Come see Hansel and Gretel!


Lyric Opera Ensemble presents


Hansel and Gretel


April 18th at 7:30 pm at Kingsbury Hall


$20 general public
$10 non-U students
U students and children under 18 – FREE

Children under 6 not permitted.

Sung in English, Supertitles provided.


Tickets can be purchased through, or at the box office at Kingbury Hall.


Come support Hayley Bell in her debut opera roll in Hansel and Gretel. She is enacting the character of the Mother, Gertrude, who inadvertently sends her children into the clutches of the evil witch.


Please join us after the show for a Village Inn tradition at the Village Inn at 910 E 400 S Salt Lake City, UT for good food and celebration! (No Host) 

Hope to see you there!


Something Beautiful

Have you ever wanted to create something beautiful, but wasn’t quiet sure how? I get that feeling a lot. I will suddenly have this need to create, to write, sing, dance, paint, but I’m not sure what or even how. The drive to create is very strong in the human race. Since the dawn of time we have pushed to create life, create homes, create art. But what can we create that is truly original anymore? Is there such a thing as an original thought? And original idea? Or has it all been done before?

I find myself asking those types of questions more and more lately. Is it possible? Can you create something that is truly yours? That hasn’t been adulterated by the world around you? I don’t think so. I think no matter what you do, you are always influenced in some way by what is around you. No matter what.

But then what are we creating? The regurgitation of a generation? Are we pushing the same ideas that have been pushed before? Are we expressing the same things that have been expressed before?

How do you create something that is beautiful? How do you create something that is just you?

Audition Process

The audition process is one of the hardest things in the life of a performer. We practice, rehearse, sweat and cry over pieces of music and scenes for our 30 seconds to a minute to show a director that we are indeed the best fit for the show. But how can you truly see someones range in 32 bars? How do you see there pain, their joy and their excitement? If you are good enough, you get a call back, which in reality is just another audition because you didn’t get enough time to begin with to show the director you rock. So at this point you have had two auditions, slowly whittling down to a few.  Most of the time this is the audition that you put everything into. This is the audition that you cry, laugh, scream, beat your heart open for someone standing four feet away from you. You get this one shot, this one chance to put every thing out there.

After the call back, you wait. Sometimes days or weeks, but you wait. You bite your nails, can’t sleep, stare at your text book trying to study, but really you’re going over that last audition. Was is good enough? Did I give enough of myself? Was that line right? You do blow by blow, analyzing every moment of the call back. Hopefully, the director is nice and does final casting the next day, so you don’t have to wait to long.

But this process we have to go through every time we want to do a show. The waiting for those few moments we can blow the director away. Then wait again. Over my years in the theater I’m learning quiet quickly, that it constitutes practicing everyday for that minute you get in front of a director or competition judges.

Sometimes you get the part. Sometimes you don’t. But at the end of the day, as long as you’ve laid it all on the line, you know you have nothing to be ashamed of.


Just keep telling yourself that. 🙂

Steal Me . . . but don’t take me to far!

My voice teacher assigned a new song for me from an opera called ‘The Old Maid and the Thief’. Its about a transient man who is looking for food and money. And he is HOT! So the maid and the mistress decided to take him in and help him out. The mistress begins to steal money to help him, from the church and from friends, to entice him to stay. He does, but the maid is very jealous and tells him that people are beginning to suspect him of being the thief. The end of the opera ends with the man leaving with the maid, leaving the mistress alone.

At first I wasn’t sure I would like the song. My voice teacher, Barry Bounouse, played it for me in our lesson and I was kind of hesitant to it. But I’ve been working on it and fallen completely in love. The music is very contemporary, so there are a lot of dissonant cords and strange resolutions. The video below is a pretty good rendition of the piece.
The song is from the maid’s view and she’s singing about how the man won’t make any moves to her. She goes through what the mistress has been doing to keep him there and he still makes no advances. It continues with her wishing he would steal her heart, her lips, her life and take it before death steals her life. Very nice.

Finished Don Giovanni . . . .HEAVENLY!

DVD of Don GiovanniWeston and I finished Don Giovanni last night while eating dinner. We had gotten about 30 minutes into the Act 2 last week and got to finish it. And let me tell you, what an ending! Bryn Terfel Jones played Don Giovanni and Renee Fleming was Donna Anna, absolutely amazing! When the opera started, I wasn’t sure how I was going to like it, as previously stated in my last blog post. But now, I am totally 100% in love. Renee Fleming completely embodied the brushed and battered (emotionally) woman who must come to terms with a death of her father and hatred for the man who killed him. Her rage at Don Giovanni and her insistence to Don Ottavio for revenge is wonderful. In act two Donna Anna and Don Ottavio are together and she is begging him to understand why she can’t be romantic yet, or love him the way she knows he should be loved because she is still in mourning for her father. Renee Fleming sang the most majestic aria I have ever heard. She floated from note to note effortlessly. I want to be like her, wait, no I want to be her some day.

The scene near the end with the statue coming to life and taking Don Giovanni to hell was wonderful. At first I was slightly confused because I wasn’t sure what was happening, but after I got it, I was nearly gleeful. Such a great ending to the story. He got what he deserved. Character aside, Bryn Terfel Jones is one of the most commanding performers in opera today. I first saw him in the Die Walkure playing Wotan and there as with Don Giovanni, he has such a commanding presence on the stage. You can’t help but look at him. He is one that I would love to someday play against.

To sum up, watched it, loved it, I pretty sure I’m going to buy it.


Current Standards of Body Type in Opera

I recently read of an incident with Deborah Voigt (yes, I have a love affair with her right now) back in the early 2000’s. She was cast in a performance of  ‘Ariadne auf Naxos’ as the lead Ariadne with the Royal Opera in Covenant Gardens. After a short stint in rehearsals, she was fired from this position because she couldn’t fit into a ‘little black dress’ the director wanted her to wear. She was replaced by a thinner soprano, of less renown, and was asked to leave. This decision create quiet a scandel in the Opera world. She did interview after interview discussing how she felt and the impact this has had on her career. Not surprisingly, this had a great impact on her career, pulling her to the front line of most people’s vision for Opera.

Before and After

In 2001, approx. three months after the dismissal, she had gastric bypass surgery and lost over 100 lbs over the next 2 years! She went from a size 30 to a size 14. An amazing feat for someone that has had weight issues all their life. And this is what I would like to discuss.

Is Opera conforming to the modern stereotype of beauty?

For hundreds of years, Opera had the reputation of being bigger. Bigger stages, bigger costumes and indeed, bigger performers. The phrase ‘It’s not over til the fat lady sings’ is a euphemism for Opera and the typical larger women that have performed. In my first meeting with my vocal coach, he said to me that I was perfect for Classical music and Opera because I’m 6 feet tall and approx a size 14. That was a total reassurance to me because my previous background had been in Musical Theater where both of those measurements were considered bad.

So what type of message does that send?

Granted Deborah Voigt had weight problems her whole life and getting the surgery was a very good thing just for her health. But only a few years later she accepted the role again with the Royal Opera Company after she had slimmed down to what they had required. Personally, I don’t know if I could have handled going back to the company that had fired me, even if I now fit their ‘Mold’. But what does that say? That you only get the roles you want because you are thin? Your vocal ability doesn’t matter as much as your appereance?

I feel that Deborah did what she needed to for both herself and her career. But I wonder how much the world’s image of beauty is infiltrating things which up to this point have not been effected.

What do you think?

And 6 months later . . .

Time fly’s. I know everyone knows that, but I honestly believe that as you age, time speeds up. It’s like some cosmic joke, you get older and the day’s get shorter. So much has happened in the last few months, I feel like I should just erase everything written before and start over. But I won’t.

My lesson’s with Barry have been AMAZING! I don’t think I can completely convey how happy I have been with my lessons. First, Barry is the first teacher I have had that pushes me to not just ‘rest on my laurels’ but to really push me. I had a conversation with his wife, who is also a great singer, expressing how much I enjoy Barry and how hard he pushes me, and she looked at me like I was a little crazy. “Are you sure you like it?” She asked and I laughed it off. Because I truly do like that he doesn’t let me coast like every other teacher has done since I started singing.

His background is in Opera and I’ve fallen in love with Opera. When I first started taking lessons, I really had a hard time because I was still so stuck on Musical Theater. It was a scary concept for me to move away from Musical Theater and to Opera because it was always something that us MT people didn’t understand. But Barry was very patient with me, inching me closer and closer to opera. And he succeeded in the end. I fell in love!

For my 24th birthday, my husband (the amazing, fantastic, wonderful sexy husband) took me to see Die Walkure by Wagner at the local cinema. The Metropolitan Opera does a Live in HD series where they broadcast the production to theater’s around the US. Very cool. But the performance was breath taking. Deborah Voight was phenomenal as Brunhilde! This was the first real full length Opera that I have seen, what an introduction!!! The final scene of the Opera is of Wotan and Brunhilde are saying their final goodbye’s and she is being laid to rest, I was sobbing. It was so emotional because I was imagining saying goodbye to my own father and how horrible that would be. I had never been touched like that through music before. I’m now totally hooked.

I’m watching a Met performance of Don Giovanni right now with my husband through Netflix. A whole slew of Met performances are on Netflix to check out and I’ve queued them all! We finished act one and are onto act two now. I keep going back and forth on whether or not I like it because the performances are great, but the character of Don Giovanni is such a jerk and I really want to smack him! I’ll see it through and let you know how I feel.

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