Lucia di lammermoor

Sept 9, 10, 15, 16, 17 at 7pm

Outdoors at Forest Lawn Glendale, 

1712 S Glendale Ave, Glendale, CA 91205


Sung in Italian with projected English titles and orchestra.

Table seating available.

Sept 9, 10, 15, 16, 17 at 7pm

Outdoors at Forest Lawn Glendale, 

1712 S Glendale Ave, Glendale, CA 91205


Sung in Italian with projected English titles and orchestra.

Table seating available.

 Jamie Chamberlin              Bevin Hill                 Nathan Granner          Daniel Scofield         Nicholas Boragno         Danielle Bond            William Grundler         Robert Norman

   Lucia 9/9,15,17             Lucia 9/10,16               Edgardo                         Enrico                        Raimondo                        Alisa                              Arturo                     Normanno


 Conductor Isaac Selya is a musician of remarkable versatility including extensive experience as a conductor, pianist, vocal coach, cellist and administrator. He is the founder and Artistic Director of Queen City Opera, where he has coached and conducted acclaimed performances of works by Wagner, Weber, Handel, Montemezzi, and Mozart. He is one of the few conductors in the world who has conducted all of Mozart’s German-language operas.

In recognition of his talent and entrepreneurialism, Musical America featured him as a Spotlight Artist. He has served as Assistant Conductor for both Cincinnati Opera and the Glimmerglass Festival, where he coached and conducted the first-ever reading of the revised version of Philip Glass’s Appomattox, with the composer present.

As an operatic guest conductor, Isaac’s engagements include The Ghosts of Crosstown at Opera Memphis, and excerpts from Tristan und Isolde with Victory Hall Opera. Equally at home in the symphonic repertoire, Isaac’s guest conducting engagements include the Xiamen Philharmonic in China, the Dayton Philharmonic, the National Symphony of Guatemala, the Shippensburg Symphony, the Chelsea Symphony, the Yale Symphony Orchestra, the Mannes Symphony, and the Jonathan Edwards College Philharmonic, where he served as music director for three years.

Isaac started his professional music career at the age of 18 singing in the chorus of the Great Synagogue in Jerusalem. He holds a BA from Yale College, where he studied conducting with Toshiyuki Shimada. He completed an MM in conducting at Mannes College, where he won a competitive grant from the New School Green Fund to present a concert dealing with environmental advocacy. He holds a doctorate from the University of Cincinnati-College Conservatory of Music, where he studied with Maestro Mark Gibson. 

Jamie Chamberlin (Lucia 9/9, 15, 17) has been called “spellbinding” by the San Francisco Chronicle, and has been recognized for her abilities as a singing actress. Recently, ArtsInLA hailed her Cunegonde in Long Beach Opera’s Candide as “jaw-dropping.” She returns to LBO in 2017 as Hazel George in the US Premeire of Glass’s The Perfect American and subequently makes her Chicago Opera Theater debut with the same production. In 2015, Jamie starred as Marilyn Monroe in the US Premiere of Gavin Bryars’ Marilyn Forever at LBO, for which Opera News praised her “shimmering tones” and “star-struck vulnerability”. Other roles include Soprano II in Glass/Ginsberg’s Hydrogen Jukebox, and Anne Sexton in Susa’s Transformations with SFO’s Merola Opera Program. A champion of new music, Chamberlin’s world-premiere performances include the Soprano solo in Salonen’s Wing on Wing, Elyn Saks in The Center Cannot Hold with Pacific Opera Project/ UCLA, and Lisa in the Delos Recording of Mark Abel’s Home is a Harbor.  Chamberlin’s distinctive voice can also be heard in the Coen Brother’s 2016 film, Hail Caesar!, singing Offenbach’s Barcarolle during the epic water ballet scene. Jamie makes her POP mainstage debut as Lucia this September. 


Bevin Hill (Lucia 9/10, 16) is gaining attention as a performer of great charm and charisma in a variety of leading roles.  The 2016–2017 season holds two company debuts for her: Missouri's Heartland Opera Theatre, with whom Ms. Hill performed Adina in L'elisir d'amore, and Florida's First Coast Opera, with whom she performs a double bill of Gilbert & Sullivan's Trial by Jury and Tucker & Sheeley's The Trial of B. B. Wolf.  Additional recent engagements include include Hannah Gladberry in Pacific Opera Project's production of The Merry Widow and Yum Yum in Capitol City Opera's production of The Mikado.  Ms. Hill received her Masters degree in Vocal Performance at Manhattan School of Music under the tutelage of acclaimed soprano and director Catherine Malfitano and her Bachelor of Fine Arts degree from Carnegie Mellon University. During her time at Manhattan School of Music, she performed the roles of Mélantho in Fauré's Pénélope and Gismonda in Steffani's Tassilone, as well as writing and performing in the children's opera The Cricket in Times Square.  Ms. Hill was a 2012 District Winner of the Metropolitan Opera National Council Auditions in her home state of Georgia and Regional Semifinalist for the Southeast Region.

Nathan Granner (Edgardo) has performed as Nemorino in L’elisir d’amore, Ferrando in Cosí fan tutte, and Rodolfo in La bohème in performances with Lyric Opera Kansas City, Opera Theater of St. Louis, Tulsa Opera, Wolf Trap and Glimmerglass Opera. An avid supporter of new music, he has also created six new opera roles in three years, including portraying the title character in (Police cofounder) Stewart Copeland's world premiere Invention of Morel at Chicago Opera Theater.  He is a founding member of The American Tenors, whose Sony Masterworks album reached the top five in the classical crossover charts. His varied touring schedule includes engagements with classical guitarist Beau Bledsoe, with composers Jeffrey Rukaman and Bradley Cox constructing Post-Modern classical and jazz shows for avant-garde audiences, and with producer David Foster and Verve Recording artist Brenna Whitaker. Comfortable across many genres, opera and classical music is the theme throughout all of his performances. He believes his commitment to learning different musical styles is what helps to open the door for new audiences to enjoy classical music.

Daniel Scofield (Enrico) is "Robust and handsome with booming voice in full range.” The two time regional Metropolitan Opera Council audition finalist is quickly gaining recognition for the drama of his performances. This season he returns to Los Angeles to perform Enrico in Lucia di Lammermoor with Pacific Opera Project, after having been seen by audiences as Count Almaviva and Ford in seasons past.   Last season Daniel was Der Wanderer/Wotan in the third act of Siegfried, following up last year’s performances of Act 2. Later that season, he made his debuts with the South Dakota Symphony and Cedar Rapids Opera as Masetto and Silvio before returning to St Petersburg Opera for The Tales of Hoffmann. Recent seasons saw Daniel performing Simon in Judas Maccabaeus, Schaunard, Tonio, Count Almaviva  and Danilo, Valentin and with Opera Santa Barbara in both The Telephone and Falstaff, as well as the eponymous role of Rigoletto with Opera in the Heights which garnered him the praise, “He’s the finest court jester I've seen in years” (D.L. Groover: Houston Press). Daniel made his Carnegie Hall debut with the American Symphony Orchestra in Richard Strauss’ Feuersnot and has with the Santa Fe Opera, Southern Illinois Music Festival, Pacific Opera Project, Opera Idaho, Knoxville Opera.

Nicholas Boragno (Raimondo), lyric bass-baritone, is a native of Southern California. He will sing Raimondo for POP in Lucia di Lammermoor this fall. Nicholas graduated from Manhattan School of Music with a degree in vocal performance. He has been a professional young artist with companies such as Opera Saratoga, The Chautauqua Opera Company, Virginia Opera and most recently the Merola Opera Program at San Francisco Opera in the summer of 2016. His recent full roles and opera scenes include Leporello in Don Giovanni, Schaunard and Colline in La bohème, Nick Shadow in The Rake’s Progress, Figaro in Le nozze di Figaro, Don Magnifico in La cenerentola, Captain Petrovic in Eugene Onegin and The Hermit in Der Freischütz. For the last several years, Nicholas has been a regular performer with the LA Opera Outreach and Education Tour. Mr. Boragno is a recipient of the LA Opera Buffs Endowment and is the first place winner of the Henry and Maria Holt Competition at West Bay Opera. 

Danielle Bond (Alisa), was recently seen as Mother Goose in POP’s The Rake’s Progress. She has been hailed by the LA Times with a “Brava!”for her performance as Swiss Grandmother/Austrian Woman/British Dancing Girl in Long Beach Opera’s production of John Adams’ Death of Klinghoffer. As Marilyn Monroe in the US premiere of Marilyn Forever, Opera News says “Bond played the more private Monroe in a recognizable way, sensuous, nervous, making love to the camera. She sang sumptuously, expressively.” She has charmed audiences in roles such as Carmen, for which Singerpreneur praised her “luscious voice that filled the theater, her intense middle voice ringing with the freedom of her technique.” A special honor for Ms. Bond was when she premiered the role of Lady of the Charts in Kenneth Wells’ opera  The Center Cannot Hold, dramatizing the intensely profound memoir of Dr. Elyn Saks’s journey with schizophrenia. Ms. Bond also uses her vocal & musical skills for film, TV and video game scores,  as a voice over artist, as well as being a film/commercial actress, performing with the improv troupe Not Friends.

Tenor, William Grundler (Arturo), is thrilled to return to Pacific Opera Project to perform as Arturo (Edgardo cover) in Lucia di Lammermoor. An alumnus of Cal State Northridge and a Los Angeles resident, William has performed with numerous companies throughout Southern California including Pasadena Opera, Center Stage Opera, Independent Opera Company and Vineyard Touring Opera. Roles William has performed include Don Ottavio in Don Giovanni, Don José in Carmen, Nerone in L'incoronazione di Poppea, and the title role in Werther. This year William will also perform as Hermann in The Queen of Spades, Rodolfo in La Bohème, and as the tenor soloist in Mozart's Requiem. William has composed works for CSUN Studio Ensemble, Vineyard Touring Opera, and churches through Los Angeles. William is the music director of Grace Lutheran Church of Ventura.

 Tenor Robert Norman (Normanno) is thrilled to be returning to Pacific Opera Project for his 13th production. Having been praised for his comedic skills with “impeccable timing to match an equally admirable tenor,” Mr. Norman is making a name for himself as a character tenor on the rise. In the 2016 season, he placed fifth in the Loren L. Zachary National Vocal Competition, making him the first character tenor to make the finals since 2009.  He made role debuts as Little Bat in Susannah with Pasadena Opera, Howard Boucher in Dead Man Walking with Fresno Grand Opera and Townsend Opera, and Sellem in The Rake’s Progress with Pacific Opera Project. Other recent performances for Mr. Norman include Goro in Madama Butterfly with Opera San José, Dayton Opera, Salt Marsh Opera; Pedrillo in Abduction from the Seraglio with Dayton Opera, Festival Opera, Salt Marsh Opera, Pacific Opera Project, Southern Illinois Music Festival; Beppe in Pagliacci with Dayton Opera; Caius in Falstaff with Opera San Jose; Steve Hubbell in A Streetcar Named Desire with Opera Santa Barbara, Union Avenue Opera, Fresno Grand Opera, and Townsend Opera.



Photos from POP's 2015 production of Falstaff at Forest Lawn Glendale.

(Martha Benedict Photography)

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.   


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.  


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 Yes


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

Click the image to the right to download a map.

Click the image to the left to get a virtual

360 degree view of the Esplanade.

Contact us:           


5040 Onteora Way  Los Angeles, CA  90041



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© 2019 by Pacific Opera Project