INTRODUCING KERRIANN OTAñO, OD'S VP OF ENGAGEMENT

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Hello, Delaware! My name is Kerriann Otaño, and I'm over the moon to join OperaDelaware and this fabulous team as the Vice President of Engagement. I'd like to tell you a bit about me, my career, and what makes me most excited about living and creating opera in America's first state. I'll be keeping the ODBLOG up to date throughout the season with exclusive interviews, behind-the-scenes features, and fresh content twice a month. I can't wait to see you at the opera!

Kerriann Otaño, Vice President of Engagement

I was born and raised on Long Island, NY, with my two incredible parents and my equally incredible (although occasionally irritating) younger brothers. My parents raised me on a steady diet of The Jackson Five, David Bowie, Twisted Sister, Sam Cooke, Joni Mitchell, and enough musical theater to fill an early 2000’s iPod nano. This eclectic mix taught me how impactful, moving, fun, and cathartic music could be in any genre. Thanks to a beloved voice teacher, I was first introduced to opera in 9th grade. Seeing Carmen and Madama Butterfly in high school opened a new world to me. Like many people new to the opera, I initially felt intimidated. It wasn’t long after the downbeat that I realized opera was bold, LOUD, thrilling, and powerful! Whether telling stories written hundreds of years ago or written in the 21st century, opera reveals a rawness and range of human emotion that is too grand for words alone. I was overwhelmed, I was inspired, but most of all… I was hooked.

After high school, I lived in Milan, Italy, for a year thanks to the Rotary Club foreign exchange program. I attended the Conservatorio Guiseppe Verdi, learned to speak Italian, saw over a dozen performances at La Scala, and ate my body weight in pasta (worth it). That experience further cemented my love for opera and collaboration. I returned to the states and received my bachelor’s degree in vocal performance from Indiana University and my master’s degree in vocal performance from Mannes the New School for Music in New York City.

In the decade that followed, I am humbled and grateful to say that I got to perform at many of the opera houses on my professional bucket list. I sang Senta in The Flying Dutchman and Leonora in Il Trovatore with Opera San Jose, Donna Elvira in Don Giovanni and The Witch in Hansel and Gretel with Washington National Opera, Countess Almaviva in Le nozze di Figaro and Female Chorus in The Rape of Lucretia with Wolf Trap Opera, and many more. I covered Walkuries and Norns in The Ring Cycle at both the Metropolitan Opera and Washington National Opera. I recorded Bernstein’s Songfest with the National Orchestral Institute Philharmonic and Wolf Trap Opera for Naxos Records. I met my incredibly talented (and handsome) husband through opera. I shared stages with my very best friends because of opera. It sounds like bragging (it’s a little bit of bragging), but opera literally opened the world to me and I’m incredibly grateful.

I love opera. But even more than that, I love opera singers and I ADORE audiences. I transitioned into arts administration in 2019 and moved into my first full-time position in 2020. Advocating for opera singers so that they can create art with authenticity, nuance, and courage is at the heart of my life’s work. Finding ways to communicate effectively with audiences so they feel welcomed and wanted in the opera house is a core mission of mine. In joining OperaDelaware, I’m beyond excited to discover new ways to engage with our existing audience and artists and to welcome new folks to this wholly unique experience. Opera is thrilling, bold, fearless (shameless plug for OperaDelaware’s upcoming workshop presentation of Derrick Wang’s new music drama, Fearless, coming this spring), and most importantly, opera is for everyone.

We can’t wait to see you at the opera!

MEET THE CAST OF THE MARRIAGE OF FIGARO: BARITONES, BASS-BARITONE & TENOR

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Get to know the extraordinary artists playing Figaro and friends, including two returning favorites and two singers making their company debuts.

Baritone EFRAÍN SOLÍS as Figaro

HOMETOWN: Santa Ana, CA

RECENT ENGAGEMENTS: Golaud in “Pelléas et Mélisande” (Opera Southwest); Charlie in “Three Decembers” (Virginia Opera), and Aeneas in “Dido and Aeneas” (Opera San Jose); OD patrons will remember Efraín from Opera Uncorked: Cabernets & Cabalettas (2018).

CRITICAL ACCLAIM: A former Adler Fellow and a 2013 Grand Finalist in the Metropolitan Opera National Council Auditions, Efraín is hailed by critics for his “theatrical charisma and musical bravado” (San Francisco Chronicle) and “honey-hued baritone” (Opera News). Opera Today raves: “But the biggest star of the evening (and it was a stiff competition) was California baritone Efrain Solis… This young singer exuded the charm, pent-up fun and exuberant singing that will make him a… star.”

OFFSTAGE: “If I'm not in rehearsals, you can most likely find me at the nearest rock climbing gym. It’s my favorite new hobby that I can't seem to get enough of.”


Baritone SEAN ANDERSON as Count Almaviva

HOMETOWN: Seneca, SC

RECENT ENGAGEMENTS: An OD fan favorite, Sean starred in the title role of our 2018 production of "Gianni Schicchi" and appeared as Dandini in "La cenerentola" (2017), and Ford in "Falstaff" (2016). Other recent appearances include Harry Haskel in “Finding Wright” (Dayton Opera) and Germano in “The Silken Ladder” (Opera Sarasota).

CRITICAL ACCLAIM: “As the foxy title character, Anderson employs every trick in any baritone’s book — musical or comic — with ease and delight… This is a demanding role in many ways, including a bag of vocal tricks, and watching Anderson romp through the evening with seeming ease was one of the night’s great treats.” (Broad Street Review on “Gianni Schicchi”)

FUN FACT: Opera is the Anderson family business! “When I was around 8 years old, I saw my dad [singer Alfred Anderson] do a performance of ‘Man of La Mancha’. That was when I really first really understood what he did for a living, and I’ve been hooked ever since.”

Bass-baritone TIMOTHY MADDEN as Bartolo (OD debut)

HOMETOWN: Kosciusko, MS

RECENT ENGAGEMENTS: Masetto in “Don Giovanni” (Fargo-Moorhead Opera), Smudge in “Forever Plaid” (Musical Theater Heritage), and Nick Bottom in “A Midsummer Night's Dream” (Hawaii Performing Arts Festival)

CRITICAL ACCLAIM: Lauded by the Chicago Stage Standard as "endlessly fun, full-voiced, totally physicalized," Timothy has been especially praised for his work in comedic roles. Of his performance in ‘A Midsummer’s Night’s Dream’, Big Island Music raved: “Timothy Madden as Bottom is manic, and maniacally funny... His impressive physical comedy skills performed while singing in a rich bass/baritone made him an audience favorite."

OFFSTAGE: For his recent birthday, Timothy celebrated with a six-hour game of Dungeons and Dragons complete with costumes, props, and Dolly Parton tunes played on his ukulele. 

Tenor PETER JOSHUA BURROUGHS as Don Basilio/Don Curzio (OD debut)

HOMETOWN: Williston, Vermont

RECENT ENGAGEMENTS: Nathaniel/Spalanzani in “Les Contes d'Hoffmann” (Opera Tampa), Benoît/Parpignol/Alcindoro in “La Boheme In the Heights” (IN Series), and Spoletta in “Tosca” (Northern Lights Music Festival)

CRITICAL ACCLAIM: Praised for his commanding voice and impeccable comedic timing, Peter has performed with Washington National Opera, Washington Concert Opera, Baltimore Symphony, Opera Tampa, and St. Petersburg Opera. DC Theatre Scene raves: "[Burroughs is] terrific… his comic abilities were well matched with good singing form."

OFFSTAGE: Watch out, Carmen! We hear Peter plays a mean castanet.

MEET THE CAST OF THE MARRIAGE OF FIGARO: SOPRANOS & MEZZO-SOPRANOS

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Get to know the fabulous sopranos & mezzo-sopranos of The Marriage of Figaro, including a Metropolitan Opera star and two singers making their company debuts.

THE SOPRANOS

ROBIN STEITZ as Susanna

HOMETOWN: Washington, DC

ROLE CALL: A 2020 OD Young Artist and winner of the Buffalo/Toronto District 2019 Metropolitan Opera National Council Auditions, Robin is quickly establishing herself as one of opera’s most exciting stars. After her OD debut was postponed in 2020 (she was slated to appear in the canceled Festival productions of The Coronation of Poppea and The Tales of Hoffmann), she returned in 2021 to wow audiences as a soloist in Shakespeare in Song and in 2022 as a featured artist in our Sunday Spotlight recital series. Her other recent engagements include Giulia in La scala di seta with Opera Southwest, Berta in Il barbiere di Siviglia with Finger Lakes Opera, and Cricket in The Cricket Recovers with Tanglewood Music Center.

FUN FACT: “Before pursuing a professional career in voice, I had a couple different careers including high school calculus teacher and professional jumper/horse rider and trainer!”

TONI MARIE PALMERTREE as Countess Almaviva

HOMETOWN: Fleetwood, PA

ROLE CALL: OD audiences will remember Toni Marie from her stunning performances in last spring’s Al Fresco Arias. A former Adler Fellow, she’s currently covering the role of Cio-Cio San in Madama Butterfly with The Metropolitan Opera, and next season she’ll cover the title role of the company’s much-anticipated production of Medea. Toni Marie’s other recent engagements include Liu in Turandot with San Francisco Opera and the title role in Luisa Miller with Lyric Opera of Chicago. Of her Luisa, the Chicago Daily Herald raved: “Palmertree sang with stunning clarity, her voice practically shimmering in its upper range, yet with formidable power even below middle C. Her range of emotional delivery was equally broad, capable of playing both the lion and the lamb.”

OFFSTAGE: “I love to roller skate and decorate cakes, although I've never tried to do both at the same time.”

HANNAH VON RIESEN as Barbarina (OD debut)

HOMETOWN: Storm Lake, IA

ROLE CALL: Praised for her “bright, clear sound and alluring stage presence” (Opera News), Hannah’s recent engagements include Clorinde in Cendrillon with Manhattan School of Music Opera Theater, Zerbinetta in Ariadne auf Naxos with International School of the Voice, and Susanna in The Marriage of Figaro with Des Moines Metro Opera (Apprentice Scenes Program).

FUN FACT: Hannah has been featured on PBS for her creative music lessons for children about world music and opera. She also has an impressive collection of world instruments and teaches ukulele classes.

THE MEZZO-SOPRANOS

CLAUDIA CHAPA as Marcellina

HOMETOWN: Laredo, TX

ROLE CALL: Celebrated for her “earthy, distinctive mezzo” (Opera News) and “arresting stage presence” (The Austin Chronicle), Claudia is an in-demand performer and concert curator specializing in Hispanic/Latinx programming. OD audiences will remember Claudia from her mesmerizing performances as a soloist in Opera Uncorked: Verdi, Verismo & Vino (2019) and Zita in Gianni Schicchi and Buoso's Ghost (2018). Other recent engagements include performer/co-curator of Entre Amigos with Fort Worth Opera, Josefina in El Milagro del Recuerdo with Arizona Opera, and Filipyevna in Eugene Onegin with the Dallas Symphony Orchestra. Earlier this season, she was named the inaugural curator of Hispanic and Latinx programming for Austin Opera.

OFFSTAGE: Claudia is proud to collaborate with Austin Classical Guitar on the Lullaby Project, which pairs artists with pregnant women and new parents to create and perform personal lullabies to help strengthen the bond between parent and child, support maternal health, and aid childhood development.

LAUREN COOK as Cherubino (OD debut)

HOMETOWN: Philadelphia, PA

ROLE CALL: Hailed for her commanding stage presence and “full bodied" and "nuanced" voice (Indie Opera and Boston Musical Intelligencer), Lauren recently earned raves as Cherubino in The Marriage of Figaro with Virginia Opera. Her other recent appearances include Antonia in Man of La Mancha and Camacho in Don Quichotte at Camacho’s Wedding with Opera Saratoga, and Hannah After in As One with Painted Sky Opera. Next season, she’ll take on the role of the Composer in Ariadne auf Naxos with Arizona Opera. 

OFFSTAGE: “I have been on several solo cross-country road trips, I'm a big fan of hiking, and I love to read.”

OPERA, PAPER, SCISSORS: 'Barber' from the page to the stage

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We’re over the moon to collaborate with Papermoon Opera Productions for our new production of THE BARBER OF SEVILLE.

We chatted with members of the Papermoon team to learn more about how they created glorious costumes and sets almost entirely out of paper and paired them with state-of-the-art projections and lighting. The result? A visual feast that’s as bold as Rossini’s brilliant score.

THE BARBER OF SEVILLE - Feb 25 & 27 at The Grand; Tickets & info

Interview by Julia Cooke, artistic and general director of Baltimore Concert Opera

How did Papermoon Opera Productions start and why did you choose paper as your medium?

Fenlon Moon, Papermoon artistic director and co-creator: Jefferson Ridenour (Papermoon co-creator and scenic designer) and I started working with paper around 2015… because we were told that we had no money to make productions happen. We did a very intimate production of La bohème. He did charcoal drawings of the Paris skyline, a loft, and stove, and the painting that Marcello was working on, and we had this wonderful idea to continue to work [in paper] together. 

It’s an interesting medium, especially for something as joyful as The Barber of Seville. It gives us this childlike ability to play. I think the team at Papermoon has really embraced that, and it’s turned into something that is even more creative than working with wood and normal sets. 

Tell us more about your design process.

Fenlon: What happens most times is Jeff and I sit down and talk about 2 or 3 elements that we really want to punch up. For Barber, we’re calling it “nouveau commedia” because it’s commedia dell'arte with sort of an 80’s spin to it. The lights, projections, and costumes all come together. We have more flexibility working with these materials – you can inject these flat surfaces with so much texture and fun, and we get this playful, joyful production like it was just drawn today for the audience. That’s very much how commedia started. 

Kathleen Doyle, Papermoon costume designer: Working with paper is faster and it’s more direct. It’s kind of immediately satisfying because you see the craft person's or artist’s hand print on the costume immediately. In a funny way there’s less of a textural jump from the paper sketch to the paper costume… For example, instead of doing a hand cross-stitched hem on 8 yards of a brocade silk, we can use a pair of pinking shears and cut the skirt where it should be hemmed. Take Figaro’s vest – this is tyvek. It doesn’t fray and it is just as strong here  [touching the hem] as if we hemmed it. 

Fenlon: The underpinnings are cloth. His shirt is definitely cloth, but everything that goes on top is paper. It just has this incredible texture to it, like the tyvek paper that you’re familiar with from USPS mailer bags. 

Kathleen: In fact, we are using some of those express and priority mail envelopes! We literally take off the adhesive part and sew them together for yardage.

Fascinating! How do you sew paper?

Kathleen: [Laughs] I’ve had good luck with using a long, wide stitch and universal needles, although I break needles pretty often because they become dull. 

Fenlon, tell us more about your relationship with this opera. You know it well having done this role yourself years ago.

Fenlon: Yes, I got to sing Rosina several times. I did that role with Chuck Hudson directing. He had studied movement and mime with Marcel Marceau so it was a very physical comedy. I guess the biggest thrill for me was people actually laughing out loud, guffawing in the theater. That made me so happy. 

sET & PROP PHOTOS COURTESY OF Jefferson Ridenour, PAPERMOON OPERA PRODUCTIONS

I think that joy and laughter are just so important right now. Jeff and I designed this in the middle of the pandemic. We were also designing [Poulenc’s] La voix humaine, which is about a woman who kills herself, so we really needed this joyful, brilliant, vibrant thing to happen. We really had so much fun working together on it.

You keep saying “joyful” and this production really is! Can you tell us a little bit about the set?

Jefferson Ridenour, Papermoon co-creator and scenic designer: It’s actually really fascinating. For this production we explored some new materials that we haven’t used before. For example, the facades of the arch units and the false proscenium that you see are created with a fabric that’s made of 50% recycled plastics. That’s something that we haven’t tried before and it ended up being really cool. 

The way we’ve explored these mediums… It's almost like going back to being a kindergartner and playing with arts and crafts and paper and scissors. It’s using all of those things that we loved about being a kid and bringing them to an elevated level for the stage.  

That’s so fascinating, especially in terms of the environmental impact. Instead of throwing away a giant set, many pieces can be recycled and repurposed. It’s also probably easier to transport. 

Fenlon: I love to tell the story about how I fit the entire Carmen set that we did together in a Honda Fit. If that isn’t environmentally sound then I don’t know what is!

Finally, is there anything else you want to share about ‘Barber’?

Jefferson: I think what we’ve explored with this is really finding the joy in color and patterns – getting back to that childlike love and passion and bringing it to the stage… The music is so bubbly, and we just wanted to bring joy with this design, especially because of the last couple of years. When we started to design this during COVID, I needed color. I needed boldness. I needed joy, and that’s what this brought. 

That is exactly why we selected this piece. We could all use a laugh and some boisterous excitement, and we can see it in your design. Thank you so much!

The Barber of Seville is a co-production with Baltimore Concert Opera, in collaboration with Papermoon Opera Productions.

MEET THE CAST: THE BARBER OF SEVILLE

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Get to know the extraordinary cast of THE BARBER OF SEVILLE (coming to The Grand Feb 25 & 27)!

FIGARO - Brian James Myer
OperaDelaware debut
Lauded by critics for his for “buttery baritone” (New York Times) and “flawless comic timing” (Opera Today), celebrated baritone Brian James Myer has performed with New York City Opera, Atlanta Opera, American Lyric Theater, and Knoxville Opera among others.

ROSINA - Mary Beth Nelson
OperaDelaware debut
A former Young Artist with the Glimmerglass Festival, mezzo-soprano Mary Beth Nelson was slated to star in our cancelled 2020 production of The Tales of Hoffmann, and we are thrilled to finally introduce her to OD audiences. Of a recent performance, Opera Today raved: "Nelson sang with virtuosic abandon… joyous flair and assured beauty of tone."

COUNT ALMAVIVA - Christopher Bozeka
OperaDelaware debut
Praised for his "velvety tone" (Opera Today) and “expressively captivating performances” (San Francisco Chronicle), tenor Christopher Bozeka has performed with Houston Grand Opera, Sarasota Opera, and most recently Wolf Trap Opera.

DR. BARTOLO - Tim Mix
An OD fan favorite, audiences will remember baritone Tim Mix from his tour-de-force performances as Joseph de Rocher in Dead Man Walking (2019) and Claudius in Amleto (2016). Earlier this season, Tim delighted patrons as Dr. Malatesta in our concert production of Don Pasquale.

BASILIO - Kevin Short
A regular at The Met (including the acclaimed 2019/20 production of Porgy and Bess), bass-baritone Kevin Short last thrilled OD audiences as a soloist in Opera Jukebox, a 75th-anniversary celebration. He has performed with Lyric Opera of Chicago, Washington Opera, Opéra Comique, Grand Théâtre de Luxembourg, and Oper der Stadt Köln.

BERTA - Julia Laird
Soprano (and Wilmington, DE native) Julia Laird last delighted hometown audiences as a soloist in Pop-Up Opera and Drive-Through Arias. She's performed with Opera West, Piedmont Opera, and North Carolina Opera.

FIORELLO - Zachary Bryant
OperaDelaware debut
Baritone Zachary Bryant is pursuing his DMA at the University of Maryland and is an education outreach artist with our Barber co-production partner, Baltimore Concert Opera. His recent performance highlights include Sciarrone in Tosca with Annapolis Opera and Count Almaviva in Le nozze di Figaro with Prague Summer Nights Festival.

#ROSSINIMINUTE

Rossini is famous (or infamous) for his rapid-fire patter. What better way to get to know our Barber cast than to have them answer rapid-fire questions posed by OD Music Director Maestro Anthony Barrese?