Heather in Tin Angel (world premiere) - Teatro Grattacielo
July 25th at 7pm
July 27th at 3pm
https://grattacielo.org/season/le-nozze-di-figaro
July 25th at 7pm
July 27th at 3pm
https://grattacielo.org/season/le-nozze-di-figaro
Ned Taylor is composing a piece for Melina Jaharis that will premiere on this concert.
Melina will be presenting a one hour program with various works, as well as Mahler’s Lieder eines fahrenden Gesellen.
Conductor: Diana Economou
https://artemischamberorchestra.org/?
425 Laurel Avenue, Highland Park, Illinois 60035
https://www.trinitychurchhp.org/
Gianni Schicchi - Giacomo Puccini
Florence, Italy. The greedy relatives of the wealthy Buoso Donati discover that the deceased has left his fortune to the church. The young Rinuccio suggests that Gianni Schicchi, a shrewd, self-made man and the father of his girlfriend, Lauretta, can help them. Schicchi appears with his daughter. Disgusted by the hypocrisy and avarice of the aristocratic family, he is about to leave but persuaded to stay by Lauretta who proclaims her intention to marry Rinuccio (“O mio babbino caro”). Reading the will, Schicchi devises a plan to impersonate the dead man. The relatives send for the notary and Schicchi, wearing Buoso’s nightshirt and cap, from his sickbed dictates a new will, in which he leaves the greater part of the estate, including the house they are in, to his “dear friend Gianni Schicchi.” The relatives are furious, and steal what they can from the house, chased out by Schicchi, who remains behind with Lauretta and Rinuccio. Turning to the audience, he points out how happy his fraud has made the young lovers and pleads that he not be judged too harshly.
Gianni Schicchi - Giacomo Puccini
Florence, Italy. The greedy relatives of the wealthy Buoso Donati discover that the deceased has left his fortune to the church. The young Rinuccio suggests that Gianni Schicchi, a shrewd, self-made man and the father of his girlfriend, Lauretta, can help them. Schicchi appears with his daughter. Disgusted by the hypocrisy and avarice of the aristocratic family, he is about to leave but persuaded to stay by Lauretta who proclaims her intention to marry Rinuccio (“O mio babbino caro”). Reading the will, Schicchi devises a plan to impersonate the dead man. The relatives send for the notary and Schicchi, wearing Buoso’s nightshirt and cap, from his sickbed dictates a new will, in which he leaves the greater part of the estate, including the house they are in, to his “dear friend Gianni Schicchi.” The relatives are furious, and steal what they can from the house, chased out by Schicchi, who remains behind with Lauretta and Rinuccio. Turning to the audience, he points out how happy his fraud has made the young lovers and pleads that he not be judged too harshly.
Puccini and his contemporaries recital with Opera Company Middlebury
Melina will be performing works by Respighi
Feb 4-16
A brand new adaptation, sung in English.
Music by Richard Strauss
Libretto from Hedwig Lachmann’s translation of the French play by Oscar Wilde.
English singing translation by Tom Hammond, used by permission of English National Opera Benevolent Fund.
Co-Adapted by Jacob Ashworth and Elizabeth Dinkova
Newly Arranged by Dan Schlosberg
Directed by Elizabeth Dinkova
Music Directed by Jacob Ashworth
Heartbeat Opera's radical take on an iconic work
What do we do while we wait for the world to end? In a society at the height of decadence, where pop stars sing for despots’ birthdays, and even fools can be billionaires, it’s not only the prophets who are kept in cages. There’s one for each of us. In a decaying palace on the edge of the world, everyone is yearning for something to believe in. Sung in English to recapture the shock of Strauss’s scandalous classic, Heartbeat’s intimate new take features a fresh 10-instrument orchestration by Dan Schlosberg of one of Opera’s most extravagant scores.
Salome // Summer Hassan
Herod // Patrick Cook
Jokanaan // Nathaniel Sullivan
Herodias // Manna K Jones
Narraboth // David Morgans
Page // Melina Jaharis
Soldier // Jeremy Harr
Salome (alternate performances) // Francesca Federico
Conductor // Jacob Ashworth
Clarinets // Yu-Ting Cheng
Clarinets // Nikki Pet
Clarinets // Jen Augello
Clarinets // Louis Arques
Clarinets // David Valbuena
Clarinets // Nadeen Fankhauser
Clarinets // Doug Wieselman
Clarinets // Jasper Dutz
Percussion // Katherine Fortunato
Percussion // Stella Perlic
Director // Elizabeth Dinkova
Music Director // Jacob Ashworth
Scenic Designer // Emona Stoykova
Costume Designer // Mika Eubanks
Video & Sound Design // John Gasper
Lighting Designer // Emma Deane
Props Designer // Madisen Frazier
Stage Manager // Natalie Wagner
Choreography // Emma Jaster
Fight & Intimacy Coordinator // Rick Sordelet
Production Management // Beth Ann Mastromarino
Interim Technical DIrector // Sarah Schetter
Technical Director // Ray Rodriguez
Assistant Director // Gregory Keng Strasser
Assistant Stage Manager // Alex Magallanes
Assistant Costume Design // Allison Esannason
Assist. Music Director/Orch Manager // Jake Eisner
Supertitles Operator // Nicholas Betson
Assistant Props Designer // George Reichard
Wardrobe Supervisor // Linnea Soderburg
Feb 4-16
A brand new adaptation, sung in English.
Music by Richard Strauss
Libretto from Hedwig Lachmann’s translation of the French play by Oscar Wilde.
English singing translation by Tom Hammond, used by permission of English National Opera Benevolent Fund.
Co-Adapted by Jacob Ashworth and Elizabeth Dinkova
Newly Arranged by Dan Schlosberg
Directed by Elizabeth Dinkova
Music Directed by Jacob Ashworth
Heartbeat Opera's radical take on an iconic work
What do we do while we wait for the world to end? In a society at the height of decadence, where pop stars sing for despots’ birthdays, and even fools can be billionaires, it’s not only the prophets who are kept in cages. There’s one for each of us. In a decaying palace on the edge of the world, everyone is yearning for something to believe in. Sung in English to recapture the shock of Strauss’s scandalous classic, Heartbeat’s intimate new take features a fresh 10-instrument orchestration by Dan Schlosberg of one of Opera’s most extravagant scores.
Salome // Summer Hassan
Herod // Patrick Cook
Jokanaan // Nathaniel Sullivan
Herodias // Manna K Jones
Narraboth // David Morgans
Page // Melina Jaharis
Soldier // Jeremy Harr
Salome (alternate performances) // Francesca Federico
Conductor // Jacob Ashworth
Clarinets // Yu-Ting Cheng
Clarinets // Nikki Pet
Clarinets // Jen Augello
Clarinets // Louis Arques
Clarinets // David Valbuena
Clarinets // Nadeen Fankhauser
Clarinets // Doug Wieselman
Clarinets // Jasper Dutz
Percussion // Katherine Fortunato
Percussion // Stella Perlic
Director // Elizabeth Dinkova
Music Director // Jacob Ashworth
Scenic Designer // Emona Stoykova
Costume Designer // Mika Eubanks
Video & Sound Design // John Gasper
Lighting Designer // Emma Deane
Props Designer // Madisen Frazier
Stage Manager // Natalie Wagner
Choreography // Emma Jaster
Fight & Intimacy Coordinator // Rick Sordelet
Production Management // Beth Ann Mastromarino
Interim Technical DIrector // Sarah Schetter
Technical Director // Ray Rodriguez
Assistant Director // Gregory Keng Strasser
Assistant Stage Manager // Alex Magallanes
Assistant Costume Design // Allison Esannason
Assist. Music Director/Orch Manager // Jake Eisner
Supertitles Operator // Nicholas Betson
Assistant Props Designer // George Reichard
Wardrobe Supervisor // Linnea Soderburg
Feb 4-16
A brand new adaptation, sung in English.
Music by Richard Strauss
Libretto from Hedwig Lachmann’s translation of the French play by Oscar Wilde.
English singing translation by Tom Hammond, used by permission of English National Opera Benevolent Fund.
Co-Adapted by Jacob Ashworth and Elizabeth Dinkova
Newly Arranged by Dan Schlosberg
Directed by Elizabeth Dinkova
Music Directed by Jacob Ashworth
Heartbeat Opera's radical take on an iconic work
What do we do while we wait for the world to end? In a society at the height of decadence, where pop stars sing for despots’ birthdays, and even fools can be billionaires, it’s not only the prophets who are kept in cages. There’s one for each of us. In a decaying palace on the edge of the world, everyone is yearning for something to believe in. Sung in English to recapture the shock of Strauss’s scandalous classic, Heartbeat’s intimate new take features a fresh 10-instrument orchestration by Dan Schlosberg of one of Opera’s most extravagant scores.
Salome // Summer Hassan
Herod // Patrick Cook
Jokanaan // Nathaniel Sullivan
Herodias // Manna K Jones
Narraboth // David Morgans
Page // Melina Jaharis
Soldier // Jeremy Harr
Salome (alternate performances) // Francesca Federico
Conductor // Jacob Ashworth
Clarinets // Yu-Ting Cheng
Clarinets // Nikki Pet
Clarinets // Jen Augello
Clarinets // Louis Arques
Clarinets // David Valbuena
Clarinets // Nadeen Fankhauser
Clarinets // Doug Wieselman
Clarinets // Jasper Dutz
Percussion // Katherine Fortunato
Percussion // Stella Perlic
Director // Elizabeth Dinkova
Music Director // Jacob Ashworth
Scenic Designer // Emona Stoykova
Costume Designer // Mika Eubanks
Video & Sound Design // John Gasper
Lighting Designer // Emma Deane
Props Designer // Madisen Frazier
Stage Manager // Natalie Wagner
Choreography // Emma Jaster
Fight & Intimacy Coordinator // Rick Sordelet
Production Management // Beth Ann Mastromarino
Interim Technical DIrector // Sarah Schetter
Technical Director // Ray Rodriguez
Assistant Director // Gregory Keng Strasser
Assistant Stage Manager // Alex Magallanes
Assistant Costume Design // Allison Esannason
Assist. Music Director/Orch Manager // Jake Eisner
Supertitles Operator // Nicholas Betson
Assistant Props Designer // George Reichard
Wardrobe Supervisor // Linnea Soderburg
Feb 4-16
A brand new adaptation, sung in English.
Music by Richard Strauss
Libretto from Hedwig Lachmann’s translation of the French play by Oscar Wilde.
English singing translation by Tom Hammond, used by permission of English National Opera Benevolent Fund.
Co-Adapted by Jacob Ashworth and Elizabeth Dinkova
Newly Arranged by Dan Schlosberg
Directed by Elizabeth Dinkova
Music Directed by Jacob Ashworth
Heartbeat Opera's radical take on an iconic work
What do we do while we wait for the world to end? In a society at the height of decadence, where pop stars sing for despots’ birthdays, and even fools can be billionaires, it’s not only the prophets who are kept in cages. There’s one for each of us. In a decaying palace on the edge of the world, everyone is yearning for something to believe in. Sung in English to recapture the shock of Strauss’s scandalous classic, Heartbeat’s intimate new take features a fresh 10-instrument orchestration by Dan Schlosberg of one of Opera’s most extravagant scores.
Salome // Summer Hassan
Herod // Patrick Cook
Jokanaan // Nathaniel Sullivan
Herodias // Manna K Jones
Narraboth // David Morgans
Page // Melina Jaharis
Soldier // Jeremy Harr
Salome (alternate performances) // Francesca Federico
Conductor // Jacob Ashworth
Clarinets // Yu-Ting Cheng
Clarinets // Nikki Pet
Clarinets // Jen Augello
Clarinets // Louis Arques
Clarinets // David Valbuena
Clarinets // Nadeen Fankhauser
Clarinets // Doug Wieselman
Clarinets // Jasper Dutz
Percussion // Katherine Fortunato
Percussion // Stella Perlic
Director // Elizabeth Dinkova
Music Director // Jacob Ashworth
Scenic Designer // Emona Stoykova
Costume Designer // Mika Eubanks
Video & Sound Design // John Gasper
Lighting Designer // Emma Deane
Props Designer // Madisen Frazier
Stage Manager // Natalie Wagner
Choreography // Emma Jaster
Fight & Intimacy Coordinator // Rick Sordelet
Production Management // Beth Ann Mastromarino
Interim Technical DIrector // Sarah Schetter
Technical Director // Ray Rodriguez
Assistant Director // Gregory Keng Strasser
Assistant Stage Manager // Alex Magallanes
Assistant Costume Design // Allison Esannason
Assist. Music Director/Orch Manager // Jake Eisner
Supertitles Operator // Nicholas Betson
Assistant Props Designer // George Reichard
Wardrobe Supervisor // Linnea Soderburg
Feb 4-16
A brand new adaptation, sung in English.
Music by Richard Strauss
Libretto from Hedwig Lachmann’s translation of the French play by Oscar Wilde.
English singing translation by Tom Hammond, used by permission of English National Opera Benevolent Fund.
Co-Adapted by Jacob Ashworth and Elizabeth Dinkova
Newly Arranged by Dan Schlosberg
Directed by Elizabeth Dinkova
Music Directed by Jacob Ashworth
Heartbeat Opera's radical take on an iconic work
What do we do while we wait for the world to end? In a society at the height of decadence, where pop stars sing for despots’ birthdays, and even fools can be billionaires, it’s not only the prophets who are kept in cages. There’s one for each of us. In a decaying palace on the edge of the world, everyone is yearning for something to believe in. Sung in English to recapture the shock of Strauss’s scandalous classic, Heartbeat’s intimate new take features a fresh 10-instrument orchestration by Dan Schlosberg of one of Opera’s most extravagant scores.
Salome // Summer Hassan
Herod // Patrick Cook
Jokanaan // Nathaniel Sullivan
Herodias // Manna K Jones
Narraboth // David Morgans
Page // Melina Jaharis
Soldier // Jeremy Harr
Salome (alternate performances) // Francesca Federico
Conductor // Jacob Ashworth
Clarinets // Yu-Ting Cheng
Clarinets // Nikki Pet
Clarinets // Jen Augello
Clarinets // Louis Arques
Clarinets // David Valbuena
Clarinets // Nadeen Fankhauser
Clarinets // Doug Wieselman
Clarinets // Jasper Dutz
Percussion // Katherine Fortunato
Percussion // Stella Perlic
Director // Elizabeth Dinkova
Music Director // Jacob Ashworth
Scenic Designer // Emona Stoykova
Costume Designer // Mika Eubanks
Video & Sound Design // John Gasper
Lighting Designer // Emma Deane
Props Designer // Madisen Frazier
Stage Manager // Natalie Wagner
Choreography // Emma Jaster
Fight & Intimacy Coordinator // Rick Sordelet
Production Management // Beth Ann Mastromarino
Interim Technical DIrector // Sarah Schetter
Technical Director // Ray Rodriguez
Assistant Director // Gregory Keng Strasser
Assistant Stage Manager // Alex Magallanes
Assistant Costume Design // Allison Esannason
Assist. Music Director/Orch Manager // Jake Eisner
Supertitles Operator // Nicholas Betson
Assistant Props Designer // George Reichard
Wardrobe Supervisor // Linnea Soderburg
Feb 4-16
A brand new adaptation, sung in English.
Music by Richard Strauss
Libretto from Hedwig Lachmann’s translation of the French play by Oscar Wilde.
English singing translation by Tom Hammond, used by permission of English National Opera Benevolent Fund.
Co-Adapted by Jacob Ashworth and Elizabeth Dinkova
Newly Arranged by Dan Schlosberg
Directed by Elizabeth Dinkova
Music Directed by Jacob Ashworth
Heartbeat Opera's radical take on an iconic work
What do we do while we wait for the world to end? In a society at the height of decadence, where pop stars sing for despots’ birthdays, and even fools can be billionaires, it’s not only the prophets who are kept in cages. There’s one for each of us. In a decaying palace on the edge of the world, everyone is yearning for something to believe in. Sung in English to recapture the shock of Strauss’s scandalous classic, Heartbeat’s intimate new take features a fresh 10-instrument orchestration by Dan Schlosberg of one of Opera’s most extravagant scores.
Salome // Summer Hassan
Herod // Patrick Cook
Jokanaan // Nathaniel Sullivan
Herodias // Manna K Jones
Narraboth // David Morgans
Page // Melina Jaharis
Soldier // Jeremy Harr
Salome (alternate performances) // Francesca Federico
Conductor // Jacob Ashworth
Clarinets // Yu-Ting Cheng
Clarinets // Nikki Pet
Clarinets // Jen Augello
Clarinets // Louis Arques
Clarinets // David Valbuena
Clarinets // Nadeen Fankhauser
Clarinets // Doug Wieselman
Clarinets // Jasper Dutz
Percussion // Katherine Fortunato
Percussion // Stella Perlic
Director // Elizabeth Dinkova
Music Director // Jacob Ashworth
Scenic Designer // Emona Stoykova
Costume Designer // Mika Eubanks
Video & Sound Design // John Gasper
Lighting Designer // Emma Deane
Props Designer // Madisen Frazier
Stage Manager // Natalie Wagner
Choreography // Emma Jaster
Fight & Intimacy Coordinator // Rick Sordelet
Production Management // Beth Ann Mastromarino
Interim Technical DIrector // Sarah Schetter
Technical Director // Ray Rodriguez
Assistant Director // Gregory Keng Strasser
Assistant Stage Manager // Alex Magallanes
Assistant Costume Design // Allison Esannason
Assist. Music Director/Orch Manager // Jake Eisner
Supertitles Operator // Nicholas Betson
Assistant Props Designer // George Reichard
Wardrobe Supervisor // Linnea Soderburg
Feb 4-16
A brand new adaptation, sung in English.
Music by Richard Strauss
Libretto from Hedwig Lachmann’s translation of the French play by Oscar Wilde.
English singing translation by Tom Hammond, used by permission of English National Opera Benevolent Fund.
Co-Adapted by Jacob Ashworth and Elizabeth Dinkova
Newly Arranged by Dan Schlosberg
Directed by Elizabeth Dinkova
Music Directed by Jacob Ashworth
Heartbeat Opera's radical take on an iconic work
What do we do while we wait for the world to end? In a society at the height of decadence, where pop stars sing for despots’ birthdays, and even fools can be billionaires, it’s not only the prophets who are kept in cages. There’s one for each of us. In a decaying palace on the edge of the world, everyone is yearning for something to believe in. Sung in English to recapture the shock of Strauss’s scandalous classic, Heartbeat’s intimate new take features a fresh 10-instrument orchestration by Dan Schlosberg of one of Opera’s most extravagant scores.
Salome // Summer Hassan
Herod // Patrick Cook
Jokanaan // Nathaniel Sullivan
Herodias // Manna K Jones
Narraboth // David Morgans
Page // Melina Jaharis
Soldier // Jeremy Harr
Salome (alternate performances) // Francesca Federico
Conductor // Jacob Ashworth
Clarinets // Yu-Ting Cheng
Clarinets // Nikki Pet
Clarinets // Jen Augello
Clarinets // Louis Arques
Clarinets // David Valbuena
Clarinets // Nadeen Fankhauser
Clarinets // Doug Wieselman
Clarinets // Jasper Dutz
Percussion // Katherine Fortunato
Percussion // Stella Perlic
Director // Elizabeth Dinkova
Music Director // Jacob Ashworth
Scenic Designer // Emona Stoykova
Costume Designer // Mika Eubanks
Video & Sound Design // John Gasper
Lighting Designer // Emma Deane
Props Designer // Madisen Frazier
Stage Manager // Natalie Wagner
Choreography // Emma Jaster
Fight & Intimacy Coordinator // Rick Sordelet
Production Management // Beth Ann Mastromarino
Interim Technical DIrector // Sarah Schetter
Technical Director // Ray Rodriguez
Assistant Director // Gregory Keng Strasser
Assistant Stage Manager // Alex Magallanes
Assistant Costume Design // Allison Esannason
Assist. Music Director/Orch Manager // Jake Eisner
Supertitles Operator // Nicholas Betson
Assistant Props Designer // George Reichard
Wardrobe Supervisor // Linnea Soderburg
Feb 4-16
A brand new adaptation, sung in English.
Music by Richard Strauss
Libretto from Hedwig Lachmann’s translation of the French play by Oscar Wilde.
English singing translation by Tom Hammond, used by permission of English National Opera Benevolent Fund.
Co-Adapted by Jacob Ashworth and Elizabeth Dinkova
Newly Arranged by Dan Schlosberg
Directed by Elizabeth Dinkova
Music Directed by Jacob Ashworth
Heartbeat Opera's radical take on an iconic work
What do we do while we wait for the world to end? In a society at the height of decadence, where pop stars sing for despots’ birthdays, and even fools can be billionaires, it’s not only the prophets who are kept in cages. There’s one for each of us. In a decaying palace on the edge of the world, everyone is yearning for something to believe in. Sung in English to recapture the shock of Strauss’s scandalous classic, Heartbeat’s intimate new take features a fresh 10-instrument orchestration by Dan Schlosberg of one of Opera’s most extravagant scores.
Salome // Summer Hassan
Herod // Patrick Cook
Jokanaan // Nathaniel Sullivan
Herodias // Manna K Jones
Narraboth // David Morgans
Page // Melina Jaharis
Soldier // Jeremy Harr
Salome (alternate performances) // Francesca Federico
Conductor // Jacob Ashworth
Clarinets // Yu-Ting Cheng
Clarinets // Nikki Pet
Clarinets // Jen Augello
Clarinets // Louis Arques
Clarinets // David Valbuena
Clarinets // Nadeen Fankhauser
Clarinets // Doug Wieselman
Clarinets // Jasper Dutz
Percussion // Katherine Fortunato
Percussion // Stella Perlic
Director // Elizabeth Dinkova
Music Director // Jacob Ashworth
Scenic Designer // Emona Stoykova
Costume Designer // Mika Eubanks
Video & Sound Design // John Gasper
Lighting Designer // Emma Deane
Props Designer // Madisen Frazier
Stage Manager // Natalie Wagner
Choreography // Emma Jaster
Fight & Intimacy Coordinator // Rick Sordelet
Production Management // Beth Ann Mastromarino
Interim Technical DIrector // Sarah Schetter
Technical Director // Ray Rodriguez
Assistant Director // Gregory Keng Strasser
Assistant Stage Manager // Alex Magallanes
Assistant Costume Design // Allison Esannason
Assist. Music Director/Orch Manager // Jake Eisner
Supertitles Operator // Nicholas Betson
Assistant Props Designer // George Reichard
Wardrobe Supervisor // Linnea Soderburg
Feb 4-16
A brand new adaptation, sung in English.
Music by Richard Strauss
Libretto from Hedwig Lachmann’s translation of the French play by Oscar Wilde.
English singing translation by Tom Hammond, used by permission of English National Opera Benevolent Fund.
Co-Adapted by Jacob Ashworth and Elizabeth Dinkova
Newly Arranged by Dan Schlosberg
Directed by Elizabeth Dinkova
Music Directed by Jacob Ashworth
Heartbeat Opera's radical take on an iconic work
What do we do while we wait for the world to end? In a society at the height of decadence, where pop stars sing for despots’ birthdays, and even fools can be billionaires, it’s not only the prophets who are kept in cages. There’s one for each of us. In a decaying palace on the edge of the world, everyone is yearning for something to believe in. Sung in English to recapture the shock of Strauss’s scandalous classic, Heartbeat’s intimate new take features a fresh 10-instrument orchestration by Dan Schlosberg of one of Opera’s most extravagant scores.
Salome // Summer Hassan
Herod // Patrick Cook
Jokanaan // Nathaniel Sullivan
Herodias // Manna K Jones
Narraboth // David Morgans
Page // Melina Jaharis
Soldier // Jeremy Harr
Salome (alternate performances) // Francesca Federico
Conductor // Jacob Ashworth
Clarinets // Yu-Ting Cheng
Clarinets // Nikki Pet
Clarinets // Jen Augello
Clarinets // Louis Arques
Clarinets // David Valbuena
Clarinets // Nadeen Fankhauser
Clarinets // Doug Wieselman
Clarinets // Jasper Dutz
Percussion // Katherine Fortunato
Percussion // Stella Perlic
Director // Elizabeth Dinkova
Music Director // Jacob Ashworth
Scenic Designer // Emona Stoykova
Costume Designer // Mika Eubanks
Video & Sound Design // John Gasper
Lighting Designer // Emma Deane
Props Designer // Madisen Frazier
Stage Manager // Natalie Wagner
Choreography // Emma Jaster
Fight & Intimacy Coordinator // Rick Sordelet
Production Management // Beth Ann Mastromarino
Interim Technical DIrector // Sarah Schetter
Technical Director // Ray Rodriguez
Assistant Director // Gregory Keng Strasser
Assistant Stage Manager // Alex Magallanes
Assistant Costume Design // Allison Esannason
Assist. Music Director/Orch Manager // Jake Eisner
Supertitles Operator // Nicholas Betson
Assistant Props Designer // George Reichard
Wardrobe Supervisor // Linnea Soderburg
In celebration of the 150th anniversary of the premiere of Verdi's Requiem, Opera Magnifico presents a beautiful evening of Verdi favorites from emerging artists with dramatic and exciting voices. Featuring favorite Verdi hits from La Traviata, Il Trovatore, Verdi's Requiem, and more, save the date for this magnificent performance, accompanied by piano to highlight the spectacular voices. Venue TBA
Saturday 8pm Staten Island
https://www.facebook.com/events/841017001530452
BASED ON
Pulitzer Prize-winning play “Beyond the Horizon” by Eugene O’Neill.
LOCATION
LA MAMA Shares, 66 East 4th Street, New York NY
MUSIC BY
Nicolas Flagello
LIBRETTO BY
Nicolas Flagello and Walter Simmons
SUNG IN ENGLIGH
RUN TIME
Approximately 2 hours, includes a 30-minute intermission
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Saturday, September 14th 2024
This last dress rehearsal/performance is open to our Creative Tableaux, an educational outreach program participants only. No general admission. Details soon to be announced!
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CREATIVE TEAM
CHRISTIAN CAPOCACCIA | Conductor
IAN SILVERMAN | Director
TAYLOR FRIEL | Set Designer
DIMITRIS KOUTAS | Lighting Designer
STEFANOS KORONEOS | Costume Designer
CAST
JOHN ROBERT GREEN | Andrew Mayo
JOHN BELLEMER | Robert Mayo
SARA KENNEDY | Ruth Atkins
DANIEL KLEIN | James Mayo
MELINA JAHARIS | Kate Mayo
STEVEN KIRBY | Captain Dick Scott
CARLA LOPEZ SPEZIALE | Mrs. Atkins
JOSEPH SURESKY | Kid role*
* Part of our collaboration with MyFace.
SECOND CAST
HENRY HYUNSOON KIM** | Andrew Mayo
JEREMY BRAUNER | Robert Mayo
KATHLEEN ECHOLS** | Ruth Atkins
RICK AGSTER | Captain Dick Scott
HANA YIU | Mrs. Atkins
** Current Camerata Bardi International Academy participants
——————————————————————————————————————————————————————————————————————————————————————————-
ABOUT “BEYOND THE HORIZON” THE PLAY
Author: Eugene O’Neill
Awards: Pulitzer Prize-winning
Written: 1918
First Produced and Published: 1920
Debut Location: New York
Significance:
O’Neill’s first successful full-length play
Marked a change in American drama
Reception:
Favorable response from critics and audiences
Known for its dark, tragic vision
Context:
Contrasted with the unrealistic, melodramatic plays of the day
Inspired by O’Neill’s personal experiences, including his tuberculosis and sea voyages
READ BACKSTAGE REVIEW OF THE PLAY by David Steward
https://www.backstage.com/magazine/article/ny-review-beyond-horizon-54509/
ABOUT ” BEYOND THE HORIZON” BY NICOLAS FLAGELLO
Composer: Nicholas Flagello
Based on: Play by Eugene O’Neill (1888-1953)
Significance of Play:
Written by Nobel laureate Eugene O’Neill
O’Neill is considered America’s greatest playwright
First published play by O’Neill
Introduction to Composer: Brought to Flagello’s attention by musicologist Walter Simmons
Composition Period: Several years, completed in short score in 1983
Challenges:
Flagello developed a degenerative neurological condition
Condition ended his creative life prematurely
Posthumous Completion:
Flagello died at age 66
Composer Anthony Sbordoni orchestrated the work
Left the work ready to perform
Listen Ruth’s Aria Act III
ABOUT NICOLAS FLAGELLO
Nicolas Flagello was born in New York City, into a family deeply immersed in music. His brother Ezio became one of the leading bassos of the Metropolitan Opera. Both his parents were avocational musicians, while his maternal grandfather was said to have studied with Verdi. For Nicolas music was a personal medium for emotional and spiritual expression, and this conviction underlay all his works. He began studying with the eminent composer of operas and songs, Vittorio Giannini (also the sibling of an operatic star, Dusolina Giannini), and the two remained close friends until the older man’s death. In recent years Flagello’s music has garnered enthusiastic advocacy, as many of his works have been performed and recorded.
Flagello’s previous operas have been well-received. When The Sisters (1958) was presented in New York City, the Herald-Tribune commented, “Flagello has the gift of writing gratefully for the voice, and his music has melodic sumptuousness. His orchestral texture is crystal-clear, and he knows how to underline dramatic events…first rate.” The following year he completed The Judgment of St. Francis, which was presented at the Cathedral of St. Francis, in Assisi. Musical America commented that the work’s “robust emotionalism is unflinching in its conviction, and its intensity is sustained by a sure sense of pacing, a natural flow of expressive melody integrated throughout the musical texture, and an ability to use voices, chorus, and orchestra to their maximum effect.” The critic for the New Yorker described it as “the most vigorous new opera I have come across in a long time…. [It displays] an unmistakable and totally unconfused talent for the operatic theatre.”
https://www.flagello.com/toc.htm
ABOUT WALTER SIMMONS
Walter Gustave Simmons (b. New York, NY, 19 November 1946) is a musicologist, critic, and record producer. He is best known as a champion of 20th-century composers—mostly American—who hewed to traditional musical values, rather than joining the avant-garde movements then in fashion. His writings appear in reference books, including the New Grove Dictionary of Music and Musicians, program notes for concerts and recordings, and in a variety of periodicals, most notably Fanfare, where he was a regular contributor for 35 years. He has been supervising editor of the Twentieth-Century Traditionalists series for Rowman and Littlefield Publishers, of which he wrote the first two volumes. He has produced first recordings of dozens of works by such composers as Vincent Persichetti, Peter Mennin, Vittorio Giannini, Paul Creston, Nicolas Flagello, and Arnold Rosner.
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Melina will be performing the role of Lola in Cavalleria rusticana with Regina Opera
Feb 27, March 2, 3, 9, & 10, 2024, at 3 PM
Free Performance with piano: February 27, 2024, at 7 PM
Orchestra conducted by Scott Jackson Wiley
Staged by Sabrina Palladino
Performed in Italian with English
A square in a small village in Sicily, late 19th Century
At dawn on Easter Sunday, Turiddu can be heard serenading his mistress, Lola (“O Lola, ch’hai di latti la camisa”). The villagers enter the square, celebrating the beautiful spring morning. After they leave, Santuzza appears, looking for Turiddu at the tavern of his mother, Mamma Lucia. Mamma Lucia reluctantly tells her that Turiddu has gone to Francofonte to buy wine, but Santuzza replies that he was seen in the village late last night. Mamma Lucia, surprised that her son has not yet returned home, invites Santuzza into her house. Santuzza declines, reminding Mamma Lucia that she has been excommunicated. Mamma Lucia asks what she knows of her son, but before Santuzza can say more than that her heart is breaking, the villagers assemble in the square to greet Alfio, the village carter, who has just returned. He loves his work, but his loves his wife, Lola, even more, and confidently expects that she is waiting at home for him (“Il cavallo scalpita”).
Mamma Lucia greets him, and when he asks for her special wine, she tells him that Turiddu has gone to get some. Alfio replies, however, that he saw Turiddu near his house early that morning. Mamma Lucia is again surprised, but Santuzza warns her to keep quiet. Alfio tells everyone to go into church as a choir sings a Regina Coeli. Santuzza and Mamma Lucia pray with the villagers (“Inneggiamo”), who file into the church for Easter services.
Alone with Mamma Lucia, Santuzza tells her tragic story (“Voi lo sapete, o mamma”): Turiddu had been in love with Lola, but he went into the army, and by the time he returned, she had married Alfio. Turiddu took up with Santuzza on the rebound, and Santuzza fell deeply in love with him. But Lola was jealous and seduced Turiddu away from her, leaving Santuzza without love and without honor. She begs Mamma Lucia to pray for her in church while she tries to get Turiddu to come back to her.
Turiddu arrives, none too happy to see Santuzza. He tries to evade her attempts to speak to him, and when she tells him that he had been seen that morning near Lola’s house, he accuses her of spying on him. But she replies that she heard it from Alfio’s own lips. Turiddu becomes furious, asking her if she wants him to be killed and pushing her away from him. She accuses him of being in love with Lola, which he denies. He derides her jealousy as she declares her love for him (“Bada Santuzza, schiavo non sono”).
Their argument is interrupted by the arrival of Lola, who idly strolls by singing a love ditty (“Fior di giaggiolo”). She coolly asks Turiddu if he has seen Alfio and sarcastically asks Santuzza whether she is going to Mass. When Santuzza says that Mass is for those who have not sinned, Lola gives thanks to God, infuriating Santuzza. Turiddu, embarrassed, wants to leave, but Lola, with heavy irony, urges him to stay. Santuzza firmly does likewise, and Lola ambles off into church. Santuzza urgently pleads with Turiddu to stay and listen to her (“No, no, Turiddu, rimani ancora”), but he again accuses her of spying on him and orders her to leave. Finally, she threatens him, and when he says that he doesn’t give a damn about her anger, she curses him, and he stalks away into the church.
Alfio now arrives, and Santuzza takes this opportunity to tell him all about Lola and Turiddu. But when he swears vengeance on them, she is suddenly contrite — and it is too late for that.
The Mass having ended, the villagers file out, cheerfully looking forward to going home. Turiddu urges Lola to stay, but she wants to go home, as she has not yet seen her husband. Turiddu tells her to stay, as Alfio will soon be there anyway. She agrees, and Turiddu leads everyone in a rousing drinking song and a toast to Lola (“Viva il vino spumeggiante”).
Alfio arrives, with a grim greeting to all. Turiddu welcomes him and offers him some wine, but Alfio declines, as it might turn into poison in his stomach. Turiddu pretends not to care; Lola, beside herself with fright, is led away by the village women. A tense standoff between Turiddu and Alfio ensues, during which Turiddu challenges Alfio by biting his ear.
Turiddu, suddenly remorseful, admits that he has done wrong, especially to Santuzza, who will be abandoned if he dies. Then, passionately, he swears he will plant his dagger in Alfio’s heart. Alfio coldly tells him that he will be waiting for him behind the orchard, and leaves.
Alone, Turiddu calls for his mother and tells her that the wine has made him giddy and that he is going out. But he first wants her blessing, just as when he went away into the army, and, if he does not return, he wants her to be a mother to Santuzza, whom he had promised to marry. Mamma Lucia, troubled, does not understand; Turiddu blames it on the wine and asks her to pray for him. Then he kisses her goodbye and rushes off. Mamma Lucia, thoroughly frightened, calls out to him. Santuzza enters and the two women embrace. In the distance, a woman cries out that Turiddu has been killed. The villagers rush in, crying, as Santuzza and Mamma Lucia fall senseless.
Melina will be performing works by James Dargan, Undine Smith Moore and Florence Price.
Tickets:
Opera On Tap Boston - City Winery Tickets
Opera, Art Song, and the Harlem Renaissance - Opera On Tap Boston
Join us for brunch on February 24 at City Winery Boston for a celebration of Black excellence in classical music and opera. We will be exploring art song and opera born of and inspired by the vibrant Harlem Renaissance, while diving deep into the narratives of Black musicians, poets and composers. Take the “A” train to a brunch experience like no other, where the melodies of culture and creativity converge for a truly unforgettable experience.
Featuring:
Nina Evelyn Anderson, Soprano
Melina Jaharis, Mezzo
Fred C. VanNess, Jr. , Tenor
Keith Eric Brinkley, Baritone
Marcus Schenck, Bass-baritone
Doug Sumi, Pianist
Bronx Opera
Operas in English
Melina will perform two of the four performances
Saturday, February 3 @ 7:30pm
Sunday, February 4 @ 2:30pm
Saturday, February 10 @ 7:30pm
Sunday, February 11 @ 2:30pm
Bronx Opera
Operas in English
Melina will perform two of the four performances
Saturday, February 3 @ 7:30pm
Sunday, February 4 @ 2:30pm
Saturday, February 10 @ 7:30pm
Sunday, February 11 @ 2:30pm
Bronx Opera
Operas in English
Melina will perform two of the four performances
Saturday, February 3 @ 7:30pm
Sunday, February 4 @ 2:30pm
Saturday, February 10 @ 7:30pm
Sunday, February 11 @ 2:30pm
