Can You Sing in Elvish?

Youth Opera members sing in several different languages including Italian, French, Russian, and English. But this fall they will try a new one - Elvish - when Sarasota Youth Opera re-mounts it's production of Dean Burry's The Hobbit in November.

Sarasota Youth Opera 2008 production of The Hobbit

The Hobbit is a classic story of an unwitting hero on a journey. Author J.R.R. Tolkien began The Hobbit as a story for his own children. When he wrote it in book form, it became the mark against which all modern fantasy is measured. It is the first book of Lord of the Rings and the inspiration for most of the genre ever since. As in most adventures, our hero must have companions and a wise guide, encounter many hardships, meet more than a few villains, and finally have the chance to triumph. All of these adventures are spiced with magic, colorful characters, terrifying creatures and, of course, music. Even for those who are not familiar with Tolkien's story, the adventure and characters will become old friends by the end of the opera.

Dean Burry, Canadian composer and librettist, has crafted an operatic fantasy through Middle Earth, which Sarasota Youth Opera will perform May 9 and 10. Last fall, the singers were delighted to meet and sing for Burry. His rapport with the chorus members and willingness to answer their many questions were inspiring. Burry wrote the opera in English, adding phrases in Elvish to set the mood.


To help color this fantasy world, Burry has drawn on a variety of musical styles to represent the various groups of characters: English folk songs for the hobbits, madrigals for the elves, Russian folk songs for dwarves, a little bit of Kurt Weill for goblins, and a habanera-tango for the dragon.


Youth Opera members are excited about bring this piece back to the Sarasota Opera stage for everyone of all ages to enjoy!

Performances of Dean Burry's The Hobbit are Saturday, November 15th at 7:00pm and Sunday, November 16th at 1:30pm. Tickets range from $12 - $55 and are available at www.sarasotaopera.org or by calling (941) 328-1300. 

Sarasota Opera's "Die Fledermaus" Hits the Stage!

"Walk, don't run, to get your tickets to this life-affirming show." - Richard Storm, The Herald Tribune
"This is an enjoyable, fresh Fledermaus..." - June LeBell, The Observer

"Hilarious and delightful" - Martin Clear, Bradenton Herald

Sarasota Opera opened it's 55th season on November 1st with a revival of the company's production of Johann Strauss, Jr.'s Die Fledermaus.  Below is the opera synopsis accompanied by photos from the production to give you a glimpse into the show.  

Remaining performances are November 5th, 7th, 13th and 15th.  Tickets can be purchased by calling the box office at (941) 328-1300 or online at www.sarasotaopera.org 

ACT I

The home of Rosalinda and Gabriel von Eisenstein, near Vienna

Soprano Angela Mortellaro as Adele

A man’s voice is heard serenading from the street as Adele, Rosalinda’s chambermaid, reads an invitation to attend Prince Orlovsky’s grand party. Rosalinda refuses Adele’s request for the night off, since Eisenstein, her husband, is scheduled to begin a jail sentence that very evening. The serenader returns; it is Alfred, Rosalinda’s former admirer, who obtains a promise that he may visit Rosalinda later that night.

Soprano Danielle Walker as Rosalinda, Adele's employer

Tenor Joshua Kohl as Alfred, Rosalinda's lover

Baritone Sean Anderson as Eisenstein
Baritone Matthew Hanscom as Dr. Falke

Eisenstein enters, furious with his lawyer Dr. Blind whose incompetence has lengthened his stay behind bars. Dr. Falke arrives to invite Eisenstein to stop at Orlovsky’s party on his way to jail and Eisenstein, anticipating a fun evening ahead, agrees to attend. When Eisenstein goes off to dress, Rosalinda decides that with her husband away and Alfred at hand, Adele should not stay at home after all.

When Adele and Eisenstein leave Alfred returns to seduce Rosalinda. Frank, the warden of the prison, arrives to take Eisenstein into custody but mistakes Alfred for Rosalinda’s husband. Fearing a scandal, Rosalinda persuades Alfred to protect her reputation by pretending to be Eisenstein.

Baritone Steven Condy as Frank, the Warden

ACT II

Prince Orlovsky’s villa

The party is hitting its stride when Adele arrives. Falke promises Orlovsky an amusing comedy called “The Revenge of Dr. Fledermaus.” As soon as Eisenstein is introduced as a Frenchman, “Marquis Renard,” Falke writes a note inviting Rosalinda to the party. 

Mezzo soprano Blythe Gaissert as Prince Orlovsky

Eisenstein and Adele recognize each other, but Adele laughs off his comment that she resembles his wife’s chambermaid. Prison warden Frank is announced as “Chevalier Chagrin.” 

A masked Hungarian countess (in reality the disguised Rosalinda) arrives. 

Smitten by the mysterious noblewoman, Eisenstein promises her his chiming watch if she will unmask, but Rosalinda manages to steal the timepiece away from her husband without revealing her true identity.

To demonstrate her Hungarian authenticity, Rosalinda sings a song of longing for her homeland. 

Falke explains to the amusement of the party guests that once after a costume party, Eisenstein left him drunk and asleep in his bat costume under a tree; when Falke awoke the next morning, he was surrounded by taunting children. Dr. Falke hints that one day he will take revenge on his friend. As the clock strikes, Eisenstein and Frank hurry on their separate ways to the jail.

ACT III

The prison warden’s office

Baritone Constandinos Tsourakis as Frosh, the jailer

Alfred annoys the drunken jailer Frosch with his constant singing. Returning drunk from Orlovsky’s party, Frank falls asleep in his chair. The doorbell rings and Frosch admits Adele. She confesses to Frank that in reality she is the chambermaid in Eisenstein’s house. The bell rings again; Frank, recognizing Eisenstein (as “Marquis Renard”), tells Frosch to hide Adele and her sister.

Eisenstein and Frank reveal their true identities to each other. Frank, however, is skeptical because he has already arrested “the real Eisenstein.” They are interrupted by Frosch who announces a veiled lady. Frank goes to meet her as Frosch shows in Dr. Blind. Eisenstein forces Blind to surrender his clothes and glasses so that he can use them as a disguise.

 

Rosalinda meets with Alfred to warn him that Eisenstein is on his way. Her husband re-enters, now disguised as Blind. Accusations mount until Eisenstein takes off his disguise. Rosalinda confronts him on his behavior at Orlovsky’s party by producing his watch. 

As Falke arrives to enjoy seeing his revenge on Eisenstein, Rosalinda forgives Eisenstein for his flirtations. Everyone decides that the previous night’s confusion can be attributed to Champagne the King!

Conductor - Victor DeRenzi
Stage Director - Stephanie Sundine
Scenic Designer - David P. Gordon
Costume Designer - Howard Tsvi Kaplan
Lighting Designer - Ken Yunker
Hair & Make-Up Designer - Sue Sittko Schaefer
Chorus Master - Roger L. Bingaman

My Summer at Camp: A Voice Teacher's Perspective

Mezzo-soprano Nicole Mitchell was asked to join the artistic faculty of the 2012 Sarasota Youth Opera Summer Camp just this past June.  Her primary responsibility was teaching voice.  Ms. Nicole, as the campers called her, has been both an apprentice artist and studio artist with Sarasota Opera and won critical acclaim for her performance of Tituba in the 2011 production of Robert Ward's The Crucible.

We asked her to write up what her experience was like and the challenges she faced working with such young singers.  Here is what she had to say: 



Mezzo-soprano Nicole Mitchell

When I was asked to be a part of Sarasota Opera's 2012 Youth Opera Summer Camp I have to say I was THRILLED!!!  As thrilled as I was though, I was also a bit nervous and perplexed at how I would be able to relay information on the process of singing to almost four dozen children- whose ages ranged from about seven to eighteen years old. Overall, I was excited at the opportunity to share what I've learned as a classically trained singer, but I was also excited to be on the receiving end of knowledge as well. Nothing hones a teacher's skills better than their students. 

Learning how to sing in the classical style is more than just learning how to sing a song without a microphone. It is about what one does physically, emotionally and mentally to prepare BEFORE using the vocal cords.  Teaching voice to a group is a challenge in that you must find the simplest way to convey knowledge to over forty minds about posture, good breathing technique, pitch accuracy, scales, diction and stamina...to name a few, in a limited amount of time. 

Over the three-week period I saw the young singers, some with more abandon, others a little shyer, take chances in trying to do what was asked of them during different exercises.  It was great to see youthful courage, enthusiasm and imagination being used from the many. At times it was a bit daunting as they were asked to combine the information they'd received, not only from my instructions, but that of their other teachers as well. The art of an artist at any age is the effective merging of their talents with their acquired skills and techniques to make a performance look "easy".  

Members of the Sarasota Youth Opera perform a
selection from Little Nemo in Slumberland
on the last day of camp.

In the end, what I was most proud of for each student is that they stepped out of their comfort zones and tried and succeeded! They gave their ALL which is what great performers do. I was thoroughly impressed at their willingness to put their best creative selves forward. In the camp's final exhibition, the young artists sang, emoted and moved in character to tell the stories they were involved in from excerpts of Puccini's Turandot, Verdi's Macbeth and the upcoming children's opera Little Nemo in Slumberland by composer Daron Hagen. I was SO proud!!!

What I stressed most for the young artists during our three weeks together is that they try their best in all they do. Try, just try. You can't go wrong from there because you'll learn something new no matter what.  Now isn't that good advice for us all? It was good for me!

-- Nicole Mitchell

Youth Opera Blog Cancelled

Due to some technical issues, Zoë Fry has been unable to blog about the Sarasota Youth Opera's Tuscany trip in the Sarasota Herald Tribune as planned.

Once the Youth Opera has returned she will be writing a recap for the paper.

We apologize for the inconvenience.