Carmen, A Live Drive-In Opera
A 90-Minute Adaptation of Georges Bizet's Classic Work
We’re finally making it happen! Live opera is back Sunday, December 6 as part of the Concerts in Your Car series at the Ventura Fairgrounds. Just 30 minutes south of Santa Barbara and 45 minutes north of the Los Angeles area, come meet us where “Drive-In meets Live Entertainment”!
Each ticket is valid for ONE car. The number of passengers must not exceed the number of safety belts seats in your vehicle, up to EIGHT people.
Opera Santa Barbara is thrilled to present Carmen, A Live Drive-In Opera, a 90-minute version of Bizet’s blockbuster hit, based on an adaptation by British director Peter Brook. It’ll be an up-close and personal look at the loves and rivals of our titular heroine–all from the safe and socially distanced comfort of your car.
Come hear mezzo-soprano Audrey Babcock (2019, Madama Butterfly) as our Carmen in what will surely be a commanding performance in a signature role. Rounding out the quartet are Harold Meers as Don José reuniting with Ms. Babcock from 2019’s Madama Butterfly, Alexander Elliott (2018, The Barber of Seville) as Escamillo, and returning Chrisman Studio Artist soprano Jennifer Lindsay as Micaëla. Directed by Sara E. Widzer and conducted by Kostis Protopapas featuring members of the OSB Orchestra. This will be our first live opera stage performance since March.
Kostis Protopapas was named General Director of Opera Santa Barbara in December 2017, after two-and-a-half seasons as Artistic Director.
During his time as Artistic Director and principal conductor, Kostis brought a unified vision to OSB’s musical and production values, strengthening the orchestra and chorus, engaging some of the country’s most promising young directors and singers, building a high-performing production team, and increasing focus on contemporary American opera. The result was productions of both familiar and new repertoire that are counted among the finest in the company’s history.
As General Director, Kostis grew the company’s staff from three to seven, assembling an enthusiastic group of overachievers sharing an appetite for innovation and the desire to strengthen the company’s bond with the community.
During 2018-19, the company’s 25th anniversary season, Kostis oversaw the sold-out Santa Barbara premiere of Tchaikovsky’s Eugene Onegin and a production of The Crucible that the Santa Barbara Independent hailed as “one of the season’s most exciting performances of any kind in Santa Barbara”; a 25th anniversary gala concert; and the company’s first-ever student matinee performance as well as its first ever Youth camp.
Under Kostis’ leadership Opera Santa Barbara saw the creation of the Santa Barbara Youth Opera, a program providing educational and performance opportunities for school-age children; the expansion of the company’s Chrisman Studio program to a season-long residency for emerging artists; an impressive growth in the company’s community engagement and educational activities throughout the Central Coast; and the runaway success of Operacurious, a new program that brings Young Professionals in Santa Barbara in contact with opera and its artists.
2016 saw the end of Kostis' 15-year association with Tulsa Opera, during which he conducted 30 productions of a diverse repertoire extending from popular classics to contemporary American works. About his 2011 Barber of Seville performances, Alex Ross of The New Yorker wrote, “Most impressive was the fluid idiomatic playing of the orchestra… In any city, it’s rare to find a conductor that sets the right tempo so consistently that you stop noticing he's there.”
Kostis has been an Assistant Conductor for the Lyric Opera of Chicago, LA Opera and Santa Fe Opera. At the Lyric Opera of Chicago, he also served as Assistant Chorus Master under Donald Palumbo for two seasons..
Born in Athens, Greece, Kostis Protopapas studied Archaeology and History of Art at the University of Athens before coming to the United States in 1993, on an Onassis Foundation scholarship, to study piano at The Boston Conservatory and conducting at Boston University. He became an American citizen in 2011. He loves living in Santa Barbara, and enjoys downtown restaurants, the Funk Zone’s tasting rooms, and sailing on the Santa Barbara Channel.
Sara E. Widzer
As Director: Chautauqua Opera Scenes Program; Carmen for Rochester Philharmonic; Woman of Salt for The Wildish Theatre; After Life and Letters from Quebec to Providence in the Rain for UCSB Opera and the National Opera Association and UC Santa Barbara Opera Theatre; Susannah for Pasadena Opera; The Flying Dutchman for the Hawaii Opera Theatre and Virginia Opera; The Music Man for the Royal Opera House of Oman; Le jongleur de Notre-Dame and L'elisir d'amore for Florida State Opera; Don Giovanni, Tosca, Pagliacci, and Hansel and Gretel for Opera in the Ozarks; Faust and Giulio Cesare for Celestial Opera Company; Reasons to be Pretty, Bury the Dead, Zoo Story, The Last Days of Judas Iscariot, As You Like It, and A Midsummer Night’s Dream for the Lee Strasberg Creative Center.
As Associate and Assistant Director: The Ghosts of Versailles and ¡Figaro! 90210 for Chautauqua Opera; El Gato Montes: The Wildcat for Los Angeles Opera; Madame White Snake for Beth Morrison Projects at the Hong Kong Arts Festival; Der Ring des Polykrates at the Dallas Opera, Silent Night, AIDA and The Daughter of the Regiment for Washington National Opera; The Marriage of Figaro for Music Academy of the West; The Flying Dutchman, King for a Day, and The Music Man for The Glimmerglass Festival. Ms. Widzer has worked with esteemed directors Francesca Zambello, Peter Kazaras, Tomer Zvulun, Eric Einhorn, James Darrah, Michael Counts, Robert Longbottom, Marcia Milgrom Dodge, Ray Roderick, Robert Eagan, and Mark Rydell.
As an educator, Ms. Widzer is currently on faculty as acting coach and stage director at the Lee Strasberg Theatre and Film Institute in Los Angeles, CA where she has been on staff for over fifteen years. She worked with famed film and tv audition coach Crystal Carson, co-teaching Audition by Heart courses and brought Carson’s technique to film and stage actors across the country. Through her work at City Hearts: Kids Say Yes to the Arts, she taught Shakespeare classes at inner city middle schools and high schools throughout Southern California, a project which culminated in a bilingual production of A Midsummer’s Night Dream that she adapted with the Spanish title Un Sueño en Medio-Verano. On the opera stage, she has worked with members of the Glimmerglass Festival Young Artist Program, the Los Angeles Opera Domingo-Colburn-Stein Young Artist Program, the WNO Cafritz Young Artist Program and has also served as guest coach at El Camino College, UCLA, UC Santa Barbara, Cal State University Long Beach, and Florida State University. Ms. Widzer continues to guest teach acting at studios throughout the Los Angeles area, and also maintains a roster of speaking and singing actors for whom she coaches acting and performance technique.
Read more at www.saraewidzer.com
Audrey Babcock is an award-winning mezzo-soprano who is quickly gaining notoriety for her commanding, powerful performances as Carmen and her dark, hypnotic portrayals of Maddalena in Rigoletto. As Carmen, Ms. Babcock made her French debut with the Festival Lyrique-en-Mer and has performed the role with Florentine Opera, Nashville Opera, Florida Grand Opera, New York City Opera, San Antonio Opera, Knoxville Opera, Opera Delaware, Toledo Opera, Anchorage Opera, and Utah Festival Opera where The Salt Lake Tribune wrote “Audrey Babcock's performance as Carmen was a spellbinding tour de force...from the moment she took the stage her self-assured characterization was mesmerizing ...Babcock's caramel-hued mezzo was a pleasure…her supple tones caressed the notes, radiating earthy allure.”
Widely recognized as a choice singer for new works, Ms. Babcock has premiered several new operas including Tobias Picker’s Thérèse Raquin (NY Premiere - Dicapo Opera), With Blood, With Ink (World Premiere - Fort Worth Opera), La Reina (American Lyric Theater, NY and Prototype Festival), The Poe Project (American Lyric Theater), and appeared as Mother in Winter’s Tale with Beth Morrison’s Prototype Festival in NYC in 2015. The 2016-2017 season included Donna Elvira in Don Giovanni (New Orleans Opera), Aldonza in The Man of La Mancha (Utah Opera), Maddalena in Rigoletto (Palm Beach Opera), Carmen (Dayton Opera & Fort Worth Opera), and Mrs. Mister in Blitzstein’s The Cradle Will Rock (Opera Saratoga). The 2017-2018 season includes Verdi’s Requiem with the Dayton Symphony, the Secretary in The Consul with Long Beach Opera and Chicago Opera Theater, and the title role in Maria de Buenos Aires with San Diego Opera.
Le Chevalier des Grieux /
Don José / Carmen
The Duke of Mantua / Rigoletto
Rinuccio / Gianni Schicchi
Feb/March 2006 (debut)
Figaro / The Barber of Seville
March 2018 (debut)
Soprano Jennifer Lindsay has been lauded for her “clever comic ability” and “vocal athleticism” (Naples Daily News). Jennifer joins the Chrisman Studio Artist Program for Opera Santa Barbara 2018/19 season, covering Tatiana in Eugene Onegin and both Mimì and Musetta in La bohème, and singing Mary Warren in The Crucible. Prior to joining Opera Santa Barbara, she will make her role debut as Mimi in La bohème with Opera Connecticut. Jennifer recently made her role debut as Leonora in Il Trovatore with Pacific Lyric Association alongside Metropolitan Opera tenor Luis Lima. Jennifer is an alumna of the apprentice programs at Opera Southwest, Opera Naples, and the Caramoor Music Festival. Other career highlights include Violetta in La Traviata with Pacific Lyric Association and Lucha in the world premiere of HOPSCOTCH (The Industry). She has also appeared with the LA Philharmonic in conjunction with Beth Morrison Projects singing excerpts from John Adams’ I Was Looking At The Ceiling And Then I Saw The Sky, conducted by the composer. Jennifer is also an accomplished orchestral violinist. Last season, she unexpectedly became a viral sensation on social media when she stepped out of the 2nd violin section at the last minute to replace the ailing lead soprano during a dress rehearsal of Aida with the Marina Del Rey Symphony. Jennifer holds degrees from Harvey Mudd College (BS/Mathematics), Columbia University (MS/Operations Research), and Johns Hopkins University (MS/Computer Science) and worked as a software developer for the U.S. Department of Defense before pursuing a career in music. She currently resides in Los Angeles.
2018-19 Chrisman Studio Artist
INTERESTED IN TICKET UPGRADES OR SPONSORSHIP OPPORTUNITIES?
Are you looking to upgrade your Carmen live drive-in experience?
Visit our Premium Circle And Sponsorship page here.
For questions, please call Nina Dunbar at (805) 898-3890, ext. 203 or send an email to [email protected]
QUESTIONS ABOUT CARMEN AT THE LIVE DRIVE-IN?
All CDC and State of California Guidelines will be followed. Audio will be transmitted via FM radio and video screens will show you which station to tune into for the opera. Supertitles will be projected on screen. The number of passengers in your vehicle must not exceed the number of safety belts/seats.
Frequently Asked Questions:
Q: CAN I PURCHASE A TICKET AT THE EVENT?
A: No – tickets are only available online before the event. No tickets will not be sold in-person on site.
Q: ONCE I BUY MY TICKET, HOW IS IT RECEIVED?
A: The ticket will be included in the confirmation. You may print out the ticket or just open the PDF included with the confirmation on your phone. Tickets may also be accessed on your mobile device using the Eventbrite APP.
Q: ARE PARKING SPACES ASSIGNED?
A: No – All tickets are General Admission based on color section and row number and will NOT be assigned prior to arrival. Vehicles will be placed on a first come first served basis to a parking space in their designated color section and row number upon arrival. To ensure you don’t miss a thing, we added large video screens on each side of the stage. For those fans looking for the most intimate experience, a limited number of GREEN, BLUE, and PINK tickets are available in the first three rows.
Q: RULES FOR PARKING
A: Please follow the direction of parking attendants and venue staff. For everyone’s safety, it is important that you stay in the space you are assigned throughout the event. Parking spaces between vehicles must remain clear.
Q: WHAT TIME SHOULD I ARRIVE?
A: Ventura County Fairgrounds will open at 90 minutes prior to show time. We suggest planning your arrival around 45-60 minutes prior to show time. *For Movies In Your Car ONLY gates will open at 7pm.
Q: WHAT IF I AM RUNNING LATE?
A: Gates close 15 minutes past show time. NO one will be allowed in after that. No refunds will be granted.
Q: WHAT IF I DON’T USE MY TICKET?
A: All sales are final and there will be no refunds.
Q: DOES EVERYONE IN MY CAR NEED A TICKET?
A: No, you will only need one ticket per car. The number of passengers in your vehicle must not exceed the number of safety belts/seats. It is recommended that you only share a vehicle with household members with whom you have been sheltering in place.
For more FAQs, please visit the Concerts In Your Car site here.
Lead Production Sponsor:
Dr. Bob Weinman
Daniel and Romy Reicker
Carol Vernon & Robert Turbin
Walter and Holly Thomson Foundation