Aria Alba, presents the classic double bill Cavalleria Rusticana and Pagliacci. This intimate chamber performance features expert orchestral players from Scotland and beyond. International guest singers join Aria Alba’s ensemble to tell the stories of two women navigating love, betrayal, abuse and excitement. Performed in the round, audiences get up close to the drama, experiencing the intensity and immediacy of opera. Balancing the sublime and the ridiculous, these emotionally charged operas create unmissable magic and thrilling intimacy, bringing the realness and passion of opera closer than ever.
Experience the Joy of Opera at the Edinburgh Fringe 2025!
Get ready for an exhilarating journey of music and laughter as our company takes the stage at the Edinburgh Fringe 2025! From August 13th to 16th, we present Die Fledermaus by Johann Strauss—a beloved operetta filled with charm, humor, and captivating performances. Under the direction of Jacob Zualski and conductor Suzanne Godet, this fresh take promises to be a celebration of creativity and talent.
Neil MacTavish as Alfred, Judy Miller and Fiona Watson as Nurses
A Classic, Reimagined
This year’s production gives Die Fledermaus a twist by placing it in an early ’90s pharmaceutical office. Expect clever banter, mistaken identities, and comedic chaos —all set to Strauss’s iconic score. This inventive setting breathes new life into a timeless classic, offering a fun and accessible experience for audiences of all ages.
Laughter, Style, and Spectacle
Look forward to bold ’90s-inspired costumes, lively choreography, and laugh-out-loud moments. Our creative team has embraced the era’s flair—think vivid colours and retro patterns—to complement the operetta’s vibrant energy.
Meet the Team
Director Jacob Zualski is known for his engaging, joy-filled productions that combine sharp storytelling with inventive staging. His vision seamlessly blends the elegance of Strauss with the nostalgia of office life in the ’90s.
Leading the orchestra is Suzanne Godet, whose passion for classical music and extensive experience ensures a rich, resonant sound. Her past productions have attracted thousands and left lasting impressions on audiences.
Catch a Sneak Peek!
Join us for special preview performances at the Melrose Corn Exchange on August 2nd and 3rd. These intimate events offer a glimpse of selected scenes and musical highlights from the full production—perfect for those eager to enjoy the fun ahead of our Fringe debut.
More Than a Show—A Community Celebration
At the heart of our company is a passion for connection. We aim not only to entertain but to welcome everyone—whether lifelong opera lovers or first-time attendees—into the joy of live performance.
So bring your friends and family for an unforgettable evening of music, humour, and theatrical magic.
Aria Alba are gearing up to start work on their 2025 Edinburgh Fringe production, Die Fledermaus.
We’re opening our doors to singers of all levels for our first rehearsal of this classic operetta to share our passion for opera, and the joy of this vivacious Strauss escapade.
Singers will be guided through a selection of choruses from the work by internationally recognised opera specialist, Jacob Zualski ith the support of Royal Conservatoire of Scotland graduate Max Mcwhirter at the piano. Music is available for free via the IMSLP library and can be downloaded to phone or tablet/printed before coming (we’ll send you a link via email when you RSVP).
Looking forward to meeting you and welcoming you into our community.
The event takes place at St. Ninian’s Church Hall in Edinburgh. Access is via St. Ninian’s road and we’ll have someone to meet you at the door to direct you to the rehearsal space (it’s a bit of a maze!).
The workshop starts at 7pm and lasts 2.5 hours including tea and buiscuits at the halfway point.
Last weekend saw our now annual tour to Melrose Corn Exchange to share our Edinburgh Fringe Production with a wider audience. We were thrilled by the reception of our Carmen production, and humbled by the comments of our audience. Here are some of the reviews we received:
“I have seen Carmen a number of times – Edinburgh Playhouse, Covent Garden, etc but what you guys did today surpassed them all. Without exaggeration. The Production was fantastic, and for a community opera group, the talent on display was incredible. I am still buzzing. It was a privilege to be there.”
Cigarieres – The Cigarette girls take a wee break while the soldiers watch on
“Jolanda is without a doubt the best Carmen I have seen and heard and so much credit to everyone in every role, on the floor, making music, or in the background.”
Alistair Wales as Morales
“Carmen, played by Eilidh Riddell, brought the passion, femininity and drama of her role alive in what can only be described as superb.”
Eilidh Riddell as Carmen
“Everyone was on fine singing form, but in particular socks were knocked off and goosebumps raised by Eilidh Riddell (Carmen), Amber Lipman (Micaela), Jake Zualski (Escamillo) and Aaron Fait (Don Jose), with lively accompaniment from pianist Max McWhirter.”
Amber Lipman as Micaela
“The addition of Moira Lewitt, a flamenco dancer who represents the ‘spirit of Carmen’ and broodingly ties the whole conflict together, was a fantastic stroke of innovation which I loved!”
Fiona Watson as Micaela
“The whole cast/chorus produced a rendition of Bizet’s Opera of which the composer himself would have been impressed. Truly a fabulous experience”
It’s only a week to go until we bring Carmen to Edinburgh fringe, and as our followers will no doubt have noticed, this one’s a little bit different. Not least because we are joined by the fabulous Moira Lewitt as our Flamenco Consultant who will also dance through the piece representing the spirit of Carmen. Read on for Moira’s thoughts on her role with us:
Moira Lewitt as Carmen’s Duende
‘A mysterious force that everyone feels but no philosopher has explained… The duende is not in the throat: the duende surges up, inside, from the soles of the feet.’1
I am thrilled to have been invited to embody the spirit of Carmen in Aria Alba’s production of Bizet’s Carmen. It has been a unique opportunity to infuse flamenco movement, and hopefully duende, into the performance. Like opera, flamenco communicates deep emotional states. The two artistic forms sit perfectly together, but it is important that the authenticity of each is respected, that neither is diminished. This is not the flamenco of the cafés cantantes of Bizet’s time, shaped for wealthy audiences, but a style influenced by modern flamenco theatre, more intimate and open to a dialogue with opera, with its music, lyrics and characters.
I have endeavoured to introduce flamenco percussion as well as movement to Bizet’s original score. Although Bizet’s music is notably lacking in flamenco elements, it is possible to use flamenco movements, and to overlay flamenco rhythms with footwork and palmas (clapping). Thereby, I have tried to bring flamenco authenticity. Bizet incorporated castanets, which we have included in the ‘Habanera’ in Act I, faithfully to the score. Tambourine, associated with gypsy music but not traditionally used in flamenco, is also called for, and I have used it to beat a more flamenco rhythm in the ‘Chanson Boheme’ at the start of Act II.
Matador at a bull fight
When Carmen was first performed in Paris in 1874, the audience was shocked – the upper classes in France, and in Spain, considered the on-stage depiction of gypsies, thieves and the leading female character vulgar and reminiscent of cafés cantantes where women performed and men watched. The cafés cantantes were part of the social upheaval of the time, a reflection of the struggles between classes and between genders. Unlike in Paris, performers in the cafés cantantes of Seville remained closely connected to traditional practice in the community: flamenco was, and continues to be, embedded in Andalusian life, sitting alongside other aspects of culture. Federico García Lorca, for example, explored both the bullfight and flamenco in essays and poems. The posture and practice of the matador’s pose is an inspiration in flamenco performance. Helped by the writings of García Lorca, flamenco cante jondo (deep song) was recognised outside of Andalucía: flamenco thrived and rose above the cafés cantantes.
Carmen may have been a symbol of cultural resistance when Bizet presented her to the world. What about today? I think she remains a symbol of femininity that is not submissive: a complex ‘free spirit’ to which modern performers and audiences can relate. Our Carmen has a flamenco spirit that, hopefully, I have portrayed in a way that is relatable, and that might facilitate the duende in Aria Alba’s production. What is duende? It is hard to define, it is more than a spirit, it is a force that transforms a work, it needs to be felt – I refer you to the essay by García Lorca’s in the footnote1. Aria Alba presents three Carmens, each feels the character differently, and so each time the performance is unique – I am enjoying communicating their multifaceted story and range of emotions.
The experience of working with Aria Alba has been amazing – it is a supportive environment in which to learn, and there is mutual respect and kindness. Becoming the spirit Carmen is a rewarding journey for which I am grateful.
Last week was our annual residential week at Ardentinny Outdoor Centre. It was a fantastic intensive course to get Carmen brushed off for Edinburgh Fringe and there were so many positive experiences for our community. Please read on to see how Aria Alba member, Amber got on during her first time away with us:
Aria Alba at Ardentinny Centre 2024
Singing. Hiking. Green hills, fresh air, clear waters. Friends. What more could one ask for?
I’m one of the newbies here at Aria Alba. I am not new to acting, singing, or hiking but the Aria Alba rehearsal retreat is not like any opportunity I’ve had before in the performing arts.
A week of music in the green countryside under the direction and guidance of the most wonderful music team was a week of both growth and discovery; discovery of one’s own voice and, of course, a discovery of Scotland’s hidden gems.
The Aria Alba retreat to Ardentinny is a time for focussed, in-depth exploration. Each day began with a group warm-up and a practical study of vocal anatomy and technique led by director Jake, covering topics such as breathing, vocal fold closure, the varying changes of tension with pitch, and of course, playing at sheep and shepherds (Aria Alba readers will know what this means). Speaking as a largely self-taught singer, I’ve found these exercises invaluable in understanding my voice in greater detail and could already feel/hear a difference in my performance as the week progressed. Experiencing such positive change has truly generated a buzz of excitement in myself; I am keener than ever to continue learning and practising this newfound understanding of my own voice.
The remainder of the day can best be described as a mosaic of Carmen with each room of the Ardentinny centre bringing a different scene to life. Some of this time called for the entire cast in one room but was often a rotation of some cast called for specific scenes or truly transformative 1-1 sessions with our wonderful director Jake. In the meantime, other cast members worked alongside our delightful conductor Suzanne and accompanist Max, supported each other, or worked independently on their own parts. As the week progressed the imaginative world of Carmen became ever more vivid; we attended bullfights, climbed mountains, danced in taverns, and admired the talent of our featured guest performers Charlie Morris as Escamillo and Moira Lewitt as the spirit of Carmen.
While the week was certainly full-on with learning and developing the opera, there was still plenty of opportunity to escape into the surrounding greenery. I for one seized every possible chance: a short hike into the woods after breakfast followed by the occasional foray out to the beach during the afternoon and a late-evening hike further afield (word of warning for future attendees: learn from my mistakes and bring the midge spray).
Amber singing Michaela in the end of week performance
Ultimately, as an Ardentinny first-timer, I can say that it is a worthwhile experience for any singer seeking to develop their voice and learn from the best. Live theatre is, after all, about community and connection. Singing is a full-body experience that can only be helped with a bit of fresh air. And in the case of an opera like Carmen, this experience is elevated even further with a score that is exciting, powerful, and fantastic fun. We are immensely lucky to experience it all under Jake Zualski’s innovative and powerful direction and wonderfully insightful guidance.
This past week was an exceptional learning opportunity that culminated with a full run of the opera in front of a delightfully enthusiastic audience. But the fun is only just getting started:
Melrose: 3-4th August
Edinburgh Fringe Festival: 14th-17th August
https://tickets.edfringe.com/whats-on/carmen
Huge thanks to:
The Ardentinny Outdoor Centre team. As a tragically picky eater I could not have been happier or better fed with (no joke) some of the best food I’ve had in a very long time. With Ardentinny’s isolation from the rest of the world and the nearest supermarket being who knows where, this was an incredibly important detail!
The Aria Alba music team:
Director: Jake Zualski
Conductor: Suzanne Godet
Accompanist: Max McWhirter
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