ARTISTS CORNER: Soprano Maeve Höglund

Soprano Maeve Höglund

Maeve Höglund makes both her Sarasota Opera debut and her role debut as Susanna in this season's The Marriage of Figaro. She is described as a versatile artist who has been praised repeatedly in New York Times as “a striking soprano,” “outstanding,” and one who “stands out among singers.” 
She recently made her Carnegie Hall debut as soprano soloist in the New York première of Paul Moravec’s The Blizzard Voices with Oratorio Society of New York. Her recent engagements include starring roles in Gotham Chamber Opera’s production, “Baden-Baden 1927,” featuring works by Weill, Hindemith, Toch, and Milhaud, as well as the role of Atilia in Cavalli’s Eliogabalo.


Maeve Höglund is also a featured singer and vocal educator for Jazz at Lincoln Center’s Jazz Academy, a program offering online tutorial education to middle school students in the New York City area.  

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

A. I was born and raised in Olympia, WA.  Most notably known for its constant rainfall many don't know that Washington State is home to one of the largest temperate rainforests in the U.S. - the Hoh Rainforest located on the Olympic Peninsula.

Though Washington State will always be home, I have made a home in Riverdale which is located in the Northwest part of the Bronx in New York City.

Soprano Maeve Höglund (center) at Carnegie Hall

Q. You have such a unique name. What is its origin?

A. Thank you!  My surname is of Swedish heritage and hails the meaning: hög 'high' + lund 'grove'.  This most certainly had to do with the surrounding landscape of where my family is from.  As for my first name, that is a story I love to speak about.  The short version is the following: Maeve is the Anglicized version of Medb (Old Irish spelling) or Meḋḃ, Meaḋḃ (Middle Irish spelling). Maeve was the warrior Queen of Connacht who hailed from what is modern day Ireland but back then was occupied by the Celts.

Most notably, Queen Maeve was the warrior queen of Connacht, the western province of Ireland. Historically, she would have lived sometime around the years 50BC - 50AD. Because of the time period much of her story has become folklore.  I grew up learning that she was the Queen of the Fairies and little people.  It is said that her father was king of Connacht before becoming High King of Ireland and she became ruler of Connacht after him.  She had five recognized husbands, and ruled for over 60 years. She was also said to be the reason her husbands became kings, that to be the ruler of Connacht they had to be 'married to Medb' as in married to the land.

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

A. I would have to say that I was always drawn to singing, performing, music & theatre.  From a young age I would love to dress up, sing into the fan or tape recorder, and put on shows for my family.  However, the turning point of singing Opera and classical music was when I spent two summers at Boston University's Tanglewood Institute.  During those summers I heard and met Bryn Terfel, Dawn Upshaw, Angela Gheorghiu, Yo-Yo Ma, among others in addition to hearing my first live Brahms Symphony No. 3 (one of my favorites).  This ignited something in me that I'd never experienced before.  It was then that I was changed forever and that my destiny to be a singer found me and vice-versa.


Q. Did you have other career aspirations in the works before you decided on singing?

A. Even though I knew I wanted to go to school to study music after high school, I actually considered becoming a massage therapist.  I was accepted into New England Conservatory, where I ended up attending, and decided to desert my thoughts to be a massage therapist.  After I graduated the Conservatory I was looking at other arenas where I might bring in money and reconsidered massage school.  I even went as far as attending a pre-enrollment workshop for prospective students.  I actually was quite serious about going but then realized it cost just as much to get a massage degree as it did a Master's in Music.  It was another turning point toward my continued commitment to being a singer.

Maeve Höglund as Susanna with baritone
Philip Cutlip as her betrothed Figaro

Q. This is a role debut for you. What are you looking forward to most about singing this role?

A. It is my role debut for Susanna which I'm absolutely delighted about.  In all honesty, I am so in love with Mozart's music that part of me almost enjoys listening to it more than singing it!  Don't get me wrong, this role is absolutely food for a singer's soul, particularly mine.  Mozart was genius in that way, he knew the voice so well and brilliantly wrote notes to text that challenge and demand the highest caliber of singing & performing.

But for me, there are specific moments in the Opera that cause a transcendental & euphoric experience.  It's as if we get transported back into the time of Mozart and get to relive what the artists and audience of that time experienced. This is what I look most forward to as it makes all the efforts toward my work as a performer worth while.

Q. What can you tell us about this character?  What do you want the audience to know about her?

A. Susanna loves life; for a servant lady, she actually has a great one!  Susanna is not only clever but she is completely spontaneous with the ability to improvise on the spot in order to succeed in humiliating her boss (who of course is trying to take advantage of her through an abolished feudal right).  That takes a special kind of understanding about how to hold your body language, facial expressions and tone of voice.  Her ultimate goal is to marry the man she loves without interference.  All the effort she takes to make that happen says a lot about who she is.  A woman of strength, integrity, wits, passion, heart, and humor.  Who wouldn't fall in love with all that?!

Q. How do you prepare a role for performance?

A. The first thing I do is translate my text.  This is not always literal,  as commonly when translating, phrases can mean something completely different when in another language.  This also requires me to translate the other character's text so that I am certain of the context of our conversations.  For me, the text comes first and then the music.  I actually speak the words as if in a play before I sing it. Once I've got the text down, I then add the music, that way there is a flow to the conversation happening.  I then dive into what actions are taking place and doing a bit of character development.  What is Susanna's background and what did her life look like before the moment that the Opera begins.  What are her relationships with all the character's onstage and what are their histories together.  I also do a bit of reading; for instance, The Marriage of Figaro is an adaption of a play carrying the same name by Pierre Beaumarchais. I also do a bit of research to gain a context for the time period.  Once I feel comfortable with all those elements, I'm ready to get the direction and coaching of a Director and Maestro in addition to working moments out with my colleagues.

With all the elements put together and I'm ready to go!

Q. Are there any famous Susanna’s from the past whose interpretations you admire?

A. Yes...I would say Alison Hagley, Anna Moffo, and Mirella Freni.  All were amazing artists in their own right but dissected the Da Ponte text (Mozart's librettist was Lorenzo Da Ponte) like it was a Shakespeare play.  Most importantly, all had incredible interpretations of the text in addition to being Mozart specialists.

Q. In addition to performing, it sounds like you dedicate a significant amount of time to teaching and education. Can you tell us about the type of work you do and why you enjoy it so much?

A. Yes!  Once I finished my Master's degree I wanted to diversify my activities and was encouraged to become a Teaching Artist.  It was a perfect fit for me because I was able to continue my studies and performing while passing along the tradition of music to those schools and programs in need.  As a teaching artist, we would work in underserved communities and/or New York City schools that had eliminated their music programs or only had weekly after school programs.  There is nothing better than to bring music and a creative outlet to kids and adults who yearn for self expression.  This flowered into doing other outreach work with Jazz at Lincoln center alongside my work privately with vocal students.  I really do love how teaching brings full circle all the knowledge and craftsmanship that has been so generously given to me.  As my performing schedule gets more and more busy, I can't commit as much as I used to but I have made amazing relationships with those programs and students I have been so lucky to serve.

Maeve Höglund as Hélène in Hin und züruck
at Gotham Chamber Opera

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

A. That's a great question.  I'd have to say that the most recent bizarre experience was while singing Hélène in Hindemith's Hin und züruck with Gotham Chamber Opera.  The whole premise of the Act I piece is a line of actions and conversations leading up to the discovery of my unfaithfulness and ultimate murder by the hands of my husband.  Then, it all goes in the reverse.  The whole scene is played out backwards, like an old VCR on rewind.  Talk about not only a bizarre experience but a tremendous mind trick!

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

A. Hmmm....I would say the biggest ritual on performance day is to have a relaxing day at home with limited talking and personal interaction.  Prior to curtain call, however, I do a quiet gathering of my mind and allow for all the pieces of the puzzle to take me over.  I end it with a prayer and invitation for all those great singers who have come before me to guide and support me.

Maeve Höglund in The Last Duchess by
Robert Sirota at Symphony Space

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

A. Physical activity!  Nothing is more relaxing and recuperative for me than getting out and being physically active.  I'm athletic and grew up playing sports & doing many outdoor activities.  I love to workout with weights but also love to run, swim, water/snow ski, wakeboard, hike & play tennis.  Many of those fit into the Florida lifestyle but I will unfortunately be missing out on my cold weather activities such as snow skiing. That has always gotten me through winters in New York and I even began instructing last year at a nearby mountain in New Jersey.

Outside of sports I love reading and have brought several books I've been meaning to catch up on.  There is, of course, nothing better than sitting on the beach and getting some good old vitamin D!  I'll certainly be taking advantage of that as often as I can while in Sarasota.  I'm also a big social bug and love being with friends and family.  I happen to have many family friends & friends in Florida and am looking forward to getting to spend time and catch up with them.

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 my performance website (www.maevehoglund.com) which is great for family, friends and fans to keep abreast of my performance schedule.  Facebook and Twitter are certainly the most current interfaces that I use to post updates and stay connected.  I am currently working on putting together a blog section onto my website and will hope to have that up in the near future.  Otherwise, FaceTime, Skype, text, and the phone are such amazing resources we traveling artists have to stay connected.

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 CORNER: Soprano Brenda Harris

ARTISTS CORNER:  Soprano Brenda Harris, who has sung leading roles on major stages around the world, will make her Sarasota Opera debut as Turandot in this season's opening production of Puccini's Turandot which opened February 9th and runs through March 23.  We asked Ms. Harris to answer a few questions about her life as a singer and why she chose Sarasota Opera as the opera company to debut this iconic role.



Brenda Harris, soprano.  Photo by Lisa Kohler

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

A.  I sang as soon as I could talk and gave “recitals” for my family starting at the age of 3.  That said, I really thought I would be an educator (high school music teacher) and probably had my "aha" moment when, during college, I got into the chorus at Opera Theatre of St. Louis.  I grew up on a pig farm in a town of 400 in Illinois (my parents still live and farm there) which is only an hour away from St. Louis so it seemed like an interesting summer job.  Little did I know I would meet my husband that first weekend of rehearsals AND that he would also be my one and only voice teacher!  From that first rehearsal, I knew I wanted to do this opera thing forever!

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

A.  This is my first time with Turandot so that’s a hard question.  I adore the music and I feel sure it will be fun to sing.  I have to admit I also think it’ll be cool to be decked out in her costume and make-up!

Q.  What made you choose Sarasota Opera as the first place to present the role of Turandot?

A.  I’ve heard a lot about the company over the years and so I know that things there are done with care.  My husband and I knew Stephanie and Victor many years ago when we first started singing and I reconnected with Stephanie a few years ago when she directed me in a production of ‘Macbeth’.  I look forward to spending time professionally and personally with both of them.  Also, Sarasota Opera does  many performances.  That’s a big draw to me.  One never really knows if a role is a match without getting to try it out a number of times.  I figured this job with this many performances would really let me know if I liked it and it liked me!

Ms. Harris as Turandot in Sarasota Opera's 2013 production.  Photo by Rod Millington

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

A.  I think all artists probably have a unique process with regard to preparation.  I’ve talked to many of my fellow artists about it and we all seem to have different paths.  I’m a very visual person so I’ve learned over the years to put absolutely EVERYTHING in my score.  One of my greatest fears is losing my scores.  I have markings upon markings that have been painstakingly gathered through research, lessons and coachings and my score becomes almost an appendage when I’m learning.  The other thing I know about myself is that memory and staging are inextricably linked.  I loathe memorizing without staging and yet, of course, it has to be done.  But, once I have something on its feet, it’s pretty much in my head, too.

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

A.  I listen to lots of recordings.  I know many singers who don’t but I feel knowing the history and tradition of other singers is absolutely essential.  I have a friend who is a great collector and he provides me with wonderful things that aren’t commercially available so I do a lot of listening to live and/or historical recordings.  I read source material if I can find it, and also read about the composer’s life/mindset at the time of the opera’s composition.  Again, I prepare in advance as best I can but I find there’s nothing like staging.  Once I’m in a room with my colleagues and start to respond to them, the production and the act of singing the role, things move quickly forward!

As Vitellia in La clemenza di Tito at the Metropolitan Opera

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

A.  Greatly!  All the time consuming first work is done and in my very marked up score.  A lot of pressure in the process is removed and I try to apply whatever vocal changes/improvements I’ve made in the ensuing time to that next set of performances.  It’s faster and a lot more fun!

Q.  What knowledge about the character of Turandot do you want the audience to leave with after the performance? 

A.  That she’s a woman.  Just a woman.  She’s a woman who has allowed her fear to drive her to desperate acts and once her heart is opened, we see her and her humanity.

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

           

A.  Oh my gosh, I could write a book!  The first that comes to mind was a tenor’s pants falling DOWN to his ankles in the curtain call of a performance!  Yes, true!  Very recently, I was singing Leonore in ‘Fidelio’ and in the final prison scene the gun barrel snapped off during a performance in the final Quartet.  I’ve nearly lost wigs, I’ve slipped and fallen on a raked stage covered in sand, I had the organ fail in the church scene in ‘Faust’ and those are just a few!  And during rehearsals?  Don’t even get me started.  I ADORE what I do for many reasons; the pure joy of singing, the thought that maybe what I’m doing touches people in the audience the way singers touched me when I first started studying opera, but one of the other great things is the fun we have in rehearsals.  I have so many friends and colleagues with whom I enjoy working and most of the time, it’s because we can make each other laugh.  I truly believe great art happens in that atmosphere.



Ms. Harris in the title role of Samuel Barber's Vanessa in Palermo

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

A.  I don’t consider myself to be a superstitious person but somehow, a few years ago, I got into the habit of playing games of Freecell on my computer on performance days and that evolved into a little ritual.  I must win the majority of games before I go to the theater!  My husband and I laugh about it but still, I play until I win!

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

A.  I absolutely love being home!   I love to putter at home improvement projects (I’m a big DIY gal!) and I adore cooking and baking.  I can spend hours in our kitchen and be happy as a clam.  We live near the ocean so beach walks are a big part of our lives, too.  And I’m a crossword and suduko nut!

Ms. Harris as Lady Macbeth in
Edmonton Opera's Macbeth

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 am on Facebook but I was dragged into it kicking and screaming by some colleagues at a job a few years ago.  I admit to enjoying it now.  I do have a website (BrendaHarrisSoprano.com if you want to visit!) as well.  But, I’m a big one for e-mail.  I’d say that’s the main way I stay in touch with my friends and family.

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 absolutely adore the Twin Cities.  I’ve done a dozen productions or more at the Minnesota Opera and I have many, many friends there.  It’s almost like a second home.  And call me crazy, but I adore winter and all that goes with it.  Most of the shows I’ve done in Minnesota have been in January and I love it!  Also, as I mentioned, I love St. Louis and have fond feelings for my time there.  And I’ve spend the last 4 summers at Des Moines Metro Opera and I go back there this coming summer.  I love being there and getting to work with the young artists as well as perform.

  

Don't miss Brenda Harris' tour-de-force performance as the ice princess Turandot now open through March 23rd.  Tickets are available at www.sarasotaopera.org or by calling (941) 328-1300. 

ARTISTS CORNER: Soprano Maria Natale

ARTISTS CORNER:  Soprano Maria Natale will make her Sarasota Opera debut as the slave girl Liù in this season's opening production of Puccini's Turandot opening February 9th.  We asked Ms. Natale to answer a few questions about her life as a singer and what she is looking forward to in the upcoming season.   

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

A. Well, I knew I wanted to be a singer since I was pretty young. My grandfather sang opera and every time I would go to his house I distinctly remember opera playing. He would usually be playing Tosca, Aida or Wagner. The “ah ha” moment was probably when I was ten years old. My grandfather gave me a CD of Joan Sutherland singing “Casta Diva” from the opera Norma. He always would say that I would be an opera singer one day, so I should start listening to it. I listened to that CD every night to fall asleep. I remember thinking her voice sounded like and angel. Ever since then I was hooked. About that time I started singing in school musicals. I sang Snow White in a production in 5th grade and received a note from the directors which read, “see you at the Met in the next twenty years or so." I came home and remember asking my mom, “What’s the Met?” I keep that note in my wallet to this day.


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

A.  I have wanted to sing this role for such a long time. It is so emotional and brings so many tender moments to the opera. Every day I feel like I have to pinch myself because I can’t believe that I get to sing this beautiful music! I am also really looking forward to my death scene (not to sound morbid or anything). This is the first time I have ever “died” on stage, I am kind of excited out it!


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

A. I don’t think that there is anything really unique about my process when preparing a role. I first make sure that I read the libretto and translate so I know every word. When I start learning the music, I usually begin from the end of the score and work my way backwards to the beginning. If I start at the end, I tend to memorize more quickly and don’t get to caught up in the first few pages for too long.

Ms. Natale in rehearsal for Turandot at Sarasota Opera

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

A. I always find historical background of the opera very helpful. If there is a play that the opera is based on, it helps me to read it to understand the story and characters even more.


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

A. Learning roles for the first time is all I really know at this point! Every role I learn has had a different process. I am still trying to figure out what works best for me.


Q. What knowledge about the character of Liù do you want the audience to leave with after the performance?

A. I don’t want people to leave feeling sorry for Liù. She makes a stand for herself, and in some ways, she gets what she wants. In the beginning, Liù wouldn’t have dreamed about even speaking to the Prince as a lowly slave girl. At the end, his fate and the fate of Turandot are in her hands. That’s an impressive accomplishment for a slave girl. For one moment in her life, she has all the power.


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

A. When I was younger, I used to get wrapped up all on pre-performance rituals, like thinking that I MUST eat pineapple before every performance, like it had “magical powers” to help me sing. Now I just make sure that I am well rested (sleep is key!) I stay hydrated and try to do some sort of physical activity the day of a performance. A nice relaxing walk or yoga helps me get ready for an upcoming performance.


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

A. I love yoga. It really helps me relax since I can be high strung at times! I also love to cook and entertain for my family and friends. Nothing beats cooking a big Italian meal with a nice glass of wine.

Q. People are sometimes shocked when they find out opera singers don’t just listen to opera exclusively. Do you have other types of music you enjoy? Any other types you enjoy singing?

A. For the most part I listen to classical. I listen to a lot of instrumental music. I could listen to the Brahms symphonies all day long. My husband and I also like to listen to Italian pop music and the old classics of Frank Sinatra and Dean Martin.


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 always stay connected with my family either through phone, text or Facebook. I am a very social person, so I like to be in contact with my friends and family. It is very easy for me to get lonely! I talk to my mother every morning without fail and my husband and I recently started using Facetime through the Ipad and Iphone.

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. A little piece of me will always be in San Francisco. I went to the music conservatory there and it is the place that I first fully immersed myself into music. It is so beautiful there, especially if you can get a day without the fog! Every part of town is so unique and special. Currently I live in Knoxville, Tennessee, which is a drastic change from California, but I find it to be a very charming city. The people that I have met in Knoxville will always be close to my heart. It has been such a supportive place for me to be at this point in my life.

Don't miss Ms. Natale as she makes her Sarasota Opera debut in this season's production of Puccini's Turandot.  Get your tickets today at www.sarasotaopera.org or by calling the Sarasota Opera box office at (941) 328-1300.

Artist's Corner: Stage Director Stephanie Sundine

Stephanie Sundine, Stage Director for the upcoming production of Verdi's Tour-de-force masterpiece 'Otello', opening this Saturday, March 3rd, offers some thoughts on the process she went through in approaching the complex and exciting challenge of directing an opera of this level of complexity drawing on both personal experience as a performer and voices from the past.

Having performed the role of Desdemona, and directed the opera in a previous production, I had already done a great deal of work on Otello, including a complete translation of the text and stage directions. I’ve listened to the recording with Del Monaco/Tebaldi/Protti recording, with von Karajan conducting.

In preparation for the Sarasota Opera production, I turned to an important source. Giuseppe Verdi’s publisher, Giulio Ricordi, wrote a detailed accounting of the premiere of the opera, with the consent and collaboration of the composer and librettist. Every act is described and illustrated in exhaustive detail. Victor DeRenzi and I are using this information as much as possible in our production.