Mozart 101 with Sherri, Class #1

In truth, I had orchestrated my own disaster. The memory of my eighth-grade field trip kept running through my head. A grumpy conductor had stopped the program in order to lecture our group on the proper etiquette of applause. I decided then and there never to pay good money to be chastised for spontaneous clapping. Twenty years later, I arrived late and frazzled to the small community theater hosting Mozart 101, sparing only a passing frown at the gentleman who had just beaten me to a prime parking space and added three minutes to my tardiness.

The program began with a few words from Opera Omaha General Director John Wehrle introducing a collaborative program between Omaha Conservatory of Music [http://www.omahacm.org] and Opera Omaha. To further this endeavor, two adolescents took the stage against a jumble of props from a recent play. A mannequin dressed in watch-cap and pea-coat watched benevolently as they prepared.

Jennifer and Jehong Ahn communicated with the nods, gestures and eye rolls exclusive to siblings before tucking their instruments under almost identical chins. And then they played. Like a cathartic release, the notes seemed to untangle the complexity of human emotion into pure, harmonic sound. Equally inspiring, Hannah Pinnt Music performed Mozart’s Concerto in D Major with accompanist Dr. Karen Sigers.

I carefully waited until everyone else in the theater began clapping before I joined in the applause.

Then poet Matt Mason[http://midverse.com/Masonpoems.html] entertained the audience with an historical perspective of 18th century poetry. Full of love and loss, tragedy and jealousy, poetry contains many of the same themes today as it did 200 years ago. Inspired by a play, Lorenzo Da Ponte wrote the libretto for The Marriage of Figaro, carefully removing any overt political humor that would alienate Emperor Joseph II, while exploiting current views of the day to entertain his audience.

Garnett Bruce ended the program with music from The Marriage of Figaro, reminding us that the human voice is one of the most beautiful instruments of all. For me, art should always inspire emotion. I wish that I had not been so intimidated all these years. I try to remember this: a true artist is passionate about their work, and a true intellect can converse at any level. Artists who love what they do want to share with you—not exclude you.

After all, art is not about what you wear to the theater, or whether or not the usher is rude to you, or feeling intimidated by a conductor. Opera is about the performance—people who have spent years refining their talent in order to share their passion with an audience. Mozart had a singular talent for creating music that was accessible to everyone. And the more you know, the less likely you are to be intimidated. I hope you’ll join me on December 7th for the next installment of Mozart 101. Performances by the likes of Jennifer, Jehong and Hannah should not be missed!

Mozart 101 with Sherri

Everything I know about Mozart I learned from the movie, Amadeus. If memory serves, the Viennese made some rather naughty-looking chocolates named after a part of the female anatomy, and Mozart had a silly laugh. In my defense, when the movie premiered twenty-five years ago, I was busy putting the perfect slouch on my leg warmers and teasing my hair to heights that would have made a Georgian-era wigmaker proud.

In an effort to overcome my meager knowledge of classical music, I bought an album entitled, “ Mozart for Your Mind”. With iPod in hand and an earnest desire to boost my brainpower, I sat down to listen. Keep in mind, I can’t read music, I’m tone deaf, and my singing voice can only be described as horrific.

Imagine my surprise when the composition reverberating through my ear buds resonated on a perfect emotional pitch! I sent Amadeus right to the top of my Netflix Queue. I mean, can you imagine the killer soundtrack? Then I started looking for ways to improve on my new-found appreciation of all things Mozart.

On Monday, November 9th, I’ll be joining Opera Omaha in a four-part lecture and performance series to learn more about the life and work of Wolfgang Amadeus Mozart. Please accompany me on the journey as we answer these burning questions: Can a person who once confused the word ‘opera’ with ‘Oprah’ be taught to appreciate classical music? And…In 150 years, will ‘rum balls’ be considered ‘naughty’?

PS: If there’s a good turnout, I might even be persuaded to reveal a picture of my 1980’s hairdo.
Sherri Shackelford | Mozart 101 student

Brundibar: Beth Seldin Dotan of the IHE

Brundibár was a glimmer of an idea a number of years ago for the Institute for Holocaust Education. We wanted to optimize the number of students who would see the production and found a wonderful partner in Opera Omaha to accomplish our goal. After the first 4,000 students or so came through, we all looked at each other in a daze realizing the impact this story was to have on so many people. A few of the best comments I have received are the people who approached and asked if our cast was a professional touring company – and I proudly answered, “No! Except for our wonderful ‘Brundibar’ the cast were all Omaha and Lincoln students.” I also attended a community event this week with Ela where I heard a great buzz among the crowd about her and the upcoming public show on Saturday night! We hope to see you there!

Brundibar: The Two Aninkus

Grace Bydalek and Aubrey Fleming are about halfway through the eleven performances of the children’s opera Brundibár. They share the lead role of Aninku, a young girl trying to care for a sick mother along with her brother Pepíček. Double cast due to the number of performances, when not Aninku, Grace’s has the alternate role of the Dog, while Aubrey plays the Sparrow. The Dog, Sparrow and a Cat help Aninku and Pepíček defeat the town bully, Brundibár.

If their names sound familiar, it’s because they both are veterans of numerous productions on the Opera Omaha, The Rose, and Omaha Community Playhouse circuit in addition to both have done voice work for the “Strawberry Shortcake” DVD series. During Opera Omaha’s 50th Anniversary season, they worked together in another children’s opera, All The King’s Men.

Grace and Aubrey have often auditions for the same roles, but experiences like Brundibár have allowed the two to form a true friendship. Don’t miss out on seeing these two amazing young artists in action at 6:30 pm on Saturday, November 7 at The Rose Theater.

Brundibar - David Ward in the title role

I did not know the opera before but discovering it in this production has been a delight. As I hear the orchestra play its complex melodies and then hear the children sing so simply and lyrically, I am amazed that such an intricate composition can be so simple and straight-forward. And the tunes stay with me - I can't get some of them out of my head. Though thoroughly Eastern European (I keep hearing Janacek in the way the music twists and turns), I am reminded of the final children's chorus from Britten's A Midsummer Night's Dream. Both Krása, the Brundibár composer, and Britten use a haunting melody in their final lullabies. The result is a very gentle, soothing and comforting effect. I can see how this brief opera would have been a comfort to the children in the concentration camp where it was performed.

It is also a powerful and accessible story. Two children just want to care for their sick Mom while their friends, both human and animal, come to their aid. In the process, they defeat the oppressive and unkind organ grinder, Brundibár. You can see the evil in Brundibár but I don't think it is scary. This story comes from such a tragic time but its purpose is to uplift and provide hope. I feel that very powerfully. And that feeling comes from the cast of children, all of whom are so committed, energetic (as kids will be), and full of the zeal that we expect from young people.

It is very gratifying to be the only adult in this cast. The children are so supportive of me and each other. I have spoken at several schools and I am so pleased at the energy and interest the cast kids and their school friends have shown about this show, about music, and about being part of something special. Because this experience is very unique, I am thrilled to be a part of it.

Brundibar - Hal France, Conductor

Tomorrow we begin the student performances of Brundibár. The Rose is the absolutely perfect stage and best theater in Omaha for us to do Brundibár. Being part of the group that organized this excellent project, we were thrilled when Julie and James at Omaha's Theater Company for Young People found these great dates for our production. We are all very grateful for the help and support of the theater.

Brundibár is a project that I hoped the Omaha community would experience. Going back to the late 90's, I thought it would be a great thing for Opera Omaha to do at the Rose Theater. Our upcoming shows, 11 in all, are just a fantastic thing! Not easy to say how many people and organizations have helped make this happen.

I would start by mentioning the brainstorming and activism of Eunie and Debbie Denenberg and Fred Simon (they call him Freddy, but I don't dare). Through their efforts the Institute for Holocaust Education and the very resourceful Beth Seldin Dotan began to consider a run of performances of this opera for middle school audiences. The opera is of itself a marvelous children's fable about the importance of friends when dealing with great trouble. The trouble is Brundibár, the organ grinder, who monopolizes the performance of music in a small town. Sounds innocent, but the tactics of well organized bullies in a fable is intended to bring to mind governmental dictators. The history of Brundibár at Terezín in Czechoslovakia where thousands of Jews were held and eventually sent to Auschwitz during the Holocaust makes it impossible to not think of the Nazis and of Hitler when considering the plot of the opera.

I should mention, that last year, the Omaha Conservatory under the direction of Ruth Meints and Cindy Sloan, did a production of Brundibár using young instrumentalists as the cast. They did a nice performance at the JCC. As far as I know, it was the first time it was performed in Omaha.

One of the many good things that happened on the way to our performances this week was the joining of Opera Omaha's new General Director, John Wehrle to the team. Through then Board President Kim Simon and other communicators, John heard about our idea and embraced it. We never could have done this kind of show without the skill and talent of Opera Omaha's excellent staff: Mark, Brad, Blythe, Tara, Jen, Sarah, Joe, J., Kelly, Maggie, and Tom,... forgive me if I'm forgetting someone.

Beth along with Eunie and Debbie made contact with Ela Weissberger over a year ago and invited her to be a part of these presentations to Omaha Middle Schools. Ela is a remarkable woman who originally played the role of the Cat in Terezín. She has been present at many productions of Brundibár, adding her perspective to the experience for many who have just seen the opera. We are so fortunate that she will speak with our audiences about her experience of the Holocaust, Terezín, her family, her fellow cast members, etc. At the end of every presentation, the company will perform an encore of the Victory March with Ela and the entire cast.

Up high on the list of good things, also the marvelous audition turnout we had in the spring when many of our cast members were selected. They've been a fabulous group to work with.

Our orchestra was put together by J. Gawf who keeps on getting better in everything he does for opera in Omaha. We have an orchestra of 16 players, nine professionals and eight young players who study violin with Anne Nagosky. Anne is our concertmaster and we couldn't be luckier to have some of her many students playing with us.

Karen Spurck and her choir from Morton Middle School heard about the production and joined us in early September. They've added so much to the production and have been great to work with. We are grateful to Karen!

David Ward a splendid singer and actor from the national ranks of opera professionals is taking the role of Brundibár and bringing great humor and theatrical flair to it.

We were also amazed that the National Humanities Conference was coming to Omaha exactly the week of Brundibár. This subject and project is a perfect match for that group of national leaders in the humanities. We hope many will be present at our final show.

Finally, our stage director Helena Binder began shaping the production and the staging last week. Her energy, passion, spark and playfulness are perfect for this show! A former dancer, she's demonstrates the movements of the cat, the dog and the sparrow particularly well. All the performers and our whole show are in great hands.

Pagliacci - Notes from final dress by Garnett Bruce

Last night was the final dress rehearsal for Pagliacci – we were able to run the acts without stopping for the most part. While we have gradually moved to running scenes and then bigger chunks of the piece - transition moments, entrances & exits often require adjustment from the work we did in the rehearsal room and our initial stage/piano rehearsals. Final dress is also one final chance to resolve the lighting cues. Ben Pearcy, our lighting designer, has focused the stage lighting with a variety of colors to both light the artists (especially their faces) and to shift the mood to mirror the emotional journey of the score. We made a number of notes at the last rehearsal, and now we need to review our work, edit our choices and see it again. We work a great deal balancing color temperature – something too bright and the life gets washed out of the picture, but something too dark or too saturated, and details are obscured. Some of the gentle gel color in the lights turned the actors’ skin and costumes the same color as some of the scenery, so that’s at the top of our list to remedy. It involves electricians on ladders crawling out to lights hung way overhead or on the balcony rail – often a time-consuming process – but it’s something you can’t really know until you put the whole picture together. Ben directs our eyes to the climax of the story in each scene – and it’s often amazing to see a set under “work-light” (normal overhead lights) and see it spring to life when the stage lights are turned on it (or in many cases, artfully turned off).


Monday was our first stage/orchestra which went quite well. But there are always those “ensemble” places between stage and orchestra that can be a challenge. A chorus (and cast) used to hearing the percussive piano has to adapt to the smoother lines of woodwinds and string instruments. Verismo opera is notorious for shifting beats and taking moments “out of time” – part of the evolution of the art form rearranging style and structure to engage the audience. Richard Buckley is a master of this style of music – so we look to him to guide our adjustments from the last rehearsal that will make a difference tonight.

At the end of rehearsal we went through our last set of notes - looking for those moments that we can improve: pointing up details to lend focus, encouraging strong moments to be a tad stronger to read to the back of the auditorium, and confirming cues with our stage manager. She’s the unsung hero of any production – the coordinator / den mother/ anticipator of problems / time keeper in all our rehearsals. You won’t see her take a bow onstage, but when the curtain goes up or the lanterns light up, she’s the one in control of all the elements and synchronizing them with the music. Opera is a great process – melding together so many talents, so many arts – and is at it’s best in a brilliant natural acoustic where the collective energy of so many becomes united behind one idea – the composer’s music. Now we look forward to adding the final element: the audience !

Pagliacci | Maestro Buckley

The last day before the final dress. This has been a fast process having started rehearsals only one week ago. All the soloists are excellent and have come very prepared. Garnett has directed a very detailed vivid production and all on stage are energized. This is the first time I have worked with the Omaha Symphony. They are being very responsive and cooperative, and I look forward to making music with them in mode. Pagliacci is always a challenge due to its musical language and huge emotional palette, but, always extremely rewarding.

Pagliacci | Kelly Kaduce as Nedda

I am at "home" now after the first orchestra dress. I put home in quotes for the obvious reason. It isn't really home, but we do our best to make it feel like our home. I even go so far as to pack and ship a box of things that I consider a bit luxurious. They are mostly kitchen items: a good set of CUTCO knives, a hot water pot that heats water super fast, spices, left over kitchen condiments from my last job...you get the idea. Then before the last performance, I will pack it all up and ship it off to my next gig.

It's always difficult to unwind after a high energy rehearsal like tonight. I was all geared up since this is my first Nedda. Before the rehearsal I "walked" through the whole show with all of my staging and double checked all of the spots I have a tendency to miss musically. I also make a game plan for the rehearsal. For example, I have a phrase that repeats itself in act 2, but with slight changes. So I resolve to commit the first version to my brain before the show and second version during the intermission so I don't confuse myself during act 1 and accidentally go into the second version.

I also make a game plan vocally. I decided that for this rehearsal I was going to focus on taking a good low prep breath for every phrase of singing. I do these little game plans because it can be very easy to get swept away with all of the other things going on around you and not do anything well. As for how I did in succeeding with my plans? Well, I wasn't able to get a good breath for every phrase, but I did much better that I would have if I had not planned for it. And yes, I DID get the two phrases correct for each act. A small victory.

Pagliacci | Todd Thomas as Tonio

Well, tonight was the sitzprobe rehearsal; the first time the singers sing against, I mean with, the orchestra. We sang while 'sitzing' on stage while the orchestra played in the pit of the beautiful Orpheum Theater. Someone asked me this evening how many productions of this show I have sung. I think I have sung around 6 various productions. However, it was my introduction to the piece that I would like to share with you.

While living in Germany from 95-99, I was cast as Tonio for an 8 City European tour to celebrate an anniversary celebration of Utrecht University in Holland. The university cast the opera with young professional international soloists and pulled the orchestra, chorus and crew from students, alumni and folks from Utrecht. Now, what made this tour particularly special was that we performed the opera in a round blue and orange circus tent. While the orchestra was set up on one portion of the outer ring, bleachers were set up in an identical way that one would find when attending a circus. As the crowds would come into the tent with sodas and popcorn, etc., the orchestra played Fellini Film music scores while a host of clowns, acrobats, and jugglers created a unique atmosphere preparing the environment for this magnificent piece of music drama. The audience, the tent, the summer time, and outside air all joined together to create an incredible evening. The action took place inside the tent ring where you would expect to see animal acts and the like. Nedda's huge dress, which was hung atop the tent, looked like a net dropped and draped over the waiting sopranos head in the middle of her aria. Canio's vest flew in as he prepared for his aria. For the Commedia scenes as well as the opening chorus the extra acrobats and jugglers had wonderful tricks.

The single element which made this a particularly wonderful experience was that the entire company traveled and camped in each city much the same way that Canio, Nedda, Tonio and Canio do in the first act. Each city where we played: Cagnes su mer, Sarlat, Luxenbourg, Bologna, Fiesole, Pisa, Luzerne, and Utrecht, greeted us as we entered the city much the same way as Leoncavallo's characters are welcomed. We had a staff who cooked for us and the entire company of crew, orchestra and chorus camped in their own personal tents. While the principals were provided with pension or hotel stays, I chose to camp with the company. This experience of truly living Pagliacci was a tremendous gift. After the show closed the company needed to liquidate all objects and items associated with the tour. I acquired my Tonio costume which included very special shoes just made for me. I wear these shoes each time I sing this role and Rigoletto as well. Be sure to look at my shoes.

Omaha, get ready for a wonderful evening of music drama next weekend. This is another moment when I can sincerely say, "I love my job!"

Lee Gregory - Silvio in Pagliacci

Day four of rehearsal and our first night on stage - It is always exciting to move from the rehearsal space to the theater. And what a beautiful theatre visually and acoustically - an ideal space for an opera. I think it is one of the best regional theaters I have ever been in. Also, our first night with the chorus - a warm and inviting group. They sound great!

The first rehearsal on stage is always fraught with problems - a new space, always bigger than you imagine, the great distance from the orchestra pit and the conductor, but also exhilarating, like your own personal playground. The set is stunning and enormous.

But most importantly, it is my dog's birthday today. Lulu is a seven year old Bichon Frise. She has been traveling since she was six months old and has been all over the country with us. No great celebration, but she did get a special bone from Whole Foods. We were also treated to a visit from my wife's best friend and previous High Priestess in Aida here at Opera Omaha, Jodi Frisbie. One of the great things about the vagabond life of an opera singer is being able to reconnect with friends who live around the world. And as we unwind after the rehearsal, drinking tea and snacking, the ladies are contributing to this very blog entry.

So how is it playing lovers onstage with my wife? I will let the audience decide if we are a convincing couple.

Mark Calvert - Beppe in Pagliacci

As a native of Wichita, it is a real thrill to be back in the Midwest after years of living and singing in Europe. I am among old friends, new friends, and an ensemble of truly gifted world-class artists. This is also my first time performing the role of Beppe (the character who tries in vain – trust me on this – to keep the show going when Canio goes off the deep end and pulls the knife out). And while it may be my first time in this role, the cast is full of artists who have performed this piece a number of times, one of whom is our Canio, Tonio DiPaolo.

The singers who have done this opera before can pass on helpful tips like Tonio did for me today. At the end of Act 1, Beppe runs on to the stage to confront the knife-wielding Canio, who goes berserk after discovering that Nedda is cheating on him. Canio wants to cut Nedda to pieces, and Beppe wants to bring Canio back from the edge so that the show may go on. As Beppe temporarily calms Canio down, he must sing a particularly tricky passage that requires perfect coordination with the Maestro. One misstep and it is too late to regain musical footing.

For this entrance I had envisioned a super hero sprint across the stage, leaping down a few stairs, tackling Canio, and tossing off my tricky phrase all within five seconds. Some things work better in theory. We did it; I came in a beat late, and then realized it was not such a good idea. But you have to try things out, I believe. Tonio turned to me, made a simple and gracious staging suggestion to rectify the situation, and it worked. It is times like these when one appreciates good colleagues and a benevolent rehearsal atmosphere. Thankfully, we have an abundance of both.

Pagliacci | Tonio DiPaolo as Canio

This is my first blog as Canio. Being on the road and getting to know new faces and reconnecting with familiar friends is very enjoyable and also similar to the story of Pagliacci. In the opera we are a traveling troupe of performers who get caught up in a very unfortunate dilemma. Following the plot and story line is a must. In the end I end up killing my wife and her lover. In real life we are the same troupe without the problems of the opera plot. We get to make up the story as we go along. That’s why being a performer is so much fun. No killing of colleagues or complex opera plots to worry about, at least for the most part. Just an enjoyable chapter of a performer’s life where we get to live as a troupe and make music and put on a good show. A few weeks together - where all we are concerned with is our troupe. Of course we all have another side, with our families and other responsibilities to think about. But bottom line it is so much fun! What an honor to make great music with wonderful colleagues and to have another opportunity to sing Canio with Opera Omaha. Here’s to a great show, in bocca al lupo, Tonio DiPaolo signing off.

Pagliacci | Stage Director Blog: Garnett Bruce

It’s 4:30 in the morning and I can’t sleep. After a year of planning, we are now poised to start principal rehearsals this morning. It’s a chance to reunite with several colleagues from past productions and to meet some singers new to me who are mightily impressive. Our chorus has worked hard the past week to capture the letter and the spirit of Leoncavallo’s choral writing, and we had the first staging rehearsal with the Ragazzi (Italian for “kids”) yesterday emphasizing key words like “Evviva!” and “Indietro” and “Arrivano !” for dramatic and vocal effect.

What keeps a stage director up at night? The pieces can’t stage themselves - nor should they. We’ve brought an extremely creative cast together, and I want to see their best ideas, their responses and reactions to the characters and situations. But, just as the strongest writer craves an editor, the best opera wants guidance, balance, and a taut storyline. Essential to this is the score. I try and base my decisions on the music – honoring pauses, tempo changes, the small indications from the composer – so that the visual story mirrors and enhances the aural one. Perhaps that’s what keeps me up at night. Do I know the score well enough? We’re listening to a bunch of clowns – or so the title says. Pagliacci is the plural of one of the Italian words for clown. Which will we believe: the clown or the human? Are we expressing ourselves or performing for you? Part of the genius of this opera is this underlying paradox.

The music is in the hands of Richard Buckley, my trusted friend and colleague. We have collaborated on Tosca, Turandot and Pagliacci over the past several years. He knows how to make these pieces crackle with life, with vigor, and above all, with dramatic intent. While we all have cherished recordings, they are placeholders for the shared experience of 100 musicians focused on a central theme, a central goal in a theater full of engaged listeners. As Pagliacci unfolds, Richard is with me at every step with his attention to our blueprint (the score) and his instinctive pacing and leadership.

One moment we staged yesterday with chorus had no singing in it whatsoever. The townspeople return from church (or the tavern) and head home before the evening’s Commedia dell arte performance. Its background to the principal action of a fight between Canio and Nedda over her supposed infidelity which we have yet to stage. With the energy of 40 additional characters onstage, the dimensions of the story become exponential. Now each of these chorus “stories” are attached to a soundtrack and we have the Verismo (“slice of life”) world unfolding in front of us. Key moments in opera almost always happen in isolation, but when the powers (and sheer numbers) collide and combine; Opera shows its true force. The visual drama on the stage matches the energy of this score. But hopefully our audience will be too caught up in the opera to notice the solid construction behind it. Pagliacci can be a harrowing ride. That’s our challenge. As rehearsals to begin -- and maybe I can get the ideas out of my head, onto the stage and I can get some sleep!

It's LIVE

Opera Omaha’s all-new website went live last week just in time for the first mainstage production, Pagliacci. Starting the week of October 5th, you’ll be able to follow the rehearsal process with Blog entries from our cast and artistic staff. Get ready and get your tickets; you don’t want to miss Pagliacci!

Pagliacci Fri | Oct 16 | 7:30 pm
[Buy tickets] Sun | Oct 18 | 2:00 pm

Barbecü to Burgers - the culinary side of Opera

Das Barbecü was a blast! Our cast and band did a fabulous job!

If you missed the BBQ – you still have time to get to Burgers & Bordeaux. The Opera Omaha Guild’s Burgers & Bordeaux is the perfect end of the summer event. Five top area chefs compete in a Best Burger throw down and you get to taste samples of each entry. Appetizers and desserts are also included with adult tickets. Amazing wine selections from Hans Fahden Vineyard, Goosecross Cellars, and other wineries will be available for $5 per glass and includes a souvenir wine glass. Family activities will be available to entertain kids of all ages. Cast your vote for your favorite or just enjoy a delicious summer event with friends and family.

Tickets available by call the Opera Omaha Box Office at (402) 346-7372 or online

Burgers & Bordeaux - An Opera Omaha Guild Event

Sunday, August 30, 2009 1:00 pm - 4:00 pm

Location: Sunset Valley Country Club 93rd & Arbor Streets

Adults: $35 Adv, $40 at door

Selected Wines: $5

Kids (12 & under): $5 - hot dog & chips

Das Barbecu

Hey You All!
You’re invited to attend Opera Omaha’s Das Barbecü on Friday, July 24. Part of Mutual of Omaha’s Wild About Omaha Weekend, this production and other events are free and open to the public. Performed on the Bow Truss outside The KANEKO [1111 Jones Street], the three performances begin at 5:30, 7:30 and 9:30 pm.

Das Barbecü is based on the four epic operas written by Richard Wagner in the late 1800’s. These works, known as The Ring of the Nibelung, are considered by many to be the ultimate operatic saga and to experience the entire series you would need to devote over 17 hours of your time. Luckily, our story brilliantly sums it all up in a little over an hour.

You Put Country Western Music in My Opera – two great styles go together. Das Barbecü is a country western spoof of Wagner’s Ring Cycle showcasing the talent of six local actors playing more than 30 outrageous characters with music style ranging from Broadway to Texas swing and from jazz to country two-step.

BBQ, beer and dessert will be available for purchase with our Das Barbecü; complimentary bottled water will be provided. You won’t want to miss this irreverent, slightly risqué, old-fashioned musical that is fun for everyone.

Burgers & Bordeaux

The Opera Omaha Guild adds more sizzle to the summer cook out tradition.

Get ready for a day of family fun, delicious grilled creations and fabulous wines at the Guild's Burgers & Bordeaux on Sunday, August 30, 2009. Five top area chefs compete in a gourmet burger throw down. Putting a new twist on a classic summer grilling tradition, samples of each of the gourmet creations will be served along with amazing wines. Special guest Karen Fahden will pour wines from Hans Fahden Vineyards. Wines selections also will come from Goosecross Cellars and other wineries. Celebrity judges will determine the “Best Grilled Burger in Omaha”. Family activities will be available to entertain kids of all ages.

Sunday, August 30, 2009 1:00 pm - 4:00 pm

Location: Sunset Valley Country Club 91st & Arbor Street

Adults: $35 Adv, $40 at door

Selected Wines: $5 (includes one souvenir wine glass)

Kids (12 & under): $5 - hot dogs & chips

For tickets or more information contact the Opera Omaha Box Office at opera@operaomaha.org or (402) 346-7372.

Opera for Kids Workshops

Opera Omaha enters the world of summer workshops! Opera for Kids is a fun and interactive week-long camp aimed at upper elementary and middle school aged children (those entering 3rd -8th grade). The Opera for Kids workshops will run August 3-7, 2009 from 9:00 am to 3:00 pm. Morning sessions center on acting, dancing and singing, while afternoon sessions touch on the history, poetry and musical interpretation of children’s operas such as this season’s Brundibar. Parents and family are invited to attend the “Friday Finale” – a free noontime presentation of classic opera scenes performed by the students. For more information or to register contact Opera Omaha at opera@operaomaha.org or at 402-346-7372.

Spring Time | Time to Subscribe

Hello my Darlings, FL (aka the Fat Lady) here and loving spring time! Everything is blooming and I just received my Opera Omaha subscription information in the mail – So much OPERA, plus the bonus offerings! I hope to see you at Mozart 101. Follow my example and send back your subscription before 5/31 – I saved money and got my favorite seats.

I also want you to mark your calendar for the evening of July 24. Opera Omaha will present an open-air production of Das Barbecü, a country western spoof of Wagner’s Ring Cycle, outside of The KANEKO at 1111 Jones Street as part of Mutual of Omaha’s Wild About Omaha Weekend – June 24-25, 2009. Das Barbecü, based on the book and lyrics by Jim Luigs and music by Scott Warrender, showcases the talent of six local actors playing more than 30 outrageous characters at breakneck speed. The music style ranges from Broadway to Texas swing and from jazz to country two-step. Das Barbecü is an irreverent, slightly risqué, old-fashioned musical that is fun for everyone. It is going to be great fun, plus it FREE and open to the public.

Jim Sale - Lighting Desinger for La Boheme

I have often found that good design decisions can always be dissected after the fact, but seldom before. Development of the act 2 fly cues is a case in point.

Act 2 of John Conklin’s La Boheme is unique. He designed 7 flying scrims and doors and 2 sets of hanging lamps. These flying pieces work with a large rolling unit up stage right (Café Momus) and 2 free standing posters. The total effect is a collage of Toulouse-Latrec posters plastered on a wall that matches the joy and diversity of the bohemians.

The scene can be set in many different ways. I was fortunate to be able to watch a piano tech of act 2 without lights. Garnett Bruce, our director, turned to me right before the rehearsal started and asked me if I would think about the fly cues. He turned around and we started the rehearsal. The tech started with just about all of the pieces in view, at their low trim. My first jolt was that I was not looking at a night scene, as written by Puccini, but at the Bohemian’s world of art, joy, and laughter, mixed in with a little jealousy and heartache. My next thought was that the Bohemians bring this world with them.

My scheme started with the Café Momus. The 2 free standing posters and the Paris street scene on the scrim backdrop alone, made for a beautiful night scene. As I watched the rehearsal I started to make notes about which scrim should fly in and when. All of these cueing moments were based on action on stage such as Schaunard’s entrance, Colline and the coat, Mimì and the hat. We found later that these moments were also spot on musical. Dispel the night and bring on the light!

Au vista fly cues have to be handled with exact timing and a skillful fly crew. My hat is off to Pat, our head flyman. We provided the timing. My hat is off to us, too, for that matter. We were finally completed by the time the Bohemians entered the Café. We were no longer in a Paris night, but in a world of light – the Bohemians world.

Magic time in the theater. We set the cues in a lighting rehearsal and then ran them while listening to a CD I asked that each of the fly cues be slow. It was better than I ever imagined, smiles all around. At one point while setting these cues we heard somebody practicing on a piano in the lobby. They were working on act 2, about 10 measures behind us. This situation could have been very confusing, but I suddenly understood that the cueing, slower than the music, could not quite catch up to the musical world of the Bohemians. Nothing could catch up to them that night.

I, like the Bohemians, had a blast!

Jeremy Kelly - Marcello in La Boheme

It may sound strange, but I liken a theatre to a ship, and a performance to a voyage. Once the Maestro takes the podium the entire space sets sail. The watchers see the majesty of the journey – LIVE theatre happening before their eyes. Only a lucky few get to experience the excitement of the action backstage. So many people work, watch, and wait. They spring into action with precise timing, performers and stagehands working in perfect balance. Everything backstage is in low-light and shadows, giving all the actions an ethereal feel. The older the ship, the more special it is, and the Orpheum is one of those very special houses. How many shows have come and gone on this stage? How many performers have been nervous about stepping out of the curtains? How many tears have been shed, and laughs had? This coming week, I get to contribute to the history of this house, and it is my honor to do so with such a talented group of artists. I would not miss it for the world, and neither should anyone else. We have a special show for you... take my word for it!

Tom Corbeil - Colline in La Boheme

So, we’ve been in Omaha for two weeks now, and with the show going up in less than a week, I think that perhaps it's time to share with you what I like to call my ‘Bohème Scorecard’ – a wee glimpse into the life of your standard-issue rehearsal process, work related and otherwise:

- Number of hours spent in staging rehearsals thus far: ~50

- Number of hours spent in the Milwaukee airport on the way to Omaha from New York: 6.5 (I missed my connection. Oops.)

- Number of times I cried while we rehearsed the last part of act 4: 2 (okay okay, 3)

- Number of times we somehow ended up in Iowa: 2 (Incidentally, Ross – our Schaunard - was driving on both occasions)

- Favorite prop in the show: Schaunard’s coins (after forgetting them in my pocket at nearly every rehearsal, I’ve managed to assemble quite a nice collection of them at home)

- Favorite sign in Omaha: ‘Gizzards Are Back!’ (at Popeye’s Chicken near our house)

- Number of glasses broken in rehearsal before we switched to plastic: 2 (pretty sure that was Ross’ fault too)

- Number of wonderful shows I saw in Omaha in the last week: 3 (a fantastic production of West Side Story at Creighton, an Omaha Symphony concert featuring the astounding Edgar Meyer, and a rockin' performance by Omaha's own folk/country/bluegrass band, The Black Squirrels!)

- Amount of wine I attempt to drink in the last minute of act 2: ~2 bottles

- Character trait that separates this Colline from other performances of La Bohème: Kleptomania (keep an eye out!)


All of us involved in Bohème greatly enjoyed our time here – we hope to see you at the opera next week!

Ross Benoliel, Schaunard in La Boheme

This is my fifth production of La Bohème and I'm really excited to be here in Omaha working with such a great cast. For any opera novices out there, this is probably THE most accessible opera and you will have an amazing experience. Today we begin rehearsals at the Orpheum Theater. It's going to be great to see the house where we are performing and get on the stage for the first time.

The character I am playing is Schaunard, the musician. He is the bread winner in this group of struggling artists. When he makes his entrance in the first act he has a very interesting story to tell his friends.

A little side note: Schaunard can be a tricky role in terms of the stage "business". I make my entrance with bread, wine, cigars, gold coins, newspapers, and all types of food. In the period of 3 or 4 minutes, I explain how I came to get all of that stuff – and get rid of it so that I can also focus on singing in time with Maestro France and the orchestra!

Well, the story about how I got all this stuff is that I was hired by this rich old English man who wanted me to play my violin to kill his parrot!! Unbelievable, right? Well the violin playing didn't work...I had to do something else, but you are going to have to see the show to see how it all turned out.

You will be sorry if you miss this performance, because you will hear how great it was from everyone who comes! Get your tickets today before it's sold out!

David Ward, Benoit & Alcindoro in La Boheme

Greetings from the character bass, or basso-buffo! I sing character bass roles, or funny, comic roles in so many different operas like the Sacristan in Tosca and Osmin in Abduction. They all of which have one thing in common – they are all funny men who resolve or capitulate via comedy. I usually have left the theater by the time people start dying in Bohème or Tosca. I am sort of like the Dick Van Dyke or Red Skelton of opera. In fact, I grew up watching Carol Burnett, Mary Tyler Moore, Lucille Ball, Dick and Red, and I think they heavily influenced my sense of comedy and how one is funny. Comedy comes naturally to me, so it is a good fit.

I play the dual roles of Benoit and Alcindoro. Benoit is the cranky landlord in the first act who arrives demanding the overdue rent. Alcindoro is the wealthy sugar-daddy woo-ing Musetta with a night on the town in the second act, until her buddies, Rodolfo, Schaunard and Colline conspire with her to get Marcello and her back together again. I am left with nothing but the check!

It is my first time in Omaha and I am enjoying it greatly. I spent my day today schmoozing with stage management while my colleagues worked. Did you know that every opera has at least two stage managers to keep things running smoothly?

Kate Williams is our Stage Manager and her Assistant Stage Manager is RaShelle Bradley - both of Omaha. They give us our cues, make sure our props are ready to go on stage and answer questions about the production. They make sure the coffee pot is brewing, offer us advice on where to get a manicure or a good sandwich, and they become our friends. I worked with RaShelle at Opera New Jersey in February on a production of Die Fledermaus - she helped me do a costume change backstage and was always ready with a smile and a hug. In fact, I start each rehearsal day here with a hug from RaShelle. The stage management folks are our link to the outside world! Best of all, when they aren't busy, and you are bored in the wings, they are great sources of back stage gossip. Trust me on that one.

Stage managers keep lots of lists: props, costume pieces, entrance cues, and timings, which make our work so much easier. In Bohème, I have to deal with plates, bottles, glasses, flowers, packages, and the Stage Management team knows where every prop is, who has it now, who had it last and who gets it next. Life savers! Only the truly organized can be stage managers. And a good stage manager can make or break a show. This Bohème will definitely be MADE!

I hope you'll join us at the Orpheum - this production is just lovely and the singers are wonderful. At our first sing-through with Maestro France, Rodolfo's aria had me in tears because it was so beautiful and heart-felt. And I have heard this aria sung hundreds of times. I can say the rest of the cast makes the same impact on me. There won't be a dry eye in the house come the end of the opera.

We look forward to seeing you there!

Maureen McKay - Musetta in La Boheme

I have already been charmed by the friendly hospitality of the Omaha-nians (coined after our La Bohème bohè-mians) and the "Old Market District", in particular. There are some fantastic “antique boutiques” in Omaha! I found a post-card from 1925 depicting the New York City skyline. I am going to have it enlarged for my apartment in Long Island. What a find!

We are in full-swing rehearsal mode at Opera Omaha. This week the cast began working with the talented adult and children opera chorus ensembles – the impressive music coming from these Omaha-nians is brilliant! What is in the water here, or should I say... steak?

This La bohème is special to me for several reasons. I am thrilled to have the opportunity to make my debut as Musetta under Garnett Bruce’s direction and Hal France’s baton – the sky is the limit for artistic possibilities and fulfilling music-making with this artistic team. They are enthusiastically guiding me through the process of exploring this role for the first time. Garnett cleverly directed my first Pamina in Die Zauberflöte last season at the Lyric Opera of Kansas City. It is also a treat to work with old friends and meet new ones- the cast is stellar. Musetta’s love interest, Marcello, will be played by my friend Jeremy Kelly. Jeremy was my first Figaro in Le nozze di Figaro during our young artist days at Seattle Opera. We are going to have a blast creating another operatic dynamic duo. I am pleased to have the opportunity to sing my first Musetta in Italian - its original language - before I shift gears and perform it again in German this fall in my debut with the Komische Oper Berlin. Also, I am honored that I will have a dear aunt and uncle in the audience in two weeks along with some other family members!

Opera Omaha’s La Bohème promises to be a special event- it will warm your heart and stir your soul. I am looking forward to meeting and greeting our “Omaha-nian” audience in a few weeks when the curtain rises!

Talise Trevigne - Mimi in the upcoming La Boheme

Yes, my “maninas are gelida”! True to my preferred form of method acting, I called in a few favors and asked for snow to help me get into character. As I walked to rehearsal on what should have been a spring day I got snow, and cold hands. I left my scarf and gloves at home in NYC!

It’s been a magical experience to create my first Mimì amongst new and old friends. It is times like these which remind me of how incredibly blessed I am to have such a wonderful job! I am still finding tears in my eyes as I sing Donde Lieta, although I have been singing it for quite some time now. Bring your tissue to the opera folks!

Yesterday was our first day off, and like true bohemians we spent the day at the wonderful Henry Doorly Zoo! It’s wonderful to have an opportunity to bond with the boys; we're truly like a little family. I even baked them my grandmother's chocolate chip cookies! Now that is amore!

Adam Diegel - Rodolfo in the upcoming La Boheme

"Hello Omaha! What a great opportunity for we as artists and singers to perform one of the greatest operas ever composed. I hope that you all get a chance to experience this amazing musical and artistic event. Puccini's La Bohème is one of the MOST performed operas in the history of opera and there is a reason for it! You don't have to know about opera, music or singing; the music is so incredibly beautiful and moving that there won't be a dry eye in the house. This opera is one of the most accessible operas ever composed. Fellas, this is a great date opportunity! Seriously, come check out La Bohème; you won't be disappointed. See you at the opera!!"

Adam Diegel

La Boheme - Artist Blogs: Garnett Bruce

Returning to a familiar score like La Bohème is one of the joys of our business. When I open the pages, almost like a journal, my small scribbles, cue indications, marginal comments are links back to memories, great and horrible. In 1996, I was involved in 3 different productions of this opera and all three were beset with trauma. I actually felt the show was cursed and put the score on a shelf for about five years.

Production A was a revival that I was staging for another director in a big theater. We had late arrivals, language barriers, and a slightly enlarged concept – all the neighbors of Rodolfo & friends were added, including the very nosy wife of the landlord Benoit. Extra figures in the piece like this are tricky – especially if the principal artists start to feel neglected or upstaged. That’s when the fur starts to fly! Or illness sets in, feigned or otherwise. I had a footstool hurled at me in rehearsal in anger (and I will never, ever, forget the Italian word for footstool again: SGABELLO!), a soprano storm out in a screaming fury, the original director rip me apart the day he arrived for (god forbid) adapting some bit of business for the new artist in the role, etc. No fun.

Production B was a very small vanity project for a certain soprano. Trying to be helpful ended up getting me roped into not only directing, but supernumerary recruiter, props master, rehearsal space negotiator, scheduler, etc. Somehow, a small donation of time overwhelmed my life for nearly 2 weeks (with very little compensation). I did have a chance to explore some of my own ideas about the piece, but more through the forced compromises of the situation than artistic principals. I suppose “damage control” would be the most apt description. Painful process.

Production C was a last minute replacement situation. It was high-profile revival that needed a good shepherd. However, I wasn’t hired to maintain the production after it opened. On the day of the final performance the scheduled Marcello and Rodolfo were ill. A flu bug was going around, but we had no idea how serious it would get. Schaunard was going to move up to Marcello, and a new Schaunard was located the day before. And I was asked to come back for the day and coordinate. By the end of the performance that evening we had been through 3 Rodolfos, 3 Marcellos, 2 Schaunards, and we were on the verge of losing the Colline to the same flu bug, but he managed to hold it together. I was re-staging scenes behind the curtain at the act changes; we went into 3 increments of overtime. We started Act IV; we had 4 bohemians who had never sung the piece with one another, 3 of whom had never seen the set before! Talk about your nail-biting experiences! Yet the audience was completely thrilled, knowing they were witnessing history! And, it was so earnest, so improvisational, and so emotional; it was indeed a once-in-a-lifetime experience! And hard enough that I decided to step away from Bohème for a while.

With a piece so familiar, everyone assumes ‘they know it’ and often fail to invest time or energy into re-creating it with new spirit. So, part of my preparation is to acknowledge my past with the piece (those old notes, those ghosts), and relegate it to “foundation” work as we re-animate the piece with our new cast.

I know many of these singers from previous engagements. Some of them are singing these roles for the very first time. Who knows what the conversations will be? Like a great recipe, you can make it again and again, and new ingredients spice things up and keep it fresh. You’ll be hearing from most of them in this blog over the next two weeks, and then seeing the results onstage. I hope the piece will be renewed for you, as we bring our knowledge and experience to focus on a masterpiece of the operatic literature.

Ooh La La - Gala Boheme

FL (aka Fat Lady) here to invite all you darlings to

Gala Boheme at The Slowdown on Saturday March 14th. Inspired by Opera Omaha’s upcoming La Bohème, The Slowdown will be transformed into a high energy cabaret club.

Not your traditional 'Gala' - this party has pricing and party options. Join us at 6:15 pm for cocktails and a silent auction followed by dinner and live music by Seattle’s French cabaret styled ensemble group, Rouge. Tickets for the dinner and concert are $200 per person (Bon Vivant Ticket) or $175 per person for young professional 40 years or younger (Bohemian Ticket). For individuals wanting to add a private pre-party, Puccini’s Clique Tickets are $250 per person. The pre-party begins at 5:30 pm and features Rouge vocalist, Janet Rayor, showcasing her stilt walking entertainment.

Want to just check out Rouge? The doors open at 8:00 pm for a Concert Only option. Concert Only tickets are $10 per person.

Tickets and additional information are available by calling Opera Omaha at 346-4398 and online at operaomaha.org.

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