Podcasts about central city opera

Send us a textIn this special segment of The Mountain-Ear Podcast, hear from our regular correspondent Maryann Rosen about the incredible history of the Central City Opera and the Central City Opera House!  Thank you for listening to The Mountain-Ear Podcast, featuring news and culture from peak to peak! Additional pages are linked below!If you want to be involved in the podcast or paper, contact our editor at info@themountainear.com and/or our podcast host at media@themountainear.com! Head to our website for all of the latest news from peak to peak! SUBSCRIBE ONLINE and use the coupon code PODCAST for A 10% DISCOUNT for ALL NEW SUBSCRIBERS! Submit local events to promote them in the paper and on our website! Find us on Facebook @mtnear and Instagram @mtn.ear! Listen and watch on YouTube today! Share this podcast around by scrolling to the bottom of our website home page or by heading to our main hub on Buzzsprout!Thank you for listening!

In this episode, sopranos Kara Shay Thomson and Jasmine Habersham reflect on forging your own path in opera. Both began their journeys at Central City Opera as Young Artists in the Bonfils-Stanton Foundation Artists Training Program and returned last season as principal performers. They share advice and encouragement for the next generation of Young Artists. Later, meet Eric Chinn, Director of Historic Properties, who oversees the care and preservation of Central City's iconic historic buildings. Be sure to tune in for this engaging and enlightening episode!   Have questions or want to provide feedback? Email us at podcast@centralcityopera.org. Remember to subscribe to our podcast to get the latest episodes delivered directly to your device. To hear more stories from inside Central City Opera and buy tickets to the shows, visit us at centralcityopera.org.  https://centralcityopera.org/2024-festival/     Read More      

In this episode, we sit down with our inspiring CEO, Scott Finlay, to learn more about the man behind the leadership. With over 12 years at Central City Opera, Scott shares his journey, from his early days with the company to stepping into the role of CEO. He reflects on the challenges and triumphs of leading an opera company, the importance of transparency, and how he navigates issues like audience preferences, artist satisfaction, and operational challenges. Scott's positivity and encouragement have left a lasting impression on the team, and in this conversation, you'll get a glimpse of his vision, charisma, and dreams for the future of CCO. Don't miss this engaging episode filled with thoughtful insights, personal stories, and a look ahead at what's in store for the next decade of Central City Opera!   Have questions or want to provide feedback? Email us at podcast@centralcityopera.org. Remember to subscribe to our podcast to get the latest episodes delivered directly to your device. To hear more stories from inside Central City Opera and buy tickets to the shows, visit us at centralcityopera.org.  https://centralcityopera.org/2024-festival/     Read More  

Inside this Episode with host, Mitch Hampton I seem to never tire of saying that among my many missions on this podcast is to have guests that are quite different than myself. Although Christine and I are both musicians and in the music world, I can't carry a tune to save my life and my truly awful singing voice is one of the main reasons I decided to purely instrumental music in terms of my own performance.  Not only does our guest have one of the best singing voices  in her for any field or genre of music but she also speaks five plus languages and is well versed in a remarkably diverse repertoire of music Indeed her newest release is representative of just the kind of eclecticism I always champion. I always love having guests on my show who have been in the "classical music" world as it is a genre most misunderstood at times by the public and always worthy of continuation and celebration. I sincerely hope you enjoy watching this episode as much as we did recording it. Ms. Moore's Bio : ( Full Bio on her website below) Praised by the Leipziger Volkszeitung for her lush sound and powerful expression, soprano Christine Moore Vassallo is a versatile performer with equal command in opera, recital, and contemporary music.  The Sacramento, California native counts among her many opera roles Mimi in La Boheme, the title role Madama Butterfly, Alice Ford in Falstaff, Micaela in Carmen, the title role in Suor Angelica, Santuzza in Cavalleria Rusticana, Donna Anna in Don Giovanni, Countess in Le Nozze di Figaro, Judith in Bluebeard's Castle, Leonora in Il Trovatore (described as "velvety and luscious" by SongWordSight Magazine), the title roles in Aida and Ariadne auf Naxos with such companies as the Leipzig Opera, Central City Opera, Santa Fe Opera, Chautauqua Institute, Utopia Opera, Create Opera, the Aldeburgh Summer Festival, Sacramento Opera, the Amato Opera and Lyric Artists of New York. She curated and performed in the first ever concert of Arab composers, entitled "Nearer to East: Chamber Music from the Arab World" at the Bruno Walter Auditorium at Lincoln Center, which concert was lauded by the Library as one of the outstanding of the year. Christine speaks five languages and sings in ten, and has given numerous solo recitals featuring works of all genres of repertoire and languages, including in Granada and Madrid with Festival de Cancion Espanola, Trinity Concert Series in New York, the Library at Lincoln Center, Merkin Concert Hall, the Edinburgh Fringe Festival, and the Old Stone House, Brooklyn. She made her UK debut in 2005 at the Paxton Chamber Music Festival in Scotland with Schoenberg's Pierrot Lunaire (praised by the Glasgow Herald) and has performed many new works by living composers, including the premiere at Merkin Hall NYC of Richard Thompson's song cycle The Shadow of Dawn as well as the NYC premiere of his opera The Mask in the Mirror, Andrew Rudin's Masha's Arias, and works by Michael Rose, Kareem Roustom, Halim El-Dabh, Richard Cameron-Wolfe, Steve Gerber and Zaid Jabri with the Brooklyn New Music Collective.  In 2016 she founded the singers collective Lyric Artists of New York, producing operas and concerts in the New York area. In 2023 she made her Weill Hall at Carnegie debut, and is currently collaborating on a project with composer and pianist Patricio Molina set to premiere in 2025 of his songs set to Arab women poets of the Andalus period. Album webpage on the Meridian Records website: https://www.meridian-records.co.uk/acatalog/CDE84647-From-Al-Andalus-to-the-Americas.html  Christine's Website: www.christinemooresoprano.com #middleeast #egypt #spain #oud #darbuka #andalus #soprano #classicalmusic #flute ##arabic #folkmusic #latinamerica #meridianrecords #istanbul #farsi #opera #newyorkcity #artsong  --- Support this podcast: https://podcasters.spotify.com/pod/show/mitch-hampton/support

If you're new here, welcome! We've put together a starter pack for you, with episodes and articles to welcome you to the City Cast Denver community.  July in Denver means it's time for hot dogs, swimming pools, and summer fun! We've got plenty of super local recs, hidden gems, and some tips for keeping cool in the Mile High, like taking a dip at an off-the-radar reservoir or hitting up an indoor art show with prints inspired by cats!  Come party with us at the Colfax Indie Bash! We're doing a live podcast recording on July 18 with a very special guest, and we'd love to see you there. There'll be food, drinks, and plenty of Colfax-y goodness. RSVP here! For even more tips on how to make the most of July in Denver, check out our newsletter Hey Denver's take on what to do this month.  City Cast Denver is made possible by our awesome sponsors, like PineMelon and Central City Opera. And we're also powered by our members, who enjoy an ad-free version of the show. Find out more membership.citycast.fm about how to become a member of City Cast Denver. Interested in advertising with City Cast? Find more info here citycast.fm/advertise.  Got questions or comments about this episode? You can reach us at denver@citycast.fm  Looking to advertise on City Cast Denver? Check out our options for podcast and newsletter ads at citycast.fm/advertise Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode, Central City Opera's new Artistic Director Alison Moritz, and Managing Director of External Affairs Adam Scurto discuss the 2024 Festival Season. Join Alison and Adam as they discuss the future of Central City Opera, give tips on how to get the best out of Central City whether it's your first time or your hundredth, and talk about the places Opera can take you. Have questions or want to provide feedback? Email us at podcast@centralcityopera.org. Remember to subscribe to our podcast to get the latest episodes delivered directly to your device. To hear more stories from inside Central City Opera and buy tickets to the shows, visit us at centralcityopera.org.  https://centralcityopera.org/2024-festival/    

Colorado may become the first state to cap the price for a pharmaceutical drug it says is unaffordable. Then, Dr. Antonia Novello is used to breaking barriers as the first woman and first Hispanic person to serve as the U.S. Surgeon General. She held the post from 1990 to 1993. And after a year of turmoil and challenges, Central City Opera has a new artistic director.

On this episode, Cecilia Violetta López and Digital Marketing Manager Peter Constas Cecilia's role as Desdemona in this year's production of Othello. Cecilia dives into how her mom taught her to sing while working on a sugar beet farm, how she got her own day in Idaho, and how she acclimated to Central City's altitude.  Have questions or want to provide feedback? Email us at podcast@centralcityopera.org. Remember to subscribe to our podcast to get the latest episodes delivered directly to your device. To hear more stories from inside Central City Opera and to buy tickets to the shows, visit us at centralcityopera.org. https://centralcityopera.org/ https://www.ceciliaviolettalopez.com/  

On this episode, Developing Artist Kameron Alston and Digital Marketing Manager Peter Constas discuss Kameron's role as Tybalt in this year's production of Romeo & Juliet. Learn about one of the youngest members of the Developing Artist troupe and what it's like duel-wielding on stage.  Have questions or want to provide feedback? Email us at podcast@centralcityopera.org. Remember to subscribe to our podcast to get the latest episodes delivered directly to your device. To hear more stories from inside Central City Opera and to buy tickets to the shows, visit us at centralcityopera.org. https://centralcityopera.org/2023-festival/ https://www.kameronalston.com/  

On this episode, Developing Artist Isaiah Feken and Digital Marketing Manager Peter Constas discuss Isaiah's role as a "gangster" in this year's production of Kiss Me, Kate. Learn about what it's like to be on stage with Broadway legends as an opera singer, why it's more fun being the villian, and the commonalities between opera and dogs.  Have questions or want to provide feedback? Email us at podcast@centralcityopera.org. Remember to subscribe to our podcast to get the latest episodes delivered directly to your device. To hear more stories from inside Central City Opera and to buy tickets to the shows, visit us at centralcityopera.org. https://centralcityopera.org/2023-festival/

LISTEN: The circus is coming to Chipeta Park, John McEuen of the Nitty Gritty Dirt Band.Maryann Rosen tells us the history behind the Central City Opera. We hear news briefs, music mentions, and more.Thank you for listening to The Mountain-Ear podcast, Everybody's Listening. Each week we feature the news and culture from across the peak to peak. You can find us online by visiting https://www.themtnear.com/Find us on Facebook @mtnearYou can contact our editor at info@themountainear.com.Thank you for listening.

In this episode of the OnStage Colorado podcast, host Alex Miller and guest host Toni Tresca review what's on stage right now and take a look at what's coming up. They also discuss a few recent news pieces about the decline in many live theatre organizations across the U.S. and to what extent we're seeing that in Colorado. Also in this episode, Toni interviews Pamela Pantos, president and CEO of Central City Opera, to discuss their current season as well as Pamela's extensive background as both performer and administrator. Theatres and organizations mentioned in this episode include: Breckenridge Backstage Theatre Candlelight Central City Opera Cirque du Soleil Colorado Shakespeare Festival Denver Center ENT Center Historic Elitch Theatre Little Theatre of the Rockies OpenStage Theatre PACE Center/Give 5 Productions Rocky Mountain Repertory Theatre Square Product Theatre Company Steel City Theatre Company Theatre Silco Vintage Theatre

On this episode, Music Director John Baril and Central City Opera CEO Pamela Pantos discuss the three main-stage productions being featured in this year's Summer Festival. Brush up on your Shakespeare, because this season includes productions of Romeo & Juliet, Kiss Me, Kate, and Othello. Join John and Pamela as they detail the rarity of seeing six tenors in one opera, how Cole Porter keeps the drama on the stage, and how Central City Opera is making opera relevant for contemporary audiences.  Have questions or want to provide feedback? Email us at podcast@centralcityopera.org. Remember to subscribe to our podcast to get the latest episodes delivered directly to your device. To hear more stories from inside Central City Opera and buy tickets to the shows, visit us at centralcityopera.org.  https://centralcityopera.org/2023-festival/    

In this episode of LIGHT TALK, the Lumen Brothers discuss everything from Union Strikes to Romance Novels.   Join Zak, Steve, and David, as they pontificate about: Toronto Tales; Trouble at Central City Opera; Negotiating with Backstage Franks; New iPad versions of Logic and Final Cut Pro; Getting started with Projection Mapping; Matching LED and incandescent fixtures in a candle-lit color space; Build and Button techniques; The latest harnesses from The Cheeky Rigger; Other people using photos of your designs without your permission; Ed Sheeran and those nasty four chords; How to create a quick and unified blackout with incandescent fixtures; and The 45-cent Douser!    Nothing is Taboo, Nothing is Sacred, and Very Little Makes Sense.

In this episode, Wes and Todd sit down with the Art Gallery  Manager, Curator, and Vice President of the Gilpin County Arts  Association, Michele Roussel, and the President of the Gilpin County Arts  Association, Eric Miller. Michele and Eric discuss the history of  Central City, the history of Washington Hall that houses the GCAA Art  Gallery, the Central City Opera, Gaming and Casinos, living in a close-knit small community, the history of the GCAA, how the GCAA is governed, Vance Kirkland, the mission of the GCAA and what it facilitates, membership, funding, the Art Gallery and exhibitions, and the GCAA Annual Juried Art Show.Join us for a fantastic conversation about the Gilpin County Arts Association and Central City.Check out the Gilpin County Arts Association website at www.gilpinarts.orgFollow the Gilpin County Arts Association on social media:On Facebook - www.facebook.com/GilpinCountyArtsAssociationEnter the Gilpin County Arts Association 76th Annual Juried Art Show on CaFÉhttps://artist.callforentry.org/festivals_unique_info.php?ID=11387

Rachel Stiles is a theatre professional and artist working in Milwaukee and Chicago. Her resume includes Lyric Opera of Chicago, Florentine Opera, Central City Opera, Broadway in Milwaukee, and The Milwaukee Rep, among others. A midwest girl at heart, her passion is helping people get a head's start in working in the arts and take the reigns on their careers, no matter their background. She created Stage Creatives Network to help theatre professionals find peace, prosperity and joy through the power of connection. Connect with Rachel at rachelannestiles.com Also, here are the Four Pillars that Rachel created to help you make a sustainable career in the theatre. ###Your hosts of Are You Waiting for Permission? are Meridith Grundei and Joseph Bennett. They're friends, co-hosts, actors, improvisers, and coaches. She lives in NYC and coaches actors, business professionals, and presenters to fully engage with their audience, and themselves. She also mentors young actors and directors. He lives in San Miguel de Allende, México, and coaches artists and other creative beings about the beautiful business of art — and life. You can find Meridith: Meridith Grundei the performer artist gal. Or if you are looking to be a more confident and credible speaker, please reach out to Meridith here at Meridith Grundei CoachingYou can find Joseph at Joseph Bennett the artist/coach extraordinaire*Special thanks to Amy Shelley and Gary Grundei of high fiction for letting us use their music for the Are You Waiting for Permission? podcast.And... while the podcast is free, it's not cheap. We'd be thrilled to have your support on PATREONThank you. 

Beautiful Fans and Followers, I love a good meditation as it helps me be centered and calm - something we all need prior to a pageant, an interview, or LIFE! Join me today for an amazing gratitude meditation with Megan Gillespie. About Megan:Megan has two degrees from Manhattan School of Music, a Bachelor of Music and a Masters in Opera Performance. Megan's opera career has taken her to the Royal Opera House of Oman, the Palacio de la Opera de La Coruna in Spain, the Castleton Opera Festival, Central City Opera, Carnegie Hall, the Beverly Hills Sundays at Two Recital Series, One World Symphony, and to venues in Greve, Italy, and Salzburg, Austria.Her roles include: Maddalena in Rigoletto, Petra in A Little Night Music, Amelia in Ottelo, Wowkle in La fanciulla del West, Hyppolita in A Midsummer Night's Dream, Lyubasha in The Tsar's Bride, Barbara in One Penny Opera, Annina in La Traviata, Carmen in Carmen, Dorabella in Cosi Fan Tutte, to name a few. Some Oratorios she has performed are Rossinis' Stabat Matter, The Bach Christmas Oratorio, Alexander's Feast, and each year she performs Messiah with St. Cross Episcopal Church in Hermosa Beach.Megan has been a Young Artist at programs such as Central City Opera in Colorado and The Castelton Festival in Virginia under the baton of Lorin Maazel.She directed over 30 youth musicals, also performing as the music director. Most recently, she directed The Tsar's Bride for The Independent Opera Company.During the pandemic she has sung session work and voice overs from her home studio including commercials, podcasts, operas, and stories.Some of the awards Megan has won include: Regional MET National Council Auditions, Fe Bland Vocal Competition, Beverly Hills Music at the Mansion, LACMA Sundays Live, Opera Florham, AMTL Recitals in Carnegie Hall, Birgit Nilsson Scholarship, YoungArts Finalist, and the Palm Springs Opera Guild, Classical Singer CompetitionHow to connect with Megan:www.MeganGillespieMezzo.comTikTok: @Megnificent_LessonsIG: @Megnificent_LessonsFB: @MeganGillespiesStudioSupport the show

On this episode, we hear from David Duffield, a historian with The Center on Colfax in Denver, Colorado. David was part of a panel of experts hosted by Central City Opera on June 12, 2022, to give perspectives on the themes within the chamber opera TWO REMAIN. I asked him to be on the podcast to dig even deeper, and he shares about LGBTQ history in Colorado and beyond, art as activism, and cultural representation. One of my favorite things he says in the interview is, “You feel a little more human when you see yourself in the artmaking.” David Duffield is from Denver and is a social studies teacher with Denver Public Schools. He helped found the Colorado LGBTQ History Project in 2014 with The Center on Colfax, focusing on Oral History, Archiving, Education, and Networking. Among the accomplishments of the History Project are over 100 oral histories, the donation of 36 archival collections to receiving institutions, the creation of lesson plans, exhibits, and public tours of queer history in Colorado, and dozens of other talks and collaborations with people around the world. Have questions or want to provide feedback? Email us at podcast@centralcityopera.org. To hear more stories from inside Central City Opera and buy tickets to the shows, visit us at centralcityopera.org.

On this episode, we hear from sopranos Rebecca Caine and Diana Newman, principals in THE LIGHT IN THE PIAZZA. Rebecca plays the role of Margaret Johnson, and Diana plays the role of Margaret's daughter Clara. This is the first time they've worked together, and watching them onstage, you'd think they were old friends. Rebecca shares how much she loves playing a woman of a “certain age,” and Diana talks about how she approaches Clara's neurodivergence. You'll hear more about how the perfect costume helps get an actor into character, how much Rebecca and Diana love being onstage with each other and their castmates, and how the Supreme Court decision that overturned Roe versus Wade influenced how they thought about this story. This interview was recorded on July 7, 2022. Canadian soprano Rebecca Caine has had a career divided between Opera and Musical Theatre, making her West End debut at age 19 as Laurey in OKLAHOMA! She then sang the role of Eliza in MY FAIR LADY on the National Tour. While at Glyndebourne Opera Festival, she was asked to join the Royal Shakespeare Company where she created the role of Cosette in LES MISERABLES. She was also part of the original cast of PHANTOM OF THE OPERA as Christine. Her long career continues to span the realms opera, musical theatre, straight theatre, and cabaret in the UK, United States, and around the world.   American soprano DIANA NEWMAN brings “fresh and intense” performances to opera houses and concert stages across the United States and Europe. She has recently appeared with the Dallas Opera and the Metropolitan Opera. A recent graduate of the Lyric Opera of Chicago's Ryan Opera Center, she returned this season for the company's Ring Cycle. Diana was also recently a soloist with the Los Angeles Philharmonic at the Hollywood Bowl for AMERICA IN SPACE in celebration of the 50th anniversary of the Apollo 11 moon landing. Have questions or want to provide feedback? Email us at podcast@centralcityopera.org. To hear more stories from inside Central City Opera and buy tickets to the shows, visit us at centralcityopera.org.

On this episode, we hear from conductor Brandon Eldredge and soprano Tessa McQueen about Act One of Jake Heggie and Gene Scheer's chamber opera, TWO REMAIN. Act One focuses on the true story of Polish poet Krystyna Zywulska surviving the Holocaust – and the psychological trauma she dealt with the rest of her life. It's based on her searing memoir of 1946, “I Survived Auschwitz.” Brandon and Tessa share more about Krystyna's life, about how challenging it is to perform and interpret a story of this magnitude, and how important it is to keep telling these stories. Brandon Eldredge has built a broad-scoped knowledge and experience as a conductor, pianist, and operatic coach, working across the United States, Germany, and Sweden. He is CCO's Associate Conductor and Chorus Master this summer, working on all three productions. During the year, he is on staff at Virginia Opera as Assistant Conductor and Chorus Master. Soprano Tessa McQueen is a first year Studio Artist in the Bonfils-Stanton Artists Training Program, and in addition to her role of Krystyna Zywulska in TWO REMAIN, she is in the chorus of Die Fledermaus and several opera scenes for the Short Works performances. Tessa received her Bachelor of Music degree in Voice Performance from Oklahoma City University and will begin her Master's degree at Rice University this fall. Have questions or want to provide feedback? Email us at podcast@centralcityopera.org. To hear more stories from inside Central City Opera and buy tickets to the shows, visit us at centralcityopera.org.  

On this episode, we pull back the curtain and hear from the Costume Designer for THE LIGHT IN THE PIAZZA, Edina Hiser. There are a LOT of costumes in this production, and Edina gives us the insights into the symbolism she embeds in the design, the anatomy of a quick change – since there are so many! – how she is able to engineer costumes to function efficiently yet not alter their authenticity, and the joy she gets from helping performers become more comfortable with their body images through well designed costumes. Edina Hiser graduated from the University of Southern California with a Bachelor of Fine Arts degree in theatre design, and she is now the Resident Costume Designer for the Thornton School of Music at USC. As a designer, she is bold, colorful, and collaborative, with a passion for storytelling and a talent for creative problem-solving. Have questions or want to provide feedback? Email us at podcast@centralcityopera.org. To hear more stories from inside Central City Opera and buy tickets to the shows, visit us at centralcityopera.org.

On this episode, we hear from two principal singers in DIE FLEDERMAUS: mezzo-soprano Kira Dills-DeSurra who plays the role of Prince Orlofsky, and tenor William Ferguson, who plays the role of Eisenstein. Both Kira and Will are seasoned comedic performers, and their healthy senses of humor are on full display during this episode. Will and Kira talk about the magic of live performance and how much the audience influences them, how April Fools' is a recognized holiday in both their families, how they got into opera in the first place, and the role that Central City Opera plays in the context of opera in America. Kira Dills-DeSurra is a vibrant American mezzo-soprano whose magnetic stage presence communicates effortless charm and truth. A champion of new and rarely performed works, Kira has appeared in many American premieres, and she also cultivates skills in musical improvisation and circus arts as part of her broad-ranging palate of storytelling tools. She is a graduate of Roosevelt University and the University of Southern California. Tenor William Ferguson has always pushed the boundaries of opera performance through his exploration of new repertoire and through the commitment of his characterizations. A Juilliard graduate, he has sung with Santa Fe Opera, Opera Australia, New York City Opera, Salzburger Landestheater, Opéra de Québec, Opera Philadelphia, Opera Theatre of St. Louis, Dallas Opera and The Metropolitan Opera, as well as symphonies around the world. Have questions or want to provide feedback? Email us at podcast@centralcityopera.org. To hear more stories from inside Central City Opera and buy tickets to the shows, visit us at centralcityopera.org. 

On this episode, we dive deep into DIE FLEDERMAUS with stage director Joachim Schamberger and conductor John Baril. While on the surface, this operetta may seem like nothing but champagne bubbles and fun, Joachim and John reveal the complexities of the story and music that make this operetta timeless. Joachim is an acclaimed stage director and video designer who is currently Director of Opera at Northwestern University in Chicago. He is in demand as a director, designer, and teacher throughout the world. DIE FLEDERMAUS is his third production with Central City Opera. John Baril, Principal Conductor, is also the Music Director of Central City Opera, and this is his 30th year with the company. He got his start as Festival Scheduler back in 1992. John has conducted throughout the United States in the genres of opera, ballet, symphonic works, and music theatre. Both John and Joachim have been featured on the Central City Opera Podcast in past seasons – visit ccopodcast.org to find their episodes and learn more about them. Have questions or want to provide feedback? Email us at podcast@centralcityopera.org. To hear more stories from inside Central City Opera and buy tickets to the shows, visit us at centralcityopera.org.  

On this episode, stage director Ken Cazan and conductor Adam Turner share their insights into the musical THE LIGHT IN THE PIAZZA. This is Ken's 20th season directing at Central City Opera, and Adam has worked on the music side for seven seasons since 2011, first as associate conductor, then as guest principal conductor. Ken and Adam dig into the story and sounds of this Tony-Award-winning musical, elaborating on the cast, the universal themes in the story, and the inspiration behind the work. And in celebration of our 90th Anniversary, they share what makes Central City Opera special to them. Ken Cazan is currently a Full Professor, Resident Stage Director, and Chair of Vocal Arts and Opera at the University of Southern California Thornton School of Music, where he has worked since 2004. He is in demand internationally as a stage director and masterclass clinician. In 2017, he was inducted into the Grove Dictionary of Music as an expert in the works of Benjamin Britten. Conductor Adam Turner is currently Artistic Director of Virginia Opera. He is a champion of new works, and first emerged on the international stage at age 25 when he took over conducting responsibilities of a production of Les Miserables in Germany. Find out more about Ken and Adam on past episodes of the Central City Opera Podcast at ccopodcast.org. Have questions or want to provide feedback? Email us at podcast@centralcityopera.org. To hear more stories from inside Central City Opera and buy tickets to the shows, visit us at centralcityopera.org.

On this episode, we go behind the scenes with Technical Director Kerry Cripe and Stage Manager Angela Turner. Kerry's been TD with Central City Opera since 2017, and this was Angela's first summer with us. And what a summer it's been! Kerry and Angela share all the insider details on producing an outdoor opera festival in Colorado, complete with 100-degree weather and monsoons. They also share some of their favorite parts of Rigoletto, the show that Angela is working on, as well as what they each did to keep their spirits and skills up during their long hiatus from live performance this past year-and-a-half. After this interview, I saw Kerry and Angela backstage at a show. Kerry wanted to emphasize that while they talked a lot about challenges and things that went wrong this summer – which they then fixed – there's also 1000 things that have to go RIGHT in order to make a show happen…and if they go right, the audience is blissfully unaware of all those intricate processes and parts. The magic of live theatre – it's so good to be back! Read the show notes from this episode here.  Have questions or want to provide feedback? Email us at podcast@centralcityopera.org. Remember to subscribe to our podcast to get the latest episodes delivered directly to your device. To hear more stories from inside Central City Opera and buy tickets to the shows, visit us at centralcityopera.org. 

On this special “Young Artist Spotlight” episode, we meet three singers from Central City Opera's Bonfils-Stanton Foundation Artists Training Program: baritone Bernardo Medeiros, mezzo-soprano Michelle Monroe, and soprano Marin Tack. The two women have small but significant roles in all three shows, and Bernardo is covering the two title roles, Rigoletto and Aeneas. We talk about what this summer has been like so far and what they see as priorities to keep opera going into the future. All three auditioned for the program back in 2019 – and when the pandemic hit, CCO had to postpone the 2020 festival. Like so many others in the performing arts industry, Bernardo, Michelle and Marin had to find ways to keep going. The first line of the song “You'll Never Walk Alone” from CAROUSEL is, “When you walk through a storm, keep your chin up high.” These artists, along with the rest of their colleagues, did just that. Read the show notes from this episode here.  Have questions or want to provide feedback? Email us at podcast@centralcityopera.org. Remember to subscribe to our podcast to get the latest episodes delivered directly to your device. To hear more stories from inside Central City Opera and buy tickets to the shows, visit us at centralcityopera.org. 

On this episode, the director of this summer's production of Purcell's DIDO AND AENEAS, Dan Wallace Miller, talks about ALL the things - his outdoor, updated production in the Central City Opera Garden, his background in film and how he brings that into opera, how his love of Wagner and all things music drama started at the very young age of four, how he approaches older works to make them new again for today's audiences, his vision and hope for the future of opera - and so much more. You'll definitely want to check out the show notes page for this episode - it is chock full of goodies. Read the show notes for this episode here. Have questions or want to provide feedback? Email us at podcast@centralcityopera.org. Remember to subscribe to our podcast to get the latest episodes delivered directly to your device. To hear more stories from inside Central City Opera and buy tickets to the shows, visit us at centralcityopera.org. 

On this episode, soprano Anna Christy and baritone Steven LaBrie talk about their roles of Julie Jordan and Billy Bigelow in CAROUSEL. Steven and Anna discuss the big question most of us think when watching this show – why does Billy treat Julie the way that he does, and why does Julie stay? Anna also shares how the roles she's played on the Central City Opera House stage have shaped her as an artist, and Steven goes into how his first big role with a lot of spoken dialogue has been both challenging and immensely rewarding. They also share what they'd like audiences to take away from this summer's production of Rodgers & Hammerstein's CAROUSEL. Read the show notes for this episode here. Have questions or want to provide feedback? Email us at podcast@centralcityopera.org. Remember to subscribe to our podcast to get the latest episodes delivered directly to your device. To hear more stories from inside Central City Opera and buy tickets to the shows, visit us at centralcityopera.org. 

In this episode, you'll hear from Jon Ridnell of the New Family Dog band, Dango Rose gets the scoop on Sober AF Entertainment and their important mission, and Jamie Lammers gets the update from Gail Bransteitter on what's coming up with the Central City Opera. Listen in for news, events, updates, and big announcement on the new direction of The Mountain-Ear Podcast. 

On this episode, soprano Alisa Jordheim and tenor Galeano Salas join the podcast from a porch in Central City – so you'll hear some wind and cars driving by. Alisa is performing the role of Gilda in this summer's production of Verdi's RIGOLETTO, and Galeano is performing the role of The Duke of Mantua in the same production. They are also fairly recent past Apprentice Artists, having gone through CCO's Bonfils-Stanton Artists Training Program about a decade ago. Alisa and Galeano share what they've been up to since then, and what it's like to be back in Central City singing these roles, plus they dig into the psyche of their characters, talk about the challenges of singing outdoors, and so much more. Read the show notes for this episode here. Have questions or want to provide feedback? Email us at podcast@centralcityopera.org. Remember to subscribe to our podcast to get the latest episodes delivered directly to your device. To hear more stories from inside Central City Opera and buy tickets to the shows, visit us at centralcityopera.org. 

On this episode, Stage Director Jose Maria Condemi and Conductor/CCO Music Director John Baril discuss the details of this summer's production of Verdi's RIGOLETTO. John talks about the adjustments made the orchestra - including how he wrote a tuba part! - and Jose Maria tells us why and how the time period was modified to modern day. (Here's a hint - the weather is a factor.) The two also debate whether or not there is a "true villain" in the opera, and they share how the pandemic has changed them and the industry as a whole on a profound level.  Read the show notes for this episode here. Have questions or want to provide feedback? Email us at podcast@centralcityopera.org. Remember to subscribe to our podcast to get the latest episodes delivered directly to your device. To hear more stories from inside Central City Opera and buy tickets to the shows, visit us at centralcityopera.org. 

On this first episode of season six of the Central City Opera Podcast, we hear from stage director Ken Cazan. Ken is back this summer in Central City for his 19th season to direct Rodgers & Hammerstein's musical CAROUSEL. Ken dives deep into the story and themes of this beloved musical, how he and conductor Christopher Zemliauskas made the adjustments for our special outdoor production, and how he connects with the story of CAROUSEL on a personal level.  Read the show notes for this episode here. Have questions or want to provide feedback? Email us at podcast@centralcityopera.org. Remember to subscribe to our podcast to get the latest episodes delivered directly to your device. To hear more stories from inside Central City Opera and buy tickets to the shows, visit us at centralcityopera.org. 

Welcome opera performer, soprano soloist Patrice Tiedemann is the Artistic Director and founder of the Seaglass Theater to In-Focus Podcast Number 78. She graduated from Rhode Island College with a Bachelor's in Music Education and received her Master’s Degree in Vocal Performance from Indiana University.  As a young artist, she received further training with Central City Opera and Indianapolis Opera. Her credits include holiday concerts with the Boston Pops, Boston Lyric Opera (The Little Prince), Pioneer Valley Symphony (Cavalleria Rusticana), Piccolo Spoleto Festival, Opera Boston, Rhode Island Philharmonic, Indianapolis Opera, Boston Civic Symphony (Verdi Requiem). Patrice has also appeared with the New Bedford Symphony, The Bostonians, Opera Providence, Cape Cod Opera, Symphony by the Sea, the New Bedford Festival Theatre, and many, many others in a vast array of repertoire. Listen in on this conversation as The Artist Index’s host, Ron Fortier delves more into Patrice’s life, work, and future ambitions. Music courtesy of www.bensound.com

Colorado Music Ambassador and Flobots emcee/lead singer Stephen Brackett talks about music as a tool for liberation, working with young people through his nonprofit Youth On Record and the state of music in Colorado with CCO Director of Marketing and Communications (and longtime friend) Gail Bransteitter. From the halls of George Washington High School to leadership of the Colorado arts world, Stephen and Gail have both been dedicated advocates and artists making a difference in our community for decades. Learn more about the Colorado Music Ambassador position and the word of both Stephen and previous Colorado Music Ambassador Shawn King of DeVotchKa. Stephen co-founded the rap/rock experimental band, the Flobots, nationally known for songs like “Handlebars” and “Rise” and their focus on social and political consciousness.  Check out their music and mission at flobots.com. Watch for new songs dropping every three weeks in 2021! The Flobots created the Denver nonprofit Youth on Record offering for-credit music classes in music production, poetry and ethnic studies during the school day in high schools and middle schools. Stephen sat on the board for about ten years, acted as board chair for two and stepped off the board to become Director of Special Programs last year. During the interview he mentions the Denver Children’s Home, learn more at www.denverchildrenshome.org. Youth On Record offers free and open to the public, virtual programming five days out of the week. Explore their offerings and sign up at www.youthonrecord.org. About Youth On Record, Stephen says: “What started as an attempt of a band to do more than just soapbox but to actually live our lyrics and create pathways to challenging the power and agency that our songs were about, it actually grew into something that far exceeded our expectations. It has been the best contribution that could have come out of my musical career...That is the thing I’m most proud of.”  “We’re using (music classes) as a delivery method for liberation. We’re not teaching music classes for music’s sake, we are teaching music classes so that during the school day, these students have the opportunity to speak their world, their perspective, their view, and to do so with the excellence that the arts kind of require of you.” “When you’re battling perfection, that means that you never win, but the grit that you earn in trying to meet the impossible gives you a kind of resilience that you can then leverage against the rest of your academic day. That’s what I believe when I’m talking about how music can be a great medium for liberation and a great leverage point for somebody becoming a life-long learner.” Stephen has been all over the news in Colorado for more than a year! Check out some of the headlines below: Black History Month Honors Stephen Brackett “Brer Rabbit” - How music gives voice to social justice Nine People to Watch in Denver's Culture Scene in 2021 WE WIN THE DAY BY FLOBOTS (SNEAK PEEK) Flobots co-founder, Denver nonprofit leader named state’s music ambassador B-boy: Someone involved with hip-hop culture, especially a breakdancer Shout out to George Washington High School in Denver, where Gail and Stephen got to know one another and established a love of the arts.  Stephen on his influences: “My influences right now are any of the students who are bold enough to get on stage during the talent show. When I see young creatives doing things when they haven’t learned the rules yet, and the kinda stuff they come out with when they are unafraid, is always a humbling lesson for me.” A list of local artists we should know about from Stephen: Adam Stone, formally Indestructible North, now performs as Lucy (music and visual arts) Kayla Marque, singer/songwriter Joseph Lamar, singer/songwriter/producer of various mediums Buntport Theater, self-described as “a wee group of theater-making humans based in Denver. We’ve worked together for over 18 years, making new stuff.* We work collaboratively—without ‘official’ writers, directors, designers, janitors. We do all the stuff. Because we love it.” Rodney Mullen, Colorado Country Hall of Fame The Downy Sisters, “dynamite songwriters” Suzi Q. Smith is an award-winning artist, activist and educator who lives in Denver, Colorado. Her background is in opera! Stephen also draws inspiration from Disney songwriters Howard Ashman and Alan Menken. Learn more about The Ballad of Baby Doe, an opera commissioned by and premiered at Central City Opera in the 1950s, based on the famous figure of Colorado history Baby Doe Tabor. Watch the video version of this interview and more at centralcityopera.org/opera-central.  

Phebe Berkowitz-Tanners grew up in the Central City Opera House. Her family made a second home in our magical, old western town during the summers of 1953-1963 when her father, Metropolitan Opera violist David Berkowitz, played the Festival season with the Central City Opera Orchestra. Now a dedicated supporter of the company, Phebe reminisces with CCO Director of Development Katie Nicholson about mounting backyard opera productions with other children of the Festival company (attended by famous singers and actors of the main stage!), experiencing the world premiere of The Ballad of Baby Doe from behind the scenes and the expansive and international Central City Opera community that she found throughout her career as an opera stage director and production professional. Guest host Katherine (Katie) Nicholson was recently featured on the Central City Opera blog, take a read get to know her better! Those of you watching the video version of this interview will notice the poster for Central City Opera’s Voice Your Dreams Endowment Campaign behind Katie. If you want to learn more and/or contribute to the Campaign to help our company endure long into the future, contact Katie at knicholson@centralcityopera.org or 303-331-7015! Special thanks to Central City Opera Office Administrator Wanda M. Larson who’s helped us keep in close contact with our guest, Phebe, throughout the years and continues to show her passion for unforgettable Central City Opera experiences and community. You’ll probably recognize her if you’ve been up to the summer Festival, she’s the Gift Shop Admin/Buyer, too! Historical preservation is a pillar of Central City Opera’s mission. Learn about the dozens of historic properties we own and maintain. Explore more Central City history, and even schedule a tour at www.gilpinhistory.org. “The famous ghost town” of Nevadaville is just up the street from Central City. Learn more about it at www.uncovercolorado.com. Like many patrons and visitors, Phebe mentions paranormal experiences in and around our properties. Have you encountered something ghostly in Central City? Phebe talks about many exciting moments and incredible figures from Central City Opera, including: Phebe spent her first summer at Central City Opera in 1953, the production was Bizet’s Carmen. She was 7 and her sister was 9. They fell in love with the music, sitting in on every rehearsal, and they began the tradition of performing their own versions of the season’s operas in their backyard with the other children of the Festival company. They’d string up a sheet to make a stage curtain, and star actors and singers would even come to see their shows! According to Phebe, these “parodies” and performances went on to inspire the tradition of our famous singing ushers. You’ll hear the famous Risë Stevens recording of Carmen that Phebe and her sister loved so much as background music during this podcast. Wonderful performers Phebe recalls knowing as a child—some of whom attended her backyard productions—were Julie Harris, Tammy Grimes, Shirley Booth, Arlene Saunders. One of Phebe’s favorite memories of Central City Opera was the world premiere of The Ballad of Baby Doe in 1956. She was 10 years old at the time, and she remembers all the excitement and artistry of composer Douglas Moore, librettist John La Touche, director and renowned choreographer Hanya Holm, director Edwin Levy and starring sopranos Dolores Wilson and Leyna Gabriele, all working together on this brand new opera. Read more about Baby Doe Tabor as a historical figure and the opera based on her life on the Central City Opera blog! Cyril Richard—perhaps best remembered as Captain Hook in the Mary Martin musical production of Peter Pan—played Don Andres in La Perichole at Central City Opera in 1958. Phebe talks about how he kindly reassured her little brother, who had made a loud mistake on stage while playing a non-singing role in the production. Over her summers at Central City Opera, Phebe memorized 17 operas along with the other children. “It was incredible musical education,” she says, “it was all about the music.” Phebe points out, “in those days all the operas [in Central City] were performed in English.” Throughout history it’s been common practice for operas to be adapted to the vernacular of the place they’re being performed. In recent years—especially in the United States—operas are more commonly performed in their original language. Wonder where the performance trends in this 400-year-old artform will take us next! Since various opera companies and orchestras perform during different times of the year, many musicians play in multiple ensembles like Phebe’s dad. For instance many orchestra members at Central City Opera also played with the Metropolitan Opera, and today our orchestra shares many musicians with the Colorado Symphony. The Berkowitz family stayed in a historic house that, during those years, was named after Gypsy Rose Lee (1911-1970). Famous for her burlesque act, Lee was also an actor, author, playwright and all-around fascinating figure that inspired and captured the kids’ imagination. As an adult, Phebe went on to build a career as an opera director and production professional, herself. Learn more about some of the figures and references she makes in this interview: She snagged a job as an intern in makeup and costumes with Hamburg State Opera as a young woman. As she was such a keen observer during rehearsals, Gian Carlo Menotti—the composer of the world-premiere production of Help, Help, the Globolinks! they were producing—asked her to call the light cues. Even with her very limited German vocabulary, she was up to the task! After that, Hamburg State Opera Artistic Director Rolf Liebermann hired her on as lighting stage manager. Later, he took Phebe with him as a stage director when he joined Paris Opera as Artistic Director. Phebe enjoyed many years as a part of the Metropolitan Opera Company, as an assistant stage director, director for revivals and Executive Stage Director (1974-2016). Her time with the Met Opera began when August Everding brought her along as his personal assistant for Tristan und Isolde (1971), which was Rudolf Bing’s last new production. Central City Opera Artistic Director Emeritus John Moriarty is also a close friend and mentor to Phebe. While they didn’t cross paths at CCO, he taught her to stage manage at Lake George Opera—now Opera Saratoga—where they worked together for three years. Read Phebe’s general bio at centralcityopera.org/opera-central Join Phebe in supporting the community and artistry of Central City Opera for many years to come. Find all kinds of ways to donate at centralcityopera.org/support-us Thanks for listening! Musical excerpts featured in this podcast: Carmen by Georges Bizet. Mezzo-soprano Risë Stevens (1913-2013) sings the Act 1 “Habanera.” Recording with the Metropolitan Opera Orchestra in approximately 1948 and conducted by Erich Leinsdorf. The Ballad of Baby Doe by Douglas Moore, Act 1, Scene 2 “Willow Song.” Recorded in 1959 at the New York City Opera Company with soprano Beverly Sills (1929 – 2007) as Baby Doe and Walter Cassel (1910-2000) as Horace Tabor. Conducted by Emerson Buckley (1916-1989). (Cassel and Buckley were part of the original 1956 production at Central City Opera in these same roles.) The Girl of the Golden West by Giacomo Puccini, Act 1 with soprano Eva-Maria Westbroek as Minnie and tenor Yusif Eyvazov as Dick Johnson. Recorded at the Metropolitan Opera and featured on PBS’s Great Performances.

En Mis Palabras artists share their thoughts and experiences on racially accurate casting, representation in the performing arts and the importance of telling diverse stories on the operatic stage in today’s episode. Guests include Mica Dominguez-Robinson, who originated the leading role of Ana Maria, and brand-new cast members Daniela Guzmán-Égüez (Ana Maria) and Armando Contreras (Esteban). Hosted by CCO Marketing Content Manager and Opera Central Producer Margaret Siegrist. Central City Opera commissioned our bilingual, one-act opera En Mis Palabras/In My Own Words more than 15 years ago, with the goal of acknowledging the 1/5 Latino population here in Colorado. The opera tackles themes of immigration, family and coming of age and is performed regularly as a part of year-round education and community engagement programming. Over 19,000 people have seen it since its 2006 premiere. Central City Opera committed to casting the lead role of Ana Maria only with LatinX artists since the opera was commissioned, and that practice has been honored to this day. This third and final conversation focused on En Mis Palabras and diversity, equity and inclusion in the arts amplifies the voices of the artists of color who perform in the program!   Settle in for coffee and conversation with us. Text PALABRAS to 20123, and find great deals on over 400 coffees roasted to order and shipped to you by the bag from the nation’s best roasters. A portion of all purchases goes to Central City Opera thanks to our partners at Eat4Art.   A note on En Mis Palabras personnel and casting: “Touring artists,” a term you heard during the interview, refers to the singers, instrumentalists and production staff who perform as part of our year-round education programs. Most shows, including En Mis Palabras, are cast with multiple artists in each role so that Central City Opera is able to best serve our communities from a scheduling perspective. The artists you’ll meet in these episodes are just a few of the many current and past cast members of the show!   What are Mica, Dani and Armando up to in the near future? Both Armando and Dani perform in Boulder Opera Company’s November 2020 production of La bohème, set in the era of COVID-19. Learn more and buy tickets at boulderoperacompany.com Armando teaches voice lessons and is currently accepting new students. Apply at Resonance. Mica looks forward to performing the following roles in postponed productions: Dorothy in The Wizard of Oz, the “Day by Day” singer in Godspell, ensemble in Sweeney Todd and Bright Star and returning as a featured singer in the Cirque Dreams National Tour.   Mica talks about a couple momentous moments for inclusive casting in musical theater: Brittney Johnson Makes History as Broadway's First Glinda of Color in Wicked Broadway's Phantom of the Opera Announces First Asian-American Christine   Many performers of color and organizations championing diversity, equity and inclusion were mentioned in the episode. Check out the links below for more information: Jessye Norman, opera singer Leontyne Price, opera singer Nadine Sierra, opera singer Pretty Yende, opera singer Frontiers: Fort Worth Opera Libretto Workshop Lyric Opera of Kansas City   Our host mentioned a story about the famously voluptuous opera singer Luisa Tetrazzini (1871–1940) playing a character who was meant to be wasting away with consumption (tuberculosis) as a testament to the lack of importance placed on type-casting during different eras of opera history.    Armando talked about preference against bilingual communication in United States’ schools during the ‘70s and ‘80s that influenced the experiences of his family members. Read more about the “English-only Movement” in education.   Dani talks about “zarzuela,” a Spanish lyric-dramatic genre that alternates between spoken and sung scenes, the latter incorporating operatic and popular songs, as well as dance.”   Shout out to the educators and educational institutions referenced in this episode: Denver School of the Arts University of Denver’s Lamont School of Music Vinson Cole, Armando’s voice teacher   This episode features musical excerpts from our 2008 archival recording of En Mis Palabras. Composer, Roger Ames. Librettist, Jeffrey Gilden. Ana Maria, Jennifer DeDominici. Rodolfo, Adam Sattley. Esteban, Steven Taylor. Abuela, Leslie Remmert Soich. Piano, Deborah Schmit-Lobis. Guitar, Rick Chinisci.

The conversation on our original, bilingual opera En Mis Palabras/In My Own Words and diversity, equity and inclusion in the arts continues. Today we discuss Su Teatro and Central City Opera’s collaboration on the En Mis Palabras workshop and premiere, Denver’s rich Chicano history and art as cultural affirmation. Featuring some of the original artistic minds behind the opera, director Tony Garcia and former CCO Director of Education and Community Engagement Deb Morrow, the interview is hosted by CCO Marketing Content Manager and Opera Central producer Margaret Siegrist.    Central City Opera commissioned En Mis Palabras/In My Own Words more than 15 years ago, with the goal of acknowledging the 1/5 Latino population here in Colorado. The opera tackles themes of immigration, family and coming of age and is performed regularly as a part of Central City Opera’s year-round education and community engagement programming. Over 19,000 people have seen it since its 2006 premiere.   Settle in for coffee and conversation with us! Text PALABRAS to 20123, and find great deals on over 400 coffees roasted to order and shipped to you by the bag from the nation’s best roasters. A portion of all purchases goes to Central City Opera thanks to our partners at Eat4Art. Cheers!   Central City Opera collaborated with Tony Garcia and Su Teatro, where he’s Executive Artistic Director, for the workshop and premiere of En Mis Palabras in 2006. Learn more about Denver’s Su Teatro Cultural & Performing Arts Center at suteatro.org and in the words of Tony Garcia. Born from the Chicano Civil Rights Movement of the 1960s and 70s, Su Teatro (Your Theater) began in 1972 as a student-organized group at the University of Colorado at Denver. In 2020, the company celebrates 10 years at the Denver Civic Theater—an iconic fixture of the Santa Fe Arts District—making Su Teatro the company to make its home in the theater for the longest period of time of any other group, as well as the first to own it. Learn more about Su Teatro’s history and productions on the company’s website.   Referenced a few times throughout the interview, John Moore profiled Tony’s life and career in a 2019 article about his Community Service in the Arts Award. “The Bonfils-Stanton Foundation saluted Su Teatro Executive Artistic Director Tony Garcia for four decades of promoting Latino culture in Denver through the performing arts by presenting him with its Community Service in the Arts Award on May 14, 2019.”   Deb Morrow has been General Manager at the Arvada Chorale since 2019. Learn more about the community chorus and its 43-year history arvadachorale.org.   Composer Roger Ames and librettist Jeffery Gilden were also important members of En Mis Palabras/In My Own Words’ original creative team. Hear more from Roger about the making of En Mis Palabras and recent, collaborative language/dialect improvements to the libretto in Season 5, Episode 4 of the Central City Opera Podcast.   Music! Words! Opera!, an opera and musical theater “create and produce” program that Deb mentions throughout the episode, is still an integral part of Central City Opera’s programs. Learn more (and book!) on our 2020 fall virtual programming webpage. Music! Words! Opera! is available in the form of CCO teaching artist-guided residencies as well as workshops for educators.   More projects by Tony Garcia referenced in the interview include: Interview with a Mexican is based on Gustavo Arellano’s “Ask a Mexican” columns that ran in Westword for a decade. Arellano is now a writer at the Los Angeles Times. Tony directed And Now Miguel for the Arvada Center (circa 2000). The Japanese notion of “searching for the imperfection that people keep” is referenced several times throughout the interview, including a play based on the concept directed by Tony Garcia.   Read more about history and social context presented in this episode:   The Chicano Movement or “El Movimiento:” history and recommended resources from MSU. “English-only Movement” in education “Zarzuela is a Spanish lyric-dramatic genre that alternates between spoken and sung scenes, the latter incorporating operatic and popular songs, as well as dance.” American playwright, screenwriter, film director and actor Luis Miguel Valdez is regarded as the father of Chicano theater in the United States. Valdez is well known for creating El Teatro Campesino and supporting César Chávez and the United Farm Workers. Corrido is a style of narrative or storytelling involving song and meter, often dealing with themes of oppression and social turmoil. The style was popular during the Mexican Revolutions of the 20th century and is still common today in various cultures.   This episode features musical excerpts from our 2008 archival recording of En Mis Palabras/In My Own Words: Composer, Roger Ames. Librettist, Jeffrey Gilden. Ana Maria, Jennifer DeDominici. Rodolfo, Adam Sattley. Esteban, Steven Taylor. Abuela, Leslie Remmert Soich. Piano, Deborah Schmit-Lobis. Guitar, Rick Chinisci.

This interview is part of a three-episode series featuring our original bilingual opera En Mis Palabras/In My Own Words and exploring equity, diversity and inclusion in the arts. Central City Opera (CCO) commissioned En Mis Palabras more than 15 years ago, with the goal of acknowledging the 1/5 Latino population here in Colorado. The opera tackles themes of immigration, family and coming of age and is performed regularly as a part of Central City Opera’s year-round education and community engagement programming. Over 19,000 people have seen it since its 2006 premiere.   Today, we discuss the ongoing growth and evolution of the opera’s bilingual text, the idea of enriching story-telling through inclusion of many creative voices and, finally, what En Mis Palabras means to artists and audiences who’ve experienced it. Guests include En Mis Palabras composer Roger Ames, pianist and coach for the production Steven Aguiló-Arbues and CCO Director of Education Emily Murdock with host and CCO Marketing Content Manager Margaret Siegrist.   Settle in for coffee and conversation with us! Text PALABRAS to 20123, and find great deals on over 400 coffees roasted to order and shipped to you by the bag from the nation’s best roasters. A portion of all purchases goes to Central City Opera thanks to our partners at Eat4Art. Cheers!   Roger Ames co-wrote Music! Words! Opera!, a “create and produce” curriculum for Opera America’s textbook series, in the late 1980s with Clifford Brooks. It’s been an important part of Central City Opera’s education and community engagement programs for many years with Roger at the helm. Central City Opera offers Music! Words! Opera! Residencies for students and an annual workshop teaching educators how to bring the program their own classrooms. Learn more on our 2020 fall virtual programming webpage.   Listen to compositions by Roger Ames referenced during this episode:  2008 Pulitzer-nominated composition, A Requiem for Our Time.  Excerpts from Roger’s first opera, Amistad, (1977), dealing with the first instance in which slavery became an incident in the United States Supreme Court. Libretto by Virginia Artist and Roger Ames. Commissioned by the Board of Homeland Ministries and awarded a National Endowment for the Arts grant.   Abraham’s Land, a new musical by Roger Ames with book and lyrics by Lauren Goldman Marshall, was scheduled to premiere in 2020 and has been postponed to summer 2021 due to the pandemic. “Set against the backdrop of the Israeli/Palestinian conflict during the time of the First Intifada, and framed by the ten days between Rosh Hashanah and Yom Kippur, Abraham’s Land tells a story of atonement.” Learn more: abrahamslandmusical.com.   A note on En Mis Palabras personnel and casting: “Touring artists,” a term you may have heard during the interview, refers to the singers, instrumentalists and production staff who perform as part of our year-round education programs. Most shows, including En Mis Palabras, are cast with multiple artists in each role so that Central City Opera is able to best serve our communities from a scheduling perspective. The artists you’ll meet in these episodes are just a few of the many current and past cast members of the show!   We’d be remiss if we did not introduce Emily and Steven’s dog, Millie, who made a cameo at the end of the interview. To paint a picture for our podcast audiences, she’s some ambiguous and adorable combination of beagle, basset hound, lab and corgi.  This episode features musical excerpts from our 2008 archival recording of En Mis Palabras:   Composer, Roger Ames  Librettist, Jeffrey Gilden   Ana Maria, Jennifer DeDominici   Rodolfo, Adam Sattley   Esteban, Steven Taylor   Abuela, Leslie Remmert Soich  Piano, Deborah Schmit-Lobis  Guitar, Rick Chinisci   

This extra-special, bonus episode of Opera Central is a real, uncut conversation between Music Director John Baril, Orchestra Personnel Manager and Violist Brian Cook, Mezzo-Soprano Megan Marino and Baritone Michael Mayes over a couple of beers. The two couples chatted about life and art during the time of COVID outside of the historic Penrose House Complex in Central City after Meg and Mike performed in the Garden for the CCO Al Fresco series. Covering topics like how their lives have changed since the pandemic, how watering flowers and maintaining historic properties have inspired John and Brian to live in the moment, and the ways Meg and Mike envision American opera changing for the better, you'll feel like you're right there among the elements with these four friends. Since the interview had to be recorded outside for safety purposes, you'll hear wind, motor noise, bird calls, the occasional dog barking, and even the famous Central City Wild West Shootout in the background. That's summer life outside in Central City! You'll hear Mike speak first, then John, Brian, and finally Meg. Enjoy! Megan and Michael's "opera meets bluegrass" #CCOAlFresco concert is available online starting August 26 at centralcityopera.org/ccoalfresco.  Along with being Central City Opera's Orchestra Personnel Manager, Brian Cook is a music educator, chef, massage therapist and more! Learn more about him at cookwithcook.com.  John and Brian reference "working for (Director of Historic Properties) Eric Chinn" throughout the episode. If you'd like to volunteer to help maintain Central City Opera's historic properties and garden, email us at marketing@centralcityopera.org. Megan and Michael talk about connecting more deeply with their neighbors and making music on their front porches during this prolonged period at home during the pandemic. Jason Hicks, their neighbor/the front man of the acclaimed Blue Canyon Boys, even joined them as a featured artist on our #CCOAlFresco concert series! Read more about Jason and the Blue Canyon Boys at bluecayonboys.com.  **Easter egg alert!** Check out a secret performance of Megan Marino's French opera/"Pure Imagination" mashup referenced in the interview here. All four of these guests have appeared on the podcast in the past. Check out John's episodes (Season 4, Episode 3 - BILLY BUDD; Season 3, Episode 5 - IL TROVATORE; Season 2, Episode 8 - COSI FAN TUTTE; and Season 1, Episode 2 - TOSCA). Find Brian's past episode here (Season 1, Episode 19), Megan's past episode here (Season 2, Episode 13 - COSI FAN TUTTE) and Michael's past episodes here (Season 2, Episode 12 - CARMEN and Season 1, Episode 7 - TOSCA).

Guest host and Central City Opera Director of Production Karen T. Federing interviews Soprano Emily Pulley and Baritone Jonathan Hays on the porch of the historic Pink House in Central City. Emily and Jonathan talk about their history with Central City as young artists and principal singers, how the pandemic has affected their lives, and about volunteering to spend the lockdown helping us maintain historic properties in Central City. This interview is recorded outdoors, and you’ll hear all the ambient sounds of beautiful Central City: wind, a dog barking, bird calls, even the occasional car motor. Watch the video version of this interview on the new Opera Central series at centralcityopera.org.   Emily Pulley and Jonathan Hays both sing concerts for our CCO Al Fresco concert series this summer. Episodes are released digitally every Wednesday through July and August. Watch now at centralcityopera.org/ccoalfresco   Want to pitch in to help us maintain our historic properties like Emily and Jonathan or volunteer for Central City Opera in another area? Contact us at marketing@centralcityopera.org.   About the interview location: the Pink House, previously known as the McGlone House, was built between 1880 and 1895. Former Central City Opera Artistic Director John Moriarty bought the house from the McGlones in 1983, and he resided there throughout many Festivals before donating it to the company when he shifted to Artistic Director Emeritus in 2012. Perched on the hill above the Opera House, the house has been known for its beautiful gardens. These days, the Pink House is used for housing production staff during the summer Festival season.    Curt Olds, mentioned several times in this interview, is a fellow Central City Opera regular and past Bonfils-Stanton Foundation Artist. You might remember him as Director/Curator/Soloist in ENCORE: A Musical Revue at Central City Opera in 2018 and 2019. He’s currently performing in Seoul, South Korea in the world tour of The Phantom of the Opera, which is managing cautious, pandemic-era performances.  Both Emily and Jonathan have performed extensively with Central City Opera for many years beginning with their time in the Bonfils-Stanton Foundation Artists Training Program as young artists. View photos of their most recent roles with the company at centralcityopera.org. Emily Pulley, Carmen in CARMEN, 2017; Jonathan Hays, Donald in BILLY BUDD, 2019.

Today's guest, Zachary James brings a wise and insightful approach to crisis. Having experienced different crisis in his personal life. Zachary James: International opera singer, Broadway & TV actor. BWAY/OFF-BWAY: Lurch in The Addams Family (Original Cast), Hassinger in South Pacific (Original Cast), Pasquale in The Most Happy Fella, Jo-Jo in Irma La Douce, Sweeney Todd, Coram Boy, Pirates of Penzance. TV/FILM: 30 Rock, Murphy Brown, The Gift, ESPN Great Outdoor Games, Medici TV, Iowa Public Television, David Letterman, Tony Awards, Macy's Parade, CBS, NBC, PBS, WB, ESPN. OPERA/CONCERT: Metropolitan Opera, English National Opera, New York Philharmonic, Philadelphia Orchestra, NHK Symphony Orchestra Tokyo, Teatro Real, Opera Philadelphia, LA Opera, Arizona Opera, Virginia Opera, Des Moines Metro Opera, Nashville Opera, Opera Theatre of Saint Louis, Opera Roanoke, Anchorage Opera, Central City Opera, Union Avenue Opera, Shreveport Opera, Fort Worth Opera, Opera Ithaca, Knoxville Opera, American Lyric Theatre, Prototype Festival, Phoenicia Festival and more. “Friendships are such a reflection of our own selves and growing with friends is really special.” ~Zachary James Follow Zachary: Instagram: @_zachary_james_ Website: www.ZachJames.com Show Support & Sponsors: Become a Supporter of the Podcast Join me with YogaRenew Teacher Training Looking to use the same sound gear as I do in the show? My Microphone My Mic Preamp My Ring Light Connect with me on Instagram: Rumor_in_StPetersburg --- Send in a voice message: https://anchor.fm/theluxuryofselfcare/message Support this podcast: https://anchor.fm/theluxuryofselfcare/support

American Baritone Will Liverman talks with Central City Opera Education Coordinator Meg Ozaki Graves about his experiences as a Black opera singer, how he’s staying inspired during the pandemic and his thoughts on how arts organizations can move forward. Will was last seen at Central City Opera as Papageno in THE MAGIC FLUTE, 2018. Watch the video version of this interview on the new Opera Central series at centralcityopera.org. Learn more about Will Liverman, and follow his career at willliverman.com, on Facebook @WillLivermanBaritone and Instagram @Willie1525. Will was nothing short of iconic as an ostrich-mounted Papageno in Central City Opera's 2018 THE MAGIC FLUTE. Take a look at the magical production, dreamed out of a toy theater in a Victorian nursery, in photos and video. Read about Will's historical performance as the first-ever Black baritone to sing Papageno at the Metropolitan Opera last January on OperaWire.  The virtual concert discussed in this episode—"Will Liverman Live in Concert with Paul Sánchez" with Valhalla Media Live—is no longer available, but Will's albums and many other recordings are available on his website. Composers featured on his recital included Shawn E. Okpebholo, Robert Owens, Margaret Bonds and Damien Sneed. You can listen to Okpebholo’s “Two Black Churches,” referenced in the episode, on YouTube. Will is a versatile performer who excels in styles ranging from classic opera to popular music. One of our favorites is his arrangement of "Smile."  Finally, to all the other artists out there, Will Liverman has a message for you... LEARN YOUR MUSIC! He'll preach it to anyone who'll listen — if this doesn't inspire you, nothing will!

Today we’re on the line with 2020 Zelma H. Weisfeld Costume Design & Technology Award winner and costume designer Brooke Nicole Kesler.Brooke is so honored to be the 2020 recipient of USITT's Zelma H. Weisfeld award! She is currently the Costume Assistant at The San Diego Opera, and is looking forward to graduating with her MFA in Design and Technology with an emphasis in Costume Design from San Diego State University this spring. Recent designs include: Red Bike (MOXIE), She Loves Me (SDSU), Girlfriend (Diversionary Theatre); and Roald Dahl’s James and the Giant Peach (SDSU). She has also worked as an Assistant Costume Designer at the Santa Fe Opera and Central City Opera. Let’s welcome Brooke. If you’d like to learn more about Brooke and her designs, you can find Pictures of her work at brookenicolekesler.comIf you’d like to learn more about usitt visit us at usitt.org. Explore our new monthly subscription membership options at usitt.org/membership.

Christine Seitz, Teaching Professor of Music, joined the faculty at the University of Missouri in the fall of 2008, where she is Director of Show-Me Opera and a member of the Voice Faculty. She was a member of the stage directing staff for the Apprentice Artist Program at Des Moines Metro Opera from 2006 through 2013, and she was the founding Opera Director for the Pine Mountain Music Festival in Michigan's Upper Peninsula, directing and producing operas there from 1992 through 2002. She has been a guest director for the University of Kentucky Opera Theatre, the Florentine Opera of Milwaukee (educational outreach productions), the University of Wisconsin-Madison and Luther College. She has created original translations and supertitles for productions at the Florentine Opera of Milwaukee, the Pine Mountain Music Festival, the University of Wisconsin Madison, the Dubuque Symphony and the University of Nevada Las Vegas. Christine Seitz is an established dramatic soprano, and she recently appeared with the Des Moines Metro Opera, singing the role of Madame Larina in Tchaikovsky’s Eugene Onegin. She has also sung operatic roles with the Seattle Opera, the Dallas Opera, Madison Opera, the Los Angeles Opera, the Toledo Opera, Kentucky Opera, the Florentine Opera of Milwaukee, Central City Opera, and in Europe with the Wuppertaler Bühnen and the Stadttheater Bern. She sang the leading role of Anna Clemenc in the world premiere of The Children of the Keweenaw, by composer Paul Seitz and librettist Kathleen Masterson, at the 2001 Pine Mountain Music Festival. She has also sung in concert with the MU Choral Union, the Waukesha Symphony, the Greater Lansing Symphony Orchestra, the Caramoor Festival, the Germanfest Symphony in Milwaukee, the Cincinnati May Festival and the Las Vegas Philharmonic. She has sung in numerous recitals in New York City and throughout the Midwest, collaborating with pianists Steven Blier and Jessica Paul, and she has presented voice workshops and master classes in Houghton, Michigan, and the University of California-Irvine. Professor Seitz is the past Central Region Governor of the National Opera Association, and a member of the National Association of Teachers of Singing. She received B.Mus. degrees in both applied voice and music education and an M.Mus. in applied voice from the University of Wisconsin, Madison. A native of Madison, Wisconsin, she was a two-time winner of the Eastern Wisconsin Metropolitan Opera District Auditions.

On this final episode of season four, I'm joined by the stars of ENCORE: A MUSICAL REVUE, Jennifer DeDominici and Curt Olds. (Curt is also the director and curator!) ENCORE is happening at the very end of summer festival. Performed in our opera house, it's 90 minutes of scenes from music theatre performed with full orchestra. Jen and Curt talk about the show and also dive into the many connections between opera and music theatre, as well as their exciting experiences performing on international tours.  Have questions or want to provide feedback? Email us at podcast@centralcityopera.org. Remember to subscribe to our podcast to get the latest episodes delivered directly to your device. To hear more stories from inside Central City Opera to buy tickets to the shows, visit us at centralcityopera.org. 

This episode shines a spotlight on the Bonfils-Stanton Artists Training Program, and features three Apprentice Artists - soprano Caitlin Crabill, baritone Matthew Peterson, and soprano Véronique Filloux - as well as a graduate of the program, Developing Artist and tenor Jonas Hacker. They represent a wide swath of roles across the Festival. We find out what got them interested in the first place, the specifics of their experiences this summer, and how the Bonfils-Stanton Artists Training Program has impacted their careers. Have questions or want to provide feedback? Email us at podcast@centralcityopera.org. Remember to subscribe to our podcast to get the latest episodes delivered directly to your device. To hear more stories from inside Central City Opera and buy tickets to the shows, visit us at centralcityopera.org. 

On this episode, I'm joined by Margaret Ozaki Graves, Gil Asakawa, and Erin Yoshimura. Margaret was the cultural consultant for our production of MADAMA BUTTERFLY, Gil is a journalist and arts critic, and Erin is a consultant who does leadership and cultural diversity training. They give their thoughts on MADAMA BUTTERFLY and related issues from their perspectives of being Japanese-American. Have questions or want to provide feedback? Email us at podcast@centralcityopera.org. Remember to subscribe to our podcast to get the latest episodes delivered directly to your device. To hear more stories from inside Central City Opera and buy tickets to the shows, visit us at centralcityopera.org. 

On this episode, director Alessandro Talevi talks about the unusual double-bill production this summer: Debussy's THE BLESSED DAMOZEL and Poulenc's LITANIES TO THE BLACK VIRGIN. These French cantatas, performed back-to-back, are only about 30 minutes total and were not conceived to be staged. Alessandro shares his unique concept for the pieces, the luxury of having time to develop backstories with the performers, and why even though these pieces have religious themes and texts, they are about the human experience and can be enjoyed by people of all backgrounds.    Have questions or want to provide feedback? Email us at podcast@centralcityopera.org. Remember to subscribe to our podcast to get the latest episodes delivered directly to your device. To hear more stories from inside Central City Opera and buy tickets to the shows, visit us at centralcityopera.org. 

On this episode, we celebrate Herman Melville, the author of BILLY BUDD, SAILOR, and talk to Dr. Dawn Coleman from the University of Tennessee. Dr. Coleman is a Melville expert, and she dives deep into Melville's extraordinary life and how BILLY BUDD the novel came to be.   Have questions or want to provide feedback? Email us at podcast@centralcityopera.org. Remember to subscribe to our podcast to get the latest episodes delivered directly to your device. To hear more stories from inside Central City Opera and buy tickets to the shows, visit us at centralcityopera.org. 

Versatile percussionist Carl Dixon is at home with music spanning multiple genres, continents, and instruments. He can be found performing in concert halls, jazz clubs, dance parties, festival stages, and street parades. Carl plays with the Brazilian music band Ginga. As a drumset player and percussionist, he has performed/recorded with the Kailin Yong Peace Project, NuMundo, Swing Je T'aime, Casuarina, Alessandro Penezzi, Paula Santoro, Sambadende, Elevations Jazz Orchestra, Pat Bianchi, Jeff Jenkins, Dexter Payne, many musical theater productions, and the Rio de Janeiro bloco Bangalafumenga. Carl is the Principal Percussionist of the Central City Opera, Fort Collins Symphony, and Cheyenne Symphony, percussionist with Opera Colorado, and has performed with the Colorado Symphony, Colorado Ballet, Boulder Philharmonic, Colorado Springs Philharmonic, and Greeley Philharmonic Orchestras.Carl teaches drumset and world percussion and directs the percussion ensemble at the University of Colorado-Boulder. He is the Musical Director of the Boulder Samba School and Bateria Alegria, a 20-30 member Brazilian drumming ensemble. He teaches private lessons in all areas of percussion and has presented workshops at Indiana University, University of Wisconsin-Madison, Naropa University, Colorado College, Colorado State Univeristy-Pueblo, and the Colorado and Wyoming PAS Days of Percussion.Carl received a Master of Music degree in percussion performance from the University of Colorado-Boulder, where he studied with Dr. Douglas Walter and Paul Romaine, and a Bachelor of Music degree from the University of Wisconsin-Madison, where he studied with Anthony Di Sanza. Other important teachers include Michael Spiro, Mark Lamson, Jorge Alabe, and Mestre Marcão of Salgueiro.A Wisconsin native, Carl spends his free time in the mountains rock climbing and backcountry skiing, road biking, and building and restoring percussion instruments.Show Notes:Boulder Samba SchoolCarl's WebsiteColoradobrazilfest.orghttps://www.facebook.com/carldixondrumsVideo from Bateria Alegria's recent showGingaband.comBoulder Samba SchoolSponsored by GoSamba.net! Sponsored by GoSamba.net Your source of caixas, chocalhos, repiniques, surdos, straps, tamborims, tamborim sticks all imported from Brazil!