Bel Canto at Caramoor


Caramoor Opening Concert/20th Season

Conductor: Will Crutchfield
Unique Elements:

  • Angela Meade (winner of both the Metropolitan Opera’s 2012 Beverly Sill Artist Award and the 2011 Richard Tucker Award, as well as a regular at the Met) performed in the Opening Concert as well as Il pirata. (Funny side note, her husband had previously worked with my sister on 2 productions at Long Beach Opera).

Il pirata

Conductor: Will Crutchfield
Unique Elements:

Petite messe solennelle

Conductor: Rachelle Jonck
Unique Elements:

  • The final concert of the 20 years of Bel Canto at Caramoor was conducted by Head Vocal Coach and Assistant Conductor, Rachelle Jonck.
  • Young Artists from the past 20 years came back for an encore performance, including Jennifer Rowley, Vanessa Cariddi, Robyn Lamp and Teresa Castillo.


Aureliano in Palmira

Conductor: Will Crutchfield
Unique Elements:

  • U.S. premier of the full work; lost in 1813 after its original premier but rediscovered and edited by Will Crutchfield in conjunction with the Rossini Foundation and Ricordi.


Conductor: Pablo Heras-Casado
Unique Elements:

  • My first production with Bel Canto at Caramoor without Will Crutchfield, but rather with the Principal Conductor of Opera St. Lukes, Pablo Heras-Casado.


La favorite

Conductor: Will Crutchfield
Unique Elements:

  • My first time doing a show outside/under a tent!
  • No paging system, a lot of running back and forth, up and down to dressing rooms.
  • Headsets are wired, so in order to call singers to the stage, we had to get off headsets.
  • Orchestra St. Luke’s is union.

Dialogues of the Carmelites

Director: Victoria Crutchfield
Conductor: Will Crutchfield
Costume Designer: Nina Bova
Unique Elements:

  • One of the few productions that was fully staged with props, costumes and minimal set pieces.
  • Due to schedule and having an outside venue, we light the entire show from 9 pm to 3 am in 1 night, tech the next day and then opened.
  • Deborah Polaski announced her retirement from the stage prior to our final performance.
  • Review originally published by The New York Times