Cinderella

Massenet’s Cinderella (Cendrillon)

February 14, 2014 – 8:00 PM
February 16, 2014 – 2:30 PM
Mahalia Jackson Theater for the Performing Arts

 

UNDERSTAND EVERY WORD Sung in French with English texts projected above the stage.
On Valentine’s Day your heart will be captured by this gorgeous operatic confection from the pen of Jules Massenet, composer of Manon and Thaïs. Cinderella is a sophisticated re-telling of the classic French fairy tale, an operatic jewel—complete with glass slippers and a Fairy Godmother—embracing pathos, conflict, hilarity, and the sheer magic of true love! Our glittering new production will be a company premiere and the perfect entertainment for audiences of all ages. SPEND VALENTINE’S DAY WITH THE NEW ORLEANS OPERA!
ACT 1 A state room in Madame de la Haltière’s town house
Servants bustle to prepare for the ball. The henpecked Pandolfe wonders why he ever left his country estate to remarry an over-bearing countess with two daughters and pities the lot of his own child Lucette (Cinderella). He leaves as his wife enters to instruct her daughters on strategy and supervise a troupe of milliners, tailors and hairdressers. Pandolfe, late for departure, is not allowed to say goodnight to his child. Cinderella enters and sits by the fire to regret her lot before falling asleep. Her Fairy Godmother appears and orders her attendants to dress Cinderella for the ball. She warns her to leave before midnight, and tells her that the glass slippers are a talisman to prevent her being recognized by her family.

ACT 2 The royal palace
A gaggle of courtiers and an onstage band fail to alleviate the Prince’s melancholy. The King orders him to marry and eligible princesses arrive for the Prince’s scrutiny. The unknown beauty Cinderella appears to a concertato of general amazement, and the Prince launches a rapturous love-at-first-sight duet. Cinderella responds but as midnight strikes she hurries away.

ACT 3, Scene 1 A state room in Madame de la Haltière’s town house
Cinderella relives the glamour of the ball and the terror of her nocturnal flight. The family returns from the ball and Madame de la Haltière disputes Pandolfe’s account of the events. According to her, the Prince decisively rejected the bold intruder. Pandolfe notices that Cinderella is about to faint and orders the women from the room. In a duet of great tenderness he promises that he and Cinderella will return to his country seat. When he exits to prepare for the journey, Cinderella gives way to despair: rather than allow her father to share her pain, she decides to run away and die on her own.

ACT 3, Scene 2 A magic landscape around a great oak tree
Fairies and will-o’-the-wisps interrupt their dance as Cinderella and the Prince approach separately, and the Fairy Godmother conjures up a magic arbor so that they may hear but not see each other. After praying to be released from their misery, they recognize each other’s voices and reaffirm their love in a mystical ceremony. The Prince hangs his bleeding heart on the oak, and both fall into an enchanted sleep.

ACT 4, Scene 1 A terrace
Pandolfe watches over his sleeping daughter. Months have passed since she was found by a stream half dead with cold. In her delirium she has been singing about the ball, the mysterious oak, the bleeding heart and the missing slipper. None of this ever happened, her father assures her, and she resigns herself to having dreamed it all. Madame de la Haltière enters with the news of a grand international assembly of princesses to try on the missing slipper, and Cinderella joyfully realizes that her dream was true.

ACT 4, Scene 2 The palace
The princesses appear, but the Prince does not recognize any of them as his lost love. Cinderella steps forward and is reunited with the Prince. The opera ends amid general rejoicing.

Director: Jose Maria Condemi

Conductor: Robert Lyall

Cast

Click each cast name to see their picture, bio, and more information!

Cinderella - Judith Gauthier

Judith Gauthier - Cinderella - Cinderella1Before starting her vocal studies with Maestro Gabriel Bacquier and Michèle Command , Judith Gauthier trained at the Conservatoire National Supérieur de Paris, piano , accompaniment and vocal conducting. Judith Gauthier is the recipient of several prizes including the Adami Prize at the International Competition in Clermont-Ferrand (2005), the First Prize and the SACEM Prize for the most outstanding interpretation of contemporary works at the Concours International de la Mélodie Française de Toulouse (2003). Judith Gauthier made her début in Campra‘s Idoménée ( Jean-Claude Malgoire conducting) and was invited to participate in Mozart ‘s Bastien und Bastienne at the Paris‘s historic Théâtre du Châtelet. Since then she worked with world famous conductors including Marc Minkowski, Serge Baudo, Peter Eötvös, Gelgely Vajda, Jean- Christophe and Philippe Spinosi, Daniel Reuss, Hervé Niquet, Martin Gester, Chrisopher Franklin…and stage directors: Robert Carsen, Laurent Pelly, Emilio Sagi, Benjamin Lazar, Joachim Ratke, Thaddeus Strassberger …. She has performed in Lully’s Alceste (Théâtre des Champs-Elysées, Paris), Arcas in Martin y Soler ‘s Ifigenia in Aulide (Madrid), Fiordiligi (Warsaw ), Frasquita in Carmen ( M.Minkowski, Bremen Music Festival ), Lisetta in La gazzetta (Rossini in Wildbad Opera Festival, recorded for Naxos). Judith Gauthier has been a soloist in Bach‘ s Mass in B minor (working both with M.Minkowski and H.Niquet ), in Mozart’s Mass in C and Brahms ‘ Ein deutsches Requiem ( B.Tétu, Lyon ), in Denoyé, Corrette and Charpentier ‘ s works ( M.Gester, Le Parlement de Musique, recorded for Harmonia Mundi ), in Haendel‘ s La Resurrezione (J.W DeVriend, Combattimento Consort Amsterdam ). Internationally Judith Gauthier is highly regarded for her interpretations of Early Music but also performs 20 th century works : world premiere of Philippe Fenelon‘ s Leçons de ténèbres, Daniel-Lesur ‘ s Andrea del Sarto, Frank Martin’ s Golgotha, Arvo Pärt‘ s Te Deum,Wissmer‘ s Le 4ème Mage, Paul Mefano‘ s Estampes japonaises, Peter Eötvös ‘ As I crossed a bridge of dreams, Gérard Pesson‘ s Pastorale, Strawinski‘ s Two poems and Three japanese lyrics among others.

Judith Gauthier has performed Oberto in Haendel‘ s Alcina (Paris National Opera, Wiener Konzerthaus and Aix-en Provence ), Donna Fiorilla in Rossini‘ s Il Turco in Italia (Basel-Riehen Festival, Switzerland), Hélène in Chabrier ‘ s Une éducation manquée (Caen Theatre), a recital at the Festival de Musique Baroque de Lyon, Monteverdi‘ s Vespro de la Beata Vergine and Drolla in Wagner‘ s Die Feen (both at the Paris’ Théâtre du Châtelet). More recently she has appeared as Astrée in G.Pesson ‘ s Pastorale (Théâtre du Châtelet), Amour and Clarine in Rameau’ s Platée (Paris National Opera), Mass in C minor (Salzburg’ s Mozarteum) and in two Vivaldi-Haendel‘s recitals (Ensemble Matheus, J.C Spinosi conducting). Upcoming engagements include concerts in Hamburg, Cuenca, Grenoble, Cracow and Paris’ Salle Pleyel ( Bach ‘ s Johannes Passion, M.Minkowski conducting ), Mélisande in Debussy’s Pelléas et Melisande (Paris’ Théâtre du Châtelet ), concerts in Rouen and Paris‘ Cité de la Musique, Oberto in Alcina (Santiago of Chile), Zerlina in Don Giovanni, Asteria in Haendel‘s Tamerlano (Theater Bonn), Bellezza in Haendel‘s Il trionfo del Tempo e del Disinganno (Stuttgart), the title-role of Massenet‘s Cendrillon (Paris’ Opéra Comique, Konzerthaus in Vienna , Saint-Etienne and Luxembourg), Melissa in Haendel‘s Amadigi (Göttingen) and Inès in Donizetti‘s La Favorite (Paris ‘ Théâtre des Champs-Elysées).  Selected recordings include Frank Martin‘s Golgotha, Denoyé and Corrette‘s works, Rossini‘s La gazzetta, Wissmer‘ s Le 4ème Mage and Andrea Gabrieli‘s Madrigals.

Prince Charming - Marie Lenormand

Marie Lenormand  - Cinderella - Prince Charming2In 2010, french mezzo-soprano Marie Lenormand received the “Grand Prix de la Critique, Revelation Musicale of the 2009-2010 season” for her interpretation of Mignon, by Ambroise Thomas, in a widely acclaimed revival of the piece at the Opéra comique in Paris (the very theater where Mignon had been created), with stage director Jean-Louis Benoit and conductor François-Xavier Roth.

This season, Marie Lenormand sings The Prince in Massenet’s Cendrillon at the Grand Théâtre de Luxembourg and the Opéra de Saint-Etienne (Benjamin Lazar and Alexander Liebreich), Stéphano in Gounod’s Roméo et Juliette at the Opéra de Tours and the Opéra d’Avignon et des Pays du Vaucluse (Paul-Emile Fourny and Jean-Yves Ossonce), the title role in La Périchole at New York City Opera (new production by Christopher Alden), Les Huit Scènes de Faust by Berlioz with François-Xavier Roth and the Dresden Philarmonie, and a Brel et Trénet concert with Steven Blier and the New York Festival of Songs in New York and College Park, Maryland.

Last season, Marie Lenormand sang Dorabella at Lyric Opera of Kansas City (Kristine McIntyre and Ward Holmquist), Despina at New York City Opera (in a new production by Christopher Alden, with Christian Curnyn conducting); and the Massenet cantata “Louise Mézières” with François-Xavier Roth and Les Siècles at the Opéra Comique in Paris, Bach’s Psalm 51 and excerpts from Purcell’s Dido and Aeneas with Sofi Jeannin at the Festival de Radio-France in Montpellier, France, and the Poème de l’amour et de la mer by Chausson at the Festival Musique sur Ciel, in Cordes sur Ciel, France.

During the 2010-2011 season, Marie Lenormand sang Niklausse/ La Muse in Les Contes d’Hoffmann at the Opéra de Massy (Paul-Emile Fourny and Kaspar Zehnder) Olga in Eugene Oneguine at the Opéra d’Avignon, (Claire Servais and Rani Caldron) Cherubino in les Noces de Figaro at Houston Grand Opera (Harry Silverstein and James Gaffigan), The Fox in Janacek’s Cunning Little Vixen with the New York Philharmonic (Doug Fitch et Alan Gilbert). In the Fall, Marie recorded melodies by the forgotten Belgian composer Albert Huybrechts, with Cypres-Records in Brussels. In May, she sang in recital with pianist Keith Weber in Houston, and performed over the summer at the Berlioz Festival with François-Xavier Roth and les Siècles, and the Poème de l’amour et de la mer by Chausson at the Festival de Fénétrange with Jacques Verdier conducting l’Orchestre de Lorraine.

In 2009-2010, Marie sang Urbain in Meyerbeer’s Les Huguenots at Bard Summerscape (Thaddeus Strassberger/Leon Bostein) Fragoletto in Offenbach’s Les Brigands (Deschamps-Makeieff/Emmanuel Joel-Hornak) at the Grand Théâtre de Bordeaux and at l’Opéra du Luxembourg, Lapak in Cunning Little Vixen in Florence (Laurent Pelly/Seiji Ozawa) Cherubino at l’Opéra de Rouen (Stephan Grogler/Oswald Sallaberger) and the title role in Ambroise Thomas’ Mignon at l’Opéra comique de Paris (Jean-Louis Benoit/ François-Xavier Roth).

During the 2008-2009 season, Marie sang Dorabella with l’Opéra de Rouen (Oswald Sallaberger), Arsamene in Haendel’s Serse with Boston Baroque (Martin Pearlman), Hermia in Britten’s Midsummer Night’s Dream at Houston Grand Opera (in a new production by Neil Armfield, Patrick Summers conducting), Annio in Mozart’s Clemenza di Tito at l’Opéra d’Avignon, Siebel at Madison’s Opera (Bernard Uzan/ Laurent Campellone) and Cherubino at Cincinnati Opera (Sir Roger Norrington). She appeared in concert with François-Xavier Roth and Les Siècles in Mozart’s Requiem in Aix en Provence, France, and with Houston baroque ensemble Ars Lyrica.

During the 2007-2008 season, Marie sang with “Ars Lyrica” in Houston and in recital with the Southeastern Festival of Songs in Atlanta and Dallas. She went back to New Orleans Opera to sing Siebel with Paul Groves as Faust, made her debut with the Bochum Orchestra in Germany, singing Le Nuits d’été with Steven Sloane conducting, before a series of Handel’s Messiahs with the Winston-Salem Symphony.

She reprised Aloès in L’Etoile by Chabrier at l’Opéra du Luxembourg, before joining le Gradus ad Musicam ensemble in Nancy, France, for Pergolèse’s Stabat Mater. She returned to the Grand Théâtre de Bordeaux in the spring for Siebel in a new Faust production by J.P.Clarac and O.Deloeil. For her debut with San Francisco Opera, Marie was delighted to reprise the role of The Fox which she created in The Little Prince by Rachel Portman for Houston Grand Opera in 2003. She then sang in concert for the opening night gala of Berkshire Opera in Massachussets, and spent the rest of the summer at Seiji Ozawa’s Saito-Kinen Festival, in Japan, singing Lapak and covering the fox in “Cunning Little Vixen”, a beautiful new production by Laurent Pelly and conducted by Seiji Ozawa.

In the 2006-2007 season, Marie sings Rosina in Il Barbiere di Siviglia with Dallas Opera followed by Siebel in Faust with Houston Grand Opera. Additionally, she makes her debut with Chicago Opera Theater as Penelope in Monteverdi’s Il Ritorno d’Ulisse in Patria and sings Siebel again with Cincinnati Opera. She makes her debut with the London Symphony Orchestra conducted by Francois-Xavier Roth as the alto solo in Beethoven IXth at the Florida International Festival in Daytona Beach. Also, she performs in recital in New York with Steven Blier’s New York Festival of Song at Carnegie Hall’s Weill Recital Hall.

The previous season, Marie performed Siegrune in Die Walküre at the Chatelet under Christoph Eschenbach, was heard in Chabrier’s L’Etoile in Angers and Nantes, and sang Rosina in Il Barbiere di Siviglia and Dorabella in Così Fan Tutte in Stuttgart. In January 2006, she sang Cidippe in Aristeo and the title role in Bauci e Filemone by Glück, recorded under the label Ambroisie , with Christophe Rousset and Les Talens lyriques: They took the two newly rediscovered operas on a concert tour (Bruxelles, Paris, Montpellier, Monte-Carlo) benefiting “Les sept vies de Philémon”, an French organization fundraising for research on rare genetic diseases. Also, she appeared in recital with Steven Blier in a program entitled “The Banquet Years” in New York and with the Vocal Arts Society in Washington, DC.

In 2005, she made her debuts with New Orleans Opera as Nicklausse in Les Contes d’Hoffmann, Opera Pacific as Cherubino in Le Nozze di Figaro, and performed Zerlina, in Don Giovanni at La Cité de la Musique in Paris under the baton of Emmanuel Krivine with his newly established orchestra, La Chambre Philharmonique in February. She was also heard in recital with Steven Blier at the prestigious New York Festival of Song, and sang the role of Rosina at Opera de Bordeaux.

Past notable engagements include her debut with the Bard Music Festival, where she performed in two Shostakovich operas, the role of Masha in Cherry Tree Towers and also in The Nose. Other recent opera engagements include Dorabella in Così Fan Tutte at the Opéra de Bordeaux, Cherubino at the Opéra de Marseille, and Zerlina with both New York City Opera and Toledo Opera. Additionally, she created the role of the Fox in Rachel Portman’s The Little Prince with Houston Grand Opera in the early summer of 2003, of which Opera News wrote, “Among the best were Marie Lenormand, whose rich mezzo-soprano and elegant stage presence shone in the role of the Fox.” She has also sung with Opera-Atelier in Lully’s Persée and L’Incoronazione di Poppea, a recital for the Marilyn Horne Foundation at Carnegie Hall’s Weill Hall in New York City, and recitals in New York and Minneapolis with Steven Blier.

Marie Lenormand was a member of the Houston Grand Opera Studio from 1999 to 2002. At Houston Grand Opera, she performed Dorabella, the title role in L’incoronazione di Poppea, Mercédès in Carmen, Tebaldo in Don Carlo, the Page in Rigoletto, the Chambermaid in The Makropulos Case, and Thelma Predmore in the world premiere of Carlisle Floyd’s Cold Sassy Tree. At Glimmerglass Opera, she sang Melanto in Il Ritorno d’Ulisse in Patria and performed in the world premiere of Central Park, which was later telecast on national television. She returned to Glimmerglass Opera to perform the role of Aloës in Mark Lamos’ new production of Chabrier’s L’Etoile. She has also sung Cherubino at Fort Worth Opera, as well as Stéphano, and the title role in Carmen at the Oberlin Opera Theater. She has appeared numerous times in broadcasts of NPR’s World of Opera.

In addition to her operatic work, Marie Lenormand is also a distinguished oratorio singer. She was the alto soloist in Haydn’s Lord Nelson Mass under Robert Shaw, as well as in Elijah with a cast headed by Sherrill Milnes. She was a Regional Finalist at the Metropolitan Opera National Council Auditions and the recipient of several awards, including the Bloomberg Greenwood Prize, the Faustina Hurlbutt Prize, and the prestigious Lavoisier Scholarship from the French Ministry of Foreign Affairs.

Fairy Godmother - Kathryn Lewek

Kathryn Lewek  - Cinderella - Fairy Godmother1A double prize winner at the 2013 Operalia World Opera Competition, Soprano Kathryn Lewek is rapidly establishing herself as one of the most promising emerging artists today. Current and upcoming engagements include her Metropolitan Opera and Washington National Opera debuts performing the Queen of the Night in The Magic Flute. She will also perform the role with Lyric Opera of Kansas City, as well as sing the role of the Fairy in Cendrillon with New Orleans Opera, and the role of Angelica in Orlando with Hobart Baroque in Tasmania. Concert performances include the soprano solo in Handel’s Messiah with the Oratorio Society of New York at Carnegie Hall. Future seasons see returns to the Bregenz Festival, a new production of Lucia di Lammermoor, and a company debut with Welsh National Opera.

Ms. Lewek made several company debuts last season, performing Queen of the Night in The Magic Flute with English National Opera and Nashville Opera, as well as Handel’s Messiah with Musica Sacra of New York at Carnegie Hall and Carmina Burana with the Toledo Symphony. Recent European debuts also included Dolcina in Suor Angelica with the Deutsches Symphonie Orchester and the Queen of the Night in The Magic Flute with Opera Leipzig, Opera de Toulon, and the Bregenz Festival, where she also performed the role of Jessica in the world premiere of André Tchaikowsky’s The Merchant of Venice.

Pandolfe - Francois Le Roux

François Le Roux - Cinderella - PandolfeFrançois Le Roux is renowned throughout the world for his performances. Since his debut with Lyon Opera, he has been a guest with all the major European opera houses and orchestras and many throughout the world.

He was known as “the greatest Pelléas of his generation performing Debussy’s opera more than a hundred times onstage and for the Deutsche Grammophon recording. He now appears as Golaud, which he sang the opera’s centenary and more recently in Moscow. He is likewise renowned for portrayals of all of Mozart’s leading baritone roles, as well as contemporary opera.

Recent seasons have brought appearances in Lausanne, St Petersburg, Amsterdam, Milan (La Scala), Helsinki and Paris and engagements with the Houston Symphony, American Symphony Orchestra, and Vienna’s Musikverein and recitals at the Kennedy Center in Washington D.C.

François Le Roux is in demand for recitals and masterclasses on the interpretation of French Song. His first book – “Le Chant Intime” – received the 2004 René Dumesnil Award.

His work has been documented on more than seventy CDs and DVDs on prestigious record labels. His most recent recordings include the Complete Songs of Edouard Lalo and Poulenc, music of Enri Dutilleux and Ravel’s L’Enfant et les Sortileges with the Berlin Philharmonic. 

Mme. De la Haltiere - Luretta Bybee

Luretta Bybee - Cinderella - Mme De la HaltiereAmerican mezzo-soprano Luretta Bybee has proven herself to be an artist of remarkable range and versatility in her performances throughout the world. International recognition came early in her career when she sang the title role in the world tour of Peter Brook’s La Tragedie de Carmen. Bizet’s heroine has since figured heavily in Ms. Bybee’s career success, having performed the role in over 25 opera companies throughout the world. Beginning with the 2010 – 2011 academic year, she took on the directorship of New England Conservatory’s Opera Studies program, in partnership with Artistic Advisor Stephen Lord.

Ms. Bybee’s most recent engagements include the role of Dame Marthe in Faust with Arizona Opera, Beethoven’s Symphony No. 9 with the Seattle Symphony and San Antonio Symphony, Madame Armfeldt in A Little Night Music with the Pine Mountain Music Festival, and Wagner’s Ring Cycle with Seattle Opera. In the 13-14 season, she sees performances of Fricka and Flosshilde in Minnesota Concert Society’s reduced Ring Cycle, and also sings the roles of Mary in Opera Carolina’s production of The Flying Dutchman.

She made her Seattle Opera debut as Princess Maria in Prokofiev’s War and Peace, in a production directed by Francesca Zambello, released on video. She has since returned as a house favorite as Mary in The Flying Dutchman, Paula in Daniel Catan’s Florencia en el Amazonas, Amanda in the world premiere of Amelia, Klytämnestra in Elektra, Valkyrie in Die Walküre, Second Norn and Waltraute cover in Götterdämmerung, and (Fricka) in both Das Rheingold and Die Walküre.

Other appearances have included Herodias in Salome at the Arizona Opera, Orlando Opera, and Cleveland Opera, Amneris in Aida with Nashville Opera, Ulrica in Un Ballo in Maschera with Opera Memphis, the title role in Britten’s The Rape of Lucretia for L’Opera de Montreal, and Dalila in Samson et Dalila with Memphis Opera.

Ms. Bybee’s interpretations of Rossini characters earlier in her career garnered widespread recognition and praise. In addition to her appearances as Isabella at NYCO, she sang the role in Cologne, Dublin and at the Festival International de Santander. She made her Frankfurt Opera debut in concert performances of Tancredi and she sang the role of Falliero in the American premiere of Bianca e Falliero at the Florida Grand Opera. Ms. Bybee also enjoyed great success as Farnace in Mozart’s Mitridate, Re di Ponto at the Wexford Festival and in Queen Elizabeth Hall in London.

The Verdi Requiem marked Ms. Bybee’s debut at Carnegie Hall, with subsequent performances for Handel’s Messiah with the Colorado and Houston Symphonies. She also appeared as the mezzo soloist in a Verdi Gala with the Jacksonville Symphony. She sang Bernstein’s Songfest to open the season at the 92nd St. Y in New York, and again in with Seiji Ozawa at the Tanglewood Festival. Ms. Bybee created the role of Joanna in Carly Simon’s opera, Romulus Hunt, in its world premiere in New York. The production was directed by Francesca Zambello and recorded on Angel records.

Noemie - Angela Mannino

Angela Mannino - Cinderella- NoemieSoprano Angela Mannino, made her Metropolitan Opera debut in May 2010 as the 15 Year Old Girl in Berg’s Lulu upon completing two seasons in Lyric Opera of Chicago’s Patrick G. and Shirley W. Ryan Opera Center. Most recently Angela sang Juliet in Romeo and Juliet and Susanna in Le Nozze di Figaro with the Bar Harbor Music Festival, the Fairy Godmother in Cendrillon with Kentucky Opera and Zerlina in Don Giovanni with Madison Opera.  This 2013-2014 season engagements include a return to Lyric Opera of Chicago for Parsifal and Opera Omaha for La Cenerentola.

As a Filene Young Artist at Wolf Trap Opera she sang Colombina in Le Donne Curiose and Fiorilla in Il Turco in Italia as well as performed in recital with Steven Blier. Last spring she sang the role of Agrippa in the world premiere of John Musto’s opera, The Inspector, commissioned by the Wolf Trap Foundation.

At Lyric Opera of Chicago, Angela sang Blonde in The Abduction from the Seraglio including a last minute debut on opening night. Many other roles at Lyric include the 15 Year Old Girl in Lulu, Giannetta in L’Elisir d’Amore and Barbarina in Le Nozze di Figaro.

She sang Gilda in Rigoletto with Opera Grand Rapids, Zerlina in Don Giovanni with Cincinnati Chamber Orchestra, Lauretta in Gianni Schicchi with New Orleans Opera and DuPage Opera, Fido in Paul Bunyan with Central City Opera and the First Maid in Daphne with Santa Fe Opera.

Angela received a Bachelor of Music from Loyola University and a Master of Music from Indiana University.  A Sullivan Foundation Career Grant Winner, Angela has received awards from the Shoshana Foundation, American Opera Society, Musician’s Club of Women, Metropolitan Opera National Council Regional Auditions, Mobile Opera Vocal Competition and the Orpheus National Vocal Competition.

Dorothée - Rebecca Ringle

 Rebecca Ringle - Cinderella - Dorothee - cROPPEDPraised by Opera News for her “richly focused voice,” mezzo-soprano Rebecca Ringle’s performances have brought acclaim on operatic and concert stages. This season brings her return to the Metropolitan Opera for Shostakovich’s The Nose, Beethoven’s Ninth Symphony with the National Chorale, Handel’s Messiah with the Oratorio Society of New York, and Verdi’s Requiem with the New West Symphony Orchestra. Last season saw her Metropolitan Opera debut as Rosswisse in Die Walküre, which she performed previously with Washington National Opera.  Additional operatic highlights include Lola in Cavalleria Rusticana, Suzuki in Madama Butterfly, and Dorothée in Cendrillon with New York City Opera, Dido in Dido and Aeneas with the Macau International Music Festival, Leda in Die Liebe der Danae with the Bard SummerScape, Armida in Handel’s Rinaldo, Rosina in Il barbiere di Siviglia, the title role in Ariodante, Hippolyta in A Midsummer Night’s Dream, and Hansel in Hansel and Gretel.

The King - Jacob Penick

The King – Jacob Penick

Master Ceremonies - Taylor Miller

Master Ceremonies – Taylor Miller

Dean of Faculty - Juan Williams

Dean of Faculty – Juan Williams

First Minister - Jeremy Orgeron

First Minister – Jeremy Orgeron

Spirit #1 - Mirella Cavalcante-Lief

Spirit #1 – Mirella Cavalcante-Lief

Spirit #2 - Aurora Foster

Spirit #2 – Aurora Foster

Spirit #3 - Elizabeth Ulloa Lowry

Spirit #3 – Elizabeth Ulloa Lowry

Spirit #4 - Amanda McCarthy

Spirit #4 – Amanda McCarthy

Spirit #5 - Anneka Olson

Spirit #5 – Anneka Olson

Spirit #6 - Michelle Johnston Richards

Spirit #6 – Michelle Johnston Richards

Herald’s Voice - Aaron Ambeau

Herald’s Voice – Aaron Ambeau

Cinderella logo block