The Barber of Seville 

Fri Nov. 11,  Sat Nov. 12, Thur Nov. 17, Fri No. 18, Sat Nov 19 at 8pm

Figaro and his friends come to Hollywood in this update to one of opera's favorite comedies.  The pop star "Rosina" is on the rebound after a major meltdown and has moved in with her producer/manager Don Bartolo. Hollywood heart throb Count Almaviva has fallen hard for Rosina, but wants to woo her incognito to make sure she really loves him, and not his fame and money.  So he enlists the skills of his friend and stylist to the stars, Figaro.  An aging rocker, the LAPD, various assistants, want-to-be actors, and other characters come into the mix to add to the hilarity.



Table for 2


Table for 4


Single Seat


Tables come with a bottle of wine and plate of food.

All seating is reserved



or call 323-739-6122



Ebell Club of Highland Park

131 S. Ave 57, Los Angeles, CA 90042​



Bernardo Bermudez as Figaro
Venezuelan American lyric baritone Bernardo Bermudez, started his musical education at The Conservatory of Music Juan Manuel Olivares, in Caracas Venezuela. Currently living in the United States, his operatic roles performed include Figaro in Il barbiere di Siviglia, Stanley Kowalski in A Streetcar Named Desire, Silvio in Pagliacci, Escamillo in Carmen, Valentin in Faust, Belcore in L’elisir d’amore, the title role in Don Giovanni, Papageno in Die Zauberflöte, Count Almaviva in Le nozze di Figaro, Vidal Hernando in Luisa Fernanda, Schaunard in La Boheme, Aeneas in Dido & Aeneas, Melchior in Amahl and The Night Visitors, Mercurio in L’incoronazione di Poppea, Teniente Cantalapiedra in Cecilia Valdes, Count Capulet in Romeo et Juliette, El Dancairo in Carmen, Marullo in Rigoletto, as well as Morald in the North America stage premier of Richard Wagner’s Die Feen, as part of Los Angeles Opera’s Ring Festival. He participated as a voice fellow at the prestigious Summer Festivals at The Music Academy of the West in Santa Barbara California under the direction of famous American Mezzo Soprano Marilyn Horne, as well as Opera North in New Hampshire under the direction of Louis Burkot. He received 1st place in NATS LA singing competition, 1st place winner in AEIOU, 39th Annual Opera Scholarship and Competition, finalist in the Burbank Philharmonic Hennings-Fischer Opera Competition, recipient of the Anne and Michael Towbes Scholarship in Voice, Opera Buffs Grant recipient, semifinalist in the Loren L. Zachary National Vocal Competition, recipient of the Doug Acker Memorial Vocal Scholarship, and 2nd place winner in the Virginia Hawk Vocal Competition.
Meagan Martin as Rosina
Praised for her “liquid mezzo,” Meagan Martin is rapidly gaining notice as an enthralling young artist in the world of classical singing. She is thrilled to return to POP as Rosina in Il barbiere di Siviglia. She debuted with the company in the same role in an outreach presentation during the production’s premiere run in 2013, shortly thereafter making her mainstage debut as Mercédès in Carmen.  Additional roles performed include Dorabella and Despina (Così fan tutte), Carmen (The Tragedy of Carmen), Luisa Fernanda (Luisa Fernanda), and Cherubino (I due Figaro). Also an elegant oratorio soloist, Meagan appeared as the Israelitish Man in a landmark presentation of Handel’s Judas Maccabaeus at the Wilshire Boulevard Temple.
Enthusiastic about new music, Meagan has sung for composers William Bolcom, Jake Heggie, Libby Larsen and John Musto while a Young Artist at SongFest. She recently appeared as Amadora, a fatalistic newlywed, in Musto's Bastianelloand as the saucy title character in Bolcom's Lucrezia. In June she performed the world premiere of Marianne Dashwood: Songs of Love and Misery, a song cycle inspired by Jane Austen’s Sense and Sensibility with music by Aferdian Stephens and poetry by Marella Martin Koch.
An alumna of Houston Grand Opera's Young Artists Vocal Academy, Meagan has pursued advanced training in Europe and across the U.S. with Silvana Bazzoni Bartoli, Teresa Berganza, Vladimir Chernov, W. Stephen Smith, Renee Sousa and Olga Toporkova. She has performed in concerts at Reichenau Castle in Austria as well as with the Festival Internacional de Panticosa in Spain and the Menuhin Festival Gstaad in Switzerland.  Her 2016-2017 season includes the title role in Massenet’s Cendrillon and Fanny Price in Jonathan Dove’s Mansfield Park, both of which will be directed by Peter Kazaras at Opera UCLA, where she is continuing her studies with Vladimir Chernov. She completed her M.M. in Vocal Performance and B.A. in German at UCLA, graduating summa cum laude.
Sergio Gonzalez as Count Almaviva
Sergio received his Master’s degree under the tutelage of César Ulloa at the SF Conservatory of Music, where he also holds his Bachelor’s degree. He recently was seen as, Belmonte in Mozart’s Die Entführung aus dem Serail and as Don Ottavio in Mozart’s Don Giovanni with The Mendocino Music Festival. The summer of 2015 he returned to Des Moines Metro Opera as an apprentice artist for his second season covering the role of Giovanni in Catan's La hija de Rappaccini. González was also recently a young artist with Opera Santa Barbara for two seasons where he got to cover Fenton in Verdi's Falstaff and Lindoro in Rossini's L'italiana in Algeri. The spring of 2013, he performed the role of Ernesto with North Bay Opera in Donizetti’s Don Pasquale where he also covered the role with Arizona Opera in 2014. The summer of 2013 he performed the title role in Britten’s Albert Herring and Ferrando in Mozart's Così fan tutte in 2011 with the Green Mountain Opera Festival. He returned to Kentucky Opera in 2014 to sing Benvolio and cover Tybalt in Gounod’s Roméo et Juliette under the baton of Maestro Plasson. González was also seen as, Ferrando in Mozart’s Così fan tutte under the baton of Maestro Giuseppe Finzi, Rinuccio in Puccini’s Gianni Schicchi, and as Tamino in Mozart’s Die Zauberflöte. He will be reprising the roles of Conte Almaviva in Rossini’s Il barbiere di Siviglia with Pacific Opera Project and Ernesto in Donizetti's Don Pasquale with Island City Opera in 2017, both company debuts.
E. Scott Levin as Don Bartolo
Bass-Baritone, E. Scott Levin, described as having a “smooth, buttery voice,” “incredibly sharp timing,” and “a gifted comic actor,” has been making audiences laugh for the past fourteen years. He earned his Bachelor of Arts degree from Washington University in St. Louis and Graduate Certificate in Vocal Performance from the University of Southern California Thornton School of Music. Since 2002, Scott has sung in over twenty productions with Union Avenue Opera in Saint Louis. He has also sung with many companies in the Los Angeles area including Long Beach Opera, Opera Santa Barbara, Redlands Opera Theater, Center Stage Opera, OperaWorks, Definiens Project, Orange County Opera, and Celestial Opera. Last season he made his debut at Townsend/Fresno Opera as the Sacristan in Tosca and his Los Angeles Opera mainstage debut as Dr. Spinelloccio in Gianni Schicchi, starring Placido Domingo, now available on DVD. Scott is thrilled to return to POP after previously appearing as Leporello in Don Giovanni, Schaunard in La bohème, Judge Turpin in Sweeney Todd, Pane in La Calisto, Bartolo in Le nozze di Figaro, the Sacristan in Tosca, KoKo in The Mikado, Maestro Biscroma Strappaviscere in Viva la Mamma!, and Baron Zeta in The Merry Widow (Widder).
Phil Meyer as Don Basilio


Having appeared in POP’s original production of The Barber of Seville, Phil Meyer is delighted to be squeezing once again into Basilio’s skin tight leopard pants.  Phil’s opera repertory consists of Bad Guys, Old Guys and Funny Guys.  For the Pacific Opera Project, Phil has played the alcoholic Impresario in Donizetti’s Viva la Mamma (Funny Guy); a narcoleptic Pistola in Falstaff (Funny Guy); the title role in Sweeney Todd (Bad Guy); Osmin in the Star Trek themed The Abduction from the Seraglio (Old Guy/Funny Guy/Bad Guy); PooBah in The Mikado (Funny Guy); and Sam in Bernstein’s Trouble in Tahiti (Bad Guy).  Other leading roles in Los Angeles include King Filippo in Don Carlo with the LA Met (Old Guy); Mephistopheles, in Center Stage Opera’s Faust (the Baddest Guy); the title role in Don Pasquale (Funny, Old, Bad Guy) with the Angel City Opera; Kecal in The Bartered Bride (Old Guy) and Achilla in Giulio Cesare (Bad Guy) with the Celestial Opera; and Leporello in Don Giovanni (Funny Guy), Olin Blitch in Susannah (Bad Guy) and the title role in Verdi’s Falstaff with the Repertory Opera Company (Old Guy/Funny Guy/Kinda Bad Guy).   

In his spare time, Phil directs an HIV education program for medical professionals at Charles Drew University, runs a small non-profit that implements HIV prevention and services in the Rwandan and Angolan militaries, teaches in the School of Social Work at USC, and is a clinical social worker and psychotherapist in private practice. 

Melinda Ehrlich as Berta
Described by the Long Beach Grunion Gazette as “astonishing, a large, gleaming soprano secure from top to bottom and thrilling to hear” in the role of Vitellia from Mozart’s La clemenza di Tito, Melinda Ehrlich is quickly establishing herself as a voice to hear in Southern California and beyond. In 2016, Melinda debuted with Angel City Opera as Norina in Don Pasquale and with the critically-acclaimed Monkey Town residency.  She also appeared as a soloist with the Nova Vocal Ensemble and as a dancing grisette in POP's The Merry Widow.  Comfortable with both operatic and musical theatre repertoire, the 2014 LA International Liszt Competition winner appeared in the 2015 Hollywood Fringe Festival's nominee for best musical Annabella after appearing in the Stage RAW awarded 2015 Best Musical production of Sweeney Todd at the El Portal Theatre, where she also performed in POP's Star Trek-inspired Abduction from the Seraglio.  Upcoming roles include Juliette in Gounod's Romeo et Juliette with Center Stage Opera in February 2017. Melinda has also appeared with Long Beach Opera, Pacific Symphony, and Repertory Opera, and her repertoire includes roles such as Micaela in Bizet's Carmen, Violetta in Verdi’s La Traviata, and the title role in Suor Angelica.
Kevin Blickfeldt as Fiorello
Los Angeles-based baritone Kevin Blickfeldt continues to make an indelible impression upon the operatic and crossover music scenes of North America. Following his successful debut as Maximilian in Candide with the Pasadena Opera in January 2015, Kevin began his 2015-16 season with a return to the Pasadena Opera as Elder Ott in a new production of Carlisle Floyd’s Susannah directed by Sara Widzer. In February of 2016 Kevin debuted the role of Mother in the West Coast premiere of the piano and percussion version of Kurt Weill's Seven Deadly Sins in a collaboration between Cal State San Bernardino, the Mojalet Dance Collective, and the lotusflower new music project. On the concert stage, he has given recitals at La Fortuna Palacio de las Pampas Festival in Salto, Argentina, and this August, he will make his debut recital with the Orcas Island Chamber Music Festival.
Kevin made his debut with the Los Angeles Opera in 2013 under the baton of Music Director James Conlon in performances of Prodigal Son as part of the centennial celebration of composer Benjamin Britten. Career highlights include the title roles in Owen Wingrave (West Coast premiere) with USC Thornton Opera, Il barbiere di Siviglia with Florida State Opera, and Don Giovanni with Utah Lyric Opera. For three seasons Kevin served as Artist in Residence at the Ohio Light Opera, portraying the roles of Boatswain in H.M.S. Pinafore, Frosch in Die Fledermaus, and Paco in The Man of La Mancha, among others.
Kevin was recently featured on the television program America’s Got Talent as a member of the operatic quartet VOX. The group’s first performance occurred on the stage of Hollywood’s famous Dolby Theatre where they received standing ovations from both the audience and judges. In the months since the show’s airing, the group has garnered over 2 million YouTube views and has presented multiple performances across the United States and Canada.
 Christopher Anderson-West as The Sergeant  


Christopher majored in Voice and studied Composition at the San Francisco Conservatory of Music. He has had the great privilege of performing in England, France, Italy and China as well as around the United States.  Christopher first performed in the Los Angeles area as a member of the Chorus with Los Angeles Opera for productions of Verdi’s “Otello” and Beethoven’s “Fidelio”.


Favorite roles performed to date are Canio in Leoncavallo’s "I Pagliacci", Don Jose in Bizet’s “Carmen", Il Duca di Mantova in Verdi’s "Rigoletto" and Tsar Berendey in the United States Premiere of Rimsky-Korsakov’s “Snegurochka” at Harvard University.  Over the past year and half Christopher has performed the following roles: Turiddu in Mascagni’s “Cavalleria rusticana”, Ferrando in Mozart’s “Cosi Fan Tutte”, Alfred in two separate productions of Strauss’s “Die Fledermaus", Palmer Pritschitsch in Pacific Opera Project’s “The Merry Widder”, by Lehar, again with Pacific Opera Project as Freddie Freecoin in “The Impresario” half of their Mozart vs. Salieri battle royale, Don Jose in Bizet’s masterpiece “Carmen” and lastly Alfredo in Verdi’s wonderful “La Traviata”.


Next on Christopher’s horizon is a debut in the title role of Hoffmann in “Les contes d’Hoffmann”, by Jacques Offenbach.


 Elizabeth Kerstein as Rosina Cover


Mezzo-soprano Elizabeth Kerstein is rapidly gaining recognition for her riveting stage presence and a musical sophistication beyond her years.  2015-16 was an exciting season for Elizabeth. After winning the Young Musicians Foundation Los Angeles scholarship competition in October, she began singing with LA-based company Pacific Opera Project (past: The Merry Widow, The Rake’s Progress; upcoming: The Barber of Seville). During summer 2016 she sang Hedwige in Rossini's Guillaume Tell at the Southern Illinois Music Festival, only the fourth full presentation of the opera in the USA in the past century.


Elizabeth's operatic repertoire ranges from classical to contemporary, her favorite past roles including Cherubino (Le nozze di Figaro), Nancy (Albert Herring), and The Lady With A Hatbox (Postcard From Morocco). In 2013, she was a young artist at Lorin Maazel’s Castleton Festival. From 2012-2015, while still in graduate school, she was also a proud member of the Lyric Opera Baltimore and Baltimore Concert Opera choruses. 

A passionate proponent of art song, Elizabeth spent summers 2014 and 2015 on scholarship at SongFest, Los Angeles’ esteemed art song festival. There she was privileged to work with renowned artists including Dawn Upshaw, John Musto, and Sanford Sylvan. She is also devoted to researching and performing contemporary Jewish music; her last recital on this topic was presented by Johns Hopkins University.  Elizabeth recently returned to her native Los Angeles after studying at the Peabody Conservatory (MM) and St. Olaf College (BM). She is a recipient of the Charles M. Eaton Voice Award and two Peabody Career Grants. She studies with Susanne Mentzer.


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