Meet Our Cast

Joan Lunoe

This is Joan Lunoe’s 10th year as narrator of ClassicalCafe’s production of A Child’s Christmas in Wales. She has also been the narrator in the ensemble’s production of T.S. Eliot’s poems Two Practical Cats set to music by Humphrey Searle and Other appearances include LaMaMa E.T.C.; EST Octoberfest; HERE Arts Center; New Dramatists; River Arts Repertory (Woodstock, NY); GI60 One Minute Play Festival (@Brooklyn College & Viaduct Theatre/Yorkshire, UK). She was an audio book narrator for the NY Public Library for 24 years. She is continually awed and amazed to be in the company of such extraordinary musicians.

Mary Phillips

Mezzo-soprano Mary Phillips will perform alto solos in Beethoven’s Choral Symphony No. 9 with the Seattle Symphony over the New Year. In early 2022, she sang “Mama” in the world premiere of The Garden of The Finzi-Continis, with NYC Opera and The National Yiddish Theater. She has been on the Metropolitan Opera roster for 16 years, returning this year for Wagner’s Die Fliegende Holländer. Mary has sung roles in Wagner's Der Ring Des Nibelungen with The Met Opera, Canadian Opera; Scottish Opera, Seattle Opera, Hawaii Opera and Dallas Opera. Mary won a Grammy Award for her solo work in The Met Opera’s 2012 recording of The Ring Cycle. She made an acclaimed role debut as Brangäne in Tristan und Isolde for Dallas. As a Verdi mezzo, Mary has performed Verdi’s Requiem, Eboli in Don Carlos, Amneris in Aida, Azucena in Il Trovatore and Preziosilla in La Forza del Destino (Met Opera debut). Concert highlights include numerous performances of Handel’s Messiah with The Dallas Symphony, Teatro Massimo Bellini in Italy, Oratorio Society of NY at Carnegie Hall, Gulbenkian Orchestra in Lisbon; Mahler’s Symphony No. 8 with New York Philharmonic; and Mahler’s Symphony No. 2 with Atlanta Symphony (recorded for Telarc), Los Angeles Philharmonic, and Hong Kong Philharmonic. Mary has sung alto solos in Beethoven’s Symphony No. 9 with Boston Symphony, Philadelphia Orchestra, Philharmonia Baroque Orchestra, Utah Symphony & Opera, the National Symphony, Hong Kong Philharmonic and the Handel & Haydn Society Mary has enjoyed performing a wide range of chamber music with Marlboro Music Festival, Norfolk Chamber Music Festival, Barge Music, Yale Camerata, Music on the Hill and Classical Café. Ms. Phillips joined the distinguished voice faculty at Sarah Lawrence College in 2019.

Marc Molomot

Possessed of a rare high-tenor voice and a winning stage persona that comfortably embraces both comedic and dramatic roles, Marc Molomot enjoys an international career in opera and on the concert stage and was recently named “Artist of the Year” by Voix des Arts. Originally known for appearances with the world’s leading early music ensembles, and conductors including William Christie, John Eliot Gardiner, Nicholas McGegan, and Andrew Parrott, Mr. Molomot is now praised as “an excellent actor-singer” in repertoire of all eras. His frequent ventures beyond the Baroque repertoire most recently included his acclaimed performance in the world premiere of Tobias Picker’s Awakenings, in which Molomot created the role of Leonard Lev. Other recent highlights include his role debut as “Mime” in Wagner’s Das Rheingold in Germany, Busoni’s Turandot in the role of “Truffaldino” with Bard Music Festival, “John Adams” in Virgil Thomson’s The Mother of us All at Hudson Hall (a New York Times Best Classical Music Performance of 2017), Berg’s Wozzeck with the Houston Symphony in the role of “Der Hauptmann”, 1st Jew in Salome at Bard Music Festival and Tulsa Opera, and recitals of Schubert’s Die Schöne Müllerin at Untermeyer Gardens and Saint Andrew Music Society. The live recording of this performance was the winner of a GRAMMY Award and an ECHO Klassik Award, both for Best Opera Recording. He has also taken part in a night of one-acts from Bard Music Festival with Mr. Molomot in the role of “Udolin” in Schubert’s Die Verschworenen, and the title role in von Suppé’s Franz Schubert. His comedic talents have been showcased with performances as Adolphe de Valladolid in Offenbach’s Les brigands, at Opéra Toulon and Paris’s Opéra Comique, led by François-Xavier Roth, and he was featured as Le Fils in Poulenc’s Les mamelles de Tirésias under the direction of Ludovic Morlot at Opéra de Lyon and in Paris at Opéra Comique. His repertoire also includes Mozart’s Le Nozze di Figaro and Auber’s 1830 opera Fra Diavolo.
 In the baroque arena, he is particularly in demand for Purcell. January 2020 saw him in the title role of Purcell’s King Arthur for Long Beach Opera,of which the Los Angeles Times called him “a hugely charismatic Arthur. A superb actor… capable of winning our affections with a depth of expression once he begins to sing.” He was similarly acclaimed for his previous Purcell performance in Long Beach, as Puck in Purcell’s Fairy Queen, a co-production with Chicago Opera Theatre, and as “Sailor” in Dido and Aeneas with Angel’s Share in New York City. “Arnalta” in Monteverdi’s L'incoronazione di Poppea is a signature role, most recently performed with Florentine Opera. A production of Charpentier’s Orphée at Haymarket Opera was “dominated by the wondrous high tenor of Marc Molomot.” The Chicago Tribune reviewer concluded that “it was hard to imagine French Baroque singing more beautifully or stylishly alive to music and text.” Other recent highlights include “Iro” in Boston Baroque’s production of Monteverdi’s Il Ritorno d’Ulisse (recorded on Linn Records and nominated for a GRAMMY), and the title role in Rameau’s Pygmalion with On Site Opera. Mr. Molomot has a gift for more contemporary fare as well. His premiere performance as the protagonist in Evan Ziporyn’s opera A House in Bali was considered “rapturously sung” (Wall Street Journal) and “powerful” (San Francisco Chronicle). He also created the role of “Le Cochon” in Jean-Marc Singier’s acclaimed Chat perché at Paris’ Amphithéâtre Bastille and on a multi-city tour of France. In concert, recent engagements include Britten’s Serenade with Omaha Symphony and Britten’s St. Nicholas Cantata with Berkshire Chorale International, Beethoven’s Symphony No. 9 with Mobile Symphony Orchestra and Nashville Symphony, Bach’s Magnificat with Israel Camerata Jerusalem, Messiah with Rhode Island Philharmonic, Milwaukee Symphony, and Symphony Nova Scotia, and Mozart Coronation Mass at Alice Tully Hall with American Classical Orchestra. Increasingly in demand as tenor soloist in Orff’s Carmina Burana, after his role debut with the Houston Symphony, he has reprised it with the Kansas City, Pacific and Omaha Symphonies. Known for his heartfelt portrayal of the Evangelist in Bach’s Passions, Mr. Molomot has explored the role in performances worldwide under the batons of conductors including Andrew Parrott and John Nelson. Recent concert appearances include a St. John Passion with Berkshire Choral Festival, and a St. Matthew Passion at King’s College, Halifax. Mr. Molomot’s recordings include the GRAMMY Award-winning release of Berg’s Wozzeck with the Houston Symphony; GRAMMY Award–nominated Lully’s Thésée with the Boston Early Music Festival; GRAMMY Award-nominated Il Ritorno di Ulisse on Linn Records with Boston Baroque; Charpentier’s Judicium Salomonis with Les Arts Florissants, conducted by William Christie; Handel’s Acis and Galatea with Les Boréades conducted by Eric Milnes; and Monteverdi’s L’Orfeo with Apollo’s Fire led by Jeannette Sorrel.

Alex Ruvinstein

Alex Ruvinstein is a Russian-American classical pianist. He won the XXVIII International Competition in Salerno, Italy (1995) as part of the four hands duo with O. Gurevich. Alex is a winner of the Ibla International Piano Competition in Ragusa, Italy (1996) in the solo and four hands duo divisions, the National Ukrainian Piano Competition for college graduates in Kiev, Ukraine (1985), and other local and regional piano competitions he participated in as a Student. Alex was born in 1966 in Polyarnyi, Russia, above the Arctic Circle, and began his music studies at the age of five. In 1985, Alex received his Bachelor’s degree from the Uman State College of Music where he studied with Professor Viktor Patricio. In 1992, he received his Master’s at the Gnesin Academy in Moscow under Professor Vera Nosina. After receiving his Doctorate with Professor Naum Starkmann at the Maimonides State Academy in Russia (1995), Alex worked as Professor of Piano and an accompanist for cellists and singers at this Academy. In 1998, Alex immigrated to the United States and made his American debut at the Union County Art Center in New Jersey. Since then, he has performed in various concert halls in Kansas, Delaware, Connecticut, and other states. His solo and chamber music performances include recitals at Weill Recital Hall at Carnegie Hall, The Greater Princeton Steinway Society, New York Library Concert Series, the United Nations Concert Hall, the Bechstein Piano Centre, and the National Opera Center in New York City, among others. Alex was a member of the Memling Ensemble, directed by Metropolitan Opera violist Vincent Lionti. He has appeared on Russian and Ukrainian Television. Alex works at SUNY New Paltz, Kaufman Music Center in New York City, and Temple Sinai in Stamford, CT. Alex lives in Riverdale, New York with his wife Yelena and their sons, Michael, David, and Anthony

Ilana Davidson

Soprano Ilana Davidson enjoys a busy schedule of opera, concerts, and recitals, performing repertoire from the Renaissance and Baroque to the 20th and 21st centuries. Her performances have included William Bolcom’s Songs Of Innocence and of Experience conducted by Leonard Slatkin at Carnegie Hall which earned 4 Grammy Awards, Mahler Symphony No. 4 with Leonard Slatkin and the Detroit Symphony Orchestra which was broadcast live, Mozart Arias at the Royal Concertgebouw Hall, Ligeti’s Le Grand Macabre in the Netherlands, Krenek’s Das Geheime Königreich in Vienna, Gluck’s Orphée et Eurydice and Mahler Symphony No. 2 with the Québec Symphony Orchestra, recital highlights include a tour of the Lieder of Ernst Krenek, New York Festival of Song, appearances with the Bard Music Festival and the Annenberg Center in Palm Desert. Ms. Davidson has performed major works and operatic roles with the Staatsoper Stuttgart, Florida Grand Opera, Nationale Reisopera, Vlaamse Opera, Opera Company of Philadelphia, Berkshire Choral Festival, Harrisburg Symphony, Duke Chapel, Bellingham Music Festival, Nieuw Sinfonietta Amsterdam, Krenek Festival Vienna, Innsbruck Early Music Festival and the Schwetzingen Festspiele. Recent highlights include Carnegie Hall performances of Mona Lisa (Von Schillings), Der Diktator (Krenek) and Songs From Jewish Folk Poetry (Shostakovich) with the American Symphony Orchestra and TON, a debut with the Saint Paul Chamber Orchestra as Euridice in Gluck’s Orfeo ed Euridice, Mahler Symphony No. 4 with Keith Lockhart at the Brevard Music Festival, the Anchorage Symphony, Bellingham Music Festival, Mozart Requiem and Haydn’s Creation, Mozart Requiem with the Bellingham Music Festival, and chamber music festivals in the United States and Canada. Ilana recently rertuned to the Berkshire Choral Festival in Haydn’s Creation, Mozart Requiem, Handel’s Messiah, Pergolesi Stabat Mater, Mahler Symphony No. 2, and 4 with Keith Lockhart at the Brevard Music Festival and with Lancing Symphony Orchestra. She also collaborates with Electric Earth Concerts, the Riverside Choral Society as well as the Riverdale Choral Society as Anne in Annelies by James Whitbourn and Ars Antiqua in works of Haydn. Ilana has been featured on several commercial recordings including works of Bolcom, Krenek, Weill, Zorn, Britten, Elwood, and more. She has been recognized in several competitions, and was recently awarded a BRIO award from the Bronx Council on the Arts, and received the first prize in the Mostly Mozart Competition of Philadelphia and a Sullivan Foundation recipient. Ilana received a Master of Music degree from the Curtis Institute of Music and received an undergraduate degree in Voice Performance from Carnegie Mellon University. Ilana is the heartbeat behind ClassicalCafé and Serenata Chamber Series which fulfills a long standing dream of hers to help bring chamber music to intimate settings.​

Dylan Thomas

Dylan Marlais Thomas was born at 5 Cwmdonkin Drive in the Uplands district of Swansea, Wales, on October 27, 1914. Before his birth, Thomas's parents, David John (D. J.) and Florence Hannah, had moved to the primarily Anglophone suburb from rural Welsh-speaking Carmarthenshire. Although both D. J. and Florence were bilingual, they raised Dylan and his sister Nancy to speak only English, even sending the children to elocution lessons. Dylan was an unremarkable student at the local grammar school in Swansea where his father taught English. Given unlimited access to his father's library at home, however, he engaged a precocious interest in English literature and began composing poetry, publishing some of it in school magazines. At sixteen, he left school to work for the local evening paper as a reporter. Journalism proved an unsuitable occupation for Thomas, and he quit the following year. Between the ages of sixteen and twenty, Thomas kept a series of notebooks in which he developed the challenging and dense style of his earliest adult poetry. As a teenager his poems were published in New Verse and in the Sunday Referee's " Poets' Corner." In 1934, Thomas received the " Poets' Corner" Prize, an award that included the publication of a first book of poetry. During the mid-1930s--the years between the publication of his first two volumes of poetry, 18 Poems (1934) and Twenty-five Poems (1936)--Thomas embedded himself in the London artistic scene, earning a reputation as a poet, drinker, and storyteller. Sometime in 1936, Thomas met Caitlin Macnamara, an aspiring dancer and former mistress of the painter Augustus John. The following year they eloped in Penzance, Cornwall. The couple were penniless and often lived off the money and housing they could borrow from family and friends. Shortly before Caitlin learned she was pregnant with their first child, Llewelyn, they moved to the Carmarthenshire fishing village of Laugharne. During the war years, Thomas managed to avoid military service, probably on medical grounds. He moved between Laugharne and London, having secured work as a scriptwriter for Donald Taylor's Strand Films, a contractor for the Ministry of Information. Thomas's lifestyle in wartime London was relatively controlled and predictable; for the first time since his teenage foray into journalism, he was earning a steady income. Following the war, however, Thomas's life became more chaotic. Deaths and Entrances (1946), a pocket-sized volume of poems in a more accessible style, was an immediate success. Despite this, Thomas's domestic life grew more problematic: he and Caitlin were struggling to support two children (daughter Aeronwy was born in 1943), and the pair's relationship was becoming increasingly dysfunctional. Thomas no longer had the steady income from his wartime documentaries, and he began to rely instead on income from scriptwriting for feature films and radio broadcasts for the BBC. In 1949, the Thomases moved back to Wales and into the Boat House, a property in Laugharne purchased for them by their benefactor Margaret Taylor. In July of that year, a third child, Colm, was born. In 1949 John Malcolm Brinnin, director of the Poetry Center at the Young Men's and Young Women's Hebrew Association in New York, invited Thomas to visit the United States and cash in on his growing fame in America. He traveled there in 1950, giving readings at the Poetry Center and at college campuses as far west as San Francisco and Vancouver. Three more American tours followed, one in 1952 and two in 1953. By this time, Thomas had been drafting for several years a play for voices about a day in the life of Llareggub, a fictional Welsh town with a backwards-reading name. During his third American tour, Thomas more or less finished the play, by then titled Under Milk Wood, and it was first performed on stage at Harvard University in May 1953. Under Milk Wood would posthumously become his best-known work. Meanwhile, Thomas's health and marriage were deteriorating; years of heavy drinking were exacting a cumulative toll. As he began his fourth and final American tour in October 1953, his marriage appeared to be unsalvageable, and Thomas succumbed to despair. He began a regimen of self-destructive behavior, drinking copiously and often to the point of delirium. On November 4, after a doctor's well-intentioned but ultimately fatal injection of morphine, Thomas collapsed and fell into a coma. He died on November 9, 1953, at St. Vincent's Hospital in New York City.