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    • The Soul of the Pampas
    • Las Maldiciones
    • Guastavino En El Alma
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    • About Us
    • Music At The Missions
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    • Klara
    • Las Maldiciones (WP read)
    • Misa de Infantes
    • Veintiun-OH
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  • Home
  • The Soul of the Pampas
  • Las Maldiciones
  • Guastavino En El Alma
  • Music at The Missions 2
  • About Us
  • Music At The Missions
  • Círculo de Amigos
  • Klara
  • Las Maldiciones (WP read)
  • Misa de Infantes
  • Veintiun-OH
  • Gato y Mancha
  • Fernanda
  • If The Night Grows Dark
  • Ñomongeta
  • An Argentinian Affair
  • V. Villarroel - Y Volvere
  • Buenos Aires Then and Now
  • Cuando el Fuego Abrasa
  • Las Majas
  • Contact Us
  • The Soul of The Pampas

las maldiciones in concert

get Your tickets here

las maldiciones

world premiere of orchestrated version

The sexy conjunction of the lyrical voice, strings, and the bandoneon finds the propitious color for this rare ritual designed for a dramaturgy with tango reminiscences.

March 1st, 7:30 PM

In collaboration with National Sawdust, and New York City Opera. Featuring the composer at the bandoneon, soprano Sasha Gutiérrez, Arya Quartet, conducted by Mtro. Jorge Parodi.

Get Your tickets here

one night only!

Originally conceived to be performed with a certain irony on Valentine's Day, this original work for voice, bandoneon, and string quartet, deals with the dark feelings that an unrequited love could awaken in any of us. This sense of spite seeks to convert the thoughts towards the one that hurts us into daggers towards the perpetrator. However, far from achieving this objective, these daggers become wounds for the scorned soul, which thus consumes itself in its own ardor. A final moment of awareness about this contradiction saves the grieving spirit in a brief chord of peace. One day only, at the magical main stage of National Sawdust. 

Part of Veintiún-OH - Opera hispánica's 21st Century Chamber Opera

Part of Veintiún-OH - Opera hispánica's 21st Century Chamber Opera

Part of Veintiún-OH - Opera hispánica's 21st Century Chamber Opera

Part of Veintiún-OH - Opera hispánica's 21st Century Chamber Opera

Part of Veintiún-OH - Opera hispánica's 21st Century Chamber Opera

Part of Veintiún-OH - Opera hispánica's 21st Century Chamber Opera

Video

Watch a studio recording of Maldición Primera

Our artists

rodolfo zanetti

rodolfo zanetti

rodolfo zanetti

Born in Mendoza, Argentina, he studied at the Escuela Superior de Música at  the Facultad de Artes at the Universidad Nacional de Cuyo (Mendoza), studying piano with Maestro Jorge Urbay and Mónica Rizzo. He studied  bandoneon with Maestros Jorge Puebla and Alberto Hilario Iribarne, and since his teens he has been a member of numerous Tang

Born in Mendoza, Argentina, he studied at the Escuela Superior de Música at  the Facultad de Artes at the Universidad Nacional de Cuyo (Mendoza), studying piano with Maestro Jorge Urbay and Mónica Rizzo. He studied  bandoneon with Maestros Jorge Puebla and Alberto Hilario Iribarne, and since his teens he has been a member of numerous Tango ensembles.

In  2003 he directed the Operita María de Buenos Aires by Astor Piazzolla  and Horacio Ferrer under the auspices of the Astor Piazzolla Foundation.

He  has also collaborated with numerous Symphony and Chamber Orchestras,  performing on important stages in the United States, such as the Kennedy Center for the Performing Arts, Carnegie Hall, Lincoln Center for the Performing Arts, Birdland, etc. He has shared the stage with artists such as Ann Hobson, Pablo Ziegler, Emilio Solla, Leo Genovese, Daniel  Binelli, Martin Palmeri, Fabian Veloz, Savion Glover, among others. He has been awarded the First Prize of the International Bandoneon Competition “Che Bandoneón”. In 2018, the album “Vigor Tanguero” recorded with the Cuarteto Giraudo won the Latin Grammy Award for Best Tango Album. Until recently he was President of the Pan American Music  Art Research.

Sacha gutiérrez

rodolfo zanetti

rodolfo zanetti

Praised  for her “versatility” and “splendid vocalism”, Colombian soprano Sasha  Gutiérrez is a distinguished opera performer, soloist, recitalist, and  impresario. Her roles include Mimì in La Bohème, Micaëla in Carmen, the  title role in Puccini’s Suor Angelica, Helena in Britten’s A Midsummer  Night’s Dream, and Fiordiligi in Mozart’s 

Praised  for her “versatility” and “splendid vocalism”, Colombian soprano Sasha  Gutiérrez is a distinguished opera performer, soloist, recitalist, and  impresario. Her roles include Mimì in La Bohème, Micaëla in Carmen, the  title role in Puccini’s Suor Angelica, Helena in Britten’s A Midsummer  Night’s Dream, and Fiordiligi in Mozart’s Così fan tutte. A graduate of  the Manhattan School of Music, Ms. Gutiérrez was honored with the  International Advisory Board Scholarship. She has made guest soloist  appearances with prestigious ensembles such as the United Nations  Symphony Orchestra, Dartmouth Symphony Orchestra, and Bogotá  Philharmonic. She has graced renowned venues including the Kaufmann  Center, Lincoln Center, the Hopkins Center for the Arts, the Met Museum,  and Symphony Space.

Sasha founded  The Opera Next Door (TOND), an independent opera company based in  Brooklyn. TOND’s mission is to foster community engagement through free,  site-specific opera productions in collaboration with local groups and  leaders in diverse, working-class neighborhoods. The company's debut  production of Mozart’s Così fan tutte in May 2021 was met with acclaim.  For her efforts in creating opportunities for fellow musicians during  the pandemic, Sasha was named one of Musical America’s Top 30  Professionals of the Year 2021.

JORGE PARODI

rodolfo zanetti

ARYA STRING QUARTET

Jorge Parodi is the Music Director at the Moores Opera Center, and Professor of Conducting at the Moores School of Music at the University of Houston. He is also the General and Artistic Director of Opera Hispánica; and Music Director of Gulfshore Opera; and of Opera in Williamsburg (VA). He is the founder and Artistic Director of the Tok

Jorge Parodi is the Music Director at the Moores Opera Center, and Professor of Conducting at the Moores School of Music at the University of Houston. He is also the General and Artistic Director of Opera Hispánica; and Music Director of Gulfshore Opera; and of Opera in Williamsburg (VA). He is the founder and Artistic Director of the Tokyo International Vocal Arts Academy Summer Workshop, and he is faculty at The Juilliard School.  

He conducted productions at The Atlanta Opera, New York City Opera, Opera San José, Merola Opera Program, New Orleans Opera, Knoxville Opera, Savannah OPERA, Chautauqua Opera, Opera Orlando, Opera Tampa, Gulfshore Opera, Amarillo Opera, El Paso Opera, Buenos Aires Lírica (Argentina), Castleton Festival, The Banff Centre (Canada) and The Juilliard School.

World Premières: Tom Cipullo’s Hobson’s Choice (Moores Opera Center), John Musto’s Rhoda and the Fossil Hunt (On Site Opera, Lyric Opera of Chicago Lyric’s Unlimited and Pittsburgh Opera); and Anton Coppola’s Lady Swanwhite (Opera Tampa); and Michael Ching’s The Birthday Clown (Savannah OPERA). 

Other conducting credits: Chautauqua Symphony Orchestra, NHK Symphony, Naples Philharmonic, Castleton Festival Orchestra, Metamorphosis Chamber Orchestra, Ensemble Zipoli for the American Baroque, Juilliard Pre College Orchestra, Volgograd Opera (Russia), Ensamble XXI, Orquesta del Conservatorio Nacional (Argentina).

He has collaborated with such artists as Isabel Leonard, Eglise Gutiérrez, Verónica Villarroel, Nancy Fabiola Herrera, Tito Capobianco, Sherrill Milnes, Aprile Millo and Rufus Wainwright and has assisted conductors Lorin Maazel and Julius Rudel, among others.

ARYA STRING QUARTET

ARYA STRING QUARTET

ARYA STRING QUARTET

Melisa Atoyan, violin 1


Violinist Melisa Gohar Atoyan was born in Argentina to Armenian parents. She is the first violinist and a founding member of the Arya String Quartet, most recently featured in 2019 at the Pleasantville Chamber Music Society. She has performed as a soloist with the Adelphi Symphony Orchestra, with which she served as

Melisa Atoyan, violin 1


Violinist Melisa Gohar Atoyan was born in Argentina to Armenian parents. She is the first violinist and a founding member of the Arya String Quartet, most recently featured in 2019 at the Pleasantville Chamber Music Society. She has performed as a soloist with the Adelphi Symphony Orchestra, with which she served as co- concertmaster: With immense opera experience, she has served as concertmaster and in the first violin sections of the Utopia Opera, New

Opera, Regina Opera, and New Rochelle Opera companies. Additionally, she appeared in America's Got Talent in 2014, playing in the string section for Emily West's performance at Radio City Music

Hall. Melisa has also appeared in notable venues such as Carnegie Hall (Weill Recital Hall).

Merkin Hall, Lincoln Center's Midsummernight's Swing, Teatro Coliseo... among others. Besides being classically trained, Ms. Atoyan also performs tango music and has worked with grandiose tango musicians such as Grammy Nominee: Emilio Solla, Pedro Giraudo, JP Jofre, Hector Del Curto...Melisa has also worked with Polly Ferman and Glamour Tango, "Tango Untangled" (Teatro Circulo) and has served as violin solo for Astoria

Tango Orchestra under the direction of Daniel Binelli. At the age of 8, Ms. Atoyan was awarded 1st prize-Junior Division in the Fundación Banco Mayo Competition (Argentina). After receiving the Armenian General Benevolent Union (AGBU) Performing Arts Fellowship in 2009, she was accepted into "La Scuola di Musica di Fiesole* (Italy) International Competition Training Course the

following year, studying with renowned pedagogue, Pavel Vernikov. Under the tutelage of Valery Ostrakh at the Brussels Royal

Conservatory, she received her B.M. in Violin Performance. As a dedicated teacher, Ms. Atoyan has served on the violin faculty at

the Brooklyn Music House, Herald Music School, Music Box School, Vienna Music, PS 11 (Brooklyn) and currently teaches violin at Bergen Academy of Music and

Art as well as co-leading the intermediate orchestra and teaching group violin classes at UCMP.

Arya String Quartet

ARYA STRING QUARTET

Arya String Quartet

Rebecca Racusin, violin 2


Violinist Rebecca Racusin has performed across the United States and

internationally in venues including Carnegie Hall, the Kennedy Center,

and the National Gallery of Art. Praised for her “sparkling” sound

(Washington Classical Review), she performs regularly with the New

Jersey Symphony and has appeared with the Bal

Rebecca Racusin, violin 2


Violinist Rebecca Racusin has performed across the United States and

internationally in venues including Carnegie Hall, the Kennedy Center,

and the National Gallery of Art. Praised for her “sparkling” sound

(Washington Classical Review), she performs regularly with the New

Jersey Symphony and has appeared with the Baltimore Symphony

Orchestra, the San Francisco Ballet Orchestra, and the San Francisco

Chamber Orchestra. Ms. Racusin was a tenured member of the Baltimore

Chamber Orchestra, Eclipse Chamber Orchestra, and the Maryland

Symphony, and was appointed a principal player of the GRAMMY-nominated

Washington, D.C.–based Inscape Chamber Orchestra in 2012. She has

recently performed as a soloist with the Eclipse Chamber Orchestra and

the Central Jersey Symphony Orchestra. She has spent a decade with the

Grand Teton Music Festival Orchestra and served on the orchestra and

chamber music faculty at the Wintergreen Performing Arts Festival and

Academy from 2013–2016.


Ms. Racusin is the founder and president of acclaimed Jackson Hole

Chamber Music. Now entering its ninth season, JHCM brings together

world-class musicians from across the country for intimate concerts in

the breathtaking surroundings of Jackson Hole, Wyoming. Ms. Racusin

received her B.A. from Harvard University while studying with James

Buswell at the New England Conservatory, and her M.M. from the

University of Maryland School of Music, where she held a graduate

assistantship under the tutelage of Elisabeth Adkins.

Arya String Quartet

ARYA STRING QUARTET

Arya String Quartet

Laura Sahin, viola


Laura Manko Sahin has performed as a soloist, chamber musician, and orchestral player throughout the United States, Europe, and the Middle East. Laura regularly performs with the New York City Opera Orchestra, the Philadelphia Orchestra, the American Symphony, and on Broadway. During the summers, she is a resident artist

Laura Sahin, viola


Laura Manko Sahin has performed as a soloist, chamber musician, and orchestral player throughout the United States, Europe, and the Middle East. Laura regularly performs with the New York City Opera Orchestra, the Philadelphia Orchestra, the American Symphony, and on Broadway. During the summers, she is a resident artist at the Meeting House Chamber Music Festival. She was formerly the Principal violist of the Cape Cod Symphony Orchestra, violist of the Hubbard Quartet and Boston Harp Trio, and a member of the Bilkent (Ankara, Turkey), Knoxville, and Winston-Salem Symphony Orchestras. 

Laura has been on the string and chamber music faculties of Skidmore College, Boston University Tanglewood Institute and Luzerne Music Center. Currently, she teaches at The Lawrenceville School, New Jersey Youth Symphony Orchestra, UCMP, and holds a private studio of wonderful violin and viola students in West New York, NJ. 

Laura completed her Doctor of Philosophy in Music from Bilkent University as a student of Ece Akyol. She earned her Artist Diploma and Master of Music from Boston University as a student and teaching assistant of Michelle LaCourse and Bachelor of Music Degree from University of North Carolina School of the Arts as a student and teaching assistant of Sheila Browne. 

Laura lives in West New York, NJ with her husband, and two children, ages six and three.

Arya String Quartet

Arya String Quartet

Arya String Quartet

Molly von Gutzeit, cello


With a passion for collaboration and expansion, cellist Molly von Gutzeit (Aronson) looks to bring people together through the arts to discover innovative takes on presenting classical music. She enjoys a varied career, taking her across the U.S. and internationally as a soloist, chamber, orchestral musician, arran

Molly von Gutzeit, cello


With a passion for collaboration and expansion, cellist Molly von Gutzeit (Aronson) looks to bring people together through the arts to discover innovative takes on presenting classical music. She enjoys a varied career, taking her across the U.S. and internationally as a soloist, chamber, orchestral musician, arranger, and educator. Molly is the founder and cellist of Ensemble Mycelium, and the Music in Words project with radio broadcaster Judith Krummeck, with whom she will be premiering her string trio and orator arrangement of Richard Strauss’ Enoch Arden this spring.


As a proponent of new music, Molly frequently performs contemporary music, including works by Pulitzer Prize, Guggenheim and Grammy-winning recipients, and has premiered over 50 chamber music and solo works. Additionally, Molly has performed with popular artists including the Eagles, Josh Groban, Andrea Bocelli, and Michael Bublé. She can be heard on albums on the Arabesque and Naxos Labels as well as movie soundtracks for Warner Brothers and Sundance films. 


Using music as a vehicle for positive change, Molly has performed at the United Nations, in nursing homes, schools, prisons, and has organized multiple fundraisers for causes related to Autism. She believes that opportunity begins with exposure and accessibility, and aligns herself with organizations and patrons that support young musicians in need. Molly currently maintains a private studio of cellists, many of whom have been competition winners, and been admitted to major conservatories and music degree programs.

LIBRETTO

Lyrics by Rodolfo Zanetti

I. Overtura


I-a. Introducción a la Sombra

(El Alma cae paradójicamente en la cuenta de que, al recordarlo, esto le causa un dolor abismal que ella pretende alejar maldiciendo. La sombra, el bandoneon,  anticipa cada expresión de dolor intentando un diálogo.)

Una materia sucia y oscura 

Que algunos han llamado Abismo

Y que otros se niegan a nombrar

Me ha elegido como madre

Un amor no correspondido

Y menospreciado con desdén

Ha sido la simiente infame

De este odio que me invade

Nacerá de mí esta noche

Y sus primeros gritos serán

Las maldiciones discordantes

Que ahora por vos quieren salir 

(Mirando al público)

¿Lo ven? ¿Ven a mi odio?

¿Lo ven? No, quizá no…

Pero escuchen cómo empieza a respirar…

(Aspira y expira aire mientras abre sus brazos a la par del bandoneón detrás)

Es un aliento oscuro y triste

Pero lleno de un asco vital

Que ahora quiere de a poco

Las letras de tu nombre odiar.


II. Maldición Primera

(Aquí el Alma Maledicente busca unir cada letra del nombre del Maldito con un mal para que al pronunciarlo éste tenga un gris final. El bandoneón acompaña su sentimiento de modo agitado.)

Unir a cada letra con un mal

Y pronunciar las de tu nombre

Con rencor gris,

Y así, al maldecirte con amor de muerte

Solo esperar que esa ilusión

Se vuelva muy real.

Será gris cada letra que maldeciré

Tan gris que al fin tu nombre

Cifrará el Mal.

Saber que tu destino ya es fatal

Y que la suma de tus males será un gris final;

Y así envenenada cada letra tuya

Podré decir con lento amor

Que me curé de vos.

Será gris cada letra que maldeciré

Tan gris que al fin tu nombre

Cifrará un gris Olvido,

Y una pena gris,

Y una gris sensación de Paz.


III. Ronda de Sombras


IV. Pasaje oscuro (1)

(La Maledicente revela la esencia de susmaldiciones, lacual consiste en un juego de repeticiones de males para que el desdichado tenga una suerte de muertes cíclicas.La Sombra le sigue con un ritmo binario y cíclico.)

(Hablado)

Yo sé, yo sé que si repito tu nombre

Y lo pronuncio de forma oscura y fatal

De alguna misteriosa y oscura manera

La noche te irá rodeando de a poco.

Te irá haciendo suya fría y lentamente

E imperceptiblemente entrará

en la médula oscura de tus huesos

Y serás la sombra de un osario,

(Canto)

De un osario

Que no me amó.

Ay, cómo duele

Repetirte con mi voz.

Hay en los huesos

De tu nombre

Algo gris que empieza

A morir

De una muerte

A repetir.


V. Maldición Segunda

 (En esta Maldición, ella quiere maldecirlo cada vez que recuerde su nombre, aunque sin lograrlo del todo. El sombrío bandoneón se ensancha en grandes armonías en cada intento y culmina en un acorde disonante mostrando su frustración.)

Repito aquí tu nombre

Mastico así tu sombra

La noche quiere ganarle

A tu memoria

Y busca en vano

Hacerla de nuevo resurgir.

Digo y vuelvo a nombrar

Signos hasta fatigar

Lo que esconden sus formas

Es el deseo

La misma maldición.


VI. La Sombra canta


VII. Pasaje Oscuro (2) 

Aquí me duele

Siento tu nombre

Sal de mi sombra

Vete muy lejos

Lleva tus letras

Al Abismo

Pero no olvides

Que en cada una

Puse una espina

Con el veneno

De un pasado

Triste y muerto

Pero que huele a ti.


VIII. Maldición Tercera

(En esta Maldición el dolor se transforma en un grito que, como una daga, quiere alcanzar al maldito; mientras tanto la Sombra la anima con un fingido ritmo vivaz.)

Al invocar de las nieblas del mal

Algún recuerdo anudado al dolor

Vuelve el infierno a cantar

Llantos de una maldición

Pesadas letras cargadas de hiel

Que en mi garganta empiezan a hervir

Forman un grito de horror

Que es una daga oscura:

Ay! Este recuerdo atroz

Ay! Esta memoria cruel;

Hoy, que es un eterno infierno

que resiste el tiempo pero nunca 

una maldición!

Pesadas letras cargadas de hiel

Que en mi garganta empiezan a hervir

Forman la daga atroz

Que busca así nombrarte:

Ay! Este recuerdo atroz

Ay! Esta memoria cruel;

Hoy, que es un eterno infierno

que resiste el tiempo pero nunca 

una maldición...

Busca tu sombra nombrar!


IX. Sombra entre sombras (Intermezzo - Primera Parte)


X. Un vals oscuro (Intermezzo - Segunda Parte)


XI. Pasaje oscuro (3)

(Hasta ahora, las maldiciones sólo han hecho que ella lo recuerde y agrave su dolor. Aquí apela a que, a través de un ritual, él pueda sentir lo que ella padece de modo de que por fin él también sufra. La sombra de fondo le propone el ritmo ritual.)

(Hablado) Un ritual pausado, lento

Que late muy tranquilo

(cantado) Y que se nutre de mi mente.

(Hablado) Allí están mis sombras

Que ahora tienen tu nombre

(cantado) Estamos unidos ahora…

Y mi agonía lenta y ritual

Comenzarás de a poco a sentir.

Qué oscuro anhelo estar unidos

En un sueño sin solución.


XII. Maldición Cuarta

(Se plantea si no es ella misma la causa de sus padecimientos. Aún así resuelve que él igual sufra, a través de este ritual pausado, lamaldición. El sombrío bandoneón acompaña esteproceso con un lento y obstinado ritmo ritual.)

Hay en cada letra de tu nombre

Un dolor

Que cuando vienen a mi mente 

Forman juntas esta maldición.

Es el canto oscuro de mi alma 

infernal,

La que de a poco, letra a letra,

Sueña y dice esta maldición.

Mal que entona todos los dolores

Sin cesar

Y que maldice a cada instante

Un destino gris ajeno a vos.

No sos a quien debería maldecir.

Yo soy

Causa y fin de mi tormento…

Y ahora siento sin maldecirte

Que tengo un vacío 

Y que mi odio oculta un deseo

Es un deseo oscuro, triste…

No será nunca…

¿Será acaso un gran alivio

No tener que pensarte?

¿No tener que llorar mi suerte?

¿poder al fin soñar

Que me olvidé de vos?

Es este un sueño vano y falaz.

Hay en cada letra de tu nombre

Un dolor

Que cuando vienen a mi mente 

Forman juntas esta maldición.

Es el canto oscuro de mi alma 

infernal,

La que de a poco, letra a letra,

Sueña y dice esta maldición.

Mal que entona todos los dolores

Sin cesar

Y que maldice a cada instante

Un destino gris ajeno a vos.

Sos vos

A quien debiera maldecir

Soy yo

Esa que no quiere olvidar

Saldrá buscándote esta maldición, si,

Pero… 

Vuelve a mí con cada letra…


XIII. Caos de Sombra


XIV. Pasaje oscuro (4)

(La Sombra intenta nuevamente un diálogo. No obstante el Alma Maledicente se obstina en asumir su perverso rol.)

(Hablado) No, no puedo dejar de pensarte mal…

Pero ahora soy consciente de ello…

Y esa es mi horrible Paz…


XVI. Maldición Quinta

(Ella ya no cuestiona la efectividad de las maldiciones, sino que se regocija en el paradójico sentimiento de sosiego, que aunque horrible, le provocamaldecir a su víctima. Ello daforma a esta última maldición que culmina, junto a su Sombra, en un perverso grito de paz.)

(Hablado) Por fin la Paz, 

Por fin mi anhelada Paz:

La Paz de odiarte,

De maldecirte en Paz…

(canto)

Hay en mi alma sombras

Y que buscan la Paz,

Una Paz oscura,

Pero Paz al fin…

Paz que busca sombras,

Paz que quiere mal…

Paz que busca sombras, 

Paz que quiere mal…

Lento: No hay Paz sin vos

Mi Paz está con vos siempre.

Mi paz está al maldecirte 

Con esta voz en Paz:

Yo te maldigo siempre

Y te maldigo con mi amor en Paz

(repite dos veces más)

Paz que quiere sombras tuyas,

¡Paz que te maldice en Paz!

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