Western Brooklyn

Regina Opera Kicks Off Season With Dazzling “Salute To Broadway” Concert

Soloist Elana Gleason performs "Italian Street Song."
Soloist Elana Gleason performs “Italian Street Song.”

Despite it being Super Bowl Sunday, a small but energetic crowd of all ages turned out to see Regina Opera’s 45th Season debut performance this weekend.

The midday “Salute to Broadway” concert took place on the elegant stage at their relatively new location, Basilica Our Lady of Perpetual Help (5902 6th Avenue), on February 1. Accompanied a grand piano and flute, soloists belted out short selections from popular Broadway shows like Phantom of the Opera, South Pacific, and West Side Story, mixed in with several opera songs.

The matinee concert opened with a memorable performance of “Italian Street Song” (Naughty Marietta) sung by soprano Elana Gleason, followed by an fun rendition of “Wouldn’t You Like To Be On Broadway” (Street Scene) performed by tenor Nicholas Connelly. Later, the audience was moved by Michelle Pretto’s performance of “My Man’s Gone Now” (Porgy and Bess), a heartbreaking aria of lost love composed by George Gershwin.

There were also several foreign language songs – which were translated into English in the playbill – including “La Vie En Rose,” sung in French, “Czardas” (Die Fledermaus), sung in German, and two Spanish Argentinian tangos.

In addition, there were performances by Jessica French and Dan Kerr, with Richard Paratley on the flute and Victoria Ulanovskaya on the piano throughout.

Next month, the opera company will be showcasing Gioachino Rossini’s comic opera “The Barber of Seville,” with perfomances on March 7, 8, 14, and 15. English supertitles will allow opera goers to follow along and understand the jokes.

For more information, or to buy tickets, visit the Regina Opera Company website, or call 718-259-2772.

The performances are made possible by the generous contributions of several city organizations, including the offices of Councilmen Carlos Menchaca and Vincent Gentile; NYC Department of Cultural Affairs; and the Brooklyn Community Foundation.

Advertisement
Comment policy