We are excited to announce our 2020/21 Season –  and a company first: we’ll be presenting all of our productions digitally. Due to the global pandemic and for the need to keep our audiences and artists safe, our upcoming season can be fully enjoyed online.

FALL 2020



Part of the Decameron Opera Coalition’s


October 9th through 30th with THE ROOST premiering on October 16th.

Composed by Marc Migó
Libretto by John de los Santos

UrbanArias is proud to partner with eight other American opera companies to create a newly-commissioned operatic video titled Tales From a Distance inspired by Giovanni Boccaccio’s The Decameron. Each company is contributing one tale of the whole, just as the people quarantined in Boccaccio’s novellas each tell one story. Each opera will be about ten minutes long, and the whole work will be revealed online in a series of episodes, beginning October 9, 2020. The lead creatives of this project are UrbanArias favorites Peter Hilliard and Matt Boresi (Blue Viola, The Last American Hammer), who will write the material that frames the individual tales. UrbanArias has commissioned director/librettist John de los Santos (Service Provider) and composer Marc Migó to write THE ROOST, a sexy comedy about expectant parents in lock-down. Please click here to go to the Decameron Opera Coalition’s Website for more information about the collaboration, schedule and tickets.

THE ROOST, Synopsis
Expecting your first baby should be a joyous time. Expecting your first baby while quarantined during a long hot summer with a non-working air-conditioner is another story altogether. With hormones at their peak, and one over bearing Mother, Kat and her boyfriend, Ricky, face these challenges in this new operatic comedy inspired by one The Decameron’s sexiest tales.


Composed by Susan Kander
Libretto by Roberta Gumbel

Directed by Du’Bois & Camry A’Keen of A’KEEN Brand

This new film production will premiere in April 2021


Driving While Black is a solo performed work constructed out of two interwoven strands, one personal, one external. In the central narrative, we meet the Mother: a baby is born to happy parents; she frets at the father to put the all-important car seat in the back seat of the car properly. From here on, she relates to the child first in its seat facing backward in the back of the car, then facing forward, then eventually the child sits next to her in the front seat on the passenger side. This is how Time is marked; the car is ever the center of their lives. The Mother scenes move forward in time from the beginning to the end of the piece. Threaded between these scenes, punctuating them, are telegraphic vignettes of contemporary news bulletins or personal stories introduced in spoken words. The Singer performs many characters relating to specific but generic events. These all describe, without comment, the dangerous world beyond the Mother’s control, and the increasing anxiety building up in her mind as her “beautiful brown boy” approaches manhood and his much-desired independence.


Soprano: Karen Slack
Hailed for possessing a voice of extraordinary beauty, a seamless legato and great dramatic depth, American soprano Karen Slack has appeared with the Metropolitan Opera, Lyric Opera of Chicago, Washington National Opera and San Francisco Opera. In recent seasons she has appeared as Alice Ford in Falstaff, Leonora in Il trovatore and Tosca with Arizona Opera, as Aïda at Austin Opera, Emelda Griffith in Champion with New Orleans Opera, Donna Anna in Don Giovanni with Nashville Opera, Violetta in La Traviata with Sacramento Opera and Sister Rose in Dead Man Walking with both Minnesota Opera and Vancouver Opera and her Scottish Opera debut as Anna in Puccini’s Le villi.

A graduate of the Adler Fellowship and Merola Opera Program at the San Francisco Opera, the native Philadelphian is also a graduate of the prestigious Curtis Institute of Music. She is a winner of numerous competitions and awards: most notably the Montserrat Caballe International Competition, Metropolitan Opera National Council Auditions, George London Foundation Award, Marian Anderson ICON Award, Licia Albanese-Puccini Foundation, Rosa Ponselle International Vocal Competition, Portland Opera Lieber Award, Liederkranz Foundation Award and the Jose Iturbi International Competition for Voice.