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Fenlon Lamb

Director

Opera News called Fenlon Lamb “moving and convincing” and Seen and Heard International complemented her “well-honed theatrical sensibility.” Ms. Lamb brings these qualities of experience and perspective as an outstanding singing actress to her work as a stage director. Most recently, Fenlon directed the world première of Riders of the Purple Sage with Arizona Opera in a production that BroadwayWorld.com called “epic” and “memorable…literally and figuratively blazing trails.” She led Dayton Opera’s Carmen and directed the oratorio To Be Certain of the Dawn (Stephen Paulus) with the Lexington Philharmonic. Fenlon and her artistic partner, Jeff Ridenour, created a unique production of The Juliet Letters with the Resident Artists of Lyric Opera Kansas City which the Kansas City Star hailed as “a successful, intimate show [that] delighted the audience in a noteworthy production.” In another collaboration with Jeff, she débuted with Finger Lakes Opera this past summer directing a new production of La traviata. Fenlon made her company début with Opera Santa Barbara directing a double-bill of Suor Angelica/Gianni Schicchi and returned to Palm Beach Opera for her fourth season to direct a “delightful, energetic” Don Pasquale.

May
2017

May-19
Carmen
Dayton Opera
Dayton, FL
Jul
2017

Jul-21
Don Pasquale
Bar Harbor Music Festival
Bar Harbor, ME
Jan
2018

Jan-26
Tosca
Palm Beach Opera
West Palm Beach, FL
Mar
2018

Mar-16
Cosi fan tutte
Opera on the James
Lynchburg, VA
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…smart, compact staging…
 The Juliette Letters – “This production expanded on the concept with smart, compact staging from director Fenlon Lamb”Kansas City Star
…theatrical ingenuity and artistic taste…
 Il barbiere di Siviglia  “Palm Beach Opera’s production opened Friday night at the Kravis Center and hit all the right notes. Throughout the performance, the audience laughed uproariously at the cannily staged, nonstop comedy and cheered the cast at the final curtain. Director Fenlon Lamb keeps a breathless pace without degenerating into clichéd sight gags. Strobe lights enhance the wonderful confusion of the Act I finale while the storm scene is staged as a Keystone Cops silent movie pantomime. Displaying theatrical ingenuity and artistic taste, Lamb’s staging captures the essence of bubbly opera buffa rather than exaggerated sitcom.”South Florida Classical Review
…added layers of terror to the opera…
Lucia di Lammermoor “under director Fenlon Lamb, it was a gradual progression that started when we were first introduced to Lucia in the garden as she saw the ghost of a woman who had been killed by her jealous lover and left to rot in a well. Bringing the ghost — wearing a stained dress and looking gray as death — to life added layers of terror to the opera, and went a long way to convince you Lucia was slowly going mad.” – Arizona Daily Star 
…deserved a standing ovation…
Der fliegende Holländer “The lighting and the projections of Michael Baumgarten and Fenlon Lamb added much to the constantly changing moods. Working within a traditional set design (on loan from the Arizona Opera), with an actual mock-up of a sailing vessel crossing the stage, projections on the scrim in front and on the back cyclorama were an integral part of the staging. An unusual innovation during the overture was a retrospective insight into Senta’s obsession with the legend of the Flying Dutchman, done with projections and showing the child Senta already fascinated by the dark tragedy of the Holländer.”CVNC 
…engaging them every moment…
L’elisir d’amore “Major kudos to Fenlon Lamb who directed this delightful show. Not only did she gather together a terrific little cast – drawing them, literally, from coast to coast – she did not give them a second’s worth of down time while they were on stage – engaging them every moment with some bit of stage business, even when they weren’t singing. In fact some of the most hilarious moments were done in pantomime.”Bar Harbor Times 
Opera News called Fenlon Lamb “moving and convincing” and Seen and Heard International complemented her “well-honed theatrical sensibility.” Ms. Lamb brings these qualities of experience and perspective as an outstanding singing actress to her work as a stage director.

Most recently, Fenlon directed the world première of Riders of the Purple Sage with Arizona Opera in a production that BroadwayWorld.com called “epic” and “memorable…literally and figuratively blazing trails.” She led Dayton Opera’s Carmen and directed the oratorio To Be Certain of the Dawn (Stephen Paulus) with the Lexington Philharmonic. Fenlon and her artistic partner, Jeff Ridenour, created a unique production of The Juliet Letters with the Resident Artists of Lyric Opera Kansas City which the Kansas City Star hailed as “a successful, intimate show [that] delighted the audience in a noteworthy production.” In another collaboration with Jeff, she débuted with Finger Lakes Opera this past summer directing a new production of La traviata. Fenlon made her company début with Opera Santa Barbara directing a double-bill of Suor Angelica/Gianni Schicchi and returned to Palm Beach Opera for her fourth season to direct a “delightful, energetic” Don Pasquale.

Ms. Lamb is the Director of Opera at UMKC Conservatory of Music and Dance where she has directed Die Zauberflöte, The Turn of the Screw and Suor Angelica/Gianni Schicchi along with Cendrillon and Little Women. Currently, she is also the Director of Opera and Vocal Programming at Bar Harbor Music Festival. She has designed and directed engaging productions of Carmen, L’elisir d’amore, Madama Butterfly, Il barbiere di Siviglia, Le nozze di Figaro, La bohème, La Cenerentola, and Don Giovanni while she continues to program innovative recitals and pops concerts each summer.

In recent seasons, Fenlon made her début at Dayton Opera directing Les pêcheurs des perles, joined Mobile Opera for Werther with Gran Wilson in the title role and returned to Arizona Opera as stage director for a “grand and gripping” Rigoletto. She directed the young artists of the Crested Butte Music Festival in a production of Don Pasquale and a new production of Hansel and Gretel for Nightingale Opera Theatre that was hailed as “fresh and alluring from curtain to curtain.” For Palm Beach Opera’s 2013 International season Fenlon directed a “fizzing and delightful” Il barbiere di Siviglia “displaying theatrical ingenuity and artistic taste.” Ms. Lamb also directed Our Town and Alcina with the young artists of that company to critical acclaim. She returned to Opera Carolina as Stage Director for Der fliegende Holländer with Greer Grimsley in a production lauded for its “intriguing visuals, startling set contexts and projections…balancing operatic polish, romantic beauty and feminist critique.”

Upcoming, Fenlon returns for Bar Harbor Music Festival’s 51st season in the role of Producer of the Pops Concert “He Said, She Said” with Janinah Burnett and David Cushing and Don Pasquale directed by Joseph DeSota. She also returns to Finger Lakes Opera for her first Tosca in a new production created with her artistic partner, Jeff Ridenour. They continue their collaboration in the fall for a new production of Hänsel und Gretel at UMKC Conservatory of Music and Dance. In 2018, Fenlon returns to Palm Beach Opera for her 5th season to direct Tosca and makes her company début with Opera on The James. In the spring she directs a tryptic of operas entitled “Women on the Verge” for UMKC including 7 Deadly Sins, La voix humaine and The Old Maid and the Thief.

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