Upcoming Engagements

Lyric Opera of Chicago
October 1, 5, 9 (matinee), 13, 16 (matinee), & 22, 2016M/em>
Mime, Mem>Das Rheingold

Don José, Carmen
(more info)

Lyric Opera of Chicago
December 10, 12, & 14, 2016
January 6, 8 (matinee), 12 (matinee), 14, 17, 22 (matinee), 25 (matinee), & 27, 2017
Monostatos, The Magic Flute
(more info)

Los Angeles Opera
February 18 & 25, 2017
March 2, 5 (matinee), 16, & 19 (matinee), 2017
First Jew, Salome
(more info)

Recital (Los Angeles)
El Camino College Marsee Auditorium
March 3, 2017 at 8:00pm
(more info)

Los Angeles Opera
March 25 & 30, 2017
April 2 (matinee), 6, 9 (matinee), & 15, 2017
Spalanzani, The Tales of Hoffmann
(more info)

Seattle Opera
May 6, 7 (matinee), 10, 13, 14 (matinee), 17, 19, & 20 (matinee), 2017
Monostatos, The Magic Flute
(more info)

(More upcoming engagements)

THREE-PEAT in Ravinia

First came Marriage of Figaro (2010). Next came Tosca (2011). Now, not just one, but two: Magic Flute and Idomeneo. Ravinia Festival has been good to me for the third year in a row, thanks to the magnificent Maestro James Conlon. I am very grateful to work with a conductor who not only believes in what I can do as a singer, but one who is also loyal to the people he believes in their talent and follows up that loyalty with re-engagement.

I remember my first audition for Maestro Conlon back in spring 2010, where I originally auditioned for the part of Monsieur Triquet in Onegin. I was asked to sing a total of FOUR arias (Triquet’s, Tanzmeister’s, Beppe’s and Mime’s opening in Siegfried), while standing on a very raked stage where the Ring cycle was being rehearsed in Los Angeles. Of course, I was extremely nervous singing for such a huge figure in the music business, but his accommodating and embracing presence made it easy for me to make one of the most important and RELAXING auditions of my life.

Like all established and experienced great conductors in the business, Maestro Conlon is very exact in his vision of the opera he works in, both musically and artistically. In addition, he understands the individuality of each singer and his/her aesthetic, ability and capability, which makes it easy for us, singers, to apply and convey the consummation of our own interpretation and Maestro’s, producing the best possible performance any audience can hope for and deserves.

In addition to the musical side of my Ravinia experience, the artistic and administrative can hardly be ignored. This company has, from the beginning, been very accommodating and generous.

I will never get tired of getting involved with the Ravinia Festival. Nothing beats Midwest Hospitality; well, MAYbe Southern hospitality, but it’s pretty close.

Watch out for possibly another blog regarding the rehearsal process of both Magic Flute and Idomeneo, as well as another one leading up to the performances.

Ciao for now.

(PS. My successful audition for Maestro Conlon in early 2010 also sprung an LA Opera debut as Goro in Madama Butterfly, and later as Spoletta in Tosca this coming 2012-2013 season.)


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