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Audio Description available at Sunday performance
Opera Columbus with Columbus Symphony, CAPA, and BalletMet.
Tonight, tonight the world is wild and bright!
West Side Story exploded onto Broadway in 1957 in a sensational storm of exuberant dance and wistful romance. It was a phenomenon that never faded, “an incandescent piece of work” (The New York Times).
In 2025, this musical masterpiece will come to the Ohio Theatre in an electrifying, larger-than-life staging in a collaboration with Opera Columbus, CAPA, Columbus Symphony and BalletMet. Experience the greatest score ever written, dynamic dance numbers that soar through the open air, and a love story for the ages.
It’s war on New York’s Upper West Side, and the Jets and the Sharks are locked in a fierce turf battle. But as the two teen gangs hurtle down a dangerous path, Tony and Maria cross enemy lines, dreaming of a time and place where they can love freely.
Leonard Bernstein’s score is punctuated with hits: “America,” “Tonight,” “Maria,” “I Feel Pretty,” and the enduring “Somewhere”.
#WestSideOC
“WEST SIDE STORY”
Based on a Conception of JEROME ROBBINS
Book by ARTHUR LAURENTS
Music by LEONARD BERNSTEIN
Lyrics by STEPHEN SONDHEIM
“West Side Story” is presented through special arrangement with Music Theatre International (MTI).
Not recommended for audiences under the age of 13
This production contains depictions of physical violence, use of slurs, implied drug use, gunshots, and moments of intimacy.
Made possible by funding from
What’s Interesting About This Opera…
- West Side Story is a collaboration between Opera Columbus, CAPA, Columbus Symphony and BalletMet
- This performance will be performed in English with Spanish and English supertitles
Frequently Asked Questions
What Should I Wear?
There is no dress code for the opera! Some patrons choose to dress for a special occasion and others prefer to keep it casual.
Where Should I Park?
Parking is available at the Columbus Commons Parking Garage located off of Rich or Main Street.
When Should I Arrive?
Plan on arriving about 30-40 minutes early. This gives you plenty of time to park, get your tickets from will call if you need to and find your seats without feeling rushed. Latecomers are seated (or stand) in the rear of the theatre until ushers take them to their seats at an appropriate point in the production.
CBUSArts All-In Ticket Pricing
SYNOPSIS
Act One
The play opens with a balletic prologue, half-danced, and half-mimed, showing the growing resentment between the Jets, a gang of white “American” boys, and the Sharks, a Puerto Rican gang. Lt Schrank and Officer Krupke, fed up with all the violence on their beat, chase the Sharks away, leaving the Jets to plot a “rumble” with the Sharks (“Prologue”). The Jets’ leader, Riff, plans to challenge the Shark’s leader, Bernardo, at the dance that evening. He then plans to convince his best friend Tony, a former Jet who is trying to keep on the straight and narrow, that he should join the gang at the dance. Despite some doubts that Tony will remain loyal to the gang, Riff assures the other Jets that he’s here to stay (“Jet Song”). Riff meets Tony at Doc’s Drugstore, where he’s been working, and though Tony initially refuses, Riff eventually prevails. Tony, leaving the drugstore, feels that that evening will be the beginning of something (“Something’s Coming”).
Meanwhile, Maria, a recent immigrant from Puerto Rico, is working in Anita’s bridal shop. Maria is betrothed to Chino, a friend of her brother Bernardo’s, but confesses to Anita that she does not love him. Anita remakes Maria’s communion dress into a stunning gown to wear to the dance that night.
At the gym, which has been converted into a ragtag dancehall, the Jets and the Sharks stand on opposite sides of the floor. Glad Hand, the nerdy chaperone, calls out instructions for the dance, attempting to get the groups to mix (“Dance at the Gym”). When Tony wanders late into the gym, he catches eyes with Maria. They connect immediately and begin to dance, but their budding romance is quickly interrupted by Bernardo, who warns Tony to stay away from his sister. Riff catches Bernardo’s eye and challenges him to a rumble. Maria is sent home with Chino and Bernardo and the Sharks agree to meet Riff and the Jets for a war council at Doc’s.
Later that night, Tony finds Maria’s fire escape, and serenades her (“Maria”). Maria appears from her bedroom, and the two profess their love for each other. Bernardo then calls Maria inside, and Tony runs away. Bernardo scolds Maria for her naivete, claiming that neither Maria nor their parents understand what it means to live in America. Anita attempts to keep Bernardo from leaving for the rumble, but he keeps to the plan and leaves. While Rosalia expounds on how much she loves America, Anita tells Maria of the racism and unfairness they face (“America”). Maria manages to sneak back outside, and she and Tony say goodnight and make plans to meet the next day (“Tonight”).
At the drugstore, the Jets are getting antsy. Doc, the drugstore owner, bemoans the violent rivalry between the Jets and the Sharks, disappointedly calling the boys “hoodlums.” Action and A-Rab are offended, and try to start a fight, but Riff convinces them to save their steam for the rumble (“Cool”). The Sharks arrive, and the two gangs discuss the coming rumble. Tony suggests a “fair fight”– using only fists– which the gangs agree to. Bernardo is disappointed to learn that he will fight Diesel, not Jets leader Riff. When the boys leave the drugstore, Tony tells Doc about Maria. Doc is concerned about the implications of this romance, but Tony is too deeply in love to care.
The next day, at the bridal shop, Anita tells the the love-giddy Maria of the coming rumble, and when Tony arrives, Maria begs Tony to stop the fight. Tony agrees, and the lovers fall to dreaming of their wedding (“One Hand, One Heart”).
Act Two
As the day progresses, Tony, Maria, Anita, Bernardo and the Sharks, and Riff and the Jets anticipate the coming nights’ events (“Tonight Quintet and Chorus”). When night falls, the two gangs meet under the highway, and Bernardo and Diesel begin to fight. Tony arrives, and attempts to convince the two to stop. Bernardo teases Tony mercilessly for his “weakness,” and though Tony remains calm, Riff responds by punching Bernardo. This spurs the men to unsheath their switch blades, and begin to fight in earnest (“The Rumble”). Tony attempts to intervene, but his efforts accidentally cause Bernardo to fatally stab Riff. In a wave of anger, Tony retaliates by stabbing Bernardo to death, which then launches both gangs into a vicious battle that echoes the fight in the Prologue. When police sirens are heard, the men disperse, except Tony, who is standing over Bernardo, horrified at his actions. Anybodys, the tomboy wannabe Jet, warns Tony to leave before the cops come. Just in time, Tony flees, leaving only the dead bodies of Riff and Bernardo under the highway.
Meanwhile, Maria is in the bridal shop with Anita, Consuelo, Rosalia, and others, giddy with her love for Tony (“I Feel Pretty”). Later that evening, Maria celebrates, as she had seen Tony running to the rumble, apparently to stop it. However, Chino arrives with terrible news: Tony has killed Maria’s brother Bernardo. In shock, confusion, and grief, Maria runs to her room, where she is surprised to see Tony. At first, Maria is furious, pounding on Tony’s chest, but soon her anger fades. The lovers plan to run away together, and as they sink to the bed, fade into a dream of their happy future together (“Somewhere”).
Elsewhere, A-Rab and Action are set upon by Officer Krupke, but manage to escape him. Meeting up with the rest of the Jets, the gang launches into an amusing rant about their troubles with Officer Krupke in an attempt to lighten the mood (“Gee, Officer Krupke”). Anybodys arrives and tells the gang that she saw Chino looking for Tony with a gun. The gang splits up to look for Tony, and Action welcomes Anybodys into the gang at last.
As the sun rises the next morning in Maria’s room, Tony is getting ready to leave. He tells Maria to meet him at Doc’s so they can run away together. She promises to do so. A grieving Anita arrives, and sees that Tony had been with Maria. She scolds Maria furiously and curses Tony for his actions (“A Boy Like That”). Maria responds by telling Anita of the power of her true love (“I Have a Love”). Anita realizes that Maria’s love for Tony is like hers was for Riff, and softens. She informs Maria that Chino is looking for Tony with a gun.
Schrank arrives at Maria’s to question her about Tony’s disappearance. Anita promises Maria that she will go to Doc’s and tell Tony to wait for her. When she arrives, she finds that the Jets have Tony and are gathered at Doc’s. They taunt Anita with racist slurs and cruelty, eventually raping her. Doc enters, horrified. In Anita’s anger and grief, she tells the Jets that Chino has shot Maria dead. Doc relays this message to Tony, who is overcome with grief at the loss of his love.
Feeling that life is no longer worth living, Tony leaves Doc’s to find Chino, hoping to die at the same gun as his lover. However, when Tony does find Chino, he also finds Maria, alive– but before the lovers can come together, Chino shoots Tony. He falls to the ground, dying, and Maria rushes to him, weeping (“Finale”). The Jets and Sharks both arrive, and begin to gear up to continue the fight, when Maria grabs the gun. She threatens the others with it, telling them that they killed Tony with their hate: “Now I can kill too, because now I have hate!” Maria eventually drops the gun, unable to shoot, and falls to her knees in grief. Gradually, the two gangs come together and lift Tony’s body, beginning a somber, if peaceful, funeral procession, with Maria at the rear.
CAST
With an impressive repertoire of roles, Jadon’s credits include Max VanHorn in Tootsie at Theatre By The Sea, Albert Mondego in The Count of Monte Cristo at Tuacahn Amphitheatre, Anthony in Sweeney Todd, Joseph in Joseph and the Amazing Technicolor Dreamcoat, Monty in A Gentleman’s Guide to Love and Murder, and Jimmy Ray in Bright Star, among many others. Much love.Jadon Webster
Celebrated soprano, Cecilia Violetta López, has been named one of “Idaho’s Top 10 Most Influential Women of the Century” by USA Today and has been named one of opera’s “25 Rising Stars” by Opera News. The singing actress is constantly praised for her “alluring voice and incredible range” (Washington Post). She has received accolades for her signature role of Violetta in La traviata, which she has performed countless times throughout North America. Critic, James Jorden, exclaimed “she is a Violetta fully- formed and, I think, ready for the great stages of the world.” She has now performed the role with Minnesota Opera, Opera Colorado, Opera Tampa, Opera Idaho, Ash Lawn Opera, The Northern Lights Music Festival, Madison Opera, Pacific Symphony and Virginia Opera. Ms. López made her European début as Norina in Don Pasquale with Zomeropera in Belgium, for which Klassiek Centraal exclaimed: “She turns out to be the revelation of the show and wins over the audience with her funny rendition, irresistible charm, and [she is] natural in the different vocals.” From her performance as Adina in The Elixir of Love with Virginia Opera, The Virginian- Pilot hailed, “Cecilia Violetta López is showing local audiences why Opera News named her one of its ’25 Rising Stars.’ In the lead role of Adina, she hit the highest notes with ringing clarity, performed the vocal runs with precision and grace and showed a particular charm and humanity in the softest passages and lowest ranges.” In her recent performance as Marguerite in Faust with Opera Omaha, the Omaha World-Herald claimed “…López sang Marguerite’s seduction, madness and salvation with an other wordly wisdom and artistry.” Despite the halting effects of COVID-19 in the opera industry, Ms. López’ 2020-2021 has included both virtual and live recitals with Opera Idaho, Opera Las Vegas, Austin Opera, Opera Southwest, Chatter ABQ, and Madison Opera. Ms. López made her company debut with Pacific Symphony as Violetta in their 90 minute version of La traviata, and Ms. López will also be the featured soprano soloist in the world premier of Mi Camino, a virtual project with Opera Cultura. Cecilia will also return to Opera Colorado as a soprano soloist in Canciones de Nuestras Tierras: a live, outdoor performance. In past seasons, Ms. López has made several role débuts including her now critically acclaimed role of Adina in L’elisir d’amore with Opera Idaho, Virginia Opera and Opera Las Vegas, the title role in Massenet’s Manon with Opera Idaho, Nedda in I pagliacci with Opera Colorado, Desdemona in Rossini’s Otello with LoftOpera, Maria in West Side Story with Opera Idaho, Marguerite in Faust with Opera Omaha, Mimì in La bohème with Opera Orlando, Rosalba in Florencia en el Amazonas with Florida Grand Opera, Beatrice Russo in Il Postino with Opera Southwest and Opera Saratoga, Rosina in Il barbiere di Siviglia, Fiordiligi in Così fan tutte, and Contessa in Le nozze di Figaro with Opera Tampa, Hanna Glawari in The Merry Widow with Opera Saratoga, Lucy in Fellow Travelers with Prototype Opera Festival, the title role of Suor Angelica with Opera San Luis Obispo, Magda in La rondine with Skylark Opera Theatre, Gilda in Rigoletto with Opera Idaho, and Zerlina in Don Giovanni with Opera Tampa and Opera Las Vegas. She appeared as Micaëla in Carmen in her house debut with Michigan Opera Theatre and Blanche in Dialogues des Carmélites and Rosalinde in Die Fledermaus as a part of Eugene Opera’s New Year’s Eve Opera Trio. In addition to these débuts, she reprised the role of Micaëla in Carmen with Madison Opera and joined the roster of the Metropolitan Opera in their 2015 production of The Merry Widow. Solo concert performances include Mahler’s Symphony No. 4 and selections from Canteloube’s Chants d’Auvergne with the Henderson Symphony Orchestra, and Rutter’s Mass of the Children with the Southern Nevada Musical Arts Society. Additionally, Ms. López has performed as a soloist at the reopening of the Idaho Museum of Natural History gala, various Christmas concerts including her company debut with the Madison Symphony Orchestra, and as a featured soloist in concerts with the Boise Philharmonic, Austin Opera, Madison Opera and the prestigious Bard SummerScape Music Festival. Ms. López was also a soloist in Opera Orlando’s One Voice Benefit Concert in Orlando, Florida where proceeds benefited those affected by the tragedy that occurred at the Pulse Night Club. She performed for the Zion’s Bank Annual Gala, and was a guest speaker at the 2017 California State Annual Migrant Parent and Student Conference where she shared her story and musical talents with people of similar backgrounds as her own. Ms. López also completed a two-year-tenure as a Soprano Resident Artist at Opera San José where she performed Leïla in Les pêcheurs de perles, Rosalinde in Die Fledermaus, Leonora in Il trovatore, the title role in Suor Angelica, Lauretta in Gianni Schicchi, Nannetta in Falstaff, Gretel in Hänsel und Gretel, Donna Anna in Don Giovanni, and Cio-Cio San in Madama Butterfly. Additionally, Ms. López is an alum of the Caramoor Music Festival where she covered the role of Hélène in Les vêpres siciliennes. She is also an alum of the Hawaii Performing Arts Festival where she sang the title role in their production of L’incoronazione di Poppea. Her début of the role of Violetta in La traviata, was with Martina Arroyo Foundation’s prestigious summer festival, Prelude to Performance. In January 2021, Opera Idaho appointed Ms. López as the company’s first Artistic Advisor. “Known to Opera Idaho audiences primarily through her appearances in operas over the last six-plus years, Cecilia takes on added responsibilities to advise and advocate for expanded repertoire, provide insights on diversity in artistic practices and community initiatives, and collaborate with senior management in identifying and securing financial support for the company. Cecilia will work closely with General Director Mark Junkert in helping shape the future of Opera Idaho.” ‘When I think of someone, active in the field as a performer who both knows what’s happening in the field nationally and internationally and knows our state, Cecilia is the perfect fit for the position. Many opera companies have similar positions, and it is a sign of Opera Idaho’s growth that we’re able at this point in our history to add an Artistic Advisor.’ —Mark Junkert, General Director, Opera Idaho Ms. López is the recipient of an Idaho State Concurrent Resolution honoring her life as an Idahoan and her work in the world of opera. “We should be so very proud of Cecilia Violetta López. She exemplifies all that is what America is about: apply yourself, work hard, dream big, and you can achieve those dreams. She tells every Idaho girl and boy that they, too, can succeed … no matter where they came from, no matter how small they may start out, no matter how long their journey may appear to be. Idaho should be so very proud of this young lady and should hold her up as an example of what all Idaho children might achieve. —Opera Idaho Board Member, Yvonne McCoy for Senator Buckner-Webb. Ms. López, “The Daughter of Idaho,” a Mexican-American native of Rupert, Idaho, is featured in two Idaho state museums and got her musical start at a young age singing mariachi music that she learned from her mother. Taylor recently toured the world as Riff on the International Tour of West Side Story (dir. Lonny Price). Selected theatre credits include: 360’s Peter Pan, National Tour (Peter Pan), Peter and the Starcatcher (The Boy, TTB Nomination), Our Town (George Gibbs, TTB Nomination) The Music Man (Tommy Djilas), Into the Woods (Jack) and West Side Story (various: Chicago Lyric Opera, Houston Grand Opera, Atlanta Opera, KC Opera, Opera San Jose, NC Theatre, Moonlight Amphitheatre). TV/Film Credits include 1923, Somewhere in Queens (dir. Ray Romano), Bodybag, Law & Order: SVU.Cecilia Violetta López
Taylor Harley
Broadway: The Prom. Off-Broadway: Janice/Marina in Between The Lines. Regional(select): Extraordinary Girl at CTG/Deaf West in American Idiot, Anita at The Muny in West Side Story, Esmeralda at Dr. Phillips Center in The Hunchback of Notre Dame, The Mistress at Pennsylvania Shakespeare Festival in Evita, Maid by the Fire at Chicago Lyric Opera in Jesus Christ Superstar, Chiffon at Gateway Playhouse inLittle Shop of Horrors. TV: “ATLANTA on FX and “FBI’ on CBS. Her original music is streaming on all platforms. @jerushacavazos Jerusha Cavazos
Isaac Tobler is so excited for his first leading role with Opera Columbus! Studying vocal performance at Wright State University, Isaac was able to focus on his life-long love for singing and performing. During his studies, Isaac starred in the role of Papageno in The Magic Flute and Sir Joseph Porter in H.M.S. Pinafore, to name a couple. Isaac had the privilege to work masterclasses with vocal greats such as Roderick Dixon, Alfreda Burke, and the legendary Stephen Schwarts while studying there. After Wright State, Isaac went back to his musical theater roots where he worked with Dare 2 Defy Productions, in Dayton, Ohio. With D2D, Isaac was cast in HAIR, and his dream role to date, Tom Collins in their 2014 production of RENT. In his time away, Isaac has remained a community liaison for the LGBTQ+ community, performing under his forename, Isaac Ismael. Isaac has hosted and performed at local community events such as ComFest and Columbus Pride while capturing local and national recognition throughout competitions and shows. Isaac was elated to rejoin the performing community by starring in the Short North Stage’s production of Ain’t Misbehavin’ as Andre, and then first working with Opera Columbus in their production of The Threepenny Opera. In his downtime, Isaac enjoys spending time with his friends, trying new restaurants, and keeping his cats content at home. So deeply appreciative of this opportunity, Isaac wishes the rest of this cast an excellent run, and thanks to all the attending audience and support system he has. Venezuelan bass-baritone Miguel Pedroza is passionate about bringing stories to life through opera. A resident artist with Opera Columbus from 2020 to 2022, he is delighted to return to the company for another performance. Miguel has also collaborated with St. Petersburg Opera, Bronx Opera, Opera Maine, Opera Southwest, Teatro Nuevo, and Opera on the James.Recentroles include Randy Curtis in Lady in the Dark, Zuniga in Carmen, Colline in La Bohème, Marco in Gianni Schicchi, Marchese d’Obigny in La Traviata, Raimbaud in Le loup garou, and King Balthazar in Amahl and the Night Visitors. Later this year, he will be performing the role of Sarastro in Opera Mississippi’s Die Zauberflöte. An alumnus of the University of Cincinnati’s College-Conservatory of Music and the University of Houston, Miguel is eager to reconnect with Columbus’s vibrant audiences.Isaac Tobler
Miguel Pedroza
Lyndsey Adams is a multi-hyphenate from small-town Appalachia, leveraging a generational commitment to sweat equity to develop a diverse skill set across various sectors of the industry. With a dual baccalaureate from Shawnee State University (BFA in Musical Theatre, Dance Minor, and BSE in Educational Sciences), Lyndsey has cultivated a passion for tech, performance, and education, particularly in nonprofit environments. Their career has spanned a range of roles, including Director, Scenic Charge Artist, Scenic Designer, Teaching Artist, Performance Artist, and Project Management. Recent credits include directing Robinhood (CCT), Charge Artist: Threepenny Opera (OC), Wife of a Salesman (Contemporary Theatre), Pearl in The SpongeBob Musical (CCT), St. Aphrodisiusin The Hunchback of Notre Dame (CCT). Lyndsey would like to thank her partner Mario, her chosen family for the support, and Opera Columbus for the opportunity to perform alongside inspiring artists. Lyndsey Adams
Ryan is incredibly excited to be making his debut with Opera Columbus! If you’ve seen any theatre in Columbus recently, you may have seen Ryan’s projection designs for Short North Stage’s production of Nine the Musical and A Christmas Carol, or you may have seen him as Eddie/Dr. Scott in Short North Stage’s production of Richard O’Brien’s The Rocky Horror Show. He’s also done projection design for CCT’s Next to Normal, and JCC’s Beautiful: The Carole King Musical, and lighting design for Short North Stage’s Ain’t Misbehavin’. Ryan has also been credited with performing roles in other SNS productions such as Rock of Ages, Tick, Tick, Boom, RENT, and White Christmas, Into the Woods, Beautiful: The Carole King Musical, and Andrew Lippa’s The Wild Party. Ryan is a local performer, originally from Mansfield, Ohio, where he’s performed in over 45 professional musical productions at the Historic Renaissance Theatre. His favorite roles performed include Jack Kelly in Newsies, Quasimodo in The Hunchback of Notre Dame, Drew in Rock of Ages, and John Wilkes Booth in Assassins at Theatre 166. Outside of theatre, he also owns and operates Fyrebird Media, a digital media marketing agency, specializing in videography, photography, advertising, and projection design. You can see more of his design work by following @FyrebirdMedia on social media. Ryan would like to thank his incredible friends and family for all their support, as well as thank the cast and crew for putting on this incredible production! He hopes you enjoy the show and thanks you for supporting the arts in Columbus. For more info about Ryan, visit ryanshreve.com or follow him on Instagram at @iamryanshreveAaron Natarelli
Ryan Shreve
Que (said just like the letter) Jones is a Columbus, OH based renaissance artist. Any medium is fair game! From costume design and fabrication, to music, painting, sculpture, makeup, design, and anything else you can imagine. A graduate of Capital University and The Ohio State University, Que also spent a year abroad studying at the Liszt Academy and Kodály School in Hungary. Que has worked with almost every arts organization in Columbus, and OC’s A Magic Flute Experience: The Temple was his first “original” large-scale work to be produced.Que Jones
Jordan Young is thrilled to be making his Opera Columbus debut in West Side Story! Jordan is a mainstay in the local musical theater community and excited to be returning to his classical roots. Past roles include Dr. Madden/Fine in Next to Normal (CCT), Kyle/Dewey/Lowell in Legally Blonde (Short North Stage), Phoebus de Martin in Disney’s The Hunchback of Notre Dame (CCT), and Mr. Price/Richard Bailey in Kinky Boots (Short North Stage). He would like to thank Allegra, Que, and the creative team, the cast and crew for being warm and welcoming, Sara Pardo Fishburn for her artistic guidance, and his family and friends for their continued love and support. He would like to dedicate his performance to the late Richard Crist with thanks for nurturing his appreciation for this beautiful art form. Let’s get ready to rumble! Katie Ann is a Columbus-based actor/musician, music director/conductor, and stage manager. She holds dual degrees in Mechanical Engineering and Music from OSU. Most recently she music directed ‘Little Women’ and appeared as Dolly in OC’s ‘The Threepenny Opera’. Some favorite credits include Belle in ‘Beauty and the Beast’, Cinderella in ‘Into the Woods’, Ariel in ‘The Little Mermaid’, Sibella in ‘A Gentleman’s Guide to Love and Murder’, Rusty in ‘Footloose’, Ex-Girlfriend/violin in ‘Once’, and Louise in ‘Gypsy’.Jordan Young
KatieAnn Bonavita
Hailing from Columbus, Ohio, Hannah Marie Bullock is an exciting artist making her footprint in The 2023-2024 season brought Ms. Bullock’s debuts as Second Lady in The Magic Flute Previous season engagements include a young artist position with the inaugural Opera for Ms. Bullock is a graduate of Capital University with a Bachelor of Music in Music Technology andHannah Bullock
the opera world. This season (2024-2025), Ms. Bullock makes three exciting debuts: Lucy
Brown in The Threepenny Opera (Opera Columbus), Rosalia in West Side Story (Opera
Columbus), and a Featured Artist position with the Havana Biennial festival.
(Opera Columbus) and the Soprano Soloist in Faure’s Requiem. She also reprised the role of
Micaela in Opera Columbus’ new production of Carmen. During this season, Ms. Bullock was
also a finalist in the James Toland Foundation Elizabeth Greenfield Award Competition.
In the 2022-2023 season, Ms. Bullock made her debut performance of Micaela (Carmen) in a
co-production between Camerata Bardi and Teatro Grattacielo in Heraklion, Crete. She also
performed the role of Countess Ceprano in Opera Columbus’ Rigoletto.
Peace Academy in Rome, Italy in Summer 2022. Spring 2022 also brought Ms. Bullock’s debut
in contemporary opera with the role of Moremi in Vanqui (Opera Columbus). In Summer 2021
Ms. Bullock had the pleasure of performing Contessa Almaviva (Le Nozze di Figaro) with the
International Summer Opera Festival of Morelia.
of Ohio University with a Master of Music in Vocal Performance. In addition to performing, Ms.
Bullock is the founder and Creative Director of SimplySing Studios, whose mission is to support
the young artist community by providing recording services with a specialty in recording the
operatic voice.
Cynthia López-Olaya is a Xicana soprano originally from Los Angeles, California, and based in Columbus, Ohio. She received her training from The Ohio State University and Boston Conservatory of Music at Berklee. As an emerging artist, she has had the pleasure of combining her work in advocacy through her performance career, lectures, panel discussions, and philanthropy with leading companies in the industry. Mrs. López-Olaya’s 2023-2024 season included Natalia (Caravana de Mujeres), a comedic opera about a Colombian immigrant family, where she sang the world premiere at Opera America’s New Works Forum with MassOpera and OperaHub, and Susanna (Le nozze di Figaro) with the Boston Festival Orchestra and NEMPAC Opera Project. She then completed a residency with Hogfish Opera where she sang the role of Frasquita and covered Micaëla (Carmen) in a reimagined production that highlights conditions at the border between El Paso, Texas and Mexico. During her residency, she also completed a recital highlighting Nahuatl songs, the most prevalent Indigenous language in Mexico. She then premiered the work Soul Echoes with Concertia HTX as the soprano soloist, a vocal drama elevating narratives of children detained at the US-Mexico border. Other credits include: Maria (West Side Story), and Mimì (La bohème) with MassOpera; Despina (Così fan tutte) and Blanche (Dialogues des Carmélites) with Boston Conservatory Opera; Nannetta (Falstaff) with Martina Arroyo Prelude to Performance; and Susanna (Le Nozze di Figaro) with The Ohio State University Lyric and Opera Theater. In addition to her classical music career, she is also the vocalist for a professional contemporary Latin trio in Columbus, OH and she is the co-founder of Latina Women in Opera. Anabella Petronsi, Argentinian mezzo-soprano, graduated from the National University of Arts in Argentina and The Ohio State University, where she served as a Graduate Teaching Associate. She has sung Barbarina (Mozart), Serpetta (Mozart), Papagena (Mozart), Despina (Mozart), Rosita (Torroba), Poèsié (Charpentier), Berenice (Rossini), Mrs. Webster (Candey), Flora (Charpentier), Mirror 1 (Albinarrate), Mariquita Sánchez (Scher), Heraldo (Lambertini), Sorceress (Purcell), Rosine (Pasatieri), Giovanna (Verdi), Hansel (Humperdinck), Mercèdés (Bizet), Pillar 3 (The Temple), and Kate (Pirates of Penzance). She worked as an Artistic Administrator and Director of Operations and Special Projects and Events for the College of Musical Arts at the National University of Arts in Argentina. She sang with Enhorabuena Company, Opera Joven, Ensemble Tempus, The Cardinal Ensemble, Opera Project Columbus, and Opera Columbus.Cynthia López-Olaya
Anabella Petronsi
Brandon Shaw McKnight passionately believes that art has the power to inspire, reflect, educate, and empower. Well-versed in multiple genres of the performing arts, they most recently served as the assistant director for Le Nozze di Figaro, Annapolis Opera and Dreamgirls, Morgan State University. In 2019, Shaw McKnight produced and directed a staged version of Handel’s Messiah, which they have since performed annually. An exceptional artist who can be found on and behind the stage, Shaw McKnight has been a part of productions on Broadway, Jazz at Lincoln Center with Teatro Nuovo, The Kennedy Center, Toledo Opera, Annapolis Opera, Opera Baltimore and in Italy. They are often seen performing in his hometown of Baltimore, MD. In addition to joining Opera Columbus as the Crane Directing Fellow, Shaw McKnight is currently a directing resident artist with Opera North.Brandon Shaw McKnight
Shaw McKnight has been a young artist with programs such as La Musica Lirica, New York City Lyric Opera Theatre, and Utopia Arts. Their love of opera began as a student at Morgan State University.
Alan Tyson is thrilled to be making his Opera Columbus debut. He is beyond grateful for this opportunity. He wants to thank his loving God because without Him none of this would be possible, his family, friends, and the wonderful cast and crew. Recent acting credits include: Reggie, Skeleton Crew at The Contemporary Theatre of Ohio; Walter, A Raisin in the Sun with Actors Theatre of Columbus. Recent directing credits include: Beautiful: The Carole King Musical with Gallery Players and Chicken & Biscuits with Actors Theatre of Columbus. Recent Film Credits: Ezra in Obstacle Corpse and Dee in The Holiday Club (both on Amazon Prime). All socials: @AlanELTyson. Be sure to visit: www.Alan-Tyson.com Brian C Gray is a singer/actor/director living on the East Side of Columbus. Brian carries two music degrees: a Bachelor of Music in Vocal Performance from Otterbein University, and a Master of Music in Music Theatre from Oklahoma City University. Post graduating Brian performed with various theatre companies including Playhouse on the Square in Memphis, TN, Lexington Children’s Theatre in Lexington, KY, and the Springer Opera House in Columbus, GA. Locally, Brian has performed in numerous theatre productions with several companies, including The Contemporary (previously CATCO), Columbus Children’s Theatre, Available Light Theatre, Short North Stage, and more. Brian also directs the OutLoud BIPOC Theatre Collective at Olentangy Orange High School in central Ohio.Alan Tyson
Brian Gray
Karen Hough Majidzadeh
Jake is honored to join Opera Columbus in telling this classic story. He was last seen as Professor Bhaer in Curtain Players’ production of “Little Women” in December last year, Dracula in “The Passion of Dracula” at LTOB in October, and Edward Bloom in “Big Fish” also at LTOB in June. Originally from Michigan, he studied acting under the tutelage of Joe Jezewski and singing under Vicki Walker at Alma College. Jake is also a professional voice actor and audiobook narrator, having narrated for authors such as Jessica Booth, Roxie McClaine, and Brittni Chenelle. When not performing, he enjoys video games, anime, exercise, and taking care of his children (cats), Eri and Hero. He would like to thank Sean for supporting him in everything (and rescheduling gym), his friend Krista in helping his dreams come true, and his family in the Columbus theatre community for their love.Jake McAskill
CREATIVES
Leonard Bernstein
Stephen Sondheim
Arthur Laurents
Respected and admired by audiences and musicians alike, Rossen Milanov is currently the music director of the Columbus Symphony Orchestra (CSO), Chautauqua Symphony Orchestra, Princeton Symphony Orchestra, and newly appointed chief conductor of the Slovenian RTV Orchestra in Ljubljana. Milanov has established himself as a conductor with considerable national and international presence. He recently completed a seven-year tenure as music director of the Orquesta Sinfónica del Principado de Asturias (OSPA) in Spain. Nationally, he has appeared with the Colorado, Detroit, Indianapolis, Milwaukee, Baltimore, Seattle, and Fort Worth symphonies, National Symphony Orchestra at the Kennedy Center, Link-Up education projects with Carnegie Hall and the Orchestra of St. Luke’s, and with the Civic Orchestra in Chicago. Internationally, he has collaborated with the BBC Symphony Orchestra, Orchestra de la Suisse Romand, Rotterdam Philharmonic, Aalborg, Latvian, and Hungarian National Symphony Orchestras and the orchestras in Toronto, Vancouver, KwaZulu-Natal Philharmonic (South Africa), Mexico, Colombia, Sao Paolo, Belo Horizonte, and New Zealand. In the Far East, he has appeared with NHK, Sapporo, Tokyo, and Singapore symphonies, Hyogo Performing Arts Center, and Malaysian and Hong Kong Philharmonics. Milanov has collaborated with some of the world’s preeminent artists, including Yo-Yo Ma, Itzhak Perlman, Joshua Bell, Midori, Christian Tetzlaff, and André Watts. During his 11-year tenure with the Philadelphia Orchestra, Milanov conducted more than 200 performances. In 2015, he completed a 15-year tenure as music director of the nationally recognized training orchestra Symphony in C in New Jersey, and in 2013, a 17-year tenure with the New Symphony Orchestra in his native city of Sofia, Bulgaria. His passion for new music has resulted in numerous world premieres of works by composers such as Derek Bermel, Mason Bates, Caroline Shaw, Phillip Glass, Richard Danielpour, Nicolas Maw, and Gabriel Prokofiev, among others. Noted for his versatility, Milanov is also a welcomed presence in the worlds of opera and ballet. He has collaborated with Komische Oper Berlin (Shostakovich’s Lady Macbeth of Mtzensk), Opera Oviedo (Spanish premiere of Tchaikovsky’s Mazzepa and Bartok’s Bluebeard’s Castle – awarded best Spanish production for 2015), and Opera Columbus (Verdi’s La Traviata). An experienced ballet conductor, he has been seen at New York City Ballet and collaborated with some of the best known choreographers of our time such Mats Ek, Benjamin Millepied, and most recently, Alexei Ratmansky in the critically acclaimed revival of Swan Lake in Zurich with the Zurich Ballet and in Paris with La Scala Ballet. Milanov was recipient of an Arts Prize by The Columbus Foundation. Under his leadership, the Columbus Symphony has expanded its reach by connecting original programing with community-wide initiatives such as focusing on women composers, nature conservancy, presenting original festivals, and supporting and commissioning new music. In Princeton, he celebrated his tenth anniversary as music director, and under his leadership, the orchestra has established an excellent artistic reputation and has been recognized for its innovation and vital role in the community. Milanov studied conducting at the Curtis Institute of Music and the Juilliard School, where he received the Bruno Walter Memorial Scholarship. A passionate chef, he often dedicates his culinary talents to various charities.Rossen Milanov
I am a freelance director for theater, opera, and circus. As a lover of music, magic, dance, masks and puppets, my work often incorporates these theatrical elements. I have directed productions nationally and internationally and am grateful for the inspired collaborations I’ve experienced with incomparable artists around the world. My work comes in many shapes and sizes – including Shakespeare, plays, musicals, TYA, opera, concerts, variety shows, opera, and immersive events. While I work in many genres, I am always striving unearth a universal collective experience. As the Resident Director/ Artistic Associate at the American Repertory Theater for 9 years I contributed to the direction and development of countless productions including the immersive phenomenon Sleep No More, Tony Award Winning Broadway Revival of Pippin, Prometheus Bound with Serj Tankien (System of a Down), Steven Sater, and Amnesty International, The Tempest with Teller, Tom Waits, and Piobolus, and In the Body of the World with V (formerly knowns as Eve Ensler). Broadway Credits include Tony Award Winning Broadway revival of Hair (Associate Director). My most recent Shakespeare production, Romeo and Juliet, played in the Boston Common for the Commonwealth Shakespeare Company. The production was met with excellent reviews and played for audiences of up to 8,000 people per night. Other loved Shakespeare productions include Julius Caesar at the Old Globe, San Diego and King Lear at the Hilberry Theatre, Detroit. In addition, I directed seven beloved seasons of outdoor Shakespeare productions at the Summer Theatre of New Canaan. I have directed 10 seasons of musicals including My Fair Lady, South Pacific (9 Broadway World Nominations), Hairspray (10 Broadway World Nominations), Legally Blonde (12 Broadway World Nominations). Currently I have multiple new musicals in varying phases of development. Latest immersive projects include Usher’s Las Vegas Residency concert Preshow Backstory Experience currently playing at The Coliseum, Las Vegas. Previously, Peter Pan’s Neverland, premiered in Beijing, China in a 50,000 sq foot warehouse where families were able to physically adventure through Neverland itself. I started the children’s theater program at the American Repertory Theater where I developed, taught, and managed theater classes for ages 4-12, as well as devised and directed original family productions for the A.R.T. season. Shows include The Snow Queen, which went on to be produced in multiple venues across the country, Hansel and Gretel, The Light Princess, which transferred to the New Victory Theater, NYC, and The Pirate Princess, a new musical based on Twelfth Night. I fell in love with opera directing Stravinsky’s The Rakes Progress for the Boston Lyric Opera at the Cutler Magestic Theater. A mash-up of opera, dance theater and magic, the opera took a bold new angle on the opera and was met with great reviews. Other productions include Opera Omaha’s production of Verdi’s Falstaff and Gorilla Opera’s premiere of Troubled Waters. As an AD, I traveled internationally with Death and the Powers, A Robot Opera, convinced by the MIT Media Lab and composed by Tod Machover. Favorite plays directed include Accidental Death of an Anarchist, Big Love, The Illusion, Life’s A Dream, The Island. I am currently the director for the hit variety show Opium produced by Spiegelworld running nightly at the Cosmopolitan, Las Vegas. Prior to the pandemic I directed my first bit top circus, Celestia at the Strat Hotel and Casino, under the guidance of producer Brian Burke (Creative Director for America’s Got Talent/Artistic Director for Franco Dragone) which became winner of Best New Show and Best acrobatic Show, Best of Las Vegas Awards 2019. As Associate Director to Diane Paulus: Death and the Powers a Robot’s Opera (Dallas Opera Theater, Chicago Opera Theater, A.R.T. Monaco Opera) Crossing: A New American Opera (Brooklyn Acadamy of Muisc, A.R.T.) Prometheus Bound: A Dammed God in Chains (A.R.T.) In the Body of the World by Eve Ensler (A.R.T.) 9 Years as Resident Director for The Donkey Show (Adrian Arscht Center, Miami, A.R.T.) As Associate Director to Teller (of Penn & Teller) and Aaron Posner: The Tempest (A.R.T., The Smith Center, Chicago Shakespeare Theater, Southcoast Repertory Theater) I guest teach classes and workshops at Harvard University, MIT, Wayne State University, University of Nevada Las Vegas, and Westfield State University. I am a member of Tut’Zanni Commedia Company, a student at the Academia Dell’Arte in Arezzo, Italy, and graduate of Tisch School of the Arts, NYU (BFA) and Carnegie Mellon University (MFA). On the Horizon I am looking forward to working at Northcoast Repertory Theatre where I will remount a previously sold-out production of Always Patsy Cline for the holidays. Born in Adelaide, Australia, Mr. Wörtmeyer is a multi-award-winning choreographer, dancer, designer (of décor, costumes and fashion) and teacher who trained in classical dance at The Australian Ballet School.
Formerly a principal with Dutch National Ballet, he also danced with The Australian Ballet and American Ballet Theatre and guested internationally, dancing on the world’s greatest stages including Sydney Opera House, New York’s Metropolitan Opera House, The London Coliseum and Sadler’s Wells, St Petersburg’s Alexandrinsky Theatre, New National Theatre Tokyo, the Grand Theatres of Shanghai and Hong Kong, National Centre for the Performing Arts Bejing, Palais de Congrès and Théâtre du Châtelet Paris.
Mr. Wörtmeyer’s one-act and evening-length choreographic works include creations for Dutch National Ballet, Queensland Ballet, Royal Concertgebouw Orchestra, Benois de la Danse, and a bespoke pas de deux – Penumbra – for Roberto Bolle and Melissa Hamilton (Arena di Verona, 2022). Remi’s ballet Significant Others (on the subject of artists Sonia and Robert Delauney) headlined Atlanta Ballet’s spring season earlier this year.
Remi’s fashion and sculptural works have been exhibited by galleries in Amsterdam, Sydney and Berlin. His collaboration with haute couturier Ronald van der Kamp saw him debut his own high-end handmade sculptural jewellery as part of RVDK’s spring/summer 2023 collection at Paris Fashion Week.
Mr. Wörtmyer was named Artistic Director of BalletMet in June 2024 where he will continue to choreograph new works for companies both domestically and abroad.Allegra Libonati
Remi Wörtmeyer
Brandon Shaw McKnight passionately believes that art has the power to inspire, reflect, educate, and empower. Well-versed in multiple genres of the performing arts, they most recently served as the assistant director for Le Nozze di Figaro, Annapolis Opera and Dreamgirls, Morgan State University. In 2019, Shaw McKnight produced and directed a staged version of Handel’s Messiah, which they have since performed annually. An exceptional artist who can be found on and behind the stage, Shaw McKnight has been a part of productions on Broadway, Jazz at Lincoln Center with Teatro Nuovo, The Kennedy Center, Toledo Opera, Annapolis Opera, Opera Baltimore and in Italy. They are often seen performing in his hometown of Baltimore, MD. In addition to joining Opera Columbus as the Crane Directing Fellow, Shaw McKnight is currently a directing resident artist with Opera North.Brandon Shaw McKnight
Shaw McKnight has been a young artist with programs such as La Musica Lirica, New York City Lyric Opera Theatre, and Utopia Arts. Their love of opera began as a student at Morgan State University.
Lisa Pedraza is a wig and makeup artist originating from Colombia. She is a proud alumnus of the University of North Carolina School of the Arts and has been fortunate to work in film, theater, ballet, and opera. With her creative flair and keen attention to detail, Lisa has had the pleasure of working in prestigious venues such as the Santa Fe Opera House, Opera Colorado, and the Central City Opera, where her work has helped bring characters to life. Since moving to Colorado in 2021, the recent companies she has been a part of include Opera Colorado, Colorado Ballet, the Arvada Center, the Colorado Shakespeare Festival, and the Eklund Opera. As a wig and makeup supervisor at The Arvada Center, Lisa has worked on productions including Damn Yankees, Beautiful: The Carole King Musical, Cinderella, Natasha Pierre & The Great Comet of 1812, and Noises Off. As a wig and makeup assistant at Opera Colorado Lisa has worked on productions including Don Giovanni, The Flying Dutchman, Samson and Delilah, and The Daughter of the Regiment. As a wig and makeup assistant at Central City Opera Lisa has worked on productions including Romeo and Juliet, Kiss me Kate, Othello, Pirates of Penzance, Golden Girl of the West, Street Scene. Lisa is excited to be making her wig and makeup design debut at Opera Columbus. Lonelle Yoder has been working in the Columbus theatre scene for years and is happy to join the Opera Columbus team again. Recent props credits: Witch (Available Light Theatre), Indecent, 9 to 5: The Musical, and But You Could’ve Held My Hand (CATCO). When not building props, Lonelle does wildlife rehab, tends her garden, and makes jam out of foraged wild fruits.Lisa Pedraza
Lonelle Yoder
A 2021-22 Resident Artist with Opera Columbus, Nate Ben-Horin divides his work as a pianist and vocal coach between the United States and Canada. A former solo student of Jeremy Denk, he recently completed a master’s degree in collaborative piano at McGill University with Michael McMahon and Stephen Hargreaves, and has received additional training from Highlands Opera Studio, Lachine Vocal Academy, and the CoOperative Program. As an undergraduate at UC Berkeley, he won the 2014 Austin F. William Prize in piano performance and was subsequently hired as a staff pianist and assistant choral director. He has worked widely with local singers and instrumentalists in the San Francisco area, including the Jewish Folk Choirs of San Francisco and Berkeley, and several consecutive seasons with West Edge Opera variously as repetiteur, harpsichordist, choirmaster, and promotional recitalist. He is currently a proud co-curator, arranger, and pianist of The Shoah Songbook, a digital recital series which highlights rare music from the Holocaust.Nate Ben-Horin
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