Amid the splendor of the Pharaohs, Verdi’s Aida creates a love triangle for all time. Ripe with the complexities of loyalties and jealousies during a time of war and conquest, two strong women test their fate to win the man whom they both love. Verdi’s vivid music, along with grand opera’s costumes and sets make this production an experience with all of the best that opera offers. Alexandra Lobianco has a beautifully
steely voice.” – ST. LOUIS POST-DISPATCH
Sung in Italian with English and Spanish subtitles at every seat.
Meet the Artists
Ari Pelto | Conductor
In May 2013, Opera Colorado appointed Ari Pelto as Artistic Advisor. Conductor Ari Pelto is in demand at elite opera houses, ballets, symphonies and conservatories throughout the United States. After his highly praised 2004 début at New York City Opera with Verdi’s La Traviata, Pelto was engaged as a regular guest there, returning for Madama Butterfly, Jennifer Griffith’s The Dream President, La bohème and Carmen. Recent highlights and upcoming opera house engagements include La bohème with the Opera Theatre of St. Louis and the St. Louis Symphony, The Cunning Little Vixen at Chautauqua, Rusalka and La bohème at Boston Lyric Opera, Romeo et Juliet at Minnesota Opera, The Magic Flute, Figaro and Hansel and Gretel at Portland Opera, as well as Carmen and Hansel and Gretel at Utah Opera. He has also been a regular guest conductor of the Atlanta Ballet. In 2012, he collaborated with Twyla Tharp on the premiere of her new ballet, The Princess and the Goblin. Pelto has conducted operas of Mozart and Stravinsky at the Curtis Institute of Music, Gluck and Mozart at the Juilliard School, Puccini and Massenet at San Francisco Conservatory, and Stephen Paulus and Raffaello de Banfield at the Manhattan School of Music. At the Oberlin Conservatory, he has led works of Mahler, Mozart and Poulenc, and at New York University, works of Sibelius, Brahms, Dvorak and Martinu. He has also conducted in Italy, Germany and Bulgaria. Pelto studied violin performance at Oberlin and conducting at Indiana University.
David Gately | Director
Stage director David Gately is known for his vivid story-telling and lively and clever productions. Last season his concert staging of Angels in America with the BBC Symphony Orchestra was praised for being “brilliantly resourceful” (This Is London) and it was reported that “Gately’s dynamic semi-staging made a strong argument for a full production of Angels.” (The Independent) Recent productions of note include his direction of L’Elisir d’Amore with Dallas Opera, Madama Butterfly with Seattle Opera, La Bohème with Florida Grand Opera, Carmen in New Orleans, Les Contes D’Hoffman in Edmonton, Die Zauberflöte with the Cincinnati and Vancouver Operas, A Midsummer Night’s Dream with both the Florentine Opera and Glimmerglass Opera, Falstaff with Opera Omaha and Rigoletto with Utah Opera. His hugely successful “wild west” production of Don Pasquale, which was most recently hailed as a “contemporary classic” by The Denver Post, has been mounted by San Diego Opera, Kentucky Opera, Opera Colorado, Calgary Opera, Chautauqua Opera, Virginia Opera, Dayton Opera, Canadian Opera Company, Opera Omaha, Edmonton Opera and the Fort Worth Opera.
Alexandra LoBianco* | Aida
American soprano Alexandra LoBianco has been hailed as possessing “a true Verdian voice of velvet-covered steel,” capable of “effortlessly tossing off trills and roulades” (St. Louis Post-Dispatch). She has been awarded First Prize in the 2013 Altamura International Vocal Competition and was named a First Prize winner of the William Sullivan Foundation 2013 Awards. Since earning first prize at the 2011 Liederkranz Vocal Competition, and taking first prize and being named “Audience Favorite” at the 2011 Irene Dalis Competition, she has continued to win praise whenever she performs. San Francisco Classical Voice noted her “lyrical-to-heroic range,” calling to mind “the ease and magnetism of a young Monserrat Caballe.” LoBianco’s 2013-14 engagements currently include her Opera Santa Barbara debut as Magda Sorel in Menotti’s The Consul. In 2012-13 she made her European debut in a Verdi concert in Zürich, sang Amelia in Un ballo in maschera with Madison Opera and was soprano soloist in Rachmaninoff’s The Bells with Madison Symphony, also with Madison Opera’s summer “Opera in the Park” concert series. As a devoted arts educator, she has been a teaching artist, adjudicator and voice teacher, and has mentored thousands of students.
Carl Tanner* | Radames
American tenor Carl Tanner begins the 2013-14 season as Radames in Aida at Pittsburg Opera, a role he previously sang at the Metropolitan Opera, Staatsoper Hamburg, Bayerische Staatsoper Munich, Edmonton Opera, Deutsche Oper Berlin, Semperoper Dresden and with the Minnesota Orchestra. He travels to Washington National Opera to make his debut in the role of Captain Ahab in Moby Dick and later returns to England’s Grange Park Opera to appear in the title role Peter Grimes in a new production, and also to revive the role of Hermann in Pique Dame, a role he inaugurated with great acclaim last season. Future season appearances include return engagements at the Metropolitan Opera and at London’s Royal Opera House. Recent successes include Dick Johnson’s La Fanciulla del West at Opéra Royal de Wallonie in Liege, and Cavaradossi in Tosca at Deutsche Oper Berlin, a role he previously sang at the New National Theatre in Tokyo, at the Greek National Opera and in his debut at the Royal Opera House. He opened the Metropolitan Opera’s Aida to great public and critical acclaim, and travelled to the United Kingdom to make his debut as Hermann at Grange Park Opera. Other highlights of his career include his appearance in the title role Samson et Dalila with Olga Borodina in Amsterdam at the Concertgebouw, a role he later sang at Washington National Opera with Placido Domingo on the podium.
Catherine Martin* | Amneris
Young mezzo-soprano Catherine Martin has been praised for her “gorgeous warm voice” by The Washington Post as she makes an impact in repertoire ranging from Verdi and Wagner to Mozart and Donizetti. She was recently seen reprising her role of Amneris with Opera Santa Barbara in which the LA Times said “Martin’s Amneris took on enough depth of feeling to ultimately make her the standout of the performance.” In addition, she was invited to bring her celebrated Amneris to the stage of Houston Grand Opera when she filled in for an indisposed artist this past fall. The 2013-2014 season includes returns to Houston Grand Opera as Wellgunde in Das Rheingold and the Glimmerglass Festival as Der Komponist in Ariadne auf Naxos, debuts at the Kennedy Center with Washington National Opera as Mary in the premiere of The Lion, the Unicorn and Me, as well as joining the National Symphony Orchestra singing Annina, covering Octavian in Der Rosenkavalier and performing Schubert’s “Mirjams Siegesgesang” with the San Antonio Symphony. Future seasons include a debut with the Dresden Staatskapelle. Martin spent three seasons performing with the Houston Grand Opera Studio.
Marco Nisticò* | Amonasro
Italian born baritone Marco Nisticò’s impressive combination of beautiful tone, exquisite artistry and superior stagecraft has delighted audiences throughout North America, South America and Europe. Praised as a performer of “gravitas, unforced eloquence, and refined vocalism” by the Classical Review, Nisticò has become a widely-sought singing actor for both comedic and dramatic roles. In 2013-14 he returns again to the roster of the Metropolitan Opera for the premiere of Nico Muhly’s Two Boys, sings Dulcamara in L’elisir d’amore and Dancairo in Carmen with Teatro dell’ Opera in Rome, and returns to Sarasota Opera as Figaro in Il barbiere di Siviglia. His 2012-13 season included his return to the Metropolitan Opera as Le Dancaire in Carmen, the title role of Rigoletto with Sarasota Opera and Montfort in Verdi’s Les vêpres siciliennes in a return to the Caramoor Festival. Recent highlights include his return to Sarasota Opera to sing Sharpless in Madama Butterfly and to Opera New Jersey to sing Di Luna in Il trovatore. Other highlights include returning to the Metropolitan Opera for Carmen and La traviata, Dulcamara in L’elisir d’amore in a return to New York City Opera, Germont in La traviata with Opera de Puerto Rico and Figaro in Il barbiere di Siviglia with Opera New Jersey. Recent European engagements include Dulcamara with Landestheater Bregenz and Guglielmo in Così fan tutte with Teatro Regio Torino.