Don Giovanni: Preview Video

Seattle Opera’s Young Artists take on this Mozart masterpiece, in which an unrepentant womanizer pays the ultimate price for his actions. Take a peek at the YAP’s Don Giovanni, which features eye-catching costumes, innovative video projections, and—of course—a talented cast of rising stars.



Learn more about Don Giovanni on the Seattle Opera website.

A Chat with Jacqueline Bezek

Completing our introductions of Don Giovanni's three lady friends, today we speak with Jacqueline Bezek, who sings the role of Zerlina. A Guest Artist who has joined the group for this production, Bezek tells us about her backstory with our stage director (who was profiled in today's Seattle Times), the challenges of singing Mozart, and an unusual scene she performs in this production of Don Giovanni.

You studied voice at UCLA; is that where you first met Peter Kazaras, who’s UCLA's Director of Opera when he isn’t in Seattle?
I was fortunate enough to meet Peter Kazaras at UCLA where he was directing our production of Gianni Schicchi. That was one of the most creative, hilarious, well-directed shows I've ever been in. I have been a huge fan of Mr. Kazaras' work ever since. He has a very special way of translating a phrase, a situation, a personality trait into a modern-day equivalent that performers can really relate to. It has been such a treat working with him again here in Seattle.

What are your other Mozart roles?
Despina in Così fan tutte was my very first role! It's funny because Despina and Zerlina have a lot of similar characteristics, so I've enjoyed tapping back into that sassy personality. The past few years I've avoided singing Mozart - I decided "I'm just not a Mozart singer," but in reality, that was just an excuse because his music is tough! Learning Don Giovanni has really given me a new motivation to sing more Mozart - it's hard, but it's great music, and very healthy for the voice. I'm hoping in the future to maybe sing Donna Elvira - talk about challenging!

David Krohn (Don Giovanni) and Jacqueline Bezek (Zerlina) in the YAP production of Don Giovanni.
Photo by Rozarii Lynch

What advice would you give Zerlina, if you knew her in real life? Is she well-matched with Masetto, or might she enjoy a fling with Giovanni? What happens to her after the events of the opera?
If I were Zerlina's real-life friend I would've seen right through Giovanni's allure and advised her against any sort of fling with him. But, for a peasant girl, I can see the draw - Giovanni really buttered her up. It seems she needed that experience to really appreciate what she has with Masetto. In the end, I think she learned they are best suited for each other, but, knowing Zerlina - no regrets!

Occasionally you find mezzos singing this role. As a higher soprano, how does the role of Zerlina fit your voice? Do you sing Zerlina’s arias for auditions?
This role has been a challenge, but it has given me the opportunity to work on my middle voice. A lot of Zerlina's music lies in the passaggio, so working through that has been tough. I have had to keep reminding myself to really sing into the lower notes and stay grounded, or else it's easy to go sharp. I've never sung either aria in an audition, but moving forward, it might be a good opportunity to show that, while I have a high voice, my middle voice DOES exist!

Jacqueline Bezek (Zerlina) and Erik Anstine (Leporello) in the YAP production of Don Giovanni.
Photo by Rozarii Lynch

You and Erik Anstine as Leporello are singing the often-cut duet, “Per queste tue manine.” Tell us a little about learning and staging this piece and what it’s doing in the opera.
Zerlina loves being in control. We see her manipulate Masetto, but her feisty character certainly manifests itself in this duet with Leporello. The music gets kind of nutty, and we've staged it in a way that truly reflects Zerlina's lunatic state of mind. She comes out with a huge cleaver and tells Leporello she is going to shave him without soap! At first I don't think Leporello takes her seriously, but throughout the duet he becomes increasingly scared as she becomes increasingly crazy (sometimes I think Erik is really getting scared - I look like a psycho!). The Zerlina in this production is a little more thick-skinned than others I've seen, and performing this duet really gives me the opportunity to exemplify her domineering nature.

Zandra Rhodes at Neiman Marcus: Update

Zandra Rhodes, costume designer for Seattle Opera’s upcoming production of The Magic Flute and well-known fashion designer, will meet the public at Neiman Marcus Bellevue on Friday, April 8, 2011, 1:00 p.m. – 4:00 p.m. There is no charge for this event. Ms. Rhodes will greet guests during a reception on the Plaza Level in Fine Apparel where models will showcase her Spring 2011 Couture Collection.

Unfortunately, the Neiman Marcus Zandra Rhodes Fashion Show scheduled for Thursday, April 7, 2011, has been canceled.

Ms. Rhodes’ costumes for The Magic Flute will also be on display in Fine Apparel and in each of Neiman Marcus’ store windows from April 1 to April 10.

A Chat with Marcy Stonikas

Today we hear from soprano Marcy Stonikas, who sings Donna Anna in Don Giovanni. Marcy is finishing up her second year with our Young Artists Program and about to make her mainstage debut. So far, she has sung for Seattle Opera Fiordiligi in Così fan tutte, Ariadne in Ariadne auf Naxos, Luigia in Viva la Mamma!, and Brünnhilde in Siegfried and the Ring of Fire.

Marcy, we heard your lush, lyric soprano voice singing Ariadne this time last year, but these days you’re singing lots of Mozart (Don Giovanni and, coming up next, The Magic Flute). Do you like singing Mozart? What does your voice type bring to this music?
It's true, since I've been in Seattle, I've worked on 3 different Mozart operas (first Così, now Giovanni, soon Flute). I very much enjoy singing Mozart! It can be challenging with its coloratura flourishes and wide range: everyone singing it really has to have some solid vocal technique to do it successfully. I think I'll sing Mozart throughout my career - his operas are done often and are well-known, which is certainly understandable. The music can be challenging but it has such amazing melodies that it's more fun than anything else to be able to sing it!

Marcy Stonikas as Ariadne in 2010 (Rozarii Lynch photo)

You perform opposite two different Don Ottavios, so does your Anna become a different character based on who her fiancé is each night? Or is Giovanni really the only important man in your life?
You know, considering what transpires just prior to the start of the opera between Giovanni and Anna, she doesn't have too much interaction with him, especially not on an individual basis, for the rest of the show. Whereas, Anna's pretty much always walking around accompanied by her little puppy dog of a fiancé, Ottavio. My two Ottavios in this production are very different, so I interact with the two of them differently, but no, my Anna remains pretty consistent and is not really altered by anyone else.

Casting back over your time with YAP, what are some of the things you’ve learned or experiences you’ve valued? What are your immediate future plans?
I have really enjoyed my time in the Seattle Opera YAP. The productions we've done have been exciting and fun and the people with whom I've had to fortune to work have taught me so much - it's been an invaluable experience. I feel that I've come leaps in bounds in all aspects of my performing in my short time here - from breaking down a character to interpreting the music and the text.

My immediate future plans: well, I'm very fortunate to be making my Seattle Opera mainstage debut as Second Lady in The Magic Flute, which is the next show this season! Right after that show closes, I'll be headed to Wolf Trap for the summer where I'll be a Filene Young Artist and will be in 2 operas: Wolf-Ferrari's Le donne curiose and Offenbach's Les Contes d'Hoffmann.

Marcy Stonikas as Brünnhilde with Michael Krzankowski as Siegfried in Siegfried and the Ring of Fire (Bill Mohn photo)

Finish the story for us. What happens to Anna when this opera is over?
I've done a lot of thinking about that, actually. After everything that has happened to Anna throughout this show, she's had to do some serious soul searching. And ultimately, I don't think it's out of the realm of possibility that she might do something as drastic as enter a convent after it's all said and done. I mean, karma being what it is: she messes around with Giovanni, who ends up murdering the most important man in her life (Daddy), and I think it's too much for her to handle...I also think she'd do just about anything to avoid marrying Ottavio.

Marcy Stonikas in rehearsal as Donna Anna, with Andrew Stenson as Don Ottavio (Alan Alabastro photo)

We understand that your husband is an actor. Will the two of you ever perform together? Is it easier to be a supportive spouse when two artists work in different fields?
Yes, my husband is an actor. We actually have performed together already - we met in the American premiere production of Jerry Springer: the Opera in Chicago back in 2007. He was Jerry Springer (the only non-singing role in the show), and I was the Virgin Mary (don't ask...it's a long story!). And there's definitely the possibility of us working together again: he's going to be in Porgy and Bess here in Seattle this summer, as a matter of fact! So, even though I won't be in that show, it gives me hope that we can share the stage again someday!

I think it's great being married to an actor (especially one as self-aware supportive as Brian): we certainly understand the general ups and downs of our industries. We are accustomed to being on opposite schedules while one of us is in rehearsal and the other is in performance, etc. Another plus is that we have a more flexibility when it comes to where we live because we have to be pretty mobile and ready to travel. Of course it's hard when we go through any long stretches of time when we aren't together, but that was something that we discussed a lot prior to getting married.

A Chat with Amanda Opuszynski

This Friday, our talented Young Artists open their production of Don Giovanni at the Meydenbauer Center in Bellevue. Today, we hear from soprano Amanda Opuszynski, who takes on the role of Donna Elvira. We ask her about this production, and what she thinks about her character and the womanizing Giovanni.

What are the unique vocal demands of Donna Elvira?

Elvira is the kind of person who has high highs and low lows, and her music reflects that completely! The more agitated she becomes, the more her vocal line is full of dotted rhythms and sudden leaps to much higher or lower notes. When she's calm or trying to blend in with those around her, her music is much more lyric and even-keeled. Basically, the person who sings Donna Elvira has to have a strong middle voice, no fear of high or low notes, and the courage to make abrupt vocal color changes to communicate the character. I think it's a great role, and I hope I am doing it justice!

On one hand, Donna Elvira is kind of a nut. But Mozart also lets us get close to this passionate, powerful woman. What do you think of her character?

It's funny, because every man I've talked to about Donna Elvira thinks she's crazy...but I've never seen her that way at all. Personally, I think a lot of women can relate to Elvira! She's a smart, sexy, strong woman who got mixed up with a bad boy, and she's still drawn to him even though she knows he's bad news. (Apparently women have had these issues for centuries!) She loves him, she hates him, she wants him, she wants him dead.... We never quite know which Elvira we're going to get when she enters the scene, and while that unpredictability often earns her the "crazy" label, it also makes her incredibly real. Over the course of the opera, we see all of her layers, from the outermost rage to the innermost longing. I think she's brilliantly written, and I'm honored to bring her to life in this production.

Amanda Opuszynski (Donna Elvira), with Marcy Stonikas (Donna Anna) and Erik Anstine (Leporello), during a recent Don Giovanni staging rehearsal.
Photo by Alan Alabastro

What would you tell a friend who behaves the way she does?

As an objective observer, I would tell a friend in this situation that Giovanni is never going to change no matter how loudly she screams, how hard she hits, or how much she cries! She needs to just let him go! Of course, when you're actually in a situation like this, your judgment is totally clouded by your emotions. It's normal to think you can change someone you love.

Which of the characters you’ve played this year is most like you: Donna Elvira, the Prima Donna in the fall YAP production of Viva la Mamma, or the Forest Bird in Siegfried and the Ring of Fire?

It sounds ridiculous, but given the choices, I'd have to pick the Forest Bird. I'm petite, perky, and really enjoy all things purple!

David Krohn, Amanda Opuszynski, and Erik Anstine in last fall's Young Artist production of Viva la Mamma.
Photo by Bill Mohn

In this production, Don Giovanni is seductively taking off his clothes on a screen behind you while you’re singing the big aria, "Mi tradì." Does his stage business play a role in your performance, either vocally or dramatically?

I think "Mi tradì" is an incredible aria. It perfectly captures the moment when Elvira finally allows herself to feel the hurt and longing that she has been stifling with rage and revenge. Considering the way Giovanni behaves during the opera, it's sometimes difficult to understand why Elvira is so drawn to him at all. In this production, Giovanni's actions behind the screen give a glimpse into his past with Elvira. It's a visual reminder that she can't get the memories of their time together out of her head, and dramatically, I have to fight not to be drawn into Giovanni's seduction. I have to make myself face the reality that he will never change and I have to give him up. These dramatic moments often signal vocal changes in dynamics, color, etc., so I think Giovanni's involvement in the aria is a very interesting way of showing the audience exactly what Elvira is fighting inside.

Who are your vocal heroes?

Mirella Freni and Anna Moffo. They both have such warm, brilliant voices, and I aspire to the ease and beauty of their singing.

A Chat with Eric Neuville

Seattle Opera's Young Artists Program is rehearsing for its upcoming production of Don Giovanni, which opens on April 1 at Bellevue's Meydenbauer Center. Today, we chat with tenor Eric Neuville, who alternates as Don Ottavio. Neuville returns to the YAP after performing Harlequin in last season's Ariadne auf Naxos (yes, he used to be a baritone!), and more recently he made his mainstage debut in Lucia di Lammermoor, as Normanno. We asked Neuville about his role in Don Giovanni, as well as what other tenor roles he looks forward to singing now that he's made the switch.

How does Don Ottavio feel about the other characters he meets in this opera (particularly fellow nobles Elvira and Giovanni)?

Giovanni's charisma is hard to resist. It would make him a very successful politician in today's culture. That said, Ottavio sees a confidence in Giovanni that he would like to adopt. Even after the startling disclosure of Anna's sexual assault, he expresses doubt that such a dark deed could be done by such a great guy. As for Elvira, she is every guy's nightmare ex-girlfriend: crazy and relentless! In the Act 1 quartet, Ottavio's efforts to calm Elvira stem from his desire to look cool in Giovanni's eyes, as well as his experience dealing with his own crazy girlfriend. This is all short-lived, however, as his desire to marry Anna requires complete commitment to her quest for vengeance. He is a slave to her mood swings and despite his best efforts, fails to get a wedding date put on the calendar.

What are some of the technical challenges in singing Don Ottavio?

As is the case with nearly all Mozart tenor roles, the challenge lies not in tossing off high notes, but in sustained singing through the most precarious part of the voice: the passaggio. Ottavio's aria, "Dalla sua pace," is extremely exposed, leaving very little to hide behind as you weave your way through its long phrases.

What other tenor roles do you look forward to singing?

Tamino, Belmonte, Roméo, Werther, Faust, Alfredo, Rodolfo, and eventually Siegmund.

Eric Neuville (Normanno) and Ljubomir Puškarić (Enrico) in Seattle Opera's production of Lucia di Lammermoor, earlier this season.
Photo by Rozarii Lynch

You’ve been on the Seattle Opera mainstage this year as well, as Normanno in Lucia di Lammermoor, and coming up in The Magic Flute as the First Priest. Mainstage roles are a new part of our Young Artists Program this year; can you speak to how it changes the program?

The opportunity to perform mainstage roles has exponentially enhanced the Young Artists Program. Rehearsing alongside the best singers in the world helps you to quickly identify your own strengths and weaknesses. It also helps that Speight hires truly great people, who are willing to help you at a moment’s notice. I can honestly say that I wouldn't be at the level I am today without the mentorship of Seattle Opera mainstage artists.

Who’s your vocal hero?

Fritz Wunderlich. He had so much humanity in his voice, and it’s a tragedy we lost him so soon. I'm constantly reminded that Mr. Wunderlich was preparing for his debut at the Metropolitan Opera in the role of Don Ottavio just before he passed away. It is truly a privilege to be able to perform it here at Seattle Opera.

Director's Talk: Don Giovanni

Stage Director Peter Kazaras divulges production ideas for Don Giovanni, discusses the debut of costume designer Candace Frank, and introduces the Young Artists and their respective characters. Complete with footage of the singers in rehearsal, the Young Artists reveal their fresh and fun take on a classic opera.



Learn more about Don Giovanni on the Seattle Opera website.

Exciting Music Coming Up In Seattle

Although Seattle Opera won't be making much noise until April 1, opening night of Don Giovanni, we're excited about a couple of other events coming up soon and presented for area music-lovers by friends of ours:

American Handel Festival. Acis & Galatea and Esther.
As you may know, this spring Seattle is hosting more than 2 dozen concerts and recitals of music by Handel and his contemporaries. The festival, which began last week, concludes next weekend with Pacific Musicworks and Tudor Choir’s performance of Handel's oratorio Esther and Boston Early Music Festival’s production of his early opera Acis and Galatea. CLICK HERE for more information.

Seattle Men's Chorus, "Falling in Love Again": Morgan Smith performs Jake Heggie's For A Look Or A Touch with David Pichette.
CLICK HERE for more information. Seattle Opera favorite, baritone Morgan Smith--who sang Don Giovanni for Seattle Opera, opposite Lawrence Brownlee as Don Ottavio, the LAST time our Young Artists Program presented Mozart's great tragicomedy in Bellevue--is back in town for performances of this extraordinary work by one of America's greatest composers. In May of 2007, Music of Remembrance, who commissioned this groundbreaking piece of musical drama, presented it at the Nordstrom Recital Hall at Benaroya Hall starring Morgan Smith and the late Julian Patrick. This year, beloved local actor David Pichette takes up the role of an older man haunted by Smith as the memory of a love destroyed by fascism and homophobia.

Meet Zandra Rhodes at Neiman Marcus in Bellevue

Calling all who love fashion, opera, or both! Famed fashion designer Zandra Rhodes, who designed the costumes for Seattle Opera's upcoming production of The Magic Flute, will be the guest of honor at a special fashion show at Neiman Marcus in Bellevue, Thursday, April 7. The show will feature a full fashion runway show of Ms. Rhodes’ Spring 2011 couture collection. CLICK HERE to find out more about participating in this unique event.

If you can't make it that evening, be sure to stop by Neiman Marcus sometime that week; the store will proudly showcase seven of The Magic Flute’s elaborate costumes in its windows and throughout the store from April 1 through April 10.

Are You a Don Giovanni Genius? Take Our DG Quiz!

Take our quiz on Don Giovanni and prove yourself a "Don Giovanni Genius." Or, admit that you could use a refresher, and go to the blog post below this one for some suggestions!

Need To Brush Up Your DON GIOVANNI?

Mozart's Don Giovanni (four performances coming up at Bellevue's Meydenbauer Theatre in April) is without a doubt one of the richest works of art ever created. For those encountering the opera for the first time, and a refresher for old Don G veterans, here are some helpful resources:

Seattle Opera's Spotlight Guide. Published for Seattle Opera's 2006/07 season, which featured a new Chris Alexander/Robert Dahlstrom production of the opera starring Marius Kwiecien, this brief guide introduces characters, plot, and historical background.

Online Course. Opera America unveiled this online course, written by Jonathan Dean (Seattle Opera's Director of Public Programs and Media), over the course of four weeks in 2006, in conjunction with the Santa Fe Opera's production of Don Giovanni, and then made it available to Seattle Opera patrons the following year. Although five years is an eon in terms of online education, the course still offers a thorough exploration of Mozart's fascinating masterpiece.

Muti Awarded 2011 Birgit Nilsson Prize; Jenkins on panel

Riccardo Muti, the great Italian conductor, has received the 2011 Birgit Nilsson Prize ($1 million) in honor of his extraordinary contributions to the world of music. Seattle Opera General Director Speight Jenkins had the honor of representing the opera field in America as part of the international jury who selected Muti for the award. Jenkins was appointed to the distinguished panel was because of his long friendship with Swedish soprano Birgit Nilsson, as well as his commitment to the Wagner repertoire which was at the core of Nilsson's career.

The other members of this year's jury were Clemens Hellsberg, president of the Vienna Philharmonic; Eva Wagner-Pasquier, co-director of the Bayreuth Festival; Bengt Hall, managing director of the Malmo Opera; and Rupert Christiansen, opera critic for the British newspaper the Daily Telegraph.

Muti, 69, is the second winner of the prize awarded by the Birgit Nilsson Foundation, which was established after Nilsson's death in 2005. The prize was first awarded in 2009 to Spanish tenor Placido Domingo.

The Associated Press has more information.

Speight's Corner: The Magic Flute

According to General Director Speight Jenkins, a variety of characters combined with "some of the most marvelous music [Mozart] ever wrote" makes The Magic Flute “Mozart’s most fantastic opera.” Jenkins also introduces the international cast which features a mix of returning artists as well as Seattle Opera debuts.



Learn more about The Magic Flute on the Seattle Opera website.

Teaser: The Magic Flute

A famous aria and quick plot synopsis, all in under a minute! Plus, preview the costumes we'll be featuring in this production by famous fashion designer Zandra Rhodes (footage courtesy of San Diego Opera).



Learn more about The Magic Flute on the Seattle Opera website.

"Quixote's Quest" Recap & Grand Prize Winner

Last week, we wrapped up our month-long "Quixote's Quest" scavenger hunts, in which our Facebook fans, Twitter followers, and blog readers followed clues to find necklaces hidden around the Seattle area. The first person to find the necklaces each week won a pair of tickets to last night's performance of Don Quixote, and they also were entered to win a grand prize that includes dinner for two and other goodies. We're happy to announce that the winner of our grand prize drawing is...

...Week #4 winner, Dan Miller!

A big thank you to the rest of our weekly winners, and to everyone else who participated. We'll do more fun stuff like this in the future, so make sure you "like" us on Facebook, follow us on Twitter, and keep up with this blog for the latest on what we're up to. And have a look at the photos below for a complete recap of the "Quixote's Quest" adventure!


Our first week of hunting kicked off with this clue: "Quixote can find a vicious giant even on the high sierra of Seattle’s Mt. Baker neighborhood." It was all Safia J. and her husband needed to figure out that the necklace was hidden at the windmill at Bradner Gardens Park, in Seattle’s Mt. Baker neighborhood. That afternoon, the couple picked up their child early from daycare so they could zip over to the park and claim their prize. And it's a good thing they hurried. Just a few minutes later, Paula J. showed up, narrowly missing out on the prize.

But Paula J. and her friend fared a lot better during the Week #2 hunt, where they managed to crack the three confusing clues we posted. Eventually, the clues led them to the 4th floor of the central branch of the Seattle Public Library, where they found the hidden necklace.

Moral of the story: Perseverance pays off!






The next week's hiding spot took winner Robin K. up to Bothell, where she found the necklace at Branch's Quarter Horses. These stables are home to Millie and Desperado, the adorable donkey and horse featured prominently in our production of Don Quixote. It took Robin only two clues to figure it out, which made us think it might be fun to make the final week's clues even harder...






...but we still couldn't outwit Dan M. and Billy F. We decided to end "Quixote's Quest" with two chances to win, and Dan and Billy (who are friends and music majors at the University of Washington) took that as a personal challenge.

"I thought we were going to help each other out with the hunt, but Billy called me and said, 'I know where the first one is,'" said Dan. "And I said, 'Whatever, man, I know where the second one is!'" From there, it was a race to see who could find a necklace first, with Billy winning thanks to a class schedule that let him head all the way up to the windmill at Marymoor Park before Dan could walk the few steps to the University Village Barnes & Noble.

We just weren't ready to let the fun end, so we decided to include a bonus round during that final 4th week. This time, we hunkered down and did our best to think of really obscure clues--and a really obscure hiding spot, which ended up being at the north end of Discovery Park, where we taped the necklace to the bottom of of a wooden viewpoint that looks out onto the water. Still, it only took two clues for Scott H. to figure it out. As it turns out, Scott grew up in the area and knows the park like the back of his hand.

A Chat with Daniela Sindram

Today we speak with German mezzo-soprano Daniela Sindram, who appears as Dulcinea in our Sunday/Friday cast for Don Quixote. Sindram previously appeared in Seattle as Cherubino in the 2009 production of The Marriage of Figaro, and we ask her what it's like to play "pants roles," as well as what she thinks about French opera and Dulcinea's character.

Last time you were in Seattle, you played a boy. This time, your character of Dulcinea is very much a woman! Do you prefer one type of role over the other?
I do not prefer one type of role over the other. But, in fact, I sing more pants roles than female parts, though the female parts are becoming more numerous, especially because my voice is developing more and more to the female Wagner parts. So I will sing my first Fricka (in Rheingold and Walküre) this year and next year my first Venus in Tannhäuser. What parts I also really would LOVE to do are Italian parts like Santuzza (Cavalleria rusticana) or Eboli (Don Carlos). But still I love singing and playing boys and I have colossal fun on stage trying over and over again to make the audience forget that there is a woman only pretending to be a young man.

Daniela Sindram (seated in the center) as Cherubino in 2009's Marriage of Figaro. Also pictured, standing from left to right, is Christine Brandes as Susanna, Ted Schmitz as Basilio, and Mariusz Kwiecien as Count Almaviva.
Photo by Rozarii Lynch

You’ve performed more Italian and German operas than French ones. What are the challenges specific to singing in French, as you do in Don Quixote?
For me, personally, the language itself is a big challenge because I never learned conversational French. That means much more preparation work for me, including how to pronounce and understand each word that you are singing and that others sing, so that you are able to interact. This process is way slower and more intense.

Nevertheless, I love the French language and singing in French. I think this language has something sensual and is easier to sing than, for instance, German. I also think the French music invites—even demands—you to connect your emotions directly with the music.

Nicolas Cavallier (Don Quixote) and Daniela Sindram (Dulcinea) in the Sunday/Friday cast of Don Quixote.
Photo by Rozarii Lynch

Is Dulcinea making the right choice by refusing Don Quixote? She says her destiny is to give her love away—what do you think of her outlook on life and romance?
Dulcinea finally comes to know Don Quixote as a noble and pure soul, and she realizes that she’s disclaimed a loveable man. But she also understands that she could never be even close to the ideal that Don Quixote formed in his dream world. So this seems to be the only choice she can make.
Her outlook on life and romance? I don’t think she believes that love can bring happiness, but maybe now that she knows Don Quixote she has a slight idea of what she’s really been yearning for and maybe it will open her up to real love….

Here in America, there’s a stereotype of German productions as being very avant-garde. As someone who sings in Germany a lot, do you think this is true?
That's true. German productions are often avant-garde and unconventional. And sometimes you really can spend a very exciting and fantastic evening in the opera and see pieces from a different perspective. But it also often happens to me that I'm leaving a performance with a big question mark on my face, and I feel overstrained, trying to understand the deeper sense of that new interpretation. But there is a big audience in Germany that demands a new point of view from a director, though there’s also the audience that wants to see a recognizable piece (though maybe with modern staging). So we do have both there: modern and traditional productions.

Daniela Sindram (Dulcinea), with principal dancer Raúl Salcedo, in Don Quixote.
Photo by Rozarii Lynch

Don Quixote premiered in 1910. Do you ever get the opportunity to perform music even newer than that?
Oh, yes, I regularly do “new”music. Last November I did a production of The Turn of the Screw by Britten (first performed 1954). In the last few years I also sang the part of Sophie in Sophie's Choice by Nicholas Maw which was performed in 2002 for the first time. I also did a piece—Deutsches Stück mit Hamlet from 1998—composed by Wolfgang Rihm, a living German composer. I had the opportunity to meet Nicholas Maw and Wolfgang Rihm in person, but I’ve never had the chance to meet a composer while working on a piece, or to create a new role, which I would love to do. I recently started singing modern songs from different composers and right now I have some unpublished songs from Detlev Glanert (also a living German composer) that I'm looking forward to performing in the future.

A Chat with Richard Bernstein

It's time now to check in with Richard Bernstein, who sings Sancho Panza in the Sunday/Friday performances of Don Quichotte. Bernstein, who made his Seattle Opera debut in the fall of 1997 as Mozart's Figaro, reflects on recent adventures at the Met, on his Quichotte colleagues (both human and equine), and on the most unusual performance of his career so far.

You came to our Don Quichotte rehearsals directly from New York, where you were performing in Simon Boccanegra at the Met. Can you tell us a little about your experience of that production, which many of our readers saw on HD Simulcast? Or about the Fanciulla before that?
Both Simon Boccanegra and La Fanciulla del West are elaborate traditional productions by the Italian director Giancarlo del Monaco and great to be a part of. I had the privilege of singing Bello this season on the Met's live in HD Simulcast of Fanciulla and last season I sang Pietro in Simon Boccanegra in the HD Simulcast as well as just performing the role at the Met this season before I arrived in Seattle. In fact, Speight was very gracious in allowing me to come a week late to staging rehearsals here in Seattle as I was singing Pietro in Simon Boccanegra at the Met when rehearsals of Don Quichotte began here. It is a thrill being involved in the Met's Live in HD series and an honor as well as the operas are usually released onto DVD. This can be a little nerve racking as well as it is 100% live, and you only have one shot at it! The production of Simon Boccanegra was especially exciting this season as Dmitiri Hvorostovsky was just phenomenal in the title role, and Ferruccio Furlanetto was flawless as Fiesco and an inspiration to listen to and watch. It is also one of Maestro Levine's favorite operas and it was very special for me to be involved in this production. Last year, on the HD Simulcast Placido Domingo sang Simon Boccanegra, and he was simply a complete force of nature on stage, especially in the Met's elaborate staging of the Council Chamber scene. I will never forget the electricity that he exuded in that scene and the humanity that he brought to the role. Next season, I will sing the role of Lord Krishna in Satyagraha by Philip Glass that will also be presented in the Met'S Live in HD series so plan on coming to see that next November at your local movie theater if you can't get to New York.

Quichotte (Nicolas Cavallier) listens skeptically to Sancho (Richard Bernstein's) diatribe against women (Rozarii Lynch, photo)

It seems as if the Met has been doing less conservative productions in the past couple years. Would you describe Seattle Opera’s production of Don Quichotte as traditional, or more radical, or don’t those terms apply?
I'm not sure that these terms apply as this isn't really a classically traditional production nor is it radical. To quote Linda Brovsky the director, it is more of a conceptual and theatrically based approach to a production. What is most important to me as a singing actor are that the relationships are real and true to life. In this production Linda creates that completely. Basically, I am onstage almost always alone with Don Quichotte throughout the opera. The relationship that Linda created between us is true to the Cervantes text and true to what Massenet wrote and asked for in his score. It was real and torturous for me emotionally at every rehearsal and performance when I lose him at the end of the opera. Linda did a brilliant job on this production and especially patient with me in helping me re-create the role of Sancho and lead me on the journey. I am very grateful to her.

Dapple (played by Millie) and her affectionate colleague, Bernstein as Sancho (Rozarii Lynch, photo)

You share the stage, in Don Quichotte, with quite a cast. What’s it like to have three other bass-baritones as colleagues (Nicolas Cavallier, John Relyea, and Eduardo Chama)? Do you like working with that notorious scene-stealer, Millie the Donkey?
It's been terrific working with Nicolas, John and Eduardo! They are all great guys and we have enjoyed getting to know each other during the rehearsal process and spending time together outside of the theater. John and I have worked together a few times at the Met and Chicago, most recently just a few months ago in Carmen where he did a stellar job as Escamillo and I sang Zuniga. Eduardo and I have worked together before in Florence, Italy about 7 years ago, doing Le nozze di Figaro where I sang Figaro and he sang Bartolo. This is my first time working with Nicolas and it has been a great pleasure for me. He is simply terrific as Don Quichotte and I have enjoyed very much working with him and getting to know him. Now Millie...that was love at first sight when I first met her 3 weeks ago! She is a lot of fun to sing to and ride on stage. I have always loved horses, now I love donkeys too!

Sancho (Bernstein) shields Quichotte (Cavallier) from the scorn of the guests at Dulcinea's party (Rozarii Lynch, photo)

You previously performed the role of Sancho Panza at the Klangbogen Festival. Can you tell us a little more about this festival? What was that production of Quichotte like, and how does it differ from what we’re doing here?
The Klangbogen Festival is a wonderful festival in Vienna during July and August that puts on a wide variety of operas from contemporary modern operas to the classics. I had the pleasure of making my debut in Vienna in an ultra modern production of Don Quichotte that was performed at the Theater and der Wien. This is the same theater that Beethoven had the premiere of his opera Fidelio in 1805. While that production in Vienna was thrilling to be a part of and a great experience, it was ultra-modern in every respect, with Don Quichotte set as a caricature of a clown in all white. I sang Sancho in a cut-out donkey with a top hat on. Both Don Quichotte and Sancho Panza had cut-out models of our animals, not like the real Millie and Desperado here in Seattle. This has been so much fun. This production here in Seattle is true to the text and period while also being and fresh, vital and real. I enjoy being involved in vibrant, realistic, and authentic productions such as this one and have really enjoyed on working with Linda Brovsky on the role of Sancho. It's been delightful working with Maestro Montanaro as well.

Bernstein as Figaro, with Mary Mills as Susanna, in Seattle Opera's 1997 Le nozze di Figaro (Gary Smith, photo)

It’s been a while since you last sang at Seattle Opera. Did the city seen very different when you first returned? Is there anything you’re excited to do in Seattle during your free time?
The city seems to have grown and expanded since I was last here! So many terrific restaurants and areas to visit. I'm having a terrific time exploring Seattle with my wife and 3 children enjoying all the sites. We have gone to to the Museum of Flight, the Aquarium, the Zoo,the Science Museum, and the Children's Museum. There are so many fun and exciting places for children, and so much to do and see. I'm just sad that my family is leaving on Wednesday. On one day before my family arrived, I rented a car one day with no map and no gps and ended up driving to West Seattle. As I was turing a curve I saw a ferry entrance, and decided to be "spontaneous" I paid the fare and ended up on Vashon! I had a great excursion there and ended up having a burger at the restaurant The Hardware Store. I am also a private pilot, and I was just fascinated by the Boeing tour in Everett. I plan to go back again with my son Joshua this week. On another day, Jan Asbjornsen, who is an Artist Aide for the Seattle Opera and also a full time Project Manager at Starbucks, gave me a phenomenal private tour of the company. I had a fantastic time, getting a behind-the-scenes tour at my favorite coffee company!

The final tableau of Don Quichotte, with Cavallier and Bernstein

Some years ago there was a concert Don Giovanni up in Bellingham where you ended up singing the roles of both Leporello and Masetto. Has anything else that unusual happened to you in your career, or is that the weirdest thing you’ve experienced?
I think this singlehandedly was the most unusual thing that had happened to me in my career, as the day before I sang the performance of Don Giovanni up in Bellingham my father had passed away. On the day of the performance I arrived at the theater and the singer scheduled to sing Masetto had a very high fever and was incredibly sick. I felt bad for him and told the conductor that if they needed me to sing both Leporello and Masetto I could. This being a concert performance, it was possible (with a little bit of jumping around and singing arias back to back). It makes me smile to think back to this, as this was my father's favorite opera. Leporello was also his favorite role to hear me sing, and even though this was a tragic period for my family, I was singing for my father and I know in my heart he was smiling...

A "Quixote's Quest" Bonus Round...

3/2/11 UPDATE:

We are so impressed with the clue-cracking skills of our readers! The bonus round necklace has just been found, hidden at the north end of Discovery Park. Thank you so much to everyone who has participated in "Quixote's Quest" in the past four weeks. We've had tons of fun, and we hope you have, too!

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We've been having so much fun with our "Quixote's Quest" scavenger hunts that we were sad to see them end yesterday--although we were super impressed with the two winners who found the necklaces within hours of us posting the clues!

So, to keep the adventure going, we braved the rain this morning and hid one final necklace somewhere in the Seattle area.

All the same rules apply, and we'll post a new clue every day from now through Friday, until the necklace has been found. The first person to find it will receive two free tickets to the March 9 performance of Don Quixote, and will be entered into the drawing for a romantic grand prize package for two. And now for the first clue....


BONUS ROUND

CLUE #1: This place shares a name with his ship; towns north and south share a name with him.

Update, dated 3/2 at 10:20 am:

CLUE #2
Seeking Dulcinea’s star, park your steed near the break of day.


Good luck, brave knights!

A Chat with John Relyea

Today we speak with bass John Relyea, who made his role debut as Don Quixote on opening night last Saturday. Relyea was last seen in Seattle as Bluebeard in the 2009 production of Bluebeard's Castle, where he once again performed opposite Malgorzata Walewska, the opening night Dulcinea in Don Quixote. We caught up with the Seattle Opera favorite and asked him what it's like to play such polar opposite characters, and what got him interested in this opera in the first place.


Your performances in Seattle have been title characters in very offbeat operas (Bluebeard’s Castle, Don Quichotte, and then Attila next season). How rare is it for a bass to get to play so many main characters as you have?

While there are a good deal of main and title character bass roles, the ones I have had the opportunity to perform in Seattle are much less frequently performed—sometimes for casting reasons. Often it is hard to find the right singers for the roles. Other times, the operas have just never moved into popularity. I find it somewhat puzzling as to why Don Quichotte isn't performed more often. The music is so beautiful, and the story is fantastic.

You also play a lot of bad guys. What’s that like? Do you ever want to be the good guy or have a happy ending? Quixote is the protagonist here, but his end isn’t so bright and cheery….

I think after spending so much of my career performing the role of Figaro, who is such a likable guy, I felt the need for a real change. The last few years have found me going deeper into the bad-guy repertoire. I don't really know why, but I feel very alive on stage as a villain. It's lots of fun. But Don Quichotte is a truly good human being to the core, whose delusion has spawned largely from a desperate need to make a brighter, kinder, more peaceful world. Although the ending is sad, the overall statement he makes is a very positive and warm one.

John Relyea (Don Quixote), with Eduardo Chama (Sancho Panza) standing behind him.
Photo by Rozarii Lynch

Have you ever noticed if people treat you differently offstage because of the dark characters you portray onstage? Does anyone ever think you’re meaner than you are?

No, I go out of my way to be a kind, supportive colleague. But I tend to do "Bad" well, which can leave some wondering if there's another side they're not seeing!

You started out in rock bands when you were younger, so it’s probably fair to say your musical background is diverse. But what about today – do you still play, sing, or listen to rock music?

I still travel with my guitar, and play around with rock and roll. Seattle is such an important city to me from that standpoint. Jimi Hendrix was born here, and so was grunge music--two of my favorite things! I LOVE the Experience Music Project! My iPod has just about every type of music on it - from jazz to…well…some very loud music!

Eduardo Chama (Sancho Panza) and John Relyea (Don Quixote).
Photo by Rozarii Lynch

This is your role debut as Don Quichotte. How did you first discover this opera and what made you want to undertake this new role?

When I was much younger, and beginning as a singer, I once saw Chaliapin portray the knight errant in the Don Quichotte film made in the early 1900's. His acting and singing were legendary, and the story moved me greatly. It left a very strong impression on me. So when Speight offered me the role two years ago, I jumped at the chance.

In your preparation for Don Quichotte, have you tried to reconcile the way the character is portrayed in the novel with how he’s seen in the opera? For example, the novel seems to make him out as more of a fool, while the opera is more sympathetic.

The novel is filled with Quixote's many misadventures, which inevitably boosts the element of comedy in the story. But I believe that in choosing the windmill scene as the main comedic scene of the opera, one easily sees how reckless and funny his insanity makes him. But throughout the other scenes, the opera rightly shows us there are other sides of Don Quichotte, which make him so balanced as a dramatic figure—the sympathetic, righteous, romantic, selfless, and noble traits.