World-class opera singer Megan Marino (mezzo-soprano) and internationally acclaimed José Rubio (baritone) will perform the songs and cycles of composer and Skidmore faculty member Evan Mack, premiering works that address marriage, drug addiction, healing, grief, war's impact, women's empowerment, and LGBTQ+ rights, including:

“Love Songs for Married People” from the best-selling poems by John Kenney

“Stuff I’ve Been Feeling Lately” by best-selling author Alicia cook

The English-Version premiere of “Letters from the Front Line” by Ukrainian solider-poet Pavlo Vyshebaba

Megan Marino
Be it on stage, screen, under a big tent, standard fare repertoire, forgotten gem, or work in progress, mezzo-soprano Megan Marino is genre-adventurous and driven by a deep-rooted need to communicate, mixed with pure moxie. She’s a true believer that a good song is a good song, regardless of its genre or origin. Established as a stylish musician, agile fioriturist, and a fearless stage animal, she’s been praised by Opera News as “authoritative and carefree,” “a gifted actress with a strong, appealing voice, graced by a rich lower register,” and for singing trouser roles with “swagger” and “vocal audacity.”

José Rubio
José Rubio has garnered attention performing at major and regional venues across the world. Mr. Rubio's recent international operatic engagements have included his operatic debuts in Germany at the Berlin Staatsoper, the famed Elbphilharmonie concert hall in Hamburg, and in Vienna at the historic Ronacher Theater. He is among the first westerners in the world to sing leading roles in contemporary Chinese Operas which have led to his debuts at the most important opera houses in China, the National Center for the Performing Arts in Beijing, Shanghai Grand Theater, and the Jiangsu Grand Theater in Nanjing.

Ticket information HERE

"The Ghosts of Gatsby" is an opera that explores the tumultuous relationship between F. Scott Fitzgerald and his wife, Zelda, during the writing of "The Great Gatsby," focusing on Zelda's mental state as she experiences visions of different versions of herself, often triggered by Scott's jealousy and obsession with his work, while trapped in a room on the French Riviera in the 1920s; the opera delves into the complexities of their marriage and Zelda's struggle with her identity and sanity, leaving the audience questioning which "Zelda" is the real one.

Ticket information HERE

"The Ghosts of Gatsby" is an opera that explores the tumultuous relationship between F. Scott Fitzgerald and his wife, Zelda, during the writing of "The Great Gatsby," focusing on Zelda's mental state as she experiences visions of different versions of herself, often triggered by Scott's jealousy and obsession with his work, while trapped in a room on the French Riviera in the 1920s; the opera delves into the complexities of their marriage and Zelda's struggle with her identity and sanity, leaving the audience questioning which "Zelda" is the real one.

The Ghosts of Gatsby" is an opera that explores the tumultuous relationship between F. Scott Fitzgerald and his wife, Zelda, during the writing of "The Great Gatsby," focusing on Zelda's mental state as she experiences visions of different versions of herself, often triggered by Scott's jealousy and obsession with his work, while trapped in a room on the French Riviera in the 1920s; the opera delves into the complexities of their marriage and Zelda's struggle with her identity and sanity, leaving the audience questioning which "Zelda" is the real one

The Ghosts of Gatsby" is an opera that explores the tumultuous relationship between F. Scott Fitzgerald and his wife, Zelda, during the writing of "The Great Gatsby," focusing on Zelda's mental state as she experiences visions of different versions of herself, often triggered by Scott's jealousy and obsession with his work, while trapped in a room on the French Riviera in the 1920s; the opera delves into the complexities of their marriage and Zelda's struggle with her identity and sanity, leaving the audience questioning which "Zelda" is the real one

Libretto: Mark Campbell

Music: Evan Mack