Opera Arlington proudly presents Rusalka, Dvořák's fairytale masterpiece!

Based on Hans Christian Andersen's The Little Mermaid and Slavic folklore, this magical tale will transport you into a fantasy forest, where a water nymph yearns for the love of a human prince, and an evil witch plots her downfall. But is it the witch's curse that will bring her demise, or the fickleness of the human heart?

Immerse yourself in Antonín Dvořák's breathtaking melodies and witness a cast of DFW's opera stars in this monumental Czech opera from the year 1900. Presented with Jaroslav Kvapil's original Czech text with English supertitles, this production will be performed with chamber orchestra (arranged by Michael Withers), conducted by Jason Lim and directed by Eliza Escalante.

FEBRUARY 2–3, 2024


Tate Springs, 4201 Little Rd, Arlington, Texas 76016
Duration: approx. 2 hours, plus one 15-minute intermission


ADULTS: $29   STUDENTS: $15   KIDS (10–13): FREE


Like many traditional folk and fairy tales, the story of Rusalka is not necessarily a happy one. A beautiful water nymph is torn between two worlds when she falls in love with a human. When her attempts to become human go terribly wrong, she must make a tortuous decision: free herself from a witch’s spell, or save the one she loves. 

Although brimming with magical creatures, potions, castles, and royalty, this fairytale has many themes beneath the surface—not unlike the work of Czech painter Alfons Mucha, whose portraits you will see introducing each of the four seasons throughout the opera.

For centuries, humankind has used storytelling to ascribe human traits to elements beyond our comprehension. Father Time, Mother Earth, and a thousand other entities from history have been used to explain why the sun rises, or the river floods, or even why we die. What we might perceive as cruel or even evil, is simply the purest form of nature, existing to be exactly as it is meant to be. The librettist Jaroslav Kvapil's powerful poetry highlights the binary between humanity and nature, and the complex relationship between them. The creatures of nature flow like a river through their instinctual behaviors; but humans have the agency of choice. Human characters in Rusalka react to the natural world on a spectrum of enjoyment, fear, control, and possession—all of which become factors in the tragedy of Rusalka and her Prince.

This production is set during the early 20th century, an era marked by innovation and revolution around the world—and the Czech lands were no exception. During the 18th and 19th centuries, the Czech National Revival reawakened Czech national identity as a reaction to centuries of war and occupation. Where German had become imposed as the language of elites in the Czech lands, artists and writers began to celebrate and elevate works in the Czech language. This nationalist spirit in the arts permeated deeply even into Dvořák's life and work. Finally, in 1918 the independent republic of Czechoslovakia was created, a time of euphoria, rapid societal change, and an outpouring of artistic expression.

Times of great change and growth are fertile for the imagination, which is why I have chosen to set this production in a real place at a real time, instead of in a fairytale realm. Folklore is often at the forefront of national identity, and the Czech National Revival was no different. By placing this folkloric tale at a history-defining moment—the birth of an independent Czech nation—we are able to not only highlight themes of nature vs. man, but also explore what happens when the old world and new civilization collide.

Thank you for joining us for this deep and heartfelt work. I hope you leave tonight's performance carrying a little bit of our tender-hearted water nymph in your heart.

— Eliza Escalante
Stage Director, Rusalka 


Bree Nichols, soprano


Founder of Opera Arlington, Bree Nichols, is an American soprano praised for her “rich vocal disposition” (KlasikaPlus) and compelling stage presence. A Fulbright grantee to the Czech Republic in 2021–22, Bree is known for her sensitive interpretations of Czech vocal music as well as over two dozen operatic roles spanning a diverse repertoire. Her career has taken her to the stages of Tulsa Opera, North Czech Philharmonic, Pilsen Opera, Symphony of the Mountains, Capitol City Opera, Opera Roanoke, Olomouc Baroque Festival, and more. In 2023, she made her debut as Monica in Tulsa Opera's production of The Medium, and won 1st place in the Artist Division of the National Opera Association’s Carolyn Bailey Argento Vocal Competition as well as the Metropolitan Opera Laffont Competition (Arkansas District). Bree’s expanding discography includes her solo debut album, Pure Morning, featuring all Czech repertoire, as well as multiple new music releases with the Navona Records label. Bree was the winner of the 2020 Presser Award in support of her performance and study of Czech opera. Her recent roles include the title roles of Lucia di Lammermoor and The Bartered Bride as well as Gilda in Rigoletto and Nedda in Pagliacci.

Off the stage, Bree Nichols is a scholar and innovator in community opera advocacy, where her performance expertise informs her leadership in shaping the next generation of musicians. In 2016, she founded Stafford Opera Troupe in her hometown of Stafford, Virginia, where she created free training and performance opportunities for emerging singers. Bree holds a Master of Music degree from University of Georgia and a Doctor of Musical Arts degree from University of North Texas. Her dissertation, culminating in the creation of an anthology of Czech opera arias with corresponding research, translations, and phonetic transcriptions, has galvanized her continuing performance of Czech opera and art song in the U.S. and abroad.

Katia Kim, soprano


Soprano Katia Kim, with her gleaming, powerful voice and intense acting, is making a name for herself as an operatic talent in the United States. Born in Russia and now an American citizen, Katia has been praised for her technical skill, her mesmeric stage presence and her ravishing, rich voice. She made her European debut as a soloist in Haydn’s Creation in Germany to enthusiastic reviews. Her singing in the graduate programs at Texas Christian University and at Temple University earned her several leading roles, including Erisbe in L’Ormindo, Pamina in The Magic Flute, Fiordiligi in Così fan tutte, and Concepción in L’heure espagnole. As the winner of concerto competitions at both universities, she sang Berg’s Sieben frühe Lieder and Tatiana’s Letter Scene from Eugene Onegin with orchestra.

Katia sang Fiordiligi again to great acclaim with the Martina Arroyo Foundation in New York City. Performances over the next few years included Donna Elvira in Don Giovanni with TCU Opera Studio, the soprano solo in Verdi’s Requiem at the Crystal Cathedral in California, and concerts with the Music Theater of Kaunas, Lithuania. In 2017, Katia sang Mařenka in a concert version of The Bartered Bride and a year later, Tatiana in Eugene Onegin with the North Czech Philharmonic in the Czech Republic. In summer 2019, she toured South Korea with Chernivtsi Symphony Orchestra (Ukraine). Katia’s upcoming engagements incldeu the soprano solos in Britten’s War Requiem with the Yale Symphony Orchestra and Verdi’s Requiem with the Fairbanks Symphony Orchestra.

Jason Nichols, tenor


Jason Nichols, who sings “with vulnerability and passion” (The Roanoke Times), is a versatile tenor with ample experience both on stage and in the studio. Jason performs frequently with Opera Arlington and has recently made concert and recital appearances abroad in Paris, Prague, Olomouc, and Madagascar. In the 2019–2020 season, he appeared in The Dallas Symphony’s production of Salome under conductor Fabio Luisi, and premiered the modern adaptations of two operas by J.H. Schmelzer at the Olomouc Baroque Festival in the Czech Republic. This past season, Jason performed in multiple cities in the Czech Republic as part of a recital series that revived rare works of Czech art song.  A 2016 district winner in the Metropolitan Opera Competition and Apprentice Artist with Opera Roanoke, Jason has also performed under the illustrious batons of Marzio Conti, Hilary Griffiths, Lukas Beikercher, Marius Stieghorst, and Steven White.

On the opera stage and in concert, Jason has appeared as Don José (Carmen), Il Duca (Rigoletto), Rodolfo (La Bohème), and many more. He holds a Master of Music degree from the University of Georgia and a Graduate Artist Certificate from the University of North Texas.

Tres Hunter, bass


Obsessed with musical storytelling, Tres Hunter, bass, has brought characters to life on stages around the globe. Recognized for his talent for storytelling at a young age,  he made his international debut as a performer at Hong Kong Disneyland at the age of 22.  

 In the U.S, Tres is actively employed as an opera singer with The Dallas Opera, Opera  Arlington, and the American Baroque Opera Company. He is known for his wide breadth of operatic roles, ranging from Collatinus in Britten’s The Rape of Lucretia to the Simone in Puccini’s Gianni Schicchi. Most  recently, Tres sang the role of Polifemo in Literes’ zarzuela, Acis y Galatea, with American  Baroque Opera. He also performs frequently with Red River Lyric Opera, where he recently appeared as Alidoro in La Cenerentola. Off the stage, Tres currently lives in the DFW Metroplex with his partner, their pug, and orange tabby cat, and he enjoys fishing on the weekends.

Sabatina Mauro, mezzo-soprano


Long Island mezzo-soprano, Sabatina Mauro, is praised for bringing music “vividly to life.” This season, Sabatina will return to The Dallas Opera as an Education and Outreach Artist for various concerts and engagements, make her soloist debut in Carmina Burana with the Flower Mound Symphony Orchestra, and will perform her third principal role with Opera Arlington, where she is also the newly-appointed Director of Community Engagement. Upcoming concert engagements include various solo appearances with the Highland Park Chorale, the Puccini Society of Dallas, and the Voices of Flower Mound. Sabatina has recently performed a variety of roles, including Despina in Mozart’s Così fan tutte, the role of Asha in the world premiere of Meow & Forever, Madame de la Haltière (Cendrillon), Dinah in Bernstein’s Trouble in Tahiti, Orfeo (Orfeo ed Euridice), the title role in Blitzstein’s Regina, Sorceress (Dido and Aeneas), Bianca (The Rape of Lucretia), Háta (The Bartered Bride), Estelle Oglethorpe (Later the Same Evening), Dorabella (Così fan tutte), and The Dog (The Cunning Little Vixen). Sabatina debuted the titular role of Rossini’s La Cenerentola with Red River Lyric Opera and appeared as Portman’s The Little Prince and Kaylee in Ching’s Speed Dating, Tonight! at Adelphi University, where she received her Bachelor’s degrees in Music and Psychology in 2018. She received her M.M. and G.A.C. in Vocal Performance and Opera from the University of North Texas under the tutelage of Dr. Stephen Austin.

Allison Rohrer, mezzo-soprano


Mezzo-soprano Allison Rohrer has performed prolifically across the U.S., Mexico, and Germany. Her roles include Giovanna (Rigoletto), Mrs. Ott (Susannah), Buttercup (HMS Pinafore), Alma March (Little Women), Mother Goose (The Rake’s Progress), and Miss Wingrave (Owen Wingrave). She has participated in prestigious young artist programs including Aspen Music Festival, Central City Opera, Merola Opera Program, Music Academy of the West, and German for Singers at Middlebury College. Allison was also the Assistant Director of the young artist program OperaMaya in Playa del Carmen, Mexico. Off the opera stage, Allison has a love for German Lieder; she was awarded a Fulbright grant to Germany to focus on the Lieder of Robert Schumann, and enrolled at the Robert Schumann Hochschule für Musik in Düsseldorf, where she studied voice with Kammersängerin Jeanne Piland and Lied with Matthias Goerne. Before moving to the DFW area in 2018, Allison was living in Germany and had the opportunity to work with Kammersängerin Christa Ludwig and Kammersänger Falk Struckmann. She received her B.M. and B.M.E. in Voice from Indiana University Jacobs School of Music, and her M.M. and D.M.A. in voice degrees from the University of Cincinnati College-Conservatory of Music. Allison’s teachers include Martina Arroyo, Mary Ann Hart, KS Jeanne Piland, Carlos Montané, Tom Baresel, and David L. Jones

Erica Vernice Simmons, soprano


Erica Vernice Simmons, lyric soprano, has been praised by the Dallas Morning News for her “supply shaping lines and spinning out high notes with a beautiful silvery tone…with a full-bodied low register” for her title role in the (2021) World Premiere of A Lily Among Thorns in the Winspear Opera House with Das Blümlein Project. Erica was a first-place winner in the Memphis Beethoven Club 2017 Young Artists Competition; later, she became a Studio Artist with Fort Worth Opera. Erica then made her directing debut with FWO with the World Premiere of the opera Stand Up by Joe Illick and Sheran Goodspeed Keyton. She assistant-directed the semi-staged production of Aida with FWO and was invited back to direct Amahl and the Night Visitors. Most recently, Erica starred in the world premiere of the jazz soul chamber opera, Promise of the Heart by Arlington and Hope Jones. She was also a soloist in the Black Academy of Arts and Letters 41st “MLK”Concert at the Meyerson Symphony Center, which will be aired on national television. Erica has performed in Spoleto, Italy; Graz, Austria; and several opera houses across the U.S., playing the roles of The Countess in Le nozze di Figaro, Susanna in Le nozze di Figaro, and Sarah in Ragtime amongst other leading roles. She is currently the Professor of Voice and Director of Choir at the North Lake Campus of Dallas College. She earned her doctorate from the University of North Texas in Denton, where she was a Teaching Fellow and McNair Scholar.

Rebecca Germany, soprano


Rebecca Germany, soprano, is a native of Arlington making her Opera Arlington debut as the Foreign Princess in Rusalka. She recently appeared as Mother in Amahl and the Night Visitors with Fort Worth Opera. Rebecca was a Semi-Finalist in this season’s Dallas Opera Guild Bilenial Lone Star Vocal Competition, and was seen this summer with the International Summer Opera Festival of Morelia (ISOFOM) as First Lady in Die Zauberflöte. She also performed with the Fort Worth Opera Chorus last season in Aida and An African American Requiem.  Last summer, Rebecca performed the title role of Puccini’s Suor Angelica with ISOFOM. During her Master's studies, she portrayed Armelinde in Pauline Viardot’s Cendrillon and the Mom in the world premiere of Alejandro Rutty’s Alison’s Voice.  Rebecca received her Master of Music degree in Vocal Performance from the University of North Carolina at Greensboro; she also holds a Bachelor of Music degree in Choral Music Education from the University of Texas at Arlington.

Sophia Formella, soprano


Peruvian-American soprano Sophia Formella recently graduated with her Master of Music Degree in Opera Performance from Boston Conservatory at Berklee. Sophia also holds a Bachelor of Music Degree in Music Education and Vocal Performance from the Frost School of Music at University of Miami.

Most recently, Sophia performed the title role of Alice in the world premiere of ALICE: An Operatic Wonderland by Amy Scurria with Red River Lyric Opera in the summer of 2023. In the 2023–2024 season, Sophia will be performing as a Teaching Artist with Houston Grand Opera and performing in the chorus of The Dallas Opera. Sophia’s other roles include Servilia in La clemenza di Tito, Flora in The Turn of the Screw, Gretel in Hänsel und Gretel, as well as Ottavia/Fortuna L’incoronazione di Poppea with Miami Music Festival.

Kathleen Echols, soprano


Lyric soprano Kathleen Echols has been praised for her “high-level artistry” with a  voice that is “ethereal —magical —powerful.” (Kirsten Chambers, Metropolitan Opera soprano). Kathleen has been breaking ground in her international debut  performances in the roles of Mimì (La Bohème), Countess Almaviva (Le Nozze di  Figaro), Micaëla (Carmen), Lola (Cavalleria Rusticana), Donna Elvira (Don  Giovanni), First Lady (Die Zauberflöte), and the title role in Puccini’s Suor  Angelica. In a recent concert series with Opera Vermont, Kathleen performed duets from Tosca and La traviata. Critic Jim Lowe described  her performance as “brilliant” and “emblematic,” with “heart-wrenching tenderness”  and a “luscious sound.” In addition to performing, Kathleen is a passionate music educator. Her projects have  included collaboration for a concert at Carnegie Hall, marimba band performances,  and building a children’s chorus for Santa Fe’s Opera West. Kathleen sings as section leader and soloist with the Santa Fe Symphony Orchestra  & Chorus. She is highly capable of delivering thrilling solo performances in  oratorio, including Mozart’s Exultate, jubilate, Rutter’s Magnificat, Poulenc’s  Gloria. Kathleen sang Rossini’s Stabat Mater under the baton of Metropolitan Opera conductor, Gregory Buchalter, who praised her for her “phenomenal” and “unbelievably beautiful” performance. 

Megan Dobbs, soprano


Megan Dobbs is a coloratura soprano currently based in the Dallas–Fort Worth Metroplex. She holds a Bachelor of Music degree from Hardin-Simmons University and a Master of Music in Vocal Performance from the University of Missouri-Kansas City Conservatory. In recent years, Megan has appeared on the stages of Music on Site, Inc., Landlocked Opera, Opera Viva!, Red River Lyric Opera, and Quisisana Resort

A frequent performer of Mozart’s works, Megan has been seen in The Impressario, La finta giardiniera, and in several productions of Die Zauberflöte. In 2021, she made her role debut as the iconic Queen of the Night, a role she reprised in the summer of 2023 at Quisisana Resort in Maine. Other favorite appearances have included Menotti’s The Medium, Ravel’s L’enfent et les Sortilèges, and Puccini’s Gianni Schicchi.

Madelaine Fell, mezzo-soprano


Madelaine Fell is a DFW-based mezzo-soprano and music educator who has interpreted several iconic roles of the mezzo repertoire. Her opera appearances include Kate (The Pirates of Penzance), Prince Charming (Cendrillon), Rosina (The Barber of Seville), Constance Fletcher (The Mother of Us All), Ottone (The Coronation of Poppea), Cherubino (The Marriage of Figaro) and Mother Jeanne (The Dialogues of the Carmelites). Madelaine has performed as an outreach artist with The Dallas Opera and is currently a member of the Orpheus Chamber Singers. Also a passionate educator, Madelaine teaches private voice and choir. She received both her bachelor’s degree (2014) and master’s degree (2017) in vocal performance from the University of North Texas, studying with Linda DiFiore and Carol Wilson. Madelaine currently stays at home full time with her two-year-old daughter, Harper. 

Lauren Salazar, mezzo-soprano


Lauren Salazar, mezzo-soprano, is rapidly gaining recognition for her fiery portrayals of opera’s heriones. Her recent performances include her concert debut in Opera Arlington’s Recuerdos: A Hispanic Heritage Celebration, the title roles of Carmen and Dido (Dido & Aeneas) with UNT Opera, Gianetta (The Gondoliers) with TEXAS Outdoor Musical Drama, Lucia (The Rape of Lucretia) and The Girl - Trio (Trouble in Tahiti) with UNT Opera, Amahl (Amahl and the Night Visitors) with Music On Site, as well as Annio (La clemenza di Tito) and Papagena (Die Zauberflöte) with the Butler Opera Center. This season, she will sing the roles of Dorothée (Cendrillon) and Hänsel (Hänsel und Gretel) with UNT Opera and will perform in the chorus of Fort Worth Opera’s La Bohème. Lauren is completing her Master of Music degree, as well as pursuing a Graduate Artist Certificate in Opera and an M.B.A in Music Business, at the University of North Texas. She holds a B.M. in Voice Performance from The University of Texas. An avid photographer and arts administrator, she has worked for various arts organizations across the United States, including Butler Opera International Voice Competition, Brevard Music Center, Wintergreen Music Festival, NTX Vocal Arts Exchange, the University of North Texas College of Music, and Baylor Opera Theatre.

Nolan Brown, baritone


Nolan Brown is an emerging American baritone and most recently made his role debut as  Guglielmo in Opera Arlington’s inaugural production of Così fan tutte. His other recent performances include the role of Odysseus in the world premiere of Rachel Lanik Whelan’s opera, Stateside; Aeneas (Dido and Aeneas); Joe Harland (Later the Same Evening); Enrico (Lucia di  Lammermoor); and Yamadori (cover) in Madama Butterfly. In 2017, Nolan was involved in Des Moines Metro Opera’s Emmy award-winning production of Billy Budd. His concert credits  include the baritone solos of Fauré’s Requiem and Orff’s Carmina Burana. Nolan earned his  Master of Music degree in Voice Performance from the University of North Texas and holds a Bachelor of Music degree from Iowa State University. Nolan currently studies with renowned American soprano, Molly Fillmore.

Kelsey Korman, mezzo-soprano



Kelsey Korman, mezzo-soprano, is a versatile artist who has performed in operas, musicals, and  jazz ensembles throughout her career. Recently praised by Dallas Theatre Journal for her comedic timing, Kelsey brings her unique and humorous perspective to each and every  character she portrays. Her operatic roles include Prince Orlofsky (Die Fledermaus), Cherubino (Le nozze di Figaro), Papagena (Die Zaberflöte), the title roles of Amahl and the Night  Visitors and The Little Prince, Zita (Gianni Schicchi), and Kate Pinkerton (Madama  Butterfly). On the musical theatre stage, her performances include Diana and Maggie Saunders (Lend Me a Tenor), Chris Gorman (Rumors), Daphne Rain (Gods of Comedy), Gabrielle (Cinderella), Harriet Smith (Jane Austen’s Emma), and Fredrika Armfeldt (A Little Night Music).  Kelsey had the pleasure of making her directing debut with Music Ministry Conservatory, staging both an opera scenes program and Mozart’s Le nozze di Figaro. Kelsey holds a Master of Music and a Bachelor of Music in Vocal Performance from The University of North Texas.

Hadassah Misner, soprano



Hadassah Misner, a Dallas-based soprano who has performed across the United States and abroad. She most recently appeared as a soloist with Dallas Classical Singers in the concert Aria Laughing? Hadassah has also performed with Opera in Concert in Italy in such roles as Nannetta (Falstaff), Amina (La sonnambula), and Adina (L’elisir d’Amore). She appeared with Stephen Dubberly in a recital at The Creamery in Springfield, Missouri (A Tale of Two Cities) dedicated to educators, friends, and family who have supported her singing journey. During the pandemic, Hadassah participated in soprano Angel Blue’s Opera Studio, where she was invited to sing in a masterclass led by soprano Christine Goerke. She has also performed with Texas Woman’s University Opera in the role of Miss Pinkerton (The Old Maid and the Thief). Off the stage, Hadassah is known for her fierce passion for uplifting foster youth voices. Working with the National Foster Youth Institution, she was invited to sing at their 10th anniversary celebration. In 2019, Hadassah was also selected to accompany NFYI to Washington, DC, where she spoke with members of Congress about the lived experience of foster youth in the United States. She has written articles for The Imprint and the National Foster Parent Association about her own experience in the foster care system. Hadassah is a graduate of Texas Woman’s University, where she studied music with a concentration in voice.

Sergio Enrique Mariscal Honor, tenor


Sergio Mariscal, tenor, was born in Santa Cruz de la Sierra, Bolivia. He served as a professor of music at Evangelical University in Santa Cruz, Bolivia from 2015–2022 teaching voice, music theory, and choral singing. In 2019, he was invited by the US Department of State and University of Missouri-Columbia as a scholar for a short academic exchange at the university. 

Sergio has appeared in opera productions and in concert with Opera San Ignacio de Loyola, the professional choir Arakaendar, and the Dante Alighieri Society.

Sergio began his professional training in chamber choir, choral conducting, and voice workshops of the Andean Development Corporation led by Alberto Grau and María Adela Alvarado. He holds a bachelor's degree in music and voice from the Evangelical University in Santa Cruz. 

Wonjin Choi, tenor


Korean tenor Wonjin Choi is currently a Hattie Mae Lesley Resident Artist with Fort  Worth Opera, where he is the tenor soloist for Bienvenidos de Frida Kahlo, the Witch in Hansel and Gretel,  Don José in The tragedy of Carmen, and King Kaspar in Amahl and the Night Visitors. With Opera Arlington, he appeared this season as Ferrando in Così fan tutte. Wonjin made his debut at Kim Sun International Opera  as Rodolfo in La Bohème in South Korea. He recently performed the role of Governor in Bernstein’s  Candide with Rapides Symphony Orchestra in Louisiana, and appeared as Tamino in Die Zauberflöte and the Sailor in Dido and Aeneas with TCU Opera. At Korea National University of Arts, he sang the role of Ernesto in Don Pasquale

A decorated competitor, Wonjin won 1st place as Edward Baird Singer of the Year at Texoma NATS, received a bronze medal at the Korea National Opera Concours, and was a  finalist of the McCammon Voice Competition at Fort Worth Opera. He was also named the winner of the Concerto Competition and Pi Kappa Lambda Honors Recital at TCU in 2023. In 2022, Wonjin was named an Encouragement Award winner at the Metropolitan Opera Laffont Competition (Minnesota District). He also won the Liederkranz Award in  partnership with the Dallas Goethe Center and the 2020 Grand Prix at XIX  International Singing Competition. Wonjin holds a Bachelor of Arts degree from the Korea National University of Arts and a Master of Music degree from Texas Christian University. He is also an alumnus of the Riccardo Muti Italian Opera Academy in South Korea, where he performed as Alfredo in La Traviata

Sergio Manzo, baritone


Revered for “a divine and natural voice” (von Otter Masterclass), Sergio Manzo, baritone, recently performed Mr. Gobineau in Fort Worth Opera’s production of Menotti’s The Medium, premiered in Spanish, as well as the titular character in Mozart’s Don Giovanni with Texas Tech University Opera Theater. Sergio’s other roles include Publio in La clemenza di Tito and Dr. Falke in Die Fledermaus. He has also performed internationally in Berlin Opera Academy’s production of Gianni Schicchi as Betto, Ser Amantio, and Dr. Spinelloccio. Sergio has also joined Portland Opera as Schaunard in Puccini’s La bohème and Dr. Bartolo in Rossini’s Il barbiere di Siviglia. Native to Phoenix, Arizona, he received a Bachelor of Arts in Voice Performance from Northern Arizona University (NAU), where he performed with NAU Lyric Opera as Count Almaviva in Le nozze di Figaro, Sam in Trouble in Tahiti, and Enrico in Donizetti’s short opera Il campanello. His repertoire also includes The Vicar in Albert Herring, Harlequin in Ariadne auf Naxos, and The Earl of Dunmow in Berkley’s A Dinner Engagement. On the concert stage, Sergio has also performed as the baritone soloist in Dubois’ Seven Last Words of Christ, Brahms’ Ein deutsches Requiem, and Handel’s Messiah. As a competitor, his accolades include Finalist in the Texoma NATS Eduard Baird Singer of the Year competition and three encouragement awards with the Metropolitan Opera National Council; additionally, he was a finalist in the Southwest Vocal Competition. Sergio is graduating with a Master of Music in Voice from Texas Tech University.



Conductor: JASON LIM

Répétiteur: BEAU DREAM

Assistant Stage Director: AMANDA NIXON

Stage Manager: SIENNA RIEHLE

Stage Manager & Orchestra Assistant: MARTIN WELLS

Lighting Designer: MATT FJORDBAK










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