Jenny Kelly Productions will tour performances of Teatro Lirico D'Europa and Mozart Festival Opera in both fall and winter on the 2008-2009 season, the 10th consecutive season of touring for Teatro Lirico D'Europa and the 6th consecutive season of touring for Mozart Festival Opera. There are 80 performances of five different full scale productions featuring soloists from the major opera houses of Europe and the United States including:

American baritone, Marcus Beam
Russian mezzo soprano of Opera Rostov na dom, Irina Kulikovskaya
Russian soprano, Elena Razgylyaeva of Opera Rostov Na Dom
Lithuanian National Opera baritone, Vytautas Juozapaitis
Metropolitan Opera tenor, Michael Hayes
Internationally acclaimed soprano, Kallen Esperian
Russian soprano, Olga Chernisheva, former soloist of Opera Bolshoi
Bulgarian tenor, Orlin Goranov
American baritone, James Bobick
Italian bass-baritone, Stefano De Peppo
Russian mezzo-soprano of Opera Perm, Tatyana Kaminskaya
Bulgarian soprano, Snejana Dramcheva
Bulgarian soprano, Edelina Kaneva
Russian mezzo-soprano, soloist of Prague State Opera, Galia Inragimova
Bulgarian mezzo-soprano, Viara Zhelezova
American soprano, Hallie Neill
Former Metropolitan Opera baritone, Theodore Lambrinos
International Opera bass baritione, William Powers
Bulgarian baritone, Hristo Sarafov
Plus other new artists...

Conductors for the performances include: Steven White, Krassimir Topolov
and Alexy Vladimirovitch Osetrov

Jenny Kelly Productions tours the Moiseev Russian Classical Ballet in March/April 2009. This will be the 4th US tour for the highly successful company whose creators are Vladimir Moiseev and Evgeny Amosov.

In additions to performances in the United States, Teatro Lirico D'Europa has been invited to perform in Guatemale, the Island of Martinique and Jamaica this season.

FALL 2008 OPERA TOUR
October 14 - Rockford, IL - Cav/Pag 
October 15 - St. Louis, MO - Cav/Pag
October 17 - Burlington, VT - CARMEN
October 18 - Manchester, NH - CARMEN
October 19 - Torrington, CT - CARMEN
October 22 - New London, CT - CARMEN
October 23 - Portland, ME - MAGIC FLUTE
October 24 - Houghton, NY - MAGIC FLUTE
October 25 - Bethlehem, PA - Cav/Pag
October 26 - Pomona, NJ - CARMEN 4PM
October 28 - Amherst, MA - CARMEN
October 30 - San Rafael, CA - Cav/Pag
October 31 - Cerritos, CA - Cav/Pag
Nov. 1 - Cerritos, CA - Cav/Pag
Nov. 2 - Vacaville, CA - CARMEN
Nov. 6 - Muncie, IN - CARMEN
Nov. 7 - Springfield, MO - Cav/Pag
Nov. 8  - Shreveport, LA - Cav/Pag
Nov. 10 - Helena, AR - CARMEN
Nov. 11 - Jacksonville, FL - CARMEN
Nov. 12 - Palm Beach, FL - CARMEN
Nov. 13 - Naples, FL - CARMEN
Nov. 14 - Boone, NC - CARMEN
Nov. 15 - Aiken, SC - FLUTE
                   
WINTER 2009 OPERA TOUR
Jan. 10 - Newark, NJ - AIDA
Jan. 11 - Manchester, NH - AIDA
Jan. 14 - New London, CT - AIDA
Jan. 15 - Portland, ME - AIDA
Jan. 16 - Boston, MA - AIDA
Jan. 17 - Boston, MA - AIDA
Jan. 18 - Boston, MA - AIDA
Jan. 19 - GOLD COAST OPERA - AIDA
Jan. 20 - GOLD COAST OPERA - AIDA
Jan. 21 - GOLD COAST OPERA - AIDA
Jan. 22 - GOLD COAST OPERA - AIDA
Jan. 24 - Clearwater, FL - AIDA
Jan. 25 - Daytona Beach, FL - AIDA
Jan. 26 - Ft. Pierce, FL - AIDA
Jan. 29 - Naples, FL - BARBER
Jan. 30 - Newberry, SC - CARMEN
Jan. 31 - Columbus, GA - AIDA
Feb. 1 - St. Louis, MO - AIDA
Feb. 2, 3, and 4 - Wichita, KS - CARMEN
co production with Wichita Opera
Feb. 6 - Prescott, AZ - AIDA
Feb. 8 - Vale, CO - AIDA
Feb. 9 - Vale, CO - OPERA GALA
Feb. 10 - St. George, Utah - AIDA
Feb. 11 - St. George, Utah - AIDA
Feb. 12 - Palm Desert, CA - AIDA
Feb. 13 - Cerritos, CA - AIDA
Feb. 14 - Cerritos, CA - AIDA
Feb. 16 - GOLD COAST OPERA - LA BOHEME
Feb. 17 - GOLD COAST OPERA - LA BOHEME
Feb. 18 - GOLD COAST OPERA - LA BOHEME
Feb 19 - GOLD COAST OPERA - LA BOHEME
Feb. 20 - Daytona Beach, FL - LA BOHEME
Feb. 21 - NAPLES, FL - AIDA
Feb. 22 - Panama City, FL  - AIDA
Feb. 23 - Newberry, SC - NOZZE
Feb. 24 - Wilmington, NC - NOZZE
Feb. 26 - New London, CT - NOZZE
Feb. 27 - Schenectady, NY - CARMEN
Feb. 28 - Wilkes-Barre, PA - AIDA
Mar. 1 - Tilles Center - AIDA at 3PM
Mar. 6 - Boston, MA - Cav/Pag
Mar. 7 - Boston, MA - Cav/Pag
Mar. 8 - Boston, MA - Cav/Pag
Mar. 10 - Durham, NH - Cav/Pag
Mar. 12 - Easton, PA - NOZZE DI FIGARO
Mar. 13 - Poughkeepsie, NY - Cav/Pag
Mar. 14 - Charlottesville, VA - Cav/Pag
Mar 15 - Newport News, VA - NOZZE
Mar. 16 - GOLD COAST OPERA - Cav/Pag
Mar. 17 - GOLD COAST OPERA - Cav/Pag
Mar. 18 - GOLD COAST OPERA - Cav/Pag
Mar. 19 - GOLD COAST OPERA - Cav/Pag
Mar. 21 - Clearwater, FL - Cav/Pag
Mar. 23 - Naples, FL - Cav/Pag
END OF OPERA TOUR  - BALLET TOUR BEGINS

Reviews and comments from the theater managers for the operas on the 2007- 2008 fall/winter US tours – JENNY KELLY PRODUCTIONS – which is now complete. The spring ballet tour of Moiseev Russian Classical Ballet begins March 26. For a schedule, contact Jenny Kelly.

TOSCA:

Note from member of Board of Directors, John Bennett about TOSCA at Claremont Opera House, Claremont, NH - Oct. 2007
"Jenny,
The performance was loved by all. It seems the choice for Tosca was a big hit! A very gilt edged audience this time. It including members of the NH Charitiable Fund (Donor with large family funds), NH Arts Council board members, and the president of a large NH Company, all of whom I know personally. I was very pleasantly surprised to see them. They all spoke highly at intermission and after of the singers. I will work very hard to make it happen a third time!”
John Bennett

TOSCA for OPERA NEW HAMPSHIRE - Manchester, NH
Oct. 2007
"Hi Jenny,
Thank you for an amazing and wonderful performance! Giorgio and your people are great to work with, as seconded by the Palace staff...all most accomodating. Your principle singers (and the rest) gave our audience what they came for - a truly wonderful operatic experience. We rec'd much positive feedback (even at intermission) and our supporters are looking forward to Carmen and Aida already! Please thank your principles for attending our post-opera reception. I hope that they experienced directly from the attendees the appreciation of the hard work that they put into their art, as well as the praise they deserved. We look forward to a nice, long relationship with you - and so do our audience!"
Thank you again - Richard Bojko
Director, Opera New Hampshire

Teatro Lirico's Tantalizing Tosca - Portland, ME - Nov. 2007
"Teatro Lirico d'Europa brought their handsome new production of Tosca to Merrill Auditorium last night and put on a grand, old fashioned night of opera. This is a good thing. Trust me.

Giorgio Lalov's production provided each act strongly representing the proper local and space. Act I featured a rear drop of a stage filling trompe l'oliel paintingn which extended the size of the church with a beautiful Rose window which felt a mile away. More impressive, however, was his Act II - Scarpia's apartment, a massive, windowless space making all of the action seemingly taking place in an unrelenting vision of hell. Brilliant. Lalov's costumes were lavish, often breathtakingly beautiful, nowhere more so than in Tosca's two stunning gowns. (Tosca's first entrance producing a nice "ahh" sense through the house)

Performing the title role for the first time in this production Russian beauty Olga Chernisheva poured out that enormous voice and was visually the most beautiful Tosca in my experience. The first gown, a deep wine velvet number with a train that seemed to extend to Poughkeepsie. Chernisheva was polished, pushing on and never less than ravishing. Her Act I was a jealous, preening beauty, with a childlike wonder of everything that made you see why Mario could forgive her jealous outbursts and diva craziness.

I have heard this singer in several roles, now, principally as Butterfly and Turandot and still cannot wrap my mind around such a tiny creature emitting so enormous a wall of sound. She scales back the sound beautifully, shading text with emotion, but when, as in Act II's many violent moments, she unleashes the full "fury" of her voice, it causes one of those rare "whoa!" moments. How wonderful it is to have a Tosca that looks like the gal everyone wants, but also has the voice to soar when necessary.

William Powers presented a Scarpia dripping with malicious, sinewy evil and was brilliant, pouring out the voice when it calls for it, but often caressing the vocal line with a creepy sensuality, nowhere more so than in the Te Deum. Powers dominated Act 2 with a larger-than-life presence his voice thundering sonorously throughout the house, owning the moment like a master. Powers' violent mauling of Tosca was genuinely disturbing, and his final throwing her across the room was a touch typical from this power mad monster.

From that prone position, Chernisheva began Vissi D'arte slowly moving to her knees - with the great crimson gown pooled almost perfectly around her the effect was that she appeared to be in a pool of blood. I don't know if that effect was intended, but afterwards, a number of friends commented upon thinking the same thing. It was beautiful and chilling.

As Scarpia's minions, Giorgio Dinev and Vladimir Hristov made much more of Spoletta and Sciarrone than one often sees in your routine Tosca. Dinev's Spoletta in particular was a theatrical jewel, with many touches some subtle, some not very. When he delivers Floria to the parapet for reunion with Mario, as the lovers embrace, Spoletta does a florid spin a la Julie Andrews in the Sound of Music. It was hilarious, and at the same time, blood chilling. I particularly loved how in Act II when threatened by Scarpia his tough guy image goes right out the window, and terrified kneels before Scarpia, providing Powers and Dinev with a Darth Vadar like intensity that, again, was chilling theatre.

Orlin Goranov, so effective as Pinkerton last year, simply was one of the most believable Marios in my experience. (An artist friend attending last night, remarked, "Look at the guy, he even moves and stands like a real artist.") His ringing sound matched Chernisheva's huge voiced heroine and when singing together their duets were delicious, old-timey. "Recondita armonia" was ringing and true and with plenty of ping. The "Vittoria" scene was perhaps the emotional highlight of the evening, with all three principals blasting away full volume, the orchestra fully hitting its stride, Spoleta and the henchmen (what a great name for a band!) hauling Mario away and Tosca racing helplessly around the room like a moth trapped in a window - it was EXACTLY what you want in Tosca. I glanced over and all of my friends (several for whom this was their first Tosca), were ALL scooched to the edges of their seats, leaning over the backs of the seats in front of us!

As it is, TLE's new Tosca is something special, looking and sounding like the grand old opera it always wants to be. In a world increasingly rife with concept crazy “regietheatre”, it is absolutely refreshing to see how vivid, vital and valid an old warhorse like Tosca can still be when you let Puccini do most of the work. "
OPERA L - G. Paulo Padilla - Nov. 2007

TOSCA in AMHERST, MA - Nov. 2007
"Hello Jenny,
We've had nothing but wonderful comments about the performance of Tosca last Sunday. We've had a request from a patron for the names of the performers on that day. Unfortunately I did not write it down from the announcement made that afternoon. Many thanks!"
Halina Kusleika, Assistant Director of Programming
Fine Arts Center
University of Massachusetts, Amherst, MA

TOSCA in New London, CT - Jan. 2008
"All your cast were professionals! What lovely voices - I had spent the weekend in NY, came home yesterday at 2pm, went to the theatre, went home to change, went back to the theatre, had the opera dinner and HAD TO STAY FOR THE WHOLE SHOW BECAUSE I LOVED IT! Thank you for all your hard work in allowing us to present fabulous operas in New London, CT."
Jean Sigal
Garde Arts Center, New London CT

EXCITING TEATRO LIRICO TOSCA (New London, CT)
"Last night Teatro Lirico d'Europa thrilled an audience at the Garde Arts Center in New London, Connecticut with a very well sung, staged, and orchestrally played TOSCA. TLE General and Artistic Director Giorgio Lalov triumphed as stage director and (for the first time) as set and costume designer. He had principals and comprimari playing the strong human emotions of this great opera to the hilt, with every expression and movement aptly motivated. The three sets for the three acts served the drama very well. The first-act church of Sant'Andrea was dominated on the right by Cavaradossi's very large portrait of the Marchesa Attavanti as Mary Magdalen and on the left by the Attavanti chapel, which was entered at different times by Angelotti, Cavaradossi, the Sacristan, and Scarpia and his minions. Tosca's Scarpia's Palazzo Farnese apartment had sets of doors rear left and right, the right leading to the torture room. The ramparts of the Castel Sant'Angelo in the third act were very well designed for both the execution and Tosca's jump to her date with Scarpia before God.

The two stars of the evening were opera-list's Gabriel González, whose rich tenor handled all of the demands of the role of Cavaradossi with ease, and Russian soprano Olga Chernisheva, who projected very well over the orchestra and sang strongly through all the registers. As Scarpia, veteran baritone William Power's acting, was outstanding; he was the most hands-on (to Tosca), lecherous Scarpia that Laurie and I have ever seen.

González's Mexican good looks suited Mario Cavaradossi to a T, and we knew we were in for a great tenor night as soon as he sang "Recondita armonia" with such firm tone and such feeling. His first-act duet with Chernisheva was beautifully sung and perfectly projected by both. Visually, he clearly expressed both Mario's fascination with Tosca and his eagerness to see her leave so that he could attend to Angelotti. González' power fueled, full-throated cries of "Vittoria" when Mario learns in the second act that Napoleon has won at Marengo. And in the third act he sang "E lucevan le stelle" with expressive dynamics, making us believe that Mario was dying "disperato" and had never loved life so much. A few notes when Mario was singing the same words with Tosca at the end of the third act duet went awry, but González recovered immediately and finished the duet as strongly as Chernisheva did, so that at the very end his spirit as well as hers did go up to the "estasi d'amor."

Chernisheva sang with excellent vocal color, vocally and visually embodying all of Tosca's varying emotions from love of Mario to hatred of Scarpia. Her "Vissi d'arte" was beautifully vocalised and moving, and it deserved the long applause it received.

All four comprimari were good Bulgarian singers, typical of this largely Bulgarian touring company. The standouts were Giorgio Dinev's expressive Spoletta and Hristo Sarafov's hilarious Sacristan, who kept taking nips from the wine bottle in Cavaradossi's food basket.

Krassimir Topolov did yet another fine conducting job for us with his Bulgarian Teatro Lirico orchestra. His tempi moved right along in keeping with Lalov's well-paced stage direction of a truly exciting TOSCA, and his players performed very well. I especially noticed the perfect coordination of the two French horns at the beginning of Act III."
JOHN DEREDITA - OPERA L - Jan. 2008

TOSCA in BOSTON - Jan. 2008
"Teatro Lirico D'Europa's Tosca was the kind of production in which Puccini's villain (Baron Scarpia, lecherous chief of the Roman police) wipes a tear from the cheek of the heroine (opera star Floria Tosca) and then licks the tear off his finger. You've got to love it! I've sat through my share of boring, passionless Toscas and this one was neither. It was fun.

Russian soprano Olga Chernisheva was a terrific Tosca, with her big voice (perhaps too big too much of the time) and glamorous looks, whether boiling over with misguided jealousy or nuzzling the painter Cavaradossi (even in church!), terrorized by her sadistic tormentor (Scarpia will stop torturing her lover only if she agrees to sleep with him) or plunging a knife into his loathsome heart. Her big aria, "Vissi d'arte" ("I lived for art") was more impressive than heartrending, but find me another soprano who can sing this demanding role so well and also look so convincing in it.

As Scarpia, American bass-baritone William Powers, snarling a menacing laugh as the first-act curtain descended, was not the subtlest of actors. Chewing the scenery, silent-movie-style, seems to be his meat and potatoes, but he responded vividly to every phrase, and he's got the vocal chops. Handsome Bulgarian tenor Orlin Goranov was in better voice last season as Butterfly's Pinkerton. Still, the basic timbre of his voice should be the envy of a lot of other tenors, and he and Chernisheva made a most convincing pair of lovers. As the Sacristan, Constantine Videv turned every fussy little gesture into a gem of comic characterization. And Giorgio Dinev was very creepy as Scarpia's henchman. "
BOSTON PHOENIX - Lloyd Schwartz - Jan. 2008

TOSCA at Keenan Auditorium, Wilmington, NC - Jan. 2008
"Dear Jenny,
It was a smash hit, with the audience standing and shouting and whistling, and their applause was no more than the company deserved for a truly wonderful production - Act 2 being the outstanding Act. Voices costumes, VERY good acting, great sets, and the Sofia Symphony played really well in very cramped conditions. I was particularly thrilled since this was the first of the productions I've booked through you actually to arrive here, and it bodes very well for the future. It was an absolutely sold-out house, by the way.
Speaking of the future, perhaps we can begin to think about possible dates for your Moscow orchestra, and also to look at what operas are available for 09/10. It seems quite likely that I'll be taking two bookings from you again that season, and so I'd ideally like to start to set them up, so that I can then plan the other two events around them. Thank you, thank you, thank you."
Fred Wharton
Wilmington Concert Association
Keenan Auditorium, Wilmington, NC

TOSCA at River Center Theatre, Columbus, GA - Jan. 2008
"TOSCA it was wonderful. The voices, the sets and the orchestra were top notch. Thanks so much for continuing to bring quality opera."
Enoch C. Morris Jr., Executive Director
River Center Theatre, Columbus GA

TOSCA at Lucas Theatre, Savannah, GA - Jan. 2008
Jenny,
Very well received, a great night all around.
I spoke with Giorgio briefly during load-in but I had to leave before the end of the show (battling bronchitis) so did not see him afterwards. Please pass on my thanks!"
Ken Carter, GM
Lucas Theatre, Savannah, GA

TOSCA in Jacksonville, FL - Jan. 2008
"Hi Jenny,
The show was great.
I thought this was one of the best sets. Certainly the set for Act 1 was beautiful. The cast was great - some great actors in addition to great voices. Scrapia was one of the best I have seen."
Milton A. Russos, Executive Director
FCCJ Artist Series-Jacksonville, FL

TOSCA AND OPERA GALA - Vale, CO - Feb. 2008
Jenny,
Both were very good - great audience response. The soloist for TOSCA were all terrific and the orchestra sounded the best it ever had."
KRIS SABEL, EXECUTIVE DIRECTOR
Vilar Performing Arts Center

TOSCA - Palm Desert, CA - Feb. 2008
"Very nice production as always! Thanks for bringing it to us. Looking forward to your new production of Aida next year!"
Mitchell Gershenfeld
Director of Presentations and Theater Operations
McCallum Theatre

TOSCA - University Park, IL - Feb. 2008
"Our Theatre Manager reports that the artist who played Flora (TOSCA) was fantastic, and the tenor was also equally amazing. Our audience wanted autographs from the cast, and apparently loved the show.”
Burt Dikelsky, Executive Director
The Center for Performing Arts, University Park, IL

TOSCA - Cedar Falls, Iowa - Feb. 2008
"Hello Jenny,
Although I was not in attendance, all feedback I have heard this morning has been very positive. I have heard a number of compliments on the high quality of voices within the company, which is wonderful for us, as we have had negative experiences with opera companies in the past. We will be starting discussions for booking our 09-10 season shortly. Please send me your offerings for 09-10 whenever you have that set.
Thank you,"
Molly Hackenmiller
Gallagher Bluedorn Perf. Arts Center

Teatro Lirico D'Europa TOSCA at the Touhill Center
Kelly Levins-Moore – Radio KDHXT – St. Louis, MO - Feb. 16, 2008
"Teatro Lirico D'Europa's performance of Puccini's TOSCA was beautiful, entertaining and moving. Every opera I have seen at the Touhill has been performed by Teatro Lirico D'Europa and I have never been disappointed. Much like last year's performance of MADAMA BUTTERFLY, Tosca was well performed from beginning to end. Soprano Elena Razgylyaeva plays the role with drama, energy and style. Her voice is haunting and robust, and she plays the role with a quiet edginess that early on foretells her dramatic undoing. The object of Tosca's affections, Mario Cavaradossi, is played with charm and innocence by tenor Gabriel Gonzalez. Together, the two create a chemistry that is almost palpable. When singing together, the stage ignited with passion and fire. Baritone William Powers played the evil villain Scarpia with a chill and coldness that instantly cut through the fire produced by Gonzalez and Razglyaeva. Power's Scarpia oozes with sleaze and coldness. Despite the character's overall one-dimensional journey, Powers manages to infuse the role with energy and charisma; his facial expressions, fluid gestures and motivated movement create a villain that is, above and beyond, evil to the core. Power's strong, robust and rich voice penetrates the role deeply, and gave me chills each time he sang. The live pit orchestra was excellent, only adding to the overall enjoyment of the evening. I left Tosca fully satisfied."

TOSCA in Clemson, SC - Feb. 2008
"Jenny,
Tosca was absolutely fabulous - everything you said it would be, and I could not have been more pleased. Our house was about 80% full, in spite of terrible cold and rain. I was thrilled that people braved the elements to come to the performance.

The singers were incredible and I could not believe how they projected. The acoustics in our hall are fabulous, and really showed off the singers to the max. I thought the orchestra was excellent as well. I was mesmerized from the opening chord and just did not want the evening to be over. Powers was fabulous - what a voice. I'm sure he and Jennifer Larmore are quite a pair, and that's an interesting bit of news for me to know that they are married.

When is Teatro Lirico in this area in 08-09? You really do have a wonderful company, and I have received amazing comments - one yesterday from a very snoody and critical patron who has seen many productions at the Met, and she told me that she could not find any fault with the company.

My production supervisor said that your crew was very easy to work with and I love to keep him happy. Thank you for sending such a great show.
Have a great day!"
(Lilian Harder – Brooks Center, Clemson University)

Latest Teatro "Tosca" a must-see
By HARRIET HOWARD HEITHAUS – NAPLES DAILY NEWS
Thursday, February 28, 2008
“Naples gave it its best compliment Monday, standing through four finale bows after the company and three guest stars sailed through “Tosca” at the Philharmonic Center for the Arts. When Michael Hayes, as Mario Cavaradossi, sang his defiant “Vittoria! Vittoria!” the volume set a few ears ringing in the front rows.

Hayes slipped commandingly into the role of the ill-fated rebel sympathizer, stoking a beautiful voice with good dramatics. He delivered a wrenching execution-eve “E lucevan le stelle (And the stars were shining)” farewell and duet with Tosca, who has plotted, in vain, her lover’s escape.

In the last two years, Teatro has been embedding guest stars into its productions and performing here with the Naples Philharmonic Orchestra, a double injection of quality. With Kallen Esperian in the title role, it was another high: a lyric soprano with the acting ability to be the spitfire Tosca. Esperian’s laurels, like Hayes’, are extensive. She has had to hold her own against Placido Domingo and the late Luciano Pavarotti, so she can be expected to inhale a role like this one, as she did Monday.

Floria Tosca’s role isn’t a vocal gymnastic trial. But it’s full of emotional moments such as “Vissi d’arte,” a tearful rebuke to God for having left her in the clutches of Scarpia, the corrupt and lecherous chief of police. For those who don’t know the story line, God delivers, leaving a carving knife nearby for Tosca to plunge into her would-be rapist’s heart.

Esperian delivered as well, singing a strong, poignant plea half-prone on the floor, and executing her tormentor ferociously. As Tosca kneels over the body, a horn report in the score sounds, and Esperian snaps her head up, hitting the audience full-force with a look of terror at what she has done. It’s a riveting scene.

As Scarpia, William Powers sounds so much meaner than he looks. He’s got the requisite brutal baritone to make us squirm, deep and dark.

Enabling this continuing roll toward professional perfection is the Philharmonic, under the baton of a veteran operatic conductor, Steven White. The Phil’s operas are becoming can’t-wait-for-the-next-one quality.”

TOSCA – Flynn Theatre, Burlington, VT
“Hi Jenny,
It was a very very good production. We were really thrilled. Olga was wonderful, as were all the principals. Great singing and really good acting as well. Jane and I couldn't have been happier. Thank you so much and kudos to the company and crew.”
Natalie
(Lane Series – Burlington, VT)

“Everything went beautifully last night and we were very happy with the performance...excellent singing and acting. Please thank Georgio for us!”
Jane.ambrose@uvm.edu
Director, UVM Lane Series, Burlington, VT

Teatro Lirico gives often compelling performance of 'Tosca'
“The touring company, which this season will put on at least 30 productions of the opera, always puts its best foot forward. For this show, the voices were uniformly big and solid and the acting frequently kept pace with the quality of singing.

Russian soprano Elena Razglaeva as Tosca had a lovely even range, luscious tones, and a clarity to her phrasing that was appealing. All her arias were done well. She projected the greatest amount of emotion in her second act aria in which she asks God why He rewards her this way.

She posed just long enough on the parapet before jumping at the end to allow the huge crowd to get caught up in the moment.

There was good chemistry with the charming Bulgarian tenor Orlin Goranov as her lover Cavaradossi. His voice soared easily through his famous arias, although the top notes sometimes got a bit harsh. He was also light on his feet and ambled about the stage in a comfortable and realistic way.

Bass-baritone William Powers projected the lecherous, rapacious character of Scarpia through an expressive face and a nonchalant manner that quickly became malevolent. He seemed to gather all the light around him like a black hole. His superb singing was smooth and elegantly phrased and he colored it with edge or crooned to good effect.

Sets, by necessity, were basic but provided enough of a locale. Scarpia’s red and orange “office” was more like Hades but the final parapet with the twilight/dawn light was evocative.

The orchestra under Krassimir Topolov did well and gave the singers plenty of space. The principal clarinet was particularly good in the opening of the final big aria in Act III.

OPERA REVIEW “TOSCA”
Proctor’s Theater, Schenectady, New York – Mar. 2008
CROWD: 1,800+
“The curtain rises to five thundering chords, the musical signature of the most brutally sadistic, hypocritical and frightening character in all operatic literature, Baron Scarpia, Rome’s Chief of Police, before whom all trembled.

A Sacristan, performed by Hristo Sarafov, undoubtedly one of today’s great character actor-singers on the operatic stage, limps on stage vetting his spleen of his menial duties cleaning up after the painter Cavaradossi, and vilifying him as one of the Voltarian freethinking dogs threatening the monarchy. Sarafov impressed the audience once again as the Sacristan. In previous productions at Proctor’s, we enjoyed him as an amusing Baron Zeta in The Merry Widow and in the roles of both the despicable landlord, Benoit and the hapless Alcindoro in La Boheme.

Mario Cavaradossi, a Roman patrician, has been engaged to paint a portrait of Mary Magdalene for the church. Handsome Bulgarian tenor Orlin Goranov, a man blessed with a graceful on-stage presence and a glorious voice sang with precision and clarity of diction. His first act aria, “Recondita armonia” expressing his undying love for Tosca was inspirational, and his last act aria, “E lucevan le stelle”, sung as his life was fleeting, was heartbreaking.

Russian soprano Elena Razgylaeva was a beautiful, absolutely perfect Floria Tosca. The passion expressed in her duets with Cavaradossi were sublime, her plea to her Lord for intervention in her time of need as Scarpia mentally ravaged her during her famous aria, “Vissi d’arte”, invoked genuine sympathy from the audience. Proctor’s opera goers will remember Razgylaeva’s portrayals of Mimi in La Bohème and Liù in Turandot last year. In addition to her impressive voice, her acting is convincing.

American Baritone William Powers dominated the stage. His characterization of Scarpia made the treacherous Iago and Richard III seem like mere Boy Scouts. The construct of his deceit and manipulation of Tosca, using her as a falcon to find his prey with her jealousy as bait, his pronouncement in church of his lustful desires for her and Cavaradossi’s death beneath the music of the “Te Deum”, his avowal, “Tosca, you make me forget God”, then kneeling and making the sign of the cross mark the height of hypocrisy and blasphemy. His thundering five-chord signature brings down the curtain.

Plamen Dimitrov as Cesare Angelotti, Guergui Dinev as the spy Spoletta and Vladimir Hristov as an appropriately scary bad cop Sciarrone, rounded out the cast. Musical Director, Krassimir Topolov led the orchestra at the consistent dramatic pace indicated by Puccini.
The audience could have stood and applauded all evening long. Tosca was that fabulous!” Robert A. Hervey - OPERA L – Mar. 2008

MADAMA BUTTERFLY

PUCCINI MADAMA BUTTERFLY - TEATRO LIRICO D'EUROPA
CUTLER MAJESTIC- BOSTON, Oct. 26, 2007
"Madama Butterfly" is easily becoming one its best efforts, and this year, no less than last, it was a production that scored big with Boston audiences.

Puccini's opera of a philandering naval officer's whirlwind romance and abandonment of a young Japanese geisha is perhaps one of his most tragic and romantic compositions.
This year, as last, Teatro Lirico D'Europa revisited Boston with one of last year's favorites, and with pretty much the same cast. The amazing soprano Olga Chernisheva returned, singing the role of Butterfly, capturing all the delicacy, hope and humanity of a young girl who finds herself crushes by the betrayal at the hands of the man she loved. Her lover, B.F. Pinkerton, was sung by the equally talented tenor, Orlin Goranov, who hit all the right notes.

And these weren't the only singers giving it their all and turning in some pretty strong performances. Brava to mezzo-soprano Viara Zhelezova for giving us a faithful maiden, "Suzuki," and hats off to baritone Plamen Dimitrov for a solid, empathetic and nicely acted American Consul in the character of Sharpless.

As I have noted in previous reviews, regardless of the number of times one sees a particular show, something new always surfaces in the way different singers interact, and here, Ms. Chernisheva and Zhelezova produced a perfect blending of vocal beauty and complimentary acting, such that their characters, when on stage together, not only tugged at our heartstrings with some fine acting, but swept us away with their smooth delivery and vocal evenness. I don't think the interaction and match of voice and personality could be any better.

As with last year the chorus did a splendid job, and the placement of all performers on stage was natural and easy on the eye, thanks to solid stage direction by Giorgio Lalov. The costumes and sets by Valetine Topencharov were smart and realistic and the stage was beautifully lit by Giorgio Bajukliev.

Lastly, the orchestra, under the direction of Martin Mazik gave us a full and resonant performance, and complimented the cast wonderfully throughout. Well done!

Again, Teatro Lirico D'Europa has delivered a solid production peopled with a talented cast filled with amazing voices and strong acting abilities. Its "Madama Butterfly" is easily becoming one its best efforts, and this year, no less than last, it was a production that scored big with Boston audiences. When attending opera, what else can one ask for?”
OPERAONLINE.US – Paul Walkowski – Oct. 2007

Madama Butterfly - Teatro Lirico d’Europa - Cutler Majestic Theatre, Boston – Oct. 2007
“Teatro Lirico D'Europa brought "Butterfly" to the Cutler Majestic Theatre on Friday in a traditional production that combined its wonderful, big-voiced singers who made the most of Puccini's soaring melodies and shrewd sense of dramatic pacing. The big moments never failed to hit their mark. I heard the first sniffles when Cio-Cio-San rushes offstage and brings out, for the first time, her half-American child.

In the title role, Russian-born soprano Olga Chernisheva looked beautiful, and moved gracefully. She had plenty of volume, and topped her entrance with a soft, easy C-sharp. She was dignified and strong in her final moments.

As Pinkerton, Bulgarian tenor Orlin Goranov was vocally splendid. He cleaved the house with his high notes, and yet was capable of beautiful soft singing, too. The smaller roles were well sung, especially Viara Zhelezova's warm-voiced Suzuki.”
David Perkins - BOSTON GLOBE – Oct. 2007

Note from Executive Director – Jacksonville, FL
BUTTERFLY Nov. 2007
“The Soprano was wonderful – what a voice and she was also a great actress. Standing ovation. I thought all of the principals were excellent. She was also wonderful with the child! We all tend to forget how intimidating being on the stage can be for a child, but Ms. Esperian took the child in her arms when introduced and held her. Obviously she knew just what to do to put the child at ease. Giorgio also did another wonderful presentation – maybe one of the best yet! Thanks Again!!”
Milton A. Russos
Executive Director - FCCJ Artist Series, Jacksonville, FL

Note from GM of Newberry Opera House, SC about BUTTERFLY
Jan. 2008
“It was wonderful, thank you so much. Your folks were fantastic and the crew very easy to work with and very professional. Butterfly herself was just gorgeous, a lovely voice- nothing but great comments form the audience! Please come back next year.”
Deborah Smith, GM
Newberry Opera House, Newberry, SC

BUTTERFLY in Clearwater, FL – Jan. 2008
“What a night!!!!!! Thank you and Giorgio so much.
Performance was wonderful. Orchestra. Singers. Set design. We did 1460. Thanks again. Talk to you soon!”
BOBBY ROSSI
DIRECTOR OF ENTERTAINMENT
RUTH ECKERD HALL, CLEARWATER, FLORIDA

Gold Coast Opera: Madama Butterfly, a review
By Lawrence Budmen - South Florida Sun-Sentinel - Feb. 2008
“In recent seasons Gold Coast Opera has formed a working relationship with Teatro Lirico D’Europa. On February 19, 2008 Cavendish led Puccini's Madama Butterfly at the Coral Springs Center for the Arts. A strongly cast, intelligently conceived production offered a compelling evening of music-theater.

Teatro Lirico founder Giorgio Lalov's direction was straightforward, moving the drama toward its final inevitable tragedy with a minimum of artifice. Valentin Topencharov' set emphasized simple, clean lines that suggested a garden and hilly path next to the heroine' s house. His multi-hued costumes filled the stage with color, an eye catching wedding gown rich in blends of white and yellow pastels.

Elena Razgylaeva embodied the heroine Cio-Cio-San Her gleaming lirico-spinto soprano is effortlessly produced. Cio-Cio-San' s treacherously difficult entrance aria was capped by a fearless high C. A consummate singing actress, Razgylaeva turned Un bel di into a dramatic declaration of faith rather than mere vocal display. Her agitated death scene proved a final musico-dramatic tour de force. Razgylaeva encompassed the heroine's emotional spectrum in a radiant vocal palette that could ring out in fury and rhapsodize in romantic ecstasy.

Gabriel Gonzalez epitomized the self - righteous arrogance of Lieutenant B.F. Pinkerton, Cio-Cio-San's faithless husband. He voiced Puccini's lyrical paragraphs in a sizable, vibrant tenor that was not always securely focused.

As Suzuki, Cio-Cio-San's maid, Viara Zhelezova's rich, smoothly produced mezzo glistened in duet with Razgylaeva. Plamen Dimitrov brought dignity to the American Consul Sharpless.

As Kate Pinkerton, the lieutenant's American wife, Veselina Ponorska looked like a Hollywood goddess and sang with a molten, dusky soprano timbre that made one regret the role's limited opportunities.”

MADAMA BUTTERFLY – Wilkes-Barre, PA – Mar. 2008
“The audience loved the show, I heard several positive comments on the lead and the overall performance.”
Mark Thomas
Director of Programming - F.M. Kirby Center

TEATRO’S BUTTERFLY HAS WINGS
“Madama Butterfly” was the first opera I ever saw. I was 11 years old and told myself afterward, “I never want to see THAT again.”

Five Butterflies later, an outstanding production will send me out of the theater muttering the same thing. So the Teatro Lirico d’Europa performance at the Philharmonic Center for the Arts Monday night earned my highest praise: “Ugh. I never want to see this opera again.”

I cringe with the rest of the crowd when Cio-Cio-San, the doomed Butterfly, hides from her uncle, as he orders the family to disown her for adopting her new husband’s Christian gods. Like them, I sniffle when Butterfly and Suzuki dance around the garden, pitching flower petals and singing to celebrate what they believe is Pinkerton’s homecoming after three years.

The dew points in “Madama Butterfly” are as plentiful as its musical zeniths. Teatro’s artistic director, Giorgio Lalov, has wisely cast it with acting as well as vocal strength. Foremost is Olga Chernisheva, a Cio-Cio-San of vast range. Chernisheva develops Butterfly skillfully from blushing 15-year-old — a coy bride in denial that she is rented — to a resolute matriarch, determined to keep her loyalty, and in the end, her honor.

There are few moments when Chernisheva isn’t on stage and singing, yet she is the heroine to the end. She refuses to showboat (brava, Butterfly!) on the famous “Un bel di (One fine day).” She harmonizes as beautifully with Suzuki in their “Flower Duet” as she does on her wedding night with Pinkerton in a thrilling “Viene la sera (Evening is falling).”

Orlin Goranov is her vocal match as the shallow Lt. B.F. Pinkerton, who rents his wife as facilely as he rents their wedding home. Goranov’s tenor is astoundingly melodic, powerful and emotional.

Plamen Dimitrov made his debut as Sharpless, the emasculated American consul, and he has more the look of Pinkerton, but a good feel for his role and a warm baritone voice. The background star of the production is Viara Zhelezova — a strong, supportive mezzo who played the loyal Suzuki with blend of ferocity and wisdom. Vladimir Hristov worked a trio of supporting roles, including that of the oily marriage broker, with relish.

The Naples Philharmonic is developing a potential second career as opera orchestra, sparkling in its performance Monday under Joe Mechavich. Mechavich, whom we’ve seen before, has complete command of the synergy between orchestra and singer.
It was wonderful. It was awful. I never want to see it again.”
NAPLES DAILY NEWS – Harriet Heithaus – Mar. 2008

LA TRAVIATA

La Traviata in Escondido, CA
“On 21 October 2007, The California Center for the Performing Arts in Escondido presented Teatro Lirico D'Europa's production of Giuseppe Verdi's La Traviata. Teatro Lirico, the only company currently touring the United States with grand opera, performs in theatres from Maine to California and Oregon to Florida. Its fall and winter tours feature popular operas like Giacomo Puccini's Madama Butterfly, La Bohème and Tosca, Gioacchino Rossini's The Barber of Seville and operettas like Franz Lehar's The Merry Widow. Escondido was the second stop on this year's fall tour.

The Sunday afternoon performance in California was conducted by Martin Mázik, principal conductor of the National Opera of Slovakia in Bratislava.
He led Teatro Lirico's orchestra in a rhythmically astute, full-blooded rendition of this expansive romantic score that brought out the varied musical colorations of Verdi's masterpiece. Martin Otava's unit set was attractive and functional while Valentine Topencharov's costumes established the time and place of the action. Stage direction was by the company's artistic director, Giorgio Lalov who kept the plot flowing with relevant action.

The title role of Violetta Valéry was sung by Madeline Bender who has portrayed the role in Santa Fe as well as in Europe. Tall and slim, she looked the part, sang with thrust and acted with a dramatic flair that was particularly effective in the final scene. As Alfredo Germont, the lover who cannot afford her lifestyle, tenor Gabriel Gonzalez sang with sensuous tones and the distinctive dramatic vocal colors that we have come to expect from him. An attractive young man with a robust voice, one could easily understand why Violetta fell in love with him.

Violetta's attractive friend and confidante, Flora Bervoix, was sung with creamy chocolate tones by Gergana Jankova. A commanding Baron Douphol, Hristo Sarafov sang with virile burnished tones. Plamen Dimitrov was a caring Doctor Grenvil and Georgui Dinev created an interesting Gastone. Violetta's perceptive maid, Annina, was the silky toned Tzura Ivanova, while the Marquis d'Obigny was authoritatively portrayed by Vladimir Hristov.”
By Susan Hampton - Music and Vision Daily - www.mvdaily.com

TEATRO LIRICO D’EUROPA – LA TRAVIATA
“Maestro Martin Mazik and his orchestra, guides a vocally full-bodied cast of excellent choral voices, offering strong support to tenor Gabriel Gonzalez (as ALFREDO). Though a bit short in stature, Gabriel Gonzalez is big in vocal poweress, and rises to the occasion even with a tall VIOLETTA. Soprano Madeline Bender is the consummate heroine, grows with the role, and grows in your heart and soul as the tragic victim. With her incredible voice, she shows the comfort of four years she has performed this magical role in LA TRAVIATA. Madeline was recently praised in OPERA NEWS for her ‘glowing, full-bodied lyric soprano’ and ‘haunting timbre’.
SDTHEATRE.COM – Ron Appel – Oct. 2007

TRAVIATA in Prescott Arizona – Feb. 2008
Hi, Jenny,
“The show was great! as usual! I let the audience know that we were trying to bring Aida for next season and they were quite excited.”
Deb McCasland
Director, Major Gifts and Artistic Programming
YC Foundation, Yavapai College
Prescott, AZ

TRAVIATA in CLEARWATER, FL – Feb. 2008
“The performance was wonderful. I thought each one of the singers was very special. The soprano was everything you said she would be and more. The audience absolutely loved her. Alfredo and the father were especially strong as well. Congratulations and thank you for bringing another strong opera performance to our community.”
Robert A. Freedman - President and CEO
Ruth Eckerd Hall, Inc

TRAVIATA – Daytona Beach, FL – Feb. 2008
“Jenny,
Tonight was FABULOUS. Everyone LOVED La Traviata. Thank you so much!!!!!
A triumph!!”
Carolina Anderson
Daytona Beach Symphony Society

“Hi Jenny,
We had a wonderful performance tonight! Your Violetta had an amazing voice, she was a wonderful actress, and was such a beautiful young woman. Everyone was so happy with the entire production. Kleenex and hankies were abundant in the audience, as it was so touching, due largely to "Violetta." We didn't see Giorgio, so please pass the word to him that we are so happy with this production. Thank you all!”
Dallas and Nancy - Daytona Beach Symphony Society

Boston TRAVIATA – Mar. 2008
Where Teatro Lirico D'Europa's, "La Traviata," is concerned there is only one way to describe it: "You look Marvelous"!
Paul Joseph Walkowski - OperaOnline.us

“Sunday afternoon's performance of Verdi's "La Traviata," performed by Teatro Lirico D'Europa, at Emerson's Cutler Majestic in Boston, was one of the company's most moving and flawless productions. It oozed emotion and sentimentality and boasted wonderfully colorful sets, expert use of lighting, sumptuous costumes, a powerhouse cast, and effective and evocative orchestration conducted by Maestro Krassimir Topolov - and this isn't my view alone. During intermission I spoke with a friend who recently retired from the Boston Symphony Orchestra, and he observed that in his opinion this performance was "near flawless." And it was.

This was one of those productions that came together and kept rising as the story of Violetta and Alfredo's lives unfolded. Much of the credit has to go to some pretty strong vocal performances by four leads: the gorgeous and vocally gifted soprano Marina Viskvorkina, who sang the role of Violetta, baritone Plamen Dimitrov, who sang the role of Giorgio Germont, the gifted and always dependable baritone Hristo Sarafov, and tenor Gabriel Gonzalez.

The audience loved this performance and for good reason. The stage direction by Giorgio Lalov was right on mark and every technical and visual queue was timed perfectly. A "tip-of-the hat" must also be given to the wonderful chorus of this company. It shone and performed magnificently as did the ballet dancers that performed in each of the two previous weekend shows I attended: "The Merry Widow," and "La Traviata."

I rave when I see a particularly strong performance and this production of "La Traviata" falls into that congratulatory category. As comedian Billy Crystal used to say when he played the actor Fernando Lamas on Saturday Night Live: "You look marvelous." Well, for this production of Verdi's "La Traviata," I say: "You looked Marvelous" Sunday afternoon, keep it up!”

A VIOLETTA TO DIE FOR
Marina Viskvorkina’s Violetta would satisfy the most demanding audience of any great opera house

“Teatro Lirico was back for its second weekend this year, and in Verdi’s LA TRAVIATA, Ukranian soprano Marina Voskvorkina gave an extraordinary performance as the consumptive courtesan Violetta Valery. Viskvorkina’s got just about everything: she’s a voluptuous blonde with a big, creamy voice of pinpoint accuracy, and she can act. She began by depicting a very flirtatious Violetta. Her performance became increasingly inward and moving, conveying real dignity as Violetta confronts Alfredo’s father who wants her to give up his son. But it was in the last act that Viskvorkina ascended to tragic stature. She’s one of the rare Violettas who sings the notes yet still convinces you that she physically failing and feverish. And she is heartbreaking. Her performance would satisfy the most demanding audience of any great opera house.”
Lloyd Schwartz – BOSTON PHOENIX – Mar. 2008

Teatro Lirico d’Europa: Dramcheva as Violetta.
G P. Padillo – OPERA L – Mar. 2008
“Ice and frostbite were kept at bay for a night as The Teatro Lirico d’Europa bus rolled into Portland last night. The opening moments of this Traviata showed a hearty (and attractively attired) chorus who actually seemed to revel in Verdi’s party music.

Bulgarian beauty Snejana Dramcheva is about the most wand-like Violetta in my experience. While perhaps not the ideal voice for Violetta, she has plenty of good company, in the Sills-style: remarkable facility for coloratura, good trills, spot-on intonation and, as importantly, something to say about Verdi’s most beloved heroine. The middle voice (which grew warmer and seemingly larger was expressive and Dramcheva showed off an impressive ability to spin out notes, crescendo and decrescendo “on a dime” and that rarest thing for a small voice in a big role: to color the text and music with infinite shadings that made her Violetta alive with flesh and blood. A tendency to move too much (she seemed to bound the entire width of the stage in the blink of an eye) at first seemed manic, but over time seemed a valid decision and actually helped in defining the flightiness and youth of Violetta. A nice something different. As predicted, the fireworks of Sempre Libera were capped by a rather spectacular high E flat by the defiant Violetta. Another interesting choice was Dramcheva’s seeming refusal to portray a victim. Strong-willed and defiant, she was unafraid to hurl out sound (sometimes shouting) in moments where it made good dramatic sense. The scene with Germont showed a woman proud resisting being victimized, but slowly being crushed under the enormity of the tragedy forced upon her.

Often by Flora’s ball, many Violettas are already crumpled wrecks merely waiting for the money to be thrown, collapse and wither. Not here: Dramcheva remained spiky, defiant almost dismissive of Douphol and genuinely desperate to save Alfredo’s hide. This strength would carry over with interesting results in the final scene. All in all this was a very happy introduction to a singer I look forward to hearing and seeing much more of.

Over several years now I have come to fall in love with the voice of Orin Goranov. It is a classic Italian sounding tenor from the old school, lean-ish and bright, with all the traits one wants in this type of music: a tear in the voice, plenty of ping and squillo and a seemingly natural ease of vocal production throughout the range. In “Un di felice” he and Dramcheva matched each other most amazingly in scaling back the sound, shading the text and music in breathtaking sotto voce (kudos to Maestro Topolov who kept the orchestral balance perfect at this moment). It was one of the evening’s highlights.

Handsome and lithe, Goranov moves elegantly across the stage and moves with a natural ease. “De' Miei Bollenti Spiriti" – (taken at too fast a pace) found the tenor sailing with ease through this gorgeous music and pouring out golden-throated sound that earned him an immediate ovation and some hearty calls of bravo. Another nice touch was during Violetta’s final breaths – when believing she is recovered, Goranov’s Alfredo pulls away from the group, and drops to his knees, hands raised in a prayer of thanks, only to turn around and watch her falling lifeless into the arms of his father and Dr. Grenvil.

Plamen Dimitrov poured on rich, warm sound as Germont. He really came into his own during his admonishment to his son at Flora’s party, where the full ensemble (one of my favorite in all of Verdi) closing the act found everyone, soloists, chorus, orchestra at an absolute peak.

There were other, wonderful touches. Mezzo Viara Zhelezova, so memorably sultry as Carmen, Rosina and Maddelena, was here a Flora of impressive quality. (This Flora didn’t (as many tend to) disappear into the crowd, but gave the impression this was Violetta’s equal and an opera or interest and intrigue was just waiting to be written about her!)

The near capacity crowd cheered as the curtain raised on the born-again Dramcheva who excitedly yanked the arms of her costars running full force to the footlights to embrace the applause. Following solo bows, an extended ovation ensued with the gregarious soprano vigorously pulling everyone into a sort of Crack-the-whip spectacle until the final curtain. A nice buzz continued as we emptied out into the frigid air, all surfaces slick with ice as winter – at least for a time – seemed not to matter anymore.”

Reviews and comments – BARBER OF SEVILLE

BARBER in Bethlehem, PA – Nov. 2007
“Jenny - Thank you very much for facilitating the engagement of Teatro Lirico at Lehigh University. The production of "Barber of Seville" was wonderful. The quality of the singers was exceptionally fine. I particularly enjoyed the performances of James Bobick, Viara Zhelezova and certainly Mikhail Kolelishvili. In addition to having remarkable vocal instruments they also brought well-developed acting talent to the stage. That's a very happy combination in any opera performance. I would also like to comment on Martin Mazik, whose skill and talent as a musician and a leader of the ensembles solidly founded and moved the production. The audience was pleased and happy.”
Deborah Sakarakis
Zollener Perf. Arts Center, Bethlehem, PA

BARBER OF SEVILLE in SPRINGFIELD, MO – Nov. 2007
“The show was wonderful, Jenny…we were all quite pleased with the production…and especially liked your new Figaro! We really enjoyed the performance…lots of good voices, nice acting and a real spirit of fun in the show. The audience response, both during the performance and at the end, was enthusiastic. And Anjie said Giorgio’s master class was great! …she said it was really fun to watch him work with the students.
Looking forward to next season…hope your holidays are wonderful.”
Deb Gallion
Director of Marketing and Promotions
Juanita K. Hammons Hall for the Performing Arts
Missouri State University, Springfield, MO

BARBER – Paramount Theatre, Charlottesville, VA – Jan. 2008
It was lovely. I was in NYC but I made sure to get a full report and staff and audience both loved it. Let’s keep on the books for next season.”
Matthew Simon
The Paramount Theater, Charlottesville, VA

BARBER at Husby Perf. Arts Center- Sioux Falls, SD – Feb. 2008
“Good morning Jenny,
The performance of Barber of Seville was quite nice. The voices, especially the American voices, were very strong. The orchestra was great and the audience had a marvelous time.
Thanks so much!”
Audra K. Fullerton
Husby Performing Arts Center

MERRY WIDOW

MERRY WIDOW IN NEW LONDON, CT - Nov. 2007
"Jenny
Well! We may not have been reviewed for the Merry Widow, but our patrons were thrilled. I have received phone calls and emails and have been stopped in the street - how wonderful to hear!!! Now, a patron has called to see if there is a CD available of the Merry Widow. I know there was a gentleman taping the performance, could she buy a copy?"
Jeanne Sigel
Garde Arts Center, New London, CT

MUSIC REVIEW - OPERA L "THE MERRY WIDOW" – Nov. 2007
Proctor's Theater, Schenectady, New York
PRODUCTION: Czech Opera Prague & Teatro Lirico D'Europa
"It's no wonder Franz Lehár hit it big with his most famous opera (or operetta, if you please), ported to be the most performed opera in history. Nobody is poisoned, stabbed, strangled, shot, buried alive, beheaded, commits suicide or dies of consumption. It's a non-stop toe-tapping Parisian Can-Can, a memorable, melodious, waltzing Viennese love song with a happy ending.

German soprano Christin Molnar was a convincing Hanna Glawari, our recently widowed millionaire both seductive and aloof in her passive pursuit of Count Danilo, her former love interest, performed by the handsome Bulgarian tenor Orlin Goranov with a casual, understandably rakish air of a man adored by all the Grisettes, the women of Paris's Chez Maxime's, yet noble - he refuses to marry his former lover Hannna just for her money, which is the plan of their Balkan homeland, Pontevedro. The treasury is empty. Not to spoil the ending, but learning of the country's financial problems and the plot for a Pontevedrian to marry her for her money, Hanna is understandably indignant. In order to subtly win back Danilo, and entertain a slew of other suitors as well, Hanna invites everyone to a party at her estate, where she sings the enchanting aria about the beautiful and mysterious witch of the woods, "Vilja", a folk tale of unrequited love.

Of course there's a subplot. Camille, a dashing young tenor, sung with abandon by Bulgarian Georgi Dinev has very romantic intentions (wink, wink) with Valenciene, sung by the beautiful Bulgarian Soprano, Snejana Dramcheva the faithful wife of the Baron Zeta. She genuinely likes him and is impressed by his ardor, but proclaims in her signature aria that she is a very respectable wife and induces him to pursue the wealthy widow, Hanna. He writes, "I love you" on her fan, which predictably falls into the Baron's hands. Hanna comes to the rescue of the lovers and suggests that she is the object of Camille's desire, covering for Valenciene and enraging the jealous Danilo. It works. Men are so predictable. He goes off to Maxime's to drown his sorrow in champagne.

Hanna then hosts another party to lure Danilo and the Grisettes back to her villa where she reveals that under the terms of her late husband's will, if she remarries, she loses her inheritance. Danilo's defenses dissolve; they profess their love for each other and agree to marry. Then she tells him that on remarriage, her money goes to her new husband. Warning: Spoiler - Pontevedro is saved from bankruptcy. They all live happily ever after as they blissfully dance to the opera's most familiar music, known to many of us as "The Skater's Waltz".

Conductor, Martin Mazik led the orchestra at the brisk pace intended by the composer, followed by a professional, solid cast of secure supporting singers and dancers in a lavish production, never missing a nuance.

Character standout Hristo Sarafov was an amusing Baron Zeta and his attaché, Njegus, played by Guergui Dinev was a delightful complement to the Baron's bluster.

After numerous curtain calls and standing ovations to a reprise of the Grisettes' rousing Can-Can complete with cartwheels across the stage led by Valencienne, and the orchestra hilariously taken over by the attaché, Njegus, the audience left the theater smiling and humming. It was a fun evening of theater. Lehár would have been pleased. "
Robert A. Hervey - OPERA L - Nov. 2007

2 Companies Offer a Lively WIDOW
"Teatro Lirico D'Europa and its partner Czech opera Prague brough Franz Lehar's THE MERRY WIDOW to Proctors Friday night. The large cast got into the swing of things to give the three acts a lively quality. The production was also visually attractive with a soft pallet of beiges and roses designed by Martin Otava. Otava also provide a good stage direction and blocking for the frequent dance numbers, which provided some of the happiest moments of the evening. The two soprano leads, Christin Mollnar and Snejana Dramcheva were quite cute and sang quite well. Dramcheva surprised in the final act when she appeared as one of the cancan dancers amd even managed a cartwheel. Dramcheva and Gueorgui Dinev and Camille were a winsome couple. Hristo Sarafov as the Baron didn't sing but his German diction was immaculate and his comedic acting had great edge. He seemed a seasoned actor. Tenor Orlin Goranov and the Count was very urbane and elegant and sang quite well. His famous aria about dancing at Maxim's coupled with some fancy footwork were charming. The chorus provided solid backing and the seven men sang their second act aria about betrayed husbands with verve and danced in a Rockettes-style line with cheerful abandon. Martin Mazik kept a steady pace and the orchestra energetically followed.
THE DAILY GAZETTE (Schenectady, NY) - Geraldine Freedman - Nov. 2007

Performances override silly story
In its confection of happy music, incredible characters and inane premise if MERRY WIDOW is not produced faithfully and presented boldly, an evening that should be frothy fun ends up sitting heavily in the stomach. Czech Opera Prague, which presented the piece at the Philharmonic Center for the Arts Thursday, has been attentive to the music, staging and costumes. For one thing, a 50-strong contingent of the Naples Philharmonic Orchestra accompanied it Thursday, fresh, sharp and lively under the baton of Martin Mazik. The sustained ambience was major opera house quality. Czech Opera Prague also chose well among the soloists it sometimes shares with Teatro Lirico D' Europa. The Merry Widow challenges most soloists to dance as well as sing, and emote operatically in characters better suited to Broadway. A troupe of underused tenors and baritones are needed to surround heroine Hanna Glawari, recently widowed and rich as Croesus. The melodies that made Merry Widow‚ the most lasting of Lehar‚'s 38 operettas far overshadow the wooden dialogue and silly plot. Christin Molnar has the stamina and vocal appeal to play an engaging Hanna. Snejana Dramcheva, in her debut with Czech Opera Prague, was a treat, in bubbly character as the come-hither Valencienne, and in fine lyric soprano voice, both for love duets with the smitten de Rosillon (Gueorgui Dinev) and as backbone to the ensemble numbers. Dinev was a perfect partner, with a sweetness in his tenor that belies the power in his voice. He also has the discipline to move between dual roles as lovesick Frenchman and Njegus, the baron's officious majordomo. The sets were evocative of Gallic countryside without being intrusive. This is cream pie, not lamb chops. Czech Opera Prague's production served it up.
Harriet Howard Heithhaus - Naples Daily News - Nov. 2007

Merry Widow lives up to first-class billing
"It was publicized as "the Dom Perignon of champagne operettas" and Saturday‚'s performance of Franz Lehar's The Merry Widow by the Czech Opera Prague lived up to the billing. Bright costumes, lively dancing and an excellent orchestra conducted by Martin Mazik complemented the vocal efforts of the cast, with timing so brisk that the intermission came as a surprise. Familiar tunes pleased the near-capacity audience. The cast of capable singers was easily topped by soprano Christin Molnar as Hanna in the title role; her luscious tones and effortless delivery kept the audience always waiting for her next song. She was equally at ease throughout her range and showed wonderful control in pianissimo passages in the upper register. Molnar also played her role convincingly, with exactly the blend of independence, impatience and emotional resourcefulness for which the part calls. Snejana Dramcheva as the flirtatious Valencienne was an audience favorite as well, her lighter soprano handling the vocal role well while her frisky acting enlivened every scene. Alternately betraying and reassuring her husband, she played the part with a fine nervous edge and showed a talent for dancing as well, especially as the fourth Grisette in Act 3. The ambassador Baron Zeta was played with comic aplomb by Hristo Sarafov, sliding easily from imperious command to pathetic confusion as diplomatic and marital events spun out of control. His droll delivery, especially in comic interludes with his factotum Njegus, kept the audience amused. The Bulgarian tenor Gueorgui Dinev owned the role of Njegus, the tricky servant, always one step ahead of his master. Dinev appeared with this company at the Lied two years ago as Frosch in Die Fledermaus, and then as now showed his mastery of the comic idiom.
The role of Count Danilo was played by Orlin Goranov. He managed the Count's dissolute swagger rather well. Choral work was robust throughout, and in the second and third acts a seven-member men's chorus sang two rollicking numbers, complete with a dancing kick line. Equally spirited but much more accomplished dancing skill was shown by the Grisettes in their third-act cancan, joined by Valencienne (Dramcheva). Good costuming enhanced the show, with the women in cream and pink silken ball gowns, the men in tails. Christin Molnar made an impressive entrance in Act 2 in an elegantly simple Pontevedrin native costume with fillet. Curtain calls were enthusiastically received."
Dean Bevan - Lawrence Journal World - Nov. 2007

Merry Widow in Naples Florida – Nov. 2007
By Susan Hampton for MVDAILY.COM
"It was The Merry Widow, or Die Lustige Witwe that made Franz Lehár (1870-1948) a familiar name among operetta composers. Lehár, the son of an army band master, was born in Komárno in what is now Slovakia. In 1905 he hit the jackpot with The Merry Widow which brought him fame and fortune when it took Central Europe by storm. Two years later it was at Daly's Theatre in London and at the New Amsterdam theatre in New York City.

This happy show, full of melodic singing and rhythmic dance music, takes the audience back to a more carefree era and requires a cast that can both sing and dance to its happy tunes. Czech Opera Prague and Teatro Lirico D'Europa are steeped in the traditions of Lehár and Central European operetta. Their singers can dance as well as sing and under the direction of Martin Mazik, the Naples Philharmonic Orchestra played with the idiomatic lilt that marks a fine performance of this Lehár work. Stage director Martin Otava told the story in a straightforward good - humored manner.

Christin Molnar was an enchanting Widow with a smooth lyric voice. Her characterization was intriguing as she gradually reeled in her prey, Danilo. She enchanted the audience with her singing of the 'Vilja Song.' Danilo, who had been in love with Hanna, the widow, before her marriage to a rich elderly banker, insists he will have none of her. He likes to fall in love often. He even gets engaged once in a while, but he says he will never marry. Hanna, however, is on a mission and she charms him right into her net. Mario Nikolov was a charming, urbane Danilo with a commanding voice that made the listener realize that he is a fine opera tenor as well as a good actor. Baron Zeta, the ambassador fromHanna's homeland, Pontevedro, was played with great style by veteran singer and actor, Hristo Sarafov. His fun-loving wife, Valencienne, was beautifully sung by Snejana Dramcheva who proved to be quite a capable cancan dancer. Her would be lover, Camille was the suave Ivailo Ghurov. His portrayal led you to think that he preferred a woman who would never be his, to a more demanding fiancée. Veteran singing actor Guergui Dinev was an energetic Njegus and Elvis Ztenkov was an amusing Cascada.
Czech Opera Prague's Merry Widow was a wonderful piece of Viennese "pastry" that left the audience feeling happy and satisfied with no addition to their caloric intake."

Comments from DAYTONA BEACH SYMPHONY SOCIETY staff - Jan. 2008-MERRY WIDOW
"Dear Jenny,
It was really well done! The singers were great, the scenes were beautiful, the comedic aspects were great, the orchestra was excellent. Everyone in the audience seemed to respond with enthusiasm and I think "a good time was had by all." We appreciate all of the great effort that went into carrying this production around the country and presenting it."
Dallas Weekly - Daytona Symphony Society

BOSTON – MERRY WIDOW – Mar. 2008
“Chalk this one up as a huge success for this memorable show and this remarkably busy company. All deserve a robust well done for their superb performances. Last night, in its eighth seasonal tour of the United States, Teatro Lirico D'Europa gave its Boston audience a grand, lively and pleasingly colorful rendition of Lehar's social satire, "The Merry Widow."

Lehar's music - almost Broadway-like in its easy composition and melodic passages - is fun and is meant to be enjoyed. Much of the credit for last night's solid performances has to go to Maestro Krassimir Topolov, who led the orchestra, from beginning to end, with confidence and good style, each phrase and cadenza of musical score delivered wonderfully, evenly and with sensitivity throughout. Well done!

As for the cast, this is one group of people who have been uniformly praised over the years for their talent and stamina. Teatro Lirico D'Europa brings a regular troupe of singers along on these busy tours and they never fail to amaze me when I see and hear them in performance. Those of us who have attended performance of this organization have grown familiar with many of the names and the dependable, underrated vocal deliveries of uniformly solid casts, and last night this cast headed by baritone Hristo Sarafov, singing the role of the Baron; tenor Orlin Goranov, singing the role of the Count; and sopranos Christin Molnar, who sang the role of Hanna Glawari, and Snejana Dramcheva, who sang the role of the baron's wife, Valencienne, were in top form and voice, delivering lively and raucous performances, both spoken and sung.

In short, there is much to praise for this show, these musicians and this wonderful cast. And lest we forget, hats off to the team of artistic director Giorgio Lalov; and stage, costumes, set design and direction from Martin Otava. And, of course, some pretty deft lighting from Giorgio Bajukiev. All contributed to the evening's fun and enjoyment, as did a superb chorus that melded beautifully, moved about deftly and naturally, and sang with verve and delight to all in attendance. Chalk this one up as a huge success for this memorable show and this remarkably busy company. All deserve a robust well done for their superb performances.”
Paul Joseph Walkowski-OperaOnline.us

MERRY WIDOW – Boston – Mar. 2008
“Last night Kathy Boyce, Bill Fregosi, and I were happy to attend the Teatro Lirico d'Europa/Czech Opera Prague's THE MERRY WIDOW at the Cutler Majestic Theater in Boston. This was a buoyant production that must have had Franz Lehar waltzing in his grave.

Sung in well-pronounced German by the largely Bulgarian cast, this LUSTIGE WITWE is one of Teatro Lirico's best paced and orchestrally best played productions, under the direction of TLE's principal conductor Krassimir Topolov. Acts II and III were especially exciting, but there was energy in Act I, too. Topolov kept singers and orchestra together, no mean feat since he was perched at the rim of the very deep orchestra pit--a real pit--and his abundant cues to singers did not leave the orchestra behind.

The cast was almost uniformly very good. German soprano Christin Molnar sang widow Hanna Glawari with a focused, clear voice that projected well. She benefits from experience singing Hanna in German theaters. Tenor Orlin Goranov dominated his scenes as a theatrically adept, richly sung, maturely handsome Danilo. Snejana Dramcheva used her big soprano and radiant glamor to great advantage as an also dominating Valencienne. Her Camille de Rosillon, Dutch tenor Paul Hörmann, came over from Germany to step in for this one performance. Tall and handsome, he looked the part, and had learned his stage business well. Unfortunately, his sweet tone lacked volume and seemed a bit pallid next to Dramcheva's rich sound. TLE regular Hristo Sarafov sang and acted Baron Zeta with fine voice and good humor. Guergui Dinev's Nejgus was hilarious and well vocalized. Smaller roles were all very well handled.

Three dancers, two female and one male, did wonderful work with the "Pontevedrin" dances in Act II and the Act III grisette scene. They added to the festive nature of this production, which festiveness is a must for an operetta all three acts of which occur at grand parties.

Czech Martin Otava must be highly praised for his duties as stage director and costume designer. The physicality, active movement, and interaction of all the actors were obviously part of Otava's concept that Pontevedrins are a robust, gregarious Balkan people, and Frenchmen too. Goranov, Dramcheva, and Sarafov in particular were all over the stage making big, expressive gestures. The costumes were more elegant than is the norm in TLE productions. The women wore beautiful colors, and Molnar had a printed headband and a wonderful Pontevdrin dress for Hanna's ethnic party in the second act: white with colorful printed fringes. The men tended to be in white tie and tails.

It was an exciting night of operetta, and I'm happy to have experienced it.

The only other TLE MERRY WIDOW performance this season is March 23 in Atlanta, GA. I recommend it to anyone near there.”
John Deredita OPERA L – Mar. 2008