La traviata

By Giuseppe Verdi

 

  • “José Maria Condemi has caught and harnessed the enthusiasm of his company brilliantly with this production, [which] overflowed with grace and jubilation. Rebecca Davis embodied Violetta to perfection. It’s a glorious and deadly trip.” 
    – Charles Donelan / SB Independent

 

  • “Everything about the production – from the singing to the staging – proves flawless, illustrating why the Verdi classic remains a favorite… The staging was exemplary, with honors going to director Jose Maria Condemi. The enthusiastic audience gave the participants a standing ovation at the end.”
    – Margo Kline / Noozhawk
  • “Opera Santa Barbara brought a bounty of sighs, swoons and, most importantly, impressive singing to the stage last weekend for Verdi’s “La Traviata,” combining some of the best stage and technical talents, which allowed for striking sets and gorgeous costumes, with a fresh but experienced cast of artists.”
    – Rita Moran / Ventura County Star
  • “José Maria Condemi’s staging was assured in spectacular performances of La Traviata. The creative team accomplished a great deal in evoking a long-gone Paris of the past. The singing from the cast and chorus was excellent throughout. Soprano Rebecca Davis sang the tragic heroine with finessed coloratura, embracing the tragic trajectory of the character. The audience could feel tragic resonance emerge from the first passages of the overture.”
    – Robert F Adams / Casa Magazine

Direction

Valéry Ryvkin

Valéry Ryvkin

 

Conductor / Carmen

Jan/Feb 2002

 

Conductor / The Barber of Seville

May 2001

 

Conductor / La traviata

December 2000

 

Conductor / La Cenerentola

Mar/Apr 2000

 

Conductor / Le nozze di Figaro

Jan/Feb 2000

 

Conductor /
Cavalleria Rusticana & Pagliacci

October 1999

 

Conductor / Madama Butterfly

May 1999

 

Conductor / Il trovatore

January 1999

 

Conductor / The Merry Widow

December 1998

 

Conductor / Don Pasquale

February 1998

 

Conductor / Così fan tutte

January 1998

 

Conductor / Tosca

September 1997

 

Conductor / Don Giovanni

January 1997

 

Conductor / La bohème

Nov/Dec 1996

 

Conductor / Carmen

August 1996

 

Conductor / La traviata

July 1995 (debut)

 

Artistic Director

1999–2008

Erik Flatmo

Erik Flatmo

Elizabeth Poindexter

Elizabeth Poindexter

Christopher Maravich

Christopher Maravich

 

Lighting Designer / Falstaff

March 2014 (debut)

Heather Sterling

Heather Sterling

Heather Sterling is an accomplished makeup artist and hair stylist with a wide range of experience that includes work in theater, film, print, and fashion. She is a licensed cosmetologist and has a degree in fine art with an emphasis in psychology. Armed with an extensive knowledge of period makeup and hairstyles, Heather first designed for Opera Santa Barbara in 2006 for the company's performances of Tosca; since then her work has been seen in nearly forty OSB productions. She regularly designs for the Music Academy of the West's summer operas and she recently designed for the Granada Theatre's A Christmas Carol.

 

Hair & Makeup Designer / Tosca

February 2006 (debut)

Artists

Rebecca Davis

Rebecca Davis

Ryan MacPherson

Ryan MacPherson

Malcolm MacKenzie

Malcolm MacKenzie

Nova Safo

Nova Safo

Michael Krzankowski

Michael Krzankowski

 

Malatesta /Don Pasquale

April 2013

 

Baron Douphol / La traviata

March 2011 (debut)

 

2011 Studio Artist

Gabriel Manro

Gabriel Manro

Gabriel Vamvulescu

Gabriel Vamvulescu

 

The Sacristan / Tosca

November 2013

 

Colline / La bohème

November 2011

 

Doctor Grenvil / La traviata

March 2011 (debut)

 

Studio Artist

2011

Alissa Anderson

Alissa Anderson

Hailed for her “deliciously over the top” and “powerful mezzo” by Opera News, Alissa Anderson wields her comic prowess, striking features, and her “powerful vocalism” to great acclaim. Ms. Anderson achieved a considerable success and was celebrated for being “impeccably prepared” and “splendid in every way” when she stepped in as Florence Pike in Santa Fe Opera’s Albert Herring under the baton of Sir Andrew Davis.  In the 2019/2020 season, Ms. Anderson will make her company and role debuts with Opera Philadelphia as Princess Clarissa in Prokofiev’s The Love of Three Oranges as well as both her role and European debuts as Mrs. Lovett in Sweeney Todd with The Royal Danish Opera in Copenhagen. In the spring she returns to Opera Birmingham to sing the role of Madame de la Haltière in Massenet’s Cendrillion. The 2017-2018 season featured her debut with Opera Birmingham and Opera Louisiana in the title role of La tragédie de Carmen, her debut with Opera Delaware as Frugola/La Zia Principessa in Il trittico, and her debut with Utah Festival Opera as The Witch in Into the Woods. The 2018-2019 season includes Ms. Anderson’s return to San Diego Opera as Maddalena in Rigoletto, her debut with Opera San Antonio as Marthe in Faust, Marcellina in Le nozze di Figaro and Ms. Andrew/The Bird Woman in Mary Poppins in a return to Utah Festival Opera, and the starring role in the world premiere of the opera Debussy & Ravel: The Flowers of Evil with Mercury Chamber Orchestra at the Wortham Center in Houston, TX. 

 

The 2016-2017 season saw her debut with San Diego Opera as Tisbe in La Cenerentola, a New Year’s Eve gala concert with Opera Southwest, Marcellina in Le nozze di Figaro with North Carolina Opera, Verdi’s Requiem with the Houston Camerata, and La Zia Principessa/Ciesca in Il trittico with the Opera Company of Middlebury. Other recent performances for Ms. Anderson include La Zia Principessa/Zita in Suor Angelica/Gianni Schicchi with Opera Santa Barbara, Cleo in The Most Happy Fella with Tulsa Opera, Mother Goose in The Rake’s Progress with Utah Opera, and her debut with Houston Grand Opera’s East + West series in River of Light by composer Jack Perla and librettist Chitra Divakaruni. In addition, she made, her “comically perfect” debut as Mistress Quickly in Falstaff with Opera in the Heights, Lampito in Lysistrata with Fort Worth Opera, Marcellina in Le nozze di Figaro with Opera Santa Barbara, Emilia in Otello and Zulma in L’italiana in Algeri with Opera Southwest, Madame de la Haltiere in Cendrillion and the Mother in Hansel and Gretel with the Santa Fe Concert Association, Maddalena in Rigoletto with Opera in the Heights, and her return to Santa Fe Opera where she sang the Society Woman in The Last Savage. Recent concert engagements have included John Adams’ Grand Pianola Music with the Dallas Symphony Orchestra, Haydn’s Lord Nelson Mass with Concordia University Symphony Orchestra, her European concert debut as mezzo soloist in Verdi’s Requiem with performances throughout Germany and France and her Lincoln Center debut as the mezzo soloist in Mahler’s 2nd Symphony.

 

At Sarasota Opera, Ms. Anderson performed the roles of Dritte Dame in Die Zauberflöte, Sandman in Hansel and Gretel, and Flora in La Traviata. As a resident and principal artist with Fort Worth Opera she performed the roles of Tisbe in La Cenerentola, Mother in Amahl and the Night Visitors, Alisa in Lucia di Lammermoor, and the Angel Trio in Angels in America. Scott Cantrell of the Dallas Morning News praised her 2010 performance of Verdi’s Requiem with the University of North Texas Symphony Orchestra stating, “Mezzo Alissa Anderson supplied aptly rich tones and an awesome chest voice.”

 

Other notable engagements include her Tisbe in La Cenerentola and Ruth in The Pirates of Penzance with Opera New Jersey, Flora in La Traviata and Mercedes in Carmen with Pensacola Opera, and Flora in La Traviata with Nevada Opera.  As a young artist, she performed with the Santa Fe Opera, Des Moines Metro Opera, and Ashlawn-Highland Opera, as well as spending three consecutive summers at the Seagle Music Colony where she sang the title role in Carmen, Anita in West Side Story, Hippolyta in A Midsummer Night’s Dream, Alma March in Little Women, Woman in Marry Me A Little, and Hedy La Rue in How to Succeed in Business Without Really Trying.

Ms. Anderson holds her Master of Music in Opera Performance from The University of Maryland and her Bachelor of Music in Vocal Performance from the University of North Texas. 

 

 

The Princess  / Suor Angelica

April 2016

 

Zita / Gianni Schicchi

April 2016

 

Marcellina / Le nozze di Figaro

March 2012

 

Flora / La traviata

March 2011 (debut)

 

Studio Artist

2011

Rebecca Fay

Rebecca Fay

Steven Tompkins

Steven Tompkins

Featured Video

Location

Cast & Credits

Direction
Conductor:

Valéry Ryvkin

 

Conductor / Carmen

Jan/Feb 2002

 

Conductor / The Barber of Seville

May 2001

 

Conductor / La traviata

December 2000

 

Conductor / La Cenerentola

Mar/Apr 2000

 

Conductor / Le nozze di Figaro

Jan/Feb 2000

 

Conductor /
Cavalleria Rusticana & Pagliacci

October 1999

 

Conductor / Madama Butterfly

May 1999

 

Conductor / Il trovatore

January 1999

 

Conductor / The Merry Widow

December 1998

 

Conductor / Don Pasquale

February 1998

 

Conductor / Così fan tutte

January 1998

 

Conductor / Tosca

September 1997

 

Conductor / Don Giovanni

January 1997

 

Conductor / La bohème

Nov/Dec 1996

 

Conductor / Carmen

August 1996

 

Conductor / La traviata

July 1995 (debut)

 

Artistic Director

1999–2008

Scenic Design:

Erik Flatmo

Costume Design:

Elizabeth Poindexter

Lighting Design:

Christopher Maravich

 

Lighting Designer / Falstaff

March 2014 (debut)

Wig & Makeup Design:

Heather Sterling

Heather Sterling is an accomplished makeup artist and hair stylist with a wide range of experience that includes work in theater, film, print, and fashion. She is a licensed cosmetologist and has a degree in fine art with an emphasis in psychology. Armed with an extensive knowledge of period makeup and hairstyles, Heather first designed for Opera Santa Barbara in 2006 for the company's performances of Tosca; since then her work has been seen in nearly forty OSB productions. She regularly designs for the Music Academy of the West's summer operas and she recently designed for the Granada Theatre's A Christmas Carol.

 

Hair & Makeup Designer / Tosca

February 2006 (debut)

Artists
Violetta:

Rebecca Davis

Alfredo:

Ryan MacPherson

Germont:

Malcolm MacKenzie

Gastone:

Nova Safo

Baron:

Michael Krzankowski

 

Malatesta /Don Pasquale

April 2013

 

Baron Douphol / La traviata

March 2011 (debut)

 

2011 Studio Artist
Marquis d'Obigny:

Gabriel Manro

Grenvil:

Gabriel Vamvulescu

 

The Sacristan / Tosca

November 2013

 

Colline / La bohème

November 2011

 

Doctor Grenvil / La traviata

March 2011 (debut)

 

Studio Artist

2011

Flora:

Alissa Anderson

Hailed for her “deliciously over the top” and “powerful mezzo” by Opera News, Alissa Anderson wields her comic prowess, striking features, and her “powerful vocalism” to great acclaim. Ms. Anderson achieved a considerable success and was celebrated for being “impeccably prepared” and “splendid in every way” when she stepped in as Florence Pike in Santa Fe Opera’s Albert Herring under the baton of Sir Andrew Davis.  In the 2019/2020 season, Ms. Anderson will make her company and role debuts with Opera Philadelphia as Princess Clarissa in Prokofiev’s The Love of Three Oranges as well as both her role and European debuts as Mrs. Lovett in Sweeney Todd with The Royal Danish Opera in Copenhagen. In the spring she returns to Opera Birmingham to sing the role of Madame de la Haltière in Massenet’s Cendrillion. The 2017-2018 season featured her debut with Opera Birmingham and Opera Louisiana in the title role of La tragédie de Carmen, her debut with Opera Delaware as Frugola/La Zia Principessa in Il trittico, and her debut with Utah Festival Opera as The Witch in Into the Woods. The 2018-2019 season includes Ms. Anderson’s return to San Diego Opera as Maddalena in Rigoletto, her debut with Opera San Antonio as Marthe in Faust, Marcellina in Le nozze di Figaro and Ms. Andrew/The Bird Woman in Mary Poppins in a return to Utah Festival Opera, and the starring role in the world premiere of the opera Debussy & Ravel: The Flowers of Evil with Mercury Chamber Orchestra at the Wortham Center in Houston, TX. 

 

The 2016-2017 season saw her debut with San Diego Opera as Tisbe in La Cenerentola, a New Year’s Eve gala concert with Opera Southwest, Marcellina in Le nozze di Figaro with North Carolina Opera, Verdi’s Requiem with the Houston Camerata, and La Zia Principessa/Ciesca in Il trittico with the Opera Company of Middlebury. Other recent performances for Ms. Anderson include La Zia Principessa/Zita in Suor Angelica/Gianni Schicchi with Opera Santa Barbara, Cleo in The Most Happy Fella with Tulsa Opera, Mother Goose in The Rake’s Progress with Utah Opera, and her debut with Houston Grand Opera’s East + West series in River of Light by composer Jack Perla and librettist Chitra Divakaruni. In addition, she made, her “comically perfect” debut as Mistress Quickly in Falstaff with Opera in the Heights, Lampito in Lysistrata with Fort Worth Opera, Marcellina in Le nozze di Figaro with Opera Santa Barbara, Emilia in Otello and Zulma in L’italiana in Algeri with Opera Southwest, Madame de la Haltiere in Cendrillion and the Mother in Hansel and Gretel with the Santa Fe Concert Association, Maddalena in Rigoletto with Opera in the Heights, and her return to Santa Fe Opera where she sang the Society Woman in The Last Savage. Recent concert engagements have included John Adams’ Grand Pianola Music with the Dallas Symphony Orchestra, Haydn’s Lord Nelson Mass with Concordia University Symphony Orchestra, her European concert debut as mezzo soloist in Verdi’s Requiem with performances throughout Germany and France and her Lincoln Center debut as the mezzo soloist in Mahler’s 2nd Symphony.

 

At Sarasota Opera, Ms. Anderson performed the roles of Dritte Dame in Die Zauberflöte, Sandman in Hansel and Gretel, and Flora in La Traviata. As a resident and principal artist with Fort Worth Opera she performed the roles of Tisbe in La Cenerentola, Mother in Amahl and the Night Visitors, Alisa in Lucia di Lammermoor, and the Angel Trio in Angels in America. Scott Cantrell of the Dallas Morning News praised her 2010 performance of Verdi’s Requiem with the University of North Texas Symphony Orchestra stating, “Mezzo Alissa Anderson supplied aptly rich tones and an awesome chest voice.”

 

Other notable engagements include her Tisbe in La Cenerentola and Ruth in The Pirates of Penzance with Opera New Jersey, Flora in La Traviata and Mercedes in Carmen with Pensacola Opera, and Flora in La Traviata with Nevada Opera.  As a young artist, she performed with the Santa Fe Opera, Des Moines Metro Opera, and Ashlawn-Highland Opera, as well as spending three consecutive summers at the Seagle Music Colony where she sang the title role in Carmen, Anita in West Side Story, Hippolyta in A Midsummer Night’s Dream, Alma March in Little Women, Woman in Marry Me A Little, and Hedy La Rue in How to Succeed in Business Without Really Trying.

Ms. Anderson holds her Master of Music in Opera Performance from The University of Maryland and her Bachelor of Music in Vocal Performance from the University of North Texas. 

 

 

The Princess  / Suor Angelica

April 2016

 

Zita / Gianni Schicchi

April 2016

 

Marcellina / Le nozze di Figaro

March 2012

 

Flora / La traviata

March 2011 (debut)

 

Studio Artist

2011

Annina:

Rebecca Fay

Giuseppe:

Steven Tompkins

La Traviata, 2011, Photo by David Bazemore