Is opera intimidating? A typically hours-long evening at a buttoned-up concert hall is a commitment, after all. What chance does a run-of-the-mill novice have? One Ounce Opera tackles the challenge head-on. Their seventh annual Fresh Squeezed Ounce of Opera showcase offers a concentrated dose of operatic oeuvre. This year, the event features three “micro-operas,” each around 20 minutes, with subjects and settings accessible to all. Based on its Feb. 21 opening night audience, which featured attendees of all ages, it’s clear – this is an experience for everyone.
Opener Las Auténticas, with music by Benjamin Morris and a libretto by Laura Fuentes, asks essential questions of cultural belonging against the travails of an L.A. taco stand. Taqueria owners Luz (Sandra Mercado) and Jenny (Annisha Mackensie) playfully patter with shades of Mozart’s musical cleverness, engaging in banter that would fit neatly alongside the wry asides in his Marriage of Figaro. There are several laugh-out-loud moments, particularly when Julius Young’s taco influencer character hits the scene, but they’re balanced nicely alongside Fuentes’ poignant lyrical poetry. Its pronounced themes of identity are delivered on a platter throughout the opera, but it is such a lovely gilded platter, who’s complaining?
Each piece in Fresh Squeezed leans into the big moments, drawing notes out over several measures.
The standout piece of the night is Ray Bradbury, Age 12, at the Carnival in Waukegan, Illinois, with music and libretto by Tyler Mabry. Musically capturing sci-fi author Ray Bradbury’s penchant for balancing danger with childhood whimsy, it’s a must-see for any fans of the eccentric, immensely talented writer. The story opens with adult Bradbury (Nicolas Flott) telling what actually was his “favorite childhood story,” of a carnival visit that sparked his imagination. Flott’s crystalline tenor sets the stakes with ethereal purity and impeccable enunciation. The music calliopes into the carnival world of Mr. Electrico (Jake Jacobsen) and his fellow carnie sirens (Kaley Williams and Sandra Villwock, whose interweaving duets add enticing variance to the soundscape). When Hillary Schranze bursts onto the scene as young Bradbury, she channels intense Streisand in Yentl vibes – although that might be the newsboy cap and impressive pipes talking. Each cast member proves their solo chops, but the moments of musical medley transport the listener straight to the mystical lands of possibility Bradbury channeled in his work.
It’s a tough act to follow, and that poor task falls to Beyond, a robot tale of resistance – an admirable theme, unless you’re one of those people who fear the inevitable robot rebellion. There’s a delightful bit of contrast in Beyond, as librettist Caitlin Vincent places the sci-fi setting against composer Lisa Neher’s intensely classical music. This is the most traditional “opera” sound of the showcase, as a mezzo-soprano (Patricia Combs) and soprano (Andréa Ochoa) sing soaring arias full of yearning. For such a revolutionary setting, however, the music hits repetitive notes throughout the score. Again, Combs and Ochoa are immensely talented. Their range, control, and tone are everything opera should be. But Beyond stays in a single zone. The emotional core doesn’t hit, instead reading as cold as the robot’s metal exterior.
Accompanying each piece on the keys, One Ounce music director Joseph Choi handles tonal shifts and trills with an incredibly light touch. At points, the piano creates sound effects, like a tinkling phone or a downtrod reaction akin to a sad trombone. He whirls through the circus effects of Bradbury and the expansive spaciness of Beyond with ease. His piano is more than enough to fill the space at dadaLab while holding its own against powerhouse vocals.
After all, opera is a haven for big emotions and big sound. Each piece in Fresh Squeezed leans into the big moments, drawing notes out over several measures. Each reverberating augmentation lands, eliciting goosebumps at the strength of the singers. Its accessible size makes Fresh Squeezed a great training ground for opera explorers, but its impressive talent also promises seasoned opera vets will enjoy its offerings.
Fresh Squeezed Ounce of Opera
dadaLab
Feb. 28 – March 2
This article appears in February 28 • 2025.