Gioacchino Rossini's
Il Barbiere di Siviglia
November 11, 23, 18, 19, 21, 2014
The Green Building
Photos by Martina Maffini and Michael De Pasquale
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In a former brass foundry in Carroll Gardens, Brooklyn, LoftOpera presented [a] funny, dark-edge smart production. LoftOpera’s greatest gift to its audience is reach-out-and-grab-the-props proximity and total immersion...where the fascination with observing the craft up close heightens the pleasure of consuming its product. LoftOpera’s production calls for a resounding “cheers.”
—Corinna da Fonseca-Wollheim, The New York Times
During the performance, the crowd of around 300 flanked a narrow playing area, sipping beer and red wine while witnessing a lively, musically solid performance of the Rossini farce. If the staging tended to rollick a bit too much—from my front row seat I dodged a thrown beer can, a set of bunny ears and a somersaulting soprano singing a high C—the singers were clearly having a ton of fun, which the audience shared. When your only worry about an opera company is that it may become too mainstream, that suggests it’s important and valid. LoftOpera is more than that: it’s vital.
—James Jorden, The New York Observer
Happily, LoftOpera is only two years old, so I was only 700 days late to this particular party. How can you not have an enormous smile on your face when you walk into a venue like this offering Barber, and find positioned near the entrance an actual barber chair complete with hairdresser offering free trims to anyone who signs up on the chalkboard? Of course, an opera has to be judged on its musical merits, not its beauticians, and this production was sensational...The production itself was sublime, a real treat.
—Glen Roven, The Huffington Post
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ProductionDirector // Laine Rettmer
Music Director // Sean Kelly Conductor // Dean Buck Set Design // Julia Noulin-Merat Lighting // Carl Wiemann Technical Director // Andrea Merkx Costume Designer // Lauren Gaston Production Director // Melanie Milton Assistant Director, Stage Manager // Bruno Baker Assistant Conductor // Darren Ziller Make-up Artist // Allie Smith Production Assistant // Paul Kim Logo Designer // Doug Smith at Penmanships Brand Manager // Claudia Vitarelli Creative Director // Daniel Ellis-Ferris General Manager // Brianna Maury |
CastFigaro // José Adán Pérez
Count Almaviva // Jonathan Blalock Rosina // Kristin Gornstein Bartolo // Daniel Klein Basilio // Adrian Rosas Berta // Michelle Trovato Fiorello // Joel Herold Maid // Marina Abbrescia Maid // Ines Novacic Figaro's Daughter // Yaylin Garcia Chorus // Raphael Anastasiadis William Baugh Tai Collins Josue Mejias Sean Jernigan Otto Berkes, Jr. Wayne Paul Antonio Watts |
OrchestraFlute // Michelle Stockman
Oboe // Phil Rashkin Clarinet // Samuel Marques Clarinet // Trenley Anderson Bassoon // Tilden Marbit Horn // Gal Guttman, Elizabeth Harraman Horn // Bert Hill Trumpet // Cody Rowlands Percussion // Mack Williamson Guitar // J.P. McShane Violin I // Emily Vold Violin I // Bonnie Brown Violin II // Maya Bennardo, Gokce Erem Violin II // Mara Gerety Viola // Trevor New Viola // Allyson Clare Twohy Cello // Susan Mandel, Jennifer Shaw Cello // Nick Jozwiak Bass // Ben Murphy, John Andrew Wilhite |
Laine Rettmer
Stage Director
Laine Rettmer is an opera director and actress. She is currently the resident Stage Director for LoftOpera. Laine's LoftOpera production of Bohème played a sold-out run and was called, "Triumphant...a performance that is as true and moving as any I can remember in 40 years of opera-going," by The New York Observer. Previous opera associate and assistant director credits include Powder Her Face, which opened New York City Opera's last season at BAM, and Evan Ziporyn's opera A House in Bali, which premiered at Berkley Rep and toured to Boston and BAM. She has collaborated with the theater and opera director Jay Scheib for the past six years on twelve productions. Laine graduated from New York University Tisch School of the Arts.
Stage Director
Laine Rettmer is an opera director and actress. She is currently the resident Stage Director for LoftOpera. Laine's LoftOpera production of Bohème played a sold-out run and was called, "Triumphant...a performance that is as true and moving as any I can remember in 40 years of opera-going," by The New York Observer. Previous opera associate and assistant director credits include Powder Her Face, which opened New York City Opera's last season at BAM, and Evan Ziporyn's opera A House in Bali, which premiered at Berkley Rep and toured to Boston and BAM. She has collaborated with the theater and opera director Jay Scheib for the past six years on twelve productions. Laine graduated from New York University Tisch School of the Arts.
Sean Kelly
Music Director
A Pittsburgh native, Sean Kelly has an active career as a pianist vocal coach in the US and Europe. Sean has worked in many theaters throughout the world including The Metropolitan Opera, Fort Worth Opera, Wolftrap Opera, Seattle Opera, Teatro dell'Opera di Roma, Teatro Comunale Francesco Cilea, The Istanbul Opera Festival and Accademia di Santa Cecilia. In 2011, he was invited to perform at the first Leyla Gencer Memorial Concert in Ankara. Sean has also an active teaching career as a past faculty member of Carnegie Mellon University in Pittsburgh, the Conservatorio di Santa Cecilia in Rome, Opera Theatre and Music Festival of Lucca, and currently the Lorenzo Malfatti Accademia Vocale.
Music Director
A Pittsburgh native, Sean Kelly has an active career as a pianist vocal coach in the US and Europe. Sean has worked in many theaters throughout the world including The Metropolitan Opera, Fort Worth Opera, Wolftrap Opera, Seattle Opera, Teatro dell'Opera di Roma, Teatro Comunale Francesco Cilea, The Istanbul Opera Festival and Accademia di Santa Cecilia. In 2011, he was invited to perform at the first Leyla Gencer Memorial Concert in Ankara. Sean has also an active teaching career as a past faculty member of Carnegie Mellon University in Pittsburgh, the Conservatorio di Santa Cecilia in Rome, Opera Theatre and Music Festival of Lucca, and currently the Lorenzo Malfatti Accademia Vocale.
Julia Noulin-Mérat
Set Designer
Julia Noulin-Mérat is the principal designer at Noulin-Mérat Studio, a New York design firm that has designed over 250 productions for opera, film, television, and site specific immersive theatre. She is the Associate Producer at Boston Lyric Opera, the Director of Design and Production for the Boston-based Guerilla Opera, and is the resident designer for New York companies Attic Theater and Exit, Pursued By a Bear. Previous opera work includes Clemency and La Traviata with Boston Lyric Opera; Bluebeard’s Castle with Opera Omaha; Madama Butterfly with El Paso Opera and Opera New Jersey; Susannah with Ash Lawn Opera; Gallo and Giver of Light with Guerilla Opera; Tranformations with Boston Conservatory; The Return of Ulysses with Opera Omnia; Sumeida's Song with Boston Opera Collaborative; La Descente d'Ophee with Gotham Chamber Opera.
Set Designer
Julia Noulin-Mérat is the principal designer at Noulin-Mérat Studio, a New York design firm that has designed over 250 productions for opera, film, television, and site specific immersive theatre. She is the Associate Producer at Boston Lyric Opera, the Director of Design and Production for the Boston-based Guerilla Opera, and is the resident designer for New York companies Attic Theater and Exit, Pursued By a Bear. Previous opera work includes Clemency and La Traviata with Boston Lyric Opera; Bluebeard’s Castle with Opera Omaha; Madama Butterfly with El Paso Opera and Opera New Jersey; Susannah with Ash Lawn Opera; Gallo and Giver of Light with Guerilla Opera; Tranformations with Boston Conservatory; The Return of Ulysses with Opera Omnia; Sumeida's Song with Boston Opera Collaborative; La Descente d'Ophee with Gotham Chamber Opera.
Carl Wiemann
Lighting Designer
Carl Wiemann is a lighting designer for opera, dance, theater, and architecture. He has designed for LoftOpera, Boston Lyric Opera, The Boston Conservatory, Boston Opera Collaborative, Center for Contemporary Opera, The Flea, Exit Pursued by a Bear, The Chase Brock Experience, Bushwick Starr, Merchants Hall, The Jenny Wiley Theater, and The Claque, among others. In 2009, Carl founded Sense Lighting Design, an architectural lighting consultancy that partners with artists, architects, and creative agencies. Sense designs permanent built environments for the architectural realm, and temporary installations, exhibitions, and experiential environments for luxury commercial brands, galleries, and independent artists. Carl is a New York City based lighting designer, and is a member of the board of directors of the Designers Lighting Forum of New York.
Lighting Designer
Carl Wiemann is a lighting designer for opera, dance, theater, and architecture. He has designed for LoftOpera, Boston Lyric Opera, The Boston Conservatory, Boston Opera Collaborative, Center for Contemporary Opera, The Flea, Exit Pursued by a Bear, The Chase Brock Experience, Bushwick Starr, Merchants Hall, The Jenny Wiley Theater, and The Claque, among others. In 2009, Carl founded Sense Lighting Design, an architectural lighting consultancy that partners with artists, architects, and creative agencies. Sense designs permanent built environments for the architectural realm, and temporary installations, exhibitions, and experiential environments for luxury commercial brands, galleries, and independent artists. Carl is a New York City based lighting designer, and is a member of the board of directors of the Designers Lighting Forum of New York.
Lauren Gaston
Costume Designer
Lauren Gaston's costume design work includes projects for The Festival of International Opera of the Americas (Campinas, Brazil), La Musica Lirica (Novafeltria, Italy) and The Hong Kong Academy for the Performing Arts. Prior professional experience also includes two seasons with The Metropolitan Opera’s costume department in New York City. Regional design credits include: Susannah (Ash Lawn Opera, VA); Madama Butterfly (The Castleton Festival, Co-Design with Jonathan Knipscher); Romeo and Juliet (The Kansas City Repertory Theatre, Co-Design with Lindsay W. Davis); Le Nozze di Figaro (UMKC Conservatory of Music and Dance); Inspecting Carol (The Unicorn Theatre, MO); Death of a Salesman (The Kansas City Repertory Theatre, Co-Design with Lindsay W. Davis). Lauren holds a B.A. in Theatre from Wake Forest University and a Master of Fine Arts in Costume Design and Technology from the University of Missouri-Kansas City.
Costume Designer
Lauren Gaston's costume design work includes projects for The Festival of International Opera of the Americas (Campinas, Brazil), La Musica Lirica (Novafeltria, Italy) and The Hong Kong Academy for the Performing Arts. Prior professional experience also includes two seasons with The Metropolitan Opera’s costume department in New York City. Regional design credits include: Susannah (Ash Lawn Opera, VA); Madama Butterfly (The Castleton Festival, Co-Design with Jonathan Knipscher); Romeo and Juliet (The Kansas City Repertory Theatre, Co-Design with Lindsay W. Davis); Le Nozze di Figaro (UMKC Conservatory of Music and Dance); Inspecting Carol (The Unicorn Theatre, MO); Death of a Salesman (The Kansas City Repertory Theatre, Co-Design with Lindsay W. Davis). Lauren holds a B.A. in Theatre from Wake Forest University and a Master of Fine Arts in Costume Design and Technology from the University of Missouri-Kansas City.
Ben Hobbs
Choreographer
Ben Hobbs is a performer, writer, choreographer. Select credits include: Fuerzabruta (NYC); Red Wednesday (Ice Factory Fest, LPAC); Clown Bar (Parkside Lounge, The Box); We Were Wild Once (3LD, NY Theatre Workshop) Nuclear Love Affair (Roma Fringe Festival, HERE, Prague Fringe Festival, Ars Nova); Drunkfish Oceanrant (Prelude Festival, Dixon Place); BYUIOO (Judson Church); Hamlet (Galapagos Art Space); Lynn Barr Dance Theatre (Judson Church, Kaatsbaan). He holds a BFA in Drama from NYU’s Tisch School of the Arts, with a minor in Art History. He also studied Chinese Opera at the Shanghai Theater Academy and Dance at Point Park University. Ben is Associate Artistic Director of Built for Collapse, a BK-based experimental theater company.
Choreographer
Ben Hobbs is a performer, writer, choreographer. Select credits include: Fuerzabruta (NYC); Red Wednesday (Ice Factory Fest, LPAC); Clown Bar (Parkside Lounge, The Box); We Were Wild Once (3LD, NY Theatre Workshop) Nuclear Love Affair (Roma Fringe Festival, HERE, Prague Fringe Festival, Ars Nova); Drunkfish Oceanrant (Prelude Festival, Dixon Place); BYUIOO (Judson Church); Hamlet (Galapagos Art Space); Lynn Barr Dance Theatre (Judson Church, Kaatsbaan). He holds a BFA in Drama from NYU’s Tisch School of the Arts, with a minor in Art History. He also studied Chinese Opera at the Shanghai Theater Academy and Dance at Point Park University. Ben is Associate Artistic Director of Built for Collapse, a BK-based experimental theater company.
José Adán Pérez
Baritone, 'Figaro'
José Adán Pérez is an alumnus of Plácido Domingo’s Opera Program at LA Opera, the AVA, Aspen Opera School, IVAI and SIVAM. Zachary Woolfe from The New York Times comments: "José Adán Pérez had an impressive New York debut, his voice smooth, clear and rich.” After his operatic debut in LA Opera as Marcello in La Bohème conducted by Maestro Domingo, he has performed with, among others, NY City Opera, LA Phil, LA Master Chorale, Theater Basel, Teatro M. Bellini, Bellas Artes Opera, OFUNAM, Aspen Music Fest, and Cervantino Fest; singing for the batons of, among others, Plácido Domingo, James Conlon, Gustavo Dudamel, Angel Romero, Michele Mariotti, Michael Christie, Grant Gershon, Will Humburg, Eduardo Diaz-Munoz. José's recordings include, Daniel Catán’s Il Postino and Schreker’s Die Gezeichneten (LA Opera); Fauré’s Requiem (OFUNAM); and the Latin Grammy nominated opera Gabriela Ortiz’s Únicamente la Verdad. Prior to his musical pursuits, José worked several years in the automotive industry as engineer.
Baritone, 'Figaro'
José Adán Pérez is an alumnus of Plácido Domingo’s Opera Program at LA Opera, the AVA, Aspen Opera School, IVAI and SIVAM. Zachary Woolfe from The New York Times comments: "José Adán Pérez had an impressive New York debut, his voice smooth, clear and rich.” After his operatic debut in LA Opera as Marcello in La Bohème conducted by Maestro Domingo, he has performed with, among others, NY City Opera, LA Phil, LA Master Chorale, Theater Basel, Teatro M. Bellini, Bellas Artes Opera, OFUNAM, Aspen Music Fest, and Cervantino Fest; singing for the batons of, among others, Plácido Domingo, James Conlon, Gustavo Dudamel, Angel Romero, Michele Mariotti, Michael Christie, Grant Gershon, Will Humburg, Eduardo Diaz-Munoz. José's recordings include, Daniel Catán’s Il Postino and Schreker’s Die Gezeichneten (LA Opera); Fauré’s Requiem (OFUNAM); and the Latin Grammy nominated opera Gabriela Ortiz’s Únicamente la Verdad. Prior to his musical pursuits, José worked several years in the automotive industry as engineer.
Jonathan Blalock
Tenor, 'Count Almaviva'
Steve Smith of The New York Times states, “Jonathan Blalock is riveting in the title role: his voice sweet and true.” Recent performances include Washington National Opera (An American Soldier premiere), The Portland Symphony (The Magic of Christmas), Opera San Antonio (Fantastic Mr. Fox), West Edge Opera (Hydrogen Jukebox) and PROTOTYPE festival (Paul’s Case). In 2015 he will debut with Opera Roanoke (La Cenerentola), Cedar Rapids Opera (Don Giovanni), Des Moines Metro Opera (Die Entführung aus dem Serail) and Opera Parallèle (U.S. premiere of Heart of Darkness). Career highlights include world premieres of Martin’s Before Night Falls (Fort Worth Opera) and Dellaira’s The Secret Agent (Center for Contemporary Opera), Don Ottavio with Nevada Opera; Messiah with the Lexington Philharmonic and Winston-Salem Symphony; Carmina Burana with Las Crucas Symphony; Fenton with Mercury Opera in Rochester; Count Almaviva with Opera Middlebury; and Normanno, Howard Boucher, and Remendado with Fort Worth Opera.
Tenor, 'Count Almaviva'
Steve Smith of The New York Times states, “Jonathan Blalock is riveting in the title role: his voice sweet and true.” Recent performances include Washington National Opera (An American Soldier premiere), The Portland Symphony (The Magic of Christmas), Opera San Antonio (Fantastic Mr. Fox), West Edge Opera (Hydrogen Jukebox) and PROTOTYPE festival (Paul’s Case). In 2015 he will debut with Opera Roanoke (La Cenerentola), Cedar Rapids Opera (Don Giovanni), Des Moines Metro Opera (Die Entführung aus dem Serail) and Opera Parallèle (U.S. premiere of Heart of Darkness). Career highlights include world premieres of Martin’s Before Night Falls (Fort Worth Opera) and Dellaira’s The Secret Agent (Center for Contemporary Opera), Don Ottavio with Nevada Opera; Messiah with the Lexington Philharmonic and Winston-Salem Symphony; Carmina Burana with Las Crucas Symphony; Fenton with Mercury Opera in Rochester; Count Almaviva with Opera Middlebury; and Normanno, Howard Boucher, and Remendado with Fort Worth Opera.
Kristin Gornstein
Mezzo-soprano, 'Rosina'
Recently described as, "engaging...elegant voice" by The New York Times, American mezzo-soprano Kristin Gornstein brings her vibrant stage presence and supple voice to a diverse repertoire ranging from Handel to improvisational modern and electronic music. Praised as having "...a brilliant upper register that would be the envy of any soprano, with a chocolatey mezzo richness..." (Voce di Meche blog), Kristin frequently performs both opera and concert repertoire. During the 2013/14 season, Kristin debuted three roles; 'Dulcinée' in Massenet’s Don Quichotte, 'Romeo' in Bellini’s I Capuleti e I Montecchi, and 'Mrs. Slender' in Salieri’s Falstaff. She reprised her role in Johan deMeij’s Fourth Symphony, singing the mezzo-soprano solos with the Contra Costa Wind Symphony in Walnut Creek, CA. She was also awarded the Artistic Director’s Award at the Connecticut Opera Idol Competition in Hartford, CT.
Mezzo-soprano, 'Rosina'
Recently described as, "engaging...elegant voice" by The New York Times, American mezzo-soprano Kristin Gornstein brings her vibrant stage presence and supple voice to a diverse repertoire ranging from Handel to improvisational modern and electronic music. Praised as having "...a brilliant upper register that would be the envy of any soprano, with a chocolatey mezzo richness..." (Voce di Meche blog), Kristin frequently performs both opera and concert repertoire. During the 2013/14 season, Kristin debuted three roles; 'Dulcinée' in Massenet’s Don Quichotte, 'Romeo' in Bellini’s I Capuleti e I Montecchi, and 'Mrs. Slender' in Salieri’s Falstaff. She reprised her role in Johan deMeij’s Fourth Symphony, singing the mezzo-soprano solos with the Contra Costa Wind Symphony in Walnut Creek, CA. She was also awarded the Artistic Director’s Award at the Connecticut Opera Idol Competition in Hartford, CT.
Daniel Klein
Bass-baritone, 'Bartolo'
Imaginative, adventurous, and occasionally downright terrifying, audiences have found in bass-baritone Daniel Klein an exciting example of versatility. As he evolves as an artist, so have the roles for which he has been called upon to interpret. Most recently, he captured the complex balance of humor and terror as the 'Podestà' in Bronx Opera's La Gazza Ladra, the curse hurling 'Monterone' in Annapolis Opera's Rigoletto, the hunchbacked villian as 'Tonio' in Opera Providence's Pagliacci, and he brought swagger and comic timing to Fresno Grand Opera’s 'Pirate King' in Pirates of Penzance. He made his role debut as 'Emilie de Becque' in South Pacific with the New Canaan Summer Theater. He recently returned to the Opera Company of Middlebury, and in December he will be heading to the Sundance Theater Lab to create the role of 'Hatuey' in Frank London’s new opera Hatuey: A Memory Of Fire. Daniel sang the role of the 'Recluse' in Mr. London’s multimedia Talmudic Oratorio A night in the old Marketplace last fall in Sao Paulo, Brazil.
Bass-baritone, 'Bartolo'
Imaginative, adventurous, and occasionally downright terrifying, audiences have found in bass-baritone Daniel Klein an exciting example of versatility. As he evolves as an artist, so have the roles for which he has been called upon to interpret. Most recently, he captured the complex balance of humor and terror as the 'Podestà' in Bronx Opera's La Gazza Ladra, the curse hurling 'Monterone' in Annapolis Opera's Rigoletto, the hunchbacked villian as 'Tonio' in Opera Providence's Pagliacci, and he brought swagger and comic timing to Fresno Grand Opera’s 'Pirate King' in Pirates of Penzance. He made his role debut as 'Emilie de Becque' in South Pacific with the New Canaan Summer Theater. He recently returned to the Opera Company of Middlebury, and in December he will be heading to the Sundance Theater Lab to create the role of 'Hatuey' in Frank London’s new opera Hatuey: A Memory Of Fire. Daniel sang the role of the 'Recluse' in Mr. London’s multimedia Talmudic Oratorio A night in the old Marketplace last fall in Sao Paulo, Brazil.
Adrian Rosas
Bass-baritone, 'Basilio'
Hailed by Opera News as a “mellifluous bass-baritone [with] theatrical flair,” Adrian Rosas is an artist with “impressive experience and talent” (The Boston Globe). Adrian made his debut with Opera In The Heights, singing the title role in Don Giovanni, and reprised the role with First Coast Opera. He made his Opera Theatre of St. Louis debut in the role of 'The Captain' in Eugene Onegin, and understudied the role of 'Willy Wonka' in a world premiere of The Golden Ticket. He made his Seattle Opera debut as the 'Sergeant' in Il Barbiere di Siviglia, and as part of Seattle Opera’s Young Artist Program performed the roles of 'Procolo' in Viva la Mamma, and 'Masetto' and 'Il Commendatore' in Don Giovanni. Adrian maintains an active concert career, having made his Carnegie Hall/Stern Auditorium debut as the 'Angel Gabriel' in the premiere of Oh My Son by Marcos Galvany, and performing with New York Festival Of Song. Adrian is Voice Faculty at the California State Summer School for the Arts, and holds a Master of Music Degree from The Juilliard School.
Bass-baritone, 'Basilio'
Hailed by Opera News as a “mellifluous bass-baritone [with] theatrical flair,” Adrian Rosas is an artist with “impressive experience and talent” (The Boston Globe). Adrian made his debut with Opera In The Heights, singing the title role in Don Giovanni, and reprised the role with First Coast Opera. He made his Opera Theatre of St. Louis debut in the role of 'The Captain' in Eugene Onegin, and understudied the role of 'Willy Wonka' in a world premiere of The Golden Ticket. He made his Seattle Opera debut as the 'Sergeant' in Il Barbiere di Siviglia, and as part of Seattle Opera’s Young Artist Program performed the roles of 'Procolo' in Viva la Mamma, and 'Masetto' and 'Il Commendatore' in Don Giovanni. Adrian maintains an active concert career, having made his Carnegie Hall/Stern Auditorium debut as the 'Angel Gabriel' in the premiere of Oh My Son by Marcos Galvany, and performing with New York Festival Of Song. Adrian is Voice Faculty at the California State Summer School for the Arts, and holds a Master of Music Degree from The Juilliard School.
Michelle Trovato
Soprano, 'Berta'
Michelle Trovato was hailed as “vocally outstanding” (The Washington Post) for her company debut as 'Donna Anna' in Don Giovanni with DC Public Opera. Michelle has won awards from the Metropolitan Opera National Council Auditions, the Liederkranz Foundation, Marie Kraja International Opera Competition, Opera Les Azuriales, and the Concorso Internazionale “P. Cappuccilli.” Her credits include: Seattle Opera, Opera Colorado, Utah Festival Opera, Caramoor Festival, Brooklyn Philharmonic, Jackson Symphony, Spokane Symphony, Stamford Symphony, Symphonic Orchestra of Tirana, Crimea Philharmonic Orchestra, and Kennedy Center; and roles including: title roles in Anna Bolena, Maria Stuarda and Lucia di Lammermoor, 'Violetta' (La Traviata), 'Mimì' (La Bohème), 'Liu' (Turandot), 'Nedda' (I Pagliacci), and 'Micaela' (Carmen). Michelle appears with the Riverside County Orchestra singing selections from La Traviata and La Bohème, and as soprano soloist in Handel's Messiah with the Orchestra of the Bronx and Lynchburg Choral Society, VA.
Soprano, 'Berta'
Michelle Trovato was hailed as “vocally outstanding” (The Washington Post) for her company debut as 'Donna Anna' in Don Giovanni with DC Public Opera. Michelle has won awards from the Metropolitan Opera National Council Auditions, the Liederkranz Foundation, Marie Kraja International Opera Competition, Opera Les Azuriales, and the Concorso Internazionale “P. Cappuccilli.” Her credits include: Seattle Opera, Opera Colorado, Utah Festival Opera, Caramoor Festival, Brooklyn Philharmonic, Jackson Symphony, Spokane Symphony, Stamford Symphony, Symphonic Orchestra of Tirana, Crimea Philharmonic Orchestra, and Kennedy Center; and roles including: title roles in Anna Bolena, Maria Stuarda and Lucia di Lammermoor, 'Violetta' (La Traviata), 'Mimì' (La Bohème), 'Liu' (Turandot), 'Nedda' (I Pagliacci), and 'Micaela' (Carmen). Michelle appears with the Riverside County Orchestra singing selections from La Traviata and La Bohème, and as soprano soloist in Handel's Messiah with the Orchestra of the Bronx and Lynchburg Choral Society, VA.
Joel Herold
Baritone, 'Fiorello'
According to Opera News Joel Herold “showed off a handsome, light baritone and polished stage presence” as 'Pish-Tush' in The Mikado during the 2011 Fort Worth Opera Festival. A native of Pittsburgh, Joel was a national semi-finalist in the 2007 Metropolitan Opera National Council Auditions and participated in The Audition documentary that highlighted the competition. Recently, he was part of an acclaimed opera tour, #30daysofopera, with Opera Memphis. He has held a number of Young Artist positions at Fort Worth Opera, Saratoga Opera, and Connecticut Opera. Joel has sung with LoftOpera, Opera Western Reserve, Santa Fe Concert Association, Opera Cleveland, Knoxville Opera, and Opera Theater of Pittsburgh. Some of the roles that he has played include 'Schaunard' in La Bohème, 'Dandini' in Cinderella, 'Belcore' in The Elixir of Love, 'Papageno' in Die Zauberflöte, 'Antonio' in Le Nozze di Figaro, 'Bion/First Geezer' in Lysistrata and 'Frank' in Die Fledermaus.
Baritone, 'Fiorello'
According to Opera News Joel Herold “showed off a handsome, light baritone and polished stage presence” as 'Pish-Tush' in The Mikado during the 2011 Fort Worth Opera Festival. A native of Pittsburgh, Joel was a national semi-finalist in the 2007 Metropolitan Opera National Council Auditions and participated in The Audition documentary that highlighted the competition. Recently, he was part of an acclaimed opera tour, #30daysofopera, with Opera Memphis. He has held a number of Young Artist positions at Fort Worth Opera, Saratoga Opera, and Connecticut Opera. Joel has sung with LoftOpera, Opera Western Reserve, Santa Fe Concert Association, Opera Cleveland, Knoxville Opera, and Opera Theater of Pittsburgh. Some of the roles that he has played include 'Schaunard' in La Bohème, 'Dandini' in Cinderella, 'Belcore' in The Elixir of Love, 'Papageno' in Die Zauberflöte, 'Antonio' in Le Nozze di Figaro, 'Bion/First Geezer' in Lysistrata and 'Frank' in Die Fledermaus.
Marina Abbrescia
Dancer, 'Maid'
Marina was born and raised in Bari, Italy. Since the tender age of 5 she began her journey in the arts. She first studied dance and grew to learn and explore, from ballet to hip hop. Over time, she also began to cultivate and grow her singing voice and acting skills. She moved to Rome where she started her career in musical theatre. Her next stop was in Barcelona, Spain where she performed at PortAventura. The next and latest leg of her journey brought her to New York where she continues to dance with the Latin Fusion Dance Company. She performed in the original musical Milk Carton Molly at the Symphony Space, NYC and is currently developing her debut album.
Dancer, 'Maid'
Marina was born and raised in Bari, Italy. Since the tender age of 5 she began her journey in the arts. She first studied dance and grew to learn and explore, from ballet to hip hop. Over time, she also began to cultivate and grow her singing voice and acting skills. She moved to Rome where she started her career in musical theatre. Her next stop was in Barcelona, Spain where she performed at PortAventura. The next and latest leg of her journey brought her to New York where she continues to dance with the Latin Fusion Dance Company. She performed in the original musical Milk Carton Molly at the Symphony Space, NYC and is currently developing her debut album.
Ines Novacic
'Maid'
Ines Novacic is making her stage debut with LoftOpera. Ines is a video reporter at CBS News, primarily covering social justice issues. She previously worked for the Emmy-Award winning show VICE on HBO, and at ABC News London and ABC News Nightline. Previous theater credits include adapting and producing Bulgakov's The Master and Margarita for the Dublin, Ireland theater festival.
'Maid'
Ines Novacic is making her stage debut with LoftOpera. Ines is a video reporter at CBS News, primarily covering social justice issues. She previously worked for the Emmy-Award winning show VICE on HBO, and at ABC News London and ABC News Nightline. Previous theater credits include adapting and producing Bulgakov's The Master and Margarita for the Dublin, Ireland theater festival.
Yailyn Garcia
'Figaro's daughter'
"My name is Yailyn Garcia, I am 12 years old and I'm from Mexico. Right now I'm in 7th grade. I am very excited to be participating in this LoftOpera performance. Music is my passion and my favorite genre to sing is Regional Mexicano. Some of my performances have taken place in museums and theaters. I am thankful to the Academy of Mariachi of NY, directed by Mr. Ramon Ponce, and all their staff for sharing their talent with me."
'Figaro's daughter'
"My name is Yailyn Garcia, I am 12 years old and I'm from Mexico. Right now I'm in 7th grade. I am very excited to be participating in this LoftOpera performance. Music is my passion and my favorite genre to sing is Regional Mexicano. Some of my performances have taken place in museums and theaters. I am thankful to the Academy of Mariachi of NY, directed by Mr. Ramon Ponce, and all their staff for sharing their talent with me."
