The final leg of Sarasota Opera’s Verdi Pilgrimage, took the group to the beautiful city of Venice.
Teatro La Fenice
Venice figured large in Verdi’s career. Several of his greatest operas were premiered in the city including Ernani, Attila, Rigoletto, La traviata, and Simon Boccanegra. It was in the city he also met one of his closest collaborators and friends, librettist Francesco Maria Piave. In another act of the composer’s charity, Verdi supported Piave and his family after the poet was struck down by a stroke and left paralyzed in 1867, until his death in 1876.
The Sarasota group traveled from Parma to Venice by bus and then transferred by water taxi to the Bauer’s Hotel, near the Piazza San Marco. The afternoon was taken up with touring the Ca’ Rezzonico, a palazzo which once included Robert Browning and Cole Porter as its tenants and is now one of the finest museums of art in Venice.
Members of the group at dinner at Cipriani overlooking St. Mark's Basilica
Following the tour we adjourned to the island of Giudecca and the famous Cipriani Hotel where we had a private dinner overlooking the Grand Canal.
Despite the rain, the following morning a few hardy souls toured the Basilica of St. Marks, the Rialto Market, and the Scuola Grande di San Rocco, a building for which Tintoretto provided all of the artwork, including some of his greatest masterpieces.
The group in front of the Teatro La Fenice
A performance at the Teatro La Fenice was on tap for the evening. The famous theater, site of the Verdi premieres (including the opening night fiasco of La traviata) in Venice, is named after the “Phoenix.” The beautiful, but ill-starred venue has had to repeatedly “rise from the ashes” as fires have destroyed the theater three times, in 1792, 1836, and most recently in 1996. It is one of the most historically important theaters in the country and one of the most ornate.
The artistic director of the Teatro La Fenice, Fortunato Ortombina, gave some insight into the theater and the production of Puccini’s Madama Butterfly that we were about to see. Coincidentally, Mo. DeRenzi recognized Mr. Ortombina from his earlier work with the Institute of Verdi Studies in Parma.
Maestro DeRenzi, Teatro La Fenice Artistic Director Fortunato Ortombina, and Executive Director Richard Russell inside Teatro La Fenice
The performance of Puccini’s masterwork provoked much conversation among the group over dinner at the Taverna La Fenice, after the opera. Through a partnership with the Art Biennale, the set design was by visual artist Mariko Mori, whose futuristic aesthetic is reflected in the giant Möbius that dominates the spare stage and which inspired a modernistic interpretation of the opera. Notwithstanding the varying opinions of the production, everyone was glad to have experienced opera in this historic theater.
The interior of Venice's Teatro La Fenice with Mariko Mori's set for Act I of Madama Butterfly on stage
The following day, the last of the trip, took the group to Lake Orta and the beautiful Villa Crespi. Everyone assembled in the 2-Michelin starred restaurant for a delectable dinner and a chance to reminisce about the exceptional experiences of the past 9 days. Even Mo. DeRenzi, who had been to many of places we visited before, had never been to parts of the Casa Verdi in Milan and Villa Verdi at Santa’Agata that are not usually open to the public, as well as the opportunity to meet one of the composer’s descendants. Everyone was sorry to see the trip end and spirits were hardly dampened when the maître’d of the restaurant felt the need to cut off our attempt to pay homage to Verdi by singing “Va pensiero sull’ali dorate” from Nabucco one last time.
It was an experience that no one will soon forget and a fitting start to the season that will bring the Grand Finale to Sarasota Opera’s 28-season long “Verdi Cycle.”
After our special night with the “Club of the 27” everyone was tired but in a very Verdi mood. So it was exciting that the next day would take the group to the land where the composer was born and lived all of his life.
The morning bus ride passed through the small town of Le Roncole (now called Le Roncole Verdi), where Giuseppe Verdi was born and spent his first years. Following this we made our way to the town of Busseto.
When the composer was 11, he moved to Busseto to attend school. There he became close to the family of Giovanni Barezzi, whose daughter would become his first wife. He later received financial support from the town (and especially from Barezzi) for his musical studies in Milan. However, his relationship with the community soured when following his first wife’s death, he returned to Busseto and lived openly with the singer Giuseppina Strepponi, who would later become his wife. The populace shunned Strepponi and felt that Verdi was ungrateful for their earlier support. When he heard him claim that they “made” him, he declared that they should then “make another one.”
Inside the Teatro Verdi
Welcoming the group to Busseto were four members of the Club of the 27, who accompanied us on our day’s excursions. First stop on the day’s itinerary was the Teatro Verdi. The small (300 seat), beautiful, theater was named in the composer’s honor, despite his opposition to its construction. He felt the town was too small to support the venue, and made sure he was out of town on the day it was inaugurated. Nevertheless, it is elegantly decorated, with a box that was initially reserved for Verdi (but was never used by him.)
Crossing the square past a large statue of the composer, the next stop was the Casa Barezzi, home of the composer’s patron Giovanni Barezzi. It was as a lodger in this house, that the composer met his first wife Margherita, who, along with their two young children, died tragically only a few years after their marriage. The house was a center of musical life in the village and is now restored to display artifacts about the composer and his relationship to the Barezzi family.
After a quick stop for coffee at the Café Centrale and time to pose for a picture in front of the statue of Verdi, next on the itinerary was the Antica Corte Pallavicina, where “Culatello di Zibello” is made. This is a delicious type of Parma ham made from the butt of the pig. Verdi was one of the past patrons of this delicacy. Among the current clients of the Antica Corte Pallavicina are Prince Charles and Prince Albert of Monaco (whose allocation could be found among the hanging meat).
Prince Charles stash of culatello
The Sarasotans were treated to a testing of cullatello, along with other types of prosciutto and salame, washed down with some local wine. This was the appetizer for a wonderful lunch next door at “Il Cavallino Bianco (The White Pony)” a Michelin-starred restaurant on the property.
Although after lunch everyone could have used a nice nap, the travelers moved on to one of the most honored places by Verdi lovers, the Villa Verdi at Sant’Agata. Following his unpleasant experience living in Busseto and being a farmer at heart, the composer purchased a farm in 1848 and immediately began extensive alterations and additions. He expanded the house and the grounds so that within in few years it was the biggest employer in the area encompassing many acres. The composer and his wife lived there from 1851 through their deaths.
Outside the Casa Verdi in Sant'Agata
Several of the 100 rooms of the house are now maintained as a museum but the rest is still used as a home by Verdi’s descendants. The rooms of the museum are maintained as they were in Verdi’s time. However, the Sarasota visitors got a special treat, when the guide took them to rooms not generally open to the public including the salon, foyer, dining room, and billiard room, where they were joined by Angiolo Carrara-Verdi, the great-great-great grandson of Verdi’s heir Filomena Maria Carrara-Verdi and his wife.
After a quick stop at the Church in Le Roncole, where Verdi first played the organ, the group headed back to the hotel after a tiring, but enlightening day.
The following day included a short tour of conductor Arturo Toscanini’s birthplace and the beautiful Teatro Farnese. The travelers then had some time to wander the streets of Parma on their own before meeting for a trip to Piacenza for a concert performance of Verdi’s I due Foscari at the Teatro Municipale.
Teatro Municipale before the performance of Verdi's I due Foscari
The audiences in region of Parma are known as some of the most discerning and judgmental in the world. Singers who don’t make the grade have been literally run out of town. But when they are enthusiastic, they are indescribably appreciative and demonstrative. That was certainly the case this evening.
I due Foscari was performed without sets or costumes, but was sung complete with orchestra and chorus. The cast included world renowned baritone Leo Nucci, tenor Fabio Sartori, and soprano Kristin Lewis, who was known by the the Sarasota audience from her performance of Musetta in La bohème there in 2006. Since then she has made a successful career in Europe and is now based in Vienna. The conductor was Donato Renzetti.
The theater was pulsing with excitement for the performance. All the principals were exciting and easily thrilled the audience. But the palm for this performance had to go to veteran baritone Nucci, who at the age of 73 still has the goods to deliver. After his final aria the audience could not contain themselves and lept to their feet in appreciation.
Baritone Leo Nucci takes a bow alongside conductor Donato Renzetti. Photo courtesy of Operaclick.com
Adjourning around the corner to the Antica Osteria del Teatro for cocktails and another sumptuous dinner, the group was joined by the stars of the performance, Leo Nucci and Kristin Lewis. One of the group Terry Osborne, received an extra special thrill as the singers serenaded him with “Happy Birthday.”
Renowned baritone Leo Nucci (left) with Terry and Valerie Osborne
Few will forget this exciting day and a performance that was a special highlight of the trip.
Hailed for her “beautiful, dusky, and expressive” voice with a “commanding presence”, mezzo-soprano, Kristen Choi is bursting onto the opera scene with full force. Ms. Choi made her debut as an apprentice artist with Sarasota Opera in 2013 and returns this season as a Studio Artist this season singing the role of Cherubino in Mozart's The Marriage of Figaro. Previously, Ms. Choi has bowed as Suzuki in Puccini's Madama Butterlfy at Glimmerglass Opera, Jo in Mark Adamo's Little Women, and Dorabella in Mozart's Cosi fan tutte.
Q. Where are you originally from and where do you make your home now? A. I am originally from Valencia, California near Los Angeles. I still reside there but have been traveling since May of 2014. I'm sort of nomadic and have been very lucky to travel directly from job to job.
Ms. Choi as Dorabella in Mozart's Cosi fan tutte
Q. What drew you to become a singer? Was there a specific “Aha!” moment of clarity? A. I've always loved singing! My parents are musical even though they aren't professional musicians; My father plays the guitar and sings for church and my mother plays piano. I love listening to her play all the classics such as Mozart Sonatas and Chopin's Nocturnes.
I'm not sure if I had an “Aha” moment but when I entered a talent show in the 6th grade I sang a disney song in front of an audience and had such a rush of joy and happiness that I knew I wanted to keep singing. I sang in choirs and musicals from then on. I did sort of have a moment of clarity and decided to pursue opera during my undergraduate degree. I was performing the role of Barbarina in The Marriage of Figaro and it was my first professional opera job. Opera used to intimidate me a lot but actually performing in a full scale production with orchestra, chorus, and professional singers sparked an even bigger fire in me to pursue classical music. I guess you could say that opera found me.
It's kind of amazing that I am performing Cherubino here. It makes me look back with fondness and pride that I adamantly decided I was going to be an opera singer. I'm here now and am very excited to do this role for the first time and I couldn't imagine a better place to do it.
Ms. Choi as Suzuki in Puccini's Madama Butterfly at Glimmerglass Opera
Q. Did you have other career aspirations in the works before you decided on singing? A. I've always been a fan of studying languages. They are so fascinating and I actually was accepted into several universities as a linguistics major. I did minor in Spanish in my undergraduate degree.
Q. What singing did you do growing up? A. I sang everything! I grew up with old musicals and jazz, and sang in many choirs. I also used to sing with a big band and sang all the jazz standards at swing dances.
Q. This is a role debut for you. What are you looking forward to most about singing this role? A. This is one of my favorite operas, and certainly my most favorite of Mozart's operas. I love singing pants roles (a woman portraying a man). Cherubino is the perfect, quintessential example of one. His energy and passion draws me to his character and he gets into so much mischief. It's a challenge, acting-wise, to really get his mannerisms and boyish movements in my body. All these challenges and character study make me really excited to perform this role.
Q. This is one of the more famous “pants roles” in opera where a woman plays a male character. Does that add additional challenges to performing this role? A. Yes! It is a huge challenge to physically capture the mannerisms of a young man. Men carry themselves differently so I have to really think about the physicality of the character before I sing or do anything onstage.
Ms. Choi as Cherubino in this season's production of
The Marriage of Figaro. Photo by Rod Millington.
Q. What can you tell us about this character? What do you want the audience to know about him when the curtain comes down? A. Cherubino is a ball of passion and energy. He's not all innocent and cute, and definitely develops and learns a lot throughout the opera. He's sort of a miniature Count in training and definitely does not hold back around the ladies. His boldness and willingness is a preview of what is to come soon in the next Beaumarchais play. He's in love with love and is not afraid to express it to any woman and every woman.
Q. Are there any famous Cherubino’s from the past whose interpretations you admire? A. Well, yes, of course there are the famous performances by Frederica von Stade. She's great because she really captures the character in her facial expression. It's amazing that she can express everything Cherubino is feeling in her eyes. It's subtle yet so intense and strong. I've also met her and worked with her in a master class on Cherubino's first aria “Non so più cosa son”.
Ms. Choi as Lady Thiang in Rodger and Hammerstein's The King and I.
Q. You are a former Apprentice Artist with Sarasota Opera and this season you will be returning as a Studio Artist. Do you feel your time in Sarasota Opera’s young artist program has helped to prepare you for a professional singing career? A. I learned so much as an apprentice and it definitely prepared me well for the opera world. It was nice to sing for other companies the year after but when I received the opportunity to return as a Studio Artist, I was eager to take it; especially for this role. Working for this company always renews my passion for opera and with such an amazing staff, I feel extremely fulfilled and satisfied with the art we create. Everything I have learned here, whether it's strengthening my repertoire, acting, or singing, I have taken with me to other jobs. It feels good to be back.
Q. Thus far, what is the most bizarre experience you have had during a rehearsal? During a performance? A. Well I'm not sure about bizarre experiences during a rehearsal, but definitely have had my share of clumsiness during performances. During my graduate degree I played another pants role, Hansel in Hansel and Gretel. After we had pushed the Witch in the oven, Gretel and I were supposed to run out and help the gingerbread children. While running, I slipped on a net that the witch had used to capture me, and flew in the air and landed on all fours. I quickly got up and recovered, but it was mortifying. I mean, Hansel is a kid and can probably have clumsy moments here and there. At least that's what I told myself.
Q. Do you have any pre-performance rituals? Performance superstitions? Good luck charms? If yes, why? A. I don't really have any rituals except warming up before performances by vocalizing a little. I usually do not like having rituals or relying on them in the case of something interrupting the ritual and making me think I would have a bad show. I'm very simple and just rest and warm up before singing. I make sure to get a good night's sleep the night before.
Q. How do you relax in between performances? What hobbies do you enjoy at home and “on the road”? A. I enjoy going to the gym and exercising on days where I don't perform. I'm a very active person and love to dance or play tennis. When I was an apprentice, I used to go play basketball with the other artists. My hobbies would have to include dancing and watching movies. I always take movies with me on the road and watch them to relax. Going to the cinema is also a joy for me. There's nothing more relaxing for me than going to the theater alone and watching a movie.
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 an avid Facebook user and also have a website (www.kristenchoi.com). I stay connected to close friends and family by video chatting on Skype. It's so interesting how social media can keep me connected to friends especially for my nomadic lifestyle.
Don't miss Ms. Choi as the charming and lively Cherubino in this season's production of Mozart's The Marriage of Figaro. Tickets are available at www.sarasotaopera.org or by phone at (941) 328-1300.
Kazakh-American Tenor Timur Bekbosunov makes his Sarasota Opera debut as The Astrologer in Rimsky-Korsakov's fairy tale opera The Golden Cockerel this season. Mr. Bekbosunov has appeared as a soloist with the Los Angeles Philharmonic, Opera Boston, Saint Cecilia Academy, and in such esteemed concert halls as the Hollywood Bowl, Brooklyn Academy of Music, and the Walt Disney Concert Hall. Timur has worked with many composers, including Thomas Adès, Evan Ziporyn, Anne LeBaron, David T. Little, Mohammed Fairouz, Silvano Bussotti, Anthony Davis, Meyer Kupferman, Veronika Krausas, David Rosenboom, Matt Marks, Peter Eötvös, Tobias Picker; and film composers Charles Bernstein, Joel Goldsmith, and Nick Urata. Q. Where are you originally from and where do you make your home now? A. I am originally from Almaty, Kazakhstan, the former capital of my native country. In the United States, I have lived in Wichita, Kansas, and Boston. I now reside in Los Angeles, the sunny California!
Mr. Bekbosunov and the
Kazakh Folk Instrument Orchestra
Q. I’m sure you could write pages about growing up in Kazakhstan. Can you give us a brief description of what life was like for you there when you were younger? A. Growing up in the last decade of the Soviet Union, I remember the long lines for essential things, such as bread and bread. I was an early riser, and I loved waking up early and get into a milk line in time because by 8 am all the milk would be sold out. I also recall the extravagant and engaging State-organized holiday events with concerts, musicians, delicious national food, and cultural events. In addition to attending a public school, I was enrolled in a music school and was tutored in English. Such events were always a nice reprieve from studies.
Q. What drew you to become a singer? Was there a specific “Aha!” moment of clarity? A. My mother was a piano teacher and my grandmother was an amateur singer, whose talent got her accepted into the Moscow Conservatory where she only stayed for one year. Singing was always around me, through my grandmother’s singing Russian folk and patriotic songs and my grandfather’s passionate interest in the Kazakh traditional ethnographic music. The choice to pursue singing came much later, as in Kazakhstan, I was planning to pursue a career in music journalism.
Mr. Bekbosunov in the New York Premiere of The House of Bali at Brooklyn Academy of Music
Q. Did you have many opportunities to sing in your home country while growing up? A. I attended a music school in the afternoon for seven years where I studied everything from solfeggio to music history. In particular, the concentration was vocal performance, which resulted in choral singing with three different ensembles. The school, which was founded as a private studio, became a dominant force in Almaty, traveling to many festivals around the world eventually winning the top prize in the First Choir Olympics in Budapest, Hungary.
Q. What brought you to the United States? A. My dad enrolled me in a student exchange program to study English, because it was always his dream to visit the United States. In fact, it was an incredible surprise to me when he revealed his plan. But it was also a pleasant and fascinating surprise as the United States was uncharted territory in our post-Soviet mentality. I thought that I would return to Kazakhstan at the end of my studies, but after being accepted into university, my plans had changed. I was placed to live in Kansas, where I met a wonderful host-mother, who later on became my best friend and an American mom. I was very lucky to have two mothers!
Q. Do you travel back to Kazakhstan with any regularity? A. My dad still lives in Kazakhstan so I try to visit the country at least twice a year. In 2011, I created and co-produced a large-scale musical project, Silent Steppe Cantata, which commissioned an American composer Anne LeBaron to write a piece for a folk orchestra, women’s choir, and tenor. The project was a three year process and was premiered in the capital of Kazakhstan with support from many U.S. and Kazakh organizations, and I was honored to be a part of it. A short documentary about the project, The Nomad’s Song, will be streaming live on Netflix in 2016.
Mr. Bekbosunov as The Astrologer in Rimsky-Korsakov's The Golden Cockerel
Q. What can you tell us about the Astrologer? How does he fit into the plot of the opera? A. The Astrologer seems to function as a narrator as well as a clairvoyant magical being who predicts, foreshadows, and knows what’s to come in the future. There is a great satiric quality to his presence, who with a sly smile, appears to pretend as if he does not know much, but in fact understands everything.
Q. What is it about this role that made you want to take it on? A. I absolutely love singing unusual roles in different styles. The Astrologer in particular requires a high vocal range. I always wanted to tackle it, as Rimsky-Korsakoff composed it for a voice that he called tenor-alto, and is often interpreted by a high tenor voice.
Q. Beyond the musical work, what other kind of preparation/research work do you incorporate in the learning process? Historical? Character study? A. Familiarity with Pushkin’s fairy tales as well as doing pictorial and visual research of the era inspires me to look at the role from a historical angle. I then try to bring in my own individual interpretation. Q. The bulk of your work seems to lie in the contemporary music world. What is it about that type of music that pulls you in? A. Contemporary music has always been a vibrant source of open exploration, experimentation, and flexibility. There are always hidden corners to uncover once I get passed the harmonic and rhythmic obstacles. Infusing the character into what seems like impossibly difficult musical material, becomes an absolutely liberating force. I feel that I am able to let go completely when I start with a new composition. Contemporary music is a perfect vehicle for singing in different genres and it allows me to express myself without restraint.
Q. Through your work, you seem to be broadening the definition of the term “opera singer” from what most of our audience might be familiar with. Can you tell us a little about some of the projects you have created? A. Outside of performing in traditional operatic repertoire, contemporary music and interdisciplinary projects, I have a glam rock band called "Timur and the Dime Museum," which now takes up almost half of my performance activities. "Timur and the Dime Museum" has been featured at several major festivals as well as performed in many clubs, so it is certainly very different from the classical music world but has a similar vocal approach. My band was commissioned to create a theatrical project COLLAPSE based on man-made environmental disasters. Produced by Beth Morrison Projects and composed by Daniel Corral as a Requiem, COLLAPSE has been staged in LA, Miami and Rotterdam, and will premiere in NYC in September 2015.
Living in Los Angeles has also allowed me to create music videos and sing on soundtracks. I have been lucky to collaborate with Charles Bernstein, the famed composer of horror films, as well as Nick Urata, the frontman of DeVotchKa, in his score to Ruby Sparks. Film artist Sandra Powers (and an editor of Nickelodeon show "Dora the Explorer"), has exclusively directed all of my music videos. Our collaboration has been mutually rewarding.
(Click HERE to hear an interview with Mr. Bekbosunov on NPR's "Here & Now" program)
Q. Thus far, what is the most bizarre experience you have had during a rehearsal? During a performance? A. I performed a small role of Paul Mache in the newly discovered unfinished opera of Shostakovich, "Orango." Directed by Peter Sellars for the Los Angeles Philharmonic, my job was to distract Esa-Pekka Salonen, the conductor, during my solo. Peter Sellars told me that I can do anything to Maestro, which felt strangely gratifying. Not sure if anybody would remember my five minutes of fame, but I know that Maestro Salonen will be probably have nightmares about me harassing him on the podium for the rest of his life.
The Astrologer demands the Queen of Shemakha as his prize for bringing The Golden Cockerel to King Dodon. Photo by Rod Millington.
Q. Do you have any pre-performance rituals? Performance superstitions? Good luck charms? If yes, why? A. I wish I could have a glass of Prosecco before I sing! I often take a shot of espresso, and try not to talk too much during the day of performance. I also prefer to sing when I am slightly hungry, so it is very rare that I eat before a performance. So I guess that makes food my superstition!
Q. How do you relax in between performances? What hobbies do you enjoy at home and “on the road”? A. When I am at home, I enjoy working in the yard. Right now, I am working hard on growing drought-resistant plants, though a certain affinity for roses tends to be in a way. On the road, I like to drink as much water as possible.
American soprano Alexandra Batsios returns to Sarasota Opera this season as the Queen of Shemakha in Rimsky-Korsakov's exotic opera The Golden Cockerel. Her performance has been described as "penetrating and vocally stratospheric" by the Herald Tribune. Ms. Batsios made her Sarasota Opera mainstage debut as Berta in the 2014 production of Rossini's The Barber of Seville. She has also been seen as Annina in Verdi's La traviava, Clorinda in Rossini's La Cenerentola, and Flora in Britten's The Turn of the Screw with Palm Beach Opera. While at Palm Beach Opera, she also premiered the role of Yadwiga in the first staged performance of Ben Moore's Enemies, A Love Story.
Q. Where are you originally from and where do you make your home now? A. I’m originally from a small town close to St. Louis called Granite City, IL. I currently reside in Princeton, NJ.
Q. What drew you to become a singer? Was there a specific “Aha!” moment of clarity? A. I was always an entertainer. I would sing along to every Disney movie, make costumes out of household items, and subject my family to my “performances.” I wanted to be on Broadway for the longest time! When I began taking voice lessons, I found an appreciation for operatic music and how beautiful and moving it could be. When it was time to choose a major for college, I knew I wanted to perform, and since singing was always something I enjoyed, I pursued voice performance.
Q. Did you have other career aspirations in the works before you decided on singing?
A. While I was studying chemistry in high school, I had this idea I was going to become a chemist, but that was short-lived!
Ms. Batsios as Berta in Rossini's The Barber of Seville
Q. What can you tell us about this character? What do you want the audience to leave knowing about her after the performance? A. The Queen of Shemakha reminds me of Cleopatra in a lot of ways. She’s beautiful and charming, but can also subjugate everyone with her wit. The difference between the Queen and Cleopatra is that the Queen doesn’t need an army to help her dominate because she can do it alone. I think the audience should know that she’s not evil, but her intentions are not completely honest.
Q. How do you prepare a role for performance? A. It’s important to do all the background study first, that way my attention can be focused on the text, music, and emotion. I try to find and read any source material about the opera to get a sense of the storyline. Then I read the libretto to see how my character reacts to other characters and events. Then comes the translating of the score, speaking the text and finding the poetic line, learning the notes, coaching the role musically and sometimes dramatically, all the while trying to memorize it! I also have to make sure I have the stamina to sing the role. The Queen of Shemakha is a very taxing and unforgiving role vocally, and by learning it in sections then putting those sections together, I am giving myself a chance to find the places in the music where I can take a metaphoric “break.”
Q. What is your favorite opera?
A. My favorite opera is Le nozze di Figaro. It never gets old for me. The minute the overture starts, I’m excited. Every character goes through the entire range of emotions, and to think the opera takes place in one day! It’s amazing.
Q. Favorite operatic role to play? What makes it so great?
Ms. Batsios as the Queen of Shemakha in Rimsky-Korsakov's The Golden Cockerel. Photo by Rod Millington
A. My favorite role to date is Clorinda from La Cenerentola. I know the stepsisters from Cinderella are often referred to as “ugly,” but I think the ugly is more on the inside than outside. The role is so fun because the sisters are absolutely ridiculous and in their own little world. The opera is a great comedy and has a wonderful moral. Plus, singing Rossini is a blast!
Q. How did you learn to sing in Russian?
A. I grew up in an Eastern Orthodox church, and we frequently sang in church Slavonic, so I had some background in the Russian language. However, I did go to a coach who knows Russian to help refresh my memory and set me on the right track.
Q. Beyond the musical work, what other kind of preparation/research work do you incorporate in the learning process? Historical? Character study? A. Understanding a character’s motivation for their actions and emotions is another step towards preparing a role. As an audience, we sometimes only see a glimpse in the life of a character, but what about the rest of their life? Does that character have parents? Are they still alive? What’s that character’s favorite color? What are their passions? Digging into the character’s background and emotional world directly affects how I interpret the music and make dramatic choices.
Q. Do you listen to any non-operatic music or artists? A. Besides opera, I like listening to musicals, choral music, and a cappella music, specifically Pentatonix!
Q. Thus far, what is the most bizarre experience you have had during a rehearsal? During a performance?
Ms. Batsios as the Queen of Shemakha. Photo by Rod Millington
A. Luckily, nothing really bizarre has happened to me yet!
Q. Do you have any pre-performance rituals? Performance superstitions? Good luck charms? If yes, why? A. The only pre-performance ritual I have is popping Altoids before I go onstage. Got to have fresh breath! The day of a performance I don’t set an alarm (unless it’s a matinee!), eat a hearty breakfast, go for a walk, and warm up my voice. Keep it simple.
Q. How do you relax in between performances? What hobbies do you enjoy at home and “on the road”?
A. While on the road, I enjoy reading, catching up on my TV shows or finding a new show to watch, cooking, baking, and taking in any attractions that are in the area. I am a huge baseball fan (Go Cardinals!), I enjoy playing billiards, trying new restaurants, and the occasional craft beer.
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 update my Facebook fan page with pictures and tidbits about my travels for my family and friends. I also use Skype, FaceTime, and email to keep in touch.
Don't miss Ms. Batsios as the Queen of Shemakha in Rimsky-Korsakov's The Golden Cockerel playing now through March 19th. Information and tickets are available at www.sarasotaopera.org or by calling the Sarasota Opera Box Office at (941) 328-1300. You can follow Ms. Batsios' career via her website at www.alexandrabatsios.com
With a “resonant” bass sound Puerto Rican bass Ricardo Lugo is a versatile international artist in demand on the operatic and concert scene. Mr. Lugo makes his Sarasota Opera debut this season in two roles; the Sacristan in Puccini's Tosca and as Bartolo in Mozart's The Marriage of Figaro. Having made his Metropolitan Opera debut as Un Barnabotto in La Gioconda, Ricardo has since sang the role of Hans Schwarz in Die Meistersinger von Nürnberg and has been involved in productions of Ariadne auf Naxos, Khovanshchina,Billy Budd, La fanciulla del West, AdrianaLecouvreur, Macbeth, The Gambler and Salome.
Continue reading to learn more about how Mr. Lugo got his start in singing as well as why he enjoys the opportunity to sing two different roles at the same time. Q. Where are you originally from and where do you make your home now? A. I’m originally from Ponce, Puerto Rico, the second largest city in Puerto Rico. It is located on the south bordering the Caribbean Sea. In 1998 I moved to New York City to complete a masters degree at The Juilliard School. I live now in Ann Arbor, Michigan with my Wife and my four-year-old son.
Mr. Lugo in Don Pasquale
Q. What drew you to become a singer? Was there a specific “Aha!” moment of clarity? A. What drew me to become a singer was pure luck and taking all the opportunities that were presented to me at the beginning. My original plan was to become a choir conductor and work with kids. I was inspired when I was a kid so I wanted to do the same thing for other students. When I applied to the conservatory in Puerto Rico, I did it as a voice major instead of as an education major due to the fact that at the moment I applied, I was not completely musically ready. In other words, it was easier to enter as a voice major than an education major. However, one thing led to another and here I am. I can’t complain. It has been a fun journey so far.
Q. What sort of singing did you do while you were growing up in Puerto Rico? A. I started singing with a young chorus at my local church. I wanted to sing more so I joined the chorus at my middle school. I continued while I was in high school where my chorus teacher encouraged me to continue with music.
Q. Did you have other career aspirations in the works before you settled on singing? A. To be honest I did not have any other career aspirations before deciding to take music more seriously. Once I started I knew I wanted to continue a career or work in something related to music.
Mr. Lugo as the Sacristan in the current production of Tosca
Q. You have two assignments at Sarasota Opera this season; The Sacristan in Tosca and Bartolo in The Marriage of Figaro. What are the challenges in alternating between two different roles at one company? How do you avoid suffering from character identity crisis? A. To tell you the truth I love playing different roles at the same time. In a way it gives me the chance to be very alert, fresh, and stay very focused as a singer-actor. In regards to singing, the two roles are very different, even though they are both character roles, that they don't give me any problems when it comes to singing. The key, in both the acting and the singing, is to keep it fresh and always give more. It is very important to always listen to the instructions but also give more of your talent. That is the key.
Q. You have sung the role of Bartolo before. What do you enjoy about performing this role? A. I love it because it is a role of in opera that could be played in so many ways. From traditional productions to the more contemporary. Because of that it gives me the chance to expand and elaborate my interpretation in any direction. And it has also a short but very well written aria that showcases many vocal and histrionic qualities.
Q. Unlike many of the other roles in The Marriage of Figaro, Figaro and Bartolo are two characters who carry directly over from The Barber of Seville without much change. In your opinion, how does he evolve as a character from one opera to the other? A. I think Bartolo has a lot of resentment towards Figaro. He resents that Figaro was the reason Bartolo couldn’t end up with Rosina, who becomes the Countess in Le nozze. That is why at the beginning of the opera he is trying to make Figaro’s life impossible. This is until Bartolo discovers that Figaro is both Marcellina's and his son.
Q. Are there any famous Bartolo’s from the past whose interpretations you admire? A. They are so many great basses that have sung Bartolo from, Kurt Moll, Paul Plishka, Enzo Capunao to the most contemporary like Ildebrando D’arcangelo. I like to listen and admire all of them because they are or were incredible singers and also great actors.
Mr. Lugo in Fidelio at Michigan Opera Theater
Q. Beyond the musical work, what other kind of preparation/research work do you incorporate in the learning process? Historical? Character study? A. I start with the libretto. I then like to read the score to know what the composer has done with the words and what instructions he has suggested. Particularly what are the rhythm choices, especially with recitatives. Obviously with the advantage of the Internet and YouTube, I love watching and seeing what other conductors and singers have done with the roles and the music. Not to copy but to have another idea.
Q. In your career thus far, are there any performances or productions you sang in that particularly stand out to you or hold a special place in your heart?? A. I would say any chance or opportunity that you have as a singer should be treasured and should keep a special place in your heart. It is such a blessing and privilege to be able to offer your art to other people that in my opinion all of them are special. However, I just finished a run of Die Meistersinger at the Metropolitan Opera conducted by James Levine. The cast also included James Morris as Hans Sachs and other incredible collegueas. That was a magical experience, not only because who they are but how incredible their minds work and the admirable qualities as colleagues. That I would say was part of my tiny bucket list that by a miracle or talent I can cross off.
Q. What is the most bizarre experience you have had during a rehearsal? During a performance? A. I personally have not had that many dramatic experiences on stage. However, I have to say that I have experienced some others while in rehearsals or on stage. They range from fighting between directors, conductors, and singers. In most cases that was “the clash of the egos”. We are so passionate for our art that we sometimes can't find compromises.
Q. Do you have any pre-performance rituals? Performance superstitions? Good luck charms? If yes, why? A. Yes, I do have some rituals before singing. Just before my entrance either in concert, recital or a full opera, I like to take few minutes to think and thank all or most of the people who have made it possible for me to be here. Both people that are with us and the ones that have already departed. After that I kiss any part of the theater three times just for luck. At the end of the performance, I like to kneel down and with my hand rub the floor of the theater to smell the dust. It is like an homage to the sweat and tears that we and many other singers have left there. It is kind of bizarre but those are my rituals. Also I have a tiny elephant that a very important lady in this business gave me a long time ago and I carry it everywhere I sing.
Q. How do you relax in between performances? What hobbies do you enjoy at home and “on the road”? A. I love this job because it gives me the opportunity of discovering new places and knowing new people. Every time I go back to a place that I have visited previously or a new place, the first thing I look for are a library, a zoo, cultural attractions happening, farmers markets, and of course places where to eat and enjoy what the city have to offer. At home I love working with wood and creating things. Also I must say I love being a “home handy man.” It so gratifying being able to fix things in your house. From pipes, floors and anything I try to fix or destroy. Like my father use to say, “better to do it yourself and keep that money for fun”.
Soprano Kara Shay Thomson returns to the Opera House stage this season as Floria Tosca, a role for which she won popular and critical acclaim in 2009. Since that time, Ms. Thomson has performed the role of the jealous diva at opera companies such as Portland Opera, Atlanta Opera, and Dayton Opera. You will remember Ms. Thomson's glorious performances in previous productions at Sarasota Opera both in the title role of Samuel Barber's Vanessa and as Santuzza in Cavalleria rusticana. Continue reading below to learn more about this artist who is so quickly establishing herself as one of the leading ladies of the next generation of great opera singers. Q. Where are you originally from and where do you make your home now? A. As a PK (Preacher's Kid), I moved around the Midwest quite a bit during my adolescence. I was born in Cininnati, OH but made my home in Rock Port, MO, Fairbury, NE, Terre Haute, IN, and Warrensburg, MO. I returned to Cincinnati 11 years ago and love living there with my husband and 10 year old daughter. We love our neighborhood and having my Dad close by to support us when I am travelling.
Ms. Thomson as Santuzza in the 2010 production of Cavalleria rusticana
Q. What was your first moment performing in front of an audience on stage?
A. Well, as a PK, I was on stage from a very young age. Our family offered an evening of song and scripture and it is where I learned how to communicate my message to a congregation. My parents continued to foster my musical talent and I was lucky to perform in various venues throughout my childhood and early adult years. Opera was not a part of my upbringing so my first moment on stage in an opera was as Ciesca in Gianni Schicchi at The New England Conservatory in Boston, MA. It was my first opera – EVER!
Q. What drew you to become a professional singer? Was there a specific “Aha!” moment of clarity? A.I was working in Lynchburg, VA as a Minister of Music and Youth for Fairview Christian Church and I decided I wanted to find a community chorus so that I could continue singing. That was a great decision as I met my husband in that chorus and the conductor introduced me to a wonderful soprano, Carol Gutknecht, a soprano with the former New York City Opera soprano with whom I started studying. She gave me "Marietta’s Lied" from Die Tote Stadt and I fell in love with the German Language and the sweeping lines of the piece. She encouraged me to enter the Metropolitan Opera National Council Auditions for my region. I prepared my pieces and went to the audition. I had a terrible audition and was so out of my element but I stayed to hear my comments from the judges. One judge in particular told me that if I was happy with my life in ministry that I should embrace it and go back home but if I felt like this music was a part of my soul, then I needed to go get the tools necessary for this art form. So, Carol helped me choose The New England Conservatory and I entered the intense Opera Program under the direction of John Moriarty. In two years I quickly acquired language skills, stage craft, and hours of endless vocal coachings and lessons, working with Patricia Craig, to prepare me for my apprenticeships. I thank Carol, my husband, and the nameless judge who made me realize this what I was created to do.
Q. Did you have other career aspirations in the works before you decided on singing?
A. I had many aspirations other than singing opera for a career. I started with the idea of Music Therapy and then migrated to teaching music. I received a Bachelor of Science in Music Education K-12 and thought that I would lead the next Mid-West High School Show Choir to the State Championship. But, after I realized that teaching was not right for me, I returned to my roots in the church. In all honesty, if I had not found Opera, I would have sought out a career as an Activities Coordinator in a Retirement Village.
Q. You have become very well known for singing the role of Tosca, especially in Sarasota. Is it challenging singing the same role over and over again?
Ms. Thomson as Floria Tosca in Sarasota Opera's 2009 production.
A. Everytime I arrive for a production of Tosca I know that it will be full of new experiences. The music is always constant but my colleagues, directors, production teams, and conductors bring something to share. Each one of us arrives with our own interpretations and it is our job as artists to meld those ideas together to fit our own production. I have carried the same score with me to each production and I like to put in Maestro's comments, artist choices, and directors notes so that I can call on those ideas in other productions.
But, I will say that for this season, I put away my treasured score and have made a "VDR Only Score!" I have been working from a clean score and putting in only Maestro DeRenzi notes. This does not mean that I don’t bring my own interpretation and experience to the role, but I really feel that coming back to Sarasota gives me a chance to completely break down the role, get rid of bad habits, focus on the text and Puccini’s stage direction so that we give this audience the most authentic performance of Tosca ever!
Q. Through the many productions you have done, I imagine you have gotten to know the character of Tosca very well. Have you learned everything there is to know about her at this point? A. If I thought I had learned everything about this role I would not continue to pursue this character. We are constantly evolving in our daily lives and all of the events that happen to us as people affect us as artists. I am a different person than I was when I sang here this role in 2009. I have experienced so much personal loss and also amazing moments filled with unbridled joy in my life since then and all of those events color my performance.
Floria Tosca is so much a part of me that I am able to take risks both vocally and dramatically to challenge myself so that I can find the most honest performance each and every show.
Ms. Thomson in Act II of Tosca at Sarasota Opera
Q. What do you want the audience to know about the character of Tosca after the curtain comes down? A. That I can’t wait to sing it again!!!! I love this role!!! Every performance is unique and alive and the energy from the audience feeds the performance on the stage! So, if they happen to be seeing it for the first time or the 50th time, it will never be the same! I sing each performance as if it may be my last, so I don’t hold anything back. My hope is that they do the same by coming back again and again to Sarasota Opera.
Q. I imagine you are looking forward to performing this role again in Sarasota. What do you enjoy about singing at Sarasota Opera? A. What do I not like?! Singing in Sarasota is a gift to every performer. The audience is so supportive, excited, and filled with passion for Opera. Sarasota Opera offers a place where artists can grow and explore new or familiar roles and multiple performances to fully embrace your characters. But for me, it all comes down to the fact that Maestro DeRenzi and the entire Sarasota Opera Association believe that Opera is not a dying art form.
Baseline: I love working with everyone here in Sarasota and spending 3 months away from my family is only made better by the gorgeous sunshine and the mutual respect we all have for each other in this company!
Ms. Thomson in Schoenberg's Ewartung at New York City Opera.
Q. So, to sum it up, how many performances of Tosca have you done so far? A.When I last added them all together, I have done 89 performances in at least 19 different productions. Q. Thus far, what is the most bizarre experience you have had during a rehearsal? During a performance? A. I had a rehearsal for Korngold's Die tote Stadt where I was dancing around like crazy and crawling on the floor and my rehearsal skirt, shall we say, flew off my body. Luckily, it was not a performance!
In performance, the majority of my mishaps have happened in Tosca. I have been thrown to my knees and ended up sliding on the gown having to stop myself from saying "hello" to the pit.
In Sarasota, I tripped on a ground cloth and flew into the air where my fabulous colleague, Grant Youngblood, turned over a chair and rushed to grab me in mid-air. Everyone thought that it was so exciting but my Dad was in the audience and after the performance said he knew something had happened because for a brief moment he saw scared Kara Shay and not Tosca.
I have had the candles blow-out before I place them at Scarpia’s head and had to go back and relight them. ( it was also a photo night so I was not going to mess up that great final moment in Act II)
During a Student Matinee, I had a young woman who was so involved in the show that when I stabbed Scarpia, she yelled out “Oh No She Didn’t!!" I loved that she had gotten so caught up in her first opera! It was fantastic!
Probably one of my favorite moments that the audience never saw was when I went to jump in one production, I ran up the stairs, did my quick check of the jump pad and saw that the crew had drawn a dead body outline on the black jump pad.
Ms. Thomson in the title role of Samuel Barber's Vanessa in 2012
Q. Do you have any pre-performance rituals? Performance superstitions? Good luck charms? If yes, why? A. I like to be the first one in the Make-up chair. The calm energy of the being first helps me focus and then it allows me time to say hello to all of my colleagues before down-beat. I usually don’t eat very much before the show but I always eat a banana before Act II of Tosca! I don’t know if it helps but it gives me the extra “uumph” to wield my deadly knife!
Also, I always wear my Jade Elephant Necklace that my mother gave to me. I wear it in rehearsal and always have it with me at each performance in my dressing room.
Q. How do you relax in between performances? What hobbies do you enjoy at home and “on the road”? A. I am a huge fan of the television show "NCIS" so if there is a marathon on the USA channel then I am ready to get out my needlepoint, a bottle of wine, and sit back and say hello to my friends on the television: Gibbs, Ziva, Tony, and McGee!
When I am home I spend most of my time being involved with my family. I have been known to throw a few good parties for our neighborhood as well as top-notch sleepovers for my 10 year old daughter and her friends.
I miss being able to cook in my fabulous kitchen. Right before I arrived in Sarasota I purchased a brand new professional series range and a Vitamix. I couldn’t bring my oven but I packed up my Vitamix and a couple of my favorite knives and brought them with me. I find cooking so relaxing and it makes me so happy when I can bring people together for a wonderful meal.
Q. I’m sure work/life balance takes on a whole different meaning being a professional singer who travels. How do you stay connected to family and friends when you are “on the road?
A "Welcome Home" sign from Ms. Thomson's neighbors in Ohio
A. Facetime has been a life-saver for our family. Sometimes we just connect through Facetime while we are doing everyday chores. I will come home from rehearsal at 3pm and call my daughter Emma Shay. We will do her homework together or just talk about her day. My husband uses Facetime to have me help him re-create a favorite recipe I have left behind for him to cook or just to look into each other’s eyes and say how much we miss each other. Sometimes the days don’t go by very fast and Facetime makes it seem like we aren’t that far apart.
As someone who has been on the road for a few years, I would tell all of the Studio and Apprentice Artists to make sure that you connect with your loved ones at least once a day. Even if you think that you don’t have anything exciting to tell your family, sometimes it’s just enough to hear that person say “hello”. We can become so involved in our “Opera World” that we forget to share it with those outside the inner-circle. Connect, share, and make your family a priority because they are the most important support system you have in this career.
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 had the opportunity to live in many different parts of the United States and would love to connect with them again here in Sarasota. So, if we lived in these cities together: Lynchburg, VA, Boston, Ma, Terre Haute, IN, Cincinnati, OH, Rock Port, MO, Warrensburg, MO, Maryville, MO,Enid, OK, or any of the many cities I have had the opportunity to perform in, please don’t hesitate to reach out and say hello!
After writing down all of the cities I have lived in, I realized that it must have been a grand plan for me to move around so much in my formative years. I never knew that I would be in a career where I spent more time on the road than I did in my own home. Perhaps all of those moves gave me the ability to make a home wherever I go.
Don't miss a note of Ms. Thomson's performances in Puccini's Tosca opening February 7th and running through March 28th. As an added bonus, here is Ms. Thomson singing Tosca's famous aria "Vissi d'Arte" from the Sarasota Opera production of Tosca in 2009.
Sean Anderson, one of Sarasota Opera's favorite baritones, returns to Sarasota Opera this season as The Count Almaviva in Mozart's The Marriage of Figaro. In previous seasons, Mr. Anderson has won critical acclaim for his performances as von Eisenstein in Die Fledermaus, George Milton in Carlisle Floyd's Of Mice and Men, and Iago in Verdi's Otello.
Recent performances have included Belcore in L'Elisir d'Amore at Knoxville Opera, Zurga in Pearl Fishers at Opera Southwest, and Dandini in La Cenerentola at Intermountain Opera. Continue reading to learn more about this dynamic and versatile artist.
Q. Where are you originally from and where do you base yourself out of today? A. Born in Manhattan (New York, not Kansas), raised in Mississippi and Ohio. I am currently based in South Carolina with my wife, Erika and our 6 year old, Naomi.
Sean Anderson as von Eisenstein in Sarasota Opera's Die Fledermaus
Q. Why Opera? What drew you to become a singer? A. My father, Alfred Anderson, was an opera singer. He also taught voice and opera at University of Southern Mississippi and the University of Akron in Ohio. I first became truly aware of what he did for a living around 7-yrs old during a production of Man of La Mancha in which he played the role of Cervantes/Quixote. I made myself a spear out of a broom stick, armor out of cardboard, and a helmet out of aluminum foil, and marched around the house singing “I am I Don Quixote!” at the top of my lungs. I’ve been hooked on theater ever since.
Q. What singing did you do as a teenager? A. During my awkward years, I was in marching band and performed Shakespeare with a community theater company. After my voice changed, I was in several high-school choirs, including one that met every morning at 7:10am. I was also in a local show choir, and, of course, nearly every opera Dad’s students performed at the University. I made my operatic debut as Harry in Britten’s Albert Herring when I was 10.
Q. What are you looking forward to most about performing the role of Count Almaviva in this season’s production of The Marriage of Figaro? A. The Marriage of Figaro may very well be my favorite opera. Whenever I see it, I hear and experience something new. While I’ve performed just about every section of the role (in concerts, auditions, etc.), I have yet to perform it in a full production. I’m very excited to finally debut Il Conte (the Count), a role that, in my opinion, plays right to my wheel-house.
Sean Anderson as The Pirate King in The Pirate of Penzance.
Q. You have sung the role of Figaro in The Barber of Seville but now you are playing the role of Figaro’s employer. Are you afraid of suffering any kind of character identity crisis?
A. Who wouldn’t enjoy getting to be the loveable Figaro? That said, I don’t think I’ll have any problems. It’s always fun to play the antagonist.
Sean Anderson (left) as George Milton in Sarasota Opera's 2013 production of Of Mice and Men.
Q. What do you find most challenging about this role? What do you enjoy about it? A. Without doubt, the recitative. Effective acting while singing so many foreign words is a great challenge. I’m striving for as much accuracy and character as I can achieve. My goal is for the audience to understand the text without having to look at the supertitles. I enjoy that the Count has so many different moods and colors. Throughout the opera, the character displays a wide spectrum of emotions, perfectly reflected and enhanced by Mozart’s music.
Sean Anderson as the villainous Iago inVerdi's Otello
Q. You have sung both wonderful comedic and tragic serious roles at Sarasota Opera. Do you have a preference of one over the other? A. Not particularly, but the variety is nice. At other companies, I’m only regarded as appropriate for one or the other. Maestro DeRenzi has gently pushed me in many directions I wouldn’t have thought to go on my own, for which I’m grateful.
Q. Are there any famous Count Almavivas of the past you admire or enjoy listening to?
A. My father, Alfred Anderson
Q. You have been a steady presence at Sarasota Opera for several seasons. You must enjoy singing here? A. Of course! Any artist wants to work with the best, and the best are consistently found at Sarasota Opera!
Q. What do you think makes Sarasota Opera so special from other opera companies? A. The rapport we have with each other and with our audience. Seeing so many familiar faces over the years creates a family-like atmosphere that is wonderful to work in.
Sean Anderson as Marcello in Puccini's La boheme
Q. Do you have any pre-performance rituals? Performance superstitions? Good luck charms? If yes, why? A. Experience has shown that a light meal (usually a smoothie of some sort), plenty of water, and a quiet hour reviewing my score makes for good performances. I am not superstitious.
Q. How do you relax in between performances? What hobbies do you enjoy at home and “on the road”? A. I exercise and read. At home, my hobbies consist of taking care of a 6 year old. On the road, I love to get friends together for board games.
Q. As you have been to Sarasota Opera for several seasons now, what do you enjoy doing in the area while you are not in rehearsal or performing? A. Actually, I am not really a beach person, but I do enjoy the many wonderful restaurants in the area. I also frequent the FST (Florida Studio Theater) when I'm in town.
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 Facebook a lot, and my family and I like to talk via FaceTime on our phones. I can’t imagine what life was like for my mother and father while he was on the road during his performing career. He would sometimes only get to make one call to her a week – from a payphone! Unbelievable. I’m in the process of creating a new website, but you can keep up with my performance antics by liking my profession Facebook page:SeanAnderson, Singer.
Don't miss seeing Sean Anderson as the Count Almaviva in Mozart's most charming comedies The Marriage of Figaro opening Valentine's Day, February 14th and running for 9 performances through March 27th. Visit sarasotaopera.org or call (941) 328-1300 for more information and tickets.
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