Opera Baltimore Offers Rare Bel Canto Gem Lucrezia Borgia

Intimate concert opera production showcases powerful vocal performances

Mar. 11, 2026 at 11:38pm

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Opera Baltimore's production of Donizetti's "Lucrezia Borgia" proves that a concert opera with piano can still deliver powerful vocal performances and dramatic excellence, even without the traditional grand opera house experience. The production features a talented cast led by soprano Caitlin Crabill in the title role, along with standout performances from mezzo-soprano Megan Marino and tenor Hayden Smith.

Why it matters

Lucrezia Borgia is a rarely performed bel canto opera that offers audiences a chance to experience Donizetti's dramatic score and the vocal virtuosity required to bring the complex characters to life. Opera Baltimore's intimate concert production allows the beauty of the voices to shine through without the distraction of elaborate sets and costumes, highlighting the company's commitment to showcasing lesser-known operatic gems.

The details

The production takes place at the sumptuous Engineer's Club venue in Baltimore, allowing audiences to enjoy refreshments while taking in the performance. Director Mary Elizabeth Williams makes creative use of the space, with cast members entering through the audience and the chorus playing a more active role, particularly in the second act party scene. Conductor and pianist Husan Chun-Novak's music direction does justice to Donizetti's score, maintaining a brisk pace through strategic cuts to the full-length opera.

  • The production of Lucrezia Borgia took place on March 11, 2026.

The players

Caitlin Crabill

A soprano who delivers a stunning performance in the title role, showcasing her vocal control, beautiful tone, and dramatic flair.

Megan Marino

A mezzo-soprano who shines in the role of Maffio Orsini, delivering a rich, even-toned performance and impressive vocal agility.

Hayden Smith

A tenor who portrays the role of Gennaro, Lucrezia's long-lost son, with powerful vocal delivery and a strong dramatic arc.

Samuel Weiser

A bass who takes on the role of the villainous Duke Alfonso, though the reviewer would have liked to see more expressive and intimidating stage presence from the character.

Mary Elizabeth Williams

The director of the production, who creates an engaging staging that makes creative use of the intimate venue and allows the vocal performances to take center stage.

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What they’re saying

“Crabill's voice is big and beautiful as well as a model of control, with an ability to execute coloratura that not every singer who aspires to the dramatic fach has easily. In her case, not only can you hear every pitch in every run she sings, but she also can go to the softest pianissimo without losing the core of her instrument.”

— Maggie Ramsey, Reviewer (operatoday.com)

“Marino really sold it with her melisma and cadenza interjections, and such moments illustrate how amazing Donizetti's score is. Her ultimate moment came in her Act II aria 'Il Segreto per esser felici.'”

— Maggie Ramsey, Reviewer (operatoday.com)

What’s next

The reviewer expresses hope that Opera Baltimore will consider producing a fully-staged version of Lucrezia Borgia with orchestra in a future season, allowing the work to be experienced in a more traditional grand opera setting.

The takeaway

Opera Baltimore's concert production of the rarely performed bel canto opera Lucrezia Borgia showcases the power of intimate, stripped-down performances to highlight the beauty of the human voice and the dramatic potential of Donizetti's score, proving that grand opera spectacle is not always necessary to deliver an engaging and memorable operatic experience.