As Spring approaches, last-minute plans for our annual summer collaboration in Bar Harbor are rapidly taking shape. A last-minute program change has necessitated a strong look at the arc of the vocal program in Maine. Last season, we were pleased to present two vocal recitals which were thematically linked to the opera presentation in the Criterion Theater on Cottage Street. “Gentlemen of Leisure” and “Girls Gone Bad” playfully hinted at the major plot twists of Così fan tutte, and gave our audience an opportunity to experience the diverse musical talents of our opera cast, off-“stage”, and in a more intimate setting. Finding the right recital programs to support the opera last season was almost too serendipitous. While the creative muse for this season’s programs has been a bit more elusive, I believe our revised summer season will provide a number of wonderfully unique and musically memorable experiences for artists and audiences alike.

We are also in the final stretch of planning for our 07-08 season. Completing the puzzle of the coming SEFoS season is daunting as it continues to expand in scope (not only artistically but geographically as well), and it is a challenge to set the remaining pieces in place. The culmination of these efforts, however, will result in our most adventurous year thus far, with an eclectic mix of venues, artists and programs.

Our cast of four remarkable vocalists arrives in Atlanta this Wednesday evening to begin rehearsals for this weekend’s performances of Rossini’s Petit Messe Solennelle, with the Michael O’Neal singers. Those who quickly (and rightfully) associate endless roulades and vocal acrobatics with the trio of Rossini operas that frequent operatic stages (Il Barbiere di Siviglia, La Cenerentola, L’Italiana in Algeri) will be pleasantly surprised by what they will hear next Sunday and Monday evening, first in Roswell and then in Buckhead. The Little Solemn Mass was the composer’s final contribution to his astonishing musical legacy, and serves as a testament to his exceptional understanding of beauty in melody. From the haunting initial choral “Kyrie” and the vibrant “Domine Deus”, to the passionate, powerful “Agnus Dei”, this work is a triumphant achievement.

–RT

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