High Notes, Higher Drama: OperaDelaware's 2025/26 Mainstage Season Unveiled – Kerriann Otaño

Emily Margevich as Musetta in la bohème | Photo by joe del tufo

OperaDelaware is pulling back the curtain on a season packed with passion, politics, and Puccini—with the OperaDelaware Company Artists taking center stage. This fall, Wilmington audiences can expect one of opera’s most gripping thrillers to return to The Grand Opera House—followed in the spring by a sweeping, rarely heard masterpiece set during the French Revolution.

October 2025: Puccini’s Tosca

First up: Tosca, Puccini’s high-stakes tale of love, betrayal, and sacrifice, performed October 17 + 19 at The Grand Opera House in Wilmington. In collaboration with Opera Baltimore, this electrifying co-production gives Mid-Atlantic audiences not two, but four chances to experience the drama across two cities.

Gerard moon as schaunard in la bohème | Photo by joe del tufo

General Director Brendan Cooke sums it up best:

“Tosca remains one of the most performed operas worldwide, 125 years after its premiere. Last seen at OperaDelaware in 2010, we are long overdue in bringing Puccini’s masterpiece back to The Grand!”

The Star Power

• Emily Margevich makes her role debut as Floria Tosca, following her celebrated mainstage debut as Musetta in La bohème. Hailed by The New York Times as “charismatic and commanding,” she’s set to bring Tosca’s fiery spirit to life.

• John Pickle returns as Tosca’s devoted lover, Cavaradossi—the passionate painter whose ideals put him in mortal danger. Audiences last cheered him on as Calaf in 2024’s Turandot.

• Steven Condy, beloved for his comic brilliance in roles like Falstaff and Benoit/Alcindoro (La bohème), takes a darker turn as Baron Scarpia—the ruthless police chief whose power games ignite the opera’s suspense.

The production reunites director Haley Stamats and conductor Domenico Boyagian, both fresh from the success of last season’s La bohème. With their creative synergy, expect Tosca to be visually stunning, emotionally charged, and musically unforgettable.

Supporting roles include OD Company Artist Gerard Moon (Angelotti, the escaped prisoner whose plight sparks the action) and OD favorite Brian James Myer (the bumbling Sacristan), adding layers of intrigue and comic relief to Puccini’s masterpiece.

👉 Learn more about Tosca here.

Dane Suarez as the duke of mantua in rigoletto | Photo by joe del tufo

May 2026: Giordano’s Andrea Chénier

toni marie palmertree as mimì in la bohème | Photo by joe del tufo

In May, OperaDelaware ups the stakes again with a company premiere: Umberto Giordano’s Andrea Chénier, running May 10, 13, + 15 at The Grand.

Rarely staged but deeply powerful, this operatic gem drops audiences into the French Revolution’s Reign of Terror—where art, politics, and passion collide.

• Dane Suarez takes on the towering titular role of the poet Chénier, whose outspoken verse and ideals make him both a hero and a target.

• Toni Marie Palmertree sings Maddalena, the aristocrat whose love for Chénier becomes a beacon of hope amid chaos.

This landmark production also coincides with OperaDelaware hosting the 2026 OPERA America Conference, shining a national spotlight on Wilmington as a hub for operatic excellence.

👉 Explore more about Andrea Chénier here.

Why This Season Matters

OperaDelaware’s upcoming season balances beloved classics with rare treasures—giving both seasoned opera lovers and newcomers something to be excited about. By continuing its partnership with Opera Baltimore, the company expands regional access to world-class productions while keeping its mission of collaboration and innovation at the forefront.

From Puccini’s soaring arias to Giordano’s revolutionary fervor, the 2025–2026 season promises unforgettable nights at the opera.

✨ Mark your calendars, secure your seats, and get ready for a season of music, drama, and unforgettable artistry.

Let's talk FEARLESS with the Composer, Director, and Conductor!

Welcome to Fearless!

Fearless is inspired by the adventures of Hazel Ying Lee, her family, and the Women Airforce Service Pilots.

In this musical drama, our heroes, faced with challenge after challenge, find themselves going back (in many different ways) in order to move forward.

To reflect their journeys, the music and words of Fearless also go back in order to move forward.

You’ll hear musical themes—simple, tuneful melodies, sung or played when characters say or do certain things.

When our heroes go back, we too will go back—to these musical themes and the words that go with them. (A list of some of the songs can be found below.*)

Then, as our heroes move forward, these once-simple tunes can (I hope) take on a greater meaning for us all.

Fearless is dedicated to my family—past, present, and future.

My thanks to OperaDelaware for bringing Fearless to the stage. Thank you, too, for being a part of this world premiere: I’m excited to share this story with you, and I hope you enjoy the show.

SONG LIST
About My Sister
This Is Our Flag
Golden Mountain
Up in the Air
Is This Your Country?
Village Song
Fly
Fearless
Survive
On This Day
Thanks to You
Unsung Women
Is This Our Country?
Brothers
Carry On

When I became an American citizen, the judge presiding over the naturalization ceremony stood before a vast hall filled with new citizens from every corner of the world. Her words were brief but powerful—words that have stayed with me ever since. She said: “Now you have the responsibility to build and shape the America you dream of.”

This opera is more than a historical narrative. It is an intimate exploration of family, identity, belonging, and resilience in the face of displacement and conflict. It asks how we carry forward the past, how we shape our future, and how we choose to define ourselves in times of great upheaval.

At its center is the story of the Lee family, Chinese-Americans who, like many immigrant families, navigated both the promise and the burden of the American dream. The characters and events in Fearless are based on real people and lived experiences. Hazel Ying Lee, one of the first Chinese-American women to fly for the U.S. military, and along with her brother Victor Lee, a soldier of the U.S. army during WWII, were part of a large family. The character of Iris, a fictionalized sibling, serves as a narrative thread—a bridge between history and memory. As narrator, witness, and participant, Iris offers the audience a deeply human lens through which to view the family’s journey. Through her eyes, we experience the personal stakes behind the history that shaped their lives.

In creating the visual world of Fearless, I collaborated with Guadalupe Marín Burgin to use archival footage not as background, but as a poetic and interpretive force.

These video art pieces act as living textures—reworked, layered, and reframed to blur the boundaries between past and present, fact and feeling. By destabilizing the historical image, we invite viewers into a space where memory, emotion, and history coexist.

This creative process has been one of profound emotional and artistic engagement. As someone who understands what it means to straddle different cultures, histories, and definitions of home, I feel a deep kinship with the themes of this opera. The Lee family’s story is uniquely theirs, but it also speaks to a broader human experience—the struggle to belong, to be seen, and to leave a meaningful legacy in a world that is often indifferent to those on the margins.

To be part of the creation of Fearless is an immense honor and a privilege. It is a reminder that art can bear witness, create space for forgotten voices, and challenge us to imagine a future shaped not only by struggle, but also by courage, empathy, and transformation.

Working on a new piece is an interesting kind of project.

Maybe it is because the creation of new works is often only tangentially connected to the central training of a classical musician–the careful conversation of the compositions of the deceased, or at least conveniently distant–that it can be a slightly disorienting experience. There’s plenty to share concerning new work, but there’s one aspect in particular that I’ve been thinking about recently and want to share with you. The score.

While this may not be broadly understood outside conservatory halls, the concept of the score as a center authority is deeply engrained in our training. Even in opera, which is to say theater (perish the thought), this reverence for the written text is fundamental. There are many musicians (some of them my teachers) for whom the centrality of the text and fidelity to it are a defining feature of their practice.

We have an entire vocabulary to discuss the score as an object. We purchase multiple editions to signal our artistic seriousness to our colleagues. Terms like come scritto (as written) and Werktreue (faithfulness to the work) highlight our intention to align with the will of the composer in our every thought. An entire segment of the classical music industry is dedicated to creating the most perfect, flawless Urtext (earliest version of the text) editions that reflect composers’ intentions unsullied by decades or centuries of ill-informed performance practice.

We have a score for Fearless, but it is not a score cast in the mold described above.

The scores of Verdi and Mozart carry the weight of history. Their heft is emblematic of the countless hours of thought and pages of writing dedicated to their interpretation, to attempting to penetrate their meaning by successive generations.

While the score to Fearless is not a light object (you are welcome to come take a look at it during the intermission or after the performance), its mass is not a helpful metaphor for its significance. It approaches the purely conceptual and, even in its substantial physical reality, possesses a lightness, unburdened by years of analysis and commentary, that I believe you will experience tonight, not only through the character of Hazel, whose optimism shapes much of the piece but through the creativity of the entire team of people who have worked hard to bring these performances to fruition this weekend.

Over the past few days, it has been interesting to consider that the performances we give this weekend could become the primary source material for some future performers of the work. As our work on the piece progressed, passages were cut. We adjusted the tempi and text, made changes, and then unmade those same changes the following day. All of these adjustments are specific to this production, this cast, this orchestra, this theatre, to this particular circumstance.

It is a cliché that every performance is unique, but maybe this weekend, it is worth considering that idea again. This weekend, you are helping to transform the idea of Fearless into reality for the first time. We in the production have been working towards this for a few months; Derrick and the staff at Opera Delaware much longer. Now, we need you for this final step into the world. Let’s take it together.

I hope you enjoy Fearless.

What makes you FEARLESS? – Q+A with Ariana Maubach (our Fearless Hazel!)

Dane Suarez: Ariana, Fearless opens on May 16—just under two weeks away! What makes this opera stand out?

Ariana Maubach: Fearless feels different from other operas because it's based on a real person, Hazel Ying Lee, whose story is both inspiring and historically significant. It's a new opera, bringing fresh perspectives and contemporary themes to the stage. Being in English makes it more accessible to a wider audience, allowing for a deeper connection with the story and characters. Additionally, new operas often incorporate modern musical styles and innovative staging techniques, making the experience more dynamic and engaging.

DS: Singing in English must help draw in first‑timers?

AM: If you've never been to an opera before, Fearless is a great place to start. Opera combines music, drama, and visual art to tell powerful stories through song. Fearless, being in English, makes it especially relatable and accessible. You'll be able to follow the plot and connect with the characters more easily. It's a great introduction to the world of opera, blending contemporary themes with timeless artistry.

DS: You’ve described your own biracial background—how does that inform your performance?

AM: As a biracial person (my mom is Chinese and dad is German-French), I think it's important to celebrate and honor the diverse voices that have shaped our world. This makes Fearless not only a compelling artistic work but also a powerful statement how people from different backgrounds and perspectives have made, and continue to make, significant contributions to society. And in Hazel’s case, the ultimate sacrifice, she gave her life.

DS: Why is telling Hazel Ying Lee’s story so crucial right now?

AM: Hazel's story is incredibly important to tell right now, especially given the current climate where the value of diversity and the contributions of minority groups in some countries are at risk of being overlooked. During the pandemic, there was a surge in anti-immigration sentiments including “Asian hate”. This makes it even more crucial to recognize, celebrate, and never forget that we live in a diverse country built on the contributions of many different people. Hazel Ying Lee's legacy as a pioneering aviator and her bravery in the face of adversity serve as powerful reminders of the strength and resilience of minority communities. Sharing her story through the opera Fearless is a meaningful way to honor her and highlight the importance of diversity in our history and society.

DS: Finally, the big question: what makes you fearless?

AM: I think fearless means having the courage to face challenges head-on, despite feeling fear. It's about being brave, bold, and resilient. Fearless people acknowledge their fears but don't let them control their actions. They are confident, decisive, and willing to take risks. What makes me fearless could be my determination to pursue my dreams, which is to be a professional opera singer. There are no guarantees, even with hard work, dedication and sacrifice. I think for me, being fearless is about embracing the uncertainty of my future, pushing forward even when things are rough, and having the resilience, optimism, and confidence to keep going because I love what I do! I love to sing and to perform. But all that being said, this journey would be much harder without my very supportive family, partner and his family, and my many close, long time friends.

DS: Well your dreams are coming true in front of all of us as you make your professional OperaDelaware debut this month! Brava!! Let our readers know when they can catch you!

AM: The world premiere of Derrick Wang's Fearless opens May 16th at The Grand in Wilmington. Tickets are on sale now at operade.org! Don't miss out.

Life is a Cabaret: A Diva Gab – Emily Margevich + Toni Marie Palmertree

Emily Margevich: Life is a cabaret, old chum, so come to our cabaret! We’re so excited to be preparing this concert full of fun, fabulous repertoire—and plenty of sparkle. You’ll hear a lot of your favorites (yes, even some tunes from Wicked), and we wanted to share a bit about why we chose the pieces we did.

Toni Marie Palmertree: Thanks, Emily, for the grand introduction! Toni here, tea in hand. Emily and I are literally sitting at the computer writing this together—but I went to grab the kettle while she took the first pass. You can thank me later for the tea. 😉

EM: Before it went full-on tea time, I got to dive into the songs I’ll be presenting! As many of you know, I come from a musical theatre background. I grew up doing professional theatre in the Chicagoland area, and to this day, it’s still my go-to genre. My favorite era? Hands down the Golden Age—late '40s through the '50s.

TMP: Emily is a musical theatre queen, but even she left off the Rodgers and Hammerstein for this show (don’t worry—she’s saving those for her solo concert!). We wanted this cabaret to be about the music we love to sing—the kind that feeds our diva souls.

EM: Exactly. Unless, of course, we decide the stage just isn’t big enough for the both of us… in which case we might do two solo concerts simultaneously. 😄

TMP: That diva energy? You’ll definitely feel it! When I design a concert program, I always start with the pieces that move my soul—and make me laugh. Then I build a theme around them. Emily and I both love engaging with the audience, and this concert tells the story of how two sopranos—two divas—somehow ended up sharing the same stage on the same day.

EM: We kick things off together, slightly confused about the whole “shared concert” situation, but since we’re friends (and divas with range), we decide to share the spotlight... a bit. 😉

TMP: My solo set features art songs written by women—Florence Price and Elinor Remick Warren—followed by absolutely hilarious pieces by Jake Heggie and William Bolcom. Oh, and there’s a Victor Herbert gem that I get to ham up to the max. Plus, a scene-stealing number from Spamalot (yes, that one!) that’ll have you laughing out loud.

EM: As for my solos? I chose songs from roles I’ve done—and dream roles I can’t wait to do. Ms. Adelaide from Guys and Dolls is a favorite—I played her in high school, and I just adore her. You’ll hear all about her “chronic cold” at the cabaret. Don’t worry—it’s not contagious. I’m also singing “Vanilla Ice Cream” from She Loves Me! Ever seen the Judy Garland movie In the Good Old Summertime? It’s the same story as You’ve Got Mail, which was based on The Shop Around the Corner. “She Loves Me” is the musical version of that sweet letter-writing love story. Honestly, has this plot ever made it into opera? Maybe OperaDelaware should premiere one—after you buy your tickets to Fearless, of course. 😉

TMP: Beyond our solo sets, the whole show has a through-line of playful rivalry—we constantly “interrupt” each other, trying to steal the spotlight. But don’t worry, it’s all in good fun, and we come together throughout the concert for duets that’ll make you laugh and cry.

EM: It’s a mix of musical theatre, art song, and cabaret classics—from Kander and Ebb to Kurt Weill, Alan Menken, and Stephen Schwartz.

TMP: It’s not every day that two sopranos—two divas—are also friends sharing the same stage. We like to stand out, start traditions, and celebrate soprano life in style.

EM + TMP: So come join us! Life is a cabaret, and we’ll be waiting for you—tea, tiaras, and all. 💋

OperaDelaware Studio Series Cabaret: The Soprano Soirée

An artist-curated cabaret by sopranos Emily Margevich and Toni Marie Palmertree accompanied by pianist George Hemcher takes place in the Presser Blackbox at OperaDelaware Studios Friday, April 25 at 7:30pm and Sunday, April 27 at 2pm.

Get your tickets today!

Heart + Seoul – Gerard Moon

It is a joy and an honor to share Heart + Seoul—a program devoted to the emotional depth and quiet beauty of Korean art song.

No matter where we live—whether in a different city or a different country—the longing for the place we come from, the land where we grew up, is something we all carry. That sense of home, of memory, of identity, lives deep in the heart. Korean art songs speak to that feeling. They express longing and love through the language of nature, using metaphors that are poetic, tender, and uniquely Korean.

This concert offers a journey through four themes—spring, mountains, love, and longing—each one a window into the soul of a people and the voice of a culture. Though these songs are modern in origin, the evolution of their musical textures over time gives us a glimpse into the changing emotional landscapes of Korea itself. From lyrical early works to bolder, more contemporary expressions, this program invites listeners to experience not only beauty, but transformation.

Heart + Seoul is not just a celebration of Korean music—it’s a reflection on what it means to remember, to yearn, and to belong. Wherever you come from, we hope you’ll find something familiar, something tender, something true in these songs.

Prelude: A joyful welcome to the concert

As one of Korea’s most beloved and iconic art songs, “Mountain Village” opens the concert with an uplifting spirit. Its bright, rhythmic energy sets a joyful tone—welcoming the audience and stirring a sense of excitement for the journey ahead.

Stage One: The spring that a flower once dreamed of...

“Balsam Flower” is referred as the first Korean Modern art song. This period marked a turning point in Korean music history with the birth of gagok—modern Korean art songs. Traditionally rooted in Korean vocal styles and accompanied by native instruments like the gayageum or daegeum, these songs began to blend with Western musical elements. Most notably, the piano—a Western instrument—was introduced as an accompaniment, creating a unique fusion that represented both cultural evolution and the modern spirit of a colonized people searching for identity.

In the early 1900s, during the harrowing years of Japanese colonial rule, Korean composers and poets transformed the idea of spring into a powerful metaphor for resilience, hope, and the yearning for freedom, expressing their sorrow and resistance through music. The word “spring” itself became a layered symbol. It spoke not only of seasonal renewal but also of arousal—a spiritual and national awakening. In “Spring Maiden” and “When the Spring Comes”, spring came to signify hope, liberation, longing, and the first steps toward a brighter future.

Stage Two: Bittersweet symphony of life

Composer Hoon Byun shocked audiences with his bold and unconventional compositional techniques, and two of his most iconic works— “Pollack” and “Rat”—stand as powerful examples. After receiving harsh criticism for "Pollack", he left the music scene and took a job at a foreign embassy. It was during this time, shaped by his unique experiences in that new environment, that he later composed "Rat", a piece reflecting the observations and insights he gathered there.

Intermission and Stage Three: The Mountain... longing in the landscape

Following the Korean War in the 1950s, the peninsula was divided into North and South, leaving countless people separated from their families, homes, and ancestral lands. In the wake of this deep rupture, many Korean poets and composers began to use mountains—ever-present in Korea’s landscape—as a metaphor for home. Surrounded by both mountains and sea, Koreans would often look to the ridgelines on the horizon and think of the places and people they could no longer return to.

Songs like “Singosan Ballad” (a folk tune from Hamkyong Province), “Mountain Sunset”, and “Mountain” reflect this aching sense of nostalgia. They are not merely about nature—they are about belonging, memory, and the quiet grief of a home left behind.

Stage Four: Love... and the scent of longing

Contemporary Korean art songs carry the quiet echoes of the nation’s past, but their gaze is turned inward—toward personal stories, memories, and the emotional landscapes of everyday life. These pieces reflect the voices of a modern generation that holds history in its heart, yet contemplates its own life journey with honesty and tenderness.

From the innocence of childhood in “Island Baby,” to the delicate ache of “First Love,” the quiet anticipation of “Meeting,” and the introspective calm of “Leaning on Time,” these songs speak of longing—for the past, for connection, and for one’s truest self. They are musical diaries, capturing fleeting emotions, cherished memories, and the quiet resolve to love both the present moment and the path ahead.

Postlude: The Invisible Thread of Life

The concert closes with “The Invisible Thread,” a poignant reminder that all these stories—of longing, love, memory, and hope—are gently bound together by unseen threads. Though shaped by different times and emotions, each song is part of a greater whole: the human journey. In the end, everything is connected, and that connection itself is life.