Lincoln, Neb.--From a familiar fairy-tale princess to a young girl embarking on a magical adventure, UNL Opera invites audiences of all ages to discover the wonder of opera through two family-friendly productions—the classic “Cendrillon” and the new opera “Maya and the Magic Ring.”
“Cendrillon,” a musical retelling of the familiar Cinderella fairy tale by 19th-century composer Pauline Viardot, will share the stage with “Maya and the Magic Ring,” a contemporary opera that premiered in 2025 by composer Lori Laitman and librettist Dana Gioia and was commissioned by Lyric Opera of Kansas City. Together, the productions offer audiences a chance to experience two works by women composers while exploring the magic, humor and heart of stories that appeal across generations, while also giving students the opportunity to interact with Laitman.
The operas will be presented on Friday, Nov. 6 at 7:30 p.m. and Sunday, Nov. 8 at 2 p.m. in Kimball Recital Hall. Tickets are available online at https://go.unl.edu/operatickets. Children (12 and under) are admitted free.
“Honestly, I would argue that [these two operas] are not that different,” said guest stage director Kaley Karis Smith, a 2012 graduate of the Glenn Korff School of Music. “Part of the reason we programed them together is because they speak to each other so beautifully, and were already connected by history, source material and thematic elements.”
The evening begins with “Maya and the Magic Ring,” a contemporary opera that premiered in 2025. The story follows Maya, a third grader spending the day with her grandmother. When her grandmother goes out to garden, Maya discovers a giant ruby ring. After she dusts it off, a genie emerges, having been trapped for 50 years, and offers her three wishes.
Maya’s first wish that her cat could talk and her second wish that her stuffed unicorn come to life do not go as planned. Chaos ensues, and Maya must decide what to wish for next. The opera explores the unintended consequences of getting what we want and the importance of appreciating the people already in our lives.
Yue Yao, a graduate student in voice performance from Nanping City, Fujian province, China, plays Maya. She describes the nine-year-old as curious, energetic and a little spunky.
“What I find most interesting about playing her is that I have to think and react like a child instead of an adult,” Yao said. “Sometimes I catch myself overthinking how she would respond to something, when a nine-year-old would probably just say whatever is on her mind. It’s been really fun trying to bring that side of her personality to life.”
Roman Saddler, a freshman music education major from Bettendorf, Iowa, plays the genie. He sees his character as more than a traditional wish-granting servant.
“The Genie is like a mentor that wouldn't mind seeing his student make some mistakes for fun,” Saddler said.
He hopes the story will encourage young audience members to consider what they would wish for if given the opportunity.
“I think that the children will find themselves at the center of the story answering the question, ‘What would I wish for?’” he said. “I think that asking that question is very important even for young adults still wondering what they want in life. If you could wish for anything, what would it be?”
The opera's fantastical characters also offer opportunities for performers to explore distinctive personalities through music and acting.
Tianning Ma, a graduate student in voice performance from Dalian, China, plays the unicorn in “Maya” and Count Barigoule in “Cendrillon.” The unicorn is vain and proud but also has a softer side, Ma said.
“I love how Lori gives this magical character such a strong contrast,” Ma said. “At first, Unicorn shows up proud and in love with himself, but later Maya talks him into fighting her cat. That change makes the character feel very full and real.”
Ma said working with Laitman helped him develop a clearer interpretation of the role.
“The score tells you the notes, but Lori helped me see who Unicorn really is,” he said. “She sees him as a very charming, handsome guy, like Fabio, with long, flowing hair. That gave me a clear image of his look and attitude, which you can’t really get from the page alone.”
Yao said working with a living composer offered a rare opportunity for classical singers accustomed to performing music written centuries ago.
“As classical singers, we spend so much time performing music written by composers who lived hundreds of years ago, so we don’t often get the chance to work directly with the person who wrote the music,” she said. “It was interesting to hear Lori’s thoughts about the opera and to understand more about what she had in mind when creating the characters.”
Laitman visited Lincoln in October to work with the cast, offering insight into the music, characters and creative decisions behind the opera.
“I was so impressed by the students and their excellent preparation. Not only did they know the notes, but they were really getting into the substance of their characters,” Laitman said. “I always learn from working with singers and instrumentalists—and value their feedback. I think learning that composers can be flexible is important, and I hope they learned that for me, an expressive performance is paramount.”
Saddler said working with Laitman helped him understand how to bring her vision of the genie to the stage.
“The way Lori described my character made it really easy to reset and come at the character more like a mystical being and less like a college student,” he said. “I got to see in real life what the composer wanted from me and how I could change my singing to fit her vision.”
Yao received similar guidance from Laitman, who encouraged her to make Maya spunkier and more believable as a nine-year-old.
“That made me realize I might have been approaching the character a little too seriously,” Yao said. “Since then, I’ve been trying to bring more energy and spontaneity into the role and let myself be a little more playful with her reactions.”
Interim Director of Opera and Music Director Suna Gunther said the experience also helps students understand opera as a living art form rather than simply a historical tradition.
“I hope students get a big-picture sense of how this art form is both created and sustained over time. We spend so many hours as students sitting in classes where we're learning about operas that happened a really long time ago, and it's easy for us to lose sight of it being a living and evolving art form sometimes,” Gunther said.
The second production, “Cendrillon,” offers a different take on the familiar Cinderella story. Written by Viardot, a 19th-century composer and opera singer, the work combines beautiful melodies with humor and a warmhearted story.
The production reimagines some of the traditional characters, emphasizing their capacity to learn and change rather than dividing them neatly into heroes and villains.
Xiaotian Hu, a graduate student in voice performance from Changsha, Hunan province, China, plays Armelinde, one of Cinderella's stepsisters. Rather than portraying her as simply wicked, Hu sees her as a character with both flaws and a kind heart.
“In our production, Armelinde is not the traditional ‘wicked stepsister.’ I see her as genuine and quite lovable,” Hu said. “She can be a little spoiled and proud, but she has a kind heart. She knows right from wrong, and she is willing to listen and change her mind when something makes sense to her.”
Kathryn Watry, a junior voice major from Rio Rancho, New Mexico, plays Cendrillon. She said the character's kindness and willingness to stand up for others make her especially meaningful.
“I love Cendrillon for many reasons, but some of my favorite things about her are her strong will and compassion towards others,” Watry said.
Watry pointed to a scene in which Cendrillon steps between one of her stepsisters and a beggar, refusing to let the stepsister mistreat the person.
“Cendrillon is truly a great role model, especially for young children, and I hope that they can see that in this opera!” she said.
Smith said the familiar story remains relevant because its central emotions are universal.
“Cinderella is still a very persistent myth in our culture,” she said. “It is relevant because we still experience the desire to be chosen and loved for who we are. My job is to make the audience recognize Cinderella’s story as their own and realize that experience is universal.”
The two productions also share a creative setting. Smith has connected the operas through an attic where magical things come to life, allowing the same setting to open into two imaginative worlds. “Cendrillon” will be sung in French, with English dialogue helping audiences follow the story. Both operas will have English supertitles.
Smith said she hopes the pairing reminds audiences of the stories that connect generations.
“I hope audiences notice whatever it is they are supposed to take away with them that day,” she said. “The great thing about opera is that it will speak to you in a different way each time you encounter it.”
For Smith, returning to UNL as a professional director also makes the production a personal milestone. She studied vocal performance, English literature, and medieval and Renaissance studies at the university and credits recently retired Director of Opera William Shomos as one of her mentors.
“This was the first stage I created a performance on: a fully staged opera scenes program with scenes from operas based on Shakespeare’s plays — it was part of my honors thesis,” she said. “It is nice to be a part of its history for a second time, and for it to be part of mine.”
For Yao, one of the opera’s most moving moments comes in scene six when Maya is with her grandmother.
“There’s something really touching about the relationship between Maya and her Grandma, and especially when Grandma sings ‘I wished for you,’ it always reminds me of my own grandma and the time we spent together when I was little,” Yao said. “I think that’s one of the reasons this scene feels so special to me.”
“Opera can be fun, live performance is great, and opera singers are incredible,” Laitman said. “I never cease to be amazed at the power of a human voice (especially without amplification). And the love between a grandparent and a grandchild is incredibly special. I think attendees will experience some magic.”
Smith hopes audiences leave with a sense of wonder.
“I hope they remember what it was like to be a kid being read to and playing make-believe with their friends, when the world was a little more magical,” she said.
