Praised for her “well-honed theatrical sensibility” and called “moving and convincing,” Fenlon Lamb is the current Director of Opera and Vocal Programming at Bar Harbor Music Festival where she designed and directed engaging productions of Puccini’s La bohème, Bizet’s Carmen, Donizetti’s L’elisir d’amore, Puccini’s Madama Butterfly, and Rossini’s Il barbiere di Siviglia and La Cenerentola. This season, she returns to the Bar Harbor Music Festival for their production of Don Giovanni. She will also direct productions of La traviata with Finger Lakes Opera, Carmen with Dayton Opera, the première production of Riders of the Purple Sage with Arizona Opera; and a double bill of Suor Angelica/Gianni Schicchi and Rodelinda at University of Missouri – Kansas City, where she currently serves as Director of Opera.
Fenlon Lamb’s stage direction was entirely suitable to the work. It was broadly comic in the scenes involving the stepsisters, the bored Prince Charming, and in the hilarious “Procession of Princesses” during the ball scene. Each was filled with clever asides at appropriate places. When the opera turned more romantic in the last two acts, the direction altered to suit the mood, particularly in the moving vignettes where Prince Charming and Cinderella seek each other in the night, prior to their happy reunion at the end.” – KCMetropolis.org
Having worked with some of the leading opera companies and symphonies in North America, some highlights of Ms. Lamb’s career include work with opera houses such as Palm Beach Opera for their productions of Don Pasquale, La bohème, and Il barbiere di Siviglia; Opera Santa Barbara for a double bill of Suor Angelica/Gianni Schicchi; Opera Carolina for Der fliegende Holländer; Arizona Opera for Lucia di Lammermoor and Rigoletto; Nightingale Opera for Hänsel und Gretel and Werther, which she later directed at Mobile Opera; Dayton Opera in her company début directing Les pêcheurs de perles; Orlando Philharmonic for Le nozze di Figaro; and University of Missouri – Kansas City for productions of Die Zauberflöte and Cendrillon.
Beginning her career as Director of Opera at Kent State University, she created an acting and performance curriculum to train young singers. Ms. Lamb directed full productions of Dido and Aeneas, Menotti’s The Telephone, Gilbert and Sullivan’s Trial by Jury, and Händel’s Semele. This was followed by her main stage début directing La traviata for Toledo Opera. As Resident Director with Cleveland Opera on Tour, Ms. Lamb created and directed condensed productions of Tosca, Don Giovanni, Madama Butterfly, Il barbiere di Siviglia, Carmen, and Turandot, all of which toured throughout Northeast Ohio.
A former singer, Ms. Lamb began her operatic and stage career garnering wide attention as a mezzo-soprano. Highlights from her singing career include performing the title role in Carmen, Rosina in Il barbiere di Siviglia, Dorabella in Così fan tutte, Suzuki in Madama Butterfly, Meg Page in Falstaff, Angelina in La Cenerentola, and Mrs. Grose in The Turn of the Screw with such companies as Seattle Opera, Opera Santa Barbara, Opera Cleveland, the Cleveland Orchestra, the Berkshire Opera, and with the Bar Harbor Music Festival.