UPDATE 9/20 11am: Seats maybe sold out on-line. A few tables left. However, we want to get everyone in who shows up tonight. Call 818-237-6192 if you are unable to buy tickets on-line.
by G. Verdi
Sat. Sept. 12, Sun. Sept. 13
Sat. Sept. 19, Sun. Sept. 20 7:00pm
Outdoors, high above Glendale at Forest Lawn Memorial Park
Reserved Table Seating, Orchestra, and another phenomenal
Four Performances only and selling VERY quickly.
FAQ for performances:
Where is the performance?
What time is the show and how long will it last?
The show begins promptly at 7:00. The show will not be held for late comers. There is a free pre-show lecture by music director Stephen Karr at 6:00pm. The house will open for seating at 5:50. There will be one short intermission between acts 2 and 3. This makes the first half considerably longer than the second. Stock up on wine and goodies before the show begins.
All patrons and cast must exit the main gate by 10:00pm. If you are coming to see a particular performer, please make arrangements to meet them outside the main gates after the show.
Can I bring my own food and wine?
Outside food and drink is not allowed. It has been quite an ordeal to secure a liquor license for this event. Any outside wine or beer could seriously jepordize our license.
What should I bring?
You don't need to bring anything. We will have your name at the front desk with your table number assigned. However, it is never a bad idea to bring your email conformation to clear up any discrepancies and to speed up the check-in process.
A light jacket and seat cushion are recommended. Bugs have not been a problem thus far during rehearsals, but it couldn't hurt to bring some bug spray.
Will there be supertitles?
Yes. Titles will be projected over the stage. However, Act 1 Scene 1 may be a bit difficult to read as the show begins right as the sun drops behind the mountains. We recommend acquainting yourself with the first scene. You can find a synopsis here and in your program at the opera.
Are seats assigned? Yes. Titles will be projected over the stage. However, Act 1 Scene 1 may be a bit difficult to read as the show begins right as the sun drops behind the mountains. We recommend acquainting yourself with the first scene. You can find a General Admission single seats are not assigned. The "doors" will open at 5:50 for seating. Tables are assigned and will have your table number displayed.
Can I add seats to my table?
The Museum Plaza at Forest Lawn Glendale. The front gates to Forest Lawn are located at 1712 S. Glendale Blvd. Glendale, CA 91205 (near the corner of San Fernando). Once in the gates follow signs to the Museum. The Museum is at the very top of the park. We plan to have POP signs to point the way as well. There is a huge parking lot. To get to the performance space, walk between the Cathedral and Museum to the Museum Plaza. This is a short walk on level paved ground.
Use this address in your GPS app to get directions all the way to the parking lot: Church of the Recessional, Forest Lawn Memorial Park, Canterbury St., Glendale, CA 91205
Cast click on headshot to go to each singer's website
Zeffin Quinn Hollis Rebecca Sjöwall Daniel Scofield
Sir John Falstaff Alice Ford Ford
Sharmay Musacchio Annie Sherman Nadav Hart
Mistress Quickly Nanetta Fenton
Clay Hilley Jessica Mirshak
Dr. Caius Meg Page
Kyle Patterson Phil Meyer
Rebecca Sjöwall (Alice Ford)Zeffin Quinn Hollis (Sir John Falstaff)
Zeffin Quinn Hollis (Sir John Falstaff)
Zeffin Quinn Hollis is uncommonly at ease in both contemporary and traditional repertoire. Mr. Hollis headed the cast of The Crucibe as “John Proctor” for the Inaugural International Opera Competition and Festival with Mezzo Television. This showing, presided over by the composer himself, won the top award for “Best Opera Performance”. Artistic Director of The Hungarian National Theatre and European luminary, Robert Alföldi, directed the production that was broadcast by Mezzo Television to over forty countries.
Mr. Hollis has breathed life into roles such as the Four Villains in Les Contes d’Hoffman, conducted by Julius Rudel; Eddie Carbone in William Bolcom’s rendition of View from the Bridge; Laurent in the New York premiere of Tobias Picker’s Thérèse Raquin; the title role in Bartók’s Bluebeard’s Castle; Scarpia in Tosca; and the cunning and suave Nick Shadow in Stravinsky’s The Rake’s Progress. While chillingly comfortable in the skin of even the darkest scoundrel, the baritone’s empathetic portrayals as compassionate leading men have also brought him acclaim. Some of his most performed roles include: Escamillo (Carmen), Marcello in La Bohème, Giorgio Germont in La Traviata, and Jack Rance in La Fanciulla del West. A recent season’s highlight was Mr. Hollis’s return to Dallas Opera debut, where he was part of the cast of the world premiere production of Moby Dick.
As Mr. Hollis’ career has taken dramatic shape, his musical work has spanned coast-to-coast and beyond; he has appeared at many significant opera houses including Dallas Opera, Santa Fe Opera, New York City Opera, Opera Pacific, Opera Theatre of Pittsburg, El Paso Opera, Palm Beach Opera, Opera Delaware, Opera Providence, Long Beach Opera, Toledo Opera, New Orleans Opera Association, Dicapo Opera Theater, and the Pécs and Szeged National Theaters in Hungary.
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Rebecca Sjöwall (Alice Ford)
Rebecca Sjöwall has been lauded for her dramatic power as an actress ("astonishing," "striking," "a joy to watch") with a voice described as "luscious," "beautifully crisp," and "amazingly clear". Of her recent role debut as Mrs. P in Nyman's The Man Who Mistook His Wife for a Hat with Nashville Opera, ArtsNash declared, "Her climactic singing scream of 'Philistine!' at Dr. S is one of the most electrifying moments I've experienced in more than 40 years of attending live opera and theater performances."
Sjöwall made her company debut with Pacific Opera Project as the Governess in Britten's The Turn of the Screw, about which Stage and Cinema wrote, "Her dramatic expression and stunning voice exhibit great beauty and power." After spending two seasons as a Studio Artist with Arizona Opera, where she performed and covered twelve roles, she made her Nashville debut as the Williamson girl (The Difficulty of Crossing a Field). She has appeared as soloist with Phoenix Symphony in Beethoven's Symphony No. 9 and with Symphony Irvine in Verdi's Messa da Requiem and is a two-time District Winner of the Metropolitan Opera National Council Auditions, as well as Winner of the American Jenny Lind Competition, the Redlands Bowl Young Artist Auditions, and the Long Beach Mozart Festival Vocal Competition.
On record, Sjöwall sings the "Rapture Anthem" for the award-winning video games BioShock and BioShock 2. She has collaborated with many composers, including Garry Schyman, Craig Bohmler, Patrick Kirst, Christina Thomas, and Andrea Morricone. She also voiced the sassy Hollywood Starlet on The Seduction of Ingmar Bergman by Sparks, a role that she reprised for a sold-out live performance at the Ford Amphitheatre in Hollywood.
Daniel Scofield (Ford)
In 2014-2015, Daniel Scofield returns to Opera Santa Barbara as Ben in the Telephone, following his performances in Falstaff as Pistola, and cover of Sir John Falstaff during the 2013-2014 season. In the fall, he travels to Opera Columbus as Tonio in the Opera on the Edge performance of Pagliacci and again in February to perform Count Almaviva in the spring production of Le Nozze di Figaro on the stage of the Southern Theater. Other important debuts during the 2014-2015 season include the title role in Rigoletto with Opera in the Heights. . This summer he performed Enrico in Lucia di Lammermoor for the Southern Illinois Music Festival before joining the ensemble of Fidelio at Santa Fe Opera.
In 2013-2014 Daniel Scofield made several new house and role debuts. In the fall and winter, he played Danilo in Opera Columbus’ Opera on the Edge production of The Merry Widow. Afterwards, with Opera San Jose her performed Masetto in his debut with the company. In December, Daniel joined the Annapolis Opera in their season opening, “Celebrate Opera” concert, and made his Carnegie Hall debut in Strauss’ Feuersnot with the American Symphony Orchestra under the direction of Leon Botstein.
In the past seasons, Daniel Scofield performed Sharpless in Madama Butterfly with the Loon Opera, Sonora in La Fanciulla del West and Falke in Die Fledermaus with Knoxville Opera, Joseph de Roucher with Opera Fayetteville, Tonio in Pagliacci in his debut with Opera Idaho. Daniel sang his first Count Almaviva in Le Nozze di Figaro with the Pacific Opera Project in Los Angeles, garnering emphatic reviews stating, “it is Scofield’s powerful baritone that drives the action”.
Daniel was seen onstage at the Arizona Opera in the premier of Bernard Uzan’s new production of Faust, as Wagner, as well as Prince Yamadori in Madame Butterfly, where he also covered Sharpless. As a resident artist, he performed the role of Ben in the Telephone, as well as the jealous husband, Albert, in the third act of Massenet’s Werther. Among his other duties during the season were recitals of pieces ranging from art song to music theater, as well as the cover for Silvio, Alfio and Valentin, and the study and preparation of Tonio in Pagliacci.
In 2010-2011, Daniel apprenticed at the Seattle Opera where he was seen as Mamma Agatha in Donizetti’s Viva la mamma, and Fiorello in their mainstage production of Il Barbiere di Siviglia. After finishing his apprenticeship, he returned to the Indianapolis Opera to perform Baron Douphol in La Traviata.
A native of Binghamton, NY, Daniel Scofield has performed with Seattle Opera, Arizona Opera, Indianapolis Opera, Opera Cleveland, Brevard Music Center, Central City Opera, Wolf Trap Opera and Augusta Opera. He has studied at the Cleveland Institute of Music with Dean Southern, as well as Indiana University, under the instruction of Timothy Noble. Mr. Scofield is winner of several prizes, including the District and Regional Encouragement Awards from the Metropolitan Opera Council, and the Albert Rees Davis Scholarship from the Cleveland Singers Club. He was also a semi-finalist in the Palm Beach Opera Competition.
Sharmay Musacchio (Mistress Quickly)
American contralto, Sharmay Musacchio recently made her debut with the New York City Opera as Mrs.Grose in their production of The Turn of the Screw. Anthony Tommasini of the New York Times, writes~ “The rich-voiced contralto, Sharmay Musacchio is wonderful as the well-meaning, baffled and finally desperate housekeeper, Mrs.Grose.” Ms.Musacchio made her Los Angeles Opera debut as a Maiden in Rise and Fall of the City of Mahagonny which won 2 Grammys. Ms.Musacchio has performed as a Soloist with: New York City Opera, Los Angeles Opera, Sarasota Opera, Portland Opera, Opera Southwest, Fresno Grand Opera, Townsend Opera, San Diego Chamber Orchestra, New England Symphonic Ensemble, and San Francisco Conservatory Opera Theatre in conjunction with San Francisco Opera. Ms.Musacchio’s concert work includes her Carnegie Hall debut as the Alto Soloist in Vivaldi’s “Gloria”, and the Alto soloist in ten productions of Handel’s “Messiah” with the San Francisco Conservatory Orchestra at Davies Symphony Hall, San Diego Chamber Orchestra and the San Diego City Ballet. Ms.Musacchio’s upcoming engagements include: Debuting the role of the Mother in Martinu’s “The Tears of the Knife” with the San Diego International Fringe Festival.
Annie Sherman (Nanetta)
Lauded for her musicality and stage presence, Annie was recognized as a Finalist in the 2015 Lotte Lenya Competition and a Winner of the 2015 UCLA All-Star Concerto Competition, performing Samuel Barber's Knoxville: Summer of 1915 with the UCLA Philharmonic, conducted by Neal Stulberg. Equally at home in operatic, contemporary, and musical theater repertoire, some of Annie’s recent roles include Inez in the West Coast premiere of Mercadante's I due Figaro, conducted by James Colaneri (UCLA), Frenchie in Cabaret (Crown City Theatre, Eddon Award for "The Best in LA Theatre for 2014"), Maxine in the world premiere of Oxford Companions by Giancarlo Aquilanti (Bing Concert Hall), Angela in Henry Cowell's The Commission (Stanford University), the title role in L’incoronazione di Poppea (Opera NEO), Luisa in The Fantasticks (Stanford), and Cathy in The Last Five Years (Stanford).
Annie is passionate about increasing public engagement with the Arts and wants to shake up the field of opera in order to reach wider audiences. This spring, Annie created the role of Lena in The Discord Altar, a musically-improvised play about homelessness that served as the first installment of OperaWorks' Arts for Social Awareness Project. In addition to her stage endeavors, Annie is a commercial and film actress living in Los Angeles. Having graduated with honors from Stanford University, Annie is currently pursuing a Masters of Music in Vocal Performance at UCLA.
Nadav Hart (Fenton)
Nadav Hart, tenor, grew up in Israel and now lives in Southern California. Past roles include Cassio (Otello), Nemorino (Elixir of Love), Ferrando (Così fan tutte), Don Ottavio (Don Giovanni), Chevalier de la Force (Dialogues of the Carmelites), Leicester (Elisabeth, Queen of England), Nanki-Poo (The Mikado), Fernando (Goyescas), and Kaspar (Amahl and the Night Visitors). He has performed with LA Opera Outreach, West Bay Opera in Palo Alto, Festival Opera in Walnut Creek, West Edge Opera in Berkeley, Opera in the Ozarks in Arkansas, Riverside Lyric Opera, and Redlands Opera Theater. Mr. Hart has also appeared as a regular church soloist and section leader. He continues to work as a classical soloist while completing his premedical studies at UCLA and working as a research intern at Cedar-Sinai Medical Center.
Clay Hilley (Dr. Caius)
With a clarion sound and compelling stage presence, tenor Clay Hilley has established himself as an artist on the rise in the dramatic and heldentenor repertoire. In August of 2014 critics lauded his triumphant appearance in the title role of Wagner's Siegfried (Jonathan Dove's reduction) with Union Avenue Opera. Other recent successes include Radames in Aïda as guest artist with the Bob Jones University Opera Association, the title role in Faust with Winter Opera St. Louis, a return engagement with American Symphony Orchestra as Gundelfingen in Strauss’s Feuersnot, Father Grenville in Dead Man Walking with Madison Opera, and a cover of Cavaradossi in Tosca with Atlanta Opera. The upcoming 2014-15 season brings his return to Madison Opera as Florestan in Fidelio, several appearances with the Columbus Symphony in the fall, a role debut as Canio in Pagliacci with Opera Columbus, and Siegfried in Götterdämmerung (J. Dove Reduction) with Union Ave Opera.
The 2012-13 season brought Clay's American Symphony Orchestra debut at Carnegie Hall as the tenor soloist in Mahler’s Symphony No. 8, as well as his Lincoln Center debut at the Rose Theater in the Verdi Requiem. He sang Siegmund in Act I of Die Walküre in concert with North Carolina Opera, under the baton of Timothy Myers. He also sang the Steuermann in Der fliegende Holländer with Indianapolis Opera, and covered Manrico in Il trovatore for Arizona Opera. Additionally he performed the role of Ewart Dunlop in The Music Man at the Royal Opera House in Muscat, Oman.
Other career highlights include Don José in La tragedie de Carmen and Froh in Das Rheingold with Indianapolis Opera; and Don José in Carmen and Pinkerton in Madama Butterfly with Opera Western Reserve. In the summer of 2013 Clay returned to the Glimmerglass Festival, covering Erik in Der fliegende Holländer, and performing Sir Dinadan in Camelot.
As a member of the Opera Institute at Boston University Clay performed the roles of Roméo in Roméo et Juliette, Anatol in Barber’s Vanessa, and Rinuccio in Gianni Schicchi. Also during that time Mr. Hilley had the good fortune to sing the role of Sam Polk in Susannah while Carlisle Floyd was Composer-in-Residence at the University.
With Arizona Opera Hilley sang Beppe in Pagliacci and covered both Pinkerton in Madama Butterfly, and the title role in Faust. He performed his first Verdi Requiem as tenor soloist at Boston Symphony Hall in 2011. Additional roles include the Messenger in Aida, Molqi in John Adam’s The Death of Klinghoffer, Edgardo in Lucia di Lammermoor, and Alfredo in La traviata.
A native of Georgia, he received the Bachelor of Music degree in Music Education at the University of Georgia, and the Master of Music degree in Vocal Performance from Georgia State University.
Jessica Mirshak (Meg Page)
Los Angeles based mezzo-soprano Jessica Mirshak has performed contemporary and traditional operatic roles with many companies in Southern California and beyond. Recent roles performed include, Lyubasha (The Tsar’s Bride), Lola (Cavalleria rusticana), Cherubino (Le nozze di Figaro), Flora (La Traviata), Female Doctor in the premiere of Sylvia at BargeMusic! Brooklyn by Julia Adolphe; Mother Jeanne of the Baby Jesus in Dialogues of the Carmelites and Third Lady in Die Zauberflöte with USC Thornton Opera. As a concert soloist in the 2014-2015 season, Ms. Mirshak has been seen as Alto Soloist in Vivaldi’s Gloria, Alto Soloist in Mendelssohn’s Elijah, and Alto Soloist in Bach: BWV Cantata 106. In April, Ms. Mirshak was the recipient of the Lisa & Bernie Kalvelage Award in the Maria & Henry Holt Competition. Upcoming performances include Jameson in Hopscotch an exciting new project with The Industry. Ms. Mirshak is a graduate of USC Thornton School of Music and Loyola University New Orleans.
Kyle Patterson (Bardolfo)
Tenor Kyle Patterson is thrilled to be returning to Pacific Opera Project for his sixth production with the company. He debuted with POP as Ferrando in Cosi fan tutte and later that season, sang the role of Tobias in Sweeney Todd. He has also performed the roles of Nanki-Poo in The Mikado and covered the roles of Count Almaviva in the POP-Up production of Il barbiere di Siviglia, as well as El Remendado in Carmen. Kyle is also a regular performer on the roster of Repertory Opera Company (ROC), where he has performed the following roles: Ernesto (Don Pasquale), Tamino (Die Zauberflöte), and Count Almaviva (Il barbiere di Siviglia).
He has spent two consecutive summers as an Apprentice Artist with Opera in the Ozarks (OIO), where he performed the roles of Henrik (A Little Night Music), Monostatos (Die Zauberflöte), and Frederic (Pirates of Penzance), and covered the role of Nemorino (L’elisir d’amore). Kyle is also an alumnus of Chapman University’s Opera Chapman Ensemble where he performed Tamino (Die Zauberflöte), and covered the role of Camille (The Merry Widow).
In addition to expanding his opera repertoire, Kyle has performed several concert engagements in his young career, most recently appearing as Tobias Ragg in a concert of Sondheim’s Sweeney Todd in collaboration with the Golden State Pops Orchestra. In 2013, Kyle was a finalist in the Coeur d’Alene Symphony Young Artist Vocal Competition and he is also an alumnus of the prestigious OperaWorks Emerging Artist Program. Kyle has two degrees in Civil Engineering from the University of Southern California (USC) and is a licensed Professional Engineer in the State of California. His professional track record was just highlighted by OC Metro Magazine’s "40 Under 40" series, profiling the success of 40 influential professionals under the age of 40 in Orange County.
Phil Meyer (Pistola)
Phil Meyer is a founding member of the Pacific Opera Project, playing the self-obsessed Sam in its opening production of Trouble in Tahiti. Also with POP, Phil has sung the Demon Barber himself in Sweeney Todd; the drug addled Basilio in Il barbiere di Siviglia; a multiple-personality prone Poo-Bah in The Mikado; and most recently, Sylvano, God of the Woods, in La Calisto.
Other leading roles in the Los Angeles area include Mephistopheles, in the Center Stage Opera production of Faust; Osmin in The Abduction from the Seraglio, Kecal in The Bartered Bride and Achilla in Giulio Cesare with the Celestial Opera Company; and Leporello in Don Giovanni, Olin Blitch in Susannah and the title role in Verdi’s Falstaff with Los Angeles Met.