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At Cascais Opera, the audience is also part of the jury

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One of the initiative’s main goals is to bring the public closer to the world of opera. More than just a competition, Cascais Ópera aims to be a welcoming and collaborative space for all participants, the organizing teams, and the town of Cascais, where this international singing contest takes place. The audience plays a key role in this initiative.

In addition to building connections between artists and major opera institutions—such as festivals, opera houses, theatres, and young artist programs—Cascais Ópera is also committed to developing new audiences, democratizing access to culture, and encouraging the study of music, particularly singing.

During the live rounds, the singers are evaluated by a specialized jury, chaired by the renowned baritone Sergei Leiferkus and composed of figures such as Anna Samuil (Berliner Staatsoper), Antonio Pirolli (principal conductor of the Portuguese Symphony Orchestra), Eline de Kat (artistic coordinator of the Monte-Carlo Opera), Ivan van Kalmthout (senior opera executive), soprano Juliane Banse, mezzo-soprano Jennifer Larmore, and Pal Moe (Glyndebourne).

But the audience also gets the chance to take on the role of judge. To encourage this, the organization has created a guided evaluation form, allowing attendees to assess the performances themselves. After all, how does one evaluate an opera performance?

Opera is a total art form, bringing together music, acting, and stage movement. Beyond having a good voice, operatic excellence requires several other qualities.

Key evaluation criteria include vocal technique (voice quality, pitch accuracy, projection, and breath control); expression and interpretation (the ability to convey emotion and tell a story through music); diction and articulation (clarity and correct pronunciation in the piece’s original language); stage presence (posture, movement, and engagement with the audience); and wardrobe (how the outfit enhances the performance and suits the character or piece being performed).

By attending the Cascais Ópera live rounds, you’ll not only enjoy an exceptional classical music experience—you’ll also have the chance to be a judge for a day.

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Over the past three decades, primarily in London, Portugal and Amsterdam, Dr Jorge Balça
has developed a strong portfolio of work and a unique combination of skillsets – as a stage
director (of theatre, opera, and hybrid forms), a teacher and workshop leader, a presentation
skills, acting and creativity coach, and practice-based researcher. His work in all these
domains is distinguished by his commitment to and skill in making fantasy and invention
emerge from precise knowledge and training – and by his ability to inspire a similar alchemy
in his collaborators.

Classically trained as an actor and countertenor, he studied theatre directing in London and
Moscow, specialising in Shakespeare, techniques of adaptation, Meyerhold and commedia
dell’arte. Jorge also holds a PhD exploring the dramatic training of opera performers.
With a love for site-specific projects and collaborative forms, and an equal flair for comedy
and drama, his work is dramaturgically inventive, visually striking, and physically engaged.
He was the artistic director of Bloomsbury Opera and associate director of The Opera
Makers, both in London. In Portugal, he has recently directed L’Heure Espagnole and The
Turn of the Screw at Centro Cultural de Belém, and Don Giovanni and La Voix Humaine at
Festival de Ópera de Óbidos.

Jorge is committed to his work as a teacher, having taught at the Dutch National Opera
Academy, Morley College London, Universidade de Évora and other institutions. He
maintains an international coaching private practice and is the acting coach at the Neil
Semer Vocal Institute in Italy.

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Over the past three decades, primarily in London, Portugal and Amsterdam, Dr Jorge Balça
has developed a strong portfolio of work and a unique combination of skillsets – as a stage
director (of theatre, opera, and hybrid forms), a teacher and workshop leader, a presentation
skills, acting and creativity coach, and practice-based researcher. His work in all these
domains is distinguished by his commitment to and skill in making fantasy and invention
emerge from precise knowledge and training – and by his ability to inspire a similar alchemy
in his collaborators.

Classically trained as an actor and countertenor, he studied theatre directing in London and
Moscow, specialising in Shakespeare, techniques of adaptation, Meyerhold and commedia
dell’arte. Jorge also holds a PhD exploring the dramatic training of opera performers.
With a love for site-specific projects and collaborative forms, and an equal flair for comedy
and drama, his work is dramaturgically inventive, visually striking, and physically engaged.
He was the artistic director of Bloomsbury Opera and associate director of The Opera
Makers, both in London. In Portugal, he has recently directed L’Heure Espagnole and The
Turn of the Screw at Centro Cultural de Belém, and Don Giovanni and La Voix Humaine at
Festival de Ópera de Óbidos.

Jorge is committed to his work as a teacher, having taught at the Dutch National Opera
Academy, Morley College London, Universidade de Évora and other institutions. He
maintains an international coaching private practice and is the acting coach at the Neil
Semer Vocal Institute in Italy.

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