Annapolis Opera

Think of Annapolis Opera's Vocal Competition as a hometown version of American Idol - except the tough judges are never rude in evaluating contestants. A record number of 90 aspiring singers from the Mid-Atlantic region auditioned last weekend for a trio of judges: sopranos Jean Carter and Charlotte Wesley and Annapolis Opera music director Ronald J. Gretz. Victoria Waidner, an Annapolis Opera spokeswoman, said the organization was thrilled with the turnout. "We put the announcement on our Web site this year, and that helped.

Annapolis Opera celebrated its 35th anniversary last week with a program of arias from many of the productions it has presented over the years. In 1972, Martha Wright, the company's first president, decided with a small group that Annapolis should have its own opera company. She returned for "Bravo 35" on Oct. 27 to accept the good wishes and proclamations of the city of Annapolis and Anne Arundel County. Congratulations, wine-sipping and hors d'oeuvres-sampling preceded the main event at the Unitarian Universalist Church, a concert featuring four fine singers who are audience favorites and rising young stars, all under the direction of Annapolis Opera artistic director Ronald J. Gretz.

Carrying a tune wasn't a criteria for playing a famous opera role at the 26th annual Annapolis Opera Gala. Instead of formal wear, some of the 125 guests came in costumes (rented from the opera company) to the benefit at the U.S. Naval Academy Officers Club.Opera president Anna Marie Darlington-Gilmour took on "Tosca" togs. Opera guild president Frances O'Brien was made up as Madame Butterfly. Anne Arundel Community College adjunct professor Mary Coleman and naval architect Jim Coleman borrowed from "La Boheme," as did silent auction co-chair Lesley Robinson.

When Anna Marie Darlington-Gilmour took over as president of the Annapolis Opera, she said her main goal was "to make opera accessible and enjoyable to a wider audience."Saturday, she succeeded spectacularly with a sold-out dinner and opera concert at the U.S. Naval Academy Officers' Club. Some 180 guests enjoyed Alfredo's pasta and Puccini's music in an intimate setting.Ronald J. Gretz, the Annapolis Opera's artistic and music director, chose the right composer and program to appeal to an audience that ranged from opera neophytes to cognoscenti.

Some noteworthy changes have occurred at Annapolis Opera during Anna Marie Darlington-Gilmour's first year at the helm.There are more donors, more volunteers and a sense of renewal, optimism and clear direction. All that was evident Thursday at the "Tosca is Coming" champagne party for supporters, volunteers and board members.Darlington-Gilmour, the opera's president, invited 60 guests to the party announcing the new season and celebrating recent successes.Cause for celebration included the sold-out Pasta and Puccini concert in late February and the Opera's March 19 gala, which raised almost $9,000.

The Annapolis Opera has never mounted a more tightly conceived production than the "Tosca" it presented last week at Maryland Hall for the Creative Arts.Puccini's potboiler plot moved ahead with bristling intensity. Most of the afternoon, I held on for dear life as Scarpia plotted, Cavaradossi professed his undying devotion for his beloved and the Roman republic, and Floria Tosca, true to her big aria, lived and died for art, honor and love.All of the operatic elements meshed Sunday afternoon.

The Annapolis Opera is offering four events this year, hoping to attract opera devotees and neophytes.A fully staged production of Puccini's "Tosca" in its original Italian will be presented Nov. 5 and Nov. 7 at Maryland Hall for the Creative Arts.The addition of supertitles in time for "Tosca" is an exciting innovation for those of us who enjoy opera most in its original language but don't want to miss any of the libretto.Artistic and music director J. Ronald Gretz has assembled an impressive cast of singers, including Allison Charney in the title role.

Most of the great tragic operas are potboilers par excellence. But even among the hyperemotional extravaganzas of the musical stage, Puccini's "Tosca" is more melodramatic than most.Taken from Victorien Sardou's play of the same name, which was written for no less a scene-stealer than Sarah Bernhardt, the plot of "Tosca" is one campy cliche after another.Floria Tosca, the tempestuous singer, "lives for art and lives for love."Her lover, Cavaradossi, is a hot- blooded anti-monarchist consumed by love and ready to put it all on the line for his republican beliefs.

The summer concert series at Quiet Waters Park begins at 6 p.m. Saturday with operetta and musical comedy favorites by the Annapolis Opera.The program, to feature some of the most beloved melodies by operetta's greatest composers, might well be called "It's a Grand Night for Singing," the Rodgers and Hammerstein tune from "State Fair," that will open and close the evening. Among other favorites the opera will perform are Victor Herbert's "Will You Remember" from "Maytime," "Art is Calling for Me" from "Enchantress," Sigmund Romberg's "Serenade" and "Deep in My Heart," from "Student Prince" and "One Kiss" from "New Moon."

As in past years, the Annapolis Opera's annual vocal competition, held Sunday at Maryland Hall for the Creative Arts, turned out to be one of the joys of the concert season.Eight young singers studying in Maryland competed for recognition and prize money before one of the largest audiences to attend this delightful event. Admission was free, thanks to a grant from the Helena Foundation, an organization in Crownsville that sponsors cultural and educational projects.Annapolis Opera artistic director Ronald Gretz anchored the judge's panel, which included Naval Academy organist Monte Maxwell and Charlotte Wesley Holloman, a Washington voice teacher.

Annapolis Opera opened its 37th season last weekend at Maryland Hall for the Creative Arts with an all-Verdi concert. Starting his 26th year with the opera, artistic director Ronald J. Gretz created an exciting and comprehensive program of arias illustrating the astonishing breadth of 19th-century composer Guiseppe Verdi, who wrote 28 operas between 1839 and 1893. Gretz created a program that included arias from Verdi's three major career periods, introducing the audience to some rarely heard works, along with masterworks too grand to be fully staged at Maryland Hall.

Despite the economic woes being felt by other local arts organizations, the Annapolis Opera remains "in solid financial shape, thanks to our supporters," says President Leah Solat. The new season will feature fall and spring concerts of arias, a holiday show, a children's opera and the main production: a fully staged "Tosca." The 22nd annual vocal competition ends the season in May. Solat returns to the office she held in 2007-2008, the most successful season ever, when both "Carmen" performances sold out. She expressed hope that former Baltimore Opera subscribers will discover the Annapolis Opera this season.

News of Annapolis baritone Jason Stearns' Metropolitan Opera debut gave some Annapolis Opera folks incentive last October to plan a trip to New York City to offer support recently in his role as Monterone in Verdi's Rigoletto. Former Annapolis Opera president Leah Solat coordinated plans and board member David Stern arranged bus transportation and lodging for the group for Stearns' April 1 debut. Stern also arranged for the group to take a 2 1/2 -hour backstage tour of the Met on the same day. Stearns lives in Annapolis with his wife, Suzanne, who also had a singing career and continues to give voice lessons, as does Jason when time allows.

In what is being billed as the most ambitious programming by the Annapolis Opera, Cavalleria Rusticana and Pagliacci will be presented in a double bill at Maryland Hall for two shows next weekend. "Two complete operas on one bill is a huge challenge with two sets, two casts of outstanding professional singers and two of just about everything else, including costumes, wigs and props," opera President Gregory Stiverson said. "With other opera companies cutting back or ceasing programming altogether, Annapolis Opera is proud to be able to provide even more great live opera for our audiences."

Opera appreciation classes offered M.A. Cashman will offer her series of opera appreciation classes for Annapolis Opera with a "Students' Choice" focusing on some of the early performances of great opera stars. Classes are held from 7 p.m. to 9 p.m. in Cashman's home as follows: * Feb. 9: "Mad about Opera" is opera scenes from the 1930s to the 1950s featuring Tito Gobbi, Gino Bechi and Maria Caniglia in Norma. * Feb. 16: "Celea's Adriana Lecouvreura" compares a 1975 performance with a 1991 version.

Fans of artful singing had a choice of two programs Sunday afternoon in Annapolis: the Arundel Vocal Arts Society's "Mass Appeal" holiday concert at Eastport United Methodist Church and the Annapolis Opera's "Bel Canto by Candlelight" an hour later at First Presbyterian Church. I enjoyed the best of both by hearing the major work on the AVAS program, Haydn's Lord Nelson Mass, before catching Rossini, Donizetti and Bellini arias sung by five gifted young soloists making their debut in Annapolis.

True to its mission of introducing rising young opera singers to its audience, Annapolis Opera opened its 36th season with its first concert at Maryland Hall on Sunday. Noting before the concert that "more expensive fundraisers began and ended our past seasons," president Gregory A. Stiverson said, "This season will open and close with these new, less-expensive opera concerts to bring more great music in more operatic arias sung by rising young singers." The audience heard many favorite arias performed well by six young singers accompanied by the Annapolis Opera Chamber Orchestra, which was conducted by musical director and conductor Ronald J. Gretz.

Annapolis Opera will present an innovative 2008-2009 season, including two concerts featuring the Annapolis Opera Chamber Orchestra and widening the scope of its popular December candlelight concert beyond an all-Mozart repertoire. To steer this new course, the Annapolis Opera board has elected a new president, Greg Stiverson. Stiverson succeeds Leah Solat, who presided over the most successful season in Annapolis Opera's 35-year history: the only one to celebrate two sold-out presentations of its fully staged opera (Carmen)

Pasta and Puccini has again proved a winning combination for celebrating the success of the Annapolis Opera's 35th anniversary season. The capacity crowds gathered at the Loews Annapolis Hotel on Friday and Sunday to enjoy Italian food before a sumptuous musical menu by musical director Ron Gretz of favorite Puccini and Verdi arias, all delivered by a gifted quartet of young singers. Gretz mixed these ingredients with his inimitable charm, wit and spontaneity. More than a mere maestro, Gretz dazzles Annapolis Opera audiences with his wizardry for discovering young singers to introduce.

The gypsy sorceress Carmen sauntered into Annapolis over the weekend to shatter 35-year-old box-office records with the company's first-ever sold-out performances for both Friday and Sunday. Most opera fans who attended should not have been disappointed by what they heard in a fully staged production that brought together the talents of the Annapolis Opera, Annapolis Symphony Orchestra the Ballet Theatre of Maryland, and a lively children's chorus along with an adult chorus to support the stellar singers in leading roles.