Behind the Scenes

Stage Director Mark Freiman reflects on his personal connection with 'Carmen' and why it's endured for 150 years.

A preview of what Development Director, Torlef Borsting will be diving into at Opera Conference 2025.

Meet Gina Makarova, the Costume and Makeup Designer for The Magic Flute and learn her process for creating the entire look for each character from head to toe.

By Helena Binder, Director -- When I saw this photo in the New York Times Book Review some years ago, of the poet Allen Ginsberg, I...

Tony Cisek, Set Designer -- The scenic design for La Bohème was born from the director's notion that the opera starts as Rodolfo is leaving Paris after the death of Mimi. Looking around the now-abandoned garret where he, Marcello and the other Bohemians once lived, he finds Mimi's red beret and his memories come flooding back. In support of this notion, we have created an environment not unlike an attic full of furniture and other objects, once full of life and meaning, now

Alan Smith, Costume Design -- The timeless themes of love, jealousy, and heartache in La Bohème transfer seamlessly from the original...

By Helena Binder, Director La Traviata -- My preparation for directing any opera starts months before the rehearsals begin. Even if, as...

By Sarah Nordin. Costume design for this production is an exciting undertaking. Using wardrobe to convey a time and place as well as the personality of each cast member to the audience, dressing the players is an important part of telling the story. With a principal cast of nine, La Traviata also features the chorus in two festive celebrations. “The costumes for this production are going to be similar to ‘Gone with the Wind.’ Think big hoop skirts and corsets,” says Sarah No