“The most entertaining show of the fledgling trio of operas was Pepito, in large part, no doubt, because the titled character was a big, shaggy dog, — a role sung, howled and barked effectively by Samuel Weiser. But what started as what I thought might be a gimmick demonstrated as it went on a growing understanding of methodical approach and material by the young creative team.
Koch and composer Nicolas Lell Benavides took on the adventure of writing in English and Spanish. Benavides not only wrote music that used repetition of musical theme and melody but, in cannily crafting a (somewhat) bilingual story, employed the setting of gorgeous Spanish vowels, giving a nod to classical opera’s multi-lingual canon. Pepito’s doggy answer to everything is snuggling up with a bass howl of “Te quiero.” The phrase, especially repeated in the ensemble singing, was both a send up of opera and at the same time a profound truth, offering an answer to all our troubles.”
Susan Galbraith, DC Theatre Scene