La Traviata: Meet the Cast

Kerriann Otaño, OperaDelaware’s VP of Engagement, got to connect with some of the stars of our upcoming production of Verdi’s mesmerizing La traviata. Read up on these powerhouse performers as they prepare to take the stage on March 31 and April 2 for La traviata at The Grand Opera House!

LINDSAY OHSE AS VIOLETTA VALÉRY

Kerriann Otaño: How did you get your start in opera?

Lindsay Ohse: I started out playing piano and cello, but I soon learned that I prefer to be on stage singing, rather than in the pit. I didn’t really know about opera until late high school/early college, I just knew I loved performing and after realizing my voice was suited to opera, it became my medium of choice. My absolute favorite thing is telling stories on stage with other people; I have such a great time connecting with my colleagues and feeding off of each others energy in a scene. I’d almost always rather sing a duet than an aria!

KO: Give us your best elevator pitch for La traviata.

Lindsay Ohse: So for someone who doesn’t know, the plot of La Traviata is kinda like the film Pretty Woman except that Richard Gere’s dad makes her break up with him to save the family’s reputation, and then she dies. It’s got way better music though, no offense to Roy Orbison. 

KO: When tackling Violetta, who or what are you drawing inspiration from? How do you make her come to life in a way that is uniquely you?

Lindsay Ohse: Violetta, as a courtesan, is basically an actress, or a performer. We as performers are always putting up a version of ourselves that we want people to see and hiding our true selves in a safe place behind metaphorical walls—it is very easy for me connect with her, in that sense, so I’m drawing inspiration from my own life as a performer. I have definitely made choices that ended up breaking my own heart, so we definitely have that in common!

BARITONE BENJAMIN TAYLOR AS GIORGIO GERMONT

Kerriann Otaño: What made you want to become a performer? What sustains you?

Ben Taylor: The thrill of going onstage, singing and being someone else while delivering timeless stories is something I really enjoy! I’m sure there are things that equate to that adrenaline rush, but for me, stepping on the stage is my favorite.

KO: Give me your best elevator pitch for La traviata.

Ben Taylor: It’s a classic story about love, miscommunication, conflict of family and self, and lots of parties and drama. What more would you want in a show?!

KO: Ben, I'm more familiar with you in comedic roles like Papageno (which you just recently sang at The Metropolitan Opera!) - what makes you most excited about tackling this stoic, dramatic role? Will Germont still have some of your signature charm, or do you view him as radically different from who you are?

Ben Taylor: Thank you! While I do love playing comedic roles, it’s nice to be able to go back and forth from the dramatic and the comedic. I think Germont is very charming despite the conflict he causes in the opera, but the application of his charm is different than a Papageno. So I’m excited to see how I can filter the charm through stoicism while making him relatable and real.

TENOR MATTHEW VICKERS AS ALFREDO GERMONT

Kerriann Otaño: Why is this opera important to you personally? 

Matthew Vickers: For me, there are 2 primary reasons: first, I was in the chorus for a Traviata when I was in school, during a period of about 5 operas that, ultimately, lead to me deciding to pursue singing opera as a profession. Second, it is important to me for, I think, the same reasons many might argue it's one of the top 5 (or so) most important operas still: it's humanity. Opera can be about and highlight many, varied themes. To me, it is very easy to see the people in this show as "human"; they make human decisions, human errors, have human baggage. In the end, it ends up being, in my opinion, very relatable. 

KO: What made you want to become a performer? What sustains you? 

Matthew Vickers: It's difficult for me to pinpoint the one reason I wanted to perform but I think it is related to the question of what sustains me: I love it. Very often, as a performer, it can get deeply personal and extremely lonely. In addition, the discipline and the craft that we spend so much time working on can draw us away from the core of what we do: collaboratively creating something beautiful. Like anything in life, I make it a point to take time out of my days to acknowledge and appreciate the sheer beauty -- the music, costumes, set, direction, story, etc. -- of any given production, and the joy of sharing that with varied talented humans. 

KO: Give us your best elevator pitch for La traviata.

Matthew Vickers: It's a classic, relatable story of Boy meets Girl/Girl meets boy, he is more interested in her, at first, but she -- reluctantly --  falls for him; things are, briefly, bright and sunny and then the self-sabotaging begins: humans making decisions/mistakes based on their own expectations and misperceptions, and they aggressively overreact and, yet, in the end, they are able to find "themselves" and have their lives changed forever, admittedly, with different results. 

KO: How do you find your character?

Matthew Vickers: Finding any character, for me, is all about the text, both my own text, and my counterparts. Alfredo, like many of Verdi's characters, is easier to discover because so much is present. Beyond that, the music itself aids in coloring moments in the arch of a particular character. I love creating an understanding of my character on a larger scale and imagine that the opera is just shining a light on brief moments in the life of this person. Alfredo, to me, is different from many other roles in that he is more "human". It is much easier to step into a character that I am able to connect with many of his decision/actions and temperament -- even the not-so-nice things that he does. If art imitates life, then it shouldn't come as a surprise that these characters are multifaceted and complex. The beauty of this story, and in human behavior, is the reconciliation -- no matter how brief. 

Sunday Spotlight: Andrew Bidlack

OperaDelaware is delighted to host our third Sunday Spotlight recital on February 5 with the immensely talented tenor, Andrew Bidlack. Andrew was originally slated to perform this recital in December 2022, and when he received an exciting once-in-a-lifetime opportunity to perform in Frankfurt, we were only too happy to reschedule. Get to know Andrew below in his interview with Kerriann Otaño, OperaDelaware's Vice President of Engagement, and get your tickets to his recital on February 5 at 2 PM at the OperaDelaware Studios!

Get to know Andrew Bidlack!

Kerriann Otaño: What do you love most about recitals? The collaboration, the repertoire, the intimacy?

Andrew Bidlack: I have far more experience with opera and have only had the chance to do a handful of recitals. In an opera, we’re often on a large stage with lots of other people, whether they are fellow singers nearby or crew backstage helping all the pieces fit together. We’re often so far from the conductor that it’s difficult to hear the intricacies of the orchestra and must rely on the visuals of the baton to stay in time, and often we don’t see a single face in the audience until the lights come up for bows at the end of the show. Doing a recital is different in almost every way. It’s just you and your colleague at the piano, and you have just the words and music at your disposal to tell the story. Since it is often set in a more intimate space and we are not singing over a full orchestra, we can use different colors and shadings to shape the text that wouldn’t work in a large opera house. These aspects of recital performance are so special and different and I’m really grateful for this opportunity to explore this intimate music.

KO: What piece from your upcoming recital on February 5 are you most excited to share?

AB: Since I was in college I’ve always loved Robert Schumann’s Dichterliebe, and specifically the recording made by Fritz Wunderlich and Hubert Geisen for Deutsche Grammophon. Each song is uniquely beautiful and heartbreaking, and from the first notes the piano shows that its contribution is as important as that of the singer. I’ve always wanted to perform it, and when Aurelien and I started talking about repertoire I felt this had to be included and was thrilled that he agreed. As a personal bonus I was in Germany for several months this past season where it was easy to visit the places the poet Heine mentions in the cycle since they are all near to where I was working in Frankfurt.

KO: What made you want to become an opera singer?

AB: I decided that I wanted to be a musician while in high school, and after an exploratory semester as a guitar major it was pretty apparent that singing was going to be a better choice for me. I was really drawn to the things that make performing opera so different than other music: the costumes, sets, staging rehearsals, and especially the people. This is definitely my tribe, and I’m so grateful for the friendships and travel this career has provided!

KO: What has been your career highlight?

AB: I was never one of those singers who thought my success would be defined by whether or not I made it to the Met, but nonetheless it was thrilling to make my debut there as Beppe in I pagliacci a few years ago. I was covering the first 5 shows and set to perform the last 6 of the run, so my first time doing everything on the stage was during the performance. It was terrifying and exhilarating, especially the first few minutes: Nedda entered on a mule which came out a bit early and blocked my path, and because of chorus crowded around I had no choice but to crawl under the mule in order to get to the front of the stage to sing my first line. Moments later my colleague yanked me by my shirt to safety as the hood of this old 1950’s truck slammed shut inches from my face! It was a surreal and incredible night, and the curtain call was almost an out of body experience.

KO: Who are your top three role models/inspirations?

AB: I’ve been listening to Fritz Wunderlich so much lately so I have to include him! Much of my career has been focused on Mozart roles and especially Tamino from Die Zauberflöte, and I’ve certainly agree with all who consider him the gold standard in this repertoire. His elegant phrasing, distinctive and stunning sound, and especially the beauty he brings to the German language are all things that I find inspiring and make me love the music as he performed it.

My journey with music started with my mom, who was my first piano teacher when I was 6. Watching her play Chopin made me want to learn to play myself, and although I quickly found out that it was way harder than it looked, I wouldn’t be where I am without those first lessons! Because of her I can’t remember a time when I couldn’t read music, and I was familiar with Mozart, Bach, Tchaikovsky, and Pavarotti long before I had any ideas about a career in music.

My wife Melissa is an inspiration and I admire her immensely.Throughout our relationship I’ve been away from home more often than not, with the exception of the recent pandemic cancellations. We all got used to me finally being home during that time and in many ways it was a welcome change for all of us, but things have picked up again and this year I was away a lot and even out of the country for over 6 months. Through it all she’s managed to not only excel at her job, but has kept everything together at home and taken great care of our daughter, Elodie (all the homework, swim lessons, tap dance, girl scouts, etc.). It is a massive task, and I wouldn’t be able to do any of this without her unwavering support, advice, and grounding presence.

KO: Why should people be EXCITED about your recital on February 5?

AB: We’ve chosen a beautiful program that is as virtuosic for the pianist as is the singer. Along with standard repertoire like Dichterliebe, we’ll also be performing 5 seldom heard songs in Russian from Sergei Rachmaninoff’s Opus 26, as well as Benjamin Britten’s early cycle On This Island, set to text by one of my favorite poets, W.H. Auden. I know we’re both really looking forward to it!

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Don't miss Andrew Bidlack and Aurelien Eulert in their Sunday Spotlight recital at the OperaDelaware Studios on February 5 at 2 PM!

GET TICKETS HERE

An extra special trip to the Opera for two young superfans!

OperaDelaware’s Development Associate Sarah Asmar was able to make some dreams come true for two young opera fans over the holidays! Coordinating with parents for a trip to the Metropolitan Opera, Sarah arranged a special stage door meet up with the sisters and soprano Lindsay Ohse following one of Lindsay’s performances as Papagena in The Magic Flute. We are so excited to welcome Lindsay Ohse to Delaware this March to star as Violetta in La traviata at The Grand Opera House. Read Sarah’s guest blog below.

Greetings from your favorite opera singer turned Development Associate, Sarah Asmar!

Sarah Asmar

Development Associate, OperaDelaware

As a recovering singer (I will always remember my literal and proverbial turn on the Grand Opera House stage in OperaDelaware's production of Amleto) and true believer in nurturing a love of music in children, it will come as no surprise to anyone that I have had many forms of employment over the years that have combined music making and tiny tots. One day, as I considered a new adventure, I found myself researching Music Together. The Music Together curriculum is highly based in research and childhood development, which I love, but at its core is a play-based class where parents and their little ones can connect and learn through a shared musical experience. I loved watching bonds form and musical skills develop as the weeks went on, but what I now most cherish is the relationship that I built with my families and that I am now a permanent part of their lives and can continue to share the wonders of music with them outside of the class experience (I do miss those weekly classes though).

I have remained particularly close to one particular family (let’s call the children G & L) and love hearing about the new music they are listening to. As music lovers themselves, the parents are dedicated to sharing new experiences in very digestible ways. One day, mom told me that they were gifted Classical Kids cds by Grandma. The Classical Kids website describes them as “a dramatic story, a little bit of history and the world’s best-loved classical music set the scene for these fun-filled musical adventures.” All I remember is that soon G and L were hooked on The Magic Flute. What followed were hours of listening to different recordings, asking me to sing, Queen of the Night inspired Halloween costumes, and not a single one of us will forget G & L’s versions of the Queen’s Vengeance Aria.

Finally, this winter, mom and dad gifted the girls with a trip to the MET to see the holiday performance of The Magic Flute. Now, I cannot and will not claim credit, but I certainly wanted to share in the joy of the occasion. I told the girls all about the sparkly chandeliers and the big staircase in the lobby, asked for plenty of pictures both inside the theater and outside in Lincoln Center, and just basically acted as the world’s most excited “aunt.” I was determined to make this already incredible experience just a little more special if I could. I love my singer friends and know that they also love seeing young children who are excited about opera. Lindsay Ohse, who will be starring as Violetta in OD’s spring production of La traviata, happens to have an enormous heart and deep love of kids (she once babysat by niece and nephew while their parents watched me in a production of Don Giovanni, and I don’t know who had more fun). She happened to be singing the role Papagena in the MET production and I had a sudden image of what it would be like for G & L to meet her. My text to Lindsay requesting a meeting at the stage door was met with a resounding “yes” and I was able to fill in mom but we kept it a secret from the girls.

The day arrived, and G & L dressed their best. Both said that nothing except a long skirt would do for the opera and L’s outfit included a cape which I can only assume was a nod to the Queen of the Night. As I understand it the girls were captivated by the performance and requested that next time they sit closer! After the show, they were greeted by Lindsay at the stage door and the pictures speak a thousand words. There is my generous, loving friend examining L’s cape and engaged in heartfelt conversation with two little girls who consume music as a basic food group and I can only imagine that the care that was taken that day to make sure they were heard and honored was immense.

I can only say that being able to share what I love, to make a connection that heightened an already memorable day, and to see those three smiling faces at the stage door is nothing short of a core memory for me. Music and theater are magical. We are lucky everyday to be a part of its creation and we are even luckier to be able to help make lasting memories for our audiences. Let’s lean in. Every one of us. Our children, grandchildren, nieces, and nephews (even honorary) want to create connections with us and there is no better glue than music.

Sarah Asmar
OperaDelaware
Development Associate

Photo of lindsay ohse with two young opera fans after the magic flute at the Metropolitan Opera. Shared with permission.

Sarah Asmar as Ofelia in Operadelaware’s production of amleto (2016) Photo by Moonloop photography

Sunday Spotlight Artist: Marie Engle, mezzo-soprano

Following a rollicking portrayal of Dorabella in OperaDelaware's fall production of Così fan tutte, mezzo-soprano Marie Engle (OperaDelaware Young Artist, 2020) prepares for her upcoming Sunday Spotlight recital with pianist Aurelien Eulert on November 20. In contrast to her effervescent and highly comedic portrayal of Mozart's lovesick Dorabella, Marie and Aurelien have selected a cathartic and powerful recital program that will show even more of the rich color and vulnerability of this talented pair of artists. We caught up with Marie for a few questions to get to know her before her upcoming performance! Be sure to grab your tickets for Marie's Sunday Spotlight recital on November 20. Seating is extremely limited at the OperaDelaware Studios, and you don't want to miss this opportunity to experience glorious music and intimate storytelling up close and personal.

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Kerriann Otaño, VP of Engagement: Marie, where are you from and what are you most passionate about?

Marie Engle, mezzo-soprano: I mostly grew up in Streetsboro, OH, a town right off the Ohio turnpike between Akron and Cleveland. It is a working class area and sports were much more supported than music, so I played a lot of sports, but also was involved in the band and marching band programs. I am most passionate about have heart-to-heart connections with people, whether in one on one relationships or as a performer. The most important thing to me is communicating authentically and meeting people where they are, and wanting them to know that wherever they are is okay with me.

KO: When did you decide you wanted to be an opera singer and also what is your favorite ice cream flavor?

ME: When 16-year-old Marie started taking voice lessons and learned that there was a way to became a professional singer that had to do with studying hard (something at which I have always excelled) rather than looking a certain way and knowing the right people, I decided to dive head on into this industry that I knew nothing at all about. But I have always been loud, so it’s a match made in heaven. For ice cream, I always like to try new flavors, something fun and funky, like wasabi or durian (I even had a green pea flavor in Paris). BUT, if I am in Vermont, I always get maple cream. In a waffle cone. Is it way too much? Yes. Is it the best ice cream I have ever had, also yes.

KO: What drew you to the music you chose for your recital?

ME: The main piece I focused my energy on learning this past year in Paris was Fauré’s La bonne chanson. It is not performed often because it is devilishly complex harmonically, but when the musicians legitimately take the time to dig into the score and the hinges of its harmonic progression, it is bliss. It is so crunchy and brilliant and expressive. This piece in like wine and cheese: it improves with time. My first performance of it in Paris was just the introduction, the meet-cute. This is a piece with which one should share a lifetime, developing deep relational bonds and seeking more from both the piece and from yourself every time you encounter it. I cannot wait to see what this second performance brings out of Fauré’s brilliant score.

KO: How is recital preparation different from preparing for Dorabella in Così fan tutte?

ME: For me, the biggest difference in this recital’s preparation is that I have performed all of the music on the program before, whereas Dorabella was brand new to me. Another huge difference is that most of recital preparation happens independently. Duos usually do not have weeks to soak in a piece together before they perform them.

KO: What's your personal brand? What's your vibe?

ME: Good golly! This question is deeply personal for me… I am still working on it, but I think I am like a 55-year-old fun auntie who likes to go on adventures around the world and visit friends.

KO: What's one word you hope people will use to describe you as an artist?

ME: Expressive

KO: What's one word you hope people will use to describe you as a person?

ME: Loving

KO: What piece of theater has most inspired you?

ME: I was in the chorus of Christof Loy’s 2015 production of Peter Grimes at Theater an der Wien in Vienna. Peter Grimes in at of itself is a transformative show, but the role that the chorus plays in that show is so significant: the chorus represents society and it the antagonist of the narrative. The music is deeply disturbing and moving and painful and beautiful. Loy’s production was very simple and he dressed the chorus in shades of blues and grays. Between the colors and the choreography, we were the sea. The sea that eventually ruins Grimes and kills him. It was pure genius.

KO: In the wonderful world of the internet, how do you want people to find you?

ME: My website and my professional page on Facebook! I am NOT a social media person, but I am trying to get better. I try to keep my Facebook and Instagram profiles largely personal.

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Visit Marie's website | Follow Marie's professional page

Get your tickets to Marie Engle and Aurelien Eulert's Sunday Spotlight recital on November 20 at 2 PM at the OperaDelaware Studios!

A peek behind the scenes: Così fan tutte

As we wrap up our rehearsals at the OperaDelaware Studios and prepare for tech week at The Grand and next weekend's performances, we are so grateful to these remarkable artists who poured themselves into this process over the last few weeks. Colleen Daly, Marie Engle, Amanda Sheriff, David Walton, Paul La Rosa, and Eric McKeever have been as dynamic and engaging in their acting as they are in their singing. The level of talent is out of this world. Led by Maestro Domenico Boyegian and directed by Sam Mungo, this production has come together with charm, cheek, heart, and soul.

We were fortunate to be able to share an evening with donors and board members, and give them a sneak peek into the rehearsal process during week 1. While the artists rehearsed on the second floor, friends of OperaDelaware gathered in the third floor observation area for drinks. From there, they were able to watch rehearsal on our state-of-the-art CCTV, or by viewing the artists through the windows overlooking the second floor. This gave our supporters the opportunity to see what early days of the rehearsal process are like, while maintaining a safe distance from the artists. This also allowed us to bring our friends and donors closer to opera through robust conversation and by asking questions about this elusive and wonderfully wild art form.

As one of OperaDelaware's newest board members, Meghan Newberry was on the scene to capture these fabulous photos. In addition to her work at CSC Digital Brand Services, Meghan also runs Meghan Newberry Photography here in town, and we are so grateful to have her artistic eye and generous spirit on the team.

Enjoy the pictures and pick up your tickets for Così fan tutte today! Only two chances to experience OperaDelaware at The Grand this fall on October 28 and 30!