Ahsan Awan

Magnifico! Opera Idaho Impressive in Traviata Debut

Opera Idaho’s production of "La Traviata" at the historic Egyptian Theatre in Boise is an exquisite triumph, a masterful showcase that reaffirms the timeless power of Verdi’s composition. This production seamlessly blends vocal brilliance with evocative storytelling, immersing audiences in a world of love, sacrifice, and societal scrutiny. The Egyptian Theatre’s intimate yet grand setting enhances the experience, drawing viewers deeper into the opera’s emotional depths. With stellar vocal performances, expert musical direction, and creative staging, this production is an unforgettable masterpiece, not only honoring one of the greatest operas ever written but also showcasing the extraordinary talent within Opera Idaho’s ranks.

Stage Director Robert Neu’s vision is both traditional and refreshingly dynamic, emphasizing the emotional core of the story while making full use of the Egyptian Theatre’s unique atmosphere. In collaboration with Opera Idaho’s exceptional General Director, Stacey Trenteseaux, the production masterfully incorporates period-appropriate costumes and artful lighting design. These elements heighten the drama, accentuating the contrast between the glittering world of Parisian high society and the stark loneliness of Violetta’s final days, all within the walls of the theatre’s iconic structure.

From the very first notes of the prelude, the stage is set for the tragic tale of Violetta Valéry. Soprano Cecilia Violetta López delivers a breathtaking performance, portraying Violetta’s transformation from vivacious hostess to selfless lover with remarkable depth and authenticity. Her rendition of “Sempre libera” dazzles, showcasing effortless coloratura and emotional intensity that leaves the audience spellbound.

Opposite López, tenor Isaac Hurtado brings passion and warmth to the role of Alfredo Germont. His “De’ miei bollenti spiriti” soars with lyrical beauty, capturing Alfredo’s youthful optimism and ardor. Later, his dramatic confrontation with Violetta in Act II’s gambling scene, culminating in “O mio rimorso!,” is imbued with raw emotional intensity, making his eventual heartbreak all the more poignant.

Baritone Jeff Mattsey as Giorgio Germont, Alfredo’s father, delivers a commanding and nuanced performance. His rendition of “Di Provenza il mar, il suol” is especially moving, portraying a father torn between duty and empathy. His gradual transformation—from stern patriarch to remorseful father—is deeply compelling, underscoring the opera’s themes of redemption and societal hypocrisy.

The supporting cast brings further vibrancy to the production. Mezzo-soprano Tahanee Aluwihare portrays the flirtatious and spirited Flora Bervoix, adding charm to the Act II party scene. As the loyal Annina, soprano Brennan Blankenship provides touching moments of tenderness, particularly in the final act as she tends to Violetta in her last moments. Baritone André Chiang as Baron Douphol, Alfredo’s rival, exudes a commanding presence, his silent yet menacing demeanor adding an extra layer of tension. Tenor Nicholas Cravens as Gastone, baritone Anders Tobiason as the Marchese, tenor Derek Carson as Giuseppe, baritone Brayden Olson as the Commissionario, and bass-baritone Jeffrey Seppala as Doctor Grenvil all deliver strong performances, rounding out a stellar ensemble.

Adding to the richness of the cast, the diverse pool of experienced local talent, some of whom can be found in the chorus, truly completes the on-stage ensemble. Locally based performers like soprano BrieAnne Welch Prestwich, whose own credits span multiple states and countries, demonstrate the wealth of talent that can be found in Boise. Adding further distinction to that, her husband, Elliot Prestwich, serves as the Director of Operations for the Egyptian Theatre venue. Under his expert leadership, which also includes venue and operations management in multiple states, Opera Idaho’s iconic home operates flawlessly every day.

Musically, the production soars under the masterful baton of Music Director and Conductor Andy Anderson, one of the finest maestros in North America. Anderson leads the orchestra with unmatched warmth, sensitivity, and precision. The sweeping orchestration of Verdi’s score fills the theatre with both grandeur and intimacy, supporting every performer with exquisite phrasing and dynamics. The festive Act I brindisi, “Libiamo ne’ lieti calici,” is delivered with infectious joy, while the heartbreaking final duet, “Parigi, o cara,” leaves few if any dry eyes in the house.

Adding another layer of creative flair to the production, Directors Neu and Trenteseaux include several extraordinary dancers from Ballet Idaho. Anissa Bailis, Cydney Covert, Elizabeth Kanning, and Cameron Pelton portray the gypsies, and their performance is simply dazzling. Every step, kick, leap, and twirl is executed with breathtaking precision and energy.

Of course, none of these remarkable displays would be possible without the dedication and professionalism of the outstanding staff and crew. Production Director Anthony Colombo set the tone throughout the lead-up to the first performance, ensuring seamless execution. Stage Manager Alan Stogin is tack sharp and keeps everything on track and on time. Lead Hair and Makeup Designer Danyale Cook and her incredible team of artists such as Amanda Woods do exquisite work. Every member of the cast looks stunning on stage. Of course, as hair, makeup, and even costume are always affected by conditions on stage and in the theatre, it must be noted that Lighting Designer David Goodman-Edberg masterfully crafts a visual experience that enhances every dramatic moment with stunning interplay of light, color, and shadow.

Opera Idaho’s "La Traviata" at the Egyptian Theatre is a breathtaking achievement, a production that honors Verdi’s masterpiece while making a profound emotional impact on the audience. With world-class performances, stunning orchestration, and impeccable stagecraft, this is an evening of opera at its finest.

Don't miss the opportunity to experience the magic of live opera in Idaho. Tickets for future productions and performances can be obtained through OperaIdaho.org or by calling 208-345-3531. For one night only, on Sunday, April 13^th, the Egyptian Theatre will present the Boise film premier of “Aria – Opera on the Edge” featuring Cecilia Violetta López and several other members of the Opera Idaho family. Tickets for this event can be purchased online at AriaTheFilm.com.

Ahsan Awan has been covering opera, performance arts and live events for nearly two decades. This marks his debut coverage of Opera Idaho. Images taken by Ahsan Awan for Opera Idaho and ©2025 American Presswire. Editorial use by Opera Idaho with permission and subject to unrestricted use under license unless otherwise noted. Ahsan Awan can be found on X as @quackarazzi and on Instagram as @quackarazzi. American Presswire can be found on X as @ampresswire and on Instagram as @ampresswire.

by Ahsan Awan

Bellissimo! Butterfly Soars in Anchorage Opera's Winter Masterpiece

Midway through its 62^nd season, Anchorage Opera returns to the Alaska Center for the Performing Arts in 2025 with a sensational rendition of Giacomo Puccini’s tragic masterpiece, “Madama Butterfly,“ the story of Cio-Cio-San, a young Japanese geisha and her ill-fated love for an American naval officer, Lieutenant B.F. Pinkerton.

Set in 20th-century Nagasaki, the opera follows Cio-Cio-San as she marries Pinkerton, believing it to be a true union of love and devotion. However, Pinkerton sees their marriage as a temporary arrangement. When he departs for America, he leaves behind a pregnant and hopeful Cio-Cio-San, who waits faithfully for his return.

Several years later, Pinkerton returns to Japan with his American wife, Kate, intending to take custody of their child. Heartbroken by this betrayal and the loss of her son, Cio-Cio-San takes her own life in a final act of despair.

Lauded and renowned General Director and Stage Director Ben Robinson’s captivating modern take on Puccini’s epic tale intertwines historical perspective and costume with leading edge artificial intelligence enhanced laser projected backdrops that elevate set design to splendid new heights nothing short of extraordinary.

Robinson’s masterful artistic vision brings forth what Puccini himself was never able to accomplish upon Butterfly’s debut at La Scala. Robinson delivers us all through a luminous cascade of heart-wrenching arias and orchestral ecstasy where Madama Butterfly unfurls the tragic tapestry of Cio-Cio-San as a delicate yet indomitable blossom of devotion who, blinded by youthful innocence, clings with hope to the perfidious embrace of the faithless Pinkerton, only to be shattered upon the cruel altar of fate, where passion dissolves into despair, and the silken petals of her unwavering soul drift, sorrow-laden, into the abyss of an agonizingly beautiful oblivion.

Maestro Andy Anderson leads Anchorage Opera's amazing orchestra with precision, passion, and deep sensitivity, bringing Puccini’s lush score to life with breathtaking nuance. From the opening bars to the devastating climax, Anderson maintains impeccable balance, ensuring that every phrase breathes with emotional depth and dramatic urgency.

Puccini’s "Madama Butterfly" explores themes of love, betrayal, the clashing of eastern and western cultures, as well as the devastating consequences of imperialism. With Ben Robinson at the helm, the incredible cast and crew of Anchorage Opera deliver this message beautifully.

Making her role debut, Karen Vuong’s portrayal of Cio-Cio-San is nothing short of breathtaking. From her first note, her voice soars effortlessly, filling the theater with a richness and clarity that seems almost amplified. Her "Un bel dì vedremo" is a masterclass in control and emotion, balancing delicate pianissimi with powerful, soaring high notes that reach the farthest balcony seats with ease.

And yet, beneath this vocal grandeur, Vuong infuses every phrase with an emotional truth so raw, so devastatingly human, that one feels not merely a witness to Butterfly’s anguish, but a participant in her exquisite suffering. Her final moments are painted in sound so heartbreakingly delicate that the silence in the theater grows thick, reverent, as though the universe itself holds its breath.

Beyond sheer vocal ability, Vuong brings raw emotional depth to the role, making Butterfly’s hope and heartbreak feel deeply personal. Her final moments are devastating in their fragility, leaving the audience in stunned silence. This is a performance that lingers long after the final curtain—a triumph of vocal and dramatic artistry.

Also making a role debut, and fresh off a debut at New York’s iconic Metropolitan Opera, Edward Graves delivers a striking performance as Lt. Pinkerton, embodying the character’s charm and callousness with seamless conviction. His bright, ringing tenor cuts through the orchestra with effortless power, filling the theater with a presence that is both alluring and foreboding. From the passionate intensity of “Dovunque al mondo” to the lyrical warmth of his Act I duet with Cio-Cio-San, Graves brings an intoxicating vocal beauty to the role.

Yet it’s in his final act return that his artistry truly shines—his remorse palpable, his voice weighted with regret, making his betrayal all the more devastating. Graves gives Pinkerton complexity beyond the usual cad, offering a portrayal that is as vocally thrilling as it is dramatically compelling.

Making his role debut as well, Robert Mellon brings both gravitas and compassion to the role of Sharpless, his rich, resonant baritone anchoring the drama with warmth and authority. From his first interaction with Pinkerton, he exudes a weary wisdom, his voice carrying the weight of unspoken warnings and quiet despair. His phrasing is immaculate, each line delivered with a measured sensitivity that underscores his growing unease.

As the tragedy unfolds, Mellon’s performance deepens, his Sharpless torn between duty and conscience. His final scenes, heavy with regret, reveal a man powerless to stop the inevitable, his voice colored with quiet anguish. With both vocal strength and emotional depth, Mellon offers a deeply moving portrayal of Butterfly’s lone advocate.

With hundreds of performances as Suzuki, Nina Yoshida Nelsen brings unmatched depth to the role. Her warm, velvety mezzo exudes devotion and quiet strength, grounding Butterfly with unwavering support. Every phrase is infused with emotion, her deep understanding of the character evident in every glance and gesture.

In the final act, her heartbreak is palpable, her voice rich with sorrow as she realizes Butterfly’s fate. Nelsen’s performance is masterful—both vocally and dramatically—making Suzuki not just a supporting role, but the emotional core of the opera.

Ramon Gabriel Tenefrancia’s crisp tenor and sly charisma make Goro both engaging and unsettling. His pointed delivery and lively phrasing capture the character’s opportunism, adding depth to his scheming presence in the unfolding tragedy.

Benjamin Chen’s smooth baritone brings warmth and dignity to Yamadori, offering a sympathetic contrast to the opera’s darker themes. His performance adds depth, portraying a man genuinely affectionate toward Cio-Cio-San.

Returning for his second show with Anchorage Opera this season, Isaiah Musik-Ayala brings a commanding bass to The Bonze. His performance exudes authority and menace, making the character a formidable presence in the opera’s intense drama.

Anchorage local Laurie Soderstrom’s radiant soprano and striking beauty perfectly capture Kate Pinkerton’s elegance. Her poised presence adds sophistication to the role.

The remaining cast of Madama Butterfly adds significant depth and richness to this production, each performer delivering a memorable portrayal in their respective roles.

Mari Hahn’s portrayal of Cio-Cio-San’s Mother is a commanding presence, her demeanor perfectly capturing the protective nature of her character, while Akiko Naomoto’s portrayal of Cio-Cio-San’s Aunt brings a touch of wisdom and humor, balancing her gravitas with a gentle warmth. Crista Cady’s portrayal of Cio-Cio-San’s Friend provides a comforting presence, her bright voice offering a light moment in contrast to the opera’s heavier themes.

Brewster Jamieson’s portrayal of the Registrar is a solid figure, his authoritative voice adding to the tension of the bureaucratic scene. Finally, Kyle Gantz’s portrayal of the Commissioner rounds out the ensemble with a voice of clarity and precision, underscoring the power dynamics at play.

Together, these talented performers enrich the production, providing a strong foundation and contributing to the overall emotional and dramatic impact of Madama Butterfly.

Last but not least, a very special acknowledgment must be given to young Dawson Sausen for his incredible portrayal of Sorrow, the child of Cio-Cio-San and Pinkerton, who is ultimately taken away to be raised by Lt. Pinkerton and Kate. At just three years old, Dawson does an incredible job remaining focused and alert, owning his role way beyond his bedtime.

Beyond the talent on stage, this incredible production would not have been possible without the many hours, days and weeks of time and effort from the crew. Led by Production Stage Manager Helen Irene Muller and Assistant Stage Manager Andrea Anderson, everything always runs smoothly and flawlessly. Projection Designer Sean Amato’s incredible work makes every scene and backdrop glow, shine and shimmer in mesmerizing fashion. Furthermore, the special contributions of cultural advisors Dr. Hiroko Harada and Dennis Arashiro ensured accurate cultural continuity from start to finish; arigatou gozaimasu.

To Ben Robinson and everyone at Anchorage Opera, you have done it again: Perfetto!

Don't miss the opportunity to experience the magic of live opera in the heart of Alaska! More information is available on the Alaska Center for the Performing Arts website: AlaskaPAC.org. Tickets are on sale now and can be obtained through CenterTix.com or by calling 907-263-ARTS (907-263-2787). Performances are scheduled for February 6, 8 and 9, and all shows are at or very near being sold out.

Ahsan Awan has been covering opera, performing arts and live events for two decades, and has been covering Anchorage Opera, since the 2022-2023 season. Images taken by Ahsan Awan for Anchorage Opera and ©2024 American Presswire. Editorial use by Anchorage Opera with permission and subject to unrestricted use under license unless otherwise noted. Ahsan Awan can be found on X as @quackarazzi and on Instagram as @quackarazzi. American Presswire can be found on X as @ampresswire and on Instagram as @ampresswire.

by Ahsan Awan

Forever Fabulous, Anchorage Opera Dazzles Again

Once again, Anchorage Opera captivates and delights, this time closing its 61st season with "La Traviata," Giuseppe Verdi's immortal masterpiece and timeless opera that continues to captivate audiences worldwide with its poignant tale of love, sacrifice, and societal judgment. Originally set in mid-19th century Paris, and adaptively transported into the glitzy and glamorous Gatsby-era Roaring 20’s, the opera follows the tragic story of Violetta, a courtesan, and Alfredo, a young bourgeois. Their passionate love affair encounters numerous obstacles, including societal expectations, illness, and misunderstandings, ultimately leading to heartbreak and redemption.

Acclaimed Stage Director Laura Alley’s incredible take on Verdi's masterful composition weaves together melodic richness and emotional depth, creating a tapestry of human experience that resonates across generations. From the exuberant champagne-fueled revelry of the first act to the tender intimacy of Violetta's final moments, the music and color transports audiences into the tumultuous world of the characters, stirring empathy and reflection.

At its core, "La Traviata" delivers a timeless lesson on the complexities of love and the consequences of societal judgment. The relationship between Violetta and Alfredo defies convention, challenging the rigid social norms of their time. Their struggle against societal expectations highlights the enduring tension between personal desires and external pressures, a theme as relevant today as it was in the 19th century.

Anchorage Opera General Director Ben Robinson’s incredible eye for talent brings an exquisite combination of new and familiar names to the Alaska Center for the Performing Arts. Soprano Andrea Baker is quite likely breaking out right here and right now in what has been called her star-turn role. This is both her Anchorage Opera debut and her specific role debut as Violetta, a courtesan who must make the difficult choice between a sparkling life of luxury and lavish pleasure, or a life with her new love, Alfredo. Without question, Baker nails it. Her voice shimmers and shines as bright as the jewels bedazzling the women and costumes of the era, and it grips the heart of the audience as she brings her character to life and takes them through Violetta’s journey of love, pain, tragedy and redemption.

Violetta's selfless sacrifice for Alfredo's happiness, despite the personal cost, speaks to the power of love to transcend selfishness and inspire nobility of spirit. Her journey from a life of superficial indulgence to one of profound love and sacrifice serves as a poignant reminder of the transformative potential inherent in human relationships.

Tenor Peter Drackley, a returning artist and fan-favorite in Anchorage, delivers a powerful and soul-squeezing performance as Violetta’s lover, Alfredo. His voice carries to the back of the balcony and frames a brilliant command performance on stage as he wins the love and heart of Violetta through soaring and tender performance that moves even the most stoic to tears.

"La Traviata" prompts reflection on the consequences of judgment and societal hypocrisy. The characters grapple with the harsh judgment of society, which condemns Violetta for her past while hypocritically indulging in the same pleasures she once enjoyed. This hypocrisy serves as a cautionary tale, urging audiences to examine their own prejudices and the impact of societal norms on individual lives.

Baritone Dennis Jesse, who plays Alfredo’s loving yet judgmental father, Germont, makes his Anchorage Opera debut as well. Germont’s interference leads to heartbreak, followed by forgiveness and redemption. Jesse’s incredible poise and stage presence brings balance to the complex role of a father whose love for his son is clouded by his rigid ideals. In the end, however, his strength and wisdom allow him to see his folly and embrace Violetta in a passionate delivery of guilt-ridden acknowledgment.

Bass-Baritone Isaiah Musik-Ayala, who is also making his Anchorage Opera debut, portrays the Barone, intimidating patron of Violetta and rival of Alfredo. Musik-Ayala’s deep and compelling voice rattles the seat backs in the orchestra as he fights to keep Violetta all to himself.

Audiences will see the cast rounded out by familiar local talent in both principal and chorus roles, including Lisa Willis who lights up the stage as charming socialite Flora; Phil Cheasebro as Flora’s devoted Marquese (and a very convincing bull); Luke Honeck as faithful friend Gastone, who instigates the lovers’ meeting; Kimberly Hayes as Annina, Violetta’s maid who remains loyal and devoted to the end; and Kyle Gantz, the concerned doctor who sadly does not have a cure. The marvelous all-local chorus embraces the debauchery of the time as the rhinestones sparkle and champagne flows like there’s no tomorrow.

Alongside General Director Ben Robinson and Stage Director Laura Alley, esteemed Principal Conductor Brian Demaris and his orchestra once again deliver a performance for the ages. Under the stage management of the always excellent Helen Irene Muller, a fabulous cast and crew has once again created a truly splendid and world class operatic showpiece. The beauty of Anchorage Opera, of course, is that while maintaining such excellence, it also provides a welcoming space for both local talent and traveling artists to create a magnificent experience. Our heroine with a heart of gold may indeed succumb to mortal demise resulting from her own consumption, but with “La Traviata” we see that in an era marked by rapid social change and shifting moral landscapes, this story remains as relevant as ever, inviting audiences to contemplate the enduring truths of human experience. The story’s timeless message of love, sacrifice, and the struggle against societal judgment continues to resonate, reminding us of the profound power of compassion, forgiveness, and empathy in navigating the complexities of the human heart.

Toi toi toi!

Don't miss the opportunity to experience the magic of live opera in the heart of Alaska! Tickets are on sale now and can be obtained through CenterTix.com or by calling 907-263-ARTS (907-263-2787).

Ahsan Awan has been covering opera, performance arts and live events for nearly two decades, and has been covering Anchorage Opera, since the 2022-2023 season. Images taken by Ahsan Awan for Anchorage Opera and ©2024 American Presswire. Editorial use by Anchorage Opera with permission and subject to unrestricted use under license unless otherwise noted. Ahsan Awan can be found on X as @quackarazzi and on Instagram as @quackarazzi. American Presswire can be found on X as @ampresswire and on Instagram as @ampresswire.

by Ahsan Awan

Spectacular Start - Anchorage Opera's 2023-24 Season Begins with The Elixir of Love

Anchorage Opera, Alaska's premier opera company, kicked off its highly anticipated 2023-2024 season with a stunning production of Gaetano Donizetti's beloved masterpiece, "The Elixir of Love." The performances, held October 27-29 at the Discovery Theatre inside the Alaska Center for the Performing Arts, offered a delightful blend of exquisite singing, engaging storytelling, and impressive staging. This production set the bar high for what promises to be a remarkable season for Anchorage Opera.

"The Elixir of Love" is a lighthearted and humorous romantic opera, and Anchorage Opera's rendition truly captured the essence of the work. Under the guidance of Anchorage Opera's accomplished Principal Conductor, Maestro Brian DeMaris, and Anchorage Opera’s extraordinary new General Director, Ben Robinson, the cast and crew flawlessly brought Donizetti's music and Felice Romani's libretto to life.

Ben Robinson’s debut as General Director struck an exceptionally high note with this production, for which he also played the role of Stage Director. Partnering with the incredibly talented Set Designer Lauren Miller, Costume Coordinator Kaeli Braden, and Costume Consultant Elle Janecek, Robinson transported the audience to a classic television studio soundstage during the nostalgic 1980s. Bright colors and bold looks abounded within the costuming, makeup, and inventive set pieces.

Technical innovation was seen in the clever use of projector screens to set the scene solidly in the intended decade and give the audience a visually enhanced experience, integrating videos into the live production. The audience were treated to ads for DeLorean cars and aerobic workouts, along with real-time scene projections from the “sound stage.” The bespoke commercials for the Elixir of Love itself -- “d’amore – by Dulcamara” -- particularly struck a chord, landing like a delightfully corny 1980s perfume advertisement.

Robinson also added to the overall experience by creating charming supertitle translations, with the text adjusted for the setting while maintaining (even enhancing!) the comedy. Little adjustments to the translation – such as a character going off to the SAG lounge or signing a contract to work for the war movie across town instead of enlisting in the actual army – kept the audience engaged and in the moment.

Once again, Anchorage Opera assembled a talented cast, featuring both familiar faces and newcomers who showcased their exceptional vocal prowess. The standout performances of the evenings were led by the charismatic tenor, Luke Honeck, who portrayed Nemorino. Honeck is a local star in his first leading role. His rendition of "Una furtiva lagrima" left the audiences in awe with its emotional depth and lyrical beauty. He brought the house down – and he did some very impressive moonwalking, as well.

Radiant soprano Lindsay Ohse, who returned to Anchorage to grace the stage as sitcom leading lady Adina, was enchanting; both range and acting skills shone brightly. Her vocals seemed effortless, especially in her gorgeous final aria, “Prendi.”

Notable also is baritone Jonathan Hays as Belcore, whose strong stage presence and resonant voice added depth to the production as he portrayed the sitcom’s swaggering sergeant and lady’s man, with the charisma of David Hasselhoff. Furthermore, the audiences were treated to the delightful and mischievous antics of the quack Doctor Dulcamara, the hustling elixir salesman/TV studio Craft Services caterer played by bass-baritone Philip Cokorinos, whose comic timing and vocal finesse was a true delight. Local star and soprano Christabel Sosa added flair, fun, and sass to the stage as Giannetta, “TV’s next it-girl.”

The chorus and supporting cast also deserve praise for their strong and unified performances, making the scenes truly come to life. Everyone looked like they were having the time of their lives, resplendent in blue eyeshadow and hot pink lips. The audience laughed out loud at the antics and physical comedy of cast members such as Becky Stubbs, Cady Lynn O’Brien, and Emily Darby; riotous chorus scenes were a highlight of the production, with every cast member clearly committed and engaged.

Under Maestro Brian DeMaris' capable direction, the Anchorage Opera’s orchestra delivered a remarkable musical accompaniment. Their performance was characterized by precise phrasing, lush orchestration, and a harmonious blend of voices and instruments, ensuring that Donizetti's score was brought to life in all its grandeur.

First-time opera-goer Kim Stevens, who was also the winner of the first performance’s “dress like it’s the 80s” drawing, said, “The show was unbelievably funny. It leaves me wanting to come back and see more. The show is unexpected in the best way, especially to those who have never seen opera before.”

Never to be forgotten, Anchorage Opera’s incredible Stage Manager, Helen Irene Muller – what a rock star! Together with her talented Assistant Stage Manager, Katie Bringold, everything occurring behind the curtain and backstage went perfectly. That kind of leadership is priceless, and both Anchorage Opera and the community are lucky to have such exceptional talent.

With exceptional performances, creative staging, and a captivating rendition of Donizetti's masterwork, Anchorage Opera has set the bar high for the rest of the season. Opera enthusiasts and newcomers alike are in for a treat as they await the forthcoming productions in what promises to be an extraordinary season for Anchorage Opera.

Don't miss the opportunity to experience the magic of live opera in the heart of Alaska! Next up is Derrick Wang’s “Scalia / Ginsburg,” a supremely comical look at the highly improbable friendship of two of our nation’s great Supreme Court justices, the late Antonin Scalia, and the late Ruth Bader Ginsburg. That production will take place February 2-4 at the Sydney Laurence Theatre in the Alaska Center for the Performing Arts. Tickets are on sale now and can be obtained through CenterTix.com or by calling 907-263-ARTS (907-263-2787).

Ahsan Awan has been covering opera, performance arts and live events for nearly two decades, and has been covering Anchorage Opera, since the 2022-2023 season. Images taken by Denny Wells for Anchorage Opera and ©2023 Denny Wells. Editorial use by American Presswire with permission and subject to unrestricted use under license unless otherwise noted. Images taken by Brian C. Chen, MD for Anchorage Opera ©2023 Brian C. Chen. Editorial use by American Presswire with permission and subject to unrestricted use under license unless otherwise noted. Ahsan Awan can be found on X as @quackarazzi and on Instagram as @quackarazzi. Denny Wells can be found on X as @dennywellsak and on Instagram as @dennywellsforalaska. Brian C. Chen can be found on Instagram as @bccak.

by Ahsan Awan