Meet Tenor Jack H. Adkins playing Gaston in La Traviata.

Jack recently returned to his hometown of San Diego from Bloomington, Indiana where he trained for his Master of Music in Vocal Performance from the Jacobs School of Music at Indiana University.

Jack was cast as Don Curzio & Basilio in Le Nozze di Figaro with the Lyric Opera Studio Weimar in Germany, singing with both advanced students and a few professionals.

As a bonus, he was invited to perform 3 gala concerts with a professional orchestra, Thüringer Symphoniker Saalfeld-Rudolstadt in beautiful settings including a historic castle and a monastery built in 1250!

Prior to graduate school, Jack earned his Bachelor of Music from Sonoma State University where he was active in opera, jazz and musical theatre, including singing the lead role in Candide and was the soloist for their award-winning Jazz Orchestra.

Most recently, Jack was seen in Opera Neo’s production of Le Nozze di Figaro earlier this year in Balboa Park

La Traviata, Oct 19, 20 and 21 2023 at the California Center for the Arts in Escondido, CA
Buy your tickets here: www.pacificlyricassociation.org/pla-traviata2023.html

Meet Kelsey Fahy, a mezzo-soprano and engineer based in San Diego County.

Hailing from the Pacific Northwest, she decided she wasn’t cold enough and so spent her college years in Minnesota, where she sang in the St. Olaf Choir and performed in Suor Angelica, Gianni Schicchi, and The Coronation of Poppea.

Since relocating to California, Kelsey has performed in chorus roles with Pacific Lyric Association and Lyric Opera of Orange County, has worked as a supernumerary in Otello with Pacific Symphony, and sings regularly with the Southern California Damekor.

Her most recent performance was as Mercedes in PLA's production of Carmen. In addition to opera chorus work, Kelsey has understudied the roles of Orlofsky in Die Fledermaus and Mother in Amahl and the Night Visitors.

Fun fact: listening to the Fellowship of the Ring score was what prompted her decision to pursue singing.
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La Traviata, Oct 19, 20 and 21 2023 at the California Center for the Arts in Escondido, CA
Buy your tickets here: www.pacificlyricassociation.org/pla-traviata2023.html

Tenor/Baritone Shawn Taylor has an MM from CSU Long Beach. He has performed roles with Long Beach Opera, Mission Opera, Landmark Opera, Repertory Opera Theatre, Pacific Lyric Association, Riverside Lyric Opera, Celestial Opera, Capitol Opera and LA Met Opera.

He has performed in many musicals and Gilbert and Sullivan Shows and is a board member for Mission Opera. 

Shawn sings in several churches throughout So Cal, and is a staff singer and soloist for Meritage Chorale in Anaheim. He served as staff singer for the Santa Clarita Master Chorale for 8 years. He is currently a staff singer of the SoCAL Chorale who sings for various orchestras.

Shawn has been a Choral Teacher since 1986 in Elementary, Junior High, High School and was a vocal Instructor at Cal Baptist University.  He also taught theatre and was the vocal coach for the All-American Boys Choir for 8 years.  

​La TraviataLA TRAVIATA, Oct 19, 20 and 21 2023 at the California Center for the Arts in Escondido, CA
Buy your tickets here: www.pacificlyricassociation.org/pla-traviata2023.html

​Baritone Carlos Oliva, one of the founders of Pacific Lyric Association, attended the Superior School of Voice in Madrid and studied with Juan Oncina in Barcelona.
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He performed for two years with the Spanish National Symphonic Orchestra and Chorus before moving to the United States where he studied with Gualtiero Negrini in Los Angeles.

​He has sung in "Faust" with the Opera Comique, in Cosi fan tutte with Pacific Opera, as Count Almaviva in Mozart's "La Nozze di Figaro" in San Diego, and in "La Tabernera del Puerto" with U.S.D.

With Bel Canto Opera, he performed "La Boheme", "Pagliacci", "Cavalleria rusticana" and "Un Ballo in Maschera".

With Opera Pacific, he was male lead in the world premiere of "El Camino de Fe" by Hector Armienta. Carlos has sung many principal roles with the Costanza Opera of Romania. including "La Traviata", "Il Trovatore", "Rigoletto", and "Un ballo in Maschera". He has sung the roles of Vidal Hernandez in "Luisa Fernanda" , Escamillo in "Carmen" and the title role in "Rigoletto" last year for Pacific Lyric.

​He recently sang lead roles in "Il trovatore" and "Un ballo in Maschera" in Los Angeles.

La Traviata, Oct 19, 20 and 21 2023 at the California Center for the Arts in Escondido, CA
Buy your tickets here: www.pacificlyricassociation.org/pla-traviata2023.html

Swedish soprano Emma Berggren is making her role debut singing Violetta with Pacific Lyric Association.

Ms. Berggren recently sang the title role in Tosca with Guild Opera Company. Other operatic roles includes Mimì in La Bohème (Puccini), Angelica in Suor Angelica (Puccini), Fiordiligi in Così fan tutte (Mozart), Cherubino in Le nozze di Figaro (Mozart), the Celestial Voice in Don Carlo (Verdi), Countess Ceprano in Rigoletto (Verdi), and Papagena and the Second Spirit in Die Zauberflöte (Mozart). Ms. Berggren has covered roles such as Cio-Cio-San in Madama Butterfly (Puccini), Rosaline in Die Fledermaus (Strauss), the mezzo soprano soloist in Beethoven’s 9th Symphony and Johanna in Sweeney Todd (Sondheim).

Organizations that Emma has performed and covered roles with in Southern California includes Guild Opera Company, Ridgecrest Opera Guild, Riverside Lyric Opera, California Philharmonic and Golden State Pops Orchestra.

Ms. Berggren was a finalist in the 2022 Burbank Philharmonic Orchestra and the Hennings-Fischer Foundation Young Artist Competition and was featured last summer as a soloist in the Falsterbo-Skanör music summer program in Sweden.

Emma is passionate about introducing children to opera and has performed the role of Queen of Hearts in Robert Chauls’ Alice in Wonderland as part of Guild Opera Company’s community outreach program at many elementary schools in Los Angeles County. Upcoming operatic roles for the 2023/2024 include singing Angelica in Suor Angelica with Guild Opera Company

www.pacificlyricassociation.org/pla-traviata2023.html
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Mexican Born Tenor, with a law degree from Mexico Gerardo Gaytan started to study voice professionally in 2012 and has been active ever since.
Singing has taken Gerardo to some of the most important stages in Mexico and the United States. Presenting concerts, recitals and singing roles such as Rodolfo, Manrico, Edgardo, Canio, Cavaradossi, Alfredo and the Duke of Mantuas.
He currently resides in San Diego and is a student of Bill Shumman. 
His operas sung in 2022 include Rigoletto with Opera Southern, Pagliacci with Opera de Tijuana and Pacific Lyric Associations production of Carmen. Early this year he sung Tosca with South Coast Symphony. 
Gerardo is playing Alfredo in the production of La Traviata by Pacific Lyric Association October 19, 20 and 21 at the California Center for the Arts in Escondido

Soprano Yewon Ella Yoon made her opera debut as Mimi in Puccini’s La bohème at the Korea National University of Arts where she also performed as Gilda in Verdi's Rigoletto.
Some of her operatic credits include Mariola in Two Remain with Lyric Opera of Orange County, Le Feu in L'enfant et les Sortileges with the Cincinnati Symphony Orchestra, Servilia from La Clemenza di Tito with the CCM, and Erste Dame in Die Zauberflöte with the Incheon Symphony Orchestra in Korea.
Currently based in the Los Angeles Area, Ms. Yoon has worked with LA Opera Chorus, LA Master Chorale, and Pacific Chorale.
Ms. Yoon holds degrees from Chung-Ang University and Korea National University of Arts and is currently pursuing a doctoral degree at the University of Cincinnati College-Conservatory of Music, where she previously earned her master's degree.
Ella plays Violetta in the opera La Traviata produced by Pacific Lyric association

​By Alexandra Keegan, Artistic Director
Many years ago when opera was first created, it was written in the language of the people, whether it was Italian, French, or German. Even so, this opera does require a bit more from the average audience member. Just like we will enjoy a movie based on a book if we have actually read the book first, so it is with opera. The more we understand the story, the more we will appreciate the aria and scene, even if we may not understand every single word that is being sung at the moment.
 
We have heard the argument many times that people don’t go to operas because they can’t understand all of the lyrics. Consider the fact, though, that at a rock or pop concert, we may not comprehend all the words the performer is singing, yet we have no problem enjoying the performance because experiencing a live concert involves taking in the whole scene - the live singers, live band or orchestra, vocal ensemble, costumes, lighting, etc.
 
The signature format of our shows features slightly condensed versions of the operas, with spoken narrative in English before and during the play. These narrative vignettes, performed by a professional actor, are designed to keep the audience engaged in the musical drama without being distracted by supertitles. This format has proved successful in attracting younger or first-time audiences to this complex (universal) art form. Our performances often sell out and we often overhear audience members, even youth, comment on how much they were able to understand at their first opera.

Performing the titular role of Carmen in our upcoming production is Mezzo-Soprano Anna Pflieger. She recently took some time from her busy performance and rehearsal schedule to answer a few questions. Read on to learn all about her fascinating journey to our stage. 
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Q: Who is the most famous person you've met in person? 
A: I have had the opportunity to meet many famous classical singers over the past twenty years including Mirella Freni, Carol Neblett, Vladimir Chernov, Anna Netrekbo, Rolando Villazon, and Christine Goerke to name a few. More importantly, I’d like to touch on the most influential person I’ve had the honor of meeting and working with, my beloved teacher and mentor, Claudine Carlson. I have always said that anything I do well, I owe to her, and any faults in my singing are entirely of my own making. She fostered my love for music in times when my passion felt dim and taught me strength through musical discipline and artistry. My soul lies in music and this amazing woman remains my guide in preserving beloved masterworks, sincere interpretation and vocal honesty. I hope one day to do her proud.
 
Q: Did you have a rough patch in your career?  
A: In my early twenties I was diagnosed with stage three cancer. I lost five years of good health and operatic training due to my condition and subsequent treatment. Those critical five years, while the majority of my colleagues were transitioning from masters and young artist programs to mainstage, I was rebuilding my body, mind and instrument. My career was entirely derailed but I was later able to return to competiton, stage and music with a stronger conviction than ever, greater purpose and profound inner knowledge; actualization of self. For a singer, few losses are more painful than losing your authentic form of self and communication. Lucky for me, I know just the place that can help me express, share and heal such emotions, the operatic stage!

Q: What is your opera dream role?
A: My heart lies in the dramatic Verdian and Wagnerian repertoire. The first dream role (of many) that comes to mind is Eboli from Verdi’s Don Carlo.
 
Q: What is the most challenging thing you have ever done in your life? 
A: Following my remission from cancer in 2013, I was hit by three different drivers in Los Angeles in auto accidents resulting in multiple injuries. I refer to this time period as my dark decade. I eventually healed my body, further strengthened my mind and doubled down on getting my broken self back to where I belonged, on stage. Returning to the operatic circuit in a new, larger body, with a new, larger voice, not to mention a track record of being M.I.A. for years was truly petrifying. I would shake with anxiety prior to auditions, having been so out of practice singing anywhere else than the safety of my beloved teacher’s warm and inviting studio. My first audition back, I felt my entire body freeze the second the accompanist began playing Tacea la notte placida. It felt like a death march, frozen in time. I recognized on a subconscious level, that not singing would be far worse than pushing through this newfound stage fright. So, I sang and I sang well. This may not sound like a challenge or feat compared to climbing a tall peak, or fighting injustice, but for a young singer who had lost a lot, her hope, her passion and her purpose, in that singular moment, I felt proud of myself.

Q: What was the moment you realized you wanted to become an opera singer?
A: I was fourteen years old sitting in diction class on a Friday afternoon when my teacher popped in a VHS of Le Nozze di Figaro starring Dame Kiri Te Kanawa. As a former drama and choir kid who loved jazz and had difficulty palating musical theatre, it was a revelation watching my first opera. This art form offered everything I could ever want, from the challenging music and vocal style, to the elaborate costumes and theatrical staging. I fell in love, and I fell hard and fast. Looking back, against all logic and reason, I can openly admit that I was born an opera singer.
 
Q: What was your most glorious moment, or what would you consider the high point of your career?
A: Debuting in the title role of Carmen with Pacific Lyric Association will truly be the highlight of my career to date. To discover this character in a collaborative and artistically nurturing environment that PLA creates surrounded by tremendous talent and kind-hearted colleagues, it’s nothing short of magical. I hope I can do her (Carmen) justice. Bizet be with me. 

About Anna Pflieger
Anna Pflieger, dramatic mezzo-soprano, is an award-winning vocal artist recognized for her arresting vocal timbre and bold stage presence.

Ms. Pflieger’s most recent engagements include: 2022 Wagner Society of Southern California Wesendonck Lieder Soloist, Pacific Lyric Association title role debut as Carmen in Bizet’s Carmen, LAKMA Symphony Beethoven Symphony No.9 Alto Soloist Walt Disney Concert Hall, Pergolesi’s Stabat Mater Alto Soloist, Mozart Requiem Alto Soloist, 2021 Opera West! debut as Cio-Cio-San’s Mother in Puccini's Madama Butterfly, 2020 VOPA debut as Marthe in Gounod’s Faust, CSUN Beethoven’s Symphony No.9 Alto Soloist.

Recent honors include: 2021 Palm Springs Opera Guild Vocal Competition semi-finalist, 2020 Mentoris Voice Vocal Competition finalist and encouragement award recipient, 2019 Metropolitan Opera National Council Auditions Western Region semi-finalist and encouragement awardrecipient, 2019 Burbank Philharmonic Hennings-Fischer Young Artist Competition finalist, The Opera Buffs Inc., Artist Grant Award recipient, and first place recipient of the 2019 Bell T. Ritchie Award.

Ms. Pflieger serves as co-founder of Artists Coalition of Los Angeles, a non-profit organization advancing classical arts and culture, and is an alumnus of NYU Tisch, Pepperdine University, International Lyric Academy of Rome and Idyllwild Arts Academy. She currently prepares roles under the guidance of Claudine Carlson and William Vendice. She particularly enjoys singing the works of Verdi, Strauss, Tchaikovsky and Wagner and looks forward to embracing this repertoire for years to come.

Anna Pflieger is based in Los Angeles and is available for engagements worldwide.

I started to work with Pacific Lyric Opera when the founders, Carlos and Terry Oliva, were heading the organization. I met the Olivas many years ago in Santa Barbara because I was auditioning for the productions at Santa Barbara Opera as a tenor. I should say that I was not directing opera at the time but singing onstage in productions. My repertory included the tenor leads in such operas as “Tosca,” “Madam Butterfly,” “La Traviata,” among others, including my favorite, “Carmen.” The very talented Olivas were auditioning for Santa Barbara opera as well. Their young son, also named Gabriel, was auditioning for the great American opera "Amahl and the Night Visitors", as was Terry for the role of the mother. We got to know each-other after that and sang together many times in various works.

Several years later, my wife, a wonderful soprano, and I were visiting the Olivas in San Diego when they were rehearsing “Rigoletto” by Verdi, and they invited me to direct their next opera. By that time, I had been artistic director for a regional opera in Los Angeles, Guild Opera Company, the second oldest opera company in California, after the San Francisco Opera. Guild Opera Company specializes in community outreach and outreach to elementary schools. I am immensely proud to have been with Guild Opera Company all these years. I am completing my twenty-second year with them. The company gives opportunities to professional singers and up-and-coming talent in the Southland. For example, artists such as Marilyn Horne, the famous mezzo-soprano, Marnie Nixon, famous for being the voice to Natalie Wood in the film version of "West Side Story," Audrey Hepburn in the film version of "My Fair Lady," and Mary Costa, the voice and body for the original Disney "Sleeping Beauty," all got their start with Guild Opera Company. Since that time, I have had the pleasure of directing various productions with PLA, including “Carmen.” Last season I directed “Die Fledermaus,” the greatest operetta written in my opinion. That was fun, fun, fun!

I started in the world of music as a child playing violin. I attended conservatory in my native Cuba. I also sang as a kid and for a while had a children's radio program with two of my sisters. After the difficult migration from the repressive and communist Cuba, I was able to pick up the violin and learn viola in high school and college in Glendale, California. My passion was singing, so I dedicated my efforts to that endeavor and went to Cal State University Northridge where there was a terrific program. I was fortunate to sing in many operas there and after college continued my studies with a wonderful teacher, Ms. Elisabeth Parham, who became my mentor. Thanks to her, I was able to have a career on the operatic stage. I have been extremely fortunate to pursue my passion and I am grateful for the opportunities which were afforded to me in this great country.

I am looking forward to this production of “Carmen” and give my gratitude to Maestra Alex Keegan and Justin Gray, producer extraordinaire as well as expert musician. It is an opera which is close to my heart and was the second opera of which I became aware in my young life. The first was Mozart's "Magic Flute" which cast a spell over me. However, when I discovered “Carmen,” it quickly became a favorite. 

“Carmen” is truly a masterpiece of music and theater. No wonder it is arguably the number one opera in the world. To think that it was considered a failure when it premiered, that Bizet, its composer, died soon after its premiere and never got to see the triumph that it became. That, in and of itself, is "operatic" in scope! 

ABOUT Gabriel Reoyo-Pazos
Director Gabriel Reoyo-Pazos is the recipient of the 2007 El Angel Award from the Bilingual Foundation of the Arts. He has sung leading operatic roles, as well as roles in zarzuelas, oratorios, and musicals with various companies, including Anchorage Opera, Spanish Lyric Theater in Tampa (Florida), West Bay Opera, Spokane Opera, Santa Barbara Opera, Glimmerglass Opera, LA Music Center, The European Symphony, Long Beach Symphony, and The Angeles Chorale.
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Mr. Reoyo-Pazos’s directing credits include Enrique Gonzalez-Medina’s opera “Serafina y Arcángelaat” at the Theater Center in Tijuana (Mexico), “The Marriage of Figaro,” at The Ventura College Opera Workshop, “Cavalleria Rusticana,” “Amahl and the Night Visitors,” and “Suor  Angelica,” for Riverside Opera, and “La Bohéme,” for Ridgecrest Opera Guild as well as Guild Opera Company. For Pacific Lyric Association, he has directed “Carmen,” “La Traviata,” “Il Trovatore,” and “Tosca.”