La Scala di Seta

By Gioachino Rossini

Performed at the Lobero Theatre
Sung in Italian with English supertitles

1812, Comedy, Set in Paris around 1900

Every night beautiful Giulia lowers a silk ladder from her window for her lover to climb to her bedroom.  A series of misunderstandings turns their little love nest into a circus of relatives, suitors, and servants plotting, eavesdropping, and ultimately happily reconciling, in a blast of Rossini’s glorious vocal acrobatics. 

Santa Barbara native, Soprano Jana McIntyre, last seen in OSB’s Semele returns to the Lobero stage to sing the leading lady, Giulia. Her secretly betrothed, Dorvil, is portrayed by tenor Christian Sanders (Il Tabarro ’21) who comes to see her using a silk ladder each night. Dormont, Giulia’s teacher and guardian, will be sung by Benjamin Brecher last seen at OSB this summer as Gastone in La Traviata. Baritone Efrain Solís (Don Pasquale, ’21) returns to sing the role of Germano, and current Chrisman Studio Artists, Christina Pezzarossi and Matt Peterson, round out our stellar cast as Lucilla and Blansac.

Trusted comedic master Josh Shaw (Don Pasquale, ’21; The Barber of Seville, ’18) returns to direct. Conducting and leading the OSB orchestra will be Alexis Enyart, who inspired audiences with As One earlier this year. 

Opera SB has currently no COVID-related restrictions or requirements for our events and performances.  We encourage everyone to get vaccinated.  Patrons are welcome to wear face masks if they choose to. 

90 minutes

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Direction

Josh Shaw

Named as one of Musical America’s Top 30 Innovators in Classical Music, Josh Shaw is the Executive and Artistic Director of Pacific Opera Project (POP), which has been described as "L.A.'s most exciting new opera company." Over the past ten seasons, Mr. Shaw has directed over 35 productions at POP, including The Rake’s Progress, Ariadne auf Naxos, La Calisto, Tosca: A Moving Production; and La Boheme: AKA “The Hipsters”.  Mr. Shaw’s reimagining of Die Entführung aus dem Serail as an episode of Star Trek has gained national attention and has been produced with record-breaking numbers.

 

Since turning his attention to directing in 2011, Mr. Shaw has directed over 80 productions at companies including New Orleans Opera, Opera Santa Barbara, Opera Orlando, Intermountain Opera, Opera in the Heights, The Southern Illinois Music Festival, Opera Neo, Gulfshore Opera, Queen City Opera, and Salt Marsh Opera. Mr. Shaw's Barber of Seville at Opera Santa Barbara was described as "riotously funny" and "thoroughly amusing from overture to final bow." His work as a director has been described as "Brave and unflinching," "Ingenious," "Relentlessly and adorably rambunctious," "with enough good comic ideas for at least three productions." As a producer, he has been praised for his "supreme savvy" and "high level of production quality" with "the power to enthrall and captivate audiences."

 

Recent projects include US premieres of Gluck’s La Corona and Il Parnaso confuso, a new 2020 inspired English adaptation of Cosi fan tutte, a drive in Don Pasquale, and Bizet’s little-known Italian opera buffa, Don Procopio. In 2018 Mr. Shaw directed Tabasco: A Burlesque Opera, a newly rediscovered operetta by G. W. Chadwick, last performed in 1894, which was described as "delightful, packed with humor, and a feast for all the senses" by The New Orleans Advocate. In addition to directing the production, Mr. Shaw also wrote a new book and additional lyrics for the project that celebrated the McIlhenney Company’s 150th anniversary.

 

In addition to the rewrite of Tabasco and the new book and lyrics for Abduction from the Seraglio, Mr. Shaw has written several English version librettos including a Wild West setting of Die Lustige Witwe, a contemporary setting of Die Schauspieldirektor, a production of Die Zauberflöte set in the world of 1980s video games, and a groundbreaking production of Madama Butterfly sung in Japanese and English, a co-production of POP and Opera in Heights (Houston).

Alexis Enyart

Alexis Enyart is a rising orchestra and opera conductor praised for her musical finesse and technical grace. Since moving to Chicago in August of 2017 Alex has shot to prominence serving primarily as Music Director of Thompson Street Opera Company as well as guest conducting for Chicago Fringe Opera, Third Eye Theatre Ensemble, Chicago Vocal Arts Consortium, and Another Voice Collaborative. She has been well reviewed by the Chicago Tribune, Chicago Classical Review, Chicago Theatre Review, Opera Box Score, Chicago Reader, and many others. In addition to all of this Alex was invited to participate in Chicago Sinfonietta’s Project Inclusion as their first transgender conductor.

Alex is as comfortable on the podium as she is in the opera pit having made her international debut in Tomsk Russia with the Tomsk Philharmonic Orchestra in 2016 while finishing her Master’s in Orchestral Conducting from the University of Louisville. At the same time she also worked as the apprentice conductor with the Louisville Orchestra and Kentucky Opera as well as the Assistant Conductor for the Louisville Youth Orchestra. In 2017 Alex won the CODA conducting competition and was invited to work with Anthony Maeillo on La Gazza Ladra as a result. In 2018 Alex won the CCM Mozart Overture Competition. Alex works as a champion of new music and helped to bring As One, When Adonis Calls, Patience and Sarah to Chicago, among many others. She also champions young singers and advocates for every voice in her work with Chicago Vocal Arts Consortium which includes productions of La finta giardiniera, Die Entführung aus dem Serail, and L’elisir d’amore with many more to come!

As a transgender conductor Alexis strives to create a more equitable and diverse musical world. As such she has successfully chartered “Faulty Systems”, an annual program in which activists and artists come together to share stories of underrepresented communities or ideas through music, speech, poetry, dance and other mediums. Alexis also helped to launch the Chicago Vocal Arts Consortium’s sing–thru program, which functions to create an accessible space for young artists to experiment with musical styles and traditions following their education. You can also find Alexis working with ResonaTe an all transgender choir with a mission to foster acceptance of all voices and identities. Alexis believes that to conduct is an honor and privilege, and continues to work to support and strengthen the musical community she is privileged to be a part of.

Helena Kuukka

A native of Helsinki, Finland, Helena Kuukka joins the Opera SB staff from Orlando, Florida. Helena’s Opera Santa Barbara debut was as Lighting Designer of The Barber of Seville in 2018, followed by Eugene Onegin in 2019. Other favorite opera designs include The Marriage of Figaro and Eugene Onegin (Florida Grand Opera), Aida (Vancouver Opera, Portland Opera), Samson and Delilah and La Boheme (Tulsa Opera), La Traviata and The Merry Widow (Kansas City Lyric Opera), and Rockland (Pine Mountain Music Festival). Her dance designs include CarmenGiselleVampire’s Ball and Firebird for Orlando Ballet as well as Swan Lake, The Little Mermaid, and several contemporary works for Ballet Memphis. Helena is also a frequent designer at Lyric Theatre of Oklahoma where her credits include productions of TitanicOklahoma, Dreamgirls, Ragtime, Hello Dolly, Newsies, Mamma Mia and the world premiere of When We’re Gone.

Artists

Jana McIntyre

…Jana McIntyre continues to forge a path for herself with her “dancer’s grace, mercurial wit, and vibrant soprano tone” (Opera News). “With movie star looks and the poise to match, she has everything it takes to make it to the top.” (Opera Wire).

The 2021-2022 season sees Jana in her first title role debuts as Semele in Semele in a return to Opera Santa Barbara as well as Aminta for a new production of Die Schweigsame Frau with Bard SummerScape Festival. Workshop and concerts of recently written music rounded out her season. With the Rally Cat in New York City, she created the role of Marianne in recording and workshop of Aferidan Stephens and Marella Martin Koch’s Elinor and Marianne based on the Jane Austen novel Sense and Sensibility. She also performed in chamber concert with Jerod impichchaachaaha Tate and Tulsa’s Signature Symphony.

Ms. McIntyre was lucky to perform through the pandemic singing Norina in Don Pasquale for her hometown debut with Opera Santa Barbara as well as joining the rosters of Palm Beach Opera (Die Zauberflöte) and Tulsa Opera (Rigoletto). She was scheduled to make company debuts with Opera Theatre of Saint Louis and Canadian Opera Company among other notable returns to theaters which have been postponed/canceled due to the pandemic.

She was recently named a George London Foundation top prize winner as well as a Metropolitan Opera National Council grand finalist. She performed Ännchen in Heart Beat Opera’s new production of Der Freischütz and joined Santa Fe Opera for their workshop of the completed version of M. Butterfly in New York City and for whom she was to return as Sister 1 in Mark Adamo and John Corgliano’s newly commissioned Lord of Cries which was canceled last March. She also debuted with the Sacramento Philharmonic singing from Così fan tutte and Le nozze di Figaro as Despina and Susanna in their “Mozart Favorites” Concert.

Some career highlights include critical acclaim for her portrayal of Andromède in the American premiere of Ibert’s Persée et Andromède which made the New York Times “Best Classical Music of 2016;” her professional debut as the Amore in Gluck’s Orfeo ed Euridice alongside Anthony Roth Costanzo and Kiera Duffy in an installment of “Orphic Moments” with Brooklyn’s National Sawdust Theater under the baton of Matthew Aucoin; as well as performing in the west coast premiere of Jonathan Scheffer’s Blood on the Dining Room Floor (Rose 1) at age 19.

Miss McIntyre won first prize in the Alan M. and Joan Taub Ades Competition which gave her the opportunity to travel to Buenos Aires to sing a series of concerts at various venues including El Salon Dorado at the Teatro Colón. She is an award winner from the Jensen Foundation, Giulio Gari Foundation, George London Foundation, Art Song Preservation Society, Metropolitan National Council, among others. She is a Richard F. Gold grant recipient from the Shoshana Foundation, and the winner of the Eisenberg-Fried Concerto Competition at Manhattan School of Music.

Jana has been an apprentice with Tulsa Opera, Santa Fe Opera, and the Merola Opera Program. She did her academic work at the University of California, Los Angeles in Psychology (B.A.) and Music (B.A.). She received her Masters in Vocal Performance from the Manhattan School of Music.

 

 

 

 

 

 

 

 

 

 

 

 

 

Christian Sanders

Christian Sanders has been hailed as a “…voice whose color belies his age. Someone to watch!” (Bill Eadie, SanDiego.com)

Christian Sanders has been hailed as a “…voice whose color belies his age. Someone to watch!” (Bill Eadie, SanDiego.com). His operatic repertoire encompasses Tom Rakewell in The Rake’s Progress, Albert Herring, Rodolfo in La bohème, Fenton in Falstaff, Laurie in Little Women, Tamino in Die Zauberflöte, Rinuccio in Gianni Schicchi, and Prince Charmant in Cendrillon, as well as a broad range of modern opera and work by living composers.

Mr. Sanders’ busy 2021-2022 brings several significant engagements in new opera as well as standard repertoire. He makes his company debut with Opera Santa Barbara singing The Song Seller in Il Tabarro, debuts the role of Wilbur in the world premiere of Finding Wright with Dayton Opera, appears as title role in Orpheus in the Underworld with Madison Opera, and joins the cast of The Magic Flute as Monostatos with the Opera Theatre of St. Louis. The 2020-21 season featured his return to Des Moines Metro Opera as Tobias Ragg in Sweeney Todd and Timothy in Fellow Travelers as well as performances as Lloyd the Bartender in The Shining with Minnesota Opera (cancelled due to COVID-19).

On the concert stage Mr. Sanders has been the tenor soloist in Handel’s Messiah, Bach’s Magnificat, Beethoven’s Choral Fantasy, Mendelssohn’s Elijah, and Bruckner’s Te Deum with the Point Loma Choral Union. More recently, Mr. Sanders performed with the Rice Chorale at Rice University in Houston, Texas for Schubert’s Mass No. 2, and Orff’s Carmina Burana. He has also appeared as a guest soloist with the San Diego Mormon Choir and Orchestra and as the tenor soloist in Mozart's Coronation Mass with the San Diego Festival Chorus in a live televised concert.

Mr. Sanders was a finalist in the Rocky Mountain Region of the Metropolitan National Council Auditions in the spring of 2012. Christian also had the honor of being awarded first place in the Ruth Burr Competition held in Houston, Texas in 2015. He was the First-Place Winner of the Lower-Collegiate Division of the National Association of Teachers of Singing Young Artist Competition and a Finalist for the 2010/11 Classical Singer Magazine National Competition. Additionally, Mr. Sanders is a scholarship recipient of the R. Faulk and the D. Greiner Encouragement Awards from the Metropolitan Opera National Council Auditions.

Mr. Sanders has received his Masters degree in Operatic Performance from Rice University in Houston on the full-tuition Edward J. and Frances Bing Memorial Scholarship. He holds a Bachelors of Arts Magna Cum Laude in Music with a minor in Cell and Molecular Biology from Point Loma Nazarene University and currently lives in San Diego, California.

Efraín Solís

The San Francisco Chronicle exclaims, “For theatrical charisma and musical bravado, it would be hard to top the performance of baritone Efraín Solís.” He is a recent graduate of the San Francisco Opera Adler Fellowship and while with the company, sang his first performances of Papageno in Die Zauberflöte, Dandini in La cenerentola, Schaunard in La bohème, Silvano in Un ballo in maschera, Sciarrone in Tosca, and Prince Yamadori in Madama Butterfly. In the 2020-21 season, he joins Opera San Jose and Florida Grand Opera as Charlie in Heggie’s Three Decembers and Utah Opera as Escamillo in La tragédie de Carmen. Future engagements include Figaro in Le nozze di Figaro with Opera San Jose and a return to Opera Southwest, originally scheduled for this season. Last season, he returned to Utah Opera as Lieutenant Audebert in Puts’ Silent Night and Virginia Opera as Di Cosimo in Catán’s Il postino in joining the Cincinnati Song Initiative for a program of songs by Granados and Turina. His debut with the Los Angeles Philharmonic as the Peasant in Schönberg’s Gurrelieder and return to the role of Schaunard in La bohème with Fort Worth Opera were unfortunately cancelled due to COVID-19 pandemic.

He joined Houston Grand Opera’s HGOCo, New York City Opera, and El Paso Opera as Mark in Martinez’s Cruzar la cara de la luna. Other recent performances for the baritone include Mercutio in Roméo et Juliette with Utah Opera, Opera Carolina, Virginia Opera, and Toledo Opera; Figaro in Le nozze di Figaro with Opera Memphis and Livermore Valley Opera; Slook in La cambiale di matrimonio with Nicholas McGegan conducting Philharmonia Baroque; El Payador in Piazzola’s Maria de Buenos Aires with Opera Southwest, Golaud in Pelléas et Mélisande and Glass’ Hydrogen Jukebox with West Edge Opera; Fiesque in Maria di Rohan with Washington Concert Opera, Gaspar in Rita with the New Century Chamber Orchestra, and Dick in Blitzstein’s The Cradle Will Rock with Opera Saratoga. He joined both Opera Delaware and Baltimore Concert Opera for concerts of opera favorites.

Mr. Solis sang his first performances of Mahler’s Lieder eines fahrenden Gesellen with the Palo Alto Philharmonic and Brahms’ Ein deutsches Requiem as a guest artist at Concordia College. He joined the Berkeley Community Chorus and Orchestra for Britten’s War Requiem and both Las Vegas Philharmonic and New Choral Society for Handel’s Messiah. An active recitalist, he has previous joined the New York Festival of Song for multiple programs of Spanish repertoire and has been presented in a Schwabacher Debut Recital in San Francisco and offered an additional recital program at the El Camino College Center for the Arts.

He is an alumnus of the prestigious Merola Opera Program in association with San Francisco Opera, at which he sang Junius in The Rape of Lucretia and covered Count Almaviva in Le nozze di Figaro. He is also a former member of Opera Santa Barbara’s Studio Artist Program. In 2013, he was a Grand Finalist in the Metropolitan Opera National Council Auditions and sang arias from Rodelinda and Le nozze di Figaro on the famed company’s stage with Marco Armilianto conducting. He was also a finalist in Houston Grand Opera's Eleanor McCollum Competition and the Loren L. Zachary Society for the Performing Arts National Vocal Competition. He holds a Master of Music from San Francisco Conservatory of Music, at which he sang Guglielmo in Così fan tutte and Mahler’s Lieder eines fahrenden Gesellen and while at Chapman University, his performances included Beethoven’s Mass in C and Puccini’s Messa di Gloria.

Benjamin Brecher

Benjamin Brecher, tenor, has performed over fifty operatic roles and sung with over fifty symphonies throughout the world. He has performed over ten roles with The New York City Opera beginning in 1997, specializing in the bel canto opera repertoire. Other performances include: Santa Fe Opera, Opera de Montreal, Opera de Nice, and Glimmerglass Opera, among others. On the concert stage, he has sung with the orchestras of Chicago, Chautauqua, Mexico City, Rome, Seattle, Indianapolis, Pittsburgh, Budapest, Cincinnati, St. Louis, Toronto Symphony Milwaukee, and the National Symphony at Kennedy Center to mention a few. 2015-2016 will bring: Beethoven’s Ninth in Santa Rosa, Carmina Burana with Florida Symphony, Holiday ‘Pops’ concerts with The Jacksonville Symphony, along with the role of Gerald in Lakmé in Fresno and the world Premiere performances of Shot! A World Changed, an opera about the assassination of President McKinley in Buffalo. Also in 2015 his tenth commercial CD will be released, “Forgotten Liszt”, with Robert Koenig, pianist. The recording will include five world premiere recordings of lost Liszt songs and other of his rare works along a tour of recitals in Fresno, Modesto, Long Beach, and in Edinburgh, Glasgow, and Aberdeen Scotland. Professor Brecher is an Associate Professor at UCSB.

Matthew Peterson

Praised by the Colorado Spring's Gazzette for his "stunning" singing with "power and beauty", Matthew Peterson is an up and coming Baritone acclaimed for his rich voice and expressive acting ability.

A Colorado native, Matthew has performed with many of Colorado’s premiere musical organizations including Central City Opera, the Colorado Ballet, Opera Colorado, Boulder Symphony, the Boulder Philharmonic, and numerous others.

He has also sung nationally with Virginia Opera, the Fort Hayes Symphony, and Opera in the Ozarks. Roles include Silvio in Pagliacci, the title role of Don Giovanni, Figaro in Le Nozze di Figaro, Belcore in L’elisir d’Amore, and Polyphemus in Acis and Galatea. As a sought after soloist, he's performed in a number of large scale works including Orff’s Carmina Burana, Mozart’s Requiem, Mendelssohn's Die erste Walpurgisnacht, and premiered the dance oratorio Ode to Nature that was recorded and released by Albion Records. 

In 2019, Matthew won 1st place in the Denver Lyric Opera Guild competition. Recent performance highlights include his appearance as the Baritone soloist in the Colorado Ballet’s performance of Carmina Burana, Polyphemus in Central City Opera’s Acis and Galatea, and A-rab in a sold out run of the concert version of West Side Story with the Boulder Philharmonic.  Last summer, Matthew returned to Central City Opera to sing the Novice's Friend and cover the title role of Britten's Billy Budd. This year, Matthew has joined the prestigious Yale School of Music to study with legendary bass Richard Cross and will be involved in various performances and recitals.

Christina Pezzarossi

Hailed for her "fleet vocal technique" and "resonant, smoky mezzo", Mezzo-soprano Christina Pezzarossi is quickly gaining recognition as a distinguished and versatile young artist in the world of opera. Originally from Miles City, Montana, she received her Master's degree from the The Shepherd School of Music at Rice University.

In the 2020 season, Christina made her debut with Pacific Opera Project in a critically acclaimed drive-in performance of Cosi fan tutte (under the parody title COVID fan tutti) as Dorabella.

For the 2018/2019 season, Christina joined Pensacola Opera as a Resident Artist, singing The Witch in their touring production of Hansel and Gretel, Gertrude in Gounod's Romeo et Juliette and Paula in Catan's Florencia en el Amazonas. She also was an Apprentice Artist at Central City Opera, making her company and role debut as Kate Pinkerton in Madama Butterfly and performed in, Encore: A Musical Revue Concert. She received the John and Ginny Starky Award from Central City Opera at the end of the summer.

Christina has spent two summers as an Apprentice with Des Moines Metro Opera, covering Mrs. Segstrom in Sondheim's A Little Night Music and The Stewardess in Jonathan Dove's Flight.

Christina’s repertoire includes the title role in Handel’s Agrippina, Minerva in Monteverdi’s Il ritorno d’Ulisse in Patria, Rosina in Rossini’s Il barbiere di Siviglia, Hermia in Purcell’s Fairy Queen, Dorabella in Cosi fan tutte, Flora in La traviata, and Alisa in Donizetti’s Lucia di Lammermoor.

She has performed with Opera San Jose, Opera NEO, The Pacific Symphony, Boulder Opera, Emerald City Opera, and received an Encouragement Award from the San Francisco District Metropolitan Opera National Council Auditions.

 

Synopsis

Dorvil has been secretly married to Giulia. She still lives in the house of her guardian, Dormont, and he uses the silken ladder of the title every night to join her in her room.

As the opera starts, Giulia has already lowered the ladder from her bedroom window, but Germano, her guardian’s servant still lingers. As soon as she gets rid of him, Lucilla comes in. When Giulia is at last able to have a word with her husband he tells her that his wealthy friend Blansac has been lined up by her guardian to marry Giulia. She has the idea that Blansac should be persuaded to marry Lucilla. Dorvil tells Blansac that he will have no luck with Giulia, but the newcomer sees this as a challenge, and bets Dorvil that he will succeed. The husband reluctantly agrees, in order to test his wife’s fidelity. However Giulia has had the idea of attempting to seduce Blansac to find if he is good enough for her cousin. Confusion reigns. The next evening, Blansac now successfully pays court to Lucilla, but Germano tells him about the silken ladder, saying that he is expected to seduce Giulia. Germano then tells Lucilla about it so that she becomes jealous, believing it is intended for Blansac. In the end, Dormont finds the ladder and goes to Giulia’s room where he finds both suitors concealed, Blansac having climbed in after Dorvil. Giulia and Dorvil are forced to confess that they are married already, which allows Blansac to propose to and be accepted by Lucilla, so everyone is happy.

 

La Scala di Seta Sponsors

SEASON SPONSOR
Elaine F. Stepanek Foundation

PRODUCTION SPONSOR
Maya Smidt

STAGE DIRECTOR
Fred and Nancy Golden

ARTIST SPONSORS
Giulia – Bella Domani
Dorvil – Christine and Michael Holland
Lucinda & Blansac – Linda and Fred Wudl

STUDENT MATINEE PERFORMANCE
John C. Mithun Foundation
Music Performance Trust Fund
Performing Arts Scholarship Foundation

SUPERTITLES
Bella Domani

“YOU DECIDE!” TICKETING
Walter and Holly Thomson Foundation, 
Bank of America, N.A., Co-Trustee

COMMUNITY PARTNERS
Paseo Nuevo
Santa Barbara Office of Arts & Culture
Noozhawk
Voice Magazine

 

Location

Cast & Credits

Direction
Director:

Josh Shaw

Named as one of Musical America’s Top 30 Innovators in Classical Music, Josh Shaw is the Executive and Artistic Director of Pacific Opera Project (POP), which has been described as "L.A.'s most exciting new opera company." Over the past ten seasons, Mr. Shaw has directed over 35 productions at POP, including The Rake’s Progress, Ariadne auf Naxos, La Calisto, Tosca: A Moving Production; and La Boheme: AKA “The Hipsters”.  Mr. Shaw’s reimagining of Die Entführung aus dem Serail as an episode of Star Trek has gained national attention and has been produced with record-breaking numbers.

 

Since turning his attention to directing in 2011, Mr. Shaw has directed over 80 productions at companies including New Orleans Opera, Opera Santa Barbara, Opera Orlando, Intermountain Opera, Opera in the Heights, The Southern Illinois Music Festival, Opera Neo, Gulfshore Opera, Queen City Opera, and Salt Marsh Opera. Mr. Shaw's Barber of Seville at Opera Santa Barbara was described as "riotously funny" and "thoroughly amusing from overture to final bow." His work as a director has been described as "Brave and unflinching," "Ingenious," "Relentlessly and adorably rambunctious," "with enough good comic ideas for at least three productions." As a producer, he has been praised for his "supreme savvy" and "high level of production quality" with "the power to enthrall and captivate audiences."

 

Recent projects include US premieres of Gluck’s La Corona and Il Parnaso confuso, a new 2020 inspired English adaptation of Cosi fan tutte, a drive in Don Pasquale, and Bizet’s little-known Italian opera buffa, Don Procopio. In 2018 Mr. Shaw directed Tabasco: A Burlesque Opera, a newly rediscovered operetta by G. W. Chadwick, last performed in 1894, which was described as "delightful, packed with humor, and a feast for all the senses" by The New Orleans Advocate. In addition to directing the production, Mr. Shaw also wrote a new book and additional lyrics for the project that celebrated the McIlhenney Company’s 150th anniversary.

 

In addition to the rewrite of Tabasco and the new book and lyrics for Abduction from the Seraglio, Mr. Shaw has written several English version librettos including a Wild West setting of Die Lustige Witwe, a contemporary setting of Die Schauspieldirektor, a production of Die Zauberflöte set in the world of 1980s video games, and a groundbreaking production of Madama Butterfly sung in Japanese and English, a co-production of POP and Opera in Heights (Houston).

Conductor:

Alexis Enyart

Alexis Enyart is a rising orchestra and opera conductor praised for her musical finesse and technical grace. Since moving to Chicago in August of 2017 Alex has shot to prominence serving primarily as Music Director of Thompson Street Opera Company as well as guest conducting for Chicago Fringe Opera, Third Eye Theatre Ensemble, Chicago Vocal Arts Consortium, and Another Voice Collaborative. She has been well reviewed by the Chicago Tribune, Chicago Classical Review, Chicago Theatre Review, Opera Box Score, Chicago Reader, and many others. In addition to all of this Alex was invited to participate in Chicago Sinfonietta’s Project Inclusion as their first transgender conductor.

Alex is as comfortable on the podium as she is in the opera pit having made her international debut in Tomsk Russia with the Tomsk Philharmonic Orchestra in 2016 while finishing her Master’s in Orchestral Conducting from the University of Louisville. At the same time she also worked as the apprentice conductor with the Louisville Orchestra and Kentucky Opera as well as the Assistant Conductor for the Louisville Youth Orchestra. In 2017 Alex won the CODA conducting competition and was invited to work with Anthony Maeillo on La Gazza Ladra as a result. In 2018 Alex won the CCM Mozart Overture Competition. Alex works as a champion of new music and helped to bring As One, When Adonis Calls, Patience and Sarah to Chicago, among many others. She also champions young singers and advocates for every voice in her work with Chicago Vocal Arts Consortium which includes productions of La finta giardiniera, Die Entführung aus dem Serail, and L’elisir d’amore with many more to come!

As a transgender conductor Alexis strives to create a more equitable and diverse musical world. As such she has successfully chartered “Faulty Systems”, an annual program in which activists and artists come together to share stories of underrepresented communities or ideas through music, speech, poetry, dance and other mediums. Alexis also helped to launch the Chicago Vocal Arts Consortium’s sing–thru program, which functions to create an accessible space for young artists to experiment with musical styles and traditions following their education. You can also find Alexis working with ResonaTe an all transgender choir with a mission to foster acceptance of all voices and identities. Alexis believes that to conduct is an honor and privilege, and continues to work to support and strengthen the musical community she is privileged to be a part of.

Lighting Design:

Helena Kuukka

A native of Helsinki, Finland, Helena Kuukka joins the Opera SB staff from Orlando, Florida. Helena’s Opera Santa Barbara debut was as Lighting Designer of The Barber of Seville in 2018, followed by Eugene Onegin in 2019. Other favorite opera designs include The Marriage of Figaro and Eugene Onegin (Florida Grand Opera), Aida (Vancouver Opera, Portland Opera), Samson and Delilah and La Boheme (Tulsa Opera), La Traviata and The Merry Widow (Kansas City Lyric Opera), and Rockland (Pine Mountain Music Festival). Her dance designs include CarmenGiselleVampire’s Ball and Firebird for Orlando Ballet as well as Swan Lake, The Little Mermaid, and several contemporary works for Ballet Memphis. Helena is also a frequent designer at Lyric Theatre of Oklahoma where her credits include productions of TitanicOklahoma, Dreamgirls, Ragtime, Hello Dolly, Newsies, Mamma Mia and the world premiere of When We’re Gone.

Artists
Giulia:

Jana McIntyre

…Jana McIntyre continues to forge a path for herself with her “dancer’s grace, mercurial wit, and vibrant soprano tone” (Opera News). “With movie star looks and the poise to match, she has everything it takes to make it to the top.” (Opera Wire).

The 2021-2022 season sees Jana in her first title role debuts as Semele in Semele in a return to Opera Santa Barbara as well as Aminta for a new production of Die Schweigsame Frau with Bard SummerScape Festival. Workshop and concerts of recently written music rounded out her season. With the Rally Cat in New York City, she created the role of Marianne in recording and workshop of Aferidan Stephens and Marella Martin Koch’s Elinor and Marianne based on the Jane Austen novel Sense and Sensibility. She also performed in chamber concert with Jerod impichchaachaaha Tate and Tulsa’s Signature Symphony.

Ms. McIntyre was lucky to perform through the pandemic singing Norina in Don Pasquale for her hometown debut with Opera Santa Barbara as well as joining the rosters of Palm Beach Opera (Die Zauberflöte) and Tulsa Opera (Rigoletto). She was scheduled to make company debuts with Opera Theatre of Saint Louis and Canadian Opera Company among other notable returns to theaters which have been postponed/canceled due to the pandemic.

She was recently named a George London Foundation top prize winner as well as a Metropolitan Opera National Council grand finalist. She performed Ännchen in Heart Beat Opera’s new production of Der Freischütz and joined Santa Fe Opera for their workshop of the completed version of M. Butterfly in New York City and for whom she was to return as Sister 1 in Mark Adamo and John Corgliano’s newly commissioned Lord of Cries which was canceled last March. She also debuted with the Sacramento Philharmonic singing from Così fan tutte and Le nozze di Figaro as Despina and Susanna in their “Mozart Favorites” Concert.

Some career highlights include critical acclaim for her portrayal of Andromède in the American premiere of Ibert’s Persée et Andromède which made the New York Times “Best Classical Music of 2016;” her professional debut as the Amore in Gluck’s Orfeo ed Euridice alongside Anthony Roth Costanzo and Kiera Duffy in an installment of “Orphic Moments” with Brooklyn’s National Sawdust Theater under the baton of Matthew Aucoin; as well as performing in the west coast premiere of Jonathan Scheffer’s Blood on the Dining Room Floor (Rose 1) at age 19.

Miss McIntyre won first prize in the Alan M. and Joan Taub Ades Competition which gave her the opportunity to travel to Buenos Aires to sing a series of concerts at various venues including El Salon Dorado at the Teatro Colón. She is an award winner from the Jensen Foundation, Giulio Gari Foundation, George London Foundation, Art Song Preservation Society, Metropolitan National Council, among others. She is a Richard F. Gold grant recipient from the Shoshana Foundation, and the winner of the Eisenberg-Fried Concerto Competition at Manhattan School of Music.

Jana has been an apprentice with Tulsa Opera, Santa Fe Opera, and the Merola Opera Program. She did her academic work at the University of California, Los Angeles in Psychology (B.A.) and Music (B.A.). She received her Masters in Vocal Performance from the Manhattan School of Music.

 

 

 

 

 

 

 

 

 

 

 

 

 

Dorvil:

Christian Sanders

Christian Sanders has been hailed as a “…voice whose color belies his age. Someone to watch!” (Bill Eadie, SanDiego.com)

Christian Sanders has been hailed as a “…voice whose color belies his age. Someone to watch!” (Bill Eadie, SanDiego.com). His operatic repertoire encompasses Tom Rakewell in The Rake’s Progress, Albert Herring, Rodolfo in La bohème, Fenton in Falstaff, Laurie in Little Women, Tamino in Die Zauberflöte, Rinuccio in Gianni Schicchi, and Prince Charmant in Cendrillon, as well as a broad range of modern opera and work by living composers.

Mr. Sanders’ busy 2021-2022 brings several significant engagements in new opera as well as standard repertoire. He makes his company debut with Opera Santa Barbara singing The Song Seller in Il Tabarro, debuts the role of Wilbur in the world premiere of Finding Wright with Dayton Opera, appears as title role in Orpheus in the Underworld with Madison Opera, and joins the cast of The Magic Flute as Monostatos with the Opera Theatre of St. Louis. The 2020-21 season featured his return to Des Moines Metro Opera as Tobias Ragg in Sweeney Todd and Timothy in Fellow Travelers as well as performances as Lloyd the Bartender in The Shining with Minnesota Opera (cancelled due to COVID-19).

On the concert stage Mr. Sanders has been the tenor soloist in Handel’s Messiah, Bach’s Magnificat, Beethoven’s Choral Fantasy, Mendelssohn’s Elijah, and Bruckner’s Te Deum with the Point Loma Choral Union. More recently, Mr. Sanders performed with the Rice Chorale at Rice University in Houston, Texas for Schubert’s Mass No. 2, and Orff’s Carmina Burana. He has also appeared as a guest soloist with the San Diego Mormon Choir and Orchestra and as the tenor soloist in Mozart's Coronation Mass with the San Diego Festival Chorus in a live televised concert.

Mr. Sanders was a finalist in the Rocky Mountain Region of the Metropolitan National Council Auditions in the spring of 2012. Christian also had the honor of being awarded first place in the Ruth Burr Competition held in Houston, Texas in 2015. He was the First-Place Winner of the Lower-Collegiate Division of the National Association of Teachers of Singing Young Artist Competition and a Finalist for the 2010/11 Classical Singer Magazine National Competition. Additionally, Mr. Sanders is a scholarship recipient of the R. Faulk and the D. Greiner Encouragement Awards from the Metropolitan Opera National Council Auditions.

Mr. Sanders has received his Masters degree in Operatic Performance from Rice University in Houston on the full-tuition Edward J. and Frances Bing Memorial Scholarship. He holds a Bachelors of Arts Magna Cum Laude in Music with a minor in Cell and Molecular Biology from Point Loma Nazarene University and currently lives in San Diego, California.

Germano:

Efraín Solís

The San Francisco Chronicle exclaims, “For theatrical charisma and musical bravado, it would be hard to top the performance of baritone Efraín Solís.” He is a recent graduate of the San Francisco Opera Adler Fellowship and while with the company, sang his first performances of Papageno in Die Zauberflöte, Dandini in La cenerentola, Schaunard in La bohème, Silvano in Un ballo in maschera, Sciarrone in Tosca, and Prince Yamadori in Madama Butterfly. In the 2020-21 season, he joins Opera San Jose and Florida Grand Opera as Charlie in Heggie’s Three Decembers and Utah Opera as Escamillo in La tragédie de Carmen. Future engagements include Figaro in Le nozze di Figaro with Opera San Jose and a return to Opera Southwest, originally scheduled for this season. Last season, he returned to Utah Opera as Lieutenant Audebert in Puts’ Silent Night and Virginia Opera as Di Cosimo in Catán’s Il postino in joining the Cincinnati Song Initiative for a program of songs by Granados and Turina. His debut with the Los Angeles Philharmonic as the Peasant in Schönberg’s Gurrelieder and return to the role of Schaunard in La bohème with Fort Worth Opera were unfortunately cancelled due to COVID-19 pandemic.

He joined Houston Grand Opera’s HGOCo, New York City Opera, and El Paso Opera as Mark in Martinez’s Cruzar la cara de la luna. Other recent performances for the baritone include Mercutio in Roméo et Juliette with Utah Opera, Opera Carolina, Virginia Opera, and Toledo Opera; Figaro in Le nozze di Figaro with Opera Memphis and Livermore Valley Opera; Slook in La cambiale di matrimonio with Nicholas McGegan conducting Philharmonia Baroque; El Payador in Piazzola’s Maria de Buenos Aires with Opera Southwest, Golaud in Pelléas et Mélisande and Glass’ Hydrogen Jukebox with West Edge Opera; Fiesque in Maria di Rohan with Washington Concert Opera, Gaspar in Rita with the New Century Chamber Orchestra, and Dick in Blitzstein’s The Cradle Will Rock with Opera Saratoga. He joined both Opera Delaware and Baltimore Concert Opera for concerts of opera favorites.

Mr. Solis sang his first performances of Mahler’s Lieder eines fahrenden Gesellen with the Palo Alto Philharmonic and Brahms’ Ein deutsches Requiem as a guest artist at Concordia College. He joined the Berkeley Community Chorus and Orchestra for Britten’s War Requiem and both Las Vegas Philharmonic and New Choral Society for Handel’s Messiah. An active recitalist, he has previous joined the New York Festival of Song for multiple programs of Spanish repertoire and has been presented in a Schwabacher Debut Recital in San Francisco and offered an additional recital program at the El Camino College Center for the Arts.

He is an alumnus of the prestigious Merola Opera Program in association with San Francisco Opera, at which he sang Junius in The Rape of Lucretia and covered Count Almaviva in Le nozze di Figaro. He is also a former member of Opera Santa Barbara’s Studio Artist Program. In 2013, he was a Grand Finalist in the Metropolitan Opera National Council Auditions and sang arias from Rodelinda and Le nozze di Figaro on the famed company’s stage with Marco Armilianto conducting. He was also a finalist in Houston Grand Opera's Eleanor McCollum Competition and the Loren L. Zachary Society for the Performing Arts National Vocal Competition. He holds a Master of Music from San Francisco Conservatory of Music, at which he sang Guglielmo in Così fan tutte and Mahler’s Lieder eines fahrenden Gesellen and while at Chapman University, his performances included Beethoven’s Mass in C and Puccini’s Messa di Gloria.

Dormont:

Benjamin Brecher

Benjamin Brecher, tenor, has performed over fifty operatic roles and sung with over fifty symphonies throughout the world. He has performed over ten roles with The New York City Opera beginning in 1997, specializing in the bel canto opera repertoire. Other performances include: Santa Fe Opera, Opera de Montreal, Opera de Nice, and Glimmerglass Opera, among others. On the concert stage, he has sung with the orchestras of Chicago, Chautauqua, Mexico City, Rome, Seattle, Indianapolis, Pittsburgh, Budapest, Cincinnati, St. Louis, Toronto Symphony Milwaukee, and the National Symphony at Kennedy Center to mention a few. 2015-2016 will bring: Beethoven’s Ninth in Santa Rosa, Carmina Burana with Florida Symphony, Holiday ‘Pops’ concerts with The Jacksonville Symphony, along with the role of Gerald in Lakmé in Fresno and the world Premiere performances of Shot! A World Changed, an opera about the assassination of President McKinley in Buffalo. Also in 2015 his tenth commercial CD will be released, “Forgotten Liszt”, with Robert Koenig, pianist. The recording will include five world premiere recordings of lost Liszt songs and other of his rare works along a tour of recitals in Fresno, Modesto, Long Beach, and in Edinburgh, Glasgow, and Aberdeen Scotland. Professor Brecher is an Associate Professor at UCSB.

Blansac:

Matthew Peterson

Praised by the Colorado Spring's Gazzette for his "stunning" singing with "power and beauty", Matthew Peterson is an up and coming Baritone acclaimed for his rich voice and expressive acting ability.

A Colorado native, Matthew has performed with many of Colorado’s premiere musical organizations including Central City Opera, the Colorado Ballet, Opera Colorado, Boulder Symphony, the Boulder Philharmonic, and numerous others.

He has also sung nationally with Virginia Opera, the Fort Hayes Symphony, and Opera in the Ozarks. Roles include Silvio in Pagliacci, the title role of Don Giovanni, Figaro in Le Nozze di Figaro, Belcore in L’elisir d’Amore, and Polyphemus in Acis and Galatea. As a sought after soloist, he's performed in a number of large scale works including Orff’s Carmina Burana, Mozart’s Requiem, Mendelssohn's Die erste Walpurgisnacht, and premiered the dance oratorio Ode to Nature that was recorded and released by Albion Records. 

In 2019, Matthew won 1st place in the Denver Lyric Opera Guild competition. Recent performance highlights include his appearance as the Baritone soloist in the Colorado Ballet’s performance of Carmina Burana, Polyphemus in Central City Opera’s Acis and Galatea, and A-rab in a sold out run of the concert version of West Side Story with the Boulder Philharmonic.  Last summer, Matthew returned to Central City Opera to sing the Novice's Friend and cover the title role of Britten's Billy Budd. This year, Matthew has joined the prestigious Yale School of Music to study with legendary bass Richard Cross and will be involved in various performances and recitals.

Lucilla:

Christina Pezzarossi

Hailed for her "fleet vocal technique" and "resonant, smoky mezzo", Mezzo-soprano Christina Pezzarossi is quickly gaining recognition as a distinguished and versatile young artist in the world of opera. Originally from Miles City, Montana, she received her Master's degree from the The Shepherd School of Music at Rice University.

In the 2020 season, Christina made her debut with Pacific Opera Project in a critically acclaimed drive-in performance of Cosi fan tutte (under the parody title COVID fan tutti) as Dorabella.

For the 2018/2019 season, Christina joined Pensacola Opera as a Resident Artist, singing The Witch in their touring production of Hansel and Gretel, Gertrude in Gounod's Romeo et Juliette and Paula in Catan's Florencia en el Amazonas. She also was an Apprentice Artist at Central City Opera, making her company and role debut as Kate Pinkerton in Madama Butterfly and performed in, Encore: A Musical Revue Concert. She received the John and Ginny Starky Award from Central City Opera at the end of the summer.

Christina has spent two summers as an Apprentice with Des Moines Metro Opera, covering Mrs. Segstrom in Sondheim's A Little Night Music and The Stewardess in Jonathan Dove's Flight.

Christina’s repertoire includes the title role in Handel’s Agrippina, Minerva in Monteverdi’s Il ritorno d’Ulisse in Patria, Rosina in Rossini’s Il barbiere di Siviglia, Hermia in Purcell’s Fairy Queen, Dorabella in Cosi fan tutte, Flora in La traviata, and Alisa in Donizetti’s Lucia di Lammermoor.

She has performed with Opera San Jose, Opera NEO, The Pacific Symphony, Boulder Opera, Emerald City Opera, and received an Encouragement Award from the San Francisco District Metropolitan Opera National Council Auditions.