Guinness World Records Day

Sunday, November 15th, is the Annual Guinness World Records Day, so we thought that it would be fun to go share some Guinness World Records from the Opera world:

Oldest Opera Singer (Guinness World Record)

Luo Pinchao receiving his Guiness World Record

Luo Pinchao (b. China, 19 June 1912) began his singing career in 1930 and continued to regularly perform Cantonese opera and celebrated his 93rd birthday and record-breaking career with a performance at the Guandong Cantonese Opera Grand Artistic Theatre, Guangzhou, China on 20 June 2004.

Luo Pinchao passed away on 15 July 2010, at the age of 98.

Longest Opera (Guinness World Record)

Richard Wagner

The longest regularly performed opera is Die Meistersinger von Nürnberg by German composer Richard Wagner (1813–1883). A normal uncut version can entail 5 hours and 15 minutes of music.

The opera The Life and Times of Joseph Stalin by Robert Wilson (b: October 4, 1941) was performed in 7 acts at the Brooklyn Academy of Music on December 14 and 15 in 1973 and required 13 hours 25 minutes. Act 7 was deemed by some to be the best.

The Heretics by Gabriel von Wayditch (1888–1969) has a piano-vocal score that numbers 2,850 pages of music and lasts 8½ hours.

Most Curtain Calls (Guinness World Record)

Luciano Pavarotti

Famed tenor Luciano Pavarotti holds the record with 165 curtain calls after a performance of Donizetti's The Daugher of the Regiment at the Deutsche Oper Berlin. He was applauded for 1 hour and 7 minuets.

He also holds the record for longest applause ever at 1 hour and 30 minutes, most roles performed, most recordings made, most famous living operatic tenor at his 70th birthday in 2005, most money raised by an individual for charities, and another for the best-selling classical album (In Concert by the Three Tenors; the latter record is thus shared by fellow tenors Plácido Domingo and José Carreras).

Most Performed Opera (Guinness World Record)

The 2009 production of Verdi's La traviata at Sarasota Opera

According to Opera Database, Giuseppe Verdi is the most performed composer with 3009 operas programmed, and his opera La Traviata is the most performed opera with at 659 performances over the last five seasons from 2009-10 through 2013-14.

Composer and opera tables are based on counts of performance runs (how many times a work was programmed, not the number of performances) over five seasons from 2009-10 to 2013-14.

ARTISTS CORNER: Mezzo-soprano Kristen Choi

Mezzo-soprano Kristen Choi

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.

ARTISTS CORNER: Bass-baritone Kevin Short

Bass 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 the stages of Stuttgart Opera, Houston Grand Opera, and the Metropolitan Opera House. 

This season, Mr. Short returns to sing the title role in Wagner's The Flying Dutchman, a role he has performed at Indianapolis Opera, the Stadttheater Bern, and most recently in Croatia. Continue reading to learn why Mr. Short enjoys singing the music of Wagner and what he thinks makes Sarasota Opera so special that has kept him coming back since 1991.  

Mr. Short as Nourabad in Sarasota Opera's
2000 production of The Pearl Fishers

Q. Where are you originally from and where do you base yourself out of today?
A. I was born in Washington, D.C. and grew up in Charles County, Maryland. Today I’m based between Basel, Switzerland and Miami, Florida

Q. Why Opera?  What drew you to become a singer?  
A. I had very good instructors/mentors at  Morgan State University (Baltimore, MD), the Curtis Institute (Philadelphia, PA), and Juilliard’s AOC (American Opera Center) that  were quite influential to me as a young singer. But by the time I was a junior at Morgan State University and had won a few young artist competitions, I was certain I wanted to be a professional opera singer.

Q. What singing did you do as a teenager?
A. It wasn’t until I was a junior in high school that I joined the school choir and I also sang a bit in the choir while attending St. Joseph’s Catholic Church.

Q. What are you looking forward to most about performing the role of The Dutchman in this season’s production of The Flying Dutchman?
A. I am most looking forward to literally singing every note of this brilliant score again and exploring undiscovered dramatic possibilities. The role is such a tour de force and the vocal and dramatic demands it places upon me are extremely exciting. I’m also very much looking forward to working with my outstanding colleagues, the musical and directing team, and I’m very interested to hear what the typical outstanding Sarasota Opera chorus will sound like with this masterpiece.

Mr. Short in the title role of Wagner's The Flying Dutchman at Indianapolis Opera

A. What is your process for preparing a role for performance?
Q. I find it very helpful to read the libretto first to get a real sense of the dramatic flow or arc of a piece and how my character factors into the overall equation. What is my relationship  to or how do I feel about each character in the opera whether I interact with them or not? It’s important for me to find out why I say what I say. I then start at the piano playing a section of my part multiple times to begin the memorization process. I move to the next section the next day while always revisiting the section from  the day before. If it’s music that is quite taxing I will often sing it down an octave or better yet, sing it very lightly in the octave. This helps to not start forming bad habits when trying to sing and learn at the same time. Overall there’s a sort of layering process that takes place. I also find it helpful to sing  my music in different tempi and mix things up a bit to not become too fixated with only one way of singing the music. This is espcecially useful if I’ve listened to or am familiar with recordings that could influence my interpretation before I’ve had input from the Maestro and director.

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

Q. Wagner roles seem particularly demanding.  Are there additional challenges in singing a Wagner role compared to other types of roles you have performed?
A. Yes, I find  for example, early Verdi and Wagner to be equally difficult to sing because of the tessitura of large sections of their music. Later Verdi is less problemic in this manner. Early Verdi also can require vocal gymnastics when handling vocal leaps. Dutchman does not as much as early Verdi, but there is the added demand of  having to contend with the thickness of his orchestration during  some musical and dramatic climaxes. A temptation for the Wagner singer is to try to force a bit too much. I think the singer benefits greatly if vocally they approach Wagner as they would singing a good many Italian operas. I also feel that Dutchman is the mist Italianate of his opera.

Q. What do you want the audience to know about the character of The Dutchman?  
A. That there may be a personality flaw that causes the Dutchman to have been so unsuccessful in finding  a true woman for so many years. He’s also not to be pitied as much as some may want to pity him. It’s his own arrogance in defying nature and God that caused his predicament

Q. What would you say to someone who might be intimidated to try their first Wagner opera?  
A. Dutchman is extremely accessible dramatically ,and musically it is some of the most sublime and glorious music one can imagine. If they’ve ever wondered what Wagner is like, then this is the perfect first Wagner opera, and it’s also not a long night at the opera at under 3 hours  from beginning to end with intermission.

Mr. Short as Signor La Rocca in
Sarasota Opera's production of
Verdi's A King for a Day

Q. You have been a steady presence at Sarasota Opera for several seasons.  You must enjoy singing here. What do you think makes Sarasota Opera so special that people return season after season?
A. I absolutely love singing here for so many reasons such as the attention to detail from top to bottom. with everyone working at the company.

Because of the generous amount of time given to the rehearsal process, a singer will really develop and can explore the possibilities dramatically as well as vocally. There are also multiple performances that help facilitate this growth, which is extremely rare for most opera companies in the U.S.  Another reason is that Maestro DeRenzi has created an ensemble of singers and orchestra players that understand the Sarasota Opera music making process. Maestro’s musical language and performers that work regularly in Sarasota create an environment and unofficial system that is the closest thing we have in the States to a typical European fixed engagement system. 


Q. You have performed all over the world.  Do you find audiences behave differently in all the different countries you perform in? 
A. Yes, audiences seem to react in the manner and character of the characteristics of their country.

Mr. Short as The King in Opera Birmingham's production of Aida

Q. Thus far, what is the most bizarre experience you have had during a rehearsal?  During a performance?
A. I don’t want to elaborate, but the whole rehearsal and performance period this past summer performing Dutchman at the Split Festival.

Q. How do you relax in between performances?  What hobbies do you enjoy at home and “on the road”?
A. I enjoy riding my bicycle, drawing,and reading historical books.

Q. What music do you listen to when you are driving in the car?
A. A wide variety.  I enjoy listening to opera but also enjoy jazz, classic R&B, and pop music. 

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 use Skype a good deal while on the road. Facebook also comes in handy for keeping in touch with family and friends.  

Don't miss a note Mr. Short's performances as The Dutchman in this season's production of Wagner's The Flying Dutchman running for 7 performances between March 1st through March 23rd. Tickets are on sale now at www.sarasotaopera.org or by calling (941) 328-1300.