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!  

ARTISTS CORNER: Mezzo-soprano Chrystal E. Williams

Mezzo soprano
Chrystal E. Williams

ARTISTS CORNER:  Mezzo-soprano Chrystal E. Williams will appear as Rosina in this season's production of The Barber of Seville.  Ms. Williams already has an impressive resume of roles which include Dulcinée in Massenet’s Don Quichotte, Olga in Tchaikovsky’s Eugene Onegin, Linda in Lost in the Stars, her debut role with the Glimmerglass Festival, Giannetta in L’Elisir d’Amore, Cuniza in Oberto, Nicklausse and La Muse in Les Contes d'Hoffmann, and La Maestra delle Novizie in Suor Angelica among others. Upcoming engagements include soloist in Rossini’s Stabat Mater with the New Jersey Master Chorale as well as with the Philadelphia Youth Orchestra singing Elgar’s Sea Pictures. Read what she has to say about her upcoming debut with Sarasota Opera.   


Q. Where are you originally from and where do you make your home now?
A. I am from Portsmouth, Va and am currently living in the Philadelphia area.

Ms. Williams as Ducinee in
Massenet's Don Quichotte

Q. What drew you to become a singer?  Was there a specific “Aha!” moment of clarity?
A. Hmmm...there was no real aha moment so to speak. I always sang, but never thought "I am going to be a singer one day!" I have always wanted to help others, but it wasn't until I started at The Governor's School for the Arts (GSA) that I settled on how. I originally wanted to teach English/Language to grade school children because I felt and still feel that teachers have great influence on our world citizens. Children often spend more time with teachers than parents, so if during these formative years we can not only encourage their educational growth, but self esteem, self-confidence, thirst for knowledge and freedom to question and explore, then we could help alleviate many of the problems that afflict our citizens later in life. In short, we could help form mentally strong, educated and adept children and thus even stronger world citizens better able to make decisions affecting all of mankind.

My next choice was a psychologist/middle school guidance counselor-similar reasons, but with middleschoolers. Then came a biologist my sophomore year of high school. I figured I could help mankind by finding some biological cure for many of the unknown ailments! Mind you, I have still been singing all the while. GSA had taken a trip to New York City and I remember being glued to the floor listening to Leontyne Price sing on one of the monitors in Tower Records. I asked the head of the program how I could help people and still sing. He said I could help them THROUGH the music. This is what I've been trying to do ever since.

One way I have found so far is in 2004 I founded the Chrystal E. Williams Scholarship to help students wishing to pursue a career in the performing arts. This scholarship is funded in part by my annual concert, "An Evening with Chrystal E".

Ms. Williams as Zerlina in
Mozart's Don Giovanni

Q. You have sung the role of Rosina before.  What do you enjoy about performing this role?
A. What do I enjoy about performing the role of Rosina...I love the music. I love the playfulness, the mischievousness, the mystery. I love the wit involved and the spicy flare that is such a part of Rosina.




Q. What can you tell us about this character?  What do you want the audience to know about her?
A. I want the audience to know that Rosina is much like them. She is constantly discovering and exploring things about herself. She has dreams, desires, goals, and she is determined to see them come to fruition. She will not be out foxed!

Q. How do you prepare a role for performance?
A. I usually start with the libretto, read the text. (I like to find loop holes in the plot and try and figure them out. I'm that person at movies who sits there wondering about certain plot blind spots...) I then look historically and read any books/pertinent information. I take the score to the piano and sightread as much as possible, listen to the overture-always a foreshadowing of what is to come, and then eventually I listen to the rest.

Ms. Williams in Lost in the Stars
at Glimmerglass Opera

Q. Are there any famous "Rosina's" from the past whose performances you admire?
A. There are so many famous Rosina's!

Q. Beyond the musical work, what other kind of preparation/research work do you incorporate in the learning process?   
A. Beyond the musical work, I speak through the text alone, more as a monologue

Q. Thus far, what is the most bizarre experience you have had during a rehearsal?  During a performance?
A. Well, actually, during a performance of The Barber of Seville, Dr. Bartolo's wig came off during one of the ensemble numbers ("La testa vi gira"). Everyone lost it yet still somehow managed to keep singing. It fit so perfectly that the 'mishap' was kept. Ha!

Ms. Williams at the
2012 Giargiari Bel Canto Competition

Q. Do you have any pre-performance rituals?  Performance superstitions?  Good luck charms? 
A. Pre-performance I usually like to clean/straighten up, pack my show bag, snacks, etc. This helps me quiet my mind and be sure I have everything. I eat a good, solid meal a few hours before. Sometime during staging I may have compiled a 'last minute review/reminder' list. I carry this list, my Bible, water, and Gatorade along with my bag. I always call home and my family says a quick prayer for me. Backstage I sometimes do a few squats to get my body ready, say my prayer in the wings, few breaths, then it's to the stage! I try not to have rituals or create tradition so that if ever the situation arises where those rituals/traditions cannot be kept, I am not distracted. :)



Q. How do you relax in between performances?  What hobbies do you enjoy at home and “on the road”?
A. I absolutely LOVE dancing, tango music, cooking, and reading. I also enjoy a good workout or explorative walks in the new neighborhood

Q. How do you stay connected to family and friends when you are “on the road”? 

A. I speak to my family literally everyday, and if abroad, we email. I catch up with my friends via phone/text/email as well.

Described as possessing "dazzling vocal sound", you do not want to miss mezzo-soprano Chrystal E. Williams as Rosina in Sarasota Opera's 2014 Winter production of Rossini's comedy The Barber of Seville running February 15th through March 21st. Tickets are available at www.sarasotaopera.org or by calling (941) 328-1300.  

ARTISTS CORNER: Bass Jeffrey Beruan

Bass Jeffrey Beruan

Bass-baritone Jeffrey Beruan is excited to be returning to Sarasota Opera after successful performances as Acciano in I Lombardi alla prima crociata, The Bonze in Madama Butterfly, Lodovico in Otello, and Morpheus in the world premiere of Little Nemo in Slumberland.  Upcoming engagements in the 2013-2014 Season include a role debut as George Benton, the Prison Warden in Jake Heggie’s Dead Man Walking for Madison Opera, a role and company debut singing Pluton in Charpentier’s La Descente d’Orphée aux Enfers for Gotham Chamber Opera, and a role debut as Sarastro in The Magic Flute for Lyric Opera of Kansas City.  Read about what Mr. Beruan is looking forward to this coming season at Sarasota Opera.

Q. Where are you originally from and where do you make your home now?
A. I am originally from Shawnee, Kansas and I now live in Chicago, Illinois.

Jeffrey Beruan as The Bonze in
Madama Butterfly at Sarasota Opera

Q. What drew you to become a singer?  Was there a specific “Aha!” moment of clarity?
A. My “Aha” moment would have to have been during my first summer program.  I was in Logan, Utah singing with Utah Festival Opera.   I could not believe how amazing all the singers were, how much fun I was having, and that they were going to PAY me to sing!

Q. Did you have other career aspirations in the works before you decided on singing?  
A. I went to college with the intention of getting a music education degree because I wanted to teach choir and/or band in a high school somewhere, but that’s about it.

Q. You are singing two different roles this season; Ferrando in Il trovatore and Papal Legate in Jérusalem.  What can you tell us about these characters?  Why should the audience care about them?
A. Ferrando is the gap between Conte de Luna, Sr. and Conte de Luna, Jr.  He was there from the beginning and genuinely wants to catch the gypsy that killed the count’s brother.  He is well respected, an amazing story teller and a true leader.  The Count can always rely on him.

Papal Legate is a Legate to Pope Urbain II.  He has come to bring the news that the count has been appointed leader of the Crusades.  He is a representative to the Catholic Church.  He is well respected, and makes him available to the count for he holy advice that he needs.

Jeffrey Beruan as Acciano in Verdi's
I Lombardi alla prima crocciata

Q. What are you looking forward to most about performing these particular roles?
A. The bulk of Ferrando’s role is in the first 10 minutes of the opera. However, he gets to tell the spooky and horrifying story of what happened to the count’s brother.  There are a bunch of different colors to the scene that I am looking forward to bringing out!

Papal Legate is a little different.  I get a few wonderful singing moments that I look forward to pumping out, but I’m more looking forward to getting to know Jérusalem as a whole, since I may never have the opportunity to be in the opera again.  I was in I Lombardi alla prima crociata as well in 2011 so I’ve already had fun seeing the similarities and differences between the two operas.

Q. Is there something about your process when preparing a role for performance?
A. I have to know what every word means before I sing a note.  I may not know what every word means from the very beginning, but I at least need to be able to reference my score or libretto so that I’m not just singing syllables.

Q. Beyond the musical work, what other kind of preparation/research work do you incorporate in the learning process?  Historical?  Character study?  
A. I try to go through and find any factual historical references and look up what I can to see how it relates to the opera.  Also, since I generally play characters who are older than I actually am, I will look at how some of the great singers moved while doing this role to help inform my movements.

Mr. Beruan as Zuniga in
Carmen at Portland Opera

Q. Does your preparation process differ between a role you have performed before and a role you are doing for the first time?  
A. It depends on how long it was since I did the role, but yes, I can just get right back into the music and the drama.  There’s a lot more leg work when you’re doing a role for the first time.

Q. Before you were a principal artist, you spent two seasons as a Sarasota Opera studio artist.  Do you feel that experience helped to prepare you for your upcoming role as a Principal Artist?  If yes, how so?   
A. Actually, I spent two seasons at a Studio Artist, and yes, it was very helpful!  First of all, I already have a pretty good idea of the expectations that are on me from day one.  I can prepare and coach the roles in a way that, I believe, fits with Sarasota Opera standards.  I also feel that I will have a support system around me, who want me to do well.

Q. Thus far, what is the most bizarre experience you have had during a performance?         
A. I can’t think of any for a rehearsal, so I’ll give you two from separate performances:

1.  The paramedics came in during a scene I was involved in, in a small theater, and took a woman out who had had a heart attack.

2.  The other was also in an intimate theater setting.  I was involved in a stage combat fight and was thrown to the ground near the edge of the stage.  It must have been convincing, because a gentleman from the front row rushed out of his seat to help me!

Q. Do you have any pre-performance rituals?  
A. I try not to eat too much prior or during a performance.  I don’t want to be hungry, but I also don’t want feel heavy or gummy. I also like to get to my place off stage early and pace.

Q. How do you relax in between performances?  What hobbies do you enjoy at home and “on the road”?
A. I enjoy watching tv/movies, exercising, cooking.  Generally, I just try to relax and shut my brain off for a little while!

Q. How do you stay connected to family and friends when you are “on the road”?  
A. The cell phone is my most consistent way of staying connected. But, I will also use Facetime or Skype.

Mr. Beruan as Polyphemus in Handel's Acis and Galatea at Madison Opera

See and hear Mr. Beruan this season in both our Verdi offerings this season; First as Ferrando in Verdi's Il trovatore opening February 8th then as the Papal Legate in Verdi's Jérusalem opening March 8th.  Tickets are available now online at www.sarasotaopera.org or by calling (941) 328-1300.

ARTISTS CORNER: Bartitone Marco Nisticò

Baritone Marco Nistico

ARTISTS CORNER:  Italian born baritone Marco Nisticò's impressive combination of beautiful tone, exquisite artistry, and superior stagecraft has delighted audiences throughout North America, South America, and Europe. In 2013-14 he returned again to the roster of the Metropolitan Opera for the premiere of Nico Muhly’s Two Boys and sings Dulcamara in L’elisir d’amore with Teatro dell’ Opera in Rome. He also returns to Sarasota Opera this winter to reprise the role of Figaro in The Barber of Seville, a role he sang with Sarasota Opera in 2008.  

Q. Where are you originally from and where do you base yourself out of today?

A. I am from Naples, Italy. I live in New York City, on the Upper West Side. One block from Maestro DeRenzi, which is very good, because he has a nice espresso machine and gives me coffee from time to time… 

Q. Why Opera?  What drew you to become a singer? 

A. My father is a singer and a voice teacher.  He’s my voice teacher in fact. I was born into this.

I heard opera every day, from my father’s students at home and attending his performances. When I was growing up, opera was ubiquitous in Italy, everybody would know opera tunes and in elementary school we would learn to play “Va Pensiero” from Nabucco, on our flutes (I was not very good at it).  However, that trend was already changing. Pop music was growing and things changed dramatically. Now most people know that Italy is the birthplace of opera, but never go to a show.

Marco Nistico as Dulcamara in
L'elisir d'amore in Bregenz

Q. What singing did you do as a teenager?

A. I don't know. It just happened.  As a teen I hated opera and did not want to sing.  However, I think I was kind of "destined" to fall into it. One day I asked my dad to help me sing a song I was learning a bit better (for a university assignment I was doing for Sorbonne in Paris).  After that, I was stuck...

Q. What are you looking forward to most about performing the role of Figaro in this season’s production of The Barber of Seville?

A. Figaro is one of my favorite roles. One of the first roles I ever sang. I have sung Figaro in at least 6 different productions and many performances. There have been some in Europe (Wexford in Ireland, Holland, Bulgaria, and Bologna in Italy), Mexico (Guadalajara and San Luis Potosì) as well as here in the United States (Toledo, OH, Opera Festival of New Jersey, and, of course, Sarasota Opera).  I love the free spirit of the character and the music goes perfectly with it.

Q. What is your process for preparing a role for performance?

A. I read the libretto and try to analyze the poetic aspect of the words. I then go to the music and sing it as much as possible, by myself and then with a pianist. Anyway, Figaro, it’s a role I have done many times.

Q. What do you want the audience to know about your character?  What do you find most challenging about this role?

A. Figaro is the smartest guy in the room (and I say “guy” because Rosina is at least as smart). He is also a revolutionary, since he’s a servant who always wins against his masters. What is challenging about the role of Figaro is the fact that it has been sung by all the great baritones of the past and there are some inevitable comparisons. However, I really enjoy being this character.

Marco Nistico as Guglielmo in Cosi Fan Tutte at the Teatro Regio di Torino

Q. You have been a steady presence at Sarasota Opera for several seasons.  You must enjoy singing here.  What do you think makes Sarasota Opera so special that people return season after season?

A. To me what is really special about Sarasota Opera is the emphasis on doing things in the proper style, the importance of language, the care we must take on the connection between words and music, the highly professional production values. It is the fact that serving the composer is the most important thing. It’s the long rehearsal period that allows all of us the time to really explore the characters and their music. And it’s Lido Beach… yeah, that one too.

Marco Nistico as Guglielmo in Cosi Fan Tutte 
at the Teatro Regio di Torino

Q. You have performed all over the world.  Do you find audiences behave differently in all the different countries you perform in?

A. Perhaps… some audiences are more responsive than others. Some like to let you know clearly how they feel and if they like what you do. Some are more quiet during the show, but very enthusiastic at the end. In South Korea we had to go to the hall of the theater right after the show, in costume, and sign autographs for at least an hour. Everybody wanted their kids to take a picture with us… Anyway, I like every kind of audience. Without them, there would be no show. 

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

A. Maybe this one: During a performance of The Barber of Seville, the orchestra did not come in and I had to sing a cappella a good part of my duet with Rosina. At the moment it was not “fun”, but now it’s a good story to tell. And I will never forget my Rosina’s face, looking at me as to say: “good luck with that, buddy”.

Marco Nistico as Rigoletto
at Sarasota Opera

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

A. Not really. Just relax during the day and then warm up before performance. I tend to eat only chicken and rice the day of a performance and bring at least a banana in my dressing room.

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

A. I enjoy watching Netflix. I also go to the gym and spend time with friends.

Q. What music do you listen to when you are driving in the car or commuting around New York City?

A. I don’t own a car. The rare times I rent one I listen to NPR (talk). I do not listen to music while “commuting” around NYC. I want to be in touch with the people around me.

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 really do not like personal blogs. I use Facebook, emails, Skype and the phone to talk to family and friends. I talk with Marina, my wife, several times a day on the phone. Blogs?? Unless you are a professional writer, That’s pure vanity…

Marco Nistico (right) as Figaro in Sarasota Opera's 2008 production of The Barber of Seville

Don't miss Marco Nisticò's return to Sarasota Opera as the schemeful Figaro in The Barber of Seville opening February 15th and running for 9 performances through March 21st.  Tickets are available online at www.sarasotaopera.org or by calling (941) 328-1300.  

ARTIST PROFILE: Bass Harold Wilson

Bass Harold Wilson

ARTISTS CORNER:  Bass Harold Wilson will make his Sarasota Opera debut this winter as Daland in this season's production of Wagner's The Flying Dutchman.   Mr. Wilson has already established a respectable career worldwide performing regularly with companies such as the Metropolitan Opera, Tulsa Opera, Opera Company of Philadelphia, Deutsche Oper Berlin, and in concert at Carnegie Hall.  We caught up with Mr. Wilson as he prepares for the upcoming season.  We asked him to answer a few questions about his life as a singer and what he is looking forward to the upcoming winter season with Sarasota Opera.

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

A. I grew up in Charlotte, NC. I currently live in Mount Holly, NJ which is about 40 minutes from Philadelphia, PA.

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

A. I always enjoyed singing, but it wasn’t until I scored the highest marks during an All-State Choir audition that I realized I had some talent.

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

A. I also studied Computer Science at University, but decided to put all my effort into Music during my Junior year.

Q. What can you tell us about this character? Why should the audience care about him?

A. Daland is a blue-collar worker, the Captain of a ship. As his daughter grows up, he really hopes to find someone to take care of her. He jumps at the chance to marry his daughter off to the Dutchman. Of course, the gold and jewels he would receive in exchange for her hand in marriage don’t hurt his enthusiasm.

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

A.  I am looking forward to working with old friends and new ones. I’m also looking forward to working in Sarasota.

Mr. Wilson as Ramphis in Aida
with Opera Birmingham

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

A. I have the unique opportunity to continue to work on many roles with my mentor and teacher Giorgio Tozzi who passed away in 2011. He left a wonderful legacy of recordings. One of his most famous recordings is singing Daland with George London as the Dutchman and Leonie Rysanek as Senta. I always listen for how sings a phrase. Where he takes a breath and which words are the most important to him. These are the things he would have told me in a lesson. I do not try to have the same sound he had since every voice is unique.

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

A. I often try to read the book/play that a libretto is based on. I always try to pay attention to people everywhere I go. There are so many different types of people out there, and I use these observations as a character study for the roles I’m preparing.

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

A. I was once in a production where the director and the tenor almost got into a fist fight.  

Mr. Wilson as Osmin in Mozart's Abduction from the Seraglio
with soprano Kathleen Kim at Minnesota Opera

Q. During a performance?

A. Roberto Alagna jumped into the Metropolitan Opera’s production of Tosca. I was singing the Jailer and we were supposed to play chess against each other (don’t ask me why, but it’s a part of the new production). Cavaradossi should give up the match by laying his King down on the board. Instead Roberto “raked” all of the pieces onto the floor. Some of them went into the tracks of a trap door that was needed for the finale of the opera. I spent the next couple of minutes picking up every last piece while trying to stay authoritative and sing my lines at the same time!

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

A. I’m not very superstitious.

Mr. Wilson as Oroveso in Norma with Tulsa Opera

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

A. I am an avid golfer. I bring my clubs on all of my gigs (weather permitting). If I’m not rehearsing, you will probably find me on a golf course. I’m available for any Member-Guest tournaments during my stay in Sarasota! ;o)

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 a website (www.haroldwilson.net), a personal Facebook account, and a Twitter account (but I rarely use Twitter). I could be convinced that there is merit in have a “Fans of” page, but as of now, I do not have one.

Do not miss Mr. Wilson in his upcoming performances in Richard Wagner's The Flying Dutchman which runs for 7 performances between March 1st and March 23rd, 2014.  For more information and tickets, go online at www.sarasotaopera.org or call (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