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Fenlon Lamb

Director

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.

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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…Splendid “Cendrillon” delights at UMKC…
 Cendrillon “Let’s start with the visuals. The UMKC production was the most spectacular visual production this observer has seen in over 30 years of opera at White Recital Hall. The set, with an attractive proscenium and dominated by a large flower-tree, served for both interior and exterior scenes. The lighting projections on the tall walls were extremely effective, ranging from “Once upon a time” in the beginning to “and they lived happily ever after” at the end, interspersed with starry nights, a collection of clock faces, and an elaborate ballroom design, among other delights, highlighting various scenes throughout.

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

…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 
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.

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.

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