Opera Education Opportunities Abound!

Seattle Opera will be offering and involved with several exciting new opera- and theater-education programs this summer. Here's some information about some of these opportunities:

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Pirates of Penzance Opera Camp

Hosted at Seattle Public Theater
Directed by Kelly Kitchens and Barbara Lynne Jamison

Adventure on the high seas awaits! Join Seattle Opera and Seattle Public Theater for a hilarious farce of sentimental pirates, bumbling policemen, dim-witted young lovers, dewy-eyed daughters and an eccentric Major-General, all morally bound to the often-ridiculous dictates of honor and duty. Our camp includes acting, singing and all-round madcap theatrical fun – we’ll have you singing (even if you've never sung before) – and loving it!

When?
July 18-August 12; Monday-Friday, 9am-12pm

Performances:
August 12 @ 7pm
August 13 @ 2pm and 7pm
August 14 @ 2pm

Cost: $350 (scholarships available)
Ages: 12-16

To register, CLICK HERE.
For more information contact Sue Elliott at sue.elliott@seattleopera.org or 206-676-5560

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Opera as Creative Writing: Song Pirates, Ahoy!
Crafting High Seas Adventure Journals

Workshop at 826 Seattle

Have you ever wondered what pirate captains and high-seas adventurers do between epic skirmishes with sea monsters and encounters with fighting major generals? Why, they write adventure journals, of course! Calling all hands on deck for an opera-inspired mixture of visual arts, creative writing, and Pirates of Penzance inspired activities (no singing or opera experience required). For more information, and to register, CLICK HERE.

When:
July 18-21, 2-4 pm
Final Sharing for friends, family and any neighborhood pirates: 3:30pm on July 21

Cost: Free
Ages: 9-11

*****
Technical Theater Training Workshop

Hosted at Seattle Repertory Theatre

Know a high school student interested in jobs backstage and technical theater? Join the Western WA Theatrical Training Trust this August for an exciting new workshop, which offers training in lighting, sound, costuming, hair and makeup, scenery building, fly systems and video/projections for students (16 & up) and teachers. To register, CLICK HERE.

When?
Tuesday August 2, 2011 – Thursday August 4, 2011

Cost: $200.
Ages: 16 and up. Teachers may also participate.

Speight Jenkins Awarded Honorary Doctorate by New England Conservatory

This past Sunday, Seattle Opera General Director Speight Jenkins was awarded an honorary doctorate by the New England Conservatory, as part of its 2011 Commencement ceremony. It was a thrill for Jenkins, who flew to Boston to accept the degree, along with his fellow honorees: violinist Jorja Fleezanis, composer Steve Reich, and musicologist Leo Treitler. A vital part of Boston's and the nation's music scene, New England Conservatory was founded in 1867; its faculty, 225 internationally esteemed artist-teachers and scholars, trains a student body of 720 undergraduate, graduate, and doctoral music students from around the world each year. The school presents 600 free concerts each year, many of which are carried by 250 partner NPR stations around the country.

Says Jenkins, "I am honored to be a graduate of the New England Conservatory of Music, one of the leading music schools in the nation. It was particularly gratifying to me have been nominated for this award by Luretta Bybee, one of the distinguished and versatile artists who have often appeared at Seattle Opera."

Speight Jenkins with Luretta Bybee and NEC President Tony Woodcock.

Bybee, a mezzo-soprano and the Executive Director and Chair of Opera Studies at the NEC, made her Seattle Opera debut in the 1990 production of War and Peace, and has appeared in a dozen roles since then, including leading roles and supporting characters. In 2004, she sang both the title role in Carmen and the small part of Wowkle (in Puccini's Fanciulla del West) for Seattle Opera. Bybee was most recently seen in Seattle as Amanda in the world premiere of Amelia last year.

Have a look at a few pictures from this special day, below:

Speight Jenkins with his fellow honorees. From left to right: Steve Reich, Jenkins, Jorja Fleezanis, and Leo Treitler.

Bybee adorns Jenkins with the cowl during the graduation ceremony.

Jenkins receives his honorary doctorate and shakes the hand of NEC President Tony Woodcock.

Many thanks to NEC and photographer Miro Vintoniv for photos.

Benjamin Richardson's Final Report, #5

It's me again, Benjamin Richardson, Second Spirit. Looking back on this whole Magic Flute experience is incredible. I was onstage singing with well-known singers while on a scooter and 10 feet high on a catwalk! That has got to be one of the most unique experiences ever. I had the time of my life playing the Second Spirit. This was (98% sure) the last time I will ever be a Spirit in this opera, and I will never forget it. The cast was such great fun to work with, and everyone was so nice and helpful. I loved coming back to the Greenroom after singing in front of hundreds of people, on a catwalk, and wearing a red wig, to find people waiting to play poker or another game. It was very serious onstage, but surprisingly casual when we weren’t singing.

The last performance went very well, and nothing seemed to go wrong except for one minor accident. I previously had made a mental note to lean forward more when I get up from lying down on the catwalk so that the lights would shine on me. I forgot one small thing, though. When I crawled back up from my laying position, leaning a little more forward than usual, my whole head banged on the railing above me. The red wig shielded my head, but it still made a huge gong-like noise onstage. Casi Goodman, the Third Spirit, could hardly keep herself from laughing. The rest of the performance was superb, and I think that everyone must have loved the Queen of the Night a lot that night, for when she came out to bow she received the biggest roar of applause of any character on any night!

Alissa Henderson, Benjamin Richardson, and Casi Goodman as the Three Spirits in The Magic Flute.
Photo by Rozarii Lynch

It really was the most fun series of performances I have ever done. I had such a great time working with the other Spirits, Alissa Henderson and Casi Goodman, and I hope someday we will end up doing another opera together. Our Director, Chris Alexander, was a wonderful person to work with. He completely made what this opera what it was, and without him it couldn’t have been so successful. Rehearsals with him were always productive and creative, and I appreciated every one of his ideas on how to make the opera better.

Backstage at The Magic Flute: Papageno cowers, near the front of the stage, while Anubis with red brooms sweep away the Three Ladies from the "blacklight" zone upstage (Photo by Alan Alabastro)

I want to congratulate the entire cast for putting on magnificent performances and for making this one of the most amazing experiences of my life! You shall always remain in my memory, and I hope to continue singing with you.

Seattle Opera's Bike-to-Work Team (the "Ring Cyclers")

The weather was so nice on Thursday, Seattle Opera's bike-to-work team got together for a little pizza party and a few photos outside McCaw Hall. (Left, Online/Audience Development Manager Aubrey Bergauer shows her spirit.) We have quite a few employees who bike to work year-round at our main headquarters in South Lake Union, where our rehearsal studio, costume shop, and administrative offices are located; others bike to work at the scenic studio in Renton; and some performers even bike to work at the theater. For several years, Seattle Opera has participated in the Group Health Bike-To-Work Challenge in May. This year so far, our team (which includes commuters who come from Bellevue and Redmond) has logged several hundred miles of bike commuting. And a handful of Seattle Opera staffers are either STP (Seattle-to-Portland) veterans or aspiring hopefuls!

The team, ready to file in to work.

Team captain Iain Quigley is Seattle Opera's Desktop and User Support Technician.

Public Relations Coordinator Monte Jacobson got in on the fun.

The "Ring Cyclers" this May included tenor Jonathan Boyd, who sang a terrific Tamino last night, and baritone Philip Cutlip, who appears tonight as Papageno. Since performances began, Cutlip has had a chance to explore some of King County's fabulous bike trail system. Boyd's bike, for these photos, provided by Cadence Winery.

All photos by Alan Alabastro.

MEET OUR SINGERS: Keith Miller, Sarastro

Singing Sarastro at tonight's performance is American bass-baritone Keith Miller, native of Colorado, former professional football player, Director of Opera and Opera Young Artists Program for the Crested Butte Music Festival, and all-around great guy. The city of Seattle has taken warmly to Miller while he was here making his Seattle Opera debut; last week, the Seattle Times Sports Page ran a story on him, and posted a Video Interview as well; and he also appeared on New Day Northwest, where he sang "O Isis und Osiris" for the studio audience. Yesterday, Miller sang the anthem for the Mariners, and today (before tonight's performance) he answers our questions about his career, the role of Sarastro, and singing those low, low notes.

What’s your favorite moment in Magic Flute--either to perform yourself, or just to watch?
I love the quintet and the entrance of the queen. When they speak of the Three Spirits and that beautiful simple music plucks away underneath the singing, it is magical. Also, I can't imagine what the first performance of Flute must have been like watching the faces of the audience and children as the Queen's first entrance music pulses away and the
vocal fireworks begin on "Du Du Du!" Mozart was a genius!! No argument from anyone on that, and I am so grateful to be a part of the retelling of this masterpiece!

With The Magic Flute, do you have to be careful about warming up, so your voice doesn’t get so high that you can’t sing Sarastro’s arias?
Yes, you do have to be careful as not to warm up so much for Sarastro. It is a very low role and what makes it especially difficult is that I'm singing Escamillo in Glimmerglass right afterwards. This makes the voice bounce up and down like a yo-yo!

Pamina (Hanan Alattar) is not necessarily convinced by Sarastro's (Keith Miller) lofty ideals of nobility and brotherhood; Rozarii Lynch, photo

Do you consider Sarastro “good”? With Tamino not joining Sarastro’s brotherhood in this production, does that change how you perceive Sarastro as a person, and how you play his character on stage?
Great question. I feel like Sarastro is is very much like a parent, with parental powers included. By this, I mean his powers are influence and education along with point of view and perspective. By showing Tamino these things, he is guiding him, educating him, and the fact that Tamino doesn't side with him in the end means that he has done his job well.

I actually consider this to be the final passing of the tests. My own little interpretation! Tamino comes away with the power of choice. Just like a parent, the time to educate and raise our children comes and goes, and when they leave, you hope that they have gathered the lessons taught and begin a new and more prosperous life. In this production, this is how I see this relationship. This is how I know that Sarastro has done his job, and in the end, I think that he can feel proud that he has chosen wisely in Tamino.

Sarastro (Miller) chastises his misbehaving slave, Monostatos (Doug Jones) (Rozarii Lynch, photo)

Why did you decide to make the switch from a career in football to a career in opera?
Basically, I just followed my heart. The stars aligned and I found myself in the unique position of being able to play for probably two more seasons and beginning this journey into music. At that point, I realized that I couldn't imagine what my life would be like looking back at that moment, many, many years from now and saying to myself, "What would have happened if I had seized that opportunity to sing?" I have never lived with regret. But I realized then that if I didn't grab this golden opportunity, it was never going to come again. This is something that I would have regretted, and would have been willing to trade all those days that passed for the chance to come back to that decision and choose music. I would have traded my soul away.

Miller as Sarastro (Rozarii Lynch, photo)

You’re training young singers and introducing kids to opera through the Crested Butte Music Festival. How did you get involved, and how do you balance these responsibilities with your performing career?
Balance is a careful combination of doing what you need to do. Each task, whether it be my preparation as a singer, teaching, hearing auditions, auditioning myself, or anything else, is like a spoke of a wheel. Each spoke must be strong within itself, support equal weight and yet be distanced from the rest in order for the wheel to be aligned. I cannot allow myself to neglect what I need to do as a performer, for half of what my value is to young singers is that I am going through the process myself and they can learn from my experiences and follow my career in the making. I cannot concentrate completely on my music, because that would not allow me to administrate to my full effectiveness. The axle of this wheel for me is patience and foresight. Through these two things, all the spokes of my performing career and administrative duties are attached and supported. These two things sustain my career, the education I am providing for the Young Artists, how to balance the needs of my staff, and allow for the natural progression of time. The good thing is as this wheel turns, I am able to learn new things about myself, the business and most importantly music. The only way to balance a wheel is to let it spin. It's like a planet. If it continues to do its job, it aligns itself and everything falls into place.

VIDEO: The Behind-the-Scenes Magic of Quick Change

For every person you see on the opera stage, there are, on average, three more people working behind the scenes to bring you a fantastic opera-going experience. Here's a glimpse of some of that unseen work. To learn more, visit www.seattleopera.org/support




Videography by Alan Alabastro, Jeffery Santos, and Matt Holmes.

MEET OUR SINGERS: Eric Neuville and Erik Anstine, First and Second Priests

Our current production of The Magic Flute wraps up this Saturday, and our blog series of Q&As with artists still hasn't made it through everyone in this very large cast. But today we bring you two more players in Flute, both of whom also were Seattle Opera Young Artists this season: tenor Eric Neuville (First Priest) and bass Erik Anstine (Second Priest). Check out what they had to say about their roles below, and take note that if you haven't yet seen Flute, there are only three performances remaining.

To the right, a costume sketch for Sarastro and his priests, by costume designer Zandra Rhodes.

In your brief duet, “Bewahret euch vor Weibertücken,” the two of you warn Tamino and Papageno to watch out for women. Have these priests been badly hurt…or are they just jerks?

ERIK: I think that’s an unfair question. The priests’ attitudes toward women come from the philosophy of the temple. In the finale of Act One, Sarastro gestures while lecturing about how women, without the guidance of men, will tend to step out of place. The women of the chorus fall to their knees in deference at this comment. The two priests are starting to indoctrinate Tamino and Papageno in the temple’s attitudes toward women.
ERIC: I think the priests take pleasure in scaring Tamino and Papageno, but keep in mind, these two priests were the first to speak up against allowing Tamino to take the tests in the first place. So perhaps they knew they would have to be babysitters and are just annoyed with the whole situation.

Erik Anstine (Second Priest) and Philip Cutlip (Papageno) in The Magic Flute.
Photo by Rozarii Lynch

In Act 2, as Tamino and Papageno undergo the brotherhood’s testing, you each take one under your wing. How does that play out?

ERIC: I'm very fortunate to be the Priest responsible for Tamino on his journey, as Mr. Anstine gets stuck with the "flighty" one. Talk about a pain in the tail-feathers!
ERIK: The Second Priest is disappointed at having to deal with Papageno, yes. While Tamino answers all questions correctly, stays silent, and undergoes the trials, Papageno only wants a glass of wine, or spends his time talking and making life difficult for the Second Priest.

Eric, you and Erik Anstine both performed in the Young Artists Program production of Don Giovanni earlier this spring. How do these two Mozart operas compare to each other?

The first thing that comes to mind is the nature of the stories. Don Giovanni feels very real; one can easily sympathize with a character like Donna Elvira or Leporello. The Magic Flute is a fairy tale. I mean, when is the last time you were forced to do secret priest tests in order to impress daddy enough to get a first date with a girl who's picture you fell in love with after being rescued from a dragon?

Marcy Stonikas (Donna Elvira) and Eric Neuville (Don Ottavio)--both Seattle Opera Young Artists--in this spring's YAP production of Don Giovanni. In The Magic Flute, Stonikas makes her mainstage debut in The Magic Flute, as one of the Three Ladies.
Photo by Rozarii Lynch

Erik, congratulations on your mainstage debut with this production. Does it feel like an arrival for you?

Thanks! After two years in the Young Artist Program and watching singers perform on the mainstage, I’m really happy to get up there myself. Singing at McCaw and being in a mainstage production has felt like a natural progression from being in the amazing program here. Of course I had some nerves on opening night, but I have felt incredibly prepared throughout the process, thanks in no small part to the terrific training I received here. As opposed to being coddled or treated like students, we were treated like real professionals in the program. We were expected to behave and perform at an extremely high level. Being under that kind of pressure really prepared me for being on the mainstage and has meant that I’ve been able to enjoy my debut.

I’m also really glad I’ve been able to share this production with Marcy Stonikas and Eric, my fellow two-year YAP veterans.

Checking in with Chris Alexander

Chris Alexander, stage director of both The Magic Flute and (coming up next at Seattle Opera) Porgy and Bess, stopped by and we asked him about the first few performances of his Flute.

Were you pleased with the opening night performance?

Saturday evening, there was a moment of suspense there because we had some trouble with one of our curtains opening and closing. The wonderful Yasmine Kiss, who is our stage manager, saved the show. When the iris didn’t move for the scene change into Papageno's suicide, she got everybody downstage and they entered from another direction. The problem was fixed right before the eight Papageni “chicks” came on, thank goodness. I was sitting in the house, and there really was a tense moment, but it worked out and we were so relieved.

And how about the Sunday performance, which featured the debuts of all five principal singers?

It’s really thrilling to see both casts, and the Sunday cast did a wonderful job with the matinee. The matinee was, I thought, a little more relaxed than the opening evening.

What surprised you most about the performances so far?

Well, I was thrilled by what Mari Moriya, our second Queen of the Night, did. She’s amazing, every time she does the Queen of the Night, she adds something to it. It’s evolving into an immense performance. So she really surprised me in a wonderful way. And Papageno, with the audience reacting to everything he says or does, really came out of his shell [laughs].

Mari Moriya (Queen of the Night)
Photo by Rozarii Lynch

You're pleased with the audience reaction?

Yes, the audience is having fun with it, and that was very important to me. I like it that they respond with laughter and sometimes even hissing to some of the statements made by Sarastro and his priests, which is what we were expecting. And one of the most special moments is the entrance of the eight chicks--people go crazy over that!

The first big laugh in the show comes in the first number, when the dragon snorts out steam as it dies. That’s where you basically introduce yourself to the audience, telling them what your show is going to be like.

That’s it exactly. We were considering taking the puff out because it leaves a trace of powder on the stage. We were asking “Oh, should we even use it?” And I thought that we had to. That's the introduction to the production’s style.

MEET OUR SINGERS: Christine Brandes and Hanan Alattar, Paminas

Today, we chat with Christine Brandes and Hanan Alattar, who share the role of Pamina in The Magic Flute. Brandes has previously appeared in Seattle as Susanna in The Marriage of Figaro and Cleopatra in Giulio Cesare (the latter of which was conducted by Gary Thor Wedow, who has also returned for Flute). Alattar, on the other hand, is making her company debut in the role, though she has previously performed with the Seattle Symphony. We talk to both sopranos about relating to Pamina...and what the princess thinks about her mother, the fearsome Queen of the Night.


Tamino falls head over heels in love with Pamina upon seeing only her picture. Do you find that romantic, or just creepy?

CHRISTINE: I think it is a romantic idea—rather sweet, in principle.
HANAN: Haha, well, it would be creepy if it was via Facebook in 2011... However, my picture in a locket belonging to my mother who is a queen and in a world where he is a prince looking for his princess.... Wowies! Romance in all its glory is certainly in the air.

Leigh Melrose (Papageno) and Hanan Alattar (Pamina).
Photo by Rozarii Lynch

Does Pamina's relationship with her mother change over the course of the opera? How does she feel about the Queen at the end of the opera?

CHRISTINE: Initially, Pamina trusts her mother, believes she will rescue her from this circumstance and has her best interest at heart. Pamina gradually realizes that, as one might suspect with queens, she is completely driven by her own self-interest not the hoped-for unconditional love. While she has compassion and understands what has driven her mother to the point of madness, she has definitely broken with her and found her own path.
HANAN: Yes—even though Pamina loves her mother, she has had to make decisions that will secure the kind of future that she wishes to have in her life. I think that Pamina grows up a lot during the course of this opera. She meets the love of her life, sees her mother in a completely different light, goes through dangerous trials and in the end decides to move forward with her partner on a separate path. It's not that she now dislikes her mother; she still loves her! But, she sees that her mother's methods might not be the best way for her in her own life.

As modern women, how do you relate to Pamina, who is denied so many of the freedoms we take for granted today?

CHRISTINE: She is easy for me to relate to. The path to Tamino is not easy and once they are together, they have trials to overcome as a couple. She is strong-willed, follows her heart and speaks her truth. Gotta love all of that! Ultimately, she gains all those freedoms as she and Tamino walk off into the sun(set) to make a different world for themselves—as equals.
HANAN: The biggest shift you see and hear in Pamina is when she figures out her own tests in the trials. She calms down and actually takes the wheel for a while! She says, "I myself will guide you. Love will light the way for me... Play the flute. It will protect us. It was made by my father,” and so on. She becomes the equal, and they say the last lines together. And that's where the show leaves us, both sides moving together towards the new future.

Christine Brandes (Pamina) and John Tessier (Tamino).
Photo by Rozarii Lynch

Christine, this is your second time working here with Gary Thor Wedow. How would you describe your collaboration with him?

Working with Gary is a complete delight. He is a fantastic musician and conductor (two characteristics not always found in one individual!) and is a dear person. I also trust him when it comes to musical, vocal, or dramatic observations.

How did you get started in opera? What do you say to people who don’t find this art form relevant?

I came into "straight" opera a bit through the back door. I was doing lots of baroque opera, was scooped up by a manager after one of those performances, and gradually found doors opening to mainstream houses and repertoire.

I would suggest that people who don't find this art form relevant just aren't paying attention. Maybe relevant isn't the right word. Opera does many things. It uplifts, entertains and amuses and hopefully inspires some kind of emotional response. If a magnificent phrase can transform one's spirit, even for just a single shiver, our work is done. Those are the moments that reaffirm and feed our souls. I hope opera is thought-provoking and perhaps can give a new perspective to a nagging issue in one's own life. Okay, so stabbing your rival may not always be the answer to your problems, but perhaps other options will arise!

Hanan, you recently sang the Mozart Requiem with Seattle Symphony. Was that your first visit to our fair city? Do you have exciting plans for extracurriculars while you’re here?

I sure did, and it sure was my first visit! I am a major coffee person, so I have been exploring all of the local coffee houses. Also, I love the outdoors, so I am truly enjoying walking around the city and seeing its beautiful landscape.

You’ve sung your fair share of new music and opera in English, as well as lots of Mozart. Tell us about Goldenthal’s Grendel.

Goldenthal's Grendel was a heroic task taken on by Los Angeles Opera and the wonderful, whimsical world of Julie Taymor. It was cool on many levels. Goldenthal is actually Julie's partner as well, so there was such a strong connection from text to music, to puppets, and to the drama. The cast was phenomenal, including Eric Owens, Denyce Graves, and Laura Claycomb. I totally had a crush on Eric Owens’ voice after that show, wow.

I was part of Denyce Grave's three-pronged tail. (My first glorious role at Los Angeles Opera!) My costume took three hours to prepare every evening. I also covered Laura Claycomb's role at the same time.

There was a bit of drama with a delayed opening of the show due to a computer malfunction, but it was so worth the wait. The set, the amazing costumes, and the music really took you to another place and time and kept you suspended there until the very end. I wish it would be done again. We performed it in New York as well, and all nights were sold out. I think it is one of those shows that you would say to your friends and colleagues, "Don't miss this one. You really, really have to see it—at LEAST once!"

The Magic Flute: Flute-Apalooza

In celebration of “The Magic Flute,” Seattle Opera hosted a free community open house at McCaw Hall on Saturday, May 7, which featured performances by Papageno (Leigh Melrose) and the Queen of the Night (Mari Moriya), as well as Sound Wave (the official Seattle Sounders marching band), the University of Washington Magic Flutes, and an all-kazoo orchestra. Check out this recap of the fun, family-friendly event, sponsored by Russell Investments.




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