The Florida Grand Opera (FGO) is one of the Carnival Center for the Performing Arts' resident companies, and for the debut of Aida, the first opera to be performed at the new center, nothing
but a grand-scale celebration would do. Ted Johnson, FGO's special events director, didn't want a typical gala schedule since many of the 2,400 invitees were there not only to be the first to see Aida, but also to see the breathtaking details of the Ziff Ballet Opera House, now one of the largest in the country."Since Aida is based in Egypt, I wanted to transport guests there without compromising the look of the opera house with over-the-top themed decor," Johnson said. "I wanted to build them up gradually." And speaking of building, Johnson began planning the gala this past May—before the center was even nearly finished. "I didn't know what I was dealing with in terms of the space," he said. "I went on many hard hat tours and vendor meetings."
The decadent journey began with a red carpet arrival with interviews and flashing cameras more often seen at the Oscars. Jeff Good of Daniel Events built a replica of the Sphinx to add some Egyptian flair. Costumed performers from Parafernalia Productions mingled with guests before signaling them to be seated for the performance. Guests were in for a long night, but Johnson had prepared an evening of surprises to keep everyone energized throughout the four-act opera.
For the first intermission, guests mingled inside the patrons' lounges, where amber lighting and stone-like pedestals marked with hieroglyphics and topped with arrangements bursting with flowers gave additional clues of what was to come. When it was time for the second intermission inside the Carlin Banquet Room, guests encountered more pedestals and florals with the addition of gobos of well-known Egyptian images such as King Tutankhamen, Cleopatra, hieroglyphics, and pyramids. Waiters lined the entrance of the banquet room with trays of Blue Nile martinis. Restaurant Associates passed Mediterranean-inspired hors d'oeuvres such as mini falafel with yogurt dip, herb-crusted lamb on pita points, and roasted chicken with black olive tapenade on a crostini. The room led to a terrace overlooking the space between the center and the historic Sears Tower, where a pyramid was built (albeit on a much smaller scale) and more gobos were projected onto the tower wall.
By the final encore around 11:30 PM, the other production—a gala for 350 guests—was about to begin. A select 250 patrons had the opportunity to be photographed with FGO performers with the stage as their backdrop. Johnson had the task of getting them all to two separate dining areas (the Peacock Rehearsal Studio and the Studio Theater) in time for the gala at 12:15 AM. Guests were ushered through a themed hallway with ornate rugs, pedestals, sheer draping, and an Egyptian beauty leading the way to the gala.
Both areas featured gold tones and warm glows. Black draping hung high around the room allowed Southern Audio Visual to project the gobos seen throughout the night. Daniel Events made 8.5-foot tall towers erupting with faux flames and painted with hieroglyphics that were set around the perimeters of the room. Tables looked opulent with gold damask tablecloths from Over the Top Party Linens and matching gold satin napkins. Gold Chiavari chairs were embellished with gold satin cushions. The focal points of each room were towering centerpieces of all-white roses, hydrangeas, orchids, and calla lilies interspersed with gold bear grass and pods. Small vases filled with white candles completed the look. With all the shimmering gold accents and reflective lighting, it was as if guests were standing in one of King Tut's treasure-filled chambers.
Bob Heuer, FGO's general director, welcomed everyone and introduced lead cast members Angela Brown (Aida), Arnold Rawls (Radames) and Gregg Baker (Amonasro). Guests could be in two places at once because of 10 ½ - by 14-inch screens Southern Audio Visual set up in the rooms to display a live feed of what was happening in either location throughout the night. Restaurant Associates prepared a three-course meal fit for a king, starting with a salad of parsley, tomato, cucumber, autumn onions, and feta cheese with coriander vinaigrette. The main course was beef tenderloin with a wild mushroom and red wine reduction accompanied by brown rice, Swiss chard, sweet potato mash, baby carrots, and roasted beets. A trio of treats was served for dessert: a rich chocolate ganache; pistachio and honey baklava; and mihallabiya, a rose water milk pudding flown in from Egypt.
Before leaving, guests received a gift to commemorate a night of firsts: a set of four stone coasters of Aida created by local designer Paula Black. As guests trickled out to retrieve their cars around 2 AM, they were awaited by Café Ala Carte. Fittingly, A Night at the Opera by the Marx Brothers played outside in the valet area. The final details brought the curtain down on a once-in-a-lifetime event.
—Vanessa Goyanes
Photos: Al Barg
but a grand-scale celebration would do. Ted Johnson, FGO's special events director, didn't want a typical gala schedule since many of the 2,400 invitees were there not only to be the first to see Aida, but also to see the breathtaking details of the Ziff Ballet Opera House, now one of the largest in the country."Since Aida is based in Egypt, I wanted to transport guests there without compromising the look of the opera house with over-the-top themed decor," Johnson said. "I wanted to build them up gradually." And speaking of building, Johnson began planning the gala this past May—before the center was even nearly finished. "I didn't know what I was dealing with in terms of the space," he said. "I went on many hard hat tours and vendor meetings."
The decadent journey began with a red carpet arrival with interviews and flashing cameras more often seen at the Oscars. Jeff Good of Daniel Events built a replica of the Sphinx to add some Egyptian flair. Costumed performers from Parafernalia Productions mingled with guests before signaling them to be seated for the performance. Guests were in for a long night, but Johnson had prepared an evening of surprises to keep everyone energized throughout the four-act opera.
For the first intermission, guests mingled inside the patrons' lounges, where amber lighting and stone-like pedestals marked with hieroglyphics and topped with arrangements bursting with flowers gave additional clues of what was to come. When it was time for the second intermission inside the Carlin Banquet Room, guests encountered more pedestals and florals with the addition of gobos of well-known Egyptian images such as King Tutankhamen, Cleopatra, hieroglyphics, and pyramids. Waiters lined the entrance of the banquet room with trays of Blue Nile martinis. Restaurant Associates passed Mediterranean-inspired hors d'oeuvres such as mini falafel with yogurt dip, herb-crusted lamb on pita points, and roasted chicken with black olive tapenade on a crostini. The room led to a terrace overlooking the space between the center and the historic Sears Tower, where a pyramid was built (albeit on a much smaller scale) and more gobos were projected onto the tower wall.
By the final encore around 11:30 PM, the other production—a gala for 350 guests—was about to begin. A select 250 patrons had the opportunity to be photographed with FGO performers with the stage as their backdrop. Johnson had the task of getting them all to two separate dining areas (the Peacock Rehearsal Studio and the Studio Theater) in time for the gala at 12:15 AM. Guests were ushered through a themed hallway with ornate rugs, pedestals, sheer draping, and an Egyptian beauty leading the way to the gala.
Both areas featured gold tones and warm glows. Black draping hung high around the room allowed Southern Audio Visual to project the gobos seen throughout the night. Daniel Events made 8.5-foot tall towers erupting with faux flames and painted with hieroglyphics that were set around the perimeters of the room. Tables looked opulent with gold damask tablecloths from Over the Top Party Linens and matching gold satin napkins. Gold Chiavari chairs were embellished with gold satin cushions. The focal points of each room were towering centerpieces of all-white roses, hydrangeas, orchids, and calla lilies interspersed with gold bear grass and pods. Small vases filled with white candles completed the look. With all the shimmering gold accents and reflective lighting, it was as if guests were standing in one of King Tut's treasure-filled chambers.
Bob Heuer, FGO's general director, welcomed everyone and introduced lead cast members Angela Brown (Aida), Arnold Rawls (Radames) and Gregg Baker (Amonasro). Guests could be in two places at once because of 10 ½ - by 14-inch screens Southern Audio Visual set up in the rooms to display a live feed of what was happening in either location throughout the night. Restaurant Associates prepared a three-course meal fit for a king, starting with a salad of parsley, tomato, cucumber, autumn onions, and feta cheese with coriander vinaigrette. The main course was beef tenderloin with a wild mushroom and red wine reduction accompanied by brown rice, Swiss chard, sweet potato mash, baby carrots, and roasted beets. A trio of treats was served for dessert: a rich chocolate ganache; pistachio and honey baklava; and mihallabiya, a rose water milk pudding flown in from Egypt.
Before leaving, guests received a gift to commemorate a night of firsts: a set of four stone coasters of Aida created by local designer Paula Black. As guests trickled out to retrieve their cars around 2 AM, they were awaited by Café Ala Carte. Fittingly, A Night at the Opera by the Marx Brothers played outside in the valet area. The final details brought the curtain down on a once-in-a-lifetime event.
—Vanessa Goyanes
Photos: Al Barg