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Thursday, June 30, 2011

Presto! Feel the Magic of Opera with Upcoming Denver-Area Events

Central City Opera is proud to present our North American premiere Amadigi di Gaula, opening this weekend on July 2nd.  It's a wonderful opera by Händel - we bet you all recognize the Hallelujah Chorus from his famous "Messiah".  However, since our opera has never been fully produced on this continent before, it's not one that a lot of people go around humming every day.  It doesn't take a wizard to know we're headed out to various Denver events in the next few weeks to give you a preview. We hope to see you up "on the hill" for the full opera! (We even have a kid-friendly version of it in Central City on August 4th, see details below.)

Amadigi di Gaula [pronounced Ah-mah-DEE-jee dee GOW-la] is filled with knights and sorcery, so we've paired up with The Wizard's Chest and other great organizations to bring this "magic opera" to you. Check us out at the following events.  You can visit the Presto! webpage for further details:

July 2 and 3 - Cherry Creek Arts Festival

Saturday, 11:00 a.m. - 12:30 p.m. and Sunday, 12:00 - 1:30 p.m. Central City Opera will be performing "Random Acts of Opera" (including other favorite opera tunes) on the bridge at The Wizard's Chest and throughout the Cherry Creek Arts Festival. Free.

July 14 - Colorado Shakespeare Festival, CU Boulder

6:30 - 8:00 p.m. Green Show performances of opera and magic. Free.

July 17 - Magic & Mystery at the Children's Museum of Denver

11:30 a.m. - 1:30 p.m. Opera and magic on the plaza.  Events included with Museum admission.

August 4 - Family Matinee of Amadigi di Gaula and The Wizard's Chest Costume Day at the Opera

This day is filled with multiple kid-friendly opportunities in Central City to get to know Amadigi di Gaula.

1:00 p.m. Take a Child to the Opera, Williams Stables. Interactive games and activities. $10.
2:00 p.m. Magic Show and Costume Contest, Opera House Gardens. Free.
2:30 p.m. Family Matinee of Amadigi di Gaula, Opera House. This special performance includes a narrator's preview before each act and an autograph session with the singers.  Tickets just $15 (kids 6-18) and $20 for adults.  Perfect for ages 6 and up.

AND...The Wizard's Chest has a special treat for you while you're gathering your own magical costume supplies: Mention Central City Opera or use the code WIZARD online and you'll receive 25% off your total purchase through September!

Want to learn more about Amadigi di Gaula? Check out our past Amadigi blog posts for an interview with leading man Christopher Ainslie, insider photographs, a discussion on how the opera relates to Don Quixote and more.

Wednesday, June 29, 2011

OMG! Fringe Festival Kicks Off Today With Lunch & A Song

Did you know that there are over fifty (yes, 50!) performances and events during the Central City Opera Festival that are NOT held in our historic Opera House? This year, there is more than ever going on in Central City that is worth experiencing. Aside from our main stage operatic performances, Central City Opera utilizes the nearby Williams Stables, Teller House, St. James Methodist Church and other locations around Central City for numerous “come-as-you-are” short performances.

Signor Deluso, Photo by Lucy Gram
Together they are called the “Fringe Festival” and the festivities start today with Lunch & A Song—a thirty-minute performance by a Bonfils-Stanton Foundation Studio Artist in the charming Teller House over lunch. Be sure to check the schedule for upcoming performances. Other Fringe Festival events include Signor Deluso, a thirty-minute comic opera directed by Central City Opera Director Emeritus John Moriarty and performed in the Williams Stables across from the Opera House.

Click the links below to find out more information about all of the fascinating Fringe Festival offerings!

-Get in touch with your inner sinner at SinFest, a progressively sinful experience on July 16 & 24 to sweeten your indulgence in the Central City Opera production of Kurt Weill's The Seven Deadly Sins.

-Don't miss Central City Days: Taking Modern Fun to Historic Heights, on July 30 and 31. This is a great weekend to discover all of the historical grandeur of Central City along with family-friendly opera performances. All-access passes are available!

-Jazz Brunches feature fine food and hot jazz at the Teller house.

-The Nina Odescalchi Kelly Family Matinees on July 28 and August 4 are a great opportunity for attendees and their children to enjoy an opera with an educational spin.

-Sundays at St. James is a Chamber Music Series, July 17, 24 and 31, held in the beautiful St. James Methodist Church across from the Opera House. Experience exquisite instrumental and vocal works in one of Colorado's oldest churches.

-Aprés Opera offers an opportunity after select shows to enjoy cocktails and impromptu performances by 2011 company performers, pianist Jerry Weiss and solo guitarist Grant Gordy at the Teller House. No cover charge.

Short Works, Photo by Lucy Gram
-Short Works offers a wide array of short opera scenes that are sure to entertain. Held in the Williams Stables for an intimate experience, tickets are only $12, $8 for subscribers.

Don't miss all of the excitement up here in Central City. There is so much to see and do, especially with this year's Fringe Festival. You REALLY won't know until you go!

Tuesday, June 28, 2011

What the Heck is a “Knight Errant”?

"I want you to know, Sancho, that the famous Amadís de Gaula was one of the greatest knights-errant. No, I’m wrong in saying ‘one of,’ he was the only one, the best, he was unique, and in his time the lord of all those in the world… He was the guiding light, the star of all brave and enamoured knights, and all of us who fight under the banner of love and chivalry should imitate him… I want to imitate Amadís…"
Don Quixote I, chapter 25 by Miguel de Cervantes

Amadigi di Gaula is a Baroque “magic opera” based on a Renaissance story about a Medieval knight. It is also an Italian opera written by a German composer for an English audience, based on a French play, based on a Spanish book. The fictional knight, Amadigi (or Amadís) of Gaul, was first featured in a collection of stories about chivalry, written by Garci Rodríguez de Montalvo and published in Spain in 1508. Amadís later became the model for Cervantes’ great knight of the woeful countenance, Don Quixote. Amadís is a Chrisian knight errant; courteous, gentle, sensitive, but invincible in battle.

According to the dictionary, a knight errant is a wandering knight traveling in search of adventure. A knight is originally a person of noble birth trained to arms and chivalry. The term “knight errant” was first used in a late 14th-century Middle English poem called Sir Gawain and the Green Knight. Characters fitting this description are found in literature and history from around the world. In French Medieval history they were called the Paladins of Charlemagne (Amadigi and Dardano are Paladins); in Japan, disenfranchised Samurai warriors were called Ronin; in Russian literature Bogatyrs served as protectors of their homeland.

The term “Medieval” refers to the Middle Ages, a period that lasted from the 5th to the 15th century B.C.E. During the High Middle Ages in Europe (the period in which Amadigi is found), Christian-oriented art and architecture flourished and Crusades were mounted to recapture the Holy Land from Muslim control. The codes of chivalry and courtly love developed during this time. Chivalry was a moral, religious and social code of knightly conduct. The virtues of courage, honor, and service were emphasized as well as the idealization of women.

A series of famines, plagues and constant warfare brought the Middle Ages to an end, followed by the Renaissance, a cultural movement that began in Italy and spread to the rest of Europe by the 16th century. The Renaissance emphasis on knowledge gained by studying past history (especially Greek classics) profoundly affected European art, literature, philosophy, politics, science and religion, producing such famed personages as Leonardo da Vinci and Niccolò Machiavelli. The costumes and sets you will see in Amadigi di Gaula are inspired by Renaissance paintings and architecture.
Venus and Mars by Botticelli
Central City Opera’s AMADIGI DI GAULA (2011). Pictured (L to R): Christopher Ainslie (Amadigi), Katherine Manley (Oriana). Photo by Kira Horvath.
This article is included in the 2011 Opera Insider (Festival Resource Guide) - pdf created by Central City Opera's Education & Community Programs Department. Check it out for insider interviews and background on all of the main stage operas this summer. 

The North American premiere of Amadigi di Gaula opens this Saturday, July 2nd, and runs through August 6th. Watch the video trailer with the London-based artists of the production.

Monday, June 27, 2011

Opening Night at Central City Opera

In about two minutes time, I could purchase, download and start listening to almost any opera in the standard repertoire. I’d assume most people who appreciate classical music have an operatic selection or two (maybe more) sitting in their iTunes® library for those times when you need to fix a musical craving. However, opera is an experience, not just a soundtrack.

At Central City Opera, I’ve learned in my six weeks here that experience is about so much more than coming to see a performance. It’s about tradition and the feeling one gets when they witness, in person, those long-standing traditions first-hand. Opening Night takes this to the next level with exclusive traditions not seen on any other night of the Festival.

Here’s a brief guide to some of the traditions I enjoyed most on my first opening day at Central City Opera.

Dynamite Blast in the Hills: To signal the start of events for the first day of the festival, a blast of dynamite is fired off in the Hidee Mine, about two and a half miles from the Opera House. It’s a loud and impressive sound that you can almost feel—I can only imagine what it was like here in the late 1800s during the Gold Rush when dynamite was likely used frequently and in large quantities!

Usher Song and Procession: This is where the Festival Ushers (which includes myself and fellow 13 Festival Staffer/Interns) sing the traditional “Usher Song” and proceed in a march to the front steps of the Opera House. In traditional Victorian dress, this is a unique tradition that takes place twice on opening day.

The 2011 Festival Staffers
Presentation of the “Flower Girls”: Every year, a number of young women are presented at the “Yellow Rose Ball.” A yearly tradition named after the wild yellow roses planted in the area by Cornish miners, the event continues today. This year there were 36 Flower Girls presented.

The Flower Girl Presentation and Yellow Rose Waltz - All photos by Karen Federing
Though you can only catch some of these long-running traditions on Opening Night, there are some unmistakable traditions that take place at each performance during the season. The “Usher Song” and march continues to take place before each performance along with the traditional “bell-ringing” to alert patrons that the performance is about to begin. So next time you download a song online, consider: how great of an experience are you getting out of it?

Come make new traditions and make yourself a part of our history. Tickets for Amadigi Di Gaula and Carmen start at just $20 and for our triple-bill of one-act operas, tickets start at $10. Call (303) 292-6700 or purchase online. You won’t know until you go!

Sunday, June 26, 2011

AMADIGI DI GAULA Photo Shoot Highlights Director, Singer and Designer Collaboration

Arriving on the set of the Amadigi di Gaula photo shoot, scenic and costume designer Madeleine Boyd was already hard at work putting finishing details on the small corner of the set placed specifically for the photo shoot. With the arrival of the professional photographer, Kira Horvath, the session was underway.

Katherine Manley has her hair prepared for a blonde wig.

Katherine Manley, Christopher Ainsle and Kathleen Kim, before the shoot

The group works together to prepare the set for the shoot.

With the spotlights on Christopher Ainsle (Amadigi), Katherine Manley (Oriana) and Kathleen Kim (Melissa), the mood was light and friendly. Oftentimes, there would be breaks between the series of photographs for moments to laugh. Director Alessandro Talevi was fully engaged in the experience, making sure every interaction between the singers and the camera presented the look he desired. With finesse from the costume and wigs and makeup departments, everyone was intrigued by the story of Amadigi, the Renaissance–style costumes, and looking forward to the opening on July 2.

Wardrobe Head Emily Rosenberg assists Costume Designer Madeleine Boyd

Director Alessandro Talevi and photographer Kira Horvath
discuss a shooting angle.

Make sure you get your ticket to the North American Premiere of Händel’s Amadigi di Gaula, the knight in shining armor tale of Amadigi and Dardano, both determined to win the hand of Princess Oriana. The Central City Opera production is pleased to have Baroque specialist Matthew Halls returning to conduct this “magical” opera. Call (303) 292-6700 for tickets or purchase them online.

Saturday, June 25, 2011

Character Spotlight: CARMEN's Micaëla

The Opera Insider caught up with Elizabeth Caballero, who makes her Central City Opera debut this season as Micaëla in Carmen.

Last season you made your house debut in the Metropolitan Opera’s new production of Carmen in the role of Frasquita. This summer you make Central City Opera debut as Micaëla. What is it like to do the same opera, but a different character? What does it take to make the role fresh? How do you prepare a new role and how is this different from a repeat role?

My debut at the Met as Frasquita in their new production of Carmen starring Elina Garança was an amazing experience. Making my debut as Micaëla with Central City feels wonderful. Micaëla is a role that I really love and it's very special for me because it was my professional stage debut at Florida Grand Opera in 2000.

Even if it was the same character, any role changes a little bit, depending on the production, your director and your mood. It's an ever growing and changing experience; that's the joy of live theater. To do a new role, I believe that going into my own life experiences and bringing a little bit more of myself into a role helps me make it fresh and more interesting each time I sing it. Since our lives change day to day, year to year, why not these characters that we sing of? I start with the text and find every inflection and decide how to sing each phrase. As stated before, I think about the things in my life that can help me create a connection to the character by bringing out more of my own life into it. For example, Micaëla is a girl of strong faith in God. Recently I've been experiencing a tough moment in my life that has made me reach out to God more. When I will sing Micaëla's aria in Act III, I'll think of how I've asked for protection in my moments of need, too.

When doing a repeat role I feel more at ease and relaxed. A new role takes a lot of getting used to. Not only are you learning but you also have to get it in your voice. With a role you know already, that long process is over. You can just focus on character, text, and having fun with it.

Many of our readers are young, sometimes aspiring singers; tell us about your reaction when you were named a National Grand Finalist of the Metropolitan Opera National Council Auditions in 2001?

Singing at the Metropolitan Opera National Council Auditions was a wonderful experience. The Metropolitan Opera is one of the greatest companies in the world and their audition/competition gives the opportunity to open many doors for young singers because it's so popular. Also the sheer joy of singing on that stage with that orchestra is unforgettable.

As I read reviews about your singing career and personal story, I am struck by the connection you make to your Cuban heritage. You immigrated to the United States of America as a child in 1980 via the Mariel Boatlift. Could you tell us about your memories of that experience?

I was a small child when I came to America with my family and while I do remember a lot, there are many things that I don't. All I can say is that I thank God I was a child when I came with my parents because my parents were my age now when they did it with two young kids. They had guts and determination. They are my heroes. And I will forever be thankful to them and this country for giving me all these opportunities I now have. What do you do before a performance? Have you developed any special routines or habits? I really don’t have any special routines or habits. I just take it easy, drink lots of water and look forward to singing. I really love what I do.

The article is included in the 2011 Opera Insider (Festival Resource Guide) - pdf created by Central City Opera's Education & Community Programs Department, and the interview was conducted by Deven Shaff, Coordinator of Education & Community Programs. Check out many more insider interviews and background on all of the main stage operas this summer. 

Friday, June 24, 2011

Finishing Touches to CARMEN Like Icing on the Cake

Okay, it’s time for a confession. Although Carmen is one of the most performed and beloved operas ever, I’ve never seen it. We all know the famous tunes that have made their way into commercials and mainstream movies, but until you see Carmen, you have no idea of the intense story and dynamic characters that make the opera what it is.

A few minutes before the first dress rehearsal of Carmen, I poked around backstage with childlike anticipation. With the addition of costumes, lighting and with all the scenery in place, the production never seemed more real and vivid. There were few breaks in the action during the run, and for being the first dress rehearsal, most would agree that the company is “in a good place.” I was amazed by the dedication and attention to detail by every person involved with the production.

The "Cigarette -girls" run through a scene.

General/Artistic Director Pat Pearce and Festival Production Manager
Karen Federing chat at the Tech Table before the dress rehearsal begins.

Part of the set of Carmen

Though the company’s hard work will undoubtedly pay off, some finishing touches still need to take place. Tim White, winner of “a walk on role in Carmen” at the 2010 Music & Martinis Fundraiser live auction, spent an hour during a recent afternoon in a fitting session for his costume. Mr. White will make his Central City Opera debut during one performance of Carmen this summer in the lively second act of the opera, where the gypsies and officers are lounging after dinner in Lillas Pastia’s Inn. This act is where the famous “Toreador Song” is featured. In a few moments, thanks to the production’s Costume Designer, Sara Jean Tosetti, Mr. White was transformed from a modern-day Coloradan to a pattern-clad gypsy.

Tim White, with daughter Logan, and Costume Designer Sara Jean Tosetti
looking over several of the costume renderings for Carmen

Trying on different "gypsy" looks

The finished product!

On stage, difficult staging will get an extra run-through before opening night and any technical difficulties will be worked out—all to create a flawless and engaging experience for those filling the seats of the Opera House. Carmen opens tomorrow, June 25th at 8 PM and runs in repertory through August 7. You can purchase tickets for as low as $20 online, or by calling the box office at (303) 292-6700.

Thursday, June 23, 2011

Where will Carmen be next?

If you don't know me, you ought to. As the Spanish Gypsy in the famed opera Carmen, you might say I'm a little saucy, sassy and passionate. Which means that I fit in perfectly with everyone I ran into over the past few days here in Denver. You are my kind of people! Check out these pics and then check me out in my upcoming performance coming up in Denver on July 12th, 2011 at Comfort Dental Amphitheater.

So, where would I go to hang out with the only people more outrageous than me? PrideFest, of course. Over the June 18th weekend I hob-knobbed, flirted and greeted the throngs of adoring fans and yes, I was giving it silly, TICKETS!

Too much flamboyance in one spot? I think not!
I'm pretty sure we were separated at birth. In case you don't know who I'm referring to, that's pop sensation Niki Minaj.
Niki Minaj look-alike and moi at PrideFest
I love everyone. And just to prove it, I sashayed over to the Westword Music Showcase. Wow! You guys are lucky to have so much talent here. Although I'm an opera singer, it doesn't mean I can't get my groupie on. It's really not an accepted practice to stage dive, flick your lighter for an encore, or make devil horns during an opera so I did all that and a little more. In spite of it all, the security people were such darlings. 

What do you get when you mix rock stars with opera stars?
When you're with Carmen, you're bound to get lucky. Case and point: This is one of my
adoring fans who just got free tickets to see yours truly in, you guessed it, Carmen.

The only way to keep my entourage from being trampled at the Westword Music
Showcase by my understandably rabid fans was to give away tickets.
Bike to Work Day

If anyone knows and appreciates bikes, it's me. Hola? I'm Spanish, remember? And we Spaniards are BIG cyclists. From the flat lands through the famed Pyrenees mountains, dress or no dress, we know how to bike. Everyday is Bike to Work Day back home, but you guys are definitely off to a good start! Who better to add a little flair and spice to this day than me?!

Denver BCycle

Back home, I have a bumper sticker on my bike that says, "My other car is a pedi-cab." What a coincidence!

Here I am again beating fans off with more free tickets.
Apparently, he rode all the way from Spain. What my fans won't do for me.

I busted these paramedics for not keeping up with me.
Apparently he's someone muy importante. Regardless, Carmen says "YES!" to all.

Do I really need to tell you what I'm doing here? Breathe Denver

A little warrior, a downward dog or two and I'm ready to more than commute. I'm ready to bring the pain train to anyone that's going to try and maintain my tempo.

Me leading the peloton, of course

A huge shout out to my fabulous sponsors - Denver Museum of Nature & Science, Comedy Works, Denver BCycle, Museum of Outdoor Arts, John Madden Company, SCFD and The Denver Post Community.

Keep up if you can...and look for me at Comedy Works in Landmark Square this Saturday and Sunday! Go to to see where you can find me!

Wednesday, June 22, 2011

You’re Closer to CARMEN in the Central City Opera House

If you’ve ever been to Central City Opera, you know that the 550-seat “jewel box” theatre offers an intimate experience. The size of the space allows for a unique sense of proximity to the singers, the set and the show as a whole. From the singer’s perspective, the ability to connect with the audience creates a similarly meaningful performance.

That connection doesn’t happen instantly, though. I discovered after attending the Carmen “Room Run” that it’s practiced to perfection off-stage. The “Room Run” is the last rehearsal in the Gillman Rehearsal Room of the Lanny and Sharon Martin Foundry Rehearsal Center before the production moves to the main stage.

There was a sense of security and excitement in the room as the singers took their places for the beginning of the run. Just moments before, director Danny Pelzig gathered his crew for a few brief notes before they started. “I just wanted to say, I’m very proud of the work you’ve all done,” he said, noting their progress over the past three weeks.

The rehearsal space is very close in size to the opera house stage, making it ideal for a large show like Carmen. However, the taped off stage leaves little room for the production team, who sits at a folding table merely inches from the “edge” of the stage area. Along with the production team, the room is filled with assorted props, selected costume pieces, a piano, mock scenery and the numerous people who all work to make the opera come to life.

The run went smoothly and it was easy for me to picture the production fully staged. The most inspiring moment, to me, was when production staff, who remained rather consistently focused in their work, allowed themselves moments to become truly captivated in the beautiful musical experience that was unfolding before them. It’s hard to ignore an electrifying rendition of “The Toreador Song” when you’re sitting just feet away.

Carmen by Georges Bizet opens Saturday, June 25 and runs through August 7. Purchase your tickets online or call the box office at (303) 292-6700. In the Central City Opera House, it will be Carmen like you’ve never seen it before.

Tuesday, June 21, 2011

Madam Lou Bunch Day Offers Historical Fun in Central City

The streets were lined with hundreds of people this weekend in Central City for the annual Madam Lou Bunch Day—a tradition that started almost 40 years ago with the filming of 1976 movie The Duchess and the Dirtwater Fox, starring Goldie Hawn and George Segal. Every year since, the City of Central has continued to promote this event, which features a small parade, performances on the grandstand and the famous “bed races.” The centerpiece of the day, the bed races take place down Main Street and teams of three (two men and one woman) race the oversized brass bed on wheels for the fastest time.

Check out this video of some Bed Race competitors struggling to maneuver the bed!

In the late 1800s, Madam Lou Bunch ran her house on Pine Street, just behind Main Street and right below the mines. Lou Bunch and her sporting house girls provided controversial “amenities” to the miners of the day, but played an important role as an epidemic broke out in Central City; she converted her house to a makeshift hospital. Working to get the miners back to health was essential to continue the economic prosperity of the late 1800s and therefore the story of Madam Lou Bunch remains a passionate tale and a significant bit of Central City history.

Several "dignitaries" marched in the parade

The famous brass bed
The performance by the "Sidekickers"
The highly-anticipated bed race
This may be a day of strange tradition, but it certainly offered an entertaining way to enjoy a sunny Saturday in Central City. Read more about the famous Madam of Central City in this article published by the Weekly Register-Call/Gilpin County News.

Monday, June 20, 2011

Making History Again...

The 2011 Festival is fast approaching its June 25th opening with Bizet’s Carmen. With nearly 150 people working in Central City, including staff members, singers, the production teams along with numerous other contributors, it’s not often that everyone comes to a halt during the frenzied workweek. A much-needed break, of sorts, did come to the entire company this past Thursday with our 2011 Company Meeting. Led by Artistic and General Director Pat Pearce and Music Director John Baril, along with Festival Manager Karen Federing and Artistic Director Emeritus John Moriarty, the meeting took place in the historic Opera House.

We began with Pat Pearce explaining, among other things, that the houselights are never brought up any higher than the original gas-light level of illumination.  This provides plenty of light to read your program or visit with your friends before the show and at intermission, but does make it a little interesting to capture pictures of the company gathering!
Pat Pearce in silhouette, in front of the house curtain
After introductions of the Denver year-round administrative staff, and the Festival's artistic, music and production staff, Artistic Director Emeritus John Moriarty spoke on the vibrant history of the Opera House and the City of Central.

Artistic Director Emeritus John Moriarty and members of the 2011 Festival Company
“Each of us is not only a cog, a part of this machine, but we are the caretakers of this historic building,” he said, as he addressed the group. His passion for Central City Opera and surrounding area was evident as he spent almost an hour sharing a detailed and enticing history. Starting with the founding of Colorado and ending with the present day, Mr. Moriarty’s unscripted monologue provided a synopsis worthy of a history-book but far too genuine to be preserved.

To discover more about the memorable birth of Central City Opera’s Summer Festival with the 1932 performance of Camille starring Lillian Gish, or why it is that there was no Festival in the summer of 1982, you can read our brief history online. Or relive Central City Opera's history with the commemorative book, Theatre of Dreams: The Glorious Central City Opera - Celebrating 75 Years. This 200-page limited edition hardcover coffee table book includes never before seen photos and in-depth stories of the people, places and things that make Central City Opera a gem in the Colorado Rockies. Order your own copy of this one-of-a-kind piece of Colorado history today for only $30 by contacting the Box Office at (303) 292-6700.

“This is us,” stated John Moriarty as he pointed to the painted interior walls of the Opera House. As the fifth-oldest Opera House in the nation, Central City Opera has a strong history that makes it undeniably unique. If you’ve experienced Central City Opera and the surrounding area, you just know: it’s tradition worth cherishing.

And with those inspiring words, we all returned to our various positions throughout the Central City Opera properties, where everything's a-buzz with preparations for YOUR arrival.
Tech tables are currently covering the back rows of the theatre for the production staff's use.
The billboards with this year's productions and principal artists are hanging outside the Opera House doors.
Stagehands Cindy and Toni hang the masking curtains at the side of the stage.
CARMEN's red staircase peeks from behind the house pieces from our Triple Bill (GIANNI SCHICCHI, THE SEVEN DEADLY SINS and THE BREASTS OF TIRESIAS).
Costume Designer Alice Marie Kugler Bristow and her crew work on pieces for THE BREASTS OF TIRESIAS.
How will it look when it all comes together? You won’t know until you go!

This blog post was written jointly by Jake Sinatra and Erin Joy Swank.