{"id":123750,"date":"2025-08-02T09:28:57","date_gmt":"2025-08-02T13:28:57","guid":{"rendered":"https:\/\/www.bu.edu\/cfa\/?page_id=123750"},"modified":"2026-07-15T18:22:24","modified_gmt":"2026-07-15T22:22:24","slug":"opera-institute-student-information","status":"publish","type":"page","link":"https:\/\/www.bu.edu\/cfa\/music\/opera\/opera-institute-student-information\/","title":{"rendered":"Opera Student Information"},"content":{"rendered":"
Welcome to the Opera Institute student information page. Here you will find information about casting, class rosters, and production-related news.<\/strong> <\/span><\/h5>\n
\n

2026 Fringe Festival Cast Lists<\/h4>\n

Seven Deadly Sins<\/em><\/h4>\n

(Performed in English)<\/em>
\nKurt Weill\/Bertolt Brecht
\nMatthew Larson, Music Director
\nNathan Troup, Stage Director<\/p>\n

Anna I\/II:\u00a0 Lindsey Weissman\/Makenna Palacio
\nCover: Janae Peterson<\/em>
\nFather (tenor 1):\u00a0 Youxin Wang
\nBrother I (tenor 2):\u00a0 Zhenao Xiao
\nBrother II (bass 1):\u00a0 Greyson Kemper
\nMother (bass 2):\u00a0 Gonza Lamego<\/p>\n

Vinkensport<\/em><\/h4>\n

David T. Little\/Royce Vavrek
\nAllison Voth, Music Director
\nLauren Lenz, Stage Director
\nIan Henscheid, conductor<\/p>\n

Sir Elton John\u2019s Trainer:\u00a0 Abigail Orr\/Rose Carilli
\nHoly St. Francis\u2019 Trainer:\u00a0 Isabella Abbrescia\/Dongge Li
\nHans Sach\u2019s Trainer:\u00a0 Minsun Im\/ShuangXiang Shan
\nPrince Gabriel III Trainer\u2019s Son:\u00a0 Matthew Feinberg\/Wenlong Zhang
\nAttiicus Finch\u2019s Trainer:\u00a0 Jongho Woo\/Tae Woong An
\nFarinelli\u2019s Trainer: TBA<\/p>\n

\n

Production: Rehearsal and Performance Protocols<\/b><\/span><\/h4>\n

Attendance and Punctuality<\/b>
\nThe success of each production, as well as your personal development as an artist,\u00a0 depends on full participation in all published rehearsals and coachings.\u00a0 Attendance and punctuality is assumed and expected for all activities.\u00a0<\/span><\/p>\n

\u201cTo be early is to be on time, to be on time is to be late, to be late is to be forgotten.\u201d<\/span><\/i><\/p>\n

Preparation<\/b><\/span>
\nFirst musical coaching of assigned material<\/b>\u00a0<\/span>(including scene assignments, and principal, comprimari roles and ensemble for staged productions) <\/span><\/i>Student is responsible to arrive comfortable and familiar with the assigned music and able to sing\u00a0<\/span>all notes, rhythms, and language with a score.<\/span><\/p>\n

Final musical rehearsal before staging<\/b>
\nStudent may hold score for taking coaching or conductor\u2019s notes, but music must be memorized\u00a0<\/span>and translated.<\/span><\/p>\n

First Staging rehearsal<\/b>
\nStudent must be off book, know the language word for word, and be ready to move freely without the score and integrate stage direction. <\/span>Covers\u00a0 must be off book by the first run-through of the entire opera, and also are expected to know the staging by that time.\u00a0\u00a0<\/span>
\n~
\n*Failure to meet the preparation expectations (above) will result in dismissal from assigned role.<\/p>\n

Staging and Technical Rehearsal\u00a0 Schedules<\/b>
\nAll company members are expected to be available for all published rehearsal times during the staging period for mainstage and Fringe productions:<\/span><\/p>\n

    \n
  • Mainstage:\u00a0 Staging usually begins 5 weeks before opening.<\/span><\/li>\n
  • Fringe and Satellite productions:\u00a0 Staging begins 2-3 weeks before opening.<\/span><\/li>\n
  • Technical rehearsals at the theater generally begin one week before opening, and can\u00a0 <\/span>require up to 10 hours per day.\u00a0<\/span><\/li>\n<\/ul>\n

    \u00a0<\/span>Ensemble\/chorus rehearsals are generally held within normal opera class times until 2 weeks prior to opening, when weekend and evenings are expected.. \u00a0Scenes rehearsals are all held during opera class designated class times, except on tech\/dress weekend. \u00a0(Special rehearsals may be arranged by advance agreement of all parties).<\/span><\/p>\n

    Dress Rehearsals, Sitzprobes and Performances<\/b>
    \nAll cast members are expected to attend all dress rehearsals and Sitzprobes for the opera productions, although exceptions may be granted for alternating casts at the discretion of the faculty and the stage director.\u00a0\u00a0<\/span><\/p>\n

    All cast members are expected to arrive at their call time indicated on the daily call for wigs, make-up, or other pre-show necessities.<\/span><\/p>\n

    Students in the chorus\/ensemble will be given a separate and specific schedule of calls in advance of the production period<\/span><\/p>\n

    Double Cast Protocols:<\/b><\/span>
    \nEach pair of double cast roles are also expected to be available as covers for their alternate cast member.<\/span><\/p>\n

    Alternate cast members shall be \u201con-call\u201d during all performances when they are not performing the role in case their alternate becomes unavailable.\u00a0 This includes:<\/span><\/p>\n

    -Being on the premises of the performing venue<\/span><\/p>\n

    -Informing stage management of your location<\/span><\/p>\n

    -Being available to receive phone calls and\/or texts should circumstances require you to perform the role in place of your alternate.<\/span><\/p>\n

    (Covers: see \u201c<\/span>Responsibilities of Covers and\/or Understudies\u201d<\/b> below)<\/span><\/p>\n

    Master Schedule and Daily Call<\/b><\/span>
    \nEvery effort is made on the part of the\u00a0 faculty, managing director and stage management\u00a0 to provide timely notification of schedules. \u00a0A Master Schedule for each production will be released at least one month prior to the start of staging.\u00a0 This schedule will include expected time frames that all company members must save for rehearsal, and details for each day of rehearsal will be released via a daily call, published the evening before each day of rehearsal.<\/span><\/p>\n

    Absence Requests<\/b>
    \nIt is expected that all absence requests for\u00a0 production rehearsal times will be submitted at least two weeks prior to the start of rehearsals. In the event that special circumstances arise (family tragedy, unusual career opportunities) after this deadline, students should seek immediate counsel with the faculty and managing director and submit an absence request.<\/span><\/p>\n

    When accepting a role (or a cover role), it is assumed that the student does not have prior commitments (unless release has already been granted), and untimely requests could result in being removed from a role and affect your grade.<\/span><\/p>\n

    Responsibilities of Covers and\/or Understudies<\/b>
    \nAbsence Requests<\/b>
    \nAssigned covers are expected to use the procedures described above in obtaining a release for any rehearsal.<\/span><\/p>\n

    Musical preparation and music rehearsals<\/b>
    \nWhile every effort will be made by the faculty to provide coachings for the covers, it cannot be promised. Therefore, assigned covers should strive to learn and memorize the music to the best of their ability.\u00a0 Further, the covers are invited to attend any and all coachings of the cast member they are covering. <\/span>Covers are expected to attend all music rehearsals as indicated on the master calendar.\u00a0<\/span><\/p>\n

    Staging, tech and dress rehearsals<\/b>
    \nThe cover artist is expected to attend the following staging rehearsals:<\/span><\/p>\n

      \n
    • The initial staging of a given scene<\/span><\/li>\n
    • The review\/run through of an Act<\/span><\/li>\n
    • All \u201crun-through\u201d rehearsals in the 808 rehearsal space (usually during the final <\/span>week before moving to the Theatre.)<\/span><\/li>\n
    • All technical rehearsals at the Theatre<\/span><\/li>\n
    • One piano dress rehearsal (except on a stand-by basis in the case of illness)<\/span><\/li>\n
    • One orchestra dress rehearsal (except on a stand-by basis in the case of illness)<\/span><\/li>\n<\/ul>\n

      In the event that a principal artist is ill or has obtained a professional release, the cover artist may be requested to attend and work in additional rehearsals as necessitated by the absence of the principal artist.\u00a0 Every effort will be made to give timely notice to the cover should they be needed.\u00a0<\/span><\/p>\n

      Performances<\/b>
      \nCovers are expected to attend the opening night of each cast, and check in with Stage Management the morning of each show, providing accurate emergency contact information for each night of the run.\u00a0 Whether or not a cover will be asked to perform the role in performance is at the discretion of participating faculty.<\/span><\/p>\n

      If a cover artist is also in the ensemble of the production, the calls for the ensemble will be in addition to the above.<\/i><\/b><\/p>\n

       <\/p>\n

      \u00a0<\/i><\/b><\/p>\n

       <\/p>\n

      \u00a0<\/i><\/b><\/p>\n","protected":false},"excerpt":{"rendered":"

      Welcome to the Opera Institute student information page. Here you will find information about casting, class rosters, and production-related news. 2026 Fringe Festival Cast Lists Seven Deadly Sins (Performed in English) Kurt Weill\/Bertolt Brecht Matthew Larson, Music Director Nathan Troup, Stage Director Anna I\/II:\u00a0 Lindsey Weissman\/Makenna Palacio Cover: Janae Peterson Father (tenor 1):\u00a0 Youxin Wang […]<\/p>\n","protected":false},"author":14125,"featured_media":0,"parent":4700,"menu_order":4,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"bu-publication":[],"_links":{"self":[{"href":"https:\/\/www.bu.edu\/cfa\/wp-json\/wp\/v2\/pages\/123750"}],"collection":[{"href":"https:\/\/www.bu.edu\/cfa\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.bu.edu\/cfa\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/cfa\/wp-json\/wp\/v2\/users\/14125"}],"replies":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/cfa\/wp-json\/wp\/v2\/comments?post=123750"}],"version-history":[{"count":25,"href":"https:\/\/www.bu.edu\/cfa\/wp-json\/wp\/v2\/pages\/123750\/revisions"}],"predecessor-version":[{"id":131877,"href":"https:\/\/www.bu.edu\/cfa\/wp-json\/wp\/v2\/pages\/123750\/revisions\/131877"}],"up":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/cfa\/wp-json\/wp\/v2\/pages\/4700"}],"wp:attachment":[{"href":"https:\/\/www.bu.edu\/cfa\/wp-json\/wp\/v2\/media?parent=123750"}],"wp:term":[{"taxonomy":"bu-publication","embeddable":true,"href":"https:\/\/www.bu.edu\/cfa\/wp-json\/wp\/v2\/bu-publication?post=123750"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}