ARTISTS CORNER: Tenor Hak Soo Kim

Tenor Hak Soo Kim

Korean-American tenor Hak Soo Kim returns to Sarasota Opera this season as The Count Almaviva in Rossini's The Barber of Seville. Last season, Mr. Kim won critical acclaim for his virtuosic performances of both the Duke of Mantua in Rigoletto as well as Edoardo di Sanval in the 2013 winter production of A King for a Day (Un giorno di regno).  Mr. Kim's other recent appearances include Los Angeles Opera, Accademia Rossiniana in Pesaro, Italy, Opera New Jersey as well as in concert with the Los Angeles Master Chorale and the Chicago Symphony Orchestra. 

Continue reading to learn what has kept Mr. Kim returning to Sarasota for four productions as well as what specialty hobby he practices in between performances.    

Q. Where are you originally from and where do you base yourself out of today?
A. I am originally from Seoul, Korea.  I came to the U.S., when I was 17 years old to become a diplomat. Now, I base myself in New York City, where I have a fabulous support system of friends, mentors and teachers.

Mr. Kim as Gastone in La traviata at Los Angeles Opera

Q. Why Opera?  What drew you to become a singer?
A. I love singing, simply because it makes me feel great.  Opera is so multi-faceted that, no matter how much I study, it still remains mysteriously challenging.  In other words, I can never get bored.  Besides, I always ended up getting back to singing, no matter how much I tried to venture into other career paths--in college I majored in German and Economics and was on the verge of becoming an investment banker, and recently, I worked as a captain and sommelier at a restaurant with two Michelin star rating in New York City.  In the end, though, nothing else makes me happier but singing on stage!

Q. What singing did you do as a teenager?
A. I sang at the school musicals for all four years in high school.  Fortunately, the private boarding school that I attended, Western Reserve Academy in Hudson, OH, had a great theater program, and I was able to fully take advantage of the resources.  I sang Frederic in Pirates of Penzance, Billy Lawlor in 42nd St, Nanki-Poo in Mikado and John Jasper in The Mystery of Edwin Drood.

Mr. Kim as the Duke of Mantua in
Rigoletto at Sarasota Opera

A. Your past three operas with Sarasota Opera have all been role debuts, correct?  Is it nice to sing a role you have already done somewhere else?
Q. Yes, "Repetition is the mother of perfection."  As long as I keep my standard high, there is always room for improvement, and the best and the simplest way to improve oneself is through repetition.  Besides, even though this is my fourth production of The Barber of Seville, I feel that my journey is different every time. We are using a different edition of the score, Maestro Cormio takes different tempos from other conductors I have worked with, and the cast has different chemistry.  It definitely is an exciting process to mold my previous experiences into what we have here in Sarasota.

Q. What are you looking forward to most about performing the role of Count Almaviva in this season’s production of The Barber of Seville?
A. I am excited about bringing my own vocal interpretation of the role.  Maestro Cormio and I are working particularly on bringing more lyric legato lines and unifying them into Italian poetry with more directional rhymes, instead of fast, jumpy and light singing.

Mr. Kim as Ernesto in Don Pasquale at Opera Colorado

Q. What is your process for preparing a role for performance?
A. First, I start by finding and reading the original literature.  Secondly, I move to the poetry of the libretto with focus on rhymes and accents.  Then, I focus on designing how I am going to sing the role.  Because every role has its unique challenges, I need to figure out how I am going to move my voice through those passages.  During rehearsals, I concentrate on how I am going to pace myself, singing and acting.  The Barber of Seville especially needs this game plan, since the role of Count Almaviva is such a marathon role vocally.

Q. What do you want the audience to know about your character?  What do you find most challenging about this role?
A. Count Almaviva is unfortunately not that smart in this opera.  His eagerness to find his true love dictates his behavior.  He is looking for someone to love him for who he is, not what he is.  Therefore, he does not want to reveal his true identity.

This role is extremely difficult, because of its sheer length.  I open the opera with an aria and close the opera with one of the toughest arias for tenors.  Throughout the performance, I disguise as a student, drunk soldier, music teacher and come back as a count, which means that I am constantly changing costumes and wigs, even when I am not on stage.  I never get to rest during the entire performance, and that is just exhausting. The role of Count Almaviva calls for a lot of athleticism.

Mr. Kim as Matteo in Strauss' Arabella at Santa Fe Opera

Q. As I mentioned before, this will be your fourth opera with Sarasota Opera.  You must enjoy singing here. What do you think makes Sarasota Opera so special that people return season after season?
A. The support system here is incredible--music staff and administrators are always there to help me in any means possible.  In addition, there is a wonderful group of patrons, ushers, and supporters whom I have gotten to know better since my debut season in 2010.  It just has been a great experience to be working in this company.

Q. Thus far, what is the most bizarre experience you have had during a rehearsal?  During a performance?
A. Fortunately and unfortunately, I really do not have any bizarre episode during rehearsals or performances.

Q. Do you have any pre-performance rituals?  Performance superstitions?  Good luck charms? 
A. My pre-performance preparation starts from the day before the performance.  I go on vocal rest to make sure my voice is fresh for the day of the show.  Then, on the very day, I just make sure that my body is fully awake and has a good rate of metabolism--I eat and exercise.  I also make sure that I am very well hydrated before the performance, because I know for sure that I will be sweating a lot out there.

Mr. Kim as Edoardo di Sanval and soprano
Danielle Walker as Giuletta in Verdi's A King for a Day 

Q. How do you relax in between performances?  What hobbies do you enjoy at home and “on the road”?
A. Last July, I passed three-day long exams to be a certified sommelier by the Court of Master Sommeliers. So, I definitely enjoy wine to relax between performances.  Like opera, wine requires a life-long study. Whenever I grow weary of a musical journey, I pick up a wine book and a glass of wine, and my soul gets recharged.

I also enjoy bike-riding, golfing, scuba diving and skiing, depending on the season and where I am.

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. Last December I deactivated my Facebook account because I felt that I was getting too distracted.  I wanted to use my time more wisely.  Then, I received so many messages from my friends all over the world to open it back up, as they wanted to be updated on where I am and what journey I am taking whether it is on wine, restaurant or opera.  So, I crawled my way back to the Facebook empire.

Don't miss your chance to hear Mr. Kim's dazzling vocalism as Count Almaviva in Rossini's The Barber of Seville now through March 21st.  Tickets are available at www.sarasotaopera.org or by calling (941) 328-1300.

ARTISTS CORNER: Bass-baritone Matthew Burns

Bass-baritone Matt Burns

Bass-baritone Matthew Burns, who the New York Times describes as possessing a "beautiful bass-baritone voice," makes his debut at Sarasota Opera this season as Basilio in The Barber of Seville which opened February 15th.  Mr. Burns career highlights include appearances at New York City Opera, Los Angeles Opera, Opera Theater of St. Louis, and Boston Lyric Opera as well as performing in concert at some of the world's most prestigious stages. 

Continue reading to learn what opera inspired Mr. Burns to become an opera singer, what he avoids putting on his cheesecake before a performance, and how a "chance" meeting on the street introduced him to the love of his life.      



Q. Where are you from originally and where do you live currently?
A. I was born and raised in Richmond, Virginia. I now live in Astoria, Queens, NYC, once home to Maria Callas, Tony Bennett, Ethel Merman, The Costanzas from Seinfeld, and Archie Bunker.

Mr. Burns as Leporello in Don Giovanni
at Boston Lyric Opera

Q. What drew you to become a singer? Was there a specific “Aha!” moment of clarity?
A. I like transient living and poverty. Maybe I should have just been a carny?
Seriously, I have been singing since I can remember. I used to sing for my extended family at Christmas time when I was a little guy. I got into choir in middle school and stayed through graduation. I was in a grunge band in high school. I decided to go to college to be a better singer but they only taught opera. So I stuck it out for a couple of years. I took up a double major in music education and performance. In 1995, I saw a performance of Don Giovanni at Virginia Opera. I laughed for the first time as an opera audience member. "Aha!" It was a combination of the character of Leporello, Mozart's music, and my cumulative training to that point, but that was it for me. I decided that I wanted to do THAT, make people laugh. I devoted myself to this amazing art form from that moment on.

Q. Did you have other career aspirations in the works before you decided on singing?
A. I loved psychology. I thought about a double major in college in Music and Psychology. This has proven useful when delving into the minds of the characters I have had the privilege of playing over the years.

Q. You have sung the role of Basilio before. What do you enjoy about performing this role?
A. Basilio sings one of the classic opera arias, "La Calunnia", the rumor. When I first started studying opera, I noticed that "La Calunnia" was on every great bass aria  compilation. I love that this role has lived in the throats and bodies of some of the greatest performers of all time.

Mr. Burns as Basilio in The Barber of Seville
at Sarasota Opera

Q. This is your chance to put Basilio center stage. What do you want the audience know about Basilio?
A. My therapist says that people drop clues about themselves all the time. You just have to be paying attention. The fun part of playing Basilio is that no one really pays attention to him throughout the opera. They are all wrapped up in their own mess. Even at the end of his big number, Bartolo immediately dismisses Basilio's idea for his own. "Do re mi fa sol" (Money makes me King)! This is a phrase Basilio mutters when he enters in the Act 1 finale. Characters reveal who they truly are when they are talking to themselves.  This line has lead many directors to make Basilio a kleptomaniac. I look forward revisiting Basilio to see how this side of his personality develops.

Q. Looking over your performance resume, you have sung both a number of dramatic and comedic roles. Do you have a preference?
A. Until last year, I would have said comedic roles, also given my answer from earlier asking about my inspiration for pursuing this career. However, I got the opportunity to sing the role of George in Of Mice and Men, an opera Sarasota Opera produced last year. It was one of the highlights of my life. There is so much meat on that bone. I look forward to delving into many dramatic roles in the future in addition to many Leporellos, Basilios and Figaros.

Q. Now, is it true that you met your wife (soprano Anne Carolyn Bird) performing in an opera?
A. No, I first "accosted" her on the street in front of Time Warner Center in NYC. We were scheduled to perform opposite each other as Figaro and Susanna in The Marriage of Figaro in Grand Rapids, MI later that month. I recognized her from her Facebook profile pic.

When we were in Grand Rapids rehearsing The Marriage of Figaro, (which should really be called Figaro's wedding) is when I fell pretty hard for her. I kept my feelings hidden as we were just colleagues. But as fate has it, while we were there rehearsing, she got a last minute replacement job to sing Rosina in The Barber of Seville in Dayton, Ohio, where I was scheduled to be Basilio. We had three weeks off between The Marriage of Figaro and The Barber of Seville. The first day of rehearsal in Dayton I knew I was toast. We started "datin' in Dayton", were engaged four months later, and were married four months after that. We had the chance to perform Susanna and Figaro at Virginia Opera last season. It was a dream to revisit the roles that brought us together.

Mr. Burns wife, soprano Anne Carolyn Bird, in rehearsal while Mr. Burns and their son Henry watch from off-stage.

Q. It must be exciting being married to another successful singer but I imagine it poses some unique challenges?
A. It is exciting and boring and everything else in between, just like any other marriage. We are the proud parents of a wonderful three and a half year old boy, Henry. That does complicate things a bit. I won't get into the logistics that is required to do…well, anything. Let's just say, my next career should be in air traffic control with the amount of logistical planning I have to go through on a daily basis.

Mr. Burns as George in Of Mice and Men
at Utah Opera

Q. Why do you think people should come and see this opera?
A. Why should people go see the Mona Lisa? Why should people go see the Grand canyon? Because when you have access to something as great as this in your hometown, you have to experience it. Opera is an always changing art form. So even if you have seen The Barber of Seville before, you have not seen this one. Operas are like great cuisine. The basic recipes are the same, but the amounts of the ingredients, the quality of the ingredients and the way it is presented will change with each chef. We, the artists, bring our years of experience and training with us making this performance unique. No two will be the same. So, Don't miss it!

Q. Thus far, what is the most bizarre experience you have had during a rehearsal or performance anywhere you have sung? 
A. I was just out of music school working with an independent producer at Brooklyn Academy of Music on a Handel Opera called Siroe. I was the only American in the cast. The agreed upon language to speak in was French. I took French in high school so I felt pretty comfortable but was certainly not fluent by any means. At the intermission of the final dress rehearsal right before the first entrance, the director sees me backstage and asks: "Ou est la salle?" To which I replied, in French "follow me". I remember well that one of the phrases you had to know in high school if you wanted to go the restroom was "puis-je aller à la salle de bains?". "May I go to the restroom?" Clever me, I take him, an older, heavy set man with very slender legs down two flights of stairs and point into the dressing rooms. I gesture in and say, "D'accord, la salle" He looks at me and says something to the effect of "pas la salle de bain, la salle de Theatre" ("Not the bathroom, the hall to the theater")!

Q. Do you have any pre-performance rituals? Performance superstitions? Good luck charms?
A. I don't have any superstitions but I do have reflux. So eating cheesecake with bacon covered with Sriracha the night before the show is not happening.

Q. How do you relax in between performances? What hobbies do you enjoy at home and “on the road?
A. I eat Sriracha covered cheesecake with bacon. Not exactly! But, I am a foodie and an oenophile. I will be seeking out amazing food in and around Sarasota. I love finding holes in the wall that only locals know about in addition to exploring chef restaurants and trying new foods. I am not big on the chain restaurants.
So if anyone wants to take me to somewhere amazing, I'm game. I love cooking too. I bring a spice kit and a chef knife on every gig. I anticipate many cast meals.

Mr. Burns as Taddeo in Rossini L'italiana in Algieri

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. With Anne-Carolyn and Henry, we Skype at least once a day usually at breakfast.  For the rest of the family, I am on Facebook. I treat Facebook like a living photo album for the sake of my family. Some of my extended family don't get to see us except once a year. I like to keep them updated. I try to keep Facebook to actual friends, people I would stop to chat with on the street if I saw them. But the list grows every year.
I have a twitter feed but am not very active. You can find me at @baseberrytone on Twitter.

Don't miss Mr. Burns' critically acclaimed comic timing as Basilio in Rossini's The Barber of Seville opening Saturday, February 15th and running through March 21st.  Tickets are available at www.sarasotaopera.org or by calling (941) 328-1300.

ARTISTS CORNER: Mezzo-soprano Chrystal E. Williams

Mezzo soprano
Chrystal E. Williams

ARTISTS CORNER:  Mezzo-soprano Chrystal E. Williams will appear as Rosina in this season's production of The Barber of Seville.  Ms. Williams already has an impressive resume of roles which include Dulcinée in Massenet’s Don Quichotte, Olga in Tchaikovsky’s Eugene Onegin, Linda in Lost in the Stars, her debut role with the Glimmerglass Festival, Giannetta in L’Elisir d’Amore, Cuniza in Oberto, Nicklausse and La Muse in Les Contes d'Hoffmann, and La Maestra delle Novizie in Suor Angelica among others. Upcoming engagements include soloist in Rossini’s Stabat Mater with the New Jersey Master Chorale as well as with the Philadelphia Youth Orchestra singing Elgar’s Sea Pictures. Read what she has to say about her upcoming debut with Sarasota Opera.   


Q. Where are you originally from and where do you make your home now?
A. I am from Portsmouth, Va and am currently living in the Philadelphia area.

Ms. Williams as Ducinee in
Massenet's Don Quichotte

Q. What drew you to become a singer?  Was there a specific “Aha!” moment of clarity?
A. Hmmm...there was no real aha moment so to speak. I always sang, but never thought "I am going to be a singer one day!" I have always wanted to help others, but it wasn't until I started at The Governor's School for the Arts (GSA) that I settled on how. I originally wanted to teach English/Language to grade school children because I felt and still feel that teachers have great influence on our world citizens. Children often spend more time with teachers than parents, so if during these formative years we can not only encourage their educational growth, but self esteem, self-confidence, thirst for knowledge and freedom to question and explore, then we could help alleviate many of the problems that afflict our citizens later in life. In short, we could help form mentally strong, educated and adept children and thus even stronger world citizens better able to make decisions affecting all of mankind.

My next choice was a psychologist/middle school guidance counselor-similar reasons, but with middleschoolers. Then came a biologist my sophomore year of high school. I figured I could help mankind by finding some biological cure for many of the unknown ailments! Mind you, I have still been singing all the while. GSA had taken a trip to New York City and I remember being glued to the floor listening to Leontyne Price sing on one of the monitors in Tower Records. I asked the head of the program how I could help people and still sing. He said I could help them THROUGH the music. This is what I've been trying to do ever since.

One way I have found so far is in 2004 I founded the Chrystal E. Williams Scholarship to help students wishing to pursue a career in the performing arts. This scholarship is funded in part by my annual concert, "An Evening with Chrystal E".

Ms. Williams as Zerlina in
Mozart's Don Giovanni

Q. You have sung the role of Rosina before.  What do you enjoy about performing this role?
A. What do I enjoy about performing the role of Rosina...I love the music. I love the playfulness, the mischievousness, the mystery. I love the wit involved and the spicy flare that is such a part of Rosina.




Q. What can you tell us about this character?  What do you want the audience to know about her?
A. I want the audience to know that Rosina is much like them. She is constantly discovering and exploring things about herself. She has dreams, desires, goals, and she is determined to see them come to fruition. She will not be out foxed!

Q. How do you prepare a role for performance?
A. I usually start with the libretto, read the text. (I like to find loop holes in the plot and try and figure them out. I'm that person at movies who sits there wondering about certain plot blind spots...) I then look historically and read any books/pertinent information. I take the score to the piano and sightread as much as possible, listen to the overture-always a foreshadowing of what is to come, and then eventually I listen to the rest.

Ms. Williams in Lost in the Stars
at Glimmerglass Opera

Q. Are there any famous "Rosina's" from the past whose performances you admire?
A. There are so many famous Rosina's!

Q. Beyond the musical work, what other kind of preparation/research work do you incorporate in the learning process?   
A. Beyond the musical work, I speak through the text alone, more as a monologue

Q. Thus far, what is the most bizarre experience you have had during a rehearsal?  During a performance?
A. Well, actually, during a performance of The Barber of Seville, Dr. Bartolo's wig came off during one of the ensemble numbers ("La testa vi gira"). Everyone lost it yet still somehow managed to keep singing. It fit so perfectly that the 'mishap' was kept. Ha!

Ms. Williams at the
2012 Giargiari Bel Canto Competition

Q. Do you have any pre-performance rituals?  Performance superstitions?  Good luck charms? 
A. Pre-performance I usually like to clean/straighten up, pack my show bag, snacks, etc. This helps me quiet my mind and be sure I have everything. I eat a good, solid meal a few hours before. Sometime during staging I may have compiled a 'last minute review/reminder' list. I carry this list, my Bible, water, and Gatorade along with my bag. I always call home and my family says a quick prayer for me. Backstage I sometimes do a few squats to get my body ready, say my prayer in the wings, few breaths, then it's to the stage! I try not to have rituals or create tradition so that if ever the situation arises where those rituals/traditions cannot be kept, I am not distracted. :)



Q. How do you relax in between performances?  What hobbies do you enjoy at home and “on the road”?
A. I absolutely LOVE dancing, tango music, cooking, and reading. I also enjoy a good workout or explorative walks in the new neighborhood

Q. How do you stay connected to family and friends when you are “on the road”? 

A. I speak to my family literally everyday, and if abroad, we email. I catch up with my friends via phone/text/email as well.

Described as possessing "dazzling vocal sound", you do not want to miss mezzo-soprano Chrystal E. Williams as Rosina in Sarasota Opera's 2014 Winter production of Rossini's comedy The Barber of Seville running February 15th through March 21st. Tickets are available at www.sarasotaopera.org or by calling (941) 328-1300.  

Sarasota Opera Announces its 55th Season!

Sarasota Opera Announces its 55th Season

2013 Fall Season

Die Fledermaus by Johann Strauss, Jr.

The Little Sweep by Benjamin Britten

(presented by the Sarasota Youth Opera)

2014 Winter Festival

Il trovatore by Giuseppe Verdi

(New production)

The Barber of Seville by Gioachino Rossini

The Flying Dutchman by Richard Wagner

Jérusalem by Giuseppe Verdi

(Sarasota Opera Premiere)

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

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

Sarasota Opera’s production of Die Fledermaus in 2006

Die Fledermaus by Johann Strauss, Jr.

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

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

Little Sweep by Benjamin Britten

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

2014 Winter Festival

Il trovatore by Giuseppe Verdi

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

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

The Barber of Seville by Gioachino Rossini 

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

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

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

The Flying Dutchman by Richard Wagner

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

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

Jérusalem by Giuseppe Verdi

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

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

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

  

Sarasota Opera Concert Series

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

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

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

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

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

ABOUT SARASOTA OPERA

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

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

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

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

Sarasota Opera

61 N. Pineapple Avenue

Sarasota, FL 34236

(941) 366-8450

www.sarasotaopera.org