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sQ1=new Array();sQ1[1]=new Array("index.htm","index.htm","","Welcome to the new web site for Jenny Kelly Productions. On this site you will find in-depth information about all of our artists and attractions, as well as dates and locations of upcoming performances.   Teatro Lirico D'Europa The popular opera touring company that has completed over 3,000 performances world wide and 7 major US tours... History | Reviews | Photo Gallery     Sofia Symphony Orchestra and Chorus The opera orchestra created in 1990 by Giorgio Lalov, the official orchestra and chorus used by Teatro Lirico D'Europa, Mozart Festival Opera, Czech Opera Prague and Russian National Ballet Theatre... History | Reviews | Photo Gallery     Mozart Festival Opera The sister company of Teatro Lirico D'Europa presents beautifully staged, traditional versions of Mozart operas featuring American and European soloists... History | Reviews | Photo Gallery     Russian National Ballet Theatre of Moscow The six year old company from Moscow made a stunning US debut in April 2005 to oustanding critical acclaim and tours the US again in Mar./Apr. 2007. History | Reviews | Photo Gallery     Search  As president of International Classic Artists Mgmt. Inc., Jenny Kelly has booked major tours in the U.S. since 1998. more Giorgio Lalov, Artistic Director of Teatro Lirico D'Europa, now considered to be the most successful opera touring company in the USA. more International Classic Artist Mgmt - this is where a brief intro or description is given about the history of ICAM. more Fall 2005 - Winter 2006 US Tour of Opera more Check out our gallery of photos from present and past performances. more  HOME  | PRODUCTIONS  | NOW BOOKING  | UPCOMING TOURS  | ABOUT  | PHOTO GALLERIES  | REVIEWS  | CONTACT  ©2005, Jenny Kelly Productions  | info@jennykellyproductions Web site by Mid Bay Media");sQ1[2]=new Array("production.htm","production.htm","","Below is an overview of the different production companies that are touring.    Teatro Lirico D'Europa The popular opera touring company that has completed over 3,000 performances world wide and 7 major US tours... History | Reviews | Photo Gallery     Sofia Symphony Orchestra and Chorus The opera orchestra created in 1990 by Giorgio Lalov, the official orchestra and chorus used by Teatro Lirico D'Europa, Mozart Festival Opera, Czech Opera Prague and Russian National Ballet Theatre... History | Reviews | Photo Gallery     Mozart Festival Opera The sister company of Teatro Lirico D'Europa presents beautifully staged, traditional versions of Mozart operas featuring American and European soloists... History | Reviews | Photo Gallery     Russian National Ballet Theatre of Moscow The six year old company from Moscow made a stunning US debut in April 2005 to oustanding critical acclaim and tours the US again in Mar./Apr. 2007. History | Reviews | Photo Gallery     Search  As president of International Classic Artists Mgmt. Inc., Jenny Kelly has booked major tours in the U.S. since 1998. more Giorgio Lalov, Artistic Director of Teatro Lirico D'Europa, now considered to be the most successful opera touring company in the USA. more International Classic Artist Mgmt - this is where a brief intro or description is given about the history of ICAM. more Fall 2005 - Winter 2006 US Tour of Opera more Check out our gallery of photos from present and past performances. more  HOME  | PRODUCTIONS  | NOW BOOKING  | UPCOMING TOURS  | ABOUT  | PHOTO GALLERIES  | REVIEWS  | CONTACT  ©2005, Jenny Kelly Productions  | info@jennykellyproductions Web site by Mid Bay Media");sQ1[3]=new Array("booking.htm","booking.htm","","NOW BOOKING Fall 2006/Winter 2007 US Opera Tours For available dates in your area and fees for productions call Jenny L. Kelly at 410-419-4344 or JennyLalov@aol.com   Fall 2006 (October and November) TEATRO LIRICO D’EUROPA: Puccini’s MADAMA BUTTERFLY Bizet’s CARMEN Verdi's RIGOLETTO Donizetti LUCIA DI LAMMERMOOR Rossini’s IL BARBIERE DI SIVIGLIA Plus MOZART FESTIVAL OPERA: DON GIOVANNI DIE ENTFUHRUNG AUS DEM SERAIL (Abduction from the Seraglio) Winter 2007 (January, February, March) TEATRO LIRICO D’EUROPA: New production - Puccini’s TURANDOT Puccini’s LA BOHEME Puccini’s MADAMA BUTTERFLY Puccini’s TOSCA Verdi's RIGOLETTO Rossini’s IL BARBIERE DI SIVIGLIA plus MOZART FESTIVAL OPERA: DON GIOVANNI DIE ENTFUHRUNG AUS DEM SERAIL (Abduction from the Seraglio)  Spring 2007 (March/April) RUSSIAN NATIONAL BALLET THEATRE Tchaikovsky SLEEPING BEAUTY THE STORY: Baby Princess Aurora is condemned at her christening by an evil fairy to prick her finger and die on her 16th birthday. The good Lilac fairy steps forward and declares that the princess shall not die, but only sleep for 100 years, until she is awakened by the kiss of a prince. 100 years later, the Lilac fairy offers a young prince a vision of the sleeping Aurora . Enchanted by her beauty, he travels to the castle where she lies. He kisses her and she awakes. They are married and live happily ever after! Tchaikovsky SWAN LAKE THE STORY: SWAN LAKE is based on a German fairy tale about Prince Siegfried who falls in love with Princess Odette. The Princess has been transformed into a white swan by an evil sorcerer. Only the fidelity of a young lover can free her from the spell, and Siegfried intends to be that man. Unfortunately, at the ball celebrating his 21st birthday, he is distracted by the beauty of Odile, the Black Swan. When the party is over, Siegfried returns to Odette, and begs for forgiveness, but because of his mistake, they can only be together after death. Prokofiev ROMEO AND JULIET THE STORY: The ballet ROMEO AND JULIET follows very closely the familiar story of Shakespeare. Two families in Verona , the Montagues and the Capulets, are at odds with one another. Their sons and friends fight in the streets. The Capulets have organized a masked ball at their castle with the intention of introducing their young daughter, Juliet, to Count Paris, who they have arranged for her to marry. Romeo Montague and his friends steal their way into the party and begin to cause havoc with Tybalt, Juliet's cousin. Romeo and Juliet see one another and fall instantly in love. Tybalt sees the two together and is enraged, challenging Romeo to a duel, but Lord Capulet breaks up the fight. That night Romeo waits outside of Juliet's room and they declare their love. The next day they are married in secret by Friar Lawrence who hopes the union will end the family feuds, but Tybalt seeks out Romeo in the market place. A terrible fight ensues and Romeo kills Tybalt. Juliet's mother insists that she marry Count Paris. She goes to Friar Lawrence for help and he gives her a vial of herbs to drink which will simulate death in order for her to escape the marriage. When Romeo discovers the body of Juliet, he drinks poison, only to have her awake and find her true love dead. She takes a dagger and kills herself. Minkus DON QUIXOTE THE STORY: The ballet is based on the adventures of Don Quixote of La Mancha, an eccentric old Spanish knight who goes forth in search of his beloved Dulcinea (a person who exists only in his mind), accompanied by his bumbling servant Sancho Panza. When the Don enters the city of Seville , he becomes involved with a young woman, Kitri, whom he mistakes for Dulcinea, and Basil, the man she loves. The rest of the story involves a series of interesting and comical events, visions and dreams that center around the Don's delusions and the plight of the young lovers. The story ends happily with the wedding of Basil and Kitri.        Search  As president of International Classic Artists Mgmt. Inc., Jenny Kelly has booked major tours in the U.S. since 1998. more Giorgio Lalov, Artistic Director of Teatro Lirico D'Europa, now considered to be the most successful opera touring company in the USA. more International Classic Artist Mgmt - this is where a brief intro or description is given about the history of ICAM. more Fall 2005 - Winter 2006 US Tour of Opera more Check out our gallery of photos from present and past performances. more  HOME  | PRODUCTIONS  | NOW BOOKING  | UPCOMING TOURS  | ABOUT  | PHOTO GALLERIES  | REVIEWS  | CONTACT  ©2005, Jenny Kelly Productions  | info@jennykellyproductions Web site by Mid Bay Media");sQ1[4]=new Array("tour.htm","tour.htm","","To obtain a schedule of the fall 2005/winter 2006 US tours of ICA Mgmt. which includes 90 some performances of Czech Opera Prague, Teatro Lirico D'Europa and Mozart Festival Opera, contact Jenny Kelly at (410) 419-4344 or JennyLalov@aol.com.        Search  As president of International Classic Artists Mgmt. Inc., Jenny Kelly has booked major tours in the U.S. since 1998. more Giorgio Lalov, Artistic Director of Teatro Lirico D'Europa, now considered to be the most successful opera touring company in the USA. more International Classic Artist Mgmt - this is where a brief intro or description is given about the history of ICAM. more Fall 2005 - Winter 2006 US Tour of Opera more Check out our gallery of photos from present and past performances. more  HOME  | PRODUCTIONS  | NOW BOOKING  | UPCOMING TOURS  | ABOUT  | PHOTO GALLERIES  | REVIEWS  | CONTACT  ©2005, Jenny Kelly Productions  | info@jennykellyproductions Web site by Mid Bay Media");sQ1[5]=new Array("about.htm","about.htm","","Jenny Kelly As president of International Classic Artists Mgmt. Inc., Jenny Kelly has booked major tours in the U.S. since 1998 and has never had to cancel a single tour or a single performance on any tour! The agency was created in 1995 by Jenny L. Kelly, a former opera singer, who received her training and degrees in opera from the Peabody Preparatory, Baltimore, MD, the Westminster Choir College, Princeton NJ, the Philadelphia College of Performing Arts, and the Academy of Vocal Arts, Philadelphia. She was the winner of many scholarships and awards from national and international vocal competitions including the Metropolitan Opera National Council Awards, and she completed over 300 performances of major soprano roles in opera performances throughout Europe and the USA from 1985-1993. Jenny L. Kelly has booked 8 major U.S. tours for Teatro Lirico D'Europa, as well as the American debut tour for The Russian National Ballet Theatre of Moscow (April 2005). She is the creator and Artistic Director of The Mozart Festival Opera, a new touring company, showcasing American talent, which made its U.S. debut in November 2003 to outstanding critical acclaim. Future U.S. tours for Mozart Festival Opera take place in November 2004 and winter (Feb./Mar.) 2005. Jenny Kelly is currently booking fall 2006/winter 2007 US tours. Click here to view the list. For available dates in your area and fees for productions call Jenny L. Kelly at (410) 419-4344 or email at JennyLalov@aol.com  Giorgio Lalov Giorgio Lalov was born in Telesh, Bulgaria in June 1958. His father, a family doctor and his mother, an elementary school teacher, were educated patrons of the arts. Lalov's father died suddenly when he was 9 years old, but he was fortunate to be chosen for enrollment at an elite boarding school in Sofia where all lessons were taught in French. Lalov was fluent in French when he graduated high school in 1976. The next fall he entered the National Conservatory of Music in Sofia. While on tour in Italy with a choir from the University, he auditioned for, and was accepted into the prestigious training program for young opera singers at La Scala, Milan. Within a short time he was fluent in Italian. At the age of 25 he made his debut at La Scala, but was suddenly called back to Bulgaria to see his mother one last time before she died. When Lalov returned to Italy he was engaged to tour with a small opera company throughout Europe. It was on this tour that he met his future business partner, Yves Josse. Lalov abandoned his dreams of being an opera singer and threw himself into a new role, that of Artistic Director/Stage Director of Teatro Lirico D'Europa . With his gift with languages, his training and experiences with the productions staged at La Scala, his resources in Bulgaria, and the brilliant capabilities of Yves Josse, a master at booking productions, Teatro Lirico D'Europa became the most successful opera touring company in Europe. The company is now considered to be the most successful opera touring company in the USA by important American critics. Teatro Lirico D'Europa is a privately owned company. It is not a state opera company and does not receive any financial help from the government of Bulgaria or from any other party. All sets and costumes used by the company have been created by and are owned by Giorgio Lalov. All air fare, visas and lodging for all artists participating in the USA tours of Teatro Lirico D'Europa are paid for by International Classic Artists Mgmt. Inc . The company is not dependent on any aid or financial help from any other organization.     Search  As president of International Classic Artists Mgmt. Inc., Jenny Kelly has booked major tours in the U.S. since 1998. more Giorgio Lalov, Artistic Director of Teatro Lirico D'Europa, now considered to be the most successful opera touring company in the USA. more International Classic Artist Mgmt - this is where a brief intro or description is given about the history of ICAM. more Fall 2005 - Winter 2006 US Tour of Opera more Check out our gallery of photos from present and past performances. more  HOME  | PRODUCTIONS  | NOW BOOKING  | UPCOMING TOURS  | ABOUT  | PHOTO GALLERIES  | REVIEWS  | CONTACT  ©2005, Jenny Kelly Productions  | info@jennykellyproductions Web site by Mid Bay Media");sQ1[6]=new Array("gallery.htm","gallery.htm","","Click on an production to view a list of photo galleries of their performances    Teatro Lirico D'Europa Photo gallery coming soon.     Sofia Symphony Orchestra and Chorus Photo gallery coming soon.     Mozart Festival Opera Photo gallery coming soon.     Russian National Ballet Theatre of Moscow Photo gallery coming soon.     Search  As president of International Classic Artists Mgmt. Inc., Jenny Kelly has booked major tours in the U.S. since 1998. more Giorgio Lalov, Artistic Director of Teatro Lirico D'Europa, now considered to be the most successful opera touring company in the USA. more International Classic Artist Mgmt - this is where a brief intro or description is given about the history of ICAM. more Fall 2005 - Winter 2006 US Tour of Opera more Check out our gallery of photos from present and past performances. more  HOME  | PRODUCTIONS  | NOW BOOKING  | UPCOMING TOURS  | ABOUT  | PHOTO GALLERIES  | REVIEWS  | CONTACT  ©2005, Jenny Kelly Productions  | info@jennykellyproductions Web site by Mid Bay Media");sQ1[7]=new Array("review.htm","review.htm","","Below are a list of reviews. Teatro Lirico D'Europa Mussorgsky's BORIS GODOUNOV Pucinni's TURANDOT Puccini's LA BOHEME Puccini's MADAME BUTTERFLY Puccini's TOSCA Bizet's CARMEN G. Verdi's AIDA G. Verdi's RIGOLETTO G. Verdi's IL TROVATORE G. Verdi's LA TRAVIATA Rossini's IL BARBIERE DI SIVIGLIA  Mozart Festival Opera All reviews   Sofia Symphony Orchestra and Chorus All reviews   Russian National Ballet Theatre or Moscow All reviews     Search  As president of International Classic Artists Mgmt. Inc., Jenny Kelly has booked major tours in the U.S. since 1998. more Giorgio Lalov, Artistic Director of Teatro Lirico D'Europa, now considered to be the most successful opera touring company in the USA. more International Classic Artist Mgmt - this is where a brief intro or description is given about the history of ICAM. more Fall 2005 - Winter 2006 US Tour of Opera more Check out our gallery of photos from present and past performances. more  HOME  | PRODUCTIONS  | NOW BOOKING  | UPCOMING TOURS  | ABOUT  | PHOTO GALLERIES  | REVIEWS  | CONTACT  ©2005, Jenny Kelly Productions  | info@jennykellyproductions Web site by Mid Bay Media");sQ1[8]=new Array("contact.htm","contact.htm","","Jenny Kelly Productions 720 Weil Mandel Way Hunt Valley, MD 21030 USA phone - (410) 419-4344 fax - (410) 527-3514 jennylalov@aol.com     Search  As president of International Classic Artists Mgmt. Inc., Jenny Kelly has booked major tours in the U.S. since 1998. more Giorgio Lalov, Artistic Director of Teatro Lirico D'Europa, now considered to be the most successful opera touring company in the USA. more International Classic Artist Mgmt - this is where a brief intro or description is given about the history of ICAM. more Fall 2005 - Winter 2006 US Tour of Opera more Check out our gallery of photos from present and past performances. more  HOME  | PRODUCTIONS  | NOW BOOKING  | UPCOMING TOURS  | ABOUT  | PHOTO GALLERIES  | REVIEWS  | CONTACT  ©2005, Jenny Kelly Productions  | info@jennykellyproductions Web site by Mid Bay Media");sQ1[9]=new Array("prod_teatro_history.htm","prod_teatro_history.htm","","History Giorgio Lalov, Artistic Director Teatro Lirico D’Europa was created in 1988 by the late Yves Josee, a former ballet divo who was also a brilliant French arts promoter, and Giorgio Lalov, a young Bulgarian opera singer who made his debut at Teatro alla Scala, Milan, at the age of 25 while participating in Scala’s famous international training program for young singers. The collaboration between Josse and Lalov was a huge success in a very short time, resulting in tours with over 250 performances a season. Lalov created the sets and costumes for the productions and organized the chorus and orchestra in Bulgaria. He drew soloists for the productions from a huge reservoir of operatic talent in Bulgaria and central Europe where he was living, as well as from the USA. Josse booked performances for the company in France, Belgium, Switzerland, Spain, Portugal, the Netherlands, and Germany from his office in Paris. From the very beginning, the company established itself as highly competent in delivering traditional, full-scale productions featuring a large orchestra and chorus, and mature opera singers. The unusual chemistry of the company proved to be very popular with European audiences. Teatro Lirico D’Europa had completed over 2000 performances worldwide at the time of Josse’s passing in 1995. The death of Josse was a great loss. He was a gifted person who could never be replaced, his talent could never be duplicated. But 1995 marked a new beginning for Teatro Lirico D’Europa with the birth of Lalov’s American son Christian. Lalov shifted his focus from touring in Europe, to touring in the USA where he now lives with his wife, former opera singer and creator of International Classic Artists Mgmt., Jenny L. Kelly. Teatro Lirico D'Europa had developed a firm history of success with a portfolio of hundreds of rave reviews for different opera productions that had been presented all over Europe, in theaters and at important international festivals, as well as a collection of outstanding live CD recordings. Lalov's wife, Jenny Kelly, (creator of International Classic Artists Mgmt.) organized the materials and began to make offers to theaters in the US . By winter 2000, she had booked the first major American tour for the company. The response to the American debut tour from both press and theaters was very positive indeed. The February 2002 issue of OPERA NEWS contains a 4-page article on Teatro Lirico D'Europa written by BOSTON GLOBE opera critic Richard Dyer. "In the past couple of years the company has presented TURANDOT, AIDA and NABUCCO in Boston . The physical productions and Lalov's stagings were reassuringly traditional. Lalov's stagings tell the story clearly. The solo and ensemble singing in all three operas was lusty, whole hearted-full throated and honest. Something personal and passionate that is often missing from evenings of opera." OPERA NEWS - Richard Dyer - February 2002 Teatro Lirico D'Europa has now completed 7 major US tours and embarks on its 8th and 9th US tours in fall 2005 - winter 2006. There are a record 90 shows booked for the 2005-2006 season. Teatro Lirico D'Europa has never canceled a US tour or any performance on a US tour in its 6 year American touring history. GIORGIO LALOV Co Founder of Teatro Lirico D'Europa and current General Manager/Artistic Director Gueorgui Lalov (Giorgio) was born in Telesh , Bulgaria , in 1958. Both his father, a doctor, and his mother, an elementary school teacher and Bulgarian folk singer, were educated patrons of the arts. Although his father died when he was just 9 years old, Giorgio had the good fortune to be chosen for enrollment at an elite boarding school in Sofia where all the lessons were taught in French. When he graduated from high school in 1976 he was fluent in French and English. That fall he entered the Bulgarian National Academy of Music and went on tour to Italy with a choir from the University. While in Milan , he auditioned for the famous International Program for Young Opera Singers at La Scala. He was accepted, and even went on to make his debut at La Scala at the age of 25. After living in Italy for a short time, Lalov, became fluent in Italian. In 1986, while on tour with a small opera company in France , he met his future business partner, Yves Josse, a former ballet divo handling opera and ballet tours. Giorgio had a great many resources. He spoke several languages, could organize the creation of sets and costumes in Bulgaria and could put together an excellent orchestra and chorus. He knew many fine opera singers in Bulgaria , central Europe , and the USA . By 1988 Josse and Lalov were collaborating on what was to become the most successful opera touring company in Europe . At the time of Josse's death in 1995, Teatro Lirico was performing over 250 shows a season throughout Europe . In 1990 Lalov created the Sofia Symphony Orchestra and Chorus which since that time, has been the orchestra and chorus for all of Teatro Lirico D'Europa's performances world-wide. Winter 2000 marked Teatro's first major American tour. The rest is history. The reviews from the 7 tours Teatro Lirico D'Europa has completed thus far in the US speak for the quality and consistency of the company. "I'm not alone in hoping that Giorgio Lalov, the talented singer turned creator of Teatro Lirico D'Europa stays well, healthy and continues to bring us such magnificent productions. We can only hope to see more from this company in years to come." ILLINOIS TIMES - Ann Kerr  HISTORY |  REVIEWS | PHOTO GALLERY  Search  "The solo and ensemble singing in all three operas was lusty, whole hearted-full throated and honest. Something personal and passionate that is often missing from evenings of opera." OPERA NEWS - Richard Dyer - February 2002 READ MORE REVIEWS Mussorgsky's BORIS GODOUNOV Pucinni's TURANDOT Puccini's LA BOHEME Puccini's MADAME BUTTERFLY Puccini's TOSCA Bizet's CARMEN G. Verdi's AIDA G. Verdi's RIGOLETTO G. Verdi's IL TROVATORE G. Verdi's LA TRAVIATA Rossini's IL BARBIERE DI SIVIGLIA Check out the photo gallery of performances.  HOME  | PRODUCTIONS  | NOW BOOKING  | UPCOMING TOURS  | ABOUT  | PHOTO GALLERIES  | REVIEWS  | CONTACT  ©2005, Jenny Kelly Productions  | info@jennykellyproductions Web site by Mid Bay Media");sQ1[10]=new Array("prod_teatro_gallery.htm","prod_teatro_gallery.htm","","Gallery Photos coming soon.   HISTORY |  REVIEWS | PHOTO GALLERY  Search  "The solo and ensemble singing in all three operas was lusty, whole hearted-full throated and honest. Something personal and passionate that is often missing from evenings of opera." OPERA NEWS - Richard Dyer - February 2002 READ MORE REVIEWS Mussorgsky's BORIS GODOUNOV Pucinni's TURANDOT Puccini's LA BOHEME Puccini's MADAME BUTTERFLY Puccini's TOSCA Bizet's CARMEN G. Verdi's AIDA G. Verdi's RIGOLETTO G. Verdi's IL TROVATORE G. Verdi's LA TRAVIATA Rossini's IL BARBIERE DI SIVIGLIA Check out the photo gallery of performances.  HOME  | PRODUCTIONS  | NOW BOOKING  | UPCOMING TOURS  | ABOUT  | PHOTO GALLERIES  | REVIEWS  | CONTACT  ©2005, Jenny Kelly Productions  | info@jennykellyproductions Web site by Mid Bay Media");sQ1[11]=new Array("prod_sofia_history.htm","prod_sofia_history.htm","","History International Classic Artists Mgmt. Inc. Jenny L. Kelly, President 723 Weil Mandel Way, Hunt Valley, MD 21030 410-419-4344 Fax: 410-527-3514 The Sofia Symphony Orchestra and Chorus was founded in 1990 by Giorgio Lalov, Artistic Director and General Manager of Teatro Lirico D'Europa, who wanted to create a new, vital opera orchestra and chorus that would be available for extended touring periods. The orchestra has toured worldwide with Teatro since 1990 including 7 major American tours and has completed three US tours with Mozart Festival Opera under the musical direction of American Maestro J. Ernest Green. It recently completed the US debut tour with Russian National Ballet Theatre of Moscow, featuring Tchaikovsky's SWAN LAKE, SLEEPING BEAUTY and Adam's GISELLE (April 2005). The Sofia Symphony Orchestra and Chorus will tour with Czech Opera Prague on their US debut tour in fall 2005/Jan. 2006, and will tour a staged version of Orff's CARMINA BURANA and Ravel's BOLERO in fall 2005 and winter 2006.  HISTORY |  REVIEWS | PHOTO GALLERY  Search  "The Sofia Symphony Orchestra played with skill, enthusiasm and confidence born of lots of experience. The chorus poured out quality sound." BOSTON GLOBE - Mar. 2000 READ MORE REVIEWS Check out the photo gallery of performances.  HOME  | PRODUCTIONS  | NOW BOOKING  | UPCOMING TOURS  | ABOUT  | PHOTO GALLERIES  | REVIEWS  | CONTACT  ©2005, Jenny Kelly Productions  | info@jennykellyproductions Web site by Mid Bay Media");sQ1[12]=new Array("prod_sofia_review.htm","prod_sofia_review.htm","","Reviews International Classic Artists Mgmt. Inc. Jenny L. Kelly, President 723 Weil Mandel Way, Hunt Valley, MD 21030 410-419-4344 Fax: 410-527-3514 "A special treat was the fine orchestra accompaniment of the Sofia Symphony Orchestra. It was by far the best opera orchestra heard at Proctor's Theatre in recent years." SCHENECTADY TIMES UNION - Jan. 2005 "The polished voices and excellent orchestra and chorus successfully drew the audience into Verdi's story. From the opening prelude, the Sofia Symphony's precision and polished sound allowed the audience to relax." SAN ANTONIO EXPRESS NEWS - Mar. 2001 "Grand opera came to Springfield, IL last week - Verdi's AIDA. Teatro Lirico D'Europa travels with the Sofia Symphony - an orchestra of 47 - no synthesizers, no cheating-just a fine group of musicians that execute Verdi's score with great skill and authenticity." ILLINOIS TIMES - Mar. 2001 "The 50 piece Sofia Symphony Orchestra, a 40 - voice chorus and a cast of robust Verdi - sized voices successfully brought a big-city opera experience to the Garde Arts Center. The large orchestra was crucial to the score's success." THE DAY - Mar. 2001 "With strong principal voices, a full competent choir, a stellar orchestra and stunning costume and set design, Teatro Lirico presented a superb rendition of Verdi's AIDA." BURLINGTON FREE PRESS - Mar. 2001 "The Sofia Symphony Orchestra was about the size you'd find in the pit of the Metropolitan Opera, giving full value to Verdi's musical intent, including onstage trumpets." TIMES UNION - May 1996 "A splendid chorus, a well schooled orchestra and a cast of soloists with big, sumptuous voices. The number of people traveling with this AIDA is unusually large for a touring opera company. This pays off in the number of musicians in the pit and the full- throated chorus of around 50. All benefited from the close rapport between the astute conductor, his polished orchestra, and the singers and dancers." VARIETY, NY - May 1996 "Superb musical direction of the 50 piece Sofia Symphony Orchestra and strong assistance from the 40 supporting singers." NORTH COUNTY TIMES - Feb. 2000 "The largest ensemble of singers and musicians to ever accompany a local opera. The grandiose music, conducted with passion, was more than enough to make this AIDA memorable. The choirs attained a mystical quality with wondrous harmonies." THE DESERT SUN - Feb. 2000 "Teatro Lirico puts on a good show as witness this AIDA. Verdi's masterpiece score is treated with respect beginning with the 60 member Sofia Symphony Orchestra in the Cerritos pit." LOS ANGELES TIMES - Feb. 2000 "BORIS GODOUNOV represented the finest performance that Teatro Lirico has yet give us. The chorus flooded the hall with thrilling bright Slavic tone that buzzed in the ears and the orchestra did excellent work under the direction of the very gifted conductor Metodi Matakiev." BOSTON GLOBE - Mar. 2003 "There is no doubting Teatro Lirico D'Europa's authority in Russian music. The resplendent chorus of BORIS GODOUNOV deserves special mention for its intensely emotional performance. Conductor Metodi Matakiev led the Sofia Symphony Orchestra with energy and polish." DEMOCRAT AND CHRONICLE - Mar. 2003  "The fact that Teatro Lirico D'Europa shows up with chorus, orchestra and soloists that number over 100 astonishes in this economic climate. That the troupe brings such quality singers and players is even more amazing. From the front of the stage to the back of the chorus everyone played and sang with energy and skill." BOSTON HERALD - Mar. 2003 "I hope we don't have to wait another quarter of a century for another performance so powerful. What a sizzling performance this was. Conductor, Metodi Matakiev gave it a surging sweep. The Sofia Symphony Orchestra gave him what he wanted and the chorus gave him even more. The walls vibrated with their overwhelming sound. These singers and musicians performing every night together have developed a rare sense of ensemble." BOSTON PHOENIX - Mar. 2003 "Kudos to Teatro Lirico D'Europa for presenting BORIS GODOUNOV. Opera can survive if the music and dramatic action work as well as it did here. The orchestra responded appropriately to Musssorgsky's foreboding sound world. Conductor Metodi Matakiev navigated it with authority." NEW YORK NEWS DAY - Mar. 2003 "Teatro Lirico D'Europa tours with a 50-piece orchestra and a 40-voice chorus. The solid performances of the Sofia Symphony along with the compelling performances of the soloists gave this MADAMA BUTTERFLY a musical polish that would grace any stage in the world." SAN LUIS OBISPO TRIBUNE - Feb. 2002 "The Sofia Symphony Orchestra and chorus deserves high praise for its sound and conductor Krassimir Topolov did a superb job." THE STAR - Chicago Heights - Mar. 2003 "The Sofia Symphony Orchestra and Chorus acquitted itself well and conductor Krassimir Topolov proved to be a sensitive accompanist. It was a BUTTERFLY well worth seeing." PALM BEACH POST - Nov. 2003 "The choral singing was very well focused and conductor Krassimir Topolov elicited a well-paced, detailed performance from the Sofia Symphony." BUFFALO NEWS - Mar. 2002 "Teatro Lirico's singers are fervent and musically accurate and their chorus work continues to be quite remarkable and singular in the opera world. Conductor Metodi Matakiev gave a fine reading of Verdi's music." ITHACA JOURNAL - Mar. 2003 "Teatro Lirico's orchestra were too many for Peabody Auditorium's pit. The result was a voluminous sound, just right for the passions of the Puccini opera." DAYTONA BEACH NEWS JOURNAL - Mar. 2004 "Simply grand! In a few short years Teatro Lirico D'Europa has become the vendor of choice for traveling opera. No one else comes near grand opera on the road. The chorus so textured, rich and precise should be the envy of most American opera companies. Then there is the orchestra. How this company affords to travel with this big an ensemble is a mystery, but the presence of a large and even sounding orchestra in the pit made all the difference here! They are the cream that makes this confection worth sipping." NEWARK STAR LEDGER - Feb 2003 "TURANDOT was magnificent. What a thrill to hear the full Sofia Symphony Orchestra accompany a cast of 60 singers. They used no microphones!" ILLINOIS TIMES- Mar. 2000 "A resounding chorus and experienced orchestra.one's head buzzes with the intensity and beauty of the sound. The 45 member chorus is one of Teatro Lirico's greatest assets." OPERA NEWS - Feb. 2002 "The Sofia Symphony Orchestra played with skill, enthusiasm and confidence born of lots of experience. The chorus poured out quality sound." BOSTON GLOBE - Mar. 2000 "The Sofia Symphony glistened with color and the chorus resonated with power and bloodthirsty urgency." BOSTON PHOENIX - Mar. 2002 "The Sofia Symphony performed well and gave us some moments that added immeasurably to this ballet experience." OPERAONLINE.US - Apr. 2005 "I'll bet hundreds of people were as enchanted as I was at the performance of SLEEPING BEAUTY by the Russian National Ballet Theatre. The Sofia Symphony Orchestra was just as stellar as the dance company." ROCKFORD REGISTER STAR - April 2005 "Jenny, I was delighted, as was our audience, with the performance of SWAN LAKE by the Russian National Ballet Theatre. A real plus was the live accompaniment of the Sofia Symphony Orchestra." MILTON RUSSOS Executive Director FCCJ Artist Series - Jacksonville, FL April 19, 2005 "Jenny, Great performance. The dancers were amazing and the live orchestra really added to the performance." KIMBERLY MOUSER Asst. Director - University Concert Series Columbia, MO April 25, 2005  HISTORY |  REVIEWS | PHOTO GALLERY  Search  "The Sofia Symphony Orchestra played with skill, enthusiasm and confidence born of lots of experience. The chorus poured out quality sound." BOSTON GLOBE - Mar. 2000 READ MORE REVIEWS Check out the photo gallery of performances.  HOME  | PRODUCTIONS  | NOW BOOKING  | UPCOMING TOURS  | ABOUT  | PHOTO GALLERIES  | REVIEWS  | CONTACT  ©2005, Jenny Kelly Productions  | info@jennykellyproductions Web site by Mid Bay Media");sQ1[13]=new Array("prod_sofia_gallery.htm","prod_sofia_gallery.htm","","Photo Gallery Photos coming soon.  HISTORY |  REVIEWS | PHOTO GALLERY  Search  "The Sofia Symphony Orchestra played with skill, enthusiasm and confidence born of lots of experience. The chorus poured out quality sound." BOSTON GLOBE - Mar. 2000 READ MORE REVIEWS Check out the photo gallery of performances.  HOME  | PRODUCTIONS  | NOW BOOKING  | UPCOMING TOURS  | ABOUT  | PHOTO GALLERIES  | REVIEWS  | CONTACT  ©2005, Jenny Kelly Productions  | info@jennykellyproductions Web site by Mid Bay Media");sQ1[14]=new Array("prod_mozart_history.htm","prod_mozart_history.htm","","History Jenny L. Kelly - Artistic Director J. Ernest Green - Musical Director DON GIOVANNI Mozart Festival Opera, the sister company of Teatro Lirico D'Europa, made its U.S. debut in fall 2003 with a highly acclaimed production of DON GIOVANNI. Important critics raved about the outstanding cast of singers as well as the excellent, detailed stage direction and attractive sets and costumes. The company recently completed a very successful fall 2004/winter 2005 US tour with DON GIOVANNI and LE NOZZE DI FIGARO, and tours the US again in winter 2006 with DIE ZAUBERFLOTE (THE MAGIC FLUTE) in the original German with English super titles projected above the stage. The mission of the new company, which uses the same orchestra and chorus as Teatro Lirico D'Europa (the Sofia Symphony Orchestra and Chorus), is to provide a touring opera showcase for American and European operatic artists together. All of the soloists are professionals with international experience who have performed major roles with important companies in the U.S. and Europe. MOZART FESTIVAL OPERA's musical director, American Maestro J. Ernest Green, lives near Washington, DC, and is a frequent guest conductor with the National Symphony.  HISTORY |  REVIEWS | PHOTO GALLERY  Search  "This DON GIOVANNI had heat, passion and total commitment from everyone involved under the dynamic, dramatic direction of conductor Metodi Matakiev." Opera L READ MORE REVIEWS Check out the photo gallery of performances.  HOME  | PRODUCTIONS  | NOW BOOKING  | UPCOMING TOURS  | ABOUT  | PHOTO GALLERIES  | REVIEWS  | CONTACT  ©2005, Jenny Kelly Productions  | info@jennykellyproductions Web site by Mid Bay Media");sQ1[15]=new Array("prod_mozart_review.htm","prod_mozart_review.htm","","Reviews A perversely stunning DON GIOVANNI "The performance of Mozart's DON GIOVANNI Tuesday night at the University of NH , Johnson Theatre, was absolutely stunning. From the very first tap of the conductor's baton to the final scene in which Don Juan is dragged kicking and screaming into hell - the senses were working overtime. Lithuanian baritone, Vytautas Juozapaitis, (Don Giovanni) not only had the necessary voice, but he played the boastfully lecherous rake to great fanfare. Italian Bass baritone, Stefano de Peppo, (Leporello) played the perfect fool as the Don's trusted servant." PORTSMOUTH HERALD DON GIOVANNI Truly Majestic "Tuesday's cast was first rate, led by the remarkable Lithuanian baritone, Vytas Juozapaitis, in the title role. The eight principals were united in the passion with which they filled every note, every word and every move. This was a lively, thoroughly believable and uniformly vocally generous presentation. Stage director, Giorgio Lalov, made sure no dramatic point was lost before Valentin Topencharov's handsome set." BOSTON HERALD Fire breathing DON GIOVANNI "Listening to DON GIOVANNI it's hard to believe any greater music has ever been written. Valentin Topencharov's set was most appealing, with balconies and loggias in front of a handsome view of Seville . What really carried the evening were the superb performers. From his entrance, in medias rape, Vytas Juozapaitis had a compelling presence as both a seductive and dangerous Don Juan. He had dash, swagger, a sense of humor, and a strong, lustrous voice. He's a good actor too. In short, he embodied the music. Italian bass-baritone, Stefano de Peppo (Leporello) is both a skillful comedian and an unusually musical one. De Peppo has excellent diction. His was an accomplished and delightful performance. The other male roles were also impressive. American tenor, Don Bernardini, has a voice of size, weight, and lyrical beauty and eloquently sustained the long lines of "Il mio tesoro." As the Commendatore, Bolshoi Opera bass Viacheslav Pochapsky, didn't need artificial amplification or echo effects to project his terrifying otherworldliness. This is a company you have to love. BOSTON PHOENIX "This DON GIOVANNI had heat, passion and total commitment from everyone involved under the dynamic, dramatic direction of conductor Metodi Matakiev. The Don was Lithuanian baritone Vytautas Juozapaitis, a highly physical, Douglas Fairbanks/Errol Flynn kind of Don. Tall, dark, quite handsome, a really sexy beast possessed of a bronze colored voice of power and some suavity, completely at ease on a stage, and a Don who actually ENJOYS to the hilt the life of a promiscuous hedonist. He was close to irresistible. Italian Stefano de Peppo was a good match for this Don with a well produced, nicely colored baritone. Don Bernardini sang a powerful, florid Don Ottavio. Hristo Sarafov portrayed Masetto with an unfailing instinct for where and when decadence in the nobility is about to pose a threat. His was a well sung and full, engaging characterization. The women made a strong grouping. Ludmila Vernerova, a Czech lyric soprano with high, clear and very cool voice displayed a well developed coloratura technique and acting. She was a formidable presence. Korean - American Su-Jin Lee's impassioned Elvira is a big voice with a metallic thrust up top but the ability to float the crucial phrases. The petite, chestnut-haired Vesselina Vassileva played in favor of a sweet, wholesome, quality and genuine uncertainty as to how to handle this Don and survive, singing nicely throughout. There were more sparks in the right places on stage last night than the big houses are always able to deliver. And these voices are big and confident, with an excitement that is compelling. I had a very good time." OPERA L DON GIOVANNI a rousing production "Lithuanian baritone, Vytas Juozapaitis, brings presence and a warm, strong voice to the title role. When we first see him, hair flying in mid-rape, he looks like Johnny Depp in PIRATES OF THE CARIBBEAN. He works well with his lively servant Leporello sung by Stefano de Peppo, who steers clear of the clichés of operatic comedy. He sings and acts honestly, with a lithe body and a light bass baritone. Tenor, Don Bernardini, is a burlier and more masculine Don Ottavio than most, and he dispatches his second aria with panache, elegantly reeling off each of the long runs on a single breath. Russian bass, Viacheslav Pochapsky, thunders impressively as the Commendatore and as the avenging statue. Vesselina Vassileva is a spunky peasant Zerlina, full of charm and character. Su-Jin Lee is fervent, and musical as Donna Elvira. The light voiced Czech soprano, Ludmila Vernerova, clicks off the most difficult measures in Donna Anna's second aria with clockwork coloratura precision and supplies some interesting musical detail elsewhere. Giorgio Lalov's direction is detailed and the chorus created individual personalities instead of simply filing on and off. One has heard performances that weren't half as much fun or half as good." BOSTON GLOBE Bravo Concerts opens with excellent performance of Mozart classic "An excellent performance of this classic (DON GIOVANNI) was given Sunday at the Thomas Wolfe Auditorium. Central to the drama were the excellent baritones, Vytautas Juozapaitis (Don Giovanni) and Stefano de Peppo, (Leporello). Both men are excellent singers and actors who made believable the Don's continuous, very successful skirt-chasing and the servant's loyalty to a master he does not always admire. The Don's difficult role never seemed to tax Juozapaitis' excellent dramatic voice. Throughout the opera listeners were charmed by his great expressive range as he moved with ease from comic exchanges with Leporello to tender love songs. The talented sopranos in the cast were a delight all evening. Ludmila Vernerova, (Donna Anna) showed her skills as a Mozartian dramatic soprano. Su-Jin Lee, as Donna Elvira, revealed a warm, rich soprano. Vesselina Vassileva, (Zerlina) has a lyric voice capable of handling the Mozart coloratura as well as the lyricism of her tender love arias. Her acting, too, was especially fine. The sets were impressive and the orchestra was excellent, never covering the singers, even in the most tender vocal moments." Asheville Citizen Times Opera at the Touhill is a treat "It was opera, professionally produced opera, with attractive sets and costumes and an international cast of performers. And we are suitably grateful for the production of Mozart's DON GIOVANNI. Stefano de Peppo's Leporello stole the show every time he stepped onto the stage, both for his easy humor and for his luscious bass-baritone voice and his dark good looks. In he title role, Vytas Juozapaitis, made an oily seducer. He sang with finesse and offered one of the best characterizations of the evening. Vesselina Vassileva's Zerlina had charm, presence and a clear, lovely soprano. Tenor, Gabriel Gonzales has a splendid, ringing voice. Bass, Viacheslav Pochapsky, made a good impression in the brief role of Commendatore. Conductor, Matakiev kept things moving and kept them musical." St. Louis Dispatch "With a full orchestra and singers that combined good looks with acting skills, this was perhaps the best performance in the opera series, featuring scintillating performances, well-timed acting, and beautiful scenery. All of the singers had an excellent rapport with the audience and their movement was truly extraordinary for the operatic medium." THE DAY NOZZE DI FIGARO AT THE TOUHILL "On November 11 Mozart Festival Opera made its St. Louis debut with LE NOZZE DI FIGARO at the Touhill Perf. Arts Center . Valio Topencharov designed a traditional, solid set and colorful attractive costumes for this new production. The result was a visually piquant setting for the crowd pleasing romantic comedy. Conductor J. Ernest Green kept the opera moving with well-coordinated rhythmic vitality all evening. Stefano de Peppo was a clever and jovial Figaro who sand with a warm, burnished baritone. The smaller roles were also cast with fine artists." OPERA JAPONICA MOZART Company proves opera can be fun "Baritone Vytautas Juozapaitis was perfectly full of himself as Don Giovanni. His hilarious interactions with sidekick Leporello, played by the animated bass-baritone Stefano de Peppo were the highlights of the show. Soprano Steffanie Pearce was wonderful as the mourning Donna Anna and tenor Benjamin Brecher was a good compliment as her protector Don Ottavio. Soprano Veselina Vasileva as the naive Zerlina and baritone Hristo Sarafov as her clueless husband Masetto had great chemistry. The set was lovely and the costumes were beautiful. Bravo to Mozart Festival Opera for a fun evening of opera." THE STAR PRESS DON GIOVANNI SHOWCASES SINGERS "Mozart Festival Opera brought a fine DON GIOVANNI to the McCallum Theater. Most noteworthy was Vytautas Juozapaitis in the title role. He nailed the role with his well projected baritone. The capacity audience seemed to especially cotton to Vladimir Shvets as Leporello with his sharp comic instincts. Dimiter Stantchev's imposing bass was ideal as the ghost of the vanquished father as he pulled Giovanni to hell amid fire and smoke. Equally robust was soprano Brenda Harris (Metropolitan Opera) as Donna Elvira." THE DESERT SUN A polished DON GIOVANNI graces the Phil Stage "Mozart's divine spark was ignited several times Friday night at the Philharmonic Center for the Arts. The MOZART FESTIVAL OPERA brought a full orchestra and chorus and a cast that impressed local opera buffs with their version of DON GIOVANNI. Young Lithuanian baritone Vytautas Juozapaitis was well cast as the suave serial seducer with his aristocratic good looks and deep voice. Most women would find him charismatic if not irresistible. From the first moments it became evident that this company, with attractive sets and costumes, is miles ahead of most touring troupes. Theatrically and musically gratifying were the other cast members, all with international experience." NAPLES DAILY NEWS DON GIOVANNI at Naples Philharmonic Center "Friday, November 21 saw the debut of Mozart Festival Opera. Their gala, sold out opening of DON GIOVANNI took place at the Philharmonic Center for the Arts in Naples, FL. Vytautas Juozapaitis, a tall, good looking baritone from Lithuanian National Opera, was a Don to be reckoned with. He is a skillful actor with a large warm voice. This excellent performance was vociferously applauded at its close. This is an interesting and valuable company." OPERA JAPONICA "Mozart Festival Opera lived up to its name with a fine production of DON GIOVANNI Wednesday night at Proctor's Theatre. The love deceit and above all, the fine music were well represented. Beautiful gowns...both set and costumes were fresh and in good shape. A special treat was the Sofia Symphony Orchestra, by far the best opera orchestra heard at Proctor's in recent seasons." ALBANY TIMES UNION International Cast Sings Beautiful GIOVANNI "Mozart Festival Opera presented a richly mounted and beautifully sung performance of DON GIOVANNI at Proctor's Theater Wednesday night. The title role was taken by baritone Vytautas Juozapaitis, a great presence who was terrific both vocally and dramatically." SCHENECTADY GAZETTE Opera is good fit at Hippodrome Theater "The elegantly regilded Hippodrome Theatre could be mistaken for an old-world opera house. On Wednesday night for three hours that's exactly what it was. The experience certainly was positive enough to make me want to hear more operatic workouts at the Hippodrome. This fully staged DON GIOVANNI boasted an agile, true ensemble cast that carried out comic moments with particular aplomb. Everybody onstage demonstrated an appreciation for the expressive richness of Mozart's writing and considerable determination to add nuance to their phrasing. Conductor J. Ernest Green brought an effective sweep to the score. Giorgio Lalov's staging kept things animated." BALTIMORE SUN MOZART WOULD HAVE APPROVED "The Mozart Festival Opera's production of DON GIOVANNI made the three hours fly. The performamce scored high on both singing and acting, with a good live orchestra. A vivacious Leporello was sung by Stefano de Peppo. He has a clear, carrying baritone. The miming between him and Vytautas Juozapaitis as Don Giovanni was great physical comedy that had the audience laughing out loud. Juozapaitis possessed the voice, swagger and stage presence to match and dominate Leporello, and his costumes are among the best I've seen. This production reminds me of the "Flashman" novels. I think Mozart would have approved." PORTLAND PRESS HERALD MOZART FESTIVAL OPERA TAKES PORTLAND BY STORM "Mozart Festival Opera brought its glorious production of DON GIOVANNI to Portland, Me, yesterday in a well attended, rapturously received performance that had the audience rising and cheering, unwilling to let the evening end." OPERA L FINE NOZZE IN NEW LONDON "Mozart Festival Opera presented a sprightly, very well sung and staged NOZZE DI FIGARO at the Garde Arts Center in New London, CT last night. It was one of the best offerings yet of the fine Garde Arts Opera Series. One of the liveliest NOZZE's in my experience, aided by the always excellent, clearly motivated stage direction of Giorgio Lalov. Stefano de Peppo's Figaro stood out for superb characterization and fine vocalism. Viacheslav Pochapsky of the Bolshoi Opera thrilled me as Boris Godounov. His Bartolo was richly sung and acted with vigor. Topencharov's sets and costumes evoked the 18th century very well. We were fortunate to have this fine NOZZE in New London." OPERA L A STRONG ENSEMBLE CAST POWERS FIGARO AT THE GARDE Mozart Festival Opera brought LE NOZZE DI FIGARO to the Garde Arts Center in New London, a performance that was very fine indeed; laugh out loud funny with vivid characterizations and endlessly tuneful. The cast was both vocally strong enough to sustain the musical complexities and with sufficient stagecraft to keep the nearly sold-out Garde laughing. The string of ensembles that power the opera were full of energy and freshness with acting and vocal delights merging time and time again. Sets were smartly done with none of the wear and tear that often marks road productions." THE DAY  HISTORY |  REVIEWS | PHOTO GALLERY  Search  "This DON GIOVANNI had heat, passion and total commitment from everyone involved under the dynamic, dramatic direction of conductor Metodi Matakiev." Opera L READ MORE REVIEWS Check out the photo gallery of performances.  HOME  | PRODUCTIONS  | NOW BOOKING  | UPCOMING TOURS  | ABOUT  | PHOTO GALLERIES  | REVIEWS  | CONTACT  ©2005, Jenny Kelly Productions  | info@jennykellyproductions Web site by Mid Bay Media");sQ1[16]=new Array("prod_mozart_gallery.htm","prod_mozart_gallery.htm","","Photo Gallery Photos coming soon.   HISTORY |  REVIEWS | PHOTO GALLERY  Search  "This DON GIOVANNI had heat, passion and total commitment from everyone involved under the dynamic, dramatic direction of conductor Metodi Matakiev." Opera L READ MORE REVIEWS Check out the photo gallery of performances.  HOME  | PRODUCTIONS  | NOW BOOKING  | UPCOMING TOURS  | ABOUT  | PHOTO GALLERIES  | REVIEWS  | CONTACT  ©2005, Jenny Kelly Productions  | info@jennykellyproductions Web site by Mid Bay Media");sQ1[17]=new Array("prod_russian_history.htm","prod_russian_history.htm","","History A company of 55 plus soloists, accompanied by the 47 member Sofia Symphony Orchestra Vladimir Moiseev - General Manager Evgeny Amosov - Artistic Director The RNBT was founded in 1999 with the help and support of the Ministry of Culture of the Russian Federation . The necessity of having a young, promising and vibrant theatre with a unique potential in both kinds of dance: Classical and Modern, was the main reason for it foundation. The company was brought together and inspired by its leaders: General Director Vladimir Moiseev, a soloist with the Bolshoi Theater and grandson of legendary Russian ballet master Igor Moiseev, and Artistic Director Evgeny Amosov. The two men once studied together at Moscow Choreography School . Years later, each of them came up with the idea of creating his own dance company and they joined their efforts to form the Russian National Ballet Theatre. The repertoire of the company includes not only classical performances but also modern ballets. Its corps de ballet numbers 55 dancers, and is the result of a highly disciplined focus on finding the most dedicated and talented dancers. A great effort has gone into providing the correct atmosphere and conditions under which to develop and perfect the artists' mastery and creative search. The company's main soloists range from 17 to 25 years of age. Many of them have already won international recognition and are winners of prestigious competitions. Before joining the company, most of the artists have already had the experience of working with leading ballet companies in the major cities of Russia . They have mastered equally well the art of classical, character, modern dance and even light jazz, but it is the classical dance that is the cornerstone of the theater. The young company has toured Europe and the Far East with great success and performs regularly in their home city of Moscow . Their USA debut tour (April 2005) was a huge success with performances of Tchaikovsky's SWAN LAKE, SLEEPING BEAUTY and Adam's GISELLE, presented at many of the finest theaters in the country.. The company tours the US again in March/April 2007!  HISTORY |  REVIEWS | PHOTO GALLERY  Search  "An evening of glorious theatre. The sets and costumes were dazzling in their color and style. From the moment the curtain rose to audible gasps of delight until the final ovation, the Russian National Ballet Theatre had their audience spellbound." CULTURE (France) Read more reviews Check out the photo gallery of performances.  HOME  | PRODUCTIONS  | NOW BOOKING  | UPCOMING TOURS  | ABOUT  | PHOTO GALLERIES  | REVIEWS  | CONTACT  ©2005, Jenny Kelly Productions  | info@jennykellyproductions Web site by Mid Bay Media");sQ1[18]=new Array("prod_russian_review.htm","prod_russian_review.htm","","Review "Joyful! A corps de ballet of beauty and style, led by stylish and gifted principals." MOSCOW DAILY "Sheer magic! Every soloist received well deserved applause!" VESTI (Italy) "An evening of glorious theatre. The sets and costumes were dazzling in their color and style. From the moment the curtain rose to audible gasps of delight until the final ovation, the Russian National Ballet Theatre had their audience spellbound." CULTURE (France) "The Russian National Ballet Theatre which has a full roster of stars, presented SWAN LAKE . The audience was so excited that it did not want to leave the theatre, saying: "It is a great pleasure to touch such high art! We dream to see more performances that are so wonderful!" CHZHEKHAI (China) "The audience was engrossed in the production of SWAN LAKE. The music of Tchaikovsky, white swans, beautiful costumes, and superb choreography and scenery thrilled the public. Huge applause accompanied the brilliant dance of each soloist as well as the leading pair!" ALTO ADICE (Italy) AN EVENING at the MAJESTIC and SWAN LAKE "Expectations were high for this performance, given that Boston has a respectable Russian and European citizenry. Judging from the applause and comments heard in the hallways afterward, they weren't disappointed. The Sofia Symphony performed well and gave us some moments that added immeasurably to this ballet experience. The production managed to make its own special magic and hold the audience attention throughout, and won over a lot of hearts Friday evening, in a touching and heartfelt performance. Well done!" OPERAONLINE.US - Paul Walkowski - April 2005 (Performance at Majestic Theater, Boston) RUSSIAN SLEEPING BEAUTY OFFERTS VISUAL DELIGHTS Dancers Goloubev and Kungurtseva deliver superb performances "The Russian National Ballet Theatre's performance of SLEEPING BEAUTY at the Kravis Center included the extraordinary dancing of some soloists.this and the magnificent scenery and costumes and a 50 member orchestra made the evening enjoyable. A highlight included the magnificently performed and seldom seen "epailement" of the female dancers. Dimitri Goloubev was superb as the wicked fairy.total dramatic integrity. The Lilac Fairy (R. Petrova) was dramatically and skillfully superb. Also beautifully performed were the series of "port de bras" performed by the female corps. The teen age Aurora ( N. Kungurtseva ) gave us our first thrill at watching an outstanding beautiful dancer. Every little movement was exquisite. It was a privilege to see her perform. Her dancing was about total beauty. The final scene featured more dancing by Dersire (M. Romanov) and Aurora , and once again my heart skipped a beat in reaction to their degree of skill and presentation." PALM BEACH DAILEY NEWS - F.R. Jellineck - April 2005 (Performance at Kravis Center, Palm Beach , FL) MUSIC OF LIFE FOR THE MAYOR, REST OF IS "I'll bet hundreds of people were as enchanted as my daughter and I were at the performance of SLEEPING BEAUTY at the Coronado Theatre. The company was the Russian National Ballet Theatre of Moscow. Although there were dozens of children in the audience, the ones around me sat silent and enthralled. The orchestra was just as stellar as the dance company. It was truly magic." ROCKFORD REGISTER STAR - Judy Emerson - April 2005 April 22, 2005 "Dearest Jenny and Giorgio, The Ballet was stupendous!!!!! I cannot thank you enough for bringing the excellence of your opera and now ballet companies into our city. We had a full house (2,300) and not one disappointed patron. I have received calls already this morning thanking me, and YOU deserve all the thanks. WOW! What a high we are on!" MARY ANN General Manager, Rockford Coronado Concerts (Performance of SWAN LAKE at CORONADO THEATRE, Rockford, IL) April 11, 2005 "Jenny, I LOVED THE BALLET!!!!!! Elena Evseeva was magnificent. When she danced as Odette the movements she made with her head, neck and arms were so bird-like. She was truly remarkable. I loved THE FOOL and ROTHBART. They were both dynamic dancers. The SWAN corps de ballet danced as one. I cannot tell you how amazed and impressed I was with the performance. It was truly a spectacular evening. EVERYONE I talked to truly enjoyed it! Thanks." PEGGY (Margaret Vetter, Administrator Branscomb Memorial Auditorium - Lakeland , FL ) April 14, 2005 "Dear Jenny, I just wanted to take the opportunity to thank you for SLEEPING BEAUTY. The dancing was superb. We were sold out and everyone loved it. They inspired a much deserved spontaneous, vocal standing ovation at the end. We will definitely have them back next time they tour. Thank you again. Best regards," Naomi Buck Vice President - Production/Programming Naples Philharmonic Center , Naples , FL April 19, 2005 "Jenny, I was delighted, as was our audience, withhe performance of SWAN LAKE by the Russian National Ballet Theatre of Moscow. Beautiful sets and costumes with strong principal dancers made for a memorable evening. A real plus was the live accompaniment of the Sofia Symphony Orchestra." Milton Russos Executive Director FCCJ Artists Series (Performance at Moran Theatre, Jacksonville , FL)  HISTORY |  REVIEWS | PHOTO GALLERY  Search  "An evening of glorious theatre. The sets and costumes were dazzling in their color and style. From the moment the curtain rose to audible gasps of delight until the final ovation, the Russian National Ballet Theatre had their audience spellbound." CULTURE (France) Read more reviews Check out the photo gallery of performances.  HOME  | PRODUCTIONS  | NOW BOOKING  | UPCOMING TOURS  | ABOUT  | PHOTO GALLERIES  | REVIEWS  | CONTACT  ©2005, Jenny Kelly Productions  | info@jennykellyproductions Web site by Mid Bay Media");sQ1[19]=new Array("prod_russian_gallery.htm","prod_russian_gallery.htm","","Gallery Photos coming soon.   HISTORY |  REVIEWS | PHOTO GALLERY  Search  "An evening of glorious theatre. The sets and costumes were dazzling in their color and style. From the moment the curtain rose to audible gasps of delight until the final ovation, the Russian National Ballet Theatre had their audience spellbound." CULTURE (France) Read more reviews Check out the photo gallery of performances.  HOME  | PRODUCTIONS  | NOW BOOKING  | UPCOMING TOURS  | ABOUT  | PHOTO GALLERIES  | REVIEWS  | CONTACT  ©2005, Jenny Kelly Productions  | info@jennykellyproductions Web site by Mid Bay Media");sQ1[20]=new Array("icam_history.htm","icam_history.htm","","Jenny L. Kelly, President 723 Weil Mandel Way , Hunt Valley MD 21030 phone - 410-419-4344 fax - 410-527-3514 www.jennykellyproductions.com International Classic Artists Mgmt. was created in 1995 by Jenny L. Kelly, a Baltimore native and former opera singer who received training and degrees in vocal performance and opera from the Peabody Preparatory - Baltimore, The Westminster Choir College - Princeton , NJ , the Philadelphia College of Performing Arts - Philadelphia , and the Academy of Vocal Arts - Philadelphia . She was a top prize winner in many national and international opera competitions including the Belvedere International Opera Competition in Vienna , The Palm Beach Opera Competition, The Baltimore Opera Competition, The Luciano Pavarotti International Opera Competition, and she was the winner of numerous scholarship awards from the Metropolitan Opera National Council Auditions and the Miss America Scholarship Pageant Foundation. After completing over 300 performances of major roles in opera productions throughout Europe and the US , Ms. Kelly decided to settle down and have a family. In August 1993 she married Bulgarian opera impresario Giorgio Lalov. In 1995, after the birth of her son Christian Lalov, she created International Classic Artists Mgmt. Inc., and has since that time booked 8 major American tours for Teatro Lirico D'Europa, the popular European opera touring company which has completed over 3,000 performances worldwide including over 300 performances inside the US. She has also booked 3 US tours for Mozart Festival Opera (fall 2004, winter 2005 and winter 2006), the US debut tour for Czech Opera Prague (fall 2005/Jan. 2006) and the US debut tour for The Russian National Ballet Theatre (April 2005). Ms. Kelly has never had to cancel any tour or any performance on any tour that she has booked. List of productions and venues booked through April 2006 THE WRIGHT CENTER - Birmingham, Alabama Puccini's TURANDOT - winter 2000 YAVAPAI COLLEGE Performance Hall - Prescott, Arizona Rossini's IL BARBIERE DI SIVIGLIA - fall 2005 CERRITOS CENTER FOR THE PERF. ARTS - Cerritos, CA 2 perf. Verdi's AIDA - winter 2000 2 perf. Puccini's TURANDOT - winter 2001 2 perf. Puccini's MADAMA BUTTERFLY - winter 2002 2 perf. Verdi's RIGOLETTO - winter 2003 2 perf. Verdi's IL TROVATORE - winter 2004 2 perf. Mozart's DON GIOVANNI - fall 2004 2 perf. Puccini's LA BOHEME - winter 2005 2 perf. Strauss's DIE FLEDERMAUS - fall 2005 2 perf. Rossini's IL BARBIERE DI SIVIGLIA - winter 2006 CALIFORNIA CENTER FOR THE ARTS - Escondido, CA Verdi's AIDA - winter 2000 Puccini's TURANDOT - winter 2001 Puccini's MADAMA BUTTERFLY - winter 2002 Verdi's IL TROVATORE - winter 2003 Puccini's LA BOHEME - winter 2005 Rossini's IL BARBIERE DI SIVIGLIA - fall 2005 MCCALLUM THEATRE - Palm Desert, CA Verdi's AIDA - winter 2000 Puccini's TURANDOT - winter 2001 Puccini's MADAMA BUTTERFLY - winter 2002 Verdi's RIGOLETTO - winter 2003 Verdi's IL TROVATORE - winter 2004 Mozart's DON GIOVANNI - fall 2004 Puccini's LA BOHEME - winter 2005 Verdi's LA TRAVIATA - winter 2006 CHRISTOPHER COHAN CENTER - San Luis Obispo, CA Puccini's MADAMA BUTTERFLY - winter 2002 Verdi's RIGOLETTO - winter 2003 Verdi's IL TROVATORE - winter 2004 Rossini's IL BARBIERE DI SIVIGLIA - winter 2006 VILAR CENTER FOR THE ARTS - Beaver Creek, CO Verdi's LA TRAVIATA - winter 2004 2 perf. Puccini's LA BOHEME - winter 2006 SHUBERT PERFORMING ARTS CENTER - New Haven, CT Verdi's AIDA - spring 1996 GARDE ARTS CENTER - New London, CT Verdi's AIDA - winter 2001 Verdi's RIGOLETTO - winter 2002 Verdi's IL TROVATORE - winter 2003 Mozart's DON GIOVANNI - winter 2004 Puccini's TOSCA - winter 2004 Mozart's NOZZE DI FIGARO - winter 2005 Bizet's CARMEN - winter 2005 Russian National Ballet Theatre - spring 2005 Strauss DIE FLEDERMAUS - fall 2005 Mozart's DIE ZAUBERFLOTE - winter 2006 Puccini's LA BOHEME - winter 2006 GRAND OPERA HOUSE - Wilmington, DE Puccini's TURANDOT - winter 2000 2 perf. Verdi's AIDA - winter 2001 RUTH ECKERD HALL - Clearwater, FL Verdi's AIDA - winter 2001 Puccini's TURANDOT - winter 2002 Puccini's MADAMA BUTTERFLY - winter 2003 Verdi's IL TROVATORE - winter 2003 Verdi's RIGOLETTO - winter 2004 Puccini's TOSCA - winter 2004 Bizet's CARMEN - winter 2005 Rossini's IL BARBIERE DI SIVIGLIA - winter 2005 Russian National Ballet Theatre - spring 2005 Strauss's DIE FLEDERMAUS - fall 2005 Orff's CARMINA BURANA/Ravel BOLERO - winter 2006 Donizetti's LUCIA DI LAMMERMOOR - winter 2006 VAN WEZEL PERFORMING ARTS CENTER - Sarasota, FL Verdi's AIDA - winter 2001 Verdi's RIGOLETTO - winter 2002 Puccini's MADAMA BUTTERFLY - winter 2003 Verdi's LA TRAVIATA - winter 2004 Bizet's CARMEN - winter 2005 Strauss's DIE FLEDERMAUS - fall 2005 THE ARTS CENTER - Niceville, FL Verdi's AIDA - winter 2001 Verdi's RIGOLETTO - winter 2003 Bizet's CARMEN - winter 2005 KRAVIS CENTER - West Palm Beach, FL Puccini's TURANDOT - winter 2000 Verdi's AIDA - winter 2001 Verdi's RIGOLETTO - winter 2002 and winter 2004 Puccini's MADAMA BUTTERFLY - fall 2003 Bizet's CARMEN - winter 2005 RUSSIAN NATIONAL BALLET THEATRE - spring 2005 Strauss's DIE FLEDERMAUS - fall 2005 Orff's CARMINA BURANA/Ravel's BOLERO - winter 2006 Verdi's LA TRAVIATA - winter 2006 BAILEY CONCERT HALL - Ft. Lauderdale, FL Puccini's TURANDOT - winter 2000 Puccini's MADAMA BUTTERFLY - winter 2005 Puccini's LA BOHEME - winter 2005 Puccini's TOSCA - winter 2005 Rossini's IL BARBIERE DI SIVIGLIA - winter 2006 Bizet's CARMEN - winter 2006 Donizetti's LUCIA DI LAMMERMOOR - winter 2006 FLORIDA ATLANTIC UNIVERSITY CENTER - Boca Raton, FL Verdi's AIDA - winter 2003 Puccini's MADAMA BUTTERFLY - winter 2005 Puccini's LA BOHEME - winter 2005 Puccini's TOSCA - winter 2005 Rossini's IL BARBIERE DI SIVIGLIA - winter 2006 Bizet's –CARMEN - winter 2006 Donizetti's LUCIA DI LAMMERMOOR - winter 2006 EISSEY CAMPUS THEATRE - Palm Beach Gardens, FL Puccini's MADAMA BUTTERFLY - winter 2005 Puccini's LA BOHEME - winter 2005 Puccini's TOSCA - winter 2006 Rossini's IL BARBIERE DI SIVIGLIA - winter 2006 Mozart's DIE ZAUBERFLOTE - winter 2006 Donizetti's LUCIA DI LAMMERMOOR - winter 2006 CORAL SPRINGS CENTER FOR THE ARTS - Coral Springs, FL Puccini's MADAMA BUTTERFLY - winter 2005 Puccini's LA BOHEME - winter 2005 Puccini's TOSCA - winter 2005 Rossini's IL BARBIERE DI SIVIGLIA - winter 2006 Bizet's CARMEN - winter 2006 Donizetti's LUCIA DI LAMMERMOOR - winter 2006 PHILLIPS CENTER FOR THE PERF. ARTS - Gainesville, FL Verdi's AIDA - winter 2003 Verdi's RIGOLETTO - winter 2004 KING CENTER FOR THE PERFORMING ARTS - Melbourne, FL Verdi's AIDA - winter 2003 Puccini's TOSCA - winter 2004 Orff's CARMINA BURANA/Ravel's BOLERO - winter 2006 PHILHARMONIC CENTER FOR THE ARTS, Naples, FL Verdi's AIDA - winter 2001 Puccini's TURANDOT - winter 2002 Verdi's IL TROVATORE - winter 2003 Puccini's MADAMA BUTTERFLY - winter 2003 Mozart's DON GIOVANNI - fall 2003 Verdi's RIGOLETTO - winter 2004 Verdi's LA TRAVIATA - winter 2004 Bizet's CARMEN - winter 2005 Puccini's LA BOHEME - winter 2005 Rossini's IL BARBIERE DI SIVIGLIA - winter 2005 Russian National Ballet Theatre - spring 2005 Strauss's DIE FLEDERMAUS - fall 2005 Mozart's DIE ZAUBERFLOTE - winter 2006 Donizetti's LUCIA DI LAMMERMOOR - winter 2006 MORAN THEATRE - Jacksonville, FL Verdi's RIGOLETTO - winter 2002 Puccini's MADAMA BUTTERFLY - winter 2003 Verdi's LA TRAVIATA - winter 2004 Bizet's CARMEN - winter 2005 Russian National Ballet Theatre - spring 2005 Puccini's LA BOHEME - winter 2006 BRANSCOMB MEMORIAL AUDITORIUM - Lakeland, FL Puccini's TOSCA - winter 2004 Mozart's DON GIOVANNI - winter 2005 Russian National Ballet Theatre - spring 2005 Donizetti's LUCIA DI LAMMERMOOR - winter 2006 PEABODY AUDITORIUM - Daytona Beach, FL Puccini's TOSCA - winter 2004 Bizet's CARMEN - winter 2005 Orrf's CARMINA BURANA/Ravel BOLERO - winter 2006 Strauss's DIE FLEDERMAUS - winter 2006 Rossini's IL BARBIERE DI SIVIGLIA - winter 2006 BARBARA MANN PERFORMING ARTS CENTER - Ft. Myers, FL Puccini's TOSCA - winter 2004 Puccini's LA BOHEME - winter 2005 MARINA CIVIC CENTER - Panama City, FL Puccini's TOSCA - winter 2005 Strauss's DIE FLEDERMAUS - winter 2006 Donizetti's LUCIA DI LAMMERMOOR - winter 2006 FOX THEATRE - Atlanta, GA Puccini's TURANDOT - winter 2000 Verdi's RIGOLETTO - winter 2004 Puccini's LA BOHEME - winter 2005 Russian National Ballet Theatre - spring 2005 Orrf's CARMINA BURANA/Ravel BOLERO - winter 2006 Strauss's DIE FLEDERMAUS - winter 2006 ROBERT FERST CENTER - GA TECH UNIV. - Atlanta, GA 2 perf. Verdi's AIDA - winter 2001 Verdi's RIGOLETTO - winter 2002 Puccini's MADAMA BUTTERFLY - winter 2003 Mozart's NOZZE DI FIGARO - winter 2005 BELL AUDITORIUM - Augusta, GA Verdi's AIDA - winter 2001 Puccini's TURANDOT - winter 2002 GRAND OPERA HOUSE - Macon, GA Verdi's AIDA - winter 2001 Verdi's RIGOLETTO - winter 2002 LUCAS THEATRE - Savannah, GA Verdi's RIGOLETTO - winter 2004 Bizet's CARMEN - winter 2005 Puccini's LA BOHEME - fall 2005 Rossini's IL BARBIERE DI SIVIGLIA - winter 2006 SANGAMON AUDITORIUM - Springfield, IL Puccini's TURANDOT - winter 2000 Verdi's AIDA - winter 2001 Verdi's RIGOLETTO - winter 2002 Verdi's IL TROVATORE - winter 2003 Mozart's DON GIOVANNI - fall 2003 Puccini's TOSCA - winter 2004 Bizet's CARMEN - winter 2005 Rossini's IL BARBIERE DI SIVIGLIA - winter 2006 CENTER FOR THE ARTS - University Park, IL Puccini's MADAMA BUTTERFLY - winter 2003 Verdi's LA TRAVIATA - winter 2004 Puccini's LA BOHEME - winter 2005 Rossini's IL BARBIERE DI SIVIGLIA - fall 2005 CORONADO THEATRE - Rockford, IL Bizet's CARMEN - winter 2005 Russian National Ballet Theatre - spring 2005 Orrf's CARMINA BURANA/Ravel BOLERO - fall 2005 EMENS AUDITORIUM - Muncie, Indiana Mozart's DON GIOVANNI - fall 2005 Russian National Ballet Theatre - spring 2005 MCCAIN AUDITORIUM - Manhattan, Kansas Puccini's TURANDOT - winter 2000 Verdi's AIDA - winter 2001 Verdi's RIGOLETTO - winter 2003 Mozart's DIE ZAUBERFLOTE - winter 2006 LIED CENTER OF KANSAS - Lawrence, Kansas Verdi's AIDA - winter 2001 Verdi's RIGOLETTO - winter 2002 Verdi's LA TRAVIATA - winter 2004 Bizet's CARMEN - winter 2005 Strauss's DIE FLEDERMAUS - winter 2006 CIVIC CENTER - Shreveport, Louisiana Puccini's TURANDOT - winter 2000 Verdi's AIDA - winter 2001 Verdi's RIGOLETTO - winter 2004 MERRILL AUDITORIUM - Portland, ME Verdi's AIDA - winter 2000 Puccini's TURANDOT - winter 2002 Verdi's IL TROVATORE - winter 2003 Puccini's TOSCA - winter 2004 Rossini's IL BARBIERE DI SIVIGLIA - winter 2005 Mozart's DON GIOVANNI - winter 2005 Strauss's DIE FLEDERMAUS - fall 2005 Puccini's LA BOHEME - winter 2006 MAJESTIC THEATRE - Boston, MA 2 perf. Puccini's TURANDOT - winter 2000 5 perf. Verdi's AIDA - winter 2001 2 perf. Verdi's NABUCCO - winter 2001 2 perf. Verdi's RIGOLETTO - winter 2002 2 perf. Verdi's IL TROVATORE - winter 2002 2 perf. Puccini's TURANDOT - winter 2002 6 perf. Mozart's DON GIOVANNI - fall 2003 3 perf. Verdi's LA TRAVIATA - winter 2004 3 perf. Verdi's RIGOLETTO - winter 2004 4 perf. Puccini's LA BOHEME - winter 2005 1 perf. Rossini's IL BARBIERE DI SIVIGLIA - winter 2005 1 perf. Russian National Ballet Theatre - spring 2005 2 perf. Rossini's IL BARBIERE DI SIVIGLIA - fall 2005 3 perf. Strauss's DIE FLEDERMAUS - fall 2005 3 perf. Mozart's DIE ZAUBERFLOTE - winter 2006 3 perf. Donizetti's LUCIA DI LAMMERMOOR - winter 2006 1 perf. Orff's CARMINA BURANA/Ravel's BOLERO - winter 2006 JORDAN HALL - Boston, MA 2 perf. Mussorgsky's BORIS GODOUNOV - winter 2003 1 perf. Puccini's MADAMA BUTTERFLY - winter 2003 ZEITERION THEATRE - New Bedford, MA Verdi's LA TRAVIATA - winter 2004 Rossini's IL BARBIERE DI SIVIGLIA - winter 2005 Puccini's LA BOHEME - fall 2005 CIVIC CENTER - Springfield, IL Verdi's AIDA - spring 1996 MORRIS MECHANIC THEATRE - Baltimore, MD Puccini's TURANDOT - winter 2000 HIPPODROME THEATRE, Baltimore, MD Mozart's DON GIOVANNI - winter 2005 Russian National Ballet Theatre - spring 2005 MILLER AUDITORIUM - Kalamazoo, MI Verdi's AIDA - winter 2001 BOLOGNA PERFORMING ARTS CENTER - Cleveland, MS Puccini's TURANDOT - winter 2002 HAMMONS PERFORMING ARTS CENTER - Springfield, MO Puccini's TURANDOT - winter 2000 Verdi's AIDA - winter 2001 Verdi's IL TROVATORE - winter 2002 Verdi's RIGOLETTO - winter 2003 Puccini's TOSCA - winter 2004 Puccini's LA BOHEME - winter 2005 Verdi's LA TRAVIATA - winter 2006 JESSE AUDITORIUM - Columbia, MO Verdi's RIGOLETTO - winter 2002 Puccini's MADAMA BUTTERFLY - winter 2003 Puccini's TOSCA - winter 2004 Mozart's DON GIOVANNI - fall 2004 Russian National Ballet Theatre - spring 2005 Rossini's IL BARBIERE DI SIVIGLIA - winter 2006 TOUHILL PERFORMING ARTS CENTER - St. Louis, MO Mozart's DON GIOVANNI - fall 2003 Verdi's RIGOLETTO - winter 2004 Mozart's NOZZE DI FIGARO - fall 2004 Rossini's IL BARBIERE DI SIVIGLIA - winter 2005 Strauss's DIE FLEDERMAUS - fall 2005 Puccini's LA BOHEME - winter 2006 Bizet's CARMEN – winter 2006 JOHNSON THEATRE - UNIVERSITY OF NH - Durham, NH Puccini's TURANDOT - winter 2000 Verdi's AIDA - winter 2001 Verdi's RIGOLETTO - winter 2002 Verdi's IL TROVATORE - winter 2003 Mozart's DON GIOVANNI - fall 2003 Rossini's IL BARBIERE DI SIVIGLIA - winter 2005 Mozart's DIE ZAUBERFLOTE - spring 2006 TILLES CENTER , LONG ISLAND UNIVERSITY - Greenville, NY Puccini's TURANDOT - winter 2000 Verdi's AIDA - winter 2001 Verdi's RIGOLETTO - winter 2002 Mussorgsky's BORIS GODOUNOV - winter 2003 Verdi's IL TROVATORE - winter 2004 Mozart's NOZZE DI FIGARO - winter 2005 Bizet's CARMEN - winter 2005 Mozart's DON GIOVANNI - winter 2006 EASTMAN THEATRE - Rochester, NY Verdi's AIDA - spring 1996 and winter 2001 Puccini's TURANDOT - winter 2000 Verdi's RIGOLETTO - winter 2002 Verdi's IL TROVATORE - winter 2003 Mussorgsky's BORIS GODOUNOV - winter 2003 SHEA'S PERFORMING ARTS CENTER - Buffalo, NY Puccini's TURANDOT - winter 2000 Verdi's AIDA - winter 2001 Verdi's RIGOLETTO - winter 2002 JOHN MULROY CIVIC CENTER - Syracuse, NY 2 perf. Puccini's TURANDOT - winter 2000 2 perf. Verdi's NABUCCO - winter 2001 2 perf. Verdi's IL TROVATORE - winter 2002 2 perf. Verdi's RIGOLETTO - winter 2003 STANLEY PERFORMING ARTS CENTER - Utica, NY Verdi's AIDA - winter 2001 Puccini's TURANDOT - winter 2002 Puccini's MADAMA BUTTERFLY - winter 2003 PROCTOR'S THEATRE - Schenectady, NY Verdi's AIDA - spring 1996 Mozart's DON GIOVANNI - winter 2005 Rossini's IL BARBIERE DI SIVIGLIA - winter 2006 Mozart's DIE ZAUBERFLOTE - winter 2006 BROOKLYN CENTER FOR THE PERFORMING ARTS, NY Puccini's TURANDOT - winter 2000 Verdi's RIGOLETTO - winter 2002 Mussorgsky's BORIS GODOUNOV - winter 2003 Puccini's TOSCA - winter 2004 STATE THEATRE - New Brunswick, NJ Puccini's TURANDOT - winter 2000 Verdi's AIDA - winter 2001 Verdi's RIGOLETTO - winter 2002 Verdi's IL TROVATORE - winter 2003 Mussorgsky's BORIS GODOUNOV - winter 2003 Mozart's DON GIOVANNI - fall 2003 Verdi's LA TRAVIATA - winter 2004 Mozart's NOZZE DI FIGARO - winter 2005 Rossini's IL BARBIERE DI SIVIGLIA - winter 2005 Russian National Ballet Theatre - spring 2005 Orff's CARMINA BURANA/Ravel BOLERO - fall 2005 Mozart's DIE ZAUBERFLOTE - winter 2006 NEW JERSEY PERFORMING ARTS CENTER - Newark, NJ Puccini's TURANDOT - winter 2002 Mussorgsky's BORIS GODOUNOV - winter 2003 Verdi's RIGOLETTO - winter 2004 Bizet's CARMEN - winter 2005 Verdi's LA TRAVIATA - winter 2006 MCCARTER THEATRE - Princeton, NJ Mozart's DON GIOVANNI - winter 2005 Mozart's DIE ZAUBERFLOTE - winter 2006 THOMAS WOLFF THEATER - Asheville, NC Mozart's DON GIOVANNI - fall 2003 MILLET HALL, MIAMI UNIVERSITY - Oxford, Ohio Russian National Ballet Theatre - spring 2005 EISENHOWER THEATER - University Park, PA Puccini's TURANDOT - winter 2000 SCRANTON CULTURAL CENTER - Scranton, PA Puccini's TURANDOT - winter 2002 Verdi's AIDA - winter 2003 COMMUNITY CONCERTS - Lansdale, PA Mozart's DON GIOVANNI - fall 2003 STRAND CAPITAL THEATRE - York, PA Verdi's LA TRAVIATA - winter 2004 Bizet's CARMEN - winter 2005 Puccini's LA BOHEME – winter 2006 F. M. KIRBY CENTER - Wilkes Barre, PA Verdi's RIGOLETTO - winter 2004 Bizet's CARMEN - winter 2005 Rossini's IL BARBIERE DI SIVIGLIA - winter 2006 ZOLLENER PERFORMING ARTS CENTER - Bethlehem, PA Puccini's TOSCA - winter 2004 STATE THEATRE CENTER FOR THE PERF. ARTS - Easton, PA Bizet's CARMEN - winter 2005 Puccini's LA BOHEME - winter 2006 PASQERILLA PERFORMING ARTS CENTER - Johnstown, PA Mozart's DON GIOVANNI - winter 2005 VETERANS MEMORIAL AUDITORIUM - Providence, RI Verdi's AIDA - spring 1996 and winter 2001 Puccini's TURANDOT - winter 2002 Verdi's TROVATORE - winter 2003 Verdi's RIGOLETTO - winter 2004 Rossini's IL BARBIERE DI SIVIGLIA - winter 2005 Bizet's CARMEN - winter 2005 PEACE CENTER FOR THE PERFORMING ARTS - Greenville, SC Verdi's AIDA - winter 2001 Puccini's TURANDOT - winter 2002 GALLIARD AUDITORIUM - Charleston, SC Puccini's TURANDOT - winter 2002 Verdi's AIDA - winter 2003 BROOKS CENTER FOR THE PERFORMING ARTS - Clemson, SC Verdi's LA TRAVIATA - winter 2004 MUNICIPAL AUDITORIUM - San Antonio, TX Puccini's TURANDOT - winter 2000 Verdi's AIDA - winter 2001 LILA COCKEREL THEATRE - San Antonio, TX Verdi's IL TROVATORE - winter 2002 Puccini's TOSCA - winter 2003 TURNER AUDITORIUM - Nacogdoches, TX Verdi's AIDA - winter 2001 COX PERFORMING ARTS CENTER - St. George, Utah Mozart's DON GIOVANNI - fall 2004 Strauss's DIE FLEDERMAUS - fall 2005 PARAMOUNT THEATRE - Charlottesville , VA Puccini's LA BOHEME - winter 2005 FLYNN THEATRE, Burlington, VT Puccini's TURANDOT - winter 2000 Verdi's AIDA - winter 2001 Verdi's RIGOLETTO - winter 2002 Mozart's DON GIOVANNI - fall 2003 Puccini's TOSCA - winter 2004 Rossini's IL BARBIERE DI SIVIGLIA - winter 2005 Mozart's DIE ZAUBERFLOTE - winter 2006 MARSHALL HALL - Huntington, West Virginia Verdi's AIDA - winter 2001 MADISON CIVIC CENTER - Madison, WI Verdi's AIDA - winter 2001Verdi's RIGOLETTO - winter 2002 CENTER FOR THE ARTS - Platteville, WI Bizet's CARMEN - winter 2005 SCHAUER ARTS AND ACTIVITIES CENTER - Hartford, WI Rossini's IL BARBIERE DI SIVIGLIA - winter 2006  Search  As president of International Classic Artists Mgmt. Inc., Jenny Kelly has booked major tours in the U.S. since 1998. more Giorgio Lalov, Artistic Director of Teatro Lirico D'Europa, now considered to be the most successful opera touring company in the USA. more International Classic Artist Mgmt - this is where a brief intro or description is given about the history of ICAM. more Fall 2005 - Winter 2006 US Tour of Opera more Check out our gallery of photos from present and past performances. more  HOME  | PRODUCTIONS  | NOW BOOKING  | UPCOMING TOURS  | ABOUT  | PHOTO GALLERIES  | REVIEWS  | CONTACT  ©2005, Jenny Kelly Productions  | info@jennykellyproductions Web site by Mid Bay Media");sQ1[21]=new Array("prod_teatro_review_boris.htm","prod_teatro_review_boris.htm","","Reviews Mussorgsky's BORIS GODOUNOV Teatro Lirico D'Europa - Winter 2003 USA tour TEATRO LIRICO CREATES A STIRRING BORIS! "Last night's performance of Mussorgsky's BORIS GODOUNOV represented the finest performance that Teatro Lirico D'Europa has yet given us. No opera lover should miss the repeat performance tonight by the feisty touring company. The company engaged four artists from Moscow's Bolshoi Theater. All four were excellent. The chorus flooded the hall with thrilling, bright, Slavic tone that buzzed in the ears and the orchestra did yeomen work under the direction of the very gifted conductor Metodi Matakiev. He led with tremendous sweep, passion, and attention to detail. This BORIS stirred the soul, as it must and always does." BOSTON GLOBE - Richard Dyer - March 2003 (Performance at Jordan Hall, Boston, MA) GODOUNOV PROVIDES STRONG SEASON FINISH! "There is no doubting this company's authority in Russian music. The singing was uniformly strong. Giorgio Lalov hired basses, Vyacheslav Pochapsky and Alexander Kisselev, both singers with the legendary Bolshoi, to fill the principal roles of Boris and Pimen. Both were splendiferous. Pochapsky is endowed with a clear and stenorian instrument. Kisselev sang with warmth, elegance and flexibility. Lev Kuznetsov as Dimitri and Anatoly Zaychenko as Shuisky both sang with thrust and intense lyricism. Teatro's resplendent chorus deserves special mention for its intensely emotional performance and conductor Metodi Matakiev led the orchestra with energy and polish." DEMOCRAT AND CHRONICLE - John Pitcher - March 2003 (Performance at Eastman Theater, Rochester, NY) ROCHESTER BORIS "Teatro Lirico's magnificent, fully staged production of Mussorgsky's masterpiece came to Rochester's Eastman Theater Sunday evening. Costumes were sumptuous and beautiful. Vyacheslav Pochapsky delivered a stunning portrayal of the guilt-stricken Czar with total vocal and dramatic involvement and a rich sonorous bass. The "clock scene" and the death of Boris were riveting and sung with enormous power and vocal beauty. The chorus, an enviable hall mark of Teatro's productions was, as usual, quite splendid." OPERA - L - Stephen Landesman - March 2003 (Performance at Eastman Theater, Rochester, NY) Teatro Lirico's BORIS More than Good "The fact that Teatro Lirico shows up traveling with chorus, orchestra and soloists that number more than 100 astonishes in this economic climate. That the troupe brings such quality singers and players is even more amazing. From the front of the stage to the back of the chorus everyone sang and played with energy and skill. Our Boris this evening was the splendid bass Vyacheslav Pochapsky who sang boldly with a round and very deep voice. The pretender Dimitri was provided by tenor Lev Kuznetsov, who sang intelligently, with a fully informed sense of drama." BOSTON HERALD - Keith Powers - March 2003 (Performance at Jordan Hall, Boston, MA) SINGING INTO SPRING - Teatro Lirico's BORIS GODOUNOV "The touring company that has won Boston's hearts with its rough-and - ready productions of Verdi and Puccini brought BORIS for 2 nights. I hope we don't have to wait another quarter of a century for another performance so powerful. What a sizzling performance this was! Metodi Matakiev gave it a surging sweep, building tremendous vocal climaxes, yet holding back for scenes of intimacy or comedy. He gave the church music an eerie sense of ancient otherworldliness. He let the folk songs lilt like folk songs, the dances skip like dances. The mazurkas and the polonaise had a different character from the music evoking the Russian spirit. The orchestra gave him what he wanted and the chorus gave him even more. The walls vibrated with their overwhelming sound and vivid characterizations. These singers performing together almost every night have developed a rare sense of ensemble. Most remarkable were the two Bolshoi basses alternating as Boris and Pimen. Huge Vyacheslav Pochapsky had a voice that seemed to emanate from the bottom of a well-dark, resonant, mysteriously deep, and Russian to the core. His wide, expressive mouth seemed to taste every syllable. It surely was a performance in the tradition of the legendary Russian Bass Feodor Chaliapin. Alexander Kisselev's Pimen had a more elegant vocal technique-I wanted to hear him in Verdi. I felt an almost mystical presence. Teatro Lirico brought us not just one but two sensational singers in one of the greatest of all operatic roles and a riveting experience of one of the greatest of all operas." THE BOSTON PHOENIX - Lloyd Schwartz - March 2003 (Performance at Jordan Hall, Boston, MA) A Welcome View of a Rare BORIS "The character of Boris Godounov is one of the most complex drawn in all of opera. The production mounted by Teatro Lirico D'Europa addressed this quality with considerable understanding. Kudos to this company for presenting it. A good chunk of the credit for the show's success goes to the Boris, Alexander Kisselev, who not only possessed a stern, direct voice, but, with his Goya - esque, elongated face, looked quite imposing as well. The rest of the cast was also solid, in particular the role of Dimitri, sung stylishly and ardently by Lev Kuznetsov. Teatro Lirico is a serious minded Bulgarian company that manages well with the myriad problems that can beset opera on tour. The mostly 2 dimensional designs for this production were effective enough and sometimes quite attractive, opera can survive without hoopla if the music and dramatic action work as well as they did here. The orchestra responded appropriately to Mussorgsky's foreboding, almost Spartan sound world; conductor Metodi Matakiev navigated it with authority. BORIS GODOUNOV can be overwhelming in its inner emotional intensity and its practically relentless darkness. Surely a good deal of that effect was achieved in this generally admirable production." NEW YORK NEWS DAY - Daniel Schlossberg - March 2003 (Performance at the Tilles Center, Long Island University)  READ MORE REVIEWS Mussorgsky's BORIS GODOUNOV Pucinni's TURANDOT Puccini's LA BOHEME Bizet's CARMEN G. Verdi's AIDA Rossini's IL BARBIERE DI SIVIGLIA 2002 - 2004 US Reviews   HISTORY |  REVIEWS | PHOTO GALLERY  Search  "The solo and ensemble singing in all three operas was lusty, whole hearted-full throated and honest. Something personal and passionate that is often missing from evenings of opera." OPERA NEWS - Richard Dyer - February 2002 READ MORE REVIEWS Mussorgsky's BORIS GODOUNOV Pucinni's TURANDOT Puccini's LA BOHEME Puccini's MADAME BUTTERFLY Puccini's TOSCA Bizet's CARMEN G. Verdi's AIDA G. Verdi's RIGOLETTO G. Verdi's IL TROVATORE G. Verdi's LA TRAVIATA Rossini's IL BARBIERE DI SIVIGLIA Check out the photo gallery of performances.  HOME  | PRODUCTIONS  | NOW BOOKING  | UPCOMING TOURS  | ABOUT  | PHOTO GALLERIES  | REVIEWS  | CONTACT  ©2005, Jenny Kelly Productions  | info@jennykellyproductions Web site by Mid Bay Media");sQ1[22]=new Array("prod_teatro_review_turandot.htm","prod_teatro_review_turandot.htm","","Reviews Pucinni's TURANDOT USA Reviews Good Show Teatro Lirico! "Puccini's final masterpiece 'Turandot' was given a grand presentation by the Teatro Lirico D'Europa Saturday evening. What a joy to hear it all unmarred by intrusive electronics! To have performers as professional as Teatro Liricos travel here to McCain strikes me as a blessing to be most grateful for." Manhattan Mercury News Ben Nyberg - Mar. 2000 (Perf. at McCain Auditorium, Manhattan , Kansas) TURANDOT Explores the Poles of Passion "Teatro Lirico D'Europa boasted a fine orchestra, a well coached chorus and strong voices from both the demanding principal roles and smaller secondary parts. All the singers acquitted themselves honorably starting with Leslie Morgan as Turandot. Roumen Doikov sang the prince with a robust tenor that rang true and clear. He drew bravos from the crowd for "Nessun Dorma," the opera's famous aria. Qilian Chen won the audience's heart as Liu. After the final chorus: "Gloria a te!" the audience rose to give the entire ensemble a warm ovation." News Leader - Larry T. Collins - Mar. 2000 (Perf. at Hammons Perf. Arts Center , Springfield , MO) TURANDOT Shows that Opera can be Exciting, Entertaining... "A beautiful performance by talented actors captivated an entire hall full of viewers.The costumes were absolutely gorgeous. Since the story takes place in ancient Peking , the garments reflect that era with beautiful shades of gold, jade and crimson. The lighting effects added to the perfection of the costuming, causing their garb to fluctuate in hues, depending on the color they stepped into. The beautiful Chinese soprano, Qilian Chen, has an exquisite soprano voice, which combined with her beautiful facial and bodily expression, evoked several ovations, and on one particular occasion, brought tears to the eyes of yours truly." The Southwest Standard Bobbilynne Shackelford (Performance at Hammons Performing Arts Center , Springfield , MO , Mar. 2000) "For music lovers, it was a stellar weekend, for Saturday night's production of TURANDOT , the last opera written by G. Puccini, was magnificent. What a thrill to hear the full Teatro Lirico D'Europa orchestra accompany a cast of sixty singers! Chen's (Liu) two arias proved to be shining moments as she floated her pianissimo high notes impossibly above the orchestra. Leslie Morgan sang an excellent Princess with just the right degree of ice in her voice, while Roumen Doikov's glorious tenor gave the role of Calaf an extra dimension. His "Nessun dorma" was outstanding. The sets were beautifully done, costumes were lavish and the voices outstanding. They used no microphones....all the voices projected above the large orchestration." Illinois Times - Ann Ker - Mar. 2000 (Perf. at Sangamon Auditorium-Springfield , IL) TURANDOT Production Expertly Performed "G. Puccini's final opera presented at the Sangamon Aud. by Teatro Lirico D'Europa embellishes the classic story of the ice princess thawed by a dedicated swain. Doikov expertly conveyed that Calaf is essentially a steamroller with a deep soul. The yearning conveyed by his tenor voice emphasized Calaf's unstoppable quest to win the princess and pierced through the orchestral and vocal accompaniment. Morgan's Turandot attained the right degree of hauteur, using her formidable voice to intimidate. Qilian Chen as Liu, the slave girl who loves Calaf...exquisitely sung portrayal foreshadowed her character's tragic fate. "Nessun dorma" is a terribly difficult piece, and happily Doikov did not disappoint. The sets were quite effective and colorful, as were the oriental costumes." The State Journal-Register - Jacqueline Gerber (Perf. at the Sangamon Auditorium, Springfield , Illinois , Mar. 2000) TURANDOT generous with voices, emotions "The Teatro Lirico D'Europa's touring production of Puccini's 'Turandot' had a generous display of voices and emotions. Roumen Doikov's Calaf at the head of the list. The Bulgarian tenor looks young and eager, phrases with musical sensitivity and flaunts terrific high notes. The others were firmly on the plus side. Chinese soprano Qilian Chen, a sophisticated vocalist who securely perched series of radiant high pianissimos...made a sympathetic stage personality. Avalee Beckman...hurled out the top tones like firebombs, which is always fun. She also had good musical instincts and theatrical imagination; she attempted characterization which is more than most Turandot's do. The orchestra played with skill, enthusiasm and confidence born of lots of experience of 'Turandot.'The chorus poured out quality sound that joined with the orchestra to create a solid musical superstructure for the performance. The high energy, young American conductor Joseph Illick was always there for his singers; both he and the players were attentive to the wonderful details of color and atmosphere in the scoring. The public got its money's worth. Beckmann and Doikov...were miles ahead of the last Met touring cast. The audience loved it. Boston has been more than a decade without big opera and uninhibited Italianate singing. Next season Teatro Lirico proposes longer runs for both 'Aida' and 'Nabucco.' If they do people will come. BOSTON GLOBE - Richard Dyer - Mar. 2000 (Perf. at Emerson Majestic Theatre, Boston , Mass) "In terms of sheer vocal display, Roumen Doikov as the fearless Calaf proved as daring as the character he portrays. Doikov belted out his part in a booming helden-tenor voice that soared assertively above orchestra and chorus. His voice was invariably solid and secure-even on the high B.The tragic figure of Liu found convincing expression in the delicate soprano of Qilian Chen. The China native's sweet, stoic delivery breathed a nobility of character into her slave-girl image. Especially pleasant was Chen's lovely decrescendo that allowed her exquisite B-flat at the end of "Signore ascolta!" to melt into thin air. There was no shortage of talent for the productions minor roles. The chorus was vocally engaging as well as dramatically sound. Scenic designer Valentine Topencharov squeezed the most from the troupes set and props-from the imposing basins outside the walls of the Imperial Palace (adorned with spiked, severed heads of Turandot's unsuccessful suitors to the colorful shrine within the palace itself.) Costume designer outfitted townspeople colorfully and effectively." The Post Standard - David Abrahms - Mar. 2000 (Perf. at Civic Center, Syracuse , New York) Lirico's Turandot is a grand evening in small setting "The Teatro Lirico D'Europa proved Monday night that it is possible to produce an opera as big as Puccini's 'Turandot' at the Emerson Majestic Theatre. With savvy and heart this European based touring company directed by Giorgio Lalov did itself proud in the best American "let's put on a show" tradition. Both Monday and Tuesday night performances were sold out in advance. There were people at the ticket entrance holding signs asking to purchase extra tickets, and one audience member reported hearing an offer of $200. for one. Illick's orchestra played well, sometimes beautifully. Tenor Roumen Doikov gave the evening's finest performance as Calaf. His big sturdy voice grew in warmth throughout the opera...he didn't disappoint those who were in the audience mainly waiting for his hit tune, the aria, "Nessun dorma."Soprano Avalee Beckmann from Canada raised the roof-and peeled the paint-with a huge strident voice...and Chinese soprano Qilian Chen used intelligence and heavenly pianissimo...a performance of distinction. Lalov hopes to bring the company back to Boston next year. I'd get my tickets early if I were you." BOSTON HERALD - T. J. Medrick- Mar. 2000 (Perf. at Emerson Majestic Theatre, Boston , MA) "This company has been touring Europe for 14 years, giving thousands of performances with professional, grown up casts. Now on it's first American tour, TLD packed the Emerson Majestic with an audience hungry for old-fashioned, ungimmicky, pour your heart-out opera. Teatro Lirico delivered exactly what the audience wanted. Evocative sets filled the stage. The chorus was both vocally and dramatically impressive.The competent and enthusiastic musicians were led with both zest and musical imagination by gifted young Joseph Illick. Teatro Lirico's stage director, Giorgio Lalov who has sung at La Scala never left you in doubt about what was going on. Leslie Morgan who has sung the role with several regional opera companies and orchestras was an effective, neurotic Princess. The sturdy Doikov (Calaf) had a real tenor ring. The major crowd pleaser was Chinese Soprano Qilian Chen as the slave girl Liu. She acted with touching dignity and had more than a serviceable voice that was capable of scene-stealing high pianissimos. Teatro Lirico D'Europa promises to return to Boston next year with Verdi's 'Aida' and his rarely performed, utterly uninhibited third opera 'Nabucco.' People will be lining up early." BOSTON PHOENIX - Lloyd Schwartz March 2000 (Perf. at Emerson Majestic Theatre, Boston , MA) "Tamara Kutsenko, who took the role of Turandot in the Teatro Lirico d'Europa production Wednesday at the Cerritos Center for the Perf. Arts handled it as persuasively as anyone. Roumen Doikov sang Calaf with a bright, strong, Italianate tenor. Kenneithia Mitchell was a gentle. effective Liu. Conductor Krassimir Topolov kept the score moving briskly. The orchestra played with power." Los Angeles Times - Chris Paslis, Feb. 2001 (Performance at Cerritos Center for Perf. Arts, CA) Turandot provides a taste of real Italian culture "The performance brought to life Puccini's beautiful music and the intriguing libretto. Tenor Roumen Doikov brought an almost athletic vigor to the role of Calaf and drew a standing ovation for his hearty rendering of 'Nessun dorma.' The best vocal performance may have been by Kenneithia Mitchell as Liu. Her voice doesn't cut through the air waves, it gently separates them. Director Giorgio Lalov conveys the magical message of transformation in 'Turandot.' His staging makes it clear that not only must Calaf conquer Turandot, he must allow Turandot to conquer him to find mutual love. It's interesting that the program notes quote Joseph Campbell's "The Power of Myth" to elaborate on the libretto's themes of transformation." The Desert Sun - Bruce Fessier - Feb. 2001 (Performance at McCallum Theater, Palm Desert) Puccini's TURANDOT “Some super singers! Oh those featured singers! Russian soprano Irina Bozhedomova and Bulgarian tenor Roumen Doikov could knock your socks off with their voices leaving you drooling at every sparing note. Bozhedomova's voice easily captured attention and her combination with Doikov was shattering. Kenneithia Mitchell sings Liu with a mellifluous, finely etched voice. The audience gave the players a rousing reception.” UTICA DISPATCH OBSERVER - Jonas Kover - Feb. 2002 (Performance at Stanley Perf. Arts Center, Utica, NY) “The touring Teatro Lirico put on a solid, moving TURANDOT at Veterans Memorial Auditorium last night. Fans couldn't get enough of Roumen Doikov's soaring tenor. He got a huge ovation for his searing rendition of ‘Nessun Dorma,' the heroic aria. Real artistry came from a young American soprano, Kenneithia Mitchell, as Liu who gave us a fleshed out character and managed to blend tenderness and defiance. As a vocalist she was stunning. Mitchell proved a master of the sweet caress. Teatro Lirico is one of the few touring companies that dares, or can afford to put on large scale operas.” PROVIDENCE JOURNAL - Channing Gray - Feb. 2002 (Performance at Veteran's Memorial Aud. - Providence, RI) Turandot warms hearts of local opera buffs! “Local opera buffs came out en masse Thursday to the Philharmonic Center . Teatro Lirico's full scale production's clever sets beautifully evoked the royal palace pavilion - the Forbidden City in Peking . With its orchestra of 50 musicians, chorus of more than 40 trained singers, and soloists that have already launched international careers, Teatro Lirico successfully interpreted the work's legendary Chinese characters. Puccini's masterpiece is known as a soprano-killer, with the role of Turandot as difficult as Wagner's Isolde. Russian soprano Irina Bozhedomova's penetrating voice evoked just the right balance of fire and ice that the role requires. As Calaf, tenor Roumen Doikov is a find. His rich, vibrant voice filled the hall, and his famous aria, “Nessun Dorma,” aroused cheers and bravos from the audience from the sheer beauty of his voice. Another performer who was a favorite with the audience was the American soprano, Kenneithia Mitchell, who played Liu. It is no wonder she has won so many scholarships and awards. A performance that was certainly above average for a touring company.” NAPLES DAILY NEWS - Corinne Dunne - Feb. 2002 (Performance at Naples Philharmonic Center, Naples, FL) Teatro Lirico Entertains a Packed House! “The Charleston Concert Association presented Teatro Lirico D'Europa's production of G. Puccini's ‘Turandot' to a packed house on Thursday night. It is a feat itself to tour a fully staged production of Turandot' with an orchestra of 50, a 40-voice chorus and massive sets, not to mention providing singers with the physical stamina to meet the vocal demands of the lead roles. The Teatro Lirico D'Europa has put together a production that is professional, credible and entertaining. The Turandot, Irina Bozhedomova, has a trumpet-like voice that cut through the house with ease. Her “In questa reggia” filled the house with icy fury. Roumen Doikov, Calaf, has a full, dramatic tenor voice that excited as well as also carrying in all his quiet moments. Kenneithia Mitchell as Liu possesses a lovely lyric voice. The orchestra conducted by Krassimir Topolov proved quite up to the task and the chorus sounded fully professional. The sets were attractive and highly functional and the performance moves at a good pace thanks to artistic/stage director Giorgio Lalov.” CHARLESTON POST AND COURIER - Jenni Johnson - Mar. 2002 (Performance at Galliard Auditorium, Charleston, SC) “This is a very good production-even good to look at, efficient and smart. The orchestra glistened with color and the chorus resonated with power and bloodthirsty urgency. Doikov nailed “Nessun dorma,” threw his arms up in a victorious V, and brought down the house. As Calaf, he inhabits the role and is consistently believable. He's a generous and vivid singer. The 32 year old Russian soprano, Irina Bozhedomova, has a firm, focused, sometimes even blazing voice which the high tessitura of the title role demands. Liu was the young Korean soprano Su-Jin Lee, who can pull her big voice back into the most delicate pianissimo. She has an expressive face too.” BOSTON PHOENIX - Lloyd Schwartz - Mar. 2002 (Performance at Majestic Theatre, Boston, MA) It's no riddle why TURANDOT is a treat! “Puccini's TURANDOT was the opera that introduced Teatro Lirico D'Europa to Boston two years ago. Once again the Teatro Lirico proved that it's got exactly the kind of voices-and the kind of nerve-that make this difficult to cast opera really sing. Conductor Krassimir Topolov led a musically passionate performance with company stalwart tenor Roumen Doikov on hand as the exiled Calaf and two most promising young sopranos as the women vying for his affections. As the royal riddler, Russian soprano, Irina Bozhedomova, displayed an attractive stage presence and sang with a bright, surprisingly girlish tone. Her voice projected easily. She vividly conveyed the character's pride, fear, and finally love through sensitive facial expressions. Doikov, of course, kept his head, and his splendid rendition of “Nessun dorma” brought down the house.” BOSTON HERALD - T. J. Medrek - Mar. 2002 (Performance at Majestic Theatre - Boston, MA) Russian Soprano lifts stellar TURANDOT “Wednesday night's TURANDOT is the best performance the Teatro Lirico D'Europa has brought us so far, better even than the production of this same opera two years ago. Irina Bozhedomova (Turandot) has an expressive theater face and the soprano has a fascinating voice with a girlish timbre she can shoot through a magnifying glass so that high notes burst into flame. She sings with imagination. Liu, the American soprano, Kenneithia Mitchell, offered a compelling contrast to Bozhedomova's voice. It is ample, warm and vibrant and she has the ability to perch a soft high note with perfect poise. Best of all, she suffuses every phrase she sings with emotion. The audience adored her. Roumen Doikov rose to the occasion, acting with concern and conviction, and singing with power, breadth of phrase, and passion. He concluded “Nessun dorma” with a sweeping vocal flourish and wide-flung arms, and the audience went crazy! The handsome production was spruced up, and the staging is the most persuasive work company director Giorgio Lalov has given us to date. The splendid chorus could have walked away with the show if Doikov, Mitchell and Bozhedomova hadn't been there.” BOSTON GLOBE - Richard Dyer - Mar. 2002 (Performance at Majestic Theatre, Boston, MA) TURANDOT, another Great Catch for Portland Concert Association! “The TURANDOT by Teatro Lirico D'Europa was one of the best touring shows brought to Merrill Auditorium… in terms of singing, staging and musical values. One doesn't usually find singers in a touring company that make the audience jump up and shout bravo but Teatro Lirico has found one in tenor Roumen Doikov who plays Prince Calaf. Soprano, Irina Bozhedomova was imposing as Princess Turandot but soprano, Su-Jin Lee, stole the show as the slave girl Liu. The sets were marvelous for a touring company. The orchestra was excellent in Puccini's difficult score. Merrill Auditorium was filled in spite of a sloppy spring snowstorm. The audience applauded individual arias and choruses and gave the company a long standing ovation at the final curtain.” (Performance at Merrill Auditorium - Portland, ME) PORTLAND PRESS HERALD - Christopher Hyde - Mar. 2002  READ MORE REVIEWS Mussorgsky's BORIS GODOUNOV Pucinni's TURANDOT Puccini's LA BOHEME Puccini's MADAME BUTTERFLY Puccini's TOSCA Bizet's CARMEN G. Verdi's AIDA G. Verdi's RIGOLETTO G. Verdi's IL TROVATORE G. Verdi's LA TRAVIATA Rossini's IL BARBIERE DI SIVIGLIA   HISTORY |  REVIEWS | PHOTO GALLERY  Search  "The solo and ensemble singing in all three operas was lusty, whole hearted-full throated and honest. Something personal and passionate that is often missing from evenings of opera." OPERA NEWS - Richard Dyer - February 2002 READ MORE REVIEWS Mussorgsky's BORIS GODOUNOV Pucinni's TURANDOT Puccini's LA BOHEME Puccini's MADAME BUTTERFLY Puccini's TOSCA Bizet's CARMEN G. Verdi's AIDA G. Verdi's RIGOLETTO G. Verdi's IL TROVATORE G. Verdi's LA TRAVIATA Rossini's IL BARBIERE DI SIVIGLIA Check out the photo gallery of performances.  HOME  | PRODUCTIONS  | NOW BOOKING  | UPCOMING TOURS  | ABOUT  | PHOTO GALLERIES  | REVIEWS  | CONTACT  ©2005, Jenny Kelly Productions  | info@jennykellyproductions Web site by Mid Bay Media");sQ1[23]=new Array("prod_teatro_review_madamB.htm","prod_teatro_review_madamB.htm","","Reviews Puccini's Madama Butterfly Teatro Lirico Singer Flutters through BUTTERFLY! “Puccini's MADAMA BUTTERFLY is foolproof as long as you have a heartbreaking Cio-Cio-San. That's exactly what Teatro Lirico D'Europa offered in Qilian Chen who sang the title role. With her radiant smile and demeanor, Chen easily evoked the idealistic, trusting 15 - year old geisha who marries the cad Pinkerton. Chen was up to revealing the levels of tragedy. She went the marathon distance with strength and dignity and with subtle and affecting phrasing. She carried the opera to its triumphant conclusion.” LOS ANGELES TIMES - Chris Pasles - Feb. 2002 (Performance at Cerritos Center for the Perf. Arts, Cerritos, CA) MADAMA BUTTERFLY - A Musical Polish that would Grace any Stage in the World! “Teatro Lirico D'Europa tours with a 50-piece orchestra and 40-voice chorus plus all the sets and costumes necessary to present grand opera in a stylish, very European way. The success of ‘Madama Butterfly' rises and falls with the title role. Soprano, Su-Jin Lee did not disappoint, offering as dramatic a rendering of Cio-cio-san as might be imagined with her seamless, powerful voice and suavely elegant acting style. Roumen Doikov's sharply focused tenor voice allowed his singing to project above the orchestra's commanding presence. Nicolai Dobrev's Sharpless was a musical triumph. Elena Marinova portrayed the role of Suzuki with grace and beauty, blending magnificently with Su-Jin Lee. The solid performances of the orchestra along with compelling performances in all the supporting roles gave this production a musical polish that would grace any stage in the world.” THE TRIBUNE (San Luis Obispo, CA) Alan Boehmer - Feb. 2002 (Performance at Christopher Cohen Center, San Luis Obispo, CA) MADAMA BUTTERFLY at Stanley 's “Su-Jin Lee as the ill-fated Cio-cio-san sang the role of the teen lover with stunning voice and astute dramatics. Lee used her high lyric soprano to etch the sorrowful wails of an unfortunate love. Besides her gripping vocals, Lee also captured the soul of the girl and the roller coaster of emotions in her every gesture. The audience gave the cast a rousing reception at the finale.” UTICA DISPATCH OBSERVER - Jonas Kover – Feb. 2003 (Performance at Stanley Perf. Arts Center - Utica, NY) A Magnificent MADAMA BUTTERFLY “Su-Jin Lee was most convincing as Cio-cio-san. It's rare to see such fine acting ability, combined with magnificent vocal cords. Act II, perhaps had the finest singing, notably “Un bel di vedremo” and the flower duet with Elena Marinova as Suzuki, who captured the emotions of every moment before her mistress experienced them. Lee rose above the pack... The suicide scene was heart-rending. The opera was well produced, as indicated by the attention and extraordinary quiet of the audience. Sets were simple yet effective, lighting was extremely well done, costumes were attractive and reflected the period Puccini intended. The orchestra deserves high praise for its sound and conductor Krassimir Topolov did a superb job. Roumen Doikov as Pinkerton and Nicolai Dobrev as Sharpless sang very well. The chorus sounded great. This is a first class organization. Let's hope for a return.” THE STAR - ( Chicago Heights ) - D. J. Luksetich - Mar. 2003 (Performance at Center for the Perf. Arts, University Park, IL) Lirico's BUTTERFLY: All Things Bright and Beautiful! “It's not often that Boston - or any town- hears a BUTTERFLY on the order of Korean soprano - Su-Jin Lee: her voice was almost too big for Jordan Hall, but it remained full and rich at the top, the aural equivalent of a room full of cherry blossoms. She also has the most radiant smile. Her characterization was superb. Mexican tenor, Gabrielle Gonzales, brought a rich voice and stock-but sensitive characterization to Pinkerton. Ted Lambrinos was more nuanced as Sharpless, whose face registered increasing shades of dismay as Pinkerton contemplated the joys of “Japanese marriage.” The chorus sang sumptuously and the orchestra gave Puccini's score both physical and emotional weight.” BOSTON PHOENIX - Jeffrey Gantz - Mar. 2003 (Performance at Jordan Hall, Boston, MA) Heroine Gives Wings to Touring BUTTERFLY! “Korean soprano Su-Jin Lee was the compelling focus of the action Saturday night as Teatro Lirico D'Europa brought its BUTTERFLY to the Kravis Center . Lee was a persuasive Cio-cio-san, gifted with a strong, rather dark voice, that held up well throughout the evening and that ably covered the gamut from awakening passion to bleak despair. Just as comprehensive was her acting range. She inhabits the part completely. Italian tenor, Maurizio Graziani, was a good Pinkerton with a pleasing, soft edged lyric tenor that blended suavely with Lee in the big love duet that closes Act I. There was fine singing also from the American baritone Theodore Lambrinos as Sharpless, and Elena Marinova, as Suzuki, who was at her best in the Act II flower Duet. Teatro Lirico's orchestra acquitted itself well and conductor Krassimir Topolov proved to be a sensitive accompanist. A ‘Butterfly' well worth seeing, especially for its lead soprano, whose Cio-cio-san came through much as Puccini would have liked, as a real flesh and blood person with whom the audience can deeply empathize.” PALM BEACH POST - Greg Stepanich - Nov. 2003 (Performance at the Kravis Center, W. Palm Beach, FL)  READ MORE REVIEWS Mussorgsky's BORIS GODOUNOV Pucinni's TURANDOT Puccini's LA BOHEME Puccini's MADAME BUTTERFLY Puccini's TOSCA Bizet's CARMEN G. Verdi's AIDA G. Verdi's RIGOLETTO G. Verdi's IL TROVATORE G. Verdi's LA TRAVIATA Rossini's IL BARBIERE DI SIVIGLIA   HISTORY |  REVIEWS | PHOTO GALLERY  Search  "The solo and ensemble singing in all three operas was lusty, whole hearted-full throated and honest. Something personal and passionate that is often missing from evenings of opera." OPERA NEWS - Richard Dyer - February 2002 READ MORE REVIEWS Mussorgsky's BORIS GODOUNOV Pucinni's TURANDOT Puccini's LA BOHEME Puccini's MADAME BUTTERFLY Puccini's TOSCA Bizet's CARMEN G. Verdi's AIDA G. Verdi's RIGOLETTO G. Verdi's IL TROVATORE G. Verdi's LA TRAVIATA Rossini's IL BARBIERE DI SIVIGLIA Check out the photo gallery of performances.  HOME  | PRODUCTIONS  | NOW BOOKING  | UPCOMING TOURS  | ABOUT  | PHOTO GALLERIES  | REVIEWS  | CONTACT  ©2005, Jenny Kelly Productions  | info@jennykellyproductions Web site by Mid Bay Media");sQ1[24]=new Array("prod_teatro_review_tosca.htm","prod_teatro_review_tosca.htm","","Reviews Puccini's TOSCA TOSCA Leaves Audience in a Good Mood, Wanting More! “The traveling production of TOSCA by Teatro Lirico D'Europa left the CAPACITY audience in a good mood, wishing for more. Soprano, Victoria Litherland, was excellent in the title role. She has sung TOSCA before with the Austin Lyric Opera and last week was in Seattle , starring in MANON LESCAUT. She was paired well with tenor, Cesar Hernandez as Mario. Baritone, Valery Ivanov was appropriately villainous as Scarpia, emphasizing the character's sadistic side rather than his mock piety. The secondary characters were well sung. The sets and costumes were first rate. Everyone deserved the long standing ovation at the final curtain.” PORTLAND PRESS HERALD - Christopher Hyde – Feb. 2004 (Performance at Merrill Auditorium, Portland , ME) TOSCA - Clearwater , FL “On Feb. 22 Ruth Eckerd Hall presented Teatro Lirico D'Europa's production of TOSCA with an international cast. As Tosca , Victoria Litherland showed that she can act the part of the diva. She had excellent control of her large sumptuous voice which easily soared over the orchestra. She knows how to utilize dynamics and she easily captured every aspect of her role. Puerto Rican tenor Cesar Hernandez sang Cavaradossi with a warm Italianate sound topped by exciting high notes. An excellent actor, he pulled at the heartstrings of the audience with his ‘E lucevan le stelle.' Baron Scarpia was sung by Valery Ivanov who interpreted his character as an unspeakably evil villain. This Scarpia sang with distinctively colored, well projected tones. Giorgio Lalov's well thought out stage direction brought out many nuances of this oft told story and Eugene Kohn's full blooded conducting never let the tension sag. The substantial looking sets by Valentine Topencharov gave an accurate depiction of the actual Rome sites.” OPERA JAPONICA - Maria Nockin – Feb. 2004 (Performance at Ruth Eckerd Hall, Clearwater, FL) Teatro Lirico's TOSCA Comes Up Big! “ DAYTONA BEACH - Everything about Friday's TOSCA, the outstanding final program in the Symphony Society's International Series, was big. From the moment the curtain rose, it was clear that the nearly 50 members of Teatro Lirico's orchestra were too many for Peabody Auditorium's pit. The result was a voluminous sound, just right for the outsized passions in the opera and for the singers who expressed them. Under the direction of Giorgio Lalov, the focus is always firmly on the romantic tragedy TOSCA represents. The Teatro Lirico cast, elegantly costumed and supported by an orchestra able to express the operas immense emotions, was tremendous in their ability to make every nuance felt. In the title role, the young American soprano (STEFANIE PEARCE) shone. Pearce's voice, rich and warm, shifted with emotions that spanned the gamut, and her acting made marvelously theatrical gestures entirely believable. David Corman (Cavaradossi) and Pearce were deeply affecting… their stunning voices had the greatest impact. They were in every way, terrific.” DAYTONA BEACH NEW JOURNAL - Laura Stewart – Mar. 2004 (Performance at Peabody Auditorium, Daytona Beach, FL)  READ MORE REVIEWS Mussorgsky's BORIS GODOUNOV Pucinni's TURANDOT Puccini's LA BOHEME Puccini's MADAME BUTTERFLY Puccini's TOSCA Bizet's CARMEN G. Verdi's AIDA G. Verdi's RIGOLETTO G. Verdi's IL TROVATORE G. Verdi's LA TRAVIATA Rossini's IL BARBIERE DI SIVIGLIA   HISTORY |  REVIEWS | PHOTO GALLERY  Search  "The solo and ensemble singing in all three operas was lusty, whole hearted-full throated and honest. Something personal and passionate that is often missing from evenings of opera." OPERA NEWS - Richard Dyer - February 2002 READ MORE REVIEWS Mussorgsky's BORIS GODOUNOV Pucinni's TURANDOT Puccini's LA BOHEME Puccini's MADAME BUTTERFLY Puccini's TOSCA Bizet's CARMEN G. Verdi's AIDA G. Verdi's RIGOLETTO G. Verdi's IL TROVATORE G. Verdi's LA TRAVIATA Rossini's IL BARBIERE DI SIVIGLIA Check out the photo gallery of performances.  HOME  | PRODUCTIONS  | NOW BOOKING  | UPCOMING TOURS  | ABOUT  | PHOTO GALLERIES  | REVIEWS  | CONTACT  ©2005, Jenny Kelly Productions  | info@jennykellyproductions Web site by Mid Bay Media");sQ1[25]=new Array("prod_teatro_review_carmen.htm","prod_teatro_review_carmen.htm","","Reviews BIZET'S CARMEN CARMEN Makes One's Heart Sing! (Boston) "There were many positive elements to Teatro Lirico D'Europa's production of Bizet's CARMEN, but those of us who were there will doubtless remember the evening for the thrilling performances of mezzo Kirstin Chavez and tenor Jeffrey Springer as the fearless gypsy and the soldier who loves her - to death. Chavez is beautiful, she's a terrific actress and she has a lovely mezzo sound that she produces with ease throughout the range. Springer's portrayal of Jose was equally vivid. His robust, bronze-tinged tenor filled the Majestic with powerful sound from start to finish. Conductor Krassimir Topolov got a strong, no nonsense reading from the players. The staging by Giorgio Lalov was vivid in the intimate interactions of the leads including the beautifully bright-voiced Veselina Vasileva (Micaela) and charismatic Vladimir Samsonov as winning toreador Escamillo." THE BOSTON HERALD - T. J. Medrek - March 2005 ENSEMBLE CAST SIZZLES in Teatro Lirico's CARMEN! (BOSTON) "Last night's performance of CARMEN really cooked. Credit goes to the excellent Bulgarian ensemble of chorus and orchestra and two Americans in the starring roles. Kirstin Chavez has sung the role at the New York City Opera. She's physically and vocally limber, and revels in her femme-fatale looks. She has a bright lyric mezzo with a strong top and sings with many a teasing, personal, and humorous inflection. She can play the castanets, and she acts up a storm, while always keeping her place in the ensemble effort. Tenor Jeffrey Springer has a strong, tireless voice with good high notes. His desperation, despair and degeneration were palpable. Veselina Vasileva brought fervor and gleaming high notes to the role of Micaela. Vladimir Samsonov, the swaggering toreador Escamillo, seemed to be having fun and acted with supreme self-congratulation that fits his character. Viara Zhelezova unleashed a formidable sound as Mercedes and the smugglers were terrific. The chorus poured out tone that left the ears ringing and the orchestra did some elegant work for Krassimir Topolov who kept things moving along in a stylish way. Giorgio Lalov's simple, sensible production gave his stars plenty of leeway to do their own thing." THE BOSTON GLOBE - Richard Dyer - March 2005 CARMEN - BOSTON March 23 "Teatro Lirico D'Europa rolled out its big guns at Emerson's Majestic Theatre in Boston last night and offered up to the audience a CARMEN that soared in the manner of its delivery from an outstanding cast that gave its all...riveting performances from a cast that oozed talent, vocally and as actors. We were told to expect something special from mezzo-soprano KIRSTIN CHAVEZ, and WOW did she deliver! Saucy, sexy, playful, flirtatious, and gifted with a voice that is rich and smooth in tone and range - she is a perfect CARMEN, with long, curly black hair, facial expressions and body movements that spoke to every man in the audience. When she danced and sang with castanets the temperature in the theater went up several degrees. Veselina Vasileva (Micaela) has a beautiful strong soprano voice and was able to breathe feeling into her character hitting all the highs effortlessly and projecting her voice with grace and style. Tenor, Jeffrey Springer, Don Jose, was simply outstanding in the role. He has a clear tenor voice that rides the tops beautifully and with no apparent effort or stress. He remained strong throughout the performance and gave truly memorable acting moments. Another worthy performance came from Vladimir Samsonov, who seemed to really enjoy the role of the Matador. He sang well and strutted his stuff in a hammy sort of way that was infectious and suitable for the part. The entire supporting cast did well, as did the Flamenco Dancers from BALLET ARABESK who I would like to have seen more of. The singing of Liubov Metodieva as Frasquita and Viara Zhelezova as Mercedes were strong and articulate. Giorgio Dineff as Remendado and Hristo Sarafov as Dancairo were equally well performed, both vocally and as actors. " CARMEN - BOSTON MARCH 26 Last night Teatro Lirico D'Europa completed its Boston run of CARMEN with a new Don Jose - Michael Hayes and a new Carmen interpreted by mezzo-soprano Galia Ibragimova. The rest of this outstanding cast remained the same with an even better performance by Veselina Vasileva as Micaela, who simply blew the roof off the house with her dynamic voice and powerful delivery, time and time again. Kudos to the orchestra as well which delivered mightily and with depth, a beautifully and sensitively delivered score that added immeasurably to the pleasure of this CARMEN. Ms. Ibragimova gave us a different Carmen: more earthy, mature, less temptress, more threatening. The audience loved it, and Ms. Ibragimova earned the applause. And then there is Michael Hayes in the role of Don Jose. This guy can sing and act. He put both talents to good use as he poured his heart into the role. Michael Hayes has the power of delivery that makes his tenor a commanding one. His high notes fill the hall and the passion of the moment is driven home in acoustical waves of delight and awe that clearly mark this singer as a major talent. He delivers the goods in a manner that spells STAR! Teatro Lirico D'Europa can add another notch to its impressive winning belt with this Boston run of Carmen. Both casts, both performances were treats for Boston 's growing opera audience." OPERAONLINE.US - Paul Walkowski - March 2005 CARMEN (New Jersey Performing Arts Center) "On March 18 Teatro Lirico D'Europa performed G. Bizet's popular opera CARMEN for a full house (2700) at the New Jersey Performing Arts Center in Newark . Stage director Giorgio Lalov presented a traditional retelling of the story aided by solid looking scenery and elaborate costumes by Valentine Topencharov. Since three excellent flamenco dancers from Ballet Arabesk travel with this company, the presentation included dances that were an integral part of nineteenth century French opera performances but are seldom seen these days. The title role was sung by a rising star Kirstin Chavez. She has sung at the New York City Opera and will make her debut at the Metropolitan Opera next season. A charismatic, green eyed seductress, this Carmen was as irresistible to the audience as her stage lovers. Her voice was even throughout its registers with luminous high notes and luscious, creamy chocolate low tones. Jeffrey Springer was a strong Don Jose who sang with a smooth legato and ringing top tones. He portrayed an impulsive character whose reaction to a stressful situation was violence. Moldovan baritone, Vladimir Samsonov, sang his Toreador Song with powerful, robust tones as he strutted across the stage like a champion bull fighter. Veselina Vasileva was a poignant Micaela who sang her lovely third act aria with lustrous silvery tones that soared over the orchestral accompaniment. An accomplished actress, the soprano made every onlooker feel her fear. Another soprano with beautifully blooming top notes is Liubov Metodieva who sang Frasquita. Krassimir Topolov conducted the Sofia Symphony in a brisk but intense rendition of the beloved masterpiece and the audience reacted with tumultuous applause at the end of the evening." OPERA JAPONICA - Maria Nockin - March 2005 Teatro is Sweet on CARMEN and She Returns the Favor! "Kirstin Chavez as Carmen comes off as a headstrong, independent character, more terrified of relationships than heartless. Chavez gives the edges of a tragic heroine who has picked the wrong guy to go soft on. She has an expressive voice and character mastery that doesn't quit. Her "Habanera" convinced the audience that if she loves you, watch out! Teatro's Veselina Vasileva as Michaela delivered her aria powerfully and sweetly. Giorgio Dineff and Hristo Sarafov delivered major star quality in the minor roles of Raimondado and Dancairo. The same kudos go to Frasquita and Mercedes - Liubov Metodieva and Viara Zheleova. What voices! Jeffrey Springer sang Don Jose smoothly and with power. " NAPLES DAILY NEWS - Harriet Howard Heithaus - March 2005 Sensual CARMEN Heats up Lied! "A sold out Lied Center crowd was on hand Saturday for the Teatro Lirico D'Europa's production of CARMEN. Kirstin Chavez, the stunningly beautiful mezzo soprano gave us a CARMEN as sensual as Marilyn Monroe, as bright as Kathryn Hepburn and as down to earth as Sandra Bullock. Chavez held all eyes. She also held all ears. Chavez dramatic range, pitch-perfect intonation, and dramatic ability made us understand her character's innate sense of joie de vivre and apprehension. Defiantly throwing her raven locks at the constraints of the Spanish patriarchal society, the exotic Chavez teased and taunted with an effort no less devastating than Sharon Stone in BASIC INSTINCT. Chavez leveraged her pinup girl good looks with a repertoire of come-hither gestures that kept men in the cast and audience spellbound. Whether thrusting her bosom forward, or standing haughtily with hands on hips or flashing her million dollar smile, Chavez held all in rapture. We were also treated to the singing and acting talents of tenor David Corman who gave us a substantive Don Jose. Igor Denisov's Escamillo and Veselina Vasileva's Micaela, were impressive. Super titles above the Lied's proscenium arch provided efficient translations of the French lyrics adding greatly to the audience comprehension and enjoyment, And of course there was the ever magnificent music of Bizet, brought to vivid vocal and orchestral life under the capable baton of Krassimir Topolov. The evening's most indelible spell was that cast by the luminous Chavez, who proved why she's opera's next big thing!" TOPEKA CAPITAL JOURNAL - Chuck Berg - March 2005 CARMEN - Lied Center of Kansas "A sold out house waited Saturday evening for the opening curtain of Teatro Lirico D'Europa's CARMEN at the Lied Center . The role of CARMEN was sung by Kirstin Chavez. Her silky mezzo soprano was perfect for the role, and she looked the part of the fiery and sensuous gypsy, taking control of the stage in her opening "Habanera" scene as she slithered barefoot across the stage, flirting with one man after another. Soprano Veselina Vasileva as Micaela sang the part impressively. Her "Je dis que rien" was a high point , rocking the second balcony with high Cs and concluding with prolonged applause. Igor Denisov showed a commanding stage presence as Escamillo. The young Liubov Metodieva has a splendid soprano voice and evidently has a career before her. Costumes were colorful, with many flounced dresses in plentiful supply. The stone and brick urban setting, lighted in warm earth tones was quite satisfactory. The orchestra performed well, with especially nice work by bassoon, flute and harp. The subtitles were rendered in lively colloquial English and were a welcome addition." LAWRENCE JOURNAL WORLD - Dean Bevan - March 2005 CARMEN AT KRAVIS CENTER - W. Palm Beach "The setting, performance and acoustics were a treat to both eyes and ears and well received by the sold out audience. A theatrical production gives theatergoers an escape from realityand 2 hours of pure pleasure. This goal was accomplished by the Teatro Lirico D'Europa's production of CARMEN, played to perfection by Galia Ibragimova. The supporting cast of soldiers and flamenco dancers combined into a flawless presentation under the direction of Giorgio Lalov. The conclusion was a standing ovation which touched the hearts of both singers and audience. " W. Palm Beach - Out 2 NEWS - February 2005 CARMEN - Lucas Theatre , Savannah , Ga. "Teatro Lirico gave a buoyant performance of CARMEN filled with lovely singing, sharp acting and an entertaining comedic sensibility. David Corman did a fine job playing Don Jose. He has a sweet and muscular tenor, able to break glass one moment and hold your breath the next. His ability to release Jose's agony at story's end effected the right amount of pathos. Galia Ibragimova was a wonderful Carmen. Ibragimova kept the humanity in Carmen and didn't allow her to devolve into a gross cartoon of wantonness. Instead, the mezzo-soprano was, at turns, saucy, demure, coquettish and sexually aggressive. All the things that make a world class Jezebel. Ibragimova's voice was as rich in color as CARMEN is rich in allure. The conflicting themes of fate, love and freedom made sense to the capacity audience last night, evoking a standing ovation." SAVANNAH NOW - John Stoer - February 2005  READ MORE REVIEWS Mussorgsky's BORIS GODOUNOV Pucinni's TURANDOT Puccini's LA BOHEME Puccini's MADAME BUTTERFLY Puccini's TOSCA Bizet's CARMEN G. Verdi's AIDA G. Verdi's RIGOLETTO G. Verdi's IL TROVATORE G. Verdi's LA TRAVIATA Rossini's IL BARBIERE DI SIVIGLIA   HISTORY |  REVIEWS | PHOTO GALLERY  Search  "The solo and ensemble singing in all three operas was lusty, whole hearted-full throated and honest. Something personal and passionate that is often missing from evenings of opera." OPERA NEWS - Richard Dyer - February 2002 READ MORE REVIEWS Mussorgsky's BORIS GODOUNOV Pucinni's TURANDOT Puccini's LA BOHEME Puccini's MADAME BUTTERFLY Puccini's TOSCA Bizet's CARMEN G. Verdi's AIDA G. Verdi's RIGOLETTO G. Verdi's IL TROVATORE G. Verdi's LA TRAVIATA Rossini's IL BARBIERE DI SIVIGLIA Check out the photo gallery of performances.  HOME  | PRODUCTIONS  | NOW BOOKING  | UPCOMING TOURS  | ABOUT  | PHOTO GALLERIES  | REVIEWS  | CONTACT  ©2005, Jenny Kelly Productions  | info@jennykellyproductions Web site by Mid Bay Media");sQ1[26]=new Array("prod_teatro_review_aida.htm","prod_teatro_review_aida.htm","","Reviews G. Verdi's AIDA Highlights from US Reviews AIDA Brings Audience Marvels of Ancient Egypt! "G. Verdi's AIDA marched into a sold-out Anderson Center Thursday night. Ofelia Hristova was lovely as Aida and showed an excellent command of dynamics, from riveting fortes to the very softer pianissimo. Roumen Doikov as Radames is a powerful tenor with a great sound. Ambra Vespasiani as Amneris gave an incredibly stirring performance, masterfully plunging her character into the depths of despair, making the audience applaud her performance even before the music ended. The vitriol she hurls at the priests who condemn Radames to die garnered her curtain call to numerous enthusiastic shouts of "brava!" A wonderful performance was also turned in by Theodore Lambrinos as Amonasro. His rich baritone and convincing acting made his appeal to the Egyptian king and his persuasion of Aida to betray Radames among the best scenes in the opera. The sets for Aida were excellent, especially the enormous Egyptian scene quilted on a tapestry, the Sphinx head and the backdrop of the royal palace at Memphis -an expertly painted tromp l'oeil. Aida is ethereal and beautiful, and nearly 130 years after its debut, Verdi's masterpiece remains magnificent." Press and Sun Bulletin (Perf. at the Anderson Center , Binghamton , NY) Teatro Lirico D'Europa Lights Up Anderson Center with Verdi's AIDA! "The Anderson Center welcomed its first full opera. Those who entered early caught an unimpeded view of the set rising above the stage with the majesty of an ancient temple. Prisoners were brought in to a lavish scene of dancers and chorus, with the entire company filling the stage. Amonasro's voice was clear and powerful like a true King. Ambra Vespasiani (Amneris) effectively communicated the tragedy of a woman torn between love and anger. She was met with deafening applause at her curtain call. Teatro Lirico D'Europa presented a sumptuous story. Hristova (AIDA) played her role with the delicate sweetness of a woman in love. Costumes were lavish and the lighting played off the gilt fabric and jewels laden on Amneris, drawing the eye to her every time she moved. Aida was a wonderful addition to the season as evidenced by the full house and ticket buyers being turned away at the door." Pipe Dream Release (Performance at the Anderson Ct.-Binghamton, NY) Strong Voices make Troupe's AIDA Verdi Good! "With Boston Lyric Opera in the middle of a run of Strauss' 'Salome' it was left to the enterprising Teatro Lirico d'Europa to provide Boston with a Verdi tribute with AIDA. Now in its second major USA tour, Teatro Lirico D'Europa offered a principal quartet of singers who displayed an instinctive grasp of Verdi's musical line and did so with often-gleaming vocalism. The opera is undeniably a masterpiece. Its return is always welcome when the singers can satisfy Verdi's considerable demands. Roumen Doikov, as Radames, solidified the positive impression he made last year as Calaf in the company's 'Turandot.' The Bulgarian tenor has the looks and manner of a retired prize fighter-not inappropriate for portraying a warrior-and an appealing, brawny voice with big, ringing high notes. Veteran American born baritone, Theodore Lambrinos, sank his teeth into the sonorous vocal line Verdi fashioned for the short but important role of Amonasro with richness and power. As Amneris, Italian mezzo soprano, Ambra Vespasiani, has a big, lush voice that dominated the famous Triumphal Scene ensembles. She achieved real pathos in the Judgment Scene. In the title role, soprano, Galia Gortcheva, used her attractive, Slavic tinged soprano to nice effect. If what you want most from a night at the opera is big, authentic voices, you wouldn't have been disappointed on Monday." BOSTON HERALD (Performance at Majestic Theatre, Boston) "Teatro Lirico D'Europa delivers a lot of bang for the public's buck. There was never a dull moment! Soprano, Galia Gortcheva, a leading artist of Belgrade Opera, sang very carefully. A strong lyric soprano, she has a reliable high C and can float a lovely pianissimo across most of her range. She moves well and uses her long arms expressively. Ambra Vespasiani, [Amneris] a tiny sparkplug of a woman with a large voice, fearlessly flung out from booming chest tones to blowtorch top notes; she tore down the house in the Judgment scene. Tenor Roumen Doikov, seems to enjoy singing the part-and to rejoice in the smiling fortune that made him a tenor. He is a rock-solid vocalist and his stage personality is boyish and eager to please. He's got the high notes and delivers everything else honestly and securely. The Greek-American baritone, Theodore Lambrinos, has been on the stage for the better part of 40 years; he knows his business and brought a ferocious dramatic presence to Amonasro. Conductor Krassimir Topolov was spacious and stylish while the chorus of Bulgarian voices poured out thrilling sound." BOSTON GLOBE (1st perf. of AIDA at Majestic Theatre, Boston) "Ofelia Hristova has a true Aida instrument and temperament. She also has the stage presence and wore two drop-dead diva dresses. Hristova created a regal, powerful and sympathetic characterization. She came onstage...acting and reacting; she also let her soprano soar over the ensembles. Her voice has a fascinating dark timbre and voluptuous texture. It recalls that of fabled Turkish soprano Leyla Genzer, and she has a comparably glowing pianissimo. Her Italian is more idiomatic and vivid than Deborah Voigt's was on the broadcast from the Met last Saturday afternoon. Hristova was at her best in the Nile Scene and crowned her "O patria mia" by floating the closing wide-spanning phrase on one breath, as Verdi directs, and that is something you will hear once in a thousand performances. The audience got its money's worth and then some." BOSTON GLOBE (2nd performance of AIDA at Majestic, Boston) "Teatro Lirico D'Europa has given more than 2,000 performances in Europe since 1986. Last year on its first American tour, it came to Boston with Turandot, a rip-roaring production with big voices, and a strong chorus. Teatro Lirico is back in the centenary year of Verdi's death with AIDA. The backdrops of Karnak and the Pyramids across-the Nile are evocative. Two colossal statues menacingly flank the action. The orchestra is excellent and so is Krassimir Topolov's conducting, which keeps things moving along without losing any of Verdi's atmospherics. The chorus is superb-full bodied, vigorous, grown up voices. Theodore Lambrinos, as Amonasro, conveyed a believable character. He could sing too. And so could Doikov [Radames] with brightly resounding stenorian tones, and primitive raw material to spare. The big hit of the evening was Vespasiani (Amneris)...pouring out a huge, vibrant, ferocious sound that knocked you out of your seat. You couldn't help being impressed. Teatro Lirico has some voices!" Boston Phoenix (Performance at the Majestic Theatre-Boston) 'Aida' Performance Kept Audience Glued to Every Change in Tone! "Pyramid power came to the Stanley Performing Arts Center Saturday night in the form of AIDA. For a traveling show, the Teatro Lirico D'Europa production was of majestic scope, with full-stage scenery and props taking you back to the Egyptian dynasties, magnificent singing, an orchestra of 50, a chorus of 45 and nine dancers... The presentation was irresistible. The expressive singers kept the Great Artist Series audience of 2,513 glued to every change of tone. Roumen Doikov, an exciting and robust tenor plays Radames. Soprano Galia Gortcheva, sings Aida with dramatic intonations that clearly put across the lowest plea or the highest point of outrage in a spellbinding manner. Amneris, the Egyptian Princess, is portrayed by Ambra Vespasiani. Her soaring and simpering voice displays romantic, jealous and destructive emotions with a vengeance. The singers perform in impressive sets that change in every scene. The opera opens in a columned temple with two stage height statues at each end. It converts to a temple crowned by a boulder sized head of a pharaoh... the suite of the princess with a large red and gold Egyptian tapestry at back and a couch in lion shape for royalty to dwell in. There's also a scene with the twin pyramids and the Nile River in the background-and a split stage scene in the final act. The chorus in white Egyptian costumes with long sashes in front filled up the stage. The leads left the audience with mouths agape." Utica Dispatch Observer (Performance at Stanley Perf. Arts Ct. , Utica , NY) 'Aida' Marches to Victory at Peace Center! "Friday night's Peace Center audience was treated to a sterling performance of AIDA by Teatro Lirico D'Europa and a fitting tribute to Verdi. The opera was on wings itself as Doikov brought to life the hero of the story, Radames, singing with bright, strong tones and crystal clear diction. The line up of voices showed plenty of resources at hand for the European touring opera company. Ofelia Hristova's Aida transported us to a psychological landscape of conflicting loyalties. She gave a tender performance. Her pianissimos were delicate and luxurious...with exquisite ornamentation in "Ritorna vincitor," and her key Act III aria "O patria mia." Unforgettable was mezzo soprano, Ambra Vespasiani's Amneris. The woman is one huge voice crammed into one tiny body. But you would never know that if you closed your eyes and allowed her smoldering, ember voice to pound and cajole you with her demands, manipulations and lamentations. I loved her "Vieni o diletta appressati," reeling in the unsuspecting Aida, and her judgment scene duet opposite Doikov. Brooklyn born Theodore Lambrinos as Aida's father, wielded a fabulous baritone-strong and rich as dark chocolate, booming from his full-throated arias. Lambrinos sings with authority. He has owned this role from his Metropolitan Opera days. Basso Emil Ponorski - King, and Dimiter Stantchev - Ramfis' sonorous deliveries were the glue for the story's meaning. Teatro Lirico's orchestra under the baton of Krassimir Topolov was exceptionally good as were the company's corps de ballet and splendid chorus. The sets were impressive including the huge Egyptian domestic scene quilted on a tapestry and the massive temples dominated by a sphinx head. My seat mates were thrilled with the production. The upstate crowd's reaction showed it too, ready for more of the same." The Greenville News (Performance at the Peace Center , Greenville , SC) "Monday night the Philharmonic Center for the Arts marked the 100th anniversary of the great composer's death [G. Verdi] with a version of AIDA by Teatro Lirico D'Europa. The company has toured Europe since 1986 with its stable of professional singers, 50 member orchestra, 40 member chorus and ballet ensemble, and it provided the stage with a heady whiff of Ancient Egypt. It has been said that Verdi hated cheap effects and circus-style production. He probably would have approved of the elegant sets used by Teatro Lirico D'Europa; they were colorful and evocative. The orchestra under the baton of Krassimir Topolov also had a vivid presence. From the moment Radames, played by tenor Roumen Doikov, opened his mouth to sing "Celeste Aida," in Act I, it was apparent that this company is capable of making music on a superior level. Doikov has a strikingly beautiful voice, robust, full and with vibrant high notes. The company's Aida, Ofelia Hristova, has performed with great critical acclaim on the company's national tours. Her voice is big and her coloratura is true. The high point of the evening was the performance of Ambra Vespasiani as Amneris. This young mezzo from Italy has it all. Her expressive, rich voice is beautifully trained and her acting reminds me of Callas at her best. She was truly the star of the evening and the audience made it clear that they recognized she is more than a good singer. She is world class. There were also fine performances by Dimiter Stantchev as Ramfis, and Theodore Lambrinos as Amonasro. Lambrinos is a Metropolitan Opera veteran. His deep, resonant voice and his stage know-how lent enormous stature to his role. This was an evening of glorious music from the master." Naples Daily News (Performance at Naples Philharmonic Center) "Aida brought the audience to their feet. The presentation of the Teatro Lirico D'Europa was nothing short of amazing. The voices of the soloists were powerful. They rang out over the orchestra and consumed all those who attended. The stage and costumes for the production were first rate. The entire Egyptian theme was captured in the set designs and echoed throughout the main auditorium as the orchestra played. Despite the incredible voices that joined the main characters on stage, there were two performers that stood out and made their voices ring out over the orchestra and into the hearts of the audience. First was the voice of Radames. The tenor (Roumen Doikov) had no problem projecting his voice with accuracy and precision. The second voice that captivated me was the mezzo soprano voice of Amneris, Princess of Egypt (Tatiana Ishemova.) Her voice had an incredible range. It was obvious that the performers assembled on stage, were well trained and knew how to captivate an audience. Kudos to Teatro Lirico D'Europa for the fine performance!" DeFuniak Springs Herald (Performance at the Arts Center, Niceville, FL) Well-crafted AIDA a Treat for Alamo City! "Seeing a production of G. Verdi's grand opera "Aida" in San Antonio is a treat indeed. That it was performed ably-by a professional touring group complete with orchestra, chorus, and ballet ensemble-makes it so much better. The polished voices and excellent orchestra and chorus successfully drew the audience in to Verdi's story. From the opening prelude, the orchestra's precision and polished competent sound allowed the audience to relax. What takes place on stage is a vision of Egypt at its most exotic. Teatro Lirico's set was large in scale...huge stone pillars covered with hieroglyphics, 12 foot statues and a great stone face suspended above center stage. Tatiana Ishemova's mature, mezzo soprano voice was one of the highlights of the performance, rich in the lower register and powerful in the upper range. Her commanding stage presence befitted a pharaoh's daughter. Ofelia Hristova [Aida] displayed a particularly good control of softer notes in the high register. In the Act II ("O patria mia") a lovely lyrical style stood her in a good stead. Doikov as Radames was a robust, taut and well-trained tenor. The lively presence of ballet dancers provided sheer delight for the eyes. Especially good was the solo dancer. Other fine voices rounded out the performance including that of the Priest-bass, Ivan Tomasev, and Aida's father, American baritone, Mark. C. Gargiulo. " San Antonio Express News (Performance at Municipal Auditorium, San Antonio) "Teatro Lirico D'Europa presented its resplendent production of G. Verdi's grand opera masterpiece Aida to a large and happy McCain Auditorium audience. It certainly gave our crowd its money's worth. I found the overall high artistic quality of their achievement quite remarkable. The set looked as if built of Egyptian pyramid stone, a gigantic sphinx loomed behind it, and it was flanked by a pair of monumental effigies realistic enough to fuel the destructive urges of any Taliban. The big mooned Nile scene scrim suggested a sense of depth and scope as well. The regal principal's costumes had a weighty dignity that elevated them to large than life status. Aida sported two different but equally splendiferous gowns. Choral robes accented the unified power of the king's minions and the dancers' skimpy balletic wear subtly implied their role of obedient functionaries. Under the firm and sensitive direction of Maestro Topolov, the partnership of instrumental and vocal sonorities was exceptional. The evening's singing laurels went to our Radames, tenor Roumen Doikov. Running him a close second vocally was mezzo Tatiana Ishemova as Amneris. A performance of Aida is a rare enough event anywhere. Here at McCain it's most likely a once-in-a lifetime thrill. I hope you enjoyed and valued it as much as I did." Manhattan Mercury News (Perf. at McCain Auditorium, Manhattan, KS) Touring Company Makes a Spectacle of AIDA! "The chorus, orchestra and ballet corps of the Teatro Lirico D'Europa succeeded in bringing a sense of spectacle to the Lied Center stage. The sets featured a massive-looking stone arch, a gigantic pharaoh's head, huge statues flanking the stage and a tromp l'oeil background of massive colonnades retreating into the distance The performers were on an equally grand scale, with big, big voices and broad acting. The eight dancers succeeded by appearing to be more numerous than they actually were, and in melding classical ballet with some exotic and beautiful movements. The chorus filled the stage and sang enthusiastically. For Sunday's sold - out performance we heard Ofelia Hristova as Aida, a genuine dramatic coloratura. She floated her high notes with extraordinary beauty and impeccable technique and she had enough power to fill the house. She was well matched by Roumen Doikov-Radames, a powerful tenor which remained round throughout his range. Judith Engel was genuinely moving as Amneris. Mark Gargiulo-Amonasro was regal and menacing. The orchestra conducted by Krassimir Topolov, did full justice to Verdi's remarkable score." Kansas City Star (Performance at the Lied Center, Lawrence Kansas) "Grand opera came to Springfield, IL last weekend -Verdi's Aida, and it was very grand indeed. Giorgio Lalov, the artistic director, believes that one must remain true to the composer's vision of the opera and his company puts on a truly magnificent production. Lalov travels with an orchestra of 47-no synthesizers, no cheating-just a fine group of musicians that execute Verdi's score with great skill and authenticity. The sets were beautiful! They alone drew spontaneous applause from the audience as the curtain rose. The opening staging for the royal palace at Memphis was elegant, and a huge tapestry that set the scene for Amneris' royal suite was breathtaking. The singers were magnificent. Lalov obviously has a touch of genius in casting his roles. Ofelia Hristova's soprano voice soared in the title role of Aida. Judith Engel sang a stunning Amneris. Roumen Doikov's glorious tenor lent veracity to his love for Aida. Mark Gargiulo was especially good as Amonasro. An absolutely gorgeous part of this production was the ballet group of eight dancers! Their costumes were marvelous, and their execution flawless-a fabulous visual enhancement for the opera. The very large audience was also very appreciative-and rightly so. I can't wait till next year!" Illinois Times (Perf. at Sangamon Auditorium-Springfield, IL) Teatro Lirico's 'Aida' just right to the last detail "The Teatro Lirico D'Europa's performance of "Aida" at Merrill Auditorium got it just right, even after a snow-filled journey from Rochester, NY. The sets were remarkable, the singers thoroughly professional-the full orchestra better than most in any opera pit, the chorus strong and well rehearsed, and the ballet dancers spectacular. The production admirably served the purpose of bringing real grand opera to an audience... and there wasn't a microphone in sight. Tenor Roumen Doikov was excellent as Radames and baritone Theodore Lambrinos as Amonasro was superb. Tatiana Ishemova as Amneris was quite moving. The title role was sung by Ofelia Hristova. Her arias were gorgeous. The ballet dancers were superb. The audience gave everyone a long standing ovation." Portland Press Herald (Performance at Merrill Auditorium, Portland, ME) Teatro Lirico D'Europa's 'Aida' "Teatro Lirico, brought a large contingent to town for the production. Besides the essential lead singers, it had the Sofia Symphony Orchestra in the pit, a full male and female chorus, and a corps of eight or so splendid dancers. Resulting was an entertaining AIDA. The many huge sets and backdrops marvelously recreated the beauty and awesomeness of the era of the Ancient Egyptian pharaohs and the sets were effectively illuminated with special spots at crucial scenes. The varying colorful and imaginative backgrounds added much to Friday's staging, even eliciting applause when the curtains were drawn open. An exceptionally smart logistical decision came about when Teatro Lirico used the ballet corps to entertain as the celebration focus during the Triumphal March music. A superb ballet performed by both male and female dancers. Moreover director Lalov benefited from good singers. A genuine find was the stirring tenor, Roumen Doikov, as the heroic warrior Radames. Blessed with the clear clarion sound of previous purveyors of the role, young Doikov shone brightly throughout. All his notes could be heard without exception-and they were worth hearing as well. The young Yugoslavian basso Ivicsa Tomasev acquitted himself handsomely as the high priest of Isis, thanks to a marvelous low range. Another solid lead was mezzo soprano, Judith Engel, as the Egyptian Princess Amneris. Performing in the tradition of many Amneris before her, the American born and trained Engel sang the bejeeebers out of her part!" Kalamazoo Gazette (Performance at Miller Auditorium, Kalamazoo, MI) A Grand 'Aida' Is Triumphant at The Garde! "In its first performance in the region, the touring Teatro Lirico d'Europa staged an 'Aida' in its full glory at The Garde Arts Center. The 50-piece orchestra, the commanding Egyptian sets, a 40-voice chorus in splendid costumes, a corps de ballet and a cast of robust, Verdi-sized voices successfully brought a big-city opera experience to New London. The production did full justice to the majesty and boiling passions of Verdi's work. As Radames, Roumen Doikov was a perfect fit for the drama. Supple throughout the range and hair raising at the top, he announced his mastery early with a stellar "Celeste Aida" and in the later ensembles, rang true atop the big chorus and full orchestra, even at the most towering crescendi. As Ramfis, bass, Ivan Tomasev, was a towering presence, both physically and vocally and the two warring kings, Egypt's sung by bass Emil Ponorsky and the defeated Ethiopian sung by American baritone Theodore Lambrinos, were equally commanding. Tatiana Ishemova, (Amneris) warmed to the task and in the final act, her anguished outcries were terrific vocal theater. Along with the monumental sets evoking ancient Thebes and gold-be-dazzled costumes, the large orchestra was crucial to the score's success. The dance scenes were high points." The Day (Perf. at the Garde Arts Center, New London, CT) "Friday night's AIDA at the Flynn Center of the Performing Arts featured Teatro Lirico D'Europa; an international company of excellent soloists, musicians, singers and dancers. With strong principal voices, a full competent choir, a stellar orchestra and stunning costume and set design, Teatro Lirico D'Europa presented a superb rendition complete with projected English super titles. Set designer Valentine Topencharov created an impressively monolithic Egyptian set of obelisks, trompe l'oeil columns and gargantuan pharaoh statues. The three principals are first rate. As Radames, tenor Roumen Doikov was simply outstanding. His full tenor voice intertwined beautifully with Amneris and Aida-Italian soprano, Rosella Redoglia. Other standouts included bass Ivica Tomasev as a high priest of Isis, bass Emil Ponorski as Egypt's King and the strong corps de ballet, which added more spectacular costumes...clearly accomplished dancers." Burlington Free Press (Performance at Flynn Theater, Burlington, VT) A Trip down the Nile "Considering the compromises usually made by touring opera companies, the sets for this AIDA were far above the norm, with appearance of solidity and a strongly traditional Egyptian feeling. A large suspended terra cotta pharaoh's head flavorfully dominated several scenes while a stunning black and gold tapestry of a flat profiled Egyptian dancer dominated Amneris's suite. A shimmering moon reflection on the water and silhouettes of pyramids made the third act evocative. The beautiful static tableau of dancers was welcome to the eye, even more so when it gradually came to life with very graceful, idiomatically Egyptian dancing." Buffalo News (Perf. at Shea's Performing Arts Center, Buffalo,NY) 'Aida' - a Grand Opera at the Grand! "Patrons of Opera Delaware had a great treat recently when the Teatro Lirico D'Europa presented its version of Verdi's AIDA in our own Grand Opera House. The combination of thrilling voices, glorious music, gripping drama and magnificent settings provided stimulating entertainment." Greenville Community News (Perf. at Grand Opera House, Wilmington, DE) AIDA Wins New Fans in Heartfelt Lied Center Show! "Teatro Lirico D'Europa put the "grand" in grand opera with impressive sets that placed us cheek to jowl with the Sphinx and the pyramids. A large and impressively costumed cast of royals, priests, priestesses, captains, foot soldiers, functionaries, slaves and Ethiopian prisoners was likewise impressive. The spectacle was further enhanced with on-stage trumpeters and a sultry ballet danced by 8 exotic sylphs. Also noteworthy is the spectacular phenomenon of the trained opera voice capable of filling a huge theater like the Lied. Ofelia Hristova, (Aida) Roumen Doikov, (Radames) and Judith Engel, (Amneris) were key in bringing Verdi's impassioned musical drama to vivid dramatic life. It was a wonderful night. A full and enthusiastic house stood and cheered at the final curtain." Topeka Capital Journal (Perf. at Lied Center of Kansas, Lawrence, KS) Verdi's Classic AIDA Takes Full House Captive! "Teatro Lirico D'Europa's production of Verdi's classic tale AIDA was magnificent in every sense of the word...a performance finely tuned and beautifully crafted." Lawrence Journal World (Perf. at Lied Center of Kansas, Lawrence, KS) "Brilliant tapestries, gold brocade fabrics and monumental statues created the opulent, regal ambiance this work demands. Set in stone the elaborate sets for 'Aida' created the regal atmosphere of the ancient Egyptian court." Rochester Times Union (Performance at Eastman Theater, Rochester, NY) "Remarkable voices! Strong conducting! A well planned production. All the lead singers had better than modest voices, with promising international careers ahead of them. The orchestra was about the size you'd find in the pit at the Metropolitan Opera, giving full value to Verdi's musical intent, including onstage trumpets. Giorgio Notev conducted with solid control and even a touch of grandeur and passion. Soprano Ofelia Hristova did not have to push. She sang with distinction. Her 'O Patria mia' was beautifully phrased, tonally radiant. Lev Kuznetsov sang Radames with stoic projection. Mezzo soprano, Stefka Mineva, acted with her voice. Her scene at the end was powerfully tragic." Schenectady Times Union (Performance at Proctor's Theater, Schenectady NY) "Complete with a splendid chorus, a well schooled orchestra, and a cast of soloists with big sumptuous voices...this 'Aida' has genuinely thrilling moments! As touring productions go it's well worth hearing. The number of people traveling with this 'Aida' is unusually large for a touring opera company. This pays off in the number of musicians in the pit and the full throated chorus of around 50. Such numbers are of particular importance in the triumphal concerted scenes with which 'Aida' abounds. All benefit from the close rapport between the astute conductor, his polished orchestra, and the singers and dancers. The production is elaborately set with ancient Egyptian scenery." Variety NY - Markland Taylor (Performance at Shubert Theater, New Haven CT) AIDA Lives up to Billing as Opera to see this Year! "This 'Aida' was great. Teatro Lirico D'Europa created the illusion of magnitude with big props, large backdrops painted with the perspective depth, and the largest ensemble of singers and musicians to ever accompany a local opera. The grandiose music, conducted with passion, was more than enough to make this 'Aida" memorable. The choirs attained a mystical quality with wondrous harmonies. Individual vocal honors go to Roumen Doikov as Radames. He deftly negotiated each change and projected each passage clearly. Ofelia Hristova as Aida did shine in the soprano register. She executed the beautiful 'O Patria mia' with conflicting emotions." The Desert Sun - Bruce Fessier (Perf. at McCallum Theater, Palm Desert, CA) Traveling Aida Lives up to Lavish Description! "Teatro Lirico D'Europa's touring 'Aida' provided plenty of spectacle for ticket buyers. Elaborate sets, gorgeous costumes, superb musical direction of the 50 piece orchestra and an excellent corps de ballet added to the production's elegance. Singing by the principals was very good and they received strong assistance from a cast of more than 40 supporting singers. Tenor Roumen Doikov, who opened the the show with a well-sung version of "Celeste Aida," was an audience favorite. As Aida, soprano Ofelia Hristova sang powerfully in the upper range and sweetly in the pianissimo section of the role's signature aria "Ritorna Vincitor" and "O Patria mia." Her passionate and very well sung duet with Doikov in the 3rd Act was the highlight of the evening. The conductor led a well prepared and lushly appointed orchestra in a flawless performance. Judging from the enthusiastic reception the company received from the sold out audience, let's hope Teatro Lirico D'Europa will be back with more." North County Times - Pam Kagan (Perf. at CA Center for the Arts, Escondido) "Teatro Lirico D'Europa puts on a good show, as witness this 'Aida.' Verdi's masterpiece score is treated with respect, beginning with a 60 member orchestra in the Cerritos pit. The singers in this production performed solidly. Roumen Doikov, the Radames, possesses a thrilling and consistent tenor voice of healthy, Italianate ring. The staging by company artistic director, Giorgio Lalov, is direct and practical. Aida, Ofelia Hristova rose to the Verdian challenges with dramatic color, technical ease and beautiful high notes." Los Angeles Times (Perf. at Center for the Perf. Arts, Cerritos CA) AIDA Comes Up Big, On the Stage and Off! "This AIDA was the most exciting production to come to Scranton in a dozen years. The 45 piece orchestra played gorgeously, the 40 voice chorus was more than able to acquit itself, and the six principals were really quite wonderful." SCRANTON TIMES (Perf. at the Scranton Cultural Center, Scranton, PA) AIDA "Lalov's artistic direction was incredible. Even though this opera was performed in Scranton, it very well could have been at the Met or La Scala. The three hours of the opera were like a dream that you didn't want to end." CAMPANIA SU WEB (Perf. at the Scranton Cultural Center)  READ MORE REVIEWS Mussorgsky's BORIS GODOUNOV Pucinni's TURANDOT Puccini's LA BOHEME Puccini's MADAME BUTTERFLY Puccini's TOSCA Bizet's CARMEN G. Verdi's AIDA G. Verdi's RIGOLETTO G. Verdi's IL TROVATORE G. Verdi's LA TRAVIATA Rossini's IL BARBIERE DI SIVIGLIA   HISTORY |  REVIEWS | PHOTO GALLERY  Search  "The solo and ensemble singing in all three operas was lusty, whole hearted-full throated and honest. Something personal and passionate that is often missing from evenings of opera." OPERA NEWS - Richard Dyer - February 2002 READ MORE REVIEWS Mussorgsky's BORIS GODOUNOV Pucinni's TURANDOT Puccini's LA BOHEME Bizet's CARMEN G. Verdi's AIDA Rossini's IL BARBIERE DI SIVIGLIA 2002 - 2004 US Reviews Check out the photo gallery of performances.  HOME  | PRODUCTIONS  | NOW BOOKING  | UPCOMING TOURS  | ABOUT  | PHOTO GALLERIES  | REVIEWS  | CONTACT  ©2005, Jenny Kelly Productions  | info@jennykellyproductions Web site by Mid Bay Media");sQ1[27]=new Array("prod_teatro_review_rigoletto.htm","prod_teatro_review_rigoletto.htm","","Reviews G. Verdi's RIGOLETTO RIGOLETTO: Emotional, Enlightening Show! “A two and a half hour opera with beautiful arias. Leave it to Teatro Lirico D'Europa to fill the roles with singers that elevate Verdi's music and cause the audience to leap to its feet! ‘Rigoletto' staged with a full orchestra contained all the elements of grand opera, a majestic set, period costumes, a deep baritone, a strong tenor and a sailing soprano!” LAWRENCE JOURNAL WORLD - Jan Bliss - Mar. 2002 (Performance at the Leid Center - Lawrence, KS) Opera has Place on Kansas Stage! “A sold-out crowd jammed into the Leid Center for the Teatro Lirico D'Europa's exuberant production of RIGOLETTO. Hailing each aria, each duet and the show-stopping quartet of Act III with hearty rounds of applause, the audience was transfixed. This was a ‘Rigoletto' that put the “grand” into grand opera, captivating hard core opera devotees as well as a host of young people. Thanks to Teatro Lirico's excellent cast and orchestra, G. Verdi's masterpiece soared. Nicolai Dobrev (Rigoletto) sang his heart out with a huge voice that filled the Leid. As Gilda, Kenneithia Mitchell showed off an expressive coloratura voice and a crystal shattering top range that left us in awe. As the charismatic Duke, tenor Roumen Doikov also took bows. It was a wonderful evening. An enthusiastic audience stood and cheered for Teatro Lirico D'Europa's heartfelt performance.” TOPEKA CAPITAL JOURNAL - Chuck Berg - Mar. 2002 (Performance at the Leid Center, Lawrence, KS) Dazzling RIGOLETTO “Teatro Lirico D'Europa is fast becoming a fixture in Rochester . On Friday Teatro gave a splendid rendition of Verdi's ‘Rigoletto,' in every respect a fitting finale to Opera Rochester's season. The sets were traditional and colorful, the acting sincere and believable and the singing often dazzling. Much of the credit goes to the intelligent planning of artistic Director Giorgio Lalov. ‘Rigoletto' is a tough opera to produce. Lalov called on his cast to give performances that were often down to earth and believable. Lalov kept the action sharp, focused and inevitable. Teatro's orchestra, expertly conducted by Krassimir Topolov, performed with sweep and vitality, providing solid ground for the singers; the fine male chorus sang with attention to detail and precise diction. The singing and acting were uniformly strong. Rigoletto is perhaps the most demanding role for a baritone and Nikolai Dobrev was equal to the task. His stenorian instrument was always clear and resonant. His Act I aria “Pari siamo” was sensational. Soprano Kenneithia Mitchell was a delightful Gilda and her performance of “Caro nome' was the highlight of the evening. This piece is always a show stopper but Mitchell's rendition seemed to actually stop time. Her warm, plummy voice was capable of stupendous high notes and she dispatched trills, runs and other embellishments with easy elegance. Tenor, Roumen Doikov, portrayed the Duke with Renaissance elegance. His singing was technically fabulous. Opera Rochester has invited Teatro back for next season. I can hardly wait.” DEMOCRAT AND CHRONICLE - John Pitcher - Mar. 2002 (Performance at Eastman Theater - Rochester, NY) “I'm not alone in hoping that Giorgio Lalov, the talented singer turned creator of Teatro Lirico D'Europa stays well, healthy and continues to bring us such magnificent productions as last Friday's ‘Rigoletto.'Do you remember last years' AIDA? This production was equally well done - the sets were not skimpy as in some traveling shows and oh, those voices! We can only hope to see more from this company in years to come.” ILLINOIS TIMES - Ann Kerr - Mar. 2002 (Performance at Sangamon Auditorium, Springfield, IL) RIGOLETTO Hits all the Right High Notes! “Monday evening's production of “Rigoletto” got everything right. The sets worked because attention was paid to details from the hall of the ducal palace with its slyly erotic central painting to the effective tromp-d'oeil painted backdrop of the palace. This production featured three strong lead singers. Nicolai Dobrev sang the part of Rigoletto with confidence. He used the full range of his rich baritone voice to shape a convincing character performance, moving from bitter sarcasm to the most tender love for his daughter, before his final fall into despair. Dobrev was particularly effective in conveying the lightning quick shifts of mood in his aria “Pari siamo.” American soprano Kenneithia Mitchell proved to be an ideal Gilda, bringing the role of Rigoletto's daughter alive with vivid emotion. Mitchell's warm, vibrant voice easily stood up to Dobrev's in their duets, while her beautifully shaded phrasing in her aria “Caro nome” brought the house down. Roumen Doikov has a clear, well-projected tenor and there was something irresistible about his portrayal of the hormonally driven Duke. The first few notes of “La donna e mobile” brought a shudder of recognition from the audience and Doikov gave them exactly the kind of performance they had come to hear. Bass, Alexi Ivanov, made an effective Sparafucile and mezzo Elena Marinova sang a surprisingly strong Maddalena, with both at their best when joining Dobrev and Mitchell in the exquisite last act quartet. The choral singing was very well focused and conductor Topolov elicited a well paced, detailed performance.” BUFFALO NEWS - Jan Jezioro - Mar. 2002 (Shea's Performing Arts Center , Buffalo, NY) Teatro Lirico Shines in Dark Verdi Comedy! “Teatro Lirico D'Europa examined one of the great black comedies, Verdi's RIGOLETTO. The singing filled the whole neighborhood. They sing like they've got opera deep in their bones. The performance was a direct injection of European taste, coming from a place where opera is a true passion, not a passing thought. The singing was extraordinary from the beginning. Nicolai Dobrev played the jester, a noble baritone with a facile instrument. Kenneithia Mitchell [GILDA] soared up and above her part with ease. As the Duke, Roumen Doikov seduced all with audacity. The chorus sang with gusto and confidence. The orchestra under Krassimir Topolov sounded terrific.” BOSTON HERALD - Keith Powers - Mar. 2002 (Performance at the Majestic Theatre, Boston, MA) “In the title role of RIGOLETTO, 33 year old Nicolai Dobrev found an appropriate venue for his imposing voice. He underlined the nastiness of the jester's mockery and his pain felt real. Soprano Kenneithia Mitchell revealed a voice of rose petal loveliness and quicksilver agility and an appealing earnest personality. When she emerged for her curtain call she greeted the rapturous applause in an uninhibited victory gesture. Teatro Lirico's star tenor, Roumen Doikov's top notes are among the best in the tenor business today-right on target and with a golden gleam. Once again the magnificent chorus was worth the price of admission. A thoroughly enjoyable, full-blooded and welcome production of Verdi's first mature masterpiece.” BOSTON PHOENIX - Lloyd Schwartz - Mar. 2002 (Performance at the Majestic Theatre - Boston, MA) RIGOLETTO Delivers Grand Opera to Valley! “The Palm Springs Opera Guild of the Desert had to be pleased with its selection of Teatro Lirico D'Europa's RIGOLETTO Sunday at the McCallum Theater. RIGOLETTO is a crowd pleaser made even more appealing to the sold-out crowd by the fine voices of Europe 's largest touring company. Young Bulgarian Baritone, Nicolay Dobrev, sang the title role with passion and power but it was his duets with sensational young American soprano, Melody Alesi, as Gilda that received the most applause. Their soaring voices blended beautifully, creating moments of aching poignancy and completely capturing the emotions of the enthusiastic audience. Alesi takes the stage with style and intelligence and possesses the voice of a world class opera star. Bulgarian tenor, Roumen Doikov's Duke was full of swagger and hubris." PALM DESERT SUN - Jack Lyons - Feb. 2003 (Performance at McCallum Theatre, Palm Desert, CA) Clowning Around in a Fine Fashion “A gripping production, musically and theatrically. Costumes are gorgeous, so are sets, and the stage is filled with color and vitality. Tenor, Gabriel Gonzales, not only sings wonderfully but gives the Duke and immense appeal. Theodore Lambrinos gives an equally rich performance as the hunchbacked jester, Rigoletto. His easy, unforced baritone gives full expressive strength to his “Pari siamo” and to his rage filled “Cortigiani”. Soprano, Melody Alesi, won the audience's heart as Rigoletto's daughter Gilda. Alesi gave the aria “Caro nome” virtuoso singing.” SYRACUSE POST AND STANDARD - Neil Novelli - Mar. 2003 (Performance at Syracuse Civic Center) “A dramatically compelling and generally splendid vocal performance. Teatro Lirico's singers are fervent and musically accurate, and their chorus work continues to be quite remarkable and singular in the opera world at large. The handsome set and lavish costumes were evocative and beautiful. As the title character, Theodore Lambrinos' portrayal was edgy and dramatically vivid. He gave a wistful plangency and flawless musicianship to his Act I “Deh non parlare al misero” and a forceful ringing account of his Act II “Cortigiani” with exquisite portamento in the abrupt, final pleading before his tormentors. His duet with his daughter, “Si vendetta” was flawless in timing and vocal contrast. The Gilda of young American soprano, Melody Alesi, was stunning. Her steady and completely unforced tone, pitch perfect coloratura and soaring pianissimi were among the vocal highlights of the evening. Alesi's breathtakingly lovely singing of “Caro nome” was marred only by the failure of the audience to sit on its hands before the coda. Mexican tenor, Gabrielle Gonzales, brought appropriate good looks, fine vocal support and phrasing and plausible acting to the role of the Duke. From a vigorous “Questa o quella” to a fine account of “Parmi veder” Gonzales displayed smooth legato, excellent breath control, lots of flexibility and some beautiful top notes. Conductor Metodi Matakiev gave a fine reading of Verdi's music.” ITHACA JOURNAL - Stephen Landesman - Mar. 2003 (Performance at Syracuse Civic Center) Teatro Lirico's RIGOLLETO, a Performance to Savor! “Last night's RIGOLETTO, the latest from Teatro Lirico D'Europa, was a keeper, one of the best traveling operas to come through here in a long, long time. But then Teatro Lirico has emerged as top dog among touring companies. The company has always boasted great singers. Their RIGOLETTO boasted an appealing cast. Rather than stylized staggers, we got true-to-life responses to deeply felt emotion. As the night's GILDA, American soprano, Melody Alesi, slid into a melting “Caro Nome,” her big first-act aria, she stretched her arms heavenward, as though feeling love for the first time. This was a big orchestra - so big it spilled out of the Vet's pit onto the corners of the stage. Duke, John Fowler, was more than up to the task, especially in those ringing high notes. His top voice was true and clear. But the big voice in the show belonged to Russian baritone, Sergei Moskalkov who sang his heart out as the crippled Rigoletto. Alesi, as Gilda, was no less impressive. Her “Caro Nome” was perfection, with bell-like high notes and butter smooth runs.” PROVIDENCE JOURNAL - Channing Gray – Feb. 2004 (Performance at Veteran's Memorial Auditorium, Providence, RI) RIGOLETTO - Wichita Grand Opera's Best Yet! “Opera is catching on in Wichita and the excited crowd was treated to a fine evening of musical drama. The production - prepared in cooperation with Teatro Lirico D'Europa - was the best, most mature effort yet for Wichita Grand Opera. It pointed the Wichita Grand Opera in the right directions for future productions.” WICHITA EAGLE - Chris Shull – Feb. 2004 (Performance at Century II Perf. Arts Center , Wichita, KS) “After a year's absence, opera's “road warriors,” Teatro Lirico D'Europa, were back at McCain Auditorium with a wonderful production of Verdi's RIGOLETTO. Splendid by any standards, the presentation was especially stunning for a touring company. Soloists, chorus, pit-orchestra, musicians, sets, costumes, you name it-Teatro Lirico delivered it all first-class. Teatro Lirico went the extra mile by mounting a company of artists committed to making their every performance glow with unique conviction and special intensity. Sergei Moskalkov's (RIGOLETTO) voice is nimbly powerful and tenderly expressive, and his physical portrayal totally centered. Soprano, Veselina Vasileva, made a lovely, doll-like Gilda of wide-eyed innocence and trusting naiveté. Her far from doll-sized voice made itself heard alike over fellow singers and a full-blown orchestral storm. Even her dying tones had carrying weight. John Fowler cut a fine figure as the selfish Duke. High marks as well for the excellent chorus which contributed significantly with both vigor and precision. Finally, much credit is due Maestro Matakiev, who maintained a perfect balance between pit and stage throughout. MANHATTAN MERCURY NEWS - Ben Nyberg – Mar. 2004 (Performance at McCain Auditorium, Manhattan, KS) Lirico's RIGOLETTO Steals Hearts! “RIGOLETTO proved to be yet another in the company's string of successes in what's becoming an eagerly anticipated annual Boston residency. Lucky Boston ! The Lirico's secret? Its artistic director, Giorgio Lalov, trusts opera and the singers who put their throats and hearts on the line for us and their art every night. Not for one minute did Lalov's staging follow the modern approach seen far too often at Boston Lyric Opera, by trying to improve on the beautiful original which speaks so eloquently for itself. Here there were no gimmicks, no tricks, just Verdi's tale from the composer through the singers to us. Heaven.” BOSTON HERALD - T. J. Medrek – Mar. 2004 (Performance at Majestic Theatre - Boston, MA)  READ MORE REVIEWS Mussorgsky's BORIS GODOUNOV Pucinni's TURANDOT Puccini's LA BOHEME Puccini's MADAME BUTTERFLY Puccini's TOSCA Bizet's CARMEN G. Verdi's AIDA G. Verdi's RIGOLETTO G. Verdi's IL TROVATORE G. Verdi's LA TRAVIATA Rossini's IL BARBIERE DI SIVIGLIA   HISTORY |  REVIEWS | PHOTO GALLERY  Search  "The solo and ensemble singing in all three operas was lusty, whole hearted-full throated and honest. Something personal and passionate that is often missing from evenings of opera." OPERA NEWS - Richard Dyer - February 2002 READ MORE REVIEWS Mussorgsky's BORIS GODOUNOV Pucinni's TURANDOT Puccini's LA BOHEME Puccini's MADAME BUTTERFLY Puccini's TOSCA Bizet's CARMEN G. Verdi's AIDA G. Verdi's RIGOLETTO G. Verdi's IL TROVATORE G. Verdi's LA TRAVIATA Rossini's IL BARBIERE DI SIVIGLIA Check out the photo gallery of performances.  HOME  | PRODUCTIONS  | NOW BOOKING  | UPCOMING TOURS  | ABOUT  | PHOTO GALLERIES  | REVIEWS  | CONTACT  ©2005, Jenny Kelly Productions  | info@jennykellyproductions Web site by Mid Bay Media");sQ1[28]=new Array("prod_teatro_review_ilTrov.htm","prod_teatro_review_ilTrov.htm","","Reviews G. Verdi's IL TROVATORE “Verdi's IL TROVATORE is pure melodrama, an opera told through glorious, often demanding music. If the cast is strong it is easy to bask in that music. That was the case Wednesday night at the Lila Cockrell Theater when Teatro Lirico D'Europa presented the Verdi classic. Artistic Director and Stage Director, Giorgio Lalov, assembled an impressive ensemble-including a full orchestra and chorus. The find of the evening was young baritone, Nicolai Dobrev, whose powerful steel edged instrument perfectly reflected the menacing Count di Luna. Mezzo soprano, Tatiana Sparacino, revealed an enormous, well schooled dramatic voice as Azucena. Bronze-voice tenor, Roumen Doikov, hit his stride as Manrico, the troubadour. Krassimir Topolov led a responsive, nicely balanced orchestra and the performance had more than the expected share of musical bright spots.” SAN ANTONIO EXPRESS NEWS - Diane Windeler - Mar. 2002 (Performance at Lila Cockrell Theatre - San Antonio, TX) “A finely sung production of Verdi's IL TROVATORE. Teatro Lirico's singers are wholeheartedly passionate, straightforward, and musically accurate, and their chorus work is exceptional, easily the envy of larger, less itinerate companies. As Azucena, mezzo Tatiana Sparacino was outstanding. Her second act description of her mother's death at the stake was appropriately bloodcurdling, dramatically plausible and sung with a fine juxtaposition of contralto chest tone and the high Gs of a dramatic mezzo. The role of Manrico was beautifully sung by Roumen Doikov. He gave a ringing account of the celebrated and demanding cabaletta “Di quella pira” complete with high Cs. The Leonora of Rumanian Soprano, Melania Isar, was musically accurate, her “D'amor sull' alle rose” was beautiful. Baritone, Nicolay Dobrev's Count di Luna's Act IV cantilena of love for Leonora was lyrical and note-perfect. IL TROVATORE abounds with ensembles and it was here that the vocal excellence of this company repeatedly showed itself. Leonora's duet cabaletta with Di Luna was genuinely exciting. Music Director Topolov gave a fine reading of the score from the pit.” ITHACA JOURNAL - Stephen Landesman - Mar. 2002 (Performance at Syracuse Civic Center - Syracuse, NY) “For the 3rd year in a row the company [Teatro Lirico D'Europa] has arrived at the Emerson Majestic Theatre, this time with three operas, to remind us that big voices singing big music never really goes out of style. Tenor, Roumen Doikov, offered a ringing heroic Manrico, possibly the best I've heard live in years or even decades. Dobrev's di Luna was big-voiced and sonorous, and so was Sparacino's Azucena. Melania Isar[Leonora] like all of her colleagues displayed the kind of instincts that are essential Verdi style, principally the ability to launch and shape a long, expansive phrase. That's a rare commodity today, and these singers all have it. So do conductor Krassimir Topolov and the excellent orchestra and chorus.” BOSTON HERALD - T. J. Medrek - Mar. 2002 (Performance at Majestic Theatre, Boston, MA) Simply Grand! Touring Company Delivers Splendid IL TROVATORE! “In a few short years Teatro Lirico D'Europa has become the vendor of choice for traveling opera in this area. Other companies offer solid entries, but... no one else comes near grand opera on the road than this 16-year old company. The company directed by Giorgio Lalov offered a splendid new production of Verdi's IL TROVATORE that was as fine a vocal production as any regional company might present. In Soprano Su-Jin Lee, he found a compelling Leonora. She had a full, rich sound and was in command of the emotional temperature of this most incomprehensible of Verdi's plots. Opposite her was Bulgarian tenor, Roumen Doikov as Manrico, a mighty singer possessing a bright sound and able to milk a Verdian melody for all it can deliver. Other jewels in the cast were Bulgarian baritone, Nicolai Dobrev, with his clear but dark sound, a tempered Count di Luna. Russian bass, Alexi Ivanov, a thoughtful, solid Ferrando, and Italian mezzo, Ambra Vespasiani, sang Azucena with convincing pathos and a metallic, covered vocal quality that somehow suited the part. The chorus, so textured, rich and precise, should be the envy of most smaller American companies, and the sets, simple yet artistically drawn, are a cut above the typical traveling fare. Then there is the orchestra. How this company affords to travel with this big an ensemble is a mystery, but the presence of a fairly large and even sounding orchestra in the pit made all the difference here and certainly they are the crème that makes this confection worth sipping. This combination of Eastern and Western European and American musicians and singers creates a lively, earthy ensemble that is appealing ...” NEWARK STAR LEDGER - Willa J. Conrad - Feb. 2003 (Performance at State Theatre - New Brunswick, NJ) “On Feb 13, 2004 Cerritos Center presented Teatro Lirico D'Europa's production of G. Verdi's IL TROVATORE. Stage direction by Giorgio Lalov brought out the opera's dramatic scenes in a traditional treatment of the action. Conductor Metodi Matakiev is absolutely first rate and the players of the Sofia Symphony orchestra were skilled enough to play this difficult score with ease. Philip Webb was an ardent, heroic sounding Manrico with bright, ringing high notes and excellent diction. His was a dramatic interpretation that engaged the audience with its fire. As Leonora, Adelina Kaneva sang with an attractive, creamy soprano sound. Her acting was skillful and she gave a poignant rendition of her role. Although Azucena is a difficult part, Rumiana Petrova filled the bill with her well controlled, sonorous mezzo soprano, and virtuoso singing. She sang with immense conviction and her anguished outpouring of emotion convinced the audience of the truth of her strange tale. Sergei Moskalkov interpreted the role of Count di Luna with stenorian tones. He was a worthy villain and showed a solid command of his role. Alexi Ivanov sang Ferrando with a fine technique and beautiful resonant tones.” OPERA JAPONICA – Maria Nockin – Feb. 2004 (Performance at Cerritos Center for the Perf. Arts, Cerritos, CA)  READ MORE REVIEWS Mussorgsky's BORIS GODOUNOV Pucinni's TURANDOT Puccini's LA BOHEME Puccini's MADAME BUTTERFLY Puccini's TOSCA Bizet's CARMEN G. Verdi's AIDA G. Verdi's RIGOLETTO G. Verdi's IL TROVATORE G. Verdi's LA TRAVIATA Rossini's IL BARBIERE DI SIVIGLIA   HISTORY |  REVIEWS | PHOTO GALLERY  Search  "The solo and ensemble singing in all three operas was lusty, whole hearted-full throated and honest. Something personal and passionate that is often missing from evenings of opera." OPERA NEWS - Richard Dyer - February 2002 READ MORE REVIEWS Mussorgsky's BORIS GODOUNOV Pucinni's TURANDOT Puccini's LA BOHEME Puccini's MADAME BUTTERFLY Puccini's TOSCA Bizet's CARMEN G. Verdi's AIDA G. Verdi's RIGOLETTO G. Verdi's IL TROVATORE G. Verdi's LA TRAVIATA Rossini's IL BARBIERE DI SIVIGLIA Check out the photo gallery of performances.  HOME  | PRODUCTIONS  | NOW BOOKING  | UPCOMING TOURS  | ABOUT  | PHOTO GALLERIES  | REVIEWS  | CONTACT  ©2005, Jenny Kelly Productions  | info@jennykellyproductions Web site by Mid Bay Media");sQ1[29]=new Array("prod_teatro_review_traviata.htm","prod_teatro_review_traviata.htm","","Reviews Verdi's LA TRAVIATA ‘Strayed Woman' - High Drama Parisian Story Thrills GSU Crowd! “UNIVERSITY PARK -- The craftsmanship of Teatro Lirico D'Europa and the flawless conducting of Metodi Matakiev generated enough heat Sunday afternoon inside the Center for the Perf. Arts to temper the wind chill outside. Attendees at Governor's State University 's SOLD OUT matinee were treated to a lush spectacle of 19th century drama that dazzled the ear and eye. Soprano, Melody Alesi (Violetta) delivered a particularly notable performance, soaring in sustained flights in this melodic and romantic opera.” DAILY JOURNAL - Dennis Sullivan – Feb. 2004 (Performance at Center for the Perf. Arts, University Park , IL) LA TRAVIATA Enthralled Sold-out GSU! “Governors' State University hit a home run Sunday afternoon with a stunning performance of LA TRAVIATA before an enthusiastic SOLD- OUT house. The return of Teatro Lirico D'Europa can be seen as nothing short of a triumph. It was also an affirmation of the Pasquinelli Family Foundation's support, and the chance it took on bringing the opera to the Southland. Reid's statement “They will be back with LA BOHEME in 2005 received applause even before the curtain went up on the current production. Most impressive was Melody Alesi, who presented the torn personality of Violetta. Violetta's lover, Alfredo, played by John Fowler, sang with conviction and stamina. Valery Ivanov was most convincing as Alfredo's father and his rich baritone filled the hall. Act II brought the opera to a dramatic peak as the sound of the chorus rated first class and the dances by the gypsy princess and matador were fun and enthusiastic. This was a great performance. It's hard to believe that this opera company had just spent 5 days in 5 different cities performing 4 different operas! This critic doesn't know how they keep up their strength and enthusiasm, and can't wait to see them again next year.” THE STAR (Chicago Heights) - D. K. Luksetich – Feb. 2004(Performance at Center for the Arts, University Park , IL) Verdi Hip to Pop Culture! “Dubbed “Road Warriors” by OPERA NEWS, Teatro Lirico D'Europa proved itself worthy of its international reputation Friday night at the Leid Center when it performed Verdi's LA TRAVIATA. The show was fantastic. All three lead roles were brilliantly cast and executed.” LAWRENCE JOURNAL WORLD - Emily Criqui – Mar. 2004 (Performance at the Leid Center , Lawrence , KS) Teatro Lirico Shows No Signs of Fatigue! “Last night's LA TRAVIATA was the 41st performance of a staggering 52-performance American tour of six different operas that began Jan. 29, 2004 , but there was no lack of energy, spirit and heart. No wonder audiences love this company. Bulgarian soprano, Veselina Vasileva is a tiny beautiful creature with expressively floating hands and eyes that tell the truth. She restores the nearly-forgotten tradition of light voices in the role: she uses her crystalline soprano with feeling and exquisite musical taste. She has adequate virtuosity for the hurdles of the first act but it was later that Vasileva really came into her own. No one wanted her to die. Vytautas Juozapaitis poured out molten streams of baritone sound as the stern, elder Germont. Cesar Hernandez (Alfredo) is a pro who's been around the track, knows what to do, and did it with assurance. The chorus is one of Teatro Lirico's greatest assets.” BOSTON GLOBE - Richard Dyer – Mar. 2004 (Performance at Majestic Theatre - Boston , MA) “The endearing Teatro Lirico D'Europa was back on a 46-city cross-country tour. What makes this company so worth seeing, year after year, is that its priorities are always right. Opera exists to melt our hearts - and Teatro Lirico D'Europa does just that.” BOSTON PHOENIX - Lloyd Schwartz - April 2004 (Performance at the Majestic Theatre, Boston , MA)  READ MORE REVIEWS Mussorgsky's BORIS GODOUNOV Pucinni's TURANDOT Puccini's LA BOHEME Puccini's MADAME BUTTERFLY Puccini's TOSCA Bizet's CARMEN G. Verdi's AIDA G. Verdi's RIGOLETTO G. Verdi's IL TROVATORE G. Verdi's LA TRAVIATA Rossini's IL BARBIERE DI SIVIGLIA   HISTORY |  REVIEWS | PHOTO GALLERY  Search  "The solo and ensemble singing in all three operas was lusty, whole hearted-full throated and honest. Something personal and passionate that is often missing from evenings of opera." OPERA NEWS - Richard Dyer - February 2002 READ MORE REVIEWS Mussorgsky's BORIS GODOUNOV Pucinni's TURANDOT Puccini's LA BOHEME Puccini's MADAME BUTTERFLY Puccini's TOSCA Bizet's CARMEN G. Verdi's AIDA G. Verdi's RIGOLETTO G. Verdi's IL TROVATORE G. Verdi's LA TRAVIATA Rossini's IL BARBIERE DI SIVIGLIA Check out the photo gallery of performances.  HOME  | PRODUCTIONS  | NOW BOOKING  | UPCOMING TOURS  | ABOUT  | PHOTO GALLERIES  | REVIEWS  | CONTACT  ©2005, Jenny Kelly Productions  | info@jennykellyproductions Web site by Mid Bay Media");sQ1[30]=new Array("prod_teatro_review_ilBarb.htm","prod_teatro_review_ilBarb.htm","","Reviews ROSSINI'S IL BARBIERE DI SIVIGLIA BARBER OF SEVILLE delights Audience! "THE BARBER OF SEVILLE was presented by Teatro Lirico D'Europa on Friday, Feb. 18 at the Blanche M. Touhill Performing Arts center at UM-St. Louis. The company was in fine voice and full comic form, and the performance delighted the packed house. The opera singers were excellent. When baritone Vladimir Samsonov took the stage in the title role of FIGARO and performed that famous "Figaro, Figaro" aria with booming bravura and comic vocal flourishes, the audience response was so overwhelming and the applause so thunderous and sustained that the star was compelled to quiet the audience just so the opera could continue. It was a very good start to an artistically excellent performance by the whole troupe." THE CURRENT - Catherine Marquis-Homeyer - February 2005 BARBER OF SEVILLE Sparkles at the Vet! "Teatro Lirico D'Europa gave a sparkling rendition of Rossini's Barber of Seville last night at Veteran's Memorial Auditorium with some funny touches and dazzling vocal pyrotechnics. This was especially true of soprano Viara Zhelezova, the feisty Rosina whose ornate fioratura passages were thrilling. Teatro Lirico has been known for consistent productions that are a cut above the companies that have come here in the past. Last night's BARBER was not only well sung, but well acted, with handsome singers who moved well on the set. Vladimir Samsonov was a hoot as Figaro. The staging was lively and imaginative." PROVIDENCE JOURNAL - Channing Gray - February 2005 Teatro Lirico's Classical Barber a Cut Above! "The little touring company that could began its annual, much - anticipated visit to town Thursday night at the Cutler Majestic Theatre with a solid engaging performance of Rossini's comedy THE BARBER OF SEVILLE. Baritone Vladimir Samsonov's Figaro was generous of personality and winningly sturdy of voice. Bernardini relaxed into a fine performance (Almaviva) as his voice gained in beauty and suppleness. Zhelezova's supple, finely modulated, silky smooth sound caressed the ear, and her portrayal of the feisty young woman (Rosina) was spot on. And Sarafov was the kind of Bartolo who really sings instead of bluffing his way through the part. As ever with Lalov, the company's artistic director, this was truly a production of Rossini's opera, not a director's idea of what that opera should be." BOSTON HERALD - T.J. Medrek - January 2005 Teatro Lirico Returns to Boston with Sparkling Barber! "It's official. Boston really loves Teatro Lirico D'Europa. The Cutler Majestic was at near capacity for the single performance of Rossini's IL BARBIERE DI SIVIGLIA. Rossini demands phenomenal vocal and verbal dexterity from the entire ensemble - and great comic timing. Those were exactly what Teatro Lirico brought. It may have been the best production of this familiar opera I've ever seen. This was very much a cast-centered enterprise. Artistic director Giorgio Lalov is a conventional, ungimmicky stage director--but there was always a point. The audience was laughing at all the jokes because the action was always clear and followable. Here was a perfect example of a cast working together. Each character related to each of the others. They knew each other and felt comfortable with each other. And they were all good! Figaro was the engaging young Russian baritone Samsonov, who has sung with the Bolshoi Opera and Marinsky Theatre. He was truly the center of this production, commanding the stage with his wit and charm. His Italian diction was first rate and he has a refined and ringing tone--burnished copper. He used his voice to bravura effect. Rosina was Bulgarian mezzo-soprano Viara Zhelezova. Zhelezova, with her long dark hair and sly smile, is more like a Bulgarian Julia Louis-Dreyfus, with equally impeccable comic timing, who has the luminous voice and dazzling coloratura of Cecilia Bartoli. I don't know why she is not a major star. Almaviva was American tenor Don Bernardini. His strong, focused tone became an impressive instrument and he too used his body to comic effect. Senior Bulgarian baritone, Hristo Sarafov must have played the frustrated Dr. Bartolo his entire professional life. He was a model of good technique and appropriate buffo style. In the role of Don Basilio, sonorous Russian bass Viacheslav Pochapsky, Teatro Lirico's profoundly moving Boris Godounov 2 years ago, was hilarious. The singers maintained a lively pace, and there was never a dull moment. The sets--a Sevillian street scene and the interior of Bartolo's house were attractively cartoonish. Too bad there was only one performance." BOSTON PHOENIX - Lloyd Schwartz - January 2005 BARBER is a Gem! "Teatro Lirico D'Europa's production of BARBER OF SEVILLE is a wonderful, bawdy romp through one of the world's favorite operas. PCA Performances is to be thanked for bringing this lively lyrical performance to Merrill Auditorium. The comedic action is first rate with a lot of laugh out loud action. Don Basilio as sung by bass Viacheslav Pochapsky is one of the jewels of the production with a wonderful bass voice and sense of humor just as deep. Hristo Sarafov is an ideal Bartolo. Vladimir Samsonov has the voice and energy to bring the barber alive. Viara Zhelezova plays the vivacious Rosina as if born to the part." PORTLAND PRESS HERALD - Christopher Hyde - March 2005  READ MORE REVIEWS Mussorgsky's BORIS GODOUNOV Pucinni's TURANDOT Puccini's LA BOHEME Puccini's MADAME BUTTERFLY Puccini's TOSCA Bizet's CARMEN G. Verdi's AIDA G. Verdi's RIGOLETTO G. Verdi's IL TROVATORE G. Verdi's LA TRAVIATA Rossini's IL BARBIERE DI SIVIGLIA   HISTORY |  REVIEWS | PHOTO GALLERY  Search  "The solo and ensemble singing in all three operas was lusty, whole hearted-full throated and honest. Something personal and passionate that is often missing from evenings of opera." OPERA NEWS - Richard Dyer - February 2002 READ MORE REVIEWS Mussorgsky's BORIS GODOUNOV Pucinni's TURANDOT Puccini's LA BOHEME Puccini's MADAME BUTTERFLY Puccini's TOSCA Bizet's CARMEN G. Verdi's AIDA G. Verdi's RIGOLETTO G. Verdi's IL TROVATORE G. Verdi's LA TRAVIATA Rossini's IL BARBIERE DI SIVIGLIA Check out the photo gallery of performances.  HOME  | PRODUCTIONS  | NOW BOOKING  | UPCOMING TOURS  | ABOUT  | PHOTO GALLERIES  | REVIEWS  | CONTACT  ©2005, Jenny Kelly Productions  | info@jennykellyproductions Web site by Mid Bay Media");sQ1[31]=new Array("prod_teatro_review_laBoheme.htm","prod_teatro_review_laBoheme.htm","","Reviews Puccini's LA BOHEME Teatro Lirico Pares Down LA BOHEME "Scores of directors have tampered with Puccini's timeless opera with varying results. It was fitting that Teatro Lirico D'Europa brought a meat-and potatoes version of LA BOHEME to a sold out McCallum Theatre Sunday, minus any gimmicks or artistic license. As Rodolfo, Evgeni Akimov gave a stalwart performance that rattled the rafters with his pure tone and fine enunciation. His top range was thrilling. This is a tenor whose voice soars with spine-tingling fortitude. Olga Cherisheva's Mimi proved fully capable of the role's high tessitura demands. Marina Viskvorkina was radiant in the irresistible "Musetta's Waltz" gliding over the high tones with enviable dexterity and leading the chorus to a festive ending. The supporting cast was equally adept. Viacheslav Pochapsky's deep bass gave a dramatic heft to the philosopher Colline. Marcello was sung with robust fervor by Vladimir Samsonov. The chorus has always delivered a satisfying sound and conductor Krassimir Topolov kept the tempi zipping along in this production that brought a standing ovation from the sated audience." THE DESERT SUN - Jeff Britton - Feb. 2005 LA BOHEME A Stunning Success "Teatro Lirico D'Europa had a stunning success Saturday evening with a production of Puccini's LA BOHEME that would have satisfied the most ardent opera fan. Here was a production in a classic style with solid acting and depth of sound, both of which stirred the musical soul of an audience so intensely satisfied. Artistic director Giorgio Lalov has the gift of "assemblage d'art". Veselina Vasileva's Mimi was outstanding from the start with clarity and pitch "to die for" coupled with a fragile image created from inner strength. Vladimir Samsonov's Marcello was totally convincing and his detachment/attachment with the Musetta, Liubov Metodieva, a conflicted siren in her own right with a voice to match. The last scene, wonderfully staged and powerfully sung, brought the production to a pinnacle. The chorus sang very well. Super-titles, as ever, helpful, were especially well done and excellently timed. Musetta was outlandishly stunning in act 2. Kudos to Hristo Sarafov who comically played Benoit and Alcindoro as well as to Viacheslav Pochapsky who played a strong, philosophical Colline. November 2005 will witness the return of Teatro Lirico D'Europa to the Center for the Performing Arts. We cannot wait." THE STAR (Chicago Heights) - D. K. Luksetich - February 2005 LA BOHEME - Majestic Theater Boston - January and March 2005 Jan. 2005 "Teatro Lirico D'Europa marked its 7th season in Boston with a packed Friday evening performance of Puccini's LA BOHEME and the audience clearly enjoyed what it witnessed. A strong attractive and talented ensemble backed up by a full orchestra and chorus, delivered Puccini's classic with passion, solid singing performances and even dramatic presentation. Marina Viskvorkina as Musetta was a standout performer. It was difficult to look anywhere else when she was present. Steffanie Pearce in the role of Mimi delivered her role with elegance and reserve. Vladimir Samsonov's Marcello was the perfect match to Viskvorkina's spunky Musetta. Leonid Repin's Rodolfo was more retiring, withdrawn, the pensive writer. These two strong leads were supported by the fine singing of Viacheslav Pochapsky (Colline) leading to the final death bed scene that was filled with emotion. The orchestra rose to the occasion and didn't disappoint." Mar. 2005 "The company scheduled an Easter Day treat for opera fans in Boston , serving up a lively and energetic LA BOHEME that delivered and easily satisfied a sold out audience. Back in their roles were the wonderful trio of Ilia Pavlov, Shaunard, Vladimir Samsonov, Marcello and Viacheslav Pochapsky, Colline. They were animated, involved, and all of strong voice from beginning to end. The newcomer, tenor Evgeni Akimov literally went thermonuclear! Mr. Akimov has a set of lungs that can explode and fill a hall and leave an audience gasping. Olga Chernisheva sang the part of Mimi with energy yet managed to appear vulnerable, an interesting juxtaposition that worked on many levels. By the final scene where her illness finally overcame her, there was nary a dry eye in the house. Musetta, sung by American born lirico spinto soprano Victoria Litherland was strong, robust and feisty. She has sung this role at the New York Met, where she has worked for the past several seasons. The cast sang well together and managed to maintain a level of high energy and involvement to the very end. The orchestra, led by Krassimir Topolov deserves high marks as well and was a good match for this powerhouse cast. It was this even matching of orchestra to cast that makes live performances so thrilling when they work." OPERAONLINE.US - Paul Walkowski - Jan/Mar 2005  READ MORE REVIEWS Mussorgsky's BORIS GODOUNOV Pucinni's TURANDOT Puccini's LA BOHEME Puccini's MADAME BUTTERFLY Puccini's TOSCA Bizet's CARMEN G. Verdi's AIDA G. Verdi's RIGOLETTO G. Verdi's IL TROVATORE G. Verdi's LA TRAVIATA Rossini's IL BARBIERE DI SIVIGLIA   HISTORY |  REVIEWS | PHOTO GALLERY  Search  "The solo and ensemble singing in all three operas was lusty, whole hearted-full throated and honest. Something personal and passionate that is often missing from evenings of opera." OPERA NEWS - Richard Dyer - February 2002 READ MORE REVIEWS Mussorgsky's BORIS GODOUNOV Pucinni's TURANDOT Puccini's LA BOHEME Puccini's MADAME BUTTERFLY Puccini's TOSCA Bizet's CARMEN G. Verdi's AIDA G. Verdi's RIGOLETTO G. Verdi's IL TROVATORE G. Verdi's LA TRAVIATA Rossini's IL BARBIERE DI SIVIGLIA Check out the photo gallery of performances.  HOME  | PRODUCTIONS  | NOW BOOKING  | UPCOMING TOURS  | ABOUT  | PHOTO GALLERIES  | REVIEWS  | CONTACT  ©2005, Jenny Kelly Productions  | info@jennykellyproductions Web site by Mid Bay Media");sQ1[32]=new Array("prod_teatro_review_02-04.htm","prod_teatro_review_02-04.htm","","Reviews Puccini's Madama Butterfly Teatro Lirico Singer Flutters through BUTTERFLY! “Puccini's MADAMA BUTTERFLY is foolproof as long as you have a heartbreaking Cio-Cio-San. That's exactly what Teatro Lirico D'Europa offered in Qilian Chen who sang the title role. With her radiant smile and demeanor, Chen easily evoked the idealistic, trusting 15 - year old geisha who marries the cad Pinkerton. Chen was up to revealing the levels of tragedy. She went the marathon distance with strength and dignity and with subtle and affecting phrasing. She carried the opera to its triumphant conclusion.” LOS ANGELES TIMES - Chris Pasles - Feb. 2002 (Performance at Cerritos Center for the Perf. Arts, Cerritos, CA) MADAMA BUTTERFLY - A Musical Polish that would Grace any Stage in the World! “Teatro Lirico D'Europa tours with a 50-piece orchestra and 40-voice chorus plus all the sets and costumes necessary to present grand opera in a stylish, very European way. The success of ‘Madama Butterfly' rises and falls with the title role. Soprano, Su-Jin Lee did not disappoint, offering as dramatic a rendering of Cio-cio-san as might be imagined with her seamless, powerful voice and suavely elegant acting style. Roumen Doikov's sharply focused tenor voice allowed his singing to project above the orchestra's commanding presence. Nicolai Dobrev's Sharpless was a musical triumph. Elena Marinova portrayed the role of Suzuki with grace and beauty, blending magnificently with Su-Jin Lee. The solid performances of the orchestra along with compelling performances in all the supporting roles gave this production a musical polish that would grace any stage in the world.” THE TRIBUNE (San Luis Obispo, CA) Alan Boehmer - Feb. 2002 (Performance at Christopher Cohen Center, San Luis Obispo, CA) MADAMA BUTTERFLY at Stanley 's “Su-Jin Lee as the ill-fated Cio-cio-san sang the role of the teen lover with stunning voice and astute dramatics. Lee used her high lyric soprano to etch the sorrowful wails of an unfortunate love. Besides her gripping vocals, Lee also captured the soul of the girl and the roller coaster of emotions in her every gesture. The audience gave the cast a rousing reception at the finale.” UTICA DISPATCH OBSERVER - Jonas Kover – Feb. 2003 (Performance at Stanley Perf. Arts Center - Utica, NY) A Magnificent MADAMA BUTTERFLY “Su-Jin Lee was most convincing as Cio-cio-san. It's rare to see such fine acting ability, combined with magnificent vocal cords. Act II, perhaps had the finest singing, notably “Un bel di vedremo” and the flower duet with Elena Marinova as Suzuki, who captured the emotions of every moment before her mistress experienced them. Lee rose above the pack... The suicide scene was heart-rending. The opera was well produced, as indicated by the attention and extraordinary quiet of the audience. Sets were simple yet effective, lighting was extremely well done, costumes were attractive and reflected the period Puccini intended. The orchestra deserves high praise for its sound and conductor Krassimir Topolov did a superb job. Roumen Doikov as Pinkerton and Nicolai Dobrev as Sharpless sang very well. The chorus sounded great. This is a first class organization. Let's hope for a return.” THE STAR - ( Chicago Heights ) - D. J. Luksetich - Mar. 2003 (Performance at Center for the Perf. Arts, University Park, IL) Lirico's BUTTERFLY: All Things Bright and Beautiful! “It's not often that Boston - or any town- hears a BUTTERFLY on the order of Korean soprano - Su-Jin Lee: her voice was almost too big for Jordan Hall, but it remained full and rich at the top, the aural equivalent of a room full of cherry blossoms. She also has the most radiant smile. Her characterization was superb. Mexican tenor, Gabrielle Gonzales, brought a rich voice and stock-but sensitive characterization to Pinkerton. Ted Lambrinos was more nuanced as Sharpless, whose face registered increasing shades of dismay as Pinkerton contemplated the joys of “Japanese marriage.” The chorus sang sumptuously and the orchestra gave Puccini's score both physical and emotional weight.” BOSTON PHOENIX - Jeffrey Gantz - Mar. 2003 (Performance at Jordan Hall, Boston, MA) Heroine Gives Wings to Touring BUTTERFLY! “Korean soprano Su-Jin Lee was the compelling focus of the action Saturday night as Teatro Lirico D'Europa brought its BUTTERFLY to the Kravis Center . Lee was a persuasive Cio-cio-san, gifted with a strong, rather dark voice, that held up well throughout the evening and that ably covered the gamut from awakening passion to bleak despair. Just as comprehensive was her acting range. She inhabits the part completely. Italian tenor, Maurizio Graziani, was a good Pinkerton with a pleasing, soft edged lyric tenor that blended suavely with Lee in the big love duet that closes Act I. There was fine singing also from the American baritone Theodore Lambrinos as Sharpless, and Elena Marinova, as Suzuki, who was at her best in the Act II flower Duet. Teatro Lirico's orchestra acquitted itself well and conductor Krassimir Topolov proved to be a sensitive accompanist. A ‘Butterfly' well worth seeing, especially for its lead soprano, whose Cio-cio-san came through much as Puccini would have liked, as a real flesh and blood person with whom the audience can deeply empathize.” PALM BEACH POST - Greg Stepanich - Nov. 2003 (Performance at the Kravis Center, W. Palm Beach, FL)   G. Verdi's RIGOLETTO RIGOLETTO: Emotional, Enlightening Show! “A two and a half hour opera with beautiful arias. Leave it to Teatro Lirico D'Europa to fill the roles with singers that elevate Verdi's music and cause the audience to leap to its feet! ‘Rigoletto' staged with a full orchestra contained all the elements of grand opera, a majestic set, period costumes, a deep baritone, a strong tenor and a sailing soprano!” LAWRENCE JOURNAL WORLD - Jan Bliss - Mar. 2002 (Performance at the Leid Center - Lawrence, KS) Opera has Place on Kansas Stage! “A sold-out crowd jammed into the Leid Center for the Teatro Lirico D'Europa's exuberant production of RIGOLETTO. Hailing each aria, each duet and the show-stopping quartet of Act III with hearty rounds of applause, the audience was transfixed. This was a ‘Rigoletto' that put the “grand” into grand opera, captivating hard core opera devotees as well as a host of young people. Thanks to Teatro Lirico's excellent cast and orchestra, G. Verdi's masterpiece soared. Nicolai Dobrev (Rigoletto) sang his heart out with a huge voice that filled the Leid. As Gilda, Kenneithia Mitchell showed off an expressive coloratura voice and a crystal shattering top range that left us in awe. As the charismatic Duke, tenor Roumen Doikov also took bows. It was a wonderful evening. An enthusiastic audience stood and cheered for Teatro Lirico D'Europa's heartfelt performance.” TOPEKA CAPITAL JOURNAL - Chuck Berg - Mar. 2002 (Performance at the Leid Center, Lawrence, KS) Dazzling RIGOLETTO “Teatro Lirico D'Europa is fast becoming a fixture in Rochester . On Friday Teatro gave a splendid rendition of Verdi's ‘Rigoletto,' in every respect a fitting finale to Opera Rochester's season. The sets were traditional and colorful, the acting sincere and believable and the singing often dazzling. Much of the credit goes to the intelligent planning of artistic Director Giorgio Lalov. ‘Rigoletto' is a tough opera to produce. Lalov called on his cast to give performances that were often down to earth and believable. Lalov kept the action sharp, focused and inevitable. Teatro's orchestra, expertly conducted by Krassimir Topolov, performed with sweep and vitality, providing solid ground for the singers; the fine male chorus sang with attention to detail and precise diction. The singing and acting were uniformly strong. Rigoletto is perhaps the most demanding role for a baritone and Nikolai Dobrev was equal to the task. His stenorian instrument was always clear and resonant. His Act I aria “Pari siamo” was sensational. Soprano Kenneithia Mitchell was a delightful Gilda and her performance of “Caro nome' was the highlight of the evening. This piece is always a show stopper but Mitchell's rendition seemed to actually stop time. Her warm, plummy voice was capable of stupendous high notes and she dispatched trills, runs and other embellishments with easy elegance. Tenor, Roumen Doikov, portrayed the Duke with Renaissance elegance. His singing was technically fabulous. Opera Rochester has invited Teatro back for next season. I can hardly wait.” DEMOCRAT AND CHRONICLE - John Pitcher - Mar. 2002 (Performance at Eastman Theater - Rochester, NY) “I'm not alone in hoping that Giorgio Lalov, the talented singer turned creator of Teatro Lirico D'Europa stays well, healthy and continues to bring us such magnificent productions as last Friday's ‘Rigoletto.'Do you remember last years' AIDA? This production was equally well done - the sets were not skimpy as in some traveling shows and oh, those voices! We can only hope to see more from this company in years to come.” ILLINOIS TIMES - Ann Kerr - Mar. 2002 (Performance at Sangamon Auditorium, Springfield, IL) RIGOLETTO Hits all the Right High Notes! “Monday evening's production of “Rigoletto” got everything right. The sets worked because attention was paid to details from the hall of the ducal palace with its slyly erotic central painting to the effective tromp-d'oeil painted backdrop of the palace. This production featured three strong lead singers. Nicolai Dobrev sang the part of Rigoletto with confidence. He used the full range of his rich baritone voice to shape a convincing character performance, moving from bitter sarcasm to the most tender love for his daughter, before his final fall into despair. Dobrev was particularly effective in conveying the lightning quick shifts of mood in his aria “Pari siamo.” American soprano Kenneithia Mitchell proved to be an ideal Gilda, bringing the role of Rigoletto's daughter alive with vivid emotion. Mitchell's warm, vibrant voice easily stood up to Dobrev's in their duets, while her beautifully shaded phrasing in her aria “Caro nome” brought the house down. Roumen Doikov has a clear, well-projected tenor and there was something irresistible about his portrayal of the hormonally driven Duke. The first few notes of “La donna e mobile” brought a shudder of recognition from the audience and Doikov gave them exactly the kind of performance they had come to hear. Bass, Alexi Ivanov, made an effective Sparafucile and mezzo Elena Marinova sang a surprisingly strong Maddalena, with both at their best when joining Dobrev and Mitchell in the exquisite last act quartet. The choral singing was very well focused and conductor Topolov elicited a well paced, detailed performance.” BUFFALO NEWS - Jan Jezioro - Mar. 2002 (Shea's Performing Arts Center , Buffalo, NY) Teatro Lirico Shines in Dark Verdi Comedy! “Teatro Lirico D'Europa examined one of the great black comedies, Verdi's RIGOLETTO. The singing filled the whole neighborhood. They sing like they've got opera deep in their bones. The performance was a direct injection of European taste, coming from a place where opera is a true passion, not a passing thought. The singing was extraordinary from the beginning. Nicolai Dobrev played the jester, a noble baritone with a facile instrument. Kenneithia Mitchell [GILDA] soared up and above her part with ease. As the Duke, Roumen Doikov seduced all with audacity. The chorus sang with gusto and confidence. The orchestra under Krassimir Topolov sounded terrific.” BOSTON HERALD - Keith Powers - Mar. 2002 (Performance at the Majestic Theatre, Boston, MA) “In the title role of RIGOLETTO, 33 year old Nicolai Dobrev found an appropriate venue for his imposing voice. He underlined the nastiness of the jester's mockery and his pain felt real. Soprano Kenneithia Mitchell revealed a voice of rose petal loveliness and quicksilver agility and an appealing earnest personality. When she emerged for her curtain call she greeted the rapturous applause in an uninhibited victory gesture. Teatro Lirico's star tenor, Roumen Doikov's top notes are among the best in the tenor business today-right on target and with a golden gleam. Once again the magnificent chorus was worth the price of admission. A thoroughly enjoyable, full-blooded and welcome production of Verdi's first mature masterpiece.” BOSTON PHOENIX - Lloyd Schwartz - Mar. 2002 (Performance at the Majestic Theatre - Boston, MA) RIGOLETTO Delivers Grand Opera to Valley! “The Palm Springs Opera Guild of the Desert had to be pleased with its selection of Teatro Lirico D'Europa's RIGOLETTO Sunday at the McCallum Theater. RIGOLETTO is a crowd pleaser made even more appealing to the sold-out crowd by the fine voices of Europe 's largest touring company. Young Bulgarian Baritone, Nicolay Dobrev, sang the title role with passion and power but it was his duets with sensational young American soprano, Melody Alesi, as Gilda that received the most applause. Their soaring voices blended beautifully, creating moments of aching poignancy and completely capturing the emotions of the enthusiastic audience. Alesi takes the stage with style and intelligence and possesses the voice of a world class opera star. Bulgarian tenor, Roumen Doikov's Duke was full of swagger and hubris." PALM DESERT SUN - Jack Lyons - Feb. 2003 (Performance at McCallum Theatre, Palm Desert, CA) Clowning Around in a Fine Fashion “A gripping production, musically and theatrically. Costumes are gorgeous, so are sets, and the stage is filled with color and vitality. Tenor, Gabriel Gonzales, not only sings wonderfully but gives the Duke and immense appeal. Theodore Lambrinos gives an equally rich performance as the hunchbacked jester, Rigoletto. His easy, unforced baritone gives full expressive strength to his “Pari siamo” and to his rage filled “Cortigiani”. Soprano, Melody Alesi, won the audience's heart as Rigoletto's daughter Gilda. Alesi gave the aria “Caro nome” virtuoso singing.” SYRACUSE POST AND STANDARD - Neil Novelli - Mar. 2003 (Performance at Syracuse Civic Center) “A dramatically compelling and generally splendid vocal performance. Teatro Lirico's singers are fervent and musically accurate, and their chorus work continues to be quite remarkable and singular in the opera world at large. The handsome set and lavish costumes were evocative and beautiful. As the title character, Theodore Lambrinos' portrayal was edgy and dramatically vivid. He gave a wistful plangency and flawless musicianship to his Act I “Deh non parlare al misero” and a forceful ringing account of his Act II “Cortigiani” with exquisite portamento in the abrupt, final pleading before his tormentors. His duet with his daughter, “Si vendetta” was flawless in timing and vocal contrast. The Gilda of young American soprano, Melody Alesi, was stunning. Her steady and completely unforced tone, pitch perfect coloratura and soaring pianissimi were among the vocal highlights of the evening. Alesi's breathtakingly lovely singing of “Caro nome” was marred only by the failure of the audience to sit on its hands before the coda. Mexican tenor, Gabrielle Gonzales, brought appropriate good looks, fine vocal support and phrasing and plausible acting to the role of the Duke. From a vigorous “Questa o quella” to a fine account of “Parmi veder” Gonzales displayed smooth legato, excellent breath control, lots of flexibility and some beautiful top notes. Conductor Metodi Matakiev gave a fine reading of Verdi's music.” ITHACA JOURNAL - Stephen Landesman - Mar. 2003 (Performance at Syracuse Civic Center) Teatro Lirico's RIGOLLETO, a Performance to Savor! “Last night's RIGOLETTO, the latest from Teatro Lirico D'Europa, was a keeper, one of the best traveling operas to come through here in a long, long time. But then Teatro Lirico has emerged as top dog among touring companies. The company has always boasted great singers. Their RIGOLETTO boasted an appealing cast. Rather than stylized staggers, we got true-to-life responses to deeply felt emotion. As the night's GILDA, American soprano, Melody Alesi, slid into a melting “Caro Nome,” her big first-act aria, she stretched her arms heavenward, as though feeling love for the first time. This was a big orchestra - so big it spilled out of the Vet's pit onto the corners of the stage. Duke, John Fowler, was more than up to the task, especially in those ringing high notes. His top voice was true and clear. But the big voice in the show belonged to Russian baritone, Sergei Moskalkov who sang his heart out as the crippled Rigoletto. Alesi, as Gilda, was no less impressive. Her “Caro Nome” was perfection, with bell-like high notes and butter smooth runs.” PROVIDENCE JOURNAL - Channing Gray – Feb. 2004 (Performance at Veteran's Memorial Auditorium, Providence, RI) RIGOLETTO - Wichita Grand Opera's Best Yet! “Opera is catching on in Wichita and the excited crowd was treated to a fine evening of musical drama. The production - prepared in cooperation with Teatro Lirico D'Europa - was the best, most mature effort yet for Wichita Grand Opera. It pointed the Wichita Grand Opera in the right directions for future productions.” WICHITA EAGLE - Chris Shull – Feb. 2004 (Performance at Century II Perf. Arts Center , Wichita, KS) “After a year's absence, opera's “road warriors,” Teatro Lirico D'Europa, were back at McCain Auditorium with a wonderful production of Verdi's RIGOLETTO. Splendid by any standards, the presentation was especially stunning for a touring company. Soloists, chorus, pit-orchestra, musicians, sets, costumes, you name it-Teatro Lirico delivered it all first-class. Teatro Lirico went the extra mile by mounting a company of artists committed to making their every performance glow with unique conviction and special intensity. Sergei Moskalkov's (RIGOLETTO) voice is nimbly powerful and tenderly expressive, and his physical portrayal totally centered. Soprano, Veselina Vasileva, made a lovely, doll-like Gilda of wide-eyed innocence and trusting naiveté. Her far from doll-sized voice made itself heard alike over fellow singers and a full-blown orchestral storm. Even her dying tones had carrying weight. John Fowler cut a fine figure as the selfish Duke. High marks as well for the excellent chorus which contributed significantly with both vigor and precision. Finally, much credit is due Maestro Matakiev, who maintained a perfect balance between pit and stage throughout. MANHATTAN MERCURY NEWS - Ben Nyberg – Mar. 2004 (Performance at McCain Auditorium, Manhattan, KS) Lirico's RIGOLETTO Steals Hearts! “RIGOLETTO proved to be yet another in the company's string of successes in what's becoming an eagerly anticipated annual Boston residency. Lucky Boston ! The Lirico's secret? Its artistic director, Giorgio Lalov, trusts opera and the singers who put their throats and hearts on the line for us and their art every night. Not for one minute did Lalov's staging follow the modern approach seen far too often at Boston Lyric Opera, by trying to improve on the beautiful original which speaks so eloquently for itself. Here there were no gimmicks, no tricks, just Verdi's tale from the composer through the singers to us. Heaven.” BOSTON HERALD - T. J. Medrek – Mar. 2004 (Performance at Majestic Theatre - Boston, MA)   G. Verdi's IL TROVATORE “Verdi's IL TROVATORE is pure melodrama, an opera told through glorious, often demanding music. If the cast is strong it is easy to bask in that music. That was the case Wednesday night at the Lila Cockrell Theater when Teatro Lirico D'Europa presented the Verdi classic. Artistic Director and Stage Director, Giorgio Lalov, assembled an impressive ensemble-including a full orchestra and chorus. The find of the evening was young baritone, Nicolai Dobrev, whose powerful steel edged instrument perfectly reflected the menacing Count di Luna. Mezzo soprano, Tatiana Sparacino, revealed an enormous, well schooled dramatic voice as Azucena. Bronze-voice tenor, Roumen Doikov, hit his stride as Manrico, the troubadour. Krassimir Topolov led a responsive, nicely balanced orchestra and the performance had more than the expected share of musical bright spots.” SAN ANTONIO EXPRESS NEWS - Diane Windeler - Mar. 2002 (Performance at Lila Cockrell Theatre - San Antonio, TX) “A finely sung production of Verdi's IL TROVATORE. Teatro Lirico's singers are wholeheartedly passionate, straightforward, and musically accurate, and their chorus work is exceptional, easily the envy of larger, less itinerate companies. As Azucena, mezzo Tatiana Sparacino was outstanding. Her second act description of her mother's death at the stake was appropriately bloodcurdling, dramatically plausible and sung with a fine juxtaposition of contralto chest tone and the high Gs of a dramatic mezzo. The role of Manrico was beautifully sung by Roumen Doikov. He gave a ringing account of the celebrated and demanding cabaletta “Di quella pira” complete with high Cs. The Leonora of Rumanian Soprano, Melania Isar, was musically accurate, her “D'amor sull' alle rose” was beautiful. Baritone, Nicolay Dobrev's Count di Luna's Act IV cantilena of love for Leonora was lyrical and note-perfect. IL TROVATORE abounds with ensembles and it was here that the vocal excellence of this company repeatedly showed itself. Leonora's duet cabaletta with Di Luna was genuinely exciting. Music Director Topolov gave a fine reading of the score from the pit.” ITHACA JOURNAL - Stephen Landesman - Mar. 2002 (Performance at Syracuse Civic Center - Syracuse, NY) “For the 3rd year in a row the company [Teatro Lirico D'Europa] has arrived at the Emerson Majestic Theatre, this time with three operas, to remind us that big voices singing big music never really goes out of style. Tenor, Roumen Doikov, offered a ringing heroic Manrico, possibly the best I've heard live in years or even decades. Dobrev's di Luna was big-voiced and sonorous, and so was Sparacino's Azucena. Melania Isar[Leonora] like all of her colleagues displayed the kind of instincts that are essential Verdi style, principally the ability to launch and shape a long, expansive phrase. That's a rare commodity today, and these singers all have it. So do conductor Krassimir Topolov and the excellent orchestra and chorus.” BOSTON HERALD - T. J. Medrek - Mar. 2002 (Performance at Majestic Theatre, Boston, MA) Simply Grand! Touring Company Delivers Splendid IL TROVATORE! “In a few short years Teatro Lirico D'Europa has become the vendor of choice for traveling opera in this area. Other companies offer solid entries, but... no one else comes near grand opera on the road than this 16-year old company. The company directed by Giorgio Lalov offered a splendid new production of Verdi's IL TROVATORE that was as fine a vocal production as any regional company might present. In Soprano Su-Jin Lee, he found a compelling Leonora. She had a full, rich sound and was in command of the emotional temperature of this most incomprehensible of Verdi's plots. Opposite her was Bulgarian tenor, Roumen Doikov as Manrico, a mighty singer possessing a bright sound and able to milk a Verdian melody for all it can deliver. Other jewels in the cast were Bulgarian baritone, Nicolai Dobrev, with his clear but dark sound, a tempered Count di Luna. Russian bass, Alexi Ivanov, a thoughtful, solid Ferrando, and Italian mezzo, Ambra Vespasiani, sang Azucena with convincing pathos and a metallic, covered vocal quality that somehow suited the part. The chorus, so textured, rich and precise, should be the envy of most smaller American companies, and the sets, simple yet artistically drawn, are a cut above the typical traveling fare. Then there is the orchestra. How this company affords to travel with this big an ensemble is a mystery, but the presence of a fairly large and even sounding orchestra in the pit made all the difference here and certainly they are the crème that makes this confection worth sipping. This combination of Eastern and Western European and American musicians and singers creates a lively, earthy ensemble that is appealing ...” NEWARK STAR LEDGER - Willa J. Conrad - Feb. 2003 (Performance at State Theatre - New Brunswick, NJ) “On Feb 13, 2004 Cerritos Center presented Teatro Lirico D'Europa's production of G. Verdi's IL TROVATORE. Stage direction by Giorgio Lalov brought out the opera's dramatic scenes in a traditional treatment of the action. Conductor Metodi Matakiev is absolutely first rate and the players of the Sofia Symphony orchestra were skilled enough to play this difficult score with ease. Philip Webb was an ardent, heroic sounding Manrico with bright, ringing high notes and excellent diction. His was a dramatic interpretation that engaged the audience with its fire. As Leonora, Adelina Kaneva sang with an attractive, creamy soprano sound. Her acting was skillful and she gave a poignant rendition of her role. Although Azucena is a difficult part, Rumiana Petrova filled the bill with her well controlled, sonorous mezzo soprano, and virtuoso singing. She sang with immense conviction and her anguished outpouring of emotion convinced the audience of the truth of her strange tale. Sergei Moskalkov interpreted the role of Count di Luna with stenorian tones. He was a worthy villain and showed a solid command of his role. Alexi Ivanov sang Ferrando with a fine technique and beautiful resonant tones.” OPERA JAPONICA – Maria Nockin – Feb. 2004 (Performance at Cerritos Center for the Perf. Arts, Cerritos, CA)   Puccini's TOSCA TOSCA Leaves Audience in a Good Mood, Wanting More! “The traveling production of TOSCA by Teatro Lirico D'Europa left the CAPACITY audience in a good mood, wishing for more. Soprano, Victoria Litherland, was excellent in the title role. She has sung TOSCA before with the Austin Lyric Opera and last week was in Seattle , starring in MANON LESCAUT. She was paired well with tenor, Cesar Hernandez as Mario. Baritone, Valery Ivanov was appropriately villainous as Scarpia, emphasizing the character's sadistic side rather than his mock piety. The secondary characters were well sung. The sets and costumes were first rate. Everyone deserved the long standing ovation at the final curtain.” PORTLAND PRESS HERALD - Christopher Hyde – Feb. 2004 (Performance at Merrill Auditorium, Portland , ME) TOSCA - Clearwater , FL “On Feb. 22 Ruth Eckerd Hall presented Teatro Lirico D'Europa's production of TOSCA with an international cast. As Tosca , Victoria Litherland showed that she can act the part of the diva. She had excellent control of her large sumptuous voice which easily soared over the orchestra. She knows how to utilize dynamics and she easily captured every aspect of her role. Puerto Rican tenor Cesar Hernandez sang Cavaradossi with a warm Italianate sound topped by exciting high notes. An excellent actor, he pulled at the heartstrings of the audience with his ‘E lucevan le stelle.' Baron Scarpia was sung by Valery Ivanov who interpreted his character as an unspeakably evil villain. This Scarpia sang with distinctively colored, well projected tones. Giorgio Lalov's well thought out stage direction brought out many nuances of this oft told story and Eugene Kohn's full blooded conducting never let the tension sag. The substantial looking sets by Valentine Topencharov gave an accurate depiction of the actual Rome sites.” OPERA JAPONICA - Maria Nockin – Feb. 2004 (Performance at Ruth Eckerd Hall, Clearwater, FL) Teatro Lirico's TOSCA Comes Up Big! “ DAYTONA BEACH - Everything about Friday's TOSCA, the outstanding final program in the Symphony Society's International Series, was big. From the moment the curtain rose, it was clear that the nearly 50 members of Teatro Lirico's orchestra were too many for Peabody Auditorium's pit. The result was a voluminous sound, just right for the outsized passions in the opera and for the singers who expressed them. Under the direction of Giorgio Lalov, the focus is always firmly on the romantic tragedy TOSCA represents. The Teatro Lirico cast, elegantly costumed and supported by an orchestra able to express the operas immense emotions, was tremendous in their ability to make every nuance felt. In the title role, the young American soprano (STEFANIE PEARCE) shone. Pearce's voice, rich and warm, shifted with emotions that spanned the gamut, and her acting made marvelously theatrical gestures entirely believable. David Corman (Cavaradossi) and Pearce were deeply affecting… their stunning voices had the greatest impact. They were in every way, terrific.” DAYTONA BEACH NEW JOURNAL - Laura Stewart – Mar. 2004 (Performance at Peabody Auditorium, Daytona Beach, FL)   Verdi's LA TRAVIATA ‘Strayed Woman' - High Drama Parisian Story Thrills GSU Crowd! “UNIVERSITY PARK -- The craftsmanship of Teatro Lirico D'Europa and the flawless conducting of Metodi Matakiev generated enough heat Sunday afternoon inside the Center for the Perf. Arts to temper the wind chill outside. Attendees at Governor's State University 's SOLD OUT matinee were treated to a lush spectacle of 19th century drama that dazzled the ear and eye. Soprano, Melody Alesi (Violetta) delivered a particularly notable performance, soaring in sustained flights in this melodic and romantic opera.” DAILY JOURNAL - Dennis Sullivan – Feb. 2004 (Performance at Center for the Perf. Arts, University Park , IL) LA TRAVIATA Enthralled Sold-out GSU! “Governors' State University hit a home run Sunday afternoon with a stunning performance of LA TRAVIATA before an enthusiastic SOLD- OUT house. The return of Teatro Lirico D'Europa can be seen as nothing short of a triumph. It was also an affirmation of the Pasquinelli Family Foundation's support, and the chance it took on bringing the opera to the Southland. Reid's statement “They will be back with LA BOHEME in 2005 received applause even before the curtain went up on the current production. Most impressive was Melody Alesi, who presented the torn personality of Violetta. Violetta's lover, Alfredo, played by John Fowler, sang with conviction and stamina. Valery Ivanov was most convincing as Alfredo's father and his rich baritone filled the hall. Act II brought the opera to a dramatic peak as the sound of the chorus rated first class and the dances by the gypsy princess and matador were fun and enthusiastic. This was a great performance. It's hard to believe that this opera company had just spent 5 days in 5 different cities performing 4 different operas! This critic doesn't know how they keep up their strength and enthusiasm, and can't wait to see them again next year.” THE STAR (Chicago Heights) - D. K. Luksetich – Feb. 2004(Performance at Center for the Arts, University Park , IL) Verdi Hip to Pop Culture! “Dubbed “Road Warriors” by OPERA NEWS, Teatro Lirico D'Europa proved itself worthy of its international reputation Friday night at the Leid Center when it performed Verdi's LA TRAVIATA. The show was fantastic. All three lead roles were brilliantly cast and executed.” LAWRENCE JOURNAL WORLD - Emily Criqui – Mar. 2004 (Performance at the Leid Center , Lawrence , KS) Teatro Lirico Shows No Signs of Fatigue! “Last night's LA TRAVIATA was the 41st performance of a staggering 52-performance American tour of six different operas that began Jan. 29, 2004 , but there was no lack of energy, spirit and heart. No wonder audiences love this company. Bulgarian soprano, Veselina Vasileva is a tiny beautiful creature with expressively floating hands and eyes that tell the truth. She restores the nearly-forgotten tradition of light voices in the role: she uses her crystalline soprano with feeling and exquisite musical taste. She has adequate virtuosity for the hurdles of the first act but it was later that Vasileva really came into her own. No one wanted her to die. Vytautas Juozapaitis poured out molten streams of baritone sound as the stern, elder Germont. Cesar Hernandez (Alfredo) is a pro who's been around the track, knows what to do, and did it with assurance. The chorus is one of Teatro Lirico's greatest assets.” BOSTON GLOBE - Richard Dyer – Mar. 2004 (Performance at Majestic Theatre - Boston , MA) “The endearing Teatro Lirico D'Europa was back on a 46-city cross-country tour. What makes this company so worth seeing, year after year, is that its priorities are always right. Opera exists to melt our hearts - and Teatro Lirico D'Europa does just that.” BOSTON PHOENIX - Lloyd Schwartz - April 2004 (Performance at the Majestic Theatre, Boston , MA)  READ MORE REVIEWS Mussorgsky's BORIS GODOUNOV Pucinni's TURANDOT Puccini's LA BOHEME Puccini's MADAME BUTTERFLY Puccini's TOSCA Bizet's CARMEN G. Verdi's AIDA G. Verdi's RIGOLETTO G. Verdi's IL TROVATORE G. Verdi's LA TRAVIATA Rossini's IL BARBIERE DI SIVIGLIA   HISTORY |  REVIEWS | PHOTO GALLERY  Search  "The solo and ensemble singing in all three operas was lusty, whole hearted-full throated and honest. Something personal and passionate that is often missing from evenings of opera." OPERA NEWS - Richard Dyer - February 2002 READ MORE REVIEWS Mussorgsky's BORIS GODOUNOV Pucinni's TURANDOT Puccini's LA BOHEME Puccini's MADAME BUTTERFLY Puccini's TOSCA Bizet's CARMEN G. Verdi's AIDA G. Verdi's RIGOLETTO G. Verdi's IL TROVATORE G. Verdi's LA TRAVIATA Rossini's IL BARBIERE DI SIVIGLIA Check out the photo gallery of performances.  HOME  | PRODUCTIONS  | NOW BOOKING  | UPCOMING TOURS  | ABOUT  | PHOTO GALLERIES  | REVIEWS  | CONTACT  ©2005, Jenny Kelly Productions  | info@jennykellyproductions Web site by Mid Bay Media");var sQb=0;var sQc=1;var sQd=2;var sQe=3;var sQf=4;var sQg=5;var sQh=6;var sQi=7;var sQj=8;var sQk;var sQdl;var sQm;var sQn; var sQ98 ; var sQB=true;var sQC=1;var sQE=2;var sQD=3;var sQF=4;var sQP=false;var sQQ=true;var sQ46=false;var sQ83=true;var sQ73=true;var sQ14=true;var sQ17=false;var sQ90=-1;var sQ45=0;var sQT;function SMPSetFocus() { document.formSearch.txtSearch.focus(); }
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width=\"483\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\"> <tr> <th colspan=\"3\" scope=\"col\"><img src=\"images/head_search.gif\" alt=\"\" name=\"JKP_p1_r5_c2\" width=\"482\" height=\"48\" border=\"0\" id=\"JKP_p1_r5_c2\" /></th> </tr> <tr> <td width=\"49\">&nbsp;</td> <td width=\"405\">&nbsp;</td> <td><img src=\"images/JKP_p1_r7_c5.gif\" alt=\"\" name=\"JKP_p1_r7_c5\" width=\"29\" height=\"1\" border=\"0\" id=\"JKP_p1_r7_c5\" /></td> </tr> <tr> <td>&nbsp;</td> <td> "; sQk += "<font face=\"Arial\" size=\"2\" color=#000000>";sQk += "<p>You searched for <b>" + sQ98 +".</b>"; sQk += "</font>" }; function sQY() { if(sQT==0) { sQk += "<p><font face=\"Arial\" size=\"2\" color=#000000>No pages matched your search.&nbsp;&nbsp;</font>"; } else { var sQA = sQT==1 ? "page shown." : "pages shown."; sQk += "<p><font face=\"Arial\" size=\"2\" color=#000000>" + sQT + " " + sQA + "&nbsp;</font>"; } sQk += "<a href=\"javascript:history.go(-1)\"><font face=\"Arial\" size=\"2\">Search Again</font></a></p>"; sQk += "</td> <td>&nbsp;</td> </tr> </table></td> <td valign=\"top\" bgcolor=\"#FFFFFF\"><table width=\"251\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\"> <tr> <td bgcolor=\"#FFFFFF\" class=\"border_sideBox\"><table width=\"251\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\"> <tr> <td bgcolor=\"#DCE3B7\" class=\"search_box\"><form action=\"javascript:SMPStartSearch() //\" name=\"formSearch\" id=\"formSearch\"> <div align=\"center\"> <input name=\"txtSearch\" /> &nbsp; <input name=\"send\" type=\"submit\" value=\"Search\" /> </div> </form></td> </tr> </table></td> </tr> <tr> <td bgcolor=\"#FFF9ED\" class=\"border_sideBox\"><table width=\"251\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\"> <tr> <td><img src=\"images/JKP_p1_r7_c7.gif\" width=\"251\" height=\"29\" border=\"0\" usemap=\"#Map2\" /></td> </tr> </table> <table width=\"251\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\"> <tr valign=\"top\"> <td class=\"sideBar_text\"><div align=\"left\">As president of International Classic Artists Mgmt. Inc., <strong>Jenny Kelly</strong> has booked major tours in the U.S. since 1998. <a href=\"about.htm\">more</a></div></td> <td width=\"45\"><div align=\"left\"><a href=\"about.htm\"><img src=\"images/photo_Jenny.jpg\" width=\"75\" height=\"96\" border=\"0\" /></a></div></td> <td width=\"12\"></td> </tr> </table> <table width=\"251\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\"> <tr> <td><div align=\"left\"><img src=\"images/JKP_p1_r13_c7.gif\" alt=\"\" name=\"JKP_p1_r13_c7\" width=\"164\" height=\"10\" border=\"0\" id=\"JKP_p1_r13_c7\" /></div></td> <td><div align=\"left\"><img src=\"images/spacer.gif\" width=\"1\" height=\"20\" /></div></td> </tr> </table> <table width=\"251\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\"> <tr valign=\"top\"> <td class=\"sideBar_text\"><div align=\"left\"> <p><strong>Giorgio Lalov</strong>, Artistic Director of Teatro Lirico D'Europa, now considered to be the most successful opera touring company in the USA. <a href=\"about.htm\">more</a></p> </div></td> <td width=\"45\"><div align=\"left\"><a href=\"about.htm\"><img src=\"images/photo_GL.jpg\" width=\"75\" height=\"99\" border=\"0\" /></a></div></td> <td width=\"12\"><img src=\"images/spacer.gif\" width=\"1\" height=\"120\" /></td> </tr> </table></td> </tr> <tr> <td bgcolor=\"#FFFFFF\" class=\"border_sideBox\"><table width=\"251\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\"> <tr> <td><img src=\"images/JKP_p1_r17_c7.gif\" width=\"251\" height=\"28\" border=\"0\" align=\"top\" usemap=\"#Map\" /></td> </tr> </table> <table width=\"251\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\"> <tr valign=\"top\"> <td bgcolor=\"#FEEEEE\"><p class=\"sideBar_text\"><strong>International Classic Artist Mgmt</strong> - this is where a brief intro or description is given about the history of ICAM. <a href=\"icam_history.htm\">more</a></p></td> <td bgcolor=\"#FEEEEE\"><img src=\"images/spacer.gif\" width=\"1\" height=\"70\" /></td> </tr> </table></td> </tr> <tr> <td bgcolor=\"#FFFFFF\" class=\"border_sideBox\"><img src=\"images/JKP_p1_r20_c7.gif\" alt=\"\" name=\"JKP_p1_r17_c6\" width=\"251\" height=\"28\" border=\"0\" align=\"top\" usemap=\"#JKP_p1_r17_c6Map\" id=\"JKP_p1_r17_c6\"/> <table width=\"251\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\"> <tr> <td valign=\"top\" bgcolor=\"#FFF9ED\" class=\"sideBar_text\"><p><strong>Fall 2005 - Winter 2006</strong><br/> US Tour of Opera <a href=\"tour.htm\">more</a><br/> <br/> </p></td> </tr> </table></td> </tr> <tr> <td bgcolor=\"#FFFFFF\"><table width=\"251\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\"> <tr> <th colspan=\"2\" scope=\"col\"><img src=\"images/JKP_p1_r19_c6.jpg\" alt=\"\" name=\"JKP_p1_r19_c6\" width=\"252\" height=\"51\" border=\"0\" usemap=\"#JKP_p1_r19_c6Map\" id=\"JKP_p1_r19_c6\" /></th> </tr> <tr> <th width=\"116\" scope=\"col\"><div align=\"left\"><a href=\"gallery.htm\"><img src=\"images/JKP_p1_r20_c6.jpg\" alt=\"\" name=\"JKP_p1_r20_c6\" border=\"0\" id=\"JKP_p1_r20_c6\" /></a></div></th> <td width=\"130\" valign=\"top\" scope=\"col\"><div align=\"left\" class=\"style12\" >Check out our gallery of photos from present and past performances. <a href=\"gallery.htm\">more</a> </div></td> </tr> </table> <map name=\"JKP_p1_r19_c6Map\" id=\"JKP_p1_r19_c6Map2\"> <area shape=\"rect\" coords=\"6,23,232,51\" href=\"gallery.htm\" /> </map></td> </tr> </table></td> </tr> <tr> <td colspan=\"2\" bgcolor=\"#FFFFFF\"><table width=\"735\" border=\"0\" cellspacing=\"0\" cellpadding=\"4\"> <tr bgcolor=\"#FFFFFF\"> <td height=\"3\" colspan=\"2\">&nbsp;</td> </tr> <tr> <td height=\"3\" colspan=\"2\" bgcolor=\"#ECEFDE\"><img src=\"images/spacer.gif\" width=\"1\" height=\"1\" /></td> </tr> <tr bgcolor=\"#D8DCBE\"> <td colspan=\"2\"><div align=\"center\" class=\"style4\"><span class=\"style7\"><a href=\"index.htm\">HOME</a> &nbsp;|&nbsp; <a href=\"production.htm\">PRODUCTIONS</a> &nbsp;|&nbsp; <a href=\"booking.htm\">NOW BOOKING</a> &nbsp;|&nbsp; <a href=\"tour.htm\">UPCOMING TOURS</a> &nbsp;|&nbsp; <a href=\"about.htm\">ABOUT</a> &nbsp;|&nbsp; <a href=\"gallery.htm\">PHOTO GALLERIES</a> &nbsp;|&nbsp; <a href=\"review.htm\">REVIEWS</a> &nbsp;|&nbsp; <a href=\"contact.htm\">CONTACT</a> </span></div></td> </tr> <tr valign=\"bottom\"> <td bgcolor=\"#C6CDA1\"><div align=\"left\" class=\"style8\"><span class=\"style9\">&nbsp;©2005, Jenny Kelly Productions &nbsp;|&nbsp; <a href=\"mailto:info@jennykellyproductions\">info@jennykellyproductions</a></span></div></td> <td bgcolor=\"#C6CDA1\"><div align=\"right\" class=\"style6\">Web site by <a href=\"http://www.MidBayMedia.com\">Mid Bay Media</a>&nbsp; </div></td> </tr> </table></td> </tr> <tr> <td colspan=\"4\"><img src=\"images/JKP_p1_r23_c1.jpg\" alt=\"\" name=\"JKP_p1_r23_c1\" width=\"780\" height=\"30\" border=\"0\" id=\"JKP_p1_r23_c1\" /></td> </tr> </table> <map name=\"JKP_p1_r2_c2Map\" id=\"JKP_p1_r2_c2Map\"> <area shape=\"rect\" coords=\"21,1,407,21\" href=\"index.htm\" alt=\"Home\" /> </map> <map name=\"JKP_p1_r17_c6Map\" id=\"JKP_p1_r17_c6Map\"> <area shape=\"rect\" coords=\"13,11,97,32\" href=\"tour.htm\" /> </map> <map name=\"Map\" id=\"Map\"> <area shape=\"rect\" coords=\"14,10,164,33\" href=\"icam_history.htm\" /> </map> <map name=\"Map2\" id=\"Map2\"> <area shape=\"rect\" coords=\"15,13,98,33\" href=\"about.htm\" /> </map> </body> </html> "; 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