LIBRETTO
Mozart at Sarasota Opera
BY RICHARD RUSSELL
While Sarasota Opera is well known was “Verdi’s American Home”, the operas of Wolfgang Amadeus Mozart have been an important part of our repertoire over the 67-season history of the company. From the early days at the Historic Asolo Theater until today, these works of a genius have featured prominently on our stages.
The Sarasota Herald-Tribune proclaimed the “1st Opera in Area’s History Opens Feb. 27”, on January 20, 1960, in anticipation of a season of opera at the Asolo Theatre, presented by the Turnau Opera Players. It was not strictly true. There had been opera in Sarasota as early as 1926, at the Edwards Theatre (now the Sarasota Opera House) and there had even been performances of the genre at the Asolo Theater when it opened in 1952 and again with a visit of New York City Opera in 1958. However, the Turnau Opera Players, a touring company based out of Woodstock, NY, would become the
first resident company in the city. They would reappear annually until 1973, with the support of the Asolo Opera Guild. In 1974 a new homegrown company, the Asolo Opera Company, would take over. When they moved to the former Edwards Theatre, reopened as the Sarasota Opera House in 1984, the company would be renamed Sarasota Opera.
It was a gala evening when Mozart’s Cosi Fan Tutti (the last word misspelled in the Herald Tribune’s review) was presented as the first offering of the new company. The opera was sung in English. There was no chorus or orchestra and it was accompanied by a single piano, played by music director Karlos Moser. Scenery was minimal but the review notes that the period costumes blended well with the décor of the historic venue. Artists included bass Spiro Malas as Don Alfonso, who would appear often with the New York City and the Metropolitan Operas (and in one episode of Sex and the City) and mezzo-soprano Nancy Williams, who would have a distinguished career in regional opera, as well as at the Met. She would later retire to Sarasota with her husband, conductor Edward Alley, who served on Sarasota Opera’s board.
Così fan tutte (to spell it correctly) would appear in another five seasons at the Asolo Theater and debuted at the Sarasota Opera House in 1990, the first of five appearances there (including the current season) and for many years was the opera most performed here (a position now held by La bohème).
That wasn’t the only Mozart opera performed in that first season. His short opera The Impresario was also given as part of a double-bill with Ravel’s The Spanish Hour (L’Heure espagnole). That would be the only season that Sarasota would hear this short, delightful work.
Virginia Mims and Mattia Venni in Sarasota Opera’s 2025 production of Le nozze di Figaro
Photo by Rod Millington.
Greetings from Education Land!
BY MARTHA COLLINS, DIRECTOR OF EDUCATION
Summer Camp:
We are still floating on the success of our ’25 Summer Camp! We started off with a bang with this email sent after the first day from the mother of a singer who is new to us: “I figured I’ll see how she likes it and then adjust. I could cry! She was telling us all about her day; singing in the shower! Literally makes my heart happy! Also, whatever programs there are please sign us up!!”
We believe one reason for our success were the talented group of Teaching Assistants who worked with us this season. They were vocal students who came from university music programs as far away as Vermont and Washington. In addition to working with our campers,
we offered them learning opportunities including private coaching with Mo. Jessé and myself, four voice masterclasses, and language coachings.
One of our singers’ favorite classes is (Words and Music) where they write their own opera scenes. Check out this wonderful article by Ian Swaby from The Observer about their success!
Scan the code or visit the link:
https://www.yourobserver.com/ news/2025/jul/02/ sarasota-youth-opera-summer-camp/
Words and Music - The Pirate’s Scroll
Thank you to Katherine Benoit for her donation of fabric that spurred their imaginations!
Very intent on styling their wig!
Fun in Makeup Class becoming Animals!
Family Day:
Up next is our Family Day at the Opera! This is an open house for young people who are new to opera to come and find out what it is all about – they can enjoy a singing and acting class, backstage tour, costume display, makeup demonstration, live performance and more. A primary objective is to encourage new Youth Opera members.
We just had a new 10-year-old singer audition for Youth Opera who had attended our Family Day in ’22. Her parents, who had both been Broadway performers before relocating here to raise their family, said that from the moment their daughter heard soprano Elizabeth Novella sing she has been in love with opera. She told me her favorite sopranos are Mirella Freni and Maria Callas! It was a wonderful reminder to keep sharing our passion and love for opera!
Education in Schools:
Brundibàr:
We are currently accepting enrollment for our fall production of Brundibàr. The opera was performed by the children at Theresienstadt Ghetto for representatives from foreign governments to disguise what was happening and create the false narrative that the Jewish people were being treated well. Sadly, all but one of those children did not survive. Back in 2015 Maestro Jessé and I created a companion piece for the opera entitled ‘Raise Up Your Voice: Intolerance Through the Voices of Children’. It was important to us that the words chosen be those by children writing at the time they were experiencing challenges, rather that adults reminiscing on their youth. I spent much time in libraries searching out diaries and letters from all over the world. The direct and heartfelt thoughts and wisdom of children is very moving, particularly when also performed by youths.
We are in the process of creating the calendar for our Resident Artists to go into the schools to share and educate about opera. We also will be hosting a tour and performance at the opera house as part of the National Arts Educators Seminar that is being hosted for the first time in Sarasota. So back to work!....
MOZART AT SARASOTA OPERA CONTINUED FROM PAGE 5
The Marriage of Figaro would enter the company’s repertoire in 1961 and reappear seven times, including last season. Die Entführung aus dem Serail (which had been the offering at the Asolo by the New York City Opera in 1958) would have its first Turnau performance in 1964 and for another three seasons (including in 1985 at the Opera House). Don Giovanni appeared for the first of six seasons in 1977, while The Magic Flute would wait until the company had moved into the Opera House for its first performances by the company. It proved a favorite and returned often for a total of six seasons.
Mozart’s works are some of the greatest ever written, but another reason for their frequency in our repertoire is that our venues have been ideally intimate for his operas. The Estates Theater in Prague, the last surviving theater in which he worked, currently has 659
seats but originally accommodated about 1,000 patrons. Mozart never would have imagined a theater the size of the Metropolitan Opera (3,850 seats). Orchestras in his day were smaller (30-40 players) than are now required for romantic opera and singers were used to singing in more intimate spaces and had vocal techniques to match.
One could argue that at 300 seats, the Asolo Theater may have been too small and couldn’t accommodate an orchestra. But the Sarasota Opera House, with 1,129 seats, very good acoustics, and excellent sightlines, is on the same scale as many of the European theaters for which Mozart’s operas were written. For a company devoted to respecting the composer’s intentions, it is a perfect venue to bring these timeless works back to life.
Learning about Costumes at Family Day
Scenes from Brundibàr - Production 2015 Photo: Rod Millington
LOVE, INTERRUPTED A Conversation with Maestro DeRenzi about Mozart’s Così fan tutte
BY MARINA HARSS
This fall, Sarasota Opera will perform Mozart’s Così fan tutte with a wonderful cast that includes company favorites Hanna Brammer, Virginia Mims, Jake Stamatis, Filippo Fontana, and Olivia Vote, as well as a newcomer, tenor Luke Norvell. Così is a late work, composed only two years before Mozart’s death, and just before his final decline in health and finances. He would only compose two subsequent operas, La Clemenza di Tito and The Magic Flute, both completed in his final year, 1791.
Così is also significant because it was the last of Mozart’s three collaborations with the librettist Lorenzo Da Ponte, one of the most fruitful partnerships in the history of music. In addition to Così, this partnership produced Le nozze di Figaro and Don Giovanni, two of the greatest works of the opera repertoire. All three are explorations of the theme of love, in all its forms: innocent, mature, sincere, faithless, conflicted, lustful, serene.
All three of these operas have a long history at Sarasota Opera. Nozze was performed in Sarasota just last season, and Don Giovanni in 2023. These two are generally considered more popular than
Così, but this is not the case in Sarasota, where Così has been performed ten times, two more than Nozze and five more than Don Giovanni. In fact, it was the first opera the company ever presented, in 1960.
The company’s artistic director Victor DeRenzi feels a particular affinity for this score, as he discussed below in a recent conversation. It depicts a complex situation, exploring nuances of emotion through subtle dialogue and sublime music. At the opera’s heart lies a certain ambiguity: What is happiness? Is it an illusion? And can we trust ourselves?
Maestro, Così fan tutte is considered an opera buffa, or a comedy, but it’s more complicated than that, isn’t it? On the surface, it’s a very funny opera, with lots of humor. But underneath, it’s one of the most emotional operas I know. The emotion of the work arises out of the inner conflict that the four lovers feel and the drama that results from that conflict. We see their certainty about themselves and each other crumble before us.
What do you think the title, Così fan tutte, or “What all women do,” really means?
Of course, the title is ironic. It’s not really
On the surface, it’s a very funny opera, with lots of humor. But underneath, it’s one of the most emotional operas I know.
~ MAESTRO DERENZI
saying that “women are like that.” What it’s saying is more like “this is what all people are like.” While the premise is that the women betray their lovers, the opera actually starts with the men betraying them.
Così fan tutte 2016. Photo credit: Rod Millington
The first act begins so lightheartedly, as a bet about whether love is fickle or faithful, but then, in the second act, things change. How would you characterize that change?
It begins as a game—a bet over the loyalty of the men’s fiancées—but it evolves into something darker. It becomes a contest between the men, each trying to prove he’s the better man. The original stakes— money, love—are put aside. What matters is their masculine pride. Guglielmo seduces Dorabella, Ferrando’s fiancée. Then he boastfully says to Ferrando, who is supposedly his friend, “Well, what did you expect, considering my qualities?” By then Ferrando has become so wrapped up in the game that he feels he has to destroy what Guglielmo has with his fiancée. In the final duet between Ferrando and Fiordiligi, Ferrando seduces her out of revenge for what his friend has done with his lover. It’s not about love or sex—it’s about revenge.
What does the ending of the opera tell us?
The opera ends with everything in shambles. Faith, trust, all gone. Alfonso and Despina, the two other characters
in the opera, a maid and a philosopher, argue that honor, trust, and faithfulness are illusions, and that we should stop pretending they exist.
In the second act, the characters become much more distinct. Everyone evolves over the course of the opera. Their path to love is also very different.
That’s what Da Ponte asks us: what part of them is real? The men and women start as mirror images of each other. But in Act II, they separate into individuals with distinct experiences. The question the opera leaves us with is: Who am I?
Someone described Così as “a bittersweet tale of lost innocence.” By the end, the illusions of love are stripped away.
That is, if you think love is an illusion…
What do you make of the ending?
After the ruse has been revealed, the two couples return to their original partners, having learned a difficult but valuable lesson. “I believe you,” the lovers say of their mates, “but I won’t make the mistake of putting you
to the test again.” One writer describes it as “a denouement that would lead straight to the divorce courts.”
Remember, the opera’s subtitle is The School for Lovers. They’ve learned their lesson. Actually, in some productions they switch the couples at the end. Guglielmo ends up with Ferrando’s fiancée and Ferrando ends up with Guglielmo’s fiancée. It is ambiguous.
And the ambiguity shouldn’t distance people—it’s what makes Così great.
A Message From Sarasota Opera Gala Co-Chairs
It’s not a moment too soon to reserve your place at one of Sarasota’s most anticipated events of the season. Join us on Friday, January 30 at 6:00 PM for the 2026 Sarasota Opera Gala – our premier annual fundraising celebration – as we debut a landmark season marking 100 years of the Sarasota Opera House.
This year’s Gala will be held at The Ora, Sarasota’s stunning new event venue located at 575 McIntosh Road, just south of Fruitville Road. With plentiful lighted parking and an exquisite on-premises menu curated by Michael’s On East, the evening promises elegance and ease from the moment you arrive.
As we usher in a historic centennial year, the theme “An Evening in Paris” sets the stage, inspired by our season’s centerpiece: Puccini’s beloved La Bohème. Guests will be transported to the romantic 19thcentury garret where Mimi and Rodolfo first meet – a nod to the timeless beauty and dramatic flair that has defined the Sarasota Opera House for a century.
Transformed into a dreamscape atmosphere of 1896 Paris, Gala guests will be welcomed into the lobby designed to create an evening of enchantment, where they can mingle during cocktail hour, enjoying open bars, champagne, and French-inspired passed horsd’oeuvres. Dinner and dancing will follow in the Main Ballroom, and every detail – from table décor to entertainment to cuisine – continues the magic of the La bohème theme.
Entertainment throughout the night will feature captivating performances by Sarasota Opera artists, offering a taste of the unforgettable season to come.
But beyond the glamor, we are mindful that the primary goal of our Annual Gala is, after all, to raise funds to support the Sarasota Opera’s Youth Opera. These critical education and training programs nurture the next generation of artists and opera lovers and help ensure the legacy of the Sarasota Opera itself. Last year we celebrated the 40th anniversary
THE ORA, SARASOTA FRIDAY, JANUARY 30, 2026
RECEPTION AT 6 PM
DINNER AT 7 PM
of this remarkable program, and this year we look forward to building on that very successful effort. The fundraising mechanism this year will be a live auction of selected items chosen for appeal and availability, including travel and
Sarasota Opera Donors’ Commitment to Excellence
BY KAREN MISANTONE
Achieving the artistic excellence that Sarasota Opera is known for requires financial resources beyond what ticket sales generate. Our donors play a critical role in closing this financial gap. We thank all of you who make that commitment to support our productions, artists, and education programs!
While ticket sales provide foundational revenue each season, it is our donors who ensure that we can effectively present quality opera and the longevity and growth of Sarasota Opera. By committing to excellence, our donors enable Sarasota Opera to create work that inspires, enriches, and connects with audiences in profound ways.
The vital role that our Patron and Leader-ship donors play does not go unnoticed. Their elevated support and commitment to our future is especially important during these uncertain financial times. General Director Richard Russell comments that, “With rising costs and the changing landscape of government funding, our donors know that they are making an invaluable investment in Sarasota Opera. The work that we do – mainstage performances, community outreach, and education programming – would not be possible without their support.”
Not only do these amazing supporters play a critical role in our success season after season, but Sarasota Opera has become an integral part of their lives as well. There is no denying that these deeply committed donors form a camaraderie among one another, and friendships form that go beyond the Opera House doors. CoProducers Tom and Libbie Glembocki share that, “for years we have enjoyed Opera performances all over the world but here in Sarasota we have been able to support the Opera and make great friends with other Sarasota Opera Leadership donors who believe in the future of the Opera.”
Whether you are a STAR, Co-Producer, Youth Opera Donor, supporter of special projects, or give to multiple areas, your philanthropy plays a vital role! Thank you!
2025 Aficionado Dinner, Ritz-Carlton Sarasota, David Bialosky, Carolyn Christian, Maestro Victor DeRenzi, Edie Chaifetz, Tamara Jacobs, and David Epstein
2024 On-Stage Dinner, Sarasota Opera House Carol English, Tom Garden, and Linda Garden
2025 Leadership Luncheon, Michael’s On East, Tom and Libbie Glembocki
MOONLIGHT & MELODIES DINNERS
Sarasota Opera House Courtyard
$225 Per Person | Limited Seating
Under the Stars with Mozart Friday, November 7, 2025, 6:30 PM
Enjoy an enchanting evening under the stars for a gourmet meal inspired by the rich culinary traditions of Naples, Italy, and Mozart’s Music.
An Evening with Puccini in Paris
Tuesday, March 10, 2026, 6:30 PM
Don’t miss this delightful evening of Giacomo Puccini’s operatic work, reminiscent of the historic French Latin Quarter.
THE SARASOTA OPERA GALA: WINTER IN PARIS
The Ora, Sarasota | Friday, January 30, 2026, 6:00 PM
Table Sponsors: $12,500, $7,500, $3,500 Reservations: $1,250, $750, $350 Per Person
Join us for the Sarasota Opera’s highly celebrated Annual Gala, themed “Winter in Paris.” Be immersed in the splendor of the City of Lights while enjoying an evening of mingling, fine cuisine, and dancing. Proceeds from the event and paddle raise will support our Youth Opera & Education programs. Guests are encouraged to dress in chic, boutique Parisian black-tie (optional) attire.
COMING SOON!
SALUTE TO THE STARS AWARD LUNCHEON
Sarasota Yacht Club | Tuesday, March 24, 2026, 11:30 AM
Patron Level: $150 Per Person, Premium Seating
Individual Reservations: $85 Per Person
Be a part of this popular celebration of Sarasota Opera’s Apprentice and Studio Artists as they are honored for their accomplishments. Savor a gourmet lunch accompanied by captivating performances from the awardees. These awards are made possible through the generosity of visionary individuals and the Sarasota and Manatee Opera Guilds.
SARASOTA OPERA HOUSE CENTENNIAL CELEBRATION
Saturday, April 11, 2026
$500 Per Person | $5,000 Per Table of Ten
Premium Sponsorship: $1,500 Per Person | $15,000 Per Table of Ten
4:00 PM Commemorative Concert | Sarasota Opera House
7:00 PM Celebration Dinner
Michael’s on the Bay at Selby Gardens
Join us for a spectacular evening to commemorate the 100th anniversary of the Sarasota Opera House. The celebration will feature a concert that highlights the Opera House’s history, showcasing memorable performances. Following the concert, guests will enjoy a dinner at the beautiful Michael’s on the Bay at Selby Gardens.
FROM OPERA-CURIOUS TO OPERA-LOVER
DaCapo Member John Acosta’s Journey to Opera, in his own words
BY JOHN ACOSTA
John Acosta is a young professional who works in real estate in the Bradenton/Sarasota area. He grew up in Bradenton in an arts and sports-loving household, but never thought he’d volunteer as a supernumerary in last year’s Cavalleria rusticana production or become one of Sarasota Opera’s DaCapo Society’s most loyal members. Read about his journey to loving opera here, in his own words!
The first opera I ever saw was La bohème at Sarasota Opera in 2015. I remember it vividly – the excitement of the audience, the palpable emotion of the singers’ voices, the dramatic costumes and lighting. Little did I know that ten years would pass before my next live opera experience and the ignition of a lifelong passion for opera.
I grew up as a patron of the local arts scene. My mother took my siblings and me to the Ringling Museum often and our house was often filled with the timeless songs of classic musicals like The Sound of Music and My Fair Lady. But I never thought I’d be on the stage. That changed last year when I was scrolling through social media and came across a video post featuring principal artist and baritone Jake Stamatis inviting men to audition to be supernumeraries in the 2025 production of Cavalleria rusticana —small role, no experience needed, no singing or talking, it will be a rewarding experience, he said. I wrote it off!
But I couldn’t stop thinking about it. One day, I walked out of my office to grab a coffee and told myself, enough thinking, I’m going to the Sarasota Opera House! I arrived at the same Opera House I had passed by since I was a child and there was a parking spot directly in front. The nice lady at the Box Office gave me some pointers as I waited for the Artistic Administrator Marco Nisticò to arrive. When the double doors opened into the hallway and we ventured into the backstage area, I felt like I was Charlie being led into Willie Wonka’s Chocolate Factory!
“You are expected to be at every rehearsal and performance. It is a very serious engagement. Look over the dates and
times and let me know,” Marco said. I looked at the schedule and I thought to myself, if I don’t say “YES” now, I’ll lose my opportunity. I came here to be a part of the Sarasota Opera, and so I answered “Yes” almost immediately!
Before I knew it, we were walking down the hall toward the costumes department. I watched production staff moving costumes around on hanging racks. I could hear singers practicing behind the closed doors of the rehearsal rooms. We walked into the costume room and the tape measurers came out. I stood there in a whirlwind of measurements while the staff floated around with garments, hats and shoes. Resident Costume Designer Howard Tsvi Kaplan was overseeing my fitting. There were multiple adjustments made before I heard him say, “Perfect.”
On the first day of rehearsals, the Maestro and Artistic Director, Victor DeRenzi, said, “Welcome to Sicily. Thank you for being here.” One of the first things I noticed on that first day of rehearsal was how hard everyone was working together – we were all there at a specific time, learning and rehearsing with the same goal of creating a perfect-as-possible production for the audience. It was also personally moving for me because at the time, I was on an extended religious fast when I found out I would be tasked with carrying a statue of Jesus in the production which took place on Easter Sunday. I’m still in awe.
After a few weeks of rehearsals, we were live. Every performance was a new experience with a new audience. I recall another supernumerary, Ravi, a professional actor, telling me, “you cannot break the fourth wall. The audience is here to be taken to another world. The
One day, I walked out of my office to grab a coffee and told myself, enough thinking, I’m going to the Sarasota Opera House!
~ JOHN ACOSTA
moment you make eye contact; you ruin the story for them.” Martha Collins, the stage director, told me to find a point on the horizon and fix my eyes there, not to look into the audience.
At the beginning of every performance, I felt a type of nerve that I had never felt before—I was so worried that I would forget what to do! But I realized that we had rehearsed so much so that everybody would remember what to do, almost automatically and effortlessly. After the stage managers behind the scenes gave the cue, the brain-body connection took over and there was no turning back!
When I share my experience about being a supernumerary, it’s rewarding to see people light up and be intrigued. I bring the opera to life for them just like the Sarasota Opera brought the opera
Q+A with Louise Mazius
BY LAEL MOHIB
Louise Mazius, 91, says her middle name is ‘volunteer’. She’s been volunteering since she was 14 years old. She started as an Opera Club volunteer in 2001 at Sarasota Opera, before making her way to the costumes department (her favorite!) and finally serving as an usher. After 24 years volunteering not only at Sarasota Opera but with other arts organizations around town, Louise has decided to retire and spend more time brushing up on her Rummikub and Mahjong skills, as well as exhibiting some of her artwork, but not before sharing a few insights.
What’s your favorite opera?
“I really can’t pick just one. The Tales of Hoffman. La traviata. Tosca. The Magic Flute.”
What would you say to someone who’s considering volunteering?
“You’ll like it. It’s so rewarding and enriching.”
…to someone who’s never been to the opera?
“Try it! Try it! It has everything—drama, costumes, music, scenery.”
Share a memorable story from your days going to the opera.
“I subscribed to Lyric Opera of Chicago for 20-some years. One time, I was ushering at a little theatre in Chicago and Loretta Swit was doing a play there. Placido Domingo was in town and he came to see her and he sat right next to me! I told him I had tickets that Friday night—he was singing in The Girl of the West. He told me to come to the stage door and he’d see me. I took my little camera, and my two friends, and we went to the stage door, took pictures and Placido kissed me. It was an amazing moment for me!”
What was your path to loving opera?
“My first love after graduating high school was a classical violinist. We went together for a couple of years. It was the Korean War. His mother was an opera lover, and she gave me a book, which I still have, called The Stories of the Operas. So, he gave me the ABCs of classical music and opera.”
What we have to say about Louise: Says Jo Ann Whitehead, House Manager & Volunteer Coordinator at Sarasota Opera: “It’s been an honor to have her part of our volunteer team. I have worked closely with Louise for 18 seasons. She has
Help Bring Opera to Life
BY BRENDA TAMM
Do you have a passion for opera and the arts? Are you a Sarasota Opera fan who wants to be more involved backstage, in the theater, or in the offices? If so, Sarasota Opera wants you! Volunteering at Sarasota Opera offers a unique opportunity to engage with the arts while making a meaningful contribution to the community. Members of the Sarasota Opera Corps of Volunteers are highly valued individuals who support the company’s daily operations in a variety of roles, including ushers, costume shop stitchers, artistic department assistants, marketing volunteers, drivers for artists, and more.
Volunteer! You’ll like it. It’s so rewarding and enriching.
~ LOUISE MAZIUS
been a pleasure and is always willing to help anywhere she can. We honored her in the 2015-16 season with the Volunteer of the Year Award. I can still see the look on her face when we announced it. She was shocked. She will be missed, but it’s her time now to relax and enjoy.”
Whether you’re looking for a fulfilling way to spend your days or evenings, Sarasota Opera has a spot for you— whether in the administration offices, costume shop, front of house, or production. Volunteers enjoy special perks such as tickets to final dress rehearsals, recognition in the season program book, and invitations to appreciation events. No prior experience is necessary, just a love for the arts and a willingness to help.
For information, use QR code or contact Jo Ann Whitehead at (941) 366-8450, Ext. 516.
JOHN ACOSTA
CONTINUED FROM PAGE 8
to life for me. Being a supernumerary gave me a renewed sense of awe from my first opera experience in 2015, but with a deeper understanding of the dedication and artistry involved. I didn’t want the experience to end…so I joined the DaCapo Society! Immediately after joining, I realized that I never needed to be a super or have extensive knowledge about opera. All I had to do was to show up, be myself, and enjoy great company.
Having the opportunity to talk with the artists, maestros, musicians and fellow opera-lovers who attend the receptions is intriguing and educational. The conversations I had over drinks at DaCapo
receptions gave me further insight into the dedication that goes into creating great opera, and what others get from experiencing opera. I recall one person saying that they love opera and DaCapo Society because it allows them to put down their phone, get away from work and all their troubles for a few hours.
Whether on stage as a super or in the audience as a DaCapo member, it all comes down to the beautiful, elevating experience of those few hours—from the precision of the orchestra to the thoughtful choreography, to the weight of history blended perfectly into every note. Opera is more than entertainment; it is a powerful and moving experience. The Sarasota Opera has changed my life for the better.
Sarasota Opera Mini Events
A Century in Sarasota 1926-2026
Mini Events are intimate events held in private homes and special locations, with themes and activities to engage the communityconnecting new and old friends.
HOSTS WANTED!
HOW DOES A MINI EVENT WORK? Your associated expenses are tax deductible. (Save your receipts!) You decide the maximum number of guests, the venue, and how much to charge. The Opera will publicize, take reservations, and manage guest payments. They can provide suggestions for various vendors, and even entertainment.
ANY IDEAS FOR A THEME? This year is the 100th Anniversary for the Sarasota Opera House!
To connect our Mini Events with this significant milestone, we invite hosts to be creative and embrace the theme: A Century in Sarasota: 1926 to 2026. This encourages us to reflect on the rich history of Sarasota over the past century. Whether a sitdown dinner in a beautiful setting, an informative experience, or any other ideas you might consider, for instance:
A costume party reflecting on fashion over the decades1926, 1946, 1956, or 1976…
A scavenger hunt, wine tasting, or sunset cruise
A holiday-themed party, like Valentine’s Day, Saint Patrick’s Day, 4th of July…
Share your passion for jazz, blues, theater, or art event
QUESTIONS? Contact Matthew Glover at 941-328-1320 or mglover@sarasotaopera.org.
Scan the code or visit: www.sarasotaopera.org/minievent to read more about Mini Events and event suggestions.
GALA CHAIRS’ LETTER CONTINUED FROM PAGE 5
private affairs, and also paddle raises.
More than a gala, this is the opening note of a historic year – a tribute to the past 100 years of excellence and a toast to the century ahead. Be there as we celebrate the legacy and future of the Sarasota Opera House, the cultural heartbeat of our city.
Sponsored tables are available at the Platinum, Gold, and Silver Tiers and individual reservations will also always continue to be available.
TRIBUTES
Along with the entire Gala Committee, working hard to make this a memorable event, we hope you will join us at our beautiful new venue for this worthy cause. We look forward to seeing you on January 30th!
Tamara Jacobs
TAMARA JACOBS, CO-CHAIR
Carla Koeffler
CARLA KOEFFLER, CO-CHAIR
A gift to the Sarasota Opera Tribute Fund is a beautiful way to memorialize a loved one, honor a friend, or celebrate a special occasion. A tribute card is sent to a family member or the honoree and is published in this newsletter.
IN MEMORY OF DONALD BROWN
Marta Pernas
IN HONOR OF ROBERT J. FRANK’S BIRTHDAY
Teri and Ellie Frank
IN HONOR OF ELAINE KEATING
Susanne Klingeman
IN MEMORY OF RAY MORRISEY
Manatee Opera Guild
AT YOUR SERVICE!
IN MEMORY OF DAVID SCHOEN
Edward and Sandra Rich
IN MEMORY OF ANN WALLER
Rocco and Elizabeth Aversa
Shari Rogers
Richard Russell and Cynthia Bydlinski
Sarasota Opera Guild
Victor DeRenzi and Stephanie Sundine
The Development Staff is here to answer questions about giving levels and benefits and take reservations to our Signature and Special Benefit Events..
Our office’s main number is (941) 366-8450. Positions, extensions and emails for each member of the staff are listed below. Feel free to reach out to any of us. And thank you for your support of Sarasota Opera!
PATRON TIER DONORS ($50 to $5,999) to all areas, including STAR and Youth Opera
Brenda Tamm Ext. 250 btamm@sarasotaopera.org
Davis Wolfe Ext. 231 dwolfe@sarasotaopera.org
Opera Guilds
Gifts listed were received from April 22 - July 31, 2025
To have a tribute listed, please send a contribution of $25 or more to: Sarasota Opera, Attn: Tribute Fund 61 N. Pineapple Ave., Sarasota, FL 34236, or online at: SarasotaOpera.org/tribute-gifts.
LEADERSHIP TIER DONORS ($6,000+) to all areas, including Co-Producer, Youth Opera and Artistic Achievement Fund
Melissa Voigt Ext. 581 mvoigt@sarasotaopera.org
Karen Misantone Ext. 416 kmisantone@sarasotaopera.org
SPECIAL EVENTS AND CORPORATE SUPPORT
Matthew Glover Ext. 402 mglover@sarastoaopera.org
PLANNED GIVING AND KRETZMER LEGACY SOCIETY
Stacy Ridenour Ext. 246 sridenour@sarasotaopera.org
The Guilds of Sarasota Opera offer many opportunities to learn more about opera and to meet like-minded opera lovers. The Manatee Opera Guild and Sarasota Opera Guild both provide social activities paired with educational opportunities where Sarasota Opera staff and volunteers discuss the operas featured each season.
Becoming a Guild member is a great way to support Sarasota Opera! Both Guilds provide significant support to general operating costs and the nationally acclaimed Sarasota Youth Opera. In addition, both Guilds provide financial awards to select artists and Sarasota Youth Opera.
Visit “SarasotaOpera.org/opera-guilds” to learn how you can join these vibrant communities!
Sarasota Youth Opera