World premiere of The Monkey's Paw with Pacific Opera Project and composer Brooke deRosa

Marina will be singing the lead role in The Monkey's Paw, a world premiere opera written by Brooke de Rosa, with Pacific Opera Project this October. Details and ticket information coming soon!

Read all about Pacific Opera Project:

About composer Brooke deRosa: 

Brooke deRosa is a composer originally from New York. She holds a double major in music and theatre from Washington and Lee University where she was a recipient of the John Graham Award in Fine Arts.  Brooke has pursued further studies at UCLA Extension, scoring over fifteen different films and tv shows in the span of five years, including a western, “Gunfight at Yuma”, and the theme for a TV series abroad, “Exit Hollywood”.  Other credits include "The Search for Simon", for which she won an award for best score at Portsmouth International Film Festival, directed by BAFTA winner Martin Gooch, The Gatehouse, which premiered at Raindance London, and Massacre on Aisle 12, a small horror comedy that has become a major hit.

Her work draws strongly from composers such as Nino Rota, Dario Marianelli, and Marco Beltrami.  In addition to film composing, Brooke composes for concert and stage.  Brooke’s current projects include a one act popera based on the Red Riding Hood fairy tale and a Missa Brevis for full choir.  Brooke has recently completely her first opera, based on the short story "The Monkey's Paw", and her aria "Off With Their Heads" from her new musical based on Alice in Wonderland is premiering in Toronto in May.  rooke is a member of the Los Angeles Composers Collective, The SCL and ASCAP. 

Praise for Ariadne auf Naxos

Review from Ariadne auf Naxos with Pacific Opera Project:

"As good as the cast was overall, however, it was Marina Harris that stole the show, with a vocal and dramatic performance that was superb throughout.  Ariadne is a difficult role, requiring stamina, depth and strong comic timing in addition to an exceptional, powerful voice, and Harris’ lyricism was as haunting as her deadpan humor was funny.  Her voice has grown even more sure and lovely than when we saw her in POP’s Turn of the Screw last year, with the same tragic urgency.  She takes the stage as if she were born to it, and perhaps she was."

Full review here:


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