Taking the Stage

How the Boulder Opera Company is shaping the local arts scen

By Irene Middleman Thomas  »  Photos by Alexis Molden

The musical form of opera has been around for some 400 years and quickly became a popular theater attraction throughout Europe. In 2012, Boulder became a home to this art form, with the creation of the nonprofit Boulder Opera Company by Dianela Acosta. 

Acosta, a classically trained singer with a master’s degree in voice performance from the University of Denver, is a seasoned ensemble artist who has performed with Central City Opera, Boulder Opera and Opera on Tap. Originally from Barcelona, Spain, Acosta brings a rich cultural background to each performance

The Boulder Opera has introduced thousands of people to opera in its short existence, which was no small endeavor, explains Acosta, now the Executive Artistic Director of the nonprofit. 

“Founding Boulder Opera was definitely a challenge, especially being located so close to a major city like Denver, which has its own well-established opera company. Securing funding and building support in a smaller city required persistent effort and creativity. From the beginning, we focused on building a strong community presence, and we’ve been able to develop multiple programs, including our education and outreach initiatives, field trips to the theater, MainStage productions and family series performances.”

Acosta notes that many Boulder Opera patrons are dedicated opera lovers who also attend performances by other opera companies in Colorado. However, a significant portion of the Boulder audience consists of first-time opera-goers, too.

“Our accessible family-friendly productions have brought people together,” Acosta notes. Hundreds of people, including many from underserved communities, have enjoyed free concerts, while educational programs have introduced thousands of students from Title 1 schools in the Boulder area to the beauty of opera.

This year’s December production of Jonathan Dove’s opera “The Adventures of Pinocchio” is specifically geared toward a younger audience, explains Education Director Alice Del Simone. “By offering shows that are engaging for younger audiences, we’re helping to build new opera lovers and introduce the art form to people who may not have experienced it otherwise.”

According to Del Simone, “The Adventures of Pinocchio” was chosen for its ‘dynamic and fun’ music, along with its colorful characters and inspiring message of growth and self-discovery. This will mark the first performance of the abridged, one-hour version of the opera, accompanied by an ensemble orchestra under the direction of the talented Mario Barbosa.

Del Simone emphasizes that the production is designed to delight audiences of all ages. Based on Carlo Collodi’s original “Pinocchio” story, this version heightens the stakes, giving Pinocchio’s risks more serious consequences. This approach allows the story to explore themes that resonate with adults, while still captivating young audiences (recommended for ages four and up) with its vibrant characters and dynamic music. Stage Director Zane Alcorn adds that this adaptation will offer a fresh take, distinct from other versions.

“I would say the biggest difference is that this opera is one of the most complete representations of the Pinocchio story,” Alcorn explains, “Every moment in the score leads to a new plot point, which simplifies some story elements. In cutting this show down to 60 minutes from 2.5 hours, we wanted to make sure the characters we kept in really had moments to shine.” 

The story of Pinocchio is rich with meaningful messages, but the one that resonates most with Alcorn is, ‘those who help others help themselves.’ “In many ways, Pinocchio is a coming-of-age story meant to subtly teach children how selfishness will always harm you,” he explains.

The next production will be Puccini’s “Il Tabarro” and “Gianni Schicchi” in a double-bill program that’s directed by Gene Roberts. “Puccini has been one of my very favorite composers for most of my life,” Roberts says. “I can’t think of a composer who picks up an audience more effectively. As an orchestrator of his own music, Puccini is unparalleled. Although the music is so beautiful it can be performed effectively with piano, hearing his operas with orchestra will transport you along his emotional landscape as this supreme melodist intended.”

Roberts, who earned a Bachelor of Music in vocal performance from the St. Louis Conservatory of Music, where he also studied opera stage direction, and a Master of Music in vocal performance from the University of Houston, explains why these choices are particularly meaningful. “When I saw that Boulder Opera was doing ‘Suor Angelica’ last season, I immediately thought we must do the other two parts of the triptych—’Il Tabarro’ and ‘Gianni Schicchi.’ ‘Il Tabarro’ is a gorgeous and dramatic work, and rarely heard outside the large opera houses which perform the entire work of three operas, and ‘Schicchi,’ well, it’s a treat. We see in this beloved work what a gift Puccini had for comedy!”

Boulder Opera thrives on the generous support of its donors, with its sustainability rooted in a blend of donations, grants, and ticket sales. Looking ahead, the organization aims to secure a permanent home, which will centralize its operations and enable an exciting expansion of programming. Learn more by visiting boulderoperacompany.com.