The delightful Sara Gartland is back with us as Gretel in Hansel and Gretel, after having performed the role of Musetta for us in La boheme (2015). She's really thought a lot about Gretel and what makes her tick in this operatic version of the Grimm Brothers' fairy tale. Listen in as our Nic Reveles interviews her about this charming production and the challenges of the score by composer Englebert Humperdinck! 

It’s always great to welcome back friends who’ve sung with us before, and that’s certainly true of tenor Carl Tanner. Last with us as Calaf in Puccini’s Turandot, he now sings the role of Radames in Verdi’s Aida, a role with few parallels in the ‘big’ tenor repertoire! He reflects on his first-ever Radames which he sung with Mobile Opera in Alabama, a production story that includes an elephant, a horse and a python…not an especially good combination! Enjoy!

Check out our latest SDO Podcast as Nic Reveles interviews our Amneris in Verdi’s Aida, Russian mezzo-soprano Olesya Petrova. Born in St. Petersburg, her love for her native city is palpable as she talks about the artistic atmosphere that surrounded her during her vocal studies. She has some wonderfully insightful things to say about the character of Amneris, one of the most challenging roles in the Verdi repertoire for mezzo. Enjoy!

The wonderful young stage director Kyle Lang brought us terrific productions of The Pirates of Penzance and As One in the last couple of seasons. He's back for Carmen, and that's truly something to be excited about! Listen in as he tells us all about his approach to this classic opera and how each of the principal characters fit in the tragic story. Enjoy!

Tenor Robert Watson, our Don Jose in Carmen opening this week, has a lot to say about this character. Jose has one of the most interesting character arcs in all opera, moving from lyrical naif to obsessive lover with all of the musical changes that arc demands. The young singer talks about his beginnings as well, hailing from Kansas City (like colleague co-star Scott Conner, our Escamillo) and coming up through the ranks in the German fest system. Enjoy! 

Soprano Sarah Tucker sings the role of Micaela in our production of Bizet's Carmen, a role that fits her very well. Micaela is, of course, Don Jose's childhood friend who has come to Seville to bring memories of home and the love of his mother who awaits him in their village. The character as written is rather straightforward, but Sarah talks about how she will come across as somewhat more complex in this production, and how that complexity comes from Bizet's wonderful score. Enjoy. 

Bass Scott Conner sings the role of Escamillo in our production of Carmen by Georges Bizet. Listening to this voice...even his speaking voice...you'll want to hear him let loose in the Civic Theatre with the wonderful Toreador Song, an entrance aria like no other! Scott hails from Kansas City and in this interview he talks about his background, his studies and the roles that he's portraying all over the world. On top of it, he's a delightful guy! Enjoy. 

Mezzo-soprano Ginger Costa-Jackson obviously loves the opera Carmen, and has some definite viewpoints when it comes to the main character she portrays. It all boils down to being fully present, completely focused when playing this volatile character, she says. In this delightful interview she digs a little deeper for us and gives the audience a preview of what her Carmen will be! Enjoy. 

Conductor Adam Turner recently became the Artistic Director and Conductor for Virginia Opera, making him one of the youngest AD's in the American opera world. This is his third time at the helm for Jake Heggie's Three Decembers, and in this interview he reflects on the piece, on chamber opera generally, and on his career. Enjoy this fifth and final interview of the principals in this production!

Director Karen Tiller has directed Three Decembers three times now, and obviously loves this opera by Jake Heggie. In this interview she talks about her love for the piece as well as for her deep appreciation for its connection between drama, text and music. At the heart of the matter, she says, the message of this opera is that "life is messy", a direct quote from the libretto. Spend a few minutes with this artist and you'll see why we're so excited to present this opera, opening March 8th!