BIO
Malena é uma distinta cantora e diretora argentina, reconhecida por sua abordagem inovadora à ópera, integrando tecnologias interativas de ponta em suas apresentações.
Como bolsista Princeton Hodder para 2022/23, Malena fez contribuições significativas para o campo da ópera. Seu projeto recente, Firesongs, uma composição de Thomas Cabaniss, estreou na Chelsea Factory, em Nova York, em uma colaboração inovadora com a National Sawdust.
Em abril de 2023, Malena trouxe seus talentos de direção para a Fort Worth Opera com uma produção de Aida e, mais tarde, liderou a primeira produção americana em espanhol da obra de Menotti nesta temporada.
Sua destreza como diretora também foi demonstrada na Ópera de Nápoles na temporada 22/23, com produções aclamadas pela crítica de Roméo et Juliette, Carmen e Frida.
Malena é a cocriadora de luzAzul, uma ópera inovadora voltada para o público muito jovem, que foi apresentada no Lewis Arts Center de Princeton e na Chelsea Factory de Nova York.
Em novembro de 2021, ela dirigiu Cuando el fuego abrasa, um esforço colaborativo entre a Opera Hispánica e o Teatro Grattacielo que contou com composições de Piazzolla e El Amor Brujo de De Falla, apresentado no LaMama, em Nova York.
Suas habilidades de direção foram ainda mais destacadas na interpretação de L'Amico Fritz, de Mascagni, pelo Teatro Grattacielo, no Festival of the Voice em Phoenicia, Nova York, e no LaMama em 2021.
The Late Walk, uma ópera coproduzida com a Bare Opera e a Decameron Opera Coalition, conquistou um lugar na Coleção de Resposta à COVID-19 das Artes Cênicas da Biblioteca do Congresso sob sua direção. Além disso, em 2021, ela dirigiu Heroes of New York para a Bare Opera e a DOC.
Em 2020, Malena recebeu o 1º Prêmio da Catapult Opera em reconhecimento às suas contribuições inovadoras à ópera. Dirigiu produções em vídeo de Fedora e Mefistofele para o Teatro Grattacielo, aclamadas no Munich Music Video Awards, no 4th Dimension Independent Film Festival e no London International Music Video Awards.
Malena estrelou e dirigiu uma produção de Maria de Buenos Aires e Don Giovanni de Piazzolla com a Bare Opera na cidade de Nova York, mostrando sua versatilidade como artista e diretora.
Junto com Sangmin Chae, Malena desenvolveu Exercícios sobre a Presença de Odradek, uma peça operística de vanguarda apresentada ao vivo online, demonstrando seu comprometimento em ultrapassar os limites da ópera tradicional.
As credenciais acadêmicas de Malena incluem um MFA pela CUNY Brooklyn College em Performance e Artes de Mídia Interativa, e um Master of Music e um Professional Studies Diploma pela Mannes College of Music, The New School, refletindo sua formação abrangente e experiência em sua área.
CRÍTICAS
Teatro Grattacielo 2020 Review: FedoraReimagining ‘Fedora’ for the Modern Reality
"Teatro Grattacielo’s darker, sepia-toned “Fedora,” as directed by Malena Dayen, is an opera you need to see today. It’s here to give you hope, that tomorrow exists even for those collectives who are now forced to abandon even the most familiar basis of opera performance but not giving up on the big artform’s potential as a chamber concert format. And in “Fedora,” you can see how everything that has been cut off can be replaced and enriched with a vengeance using smart and witty solutions. Minimalist and modern in the set design, Dayen’s version of the work is highly rich in emotions. The light, the very technical harmonization of the voices and piano, the acting — it all hits to the heart when we are devoid of distractions such as decorations and costumes. Finally, the close-ups don’t force the eyes to concentrate on the details we never needed, but let us get closer to the singers and their special artistic approaches. I do believe, that the personality of Michelle Johnson, her endless pleasure of singing, made the soprano a convincing Fedora more than any princess dresses could ever do. And the big and devoted eyes of mezzo-soprano Eugenia Forteza built her character and defined her role before she sang her first tune."
Polina Lyapustina, Operawire 2020
Bare Opera 2019 Review: Maria de Buenos AiresKaleidoscopic Production Immersed Viewer In World of Tango
"Bare Opera kicked off their production of Astor Piazzolla’s “Maria de Buenos Aires.” Staged in The Bellewether of New York City, the venue, along with director Malena Dayen’s approach, supported by strong choreography from Troy Ogilvie, resulted in an immersive musical experience."
Logan Martell, Operawire 2019
Love, your magic spell is everywhere! Teatro Grattacielo
"Malena Dayen’s direction did not engage in unnecessary fuss—movements were simple and direct and the focus was squarely on the singers. Troy Ogilvie was listed as choreographer but there was no dancing just expressive movement. Feulien strutted around the stage like a cabaret singer while Herrera’s expressive plastique evoked the character of each song or scene. Set and Lighting designer Jon DeGaetano provided a unit set of small set pieces like broken mirrors on which were projected images of flying birds, fire, a threatening sky, a hand with an eye in the palm, etc. (Projections designed by Matthew Dienhart)."
Eli Jacobson November 22, 2021
Opera Hispánica & Teatro Grattacielo 2021-22 Review: Cuando el Fuego Abrasa
"As Candela, Herrera was pure fire. An international superstar, she has performed at all the major opera houses around the world. She has recorded and performed “Amor Brujo” several times. But she had never performed a staged version of the work, which focuses on Candela seeking out a witch’s cave to bring forth Carmelo and confront him over his abandonment. I’ve seen Herrera a number of times before, particularly at the Met in productions of “Rigoletto” and “Salome” where her robust and potent voice were particular highlights of those performances. But I had never seen the artistic versatility and brilliance from her on display in Dayen’s production of “Amor Brujo.” What was most eye-opening was her physical interpretation, led by some fantastic choreography by Troy Ogilvie. In one dance she was contorting her body around; in another, she was leading with her hands; in another, it was her shawl. She moved from one side of the stage, from one mirror to the other, her movements in precise synchronization with the lighting effects. We certainly don’t see a lot of the international opera superstars pushing themselves to these limits. But here was Herrera, reminding us that opera singers are so much more than we have come to expect. Productions such as this one need and deserve more time, not only to allow the artists to continue to explore, but also to invite new audiences to experience it. Hopefully, this production will get a chance to travel in the future and engage with those new and unsuspecting audiences. They will walk away with an unforgettable memory."
David Saslazar, Operawire
Broad Street Review
"Director Malena Dayen created inventive and effective staging. Eloquent and moving… soulfully written… filled with soaring melodies, memorable songs… and masterful orchestration... The opening night audience sat riveted to the end."