Sarasota Opera Announces its 55th Season!

Sarasota Opera Announces its 55th Season

2013 Fall Season

Die Fledermaus by Johann Strauss, Jr.

The Little Sweep by Benjamin Britten

(presented by the Sarasota Youth Opera)

2014 Winter Festival

Il trovatore by Giuseppe Verdi

(New production)

The Barber of Seville by Gioachino Rossini

The Flying Dutchman by Richard Wagner

Jérusalem by Giuseppe Verdi

(Sarasota Opera Premiere)

Sarasota, FL – Sarasota Opera is pleased to announce its 2013 – 2014 Fall and Winter programming which will mark the company’s 55^th consecutive season of performing grand opera on the Florida gulf coast.  Highlights will include the return of some of Sarasota Opera’s most acclaimed productions, the Sarasota Opera premiere of Verdi’s Jérusalem as part of the ongoing Verdi Cycle, and the debut of new concerts to the Sarasota Opera Concert Series.      

“This will be a season of celebration,” says Richard Russell, Executive Director.  “Not only will Sarasota Opera be marking the company’s 55^th consecutive season, we will be commemorating the anniversaries of the birth of three of opera’s most significant composers through our programming; Wagner, Britten, and of course Verdi.  We hope you will come and join in the festivities.”

Sarasota Opera’s production of Die Fledermaus in 2006

Die Fledermaus by Johann Strauss, Jr.

The fall 2013 season will open on November 1^st with Johann Strauss, Jr.’s operetta Die Fledermaus last seen in Sarasota in 2006.  As the plot unfolds, an elaborate scheme is hatched to expose the womanizing ways of the wealthy Eisenstein as he attempts to enjoy a night of frivolity at an elaborate Viennese ball before going to jail.  Hidden identities and amorous intrigues mixed with a splash of mistaken identity make for a night of unwieldy delight in this charming story where champagne reigns as king!

Baritone Sean Anderson (Of Mice and Men, Otello) returns to reprise the role of the scheming Eisenstein and soprano Danielle Walker (A King for a Day, Carmen) will sing the role of his wife Rosalinda.  Rounding out the cast will be soprano Angela Mortellaro (Hansel and Gretel) as Adele, Rosalinda’s chambermaid, tenor Joshua Kohl (Lucia di Lammermoor, Don Giovanni) as Alfred, Rosalinda’s former admirer, baritone Matthew Hanscom (Of Mice and Men, Turandot) as Dr. Falke, a.k.a “The Bat”, and mezzo-soprano Blythe Gaissert (Rigoletto, La rondine), as Prince Orlofsky, the evenings host in the opera.  Stephanie Sundine will direct and Maestro Victor DeRenzi will conduct.  This production will be sung in English with a translation by Marcie Stapp.       

Little Sweep by Benjamin Britten

Following their triumphal performances of last season’s world premiere of Little Nemo in Slumberland, the acclaimed Sarasota Youth Opera will present a full-scale production of Benjamin Britten’s opera The Little Sweep.  A group of children, with the help of a kind nursery maid, work to free a young chimney sweep apprentice from his cruel master.  This enchanting work, which was written to help introduce children to opera and will be sure to delight both children and adults alike, will be presented on November 9 and 10.  The children principal roles and chorus will be performed by members of the Sarasota Youth Opera program.  The adult roles will be performed by members of the Sarasota Opera Apprentice Program.  The production will be directed by Martha Collins and conducted by Maestro Jesse Martins. 

2014 Winter Festival

Il trovatore by Giuseppe Verdi

Opening the 2014 Winter Opera Festival will be a new production of Giuseppe Verdi’s hot-blooded drama Il trovatore on February 8, 2014 designed by Scenic Designer Michael Schweikardt.  Not seen in Sarasota since 1993 (Sarasota Opera performed the French version, Le Trouvère, in 2002), Il trovatore tells the story of a troubadour’s quest for love, a soldier’s lust, and a daughter’s undying thirst for vengeance.  Il trovatore, which was premiered in 1853, features operatic favorites such as the famous “Anvil Chorus” and the valiant tenor cabaletta “Di quella pira.”

Two rising stars of the opera world will make their Sarasota Opera debut in this production.  Baritone David Pershall will debut as Count di Luna, the jealous commander of the Aragon troops.  Mr. Pershall, who joined the roster of the Metropolitan Opera this past season, has also been heard with Dallas Opera, Virginia Opera, and the Opera Orchestra of New York.  In addition to Mr. Pershall, Mezzo-soprano Margaret Mezzacappa will debut as the vengeful Azucena.  Ms. Mezzacappa, who was the Grand Prize winner at the 2012 Metropolitan Opera National Council Auditions, performed this role in 2012 at Opera New Jersey under Maestro DeRenzi.  Other engagements include appearances at Opera Philadelphia, Cleveland Opera, Carnegie Hall, and an upcoming debut at San Francisco Opera.   Stephanie Sundine returns as stage director and Maestro Victor DeRenzi will conduct.    

The Barber of Seville by Gioachino Rossini 

The Barber of Seville by Gioachino Rossini, one of the most beloved comedic works in the operatic repertory, will return to Sarasota Opera’s stage opening February 15^th in a revival of the 2008 production.  Determined to win the heart of the beautiful Rosina with charm and wit, rather than money, Count Almaviva enlists the help of Figaro, the barber of Seville, to steal her away from her guardian, Dr. Bartolo.

The 2008 Sarasota Opera production of Rossini's The Barber of Seville

Baritone Marco Nisticò, who sang the title role in last season’s production of Rigoletto, which were followed by performances of Carmen at the Metropolitan Opera, returns to sing the role of scheming barber, Figaro.  Bass Young Bok Kim, who was heard last season as both Sparafucile in Rigoletto as well as Timur in Turandot, will reprise his role of Basilio.  Stage Director William Gustafson, who has directed past productions of The Barber of Seville as well as The Magic Flute and Hansel and Gretel for Sarasota Opera, will return to direct.       

The Flying Dutchman by Richard Wagner

Legends of the sea come to life on March 1, 2014 as Sarasota Opera remounts its 2000 production by David P. Gordon of The Flying Dutchman by Richard Wagner.  As the story goes, The Flying Dutchman tells the tale of a cursed sea captain forced to wander the world, ultimately finding redemption in the selfless gift of a woman’s love.  The unbridled weight and force of Wagner’s work will enthrall audiences as they voyage through this mystical world. 

Three members of last season’s critically acclaimed production of Carlisle Floyd’s Of Mice and Men return to Sarasota Opera next season.  Tenor Michael Hendrick, who sang the role of Lennie, returns to sing the role of the huntsman Erik; tenor Jon Jurgens, who sang the role of Curley, will sing the Steersman; and Maestro David Neely, a specialist of the German repertoire, will conduct.

Jérusalem by Giuseppe Verdi

Finally, opening March 8, 2014, will be the Sarasota Opera debut of Verdi’s Jérusalem, an epic tale of warriors, family rivalry, and jealousy that evolves into a story of forgiveness.   Based on his earlier opera, I Lombardi alla prima crociata, Jérusalem, which was Verdi’s introduction to Paris, abounds with rousing choruses, beautiful ensembles, and exciting arias.  This new production of Jérusalem will mark the 30^th operatic installment of the Verdi Cycle and an experience you won't want to miss. 

Bass Kevin Short, a frequent performer at Sarasota Opera and who sang the role of Pagano in the 2011 production of I Lombardi, returns to sing the role of Roger, the count’s brother; soprano Danielle Walker (Un giorno di regno, Carmen) will sing Hélène, the Count’s daughter; bass Jeffrey Beruan (Madama Butterfly, I Lombardi alla prima crocciata) sings the Papal Legate; and baritone Matthew Hanscom (Of Mice and Men, Turandot) will sing the Count of Toulouse.  Popular Sarasota Opera stage director Martha Collins will direct and Maestro Victor DeRenzi will conduct. 

The four productions will run in rotation from February 8 through March 23, 2014.

  

Sarasota Opera Concert Series

In addition, Sarasota Opera will present four signature concerts designed to highlight great songs, arias and scenes beyond this season’s repertoire. 

On Tuesday, November 12, singers from the fall production of Die Fledermaus will present the Operetta Concert featuring some of operetta’s most popular melodies with piano accompaniment. 

On Wednesday, March 5, 2014 Sarasota Opera will explore the past and present of American opera and vocal music at the American Opera Concert which will be performed by Sarasota Opera’s Apprentice and Studio Artists.  This concert will be performed with piano accompaniment. 

On Tuesday, March 18, 2014, Sarasota Opera presents its annual Artists Choice Concert which has become a Sarasota Opera tradition!  Principal and Studio Artists will perform their choice of the best of Opera and Broadway on the Sarasota Opera main stage.  This concert will be performed with piano accompaniment. 

Finally, bringing the 2014 Winter Season to a close will be The Verdi Concert on Sunday, March 23, 2014.  With the end of the Verdi Cycle only three years away, The Verdi Concert is your chance to experience a mix of Verdi’s well known, not so well known, and hidden musical gems.  Featuring Sarasota Opera Soloists, Orchestra, and Chorus, this concert reaffirms the fact as to why Sarasota Opera is Verdi’s American Home!   

ABOUT SARASOTA OPERA

Based in Florida’s beautiful Gulf Coast, Sarasota Opera is approaching its 53^rd consecutive season.  In 1960, the company began presenting chamber-sized repertoire in the historic 320-seat Asolo Theater on the grounds of Sarasota’s Ringling Museum of Art. Recognizing the need for a theater more conducive to opera, the company purchased the former A.B. Edwards Theater in downtown Sarasota in 1979 and first performing in it in 1984 as the Sarasota Opera House. The theater has just undergone a $20-million renovation and rehabilitation enhancing audience amenities, while updating the technical facilities including increasing the size of the orchestra pit. The theater, which reopened in March 2008, has been called “one of America’s finest venues for opera” by Musical America.

Since 1983 the company has been under the artistic leadership of Victor DeRenzi. Since then the company has garnered international attention with its Masterwork Revivals Series, which presents neglected works of artistic merit, as well as the Verdi Cycle producing the complete works of Giuseppe Verdi. Recognizing the importance of training, Maestro DeRenzi founded the Apprentice Artist and Studio Artist programs. Sarasota Opera also maintains a commitment to education through its Invitation to Opera performances for local schools and the unique Sarasota Youth Opera program.

The 2013 Fall Season will feature Johann Strauss, Jr,’s Die Fledermaus followed by the Sarasota Youth Opera production of Britten’s The Little Sweep.  The 2014 Winter Festival will include Verdi’s Il trovatore, Rossini’s The Barber of Seville, Wagner’s The Flying Dutchman, and Verdi’s Jérusalem.  Subscriptions for the 2013-2014 Season are now on sale by calling (941) 328-1300 or visiting the Sarasota Opera Box Office.  Single tickets will go on sale August 1st online (www.sarasotaopera.org) and September 3rd in the box office.

Sarasota Opera is sponsored in part by the State of Florida, Department of State, Division of Cultural Affairs, the Florida Arts Council, and the National Endowment for the Arts. Programs are supported in part by an award the Tourist Development Tax through the Board of County Commissioners, the Tourist Development Council and the Sarasota County Arts Council. Additional funding is provided by the City of Sarasota and the County of Sarasota.

Sarasota Opera

61 N. Pineapple Avenue

Sarasota, FL 34236

(941) 366-8450

www.sarasotaopera.org

ARTISTS CORNER: Soprano Angela Mortellaro

ARTISTS CORNER:  Soprano Angela Mortellaro made her Sarasota Opera debut as a Studio Artist singing the role of Gretel in the 2010 production of Engelbert Humperdinck's Hansel and Gretel.  Ms. Mortellaro will return this fall as a principal artist to sing the role of Adele in Johann Strauss Jr.'s Die Fledermaus opening November 1st, 2013.  She is currently in Sarasota singing the title role of Annelies - Inspired by the Diary of Anne Frank with Key Chorale April 14.  We caught up with Ms. Mortellaro in between rehearsals and asked her to answer a few questions about her life as a singer, what she learned as a Studio Artist with Sarasota Opera, and what he is looking forward to the upcoming fall season with Sarasota Opera.


Soprano Angela Mortellaro

 Q.  Where are you originally from and where do you make your home now?

A.  I'm originally from Brookfield, Wisconsin. I moved to Chicago recently and love it!

Q.  What drew you to become a singer?  Was there a specific “Aha!” moment of clarity?

A.  Like many artists, I would say that singing found me. I always had an appreciation for music - I studied piano pretty seriously growing up, and my mother is a singer and choir director at our home church. I went to college with the intention of becoming a music teacher, and didn't think of myself as a performing artist. There have been many Aha! moments that told me music is a big part of who I am, and where I recognized the power and beauty of this art form. But, I'm not sure there was a specific moment about pursuing opera as a career. It was more like: I woke up one morning and realized that was the path I was on. Then, I just followed it.

Q.  What can you tell us about this character?  Why should the audience care about her?

A.  Adele is a fun-loving, mischievous and at times ridiculous person. What a riot! She reminds us not to take things too seriously, and I think that is an important lesson we all need to remember!

Q.  What are you looking forward to most about performing this particular role?

A.  I am looking forward to singing this wonderful music! Additionally, I am looking forward to the interplay between all these silly characters through the dialogue and plot twists.

Ms. Mortellaro as Gretel with mezzo-soprano Heather Johnson as Hansel in the
2010 Sarasota Opera prodution of  Hansel and Gretel

Q.  Is there something unique about your process when preparing a role for performance?

A.  I like to work on music over long periods of time, working very intensely, then ignoring it for a while. And working intensely again, and repeat! In the space in between is where I mull over things. This process seems to work for me.

Ms. Mortellaro in the title role of
Lucia di Lammermoor

 Q.  Beyond the musical work, what other kind of preparation/research work do you incorporate in the learning process?  Historical?  Character study? 

A.  I think incorporating research is so helpful. The more information I have about the music I'm singing, the richer of an experience it will be.

Q.  Does your preparation process differ between a role you have performed before and a role you are doing for the first time? 

A.  When I return to a piece I have done before, it is like a reunion with a wonderful friend! I love repeating roles because it is a fantastic opportunity. I have the chance to make different dramatic choices, bring a new vocal perspective, improve or change a cadenza, and I always learn something. Repeating a role is still a new experience because it is probably with a new company and different group of singers, director and conductor who bring their own ideas to a piece. That is really cool. Even if I have done something before, I try to approach each project like I have never seen it before. That way, there is more room for discovery! I love a new project, too. The truth is that I love the learning. I love sitting at the piano and being forever a student. Joy!

Ms. Mortellaro as Amore in Gluck's Orfeo ed Euridice 

Q.  Before you were a principal artist, you spent one season as a Sarasota Opera studio artist.  Do you feel that experience helped to prepare you for your upcoming role as a Principal Artist?  If yes, how so? 

A.  Yes, definitely. It not only prepared me to return to Sarasota Opera, but prepared me to sing professionally with other opera companies. Singing Gretel here was kindof a big deal! It was my first big role with a professional company.

Q.  Thus far, what is the most bizarre experience you have had during a rehearsal?  During a performance?

A.  Hmmm. It is hard to decide because there are so many funny things. I'm lucky that nothing terrible has ever happened. Wig malfunctions, props missing, curtains rising when they are not supposed to, dancers falling, carrying topiaries, trap door scariness more than once... One time I accidentally said "mooing" instead of "cooing" during a love aria. One incident that stands out though is a blood pack malfunction during my debut as Lucia with Minnesota Opera. It was a particularly gory production, and at the end of the Mad Scene I was supposed to slit my throat and use a blood pack. It would not burst!!! I squeezed that thing sooo hard and it finally burst... but it flew into the air in a glob and landed on a chorister. The audience couldn't see it, but we were in hysterics after the curtain came down.

Ms. Mortellaro backstage preparing to sing
the role of Despina in Mozart's Cosi fan tutte

Q.  How do you relax in between performances?  What hobbies do you enjoy at home and “on the road”?

A.  When I'm in a new place, one of the first things I do is find the nearest Bikram Yoga Studio. Taking lots of walks and getting exercise is the best way for me to feel relaxed.

Q.  How do you stay connected to family and friends when you are “on the road”?  Do you keep a blog?  Website?Facebook?  Twitter?

A.  Skype and iChat! I talk to my husband on the phone all the time, but to see his face when we are apart is so much better.





Subscriptions are available now for the 2013-2014 Sarasota Opera Season.  Subscribe before April 19th and receive a 15% discount on your subscription!  Contact the box office at (941) 328-1300 or download the registration form at www.sarasotaopera.org!

ARTISTS PROFILE: Tenor Heath Huberg

ARTISTS CORNER:  Tenor Heath Huberg made his Sarasota Opera debut while a Studio Artist singing the roles of Peppe in Pagliacci and Delil in Giovanna d'Arco in 2010.  Mr. Huberg has since returned each season to perform such roles as Giles Corey in The Crucible, Cassio in Verdi's Otello and this season as a principal artist making his role debut as Nadir in Bizet's The Pearl Fishers.  We asked Mr. Huberg to answer a few questions about his life as a singer, what he learned as a Studio Artist with Sarasota Opera, and what he is looking forward to this season with Sarasota Opera.



Tenor Heath Huberg



Q.  What drew you to become a singer?

A.  I was involved with local community theater, high school musicals, other theater projects, choir, and band. I had a lot of success growing up as a musician and thought that music may be the way to go. However, college is where opera took hold of my career path. 

Q.  Did you have other aspirations besides music?

A.  A few.  I was relatively gifted in science and math and thought that may a possible career path.  Also, growing up in a farming community presented other opportunities along with family businesses. I also contemplated going into the Navy out of high school, but decided that I wanted to go to university instead.

Heath Huberg as Nadir in
Sarasota Opera's The Pearl Fishers. 
Photo by Rod Millington

Q.  What are you looking forward to in performing this role?

A.  I think the opera The Pearl Fishers is radically under appreciated.  It has stunning moments of the most beautiful music and very thrilling moments that brings an audience to the edge of their seat.  Besides being able to perform this piece with exceptionally talented colleagues, I have the opportunity to help bring the drama to life.  To explore and divulge the intricacies of a character and a culture that is far detached from our normal, and to get to do this on a stage that has many happy memories for me, is what I am looking forward to most.

Q.  Is there something unique about the process you go through when preparing a role?

A.  I don't think so.  I begin by translating every part.  Then I speak the text to find the correct inflection, emphasis...etc. Only after that do I put the words to the rhythm and notes.  I do like listening to several different singers approach to the role.  I believe that by cultivating other ideas and approaches, I am able to inspire and refine my performance.

Q.  What other preparation/research work do you include?

A.  I try to read as much as possible, whether it be historical documents, books, or online resources.  Also, in some cases, I find it useful to watch movies with historical contexts or period set pieces.  

Tenor Heath Huberg as Cassio in Sarasota Opera's production of Verdi's Otello.  Photo by Rod Millington

Q.  How does preparation process differ between a new role and one that you have already performed?

A.  Having already performed a role makes life so much easier.  It is a case of intense reviewing of the text, story, characterization, historical context, music and preparing mentally as well as vocally.  While it is ultimately easier to prepare an all ready performed role, it does still require a lot of preparation and time.

Q.  Before you were a principal artist you were a studio artist. Did this help you prepare you for you role as a principal artist?

A.  Most definitely.  The Sarasota Opera Studio Artist program gave me valuable performance experience, both in concert/outreach and on stage.  It has also helped me refine my preparation process and general performance practices.

Q.  What is the most bizarre experience you have had in a rehearsal and/or performance?

A.  I was in Santa Fe Opera's Young Artist program and had the opportunity to be in a world premiere opera: The Letter.  Santa Fe Opera is famous for not only some wonderful productions and singing, but for its open air theater with beautiful vistas and brilliant enchanting sunsets. On two seperate occasions mother nature had her way during a couple of performances.  The first was a dense layer of fog that rolled in covering the stage, pit, and audience as the ghost of the protagonist's lover appeared to confront his killer: the protagonist.  The second, mother nature kicked up a wicked thunderstorm with high winds that threatened to bring down the set around us (stage hands held the set in place as the performance neared its end). Also, the wind sent dishes and other props flying.  It even made the roll-out stage cover churn like waves on the gulf.  Needless to say, the performance ended shortly there after and the bows were cut short.   

Tenor Heath Huberg as Giles Corey in
the 2011 production of The Crucible.
Photo by Rod Millington

Q.  Do you have any pre-performance rituals?

A.  Nope, just resting up and reviewing music.

Q.  How do you relax between performances? Any hobbies?

A.  While in Sarasota I like to spend time on the beach and go to Baltimore Orioles games.  I like to golf, read, and spend time with family and friends.

Q.  How do you stay connected with family and friends while you are on the road?

A.  I skype and call my family and friends in order to stay in touch with them. Also, I maintain a facebook account to share my experiences with people while on the road.

Q.  We have patrons that travel from all over the United States to see productions at Sarasota Opera.  Do you have strong connections with any particular towns our patons might have in common?

A.  I am originally from Milford, Des Moines.  I did my undergraduate work at Simpson College in Indianola, IA and my graduate work at New England Conservatory in Boston, MA.  I also spent a good amount of time in Salt Lake City, UT as a resident artist with Utah Opera.

Look for tenor Heath Huberg in upcoming productions at Sarasota Opera.  Subscriptions for the 2013-2014 Sarasota Opera Season are now available online at www.sarasotaopera.org or by calling the box office at (941) 328-1300. 

ARTISTS CORNER: Baritone Lee Poulis

ARTISTS CORNER:  Baritone Lee Poulis, who made his Sarasota Opera debut as Don Giovanni in 2011 and returned to sing Enrico in Lucia di Lammermoor last season, will make his Sarasota Opera debut as Zurga in this season's opening production of Bizet's The Pearl Fishers.  Mr. Poulis has sung all over the United States and for many years was based in Germany.  We asked Mr. Poulis to answer a few questions about his life as a singer, the difference between being an opera singer in the United States versus Europe, and what he is looking forward to this season with Sarasota Opera. 



Baritone Lee Poulis

Q.  What drew you to become a singer?  Was there a specific “Aha!” moment of clarity?

A.  I actually began in music as a trumpet player in the 4th grade.  Pretty soon I realized I enjoyed hearing the trumpet being played in an orchestra rather than in the band, which was where I played.  I began listening to the classical station and heard some opera in the mix.  I was immediately drawn to it and wanted to hear and know more about it.  I began renting opera videos from Blockbuster at the age of 12 and saw my first opera at the Metropolitan Opera in that same year.  As years passed and I buried myself in recordings and videos from the public library, I could sing along with many of the operas while reading the libretto.  I also did my first Pavarotti impression pretty early on, handkerchief and all.  When I was 15 after some long-term nudging from my parents, who knew nothing about opera but apparently had an ear, I sang for my high school chorus teacher.  The rest is history.

Q.  What are you looking forward to most about performing this particular role?

A.  I like that I’m playing the leader of everyone else in the opera.  Sounds like a lot of power.  So far it’s one fishing village, but I hope to expand my sphere of influence as soon and as widely as possible and take over all of Sri Lanka, where this opera takes place.

Lee Poulis as Zurga in Sarasota Opera's 2013 production of Bizet's The Pearl Fishers 

Q.  Is there something unique about your process when preparing a role for performance?

A.  I don’t know if it’s unique, but it’s how I do it!  It’s a process of singing through, translating, feeling, putting myself in the character’s shoes, singing it through with a pianist, working on it with my voice teacher, and raising the stakes dramatically and vocally wherever it’s called for in the story and the music.  Almost all of these facets of preparation are occurring all the time and in no particular order from day one of my role preparation until the last performance is over and sometimes beyond that too!

Lee Poulis as Papageno in Mozart's
The Magic Flute at Washington National Opera

Q.  Beyond the musical work, what other kind of preparation/research work do you incorporate in the learning process?  Historical?  Character study?  What sources have you relied on? 

A.  Normally I would go to the place where the opera is set but Sri Lanka is a bit far and bit expensive for that!  In lieu of that, I’ve watched movies set there, researched its culture, eaten at a Sri Lankan restaurant (I live in New York City so this was not hard), and I continue to read or do anything interesting related to Sri Lanka that I come across.  I’m currently absorbing a lot of cultural information from a memoir about Sri Lanka called Running in the Family by Michael Ondaatje, the author of The English Patient.

Q.  This will be a role debut for you, correct?  How does your preparation process differ between a role you have performed before and a role you are doing for the first time? 

A.  Yes, this is a role debut and I’m very excited about it!  If I already know the role, the preparation is much quicker; I just have to reawaken the character and sing the role back into my voice.  For a new role, I have to develop the character completely anew and figure out how to sing it from square one.  In one sense doing a role I have already done before can be a more complete and developed performance for the audience whereas in a role debut, there are many unknowns that reveal themselves only in performance.  This can perhaps make performances in a new role feel somewhat experimental but always exciting!



Q.  You have performed extensively all around Europe, particularly in Germany.  How does life as an opera singer differ in Europe than the United States? 

A.  In Germany, singing felt more like a full time job, if that is even possible to feel as an opera singer.  I had a multi-year contract with Opera Bonn, a theater funded by the city.  I earned a monthly salary, received health insurance, and all the other benefits full time employees would normally get.  After successful auditions, I was often engaged simultaneously as a guest singer by other theaters in Germany and abroad.  Anytime a theater was holding auditions, I would have to go to that actual theater to sing for a specific part or position.  Rehearsal periods in Germany were much longer, sometimes two months, and performances were often spread out over the course of two seasons, with performances of a specific opera occurring anywhere from 1-4 times a month in rotation with other operas.



Lee Poulis as Enrico in the 2012 Sarasota Opera
production of Lucia di Lammermoor



In the US, I think there are only a handful of opera singers that have anything that looks like a full time job.  It’s almost completely freelance and without benefits.  You’re on your own!  There is also a lot less work in the US than there is in Europe.  Thankfully American companies will come to NYC to hear their auditions, so at least travel isn’t necessary.  But I have to say, I didn’t mind gallivanting around beautiful Europe for auditions and then writing it off!  Also auditions in the US tend to be of a more general nature, so you can find out if you got “the part,” whatever that may be, in 1 day to five years.  Rehearsal periods in the US are much more concentrated, usually two to three weeks, and the run of performances is also more highly concentrated, usually within 1-5 weeks.

Q.  Thus far, what is the most bizarre experience you have had during a rehearsal?  During a performance?

A.  I had a director one time who upon the first rehearsal told us five guys involved in a scene to get on a truck, drive the truck on stage, and do the scene.  We naturally thought: Do what scene?  We haven’t been directed yet. Well, off we went and drove the truck on stage and made up a scene out of thin air.  The director laughed, said it was very good, wished us a good afternoon and that he would see us tomorrow.  We left stunned.  What had just happened?  The scene was never really developed and remained basically the same through opening night!  The audience loved it though!

Another event in the same production: I had a small dog with me in one scene.  It kept yanking me aside during my singing and I couldn’t imagine why.  Normally it was well behaved.  My colleagues began laughing during their singing to me.  What thousands of audience members and my cast-mates saw that I did not because I was busy singing was that my dog had just pooped and peed onstage!

Q.  Do you have any pre-performance rituals?  Performance superstitions?  Good luck charms?  If yes, why?

A.  I just try to take it easy and check the voice every now and then.  I like to take a good walk, hydrate, and eat well.

Q.  How do you relax in between performances?  What hobbies do you enjoy at home and “on the road”?

A.  I like to go to the gym regularly where I lift weights and do cardio exercise.  I also love spending time at the beach and going to movies.  I try to get reading done and to work on the next role!



Lee Poulis in the title role of the 2011
Sarasota Opera production of Don Giovanni

Q.  How do you stay connected to family and friends when you are “on the road”?  Do you keep a blog?  Website? Facebook?  Twitter?

A.  I have a Fan Page on Facebook and I personally maintain my webpage at www.leepoulis.com.  I always love to hear from those who love to see me perform!  The internet is a great thing to keep in touch with friends and family when you are on the road.  I have video calls when it’s been too long since I’ve seen someone’s face.  I have yet to keep a blog but you never know.  It could happen!

           

Q.  As we have people that travel from around the United States to attend performances at Sarasota Opera, are there any towns or cities that you have a strong connection with whether from growing up or attending school?

A.  I have a strong connection with Cambridge, MA (college), Santa Barbara, CA (training) Washington DC (young artist program), and Cologne (where I spent my three years in Germany).  I’m orginally from Greenlawn, NY on Long Island and currently live in New York City. 

Don't miss Mr. Poulis' performance as Zurga in this season's production of The Pearl Fishers running now through March 22nd.  Tickets are available online at www.sarasotaopera.org or by calling the box office at (941) 328-1300.