Selected Press Coverage

Bay Area Reporter

August 6, 2019
Philip Campbell

If I Were You at the Merola Opera Program Aug. 2019

Director Keturah Stickann is building an exciting career with innovative work at West Edge Opera and San Francisco Opera. Using every inch of the challengingly small Herbst stage, she created a dynamic, almost cinematic production, greatly helped by scenic designer Liliana Duque Pineiro and Lucas Krech's atmospheric lighting.

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The Cap Times

April 22, 2019
Lindsay Christians

Rusalka at Madison Opera, April 2019

Madison Opera's resolute 'Rusalka' is no little mermaid

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South Florida Classical Review

March 18, 2018
Lawrence Budmen

Orfeo at Florida Grand Opera, March 2018

"Director-choreographer Keturah Stickann’s production abounds in memorable stage images. The lifeless Euridice’s body being strewn with flowers by candlelight, the furies’ synchronized menace in red and black, and the serene contentment of the shades in the Elysian Fields all registered in strong, almost cinematic fashion. Stickann keeps the drama at forward pitch and seamlessly integrated the music and dance."

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Opera News

March 17, 2018
Celeste Landeros

Orfeo at Florida Grand Opera, March 2018

"In her choreography, Stickann cleverly incorporated the chorus into the dance numbers, increasing the impact of the eight-member ensemble from Dimensions Dance with a lovely blend of pedestrian movement and classical flourishes."

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March 1, 2018

Turandot at the San Diego Opera, March 2018

"Stickann’s Turandot floats her imperious self amongst her people early on during the riddle ceremony that takes place well into Act 2 when she makes her first earthly and vocal appearance."

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February 26, 2018
Beth Accomando, Katie Schoolov

Turandot at the San Diego Opera, March 2018

The Challenges Behind Staging San Diego Opera’s ‘Turandot’

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Triangle Arts & Entertainment

October 1, 2017
Pamela Vesper, Kurt Benrud

Cold Mountain at the North Carolina Opera, October 2017

Jennifer Higdon’s 2015 Opera, Cold Mountain, Surpasses the 1997 Novel and the 2003 Film

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Tulsa World

February 19, 2017
James D. Watts Jr.

Puccini to Pop at Tulsa Opera, February 2017

Tulsa Opera's 'Puccini to Pop' blends opera and musical theater

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Theater Jones

November 6, 2016
Gregory Sullivan Isaacs

Moby Dick at the Dallas Opera, November 2016

"The direction, by Keturah Stickann for this revival as originally conceived by Leonard Foglia, remains fresh."

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Opera News

October 9, 2016
Tim Smith

Seven Deadly Sins & Pagliacci, Virginia Opera, October 2016

"Virginia Opera broke up the usual ham-and-eggs serving of short verismo operas by balancing Leoncavallo's Pagliacci with another piece all about human failing - Kurt Weill's The Seven Deadly Sins. Given how at least four of those sins figure prominently in Pagliacci, the pairing made sense. Director Keturah Stickann placed both works in the economically challenged 1930's. The characters of Anna I and Anna II from the Weill opera popped up briefly later during Pagliacci, as if they had tired of Louisiana and somehow made their way to an Italian village. A gritty scenic design by Constantine Kritikos also provided a link between the pieces, underlined, with an almost Fellini-esque flourish, by bits of clown paraphernalia added to the costumes for some figures in Seven Deadly Sins....Everyone revealed assured acting skills, nowhere more compellingly than in the "Pagliaccio e Columbina" performance, which Stickann directed in unusually dynamic fashion. The steady stream of broad, off-color humor seemed genuine for a troupe anxious to hold an audience in the provinces; little touches, such as kids sneaking backstage and being scooted out, made the staging all the more engaging. The violent flashes really were surprising, the final moments truly affecting."

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The Times Argus

August 12, 2016
Jim Lowe

Orpheus and Euridice at The Vermont Opera Project, August 2016

"Orpheus and Euridice meet, fall in love, cavort, settle down. She dies slowly. He saves but loses her, and he dies a rather unpleasant death. This takes place in the most atmospheric of staging, giving it an ethereal, untouchable feeling — like living in a dream. "Directed and choreographed by Keturah Stickann, the staging proved stylish and effective storytelling. Robert Wood conducted the inviting music, including the excellent instrumentalists, with a real sense of its drama. "The Vermont Opera Project’s “Orpheus and Euridice” created the effect of a beautiful animated classic painting with music. Now, that’s a different way to enjoy opera."

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Louisville Magazine

September 13, 2015
Selena Frye

Macbeth at the Kentucky Opera, September 2015

Director Keturah Stickann: Macbeth 'A Supernatural Feast'

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Courier Journal

September 10, 2015
Elizabeth Kramer

Macbeth at Kentucky Opera, September 2015

Kentucky Opera takes on 'Macbeth,' ambition

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Knoxville Mercury

April 27, 2015
Alan Sherrod

Il trovatore at Knoxville Opera, April 2015

"In her fourth project with KO, director Keturah Stickann again wove psychological themes into the staging, themes that reference the backstory of the opera otherwise told only through exposition. Specters of Azucena’s mother and child briefly haunt several scenes as a reminder of that story, completed at the finale by a stunning image of an immolation as the existing scenery flies away. Stickann also gave Il Trovatore some truly gorgeous stage pictures through the painting and organization of crowd tableaus and character movement, such as Act II’s “Anvil Chorus,” all the while making a positive attribute of the drop and wing sets"

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April 7, 2014
Matthew Richard Martinez

Don Quixote at the San Diego Opera, April 2014

Amid turmoil, San Diego Opera carries on with masterful Furlanetto in a thoughtful Don Quixote

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