Our free Noontime Concerts return on Wednesday, April 10, 17, and 24. Members of Opera Santa Barbara’s Studio Artist Program present a varied program of arias and ensembles. Our exceptional artists include soprano Elena Galván, tenor Theo Lebow, baritone Efraín Solís and bass-baritone Christopher Remmel. They have studied at institutions including the Academy of Vocal Arts, the Mannes School of Music, San Francisco Conservatory of Music, Chapman University and Roosevelt University and have performed with companies including the Santa Fe and Seattle Operas, Opera Saratoga, and with the Aspen Music Festival. Guest coach Tatiana Vassilieva returns to accompany; she has served on the music staff for the Florida Grand, Wolf Trap, and Sarasota Operas, and has appeared with Opera North, Tanglewood, and Ash Lawn Operas. Don’t miss this chance to hear the stars of tomorrow!
Thanks to the support of our donors, we are able to continue offering these to our community free of charge.
This year’s concerts will be held in the Faulkner Gallery at the Santa Barbara Public Library: 40 E. Anapamu, SB, CA 93101.
DATES: April 10, 17 & 24
All concerts begin at 12:00 noon, and last about an hour.
We continue our popular Opera on the GO! series on October 24th at 5:30pm when we give you an intriguing look into the lifestyle of a Japanese geisha, when special guests Takako Wakita and Heather Sterling will transform model Kaita Lepore from girl to geisha in front of your eyes – complete with wig and makeup application, followed by a kimono show (featuring some special guests)!
[Pictured from L-R: Takako Wakita, Kaita Lepore]
Suggested Donation (accepted at the door):
$12 (OSB Subscribers)
$5 (Students with ID)
This season’s Opera on the GO! presentations will be held at the Santa Barbara Library’s Faulkner Gallery: 40 East Anapamu Street, SB CA 93101
Opera Santa Barbara’s Artistic Director Jose Maria Condemi chats with soprano Mihoko Kinoshita, who takes on the title role of ‘Madame Butterfly’ this November.
JMC: As a Japanese-born singer, how do you approach performing one of the Italian repertoire’s key roles, based on a character so close to your own culture?
MK: I think my interpretation of the character is changing; she’s not solely a Japanese character now. My first Cio-Cio-San was at the Santa Margherita Opera Festival in Italy; I created the character to be gentle and quiet – more traditionally Japanese. Then I lived in Italy for more than five years. After a few productions, I really started thinking about the text, which is so important to Italian opera – especially in Puccini’s work! I’m always thinking about the words; this is Italian music with Italian words. I’ve come to consider ‘Butterfly’ an Italian opera first, and a Japanese story second. Read on…