KATARINA GALAGAZA Mezzo-Soprano

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KATARINA GALAGAZA mezzo-soprano [email protected] (832) 257-8525 katarinagalagaza.com Roles Monkey Queen/Lord Tiger Monkey and Francine in the City of Tigers Seagle Music Colony Fall Season 2019 Ghost Livy Clemens/Julia Harmony (workshop) Seagle Music Colony Fall Season 2019 Cherubino Le nozze di Figaro Seagle Music Colony 2019 Kate Oklahoma! Seagle Music Colony 2019 Fox The Cunning Little Vixen Boston University Opera Institute 2019 Dolores Claiborne (cover) Dolores Claiborne Boston University Opera Institute 2019 Flora Bervoix La Traviata Boston University Opera Institute 2018 Sesto Giulio Cesare in Egitto Seagle Music Colony 2018 Pegeen Ryan Mame Seagle Music Colony 2018 Nancy Albert Herring Boston University Opera Institute 2018 Charlotte Werther Boston University School of Music 2018 Mrs. Webster Sweets by Kate Boston University Opera Institute 2017 Prince Charmant (cover) Cendrillon Eastman Opera Theatre 2017 Prince Orlofsky Die Fledermaus Musiktheater Bavaria Scenes 2017 Fidalma Die Heimliche Ehe Musiktheater Bavaria Scenes 2017 Hänsel Hänsel und Gretel Musiktheater Bavaria Scenes 2017 Dorabella Così fan tutte Eastman Opera Scenes 2017 La Suora infermiera Suor Angelica Eastman Opera Theatre 2016 Suor Pazienza Mese Mariano Eastman Opera Theatre 2016 Mrs. Soames Our Town Eastman Opera Theatre 2015 Concert Work Mezzo-soprano Soloist HOT: A Cole Porter Revue Seagle Music Colony 2019 Training Mezzo-soprano Apprentice Lyric Opera of Kansas City 2020 Emerging Artist & Fall-Season Artist Seagle Music Colony 2019 Emerging Artist Seagle Music Colony 2018 Musiktheater Bavaria 2017 Education AC Vocal Performance University of Missouri at Kansas City 2020 MM Vocal Performance Boston University 2019 BM Vocal Performance Eastman School of Music 2017 Conductors Directors Coaches Teachers William Lumpkin E. Loren Meeker Dr. Natalia Rivera Dr. Maria Kanyova Benton Hess Candace Evans John Cockerill Penelope Bitzas Jennifer McGuire Crystal Manich Dr. Michelle Alexander Special Skills Ballet, Tap, Jazz, Lyrical, Contemporary, and Musical Theatre 13 years Conversational in Serbian, intermediate German skills 6 years .

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2019 EVITA Lloyd Webber & Rice the Marriage of Figaro Mozart the Manchurian Candidate Puts & Campbell Oklahoma! Rodgers & Hammerstein
seagle music colony 2019 EVITA Lloyd Webber & Rice The Marriage of Figaro Mozart The Manchurian Candidate Puts & Campbell Oklahoma! Rodgers & Hammerstein Vespers Monkey & Francine Concerts in the City of Tigers * seaglecolony.org Bringing Music to the Adirondacks Since 1915 The Beechwood Group of Wells Fargo Advisors is proud to support The Seagle Music Colony Joseph Steiniger Senior Vice President - Investment Ofﬁcer CERTIFIED FINANCIAL PLANNER™ [email protected] Mary E. McDonald First Vice President - Investments [email protected] The Beechwood Group 845-483-7943 www.thebeechwoodgroup.com Investment and Insurance Products: NOT FDIC Insured NO Bank Guarantee MAY Lose Value Wells Fargo Advisors, LLC, Member SIPC, is a registered broker-dealer and a separate non-bank afﬁliate of Wells Fargo & Company. ©2013 Wells Fargo Advisors, LLC. All rights reserved. 1113-02329 [74127-v4] Table of Contents General Information About Seagle Music Colony Restrooms are located in the Shames Rehearsal Notes from the Directors 3 Studio. Handicapped accessible restroom Seagle Music Colony Board of Directors 4 is at the rear of the theatre lobby. Seagle Music Colony Guild 4 History of Seagle Music Colony 7 Refreshments are provided in the theatre lobby 2018-2019 Seagle Music Colony Donors 8 by the Seagle Music Colony Guild. Donor Opportunities 12 2018-19 Alumni Updates 35 So that all our patrons may enjoy the performance, please turn all cell phones and pagers The Seagle Music Colony Gala 17 to the silent or off positions. The Productions Thank you for attending today’s performance. Evita 14 Monkey & Francine in the City of Tigers 16 The Marriage of Figaro 18 The Manchurian Candidate 22 Seagle Music Colony Oklahoma! 24 999 Charley Hill Road 2019 Fall Season 26 PO Box 366 Schroon Lake, NY 12870 2019 Faculty/Staff & Emerging Artists (518) 532-7875 Faculty & Staff 27 Emerging Artists 33 seaglecolony.org [email protected] Our Mission To identify, train and develop gifted singers and to present quality opera and musical theatre performances to the public.
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Ceriani Rowan University Email: [email protected]
Nineteenth-Century Music Review, 14 (2017), pp 211–242. © Cambridge University Press, 2016 doi:10.1017/S1479409816000082 First published online 8 September 2016 Romantic Nostalgia and Wagnerismo During the Age of Verismo: The Case of Alberto Franchetti* Davide Ceriani Rowan University Email: [email protected] The world premiere of Pietro Mascagni’s Cavalleria rusticana on 17 May 1890 immediately became a central event in Italy’s recent operatic history. As contemporary music critic and composer, Francesco D’Arcais, wrote: Maybe for the first time, at least in quite a while, learned people, the audience and the press shared the same opinion on an opera. [Composers] called upon to choose the works to be staged, among those presented for the Sonzogno [opera] competition, immediately picked Mascagni’s Cavalleria rusticana as one of the best; the audience awarded this composer triumphal honours, and the press 1 unanimously praised it to the heavens. D’Arcais acknowledged Mascagni’smeritsbut,inthesamearticle,alsourgedcaution in too enthusiastically festooning the work with critical laurels: the dangers of excessive adulation had already become alarmingly apparent in numerous ill-starred precedents. In the two decades prior to its premiere, several other Italian composers similarly attained outstanding critical and popular success with a single work, but were later unable to emulate their earlier achievements. Among these composers were Filippo Marchetti (Ruy Blas, 1869), Stefano Gobatti (IGoti, 1873), Arrigo Boito (with the revised version of Mefistofele, 1875), Amilcare Ponchielli (La Gioconda, 1876) and Giovanni Bottesini (Ero e Leandro, 1879). Once again, and more than a decade after Bottesini’s one-hit wonder, D’Arcais found himself wondering whether in Mascagni ‘We [Italians] have finally [found] … the legitimate successor to [our] great composers, the person 2 who will perpetuate our musical glory?’ This hoary nationalist interrogative returned in 1890 like an old-fashioned curse.
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K​ATARINA​ G​ALAGAZA Mezzo-Soprano

KATARINA GALAGAZA Mezzo-Soprano