"As Bégearss, bass-baritone Matthew Burns was particularly powerful in his upper range and remarkably gripping in his raging moments before his final exit. . . . Mezzo Marie Lenormand immediately conjured a vibrant and characterful Suzanne." -Joshua Rosenblum, Opera News (September, 2017 issue)

"As his ghostly counterpart, soprano Adriana Zabala as Miss Jessell — who has taken her own life — was chilling in her traumatized, post-mortem neediness and warped affection toward Flora. When Armstrong and Zabala converge on the line that librettist Myfanwy Piper incorporated from W.B. Yeats, “The ceremony of innocence is drowned,” it was one of the opera’s most searing moments." -NY Classical Review Read full review. "And mezzo-soprano Adriana Zabala gave poise and desperation to the late Miss Jessel." -BachTrack Read full review. "Zabala gave a good turn as Quint’s female counterpart, Miss Jessel, her powerful soprano taking on a deep-blue timbre as she went, making her dead former governess strangely sympathetic. Her scenes with Flora were her best, with her kind glances taking on a malevolent undertone." -Parterre Read full review. "Adriana Zabala made a rather more sympathetic Miss Jessell. In a directorial coup, there was a parallel scene with the current Governess and Miss Jessell walking the same pathway in tandem. This added to the gothic element of the storytelling and gave us the shivers. We wondered whether the poor (unnamed) Governess would also die." -Voce di Meche

"Marie Lenormand embodies The Mother and The Other Mother, figures of power in each of the two worlds. The mezzo-soprano elaborates the two facets of her character with great skill, between a loving mother and the demonic character that constitutes her negative side, whose false devotion reveals dark intentions. Her voice extends beyond the pit with ease, whether it is soft or on the contrary full of fury (especially when it makes her husband disappear magically), alternating shadow and light which she distills the effects." -Olyrix Read full review. "By his side, the other most striking role is that held by Marie Lenormand : we do not lose a word of what the mezzo sings, so perfect a witch is she that we look forward to the day when she will approach The Witch in Hänsel and Gretel." -ForumOpera.com Read full review.

"It’s not hard to see how he won over Mary, played by the marvelous Adriana Zabala. (Zabala’s Act II aria, “I worry, that’s all,” is another distinct pleasure.) ...baritone Sidney Outlaw shine as a wisecracking secretary and a political puppeteer." -Madison.com Read Full Review Here

Q & A: Lina Gonzalez-Granados, Lidiya Yankovskaya, & Elizabeth Askren On How The Hart Institute For Women Conductors Helped Shape Their Careers By David Salazar For five years, the Dallas Opera’s Linda and Mitch Hart Institute for Women Conductors has done something that few other major companies have done – champion women conductors. The program, the first ever designed to meet the needs of women opera conductors, has allowed participants an opportunity to engage in a wide-range of musical opportunities alongside some of the most acclaimed music directors working today. The organization also places a premium on helping the participants navigate the business aspects of the business, helping them select the right artist manager and take on fund-raising, personal branding, and media management, among others. . . Continue reading.

In the 2019-2020 season, between Los Angeles Opera, The Dallas Opera and the Metropolitan Opera, there are 53 conductor engagements. Of those 53 conductor appearances, five will be women. "Historically speaking, it's a man on the podium leading an orchestra," said Lisa Bury, Dallas Opera's chief advancement and strategy officer. "There have been women, and very successful women, but the vast majority have been male, and in an era, i.e. the 21st century, it's time as an industry to collectively improve the ratio and work together to achieve gender parity at the podium." Continue reading.

"Edward Parks’s high baritone and commanding presence made it easy to see why Carmen would abandon Don José for his Escamillo. David Crawford played a dashing Lieutenant Zuniga" -Opera News Read full review.

"In the category of “There Are No Small Roles”, bass David Crawford was a magnificent Bonzo, Cio-Cio San’s uncle who, finding that she has abandoned their native religion, shows up at the “wedding” to disown her." -Arts Knoxville Read full review.

“herein lay a castwide problem: So much theatrical multitasking in a production like this is going to take its toll somewhere, especially early in the run, and here it was the singing. . . except for Katrina Thurman’s Berta (who made her often-cut aria pull its comic weight).” - Philadelphia Inquirer “I cannot fail to mention the delightful Berta of Katrina Thurman. Berta is more an acting role than a singing one, although Miss Thurman sang and acted beautifully.” - BachTrack “...soprano Katrina Thurman’s Berta, who took what might be considered a cameo or throwaway role and transformed it into a lustrous showcase of all her assets.” - Operatoonity

"Ricardo Lugo’s huge bass perfectly fits Timur, the blind, banished king of Tartary and Calaf’s long-lost father." -The Virginian-Pilot Read full review "Rounding out the quartet of principals, Ricardo Lugo was excellent in the small but important role of Timur, Calàf’s blind and aging father, interpreting it with honor and dignity with his expressive bass virtually radiating age, sorrow and experience. . . " -Communities Digital News Read full review "Bass Ricardo Lugo (Timur) was vocally commanding and easily captured his every moment on stage." -The Virginia Gazette Read full review

"the production was brimming with excellent performances . . . Seasoned veteran bass-baritone Matthew Burns brought comedic and vocal flexibility to the workhorse Leporello. . . Ricardo Lugo lent his huge, round bass sound to the ghostly Commendatore." -Opera News Read full review.

“American baritone Joshua Conyers gave a rousing version of Aaron Copland’s setting of the minstrel show tune, “The Boatman’s Dance,” finishing with such a stentorian flourish it was hard to think where the energy might possibly go from there. I’ve had the pleasure of listening to Conyers in a number of different roles for two years now, but this was the first I had heard him in an intimate setting where his voice, though plenty big, could truly resonate and fill the space. The smaller venue suited him allowing a richer tone and timbre I had not previously heard in his voice to shine through." -DC Metro Theater Arts Read full review.