The UL-Lafayette Opera Theatre is holding auditions for Too Many Sopranos on Thursday, August 26th in Room 143 in Angelle Hall at 4:30 pm. Auditioners should come prepared to sing a piece in English, preferably an aria.
Too Many Sopranos is a two act opera sung in English. Four divas arrive in heaven to discover that there is not room for all of them in the Heavenly Chorus due to the number of tenors and basses in hell. The divas must travel to hell to try to bring back to heaven some tenors and basses to balance the Chorus.
For more information about the auditions, contact Shawn Roy at 482-5939.
Showing posts with label UL-Lafayette Opera Theatre. Show all posts
Showing posts with label UL-Lafayette Opera Theatre. Show all posts
Monday, August 23, 2010
Tuesday, December 8, 2009
Theatre (Musical)--Auditions
The UL Lafayette Opera Theater will be presenting Rupert Holmes' musical entitled The Mystery of Edwin Drood in March 2010. It is based on Charles Dicken's last and unfinished novel. The show will run from March 25th--March 29th with 4 performances in Ducrest-Gilfry Auditorium in Angelle Hall on the UL Lafayette campus. Rehearsals will be Mondays from 5 to 8 pm, and Tuesday and Thursdays from 3:30 to 6:30 pm. Cast members must also be available every evening for the final week before the show starting on March 20th.
Open auditions will be held on Thursday, January 14th from 3:30 to 6:30 pm and Friday, January 15th from 5 to 7 pm. These are for singers/actors. Please bring a musical theatre selection (auditioners will sing the whole song) and a monologue. There will also be cold readings from the musical. There will be a separate dance audition for trained dancers on Friday, January 15th from 7 to 9 pm.
The shows cast consists of 4 female leads, 6 male leads and a chorus of 12 to 16. For more information, contact Shawn Roy, the director of the production, at 482-5939 or by e-mail at shawnrroy@hotmail.com. The show will be accompanied by the UL Lafayette Orchestra with Michael Blaney conducting. Choreographer is Melinda Caubarreaux and set design is by Duncan Thistlethwaite.
Open auditions will be held on Thursday, January 14th from 3:30 to 6:30 pm and Friday, January 15th from 5 to 7 pm. These are for singers/actors. Please bring a musical theatre selection (auditioners will sing the whole song) and a monologue. There will also be cold readings from the musical. There will be a separate dance audition for trained dancers on Friday, January 15th from 7 to 9 pm.
The shows cast consists of 4 female leads, 6 male leads and a chorus of 12 to 16. For more information, contact Shawn Roy, the director of the production, at 482-5939 or by e-mail at shawnrroy@hotmail.com. The show will be accompanied by the UL Lafayette Orchestra with Michael Blaney conducting. Choreographer is Melinda Caubarreaux and set design is by Duncan Thistlethwaite.
Friday, October 9, 2009
Opera/Theatre--Performance
Setting the Scene, an evening of operatic and operetta scenes, will be performed by the UL-Lafayette Opera Theatre on November 24th at 7:30 pm in the Ducrest-Gilfry Auditorium at Angelle Hall on the UL-Lafayette campus. The performers in this production will be Angela Prejean, Brian Sanford, Elise Tudor, Jennifer Andrews, Carolyn Broussard, Alex Hollerman, Nathan Abbott, Jared Price, Kevin Credeur, Jenee Luquette and Lana Carver. The pianist and director will be Shawn Roy.
Setting the Scene will include scenes from the following operas:
The Magic Flute
The Daughter of the Regiment
La Cenerentola (Cinderella)
Hansel and Gretel
The Old Maid and the Thief
The Tales of Hoffmann
The production will also includes representative samples of the following operettas:
Die Fledermaus
Princess Ida
The Pirates of Penzance
The Mikado
Ruddigore
Setting the Scene will include scenes from the following operas:
The Magic Flute
The Daughter of the Regiment
La Cenerentola (Cinderella)
Hansel and Gretel
The Old Maid and the Thief
The Tales of Hoffmann
The production will also includes representative samples of the following operettas:
Die Fledermaus
Princess Ida
The Pirates of Penzance
The Mikado
Ruddigore
Friday, July 31, 2009
Theatre--Review
Ray Blum's review of the UL-Lafayette Opera Theatre's world premiere production of Isabel appears in the Friday, July 31st edition of the Daily Advertiser.
Monday, June 15, 2009
Theatre--Performance
Jon Maran's insightful play Old Wicked Songs is being presented by the UL Lafayette Opera Theater. This is a two-person play about a young American prodigy's journey to Vienna to study piano and rekindle his passion for playing, but discovers he is being made to take voice lessons for three months with an old world Viennese voice teacher who has issues of his own. The play tells the story of an inspiring summer and deals with issues of acceptance and healing, and Robert Schumann's beautiful music of his song cycle "Dichterliebe."
The show stars Shawn Roy as the professor and Jared LeBlanc as the pianist. It was directed by Cody Daigle.
There will only be three performances on Father's Day weekend:
June 19 at 7:30pm
June 20 at 7:30pm
June 21 at 3pm
It will take place in Fletcher Hall on the ULL campus.
$15 general admission and free for UL Lafayette students, faculty and staff.
The show stars Shawn Roy as the professor and Jared LeBlanc as the pianist. It was directed by Cody Daigle.
There will only be three performances on Father's Day weekend:
June 19 at 7:30pm
June 20 at 7:30pm
June 21 at 3pm
It will take place in Fletcher Hall on the ULL campus.
$15 general admission and free for UL Lafayette students, faculty and staff.
Saturday, May 30, 2009
Theatre--Performance
The cast list for the UL-Opera Theatre production of Isabel, the world premiere musical adaptation of Shakespeare's Measure for Measure, has been announced.
Isabel....................................Jenee Luquette
Duke.....................................Nathan Abbott
Angelo...................................Brian Sanford
Mistress Overdone....................Sasha Massey
Pompey.................................Cody Daigle
Marianna...............................Alex Hollerman
Escalus..................................Andre Courville
Claudio..................................Kevin Credeur
Barnardine............................Nick Manzo
Abhorson...............................Nathan Martin
Lucio......................................Josh Coen
Elbow.....................................Nathan Martin
Friar Peter..............................Nick Manzo
Provost...................................Duncan Thistlethwaite
Juliet......................................Carolyn Broussard
Nun........................................Natalie Girard
Angelo's Man/Gentleman........Nathanael Trahan
Isabel....................................Jenee Luquette
Duke.....................................Nathan Abbott
Angelo...................................Brian Sanford
Mistress Overdone....................Sasha Massey
Pompey.................................Cody Daigle
Marianna...............................Alex Hollerman
Escalus..................................Andre Courville
Claudio..................................Kevin Credeur
Barnardine............................Nick Manzo
Abhorson...............................Nathan Martin
Lucio......................................Josh Coen
Elbow.....................................Nathan Martin
Friar Peter..............................Nick Manzo
Provost...................................Duncan Thistlethwaite
Juliet......................................Carolyn Broussard
Nun........................................Natalie Girard
Angelo's Man/Gentleman........Nathanael Trahan
Thursday, May 28, 2009
Theatre--Performance
Shawn Roy (left in both photos) and Jared LeBlanc rehearse for the UL-Lafayette Opera Theatre production of Old Wicked Songs, opening in Fletcher Hall on The UL campus on June 19th.
Saturday, May 23, 2009
Theatre/Dance--Performance
The UL-Lafayette Opera Theatre will be presenting the world premiere of Isabel on July 26th, 2009. Among many singing and non-singing roles, there are also two dances at the end of the Opera. Melinda Caubarreaux, choreographer, is looking for 6 to 8 dancers who are technically trained and can commit to a once a week rehearsal beginning June 9th. This is open to any trained dancer in high school or college.
If you are interested, please contact Melinda at 337.349.7206 or email mindycaub@yahoo.com
If you are interested, please contact Melinda at 337.349.7206 or email mindycaub@yahoo.com
Thursday, May 21, 2009
Theatre--Auditions
The auditions for the UL-Lafayette Opera Theatre's world premiere production of Isabel will be held in the orchestra room at Angelle Hall from 5 pm to 9 pm on Friday, May 29th. Callback auditions will be held on Saturday, May 30th at 1 pm.
Sunday, May 3, 2009
Opera--Review
Here are three secrets to help you decide whether to check out the next opera performance to come to town.
The first secret is that prior to World War I opera was meant to be mass entertainment. Opera occupied the same niche then that Rent, Chorus Line and The Lion King occupy now. Opera plots are simple and action oriented and every aria is intended to sweep you off your feet with wonderful melodies and lots of technical bravado. What's not to like? Well, OK--there are the dry spells known as recitative which can sound a lot like Gregorian chant. It's the dialog in opera and in many operas it is just frankly spoken. And there is the language barrier. Even sung in English, the libretto is often indecipherable. But you can bone up the story ahead and most programs give you a plot synopsis anyway. If illiterate peasants could follow the plot, you can too.
The second secret is that the days of stand and deliver performance are pretty much over. Opera performances are now held to the same standards as Broadway musicals. The directing and acting are expected to be lively and engaging.
The third secret is that almost any live performance is preferable to almost any recorded performance. I have seen recordings, including filmed versions, of performances that I attended and the recording is ALWAYS disappointing. There is a magic to live performance that cannot be captured electronically.
The Marriage Of Figaro is one of Mozart's most popular pieces. It is based on a cheeky comedy of manners which shows that men and women of all classes are pretty much the same when it comes to love. The libretto--if you speak Italian--is pretty clever but not really the point. The point is the music, all of which is instantly hummable with toe-tappin' rhythm. Given a game and attractive cast, a showman for a director and a decent physical production, this is really can't-fail stuff.
The UL Opera Guild and the Acadiana Symphony joined forces to present The Marriage Of Figaro this past weekend with two performances using hired professionals and the Sunday matinee being performed by UL students. I expect the professional production will be reviewed elsewhere. I wanted to see the student version and I thoroughly enjoyed it. So did the rest of the audience who gave it a standing ovation.
For the student singers, this is a great opportunity to play iconic characters. The students haven't done this show enough to be jaded--it is still exciting to them and their enthusiasm is well-used by Shawn Roy who knows his musical theatre. The performances sparkled, the action was nicely staged and the sets were attractive--especially the garden set. The students are lucky to have Shawn Roy to guide them because Shawn knows how to sell a show with a combination of razzle-dazzle and disciplined technique. The orchestra sounded great and let me repeat, you hear things in a live performance that you will not hear in a recording.
If you missed this production, you missed a real treat. Promise yourself that you will try to catch the next one. And look for Shawn Roy's name in the credits. It's a guarantee of quality.
The first secret is that prior to World War I opera was meant to be mass entertainment. Opera occupied the same niche then that Rent, Chorus Line and The Lion King occupy now. Opera plots are simple and action oriented and every aria is intended to sweep you off your feet with wonderful melodies and lots of technical bravado. What's not to like? Well, OK--there are the dry spells known as recitative which can sound a lot like Gregorian chant. It's the dialog in opera and in many operas it is just frankly spoken. And there is the language barrier. Even sung in English, the libretto is often indecipherable. But you can bone up the story ahead and most programs give you a plot synopsis anyway. If illiterate peasants could follow the plot, you can too.
The second secret is that the days of stand and deliver performance are pretty much over. Opera performances are now held to the same standards as Broadway musicals. The directing and acting are expected to be lively and engaging.
The third secret is that almost any live performance is preferable to almost any recorded performance. I have seen recordings, including filmed versions, of performances that I attended and the recording is ALWAYS disappointing. There is a magic to live performance that cannot be captured electronically.
The Marriage Of Figaro is one of Mozart's most popular pieces. It is based on a cheeky comedy of manners which shows that men and women of all classes are pretty much the same when it comes to love. The libretto--if you speak Italian--is pretty clever but not really the point. The point is the music, all of which is instantly hummable with toe-tappin' rhythm. Given a game and attractive cast, a showman for a director and a decent physical production, this is really can't-fail stuff.
The UL Opera Guild and the Acadiana Symphony joined forces to present The Marriage Of Figaro this past weekend with two performances using hired professionals and the Sunday matinee being performed by UL students. I expect the professional production will be reviewed elsewhere. I wanted to see the student version and I thoroughly enjoyed it. So did the rest of the audience who gave it a standing ovation.
For the student singers, this is a great opportunity to play iconic characters. The students haven't done this show enough to be jaded--it is still exciting to them and their enthusiasm is well-used by Shawn Roy who knows his musical theatre. The performances sparkled, the action was nicely staged and the sets were attractive--especially the garden set. The students are lucky to have Shawn Roy to guide them because Shawn knows how to sell a show with a combination of razzle-dazzle and disciplined technique. The orchestra sounded great and let me repeat, you hear things in a live performance that you will not hear in a recording.
If you missed this production, you missed a real treat. Promise yourself that you will try to catch the next one. And look for Shawn Roy's name in the credits. It's a guarantee of quality.
Friday, April 10, 2009
Performance--Opera
The Marriage of Figaro, presented by the University of Louisiana at Lafayette Opera Theatre and the Acadiana Symphony Orchestra, opens on Thursday, April 30 at 7:30, with a second performance on Saturday, May 2 at 7:30. The student cast will perform on Sunday, May 3 at 3PM. All performances are in the Ducrest-Gilfry Auditorium in Angelle Hall. Tickets are for sale at the ASO office with prices ranging from $25 - $45.
UL students can get $5 tickets for the Sunday matinee only.
The cast includes:
Figaro - Andrew Wilkowske/Brian Sanford
Susanna- Julie Kinzey/Stacy Broussard
Count Almaviva- Jonathan Hays/Nathan Abbott
Countess Almaviva- Katia Escalera/Sasha Massey
Cherubino - Martina Chylikova/Jessica Wiltz
Dr. Bartolo - Ben Sellers
Marcellina - Lindy Waldmeier/Carolyn Broussard
Don Basilio/Don Curzio - Kevin Credeur
Antonio - Nick Manzo
Barbarina - Angela Prejean/Jenee Luquette
The opera is accompanied by the Acadiana Symphony Orchestra with conductor Mariusz Smolij.
The production is directed by Shawn Roy.
Taken from the play by Beaumarchais, The Marriage of Figaro follows the plot of The Barber of Seville. It is 3 years later. The Count is now married to Rosina (the Countess) and he is already cheating on her. Figaro is now the Count's personal valet and is engaged to Susanna, the Countess's chambermaid. The Count is determined to get his hands on Susanna before the wedding night, so Figaro, Susanna and the Countess devise a scheme to make a fool of the Count and hopefully stop his philandering ways. With the assistance of Cherubino, the pageboy (who a teenager and in love with everything in a skirt!), they will send Cherubino, disguised as a woman, to meet the Count in the garden that night for a rendezvous. This is foiled when the Count catches Cherubino in Susanna's room and sends him off to join the military.
Bartolo and Marcellina have a plot of their own. Figaro borrowed some money from Marcellina and cannot pay it back, so she insists on marrying him for payment. Bartolo is still bent of revenge for stealing Rosina away 3 years ago, so he agrees to assist her. We learn later in the opera that Marcellina and Bartolo are actually the long lost parents of Figaro, so the contract is null and void and Figaro and Susanna get married. That night in the garden, the Countess herself dresses as Susanna and the Count is actually wooing his own wife. When she reveals herself, he apologizes for his wrongs and the opera ends happily.
UL students can get $5 tickets for the Sunday matinee only.
The cast includes:
Figaro - Andrew Wilkowske/Brian Sanford
Susanna- Julie Kinzey/Stacy Broussard
Count Almaviva- Jonathan Hays/Nathan Abbott
Countess Almaviva- Katia Escalera/Sasha Massey
Cherubino - Martina Chylikova/Jessica Wiltz
Dr. Bartolo - Ben Sellers
Marcellina - Lindy Waldmeier/Carolyn Broussard
Don Basilio/Don Curzio - Kevin Credeur
Antonio - Nick Manzo
Barbarina - Angela Prejean/Jenee Luquette
The opera is accompanied by the Acadiana Symphony Orchestra with conductor Mariusz Smolij.
The production is directed by Shawn Roy.
Taken from the play by Beaumarchais, The Marriage of Figaro follows the plot of The Barber of Seville. It is 3 years later. The Count is now married to Rosina (the Countess) and he is already cheating on her. Figaro is now the Count's personal valet and is engaged to Susanna, the Countess's chambermaid. The Count is determined to get his hands on Susanna before the wedding night, so Figaro, Susanna and the Countess devise a scheme to make a fool of the Count and hopefully stop his philandering ways. With the assistance of Cherubino, the pageboy (who a teenager and in love with everything in a skirt!), they will send Cherubino, disguised as a woman, to meet the Count in the garden that night for a rendezvous. This is foiled when the Count catches Cherubino in Susanna's room and sends him off to join the military.
Bartolo and Marcellina have a plot of their own. Figaro borrowed some money from Marcellina and cannot pay it back, so she insists on marrying him for payment. Bartolo is still bent of revenge for stealing Rosina away 3 years ago, so he agrees to assist her. We learn later in the opera that Marcellina and Bartolo are actually the long lost parents of Figaro, so the contract is null and void and Figaro and Susanna get married. That night in the garden, the Countess herself dresses as Susanna and the Count is actually wooing his own wife. When she reveals herself, he apologizes for his wrongs and the opera ends happily.
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