Musical Musings: Central City Opera 2026 Festival Season

Master Class- Terrance McNally

Director: Dennis Robinson Stage Director Emeritus: Ken Cazan

Master Class is a poignant play that explores the generational and philosophical divide between the old guard of opera and a new generation of artists. Rather than presenting easy answers, it scratches the surface of enduring questions about artistry, perfection, legacy, and the price of greatness.

The script is packed with memorable lines, and the pacing never lags. Ragonetti approached the role with the confidence and insight of someone who has clearly lived a life in the arts. Her performance carried the conviction of an artist drawing from deep personal understanding, bringing both gravitas and a distinctive interpretation to Maria Callas.

I also heard wonderful things about Jennifer DeDomenici's portrayal of Maria from those who attended her performance. It's a testament to the richness of the role that I found myself wishing I could go back in time to experience both divas' interpretations of La Divina. Comparing two artists' visions of such an iconic figure would have been a fascinating experience.

The supporting cast was equally impressive. Sabina Balsamo's Sofie De Palma nearly stole every scene with impeccable comedic timing and fearless physicality. The arc of the tenor Anthony “Tony” played by Levi Adkins left audience members on the edge of their seats, especially his final interpretation of the aria that leaves Maria stunned. Soprano Denique Isaac was fabulous as Sharon Graham, her rich lush voice was matched by wit, vulnerability, and fierce determination and they way she delivered her lines at the end resonated with every performer who has ever been in those shoes, as an audience, we were rooting for her.

This production succeeds on several levels. It's perfect for audience members who want a glimpse into the legacy of Maria Callas and one theatrical interpretation of her life. It also resonates with performers and teachers who have experienced the intensity of a masterclass and will recognize countless moments that ring strikingly true. Finally, it's an excellent introduction for newcomers to opera who may be looking for an English-language production that offers insight into the art form without requiring a full evening of opera.

The one consistent comment I heard from fellow audience members was that they wished there had been more singing. While that isn't a criticism of the production itself, it's worth knowing for anyone expecting an opera rather than a play with musical excerpts.

The Marriage of Figaro- Wolgang Amadeus Mozart, Lorenzo De Ponte

Director: David Radames Toro

Conductor: Marcello Cormio

Brava!

This was my favorite production of Central City's season, which genuinely surprised me because I have such a deep love for The Ballad of Baby Doe. Somehow these two beloved works were competing for the top spot in my heart, and The Marriage of Figaro ultimately won.

Maureen McKay as Susanna served as the emotional and musical anchor of the show, but there truly wasn't a weak performance anywhere on stage. Every principal and supporting role felt fully realized, and the ensemble work was nothing short of captivating.

Erica Petrocelli's Countess was vocally radiant, both in her arias and throughout the ensemble numbers. She brought the grounded elegance and quiet strength the role demands, creating a Countess who was both dignified and deeply sympathetic.

Andrew Simpson's Figaro delivered everything one hopes for in the title role. His comedic instincts landed effortlessly, while his warm, resonant voice carried every phrase with nuance, precision, and charisma.

Luke Sutliff's Count Almaviva made for a compelling antagonist. His commanding stage presence and confident vocalism captured the Count's authority and arrogance while revealing enough complexity to keep the character engaging rather than one dimensional.

Mozart's ensemble writing is notoriously unforgiving. The precision required between orchestra and singers leaves very little room for error, and because I know this score intimately, I could sense a couple of fleeting moments where the coordination wasn't perfectly locked in. Even so, those instances were minimal and hardly detracted from an otherwise exceptional musical performance.

One of the greatest joys of revisiting a familiar masterpiece is being surprised. I especially appreciated the thoughtful acting choices from Bartolo and Marcellina; subtle moments like these reward audiences who know the opera well and keep the comedy feeling fresh.

This production reminded me why The Marriage of Figaro remains one of opera's greatest ensemble achievements.

The Ballad of Baby Doe- Douglas Moore, John Latouche

The Ballad of Baby Doe is an opera I know by heart. Throughout the performance I found myself silently singing the score, while memories of performing in the work (including some long forgotten blocking) came rushing back. Perhaps because of that familiarity, I came with especially high expectations.

Overall, this was a beautiful production that honored both the work and its history. Presenting Colorado's own opera in the very place where it premiered carries a unique sense of responsibility, and the company rose to the occasion. From the costumes, set, and visual textures to the ensemble work, every artistic choice felt appropriate for such an iconic piece at this moment in time.

Musically, the production was beautifully sung and sensitively played. A highlight for me was Virginia Mims singing Baby Doe's “Silver Aria”. This was a true showcase, and I suspect it was the aria that secured her casting. The richness of her voice, combined with crystal-clear high notes, remarkable dynamic control, and expressive phrasing, made it one of the evening's standout moments.

Weston Hurt as Horace Tabor was both commanding and compelling, delivering a performance that balanced vocal power with genuine dramatic presence his “ Warm as the Autumn Light” cast a spell over the audience. Emily Pulley as Augusta retained the character's necessary severity while still allowing glimpses of the humanity that ultimately earns the audience's sympathy by the opera's conclusion.

The ensemble deserves special recognition. What audiences never have the chance to see are the whirlwind costume changes, scene shifts, and backstage choreography that allow The Ballad of Baby Doe to move with the momentum of a musical. It takes an extraordinary level of teamwork from performers, stage management, crew, dressers, and orchestra to make such a complex production feel effortless.

The moments when the entire cast filled the stage were simply magical. The wall of sound generated by the ensemble created an electricity in the theater that stirred feelings of awe and wonder. Those are the moments that stay with you long after the curtain falls and leave a listing imprint.

Years from now, when I think back on my time in Central City, I suspect it won't be a single aria that first comes to mind. It will be the final chorus number in the Ballad of Baby Doe and the goosebumps on my arms, completely immersed in the story, experiencing that rare feeling that I wasn't simply watching the performance, but somehow sharing in it alongside the artists on stage.

For anyone who loves this uniquely American masterpiece, this production serves as a worthy tribute to an opera that remains deeply intertwined with Colorado's cultural history and continues to be a part of the story of Central City Opera. Congrats to Central City for their FANTASTIC summer Festival Season and I couldn’t have had a better finale to my time in Central City!