A Boisterous Rebirth for Opera in Orlando!!
Mozart's Impresario and Poulenc's Les Mamelles de Tiresias
English book and lyrics for Impresario by Josh and Kelsey Shaw (adapted by Eric Pinder)
Performances are April 22 and 23 at 7:30pm, and April 24 at 2pm at the Alexis & Jim Pugh Theatre at the Dr. Phillips Center
What will a struggling opera company do to stay afloat...? Anything the Impresario wants! In this unique, premiere pairing, Mozart's classic comedy "The Impresario" is updated to modern day Orlando, Florida where a struggling opera company desperate to do anything to survive must enlist the financial help of a flamboyant opera patron, Mr Deep-Pockets. He only makes one request; that the company use his two new soprano flings, Everly Shrills and Bethany Squeals in the company's next production. With all the needed backing from Mr Deep-Pockets, the Impresario can now do a piece he's always dreamed of, Les Mamelles de Tiresias or The Breasts of Tiresias; a surrealist piece by Francis Poulenc. The absurdist, gender-bending plot starts with a housewife (Terese) who is sick of doing chores and serving her husband so she removes her breasts (two balloons) and becomes a man (Tiresias) which leads to her husband taking on the role of the woman and now having to produce babies by himself which he does, only too well...
Opera is "expecting" in Central Florida...
Tickets Now on sale!!
Dr. Phillips Center for the Performing Arts 445 S. Magnolia Avenue, Orlando, FL 32801
Box Office Monday–Friday 10:00 AM – 4:00 PM Saturday 12:00 PM – 4:00 PM Phone: 844.513.2014
Everly Shrills/Therese - Julia Foster
Bethany Squeals/Newspaper Woman/Elegant Lady - Bridgette Gan
Harry the Impresario/Le Gendarme/Bearded Man - Hadleigh Adams
Mr. Deep-Pockets/Lacouf/The Son/The Journalist - Alex Mansoori
The Director/The Husband - Gabriel Preisser
Buff/Presto - Andrew Emery
Director- Eric Pinder
Conductor- Michael Sakir
Stage Manager - Fran Falcone
Rehearsal Pianist - Julie Tompkins
Costume Designer - Suzanne Sacks
Lighting Designer - Jon Whitely
Hair & Make-Up Designer - Nicole Dupre
Scenic Designer - Lilly Hastings
Children's Chorus Master - Robin Jensen
Julia Foster, soprano, is active and acclaimed in the stage, concert, and teaching arenas. On the operatic stage, Ms. Foster has recently portrayed Beth in Adamo’s Little Women, Vitige in Handel’s Flavio, and Pamina in Mozart’s Die Zauberflöte. Other favorite performances include Blanche in Dialogues of the Carmelites, Rose Maurrant in Kurt Weill’s Street Scene, Mabel in The Pirates of Penzance, and Adele in Die Fledermaus. Ms. Foster’s recent concert engagements have included Brahms’Requiem, Mozart’s Great Mass in C Minor, Mendelssohn’s Elijah, Handel’s Messiah, Poulenc’s Gloria, and Bach’s Mass in B Minor.
Ms. Foster is an advocate for the performance of Art Song and is a frequent recitalist, having toured throughout the United States. Alongside standard French, German, and American repertoire, her recitals have incorporated less traditional works, such as George Crumb’s Apparition for soprano and prepared piano. Her early repertoire ranges from Armonia in La Pellegrina to Bach’s celebrated cantata, Jauchzet Gott in allen Landen.
In service to the singing community, Ms. Foster serves as President of the Central Florida Chapter of the National Association of Teachers of Singing. Ms. Foster is also an Assistant Professor at Rollins College, where she leads a voice area of over 90 students and teaches voice and opera. She holds degrees in voice performance from the University of Wisconsin—Madison (BM), the Eastman School of Music (MM), and the Moores School of Music, University of Houston (DMA) and is a frequent master class clinician and adjudicator at universities and competitions throughout the nation.
Ms. Foster is delighted to be a part of Opera Orlando's first production and is honored to be back on stage at the beautiful Dr. Phillips Performing Arts Center, a venue that Ms. Foster christened during its grand opening festivities in 2014 as the soprano soloist in Orff’s Carmina Burana.
Soprano BRIDGETTE GAN, who has been praised as “outstanding” (Baltimore Examiner) and hailed by the Washington Post for her “gorgeous singing,” is quickly establishing herself as an exciting and upcoming lyric coloratura soprano in some of the country’s most renowned opera programs, stages, orchestras and competitions. Ms. Gan made a last minute acclaimed debut as Marie in Palm Beach Opera’s 2015 production of Le Fille du Régiment where critics called her performance “a tour de-force…vocally beautiful and consistent with a rich tone and sparkling high notes.” Shortly after, Bridgette debuted with the Center for Contemporary Opera in NYC as Jackie Kennedy in a new reading of Chandler Carter's opera “Bobby” and also made her Santa Fe Opera mainstage debut creating the role of Lila in their acclaimed world premiere of "Cold Mountain" which will soon be released as a commercial recording on Pentatone. Highlights of the 2015-2016 upcoming season include her solo debut with the Toledo Symphony in their "Rodgers and Hammerstein celebration" concert, a return to Florida as a guest artist in Palm Beach Opera’s “Opera on the Waterfront” concert, a debut with the South Florida Symphony as a soloist in their "And the Tony Goes to" concert tour and her role debut as Zerbinetta in Palm Beach Opera’s spring 2016 production of “Ariadne auf Naxos.”
Ms. Gan was a resident artist with Palm Beach Opera from 2013-2015 where she covered Musetta in La Bohème, Yadwiga in the world premiere of Enemies, A Love Story, sang Stella and Olympia (cover) in Les contes d'Hoffmann and Morgana in PBO’s “Opera in One Hour” production of Alcina. Also in 2014, Ms. Gan made her debut with the U.S Marine Chamber Orchestra as the soprano soloist in Barber’s Knoxville: Summer of 1915, and was a first year member of the prestigious Santa Fe Opera Apprentice program where she performed Kitty in The Last Savage (Apprentice Scenes Showcase) and covered the lead role of Vlada (Madame Herz)/The Cook in The Impresario/Le Rossignol.
Previous seasons Ms. Gan has appeared with the Ash Lawn Opera Festival, the Pacific Opera Project, and Opera Theatre Saint Louis. Bridgette has also sung several roles with Central City Opera, including Venus and Eurydice in Orpheus in the Underworld, as well as Madeline/Isabel in The Face on the Barroom Floor, Frasquita in Carmen, Celie in Signor Deluso.
Ms. Gan completed her Masters in Opera Performance from the Maryland Opera Studio. While with the studio, Bridgette portrayed Konstanze in their spring 2011 production of Die Entführung aus dem Serail, where The Washington Post called her “a gorgeous Konstanze…has the kind of lovely and flexible voice that can navigate intricate coloratura one minute and deliver a subtle put-down the next.” In the Studio’s Fall 2010 production of Florencia en el Amazonas, Bridgette sang the title character of Florencia, also to great acclaim, noted for her “gorgeous lyric singing” (The Washington Post.)
Bridgette has distinguished herself in numerous prestigious vocal competitions throughout the country. Most recently she was a Grant nominee for the 2015 Sara Tucker Award, a prize winner in the 2013 Violetta DuPont Vocal Competition and the 2013 Giulio Gari International Vocal Competition. Bridgette has won prizes from the Gerda Lissner Foundation (2nd Place, 2011), Central City Opera (Young Artist Award, 2010), the Licia Albanese-Pucinni Competion (Grant Award, 2010), Opera Index Vocal Competition (Career Award, 2009), the Philadelphia Orchestra Albert M. Greenfield Competition (2009 Grand Winner and debut with the Orchestra in 2010), the National Opera Association Voice Competition (1st place, 2009), and the National Foundation for the Advancement of the Arts, (2007) among others.
New Zealand baritone Hadleigh Adams is a former San Francisco Opera Adler Fellow and a graduate of the Merola Opera Program. Hadleigh studied at the University of Auckland, the New Zealand School of Music, and was an Emerging Artist with the NBR New Zealand Opera before relocating to Australia in 2009 as the inaugural Gertrude Johnson Scholar at The Opera Studio, Melbourne. He subsequently received a full scholarship to the Guildhall School of Music and Drama where he studied with Rudolf Piernay and Janice Chapman, gaining a Masters of Music with Distinction.
Whilst studying at Guildhall he made his debut at London’s Royal National Theatre singing the role of Christ in Jonathan Miller’s production of Bach’s St Matthew Passion, to critical acclaim. He has also performed in concert at St Martin-in-the-Fields, the Barbican Theatre, and at Wigmore Hall as part of the Voiceworks initiative.
Last year Hadleigh’s engagements included Schaunard (La Bohème) with San Francisco Opera, Guglielmo (Cosí fan Tutte) with Opera Pittsburgh, Zoroastro (Orlando) at the New York City Whitespace Art Centre, a residence at the renowned Marlboro Music Festival under the artistic direction of Mitsuko Uchida, a return to Pinchgut Opera to perform the title role in Vivaldi’s Bajazet, the Fauré Requiem with Sydney Philharmonia Choirs, Candide with Oakland East Bay Symphony and Jake Heggie’s For a Look or a Touch with San Francisco Gay Men’s Chorus. Hadleigh also covered the role of Joseph De Rocher in Jake Heggie’s Dead Man Walking for Opera Parallèle.
In 2016 his performances include Falke in Die Fledermaus for Cincinnati Opera, Fauré Requiem with San Francisco Symphony, St Matthew Passion with Colorado Symphony, the Shepherd in Pelléas et Mélisande with LA Philharmonic Orchestra, Powder Her Face in California, Mahler’s Ruckert Lieder with Oakland Symphony and concerts with Vallejo Orchestra.
Hadleigh’s more recent performances include Marquis (La Traviata), Grand commissioner (Madama Butterfly), Luther/Schlemil (Les contes d’Hoffmann), Simon (The Gospel of Mary Magdalene), Jimmy (Dolores Claiborne), all for San Francisco Opera, his highly praised debut with Pinchgut Opera singing Pollux in Rameau’s Castor et Pollux (now released on CD on the Pinchgut Live label), Gendarme in Poulenc’s Les mamelles de Tirésias with Opera Parallèle, Claudio (Agrippina) with Opera Omaha and a recital with Steven Blier. He has also covered the roles of Ormonte (Partenope), Crespil (Les Contes d’Hoffmann) and Dandini (Cenerentola) for San Francisco Opera.
Hadleigh’s other opera roles include the title role in Le Nozze di Figaro, Papageno (The Magic Flute), Malatesta (Don Pasquale), Aeneas (Dido and Aeneas), Nardo (La Finta Giardiniera), Dappertutto (Les contes d’Hoffmann), Starveling (A Midsummer Night’s Dream), and Bob (The Old Maid and the Thief).
Concert engagements have included St Matthew Passion (Southbank Sinfonia) and St John Passion (The Orpheus Choir), Purcell’s Come ye Sons of Art, Dvorak’s Stabat Mater (Royal Melbourne Philharmonic Choir and Orchestra), David Hamilton’s Breaking the Quiet (Auckland Philharmonia Orchestra), Messiah (Royal Melbourne Philharmonic) and Vaughan Williams’ Fantasia on Christmas Carols (Musica Sacra).
Tenor Alex Mansoori has been called “Outstanding” and “Hilarious” by critics. His performances have been hailed as “solid and convincing” and “smartly characterized” (New York Times). Specializing in character roles, Mr. Mansoori has a varied repertoire of more than 40 roles ranging from Mozart to Sondheim.
Recent seasons have seen him as Nika Magadoff in The Consul with Seattle Opera, as Bastianello and Lorenzo in the double bill of Bastianello/Lucrezia with UrbanArias in Washington DC, and a return to the Ravinia Festival as Monostatos in a concert production of Die Zauberflöte with the Chicago Symphony Orchestra conducted by James Conlon. He also appeared in the same role in Peter Brook’s Une flûte enchantée. The production toured Germany, France, Italy, Hungary, Slovenia, Morocco, and Russia. It also was in residence at Mr. Brook’s home theatre Theatres des Bouffes du Nord in Paris. Some of his appearances include Don Curzio in Le Nozze di Figaro with the Santa Fe Opera, Don Basilio in Le Nozze di Figaro with Glimmerglass Opera, Monostatos with Chicago Opera Theatre, and the Aspen Music Festival where he sang Lenia in the North American Premiere of Cavalli’s Eliogabalo. Other favorite roles include Flute in Britten’s A Midsummer Night’s Dream (Seattle Opera), Remendado in Carmen (Aspen Music Festival), and the Stage Manager in the New York premiere of Ned Rorem’s Our Town (The Juilliard School). He has also appeared on the Musical Theatre stage as Nicely-Nicely Johnson in Guys and Dolls, Igor in Young Frankenstein and as Mr. Ray and Chum the Shark in Finding Nemo: The Musical at Disney’s Animal Kingdom.
Critically acclaimed lyric baritone Gabriel Preisser has been praised by Opera News for his “handsome voice, charismatic energy, and timbral allure” and The New York Times called his performance as Lt Gordon “wonderful.” His resume includes over 40 operatic and musical theater roles including Danilo in The Merry Widow with Utah Festival Opera, Billy Bigelow in Carousel with Minnesota Orchestra, Figaro in Il barbiere di Siviglia with St Petersburg Opera, Escamillo in Carmen with Lyric Opera of the North, Belcore in L’elisir d’amore with Shreveport Opera, Le Mari in Les Mamelles de Tiresias with Opera Parallele, and Albert in Werther with Minnesota Opera to name a few.
He has made a name for himself as a versatile, cross-over performer and has especially been active in new works. He created the role of Lt. Gordon in Kevin Puts’ Pulitzer Prize winning Silent Night at Minnesota Opera with subsequent performances at Opera Philadelphia and Cincinnati Opera. His performance as Lt. Gordon with Minnesota Opera was also broadcast nationally on PBS in 2013 and 2014. He recently took on the role of Farmer Bean in Tobias Picker’s Fantastic Mr Fox both with Opera San Antonio and Odyssey Opera of Boston. He can be heard on the first official audio recording of Fantastic Mr Fox under the baton of Gil Rose with the Boston Modern Orchestra Project.
On the concert stage he is garnering a reputation for his dynamic interpretation of Orff’s Carmina Burana which he has performed with the Winter Park Bach Festival, Atlanta Ballet, Gulf Coast Symphony, and others. He has also been heard as a soloist in William Walton’s Belshazzar’s Feast with Jacksonville Symphony, Bach’s Coffee Cantata with Orlando Philharmonic, Bach’s St John’s Passion with the Houston Bach Society, and Handel’s Messiah with Ars Lyrica and The Messiah Choral Society.
He was a district winner in the 2010 Metropolitan Opera National Council Competition and won the American finals of the International Lirico Concorso Competition in 2011.
Andrew Emery has a Bachelors of Music from Westminster Choir College of Rider University in Voice Performance. As a performer, Mr. Emery has worked with multiple companies in diverse settings, some being Walt Disney World resort's"Beauty and the Beast" through AEA, national performances and recordings with the New York Philharmonic at the Lincoln Center under conductor Kurt Mazur, New York Choral Artists under conductor Dr. Joseph Flummerfelt and the Mid-America Production with Carnegie Hall. Currently, Mr. Emery is part of the emerging artist program with St Petersburg Opera Company where he has been in the chorus of both Bizet's " Carmen" and Puccini's "Turandot" in 2015. This June Andrew will be covering a role in SPO's production of Puccini's "La Boheme." Mr. Emery enjoys teaching piano and vocal lessons at his private studio in Tampa as well as singing with Opera Tampa Singers around the Tampa Bay area.
In the 2015-16 season, conductor and pianist Michael Sakir makes his guest conducting debuts with Eugene Opera in Benjamin Britten’s The Turn of the Screw, Opera Orlando in Mozart’s The Impresario and Poulenc’s Les mamelles de Tirésias, and Hubbard Hall Opera Theater in Puccini’s Madama Butterfly. He also returns to Des Moines Metro Opera as conductor for Philip Glass’ Galileo Galilei. In the 2014-15 season, Sakir made his conducting debuts at Northwestern University's Bienen School of Music for the fully-staged Chicago premiere of Jake Heggie's Dead Man Walking (for which he was awarded 3rd Place in the 2015 American Prize in Conducting: Opera Division), American Opera Projects for the touring premiere production of Laura Kaminsky's As One, Opera in the Ozarks for Rossini's La Cenerentola, and Opera North (NH) for Aaron Copland's The Tender Land. Sakir has held chorus master, assistant conductor, and coach positions for over two dozen productions with Santa Fe Opera Florida Grand Opera, Sarasota Opera, Des Moines Metro Opera, Pensacola Opera, and Opera Boston. Between 2008 and 2010, Sakir received critical acclaim as Music Director of the Boston Opera Collaborative’s The Magic Flute, Carmen, and Little Women (for which he was awarded 3rd Place in the 2011 American Prize in Conducting: Opera Division.) Sakir holds degrees from the Oberlin Conservatory of Music and The Boston Conservatory. He is a native of Northern California. More at www.michaelsakir.com
Eric Pinder is thrilled to direct this inaugural production for Opera Orlando having directed for the Florida Opera Theatre, Orlando Philharmonic, and appeared as a supernumerary in the former Orlando Opera's production of Salome. He has been the assistant director for productions of Rigoletto and Carmen. For Florida Opera Theatre he staged Gianni Schicchi, The Telephone, The Old Maid And The Thief, Trouble In Tahiti, and Peter Brook's Tragedie de Carmen, as well as several concerts and events. His upcoming productions include The Student Prince and Amahl and the Night Visitors. Eric received a B.F.A. in Musical Theatre from Michigan State University and an M.F.A. in Theatre Performance from the University Of Florida. A fixture of the local theatrical scene, Eric has performed in 18 of the 25 Orlando Fringe Festivals. He wrote five shows for the Fringe including the critically acclaimed "Driving Miss Cherry Blossom" and "Skip Peril". He has also appeared at Orlando Shakes and Mad Cow Theatre. In addition to being the Director In Residence for Opera Orlando, he is also finishing a libretto for a hockey themed opera entitled "Goaliedammerung".
With over 15 productions under her belt, Nicole Dupre has definitely turned her passion into a beautiful career. Opera and Stage Makeup are Nicole’s specialty, and she has lent her skills to Orlando’s Opera and Theatre community since 2011. Most recently as Hair and Makeup Designer for The Orlando Ballet’s production of Don Quixote at The Dr. Phillips Center for The Performing Arts, as well as Florida Opera Theatre’s performances of Cosi Fan Tutte and Master Class also at the Dr. Phillips Center. Nicole is most excited to be continuing her role as designer with the newly minted Opera Orlando, and their double bill of Mozart’s “IMPRESSARIO” and Poulenc’s “LES MAMELLES DE TIRESIAS”.
Nicole’s previous design work was seen in the Orlando Philharmonic's productions of Tosca, La Traviata, Madama Butterfly, Barber of Seville and The Marriage of Figaro to name a few.
When not backstage, Nicole can be found behind the camera on television and film sets working with clients like NBC, WESH 2, Golf Channel, Odyssey Creative and many other productions throughout Florida. Art is truly Nicole’s passion and when not doing makeup, she explores other creative visual art mediums.