ARTISTS CORNER: Soprano Brenda Harris

ARTISTS CORNER:  Soprano Brenda Harris, who has sung leading roles on major stages around the world, will make her Sarasota Opera debut as Turandot in this season's opening production of Puccini's Turandot which opened February 9th and runs through March 23.  We asked Ms. Harris to answer a few questions about her life as a singer and why she chose Sarasota Opera as the opera company to debut this iconic role.



Brenda Harris, soprano.  Photo by Lisa Kohler

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

A.  I sang as soon as I could talk and gave “recitals” for my family starting at the age of 3.  That said, I really thought I would be an educator (high school music teacher) and probably had my "aha" moment when, during college, I got into the chorus at Opera Theatre of St. Louis.  I grew up on a pig farm in a town of 400 in Illinois (my parents still live and farm there) which is only an hour away from St. Louis so it seemed like an interesting summer job.  Little did I know I would meet my husband that first weekend of rehearsals AND that he would also be my one and only voice teacher!  From that first rehearsal, I knew I wanted to do this opera thing forever!

Q.  What are you looking forward to most about performing this particular role?

A.  This is my first time with Turandot so that’s a hard question.  I adore the music and I feel sure it will be fun to sing.  I have to admit I also think it’ll be cool to be decked out in her costume and make-up!

Q.  What made you choose Sarasota Opera as the first place to present the role of Turandot?

A.  I’ve heard a lot about the company over the years and so I know that things there are done with care.  My husband and I knew Stephanie and Victor many years ago when we first started singing and I reconnected with Stephanie a few years ago when she directed me in a production of ‘Macbeth’.  I look forward to spending time professionally and personally with both of them.  Also, Sarasota Opera does  many performances.  That’s a big draw to me.  One never really knows if a role is a match without getting to try it out a number of times.  I figured this job with this many performances would really let me know if I liked it and it liked me!

Ms. Harris as Turandot in Sarasota Opera's 2013 production.  Photo by Rod Millington

Q.  Is there something unique about your process when preparing a role for performance?

A.  I think all artists probably have a unique process with regard to preparation.  I’ve talked to many of my fellow artists about it and we all seem to have different paths.  I’m a very visual person so I’ve learned over the years to put absolutely EVERYTHING in my score.  One of my greatest fears is losing my scores.  I have markings upon markings that have been painstakingly gathered through research, lessons and coachings and my score becomes almost an appendage when I’m learning.  The other thing I know about myself is that memory and staging are inextricably linked.  I loathe memorizing without staging and yet, of course, it has to be done.  But, once I have something on its feet, it’s pretty much in my head, too.

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

A.  I listen to lots of recordings.  I know many singers who don’t but I feel knowing the history and tradition of other singers is absolutely essential.  I have a friend who is a great collector and he provides me with wonderful things that aren’t commercially available so I do a lot of listening to live and/or historical recordings.  I read source material if I can find it, and also read about the composer’s life/mindset at the time of the opera’s composition.  Again, I prepare in advance as best I can but I find there’s nothing like staging.  Once I’m in a room with my colleagues and start to respond to them, the production and the act of singing the role, things move quickly forward!

As Vitellia in La clemenza di Tito at the Metropolitan Opera

Q.  How does your preparation process differ between a role you have performed before and a role you are doing for the first time? 

A.  Greatly!  All the time consuming first work is done and in my very marked up score.  A lot of pressure in the process is removed and I try to apply whatever vocal changes/improvements I’ve made in the ensuing time to that next set of performances.  It’s faster and a lot more fun!

Q.  What knowledge about the character of Turandot do you want the audience to leave with after the performance? 

A.  That she’s a woman.  Just a woman.  She’s a woman who has allowed her fear to drive her to desperate acts and once her heart is opened, we see her and her humanity.

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

           

A.  Oh my gosh, I could write a book!  The first that comes to mind was a tenor’s pants falling DOWN to his ankles in the curtain call of a performance!  Yes, true!  Very recently, I was singing Leonore in ‘Fidelio’ and in the final prison scene the gun barrel snapped off during a performance in the final Quartet.  I’ve nearly lost wigs, I’ve slipped and fallen on a raked stage covered in sand, I had the organ fail in the church scene in ‘Faust’ and those are just a few!  And during rehearsals?  Don’t even get me started.  I ADORE what I do for many reasons; the pure joy of singing, the thought that maybe what I’m doing touches people in the audience the way singers touched me when I first started studying opera, but one of the other great things is the fun we have in rehearsals.  I have so many friends and colleagues with whom I enjoy working and most of the time, it’s because we can make each other laugh.  I truly believe great art happens in that atmosphere.



Ms. Harris in the title role of Samuel Barber's Vanessa in Palermo

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

A.  I don’t consider myself to be a superstitious person but somehow, a few years ago, I got into the habit of playing games of Freecell on my computer on performance days and that evolved into a little ritual.  I must win the majority of games before I go to the theater!  My husband and I laugh about it but still, I play until I win!

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

A.  I absolutely love being home!   I love to putter at home improvement projects (I’m a big DIY gal!) and I adore cooking and baking.  I can spend hours in our kitchen and be happy as a clam.  We live near the ocean so beach walks are a big part of our lives, too.  And I’m a crossword and suduko nut!

Ms. Harris as Lady Macbeth in
Edmonton Opera's Macbeth

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 on Facebook but I was dragged into it kicking and screaming by some colleagues at a job a few years ago.  I admit to enjoying it now.  I do have a website (BrendaHarrisSoprano.com if you want to visit!) as well.  But, I’m a big one for e-mail.  I’d say that’s the main way I stay in touch with my friends and family.

Q.  As we have people that travel from around the United States to attend performances at Sarasota Opera, are there any towns or cities that you have a strong connection with whether from growing up or attending school?

A.  I absolutely adore the Twin Cities.  I’ve done a dozen productions or more at the Minnesota Opera and I have many, many friends there.  It’s almost like a second home.  And call me crazy, but I adore winter and all that goes with it.  Most of the shows I’ve done in Minnesota have been in January and I love it!  Also, as I mentioned, I love St. Louis and have fond feelings for my time there.  And I’ve spend the last 4 summers at Des Moines Metro Opera and I go back there this coming summer.  I love being there and getting to work with the young artists as well as perform.

  

Don't miss Brenda Harris' tour-de-force performance as the ice princess Turandot now open through March 23rd.  Tickets are available at www.sarasotaopera.org or by calling (941) 328-1300. 

Bass-Baritone Kevin Short Returns to Sarasota Opera



Bass-baritone 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 Stuttgart Opera, Houston Grand Opera, and the Metropolitan Opera House. 

This season, Mr. Short returns to sing the role of Signor La Rocca in Sarasota Opera's upcoming production of Verdi's charming and lively comedy Un giorno di regno (A King for a Day), Sarasota Opera's third opera this season and the 29th installment of the Verdi Cycle, opening March 2nd and running through March 24th.   

 

Mr. Short as Nourabad in the 2000 production
of Bizet's Les Pêcheurs de perles (The Pearl Fishers).



In North America, Mr. Short has performed multiple roles with the Metropolitan Opera, Lyric Opera of Chicago, Houston Grand Opera, Los Angeles Opera, Washington Opera, Seattle Opera, Opera Company of Philadelphia, Canadian Opera Company, Vancouver Opera, Edmonton Opera, Santa Fe Opera, Sarasota Opera, Opera Pacific, Lyric Opera of Kansas City, Indianapolis Opera, Utan Symphony, Opera de las Americas, Opera Memphis, Berkshire Opera Company, Nashville Opera, Opera Omaha, Opera Birmingham, New Jersy Opera Festival, Kentucky Opera and the Opera Theatre of St. Louis to name a few of the many companies where he's performed.




Mr. Short in the title role of Sarasota Opera's production of Verdi's Oberto, conte di San Bonifacio




Making Switzerland his home now for a number of years, Mr. Short has also performed in many european theaters such as Paris' Opéra Comique, Théâtre Caen, Grand Théâtre de Luxembourg, Oper der Stadt Köln, Staatstheater Stuttgart, Theater Aachen, Teatro Comunale di Bologna, Teatro Lirico di Cagliari, Theater Basel, Theater Bern, Theater St. Gallen, and Teatro Nacional di São Carlos in such roles as Attila, Philippe in Don Carlos, Leporello in Don Giovanni, Méphistophélès in Faust, Osmin in Die Entführung aus dem Serail, Escamillo in Carmen, Nick Shadow in The Rake's Progress, Figaro and Il Conte in Le Nozze di Figaro, and Porgy in Porgy and Bess.

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



Mr. Short as The King in Verdi's Aida at Opera Birmingham



Mr. Short as Leporello in Mozart's Don Giovanni at Santa Fe Opera

Don't miss a note Mr. Short's performance as Signor La Rocca in this season's production of Un giorno di regno (A King for a Day) at Sarasota Opera.  There will be seven performances between March 2nd and March 24th!  Tickets are on sale now at www.sarasotaopera.org or by calling (941) 328-1300.   

Sarasota Opera Goes to the Dogs!

Sarasota Opera holds dog auditions for its

upcoming production of Carlisle Floyd’s Of Mice and Men

Sarasota Opera held auditions for a dog that is needed for its upcoming production of the opera Of Mice and Men on Tuesday, February 5, 2013 from 2:30 p.m. to 4:00 p.m.

The audition took place at the Sarasota Opera House.   Auditionees and their owners gathered in the Sarasota Opera Courtyard.  Each auditionee was assigned an individual time slot during which they were video taped following commands and interacting with the performers.

The auditions were covered by Linda Carson and ABC-7 Suncoast News.  Click the link below to watch! 

Sarasota Opera holds a doggie casting call - Sarasota News | Mysuncoast.com and ABC 7: Local News

The dog is described by the characters in the opera as a “good herding dog”.  The dog is also described as old, ragged, and slow.  In the opera, the dog belongs to the character of “Candy”, who will be sung by bass Andrew Gangestad.  As the Act I synopsis reads:

“A furor erupts in the bunkhouse over Candy’s old smelly dog, with Carlson and the ranch-hands demanding that the dog be shot rather than remain in the bunkhouse.  Candy protests, but is eventually overwhelmed by the shouts of the men, and Carlson takes the dog outside and shoots him.”    

A medium to large size animal is preferred. Additionally, the dog needs to follow “sit” and “place” commands, and be comfortable around loud music.  No other special tricks are required.

Rehearsals will begin in mid-February.  The chosen animal will be compensated for their time.

Don't miss performances of Carlisle Floyd's opera Of Mice and Men opening March 9 through March 23rd.  Tickets are available online at www.sarasotaopera.org or by calling (941) 328-1300!

ARTISTS CORNER: Tenor Jonathan Burton

ARTISTS CORNER:  Tenor Jonathan Burton will make his Sarasota Opera debut as Prince Calaf in this season's opening production of Puccini's Turandot opening February 9th.  We asked Mr. Burton to answer a few questions about his life as a singer and what he is looking forward to in his first season at Sarasota Opera.



Tenor Jonathan Burton

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

A.  I took a voice lesson at 17 for the school musical. The teacher said I should consider opera. At the time I was a guitarist in a rock band, so it seemed far-fetched.  I suppose it was a recording of La bohème which really set the hook in deep.

Q.  What are you looking forward to most about performing this particular role?

A.  Frankly, everything.  This is my dream role.  Calaf to me is the pinnacle of great Italian tenor roles.  Ever since I saw it at the Met in 1995, and got Corelli's famous recording, it's been the tops for me.  And the fact that my first one is with Maestro DeRenzi and directed by Ms. Sundine is truly a gift!!

Q.  Is there something unique about your process when preparing a role for performance?

A.  Probably not unique among singers. No real tricks, or extra measures.  Mainly, I try to visualize the scenes in my mind.  Make sure I have something to say.  I explore the composers simple and true intention, and work to convey it.

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

A.  I love to read what great tenors from the past have said about performing the role, get their insights, and also learn what audiences love/loved about it.  At the end of the day, that's why I'm here.  I hope to give fans of opera what they want and need.



Mr. Burton as Don José in Bizet's Carmen

 Q.  How does your preparation process differ between a role you have performed before and a role you are doing for the first time? 

A.  Huge difference!! Learning a new role is a HUGE process.  Translations, acting, characterization, musical searching and defining, exploring multiple options, listening to various interpretations. When I sing a role I have already sung before, there are always new things to consider, but the part already lives inside you.

Q.  What knowledge about the character of Prince Calaf do you want the audience to leave with after the performance? 

A.  That he believed in his mission and would not let anything stop him until he achieved success.  He believed that his great capacity to love could move mountains, and tame the ferocious Turandot.

Q.  The aria “Nessun Dorma” has been sung by some of the vocal greats…  from Corelli to Pavarotti to even Aretha Franklin!  Do you feel any kind of elevated pressure in having to perform such a well known aria? 

A.  Well...now that you put it THAT way!!!  Haha.  No, not really.  Those guys sang every thing else I sang too! This is a very famous aria now, but, to me it is a one aria among many, and an essential part of this opera.  In context it holds no special terror.  In fact I'm honored to be able to present it.  However...in a concert, it can be a touch nerve-wracking!!  The audience starts to murmur as soon as you say the first lines.



Mr. Burton singing the role of Cavaradossi in Puccini's Tosca

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

A.  Once, while playing Spoletta in Tosca, the fellow playing Scarpia threw me extra hard on opening night and I left the ground.  When I landed, my feet shuffled trying to catch hold and I slid under his desk from where I had to deliver my next line!!​

The following week, another performer missed his entrance and I turned my back and sang his first two lines till he arrived...quite shaken!!!

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

A.  No, I'm afraid I don't. Just...pace around and mumble prayers!!

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

A.  My apple electronics are my dear friends. They hold my music, books, tv shows, and movies. I spend time with my ipad and a big pot of tea.  Also, I make wire-wrap jewelry and rosaries, and write fiction.

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 do have Facebook and twitter. And try to update them frequently.  With my family, I rely on text messes and FaceTime, which is video chatting.  My kids love it.

Q.  As we have people that travel from around the United States to attend performances at Sarasota Opera, are there any towns or cities that you have a strong connection with whether from growing up or attending school?

A.  I'm from a small town in Ohio, Portsmouth. It's dear to me. The cities in which I've performed all have their own faces and personalities which are dear to me. For instance, Sarasota will always be the home of my debut of my favorite role, and daily here I meet new fantastic people who I hope to retain as lifelong friends.

Don't miss Mr. Burton as he makes his Sarasota Opera debut in this season's production of Puccini's Turandot opening February 9th!  Get your tickets today at www.sarasotaopera.org or by calling the Sarasota Opera box office at (941) 328-1300.

"Of Mice and Men": Spoken and Sung

John Steinbeck's classic work brought to life 

in both word and song! 

The New Fence, 1945 (tempera on canvas laid down on plywood), 
Thomas Hart Benton, (1889-1975) / Private Collection/
Photo © Christie's Images/The Bridgeman Art Library

John Steinbeck published his novel Of Mice and Men (along with a stage adaptation) in 1937 and now, as required reading in many schools, it is one of the best known works of American literature.  It was adapted into an opera by Carlisle Floyd in 1969 and, since its debut at Seattle Opera in 1970, has become one of the most frequently produced American operas today.  So, how do the two compare?

You have the chance to find out by attending our innovative Spoken and Sung presentation Monday, January 28, at 5pm at the Sarasota Opera House.  Members of the FSU/Asolo Conservatory for Actor Training program and Sarasota Opera Studio Artists program will team up to perform parallel sections from each work.  This event will be a great way to experience elements of both works at the same time:  the actors will read excerpts from Steinbeck's play followed by a performance of the corresponding scene from Carlisle Floyd's opera.

This presentation will be narrated by Sarasota Opera's Artistic Administrator Greg Trupiano. Tickets for this unique event are $5 and can be purchased either online at www.sarasotaopera.org, by calling the box office at (941) 328-1300, or at the door the day of the performance.  

Meet our Performers
The FSU/Asolo Conservatory for Actor Training is a three-year graduate program culminating in a Master of Fine Arts degree.  Only twelve students are chosen each year from the thousands who audition nationwide to work in a program that combines both rigorous classroom training with guest artist workshops and professional production experience.  

Asolo Conservatory student Zak Wilson
will portray the role of George

Asolo Conservatory student Jacob Cooper
will portray the role of Lennie

 

The Sarasota Opera Studio Artists program is designed for emerging artists who serve the main stage opera productions by covering principal roles and performing supporting roles. Only sixteen artists are chosen each season from a nationwide audition search.  

Studio Artist baritone Brian Major
will sing the role of George

Studio Artist tenor Adam Cromer will sing
the role of Lennie

And don't miss seeing Carlisle Floyd's iconic work in its entirety opening March 9th and running through March 23rd as part of Sarasota Opera's 2013 Winter Opera Festival! Tickets start at only $19 and are available at www.sarasotaopera.org or by calling (941) 328-1300.

ARTISTS CORNER: Soprano Maria Natale

ARTISTS CORNER:  Soprano Maria Natale will make her Sarasota Opera debut as the slave girl Liù in this season's opening production of Puccini's Turandot opening February 9th.  We asked Ms. Natale to answer a few questions about her life as a singer and what she is looking forward to in the upcoming season.   

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

A. Well, I knew I wanted to be a singer since I was pretty young. My grandfather sang opera and every time I would go to his house I distinctly remember opera playing. He would usually be playing Tosca, Aida or Wagner. The “ah ha” moment was probably when I was ten years old. My grandfather gave me a CD of Joan Sutherland singing “Casta Diva” from the opera Norma. He always would say that I would be an opera singer one day, so I should start listening to it. I listened to that CD every night to fall asleep. I remember thinking her voice sounded like and angel. Ever since then I was hooked. About that time I started singing in school musicals. I sang Snow White in a production in 5th grade and received a note from the directors which read, “see you at the Met in the next twenty years or so." I came home and remember asking my mom, “What’s the Met?” I keep that note in my wallet to this day.


Q. What are you looking forward to most about performing this particular role?

A.  I have wanted to sing this role for such a long time. It is so emotional and brings so many tender moments to the opera. Every day I feel like I have to pinch myself because I can’t believe that I get to sing this beautiful music! I am also really looking forward to my death scene (not to sound morbid or anything). This is the first time I have ever “died” on stage, I am kind of excited out it!


Q. Is there something unique about your process when preparing a role for performance?

A. I don’t think that there is anything really unique about my process when preparing a role. I first make sure that I read the libretto and translate so I know every word. When I start learning the music, I usually begin from the end of the score and work my way backwards to the beginning. If I start at the end, I tend to memorize more quickly and don’t get to caught up in the first few pages for too long.

Ms. Natale in rehearsal for Turandot at Sarasota Opera

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

A. I always find historical background of the opera very helpful. If there is a play that the opera is based on, it helps me to read it to understand the story and characters even more.


Q. How does your preparation process differ between a role you have performed before and a role you are doing for the first time?

A. Learning roles for the first time is all I really know at this point! Every role I learn has had a different process. I am still trying to figure out what works best for me.


Q. What knowledge about the character of Liù do you want the audience to leave with after the performance?

A. I don’t want people to leave feeling sorry for Liù. She makes a stand for herself, and in some ways, she gets what she wants. In the beginning, Liù wouldn’t have dreamed about even speaking to the Prince as a lowly slave girl. At the end, his fate and the fate of Turandot are in her hands. That’s an impressive accomplishment for a slave girl. For one moment in her life, she has all the power.


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

A. When I was younger, I used to get wrapped up all on pre-performance rituals, like thinking that I MUST eat pineapple before every performance, like it had “magical powers” to help me sing. Now I just make sure that I am well rested (sleep is key!) I stay hydrated and try to do some sort of physical activity the day of a performance. A nice relaxing walk or yoga helps me get ready for an upcoming performance.


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

A. I love yoga. It really helps me relax since I can be high strung at times! I also love to cook and entertain for my family and friends. Nothing beats cooking a big Italian meal with a nice glass of wine.

Q. People are sometimes shocked when they find out opera singers don’t just listen to opera exclusively. Do you have other types of music you enjoy? Any other types you enjoy singing?

A. For the most part I listen to classical. I listen to a lot of instrumental music. I could listen to the Brahms symphonies all day long. My husband and I also like to listen to Italian pop music and the old classics of Frank Sinatra and Dean Martin.


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 always stay connected with my family either through phone, text or Facebook. I am a very social person, so I like to be in contact with my friends and family. It is very easy for me to get lonely! I talk to my mother every morning without fail and my husband and I recently started using Facetime through the Ipad and Iphone.

Q. As we have people that travel from around the United States to attend performances at Sarasota Opera, are there any towns or cities that you have a strong connection with whether from growing up or attending school?

A. A little piece of me will always be in San Francisco. I went to the music conservatory there and it is the place that I first fully immersed myself into music. It is so beautiful there, especially if you can get a day without the fog! Every part of town is so unique and special. Currently I live in Knoxville, Tennessee, which is a drastic change from California, but I find it to be a very charming city. The people that I have met in Knoxville will always be close to my heart. It has been such a supportive place for me to be at this point in my life.

Don't miss Ms. Natale as she makes her Sarasota Opera debut in this season's production of Puccini's Turandot.  Get your tickets today at www.sarasotaopera.org or by calling the Sarasota Opera box office at (941) 328-1300.

The Sarasota Opera Winter Festival Has Arrived!

The Sarasota Opera Guild hosted their annual "Welcome Party" at the Sarasota Opera House on Tuesday, January 8, to welcome the 2013 apprentice artists, studio artists and artistic staff to Sarasota Opera.  This event marks the official "kick off" to the 2013 Sarasota Opera Winter Festival as singers and artistic staff prepare to begin rehearsals for the upcoming season.  Everyone mixed and mingled into the evening as old friendships were renewed and new friendships began.       

A big THANK YOU to the members of the Sarasota Opera Guild who worked so hard to prepare such a warm welcome for this season's artists and staff.  Here are a few pictures from the evening to enjoy.

Singers and Artistic Staff line up to
enjoy the delicious dinner  provided
by the Sarasota Opera Guild.

A table of satisfied Apprentice and Studio Artists
enjoying their dinner and the evening

SOG member Bobby Garibaldi-Sanders serves up some delicious salad to soprano Lindsay Barche, a returning Studio Artist.  

(l to r) Stage Managers Jill Zakrezewski, Francesca MacBeth,
and Studio Artist William Roberts enjoying the evening

(l to r) Apprentice Artists Constandinos Tsourakis,
Brendan Slinger, and Scott Lindroth

Apprentice Artists KerriAnn Otano and Keith Brown

(l to r) Studio Artists Brian Major, Leah Dexter,
Chelsea Basler, and John Orduna 

Our wonderful hostesses for the evening, the ladies
of the Sarasota Opera Guild

Sarasota Opera Guild President, Mary Cook, welcomes everyone to Sarasota





And Ms. Bobby Garibaldi-Sanders welcomes everyone with a dance...

  

Which the crowd enjoyed!

Best wishes to all for a successful and exciting Sarasota Opera Season!  We look forward to seeing you all on stage and enjoying your extraordinary talent in this season's productions and concerts!