Words First: Talking Text in Opera

Keturah speaks with director, creator, and Executive Artistic Director of Loose Tea Music Theatre, Alaina Viau, about her creative work and Loose Tea's BIPOC Composer Librettist Development Program.Alaina Viau: https://www.alainaviau.com/Loose Tea Music Theatre: https://looseteamusictheatre.com/Highlands Opera Studio: https://www.highlandsoperastudio.com/

Kate Holland and Susan Werbe were co-librettists on Letters That You Will Not Get, composed by Kirsten Volness, and produced by American Opera Projects.  In this episode, I speak to them both about their collaboration, and what it was like finding women's voices from across the continents and weaving them together.Letters You will Not Get: https://www.aopopera.org/events/2022/letterspremiere

Keturah speaks with General and Artistic director of OnSite Opera, Eric Einhorn, about his relationship to text with site specific work.  They also discuss Rhoda and The Fossil Hunt, which he wrote with John Musto for presentation at the Museum of Natural History.On Site Opera: https://osopera.org/

Keturah speaks with Matthew Jocelyn, the celebrated director, writer, and theater administrator, who wrote the libretto for Brett Dean's Hamlet, originating in Glyndebourne in 2017, and currently playing at the Metropolitan Opera.

Keturah interviews playwright and librettist, Deborah Brevoort, about her early political career in Alaska, her switch to theater, and her more recent work writing opera libretti.  They go in depth on three operas: STEAL A PENCIL FOR ME, that had its stage premiere at Opera Colorado, THE KNOCK, that was presented as a film for the Glimmerglass Festival last year, and QUAMINO'S MAP, which is about to get its premiere at Chicago Opera Theater.Deborah Brevoort: https://www.deborahbrevoort.com/

Keturah interviews director, dramatist, and librettist, Amy Stebbins, about the differences between libretti in the United States and libretti in Europe (particularly new work being written in Germany and Austria).  They discuss the different ways of crafting a piece, why there isn't a lot of cultural exchange of new works, and what to do about it.  They also talk about some of Amy's recent libretti, including a work in progress, entitled The People Out There.Amy Stebbins: https://amystebbins.net/

Keturah interviews playwright and librettist, Catherine Filloux about her many works tackling social justice issues, as well as her work with Olga Neuwirth on the new opera, Orlando.Catherine Filloux: https://www.catherinefilloux.com/Orlando: https://www.ricordi.com/en-US/News/2021/12/Neuwirth-Grawemeyer.aspx

Keturah speaks with singer and librettist, Jennifer Cresswell, and conductor and librettist, Kathleen Kelly about the creation of their new work with Kamala Sankaram, Interstate.  They co-wrote them libretto and performed in the filmed work about a women who writes her former friend after she's been sent to prison.Interstate: https://mnopera.org/season/2021-2022/interstate/Jennifer Cresswell: https://mnopera.org/biography/jennifer-cresswell/Kathleen Kelly: http://www.kathleenkellymusic.com/

Keturah speaks with British Swiss director, translator, and librettist, Max Hoehn, about the development of his new opera laboratory: Opera21, and the state of new opera in Europe.Max Hoehn: https://www.maxhoehn.com/Opera21: https://www.opera-21.org/about/

Keturah speaks with librettist, playwright, and director, Marella Martin Koch, who recently won the inaugural West Edge Opera Aperture commission, alongside her writing partner, composer Nicolas Lell Benavides.  Their work, DOLORES, about worker's rights fighter, Dolores Huerta, will hopefully have its debut at West Edge in 2023.  They discuss the genesis and creation of this opera, as well as her time at the American Opera Initiative at the Kennedy Center, and her deep dive into Jane Austen's SENSE & SENSIBILITY with composer, Aferdian.Marella Martin Koch: https://www.marellamartinkoch.com/aboutNicolas Lell Benavides: https://nicolasbenavides.com/AOI at WNO: https://www.kennedy-center.org/education/opportunities-for-artists/competitions-and-commissions/american-opera-initiative/Aferdian: https://www.broadwayworld.com/article/The-Rally-Cat-Presents-The-Music-Of-Aferdian-Stephens-20180614West Edge Opera's Aperture program: https://www.aperture.westedgeopera.org/

Keturah speaks with librettists: Matt Boresi, Bilal Dardai, Briana Hunter, and Steve Wallace about the currently streaming “Heroes” with the Decameron Opera Coalition.  All, saving Matt, are new librettists, and we talk about the inspiration behind their pieces as well as what it was like to write in this medium.Decameron Opera Coalition: https://www.decameronoperacoalition.org/Hilliard and Boresi: https://www.hilliardandboresi.com/#home-sectionBilal Dardai: https://bilal-dardai-theatre.weebly.com/Briana Hunter: http://www.brianaelysehunter.com/Steve Wallace: https://stevewallacemusic.com/

Keturah speaks with composer and lyricist, Taura Stinson, about her first foray into opera with “On The Edge,” composed by Laura Karpman for Opera Theatre of Saint Louis last season.  They also discuss Taura's life as a songwriter for the film industry, and how to make opera more open and welcoming to everyone.Taura Stinson:  http://www.taurastinson.com/about/Laura Karpman:  http://www.laurakarpman.com/about

Keturah speaks with multi-faceted composer, librettist, and performer, Rinde Eckert.  They discuss the state of opera today, how much it's changed (or hasn't), and Rinde's recent works as a librettist:  Moon Tea with Steven Mackey for OTSL, and The Aging Magician with Paola Prestini with Beth Morrison Projects.Rinde Eckert: https://www.rindeeckert.com/Steven Mackey: https://stevenmackey.com/Paola Prestini: https://www.paolaprestini.com/Margaret Jenkins Dance Company: https://www.mjdc.org/global-movesMoon Tea: https://www.boosey.com/pages/opera/moredetails?musicid=108869The Aging Magician: https://bethmorrisonprojects.org/projects/touring/aging-magician/

Keturah interviews music theorist and Puccini expert, Deborah Burton, about the many librettists Puccini worked with throughout his career, with special emphasis on Giacosa and Illica, as well as Fontana, who started it all with Edgar, a disaster that taught Puccini to be very involved with how his libretti were crafted.Librettists mentioned:Ferdinando FontanaGiuseppe GiacosaLuigi IllicaRuggero LeoncavalloMarco PragaDomenico OlivaGiulio RicordiGuelfo CivininiGiuseppe AdamiGiovacchino ForzanoRenato SimoniDeborah Burton - https://www.bu.edu/cfa/profile/deborah-burton/

Keturah interviews Douglas Kearney, a renowned poet and librettist who is the inaugural recipient of the Campbell Libretto Prize through Opera America.  They talk about his work with Yuval Sharon and The Industry in LA, his work as a poet, and his philosophy of writing performative text.Douglas Kearney: https://www.douglaskearney.com/Anne LeBaron: https://www.annelebaron.com/The Industry LA: 

Keturah speaks with Bay Area librettist and composer, Tony Asaro, about his work in musical theater, how he found opera, and the two operas he's currently working on: Zheng, and The Halloween Tree.Tony Asaro: https://www.altnyc.org/tony-asaroTheo Popov: http://www.theopopov.com/Shinji Eshima: https://sfopera.com/about-us/people/bios/orchestra/shinji-eshima/Zheng: https://www.zhengopera.com/The Halloween Tree: https://www.altnyc.org/operas/the-halloween-tree

Keturah talks to playwright, librettist, and actor, Amanda Quaid about her left turn into writing opera libretti, and her new adaptation for Heartbeat Opera, The Extinctionist with Daniel Schlosberg.Amanda Quaid: http://www.amandaquaid.com/Daniel Schlosberg: https://danschlosberg.com/The Extinctionist: https://www.heartbeatopera.org/extinctionist

Keturah speaks with librettist, playwright, and actor, Karen Chilton, about her collaboration with Damien Sneed on THE TONGUE AND THE LASH at Opera Theatre of Saint Louis for this year's NEW WORKS, BOLD VOICES LAB.Karen Chilton - https://www.karenchilton.com/bioDamien Sneed - https://www.damiensneed.com/Opera Theatre of Saint Louis - https://opera-stl.org/nwbv-lab

Keturah interviews composer and librettist, Nicolas Reveles, about some of his past work, as well as several upcoming pieces.  They end up talking about the physicality of trauma, a theme that shows up in a number of his pieces.A recent interview with Nic in his role as opera educator: https://www.sandiegouniontribune.com/entertainment/classical-music/story/2020-05-23/nicolas-reveles-on-discovering-and-rediscovering-the-magic-of-opera

In this first episode of Season 3, Keturah interviews composer and librettist, Rachel J. Peters.  They discuss a number of her works, including the recently premiered STAGGERWING, composed by Lisa DeSpain, and MEN I'M NOT MARRIED TO, which will premiere soon at Cleveland Opera Theater.  Rachel talks about always looking for the women in any given topic, which informs much of her writing.https://www.racheljpeters.com/https://www.lisadespain.com/https://operakansas.org/our-performances/https://www.clevelandoperatheater.org/operas-in-place

In the final episode of the season, Keturah speaks with director, Crystal Manich, director and General Director of Opera Memphis, Ned Canty, and conductor, Joseph Mechavich, about three texts that move them in opera.  The conversation goes from the specific text to why sounds can be so moving, to how we approach text in our practice, and these three interviews sit beautifully as a trio in thought and structure.Texts discussed are Colautti’s Adriana LeCouvreur, Romani’s The Elixir of Love, and Maeterlinck’s Pelleas et Melisande.

This episode, nearly a year from the first episode highlighting Guerilla Opera’s first Libretto Writing Workshop with Brenda Huggins, is again looking at the virtual workshops that Guerilla Opera is offering this season.The first interview is with Aliana de la Guardia (https://www.alianadelaguardia.com/), who is the artistic director of Guerilla Opera in Boston, and who talks about the company’s mission, as well as the virtual workshops being offered.  We spend a particular amount of time on the Libretto Writing Workshop, which is entering its second year.The second interview is with New York based actor, director, dramaturge, and writer, Geovonday Jones (https://www.geovondayjones.com/).  We talk about his approach to the workshop, his approach to teaching writing and dramaturgy, and his background as an artist, including our Missouri connection.  Geovonday is from Saint Louis, and got his undergrad at Missouri State in Springfield, which is also where he found a love for opera.  We might also talk about how to make a good caponata.If you’re interested in the workshops being discussed, you can find them here: https://guerillaopera.org/educationAnd here’s a recipe for Caponata: https://www.themediterraneandish.com/caponata-recipe/

In this episode, Keturah speaks with bass-baritone and Italian diction coach, Stefano de Peppo, as well as English diction coach, Kathryn LaBouff, about the importance of good diction.Stefano discusses his journey from Milan to the United States, and how he started helping his colleagues with Italian diction, which has turned into a business.  He also talks about the use of dialects in Italian, and how good diction can help carry emotions across to the audience, even if they don’t speak Italian.Kathryn discusses her technique, which is laid out in her book: “Singing and Communicating in English.”  She also talks about the rise of English dialects and accents in opera, and how she prepares to coach in dialects, as well as how her role changes from rehearsal room to stage when coaching an English opera.

Keturah begins the podcast with an interview with soprano, Alexandra Deshorties.  They start discussing Donizetti’s Roberto Devereaux, and move into Poulenc’s La Voix Humaine, using each libretto to discuss how the text tells the story, and how to work within the confines of the music to find an appropriate interpretation of the text.  Alexandra is frustrated with the idea of sounding “pretty” or “cute,” and wants the text to ring true in all of its beauty and ugliness.  She is convinced that the music can help achieve that.Keturah’s second interview is with playwright and librettist, Jacqueline Goldfinger.  Jacqueline is a friend and collaborator of Melissa Dunphy, who was on this podcast a few weeks ago.  Keturah and Jacqueline discuss this relationship, as well as the numerous other composers with whom she works.  They also talk about the differences between playwriting and libretto writing, and how she collaborates within each project.

Keturah discusses two forms of adaptation in this episode.Her first conversation is with tenor, William Burden, who chats with her about Igor Stravinsky and W.H. Auden’s adaptation of William Hogarth’s paintings, The Rake’s Progress.  They go into detail about one aria in the piece, then speak about how text and music get to the heart of our emotional world.Next up is a conversation with two time Pulitzer Prize winning playwright, Lynn Nottage, discussing adapting her award-winning play, Intimate Apparel, into an opera of the same name with Ricky Ian Gordon.  They go into what it was like to self-adapt, why the piece was tailor made for a musical adaptation, and what her experience of collaborating with Ricky Ian Gordon was like.Lynn Nottage - http://www.lynnnottage.com/William Burden - https://www.opus3artists.com/artists/william-burden/Igor Stravinsky - https://www.britannica.com/biography/Igor-StravinskyW.H. Auden - https://www.poetryfoundation.org/poets/w-h-audenRicky Ian Gordon - https://www.rickyiangordon.com/The Rake’s Progress - https://www.opera-online.com/en/items/works/the-rakes-progress-auden-stravinsky-1951Intimate Apparel - https://www.lct.org/shows/intimate-apparel/William Hogarth - https://www.nationalgallery.org.uk/artists/william-hogarthA Rake’s Progress - https://www.artble.com/artists/william_hogarth/paintings/a_rake's_progress

Keturah puts together this episode from her space in San Diego, while out there working on The Barber of Seville for San Diego Opera.  Before the main interview, she shares short conversation with her cast: Patrick Carfizzi, Peixin Chen, Emily Fons, and Carlos Santelli, about their experiences singing the piece.Her main interview is with conductor and artistic director of Opera Southwest, Anthony Barrese.  They discuss the lives and work of numerous librettists who wrote for Rossini, including Cesare Sterbini, Gaetano Rossi, Jacopo Ferretti, and Vincenzina Vigano-Mombelli, one of the few female librettists during that period.San Diego Opera Barber of Seville: https://www.sdopera.org/season/2020-2021-season/the-barber-of-sevillePatrick Carfizzi: https://www.patrickcarfizzi.com/Peixin Chen: http://www.peixinchen.com/biography-1.htmlEmily Fons: https://www.emilyfons.com/Carlos Santelli: https://www.carlosenriquesantelli.com/Anthony Barrese: https://www.anthonybarrese.com/Rossini: https://www.britannica.com/biography/Gioachino-RossiniLibrettists of Rossini: https://en.m.wikipedia.org/wiki/List_of_operas_by_Gioachino_Rossini

Keturah starts with a conversation with baritone, Robert Wesley Mason, about learning and performing the role of Jan in Royce Vavrek and Missy Mazzoli’s Breaking The Waves, based on the film by Lars Von Trier.Keturah’s next interview is with Michael Mori, the General and Artistic director of Toronto’s Tapestry Opera, a company that champions contemporary work, and has been operating LibLab, a “speed dating for librettists and composers” since 1995.  They talk about LibLab, creating contemporary opera, what the field looks like now, and what it should look like in the future.

Keturah begins this episode speaking with conductor, Karen Kamensek, who talks to her about a moment in Verdi and Boito’s Otello that moves her.  They also talk about Falstaff, and the frustrations of being an artist during Covid.Keturah’s second interview is with librettist and playwright, Greg Pierce, who collaborated with Gregory Spears on Fellow Travelers, Nico Muhly on The Glitch, and is in the process of collaborating with Kevin Puts on The Hours, which will premiere at the Met.  They discuss adaptation, as well as the differences between writing plays and writing libretti.Karen Kamensek: https://www.karenkamensek.com/Arrigo Boito: https://www.britannica.com/biography/Arrigo-BoitoGreg Pierce: https://www.lyricopera.org/about/company/artists-musicians/composers-librettists/greg-pierce/Gregory Spears: http://www.gregoryspears.com/Nico Muhly: http://nicomuhly.com/Kevin Puts: http://www.kevinputs.com/

Iranian-German director and librettist, Mina Salehpour, is in the midst of her second opera with composer, Daniel Reza Sabzghabaei.  He’s just received an IDEA Grant from Opera America to help them finish the piece, tentatively titled “The Three Shapes Opera.”  Mina and Keturah speak about this, their first creative work together, and her thoughts on libretto writing as a director who specializes in devised work.Before that, however, Keturah shares interviews with two formidable sopranos, Alexandra Loutsion and Alexandra Lo Bianco, both dissecting the strong female characters in Puccini operas.  For Lo Bianco, they discuss the end of Turandot, and for Loutsion, they talk about the meaning within “Vissi D’Arte” from Tosca.Mina Salehpour, Daniel Reza Sabzghabaei, Yashar Saghai: https://www.operaamerica.org/get-involved/about-us/press-room/2019/opera-america-awards-first-ever-idea-opera-grants-for-composers-and-librettists-of-color/Alexandra LoBianco: https://imgartists.com/roster/alexandra-lobianco/Alexandra Loutsion: https://www.alexandraloutsion.com/

In this episode about politics and political figures in opera, Keturah starts with an excerpt from her interview with Director, Daniel Kramer, about Pat Nixon’s aria in John Adams and Alice Goodman’s Nixon in China.Daniel Kramer - http://danielkramerdirector.com/bioNixon in China (Opera) - https://www.britannica.com/topic/Nixon-in-ChinaNixon in China (History) - https://www.pbs.org/wgbh/americanexperience/features/china-visit/Keturah’s next interview is with conductor, Steven Osgood.  They discuss one moment with Jackie Kennedy in the David T. Little and Royce Vavrek Opera, J.F.K.Steven Osgood - http://www.srosgood.com/J.F.K. (Opera) - https://www.altnyc.org/operas/jfkLastly, Keturah interviews Australian composer, Melissa Dunphy, about why she considers herself a “political composer,” and what it was like composing to actual hearing transcripts for her piece, The Gonzales Cantata, about George W. Bush’s disgraced attorney general, Alberto Gonzales.Melissa Dunphy - https://www.melissadunphy.com/The Gonzales Cantata - http://www.gonzalescantata.com/Jacqueline Goldfinger - http://www.jacquelinegoldfinger.com/William Butler Yeats - https://www.poetryfoundation.org/poets/william-butler-yeatsAlberto Gonzales - https://www.britannica.com/biography/Alberto-R-GonzalesArlen Specter - https://www.britannica.com/biography/Arlen-SpecterCantata - https://www.britannica.com/art/cantata-music

Keturah begins this episode with an interview with conductor, and artistic and general director of Chautauqua Opera, Steven Osgood. Steven has been the driving force behind the Composers and the Voice Workshop Series since its inception, when he was the artistic director of the American Opera Project. He lays out the program for Keturah, and gives information on how to apply, and application deadlines.Composers and the Voice at AOP: https://www.aopopera.org/composers-voiceSteven Osgood: http://www.srosgood.com/Next, Keturah speaks with a librettist fellow from Composers and the Voice, Sokunthary Svay. We speak about how she found opera, her poetry writing, her experiences with Composers and the Voice, and her two operas with Liliya Ugay: Woman of Letters, and Chhlong Tonle (Crossing the River).Sokunthary Svay: https://www.sokunthary.com/Liliya Ugay: http://www.liliyaugay.com/Jin-Xiang (JX) Yu: https://www.jinxiangyusoprano.com/Rob Paterson: https://robertpaterson.com/My conversation with Royce Vavrek: https://www.buzzsprout.com/1180661/4952711American Opera Intiative: https://www.kennedy-center.org/education/opportunities-for-artists/competitions-and-commissions/american-opera-initiative/Antigoni Gaitana: http://www.antigonigaitana.com/Kimiko Hahn: https://kimikohahn.com/

In this episode, Keturah ponders the topic of familial protection in opera text, pointing out her recent viewing of Kamala Sankaram and Jerre Dye’s Taking up Serpents at Chicago Opera Theater, as well as other operas that highlight a family relationship.In her first interview, she speaks with conductor and artistic director of Houston Grand Opera, Patrick Summers, about his love of Engelbert Humperdinck and Adelheid Wette’s Hansel & Gretel, concentrating largely on the Evening Prayer, and the protection that it offers, both in words and music.In her second interview, she speaks with singer and librettist, Roberta Gumbel, about her recent collaboration with composer, Susan Kander, Driving While Black. They discuss what it was like to write about worrying about her son as he reached driving age, and how it felt to dramatize and sing about those feelings.Here are some people and topics that come up in this episode:Taking Up Serpents at Chicago Opera Theater: https://chicagooperatheater.org/season/serpentsPatrick Summers: https://www.houstongrandopera.org/about-us/people/patrick-summers/Roberta Gumbel: https://music.ku.edu/roberta-gumbelSusan Kander: http://susankander.net/Driving While Black: https://www.icareifyoulisten.com/2020/11/reimagined-for-streaming-dwb-driving-while-black-examines-black-motherhood/Urban Arias’ Production: http://www.urbanarias.org/performances/driving-while-black/Anna Deavere Smith: https://www.annadeaveresmith.org/category/about-anna-deavere-smith/New Morse Code Ensemble: http://www.newmorsecode.com/

Keturah starts off this episode speaking to director, Thaddeus Strassberger, and tenor, Jonathan Burton, about Richard Strauss and Hugo Von Hofmannsthal’s Ariadne auf Naxos.To continue to conversation about Hofmannsthal (and Strauss), Keturah turns to Bryan Gilliam, musicologist, Strauss scholar, and author of several books, including “Rounding Wagner’s Mountain: Richard Strauss and Modern German Opera.” They discuss Hofmannsthal’s place in the canon, his collaborations with Strauss, and the themes that are present in his work.For more information about Thaddeus Strassberger: https://www.tstrassberger.com/For more information about Jonathan Burton: http://jburtontenor.com/Rounding Wagner’s Mountain: https://www.amazon.com/Rounding-Wagners-Mountain-Richard-Cambridge/dp/0521456592A little dive into Ariadne clips: https://www.operanews.com/Opera_News_Magazine/2020/5/Departments/10_Essential_Ariadne_auf_Naxos_Clips_to_Enjoy_(At_Home).html

Keturah speaks with librettist and producer, Cerise Jacobs, and director and playwright, Lillian Groag. As Keturah says, “On the surface, these women couldn’t be more different, both in the type of work they make, and in their approach to putting work on stage. What made me think of them as a perfect pairing for this episode is in the way they convey their thoughts, the strength of their conviction, and the absolute tenacity with which they hold and express their opinions.”First up is Lillian Groag, who, with Keturah, analyzes oft-missed and mistaken moments in various operas, including Le Nozze di Figaro, Tosca, Il Trovatore, Aida, Don Giovanni, and Cosi fan Tutte. Lillian is a champion of directing “On the word,” and her knowledge of these great libretti shine through in this conversation.Find a bio of Lillian Groag here: https://en.m.wikipedia.org/wiki/Lillian_Garrett-GroagShe talks more about Tosca here: https://youtu.be/wQkip1y43okShe talks more about Aida here: https://youtu.be/b3iaAup_uMQAnd here’s an interview about her Don Giovanni: https://youtu.be/wz5RurCIxa8Next is Cerise Jacobs, who speaks of her most recent upcoming work with her production company, White Snake Projects. We discuss Alice in the Pandemic, I am A Dreamer Who No Longer Dreams, and Death by Life, among others. Cerise also talks extensively about her philosophy as a librettist, and her work as a producer.Find more information about Cerise Jacobs and White Snake Projects here: https://www.whitesnakeprojects.org/

Keturah begins this episode chatting with General Director of Palm Beach Opera and former countertenor, David Walker (https://pbopera.org/about-us-2/general-director/). They discuss the aria Voi Che Udite (Here’s a link of David singing this aria on a set by John Conklin: https://youtu.be/cEQy5sfbs68 ) from Handel and Calzabigi’s Agrippina. They also talk about the pangs of leaving performing, and briefly touch on Akhnaten, Partenope, and The Elephant Man.Keturah’s second interview is with librettist and dramaturge, Kelley Rourke (https://www.kelleyrourke.com/about-1). Kelley is the author of numerous song cycles, operas, and translations, and is also the resident dramaturge at Washington National Opera (https://www.kennedy-center.org/wno/home/) and The Glimmerglass Festival (https://glimmerglass.org/). They discuss how John Conklin (https://en.m.wikipedia.org/wiki/John_Conklin) helped her find her way in the business, what it’s like working as a collaborator, and where the inspiration for her writing comes from.Here’s a link to works by Kelley Rourke: https://www.kelleyrourke.com/projects-1

In this episode, Keturah speaks with singers, composers, and directors about the words and collaborative spirit of librettist, Gene Scheer.In order of appearance:Efrain Solis (https://www.efrainsolis.com/)Frederica Von Stade (http://www.fredericavonstade.com/)Emily Fons (https://www.emilyfons.com/)Jonathan Lemalu (https://jonathanlemalu.com/)Morgan Smith (https://www.baritonemorgansmith.com/)Stephen Costello (https://stephencostellotenor.com/)William Burden (https://www.opus3artists.com/artists/william-burden/)Jake Heggie (https://jakeheggie.com/)Leonard Foglia (https://en.m.wikipedia.org/wiki/Leonard_Foglia)Pieces with a libretto by Gene Scheer mentioned in this episode:American Anthem (https://youtu.be/RIGnlIymhUU)Cold Mountain (https://operawire.com/opera-profile-jennifer-higdon-gene-scheers-cold-mountain/)Everest (https://dallasopera.org/performance/everest/)For A Look Or A Touch (https://jakeheggie.com/for-a-look-or-a-touch-2013/)If I Were You (https://jakeheggie.com/if-i-were-you-2019/)It’s A Wonderful Life (https://jakeheggie.com/its-a-wonderful-life-2016/)Moby-Dick (https://jakeheggie.com/moby-dick-2010/)Statuesque (https://genescheer.com/project/statuesque/)Three Decembers (https://jakeheggie.com/three-decembers-2008/)To Hell and Back (http://genescheer.com/project/to-hell-and-back/)

Keturah begins this episode chatting with baritone, Zachary Nelson (http://www.zacharynelsonbaritone.com/), who speaks with her about Mozart and DaPonte’s Le nozze di Figaro, the Beaumarchais plays, and their tie to the French Revolution. You can read more about these connections here: https://www.theguardian.com/music/2006/jan/06/classicalmusicandopera, and here: https://sfopera.com/blog/the-marriage-of-figaro-fomenting-the-french-revolution/.Next, Keturah speaks with Chicago based opera singer and hip-hop artist, Khary “K.F. Jacques” Laurent. (https://www.kfjacques.com/). They discuss genre mixing with hip hop and opera, crafting words for hip hop, and his work for Chicago Fringe Opera (https://www.chicagofringeopera.com/) on both The Rosina Project (https://www.gjcederquist.com/projects/6849633), and Corsair, which was created for the Decameron Opera Coalition (https://www.chicagofringeopera.com/event/corsair/).Other interesting things that come up in Keturah’s conversation with Khary:Merit Music - https://meritmusic.org/Chicago Academy of the Arts - https://www.chicagoacademyforthearts.org/Roosevelt University - https://www.roosevelt.edu/Pivot Arts - https://pivotarts.org/James Marvel - https://jamesmarvel.com/Kechi - https://www.buzz-music.com/post/r-b-soul-artist-kechi-is-captivating-his-audience-with-latest-single-justRapper’s Delight - https://youtu.be/mcCK99wHrk0Hans Zimmer - https://hans-zimmer.com/Sledgehammer - https://youtu.be/OJWJE0x7T4QA Promised Land, by Barack Obama - https://www.amazon.com/Promised-Land-Barack-Obama/dp/1524763160

Keturah speaks with Ricky Ian Gordon about how he collaborates with multiple composers, as well as compositions for which he has written the libretto.The episode begins with clips from last season: Michael Korie discussing how Ricky helped convince him to collaborate on The Grapes of Wrath (https://www.buzzsprout.com/1180661/5613223), and Leonard Foglia talking about Ricky’s phrase “Boil it down to stock,” and how it helped him as a writer. (https://www.buzzsprout.com/1180661/5280550). We also hear mezzo-soprano, Frederica Von Stade talking about how meaningful it was to work on A Coffin in Egypt. (http://www.fredericavonstade.com/)List of Ricky’s works in order they are mentioned:Orpheus & Euridice (https://www.rickyiangordon.com/project/orpheus-euridice/)Green Sneakers (https://www.rickyiangordon.com/project/green-sneakers/)Sycamore Trees (https://www.baltimoresun.com/news/bs-xpm-2010-05-27-bs-ae-arts-sycamore-trees-20100527-story.html)Ellen West (https://www.brightshiny.ninja/ellen-west)My Life with Albertine (https://www.rickyiangordon.com/project/my-life-with-albertine/)Intimate Apparel (https://www.lct.org/explore/blog/lemon-ia-ricky-ian-gordon-crafting-intimate-apparel/)Garden of the Finzi-Continis (https://nycopera.com/shows/finzi/)The House Without A Christmas Tree (https://www.rickyiangordon.com/christmas-tree-wsj2017/)The Tibetan Book of the Dead (https://www.rochestercitynewspaper.com/rochester/interview-ricky-ian-gordon/Content?oid=8573366)The Grapes of Wrath (https://www.rickyiangordon.com/project/the-grapes-of-wrath/)Rappahannock County (https://www.rickyiangordon.com/project/rappahannock-county/)A Coffin in Egypt (https://www.rickyiangordon.com/project/a-coffin-in-egypt/)27 (https://www.rickyiangordon.com/project/27/)Other people/places mentioned:UCross Artists’s Colony - https://www.ucrossfoundation.org/Richard Nelson - https://www.broadwayplaypub.com/play-authors/richard-nelson/Lynn Nottage - http://www.lynnnottage.com/Frank Bidart - https://www.poetryfoundation.org/poets/frank-bidartAriel by Sylvia Plath - https://www.goodreads.com/book/show/395090.ArielBravo! Vail Valley Music Festival - https://www.bravovail.org/Godard’s Vivre Sa Vie - https://www.imdb.com/title/tt0056663/

This episode begins with a short interview with Dutch soprano, Eva Maria Westbroek (https://www.evamariawestbroek.com/). She and Keturah talk about Eva’s creation of the title role in Mark Anthony Turnage (https://www.boosey.com/pages/cr/composer/composer_main?composerid=16405&ttype=BIOGRAPHY) and Richard Thomas’ (https://www.richardthomascreative.com/) opera, Anna Nicole, which premiered at Covent Garden in 2011.the second part of the episode is an interview with British librettist, composer, and lyricist, Richard Thomas. Keturah and Richard also speak about Anna Nicole (https://www.nytimes.com/2011/02/19/arts/music/19nicole.html) throughout the interview, but delve into his other works as well. His most recent operatic endeavor is a new translation of The Merry Widow at ENO (https://www.theguardian.com/music/2019/mar/03/the-merry-widow-review-english-national-opera-coliseum-london).Keturah and Richard move on to his - arguably - most well-known work, Jerry Springer - The Opera (https://www.guidetomusicaltheatre.com/shows_j/jerryspringer.htm), which was originally shown at the Battersea Opera Festival, run by Tom Morris in South London: http://www.bacarchive.org.uk/. They then go into a deep conversation about Anna Nicole, and backtrack to discuss Richard’s first move into the opera genre: Tourette’s Diva.Here are a few more links about various topics of conversation:Tourette’s Diva: http://www.bacarchive.org.uk/items/show/5113Tourette’s Syndrome: https://tourette.org/about-tourette/overview/what-is-tourette/Kombat Opera Presents: http://www.bbc.co.uk/comedy/kombatopera/

We start out this episode with a short quip from Mezzo-soprano, Emily Fons, talking about not waiting for the ideal moment to create. (https://www.emilyfons.com/).Next, is a brief interview with San Francisco based conductor and prompter, Robert Mollicone (https://www.robertmollicone.com/). We discuss the ending of Offenbach and Barbier’s Les Contes d’Hoffmann, and how it relates to the paralysis so many artists have felt while trying to navigate the pandemic. For more information about Offenbach’s opera, check out this Britannica entry: https://www.britannica.com/topic/The-Tales-of-Hoffmann/Setting-and-story-summaryThe major interview of the episode is with librettist, Matt Boresi, who writes most often with composer, Peter Hilliard. (https://www.hilliardandboresi.com/#home-section). We discuss the nature of comedy in opera, as well as making opera during the pandemic, at which he and Peter have been hard at work, both with Verdi by Vegetables (https://www.resonanceworks.org/verdi-by-vegetables) and The Decameron Opera Coalition (https://decameronoperacoalition.org/).Here are some links to other productions, people, and organizations mentioned in this episode:•Don Imbroglio with Beth Morrison Projects: https://www.bethmorrisonprojects.org/don-imbroglio•The Filthy Habit at Urban Arias: https://www.urbanarias.org/the-filthy-habit/•Victorian Toy Theater: https://craftsmanship.net/the-rise-and-fall-of-toy-theatre/•Great Small Works: https://greatsmallworks.org/index.html•The Last American Hammer: https://www.urbanarias.org/lastamericanhammer/•The American Toby Jug Museum: https://www.tobyjugmuseum.com/•Blue Viola : https://www.urbanarias.org/blue_viola/

Keturah starts her Second Season talking to a myriad of singers, conductors, and directors about how opera text affects them.Sound bites from:Joseph Mechavich https://www.ada-artists.com/conductor-joseph-mechavichStephen Costello https://stephencostellotenor.com/Karen Kamensek https://www.karenkamensek.com/Daniel Kramer http://www.danielkramerdirector.com/indexAlexandra Deshorties https://www.opera-arias.com/singers/alexandra-deshorties/Emily Fons https://www.emilyfons.com/Frederica Von Stade http://www.fredericavonstade.com/Efrain Solis https://www.efrainsolis.com/Thaddeus Strassberger https://www.tstrassberger.com/Patrick Summers https://www.opus3artists.com/artists/patrick-summers/Jonathan Lemalu https://jonathanlemalu.com/Steven Osgood http://www.srosgood.com/Alexandra LoBianco https://imgartists.com/roster/alexandra-lobianco/Crystal Manich https://www.crystalmanich.com/David Walker https://pbopera.org/about-us-2/general-director/Alexandra Loutsion https://www.alexandraloutsion.com/Ned Canty https://operawire.com/qa-opera-memphis-general-director-ned-canty-on-equity-in-the-arts-and-30-days-of-opera/Eva Maria Westbroek https://www.evamariawestbroek.com/William Burden https://www.opus3artists.com/artists/william-burden/

In the season 1 finale, Keturah speaks with Canadian playwright and librettist, Anna Chatterton about her operas Stitch, and Sweat (about the garment industry), Crush, and Swoon (Da Ponte/Mozart adaptations), and Rocking Horse Winner, as well as surviving as an artist during Covid19, and the joys of adapting work for the stage.

Keturah speaks with English director, librettist, and composer, Anna Pool. They discuss her love of musical theater, her work with devised work, puppetry, and multi-sensory work, and how the commissioning process could be more open.

Keturah talks about her work on San Diego Opera’s reimagined La Bohéme, and how the circumstances surrounding Covid 19 forced her and the singers to look at the piece in a completely different way. She also interviews librettist, Jerre Dye, about his life in Chicago, his work with Frances Pollock at Chautauqua, and working with Zachary Redler, Kamala Sankaram, and Jennifer Higdon.

Keturah speaks with librettist and journalist David Cote, about his works, including Blind Injustice, Three Way, the Scarlet Ibis, and Invitation to a Die-In. They also discuss the hardships of getting work produced, and how this differs in the opera world and theater world.

Keturah speaks with composer, librettist, and double bassist, Emily Koh about her upcoming opera, Her: Alive/Un/Dead, and writing words AS music.

Keturah speaks with librettist and teacher, Jessica Murphy Moo. They discuss her two operas, Earth to Kenzie and An American Dream, the pitfalls and joys of writing a children’s opera, how composer Frances Pollock convinced her to rhyme, and the differences between teaching fiction writing and libretto writing.

In this second BONUS episode, Keturah speaks with librettist, Matt Boresi, about The Decameron Opera Coalition, which was put together by him and composer, Peter Hilliard. Joining Boresi are three librettists from the coalition, John de los Santos, Gilda Lyons, and Deborah Brevoort. They discuss their roles in the upcoming serial piece “Tales From A Safe Distance,” and how people can access the performances. Also, CORRECTION: The performances all begin at 8pm, NOT 8:30, as listed in the podcast.

Keturah speaks with Lyricist and Librettist, Michael Korie, about his musicals and operas over the years, his thoughts on politics and art, and writing about real people.

Keturah chats with author, activist, and librettist, Lorene Cary. They discuss her memoir, Ladysitting, her work at Art Sanctuary and Vote The Jawn, and her experience at ALT’s Composer Librettist Development Program.

Keturah sits down with Lawrence Edelson, founder of the American Lyric Theater, and Artistic Director of Opera Saratoga. They discuss the Composer Librettist Development Program (CLDP), what makes a good librettist, the art of dramaturgy, and creating new opera in America.