Opera on Tap is the largest network of performing artists in the country. We take a local, grassroots, and VERY fun approach to community outreach in the name of our art form. We sing anywhere people will let us, aside from concert halls and opera houses.
Please join us for the Maine chapter of Opera on Tap’s inaugural event where we will sing some of opera’s greatest party hits. “Warm up with us” as we embark on this exciting new adventure!
Shaunna Lucas, soprano (Co-Managing Diva)
Mary Johnston Letellier, soprano(Co-Managing Diva)
Opera on Tap Vienna in Cooperation with Art and Culture Association TAKE 5 presents a special holiday performance by our Vienna-based artists. The performance was recorded live at the beautiful St. Peter’s Church in Vienna. Opera on Tap will broadcast the performance live via Emmie & Harry’s TV at 2pm ET/ 20:00 GMT+1 this Sunday January 3rd. Join us!
We have arrived in Vienna!
We are so pleased to announce the launch of Opera on Tap in one of the world’s great opera cities! We are happy and proud to announce a new partnership with the Art and Culture Association TAKE 5. The Austrian-based organization is committed to “support administratively artists to help them to perform their art whenever and wherever possible” TAKE 5 has a production series “Oper für Einsteiger” (Opera for Beginners) (http://www.vereintake5.wien/eigenproduktionen.html) that aligns perfectly with our mission of supporting opera artists. We look forward to working with TAKE 5 to help support artists we work with in both the US and Europe in realizing all possible projects. Please join us in welcoming our new partners!
FOR IMMEDIATE RELEASE
Opera on Tap Colorado Presents SEE/HEAR Illuminated Stories in Song
November 16, 2020, Denver, CO Opera on Tap Colorado presents a visual album of four song cycles featuring live Colorado singers and video artists from across the US featuring Richard Strauss Four Last Songs/Vier letzte Lieder, Ernesto Cordero’s Four Works for Voice and Guitar, Robert Owens’ Mortal Storm, and Nkeiru Okoye’s Brooklyn Cinderella.
“We wanted to do something on a larger scale while responding to the limitations that COVID-19 has created for live performance.” Said Opera on Tap Colorado co-managing diva Eve Orenstein. “We came up with the concept of pairing video artists with song cycles – groups of songs that share a narrative theme – to create something that would be collaborative and also safe for singers and audience members. The videos will bring the music to life and can be experienced from home or in a socially distanced performance setting, like a drive-in.”
Five Colorado singers, Nnamdi Nwankwo, Asha Romeo, Jerome Síbulo, Luisa Marie Rodriguez, and Julie Silver Campbell will record four song cycles that were selected by the Opera on Tap Colorado singers.
Through an open call process, Opera on Tap Colorado received submissions from video artists around the country and four were chosen, including Cai (NYC), David Fodel(CO), Annanya George(CO), and Corwin Evans(Los Angeles), and paired with each song cycle to augment and illuminate the music.
SEE/HEAR will be launched with a hybrid live performance/live-streamed event on December 13 at 4:00pm at the Broomfield Auditorium.
Sunday, December 13th, 4:00PM Doors open at 3:30PM Broomfield Auditorium 3 Community Park Road
Broomfield, CO 80020 Limited seating will be available for $10, with social distancing protocols in place
This performance of SEE/HEAR will be live-streamed at Facebook.com/creativebroomfield/live Facebook.com/ootco Youtube.com/operaontapco
About Opera on Tap Colorado
Opera on Tap was founded in New York City in 2005 when a few singers, out for a drink in Brooklyn, wondered what it would be like if classical singers could gig at local bars like bands do. Opera on Tap has since grown to boast chapters in cities across the country – and now in Colorado! Opera on Tap Colorado will be bringing opera to unexpected places throughout the state, offering audiences exceptional music by outstanding singers, and giving professional singers the opportunity to sing regularly in public in a welcoming, supportive atmosphere. While casual and even raucous, Opera on Tap is not an open mic. Each month, shows will have a theme and singers will perform arias that more or less match that theme. Audiences can expect singers to be top notch performers singing music from actual operas – often with a drink in hand!
About Four Last Songs/Vier letzte Lieder
“Richard Strauss was…living in Switzerland at the end of World War II. Throughout his successful operatic and orchestral career, he’d written songs…inspired by his wife Pauline. She was a successful soprano who performed Strauss’s songs to great acclaim. Towards the end of 1946, Strauss read a poem by Eichendorff, “Im Abendrot” in which an ageing couple at the end of their lives together look at the setting sun and ask, “Is that perhaps death.” The words matched the composer’s feelings entirely, and became the inspiration for the start of a five-song cycle which he never completed. But he did compose four, although they weren’t linked as a group until after his death when Strauss’s publisher named them “Four Last Songs.”
The Eichendorf poem which translates as “At Sunset” is fittingly the last of the four, with the first three songs all settings of poems by Herman Hesse. Beginning with “Spring,” the second is “September” followed by “Going to Sleep” – each seems to be part of Strauss’s preparations for death and it’s hard to imagine a more conscious or deliberate farewell from this master of song.” (https://www.classicfm.com/composers/strauss/guides/richard-strauss-four-last-songs/)
About Four Works for Guitar and Voice
With music by Ernesto Cordero and texts by Juan Ramon Jiménez, Luis Llorens Torres and Nimia Vicens, this song collection is a beauty to behold. Cordero used these four poems from three poets of great import to Puerto Rican identity to illuminate his Puerto Rican experience. The first piece, “Zenobia” has text from a poem by Juan Ramon Jiménez called “Para quererte” (“To love you”). The poem was written to his wife, Zenobia Camprubí, a half Puerto Rican, half Spaniard. The final line “us together, just like the sea and the sky, the sky and the sea, without even trying, just are,” is a metaphor for how two lovers that are a perfect fit for one another, can just be, just like the sea and the sky. The second song, “La Hija del Viejo Pancho,” was written by Luis Llorens Torres, a well-known poet and politician in Puerto Rico’s founding. He spent some time in Spain in law school, and being away from his home, this poem seems to tell the story of where he finds ultimate happiness in his home, Puerto Rico. The third song, “Cadencia” has text from a poem by Nimia Vicens by the same name. It is also a metaphor for perfect love through the beauty of nature. Vicens wrote much of her poetry following Spain’s loss of the Spanish American War, which meant that Puerto Rico belonged to the United States. It has been suggested that artists use the beauty of their homeland, belonging to them, as a response to the trauma of the war and the trauma of their new identity. The fourth piece, “El Viaje Definitivo,” also written by Juan Ramon Jiménez, is a beautiful imagining of what life would be like after death, what continues, what will change and what will remain.
About Mortal Storm
Mortal Storm, a cycle of five songs on poetry by Langston Hughes, was composed in 1965 for Thomas Carey. Having previously sung the composer’s Four Motivations, Carey commissioned the work of Owens after having won First Prize in the Ard International Competition in 1963. Carey sang Mortal Storm frequently throughout Europe and the United States.
Mortal Storm r epresents a marked change in Owens’ songwriting. In the composer’s words, “I moved from realms of Schubert lieder and demanded of the singer the passion and drama of opera.” The broader public was introduced to Owens’ songwriting via Patterson’s Anthology of Art Songs by Black American Composers, This 1977 publication featured two of Owens’ songs from Mortal Storm, “ Genius Child” and “Faithful One.”
About Brooklyn Cinderella
Brooklyn Cinderella by Nkeiru Okoye is a set of songs born out of the I Hear America Singing program that commissions composers to create operatic songs based on the poetry and prose of Americans of all ages and all walks of life. These songs are based on poems written by Brooklyn children in classes headed by poet Angeli Rasbury. Brooklyn Cinderella was commissioned by American Opera Projects and the Walt Whitman Project.
Virtual Playground Opera is a collaborative experience between students, educators, teaching artists from Opera on Tap, and internationally acclaimed opera singers from around the world. The portal will be available for schools in Spring 2021. Demonstrations and tours of the portal begin in December 2020.
Let’s Play Opera!
Accessible via an Interactive Web Portal. In this program, students will learn about the fundamentals of opera and take a deep dive into what a production entails. Students will be able to sing, act, and dance in their very own video production of an opera (Spring 2021 – Rossini’s Cenerentola). Using best practices in classroom pedagogy and music and film technology, each group of students will understand the exhilarating beauty of opera, and be able to connect it to their own lives and communities.
This project is taking place with the support and collaboration of our city and neighborhood partners,as well as nationally recognized foundations and educational organizations, including the West Harlem Development Corporation, the Seth Sprague Educational & Charitable Foundation, Enduring Ideas Award from Teach for America’s Reinvention Lab, and the National Endowment for the Arts. Opera on Tap is also partnering with Plussed, and Teach for America Reinvention Lab. We enjoy the support of Music and the Brain and the office of Kristin Gillibrand.
The program, accessible through our web portal, consists of Live teaching artists (2) zoomed into their space(s) OR pre-recorded lessons by Opera on Tap’s teaching artists, pre-teaching materials, 8 sessions, and a final video including every student singing and dancing, that will be live-streamed for their community. With a strong STEAM integration, Virtual Playground Opera builds lasting relationships with educators and students and presents creativity as a life skill essential for success. Our curriculum immerses students in every aspect of the creation, production and performance of an opera. Virtual Playground Opera is an active learning video production education program in an innovative, interactive web series hosted on a comprehensive learning portal.
Culture Track’s 2020 key findings, Culture + Community in a Time of Crisis, reports rising feelings of worry, boredom and disconnection. 81% of respondents expressed themselves creatively in quarantine. 37% reported singing alone or with others. 66% found that livestream performances were valuable, and 76% reported online activities for kids to be important. We look to provide a balm for anxieties through our creative programming. Digital culture has changed the way audiences and participants experience community and intimacy. Playground Opera increases access and availability for high level arts curriculum, with consideration for system implications from the start, and incorporating DEI strategies through all levels of the programming: staff, production team, casting, teaching artists, and more. When in person performances return, our foundational approach to digital programming will increase reach and equity, driving innovation in ways that create fundamentally better arts programming for all children.
We also address the National Education Foundation’s “Four C’s”- critical thinking, communication, collaboration, and creativity through our approach to storytelling, the collaborative nature of our art form, character work and analysis, and student ownership of aspects like costume, prop and backdrop creation. A core priority is arts education through active learning, and to place this participatory, interactive experience in the hands of as many students as possible, while at the same time maintaining active self direction for student agency of learning and customization, tailoring each learner’s identity, prior knowledge, development, and ways of learning to help them be successful. Playground addresses CASEL standards in the curriculum, and while we are not an SEL (social emotional learning) program, we create and revise the curriculum with SEL in mind. Playground Opera is a STEAM interdisciplinary project with a high emphasis on music and the performing arts, integrating tech concepts and skills, emphasizing 21st century skills of information, media, and technology skills, with special focus on video and audio recording, and life and career skills.
Exciting future programming is already in the works to deeply engage students with the work of BIPOC artists and composers and to nurture the totality of cognitive, emotional, social, and physical factors that impact the learning of our students, and hold our students to high expectations, building confidence that goes far beyond the four walls of the classroom and affirming a positive sense of self and respect for the identities of others.
Cenerentola staff and performers include:
Jenny Lee Mitchell, Director Mila Henry, Music Director Ramona Ponce, Costume and Production Designer Eric McKeever, Co-Writer David Gordon, Assistant Director/ Co-Writer Du’Bois A’Keen, Choreography Blake Kile, Production Manager Eric Mattingly, Assistant Production Manager Jeff Hudgins, Audio Engineer, Music Arranger T-Stop Pics, Video Production Partner (Post-Production, Special Effects, Animation) Anne Hiatt, Executive Producer Rachel Duval, Creative Producer
LA CENERENTOLA PRODUCTION FEATURING: Taylor Raven as Angelina Victor Hernandez as Ramiro Eric McKeever as Dandini Ben Bloomfield as Don Magnifico Joy Jones as Clorinda Rachel Duval as Tisbe Javier Ortiz as Alidoro Glen Heroy as Co-Narrator Introducing Meila Price as our young Co-Narrator
INSTRUMENTALISTS: Eleonore Oppenheim, Bass James Moore, Banjo/Mandolin Andie Tanning, Fiddle Kamala Sankaram, Accordion Alexander Rovang, Rehearsal Pianist
EDUCATION TEAM: Victoria Davis, Teaching Artist/ Curriculum Development Joy Jones, Teaching Artist/ Curriculum Development Eric McKeever, Curriculum Development Rachel Duval, Curriculum Development/ Director of Education Films David Gordon, Scriptwriter- Education Films
Select Creators (bios)
Jenny Lee Mitchell (director) is a NYC based actor, vaudevillian, director, singer, musician, and producer, who spent 18 years performing across Europe in musical theater and operetta. Since moving back to New York, she has directed Greek Tragedy, British Panto, numerous solo performances as well as the commissioned opera, Smashed, for Opera On Tap and 5 seasons with Opera On Tap’s Playground Series opera program at PS 129 in Harlem. Favorite performing credits include: Off Bway: Outside Inn at 59East59, Sleep No More. NY Theater: Much Ado About Nothing directed by The Ridiculous Theater’s Everett Quinton, Vaclav Havel’s Hunt for a Pig, Iphigenia in Aulis with UTC, The Curse of the Mystic Renaldo, and Chuck Mee’s Fire island at 3 Legged Dog. Europe/Regional: Dance of the Vampires, Jekyll and Hyde, Dames at Sea, Falsettos, Wonderland, Orpheus In the Underworld, and Die Czardas Furstin. She plays with The Jazz Bastards, a comedy jazz troup at Pangea monthly and is a variety show host at Slipper Room as drunk jazz singer Muffy Styler. Education: NYU Experimental Theater Wing, clown and physical comedy with David Shiner, voice: Barbara Maier Gustern, clarinet: Richard Philbin. Jennyleemitchell.com.
Mila Henry (music director) is a music director, pianist and conductor, as well as Artistic Director of Brooklyn-based producing company The American Opera Project (AOP). Hailed “a stalwart contributor to the contemporary opera scene” (Opera Ithaca), she provides musical dramaturgy to AOP works in development and serves as Head of Music for their renowned Composers & the Voice training program for composers and librettists. Outside of AOP, Mila maintains an active and versatile career, leading works spanning rock musicals (These Girls Have Demons, Pittsburgh CLO; Something Blue, Page 73) to folk operas (The World is Round, Ripe Time, Obie-winner), multi-composer collaborations (Magdalene, PROTOTYPE; Words on the Street, Baruch Performing Arts Center; SWELL, HERE) to multi-persona monodramas (Love & Trouble, Fargo-Moorhead Symphony Orchestra), classical traditions (La liberazione di Ruggiero/The Infinite Energy of Ada Lovelace, Opera Ithaca; Hansel and Gretel, Opera on Tap) to crossover rebellions (Barnum’s Bird, Circle in the Square’s Circle Series; The Moon’s Silent Modulation, Lincoln Center’s Atrium 360°). A “terrific” pianist (Opera News), Mila traveled to Dutch National Opera and The Apollo for We Shall Not Be Moved (Opera Philadelphia; synthesizer double), LA Opera for Thumbprint (Beth Morrison Projects, PROTOTYPE; harmonium double), Isabella Stewart Gardner Museum for Persona (BMP) and the Library of Congress for Fierce Grace: Jeannette Rankin (OPERA America), in addition to playing for the premieres of Looking at You (HERE) and Mata Hari (PROTOTYPE) in her home base of New York.
Jeff Hudgins (music arranger/mixing and mastering), a transplanted Texan whose music has been described as “somewhat menacing” (New York Music Daily), is a founding member of opera/Bollywood/surf noir ensemble Bombay Rickey. He has toured in the US and Europe, has premiered John Zorn, Tim Berne and John Harbison, has performed in Kamala Sankaram’s award-winning operas Miranda (2012) and Looking At You (2019), Yara Travieso’s multimedia show, La Medea(2017), and David Dorfman’s Aroundtown (2017) at BAM. In addition to Bombay Rickey, he writes for the NYC groups Anti-Social Music and Opera On Tap, and performs with Matt Bauer and Lizzie & The Makers, amongst many others.
American baritone Eric McKeever has won consistent praise for his voice of “power and brilliance” (Chicago Tribune) and “considerable flexibility and a communicative presence enhanced by expressive, crystalline diction.” (Opera News) His past experience includes serving as a Teaching Artist in the MET Opera Guild’s Urban Voices Program as well as serving as Administrative Director for the Capital University/Opera Columbus Vocal Summer Camp. Mr. McKeever’s passion for Arts Integration and Opera Education stems from a belief that the arts, especially opera, connect to multiple academic disciplines and the exploration of those connections make more intelligent, creative and disciplined learners. Mr. McKeever debuted with Opera on Tap/s Playground Opera program last year and is excited to be joining the Administrative Team creating a new digital/interactive experience for schools. Mr. McKeever performed Sharpless in Madama Butterfly with Opera Columbus, David in L’amico Fritz with Baltimore Concert Opera, Germont in La traviata with Pacific Opera Project and he joined Knoxville Opera as Enrico in excerpts from Lucia di Lammermoor. Mr. McKeever has performed Don Pizarro in Skylight Music Theater’s Fidelio, starred as the title role of El Cimarrón with the Center for Contemporary Opera, took on the title role of Verdi’s Macbeth with Opera Company of Middlebury and joined Opera Project Columbus as Michele in Il Tabarro. A frequent performer of Rossini, Mr. McKeever was seen with Little Opera Theatre of New Yorkas Don Parmenione in L’occasione fa il ladro, Fernando in Bronx Opera’s La gazza ladra and singing Figaro in Il barbiere di Siviglia with the North Shore Music Festival.Other roles in his repertoire include Valentin in Faust with Winter Opera St. Louis, Escamillo in Carmen with Long Island Opera, Theseus in A Midsummer Night’s Dream in his Opera Naples debut, Der Musiklehrer in Ariadne auf Naxos with St. Petersburg Opera and Jake in Porgy and Bess with Dayton Opera. Early in his career, Mr. McKeever covered the roles of Burnah/The Ship Cook in Amistad by Anthony Davis at Lyric Opera of Chicago. He also participated in Lyric Opera’s Opera in the Neighborhoods portraying Figaro (The Barber of Seville) and Alidoro (Cinderella).
David Gordon (Assistant Director/ Co-Writer/ Scriptwriter) has been a part of Opera on Tap since the first show at Freddy’s. David was an inaugural teaching artist for OOT’s Playground Opera and is a member of New Brew. As a tenor, David specializes in German and English character roles and new music. He has sung with NYCO, AOP, CCO, HOT and many more. David has directed productions of Spring Awakening, Urinetown, Trojan Women 2.0, Top Girls, Le nozze di Figaro, Filthy Habit, Prairie Dogs from Wild Beasts of the Bungalow, and The Wonderful Wizard of Oz. A native of Kalamazoo, Michigan, David holds a Bachelor of Music from the University of Michigan and a Master of Music from Manhattan School of Music. He is on the faculty of the Precollege Division of MSM, where he teaches voice, acting, and directs the Opera Workshop.
Ramona Ponce is a New York costume designer for a broad range of artistic disciplines: theater, film, opera, cabaret, performance art, and installation art, who has been nominated for both the Innovative Theatre Award and Hewes Design Award. She is Costume Designer In Residence at LaGuardia Performing Arts Center, where she lectures and runs a practical studio lab program to support student productions. In addition to her artistic pursuits, Ramona administers New York CIty Emergency Management’s Manhattan borough Community Emergency Response Teams as a volunteer and is a long-time community gardening and tenant advocate in the Harlem community.
Du’Bois A’Keen (choreographer), a true renaissance spirit and Georgia-Native residing in NYC, is a choreographer, dancer, singer and performer with the renowned performance ensemble and contemporary dance company Urban Bush Women. A’Keen has been with UBW since December 2014. During his time with the company he has toured both nationally and internationally; developing and performing in 3 world premier shows and is now UBW’s branding and marketing strategist. Aside from working with UBW, A’Keen has produced and premiered his own work on the Kennedy Center stages, been featured in the New York Times and Dance Magazines and jazz clubs throughout New York. When he is not performing A’Keen works as the CEO & Creative Director of A’KEEN BRAND, LLC a Creative Agency with an attached lifestyle blog and brand platform: ‘KEEN Thinking. He has had much success working across the industries of film, fashion, dance and music. A’Keen is an IFP Screen Forward Lab Fellow for the 2017 cohort and 2018 NYTV Featured Artist. While he works across many genres and industries as a producer, consultant and artist one of his main passions is dance. He is joining the Arizona Opera with his Operatic Debut as choreographer and guest artists of Charlie Parker’s Yardbird. With this new venture A’Keen looks forward to continued growth and success nationally and internationally, alongside his beautiful wife and life partner Camry Vonyae’ A’Keen.
Mezzo-soprano Taylor Raven is in her third-year of the Domingo-Colburn-Stein Young Artist Program at the Los Angeles Opera. This season, she sings Zweite Dame in the Kosky production of Die Zauberflöte conducted by James Colon. As a Filene Artist at Wolf Trap Opera she performed Rosina in Il barbiere di Siviglia and Concepción in L’heure espagnole. This season she made her Alice Tully Hall debut, with the American Symphony Orchestra for a concert of Bach arias. Upcoming engagements include a debut at the Lyric Opera of Chicago as Grimgerde in Die Walküre and Mother in Blue, as well as a debut at Finger Lakes Opera as Rosina in Il barbiere di Siviglia. In 2020-2021 she will make a role/house debut as Carmen at Opera San José and a house debut at Minnesota Opera as Angelina in La Cenerentola. In 2018-2019 Taylor made her Los Angeles Philharmonic debut as a soloist in the Hollywood Bowl, she appeared with the New West Symphony in Prokofiev’s Alexander Nevsky under Mikhail Agrest and made her Cincinnati Symphony Orchestra debut as a soloist in Mahler’s Das Klagende Lied. In 2017-18 Taylor performed with Wolf Trap Opera and the National Orchestral Institute Philharmonic, making a Naxos Classical recording of Bernstein’s Songfest conducted by James Judd. She is a recipient of a 2017 Sara Tucker Study Grant from the Richard Tucker Music Foundation and won 1st prize in the 2018 Loren L. Zachary competition.
Rachel Duval is an opera producer, public speaking coach, opera singer, and educator, based in New York City. She has been producing shows for Opera on Tap for two years, including The Mile Long Opera and the Virtual Playground Opera. She has performed at The Metropolitan Opera Guild, The Glimmerglass Festival, on Spanish National Television (TVE), and on ARTE television in Germany. A sought after consultant, Ms. Duval leads Vocal Expression workshops at The Cooper Union School of Engineering, and has worked with ConAir, Opera on Tap, Cantanti Project, Herbalife Nutrition, and Riverdale Country School. With a Bachelors of Music in Music Education from the University of Washington, Rachel has taught in Seattle, Barcelona, and New York as a classroom music teacher and private voice instructor. She holds a Diploma in Coaching from NYU, and lives in the Bronx with her partner and two children.
Joy Jan Jones is a versatile artist in high demand. She is an independent, multi-genre singer, instrumentalist, writer, producer, and model. NYC based, she has been featured at Carnegie hall, Lincoln Center, Rockwood Music Hall, and New York Fashion Week 2018, 2019, and 2020.Born and raised in Houston, Joy has a Bachelor of Music from Sam Houston State University and a Master of Music from the Crane School of Music at SUNY Potsdam. While in Potsdam she completed her graduate thesis and initial training in Music Therapy with special needs and autistic children. As a writing member of ASCAP, Joy is also Director of Music & Guitar at Camp Junior Feliz and Camp Mariah Carey, where she exclusively plans and participates in all music related activities at the Fresh Air Fund camps every summer since 2014. February 20th, Joy sang the National Anthem and Black National Anthem for Brooklyn Democratic Representative Hakeem Jeffries, honoring Vietnam war veterans in partnership with Black Veterans for Social Justice.
Victoria Davis (teaching artist), Soprano, is a recent Graduate of Mannes College of Music. She has been a featured soloist in many concerts and events including the Welcoming of the First lady of Russia with Michelle and Barack Obamaand the Kennedy Center’s Young Artist in America presentation. She had also participated in the Washington National Opera’s Juneteenth celebration as a soloist. Ms. Davis has been seen in the roles of Lady Billows in Albert Herring and Sändmanchen in Hänsel und Gretel in The Oberlin Opera theater. Ms. Davis is a proud alumni of Oberlin Conservatory where she studied with Soprano Marlene Rosen. Ms. Davis has been a recipient of many awards including the fifth place winner of Opera Ebonys vocal competition as well as a prize winner of the Premiere Opera Foundation’s vocal competition. Recently, Ms. Davis has been seen in the role of First Lady with Opera On Tap’s Playground Opera Program. She has also performed with the Masterworks Chorus as the Soprano soloist for the Brahms Requiem. In addition to that, Ms. Davis performed the title role in Puccini’s Suor Angelica with Opera Susquehanna in August of 2019. Victoria currently studies under former Metropolitan Opera Tenor Dan Marek. In addition to her vocal talents, Ms. Davis enjoys trying new recipes and writing poetry.
Benjamin Bloomfield, bass baritone, grew up outside of Concord, New Hampshire. He has covered at both the Met and New York City Opera, and has been a regular performer at Lorin Maazel’s Castleton Festival in Virginia. Other career highlights include performances in Munich, Oman, Hong Kong, and an historic first full performance of Schubert’s Winterreise in Sarajevo. He was a Regional Finalist in New York for the Met National Council auditions in 2007, and finalist for Chicago Lyric Opera’s Ryan Center auditions in 2012. His concert career includes performances at many of the great halls of New York, including Carnegie, Avery Fisher, and Alice Tully. He is especially known for his interpretation of Mozart’s Requiem, and has performed it internationally and with ensembles such as the Munich Symphony and the New England Wind Ensemble under conductors such as Phillipe Entremont and John Rutter. Ben currently lives in Berlin, and worked last season as a chorister with the Staatsoper Unter den Linden.
Víctor Hernández, began his career at 13 years of age with the teacher Dolores Oropeza Domínguez. He graduated with honorable mention for his excellent performance from the Faculty of Music of the Autonomous University of Tamaulipas and then decided to embark on the path to UNAM to perfect himself with maestro Arturo Rodríguez Torres. In his first years as a lyricist, he participated in works such as: Beethoven’s Ninth Symphony, Mozart’s Requiem, “The Magic Flute” by W.A. Mozart, Turandot and Giacomo Puccini’s Bohème within the Excpedia choir led by Mtra. Patricia Flóres Gómez. He has been directed by Juan Maldonado Martínez, Carlos Spierer, Enrique Patrón de Rueda, Lucy Arner, Guido Maria Guida, Marco Balderi, Eduardo García Barrios, Gordon Campbell, Jesús Medina, Rodrigo Macías, Ramón Shade, Alejandro León Islas, among others. On stage he has been directed by Miguel Lombana, Medardo Treviño, José Antonio Morales, Rosa Blanes Rex, Alonso Gutiérrez, Luis Martín Solís, José Solé, Leticia Lira, Leticia López, Joseph McClain, Juliana Faesler and Agnese Sartori.His broad vocal qualities allow him to tackle roles of great difficulty such as Ernesto de la Ópera Don Pasquale, Count Almaviva from the Barber of Seville, Le Comte Ory both by Rossini, to Des Grieux by Manon de Massenet, Il Duca de Rigoletto or Alfredo in La Traviata de Verdi. His teachers have been: Yvonne Garza, Heiner Hopfner, René Velázquez, Arturo Rodriguez Torres, Cesar Ulloa. Among his awards are: the 1st. place in the Francisco Araiza contest; the scholarship awarded by the INBA in the Carlo Morelli National Singing Competition, the “Pepita Serrano” award in the First International Singing Competition Sinaloa 2009 and the latter opens the doors to enter SIVAM. He has been selected on several occasions to represent Mexico in the most important competitions in the world: Il Concorso Internazionale di Canto directed by the renowned tenor Marcello Giordani, La Competizione dell´Opera, the Neue-Stimmen directed by the great Francisco Araiza and Operalia. In 2011 he traveled to Shanghai representing Mexico offering a series of concerts for the World Expo, in turn he performed in the Mexican Republic, as well as New York. He made his debut at the National Palace of Fine Arts with the national premiere of the Opera “Die Frau ohne Schatten” by Richard Strauss, as well as at the National Auditorium with the cantata: Carmina Burana, being the first Tampico tenor to perform in both artistic venues.
Bass-Baritone Javier Ortiz has portrayed twenty-seven leading and supporting opera roles and appeared as a soloist in fifteen major orchestral works. Mr. Ortiz has been engaged as a Resident Artist at Opera North, Opera Studio Nederland, Sarasota Opera, and New Jersey Verismo Opera and regularly appears as a guest artist in both opera and concert works with many regional orchestras and opera companies in a varied repertoire. Internationally, he has performed in a concert of duets and arias at Amsterdam’s famous Concertgebouw, sung a duet from Verdi’s La Traviata for the 25th Anniversary Jubilee of The Netherlands Opera’s residence in the Muziektheater, appeared as Sarastro in a concert version of Mozart’s Die Zauberflöte with the Amsterdam Symphony Orchestra, and participated in the Rotterdam Opera Days in both solo recital and in the role of Colline in Puccini’s La Boheme. He also performed a recital in the foyer of the Muziektheater in Amsterdam for their 2012 spring concert series. Recently, Mr. Ortiz has toured Mexico with the Chicago Arts Orchestra as the bass soloist in Al Combate by Ignacio Jerusalem in celebration of the 10th anniversary of the Universidad Nacional Autónoma de México’s campus being designated as a UNESCO world heritage site and appeared as Sprecher in Die Zauberflöte with Connecticut Lyric Opera. Mr. Ortiz began the 2018 season at Opera Southwest in the role of Narciso in the world premiere of Héctor Armienta’s Bless Me, Ultima, based on the famous novel by Rudolfo Anaya. He also performed the bass solo in the southwest premiere of Christopher Tin’s The Drop that Contained the Sea and portrayed both Masetto and the Commendatore in a condensed and updated off-Broadway version of Don Giovanni in New York City.
Glen Heroy’s performance career started during the Kennedy administration at age 4 in a production of Shirley Jackson’s The Lottery. At age 12 Glen became a professional clown with the Issac A Van Amberg Circus, and at 14 studied and performed on scholarship with the Ulster Ballet Company. After working with the Big Apple Circus as a supervisor and clown in their Clown Care Program at Memorial Sloan-Kettering Cancer Center, Glen then toured from 2008-2009 in the Big Apple Circus’ 31st production titled Play On, and was a featured subject in the documentary CIRCUS on PBS. Glen spent 6 summers as a Clown in Residence at Paul Newman’s Hole In The Wall Gang Camp, and currently is a member of the teaching faculty at the American Clown Academy in Forsyth, GA. 2020 marks Glen’s 40th year portraying Santa Claus in and around NYC, including 12 years at Macy’s Santaland, and as the on-air commercial Hess Truck Santa in 2012. Glen is one of New York’s most prolific tribute artist/lookalikes with impersonations including Elton John, Ozzy Osbourne, The Dude, Dame Edna, WC Fields, Oliver Hardy, and others. Most recently Glen Is a host at The Slipper Room, and is a vocalist and spoon player with The Jazz Bastards. He was also once the dead guy on Law & Order.
Anne Hiatt is the co-founder and General Director of the national organization Opera on Tap, which has the mission of bringing opera to new audiences by taking it to places where people least expect to experience it. She is the executive producer of the world’s first VR/AR, live and site specific opera series, PARKSVILLE, the pilot of which won ‘Best VR Video’ at the NYC Indie Film Festival in May 2017 and premiered online as featured content on SamsungVR, October 2017. With over 12 years of experience in non-profit management, development and opera production, she currently oversees the programs, and operations of 25 Chapters of Opera on Tap across the nation and world and has acted as executive producer of Opera on Tap’s major new works programs since 2012. She currently oversees the development of The Immersive Opera Project which marries opera and tech industry partners in the creation of new immersive works of opera utilizing immersive technologies. Under Anne’s leadership, Opera on Tap has grown into a large national network of artist-entrepreneurs, performers, creators, supporters and audiences. It has gained international recognition as an innovative force on the classical music scene with features in such media outlets as The NY Times, NPR All Things Considered, The Wall Street Journal, NY1, USA Today, NHK/ Japan National Public TV, Tagesspiegel, The NY Daily News, WNYC, Boston Globe, Chicago Today, Chicago Reader, the LA Times, LA Weekly, and Seattle Weekly among many others.
About Opera on Tap
HISTORY Opera on Tap (OOT) was born in 2005 at Freddy’s Bar and Backroom in Brooklyn and incorporated in 2007 to promote opera as a viable, living and progressive art form and to support the developing artists who continue to keep the art form alive. Founded in 2006 and incorporated in New York in 2007, OOT is a Brooklyn-based organization that has blossomed into a national organization with 27 vibrant Chapters across the nation and Europe. What began as a small monthly gathering of ambitious, classically trained singers looking for more performance opportunities, has grown into a producing organization that has gained a loyal audience base and national recognition as an innovative force on the classical music scene. Currently OOT presents 4 programs: The Playground Operas, The Theme of the Month Series, New Brew, and the Immersive Opera Project.
MISSION Expose new audiences to opera and classical music by taking opera and classical music out of the concert hall and performing it in alternative venues
VISION Making the drama, beauty, and exhilaration of opera truly accessible to diverse communities around the world.
To learn more…
Opera on Tap Boston has built a dedicated website to share events and more information on their roster. You can check it out here: operaontapboston.com
Love in the Time of COVID-19 An Apocalypse Cabaret
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