“This L’Orfeo production embodied so many elements that a good opera with a good story should have. . . several brilliant singers, most notably the talented lead baritone Conor McDonald as Orfeo. He could give the mythological Orfeo a run for his lyre. A powerful lead must carry a powerful opera, and he did it exceptionally well . . . It takes a long time for Orfeo to reach Hell, or the “City of Pain.” Even with his immense musical talent and charm-inducing lyre, he has to navigate a lot of obstacles, and McDonald with his baritone voice and giant lyre conquers them all. McDonald is not a big man, but he owns a big voice and a huge stage presence.” – Oregon ArtsWatch

"Habersham, a confident soprano with high notes that sparkle, sets the tone of her story and the show. . . Sanders, a limber tenor with a warm vocal tone, goes further than anyone in his attempts at physical comedy, prat-falling and flailing." - The Cap Times

"Making his Utah Opera debut, John Riesen was perfectly cast as Frederic, the orphan who was mistakenly apprenticed as a child to the leader of a band of tender-hearted pirates . . . Riesen’s expressive voice was mannered in just the right way to reflect Frederic’s self-righteousness, and as an actor, he fully committed to being the “slave of duty.” The seriousness he brought to his character’s moral dilemma propelled the show forward and heightened its humor. . . The same could be said for Craig Irvin as The Pirate King. He wore red-striped tights, a coat with tails, and a giant top-hat and delivered “Oh Better Far to Live to Live and Die” with swashbuckling panache, but underneath the trappings of piracy was a decent fellow who had made a moral choice to become a pirate and who had genuine concern and affection for his apprentice Frederic." - Utah Arts Review

“Soprano Elaine Alvarez totally embodied Violetta. She expressed Violetta’s hopes with poignant lyricism in reflective passages. In duets with Alfredo, her ardent lover, she unleashed white-hot vocalism, snarling when defying his wishes. Exploring a wide range of tonal colors, she eloquently phrased melodies, incorporating trills and runs seamlessly into her lines. She provided the most breathtaking moments of the evening in arias that sent chills down the spine.” - Dallas Morning News

"“Mass” also relies heavily on the strength of its ensemble singers and soloists, here presented as an assertively contemporary-looking congregation...Several of the soloists gave fantastic, if fleeting, turns. ...bass Matt Boehler and actor-singer Bobby Conte also made powerful appearances, to name a few." – Washington Post

" The “bubble” in question, Rusalka, is portrayed by soprano Sara Gartland in a strong Pittsburgh debut. Her “Song to the Moon,” the opera’s most famous tune, is fulsome, lyrical and tender... Gartland, a native of St. Paul, Minn., was an impressive replacement as the original singer had to withdraw for personal reasons." – Pittsburgh Post-Gazette "Sara Gartland was not the soprano long advertised to sing the title role, but she was not, by any stretch of the imagination, a “substitute.” She gives Rusalka an interpretation that makes one think that she was born to sing the part. Ms. Gartland is gifted with a soprano voice of true beauty, and she has that gift completely at her command. A finely honed technique, seamless phrasing, the ability to float the softest pianissimo and hit the highest notes in the score – she has them all, in musical abundance. She also acts very well, and looks like a movie star. This production marks her Pittsburgh Opera debut, and we can only hope that she’ll come this way again." – onStage Pittsburgh

Jasmine Habersham : Creating the Road Less Traveled At first glance, Jasmine Habersham might seem to onlookers as a classical vocalist who has followed a well worn path. But as one begins to peel back the layers of the soprano called “magnificent” by the San Francisco Chronicle , “memorable” by Twin Cities Arts , and “exquisite” by Broadway World , they’re likely to find an intriguing reminder that no two roads are ever alike. And that’s OK, Habersham believes. “I think the key thing is that I took it upon myself to create opportunities,” she says. “If I wasn’t getting what I needed in terms of lessons, coachings, language classes, and performance opportunities, I made sure I found my way to them. In a way, I think what I’ve created is a professional experience that is unique to me and on my own terms—of course, having a lot of support from my family in those early years. That’s forced me to know a lot about myself as an artist. Some things have been right for me. Others, not so much. But it has allowed me to play with things and find my way in having a chance to do what I wanted to do, how I wanted to do it.” At 33, and only about five years into her professional career, Habersham has crafted an impressive resume. She is a graduate of Shorter College in Rome, Georgia, where she received her bachelor’s degree in vocal performance, as well as the University of Cincinnati College-Conservatory of Music, where she earned her master’s degree and artist diploma. Thus far, her career highlights include championing a roster of new operatic works, such as Katie Jackson in Joel Puckett and Eric Simonson’s The Fix with Minnesota Opera and Mariola in Jake Heggie and Gene Scheer’s Out of Darkness: Two Remain with Atlanta Opera. Recently, she also made a return to the Glimmerglass Festival to tack on two more world premiere operas, including as Mimi in Gioachino Rossini and Ken Ludwig’s Tenor Overboard and as Mary in Damien Geter and Lila Palmer’s Holy Ground. Additional, and more familiar roles have included Zerlina in Don Giovanni, Nannetta in Falstaff , Bubikopf in Der Kaiser von Atlantis, Micaela in The Threepenny Opera, Pip in Moby Dick , Clara in Porgy and Bess , Adina in L’elisir d’amore , Pamina and Papagena in The Magic Flute , Yum Yum in The Mikado , Esther in Intimate Apparel , Cleopatra in Giulio Cesare, Dew Fairy/Sandman in Hansel and Gretel , and Eurydice in Orpheus in the Underworld . Beyond her work in opera, she also has been a featured soloist for numerous concert works and is a decorated competitor, having received a silver medal for the 2020 American Traditions Competition, second place for the 2018 Southeast Regional Metropolitan Opera National Council Auditions, the Strauss Award from the National Orpheus Competition, and the Young Artist Guild Award from Central City Opera, among others. However, it was her grassroots work in her hometown of Macon, Georgia, that would set her on the path she ultimately would choose in classical singing. Deep Roots in Music Habersham was born into a musical family. . . Read full article.

Opera News has turned in its report from summer 2022's festival at Glimmerglass. . . Holy Ground "Lyric-coloratura Jasmine Habersham did a wonderful job expressing the doubts and yearnings of Mary (candidate #490) and also encompassing her wide-ranging vocal part in lustrous, emotional tone." Taking Up Serpents " Michael Mayes inhabited the father's spasmodic movement and rough, ranting utterances." Carmen "Carmen scored a definite success at the July 30 matinee. Joseph Colaneri 's orchestra sailed out of the gate with an impressively arresting overture and never faltered...in the pit Bizet's wondrous score got its due in a tight, detailed reading from Colaneri, who has raised the orchestral bar at Glimmerglass." "Illness felled Ian Koziara, the scheduled Don Jose, but the cover Jose, Young Artist Matthew Pearce , performed strongly and honored Bizet's dynamic markings, supplying lovely head-voice effects in "Parle-moi de ma mere" and the flower song." "The best French came from bass-baritone Richard Ollarsaba , who embodied and acted a totally credible Escamillo and put over the matador's rangy "Votre toast" extremely well." Tenor Overboard "...sang very attractively, especially in sustained rather than concerted music, as did Jasmine Habersham as Mimi, the soprano sister."

Congratulations to our artists who were a part of Des Moines Metro Opera's season this year on this wonderful review from Opera News! Bravi Elizabeth Askren, Kristine McIntyre, Sara Gartland, and Matt Boehler! A Thousand Acres "Sara Gartland brought a shimmering soprano to the doomed Rose..." "Kristine McIntyre's perceptive direction managed the seamier elements of the story sensitively and rendered the sisterly relationships to perfection...." A Midsummer Night's Dream "Matt Boehler created a hilarious Quince...." "Conductor Elizabeth Askren led a glittering account of Britten's translucent score." – Opera News October 2022

"Yet it was Darwin’s measured and poetic tone that created the requisite sense of awe, sung by soloists Jennifer France and Patrick Terry with moments of extreme beauty in the intertwining of their soaring lines. These two effectively stole the show, soprano France with her impeccable diction and laser precision, and countertenor Terry in Jocelyn’s zany cabaret sequence" – The Guardian

Reviews for Opera Queensland's "The Human Voice" and "The Call" “Conductor Zoe Zeniodi and the Queensland Symphony Orchestra prepared both operas to a standard that suited the genres with complete stylistic perfection, which is of course merit to Zeniodi’s leadership and knowledge.” Limelight, September 21, 2022 “Greek international orchestral conductor Zoe Zeniodi’s background as a collaborative pianist enables generous connection to the singers. She maintains a sensitive balance between singer and orchestra. The QS met the challenge of Poulenc’s score with an impressive ensemble and remarkable ease. The orchestra committed to d’Netto’s score so convincingly that it was disappointing that they were invisible in the pit. A standing ovation ended the evening.” ABR Arts, Australian Book Review, 26 September 2022 “Dynamic conductor Zoe Zeniodi, a rising star in the international music scene, leads a full strength Queensland Symphony Orchestra.” Courier Mail, September 21, 2022 “Lead by conductor Zoe Zeniodi from Queensland’s Symphony Orchestra (QSO), who is also hailed as the Ingenious Greek Maestra and Ms Dynamite, this was a superb commanding artistic production in the simplest of ways by two women and their team.” Shesociety.com.au

" Escamillo was sung by Richard Ollarsaba; I’ve seen him played more laddishly and crudely by some, heightening the contrast between himself and the erst-while respectable Don José; Ollarsaba looked and sang more gentlemanlike: a fine, resonant bass-baritone." – Bachtrack "Richard Ollarsaba portrayed the bullfighter, Escamillo, as a sort of dandy, with a solid baritone that lent about as much complexity to the role as the authors permit." – KC Independent