My Interview with Tenor Noah Stewart (Mario Cavaradossi)

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!

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

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

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

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!

"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

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.