Photography by Daniel Ortiz
Styling by Todd Ramos
Models Brock Knighten and Samara Zuckerbod for Page Parkes Agency
Hair and makeup by Edward Sanchez for Arched Beauty
Special thanks to Chapman & Kirby
Lady Stephanie Kimbrell, Cory McGee, and Butler Studio artists, Ani Kushyan, Alissa Goretsky and Elizabeth Hanje (photo by Michelle Watson)
“Stephen Wadsworth’s brand-new production of Verdi’s perennially popular tragedy sets the story in modern Spain,” notes a rep for the company, “where old and new worlds coexist, cathedrals comingling with street art.”
The elaborate sets — with graffiti-style accents by 26-year-old Houston street artist Floyd Mendoza — and engaging contemporary costuming awed the audience, to say nothing of the singing by worldwide opera luminaries Raehann Bryce-Davis, Ailyn Pérez, Michael Spyres, Lucas Meachem, and Morris Robinson. One of Houston’s most beloved arts leaders, Artistic and Musical Director Patrick Summers, who recently announced a shift to an emeritus role in 2026, conducted the orchestra.
After the opera, Janet Gurwitch and Ron Franklin, chairs of the evening, welcomed some 425 guests to Fish Plaza, where “décor by The Events Company blended old-world charm with a modern edge, the dramatic yet elegant ambiance accentuated by rich hues of burgundy, teal, navy blue, and gold,” said the HGO rep. Dinner included a raved-over beet salad with frisee followed by beef short ribs with butternut squash and mushrooms. For dessert: dark chocolate torte.
Boldface names seen schmoozing about incude HGO General Director and CEO Khori Dastoor, Margaret Alkek Williams, Molly and Jim Crownover, Isabel and Danny David, Tracy and Valerie Dieterich, Carey Kirkpatrick, Franci Neely, Duyen and Marc Nguyen, Cynthia and Tony Petrello, Lindy and John Rydman, Anita and Gerald Smith, Phoebe and Bobby Tudor, Betty and Jesse Tutor, Hallie Vanderhider and famed opera composer Jake Heggie.
More than $600,000 was raised to support HGO’s community-engagement programs.
Omar and Maria Alaoui (photo by Michelle Watson)
Alecia Harris and Eivind Moen (photo by Emily Jaschke)
Lucas and Irina Meachem, and Tracy Maddox and John Serpe (photo by Emily Jaschke)
Janet Gurwitch, Raehann Bryce-Davis and Michelle Hevrdejs (photo by Michelle Watson)
Emily Bivona and Ryan Manser (photo by Emily Jaschke)
Nico Roussel and Teresa Procter (photo by Emily Jaschke)
Bobby and Phoebe Tudor (photo by Emily Jaschke)
Khori Dastoor and William and Huda Zoghbi (photo by Michelle Watson)
Melanie Smith and Michelle Klinger (photo by Michelle Watson)
Photo by Lynn Lane
The talented cast also includes baritone Alessandro Corbelli, a revered Rossini specialist, as Don Magnifico, tenor Jack Swanson as Prince Ramiro, baritone Iurii Samoilov in his company debut as the prince’s valet Dandini, and bass-baritone Cory McGee as the philosopher Alidoro.
On Nov. 9, as part of the HGO’s inaugural Family Day, kids and parents are invited to enjoy a special 90-minute version of the opera directed by Leonard and tailored for young audiences. The family-friendly production features low lighting and flexible entry and re-entry, and stars mezzo-soprano Deepa Johnny in her company debut as Angelina.
Isabel Leonard (photo by Michael Thomas)
On the surface, Cinderella may be frothy, but it is also incredibly challenging to sing, and in rehearsals, Leonard has to use two very different voices: one for singing, and one for speaking to and communicating with the cast. “It’s a different kind of vocal engagement to speak and be a leader, versus staying in a ‘singing’ state, which is also taxing,” says Leonard. “I’m generally exhausted! But it’s so much fun to direct, and I wouldn’t have it any other way.”
With still so few women directing opera, or for that matter, conducting or taking the lead in other creative roles, the HGO has addressed this disparity in recent productions, including Intelligence, directed by Jawole Willa Jo Zollar, and featuring dancers from Zollar’s company Urban Bush Women; and The Wreckers, directed by Louisa Muller. While Leonard believes anyone, regardless of gender, can bring a fresh perspective to an opera’s narrative, she confirms she has attempted to bring Cinderella into a more “equal zone.”
“It is challenging to recreate these existing versions of love stories that are already dipped in old tropes and written by men,” says Leonard, who is mother to a teenage son. “Thankfully, this English version has a little more room to expand since we are able to make cuts and write some dialogue.” (Joan Font returns to HGO to direct the “grown up” performances of Cinderella, the same production he directed for the company in 2007, and Lorenzo Passerini makes his company debut conducting.)
Other activities planned for Family Day before the performance and during intermission include a Craft-a-Rat station, where kids can make masks similar to the ones the rats in the show wear. (Fair warning, there are cute, but life-size rats in the production!) Kids will also have the opportunity to decorate a tiara or crown, visit a glitter bar and a princess photo station (probably in that order), enjoy story times and mobile book checkouts courtesy of Harris County Public Library, and visit an instrument petting zoo.
While the “adult” performances of Cinderella are a must-see for those new to opera or thoroughly familiar with the form, the Family Day production is designed to appeal to kids of all ages.
“Children are the best audiences. In fact, anyone who allows their imagination to run wild is the best!” says Leonard. “I hope for lots of giggles, laughter, applause, and focused engagement throughout the entire piece.”
Leonard in rehearsal (photo by Michael Bishop)