Call for Volunteers . . .
Enjoy meeting others in Rochester's opera community and contributing to the availability of opera activities by volunteering for the Opera Guild! Currently there are two jobs posted: Event Host or Hostess and Assistant Publisher. Click on a link for the job descriptions.
Let us know of your interest by contacting Carol Crocca, President, at [email protected]
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Edition Viva Voce, January 2018
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The Opera Guild of Rochester, Inc. is a 501(c)(3) charitable organization with a mission to support opera and opera education in the greater Rochester area.
The Guild presents free opera lectures at local libraries, tours to productions of local opera companies and the Metropolitan Opera in New York City, and our popular Beat-the-Blahs, Haskell Rosenberg Memorial Series, at Temple B'rith Kodesh in Brighton.
This newsletter is sent via eMail each month, currently to over 3,000 subscribers. For a free subscription send your contact details, including your eMail address, to [email protected].
Our Website and Facebook pages serve as a clearinghouse for local and regional opera, concert, and recital information, with links to other music organizations in our area. Please visit our Website at operaguildofrochester.org.
For up-to-date information on opera-related news and events, please visit us on facebook.com/OperaGuildofRochester.
Reader Article submission deadline for the next issue is the 15th of the previous month.
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Finger Lakes Opera
New Year's Champagne Reception
Prince Orlofsky (of Die Fledermaus fame) cordially invites you to a New Year's champagne reception including music and hors d'oeuvres to benefit Finger Lakes Opera.
January 6, 2018 at 7 PM
Festive Attire
The Lyric Theatre
440 East Avenue, Rochester, NY
$100 Per Person; $175 Per Couple
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2018 Beat the Blahs
4 Sunday Afternoons in January
The Haskel Rosenberg Memorial Series
Temple B'rith Kodesh
2131 Elmwood Avenue
Social Hall (rear entrance)
During the depths of winter on four Sunday afternoons in January, the Opera Guild presents the DVD of an opera on the big screen, with an introduction by a Guild speaker. Refreshments are served at the intermission. A suggested donation for all four operas is $32.00 for Opera Guild of Rochester donors and $36.00 for non-donors. For individual operas the suggested donation is $9.00 for Opera Guild of Rochester donors and $10.00 for non-donors. Temple members are not asked to make a donation.
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Mozart's
The Abduction from the Seraglio
Sun, Jan 7, 2018, 1:00 PM to 5:00 PM
Talk by Agneta Borgstedt
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This is a Singspiel in three acts, set in the 18th Century in the palace of Pasha Selim, with a setting as Mozart envisioned. The philosophy of the Age of Enlightenment is expressed in the Pasha's generous gesture freeing his prisoners Belmonte, Konstanze, Pedrillo, and Blonde, much to the disappointment of Osmin, the palace overseer.
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Leos
Janáček's
The Cunning Little Vixen
Sun, Jan 14, 2018, 1:00 PM to 5:00 PM
Talk by Carol Crocca
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Bring the kids - an amusing opera with both human and animal characters. You can compare two versions: the cartoon (!) and one in familiar opera fashion. For an article about the opera and what you may want to know if you bring children, Click Here. |
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Puccini's
Il tritico
Sun, Jan 21, 2018, at 1:00 PM to 5:00 PM Talk by Peter Dundas
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Puccini's unheralded masterpiece,
Il tritico (The Triptych). Hear and see three one-act operas,
Il tabarro,
Suor Angelica, and
Gianni Schicchi. The work received its world premier at the Metropolitan Opera on 14 Dec 1918. Dismissed at first, but loved now for its ingenuity; three different operas with different themes ending with a deliciously funny family squabble.
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Rimsky Korsakov's
Sadko
Sun, Jan 28, 2018, 1;00 PM to 5:00 PM
Talk by Art Axelrod
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A delightful treatment by Rimsky-Korsakov of an old Russian folk tale about a musician who wants to be a merchant. He charms the daughter of the King of the Ocean-Sea, who rewards him by sending golden fishes, which he uses to finance his voyage. Bring your scuba gear, because the entire second act is set under the ocean!
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Roberts Wesleyan Community Theater
Anything Goes!
Roberts Wesleyan College-Community Theater is thrilled to announce their performances of the musical, Anything Goes, with music and lyrics by Cole Porter. The story concerns madcap antics aboard an ocean liner bound from New York to London. Billy Crocker is a stowaway in love with heiress Hope Harcourt, who is engaged to Lord Evelyn Oakleigh. Nightclub singer Reno Sweeney and Public Enemy #13 Moonface Martin aid Billy in his quest to win Hope. The musical introduced such songs as "Anything Goes", "You're the Top", and "I Get a Kick Out of You." Since its 1934 debut at the Alvin Theatre (now known as the Neil Simon Theatre) on Broadway, the musical has been revived several times in the United States and Britain and has been filmed twice.
All performances will be in the
Andrews B. Hale Auditorium
2301 Westside Dr.
Rochester, NY 14624
Friday, January 19, 2018 - 7:30 PM
Saturday, January 20, 2018 - 7:30 PM
Sunday, January 21, 2018 - 2:00 PM
Friday, January 26, 2018 - 7:30 PM
Saturday, January 27, 2018 - 7:30 PM
Sunday, January 28, 2018 - 2:00 PM
Senior 62+ - $20.00,
Children & College Students w/ID - $17.00
GROUP RATE: BUY 10 TICKETS, GET 1 FREE! (Call Box Office to purchase 585-594-6008)
RWC STUDENT SPECIAL: Get a $5 RUSH ticket at the door on night of performance w/ ID!
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Eastman Opera
2017-2018 Calendar
Les Enfants Terribles* (1996)
by Philip Glass and Susan Marshall
Adapted from the Jean Cocteau Novel and 1950 French Film
February 1, 2, 3 at 7:30 p.m.
February 4 at 2:00 p.m.
804 Black Box Theatre
Friends of Eastman Opera
Voice Competition
February 9 at 8:00 p.m.
Kilbourn Hall
The Light in the Piazza *
by Adam Guettel and Craig Lucas
Based on the novella by Elizabeth Spencer
April 5, 6, 7 at 7:30 p.m.
April 8 at 2:00 p.m.
Kodak Hall at Eastman Theatre
OPERA SCENES
May 5 at 7:30 p.m.
May 6 at 2:00 p.m.
804 Black Box Theatre
*Tickets sold through the
Eastman Theatre Box Office
433 East Main St., Rochester NY
585-274-3000
Pre-performance Talks one hour
before each Eastman Opera Theatre
performance except April 5
Information about upcoming
Eastman concerts and events can be found at
www.esm.rochester.edu/concerts
www.esm.rochester.edu/voice
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Eastman Opera Special Event
Frederica von Stade in recital with Anthony Dean Griffey
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The Eastman School of Music is thrilled to announce a special recital featuring Frederica von Stade and Eastman's Anthony Dean Griffey on
February 18 at 7 pm in Kilbourn Hall. Tickets for just the recital are available starting at $26. Admission to both the performance and reception is available for $100 with proceeds benefiting the Eastman Voice and Opera Department. Tickets for the recital are on sale now. You may purchase online (
Click Here) or by calling the Eastman Theatre Box Office at 585-274-3000.
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Enjoy the opera at The Little! Here is the 2017-18 Royal Opera House lineup
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Verdi's Rigoletto
Saturday, Feb 17, 12 PM
Tuesday, Feb 20, 6 PM
There will be another Meet-Up after the Saturday screening. Watch for details.
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Puccini's Tosca
Saturday, Mar 3, 12 PM
Tuesday, Mar 6, 6 PM
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Bizet's Carmen
Saturday, Apr 14, 12 PM
Wednesday, Apr 18, 6 PM
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Verdi's Macbeth
Sunday, May 27, 12 PM
Tuesday, May 29, 6 PM
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2017-2018 'Doomed Divas' season!
Verdi's La traviata
Feb 2 at 8 PM
Feb 4 at 2 PM
Soprano Raquel Gonzalez and tenor Andrew Maughan (Eugene Onegin) return to bring Verdi's gorgeous score to life. Directed by Stephanie Havey (Rigoletto) and conducted by Christian Capocaccia.
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Puccini's Madama Butterfly (Opera Guild spring trip)
April 13 at 8 PM
April 15 at 2 PM
Soprano Toni Marie Palmertree, having debuted the role of Butterfly at San Francisco Opera in 2016, will reprise the role for Syracuse Opera. CNY native Dinyar Vania returns to play Pinkerton, with baritone Troy Cook (Eugene Onegin) as Sharpless, the American Consul. Glenn Lewis of Pittsburgh Opera will conduct, with Alison Moritz making her Syracuse Opera debut as stage director.
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Tickets from $26 to $206, student tickets, $10.
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2017 - 2018 Season
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Terrence McNally Master Class
February 23, 24 7:30 PM
February 25, 3:00 PM
Tri-Cities Opera Center
Peter Brook and Georges Bizet The Tragedy of Carmen
April 27, May 4, 7:30 PM
April 29, May 6, 3:00 PM
Tri-Cities Opera Center
For tickets and information call (607) 772-0400 or go to http://www.tricitiesopera.com
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GUILD OPERA LECTURES
NOTE CHANGE FROM BROCHURE ON MARCH 19
Brighton Memorial Library
2300 Elmwood Avenue
Rochester, NY 14618
585-784-5310
All lectures are on Mondays from 7-9 pm
Feb. 26 - E Pluribus Unum: Operatic Ensembles
Art Axelrod
Mar. 5 - Mozart's Le nozze di Figaro
Peter Dundas
Mar. 12 - Obsessive Love in Massenet's Operas
Agneta Borgstedt
Mar. 19 - Verdi's La traviata (Who Was She? Among Other Questions Answered)
Carol Crocca
Mar. 26 - Puccini's Turandot
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Metropolitan Opera HD Season 2017-2018
See our docents' essays on the composer and background of the operas in the Viva Voce issue published in the beginning of the broadcast month. These essays can also be found on our Website. Click Here to peruse the collection.
Giacomo Puccini, Tosca
Sat, Jan 27, 2018 12:55 PM
A new production by Sir David McVicar, starring Kristine Opolais as Tosca, Jonas Kaufmann as Cavaradossi and Byrn Terfel as Scarpia. Andris Nelsons will conduct.
For an essay on Tosca, Click Here
Gaetano Donizetti, L'Elisir d'Amore
Sat, Feb 10, 2018 12:00 PM
A Bartlett Sher production, starring Pretty Yende as Adina, Matthew Polenzani as Nemorino, David Luciano as Belcore, and Ildebrando D'Arcangelo as Dulcamara. Domingo Hindoyan will conduct.
Giacomo Puccini, La Bohème
Sat, Feb 24, 2018 12:30 PM
Franco Zeffirelli's classic production, starring Sonya Yoncheva as Mimi, Susanna Phillips as Musetta, Michael Fabiano as Rodolfo and Lucas Meachem as Marcello. Marco Armiliato will conduct.
Gioachino Rossini, Semiramide
Sat, Mar 10, 2018 12:55 PM
Its first appearance at the Met in almost 25 years, starring Angela Meade as Semiramide, the murderous Queen of Babylon, Elizabeth DeShong as Arsace, Javier Camarena (the current "King of the High C's") as Idreno, Ildar Abdrazakov as Assur and Ryan Green as Mitrane. Maurizio Benini will conduct.
Wolfgang Amadeus Mozart, Così fan tutte
Sat, Mar 31, 2018 12:55 PM
A new production by Phelim McDermott set in Coney Island in the 1950's, starring Amanda Majeski as Fiordiligi, Serena Malfi as Dorabella, Broadway star Kelli O'Hara as Despina, Ken Bliss as Ferrando, Adam Plachetka as Guglielmo and Christopher Maltman as Don Alfonso. David Robertson will conduct.
Giuseppe Verdi, Luisa Miller
Sat, Apr 14, 2018 12:30 PM
Its first Met performance in more than 10 years, starring Sonya Yoncheva as Luisa, Piotr Beczala as Rodolfo, Olesya Petrova as Federica, Placido Domingo as Miller, Alexander Vinogradov as Walter and Dmitry Belosselskiy as Wurm. James Levine will conduct.
Jules Massenet, Cendrillon
Sat, Apr 28, 2018 12:55 PM
Its premier at the Met in an imaginative, new storybook production by Laurent Pelly, starring Joyce DiDonato as Cendrillon (Cinderella), Alice Coote (in a trouser role) as Prince Charming, Kathleen Kim as the Fairy Godmother and Stephanie Blythe as Madame de la Haltiere. Bertrand de Billy will conduct.
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Rigoletto
JANUARY 20 TO FEBRUARY 23, 2018
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The Abduction from the Seraglio
FEBRUARY 7 TO 24, 2018
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The Nightingale and Other Short Fables
APRIL 13 TO MAY 19, 2018
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Anna Bolena
APRIL 28 TO MAY 26, 2018
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To buy individual or subscription tickets Click Here
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ROCHESTER ACADEMY OF MEDICINE AFTERNOON CONCERT SERIES
1441 East Avenue
Rochester, NY 14610
Sundays at 2 pm. Jan. 21, March 4, April 8
Rebecca Penneys, piano
Stefan Reuss, cello
Mikhail Kopelman, violin
Doors open at 1:15. Tickets are $35 at the door for non-members and subscriptions are available.
Go to www.raom.org or contact Lydia N.C. Nicolson at 585-271-1314 or [email protected] for more information.
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Donations
Thanks to those who responded to our call for support of Viva Voce.
As an Amici, your contribution in any amount is greatly appreciated. All donation levels receive an invitation to the Annual Recital (see the following article); those listed below will be given priority until a date specified on the invitation.
Chorus: $60-$99
Comprimario: $100-$149, one additional recital invitation.
Primo: $150-$199, $20 discount on trip (except to New York City).
Maestro: $200-$299, $30 discount on trip (except to New York City).
Impresario: $300 or more, $30 discount on trip (except to New York City); two additional recital invitations.
To donate online go to
http://operaguildofrochester.org/donate.html
and scroll down until you find the PayPal link.
You may also mail a check to Opera Guild of Rochester, P.O. Box 92245, Rochester, NY 14692-0245. Please include an email or other address for your tax receipt.
Return to Contents
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Opera Guild of Rochester Annual Recital for Donors
Sunday May 20, 2018, 2 p.m.
Rochester Academy of Medicine, 1441 East Ave.
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This year our recitalist is tenor Mark Daniels, accompanied by pianist Rob Goodling.
Mr Daniels is a versatile tenor who hails from Kennebunk, Maine. His early studies were with David Goulet in Portland, Maine, where he made his professional debut as Charlie Dalrymple in Lerner and Lowe's
Brigadoon. Mr. Daniels continued his studies at the Eastman School of Music in the studio of Rita Shane, where he made his Eastman Opera Theater operatic debut as Sam in Carlisle Floyd's
Susannah. He performed the role of Ferrando in Mozart's
Cosi fan tutte in Urbania, Italy, with Benton Hess's Oberlin in Italy program and again in Buffalo, New York, with Buffalo Opera Unlimited. Other roles have included Danilo in Lehar's
The Merry Widow with Buffalo Opera Unlimited, Nemorino in Donizetti's
L'Elisir d'Amore with Genesse Valley Orchestra and Chorus, and Bingley in the world premier performance and recording of Amanda Jacobs and Lindsay Warren Baker's
Jane Austen's Pride and Prejudice. Mr. Daniels was the tenor soloist in J. S. Bach's
Magnificat with the Finger Lakes Chorale under the direction of John Walker, and Great Lakes Productions created a show around him called "
A Tenor," which he preformed for two years throughout the Rochester area and upstate New York with the "Tuscan Trio and Two Sopranos."
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Mark Daniels' recital will include tenor arias by Donizetti, Tchaikovsky and Verdi as well as a collection of Neapolitan folk songs.
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Opera Essays
This section brings you articles written by Opera Guild docents. Previously distributed at HD performances, these, along with other essays, are now published in Viva Voce in the beginning of the broadcast month, which issues are available on the Website.
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Carol Crocca
VERY SHORT SYNOPSIS
The Vixen is captured by the forester as a cub, then escapes to mate and have her own family. She is eventually shot by a poacher. At the end of the opera, we find the forester dreamily musing on the passage of time and the path of his own life. He awakens to find the vixen's children playing nearby. This time, however, he has no desire to capture them.
WHAT A PARENT OR CHILD'S HOST MAY WANT TO KNOW
Children and full-time students of any age are free.
We will show the cartoon version first (one hour), followed by intermission and cookies, followed by the human version (about one hour, fifteen minutes). This gives you the choice of not staying for the second half if your child or children are restless. The introduction will be aimed at the children in the audience.
(See very short synopsis above.) The cartoon version is in English; the human opera is in Czech, with English subtitles. There is less dialogue in the cartoon version and the story will be understood even without the words. The slightly shortened animated version is faithful to the original, which has beautiful orchestral music and lyrical dialogue. The animals are both anthropomorphized in some scenes (e.g., the love duet between fox and vixen) and true to their animal nature in others (e.g., the vixen sprays the badger to evict him from his den).
WHAT A PARENT OR CHILD'S HOST MAY NEED TO DISCUSS
One aspect that may require some explanation to a child (those ever-curious askers of sometimes difficult questions) is the Forester's apparent love affair with his gun. This does not pervade the opera, but is present in one or two moments. He is a forester, not a poacher or law enforcement person (at least we do not see him in this role), but he is most likely also a hunter and may legitimately depend on game for food. After the vixen eats his chicken and escapes, he fires at her in anger but does not hit her. At the end of the opera, he apostrophizes his gun as his faithful companion through the years.
Another issue is his capture of the vixen. Children may not question this; they are curious about the natural world and, if not frightened, wouldn't mind having a pet fox. But it certainly does not comport with contemporary mores about animal treatment or common sense (foxes can carry rabies). Perhaps just to say that we wouldn't do that nowadays - it is a story from another time. And then there is the matter of the vixen's death: a subject to be dealt with according to your knowledge of the child and your own beliefs.
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Tosca and Napoleon
Carol Crocca
Knowing the historical context of
Tosca is not necessary to appreciate or understand its story. The themes of political oppression and deceit, passionate love, jealousy and abuse of power are dramatic elements which, in Puccini's masterful hands, continue to move us regardless of our distance in time from the creation of this work. But its context is worth exploring because of its connections to both the opera and the development of Italy as a nation.
Napoleon first invaded northern Italy in 1796, at which time the country was divided into ten states, ruled by different European powers: the Kingdom of Naples, which included Sicily; the Kingdom of Sardinia (Piedmont), the duchy of Milan (a part of the Hapsburg empire); the republics of Venice, Genoa, and Lucca; the Papal States (a large territory bisecting Italy with the Vatican as its capital); the duchies of Modena and Parma, and the grand duchy of Tuscany.
These states varied in every conceivable way: economies, legal systems, administrations, and spoken dialects. Some, such as Lombardy and Tuscany, had benefitted from Enlightenment-inspired absolute monarchs and some were still feudal in character. During the initial period of French domination, the conqueror installed new republics, and constitutions modeled after the French. Also inaugurated were civil liberties, including freedom of the press and of religion, and governments dominated by new combinations of the propertied and educated classes. But in early 1799, a coalition of various forces defeated the French and the old regimes were reinstated from February to September 1899.
Napoleon, however, needed to defeat Austria, which controlled much of northern Italy, in order to secure his grip on power in France, and so he re-invaded, engaging the Austrians at Marengo (near the city of Alessandria in Piedmont) on June 14, 1800. The Austrian general reported victory on the afternoon of that day, as relayed at the end of Tosca, Act I; but later in the day, the French forces returned and reversed the outcome. That news is reported to Scarpia in Act II, immediately after Mario learns that Tosca has revealed the fugitive Angelotti's whereabouts. Scarpia, an officer of the police state of the Papacy, represents the old regime, while Napoleon's victory signifies the reduction of church power and the re-establishment of secular control. Angelotti is referred to spitefully by the police as a "republican" of Rome.
By 1810, French rule was consolidated over all Italy except Sicily and Sardinia. When Verdi was born in 1813, his birth was recorded in Parma, a French duchy, as "Joseph Fortunin Francois Verdi." A side effect of French rule pertinent to our musical interest is that the French abhorrence of the castrato tradition in Italian music was one of the several factors contributing to the gradual disappearance of those singers from the stage - in certain regions castrated boys were barred from school in order to discourage the practice.
Napoleon's many campaigns finally came to an end at the Battle of Waterloo in 1815 (which he lost to the 7th coalition of European forces aggregated to oppose him), and at the Congress of Vienna, Austria was restored to power in northern Italy. But the legacy left by Napoleonic rule was a powerful one, in a country which had experienced a unified government for the first time in many hundreds of years. The legal and fiscal systems, a strong central bureaucracy, and the inspiration to Italian revolutionaries to continue their campaign for a united Italy all furthered the process toward a modern, secular, and more egalitarian state. Although Italy was not fully unified until 1870, when Garibaldi entered Rome and finally ended the temporal power of the papacy against token resistance, by 1861 almost all the rest of the peninsula was joined together as the Kingdom of Italy under King Vittorio Emanuele, and Verdi was a deputy in the new Parliament.
The King himself had been excommunicated by Pope Pius IX after he waged war against the Papal States. Rome had always been, and continued to be, the home of anticlericalism in Italy. Even after unification, there were continual conflicts between church and state, not surprising in a place where the Pope had been a temporal ruler for so long and was the wielder of international religious authority. Although there is little overt anticlericalism in the opera, at the time of its premiere in 1900, the portrayal of Scarpia, one of the chief representatives of papal power in the City, as a depraved and corrupt official was right in tune with the times. A series of bank failures had caused economic unrest that threatened the new parliamentary democracy and led to the founding of Italy's first mass political party, the Italian Socialist Party. Counter-initiatives by the church, including lay activism and a militant Catholic press, were weapons in a struggle for control of the Italian working classes. Although Puccini was not particularly interested in politics, as a dramatist he was no doubt aware that the tensions generated between absolutist papal rule and the republicans Cavaradossi and Angelotti would resonate with the Italian public. The creation of his wonderful, also apolitical, heroine La Tosca, however, with all her passion, innocence, fury, and defiance, was surely what most moved the packed houses who came to the Teatro Costanzi in 1900.
Reference: Grab, Alexander, "The Napoleonic Legacy in Italy," in Tosca's Prism, Burton, Susan, et al., editors, Northeastern University Press, Boston, 2004
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Die Fledermaus, Johann Strauss II
Agneta D. Borgstedt
Johann Strauss II enlivened every musical occasion for Viennese society in the mid-19th century with wonderful waltzes such as the
Beautiful Blue Danube and polkas like the
Tritsch-Tratsch Polka, to name the most famous. Beginning in 1868, he composed nineteen operettas, the last of which,
Wiener Blut (Viennese Spirit), is a pastiche of his waltzes and melodies, put together by his friend Adolf Mueller and premiered four months after his death in 1899.
Die Fledermaus (The Bat, 1874) is considered his masterpiece.
An operetta has spoken dialogue between the musical parts, and the Viennese operettas are full of balls with waltzes, polkas, and minuets. They have distinct comic elements including disguises, misunderstandings, and womanizing aristocrats, and also comedic bourgeois and servant characters. There is usually a happy ending with a singing and dancing ensemble.
The libretto of Die Fledermaus is by Carl Haffner and Richard Genee. It was premiered at the Theatre an der Wien in Vienna in 1874, but was also the first operetta produced by the Hamburg Staatsoper in Germany in 1894.
The story stems from a prank played by Gabriel von Eisenstein on his friend Dr. Falke, for which the doctor would like to play a prank in return. Sometime before the operetta opens, Eisenstein had left his friend, after a party, to walk home in his fledermaus costume for all to see and make fun of.
In the beginning of the opera, we learn that Eisenstein is to report to prison soon for a few days for a minor affront. There follows a series of comic events, stage-managed by Dr. Falke, in which the wrong man is brought to prison, Eisenstein courts his own disguised wife at the party, and everyone ends up at the jail in the morning to sort things out.
By 1880, this work had been seen in over 170 German theaters and, after it became part of the Vienna Opera's repertoire in the 1890's, it was performed all over the world.
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From your Opera Guild
The New Year begins with the Opera Guild looking forward to both established events and new endeavors.
You may choose to begin the season on Saturday, January 6th with a festive evening with Prince Orlofsky! This benefit performance for the Finger Lakes Opera will surely bring operatic good luck for the rest of the year....
If you have not yet attended Beat the Blahs, why not try it this January? It's a congenial and inexpensive way to enjoy an old favorite or try something new. This season we begin with Mozart, followed on January 14th by our first presentation for children, The Cunning Little Vixen, which we hope will be enjoyed by all ages; then a less well-known Puccini, and for a real winter get-away: Sadko by Rimsky-Korsakov, an exotic Russian folk tale. For more information, click here.
These Sundays will also be an opportunity to congratulate Agneta Borgstedt on her long stewardship of the Opera Guild and thank her for her (so far) seventeen years of service to the opera community!
We look forward on Feb. 17 to enjoying the second Opera Meetup after Rigoletto at the Little Theater Cafe - an informal get-together that proved popular after La Boheme in November. And new initiatives are underway to develop the student internship and provide more programming for young people.
Many thanks to those of you who donated for the benefit of Viva Voce.
Computer Skills Needed
Electronically publishing the newsletter requires a few fairly sophisticated computer skills and we are fortunate to have two accomplished volunteers working in this capacity. But since it is a job requiring 2-3 days per month on a regular basis, two technical publishers are not enough to make sure we have coverage for times of illness, vacation, computer malfunction, etc. If you have computer skills, please consider helping with this valuable project, even if you cannot, or would prefer not, to work every month. Thanks for your consideration! Just see the beginning of the newsletter to find a job description and how to let us know of your interest.
Please consider the Opera Guild of Rochester among your charitable organizations for 2018. Donations to the Opera Guild of Rochester are fully tax deductible and donors will receive an invitation to the Annual Recital in May 2018, which includes a dessert reception with the artists.
To donate online Click Here. Be sure to scroll down until you find the PayPal link.
Enjoy our free Lecture/Listening series, which you can download from the Website at operaguildofrochester.org by clicking on Reading Room. While at our Website you can also learn about our opera program at Temple B'rith Kodesh, our opera trips to regional opera companies including the Glimmerglass Festival, and our Metropolitan Opera trips.
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