Message from the Maestro

Every time I stand before these remarkable musicians, I am overwhelmed with gratitude—not just for the opportunity to do what I love, but for the privilege of doing it alongside such a dedicated and talented group of people. Music, as many of you know, has the unique power to move us, to connect us in ways that transcend words, and it’s this connection that makes each performance special.

What makes an orchestra so powerful is that it’s never the work of one individual. It takes all of us—musicians, staff, board members, donors, and you, our patrons—coming together with a shared love of music and a belief in its transformative impact. Through this collective effort, we create something that’s much bigger than any one of us, something that resonates deeply with everyone who experiences it. I truly believe that the music we share has a profound effect on all involved, and for that, I am deeply thankful.

As we look toward to the future, there is much to be excited about. We are hopeful that the renovation of our home will move swiftly, and in the meantime, we are immensely grateful to Desert Hills for hosting us and to all of you for your continued support during this transition.

This season promises to be one of our best yet, filled with performances that will inspire and uplift. I hope tonight’s music touches you in a meaningful way, and that you’ll continue to be part of this journey with us. Together, we’re creating moments that stay with us long after the last note fades—and I can’t wait to see what we’ll accomplish together.

Paul Wiens, guest conductor

St. George Chamber Singers Conductor and Artistic Director, earned the Doctor of Musical Arts degree from the University of Iowa where he studied with Don V. Moses, sang as a member of the Atlanta Symphony Chamber Choir under the legendary Robert Shaw and taught at the University of Wisconsin-Madison with Robert Fountain. During his 44-year academic career, he conducted choirs at Fulton High School-Atlanta (3), Clayton State University-Georgia (6), Bethel College-Kansas (1), University of Wisconsin-Madison (3) and Wheaton College (31). While a member of the Wheaton Conservatory of Music faculty from 1981-2012, he conducted the Concert Choir at 11 ACDA conventions: National (2), Central Division (6), State of Illinois (3). In 2012 he conducted Bach’s B-minor Mass with the Concert Choir and the Metropolis Chamber Orchestra. Under his leadership as Artistic Director and Conductor, the West Suburban Choral Union presented major choral/orchestral masterworks at Wheaton College from 1983-2006. He served as Chorus Master for five Wheaton College Artist Series performances under the baton of John Nelson. Upon retirement and appointment as Professor of Music Emeritus in 2012, Wiens has conducted the Chamber Singers since its founding in 2015.

MADISON LEONARD, soprano

Praised for her “silvery, ethereal-sounding Sophie” by Opera magazine and “lovely vocal delicacy” in The Telegraph, Madison Leonard makes her role debut as Violetta in La traviata in a return to Garsington Opera in the 2025-26 season. She also makes her Metropolitan Opera debut as Frasquita in Carmen and joins the company for its production of Don Giovanni as well as sings Mahler’s Symphony No. 4 with the Illinois Symphony Orchestra. Last season, she returned to Dallas Opera as Euridice in Orfeo ed Euridice and Garsington Opera as Adina in L’elisir d’amore. She sang her first performances of Mahler’s Symphony No. 2 at Walt Disney Concert Hall with the Colburn Orchestra and the Los Angeles Master Chorale and joined the Utah Symphony for a concert of Mozart arias at the Deer Valley Music Festival.

She maintains a close relationship with Garsington Opera, at which she has previously sung Sophie in Der Rosenkavalier and Giulietta di Kelbar in Un giorno di regno. She has joined Seattle Opera for Gilda in Rigoletto and Chrisann Brennan in The [R]evolution of Steve Jobs as well as Adina in L’elisir d’amore and Frasquita in Carmen. She has sung Gilda in Rigoletto with Dallas Opera and Austin Opera—her performance at the latter was named one of the Top Ten Joys in Dance and Classical Music by the Austin Chronicle. She has sung further performances of Chrisann Brennan in Bates’ The [R]evolution of Steve Jobs with Austin Opera and the Lyric Opera of Kansas City; Leïla in Les pêcheurs des perles with Austin Opera; Juliette in Roméo et Juliette with Central City Opera; Susanna in Le nozze di Figaro, Marie in La fille du régiment and Mabel in The Pirates of Penzance with Utah Opera; Musetta in La bohème with Atlanta Opera; Despina in Così fan tutte with Palm Beach Opera, and further performances of Mabel in The Pirates of Penzance with Opera San Antonio. She also joined the Sacramento Philharmonic for excerpts of Lucia di Lammermoor.

With Wolf Trap Opera, she debuted Ilia in Idomeneo and Juliette in Roméo et Juliette following previous performances as Madeline in Glass’ The Fall of the House of Usher and the Daughter in Glass’ The Juniper Tree. She is a former Cafritz Young Artist of Washington National Opera, at which she sang Morgana in Alcina, the High Priestess in Aida, the Rose in Portman’s The Little Prince, and Little Zegner Sister in Mazzoli’s Proving Up. Other recent highlights for the soprano include Susanna in Le nozze di Figaro and Rosina in Il barbiere di Siviglia with Inland Northwest Opera, Adele in Die Fledermaus with Opera Idaho, and Susanna in Le nozze di Figaro with Amarillo Opera.

On the concert stage, she has twice joined the National Symphony Orchestra: her debut with Gianandrea Noseda conducting Stravinsky’s Pulcinella as part of the SHIFT Festival followed by an immediate return soloist in Vaughan William’s Symphony No. 3 (A Pastoral Symphony) under the baton of Sir Mark Elder. She is a frequent guest of the Florida Orchestra and has joined institution for Mahler’s Symphony No. 4, Orff’s Carmina Burana, Fauré’s Requiem, Haydn’s Creation, further performances of Stravinsky’s Pulcinella, and a concert of opera favorites. She sang her first performances of Handel’s Messiah with the Fort Worth Symphony Orchestra and Fauré’s Requiem with the Apollo Orchestra in Washington, D.C., joined the New York Festival of Song for a program of music from the British Isles at Caramoor and Merkin Hall in New York City, and offered a solo recital at Washington Adventist University.

Ms. Leonard is a 2018 winner of the Metropolitan National Council Auditions, at which she sang arias from Rigoletto and Hänsel und Gretel with Bertrand de Billy conducting. She is a previous first place winner of the Houston Grand Opera Eleanor McCollum Competition. Additionally, she received the Women’s Voice Fellowship from the Luminarts Cultural Foundation and scholarships from the Lynn Harvey Foundation and the Musicians Club of Women. The soprano earned her Master of Music degree from Northwestern University and her Bachelor of Arts from Pepperdine University. She is a former participant of the Merola Opera Program in association with San Francisco Opera at which she sang Monica in Menotti’s The Medium and a former young artist of Des Moines Metro Opera.

Aubrey Adams-McMillan, mezzo-soprano

Aubrey Adams-McMillan is a versatile mezzo-soprano with an expansive career spanning opera, concert, and chamber music. She has performed a diverse range of operatic roles, from the dramatic intensity of Madame de Croissy in Dialogues des Carmélites to the comedic charm of Bertha in Il barbiere di Siviglia. Her repertoire includes iconic roles such as Gertrude in Hansel and Gretel, Albine in Thaïs, Madame Armfeldt in A Little Night Music, and Dorabella in Così fan tutte, with performances at Utah Opera, Central City Opera, and the Spoleto Festival USA.

Equally accomplished in concert repertoire, Aubrey has been a featured soloist in masterworks such as Verdi’s Requiem, Mahler’s Symphony No. 2, Dvořák’s Stabat Mater, Pergolesi’s Stabat Mater, and Mozart’s Great Mass in C Minor. She has collaborated with ensembles including the American Festival Chorus, Salt Lake Choral Artists, Southwest Symphony and the Cathedral of the Madeleine concert series. Her international performances include Duruflé’s Requiem for the 80th commemoration of D-Day in Paris under maestro Craig Jessop. She is also dedicated to contemporary music, premiering works such as Together and Lover by Jared Oaks.

Aubrey’s extensive training includes programs with Central City Opera and the Spoleto Festival USA, and she has been recognized as a National Finalist in the National Opera Association competition, along with receiving honors from the Metropolitan Opera District Auditions.

From grand opera stages to intimate chamber music settings, Aubrey’s artistry shines in both traditional and modern repertoire, captivating audiences with her expressive performances and technical mastery.

THOMAS GLENN, tenor

Grammy Award winning tenor, Thomas Glenn is a versatile, dynamic, and exciting tenor in many of the prominent opera houses of the world including, San Francisco Opera, The Metropolitan Opera, The Lyric Opera of Chicago, Netherlands Opera and The English National Opera among others.

His expertise is demanded in baroque and bel canto works such as the Evangelist roles in Bach's Passions (St. Matthew and St. John, performed from memory) in multiple productions by Atlanta Symphony, and Ferrando in Mozart’s Così fan tutte with English National Opera. He is also well-known for premiering new works by composers such as John Adams (Doctor Atomic), Damien Geter (American Apollo), and Tarik O'Regan (Heart of Darkness).

Most recently, as soloist with the Philadelphia Orchestra at Avery Fisher Hall in New York, and during their tour to Beijing, China, under the baton of Marin Alsop, Thomas debuted Roydon Tse's Yellow Crane Tower, which prompted the review, "Tenor, Thomas Glenn was heroic in his narration of the tale."

Also recently, at the premiere of American Apollo by Damien Geter at Des Moines Metro Opera, the review stated, "Mr. Glenn showed off a gleaming, secure lyric tenor of considerable sheen and beauty. His dramatic commitment and vocal excellence were commendable."

In 2025, Thomas performed the high flying, Signor Adolpho Pirelli in Sweeney Todd at Utah Opera, which was reviewed as "zany" and "expertly sung". This year also brought two productions of Le nozze di figaro as Don Basilio/Don Curzio, at Utah Opera and at Palm Beach Opera, prompting the review, "Thomas Glenn was brilliant ... He demonstrated agility on stage... along with a smooth and even tenor voice."

As a soloist in concert repertoire, Thomas has considerable experience in works as varied as Beethoven’s Missa Solemnis, Stravinsky’s Svadebka, Britten’s War Requiem and many others, with orchestras such as Seattle Symphony, San Francisco Symphony, China National Symphony, Macau Symphony, and including a recent performance in Oedipus Rex with the Philharmonia Orchestra of London, Essa-Pekka Salonen conducting. Thomas is a graduate of the Adler Fellowship at San Francisco Opera, where he sang for nine consecutive seasons. He is also the head of the voice program at Utah State University where he teaches voice and composition.

SHEA OWENS, baritone

Hailed for his “beguilingly sounding” (Opernwelt) voice and his “irrepressible playfulness” (Luzerner Zeitung) on stage, Baritone Shea Owens continues to be recognized for his artistry and vocal versatility. He was recently seen as the baritone soloist in Fauré’s Requiem both with the Utah Symphony and the Florida Orchestra, as well as Jim in David Conte’s The Gift of the Magii> with Park City Opera. He also performed the role of The Pilot in Utah Opera’s production of The Little Prince, Mercutio in Central City Opera’s Roméo et Juliette, and was a featured soloist in the Utah Symphony’s “Forever Mighty” Tour across Utah.

Mr. Owens is a former ensemble member and soloist of Theater St. Gallen in Switzerland, where roles included Prince Ivan in Rimsky-Korsakov’s Kashchey the Deathless, Ottone in Monteverdi’s L’incoronazione di Poppea, Belcore in Donizetti’s L’elisir d’amore, Valentin in Gounod’s Faust, and the baritone soloist in Carl Orff’s Carmina burana.

He was also a guest soloist with the world-renowned Tabernacle Choir and Orchestra at Temple Square for their “Love Thy Neighbor” special event as well as the Chorale at Temple Square’s concert of Mac Wilberg’s Requiem. He has performed with other distinguished companies such as the Grand Théâtre de Genève in Switzerland, the Théâtre du Chátelet in France, and the Metropolitan Opera in New York. He has also performed the role of Charlie in Jake Heggie’s Three Decembers alongside legendary mezzo-soprano Frederica von Stade.

In 2020 he recorded an album with his wife, soprano Madison Leonard, and pianist Artem Belogurov titled To the Thawing Wind: Songs of Paul Edward Gay.

Mr. Owens received his Bachelor of Music degree from Brigham Young University and his Master of Music degree from Rice University. Along with maintaining an active performing career, he currently serves as the Director of Opera and Assistant Professor of Voice at Brigham Young University.