Detroit Opera House: An Insider's Perspective

Final Day, Final Thoughts

2011-08-04T10:38:00.003-04:00

Sadly, today is my last day at the opera house. I have to start making my way back to school and get ready for the endless papers and exams. It has been a great summer but it is time now for some reflection and final goodbyes.

I think the best way for me to really understand what I learned is to recount my expectations and how they changed or did not.

1. I went into this internship with a passion for the arts while not knowing a single thing about opera. I learned more in my first day on the job than I had in my entire life. I got to see my first ever opera, Rigoletto and I was pleasantly surprised by how much fun I had. The production was completely different than my previous musical theatre experience and I found a new form of art that I enjoy and plan to continue to explore. I think the most fascinating thing I learned is the rich history that is behind this unique art form.

2. I began the summer with an undying interest in finance and numbers and now have a greater understanding, curiosity and appreciation for all that goes into spreading the word about a show. As both the PR and Marketing intern, I got to experience a wide range of tasks and responsibilities. I wrote press releases, updated social media, compiled resources for students and much more. While these tasks are important to the operation of MOT, I came to recognize how important they were in keeping the community interested and involved in opera.

3. I have always believed the arts to be important but I did not know how truly significant they could be for a community until now. During the summer, countless kids filled the opera house for camps, workshops, intensives, and other programs. I now realize how important these programs are for the kids and their continued support of opera and how important this education is for the future of the arts.

4. Finally, before I started the internship I was seriously questioning my goals for a future in the arts. Now, I know that I am definitely in the right field, and I cannot imagine myself doing anything else. Besides always having a passion for the arts, I now know that this work has a marked effect on the community and is important for bringing people together. I am really thankful for this experience for reinforcing my goals for the future.

Overall, this experience has been way more valuable than I ever imagined. I am grateful for all the responsibility I was given and the people I met and had the privilege to work with. I had so much fun this summer discovering a new aspect of the arts and I will definitely be back at the opera house for many shows to come.

Solutions for the Opera Blues

2011-06-23T10:02:00.003-04:00

With the season ending over a month ago, some of you probably have the opera blues by now. Here are a few ways you can stay involved with the opera house over the summer:

The Detroit Opera House is presenting a few touring companies and shows in the months of July and August. First up for something a little different, on July 2nd the “Comedy Explosion” tour will be filling the house with laughs. Next, for those of you missing a little operatic music in your lives, Italian tenor Francesco Demuro will be performing on July 30^th. For more information about performances over the summer, visit the calendar on the opera house website: http://www.michiganopera.org/calendar.html.

For all you performers out there, we have numerous audition opportunities available throughout the summer. Michigan Opera Theatre is looking to cast the role of Toby in the upcoming season’s production of The Medium. Auditions are next week so hurry up and send in your resume and headshot to Elizabeth Anderson elizabeth@motopera.org. In addition, MOT is always searching for new talent for their chorus. If interested, send your information to Elizabeth Anderson for details about upcoming audition times. Finally, for all the young performers out there, MOT’s Children’s Chorus is holding auditions Monday, June 27th by appointment only. Before sending in your resume and headshot or preparing for the audition, check out http://www.michiganopera.org/utility/auditions.html for more audition details.

Michigan Opera Theatre also provides many camps and workshops throughout the summer. Check out http://www.michiganopera.org/cp/latoh.html for more details. Registration is now open for many of the programs, so don’t wait! You do not want to miss great opportunities such as the Summer Dance Workshop or Opera Camp.

As the summer is almost halfway over, the new season is quickly approaching. Make sure to check out michiganopera.org for more summer opportunities, details about upcoming productions including finalized cast lists, and more.

We love staying connected with our fans on the web, so make sure to check out and share your thoughts on our Facebook and Twitter pages, we love to hear from you!

Finally, start getting excited for next season! The 2011/2012 season, FATE, is jam packed with great shows such as The Pearl Fishers, The Medium and much more. A season like that will surely make up for going the whole summer with no opera.

I hope this list gives you enough opportunities to curb the loss of opera over the summer. Just remember, the new season will be here before you know it!

BravoBravo? YesYes!

2011-06-02T14:04:00.004-04:00

It’s official, BravoBravo! has taken over the Detroit Opera House. I took a stroll through the good old opera house and got you guys a sneak peek of what you are in store for or missing out on tomorrow.

If you haven’t heard, tomorrow is the best party to hit Detroit and you DO NOT want to miss it. BravoBravo! is the annual Detroit Opera House fundraiser, which celebrates all the best that Detroit has to offer. With this year’s theme being Hollywood, we are striving to outdo the glamour and entertainment of the Oscars. If you have already gotten your tickets, get excited! If not, sorry, I just found out that the event is SOLD OUT. I unfortunately do not meet the age cutoff so I will sit at home and regret not being born earlier.

Here are a few things I have seen so far:

I checked out the weather for tomorrow night and you guys are in for a treat: around 70 and partly cloudy. Perfect for sitting outside in one of the tents covering the surface lot and enjoying your food and drink while taking in the awesome entertainment around every corner.

After navigating through the maze of sound and lighting equipment, I did a little research about the entertainment in store. First up, on the Mainstage is Amp Fiddler. After working with such greats as George Clinton and Prince, Fiddler is returning to his hometown of Detroit to rock out the opera house with funk and soul. Another Detroit native, Nicole New, will be taking the stage with her “eclectic” and “energetic” style. There are also 6 other performers making sure to keep the party going to all hours of the night. Or until 12:30am when you don’t have to go home, but gotta get out of the opera house.

What’s better than an opera house auditorium? An opera house auditorium filled with food. There will be over 40 restaurants and beverage companies making sure you do not go hungry as you explore the three floors of entertainment. I saw the layout for the food vendors and personally, I’d camp out on the main floor of the auditorium. Wolfgang Puck Grille, Andiamo, Rojo Mexican and MGM Grand Detroit Catering, just to give you a taste. Pun intended.

Do you recognize this opera house? That's right, this is the Detroit Opera House main floor auditorium covered with a stage, which will be filled with food vendors.

If you still don’t believe that this is the “it” place to be tomorrow, let the trash cans do the talking. When the trash cans are covered in purple satin, you know that this party is going to be awesome.

Remember, dress to impress, you never know what local stars will be gracing the red carpet with you. Also, please drink responsibly and drive safely. After all, this is an event you will want to remember.

New Intern. Same Opera House.

2011-05-26T10:56:00.006-04:00

Hi! My name is Alex and I am the new summer intern here at the Detroit Opera House. I started here a couple weeks ago and so far, I have learned more about opera in two weeks than I have in my lifetime. In the fall I will be a junior at the University of Michigan where I study Economics and Theatre & Drama. These two majors have nothing to do with each other and everything to do with each other at the same time. I am interested in business and arts and I could not have imagined all the possibilities to work in a business environment within the world of performing arts. I hope to one day combine my two passions into a career in arts administration and am really excited about the opportunity to be the Marketing and Public Relations intern. I look forward to giving you guys a unique perspective on what goes on around here and keeping you informed about all things art!

Always feel free to ask questions or share your thoughts in the comments, I would love to hear from you!

A First Time for Everything

Yes, I am an intern at an opera company and I had never seen a professional opera performance. As a theatre student I have worked on and seen more than my share of musicals and plays. Regretfully, I have only attended short operatic performances at my school’s music department concerts. Well, was I in for a surprise when I was given an opportunity to see the Michigan Opera Theatre’s last performance of the season, Rigoletto.

The very first thing I noticed when I entered the theatre was how well dressed the entire audience was. I am used to the business casual attire of musical theatergoers, not the suits and dresses of an opera. I must say I was not disappointed though, I love a good excuse to get dressed up. I had invited my mom to go with me due to her reawakened interest in performing arts, and clad in her nicest work outfit, she felt underdressed. Well, now we know. We took our seats and performed our preshow ritual of reading the entire program before the curtain goes up.

As the show began, I was blown away. The performers’ voices were simply amazing. One thing that intrigued me the most was the difference in sound quality from a musical. Instead of music that could be heard perfectly well while wearing earplugs, the operatic voices were not aided by microphones. The music floated through the air of the auditorium instead of pelting you like this awful Michigan weather. As a complement to the naturally beautiful voices was the sheer power of the huge orchestra. The music was both moving and commanding at the same time, and they did not fight each other.

During the third act, I was caught off guard when “La donna è mobile” began playing. I have heard this song so many times before, how did I not know it was from a famous opera?! This just goes to show how much opera affects the other art forms. I don’t even know how many movies and television shows that song has been a soundtrack for. According to Wikipedia, it has been featured in things such as South Park, Sesame Street, and Saturday Night Live just to name a very few.

As the curtain closed on the final performance, I knew my first venture into the unknowns of opera had been successful. I determined this based on a few criteria: I actually enjoyed the show, I was astonished by the talent and I wanted to see more.

I was not prepared for the vast differences between my usual musicals and this sophisticated show. However, I encourage EVERYONE to see at least one opera in his or her lifetime (although, after seeing one, I dare you to not see another). I was more than pleasantly surprised by how accessible and entertaining Rigoletto was and I can’t believe I have only seen one opera in my almost 20 years. My view of opera as too complicated for my simple tastes has forever been changed and I hope none of you and yours wait as long as I did.

What was the first opera you saw? Share your experiences in the comments.

2011-03-01T13:00:00.000-05:00

DETROIT OPERA HOUSE ANNOUNCES
2011-2012 OPERA & DANCE SEASONS

FATE

Opera Season Opens with Company Premiere of Carmina Burana in Spectacular New Production

Dance Season Includes Three Detroit Premieres

DETROIT, Michigan, March 1, 2011...Michigan Opera Theatre announced today the details of its 2011-12 opera and dance seasons. The company's 41st opera season, entitled "Fate," includes a brand new production of Carmina Burana, as well as revivals of perennial favorites The Marriage of Figaro, The Pearl Fishers and I Pagliacci. Each production explores in its own way the human relationship to fate, and asks the eternal question, do we decide for ourselves, or are our fates already determined by destiny?

The Detroit Opera House's 16th season of dance, sponsored by a generous gift from Maggie Allesee, is highlighted by the Detroit premiere of the sexy and athletic Bad Boys of Dance, and the North American premiere of Swan Lake performed by Corella Ballet, Spain's only classical ballet company. The Maggie Allesee Dance Series also includes the return of the ever-popular Alvin Ailey American Dance Theater, and the Opera House will again host its annual holiday tradition of Tchaikovsky's The Nutcracker with the Detroit premiere of BalletMet Columbus' colorful production.

Opera Season | Dance Season | Ticket Information

OPERA SEASON

Orff's CARMINA BURANA
October 15-23, 2011

Performed in Latin with English supertitles

An all-new production and company premiere of Carl Orff's masterpiece Carmina Burana opens the season for five performances from October 15-23, 2011. Never before seen on the Opera House stage, Carmina Burana was composed in 1935-36 as a grand work for chorus, soloists and orchestra. After the premiere, the composer was so pleased that he said anything he had written before Carmina could be destroyed. The work begins and ends with the well-known and powerful "O Fortuna," a complaint to the Roman goddess of fate.

In addition to the glorious music, stunning aerial feats will be performed by acrobats who have worked with Cirque de Soleil, along with choreography and dancers from Detroit's own Eisenhower Dance Ensemble. The production will feature brand new sets and costumes designed by award-winning Detroit stage designer Monika Essen, who joined the company in 1998 and has designed productions for many area theater, television and film productions.

Carmina will be paired with Gian Carlo Menotti's one-act opera The Medium, marking the 100th anniversary of the composer's birth. Written in 1946, the dramatic tour de force tells of Madame Flora, who cheats her customers by holding fake séances, only to feel a ghost touch her hand during one session, driving her mad. The opera, which has been seen on television and Broadway, was last produced by MOT in 1973 with stage and film actor Sal Mineo.

American mezzo-soprano Melissa Parks performs the title role of Madame Flora, and Canadian Andriana Chuchman returns as both the soprano soloist and Monica, after most recently appearing with Parks in the company's acclaimed fall 2010 production of The Mikado.

Director Robert Swedberg will stage the production along with choreographer Bianca Sapetto of Cirque de Soleil, in their debuts with the company. The production will be under the baton of MOT Assistant Music Director Suzanne Acton, who last conducted A Little Night Music for the company in 2009.

Mozart's THE MARRIAGE OF FIGARO
November 12-20, 2011

Performed in Italian with English supertitles

The fall season continues as Mozart's The Marriage of Figaro returns to the Detroit Opera House stage November 12-20, 2011. One of the most celebrated and delightfully amusing operas ever written, Figaro is regarded as a cornerstone of the operatic cannon. The boisterous romantic comedy involves a wildly entertaining parade of mistaken identities, cross-dressing and infidelity, but of course all are fated to end up happy. MOT last produced the opera in 2007.

A sequel of sorts to Rossini's Barber of Seville, the opera recounts a single "mad" day in the palace of Count Almaviva, maintaining the same characters. The Count's wife Rosina, unhappy in her married life, is pursued by the Count's page. At the same time, the Count is pursuing his servant Susanna, who is engaged to Figaro, the Count's valet. The marital madness comes to a head that evening when all find themselves on the palace grounds in a hilarious series of events that result in the Count's humiliation and forgiveness by the Countess.

American baritone Corey McKern, whose young career has already earned attention and acclaim, returns to MOT as Count Almaviva after his debut performances as Marcello in La Bohème last fall. In the role of Susanna is Italian soprano Grazia Doronzio, who returns after making her company debut as Mimi in the same production; Canadian soprano Andriana Chuchman returns to alternate in the role. American mezzo-soprano Lauren McNeese will sing Cherubino, returning after her company debut in Romeo and Juliet in 2007 and recently performing in LA Opera's new production of the Ring Cycle. Mezzo-soprano Melissa Parks returns in the role of Marcellina.

Italian director Mario Corradi will stage Figaro, marking his twenty-first production with the company.

Bizet's THE PEARL FISHERS
April 14-22, 2012

Performed in French with English supertitles

Michigan Opera Theatre's spring 2012 season begins with Georges Bizet's tale of fate, loyalty and forbidden love, The Pearl Fishers from April 14-22, 2012. The production will again be staged with the wildly colorful sets and costumes of fashion designer Zandra Rhodes, whose designs have been seen on Princess Diana, Jackie Onassis, Paris Hilton, and Sarah Jessica Parker in "Sex and the City." Set on the island of Ceylon in the ruins of an Indian temple, the opera is Bizet's most successful aside from Carmen and noted for its exotic orchestrations and famous tenor-baritone duet. It was last performed by MOT in 2004.

Brave pearl fishermen Zurga and Nadir recall the pact they made not to pursue Leila, the woman with whom they were both in love. A veiled virgin arrives to pray for the fishermen on the eve of their upcoming expedition, but her true identity remains hidden. When she finally reveals herself as Leila, she pits the old friends against each other in a deadly love triangle.

American soprano Leah Partridge appears as Leila, returning to the company after last performing as Roxane in the world premiere of David DiChiera's Cyrano in 2007. American tenor Noah Stewart returns in the role of Nadir, after impressing Detroit audiences most recently as Rodolfo in fall 2010's La Bohème.

Leading the production is maestro Mark Flint, a veteran of numerous company productions and a favorite of MOT audiences for orchestrating and conducting the world premiere of Cyrano. Director Andrew Sinclair will stage The Pearl Fishers, after last directing the same production for the company in 2004. A co-production of MOT and San Diego Opera, it has played to great acclaim in such cities as San Francisco, New York and Montreal, among others.

Leoncavallo's I PAGLIACCI
May 12-20, 2012

Performed in Italian with English supertitles

After an absence of more than 25 years, Ruggero Leoncavallo's only successful opera I Pagliacci closes the season from May 12-20, 2012, with the tragic tale of the tears of a clown. The audience favorite tells of a hunchback pagliaccio who becomes embroiled in a fatal love triangle. The first opera ever to be recorded in its entirety, Pagliacci also contains the first recording to sell a million copies, the famous aria "Vesti la giubba." The opera was last performed by the company in 1985.

In the ultimate backstage drama, laughter becomes heartbreak as the loves and jealousies of a group of traveling players spill into their performances with tragic results. Even as the clown Canio takes the stage to make his audience laugh, his mask cannot hide the knowledge of his wife's betrayal, and he vows to avenge the crime.

In a unique twist, the production will feature an added flashback sequence before the second act, set to music from Leoncavallo's Zaza. Conceptualized by French director Bernard Uzan, who will direct the production, the sequence takes the audience back to the time Canio first met his wife and took her off the street.

Appearing as Canio is Italian tenor Antonello Palombi, who famously performed in street clothes when he was called to take over unexpectedly in Aida at La Scala. He will alternate with American tenor Gregory Carroll in his MOT debut, and who was called "easily one of the best Canios" when he sang the role at Opera Cleveland. American soprano Jill Gardner makes her company debut as Nedda, following recent debuts with Lyric Opera of Chicago and Florida Grand Opera.

Internationally renowned maestro Steven Mercurio returns to lead the Michigan Opera Theatre Orchestra. Uzan and Mercurio will also collaborate on the company's May 2011 production of Rigoletto.

MAGGIE ALLESEE DANCE SERIES

Rasta Thomas' BAD BOYS OF DANCE
October 29-30, 2011

In a Detroit Opera House premiere, Rasta Thomas' Bad Boys of Dance will perform their hit routine October 29-30, 2011. From dancing on catwalks at New York's fashion week to appearing on "Dancing with the Stars," the dancers' amazing versatility and talent push the bounds of dance with athletic jumps, endless turns and endearing individuality.

Founded by dance superstar Rasta Thomas in 2007, BBD dancers have performed on Broadway, in feature films, and have been adored by millions on hit TV shows. In 2010 they performed at Carnegie Hall with Sir Elton John for a charity event alongside Lady Gaga, Sting and Bruce Springsteen. Today the company gives more than 150 shows a year and has performed for fans worldwide, and had the distinct honor of performing at the opening ceremonies of the USA International Ballet Competition.

BalletMet Columbus: THE NUTCRACKER
November 25-27, 2011

The Opera House continues its annual holiday tradition with the Detroit premiere of BalletMet Columbus' production of Tchaikovsky's The Nutcracker. For four magical performances from November 25-27, 2011, this quintessential holiday event features a talented cast of more than 100 professional company dancers and local children, with larger-than-life characters, narration by Sir Roger Moore, and Tchaikovsky's glorious score played by the Michigan Opera Theatre Orchestra.

A variety of holiday activities at the Detroit Opera House make The Nutcracker a family outing that children and adults cherish for years to come. The 2011 festivities will again feature special family matinees that include box lunches, reindeer, photos with Santa and the Nutcracker, and a special opportunity to meet Nutcracker dancers on the stage in the Sugar Plum Parade.

BalletMet Columbus, renowned for its versatility and innovative repertory, ranks among the nation's largest dance companies, and its Dance Academy ranks among the largest dance-training centers. Since its inception in 1978, BalletMet has added 154 company premieres to its repertoire and produced 126 world premieres.

ALVIN AILEY AMERICAN DANCE THEATER
March 29-April 1, 2012

By popular demand, Alvin Ailey American Dance Theater returns to the Detroit Opera House once again in 2012, performing timeless Ailey classics and new works by contemporary choreographers. Always a favorite of Detroit audiences, AAADT will bring its extraordinary beauty and grace, electrifying energy and soulful spirit to Detroit for a limited five-performance engagement from March 29-April 1, 2012.

Founded in 1958 by dance pioneer Alvin Ailey, the company has become renowned for its expansive repertory, extensive touring schedule and community outreach efforts, along with its masterful artistry. In the more than 50 years since its founding, the company has grown from a small, mostly black company into a large, multi-racial institution, fulfilling Ailey's dream to "touch everyone's heart through dance."

The 2011-12 season will mark the first under the company's new Artistic Director Robert Battle, after the retirement of current Artistic Director Judith Jamison, who has led the company since 1989. Battle will be only the third person to head the company since its founding, and will continue the legacy of Ailey and Jamison. AAADT has performed in cities around the globe, earning a reputation as one of the most acclaimed international ambassadors of American culture.

Corella Ballet: SWAN LAKE
April 27-29, 2012

In a North American premiere, Corella Ballet will perform the magical, mysterious Swan Lake from April 27-29, 2012. The performances will mark the first time the company has performed the work outside of Spain. Called "the world's most beloved ballet," Swan Lake tells of a young prince in love with a beautiful girl who is forced by a sorcerer to swim as a swan, and may only be human at night. Corella Ballet's production, which premiered in Spain in 2008, showcases the spectacular choreography of Marius Petipá and Leiv Ivanov. Tchaikovsky's haunting score will be performed live by the Michigan Opera Theatre Orchestra.

Founded in 2008 by principal dancer Angel Corella, who will appear at certain performances, Corella Ballet offers a wide repertoire incorporating classical, neoclassical and contemporary choreography. The only classical ballet company in Spain, Corella Ballet works to provide professional opportunities for the country's classical dancers to further their careers in their own country, an opportunity not available to Corella's generation.

SUBSCRIPTIONS

Subscription prices range from $58 to $484. The Detroit Opera House will again offer a payment plan for subscriptions. If a patron subscribes by March 30, 2011, the subscription cost will be split into four equal payments due at the end of each month, with the final payment due June 30, 2011.

As always, subscriptions are offered first to renewing subscribers. Renewal packets will be mailed in March 2011, or subscribers may renew subscriptions online at www.MichiganOpera.org. Subscribers enjoy the benefits of priority seating, limited free ticket exchanges, and advanced purchase opportunities for certain non-subscription events. New 2011-12 subscriptions will be available online at www.MichiganOpera.org, as well as through the ticket office. The Detroit Opera House will again offer special package discounts for first-time subscribers, as well as a distance discount for new subscribers traveling more than 80 miles to attend performances. The popular "family series" discount will also continue. All subscription information may be obtained by calling the Detroit Opera House ticket office at (313) 237-SING [7464].

SINGLE TICKETS

Single ticket prices remain unchanged from last season, ranging from $29 to $121. Single tickets for the Detroit Opera House's 2011-12 opera and dance seasons will become available in September 2011. They will be available in person at the Detroit Opera House ticket office (1526 Broadway, Detroit), by phone at (313) 237-SING [7464], and online at www.MichiganOpera.org. For group sales rates, please contact the ticket office.

# # #

**2011-12 MICHIGAN OPERA THEATRE PRODUCTIONS**
Carmina Burana October 15-23, 2011		The Pearl Fishers April 14-22, 2012
Saturday, October 15	7:30 PM	Saturday, April 14	7:30 PM
Wednesday, October 19	7:30 PM	Wednesday, April 18	7:30 PM
Friday, October 21	7:30 PM	Friday, April 20	7:30 PM
Saturday, October 22	7:30 PM	Saturday, April 21	7:30 PM
Sunday, October 23	2:30 PM	Sunday, April 22	2:30 PM

The Marriage of Figaro November 12-20, 2011		I Pagliacci May 12-20, 2012
Saturday, November 12	7:30 PM	Saturday, May 12	7:30 PM
Wednesday, November 16	7:30 PM	Wednesday, May 16	7:30 PM
Friday, November 18	7:30 PM	Friday, May 18	7:30 PM
Saturday, November 19	7:30 PM	Saturday, May 19	7:30 PM
Sunday, November 20	2:30 PM	Sunday, May 20	2:30 PM

Outrageous Opera Video Contest

2010-11-04T16:15:00.003-04:00

It's National Opera Week, a week dedicated to bringing opera to a wider audience and showing them what it's all about - as well as the fact that anyone can enjoy opera!

One of many activities going on at MOT this week is our "Outrageous Opera Video Contest." We want your most creative, most outlandish ideas about opera put on YouTube!

Can your dog sing opera? Can you belt out an aria, but only in the shower? All musical styles are welcome, but submissions must be opera-related.

All you have to do is make a video, upload it to YouTube, and send us the link. If you win, you'll receive box seats to La Bohème at the Detroit Opera House, and dinner before the performance at the Cadillac Café. To enter, send us your link before Monday, Nov. 8.

Need some inspiration? Check out Bugs Bunny. http://www.youtube.com/watch?v=55G7T8VdWEs

In addition to this contest, the Detroit Opera House is holding a free open house on Saturday, Nov. 6. Come down to tour seldom-seen parts of our home, including backstage areas and the costume and makeup shops; you can even walk on the stage!

Also, be sure to check out singers from our upcoming production of La Bohème at the DIA's Friday Night Live! series, this Friday at the Detroit Institute of Arts at 7 & 8:30 p.m.Celebrate opera, Detroit!

Opera Camp 2010

2010-08-06T15:48:00.002-04:00

Don't forget, Opera Camp will be presenting their final performance on Sunday, August 8, 2010 at 3 pm! The performers have been working hard for two weeks on scenes from The Mikado, La Boheme, The Magic Flute, Rigoletto, Fledermaus, and Falstaff. The Opera Camp is made up of college-age and more mature singers. For two weeks they've been at the Opera House for intense dance, acting and voice classes. From what I've heard in the hallways, this is going to be a spectacular performance! And with tickets at just $10, you can't afford to miss this!

Operetta Workshop Presents: The Mikado

2010-07-30T09:45:00.014-04:00

Yesterday I stopped by the final dress rehearsal for the Operetta Workshop's production of The Mikado, and I can assure you it's going to be a great show! Enjoy a few pictures of the cast, and stop by the Opera House today at 6pm in the main theater to see this fantastic show!

American Ballet Theatre Summer Dance Intensive

2010-07-19T11:37:00.011-04:00

For the past three weeks, young dancers from around the country have been perfecting their skills and learning new techniques under the direction of top quality American Ballet Theatre artistic staff, alumni and guest teachers. The program has earned the reputation for being the most thorough and rewarding dance experience a student can have during the summer. As the dancers finish up their last week at the intensive and prepare for their final performance, I asked student Katherine Gibson and ABT instructor Samantha Shelton a few questions about their ABT Summer Intensive experience.

Gibson has been studying different forms of dance for ten years now and this is her second year at the ABT Summer Intensive.

One of her favorite things she’s done in class is partnering. The steps for White Swan pas de deux from Swan Lake were explained to the students (though it will not be performed at the final student performance), who were then given the chance to practice the routine before dancing with the music.

Gibson noted that she has learned many important things this summer at the intensive. She says that each teacher focuses on a different aspect of ballet. While some, like artistic director Alaine Haubert (pictured above), concentrate on form and technique, other teachers emphasize personality in dancing or techniques to remember complicated dance combinations, like Samantha Shelton.

A unique aspect of the DOH’s 6^th floor Chrysler Foundation "black box" theater is that it doesn’t have a mirror. Gibson said “…I realized that I dance better when I'm forced to feel where my body is positioned instead of looking in a mirror to see what I was doing wrong. This helped me improve my technique and pick up combinations quicker because I wasn't worried about looking in the mirror. It helped me focus on my own corrections.”

Gibson is very excited for the final performances on the opera house stage. Its large size gives her a different feeling from other performances at home. “I feel like I have to project my dancing to the very back of the huge house whereas other stages don't give me the same energy.”

Instructor Samantha Shelton has been on faculty for the ABT Summer Intensives for fifteen years, but has been studying dance for many more (she trained at U of M, in New York, and with the Joffrey Ballet). At the DOH, she loves the studio and space and the amazing stage that she notes as spacious and gorgeous. And her favorite part about working with the students? Their great enthusiasm.

The ABT Summer Intensive final performances will be on Friday, June 23 at 1:00 and 4:00.

Tickets are available at the door or through the box office at $15 for adults and $10 for children under 15.

Learning at the Opera House: Operetta Workshop

2010-07-16T12:23:00.013-04:00

Another great summer music program was launched this week as part of Learning at the Opera House. The Operetta Workshop is a three-week day camp for young people to learn acting, singing, and dancing. This year they are working on The Mikado by Gilbert and Sullivan. The show is directed by Julie Smith, who is enjoying her third year as director of the camp. Around 35 participants ranging in age from 10 to 18 meet at the opera house five days a week for three weeks, leading up to a final performance that will take place on Friday, July 30, 2010 at 6 pm in the Opera House. They are performing the full opera, including costumes and sets, so there is no time to waste!

They got started right away on Monday morning, introducing the show, rehearsing music, and going over audition tips. Auditions were held on Wednesday, and the cast was announced the same day. The auditions are held in front of everyone; it allows the cast to get comfortable singing in front of an audience. Every participant is given a recording of the music so they can practice at home. The goal is to have all music and dialogue memorized by the end of the second week, but some cast members will be off book before that.

I sat in on a rehearsal today to see how things are progressing and was blown away by the talent of the cast! Everywhere I looked I saw work being done; while a sectional was held to review parts of Act I with Julie in one room, some were in the hall reviewing lines and a few were listening to a recording and singing along. The voices are young but strong, and well-suited to the music. I was only hearing the very beginning of music rehearsals, I can only imagine what I'll hear in two weeks at the final performance!

I talked to director Julie Smith about what makes this workshop so special, and she remarked that all summer music programs are special because they provide the "extra oomph" that most kids don't get during the school year in a music class. Gilbert and Sullivan is a great choice of repertoire for this age group because the music is well-known but not too difficult, and the plots are accessible, with issues young people can relate to. Julie hopes that the cast will leave with a sense of accomplishment, increased confidence, and new friendships.

Michelle, a 15-year-old who is back for her second round of Operetta Camp, says she first came to the camp because of her music teacher at school, who encouraged her to get involved in summer music activities. Michelle returned to the camp this year because even though the end goal is the performance, the camp still feels like a workshop.

I looked over the schedule for this week and was amazed at all the material that is covered in such a short time! Over the course of the camp, the cast will be introduced to music history, character development, diction, staging, costumes, rehearsal etiquette, and many other things that are required to get a show off the ground.

The Operetta Workshop is a great opportunity for young people to be introduced to opera, performing, and putting a show together. They meet other people who love performing, and in the end they get to sing on the Opera House Stage! I can't wait to see the final performance!

Create and Perform 2010

2010-07-15T10:37:00.009-04:00

Check out some highlights from the Create and Perform workshop's final performance that took place last week at the Opera House!

Create and Perform 2010

2010-07-08T13:06:00.008-04:00

For the past two weeks kids from all over metro Detroit have been meeting at the Opera House for the Create and Perform workshop, one of this summer's Learning at the Opera House programs. The program was created by Karen DiChiera as a way to teach beginning composition, creative thinking, and cooperative problem solving to kids ages 10-18. I sat in on a rehearsal for their final performance, which takes place tomorrow, July 9th, at 4 pm.

The two-week program begins with a physical improvisation, where kids mime the use of an object and pass it on to the next person, who turns the object into something else, passes it on, and so on. The kids learn to express themselves through song cycles, skits, improvisation, and instrumental ensembles. Special guests local comedienne Fran Dent and members of the Audubon Society of Detroit stopped by to provide ideas and inspiration. I was surprised to see just how much material these kids have created in just two weeks! At the end of two weeks a performance is given for parents and friends to showcase all of the hard work that has been put in. Unfortunately the audience won't get to see everything; some material is cut to keep the program from getting too long.

One of the things I love about this program is that kids are allowed to create and explore without worrying about the 'rules' of composition. They are provided with an outline, then encouraged to be creative and improvise. Only after they've finished do they look back and figure out what they did. This approach quiets the inner critic and allows the kids to create and work without judgment, and the results are astounding! In just a short time I heard parts of an original song cycle, saw scripted skits, and a large group improvisation. The intense, focused environment provided by Karen DiChiera forces participants to push themselves creatively and work together with young people from different backgrounds.

I'm very excited to watch the final performance tomorrow at 4pm here at the Detroit Opera House, I can't wait to see the end product of all the hard work!

Another new face at the DOH!

2010-07-02T10:18:00.006-04:00

Hello! My name is Carrie, and like Eleanor, I started an internship at the Opera House this week! I just graduated from Butler University in Indianapolis with a Bachelor's in vocal performance. This is a photo of me singing Pamina in Butler's spring production of The Magic Flute (which you can see this spring at the Detroit Opera House, www.MichiganOpera.org) As a singer, the opera house is a very exciting place for me to be. I love the magic of opera; it moves you in a way no other live performance can. I'm delighted to have the opportunity to share my love of opera with you!

The first opera I saw at the Detroit Opera House was Porgy and Bess. Porgy and Bess has a uniquely American feel; the voices are operatic but the subject matter and jazz influence are purely American. It also contains one of my favorite arias of all time, "Summertime." Click the link to see a fantastic performance of "Summertime" by the legendary Leontyne Price.

Of the operas I've seen, my favorites are probably Tales of Hoffman by Offenbach, La Traviata by Verdi, and La Boheme by Puccini, but there are so many more I'd love to see!

During my time here, I'm hoping to give you a look at what happens before the opera season starts, because there's a lot going on! Learning at the opera house is in full swing, dancers from all over the world are here, and of course we're preparing for our fantastic fall season!

Stay tuned for more exciting updates from the DOH interns!

Dr. D Wins Prestigious Opera Honor from the National Endowment for the Arts

2010-06-25T09:55:00.002-04:00

NEA CHAIRMAN ROCCO LANDESMAN ANNOUNCES

RECIPIENTS OF THE 2010 NEA OPERA HONORS

Washington, D.C. – At today’s meeting of the National Council on the Arts, the NEA’s advisory body, NEA Chairman Rocco Landesman announced the recipients of the 2010 NEA Opera Honors: soprano Martina Arroyo, general director David DiChiera, composer Philip Glass, and music director Eve Queler.

Now in its third year, the NEA Opera Honors is the highest award our nation bestows in opera. This year, the awards will be presented at an award ceremony and concert produced by the Washington National Opera on Friday, October 22, 2010 at The John F. Kennedy Center for the Performing Arts in Washington, DC. The evening will feature video tributes to each honoree created and produced by OPERA America. Admission will be free, but tickets will be required. Ticket information will be made available on Monday, September 20, 2010 at arts.gov

Chairman Landesman said, “On behalf of the NEA, I extend my heartfelt congratulations to this group of stellar artists and thank them for all they have accomplished and shared with us in the course of their careers. Their works of art have delighted and challenged us, illuminated our sense of the world, and refreshed our understanding of what is possible.”

NEA Director of Music and Opera Wayne S. Brown said, “This class of NEA Opera Honorees is four outstanding individuals, who together represent the finest traditions of opera. Without their artistic accomplishments, the world of American opera would be far less extraordinary.”

Martina Arroyo is admired around the world for her operatic roles, oratorio and recital performances, recordings, and also for her commitment to young artist development through the Martina Arroyo Foundation.

David DiChiera’s varied career includes important posts in Ohio and California, as well as at the Michigan Opera Theatre, which has played an important role in the cultural and economic vitality of Detroit.

Philip Glass has had an unprecedented impact upon the musical and intellectual life of our time, including especially his 20 operas, symphonies, compositions for his own ensemble, and his wide-ranging collaborations.

Eve Queler is being recognized for her focus on rarely performed operas and for her dedication to emerging singers, which she has brought to her work as music director of the Opera Orchestra of New York.

These four honorees will each receive an award of $25,000 in recognition of their significant lifetime contributions to American opera. NEA Opera Honors recipients are nominated by the public and chosen by an NEA-convened panel of opera experts. Past honorees are John Adams, Frank Corsaro, Carlisle Floyd, Richard Gaddes, Marilyn Horne, James Levine, Lotfi Mansouri, Leontyne Price, and Julius Rudel.

Biographies and photos of the four 2010 NEA Opera Honors recipients are available at arts.gov.

Detroit Opera's Recent Addition

2010-06-23T10:16:00.003-04:00

Hi! My name is Eleanor and this week I started a summer internship with the Detroit Opera House. It’s been a busy first few days, but I’m really excited to be here! Let me tell you a little bit about myself:

I’m a rising junior at Kalamazoo College (I transferred there last year from Case Western Reserve University) and I’m studying music. I’ve been playing harp for about 9 years now and after my undergrad studies, I’m planning on studying music history or musicology with hopes of doing research or teaching.

I had my first opera experience this year when one of my classes visited the opera house to see Tosca. I couldn’t have asked for a better introduction to opera. We ate lunch at the opera house, went on an extensive tour of the building, saw the opera, and then had a meet-and-greet with the some of the artists. I learned so much about both opera and musicianship!

Again, I’m thrilled to be here and can’t wait to see how the summer unfolds! You’ll be hearing from me through the opera house’s Twitter, Facebook and blog. Stay tuned!

Bravo Bravo: An Insider's Perspective

2010-05-29T14:34:00.006-04:00

Maybe this is the first time you’ve heard of Bravo Bravo or maybe you’ve heard about it, are excited for the event, got your tickets in hand but still aren’t quite sure what to expect. Whatever the case may be I’ve decided to write this blog to give newcomers and the curious alike a better idea about what Bravo Bravo is really like from the people who can tell you the best, past party-goers.

Linda Hyter, a Clinical Care Coordinator at Children’s Hospital first attended Bravo Bravo in 2008 “ It wasn’t what I was expecting” she said. The 38-year-old Detroit native found out about the event from former Bravo Bravo committee members, Alexis Lewis and Kyra Sanders, after trying to get involved in her community and was surprised by the festive nature of Bravo Bravo, which she admits she became addicted to. “ It was an open bar type feel and the first year I went they had body painting and me and my friends got half our faces painted with butterflies”, “You end up waiting the next year for it to come around,” she laughs.

“The atmosphere is upbeat and full of energy.” She said of the event. Hyter also spoke of the diversity of the crowd and how that added to the energy as people from all walks of life were coming together to mingle with one another and have a good time. “It was the best”, said Hyter. When describing the music scene Linda explained how there’s something for everyone as the event gives off different vibes and moods as guest travel around the opera house and encounter different types of music. “The event exceeded my expectations,” Zemen Marrugi, Event Planner and owner of Opal E Events explained. The 28-year-old had always been a fan of the opera house and attended various musicals and performances there in the past. Marrugi first attended Bravo Bravo last year after agreeing to become sponsor at the suggestion of her business partner.

“The event was really exciting, it was a good representation of the city and was so much fun.” She said. Zemen who invited her clients to last year’s event felt it was a good way to introduce people to the city and invite people to the event that you’ve never done business with. Like Hyter, Marrugi also felt the same about the events music scene. “No matter what your personality is, you’ll find something you’ll enjoy” she said after describing how at last years event the main stage transformed into a club like venue for live performances while the smaller rooms featured more coffee house performances and the hallways featured food and drinks from various restaurants and drink vendors from the local area.

Both Linda and Zemen believe that Bravo Bravo is an event not to be missed. To Linda, events like Bravo Bravo show people that they can make a difference in their community and still have a good time. She also believes that Bravo Bravo is one of the premiere events to be a part of in the city and the best thing about it is the people. She also feels coming to Bravo Bravo is a good start if you are thinking about become involved in the community and is a good place to network. Hyter says that ticket prices shouldn’t turnoff guest, as tickets are pretty inexpensive in comparison to other fundraising events. When I asked Linda what was her favorite Bravo Bravo moment she explained how in the last two years, it has become buying her ticket because she knows she’s all set for event from that point on and that she’s done her part to contribute to the fundraising goal.

Zemen who has a similar outlook believes that Bravo Bravo is one of those events you ought to attend once because it has become a nice tradition and a part of the city’s history. She also believes that people should share in the experience of the event because it’s a lot of fun and features a great combination of food and music.

This year Linda says she looks forward to seeing the fashions and visiting the different spaces designed around the different fashion capitals of the world. She also tells me she looks forward to seeing her boyfriend’s expression since it’s his first time. “Me and my friends have been hyping him up for the event but we feel like he doesn’t understand” she says. Linda recommends that women come dressed to Bravo Bravo a little sexy but tasteful. She also says that comfortable pumps are a must, as you’ll be doing a lot of walking and standing. Zemen tells me she looks forward to mingling with the other attendees and seeing the transformation one of her favorite venues will make this year. For fashion tips she recommends that women have fun when deciding what to wear. She also says that they don’t have to be a fashionista and that a cool accessory or cute top will do the trick “Its not like you should be worried about making the fashion hall of shame” she says with a giggle “It’s for a good cause and everyone’s enjoying themselves”.

Bravo Bravo takes place Friday, June 4th, at the Detroit Opera House from 7:30 p.m to 12:30 a.m. Tickets are $95 for the month of May and $105 for the month of June. This year Bravo Bravo takes on a fashion theme and will feature more than 40 of Detroit's trendist restaurants and bars providing delicious food and the latest in libations. Each room of the opera house is filled with music, and features a variety of music by local bands and musicians. Proceeds from the event support Michigan Opera Theatre and the Detroit Opera House. For more information follow this link: Bravo Bravo Destination Fashion.

My Interview with Tenor Noah Stewart (Mario Cavaradossi)

2010-05-15T09:49:00.003-04:00

Raised in Harlem, NY Noah Stewart was first exposed to classical music as a middle school student performing as a member of his school's choir. There his choir director recognized his potential and encouraged him to pursue singing as a career. In his last year of junior high he entered into a competition under the vocal division and won first place.

While in high school he continued to sing in choir at the La Guardia High School for Performing Arts where he sang as a Tenor. “I was bad,” he said, recalling what it was like for him. On his first day of choir all the students laughed at him after the choir director pointed out that he was sitting in the wrong section, “I was sitting with all the all girls in the alto section and the director asked me what was I doing and told me that I was a supposed to be sitting with the tenors” While attending La Guardia High school he was introduced to many forms of music, including opera.

In his second year he attended the Harlem school of Arts where he studied music. As a student he received free tickets to events at the Lincoln Center and MET. He also enrolled in an opera workshop, He felt that opera opened up a new world for him, “opera was play time for me” he said “In order to be a good opera singer you have to have a good imagination because opera brings you into a whole new world.” At the end of his senior year he auditioned for Juilliard and got in on a full ride. The first two years at Juilliard weren’t stressful on the young opera singer “It wasn’t that difficult because I had such great preparation in high school, my school had a lot of resources I felt very prepared”.

While in college he continued studying opera both inside and outside of school attending free concerts at the MET and Lincoln Center whenever he could. He also attended the Aspen Music Festival in Colorado, an 8-week festival held during the summer, twice during the first half of his career as a college student. When thinking about his time in Colorado he explained how he liked working in the different setting because it gave him a chance to learn more about music and work on his art. He also felt it gave him the chance to figure out who he was as a person as well as an artist. His last years at Juilliard weren’t as easy “It was intense, there were 8 undergrads in the vocal program 2 of us graduated on time, 2 stayed behind and the others dropped the program he explained.

At the age of 21 Noah graduated from Juilliard and auditioned for the Manhattan School of Music but decided not to go because he really wanted to sing he also felt he needed a break from the pressure of the conservatory environment. He explained to me how all his friends got jobs very young and how it was harder for him to start his career because his voice was not finished developing. “So I took a year off which of course became three-like it always does” he said with a laugh. During that time Noah waited tables, worked as a receptionist at Carnegie hall, and worked retail. “ What a lot of people don’t realize is how expensive it is to start a singing career” he said and “I thought I wouldn’t sing because my voice was out of shape” he said, explaining what it was like for him after making the decision to get back into singing.

After hiring and working with his current vocal coach he auditioned for the Academy of Vocal Arts and got in. He later moved to Philadelphia for 8 months then moved back to New York after discovering that it wasn’t for him. He then auditioned for the San Francisco Opera’s summer apprentice program. “That summer completely changed everything,” he said referring to his acceptance into the program and the time he spent there. “I was more mature, people took more notice of me”. While working with the San Francisco Opera he appeared in “Transformations”, a modern opera, soon after he was invited to join the opera house’s young artists program.

He stayed with the company for three years and made his professional debut there in the world premiere of the opera “Appomattox” by Philip Glass “That’s when people really started to take notice of me.” Shortly after that he was scheduled to sing the secondary tenor role in the opera “Macbeth”, which he claimed was his springboard into professional opera. During the last performance of the opera the tenor originally assigned to the role became sick and he had to take his place. “I only had 15 minutes to prepare but I was calm because I had a feeling something special was going to happen” the performance which was a success motivated him enough to move back to New York to get an agent to start his career.

When asked if this was the tenors first time appearing in Tosca or as Cavaradossi he replied that it was. “It’s very exciting, I’m very fortunate to be invited back after Nabucco,” he said. The singer appeared in MOT’s production of Nabucco earlier this fall. “My manager, Bernard (Uzan), is directing and this is one of the few times he gets to see me act.” The opera house is one of my favorites, its very beautiful, the cast is phenomenal and I’m lucky to have the support of Dr. D.,” he said recognizing his status as a newcomer to opera and that not many people his age would have the opportunity to sing in such roles.

When asked to describe the audition process he had to go through in order to appear as Cavaradossi he explained to me how he had sung for Dr. D in the past for a role in Carmen but didn’t get the role because he had already cast another tenor. When asked what it has been like working with the other opera singers he replied that it’s been fun, that it’s always great and that he’s happy to have a job. He also explained how he has enjoyed the cultural makeup of the cast as well as working with the smaller size. He also tells me how honored he is to share the stage with such great artists and to be working with the conductor. He also shares with me how at home he feels with Michigan Opera after his second production and how he feels he’s being spoiled.

When asked what he felt was the hardest part about being an opera singer he replied being alone. Not being able to share great moments and experiences with people. He tells me how he believes it’s harder on him because he comes from a social family. He also tells me that as an opera singer you almost have to be social because it’s a very lonely life otherwise. The advice Noah has for aspiring opera singers is not to listen to anyone, and to keep on dreaming. He tells me that it’s hard and lonely and that no one tells you how to do it because everyone’s path is different. He also says it important to never stop believing in your self, always take advantage of the resources you have and never stop learning.

You can see Noah Stewart as Mario Cavaradossi in Michigan Opera Theatre's production of Puccini's, Tosca at the Detroit Opera House May 21 & 23.

Win Tickets to The Detroit Science Center!

2010-04-21T13:29:00.006-04:00

In honor of the 40th Anniversary of Earth Day and the upcoming production of The Very Last Green Thing, showing at the Detroit Opera House, Saturday, April 24, the Michigan Opera Theater will be hosting a competition asking participants to describe how their family is "going green" for a chance to win a family 4-pack of tickets to the Detroit Science Center.

Participants are encouraged to describe, in 100 words or less, how their family "goes green" and have until 5 p.m. tomorrow, Thursday, April 22 (Earth Day), to enter the competition. Contestants can send their responses to rjohnson@motopera.org with "The Very Last Green Thing Competition" entered in the subject line of the email.

Neoclassical music meets Rock in Trans-Siberian Orchestra's performance of Beethoven's Last Night 2010

2010-04-19T12:36:00.012-04:00

The Detroit Opera House lends its stage to the Trans-Siberian Orchestra in their performance of "Beethoven's Last Night". The multi-platinum selling orchestra which is known for producing christmas carols in a rock opera style, will be performing at the opera house during their 2010 tour Wednesday, April 21, 2010.

"Beethoven's Last Night" which was released in 2000, as the bands first non-christmas album, tells the story of Beethoven's final night on earth, during which he meets fate, her son Twist and Mephistopheles, one of the seven princes of hell. "Beethoven's Last Night" is one of TSO's gold-selling albums and peaked Billboard Charts at number 165.

Trans-Siberian Orchestra was founded in 1996 by Paul O'Niell and friends, Jon Oliva, Robert Kinkel and Al Pitrelli. The orchestra is largely known for incorporating neoclassical, symphonic music with progressive hard rock/metal. The orchestra also stages elaborate concerts with a full light show complete with pyrotechnics. While recording the group requires a 60-piece orchestra and choir and 14 vocalists, 14 musicians and 2 narrators while on stage.

Before founding Trans-Siberian Orchestra Paul O'Niell worked with rock bands managing and producing big names like Aerosmith, Humble Pie and the Scorpions. O'Niell now works as the orchestra's composer, lyricist and producer along with Jon Oliva who works also works as the composer. Robert Kinkel works as the orchestras co-producer, key board player, and Music Director and Al Pitrelli works as the guitarist and Music Director.

Trans-Siberian Orchestra's albums have included five studio albums and six compilation albums. Among them are 1996's Christmas Eve & Other Stories, 1998's The Christmas Attic, 2004's The Lost Christmas Eve and 2006's live Prince of Peace (Live).

Click here to learn more about TSO

Queen of the Night: An interview with Soprano Jennifer Rowley

2010-04-10T13:48:00.024-04:00

Cast in the leading female role as Donna Anna, in Michigan Opera Theater’s production of Don Giovanni, you never would've guessed that this is the singers first time appearing in the opera, let alone in the role. You also would’ve never guessed that the singer is a relatively young artist who made her operatic debut back in 2003, as The First Lady, in Cleveland Opera’s production of "The Magic Flute.”

Born and raised in Ohio, the soprano admits that her introduction to opera was “funny”- explaining that she hadn’t heard her first opera until she was 21. “I sang in choir and in musicals but that was about it; I also liked sports,” Rowley said. “My high school choir director suggested that I take voice lessons, I eventually did, then my voice teacher recommended that I try opera but I wanted to sing musical theatre,” her focus then, as an undergrad at Baldwin-Wallace’s Conservatory of Music. All that changed when her voice teacher encouraged her to sing Mozart's "Queen of the Night" aria, which the budding artist did successfully, a feat rarely accomplished by young opera singers, she tells me. “I switched to opera in my sophomore year even though I still hadn’t seen one,” she laughs.

Shortly after that, Rowley was picked as the very first student to participate in an exchange program for young artists with the Instituto Superior del Arte of the Teatro Colon in Buenos Aires, Argentina. While she was there she studied Italian and saw her first opera La Traviata which she fell in love with. When she returned to Baldwin-Wallace she began to study acting more seriously especially in her last two years, the subject eventually became her minor, “ I studied the Stanislavski method and Shakespeare, I also studied a lot of period pieces, as I felt these were important because operas are usually very traditional.” After that Rowley attended Indiana University’s School of Music in pursuit of her Masters degree. “The program focused only on the musical side” she said, happy that she had made the decision to take acting as an undergrad. In the summer between her second and third year as a graduate student she left IU for Middlebury College, a language immersion college in Vermont, where she studied in the German for Singers program. “They teach every language you can possibly think of,” she says, “from the time you arrive to the time you leave everything is taught in another language.” “I returned to IU fluent in German before I graduated” she laughs.

At 23, Rowley made her debut as The First Lady in the Cleveland Opera’s production of "The Magic Flute" “It was amazing, I was in my hometown and all my family lived close by, it was an awesome experience” she said of her debut. The singer also got to work with Conductor Anton Coppola, a highly regarded conductor in the world of opera. For the first rehearsal with the orchestra the conductor asked her to sing “Queen of the Night” because the singer cast as the Queen was unavailable. “I don’t know how he knew I could sing it,” she said recalling the moment. “I was really nervous, I was the youngest in the cast and was singing with established opera singers like Cythia Haymon-Coleman.” “When it was my turn to sing the conductor pointed to me and said, “Are you ready child?” she said, playfully imitating the conductor. After she got done singing the aria all the singers and members of the orchestra stood up and applauded her. “That normally doesn’t happen,” she said still amazed. Impressed by her singing Coppola told the artist that she was a star. “It was a huge honor for me” she says recalling the moment.

After graduating from IU, the soprano moved to New York where she met her current voice coach, Rita Shane. She also traveled to Italy to study at the Teatro Communale di Bologna as a young artist. There she took voice lessons and acting in Italian, the program was also a language immersion program.

A typical performance day for the singer, she tells me, “Is all about relaxation.” “I usually sleep very late, my voice is at it’s peak at around three or four in the afternoon, so I trick my body into getting into that mode by sleeping later during performance days,” she says. The singer tells me that breakfast is also very important emphasizing protein. “I usually have eggs with toast and peanut butter- I have to have peanut butter. I also drink two-to-three cups of coconut water, then I don’t eat for the rest to the day.” Explains the singer, out of fear of developing acid reflux or a stomachache during the night of her performance, she also likes to eat fruit. The singer doesn’t usually like to talk during performance days instead she chooses to stay quiet. She also drinks cups hot water with a slice of lemon and honey, a trick she learned from her voice instructor. When explaining what its like for her backstage she tells me that she tries to stay calm and have fun-usually arriving to the theatre an hour and a half before, with her laptop in-hand listening to pop music. After the performance is over she tells me that she’s usually very hungry and needs at least one beer.

Non-performance or auditions days are similar to performance days for the artist in terms of caring for her voice and in trying to maintain a calm and relaxed demeanor. She tells me that its just as important to take care of yourself during audition season, as one can audition twice a day, 2-4 times a week. Audition season in NY typically runs from mid September to mid December, ending about a week before Christmas. “We’re all usually sick during the holiday,” she jokes, implying that the illnesses they work so hard to fight off eventually catch up to them.

Of all the roles Rowley has appeared in her favorite wasn't as a performer but as a cover or stand-in as Violetta in Verdi’s Opera “La Traviata,” while working with the Opera Theatre of St. Louis. The singer got the opportunity to sing the role during the first week of rehearsals due to the late arrival of the opera singer originally cast for the part. “It affected me so deeply” she said, of the musical experience, “you know what’s going on emotionally because of what is written in the music, even if you have no idea what is being said” she says. “It was such an honor, I left the room crying everyday”, “Even the novel “La dame aux camellias” by Dumas is so touching, it’s a story about immense love, it leaves me speechless, the opera is unbelievable and has never been matched by anything I’ve performed since.”

When asked about her current role as Donna Anna in Mozart’s Opera Don Giovanni Rowley explains that while it was the most difficult role she’s ever worked on, she never thought she would sing Donna Anna. “ I always thought of it as a “big girl” role,” she said, clarifying the fact that she’s still making the transition from young to established artist. “I always thought I had to be at the top of my game,” said the singer. Although Rowley felt this way she knew playing the role was “the next best step” so she began working on it while in Italy. “It turns out that it was the right step and I was completely wrong in my thinking, the role fits like a glove,” Rowley said.

To prepare for her roles the singer delves into research about the characters, the period and the story itself. “I want to know as much as possible” says Rowley. To successfully play Donna Anna she feels that its important for the actor to figure out what it is the character wants and what the character has to do to get what she wants. “Its all about what the audience doesn’t know” explains the singer “to be and to do, you have to understand who they [the characters] are and where they are coming from because it defines the very way you go about getting what you want in the scene” she says quoting an admired thespian thinker. The singer describes Donna Anna as a conundrum or the pivot of the opera. She says as an actor you have to ask yourself if you are going to go for the truth or deceit when playing Donna Anna. The truth being that, Donna Anna had no idea that the man in her room was Don Giovanni and that he raped her; or the deceit being that, she knew it was Don Giovanni, claimed to think it was Don Ottavio and that it is actually guilt, that motivates her to avenge her fathers death throughout the opera. “The way you choose to play it, decides how the rest of the opera changes or follows.” “You have to come in with a distinct choice” she says, pointing out that the director and creator, John Pascoe, for MOT’s production chooses “the truth”.

When asked to describe what it has been like working with the other singers of Don Giovanni, Rowley tells me that she’s an awe everyday. The singer describes working with soprano Kelly Kaduce as fascinating “You can tell she has made clear decisions, has a clear back story and always has an inner monologue going on for what her character wants in each scene." When describing what it has been like working with Robert, Burak and David she tells me that it has been educational listening the way the three phrase the Italian lyrics because they all speak Italian fluently and so beautifully. Rowley also says that she has no words when it comes to working with Don Giovanni’s conductor Christian Badea. “I’m just so blessed to be doing Donna Anna with this conductor, he’s so strong in what he wants from the singers, It’s been the greatest experience, he makes you a better singer.” She also described her experience working with the stage director, Chia Patino, as being “such a pleasure” as she’s so clear in what she wants.

When asked whether she has had the opportunity to tour the area, the singer tells me that she’s familiar with Detroit, actually having stayed in Royal Oak throughout her childhood. “Detroit is really interesting, I love the architecture,” says the artist. During her free time Rowley tells me that she walks along the river walk. She also tells me that, what she really wants to do, is go see the Tigers play on Opening Day. “They’re playing against Cleveland, my hometown” she says.

When asked about her musical preferences Rowley tells me that she enjoys listening to pop, rock and country music. She also likes listening to jazz and the blues. She’s currently into British musician, Jamie Cullum, a classically trained pianist who takes American pop music and twists them with jazz. She also likes listening to Matt Nathanson and Alison Krauss. The singer also tells me that she’s addicted to American Idol and is currently rooting for season’s finalist, Lee DeWyze.

Other than opera the artist loves to learn about wine and is a self professed “foodie”. She tells me how a trip to a vineyard in Tuscany sparked her love for wine. She also likes attending wine tastings and reading and about the different regions that make wine. The singer also states that New York is a fantastic place to live for someone who loves food as one can find something different to eat every night. It's not just eating the food that interests her she tells me it’s the fact that there’s a science behind the combining and the preparation of certain foods. The singer also loves sports particularly baseball and football. “The Colts let me down” she says referring to their super bowl loss. She also tells me that she’s plays on a softball team, and likes to play volleyball. The singer also has an interest in Spanish and Mexican art. When asked about her pet peeves Rowley tells me, singers who talk about singing all the time, “It should be left at the theatre,” she say’s laughing.

The last movie the singer saw was "Inglorious Basterds". “It was a fabulous movie, incredible acting” she said. The artist was impressed by actor, Christoph Waltz’s performance, who won an Oscar for his role in the movie. The singer also shares with me her favorite operas, Verdi’s "La Traviata" and Puccini’s "Tosca" and when asked if she has ever performed outside of opera she tells me that she has as a college and high school student appearing in musicals and in the choir. She also tells me that she would love to play the Prima Donna, Carlotta, in Phantom of the Opera. The farthest her career has taken her, geographically, is Buenos Aries, Argentina. And according to Rowley the hardest thing about being an opera singer is the politics involved in the business. “It really gets to you” she says. “A lot of times amazing singers don’t get heard because they don’t have the political connections to break into the business.” “It can be very hard and disappointing.”

The advice the young singer has for aspiring opera singers and those trying to make a career in the performing arts is that they should own who they are and own what they do. She also says that it’s important that they believe in themselves or no one else will believe in you either. “Being a singer is very hard and if you’re not set and happy with who you are and what you do better than anyone else, you won’t get there,” she says. She also says that it helps to have thick skin because there is so much more rejection than acceptance at times.

If Jennifer was not an opera singer she tells me that she would like to move to Napa or live in a villa in Tuscany to work in a vineyard. “I’m very interested in the wine making process and the life of the grape” she says.

You can see Jennifer Rowley as Donna Anna in MOT’s production of Don Giovanni at the Detroit Opera House, April 16^th and the 18^th. This production marks her debut with the company.

Ten Reasons Why You Should See The Tchaikovsky Ballet in Sleeping Beauty

2010-03-16T22:28:00.014-04:00

1) We bring you exceptional dancers... The Perm Tchaikovsky Ballet is arguably one of the best ballet companies in the world.

2) It's one of Russia's most prestigious ballet companies, behind the Kirov Ballet (the World's second oldest ballet company) and the Bolshoi Ballet.

3) The Perm Ballet was greatly influenced by the Kirov and Vaganova schools.

4) The Sleeping Beauty Ballet is widely regarded as Tchaikovsky's finest musical score and was his first successful ballet composition.

5) Sleeping Beauty is one of the more famous ballets from classical repertoire and was choreographed by Kirov ballet master, Marius Petipa.

6) You'll be seeing the ballet the way audiences did in 1890... The Tchaikovsky Ballet will be performing Marius Petipa's original choreography.

7) Possible VIP access... Audiences who attend Friday's ACCESS event will only pay $15 for tickets (per person) which will get them seating on the main floor, a free drink and a chance to mingle with their friends, the dancers and MOT's General Director, David DiChiera after the show in a post performance reception.

8) Adaptations and arrangements from Tchaikovsky's score are used in the 1959 Walt Disney animated film version of "Sleeping Beauty."

9) No other ballet company knows Tchaikovsky like Perm... the company focuses on the works of Tchaikovsky and has performed all of his ballets.

10) The Sleeping Beauty Ballet was considered one of many masterpieces choreographed by Petipa.

* It's an event all audiences can enjoy! : )

Win Your Family Tickets to The Detroit Science Center!

2010-03-12T14:49:00.023-05:00

"How's your family "going green"?", ask two members of the Michigan Opera Theatre's Children's Chorus, in a YouTube video competition, designed to promote their upcoming performance of Cary John Franklin's "The Very Last Green Thing."

The competition which was launched earlier this week encourages viewers to post a video response for a chance to win one of five family-four pack tickets to the Detroit Science Center. Contestants have until Wednesday, April 23 to post their response in order to be considered in the competition. Individuals interested in entering the contest can participate by clicking the YouTube link, on the opera houses homepage or they can follow this link MOTCC's Very Last Green Thing Video Competition.

A fully staged production of "The Very Last Green Thing" will be performed by the Michigan Opera Theatre's Children's Chorus, MOTCC, on Saturday, April 24, 2010 at the Detroit Opera House. The MOTCC will be partnering with the Detroit Science Center and Detroit's RecycleHere! program. The Detroit Science Center will give a brief presentation from their " Going Green" traveling show before Saturdays performance. Families are also encouraged to bring a plastic bottle from home to recycle with RecycleHere!.

Composed by Cary John Franklin with libretto by Micheal Patrick Albeno, the opera depicts a classroom of students in 2192, who take a rare field trip outside and discover a time capsule, containing an unusual object... a small-green withering plant.

MOT Announces 10-11 Opera Season

2010-02-26T12:41:00.002-05:00

MICHIGAN OPERA THEATRE ANNOUNCES
2010-11 OPERA SEASON:
BOLD VISION. SOARING VOICES.
CELEBRATING
MICHIGAN OPERA THEATRE'S
40TH ANNIVERSARY
* * *

10-11 Season Opens with Revival of The Mikado
Perennial Favorites La Boheme, The Magic Flute, Rigoletto
* * *

DETROIT, Michigan, February 26, 2010...Michigan Opera Theatre announced today the details of its 40th anniversary season, including a revival of Gilbert and Sullivan's The Mikado, which opens the season. Other works to be performed include perennial favorites La Boheme, The Magic Flute, and Rigoletto.

During the 2010-11 season, Michigan Opera Theatre commemorates its 40th anniversary with a season of audience favorites. Over its 40 year history, MOT has become known for presenting opera standards while integrating groundbreaking new works, fulfilling its mission through four decades of operatic excellence and community involvement. The company's bold vision, cast by founder and general director Dr. David DiChiera, led to the opening of the Detroit Opera House, three world premieres including the landmark opera Margaret Garner, Andrea Bocelli's operatic debut in Werther, and the beginnings of many young opera star careers, including Gregg Baker, Marcello Giordani, Leona Mitchell, Maria Ewing, Kathleen Battle, and Leah Partridge.

"I'm immensely proud of what we, as a company and a community, have been able to accomplish in our 40 year history, but there is so much work left for us to do." says Michigan Opera Theatre General Director Dr. David DiChiera. "Main stage works that entertain, inspire, and move us are at the core of what we do as a company. We are excited to present a season of opera favorites, especially Gilbert and Sullivan's The Mikado, one of our most requested works, which has not been performed by the company since 1991."

Gilbert and Sullivan's The Mikado
October 16-24, 2010
Performed in English

One of MOT's most requested productions and Gilbert and Sullivan's most popular works, The Mikado returns to the Michigan Opera Theatre stage October 16-24, 2010 for five performances. The October 2010 performances will commemorate the 125th anniversary of The Mikado. At its premiere in London in 1885 at the Savoy Theatre, it had one of the longest runs of any theater work. Michigan Opera Theatre last performed The Mikado in 1991, making the fall 2010 performances the first time in nearly 20 years that it will appear on the MOT stage.

Set in the fictitious town of Titipu, Japan, The Mikado is a satire of a bureaucratic society gone haywire. The musical score contains some of the best-loved songs of all time, including "Three Little Maids," "The Flowers that Bloom in the Spring" and "I've Got a Little List."

The production will be under the baton of Mark D. Flint, a veteran of numerous MOT productions and a favorite of MOT audiences for orchestrating and conducting the world premiere of David DiChiera's Cyrano in 2007.

Puccini's La Boheme
November 13-21, 2010
Performed in Italian with English supertitles

Puccini's enduring opera La Boheme returns to the Detroit Opera House stage November 13-21, 2010. A bittersweet tragedy of young love, the opera centers around six penniless bohemian friends in snowy Paris surviving on very limited means. Full of idealism, beauty and unbridled love, they
soon encounter the harsh realities of life. Imitations of Puccini's masterpiece are all around us, most notably the Broadway blockbuster musical Rent-but the gorgeous original is incomparable and never fails to pull at your heart strings. Michigan Opera Theatre last produced La Boheme in 2005.

Alternating in the lead role of Rodolfo is Sardinian (Italian) tenor Francesco Demuro, who will make his MOT debut. Demuro, a highly sought-after young artist, has performed in the most prestigious international houses, including La Scala in Milan, Teatro Regio in Parma, and Covent Garden in England. He is quickly garnering attention throughout the world as a major tenor to watch. He will alternate in the role with American tenor Noah Stewart, who made his MOT debut in the fall 2009 production of Nabucco, and is increasingly developing into one of opera's most sought-after young leading tenors.

Performing the role of Mimi is American soprano Kelly Kaduce, who since her MOT debut as Caroline Gaines in the world premiere of Margaret Garner in 2005 has become a major soprano star. Kaduce will open the Santa Fe Opera summer 2010 season performing the title role in Madame Butterfly. She will alternate with Italian soprano Grazia Doronzio, who will make her MOT debut following her performances as Liu in Turandot at the Met.

Detroit's favorite Romanian baritone Marian Pop, best known for creating the role of Cyrano for the world premiere of David DiChiera's opera in 2007, returns to MOT as Marcello. He will alternate in the role with young up-and-coming Italian baritone Giovanni Guagliardo, who is making his MOT debut.

Performing the role of Schaunard is baritone Lee Gregory, making his MOT debut. Returning to perform the role of Benoit and Alcindoro is bass-baritone Jason Budd, who last performed with MOT during the world premiere of Cyrano in 2007.

Conducting the Puccini classic will be Italian maestro Giuliano Carella, who will also be on the podium for the company's upcoming production of Tosca in the spring 2010 season. La Boheme will be staged by Italian director Mario Corradi, marking his twentieth production with the company. Sets and costumes were originally created for Montreal Opera with sets designed by Claude Girard and costumes designed by Claude Girard and Andre Prévost.

Mozart's The Magic Flute April 9-17, 2011
Performed in English with English supertitles

Mozart's beloved final opera, The Magic Flute, has captivated audiences since its premiere in 1791. In the opera, Prince Tamino and bird-catcher Papageno go on a humorous musical journey, armed with a set of silver bells and a golden flute, as they travel through Egypt on a quest for the beautiful Pamina. Brilliant music and a fantastical setting make The Magic Flute a treasured fairytale opera for all ages. The opera includes one of the most recognizable and demanding arias in all of opera, "The vengeance of Hell boils in my heart," sung by the Queen of the Night. Michigan Opera Theatre last performed the opera in 2004.

Alternating in the lead role of Tamino is Texas-native Chad Shelton, who will make his MOT debut in the role. He has garnered acclaim on national and international stages for his characterizations of leading roles, including Tamino. Shelton will alternate with American tenor Norman Shankle, who will also be making his MOT debut. Shankle is known for his portrayals of Mozart roles.

Canadian soprano Katherine Whyte makes her MOT debut as Pamina, following her recent debuts with English National Opera, Atlanta Opera, and l'Opéra National de Bordeaux. Performing the role of the Queen of the Night is Canadian coloratura soprano Aline Kutan, returning to MOT following her performances in the 2002 production of Lakmé where she stunned audiences by performing all five performances with spectacular ease and technical agility.

Maestro Stephen Lord returns to MOT to lead the production, after his most recent Michigan Opera Theatre appearance conducting The Elixir of Love during the spring 2009 season.

Verdi's Rigoletto
May 14-22, 2011
Performed in Italian with English supertitles

Verdi's dramatic tragedy Rigoletto closes the 2010-2011 season, May 14-22, 2011, telling the woeful tale of Rigoletto, the razor-tongued court jester. A paternal curse renders him powerless against his enemies. Fooled into assisting in the abduction of his own daughter, Rigoletto's heart is pushed to the limit as he is forced to watch her suffer at the hands of his licentious master, the Duke of Mantua. Enraged, he plans the perfect revenge - death for the Duke and retribution for his daughter. As the plot twists, the power of the curse is realized and Rigoletto is left holding the shards of his broken life.

Widely regarded as one of Verdi's most glorious and moving scores, Rigoletto, along with Il Trovatore and La Traviata, firmly cemented Verdi's position as the preeminent Italian composer of his day. Verdi's composition explores the vast range of human emotion, providing a unique depth to the characters. From the beloved "La donna e mobile," one of opera's most famous arias, to the exquisite "Caro nome," the immortal melodies of Verdi's first great masterpiece continue to move audiences worldwide.

Internationally renowned maestro Steven Mercurio, a Detroit favorite, will return to lead the Michigan Opera Theatre Orchestra alongside French stage director Bernard Uzan, who last directed the world premiere production of Cyrano at MOT in 2007.

The role of the Duke of Mantua will be performed by James Valenti, who recently made his MOT debut in the fall 2008 season as Pinkerton in Madame Butterfly. He has since performed all over the world, including debuts at the Met and Covent Garden. Further casting will be announced at a later date.

Subscriptions:
Subscription prices range from $58-$484. Like last year, Michigan Opera Theatre is offering a payment plan for subscriptions. If a patron subscribes by March 30, 2010, the subscription cost will be split into four equal payments due at the end of each month with the final payment due on June 30, 2010.

As always, subscriptions are offered first to renewing subscribers. Renewal packets will be mailed February 2010. Subscribers may renew subscriptions online at www.MichiganOpera.org. Subscribers enjoy the benefits of priority seating, limited free ticket exchanges and advanced purchase opportunities for some non-subscription events. New 2010-11 subscriptions will be available through Michigan Opera Theatre online at www.MichiganOpera.org, as well as through the ticket office. Michigan Opera Theatre will again offer special package discounts for "first-timers," as well a distance discount for new subscribers traveling more than 80 miles to attend performances. The popular "family series" discount will also continue through the 2010-11 season. All subscription information may be obtained by calling the Michigan Opera Theatre ticket office at (313) 237-SING (7464).

Single Tickets:
Single ticket prices will remain unchanged from last season, ranging from $25 - $117 for all opera productions. Single tickets for Michigan Opera Theatre's 2010-11 opera season will become available in August 2010. Single tickets will be available in person at the Detroit Opera House ticket office (1526 Broadway, Detroit, MI 48226), by phone at (313) 237-SING (7464) and through Michigan Opera Theatre's online ticketing at www.MichiganOpera.org. Single tickets will also be available through all Ticketmaster outlets, by phone at 1-800-745-3000 or online at www.Ticketmaster.com. For group sales rates, please contact the Michigan Opera Theatre box office.

# # #

2010-11 Michigan Opera Theatre Productions

Gilbert & Sullivan's
The Mikado
October 16-24, 2010

Saturday, October 16, 2010 7:30 p.m.
Wednesday, October 20, 2010 7:30 p.m.
Friday, October 22, 2010 7:30 p.m.
Saturday, October 23, 2010 7:30 p.m.
Sunday, October 24, 2010 3:00 p.m.

Puccini's
La Bohème
November 13-21, 2010

Saturday, November 13, 2010 7:30 p.m.
Wednesday, November 17, 2010 7:30 p.m.
Friday, November 19, 2010 7:30 p.m.
Saturday, November 20, 2010 7:30 p.m.
Sunday, November 21, 2010 3:00 p.m.

Mozart's
The Magic Flute
April 9-17, 2011

Saturday, April 9, 2011 7:30 p.m.
Wednesday, April 13, 2011 7:30 p.m.
Friday, April 15, 2011 7:30 p.m.
Saturday, April, 16, 2011 7:30 p.m.
Sunday, April 17, 2011 3:00 p.m.

Verdi's
Rigoletto
May 14-22, 2011

Saturday, May 14, 2011 7:30 p.m.
Wednesday, May 18, 2011 7:30 p.m.
Friday, May 20, 2011 7:30 p.m.
Saturday, May 21, 2011 7:30 p.m.
Sunday, May 22, 2011 3:00 p.m.

Ballet in the Winter Olympics?

2010-02-24T12:42:00.022-05:00

With the Winter Olympics behind us and Tchaikovsky Ballet's production of Sleeping Beauty coming up I thought it would be interesting to blog about the relationship between ballet and figure skating. The topic came to me after watching the mens figure skating competition during the Olympics and turning to a friend to ask him if he thought figure skaters needed training in dance. When thinking about, it seems obvious that figure skaters would need some sort of dance background in order to use choreography successfully in their routines. It seems even more obvious that it would be ballet.

It turns out that figure skating wasn't always the graceful sport we see today , in fact it started out as the strict practice of carving out specific figures onto the ice. That all changed in 1836 when American Ballet Dancer and Championship Ice Skater Jackson Haines set his skating to music and incorporated dance into his routine. The style which is now known as free skating was actually looked down upon in the United States before becoming popular. It became better received after he took his idea overseas to Vienna, Austria, where a more theatrical approach to ice skating, which allowed for dance, was being introduced. It was actually the Russians who became the first to successfully integrate ballet techniques into ice skating in 1964. Some believe that the influence of this style dated back to the 1890s when Russian aristocrats held lavish ice festivals where skaters were choreographed by masters of the Kirov and Bolshoi schools. Several ballet positions can be seen in the choreography of figure skaters. Beginning figure skaters are even encouraged to make ballet a part of their training programs as it is believed that ballet helps the skater with the appropriate posture and helps them become more aware of their bodies. Ballet is also assists skaters with their speed, coordination, balance, flexibility and artistry.

Boucard, Marine, Pistsos, Swallow. Connecting Steps: The Figure Skating/Ballet Relationship. http://www.metroedgefsc.org/pdf/misc/BalletandSkating2.pdf

Skate Canada. Eastern Ontario. History of Skating: History of Figure Skating. http://www.skate-eos.on.ca/about-eossub_HistorySkating.html

Randall, Jon. And it's not Just Because of Tonya Hardins "Little Irish Love Pat". http://sonic.net/~goblin/9ice.html

Absolute Astronomy. Jackson Haines. http://www.absoluteastronomy.com/topics/Jackson_Haines

Getting schooled in Kirov and Bolshoi ballet.

2010-02-17T11:56:00.050-05:00

As the performance date for The Tchaikovsky Ballet's production of Sleeping Beauty draws near everyone in the communications department is hard at work designing and implementing creative and attractive promotions to encourage audiences of all ages to come out and see the show.

After being asked to write the press release for the upcoming performance I decided to do some research. What struck me about The Tchaikovsky Ballet or more formally, The Perm Tchaikovsky Opera and Ballet Theatre, during my search was their association with the Mariinsky theatre and the Kirov school.

This was interesting to me because I hadn't understood the impact or the significance of the Kirov school on Russian ballet. What also caught my attention was the mention of another school, the Bolshoi, which appeared every now-and-then, opposite the Kirov, in several articles I read. At this point I understood that Kirov and Bolshoi were terms used to describe two distinct companies, dance styles, and schools but what I hadn't understood was the difference between them and their significance to Russian Ballet so I decided to dig deeper and this is what I found....

The Kirov school was actually Russia's first school for ballet and was founded in 1738, in St. Petersburg. The school was founded with the intent of becoming the first in the nation to teach ballet in a country whose dance was already rich in folk traditions. In the first year the school had 24 students, 12 boys and 12 girls. The students were the children of palace servants whose talent for dance was said to be above that of the professional dancers in the Czars court.

Students of the Kirov school were trained in French and Italian styles as they were instructed by choreographers from across Europe. The Mariinsky Ballet/Kirov Ballet later grew out of the school and was founded in 1740, making it the second oldest ballet company in the world behind Paris Opera. During the Russian Revolution both the school and the company closed as they were seen as signs of Russian imperialism. The company and school later reopened under different names and were renamed again in 1934 after Bolshevik revolutionary Sergey Kirov was assassinated.

The Bolshoi Ballet, in contrast, was founded in 1776 and grew out of a dancing school, held in the Moscow Orphanage. The school was actually founded in 1773. The company however did not begin to attract the attention of the ballet world, to the extent that it holds today, until 1918, when Moscow became the capital of Russia. It's cultural prestige and the money it earned is also said to have helped it become well known in the West. The word “Bolshoi” is actually Russian for “grand” or “large” and is also an underlying characteristic of the company’s dance style, which said to be grand or triumphant.

The style is also said to be dramatic or theatrical as the Bolshoi often incorporate dramatic movements into their dancing. Feeling that the acting and staging of the ballet were just as important as the dancing the Bolshoi became known for their innovative stage designs and music as well as they're evolving approach to the choreography and the presentation of dance.

On the other hand the style associated with the Kirov school was described as refined and controlled. The dancers were known for their precision and unwavering dedication to preservation of the classical ballet style. While there’s a theatrical element to the ballet it’s not carried out in a way similar to that of the Bolshoi. Instead the Kirov work under the Stanislavski method of acting bringing their emotions into their dance. Their style is also said to be more restrained and conservative than that of the Bolshoi.

Although historically there has been a recognizable difference in styles between the schools those differences are less evident today as the Kirov has become more dynamic. Now that I have uncovered and shared my understandings of the significance and differences between the Kirov and Bolshoi ballets with you. It is my hope that audiences will have a better understanding of the prestige tied to The Tchaikovsky Ballet. It is also my hope that audiences will be able to appreciate and identify some of the schools and styles that ultimately made Russian Ballet.

The Tchaikovsky Ballet, is one of Russia's most distinguished artistic companies. The Ballet theatre which was founded in 1920 presented its first season in 1926. The company has maintained strong ties and has been greatly influenced by the Mariinsky/Kirov Opera and Ballet borrowing from its standards and traditions. The company is different in that it draws all its dancers from its school, The Perm State Ballet, one of the most prestigious training institutions for ballet in Russia as well as the third largest classical company in the country. The Tchaikovsky Ballet will present it's critically acclaimed production of Sleeping Beauty at the Detroit Opera House, March 26-28. The company will be performing to Tchaikovsky's whimsical score and Marius Petipa's original choreography.

Orange Coast Magazine. "Spotlight:Ballet". Aug 1989. pg 48. Allard, Maurice; Thomas, Diane. Google Books.
Dance Magazine. "What's the Difference between Russian and American Dancers". Perron, Wendy. July 6th, 2009.
LA Times. "The Russians Are Back, The Russians Are Back". Segal, Lewis. July 30th, 2000
Wikipedia. Kirov Ballet. 2/17/10
Wikipedia. Bolshoi Ballet. 2/17/10
Bolshoi Ballet. Encyclopedia.com. 6th Edition. 2008. http://www.encyclopedia.com/topic/Bolshoi_Ballet.aspx
Bravo: The official Magazine of the Detroit Opera House. "History of Tchaikovsky Ballet Theatre". Spring 2010. pg 14.

An Interview with Ballet Hispanico Dancer Nicholas Villeneuve

2010-02-11T16:15:00.011-05:00

Yesterday afternoon, I had the pleasure of interviewing veteran Ballet Hispanico Dancer Nicholas Villeneuve.

Mr. Villeneuve was born in Montreal and raised in Jamaica. He has studied at the Alvin Ailey school and Juillard. He has worked with master choreographers such as Agnes de Mille and has performed with celebrities like Patti Labelle. Mr. Villeneuve has made several appearances on Broadway, including Toronto's production of The Lion King. Currently in his fifth season with Ballet Hispanico not only is Mr. Villeneuve an established dancer he's also a choreographer and teacher.

I was fortunate enough to get a-last-minute telephone interview with the dancer from his hotel. Here are some are the responses I received...

How did you become involved in dance?

I was born in Montreal and raised in Jamaica. I was apprenticing with a local dance company in Jamaica and I went on a trip to New York, with the company, and got lost trying to find the train and found the Juilliard School. I filled out an application and eventually auditioned and got in on a scholarship.

Where you dancing before then?

No, I was a musical theatre major. I was asked to join the company because they recognized my potential as a dancer. They were more of a folkloric dance company.

What do you most enjoy about dance?

Across-the-board, what I like about dance is the fact that it’s not like a regular job. It allows me to be creative and expressive, allows me to share my talent to the rest of the world. It allows me to travel and learn about new cultures.

What styles/genres of dance are you trained in?

Ballet, Modern and Jazz

What’s your favorite style and why?

Modern because it draws in all the elements of ballet and jazz, its more expressive and allows you to have more of an abstract expression.

Can you describe what it was like attending the Alvin Ailey School & Julliard?

I was very intimidated because it was one of the very first dance schools I attended. I knew at the time I was lacking in technique but the Ailey school prepared me for Juilliard and when I arrived to Juilliard I was still intimidated but was a better dancer.

You were dance captain/swing for Toronto’s production of the Lion King, What did that involve? How did you get that position?

I was required to teach all the male parts on the show, I worked as a stand in when someone was sick, injured or went on vacation. I was also required to send weekly reports to Disney telling them how the show was going. I also ran rehearsals. I auditioned for the position.

How long have you been teaching dance?

I started teaching dance once I left college, I’ve been teaching since 2001.

How long have you been choreographing dances? How many works would you say you’ve produced? Could you please describe the process involved in choreographing? What types of things inspire you?

I started choreographing in 2000; I’ve been doing it for about 10 years. I’ve produced 12 ballets. The process varies... it depends ... sometimes I’ll go into the studio and make a movement phrase then the rest of the work will come, or I’ll be inspired by a song and try to come up with several movements, or it could be story driven where I’m inspired by a common story and I’ll want to tell that story through movement, then I put the phrases together in the studio with dancers. It takes about 2-3 weeks to come up with a 20-25 minute performance

How did you get started with Ballet Hispanico?

After I finished up with Lion King the former Artistic Director, Tina Ramirez, invited me to join in 2005

Could you please describe a typical day working with Ballet Hispanico?

We start the day off at 10am we hold ballet technique class until 11:15, we have a break, and then at 11:30 we hold rehearsal until 6 with 5 min breaks after every hour. We rehearse all repertory that’s going to be on the tour or that we’re going to be doing in the fall.

What advice do you have for aspiring dancers?

Take class everyday, work hard, never give up, it’s about perseverance and dedication.

If you were not a dancer, choreographer and teacher what other profession would you like to try? Why?

I would want to be a pilot, I’m interested in aviation I think its quite amazing. I would like to add that I’m working on getting my private pilots license.

If you could address Detroit audiences what would you say?

I would like to say that our Artistic Director, Eduardo Vilaro, has put together an eclectic group of dancers and that they should come out and see us and be inspired.

You can learn more about Nicholas Villeneuve and the other dancers of Ballet Hispanico by following this link Dancers' Biographies.

Cupcake Station & DOH Challenge Audiences to Channel their Inner Pastry Chef or... dare I say... Mad Scientist in this "sweet" contest

2010-02-08T12:10:00.024-05:00

In line with the new Mel Brooks musical, Young Frankenstein, showing here at the Detroit Opera House, February 23rd to March 14th, Cupcake station has invited audiences to participate in their latest cupcake creation.

Calling it "a Monster Cupcake", audiences are encouraged to go online and list off what characteristics they believe should go into making the new cupcake on behalf of the musical. One winner will have their cupcake creation "come alive" and receive four tickets to the show. He/she will also get a chance to meet with the cast of Young Frankenstein. But that's not all! four runners up will be selected who will also receive four tickets EACH to the show.

The deadline for the competition is Wednesday, February 10th so don't miss out on your Chance to momentarily live your dream as a Pastry Chef or... you know...a Mad Scientist!

For more information click on the link below.

Create a Monster Cupcake Contest

Allow Detroit Opera House to Heat up your Valentine's weekend with Ballet Hispanico

2010-01-31T17:28:00.018-05:00

Looking for something exciting to do this Valentine's Day? Looking to add a little sizzle to your weekend? This month Ballet Hispanico, the nations foremost latin dance company, will make its second appearance at the Detroit Opera House, Saturday, February 13th and Sunday, February 14th. Come watch as they fuse ballet, modern, and latin dance on stage and perform choreography by some of the world's most progressive choreographers.

Audiences will also have the opportunity to participate in a host of weekend long events and offerings that include; Latin Salsa classes, taught by various members of the Ballet Hispanico company, on Friday, February 12th which are free to Ballet Hispanico ticket holders.

For more information call (313) 237-3251.

A special Valentine's Weekend Package called "la noche del amour" or "night of love" which includes two premium box seats, two beverages and a bouquet of chocolate roses for $190 during Saturday night's performance. Audiences also have the option of enjoying a three course meal at Shiraz, with our "Wine, Dine and Let us Take The Lead" Package. The package includes a premium seat and transportation to the restaurant from the Opera house and back for $89 per person during Saturday night's performance.

For reservations and information call (313) 237-7464.

Looking for something a little less expensive or coming alone? Audiences who qualify for our Access.Opera/Access.Dance program also have the opportunity to enjoy main floor seating at $20/ ticket during Saturday's performance. As well as a complimentary drink and a chance to mingle with the Ballet Hispanico cast during a exclusive post-performance reception.

For more information or to purchase tickets contact Felicia Burgess (313) 961-3500, option 6, extension 3200 or via email fburgess@motopera.org

Ballet Hispanico events officially wrap up Tuesday, February 23rd with our Tuesday Night Dance Film Series. Come enjoy food, drink, film and discussion during our showing of the dance film "Latin Nights" at 7pm.

For more information call (313) 237-342 via email dance@motopera.org

David DiChiera's "Cyrano" music at the Scarab Club!

2010-01-07T20:32:00.003-05:00

Maybe you missed the world premiere of Cyrano -- MOT General Director David DiChiera's first opera in 2007. But all is not lost! Chamber Music at the Scarab Club will be presenting a concert featuring the American premiere of David DiChiera's "Souvenir d'Arras," a trio based on his opera Cyrano. The concert will be held at Marygrove College on Sunday, January 24th at 3:00pm.

The program will include two other pieces on the theme of Cyrano with a narration by Karen Landers, expressly written for the concert, linking the music to the timeless Rostand story. Performers include Lillian Scheirich violin, Mary Siciliano piano, and MOT Orchestra principal cellist Nadine Deleury. The concert will also include the premiere of a piece by MOT bassist Clark Suttle and a Quintet by S. Prokofiev.

For ticket information, please call (248) 474-8930 or email ndeleury@sympatico.ca.
For more details about the concert please visit: www.scarabclub.org/chambermusic.

2009-11-04T09:40:00.001-05:00

The Delightful Lisa Vroman

By Wendy German

I had the pleasure of meeting and chatting with Lisa Vroman who takes the role of Charlotte Malcolm in Sondheim’s A Little Night Music playing November 14-22, 2009 here at the Detroit Opera House. She was gracious enough to share a little of her life with me. What an enchanting lady, with a fantastic approach about her singing, theatre career and towards life. She has made worldwide appearances due to the ease with which she navigates the rage from musical theatre to opera. She played Christine Daae in the Phantom of the Opera on both coasts and touring for years. Her list of vocal performances and theatrical appearances is extensive.

Q: What led you into the world of musical theatre?

A: I had a crossover path, my mother was a choral music educator and my dad was an undertaker. We grew up listening to Ella Fitzgerald music all the at home when I was little. My parents would go so often to see her in concert in New York City that I believed this was my “Auntie Ella”, but that is not so.

Q: What motivates you to continue your theatre life?

A: We are the relief for people having a bad day. In this economy, it is the first response to go and put on a CD and listen to your favorite music. We as theatre people provide that escape from the everyday.

Q: What are the best and worst parts of the travel aspect of touring?

A: The worst parts, missing family, my husband and my dog. Best part, I get to travel the world, I was recently in Hong Kong and am booked to work in Beijing for the opening of a new opera house in 2010.

Q: Have you ever performed A Little Night Music before?

A: Yes, I have done ALNM three times, so I know the piece well from all aspects.

Q: How far in advance to you begin to prepare for a role?

A: As soon as I know I am going to do it, however long that is.

Q: What was it like meeting Stephen Sondheim?

A: He was at a rehearsal and tapped me on the shoulder, when I turned around and saw him, I couldn’t speak. Stephen is beautiful music; the complexity of his composing is on another level.

Q: Have you ever visited/performed in Detroit before? Is there anything that stands out for you?

A: Yes, Three times in concert with the Detroit Symphony and also while touring. There is a Pewabic tile store I can’t wait to visit!

MOT Allesee Dance and Opera Resource Library Online!

2009-11-03T11:26:00.003-05:00

The Michigan Opera Theatre’s Allesee Dance and Opera Resource Library just opened up to the public this past month. This is an awesome piece of MOT’s history as it creates a new and very useful resource for Michigan’s cultural history.

The database was created online through a partnership between MOT and Wayne State University. Masters students from WSU’s School of Library and Information Science began working on the project after receiving a $1 million grant in start-up funds from Maggie and Bob Allesee, which also assisted in the transformation of the physical library’s structure.

“What an incredible opportunity to open MOT history to the world through this state-of-the-art online database and our partnership with Wayne State’s School of Library and Information Science,” says MOT Archivist Tim Lentz. “We hope this will be a model for other arts organizations to follow around the country.”

The online database includes a complete performance history and a catalogue of thousands of unique items, including scores, books, CDs, videos, reviews, and many other unique items from MOT productions.

CHECK IT OUT! http://motlibrary.slis.wayne.edu/.

A Review: Lost in the Phantom's World

2009-09-16T11:58:00.002-04:00

So that you can keep Jonelle and I (and our blogs) straight, I’ll briefly reintroduce myself; I’m Wendy German, a student at the University of Windsor pursuing my B.A. in English and Arts Management. I have a dance, vocal and theatre background and a love of the performing arts. As promised, a review of the Friday September 11th, 2009 evening performance of Phantom.

Phantom of the Opera is a spectacle for the senses. Christine’s naiveté and fear as she steps into the underground lair are almost palpable. The Phantom himself is a magician, manipulative and a monster, both literally and figuratively. The music continues to replay itself over in my mind and is eerie and beautiful. The full company singing Masquerade in elaborate, glittering outfits is a fitting backdrop to the Phantom’s dominate red, skull-faced pirate attire. There are so many moments to mention, the chandelier floating up to the ceiling of the opera house, far above the stage was brilliant. Even thought I watched it happen, it is still hard to believe, how do they do that? (I realize the answer is a wire, however this is an unromantic, logical answer and I prefer to think of it as the magic of theatre!) The evening ended with a standing ovation for the leads, notably appropriate in my opinion. There is still time for you to get lost in the Phantom’s world. The show is here until September 27th.

The next event at the Detroit Opera House is Verdi’s Nabucco. This is an opera about religious epiphany, ascension to the throne, sibling rivalry and a love triangle (what’s opera without a love triangle or two?). With some planning and a little luck I am hoping to view a rehearsal, as we get closer to October. I’ll also have to start thinking about a costume for the Haunted in the House/Opening night of Pilobolus evening; it will have to be something whimsical!

Maybe the Opera House is haunted by a Phantom...

2009-09-14T09:50:00.004-04:00

With the arrival of Phantom of the Opera, it's only natural to invite you to come and find out if the Phantom really does haunt the House. So come and discover a secret passageway and even a dungeon at Haunted in the House this Halloween!

On Halloween 2009, 10:00p - 1:00am, the Detroit Opera House with be transformed into a haunted palace, inside and out, where everyone will be able to mingle, dance, drink and be merry!

If you're a true Halloween Spirit, you can dress up to enter one of the House's costume contests and win some pretty awesome prizes.

Not only will this event be THE place to be on Halloween, but it is also a great way to support that local arts/entertainment community! “Launching Haunted in the House is a way to try and re-engage the young people that may attend one of our larger events like BravoBravo!,” says MOT Director of Development Mary Parkhill. “We want the next generation of arts supporters to begin to take ownership of the Detroit Opera House, too." All proceeds from Haunted in the House will go to support the dance and opera programming at the world-class Detroit Opera House. Tickets are on sale now through Ticketmaster.

Tickets for Haunted in the House are $35 general admission and $75 VIP tickets that include access to a VIP lounge with an open bar and hors d’oeuvres for one hour, an Opera House Dungeon Tour and valet parking. Guests must be 21 or older, please.

Sounds like a GREAT time to me! See you there!

<3
Jonelle

And now for the other intern!

2009-09-10T09:34:00.005-04:00

As stated previously, Wendy is one of the new interns here at the Opera House and I, Jonelle Pariseau, am the other. :D I graduated from MSU this past May with a Bachelor of Arts in communications and public relations. I also have an extensive dance background that has recently come to include being the Owner/Artistic Director of Studio 8 Dance Arts Center of Southeast Michigan LLC. The studio is a new venture that allows me to continue my passion for the dance arts, which is the main reason I was so excited to receive the position here at the Opera House.

I think it might go without saying, but I really enjoy going to the theatre. My favorite show that I've seen recently is Avenue Q. It is a great show for the twenty-year-old-crowd - VERY funny! I also LOVED RENT. I guess it rubbed off on how much I liked it since Rebekah, our supervisor, gifted me a RENT poster this morning :). (It's gonna look great in my room!)

The Detroit Opera House / Michigan Opera Theatre have a great Dance & Opera season ahead. With shows like Phantom, Nabucco, and The Nutcraker, everyone will be able to find som reason to come down to the Opera House!

Stay posted as Phantom has just opened (September 8-27)and there will be tons of 'insider happenings' you'll want to know about!

A Haunting Tale...

2009-09-09T15:43:00.003-04:00

My first day as one of the new interns here at the Detroit Opera House was even better than I anticipated. My name is Wendy German. I am an English major as well as pursuing my Arts Management Certificate at the University of Windsor. I will be seeking a career in the theatre/entertainment industry upon completion of my degree. First up was a grand tour of the beautifully restored Opera House. There are so many amazing spaces, lounges, rehearsal halls, staircases and of course the spectacular stage. There was even a secret passage, slightly unnerving when the current show is about a Phantom haunting an Opera House!

Since I have only seen the movie, I am thrilled to be seeing Phantom of the Opera, the musical, for the fist time on stage. A real connection grows between the actors and audience during live theatre so I am expecting to be both mesmerized and enchanted! In anticipation I have been looking up lyrics, and listening to the music. I confess I even changed my screensaver to a picture of Christine and the Phantom. Here are some particulars that might interest you about the touring production that opened here last night. The chandelier is 1,000 pounds (it is massive, I went and peeked) and has 35,000 beads and 50-radio controlled lights. There are 165 wigs used to compliment the 230 costumes for the show. I’ll post again once I have seen the production and let you know what I think. I hope you get a chance to see for the first time, or indulge again in the haunting tale of seduction and despair.

Fond Memories at MOT...

2009-07-30T16:47:00.011-04:00

My 5th floor view of Comerica Park is going to be missed when I leave today. My co-workers and this incredible building will both be missed as well. Today is my last day interning in the Communications department at MOT, and though I’m excited to return to school, I’d like to savor this summer experience.

Over the past two months, I have thoroughly enjoyed my time at the Detroit Opera House. As the Public Relations and Marketing Intern, I was able to work on press and media kits, explore the marketing aspects of Twitter, and improve my communication skills. Most of all, I was able to experience the day-to-day operations of an opera house. But let’s not forget my exposure to the more lavish side – BravoBravo! 2009 was definitely the highlight of my summer!

As I say goodbye to the building, I know this isn’t my last time to set foot in the Detroit Opera House. Just today, I was recorded singing “Vedrai, carino” (Don Giovanni) for a $1 million dollar Michigan arts grant that MOT will be competing for in August. The competition for the grant relies on Internet donations, so resources such as Facebook, Twitter, and YouTube will be used. The video of me singing was posted on YouTube - at least I can say I left my mark!

There are many people here at the Detroit Opera House that I would like to thank. First and foremost, Ms. Rebekah Johnson and Mr. Michael Hauser for all of their guidance. Mr. John Grigaitis for taking endless pictures for my blog, and keeping the department on their toes with his witty humor. Ms. Kathi Kucharski for letting me work / attend BravoBravo! 2009, which will remain the most memorable party yet. And of course, I cannot forget Dr. David DiChiera, who has made Michigan Opera Theatre what it is today, and ensures what it will be in the future.

A little bittersweet, but I have had a wonderful experience interning here. Classes start up again at UNC in August, so that’s where I’ll be! And who knows…maybe next time I step into a “role” at the Opera House, it will be a role on the stage – not behind the desk. =)

2009-07-21T22:25:00.001-04:00

Welcome Aboard – LATOH Presents H.M.S. Pinafore

2009-07-21T09:47:00.010-04:00

My mom and sister are both proud members of the Gilbert and Sullivan Society – and while I am not yet a member, I’ve always been a fan. So when I heard that the Learning at the Opera House (LATOH) Operetta Camp was performing H.M.S. Pinafore, I couldn’t have been more thrilled.

Pinafore, one of Gilbert and Sullivan’s most famous works, is a comedic operetta that plays with love triangles and the separation of classes. Naturally, the captain’s lovely daughter falls in love with a sailor, sparking the initial romantic conflict. Will Josephine find true love with her sailor? Or will she be forced to marry the dreadful Sir Joseph Porter? Well, lucky for us, the LATOH Operetta Camp has been working hard, preparing for their upcoming performance. And one of the directors, Ms. Julie Smith, promises it to be one of the most “outstanding and remarkable groups” yet.

Ms. Smith, a doctoral candidate at Oakland University, says, “Kids come from all different areas, with all different talents. Every child is welcome regardless of ability.” Along with Ms. Smith, voice specialist Wendy Bloom guides the campers, providing them with exceptional vocal and theatrical training. And though the camp runs a tight schedule, Monday through Friday, 10am to 4pm, there is no doubt that the youth are enjoying themselves. In fact, let’s see what some of our Pinafore leads had to say:

Why did you decide to do the LATOH Operetta Camp?
“It’s different from being in shows at school; operetta is a whole different ball game from musical theater!” -Raquelle Wilson (Buttercup)

So how’s the show coming along?
“Blocking can get a little tricky, but it’s going to be a great show.” -Duncan Burns (Captain Corcoran)

Have you done LATOH before?
“Yes, this is my 4th year, I love it.” -Mitch Kosters (Dick Deadeye)

Why do you think LATOH is an important program?
“It’s important to introduce classical opera and its culture to today’s youth so traditions can continue.” -Nick Baker (Sir Joseph Porter).

Are you excited for the performance?
“I’m so excited for the show. It’s Friday July 24th, and my family and friends are all coming to see me.” -Madeline Thibault (Josephine)

How has your experience with LATOH influenced you?
“I’ve been performing with LATOH for 6 or 7 summers, and now I’m going to Bowling Green State University to study Vocal Performance.” -Sarah Buckley (Camp Intern)

I think Sarah Buckley is a perfect example of this program’s success. Learning at the Opera House not only provides premier training and performance opportunities for young adults, but also encourages the pursuit of a career in the arts. And with this encouragement, a young Josephine could be one step closer to finding her future role onstage at the Detroit Opera House.

LATOH Operetta Camp will perform H.M.S. Pinafore on Friday, July 24th, at 6pm. Tickets are $5 at the door

**See Slideshow above for rehearsal photos!!**

Center Stage: Dancers fill the Opera House with ABT Summer Intensive

2009-07-08T16:34:00.009-04:00

The sounds of pattering feet, dressed in pointe shoes and ballet slippers, have filled the halls of the Opera House for the past two weeks. This is thanks to the American Ballet Theatre Summer Intensive, whose Detroit program has been hosted at the Detroit Opera House for 12 years now.

Being held in only five cities, ABT Artistic Director, Kevin McKenzie states, “The mission of ABT’s Summer Intensive is to cultivate a universal understanding of the art form at its highest level.” And a universal understanding it is; 130 of the most talented pre-professional dancers have come together for the four-week program. Their backgrounds range diversely from places such as Italy and Brazil, to our own Michigan, which is represented by 22 local dancers. Offered at four different levels, dancers often return year after year to gain elite experience and exposure.

The partnership between American Ballet Theatre, one of the world’s most prestigious dance companies, the Detroit Opera House and Wayne State University make the Detroit program possible. Throughout the program, young dancers are exposed to instructors from New York, Chicago, and Atlanta, to name a few, and are engaged in four classes a day. The mix of classes incorporates three in dance and one in lecture, discussing topics such as choreography, nutrition, and acting. The dancers shuffle from the Detroit Opera House to Wayne State University depending on the day and are housed in Wayne State dormitories. All of this leads up to a final showcase at the end of the program, which will be held on Friday, July 17th at 1pm and 4pm.

The final showcase is a performance you won’t want to miss. Ms. Samantha Shelton, a 13-year instructor with ABT Intensive, who also teaches at Wayne State University, Rochester School of Dance, and Spotlight Dance Works, gave me some insight into the performance: “Each level will perform two pieces; one is part of ABT repertoire, and the other is choreographed specifically for them.” Ms. Shelton went on to explain that the “violet” group will dance the famous “Paquita” ballet from ABT rep, in addition to an original piece set to Vivaldi, which she will choreograph. ABT national directors will fly in to watch the final performance, making it prime exposure for up and coming ballerinas.

As I observed a rehearsal of the “blue” group, one of the four levels of dancers, I couldn’t help but be reminded of the blockbuster hit, Center Stage. The film follows dancers in an ABT Intensive program, leading up to a final showcase that determines their professional careers. “Similar, but a bit less dramatic,” is how Ms. Shelton compared the Detroit program to that of the movie. But as I watched the girls in black leotards and pink tights, with their hair pulled back into perfect ballet knots, I kept thinking: the next prima ballerina could be perfecting her fuetes and piqué turns - right before my eyes.

The ABT Summer Intensive final performances will be held on Friday, July 17th, at 1pm and 4pm on the grand stage of the Detroit Opera House. Tickets are available at the door prior to the performance, and are $15 for adults and $10 for children under the age of 15.

BravoBravo! 2009 – A Spectacular Success

2009-06-10T16:13:00.012-04:00

For the past decade, BravoBravo! has been named “Detroit’s Party of the Year.” This year’s 10th Anniversary was no exception. Bringing together Detroit’s best tastes, sounds, and most beautiful people, the party had glamour written all over it. As the new summer Intern, I had the privilege of attending, selling raffle tickets to VIP guests in the early evening.

Set in a Roaring 20s atmosphere, nearly 2000 flappers and zoot suiters attended in support of the Michigan Opera Theatre and Detroit Opera House. The economic recession was forgotten as the entire Opera House transformed into a lavish, 3-level indoor-outdoor extravaganza. A platform extended the stage, VIP cabanas and lounge areas lined the theatre, and ice sculptures and lights set the mood. Premiere entertainment filled the house, with the Cherry Poppin’ Daddies pleasing crowds and a DJ spinning tracks later in the night.

Tastes from the best restaurants and bars in the Detroit area surrounded the theatre and lined the first, second, and third floors. From sophisticated foie gras to cheesy fondue, there were tastes for everyone. Sanders even had a sundae stand on the second level, and the Jagermeister girls wandered all levels, distributing novelty items in their orange wigs. At every turn, there was a new taste, a new drink, and a fabulous new costume to admire.

Guests agreed that the party was a hit. Mr. Derek Strek, a lifestyle specialist, labeled BravoBravo! a “crucial party.” “Every year, it’s the place to be; beautiful people, great networking,” Strek said. Mr. David Parent agreed, stating, “I love it, it’s my 3rd year.” First timers were equally impressed. “Spectacular, amazing,” described Mr. Josh Suhre, a Wayne State University student who had waited 2 years to attend.

After a decade of partying in style for an excellent cause, BravoBravo! would not be possible without the incredible sponsors and supporters of Michigan Opera Theatre. A special “Bravo” is also in order for General Director Dr. David DiChiera and the MOT staff. By 12:30am, the lights came up at the Detroit Opera House, and people began to clear the theatre. But with young supporters like Mr. Suhre, we can be sure that the theatre will fill again, and BravoBravo! will continue to be a success. Here’s to next year!

Did you miss the festivities?
Check out photos from BravoBravo! 2009, provided by
Michigan Opera Theatre: http://www.michiganopera.org/slideshows/bravobravo2009_ss/index.html

Metromix:
http://detroit.metromix.com/events/photogallery/bravobravo-2009-at-the/1233034/content
After5Detroit.com:
http://after5detroit.com/a5/component/option,com_dcsgallery/task,view/cid,13451/Itemid,80/

Picturethisdetroit.com:
http://www.picturethisdetroit.smugmug.com/date/2009-06-5/2009-06-6#556458875_2mgkr
Motorcityblog.net:

http://motorcityblog.blogspot.com/2009/06/photos-bravobravo-by-paul-hitz.html

Fusicology:
http://www.flickr.com/photos/ohbeatrice/sets/72157619438373141/
Six Degrees Magazine:
http://www.sixdegreespictures.com/gallery_det/
Street Vision

http://www.streetvision.com/gallery/BravoBravo_06_05_08/

CW 50:

http://cw50detroit.com/slideshows/20.1036202.html

A New Perspective at MOT

2009-06-10T15:56:00.000-04:00

Hi, all! My name is Lauren Schultes, and I’m the new Public Relations and Marketing Intern here at the Detroit Opera House. Originally from Grosse Pointe Park, I graduated from Grosse Pointe South with four honor society cords in French, music, theatre, and academics. Around the Detroit area, I was last recognized for my work and dedication as Michigan’s Junior Miss 2007.
I now attend the University of North Carolina at Chapel Hill and am approaching my junior year. I am a UNC Kenan Music Scholar, on full scholarship for Vocal Performance. I was also just accepted into the UNC Kenan-Flagler Business School, bringing me closer to a double major in Music Performance and Business Administration. People are often surprised at the combination of opera and business, but my internship here is just one example of how the two work together!

On campus, I am an active member of Habitat for Humanity, the VP of Marketing for the Carolina Economics Club and Carolina Women in Business, and a member of Delta Sigma Pi, a professional business fraternity. I also continue to market a private business of my own, Belles Chansons (beautiful songs), where I am hired to sing for all occasions. While I miss the Carolina blue and southern hospitality, I am so excited to be back in the Detroit area and working with MOT for the summer.

BravoBravo! and My Farewell Letter

2009-05-14T10:00:00.000-04:00

The time has come again -- that time is the fabulous BravoBravo! event hosted by the Detroit Opera House. With funding cuts threatening the existence of Metro Detroit's arts organizations, a group of 30 young professionals are taking the lead on filling the funding gaps left by state and corporate sponsorship budget cuts.

On June 5th, 2009 from 7:30 p.m. to 12:30 a.m., BravoBravo! will be celebrating its 10th anniversary. BravoBravo! co-chair, Carmen Bell Ross, said "Raising money for the arts has never been so important and BravoBravo! makes it easy for the average person our age to make a difference while having fun doing it."

Last year, the event sold out with a record crowd of 2,000 young professionals partying for a cause. BravoBravo! reveals the best sights, sounds, and tastes of Detroit all in one place. The event offers five indoor areas and an outdoor tent for taking in local music acts, lounging, and noshing on food from Detroit's best restaurants and bars.

Guests will see that the theatre's main floor is covered with a platformed joined to the stage to create a large lounge area for mingling and dancing. This is the one event where the gorgeous theatre is transformed into a posh night club.
The event will host 40 different restaurants and bars including Small Plates Detroit, Crave Restaurant & Sushi Bar, The Majestic Cafe, Chen Chow Brasserie, The Century Grill, Opus One, Jacoby's German Biergarden, Union Street Saloon, Slows Bar B Q, 24 Grille, Angelina Italian Bistro, Good Girls Go To Paris Crepes, and Wolfgang Puck.
The event is also hosted by WXYZ's Erin Nicole. In the ten year history, BravoBravo! is pleased to announce its first mainstream national entertainment, The Cherry Poppin' Daddies sponsored by Hard Rock Cafe.
Other local acts include DJ Captn 20, The John Arnold Trio, Malik Alston & the Linwood Ensemble and DJ Frank Raines from Funk Night Detroit. Internationally known Chuck Flask, John Johr and a surprise guest presented by Paxahau and Movement Festival will also be there.
Tickets are available at motopera.org or bravobravo.org.

And now the second part of this posting...

As summer is starting and Winter is ending, so is my semester-long internship at the Detroit Opera House. I not only saw it as a way to a free education and learning professional skills outside the classroom, but also as a way of networking, learning about the non-profit industry of Public Relations and Marketing, and experiencing my field in the real world with unfortunate realities, such as a non-profit surviving in this economy.
For those interested in what I did at the Detroit Opera House as the Public Relations and Marketing intern, here's a little bit about my semester-long experience. I wrote press releases with the amazing Rebekah Johnson guiding and teaching me to becoming a better writer, a created press kits and got the "hands-on" aspect of PR, I searched through magazines and newspapers daily or weekly and found clippings where the DOH was mentioned, I maintained this wonderful blog, interviewed world-famous artists such as Amanda Squiteiri, Stephen Lord, and others, along with helping out simple tasks like making program inserts, entering award contests, updating artists archives, entering events and updating press contacts.

Not only did I get to learn, but I got to go to almost every show during the Winter season for free. I also learned about strategies to be taken in a struggling economy. It makes me feel good knowing that I got to help out a non-profit (or so I hope) during these rough times. It felt good to be part of such a great cause- knowing that audiences are learning with me about opera or enjoying what they already know, that children come to see shows and hopefully are inspired and will one day become artists or supporters in the future.

I'm also glad my dance skills could come of use to my supervisor, Rebekah, at times along with my mad French skills when we were editing the copy of Bravo for Carmen.
Yes, I've had a great semester here at the Detroit Opera House and I hope another intern can benefit from this experience as much as I have. I have learned so much in these past five months and am forever grateful for the opportunity they awarded me. Thanks and farewell!

Interview with Lili Del Castillo

2009-05-07T12:14:00.000-04:00

The last and final interview for the Carmen Series is with Lili Del Castillo. I had the pleasure of meeting with Lili and interviewing her with all my desiring questions about the choreography in Carmen. At the very end, you will find a slideshow of Lili coaching Kate Aldrich and Kendall Gladen who both are the lead role in Carmen.

Can you describe the choreography in Carmen?

I essentially give Spanish culture 101 lecture. It starts from the way that Spanish people walk in ordinary times opposed to the way Americans walk. Americans slouch, Spaniards don't so I teach movement so that’s the base. From there I have to work with special ladies that are going to do dance movements within the act and so I teach them very simple moves that immediately say “Spanish” opposed to doing Tap or ballet or something like that. Its all about teaching attitude for Carmen, the strata of society you're dealing with is different than if you were upper class. I deal with movement and I do my own dance. In different Carmen's, sometimes I'm asked more and sometimes less. There have been Carmen's where I dance throughout Carmen, and where I've done the fight scene actually fighting Carmen. So I have to find out what the vision of the director is and what movements best describes what he or she sees as part of the scene.

What do you do to choreograph for each different character?

I do Carmen's, Frasquita's and Micaela and the chorus ladies. So that three levels of command within the group of Carmen's. Carmen is the boss so I give her dominant movement. Frasquita and Micaela are flirtatious, and the chorus ladies are having a good time so I give them more exuberant movement.

Do you often choreograph for operas?

I've been doing it for 15 years. Once I retired from the flamenco world. I got into it and word spread, and this is my last and retirement from opera. So I do Carmen's and La Traviata's. I’ve been trained in Spain, in both Flamenco and Spanish dance and that has helped me in the world of opera.

What do you feel the audience gets out of watching the choreography in an opera?

Excitement, exuberance, and a sense of the emotion from the specific scene.

What got you into dance in general?

From the time I was a little girl, every time I would hear music, stories would come in my head and I loved musicals and the musical movies. My family was a very proper Spanish family- and good girls don't dance. And so, when I was 14 I said I wanted to dance and I started taking lessons in Spanish Dance. When I was a teenager, I am such a stereotype in looks to a gypsy woman and a man who had just come from a company in Spain wanted to start a company in New Mexico, and he said he would train me if I were in his company. From there I married a flamenco guitarist and lived and studied in Spain where we were both on a flamenco troupe over there. When we came back from the U.S. we went to New Mexico and started our own company and toured.

What is the most fulfilling part of your job?

To be able to express what the music says to you. It enters you and through the years of taking lessons you have the technique to interpret the technique into movement that symbolizes your feeling.

Have you been trained in any other styles?

I've had some ballet and some jazz. And it helps a lot. Ballet gives you centering. And jazz lets you have movement flow through you. So ballet and jazz really helped my flamenco.

What is your favorite style of dance/What is your expertise?

For me personally, it would be of flamenco and Spanish classical. For watching any dance, I love beautiful movement of whatever culture or background. A good show is a good show!

Do you teach? Own your own company?

I've retired my company but I do teach and I coach. I teach students in Albuquerque, New Mexico; I like giving them a good base. I don't believe in clones and flamenco is very individual. Your personality comes out when you dance. If you only take from one person you become a clone of them so by taking from many styles, you learn what your style is.

Why did you decide to go down that path?

The only thing I was trained in was dance and in New Mexico there wasn't any other company to join so I started my own. I was fortunate to come into flamenco at the time where there were very few people doing it there and start a company and have a lifestyle strictly in the arts.

Anything else you would like to share with our readers?

That one of the great inspirations for me in flamenco is the fact that I'm married to a guitarist and I hear his music constantly and he gives me interpretations. If he gives me music that gives me bright and sunny things, and if I raise an arm he makes something that follows it. I'll give him a word such as “dark and smoky sounding” and he comes out with something that is evocative of something that is dark and smoky. It's been a lot of fun and has been quite the trip for the two of us. We married very young and have been together ever since.

Interview With Homero Velho

2009-05-05T14:05:00.000-04:00

Hey again! Our second part of the Carmen interviews is with Baritone Homero Velho. Tomorrow with be the last part of the Carmen interviews with choreographer Lili Del Castillo.

What steps do you have to take in order to prepare for the show?
I guess what I try to do is being as musically prepared as I can. Make sure you have the music really well learned so you can follow what the director wants you to do. So I just try to be as best prepared I can with the music.

What is a typical day like for you when you arrive at the Opera House?
Well if I’m called from 2-5 I will warm up in my room and review a bit of the music and try to mentally think of the scene involved so I am prepared for what we are doing for that day. I guess it’s a little bit of anticipation so I’m prepared and when I get there I just do whatever has to be done.

How would you compare Carmen to other operas you have been apart of?
I think the one thing that sets Carmen apart is the sheer number of hit tunes. It has at least three or four tunes that everyone has heard of once in their life. I think that sets it apart from other operas. It’s one of those operas that becomes famous by its own right.

What do you find most fulfilling about your job?
The fact that I get paid to do what I love. That’s really the main thing that I get paid to do something I like and most of the time I’m lucky in that.

What sparked your involvement with opera?
Singing in my high school choir definitely. I was 16 when I started and gradually got involved with music. I can definitely trace it back to singing in the choir.

What is your favorite opera?
Its hard to choose a favorite opera and you end up getting involved in every one of them. But if I had to choose I would choose Don Giovanni.

What do you think makes opera singers unique compared to singers in musicals or pop singers?
I think we have to have more discipline. Practicing everyday, learning languages, and taking care of our voices. I’m not going to go out drinking every night or anything like that so I think it’s the discipline that sets us apart from other singers.

Carmen-Behind the Scenes Part 1

2009-05-01T13:19:00.000-04:00

I had the opportunity to interview Janinah Burnett who will be performing the role of Micaela in the Detroit Opera House's Production of Carmen May 9-17.

What steps do you have to take in order to prepare for the show?
Well I have to learn my notes, learn the words that I’m going to say, memorize what the words are, what I say, and what the character I interact with says. I also have to know the storyline so I get the libretto or the story so I have background information. And I get vocally lined up as well by my teacher if need be.

What is a typical day like for you when you arrive at the Opera House?
First we go into the rehearsal hall and wait for the director to tell us where to start. So I go in and wait until its time for me to go into the rehearsal. Then we run it and he’ll give us notes after we finish. Then we watch the other artists do their scenes and chat a little bit.

How would you compare Carmen to other operas you have been apart of?
Being an opera singer, most of the work that I do I really like. Carmen is really popular because it has a lot of memorable melodies that are rhythmically exciting, which makes it interesting for the artist. Carmen is different because there is a female heroine that is so free, which makes the opera so cool because we have a woman that is unwilling to conform to the norms.

What do you find most fulfilling about your job?
Well I love to sing so just the fact and the ability to do that is really exciting. Singing with other colleagues and singing with the orchestra is the most fulfilling thing.

What sparked your involvement with opera?
In college I had to sing arias from various operas and I was pulled in- I really enjoyed it. When I got to graduate school that’s when I really did opera. And what continued it was to see my colleagues doing it and I really loved it, which inspired me to be apart of it.

What is your favorite opera?
Carmen and Turandot are my two favorites.

What do you think makes opera singers unique compared to singers in musicals or pop singers?
Well the first thing is that we use the amplification of our bodies opposed to microphones. So that’s the primary difference. Other than that, we all have to act. I will say though that opera singers have to be more stage actors than pop singers.

Anything else to share with our readers?
That opera is really a fascinating medium and it seems kind of boring but if you get out to a show like Carmen and draw into the fact that these are just people making these sounds it is fascinating. Also, allow the music to be the catalyst of the emotion that you feel.

2009-2010 Dance Season Announced!

2009-04-28T14:11:00.000-04:00

The Detroit Opera House is pleased to announce the details of a dance lineup with something for everyone – ballet, modern dance, and the classics – in a 2009-10 season that includes two exciting debuts and two returning favorites. The 2009-10 dance season includes the Detroit Opera House debut of Pilobolus (October 31-November 1, 2009), the return of the Cincinnati Ballet for The Nutcracker (December 3-6, 2009), Ballet Hispanico (February 13-14, 2010), and the debut of the Tchaikovsky Ballet in Sleeping Beauty (March 26-28, 2010).

PILOBOLUS DANCE THEATRE
October 31-November 1, 2009
Pilobolus Dance Theatre makes their Detroit Opera House debut in October 2009, bringing their athletic and innovative modern dance repertoire to the magnificent Detroit Opera House stage. The internationally-renowned Pilobolus Dance Theatre began in 1971 and quickly became known for their imaginative and athletic exploration of creative collaboration. Pilobolus Dance Theatre will perform at the Detroit Opera House October 30-31, 2009. Repertoire for the performances will be announced fall 2009.

In the nearly 40 years since its founding, Pilobolus has evolved into a pioneering American arts organization of the 21st century. The 2009 season will mark Pilobolus’ 39th year of growth, expansion, and refinement of its unusual collaborative methods to produce a body of over 100 choreographic works. Based in Washington Depot, Connecticut, the company performs for stage and television audiences all over the world. Pilobolus Dance Theatre performances have been characterized by the strong element of physical interaction between company members and contortions of the human body often similar to gymnastics. Company works appear in the repertoires of many major dance companies, including the Joffrey, Feld, Ohio, Arizona and Aspen/Santa Fe Ballets in the U.S., the Ballet National de Nancy et de Lorraine and the Ballet Rhin in France, and Italy’s Verona Ballet.
Pilobolus regularly appears on broadcast media and advertising. Recently the company was featured on the 2007 Academy Awards show, the Oprah Winfrey Show, and most recently, on the Late Show with Conan O’Brien. The company has also appeared in television spots for Mobil, Ford, Toyota, Opel and Hyundai.

THE CINCINNATI BALLET: The Nutcracker
December 3-6, 2009

In December 2009, the Detroit Opera House will once again usher in the holiday season with the Cincinnati Ballet’s captivating production of The Nutcracker, appearing at the Detroit Opera House for the first time since 2003. One of Detroit’s most beloved holiday traditions held annually at the Detroit Opera House, this magical tale will enthrall audiences with Tchaikovsky’s incredible score, performed live by the Michigan Opera Theatre orchestra. The Cincinnati Ballet Nutcracker will entrance Detroit audiences in six performances, December 3-6, 2009.

This enormously popular full-scale production choreographed by Val Caniparoli is an annual tradition for many Detroit families. Cincinnati Ballet’s The Nutcracker is rich in glitter, adventure and charm, and features magnificent sets (including a tree that grows 56 feet!), 180 lavish costumes, over 100 local children and mesmerizing special effects full of dazzling surprises including the return of the beloved Mother Ginger. The production’s broad appeal to adults and children alike make it a classic and a holiday tradition for all.
The Nutcracker, presented in 2 acts, is the classic tale of Clara and her Nutcracker Doll as together, they visit the land of fantasies and sugar plums, toy soldiers and Christmas mice all set to the dazzling costumes and sparkling sets of the Cincinnati Ballet. Sets and costumes designed by award-winning children’s book illustrator Alain Vaes and constructed at the Kirov Studios in St. Petersburg, Russia, will delight the young and the young at heart.
The 2009 Nutcracker festivities will again feature special family matinee activities, including box lunches, face painting, photos with Santa and the Nutcracker, and the Sugar Plum Parade – a special opportunity to meet Nutcracker dancers on the stage of the Detroit Opera House.

BALLET HISPANICO
February 13-14, 2010

Ballet Hispanico returns to the Detroit Opera House in February 2010 for the first time since making their Detroit Opera House debut in 1999. Founded in 1970 by Artistic Director Tina Ramirez, Ballet Hispanico is the foremost dance representative of Hispanic culture in the United States, with a professional company which tours nationally and internationally. Ballet Hispanico will perform at the Detroit Opera House February 13-14, 2010. Program repertory will be announced in early 2010.

Acclaimed by audiences and critics alike, the Ballet Hispanico Company has performed for over two million people throughout eleven countries, on 3 continents, appearing in such major venues as The John F. Kennedy Center, Houston's Wortham Center, the Auditorium Theater in Chicago, UCLA's Royce Hall, the Annenberg Center in Philadelphia, Wolf Trap, Jacob's Pillow, Boston's Celebrity Series and The Joyce Theater. The company's national television appearances include CBS Sunday Morning and, on NBC, Hispanics Today, Latin Access and the 1999 Hispanic Heritage Awards.

Today, Ballet Hispanico performs works by the foremost Latino choreographers as well as emerging artists, including Talley Beatty, William Whitener, Anne Reinking, Graciela Daniele, Sergio Triujillo, and Pedro Ruiz. The Company's innovative repertory fuses ballet, modern and Latin dance forms into a spirited image of the contemporary Hispanic world. Nearly 80 new works have been commissioned by Tina Ramirez from choreographers of international stature such as Alberto Alonso, Talley Beatty, Graciela Daniele, George Faison, Vicente Nebrada and Ann Reinking, and such dynamic young artists as Susan Marshall, Ramón Oller, David Roussève, Pedro Ruiz and William Whitener.

Alumni of the Ballet Hispanico school have gone on to careers in theater (Nancy Ticotin), film (Jennifer Lopez, Leelee Sobieski and Rachel Ticotin) and television (Michael DeLorenzo), as well as with other leading dance companies.

TCHAIKOVSKY BALLET: Sleeping Beauty
March 26 – 28, 2010

Also debuting at the Detroit Opera House is the Tchaikovsky Ballet, one of Russia’s most distinguished artistic companies, with their critically acclaimed production of Sleeping Beauty. With Tchaikovsky’s famous and whimsical score performed live by the Michigan Opera Theatre Orchestra, and Marius Petipa’s glorious choreography as the foundation for this enduring ballet classic, Sleeping Beauty, will be performed March 26-28, 2010.

Somewhere in an imaginary land, the Princess Aurora is born, and the king calls for a grand christening celebration in which all the fairies of the kingdom are invited to welcome the newborn child. The ceremony is interrupted by an evil-doer who curses the princess and says she will one day prick her finger and die. Luckily, a fairy gives a present to the princess and says that the princess will not die when she pricks her finger, but instead will fall into a deep sleep and will be awoken by a prince after 100 years. On the princess’s 18th birthday, she pricks her finger and sleeps for 100 years until her prince charming awakens her with a kiss.

Since the premiere of their first ballet season in 1926, The Tchaikovsky Ballet Theatre of Perm, Russia, has produced a growing number of classical and contemporary works, with an emphasis on the operas and ballets of Pyotr Ilyich Tchaikovsky. The magic of several Kirov artists profoundly influenced the ballet company, which shares in the standards and styles of the Kirov school. The company is unique in that it draws all of its dancers from its own school, one of the most prestigious training institutions for ballet in Russia. The Tchaikovsky Ballet’s artists have distinguished themselves in national and international ballet competitions and festivals, and have won international fame. They are now known throughout the world from numerous foreign tours and appearances at international arts festivals in Viena, Bregentz, Spoleto, Seget, Dubrovnik, and Servantino in Mexico.

For tickets visit www.motopera.org or call the ticket office at(313) 237-SING (7464).

Stephen Lord's Interview Q & A's

2009-03-30T15:27:00.000-04:00

This is the last part of our interview series for The Elixir of Love. We will have more updates about the Detroit Opera House later this week! Enjoy.

Stephen Lord

What steps do you have to take in order to prepare for the show?

In order for me to prepare for this show, I have to know the singers- In this sort of music you have to know what the singers can and cannot do- you have to rehearse with the singers and have the same common goals. And hopefully the acting will come as we continue to rehearse.

When people start gathering for the production, what is a typical day like for you?

I have to be with the singers individually so we get to know and trust each other. So my typical day I will have an hour or hour and a half with just me the piano and the person and I can hear how they sing it and we come to an agreement. Then we start putting people together so they get to know each other. This is usually a two day process. If we don't establish that rapport in the beginning you don't get a complete product.

How would you compare Elixir of Love to other operas you may have conducted?

To quote Benjamin Brittan “the notes are all the same, they're just arranged differently.” This is a comedy with a lot of heart and I try to find the operas with the most honest sentiment. Its funny, but its also about a lovers misunderstanding. It has its own life in itself. I wouldn't conduct it if I didn't love it.

What is your favorite score of music to conduct?

My favorite operas to conduct are Norma, Salome, and the Marriage of Figaro.

What do you find most fulfilling about your job?

Communicating with my performers. When we're all on the same wave length, theres no feeling like it. Its a love fest. Its the give and take between us as performers. Its the unsaid things thats the most fulfilling part of it.

Is there any kind of unique story you could tell that you have experienced?

I started my career here- my first job is at the MOT doing the barber of Seville on tour. We opened in Alpena, MI, that's where my career started. I'll always be very thankful for starting me on this wild path. And I've been doing this for 35 years. In Michigan I made some of my most significant professional friends first and we've stayed friends this 35 years.

I read in your bio that you have conducted both traditional and contemporary works- Do you favor one style over another?

Yeah, I favor the traditional ones because they're the ones that need the most help. They've become cliché written, you have to invent the musical demands opposed to contemporary. You have to find out whats behind the notes and not just do the notes.

What kind of relationship do you have to have with the singers in order for the score to come together?

I'm reuniting myself with old friends, but I have several cast members I've never met before, but its establishing new relationships and its very wonderful once you've been in the business for a long time. And I hope it shows to the public. We cant forget in opera that we have the singers but we also have the orchestra, and we have to bring them into the family as we do it.

Anything else you would like to share?

Historically people have found relief from the grind of everyday and the hard times that they have they found it through art and hopefully In these bad times, we can give them back some of what they have invested in by spending money thats hard to come by. Hopefully they'll feel rewarded by us.

Elixir of Love Rehearsal

2009-03-26T11:16:00.001-04:00

OPERA-TUNE-ITY Continued...

2009-03-25T23:08:00.000-04:00

Hello again! As promised, here are Ken's interview questions and answers. Look forward to seeing Stephen Lord's questions and answers tomorrow!

Ken Saltzman

As stage manager for The Elixir of Love, what kind of preparation are you responsible for?

I do a lot of information gathering to prepare the foundation for a good rehearsal process. I prepare a score that I work out of which becomes my production book containing all the cues for the show. I also am the scheduler so I am gathering all the info from the conductor and staff members to coordinate all our production meetings and rehearsals. I touch base with all of the guest artists and make sure that everyone knows whats going on- that everyone is informed and that there are as few surprises as possible. I also work with my two assistants that help me with all of the preparations. We prepare paper work for the rest of the Production team, the rehearsal hall for day-to-day rehearsals, and divide responsibilities to balance our work load.

As we approach the show, what is a typical day in your shoes like?

There are three phases to a shows progress: the preparations and rehearsal period, the tech process, and performances. I prepare a daily schedule, I distribute rehearsal notes to the different departments and keep everyone informed of what’s happening in rehearsals to lay the foundation for tech week. During tech week, everything grows exponentially when we move to the stage. We inform our Stage Hands and Wardrobe and Wigs/Make-up colleagues of what they need to do to support the show. And in the performance process we make sure that everyone is does what they are responsible for so that everything goes swimmingly. It’s a live performance so anything can happen.

What other responsibilities do you have with coordination of all the people involved (cast, musicians, costumes, etc)?

I have contact with everyone for various reasons, from the General Director to the Stage Hands and front-of-house. I have to communicate with everyone.

Is the production of Elixir different than other operas? Is this opera more difficult or easier in any way?

Because it has been put in a more modern time, that changes things a bit. It’s a smaller show in some respects, the cast is smaller, the run of performances is shorter. But for the most part it’s another opera. This seems to be more manageable than many. It's one set that doesn't move, its a smaller Chorus, fewer Supers, fewer Principals, it’s a remount of a show that has been produced before so we are not recreating the wheel.

During the shows, what is your role and how do you make the opera run smoothly?

During performances I see myself as the calm voice through the chaos. It’s essentially up to the Maestro and Stage Management to guide all the variables involved to create a performance. Stage Management is responsible for cueing every entrance including the Maestro, every curtain rising, every lighting change, trouble-shooting when anything goes awry. Once the house lights go to half, there’s no stopping it. In a musical, the actors can improvise or the Orchestra can vamp if something goes wrong, but in opera it’s like a big snowball rolling downhill and there’s no stopping it once the house lights go out. I and my two Assistants do everything possible to support the Artists in giving their best performances.
What do you like most about being the stage manager for an opera?
Everyone has their own talents and I see a large part of mine trying to be a good facilitator so the artists can give their best. I like pulling all the different parts together and creating a whole with all of my colleagues. Its great to see from first rehearsal to closing night especially if it’s a real challenging piece. To see it all come together is very satisfying, along with earning the respect of my colleagues. I get a lot of satisfaction from working with great people.

Is there anything about your job that you would change?

If Stage Managers were compensated more closely to that of their colleagues, better Stage Managers would stay in the business longer.

Are there any unique stories you would like to share?

I was doing a show at which the Producer happened to be a bass baritone. And during the curtain call the Producer said something in a loud bass baritone voice and the stage hand thought I called the curtain in just as the singers lowered their heads for a bow. The curtain was motorized and could not be stopped. And the singers rose up from their bow a fraction of a second before the curtain clobbered them all. The moral of the story is- keep deep-voiced producers away from back stage at all times.

Anything else I can share with my readers?

This is my 8th season with MOT. It's my 27th year in this business. Carmen was my first opera here in 2001 and I’m excited to be doing it again in May. I feel very fortunate to have been entrusted with two world premieres with this Company where most Stage Managers rarely have the opportunity to do one. I'm looking forward to my 9th season.

A Unique OPERA-TUNE-ITY

2009-03-24T09:58:00.001-04:00

Hello once again! I appologize that it has been so long from my last post, but I have some amazing interviews to share with you! The Elixir of Love will be at the Detroit Opera House performed by the Michigan Opera Theatre March 27- April 4 (buy tickets at motopera.org). I had a chance to interview the wonderful Soprano, Amanda Squitieri, Production Stage Manager, Ken Saltzman, and conductor, Stephen Lord. I asked them about opera and what it means to them.

Amanda Squitieri

What steps do you have to take in order to prepare for the show?

The first thing that you have to do is first of all make sure that its right for you, second if its a language thats not one of your languages, you start with the text first, because we are telling a story, and since we have words, the text is really important. I read the whole libretto first, and if its in Italian or English I just keep reading through and understand the story. If its in a language I don't know, I go to a diction coach and get a handle of of to pronounce it. And then, for me, once I have a handle on all of the words, the music comes a lot easier. I couldn't imagine just jumping into a piece and going straight to the music. Each language also has it's own melody. And then theres of course, where it takes place, what the people are like, what status your character has, the story- theres just a lot of research that goes into it. Then thinking about your character, you have to think about what you would bring to it. For example, Adina can seem mean, but shes educated and a land owner and she has certain standards and expectations, so you just kinda learn why people act the way they do and you can add the layers on after that.

What is a typical day like for you when you arrive at the Opera House?

The first thing we usually do is a music rehearsal whether its one on one or with a group and run through the whole thing and get to know each other musically a little bit. Before we start the staging.

How would you compare Elixir of Love to other operas you have been apart of?

I love the music, I love the text, its light and comic but it has depth also. Theres some musical lines and text that's pretty deep- its not just a typical slap stick comedy. It can be more than what it seems, its fun and beautiful.

What is your favorite score of music to sing?

I thought I did have one, but this past year, I learned the Cunning Little Vixen and I got introduced to the music...I'm at heart a Puccini girl, and I feel that is where I belong. I think Boheme, I had a lot of fun with Rondine- I think Puccini in general really touches me.

What do you find most fulfilling about your job?

That I get to do it. I am really thankful everyday that this is my job. The fact that I'm doing something that I've wanted to do since I was 12 is really special to me. I love that I get to come to work, tell stories, sing beautiful music, I get to do exactly what it is that I can imagine myself doing.

What sparked your involvement with opera?

I was about 12 years old and I was looking in the news paper and I saw there were auditions for The King And I and I asked my mom if I could audition for it. And I memorized a song from the videocassette and they took me. They were opera pushers and when I was 13 I started taking opera lessons with them, I learned every aria they gave me and I fell in love with it. Its just something that came to me, I didn't search out, but once I found it, I chased after it.

What is your favorite opera?

I don't have a favorite opera, I've sung everything from extreme modern opera to baroque opera. In the end I wind up putting everything I can into each piece I do. A lot of times you become apart of it. You want to tell them the best story that you can. In the end, you give it everything. Naturally you're going to love it.

What do you think makes opera singers unique compared to singers in musicals or pop singers?

First thing is that we have to have a technique that is healthy enough and strong enough to cut through an orchestra without being microphoned in pretty big spaces. Its a completely different way of singing.

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Look forward to seeing Ken's interview tomorrow and Stephen's the day after!

Interview with Sarah Smith

2009-03-13T16:29:00.000-04:00

Hello once again! As you may know, Romeo and Juliet is being performed this weekend at the DOH by the amazing American Ballet Theatre. I had the chance to interview a member of the corps de ballet, Sarah Smith. Here's what Sarah had to say:

At what age did you start dancing?

I started when I was six and I started to do the pre-professional training when I was 11.

What made you want to become a ballet dancer?

Honestly, I have a sister that is a year older than me, and I did everything she did. So when she started ballet class, I had to start ballet class too. At age 12, I did the ballet Giselle and that was my first big ballet and that’s when I knew I had to do it for a living.

Have you always wanted to dance with ABT?

Yes, it was always a dream to me. I had to dance somewhere, so I would dance for any company as long as I was making a living out of it.

What was you most challenging experience with dance?

I would say injury. My senior year in high school I had a stress fracture in my foot. Just anytime you’re injured its hard.

What was your most accomplishing experience with dance?

Definitely, getting into ABT.

How do you feel dance has made you a better person?

I think with the acting that’s involved, you have to take on so many different roles. It just makes you really get a feel for what each kind of person experiences. It’s also made me appreciate my body more.

What is a day in your shoes like at the ABT?

It varies a lot, but typically class then seven-hour rehearsals with a one-hour break. Some days we’ll have a longer time for breaks than others, it just depends. It’s most strenuous when we’re performing.

What other dreams would you like to accomplish in life?

I would love to have a family one day and experience life with family. If I find another passion with work, then that would be great too.

What do you like most about performing with ABT?

I would say the repertoire that we get to do, the choreographers we get to work with, the costumes, the set. The thing above all that is the people you get to work with, the company members are so great.

Do you have a message you would like to send out to dancers that are reading this blog?

Push through the times that get tough and don’t loose hope because its so rewarding once you get through it. Also, don’t take any one person’s opinion too seriously.

Do you have anything you would like to tell or say to readers in general?

Just love what you do and enjoy every minute of it, whether its ballet or anything.

So come see the show this weekend! I had a sneak-peak and I can say that it's absolutely breathtaking!

2009-03-04T11:07:00.001-05:00

Coming Soon to the DOH!

2009-02-25T15:51:00.001-05:00

The Detroit Opera House is welcoming the Grand Rapids Ballet Company again this year with their production of Aladdin. Go back in time to an enchanted Middle Eastern landscape with princesses, theives, and genies that make your wildest dreams come true. I've always loved the story of Aladdin and Jasmine and I'm very excited to see the Company's interpretation in movement. This full-length production will include lavish costumes, wonderful set-design, and of course beautiful dancers.

I saw the Grand Rapids Ballet Company last year when they performed Peter Pan. Of course being a performance intended for children, the performance and theatrics were never dull.

Romeo and Juliet by the American Ballet Theatre is also coming to the DOH. In case you're not aware, the American Ballet Theatre is one of the best ballet companies in the world. Having them at the DOH is just simply amazing! I'm not sure if any of you have seen the movie Center Stage, but there is a clip in the movie where the company is performing Romeo and Juliet with Julie Kent and Ethan Stiefel. Take a look:

[p.s.] According to IMDB.com, "When Cooper blows Jody off after the performance and walks off with another girl ( leaving Jody standing alone by the door) the "other girl" is played by Ethan Stiefel's real-life girlfriend, Gillian Murphy," who is playing Juliet at the Opera House on one of the days! Can I just say, "AMAZING!"?

So those are just a couple of things to look forward to in the next month here at the DOH!

Talk to you guys soon!

Alvin Ailey Touches the Human Spirit Once Again

2009-02-16T15:32:00.000-05:00

As I noted in previous posts, I went to go see Alvin Ailey American Dance Theater on Thursday and Sunday. Although both of those nights consisted of the same pieces, chills went down my spine and I could feel the rhythm and passion in my heart. The dancers were not only amazing in technique but also in the life they brought to the dance itself.

I took my little sister from Big Brothers/Big Sisters to the Sunday show. She had never seen a dance concert (or any kind of live theatrical concert) before, so Alvin Ailey was quite the experience for her. She said she liked the duets in Festa Barocca, along with the entire series of Revelations. On the way home, she couldn't stop talking about how much she wants to be a dancer just like the dancers in Alvin Ailey. After every piece I'd ask her things like, "Wasn't that beautiful!" and "Did you think that was completely gorgeous, or what?" Of course she just laughed, smiled, and agreed with me.

She and I were flipping through the publication of Bravo and she was so excited that Aladdin was coming in late February. (I told her I might be able to score some tickets- V.I.P. style) I let her know all there was to know about the Grand Rapids Ballet Company and how I saw their production of Peter Pan last year and I thought it was great.

Aladdin is being performed at the Detroit Opera House on February 28th at 12:00 p.m. and 5:00 p.m. The full-length production includes lavish costumes, scenery that transforms the stage into a Middle Eastern landscape, a full rangeof orchestral music, a Genie of the Lamp that grows, and of course, amazing choreography by Artistic Director Gordon Peirce Schmidt.

I'll let you all know if I'm going- Maybe if you do go and you find me- we can get a fabulous picture of ourselves up on here!

Also coming to the Detroit Opera House this month is Rent (and the readers gasp with excitement!). Rent will be performed February 17-22 and will star original cast member Anthony Rapp and Broadway cast member Cary Shields.

I don't think I really have to explain what this one is about. Come on- If you haven't heard of Rent yet, you've been living under a rock. But just in case you would like a reminder, BroadwayInDetroit.com says:
RENT is the classic musical about love, friendship and community, and the seventh longest-running show in Broadway history. Now, RENT is coming to Detroit in a new touring production starring original Broadway cast members Adam Pascal and Anthony Rapp!
Over the course of its groundbreaking 12-year New York run, RENT transformed the definition of musical theater -- and changed Broadway forever. Set in NYC's East Village, RENT is a modern take on the classic Puccini opera, La Boheme. It tells the unforgettable story of a group of young artists learning to survive, falling in love, finding their voices and living for today.

The showings are:

Tuesday, February 17 at 8:00 p.m.
Wednesday, February 18 at 8:00 p.m.
Thursday, February 19 at 8:00 p.m.
Friday, February 20 at 8:00 p.m.
Saturday, February 21 at 2:00 p.m.
Saturday, February 21 at 8:00 p.m.
Sunday, February 22 at 2:00 p.m.
Sunday, February 22 at 7:30 p.m.

For ticket information visit http://www.motopera.org/

See you all again soon!

Alvin Ailey American Dance Theater This Weekend!

2009-02-11T11:31:00.000-05:00

Hello Again!
Wow- I feel like it's been forever! But this weekend we have the AMAZING Alvin Ailey American Dance Theater coming to the Detroit Opera House. I am super excited to go see them. The company is not only amazing because of the dancing they do, but also what they represent.

Alvin Ailey Jr. was born in 1931 and studied with great dancers in history like Lester Horton, Martha Graham and Charles Weidman. He started the company in 1958 and included a multicultural/multiracial cast of dancers. His style includes inspiration from jazz, modern and African dance elements. Revelations is considered his masterpiece and will be performed every night that they perform at the Detroit Opera House. Other pieces being performed include Festa Barocca, Treading, Blues Suite, Suite Otis, Go in Grace, and Anniversary Highlights.

Here is a clip from Blues Suite:

Alvin Ailey said, "Dance is for everybody. I believe that the dance came from the people and that it should always be delivered back to the people."

See you at the show! (I'll be at the shows in bold!!! Come see me!)

Thursday, Feb. 12 at 7:30 p.m.

Friday, Feb. 13 at 7:30 p.m.

Saturday, Feb. 14 at 2:30 p.m.

Saturday, Feb. 14 at 7:30 p.m.

Sunday, Feb. 15 at 2:30 p.m.

http://www.motopera.org/

Alvin Ailey in the House! (The Detroit Opera House that is)

2009-02-02T16:14:00.000-05:00

So, Alvin Ailey is coming to the Detroit Opera House from February 12 to the 15. The company is in its 50th anniversary year and has been pushing boundaries of modern dance in America by showcasing the power and importance of black cultural expression.
One of the most popular and performed dances by Alvin Ailey American Dance Theatre is Revelations. Let me tell you: It is an experience! Here is an excerpt:

Isn't that beautiful?! I'm very excited about the show- as you should be too!

This past weekend, I went to the International Association for Blacks in Dance Conference (a.k.a. IABD) and I got to meet George Faison, who danced with Alvin Ailey in the 60's. He later went on to choreograph The Wiz, and concerts for Earth Wind and Fire along with Gladys Knight and the Pips. Here's a picture of Faison and I at IABD.

And another one of us laughing and joking around. We're best buds!

I'll be at the Thursday night showing if you want to come find me!

Dates and Times:
Thursday, Feb 12 at 7:30
Friday, Feb 13 at 7:30
Saturday, Feb 14 at 2:30 and 7:30 (Now that would be a cute V-Day Date!)
Sunday, Feb 15 at 2:30

Visit motopera.org for ticket information.

Talk to you guys soon!

Who is this girl anyway?!

2009-01-28T12:44:00.000-05:00

Hello all!
So- I mentioned in the first post that I'm Colleen the Intern. But there's so much more to me than just that name. You may be asking, "Who the heck are you!?" And that's very understandable. My bio goes a little something like this...

I'm a double major at the amazing Wayne State University pursuing a B.S. in Dance and a B.A. in Public Relations. I am currently interning at the beautiful Detroit Opera House where I work under a very nice person named Rebekah. She tells me what to do...but in a very nice way :) I am a mentor in Big Brothers/Big Sisters (shout out!) and a member of the Public Relations Student Society of America (PRSSA) along with the National Society of Collegiate Scholars. I am also part of a wonderful sorority on campus where we get involved in community service and philanthropy. I recently did an Undergraduate Research Grant through Wayne State (they gave me money...because I'm poor/job-less) and I worked on a study called "Community Outreach in the Performing Arts: A Case Study of the Dance Africa Detroit Touring Program."

Some of the things I like include: trees, Harry Potter, mentoring, crafting, painting, and driving.

One of my favorite shows on the television is History Channel's Modern Marvels...I swear that show is so great.

I lived in Japan for five years when I was a kid.

I remember the first time I saw a spork and the first time I blew a bubble with chewing gum.

Some of my favorite books include those by J.K. Rowling, Dan Brown (I really like Digital Fortress), Stephen King, and the occasional Non-Fiction.

My favorite colors are purple and green.

I spend my weekends with my little sister in Big Brothers/Big Sisters

And last...I'm a new blogger. :)

I'm the blond girl- The girl next to me is my awesome friend and sister, Debb.

Welcome!

2009-01-27T11:31:00.000-05:00

Hello World!

It's Colleen the Intern here at the amazing Detroit Opera House. We are launching our blog which will be updated a few times a week giving you insider information about the DOH. Some things you can look forward to are behind the scenes photos and videos, interviews with the performers at the DOH, interactive quizzes and trivia about opera and dance, along with many other exciting news and updates of the DOH.

If you haven't seen our main website (www.michiganopera.org), let me tell you that we have a fabulous season going on! We will have the incredible Alvin Ailey American Dance Theater, the Grand Rapids Ballet Company's Aladdin, American Ballet Theatre's Romeo and Juliet, the children's opera Brundibar, The Elixir of Love, and Carmen.

In case any of you readers are wondering what that big white building in Grand Circus Park is by Comerica Park...well, it's us- The Detroit Opera House. The building originally opened in 1922 as the Capitol Theater with 4,250 seats it was claimed to the the fifth largest in the world. Back in the day, there were vaudeville shows and moving pictures here at the DOH. In 1960 the theater was renovated and had several names including the Paramount Theater and the Grand Circus Theater. In November 1985 there was a small fire and the theater was abandoned for three years. But then the Michigan Opera Theatre fell in love with what we now call home and restored this beautiful building to what it is now. For more information on the Detroit Opera House history, click here.

Come back for more insider information!