It is my great joy to welcome you to a new season of opera at Boston Conservatory at Berklee—one defined by daring artistry, powerful storytelling, and the boundless imagination of our community.
Since its founding in 1867, Boston Conservatory has stood at the forefront of artistic progress. It was among the first conservatories in America to admit women and people of color, the first to establish an opera training program, and the first to offer a degree in musical theater. That same spirit of inclusion and innovation continues to shape every note we sing, every story we tell, and every artist we nurture. In the Vocal Arts Department—home to the nation’s oldest and most forward-looking opera training program—students, faculty, and guest artists come together to explore opera not as a museum art, but as a living, breathing language of our time. Across 12 graduate and undergraduate degree paths in performance, pedagogy, and choral artistry, our students honor centuries of tradition while fearlessly charting the future of formal conventions.
That dual commitment—to heritage and to innovation—animates our 2025–2026 mainstage season. We begin with Marc Adamo’s Little Women, whose lyrical intimacy and emotional depth bring new dimension to Alcott’s timeless tale. In February, we enter the shimmering, symbolist world of Debussy’s Impressions de Pelléas et Mélisande, a distilled vision of love and mystery rendered in exquisite color and restraint. And in April, we present the East Coast and collegiate premiere of Time to Act by Laura Kaminsky and Crystal Manich—a bold new work that confronts grief, resilience, and the urgency of social change. After its Boston performances, Time to Act will travel to National Sawdust in Brooklyn to record the work for commercial release—placing our students on a national stage and affirming Boston Conservatory’s leadership in contemporary opera. Our Opera Innovators Series—a partnership with Boston Lyric Opera—deepens this mission, welcoming visionaries such as Riccardo Frizza, Karen Slack, Brenda Rae, and Anne Bogart.
If you find yourself moved by what you hear tonight and wish to be part of our journey, I warmly invite you to reach out—either to our offices or to me personally. We would be delighted to connect with you, to share our vision, and to explore how your partnership can help us continue shaping the future of vocal artistry.
Thank you for your presence, your applause, and your belief in what we do.
Dr. Isai Jess Muñoz
Chair, Vocal Arts Department
Boston Conservatory at Berklee
