New York based director Linda Brovsky makes her Pacific Opera Victoria debut as director of the company's production of Kálmán's Countess Maritza.
Linda's innovative productions are found at the Santa Fe Opera, San Francisco Opera, Seattle Opera, Los Angeles Opera, San Diego Opera, Opera Theatre of St. Louis, Cincinnati Opera, Glimmerglass Opera, Palm Beach Opera, Austin Lyric Opera, Atlanta Opera and the Lyric Opera of Kansas City among many others.
Recent credits include her critically acclaimed production of Don Quichotte for the Canadian Opera Company, Rigoletto (Seattle Opera), La traviata (Cincinnati Opera), Madama Butterfly (Pittsburgh Opera), Tosca (Intermountain Opera), La Cenerentola (Syracuse Opera), Der Zigeunerbaron (Manhattan School of Music), L'Elisir d'amore (Indiana University), and The Wizard of Oz (Skylight Music Theatre).
Brovsky's smart, deceptively simple direction explores the imaginative world of the writer and the audience. Wedged between acts ... the audience is shown onscreen quotes from the novel resembling handwriting on parchment; it's as if we, in effect, are willing what happens onstage, with Quichotte's adventures become part-and-parcel of our imaginings. His longings, ambitions, even moral certitude, reflect our own higher (sometimes over-reaching) aims. There's something awfully ennobling about both the character and the way he's presented here.
Catherine Kustanczy, Bachtrack, review of Don Quichotte at the Canadian Opera Company, 2014
... the movie studio setting made for a clever approach.
Much of that was thanks to director Linda Brovsky’s staging, which embraced the opera’s textual and musical bedlam. Two handsome bulldogs accompanied Bartolo around the studio, an ideal representation of the over-the-top Hollywood executive. At the beginning, a movie screen displayed Bugs Bunny, whose “Rabbit of Seville” seared “Barber” into the American consciousness.
Elizabeth Bloom, Pittsburgh Post-Gazette, review of Pittsburgh Opera's The Barber of Seville, 2016