Un Ballo in Maschera
Nov 11 & 13, 2022
Combining political intrigue, a dangerous love triangle, and a fortune teller’s mysterious prophecy, Un ballo in maschera shows Verdi at the height of his powers. A masterwork that survived a notorious battle with censors and endless revisions before its premiere, the opera contains radiant choral writing and some of Verdi’s most passionately expressive melodies. Never has the downfall of a king sounded so exhilarating! The Maryland Lyric Opera Orchestra is conducted by internationally renowned Verdi specialist Andrea Licata, and audiences are invited into the masked ball of the opera’s title with immersive visuals led by David Gately.
Sung in Italian, with projected English subtitles
Running time 2 hours 45 minutes, with one 20-minute intermission
Washington Classical Review
“Maryland Lyric Opera fields excellent cast in extravagant “Ballo in Maschera”
MD Theatre Guide
“…the [MDLO] Orchestra, under conductor Andrea Licata, takes center stage, putting both the music and vocal artistry into sharper focus, and making it possible for a certain opera “unplugged” experience.”
Photos & Video
Meet the Artists
Marian Anderson Award-winning soprano Indira Mahajan is in demand by opera companies, orchestras, and recital presenters worldwide. Praised for her “strongly centered, richly textured soprano” by New York Magazine and her “poignant soprano” for her moving portrayals by The New York Times, the versatile soprano has appeared in venues from Brazil to Malta, Russia to Austria in addition to performing in her native New York City.
One of the finest interpreters of the role of Bess in Gershwin’s Porgy and Bess, Indira Mahajan has received international acclaim for her many performances. Of her most recent performance with Fort Worth Opera, Opera News wrote, “the incandescent Indira Mahajan as Bess performed an unforgettable performance. Mahajan’s experience shows, not only in her detailed acting, but also in the exquisite way she shapes her vocal lines. It is a wonderful instrument with a sexy throbbing lower register and a thrilling top.” Performances at the Grand Théâtre in Luxembourg, The Tageblatt wrote, “Thanks to her virtuosity in the soaring, vibrant, distinctive striking timbre, Indira Mahajan was absolutely radiant as a graceful, seductive but also vulnerable Bess.”
During the 2020-21 Season Ms. Mahajan adds two new roles to her repertoire: Santuzza in Cavalleria Rusticana by Pietro Mascagni in a 90-minte adaptation of Cavalleria Rusticana and Pagliacci with the New Camerata Opera, New York and Verdi’s heroine Elena in I Vespri Siciliani with New Amsterdam Opera, New York. She will also be presented as a Guest Artist in a virtual Master class series with CAAPA, Coalition for African Americans in the Performing Arts providing free Master Class for HBCU students. Upcoming performances also include Porgy and Bess with Greensboro Opera, North Carolina and performances of Porgy and Bess with St, Galen Symphony Orchestra, Switzerland as well as a return to Greensboro Opera in performances of Puccini’s La bohéme.
She has also performed the title role in concert with the Royal Stockholm Philharmonic, the Orchestra Sinfonica Giuseppe Verdi, and the Iceland Symphony Orchestra. The soprano has performed Gershwin concerts with the Baltimore Symphony, the San Diego Symphony and with Bobby McFerrin in her debut with the New York Philharmonic. She also joined Sir Willard White in a New Year’s Eve Gala at the Mikhailovsky Theater in St. Petersburg, Russia. The Bernstein and Gershwin program was conducted by Vasily Petrenko.
George Gershwin was influenced by the music of ragtime composer Scott Joplin. Indira Mahajan was featured in Opera News for her performances of the title role in Joplin’s full-length work Treemonisha. Having first performed Treemonisha in Costa Rica, she also appeared in the role with The Paragon Ragtime Orchestra at both the Stern Grove Festival in San Francisco and at the Carlsen Center in Kansas.
Indira Mahajan, a native of New York City, began violin studies at the age of five. Creating and performing leading roles in contemporary operas has drawn upon her extensive musical studies. The soprano created the featured role of Mordeen in the first fully staged production of Frank Lewin’s opera Burning Bright in Princeton, New Jersey. She performed excerpts of Richard Strauss’ Capriccio and Tchaikovsky’s Eugene Onegin at the Colorado Music Festival, roles that she anticipates performing in their entirety in future seasons.
Indira Mahajan was born in New York City to a South Asian father born in Dalhousie, India. and African American mother born in Raleigh, North Carolina. She first began her musical studies at the age of 5 as a violinist and later continued her musical studies with her mother and first voice teacher, Barbara Mahajan.
She holds a Bachelor’s degree from Oberlin College, Master of Music degree and Advanced Professional Studies degree from Mannes College of Music, and a diploma from the Accademia Musicale Ottorino Respighi.
Winner of the prestigious Marian Anderson Award Miss Mahajan performed in recital at the Kennedy Center. She dedicated the Award to her mother, mezzo-soprano Barbara Mahajan, and her mentor the late Betty Allen, opera singer and President of The Harlem School for the Arts. She is also the recipient of the New York City Opera Debut Artist of the Year Award, Dallas Opera’s Maria Callas Debut Artist of the Year Award, Richard F. Gold Award, winner of the Eastern Division of the National Association of Negro Musicians, Jensen Foundation Award, as well as a Van Lier Fellow. She is listed in Who’s Who in Black American-Classical Singers, and Who’s Who is South Asian Women’s Network.
Arturo Chacón-Cruz, a native of Sonora, Mexico, has established himself in recent years as a leading tenor with exciting appearances in renowned theaters and concert halls across the globe. He has sung over 60 roles in more than 30 countries. Since winning Plácido Domingo’s Operalia Competition in 2005, Arturo’s career has seen a successful and steady development. His repertoire spans from Bellini and Donizetti to Puccini and Verdi. Some of his more sought after roles are: Rodolfo, the Duke of Mantua, Alfredo, Jacopo Foscari, Gabriele Adorno, B.F. Pinkerton, Hoffmann, Werther, and Romeo to name a few. He has sung private recitals for His Majesties Queen Sofia and King Juan Carlos of Spain, as well as another one for all the leaders of Iberoamerica, and His Majesty King Felipe of Spain.
Recent highlights include role debuts as Cavaradossi in TOSCA, Ismael in NABUCCO, and Rodolfo in Verdi’s LUISA MILLER in Oviedo, Valencia and Barcelona respectively. He also sang his first Nemorino in Donizetti’s ELIXIR OF LOVE in Palermo, Italy and afterwards he performed it again in Macau, China. Other recent performances include: The Duke in RIGOLETTO (Verona, Naples, Budapest, Hamburg, Los Angeles and Florence), LA BOHEME (San Francisco and Hamburg), LA TRAVIATA (Munich, Valencia, Moscow, Rome and Oman), Ruggero in Puccini’s LA RONDINE in Genova, Faust in Berlioz’s LA DAMNATION DE FAUST in Mexico City’s Bellas Artes, the Teatro Colon in Buenos Aires and at the Bolshoi Theater in Moscow, WERTHER in Barcelona and Budapest, Des Grieux in Massenet’s MANON in Monte Carlo, Don Jose in CARMEN (Tel Aviv, Lyon, Palermo and Zurich), as well as a critically acclaimed role debut as Macduff (Verdi’s MACBETH) in Los Angeles and later in Vienna. He made his La Scala di Milano debut as Hoffmann in Offenbach’s THE TALES OF HOFFMANN, and received a very warm reception from the audience and press.
Recent collaborations with star directors Sofia Coppola (LA TRAVIATA, with Valentino costumes) and Woody Allen (GIANNI SCHICCHI, available in DVD and BluRay by Sony) resulted in international acclaim and all sold out performances in Los Angeles, Valencia and Rome. Upcoming performances include two Verdian role debuts: Oronte in I LOMBARDI ALLA PRIMA CROCIATA, in Montecarlo and King Gustavo III in UN BALLO IN MASCHERA in Norway. He will be Alfredo in LA TRAVIATA in Seville, Hoffmann in THE TALES OF HOFFMANN in Berlin, among many others. After the Covid-19 pandemic lockdown he returned to Barcelona to perform Alfredo in LA TRAVIATA and the title role in Offenbach’s THE TALES OF HOFFMANN as his first stop.
In addition to an extensive existing operatic discography, the artist’s first solo CD is available. “Arturo Chacón le canta a México”, features some of the most beautiful Mexican music ever written, and is accompanied by the Orquesta Filarmónica de Sonora. Chacón-Cruz has received many honors and awards throughout the years. The most recent one being the “Moncayo Medal” in Jalisco, Mexico, he was also “GQ Man of the Year 2018” in Mexico. He was the “Jan Shrem and Maria Manetti Emerging Star” of 2017 for the San Francisco Opera. He received the Alfonso Ortíz Tirado medal in 2013 (Sonora’s highest cultural award), the Distinguished Sonoran Medal 2009, the Culturarte de Puerto Rico, the Opera de Valencia and the Plácido Domingo Zarzuela Awards in Operalia 2005 in Madrid’s Teatro Real. He received the Eleanor McCollum 1st Prize Award, and Audience Choice Award with the Houston Grand Opera in 2003, among many others.
Arturo shares a long and important relationship with two of the reigning opera singers of our day, Plácido Domingo and Ramón Vargas. Since discovering Arturo in 2000, Plácido Domingo has remained Arturo’s friend and mentor, and the two have shared the operatic stage and concert platform many times. Arturo was awarded the Plácido Domingo Scholarship in 2002, and Mr. Domingo himself helped launch his international career after his success in the Operalia Competition. Arturo also enjoys a nurturing friendship with Ramón Vargas who became a mentor, teacher and friend over a decade ago.
Ukrainian-born American baritone Aleksey Bogdanov continues to establish himself as one of the most compelling performers of his generation. The 2021-2022 season kicks off with his Metropolitan Opera debut as Shchelkalov in Boris Godunov, which will be broadcast on PBS and in movie theaters worldwide. Mr. Bogdanov will also appear as Rigoletto with Nashville Opera, Jack Rance in La fanciulla del West with the Royal Swedish Opera, and Aleko/Duke/Lanceotto in a Rachmaninoff triple bill with Odyssey Opera. Concert appearances include Handel's Messiah with Virginia Symphony Orchestra.
In the 2020-2021 season, Mr. Bogdanov appeared as Rigoletto with Central City Opera, Scarpia in Tosca with Austin Opera, and Crespel in Les Contes d'Hoffmann at the Gran Teatre del Liceu in Barcelona.
In the 2019-2020 season, he appeared as Pasha Seid in Il corsaro at the 15th-annual "Chopin and his Europe" Festival, Amonasro in Aida with Boston Youth Symphony Orchestra, and Scarpia in Tosca with Hawaii Opera Theatre. Additionally, he returned to Tulsa Opera as Sharpless in Madama Butterfly and Chicago Opera Theater as Beck Weathers in Everest and the title role of Aleko. Concert appearances included Schoenberg Gurre-Lieder with KBS Symphony Orchestra, Verdi Requiem with the Colorado Symphony, and Handel's Messiah with the Richmond Symphony.
In the 2018-2019 season, he returned to Washington National Opera as Lt. Horstmayer in Silent Night and covered Scarpia in Tosca and the title role in Eugene Onegin. Additionally, he made his debut with Maryland Lyric Opera as Jack Rance in La fanciulla del West and Chicago Opera Theater as Starbuck in Moby Dick.
In the 2017-2018 season, he made his debut with the San Francisco Symphony as Andrei Shchelkalov in Boris Godunov, conducted by Michael Tilson Thomas. Additionally, he appeared with Arizona Opera as Scarpia in Tosca, Sarasota Opera as Sebastiano in d'Albert's rarely-heard Tiefland, Lionel in Tchaikovsky's Maid of Orléans with Odyssey Opera in Boston, Four Villains in Les Contes d'Hoffmann with Opera North in New Hampshire, and covered the title role in Demon with Gran Teatre del Liceu in Barcelona.
In the 2016-2017 season, he made his role debut as Jack Rance in La fanciulla del West with Opera Carolina, Scarpia in Tosca with Opera North, Demon with Commonwealth Lyric Theater, Escamillo in La tragédie de Carmen with Colorado Music Festival, Nourabad in Les pêcheurs de perles with Tulsa Opera, and Vitellius in Hérodiade with Washington Concert Opera.
In the 2015-2016 season, he appeared with Washington National Opera as Escamillo in Carmen, Peter in Hansel and Gretel, created Governor George Wallace in the revised version of Appomattox, and covered Donner and Gunther in Francesca Zambello's Ring Cycle. Praised as "pitch-perfect" by The Washington Post, his many roles in over 100 performances with WNO from 2009 to 2016 include Mozart’s Figaro, Don Giovanni and Guglielmo, Belcore in L'elisir d'amore, Sharpless in Madama Butterfly, Silvano in Un ballo in maschera, and the Jailer in Dialogues of the Carmelites.
Mr. Bogdanov made a last-minute debut at The Glimmerglass Festival as Escamillo in Carmen to great acclaim, and he has appeared in this signature role with The Atlanta Opera, Washington National Opera, Opera Theatre of Saint Louis, and Columbus Symphony Orchestra. He returned to The Glimmerglass Festival as Sharpless in Madama Butterfly and Samuel Griffiths in Tobias Picker's An American Tragedy. He also appeared in the US premiere of Tarik O'Regan's Heart of Darkness with Opera Parallèle.
Other career highlights include his Canadian debut as Eugene Onegin with Edmonton Opera, and his Carnegie Hall debut as Bass Soloist in Handel's Messiah. He has been featured as a soloist in Mozart's Requiem at Place des Arts in Montréal, Beethoven's Fidelio with National Symphony Orchestra, Barber's A Hand of Bridge with Baltimore Symphony Orchestra, Castelnuovo-Tedesco's Romancero Gitano at Palau de les Arts Reina Sofia and Teatro Baretti di Torino, Dvořák Te Deum and Janáček Glagolitic Mass at Basilica of the National Shrine, and the Requiems of Mozart, Fauré, and Duruflé at the Washington National Cathedral. He has performed at the United States Supreme Court and CIA Headquarters, and he has sung the national anthem for the San Francisco Giants and the Washington Nationals.
Born in 1983 in Odessa, Ukraine, Mr. Bogdanov immigrated to San Francisco in 1992. He made his professional debut in 2008 with OTSL in William Walton's Troilus and Cressida. He is an alumnus of Washington National Opera's Domingo-Cafritz Young Artist Program, Indiana University, and University of California Santa Cruz. He is a grand prize winner of the Florida Grand Opera Competition, a two-time winner of the Metropolitan Opera National Council District Awards, and a Career Grant recipient from The Sullivan Foundation, The Shoshana Foundation, Pasadena Opera Guild, and San Francisco Opera Merola Program.
Praised by Opera News for her “striking dark timbre” and “expansive, sumptuous” performances, mezzo-soprano Daryl Freedman begins the 21/22 season with a role/house debut at Virginia Opera in Das Rheingold (Fricka). Additional engagements include a role/house debut at The Atlanta Opera in the title role of Julius Caesar, returns to The Metropolitan Opera for The Magic Flute (Third Lady) and rehearsal cover in the new McVicar production of Don Carlos (Princess Eboli), and a return to Washington National Opera for the world premiere of Sankaram’s Rise (Powerful Woman/Adelaide Johnson). In the summer of 2022, she will debut at the Salzburger Festspiele in a new Christoph Loy production of Suor Angelica (Suor Dolcina) conducted by Franz Welser-Möst. On the concert stage she debuts with the Erie Philharmonic in Mahler Symphony No. 2, and returns to the Fairfax Symphony for Beethoven Symphony No. 9.
Recent engagements include a debut with Fargo-Moorhead Symphony Orchestra for Das Lied von der Erde, Cavalleria Rusticana (Santuzza cover) in a new Robert Carsen production at the Dutch National Opera, and a role/house debut at Opera San José in Il trovatore (Azucena). Additional contracted productions of Il trovatore at Madison Opera and Portland Opera were postponed due to the pandemic, as well as engagements with the Cleveland Orchestra, Lyric Opera of Chicago, and Malmö Live Konserthus. She debuted with The Metropolitan Opera in Die Walküre (Schwertleite), returned to The Cleveland Orchestra for staged performances of Ariadne auf Naxos (Dryad), covered in Cavalleria Rusticana (Santuzza) at San Francisco Opera, debuted in Die Walküre (Schwertleite) at the Théâtre du Capitole de Toulouse, and debuted in Aida (Amneris) with Opera Idaho. On the concert stage she debuted with the National Symphony Orchestra in Bernstein's Songfest, Quad City Symphony Orchestra and Fairfax Symphony in Verdi Requiem, and returned to the Santa Fe Symphony and Boise Philharmonic for Handel’s Messiah.
Ms. Freedman is a graduate of the Cafritz Young Artist Program at Washington National Opera where she was seen in Don Carlo (Princess Eboli), Hansel and Gretel (Gertrude), Better Gods (Lili’uokalani), Der Ring des Nibelungen (Rossweisse), Dead Man Walking (Jade Boucher), and Le nozze di Figaro (Marcellina).
She made her Wagnerian role debut in Der fliegende Holländer (Mary) with Sarasota Opera, where she returned in Rimsky-Korsakov’s Le coq d’or (Amelfa), and Lucia di Lammermoor (Alisa). As an Apprentice Artist at The Santa Fe Opera, she covered in Salome (Herodias), The Impresario (Fraulein Krone), and Le Rossignol (Death). She also debuted at Carnegie Hall singing Handel’s Messiah with the Cecilia Chorus of New York. Additional engagements include Cavalli’s Eliogabalo (Zotico) with Gotham Chamber Opera, Mozart’s Requiem with the Florida Orchestra, Le nozze di Figaro (Marcellina) with the Merola Opera Program, Telemann’s Orpheus (Ascalax) with New York City Opera, and Luisa Miller (Federica) and The Magic Flute (Third Lady) with Chautauqua Opera.
Born in Valencia, Aitana Sanz combines piano and singing studies.
In 2021 she completed her Higher Degree studies in the specialty of singing at the Valencia Conservatory of Music with an Extraordinary Prize, with soprano Ofelia Sala as tutor. Currently, she continues her training with a Master in Vocal Performance at the Universität für Musik und Darstellende Kunst Wien under the tutelage of soprano Krassimira Stoyanova and baritone Florian Boesch.
At just 19 years old, she made her debut with the role of "La Voce dal Celo" from Verdi's Don Carlo in the 52nd Las Palmas de Gran Canaria Opera Season, with conductor Sesto Quatrini. In June 2022 she made her debut as Olympia from Les Contes d ́Hoffmann (Offenbach) with Maestro Yves Abel, due to Jessica Pratt's indisposition because of COVID-19. She had a great success with the public and critics. Also in the summer of 2022, she made her debut as Contessa di Folleville from Il Viaggio a Reims (Rossini) at the Rossini Festival in Pesaro, another extraordinary success with the critics and the public.
During 2022/23 she will sing, among others, a lied recital at LIFE Victoria Festival, Oscar (Un ballo in maschera) at Maryland Opera with Arturo Chacón-Cruz and the Beethoven's 9th Symphony with the Royal Symphonic Orchestra of Seville. Her future plans for 2023/24 include her debut as Soeur Constance from Dialogues des Carmelites at Las Palmas de Gran Canaria Opera.
Her awards include the first prize in the Nomea Competition international singing competition, the prize for the best young talent in the Otto Edelmann singing competition, the prize of the Fundación Victoria de los Ángeles at the IV Concurs de Cant Josep Palet, the award of excellence for the Russian song at the Romanian Grand Prix international singing competition and the 2021 scholarship for musicians from the Güell Foundation of Barcelona.
Bass-baritone Michael Pitocchi has been described as a brilliant singer with a powerful, rich voice. Hailing from New York, he is a graduate of the Mannes Conservatory, where he performed leading roles including Dr. Bartolo and Antonio in Mozart’s Le nozze di Figaro, Nick Shadow in Stravinsky’s The Rake's Progress, Prince Gremin and Zaretsky in Tchaikovsky’s Eugene Onegin, and Frank Maurrant in Weill’s Street Scene.
In the summer of 2018, Michael was invited to perform with the prestigious Glimmerglass Festival. There, he performed in productions of Put’s Silent Night, Janáček‘s The Cunning Little Vixen, and Rossini’s Il barbiere di Siviglia.
In 2019, Michael was awarded top prize in the Gerda Lissner Foundation’s concert series. Brooklyndiscovery.com described his “rich basso” as a voice that will “fill the void today of a lack of great dark voices.” He was later invited to attended the 2019 ICAV Institute in Montreal, Quebec where he was featured as Barbemuche in Leoncavallo’s La Bohéme.
Michael has been a featured soloist with the Fairfield County Chorale in Connecticut. Recent concerts include Mozart's Mass in C minor, J. Christian Bach's Magnificat a 4 in C major, and Handel’s Messiah.
Michael was featured in the 2019 MDLO Institute Concert performing lead roles in scenes from Beethoven's Fidelo, Gounod's Faust, and Verdi's Falstaff. Michael was privileged to cover the role of Timur in MDLO's 2022 production of Puccini's Turandot. His most recent performance with MDLO was singing the role of Antonio in Mozart’s Le nozze di Figaro.
Adam Cioffari recently returned to the Pittsburgh Festival Opera Fasolt in Rhinegold and Judge Turpin in Sweeney Todd, followed by Handel's Messiah, and the Mozart Requiem with the Columbus Symphony Orchestra. Other appearances include the Commentator in the world premiere of Wang’s Scalia/Ginsburg at the Castleton Festival, the Musiklehrer in Ariadne auf Naxos at The Glimmerglass Festival, Papageno in Die Zauberflöte at the Teatro Municipal de Santiago, Colline in La Boheme with Knoxville Opera, and Masetto with Austin Opera. He has performed with the Los Angeles Philharmonic, the Theatre Capitole de Toulouse, Staatsoper Stuttgart, and Komische Oper Berlin. A former member of the Houston Grand Opera Studio, he was also a participant of the Merola Opera Program, the Music Academy of the West, Aspen Opera Theater, and is a graduate from Indiana University Jacobs School of Music.
Heralded as one of the most sought after and versatile Belcanto baritones of the emerging generation, Chilean baritone Javier Arrey recently did his Metropolitan Opera debut as Schaunard (La Boheme) in the classic Franco Zeffirelli production and joined the roster of The Metropolitan Opera; he also did an acclaimed debut at the Wiener Staatsoper as Marcelloin La Boheme.
Engagements in recent seasons include, among others: Alfio (Cavalleria Rusticana) at Boston Lyric Opera; Valdeburgo (La Straniera) and Riccardo (I Puritani) at Washington Concert Opera; Giovanni (Don Giovanni) at the Estates Theater in Prague and Castleton Festival; Silvio (I Pagliacci) at the NCPA Mumbai under Antonello Allemandi; Giorgio (Il Postino) and Garibaldo (Rodelinda) at the Teatro Municipal de Santiago.
Following an acclaimed debut as Jago (Otello) at the Castleton Festival under Lorin Maazel, a performance The Washington Post described as "menaced and connived but [Arrey] did so subtly and with a voice so lovely to that his scheming seemed all the more threatening." Praises came also from Mo. Lorin Maazel who published: "Jago was stunningly sung and acted by Javier Arrey [who] manages to give shape to the jealous demon within Otello"
On CD, Mr.Arrey can be heard as Lescaut on the recording of Puccini's Manon Lescaut for Decca Classics alongside Andrea Bocelli and Plácido Domingo.
In addition to his work on the opera stage Arrey has proved to be a world-class interpreter of the concert repertoire most recently performing Carmina Burana in Europe and Dvorák's Biblical Songs & Gypsy Songs in Czech Republic. His repertoire includes Fauré's Requiem, Bach St.John Passion BWV 245, Bach Weihnachtsoratorium BWV 248, Bach Cantata BWV
82, Schumann's Dichterliebe, Brahms's Ein deutsches Requiem and Mahler's Lieder Eines Fahrenden Gesellen, among others.
In 2017, Mr. Arrey received the "Congressional Medal of Honor" at the National Congress of Chile in recognition of his artistic career and his social labor bringing the Opera to populations who have no access to live performances. In 2011 Javier Arrey was the winner of the CulturArte Prize at Operalia Competition in Moscow and in 2009 he was finalist at the Cardiff Singer of the World competition (Song prize). Mr.Arrey is a graduate of The Washington National Opera "Domingo-Cafritz Young Artist Program" and Dolora Zajick's Program Institute for "Young Dramatic Voices"
Future engagements include, among others his debut as Germont (La Traviata, Verdi) at the
Teatro Municipal de Santiago under Mo. Rizzi Brignoli.
Tenor Mauricio Miranda has recently performed with MDLO as The Emperor Altoum in Turandot by Puccini, as Il Conte di Lerma in Don Carlo by Verdi, as Don Curzio in Le nozze di Figaro by Mozart, and as Joe in La fanciulla del West by Puccini. His future roles with MDLO include The Judge in Un ballo in maschera and Doctor Caius in Falstaff by Verdi.
During his career, Miranda has performed at the Kennedy Center, Strathmore Music Center, Palacio Euskalduna and Teatro La Laboral (Spain); Teatro Goldoni (Italy), Teatro Municipal de Santiago (Chile), among others. His oratorio repertoire includes works by Bach, Handel, Vivaldi, Mozart, Rossini, Beethoven and Schubert, and he has given concerts in Chile, Argentina, Peru, France, Germany, Austria, Italy, Spain and the United States. He performed with conductors such as Louis Salemno, Dimitry Jurowsky, Jan Latham-Koenig, Roberto Rizzi-Brignoli, and Daniele Rustioni; and directors such as Emilio Sagi, Anne Bogart, Hugo de Ana and Jean Louis Grinda. Miranda has sung Mozart's Requiem at the Washington National Cathedral, and the role of Eros in the U.S. premiere of Debussy's opera Diane au bois. His soloist career began in South America, and he continued his training in Europe and North America with Bruno Pola in Germany, Isabel Penagos in Spain and Diana Soviero in the U.S.
He graduated from the Cafritz Young Artist Program at the Washington National Opera. Miranda received his degree in Music Theory from the National Conservatory of the University of Chile and was the winner of the prestigious FONDART scholarship.
Andrea Licata has conducted many opera and symphonic orchestras in Italy and abroad, including the Maggio Musicale Fiorentino, the Orchestra Regionale della Toscana, Orchestra Sinfonica Siciliana, Teatro Lirico di Cagliari, the Royal Philharmonic Orchestra, the Festival of Two Worlds Orchestra of Spoleto and the Melbourne Symphony Orchestra. In Spoleto, he conducted the world premiere of Sarah – the contemporary opera based on the life of Marilyn Monroe composed by Paul Vy and directed by Petrika Ionesco.
In 1989, Hans Werner Henze invited Andrea Licata to inaugurate the Cantiere Internazionale in Montepulciano. From 1991 to 1994, he was the Musical Director of Theatre Vincenzo Bellini of Catania, where he conducted concerts and operas such as Rigoletto, Aida, Bianca e Fernando, The Saint of Bleeker Street (Menotti) and La Gioconda.
In recent seasons, he has conducted Aida, Tosca, Rigoletto, Il trovatore and La fanciulla del West in Baltimore. In 2003/4, he made his Australian debut conducting a new production of Norma for Opera Australia in Melbourne with great success and was immediately re-invited for the 2004/5 season when he conducted Nabucco and La bohème. In 2005/6, he conducted Un ballo in mascherain Bari, La traviata at the Teatro Regio di Parma, Andrea Chenier at the Teatro Massimo di Palermo, Madama Butterfly with Opera Australia and La bohème in Baltimore. More recently, he conducted Rigoletto, Un ballo in maschera, Il Trittico, Cavalleria Rusticana and Pagliacci for Opera Australia, Ernani in Messina, Tosca in Baltimore and a new production of Lucia di Lammermoor for the New Zealand International Arts Festival.
In the 2009/10 season, Andrea Licata made his debut with Welsh National Opera conducting a revival of David McVicar’s production of La traviata and was re-engaged for Il trovatore the following season. He also returned to the Teatro Maestranza, Seville for La traviata and conducted Tosca for Opera Australia. In 2010/11, as well as Il trovatore for WNO, he made his Swedish debut conducting Norma for the Royal Opera in Stockholm and gave performances of Tosca in Palermo in concerts with the Orchestra Sinfonica Siciliana.
Among his recordings are Jacquerie by Gino Marinuzzi, Bianca e Fernando
Recent engagements have included his debut in Beijing conducting Cenerentola, Norma
Stage director David Gately is known for his vivid story-telling and lively and clever productions. Recent reviews have called his staging “fresh, amusing and energetic,” and praised his direction which used “nuance and creative physical comedy, resulting in a superb production brimming with energy.”
The Director’s hugely successful “Wild West” production of Don Pasquale which was hailed as a “contemporary classic” by the Denver Post has been mounted by San Diego Opera, Kentucky Opera, Opera Colorado, Calgary Opera, Chautauqua Opera, Virginia Opera, Dayton Opera, Canadian Opera Company, Opera Omaha, Edmonton Opera and the Fort Worth Opera. In addition to these performances, the last several seasons are highlighted by productions of La Traviata with The Academy of Vocal Arts and Atlanta Opera, Cosi Fan Tutte, Giulio Cesare and Ariadne auf Naxos with Fort Worth Opera, L’Italiana in Algeri with Seagle Music Colony, and Massenet’s Le Portrait de Manon with Boston University’s Fringe Festival.
Career milestones include his staging of L’Elisir d’Amore with Dallas Opera and Atlanta Opera, Madama Butterfly with Seattle Opera, La Boheme with Florida Grand Opera, Carmen in New Orleans, Les Contes D’Hoffman in Edmonton and Tulsa, Die Zauberflote with the Cincinnati and Vancouver Operas, A Midsummer Night’s Dream with both the Florentine Opera and Glimmerglass Opera, Falstaff with Opera Omaha, and Rigoletto with Utah Opera and Arizona Opera. He has directed productions of Il Barbiere di Siviglia with Washington National Opera, Opera Colorado and Manitoba Opera, Simon Boccanegra for its premiere with L’Opera de Montreal, and the World Premiere production of Before Night Falls with the Forth Worth Opera where the Dallas Morning News wrote that he “supplies a physically gripping staging.” In addition, he directed Angels in America with Fort Worth Opera for its North American Premiere, as well as its UK premiere with the BBC Symphony Orchestra at the Barbican Centre in London.
Stuart Duke, Lighting Designer, is delighted to return to MDLO for the 2022-2023 Season. Having lit productions of Puccini's Turandot and Verdi's Don Carlo in the Spring 2022 Season, he has become a regular fixture at Maryland Lyric Opera. Recent designs include The Merry Widow and Il Barbiere di Siviglia for Palm Beach Opera, Fun Home at Weston Playhouse, and Matilda at Walnut Street Theatre.
His regional opera credits include Indianapolis Opera, Opera Company of Philadelphia and Opera Memphis. He designed lighting for Kathleen Battle and Grover Washington Jr. in concert at Carnegie Hall and for the Indianapolis Symphony Orchestra’s Yuletide Celebration. In New York, Stuart has designed lighting for Orwell in America, The Rothschilds, Cast of Characters, Home Games, The Matchmaker, Frankie (directed by George Abbott) and jon & jen.
His regional credits include the world premiere of The Night Seasons, written and directed by Horton Foote,, a revival of Rags for the Paper Mill Playhouse, and Christopher Lloyd in Death of a Salesman. Stuart has been nominated three times for the Helen Hayes Award for his work at D.C.'s Studio Theatre and Folger Shakespeare Theatre.
Sarah is delighted to make her projection design debut with MDLO. Previous MDLO credits include Turandot as assistant lighting designer. Recent designs include America's Requiem: A Knee on The Neck (World Premiere, Lighting Design, National Philharmonic); Fidelio (Lighting and Projection Design, Houston Symphony Orchestra); Die Fledermaus (Lighting Design, Stanford LIVE).
Sarah also served as the Assistant Lighting Designer for the San Francisco Opera for the 2014 - 2016 Spring and Fall seasons including productions of Two Woman (World Premiere), Sweeney Todd, La Boheme, Norma, Madame Butterfly, and Showboat. Recent regional projection design credits for theatre include Tomas and the Library Lady, And in this Corner: Cassius Clay, School House Rock Live, and Snowy Day (Children's Theatre of Charlotte); Corduroy, Escape from Peligro Island (Imagination Stage); Becoming Dr. Ruther (Theatre J); She the People (Second City at Woolly Mammoth); Watsons go to Birmingham (Kennedy Center); E2, All She Must Possess, The Other Place (Rep Stage); Queens Girl in the World, Queens Girl in Africa (Everyman Theatre); Paper Dolls, Queens Girl in Africa (Mosaic Theatre Company); Sarah resides in Baltimore with her dog and two pandemic kittens. www.sarahtundermann.com
Un Ballo in Maschera:
|Visual Supervisor:||David Gately|
|Lighting Designer:||Stuart Duke|
|Projection Designer:||Sarah Tundermann|
Riccardo reviews the list of guests who will attend an upcoming masked ball. He is elated to see the name of the woman he loves on the list – Amelia, the wife of his friend and advisor, Renato. When Renato arrives, he tries to warn Riccardo about the growing conspiracy against him, but Riccardo refuses to listen to his words. Ulrica summons her magical powers. Disguised as a fisherman, Riccardo arrives before the others. He makes the fortune of a sailor named Silvano come true by spiriting a document of promotion into his pouch, convincing the crowd of the truth of Ulrica’s powers. When he realizes that Amelia is coming to see Ulrica, he hides and watches. Alone with Ulrica, Amelia confesses that she is tormented by her love for Riccardo, and asks for a means to bring peace to her heart. Ulrica tells her to gather a certain herb with magical powers; Riccardo resolves to be there when she does so. Amelia leaves. Now Riccardo presents himself again, along with all of the courtiers, and asks to have his fortune told. Ulrica reveals that he will be killed by the next man who shakes his hand. He laughingly dismisses her prophecy and offers his hand to the courtiers, who refuse to take it. Renato arrives and shakes Riccardo’s hand in greeting. Riccardo’s true identity is now revealed and he is acclaimed by the people.
Amelia, conquering her fears, has come here alone to pick the herb of which Ulrica told her. She is surprised by Riccardo, who has come to meet her, and the two finally declare their love for each other. Unexpectedly, Renato arrives, and Amelia covers her face with her veil before he can recognize her. Renato explains to Riccardo that the conspirators are pursuing him, and his life is in danger. Riccardo leaves, making Renato promise to escort the veiled woman safely back to town, not asking her identity. When the conspirators arrive, they confront Renato; in the struggle, Amelia’s veil drops. Renato assumes that Amelia and Riccardo have been involved in an adulterous love affair. He asks the two leaders of the conspiracy, Samuel and Tom, to meet him the next day.
Renato has resolved to kill Amelia for the dishonor she has brought on him. She protests her innocence and begs to see her son one last time. Renato relents, and declares that it is Riccardo, not Amelia, who deserves to die. Samuel (Count Ribbing) and Tom (Count Horn) arrive, and Renato asks to join their plot, pledging the life of his son as proof of his sincerity. They agree to draw lots to decide who will kill Riccardo. Amelia is forced to draw the winning name – Renato. Oscar, the page, arrives with invitations to the masked ball; Samuel, Tom and Renato agree that this is where the assassination will take place. Riccardo, torn between love and duty, has resolved to renounce his love for Amelia and send her and Renato back to England. At the ball, Renato tries to learn from Oscar what costume Riccardo is wearing. Oscar at first refuses to tell, but he finally answers: a black cloak and a red ribbon. Riccardo manages to identify Amelia and tells her of the decision he has made. As they say goodbye, Renato stabs Riccardo. The wounded Riccardo discloses that though he loved Amelia, she never broke her marriage vows. He pardons all the conspirators, bidding farewell to his friends and his country as he dies.