Maria Nockin

Maria Nockin Maria Nockin attended Fordham University at Lincoln Center while studying voice, piano, and violin privately. For many years she taught English as a Second Language in New York City schools and served as soprano soloist in several area churches. Upon retirement, she moved to the warmer climate of the Southwest where she writes about opera and classical music.


BWW Review: THE LIGHT IN THE PIAZZA at Dorothy Chandler PavilionBWW Review: THE LIGHT IN THE PIAZZA at Dorothy Chandler Pavilion
Posted: Oct. 13, 2019

Posted: Oct. 15, 2019


BWW Review: LA BOHEME Opens Santa Fe Opera's 2019 SeasonBWW Review: LA BOHEME Opens Santa Fe Opera's 2019 Season
Posted: Jul. 1, 2019

BWW Review: THE LIGHT IN THE PIAZZA at Dorothy Chandler PavilionBWW Review: THE LIGHT IN THE PIAZZA at Dorothy Chandler Pavilion
Posted: Oct. 13, 2019

BWW Review: THE PEARL FISHERS at Santa Fe OperaBWW Review: THE PEARL FISHERS at Santa Fe Opera
Posted: Jul. 1, 2019

October 15, 2019

On Monday October 14, 2019, Arizona Opera and its Valley Friends presented a concert of arias by the Marion Roose Pullin Studio Artists at the Mon Orchid Gallery, a small hall with excellent, if somewhat live, acoustics. As a rule, AZ Opera chooses six singers and one pianist to be their studio artists. The program helps bridge the gap between the protected environment of academic studies and the rigors of a professional career.

BWW Review: THE LIGHT IN THE PIAZZA at Dorothy Chandler Pavilion
October 13, 2019

On Saturday Evening, October 12, 2019, Los Angeles Opera presented Adam Guettel's THE Light In the Piazza. A musical theater work rather than an opera, Piazza provided the audience with a nostalgic excursion to Florence and Rome in the 1950s. For opera star Renée Fleming it was a tour de force as she not only showed onlookers various stages of her character's complete change of heart, but also gave us the glorious high notes and legato singing of opera along with the snappy repartee of musical theater. 

BWW Review: LA BOHEME at Dorothy Chandler Pavilion
September 15, 2019

Los Angeles Opera opened its 2019-2020 season with Barrie Kosky's production of that most popular of operas, Giacomo Puccini's LA BOHEME. With minimal scenery from Rufus Didwiszus, Kosky's cast made the audience believe they were in the garret and at the toll gate. Only the scenery for the Café Momus was completely fleshed out.

BWW Interview: Robert Meya of SANTA FE OPERA at the Opera Ranch
August 25, 2019

Since his appointment as General Director the end of the 2018 season, Robert  Meya has provided the utmost in forward-looking executive leadership and strategic direction for Santa Fe Opera. Only the fourth General Director in the company's 62-year history, Meya succeeds Charles MacKay who followed General Director Richard Gaddes and Company Founder John Crosby. I spoke with Robert Meya at Santa Fe Opera.

BWW Review: THE THIRTEENTH CHILD at Santa Fe Opera
July 28, 2019

On July 27, 2019, Santa Fe Opera added a new work to the operatic canon with its world premiere of THE THIRTEENTH CHILD by Danish composer Poul Ruders and American librettists Becky and David Starobin. The production was  co-commissioned and co-produced by Santa Fe Opera and the Odense Symphony Orchestra.

BWW Review: COSI FAN TUTTE at Santa Fe Opera
July 27, 2019

On July 26, 2019, Santa Fe Opera presented R. B. Schlather's rambunctious production of W. A. Mozart's dramma giocoso Così fan tutte. His first act started with Don Alfonso as a cowboy and the two couples, Fiordiligi with Gugliemo and Dorabella with  Ferrando dressed in tennis whites. Amanda Majeski, who has sung several leading roles at Santa Fe,  showed herself to be a capable Fiordiligi whose top notes bloomed with silver magic as she romped around the stage. For a?oeCome Scoglioa?? (a?oeLike a rocka??), she was comedically impassive and for a?oePer pietàa?? (a?oeFor pitya??) she truly begged for forgiveness as she used every note in her wide range to encompass the  scope of Mozart's writing.  whose top notes bloomed with silver magic as she romped around the stage.

BWW Review: JENUFA at Santa Fe Opera
July 25, 2019

On Wednesday, July 24, 2019, Santa Fe Opera presented Leoš Janáček's powerful dramatic opera Jenůfa. Laura Wilde, a former Santa Fe Apprentice who performed the title role at English National Opera in 2016, again sang the lead while Patricia Racette, who has often sung Jenůfa, portrayed her stepmother, Kostelnička. Both artists gave glorious dramatic interpretations of their roles in this shattering but moving opera.

BWW Interview: Vanessa Vasquez of LA BOHEME at Santa Fe Opera
July 13, 2019

Colombian-American soprano Vanessa Vasquez, winner of the 2017 Metropolitan Opera National Council Auditions, recently completed a residency at the prestigious Academy of Vocal Arts in Philadelphia. While there, she sang as Mimi in La boheme, Gilda in Rigoletto, Donna Anna in Don Giovanni, and Violetta in La traviata. She made her professional opera debut in summer 2017 as Liu in Turandot at the Des Moines Metro Opera. This past season, she was Violetta at Arizona Opera and, currently, she is appearing as Mimi in La boheme at Santa Fe Opera.

BWW Review: THE PEARL FISHERS at Santa Fe Opera
July 1, 2019

On June 29, Santa Fe Opera presented its second production of the 2019 season, a revival of Georges Bizet's exotic THE PEARL FISHERS. First seen in Lee Blakekely's 2012 version, the production has fared well. Current director Shawna Lucey staged a tasteful, straight forward revival of the work Bizet wrote 12 years before his immortal CARMEN.

BWW Review: LA BOHEME Opens Santa Fe Opera's 2019 Season
July 1, 2019

On June 28, 2019, Santa Fe Opera opened its 63rd Season with Giacomo Puccini's tale of poverty-stricken young lovers in nineteenth century Paris. Stage Director Mary Birnbaum told the tale in a straight forward manner but with with an occasional twist that fomented conversation among audience members during the intermission and after the final act. 

June 4, 2019

Numi Opera began its inaugural season with Alexander Zemlinsky's almost forgotten Der Zwerg (The Dwarf), a piece once condemned by the Nazi Third Reich. In Los Angeles, the dark and cavernous ground floor of the Theatre at Ace Hotel was more than half full for the matinee performance on Sunday, June 2, 2019.

BWW Review: LA TRAVIATA at Dorothy Chandler Pavilion
June 2, 2019

On June 1, 2019, Los Angeles Opera revived Marta Domingo's production of Giuseppe Verdi's beloved La Traviata (The Lost One). The story concerns Marie Duplessis, an enormously famous courtesan whose life has fascinated the public for well over a century. She is the subject of La Dame aux Camelias (The Lady of the Camelias) by Alexandre Dumas the younger, who claimed to be one of Marie's lovers and she is the heroine of Verdi's opera. Los Angeles Opera reprised its 2006 production of La Traviata for the third time on June 1, 2019, at the Dorothy Chandler Pavilion.

BWW Interview: Gail Gordon of DER ZWERG at Theatre In The Ace Hotel
May 29, 2019

Numi Opera will present Zemlinsky's Der Zwerg at the Theatre in the Ace Hotel this weekend. It's a rare but outstandingly beautiful gem.

BWW Review: EL GATO MONTES at Dorothy Chandler PAVILION
May 5, 2019

On May 4, 2019, Los Angeles Opera presented a colorful, opulent production of Manuel Penella's opera EL GATO MONTES (THE WILDCAT) at the Dorothy Chandler Pavilion. Starring in the cast were Placido Domingo as Juanillo, El Gato, with Ana Maria Martinez as Solea and Arturo Chacon-Cruz as Raphael, El Macareno. Needless to say the house was packed. 

May 4, 2019

in Long Beach (CSULB). Based on the story by Franz Kafka, the opera has words by Rudolph Wurlitzer and, in this production, added text by Juliette Carillo based on interviews with members of  Rising Scholars.  The latter is a CSULB group consisting of former inmates and family members of people who have served time. 

BWW Review: THE CRUCIBLE at Lobero Theatre
April 28, 2019

Opera Santa Barbara presented a musically dramatic rendition of THE CRUCIBLE. As an opera it struck the emotions with a stronger hammer than the play did with mere words. If you can be in Santa Barbara tomorrow afternoon, don't miss the performance at the Lobero Theatre.

BWW Review: MADAMA BUTTERFLY at the Aratani Theatre
April 16, 2019

On Sunday April 14 Pacific Opera Project (POP) presented Giacomo Puccini's 1904 opera, Madama Butterfly, in Japanese and English in Los Angeles's Little Tokyo. The company also live-streamed it online. Did anyone ever think an American Navy officer would speak to a young Japanese lady in Italian? l'd expect him to speak English and the lady from Nagasaki to speak Japanese. That is what happened at the performance on Sunday. Despite translations from Goro, the marriage broker, and Sharpless, the American consul, Pinkerton and Butterfly had trouble understanding each other as they came from completely different cultures.

BWW Review: CALLAS IN CONCERT at University of Southern California's Bovard Auditorium
April 14, 2019

Maria Callas was a unique opera singer with an instantly recognizable voice. As a result, today's opera fans still have a desire to hear her recordings and to try to know what her performances were like. On April 13, 2019, Los Angeles Opera, the Los Angeles Times Festival of Books and BASE HOLOGRAM presented Callas in Concert at the 1200-seat Bovard Auditorium on the campus of the University of Southern California.

BWW Interview: Alexandra Schoeny of MOZART REQUIEM at Pioneer Center, Reno NV
April 9, 2019

Alexandra Schoeny's repertoire ranges in period and style from the time of Claudio Monteverdi to that of today's composers. Schoeny is known for her versatility and engaging stage presence. Critics have described her voice as 'hauntingly beautiful.' Her onstage portrayals of characters are said to be 'idiomatic and memorable.' Her opera roles include: Donna Anna and Zerlina in DON GIOVANNI, Adina in L'ELISIR D'AMORE (THE ELIXIR OF LOVE) other leading parts. 

BWW Review: THE MAGIC FLUTE at the El Portal Theatre in North Hollywood
March 4, 2019

On March 3, 2019, Pacific Opera Project (POP) presented its more-than-a-little-bit-zany version of Wolfgang Amadeus Mozart's THE MAGIC FLUTE (DIE ZAUBERFLÖTE) at Los Angeles's El Portal Theatre. POP Director and Designer Josh Shaw and Baritone E. Scott Levin premiered a new English version of Emanuel Schikaneder's German libretto in which the characters resembled those of a 1990s video game.