Opera in the Ozarks is thrilled to announce its 68th season, featuring young artists at the start of their professional careers. The 2018 season will begin on June 22 and conclude on July 20 and will feature performances of Mozart’s The Abduction from the Seraglio (Die Entführung aus dem Serail), Johann Strauss Jr.’s Die Fledermaus, and Douglas Moore’s The Ballad of Baby Doe. The Mozart opera has never been done at Opera in the Ozarks before and will be performed in German. The other two productions will be in English, with the Strauss opera using an English translation by former Opera in the Ozarks General Director, Vern Sutton.
The children’s opera performed at outreach events has not been chosen yet and will be announced at a later date.
Audition dates for the Opera in the Ozarks competitive program will be announced in the fall. Over 3000 singers and musicians have attended Opera in the Ozarks and graduates of the program grace the stages of the world’s finest opera houses, teach in the finest music schools and universities, and enhance the musical and theatrical culture around the world. Artists are selected for the program purely on merit and potential, not on national origin, ethnic background, religious affiliation, sexual identity, or race.
by Don Dagenais
It is one of the paradoxes of musical history that the shy, bespectacled Frenchman Georges Bizet was creator of Carmen , the story of the sensuous and tempestuous gypsy woman whose life, full of crime and violence, ends in one of the most dramatic of all stage murders. But such are the curiosities of art.
Bizet was born in 1838 and, after showing prodigious musical talent at a tender age, entered the famed Paris Conservatoire when only nine. His teachers there included the grand opera masters Charles Gounod and Fromental Halévy (whose daughter Bizet later married), and upon his graduation he won France’s coveted Prix de Rome. Continue reading
Marcellina in The Marriage of Figaro has become a specialty of(OIO 1984), who has recently sung it in Houston and Kansas City. The mezzo was also in Andrea Chenier for the San Francisco Opera in September.
The Florentine Opera of Milwaukee had Katrina Thurman (OIO 1997) in its cast for The Barber of Seville last month, singing the role of Berta.
Baritone Gregory Wascoe (OIO 1999) sang in The Mikado for the Mississippi Opera last year, where he also performed in Sondheim’s Into the Woods. His career has mostly been in the musical theater, where in recent years he has performed Pontius Pilate in and Emile DeBeque in South Pacifc, among other musical theater roles
Anthony Clark Evans, a baritone (OIO 2008) has been busy this past year. Last April he sang Sharpless in Madama Butterﬂy for the San Diego Opera, and then spent part of the summer with the Opera Theater of St. Louis as Marcello in La bohème.
In the fall he repeated Sharpless for the San Francisco Opera, then sang Lovec in Rusalka for the Metropolitan Opera. In June he competes in the famed BBC Singer of the World competition in Cardiﬀ, Wales, and in February he takes on Sir Riccardo Forth in I Puritani with the Lyric Opera of Chicago.
Sarah Tucker (OIO 2005) sang Zerlina in Don Giovanni for the Arizona Opera last spring, then took on Jano in Jenůfa for the San Francisco Opera last summer. This coming fall she will sing in the new opera I Have No Stories to Tell You for the Philadelphia Opera.
The Dayton Opera featured soprano (OIO 2011) in her debut with the company as Blonde in Mozart’s Die Entführung aus dem Serail in February 2017. Also in the cast is Robert Norman (OIO 2009) as Pedrillo. This month Friedlander also appears with the company as Frasquita in Carmen.
Soon she will make her Chautauqua Opera debut in Monteverdi’s Orfeo singing Eurydice, and will also perform Soprano 1 in Phillip Glass’s Hydrogen Jukebox. Other recent roles for Friedlander include The Pirates of Penzance with the Ohio Light Opera Company and Nannetta in Falstaﬀ with the Martina Arroyo Prelude.
(OIO 1993) journeys to the Spoleto Festival USA in Charleston where he will perform Triquet in Eugene Onegin in May and June. Then, for the Charlottesville Opera (Ash Lawn Opera) he plays Curly in Oklahoma before heading West for the Pacifc Opera Project in Los Angeles to sing Edgardo in Lucia di Lammermoor in September. The Long Beach Opera has also signed him to perform in Menotti’s opera The Consul.
Soprano Latonia Moore (OIO 1999) has been singing the title role in Aida at the Metropolitan Opera, attended by several IPFAC supporters (see photo and caption on page 1). She is at least the second OIO graduate to sing the role at the Metropolitan Opera, as one of her predecessors in Aida was Leona Mitchell (OIO 1970). Mitchell sang the role of Aida over 300 times in opera houses around the world during her extensive career.