"Requiem for a Lost Girl is based on a true story."
"The tragedy of her death and stigma that surrounded it is still with me. This experience is how I found my way into the themes of this piece."Read More
Fidelio: still political in 2018
"I hope people who know Fidelio already will be surprised and challenged to experience the opera in a new way. I hope newcomers to Fidelio will come away with admiration for Beethoven's beautiful music and appreciation of this story's powerful resonance today. I hope all audience members will take away questions and concerns that they continue to talk about and wrestle with."Read More
Talking with singers: Sara Duchovnay
"In addition to emotional support, I want to be able to provide members of my community with opportunities for financial stability so they can get out of unhealthy situations, whether they be unhealthy relationships, less-than-ideal living situations, or jobs that don’t enhance their careers."Read More
Don Giovanni: "strengthened by reinterpretation."
"These classic opera scores, like any art form, are never static, and I believe they are strengthened by reinterpretation. We've all become used to hearing them in a certain way over the years, with the same orchestration, to the point that they have become museum pieces. My intention is to breathe new life into the scores, and I hope that audiences are able to gain a fresh perspective on the music as a result."Read More
Talking with singers: Nelson Ebo
"My desire for singing was within me when I was born. My father loved to sing and when I was a child I was always the loudest one (out of the 16 of us). I sang in my church choir and found a way to formalize my love of singing. When I was a bit older, I was given a cassette tape of the Three Tenors and started imitating them."Read More
Orphée⁺: "How do we grieve in 2018?"
"The key is to employ all these elements to further enhance and heighten the experience of the drama - that is to say, these are not random tricks that have been selected for novelty's sake. Despite the number of collaborators, there is a unity of purpose behind every device, and I think they coalesce beautifully."Read More
Lore Lixenberg is The Mother
"The satire and explosiveness is in the score, as Laurence is playing around with Witkacy's pure form and putting that into music. Also the performance is actually a staged concert that is often a financial decision for a company, opera is expensive, but has the benefit of really putting more focus on the score and the structure of the piece and in my opinion gives an opera performance a certain clarity."Read More
Talking with singers: Tara Erraught
"It never gets easier to say no to an interesting offer, even though you may well know you don't have the time, so your management team and your teacher are vital in guiding you at every step in what is a healthy decision, always."Read More
"Susannah is THE great original American opera."
"I particularly love the wide open interval leaps in her first aria 'Ain't it a pretty night.' You feel Susannah's longing to escape the small town and you see the beauty of the mountains and valleys before her. It's pure Americana in spirit and sound."Read More
Talking with singers: Isabel Bayrakdarian
And right in between, there's the chamber group experience, which feels intimate enough that you don't need a conductor, but there's a constant sense of awareness of the need to be very sensitive to each instrument enveloping you (literally and figuratively) on stage. So there's more conscious give and take - teamwork - to make the collective work and shine.Read More