Opera Carolina Enters a New Artistic Era with a Starry Suor Angelica and Gianni Schicchi

Belk Theater, Charlotte | January 16, 2026

Opera Carolina’s recent pairing of Puccini’s Gianni Schicchi and Suor Angelica was far more than an evening of beautifully performed repertoire. It signaled a striking shift in the company’s artistic trajectory. Having attended past seasons, I arrived curious and left deeply impressed, with a clear sense that the company now operates with the ambition, polish, and casting caliber typically seen in major international houses.

The opening cast was led by Massimo Cavalletti, whose Gianni Schicchi was commanding from the first note. He combined vocal authority, precise comedic timing, and complete dramatic control. He anchored the stage with the ease of a true star, the kind of presence expected at the Met or Europe’s leading theaters. More than once during the performance, I found myself wondering whether I was in Charlotte or at a top-tier opera house.

In Suor Angelica, Marina Costa Jackson delivered a performance of rare emotional depth and vocal refinement. Her portrayal was intensely human, poised, and deeply moving. She built toward the opera’s devastating climax with extraordinary control, shaping Puccini’s long lyrical lines with elegance and intention. The result was an Angelica that felt both intimate and vocally expansive.

Equally unforgettable was Nancy Fabiola Herrera, whom I had recently heard at the Metropolitan Opera in Andrea Chénier. Herrera displayed remarkable dramatic range in her dual appearances as Zita in Gianni Schicchi and the Principessa in Suor Angelica. As Zita, she was sharp, grounded, and theatrically vivid. As the Principessa, she stopped the evening in its tracks. Cold, aristocratic, and implacable, she brought a gravitas that changed the atmosphere in the theater and elevated the dramatic stakes of the entire work.

The supporting cast was consistently strong. Eric Ferring as Rinuccio brought youthful brightness and sincerity to Puccini’s most famous comic tenor moments. Arlene Miatto Alberdas was outstanding in the roles of Zelatrice and Cesca, another clear sign of a company raising its artistic standards across the board.

At the center of it all was conductor Maestro Stefano Vignati, whose artistry continues to impress around the globe. In Charlotte, his leadership confirmed what international audiences already know. He brings clarity, propulsion, and a natural Puccinian instinct to the pit. His pacing supported the singers beautifully, his phrasing allowed Puccini’s colors to bloom, and his command of style elevated the entire evening. Maestro Vignati’s presence also feels like a true cultural asset for Charlotte. His work with the Charlotte Symphony for these operas brings artistic continuity that strengthens both the company and the broader musical life of the city.

The production was staged by Carlo Antonio De Lucia, an international opera director whose work deserves recognition on major stages worldwide. De Lucia balanced theatrical clarity with emotional truth, serving both the intimacy of Suor Angelica and the ensemble mechanics of Gianni Schicchi with equal intelligence. The result was a performance that felt consistently alive, cohesive, and fully realized.

Two years ago, I attended Opera Carolina’s Cavalleria Rusticana and Pagliacci, featuring an unforgettable Barbara Frittoli. I saw promise then. Today, the difference is unmistakable. This Suor Angelica and Gianni Schicchi did not feel like a regional company performing Puccini. It felt like a company stepping decisively into a new era, aligned with the standards, casting, and artistic vision of major opera houses.

If this season is any indication, Charlotte audiences have much to anticipate. Menotti’s The Medium, featuring the legendary Denyce Graves, and a recital by the stellar Morley Brownlee further confirm Opera Carolina’s renewed artistic ambition and elevated vision.

If this is the direction Opera Carolina is heading, Charlotte audiences are in for something remarkable.