June 28, 29, 30
July 6 and 7 at 8pm
Highland Park Ebell Club 131 S. Ave. 57 Los Angeles 90042
Sung in Italian with projected English titles and orchestra.
Table seating available.
Only the second staging ever in the US.
Tune in at 8pm on July 7th to see a live stream of the show on POP Facebook page.
Madama La Rose
Chorus Members: Rosa Beltran, Tiffany Ho, Maggie King, Emily Rosenberg, David Conley, Steven Cornett, David Hobbs Jonathan Lacayo
La gazzetta (The Newspaper) -- an extremely rare Rossini gem.
La gazzetta premiered in Naples in 1816, ran for 21 performances and was revived once, in 1928. It was not seen on stage again until the Garsington Opera (England) presented it in 2001. Other European productions include a 2005 production that was presented at the Rossini Festival in Pesaro and at the Grand Teatre del Liceu. The first performances in the US were given in Boston at the New England Conservatory in 2013. (This performance contained a newly discovered brilliant quintet in Act 1.) POP's production will be only the second in North America and will use a newly commissioned orchestral reduction.
This charming opera buffa is chock-full of Rossini’s trademark ensembles, patter songs, and high flying coloratura for all voices, from bass to soprano. Rossini fans are sure to recognize melodies from earlier and later better-known Rossini operas including Il barbiere di Siviglia, La cenerentola, and others. The story takes place in a hotel and centers around a Neapolitan father who has advertised his daughter in the newspaper (”La gazzetta”) searching for the perfect -- or at least the richest-- suitor for his daughter. As is always the case in bel canto comedies, mistaken identies, unexpected arrivals, and general slapstick hijinx ensue.
POP is commissioning a new orchestral arrangement for La gazzetta and the production will be sung in Italian.
Brooke deRosa (Music Director) - is a composer, conductor and opera singer. She has composed music for over twenty films and TV. The score for “The Search for Simon”, directed by BAFTA winner Martin Gooch, which she co-composed won Best Score at the Portsmouth International Film Festival. “The Monkey’s Paw”, Brooke’s first opera premiered in 2017 with Pacific Opera Project. Her upcoming opera "Alice in Wonderland" is premiering this year in Germany. As an internationally accomplished opera performer, she has been featured on Late Night With Jimmy Fallon and the scores for the Netflix/Marvel series "Luke Cage", "Lemony Snicket's A Series of Unfortunate Events" (season two), and "Kingsman: The Golden Circle." Brooke has performed locally with LA Opera, POP, CSO, The Pacific Symphony, The San Bernardino Symphony, and Redlands Symphony. Brooke began conducting her own music and has performed in numerous concerts and live sessions. She is the resident conductor at Linear Labs for which she conducts live sessions for film, tv and popular music albums. Conducting credits and clients include "Luke Cage" season two for Netflix and releases for Amazon Music.
Amy Lawrence (Choreographer) - Amy has trained in ballet, jazz and modern dance and has also competed professionally in ballroom. Amy has choreographed 3 previous POP productions: Carmen, The Merry Widder and L'elisir D'amore. This past January she worked with Josh and New Orleans Opera as choreographer for Tabasco, A Burlesque Opera. She will be choreographing upcoming POP productions La Traviata in October and Carmen at the Ford Theater in September. You can also see her work this summer in Opera Neo's production of The Merry Widdow in San Diego. As a full time ballroom dance instructor/performer, she teaches all styles of partner dance and has been featured in films and music videos. Amy is also an accomplished singer having earned degrees from the Boston Conservatory and USC Thornton School in vocal performance. She has performed with POP as Luiga in Viva la Mamma!, Blondie in Merry Widder, Eternita in La Calisto and Frasquita (cover)/Lead dancer for Carmen.
E. Scott Levin (Don Pomponio) - described as having a “smooth, buttery voice,” “incredibly sharp timing,” and “a gifted comic actor,” has been making audiences laugh for the past fifteen 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 moving to Los Angeles, Scott has regularly performed with Pacific Opera Project as Bartolo in Barber of Seville, Leporello in Don Giovanni, Schaunard in La bohème, Judge Turpin in Sweeney Todd, Bartolo in Le nozze di Figaro, the Sacristan in Tosca, and KoKo in The Mikado among others. In addition, Scott has performed with Long Beach Opera, Townsend Opera, Salt Marsh Opera, Celestial Opera, Center Stage Opera, Redlands Opera Theater, and Orange County Opera. He recently made debuts at Opera Santa Barbara as the Badger/Priest in The Cunning Little Vixen and Los Angeles Opera “Off-Grand” as Babayan (Bartolo) in Figaro 90210!. In 2015, Scott made his LAO mainstage debut as Dr. Spinelloccio in Gianni Schicchi, starring Placido Domingo and under the direction of Woody Allen.
Rachel Policar (Lisetta) - has been described by critics as “a standout” and “silver‐voiced” for her 2015 Off Broadway debut with the National Yiddish Theatre Folksbiene as Goldele in The Golden Bride. Her 2017-2018 season has included Pamina, The Magic Flute (Southern Illinois Music Festival), Marietta, Naughty Marietta (LOONY), Blonde u/s (performed), Abduction from the Seraglio (Bronx Opera), Patience, Patience (G&S of LI), Rossini’s Messa di Gloria, and concerts with Opera Theatre of Connecticut, Penn Square Music Festival, The Sanibel Music Festival, and more. She was also a 4th Place Winner at the 2018 American Traditions Competition in Savannah, GA, and a finalist in the 2018 National Opera Association Competition. She returns to Savannah for a solo recital in the fall! Recent Highlights: Gilda, Rigoletto(Anchorage Opera, Asheville Lyric Opera), Adina, Elixir of Love (North Shore Music Festival), Gretel, Hansel and Gretel (Dayton Opera, Knoxville Opera), Lauretta, Gianni Schicchi (ARE Opera), Valencienne, The Merry Widow (Janiec Opera Company), Soprano Soloist, Carmina Burana (New York Choral Society), Soprano Soloist, Handel's Messiah (Garden State Philharmonic), in concert with the National Yiddish Theatre Folksbiene, Coro Lirico NJ. AEA, @rachel.policar
Armando Contreras (Fillipo) - Mexican-American baritone Armando Contreras, First Prize winner of the Naftzger Vocal Competition and Encouragement Award District Winner of the 2018 Metropolitan Opera National Council Auditions is currently a Young Artist with the Lyric Opera of Kansas City. He was recently seen a young artist with Central City Opera and performed the role of Dancairo in Carmen. In the 2017/2018, Mr. Contreras makes his debut as The Herald in Rigoletto and Fiorello in Il barbiere di Siviglia with the Lyric Opera of Kansas City and as Peter in Hänsel und Gretel and L'horloge comtoise/Le chat in L'enfant et les sortilèges with University of Missouri-Kansas City. He also covered the role of Doug Hansen in Joby Talbot’s Everest in the Lyric Opera of Kansas City premiere directed by the prominent director, Leonard Foglia. Recent engagements during the 2016/2017 season included the title role in Puccini’s Gianni Schicchi at the University of Missouri-Kansas City and 2nd Prison Guard in Jake Heggie’s Dead Man Walking at the Lyric Opera of Kansas City. He also appeared as a soloist in Handel’s Messiah with the Missouri Oratorio Society and as Peter McCourt in Ballad of Baby Doe with Central City Opera.Mr. Contreras has received degrees at the Cleveland Institute of Music and the University of Missouri- Kansas City. He has been a member of prestigious young artist training programs including The Lyric Opera of Kansas City, Central City Opera, and the Aspen Music Festival. Mr. Contreras studies under renowned opera singer, Vinson Cole.
Kyle Patterson (Alberto) - Lauded as one of Southern California’s promising young artists, tenor Kyle Patterson’s “beautiful and easy-sounding lyricism” is in growing demand. Last seen as Nemorino in Elixir of Love, Kyle is thrilled to be joining POP for his 11th production with the company. He is also a regular performer on the rosters of regional Repertory Opera Company (ROC) and Redlands Opera Theatre. Previous roles include: Don Ramiro (La Cenerentola); Count Almaviva (Il barbiere di Siviglia); Nanki-Poo (The Mikado); Frederic (Pirates of Penzance); Tobias Ragg (Sweeney Todd); Henrik (A Little Night Music); Ferrando (Cosi fan tutte); Tamino (Die Zauberflöte); and Ernesto (Don Pasquale). Kyle spent two consecutive summers as an Apprentice Artist with Opera in the Ozarks (OIO) in 2012 and 2013, and was a member of the Opera Chapman Ensemble at Chapman University between 2010 and 2013. Kyle is also an alumnus of the prestigious OperaWorks Emerging Artist Program. 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.
Molly Clementz (Doralice) - Born in St. Charles, Illinois, Molly Clementz is a mezzo-soprano who studies with Dr. Linda Di Fiore at University of California, Santa Barbara. In April, Molly was the lead of the 2018 TV Musical, Shake on It, an entirely new property composed and produced for her. During the 2016 and 2017 seasons, she was one of Opera Santa Barbara’s featured Mosher Studio Artists and sang several roles including Mercédès in Carmen, Lapák and Datel in The Cunning Little Vixen, Bianca in La Rondine, and Ciesca in Gianni Schicchi. Molly was prominently featured in the Dominick Argento Chamber Opera Competition at the National Opera Association Convention in 2017. In the West Coast premier of Joel Feigin’s award-winning Twelfth Night, she performed the lead role of Viola. In 2014, she studied abroad in Austria and was a finalist in the AIMS Meistersinger Competition in Graz. Molly performed the title role in the University of North Texas’ 2013 production of Massenet’s Cendrillon. She’s been a soloist with the San Ynez Master Chorale and the UCSB Wind Ensemble. Molly received a degree in English and Music from Luther College. Her current doctoral work and dissertation focus on the gendering of pants roles in opera.
Jessie Shulman (Madama La Rose) - Mezzo-Soprano Jessie Shulman’s operatic roles include Cherubino (Le nozze di Figaro), Nicklausse (Les contes d'Hoffmann), Kate Julian (Owen Wingrave), Tisbe (La Cenerentola), Annio (La clemenza di Tito), and Dorothée (Cendrillon), among others. An accomplished concert soloist, Jessie has performed Haydn’s Lord Nelson Mass, Mozart’s Vespers, Handel’s Messiah, Beethoven’s Symphony no. 9, Verdi’s Requiem, and Berlioz’s Les nuits d'été. She has sung with the LA Master Chorale, LA Opera Chorus, LA Phil, LA Chamber Orchestra, Pasadena Opera, NY Phil, and the Chicago Symphony Orchestra. Ms. Shulman is a former member of the Chicago Symphony Chorus, Music of the Baroque, and the Cincinnati Opera Chorus. She made her debut with Cincinnati Opera as Third Noble Orphan in Der Rosenkavalier. Jessie received her M.M. from the University of Cincinnati College-Conservatory of Music, and her B.M. from California State University, Long Beach. She currently resides in Los Angeles, where she is a full-time member of and frequent soloist with the LA Master Chorale, SAG-AFTRA film and TV session singer, voice teacher, and freelance performer throughout Southern California.
Scott Ziemann (Monu Traversen) - has been called “a vocal talent worth catching” and has sung across Southern California for Long Beach Opera, Pacific Opera Project, Pasadena Opera, Center Stage Opera, PrimaVera Opera, Pacific Lyric Association, and Lyric Opera of Orange County. Scott has sung roles in La Traviata, Carmen, Gianni Schicchi, Hansel & Gretel, H.M.S. Pinafore, The Old Maid and the Thief, and Susannah. He just finished singing in Long Beach Opera’s production of Frank Martin’s The Love Potion and is an Education Artist in LBO’s Opera@School Program bringing live staged musical performances to schools throughout the area. On the concert stage Scott has performed the Baritone solos in Beethoven’s 9th Symphony, Orff’s Carmina Burana, and Fauré’s Requiem. Having sung in previous POP productions: The Merry Widow; Abduction from the Seraglio; and The Rake’s Progress; Scott is grateful and excited to return to POP this season and sing this rare Rossini comedy. Later this Summer, Scott is covering Alfio in Capitol Opera’s Cavalleria Rusticana in July, and in August he is singing Oberon in Purcell’s The Fairy Queen with Lyric Opera of Orange County. More details at www.scottziemann.com
Phil Meyer (Anselmo) - Phil Meyer’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); Sam in Bernstein’s Trouble in Tahiti, (Bad Guy) and Basilio in The Barber of Seville (Pathetic Old 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); 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.
New seating options at The Ebell will be available for the first time including cushioned seats (not seat cushions, but actual padded seats!) and individual seats at long tables that come with a small plate of food and shared bottles of wine. Traditional seating is also available. Click the BUY TICKETS link above to see the full seating chart.