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: Soprano Maeve Höglund

Soprano Maeve Höglund

Maeve Höglund makes both her Sarasota Opera debut and her role debut as Susanna in this season's The Marriage of Figaro. She is described as a versatile artist who has been praised repeatedly in New York Times as “a striking soprano,” “outstanding,” and one who “stands out among singers.” 
She recently made her Carnegie Hall debut as soprano soloist in the New York première of Paul Moravec’s The Blizzard Voices with Oratorio Society of New York. Her recent engagements include starring roles in Gotham Chamber Opera’s production, “Baden-Baden 1927,” featuring works by Weill, Hindemith, Toch, and Milhaud, as well as the role of Atilia in Cavalli’s Eliogabalo.


Maeve Höglund is also a featured singer and vocal educator for Jazz at Lincoln Center’s Jazz Academy, a program offering online tutorial education to middle school students in the New York City area.  

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

A. I was born and raised in Olympia, WA.  Most notably known for its constant rainfall many don't know that Washington State is home to one of the largest temperate rainforests in the U.S. - the Hoh Rainforest located on the Olympic Peninsula.

Though Washington State will always be home, I have made a home in Riverdale which is located in the Northwest part of the Bronx in New York City.

Soprano Maeve Höglund (center) at Carnegie Hall

Q. You have such a unique name. What is its origin?

A. Thank you!  My surname is of Swedish heritage and hails the meaning: hög 'high' + lund 'grove'.  This most certainly had to do with the surrounding landscape of where my family is from.  As for my first name, that is a story I love to speak about.  The short version is the following: Maeve is the Anglicized version of Medb (Old Irish spelling) or Meḋḃ, Meaḋḃ (Middle Irish spelling). Maeve was the warrior Queen of Connacht who hailed from what is modern day Ireland but back then was occupied by the Celts.

Most notably, Queen Maeve was the warrior queen of Connacht, the western province of Ireland. Historically, she would have lived sometime around the years 50BC - 50AD. Because of the time period much of her story has become folklore.  I grew up learning that she was the Queen of the Fairies and little people.  It is said that her father was king of Connacht before becoming High King of Ireland and she became ruler of Connacht after him.  She had five recognized husbands, and ruled for over 60 years. She was also said to be the reason her husbands became kings, that to be the ruler of Connacht they had to be 'married to Medb' as in married to the land.

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

A. I would have to say that I was always drawn to singing, performing, music & theatre.  From a young age I would love to dress up, sing into the fan or tape recorder, and put on shows for my family.  However, the turning point of singing Opera and classical music was when I spent two summers at Boston University's Tanglewood Institute.  During those summers I heard and met Bryn Terfel, Dawn Upshaw, Angela Gheorghiu, Yo-Yo Ma, among others in addition to hearing my first live Brahms Symphony No. 3 (one of my favorites).  This ignited something in me that I'd never experienced before.  It was then that I was changed forever and that my destiny to be a singer found me and vice-versa.


Q. Did you have other career aspirations in the works before you decided on singing?

A. Even though I knew I wanted to go to school to study music after high school, I actually considered becoming a massage therapist.  I was accepted into New England Conservatory, where I ended up attending, and decided to desert my thoughts to be a massage therapist.  After I graduated the Conservatory I was looking at other arenas where I might bring in money and reconsidered massage school.  I even went as far as attending a pre-enrollment workshop for prospective students.  I actually was quite serious about going but then realized it cost just as much to get a massage degree as it did a Master's in Music.  It was another turning point toward my continued commitment to being a singer.

Maeve Höglund as Susanna with baritone
Philip Cutlip as her betrothed Figaro

Q. This is a role debut for you. What are you looking forward to most about singing this role?

A. It is my role debut for Susanna which I'm absolutely delighted about.  In all honesty, I am so in love with Mozart's music that part of me almost enjoys listening to it more than singing it!  Don't get me wrong, this role is absolutely food for a singer's soul, particularly mine.  Mozart was genius in that way, he knew the voice so well and brilliantly wrote notes to text that challenge and demand the highest caliber of singing & performing.

But for me, there are specific moments in the Opera that cause a transcendental & euphoric experience.  It's as if we get transported back into the time of Mozart and get to relive what the artists and audience of that time experienced. This is what I look most forward to as it makes all the efforts toward my work as a performer worth while.

Q. What can you tell us about this character?  What do you want the audience to know about her?

A. Susanna loves life; for a servant lady, she actually has a great one!  Susanna is not only clever but she is completely spontaneous with the ability to improvise on the spot in order to succeed in humiliating her boss (who of course is trying to take advantage of her through an abolished feudal right).  That takes a special kind of understanding about how to hold your body language, facial expressions and tone of voice.  Her ultimate goal is to marry the man she loves without interference.  All the effort she takes to make that happen says a lot about who she is.  A woman of strength, integrity, wits, passion, heart, and humor.  Who wouldn't fall in love with all that?!

Q. How do you prepare a role for performance?

A. The first thing I do is translate my text.  This is not always literal,  as commonly when translating, phrases can mean something completely different when in another language.  This also requires me to translate the other character's text so that I am certain of the context of our conversations.  For me, the text comes first and then the music.  I actually speak the words as if in a play before I sing it. Once I've got the text down, I then add the music, that way there is a flow to the conversation happening.  I then dive into what actions are taking place and doing a bit of character development.  What is Susanna's background and what did her life look like before the moment that the Opera begins.  What are her relationships with all the character's onstage and what are their histories together.  I also do a bit of reading; for instance, The Marriage of Figaro is an adaption of a play carrying the same name by Pierre Beaumarchais. I also do a bit of research to gain a context for the time period.  Once I feel comfortable with all those elements, I'm ready to get the direction and coaching of a Director and Maestro in addition to working moments out with my colleagues.

With all the elements put together and I'm ready to go!

Q. Are there any famous Susanna’s from the past whose interpretations you admire?

A. Yes...I would say Alison Hagley, Anna Moffo, and Mirella Freni.  All were amazing artists in their own right but dissected the Da Ponte text (Mozart's librettist was Lorenzo Da Ponte) like it was a Shakespeare play.  Most importantly, all had incredible interpretations of the text in addition to being Mozart specialists.

Q. In addition to performing, it sounds like you dedicate a significant amount of time to teaching and education. Can you tell us about the type of work you do and why you enjoy it so much?

A. Yes!  Once I finished my Master's degree I wanted to diversify my activities and was encouraged to become a Teaching Artist.  It was a perfect fit for me because I was able to continue my studies and performing while passing along the tradition of music to those schools and programs in need.  As a teaching artist, we would work in underserved communities and/or New York City schools that had eliminated their music programs or only had weekly after school programs.  There is nothing better than to bring music and a creative outlet to kids and adults who yearn for self expression.  This flowered into doing other outreach work with Jazz at Lincoln center alongside my work privately with vocal students.  I really do love how teaching brings full circle all the knowledge and craftsmanship that has been so generously given to me.  As my performing schedule gets more and more busy, I can't commit as much as I used to but I have made amazing relationships with those programs and students I have been so lucky to serve.

Maeve Höglund as Hélène in Hin und züruck
at Gotham Chamber Opera

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

A. That's a great question.  I'd have to say that the most recent bizarre experience was while singing Hélène in Hindemith's Hin und züruck with Gotham Chamber Opera.  The whole premise of the Act I piece is a line of actions and conversations leading up to the discovery of my unfaithfulness and ultimate murder by the hands of my husband.  Then, it all goes in the reverse.  The whole scene is played out backwards, like an old VCR on rewind.  Talk about not only a bizarre experience but a tremendous mind trick!

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

A. Hmmm....I would say the biggest ritual on performance day is to have a relaxing day at home with limited talking and personal interaction.  Prior to curtain call, however, I do a quiet gathering of my mind and allow for all the pieces of the puzzle to take me over.  I end it with a prayer and invitation for all those great singers who have come before me to guide and support me.

Maeve Höglund in The Last Duchess by
Robert Sirota at Symphony Space

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

A. Physical activity!  Nothing is more relaxing and recuperative for me than getting out and being physically active.  I'm athletic and grew up playing sports & doing many outdoor activities.  I love to workout with weights but also love to run, swim, water/snow ski, wakeboard, hike & play tennis.  Many of those fit into the Florida lifestyle but I will unfortunately be missing out on my cold weather activities such as snow skiing. That has always gotten me through winters in New York and I even began instructing last year at a nearby mountain in New Jersey.

Outside of sports I love reading and have brought several books I've been meaning to catch up on.  There is, of course, nothing better than sitting on the beach and getting some good old vitamin D!  I'll certainly be taking advantage of that as often as I can while in Sarasota.  I'm also a big social bug and love being with friends and family.  I happen to have many family friends & friends in Florida and am looking forward to getting to spend time and catch up with them.

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 my performance website (www.maevehoglund.com) which is great for family, friends and fans to keep abreast of my performance schedule.  Facebook and Twitter are certainly the most current interfaces that I use to post updates and stay connected.  I am currently working on putting together a blog section onto my website and will hope to have that up in the near future.  Otherwise, FaceTime, Skype, text, and the phone are such amazing resources we traveling artists have to stay connected.

ARTISTS CORNER: Bass Ricardo Lugo

Ricardo Lugo

With a “resonant” bass sound Puerto Rican bass Ricardo Lugo is a versatile international artist in demand on the operatic and concert scene.  Mr. Lugo makes his Sarasota Opera debut this season in two roles; the Sacristan in Puccini's Tosca and as Bartolo in Mozart's The Marriage of Figaro. Having made his Metropolitan Opera debut as Un Barnabotto in La Gioconda, Ricardo has since sang the role of Hans Schwarz in Die Meistersinger von Nürnberg and has been involved in productions of Ariadne auf Naxos, Khovanshchina, Billy Budd, La fanciulla del West, Adriana Lecouvreur, Macbeth, The Gambler and Salome. 

Continue reading to learn more about how Mr. Lugo got his start in singing as well as why he enjoys the opportunity to sing two different roles at the same time. 

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

A. I’m originally from Ponce, Puerto Rico, the second largest city in Puerto Rico. It is located on the south bordering the Caribbean Sea. In 1998 I moved to New York City to complete a masters degree at The Juilliard School. I live now in Ann Arbor, Michigan with my Wife and my four-year-old son.

Mr. Lugo in Don Pasquale

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

A. What drew me to become a singer was pure luck and taking all the opportunities that were presented to me at the beginning. My original plan was to become a choir conductor and work with kids. I was inspired when I was a kid so I wanted to do the same thing for other students. When I applied to the conservatory in Puerto Rico, I did it as a voice major instead of as an education major due to the fact that at the moment I applied, I was not completely musically ready. In other words, it was easier to enter as a voice major than an education major. However, one thing led to another and here I am. I can’t complain. It has been a fun journey so far.

Q. What sort of singing did you do while you were growing up in Puerto Rico?

A. I started singing with a young chorus at my local church. I wanted to sing more so I joined the chorus at my middle school. I continued while I was in high school where my chorus teacher encouraged me to continue with music.

Q. Did you have other career aspirations in the works before you settled on singing?  

A. To be honest I did not have any other career aspirations before deciding to take music more seriously. Once I started I knew I wanted to continue a career or work in something related to music.

Mr. Lugo as the Sacristan in
the current production of Tosca

Q. You have two assignments at Sarasota Opera this season; The Sacristan in Tosca and Bartolo in The Marriage of Figaro. What are the challenges in alternating between two different roles at one company? How do you avoid suffering from character identity crisis?

A. To tell you the truth I love playing different roles at the same time. In a way it gives me the chance to be very alert, fresh, and stay very focused as a singer-actor. In regards to singing, the two roles are very different, even though they are both character roles, that they don't give me any problems when it comes to singing. The key, in both the acting and the singing, is to keep it fresh and always give more. It is very important to always listen to the instructions but also give more of your talent. That is the key.

Q. You have sung the role of Bartolo before. What do you enjoy about performing this role?

A. I love it because it is a role of in opera that could be played in so many ways. From traditional productions to the more contemporary. Because of that it gives me the chance to expand and elaborate my interpretation in any direction. And it has also a short but very well written aria that showcases many vocal and histrionic qualities.

Q. Unlike many of the other roles in The Marriage of Figaro, Figaro and Bartolo are two characters who carry directly over from The Barber of Seville without much change. In your opinion, how does he evolve as a character from one opera to the other?

A. I think Bartolo has a lot of resentment towards Figaro. He resents that Figaro was the reason Bartolo couldn’t end up with Rosina, who becomes the Countess in Le nozze. That is why at the beginning of the opera he is trying to make Figaro’s life impossible. This is until Bartolo discovers that Figaro is both Marcellina's and his son.

Q. Are there any famous Bartolo’s from the past whose interpretations you admire?

A. They are so many great basses that have sung Bartolo from, Kurt Moll, Paul Plishka, Enzo Capunao to the most contemporary like Ildebrando D’arcangelo. I like to listen and admire all of them because they are or were incredible singers and also great actors.

Mr. Lugo in Fidelio at Michigan Opera Theater

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

A. I start with the libretto. I then like to read the score to know what the composer has done with the words and what instructions he has suggested. Particularly what are the rhythm choices, especially with recitatives. Obviously with the advantage of the Internet and YouTube, I love watching and seeing what other conductors and singers have done with the roles and the music. Not to copy but to have another idea.

Q. In your career thus far, are there any performances or productions you sang in that particularly stand out to you or hold a special place in your heart??

A. I would say any chance or opportunity that you have as a singer should be treasured and should keep a special place in your heart. It is such a blessing and privilege to be able to offer your art to other people that in my opinion all of them are special. However, I just finished a run of Die Meistersinger at the Metropolitan Opera conducted by James Levine. The cast also included James Morris as Hans Sachs and other incredible collegueas. That was a magical experience, not only because who they are but how incredible their minds work and the admirable qualities as colleagues. That I would say was part of my tiny bucket list that by a miracle or talent I can cross off.

Q. What is the most bizarre experience you have had during a rehearsal?  During a performance?

A. I personally have not had that many dramatic experiences on stage. However, I have to say that I have experienced some others while in rehearsals or on stage. They range from fighting between directors, conductors, and singers. In most cases that was “the clash of the egos”. We are so passionate for our art that we sometimes can't find compromises.

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

A. Yes, I do have some rituals before singing. Just before my entrance either in concert, recital or a full opera, I like to take few minutes to think and thank all or most of the people who have made it possible for me to be here. Both people that are with us and the ones that have already departed. After that I kiss any part of the theater three times just for luck. At the end of the performance, I like to kneel down and with my hand rub the floor of the theater to smell the dust. It is like an homage to the sweat and tears that we and many other singers have left there. It is kind of bizarre but those are my rituals. Also I have a tiny elephant that a very important lady in this business gave me a long time ago and I carry it everywhere I sing.

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

A. I love this job because it gives me the opportunity of discovering new places and knowing new people. Every time I go back to a place that I have visited previously or a new place, the first thing I look for are a library, a zoo, cultural attractions happening, farmers markets, and of course places where to eat and enjoy what the city have to offer. At home I love working with wood and creating things. Also I must say I love being a “home handy man.” It so gratifying being able to fix things in your house. From pipes, floors and anything I try to fix or destroy. Like my father use to say, “better to do it yourself and keep that money for fun”.

ARTISTS CORNER: Baritone Sean Anderson

Sean Anderson, one of Sarasota Opera's favorite baritones, returns to Sarasota Opera this season as The Count Almaviva in Mozart's The Marriage of Figaro. In previous seasons, Mr. Anderson has won critical acclaim for his performances as von Eisenstein in Die Fledermaus, George Milton in Carlisle Floyd's Of Mice and Men, and Iago in Verdi's Otello.  

Recent performances have included Belcore in L'Elisir d'Amore at Knoxville Opera, Zurga in Pearl Fishers at Opera Southwest, and Dandini in La Cenerentola at Intermountain Opera. Continue reading to learn more about this dynamic and versatile artist. 

Q. Where are you originally from and where do you base yourself out of today?
A. Born in Manhattan (New York, not Kansas), raised in Mississippi and Ohio. I am currently based in South Carolina with my wife, Erika and our 6 year old, Naomi.

Sean Anderson as von Eisenstein in
Sarasota Opera's Die Fledermaus

Q. Why Opera?  What drew you to become a singer? 
A. My father, Alfred Anderson, was an opera singer. He also taught voice and opera at University of Southern Mississippi and the University of Akron in Ohio.  I first became truly aware of what he did for a living around 7-yrs old during a production of Man of La Mancha in which he played the role of Cervantes/Quixote. I made myself a spear out of a broom stick, armor out of cardboard, and a helmet out of aluminum foil, and marched around the house singing “I am I Don Quixote!” at the top of my lungs. I’ve been hooked on theater ever since.

Q. What singing did you do as a teenager?
A. During my awkward years, I was in marching band and performed Shakespeare with a community theater company. After my voice changed, I was in several high-school choirs, including one that met every morning at 7:10am. I was also in a local show choir, and, of course, nearly every opera Dad’s students performed at the University. I made my operatic debut as Harry in Britten’s Albert Herring when I was 10. 

Q. What are you looking forward to most about performing the role of Count Almaviva in this season’s production of The Marriage of Figaro?
A. The Marriage of Figaro may very well be my favorite opera. Whenever I see it, I hear and experience something new. While I’ve performed just about every section of the role (in concerts, auditions, etc.), I have yet to perform it in a full production. I’m very excited to finally debut Il Conte (the Count), a role that, in my opinion, plays right to my wheel-house.  

Sean Anderson as The Pirate King in The Pirate of Penzance. 

Q. You have sung the role of Figaro in The Barber of Seville but now you are playing the role of Figaro’s employer. Are you afraid of suffering any kind of character identity crisis?

A. Who wouldn’t enjoy getting to be the loveable Figaro? That said, I don’t think I’ll have any problems. It’s always fun to play the antagonist.

Sean Anderson (left) as George Milton in Sarasota Opera's 2013 production of Of Mice and Men. 

Q. What do you find most challenging about this role?  What do you enjoy about it?
A. Without doubt, the recitative. Effective acting while singing so many foreign words is a great challenge. I’m striving for as much accuracy and character as I can achieve. My goal is for the audience to understand the text without having to look at the supertitles.

I enjoy that the Count has so many different moods and colors. Throughout the opera, the character displays a wide spectrum of emotions, perfectly reflected and enhanced by Mozart’s music.

Sean Anderson as the villainous
Iago inVerdi's Otello

Q. You have sung both wonderful comedic and tragic serious roles at Sarasota Opera. Do you have a preference of one over the other?
A. Not particularly, but the variety is nice. At other companies, I’m only regarded as appropriate for one or the other. Maestro DeRenzi has gently pushed me in many directions I wouldn’t have thought to go on my own, for which I’m grateful.

Q. Are there any famous Count Almavivas of the past you admire or enjoy listening to?

A. My father, Alfred Anderson

Q. You have been a steady presence at Sarasota Opera for several seasons.  You must enjoy singing here? 
A. Of course! Any artist wants to work with the best, and the best are consistently found at Sarasota Opera!

Q. What do you think makes Sarasota Opera so special from other opera companies?
A. The rapport we have with each other and with our audience. Seeing so many familiar faces over the years creates a family-like atmosphere that is wonderful to work in.

Sean Anderson as Marcello in
Puccini's La boheme

Q. Do you have any pre-performance rituals?  Performance superstitions?  Good luck charms?  If yes, why?
A. Experience has shown that a light meal (usually a smoothie of some sort), plenty of water, and a quiet hour reviewing my score makes for good performances. I am not superstitious.

Q. How do you relax in between performances?  What hobbies do you enjoy at home and “on the road”?
A. I exercise and read. At home, my hobbies consist of taking care of a 6 year old. On the road, I love to get friends together for board games. 

Q. As you have been to Sarasota Opera for several seasons now, what do you enjoy doing in the area while you are not in rehearsal or performing?
A. Actually, I am not really a beach person, but I do enjoy the many wonderful restaurants in the area. I also frequent the FST (Florida Studio Theater) when I'm in town.

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 Facebook a lot, and my family and I like to talk via FaceTime on our phones. I can’t imagine what life was like for my mother and father while he was on the road during his performing career. He would sometimes only get to make one call to her a week – from a payphone! Unbelievable.

I’m in the process of creating a new website, but you can keep up with my performance antics by liking my profession Facebook page: SeanAnderson, Singer.

Don't miss seeing Sean Anderson as the Count Almaviva in Mozart's most charming comedies The Marriage of Figaro opening Valentine's Day, February 14th and running for 9 performances through March 27th. Visit sarasotaopera.org or call (941) 328-1300 for more information and tickets.