Podcasts about american opera

Every year a relatively small number of canonic operas are produced around the world. Many companies shy away from new works, afraid of alienating a predominantly white, older, wealthy audience who are comfortable with operatic traditions. But opera can also be a site of incredible innovation.  Opera for Everyone: The Industry's Experiments with American Opera in the Digital Age (University of Michigan Press, 2024) by Megan Steigerwald Ille examines one of the most disruptive opera companies in the United States. The Los Angeles-based company, The Industry, wants to make opera for everyone by breaking down hierarchies, undermining the expectations of both audiences and performers, and confronting how opera is part of harmful systems of exclusion and marginalization. Rather than simply analyzing some operas and interviewing a handful of key players in the company, Steigerwald Ille spent years observing rehearsals and interviewing many of the participants in the Industry's productions. Focusing on the period between 2012 and 2020, her ethnographic work yields a thorough and nuanced analysis of the company and its operas and the many ways they challenge the conventions of Western classical music. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Every year a relatively small number of canonic operas are produced around the world. Many companies shy away from new works, afraid of alienating a predominantly white, older, wealthy audience who are comfortable with operatic traditions. But opera can also be a site of incredible innovation.  Opera for Everyone: The Industry's Experiments with American Opera in the Digital Age (University of Michigan Press, 2024) by Megan Steigerwald Ille examines one of the most disruptive opera companies in the United States. The Los Angeles-based company, The Industry, wants to make opera for everyone by breaking down hierarchies, undermining the expectations of both audiences and performers, and confronting how opera is part of harmful systems of exclusion and marginalization. Rather than simply analyzing some operas and interviewing a handful of key players in the company, Steigerwald Ille spent years observing rehearsals and interviewing many of the participants in the Industry's productions. Focusing on the period between 2012 and 2020, her ethnographic work yields a thorough and nuanced analysis of the company and its operas and the many ways they challenge the conventions of Western classical music. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Every year a relatively small number of canonic operas are produced around the world. Many companies shy away from new works, afraid of alienating a predominantly white, older, wealthy audience who are comfortable with operatic traditions. But opera can also be a site of incredible innovation.  Opera for Everyone: The Industry's Experiments with American Opera in the Digital Age (University of Michigan Press, 2024) by Megan Steigerwald Ille examines one of the most disruptive opera companies in the United States. The Los Angeles-based company, The Industry, wants to make opera for everyone by breaking down hierarchies, undermining the expectations of both audiences and performers, and confronting how opera is part of harmful systems of exclusion and marginalization. Rather than simply analyzing some operas and interviewing a handful of key players in the company, Steigerwald Ille spent years observing rehearsals and interviewing many of the participants in the Industry's productions. Focusing on the period between 2012 and 2020, her ethnographic work yields a thorough and nuanced analysis of the company and its operas and the many ways they challenge the conventions of Western classical music. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Every year a relatively small number of canonic operas are produced around the world. Many companies shy away from new works, afraid of alienating a predominantly white, older, wealthy audience who are comfortable with operatic traditions. But opera can also be a site of incredible innovation.  Opera for Everyone: The Industry's Experiments with American Opera in the Digital Age (University of Michigan Press, 2024) by Megan Steigerwald Ille examines one of the most disruptive opera companies in the United States. The Los Angeles-based company, The Industry, wants to make opera for everyone by breaking down hierarchies, undermining the expectations of both audiences and performers, and confronting how opera is part of harmful systems of exclusion and marginalization. Rather than simply analyzing some operas and interviewing a handful of key players in the company, Steigerwald Ille spent years observing rehearsals and interviewing many of the participants in the Industry's productions. Focusing on the period between 2012 and 2020, her ethnographic work yields a thorough and nuanced analysis of the company and its operas and the many ways they challenge the conventions of Western classical music. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Every year a relatively small number of canonic operas are produced around the world. Many companies shy away from new works, afraid of alienating a predominantly white, older, wealthy audience who are comfortable with operatic traditions. But opera can also be a site of incredible innovation.  Opera for Everyone: The Industry's Experiments with American Opera in the Digital Age (University of Michigan Press, 2024) by Megan Steigerwald Ille examines one of the most disruptive opera companies in the United States. The Los Angeles-based company, The Industry, wants to make opera for everyone by breaking down hierarchies, undermining the expectations of both audiences and performers, and confronting how opera is part of harmful systems of exclusion and marginalization. Rather than simply analyzing some operas and interviewing a handful of key players in the company, Steigerwald Ille spent years observing rehearsals and interviewing many of the participants in the Industry's productions. Focusing on the period between 2012 and 2020, her ethnographic work yields a thorough and nuanced analysis of the company and its operas and the many ways they challenge the conventions of Western classical music. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

Every year a relatively small number of canonic operas are produced around the world. Many companies shy away from new works, afraid of alienating a predominantly white, older, wealthy audience who are comfortable with operatic traditions. But opera can also be a site of incredible innovation.  Opera for Everyone: The Industry's Experiments with American Opera in the Digital Age (University of Michigan Press, 2024) by Megan Steigerwald Ille examines one of the most disruptive opera companies in the United States. The Los Angeles-based company, The Industry, wants to make opera for everyone by breaking down hierarchies, undermining the expectations of both audiences and performers, and confronting how opera is part of harmful systems of exclusion and marginalization. Rather than simply analyzing some operas and interviewing a handful of key players in the company, Steigerwald Ille spent years observing rehearsals and interviewing many of the participants in the Industry's productions. Focusing on the period between 2012 and 2020, her ethnographic work yields a thorough and nuanced analysis of the company and its operas and the many ways they challenge the conventions of Western classical music. Learn more about your ad choices. Visit megaphone.fm/adchoices

Tobias Picker, deemed “our finest composer for the lyric stage” by The Wall Street Journal, joins Devin Patrick Hughes on One Symphony. Tobias is a prolific composer in all genres. He has composed six operas, commissioned by Dallas Opera, LA Opera, Metropolitan Opera, San Francisco Opera, Santa Fe Opera, and Opera Theatre St. Louis. Tobias Picker has composed numerous symphonic works including three symphonies, concertos for violin, viola, cello, and oboe, as well as four piano concertos and a ballet. Picker's recent honors include the 2020 Grammy Award for Best Opera Recording of Fantastic Mr. Fox, and a lifetime membership at the American Academy of Arts and Letters. Thank you for joining us on One Symphony. Thanks to Tobias Picker for sharing his music and insights. Thank you to Visconti Arts for making this episode possible. You can find more info at https://tobiaspicker.com. Music Selections—all music by Tobias Picker, except for the first selection. Gian Carlo Menotti, Suite from Amahl and the Night Visitors. Performed by the Cleveland Pops Orchestra conducted by Louis Lane. First movement from Symphony No. 1; performed by the San Francisco Symphony. Edo de Waart, conductor. Awakenings, adapted from the non-fiction book by Oliver Sacks. Libretto by Aryeh Lev Stollman, produced by Odyssey Opera in 2023 of Boston in partnership with the Boston Modern Orchestra Project. Gil, Rose, Conductor. Directed by James Robinson. Commissioned by Opera Theatre of St. Louis. The Encantadas for narrator and orchestra. Based on the writings of Herman Melville. Sir John Geilgud, narrator; Christoph Eschenbach, conductor; Houston Symphony Orchestra. "Letter Aria" from Emmeline. Text by J.D. McClatchy Virginia Douglas, soprano Amir Farid, piano. Conducted by Modestas Pitrenas. Supported by Modestas Pitrenas. “I See A Woman” from Lili Elbe. Text by Aryeh Lev Stollman. Featuring Lucia Lucas as Lili. Performed by the St. Gallen Symphonic Orchestra. Old and Lost Rivers, for orchestra. Performed by the London Symphony Orchestra conducted by John Williams. Nova featuring Benjamin Hudson- Violin John Graham - Viola Fred Sherry - Cello Don Palma - Bass Tobias Picker – Piano. You can always find more info at OneSymphony.org including a virtual tip jar if you'd like to support the show. Please feel free to rate, review, or share the show! Until next time, thank you for being part of the music. https://tobiaspicker.com https://www.fox21news.com/business/press-releases/ein-presswire/674899601/devin-patrick-hughes-arapahoe-philharmonic-conductor-presents-a-new-discovery-concert-this-holiday-season/  

Der britisch-US-amerikanische Germanist und Musikwissenschaftler Stephen Hinton gilt als Experte für den Komponisten Kurt Weill. Im Jahr 2012 hat er Weills Werken für das Musiktheater ein umfangreiches Buch gewidmet. Das hat dann auch gleich ein Jahr später den Preis der US-amerikanischen Kurt Weill Foundation for Music bekommen. Das Buch ist jetzt in deutscher Übersetzung beim Verlag Suhrkamp erschienen und Jan Ritterstaedt hat es für SWR2 Treffpunkt Klassik gelesen.

In tonight's RTÉ lyric Live Interval, Sandy Burnett considers the efforts of George Gershwin, Scott Joplin, Duke Ellington, Mary Lou Williams and Leonard Bernstein to introduce the African-American experience to opera and sacred music in early 20th century America.

Ryan Ebright, an associate professor in BGSU'S College of Musical Arts and author of the forthcoming book, "Making American Opera after Einstein," discusses how Philip Glass's innovative "Einstein on the Beach" led to the flourishing of contemporary American opera and musical theatre.

There are tons of new operas popping up throughout the United States right now! With that comes more opportunities to make new music happen which is so exciting! This week, Ellen and Alyssa break down five show options to choose from (including both of their favorites) when picking out your contemporary American opera rep for your package this year. Want some other options? Check out the list of honorable mentions below! Be sure to check out the summer rep series playlist to listen and follow along with all five parts of our summer rep series! RESOURCES:  Summer Rep Series Spotify playlist Learn Your Music The Right Way Workbook Summer Reset Bundle MUSIC RESOURCES: https://modernsingermag.com/?q=careers-resources/5-modern-operas-add-your-repertoire https://en.wikipedia.org/wiki/Tom_Cipullo#Glory_Denied https://www.classicalvocalrep.com/products/Glory-Denied-2-Arias-Catalogue-Aria-Congregation-Aria-101607.html https://www.classicalvocalrep.com/products/Glory-Denied-2-Arias-My-Darling-Jim-After-You-Hear-Me-101606.html https://en.wikipedia.org/wiki/Fire_Shut_Up_in_My_Bones https://en.wikipedia.org/wiki/Fellow_Travelers_(opera) https://issuu.com/bostonlyricopera/docs/fellow_travelers_r3_v2_single_481a786f5154d2 https://mnopera.org/season/2017-2018/fellow-travelers/synopsis/  https://www.jakeheggie.com/works/deadman  https://stageagent.com/shows/opera/2501/dead-man-walking-opera/  https://en.wikipedia.org/wiki/Dead_Man_Walking_(opera) https://en.wikipedia.org/wiki/Flight_(opera)  Let's get social: Support the podcast  Follow us on social media Search our website Check out our Shop  Follow Ellen  Follow Alyssa REP LIST: SOPRANO My Darling, Jim - Glory Denied Leave it in the road - Fire Shut Up in My Bones MEZZO-SOPRANO This Journey - Dead Man Walking Minskwoman's Aria - Flight COUNTERTENOR Dawn, Still Darkness (or the Refugee's Aria) - Flight TENOR Last Night - Fellow Travellers BARITONE Catalogue Aria - Glory Denied Everybody hear that? - Dead Man Walking Our Very Own Home - Fellow Travellers BASS-BARITONE Peculiar Grace - Fire Shut Up in My Bones HONORABLE MENTIONS: The Little Prince Dark Sisters Marnie Akhanatan Billy Budd Ghosts of Versailles Fantastic mr fox Little women Shining Brow Amelia Emmeline Handmaid's Tale Everest Dr. Atomic --- Send in a voice message: https://podcasters.spotify.com/pod/show/modern-singer-llc/message Support this podcast: https://podcasters.spotify.com/pod/show/modern-singer-llc/support

As Team OBS takes the week off for the Fourth, enjoy a rerun of our Independence Day show from last year, when we launched 'Singer Trading Cards', a look at the American League and some great artists of the recent past you'll want to add to your collection... We're back with an all-new show on Thursday, July 13, when bass Morris Robinson goes 'Inside the Huddle' to talk football, opera, and football. Join us! GET YOUR VOICE HEARD operaboxscore.com facebook.com/obschi1 @operaboxscore IG operaboxscore

Seven years ago, Santa Fe Opera started a conversation that would reverberate throughout American Opera, shaping this celebrated art form into something more reflective of the world in which it's created. Today, Opera For All Voices (OFAV) commissions have surpassed even our wildest storytelling expectations.  Key Change co-hosts Andrea Fellows Fineberg and Anna Garcia tuck into the time machine for a season-ending trip around the OFAV universe, revisiting the initiative's greatest hits and offering fans a glimpse at what's to come––with Ruth Nott, consultant, Opera for All Voices; Brent Michael Davids, composer; and Mary Kathryn Nagle J.D., playwright, attorney, and member of Cherokee Nation of Oklahoma. OFAV began with a simple premise. "We wanted to see what other voices were available and had interesting stories to tell," Ruth explains. So, how'd we do?  In the past 18 months alone, OFAV has produced two world premieres in Santa Fe, This Little Light Of Mine and Hometown To The World, a groundbreaking workshop in San Francisco for The Pigeon Keeper, and OFAV on Broadway featuring Hometown To The World. We've also strengthened our bond with the Pueblo Opera Cultural Council. While reminiscing is fun, the Key Change time machine is actually a forward-focused intergalactic vehicle. Brent and Mary Kathryn have plotted next season's creative journey from pueblo to cosmos. "It'll be one of the very first operas that centers a Native woman protagonist," hints Mary Kathryn. "We're asking questions that go far beyond Indian country or the history of the relationship between the United States and Native people. We're asking questions that pertain to all of humanity, and what is our relationship to the universe." Catch a ride for Season Five coming soon! FEATURING Brent Michael Davids - Composer, Member of the Stockbridge-Munsee Community Mary Kathryn Nagle J.D. - Attorney at Law/Playwright/Screenwriter and Member Of Cherokee Nation of Oklahoma Ruth Nott - Consultant, Opera for All Voices RELATED EPISODES KCP0404 - Story With Purpose: The Origin of the Pueblo Opera Cultural Council with Renee Roybal and Claudene A. Martinez KCP0405 - Spark of Imagination: Generations of the Pueblo Opera Program with Sonja & Seth Martine *** Key Change is a production of The Santa Fe Opera in collaboration with Opera for All Voices. Produced and edited by Andrea Klunder at The Creative Impostor Studios Hosted by Andrea Fellows Fineberg & Anna Garcia Audio Engineer: Kabby at Kabby Sound Studios in Santa Fe Show Notes by  Lisa Widder Theme music by Rene Orth with Corrie Stallings, mezzo-soprano, and Joe Becktell, cello Cover art by Dylan Crouch This podcast is made possible due to the generous funding from the Hankins Foundation, the Andrew W. Mellon Foundation, and an Opera America Innovation Grant supported by the Anne & Gordon Getty Foundation.   To learn more about Opera For All Voices, visit us at SantaFeOpera.org.

West Virginians are proud of the many great stars it sent into the music world, especially those in the Grand Ole Opry, but they may not be aware of the superstar diva from Wheeling who conquered the world of grand opera. After high school, Eleanor Steber went to the New England Conservatory of Music in Boston to study classical piano, but a professor suggested she study voice instead.  She won a popular competition that landed her at New York's vaunted Metropolitan Opera and she became one of its brightest stars, with a legacy that still reigns supreme. 

In this new podcast series, we explore elements of American opera—production and reception histories, social contexts, historical valences, and more—through our artist and scholar community. In this episode, LA Opera's Alaysha Fox hosts Chorus Director Jeremy Frank for a discussion about the unique roots and qualities of American Opera as well as their shared excitement about Omar, an opera by Rhiannon Giddens and Michael Abels opening at LA Opera this October. Tickets to Omar and the rest of LA Opera's 22-23 season are available now at LAOpera.org.

In this new podcast series, we explore elements of American opera - production and reception histories, social contexts, historical valences, and more - through our artist and scholar community. In this episode, Dr. Holley Replogle-Wong highlights and celebrates the work of five African-American composers from the first part of the 20th century. Tickets to LA Opera's 22-23 season are available now at LAOpera.org.

In this new podcast series, we explore elements of American opera - production and reception histories, social contexts, historical valences, and more - through our artist and scholar community. In this episode, Dr. Tiffany Kuo discusses the intersectional qualities that can make American opera challenging to define, according to four musicians and two scholars who were asked to share their perspectives on a wide range of operas, from Scott Joplin's Treemonisha to Philip Glass' Einstein on the Beach and more. Tickets to LA Opera's 22-23 season are available now at LAOpera.org. Please be advised that some of the musical content in this episode may not be suitable for all audiences.

[@ 3 min] This week, the OBS geniuses launch a new segment called 'Singer Trading Cards'! They start with the American League and swap some great artists of the recent past that you'll want to add to your collection, too... [@ 45 min] Plus, in the ‘Two Minute Drill'... Jonas Kaufmann will bite off an ear for love, but he won't do that... operaboxscore.com facebook.com/obschi1 @operaboxscore IG operaboxscore

Law of the Land with Gloria J. Browne-Marshall, Constitutional Law Professor at John Jay College of Criminal Justice and author of She Took Justice, talks about the Supreme Court nominee Judiciary Committee vote on Judge Jackson with guest Helen Higginbotham and also meet with the creators behind Emmett Till, A New American Opera, Clare Coss and Mary Watkins. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/gloria-j-browne-marshall/support

Nancy Rhodes: Called "a champion of American Opera" by Ronald Rand, Nancy Rhodes is the long-time Artistic Director of Encompass New Opera Theatre and the librettist for The Theory of Everything, a new opera inspired by physics' superstring theory of multiple dimensions and alternate universes. At Encompass, she has staged scores of operas, about 70 all told, including Virgil Thomson's The Mother of Us All, Blitzstein's Regina, Britten's Phaedra, Evan Mack's Angel of the Amazon, and The Astronaut's Tale at the Brooklyn Academy of Music. Nancy staged the world premiere of Kirke Mechem's Tartuffe for San Francisco Opera, and Virgil Thomson's Lord Byron at Alice Tully Hall, as well as new operas for the Brooklyn Philharmonic Orchestra and Pittsburgh Opera Theatre. Her acclaimed production of Grigori (Gregory) Frid's opera The Diary of Anne Frank toured Cleveland Opera and was nominated for an Artistic Achievement Award. She has directed operas all over the world, including Stockholm, Finland, Istanbul, and Amsterdam, as well as speaking publicly and conducting workshops in Europe, South America, Russia, among other places. [You might say she is a Rhodes scholar) And 8 years ago, she launched PARADIGM SHIFTS, a Music and Film Festival that brings indigenous cultures, women's wisdom, and social justice/environmental issues in celebration of our planet, oceans, sacred lands, and wildlife. John David Earnest is a composer who has written for orchestra, chamber ensembles, chorus, solo voice, concert band, opera, and film. In addition to several one-acts operas, his first full-length opera, The Theory of Everything, was commissioned by the Encompass New Opera Theatre, a collaboration with Nancy Rhodes, who wrote the libretto. A longtime resident of New York City, Mr. Earnest has taught music composition both privately and as a visiting professor at Whitman College in Washington, as well as adjunct teaching at Lehman College and Rutgers University.Roger Jeff Cunningham is a co-founder of Encompass New Opera Theatre.  He has gone on to teach Psychology in college.  Roger created The Dream Table, which meets weekly and allows his students to discuss their night-time dreams and nightmares.  He has a small private practice and continues to assist in the growth and development of Encompass.

Synopsis The American composer John Harbison grew up listening to the Saturday afternoon broadcasts of the Metropolitan Opera, so on today's date in 1999 it must have been gratifying to celebrate his 61st birthday taking curtain calls there when his opera “The Great Gatsby” premiered at the Met. F. Scott Fitzgerald's novel, a devastating evocation of America's “Roaring 20s,” is a regular contender for the title of the “Great American Novel,” but Harbison says when he told his mother he was writing an opera based on it she wasn't very enthusiastic, arguing that the novel's characters were an unsympathetic bunch. Gatsby, the novel's anti-hero is a both a fraud and a crook. Daisy, Gatsby's lost love and the object of his obsessive desire, is selfish, spoiled and shallow. But Harbison saw it differently: “Yearning and despair are very big operatic themes,” he said. “As for the character of Gatsby, he takes a lot of risks and is steadfast and loyal to some vision that is not realistically possible. The opera provides many opportunities to look at to what degree he's an impostor, and to what degree his story is real, which is a big American theme in general.” Music Played in Today's Program John Harbison (b. 1938) — Remembering Gatsby (Minnesota Orchestra; Edo de Waart, cond.) Vol. 11, from "Minnesota Orchestra at 100" special edition boxed CD set

John Bee is the singersong writer behind American Opera. Based out of Brooklyn-via-Michigan, Bee toured extensively with more than 300 North American shows in 2017 leading to the debut record Small Victories. Today, Bee shares more about his work as a songwriter and how he continues to make music that comes from the heart. You can hear American Opera at the Leopard Lounge in the Temple Theatre on December 23. www.templetheatre.com/americanopera2021 American Opera Website: http://americanopera.net/ Saginaw Art Museum www.saginawartmuseum.org --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/saginawartmuseum/support

Michael Ching is a finalist in The Acorn Theater Singer/Songwriter Competition. He will be performing on Friday, July 16th at Buchanan Concerts @ The Common. Downtown Buchanan Michigan. 7:30 p.m. eastern.Learn more about Michael and check out some of his work by visiting:Great Production of Speed Dating Tonight!https://en.wikipedia.org/wiki/Michael_Chinghttp://www.baltimoreconcertopera.com/michael-chinghttps://operaandbeyond.com/Interested in learning more and growing your brand and career? Check out The Private Music Studio . Follow us on social media:Instagram: @gretapopeFacebook: The Private Music StudioTwitter:  @gretapope

If you ask a classical musician where the best operas are made, almost no one would say the US. The US is a major power house of entertainment in film, music, and theater, so why is American opera so unpopular, not only abroad but also in the US itself? Today we're diving into the how history and perception has shaped opera in America. We talk about our favorite American operas, whether or not English is an ugly language, and how the beginnings of opera in the US might have spoiled it for everyone. Follow Us: Instagram Twitter Facebook Hosts: Jessie Michelle

Celebrated countertenor Anthony Roth Costanzo will channel Dracula and Dionysus when he makes his Santa Fe Opera debut this season in the world premiere of The Lord of Cries. Host (and uber fan-girl) Jane Trembley chats with Anthony about what it's like having a lead role crafted especially for him by composer John Corigliano, with libretto by Mark Adamo. The pair also discuss why this heart-stopping production is the perfect opera with which to entice audiences back to the Crosby Theatre. For those scratching their heads at the term countertenor, you know it when you hear it - and you've heard it. Think Prince, the BeeGees, and even Justin Timberlake “just done in a more full-throated way,” Anthony explains. He traces the style's origins back to the castrati popular in 16th-century opera. Those performers were widely revered as the rockstars of their time. The vocal range of countertenors is our modern equivalent, minus the castration, of course. Their high-voltage sound lends itself well to characters who occupy a more mysterious realm. “Contained within the countertenor's voice are all of these questions of, really, identity as it relates to gender, as it relates to sexuality,” says Anthony, adding, “now we live in a time when everyone is thinking in a more open-minded way.” The Lord of Cries takes full advantage of Anthony's dynamic talents. John Corigliano, whom Anthony has known for 20 years, wrote his first opera, The Ghost of Versailles, in 1991. He hadn't written a second opera, until now. The piece poses complex questions about the human condition against an unsettling, ethereal backdrop. It's a thrilling and terrifying space to play in as there's no precedent, no previous productions from which Anthony might draw insight. “It's like having a suit that is tailor-made for your own body.”  As for making his debut on the legendary desert stage in the lead role of a new work, Anthony says, “Santa Fe has been at the forefront of bringing American opera to fruition, you know, new operas, new composers, and making it happen, and that's been so thrilling.”  *** Destination Santa Fe Opera is a Santa Fe Opera podcast, produced and edited by Andrea Klunder at The Creative Impostor Studios. Mixed by: Edwin R. Ruiz Hosted by: Jane Trembley Featuring: Anthony Roth Costanzo, American Countertenor *** Learn more about the Santa Fe Opera and plan your visit at http://www.santafeopera.org. We'd love for you to join us on Instagram, Twitter, Facebook, and TikTok @santafeopera. 

Kelly interviews Michigan-based composer Griffin Candey (@griffincandey) about his background and inspirations as a composer and his upcoming projects. They also discuss American opera, its history and how it compares to the American musical theater industry, and discuss the term "modern American verismo opera", as well as how the opera industry views American opera and how that is reflected in what kinds of American operas are shown on the country's largest stages.

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/

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/

The beloved American Opera, Porgy and Bess, is having quite the season with sold out and added performances at the Met, and a wildly successful run at Cincinnati Opera. The Opera After Dark team traveled to Cincinnati last July to take in the company's magnificent production while learning more about the opera from some of the singers portraying its staring roles. We're thrilled to share the experience with you in this episode.

Laura Baxter- For over 25 years, Laura Baxter, the American Opera Singer and Performance Expert have studied the effects of the voice and body on non-verbal communication and leadership. Through her seminars, university courses and keynote speeches, she shares her research and experience not only with actors and singers but also with business and political leaders worldwide. She helps her clients to excel both on and off the stage! Ms. Baxter uses her stage experience to help business and political leaders to overcome stress and to excel in difficult situations. She also gives keynote speeches on the international stage, in which she combines musical theater and business themes into an entertaining, inspiring and informative event for everyone. In 2011 Ms. Baxter won the German Speakersʼ Association (GSA) Newcomer Casting Award with her Keynote Speech “The Power of Presence!” Ms. Baxter is also considered to be one of Speakersʼ Excellenceʼs Top 100 Trainers in Germany, Switzerland and Austria. In addition to her performance career, Laura Baxter was on the vocal faculty at the renown Duke University and has been on the faculty at the Friedrich-Alexander-University in Erlangen-Nuremberg, Germany, since 1999, and she co-authored the book Die besten Ideen für mehr Humor (“The Best Ideas for more Humor”, GABAL Verlag Top Speakers Edition, 2013).   Listen to another #12minconvo 

Vinny Vegas - Baltimore,MD based Rock band...New album "Clear The Walls" out now...Doing a solo acoustic run starting tonight in Richmond,VA...Check out their music & more @ www.facebook.com/VinnyVegasMusic American Opera - Indie/Rock Singer/Songwriter John Bee...Debut full length "Small Victories" ft "Small Victories" & "Monsters Among Men" out now on Spartan Records...Check out his music, tour dates & more @ www.facebook.com/americanopera

Welcome to the 100th episode of the Taking the Lead Media Podcast. It is finally here! I'm a Frasier fan, like, I love that show so much. So I took a cue from that and decided to replay the very first episode of this podcast, originally released, June 19, 2010. It's on the website, but if you ain't digging that far back, well, here it is! Also on the show are new songs by Dead Frets and American Opera. Thank you to any one who has taken time to check out an episode, listened to the music, downloaded an episode or said hi. Means a lot. For real. SOCIAL MEDIA Website: www.takingtheleadmedia.com Twitter: https://twitter.com/ttlmpodcast

This weeks I chat with an incredible human being named, Cassie Wilson! Cassie is an accessibility activist and musical entrepreneur who runs the online music reviewing site, Sick Snaps, as well as the nonprofit, Half Access. We chat about music, Taco Bell, being from Oregon and the greater purpose of Cassie's work in the scene today. Half Access is a program that gives disabled music fans a voice in accessibility issues and ableism at concert venues through a database of music venues and its accessibility needs and issues, while also developing ways to help venues improve their practices. Having recently turned 19 (HAPPY BIRTHDAY!!), she is already making a major name for herself as the recipient of a $10,000 grant from Hopeless Records and Sub City. She was flown to Cleveland to receive the award in front of thousands of people and musicians she admires at the Alternative Press Music Awards! EPISODE NOTES (for full links, visit CraigBidiman.com/edupunxpod): - A lot of bands get hyped in this episode, check out tunes from Grizzly, Speak Low If You Speak Love, From Indian Lakes, and Owel. - You can learn more about Cassie's nonprofit, Half Access, by visiting HalfAccess.org - make sure to check out the venue database and reach out so that you can help her chronicle music venue accessibility across the country and WORLD! - Dan Campbell from The Wonder Years presented Cassie with her APMA award - you can check out the video and article HERE! You can also learn more about the Hopeless Records/Subcity grant she won! - Sick Snaps, Cassie's first project, featured my first single back in May, and it was a wonderful way to connect with my home audience in the Pacific Northwest! Be sure to check out more of Sick Snaps' work and all of the great tunes they feature. - Cassie's favorite record labels today are Hopeless Records and Triple Crown Records - both are putting nothing but incredible bands! - If you haven't heard the new album from The Maine, Cassie's favorite band of all time, you should get on that! I just did and I really enjoyed it. - But currently Cassie is all about A Will Away, Tigers Jaw, and Paramore. - In fact, Cassie's top album this year so far is “After Laughter,” by Paramore. MUSIC NOTES: - This week's music sponsor is Spartan Records - you can hear more tunes from their bands at SpartanRecords.com!  - The intro/outro/break song is "Atom Smasher," from the new Young Fox album, "Sky Beats Gold." I love the album - have the orange/brown/white tri-color with black haze vinyl pressing. It's gorgeous. - Our featured track is "Monsters Among Men," from the new American Opera album, "Small Victories." It's a fabulous new wave Americana record with ridiculous artwork and some really cool stories! Check out the full album now! - As an added bonus, click here to check out an in-depth interview with John from American Opera. ADVERTISING NOTES: - This week's HYPE of the week goes out to one of Cassie's projects, Sick Snaps! You can get all sorts of new music recommendations, band interviews, photos, and monthly podcasts by simply visiting SickSnaps.co! It's that easy! FOLLOW, RATE, REVIEW, SUBSCRIBE, AND SHARE! - Any love on the iTunes app helps! CLICK HERE TO VISIT THE ITUNES STORE! - Follow along on Instagram and Twitter @eduPUNXpod! - Follow me on Instagram and Twitter @CrigBididman See you next week! Let's get to work.

The Colored American Opera Company was born at St. Augustine’s Catholic Church — the first all-black church in the nation’s capitol — where an Italian priest invited a white Spanish American veteran of the U.S. Marine Band, and teacher of march legend John Philip Sousa, to teach a French style of opéra bouffe to an African American choir. In doing so, in 1873, just a decade after President Lincoln signed the Emancipation Proclamation, together, they created the first American opera company — black or white — in the nation. Listen as Shelley Brown, producer and former artistic director of the Strathmore theater in Bethesda, Maryland, and Patrick Warfield, a professor of musicology at the University of Maryland and author of Making the March King: John Philip Sousa's Washington Years,1854-1893 discuss this hidden American story. See acast.com/privacy for privacy and opt-out information.

Recently declared by Opera News to be a “game changing” company that is redefining American opera, New York City-based Rhymes With Opera started just like most new music ensembles – as a handful of like-minded friends who just wanted to do good work – and have become a well-established, well-respected organization creating a whole new set of operatic repertoire for the 21st century. I was thrilled to sit down with all five of the founding members to talk about the company's successes and growing pains, and their advice for new music ensembles that are just starting out. During the course of the conversation, we talked about: The history and mission of Rhymes With Opera Deciding your path as an organization Not over-extending your ensemble Finding organizational stability Rhyme With Opera's beginning steps and missteps The importance of forming a solid Board of Directors Limiting your organizational activities to core competencies Surrounding yourself with talent Outsourcing effectively Taking incremental steps toward your goals Knowing your budget in order to fundraise effectively Crowdfunding Cultivating a donor base The current state of American opera and concert music in general The DIY mentality in concert music today Supporting new music as an organizational goal Links: Rhymes With Opera George Lam Ruby Fulton Bonnie Lander Elisabeth Halliday Robert Maril Opera News: Indies Ascending

It was on this day in 1886 that the American Opera Company had its grand opening at the Academy of Music in New York. The first performance was the American premiere of the German opera - "The Taming of the Shrew." On today's "A Classical Day in the Life," discover whatever became of this venture and who was the driving force behind it.

We begin our summer Warped Tour Series with American Opera and BoyMeetsWorld. Listen in as we cut it up chatting about pro wrestling, the Vans Warped Tour and much more. You can check out American Opera on the Full Sail University Acoustic Basement Stage all summer long and BoyMeetsWorld on the Ernie Ball stage. Today's podcast is brought to you by audible.com - get a FREE audiobook download and 30 day free trial at www.audibletrial.com/KillRock. Over 150,000 titles to choose from for your iPhone, Android, Kindle or mp3 player. (function(t,e,i,d){var o=t.getElementById(i),n=t.createElement(e);o.style.height=250;o.style.width=300;o.style.display='inline-block';n.id='ibb-widget',n.setAttribute('src',('https:'===t.location.protocol?'https://':'http://')+d),n.setAttribute('width','300'),n.setAttribute('height','250'),n.setAttribute('frameborder','0'),n.setAttribute('scrolling','no'),o.appendChild(n)})(document,'iframe','ibb-widget-root-1010850769',"banners.itunes.apple.com/banner.html?partnerId=&aId=1l3vtkp&bt=catalog&t=catalog_black&id=1010850769&c=us&l=en-US&w=300&h=250"); (function(t,e,i,d){var o=t.getElementById(i),n=t.createElement(e);o.style.height=250;o.style.width=300;o.style.display='inline-block';n.id='ibb-widget',n.setAttribute('src',('https:'===t.location.protocol?'https://':'http://')+d),n.setAttribute('width','300'),n.setAttribute('height','250'),n.setAttribute('frameborder','0'),n.setAttribute('scrolling','no'),o.appendChild(n)})(document,'iframe','ibb-widget-root-968461269',"banners.itunes.apple.com/banner.html?partnerId=&aId=1l3vtkp&bt=catalog&t=catalog_black&id=968461269&c=us&l=en-US&w=300&h=250"); (function(t,e,i,d){var o=t.getElementById(i),n=t.createElement(e);o.style.height=250;o.style.width=300;o.style.display='inline-block';n.id='ibb-widget',n.setAttribute('src',('https:'===t.location.protocol?'https://':'http://')+d),n.setAttribute('width','300'),n.setAttribute('height','250'),n.setAttribute('frameborder','0'),n.setAttribute('scrolling','no'),o.appendChild(n)})(document,'iframe','ibb-widget-root-551795145',"banners.itunes.apple.com/banner.html?partnerId=&aId=1l3vtkp&bt=catalog&t=catalog_black&id=551795145&c=us&l=en-US&w=300&h=250");

Nabeehah Shakir, Culture Intervention Specialist for Middle and High School with over three decades of experience in Oakland, California as an educator: teacher, professional development designer, coordinator,presenter, and principal. She now serves as an Educational Consultant providing classroom instructional and presenting professional development, Culture Intervention in collaboration with the Oakland Alliance of Black Educators (OABE). There is a State of Oakland Schools forum scheduled for Tuesday, SEPT. 14, 2010, 4-6 PM, at Castlemont High School hosted by OABE, now a part of the Superintendent's Strategic plan. Ms. Sabree Shakir serves as an OABE Executive. Jouvanca Jean-Baptiste is a Haitian American soprano who is one of the newest residents at Opera San Jose. She opens the season in the title role: ANNA KARENINA, in the West Coast premiere of a new American Opera, Sept. 12, the opera is up Sept. 11-26, (408) 437-4450 or online at www.operasj.org. We close with an interview with artist Sellassie, who is featured at the Power to the Peaceful event at Golden Gate Park Sat., SEPT. 11, 2010. Our final guest wasn't able to make it into the studio, perhaps some other time. We feature Thaddeus Edwards: Peace Not War and Stella Chinweshe's "We Survived," from "Talking Mbira: Songs of Liberation."

There was a glitch in the site and I could not corect my spelling of the word "sorry." I also forgot that Cheryl Studer, not Renee Fleming, is in the Susannah recording.                                         Sincerely  Charlie