Directed by: Chía Patiño Music by: Daniel Catán Libretto by: Marcela Fuentes-Berain Original Production March 2022 - Ópera de Tenerife DESIGNERS Pedro Halffter - Conductor Izmir Ickbal - Scenic Desginer Felype de Lima - Costume Designer Erin Earle Fleming - Lighting Designer Alejandra Prieto - Puppet Designer and Director ORIGINAL CAST Sandra López - Florencia Grimaldi Lina Mendes - Rosalba Airam Hernández - Arcadio José Julián Frontal - Álvaro Àngel Òdena - Riolobo Adriana Zabala - Paula Alejandro López - Capitán Director's Note With Florencia in the Amazon, Ópera de Tenerife introduces Latin American compositions. This opera is programmed for the first time in Spain, after an extensive tour of the opera houses of Latin America and only two presences in Europe (Germany and Switzerland). The creation of Mexican Daniel Catán, with a libretto by Marcela Fuentes-Berain, premiered in 1996 and tells of different ways of living love through a boat trip through the Amazon. Reviews "Patiño wanted to bring magical moments from reality onto the stage and focus on the situation of people, and in doing so she also managed to portray the mutual influence of man and nature...You can feel a lot of the magical realism that the libretto reveals and even more of the magic in Catán's music, which has an incredible wealth of colors and a fine melodic structure, always reminiscent of Puccini and Debussy." -Klaus Billand MEDIA

May 2023 | BBC Music Magazine American baritone Lucia Lucas may not be the only transgender singer on today’s operatic stage, but she was among the very first to transition while maintaining what is an increasingly busy career. And she is certainly the most prominent: for some years she has been based in Germany, but her work involves major productions with the Metropolitan Opera in New York, Lyric Opera of Chicago and London’s English National Opera. At these and other venues, audiences are by now used to seeing her play male roles on stage – including last autumn the Sacristan in Christof Loy’s production of Tosca at ENO, and at the beginning of 2023 Grech in David McVicar’s staging of Giordano’s Fedora at the Met. Managements, audiences and the singer herself all take this in their stride as no big deal. ‘I guess the whole thing that I’m always fighting against is that I’m fine playing men on stage, and my private life is my private life.’ Lucas comes from Sacramento – ‘a beautiful place,’ she tells me, ‘situated between San Francisco and Lake Tahoe’. Was her family interested in music, theatre or opera? ‘Not really. My dad’s a civil engineer and my mom is an electrical engineer, and my interest still puzzles them.’ Growing up there, she had a tough time expressing herself ‘until I got into music, partly because it allowed me to express myself without words. . . " Read full article.

"The focus on facilitating character development and comprehensible storytelling apparent in Turner’s conducting of Virginia Opera’s 2016 production of Wagner’s Der fliegende Holländer was heard to even greater advantage in this performance of Fellow Travelers . The sequence of scenes advanced with cinematic efficiency, each thread of the plot carefully spun and woven into the fabric of the story via tempi that suited indivudual scenes and the work’s cumulative flow. The Virginia Symphony Orchestra musicians played wonderfully under Turner’s leadership, realizing the gravity that the conductor sought to achieve in passages like the pulsing ostinato at the opera’s start. . . The caliber of the vocal ensemble engaged by Virginia Opera for Fellow Travelers reflected the meticulous attention to musical and theatrical values with which the production was planned. . . Lending gravity to each word of the parts entrusted to him, baritone Joshua Jeremiah keenly differentiated his depictions of Wisconsin Senator Joseph McCarthy, Estonian Frank, and the Interrogator, seeming to bring a unique, apt voice to each of them. The quintessential office gossip who makes all of her colleagues’ affairs her business, the secretary Miss Lightfoot was given unexpected depth by soprano Katrina Thurman , whose singing glistened even when the text that she sang was repulsive. . . In every scene in which he appeared, tenor Andres Acosta sang Spears’s music for the endearingly naïve writer Timothy Laughlin with youthful exuberance and technical fluency, his timbre sparkling throughout the rôle’s broad compass. Drinking milk and swinging his feet on the bench on which he first meets Hawk, Acosta’s Tim was sweetly boyish, his shy nervousness trembling in the voice. The contrast with the cascading passion of the Bermuda duet with Hawk and the resolve of his voicing of ‘Forgive me, Holy Father’ in the fifth scene was therefore all the more telling. Tim’s adoration of Hawk having supplanted his faith, his journey from infatuation to disenfranchisement and enlistment in the Army was gutting, Acosta’s unaffected singing of ‘I wasn’t enough’ in the rooftop scene devastating. The crying heard in the auditorium when Tim uttered ‘I feel like I never existed’ in the final scene was earned, the tenor’s voice colored by excruciating uncertainty. In truth, Acosta articulated Tim’s every word with clear emotional intent, though there were instances in which enunciation was sacrificed to emoting. Acosta’s performance was as much felt as it was sung and was felt as mesmerizingly as it was heard by the listener." – Voix des Arts "The 22-piece orchestra, led by Adam Turner, provided a full, rich sound throughout and succeeded in bringing out the details of Spears’ score. . . Like the score, Pierce’s libretto provided full portraits of the major characters, as well as telling vignettes for the supporting players. Among the latter, bass Joshua Jeremiah stood out as Senator McCarthy and the Interrogator, as did Katrina Thurman as the unpleasant Miss Lightfoot." – Dc Theater Arts

"MDLO’s Lady Macbeth was soprano Jill Gardner . . . she played the role of the alluring manipulator very well. She seemed to relish playing this role, and her important sleep walking scene was effective and is critical to the opera. Bass Andrea Silvestrelli was excellent as always, singing authoritatively and anchoring the drama as someone caught in the middle. He displayed good acting skills, making an eerie presence when he returned as a ghost after his murder arranged by Macbeth. Tenor Yi Li . . . delivered a solo aria late in the opera that was one of the performance’s highlights. . . The conductor for this performance was Joseph Colaneri who performs internationally and is well known for serving as the Music Director for the Glimmerglass Festival. Under his direction, the excellent Maryland Lyric Opera Orchestra displayed great finesse in its delivery of Verdi’s music and its coordination with the singers. I greatly enjoyed the orchestra and thought that it did full justice to Verdi’s magnificent music." – Opera Gene

“Soprano Jill Gardner sang Suor Angelica and Santuzza. . . her middle register was strong, agile, and beautiful. It was her acting that trumped everything else. Her Suor Angelica has backbone, confronting her royal, immutable and cruel aunt, the Principessa, sung and portrayed well by Decker, without fear until her aunt’s news that her child has died breaks her. Gardner handled the opera’s sole showstopper aria, “Senza mamma, o bimbo,” with powerful emotion, and the the opera went downhill from there in a good way: I found myself full-on crying at Angelica’s death scene and her “miracle.” . . . Crider’s Alfio was wonderful. Alfio, a proud man who revels in his status, is well aware of the shame that will follow when he discovers he’s been betrayed. He’s angry, but his quiet fury is all the more menacing. Crider’s stage presence fits the character perfectly, and his strong, deep, and rich baritone makes his a perfect verismo and Verdi voice.” - The Toledo Blade

“… Hawk , who lights up the role of Amelia with her strong, radiant soprano voice. . . Stage director Kimille Howard makes the most of this fast-paced story, maintaining a sense of continuity and nicely energizing the ensemble scenes, especially those in London’s red-light district. . . Geter’s resonant, sure voice serves the role of Quamino well” – Chicago Sun Times "The clear standout in the cast was Damien Geter , making his company debut as Quamino. The towering singer—who is also a composer—owned every scene he was in and elevated the libretto’s mundane dramaturgy almost single-handedly. Geter sang with a rich and imposing bass-baritone, and delivered the most well-rounded characterization as Juba’s loyal friend. Acting and moving with natural ease and dignity, he conveyed the essence of Quamino’s character, a mapmaker and indentured ex-slave who has come to terms with carving out his life in a racist class system his own way. . . As Juba’s high-born beloved Amelia, Flora Hawk also made an impressive COT debut, displaying a pleasing light soprano and charming stage presence. . . Director Kimille Howard kept the action moving efficiently through several scene changes in the unbroken 90 minutes." – Chicago Classical Review

" Borichevsky’s instrument . . . had a magical brilliance that brought goosebumps.. . . the fetching opportunist Musetta ( Flora Hawk , Soprano). Hawk’s second act waltz, “ Quando me’n vo’ ” bristled with more than enough charismatic confidence and passion of youth to win Marcello’s heart…again and make her stand out from a huge stage chock full of people." - Music City Review

"Sparks fly between Majeski and the impressive baritone Craig Irvin as Jochanaan, aka John the Baptist. Irvin’s voice bounces off the “cistern” below stage where the prophet is being kept, and rings into the hall like a clarion call. Prepare ye, indeed. . . Dennis Petersen goes for the near-impossible and (almost!) makes Herod sympathetic. Petersen is at once a masterful singer and believable as a confused old man, easily controlled by the women around him." – The Cap Times

“As the “odd sisters,” sopranos Leah Brzyski and Rachel Blaustein , and mezzo-soprano Felicia Gavilanes sang with hypnotic tonal blend and stratospheric range. Their collective sense of character—by turns playful, cunning, and alluring—was spot-on.” – Boston Classical Review “Even better were Leah Brzyski, Rachel Blaustein , and Felicia Gavilanes as the three sisters, eerie and prophetic in their amalgamation of Dracula’s vampire women and Euripides’s crazed maenads." – Boston Globe

"In the title role, baritone Mark Delavan emphasized Sir John’s complete, uncritical, quite cheerful engagement with his own erotic and culinary appetites. His Falstaff is a fool, to be sure, but in Delavan’s reading the character fortunately lacks the grossness of some interpretations. Light on his feet, this Falstaff overflows with delight when he believes things are going his way, Delavan sometimes moving in a way reminiscent of a good Tevye doing “If I Were a Rich Man.” Bombastic when it needs to be, Delavan’s singing in the role retains a light touch fitting for a character who, his outsize ego notwithstanding, is rather fun to be around. . . . In a role that calls only for lyrical romantic sweetness, tenor Yi Li sings as sweetly as one could ask as Nannetta’s lover, Fenton. . . As Falstaff’s two clownish, and not very faithful, servants, Bardolfo and Pistola, tenor Joseph Michael Brent and bass Andrea Silvestrelli provide the requisite low comedy. Silvestrelli made a memorable vocal impression . . . Joseph Colaneri conducted the large orchestra with power, subtlety, and a fine touch for the nuances of Verdi’s score. . . Martin displays probably the most subtle and effective physical acting of any member of the cast while impressing with her vocal power and richness." – DC Theatre Arts " Mark Delavan strutted admirably as the pompous knight, his form filled out with a fat suit. His bass-baritone thundered mightily in the tavern scenes, and he presided over the action with impeccable comic timing, if occasionally some rhythmic uncertainty. Boito fleshed out the character by adding scenes based on Shakespeare’s Henry IV plays, and Delavan’s interpretation was both hilarious and ultimately sympathetic. . . . Outstanding mezzo-soprano Catherine Martin deployed her powerful bottom range as a smart-mouthed Mistress Quickly . . . Best among the women, however, was newcomer Rachel Blaustein , who made a sensational company debut as Nannetta. The radiant young soprano, who hails from Olney and did her graduate work at the Peabody Institute, floated velvet-gloved high notes in this crucial role. She flirted innocently in the stolen moments with her lover, Fenton, and made a resplendent fairy queen in the opera’s gorgeous final scene. . . Tenor Yi Li , an alumnus of the company’s training institute, made a charming, subtle Fenton. " – Washington Classical Review

Director: Fenlon Lamb Music: Engelbert Humperdinck Libretto: Adelheid Wetter Original Production November 2017 - UMKC Conservatory of Music & Dance Additional Production dates July 2018 - Bar Harbor Music Festival December 2018 - Palm Beach Opera October 2021 - Amarillo Opera DESIGNERS Jefferson Ridenour - Scenic Designer Maureen Thomas - Costume Designer Kris Kirkwood - Projection Designer Brian B Moore - Lighting Designer PALM BEACH OPERA CAST David Stern - Conductor Maria Vasilevskaya - Hänsel Patricia Westley - Gretel Cara Collins - Mother/Witch Ted Allen Pickle - Father Emily Blair - Sandman Emily Helenbrook - Dew Fairy Director's Note This production is brought to you by the mother of invention, AKA necessity, by way of some child’s play, inventive imaginings and a whole lot of collaboration. When presented with the challenge of creating a season without full theater department support and some belt-tightening in the land of budgets, I was overwhelmed with the prospect. After much thought and several creative conversations with my artistic partner and set designer, Jefferson Ridenour, the opportunities became clear. A traditional production with the twist of every element in paper was our answer; sets, costumes, props ALL built with this quirky and imaginative medium to simplify installation and cut material costs. No matter the limitations, I wanted to be certain to maintain the epic atmosphere of opera. Finding the intimacy that exists in a familiar material such as paper was an exciting counterpoint. Papermoon’s designers have embraced this concept and created an incredible world within which our singers can play and discover their characters. As we’ve all explored this seemingly flat world, the dimensionality of the human experience and the differing textures of shared memories have continued to come to light. The idea that simple child’s play is the gateway to learning more about ourselves. Delving into complexities of emotion and expression, coupled with an immense amount of inspired and collaborative ideas from costume, lighting and projection designers have made this project less of a challenge and more joy-filled than I thought possible. We invite you to come play with us and discover those depths of human nature, both sweet and sour, that are buried deep within this familiar fairy tale. Wander through the paper woods to take a closer look at the magic we create every day, and the way opera touches our hearts and frees our minds. Let yourself play, create, imagine and indulge in this production. Enjoy your time in the hallowed halls of the theater and be swept away into that child-like place where wonder and imagination create an escape from the weary world. Reviews "When looking at photos from the production, you may be inclined to ask, “Which parts are paper?” It might be more practical, however, to ask, “Which parts are not paper?” The answer is much shorter – a tribute to how completely the team committed to their concept. Crafting an opera almost entirely out of paper required lots of hard work and innovation, but also created some fun moments for the team...Because, as Lamb puts it, being an artist is all about challenging both yourself and the industry." -Lindsey Mayfield, Encore Magazine MEDIA

" Brittany Renee once again shows off a luscious lyric soprano and magnetic presence that promises an exciting career ahead." – Parterre Box “ Brittany Renee sings with supple grace and charm, despite her small role as Griffith’s wife Sadie.” – Observer “ Brittany Renee was in lovely voice, as Sadie the waitress whom Emile momentarily distracted by her flirty charm, impulsively married. Later, left at home while Emile went to the gay bar, she wrapped her pearly soprano around her lonely aria.” – New York Classical Review “ Brittany Renee , as Emile’s wife Sadie Donastorg, had a silky sensuality in her brief meeting with her husband-to-be.” – Operawire