Eagerly anticipated by local audiences ever since it was announced last year, Loudoun Lyric Opera’s production of Semen Hulak-Artemovsky’s comic opera A Cossack Beyond The Danube in collaboration with United Help Ukraine finally had its premiere this past weekend at the Dreamscapes Performing Arts Center in Sterling to resounding success: sold-out performances both Saturday and Sunday.
Self-described on as an artist particularly interested in creating sound-worlds, Mark Irchai’s influence as artistic, general, and music director of the company was immediately evident upon walking into the venue. Beautiful live Ukrainian music played prior to the performance, and Ukrainian clothing adorned the set, adding to the immersion of the space and audience in Ukrainian culture, a sound-world indeed. Not only that, but also a stage was installed in the space, allowing the audience to always see the performers clearly. The supertitles occasionally were blocked sitting in the front row, and the lights washed out the lettering on the supertitles, but the performances were so engaging that even when supertitles did not appear or were delayed, non-Ukrainian speakers could still enjoy the performance.
This production heralds a new era for Loudoun Lyric Opera under Irchai’s leadership in many ways, not the least of which was the orchestra that dominated the left side of the venue. Hearing the different colors of the orchestra helped the audience have the best possible experience, as there is nothing quite like hearing the score as the composer intended instead of a piano reduction. Hulak-Artemovsky’s score is both funny and beautiful, and the orchestra brought out both emotions. There were only a few moments during the show where there was a delay between dialogue ending and music starting again, and from the front row there were a few moments where the orchestra covered the singers, as in the Sultan’s aria. But for the vast majority of the show, the orchestra balanced well with the singers.
The very first singing of the opera showed the fantastic ensemble of the cast. Everyone looked and sounded great, and it was Samantha Sosa as Oksana that stunned with the first aria after the opening chorus. Hers is a luxurious, rich soprano that seemed to carry the ensemble at first due to its power and cut. The role was clearly right for her, and later on in Act II she got to show off her lower register at the beginning of her duet with Andriy.
The story follows Ivan Karas as he navigates avoiding his wife Odarka’s scolding for drinking and absence, the Sultan of the Ottoman Turks showing up in disguise, being dressed up as a Turk himself and given a new name, and his daughter Oksana’s desire to marry the Cossack Andriy. Starring in the role of Karas was John Drake, who carried the role in the most endearing way. He not only sang well but also committed to his acting, giving the audience an especially well-delivered monologue in addition to the dialogue scenes he had.
Act II opened with a beautiful aria from bass-baritone Vincent Fung as The Sultan. He also was the instigator for ensuing hilarity as he disguised himself, fooling Ivan with mistaken identity. The comedy built as his servants arrived: Selik-Aha, played by Benjamin Goodrich, and Hasan, played uproariously by Shana Rachel. Rachel nailed the deadpan comedy, slowly and sarcastically turning away when asked in order to avoid witnessing consumption of alcohol.
Following Selik-Aha’s hijinks with Hasan and Ivan, Michelle Huffman as the Ensemble got to shine in her trio with Oksana and Odarka. This was my favorite moment of ensemble singing in the show, with Huffman on the bottom of three-part harmony.
The later part of Act II featured a wonderful dance break by Tracy Buracker. The dancing in general was a highlight of the show for me. It felt fun, energetic, and full of character. Kudos especially to those who had dance solos and duets, and to the entire cast for navigating the limited stage space with the choreography.
Lance Fisher as Andriy finally had his moment in this act as well, and it was worth the wait to hear his beautiful and powerful tenor with amazing high notes. I loved his duet with Oksana and the way their voices sounded together.
If by chance the audience wasn’t completely sold on this production before intermission, Act III felt like the show hit its stride. I can’t remember the last time I laughed as hard as I did when Ivan was explaining his current situation to his wife, being engaged to three other women now that he is a Turk. Sally Freeland as Odarka also seemed to hit her stride in this act. Acting-wise, not only did I get more of the comedy between her and Ivan, but also vocally I really enjoyed her high notes and register in this act. I hope everyone could hear the banter between her and Ivan between scenes, because it was fantastic!
More staging was needed before the Imam’s entrance, and his scene needed more staging in general, but Adrian Salman sounded amazing in this role singing Ukrainian. He also drove the story toward its resolution as he freed the Cossacks to return to Ukraine. Then, in a Gilbert-and-Sullivanesque moment, upon Oksana and Andriy’s reappearance, Ivan Karas at first refuses to let them marry, then immediately changes his mind after emphatic pleas from the rest of the cast. Thus, a happy ending for all as love wins and the Cossacks prepare to return to their homeland.
This is the best production I’ve yet seen from Loudoun Lyric Opera, a vast improvement and level-up for the company, and one hopes that they continue to improve and grow. While there was some stock opera staging and gestures, and some of the dialogue needed more projection, the singing was wonderful all around, the dancing sparked joy, and both orchestra and singers won the day. Bravi to the cast for learning the Ukrainian diction, brava to Ksenya Litvak for the gorgeous Ukrainian clothing the cast wore, and for everyone involved in bringing this work to its premiere in the DMV.
Slava Ukraini.
Maggie Ramsey
A Cossack Beyond the Danube
Composed by Semen Hulak-Artemovsky
Libretto by Semen Hulak-Artemovsky
Cast and Production Staff:
Ivan Karas – John Drake; Odarka – Sally Freeland; Andriy – Lance Fisher; Oksana – Samantha Sosa; The Sultan – Vincent Fung; Selikh-Aha – Benjamin Goodrich; Ibraham-Ali – Adrian Salman; Shana Rachel – Hasan; Michelle Huffmann – Ensemble
Flutes – Megan Ensor, Rachel Minto; Oboes – Sue Neff, Evan Tegley; Clarinets – Nikki Hill, Sole Doyle-Chang; Bassoons – Clair Cangialosi, Robert Goler; Horns – Rob Craven, Angela Wilmot; Trumpets – J.B. Greear, Sonja Jewell; Trombones – Jim Kraft, Bruce Leonard, Scott Fridy; Tuba – Jan Duga; Timpani – Aubrey Adams; Percussion – James Adams, Dave Tiller; Harp (Keyboard) – Liliya Petrosyan; Violin 1 – Stephen Matthie (Concert Master), Jiyoung Lee; Violin 2 – Huaizu You, Irene Iwanczuk; Viola – Drew Robertson; Cello – Mary Jeane Kraft, Hwan-Ah Lee; Bass – Brooke Rittner; Orchestra Contractor/Personnel Manager – Kara Hooker
Artistic/General/Music Director – Mark Irchai; Stage Director – Stephen Jarrett; Production Manager – Jordyn Fields; Stage Manager – Daryna Maksymova; Set, Prop, and Costume Designer – Ksenya Litvak; Choreographer – Tracy Buracker; Lighting Designer – Andrew Harasty; Co-Dance Captains – Sally Freeland, Samantha Sosa; Rehearsal Pianist – Sasha Beresovsky
Dreamscapes Performing Arts Center, Sterling, VA, November 15, 2025
Top image: (L to R) Sally Freeland, John Drake, Benjamin Goodrich, Adrian Salman, Michelle Huffman, Samantha Sosa, Vincent Fung, and Lance Fisher
All photos by Artem Balashov Photography