< MAESTRO’S FAREWELL: Victor DeRenzi will leave Sarasota Opera in May after 44 years. 6
BLACK TIE INSIDE:
WONDER GALA: Florida Center for Early Childhood hosts second annual gala. 9 >
ARTS + ENTERTAINMENT
SILENT NIGHT,
Peter Rothstein’s ‘All Is Calm: The Christmas Truce of 1914’ returns to The Ringling’s Historic Asolo Theater.
HOLY NIGHT
MONICA ROMAN GAGNIER ARTS + ENTERTAINMENT EDITOR
Many theatrical productions claim to bring history to life, but few do it with accuracy and authenticity. Fictionalized history is often sexier than real life and doesn’t require painstaking research. Of course, in some cases, source material doesn’t even exist.
The words of real people help make Peter Rothstein’s “All Is Calm:
The Christmas Truce of 1914” a true Christmas miracle. Rothstein combed museums and archives in Europe to find the documentation to let English, French and German soldiers and officials tell the story.
Contrary to popular belief, not everything is on the internet, and AI can’t yet be harnessed for this kind of in-the-trenches historical research.
Rothstein weaves excerpts from letters, diaries and official military memoranda with holiday carols and upbeat ditties of the day (“Pack up your troubles in your old kit pack”)
to depict an heartwarming episode that might otherwise have been lost to the annals of history.
“A lot of people don’t know about the Christmas Truce,” Rothstein said during a dinner break from rehearsing “All is Calm,” which he wrote in 2007 and is directing for the second time at Asolo Repertory Theatre, where he is producing artistic director.
“The powers that be wanted the story squashed,” Rothstein continued. “The last thing the propaganda machine wanted was for people to know that Tommy and Fritz were making friends. The Christmas Truce was denied its place in history.”
Rothstein first learned about the little-known event through a 1984 song by folk singer John McCutcheon called “Christmas in the Trenches.”
“I thought it was a lovely piece of hippie fiction,” he says.
A master of the hammered dulcimer, McCutcheon is an alumni of St. John’s University, a private Catholic men’s college in Minnesota that Rothstein also attended.
IF YOU GO
IS CALM: THE CHRISTMAS TRUCE OF 1914’
When: Runs through Dec. 19
Where: The Ringling, 5401 Bay Shore Road
Tickets: $45-$71
Info: Visit AsoloRep.org.
Rothstein is such a fan of McCutcheon’s work that he sang “Alleluia, The Great Storm Is Over,” at his father’s funeral.
When he was formulating the idea for a show about the Christmas Truce, Rothstein discovered Stanley Weintraub’s 2001 book, “Silent Night: The Story of the World War I Christmas Truce.”
This book provides excellent background on how troops on both sides of the lines stopped fighting on Christmas Eve 1914. Instead, they celebrated Christ’s birth by singing carols, exchanging gifts, playing football and burying their dead.
To hear Rothstein tell it, the Christmas Truce occurred because of music, which he says was a big part of life in the trenches where warfare took place in World War I.
“The Christmas Truce wouldn’t have happened without music,” Rothstein says. “Music is an international language. When the other side literally called for an encore, it became the language of trust.”
Originally written for the Cantus men’s chorus in Minneapolis, “All is Calm” contains no less than 30 songs. They are sung a capella by the nine performers in the show. They are Sasha Andreev, Phinehas
Daniel
Bynum,
Greco, Bradley Greenwald, Thomas McNichols, Riley McNutt, Rodolfo Nieto, Andrew Wilkowske and Evan Tyler Wilson.
Images courtesy of Adrian Van Stee
The cast of Asolo Rep’s “All Is Calm: The Christmas Truce of 1914” performs a cappella.
The moon rises as German and English troops gather together in “No Man’s Land” to celebrate the birth of Christ in Asolo Rep’s “All Is Calm: The Christmas Truce of 1914.”
Rodolfo Nieto plays one of the soldiers who lay down arms in Asolo Rep’s “All is Calm: The Christmas Truce of 1914.”
Greenwald and McNichols are making their Asolo debut. The actor/ singers use coats, hats and props to play soldiers from more than one country.
In addition to English carols such as “We Wish You a Merry Christmas” and “The First Noel,” there are German songs such as “O, Tannenbaum,” “Stille Nacht” (“Silent Night”) and “Es ist ein Ros entsprungen,” commonly known in English as “Lo, how a rose e’er blooming.”
French is heard in “Angels We Have Heard On High.” Instantly recognizable to all is the Scottish song “Auld Lang Syne,” traditionally sung on New Year’s Eve to bid the old year farewell.
Before Rothstein arrived at Asolo Rep in 2023 and “All Is Calm” was first produced in The Ringling’s Historic Asolo Theater last year through a partnership between Rothstein and The Ringling’s Currie-Kohlmann curator of performance, Elizabeth Doud, it had a life of its own.
First produced as a radio show by Cantus vocal ensemble and Rothstein’s Theater Latté Da in Minneapolis, “All Is Calm” premiered on Minnesota Public Radio in 2007.
“The world premiere was live on the radio,” Rothstein recalled. “We never did a preview. We just had three actors and a vocal ensemble. Cantus toured it for nine years.”
Over the years, “All Is Calm” has evolved from a bare-bones musical performance into a fully formed theatrical production. “We found a way for it to have a theatrical life,” Rothstein says. “The press liked it and audiences wanted to talk about it, so we went about expanding it.”
With the 100th anniversary of the beginning of World War I in 2014, museums put together programs that allowed Rothstein to flesh out “All is Calm” with more historical detail. He has traveled to Europe twice to gather material.
In 2018, Laura Little produced “All is Calm” Off Broadway, where it won a Drama Desk Award, as well as a touring production. She also served as executive producer of the PBS TV program.
The fine-tuning of “All is Calm” continued when Asolo Rep first produced the show in the jewelbox His-
From January 20–26, 2026, Originals Member Restaurants will host a variety of collaborative wine dinners and special events. Each experience features thoughtfully curated courses paired with exceptional wines, offering guests a one-of-a-kind afternoon or evening of elevated food and wine.
JAN 20-26, 2026 AT VARIOUS LOCATIONS
Florida’s premier food and wine festival will once again spotlight the culinary talents of SarasotaManatee Originals member restaurants, paired with an esteemed lineup of visiting winemakers and winery representatives. These exclusive events take place at participating locations throughout the region–from Anna Maria Island to Venice.
FOR DATES, TIMES, AND TICKET INFORMATION VISIT OUR WEBSITE EATLIKEALOCAL.COM
Participating restaurants and wineries subject to change.
WINEMAKER EVENTS
1592 Wood Fired Kitchen
STRINGER CELLARS
Casey Stringer, Winemaker/Owner
Arts & Central
CHÂTEAU DE LA DAUPHINE
Lisa, Sales Director
Cafe Gabbiano
THE PRISONER WINE COMPANY
Todd Ricard, Director of Winemaking
CW Prime
KEENAN WINERY
Michael Keenan,President & Winemaker
element steak. seafood. pasta.
SELBY WINERY
Susie Selby, Winemaker/Owner
Fins At Sharky’s JAX VINEYARDS
Dan Parrott, Proprietor/Winemaker
Harry’s Continental Kitchens
JEAN-MARC BROCARD
Director of Export Sales
Kolucan
ALEXANDER VALLEY VINEYARDS
Harry Wetzel IV, Owner
Marcel DW
CHATEAUX LA DOMINQUE
Charline Nicot Manager for France & Export
Mattison’s Forty-One
ROMBAUER VINEYARDS
Andrew Holloway, Winemaker
Peter Rothstein
toric Asolo Theater in 2024. An addition was Greg Emetaz’s projection design creating the world of war.
“All is Calm” begins in England, following the young recruits as they head off to fight for king and country, confident that they’ll be home for Christmas. (In fact, the war lasted until 1918.) German and French isn’t heard until the action moves to the Continent.
The 65-minute show has no intermission. It is divided into segments with distinct shifts in mood. After “The Optimistic Departure,” we face “The Grim Reality.” Then comes “Christmas” and the joy of “The Truce,” when the troops turn “No Man’s Land into Everyman’s Land,” as one character notes.
The happiness is short-lived, though. It ends with “The Return to Battle,” followed by an epilogue featuring three grainy images of soldiers involved in the truce, the only ones in existence, says Rothstein.
“All is Calm” is available for licensing and has been taken up with gusto by Shakespeare and opera companies across the country. Among them are Hudson Valley Shakespeare, San Diego Opera and Orlando Opera, which is producing the show this season.
“The story resonates with audiences,” Rothstein says. “One time, a man brought a pickelhelm, the spiked metal helmet German soldiers wore during World War I, to one of the shows.”
Like the other show Rothstein is directing at Asolo Rep this season, the 9/11 tale “Come From Away,” “All is Calm” shines a light on humanity in the darkest of times, Rothstein says.
When Rothstein and his associates first performed “All Is Calm” in 2007, they thought it would consist of three radio shows. Eighteen years later, it’s becoming a holiday tradition in Sarasota.
MICHAEL’S ON EAST BALLROOM
Mean Deans Local Kitchen
SCHWEIGER VINEYARDS
Andy Schweiger, Winemaker
Michael’s On East
ZD WINES
John Buckey, Principal
Michael’s On East
CHAPPELLET WINERY
Dominic & Amy Chappellet,Vintners
Miguels
BABYLONSTOREN
Charl Coetzee, Cellar Master
Mimi
CHÂTEAUX PÉDESCLAUX ET LAFON-ROCHET
Félix Pariente-Lorenzetti, President
Pop’s Sunset Grill
HAMILTON RUSSELL OREGON & BJORNSON VINEYARD
Ms. Olive Hamilton Russell
Owner & Winemaker
Elle Holcomb, National Manager
Sage
RIISE
Juan Mercado,Winemaker
Tzeva
CASTELLO BANFI
Dino Altomare, Education Director
The Waterfront Restaurant
SUZOR WINES
Greg McClellan,Winemaker
A signature highlight of the Festival, the Forks & Corks University Master Classes offer a 90-minute guided, interactive tasting led by acclaimed winemakers and industry professionals, featuring 12 expertly selected wines and a pairing plate of light bites designed to complement the featured varietals.
10:00–11:30 AM
TRAILBLAZERS & INNOVATORS
Winemakers pushing boundaries and redefining tradition through pioneering varietals and bold blends.
$69 per person + tax & fees
1:00–2:30 PM
GLOBAL TERROIR & COOL CLIMATE EXPRESSIONS
A world tour of cool-climate winemaking, from Oregon to South Africa to Tuscany. $69 per person + tax & fees
Nothin’ goin’ on but the ‘Rent’
Director Brian Finnerty talks about the Sarasota Players’ reinvention of Jonathan Larson’s musical.
MARTY FUGATE
CONTRIBUTOR
J onathan Larson’s musical “Rent” (1996) is a post-punk, neobohemian time capsule of the East Village alternative scene in the late 1980s and early ’90s. Larson blithely swiped plot and characters from Puccini’s “La Boheme.” He shifted centuries and swapped New York City for Paris and substituted AIDS for tuberculosis. A crazy idea, but it worked — and countless theatergoers fell in love with the show. Brian Finnerty is one of them. He’s directing Sarasota Players’ current production. In the following talk, he shares why “Rent” is as timely as ever in 2025.
When did you first encounter this musical?
I saw it on Broadway. I was young, so I didn’t see the original cast. But I fell in love with it. After that, I saw the movie, and multiple college and community productions.
“Rent” made a huge impact on me. It put the spotlight on marginalized outsiders. The lead wasn’t a straight white man: Angel’s a queer, nonbinary Latina. And there were Black leads, lesbian leads, men kissing on stage. You’d never see that on “Friends.” That’s what I loved about “Rent.” And still do.
Have you directed “Rent” before now?
No, but I’ve always wanted to.
“Rent” is loud, rebellious and fun, and the music is fantastic. It’s a great musical. But I wouldn’t call it perfect. I fell in love with it as a kid. As an adult, I see flaws in the writing. I think, “Oh, this could be cut,” or “Maybe this song shouldn’t be 12 minutes long?”
How do you explain the flaws? What went wrong? A fatal heart attack. Larson passed
IF YOU GO ‘RENT’
When: Through Dec. 14
Where: The Sarasota Players, 3501 S. Tamiami Trail, Suite 1130
Tickets: $15-$35
Info: Visit ThePlayers.org.
before the Broadway opening. “Rent” was still a work in progress. But the show had to go on, so it skipped much of the workshop stage. The development process was cut short.
Like taking a cake out of the oven too soon. “Rent” wasn’t done yet. That’s why it’s flawed. Sure. But the flaws are part of its magic. As a director, it’s fun to work with an imperfect show. “Rent” is raw and different, not polished and formulaic. That makes it feel real. That’s why it still feels topical today. Are the characters all artists?
Most of them. Mark’s a filmmaker. Roger’s a songwriter. Maureen is a performance artist doing protest art — she’s wilder. Joanne isn’t an artist — she’s a lawyer and Maureen’s love interest. She’s strait-laced at first, but blends in with the group. Collins is a professor. Benny’s the landlord. He wants his penniless, starving-artist friends to pay the rent. That makes him the bad guy. What’s your take on the music?
I love it. And we’re doing it right. That means a live band pumping through the sound system. No recordings. Real musicians — and that’s what “Rent” deserves. I really love this musical. But Larson’s score is a wild beast. It’s very, very tricky to play. Not just the raw energy — it’s technically demanding. The rhythms bounce around like
Sondheim; key signatures change three times in a song. You can’t just “feel” it — you’ve got to be a musician to keep up. Luckily, our cast is full of great musicians and vocalists. William Coleman’s our music director and he’s wonderful. And the band’s outstanding.
Our percussionist is incredible. He keeps the band together — and that’s critical. The score is a marathon. If anybody misses a beat, the whole thing unravels. But having killer band isn’t enough. “Rent” isn’t a concert — it’s a tapestry of music and story. That’s a higher level of difficulty. It’s scary — but that’s why it’s good.
You’re not just directing “Rent,” you’re the set designer. The Players’ space is pretty intimate. You can’t go big like Broadway. What do you do? We make you feel like you’re in this world. Our production design
is gritty and realistic. Every detail matters — props, costumes, labels. We blew the roof off with posters and eviction notices on the walls. Our staging is theater-in-theround. Characters come in and out of the audience, and storm in from all sides. So, there’s no fourth wall, no separation, no place to hide. I tell the cast: “Invite people in, let them be part of the story. Don’t look above them like in a proscenium house. Our furthest seat is five rows back. The audience can see every facial expression. You’re exposed. Just go with it.”
A critic once described the “Rent” ensemble as a “living organism.” That sounds like a “Star Trek” episode. Seriously, how’d you get the cast on the same page? I got really lucky. About half the cast never performed with us before. But from the first rehearsal,
SPONSORS:
they instantly connected. And they’ve all been supportive and kind. That reads on stage. The entire cast starts the show together. Their lives fall apart in the second act. But they stay together and support each other through heavy stuff. Is “Rent” still relevant in 2025? Definitely. It holds up a funhouse mirror to the world of today. Insiders at the top enjoy the good life. “Rent” is the story of bohemian outsiders at the bottom. They’re just too different, so they’re marginalized, excluded and erased. That’s very relatable in a time when many voices are being silenced. What should you do when that happens? “Rent” says outsiders need to come together. Community and chosen family are very big themes in the show. It’s all about building a community of people who support and accept each other. That’s timeless.
Image courtesy of Amanda Iglesias
Struggling artists on New York’s Lower East Side hope for better days in Sarasota Players’ production of Jonathan Larson’s “Rent.”
THURSDAY
‘LUCKY STIFF’
7 p.m. at Florida Studio Theatre’s Gompertz Theatre, 1265 First St. $39-$59
Visit FloridaStudioTheatre.org.
Based on the humorous murder mystery, “The Man Who Broke the Bank at Monte Carlo,” Florida Studio Theatre’s “Lucky Stiff” tells the story of an English shoe salesman whose $6 million inheritance depends on passing off a recently embalmed body as his live uncle. What could go wrong? Runs through Jan. 4.
‘THE BOOK OF MORMON’
7 p.m. at Van Wezel Performing Arts Hall, 777 N. Tamiami Trail $85 and up Visit VanWezel.org.
The hit Broadway show from the creators of “South Park” follows two earnest missionaries as they try to convert a village in Africa to the Church of the Latter-day Saints. It’s a theatrical sensation, but not everyone will appreciate the comic sendup of Joseph Smith’s spiritual descendants. Runs through Dec. 14.
‘A TAILOR NEAR ME’
7 p.m. at Florida Studio Theatre’s Keating Theatre, 1241 N. Palm Ave. $39-$59 Visit FloridaStudioTheatre.org.
What begins as a trip to a neighborhood tailor turns into a journey of self-discovery and friendship in this Florida Studio Theatre mainstage play starring David Cantor and Paul Nicholas. Kate Alexander directs the Southeastern premiere of David Tucker’s “A Tailor Near Me,” which runs through Feb. 15, 2026.
‘OH, WHAT FUN!’
7:30 p.m. at Holley Hall, 709 N. Tamiami Trail $48 and up Visit SarasotaOrchestra.org.
Guest conductor Chelsea Gallo leads the Sarasota Orchestra in a holiday-themed concert in its casual Great Escapes series. The program includes seasonal crowd-
THIS WEEK
pleasers such as “Festive Sounds of Hanukkah,” “The Twelve Days of Christmas” with a local twist and movie music from “It’s a Wonderful Life” and “The Polar Express.” Runs through Dec. 14.
‘A CHRISTMAS CAROL’
7:30 p.m. at Venice Theatre, 140 Tampa Ave. W., Venice $18-$30 Visit VeniceTheatre.org.
The Venice Theatre’s production of “A Christmas Carol” celebrates its 25th anniversary this year as veteran Brad Wages returns as Scrooge and newcomers take the stage for the first time. If you’re feeling as generous as Scrooge after his ghostly visitations, consider making a donation to the Venice Theatre, which is still rebuilding after its mainstage Jervey Theatre was damaged by Hurricane Ian in 2022. Runs through Dec. 21.
‘RECIPE FOR THE HOLIDAY’
7:30 p.m. at Tree Fort Productions, Crossings at Siesta Key mall, 3501 S. Tamiami Trail
$25
Visit TreeFortProductionsProjects. com.
Don’t miss Tree Fort Productions founder Katherine Michelle Tanner’s Yuletide show, “Recipe for the Holiday,” which follows a radio show shrink dispensing much-needed advice during a stressful time of year. Runs through Dec. 14.
‘FEELING GOOD’
7:30 p.m. at Florida Studio Theatre’s Court Cabaret, 1265 First St. $18-$42 Visit FloridaStudioTheatre.org.
“Feeling Good” pays tribute to contemporary crooners like Michael Bublé and Bette Midler. A dynamic trio — Haley K. Clay, Andrew Leggieri and Russell Mernagh — makes its Florida Studio Theatre debut with such swingin’ hits as “Come Fly With Me,” “It Had to Be You” and “Me and Mrs. Jones.” Runs through Feb. 8.
DON’T MISS
‘COME FROM AWAY’
When the U.S. shut down its airspace after the 9/11 attacks, thousands of inbound travelers wound up stranded in the small town of Gander, Canada. Newfoundland locals dubbed the travelers “Come From Aways” — and welcomed them with open arms. With its driving Celtic-rock rhythms, quicksilver ensemble cast and heart-melting humor, this production by Asolo Repertory Theatre celebrates the power of humanity’s best instincts in the worst of times. Directed by Peter Rothstein. Runs through Dec. 28.
IF YOU GO When: 7:30 p.m. Thursday, Dec. 11
Where: FSU Center for the Performing Arts, 5555 N. Tamiami Trail Tickets: $35 and up Info: Visit AsoloRep.org.
‘LANGSTON HUGHES’ BLACK NATIVITY’
7:30 p.m. at Westcoast Black Theatre Troupe, 1012 N. Orange Ave. $54 adults; $24 students 25 and younger and active military Visit WestcoastBlackTheatre.org.
Westcoast Black Theatre Troupe offers a Nativity story that blends gospel, blues, spiritual and Christmas music with the poetry of Langston Hughes and the creativity of Nate Jacobs’ theater company dedicated to African American stories. This is not just another Christmas show. Runs through Dec. 21.
‘THREE PIANOS’
7:30 p.m. at FST’s Gompertz Theatre, 1265 First St. $18-$42
Visit FloridaStudioTheatre.org.
Under Producing Artistic Director Richard Hopkins, Florida Studio Theatre has grown into a downtown entertainment campus with something for everyone. FST’s
winter cabaret show “Three Pianos” is an ode to superstars of the keyboard such as Ray Charles, Elton John and Alicia Keys. These mavericks didn’t tinkle the ivories; they tore up the rulebook. Runs through April 5.
FRIDAY
‘WONDERLAND: BELIEVE’
7 p.m. at LECOM Big Top at UTC, 195 University Town Center Drive
$35-$125
Visit WonderlandCircus.com.
Death-defying aerialist Nik Wallenda returns to UTC with his Wonderland Circus, featuring a new tent with plush seats, cupholders and lots of room between rows. Joining Wallenda will be his faithful sidekicks — daredevil clown Johnny Rockett and master of ceremonies
Ty McFarlan — as well as new family friendly circus acts and immersive video to help deliver the message: “Believe!” Runs through Jan. 4.
‘DINGBAT’S WINNIE THE POOH’
7:30 p.m. at Dingbat Theatre Project, 7288 S. Tamiami Trail
$5-$50 Visit DingbatTheatre.org.
Dingbat Theatre Project is taking the children’s classic by A.A. Milne and putting their own twist on it. Runs through Dec. 20.
SATURDAY
‘DECK THE HALLS’
10 a.m. at FST’s Keating Theatre, 1241 N. Palm Ave.
$12
Visit FloridaStudioTheatre.org.
Celebrate the holidays in Florida style with palm trees decorated with twinkling lights, sand snowmen and Santa on a surfboard. The family friendly show returns this year with new sketches and songs. Weekends through Dec. 24.
‘A CHRISTMAS CAROL: THE CONCERT’
3 p.m. at Manatee High School Davis Performing Arts Center, 902 33rd St. Court W., Bradenton
$35-$65
Visit ThePopsOrchestra.org.
The Pops Orchestra, celebrating its 50th year as a community orchestra, joins forces with the Manatee Players and the Manatee High School Chorus for “A Christmas Carol, the Concert.” Based on the Dickens holiday classic, this program incorporates new songs and dances created for the 2013 Emmy Award-nominated PBS broadcast. Continues Dec. 14 at Riverview Performing Arts Center in Sarasota and wraps Dec. 16 at Manatee High School.
SUNDAY
‘SOMETIMES IN WINTER’
3 p.m. at Northminster Presbyterian Church, 3131 61st St.
$5 Visit SuncoastConcertBand.org.
Like its affiliate music group, the Suncoast Concert Band, the Suncoast Jazz Ambassadors makes its home at Northminster Presbyterian Church. Now in its 39th year, the jazz ensemble is led by Dave DeWitt, a veteran educator and performer from the Buffalo, New York, area. This program, “Sometimes
Courtesy image
Superstar soprano Sarah Brightman brings her holiday tour to the Van Wezel Performing Arts Hall on Monday, Dec. 15.
OUR PICK
JAZZ AT TWO — A TRIBUTE TO SINATRA
WITH JOHN RINELL TRIO
Start spreading the news: It’s Ol’ Blue Eyes’ birthday. Francis Albert Sinatra was born Dec. 12, 1915, in Hoboken, New Jersey. Sponsored by the Jazz Club of Sarasota, this tribute to the Chairman of the Board is sure to fly you to the moon with Sinatra favorites played by Hoboken native John Rinell, who is a Sinatralogist.
IF YOU GO
When: 2 p.m. Friday, Dec. 12
Where: Unitarian Universalists of Sarasota
Tickets: $15-$20
Info: Visit JazzClubSarasota.org.
in Winter,” is a meditation on memory, loss and renewal. Please call 941-907-4123 to reserve a ticket and be sure to dial the right number.
MONDAY
‘ANCIENT ART FROM CYPRUS AND THE MEDITERRANEAN’
10 a.m. at The John and Mable Ringling Art Museum, 5401 Bay Shore Road Free with $30 admission; Mondays free Visit Ringling.org.
In 1928, circus magnate John Ringling moved beyond collecting Baroque paintings with a major acquisition of more than 2,000 pieces of Cypriot art at the Anderson Galleries in New York, where the Metropolitan Museum was selling part of its ancient art collection. For the first time, Ringling’s treasures
have a permanent home in Gallery 12 after a decadelong project.
STRINGS CON BRIO:
HOLIDAY CONCERT
6:30 p.m. at Southside Baptist Church, 2035 Magnolia St. $10 Visit StringsConBrio.org.
Strings Con Brio is one of the less-heralded gems of the Sarasota arts scene. Founded in 2015 by Monica Sirocchi, now executive director and a violinist in the ensemble, Strings Con Brio is led by conductor and Artistic Director Kenneth Bowermeister, former music director and conductor of The Venice Symphony and The Pops Orchestra.
SARAH BRIGHTMAN: A WINTER
SYMPHONY
7 p.m. at Van Wezel Performing Arts Hall, 777 N. Tamiami Trail $76 and up Visit VanWezel.org.
Superstar soprano Sarah Brightman, a favorite with Sarasota audiences, returns to the Van Wezel with a holiday show featuring a live orchestra, choir and special guests. Brightman first achieved fame in Andrew Lloyd Webber’s musical, “Cats,” in her West End debut. After retiring from acting, she became a classical crossover artist and is the world’s biggest-selling soprano.
TUESDAY
MICHAEL FEINSTEIN’S ‘COMING HOME: THE HOLIDAY CELEBRATION’
7 p.m. at Van Wezel Performing Arts Hall, 777 N. Tamiami Trail $56 and up Visit VanWezel.org.
Broadway performer Michael Feinstein has emerged as the guardian of the Great American Songbook. The multiplatinumselling artist is the founder of the Great American Songbook Foundation in Carmel, Indiana. On Feinstein’s playlist for his holiday tour are such chestnuts as “Have Yourself a Merry Little Christmas,” “Hanukkah in Santa Monica” and “White Christmas.”
WEDNESDAY
‘ART DECO: THE GOLDEN AGE OF ILLUSTRATION’
10 a.m. at the Sarasota Art Museum, 1001 S. Tamiami Trail Free for museum members; $20 Visit SarasotaArtMuseum.org.
The Sarasota Art Museum celebrates the 100th anniversary of the expo that kicked off the Art Deco movement. More than 100 eyecatching posters from the Crouse Collection, as well as industrial furniture, home furnishings and other objects on loan from Wilsonian-Florida International University are on display. Runs through March 29, 2026.
‘WHEEL OF FORTUNE LIVE!’
7 p.m. at Van Wezel Performing Arts Hall, 777 N. Tamiami Trail $43 and up Visit VanWezel.org.
Get the thrill of participating in a TV game show when “Wheel of Fortune Live!” comes to the Van Wezel. Contestants from the audience step into a replica of the set from the long-running TV show. Audience members compete for prizes, including trips to Paris or Hawaii and up to $10,000 cash.
SERAPHIC FIRE
7:30 p.m. at Glenridge Performing Arts Center, 7333 Scotland Way
$40 Visit GPACTix.com.
Led by founder Patrick Dupre Quigley, Miami-based Seraphic Fire, takes its name from a line in an 18thcentury hymn by William Billings, “Invocation,” which calls upon the divine to “fill us with Seraphic Fire.” The Grammy-nominated vocal ensemble will perform works by contemporary composers as well as traditional carols.
Celebrate the holidays, Florida-style, with “Deck the Halls,” playing weekends at Florida Studio Theatre through Dec. 24.
Image courtesy of Carol LoRicco
John Rinell
Image courtesy of Sorcha Augustine
A MAESTRO PLANS HIS FINAL BOW
Sarasota Opera Artistic Director Victor DeRenzi will step down in May after 44 years at the helm .
ARTS + ENTERTAINMENT EDITOR
ust don’t call it retirement.
JSarasota Opera Artistic Director Victor DeRenzi is stepping down in May 2026 after 44 years in the job, but he isn’t retiring. It is not yet known what DeRenzi will do after he takes his final bow at the Sarasota Opera, but it doesn’t include fading into the Sarasota sunset.
On Dec. 2, DeRenzi, who built a small-town opera company into a world-class institution, announced he would be leaving at the end of the Opera’s 67th season.
Sarasota Opera General Director Richard Russell will succeed DeRenzi, who will add artistic director to his current position beginning in June 2026. Russell served as executive director from 2012 to 2021 and general director since 2021.
Before he goes, DeRenzi will be conducting all four productions in the Sarasota Opera’s 2026 Winter Festival, which runs from Feb. 14-March 29.
A native of Staten Island, New York, DeRenzi joined the Sarasota Opera in 1982, its last season performing at the Historic Asolo Theater in The Ringling before moving to its current downtown building, which is celebrating its 100th anniversary in 2026.
Under DeRenzi’s leadership, the Sarasota Opera became the only company in the world to perform all of Guiseppe Verdi’s works. The Opera began its 28-year Verdi voyage in 1989 with “Rigoletto” and completed the Verdi Cycle in 2016 with “Aida” and “The Battle of Legnano.”
In honor of the achievement, the city of Sarasota temporarily renamed a portion of Pineapple Avenue in front of the Opera House Verdi Place.
“In 1982, I was hired by Sarasota Opera to give artistic direction to
the company and its future. I am proud that my belief in opera and my unwillingness to be swayed from it has brought the company to where it is today,” DeRenzi said in a statement. At his side every step of the way has been his wife, Stephanie Sundine, a former opera singer who is a stage manager at the Sarasota Opera. DeRenzi met his future wife at an audition for Verdi’s “Falstaff” at New York Lyric Opera in 1977.
DeRenzi has been honored many times throughout his career, but one of the biggest awards came from the government of Italy, which bestowed him with the title of Cavaliere dell’ordine della Stella d’Italia (Knight of the Order of the Star of Italy) in 2016.
For the complete version of this story, visit YourObserver.com.
File images
In 2016, the city of Sarasota named part of Pineapple Avenue Verdi Place in honor of the Sarasota Opera’s completion of the Verdi Cycle, all conducted by Artistic Director Victor DeRenzi.
Image courtesy of Giovanni Lunardi
Sarasota Opera Artistic Director Victor DeRenzi sits on the set of an opera in 2012.
Victor DeRenzi with Sarasota Opera apprentice artists
DeRenzi and Opera sponsor Annette Lloyd in 2018.
DeRenzi and Richard Russell, general director, at a 2024 black tie event.
Artistic Director Victor DeRenzi and his wife, Stephanie Sundine, in 2021.
DeRenzi conducting in 1989.
Sarasota Orchestra gives the audience a close encounter
Musicians weren’t just on stage; they were in the corners of the Van Wezel for Respighi’s ‘Pines of Rome.’
GAYLE
The Sarasota Orchestra’s new music director, Giancarlo Guerrero, is teaching us never to expect the expected. In the Dec. 6 Masterworks concert “Close Encounters,” there was much to surprise us.
The soloist for the program was guitarist Pablo Sáinz-Villegas, said to be the Andre Segovia of his generation. He certainly had the wellmastered technique and expressive sensitivity to charm us with Joaquin Rodrigo’s “Concierto de Aranjuez.”
It’s a well-loved and well-worn linchpin of the guitar repertoire, and Sainz-Villegas captured it exquisitely.
Infinitely Spanish in every way — from flamenco rhythms to Moorish-tinged free solo lines and cadenzas — the piece’s detail received close attention from the orchestra and Guerrero, displaying a strong partnership.
The audience clearly appreciated the concerto, but it was the encore of “Gran Jota” by Francisco Tárrega in which Sáinz-Villegas revealed a technical virtuosity and flair that drew a roar from the crowd.
Opening the concert with Paul Dukas’ “L’apprenti sorcier” (“The Sorcerer’s Apprentice”), Guerrero marshaled the considerable talents of this orchestra in the first of three strong performances in the program.
We all know the apprentice from the Disney movie “Fantasia” and could imagine Mickey and the enchanted broom(s), but the immediacy and well-defined colors in live performance was far more impressive.
otherworldly sounds, both unsettling and scary, and the lush tonal strains of the orchestra in thrall of one of those juicy Williams melodies. This music pulsed and breathed with amazing vibrance to which, beyond the score, I must credit whatever is happening between Guerrero and the Sarasota Orchestra.
But wait, there is more. Ottorino Respighi’s famed “Pines of Rome” served as the finale. The score is always a sure winner with a blowout ending. Through four separate scenes, the orchestra splashed out in joyous color for the Villa Borghese and leaned on lower voices, soft strings and an off-stage trumpet for the Catacombs.
The gardens on the Gianicolo hill came alive with various wind and string voices that created a tranquil scene. Cheers to the solo clarinet and the always-welcome nightingale song from Respighi’s own recording.
Every member of the orchestra excelled here, creating a magical fabric of sound. Special mention is reserved for the bassoons, including the contrabassoon and the percussion section.
The same strengths were abundant in their performance of the excerpts from John Williams’ film score for “Close Encounters of the Third Kind.” Taken out of the visual context, this music stood alone as a compelling tone poem.
There was a clear conversation happening in the juxtaposition of
At last, we reached the Pines of the Appian Way, where the orchestra created the illusion of a far-away Roman legion marching home. Every note was in the right place. The results were just what we might expect from this orchestra.
And then, extra brass players appeared in the back of the audience seating and created an impressive antiphonal effect. It’s not an uncommon use of off-stage brass in the finale, but we’ve not seen this attempted before in the Van Wezel Performing Arts Hall.
It surprised and delighted the audience, creating a very effective climax and truly close encounter with the Sarasota Orchestra. Again, the audience roared its approval.
Courtesy image
The audience roared its approval when Spanish guitarist Pablo Sáinz-Villegas delivered an encore performance on the Sarasota Orchestra’s Masterworks concert “Close Encounters.”
THURSDAY, DECEMBER 11, 2025
WONDER GALA
Friday, Dec. 5, at The Ora | Benefiting Florida Center for Early Childhood
As advertised, Dec. 5 was a night full of wonder that brought 266 perfectly coiffed guests out to The Ora for a night of stories celebrating hope and resilience to support The Florida Center for Early Childhood at its second annual Wonder Gala.
A “wonder wall” served as a backdrop to the event. Featuring photos and stories of families whose lives have been impacted by the Florida Center’s programs, the wall left hardly a dry eye in the ballroom.
Vocalist Allison Nash performed for attendees, who also enjoyed a silent auction and showcased their generosity during a paddle raise.
Dance enthusiasts got to their feet to the sounds of the Soul Sensations.
With a steadfast commitment to the well-being of the region’s youngest children, the gala raises funds to support The Florida Center for Early Childhood’s mission to provide early education, developmental therapies, mental health services and overall support for families who are navigating challenges.
— JANET COMBS
Fayth and Ira Jenkins
Britnie Sutika, CEO Kristie Skoglund, Kimberly Treharne, Paola Pinillos and Kate Reed
LaShawn Frost and Sharon Ross-Donaldson
Photos by Janet Combs Nancy Holmes and Anne Parsons peruse the silent auction tables.
Louie Bloom and Emily Reynaud
David Plotkin and Steve Cavanaugh
Elana Rubinfeld, Marc Rosenbaum, Mirna Ruberte and Mirna Perez
Diana and Kevin Chapman
Roy and Robin Grossman, Anne Serdula, Stephania Feltz and Tony Serdula
Tom and Sherry Koski rock their smiles in support of early childhood education.
Greg Rinehart gives his wife, Pat, full credit for making sure he looks good for a Gatsby-themed luncheon.
Jennifer Kessler, Terri Griffith, Karen Sheppard, Bill Buckingham, Arlene Dodd and Joyce McCaffrey
Michael Santo shopped a little Goodwill, a little Amazon and completed his attire with Great Gatsby spats.
Photos by Janet Combs
Elana Carnes and Tyler Cassell with the Michael’s On East Christmas tree. Donna Keith, Libbie Glembocki, Elizabeth Aversa, Rae Frankel, Bob Heck and Karen Iezzi
Sarasota Opera Guild Vice President Ina Goldberg and President Sherry Wheeler
Photos by Lori Sax
Co-Chair Kara Wootson, Planned
Philanthropy Lauren Stroman, co-Chairs Lissa Murphy, LaVerne Green and Roz Painter-Goffi Sarah
Monday’s Child is Fair of Face
For many audiences today, the nursery rhyme Monday’s Child is most familiar through the line “Wednesday’s Child is full of woe,” revived in popular culture by the hit Netflix series Wednesday. But for lovers of ballet-especially the inventive works of Sir Frederick Ashton-the centuries-old poem evokes something quite different: Ashton’s vibrant and esoteric Jazz Calendar
Opening December 19 at the Sarasota Opera House, The Sarasota Ballet’s Program 3 - Masters of Movement places Jazz Calendar alongside George Balanchine’s sparkling Divertimento No. 15 and the Company Premiere of his Mozartiana. Together the program showcases two of the 20th centu-
ry’s choreographic giants whose artistry continues to impact and influence the audiences and dancers of today.
Ensuring that Jazz Calendar comes to life with all of Ashton’s signature wit, musicality, and beautiful choreography is Assistant Director Margaret Barbieri. “The ballet is just great fun, for both the dancers and audiences alike!” enthused Barbieri.
“It’s also so unusual and quirky! Not just because it’s set to the expressive jazz music of Sir Richard Rodney Bennett, but also because of Derek Jarman’s bold, colorful, and eclectic designs.” Jarman, a British filmmaker, was at the time just a young painter - and with little information outside of a recording of
the music created a series of designs that embodied the spirit of the swinging 60’s in London and created a distinctive aesthetic that remains strikingly fresh.
While not performed in full, in June of 2024 at London’s Royal Opera House The Sarasota Ballet captivated audiences with the Friday’s Child pas de deux from Jazz Calendar. Ashton originally created the duet for Rudolf Nureyev and Dame Antoinette Sibley - dance critic Alexander Simpkins wrote of Sarasota’s performance “the pas de deux that unfolded to Richard Rodney Bennett’s bluesy score was a mesmerizing and seamless blend of dance styles: credit to the dancers and Ashton for bringing it off with such finesse.”
As new and returning dancers experience the jazzy and somewhat psychedelic ballet, ever present is the Company’s dedication to presenting Ashton’s works with authenticity and heart.
Audiences can experience this lively, colorful gem December 19 - 20 at the Sarasota Opera House. Tickets start at $35 and are available at www.SarasotaBallet.org
Featuring Divertimento No. 15, Mozartiana, and Jazz Calendar
PERFORMANCES: December 19 at 7:30pm, December 20 at 2:00pm and 7:30pm
LOCATION: Sarasota Opera House, located at 61 N Pineapple Ave, Sarasota, FL 34236
THE SARASOTA BALLET PERFORMS JAZZ CALENDAR
Photo by Foteini Christofilopoulou