“Mezzo-soprano Adriana Zabala embodied Madeline the glamorous diva with self-centered bravado but brought poignant vulnerability to Madeline…The closing coup de theatre fully befits a great lady of the stage, who has the surprising last word.” – In the Spotlight “It was great opera performed at the highest level…Adriana Zabala, singing the role of Maddy, flows and rolls with the swells of the music. Her sound is full and crisp and loaded with nuance. Dewey and Zabala shared excellent chemistry and were well-cast, vocally, weaving their lines into a tapestry of argument. “The Moon Lullaby” begins with ephemeral vocalizations, lifting the audience skyward with its ghostly sound. The lullaby lasts just under two minutes and is so tenderly sung by Zabala it touched the heart and the ear…Dewey and Zabala dazzled in this hyperemotional environment, with neither holding back. They fully immersed the audience in the bitter mother/daughter spat and its devastating conclusion.” – OperaWire “Madeline Mitchell, portrayed marvelously by mezzo Adriana Zabala, makes us almost forgive her egotism (even when her children can't), as she flounces her way through the role like the diva she's supposed to be…. Madeline has one of the best arias (songs?) in the work, beautifully and thoughtfully conceived… and was performed lovingly by mezzo Zabala.” – Broadway World “The production glows with passion for both musical and dramatic values from all concerned. It would be hard to imagine a better cast of singers, both for their vocal abilities and their acting. All three of them—Theo Hoffman (Charlie), Monica Dewey (Bea), and Adriana Zabala (Maddy)—had voices exactly matched to their characters, with clear English diction, and all three moved and reacted vividly in the emotional situations of the story.” – Boston Musical Intelligencer

Dallas Opera’s “Barber” is a whimsical, vocally stellar delight " Dallas Opera’s The Barber of Seville , which opened Saturday evening at the Winspear Opera House, was in the finest tradition, well sung, abundantly farcical, and unyielding in its whimsy. . . director Tara Faircloth in her TDO debut, blends Allen Moyer’s opulent set design and stylish period costuming by James Scott with almost vaudevillian stage direction—the juxtaposition of which created a hearty visual feast for operagoers. . . Saturday night’s audience undoubtedly enjoyed Rossini’s enduring comedy as evidenced by a raucous and prolonged ovation at the close of the evening." - Texas Classical Review

"Zoe Zeniodi, our great favourite! . . . During La Maestra, Zoe Zeniodi won us over by conducting Louise Farrenc's Symphony with great panache, determination and sensitivity. She is a conductor with a great sense of articulation and is very structured. She is very charismatic and knows how to communicate effectively with the orchestra and the soloists.” - Classique Mais Pas Has Been

“As the Count, bass-baritone Richard Ollarsaba didn’t just have the tall-dark-and-handsome bit going for him, but also robust, flavorful, agile vocalism…he delivered his Act III aria with particular panache. Ollarsaba’s portrayal of the amoral aristocrat deftly conveyed a sense of entitlement as well as a telling bit of insecurity, making his gorgeously sculpted “Contessa, perdono” all the more affecting. . . Jason Ferrante made a delectable Basilio, obsessively toying with an errant strand of hair while oozing into scenes, and sang with admirable color and finesse (he even did funny stuff with a simple sibilant)." - Tim Smith Opera News “In a good cast, the standout performance(s) came from bass-baritone Richard Ollarsaba as the Count... He possesses an appealing voice matched by well-executed vocals and a commanding stage presence; he was an excellent choice for the role of the Count.” - Operagene “Ollarsaba’s portrayal of the Count was outstanding. From the start there was an air of aristocratic entitlement with a whole lot of Al Bundy incompetence thrown in for good measure. “ - Dave Pearson digitalbeat magazine “…Count Almaviva, marvelously played by bass-baritone Richard Ollarsaba” - Page R. Laws Virginian-Pilot

"fluid staging from director Kathleen Belcher " - South Florida Sun Sentinel " Verdi’s Rigoletto may be standard, bread and butter operatic repertoire but there is nothing staid or routine about Florida Grand Opera’s new production, seen opening night at the Arsht Center on Saturday. . . Fielding a first-rate cast from the major leads to the smallest roles, Kathleen Belcher ’s staging turns Victor Hugo’s melodramatic story (on which the opera is based) into a thriller that keeps the viewer on the edge of his seat. . . Matt Boehler had the faux dignified bearing and black, low bass for the professional assassin Sparafucile. . . Belcher’ s stage direction had cinematic weep, providing real suspense at every plot twist. This was vividly staged and acted musical melodrama, wholly avoiding the old fashioned tendency to just stand and sing." - South Florida Classical Review

"A Charleston pianist and Charleston poet are prominently featured on a Grammy Award-nominated classical album featuring all Black composers. Charleston Poet Laureate Marcus Amaker’s poem “The Rain” was put to music by Wheaton College music professor and composer Shawn E. Okpebholo and performed by College of Charleston Director of Piano Studies Paul Sanchez and Julliard graduate and baritone vocalist Will Liverman. . . “Dreams of a New Day” was nominated for best classical solo vocal album . . . Amaker’s poem, which is about the Emanuel AME Church shooting and lasting racism in Charleston, is one of two poems that feature the stories of violence in Black churches. Okpebholo also composed “Ballad of Birmingham,” a poem by Dudley Randall in response to the 1963 bombing at the 16th Street Baptist Church in Birmingham that killed four Black girls in their Sunday school class. That’s the first movement of the “Two Black Churches” piece on the album. “The Rain” is the second movement. “When gunshots make waves, we closed our eyes, held our breath and went under,” wrote Amaker in “The Rain.” “And we are still trying not to taste the salt of our surrounding blues or face the rising tide of Black pain.” Amaker said he was a little hesitant to dive back into the trauma of the Emanuel AME massacre, but “The Rain” beckoned to be written for this project. “When the muse speaks to me that way, I listen,” he said. “The poem talks about how Charleston is an eternal flame for racism.” He used the metaphor of rain and flooding, another global issue manifested in Charleston — climate change — to convey the message. Okpebholo then created the composition, based on nine chords. Each represented one of the people who died that June day in 2015. . ." Read full article.

"Feigning grief and friendship, Lyons effectively played off the Poppea of Flora Hawk. A charming soubrette, Hawk possesses a bright soprano sound. . . She deftly traced Poppea’s vengeance aria when she thinks her beloved Ottone has been unfaithful and spun roulades with grace at their reconciliation. Hawk also evidenced fine comedic skills at Poppea’s mock flirtatious dalliances with three would-be suitors." - South Florida Classical Review ps://southfloridaclassicalreview.com/2022/05/agrippina-closes-fgo-season-with-handel-in-hollywood/

“Perhaps most unforgettable is the final song, “You,” with a text by the pianist and educator Kathleen Kelly, Barton’s longtime recital partner. The words convey the power of distance and memory in shaping onscreen interactions between loved ones, and Heggie sets it to music of almost translucent emotion. Small wonder that Barton teared up in the course of delivering it, and she was hardly alone.” - San Francisco Chronicle

"Craig Irvin as Orest made a vivid impression, completing a front-line vocal roster whose stamina never wavered through the 100-minute, intermission-free span of the opera...In director Brian Staufenbiel’s updating, the characters of Strauss’ opera are actually actors filming “Elektra” — a bloody tale of familial dysfunction — on a studio soundstage, with the orchestra on set behind them...Fussy as it sounds, Staufenbiel’s decision to present “Elektra” as an opera within a movie largely worked." -Star Tribune Read full review. "Minnesota Opera opened its 2019-20 season at St. Paul’s Ordway Music Theater on Saturday night with a production of Strauss’ “Elektra” that was among the most imaginative stagings I’ve encountered from this company over the decades. Director Brian Staufenbiel and his design team have created a scenario in which German filmmaker Fritz Lang is on the set of a silent-film adaptation of the tragedy. As cameras and set pieces roll in and out, we witness the Minnesota Opera cast portraying performers presenting Strauss’ opera, the finished product of the silent film they’re creating periodically screened above them. It may sound complicated, but I found it a very intriguing approach to an opera that can be relentlessly bleak if stripped down to its essentials. And the execution of this ambitious vision was impeccable...As the lone male lead, Craig Irvin brings charisma and pure voice to Elektra’s brother, Orest." -Twin Cities Read full review. "For the Minnesota Opera's production, stage director Brian Staufenbiel has devised a way to place the heroine's obsessive rage in a context of melodramatic storytelling, using a technology that was just emerging when Elektra premiered in 1909. Staufenbiel places the opera in a silent film studio where the eminent director Fritz Lang is making a grand-scale movie of Elektra, with its jarring score performed by an in-studio orchestra—meaning, on stage, visible to the audience. Performers enter through a gaping mouth cut into a wall of gold filigree, and down an aisle that wends through the orchestra. The pit is filled in to furnish the space from which the director, the cameraman, and other functionaries shoot the film. During some scenes, as we watch the performers live on stage, the camera shows them on a screen cleverly positioned in front of a mammoth studio set, with their tortured faces in close up, mirroring the hyperbolic emotional images silent movies used to compensate for the absence of the human voice. The effect does not diminish the beauty of the voices that rise up to deliver Strauss's powerful score, but rather adds a visual element that draws parallels between the necessary excess of emotion in both media. It is enriching, enthralling and entertaining. Craig Irvin, as Orest, has a powerful baritone to match his physically robust bearing, leaving no doubt that he is up to the task Elektra lays at his feet. Irvin achingly shows Orest's pained reaction as Elektra describes the abuses she has been subjected to since their father's death, with every one of her words seeming to strike a blow upon his heart. Knowing that Elektra is a grisly story that deals with some of the human species' most vile and dangerous instincts, I cannot say I was looking forward to it with joy. However, I found that the inventiveness of the production concept, the stirring grandeur of Strauss's score, the glorious voices of the principals, and the outstanding musicianship of the orchestra combine to make this a stunning production, well worth seeing, and one that will be remembered for a long time to come." -Talkin' Broadway.com Read full review.

Friday night's concert by mezzo-soprano Stephanie Blythe and pianist Warren Jones at Carnegie Hall was a delight. It's hard not to love Ms Blythe as a performer. Her ever solid vocal technique, her beautiful sound, and her commanding stage presence make her someone to see and hear live at any opportunity. From the moment Ms Blythe walked on stage, she had the crowd in the palm of her hand and never let them go. She wished everyone could receive such a warm welcome as she'd just received, and continued to charm the audience with introductions to each set. These included readings by Ms Blythe and Mr Jones of song lyrics – they preferred introducing each set to having lyrics in the printed program. -Bachtrack

Arts Management Internship and Career Expansion Fellowship Fall 2022 and Spring 2023 For Immediate Release July 11, 2022 ADA Artist Management announces two Professional Development Initiatives. Inspired by their commitment to the next generation of great opera professionals, ADA is pleased to offer an Artist Management Internship for Students and Career Expansion Fellowship for Mid-Career Opera Singers. The fall internship will be open to a current student (undergraduate or masters) at William Paterson University who has shown interest and promise in the realm of music business or arts administration. ADA is proud to partner with William Paterson University offering quality, real-world experience to emerging professionals motivated to make a positive impact on the rapidly changing arts landscape in a post-pandemic climate. The spring fellowship will be offered to an established professional singer interested in transitioning their industry knowledge and skill set to a new or correlating career in arts administration and/or artist management. “A core part of our mission at ADA is to support the opera and classical music industry in developing the next generation of artist managers and arts administrators. With this initiative, we establish a formal process to realize that goal. Many professional opera singers wish to transition from performing to administrative positions, but their busy performance schedules and lack of practical training inhibit their ability to do so. We want to empower these artists who have given so much of themselves to our industry and help them write the next chapter of their careers.” - Ana De Archuleta, President & CEO Participants will work closely with ADA’s team of artist managers both in North America and Europe as well as on projects related to marketing and communications, operations, and ADA special projects. Career Expansion Fellows will be able to actively continue their performance careers while completing the fellowship. Currently, these opportunities are only open to applicants who are citizens of the United States legally authorized to work in the USA. IMPORTANT DATES ● July 18, 2022 – Applications Open ● August 15, 2022 – Deadline to Submit Application – Arts Management Internship ● September 6, 2022 – Deadline to Submit Application – Career Expansion Fellowship ● August 26, 2022 – Selections finalized – Arts Management Internship ● October 1, 2022 – Selections finalized – Career Advancement Fellowship ● September 26, 2022 – Start Date of Artist Management Internship ● December 17, 2022 – End Date of Artist Management Internship ● February 6, 2023 – Start Date of Career Expansion Fellowship ● May 26, 2023- End Date of Career Expansion Fellowship ABOUT THE OPPORTUNITIES ARTIST MANAGEMENT INTERNSHIP - in partnership with William Paterson University Compensation: $3,000 Total – Hybrid 14 hours per week 12 Weeks September 26 – December 17, 2022 Responsibilities ● Attending virtual and in person meetings as available ● Assist administrative duties ● Collaborate with team members/leader to ensure customers receive quality care and meet all company standards ● Assist in keeping artist materials up to date ● Assist maintenance and distribution of documents and files ● Support staff at live auditions ● Data entry ● Research as requested by senior staff ● Filing and organizing all materials both hardcopies and digital ● Assist with visa requests and processing Application Requirements ● Enrolled in William Paterson University [B.A. or M.A.] with a concentration in music or arts management ● C.V. Resume ● Brief Statement of Interest (350-500 words) ● 2 References – 1 must be from a current or former employer ● Applicants who are citizens or permanent residents of the United States Applicants may apply for the Artist Management Internship via Google Form here . CAREER EXPANSION FELLOWSHIP for Mid-Career Opera Singers Compensation: $3,000 Total – Virtual 10 hours per week 16 weeks February 6 – May 26, 2023 Topics and Offerings ● Casting Processes ● Repertoire Trends ● Contract Negotiations ● Contract Servicing ● Casting and Production Proposals ● Networking and Sales ● Marketing and Social Media ● One on One Sessions with industry professionals ● Career Advancement ● Business Accounting ● Project Management ● Career advice and recommendations Responsibilities ● Attend virtual meetings as available ● Assist administrative duties ● Collaborate with team members/leader to ensure customers receive quality care and meet all company standards ● Assist in keeping artist materials up to date ● Assist maintenance and distribution of documents and files ● Data entry ● Research as requested by senior staff ● Filing and organizing all materials- virtual ● Assist with visa requests and processing Application Requirements ● Professional opera singer with at least five years professional singing experience ● Interest and desire to transition to administration or management in the future ● C.V. Resume ● Statement of Intention (approximately 500 words) ● 2 industry references ● Some Young Artist Program experience Applicants may apply for the Career Expansion Fellowship via Google Form here . ABOUT ADA ARTIST MANAGEMENT Founded in 2004, ADA Artist Management has established itself as a leader in the music industry by being an artist-led and artist-focused firm. We are proud to represent a versatile and well-respected roster of opera artists, both emerging and seasoned professionals. Respect for artists and clients, transparency, and inclusivity are just a few of the core values that guide us as we work to bring opera into the next generation. https://www.ada-artists.com Visit ADA Artists on Facebook , Instagram, and YouTube ### Contact: Katrina Thurman Director of Marketing & Community Engagement kthurman@ada-artists.com

"I ntertwined with the spectacle indoors and outdoors, in the blaze of day and the hush of night, was a poignant love triangle, heightened by the scintillating debut of mezzo-soprano Catherine Martin as Amneris, the cunning, jealous, amorous, and conflicted princess of Egypt. The smoothness of her arias, particularly the "Vieni amor mio" anticipating Radames's arrival in Act 2, nicely chimed with her cool and confident manner, for once making the prospect of someday reigning with her over Egypt worth considering for the undeniably ambitious Radames." – Classical Voice North Carolina