The Austin Opera Guild will hold “Serenata,” its annual wine dinner and auction, at 6 p.m. on Saturday, February 21, at the Four Seasons Hotel. This is their main fundraising event for Austin Opera and each year it becomes more and more successful. This four-course, gourmet food and wine extravaganza has wines hand-selected by Twin Liquors.

As many of you know, wine is something I have enjoyed as a novice collector and an avid imbiber, perhaps because wine and Opera seem to be joined at the hip! Not only are there references to wine, but plots revolve around wine. Not going too far afield, some notable examples come to mind.

In Tosca, Scarpia refers to “vin di Spagna.” We don’t know for sure, but because of his power and bravado, it had to have been a big red, probably a Rojas or a Tempranillo. Another example would be from L’Elisir d’amore. Doctor Dulcamara’s famous “elixir” is actually Bordeaux. No matter where they are from, almost all red Bordeaux is a blended wine made from two or more grapes. Red wine grape varieties allowed in Bordeaux, in order of importance, are: Cabernet Sauvignon, Merlot, Cabernet Franc, Malbec and Petit Verdot. Bordeaux also produces considerable quantities of white wine, but in opera I feel they always drink reds.

Wine is also sung about in Otello by Iago, Alfio in Cavalleria, and who knows what Mephistopheles is drinking in Faust…but it was probably something someone sold at a high price.

Two examples in the German rep come to mind immediately. In Rosenkavalier Tokaji is referenced. This sweet wine is primarily from Hungary and Slovakia. There are different levels of sweetness, but in general I have only drunk these wines as desert wines. In Elektra, Aegisth, the paramour of Clytemnestra, is drunk the entire time on stage. One could project that it is from drinking Retsina, the Greek wine, which is available in both a white and rose. Its specific character and flavor comes from the practice of sealing wine vessels, particularly amphorae, with Aleppo Pine resin in ancient times. Pine resin helped keep air out, while at the same time infusing the wine with resin aroma. The Romans began to use barrels in the 3rd century AD, removing any oenological necessity for resin, but the flavor itself was so popular that the style is still widespread today.

One cannot forget Champagne. The infamous “Libiamo” ensemble in La Traviata and the big party scene in Die Fledermaus could not happen without glasses of Champagne being consumed by all.

Likewise our evening at “Serenata” will start with Champagne before moving on to both a silent and live auction, operatic arias sung by internationally renowned mezzo-soprano Ginger Costa-Jackson, and then dancing to “Reunion,” a high energy multi-pieced band—which includes one of our board members on trumpet (Stevie J).

KMFA is our media partner for this event, and Austin Opera and I thank them for all they do for us and the arts in Austin. Tickets are on sale starting at $300 and can be purchased by calling 512-610-7668 or at austinopera.org/event/serenata. Some sponsorship levels are still available. Please join us in what will be a fantastic evening.

Maestro Richard Buckley is Artistic Director and Principal Conductor of Austin Opera. Maestro Buckley has been heralded by critics across the world for his dynamic contributions and passionate conducting style in both the orchestral and operatic genres. He is in his 11th season with the Austin Opera. Learn more at austinopera.org.