As opera continues to evolve in response to cultural, technological, and societal shifts, BLO remains at the forefront, reimagining classic repertoire, integrating bold contemporary works, and making opera more accessible to everyone in our community. We love opera for where it’s been and where it’s going.
We’re just a few days away from closing Daughter of the Regiment, a fan-favorite opera that’s been given a Boston twist. (There’s still time to join us for some laughs and be dazzled by some serious vocal fireworks!) Conducted by Kelly Kuo, directed by John de los Santos, with an energetic cast led by Brenda Rae (Marie) and Spencer Britten (Tonio), this production is sure to be a highlight of your weekend.
This month, we sat down with stage director & choreographer John de los Santos to hear about his vision and experiences as an opera creative, and why audiences should check out Daughter of the Regiment.
About John de los Santos
Director/choreographer John de los Santos’ productions include Sweet Potato Kicks the Sun, Santa Fe Opera (world premiere); Ghosts (San Diego Opera, world premiere); Don Giovanni and Carmen, Wolf Trap Opera; Before Night Falls, Opera Southwest; L’heure espagnole, New Camerata Opera; Frida, Opera Orlando; Maria de Buenos Aires, Fort Worth Opera; and La fille du régiment, Minnesota Opera. He has directed for The Julliard School, The Yale School of Music, and Manhattan School of Music. As a librettist, his collaborations with composer Clint Borzoni include When Adonis Calls, Asheville Lyric Opera; The Copper Queen, Arizona Opera; and The Christmas Spider, Opera Louisiane. His commission by Washington National Opera’s American Opera Initiative with Christopher Weiss, Service Provider, premiered at the Kennedy Center and has since had twenty productions nationwide. In 2020, UrbanArias commissioned John and Marc Migó to write an operatic film for the Decameron Opera Coalition. Their piece, The Roost, was added to the Library of Congress archives. De los Santos’ and Jorge Sosa’s opera Ofrenda won Austin Opera’s Opera ATX Residencies for Latinx Creatives. De los Santos is a librettist with Minnesota Opera’s New Works Initiative, where he and Kamala Sankaram are creating an opera of Stephen King’s Misery.
- What was your first opera?
My first opera was Rigoletto, for which I was the choreographer. I was both confused and instantly hooked.
- What made you want to take on a creative role in opera?
I loved the unique storytelling and collaborative possibilities opera affords. Stage direction, choreography, and writing libretti all present different challenges that make every day an adventure. I’m also just naturally bossy.
- In your experience as a director, what is one of the most interesting intersections you have seen between opera and another field?
I studied ballet from a young age, so I’m enthralled whenever I have dancers and singers working together in the same room. The mutual awe and respect we experience while working alongside one another is a true joy. People DO care about opera and ballet.
- What is your vision for the future of opera?
Thoughtful programming and fundraising are crucial to the future of American opera. We cannot afford to leave our audiences and communities behind, so I see more engagement and representation of them onstage, and in how we compose new works to expand the American canon.
- Why should audiences come to Daughter of the Regiment?
Our production of Daughter is not only a farcical spectacle with vocal pyrotechnics, but also a pertinent allegory to the current state of America. Think of it as a hilarious, hysterical history. Don’t miss it!