Petite Opera Productions

"The Falling and The Rising" Military Chorus Auditions

noreply@blogger.com (Petite Opera Productions) — Thu, 30 May 2019 17:23:00 +0000

Calling all Veteran and Active-Duty Military Who Love to Sing

Volunteer Military Chorus Audition Appointments Available in July for
The Falling And the Rising - A New American Opera

Conceived by Sgt Ben Hilgert | Libretto by Jerre Dye | Composed by Zach Redler

The Falling And the Rising is an exciting new American Opera that salutes the service and sacrifice of our military men and women. Written in 2018, this new show focuses on true soldiers' stories and follows 5 individuals on their journeys from service, to healing to home.

Petite Opera invites ROTC, active-duty and veteran military personnel who love to sing to join the volunteer military chorus that appears in the final scene of the show. Call 847.553.4442 (option 2) or email us: <Auditions @ petiteopera DOT org> with your name, contact info and best time to reach you. We'll contact you to set an audition appointment.

Don't read music or have any musical or performing experience? No problem!

How Many shows? Sing in 1 performance, or all 8. You decide.

1 rehearsal in Park Ridge in September, 3 in late October

Rehearsals and performances in Park Ridge

Petite Opera Presents The Falling And The Rising Nov 2019

noreply@blogger.com (Petite Opera Productions) — Fri, 19 Apr 2019 19:49:00 +0000

Nov 2-24, 2019, Petite Opera Presents

Conceived: Sgt. Ben Hilgert | Libretto: Jerre Dye | Composed: Zach Redler
Saluting the service and sacrifice of our military men and women

The Falling and the Rising is an exciting new American opera that centers around a strong female hero known only as “Soldier”. After sending a video message home on the eve of her daughter’s thirteenth birthday, our soldier is severely wounded by a roadside IED. Doctors quickly place her in an induced coma to help minimize the extensive trauma to her brain. We follow as the soldier makes an arduous journey through a coma-induced dreamscape punctuated by the lives of fellow services members, each on their own individual journey toward healing and home. Together, they must move toward clarity, comfort, consciousness, and communal hope during a time of adversity. 
          Created in hopes of capturing the indomitable spirit of our U.S. military veterans and to shed light on the inspirational power of their often overlooked stories, The Falling and the Rising is a story of family, service, and sacrifice inside a period of great uncertainty.

Petite Opera's production will feature 5 lead performers and a chorus comprised of active-duty and veteran military service men and women.
Military service men and women are invited to audition on June 8 and 11.
Sign Up Now to Audition. 

Purchase tickets.

Thank you to all who attended THAT'S AMORE

noreply@blogger.com (Petite Opera Productions) — Fri, 22 Feb 2019 18:23:00 +0000

Petite Original Productions thanks all of its patrons

That's Amore!, the first production under Petite Opera's Petite Original Productions series, really touched patrons. The company received numerous telephone calls and emails from its patrons about the production. Patrons were spreading the word and telling their friends about the production.

Performers Susan Baushke (Grandma Jenny) and
Steven Arvanites (Grandpa Michael) following
the final performance.

"I Loved the Audience Participation section!"

"There was never a dull moment, the story just kept building"
"This is such a wonderfully engaging story."
"Very talented, expressive performers."
"It was a walk down memory lane... "I swear that Michael and Jenny lived my life."
"My friends have to see this!"

Plus, a personal note to the performers from one patron stated that Petite Original Productions' That's Amore! performance ranks #1 in her mind as the best show she's seen in 11 years--surpassing 120 different productions by Broadway In Chicago.

Note sent to That's Amore! performers from an admiring patron

Touching the hearts of patrons is at the heart of all we do.

On behalf of the Petite Opera, its artistic staff, board and crew,
Thank You for attending.

Watch for exciting news of upcoming productions!

FInd Love Again with That's Amore! Feb 16-17

noreply@blogger.com (Petite Opera Productions) — Thu, 14 Feb 2019 00:13:00 +0000

Join Patrons who have found love again with That's Amore!Only 2 performances left!

Michael (Steven Arvanites) and Jenny (Susan Baushke)

Opening Weekend Patrons Loved The Show Opening weekend of Petite Original Productions' new musical love story That's Amore! really touched patrons. The company received calls from patrons who raved about what a great time they had at the production. "I loved the audience participation section!" ... "There was never a dull moment, the story just kept building!" ... "I was so much on the edge of my seat that the time just flew by." ... "This is such a wonderfully engaging story." ... "Very talented, expressive performers." ... 'It was a walk down memory lane. I swear that Michael and Jenny lived my life." ... "[Steven and Susan] have such dynamic acting and vocal ranges." ... "The band was a terrific embellishment to the story." ... "My friends have to see this!" There are only 2 performances remaining, so be part of the love story!

SAT Feb 16, 8:00 PM

SUN Feb 17, 4:30 PM Advanced Online Tickets:
www.petiteopera.tix.com

THE STORY

When your grandkids bring you their dating problems, and ask you how you met, the answer is "That's Amore!"

Join grandma Jenny (Susan Baushke) and grandpa Michael (Steven Arvanites) on an intimate journey from adolescence through the golden anniversary years as they tell their grandchildren their story through flashbacks on their lives. Lives the comic mishaps and frustrations of dating, go on the couples' first date with them, and experience the joys and sorrows in a lifetime of seeking and finding love.

Accompanied by a terrific instrumental combo (Cody Michael Bradley and Jerry King), this original 2-person show features beloved selections from stage and screen, and even includes audience participation.

Venue:

The Mary Wilson House-Beyer Auditorium

306 S Prospect Ave, entrance on Crescent Ave

(part of St. Mary's Episcopal Church campus)

Park Ridge, IL 60016

Celebrate Valentine season with THAT'S AMORE! Feb 9-17

noreply@blogger.com (Petite Opera Productions) — Tue, 15 Jan 2019 20:52:00 +0000

**Petite Original Productions**

presents

Part of the company's new Original production series

Hold the dates or Buy Your Tickets now!

Saturdays, February 9 and 16 at 8:00 PM
Sundays, February 10 and 17 at 4:30 PM

CAST

Jenny (Grandma), age 13 through mid-80's ................ Susan Baushke

Michael (Grandpa), age 17 through mid-80's ................. Steven Arvanites

Instrumental Combo

Keyboards: Cody Michael Bradley

Drums: Jerry King

When your grandkids bring you their dating problems, and ask you how you met, the answer is "That's Amore!"

Accompanied by a terrific instrumental combo (Cody Michael Bradley, Sean Godvik and Jerry King), this original 2-person show features beloved selections from stage and screen, and even includes some audience participation.

This is a must-see for all ages.
Find Love Again!
Bring your memories, your valentine, your kids, and celebrate together.

ARTISTIC TEAM

Story by: Susan Baushke
Stage Director: Susan Baushke
Music Director: Cody Michael Bradley

Director of Production: Steven Arvanites

Audio Designer: Nathan Oakes
Stage Manager: Mary-Anne Belter

Costume Designer: Sienna Kusek

Lighting Designer: Betsy Sklena
Properties Designer: Nicole Verive Brett

*****************************************

TICKETS:

Tickets are $27 for Adults (ages 18-61) | $25 for Seniors (age 62 and up)
$15 for Full-time Students (K through College) | $5 Preschool Children

PAYMENT OPTIONS

OPTION 1: Order and Pay for your Tickets online via credit card:

http://petiteopera.tix.com (convenience fee applies)

OPTION 2: Reserve your tickets and pay at the Box Office on performance date

Call 847-553-4442 or email tickets@petiteopera.org.
Provide name, show date, # and type of tickets, phone and email address for confirmation
Accepted at Box Office: Cash, Check, Credit Card (convenience fee applies)
NOTE: Credit card numbers not taken over the phone.
Please bring card with you to Box Office

OPTION 3: Buy tickets at the door

If it is 4 hours or less before show time, please bring cash, check or credit card with you to the theatre
and buy tickets at Box Office. Sold-out performances will be noted on the Ticket Hotline: 847-553-4442.
LOCATION:

The Mary Wilson House-Beyer Auditorium | part of St. Mary's Episcopal church campus
306 S Prospect Avenue (at Crescent Ave) | Park Ridge, IL 60068

2 hours including 15 minute intermission.
Handicapped accessible venue

Why Petite Opera's #metoo Don Giovanni can make a difference

noreply@blogger.com (Petite Opera Productions) — Wed, 14 Nov 2018 12:00:00 +0000

Despicable and Applicable, Donny G has always been around

Don Juan premiered as a fictional/legendary character in 1630, and Mozart’s opera, Don Giovanni premiered in 1787. Then, it was appalling, but accepted, that noblemen—men of power and influence—exerted their power over women, those less affluent, or more helpless. Unfortunately, those behaviors never seem to go out of style. We still see it today, and most tend to turn a blind eye, or toss it off as “just part of the life”.

Tarana Burke started the “Me Too movement” as a way to raise awareness and intolerance of sexual violence and give the victims a voice. Hollywood actresses used it as a platform to speak out against the casting couch and perpetual abusers like Harvey Weinstein and former “America’s dad” and Jello spokesman Bill Cosby.

This is a social justice issue, and people are starting to take note. In fact, in 2017, the “Silence Breakers” were even given the “Person of the Year” award from Time Magazine.

Preying on others, abusing power, sexual misconduct and violence must stop. But it will only become a priority when we all make it so.

Don Giovanni was an opera we always wanted to produce, and its timely perspectives on the present #metoo movement is something that hits us all right between the eyes. People always say “times have changed”, but have they? In reality, the Don Juan story plays itself out in real life over and over again — 200 years ago, and today.

Why have we romanticized the Don Juan legend for so long? Even in the original literature, he isn’t some charismatic, sexually magnetic suave male from the cover of a romance novel, but a narcissistic sexual predator. We enable him by remaining silent.

Dimitri German portrays
"Donny G" in Petite Opera's
Production of Don Giovanni

The #metoo movement has really raised its hand, pointed its collective finger, and said “enough!”. We put that power in the hands of our characters in Don Giovanni to turn the tides of our times, and give victims their voices through music.

As artists, we must not only master our art, but change the world. As artists, we have a responsibility to be a mirror, reflecting back the social issues of our society so we can help the world heal, and make it a better place.

Let’s get there together.

--Susan Baushke, Executive Director

--Cathy Dunn, Stage Director

Buy tickets online to Petite Opera's #metoo Don Giovanni at www.petiteopera.tix.com

or call 847.553.4442 to reserve them for pickup and payment at Will Call.

________________________________________________

To better understand the #metoo movement, check out these amazing timelines compiled by The Chicago Tribune:
https://www.chicagotribune.com/lifestyles/ct-me-too-timeline-20171208-htmlstory.html
https://www.chicagotribune.com/lifestyles/ct-me-too-20171030-storygallery.html

PetiteOpera's #DonGiovanni fights off his #metoo accusers through Nov 18

noreply@blogger.com (Petite Opera Productions) — Tue, 13 Nov 2018 16:40:00 +0000

See what patrons are buzzing about.

Learn what is happening in these photos by attending one of the three remaining performances:

Friday, November 16, 7:30 PM

Saturday, November 17, 7:30 PM

Sunday, November 18, 4:00 PM

MaryWilson House Beyer Auditorium

306 S Prospect Ave at Crescent Ave

Park Ridge, IL 60068

Why Petite Opera's Despicable #metoo Don Giovanni is So Applicable

noreply@blogger.com (Petite Opera Productions) — Mon, 12 Nov 2018 12:00:00 +0000

"Don Giovanni is much more despicable and evil in this version", which makes him more relevant

In this patron review, Petite Opera's modernized #metoo version of Don Giovanni" gets a thumbs up. "Don Giovanni, in this version, is despicable and evil" and so, very applicable to current events. Set on a Hollywood film lot, with modern takes on the characters, this update shows how scary it is that times haven't changed since Mozart's day, yet the characters’ reactions are so relevant for today’s audiences. The opera opened Nov 3, and runs through November 18.

Only 4 performances left!

Sunday, November 11 at 4:00 PM

Friday, November 16 at 7:30 PM

Saturday, November 17 at 7:30 PM

Sunday, November 18 at 4:00 PM

Tickets: www.petiteopera.tix.com.

Meet Otto Gruselig from the #metoo Don Giovanni by Petite Opera

noreply@blogger.com (Petite Opera Productions) — Sat, 10 Nov 2018 12:00:00 +0000

Meet film star agent, Otto Gruselig

Meet Otto - The Hollywood film agent (and modern day version of Don Ottavio) from Petite Opera's #metoo Don Giovanni. Learn why he is much creepier than Mozart and DaPonte's original character, and is potentially more dangerous than Don Giovanni. See this insightful look into the original romantic character turned "romantic wannabe" that is so relevant today.

Featured: Nathan Oakes as Otto (right), and his co-stars, Lani Stait (far left) and Megan Rose Hendrickson (center), who portray Anna Pritchard.

The production opened November 3 and runs through November 18.

For ticket credit card orders: www.petiteopera.tix.org.
To reserve and pay cash or check at the Box office on show date, call 847.553.4442.

Meet Donny G from the #metoo Don Giovanni by Petite Opera

noreply@blogger.com (Petite Opera Productions) — Fri, 09 Nov 2018 15:27:00 +0000

Meet Donny G - The man everyone loves to hate Don Giovanni -- or "Donny G" as he likes to be called in the modern world -- is the man everyone loves to hate. See this insightful look into the character featuring Wesly Anthony Clerge, who portrays the lead character in Petite Opera's new #metoo version of Mozart's "Don Giovanni".
Featured: Wesly Anthony Clerge at Donny G (Don Giovanni) and Kate Sikora as Ellie Crystal (Donna Elvira).

The production opened November 3 and runs through November 18.

For ticket credit card orders: www.petiteopera.tix.org.
To reserve and pay cash or check at the Box office on show date, call 847.553.4442.

Patrons Say #MeToo to Petite Opera "Don Giovanni"

noreply@blogger.com (Petite Opera Productions) — Tue, 06 Nov 2018 14:40:00 +0000

Hear why patrons believe Petite Opera's modernized #metoo version of Don Giovanni embodies the #metoo movement and reflects the current times. Production clips included. Only six performances left:

Friday, November 9 at 7:30 PM

Saturday, November 10 at 7:30 PM

Sunday, November 11 at 4:00 PM

Friday, November 16 at 7:30 PM

Saturday, November 17 at 7:30 PM

Sunday, November 18 at 4:00 PM

Don't miss it!

Tickets: www.petiteopera.tix.com

Meet the Cast of Petite Opera #MeToo Don Giovanni

noreply@blogger.com (Petite Opera Productions) — Tue, 06 Nov 2018 14:36:00 +0000

Meet the Cast That Brings the Story to Life

The Film Producer, the Lawyer-Fixer, the young starlet, her agent, the waning starlet/estranged wife, the young makeup artist and her fiance the cameraman, and the film lot security guard. Each tells their story and modern day Hollywood.

Donny G (Don Giovanni) - The film producer.
Entitled, narcissistic, abuser of power, sexual predator.
Takes what he wants and doesn't feel badly about it.

Dimitri German
November 3, 10, 11, 17

Wesly Anthony Clerge
November 4, 9, 16, 18

Leo Porello (Leporello) - The film producer's lawyer/fixer.
Initially in it for the money, and gets off on being the "wing man".
Enables the abuser, but starts to gain a conscience.

Ivo Suarez
November 3, 9, 10, 17

Artega Wright
November 4, 11, 16, 18

Anna Pritchard (Donna Anna) - the young starlet.
Doesn't see herself being involved in the #metoo movement, until she is dragged into it through personal circumstance. Finds the courage to get justice.

Megan Rose Hendrickson
November 3, 11, 16, 17

Lani Stait
November 4, 9, 10, 18

Otto Gruselig (Don Ottavio) - the young starlet's agent and wannabe lover.
Convinced he is #NotAllMen, but is obsessed with Anna and gaining her love.

Nathan Oakes
November 3, 11, 16, 17

Max Hosmer

November 4, 9, 10, 18

Ellie Crystal (Donna Elvira) - the waning starlet and Donny G's estranged wife.
Knows Donny G plays around, but learns just how much. Classic victim, keeps returning to Donny because she is convinced he loves her and can change.

Kelsea Webb
November 3, 9, 11, 17

Kate Sikora
November 4, 10, 16, 18

Masetto "Masey" Convinto, the camera man. Engaged to ZZ, is impacted when Donny G's puts the make on his fiancee.

Zerlina "ZZ" Wilder, the makeup artist, dreams of being a film star. She knows the realities of the casting couch. When Donny G offers to "help her", she seriously considers. However, she, too, gets pulled, unwillingly, into the role of victim and seeks justice.

Samuel Cotten
November 3, 9, 10, 17

Morgan Whitney
November 3, 9, 10, 17

Liana Gineitis
November 4, 11, 16, 18

Brandon Sokol
November 4, 11, 16, 18

Connor DaTore (Il Commendatore) - the film lot security guard and Anna's protector. A witness to Anna's attack, Connor becomes a victim and casualty of Donny G, but gets his revenge nonetheless.

Lakotah Terrace
November 3-18

Showtimes

Friday and Saturdays at 7:30 PM: November 9, 10, 16, 17

Sunday matinees at 4:00 PM: November 11, 18

www.petiteopera.tix.com for credit card orders

847.553.4442 or tickets@petiteopera.org for reservations

Petite Opera - #metoo Don Giovanni - Anna's attack

noreply@blogger.com (Petite Opera Productions) — Fri, 02 Nov 2018 21:54:00 +0000

Anna Pritchard (Megan Rose Hendrickson) fights off an attack by Don Giovanni (Wesly Anthony Clerge) in Petite Opera's #metoo Don Giovanni Nov 3-18.

Fridays and Saturdays November 3, 9, 10, 16, 17 at 7:30 PM
Sunday matinees November 4, 11, 18 at 4:00 PM
www.petiteopera.tix.com for credit card orders
To reserve tickets and pay via cash or check at the box office, email tickets@petiteopera.org or call 847.553.4442.

Petite Opera Releases #metoo Don Giovanni Video Trailer

noreply@blogger.com (Petite Opera Productions) — Wed, 17 Oct 2018 18:18:00 +0000

Get Caught Up in The Story

Ripped from the headlines, Mozart's Don Giovanni takes on new dimension in this #metoo English translation by Petite Opera. Accused of murder and sexual misconduct, modern day Hollywood film producer "Donny G" finds his victims fighting back. Click to watch!

Performances

7:30 PM Fridays, November 9, 16

7:30 PM Saturdays, November 3, 10, 17

4:00 PM Sundays, November 4, 11, 18

Purchase tickets now

New Petite Opera #metoo DON GIOVANNI is ripped straight from the headlines

noreply@blogger.com (Petite Opera Productions) — Sat, 08 Sep 2018 18:37:00 +0000

Petite Opera announces its latest ambitious work, and incredible cast for upcoming Don Giovanni November 3-18, 2018

Petite Opera, making a name for itself with its updated translations and productions that connect with modern-day audiences, is proud to announce its upcoming #metoo Don Giovanni.

In this world premier of Petite Opera's new English translation and setting, the seducer, Don Giovanni (Italian for “Don Juan”) is transported into modern day, and patterned after several unscrupulous characters in the news associated with the #metoo movement.

Set on a present day Hollywood film lot, the action, seduction and struggles are told from the perspectives of the actresses, film crew, and associates of the Hollywood film producer “Donny G” as he abuses his power. The story culminates in a powerful message that reflects our modern day intolerances and historical willingness to look the other way.

CAST

Donny G (Don Giovanni): Wesly Anthony Clerge, Dimitri German

Leo Porello (Leporello): Ivo Suarez, Artega Wright

Anna Pritchard (Donna Anna): Megan Hendrickson, Lani Stait
Ellie Crystal (Donna Elvira): Kate Sikora, Kelsea Webb

Zerlina Wilder (Zerlina): Liana Gineitis, Morgan Whitney
Otto Gruselig (Don Ottavio): Max Hosmer, Nathan Oakes

Masetto Convinto (Masetto): Samuel Cotten, Brandon Sokol

Conor DaTore (il Commendatore): Lakotah Terrace

Members of the Film Crew:
Phoeobe Marsten: Susan Baushke
Rebecca Nance: Meg Huskin
Logan Hammond: Austin Illenberg
Jessica Sprock: Rachel Mast
Candy Landers: Kellie Springfield
Sam Mahone: Nicole Verive

ARTISTIC and PRODUCTION STAFF

Resident Music Director: Cody Michael Bradley

Resident Stage Director: Cathy Dunn

Assist Stage Director: Meg Huskin

Director of Production: Steven Arvanites

Resident Stage Manager: Nicole Verive

Resident Lighting Director: Elizabeth Sklena

Resident Costume Designer: Sienna Kusek

TRANSLATION WRITING TEAM

Steven Arvanites, Susan Baushke, Cody Michael Bradley, Cathy Dunn,
HRT Guillen, Austin Illenberg, Nathan Oakes, Nicole Verive, Nathan Oakes

PERFORMANCE DATES

7:30 PM Fridays, November 9, 16

7:30 PM Saturdays, November 3, 10, 17
4:00 PM Sundays, November 4, 11, 18

*****************************************
Tickets are $27 for Adults (ages 18-61)
$25 for Seniors (age 62 and up)
$15 for Students* (age 16 through College)

*Not Suitable for Children under the age of 16

To reserve your tickets for payment by cash or check at Box Office on performance date:
Call 847-553-4442 or email tickets@petiteopera.org

For credit card orders, visit http://petiteopera.tix.com
Please note: reservations and Credit Card orders accepted up to 4 hours prior to show time.

A convenience fee is applied to all credit card orders at checkout.

LOCATION:
Mary Wilson House Beyer Auditorium
part of St. Mary's Episcopal church campus
306 S Prospect Avenue (at Crescent Ave)
Park Ridge, IL 60068

Rossini Maid Me Do It - Berta's Backstairs Love Affair with Rossini

noreply@blogger.com (Petite Opera Productions) — Sat, 18 Nov 2017 02:51:00 +0000

With only two performances (November 18 and 19) remaining of Petite Opera's production of Barber of Seville, Emily Cox, who plays Berta in the production discussed her take on the character of Berta, Berta's love affair with Rossini in this particular production, and working with Petite Opera.

Emily Cox, who portrays Berta in Petite Opera's Barber of Seville

What do you like about the character of Berta:

I love that in this interpretation she is not an old maid or a drunk, which is how it is played every time I see it. She is really stalwart loyal woman who believes she is doing the right thing by standing by Doctor Bartolo.

Berta (Emily Cox) tries to calm Doctor Bartolo (Ivo Suarez)

Does it bother Berta that Doctor Bartolo keeps asking her to pick up and move the household at a moment’s notice to escape Count Almaviva?

No. She is loyal to a fault. I like that she is a middle-aged woman that is not happy where she’s at, but not sure how to get un-stuck. In our version, Rossini guides her along, and she gets a happy ending too.

What about her appeals and speaks to the audience?

She is very relatable. At every point in a person’s life you put your trust in someone with whom you should not have. We all find out a little too late that we have helped the wrong person. Berta really believes that Doctor Bartolo wanted to marry Rosina and take of her, and she has just started to realize that Bartolo is really all about the money.

What does Berta think about this Count Almaviva business? When does she suspect

Berta (Emily Cox, right) noses her way into
Rosina's (Liana Gineitis, left) business

something?

She starts to suspect when he comes to the house in disguise as the piano teacher. By the time we meet Almaviva disguised as a drunken soldier, she is absolutely in the know. She is a lot smarter than anyone thinks. Spending that much time watching Rosina, of course she would totally know what was happening.

What does Berta think of Figaro?

Berta doesn’t like him at all. He represents everything she doesn’t like in a man — self-righteous, fast-talking, self-serving. Part of the reason she remains so faithful to Bartolo is because she uses Figaro as a direct foil.

How are you distinguishing your Berta of early 1800s from the woman you are in the 21st century?

In 2017, I move with my pelvis; to dive back into the 1800s, I must slow my gestures, stand up straighter, and take more time and consideration in the things I do.

How old are you playing her?

I’m playing her in her 30’s, which then, unfortunately, would have been termed “an old-maid”.

What do you think about this version (dialogue vs. recitative)?

I love it. It streamlines the entire story, and makes the characters more believable but removes some element of reality. We’re all characters in a storybook… it’s more believable both from the perspective of action and reaction. We must be careful with Rossini doesn’t come across campy; but I believe we have just the right balance of humor and suspension of disbelief to actually make it believable.

Tell me about Berta’s relationship with Rossini in this adaptation?

Berta (Emily Cox) takes a rare opportunity to seduce
Rossini (Edward Kuffert), the composer,
who creates the production before the eyes of the audience.

I feel she embodies the entire household. She can feel something isn’t quite right as soon as Rossini enters the scene as the omniscient figure. Berta warms to Rossini because he shows genuine affection, even for the flawed characters, such as Berta herself. She and Rossini are the same in their values in that they see the best in everyone. Rossini genuinely treasures Berta; I don’t think she’s ever had that from anyone before. And of course, the love affair is quite unexpected!

What do you think about working Petite Opera?

I love it… I’ve been tracking the company on social media. I intentionally audition for companies and directors that produce high-quality productions in which I am interested and value. If I want to write my own show, I can. If I work from someone, I do so. That’s why came to Petite Opera.

I loved their Assassins, the fact that we were an opera company that understands the crossover potential.

How did you become familiar with Petite Opera?

I knew about the Magic Flute auditions a few years ago, and had friends who were in the cast. I saw it, and loved it. Then, I auditioned for Petite Opera’s production of Assassins, which was such a great process and experience. I love the productions they select, the production value they create, and the performers and artistic staff they are attracting and working with.

How would you describe this opera, concisely, to someone who has never seen it? In short, why should they come see Petite Opera’s production?

Guy meets girl; guy wants girl, but girl is being held captive by old guy who wants girls’ money.

Guy hires known varmint to come and steal her away. Mischief and mayhem ensues and in the end, most end up happy. Oh, and by the way, the composer himself is in it. Another reason: Come see the show, and see me play with a 15-foot boa!

*****************************************
Tickets are $27 for Adults (ages 18-61)

$25 for Seniors (age 62 and up)
$15 for Students (K through College, with ID)
$5 for Children ages 5 and under
To reserve your tickets for payment by cash or check at Box Office on performance date:

Call 847-553-4442 or email tickets@petiteopera.org.

For credit card orders, visit our http://petiteopera.tix.com.

Please note: reservations and Credit Card orders accepted up to 4 hours prior to show time.

A convenience fee is applied to all credit card orders at checkout.

LOCATION:
Mary Wilson House Beyer Auditorium
part of St. Mary's Episcopal church campus
306 S Prospect Avenue (at Crescent Ave)
Park Ridge, IL 60068

Rumor Has It That Don Basilio Enjoys Petite Opera's "Barber of Seville"

noreply@blogger.com (Petite Opera Productions) — Mon, 13 Nov 2017 12:00:00 +0000

Jess Koehn, Don Basilio in Petite Opera's production of "Barber of Seville", discusses his character and thoughts on the opera with Executive Director, Susan Baushke.

Jess Koehn plays Don Basilio in
Petite Opera's Barber of Seville
November 4-19

Tell me what you like about the character of Basilio?

What’s not to like? He’s a music teacher. It is fun to do a caricature of someone all artists are familiar with, and create a composite of them all formed into one being. He’s so nefarious, without being truly evil. Basilio loves to gossip and slander, but he can be bought. He’s not above ruining lives as long as the price is right. This character is fun to play because he is so different from me.

What do you think about this updated production without recitatives (replaced by dialogue)?

It has been much easier to learn. This version will appeal to modern audiences much more than with recitative. Opera goers in Rossini’s time were expected to be really familiar with the opera before they arrived, which is not the case today with audiences. Taking out the recitative makes it much easier to relate to the audience. It’s fun to change it up, give it a new spin and come at it from a different perspective.

Tell me about Basilio’s interpretations of his relationship with the other characters in the opera? For instance, what does he think of Bartolo?

Basilio is a hired gun. He’s Rosina’s music teacher, but he’ll work for anyone as long as the price is right. He knows Bartolo and Rosina, but doesn’t know Count Almaviva at all. So, he sells his services to the highest bidder, and his allegiance shifts to whomever has the biggest purse.

Don Basilio (Jess Koehn, right) describes to
Doctor Bartolo (Ivo Suarez, left) how to assassinate
Almaviva's character through lies and slander

How would you compare and contrast Figaro and Basilio?

Figaro is a freelancer, but he’s more noble in his behavior; he has more scruples. Basilio enjoys ruining people, loves to gossip. He likes to see people squirm.

How are you portraying Basilio differently to achieve the setting in the early 1800s period versus 2017?

Basilio has a certain deference to Bartolo, and to the Count… deference to the class difference that we pretend doesn’t exist today. We have the division, of course, today. But then, class distinctions were recognized and respected then. Basilio’s love of gossip and rumor mongering is certainly found equally today as it was in the 17th century. But there was definitely a place for that type of gossip in the 17th century, that is not politically correct today. Plus, our communication is so much quicker today; in the 17th century, the gossip was the fastest moving communication.

Basilio is a professional musician and teacher, so he’s middle class, not a laborer or pauper. He associates with the nobility and the education of the nobility, but he isn’t accepted as nobility or on equal level. Perhaps his way of level setting is bringing down the nobility by rumor-mongering. It this way of growing his stature and self-respect.

What do you think about working for Petite Opera?

Don Basilio describes the shame that will come to Almaviva,
while Doctor Bartolo cowers at Basilio's intensity.

It’s been a lot of fun. We’ve worked very quickly, on the show was on its feet in the third week of rehearsal, which is amazing. It is a ton of fun to be doing opera. I’ve been doing so much work as a chorister since coming to Chicago, it is great to be working at high level with professionals.

How would you describe this opera, concisely, to someone who has never seen it, why should they come see Petite Opera’s production?

This is really fun modernization of a classic by Rossini, one of the great opera composers of the 17th century. It’s in English, and so more accessible. The composer is actually a character in the opera, and he builds the opera before you eyes. You see the imagination of his creative process. Petite Opera is, by its very name, a smaller company, but it is very dynamic. The people are wonderful and engaging. And the story is timeless romantic comedy.

If you could go to dinner with any character in the show, as yourself, who would it be and why?
Figaro, definitely. He’s a barber... barbers dispensed medicine, did surgery, cut hair. He’s quick and thinks on his feet. He’s a fascinating, knowledgeable jack of all trades. He’s the title character. He would be fun to hang out with.

*****************************************

Tickets are $27 for Adults (ages 18-61), $25 for Seniors (age 62 and up)

$15 for Students (K through College, with ID), $5 for Children ages 5 and under
To reserve your tickets for payment by cash or check at Box Office on performance date:
Call 847-553-442 or email tickets@petiteopera.org
For credit card orders, visit http://petiteopera.tix.com
Please note: reservations and Credit Card orders accepted up to 4 hours prior to show time.
A convenience fee is applied to all credit card orders at checkout.

LOCATION:
Mary Wilson House Beyer Auditorium
part of St. Mary's Episcopal Church Auditorium
306 S Prospect Avenue (at Crescent Avenue)
Park Ridge, IL 60068

Opening weekend audiences are raving about Petite Opera's "Barber of Seville"

noreply@blogger.com (Petite Opera Productions) — Fri, 10 Nov 2017 05:18:00 +0000

The composer, Rossini, drops his baton on opening night of Barber of Seville.

"This production was so funny, and I laughed so hard, I almost wet myself!"

"Adding Rossini as the narrator really made it fun."

"This production really zips along and is very entertaining."

"The Act 1 finale is a real zinger, even minus the chorus."

"When I heard Petite Opera was doing this production in English and adding the character of Rossini, I was skeptical, but it totally worked and I absolutely loved it!"

"This approach was amazingly accessible to opera newcomers and great for opera veterans."

"Petite Opera's production is a refreshing take on a known story."

"The stage direction, backdrop, and diction was great, and the intimate space was the perfect setting for this production."

Rossini (Edward Kuffert) sets up the scene as the
irresistible force--Rosina (Liana Gineitis) and
the immovable object--Doctor Bartolo (Ivo Suarez) square off

Don't miss your chance to share in the fun!

6 more performances:

FRI Nov 10 at 7:30 PM

SAT Nov 11 at 7:30 PM

SUN Nov 12 at 4:00 PM

FRI Nov 17 at 7:30 PM

SAT Nov 18 at 7:30 PM

SUN Nov 19 at 4:00 PM

For tickets, call 847.553.4442 or order online at http://www.petiteopera.tix.com.

Meet the Strong Female Sopranos that Enliven Petite Opera's Barber of Seville

noreply@blogger.com (Petite Opera Productions) — Wed, 08 Nov 2017 05:07:00 +0000

Petite Opera speaks with Kaitlin Galetti and Liana Gineitis who portray the strong, independent Rosina.

As Petite Opera rehearses, Executive Director Susan Baushke, sat down with the company’s two talented performers playing Rosina in its upcoming Barber of Seville, playing November 4-19, 2017, to ask them about their upcoming role.

Kaitlin Galetti portrays Rosina
November 5, 10, 12, 18

What do you like about the character of Rosina in this work, and this production in particular?

Kaitlin:

Rosina is all about “smashing the patriarchy”. She is a strong feminine character for the time period. It’s also great to play at a “Lady” mezzo role for a change!

Liana Gineitis portrays Rosina
Nov 4, 11, 17, 19

Liana:

Rosina is confident, headstrong, knows what she wants, and goes after it. Its refreshing, especially for the time frame (early 1800s). She’s three-dimensional, fun and funny. What’s not to like?

What is your impression of Petite Opera and this production so far?

Liana:

The company appears very relaxed and friendly, supportive and inviting.

Kaitlin:

Communication has been extremely easy, and is very clear. The entire environment is one where I feel very secure to take artistic ownership. The culture and people are very open and inviting, and encourage me to see what I can do and bring to the role and the production. I also found it incredible that the audition panelists made a point of shaking our hands and introducing themselves before we sang. They understand what it is like to be on “both sides of the audition table”, and I greatly appreciate it!

Petite Opera and Stage Director Michael Kotze extracted the recitative from this version, and replaced those sections with dialogue featuring a new character—the composer himself—Rossini. What is your impression of the adaptation and its impact on you as performers, and the potential impact on the audience?

Liana:

Taking out the recitative and turning it into dialogue, especially for a comedy, makes the whole production more accessible for the audience. It helps expose people to the opera, and lets them research it further, if desired. Patrons can definitely connect to Rossini and can easily follow the plot.

Kaitlin:

Using this revised format helps us invite patrons into the action, to meet them as some level and make their own decisions about the creative process of the opera and its characters. I like it.

Petite Opera rehearses and performs in Park Ridge. Tell us about the experience of performing in the suburbs vs. downtown.

Liana Gineitis (right) promotes the show around town
with fellow cast members Max Hosmer (left)
and Gabriel DiGennaro (center).

Liana:

I must admit that, having just received my Master’s in Voice from Northwestern, I have only performed in the suburbs thus far, so don’t have a point of reference. However, I think its great to branch out and perform across the Chicago area and its suburbs to reach audiences.

Kaitlin:

I’ve lived in Chicago for 2 years now, and performed in Chicago and the suburbs. I find the suburbs very inviting, with appreciate audiences. In some ways, suburban audiences give us permission to try newer things and give more leeway to interpret and put out own stamp on characters that have been performed for over 100 years!

Kaitlin Galetti (right) confers with fellow cast
members Brett Potts (left) and Gabriel DiGennaro (center)
while promoting the show at
Park Ridge's Wine Styles shop.

The two of you have been in Chicago for a while. Have you had the opportunity previously to work with other cast members that appear in this Barber of Seville production?

Liana:

I have not worked with anyone in the production previously, but will be performing Rusalka with Brett Potts during October; he is one of our two Count Almaviva’s in this production.

Kaitlin:

I recently just performed in Johnny Johnson with Gabriel DiGennaro, so I look forward to working with him again as one of our two Figaros.

*****************************************
Tickets are $27 for Adults (ages 18-61)

$25 for Seniors (age 62 and up)
$15 for Students (K through College, with ID)
$5 for Children ages 5 and under
To reserve your tickets for payment by cash or check at Box Office on performance date:

Call 847-553-4442 or email tickets@petiteopera.org.

For credit card orders, visit our http://petiteopera.tix.com.

Please note: reservations and Credit Card orders accepted up to 4 hours prior to show time.

Dueling Barbers - A conversation with Petite Opera's two Figaros

noreply@blogger.com (Petite Opera Productions) — Fri, 03 Nov 2017 05:04:00 +0000

The Shavers Most In Favor--Johnny Boehlefeld and Gabriel DiGennaro-- discuss the role of Figaro in Petite Opera's
Barber of Seville Nov 4-19

Petite Opera’s Executive Director, Susan Baushke, sat down with the performers double-cast as Barber of Seville’s lllustrious character Figaro: Gabriel DiGennaro and Johnny Boehlefeld. Both performers discussed their take on the character of Figaro, the uniqueness of this particular production and working with Petite Opera.

Gabriel DiGennaro
portrays Figaro
Nov 4, 11, 17, 19

What do you like about the character of Figaro?

Gabriel:

What really appeals to me about Figaro is his ability to stay optimistic and go with the flow. He rarely ever appears defeated, or even appears to feel defeat. While he is attracted to money and that lifestyle, in the end, whatever he ends up with he will embrace and enjoy. I think its a very healthy, sustainable, way to live! He does a little of everything, similar to a modern, self-employed, freelancer, which mirror the life of today’s artist. Even though employment could be temporary, he never lets that get to him.

Johnny:

Figaro has a lot of energy and he is always trying to be one step ahead. Those are the most endearing things about the character.

What appeals to the audience about Figaro?

Johnny Boehlefeld
portrays Figaro
Nov 5, 10, 12, 18

Johnny:

He appeals because he is guiding the story and he is their avenue into the story. He is outside of the romance, he invites the audience to look at it from his point of view.

What does Figaro think of the Count and the whole plot he enrolls Figaro in?

Gabriel:

He is driven by money to enter the story. But as the opera proceeds, the Count often throws things at him, requiring Figaro to fix them. The Count is goofy, love-struck and distracted. Figaro can tolerate those challenging aspects of the situation because the money is good. I would equate it to taking some rather unsavory gigs as a performer in today’s world—perhaps where the piano is out of tune, the music selection is ho-hum, but we can deal with it. I would say there is no ill will on Figaro’s part in having to handle these things; he and the Count are of a similar age and different rank, but Figaro doesn’t take that as a barrier. Figaro sees no barriers with anything.

Johnny:

Figaro thinks the Count is a bit dense, a clod and a whiner, but he is sincere in seeking Rosina. He thinks that Rosina needs someone her own age to marry, not Bartolo. Bartolo needs to get over himself, so Figaro’s involvement is welcome to all, and he enjoys it.

What does Figaro think of Bartolo, Rosina and the whole circumstance?

Gabriel:

Gabriel DiGennaro, portraying Figaro,
inviting patrons around town to Barber of Seville
at Park Ridge Wine Styles.

As a servant, he doesn’t like being told what to do, so he can relate to Rosina’s situation where she is stuck into something she doesn’t want. He is motivated to help Rosina out of her situation, and help the Count, so his involvement is a win-win.

Johnny:

Figaro thinks Bartolo is a foolish old man and Rosina seems like a sweet, nice girl, who is always polite. He thinks the idea of Bartolo marrying Rosina is ridiculous, but he’s seen it happen so many times before. It isn’t a surprise; so he comes in, does his work, rolls his eyes and moves on. He is aware, but not engaged in the situation until the Count employs him to help win Rosina. Let’s just say that resolving the situation is not on Figaro’s radar until the beginning of the opera when he’s employed to help.

What has Figaro’s relationship been with Bartolo?

Gabriel:

He shaves Bartolo, pulls his teeth, but wouldn’t prefer to grab a beer with him. But he’ll happy take the money Bartolo pays him. He enjoys interacting with Rosina, as a kindred spirit. Figaro is an eternal optimist.

Johnny:

He’s a paid employee. For the most part, he does his work, and leaves. Bartolo has not endeared himself to Figaro to engage in anything beyond his traditional duties.

How are you distinguishing “Figaro, the optimist” as you would play him in 2017, versus of the character portrayal of the early 1800’s, required for this production?

Gabriel:
When emotions are boiled down to their purist form, they ring true no matter time period. Happiness, anxiety, and fear, are timeless. The oppressive situation/force working against you—well, that changes. Today, the oppressive force could be managing your identity on social media; in the early 1800’s, it was the unbreakable social hierarchy. Either way, there are external forces the characters deal with outside of themselves. Because of the differences in the times, mannerisms are different between the two time periods. Language differences are addressed with our translations. But emotions and attitudes like optimism, freedom and ultimately love, they are not “trendy”… they’re universal.

Johnny:

The physicality is different in our time, more relaxed and informal. Figaro would be more indignant now than he appears.

What do you think about this version (dialogue vs. recitative)?

Gabriel:

It is engrossing and captivating. It sounds different, but will keep audience’s listening fresh and engaged. I also think it is a really smart way to break up what can become a monotonous production of Barber of Seville, since many patrons have seen it, and they expect things. Bringing Rossini into the show as a character makes patrons observe the opera characters through a different lens, and gives them a chance to see past the catchy melodies, and step out of watching the show, and relate more to the characters as humans, and as Rossini’s creations.

Johnny Boehlefeld (2nd from left) portraying Figaro,

along with cast members Brett Potts, (far left),

Liana Gineitis (center), Rossini (on platform)

and Eric McConnell (seated, right)

Johnny:

It makes it more relatable to people who are used to seeing musical theatre. It lowers one of the barriers to what some people think of with opera, since it has spoken dialogue. It allows accessibility.

What do you think about working Petite Opera?

Gabriel:

I’m excited to have the opportunity to work with this group. Petite Opera cultivates a wonderful community with the people they hire… directors, music director, singers, staff… there seems to be a really supportive layer of collaboration and positivity. This is not a cut-throat company that makes you prove yourself; this is a company that encourages you to do your best with support and care, versus with fear. The fact that the company has been in existence or 10 years—whereas as other companies ebb and flow, appear and disappear—artists and patrons are catching on to the approachable style and mission of the company. This style of this Barber is a very “Petite Opera” thing to do.

Johnny:

It has been a good experience. I have enjoyed working with Petite Opera. Its a different experience to sing in English. English makes the acting choice easier because we are communicating in our native language.

How were you familiar with Petite Opera?

Gabriel:

I have been acquainted with Petite Opera for quite a while. I saw their recent adaptation--Magic Flute 3.0--as well as last year’s production, Assassins. I’ve known a lot of the performers who have worked with Petite Opera in the past, and they always have good things to say about the company. I love that Petite does its own translations and adaptations. Many companies focus on verismo style opera, “big sings” and new works, but Petite Opera has found its unique voice and niche in the community. It creates very clever and applicable adaptations of classical repertoire in ways that today’s audience can really relate to. People will understand Magic Flute in its classic form, but adapting it with a science fiction backdrop (as in 2015's Magic Flute 3.0: A Space Opera), it adds a whole new dimension of relatability. Purist approaches are fine, but if music is allowed to become a museum, it becomes static and lifeless. If the classics are only presented in their classic form, they have more potential to shrivel up and die. It is akin to comparing recorded music versus live music: respect the style in the performance of it, but add flexibility to keep it fresh.

Johnny:

I had heard about Petite Opera when it first started because I knew some people who had performed with the company.

How would you describe this opera, concisely, to someone who has never seen it? In short, why should they come see Petite Opera’s production?

Gabriel:

It allows the characters, and even the composer, to become human, and not just be a puppet or robot doing the same old movements. This production breaks the fourth wall.

Johnny:

Rossini’s Barber of Seville is one of the highlights of the bel canto repertoire, and has never left the repertoire anywhere in the world. Because this is sung in English, our native tongue, it makes the story more understandable and relatable in a way it always isn’t (especially in a big production).

How would you describe to a prospective patron what the opera is about?

Johnny:

Boy sees girl from afar, and decides she’s the one for him. Through a series of ridiculous events, including multiple costumes and breaking into homes, Figaro assists the Count in winning his Rosina, foiling Bartolo’s plan to keep Rosina and her dowry for himself. The ridiculous costumed affairs are the majority of the opera, which are fun and make you laugh.

*****************************************
Tickets are $27 for Adults (ages 18-61)

$25 for Seniors (age 62 and up)
$15 for Students (K through College, with ID)
$5 for Children ages 5 and under
To reserve your tickets for payment by cash or check at Box Office on performance date:

Call 847-553-4442 or email tickets@petiteopera.org.

For credit card orders, visit our http://petiteopera.tix.com.

Please note: reservations and Credit Card orders accepted up to 4 hours prior to show time.

Let Me Count the Ways Almaviva Woos Rosina in Petite Opera's "Barber of Seville"

noreply@blogger.com (Petite Opera Productions) — Sat, 28 Oct 2017 21:53:00 +0000

Max Hosmer plays
Count Almaviva
November 5, 10, 12, 17

Brett Potts and Max Hosmer, who split duties in portraying Count Almaviva in Petite Opera’s upcoming production of Barber of Seville sat down with Susan Baushke, Executive Director, to discuss the production.

What do you like about the character of Count Almaviva?

Max:

Brett Potts plays
Count Almaviva
November 4, 11, 18, 19

He’s very confident in a carefree way and used to getting what he wants, and this is a fun game to him. Like the carefree nature of that.

Brett:
The Count has ingenuity. He’s clever in how he goes about what he wants, even if sometimes he hilariously fails. Its noble that he wants Rosina to love him for himself and not for his status or position. It's a funny experiment. He isn’t throwing around his wealth and see if he can win her on his own merits.

Any difference in how you play him in the original time period versus today? How are you distinguishing it?

Max:
The body language is slightly different. Today, I would play the Count with more entitlement. In the early 1800's, the Count has high stature in social position. With Figaro, and throughout, the count uses his nobility, and entitlement because of his nobility, to his benefit. Nobility excuses his actions, but doesn’t drive his actions. “Use Figaro?" Sure, why not!

Rossini tries to restrain Dr. Bartolo as he attempts to break up Rosina
and Lindoro (who is actually Count Almaviva in disguise).
From Left: Rosina (Kaitlin Galetti), Count (Max Hosmer),
Dr. Bartolo (Eric McConnell), Rossini (Edward Kuffert)

Brett:
I agree. The body language of today versus early 1800's is certainly different. The costuming helps define that as well. The costumes of the his time were much more restrictive, versus today, they are more casual. Also, if I were playing the Count in 2017, I’d probably be texting every few minutes, the courtship would all be secret, and over in short time! But then, we would not hhave all of these fun antics to entertain us!

What do you think of this version, where dialogue replaces the recitative?

Max:

Barber is a good “starter opera” for those who haven’t seen it before. But, taking out the recitative makes it even more approachable for newcomers. It is just lighter, and more fun.

Brett:
Removing the recitatives definitely shortens the length. Because we are trying to make this as accessible as possible, this decision definitely makes it faster and shortens the learning curve to connect with the plot. The story is still intact without the recitatives, so we’re faithful to the original, but more concise.

What do you think of working with Petite Opera so far?

Max:
It's a good group… cast and production crew seem very fun to work with, which is extremely important.I think it's fun that our "assistant director" is a canine mascot named Silas; he contributes, and makes the rehearsals more relaxed and family-oriented.

Brett:
I am the only person who in the cast who has previously worked with Petite Opera. I enjoy being able to learn big roles like this in a more intimate setting, which is very helpful for this, my first Rossini production. Petite Opera schedules a longer rehearsal period, which is inviting; it gives me more time to get the character in my body. Also, it's easier to schedule around my other conflicts.


Silas Assistant Music Director and Mascot

Brett, How is this production different than your previous Petite Opera production (Magic Flute)?

Brett: Magic Flute 3.0, with the space theme and aliens, was quite a different experience in total. I’ve enjoyed both of my Petite Opera production experiences. Flute was fun with all of the extra jokes written in. This is fun in that is closer to the original. Both are great!

What do you think about the added character of Rossini? What does his existence do to help build your character?

Brett:

Rossini is rather like a narrator, so it helps makes the whole show more concise and accessible. Its a very interesting twist. Its fun to talk to your “creator” as a character!

What are your thoughts on performing this work in English?

Max:

It removes a barrier that might keep some people away from it. English makes it more accessible. I like singing in English a lot. I love American opera, so this allows me to work with new material and reach the audience.

Brett:

I like it. I’ve done some parts of this show in Italian, and we're doing English text and dialogue. I find it valuable to know the show in both languages. And because of the English text, this version is much easier to assimilate.

Describe the Count's relationship with the characters at the beginning of the opera versus at the end?

Max:

Count Almaviva has his mind very much set on getting Rosina. Figaro gets roped into the scheme of things. By the end, he has accomplished his goal, and won his prized Rosina. By the end, he harbors no ill feelings to Bartolo or Basilio; it was all in good fun. Figaro was his team mate throughout and Rosina is now his.

Brett:

At the beginning, he doesn’t know anything about Rosina, he’s seen and loved her from afar—frankly, we'd call it "stalking her" today (after all, when Bartolo moves the household, he follows her from one city to another!) His relationship with her changes over the course of the opera.

With Figaro, at the beginning, it starts out a little separate; Figaro wants to make money, and Count Almaviva wants a quick solution to Rosina. As they work together more, Figaro’s ingenuity shows through more and more. Count Almaviva plays his nobility card several times, and he uses his confidence as a Count to lead his behavior. He has a presumption that causes Rosina to fall in love with him.

How does your Count view Rosina? As a piece in the end game? A life mate? A conquest?

Max:
He envisions her at the beginning as a conquest, but by the end of the opera, he has legitimate feelings for her.

Brett:
At the start, I believe she is more of a possible conquest--something unattainable that he must attain. He knows nothing about her at that point. At the end, it seems they are happy together. He’s determined, but she isn’t a true conquest; he seems to have true feelings for her.

Brett Potts (center), promotes the show around town
with fellow cast members Max Hosmer (left), Liana Gineitis
and Kaitlin Galetti (right)

What is so special about Rosina that Count Almaviva “must win her”?

Max:

She’s feisty. He doesn’t want a vaporous airhead who just wants him because he’s a Count. He finds fawning court women unattractive, whereas Rosina is her own person, so she is an attractive goal.

Brett: He finds her very attractive. He also wants to save her from Bartolo. After all, this old guy is holding her hostage, which is unjust. He envisions himself as her Knight In Shining Armor. He is attracted to her, not just her dowry (like Bartolo).

How do you approach playing all of the favorite “disguised characters” the Count assumes throughout the production?

Max:

For the drunk soldier, I ride the line between a mean and a happy drunk. For the music teacher, I portray a caricature of the slimy, suck-up, and pandering servant. It all comes back to the game aspect… its fun to take on different characters. He doesn’t take himself too seriously; however, he takes winning seriously. He never doubts that he will win her.

Brett:

I try to bring more character into the voice, and different mannerisms and ticks. The Music Teacher, The Priest and the Drunken Soldier. The soldier is going to have more slurred speech, and be more clumsy. The Music Teacher is more about putting on upper crust/academic airs. He is there to do a job, so is more purposeful.

How has it been working with Mike Kotze (Stage Director) and Cody Bradley (Music Director)?

Max:

I'm just enjoying the whole process. The staging Mike has created is great. I've worked with Cody in the past, but I'm always impressed with his musical insights.

Brett:
Mike is great. He really seems to know the opera really well. He always has specific things for us to do, but he's flexible about changing things on the fly when they don’t work. He has great ideas for the drama and how to orient and balance the stage picture, and maintain the levity throughout, with staging and timing. He's very pleasant to work with, and friendly and capable of getting really great things out of the performers.

I first met Cody during Petite Opera’s Magic Flute, where he was Music Director. He is an incredibly talented musician, with great instincts. He absorbs musical knowledge constantly. It's a theme with him. He really knows his literature and brings his knowledge of all of the various performances and productions into each work. He’s also a fantastic pianist, hilarious and quite a personality.

How would you describe this opera, concisely, to someone who has never seen it? Why should they come see this production?

Max:
Patrons get to see a group of people on stage singing a bunch of ridiculous notes, and having a lot of fun. This is an enjoyable, good escape from the everyday. Come see it and have some fun!

Brett:
It's a comedy, which makes the production accessible and great for an opera newcomer, and really fun for opera aficionados as well. Patrons will really appreciate the new dialogue and removal of the recitatives. Also, all of the singers are really good.

As far as the show's plot, it is basically a lover's triangle: Bartolo wants Rosina for his own; so does the Count. There is a bit of an adversarial relationship between the Count and Bartolo. What ensues is a string of hilariously timed and choreographed contraptions and deceptions and trickery to get Bartolo to give her up, or swindle him out of being able to marry her. There are complications at every step of the way, and secrecy, to form a hilarious sequence of events that is imaginative enough, yet plausible enough to make you think it could really happen.

*****************************************

Tickets are $27 for Adults (ages 18-61); $25 for Seniors (age 62 and up)

$15 for Students (K through College, with ID); $5 for Children ages 5 and under
To reserve your tickets for payment by cash or check at Box Office on performance date:
Call 847-553-4442 or email tickets@petiteopera.org
For credit card orders, visit http://petiteopera.tix.com
Please note: reservations and Credit Card orders accepted up to 4 hours prior to show time.
A convenience fee is applied to all credit card orders at checkout.
LOCATION:
Mary Wilson Beyer House Auditorium
part of St Mary's Episcopal Church campus
306 S Prospect Ave at Crescent Ave
Park Ridge, IL 60068

Gioacchino Rossini Speaks About His Upcoming Appearance in Barber of Seville

noreply@blogger.com (Petite Opera Productions) — Tue, 24 Oct 2017 11:00:00 +0000

Gioacchino Rossini, one of the great comic opera
composers of his day, appears in his own Barber of Seville with Petite Opera.

Petite Opera Executive Director, Susan Baushke, speaks with Gioacchino Rossini (played by Edward Kuffert), Barber of Seville’s composer, about creating his opera, and appearing in Petite Opera’s upcoming production.

So, Maestro Rossini, why are you appearing in this Barber of Seville production now, at your advanced age. Oh, my! How old does that make you, Maestro?

Rossini:

A gentleman does-uh not-uh discuss his age-uh in front of an audience-uh. I am-uh old-uh enough to know-uh what love-uh is all-uh about. So you-uh come-uh for love; you-uh stay-uh for the music, or vice-uh versa. I am-uh Rossini; I understand-uh both. I am-uh in-uh my own-uh show to reveal the parts of-uh the production that are-uh truly brilliant and-uh truly passionate. Every artist-uh folds in love-uh with his own-uh character. In this-uh case, some of-uh my creations are particularly exciting! You will-uh love them!

What is the reason you are unveiling this particular version now, and in Park Ridge with Petite Opera?

Rossini:

Because-uh it makes-uh perfect sense-uh. The perfect-uh setting for the 200th anniversary of my-uh magnificent opera buffo was-uh 2016. But-uh, in 2016, Hillary Clinton was-uh here, and I-uh wouldn’t want-uh to overshadow her bid-uh for presidential election. So, we-uh wait a year, and that was-uh perfecto, because then-uh it coincided with the-uh 10th anniversary of Petite Opera. Their-uh talents, my-uh show, it is-uh magnifico!

What inspired you to create this piece about mistaken identities?

Rossini:

Mistaken-uh identities are the perfect form-uh because love-uh is never straight-uh forward; it always reveals-uh a new and different person inside-uh the one you love. You find-uh so many layers, so much-uh depth. So I think-uh, why not-uh just put it-uh all in the opera, hmmm? People are-uh transformed by-uh love; you-uh see it on-uh the stage. In a costume-uh, a disguise-uh. The Count-uh, in order to-uh woo the woman he-uh loves, must-uh show another side of-uh himself, a side he-uh didn’t even-uh know existed. This is-uh more interesting, no?

What do you think of your characters - your creations?

Rossini:

This is the genius-uh of opera. Opera takes-uh archetypes, forms-uh we see in real-uh life. The nobleman-uh, the servant-uh, the barber-uh, the beautiful girl-uh. It makes them real-uh to us; it gives-uh them personality. They come-uh from the abstract and move-uh to the concrete. Opera takes-uh these imaginary characters and-uh brings them-uh into reality. People we cannot-uh only see, but can think-uh about and talk-uh to. Think of-uh Figaro… here-uh is a man who is not-uh only a barber, but-uh a master of-uh all arts. (He’s not-uh just rabbit, as many must believe, like, what you-uh call-uh him, Bugsy Rabbit?) Would you-uh want-uh to meet-uh a man like Figaro? Perhaps-uh not. But—would you-uh need-uh a man like Figaro? Agh, very-uh likely!

This is why-uh opera is the greatest of all these-uh art forms. Because-uh the beauty of the music takes-uh you out of-uh yourself, and out into-uh the world that-uh these people can-uh inhabit. Straight-uh theatre cannot-uh do this; nor can-uh musicals. Television? Agh, whoooff! Forget-uh about it! But Opera? Opera fills-uh you with the-uh most-uh beautiful sense. It is-uh the voice-uh of God.

So, Maestro, this production has chopped out your recitatives, and suddenly you appear in it. Tell us about that.

Rossini:

Here’s-uh the thing. A recitative-uh is merely used to move-uh the story from-uh excitement to excitement. It is-uh just a tool to get-uh you there. So-uh naturally, I reserve-uh my greatest art for the excitement—which, of -uh course, is-uh me. So I-uh ask, why-uh should-uh you spend-uh your time with-uh recitatives, when I-uh can move-uh you from excitement to excitement much-uh better. And I get-uh to talk to-uh all you-uh lovely people! If there is-uh anything-uh you do not-uh understand, I stick-uh around afterwards by-uh the stage door, yes? Come-uh see me there! (wink).

Edward Kuffert plays
Gioacchino Rossini in Petite Opera's
adaptation of Barber of Seville Nov 4-19

Ed, thank you for giving us some insight into what makes your characterization of Rossini tick, and letting him speak to us directly.

Now, switching to your opinions as an actor, what do you find most appealing about creating the character of Rossini? After all, this is the first time he has appeared in his own opera!

Ed:

This character and approach reminds of the first piece I ever did: Our Town”, where I played the Stage Manager. The Stage Manager sets the stage, talks to the audience. I loved that… cutting through the boring bits and concisely sharing the story. When you see a work of art, what you remember are the highlights. I love to arrange the pieces into just highlights. In a way, that’s what this role of Rossini is. I love the idea that Rossini is the one in control, sets it up, moves all the chess pieces around. I enjoy being the one in the know.

Since your character wasn’t in the original, how do you describe to your friends why Rossini is appearing in this opera?

Ed:

Rossini, portrayed by Ed Kuffert (left), plays chess with his
character creation, Figaro (Gabriel DiGennaro, right).
As Ed explains, "I love that Rossini is the one
that moves all the chess pieces around."

I have had this discussion with people. It is an economy thing; an attempt to remove the intimidation, shear length added through recitatives. This is a way of making opera more approachable. This approach uses the parts of opera that people are more used to. Folks today are more used to musicals as an art form than opera, with dialogue moving the action. By removing the recitatives, we help them appreciate the work far more than if we gave them the full version. In their day, recitatives were viewed as linking mechanisms, and recitatives were not representative of composers’ best work. Opera is a very exciting art form; using dialogue in place of recitatives allows patrons to come to it with their modern sensibilities, and really enjoy it. It allows the audience to be fully present and fully enjoy the entire work.

Tell us about your experience working with this cast?

Ed:

This cast is amazing. Everyone is friendly and real. The voices are superb. I am in awe of these voices, and Cody, the Music Director, is a genius. The cast members are all sweet, friendly and sing like angels. It is a joy to go to rehearsal and just hear them. It’s beautiful. It’s like going to a performance every time I come to rehearsal— it’s so much fun!

What do think about this company?

Ed:

I am completely behind the mission of this company. For many potential patrons, opera seems to have a stigma, and comes with emotional and cultural baggage. The idea that Petite Opera wants to blow all of that baggage away, get to the fun that made it popular in the first place, and get this out to the people of today is so commendable. We all need more art in our lives!

How do you concisely describe what this show is about and why patrons should see it?

Rossini, (Ed Kuffert, right) takes his cast of creations
around town to promote Barber of Seville

Ed:

The story line follows the classic archetype of mistaken identity, including the wise cracking sidekick who puts the plan all together, and the leading man disguising himself to woo the one he loves. In a way, this is where some of these archetypes started... the servant that is so sharp he can outsmart the nobility. You know the story, but when you watch it, and see it happen right in front of you, it’s so much fun.

Why should patrons see this production? The singers are amazing; the music is gorgeous. Also, these are great actors who are acting through song, not just singers doing some movement. This production is a balance between the singing and the acting equally.

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Purchase tickets online via credit card at www.petiteopera.tix.com.

Place reservations via phone at 847-553-4442 or email at tickets@petiteopera.org

Meet The Man with the Vision For Rossini to Appear in his own Barber of Seville

noreply@blogger.com (Petite Opera Productions) — Tue, 17 Oct 2017 20:44:00 +0000

Michael Kotze, Stage Director, sat down with Executive Director, Susan Baushke to discuss his vision for Petite Opera's upcoming
"Barber of Seville".

How many times have you directed "Barber of Seville"? How have the productions been different each time?

Mike:

I've directed it four times: in Italian, in English, and as a shortened adaptation for young audiences. Each time, I’ve had to approach the piece from a lot of different angles, knowing what the audience's expectations will be. I find this work always gives you something to do, in terms of adapting it to meet the needs of a particular audience. It never dictates being done just one way--which is what makes it so much fun to return to again and again--because you are never doing the same show. Frankly, though, despite all of the adaptations and translations I’ve been involved in, the thing that really makes the show, and distinguishes each production, is the cast. These roles are such a gift to singers with personality. The characters really allow the performer’s personalities to shine through. There are as many personalities as there are singers. Its always fun to see the chemical reactions when you mix different casts together.

Bartolo (Eric McConnell, seated, center) fumes at the situation, while Count Almaviva (Brett Potts, left),
Rosina (Liana Gineits, center), and Figaro (Gabriel DiGennaro, right) try to calm him down.

I've had Bartolos who are absolute clowns, and some that are very dignified; both ways work and create a different situation for the others in the cast to bounce off of. Likewise, with the Count, and Rosina... each interpretation creates so many different great combinations.

It has been very fun to work with our double cast and have both sets of performers in the room, mixing and matching. It is quite enlightening for me to see something I've given them to do from two different angles, and then bring into focus what works best. I wouldn't get that if I just put that coat on one person and saw it one way the whole time. This way, I get to see situations put on different people and see it react differently. For a director, that's stimulating.

What do you think of the dialogue you created for Petite Opera's adaptation?

It challenging to work the dialogue so it is short, snappy and energized enough to keep the room engaged when no one is singing. I’ve tried to keep the dialogue as concise as possible, getting out the plot points, even those that are convoluted, and challenging to make concise. It needs to be short, fast and funny in order to keep the energy level up. The last thing we want is for people to lose steam during the dialogues.

I’ve been interviewing the cast, and asking about what impact switching the recitatives with dialogue has, and most are saying it makes it much more approachable. Is it living up to what you envisioned?

Now that I’ve seen it, I’m really liking it. I told the cast that we were building this from scratch, and wasn’t sure of what to expect. What I like about it is that it is very direct. Having to communicate the piece in our language—English—and sometimes not even using the full trappings of opera—like recitative—means we have to be very direct and know what we’re talking about.

It is easy to paper over many things when singing in a foreign language, or keep things very obscure, and the audience generally won’t notice. But when we sing it in English, and put the plot forward with dialogue between the musical numbers, we must be really clear and spell it all out, otherwise, even a child in the audience will know something is wrong. It's about storytelling. Oftentimes in opera, storytelling gets forgotten because there is enough going on with the music, decor, costumes, etc., that sometimes the story goes out the window. In this version, we are putting the story front and center.

So have any new relationship angles developed out of these characters as a result of adding in Rossini as a character, and switching recitatives to dialogue?

The main thing that becomes much more clear is Rosina’s sense of desolation and feeling of betrayal by the Count. In the opera, it is dealt with in recitative in the opera, never given its own aria to expound upon that. In many productions it gets swept under the rug. Here we had to craft a dialogue which gets that all there in front of the audience. By putting that plainly and clearly in dialogue, it sets the darkest moment in the opera, and gives it more relief. The only time I’ve gotten that sense of Rosina’s betrayal previously is when I saw the original Beaumarchais play upon which the opera is based.

The addition of Rossini -- not only does it hep with getting out some of the exposition cleanly, it allows us to inject even more humor into the piece. Rossini is a bit of a wisecracker. Having him there to host the party keeps everything bubbling along rather nicely.

Members of the double-cast Barber of Seville, promoting the show at Oberweiss Dairy in Park Ridge
(from L.) Liana Gineitis, Gabriel DiGennaro, Edward Kuffert, Kaitlin Galetti, Brett Potts, Eric McConnell, Max Hosmer

This is your first time working with Petite Opera. What do you think about the company?
What initially struck me was the incredibly high quality of the singing. We have two casts of Barber of Seville and everyone is wonderful. It is a pleasure to hear these people sing; there isn’t a bad one in the bunch. That is a luxury.

I like that the primary focus of the company is to make these pieces speak to the audience directly, through the translation, and the intimacy of the room. It's great and a wonderful way to experience these pieces and get to know them. This is not about dumbing it down; it is about making sure we are communicating to newcomers. In many artistic ventures, it is easy to go off on tangents, and see the forest and not the trees. The focus of Petite Opera is very much on communication and storytelling. It is just good discipline for me to keep focused on the heart of it all: the story.

To someone new to opera, never seen Barber before, why should they come see this production?

It combines two wonderful things: Humor and Athleticism. First, there are many laughs. Secondly, it brings you up close to the athleticism of singing. This music is very difficult. As they say in the movie Amadeus, “there are a lot of notes”. It really is like watching great athletes as these singers negotiate this music. This music requires really terrific technique and control. Just listening to it on a recording doesn't really given you the sense. When you are in the same room, breathing the same air as these performers, you really appreciate what they are doing, and how amazing this type of singing is. Add to that a funny story, and you have a great evening!

Any closing insights?
I love the energy of this music, and the way it just throws one wonderful idea after another at you. It is hard to keep up with it. The production is so prodigal in its invention, and such a delight, rather like seeing the insides of some complicated watch or machine and seeing all of the gears and spokes all working together. It has a mad energy, and I love it!

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Purchase tickets via credit card at www.petiteopera.tix.com
For reservations, call 847-553-4442 or email us at tickets@petiteopera.org

Tickets now on sale for Petite Opera BARBER OF SEVILLE

noreply@blogger.com (Petite Opera Productions) — Sun, 15 Oct 2017 16:43:00 +0000

Tickets now on sale for Petite Opera BARBER OF SEVILLE

Rossini (Edward Kuffert, left) and Figaro (Gabriel DiGennaro, right)
prepare to accept a new customer for a shave,
as they talk up Petite Opera's Barber of Seville
November 4-19, 2017 in Park Ridge.

Tickets are now on sale for Petite Opera's November 4-19, 2017 production of Barber of Seville. Don't miss this comic must-see production, translated into English so comedy prevails!

This new production, featuring the ever-loving Figaro, exchanges the traditional recitatives with comic dialogue, and adds a new twist: the composer, Gioacchino Rossini, is a new character in the show. He inserts himself into the production and acts as a type of MC to add color commentary, introducing the scenes and characters to the audience. Not to be missed!

Buy your tickets online via credit card at www.petiteopera.tix.com, or place a reservation for cash or check payment: Phone 847.553.4442 or Email tickets@petiteopera.org. We'll see you at the show!

*****************************************
Tickets are $27 for Adults (ages 18-61)
$25 for Seniors (age 62 and up)
$15 for Students (K through College, with ID)
$5 for Children ages 5 and under
To reserve your tickets for payment by cash or check at Box Office on performance date:

Call 847-553-4442 or email tickets@petiteopera.org.

For credit card orders, visit our http://petiteopera.tix.com.

Please note: reservations and Credit Card orders accepted up to 4 hours prior to show time.

Petite Opera Takes the Cast of Barber Of Seville Around Town

noreply@blogger.com (Petite Opera Productions) — Tue, 10 Oct 2017 23:09:00 +0000

Join members of Petite Opera's double-cast production as
they introduce Barber of Seville to today's audiences.

They dance, they check out the incredible dates (21st century!) on wine bottles, they eat ice cream, and help Figaro and Rossini recruit the man on the street for a shave by the "guest barber" in town - Figaro, the Barber of Seville.

Performances run November 4-19, 2017.
Purchase tickets via credit card online at www.petiteopera.tix.com.
For ticket reservations (check or cash payment), call 847-553-4442 or email tickets@petiteopera.org.

Petite Opera Productions

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Petite Opera Presents The Falling And The Rising Nov 2019

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Petite Original Productions thanks all of its patrons

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Join Patrons who have found love again with That's Amore!Only 2 performances left!

Celebrate Valentine season with THAT'S AMORE! Feb 9-17

Petite Original Productions

presents

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Instrumental Combo

ARTISTIC TEAM

Why Petite Opera's #metoo Don Giovanni can make a difference

Despicable and Applicable, Donny G has always been around

PetiteOpera's #DonGiovanni fights off his #metoo accusers through Nov 18

See what patrons are buzzing about.

Why Petite Opera's Despicable #metoo Don Giovanni is So Applicable

"Don Giovanni is much more despicable and evil in this version", which makes him more relevant

Only 4 performances left!

Sunday, November 11 at 4:00 PM Friday, November 16 at 7:30 PM Saturday, November 17 at 7:30 PM Sunday, November 18 at 4:00 PM Tickets: www.petiteopera.tix.com.

Meet Otto Gruselig from the #metoo Don Giovanni by Petite Opera

Meet film star agent, Otto Gruselig

Meet Donny G from the #metoo Don Giovanni by Petite Opera

Patrons Say #MeToo to Petite Opera "Don Giovanni"

Meet the Cast of Petite Opera #MeToo Don Giovanni

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Get Caught Up in The Story

New Petite Opera #metoo DON GIOVANNI is ripped straight from the headlines

Petite Opera announces its latest ambitious work, and incredible cast for upcoming Don Giovanni November 3-18, 2018

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ARTISTIC and PRODUCTION STAFF

TRANSLATION WRITING TEAM

PERFORMANCE DATES

Rossini Maid Me Do It - Berta's Backstairs Love Affair with Rossini

Rumor Has It That Don Basilio Enjoys Petite Opera's "Barber of Seville"

Opening weekend audiences are raving about Petite Opera's "Barber of Seville"

Meet the Strong Female Sopranos that Enliven Petite Opera's Barber of Seville

Petite Opera speaks with Kaitlin Galetti and Liana Gineitis who portray the strong, independent Rosina.

Dueling Barbers - A conversation with Petite Opera's two Figaros

The Shavers Most In Favor--Johnny Boehlefeld and Gabriel DiGennaro-- discuss the role of Figaro in Petite Opera's Barber of Seville Nov 4-19

Let Me Count the Ways Almaviva Woos Rosina in Petite Opera's "Barber of Seville"

Gioacchino Rossini Speaks About His Upcoming Appearance in Barber of Seville

Petite Opera Executive Director, Susan Baushke, speaks with Gioacchino Rossini (played by Edward Kuffert), Barber of Seville’s composer, about creating his opera, and appearing in Petite Opera’s upcoming production.

Meet The Man with the Vision For Rossini to Appear in his own Barber of Seville

Michael Kotze, Stage Director, sat down with Executive Director, Susan Baushke to discuss his vision for Petite Opera's upcoming "Barber of Seville".

Tickets now on sale for Petite Opera BARBER OF SEVILLE

Tickets now on sale for Petite Opera BARBER OF SEVILLE

Petite Opera Takes the Cast of Barber Of Seville Around Town

Join members of Petite Opera's double-cast production as they introduce Barber of Seville to today's audiences.

**Petite Original Productions**

Sunday, November 11 at 4:00 PM

Friday, November 16 at 7:30 PM

Saturday, November 17 at 7:30 PM

Sunday, November 18 at 4:00 PM

Tickets: www.petiteopera.tix.com.

The Shavers Most In Favor--Johnny Boehlefeld and Gabriel DiGennaro-- discuss the role of Figaro in Petite Opera's
Barber of Seville Nov 4-19

Michael Kotze, Stage Director, sat down with Executive Director, Susan Baushke to discuss his vision for Petite Opera's upcoming
"Barber of Seville".

Join members of Petite Opera's double-cast production as
they introduce Barber of Seville to today's audiences.