ARTISTS CORNER: Baritone Lee Poulis

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



Baritone Lee Poulis

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

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

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

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

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

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

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

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

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

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

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

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



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

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



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



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

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

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

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

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

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

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

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



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

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

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

           

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

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

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

 

Verdi's A KING FOR A DAY: An Insiders Look




Dr. Francesco Izzo

 On March 2nd, Sarasota Opera will present Verdi's second opera and first comedy, Un giorno di regno (A King for a Day),  which will mark the 29th installment of Sarasota Opera's internationally acclaimed Verdi Cycle.  March 2nd will also be the world premiere of the new critical edition of this opera prepared by Dr. Francesco Izzo, Co-Director of the American Institute for Verdi Studies.  


We asked Dr. Izzo to prepare a brief write up on Verdi's A King for a Day in which he points out that just because a piece is not seen with the frequency of say a Madama Butterfly, does not mean it should be discounted as something not worth paying attention to.



Corey Crider as Belfiore, Jennifer Feinstein
as the Marchesa, and Stefano de Peppo
as the Baron



At Sarasota Opera, rehearsals are underway for a new exciting premiere of a lesser-known opera by Giuseppe Verdi.  This time, the spotlight is on King for a Day, or Un giorno di regno (1840), Verdi’s second opera and his only comic work before his final masterpiece, Falstaff.  The world premiere of Un giorno di regno at Milan’s Teatro alla Scala was, quite famously, a fiasco.  A great deal has been written about the sad circumstances under which Verdi had to compose this opera: his first wife, Margherita Barezzi, died suddenly less than three months before the premiere, and the young couple had lost both of their children during the previous two years. Many commentators—ostensibly by way of apology—have remarked that such a tragic scenario was hardly conducive to the creation of an opera buffa, and that one should not be surprised that the opera failed. 





Baritone Corey Crider as Belfiore, the
fake King of Poland

Case closed, then?  Should we regard Un giorno di regno as an unfortunate parenthesis in Verdi’s otherwise stellar career?  Not so fast, ladies and gentlemen.  Verdi himself never referred to Un giorno di regno as a failure.  And he never suggested that he was not inclined to write a comic work at that time.  Although he was certainly mourning and under significant time pressure, he invested tremendous energy into the creation of this opera, working tirelessly on the score to the last minute.  Years ago, when I had the good fortune to examine for the first time Verdi’s autograph manuscript in Milan, Italy, I realized that almost every page showed the composer thinking carefully through his music, entering significant revisions in the vocal lines, polishing the orchestration, and concentrating on a variety of details.  At a very late stage, he even managed to compose a new closing section for the Act 1 trio and a new cabaletta for Edoardo’s aria at the beginning of Act 2. The original versions of these pieces, fully orchestrated, are still found in the autograph, and the audience of Sarasota Opera will be able to hear these pieces as they are performed for the first time at a concert on March 24. 


It is, indeed, Verdi’s autograph manuscript that has served as the basis for my critical edition, which receives its world premiere here at Sarasota on March 2nd.  This edition corrects a number of inaccuracies and arbitrary alterations present in other scores of the opera, which has often circulated under the title Il finto Stanislao.  I have done my very best to provide an edition that faithfully reflects Verdi’s intentions throughout.  And I know that the score is in excellent hands with Maestro DeRenzi and a wonderful lineup of singers.  Having lived with this opera for years I have grown to love its exhilarating comic duets, the deeply sentimental arias for the two prima donnas and for the tenor, and a few ensembles that, comic context notwithstanding, seem to foreshadow the rousing choruses of Verdi’s most successful works of the 1840s. 



Finally united in the end, the Cavaliere of Belfiore
and the Marchesa of Poggio



I am sure that the audience at Sarasota, too, will find that little-known Verdi opera can be the source of unexpected delight; it certainly offers new insights into the extraordinary composer who created it, as well as a glimpse into the fascinating world of mid-nineteenth-century opera buffa, where it can take pride of place next to Donizetti’s comic masterpieces, L’elisir d’amore and Don Pasquale.

Francesco Izzo



Stefano de Peppo as the Baron of Kelbar





Do not miss what promises to be a light hearted and fun evening at the opera!  Get your tickets today for Verdi's Un giorno di regno today by going online at www.sarasotaopera.org or by calling (941) 328-1300. 



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. 

Bass-Baritone Kevin Short Returns to Sarasota Opera



Bass-baritone Kevin Short



Bass-baritone Kevin Short has been a frequent artist at Sarasota Opera since making his debut in 1991 as Méphistophélès in Gounod's Faust.  Since his debut, Mr. Short has been seen in many leading roles at Sarasota Opera, particularly the works of Verdi.  In addition, Mr. Short's career has taken him to Stuttgart Opera, Houston Grand Opera, and the Metropolitan Opera House. 

This season, Mr. Short returns to sing the role of Signor La Rocca in Sarasota Opera's upcoming production of Verdi's charming and lively comedy Un giorno di regno (A King for a Day), Sarasota Opera's third opera this season and the 29th installment of the Verdi Cycle, opening March 2nd and running through March 24th.   

 

Mr. Short as Nourabad in the 2000 production
of Bizet's Les Pêcheurs de perles (The Pearl Fishers).



In North America, Mr. Short has performed multiple roles with the Metropolitan Opera, Lyric Opera of Chicago, Houston Grand Opera, Los Angeles Opera, Washington Opera, Seattle Opera, Opera Company of Philadelphia, Canadian Opera Company, Vancouver Opera, Edmonton Opera, Santa Fe Opera, Sarasota Opera, Opera Pacific, Lyric Opera of Kansas City, Indianapolis Opera, Utan Symphony, Opera de las Americas, Opera Memphis, Berkshire Opera Company, Nashville Opera, Opera Omaha, Opera Birmingham, New Jersy Opera Festival, Kentucky Opera and the Opera Theatre of St. Louis to name a few of the many companies where he's performed.




Mr. Short in the title role of Sarasota Opera's production of Verdi's Oberto, conte di San Bonifacio




Making Switzerland his home now for a number of years, Mr. Short has also performed in many european theaters such as Paris' Opéra Comique, Théâtre Caen, Grand Théâtre de Luxembourg, Oper der Stadt Köln, Staatstheater Stuttgart, Theater Aachen, Teatro Comunale di Bologna, Teatro Lirico di Cagliari, Theater Basel, Theater Bern, Theater St. Gallen, and Teatro Nacional di São Carlos in such roles as Attila, Philippe in Don Carlos, Leporello in Don Giovanni, Méphistophélès in Faust, Osmin in Die Entführung aus dem Serail, Escamillo in Carmen, Nick Shadow in The Rake's Progress, Figaro and Il Conte in Le Nozze di Figaro, and Porgy in Porgy and Bess.

Mr. Short as Pagano in Sarasota Opera's production of Verdi's I Lombardi alla prima crociata



Mr. Short as The King in Verdi's Aida at Opera Birmingham



Mr. Short as Leporello in Mozart's Don Giovanni at Santa Fe Opera

Don't miss a note Mr. Short's performance as Signor La Rocca in this season's production of Un giorno di regno (A King for a Day) at Sarasota Opera.  There will be seven performances between March 2nd and March 24th!  Tickets are on sale now at www.sarasotaopera.org or by calling (941) 328-1300.   

Sarasota Opera Goes to the Dogs!

Sarasota Opera holds dog auditions for its

upcoming production of Carlisle Floyd’s Of Mice and Men

Sarasota Opera held auditions for a dog that is needed for its upcoming production of the opera Of Mice and Men on Tuesday, February 5, 2013 from 2:30 p.m. to 4:00 p.m.

The audition took place at the Sarasota Opera House.   Auditionees and their owners gathered in the Sarasota Opera Courtyard.  Each auditionee was assigned an individual time slot during which they were video taped following commands and interacting with the performers.

The auditions were covered by Linda Carson and ABC-7 Suncoast News.  Click the link below to watch! 

Sarasota Opera holds a doggie casting call - Sarasota News | Mysuncoast.com and ABC 7: Local News

The dog is described by the characters in the opera as a “good herding dog”.  The dog is also described as old, ragged, and slow.  In the opera, the dog belongs to the character of “Candy”, who will be sung by bass Andrew Gangestad.  As the Act I synopsis reads:

“A furor erupts in the bunkhouse over Candy’s old smelly dog, with Carlson and the ranch-hands demanding that the dog be shot rather than remain in the bunkhouse.  Candy protests, but is eventually overwhelmed by the shouts of the men, and Carlson takes the dog outside and shoots him.”    

A medium to large size animal is preferred. Additionally, the dog needs to follow “sit” and “place” commands, and be comfortable around loud music.  No other special tricks are required.

Rehearsals will begin in mid-February.  The chosen animal will be compensated for their time.

Don't miss performances of Carlisle Floyd's opera Of Mice and Men opening March 9 through March 23rd.  Tickets are available online at www.sarasotaopera.org or by calling (941) 328-1300!

ARTISTS CORNER: Tenor Jonathan Burton

ARTISTS CORNER:  Tenor Jonathan Burton will make his Sarasota Opera debut as Prince Calaf in this season's opening production of Puccini's Turandot opening February 9th.  We asked Mr. Burton to answer a few questions about his life as a singer and what he is looking forward to in his first season at Sarasota Opera.



Tenor Jonathan Burton

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

A.  I took a voice lesson at 17 for the school musical. The teacher said I should consider opera. At the time I was a guitarist in a rock band, so it seemed far-fetched.  I suppose it was a recording of La bohème which really set the hook in deep.

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

A.  Frankly, everything.  This is my dream role.  Calaf to me is the pinnacle of great Italian tenor roles.  Ever since I saw it at the Met in 1995, and got Corelli's famous recording, it's been the tops for me.  And the fact that my first one is with Maestro DeRenzi and directed by Ms. Sundine is truly a gift!!

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

A.  Probably not unique among singers. No real tricks, or extra measures.  Mainly, I try to visualize the scenes in my mind.  Make sure I have something to say.  I explore the composers simple and true intention, and work to convey it.

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

A.  I love to read what great tenors from the past have said about performing the role, get their insights, and also learn what audiences love/loved about it.  At the end of the day, that's why I'm here.  I hope to give fans of opera what they want and need.



Mr. Burton as Don José in Bizet's Carmen

 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.  Huge difference!! Learning a new role is a HUGE process.  Translations, acting, characterization, musical searching and defining, exploring multiple options, listening to various interpretations. When I sing a role I have already sung before, there are always new things to consider, but the part already lives inside you.

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

A.  That he believed in his mission and would not let anything stop him until he achieved success.  He believed that his great capacity to love could move mountains, and tame the ferocious Turandot.

Q.  The aria “Nessun Dorma” has been sung by some of the vocal greats…  from Corelli to Pavarotti to even Aretha Franklin!  Do you feel any kind of elevated pressure in having to perform such a well known aria? 

A.  Well...now that you put it THAT way!!!  Haha.  No, not really.  Those guys sang every thing else I sang too! This is a very famous aria now, but, to me it is a one aria among many, and an essential part of this opera.  In context it holds no special terror.  In fact I'm honored to be able to present it.  However...in a concert, it can be a touch nerve-wracking!!  The audience starts to murmur as soon as you say the first lines.



Mr. Burton singing the role of Cavaradossi in Puccini's Tosca

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

A.  Once, while playing Spoletta in Tosca, the fellow playing Scarpia threw me extra hard on opening night and I left the ground.  When I landed, my feet shuffled trying to catch hold and I slid under his desk from where I had to deliver my next line!!​

The following week, another performer missed his entrance and I turned my back and sang his first two lines till he arrived...quite shaken!!!

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

A.  No, I'm afraid I don't. Just...pace around and mumble prayers!!

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

A.  My apple electronics are my dear friends. They hold my music, books, tv shows, and movies. I spend time with my ipad and a big pot of tea.  Also, I make wire-wrap jewelry and rosaries, and write fiction.

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 do have Facebook and twitter. And try to update them frequently.  With my family, I rely on text messes and FaceTime, which is video chatting.  My kids love it.

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'm from a small town in Ohio, Portsmouth. It's dear to me. The cities in which I've performed all have their own faces and personalities which are dear to me. For instance, Sarasota will always be the home of my debut of my favorite role, and daily here I meet new fantastic people who I hope to retain as lifelong friends.

Don't miss Mr. Burton as he makes his Sarasota Opera debut in this season's production of Puccini's Turandot opening February 9th!  Get your tickets today at www.sarasotaopera.org or by calling the Sarasota Opera box office at (941) 328-1300.