Stage director Alison Moritz continues her season of leading world premieres and company debuts, with her return to Washington National Opera’s American Opera Initiative, leading Kamala Sankaram’s Taking Up Serpents. Anne Midgette previews the piece ahead of it’s January 11, 2019 premiere.
L2 Artists is proud to welcome four new artists to their growing roster of international artists.
Soprano Diana Newman is a graduate of the Ryan Opera Center. This season she returns to the Lyric Opera of Chicago for their production of Siegfried, sings Carmina Burana with the Rochester Philharmonic, and makes her Alabama Symphony debut in performances of Beethoven’s Symphony No. 9.
Baritone Alexander Birch Elliott recently jumped onto the international scene, replacing an ill colleague at The Metropolitan Opera as Zurga in Pearl Fishers, eventually taking over the entire run of performances. Further performances this season include Silvio in Pagliacci for Opera Omaha, and Belcore in L’elisir d’amore with Virginia Opera.
Soprano Rachel Sterrenberg is a graduate of the Curtis Institute of Music and a former Resident Artist with Opera Philadelphia. Most recently she made her debut with The Atlanta Opera as Chan Parker in Charlier Parker’s YARDBIRD, a role she created at Opera Philadelphia with further performances at Lyric Opera of Chicago, English National Opera, and Madison Opera.
Tenor Jonathan Burton is heard around the world in the most demanding tenor repertoire. He is regularly heard as Canio in Pagliacci, Cavaradossi in Tosca, Calaf in Turandot, Manrico in Il trovatore, and Dick Johnson in La fanciulla del West. This seasons he appears with Lyric Opera of Chicago, Opera Omaha, Sarasota Opera, Knoxville Opera, and in various concerts throughout the United States.
“Ultimately, the glory of “The Love Potion” is Martin’s magnificent score, which Benjamin Makino conducted meticulously. Makino, consistently sensitive to the work’s exquisite timing and placement of dynamics and color, made the most of the composer’s subtle chamber orchestra textures.” – Rick Schultz, Los Angeles Times
“With subtle but informative gestures, Makino led his players in sensible tempi and added pathos to the performance of this music written in a style that showed the influences of both Claude Debussy and Arnold Schoenberg. Although much of the orchestral music worked its magic in a subdued manner, this conductor partnered with the singers as they dramatized their parts on stage.” – Maria Nockin, Operawire
“Soprano Pureum Jo was a Susanna both lovely and lyrical, her dramatics faultless and her control in her delicate garden aria — 2½ hours into this production — was impressive. And, yes, it was fun watching her punch out Figaro a few times for attempting to trick her himself.” – Naples Daily News
Chuck Hudson’s zany and feisty Don Pasquale (production owned and created by Arizona Opera) opened the Fort Worth Opera Festival on Saturday, April 28, 2018. Reviewers have praised the production since it’s inception, with further performances with Cincinnati Opera, Atlanta Opera, and Minnesota Opera. The production will travel to Pittsburgh Opera in the 2018-2019 season.
Texas Classical Review said of the performance in Fort Worth: “Director Chuck Hudson, known for his innovative approach to opera, created this version for Arizona Opera in 2014, with whimsical sets by Peter Nolle and equally engaging costumes by Kathleen Trott. With a few minor adjustments in the text, some added scene-change music (with fake classic film footage) and lots of mild visual slapstick, the production neatly enhances and retells this predictable romance for 21st Century audiences.”
For more information on Chuck Hudson’s productions, please visit www.chdirector.com.