La bohème; Act 3
Lebanese-American mezzo-soprano Melissa Serluco has been applauded for her “large, even, agile mezzo [voice]” and having “admirable fireworks for the showpieces and a take-charge stage presence.” In August of 2019, Ms. Serluco made her European debut performing Elizabeth Proctor in Robert Ward’s The Crucible with Opernfest Berlin. Since then she has been engaged in various symphonic concerts with the Hamburg Symphoniker and featured as soloist in Brahms' Alt Rhapsodie and Beethoven's Mass in C Major with the Europa Chor Akademie.
Prior to her move to Germany, Ms. Serluco made her role debut as Dorabella in Mozart’s Così fan tutte with Amore Opera and performed the American premiere of the new song cycle, Five Duban Songs, composed by Constantine Caravassilis based on Sapphic literature with Hereford Arts. She also presented the world premiere of The Theft of a Smile presented by Bronx Opera and debuted the title role in the American premiere of Donizetti’s unknown work, La Zingara. She was lauded for “creating the character of Argilla with such skill and charm,” and Parterre Box noted “her talents are precisely suited to the part and to any number of Rossini buffo heroines
Some additional past credits include Rosina Il Barbiere di Siviglia, the title role in Bizet's Carmen, Ruggiero Alcina, Jo Little Women, Dido Dido & Aeneas, Sesto La Clemenza di Tito, Zita Gianni Schicchi, Siebel Faust, Meg Page Falstaff, the title role in Offenbach’s La Perichole, and Dorothée Cendrillon.
Alexei Kuznietsov (Ukrainian: Oleksii Kuznietsov) – tenor. After receiving national acclaim for winning X- Factor Ukraine, Alexei has become one of the most prominent performers in Ukraine.
He enjoys popularity and commercial success with sold-out performances in his native Ukraine, as well as Russia and across Europe.
Also, Alexei is a professional athlete, he has been boxing professionally for 8 years, and was awarded the title of Master of Sport of Ukraine. Alexei graduated from Donetsk Musical College, Department of Academic Vocal. During the course of studies, he was successfully doing the practical training in Donetsk State Academic Opera and Ballet Theater.
Alexei sings in 9 languages besides his native Russian and Ukrainian and performed all over the world, including Ukraine, China, Kazakhstan, Russia, France, Romania, Moldova, Austria, Switzerland, Cyprus, and Canada.
In 2016 Alexei became a participant of the International Vocal arts Institute in New York, later he received the invitation to the Canadian Vocal Arts Institute in Montreal, Canada.
Additionally, he is studying at the Mannes School of Music.
Alexei made his debut in 2018 as Lensky in opera Eugene Onegin with Mannes Opera.
Native Arkansan and Berlin based soprano Bonnie Frauenthal is delighted to participte in ViOp Productions’ movement to bring opera into the future through the world wide web! Noted in some of her live performances as “a natural actress" (My Scena) and “an audience favorite” (Pittsburgh in the Round), she finds projects showcasing musical masterpieces in a intimately dramatic way through the art of film particularly enticing. She is especially excited to be reinventing her old friend Mimi through the lense of an equally beloved composer, Leoncavallo.
July 2019 marked her European debut in the role of Pamina in Die Zauberflöte under the baton of Covent Garden’s maestro, Tom Seligman, with Opernfest Berlin. Ms. Frauenthal joined the Sarasota Opera’s Apprentice Artists Program in 2017 for La Traviata and their fall Outreach program. She is building her Mozart repertory in the roles of Pamina in The Magic Flute with Opera in the Rock, Fiordiligi in Cosi fan Tutte with North Shore Music Festival, and Donna Anna in Don Giovanni with New York Lyric Opera Theater. She was able to showcase her comedic timing and handle of the Baroque style with acclaim at Pittsburgh Festival Opera in the role of Atalanta in Serse. Other notable leading ladies include Micaëla in Carmen and Lauretta in Gianni Schicchi with Opera Breve, Mimi in La Boheme with Opera in the Ozarks, Violetta in La Traviata with Dell'Arte Opera Ensemble, Gräfin in Capriccio with Apotheosis Opera, and the title role in Gilbert and Sullivan’s operetta Princess Ida with Utopia Opera. She also understudied Tatjana in Eugene Onegin and Whore in The Picture of Dorian Grey during her Horizon Fellowship Residency with Aspen Opera Theater. During her university training she sang the roles of Donna Anna in Don Giovanni, Nedda in i Pagliacci, Susan B. Anthony in Mother of us All, Virtú in L’incoronazione di Poppea, and Suor Genovieffa in Suor Angelica.
Jay Lucas Chacon
Described as "versatile" and having "comedic instincts" (Voce di Meche), Jay Lucas Chacon has been an active and noticeable artist in NYC. This year, Jay joined On Site Opera in NYC for the Shostakovich opera The Tale of the Silly Baby Mouse and was expected to join them at the Caramoor Festival in Katonah, NY for their production of the Paisiello Il Barbiere di Siviglia, pending the COVID-19 pandemic. As a result of the pandemic, Jay created an online recital series Singing-in-Place where he performed various operatic arias and musical theater songs ranging from Puccini and Wagner to Andrew Lloyd Weber and Jason Robert Brown. This led to a collaboration with Eric Sirota, composer of the off-Broadway show Frankenstein, on his new work A Good Day. For this work, Jay has recorded vocals for the role of Sam and read the role of David in a virtual reading. Career higlights include creating the roles of Richard in David Chesky' La Farranucci with Opera Vocateur Productions, Sandrino in Salieri' La Cifra with dell'Arte Opera Ensemble, and Duc de Durfort in Whitney George' Julie with New Camerata Opera' branch of opera-on-film, CamerataWorks.
Other companies Jay has performed with are Cedar Rapids Opera Theatre, Saint Petersburg Opera Company, Center for Contemporary Opera, Apotheosis Opera, Bronx Opera, and making his international debut at L'Institut Canadien d'Art Vocal as a guest artist singing the role of Rodolfo in the Leoncavallo La bohème.
Michael Dauphinais has been hailed in the press as “a marvelous collaborative pianist” (ITEA Journal), and has garnered praise for his “superbly realized continuo” (Arizona Republic) as well as his live renditions of orchestral reductions: “pianist Michael Dauphinais enables one to forget the lack of an orchestra almost immediately” (Newark Star-Ledger). His versatility as a coach, conductor, and chorus master has led to his work with many U.S. opera companies including Tulsa Opera, Sarasota Opera, San Diego Opera, Arizona Opera, Baltimore Concert Opera, Opera in the Ozarks, Opera Southwest, Kentucky Opera, Opera New Jersey, and Alamo City Opera. In 2019, Dauphinais conducted the North American premiere of Elena Langer’s opera Rhondda Rips it Up! at the University of Arizona’s Fred Fox School of Music. He also recently conducted Daniel Catán’s opera La hija de Rappaccini in Mexico City in a collaboration between UA and the National Autonomous University of Mexico (UNAM). An enthusiastic advocate for contemporary and experimental music, Michael Dauphinais has collaborated with the Merce Cunningham Dance Company, Yanira Castro + Company, Artifact Dance Project, Arizona Contemporary Music Ensemble (ACME), and Movement Salon. He has played electro-acoustic sets at the Tucson Noise Festival, the Tucson Museum of Contemporary Art, Chax Press, Solar Culture, and has opened at Exploded View Microcinema for Mark Hosler of Negativland. Dauphinais has also performed works for piano and electronics (including several premieres) by C. Park, Stephan Moore, John King, Missy Mazzoli, Alexandra Gardner, and Eve Beglarian. He currently serves as the music director for UA Opera Theater and is a frequent collaborator with the Grammy-nominated Tucson-based ensemble True Concord Voices and Orchestra. Michael Dauphinais earned degrees from Western Michigan University (BM) and Arizona State University (MM and DMA).