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The New Generation Santa Fe
The Crosby Theater
08/21/2022 -
Richard Wagner: Siegfried, Act I, Opening
Thomas Cilluffo (Mime), Eric Taylor (Siegfried)
James Gaffigan (Conductor), Glenn Lewis (Piano)
Ken Cazan (Direction), Jessica Hill (Costumes), Martin Benesh (Lighting), Cassie Richardson (Wigs and Make-Up)
Giuseppe Verdi: La traviata, Act II, Duet
Teresa Perrotta (Violetta Valéry), Darren Lekeith Drone (Giorgio Germont)
Robert Tweten (Conductor), James Lesniak (Piano)
Crystal Manich (Direction), Kanani Sato (Costumes), Ciara McAloon (Lighting), Sophie Lin (Wigs and Make-Up)
Wolfgang Amadeus Mozart: Don Giovanni, K. 527, Act II, Sextet
Allen-Michael Jones (Leporello), Caroline Corrales (Dona Elvira), Dylan Davis (Don Ottavio), Caitlin Aloia (Donna Anna), Emilie Kaelani (Zerlina), Jongwon Han (Masetto)
Harry Bicket (Conductor), John Arida (Piano)
Crystal Manich (Direction), Yamilex Holguín Pérez, Carly Trujillo (Costumes), Martin Benesh (Lighting), Colin Jeffrey (Wigs and Make-Up)
Jules Massenet: Cendrillon, Act I, Scene 3
Megan Esther Grey (Mme de La Haltière), Amber Norelai (Noémie), Gloria Palermo (Dorothée)
Zoe Zeniodi (Conductor), Peter Pasztor (Piano)
James Robinson (Direction), Asia Weiss (Costumes), Ciara McAloon (Lighting), Katy Mitchell (Wigs and Make-Up)
Robert Ward: The Crucible, Act II, Duet
Maire Therese Carmack (Elizabeth Proctor), Erik Grendhal (John Proctor)
Robert Tweten (Conductor), Peter Pasztor (Piano)
James Robinson (Direction), Rebecca Gardner (Costumes), Martin Benesh (Lighting), KC Paulson (Wigs and Make-Up)
Gioachino Rossini: Armida, Act III, Duet and Trio
Avery Boettcher (Armida), Jonah Hoskins (Rinaldo), Kameron Lopreore (Ubaldo), Philippe L’Espérance (Carlo)
Iván López-Reynoso (Conductor), Carol Anderson (Piano)
Ken Cazan (Direction), Chloe Levy (Costumes), Ciara McAloon (Lighting), Davis Campbell Wigs and Make-Up)
Johann Strauss II: Die Fledermaus, Act I, Trio and Finale
Caroline Corrales (Rosalinda), Vanessa Croome (Adele), Justin Burgess (G. von Eisenstein), Daniel O’Hearn (Alfred), Frank Joseph Parrish (Inspector)
Leslie Dala (Conductor), Carol Anderson (Piano)
Kathleen Clawson (Direction), Dominique Stubbs (Costumes), Martin Benesh (Lighting), Kaeli Chavez (Wigs and Make-Up)
Richard Strauss: Der Rosenkavalier, Opus 59, Act III, Trio and Duet
Kathleen Felty (Octavian), Murella Parton (Marschallin), Emilie Kealani (Sophie), Erik Grendahl (Herr von Faninal)
Leslie Dala (Conductor), Glenn Lewis (Piano)
Kathleen Clawson (Direction), Sabrina Ehrnstein (Costumes), Ciara McAloon (Lighting), Sophie Lin (Wigs and Make-Up)
Set for Don Giovanni, SFO 2016 (© Ken Howard)
Since its inception in 1957, the Santa Fe Opera’s Apprentice Program has offered aspiring opera singers the opportunity to obtain advanced training and professional experience as they build a career in opera. For some of them, it was the start of a prestigious career: Bass Samuel Ramey, bass-baritone James Morris, mezzo-sopranos Susan Graham and Joyce DiDonato, directors Laurent Pelly and Richard Jones, among others. In 1965, the “Apprentice Technician” category was introduced, covering most of behind-the-scene operatic disciplines: costume, scenery, lighting, make-up and wig design, etc. The 2022 millesime included forty-seven singers and eighty technicians, all of them participating in this season’s five operas: Carmen, The Barber of Seville, the world premiere of M. Butterfly, Tristan und Isolde, and Falstaff.
Last night’s program showcased those young artists in bigger roles and all fared with passion, energy, stage presence, and vocal talent; and some inevitably stood out in the roster. Bass Allen Michael Jones was an exuberant Leporello, while mezzo-soprano Maire Therese Carmack and baritone Erik Grendahl sang a powerful and intense jealousy duet from John Ward’s The Crucible. The other good moments of the evening were unquestionably the Act II duet of La traviata with the distinguished baritone of Darren Lekeith Drone as Germont, and the promising Violetta of Teresa Perrotta, gifted with a clear and ringing soprano. The other moment of elevated musical quality was the Act III trio and duet from Der Rosenkavalier where mezzo-soprano Kathleen Felty found the appropriate dramatic tone for the difficult part of Octavian. Sopranos Murella Parton as the Marschallin and Emily Kealani as Sophie were well focused and the two scenes garnered a resounding and well-deserved applause.
Santa Fe Opera
Christian Dalzon
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