Adam de la Halle - - The Play of Robin and
Marion
Bach - - Coffee Cantata - - Peasant Cantata
Beeman - - Great American Dinner Table
Beethoven - - Fidelio
Bellini - - Norma
Bernstein - - Candide
Bizet - - Carmen - - Les pècheurs des perles
Boito - - Mefistofele
Britten - - Albert Herring - - A Midsummer Night's Dream - -
The Turn of the Screw
Busoni - - Arlecchino
Cherubini - - Medea
D'Albert - - Tiefland
Debussy - - L'Enfant Prodigue
Donizetti - - Anna Bolena - - Don Pasquale - - L'Elisir d'amore
- - Lucia di Lammermoor
Flotow - - Martha
Gay and Pepusch - - The Beggar's Opera
Giannini - - The Medead
Giordano - - Andrea Chenier
Glinka - - Russlan and Ludmilla
Gluck - - Armide - - Le Cadi Outwitted - - Iphigenie en Tauride
- - Orfeo ed Euridice
Gounod - - Faust - - Romeo and Juliet - - The Doctor in Spite
of Himself
Handel - - Alcina - - Amadigi
Haydn - - Orlando Paladino - - Lo Speziale - - La Vera
Costanza
Humperdinck - - Hansel and Gretel
Krasa - - Brundibar (US stage premiere)
Lehar - - The Merry Widow
Leoncavallo - - Pagliacci
Mascagni - - Cavalleria Rusticana
Massenet - - Cinderella - - Manon - - Werther
Menotti - - Amahl and the Night Visitors - - Help! Help! The
Globolinks - - The Medium - - The Old Maid and the Thief - - The
Telephone
Monteverdi - - L'Incoronatione Di Poppea
Moore - - The Ballad of Baby Doe - - The Devil and Daniel
Webster
Mozart - - Abduction from the Seraglio - - Bastien and Bastienne - - Cosi
fan tutti - - Don Giovanni - - Idomeneo - - The Magic Flute - - The Marriage
of Figaro
Mussorgsky - - Boris Godunov
Nicolai - - The Merry Wives of Windsor
Offenbach - - Les Bavards - - Grand Duchess of Gerolstein - -
Orpheus in the Underworld - - La Perichole - - The Tales of
Hoffman
Orff - - The Moon
Paisiello - - The Barber of Seville - - Don Chischotte
Pergolesi - - La Serva Padrona
Ponchielli - - La Gioconda
Poulenc - - Dialogues of the Carmelites - - La Voix Humaine
Prokofiev - - The Duenna - - The Love for Three Oranges
Puccini - - La Boheme - - La Fanciulla del West - - Gianni Schicchi -
- Il tabarro - - Manon Lescaut - - Madama Butterfly - - Suor Angelica - -
Tosca - - Turandot
Purcell - - Dido and Aeneas
Putsche/Berrone - - Lucky Night
Rodriguez - - The Ransom of Red Chief (World premiere)
Rossini - - The Barber of Seville - - La Cenerentola - -
L'Italiana in Algeri - - The Silken Ladder - - Il Turco in Italia
Smetana - - The Bartered Bride - - Dalibor - - The Kiss - - Two
Widows
Sproul - - The Light Princess
J. Strauss - - Die Fledermaus
R. Strauss - - Ariadne auf Naxos - - Capriccio - - Electra - -
Der Rosenkavalier - - Salome
Stravinsky - - Mavra - - The Nightingale - - The Rake's
Progress - - The Soldier's Tale
Tchaikovsky - - Eugene Onegin
Verdi - - Aida - - Un Ballo in Maschera - - Falstaff - - Don
Carlo - - Macbeth - - Rigoletto - - La Traviata - - Il Trovatore
Walker - - Opera Buffet
Walton - - The Bear
Weber - - Der Freischutz
Wilder - - Sunday Excursion
Wyton - - A Journey with Jonah (Premiere of revised version)
Zaimont - - Goldilocks and the Three Bears (World premiere)
2001-2002
Eugene Onegin, Opera North
Romeo et Juliette, Opera North
Tosca, Anchorage Opera Company
La Traviata, Eugene Opera
2000-2001
Carmen, Opera North
Don Giovanni, Opera North
Le nozze di Figaro, Abilene Opera
Cosi fan tutte, Eugene Opera
Grand Duchess of Gerolstein, Gordon College
Of Thee I Sing, Simsbury Light Opera
1999-2000
Ariadne auf Naxos, Opera North
La Boheme, Abilene Opera
La Boheme, Opera North
The Mikado, Simsbury Light Opera
The Pirates of Penzance, Gordon College
Le nozze di Figaro, Eugene Opera
Rigoletto, Anchorage Opera
Romeo et Juliette, Shreveport Opera
1998-1999
Il barbiere di Siviglia, Eugene Opera
Carmen, Univ. of Connecticut (Victor Borge, cond)
Susannah, Opera North
Tosca, Abilene Opera
Die Zauberflote, Opera North
The Ballad of the Bremen Band (Arlen)
Gypsy Baron, Simsbury Light Opera
Man of La Mancha (Oxbow School)
Orpheus in the Underworld, Gordon College
Pinafore (Gilbert & Sullivan), Gordon College
Yeoman of the Guard (G & S), Simsbury Light Opera
1997-1998
Albert Herring (Britten), University of Connecticut (P Sacco, cond.)
Don Giovanni (Mozart), Eugene Opera (T. Cook, Rosales, Nassief, Deas; Graffeo,
cond.)
Rigoletto (Verdi), Opera North
Into the Woods (Sondheim), Oxbow School
The Merry Widow (Lehar), Abilene Opera Association (F. Esham)
Pirates of Penzance (G & S), Simsbury Light Opera
Pirates of Penzance (Gilbert & Sullivan), Opera North
1996 - 1997
Amahl and the Night Visitors (Menotti), Opera North
Un Ballo in maschera (Verdi), Abilene Opera Association
Les contes d'Hoffmann (Offenbach), Opera North (Esham, Riberi, Lau; Burkot,
cond.)
Les contes d'Hoffmann (Offenbach), Univ of Connecticut
Die Fledermaus (Act III) (Strauss) with Opera Scenes, University of Connecticut
Gianni Schicchi (Puccini), Opera North
Madama Butterfly (Indian Hill School)
Tosca (Puccini), Opera North
Il Trovatore (Verdi), Connecticut Opera (Villa; Waters, cond.)
Anything Goes (Porter), Oxbow School
The Gondoliers (Gilbert & Sullivan), Gordon College
The Merry Widow (Lehar), Simsbury Light Opera
The Mikado (Gilbert & Sullivan), Opera North
A Night in Venice (Strauss), New England Arts Alliance
Ruddigore (Gilbert & Sullivan), Simsbury Light Opera
1995 -1996
Die Fledermaus (Act III) (Strauss) with Opera Excerpts, University of Connecticut
Opera Ensemble
Don Giovanni (Mozart), Connecticut Opera (Ottey; Ashens, cond.)
Madama Butterfly (Puccini), Indian Hill Symphony
Tosca (Puccini), Opera North (Plette, Joyner, Woodman; Burkot, cond.)
The Gondoliers (Gilbert & Sullivan), Gordon College
The Mikado (Gilbert & Sullivan), Opera North (Burkot, cond.)
Ruddigore (Gilbert & Sullivan), Simsbury Light Opera (Pierce, cond.)
1994-1995
The Barber of Seville (Rossini), Opera North (L. Burkot, cond.)
Hansel and Gretel (Humperdinck) Opera North (Burkot, cond.)
Lucia di Lammermoor (Donnizetti), Connecticut Opera (Mary Dunleavy, Villa,
Stephens, Densen; Ashens, cond.)
Madama Butterfly (Puccini), Connecticut Opera ( N. Rom/P. Della Gatti,
Villa, T. King; Ashens, cond.)
The Medium (Menotti), Opera North
Il Tabarro & Suor Angeliica (Puccini), University of Connecticut (P.
Phillips, cond.)
La Traviata (Verdi), Abilene Opera Association (Esham, Burke, Parcher;
Burkot, cond.)
Company (Sondheim), North Country Theatre, Lebanon, NH
The Gondoliers (Gilbert & Sullivan), Simsbury Light Opera (W. Pierce,
cond.)
1993-1994
Albert Herring (Britten), Opera North (Weiser, cond.)
Don Pasquale (Donizetti), Shreveport Opera (T. Kalaam, cond.)
Fidelio (Beethoven), Dartmouth Symphony Orchestra (L. Morgan, T. Mussard,
D. Hartman; A. Princiotti, cond.)
Tosca (Puccini), Connecticut Opera (Magaziner, Villa, Karel; Ashens, cond.)
La Traviata (Verdi), Opera North (F. Esham, R. Burke, W. Parcher; Burkot,
cond.)
Guys and Dolls (Loesser), Oxbow School
The Light Princess (Sproul) Premiere, Vermont Composer's Consortium (E.
McCrae, cond.)
Patience (Gilbert & Sullivan), Gordon College (Brooks, cond.)
Trial by Jury and H.M.S. Pinafore (Gilbert & Sullivan), Simsbury Light
Opera (W. Pierce, cond.)
1992-1993
Madama Butterfly (Puccini), Opera North (L. Jonason, R. Burke; Burkot,
cond.)
Noye's Fludde (Britten), Opera North (Burkot, cond.)
Le Nozze di Figaro, Act II (Mozart), Opera North
Princess Ida (Gilbert & Sullivan), Simsbury Light Opera (Pierce, cond.)
1991-1992
Carmen (Bizet), Baton Rouge Opera (A. Terzian, D. Smith; M. Trifan, cond.)
Carmen (Bizet), Opera North (G. Prata, D. Smith; Burkot, cond.)
The Gondoliers (Gilbert & Sullivan), Troupers Light Opera (Peterson,
cond.)
The Sorcerer (Gilbert & Sullivan), Simsbury Light Opera (Pierce, cond.)
Trial By Jury (Gilbert & Sullivan), Troupers Light Opera (Peterson,
cond.)
1990-1991
La Boheme (Puccini), Opera North (J. Kierstine, D. Smith, C. Schuman; Burkot,
cond.)
The Marriage of Figaro (Mozart), Baylor Opera Theater (R. Aslanian, cond.)
Norma (Bellini), New Britain Opera (Brown, Poulis; F. de Oliviero, cond.)
Iolanthe (Gilbert & Sullivan), Troupers Light Opera (Peterson, cond.)
Man of La Mancha (Leigh), Lyric Opera of Dallas (W. Parcher; Burrows, cond.)
The Mikado (Gilbert & Sullivan), Simsbury Light Opera (W. Pierce, cond.)
Trial By Jury with Gilbert & Sullivan Excerpts; St. Paul's Players
- Earlier Years Available Upon Request -
Turandot, Anchorage Opera, February, 2003
"...under the direction of Ron Luchsinger(who also sings the
role of Turandot's father, the Emperor), the singers fulfilled the second
essential ingredient of great opera: persuasive acting." Catherine Stadem,
ANCHORAGE DAILY NEWS, 2/2/03
La Boheme, Eugene Opera, January, 2003
"Ron Luchsinger, a favorite director for Eugene Opera, placed his production
in the 1830s...The results in both cases are valid and vibrant readings of
Puccini's opera. Luchsinger has once again succeeded in bringing to Eugene
Opera the excitement of a well directed opera." Marilyn Farwell, THE
REGISTER-GUARD, 1/3/03
Cosi fan tutte, Opera North, August 2002
"Opera North's production...directed by Ron Luchsinger, is solid and
well-done --- first of all hilarious, then beautiful. In fact, it is the funniest
production of any opera the regional company has produced in recent times.
Luchsinger, with this very able cast, has taken what could be just inane silliness
and made it deep-down funny with wonderful characterizations and witty interaction."
Jim Lowe, TIMES ARGUS ARTS EDITOR, 8/20/2002
The Marriage of Figaro, Eugene Opera, February, 2000
"Friday's Hult Center performance had almost all one could wish
for: excellent young singers, fine musical and dramatic direction,
energetic acting and glorious ensemble singing. " Marilyn Farwell,
THE REGISTER-GUARD, 2/8/00
Romeo et Juliette, Shreveport Opera, September, 1999
"Ron Luchsinger's staging was quite good. He kept a nice flow, and
he has a good sense of the visual. Luchsinger created some striking
tableaux that often gave this opera a striking and elegant look. The
best example was the pacing, staging and lighting of the lovers'
bed-chamber the morning after their marriage. In this particular
scene, the staging turned nicely cinematic." Lane Crockett, THE TIMES
(SHREVEPORT), 9/19/99
Barber of Seville, Eugene Opera, March, 1999
"(Rossini) would also have loved Ronald Luchsinger's stage
direction. It sprang straight from the music, keeping the focus on
the action but never making life too difficult for the singers. Deft
employment of extras and a lovely sense of when to freeze the
movement and when to speed it up kept the action light and lively.
Luchsinger also understands that comedy needs to be accented with
touches of darkness, and thus forestalls any drift towards
claustrophobic sweetness. He knows we need to laugh to keep the night
away." Linda Smith, REGISTER GUARD, 3/21/99
Rigoletto, Opera North, August, 1998
"Simply and effectively directed by Ron Luchsinger..." Jim Lowe,
TIMES ARGUS, 8/98
"The soldout house was responding...to the perceptive staging by
Ron Luchsinger, now in his tenth year as resident
Don Giovanni, Eugene Opera, February, 1998
"...a rich production--clean, sharp, dark, humorous, full of
towering sets, glittery costumes and spectacular voices..."Fred
Crafts, THE REGISTER-GUARD, 2/8/98
Tosca, Opera North, August, 1996
"Ronald Luchsinger, the Resident Stage Director and chief treasure
of the company, accomplished a performance of Tosca that would grace
any stage for its sane approach both to space and to text and
music...But from the perspective of the whole performance, it is to
Luchsinger that the laurel wreath goes. I hope that the performers
have some idea of the creative genius that he brings to his work."
Dan Wolfe, SHELBURNE NEWS. 8/17/96
"It's to the credit of Opera North's always admirable stage
director, Ronald Luchsinger, that the company as a whole rose to the
occasion. In the relatively small confines of the Opera House,, and
with cuts in the federal and state funding that are a mainstay of an
organization like Opera North, Luchsinger still managed to produce a
Tosca that did not stint on pomp or spectacle." Nicola Smith, VALLEY
NEWS, 8/17/96
Don Giovanni, Connecticut Opera Association, April, 1996
"Director Ron Luchsinger wisely placed the most emphasis on the
musical values of Mozart's masterpiece, leaving the modern day
psychoses to the minds of the audience. Sets, lighting and costumes
were all carefully fitted together in Luchsinger's reading of the
opera. His record as artistic director for a variety of musical
triumphs has placed him in the forefront of his profession. The
dinner scene...is stunning as it is explosive. He thoughtfully uses
the epilogue to finish off a remarkable performance that drew a
standing ovation from an appreciative audience." Lou Ball, VALLEY
NEWS, 4/96
Barber of Seville, Opera North, Lebanon, NH, August, 1995
"Just as Faberge delighted the czar year after year with intricate
new wonders, conductor Louis Burkot and stage director Ronald
Luchsinger have managed, yet again, to top their previous year's
brilliance with a version of the Barber that whirs through all its
intricacies like clockwork, barely hinting at all the hard work that
goes into polishing such a professional production...Luchsinger's
masterful comic touches ...has the firepower to delight even seasoned
opera-goers who are accustomed to paying four times the ticket price
and getting half the fun out of an evening at the opera
(elsewhere)...Bravo Ron Luchsinger." Charles Riley for VALLEY NEWS
& OPERA NEWS, 12/95
"A few random high points: the imaginative use of the Lebanon
Opera House's aisles for entrances and exits, both group and
invidiaul; the nifty transofmration of stage space from street scene
to interior...the distribution of umbrellas among the participants,
including conductor Burkot, for the storm scene. As for Ronald
Luchsinger's stage direction, what is there to say but that he
managed to find new business to liven up the action without carrying
it to the extremes of directorial waywardness that spoil many
contemporary opera productions, and that he illuminated the drama
beautifully?" David Sices, Valley News, 8/19/95
Lucia di Lammermoor , Connecticut Opera, November, 1994
"Ron Luchsinger's directorial touch was sure." Gilbert H. Mott,
OPERA NEWS 2/18/95
"Ronald Luchsinger's direction did what was called for: It kept
things simple and let the singers do their thing, which in this case
was extraordinary." Steve Metcalf, THE HARTFORD COURANT, 11/4/94
"Ronald Luchsinger's skillful direction provided the perfect
platform for these stellar performances." Betty Hughes, MUSIC,
11/5/94
Madama Butterfly, Connecticut Opera, October, 1994
"Indeed, one of the strongest elements of this production was the
director's especially skillful handling of the slowly gathering
dramatic forces that culminated in Butterfly's final agonies." Robert
H. M. Simon, JEWISH WEEKLY NEWS, 10/13/94
"Kudos to veteran director Ron Luchsinger for providing a
stimulating realization of Puccini's poingnant drama. The geisha
tableau was a lovely juxtaposition to the Act I love scene. It's not
easy to make so many in an audience cry, but Luchsinger succeeded."
Betty Hughes, THE ADVOCATE, 10/12/94
Company North Country Community Theatre, Lebanon, NH, October,
1994
"...the brilliant result of their (Stephen Sondheim and Harold
Prince) collaboration, not to mention the razor-sharp book by George
Furth, is currently being given an intelligent, thoroughly
entertaining production by the under the direction of Ronald
Luchsinger at the Lebanon Opera House...Fortunately for this
production, Luchsinger has assembled a lively and able cast to bring
the idiosyncrasies of Sondheim's and Furth's characters to life...But
real credit goes to director Ronald Luchsinger who shows again his
ability to stage complex productions with inventiveness and wit. It
is to his credit as well that he does not gloss over the fundamental
darkness of Sondheim's creation. Company is a bleak valentine to
marriage and friendship indeed." Nicola Smith, Valley News, 10/19/94
La Traviata, Opera North, August, 1994
"Indeed, Ronald Luchsinger's intelligent stage direction...make a
virtue of necessity, given the limitations of the Lebanon Opera
House's facilities, and restores the work to its original intimacy of
scale." David Sices, VALLEY NEWS, 8/23/94
Madama Butterfly, Opera North, August, 1993
"The production has been beautifully mounted by Stage Director
Ronald Luchsinger with an eye for the telling, sharp, ironic detail.
The stage is alive with movement, with the gestures that outline,
simply but emphatically, the fate that awaits Butterfly. The American
Consul Sharpless' despair as he asks her, 'What would you do if
Pinkerton does not return?' The utter, terrible silence, both
musically and dramatically, is Butterfly's response. There is
stillness, too: the frozen vigil that Butterfly keeps while waiting
for Pinkerton's return. It is to Luchsinger's credit that he holds
onto these moments. He heightens, but does not sentimentalize, the
drama." Nicola Smith, VALLEY NEWS, 8/21/93
Don Pasquale, Shreveport Opera, November, 1993
"Director Ronald Luchsinger kept a necessary light hand...fine
acting made a memorable evening...and to shore up the offering, the
principals also turned in nice comic turns." Lane Crockett,
SHREVEPORT TIMES, 11/22/93
Carmen, Opera North, August, 1992
"Also, stage director Ronald Luchsinger, who has directed Opera
North's last six productions, takes pains to put plenty of action
into them so the audience always has something to watch and doesn't
see just static figures singing. He gives every chorus member some
little vignette to perform to establish an identity as a particular
character other than, say, third soprano from the left. In this way,
everyone on stage feels they have a stake in the success of the
production." Gail Kelly, THE BOSTON SUNDAY GLOBE, 9/6/92
"But credit must also be given to...Ronald Luchsinger for
providing compelling dramatic direction." David Sices, VALLEY NEWS
"The production...staged by Ronald Luchsinger, is meticulously
prepared..." Ellen Pfeifer, The Boston Herald
Gondoliers, Troupers Light Opera
"Directed by Ron Luchsinger, the production is colorful, lively
and funny. Luchsinger points up all the good jokes and adds a couple
that Gilbert probably would have loved, including some raised-eyebrow
moments, though he never loses style or taste." Arden Anderson
Broecking, DARIEN NEWS-REVIEW, 4/30/92
"The same may be said for Ron Luchsinger's direction. It was
solid: it had few surprises, other than the aforementioned banditta
Inez and two menacing monks. ...this one moved right along,
especially with the larger groupings. Lucinda Winslow's staging of
the famous cachucha, the dance in Act 2, raised a round of applause."
Jerome R. Sehulster, STAMFORD ADVOCATE, 4/27/92
Sorcerer, Simsbury Light Opera
"When artistic director Ron Luchsinger filled his palette to paint
this lovely picture, he began by dipping his brush into good casting
and stage direction." Penny Carroll, FARMINGTON VALLEY HERALD, 4/2/92
"Artistic Director Ron Luchsinger seemed to thrive on moving his
large forces around a very broad stage. There was always a clever bit
of business going on somewhere, and it required a shifty neck and eye
to take it all in. Occasionally the byplay distracted from a song in
progress, but what distractions! The chorus was not just grouped into
types (villagers, domestics, etc.) - each of the 46 choristers had a
unique occupation signaled by their costume, make-up and props, from
Organ Grinder to Fortune Teller to Pig Farmer. I wanted to spend
weeks in this village, so exotic were its inhabitants. Only a rather
familiar-looking tower on the scenery's mountain top told me I was
not far from home." John Hebel, HARTFORD ADVOCATE, 3/15/92
Mikado, Simsbury Light Opera
"With a new look and some imaginative staging, it becomes a
distilled delight...Ron Luchsinger brings new life into an old
favorite with imagination and finesse as the artistic director and
rates the highest accolades." Lou Ball, FARMINGTON VALLEY HERALD,
4/11/91
Magic Flute, Opera North
"Opera North's production of Mozart's Magic Flute is a winner both
musically and dramatically...Director Ronald Luchsinger's approach is
traditional in a number of senses, and works delightfully in that
context. Mr. Luchsinger achieves ingenious transformation of his
basic set, creating a nice balance between illusion and eye-winking
collusion with his audience." David Sices, VALLEY NEWS, 9/21/90
Mikado, Lyric of Dallas
"This is the second time the Lyric has presented this Oriental
bonbon. The staging by Ronald Luchsinger has a fluidity that never
looks studied. It is witty, clever and so thoroughly musical that it
fairly ripples off the stage. It moves at such a sprightly pace that
one isn't inclined to dwell even fleetingly on the plot's
absurdities." Harry Bowman, DALLAS MORNING NEWS, 8/8/88
Hansel and Gretel, Opera North
" The commendable stage direction was by Ronald Luchsinger...By
using some simple but inventive bits of staging, Luchsinger was able
to pull off some difficult bits, like having the 25-member children's
chorus suddenly appear as the poor kids the Witch has turned into
gingerbread." Rebecca Bailey, VALLEY NEWS, 12/8/88
Hansel and Gretel, Lyric Opera of Dallas
"...an authentic and logical presentation of this delicate
tragedy...The result is high in impact and even heavier in
implication than anything all those heavy-handed gimmicks could
produce. Stage director Ron Luchsinger has set up a chilling cultural
conflict between the Americans, with their swagger and righteousness,
and the gentle vulnerability of the Japanese (who, as the play
progresses, adopt American dress.) In the end, Butterfly is crushed
between the two sets of opposing values. Combined with Luchsinger's
dramatic concept and the intimacy of the Plaza Theater, the overall
effect of this production of Butterfly was first-rate." Wayne Lee
Gay, FORT WORTH STAR TELEGRAM, 7/13/86
Hansel and Gretel, Connecticut Opera
"Butterfly scored on the significant staging by Ron
Luchsinger...Not only in the tiny touches was finesse evident--such
as having Pinkerton wave Suzuki crudely away in Act I or Trouble
poignantly pat his languishing mother on the back--but entire scenes
were transformed by this attention to detail. In the love duet, every
gesture of Butterfly acted as an anathema to Pinkerton, emphasizing
from the very beginning their tragic incompatibility. Not once did
Luchsinger give in to the temptation to smooth over the pair's
differences (in deference, not to the drama, but to the audience).
Instead, these differences were displayed as the broken backbone of
the drama. The absence of blatant sentimentality made the overall
canvas more stark, more in keeping with the Japanese brushstroke and
with Butterfly's simple tragedy." Marya Berry, HARTFORD ADVOCATE,
4/18/84
"Ron Luchsinger's production is relatively sparse, and it works
because it refuses to be self indulgent or overblown." Ivan Katz, NEW
HAVEN REGISTER, 3/25/84
La Traviata, Simsbury Light Opera
"The entire production was brilliant and probably the best opera
that has been seen in these parts in many a day...The choruses too
were a joy to hear and they were manipulated during the large party
scenes with grace and fluid movement by director Ron Luchsinger."
Edgar Kloten, FARMINGTON VALLEY HAROLD, 4/4/85
Barber of Seville
"Ron Luchsinger's direction was wonderfully busy and full of neat
surprises. He's at his best in comic opera. The staging was an
eclectic concept mixing modern and period elements such as the use of
a telephone, the chorus dressed as keystone cops and mixed styles of
costuming. His use of the servant Ambrosio, superlatively done by
Michael Bogatay, as a bumbling, stumbling antagonist in the Act I
finale was a touch of theatrical inventiveness." Joseph Terzo,
FARMINGTON VALLEY HAROLD, 12/6/84
"Some thought it the funniest thing they had ever seen; others
commented, 'Well, it's different...' but no matter how surprised some
of the classic-opera buffs were, no one could resist giggling or even
guffawing at some of the outrageous comedy gems produced on the
Bushnell stage last week...The second surprise was the comedic
talents of the performers. Spurred on by director Ron Luchsinger,
they hammed it up in overdone opera buffa style but revealed a
superlative sense of natural comic timing as well." Barbara
MacKenzie, WEST HARTFORD NEWS, 12/6/84
"...the company's imaginative staging and clear English diction
made the opera come to life with an unusual accessibility. Ron
Luchsinger's staging has characters ranging from sparkling
ingeniousness to slapstick...his cast of singing actors handled all
the range with great ease and a marvelous flair for
characterization." F. Heresniak, POUGHKEEPSIE JOURNAL, 11/13/84
Gondoliers
"Ron Luchsinger's staging was stylish and in excellent taste,
taking care to lose none of the fun, but pulling out all the stiletto
satire and social comment available in the libretto...There were
clever bits, as always in a Luchsinger production, an irate gondolier
stiffed by the Duke, a fisherman who came up with some amazing
catches and a couple of monks who looked like sinister E.T.'s." Arden
Anderson Broeking, DARIEN NEWS-REVIEW, 5/3/84
Cavalleria Rusticana and Pagliacci
"Ron Luchsinger's direction was deft and acutely aware of the
dramatic requirements of both operas." Lou Ball, FARMINGTON VALLEY
HAROLD, 11/17/83
Yeomen of the Guard
"Opening night of Yeomen was nearly flawless, and displayed the
ABC's of successful Savoyard productions, for it was Artful,
Beautiful and Colorful. Ron Luchsinger's artistic direction provided
the best possible vehicle for a well integrated cast that gave as
good a performance as you'll ever see anywhere." Lou Ball, FARMINGTON
VALLEY HEROLD 3/17/88
"The stage direction is smooth and visually dramatic. Ron
Luchsinger takes a crowd of 27 'citizens' as well as acolytes,
dandies, priests, and other assorted characters, and moves them
without distraction or slowing things down." Jim Shelly, STAMFORD
ADVOCATE 4/30/82
Un Ballo in Maschera
"...this was a performance of taste and high drama. ...Director
Ron Luchsinger...sensibly avoided the kind of stilted gestures that
so often give opera a bad name. The crowd scenes were clean and
efficient, especially the final ballroom number." Steve Metcalf,
HARTFORD COURANT, 10/19/85
Sorcerer
"Ron Luchsinger, the director, is a very talented man! He
researches the shows carefully, and then turns what might have proved
an academic exercise into light-hearted theater. He has a way of
dressing the stage and of using the chorus people that makes them an
integral part of the action, each one a separate entity within the
whole." Arden Anderson Broeking, DARIEN NEWS-REVIEW, 4/28/83
Cinderella
"The Hartt Opera Theater's Touring Company director, Ron
Luchsinger, has again shown his wonderful creative sense of the
ingredients that go into masterful comedy. Most illustrative of this
is the side-splitting business he has assigned to the two
stepsisters...and the inclusion of two Commedia del Arte characters,
who afford a constant background mimicry of the characters on stage.
It's a classic touch." Joseph Terzo, FARMINGTON VALLEY HAROLD,
10/30/80
Iolanthe
"...the coordination of the stage action was also first-rate.
There were pyramids of fairies, and the eye was always engaged by
different combinations of characters that alternately danced, marched
or cavorted on stage. The production was alive and well executed down
to the last detail." Daniel Fallon, STAMFORD ADVOCATE, 4/23/80
Gianni Schicchi
"Italian opera at its finest...Director Ron Luchsinger moved his
young cast about with deftness and style, resisting the broad
caricatures that larger auditoriums invite." Frank Merkling, DANBURY
NEWS/TIMES, 11/6/79
