Martina Arroyo Foundation Presents Its Thirteenth Annual Gala

On the evening of Monday, November 13th, the Martina Arroyo Foundation held its 13th Annual Gala at the JW Marriott Essex House in New York City. Martina Arroyo’s great appeal not only makes it an occasion of great singing but also has outreach to Broadway and fashion as well. It truly is a night that both glitters and sings!

Gala Host Terrance McKnight. Photo by 8salamander productions

Terrance McKnight was the excellent host and is known through his unique charm hosting classical music on WQXR radio and his Langston Hughes program “I, Too, sing America.” He is a producer of several music programs for public radio and is also an esteemed professor at Morehouse College. In 2010, he was honored with an ASCAP Deems Taylor Radio Broadcast Award.

Honorary Gala Chair, the exuberant Andrew Marin-Weber, resplendent in his festive floral jacket, kept an eye on the fabulous bustling crowd while pianist Eric Yves Garcia played beautiful romantic music for the guests.

Honorary Gala Chair Andrew Martin-Weber
& Choreographer Tommy Tune. Photo by 8salamander productions

Martina Arroyo was escorted to the stage where she thanked all for attending and mentioned the sad passing of Joan Krueger “2004 Coach of the Year” which was noted in the beautiful souvenir program.

The first honoree was famed bass-baritone James Morris who recently sang his 1,000th performance at The Metropolitan Opera. Mr. Morris was introduced by Gala Chair Garry Spector who described Morris’s long career and friendship with Martina Arroyo. His performances in Verdi, Puccini and Wagner are legendary and his debut in Aida in 1973 placed him with Martina Arroyo as Aida. They go back far but remain near. Mr. Morris studied with the great American soprano, the immortal Rosa Ponselle. She made her debut at age 22 with Enrico Caruso and Giuseppe De Luca at the Metropolitan Opera in 1919 in Verdi’s La Forza del Destino. James Morris spoke eloquently of Martina Arroyo and her extraordinary work on behalf of young singers of today through her Prelude to Performance series. Mr. Spector was an energizing host with knowledge and humor and with a special affinity towards his formidable and kindly subject.

Soprano Ailyn Pérez, Bass-Baritone James Morris,
Dancers Chita Rivera & Tommy Tune. Photo by 8salamander productions

The second award went to soprano star Ailyn Pérez. Ms. Pérez was hailed by the New York Times as “a beautiful woman who commands the stage and she is a major soprano.” Ms. Pérez humbly accepted her award from board member Gary Spector and appeared to be ready for her great future. She spoke of “time being of the essence for a career and being in the right place at the right time.” She has the beauty of Rita Hayworth and the voice of an angel and one wishes to have been present at her La Scala debut as Violetta in La Traviata and her peerless Mimi in La Bohème. Her Liu in Turandot at the Royal Opera in London and her Thais and Juliette at the Metropolitan Opera were ambrosia to fans thirsty for such a sumptuous sound coming from an oasis of Latina beauty. Ms. Pérez is a Chicago native, the daughter of Mexican immigrants. Her album debut is “Poeme d’un jour” a program of French and Italian songs on Opus Arte label. She was a winner of the Richard Tucker award in 2012, the only Hispanic to do so in 35 years.

Two Prelude to Performance artists sang. Rising soprano Jessica Sandidge sang “E strano …Ah, fors’ è lui” and “Sempre libera” from La Traviata by Giuseppe Verdi. Ms. Sandidge reminded one of several stunning Violetta’s at the Met Opera decades ago including Mary Costa and Anna Moffo and television’s Marguerite Piazza who were blessed with beauty, stage presence and voice. She sang with lyric charm and dramatic coloring and nailed the high note in “Sempre libera.” Her excellent accompanist was Maestro Steven M. Crawford who has conducted several New York City premieres including A Chekhov Trilogy by composer Richard Wargo. Mr. Wago is also curator of the Marcella Sembrich Museum on the banks of Lake George in upstate New York.

Bass DeAndre Simmons & Soprano Jessica Sandidge.
Photo by 8salamander productions

Mr. McKnight then introduced bass DeAndre Simmons, who sang “Il Lacerato Spirito” from Verdi’s Simon Boccanegra accompanied by Maestro Steven M. Crawford. Mr. Simmons has earned a reputation worldwide for his vocal appearances including singing for royalty, U.S. Presidents and Pope John Paul II. The aria is mighty and imposing. Mr. Simmons’s voice is currently a bit too high for this majestic undertaking. If he waits several years his basso will darken further. Perhaps “Non piu Andrai” from The Marriage of Figaro would have shown him at his very best. Nonetheless, DeAndre Simmons’s voice, personality and spirit are there in abundance and his stage presence is most ingratiating.

A delicious steak dinner was served followed by a “live” auction hosted by auctioneer Katie Jacobs who has been benefit auctioneer for Christie’s Auction House since 2007. She is also a wine connoisseur and manages Christie’s luxury online auctions globally from wines to jewelry and watches. Who could resist two tickets for Hamilton, lunch for six at Martina Arroyo’s house, beautiful jewelry or a week-long trip to London?

Martina Arroyo presented the Michel Maurel award, named after her late husband to Martin L. Jeiven. The Martina Arroyo Foundation thanked Marty Jeiven and Anatoli Jewelry for their generous donation to The Martina Arroyo Diva Jewelry Collection.

Graciela Daniele made the presentation to honoree, famed dancer/choreographer Tommy Tune. Tommy Tune has won Astaire awards, Tony awards and is truly a Broadway legend. Despite his height, tall Tommy can “float like a butterfly” and is a Ferrari on his feet! He accepted his award and told the audience that he has always been an opera fan and saw LULU three times as a novice! He mentioned a dinner he had early in his career with the great actor Sir Laurence Olivier who tried to answer the gnawing question, “Why do we do what we do? Is it narcissism? Whatever it is – it’s all alright!” Tommy then praised Martina Arroyo for all she has done and continues to do in helping young singers achieve their operatic goals.


Choreographer Tommy Tune, Met Opera Soprano Martina Arroyo, Dancer Chita Rivera. Photo by 8salamander productions

Graciela Daniele introduced the next honoree, the legendary Chita Rivera. A double dose of “something wonderful.” Ms. Rivera told the audience how her parents encouraged her in her dancing in Puerto Rico leading to her career in Call Me Madame and Nine with Antonio Banderas and West Side Story. She met composer conductor Leonard Bernstein who asked her to sing and he chuckled at her efforts. She exclaimed, “after all NOT all dancers can sing” but she did O.K. Her fabulous career on stage and in film has led to many awards and adventures and to the Presidential Award of Freedom in 2009. Her comments “God has been very good to me” are a reflection of her inner spirit which gives her super grit and talent with a reflective and humbling edge!

Tommy Tune and Chita Rivera are touring with their show “Chita and Tune.” Ms. Daniele, a famed choreographer who venerates both legends, told the audience her own love of theatre combined with luck, gave her all she wanted in her notable career.

Terrance McKnight made his closing remarks and introduced the great jazz saxophonist & clarinetist Paquito D’Rivera with Daniel Freiberg accompanist. Paquito’s ensemble which featured cellist Jisoo Ok, bandoneonist Hector Del Curto and his eight year old son Santiago Del Curto, a clarinet player, who performed with enthusiasm and played royally. Paquito is a composer of some enchanting jazz compositions and his heart, generous personality and inspired spirit can liven up any party. Brio Latino! Ole!

Cellist Jisoo Ok, Bandoneonist Hector Del Curto, Clarinet Santiago Del Curto, Clarinet/Saxophone Paquito D’Rivera. Photo by 8salamander productions

The great lady herself, Martina Arroyo appeared, resplendent in regal purple attire who always sends her greetings to her Brooklyn Eagle (Discovery) admirers. Her Dad Demitrio worked as an engineer at the Brooklyn Navy Yard to help her succeed in her operatic yearnings. Despite fine dining since then, Martina’s memories of hot dogs at Ebbets Field with her Dad still pop up and entice!

It was nice to meet and greet so many friends and acquaintances. Mark and Sadie Rucker, the dynamic duo who always make the world seem brighter, through his glorious baritone and her pianistic accompaniment and their efforts towards making Prelude to Performance the wonderful success that it has become.

Met Opera Mezzo Soprano Susan Quittmeyer-Morris,
Met Opera Baritone Mark & Pianist Sadie Rucker. Photo by Judy Pantano

Also great to greet Gala Producer the sparkling Norena Barbella and Deborah Surdi, Administrative Director from the Gala Committee (Deborah is from my old neighborhood of Bensonhurst, Brooklyn) who made this an exciting event.

Pianist Eric Yves Garcia & Gala Producer Norena Barbella. Photo by Judy Pantano

At our table was Stephen De Maio, esteemed Advisory Board member and much respected President of the Gerda Lissner Foundation, the formidable Michael Fornabiao, Treasurer of the Gerda Lissner Foundation, Eve Queler, great Maestro from The Opera Orchestra of New York, ever charming Gloria Gari from the Giulio Gari Foundation and Gari Treasurer Lud Mayleas as well as enchanting fellow opera enthusiasts Louise Simmons and Robert Funk. It was nice to chat with the radiant Advisory Board Member Midge Woolsey and her husband economist Dr. Juergen “Jerry” Stolt, Opera Index Treasurer and Broadway investors Murray Rosenthal and composer Philip Hagemann, Opera Index Vice President Janet Stovin, also from Opera Index Robert Steiner and Faith Pleasanton, Career Bridges glamorous couple Barbara Meister Bender and husband David, opera manager Robert Lombardo, financial consultant and excellent chef Paolo Petrini, Anthony Laciura Met Opera tenor, actor and fellow Sicilian, poet scholar Cavaliere Dr. Edward Jackson and fellow writer the esteemed Meche Kroop.

The Martina Arroyo Gala is among the treasures of New York. It is now a wonderful memory and if we ever have a “dull” moment, Judy and I will pause and remember the fun! We “honeymooned” at the Essex House in 1966 and we add more golden memories at the Martina Arroyo Gala in 2017.

We thank everyone who made this gala so outstanding and of course, the great and radiant Martina Arroyo truly “the hostess with the mostest!”

 

The Martina Arroyo Foundation Presents Die Fledermaus in Prelude to Performance

On the evening of Friday, July 8th at the Sylvia & Danny Kaye Playhouse at Hunter College in New York City, the Martina Arroyo Foundation presented Johann Strauss Jr.’s (1825-1899) opera Die Fledermaus with a libretto by Karl Haffner and Richard Genee. The name of the Playhouse honors the actors and talented husband and wife team of Brooklynites Sylvia Fine and Danny Kaye and is located at 68th Street between Park and Lexington Avenues.

Die Fledermaus premiered in Vienna in 1874 and has been delighting audiences ever since. Like Franz Lehar’s The Merry Widow, the work is a comfortable fit in the opera house because it’s arias and ensembles are captivating and vocally adroit as well. The young promising singers who are chosen, undergo six weeks of intense study plus a stipend and get a chance to perform with full orchestra and chorus in a staged and costumed production before a live audience. This year is the 12th season of this acclaimed series and includes two performances each of Puccini’s tragic La Boheme and the delightful Die Fledermaus by Johann Strauss, Jr. A bit of trivia-Famed tenor Enrico Caruso appeared in the party scene of Die Fledermaus at the Met on February 16, 1905. Famed “diva” Florence Foster Jenkins loved to sing Adele’s “Laughing Song” in recital and recorded it for posterity.

The opera is also called The Revenge of the Bat recalling an incident after a masquerade party when Dr. Falke placed Eisenstein on a park bench to sleep it off, in a full bat costume, holding him up to public ridicule. Dr Blind, Eisenstein’s bumbling lawyer got Eisenstein an eight day jail term instead of the original five days for an altercation with a policeman. Falke invites his friend Eisenstein disguised as Marquis Renard to a lavish party thrown by the bored Russian Prince Orlofsky, where Eisenstein’s wife Rosalinde, disguised as a Hungarian Countess will attend. Adele, their maid, as Fraulein Olga, will also be there as an aspiring actress. Frank the prison warden is Chevalier Chagrin and will take Eisenstein to the party since Alfred, Rosalinde’s suitor, was mistaken for Gabriel von Eisenstein and taken to prison. All’s well that ends well as this time it is the Champagne who is the culprit.

Eisenstein & Adele & Chorus. Photo by Jen Joyce Davis
Eisenstein & Adele & Chorus. Photo by Jen Joyce Davis

Alfred, the pompous testosterone pressed tenor was played by gifted tenor Spencer Hamlin whose impressive singing of “Drink my darling” plus a snippet of “La donna e mobile” from Rigoletto and a thunderous “Vincero” from Turandot dazzled the ear. His comedic flair was right on the mark and he did not “overplay” his part as the”Italian” tenor.

The Adele of Shana Grossman was enchanting. Her singing of “The laughing song” (“Look at how I look”) and “Oh for the life of an actress” in the final act showed a radiant coloratura soprano of piquant quality, fine trills and a effortless “upper extension” to her voice.

The Rosalinde of Haley Sicking was a delight. Her generous and ample soprano and ironic touch was well used in the first act trio “Oh goodness me, what calamity, catastrophe” and her duet with Alfred “Here we are just you and I.” Ms. Sicking was truly compelling in “I hunger for my Hungary” in the aria “Echoes of Hungary” in the second act. Her vocal pyrotechnics rivaled Grucci’s 4th of July fireworks with cadenzas, strong coloratura and a held final note that stirred whatever gypsy is in my DNA. A truly bravura performance.

Rosalinde with fan & Chorus. Photo by Jen Joyce Davis
Rosalinde with fan & Chorus. Photo by Jen Joyce Davis

Gabriel von Eisenstein was in the dashing persona of Jonathan Tetelman whose vibrant tenor kept peeking through as the sun behind a baritone cloud. His stroll in this tenorial terrain was perfectly negotiated and he shined in duet and ensemble.”O goodness me, oh gracious me what calamity” and his disguising himself as Dr. Blind was adroitly done. He has a robust sound, dark hued and baritonal but a free top which dominated in duet. He suited the part like an elegant glove that fit perfectly!

Dr. Blind was in the hands of tenor Joseph Sacchi. Despite the comedic wavering and posturing of the character one could hear a fine tenor and a singing actor of real quality. As Hamlet said, “do not saw the air with your hand too much.” Sacchi was not the stuttering overwrought frustrated character that is the usually Dr. Blind. In this instance, less was more.

Dr. Falke was brought to mischievous life by Thaddaeus Bourne whose rich baritone was exciting in the duet with Eisenstein. Bourne’s sentimental and beautiful singing with the artfully blending chorus of the brotherhood song telling one and all to love and address each other using the familiar “du” rather than the formal sie form. The melody accelerates and the mood becomes poignant and powerful.

Frank the jail warden, was in the charming hands of Paul Grosvenor who not only is the possessor of a warm ingratiating basso but has a sense of the debonair that proved exhilarating. His singing of “Jail can be a pleasant place to spend a little time” was deliciously droll.

Ida was in the perky persona of Chelsea Bonagura whose sensual mezzo and buoyant ballerina lit up the stage.

Prince Orlofsky was sung by Hongni Wu whose mezzo sparkled like the Champagne she advocated. Her powerful singing of “Chacun a son gout” with its leaps and jumps showed how fearless and flawless her dark mezzo was. Her sparkling singing of “Here’s to Champagne – the king of all wines” ended the operetta on a brilliant note.

Prince Orlofsky & Chorus. Photo by Jen Joyce Davis
Prince Orlofsky & Chorus. Photo by Jen Joyce Davis

Frosch the jailer was played by Steven Mo Hanan who as guest artist proved himself to be a very unusual character. He was a funny drunk-never vulgar and his Harpo Marx, Jack Gilford quality made him an eternal innocent even as a skirt chasing imbiber. His monologue and dialogue (in English) to the audience was intimate and amusing.

The conductor was Maestro Steven M. Crawford. The overture was a wonderful appetizer for the musical feast to follow. Crawford’s brisk tempi and understanding of the Viennese style assured us of an evening of immense pleasure. The 30 excellent musicians were the best. The sets were evocative of more opulent and fun loving times. The chorus under Assistant Conductor Noby Ishida was excellent, especially in the Brotherhood singing in the second act. Charles R. Caine’s costumes were colorful and evoked the Viennese era brilliantly.

The final mood this production left one with was twilight. Like the end of an era so what can sometimes be played out as broad comedy can also be interpreted as a more subtle end of innocence. One left the theater nostalgic for the fun and escapades but remembering always the song of brotherhood at party’s end.

The performance in three acts was flawlessly sung and spoken in German. Plaudits to German Coach Vera Junkers. Gina Lapinski’s stage direction was clever and precise, while April Joy Vester, Set Designer gave us glitter and sparkle. The English super title operator by Lisa Jablow and titles by Brett Findley were most helpful.

Our host for the evening was Stephen De Maio, President of the generous Gerda Lissner Foundation along with Karl Michaelis trustee and patron and opera lovers Mario Cesar Romero and soprano-agent Eva de la O. We also greeted the effervescent Rebecca Paller from the Paley Center for Media.

We were happy to meet and greet such movers and shakers as Met baritone Mark Rucker who coaches and assists the awardees and his wife Sadie who is in charge of publicity and is coach and accompanist to her husband. A page in the program is “In honor of Dolarita and Olney K. Rucker and all parents who help young artists realize their dreams.”

It is always a joy to greet the great lady herself, the founder of the feast and Earth mother to so many, Kennedy Center awardee and legendary Met opera soprano Martina Arroyo. We are aware that Martina’s parents Demetrio and Lucille were so supportive of their talented daughter. Her Dad Demetrio worked as an engineer at the Brooklyn Navy Yard to support their family and pay for her musical education. Mme. Arroyo always has gentle humor, a ready smile and “high hopes” for talented opera singers in the future. Indeed famed tenor Richard Leech told the audience requesting support quoting playwright Moliere “Of all the voices extant-opera is the most expensive!”

We left the Sylvia & Danny Kaye Playhouse with memories of the tuneful score and visions of the magnificent waltzes of Johann Strauss, Jr. and dancing by choreographer Abdul Latif and we thank the Martina Arroyo Foundation Prelude to Performance and its splendid young singers and staff for giving us a respite from all the worlds problems with the healing power of the music, melody and mayhem of Die Fledermaus! Bravo to all!

Opera Soprano Legend Martina Arroyo Photo by Jen Joyce Davis
Opera Soprano Legend Martina Arroyo
Photo by Jen Joyce Davis

Martina Arroyo Foundation Celebrates its 11th Annual Gala

The Martina Arroyo Foundation on Monday, November 16th celebrated its 11th Anniversary of Prelude to Performance. The gala was held at the JW Marriott Essex House in New York City. This was a night to remember, when the worlds of music and fashion merged to form a special magic with an excitement of its own.

Soprano legend Martina Arroyo & Fashion Designer Joanna Mastroianni Photo by Jen Joyce Davis
Soprano legend Martina Arroyo & Fashion Designer Joanna Mastroianni. Photo by Jen Joyce Davis

Brian Kellow, Features Editor of Opera News and bestselling author and radio WQXR evening’s host Terrance McKnight, lent their abundant charm as co-hosts and introduced many distinguished guests in the audience. Gala Producer Midge Woolsey led us in a brief moment of silence for the victims of Paris. The Michel Maurel Award was given to Ernst Rieser, longtime friend, adviser and personal assistant to Mme. Arroyo. Martina Arroyo looking resplendent in a burgundy gown presented the award named after her late much loved  husband.

Martina Arroyo also presented an award to honored guest,Artistic Director Ted Sperling of MasterVoices (formerly The Collegiate Chorale). He then conducted the chorale in a brief magical piece from Purcell’s Dido and Aeneas with angelic purity of tone.

The operatic portion then began with “The Flower Duet” from Madama Butterfly by Giacomo Puccini. Brandie Sutton, soprano and Hyona Kim, mezzo blended their voices beautifully. Ms. Sutton is a soprano of radiant promise. Ms. Kim’s majestic mezzo mellowness was alluring. Akari Weintzen was an adorable “Trouble,”(Butterfly and Pinkerton’s child) and performed her tasks with deft professionalism. This was a poignant segment beautifully done. Their tossing of the blossoms to prepare for Pinkerton’s arrival melted the heart.

Jennifer Rowley, sang “Pace, Pace, Mio Dio from Giuseppe Verdi’s La Forza del Destino. Ms. Rowleys  opening note was held seemingly forever reaching fortissimo and then diminishing to a whisper. A true Verdi soprano, Ms. Rowley went from strength to strength as if combating the caprices of destiny with prayerful defiance. Her “Maledizione’s” were individually spine chilling. Jennifer Rowley made a successful Metropolitan Opera debut as Musetta last year.

Dinner was served and the program continued with international rising tenor Michele Angelini, who was born in Brooklyn-why not? So were legendary tenor Richard Tucker and baritone Robert Merrill. Angelini thrilled us with a powerful interpretation of “Ah! mes amis” from Donizetti’s La Fille du regiment. The 9 high “C’s” were hammered out with insouciance, grit and charm.

Sadie & Met Opera Baritone Mark Rucker  Photo by Jen Joyce Davis
Sadie & Met Opera Baritone Mark Rucker Photo by Jen Joyce Davis

Brian Kellow then presented an award gift to Greek born Joanna Mastroianni whose fashion collections reflect her sense of style and elegance. A brief film was shown of her designs accompanied by the haunting voice of Maria Callas singing “Eben” from Catalani’s La Wally.

An auction followed with a real auctioneer-Angelo K. H. Chan! Some of the auction gifts were: a week in the Palais de Paris dans Le Marais, tenor Michele Angelini for an evening of singing, famed Italian Parisian chef Paolo Petrini for a private dinner for eight, and a “poker” night with Martina Arroyo, Marilyn Horne and Tyne Daly were among the highlights!

The Act Two lesson scene from La Fille du Regiment was then performed. Claire Coolen used her saucy soprano and comedic timing and versatility with humor and elan. Karolina Pilou used her dark, plummy and pliable mezzo with great aplomb along with Michele Angelini’s exciting tenor and Jacopo Buora’s resonant bass baritone, put them in a pot and a brilliantly funny brew ensues!

After coffee, tea and desserts and closing remarks from Brian Kellow and Terrance McKnight an “extra dessert” followed. Soprano Cecilia Violetta Lopez, who caused a sensation as Violetta in Prelude to Performance in 2014, sang the “Csardas” from Johann Strauss’ Die Fledermaus. Ms. Lopez‘s flourishes, scales and exciting coloratura took us on a roller coaster ride that ended with a sustained high note and brought down the house. It was a rousing finale from a young and gifted singer. The exceptional accompanists were Lloyd Arriola and Noby Ishida.

Metropolitan Opera baritone Mark Rucker who coaches the awardees, and his wife Sadie (Publicity) have given their all since the conception of Prelude to Performance and deserve great kudos.

Composer/Singer Rufus Wainwright with fashion designer Joanna Mastroianni, Judy & Nino Pantano. Photo by Jen Joyce Davis
Composer/Singer Rufus Wainwright with fashion designer Joanna Mastroianni, Judy & Nino Pantano. Photo by Jen Joyce Davis

Our table was graced by Gerda Lissner President Stephen De Maio with Board of Directors   Michael Fornabaio, Karl Michaelis, Joyce Greenberg, also Gloria Gari from The Giulio Gari Foundation, Maestro Eve Queler, Robert Lombardo famed vocal agent, soprano Barbara Ann Testa vocal judge, Cavaliere Edward Jackson, and we greeted F. Paul Driscoll, Editor of Opera News, Sachi Liebergesell, President of the Licia Albanese–Puccini Foundation, Murray Rosenthal from Opera Index, Maestro Stephen Phebus and Linda Howes were also present.

Tenor Michele Angelini   Photo by Jen Joyce Davis
Tenor Michele Angelini Photo by Jen Joyce Davis

It was a pleasure to meet Rufus Wainwright (Benefit Committee) composer/musician who had a huge success at The Brooklyn Academy of Music (BAM) with his opera Prima Donna as well as fashion honoree, Joanna Mastroianni. Famed coloratura soprano Harolyn Blackwell was as perky and vital as when she sang an unforgettable “Oscar” in Verdi’s Ballo in Maschera with Luciano Pavarotti at The Metropolitan Opera. This was a night of good friends, good food, great singing and all the good and beautiful things in life. Thanks to Gala Chair Cecilia Teng, Gala Producer Midge Woolsey and co-chairs Donna and Richard Esteves and Andrew Martin-Weber.

Soprano Jennifer Rawley. Photo by Jen Joyce Davis.
Soprano Jennifer Rawley. Photo by Jen Joyce Davis.

Martina Arroyo, magnificent Metropolitan Opera and international soprano, human being and humanitarian fully deserved her recent  honor at the Kennedy Center. Madame Arroyo’s work with young promising opera singers is through her Foundation in its Prelude to Performance at the Kaye Playhouse at Hunter College. This program prepares the winners with scholarships plus a stipend for six weeks of study and presents them in four fully costumed productions with orchestra. In July 2016, Prelude to Performance will present two performances each of Die Fledermaus by Johann Strauss and Puccini’s La Boheme. This also provides the true antidote for the evils in the world by letting the indelible imprint of enlightenment through music enter.

Soprano Cecilia Violetta Lopez   Photo by Jen Joyce Davis
Soprano Cecilia Violetta Lopez Photo by Jen Joyce Davis

Thanks to the Martina Arroyo Foundation, opera will continue to thrive as young singers are granted the opportunities to perform and offer their special gifts to the world.