Charlotte, Opera Carolina: Gianni Schicchi e Suor Angelica

By G. Filippo Calgagno (Operamundus)

When we think of Italian opera in the United States of America, our minds are naturally drawn to the splendor of hallowed venues such as the Metropolitan Opera or Carnegie Hall in New York City. We would be gravely mistaken, however, if we assumed that outside the already mentioned Big Apple—or other major metropolitan areas renowned for their great orchestras and halls (such as Chicago, San Francisco, or Washington)—there were not an equally vibrant and high-quality musical offering.

Eric Ferring, picture by Jorge V. Torres

It is precisely for this reason that Opera Mundus deemed it particularly interesting to introduce its readers to an important institution such as Opera Carolina, the leading operatic organization of the city of Charlotte, North Carolina, and a national point of reference since 1948 thanks to its rich lyric seasons, hosted at the city’s Belk Theater. Led by Dr. Shanté P. Williams, General Director, and by Claudio Ferri, Artistic Director and Deputy General Director—whose engaging interview you can read on our website—the company also boasts a significant Italian presence, thanks in particular to Maestro Stefano Vignati, Music Director and Principal Conductor.

It is therefore no coincidence that the season-opening titles for 2026 were two distinctly “homegrown” works: Gianni Schicchi and Suor Angelica by Giacomo Puccini, inaugurating a season that nevertheless stands out for its wide-ranging repertoire in terms of genres and origins.

Presented in reverse order, the two operas shared essentially the same scenic structure, originally conceived and designed by Eric Renschler—a choice that proved not only practical and functional, but also effective in lending an overall coherence and a sense of ideal continuity to the performance. The arches crowning the center of the stage were thus easily transformed from the walls of a noble and elegant Florentine house of the late thirteenth and early fourteenth century into those of an austere convent. It was then the direction of another Italian, Carlo Antonio De Lucia, that brought life within this framework—first to the turbulent and grotesque affairs of the Donati household, and later to the suffering of Suor Angelica—through an approach overall faithful to the historical and geographical context of the libretto.

In Gianni Schicchi, De Lucia wisely focused on acting, benefiting from a young and lively cast who clearly enjoyed themselves while entertaining the audience. Particularly hilarious were the characters of Betto, the scruffy and clumsy family member, and the naïve Notary, unwittingly called upon to put the prank in writing: who would choose a professional to carry out a crafty scheme like Schicchi’s? Overall, there were no radical reinterpretations or surprises, but rather a narrative firmly rooted in the best sense of “tradition” (with highly faithful costumes), which nonetheless avoided becoming stale ritual. Instead, it benefited from a genuine freshness and spontaneity, along with commendable care in character development and relationships. The final scene was especially effective, with Buoso Donati resurrected and escorted offstage arm in arm with a satisfied Gianni Schicchi.

The vocal ensemble appeared well balanced and was expertly guided by Maestro Stefano Vignati, who managed to keep firm control of the performance even in moments that were rhythmically challenging for coordination between pit and stage, without sacrificing a lively and incisive interpretation. The Charlotte Symphony distinguished itself with a beautiful sound and vivid colors and dynamics.

Among the performers in this production (there were two casts), several made their debut at this theater. First and foremost was Jeffrey Grayson Gates, a confident and agile Gianni Schicchi on stage, with a clear baritonal timbre, well produced and fully at the service of interpretation.

The very young Katherine Holobinko, also appearing for the first time on the Charlotte stage, endowed the character of Lauretta with clarity and purity, both dramatically and vocally, offering effective dynamic shading, expressive phrasing, and an “O mio babbino caro” that was at once mischievous and languid.

Tenor Michael Owens portrayed Rinuccio. His performance showed some uncertainty, perhaps due to emotion, but despite his very young age he demonstrated resilience and the ability to proceed confidently and with ease in an opera that is dramaturgically swift and musically subtle.

Nancy Fabiola Herrara, picture by Jorge V. Torres

Greedy, petty, and authoritarian, Nancy Fabiola Herrera’s Zita effectively highlighted—with experience—all the traits of a character that embodies the Donati family’s cupidity, not without an incisive touch of scornful authority. She achieved this by fully bending her instrument to varied phrasing and expressive accents.

Completing the group of elders called upon to take the reins of the family after Buoso’s death was Dan Boye, offering an overall solid portrayal of Simone.

There were two couples and three debuts: Marco and La Ciesca were brought to life respectively by Michael Segura and Arlene Miatto Albeldas, in excellent musical and scenic synergy. The mezzo-soprano in particular stood out for her rich, homogeneous timbre, well projected into the hall, and for her highly musical phrasing.

As for the couple of Gherardo and Nella, the former was sung by Josh Avant, a tenor with a lovely silvery voice, and the latter by Jersey Roche, a soprano with an effective stage presence. This pair—Gherardo and Nella—cannot (even when they might wish to) do without their son, the restless and exuberant Gherardino, very well characterized by Maelle Kuzin.

Betto di Signa, as mentioned earlier, was perhaps the most fully developed character from an acting standpoint, thanks in part to the excellent Brendan Sienko, also appearing for the first time on the Belk Theater stage, who demonstrated vocal fluidity and control.

Gianni Schicchi, picture by Jorge V. Torres

The cast also included a successful appearance by Zachary Hugo as Maestro Spinelloccio, the pompous and unreliable doctor “of the Bolognese School,” who even seemed to hint at a slight Emilian accent, and by the trio of Messer Amantio the Notary, Pinellino the cobbler, and Guccio the dyer, well delineated respectively by Kellen Schrimper, Gustavo Morales, and Drizzie Burston. Samuel Hutagalung was Buoso Donati.

Suor Angelica, an opera of entirely different atmospheres and emotions, was also highly successful. Maestro Vignati conveyed with deep involvement the contrasts between the dark and severe ambiance of rigid convent life, the introspection of prayerful moments, and the torments of the protagonist—initially repressed and interspersed with glimmers of light and hope, then erupting into inexorable suffering until the climax of the moving final pages. Here, Puccini’s genius manages to touch even the coldest of hearts and immerse it in an otherworldly rapture. It is precisely in the desperate plea to be saved—not so much from death, which is desired, but from damnation—that the expressive pinnacle of this masterpiece is found. All these nuances of sweetness, longing, and pathos highlighted both the sonic qualities of the Charlotte Symphony and Vignati’s attentive, theatrical direction.

No less impressive were the singers. Marija Jelic portrayed Suor Angelica with a scenically inspired interpretation combined with a full, resonant voice, capable of mastering a role that is demanding both emotionally and musically, and of conveying to the audience—with immediate communicative power—the heartrending epilogue of the drama.

Suor Angelica, picture by Jorge V. Torres

Equally outstanding was the aforementioned Nancy Fabiola Herrera as the icy, authoritarian, and unyielding Zia Principessa. Here, Herrera seemed to give the character a particularly personal touch, allowing a fleeting glimpse of human hesitation when faced with Suor Angelica’s overwhelming pain at the news she receives. This, however, was only a brief hint, as the elderly woman immediately regains control and exits the scene enveloped once more in the darkness that introduced her.

Once again on stage, Katherine Holobinko confirmed the excellent impression already made in Gianni Schicchi, giving voice and presence to Suor Genovieffa with the same luminous quality and natural emission previously admired.

Appropriately austere was Martha Anderson’s Abbess, while once again Arlene Miatto Albeldas stood out for her dark-hued, rich, and well-projected timbre, as well as for the clarity and communicative power of her diction and phrasing, as Suor Zelatrice.

Completing the rich ensemble of nuns with homogeneity and effectiveness were Alina MacNichol (Mistress of Novices), Madeline Beitel Olivera (Nurse Sister), McKenzie Coleman (Suor Osmina), Katherine Kuckelman-Owens (Novice), the two Lay Sisters Jersey Roche and Lauren Russell, the two Alms Sisters Fan Yang and Kellie Williams, Brittany Currie as Suor Dolcina, Kim Blanchard as Lucilla, and the young Misha Kuzin as the Child.

The contribution of the Opera Carolina Chorus was also positive.

Antonio De Lucia’s stage direction showed the utmost respect for the score and libretto, following closely the many indications provided by the composer without becoming banal or uninteresting. Perhaps precisely for this reason, in its naturalness and simplicity, it recalled a way of making opera that one might call “traditional,” but which—when supported by strong performers on stage and a shared artistic vision—can still move and strike directly at the heart.

Final praise is due to Emily Jarrell Urbanek, Director of Music Preparation and Assistant Conductor; Susan Roth-Hayes for lighting; Martha Ruskai, Wig and Make-up Designer; and Sophia Su, collaborative pianist.

Our journey in America has only just begun, and the first stop in Charlotte spoke to us of passion, enthusiasm, and a desire to work with professionalism and ambition—respectful of history yet open-eyed toward the future and toward young artists. We will gladly return, sooner or later, in the hope that opera continues to find its way ever deeper into the hearts of all, even here, thousands of miles from the places where it was born.