestra. It is set in seven large sections, following the traditional structure of the mass. The opening Requiem aeternam (Grant them eternal rest) is hushed and solemn, while the following te decet hymnus and Kyrie eleison (Lord, have mercy) introduce both imitative counterpoint and later the solo quartet. 

The following section, the longest of the work, erupts with a literal scream of terror from the mass of voices and instruments, as they intone the Dies irae (Day of wrath), a depiction of the horrors of the final Day of Judgment. The overall mood throughout this section is grim, with on- and off-stage trumpets heralding the raising of the dead, and the ominous, martial flourishes that mark the setting of the Rex tremendae (King of awful majesty); interspersed with these menaces are pleas and prayers for remembrance, forgiveness, and salvation led by the vocal quartet, in solos and combined voices. 

The Offertorium provides respite in two movements for the solo quartet, and the mood finally turns joyful in the Sanctus, a depiction of the heavenly host praising the divine with an energetic, sparkling fugue. 

The chant-inspired Agnus Dei (Lamb of God) and Lux aeterna (Light eternal) give way to the return of angst and foreboding in the final Libera me, which, after all, is a prayer for deliverance from death, the wrath of judgment, and the fires of hell. Verdi concludes this grand work with a decidedly modern note of ambivalence, with gentle chords enshrining the soprano’s and chorus’ final supplications. 

Program notes written by Erik Leveille

Thursday, March 19, 2026

Soprano Aphrodite Patoulidou joins FVSO on March 28


APHRODITE PATOULIDOU

Born in Thessaloniki, Greece, Aphrodite Patoulidou is one of the most interesting rising stars of today. A celebrated soprano, she was one of the first artists to take part in Barbara Hannigan’s Equilibrium Young Artists Initiative as Anne Trulove (The Rake’s Progress) in 2018. Since then, she has worked with orchestras such as Orchestre Philharmonique de Radio France, Gothenburg Symphony, Munich Philharmonic, SWR Sinfonieorchester, Concertgebouw Orchestra and Danish Radio Symphony among many others.

Last season, she made her debut with the Cleveland Orchestra in the States and successfully toured with the London Symphony Orchestra in nine concerts, visiting Europe’s most prestigious halls, singing Mahler’s 4th Symphony and Vivier’s Lonely Child. Her virtuosic performance of Britten’s Les Illuminations with the Deutsches Symphonie-Orchester Berlin conducted by Dalia Stasevska has been praised by the press. For this performance, Aphrodite created paintings inspired by the 10 movements of Britten’s work, which were shared with the audience in printed form.

Her operatic roles include Elle (La Voix Humaine), Susanna (Le Nozze di Figaro), Belinda (Dido & Aeneas), Sophie Scholl (Weisse Rose). She has performed in theatres including the Staatsoper Berlin, La Monnaie, Teatro Real Madrid, Greek National Opera.

In 2024/25 season Aphrodite will be bringing her carefully curated “My Bloody Valentine” recital programme to Philharmonie de Paris with Martin Martineau and to the Greek National Opera in Athens and Cologne with Eric Schneider. Her upcoming engagements also include Mahler 4 with Teodor Currentzis (Utopia Orchestra) at Munich’s Isarphilharmonie, Brahms’ Requiem with Rotterdam Philharmonic and Scapino Ballet as well as performing with the Brussels Philharmonic at Concertgebouw Brugges. Additional appearances will include concerts with the BBC Philharmonic and Helsinki Philharmonic orchestras.

Aphrodite has collaborated with conductors such as Kirill Petrenko, Barbara Hannigan, Christian Reif, Dalia Stasevska, Christopher Moulds, Tito Ceccherini, Manuel Nawri and has performed in concert halls such as the Berliner Philharmonic, Concertgebouw Amsterdam, Gothenburg Konserthuset, Barbican London, Elbphilharmonie Hamburg, Konzerthaus Dortmund, Philharmonie Köln, Rotterdam de Doelen, Brussels Bozar as well as in music festivals such as Ojai in California, Klara Festival, Aldeburgh, Ludwigsburg and Sansusi.

Aphrodite creates special projects inspired by her passion for dark romantic themes, incorporating visual elements to set a musical dialogue between folk music and classical traditions, brought to life through her particular accompaniment on the nyckelharpa. She is passionate about expressing her diverse artistry through photography and painting. As a visual artist, Aphrodite has created artwork for the metal band GRINN. Her painting "Luonnotar" has been exhibited in the concert halls where she performed Sibelius' homonymous work. Her illustrated poetry collection "17.5 almost 18" was published by H.O.N. as the 1st Panhellenic poetry prize in 2010. She was also a guest in the company of Sasha Waltz and has been lead singer on tour with the heavy metal band Igorrr. As a songwriter, Aphrodite composes in many different genres. She has co-created the soundtrack of the video game Titan Quest 2.

She has studied folk singing and plays the piano, the guitar and ventures on the nyckelharpa.

Aphrodite will perform RICHARD STRAUSS: Four Last Songs with Fox Valley Symphony Orchestra on March 28, 2026. 

Buy tickets now!

Youth Orchestra working with Composer Theresa Martin

We are excited to work with composer Theresa Martin on her new composition for our Youth Orchestra. With the concert coming up this weekend, we asked Theresa to say a few words about the piece.

"I think we all have experienced feeling nervous for a big, important event. As a musician, I’ve learned to deal with this nervous energy over time and with practice. Yet after many years of performing, I still have to battle nerves sometimes. 

"Last year, while I was waiting to accompany a difficult solo for a student competition, I stood in a hallway filled with commotion. With nervous energy all about me, I closed my eyes and tried to center myself. Picturing a peaceful image in my mind, I was able to find calm, and the performance was a success.  

"Later, while recalling this moment of peace amidst the storm, I felt inspired to write my latest piece for String Orchestra and piano, Anchor. Oftentimes in life we may feel anxious or scared when a storm is swirling all around us. But if you hold on to your anchor, perhaps you, too, can find hope and peace. 

"I’d like to invite you to experience Anchor with me as it will be performed by the Fox Valley Youth Symphony Orchestra, this Sunday, Mar. 22."

What: Fox Valley Youth and Concert Orchestras Concert

Where: Lawrence University Memorial Chapel, 510 E. College Ave., Appleton, WI

When: Sunday, Mar. 22, 2pm

Tickets



 

 

 

 

 

 


Wednesday, March 18, 2026

My Notes: Learning Music with Dyscalculia

What do you mean you can look at a plate of six cookies and just know there are six cookies?

I was in my 30s when I learned that the average person possesses this inherent ability to group things, and boy was I pissed. Since childhood I knew two things were true: I was bad at math, and I couldn’t play an instrument. 

I don’t ever want to speak for an entire population of people (5% of the world has dyscalculia by current estimates) but I can describe what dyscalculia is like for me. I also feel compelled to share because this very real condition is so rarely discussed. I'll take any opportunity I have to help adults understand the perspective of kids who might be looking through a different lens.

As a kid having undiagnosed dyscalculia meant being incredibly bad at multiplication. This turns out to be a hallmark of the mathematics learning disability, which frequently involves severe, daily challenges with mental arithmetic alongside math anxiety and math avoidance. This avoidance typically develops because someone isn’t as fast to grasp concepts. I wouldn’t have any problem counting money, or telling time on a digital clock though, which would lead to skepticism when I couldn’t finish a multiplication time test. Every report card would read “Does not live up to potential.” 

My first crushing clash with this invisible barrier in a musical sense happened a few years later in my 6th-grade band class. I had fought my parents hard to be able to play the alto saxophone – I thought it was a beautiful instrument, and I was excited to be just like Lisa Simpson. One day, my new band teacher looked at me not playing and asked what my problem was. Frozen, trying to understand what was happening, I told him I was having trouble with my "E's." His response? That I had "a lot more problems than that." 

I quit playing the sax that semester. I was mortified. How could all these kids around me read what was on the page? What was I missing? 

My experience perfectly mirrors the findings in Sheerin Hosseini's study, “The lived experiences of adult musicians with dyscalculia: A heuristic inquiry,” which identified the impact of teachers' actions and shrinking self-esteem as major emergent themes for musicians with this condition. Like many of the ten successful adult musicians studied by Hosseini, those early negative experiences with authority figures chipped away at my confidence. I wasn’t musical. I couldn’t be good. If anything, I could go to Solo & Ensemble to sing with my friends, and that would be the relationship I was allowed to have with music.

It would be six years before I picked up another instrument, this time a keyboard, strictly because I needed an elective. I knew from choir that my ear was decent and my memory wasn't terrible. I initially thought, “I was probably just lazy back then," but quickly realized I couldn't read the notes at the required tempo. Instead, I bypassed the sheet music entirely to get by. I memorized the noises that were supposed to happen when my teacher would play examples, recorded her playing, and let my hands learn to follow suit. It’s been 25 years since then and my hands and ears still remember how to play what I call “The Pony Song” which was the end of the semester tune we needed to get out.

I didn't know it at the time, but I was developing coping strategies that would follow me through years of corporate work. It's amazing what you can do when you accept that you sometimes must adapt what is given to reach an end goal. The study notes that musicians with dyscalculia frequently face specific challenges with reading and memorizing music, counting during resting periods, subdivision, and music theory. My absolute terror of sheet music wasn't a personal failure; it was a textbook symptom of dyscalculia. I was instinctively creating workarounds to bypass my brain's inability to process the musical math. The idea that you can know where that black dot on a line is without counting the lines or spaces to this day seems like a superpower. 

As I got older, I kept trying to connect with music. I bought and sold guitars. I have a bass guitar gathering dust in my basement right now. Interestingly, the only times I felt successful with instruments were when I was playing Guitar Hero (which I was unreasonably good at) or using Rocksmith, a video game that acts as a music teacher. The visual, game-based interface completely removed the traditional math and theory of reading music, allowing me to bypass my dyscalculia.

For a long time, I didn't even know what dyscalculia was. But during my undergrad, an intense fascination with psychology and neuroscience led me to undergo a battery of psychometric tests. The results blew my mind and finally gave a name to the invisible wall I'd been hitting my whole life.

Since then, I've built a family, worked as an executive, and am graduating with my master's degree this fall. The stigma that I carried around with me from a childhood of “not living up to potential” made me afraid to go to college, afraid to do anything even a little related to math and really hindered my own belief in myself. However, like most stories with a happy ending, I met someone who believed in me (so I am marrying him, obviously). I started to accept that maybe I could do more: I got the degrees, read the literature, lowered my walls a little, and am much more comfortable being vulnerable in spaces that will hurt. As a former professional musician himself, when I discussed with him what it’s like to be unable to group items in my mind, he suddenly seemed to completely understand my fears around music. “You can’t subdivide, and you can’t group, obviously reading sheet music will be terrible for you."  Sinfonia is one of the most vulnerable things I will do this year. I'd be lying if I said I hadn't considered quitting every day.

So, we color-code my music and remove anything from the sheet that will distract me from learning it. I have him play the music for me so I can hear what it is supposed to be. Most importantly, we alter the notation from a form that is dense (and convenient for printing) to a form that is arranged by color, shape and one dimension of space.  No counting of lines necessary, no extra noise.

Having dyscalculia means the world isn't always built for how my brain processes information, whether that's multiplying numbers or reading a staff of music. One of the things I learned from the barrage of psychometric tests I took is that my processing speed far exceeds that of the average person, and if we could go back in time and do the same test, I can’t help but wonder if there wouldn’t be a gap there which would have us wondering if that processing speed wasn’t formed through the coping mechanisms created in my childhood experiences. A disability in one place always forces the hand of another place.

If someone out there feels terrified of sheet music or is convinced they aren't trying hard enough, know this: they might just be playing a different mental instrument than everyone else. If you’re a teacher, or musician, spend a few minutes perspective taking what it might be like to be in that 5% of the population. Adapt your tools. Share music with the world. Don't assume that reading sheet music printed in a particular fashion is required to be a successful musician.