Showing posts with label Arts. Show all posts
Showing posts with label Arts. Show all posts

Wednesday, June 29, 2016

2016 Sarasota Youth Opera Camp

The 2016 Sarasota Youth Opera Camp is in full swing with more than 70 campers between the ages of 8 - 18 learning the ins and outs of the art form of Opera. Participants experience the magic on stage and behind-the-scenes as they study many facets of opera - from music and acting to opera appreciation and technical production - under the direction of Sarasota Opera's professional staff. Here is a sneak peek into what our campers are up to.

Maestro Jesse Martins leads campers in chorus rehearsal





















Sarasota Opera Orchestra members Gil Katz (bass) and Nadine Trudel (cello) lead an instrumental workshop playing specially arranged excerpts from well-known operas in the Opera House Grand Atrium.




Campers learned all about making prosthetic noses from wigs and makeup instructor Kim Calhoon.





Campers explore another side of opera by trying on costumes from previous Sarasota Opera productions



Baritone Joseph Ryan leads "Opera 101" where campers learn the stories and history behind specific operas.  






Daniel Rodriguez of the Sarasota Ballet leads a class in movement teaching campers the principles behind ballet. 





Tuesday, June 9, 2015

Sarasota Opera Visits Verdi - Last Leg

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.”

Thursday, May 28, 2015

Sarasota Opera Visits Verdi - Busseto and Piacenza

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.

Thursday, May 21, 2015

Sarasota Opera Visits Verdi

At the end of March 2016, Sarasota Opera will complete its Verdi Cycle, a 28-season effort to perform all of the works of Italy’s greatest composer Giuseppe Verdi. This will be a landmark season for the company, with national and international attention focused on Sarasota Opera.
To kick-off the celebratory season, Artistic Director Victor DeRenzi and Executive Director Richard Russell are accompanying a group of 27 Sarasota Opera patrons to Italy as “Sarasota Visits Verdi.”  The 9-night tour includes a sample of audience members who live in Sarasota full-time, are snow-birds and some who come from as far as California and London to join this pilgrimage to visit places where the composer lived and worked.
The trip kicked off on Tuesday night (5/19) with a welcome dinner at the Grand Hotel et de Milan.  This 5-star hotel was the composer’s residence in Milan during the last 30 years of his life and it was in a suite on the first floor that he passed away at the age of 87 on January 27, 1901.
Members of Sarasota Opera's pilgrimage to the sites of Giuseppe Verdi join in the
Grand Hotel et de Milan for a welcome dinner
From the Royal Box at Milan's famed Teatro alla Scala,
a member of the staff  explaines the workings of  Italy's most
venerated Opera House 
The next morning everyone made the short walk to Milan’s famous “Teatro alla Scala,” probably the most venerated opera house in the world. Nevertheless, even this theater, which opened in 1778, and was the site of the premieres of Verdi’s Oberto, Un giorno di regno, Nabucco, I lombardi alla prima crociata, Otello, and Falstaff has not performed all of the composer’s operas, as Sarasota Opera will have by next year.

La Scala has an interesting museum attached to the opera house which charts its history and has a room devoted exclusively to Verdi. The visit also included a guided tour of the auditorium and backstage from one of the theater’s music staff.  The plush historical interior of the theater is in stark contrast to the updated technology visited backstage (result of a 3-year renovation from 2001-2004).
Entrance to the Casa di Riposo in Milan
Following the theater visit, a bus took the group to the Casa di Riposo per Musicisti (Rest Home for Musicians) which is more commonly known as the Casa Verdi. In a letter to a friend the composer wrote: “Among my works, the one I like best is the Home that I have had built in Milan for accommodating old singers not favored by fortune, or who, when they were young, did not possess the virtue of saving. The poor, dear companions of my lifetime! Believe me, my friend, that Home is truly my most beautiful work (la mia opera più bella.”)
Sarasota Opera Artistic Director Victor DeRenzi contemplates a bust of Giuseppe Verdi in the sitting room of the Casa Verdi, the retirement home for poor musicians the composer built in Milan  
It was a novel idea to build and equip a rest home for the disadvantaged when Verdi proposed this idea in in the last years of his life.  It was not the first example of this type of philanthropy. A few years earlier he had built a hospital for the residents of Villanova, a town near his country estate at Sant’Agata. He acquired land on the outskirts of Milan in 1889 for the retirement home and oversaw the design and construction of the building, attending to every detail. He endowed it  with the royalties from his operas (which expired in  1962; it is now funded by a private foundation and the state.)
Under a portrait of the composer Giuseppe Verdi, members of Sarasota Opera's Verdi trip 
hear about his life at the Casa Verdi  
The Sarasotans were  met by the Director of Communications for the Casa Verdi, who highlighted Verdi’s place not only as a great composer of opera, but as a national hero whose music inspired Italians in their quest for unification in the mid 1800s. The house is full of artifacts from Verdi’s collection (including a small piano that he was given as a boy and kept all of his life) and it is in a crypt off the courtyard of the house that is his final resting place, along with his second wife Giuseppina Strepponi.
The crypt at the Casa Verdi where the composer and his wife are buried.
The evening will take the Sarasota contingent back to La Scala for a performance of Turandot by Verdi’s heir, Giacomo Puccini.



Stay tuned for more updates as Sarasota Opera continues its travels through Italy and the life of Giuseppe Verdi. 

Friday, March 13, 2015

ARTISTS CORNER: Soprano Michelle Johnson

Soprano Michelle Johnson

Soprano Michelle Johnson makes her Sarasota Opera debut this season as Élisabeth de Valois in Verdi's Don Carlos. Since being a Grand Prize winner in the Metropolitan Opera National Council Auditions in 2011, Ms. Johnson's career has skyrocketed taking her leading roles at Glimmerglass Opera, Opera Philadelphia, Kentucky Opera, and now Sarasota Opera. Her voice is described as being "velvety and pliant" and regarded as "similar to young Renata Tebaldi." 

Continuing reading to learn more about this soprano on the rise. 


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

A. I am from Pearland, Texas close to Houston, Texas.

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

A. When I was 8 years old I saw a production of Madame Butterfly on PBS. I have been hooked ever since.
Ms. Johnson in the title role of Puccini's Manon Lescaut.
Photo by Kelly & Masa Photography
Q. Did you have other career aspirations in the works before you decided on singing?  

A. I come from a long line of educators. I was certain that I was going to be a teacher in the field of English or History

Ms. Johnson as Elisabeth de Valois in
Verdi's
Don Carlos at Sarasota Opera
Q. What can you tell us about the character of Élisabeth?  What is her role in the opera?

A. Élisabeth is a strong young woman dealing with heavy decisions throughout the entire opera. She battles with being faithful to her duties as royalty and her own wants for her life. She is the face of hope, honesty, and purety.

Q. This is not exactly what one would consider a standard sized role in opera. What challenges do you face taking on a role of this length?

A. My main focus is stamina. One must not give too much too soon. With the leadership of Maestro DeRenzi the role is becoming super familiar.

Q. At the end of the performance, what knowledge about the character of Élisabeth would you like the audience to walk away with?

A. Élisabeth wants the best for everyone, her people of France and the people of Spain. She’s willing to give up her happiness for the happiness of others.

Q. Are there any famous “Élisabeth’s” from the past whose performances you admire?

A. I admire any soprano who attempts this role!

Ms. Johnson as Minnie in Puccini's Girl of the Golden West at Kentucky Opera. 
Q. Thus far, what is the most bizarre experience you have had during a rehearsal?  During a performance?

A. Unfortunately, I have had to hold up a skirt or two until the end of a scene. It’s not fun!

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

A. The only thing I need is about 20 minutes of meditation then I’m ready to go!

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

A. I love movies. So, Netflix is very dangerous. I travel with my Yorkshire Terrior, Jasper, so I hang out with him a ton when I’m off.

Ms. Johnson as Giulietta in Jacque Offenbach's The Tales of Hoffmann.
Don't miss Ms. Johnson's performance as Élisabeth de Valois which was described as "a pure-voiced soprano of regal deportment" by classicalvoicenorthamerica.org. Remaining performances are March 15, 18, 21, and 24. Go to www.sarasotaopera.org or call (941) 328-1300 for information and tickets.