Upcoming Events
The House on Mango Street
Streaming Tonight / Streaming Hoy - Ann Arbor, MI 8:00PM / Denver, CO 7:00PM / Quito, EC 9:00 PM
2024
November 09, 12, 15, 17.
The Daughter of the Regiment
Opera Colorado
2025
March 27, 28, 29, 30.
The Turn of the Screw
University of Michigan
2025
July 18 to August 16.
The House on Mango Street
Glimmerglass Festival
News / Noticias
OPERA America's 2024 Opera Grants for Women Stage Directors and Conductors
The grant opens doors for women artists by incentivizing professional opera companies of all sizes to engage women in key artistic roles.
Chía Patiño to Join the Department of Voice & Opera
The University of Michigan School of Music, Theatre & Dance announces that Chía Patiño will join the Department of Voice & Opera as an assistant professor in the fall of 2024. She brings extensive directing experience, having worked with opera companies in the US, Spain, Ecuador, Colombia, Guatemala, Chile, México, Brazil, Nicaragua, United Arab Emirates, and Egypt.
Paradiso
Workshop performance.
Music by Yevgeniy Sharlat and libretto by Stephanie Fleischmann.
Cast: Estelí Gomez as Alma and Hub New Music.
Stage Director: Chía Patiño.
Violetta’s Triumph: a conversation with La Traviata stage director Chía Patiño
FGO - Florida Grand Opera
“I am completely in love with the courtesans,” declares Ecuadoran stage director and composer Chía Patiño. “They are so aware of who they are.”
Patiño, who directed her first professional production of La traviata (her first was for Indiana University) at Florida Grand Opera this season, was well-prepared. She recently traveled to Paris, where she delved deeply into the opera’s fascinating world of the extravagant, glamourous 19th-century courtesans and their moneyed patrons.
La traviata en Miami
Pro Ópera
La directora de escena ecuatoriana Chía Patiño debutó en la Florida Grand Opera (FGO) ofreciendo una versión tradicional y coherente, si bien no exenta de algunos detalles novedosos, especialmente en el último acto. Cabe citar, entre ellos, la entrada de todo el jolgorio del carnaval parisino y sus disfraces en el aposento de Violetta, a modo de alucinación onírica de la protagonista. Además, se escuchó la voz de Giorgio Germont leyendo la carta que le escribió a Violetta, informándole del desenlace del duelo, en lugar de ser ella misma quien repasara su lectura. Por último, y quizá el elemento más novedoso, señalar que Violetta no muere, al menos visualmente, en brazos de Alfredo, sino que la ópera concluye con la protagonista caminando, con apariencia fantasmagórica, hacia una potente luz lateral.
(…) Florida Grand Opera’s opening night of La traviata this month at the Adrienne Arsht Center in Miami was nothing short of a transcendent experience. Under the guidance of their new Interim Creative Director, Maria Todaro, the production unveiled a mesmerizing rendition of Verdi’s timeless masterpiece. Adapted from Dumas’ novel and play La Dame aux Camélias, this opera, with its premiere dating back to 1853, continues to captivate audiences worldwide with its emotional depth and poignant storytelling.
(…) The creative genius behind the scenes was equally praiseworthy. Conductor Joe Illick orchestrated Verdi’s score with finesse, creating a symphonic backdrop that heightened the emotional impact of each scene. Director Chia Patiño’s vision brought a fresh perspective to this classic, breathing new life into the narrative. Costume designer Allen Charles Klein’s creations were visually stunning, complementing the characters and their emotions, while lighting designer Rick Fisher painted the stage with evocative lighting, enhancing the ambiance and drama.
Santa Cruz de Tenerife: Florencia en el Amazonas NI – 24. März 2022
Review by Klaus Billand
(…) Amazonisch-musikalischer Farbenreichtum à la Puccini und Debussy.
Eine Premiere der ganz besonderen Art! Die Ópera de Tenerife in der Hauptstadt Santa Cruz führte in einer Produktion des Auditorio de Tenerifezum ersten Mal eine lateinamerikanische Oper auf. Und es wurde gleich eine spanische Erstaufführung! „Florencia en el Amazonas“ des Mexikaners Daniel Catán wurde in Europa bisher nur in Deutschland und der Schweiz aufgeführt, während das Werk in der westlichen Hemisphäre schon über viele Bühnen gewandert ist.
Nach dieser Premiere der Catán-Oper mit dem Libretto von Marcela Fuentes-Berain, die aus dem magischen Realismus von Gabriel García Márquez in seinem Roman „Die Liebe in den Zeiten der Cholera“ schöpfte, fällt es einem schwer zu verstehen, warum das Werk erst nun in Spanien zu erleben ist, und dazu noch auf den vom Festland weit entfernten Kanarischen Inseln, die dem Amazonas aber immerhin etwas näher sind. Aber bis auf zwei Länder also war es bisher noch unbekannt in Europa!
FGO opens a transition season with a fresh and impassioned “Traviata”
South Florida Classical Review
Verdi’s La Traviata is one of the most beloved and timeless masterpieces of the operatic repertoire. Based on the novel and play The Lady of the Camellias by Alexandre Dumas, the opera relates the story of the courtesan Violetta Valery through some of Verdi’s most memorable melodies.
The score is one of the pinnacles of the composer’s middle career period and Florida Grand Opera offered a freshly conceived production and talented cast at the opening of its 82nd season on Saturday night at the Arsht Center in Miami.
Cecilia Violetta López fully embodied the role of Violetta with a bright, accurate soprano and mesmeric dramatic portrayal. This heroine was less a tragic figure than a woman who was living life to the fullest, burning the candle at both ends until the fire went dark.
From the Florida Grand Opera Newsroom: “Ecuadoran stage director, conductor, and composer Chía Patiño makes her FGO with La traviata. Most recently, she directed Don Giovanni for the Aspen Music Festival and the Butler Opera Center, where she also directed her own adaptation of The Magic Flute: La Flauta Mágica de los Andes; Florencia en el Amazonas for Opera Tenerife, Orpheus & Eurydice for Seattle Opera, Suite Española: Exploring Iberia and Exploring the Caribbean for Houston Grand Opera, La Cenerentola and Tosca for Northern Lights Music Festival. Her work has been produced in the United States, Spain, Ecuador, Colombia, Guatemala, United Arab Emirates, and Egypt.”
*** For the complete News archive please fallow the link in the main menu or click here. / Para el archivo completo, pulsa el enlace en el menú principal o haga clic aquí.
A collection of videos associated to my work for my YouTube channel click the social icon at the top of the page or click here.
Colección de videos asociados a mi trabajo, para mi canal de YouTube pulsa el ícono de redes sociales en la parte superior de la página o haz clic aquí.
Dreaming/Undreaming: Creating an Interdisciplinary Event
Premiered on June 2, 2021 at 7:00 pm EDT
This new work creates a unique visual and musical experience, an art-music video where we travel between worlds of persuasive dreams and deceptive realities in our universe. A piano recital progresses seamlessly between original compositions created specifically for this project in conversation with the music of Johann Sebastian Bach, the master of polyphony. Dreaming/Undreaming establishes a conversation between the piano recital and a series of original videos.
Flauta Magica de los Andes (The Magic Flute of the Andes)
Act 1, Queen of the Night
La Flauta Mágica de los Andes (The Magic Flute of the Andes), is an adaptation of Mozart’s complete opera by the Teatro Nacional Sucre of Ecuador, Chia Patiño artistic and stage director; with a transcription for the Orquesta de Instrumentos Andinos from a concept by Segundo Cóndor, realized by Carmen-Helena Téllez, in collaboration with Tadashi Maeda and Leonardo Cárdenas.The translation to Spanish and Kichua is by Chia Patiño, with puppets by Alejandra Prieto and costumes by Felype de Lima.
Patiño and Téllez reconsidered the art of transcription (practiced by Mozart himself) as a tool to invite new audiences to opera, and to prove Mozart’s power to speak in different “translations” across time and cultures. Patiño’s Spanish and Kichua version encountered surprising parallelisms between Schikaneder’s original libretto and traditional Andean legends. The version for Andean instruments proved very suitable for young voices.
Opera Talk: A Lesson on Love, Loss, and Letting Go
Seattle Opera
Conversation featuring stage director Chía Patiño, choreographer Donald Byrd, and conductor Stephen Stubbs to hear more about their creative vision behind our upcoming production of Gluck’s Orpheus and Eurydice. The inspiration for the earliest operas, as well as numerous retellings in each new generation, the ancient myth of Orpheus and Eurydice is a reflection on music’s power to express love and sorrow. It is a story that reflects our own time as we come to terms with our collective grief and, like Orpheus, grapple with the pain of letting go.
Moderator: Jonathan Dean, Dramaturg
Panelists:
Chía Patiño, Director
Donald Byrd, Choreographer
Stephen Stubbs, Conductor
WILD SWANS by Chía Patiño
“Alexandria Symphony’s Concertmaster Claudia Chudacoff will record Chia Patino’s mournful Wild Swans with string quartet. This will be the first known recording of this piece. The Ecuadorian composer was inspired by poetry, expressing a range of emotion and speaking to those in isolation.”
Claudia Chudacoff and Jane Stewart, violins
Eric deWaardt, viola and Schuyler Slack, cello
Alan Wonneberger, recording
W.A. Mozart: Requiem, Offertorium-Domine Jesu Christe
Carmen-Helena Téllez
This concept by Carmen-Helena Téllez intends to reveal in a ritualized fashion the theological and cultural contents embedded in Mozart’s Requiem, addressed specifically to the Latin American experience. It was realized by stage director Chia Patiño, Executive and Artistic Director of the Teatro Nacional Sucre, with visuals by David Guzmán and Daniel Calderón. The production included readings between the movements of verses from the Purgatorio and Paradiso of Dante’s Divine Comedy.
Mozart Requiem: Confutatis and Lacrimosa
Live interdisciplinary performance, Teatro Nacional Sucre, Quito, March 23, 2018, Carmen-Helena Téllez, music director.
The segment is part of a performance of Mozart/Süssmayr’s complete Requiem in an interdisciplinary concept by Carmen-Helena Téllez with realization by stage director Chía Patiño, and video images by David Guzmán and Daniel Montalvo. The concept reveals Mozart ‘s Requiem as a repository of cultural and theological messages, including Catholic teachings about the soul’s travel after death, the teachings of Dante in his Divine Comedy, and images of Latin American experience, projected in the paintings from the churches of Quito, and the ensemble’s own representations of socio-political events.
Musical Los Miserables - Dirección Escénica
Propuesta escénica latinoamericana del Musical Los Miserables a cargo de Chía Patiño.
Latin American scenic proposal of the Musical Les Miserables by Chía Patiño.
Suite Española: Explorando Iberia
Houston Grand Opera presents the digital premiere of Suite Española: Explorando Iberia, created by HGO Artistic Advisor Ana María Martínez, one of the greatest sopranos in the world. The concert will celebrate the music of Spain, including the art form known as zarzuela, or Spanish musical theater, by featuring a collage of selections from the repertoire’s most beautiful pieces.
Martínez will be joined by pianist Kevin J. Miller, guitarist Jeremy Garcia, and percussionist Richard Brown; flamenco dancers Manuel Gutierrez Cabello and Ana María Barceló; and two HGO Studio artists, tenor Ricardo Garcia and baritone Blake Denson. Cuban artist Irma La Paloma serves as choreographer, and Ecuadorian composer Chia Patiño, stage director for the University of Texas Butler Opera Center, directs.
Puccini's Tosca - Northern Lights Music Festival
Melodrama in 3 Acts – Libretto by Giuseppe Giacosa and Luigi Illica
Premiere in Teatro Costanzi, Rome: January 14,1900 After the drama by Victor Sardou
Time: The Present in a Mexican City
Conductor Gavriel Heine
Director Chia Patino