Boston Musical Intelligencer
Success, to me, is not filling the biggest halls with the most amount of people. It's supporting the artists I care about, providing an opportunity to practice their art as part of a community, and fostering a culture of abundance, to the best of my ability.
Read MoreSuccess, to me, is not filling the biggest halls with the most amount of people. It's supporting the artists I care about, providing an opportunity to practice their art as part of a community, and fostering a culture of abundance, to the best of my ability.
Read MoreWith BMOP’s new recording of his 1980s adaptation of Shakespeare’s Cymbeline, It is pleasing to see that they still are. In addition to winsome soloists soprano Aliana de la Guardia and tenor Matthew Battista – both taking on multiple roles.
Read MoreBoston Classical Review raves about Guerilla Opera’s Emergence I concert and about Aliana!
Read MoreAn aria from a reading of Crafting the Bonds, a new opera with music by Elena Ruehr, libretto by Gretchen Henderson. On this track is Cappella Clausura and the Arneis String Quartet conducted by Amelia LeClair.
Read MoreHere I am performing "Different Kinds of Light" by Marti Epstein with cellist Stephen Marotto. Text by Jackson Mac Low. Filmed from a live performance on January 22, 2018 by Boston Conservatory at Berklee.
Read MoreJoe Cadagin of Opera News reviews Guerilla Opera's studio album of "Loose, Wet, Perforated" by Nicholas Vines, released on Navona Records October 2017. He writes: “Soprano Aliana de la Guardia struts her stuff as the wanton Loose. She has a trashy moment of vulnerability when her character performs a striptease…”
Read MoreLaurence Vittes of Gramophone Magazine reviews Guerilla Opera's studio album of "Loose, Wet, Perforated" by Nicholas Vines, released on Navona Records October 2017. He writes: “Aliana de la Guardia’s Loose lets loose dizzying flights of virtuosity…”
Read MoreComposer Nicholas Vines’ surreal opera Loose, Wet, Perforated comes to life in this Navona Records release. Commissioned by the Boston-based experimental opera company Guerilla Opera and premiered in 2011, this audacious, rollicking conceptual mash-up by composer Nicholas Vines puts a very modern spin on some quite ancient ideas.
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