Meet our Revelations soloists

The Revelations of Divine Love features two vocal soloists, who sing with the chorus, with each other, and by themselves. We are thrilled to work with Deborah Selig and Ryne Cherry at our January 19, 2019 performance.

Soprano Deborah Selig’s voice has been described by the press as “radiant,” “beautifully rich,” “capable of any emotional nuance,” and “impressively nimble.” Ms. Selig performs repertoire spanning music from the baroque to contemporary in opera, oratorio and art song across the United States. Ms. Selig also is passionate about teaching and mentoring the next generation of singers, currently serving on the voice faculties of Wellesley College, Brown University, and the summer Boston University Tanglewood Institute.

Ms. Selig’s 2018-19 season includes Beethoven’s 9th Symphony with conductor JoAnn Falletta and Buffalo Philharmonic; Brahms’ Liebeslieder Waltzes benefitting “Music for Food” with pianists Cameron Stowe and Javier Arrebola at the New England Conservatory; a song recital Angel Spirits: Music of World War One with baritone David McFerrin and pianist Jerry Noble for both Jamestown Concert Association (NY) and Harvard University; and Brahms’ Requiem with conductor Robert Duff and the Handel Society of Dartmouth College. After the New Year, the season continues with Carson Cooman’s Revelations of Divine Love with Nashoba Valley Chorale; Turina’s Poema en forma de Canciones for a debut Faculty Recital appearance at Wellesley College with pianist David Collins; Rossini’s Petite Messe Solenelle with Oratorio Chorale in Portland, ME; Debussy’s Ariettes Oubliées for pianist Tanya Blaich’s Faculty Recital at New England Conseratory; Mozart’s Requiem with Falmouth Chorale; Mendelssohn’s Psalm 42 with Concord Chorus; and Purcell’s The Tempest (as Amphytrite) with The Henry Purcell Society of Boston.

During recent seasons, Ms. Selig has appeared as Micaela in Carmen with Dayton Opera; Sybil Vane in Liebermann’s The Picture of Dorian Gray with Odyssey Opera; Pamina in The Magic Flute with Boston Lyric Opera; Musetta in La Boheme and Zerlina in Don Giovanni with Central City Opera; Rose in Street Scene, Mary Warren in The Crucible, and Marion in The Music Man all with Chautauqua Opera; both Curley’s Wife in Floyd’s Of Mice and Men and Donna Elvira in Don Giovanni with Kentucky Opera; and Bella in Tippett’s A Midsummer Marriage with Boston Modern Orchestra Project.

On the concert stage, recent highlights include Mozart’s Requiem with Brown University; Strauss songs with Wheeling Symphony Orchestra; the US premiere of C. Herbert Parry’s Invocation to Music with Harvard-Radcliffe Chorus; Mahler’s Symphony No. 4 with Asheville Symphony; Brahms’ Requiem with Buffalo and Dayton Philharmonics; Bach Cantatas 36, 92 and 97 with Boston’s Handel and Haydn Society; Orff’s Carmina Burana with Fairbanks Symphony; Haydn’s Creation with Harvard University Choirs; Gorecki’s Symphony No. 3 with Kentucky Symphony; Bach’s St. Matthew Passion with Masterworks Chorale and Handel’s Messiah with Rhode Island Philharmonic.

Recordings include Marcia Kraus’ Three Fairy Tales for Soprano, Oboe and Piano with Centaur Records and both Virgil Thomson’s Four Saints in Three Acts and Paul Moravec’s Blizzard Voices with Boston Modern Orchestra Project and BMOP Sound.

Ms. Selig earned an Artist Diploma in Opera and MM in Voice degrees from Cincinnati College-Conservatory of Music and a summa cum laude BM/BA in Voice and English from the University of Michigan. She spent two seasons each as an Apprentice artist with Chautauqua Opera, Santa Fe Opera and Pittsburgh Opera; was a fellow at both the Ravinia Festival Steans Institute and Tanglewood Music Center; and studied at the Accademia Musicale Chigiana in Siena and Istituto il David in Florence.

Baritone Ryne Cherry is an opera, oratorio, and ensemble singer based in Boston, MA. Ryne’s opera roles include Forester in Janáček’s The Cunning Little Vixen, Mustafa in Rossini’s L’italiana in Algeri, Pirate King in The Pirates of Penzance, Tomsky in The Queen of Spades, Belcore in L’elisir d’amore, Olin Blitch in Susanna, and Mr. Ford in The Merry Wives of Windsor. His recent oratorio performances include Mozart’s Requiem, Durufle’s Requiem, Rossini’s Petite messe solennelle, and Carissimi’s Jepthe.

Ryne has premiered numerous new works by acclaimed composers such as Dominick DiOrio’s opera The Little Blue One, Keith Kusterer’s chamber piece Echelon, Nazaykinskaya’s opera The Magic Mirror, and Kallembach’s oratorio The Tryal of Father Christmas.

In the summer of 2017, Ryne enjoyed his second season as a vocal fellow at Tanglewood, the Boston Symphony Orchestra’s summer home, working and performing with such acclaimed artists as Lucy Shelton, Stephanie Blythe, Sanford Sylvan, and Dawn Upshaw. In the 2017-2018 season, Ryne had performances of Handel’s The Messiah with Boston Baroque and The Handel & Haydn Society, portrayed multiple supporting characters in Weill’s Threepenny Opera with the Boston Lyric Opera, had his role debut as Second Prisoner in Beethoven’s Fideliowith Boston Baroque, and returned to Tanglewood as a guest artist to portray Sam in Bernstein’s A Quiet Place.

Ryne’s eclectic 2018-2019 season strikes a perfect balance between old and new. He starts with a chamber recital for a centennial celebration of George Rochberg: “Rochberg @ 100” at the University of Pennsylvania and with living legend John Harbison at the Token Creek Chamber Music Festival featuring works by J.S. Bach and American composer James Primosch. In his NYC debut, he performs as Faraone in the modern premiere of Vincenzo de Grandis’s Il Nascimento di Mose with the Academy of Sacred Drama. Later in the fall, he will make his role debut as Valère in the Boston premiere of Le médecin malgré lui with Odyssey Opera and will perform again in ensemble with Boston Baroque and Handel & Haydn in their annual performances of Handel’s The Messiah. Stay tuned for information about Ryne’s Winter 2019 plans!