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.

Sarasota Opera Visits Verdi - Last Leg

The final leg of Sarasota Opera’s Verdi Pilgrimage, took the group to the beautiful city of Venice.

Teatro La Fenice

Venice figured large in Verdi’s career. Several of his greatest operas were premiered in the city including Ernani, Attila, Rigoletto, La traviata,  and Simon Boccanegra. It was in the city he also met one of his closest collaborators and friends, librettist Francesco Maria Piave. In another act of the composer’s charity, Verdi supported Piave and his family after the poet was struck down by a stroke and left paralyzed in 1867, until his death in 1876.

The Sarasota group traveled from Parma to Venice by bus and then transferred by water taxi to the Bauer’s Hotel, near the Piazza San Marco. The afternoon was taken up with touring the Ca’ Rezzonico, a palazzo which once included Robert Browning and Cole Porter as its tenants and is now one of the finest museums of art in Venice.

Members of the group at dinner at Cipriani overlooking St. Mark's Basilica

Following the tour we adjourned to the island of Giudecca and the famous Cipriani Hotel where we had a private dinner overlooking the Grand Canal.

Despite the rain, the following morning a few hardy souls toured the Basilica of St. Marks, the Rialto Market, and the Scuola Grande di San Rocco, a building for which Tintoretto provided all of the artwork, including some of his greatest masterpieces.

The group in front of the Teatro La Fenice

A performance at the Teatro La Fenice was on tap for the evening. The famous theater, site of the Verdi premieres (including the opening night fiasco of La traviata) in Venice, is named after the “Phoenix.” The beautiful, but ill-starred venue has had to repeatedly “rise from the ashes” as fires have destroyed the theater three times, in 1792, 1836, and most recently in 1996. It is one of the most historically important theaters in the country and one of the most ornate.

The artistic director of the Teatro La Fenice, Fortunato Ortombina, gave some insight into the theater and the production of Puccini’s Madama Butterfly that we were about to see. Coincidentally, Mo. DeRenzi recognized Mr. Ortombina from his earlier work with the Institute of Verdi Studies in Parma.

Maestro DeRenzi, Teatro La Fenice Artistic Director Fortunato Ortombina, and Executive Director Richard Russell
inside Teatro La Fenice

The performance of Puccini’s masterwork provoked much conversation among the group over dinner at the Taverna La Fenice, after the opera. Through a partnership with the Art Biennale, the set design was by visual artist Mariko Mori, whose futuristic aesthetic is reflected in the giant Möbius that dominates the spare stage and which inspired a modernistic interpretation of the opera. Notwithstanding the varying opinions of the production, everyone was glad to have experienced opera in this historic theater.

The interior of Venice's Teatro La Fenice with Mariko Mori's set for Act I of Madama Butterfly on stage

The following day, the last of the trip, took the group to Lake Orta and the beautiful Villa Crespi. Everyone assembled in the 2-Michelin starred restaurant for a delectable dinner and a chance to reminisce about the exceptional experiences of the past 9 days. Even Mo. DeRenzi, who had been to many of places we visited before, had never been to parts of the Casa Verdi in Milan and Villa Verdi at Santa’Agata that are not usually open to the public, as well as the opportunity to meet one of the composer’s descendants. Everyone was sorry to see the trip end and spirits were hardly dampened when the maître’d of the restaurant felt the need to cut off our attempt to pay homage to Verdi by singing “Va pensiero sull’ali dorate” from Nabucco one last time.

It was an experience that no one will soon forget and a fitting start to the season that will bring the Grand Finale to Sarasota Opera’s 28-season long “Verdi Cycle.”

Sarasota Opera Visits Verdi (Day 2)

The entrance to the Sala Verdi

The Sarasota Opera Visits Verdi began the evening of the second night with a reception in the “Sala Verdi”, the suite that was the composer’s home in Milan for 30 years and where he died in 1901. When Verdi wasn’t using it, his presumptive heirs like Pietro Mascagni could gain access, but when Verdi wanted it, the current occupant was asked to leave so the composer could have its use. In recent years luminaries like Oprah Winfrey have occupied the prized room in the hotel.

The reception was a precursor to attending a new production of Giacomo Puccini’s opera Turandot at La Scala. Unfortunately Sarasota Opera Artistic Director Victor DeRenzi and Executive Director Richard Russell had to leave the gathering early to meet La Scala’s sovrintendente Alexander Pereira and Director of External Affairs Dr. Donatella Brunezzi. Mr. Pereira welcomed the Sarasotans to La Scala. Mr. Pereira and Dr. Brunezzi already knew about Sarasota Opera and the company and listened with interest as Mo. DeRenzi and Mr. Russell talked about the end of their Verdi Cycle and plans for the future.

Puccini’s opera Turandot received its world premiere at La Scala in 1926, a year and a half following the composer’s death. Left unfinished at the time of Puccini’s demise, it was completed by composer Franco Alfano for the first performance. More recently composer Luciano Berio took another stab at the ending and it was in this version that the Sarasota Opera group saw it on Wednesday night.

Promotional poster for Turandot at La Scala

The performance starred Swedish soprano Nina Stemme in the title role, with Aleksandr Antonenko as Calaf and rising young Italian soprano Maria Agresta as Liù.  Music director designate Ricardo Chailly conducted. The production, much more conceptual than the traditional production seen in Sarasota in 2013, was directed by Nikolaus Lehnhoff. The audience was extremely enthusiastic about the singers but the visitors from Sarasota were surprised to hear booing as the conductor took his bow. It’s not something we are used to in Sarasota, but a staffer at La Scala warned everyone that it happens often in Italy.

Puccini's Turandot at La Scala

Click HERE to continue onto day 3 and 4 of Sarasota Opera's adventures in Italy...

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. 

Sarasota Opera's 55th Season: The First Week

The 2013-2014 Sarasota Opera Winter Festival Season has officially begun!  Our Apprentice and Studio artists as well as our production staff have arrived.  Rehearsals are underway, costume fittings have commenced, and the sets for our four dynamic productions are all delivered.  We thought you would enjoy seeing some photos of all the activity around the opera house during the first few days of the season.

 Executive Director Richard Russell and Artistic Administrator Greg Trupiano officially welcome the 2014 Winter Apprentice and Studio Artists to Sarasota Opera.  

Welcome the 2014 Winter Festival Season Apprentice and Studio Artists

Maestro Roger Bingaman, Chorus master and head of the Apprentice Artist Program, 

discusses the seasons upcoming concerts and outreach performances.  

Rob Holland, Assistant Artistic Administrator, does his best to avoid the camera.

In addition to the start of music rehearsals, the costume shop and backstage crews are busy building and assembling the sets and costumes for this season's productions.  

Casey Costello, one of our Drapers, works on cutting material to begin building a costume. 

Studio Artists Catheryne Shuman, soprano, and Marvin Kehler, tenor, 

being fitted in their costumes for this season.  

The Dutchman's ship for Wagner's The Flying Dutchman

A set piece from Rossini's The Barber of Seville

Daland's house from Wagner's The Flying Dutchman

The Wonderful Bradenton Opera Guild and Sarasota Opera Guild hosted a welcome dinner 

for our artists, artistic staff, and production team.  

Members of the Bradenton and Sarasota Opera Guilds

All the enthusiastic recipients of the Guilds generosity.

The smiles on their faces must mean that they are ready for an exciting season of wonderful music making

We hope you have enjoyed this insider's glimpse into the start of Sarasota Opera's 55th season of bringing grand opera to Florida's gulf coast.  We will continue to bring you more pictures from around the opera house as the season continues.  Subscriptions and single tickets are available online at www.sarasotaopera.org or by calling the Sarasota Opera Box Office at (941) 328-1300.  Don't let yourself miss a note of this exciting season!  

Sarasota Opera Celebrates Verdi's 200th Birthday in Style!

On October 10, 2013, members from the Sarasota Opera community and the Sarasota community in general gathered to celebrate the 200th birthday of the legendary Italian composer Giuseppe Verdi.  The celebration began at the Selby Public Library with the unveiling of several Verdi themed exhibits followed by a musical presentation.  Immediately following the library presentation, guests were directed to follow a red carpet across the street to the Sarasota Opera House to continue the celebration.  

At the Opera house, guests enjoyed an "All Access Pass" to Sarasota Opera which included backstage tours, costume and make-up demonstrations, conversations with our stage directors, and several musical programs in the courtyard, atrium and on the mainstage.  The event rounded out with a community sing of Verdi's famous chorus "Va, pensiero" from his opera Nabucco in the opera house.  

Here are some photos from the day:

Red carpets were rolled out to greet our guests and guide them from the Selby Public Library to the Sarasota Opera House. Special thanks to the Sarasota Film Festival for loaning us the carpets.

Bass-baritone William Roberts performing before a captive audience at the Selby Public Library 

We had over 300 people in attendance who were the first to see the
Verdi exhibit and enjoy the musical performances.

Tenor Marvin Kehler and soprano Jennifer Townshend offered the famous Brindisi from Verdi's La traviata

This was the crowd waiting to get into the Opera House to begin the birthday celebration

Guests enjoyed backstage tours with Director of Production Chris Van Alstyne...

and music rehearsal for the community sing of Verdi's famous chorus "Va, Pensiero" from Nabucco

Audrey Bernardin, from our wigs and make-up team, offered demonstrations on applying stage make-up.

Beverly Hogan Fleck, from our wardrobe staff, telling guests about costumes at Sarasota Opera.

Linda Carson of ABC 7 Sarasota - WWSB reported live from the Opera House.

Tenor Jon Jurgens, mezzo soprano Samantha Weppelman, soprano Jennifer Townshend and
baritone Jesse Malgieri performing the famous Act IV quartet from Rigoletto.

Their captive audience.

Soprano Alexandra Batsios singing "Sempre Libera" from Verdi's La Traviata to a captive audience.

Mezzo-soprano Briana Elyse Hunter singing "Una voce poco fa" from Rossini's The Barber of Seville.

The courtyard audience.

Sarasota Youth Opera, artists, musical staff, and audience all joined together to sing Verdi's famous chorus "Va, pensiero". Maestro DeRenzi conducted from the pit.

The cupcakes that greeted guests on their way out of the theater.

Verdi's 200th birthday cake.  

Tickets for the 2013-2014 Sarasota Opera Season are available by calling (941) 328-1300 or on our website at www.sarasotaopera.org.  Don't miss a note of this spectacular season of opera!