Opera's Dynamic Duo

The following review appeared in the Arts and Culture section of The Greek American, November 18, 2000.

By Vicki J. Yiannias
Tenor Marko Lampas and his wife, soprano Barbara Iona Miller, sang leading roles in Genesis Opera's opening night of "A Celebration of Puccini: Il Tabarro and Suor Angelica," in New York, November 10.

In "Il Tabarro," Lampas plays the lover of the married Giorgetta, played by Miller. A tall, attractive couple, Lampas and Miller make the lovers' interest in each other plausible. Lampas' strong personality creates an imposing stage presence that pairs effectively with Barbara Iona Miller's beautiful stage persona. Miller excels in the dramatic moments of the opera. Among the other excellent performances in both "Il Tabarro" and the "Suor Angelica," Lenna Darbin successfully brings humor and lightness to the role of Frugola in "Il Tabarro."

Born in Greece, Lampas won scholarships from the Metropolitan Opera and the Juilliard School and to the master classes of Maria Callas. Singing with Callas, he says was "one of the most wonderful experiences of my life," the moments he spent singing "A te o Cara" with her are an unforgettable treasure.

Barbara Iona Miller is a graduate of the Juilliard School and has performed the major Puccini and Verdi heroines. The temperament and dramatic skills of Lampas and Miller have suited them to singing Verdi and Puccini internationally to the acclaim of critics.

Marko is artistic director of the Genesis Opera, and Barbara is co-artistic director. Genesis Opera is a branch of Genesis Repertory.

Select Reviews, Barbara Iona Miller

TURANDOT
“Barbara Iona Miller’s Liù had more of the vocal heft Turandot needs, though she handled the role’s crucial pianissimos beautifully.” Bill Zakariasen, N.Y. Daily News

I DUE FOSCARI
“Ms. Miller’s voice negotiated the treacherous turns with clarity and temperament.” N.Y. Daily News

“Miss Miller’s voice shone brightly on the top, which was produced with full sound . . . musically her preparation deserves commendation.” Gannet/Westchester

LA TRAVIATA
“Miss Miller is an exceptionally attractive Violetta physically as well as in her acting. She sang with great control but with tenderness and passion. Her “Sempre libera” in Act I was especially dazzling. “Addio del passato” in Act IV was sung with beautiful delicacy and loveliness. Madison Eagle, N.J.

Soprano Barbara Iona Miller gave a finely crafted performance portraying a Violetta of both porcelain delicacy and considerable strength and power as the role demanded. And she has the acting ability to back up her vocal powers.” Denville Citizen, N.J.

LA BOHEME
“In the polished Boheme led by the affecting Mimi of Barbara Iona Miller, the music took wing and soared easily.” Opera News

“Barbara Iona Miller was a bombshell of a Musetta, and sang a waltz song that lit up the stage. She overpowered the second act with her deliciously wicked vamp of a Musetta.” Daily Record, N.J.

PAGLIACCI
“Sensitive interpretation and fine vocal technique, soprano Barbara Iona Miller is a name worth remembering. As Nedda she performed with enthusiasm and bravura.” Corriere della Sera, Milano, Italy

Lake George Opera Festival

THE BALLAD OF BABY DOE
“In the title role, Barbara Iona Miller was warm and ingratiating singing with power and luster. Her Baby Doe is most human and delightful.”

“The final scene became the capstone of the whole work, illuminated by the silvery singing of Barbara Iona Miller, a figure of infinite pathos. She is capable of moments of rare beauty.”

THE MARRIAGE OF FIGARO
“Barbara Iona Miller sang her first Susanna with fetching grace. Her last act aria was enchanting.”

THE CRUCIBLE
“Barbara Iona Miller was exceptionally fine as Mary Warren, a fresh soprano voice and a fine actress.”

TROUBLE IN TAHITI
“In Bernstein’s bitter satirical opera Trouble in Tahiti, Barbara Iona Miller, a good actress with a fine singing voice, handled her lead role expertly.” Variety

KISS ME KATE
“Barbara Iona Miller is suitably shrewish as both Kate and Lilly Vanessi in this Kiss Me Kate, but beautiful as either. She manages the tender parts of her role better than any actress this season. Her “I Hate Men” is wonderful and wonderfully punctuated.” Greenville Daily Reflector, N.C.

“If I had my own opera house I would definitely have you sing in it.” Maestro Walter Taussig, Metropolitan Opera Association

MACBETH
“Barbara Iona Miller was a sensual, riveting, Hecate.” Off Off Broadway Review

Selected Reviews, Marko Lampas

TURANDOT
“Handsome tenor Marko Lampas sang with ardency and proved his voice had the requisite mettle for the hero Calaf. High notes . . . he showed he had them all, high C’s included.” Bill Zakariasen, N.Y. Daily News

IL TROVATORE
“Marko Lampas cut a fine figure on stage, and by the end of Act III with the aria “Ah si ben mio” and “Di quella pira,” he had the audience in the palm of his hand.” Star Ledger, N.J.

AIDA
“An excellent production . . . Marko Lampas’s Radames gave the audience a chance to hear the best operatic voice to appear in the area.” Denville Citizen, N.J.

I DUE FOSCARI
“Lampas’s somewhat dusky-hued tenor proved well schooled and able to sing long-breathed, arched phrases with minimum effort and maximum personality. He’s a most interesting performer of pleasingly individual style.” Bill Zakariasen, N.Y. Daily News

LA BOHEME
“Marko Lampas as Rodolfo quickly won the audience with the aria “Che gelida manina.” He has a strong stage presence and a rich voice of considerable emotional range.” Star Ledger, N.J.

MANON LESCAUT
“Marko Lampas sang the role of Des Grieux with fine lyrical tones and phrasing marked by drama and passion.” Palm Beach Daily News

RIGOLETTO
“Tenor Marko Lampas had the voice and the looks for the licentious Duke of Mantua.” N.Y. Times

CAVALLERIA RUSTICANA
“Marko Lampas as Turiddu not only has a beautiful voice but also has great charisma. He should be singing all over the world.” Nicola Martinucci, leading tenor, La Scala, Metropolitan Opera, Vienna Staats Opera