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.

Bring Him Home – Dane Suarez

Photo from my Wexford recital with collaborator Nate Ben-Horin; Photo credit: Andrew Morstein

This past fall, I got the chance to make professional international debut at the prestigious Wexford Festival Opera in Ireland. In addition to a role, I was asked to program present a recital. I became obsessed with this recital. With whom would I collaborate? What would I program? Who is my audience? When would my recital fall? Where would it be? I did a lot of fantasizing, and began playing around with the program: dream repertoire mixed with pieces that I love to sing mixed with music I'd heard before and always wanted to explore. These variables caused my Aquarian brain to become quite overwhelmed.

In the end, that Wexford recital became something way more personal than I expected. I found myself communicating with an audience of strangers from the mainstage of the National Opera House; unlocking stories I didn't know I needed to tell in a way that only I could.

Now, OperaDelaware is giving me another chance to share this music. As a company artist, I’m excited that they trust me to say, “Here’s what I want to sing, and here’s why it matters.”

War, Memory, and Home

I started noticing that a lot of these pieces revolved around war, conflict, or separation. It’s not that I’m obsessed with war (I'm more of a Mario Party and Real Housewives guy, to be frank); however, I think I’m drawn to the tension in these stories. The longing for home, the uncertainty about the future, the heartbreak of losing what you love. That is the conflict. That is the universal experience.

And then there’s home—the big, overarching theme that ties everything together. Rachmaninoff’s "Ne poy, krasavitsa, pri mne" literally begs someone not to sing, because their songs of their homeland are too haunting and painful. As a traveling performer, I get that. My wife and dogs are my home; on the road, “home” can also become a dressing room, a coffee shop, or even an Airbnb with a decent kitchen. There’s a weird push-pull between wanting to be out there performing and missing the comfort of your own space. I think this song encapsulates that. (And the piano part, "singing" those sad songs of home, is absolutely stunning.)

Rachmaninoff and the Jolt of Spring

Next, I swing into "Spring Waters". It’s like Rachmaninoff’s way of saying, "Okay, snap out of it—here’s some energy and hope." This song is the personification of the cold, dark, long Russian winters bursting into spring. The piece is fast, bright, and flashy, especially for the pianist. It feels like the rush of possibility that follows a period of deep hopelessness and endless despair. (Hard relate 👀)

note from composer Griffin candey

Friends Who Compose

Next up, two American premieres: "The Whitby Lad" by Griffin Candey and "O Danny Boy" by Joel Balzun—both of which were literally written for me. Griffin and I go back to our grad school days; he was a tenor who also composed, and now he’s Dr. Candey teaching composition at university. Joel, fratello mio, and I first met singing Rodolfo and Marcello opposite each other with Pacific Opera Project in LA. Joel is baritone extraordinaire and also a brilliant voice teacher and composer. I wanted to showcase living American composers in my Wexford recital, and because of our long friendships and their own prowess as singer-composers, I knew I could trust them to create something beautiful.

• "The Whitby Lad" is all about longing and displacement. This piece resonates with the same tension of not quite being where you belong, but somehow forging ahead. His arrangement unfolds with layers of character and emotion, and quickly became a recital highlight for my pianist and me.

• "O Danny Boy" ties in my own Irish heritage. Joel’s arrangement, with a nod to Britten’s folksong arrangements, captures the bittersweet farewell and the deep hope that every goodbye carries the promise of a new hello.

I admit, I was nervous presenting "Danny Boy" to an Irish audience at Wexford—but they embraced it wholeheartedly. Sometimes you just have to trust that your authentic choices will resonate.

Verdi and the Big Feels

Duke in Rigoletto (OperaDelaware, 2023) with Meg Marino as Maddalena; Photo Credit: Joe del Tufo

If you want drama, "O tu che in seno agli angeli" from Verdi's La forza del destino is basically the gold standard. I’ve sung a lot of Verdi roles—Borsa and The Duke in Rigoletto, Bardolfo and Fenton Falstaff, Alfredo in La traviata, Manrico in Il trovatore, Macduff in Macbeth, Un servo in Un giorno di regno (and next season my first Radamès in Aida!)—but this aria is the tenor Mount Everest. It’s the perfect place to end the first half because it’s basically Alvaro shouting, “My life is misery," but in the most operatically gorgeous way possible.

Intermission & the Barber Reset

After a break (because we all need to breathe), I jump into Barber’s Despite and Still. Originally written for and dedicated to Barber's muse Ms. Leontyne Price, this cycle is a bit more modern, with jazzy twists and dissonances that reflect a rough period in Barber’s life. It’s about loneliness, lost love, and that sense of “I’m still here, so I guess I keep going.” It reminds me that sometimes beauty is found in the messiest parts of our lives. This set has extremely expressive imagery with text by James Joyce, Theodore Roethke, and Robert Graves.

"Bring Him Home"—The Title Track

Next up, the title track: "Bring Him Home" from Claude-Michel Schönberg's Les Misérables. I titled the whole recital after it because it ties up so many of the themes: longing, care, the idea of wanting to bring someone (or yourself) safely back to a place of belonging. After Barber’s emotional whirlwind, "Bring Him Home" feels like a prayerful pause—a moment to just breathe and hope.

"A Letter from Sullivan Ballou"

Oh my goodness, where do I start? This piece is exquisite. I first encountered it during a sort of communal YouTube sharing session during COVID (embedded below, you're welcome.) Written by John Kander for Renée Fleming, it’s based on a real Civil War letter from a soldier to his wife. The text is heartbreakingly beautiful: "Sarah, my love for you is deathless." It speaks of the ties that bind us, even beyond life itself. Sometimes you discover a piece of music and realize it’s been waiting for you all along.

"Nessun dorma"

Because, honestly, how do you not end with Puccini’s iconic "Nessun dorma"? I’ve been singing this aria for years, and it’s grown with me. It’s the ultimate victory cry—yes, it’s about conquering riddles and curses in the story, but symbolically, it’s a big "I got this" moment.

And That's That

I'm beginning to realize the massive platform that artists have to affect change and to tell stories. As artists, we don’t have to wait for anyone else to tell us our voices are worth hearing. We can build something meaningful and share something that more deeply connects us with our audiences.

If any of this resonates with you, I hope you’ll come to my recital (Bring Him Home, March 30, 2PM, OperaDelaware). Come and listen. Come and feel. Think deeply, or not at all. See you there.

The Arts Are Not a Privilege—They Are a Necessity — Dane Suarez

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Before I begin, I want to make it clear that these words represent my individual thoughts and ideas and I share them in that vein. Through this platform, I speak for myself, not for OperaDelaware. --DMS

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If history has taught us anything, it’s that the arts don’t die—they adapt, they fight, and they persist. But let’s be clear: in this current climate, the fight just got a lot harder.

We already know what’s coming. We’ve seen the language about “adherence” to guidelines and the implicit threats to funding. We know that when the arts don’t align with a particular agenda, they’re the first to be dismissed as frivolous. But the truth? The arts are dangerous—not because they entertain, but because they provoke, they question, they challenge. And that’s exactly why they need us now more than ever.

We’ve Been Here Before

When the National Endowment for the Arts faced slashes in the ‘80s and ‘90s, artists responded with resilience. When oppressive regimes throughout history sought to censor and silence creativity, art found a way— through underground performances, independent patronage, and community-driven initiatives. Even in times of war and economic collapse, people gathered to hear music, see plays, read poetry… Why? Because art is not just decoration. It is survival.

This moment is no different.

So What Can We Do?

1. Artists and Administrators: Create boldly. Do not water down your work. Do not conform out of fear. If funding is threatened, find another way—through grants, private donors, crowdfunding. The art that makes history is not the art that plays it safe.

2. Donors: Give now, not later. The organizations you love cannot afford to wait. Do More 24 (happening 6pm Thursday 3/6 through 6pm Friday 3/7) is a perfect time to put your money where your passion is. Give locally, give generously, give to the companies that refuse to compromise.

3. Audiences: Show up. Every empty seat is an argument for less funding. Fill the theaters, attend the concerts, bring friends. Your presence is activism.

4. Advocates: Make noise. Contact your representatives. Tell them the arts matter to you. Share posts, write letters, be loud. A government that threatens the arts is a government that fears the power of its people.

The Arts Will Outlast Any Administration

We do not need permission to create. We do not need approval to inspire. We have never been a luxury—we are a lifeline. And if history tells us anything, it’s that we will not be silenced.

Are you with me?

There's More to Opera Than the Top Ten — Dane Suarez

When you think of opera, what comes to mind? La bohème, Carmen, The Magic Flute—perhaps the same ten or so beloved classics that grace American stages year after year. And don’t get us wrong, they’re masterpieces for a reason. But what if we told you there’s a vast universe of breathtaking music just beyond those well-worn scores—operas filled with heart-stopping arias, powerful ensembles, and stories that deserve to be heard just as much as their famous counterparts?

At OperaDelaware, we believe opera is for everyone, and that means embracing a broader repertoire—shining a light on hidden gems, as well as on those celebrated pieces that are notoriously difficult to cast. Enter our upcoming Company Artist Recital: Opera's Greatest Moments.

This program was built on a simple yet bold idea: to select music that highlights the unique strengths of each of our artists while exploring some of opera’s most exhilarating and challenging moments. This recital isn’t just a greatest-hits playlist—it’s an invitation to experience the scenes that demand extraordinary talent but rarely get the spotlight they deserve.

The Program

BEETHOVEN – Fidelio

We open with Beethoven's lone opera, Fidelio, a work revered for its profound themes of justice, sacrifice, and unwavering devotion. This sublime quartet is a study in layered emotions—four characters caught in a web of love and longing, each unaware of the others' true motives. The result? A perfectly constructed, delicately balanced moment of operatic beauty.

"Mir ist so wunderbar" (Toni Marie Palmertree, Emily Margevich, Dane Suarez, Gerard Moon)

BELLINI – Norma

If you’re looking for bel canto at its most exquisite, Norma is your answer. The opera is a veritable Everest for sopranos, requiring vocal purity, agility, and emotional depth. In “Casta diva”, Toni Marie Palmertree soars through the opera’s most famous aria—a celestial, reverent plea for peace. And in “Mira, o Norma”, Palmertree and Emily Margevich navigate Bellini’s signature long, arching phrases in a duet that is both intimate and electrifying.

"Casta diva" (Toni Marie Palmertree)

"Mira, o Norma" (Emily Margevich, Toni Marie Palmertree)

VERDI – Don Carlo

Politics, passion, and power struggles—Verdi’s Don Carlo has it all. In the rapturous friendship duet “Dio che nell'alma infondere”, Dane Suarez and Gerard Moon embody a bond forged in the fires of political rebellion. Later, Moon’s heartbreaking “O Carlo, ascolta” delivers the crushing weight of sacrifice—because what’s a Verdi opera without a devastatingly beautiful goodbye?

"Dio che nell'alma infondere" (Dane Suarez, Gerard Moon)

"O Carlo, ascolta… Io morrò" (Gerard Moon)

DVOŘÁK – Rusalka

Think of Rusalka as The Little Mermaid—but with even more longing and heartbreak. This hauntingly gorgeous Czech opera is famous for Rusalka’s "Song to the Moon", but here, we shift focus to the Prince’s lesser-heard but equally mesmerizing aria, where he grapples with his love for a woman who remains just out of reach.

"Vidino divná, přesladká" (Dane Suarez)

MONIUSZKO – Halka

Considered the cornerstone of Polish opera, Halka is a tragic tale of love, betrayal, and social divides. In this gut-wrenching aria, Emily Margevich brings raw intensity to Halka’s moment of ultimate despair—an all-too-human cry of grief and helplessness.

"Ha! Dzieciątko nam umiera… O mój maleńki" (Emily Margevich)

INTERMISSION

PUCCINI – La fanciulla del West

Puccini meets the Wild West in La fanciulla del West, a gold rush drama brimming with passion and peril. If this heartrending Act I duet sounds suspiciously familiar, you’re not imagining things—Andrew Lloyd Webber lifted a few notes for The Phantom of the Opera’s “Music of the Night”. You’re welcome.

"Mister Johnson, siete rimasto indietro" (Toni Marie Palmertree, Dane Suarez)

"Ch'ella mi creda" (Dane Suarez)

GIORDANO – Andrea Chénier

Revolution, poetry, and doomed romance—Andrea Chénier delivers it all. Gerard Moon brings gravitas to “Nemico della patria”, an aria drenched in political cynicism, while Toni Marie Palmertree’s “La mamma morta” (as famously featured in Philadelphia) captures the opera’s most wrenching moment.

"Nemico della patria" (Gerard Moon)

"La mamma morta" (Toni Marie Palmertree)

PUCCINI – Manon Lescaut

Love, lust, and ultimate despair—Puccini’s Manon Lescaut is a study in excess. Emily Margevich and Dane Suarez bring fiery chemistry to the seductive lovers’ duet before Margevich plunges into Manon’s final aria, a devastating portrait of isolation.

"Tu, tu, amore? tu?!" (Emily Margevich, Dane Suarez)

"Sola, perduta, abbandonata" (Emily Margevich)

GOUNOD – Faust

We close with Gounod’s Faust, where romance and the supernatural collide in a whirlwind of temptation and damnation. This electrifying trio propels us toward a dramatic finale—because when the Devil is involved, you can be sure things won’t end quietly.

"Alerte! Alerte!" (Toni Marie Palmertree, Dane Suarez, Gerard Moon)

Why This Program?

OperaDelaware’s Company Artist Recital is more than just an afternoon of sublime music—it’s a celebration of the artistry and versatility of the extraordinary Company Artists. By stepping beyond the usual suspects of the opera world, we invite you to experience the staggering variety and emotional depth this art form has to offer.

Opera has never been one-size-fits-all. It is daring, thrilling, heartbreaking, and, at times, completely over-the-top—in the best possible way. And with artists like these, the possibilities are endless.

Join us as we bring these rarely-heard masterpieces to life. This is opera at its most exhilarating, its most unexpected—and it’s all for you.