Length of time you have worked with Opera Omaha: Little over a year
Six-word summary of your job/duties/what you do: Encourage company growth through generous giving.
Describe the best or most rewarding part of your job: Seeing the productions come to life on the main stage of the Orpheum Theater. Sitting through a Final Dress Rehearsal for the first time will truly take your breath away – such talent!
What is something you do in your position that people might not expect: I’ve been known to make a mean crostini or two – right in the office kitchen! (Check our Twitter page from last fall and you will find some of our creations.)
Your all-time favorite opera or theatrical production: Oh, I can’t just pick one! I’m fortunate enough to say that every show holds a special place in my heart.
Your unofficial position in the company: Resident DJ, karaoke singer, and I will occasionally attempt my skills as a breakout dancer.
Your secret talent: I can consume a lot of snacks in any given day.
Outside of the office you can be found doing… Spending time with loved ones and my furry “children”, traveling (I was able to visit Iceland and Montreal just this spring!), dining out, and enjoying Omaha and all of the fun activities this wonderful city provides for us.
Six-word summary of your job/duties/what you do: financials, employee benefits, cash management, negotiator
Describe the best or most rewarding part of your job: I love that every day is different.
What is something you do in your position that people might not expect: I also assume the responsibility of any office construction, addition or reconfiguration.
Your all-time favorite opera or theatrical production: Pirates of Penzance
Your secret talent: I love to dance. I grew up dancing, continued in college and look forward to attending dance workout classes each week.
Create a super-hero persona based on your position in the company: The Enforcer – making sure the staff meets deadlines, I oversee and manage budgets, oversee staff and their benefits, time off, etc.
Pick two more staff members to be your sidekick and arch-nemesis: Tom Chandler and Jane Hill, we have worked together for so many years I feel that I have learned and grown into a better colleague and professional because of them.
Outside of the office you can be found doing….: this time of year I am either at a softball field watching my oldest daughter, Payton, play softball all over the Midwest or at Premier watching my middle daughter, Paige, do gymnastics or at the dance studio watching her practice to prepare for her next dance competition or at a baseball field watching my son, Hayden, play for the Blair Cubs. Every once in a while my husband, Wade, and I will find time to go out with friends.
As purveyors of what is popularly considered to be an aging art form for the elite, we constantly struggle with the question of how to make our company and its purpose relevant for a modern audience. This, however, is entirely the wrong question to be asking ourselves. Opera is relevant. It is human. It has survived the passage of time and the onset of modernization specifically because its themes speak to us and to the struggles that we face as a society. The question is not how to make opera relevant. It is how to make opera accessible for newly emerging audiences.
In my position as the 2015-16 Weitz Family Fellow at Opera Omaha, I recently had the good fortune of traveling to Washington D.C., a city which I had never before visited, to take in the sights of numerous museums, memorials, and, of course, a few operas. Although I by no means experienced all of what D.C. has to offer, nor was this my goal upon setting out, I did see enough to gain an understanding of the qualities inherent in successful arts and cultural organizations.
National Museum of the American Indian
Self-described as “an institution of living cultures dedicated to the life, languages, literature, history, and arts of the Native peoples of the Western Hemisphere,” this Smithsonian museum was by far my favorite of the National Mall attractions. The Museum of the American Indian is housed in a stunning limestone building evocative of towering cliffs and desert landscapes. All of its structure and design elements, from the east-facing entrance to the lofty dome above the atrium, are the result of direct consultation with Native communities and clearly reflect Native perspectives. These perspectives are explained to visitors through carefully curated exhibits; which do not attempt to cover the entire history of Native American populations, but expertly expand on carefully selected political, cultural, historical, and artistic topics intended to develop an informed and appreciative audience.
The museum serves as an effective educational resource due to its intuitive design. Every gallery is easily navigable, and each exhibit is encountered in a manner that feels completely natural. Visitors of every sort are able to gain new knowledge from engaging and varied displays.
The Franklin Delano Roosevelt Memorial
While not the most prominent of national monuments—that title reserved for the iconic Washington and Lincoln Memorials—the Franklin D. Roosevelt Memorial is by far the most effective, the most moving, and most educational of those that I visited. The F.D.R Memorial is understated, subtle, and guides the viewer through the site in a natural and organic manner. Carefully chosen quotes throughout the memorial successfully convey the challenges, both domestic and international, of the president’s lengthy period of office (1933-1945). Interspersed are numerous waterfall elements, a nice nod to the National Park Service which the president worked tirelessly to expand. The obligatory statute is not a figure meant to inspire awe, but one intended to evoke familiarity. It portrays a humble man, seated, cloaked in a blanket.
Its intimacy makes this memorial so striking. Each turn in the path, each new quote imbues the viewer with an increased sense of who Franklin D. Roosevelt was, as well as the times and the people who surrounded him; and it is a statue of his influential wife, Eleanor, who bids visitors farewell.
Richard Wagner’s The Ring of the Nibelung
The Ring of the Nibelung is a four-part operatic cycle (often referred to simply as “The Ring Cycle”) based heavily on German and Norse mythology. A great investment of time and resources are necessary for any company staging this operatic monolith, and the returns can be substantial, as many opera aficionados will travel internationally to see this “bucket list” production. It helps that the themes of the Ring Cycle are incredibly relevant. The destruction of nature, a quest for power, far-reaching corruption, and class struggle are all encapsulated in Wagner’s magnum-opus. Due to its length, however, it is vitally important for any company choosing to produce these four operas to seriously consider how best to engage its audience. Washington Opera did a spectacular job.
This production stood apart due to the strong resonance which its themes found with the audience. Everything about this production succeeded in striking a chord with the American viewer. The design team drew on national landscapes and familiar images for source material, and what better way to represent the fallen heroes collected by the Valkyries, than with portraits of American soldiers?
Three Points for an Arts Non-Profit
During my time in Washington D.C. I picked up on three traits that guarantee a successful encounter, characteristics that Opera Omaha also strives to embrace.
These are not naturally quantitative traits, so it can be difficult to measure successful growth. Even so, it is possible to gain a sense of improvement (or stagnation), through communication with our audience and the Omaha community. So I ask you, as a company member to a passionate supporter, share your excitement. Get involved. Let us know what’s moved you, let us know what’s sparked your interest. Reach out to us. We want to learn. We want to grow. And above all, we want to be sure that our beloved art form is accessible to you.
Stella J. Fritzell
With Father’s Day upon us, Opera Omaha would like introduce you to the best and worst of opera’s paternal figures. Unlike the mothers featured earlier, opera dads take on a much wider range of roles, from the most caring and excited of fathers, to those with rather questionable motives. Read on to learn a bit more about these iconic and dramatic examples of parenting.
Agamemnon (Iphigenia in Aulis, Gluck)
Not much better than his wife, another infamous opera parent (Clytemnestra), Agamemnon promises to sacrifice his daughter for the sake of a military campaign. Luckily, Iphigenia’s life is spared by the goddess Diana. Even though Agamemnon was beginning to regret his promise, he was fully prepared to carry out the sacrifice on the behest of his men. http://bit.ly/24MDauh
Alberich (“The Ring of the Nibelung”, Wagner)
The Ring cycle contains a whole slew of bad fathers, but Alberich has to take the cake. Setting every event of the four-piece opera into motion by forswearing love in the opening scene, Alberich enslaves an entire race of people before his prized possession gets stolen. He then raises his son Hagen for the sole purpose of murdering the hero Siegfried and gaining vengeance. http://bit.ly/1YmGj3V
Rigoletto (Rigoletto, Verdi)
A hunch-backed court jester, Rigoletto keeps his beautiful daughter, Gilda, hidden from the rest of the city. Allowed to appear only in public when going to church, Gilda is ignorant of both her father’s occupation and his name. When Gilda falls in love with the licentious Duke of Mantua, Rigoletto swears revenge and in poor judgement hires an assassin. Gilda is killed. http://bit.ly/1rnQB6F
Commendatore (Don Giovanni, Mozart)
Although he appears only infrequently in this Mozart classic, the Commendatore proves his value as a father. In the opening scene of the opera, the Commendatore challenges the infamous Don Giovanni to a duel, who has been attempting to seduce his daughter. The Commendatore does not survive the encounter, but later returns as a statue to cast judgement on his murderer. http://bit.ly/260ih1j
Gianni Schicchi (Gianni Schicchi, Puccini)
A clever newcomer to Florence, Gianni Schicchi uses his wits to ensure that his daughter can enter into a prosperous marriage with the man she loves. At his daughter’s urging, Gianni Schicchi tricks a group of greedy relatives, clamoring for favor in their uncles’ will. He secures the man’s wealth for himself and is able to provide his daughter with an adequate dowry. http://bit.ly/1UxxZJo
With Mother’s Day just around the corner, Opera Omaha would like to introduce you to the best, and worst, of maternal figures in opera. Unfortunately, moms have it very hard in the opera world, often taking the role of the obligatory villain. Perhaps due to a near male-monopoly on operatic composition, or that the most famous of operatic works were written during a time untouched by any women’s rights movement, locating true role-models among opera’s mothers has proved near impossible. Though largely examples of poor parenting, the opera mothers highlighted below are nonetheless iconic.
Clytemnestra (Elektra, Strauss)
Few, if any, can rival the dysfunctional family at the heart of Richard Strauss’ Elektra. Clytemnestra, as the family matriarch, rules over her unbalanced daughters as a single-mother. Having murdered her husband and driven her son into exile, Clytemnestra can easily be called one of opera’s worst mothers. http://bit.ly/21tD8Y6
Lucrezia Borgia (Lucrezia Borgia, Donizetti)
Product of a politically powerful 15th-century Italian family, the leading lady in Gaetano Donizetti’s bel canto opera dabbled in mixing poisons and arsenic cocktails. Taking offence at even the smallest of insults, Lucrezia Borgia poisons her own son twice throughout the course of the opera, as well as an entire village. http://bit.ly/1NjXGzX
Queen of the Night (The Magic Flute, Mozart)
Singing what is one of the most well-known soprano arias, the Queen of the Night is diametrically opposed to the father figure (Sarastro) of Mozart’s famous The Magic Flute. Representing darkness and revenge, the queen commands her daughter to assassinate Sarastro, threatening to disown her should she refuse. http://bit.ly/1Wbwsi8
Norma (Norma, Bellini)
Fierce, smart, and strong-willed, Vincenzo Bellini’s Norma is a mother motivated by politics, religion, and love. Her two children are products of a foundered relationship with an enemy officer. She is understandably hesitant to see them delivered into enemy hands, and contemplates their murder as a means of prevention. http://bit.ly/1NkR5VQ
Madama Butterfly (Madama Butterfly, Puccini)
Sympathy is a familiar sentiment surrounding Puccini’s heroines. Madama Butterfly is only a 15-year-old girl when she falls in love with an American naval officer under the pretense of marriage. When the man finally returns to Japan, a day she has been yearning for, he brings his new American wife, prompting Butterfly to commit suicide in the hope that her son will now have a better life. http://bit.ly/1ZiYgP5
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