Central City Opera Festival Blog: Behind-the-Curtain

Ghostly encounters in Central City

2012-02-01T13:28:00.005-07:00

This Opera House photo will help set the mood.

In honor of this summer's production of The Turn of the Screw, we are delving into the haunted history of our historic properties like the Opera House, the Teller House and Williams Stables. Check out one of the fabulous tales from the Teller House.

The Teller House

If you have any spooky stories of ghostly encounters in Central City, please share them with us! Send your tales to me at hbrecl@centralcityopera.org and we will find fun ways to share them throughout the season.

Rodgers and Hammerstein at Christmas

2011-12-16T10:56:00.001-07:00

Composer Richard Rodgers
pictured in the December 29, 1952
issue of Life

As December 25^th approaches, you can’t help buthear Christmas music and wintery tunes in stores and on the radio.

Rodgers and Hammerstein, the musical partners who wrote Oklahoma!, have a tunethat’s often heard these days – the classic “My Favorite Things” from The Sound of Music.

While the song has no mention of Christmas or gift giving (other than mentioning brown paper packages),somehow this musical favorite has become acceptable as a holiday carol. Certainlythe lyrics of warm woolen mittens, sleighbells, snowflakes and silvery whitewinters fit the season – but it’s not exactly a yuletide song. I suppose youcould say that people are listingtheir “favorite things” that money can’t necessarily buy. However, for manyyears there have been traditional television broadcasts of the classic JulieAndrews movie during the Christmas and Easter seasons. I certainly remember it on a black andwhite screen in my grandparents’ basement while we of the younger set played acutthroat game of Hi Ho! Cherry-O on the floor. Perhaps this song is justingrained in our subconscious feel-good memories of the holidays?

I have learned this week that Rodgers and Hammerstein actuallydid write their very own Christmas carol. In the spring of 1952, Life magazine commissioned a yuletidesong from the duo, published under the title “Happy Christmas, LittleFriend” in the December 29th issue later that year.

From the article in Life

The article featured complete lyrics and music, as well asan article on the creation of the song. [Read the article here in a Google Book search.] In the same working stylethey used on projects like Oklahoma!,Hammerstein tackled the song first, writing a complete set of lyrics - in themiddle of the summer, no less - before handing the words over to Rodgers tocompose the music. Incidentally, the fee for writing the song inaugurated theRodgers & Hammerstein Foundation which served to provide training foryoung musical theatre artists.

Rosemary Clooney sings "Happy Christmas, Little Friend" as shown in this picture from a follow-up article in Life.

The song was never incredibly popular, though it wasrecorded by Rosemary Clooney and became the official song for the NationalTuberculosis Association’s Christmas Seal campaign. There doesn’t appear to bea single YouTube entry for the song, but you can hear brief audio samples onthe Rodgers and Hammerstein website.

Check out this Rodgers & Hammerstein tune for yourholiday listening…and get ready to tap your toes to the memorable Oklahoma! this summer.

Gorgeous Homes & Holiday Shopping Benefiting Central City Opera

2011-11-02T13:13:00.033-06:00

The following blog post is from the co-chairs of this year's L'Esprit de Noël Holiday Home Tour, Pam Bansbach and Brooke Maloy.

Join the Central City Opera Guild in celebrating the season with the 35^th Annual L’Esprit de Noël Holiday Home Tour and Boutique. L’Esprit de Noël rings in the holiday spirit when this well-loved historic home tour returns to Capitol Hill’s Historic Morgan District November 18^th and 19^th. The Morgan District is a hidden gem encompassing roughly three blocks just south of Denver Botanic Gardens. Five historically significant and meticulously maintained homes will be on display and will feature some of Denver’s top florists and table designers.

Nearly all of the florists and table designers have participated in past L’Esprit events, with the exception of Encore Style, making its debut to the event this year as both the florist and table designer for Home #2. Last year’s floral and table designer winners (The Plum Gallery and Patina) will be featured in Home #1. In addition, Wild Flowers, The Lark, HMK Designs, Bouquets, and Villa Home and Gifts (previously International Villa) will all decorate each of these homes bringing out the best of the season.

House #1

House #2

IF THESE WALLS COULD TALK…

These stately homes of the past are rich in historic architecture and represent the solid construction and cultural dynamism of the roaring 1920s. The introduction of new technologies like a central vacuum system and providing a “home” for the automobile were incorporated into these magnificent residencies. While all of the featured homes on the tour where built around the same time, each are unique in their form and presence.

House #5

SHOP 'TIL YOU DROP

L’Esprit also offers a fabulous boutique, free to the general public, located this year in the prestigious Cherry Creek North shopping district at 105 Fillmore Street in a vacant store space next to Hermes. The Boutique is open from 10:00am until 4:30pm daily during the Tour dates. A variety of vendors offer unique items, including gifts, clothing and jewelry. Shoppers can easily get a jump on their holiday gift buying, while supporting Central City Opera.

BE MERRY!

Tickets for the Tour are $18 in advance and may be purchased at all area King Soopers stores and at the Central City Opera Box Office (303-292-6700) or for $20 at Home #2 (825 Vine St.) during Tour hours (10:00am-4:00pm). Tour maps are available at the Boutique. For additional information, visit www.centralcityopera.org/lesprit.

The Central City Side of WEST SIDE STORY

2011-10-28T15:01:00.002-06:00

Do you remember Central City Opera's dynamic West Side Story in 2008? The creative team who brought us that fabulous production, as well as 2011's Triple Bill of one-act operas (Director Ken Cazan, Scenic Designer Cameron Anderson, Lighting Designer David Martin Jacques and Costume Designer Alice Marie Kugler Bristow), have reunited for Vancouver Opera's West Side Story. A recent review proclaimed, "this co-production of Vancouver Opera and Colorado’s Central City Opera can even be said to outshine the mostly brilliant movie version."

The Vancouver West Side Story is artistically based on our 2008 production and indeed uses many of the scenic elements featured previously on the Central City Opera stage. This week, I caught up with Cindy Maupin, Central City Opera's assistant carpenter, who traveled to Canada to assist with the scenic transfer and load-in to the theatre.

Cindy Maupin, Central City Opera's assistant carpenter, enjoying the sights in Vancouver.

Prior to arriving in Canada, Cindy spent several weeks pouring over blueprints, refreshing herself on the intricate details of the scenery and consulting with David "Mick" Jackson, Central City Opera's head carpenter, on what to anticipate during the tech process.

The Colorado scenery was shipped by truck to Vancouver.

Vancouver Opera has a much larger stage than ours in Central City, so Scenic Designer Cameron Anderson expanded the design. The "working" pieces of scenery - like Maria's entrance and Doc's door - are generally pieces from the original Colorado set, but additional elements have been added to fill out the stage.

The original Central City Opera production used one arch; the design has been expanded here.

The tip of this wall came from Central City, but the rest of the diagonal was added for Vancouver.

"Working" parts of the scenery, like the door above, were installed from the Colorado production, but the rolling wagons on which they were placed were increased in size. The pieces roll so smoothly, however, that the crew remains essentially the same size as the one used in Central City.

With Cindy's guidance, the second wall was smoothly assembled in roughly half an hour. (It still took a lot of teamwork to get it in the air!)

Compare the photo above to the first design shown in the following video of preliminary designs from Scenic Designer Cameron Anderson. Note the original red paint on the wall and how the design has been extended to our left.

A few mementos of the Central City Opera production remain, including this playful message from crew members regarding a certain performer's offstage ritual before entering the scene.

This was Cindy's first real experience in Canada, other than the brief memory of a trip when she was four years old. She took advantage of her free time away from the opera house, spending time exploring Granville Island and other sights, as well as checking out the local karaoke bars (a favorite pasttime). This original "Gulf Coast gal" particularly enjoyed eating fresh seafood every day, from salmon to raw oysters - a treat she's missed while living in the Rocky Mountains. However, if you ask her what her favorite part was about the experience, it was simply the opportunity to travel for Central City Opera in this position. In a heartfelt moment, Cindy expressed her complete gratitude towards Festival Production Manager Karen T. Federing and Technical Director Nathan E. Thompson for choosing her. "I cried when I was given this opportunity - overwhelmed that they trusted me."

Cindy considers this trip the pinnacle of her career - so far. Calling herself "just a girl," Cindy first worked with the International Alliance of Theatrical Stage Employees (Denver Local 7) in January of 1999, straight from being a stay-at-home mom. On Father's Day of the same year she was assigned to Central City Opera. New to the business then, she credits guidance from Mick and her fellow union brothers and sisters for making her a familiar face backstage now in venues throughout the Denver metro area. She has held the title of Assistant Carpenter at Central City Opera for the last four years.

Cindy can't say enough about her fellow union members on the Vancouver Opera crew (Local 118), either. "They were great - very nice," she said. "I went straight to the crew room the night of rehearsal and told them so, to which Scott, their head carpenter, replied, 'Well, we're Canadian - we're supposed to be nice!'"

Vancouver Opera's West Side Story runs through this Saturday, October 29th. Video of the production, showing the completed scenery, can be found on the Vancouver Opera website. Compare the finished product with Cameron Anderson's preliminary designs.

All photos courtesy of Cindy Maupin.

Winter at the Denver Office

2011-10-26T16:52:00.001-06:00

Okay, technically it's still officially fall, but WINTER has come to Colorado overnight. Gilpin County Schools in Central City are closed for the day. Down here at the Denver office we're still plugging away, but there's certainly a white layer on everything. Here's a shot from my office window, overlooking Colorado and Alameda Boulevards in south Denver.

Yes, the Denver office keeps working away all year long and things are quite busy around here! Applications have come in for our 2012 Bonfils-Stanton Artists Training Program, so the Music staff is busy sorting through them for our upcoming auditions. (Applicants will be notified if they have been accepted for an audition by November 18, 2011, or October 28, 2011, for Denver auditions.) The Education & Community Programs Department, myself included, has just returned from a mini-tour in Lander, Wyoming, and is prepping for our Opera Rocks the Rockies tour. This yearly collaboration with CU Opera will start off with a public performance in Parker, Colorado on November 4th, then head north to several communities in Wyoming. We're also keeping busy with additional performances like our brand-new school show Eureka Street, visiting community groups with Opera on the Go and a great number of performances of Inside the Orchestra in collaboration with the Junior Symphony Guild. Down the hall, the Development Department is busy writing grants, securing donations and gearing up for Colorado Gives Day on December 6th. Meanwhile, Marketing is working on ad campaigns and artwork for our 2012 Festival and of course the Box Office is busy with subscription renewals.

You can renew your subscriptions from the comfort of your own home, either by mailing in the form you received or calling the Box Office at 303-292-6700...Or, if you want to venture out in the snow today, it's now even easier to find us thanks to the new sign with the Central City Opera logo in front of our building.

That's 400 South Colorado Boulevard, at the southeast corner of Colorado and Alameda in southeast Denver. Look for the blue mirrored building, then use the elevator on the East side of the building (towards the Super Target and Sports Authority) to the fifth floor. The Box Office is Suite 525 and the Administrative Office is 530 (both are connected - we've got two entrances). Stop in and see us sometime!

Of Budgets and Earthquakes

2011-08-24T16:05:00.036-06:00

As Central City Opera's Festival Production Manager, I spend each year getting ready for our season, managing our current Festival, closing it down and getting ready for the next one. Now that our 2011 Festival has finished and all my production staff and interns have scattered to the four winds, this is my time to start closing down the details of my 9th season with Central City Opera.

Festival Production Manager Karen Federing and the 2011 Festival Staffers

First comes my drive home; I head back to the East Coast where I've lived much of my life - most of it in New York City. Then I take a few days to unpack, regroup and readjust to sea level and the summer coastal humidity that I've avoided by spending my summers in the foothills of the Rockies.

So Tuesday at about 1:52pm ET, I was working in my home office in Maryland (just 30 minutes northwest of Washington, DC). I was making budget entries for my weekly expense report of remaining Festival expenses and looking over photos of our sets this season so I can use them to advertise potential rentals to other opera companies. And then the floor started to shake. And then the ceiling - which was really strange. I thought it was neighbor kids running around outside at first. And then I did what no intelligent Californian would do - I ran outside. No kids anywhere. The stairwell was shaking like mad as I went down the stairs and kept shaking as I watched. It took a few minutes to register that I was experiencing my 1st earthquake. All I can say is that it was a pretty unnerving experience - especially the feeling that my office ceiling was going to fall in, which is really what made me want to leave my office. When I went back inside, framed photos and knick-knacks had been knocked from shelves and framed art was hanging lopsided - proof of a 5.8 quake, to be sure.

I went back to my computer (where I'd been in mid-e-mail conversation with staff in our Denver office), told them what had happened, and went back to work. But I also spent much of the day checking with family and friends here and up in New York, and fielding text messages from all over the place, sharing experiences and a sense of wonder.

It's pretty impressive to think we can stay this connected under duress. I was still living in New York City when September 11 happened, and I will say Tuesday brought me back to that day just a little - especially the desire to reach family and share that we were all ok. But on that day, I could only reach my family right there in New York, not reaching my family in DC until much later in the day, which was quite terrifying. At least Tuesday, technology brought us all together.

Jennifer DeDominici and John Robert Lindsey star in CARMEN with Opera Fort Collins

2011-08-24T11:07:00.002-06:00

If you didn't get enough of Carmen this summer, you might want to head up to Fort Collins this weekend. Central City Opera has ties to the two leads of Opera Fort Collins' production of Bizet's classic.

Jennifer DeDominici (Carmen) and John Lindsey (Don José) in Opera Fort Collins' production of Carmen

Jennifer DeDominici (Carmen) portrayed Pitti Sing in The Mikado, a Central City Opera collaboration with the Colorado Symphony a few years ago, and is a member of the Central City Opera Ensemble. As part of our "Where is Carmen?" marketing campaign for the Denver performance of Carmen this summer, Jennifer entertained audiences at Comedy Works with a sampling of the saucy diva.

Earlier in the spring, she also performed the "Habanera" and other opera tunes at one of the "Untitled" events at the Denver Art Museum.

(That's our own version of "supertitles" in the background.)

As for Carmen's love interest Don José, John Robert Lindsey will sing the role for Opera Fort Collins in the same production. This summer, John was a Studio Artist with Central City Opera, where his Short Works performances included scenes from Ariadne Auf Naxos, Susannah and A View from the Bridge, as well as in the ensemble for Carmen, Amadigi di Gaula and The Breasts of Tiresias. As a student at the University of Colorado - Boulder last year, John also toured with the Central City Opera as part of our Opera Rocks the Rockies tour, an annual collaboration with the University of Colorado Opera Studies program. (Jennifer also participated in this tour a few years earlier as a CU student.) Pictured below, John performed pieces from Carmen with Nicole Vogel and pianist Michael Tilley in Opera Rocks the Rockies.

Central City Opera and the University of Colorado Opera Studies will hit the road again in November with their annual Opera Rocks the Rockies tour featuring tomorrow's opera stars. Stay tuned for further details of this tour scheduled to include schools and community centers in Wyoming and a few Denver-area venues. To book a performance at your venue, visit the Regional Touring page or contact education@centralcityopera.org.

Watch Jennifer and John heat up the stage in Carmen with Opera Fort Collins at the recently renovated Fort Collins Lincoln Center. Performances are Friday, August 26th, at 7:30 p.m.and Sunday, August 28th at 2 p.m.

Photo credits: Opera Fort Collins publicity photo as published on ReporterHerald.com; Where is Carmen? - Hilary Miller; Untitled - Christina Jackson, Denver Art Museum; Opera Rocks the Rockies - Erin Joy Swank

Central City Opera Jigsaw Puzzle!

2011-08-18T11:26:00.011-06:00

Here's something new and different - a jigsaw puzzle from a production photo of The Breasts of Tiresias. Enjoy!

Central City Opera’s THE BREASTS OF TIRESIAS (2011). Pictured: Joanna Mongiardo (Thérèse). Photo by Mark Kiryluk.
[Hint: if a piece gets trapped under the partially completed puzzle, hit "Shuffle Pieces" to bring it forward.]

A Day of Magic at the Opera!

2011-08-14T21:24:00.001-06:00

Hopefully, you had a chance to head up the hill this summer and check out all that the 2011 Festival had to offer. There was certainly something for everyone of all interests and all ages.

The final week offered a special day for kids! On August 4th, children found out that it doesn't take a wizard to understand opera as they experienced the festivities surrounding the Family Matinee performance of Amadigi di Gaula. The Central City Opera Guild hosted Take a Child to the Opera where kids learned in a fun and engaging way about Amadigi and what it takes to put together an opera.

Deven Shaff and Deb Morrow of Central City Opera's Education & Community Programs started off the event with some creative mind-bending ice breakers such as the Silent Machine. All joined in by creating a motion sans sound and becoming part of the machine!

Kids and adults all make a motion sans sound and create the Silent Machine.

Then, using the simple rhyme "Humpty Dumpty", Deven demonstrated how an opera is built by having the kids create scenes from the action points in a story. Here you can see how all of the horses and all the king's men couldn't put Humpty together again!

Kids re-enact an action point from Humpty Dumpty - Poor Humpty!

The event culminated in the kids re-creating scenes from Amadigi so they would be ready for the opera! With special gifts from the Guild in hand (a Central City Opera rain poncho and a magic wand - a very fitting combination indeed!), everyone headed across the street to the Teller House for a magic show with The Wizard from The Wizard's Chest in Cherry Creek. Hearing about the magical prestidigitations, a huge group of kids appeared to watch in wonder as they waited for a rabbit to come out of the hat!

The Wizard brought his bag of tricks from The Wizard's Chest.

A huge audience of kids came to watch the magic of The Wizard before heading off to Amadigi.

As a final hurrah, all of the children followed the sorceress in a costume parade past the wizard through the Opera House Garden and back. The Wizard used his magic lightbulb to choose the costume winners.

After an exciting start to the day, the children were treated to the simple magic of opera. Imagine what next year has in store...

To keep in the loop about upcoming events this fall and spring, join our eMail club!

Central City Days Offers Historical Fun "On The Hill"

2011-08-08T16:27:00.000-06:00

“On May 6, 1859, John H. Gregory located, staked, and pre-empted the first mining claims in what was to become known as the 'Richest Square Mile on Earth.' This spot, marked by the Gregory Monument, is near the city limits of Central City and Black Hawk. The area was originally called Gregory's Diggings, but very soon became known as Mountain City. News of the strike reached Denver by May 17th. First publication of this was in the May 28, 1859 issue of the Rocky Mountain News. As of May 23rd, there were a total of 14 claims in the gulch.” -Gilpin Historical Society

July 30 and 31 "Mountain City" welcomed visitors during the first Central City Days. Great events and opportunities made for two jam-packed days of fun at historic heights! Adventure goers went on bike rides around ghost towns near Nevadaville and tours of historic Black Hawk and Central City. Led by the Gilpin County Historical Society staff, opera-goers and history-buffs alike could see where the beginnings of the Colorado gold rush took place.

Patrons who purchased the VIP passes for Saturday were treated to a relaxing party at the McFarlane Memorial next to the Cour D'Alene Mine. Guests kicked back with a brew and enjoyed the glorious vista over Central City while listening to the folksy tunes from the incredibly talented group The Mile Markers. Sunday afternoon, the party moved to Central City Opera's historic Johnson House where guests mingled on the front lawn with a glass of Colorado mead. Featured during the VIP events were libations from Oskar Blues Brew & ‘Q as well as Grande River Winery and Infinite Monkey Theorem, plus mead from Redstone Meadery Meads.

All of these events highlighted the 2011 Festival’s “festivalization” process. This milestone year included an expanse in offerings and more opportunities for opera-goers to enjoy the historic city in which Central City Opera was born. Read the press release about this exciting process, which will likely be continued and refined in the years to come.

The 2011 Festival might be over but there is always plenty to check out in Central City. Next time you're there, be sure to stop by the Gilpin Historical Society to get a walking tour of our historical property! I’m willing to bet they would be more than happy to tell you a bit about Mountain City, too!

The Wonderful World of Costume Design for the Triple Bill

2011-08-03T16:52:00.001-06:00

Gianni Schicchi

This year's triple bill of one-act operas presented many interesting challenges for Director Ken Cazan and his designers. In a previous blog post, Ken discussed finding a unifying theme of "home" throughout the operas. This concept was brought to life visually by Scenic Designer Cameron Anderson, who created a house that is built on stage in several pieces over the evening. If you watch all three, you'll also find repeating props occasionally - a balloon, a newspaper with Dadaist lettering on it, and even a bedpan. While there are running threads throughout the evening, each opera still maintains its own distinct style. Each opera is in a different language (Italian, German or French) and the costumes for each are also extremely different. On a triple bill evening (two times during the season when you can see all three) we start with the most "traditional" of all of the operas, Puccini's Gianni Schicchi. We've updated the setting to 1947 here, and while very lovely in design, the characters wear fairly "traditional" attire, designed by Alice Marie Kugler Bristow.

The Seven Deadly Sins

As the curtain rises on the second opera of the evening, The Seven Deadly Sins, you realize you're in for something a bit different. After all, one character (the Mother) is WEARING a washtub from the top of the show...and is played by a man (a bass, in fact). The opera continues with quite a bit of representational costuming. As Anna I and Anna II travel throughout different cities, the "Family Quartet" dons different pieces of clothing to represent new characters she meets. Each of the sins is represented by a different color, and the costume choices (as well as lighting by David Martin Jacques and projections by Cameron Anderson) enhance this idea. We move fluidly from city to city (and sin to sin) and the design choices assist the viewer in making this journey away from "traditional" opera.

The Breasts of Tiresias

That's good, because by the third opera, we're in for a wacky, zany world of design! The Breasts of Tiresias is a far-out plot from the beginning: Thérèse gets tired of being a woman, her breasts float away like balloons, and she becomes a man! Eventually her husband reverses roles, too, becoming a father to literally thousands of children that he has created by himself. To set the scene for this absurdist tale, it only takes Le Directeur walking on the set to realize this is going to be different - as he has BECOME the thing he represents, with his megaphone as a hat on top of his head. He's soon greeted by a trash can, a fountain, a Metro sign and other usually inanimate objects.

Utah Opera created the initial build for many of the costumes in The Breasts of Tiresias, which presented some challenging construction issues. Check out their blog for articles on creating these costumes out of Tyvek and other unusual materials and then comparing them with the final versions on stage.

The triple bill really is "something to see," and I know this creative challenge was ultimately quite fun for all of the designers. Utah Opera also sent Alice a special opening night gift in honor of the costumes she had created - her very own Tyvek dress, which they signed. There was also plenty of room left for her Central City Opera friends to leave a lasting impression on the dress as well.

Close-up of the signatures on Alice's Tyvek dress

You have just ONE more chance to see The Breasts of Tiresias, this Saturday, August 5 at 4:00 pm. We're offering a special Buy One, Get One Free discount for it as well, when you purchase tickets online or call the Box Office at 303-292-6700 and use the code BOGO. (Not valid for tickets purchased previously).

Gianni Schicchi plays in repertory just before the above performance, at 2:30 pm. The Seven Deadly Sins had its last performance today at 4:00 pm.

See more production photos for Gianni Schicchi, The Seven Deadly Sins and The Breasts of Tiresias by photographer Mark Kiryluk.

Photos of Alice's dress were taken by the author.

From the Pit: An Opera Company's "Unsung Heroes"

2011-08-02T16:42:00.000-06:00

Sarah Richardson, who plays the viola, sent us this vlog (video blog) about the time she and her fellow musicians spend underneath the Central City Opera stage as members of the Central City Opera Orchestra. I've mentioned in a previous blog post how much I enjoy watching the Orchestra from the balcony. This collection of photos, videos and commentary gives you an insider's view from below as well!

Check out more from our violist on her blog, Beyond Do Re Mi. What do some musicians do when there are a lot of opera performances and not much time to drive back down to the Denver area in between them? According to one blog article, Sarah occasionally spends time at a nearby campground recharging her artistic soul enjoying nature and journaling. We actually have quite a few patrons who go camping while visiting the opera each summer, too. You may have been camping beside one of our orchestra members and not even realized it!

Amazing Original Work by the Stars of Tomorrow

2011-07-29T15:59:00.002-06:00

What happens when you put 17 teenagers together for a week and a half of long hours, intense classes in drama, movement, voice, and then throw in some history and let them be creative? A GREAT scenes program, including an original opera they wrote themselves!

Wednesday evening, patrons in Colorado Springs saw the premiere of Penrose: A Colorado Legacy and Other Tales of Love. This evening of opera, theatre scenes by Sam Shephard and a few musical theatre pieces, is the culmination of 11 days of hard work by the talented teenagers of our Summer Performing Arts Intensive. This is the 9th year that Central City Opera has collaborated with the Colorado Springs Conservatory, and as the Education & Community Programs Department Stage Manager, I've been privileged to be a part of this awesome experience for six of those years.

For the first week and a half, the students live in residence in Colorado Springs with instructors assisting them in all aspects of performance. They also spend time researching a topic; this year focuses on Colorado philanthropists Julie and Spencer Penrose. The students researched the couples' lives, visiting the Pioneer Museum, El Pomar, the Carriage Museum and the Shrine of the Sun, and even met a friend of Julie's for some insider anecdotes. With the help of composer Roger Ames and librettist Jeff Gilden, the teenagers combined all they've learned, took liberties with their own new characters and a bit of the chronology, ultimately creating an opera that we believe Julie and Spencer would agree honors the spirit of their lives and legacies.

Oh, wait! Did I mention they also work on opera and theatre scenes too? Wednesday evening began with a love-themed scenes program including musical theatre (Candide and Wicked), opera (including La Boheme, The Coronation of Poppea, The Merry Widow, The Bartered Bride, Carmen and four of Mozart's operas) and dialogue from Sam Shepard's Savage/Love.

For me, one of the most touching moments was a duet (later turning into an ensemble piece) from Wicked. I know the history of many of these kids and certainly how quickly they become close friends during this short time. You could see the love and joy in all of their eyes as they sang, "Because I knew you, I have been changed for good."

The world premiere of their brand-new Penrose opera followed. It included fun numbers like a "Boys Being Boys" song about Spencer's bachelor life followed by the girls trying to gain the rich bachelor's attention. There's also a charming "I'm the Greatest" type song sung by Spencer, and the opera ends with a touching piece about the Penrose's true legacy, having touched so many people's lives in Colorado and beyond.

The Intensive continues through this weekend with the students in residence in Central City through Sunday. They will attend all five main stage operas, observe classes of the Bonfils-Stanton Foundation Artists Training Program and also receive their own master classes in movement, stage combat and vocal work with Festival company members. In the short time in between, they'll finesse their scenes program. There will be two public performances of their work in Williams Stables (across from the Opera House). For just $5 you can enjoy the AMAZING scenes program these students have prepared during this Performing Arts Intensive: on Saturday July 30th at 2:30 PM and Sunday July 31st at 10:00 AM. Please join us! Tickets are available online.

Auditions for the Performing Arts Intensive are generally in the Fall. For more information, visit our Performing Arts Intensive page or contact the Colorado Springs Conservatory at (719) 577-4556.

TOMORROW: The Nina Odescalchi Kelly Family Matinee Performance of Bizet’s CARMEN

2011-07-27T16:04:00.001-06:00

For many, opera is an unexplored art form; a virtual unknown which when mentioned might raise imagery of many varied stereotypes. But as we've focused on with our marketing campaign this year, Central City Opera is an experience that's accessible and enjoyable, with offerings for all ages and tastes.

For children, a first opera can be a life-changing experience. In the historic 550-seat opera house in Central City, a child’s proximity to the story can have a powerful impact; moreover, it’s like live-action television where you can’t take your eyes off of it. Central City Opera's upcoming Family Matinee performances feature the talented artists of the Bonfils-Stanton Foundation Artists Training Program in fully staged productions which include a narrator’s preview before each act and an autograph session with the singers following the performance.

2010 Family Matinee autograph sessions from MADAMA BUTTERFLY (above) and ORPHEUS IN THE UNDERWORLD (below). Photos by Mark Kiryluk.

What better story than Carmen than to introduce your child to the world of opera? Full of emotion, there is plenty of action mixed with a powerful and memorable musical score. So don’t miss this opportunity to introduce your child, or yourself, to opera at tomorrow’s matinee. Tickets are just $15 for kids 6-18, and $20 for adults.

A second family matinee performance, Amadigi di Gaula, takes place on August 4th. All kids are welcome to dress up in a magical wizard or prince/princess costume to be eligible to win prizes from The Wizard's Chest. Be sure not to miss their wizard and magic show at 2:00 pm in the Opera House Garden before the matinee. Mention Central City Opera and get 25% off of a costume at The Wizard's Chest. For an extra $10, attend Take a Child to the Opera at 1:00 pm, which includes pre-performance family fun activities, theatre games, and a post-opera talkback.

Purchase tickets to either of these events online, by calling (303) 292-6700 or stopping by our Central City Box Office, located in the historic Teller House on the main level (open two hours before each performance only).

Dynamic Dining Offerings at Central City’s Historic Teller House

2011-07-23T10:00:00.002-06:00

Today, I had lunch with an acquaintance.

She didn’t say much, but she sure has a story…

Her name is Madeline…so the story goes. The Face on the Barroom Floor is a regular stop for tourists and opera patrons alike. Though unsigned, the painting is a mysterious treasure within the Teller House that is credited to Denver artist Herndon Davis. Inspired by Hugh Antoine D’Arcy’s poem The Face on the Barroom Floor, the painting remains a central component of Kevin Taylor’s The Face Bar.

Read the poem and more about the history of the famous “Face on the Barroom Floor.”

You too, can dine with the famous face during your time in Central City. Check out the menu for all of the delicious options. While there, be sure to take a good look at The Muses of Central City; eight murals painted on the walls of The Face Bar by Charles St. George Stanley in the late 1800s. Two more have since been added by Paschal Quackenbush, who restored the originals in 1932 when they were discovered under several layers of wallpaper. Even more interestingly, each of the murals was painted with a significant “distortion.” (Hint: The sixth mural from the right has two left feet!) Can you determine what the rest are? Find the answers here.

Also available for dining is the “modern mountain chophouse” Rouge, located upstairs in the Teller House. With lush décor and an outstanding menu, this is sure to please your appetite before the performance. Check out this recent article in The Deal about Kevin Taylor's dining offerings. Rouge is open for dinner and the Face Bar serves lunch and dinner. Call (303) 582-0600 for reservations.

Five GREAT Things to do in Central City

2011-07-22T13:43:00.009-06:00

I can attest to the fact that there is much to do in Central City. With Central City Days approaching, I thought I’d share a few of my favorite Central City attractions that highlight the arts, culture, shopping and outdoors:

1. Gilpin Historical Society

228 High Street; Washington Hall on Eureka Street
History buffs, this one is for you. Loaded with information about the “Richest Square Mile on Earth,” stop by to chat with the friendly staff about Central City’s days as a historical mining town. Guided tours of the Central City Opera properties are a must, available Tuesday through Sunday at 11 am, 1 pm and 3 pm (availability based around opera schedule). The High Street History Museum is open Tuesday through Sunday, 10 am to 4 pm.

2. Central City KOA “Kampground”

605 Lake Gulch Road

Just three minutes from downtown Central City is a KOA campground with a beautiful view. Make your trip to Central City a “staycation” by staying in an unconventional way! The KOA offers free wi-fi, free cable TV, large and level concrete pads, shady tent sites and modern facilities, and much more. Visit their website or call (303) 582-3043 for more information!

3. Mountain Menagerie and Bevie Sue’s Emporium

121 Main Street and 115 Main Street
Situated side-by-side on the historic Main Street, these charming boutiques offer a wide range of consignment and original offerings. Ranging from Central City apparel to antiques to handmade home décor, there is sure to be something here for everyone. Mountain Menagerie can be reached at (303) 582-5365 and Bevie Sue’s can be reached at (303) 582-5524.

4. Victorian Rose Antiques and Hotel

101 Main Street
Filled with treasures from years ago, there’s a ton to see in this antique shop! I spent a recent afternoon getting lost in several rooms of unique vintage items. For more information call Jay at (303) 988-7373. Above the antiques, the hotel is “a quaint historic piece of the ‘ol West’.” With eight historic and unique rooms to choose from, this is certainly a piece of Central City history. Rooms start at $79 plus tax, call Greg at (720) 427-2626.

5. Gilpin County Arts Association

117 Eureka Street

Located in historic Washington Hall, across from the Opera House, the Gallery features two exhibitions this season. A Juried Show runs from June 4th to August 25th, and a Members Show will be held on weekends from August 29th to October 1st. The building includes a jail (museum) and outdoor fountain garden. Five rustic rooms display 3,800 sq. ft. of art from over 100 artists throughout the Rocky Mountain region. Thick stone walls, hardwood floors and unusual sculptures donated to the gallery are of particular interest. Visit their website.

I hope this will encourage you to make the most out of your next trip to Central City. Check our calendar and get your tickets to the opera to maximize your experience. You won’t know until you go!

Final Three Weeks of 2011 Festival Consistent as a Colorado Rainstorm

2011-07-20T16:36:00.001-06:00

I can’t say I wasn’t fairly warned. Before I moved here, one of the attributes of Colorado of which I was made aware was the fact that, starting around July, one can expect a daily rainstorm. Though these cloudbursts don’t last long, they have been consistent now for almost three weeks. Rolling in quickly and at different times of the day, these storms offer a different but consistent daily experience.

When recently caught in a downpour without my umbrella, I couldn’t help but realize the parallel between the Colorado climate and the 2011 Festival at Central City Opera. Over the next three weeks, the opera will present a shower of offerings on a consistent basis, as main stage performances and Fringe Festival events take place six days a week now through August 7th.

Ranging from the Chamber Music Series to the Nina Odescalchi Kelly Family Matinees, the next few weeks at Central City Opera are busier than ever. Check out our calendar for details on all of our offerings.

Before you leave home, you can check the current and predicted weather conditions for Central City in our Visitor Information webpages.

It’s the universal back-to-school essay topic: “What I Did on My Summer Break.”

2011-07-19T11:39:00.000-06:00

It’s the universal back-to-school essay topic: “What I Did on My Summer Break.” What did you write about? In 1976 I wrote about America’s birthday and the most exciting 4th of July of my seven years. I remember this because the experience was so real and multi-dimensional (it seemed the entire summer was red, white and blue – every party, every picnic, every place and thing a declaration of independence and bicentennial celebration) that it actually gave me clarity and context for my place in the world – not a small thing for a soon-to-be 1st-grader. Truly. Cracking a history book was never the same after that summer.

Fast-forwarding a few decades, I’m nowa 21st-century parent watching my children’s summer fly by. We’re well-meaning, awfully silly creatures,we modern parents. I’ve seen so many friends spend many a sleeplessspring thinking up all kinds of ways to keep their school-age kids engaged andchallenged and happy all summer. Howabout Lego Engineering Camp? (“Build anentire city!”) Archaeology Camp? (“Dig up an ancient civilization!”) Mathletes? (“Keep sharp over thesummer!”) Ok, I am that parent. (And I’m not knocking engineering camp – itwas really fun!) But the question is,what can I give them that’s reallymeaningful this summer?

Studies show that the average American household enjoys 40to 60 hours of television a week. Thereare plenty of kids who can play to level gazillion on any number of video gamesor re-program a computer. My sevenyear-old recently showed me how to use CTRL+ALT+DEL to best advantage, but canshe tell me how Colorado came to be? Whodiscovered and mined the gold, entertained the people, designed and built theplaces that makes ours a great, historic state? What if she could, and what if she learnedsomething about herself in the process?

There’s a gift waiting for us this summer in an enchantingplace that’s 45 minutes west of Denver, but a million miles away. A most imaginative, unplugged familyexperience awaits at Central City Opera’s historic adventure weekend, Central City Days. This is a call-out to the modern-minded parent and those wonderinghow a family of four can get the most bang for the least bucks. An experiencethat will make the kind of childhood mark that’s hard to come by thesedays.

Central City Days will celebrate Colorado Day by unfurlingthe roots of the place and digging deep into her past. On July 30th and 31st,come for a day or weekend of outdoor adventuring on foot and on bike through 19th-century streets, stables and gold mines, geocaching history hunts, ghost towntouring and a little taste of family-friendly opera. Together we’ll unlock the secrets ofColorado’s story – and our own – for a weekend that will beat any virtualthrill your television can deliver.

And we hope to be on the tip of many a No. 2 pencil comeSeptember.

A multitude of all-access pass options allow you to custom-craft your adventure:

Two - Day Pass	$25 adults / $15 kids* / $75 family 4-pack**
One - Day Pass	*$15 adults / $10 kids / $45 family 4-pack****
Saturday or Sunday VIP Pass	$25 per day / includes access to all daily events plus 4 - 6 p.m. beer/wine/mead tasting receptions at historic al fresco venues with live music accompaniment (21 and older)

*Valid for kids ages 4-12; children 3 and under are free.
**Family 4-packs not available online. Please call the Box Office at 303-292-6700.

View the complete list of events.

Editor's Note: This blog post was written by Heather Lauren Quiroga, Event Planner for Central City Opera's Central City Days.

SinFest: A Devilish-ly Fun Time!

2011-07-18T14:47:00.002-06:00

How many Deadly Sins are there?

Festival Staffers Kathryn Gucik (Events) and Jake Sinatra (Public Relations) know the answer - SEVEN!

This year Central City Opera gives you the chance to indulge in all Seven Deadly Sins...and try a new eighth one as well. Saturday, we had our first SinFest - a progressively sinful experience starting with The Seven Deadly Sins in the Central City Opera House. After enjoying the one-act opera by Kurt Weill and Bertolt Brecht, our "sinners" headed across the street to Williams Stables. The upper level of this historic building, rarely seen by the public, had been transformed into a cabaret-style performance space for the evening. An exhibit by MCA co-founder and renowned Colorado photographer Mark Sink and other depictions of the Seven Deadly Sins completed the atmosphere.

We began the post-opera portion of entertainment with fire dancer Melinda Rivers. The rain had forced her act inside, but she was aptly prepared with additional routines using LED lights, hoops and swirling fan scarfs to the delight of the audience.

Next up, Ballet Nouveau Colorado presented their brand spanking new piece DiSINtegration, a world-premiere ballet created by BNC Artistic Director Garrett Ammon for SinFest.

In the continuing idea of bringing something a little "different" to Central City Opera, some of our patrons got their first taste of slam poetry by National Poetry Slam Champion Ken Arkind and Lucifury. As we stated in a previous blog post, "This is not your grandma's opera!" This edgy and evocative imagery is not for the faint of heart...but is incredibly fun!

Lucifury with his devilish grin as he introduces a very steamy poem

We ended our time in Williams Stables with mixing and mingling while viewing Mark Sink's photography exhibit.

The rain cleared as we headed outside where we watched Melinda truly "in her element."

We next headed up the hill to the Lanny and Sharon Martin Foundry Rehearsal Center. If you looked carefully, you could still see spike tape on the floor marking out the placement of walls and platforms for opera rehearsals, but I may have been the only one who noticed. Our partygoers were much more focused on their 7 Deadly Zins wine, Kevin Taylor food and the entertaining music of bassist Mike Fitzmaurice (of the well-known Irish band Colcannon) and his Exuberant Ensemble. Among other tunes, they included "My Ship," a jazz standard written by the evening's composer Kurt Weill.

Around 8:00 pm, with the skies clearing once more just in time for our walk downhill, we made our way to Dostal Alley Brewpub and Casino. As the crowd watched from the back balcony, Melinda performed one more set of fire dancing. With the sun beginning to set, her fire breathing was particularly spectacular.

We rounded out the evening with "The 8th Sin," a brew specially created by Dostal Alley (the only brewery in Gilpin County). I'm not one to immediately order a dark beer, but I have to admit this one is decadently smooth. I plan to enjoy another one next weekend!

"The 8th Sin" is on tap at Dostal Alley.

Won't you join me in raising a glass? Our second and final installment of SinFest occurs this Sunday the 24th. Check in at the Teller House (just downhill from the Opera House) around 3:30 pm for your wristband, where you will also receive location information on the geocaches we've hidden around town. Find them throughout the evening and you can claim one of many prizes. Your indulgences begin at 4:00 pm with The Seven Deadly Sins in the Opera House. Tickets are just $50 to enjoy the opera and all seven...er, EIGHT sins. (If you already have your ticket to the opera, you can add on the SinFest option for just $25; call the Box Office at 303-292-6700.)

For more information on the SinFest performers, check our our previous blogpost.

Frequently Asked Questions

2011-07-16T10:00:00.010-06:00

Before May 2011, I had never traveled west of St. Louis. Now a three-month resident of Central City, I can look back on my move “out West” as a time full of equal amounts of excitement and apprehension. Hearing about the secluded City of Central, I admit that having never spent time in Colorado allowed for a substantial number of questions to flood my mind as I packed for the move.

Though I traveled over 1,500 miles to get to Central City, I’ve realized that some people might have the same questions as I do that might inhibit them from making the trip “up the hill.” In order to dispel any outstanding myths about Central City Opera, I’ve composed this list of Frequently Asked Questions that plagued me before I made my first trip to Central (and a few heard from others since I've arrived):

Question: Where is Central City and what is the best way to get there?

Answer: Central City is located less than an hour from Denver or Boulder, one mile up the hill from Black Hawk. From I-70 West, the Central City Parkway (Exit 243) provides a clear and scenic 8.4 mile drive directly to Central City. If you’d prefer to leave the driving to someone else, check our directions page for a number of solutions. Also, Central City Opera offers bus transportation for just $18 round-trip from Glendale or Lakewood (select performances). Check out all of the affordable options.

Question: What is the duration of the opera performances?

Answer: For many opera newcomers, a typical assumption is that operas are lengthy. To dispel this myth completely, Central City Opera is offering a triple bill of one-act operas this summer, the shortest of which is 34 minutes. Performance times vary; for those who want a little more, the longest runs just under three hours--similar to the length of the feature films Avatar and Transformers: Dark Side of the Moon. All multiple-act performances feature an intermission, lasting a convenient twenty minutes. The show pages on our website list the run times for individual operas. Our Fringe Festival also offers Short Works and Signor Deluso, which are half-hour long performances by our Bonfils-Stanton Foundation Artists.

Question: How can people sit through a performance in those hickory chairs?

Answer: The historic hickory chairs pictured in several photos of the Opera House were replaced in 1999 with plush new theatre-style seating. In use since 1903, the hickory chairs were originally engraved with pioneer family names for a fundraiser in the 1930s. Today, some remain (thankfully on display only) in rehearsal spaces and other opera properties.

After new seats were installed in the Opera House, many of the old hickory chairs, with pioneer names inscribed on the backs, were moved to Willams Stables, where they are stored hanging from the ceiling.

Question: Hasn’t Central City lost all of its charm since the casinos opened?

Answer: Though this one is a matter of opinion, in my experience (as I didn’t know Central City pre-casinos) Central City is a quaint and historic place with plenty of tradition. Several antique shops, a brewery and other stores still line the historic streets. And as for Central City Opera, our historic preservation has allowed for a pleasant opportunity to “step back in time.”

Interior of the Opera House. Photo by Mark Kiryluk.

What questions are holding you back from making your way up to Central City for the 2011 Festival? Performances run through August 7. Use the comments below to add to the list of “Frequently Asked Questions.” I’d be glad to answer to the best of my ability!

Directions, current weather conditions, lodging and dining options and area activities can be found on our Visitor Information pages.

Another First for Central City Opera: CARMEN in Denver

2011-07-15T10:00:00.002-06:00

Most people reasonably expect to have a number of their favorite items delivered to them these days: a pizza, a bouquet of flowers, even online purchases. For the first time, on Tuesday of this week, Central City Opera took “delivery” to a whole new level—by bringing Carmen to Denver. With months of planning and a day of rehearsal at the Comfort Dental Amphitheater (formerly Fiddler’s Green), a semi-staged version of Carmen came to life at 7:30 PM on Tuesday, just as some light showers conveniently ceased.

Above and Below: Photos from the midday rehearsal, courtesy of Karen Federing

The "Tooth" from Comfort Dental Amphitheatre
greets patrons, with his Carmen program in hand.

With about 3,000 in attendance, this unique venture offered an opportunity for Denver locals to have a taste of Central City Opera right in their own backyard. Some attendees with whom I spoke with had never been to Central City Opera before, others were “regulars,” eager to have a chance to see their favorite opera company from a new perspective. Regardless of their experience, conductor Timothy Myers made everyone feel welcome and excited about Carmen and its intriguing story. Limited dialogue and conversational commentary made for a fast-paced and entertaining evening.

CBS4 Denver aired a short promotional piece on the evening and Central City Opera’s other 2011 Festival offerings. Check out the video online.

Kirstin Chávez (Carmen) and conductor Timothy Myers during the Denver performance

The evening was unfortunately cut short due to unsafe weather conditions which developed quickly during the intermission. If you're waiting to see how Carmen ends, don’t despair! Carmen plays in repertory with Central City Opera’s four other productions: Amadigi di Gaula, Gianni Schicchi, The Seven Deadly Sins, and The Breasts of Tiresias through August 7th. Get your tickets online or by calling (303) 292-6700, as soon as possible. Several other Fringe Festival events are offered each week as well, with something to please every operatic palate.

All evening photos courtesy of Erin Joy Swank.

What does CARMEN have in common with a bunch of Frontier women?

2011-07-14T13:46:00.000-06:00

Deborah Morrow

[Editor's Note: Central City Opera's Director of Education & Community Programs Deborah Morrow writes this blog post about the Build an Opera professional development workshop taking place in Colorado Springs this week.]

What does Carmen have in common with a bunch of Frontier women? More than you might think!

The stage of the Harrison High School auditorium in Colorado Springs has been transformed into a classroom/music room/mini-theatre for five days as 14 Colorado teachers embark on an in-depth study of Carmen - the story, the music, the dramatic structure and characters - as a model for the opera they are also creating together. The story they have chosen to opera-tize (after considering numerous ideas) is based on a true account of a group of women who traveled the Oregon Trail together after all of the men in their party died. (If you didn't know it was a true story, you might assume it was a feminist fantasy - somewhat appropriate since all but two of the workshop participants are women.)

What's the point, you might ask? This is professional development for educators to add some exciting methods to their "teaching tool kits" for enhancing the curriculum they regularly teach. Six of them have taken this workshop previously (Central City Opera has offered it every summer for 12 years), two for the THIRD time. Multiple disciplines and grades are represented – elementary music, second and fourth grades, middle school music (instrumental and vocal), middle school language and drama, a student working on her education degree, and even two retired elementary music teachers, one taking credits for re-certification and another starting a private music school in her small town. Many participants will take advantage of the three graduate credits offered for completing the workshop, to use toward their teacher certification or higher degree.

The five-day workshop, led by two experts from the Opera America service organization, includes two components, Listen and Discover and Create and Produce. Dr. Kay Hoke, a college educator and musicologist who now heads the Sunderman Conservatory at Gettysburg College in Pennsylvania, leads the Listen and Discover exploration of Carmen. Roger Ames, an educator, composer (of songs, oratorios, musicals and opera, including Central City Opera's bilingual opera En Mis Palabras) and choral director/composer-in-residence at Great Neck High School in New York, guides the group in the creation of a short original opera. Kay and Roger have been leading these workshops all over the U.S. for over 15 years and Roger is one of the original creators of the curriculum (dubbed Music! Words! Opera!). This hands-on approach will model methods that the participants can later use with their students in exactly the same process.

This may sound pretty serious, but in reality this workshop is tons of fun. Trust and character-building exercises and theater games, plus watching and learning the glorious music of Carmen, stimulate the creative juices (and apparently the laughter "hot button"). Laughter and smiles are constants, even when discussing serious moments in Carmen or the deaths of all those men in the Frontier story. The ideas fly thick and fast as the teachers get down to creating the scenes in their story. Once the important scenes are set, the writing (of both lyrics and music) begins. Now the hilarity is almost constant as rhyme schemes and key words and melodies begin to emerge. "What rhymes with cholera?" "I don't think I can compose music, can my song be a rap?" (No.) "Can some of the lyrics be limericks?" "I really want a scene with Indians," shouted down immediately and now a running joke.

Above and Below: Participants in this year's Build an Opera professional development play theatre games to get their creative juices flowing. Photo credit: Deborah Morrow

This process of creating and producing an original musical work is great for developing 21st century skills in students – communication, collaboration, creative thinking. The learning really explodes, and time and again we've seen students blossom when they discover the depths of their own talents. Central City Opera provides teaching artists to assist teachers and their students in this endeavor and the results are always gratifying and astounding!

It's only Wednesday of our 5-day process as I write this, so Carmen hasn't died yet (we're on Act III), and the Frontier opera is as yet unnamed and just beginning to shape up. By Friday there will be an opera to perform for each other. It probably won't be ready to submit to the Met, but you can bet the group (now friends for life) will take pride in its accomplishment (and laugh like crazy people) as those brave women sing their way across the West.

Composer Roger Ames will remain in residence with Central City Opera for two more weeks, assisting the teenagers of our Summer Performing Arts Intensive. The public can view public performances of their theatre scenes and the student-created opera on July 30 at 2:30 pm and July 31 at 10:00 am for just $5.

Fringe Festival’s SIGNOR DELUSO Opens Today!

2011-07-13T16:27:00.000-06:00

One of Central City Opera's numerous Fringe Festival events taking place during the 2011 Festival is the 30-minute comic opera Signor Deluso by Thomas Pasatieri. Opening today and being performed in the intimate Williams Stables on Eureka Street on select dates through August 2, this short performance is sure to be a fulfilling addition to any Central City Opera experience.

A view inside Williams Stables

The seasoned eye of stage director John Moriarty, Central City Opera’s Artistic Director Emeritus, adds distinction to this one-act work. Signor Deluso features the talents of the Bonfils-Stanton Foundation Artists Program.

“Through a structured plot with little exposition, this hilarious tale of two lovers is told effectively through an action-packed, romantic comedy opera,” says Bronwyn Schlaefer, Stage Manager of Signor Deluso. Bronwyn also serves as a 2011 Festival Staffer and as a Stage Management Assistant for Central City Opera’s North American Premiere of Händel’s Amadigi di Gaula this summer. Also assisting in the production of Signor Deluso are Assistant Stage Manager Samantha Apgar, Lighting Designer Nick Davidson, Props Supervisor Jessic Rosenlieb and Costume SupervisorJanetta Turner.

Signor Deluso is performed on July 13, 17, 23, 27, 29 and August 2 at 1:15 pm. Get your tickets online or by calling (303) 292-6700. This is a Fringe Festival event that you certainly won’t want to miss!

Melodious Musings on the Orchestra: AMADIGI DI GAULA and Sundays at St. James

2011-07-12T15:29:00.005-06:00

Whenever I get the opportunity to actually sit and watch one of our operas, I love to sit in the balcony. With only 550 seats in the Opera House, there really isn't a "bad" seat anywhere; however, up in the balcony you get a nice overview angle of the stage, an easy perspective to read the supertitles (English translations above the stage), and a fun view of the Central City Opera Orchestra in the pit below the stage.

A Theorbo
Image from www.theorbo.com

This year's production of Amadigi di Gaula has an instrument (well, two, actually) that can be seen from nearly every seat, whether you're in the balcony or not. That long-necked stringed instrument you see sticking up at the edge of the stage for this Baroque opera is a theorbo. We actually have two of them in the orchestra for this Händel opera, played brilliantly by guest artists Madeleine Owen and Matthew Wadsworth. According to www.theorbo.com, the theorbo is a type of lute which was developed in Florence during the 1580s, is around two meters in length, and typically has 14 courses of strings.

If you watch the musicians during Amadigi di Gaula (the orchestral music is so beautiful, you can't help but try to see who's producing it, in my opinion), you'll notice several things. First, Matthew can sometimes be seen flipping through a book of what appear to be blank pages. Matthew is blind and has memorized his music (but can review it with his Braille score). There are even a few times where his is the first instrument to play a piece; during these moments, he listens closely for conductor Matthew Halls' breath as the cue to begin. Second, Madeleine can be seen switching occasionally to another Baroque instrument, the Baroque Guitar. In fact, several of the musicians switch instruments during this opera, as two recorders are used in this production. Yes, those fine instruments that play "Twinkle, Twinkle, Little Star" in elementary music programs are used to wonderful delight in this classical piece. From the balcony, you can see the musicians subtly play their own game of literal "musical chairs" between numbers, as Brian Cook and Sarah Bierhaus sit together when playing the recorder and then return to their original seats in the viola and oboe sections. Jeffrey Stephenson also spends a moment featured at the side of the orchestra for his beautiful oboe solo. Rounding out our guests artists for Amadigi di Gaula are harpsichordist Patrick T. Jones (who also prepared the music for this production) and Baroque cellist Kate Haynes.

St. James Methodist Church,
across the street from the Opera House

All said, the sounds coming from our Central City Opera Orchestra are simply exquisite. This year, we're featuring the instrumentalists in one of our Fringe Festival events, the Sundays at St. James chamber music series. This Sunday, July 17th, the series kicks off with a wonderful evening featuring a Poulenc clarinet sonata, a Dvořák piano quartet and vocal music by main stage artist Robert Gardner (baritone), who is performing in this summer’s productions of The Seven Deadly Sins and The Breasts of Tiresias.

The following Sunday, July 24th, the series continues with world-renowned conductor Matthew Halls, the guest instrumentalists(mentioned above) and principal vocal artists from this summer's Amadigi di Gaulaperforming the music of Henry Purcell. The final performance on July 31stfeatures the male classical vocal quartet New York Polyphony inconcert; two of the members -- baritone Christopher Dylan Herbert and bassCraig Phillips -- were participants in Central City Opera's Bonfils-Stanton Foundation Artists Training Program.

Christopher Dylan Hebert as Papageno in a scene from The Magic Flute
(Central City Opera's Opera A La Carte, 2006)

Christopher was also featured in Martha Stewart Weddings for his recent marriage to partner Timothy Long. In addition to being incredibly photogenic, Christopher also happens to be the nephew of the crafty guru.

Image from Martha Stewart Weddings

All Sundays at St. James performances take place in the historic St. James Methodist Church, possibly the oldest church in Colorado. Tickets are $32 each (available online) or you can enjoy all three evenings of chamber music for just $68 (packages available through the Box Office at 303-292-6700).

Watch (and listen to) video clips of Central City Opera's Amadigi di Gaula

Sizzle at SinFest: Opera. Cocktails. Sin.

2011-07-11T15:46:00.002-06:00

[Editor's Note: This blog post comes from Heather Brecl, Central City Opera's Young Professional Project Manager.]

"Festivalization of the festival" is one of Central City Opera's innovative moves to make your experience in Central something to remember! If you headed to the Triple Bill for Opening Night this past Saturday, you may have peeked out the window of the Face Bar and done a double-take. Was that really a copper cowboy statue strumming his guitar down Eureka Street? Indeed, it's one of the first glimpses of the Fringe Festival, special added surprises to spice up your trip to the Opera. Keep your eyes peeled for what's to come.

This Saturday, July 17, you won't want to miss the hottest and edgiest festival on the hill. Grab your tickets and head to SinFest! Be prepared to push the limits during this progressive experience of the Seven Deadly Sins and all that makes opera what it is. It's opera, cocktails and sin. And it's something you've never seen before.

Expect a one-of-a-kind experience that starts as soon as you arrive in Central. Before the curtain even goes up in the Opera House, the search for the perfect sin kicks off with our very first geocaching hunt. What in the world is "geocaching"??? Grab a GPS or download the GPS app on your phone and go in search of treasure that we have hidden in the vicinity of the Opera House. Arrive early (you’ll need an hour or so) and check in at the Teller House Box Office. You'll get a clue card for our geocaching with GPS coordinates of the sins. Hunt down all four locations, write down the finds and return the card to be eligible for all kinds of awesome prizes from places like the Wizard's Chest, Museo de las Americas the Museum of Contemporary Art and more. It's easy, painless and has great perks.

Then head to the opera.

4:00 pm - Opera House: (Please check in by at least 3:45 at the Teller House Box Office.) The stage is set for the evening by what Pat Pearce, our Artistic/General Director, refers to as "a gritty little piece" - Kurt Weill's The Seven Deadly Sins. This opera defies what you might think is typical opera - it's contemporary, SHORT (yes, 37 minutes) and provocative (a morality piece meant to push boundaries). You won't walk away humming any of the tunes, but you will take a second glance at today's moral compass. And you're right, this is not your grandma's opera.

The Seven Deadly Sins, photo by Mark Kiryluk

5:00 pm - Williams Stables: Fire. Dance. Poetry. Art. Ready to light the night on fire? Melinda Rivers is! She's our hot and sexy fire dancer ready to turn up the heat in Central City. You'll see Melinda up and down Eureka Street in her red fire outfit with Isis wings drawing SinFest goers to the next party stop with her fire breathing, fire fans and...Come on, I can't give it all away! Let's just say that Central hasn't been this hot since the Great Fire of 1874 and we've just gotten started. Click here to see how Melinda lights up the night!

Fire dancer Melinda Rivers

Once you've seen the The Seven Deadly Sins, you'll know that Ballet Nouveau Colorado has dancers who can not only wrap their feet up around their ears, but are also alluring and can brilliantly illustrate the drama of the opera through movement. BNC's Sarah Tallman, who dances the part of Anna II, will also head to SinFest to check out her colleagues bringing something unseen and edgy to the second floor of the Williams Stables.

Anna I and Anna II - The Seven Deadly Sins, photo by Mark Kiryluk

The Spoken Truth: Ever spend Sunday night at the Mercury Cafe in downtown Denver? Then you've probably heard National Slam Poetry Champion Ken Arkind and fellow poets tearing up the stage with their raw poetic artistry. Ken and company unabashedly deliver the spoken word with a truth that is gutsy and unapologetic. Following BNC's short dance performance, prepare to be challenged by the slam poets' insight into sin - not the Sunday school version. See Ken Arkind tearing it up on the mic.

Ken Arkind - National Slam Poetry Champion

An Eye on Sin: If you've ever had your eye behind a camera, you'll be blown away by the photography exhibit at SinFest curated by one of Denver's legendary photographers, Mark Sink. Co-founder of the MCA (Museum of Contemporary Art), Mark has been a photographer of fine art, curator and teacher since 1978, working with and documenting the lives of legends like Andy Warhol. It's unlikely that you've truly seen the soul of a picture until you've looked through Mark's lens. Get your tickets to SinFest and you might be lucky enough to meet the artist himself at our intimate exhibit. You can view some of Mark's work on the Sink Gallery website.

Rachel by Mark Sink

6:30 pm - The Foundry: Everyone's favorite stop - GLUTTONY. The sin we just can't get enough of. An over-indulgence seems to heave us into SLOTH and get in the way of LUST. But SinFest's decadent bites from Kevin Taylor and a glass of the 7 Deadly Zins from the Michael David Winery will cause the ENVY of all. Sip on sin while listening to the tunes of my favorite bass player, Mike Fitzmaurice (of the well-known Irish band Colcannon), and his Exuberant Ensemble.

Mike Fitzmaurice of the Exuberant Ensemble

7:30 pm - Dostal Alley Brewpub and Casino: Yes, you know you want it... GREED. If you have been patiently itching to rob the one-armed-bandit, it's your chance to dance with Lady Luck at the Dostal Alley Brewpub and Casino, down the hill and around the corner from the Opera House. The only brewery in Gilpin County, Dostal Alley is famous for its award winning mountain brews and has created a special one just for SinFest, "The Eighth One". Don't miss the final stop of the night!

And it's all just $50.

Now, buy your tickets. Or you'll wonder why you didn't.

Any other questions? www.centralcityopera.org/sinfest or email hbrecl@centralcityopera.org.

More Fun with CARMEN as Central City Opera Stars Sing with Jim Henson Characters

2011-07-10T13:29:00.001-06:00

In our continuing series of "Where Have I Heard That?" we return to the ever-popular Carmen. There is no end to the number of times this familiar music has been used in pop culture, appearing lately in ads for the reality TV show, Love in the Wild, and other commercials. But my favorite uses are still those done by Jim Henson and company. There are even some direct Central City Opera correlations to these too!

Bass-baritone Samuel Ramey received some of his early training at Central City Opera:

A young Samuel Ramey (back row, in front of the post, smiling) in rehearsals for Don Giovanni at Central City Opera, 1963. Photo credit Mike O'Meara.

“I grew up in Western Kansas, where the only opera was on recordings,” remembers Ramey. “I was fascinated by it, but had never seen a performance. A friend of mine happened to hear that Central City was auditioning college-aged singers for the chorus and persuaded me to apply. I made a tape at the local radio station, and lo and behold, I was hired.” The world-renowned bass- baritone made his singing debut in that 1963 production of Don Giovanni, a star-studded production that included Sherrill Milnes, Norman Treigle, Richard Cross, Spiro Malas, and Justino Diaz.

-Excerpt from Theatre of Dreams: The Glorious Central City Opera - Celebrating 75 Years

Samuel Ramey performed Carmen's "Toreador" on Sesame Street, with some slightly different lyrics. "L is the letter that I love the most. L helps me go, 'Low, low, low, low!'" Come on, you can sing along with this one - the words are incorporated for you in this fun clip.

The great soprano Beverly Sills also performed on the Central City Opera stage in the 1960 production of Aida. (See several pictures in this Denver Post article.) Sills is incredibly fun to watch "hamming it up" with Miss Piggy and other Muppet Show pigs in the sketch "Pigoletto." Several operas are quoted, including Carmen during another "Toreador" spoof. A porcine character sings, "Toreador...this is the only opera that I know; I've heard this one, it's good!"

You've heard "Toreador" nearly everywhere - not to mention the "Habanera" - but wouldn't you like to enjoy this wonderful music in person? How about under the stars? This year, we're offering a special performance of Carmen under the stars in Denver. Join us this Tuesday, July 12th at the Comfort Dental Amphitheatre (formerly known as Fiddler's Green) in Greenwood Village. Tickets are just $22 for adults, $15 for kids. All seats are general admission and the doors open at 6:00 p.m. for the performance at 7:30 p.m.

Starting TONIGHT: Triple Bill Offers a Full Range of Emotions in One Diverse Evening

2011-07-09T10:00:00.003-06:00

Tonight marks another first for Central City Opera with the opening of the “Triple Bill” composed of three diverse one-act operas. In just one evening, you can travel through time, across continents and into three very different stories. With each opera clocking in at under an hour, these seemingly simple operas are jam-packed with intensity and are each, in their own way, entertaining.

Featured in the Triple Bill are Puccini’s Gianni Schicchi, Weill’s The Seven Deadly Sins and Poulenc’s The Breasts of Tiresias. Twice during the Festival season, you will have the opportunity to see all three shows in one night: tonight's opening and again on July 30. On several other nights, two of the three one-acts will be featured as a Double Bill. Check the calendar for dates and times, then call the Box Office at (303) 292-6700 or purchase your tickets online.

The animated cast of Gianni Schicchi

Sarah Tallman (Anna II, center) and the cast of The Seven Deadly Sins

Joanna Mongiardo as Therése in

The Breasts of Tiresias

Yesterday, the Denver Post published a preview article highlighting this first-time venture for Central City Opera. Check it out! Also, for more information, read my recent blog post on the Triple Bill that highlights the details of each of the one-acts.

You won’t know until you go!

Why I'm Privileged to Ring the "Famous" Opera Bell

2011-07-08T15:41:00.001-06:00

“What do I have to do to ring that bell?” a patron asked me as I proceeded down Eureka Street the other afternoon with the famous bell in hand. With a smile, I jokingly replied: “Get in line!” There are hundreds of late teens and twenty-somethings that apply to be a Festival Staffer at Central City Opera each year in hopes of being a vital part of the summer Festival...and, of course, the opportunity to ring the bell.

An usher from a past season rings the bell - Photo by Jim Havey

To most, we’re the friendly folks dressed in the unmistakable Victorian garb who sing the famous “Usher Song” and parade up the street, holding up traffic as we make our way to the Opera House to show you to your seat. In reality, each of the thirteen Festival Staffers has his own to-do list aside from ushering the nearly 100 ticketed performances that take place during the Festival. When we’re not donning our “period” dress, each of us assumes a role in a specific internship position—using our skills and experience to facilitate the Festival while educating ourselves along the way.

To highlight all of the different areas within the Central City Opera Festival where experiential learning takes place, I present to you, ladies and gentlemen, the 2011 Festival Staffers, their positions and home states:

Office and Music Library:

Samantha Apgar, New Jersey

Props Assistants:

Eugene Stohlman, Maryland

Stephanie Baugher, Michigan

Stage Management Production Assistants:

Jordan Braun, Carmen and Triple Bill, Michigan

Bronwyn Schlaefer, Amadigi di Gaula, Connecticut

Costume Assistants:

Kayla Chalk, Colorado

Charles Neumann, Massachusetts

Wig/Makeup Assistant:

Jennifer Gilbert, North Carolina

Ashley Hughes, Tennessee

Gift Shop Assistant:

Laura Pancoast, Minnesota

Events Assistant:

Kathryn Gucik, Ohio

Assistant House Manager:

Jocelyn Olson, Minnesota

Public Relations Assistant:

Yours truly, Jake Sinatra, New York

2011 Festival Staffers photos courtesy of Karen Federing

So the next time you see idle ushers, be sure to ask them what they fill their time with when not in the historic Opera House. I’m sure they will gladly tell you! For most, this is their first time in Colorado and an exciting new experience.

Character Spotlight: Joanna Mongiardo (THE BREASTS OF TIRESIAS’s Thérèse and GIANNI SCHICCHI’s Lauretta)

2011-07-07T14:30:00.000-06:00

The Opera Insider caught up with Joanna Mongiardo, who performs in two of our one-act operas this summer, Gianni Schicchi and The Breasts of Tiresias.

We’re so glad you are returning to Central City Opera to play exciting roles in two of our one-act operas this summer. We’ve seen you on our stage before as the beautiful Baby Doe in 2006 and the charming Eurydice in 2010’s Orpheus in the Underworld. We remember that you were also a Central City Opera apprentice artist a few years ago.

Lauretta in Gianni Schicchi is a somewhat typical soprano ingénue role. How do you approach creating a young, naïve character to make her interesting?

Well, it helps that I get to sing one of the most beloved arias of all time, "O mio babbino caro." I enjoy singing the young ingénue. I think there is something refreshing in portraying a young woman who is newly in love, passionately so, who will stop at nothing to be married to her beloved. And, keep in mind that "ingénue" doesn't necessarily mean "unintelligent". Lauretta is, after all, the daughter of the clever Gianni Schicchi.

Central City Opera’s GIANNI SCHICCHI (2011). Pictured: Joanna Mongiardo (Lauretta). Photo by Mark Kiryluk.

Thérèse/Tiresias in The Breasts of Tiresias is NOT a typical soprano role. She’s a woman who becomes a man in a very surreal story. What appeals to you about this role?

I love that Thérèse doesn't want to be confined by traditional convention. She has a fire in her belly, wants to try new things, wants to see the world and be what she wants to be. In refusing to be beholden to traditional convention, she turns convention on its head! She assumes the male role and grows a beard, while her husband in turn assumes the female role and starts having babies. It's wonderfully improbable and totally enchanting at the same time. What I love most though, is that Thérèse, after taking her freedom, ends up right back in the arms of her husband. But, this time, as a more "complete" woman who is happy to be there.

Central City Opera’s THE BREASTS OF TIRESIAS (2011). Pictured (L to R): Daniel Belcher (Le Mari), Joanna Mongiardo (Thérèse). Photo by Mark Kiryluk.

Your career took you to Germany for a time. What are the differences between being an opera artist in Europe vs. the United States?

Surprisingly little difference! The same standards of preparation and artistry apply in both the U.S. and Europe. The main difference, especially in Germany, is the luxury of longevity. Here in the States, we are often on a gig for three weeks, have a limited number of performances and then are off to the next opera somewhere else. Being a Fest singer gives you the opportunity to really sink your teeth into a role, because you may sing it 7-10 times a season, year after year. Central City also provides that rare opportunity to repeat a role with up to 18 performances a summer.

Please comment on your experience as an apprentice artist at Central City Opera. What did you learn or practice in the artist training program that helped you in your career development?

I believe that Central City has been the single most influential company in my development as an artist from the very beginning of my career. I first came to Central City Opera as a Studio Artist right out of college and benefited greatly from the structure of the young artist program. John Moriarty and the rest of the Central City Opera staff taught me essential tools for becoming a professional – proper audition techniques, diction, stage craft, the challenge of learning a lot of repertoire in a short period of time. You name it, they taught it. I am still putting that knowledge to use every time I get on stage.

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 Deborah Morrow, Director of Education & Community Programs. Check out many more insider interviews and background on all of the main stage operas this summer.

Spotlight on Kathleen Kim (AMADIGI's Sorceress Melissa)

2011-07-07T10:12:00.001-06:00

Photo credit Dario Acosta

This summer, soprano Kathleen Kim returns to Central City Opera to perform as the villainous sorceress Melissa in Amadigi di Gaula. Described as "stellar" (Boulder Daily Camera critic Wes Blomster) with a "big, gleaming voice" (Denver Post critic Kyle MacMillan), Kathleen has been admired from coast to coast (and beyond), and has performed for Boston Lyric Opera, Lyric Opera of Chicago and several times for the Metropolitan Opera.

For your viewing and listening pleasure, here are some video clips from this summer's production of Amadigi di Gaula. First, the Act I aria, "Ah! Spietato!":

Next, from Act II, "Vanne lungi":

In 2009, Kathleen portrayed the sorceress Armida in Central City Opera's production of Rinaldo. Below is her "Furie terribili" - Armida, enchantress and lover of the Saracen King Argante, arrives to help Argante conquer the Christian army.

Another clip from Rinaldo, here she sings a duet with the Saracen King Argante (Joshua Hopkins):

This Sunday, July 10th, at 8:30 p.m. you can watch Kathleen from the comfort of your own living room. Tune in to Denver PBS Channel 12 for the Metropolitan Opera's premiere production of John Adams' Nixon in China on Great Performances, where she plays Mao Tse-tung's wife Chiang Ch'ing.

You can find many more clips of Kathleen Kim by doing a simple search on YouTube. But there's nothing like hearing this diminutive dynamite in person - join us for Amadigi di Gaula, now through August 6th.

Central City Opera Boutique Offers Wide Variety of Merchandise

2011-07-05T15:48:00.000-06:00

Located conveniently in the historic Teller House, the Central City Opera Boutique is your one-stop shop for great merchandise related to opera. With loads of educational books, CDs and Central City Opera items for sale, there is sure to be something there for everyone. Don't miss the magic wands and magician's hats from The Wizard's Chest as you head into the magical opera Amadigi di Gaula.

Along with various opera-related items, there are numbers of trendy items for the fashionable shopper. Ranging from simple blouses to dramatic opera capes, the boutique offers items such as pashmina scarves, a selection of shawls and wraps and even items such as "Blooming Bags" - purses carefully crafted to look like fabulous floral arrangements. Also featured at the Boutique are the products from more than 5 different consignors, offering a range of unique items. Be sure to try the delicious homemade fudge from Seasonally Yours or grab a light snack there before the show. You will be delighted with all of the fascinating offerings.

Gift Shop Assistant and Festival Staffer Laura Pancoast manages the day-to-day operations of the Boutique. Laura was recently featured in The New York Times for her work at Central City Opera; read the exciting article online.

Be sure to arrive a few minutes early to check out the Central City Opera Boutique before you head into the opera. Daily hours are 11 AM - 6 PM, Tuesday through Sunday, with extended hours for evening performances. Call the boutique at (303) 582-3593 with any questions. You won't know until you go!

Gilligan's Island meets CARMEN and THE SEVEN DEADLY SINS

2011-07-04T14:20:00.001-06:00

What does the TV show Gilligan's Island have to do with this season's fare at the Central City Opera 2011 Festival? More than you'd think!

Just sit right back and you'll hear a tale...

In the 1966 episode "The Producer," our favorite castaways received an unexpected island visit from Harold Hecuba (played by Phil Silvers). Hecuba crash-landed on the island and refused to contact his off-shore boat until he had something to produce on Broadway. Ginger, of course, wanted to audition for him and, long story short, the team put together their own musical using what they could find on the island, including the script to Shakespeare's Hamlet and some of the Howell's opera records. One of these records just happened to be Carmen (instrumental only - how handy).

Unfortunately, due to YouTube controls for these particular videos I can't embed them right here, but you really should follow these links and enjoy:

Hamlet (Gilligan)'s "To Be or Not To Be" to the tune of Carmen's Habanera

I ask to be or not to be
A rogue or peasant slave is what you see
A boy who loved his mother’s knee
And so I ask to be or not to be
So here’s my plea, I beg of you
And say you see a little hope for me
To fight or flee, to fight or flee
I ask myself to be or not to be

There's also Ophelia (Ginger) singing to the tune of The Tales of Hoffman's Barcarolle and then our final Carmen treat: Polonius's advice to Laertes (The Skipper to Mary Ann) to Toreador

Neither a borrower nor a lender be
Do not forget: Stay out of debt
Think twice, and take this good advice from me
Guard that old solvency
There’s just one other thing you ought to do
To thine own self be true

In addition to Carmen, it appears there may be a connection between Gilligan's Island and another one of our operas this summer, The Seven Deadly Sins. There is conflicting evidence on the internet - I know, I wasn't surprised either - as to whether TV writer Sherwood Schwartz has admitted or denied what several fans believe is true: each castaway character represents one of the Biblical Seven Deadly Sins. There are several versions out there explaining which character represents which sin. Gilligan himself is sometimes given the role of sloth, but sometimes is actually seen as the Devil himself, thwarting everyone's plans to get off the island in their own version of Hell. When you get a chance, watch an episode again and see who you think might represent each sin (sloth, pride, wrath, gluttony, lust, greed or envy).

The Seven Deadly Sins just happens to be part of our "Triple Bill "of one-act operas (with Gianni Schicchi and The Breasts of Tiresias) opening next Saturday, July 9. With preliminary timings coming in at under an hour for each of them, you certainly DON'T have to commit to a "three-hour tour" if you just want to see one of them. Of course, we recommend all three! You can also combine The Seven Deadly Sins with our SinFest option, a multiple arts genre event focusing on all of your favorite sins, combining opera with visual arts, dance, food, wine and more.

For more fun uses of opera in pop culture settings, follow our "Where Have I Heard That?" blog series.

Focus On: Ken Cazan, Director of the One Acts

2011-07-03T10:00:00.000-06:00

The Opera Insider caught up with Ken Cazan, who returns to direct this summer's triple bill of one-act operas: Gianni Schicchi, The Breasts of Tiresias and The Seven Deadly Sins.

During this summerseason you will be directing three one-act operas; do you think the rehearsalperiod will be long enough?

Lord,no! This is a thrilling and terrifying job! I have no doubt we will get it alldone and in some style given the cast and designers involved. I plan to sleepfor a month afterwards! Each piece is so unique that I truly relish theopportunity to try to tie them together on some level, to try to find acommon physical language that can be a thru-line for the three pieces. Andit has always been my experience that in working with "the little companythat could," you can accomplish anything you put your mind and heart to(thank you for that, Pat) [Pat Pearce– General and Artistic Director of Central City Opera]. That is the joy ofbeing isolated on a mountain top for four weeks with nothing to distract youfrom the artistic challenges at hand.

How do you prepareand how do you keep each opera clear in your mind?

Thegreatest challenge with these three pieces is the language diversity andthe drastically different nature of each piece: the broad, music hall comedy ofSchicchi vs. the stark, alienationtheatre of 7DSs (as we are referringto The Seven Deadly Sins) vs. thegenuine absurdism and surrealism of Mamelles[The Breasts of Tiresias]. To tiethat all together into one hopefully semi-cohesive evening of theatre thatsays something to an audience is a unique challenge. As for learning them,one simply studies and studies and studies. Fortunately, I teach at amajor university and have access to a rehearsal space on a fairly regular basisand am in there pretty regularly playing with different ideas for thechoreography for 7DSs.

Can you give us ataste for how these operas will work together?

Themain theme of the operas is "home and one's place in that home." Wehave chosen to set the pieces in the period that Mamelles was written, 1947-early 1950s, post-WWII. Dadaism hadreached its peak as an art form and with the beginning of the recovery ofEurope from the devastation of WWII; people had become machines, workingridiculous hours to rebuild their lives and to restore some semblance ofnormalcy. The Dadaists used endless imagery of peoples' bodies with machinesfor heads and limbs and torsos. We construct an actual house on stage as theevening progresses.

First,in Schicchi, the family is desperateto recover some of their former glory but opportunists like Gianni Schicchisimply have better survival skills and outsmart them. The house begins to cometogether.

Thenin 7DSs, the two Annas selleverything they can, including their bodies, to work to build a home for theirrather lazy, judgmental family in rural Louisiana, the little tract homeso popular after WWII. The Annas literally become furniture for the family towalk over and sit on and abuse. The house is even more complete.

Finally,in Mamelles, a society that hasexperienced the devastation of war first-hand cries out to have more children,to repopulate. What is a woman's place in this society? What is a husband'splace in this society? Everyone is working so hard to rebuild their lives, thatthey have lost their humanity and become the cafe table they are waiting on,the messengers become their bicycle, the idea of babies being created in testtubes is given full-throttle exposure in this piece. There is a loss ofhumanity and people have become the things they covet.

Thisis the thrust of the Dadaist message and Cameron Anderson, our set designer,and Alice Bristow, our costume designer, have brilliantly recreated theDadaist style. The house onstage is finally completed when husband and wife in Mamelles agree that it takes bothof them to conceive and produce a child. I wish there was a fourth opera inthis cycle that moved us forward and challenged the classic notion of"husband and wife" as the ultimate family, a hot burner issue for theworld today and for me personally, as a gay man. But that's for anothersummer....

Setrenderings for Central City Opera’s 2011 productions of Gianni Schicchi (above) and TheBreasts of Tiresias (below) by designer Cameron Anderson.

After an accidentthat ended the dancing portion of your career, your roommate, a vocalcoach, asked you to give his singers dramatic training because they were notrequired to take acting courses. Do you find that singers are receivingthis training these days, and what are some basic acting principles you impartto young singers?

I do believe that singers are receiving better actingtraining. People like Chuck Hudson, Ann Baltz, and Stephen Wadsworth aretraining people in a more realistic approach to performing opera. I teach atthe University of Southern California Flora Thornton School of Music and Istress a realistic approach to acting. I was trained by members of the ActorsStudio at Syracuse University and they stressed an extremely organicapproach to performing.

Now,opera is of its very nature an over-the-top art form, heightened dramaticallyby the spectacular music used to express emotion. Consequently, one often hasto stretch the limits of reality to a certain extent. That, to my mind,simply heightens the visceral and sensorial thrill of opera. There is a certainecstasy that can be achieved when all of the stars align and a performance isabsolutely in the groove and the audience gets swept up in that. I alsoheartily believe that ALL singer actors should take movement and dance classes!One has to understand how their body works and be able to adapt to any physicalchallenge onstage. We do two to three dance classes a year during the actingclasses at USC. I wish there was time in the schedule to do more.

What has been yourfavorite opera to direct? What was one thing about the production thatmade it work?

I get asked this question all of the time andit is literally impossible to answer. There have been several favoriteproductions for me and not all were operas. Near the top would be Waiting for Godot with the MilwaukeeChamber Theatre many years ago. A brilliant cast, a five week rehearsal period,digging for the truth in the absurdity: it all came together for a devastatingevening. Salome in Santa Fe in themid-'90s was a thrill, primarily thanks to the late and truly great IngaNielsen. She was an amazing colleague and anything I asked her to try,she did. Last summer's ThreeDecembers here in Central City was a tremendously fulfillingexperience. Joyce [Castle],Emily [Pulley], and Keith [Phares] were amazing and therehearsal period was much more like doing a play thanks to [music director] John Baril's dedication to the drama. Then therewere Dialogues of the Carmelitesand Gloriana at CCO which were greatnot only for my career but also for the opportunity to work with JoyceCastle so intimately.

Central City Opera’sTHREE DECEMBERS (2010). Pictured (L to R): Emily Pulley (Beatrice), JoyceCastle (Madeline) and Keith Phares (Charlie). Photo by Mark Kiryluk.

Central City Opera’s GLORIANA(2001). Pictured (L to R): Joyce Castle (Queen Elizabeth I). Photo by MarkKiryluk.

Last year, I had thehonor to direct the West Coast premiere of Wagner's Das Liebesverbot at USC. Who would have believed that studentscould pull of Wagner with such artistry, integrity, and guts? I don't think Ihave ever been so proud of a cast. I would have to say the number one onmy list is Death in Venice which Ihad the privilege of doing for Chicago Opera Theatre. The elegance andsimplicity of the designs, Danny Pelzig's [directorand choreographer of Central City Opera’s Carmen this summer] brilliant choreography, and Robin Leggate'sother-worldly performance as Ascenbach made an evening that, when the finalblackout happened long after the music had died, created a silence thatthrilled all of us on the production team. The response from everyone wasoverwhelming. For once, I felt that maybe we had fulfilled a bit of what Brittenwas looking for in the piece. I know that that sounds tremendously egotisticalbut those moments are few and far between in our careers and when theydo very rarely happen, you savor it.

You are one of America’s most sought-afterdirectors and have directed more than 140 productions for more than 40companies; what have been your greatest achievements and what are the reasonsfor your successes?

I think the above answer addresses a lot of that. Success to me means workingregularly and steadily in a very fickle business. I will say that theprimary reason for any success I may have achieved is that I have aninsane and wonderful family who constantly challenge and inspire me andencourage my life in the arts. The other thing that keeps me going is that Ihave never shied away from a risk, theatrically. One has to hurl oneselfin to a project up to ones eyeballs. If you fail, you fail; at the leastyou had a mentality and a reason for saying and doing what you did. Our job isfirst to entertain but further to move, to edify, and to educate. Wein the living arts are the historians of the present and the torch bearersof the past. We must always take a risk and stretch an audience's mentality andemotions, whether it is tickling their funny bones or moving them to tears.This risk-taking is the measure of any artist's success.

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.

TODAY: The North American Premiere of AMADIGI DI GAULA

2011-07-02T10:00:00.008-06:00

Georg Friedrich Händel, in his day, wrote over forty different operas. Back in 1715, Amadigi di Gaula premiered with a notably small cast and distinctly colorful score. A musical delight, Amadigi di Gaula is said at times to sound much like the famous “Water Music” which Händel composed for King George I a few years later.

Much like several of Händel’s Italian operas, after Händel’s death Amadigi di Gaula fell into neglect for several years. It was performed roughly twenty times from its premiere in 1715 through 1720, but not again until the 1930s. Today, Amadigi di Gaula makes its first-ever fully staged performance in North America on the intimate stage at Central City Opera. Accompanied by the Central City Opera Orchestra, this unusually vibrant score is sure to be an aural delight.

Countertenor Christopher Ainsle makes his North American debut with the opening of Amadigi di Gaula. Also, making his U.S. debut is British stage director Alessandro Talevi, who is known for his lively, visual approach. Baroque specialist Matthew Halls returns to Central City to conduct this “magic” opera.

Check out this trailer of the London-based artists of Central City Opera’s North American premiere of Amadigi di Gaula. Filmed by Blind Crow Pictures on-site at Georg Friedrich Händel’s London Home.

You can also check out our production photos online. For tickets to this once-in-a-lifetime premiere, call (303) 292-6700 or purchase online. You should also check out Presto!, our family-fun series of events related to Amadigi di Gaula this summer.

Triple Bill Photo Shoot Reveals the Diversity of this Summer's Operatic Offerings

2011-07-01T16:30:00.000-06:00

I had a great time at the photo shoot for the “Triple Bill” earlier this week, but I must admit it left me a little mixed up. You see, each show is under an hour, which calls for few characters and action-packed plots. It made sense that we would shoot photos of singers from all three shows—but when we had them all on the set together and interacting, it had me saying…"which show are they in again?”

The lead performers of the Triple Bill

Joanna Mongiardo as Thérèse

Norman Reinhardt as Rinuccio and Danny Belcher as Gianni Schicchi

Peabody Southwell and Sarah Tallman as Anna I and Anna II

In an effort to organize my thoughts, I made myself this Triple Bill fact sheet that I thought I’d share with you. It certainly helped me and got me excited to see the shows! There are two opportunities, July 9 and 30, to see all three operas in the same night. Tickets for individual one-acts start as low as $10! Come see one or all three. Several other evenings offer a double-bill of the one-acts. Check the calendar for additional information. Get your tickets online or by calling (303) 292-6700.

SHOW TITLE:
GIANNI SCHICCHI

COMPOSER:
Giacomo Puccini

LANGUAGE:
Performed in Italian with English Supertitles

CAST:
Gianni Schicchi — Daniel Belcher

Lauretta — Joanna Mongiardo

Rinuccio — Norman Reinhardt

Zita — Peabody Southwell

QUICK PLOT: Schicchi becomes instantly wealthy and cunningly discovers a way for his daughter to marry the man of her dreams.

SHOW TITLE: THE SEVEN DEADLY SINS (DIE SIEBEN TOSÜNDEN)

COMPOSER: Kurt Weill

LANGUAGE: Performed in German with English Supertitles

CAST:
Anna I — Peabody Southwell

Anna II — Sarah Tallman

Tenor I — Norman Reinhardt

Baritone — Robert Gardner

QUICK PLOT: Anna, with her split personality (Anna I, the singer and Anna II, the dancer), travels through seven cities over seven years, experiencing a Biblical sin in each city along the way while trying to raise money for her family back home.

SHOW TITLE: THE BREASTS OF TIRESIAS (LES MAMELLES DE TIRÉSIAS)

COMPOSER: Francis Poulenc

LANGUAGE: Performed in French with English Supertitles

CAST:
Thérèse — Joanna Mongiardo

Le Mari — Daniel Belcher

General Directeur — Robert Gardner

QUICK PLOT: In this surreal opera, Thérèse is tired of being a submissive woman so her breasts turn into balloons and fly away. Her husband then has thousands of children while she tries to conquer the world.

All of the triple bill operas are directed by Ken Cazan and conducted by CCO Music Director John Baril. Be sure to include one, two, or three of these diverse operatic offerings in your summer plans. You won’t want to miss them!

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

2011-06-30T15:58:00.001-06:00

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 opera...so 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.

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

2011-06-29T16:58:00.000-06:00

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!

What the Heck is a “Knight Errant”?

2011-06-28T18:29:00.001-06:00

"I want you to know, Sancho, that the famous Amadís de Gaula was oneof the greatest knights-errant. No, I’m wrong in saying ‘one of,’ he was the onlyone, the best, he was unique, and in his time the lord of all those in theworld… 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 imitatehim… 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 Medievalknight. 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 firstfeatured in a collection of stories about chivalry, written by Garci Rodríguez de Montalvo and published in Spain in1508. Amadís later became the model forCervantes’ great knight of the woeful countenance, Don Quixote. Amadís is a Chrisian knight errant; courteous, gentle, sensitive, but invincible inbattle.

Accordingto the dictionary, a knight errantis a wandering knight traveling in search of adventure. A knightis 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 historyfrom around the world. In FrenchMedieval history they were called the Paladins of Charlemagne (Amadigi andDardano are Paladins); in Japan, disenfranchised Samurai warriors were calledRonin; in Russian literature Bogatyrsserved as protectors of their homeland.

The term “Medieval” refers to the Middle Ages, a period that lasted from the5^th to the 15^th century B.C.E. During the High Middle Ages in Europe (theperiod in which Amadigi is found), Christian-oriented art and architectureflourished and Crusades were mounted to recapture the Holy Land from Muslimcontrol. The codes of chivalry and courtly love developed during thistime. Chivalry was a moral, religious and socialcode of knightly conduct. The virtues ofcourage, honor, and service were emphasized as well as the idealization ofwomen.

A series of famines, plagues and constant warfare broughtthe Middle Ages to an end, followed by the Renaissance, a cultural movement thatbegan in Italy and spread to the rest of Europe by the 16^thcentury. The Renaissance emphasis onknowledge gained by studying past history (especially Greek classics)profoundly affected European art, literature, philosophy, politics, science andreligion, producing such famed personages as Leonardo da Vinci and NiccolòMachiavelli. The costumes and sets youwill see in Amadigi di Gaula areinspired 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.

Opening Night at Central City Opera

2011-06-27T17:29:00.003-06:00

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!

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

2011-06-26T21:47:00.000-06:00

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.

Character Spotlight: CARMEN's Micaëla

2011-06-25T10:00:00.002-06:00

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.

Finishing Touches to CARMEN Like Icing on the Cake

2011-06-24T07:00:00.003-06:00

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.

Where will Carmen be next?

2011-06-23T13:38:00.003-06:00

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 away...tickets 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?!

Proof.
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 www.centralcityopera.org/denver#Details to see where you can find me!

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

2011-06-22T10:00:00.003-06:00

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.

Madam Lou Bunch Day Offers Historical Fun in Central City

2011-06-21T12:37:00.000-06:00

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.

Making History Again...

2011-06-20T19:05:00.000-06:00

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.

Happy Father's Day from Central City Opera

2011-06-19T07:44:00.012-06:00

Happy Father's Day!

In honor of all the dads, we bring you this wonderful performance by Patrizia Ciofi of the aria "O mio babbino caro" (O My Dearest Papa) from Gianni Schicchi.

An English translation of the lyrics can be found on Wikipedia.

If you recognize the tune, but have never seen Gianni Schicchi, check out our "Where have I heard that?" series for some of its uses in popular culture.

CARMEN Comes to Life With Backstage Photo Shoot

2011-06-16T16:47:00.000-06:00

Walking down Eureka Street, as the time approached for the Carmen photo shoot to begin, I was curiously perplexed as to how an entire photo shoot was going to take place in the scenery-filled backstage area of the Central City Opera House. Among the sets of five productions, in the center, was a vibrant red staircase and set piece that was unmistakably Carmen.

With a few last-minute adjustments to lights and cameras, the singers were quickly being called to the set. In vivid makeup and astounding costumes, the singers demanded presence as they stepped out of the dressing rooms. As the professional photographer and I snapped photos of the singers running through different excerpts from the production, you could see a little shimmer in the onlookers' eyes, silently but assuredly acknowledging that Carmen is becoming a reality.

Kirstin Chávez as Carmen

Kirstin Chavéz with Gustavo Ahualli (Escamillo)

Elizabeth Caballero as Micaëla

Sarah Tallman and Jesse Marks, solo dancers

Kirsten Chávez with Jon Burton (Don José)

Carmen, by Georges Bizet, opens June 25 at Central City Opera with a fresh new look through the eyes of Director Daniel Pelzig, who choreographed the Central City Opera production of West Side Story in 2008. This electrifying story of love, jealousy and murder follows the turbulent romance between Carmen and Don José.

Don’t miss a new look at this timeless opera. Purchase tickets online or call (303) 292-6700.

View Carmen publicity photos by photographer Kira Horvath.

Character Spotlight: AMADIGI DI GAULA's Leading Man and the Countertenor Voice

2011-06-14T14:50:00.001-06:00

South African countertenor Christopher Ainslie makes his Central City Opera and North American debut in the title role in Amadigi di Gaula. Christopher now lives in London and has rapidly established himself as a leading interpreter of Baroque opera and oratorio in Great Britain and Europe.

This summer Central City Opera will have the opportunity to hear another Baroque opera which also means hearing a countertenor or two. Even having heard this voice type before, our readers are continually in shock and awe. Could you briefly explain when and how you came to discover you were a countertenor and what we should listen for in this unique voice type?

Despite the increased prominence of this voice with the revival of Baroque opera, the countertenor is still surprisingly little understood. And this is something I really enjoy - singing in a voice type whose technical and repertoire boundaries are still being actively explored. I came to sing countertenor through my experience growing up in a cathedral choir in Cape Town. After one's career as a boy treble, most singers move to the alto ranks, where they find the range more or less comfortable - I found it very comfortable! I believe any man could train this part of his voice, but for some perhaps the vocal structure makes it easier than for others. My 'other' voice is a light baritone; David Daniels [another famous countertenor] was a tenor... it's a choice to sing as a countertenor.

Technically speaking, the countertenor is not a falsetto, but rather a fully-supported use of the voice, with full vocal fold closure, and an exaggerated tilt to the larynx, which puts the voice into the higher register. Many singers do use the falsetto voice – a head voice, not fully connected to the body – and use forced air-pressure to create the higher register, which results in an airy or 'hooty' sound. (I think this might be where the misconception comes from, that the countertenor voice inherently has a shorter lifespan than other voices. If you blast enough air at any vocal structure, it won't last long! But as the countertenor technique was being developed and explored, this is something that was often relied on, and thought to be the way that countertenors needed to sing.)

I believe the voice should be used technically just as any other voice type (perhaps most easily compared to a mezzo-soprano or alto), and that the standard expected of countertenors has for a long time been much too low! The mere fact that we can sing high is no longer enough, and people are now starting to expect us to match the technical standards of any other voice on stage - and rightly so. Things to listen for, I believe, are the absence of a 'hooty' or airy sound, and a sound that is connected to the body, i.e. not just a head voice. This does not necessarily mean a big sound - alas, far too often audiences seem to be impressed only by volume rather than vocal and expressive artistry - but a refined sound, with a healthy vibrato or "spin" like any other voice. On the whole, the things to look out for in a countertenor sound will be the same as those you look for in other voice types... beauty, colour, emotional and soulful expression and vocal artistry.

This summer you make your United States debut; what does this mean for a singer and what is your reaction to singing on a new continent, not to mention at 8,496 feet?

As for my United States opera debut, I am lucky to be based in the countries where much of the Baroque music we perform has its roots. And it is an incredible thrill to be part of the team bringing the opera for its United States premier. What a privilege and exciting prospect! I have sung in a few operas in the United Kingdom for the first time since the 1700s, and each time it is such a fortunate position to be in – to be presenting an opera for the first time, for all practical purposes; something nearly everyone listening will never have heard before. In a way this takes us back to what it might have been like in Baroque times, before the age of recording equipment, and this is something I find very exciting. As the countertenor becomes more accepted and well known, and as the repertoire grows – both by rediscovery of baroque works and by new composition – I hope this will help open the door to many of the wonderful stages in the United States, and I look forward to coming back again and again!

I have heard of the stunning beauty of the area surrounding Central City Opera, and also of the challenge of singing at such an altitude, and I look forward to both the beauty and the challenge!! As I prepare the role, I am trying to imagine being out of breath all the time... I hope this will help prepare me!

You began your career as a boy chorister and now you are a young singer whose career is really taking off. What advice do you have for other aspiring young artists?

Advice for up-and-coming young artists – I think it is fundamentally important that performers develop their styles based on what is important to them - not what "the industry" expects. Each singer's gift is unique and as valid or special as any other, and I think it is really important to acknowledge where one's performing spirit comes from and lies, and bring this to the stage. This variety of individuals on the stage is something so special...embrace your uniqueness!!

How do you approach creating a new character? Any special research you will do to create Amadigi?

Of course the pure vocal and memory work is a large chunk of preparing for a role, but with this comes a process of personalizing the role, which is crucial in creating a character. While I am learning the music, I develop my personal reasons for every utterance that the character makes. It may sound obvious, but nothing can be sung just because that's what Mr. Händel wrote! In Händel's day, the performers may have approached their roles in a different way. We aim to be true to the musical style, to the best of our knowledge, but the characterization of roles is a very different game to what it would have been (unless we go in for a pure baroque-gesture performance, but that's not what this show is about!). For me it is about finding a direct link to my centre, and allowing this to come through in the music Händel wrote, and feeling how that is expressed in my physicality. Then I arrive at rehearsals, and the creative process together with the rest of the cast and musical and stage directors begins, and this is something I look forward to with great anticipation!!

MUSIC AND MARTINIS Mixes Opera and Opulence

2011-06-13T16:36:00.001-06:00

Scintillating décor met delightful dining and musical magnificence at the third-annual Music & Martinis at the Cable Center at the University of Denver last Thursday. The event offered the first glimpse at some of this year’s Apprentice Artists of the Bonfils-Stanton Foundation Artists Training Program, a ten-week intensive program created by Central City Opera’s Artistic Director Emeritus, John Moriarty.

Costume sketches by Sara Jean Tosetti, available for the silent auction

The fundraiser event started with cocktails and a silent auction on the upper level of the Cable Center and then continued with dinner, live entertainment by the Apprentice Artists and a live auction. The evening also offered a special “auctioned” performance by John Moriarty and Central City Opera’s General/Artistic Director, Pat Pearce.

Emcees John Moriarty, Pat Pearce and Matthew Halls

Auctioneer Gary Corbett

Apprentice Artist Andrew Harris

Jonathan Winell and Andrew McLaughlin on and off the video screen.

Apprentice Artist Annie Rosen

Also in attendance were the principal singers from the upcoming performance of Amadigi di Gaula - Katherine Manley, Kathleen Kim, Christopher Ainsle and David Trudgen. The conductor of Amadigi di Gaula (and an emcee for the evening), Matthew Halls also accompanied Christopher Ainsle on piano for one of the final performances of the night. And to top off the evening, the Apprentice Artists joined together for a rousing chorus of Toreador from Carmen.


AMADIGI DI GAULA's Christopher Ainslie, accompanied by Matthew Halls

The Apprentice Artists will be featured in various roles throughout the Central City Opera Festival. However, be sure to get your tickets to the Nina Odescalchi Kelly Family Matinees of Carmen on July 28th and

Amadigi di Gaula on August 4th, where the young artists will perform the lead roles.

For tickets or more information CLICK HERE or call (303) 292-6700.

Photos by Mark Kiryluk and Jake Sinatra.

Celebrating 78 Years of Sin

2011-06-07T08:00:00.002-06:00

The origin of sin is oftentimes traced back to Eve’s time in the Garden of Eden, but on this date (June 7th) in 1933, a new look at sin was introduced at the famed Parisian Théatre des Champs-Elysées with the premiere of Kurt Weill’s The Seven Deadly Sins.

This satirical opera of seven scenes was the last collaboration of Kurt “Mack the Knife” Weill and librettist Bertolt Brecht. The story follows the split personality of Anna (who is known as Anna I, the singer, and Anna II, the dancer) as she travels through seven American cities over seven years. Anna gathers money during her travels to send to her family so that they can build their dream home. However, she is confronted with a different Biblical sin—sloth, pride, wrath, gluttony, lust, envy, and greed—at each stop along the way.

Though originally received with amazement in Paris, especially since the opera was in German, the opera went only to London in 1933. The Seven Deadly Sins then went unperformed until the 1950s when it was revived by Weill’s widow, Lotte Lenya, who originated the role of Anna I, the singer.

Below, check out the Prologue in this unnamed film version of The Seven Deadly Sins:

After Central City Opera’s July 16 and July 24 performances of The Seven Deadly Sins, be sure to indulge in a progressively sinful experience—SinFest.

Follow the alluring fire-dancer Melinda Rivers to an indulgence of edgy dance from Ballet Nouveau Colorado, slam poetry from Ken Arkind and LuciFury, experiential art like the sin graffiti wall and a photography exhibit of the sins directed by Mark Sink, co-founder of the MCA Denver. The night then unleashes gluttonous fare including decadent desserts and tasty bites from Kevin Taylor and sips of the 7 Deadly Zins wine from Michael David Winery.

On July 16 and 24, SinFest starts with the opera at 4 pm and continues through 8:30 pm. Tickets are on sale now for just $50 (including the opera) and a party bus is available for an extra $20. Jump on the bus at the Four Seasons downtown for a glass of bubbly or beer and head up to sin in style. The bus heads up to Central at 1:00 pm and leaves Dostal Alley at 9:00 pm. For tickets, please call (303) 292-6700 or visit www.centralcityopera.org/sinfest for more information.

Eve may have been the first to sin, but she certainly won’t be the last. Make your way through the temptation with Weill’s The Seven Deadly Sins and the alluring SinFest.

AMADIGI DI GAULA Armour from Aurora, Colorado

2011-06-04T14:00:00.006-06:00

Back Porch F/X, a local company in Aurora, Colorado, is making the armour for the sorcerer Melissa in our North American premiere of Georg Friedrich Händel's Amadigi di Gaula. They recently posted some in-process photos on Facebook.

Fresh out of the mold - bronze armour for the Central City Opera sculpted by my student intern Jonathan Rash, USMC, Ret. and modeled by my student assistant Crissy Bender. (Description by Back Porch F/X)

Same bronze armour trimmed and painted. Well done, Marine! Sure looks like bronze, even though it's rubber and only weighs 1 lb. (Description by Back Porch F/X)

The armour above is for Melissa's Roman costume. As we're setting this opera in the Renaissance (imagine a Harry Potter-like world of science, magic, and cool clothes), she'll also have an Elizabethan costume, as seen below.

Preliminary costume rendering of Melissa the Sorceress in this summer's production by designer Madeleine Boyd.

Melissa is played by Kathleen Kim, who recently played Zerbinetta in the Metropolitan Opera's production of Ariadne auf Naxos. She also played the magical Armida in our 2009 production of Händel's Rinaldo.

Kathleen Kim (Armida), center, surrounded by her servants in Central City Opera’s RINALDO (2009).
Photo by Mark Kiryluk.

Do these costumes inspire you (or your kids) to dress up in magical attire, too? Well, you're in luck! Our August 4th, 2:30 p.m., Family Matinee of Amadigi di Gaula includes a costume contest! All kids are welcome to dress up in a magical/wizard or princess costume and be eligible for prizes from the Wizard's Chest. There will also be a wizard and magic show before the matinee, for even more mystical fun. For additional family-friendly activities this day, add-on our Take a Child to the Opera package, where you'll gain inside information about the opera accompanied by pre-performance fun activities, theatre games, and a post-opera talkback. You can also meet the cast afterward for an autograph session.

Watch for this locally-made armour when you're watching Amadigi di Gaula this summer! We can't wait to see what costumes YOU create!

Watch the video trailer and view more information on Amadigi di Gaula, opening July 2nd.

Update July 15, 2011: Read this Aurora Sentinel feature on the effects shop that built the armour.

New Festival, New Look and New Life in Central City

2011-06-03T12:15:00.000-06:00

[Editor's Note: Here's the first blog post from our new Public Relations Assistant and 2011 Festival Staffer, Jake Sinatra.]

Just as the trees begin to bud in Central City, new life abounds thanks to the Central City Opera Guild. The Guild swept over Central City this week for their annual “Planting Day.” All of the Central City Opera properties were refreshed with colorful flowers, serving as a reminder that the 2011 Festival is surely approaching.

The beginning of June also marks a sort of death and rebirth for the opera world—on June 3rd in 1875, Georges Bizet passed away at the age of 36 and exactly three months after the premiere of his legacy, Carmen. Much speculation circled around Bizet’s untimely passing, but it is almost certain that his death was due to heart failure. Regardless, Bizet remains well known today through the consistent performances of his masterwork. Even though Carmen was not initially well received, its return to Paris five years after Bizet’s death marked the beginning of the opera’s long-running success and establishment as a beloved staple to the opera repertoire.

With death comes new beginnings, some say, and this remains true as June 3rd also marks the date of the premiere of The Breasts of Tiresias, which opened in Paris in 1947. Poulenc based this comic opera on the play of the same title by Guillaume Apollinaire, which was first performed in 1917.

Don’t miss Bizet’s Carmen and Poulenc’s The Breasts of Tiresias, both of which are a part of this year’s Festival. Carmen will open on June 25 and The Breasts of Tiresias will be featured as a triple bill with other one-acts Gianni Schicchi and The Seven Deadly Sins, starting July 9th.

Below are some photos of the “new life” in Central City, courtesy of the Central City Opera Guild’s “Planting Day”:

Credit: Nancy Parker.

Credit:  Jake Sinatra.

Carmen Like You've Never Heard It Before

2011-06-02T14:00:00.006-06:00

And now for something completely different...

You know that sultry "Habanera" from Carmen? Once you hear the music, you'll never forget it (even if you might forget the name of the tune or the fact that it's from an opera). It's also one of those "ear worms" that can stick with you for most of a day if you let it. Well, I bring you a NEW way to hear it...

Maybe this will come into your mind the next time you hear a traffic horn, and bring a smile to your face!

Fashion, Fun and Sin with Central City Opera's Young Professional Events

2011-05-20T16:43:00.001-06:00

The following post comes from our Young Professionals (YP) Project Manager, Heather Brecl.

It might not even be fair that I have the most fun job ever! The last two nights were incredible as we unleashed our Central City Opera energy at two fantastic happenings in Denver and Boulder.

Mondo fashion night: Wednesday night, we joined forces with vitaminwater at the Museum of Contemporary Art (MCA) in a celebration of fashion and design, two of the many elements that make opera what it is! Eight young local designers created fashions inspired by the colors of this hip vita-drink. Their designs hit the runway for a crowd of 300 revved and happening Young Professionals to watch Project Runway's Mondo Guerra pick the hottest, edgiest design. The winner walked away with Mondo's stamp of approval and $1,000 from vitaminwater. The crowd also left as winners. Drinks that whet their appetite for fashion were served all evening from the bar, along with tasty bites from Three Tomatoes (including a decadent spread of desserts in the enormous elevator at the MCA. Hmmmm.... wonder how I knew about that!). They also received colorful gift bags that included our Central City Opera Festival brochure, and tasty vitaminwater to take home.

YP Project Manager Heather Brecl with Mondo of Project Runway

The crowd applauds the winning design.

Central City Opera staff struts their stuff on the runway, too!

Central City Opera representatives Erin Joy Swank, Heather Quiroga, Valerie Hamlin and Heather Brecl

Ignite Boulder: After what seemed to be just a short break from the night before, a new Central City Opera YP friend and local Boulder comedienne, Robyn Krueger, lit up the stage at Ignite Boulder on Thursday night at the Chautauqua Auditorium. If you haven't been to an Ignite Boulder, you won't want to miss the next one. What is it? It's a cult of epic proportions. Every event is sold out. Last night, wrapped in our coats or whatever wasn't packed away for the winter, 1,300 (yes, there really were THAT many YPs out to listen to "presenters") people packed into the enormous barn to listen to "geeks" present on their favorite topics. Now, I don't know about you, but most of us can say that we are all too familiar with sin. Robyn brought the audience a little closer to "getting in touch with their inner sinner" in a hilarious and all-too-familiar glance at sin and pop-culture. Perhaps you were at home and tucked into your bed watching the live stream. If not, be sure to check out Ignite Boulder's YouTube channel in the next week or so to see what Robyn had to say. Then, go forth and sin. Where???? My best suggestion... SinFest this summer "up on the hill" in Central, July 16 and 24 from 4-8pm. Enjoy a touch of opera and a big splash of sin. [Details]

The crowd. Also check out the line of folks waiting to get inside!

YP Project Manager Heather Brecl and Director of Marketing Valerie Hamlin

Ignite Boulder organizer, Ef Rodriguez, on guitar.

Central City Opera sponsored the evening with witty ads all night.

Presenter Robyn Krueger

Robyn, Heather and Valerie

Next time we invite you to a Young Professional event, I hope we'll see you there!!

Central City Opera On The Road

2011-05-11T11:38:00.002-06:00

One of the fun aspects of being a part of the year-round Central City Opera staff is "loading up the opera bus" and presenting our school shows around the state.

The Central City Opera Ensemble recently headed to Leadville, Colorado

where, with the financial sponsorship of the Breckenridge Music Festival, we performed En Mis Palabras (In My Own Words) for Lake County middle and high school students. A bilingual (Spanish and English) opera commissioned by Central City Opera, En Mis Palabras is a story that every student, no matter what his or her cultural background, can relate to - the adolescent dilemma of finding your own voice, learning who you are – and the adult dilemma of knowing when and how much to let go so that a young adult may safely develop that sense of self.

Central City Opera's EN MIS PALABRAS (IN MY OWN WORDS), Pictured (L to R): Steven Taylor (Esteban), James Baumgardner (Rodolfo) and Chelsea de la Cuadra (Ana Maria). Photos by Erin Joy Swank.

In addition to the performance, we did get to spend a little time enjoying the sights of Leadville,

including the Tabor Opera House, built in 1879 by Colorado mining magnate Horace Tabor. This building is featured in the opera The Ballad of Baby Doe, which Central City Opera premiered in 1956. Tabor had his hand in nearly everything in Leadville and we found ourselves singing the opera lyrics out loud:

Tabor owns the op'ry house, Tabor owns the big hotel,

Tabor owns the honkey tonk, Tabor owns the whole darn town!

Tabor owns the groc'ry store, Tabor owns the bank as well.

Tabor also wants to own that old Matchless Silver Mine.

In our traveling troupe that day was baritone Steven Taylor, who has portrayed Horace frequently over the years, including performances in the Tabor Opera House. He pointed out that the 5th side window in the picture below is a little lower than the others, as there had previously been an upper walkway there to the Clarendon Hotel next door. Apartments above the Opera House could be accessed this way as overflow for the hotel. These days you can no longer ask Horace, "Can you direct me to the Clarendon Hotel," as it has been torn down. Somehow "Yonder is the Kum & Go" just doesn't have quite the same ring, does it?

We had a great time both presenting and reminiscing about opera on our day-outing to Leadville. If you want to learn more about the story of Horace Tabor and his wife Baby Doe, you can check out a recording of The Ballad of Baby Doe. You can also see selections of it (as well as the story of other Colorado pioneers including the "Unsinkable Molly Brown" and "Aunt" Clara Brown) in one of our other school performances, How the West Was Sung.

Seven Deadly Sins Meets Facebook

2011-05-04T16:51:00.002-06:00

A friend of mine posted the following warning on Facebook today:

Attention! How to spot virus links on Facebook: Hackers are smart, they know what type of posts will get people to click. Think of the seven deadly sins - Envy and Pride (OMG SEE WHO VIEWED YOUR PROFILE), Wrath (OSAMA DEATH PHOTOS), Lust (PORNISH PHOTOS), Greed (FREE IPAD!), Laziness (PEOPLE NOT THINKING BEFORE THEY CLICK!).

If you want to experience the seven deadly sins IN PERSON, call the Central City Opera Box Office at 303-292-6700 and indulge in an evening of sin for just $50! Get in touch with your inner sinner on July 16th and 24th during SinFest, a progressively sinful experience. See the one-hour Kurt Weill opera The Seven Deadly Sins, followed by edgy dance, experiential art, gluttony at our very own Lucifer’s Lair Bar, and much more.

Apprentice Artist featured on NPR's All Things Considered

2011-04-26T17:07:00.001-06:00

We were rather proud today to recognize a member of our 2011 Bonfils-Stanton Artists Training Program on today's episode of NPR's All Things Considered. Take a listen to this fun operatic twist on the topic of U. S. Home Prices!

Timothy J. McDevitt (pictured left) will be an apprentice artist this summer and is a past studio artist as well.

You Know More Opera Than You Think You Do

2011-03-23T13:24:00.001-06:00

In our continuing series of "Where Have I Heard That Before?" I bring you a few more popular uses of the music from this summer's productions.

This week, I found this sweet clip using "O mio babbino caro" from Gianni Schicchi. It's from the Peanuts special You're a Good Skate, Charlie Brown. Good ol' Woodstock to the beautiful, poetic rescue! (And how many times do you get to see Peppermint Patty all dressed up?)

I played the clip above for a friend who said "That's from Gianni Schicchi? I know that one!" This same friend went so far as to re-post the clip on her Facebook page with the comment, "You know more opera than you think! Maybe you've even hummed this in the shower!" Yes, this aria is one of the most popular "opera tunes," though I'm not sure it's ever made it into my early-morning routine.

And for another opera clip, how many of you recognized Carmen's "Habanera" in an early scene of the Disney/Pixar film Up?

I guess opera is a part of Carl's early-morning routine. The scene just wouldn't be the same without the Carmen underscoring!

Happy Birthday, Francis Poulenc!

2011-01-07T15:15:00.001-07:00

On this date in 1899, composer Francis Poulenc was born in Paris.

Through the wonders of YouTube, we are able to observe Poulenc himself, accompanying soprano Denise Duval for a 1959 concert version of the soprano aria from Les Mamelles de Tiresias (The Breasts of Tiresias). As a special treat, Poulenc "sings" at 4:45 into the video.

Join us this summer for The Breasts of Tiresias, the knight in shining armor tale that follows Amadigi and Dardano, who are both determined to win the hand of Princess Oriana. Challenged by the potions and power of a sorceress with the help of demonic spirits, true love prevails in the end. This one-act opera will be performed in a rotating double bill with Gianni Schicchi and The Seven Deadly Sins.

Now Playing at a School Near You: The Great Opera Mix-Up

2010-12-16T16:34:00.002-07:00

"For drama that can't be beat, surprise them with something sweet."

- Lyrics from The Great Opera Mix-Up

The auditorium at Cory Elementary School in Denver was filled with laughter and familiar opera melodies this morning with two back-to-back student assemblies by Central City Opera's Ensemble Artists. Singers Leslie Remmert-Soich, Erin Hackel and Aaron Pearson (accompanied by Deborah Schmit-Lobis) sorted out a zany operatic mixup, with help from students

and a few brave teachers.

Ultimately, they discovered that opera is simply storytelling with plot, characters, conflict, resolution – and music. And surprise – opera’s fun!

Photos by Erin Joy Swank

The Great Opera Mix-Up is just one of Central City Opera's many Education & Community programs that enhance existing curriculum for young students and lifelong learning for everyone. We work directly with educators, community leaders, students and parents to make these offerings relevant, educational and entertaining. To find out more, visit www.centralcityopera.org/education or contact the Education and Community Programs office at (303) 331-7026.

Puccini's Famous Aria "O mio babbino caro"

2010-12-13T14:56:00.005-07:00

Gianni Schicchi, which Central City Opera will present in 2011, contains one of the best-known arias of the opera world - "O mio babbino caro." It has been used as the soundtrack for countless films and commercials, and even brought fame to 10-year-old Jackie Evancho on America's Got Talent.

In the film world, you'll find it in a wide variety of movies including G. I. Jane and Mr. Bean's Holiday, but it may be best known as the title track to A Room with a View.

While both of the above videos are beautiful examples of Puccini's aria, would you believe the piece was also used to promote the video game Grand Theft Auto III?

Happy December!

2010-12-01T15:08:00.004-07:00

Download your December 2010 desktop wallpaper calendar (available in two sizes). Happy Holidays from our family to yours!

What's that vine in Central City?

2010-10-13T17:16:00.002-06:00

Next time you make it to Central City, take another look at the plants growing there. Did you know some of them are hops? Yes, the same hops that go in those tasty beverages. Westword's "Beer Man," Jonathan Shikes, just wrote an interesting blog about it: "Wild hops keep Central City's history alive."

Dostal Alley owner Buddy Schmalz shows off the hops vines around his home.
Photo from Westword's blog.

Look for those vines as you walk around historic Central City, and maybe sample the results at Dostal Alley!