Il Postino

By Daniel Catán

Performed at the Lobero Theatre

His job was to simply deliver the mail. But when the poor and uneducated Mario meets Chilean exile and poet, Pablo Neruda, his life is forever changed. Set in the 1950s on a small island off the coast of Italy, Catán’s stunning score soars against a backdrop of political and spiritual conflict. Mario is in love with a beautiful woman and asks Neruda for help in finding the words to win her heart. The pair develop a friendship and as it grows, so does Mario’s capacity for words–from metaphors about love, to poetry with political gravity. The postman’s devotion to the poet alters the course of this story and the generations to come.

Kostis Protopapas conducts. Crystal Manich, last with OSB for The Cunning Little Vixen, returns to direct. Arnold Rawls makes his OSB debut as the poet and Daniel Montenegro last seen in 2011’s Trouble in Tahiti as the titular postman.

Direction

Kostis Protopapas

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.

Crystal Manich

 

Stage Director /
The Cunning Little Vixen

March 2017 (debut)

Artists

Arnold Rawls

Tenor Arnold Rawls has delighted audiences with his unique combination of vocal and dramatic skills in performances ranging from art song to opera.  He has been hailed for having a “powerful, clarion-sounding tenor,” a “firm, pliant lyric tenor with ringing high notes,” as well as a “flair for acting.”  His Radamès thrilled audiences as he “rose to the occasion, singing the famous "Celeste Aida" with a creamy tone and a beautiful sense of Italian lyricism. It included a dazzling high B-flat that seemed to ring for an eternity.”  (Omaha World Herald)

Recent highlights include the role of Radames in Aida with Opera Australia in Sydney and Opéra Royal de Wallonie in Belgium, Hagenbach in La Wally with Dallas Opera, Manrico in Seattle Opera's Il trovatore, and Calaf in Turandot for Teatro Colón, Bregenzer Festspiele in Austria and the Zeffirelli production at Metropolitan Opera.

Engagements during the last few seasons include Hagenbach in Le Wally and Bacchus in Ariadne auf Naxos both at the Theater St. Gallen in Switzerland, San-Lui in Leoni’s L’Oracolo, Roberto in Le Ville and Apollo in Daphne all with Oper Frankfurt, and Manrico in Il Trovatore both for his debut at the Sydney Opera House and with The Metropolitan Opera.  With the Arizona Opera and Vancouver Opera he portrayed Radamès in Aida, with Lyric Opera of Kansas City, Pensacola Opera and Arizona Opera he sang Calaf in Turandot, with Opera Grand Rapids he sang Manrico in Il Trovatore, and he returned to the Bregenzer Festpiele as the title role in Andrea Chenier where The New York Times reported “Chénier, long a cherished role of Italian dramatic tenors, finds a creditable exponent in the American tenor Arnold Rawls, whose voice has an easy flow in midrange yet rang out excitingly in the big, high-lying moments.”

Daniel Montenegro

A graduate of San Francisco’s prestigious Adler Fellow Opera Program, American tenor Daniel Montenegro is recognized for his flexible and distinctive voice and a varied repertoire of bel canto, verismo, and contemporary roles.

In 2015, Daniel made his Lyric Opera of Chicago, Houston Grand Opera, and San Diego Opera debuts as Luis (a role he created) in El Pasado Nuca se Termina. Recent seasons include Giovanni (La Hija de Rappaccini) with Gotham Opera and his European opera debut at the Théâtre du Châtelet as Mario in Daniel Catán’s Il Postino along side Plácido Domingo, as well as a number of significant role and company debuts including Roderigo (Otello) with San Francisco Opera under Nicola Luisotti, Alfredo (La Traviata) with New Orleans Opera and Minnesota Opera, Nemorino (L’elisir d’amore) with Washington National Opera, Pang (Turandot) at the Hollywood Bowl conducted by Gustavo Dudamel, Pong (Turandot) with San Francisco Opera and Dallas Opera, Roméo in Roméo et Juliette with Tulsa Opera and the Castleton Festival, and most recently, Mario in Il Postino with Opera Saratoga, Pinkerton in Madama Butterfly with Arizona Opera, and Rafael in Cruzar la Cara de la Luna in his debut with Fort Worth Opera. The 2017-2018 season included a concert of excerpts from La bohème with the Quad City Symphony, Rafael in Cruzar la Cara de la Luna in his debut with both New York City Opera and Houston Grand Opera, and his San Diego opera debut as Arcadio in Florencia en el Amazonas. The 2018-2019 season and beyond sees him as Pinkerton in Madama Butterfly with Opera Columbus, Alfredo in La Traviata with Arizona Opera, Luis in El Pasado Nuca se Termina with Fort Worth Opera, and making a return to San Francisco Opera.

Daniel features on ‘Great Voices Sing John Denver’ alongside Plácido Domingo and many other key operatic names; produced by legendary arranger and music producer Milt Okun, the disc was released on the MRI Associated label in June 2013.

Sarah Vautour

American soprano, Sarah Vautour, is in her first year as a Domingo-Colburn-Stein Young Artist at Los Angeles Opera where she made her company debut as the Dew Fairy in Humperdinck's Hänsel and Gretel under the baton of Maestro James Conlon.

Ms. Vautour will return to the LA Opera stage in the 19/20 season as Papagena in Mozart’s Die Zauberflöte, Barbarina in Mozart’s Le nozze di Figaro, and will cover Musetta in Puccini’s La bohème.

Prior to this, Ms. Vautour joined Teatro Nuovo for their summer season as a Resident Artist to cover the title role in Bellini’s La straniera. Additionally, she makes her Cincinnati Symphony Orchestra debut as the soprano soloist in Mahler’s Das klagende Lied with the Cincinnati May Festival Chorus and Maestro James Conlon.

Ms. Vautour’s other assignments during the 18/19 season included covering both the Celestial Voice in Verdi's Don Carlos and Gretel in Hänsel and Gretel, and appearing as Zipporah/ Voice of God in the world premiere of Henry Mollicone’s Moses. She comes to LA Opera following a summer as an Apprentice Artist at Des Moines Metro Opera, where she covered Adele in Johann Strauss Jr.’s Die Fledermaus.?

Ms. Vautour earned her Master of Music from Rice University and a Bachelor of Music from University of Cincinnati’s College-Conservatory of Music. Her notable engagements include the title role in Donizetti’s Maria Stuarda and Morgana in Handel’s Alcina with CCM Opera d’arte, as well as Rose Maurrant in Street Scene with Harrower Summer Opera Workshop. Ms. Vautour made her Aspen Music Festival debut in the role of Mozart and Donna Anna in Stephen Stucky’s The Classical Style, under the baton of Maestro Robert Spano.?

In the 2017/2018 season, Ms. Vautour appeared under the baton of Maestro Thomas Jaber as the soprano soloist in the Poulenc Gloria, and again, later, with the Houston Masterworks Chorus as the soprano soloist in Mendelssohn’s Elijah.

Julia Metzler

Los Angeles-based soprano Julia Metzler is an active up-and-coming opera singer and concert soloist. Recent roles include Marcellina in Le Nozze di Figaro with Pacific Opera Project and Blanche de la Force in Dialogues of the Carmelites with San Francisco Conservatory of Music. As a roster member of the Los Angeles Master Chorale, Ms. Metzler can frequently be heard performing at the Walt Disney Concert Hall and the Hollywood Bowl. She has performed as a soloist with both the Los Angeles Philharmonic and with the Chorale, most recently in Bach’s Magnificat and Handel’s Messiah. A frequent opera competitor, Ms. Metzler was a 2018 Metropolitan Opera National Council Awards National Semi-Finalist, after winning First Place in the Western Region finals in January of 2018.Ms. Metzler holds degrees in vocal performance from San Francisco Conservatory of Music and from UCLA.

juliaheronmetzler.com

2019-20 Chrisman Studio Artist

Suzanna Guzman

Suzanna Guzmán, mezzo soprano, is a native of East Los Angeles. An original Associate Artists of Los Angeles Opera, she has performed with them as a principal artist in over 40 main stage productions including Isaura (Tancredi) Cornelia (Giulio Cesare) Mrs Sedley (Peter Grimes) Mrs. Fox (Fantastic Mr. Fox-world premiere) Marcellina (Marriage of Figaro) La Gitana (El Gato Montes) Suzuki (Madama Butterfly) Empress Maria (Nicolas and Alexandra- world premiere) and working with opera legends Plácido Domingo, Mtislav Rostropovich, Galina Vishneskaya, Marilyn Horne, Alfredo Krouse, Patricia Racette, Renee Fleming, James Conlon, just to name a few.

She made her operatic debut in 1984-85 season with San Diego Opera as Emiia in Verdi's Otello and has worked with many opera companies around the world including Houston Grand Opera, Metropolitan Opera, Washington National Opera, Ludiwigshafen Opera, Seattle Opera, Opera de Geneve, Dresden Opera, Opera Montepelier, Dallas Opera, Seattle Opera, Edinburgh Festival, and Opera de Nice.

Guzmán reached international attention for her portrayal of the title role in Bizet’s Carmen. Hailed by TIME magazine as “A fire-eating singing actress, devastatingly sexy!”, the role became her signature role sung to acclaim in over 200 performances around the globe. A champion of original works, she has created and appeared in lead roles in new operas notably by Jake Heggie, Daniel Catan, Giancarlo Menotti, Ian Krouse, Tobias Picker, Deborah Dratell. Her many awards and honors for music include a Grammy nod for the 2006 Best Classical recording of Carlos Chávez: Volume III with Southwest Chamber and Mexico's Tambuco Percussion Ensemble, a Helen Hayes Award nomination for Best Actress for her portrayal of the Mother in Amahl and the Night Visitor at the Kennedy Center directed by composer Giancarlo Menotti, first place winner of San Francisco competition, Guild Opera and National finalist in the Metropolitan Opera National competition.

An advocate of Arts Education she continues to perform her one-woman show, Don’t Be Afraid; It’s Just Opera! across the United States reaching over 200,000 inner-city students to date, and is widely recognized for her mentorship to California students.

Synopsis

Act I

Di Cosimo, an Italian politician, sings the nationalist anthem of the island of Cala de Soto.  Soon after, it is announced that the exiled Chilean poet, Pablo Neruda, has arrived in Rome and will live on the island.  Mario, a postal worker on Cala de Soto, begins delivering mail to the poet.  He soon falls in love with Beatrice, a waitress at a local café.  Mario begs Neruda for help with poetry so he can win her heart.  Neruda helps the young man, teaching him poetry and metaphors.

Act II

Beatrice, falling in love with Mario, is scolded by her aunt who is displeased with her contact with the young man.  Soon after, Mario and Beatrice embrace and fall in love.  Meanwhile, Neruda continues teaching Mario about poetry and a friendship forms between them.  The act closes with the marriage of Mario and Beatrice.  During the reception, Neruda receives a telegraph informing him that it is safe for him to return to Chile.

Act III

Neruda prepares to return to Chile.  He says goodbye to Mario and departs.  Later, Mario is asked to send Neruda’s remaining items to Chile.  As political tensions increase in Italy, Mario creates a recording for Neruda, collecting the sounds of the Island.  Soon after, Mario begins using his poetic skills, learned from Neruda, to challenge the oppressive Italian government.  He is killed at a rally.  Neruda soon returns and hears the voice of Mario through his recording.

(via danielcatan.com)

Tickets

Single Tickets: $51 - $131

Location

Cast & Credits

Direction
Conductor:

Kostis Protopapas

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.

Director:

Crystal Manich

 

Stage Director /
The Cunning Little Vixen

March 2017 (debut)

Artists
Pablo Neruda:

Arnold Rawls

Tenor Arnold Rawls has delighted audiences with his unique combination of vocal and dramatic skills in performances ranging from art song to opera.  He has been hailed for having a “powerful, clarion-sounding tenor,” a “firm, pliant lyric tenor with ringing high notes,” as well as a “flair for acting.”  His Radamès thrilled audiences as he “rose to the occasion, singing the famous "Celeste Aida" with a creamy tone and a beautiful sense of Italian lyricism. It included a dazzling high B-flat that seemed to ring for an eternity.”  (Omaha World Herald)

Recent highlights include the role of Radames in Aida with Opera Australia in Sydney and Opéra Royal de Wallonie in Belgium, Hagenbach in La Wally with Dallas Opera, Manrico in Seattle Opera's Il trovatore, and Calaf in Turandot for Teatro Colón, Bregenzer Festspiele in Austria and the Zeffirelli production at Metropolitan Opera.

Engagements during the last few seasons include Hagenbach in Le Wally and Bacchus in Ariadne auf Naxos both at the Theater St. Gallen in Switzerland, San-Lui in Leoni’s L’Oracolo, Roberto in Le Ville and Apollo in Daphne all with Oper Frankfurt, and Manrico in Il Trovatore both for his debut at the Sydney Opera House and with The Metropolitan Opera.  With the Arizona Opera and Vancouver Opera he portrayed Radamès in Aida, with Lyric Opera of Kansas City, Pensacola Opera and Arizona Opera he sang Calaf in Turandot, with Opera Grand Rapids he sang Manrico in Il Trovatore, and he returned to the Bregenzer Festpiele as the title role in Andrea Chenier where The New York Times reported “Chénier, long a cherished role of Italian dramatic tenors, finds a creditable exponent in the American tenor Arnold Rawls, whose voice has an easy flow in midrange yet rang out excitingly in the big, high-lying moments.”

Mario Ruoppolo:

Daniel Montenegro

A graduate of San Francisco’s prestigious Adler Fellow Opera Program, American tenor Daniel Montenegro is recognized for his flexible and distinctive voice and a varied repertoire of bel canto, verismo, and contemporary roles.

In 2015, Daniel made his Lyric Opera of Chicago, Houston Grand Opera, and San Diego Opera debuts as Luis (a role he created) in El Pasado Nuca se Termina. Recent seasons include Giovanni (La Hija de Rappaccini) with Gotham Opera and his European opera debut at the Théâtre du Châtelet as Mario in Daniel Catán’s Il Postino along side Plácido Domingo, as well as a number of significant role and company debuts including Roderigo (Otello) with San Francisco Opera under Nicola Luisotti, Alfredo (La Traviata) with New Orleans Opera and Minnesota Opera, Nemorino (L’elisir d’amore) with Washington National Opera, Pang (Turandot) at the Hollywood Bowl conducted by Gustavo Dudamel, Pong (Turandot) with San Francisco Opera and Dallas Opera, Roméo in Roméo et Juliette with Tulsa Opera and the Castleton Festival, and most recently, Mario in Il Postino with Opera Saratoga, Pinkerton in Madama Butterfly with Arizona Opera, and Rafael in Cruzar la Cara de la Luna in his debut with Fort Worth Opera. The 2017-2018 season included a concert of excerpts from La bohème with the Quad City Symphony, Rafael in Cruzar la Cara de la Luna in his debut with both New York City Opera and Houston Grand Opera, and his San Diego opera debut as Arcadio in Florencia en el Amazonas. The 2018-2019 season and beyond sees him as Pinkerton in Madama Butterfly with Opera Columbus, Alfredo in La Traviata with Arizona Opera, Luis in El Pasado Nuca se Termina with Fort Worth Opera, and making a return to San Francisco Opera.

Daniel features on ‘Great Voices Sing John Denver’ alongside Plácido Domingo and many other key operatic names; produced by legendary arranger and music producer Milt Okun, the disc was released on the MRI Associated label in June 2013.

Beatrice:

Sarah Vautour

American soprano, Sarah Vautour, is in her first year as a Domingo-Colburn-Stein Young Artist at Los Angeles Opera where she made her company debut as the Dew Fairy in Humperdinck's Hänsel and Gretel under the baton of Maestro James Conlon.

Ms. Vautour will return to the LA Opera stage in the 19/20 season as Papagena in Mozart’s Die Zauberflöte, Barbarina in Mozart’s Le nozze di Figaro, and will cover Musetta in Puccini’s La bohème.

Prior to this, Ms. Vautour joined Teatro Nuovo for their summer season as a Resident Artist to cover the title role in Bellini’s La straniera. Additionally, she makes her Cincinnati Symphony Orchestra debut as the soprano soloist in Mahler’s Das klagende Lied with the Cincinnati May Festival Chorus and Maestro James Conlon.

Ms. Vautour’s other assignments during the 18/19 season included covering both the Celestial Voice in Verdi's Don Carlos and Gretel in Hänsel and Gretel, and appearing as Zipporah/ Voice of God in the world premiere of Henry Mollicone’s Moses. She comes to LA Opera following a summer as an Apprentice Artist at Des Moines Metro Opera, where she covered Adele in Johann Strauss Jr.’s Die Fledermaus.?

Ms. Vautour earned her Master of Music from Rice University and a Bachelor of Music from University of Cincinnati’s College-Conservatory of Music. Her notable engagements include the title role in Donizetti’s Maria Stuarda and Morgana in Handel’s Alcina with CCM Opera d’arte, as well as Rose Maurrant in Street Scene with Harrower Summer Opera Workshop. Ms. Vautour made her Aspen Music Festival debut in the role of Mozart and Donna Anna in Stephen Stucky’s The Classical Style, under the baton of Maestro Robert Spano.?

In the 2017/2018 season, Ms. Vautour appeared under the baton of Maestro Thomas Jaber as the soprano soloist in the Poulenc Gloria, and again, later, with the Houston Masterworks Chorus as the soprano soloist in Mendelssohn’s Elijah.

Matilde Neruda:

Julia Metzler

Los Angeles-based soprano Julia Metzler is an active up-and-coming opera singer and concert soloist. Recent roles include Marcellina in Le Nozze di Figaro with Pacific Opera Project and Blanche de la Force in Dialogues of the Carmelites with San Francisco Conservatory of Music. As a roster member of the Los Angeles Master Chorale, Ms. Metzler can frequently be heard performing at the Walt Disney Concert Hall and the Hollywood Bowl. She has performed as a soloist with both the Los Angeles Philharmonic and with the Chorale, most recently in Bach’s Magnificat and Handel’s Messiah. A frequent opera competitor, Ms. Metzler was a 2018 Metropolitan Opera National Council Awards National Semi-Finalist, after winning First Place in the Western Region finals in January of 2018.Ms. Metzler holds degrees in vocal performance from San Francisco Conservatory of Music and from UCLA.

juliaheronmetzler.com

2019-20 Chrisman Studio Artist
Donna Rosa:

Suzanna Guzman

Suzanna Guzmán, mezzo soprano, is a native of East Los Angeles. An original Associate Artists of Los Angeles Opera, she has performed with them as a principal artist in over 40 main stage productions including Isaura (Tancredi) Cornelia (Giulio Cesare) Mrs Sedley (Peter Grimes) Mrs. Fox (Fantastic Mr. Fox-world premiere) Marcellina (Marriage of Figaro) La Gitana (El Gato Montes) Suzuki (Madama Butterfly) Empress Maria (Nicolas and Alexandra- world premiere) and working with opera legends Plácido Domingo, Mtislav Rostropovich, Galina Vishneskaya, Marilyn Horne, Alfredo Krouse, Patricia Racette, Renee Fleming, James Conlon, just to name a few.

She made her operatic debut in 1984-85 season with San Diego Opera as Emiia in Verdi's Otello and has worked with many opera companies around the world including Houston Grand Opera, Metropolitan Opera, Washington National Opera, Ludiwigshafen Opera, Seattle Opera, Opera de Geneve, Dresden Opera, Opera Montepelier, Dallas Opera, Seattle Opera, Edinburgh Festival, and Opera de Nice.

Guzmán reached international attention for her portrayal of the title role in Bizet’s Carmen. Hailed by TIME magazine as “A fire-eating singing actress, devastatingly sexy!”, the role became her signature role sung to acclaim in over 200 performances around the globe. A champion of original works, she has created and appeared in lead roles in new operas notably by Jake Heggie, Daniel Catan, Giancarlo Menotti, Ian Krouse, Tobias Picker, Deborah Dratell. Her many awards and honors for music include a Grammy nod for the 2006 Best Classical recording of Carlos Chávez: Volume III with Southwest Chamber and Mexico's Tambuco Percussion Ensemble, a Helen Hayes Award nomination for Best Actress for her portrayal of the Mother in Amahl and the Night Visitor at the Kennedy Center directed by composer Giancarlo Menotti, first place winner of San Francisco competition, Guild Opera and National finalist in the Metropolitan Opera National competition.

An advocate of Arts Education she continues to perform her one-woman show, Don’t Be Afraid; It’s Just Opera! across the United States reaching over 200,000 inner-city students to date, and is widely recognized for her mentorship to California students.