The Robin Hood-like figure of Zorro has cross-generational and cultural appeal, says Kostis Protopapas, Opera Santa Barbara’s Artistic and General Director. He knows of what he speaks, as a native of Greece who came to the United States in 1993 to study piano and conducting in Boston.
“It’s hard to find someone who doesn’t know about Zorro,” he says, recounting that conductor Anthony Barrese returned home from Fort Worth after leading the world premiere of Héctor Armienta’s new opera about the masked vigilante.
“At the word ‘Zorro,’ his daughters, both in their twenties, looked up from their cellphones. We took that as a good indicator of its appeal.”
Barrese also conducts Armienta’s “Zorro,” which is directed by Protopapas’ longtime collaborator Octavio Bardenas, to cap Opera Santa Barbara’s 30th anniversary season on Friday at 7:30 p.m. and Sunday at 2:30 p.m. at the Lobero Theatre. Check ticket availability at www.lobero.com.
Protopapas describes the opera’s score as “not far from classic opera, but more like a soundscape. It is very tonal, lush, romantic, with heavy Latin influences, much like an epic movie.”
Armienta also wrote the libretto, which is in Spanglish, a hybrid of Spanish and English spoken during his childhood among his Mexican American family. Projected surtitles offer the audience an English translation.
It took nearly ten years for the opera to debut after being commissioned by Opera Southwest (Alburquerque), Fort Worth Opera, and Armienta’s Opera Cultura in San Jose, which is dedicated to presenting Latino opera. COVID forced delays until a scaled-down version in Fort Worth in January 2022, followed by the fully staged world premiere by Opera Southwest in October 2022.
Zorro (Spanish for fox) first appeared in the 1919 novel “The Curse of Capistrano” by prolific “pulp” writer Johnston McCulley.
Douglas Fairbanks was the first to play the swashbuckling hero in the 1920 film “The Mark of Zorro,” and Antonio Banderas made a memorable Zorro most recently in 2005. There are more than 40 other films and ten television series.
Set in Alta California during the waning years of the Mission era, Spanish officials are cracking down on suspected revolutionaries. Don Diego, the scion of wealthy family and expert swordsman, dons a black mask and the name Zorro to defend commoners and Indigenous people. Too cunning for the inept authorities to catch, he enjoys publicly taunting them.
In the opera, not only does Zorro have to swordfight – he sings at the same time. It is a demanding role. Protopapas knew he had a good fit when he heard Chilian American tenor Xavier Prado in a competition.
“Xavier has an epic voice, is handsome, and has an endearing stage presence,” he says. “He also has a good sense of humor and can play both the hero and Diego. Audiences may remember him from our Callas tribute concert last year.”
But Zorro is not the only one with swordfights. His beloved Anna Maria, played by soprano Oriana Falla, also in her company debut, deftly manages a sword and later wields a bullwhip against the villains.
“She has just the voice this part needs, very warm with delicate high notes,” says Protopapas. “She is also very petite in stature. It will be fun to see her with the whip.”
The main nemesis Géneral Moncada is sung by Bernardo Bermudez, who Protopapas calls “a singing actor, and the nicest guy ever to play a bad guy.”
In addition to the 28-piece orchestra, local flamenco guitarist Chris Fossek performs both in the pit and is onstage during several scenes.
The set design is inspired by retro comic books, with digital projections on the stage’s back curtain. Three large panels also move around the stage with displays of different images. Set designer Daniel Chapman and director Cardenas previously collaborated on a similar design for 2019’s “Madama Butterfly.”
New Season Announced
Protopapas arrived at Opera Santa Barbara as Artistic Director in 2015 and was named General Director in December 2017. Next year marks his tenth season and he will conduct the three productions, all staged at the Lobero Theatre.
He hints that the production design of each opera is inspired by a different film genre, with November’s “Pagliacci” by Leoncavallo taking its look from Italian neorealism cinema (think: Fellini and Visconti). Mozart’s “Marriage of Figaro,” staged in February, is set on an early 20th century luxury cruise ship.
He is less sure of the final idea for Donizetti’s “Daughter of the Regiment,” but it promises to be a winner, with local favorite Jana McIntyre in one of opera’s most delightful coloratura roles.
Season tickets for 2024-25 are now on sale from $117 to $507. Single tickets go on sale April 22. Visit www.lobero.com for details.