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Il sogno di Scipione, W. A. Mozart


            "The wildly inventive stage director/designer was Marc Callahan."

                                    -William Thomas Walker, CVNC (November 2019)


L’incoronazione di Poppea, Claudio Monteverdi


            "Director Marc Callahan turned the unconventional venue of the Miami Beach Woman's Club into an asset,                      devising a brilliant production of remarkable dramatic intimacy…this was a winning realization of one of the                    monuments from the cradle of operatic theater."

                                    -Lawrence Budmen, South Florida Classical Review (June 2019)


Lohengrin, Richard Wagner                                                                                                                                                                                                      

            “Top Ten Performances of 2018” 

                                    -Lawrence Budmen & David Fleshler, South Florida Classical Music (Dec. 2018)


Les indes galantes, Jean-Philippe Rameau


            "...designed and directed with the jaw-dropping invention (given that there was almost no budget)             

            by a young American Marc Callahan…a fantastic little show that needed no allowances, it was at least as good             as anything you'd find in a significant London conservatoire."

                                    -Michael White, Opera Critic for the The Telegraph (August 2014)


Parade, Eric Satie


            "The composer got the finest tribute, however. "Satie's World," the series of installations peppered 

            throughout the theater, gave Parisians a delightfully surreal reintroduction to a much-loved venue. In the 

            Grand Foyer, a stack of piled pianos nearly reached the ceiling, and mermaids sang as a pianist played a 

            selection of Satie pieces. In the Diaghilev Salon, a room off the foyer, an actor playing Sergei Diaghilev, 

            the Ballets Russes impresario, popped up for a chat in bed with his musical collaborator. Up on the 

            theater's grand terrace, clowns peeled potatoes for an all-white dinner, since the eccentric Satie ate only 

            white food."

                                    -Laura Cappelle, The New York Times (September 2019)


Albert Herring, Benjamin Britten


            "The scenario is slight, but Marc Callahan's riotously funny production plays Herring for all the laughs it is                       worth. With just a few chairs, tables and platforms as props and Paulina Lozano's brightly colorful costumes,                 Callahan's deftly paced staging moves between Lady Billows' home, Mrs. Herring's  store, the May festivities                 and a moonlit street seamlessly…While deceptively simple on the surface, Albert Herring is a multifaceted and             musically complex score. The festival's opening-night cast and production were fully equal to its demands."

                                    -Lawrence Budman, South Florida Classical Review (July 2021)


            “Top Ten Performances of 2021... the Miami Beach Music Festival presented a riotously funny staging of                         Benjamin Britten’s comic opera in July. Britten’s opus deftly satirizes the puritanical mores of a small                               village while sending up the conventions of grand opera. Marc Callahan’s fast-paced production matched the               energy and verve of Steven Gathman’s conducting.”

                                    -Laurence Budmen, South Florida Classical Review (December 2021)


A Midsummer Night's Dream, Benjamin Britten

            “…a highlight of Miami Beach Classical Music Festival…mixes whimsey and fantasy to enticingly magical                     effect…conjure up the multiple worlds of a fairy kingdom, mortal quarreling lovers, bumpkin vaudevillians and a             royal court in perfect proportion…imaginative production team. Director Marc Callahan’s fast-moving                             production traversed the magical and real world in gleaming tableaux…[and] captured the shifting globes of                 Shakespeare’ vision.”



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