Rossini’s rarely seen comedy takes the Merola Opera Program stage (Jul. 31 & Aug. 2)

MEROLA OPERA PROGRAM PRESENTS
LE COMTE ORY
7:30pm, Thursday, July 31 & 2:00pm, Saturday, August 2

SAN FRANCISCO, CA (4 June 2025) — The Merola Opera Program continues its Summer Festival season with a fully staged production of Rossini’s rarely performed comedic gem, Le Comte Ory. Metropolitan Opera conductor Pierre Vallet makes his Merola debut leading the orchestra, while director Garnett Bruce brings the production to life on stage. This delightful comedy bursts with laughter, romance, and mischief as Count Ory stops at nothing—disguising himself in increasingly ridiculous ways—to win the heart of Countess Adèle. However, he’s not the only one scheming for her affection; his clever page is also in love with the Countess and the two of them are hatching a plan of their own. Featuring a whirlwind of mistaken identities, gender-bending disguises, and Rossini’s effervescent melodies, this joyful romp is a celebration of wit, charm, and dazzling vocal acrobatics. Le Comte Ory, the third production in the Summer Festival will be presented in French with English supertitles 7:30pm, Thursday, July 31 and 2:00pm, Saturday, August 2, 2025, at the San Francisco Conservatory of Music Caroline H. Hume Concert Hall, 50 Oak St., San Francisco. For more information or to purchase tickets ($68, $38, $18 (ages 25 and under)), the public may visit merola.org or call the San Francisco Box Office at 415-864-3330.

Rossini’s Le Comte Ory premiered in 1828 at the Paris Opéra and stands as one of the composer’s final operatic works. A comic opera (opéra comique) in two acts, it was Rossini’s second French-language opera and showcases his signature wit, show-stopping vocal feats, and inventive orchestration. The libretto, by Eugène Scribe and Charles-Gaspard Delestre-Poirson, is based on a medieval tale about a lecherous count who disguises himself to gain access to a convent full of noblewomen. Uniquely, Rossini repurposed music from his earlier sacred opera Il viaggio a Reims, giving Le Comte Ory a brilliant and theatrical score that blends farce with elegant bel canto style.

Featured in this work are Merola artists tenor Minghao Liu as Comte Ory, soprano Eva Rae Martinez as Comtesse Adèle, mezzo-soprano Meg Brilleslyper as Isolier, bass-baritone Wanchun Liang as Gouverneur, baritone Benjamin Dickerson as Raimbaud, mezzo-soprano Ariana Maubach as Ragonde, and soprano Sofia Gotch as Alice.

The Comtesse’s Ensemble is made up of sopranos Alexa Frankian, Chea Kang, and mezzo-soprano Anna Maria Vacca and the Comte’s Ensemble is composed of baritone Joeavian Rivera, bass-baritone John Mburu, and tenor Jin Yu.

The creative team assembled to bring Rossini’s piece to life includes Pierre Vallet (Conductor), Garnett Bruce (Director), Liliana Piñeiro (Scenic Designer), Miriam Lewis (Costume Designer), Davida Tkatch (Lighting Designer), and Calli Carvajal (Wig and Makeup Designer).

ABOUT CONDUCTOR PIERRE VALLET

Pierre Vallet is a distinguished French conductor renowned for the elegance and intensity of his interpretations. A frequent guest with leading opera houses worldwide, his notable engagements include Madama Butterfly and Faust at the Metropolitan Opera; Tannhäuser, Carmen, and The Tales of Hoffmann at L’Opéra National de Paris; Samson et Dalila and Carmen at The Dallas Opera; Orfeo at Opera Theatre of Saint Louis; Don Carlo at the Lithuanian National Opera Theater; La Juive at Göteborg Opera in Sweden; and Faust at the Gran Teatre del Liceu in Barcelona. For over two decades, Vallet has been associated with the Metropolitan Opera in New York, initially as a pianist and coach, and later as a staff conductor. He has enjoyed a long-standing collaboration with Seiji Ozawa, working on nearly forty operatic productions across Japan, the U.S., and Europe, including performances at the renowned Saito Kinen Festival. Vallet’s symphonic work encompasses appearances with the Royal Philharmonic Orchestra in London, Camerata Royal in Bucharest, Filarmonica Brașov, National Philharmonic of Chisinau, St. Petersburg Philharmonic Orchestra, and the Spoleto Festival USA. He has recorded Chopin’s and Beethoven’s piano concertos with pianist Elizabeth Sombart and the Royal Philharmonic Orchestra; the Beethoven recordings were recognized by Classical Music Magazine as among the top ten releases for Beethoven’s 250th anniversary. A dedicated educator, Vallet serves on the faculty at The Juilliard School and is a sought-after lecturer and guest teacher at premier institutions, including the Metropolitan Opera’s Lindemann Young Artist Development Program, Aspen Music Festival, Tanglewood Music Center, and Houston Grand Opera Studio.

ABOUT DIRECTOR GARNETT BRUCE

Garnett Bruce is an esteemed American opera director celebrated for his dynamic interpretations of classic operas and his commitment to artist development. His extensive career encompasses directing engagements with leading opera companies, including the Lyric Opera of Chicago, San Francisco Opera, Houston Grand Opera, and San Diego Opera. Internationally, he made his European debut with a production of Turandot at the Teatro di San Carlo in Naples. Bruce’s repertoire is notable for large-scale productions of operatic staples such as Turandot, Carmen, Tosca, Aida, Pagliacci, and La Bohème, which have been staged across the United States. His acclaimed rendition of Rossini’s La Cenerentola for Kansas City Opera has been performed in Austin, Orlando, and Madison. Beyond directing, Bruce has held significant educational roles. He served as Artistic Adviser and Principal Stage Director for Opera Omaha from 2008 to 2011, leading a cycle of the Mozart-Da Ponte operas. He has been affiliated with the Peabody Conservatory of Johns Hopkins University since 2004, receiving a faculty appointment in 2006. Additionally, he was part of the Aspen Music Festival and School staff from 1993 to 2019. In 2022, Bruce joined the University of Texas at Austin’s Butler School of Music as a Lecturer in Opera Studies and Stage Director for the Butler Opera Center. He also serves as Artistic Advisor to Opera San Antonio. A native of Washington, D.C., Bruce began his musical journey as a choirboy at the Washington National Cathedral and has completed prestigious internships with Harold Prince and Leonard Bernstein, experiences that significantly influenced his approach to opera direction.

ABOUT THE MEROLA OPERA PROGRAM

The Merola Opera Program is widely regarded as the foremost opera training program for aspiring singers, pianists, and stage directors. Merola nurtures the opera stars of tomorrow through master classes and private coaching with opera’s most accomplished singers, coaches, conductors, and directors. Participants also receive training in operatic repertoire, languages, diction, acting, stage movement, and professional development. Offered free of charge to all participants, the Merola Opera Program is unique in the industry, providing a comprehensive curriculum with a strong emphasis on developing the “whole” artist. This includes personal and leadership development, financial planning, mental and physical wellness, as well as public relations and branding. It is the only young artist program to provide financial support to developing artists for five years following their participation, offering aid for essential career development expenses including coaching, language classes, and audition travel. Learn more at merola.org.

FOR CALENDAR EDITORS

WHAT: The Merola Opera Program continues its Summer Festival season with a fully staged production of Rossini’s rarely performed comedic gem, Le Comte Ory. Metropolitan Opera conductor Pierre Vallet makes his Merola debut leading the orchestra, while director Garnett Bruce brings the production to life on stage. This delightful comedy bursts with laughter, romance, and mischief as Count Ory stops at nothing—disguising himself in increasingly ridiculous ways—to win the heart of Countess Adèle. However, he’s not the only one scheming for her affection; his clever page is also in love with the Countess and the two of them are hatching a plan of their own. Featuring a whirlwind of mistaken identities, gender-bending disguises, and Rossini’s effervescent melodies, this joyful romp is a celebration of wit, charm, and dazzling vocal acrobatics.

WHEN: 7:30pm, Thursday, July 31, 2025

2:00pm, Saturday, August 2, 2025

WHERE: San Francisco Conservatory of Music Caroline H. Hume Concert Hall

50 Oak St., San Francisco

TICKETS: $68, $38, $18 (ages 25 and under)

Ticket buyers can save 10 percent when purchasing tickets for all four productions* in the 2025 season. Ticket discounts are available for groups of 10 or more. Group Sales can be contacted at 415-621-4403.

*Discount is valid through June 25, 2025. All four performances must be purchased at the same time. The discount does not include the Merola Grand Finale Reception and cannot be combined with any other discounts.

INFO: For more information or to order tickets, please visit merola.org or call the San Francisco Box Office at 415-864-3330. The box office is open Monday, 10:00am-5:00pm, and Tuesday through Saturday, 10:00am-6:00pm (Saturday phones only). The Group Sales office is open Monday, 10:00am-5:00pm, and Tuesday through Friday, 10:00am-6:00pm.

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MEDIA: Paige D’Encarnacao, CBCO Public Relations & Marketing paige@cb-pr.com | 415-570-2623

PHOTOS: Downloadable high-res photos are available here: https://cbpr.co/press/lecomteory