Music by Georges Bizet
Libretto by Henri Meilhac and Ludovic Halévy
New arrangement by Daniel Schlosberg
Adapted by Louisa Proske
The border is a place of intense turmoil. This radical new adaptation strips down Bizet’s explosive masterpiece to the four central characters as they hurl themselves against real and imaginary fences. Carmen’s existential dare seduces the enemy in uniform – but in the game of sexual transgression, which lines cannot be crossed?
Carmen // Sishel Claverie
Don José // Brent Reilly Turner
Escamillo // Ricardo Rivera
Micaëla // Jessica Sandidge
Stage Direction // Louisa Proske
Music Direction // Daniel Schlosberg
Choreography // Chloe Treat
Fights // Rick Sordelet
Set Design // Kate Noll
Costume Design // Beth Goldenberg
Lighting Design // Oliver Wason
Explore the Festival
BUTTERFLY // May 20, 23, 26 & 28
This daring new adaptation of Puccini’s iconic romance explodes the legacy of Western fetishization of the tragic geisha, Madama Butterfly.
Learn more ›
COLLABORET // May 24
Join us for an evening of eclectic music-theater which draws from Heartbeat Opera's ever widening community of artists and expands the definition of opera.
Learn more ›
OPENING NIGHT GALA // May 23
Enjoy a double-bill of BUTTERFLY & CARMEN with premium seating and an exclusive prosecco toast at intermission.
Learn more ›
Meet the Team
Stage Director & Adaptation
Louisa Proske directs opera, classical theatre, and new plays with equal passion and is the proud Founding Co-Artistic Director of Heartbeat Opera. Productions in opera include Agrippina (Lincoln Center debut), Così fan tutte (LoftOpera), Lucia di Lammermoor, Daphnis & Chloé (Heartbeat Opera), Falstaff (Dell’Arte Opera), Gianni Schicchi, Riders to the Sea, La Voix Humaine (Yale Opera); Invisible Cities (world premiere, Italian Academy New York). Theatre includes peerless (nominated for a Berkshire Theatre Award for Outstanding Direction) and Engagements (Barrington Stage Company), One Day When We Were Young (Assembly, Edinburgh), ‘Tis Pity She’s A Whore (The Tank), Cymbeline and As You Like It (Yale Drama), and Macbeth (European tour). Louisa has assisted such prominent opera directors as Willy Decker, Harry Kupfer and Robert Woodruff. Louisa is an alumna of the Drama League Director’s Project. She holds an MFA in Directing from Yale School of Drama, and she is on faculty at Maggie Flanigan Studio teaching Shakespeare Acting and Script Analysis. www.louisaproske.com
Music Director & New Arrangement
The music of composer and pianist Daniel Schlosberg has been performed by the the Dover Quartet, Cabrillo Festival Orchestra, Buffalo Philharmonic, Amphion Quartet, Aspen Contemporary Ensemble, Antico Moderno, and Lorelei Ensemble, at such venues as Carnegie Hall (New York), Victoria & Albert Museum (London), St. John’s Cathedral (Hong Kong), and Melbourne Recital Centre (Melbourne). Recent work includes the score for a music-theatrical adaptation of Lorca’s Once Five Years Pass at the Williamstown Theatre Festival, and music direction of Brecht’s Caucasian Chalk Circle at the Yale Repertory Theatre, where he premiered a score by David Lang. He cofounded the composer/performer ensemble INVISIBLE ANATOMY, which debuted last spring with concerts in New York City and at the Beijing Modern Music Festival. Schlosberg received a 2014 Charles Ives Scholarship from the American Academy of Arts and Letters and 2014 ASCAP Morton Gould Young Composer Award. He holds a bachelor’s degree from Yale University and a master’s from the Yale School of Music. His work has been described as “witty” by the Wall Street Journal.
Praised for her “smoky and seductive voice” and for her “winning vocal power and comic timing”, Mexican Mezzo-soprano Sishel Claverie is quickly gaining recognition as a stage performer.
This season, Ms. Claverie made her New York City Opera debut with the role of Baroness and the cover of Old Lady, in their new production of Candide, directed by the legendary Harold Prince.
Last year highlights include her debut with El Paso Opera singing the title role in Carmen; the world premiere of the opera Beloved Prey by Kento Iwasaki, in the role of Lioness; Benjamin Britten’s cantata Phaedra, with The Houston Symphony Players, and a recital at the Aldeburgh Festival in the UK.
Sishel holds a bachelor's degree in Music from the University of Houston and a Master's degree in Music from Rice University. She currently resides in New York City.
Brent Reilly Turner
In 2016, American tenor Brent Turner makes his company debuts with Austin Opera in the role of Carlson in Floyd’s Of Mice and Men and Atlanta Opera in the role of Crown Prince in Puts’ Pulizter Prize winning Silent Night. He was also named the grand prize winner at this year’s McCammon Voice Competition in Ft. Worth, TX. In 2015, Turner received grand prize honors at the James Toland Competition in Oakland, CA. He also was named the grand prize winner at the 2015 New Jersey State Opera Competition held in Clifton, NJ.
Turner received 1st place honors at the 2014 Peter Elvins Vocal Competition and again at the 2014 Mary Jacobs Smith Singer of the Year Competition hosted by Shreveport Opera. Turner received 2nd place honors at the 2014 Dallas Opera Guild Competition,
Turner holds a Bachelor of Music degree from Stetson University and a Master of Music from the College-Conservatory of Music at the University of Cincinnati.
Ricardo Rivera, Baritone, made debuts at the Lyric Opera of Chicago, Houston Grand Opera, and San Diego Opera as Acalán in El pasado nunca se termina. This season, he sang Hérode in Hérodiade with Washington Concert Opera; Enrico in Lucia di Lammermoor and Lt. Audebert in Silent Night with Opera San José; and Escamillo in Carmen with Musica Viva Hong Kong. He has performed with: Santa Fe Opera, Opera Philadelphia, Opera Orchestra of NY, El Paso Opera, Castleton Festival, Knoxville Opera, Chautauqua Opera, and Opera Company of Middlebury. He is a graduate (B.M., M.M., & PdPL) of Mannes College the New School for Music where he was the recipient Richard F. Gold Career Grant.
Soprano Jessica Sandidge has been described as having a "genuinely beautiful sound throughout her voice." She recently joined the Metropolitan Opera covering the role of Jano in Janácek's Jenufa, and made her second appearance at Lincoln Center as the Soprano soloist in the National Chorale's Messiah (Händel). Her Lincoln Center debut was just a few months prior, when she performed Violetta's aria, Ah, forse è lui...Sempre libera with the ISO of New York. Of her performance as Mimì with Martina Arroyo's Prelude to Performance, Anthony Tommasini of the New York Times wrote: “[she] brings a melting soprano voice and vulnerability to Mimi…”