Romeo & Juliet
Music by Charles Gounod
Libretto by Jules Barbier & Michel Carré, after Shakespeare
English text by Edmund Tracy
Performance edition by David Angus, Steven Maler and John Conklin
FREE on the Boston Common
Thursday, August 11, 2022 | 8PM
Saturday, August 13, 2022 | 8PM
Sung in English with English surtitles.
The running time is two hours including intermission.
These FREE performances on Boston Common, in partnership with Commonwealth Shakespeare Company, present Shakespeare’s most beloved and tragic tale. Experience the rush of first love while enjoying a beautiful summer evening with a full orchestra playing the soaring music of this classic favorite. Featuring passion-filled duets, backed by a sweeping chorus, feel the power of opera in an incredible setting.
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While our upcoming performances of Romeo & Juliet are free and open to the public, premium Friends Section seating options are available when you make a donation of $100 or more to Boston Lyric Opera. Friends Section seating is limited and subject to availability.
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Rent a chair so you don’t have to bring one! Chair rentals are available for $10. Both tall and short chairs are available to rent. Subject to availability, and also available for onsite reservation.
“A well-executed, rewarding night of opera in the heart of the city!”
“The performance was lifted by its strong singing and the fine work from the onstage 47-piece orchestra.”
“Vanessa Becerra as Juliet [is] a gifted young soprano on the rise, she sang with clarity, luster, and charisma.”
“BLO music director David Angus had the orchestra and chorus sounding in good form, and his fluid, idiomatic approach to Gounod’s voluptuously songful score anchored the evening as a whole.”
“It was good to see BLO back on the Common, and the company deserves credit for delivering this opera as a kind of gift to the city at large.”
“Exquisite melodies! A treat [and] a rare opportunity to experience Romeo & Juliet“
“…an audience of thousands, reclining on blankets and beach chairs while absorbing Gounod’s exquisite melodies”
“The BLO orchestra and chorus performed admirably under the firm hand of music director David Angus. And BLO’s cast did not disappoint.”
“Tenor Ricardo Garcia and soprano Vanessa Becerra were both ideally suited to their roles as the star-crossed lovers…[they] acted their roles with appropriate passion. Garcia’s voice had just the right, heroic timbre for Romeo. Becerra was a joy to hear.“
“Beautifully stylized! An outstanding production!”
“A great way to introduce those who don’t know they’re going to love opera to its glories.”
“Ricardo Garcia as Romeo and Vanessa Becerra as Juliet put across the youthful energy and beautiful voices needed for these demanding roles.”
“Baritone Nicholas LaGesse and mezzo Mack Wolz really stood out… Hear both these singers while you can; they’re going places.”
Verona. The stage fills with street performers who introduce a tragic tale of forbidden love caught between two feuding families.
At the Capulets’ summer masquerade, Tybalt and Paris eagerly await the entrance of Juliet Capulet, who arrives on her father’s arm. Lord Capulet hopes to see his daughter married to Paris. However, Juliet dreams of a different love, one that has her “smiling in a dreamland.” She meets Romeo Montague, who has secretly joined the festivities, and the two immediately fall in love, uninhibited by the knowledge of each other’s identity. The lovers are soon interrupted by Tybalt, and Romeo realizes he has met the daughter of Lord Capulet. He quickly dons a mask to hide his face, but it’s too late. Tybalt recognizes the voice of his longstanding enemy just as Romeo makes his hasty exit. Meanwhile, Juliet is distressed that her love has crossed family lines.
Under the cover of darkness, Romeo comes to Juliet’s balcony to declare his love. Juliet sighs, mourning his identity as a Montague. She startles, realizing that she has been overheard. As the two profess their feelings for each other, Juliet asks Romeo to send the day, hour, and place to elope. Juliet’s nurse Gertrude calls out to her, and the young lovers lament their farewells. Early the next morning, Romeo pays a visit to Friar Laurent and begs him to wed the couple. Juliet joins them, followed by her nurse Gertrude. Relenting, Friar Laurent leads the group in prayer and performs the wedding ceremony. He hopes that the marriage will end the strife between the families.
In the square in front of the Capulets’ palace, Stephano sings about a turtledove trapped in a vulture’s nest. Gregorio picks a fight with Stephano, thinking that he is the man they had chased away from the party the previous evening. Mercutio intervenes to defend Stephano, and Tybalt challenges him to a duel. In the skirmish, Mercutio is killed by Tybalt, and Romeo, avenging his friend’s death, stabs Tybalt to death. Romeo is then banished from the city after both sides demand justice.
Later that evening, Romeo secretly visits Juliet. Juliet forgives him for the duel, arguing that had Tybalt not died, Juliet would have been mourning Romeo. The young lovers struggle to say goodbye; they declare their love for each other as night glows into dawn. After Romeo leaves, Juliet is distraught: she is to marry Paris the next day. She goes to Friar Laurent in despair, begging him to help her escape. Her fate—a life without Romeo—is so appalling that death seems enticing, rather than to live in a false marriage. Friar Laurent gives her a sleeping potion that imitates a temporary death for a day. After her family buries her in the family tomb, Friar Laurent will send a message to Romeo who will be there when she awakes, and then the two can run away together. Drinking the potion, Juliet tells herself that despite her fears, this plan will ultimately bring her happiness. Lord Capulet comes to escort her to her wedding, and she faints in his arms.
In the tomb, Romeo sees Juliet and believes her to be dead. He had received word about Juliet’s death but not the message from Friar Laurent. In his inconsolable grief, he consumes poison just as Juliet wakes. She realizes that Romeo is by her side, and the two lovers share a vision of a future “happy and free, in love.” In her final act of love, Juliet stabs herself with a dagger from Romeo’s belt, eager to join Romeo again.
– Allison Chu
Allison Chu is a Ph.D. candidate in Music History at Yale University. Her research focuses on the intersection of identity and opera in the twenty-first century.
Vanessa Becerra
Juliet
Vanessa Becerra | Juliet
Peruvian and Mexican-American soprano Vanessa Becerra’s 2021/22 season included debuts at The Metropolitan Opera as Noémie in Cendrillon (Massanet) and Intermountain Opera Bozeman as Rosina in Il barbiere di Siviglia (Barber), as well as a return to Washington National Opera as Alicia Hernández in Rise (Sankaram), part of the world premiere tetralogy Written in Stone, and debuts with as Marzelline in Fidelio (Beethoven) with Austin Opera and Belle in La Belle et la Bête (Glass) with Opera Parallèle. Recent performances include Zerlina in Don Giovanni (Mozart) with Washington National Opera; the World Premiere of El Milagro del Recuerdo (Martínez/Folgia) with Houston Grand Opera; the title role in Il segreto di Susanna (Wolf-Ferrari) with Opera San José; the title role in the World Premiere of The Copper Queen (Julia Lowell) for the feature length film adaptation with Arizona Opera; Ópera Afuera with Minnesota Opera; Entre Amigos with Fort Worth Opera; and a debut with St. Croix Valley Opera in a concert of popular arias entitled “Opera on the River.”
Ricardo Garcia
Romeo
Ricardo Garcia | Romeo
Tenor Ricardo Garcia’s upcoming performances include Alfredo in La traviata (Verdi), Schmidt in Werther (Massanet), and the Third Jew in Salome (Strauss) with Houston Grand Opera, Fabrizio Naccarelli in The Light in the Piazza (Guettel/Lucas) with Central City Opera, and Romeo in Romeo & Juliet with Boston Lyric Opera. Last season, Mr. Garcia was a member of the Houston Grand Opera Studio, where he performed the roles of Roméo in Roméo et Juliette (Gounod), Remendado in Carmen (Bizet), Papi and Jasper in the World Premiere of The Snowy Day (Gordon), and First Commissioner in Dialogues des Carmélites (Poulenc), and covered Tamino in Die Zauberflöte (Mozart). Recent performances include Hans Sachs’ Trainer in Vinkensport (Little), Nemorino in excerpts from L’elisir d’amore (Donizetti), and the Painter in Lulu (Berg) in the HGO Studio Showcase; Grimoaldo in Rodelinda (Handel) with Aspen Music Festival; Valcour in L’amant anonyme (Bologne) at Wolf Trap Opera; Bill in A Hand of Bridge (Barber), Donald Hopewell in Gallantry (Moore) and covered Andronico in Bajazet (Vivaldi) with Portland Opera; Jenik in The Bartered Bride (Bartok) with Music Academy of the West; Fenton in Falstaff (Verdi) with Opera on the James; and the Lamplighter and Drunkard in The Little Prince (Portman) with Tulsa Opera.
Mr. Garcia has also performed with Santa Fe Opera, Pacific Chamber Orchestra, Eureka Symphony, and Rogue Valley Chorale. He is a 2020 winner of the Metropolitan Opera National Council Auditions New Orleans and Puerto Rico Districts. He holds a Master of Music Degree from San Francisco Conservatory of Music and Bachelor of Arts from the University of the Pacific. Prior to beginning his operatic career, he played professional baseball with the Storm, a high independent league affiliate for the Milwaukee Brewers.
Mack Wolz
Stephano
Mack Wolz | Stephano
A 2019 Grand Finals Winner by the Metropolitan Opera National Council Auditions, American mezzo-soprano Mack Wolz (they/them) most recently returned to their home company of Opera Theatre of Saint Louis to take part in the World Premiere Harvey Milk by Stewart Wallace and Michael Korie. Mx. Wolz has also performed with OTSL for the World Premiere of On The Edge (Laura Karpman and Taura Stinson) and as Amore in The Coronation of Poppea (Monteverdi). A recent member of the Marion Roose Pullin Arizona Opera Studio, they performed both mainstage leading and supporting roles including Dorabella in Così fan tutte (Mozart), Mercèdes in Carmen (Bizet), and Mrs. Segstrom in A Little Night Music (Sondheim). Mx. Wolz’s training has included past resident artist apprenticeships with International Meistersinger Akademie (Neumarkt, Germany), Opera Theatre of Saint Louis, and Seagle Music Colony. Mx. Wolz holds a Bachelor of Music and a Master of Music degree from The Boston Conservatory at Berklee, where they were the recipient of the Gerry and Steve Ricci Scholarship. Mx. Wolz currently resides in St. Louis, Missouri.
Nicholas LaGesse
Mercutio
Nicholas LaGesse | Mercutio
Omar Najmi
Tybalt
Omar Najmi | Tybalt
Tenor Omar Najmi has appeared in over 15 BLO productions, including recent performances as Beppe in Pagliacci (Leoncavallo), Nick in The Handmaid’s Tale (Ruders), Flavio in Norma (Bellini), and B., a film series, as part of The Butterfly Process. His upcoming season includes his Portland Opera debut as Shakur in Thumbprint (Sankaram), Lord Byron in the premiere of The Thrilling Adventures of Lovelace and Babbage (Ruehr/Vavrek) with Guerilla Opera, Les Illuminations with Pro Arte Chamber Orchestra, and “Dichterliebe” (Schubert) with Boston Opera Collaborative. Recent engagements include Rodolfo in La bohème (Puccini) and Tito in La Clemenza di Tito (Mozart) with Opera Steamboat; Bilal in This Is Not That Dawn (Najmi) with Catalyst New Music; tenor soloist in St. John Passion (Bach) with Emmanuel Music; Gastone in La traviata (Verdi) with Boston Youth Symphony Orchestra; Alfredo in La traviata with MassOpera; and the title role in the World Premiere of Hamlet (Joseph Summer) with State Opera Rousse. An active composer, Mr. Najmi has had works commissioned by Boston Lyric Opera, Emmanuel Music, Juventas New Music Ensemble, and White Snake Projects. A two-time Live Arts Boston grant recipient, he premiered his first opera, En la ardiente oscuridad, in 2019, and his second opera, This Is Not That Dawn, in 2022. His song-cycle “my name is Alondra” was premiered in 2021 as part of BLO’s Poetry in Music initiative.
Fred C. VanNess Jr.
Paris
Fred C. VanNess Jr. | Paris
Tenor Fred C. VanNess, Jr. performs a wide variety of repertoire on stages across New England. Mr. VanNess has appeared as Russell Davenport in the acclaimed new opera Freedom Ride (Shore) presented in a co-production by MASSOpera and Chicago Opera Theater, Voltaire/Dr. Pangloss in Candide (Bernstein), Don Ottavio in Don Giovanni (Mozart), Don José in Carmen (Bizet), and Rodolfo in La bohème (Puccini). An avid concert performer, Mr. VanNess is a member of Castle of our Skins, an organization dedicated to celebrating Black artistry through music. He has also been featured in solo recitals with Lake Charles Symphony, Salem Philharmonic, and Coushatta Casino Resort. Mr. VanNess has developed and performed a one-man show, showcasing some of his favorite music alongside his unique point of view as an artist. His most recent show, When I Think of Home…, premiered at McNeese State University in Lake Charles, Louisiana. Mr. VanNess holds degrees from The Longy School of Music of Bard College, Louisiana State University, and McNeese State University.
Joshua Conyers
Capulet
Joshua Conyers | Capulet
Baritone Joshua Conyers recently made his Seattle Opera debut as Policeman 3/Congregant 3 in Blue (Tesori/Tazewell), as well as performed the roles of Reginald in X: The Life and Times of Malcolm X (Davis) with Michigan Opera Theatre and Odyssey Opera and Tonio in Pagliacci (Leoncavallo) with Opera Memphis. Active in contemporary opera, Mr. Conyers performed the role of Jason in the World Premiere of 75 Miles (Matt Boehler) and Uncle Wesley in Night Trip (Carlos Simon) for Washington National Opera’s American Opera Initiative. On the concert stage, Mr. Conyers made his Carnegie Hall Debut in 2018 as the baritone soloist for Regina Cœli, K. 276 (Mozart), Serenade to Music (Williams), Choral Fantasy (Beethoven) and Te Deum (Hayes) under the baton of composer and arranger Mark Hayes with MidAmerica Productions. He has also performed Beethoven’s Ninth Symphony with Memphis Symphony Orchestra and Carmina Burana (Orff) with Cecilia Chorus of NYC at Carnegie Hall. Mr. Conyers made his debut at The John F. Kennedy Center for the Performing Arts in 2018 as the baritone soloist performing the Duruflé Requiem with Manhattan Concert Productions under the baton of conductor Anton Armstrong.
Arielle Rogers – Wilkey
Gertrude, Juliet’s Nurse
Arielle Rogers - Wilkey | Gertrude
Junhan Choi
Gregorio
Junhan Choi | Gregorio
A native of South Korea, baritone Junhan Choi has performed with companies such as Boston Lyric Opera, Teatro Nuovo, Odyssey Opera, Boston Opera Collaborative, MassOpera, and Naples Philharmonic. Recent performances include role of Adonis in Venus and Adonis (Blow) with Cambridge Chamber Ensemble; baritone soloist for Duruflé’s Requiem with Naples Philharmonic; BWV 140 and Hyden’s Lord Nelson Mass with Commonwealth Chorale, and Bach’s Mass in B minor with Upper Valley Baroque. Past operatic credits include title roles in Don Giovanni (Mozart) and Gianni Schicchi (Puccini); Count Almaviva in Le nozze di Figaro (Mozart), Dandini in La Cenerentola (Rossini), Marcello in La bohème (Puccini), Escamillo in Carmen (Bizet), Germont in La traviata (Verdi), Belcore in L’elisir d’amore (Donizetti), Papageno in Die Zauberflöte (Mozart), and Guglielmo in Cosi fan tutte (Mozart). Upcoming engagements include Gregorio in Romeo & Juliet, and Alcindoro and Schaunard (cover) in La bohème (Puccini) with BLO; baritone soloist in Fractured Mosaics with White Snake Projects; and Dad/Doctor in Her Alive[un]dead (Emily Koh) with Guerilla Opera. Mr. Choi holds a Master’s degree and a Graduate Diploma with Presidential Scholarship from New England Conservatory of Music.
Philip Lima
Friar Laurent
Philip Lima | Friar Laurent
Baritone Philip Lima has sung leading operatic roles for the international Kurt Weill Festival in Germany, numerous regional American opera companies, and the Handel & Haydn Society in works ranging from Handel’s Semele and Mozart’s Così fan tutte to Saint-Saëns’ Samson et Dalila, Puccini’s Madama Butterfly and Tosca, to Ullmann’s Der Kaiser von Atlantis, Barber’s Vanessa, Britten’s The Rape of Lucretia, and Gilbert and Sullivan’s comic classics The Mikado and The Pirates of Penzance. Of note have been his featured roles in the World Premieres of operas by jazz greats Leslie Burrs, Nathan Davis, and Mary Watkins and award-winning composer Larry Bell.
Mr. Lima has appeared as soloist with the Boston Pops and over sixty orchestras, choral societies, and concert series across the United States, Korea, and Ukraine, singing major works such as Bach’s St. John Passion and Ich habe genug, Beethoven’s Symphony No. 9 and Mass in C, Bernstein’s Arias and Barcarolles and Mass (major excerpts), the Requiems of both Brahms and Fauré, Dave Brubeck’s The Light in the Wilderness, Handel’s Messiah, Haydn’s The Creation, Mendelssohn’s Elijah, Orff’s Carmina Burana, Mahler’s Kindertotenlieder, Mendelssohn’s Grosse Festmusik zum Dürerfest (U.S. premiere), Ravel’s Don Quichotte à Dulcinée, and the major choral works of Vaughan Williams. He has performed Lee Hoiby’s setting of the “I Have a Dream” speech of Rev. Dr. Martin Luther King, Jr. with numerous orchestras, including the Boston Pops.
A native of New Bedford, Massachusetts and an alumnus of Yale University, Mr. Lima studied at the Tanglewood Music Center and Boston University with Phyllis Curtin and Richard Conrad. He is Conrad’s successor as the artistic director of The Bostonians, an opera and concert ensemble. More information about Mr. Lima is available at PhilipLima.com and his YouTube channel, PhilipLimaSings.
Ed Hoopman
Actor
Ed Hoopman | Actor
Ed Hoopman is excited to join Boston Lyric Opera for the first time and to be back with CSC for the fourth time – Old Money (Tobias/Sid), King Lear (Edgar), A Midsummer Night’s Dream (Lysander), Taming of the Shrew (Nicholas). Previous credits – Huntington Theatre: Rosencrantz and Guildenstern are Dead (Claudius), Romeo and Juliet (Prince), A Civil War Christmas (Booth). Merrimack Repertory Theatre: The Wickhams: Christmas at Pemberley (Wickham). Lyric Stage: Book of Will (Henry), Camelot (Arthur), Peter and the Starcatcher (Black Stache), City of Angels (Stone), Dear Elizabeth (Robert Lowell), Animal Crackers (Groucho), The Importance of Being Earnest (Jack). Gloucester Stage: Dancing at Lughnasa. Actor’s Shakespeare Project: Macbeth and Equivocation. Boston Theater Co./Boch Center: Finish Line. New Rep Theatre: Ideation, Mister Roberts, Indulgences. Charles Playhouse: Shear Madness. Mr. Hoopman is a proud member of Actor’s Equity and is also an accomplished voiceover actor whose work can be heard both locally and nationally. www.edhoopman.com
Cheryl D. Singleton
Actor
Cheryl D. Singleton | Actor
Cheryl D. Singleton (she/her) is not an opera singer, despite the fact that in first grade she thought she was. A professional Boston-based actress with experience in stage, screen, television, voice-over and improvisation, she was most recently seen this spring in the world premiere of Our Daughters, Like Pillars (Huntington Theatre Co.). Last year she had the honor of narrating two commissioned works for the Boston Pops during the July 4th Spectacular at Tanglewood and the Holiday Pops at Symphony Hall (and venues in and outside of Massachusetts). Selected credits include: The Boston Project: Project Resilience (SpeakEasy Stage Co.), The America Plays (Plays in Place), James and the Giant Peach and Billy Elliot the musical† [Wheelock Family Theatre (†IRNE nomination, Best Supporting Actress)], The Little Foxes and Intimate Apparel† [Lyric Stage Co. (†IRNE nomination, Best Supporting Actress)], To Kill a Mockingbird (Gloucester Stage Co.), Absence (Boston Playwrights’ Theatre), 1776, Passing Strange, Rent and Dollhouse (New Repertory Theatre), The Comedy of Errors (Commonwealth Shakespeare Co.), The Seagull (American Repertory Theatre). Film/TV: Imagining the Age of Phillis (Revolutionary Spaces and Plays in Place), The Naturals (Coyle Street Prod.) Castle Rock (Hulu). Cheryl is a proud member of Actors’ Equity Association.
David McFerrin
Gregorio (August 11 and 13)
David McFerrin | Gregorio
Baritone David McFerrin’s opera credits include Santa Fe Opera, Seattle Opera, Florida Grand Opera, the Rossini Festival in Germany, and numerous roles with Boston Lyric Opera. As a concert soloist he has sung with the Cleveland Orchestra, Israel Philharmonic, and Handel and Haydn Society, and in recital at the Caramoor, Ravinia, and Marlboro Festivals Mr. McFerrin is also a member of the Boston-based renaissance vocal ensemble Blue Heron, winners of the 2018 Gramophone award for Best Early Music Album. Recent performance highlights include Aeneas in Purcell’s Dido and Aeneas with Handel and Haydn, Agamemnon in Offenbach’s La Belle Hélène with Odyssey Opera, Nettuno in Caccini’s Alcina with Boston Early Music Festival, and Junius in Britten’s Rape of Lucretia with Boston Lyric Opera. During BLO’s 2019-2020 season, Mr. McFerrin joined Boston Lyric Opera in Fellow Travelers and Giulio Cesare.
David Angus
Conductor
David Angus | Conductor
In addition to his ongoing work with BLO, Angus’s upcoming projects this season include a return to the Wexford Festival and a rescheduled engagement with the London Philharmonic, with whom he regularly conducts concerts and recordings. Just before lockdown in 2020, he returned to Hawaii Opera Theatre for a run of Le Nozze di Figaro.
Prior to his time at Boston Lyric Opera, where he has conducted the majority of performances since 2011, Angus was Music Director of Glimmerglass Opera in upstate New York and Chief Conductor of the Symphony Orchestra of Flanders in Belgium. He has led orchestras and choirs all over Europe, notably in Scandinavia where he has been a regular guest with the Lahti Symphony Orchestra and several Danish orchestras. Born in England, he has conducted most of the major orchestras in Great Britain including the Royal Philharmonic Orchestra, Hallé Orchestra, most of the BBC orchestras and the Scottish Chamber Orchestra.
In recent seasons, he made debuts at the Toscanini Orchestra in Parma in Italy and the Porto Symphony Orchestra in Brazil. He returned to Wexford Festival Opera, the Hong Kong Philharmonic, the London Philharmonic Orchestra, the Huddersfield Choral Society, as well as his former orchestra in Belgium for the world premiere of Piet Swerts’s Symphony of Trees.
Born in England, David Angus spent his early years in Belfast. He was a boy chorister at King’s College under Sir David Willcocks, and read music at Surrey University. He finished his training with a Fellowship in Conducting at the Royal Northern College of Music in Manchester, where he won several prizes for opera conducting.
Steven Maler
Stage Director
Steven Maler | Stage Director
Steven Maler is the Founding Artistic Director of Commonwealth Shakespeare Company (CSC). At CSC, he has directed Free Shakespeare on the Boston Common productions since 1996, including Richard III, Love’s Labour’s Lost, King Lear, Twelfth Night, The Two Gentlemen of Verona, Coriolanus, All’s Well That Ends Well, Othello, The Comedy Of Errors, As You Like It, A Midsummer Night’s Dream, The Taming of the Shrew, Hamlet, Much Ado About Nothing, Macbeth, Henry V, The Tempest, Julius Caesar, and Romeo & Juliet. In collaboration with Boston Landmarks Orchestra, he directed A Midsummer Night’s Dream, featuring the Overture and Incidental Music of Felix Mendelssohn, as well as concert stagings of The Boys from Syracuse and Kiss Me Kate at Boston’s iconic Hatch Shell. For CSC, he has also directed one-night-only readings of iconic plays featuring Ruben Santiago-Hudson, Paul Rudd, Blair Brown, Tony Shalhoub, Leslie Uggams, David Morse, and Jeffrey Donovan among others. He also conceived and directed Shakespeare at Fenway, an evening of Shakespeare scenes performed at Boston’s iconic Fenway Park, featuring Mike O’Malley, Neal McDonough, Maryann Plunkett, Jay O. Sanders, Kerry O’Malley, Seth Gilliam, Zuzanna Szadkowski, and Jason Butler Harner. In collaboration with Google, he recently adapted and directed a first of its kind sixty-minute virtual reality film of Shakespeare’s Hamlet, entitled Hamlet 360: Thy Father’s Spirit, starring Jack Cutmore-Scott, Jay O. Sanders, Brooke Adams, and Faran Tahir.
Other CSC works include Mr. Maler’s critically acclaimed production of Ariel Dorfman’s Death and the Maiden, the World Premiere of Jake Broder’s Our American Hamlet, and the World Premiere of Robert Brustein’s The Last Will. He directed Péter Eötvös operatic treatment of Tony Kushner’s Angels in America (U.S. Premiere) and Thomas Adès’ Powder Her Face for Opera Boston, The Turn of the Screw for New Repertory Theatre, Santaland Diaries and Chay Yew’s Porcelain for SpeakEasy Stage Company, Top Girls and Weldon Rising for Coyote Theatre, and The L.A. Plays by Han Ong for American Repertory Theatre. His New York City credits include the New York Musical Theatre Festival production of Without You, written and starring Anthony Rapp. He received the prestigious Elliot Norton Award for Sustained Excellence, as well as for Best Production for Twelfth Night and All’s Well That Ends Well, Outstanding Director, A Midsummer Night’s Dream; Best Production, Suburbia; Best Solo Performance, John Kuntz’s Starf***ers (which also won Best Solo Performance Award at New York International Fringe Festival). His feature film “The Autumn Heart”, starring Tyne Daly and Ally Sheedy was in the Dramatic Competition at the Sundance Film Festival.
John Conklin
Dramaturg
John Conklin | Dramaturg
John Conklin has designed for the Metropolitan Opera, Lyric Opera of Chicago, San Francisco Opera, Santa Fe Opera, Opera Theater of St Louis, Glimmerglass Opera and the opera companies of Houston, Seattle, Dallas, Washington and Minneapolis, among others. Abroad he has worked at the English National Opera, the Bayerische Staatsoper, and The Australian Opera. In addition he served as Director of Production for New York City Opera, Associate Director of Glimmerglass Opera, and he is currently Artistic Advisor to Boston Lyric Opera. He recently retired from teaching at the Tisch School of the Arts at NYU.
Eric Southern
Production/Lighting Designer
Eric Southern | Production/Lighting Designer
Recent projects include: The Good Swimmer, a pop requiem created by Heidi Rodewald, Donna DiNovelli, and Kevin Newbury (BAM Next Wave); After the Blast, Ghost Light, Bull in a China Shop, and The Harvest (Lincoln Center); Sarah Jones’ Sell/Buy/Date (Manhattan Theater Club, New York Live Arts); Indian Summer and Pocatello (Playwrights Horizons); Kate Hamill’s adaptation of Pride and Prejudice (Primary Stages, HVSF); Buyer and Cellar (Barrow Street Theater, Mark Taper Forum, London and National Tour); The Heidi Chronicles directed by Leigh Silverman (The Guthrie Theater).
Nancy Leary
Costume Designer
Nancy Leary | Costume Designer
Victoria L. Awkward
Choreographer
Victoria L. Awkward | Choreographer
Originally from Massachusetts, Victoria L. Awkward trained at Impulse Dance Center with LuAnn Pagella and worked with Boston-based artists such as Karen Krolak. A graduate of Goucher College with honors in Dance, Visual Art, and Education, she danced with Goucher Repertory Dance Ensemble and performed in works by Sidra Bell, Christian Von Howard, Helen Simoneau, Iyun Ashani Harrison, Iquail Shaheed, and others. She is a freelance artist and has worked with Shura Baryshnikov and Levi Marsman at Boston Lyric Opera, in addition to Ashani Dances, Attn: Dance, The Davis Sisters, Heather Stewart, Jenna Pollack, and Ruckus Dance. As Director of VLA DANCE, Ms. Awkward aims to celebrate the talents and artistries of Boston through contemporary dance She has been a guest teacher at Salem State University and the Head Dance Coach at Middlesex School in Concord. Newly appointed Visual Arts Coordinator at the West End House, her passion for education spans beyond the dance classroom, continually deepening her teaching practices through her work as a mentee with Cambridge-based Midday Movement Series and United Kingdom-based Alleyne Dance.
FREE on the Boston Common
139 Tremont Street | Boston, MA 02111
Our production of Romeo & Juliet takes place on The Boston Common which has a seldom-discussed, bloody history towards Indigenous peoples. BLO joins CSC’s wish to express our sorrow for this history and extend our deepest gratitude for use of this space.
To learn more, we invite you to read more here.
While our production will be in English, check out this original language recording of this opera featuring Mirella Freni and Franco Corelli to get familiar with the music!