On July 30, 2026, Merola Opera Program will raise the curtain on their production of Richard Strauss’ ‘Ariadne auf Naxos.’ This mythology-based opera will see some of opera’s most prominent young artists in two sold-out performances.
Playing the role of Zerbinetta will be soprano Emilie Kealani. An alumnus of the class of ’25 from the Curtis School of Music, Kealani has been a trailblazer as an artist undertaking new and classic works, and as a presenter of Asian American/Pacific Islander culture through her Kapwa Passion Project.
I had the chance to speak with Kealani ahead of the performance, and learn more on her recent experiences with her project, as well as her upcoming engagements with one of the nation’s leading opera programs.
SF: Two years ago, you presented ‘Kapwa,’ first as a concert program at Curtis, and now it’s taken off as a way to highlight works and culture from AAPI artists. What has the experience been like so far? In your opinion, has the mission developed or expanded since its inception?
EK: “Founding the Kapwa Passion Project has been one of the most rewarding experiences of my career. Our first event in 2024 was a multi-disciplinary concert of classical voice, violin, guitar, oboe, traditional Japanese shamisen, Hawaiian ukulele, multimedia, cultural fashion pieces, and original compositions. Our cast of artists proudly represented Bengali, Chinese, Filipino, Hawaiian, Indian, Japanese, Korean, and Tongan communities.
Since then, the initiative has expanded to create more collaborations with our goal of collective unity and empowerment. Our programming has included features on PBS WHYY’s ‘You Oughta Know’ and ‘Onstage at Curtis: Concert Special’, ‘Kapwa Spirit Discussion Panel’ with AAPI community leaders, ‘Kapwa Ohana Dinner’ cooking show with Wear Yellow Proudly, ‘Like Water’ solo recital with Opera Theatre of Saint Louis and Contemporary Art Museum STL, and most recently ‘Kadua: Exploring Kapwa Across Communities’ with Bakhawan Arts & Projects and Sentro Filipino.”
SF: You recently presented your multi-disciplinary ‘Kadua’ concert in collaboration with Bakhawan Arts & Projects. What was it like to produce and perform in the event, and how did this concert compare to previous ones you’ve done through ‘Kapwa?’
EK: “‘Kadua’ was a collaboration between Bakhawan Arts & Projects, Sentro Filipino and Kapwa Passion Project, highlighting Bay Area artists Tri Pham, Cindy Huang, and Kulintang Dialect. We explored the question “What does Kapwa look like in different communities?” The panel featured conversation on topics of identity, cultural similarities and differences, networking amongst AAPI musicians, and the importance of Kapwa today. The program included Vietnamese folk songs on jazz guitar and bass, Chinese and Filipino art songs with guitar and piano accompaniment, and traditional Filipino Kulintang drums.
This was a beautiful showcase of AAPI performers, bringing the community together in celebration of music, culture, food, and conversation as well as a successful step towards continuing Kapwa programming in San Francisco.”
SF: Tell me about your time with Merola Opera Program until now. What drew you to the program, what have you performed in so far, and what are some of the things you’ve learned along the way?
EK: “I met Rhoslyn at the beginning of my classical training, and since then she has been a teacher, mentor, and inspiration to me throughout my career. She also went to Curtis and Merola, so I feel like I’m following in her footsteps.
The summer at Merola has been both rewarding and challenging at times. I am learning so many valuable lessons from the amazing teachers, coaches, and faculty, as well as during the rehearsal process of Ariadne auf Naxos. My biggest takeaway from the summer is learning to trust myself and seeing the boost in artistry, energy, and passion as a result.”
SF: What are you looking forward to most about performing in Merola’s upcoming summer festival?
EK: “We are a couple of days away from opening ‘Ariadne auf Naxos,’ and I’m buzzing with excitement to debut the role of Zerbinetta. Omer Ben Seadia’s realization of the opera is heartfelt and thoughtful, with comedy and laughter sprinkled throughout. Maestro Ann-Katrin Stöcker brilliantly leads the orchestra and singers. She truly brings the music to life with such elegance and vividness. I feel very lucky to share the stage with such an electric, talented cast and to be supported by an outstanding artistic team.”
SF: What are your thoughts on larger companies exploring newer, cultural-based operas, for example, The Met’s recent ‘Frida y Diego?’ In your opinion, do you see a greater place for these kinds of works in the programming of larger opera houses?
EK: “It is very powerful to see representation onstage. It is not only important to showcase these cultural works at larger companies, but also to work these operas into recurring season programming so that it is not only shown as a ‘special’ performance, but as a piece of music that has a space in our repertoire today.”