Mariana Corichi Gómez Leads Curtis Opera Theatre Into a New Season with Susannah
On November 19 and 21, Curtis Opera Theatre launches its 2026–27 season series with Susannah, Carlisle Floyd’s poignant American tragedy. Written during the McCarthy era, the opera draws on the Apocryphal tale of Susannah and the Elders to explore the destructive power of religious hypocrisy and the enduring resilience of the human spirit.
The production also marks a milestone for Curtis: Mariana Corichi Gómez, a third-year Rita E. Hauser Conducting Fellow, will become the first fellow to lead a mainstage opera performance.
For Corichi Gómez, the production represents the culmination of her training in orchestral, chamber, and opera conducting—and makes her the first student to complete Curtis’ newly expanded, three-year conducting curriculum. We spoke with her about Floyd’s distinctive musical language and the experience of bringing this powerful work to life alongside her fellow Curtis musicians.
What draws you to Susannah as a conductor? Are there particular aspects of the score, its characters, or its musical language that you find especially compelling?
I love how unique Floyd’s voice is, blending the traditional style of Italian verismo with his own interpretation of what life in the American South sounded like. Floyd wrote the most heart-wrenching music that evokes the character’s complex emotions; the longer I live in the piece, the more I fall in love with its sincere beauty.
Floyd’s score brings together elements of American folk music, lyrical vocal writing, and dramatic orchestral textures. For audiences experiencing Susannah for the first time, are there particular moments you’d encourage them to listen for?
Susannah is the kind of score that listeners feel in their bones. I would enjoy the sweeping melodies, brought to life by our unreal cast. Listen for the references, too, that Floyd makes to Appalachian music, congregational singing, and folk lullabies.
As a singer yourself, how has your experience performing informed the way you approach conducting opera? Are there aspects of working with singers that you feel particularly attuned to?
Growing up, the way I learned to experience and express music was through my voice. I still find myself singing certain words or phrases to myself during our Susannah rehearsals, trying to figure out how I want to shape each line. I have always gravitated toward music with singers, whether it be opera or choral works like Revolución Diamantina on my graduate recital, because it feels like I’m always coming back “home.” There is nothing more honest and vulnerable than singing, and I strive to be my best on the podium for the singers.
You were recently selected for the 2026–27 Hart Institute for Women Conductors at the Dallas Opera—congratulations! In what ways do you hope this opportunity will contribute to your growth as a conductor?
I am so excited to engage in workshops and seminars with leaders in the industry to gain a better understanding of what is demanded of opera conductors in the 21st century. I am eager to delve deeper into the repertoire that I will eventually conduct in the January 30th showcase, and I’m excited to collaborate with the Dallas Opera Orchestra and professional singers. I’m also excited to keep building community with fellow women in the field!
In what ways has your experience as a conducting fellow at Curtis shaped your development as a conductor?
It has been a huge luxury getting to train with the unparalleled talent and skill in the instrumental and vocal departments. My conducting has completely transformed since arriving at Curtis thanks to my incredible mentors and the ensembles who teach me something new every time I am in front of them.
Tickets for both performances of Susannah are currently sold out. To be notified when additional tickets become available, join the wait list for the November 19 and November 21 performances.
