IL BARBIERE DI SIVIGLIA - WASHINGTON NATIONAL OPERA
"The cacophonous euphoria that encapsulated my mind’s eye was definitively shown in the masterful finale of Act One as the Director, through some amazing alchemy with Choreographer Rosa Mercedes, portrayed the entire ensemble with an anarchistic yet highly choreographed spirit of merriment and folly (shades of the Marx Brothers!).
The main aspect that stays in the mind in this production is the constant movement of the characters. Ample credit must be given to the choreography by Rosa Mercedes.”
DC Metro Theater Arts
"Kazaras has found a wonderful sidekick in this endeavor with choreographer Rosa Mercedes.”
DC Theatre Scene
"At the end of the first act, Figaro and the Count's scheme to secure Rosina under Dr. Bartolo's nose culminates in an incredibly well choreographed and comically timed number. The visual gags provided by the ensemble could have easily overshadowed the characters in the foreground, but nothing feels lost and the cast seems to thrive in the perfect chaos. Act Two focused more heavily on the main cast - most notably giving Stayton's Count a chance to truly shine. But, whether there were two characters or a roomful of police officers on stage, each scene was still carefully coordinated - the movements were precise, the jokes were strong, and the only disappointment in the happy ending was that it needed to end.”
"Kazaras has emphasized the role of Figaro as puppet master—or, perhaps, stage director—controlling the actions of the other characters most literally in the Act I finale, where they become like marionettes or automatons. With the soldiers gyrating in time to show-choir choreography, directed by Rosa Mercedes, the scene became like one of those complex automaton clocks featuring the robotic movements of many components.”
Washington Classical Review
Charles T. Downey
CARMEN - FLORIDA GRAND OPERA
"There's the gusto of flamenco dancers and the pomp of the bullfighters on parade. How fantastic to see the fine, fine flamenco on stage here and those in the audience familiar with the dance applauded the dexterity and precision of the flamenco dancers each time they finished an interlude. The lively choreography of Rosa Mercedes featured Betzy Belen Almaguer, Liliana Fagoaga, Edwin Suarez and Carolina Torres pulling out all the stops and stomps.”
Michelle F. Solomon (Miami Artzine)
"The atmosphere and energy level is amped up repeatedly by the fiery flamenco choreography of Rosa Mercedes, executed by Betzy Belen Almaguer, Liliana Fagoaga, Edwin Suarez and Carolina Torres.”
Bill Hirschman (Florida Theatre Onstage)
"El aporte flamenco de Rosa Mercedes embelleció y enfatizó justamente momentos claves, no sólo en la taberna de Lillas Pastia, sino durante el transcurso de la ópera.”
Sebastian Spreng (Miami Clasica)
"Especial mención para la coreografía de Rosa Mercedes, muy aplaudida."
Daniel Fernandez (El Nuevo Herald)
LA TRAVIATA - DALLAS OPERA
"This opera has one important dance sequence in it. Rosa Mercedes, who both choreographs the sequence and dances in it alongside Armand and Riley Moryano, does a superb job. All three are lyrical, expressive, and delightful."
"The delightful choreography by Rosa Mercedes, a native of Barcelona, Spain enriches the group scenes. During the Flora party scene in Paris, the female Spanish performer with castanets dancing on the table is wonderful and sensual. This production is one of the best in years."
"Choreographer Rosa Mercedes whips up plenty of kicks and twirls for the gypsy and toreador entertainers."
Dallas Morning News
"The chorus within the masquerade ball scene in Act II was one of the more memorable moments of the production, and some of that credit also goes to choreographer and principal dancer Rosa Mercedes."
"Rosa Mercedes did a terrific job with the dance section at Flora's party. She was also terrific as the principal dancer."
Theatre Jones (Gregory Isaacs)
DIE ZAUBERFLÖTE - SEATTLE OPERA
"The three ladies moved with carefully choreographed charm, thanks to Rosa Mercedes."
"Crucial aspects of the new production include Rosa Mercedes' graceful yet often hilarious choreography."
The Seattle Times
"Between Rhodes' costumes and Rosa Mercedes' choreography, the animals are wonderously charming and endearing."
The Gathering Note
"a hilarious music-hall dance by Monostatos and his pals"
The News Tribune
DIE ZAUBERFLÖTE - FLORIDA GRAND OPERA
"Choreographer Rosa Mercedes contributed a number of uproariously funny and engaging dance sequences."
Miami Sun Post
"Choreographer Rosa Mercedes hits big when Monostatos and his slaves, mesmerized by Papageno playing his magic bells, break into a modern dance with a Fosse flair."
Diario las Americas
El Nuevo Herald
RIGOLETTO - FLORIDA GRAND OPERA
"Although dance in opera is usually treated as secondary, in this case the inclusion of five dancers as ladies of the court in the first scene of act one was a beautiful addition, thanks to the professional quality of the dancers and the organic choreography of Rosa Mercedes."
"The choreography by Rosa Mercedes was beautiful and well-executed."
El Nuevo Herald
"Also praiseworthy was the choreography of Rosa Mercedes, which made this a performance to hold in our memory as one of the best offerings this city has seen.."
Diario las Americas
SAMSON ET DALILA - FLORIDA GRAND OPERA
"Director Sandra Bernhardt and choreographer Rosa Mercedes put together a well-integrated bacchanal scene."
"The demonic dancing scenes confer the word 'Grand' on this opera... Choreographed by the incomparable Rosa Mercedes, their movements were exotic, acrobatic and exciting."
Coral Gables Gazette
"La concepción escenográfica estuvo a gran altura, con esos detalles deslumbrantes a que nos tiene acostumbrados la Florida Grand Opera, excelencia con la que fue también ejecutada la orgía pagana (la famosa Bacanal) con que los filisteos estaban celebrando a todo exceso su victoria sobre los hebreos, resaltando los bailables entre rítmicos i acrobáticos."
Diario Las Americas
AIDA - CINCINNATI OPERA
"The production choreographer, Rosa Mercedes zeroed in on the essence of what ancient Egyptian dance must have looked like, responding to Verdi's music with a mix of hieratic poses, some complex acrobatic sequences for the male dancers and the children, and some terrific ensemble work throughout. Her contribution never called undue attention to itself but seamlessly blended into the dramatic and musical fabric."
Seen and Heard International
"The ballet was extremely inventive."
"Dancers from Cincinnati Ballet (nimble youngsters in Amneris' chamber!) were a vital, vibrant component of the triumphal scene."
The Cincinnati Post
"The traditional ballet was so well conceived and integrated. Choreographer Rosa Mercedes has to share honors with the costumer Allen Klein. The dancers appeared gilded, moving sensuously among the masses on stage like a needed punctuation mark in a poetic sentence."
"Several moments cannot be forgotten... tiny girl dancers, bouncing, posturing, spinning with effervescent enthusiasm, captured all hearts."
"Aida is an opera where grand spectacles are important, and solo dancer Sarah Hairston and other members of the ballet corps lent grace, athleticism, and beauty to all of the pageantry."
"The visual showstopper, of course was the Act II Triumphal Scene, with more than 130 performers onstage... and a ballet to stylized choreography by Rosa Mercedes."
AIDA - MICHIGAN OPERA THEATRE
"Child dancers in the first scene of Act II were exuberant in the dance and tumbling created by choreographer Rosa Mercedes. Mercedes also created muscular choreography for the Michigan-based dancers of the Eisenhower Dance Company, a relief from the often sappy, faux-Egyptian posturing that too often takes place in Aida."
* Rosa Mercedes was nominated by Encore Michigan for Best Choreography Award of the 2013 Michigan theatre season.
AIDA - FLORIDA GRAND OPERA
"Thematic gestures were ubiquitous in the choreography of Rosa Mercedes; Egyptian dancers balanced themselves precariously - and impressively - on one another."
IL BARBIERE DI SIVIGLIA - SEATTLE OPERA
"Crafted in collaboration with choreographer Rosa Mercedes and lighting designer Duane Schuler, effects that recall hilarious moments from such unexpected sources as The Wizard of Oz and the Marx Brothers' Duck Soup may look irreverent. But what Kazaras has done is, rather, to treat this supreme comic opera with the greatest respect."
The Seattle Times
"Adding to the snap and precision of this show, with choreography by the imaginative Rosa Mercedes, Kazaras provided the cast with sharply executed, simultaneous maneuvers and gestures that focused the comic punch of a memorable Barber of Seville."
The Classical Review
IL BARBIERE DI SIVIGLIA - SYRACUSE OPERA
"The production was bolstered by an excellent orchestra under the direction of Douglas Kinney Frost, beautiful staging by Jeffrey Buchman, and some of the best choreography in recent Syracuse Opera memory by Rosa Mercedes."
UN BALLO IN MASCHERA - FLORIDA GRAND OPERA
"Choreographer Rosa Mercedes put together an entertaining and charming dance number to begin the ball scene."
CARMEN - OPERA LYRA OTTAWA
"A grandness that flows naturally and with truth, perfected in collaboration with the choreography of Rosa Mercedes."
The Charlebois Post
"Rosa Mercedes' choreography was sublime."
CARMEN - TULSA OPERA
"The choreography was by Barcelona native Rosa Mercedes. In every one of her choreographies, as well as in her dancing which was on display in the tavern scene, Mercedes left no doubt about her talent."
Hispano de Tulsa
"Choreographer Rosa Mercedes and dancer Raul Salcedo added some authentic Spanish flavor to the proceedings with their flamen- co dancing during the tavern scene and in the finale."
CARMEN - ATLANTA OPERA
"Buchman cleverly partnered with choreographer Rosa Mercedes to integrate Spanish dance throughout the show. Six flamenco dancers emerged from the opening crowd scenes, from the gloom of Lillas Pastia's tavern in Act II, and later as mountainside shadows during an entr'acte. Bedecked in authentic toreador costumes and capes in the final act, the dancers heightened the emotion of the bullfight with their stylized movements."
"The team of flamenco dancers choreographed by Rosa Mercedes bring an authenticity... that lit up the theater."
The Atlanta Journal-Constitution
LA TRAVIATA - FLORIDA GRAND OPERA
"Choreographer Rosa Mercedes delivered stirring moves in the scene at Flora Bervoix's atelier."
LA TRAVIATA - INDIANA UNIVERSITY JACOBS SCHOOL OF MUSIC
"the ten dancers at the beginning of Act III merit attention for interpreting choreographer Rosa Mercedes' flamenco with mesmerizing precision, heightening the growing difference between Violetta's former life as a courtesan and the new path she chose and was forced to give up. "
IL TROVATORE - OPERA NAPLES
"High notes include the dance work of Rosa Mercedes, who injects a startling, dramatic ghost of Azucena's own murdered mother at the just the right moments. It's a brilliant addition to this staging."
INTELLIGENT SYSTEMS (World-premiere)
"The musical and visual elements are closely intertwined. Colorful brass writing portrays gases and particles with elegant choreography set against visions of the sun. From the flamboyant dance of the medicine man to agitated steps of warriors, Rosa Mercedes’ choreography was consistently imaginative. "
DON GIOVANNI - MIAMI SUMMER MUSIC FESTIVAL
"...perfectly choreographed by Rosa Mercedes, note-for-note ."
AINADAMAR - UNIVERSITY OF MIAMI FROST SCHOOL OF MUSIC
"Buchman and choreographer Mercedes staged a series of powerful tableaux that carried the drama forward in thrilling fashion. Mercedes’ choreography was intrinsic to the drama, ranging far beyond standard flamenco patterns."
CARMEN - INDIANA UNIVERSITY JACOBS SCHOOL OF MUSIC
"Rosa Mercedes is a prominent dancer and choreographer who, obviously from what one saw on the MAC stage, contributed her talents to the women in the cast, both choristers and soloists. All moved with an authenticity not so frequently gained elsewhere, for lack of proper training."