Podcasts about Glimmerglass Festival

Join "Dance Talk” ® with Joanne Carey  and special guests: Duke Dang, Executive Director of Works & Process and Alison Manning, Co-Executive Director of Harkness Dance Center.In this episode of "Dance Talk” ®, host Joanne Carey chats with Duke Dang, and Alison Manning, about their organizations upcoming collaboration: the Uptown Rhythm Dance Festival. The festival is a collaborative project aimed at celebrating various forms of rhythm dance. Alison and Duke discuss the festival's programming, community engagement, and the importance of inclusivity and accessibility in dance. The dialogue highlights the festival's diverse lineup of artists, workshops, and the significance of dance in fostering community connections. Get your tickets, you won't want to miss this festival!Alison Manning is the former Executive Director and Co-Producer of The Yard on Martha's Vineyard, from 2008-2020. She is founding Co-Artistic Director and Choreographer of DanceTheYard, The Yard's year-round professional dance company, with choreographic partner and company Co-Artistic Director Jesse Keller Jason. Alison is a passionate Horton teacher and an avid tap and rhythm dancer and advocate. She discovered her love for the Horton technique as a scholarship student at Jacob's Pillow, working with the great Milton Myers, and has continued studying with mentors Mr. Myers, Kristina Berger, Karen Gayle and other lauded Horton Teachers through the years. She taught the technique on Faculty at The Yard each summer, and as a guest teaching artist at NYU Steinhardt School, Wesleyan Univeristy, Peridance Capezio Center, and STEPS on Broadway. In addition to teaching, Alison dances and performs with The Bang Group and has worked for The Peggy Spina Tap Company, Xodus Dance Collective, Kinodance company among others. She is the current President of the Marymount Manhattan College Dance Advisory Board as well as a member of the Adjunct Faculty. She graduated Magna Cum Laude from said institution with a BFA in Modern Dance and a Minor in Art History. Alison lives in New York City with her wife and four children and is honored to be shepherding the Harkness School of Dance during this exciting time at The 92nd Street Y, New York.https://www.92ny.org/Duke Dang is the executive director of Works & Process, a performing arts organization that champions and resources artists and their creative process from studio-to-stage by partnering with over a dozen residency centers across Massachusetts, New Jersey, and New York to provide fully-funded residencies and presents iteratively at the Guggenheim Museum, Lincoln Center, The New York Public Library for the Performing Arts, and SummerStage.  Works & Process was honored with a 2021 Dance Magazine Award and nominated in 2021 and 2022 for the APAP William Dawson Award for Programmatic Excellence and Sustained Achievement. Born at a UN refugee camp in the Philippines to Vietnamese parents seeking political asylum, Duke immigrated to California growing up with the assistance of Section 8 housing vouchers, food stamps, and attending Head Start. Prior to Works & Process, Duke worked at the J. Paul Getty Museum, Smithsonian American Art Museum, Glimmerglass Festival, and Sydney Theatre Company. He earned in BA in Art History from Boston University and MA in Performing Arts Administration from New York University.To Find out about Works & Process ⁠https://www.worksandprocess.org/ To get your tickets to Uptown Dance Festivalhttps://www.92ny.org/event/uptown-rhythm-dance-festival“Dance Talk” ® with Joanne Carey wherever you listen to your podcasts. ⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠https://dancetalkwithjoannecarey.com/...⁠ ⁠Follow Joanne on Instagram @westfieldschoolofdanceTune in. Follow. Like us. And Share.Please leave a review!“Dance Talk” ® with Joanne Carey"Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."

"Dance Talk” ® with Joanne Carey and special guest Duke DangIn this episode of "Dance Talk” ® , host Joanne Carey speaks with Duke Dang, the executive director of Works & Process. They explore Duke's journey from a refugee camp to becoming a prominent figure in arts administration, emphasizing the importance of the creative process in the performing arts. Duke shares insights on how arts can impact personal growth, the significance of internships, and the mission of Works and Process in supporting artists. The conversation highlights the need for community engagement and the transformative power of dance. In this conversation, Joanne Carey and Duke explore the profound emotional impact of dance, the importance of feeling and embodying movement, and the celebration of street dance traditions. They discuss the significance of intergenerational connections in dance, innovative collaborations, and the upcoming festivals and events that highlight these themes. The conversation emphasizes the iterative nature of live performance and the communal aspect of dance, inviting audiences to engage and participate. Duke Dang is the executive director of Works & Process, a performing arts organization that champions and resources artists and their creative process from studio-to-stage by partnering with over a dozen residency centers across Massachusetts, New Jersey, and New York to provide fully-funded residencies and presents iteratively at the Guggenheim Museum, Lincoln Center, The New York Public Library for the Performing Arts, and SummerStage.  Under Duke's leadership, Works & Process pioneered the bubble residency model in summer 2020, which was captured in the NY-Emmy nominated docuseries Isolation to Creation, and broadcast on PBS and ALL ARTS. Works & Process was honored with a 2021 Dance Magazine Award and nominated in 2021 and 2022 for the APAP William Dawson Award for Programmatic Excellence and Sustained Achievement. Multiple Works & Process commissions including LaTasha Barnes' The Jazz Continuum, Les Ballet Afrik – New York Is Burning by Omari Wiles, and More Forever by Caleb Teicher and Conrad Tao have been honored with Bessie Awards. Born at a UN refugee camp in the Philippines to Vietnamese parents seeking political asylum, Duke immigrated to California growing up with the assistance of Section 8 housing vouchers, food stamps, and attending Head Start. Prior to Works & Process, where he started as a paid college intern, Duke worked at the J. Paul Getty Museum, Smithsonian American Art Museum, Glimmerglass Festival, and Sydney Theatre Company. In 2012, with his husband, he helped founded the Hudson Valley Dance Festival with Dancers Responding to AIDS which has raised over $1.3 million. He earned in BA in Art History from Boston University and MA in Performing Arts Administration from New York University. To Find out about Works & Process https://www.worksandprocess.org/ Upcoming Festival Jan 9-13 “Dance Talk” ® with Joanne Carey wherever you listen to your podcasts.  ⁠⁠⁠⁠ ⁠⁠⁠⁠https://dancetalkwithjoannecarey.com/⁠⁠⁠⁠ Follow Joanne on Instagram @westfieldschoolofdance Tune in. Follow. Like us. And Share.   Please leave us review about our podcast!   “Dance Talk” ® with Joanne Carey "Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."

Francesca Zambello is an internationally recognised director of opera and theatre. She is the Artistic Director of The Washington National Opera at the Kennedy Center; a role she has occupied since 2012.  In 2022 she retired from a celebrated role as the General Director of The Glimmerglass Festival in Cooperstown, N.Y., having been appointed in 2010. Francesca has also served as the Artistic Advisor to the San Francisco Opera from 2005–2011 and as the Artistic Director of the Skylight Theatre from 1987–1992. She has since staged new productions at major theatres, festivals and opera houses in Asia, Australia, South America, Europe and the USA. Collaborating with outstanding artists and designers and promoting emerging talent, she takes a special interest in new music theatre works, innovative productions, and in producing theatre and opera for wider audiences. Francesca Zambello has been awarded the Chevalier des Arts et des Lettres by the French government for her contribution to French culture and the Russian Federation's medal for Service to Culture. Other honours for her work include three Olivier Awards from the London Society of Theatres and two Evening Standard Awards. The French Grand Prix des Critiques was awarded to her twice for her work at the Paris Opera. She has received the Medallion Society Award from the San Francisco Opera recognizing 30 years of work for the company. For Opera Australia, Francesca Zambello directed the 2012 Handa Opera on Sydney Harbour production of La Traviata, as well as The Love for Three Oranges in 2016, and West Side Story on Sydney Harbour in 2019, for which she received the Helpmann Award for best direction of a musical. Ms. Zambello has also served as an adjunct professor at Yale University. An American who grew up in Europe, she speaks French, Italian, German, and Russian. She began her career as an Assistant Director to the late Jean-Pierre Ponnelle. Francesca Zambello lives in New York with her wife, Faith Gay, a founding partner of Selendy & Gay and son, Jackson. www.francescazambello.com The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Conductor John DeMain is noted for his dynamic performances on concert and opera stages throughout the world. In January 2023, he received a Lifetime Achievement Award from the National Opera Association, the association's highest award. During his three decades as the Madison Symphony Orchestra music director, John has consistently raised the quality of the orchestra by introducing blind auditions and continuously expanding the repertoire to encompass ever more challenging and virtuosic works. His active conducting schedule has taken him to the stages of the National Symphony, St. Paul Chamber Orchestra, the symphonies of Seattle, St. Louis, Pittsburgh, Detroit, Columbus, Houston, San Antonio, Long Beach, and Jacksonville, along with the Pacific Symphony, Boston Pops, Aspen Chamber Orchestra, Los Angeles Chamber Orchestra, London Sinfonietta, Orchestra of Seville, the Leipzig MDR Sinfonieorchester, and Mexico's Orquesta Sinfónica Nacional. In 2019, he conducted the world premiere of Tazewell Thompson's Blue at the Glimmerglass Festival to critical acclaim.  He “drew a vibrant performance from an orchestra of nearly 50 players; the cast was superb,” said The New York Times.

In this podcast episode, Jennifer chats with Kel Haney all about fundraising. Kel shares what led her from being a theater director in NYC to becoming a fundraising coach, consultant, and trainer. She gives insights on transforming the often uncomfortable process of fundraising into an opportunity for building meaningful relationships, empasizing that anyone can fundraise successfully, even without a background in sales or fundraising, by passionately sharing what they love. Kel offers tools on navigating the complexities of fundraising, including handling rejection, building genuine connections, leading from abundance and finding a comfortable stretch, and embracing the power of storytelling. They discuss the importance of leading from vulnerability, curiosity, passion, and confidence.  About Kel: Kel Haney is a Maine & NYC-based fundraising coach, consultant, & trainer. Before turning to fundraising full-time, she spent 20 years as a theater director and her fundraising methodology is based on how she led a rehearsal room: focusing on what makes each of us unique and engaging. She's personally made over 20,000 fundraising "asks" and trained non-profit orgs to raise over $15M (primarily in donations under $2K), which inspired her 5-Minute Fundraising Ask Training Program. Kel's work boils down to “Taking the Ick out of the Ask”: she's passionate about shifting fundraising conversations away from transactional encounters and toward relationship-building opportunities. Kel's worked with such organizations as: Berkshire Theatre Group, The Glimmerglass Festival, MCC Theatre, Signature Theatre, Manhattan Theatre Club, New York Theatre Workshop, Marin Theatre Company, BroadwayUnlocked, American Composers Forum, and RIP Medical Debt. Kel's IG: @kelhaney Kel's LInkedIn: www.linkedin.com/in/kel-haney Download “8 Phrases NOT to use in Fundraising" Guide: www.kelhaney.com/freebie-8-phrases Want to coach with Jennifer? Schedule a session here! https://appt.link/jenniferapple Monologue Sourcing Promo Link! https://empoweredartistcollective.com/podcastpromo Learn more: https://www.empoweredartistcollective.com/podcast EAC IG: @EmpoweredArtistCollective  EAC TikTok: @EmpowerArtistCollective EAC Facebook: https://www.facebook.com/empoweredartistcollective/ Nominate a Podcast Guest! https://form.jotform.com/220608577638162 Sign up for our newsletter! https://mailchi.mp/8e72e8dcb662/stay-in-touch Check Out Our Merch! https://www.empoweredartistcollective.threadless.com/ Any thoughts you'd like to share? Email us at EmpoweredArtistCollective@gmail.com

The excitement is brewing!  Opera Omaha is ending this season with The Marriage of Figaro, and we had a lovely conversation with Michael Adams and Mary Feminear, who play the Count and the Countess in this beloved opera.  Mary and Michael are married in real life as well as their characters onstage, and it made for a great interview.  Our conversation was cut short because of technical problems, and we hope to talk with them again in the future. Both of these Creatives are immensely experienced and talented and it was an honor to talk with them.  Don't miss this famous and timeless opera, which is Directed by Dean Anthony and Conducted by Steven White.   Performances are March 31st and April 2nd and ticket prices begin at $19. You can get your tickets to this beloved opera, The Marriage of Figaro at ticketomaha.com.    Opera Omaha also offers their Opera in Conversation, The Art of Comedy: "Comedic Tropes at Types" which will be held at the Blackstone Theatre March 21st at 6PM.  And for a talkback after the opera, Opera in Conversation:  "After The Curtain Call" on April 4th at the Benson Theatre at 6PM.  These events are free of charge. OPERA OMAHA CONTACT INFO: For Tickets:  ticketomaha.com Website: www.operaomaha.org  Facebook:https://www.facebook.com/operaomaha/ Instagram:https://www.instagram.com/operaomaha/ Twitter:https://twitter.com/operaomaha You Tube:  https://www.youtube.com/user/operaomaha Soprano Mary Feminear returns to Opera Omaha after last performing in Opera Under the Stars. This season Ms. Feminear will also perform the title role of Carlisle Floyd's Susannah with Wichita Grand Opera and Alice Ford in Verdi's Falstaff with Maryland Lyric Opera. Her previous performances include the Countess Almaviva with Maryland Lyric Opera, Micaëla in Bizet's Carmen and Zerlina in Mozart's Don Giovanni at the Grand Théâtre de Genève, where she was also a member of the Troupe des Jeunes Solistes, Ginevra in a workshop of Handel's Ariodante at the Opera Omaha One Festival, the soprano soloist in Mariana Sadovska's The Wreck at the Opera Omaha ONE Festival, and Amore in Cavalli's Il Giasone at the Château de Versailles. Other opera credits include the title role in Handel's Semele at Opera Omaha and Seattle Opera, Pamina in Mozart's Die Zauberflöte with Pacific MusicWorks, Proserpine in Charpentier's La Descente d'Orphee aux Enfers with Gotham Chamber Opera, and Polissena in Handel's Radamisto at Juilliard.   Baritone Michael Adams returns to Opera Omaha after last performing in Opera Under the Stars. This season, Mr. Adams will also sing the Count in Le nozze di Figaro with Madison Opera, Castro in La fanciulla del West with the Cleveland Orchestra, Figaro in Il barbiere di Siviglia with Opera Idaho, and Eugene Onegin with Vallejo Festival Orchestra. Last season, he made two company and role debuts: Sharpless in Madama Butterfly with Dallas Opera and Count in Le nozze di Figaro with Austin Opera. He also returned to the Deutsche Oper Berlin as the Count and Herald in Der Schatzgräber and Utah Opera for Figaro in Il barbiere di Siviglia. Other recent performances include Les pêcheurs de perles with Gran Teatre del Liceu; Eugene Onegin, Così fan tutte, and L'elisir d'amore with Seattle Opera; La bohème, Alcina, and Don Giovanni with Grand Théâtre de Genève; Die Zauberflöte, Silent Night, Alcina and The Little Prince with Washington National Opera; Manon with Des Moines Metro Opera, Pagliacci, Il barbiere di Siviglia, and La bohème with Utah Opera; and Show Boat at Glimmerglass Festival. ***** HOW TO LISTEN TO THE PLATTE RIVER BARD PODCAST Listen at https://platteriverbard.podbean.com or anywhere you get your podcasts. We are on Apple, Google, Pandora, Spotify, iHeart Radio, Podbean, Overcast, Listen Now, Castbox and anywhere you get your podcasts. You may also find us by just asking Alexa. Listen on your computer or any device on our website: https://www.platteriverbard.com. Find us on YouTube: https://youtube.com/channel/UCPDzMz8kHvsLcJRV-myurvA. Please find us and Subscribe!   Music provided by musopen.com: Public Domain Mark 1.0 Le Nozze di Figaro - No. 11 Cavatina 'Porgi, Amor' Overture to The marriage of Figaro, K. 492 https://creativecommons.org/publicdomain/mark/1.0/

Michelle Osterhoudt is a wife, mother, and 24-year educator and community leader. Active in civil rights work within her community, Michelle serves as the Vice President of the Oneonta Area NAACP. Michelle has also served on the Commission on Community Relations and Human Rights for the City of Oneonta and was the first African American Council member for the city of Oneonta serving the 4th Ward. A project Michelle is most proud of is her Collaboration with Glimmerglass Festival in Cooperstown and Dr. Eddy Franciso Alvarez of SUNY Oneonta, to create grades 6-12 draft ELA Curriculum for the original libretto "Stomping Grounds," by Paige Hernandez and Victor Simonson. This project fused hip hop culture and music with Opera in the classroom. The project was one of many that focused on her teaching style of addressing issues of social justice in the classroom. She continues to lead through a social justice lens, ensuring equity and access for students. Currently, Michelle enjoys her role as Superintendent of Margaretville Central School District. Connect with Michelle: Twitter Facebook Instagram Check out Michelle's Journalist PortfolioGet your autographed copy of Road to Awesome: The Journey of a Leader hereBook Darrin to speak at your school or conference contact us hereGrab your copy of Darrin's FREE e-book Walk in Your Purpose Check out Darrin's blog for great leadership tips and ideasSign up for the Road to Awesome email list and newsletterHave a book idea you'd like to submit to Road to Awesome? Click here

The tenth episode of Composing Myself sees Wise Music Group CEO Dave Holley and Creative Director Gill Graham once again stretch their hands across the ocean to New York to embark on a wonderful journey of memories, anecdotes and musings with veteran composer John Corigliano. The conversation covers John's formative years growing up in a musical family and how the lingering nerves he reserved for his father affected his professional journey (“for the first ten or fifteen years of buy compositional life I never sat in the hall for a performance”); the impact of the early Disney oeuvre (Bambi, Dumbo etc) on his creative spark; winning Grammys, Oscars and a Pulitzer Prize - and the award he's most proud of; the harrowing story behind Symphony No. 1; how a personal black spot with the catalogue of Bob Dylan led to a Grammy-winning setting of Dylan's poetry; and the painstaking creation of The Ghosts of Versailles. Not to be missed!http://www.johncorigliano.com/John Corigliano's music has been commissioned, performed, and recorded by many of the most prominent orchestras, soloists, and chamber musicians in the world. His honors include the Pulitzer Prize for Symphony No. 2, the Grawemeyer Award for his Symphony No. 1 (given over 300 performances worldwide), the Academy Award (Oscar) for Best Original Score (The Red Violin), and, of his five Grammy Awards, three for Best Contemporary Composition (Symphony No. 1, String Quartet, and Mr. Tambourine Man.)Recent scores include a second opera, The Lord of Cries, with a libretto by Mark Adamo based on The Bacchae of Euripides and Bram Stoker's Dracula. Corigliano's first opera since The Ghosts of Versailles for The Metropolitan Opera in 1991, The Lord of Cries is commissioned by the Santa Fe Opera for premiere in 2021. A new Saxophone Concerto for the San Francisco Symphony's 2020-2021 season will be Corigliano's tenth piece for soloist and orchestra, after his concerti for piano, oboe, clarinet, flute (Pied Piper Fantasy), guitar (Troubadours), violin (The Red Violin), and percussion (Conjurer), as well as the orchestral song-cycles Mr. Tambourine Man: Seven Poems of Bob Dylan for amplified soprano, and One Sweet Morning for mezzo-soprano. Other scores include Symphony No. 3: Circus Maximus for multiple wind ensembles, as well a rich folio of chamber works.The French premiere of The Ghosts of Versailles, in a co-production with Glimmerglass Festival, is scheduled by the Royal Opera of Versailles for December of 2019; this follows its 2015 staging by Los Angeles Opera, which collected 2017 Grammys for Best Opera Recording and Best Engineered Classical album. In spring of 2019, Corigliano's Symphony No. 1 travelled to Hong Kong and returned to the New York Philharmonic, both engagements conducted by Jaap van Zweden. Hosted on Acast. See acast.com/privacy for more information.

Opera is one of the greatest and the most classic art forms. It combines the ingenuity of a great storyline and the elegance of music in one captivating show. As this classic art form continue to become a favorite among enthusiasts, new operas are giving audiences a fresh perspective to shows that feature newly-composed music and storylines that haven't been heard yet. In this episode, Kanma Gupta discusses the process of developing new operas and more! Kamna Gupta is an American Prize-winning conductor experienced in operatic, orchestral, and choral repertoires. In the 2022-23 season, Ms. Gupta will make her Canadian debut with Vancouver Opera conducting Les Pêcheurs de Perles, and will conduct the East Coast premiere of In Our Daughter's Eyes (Du Yun / McQuilken and featuring Nathan Gunn) at Prototype Festival, which received its world premiere under her baton at LA Opera Redcat. In 2022, she made her debut with the International Contemporary Ensemble, and she returned to The Glimmerglass Festival to conduct the world premiere of Jungle Book (Sankaram / O'Rourke). She will also conduct the highly interdisciplinary work The Ritual of Breath is the Right to Resist (Berger / Reily / Francis), premiering at the Hopkins Center for the Arts at Dartmouth. She is also excited to return to Mannes Opera in Fall 2022 to conduct La Calisto, Cavalli's Baroque masterpiece.

How do you take the "ick" out of the ask? Kel shares her process leading outbound fundraising efforts for non-profit theatres. Thank you for taking the time to listen to our chat with Kel Haney! If you are listening to this on Apple Podcast, we'd love it if you could share your love in a review! About Kel Haney: Kel Haney, Senior Consultant at Donorly, is a NYC & Maine-based fundraising expert with 17 years of experience in the field, specializing in Outbound Fundraising.  She's consulted with such organizations as MCC Theatre, Signature Theatre, Ensemble Studio Theatre, Manhattan Theatre Club, The O'Neill Theater Center, New York Theatre Workshop, Page 73 Productions, Marin Theatre Company, BroadwayUnlocked, The Glimmerglass Festival, American Composers Forum, and RIP Medical Debt. Kel's work boils down to “Taking the Ick out of the Ask” and shifting fundraising conversations from transactional encounters to relationship-building opportunities. She spent twenty years as a theatre director and her fundraising methodology is based on how she led a rehearsal room: focusing on what makes each of us unique and engaging. Over her fundraising career, Kel has helped non-profit organizations raise over $11M, primarily in donations under $2K. www.kelhaney.com When not working, Kel's seeking out all kinds of artistic experiences, taking nature walks with her rescue pup, practicing yoga, playing extremely intricate board games, and attempting to recreate the fabulous meals she & her husband (actor Michael Grew) have enjoyed on their various travels. Resources from this episode: www.kelhaney.com instagram.com/kelhaney --- Come say hi to us! Facebook: @PageToStagePodcast @BroadwayPodcastNetwork Instagram: @PageToStagePodcast @TheMaryDina @BrianSedita @BroadwayPodcastNetwork Twitter: @TheMaryDina @BwayPodNetwork Youtube: @PageToStagePodcast @BroadwayPodcastNetwork #PageToStagePodcast Learn more about your ad choices. Visit megaphone.fm/adchoices

[@ 4 min] Librettist Lila Palmer and stage director Chloe Treat go ‘Inside the Huddle to talk about the world premiere of a secular opera (with music by Damian Geter) about a biblical event: the Annunciation. The show just opened at the Glimmerglass Festival and couldn't have come at a better time, because, you know, it's about a woman consenting to give birth... [@ 41 min] Plus, in the ‘Two Minute Drill'… Angela Gheorghiu warns, if  you didn't study in Romania, be careful... operaboxscore.com facebook.com/obschi1 @operaboxscore IG operaboxscore

We spend time with the stars of Giuseppe Verdi's La Traviata, which is being presented by Toledo Opera on Friday, April 22 at 7:30 p.m. and at 2:00 p.m. on Sunday, April 24 at the Valentine Theatre. International opera star and Toledo favorite Kathryn Lewek takes on the role of Violetta for the very first time, joined by her real-life husband, acclaimed tenor Zach Borichevsky as Alfredo. Rounding out the cast is dramatic baritone Malcolm MacKenzie, who plays Alfredo's father, Giorgio Germont. We're also joined by the esteemed maestro Joseph Colaneri, Music Director of the Glimmerglass Festival in upstate New York, and frequent conductor at the Metropolitan Opera. Pictured L-R in the WGTE studios: Brad Cresswell; Joseph Colaneri; Zach Borichevsky; Kathryn Lewek; Malcom MacKenzie.

BEAUTY AND THE BEAST COMPOSER: Alan Menken LYRICIST: Howard Ashman, Tim Rice BOOK: Linda Woolverton SOURCE: Disney's animated film Beauty and The Beast (1991) DIRECTOR: Robert Jess Roth CHOREOGRAPHER: Matt West PRINCIPLE CAST: Gary Beach (Lumiere), Susan Egan (Belle), Terrence Mann (Beast) OPENING DATE: Apr 18, 1994 CLOSING DATE: Jul 29, 2007 PERFORMANCES: 5,462 SYNOPSIS: Belle is a young girl who stumbles into a castle and is kept captive by its owner, a monster who was once a prince. Along with his staff, once humans now physical objects due to a witch's curse, Belle will try to teach the Beast to love again before the Prince permanently stays as a monster. This episode traces the way musical theatre artists Alan Menken and Howard Ashman reinvigorated the mass-appeal of Disney's animated films, which in turn lead to a profitable pipeline between the children's media conglomerate and New York City, beginning with a stage adaptation of the animated box office hit, Beauty and the Beast. The planned 1994 opening of Beauty and the Beast at the Palace Theatre directly influenced Mayor Rudy Giuliani's prioritization of the commercial cleansing of Times Square, Disney's exclusive access to the newly-renovated New Amsterdam Theatre, and the creation of Disney Theatrical Productions, which continues to adapt Disney films for the stage. Though critically panned, Eden Hildebrand demonstrates how the musical signaled a new age for Broadway's reliance on spectacle, a future for family-friendly tourist entertainment, and a new definition of robust merchandising presence in the commercial theatre. Eden Hildebrand is a Canadian performer, choreographer, director, and pedagogue. She holds a Master of Fine Arts in Musical Theatre from San Diego State University, and both a Bachelor of Arts in Dance (with a concentration in Choreography and Performance) and a Bachelor of Arts in History from the University of Calgary. MARCIA MILGROM DODGE's work as a director & choreographer has been seen throughout the United States, in Canada, England, Asia, Denmark and the Middle East, in theatres on Broadway, Off-Broadway, at acclaimed regional theatres such as the New York City Opera, John F. Kennedy Center of The Performing Arts, Arena Stage, Goodman Theatre, Denver Center Theatre Company, Glimmerglass Festival, La Jolla Playhouse, Pittsburgh Public Theatre, Repertory Theatre of St. Louis, Cincinnati Playhouse in the Park, Huntington Theatre, Bay Street Theatre, Maltz Jupiter Theatre, Goodspeed Musicals, Music Circus, Flat Rock Playhouse and abroad at the Nanta Theatre-Seoul, S. Korea, Fredericia Teater-Denmark, Royal Opera House-Muskat, Oman, Wintergardens Theatre-Blackpool, England. Evan Ruggiero began dancing at the age of five in his hometown studio and by age ten, he was accepted into the famed New Jersey Tap Ensemble. Upon entering his sophomore year at Montclair State University while pursuing a Bachelor of Fine Arts in Musical Theatre, Evan was suddenly diagnosed with Osteosarcoma, a rare bone cancer of the right leg. Enduring nine surgeries in a six-month period in an effort to save the leg, the cancer returned more aggressively than the original diagnosis. He was faced with the ultimate decision of amputation in order to stop the cancer and save his life, as well as undergoing chemotherapy for sixteen months. Eighteen months after the amputation, and only two days after receiving his “peg-leg”, Evan was tapping again. SOURCES Beauty and the Beast: The Broadway Musical, Original Cast Recording. Walt Disney Records (1994) Beauty and the Beast, starring Emma Watson and Dan Stevens, directed by Bill Condon. Walt Disney Pictures (2017) Disney's Beauty and The Beast: A Celebration of the Broadway Musical by Don Frantz, published by Disney Editions (1995) Learn more about your ad choices. Visit megaphone.fm/adchoices

About the guestPaige Hernandez is a multidisciplinary artist who is critically acclaimed as a performer, director, choreographer and playwright.  As an AEA equity actress, Paige has performed on many stages throughout the country. She has collaborated with the Lincoln Center and has been commissioned by several companies including the National New Play Network, the Smithsonian, The Kennedy Center, La Jolla Playhouse and the Glimmerglass Festival. She is the recipient of an Individual Artist Award from the Maryland State Arts Council as well as four Helen Hayes nominations for choreography, directing and performance.  Paige has also been named a “classroom hero” by The Huffington Post, a “Citizen Artist Fellow” with the Kennedy Center, “40 under 40” by the Washington Post and one of “Six Theatre Workers You Should Know” by American Theatre Magazine. She is elated to be the Associate Artistic Director of Everyman Theatre in her hometown of Baltimore, MD. With her company B-FLY ENTERTAINMENT, Paige continues to develop and tour original work internationally.ses. The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture.Mentioned in this episode:B-FLY ENTERTAINMENTTo find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory.★ Support this podcast ★

Recognized by Opera News as “one of the finest singers of his generation,” American bass-baritone Ryan McKinny has earned his reputation as an artist with something to say. His relentless curiosity informs riveting character portrayals and beautifully crafted performances, reminding audiences of their shared humanity with characters on stage and screen. This season, McKinny brings his agile stage presence and comedic skill to performances of Mozart's Le nozze di Figaro on both U.S. coasts. He first appears as the titular Figaro in a Richard Eyre production at New York City's Metropolitan Opera, with an all-star cast that includes Golda Schultz, Lucy Crowe, Isabel Leonard, and Adam Plachetka. He then makes his Seattle Opera debut reprising the role in a Peter Kazaras production, under the baton of Alevtina Ioffe. In between productions – and coasts – McKinny joins collaborative pianist Kathleen Kelly for a recital at the Lied Center of Kansas, featuring works by Schumann, Debussy, Mahler, and Kurt Weill. In summer 2022, he joins the Boston Symphony at Tanglewood as the title character in Don Giovanni, with Andris Nelsons on the podium. He concludes the season with the Philadelphia Orchestra at Saratoga Performing Arts Center, appearing as soloist in Beethoven's Ninth Symphony with conductor Yannick Nézet-Séguin. Offstage, McKinny continues to adapt the beauty of his art form to the film screen, collaborating on a documentary with Jamie Barton and Stephanie Blythe. Through his work with Helio Arts, he commissions artists to write, direct, and film original stories, leveraging his personal power to help elevate new voices and visions in the classical performing arts world. During the pandemic, he has partnered with artists like J'Nai Bridges, Russell Thomas, John Holiday, and Julia Bullock to create stunning and innovative performances for streaming audiences at Dallas Opera, Houston Grand Opera, Lyric Opera of Chicago, On Site Opera, and the Glimmerglass Festival. McKinny's recent debut as Joseph De Rocher in Jake Heggie and Terrence McNally's Dead Man Walking at Lyric Opera of Chicago was hailed by the Chicago Tribune as an “an indelible performance...an acting tour de force buttressed by a warmly inviting voice.” He has also appeared as the title character in Don Giovanni (Washington National Opera, Lyric Opera of Chicago, Houston Grand Opera), Escamillo in Carmen (Semperoper Dresden, Deutsche Oper Berlin, Staatsoper Hamburg, Houston Grand Opera), and Mozart's Figaro (Washington National Opera, Wolf Trap Opera, Houston Grand Opera). McKinny made a critically acclaimed Bayreuth Festival debut as Amfortas in Parsifal, a role he has performed around the world, including appearances at Argentina's Teatro Cólon, Deutsche Oper am Rhein, and Dutch National Opera. Other Wagnerian roles include Kurwenal in Tristan und Isolde (Deutsche Oper Berlin, Houston Grand Opera, Canadian Opera Company), Biterolf in Tannhäuser and Kothner in Die Meistersinger von Nürnberg, both at the Metropolitan Opera, Wotan in Opéra de Montréal's Das Rheingold, Donner/Gunther in Wagner's Ring cycle (Washington National Opera, Boston Symphony Orchestra, Houston Grand Opera), and the titular Dutchman in Der fliegende Holländer (Staatsoper Hamburg, Milwaukee Symphony, Glimmerglass Festival, Hawaii Opera Theater). McKinny is a frequent guest artist at Los Angeles Opera, where he has sung Count Alamaviva in Le nozze di Figaro, Don Basilio in Il barbiere di Siviglia, and Stanley Kowalski in Previn's A Streetcar Named Desire, opposite Renée Fleming as Blanche DuBois, and at Santa Fe Opera, where he has appeared as Jochanaan in Salome and Oppenheimer in Doctor Atomic. An alumnus of the Houston Grand Opera Studio, Mr. McKinny has made a number of important role debuts on the HGO mainstage, including the iconic title roles of Don Giovanni and Rigoletto. McKinny is a long-time artistic collaborator of composer John Adams and director Peter Sellars, having appeared in Sellars productions of Adams' Girls of the Golden West (San Francisco Opera, Dutch National Opera) and Doctor Atomic (Santa Fe Opera), in addition to Adams' Nixon in China with the Los Angeles Philharmonic. He has also performed under Sellars' direction in Stravinsky's Oedipus Rex (Sydney Festival), Tristan und Isolde (Canadian Opera Company), and Shostakovich's Orango with the London Philharmonia and Los Angeles Philharmonic, the latter comprising Esa-Pekka Salonen's final concerts as music director. Other recent orchestral engagements include Beethoven's Symphony No. 9 and a double bill of Michael Tilson Thomas' Rilke Songs and Mahler's Des Knaben Wunderhorn with San Francisco Symphony, Mahler's Symphony No. 8 and Bernstein's Mass with Gustavo Dudamel and the Los Angeles Philharmonic, Beethoven's Symphony No. 9 with Cleveland Orchestra and National Symphony, Rossini's Stabat Mater at Grant Park Music Festival, Britten's War Requiem with Marin Alsop and Baltimore Symphony Orchestra, and Oedipus Rex with Chicago Symphony. McKinny benefited from early educational opportunities at the Aspen Music Festival, where he sang his first performance of Winterreise accompanied on the piano by Richard Bado, and at the Wolf Trap Opera Company, where he sang Barone di Kelbar in Verdi's Un giorno di regno, Le Gouverneur in Rossini's Le comte Ory and Figaro in Le nozze di Figaro. McKinny made his Carnegie Hall debut in Handel's Messiah with the Musica Sacra Orchestra while still a student at the Juilliard School. The first recipient of Operalia's Birgit Nilsson Prize for singing Wagner, McKinny has also received the prestigious George London-Kirsten Flagstad Award, presented by the George London Foundation to a singer undertaking a significant Wagnerian career. McKinny represented the United States in the 2007 BBC Cardiff Singer of the World Competition, where he was a finalist in the Rosenblatt Recital Song Prize, and he was a Grand Finalist in the 2007 Metropolitan Opera National Council Auditions, captured in the film The Audition.

We spend time with the stars of Giuseppe Verdi's La Traviata, which is being presented by Toledo Opera on Friday, April 22 at 7:30 p.m. and at 2:00 p.m. on Sunday, April 24 at the Valentine Theatre. International opera star and Toledo favorite Kathryn Lewek takes on the role of Violetta for the very first time, joined by her real-life husband, acclaimed tenor Zach Borichevsky as Alfredo. Rounding out the cast is dramatic baritone Malcolm MacKenzie, who plays Alfredo's father, Giorgio Germont. We're also joined by the esteemed maestro Joseph Colaneri, Music Director of the Glimmerglass Festival in upstate New York, and frequent conductor at the Metropolitan Opera. Pictured L-R in the WGTE studios: Brad Cresswell; Joseph Colaneri; Zach Borichevsky; Kathryn Lewek; Malcom MacKenzie.

Taking the 'Ick' out of the 'Ask' with Funding Professional Kel Haney Kel Haney is an NYC & Maine-based fundraising expert with 15 years of experience in the field, specializing in Outbound Fundraising. She's a Senior Consultant at Donorly. Her work boils down to “taking the ick out of the ask." “She believes that we can create fundraising conversations that are relationship-building opportunities, as opposed to transactional encounters. Kel's worked with such companies as MCC Theatre, Signature Theatre, Ensemble Studio Theatre, Manhattan Theatre Club, The O'Neill Theater Center, New York Theatre Workshop, Page 73 Productions, BroadwayUnlocked, The Glimmerglass Festival, and Paul Taylor Dance Company. She spent twenty years as a theater director and her fundraising methodology is based on how she led a rehearsal room: focusing on what makes each of us unique and engaging. Kel empowers artists, art administrators, & board members with the knowledge that they already possess the most critical tools needed to be skilled fundraisers (empathy, candor, vulnerability, enthusiasm, and storytelling). Over her fundraising career, Kel has helped arts organizations raise approx. $10M, primarily in donations under $1.5K. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Two Gay Geeks

Director and choreographer Eric Sean Fogel comes to the mic for this week's episode of Come As You Are with Erik Teague! Eric brings his extensive experience as director and choreographer for premier theatres and events as the Washington National Opera, Glimmerglass Festival, the Metropolitan Art Museum, and Paris Fashion Week to provide his perspective on the state of opera and theatre today, and chats with Erik about his journey accepting himself as a gay man and first-generation American.  Come As You Are explores the intersection of the careers of arts professionals and their identities across the LGBTQIA+ spectrum. In each episode, costume designer, trans man, and host Erik Teague discusses the complex narratives, unique challenges, and beautiful stories of a guest's journey through their discipline and their identity. So grab yourself a cup and join us for a good story! 

Come As You Are explores the intersection of the careers of arts professionals and their identities across the LGBTQIA+ spectrum. In each episode, costume designer, trans man, and host Erik Teague discusses the complex narratives, unique challenges, and beautiful stories of a guest's journey through their discipline and their identity. So grab yourself a cup and join us for a good story! An icon of the opera and theatre world joins Erik as Francesca Zambello takes center stage for this week's episode! The General & Artistic Director of Glimmerglass Festival provides a unique perspective rising through the ranks of opera and theatre as a gay woman and the challenges she faced during that time, as well as her successes as an internationally-recognized opera and theatre director.

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

Marcia Milgrom Dodge is a Tony Award nominated Director, Choreographer and Writer, whose work has been seen throughout the US, in Canada, England, Asia, Denmark and the Middle East, on Broadway, Off-Broadway, and at acclaimed regional theatres such as the New York City Opera, The Kennedy Center, Arena Stage, Goodman Theatre, Denver Center Theatre Company, Glimmerglass Festival, La Jolla Playhouse, Pittsburgh Public Theatre and many more. She received the Tony Award nomination for Directing for the 2009 Revival of Ragtime on Broadway and is one of just a handful of women who have climbed the ranks as successful and commercially viable theatre director/choreographers. She is currently directing a new revival of Disney's Beauty and the Beast that as she puts it “really challenges each of us to look around the room with an equitable lens in which all races, ethnicities, body shapes and abilities can be identified and celebrated.”

Raehann Bryce-Davis has been hailed by the New York Times as a "striking mezzo soprano" and by the San Francisco Chronicle for her "electrifying sense of fearlessness." 2021/22 includes performances of Der Komponist in Strauss' Ariadne auf Naxos at Opera Ballet Vlaanderen, Preziosilla in Verdi's La Forza del Destino at Théâtre du Capitole, Azucena in three productions of Verdi's Il Trovatore at The Glimmerglass Festival, LA Opera, and Staatstheater Nürnberg, Gods and Mortals, at The Glimmerglass Festival, singing selections of Wagner's Lohengrin as Ortrud and Die Walküre as Fricka, as well as her company debuts at La Monnaie de Munt as La Zia Principessa in Puccini's Suor Angelica, Konzert und Theater St Gallen as Joan of Arc in Tchaikovsky's Maid of Orleans, and her company debut at Teatro alla Scala as Ulrica in Verdi's Un Ballo in Maschera. Last season featured highlights like her role debut as Eboli in Verdi's Don Carlos at Opera Ballet Vlaanderen, her LA Opera debut in the World Premiere of Aucoin and Ruhl's Eurydice, a coproduction with The Metropolitan Opera, and her role debut as Sara in Roberto Devereux opposite Angela Meade and Ramon Vargas. As a producer/performer Bryce-Davis has released "To the Afflicted," her first music video, which received much critical acclaim and was chosen as an official video for World Opera Day. Her second digital short, “Brown Sounds,” was co-produced with LA Opera and Aural Compass Projects, and won Best Music Video at film festivals around the globe including the New York International Film Awards, New York Cinematography Awards, Hollywood Boulevard Film Awards, the Anatolian Short Film Festival, and the Silk Road Film Awards - Cannes. Bryce-Davis is a 2018 recipient of the prestigious George London Award at the George London Competition, the 2017 1st Place and Audience Prize-winner of the Concorso Lirico Internazionale di Portofino competition; chaired by Dominique Meyer, Winner of the 2016 Richard F. Gold Career Grant at the Merola Opera Program, Winner of the 2015 Hilde Zadek Competition at the Musikverein in Vienna, and the 2015 Sedat Gürel - Güzin Gürel International Voice Competition in Istanbul. She holds a Master of Music and Professional Studies certificate from the Manhattan School of Music and a Bachelor of Music from the University of Texas at Arlington. Raehann Bryce-Davis is a co-founder of the Black Opera Alliance and is an advocate for social justice in opera. Visit her website: http://www.raehann.com Instagram: https://www.instagram.com/raehannbrycedavis/ Twitter: https://twitter.com/raehannbd Video of To The Afflicted: https://youtu.be/QAPtCED5nlw Video of Brown Sounds: https://youtu.be/22OR3ygygqg Learn more about the Black Opera Alliance: https://www.blackoperaalliance.org Donate to Support the Black Opera Alliance: https://blackoperaalliance.app.neoncrm.com/np/clients/blackoperaalliance/donation.jsp At http://makinitinopera.com/ (makinitinopera.com), you can  Get access to a spreadsheet of resources and inspiration from folks who are changing the conversation about how we tell stories and how we train artists Subscribe to the Audition Pep Talk Series newsletter Donate and support the podcast If you'd like to share your point of view of what it means to “make it”, send me a voice recording to makinitinopera@gmail.com and I may feature you in a future episode. Music credit: Our Block Party by Reaktor Productions This show was a production of Sounds Like Cool Studios, LLC.

Ariana Wehr, is a Brazilian-born soprano who has sung traditional operatic roles as well as contemporary repertoire. She has performed with Washington National Opera, Opera in the Heights, Brava Opera Theater, Naples Philharmonic, Opera Louisiane, and more. Ariana debuted the roles of Girlfriend #1/Nurse/Congregant in Blue at The 2019 Glimmerglass Festival and will reprise the roles at Washington National Opera in 2020. She also recently completed her MBA and we'll talk about that beautiful intersection of music and business as well. I hope you enjoy this episode with the wonderful Ariana Wehr! Find out more about her at http://www.arianawehrsoprano.com/. Do you like these Masterclass episodes? You can help support their creation when you join the Sybaritic Camerata on Patreon.com/mezzoihnen. (https://www.patreon.com/mezzoihnen) A big thank you to Juanitos and Scott Holmes for the music featured in this episode. My enduring gratitude to Hannah Boissonneault for her audio editing skills. Be on the Studio Class Podcast Megan Ihnen is a professional mezzo-soprano, teacher, writer, and arts entrepreneur who is passionate about helping other musicians and creative professionals live their best lives. Studio Class is an outgrowth of her popular #29DaystoDiva series from The Sybaritic Singer. Let your emerging professionals be part of the podcast! Invite Megan to your studio class for a taping of an episode. Your students ask questions and informative, fun conversation ensues. Special Guest: Ariana Wehr.

Praised as “strikingly original” (NY Times), Kamala Sankaram moves freely between the worlds of experimental music and contemporary opera. Recent commissions include works for the Glimmerglass Festival, Washington National Opera, Houston Grand Opera, the PROTOTYPE Festival, and Creative Time, among others. Known for pushing the boundaries of opera, Kamala's work has included several pieces fusing Indian classical music with the operatic form, the first virtual reality opera, several telematic operas, an opera with live data-mining of the audience, and most recently, a 10-hour opera for the trees of Prospect Park. Music: all decisions will be made by consensus, music by Kamala Sankaram, libretto by Rob Handel, performed by Adrian Rosas, Hai-Ting Chinn, Joan La Barbara, Kamala Sankaram, Paul An, and Zachary James; “Ghosting” from Looking at You, music by Kamala Sankaram, libretto by Rob Handel, performed by Samuel McCoy, Jeff Hudgins, Ed RosenBerg, and Josh Sinton; “Bike” from Looking at You, music by Kamala Sankaram, libretto by Rob Handel, performed by Samuel McCoy, Blythe Gaissert, Brandon Snook, Mila Henry, Jeff Hudgins, Ed RosenBerg, and Josh Sinton Aqua Net & Funyuns podcast Follow Kamala on Instagram and Twitter. kamalasankaram.com Co-hosts: Niloufar Nourbakhsh and Joseph Bohigian Follow us on Facebook, Instagram, and Twitter. ensembledecipher.com Contact us at decipherists@ensembledecipher.com. Decipher This! is produced by Joseph Bohigian; intro sounds by Eric Lemmon; outro music toy_3 by Eric Lemmon.

Elyssa Kohen grew up in Las Vegas, Nevada. She graduated from the prestigious Las Vegas Academy for Performing Arts before attending the University of North Carolina School of the Arts where she received her BFA in Theatre Design and Production-Sound Design. She quickly put her degree to use by going to work for the MUNY in St. Louis, starting as an intern in 2013 and returning as the Assistant Sound Designer in 2015. When the season ended, she collaborated as a Sound/Mixing Engineer with several organizations including the Alliance Theater, Merry-Go-Round Playhouse (now The REV), and Ogunquit Playhouse.  In late December of 2016, Elyssa began her touring career, joining Motown the Musical 2nd National Tour as Assistant Audio. Shortly thereafter she jumped onboard with the School of Rock 1st National Tour. In 2017/2018 she was fortunate to tour both nationally and internationally with the Rent 20th Anniversary Tour, traveling to China and Japan.  In the summer of 2019, she was chosen to be the Assistant Audio for Frozen the Broadway Musical 1st National Tour. The pandemic caused Frozen to be shut down in March of 2020 in Portland, Oregon and Elyssa found herself back in Las Vegas. After 15 months of inactivity behind a soundboard, she got the chance to mix shows again as she went to work for The Glimmerglass Festival in June of 2021.  As of August 2021, Elyssa is back to work on Frozen, the Broadway Musical.

We open this segment with a recording of internationally acclaimed opera star Denyce Graves, singing "American Anthem" in the Rotunda of the US Capitol at the memorial service for Justice Ruth Bader Ginsberg in September of last year. Justice Ginsberg was a big fan of opera, and a big fan of Denyce Graves, and in that regard the Justice is most certainly not alone. Denyce Graves has sung in the major opera houses and with the major symphony orchestras of the world. And as she continues to perform and teach, she has recently undertaken a project to restore the original home of the National Negro Opera Company, located in Pittsburgh, and to rescue from historical neglect the many influential African Americans who distinguished themselves in the world of opera. This week, she is at the Glimmerglass Festival, a longtime summer destination for opera lovers in upstate New York, appearing in a play with music about the founder of the National Negro Opera Company, Mary Cardwell-Dawson. Denyce Graves joins us on Zoom from Cooperstown, NY… See omnystudio.com/listener for privacy information.

This time on the Fletchcast, Alex sits down with Don Marrazzo. Don has served as an invaluable mentor to Alex and many, many people. His career in music began when he unexpectedly gained admission to the Curtis Institute of Music after high school, and since then, he's embarked on a purpose-driven journey to teach, nurture and mentor. His tenure as Director of Casting & Artistic Operations at Glimmerglass Opera (now The Glimmerglass Festival) was defined by a unique ability to scout talent and identify potential. PLUS Alex shares an update on his controversial passion for bringing coffee mugs into cars, and showcases the talents of a young aspiring voice actor. If you like what you hear, please SHARE, subscribe, and review! Instagram: @the_fletchcast Facebook: @thefletchcast Email us at thefletchcastpod@gmail.com -- we'd love to hear from you! Leave us a message about this episode, and we just might play it on air: https://anchor.fm/thefletchcast/message

Today we are so excited to get to interview Spencer Britten!   Chinese Canadian triple threat Spencer Britten is a multi-talented performer with the resume and sparkling personality to match. Spencer is currently a member of the International Opera Studio at Staatsoper Unter den Linden and has previously performed with Opéra de Montréal and in the Glimmerglass Festival. This year he will join Staatsoper Berlin as a Studio artist and be performing in Ariadne auf Naxos, Tannhäuser, Rigoletto, Die Zauberflöte, Der Rosenkavalier, La bohème, La Traviata, Salome, and La fanciulla del west.    We got to ask him all about being a content creator, moving to and performing in Germany with his fiancé, his thoughts about the ongoing conversation surrounding racism and exoticism in the opera industry, and what advice he would've given himself as a young artist.   Follow Spencer: Instagram Website Follow Us: Instagram Twitter Facebook Hosts: Jessie Michelle

American soprano Alyson Cambridge is one of the most diverse and compelling vocal artists on the scene today. She is praised for her “powerful, clear voice” by The New York Times, hailed by critics for her “radiant, vocally assured, dramatically subtle and artistically imaginative” performances (Washington Post), and celebrated for her “sultry and seductive readings” (Opera News). Combined with a striking stage presence and affecting musical and dramatic interpretation, she has two decades of success on the world’s leading opera and concert stages, including The Metropolitan Opera, Carnegie Hall, Washington National Opera at The Kennedy Center, Lyric Opera of Chicago, Los Angeles Opera, Glimmerglass Festival, London’s Royal Albert Hall, Deutsche Oper Berlin, Vienna Konzerthaus, and New York's Broadway Theatre, to name a few. Her operatic repertoire includes the beloved heroines of Puccini, Verdi, and Mozart (Madama Butterfly, Mimi in La Bohème and Donna Elvira in Don Giovanni frequently among them), as well as her signature title roles of Carmen and Bess in Porgy and Bess. She has also made successful forays into the Broadway and jazz worlds, most notably with award-winning and critically-acclaimed performances as Julie in Show Boat, Vi in Gershwin’s rarely performed jazz-opera Blue Monday, and her 2018 Broadway debut in Rocktopia. She also has released three acclaimed classical and jazz albums, From the Diary of Sally Hemings and Until Now, respectively. Her most recent album, “Sisters In Song”, is a unique compilation of opera, art songs, and African-American spiritual duets with fellow soprano Nicole Cabell, and was an Opera News 'Critic's Choice' for 2019. alysoncambridge.comAs guitarist, producer, composer and/or music director, Tony Bruno has worked with Rihanna, Joan Jett, Kanye West, Enrique Iglesias, Mandy Moore, Donna Summer, INXS, Colin Hay among many other major artists. Bruno's TV credits include The Grammys, America's Got Talent, La Voz Kids, X-Factor, the AMAs, Jay Leno, Top Of The Pops, MTV Music Awards and TRL, and Wetten Das, and countless others. His song "Daylight in Your Eyes" that he co-wrote with Tommy Byrnes for German girl group, No Angels, was the second best-selling German single of all time. He currently lives in Brooklyn where he has his recording studio and writes for TV, Broadway and Film. tonybrunomusic.com

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

Francesca Zambello recalled the extraordinary adventure of making an opera from the literary world of the great Colombian writer Gabriel Garcia Marquez during an intermission chat with Christina Scheppelmann. Zambello, General Director of Washington National Opera and Glimmerglass Festival, is also a stage director who has given Seattle Opera many wonderful productions.This podcast also features musical clips from Seattle Opera performances of FLORENCIA.

1. Mason Bates - The (R)evolution of Steve Jobs: Scene 7, That Can Also Be a Ticking Clockhttps://spoti.fi/3nEI1OG2. Pamela Z - Badagadahttps://youtu.be/9_d6UFZZ8ck?t=2433. Errollyn Wallen - Gun Gun Gunhttps://spoti.fi/3kHe4Mb4. Judah Adashi - Risehttps://youtu.be/s2NCPiX3A1MYou can listen to these before or after the episode, or you can pause our podcast and go listen to each piece as we introduce them. Panelists:Bass Robert Ellsworth Feng is acclaimed for having a “commanding darkness and thickness to his tone,” and is a born collaborator who performs with artists of all mediums. Robert is the recipient of the George Woodhead Prize in Voice and the Peabody Career Development Award and placed second in the NY Classical Music Society International Voice Competition. Performance highlights include Don Giovanni (Il Commendatore) with Kor Productions, The Mikado (Ko-Ko) with Hawaii Opera Theatre, Tobias Picker’s Emmeline (Pastor Avery) with Manhattan School of Music, and more. Robert has premiered new works including Tony Small’s Qadar and Nick Peros’ Lamentation of Ruin. During quarantine, Robert performed in Social Distance Opera's production of Street Scene as Henry Davis, with Seagle Music Colony, and was a featured artist for Tony Small's Virtual Masterclass series for the Boys & Girls Club of Greater Washington. Robert received his Bachelors at Peabody, his Masters at Manhattan School of Music, and is an alumni of Seagle Music Colony. Robert is also a proud member of the Hawaii Opera Theatre Mae Z. Orvis Opera Studio.Taylor-Alexis DuPont is a young and engaging Mezzo-Soprano from Orlando, Florida. Since graduating with her Masters in Voice from the Peabody Conservatory while studying with Denyce Graves, Taylor-Alexis has performed with the Metropolitan Opera, the Ising International Young Artist Festival in Beijing and Suzhou, China, the Glimmerglass Festival, Prototype Festival, Sarasota Opera, St. Petersburg Opera, Opera Orlando, First Coast Opera, Christman Opera and City Lyric Opera. Performance highlights include Cendrillion (Prince Charmant), Così fan tutte (Dorabella), Ruslan and Ludmilla (Prince Ratmir), The Snow Maiden (Lel) and Pinocchio (Pinocchio). Earlier this year Taylor-Alexis performed as an ensemble member and soloist cover in the Metropolitan Opera’s wildly successful production of Porgy and Bess and made her debut with Heartbeat Opera in a new work titled Lady M. Taylor-Alexis is currently working with the Florentine Opera as a Baumgartner studio artist for the 2020-2021 season.Praised for her “vocal control and exquisite refinement,” soprano Teresa Ferrara is dedicated to music’s power to transcend social divides and inspire people of all ages and backgrounds. She has performed as a solo vocalist at the Kennedy Center and her chorus work has allowed her to perform often with the National Symphony Orchestra. She has earned many awards for her singing, including the George Woodhead Prize in Voice from the Peabody Conservatory, the Award for Excellence in the Arts from the National Society of Arts and Letters, and The Washington Post Music and Dance Scholarship Award. Ms. Ferrara has performed repeatedly with Maryland Lyric Opera, Baltimore Musicales, and the IN Series. Notable opera credits include Mozart’s Le Nozze di Figaro (Countess Almaviva) and Così fan tutte (Despina), as well as Donizetti’s L’Elisir d’Amore (Giannetta), Massenet's Chérubin (L'Ensoleillad), and Viva V.E.R.D.I. - The Promised End, (Soprano). A graduate of the Master of Music program at Peabody, she plans to continue to pursue musical endeavors that stretch the norms of classical music and seek to educate and serve the community.

Birgit Nillson was a 20th-century Swedish dramatic soprano famous for her renditions of the works of Richard Wagner and Richard Strauss.Rudolph Bing was an Austrian opera impresario (producer) who worked around the world. He notably served as the General Manager of the Metropolitan Opera in New York City.The first (old) Metropolitan Opera House in New York was located on Broadway but was demolished in 1967. The current (new) Metropolitan Opera House is located in Lincoln Center in the Upper West Side.La fanciulla del West (1910) is an opera by Italian composer Giacomo Puccini.Hochschule für Musik und Theater Hamburg (Hamburg College for Music and Theatre) is a large public university of music in Hamburg, Germany.Rolf Liebermann was a Swiss composer and music administrator who served as the Artistic Director of the Hamburg State Opera and Paris Opera.Judith Blegen is an American operatic soprano.La voix humaine (1959) is a one-act opera by 20th-century French composer Francis Poulenc.In July 1980, a 30-year-old violinist named Helen Mintiks was murdered during the intermission of a performance at the Metropolitan Opera. Read more here.Guarino refers to “Jimmy,” or James Levine, a Cincinnati-born opera conductor who became the Music Director of the Metropolitan Opera. He was notably terminated from this position in 2018 over sexual assault allegations that he denies.John Dexter was an English theatre, opera, and film director. Guarino mentions his production of French composer Francis Poulenc’s opera Dialogues des Carmélites (1956).Franco Zeffirelli was an Italian director and producer of opera, films, and television. Many of his opera productions are still in use today around the world.Margarete Wallmann was a German ballerina, choreographer, set designer, and opera director.Rhoda Levine is an American opera director, choreographer, and professor.Francesca Zambello is an American opera and theatre director who currently serves as director of the Glimmerglass Festival and Washington National Opera.Ricky Ian Gordon is a contemporary American composer.Fiora Contino was an American opera conductor and teacher.Jean-Pierre Ponnelle was a 20th-century French opera director and scenic designer.Dawn Upshaw is an American operatic soprano.Robert Wilson is an American experimental theatre director and playwright.The 19th-century Viennese composer W.A. Mozart frequently collaborated with librettist Lorenzo Da Ponte, such as for their opera The Marriage of Figaro (1786).Blind Injustice was an opera by composer *** and librettist *** which premiered at Cincinnati Opera in 2019.Patricia (“Patty”) K. Beggs was the General Director of Cincinnati Opera from 1997 to 2019.Opera Fusion: New Works (OF:NW) is a partnership between Cincinnati Opera and the University of Cincinnati College-Conservatory of Music focused on fostering contemporary American opera.In 2011, Doubt by composer Douglas J Cuomo and librettist John Patrick Shirley became the first project workshopped by OF:NW. The opera premiered at Minnesota Opera in 2013.Fellow Travelers by composer Gregory Spears and librettist Gregory Pierce is another opera that participated in OF:NW in 2013. Cincinnati Opera premiered the work in 2015. Hear Fellow Travelers composer Gregory Spears talk about the work on a previous episode of Inside Opera.Castor and Patience by composer Gregory Spears and librettist Tracy K. Smith participated in OF:NW in 2019. Cincinnati Opera will premiere the work as part of its 2021 Summer Festival. Hear Castor and Patience composer Gregory Spears talk about the work on a previous episode of Inside Opera.Rachel Maddow is an American television program host and political commentator, known for the nightly Rachel Maddow Show on MSNBC.Joni Mitchell is a critically acclaimed Canadian singer-songwriter.Bob Dylan is a Nobel Prize-winning American singer-songwriter.

In this episode, we talk with Opera Theater Director, Josh Horowitz, to get an inside look into the multifaceted Opera Theater industry. We discuss everything from his beginnings in theater, where he's traveled for work to various theaters across the U.S., and he mentions a hard-hitting Opera show that is very much relevant to society today. We just can't get enough of the arts here at Revolve One and one of our producers also chimes in because it's difficult not to be excited talking about all these great theater productions! Connect:Click here to visit the new Revolve One Web Page To follow us on Facebook click hereEmail the show at feedback@revolveone.comWe are on Instagram & Twitter @revolveoneSupport the show (http://patreon.com/revolveone)

Jennifer Williams interviews performer, teacher and activist Dr. Derrell Acon. A Fulbright Scholar, Dr. Acon received an Andrew W. Mellon grant for his work on Verdian scholarship and performance. His most recent scholarship on Blacktivism and the power of performance education has been presented around the country, and he is well-known for his groundbreaking work as an activist on the subject matter of race and equity. He also enjoys an active performance career as an acclaimed bass-baritone, including recent appearances at The Glimmerglass Festival and LA Master Chorale. We discuss an overlooked avenue in Verdian scholarship, Blacktivism as scholarship and in practice, his experience as Long Beach Opera’s Director of Engagement and Equity and Black Opera Alliance’s leader, and his advice for young performer-activists. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Carleigh Wagner is a painter and designer currently working at the Glimmerglass Festival. We talk about why Carleigh loves painting sets, what it's like working in the off-season at a large company, and the benefits criticism. 

Abell was raised in the Philadelphia and Chicago areas.David sang in the 1971 world premiere of Leonard Bernstein's Mass at the John F. Kennedy Center for the Performing Arts with the Berkshire Boy Choir.Abell enrolled at Yale University, where his teachers included John Mauceri and Rob Kapilow. He studied with Nadia Boulanger and Robert D. Levin at the American Conservatory in Fontainebleau before returning to Yale to complete his B.A. in 1981.Abell made his professional debut conducting Bernstein's Mass at Berlin's Deutschlandhalle in 1982.Abell mentions the following three operas by Gaetano Donizetti that were his introduction to opera: La Favorite, Lucia di Lammermoor, and Lucie de Lammermoor.Lyric Opera of ChicagoThe Makropulos Affair is a Czech opera with music and libretto by Leoš Janáček.Don Giovanni is an opera by Mozart.Mefistofele is the only completed opera with music by the Italian composer-librettist Arrigo BoitoThe Symphony No. 2 in D-flat major was written by Howard Hanson on commission from Serge Koussevitsky for the 50th anniversary of the Boston Symphony Orchestra in 1930.Interlochen Center for the ArtsThe Beatles were an English rock band formed in Liverpool in 1960. Members were: John Lennon, Paul McCartney, George Harrison and Ringo Starr.Abbey Road StudiosWashington National OperaGiacomo Puccini was an Italian opera composer who has been called "the greatest composer of Italian opera after Verdi".Oscar Hammerstein was an American librettist, theatrical producer, and (usually uncredited) theatre director of musicals for almost 40 years.The Marriage of Figaro is an opera buffa (comic opera) composed in 1786 by Mozart, with an Italian libretto written by Lorenzo Da Ponte.Evans mentions the following schools as notable music schools: Juilliard School, Indiana University Jacobs School of Music, University of Michigan School of Music.The American Bach SocietyYale WhiffenpoofsWashington National OperaAbell continued his postgraduate training from 1983 to 1985 at the Juilliard School, under Jorge Mester and Sixten Ehrling.Eroica Symphony, byname of Symphony No. 3 in E-flat Major, is a symphony by Ludwig van Beethoven, known as the Eroica Symphony for its supposed heroic nature.Natalia Makarova is a Soviet-Russian-born prima ballerina and choreographer.Abell deputized at short notice for John Mauceri conducting Britten's The Turn of the Screw at Washington National Opera.On Your Toes is a musical with a book by Richard Rodgers, George Abbott, and Lorenz Hart.Gian Carlo Menotti gave David the advice to “never conduct Broadway. Never do it you will regret it.”Les Misérables, colloquially known in English-speaking countries as Les Mis is a musical adapted from French poet and novelist Victor Hugo's 1862 novel of the same name by Claude Schönberg.Porgy and Bess is an English-language opera by the American composer George Gershwin, with a libretto written by author DuBose Heyward and lyricist Ira Gershwin.Miss Saigon is a musical by Schönberg.Abell subsequently conducted the 25th anniversary concert of Les Misérables at the O2 Arena.The Philly PopsArturo Toscanini was an Italian conductor.Aaron Copland was an American composer, composition teacher, writer, and later a conductor of his own and other American music.Rhapsody in Blue is a musical composed by George Gershwin.Trevor Nunn is an English theatre director.Harold Prince was an American theatrical producer and director associated with many of the best-known Broadway musical productions of the 20th century.Ariadne auf Naxos is an opera by Richard Strauss with a German libretto by Hugo von Hofmannsthal.The Voice of Firestone is a long-running radio and television program of classical music.Leontyne Price is an American soprano.Marilyn Monroe was an American actress, model, and singer.Dorothy Kirsten was an American operatic soprano.Minnesota OperaBlind InjusticeJohn Williams is an American composer, conductor, and pianist. Williams has composed for many critically acclaimed and popular movies, including the Star Wars series, Jaws, E.T. the Extra-Terrestrial, and the first three Harry Potter films.Till Eulenspiegel's Merry Pranks is a tone poem written in 1894–95 by Strauss.Along with pianist and musicologist Seann Alderking, Abell edited a complete edition of Cole Porter's Kiss Me, Kate, published in 2014.Glimmerglass OperaThe Library of Congress is the research library that officially serves the United States Congress and is the de facto national library of the United States.The New York Public Library is a public library system in New York City.Scott Davenport RichardsGioachino Rossini was an Italian composer who gained fame for his 39 operas, although he also wrote many songs, some chamber music and piano pieces, and some sacred music.Phillip Gossett was an American musicologist and historian, and Robert W. Reneker Distinguished Service Professor of Music at the University of Chicago.Tancredi is a melodramma eroico in two acts by composer Gioachino Rossini and librettist Gaetano RossiUn ballo in maschera (A Masked Ball) is an 1859 opera by Verdi.Powel Crosley Jr. was an American inventor, industrialist, and entrepreneur. He was also a pioneer in radio broadcasting, and a former owner of the Cincinnati Reds major league baseball team.Alfred Drake was an American actor and singer.Robert Russell Bennett was an American composer and arranger, best known for his orchestration of many well-known Broadway and Hollywood musicals by other composers such as Irving Berlin, George Gershwin, Jerome Kern, Cole Porter, and Richard Rodgers.Don Walker is an Australian musician, songwriter and author.Felix Mendelssohn was a German composer, pianist, organist and conductor of the early Romantic period.Messiah is an English-language oratorio composed in 1741 by George Handel.Lemuel WadeFrancesca Zambello is an American opera and theatre director. She serves as director of Glimmerglass Festival and the Washington National Opera.Lyric Opera of Kansas CityHawaii Opera TheatreChandos Records is a British independent classical music recording company based in Colchester.Peter Morris is an American playwright, television writer and critic, best known for his work in British theatre."Something's Gotta Give" is a song that was written for and first performed by Fred Astaire in the 1955 musical film Daddy Long Legs."A Wonderful Guy" is a show tune from the 1949 Rodgers and Hammerstein musical South Pacific.Abell cites Evans Mirageas as one of his greatest mentors.Abell cites his niece’s podcast, The Bright Sessions, as one of his current favorites.Abell mentions Dark Sky as one of his favorite appsTrio BistroCarousel is the second musical by Rodgers and Hammerstein.English National OperaAlfred “Alfie” Boe is an English tenor and actor, notably performing in musical theatre.

The Metropolitan OperaNaomi Andre attended Westtown SchoolEric Mitchko is the General Director for the North Carolina Opera.Barnard College, Columbia UniversityThe Magic Flute is an opera by Wolfgang Amadeus Mozart.Der Rosenkavalier is a comic opera by Richard Strauss.Tatiana Troyanos was an American mezzo-soprano of Greek and German descent, remembered as "one of the defining singers of her generation" (Boston Globe).Dame Gwyneth Jones is a Welsh operatic dramatic soprano.Kathleen Battle is an American operatic soprano known for her distinctive vocal range and tone.Khovanshchina is an opera by Modest Mussorgsky.Dialogues des Carmélites is an opera, divided into twelve scenes with linking orchestral interludes, by Francis Poulenc.Manon Lescaut is an opera by Giacomo Puccini.Columbia UniversityJessye Norman is an American opera singer and recitalist.Sieglinde is a character in Die Walküre, the second of the four music dramas that constitute Richard Wagner's Der Ring des Nibelungen.Leona Mitchell is an American operatic soprano and an Oklahoma Music Hall of Fame inductee.Mimi is a character in the opera La bohème, composed by Giacomo Puccini.Martina Arroyo is an American operatic soprano who had a major international opera career from the 1960s through the 1980s. She was part of the first generation of black opera singers of Puerto Rican descent to achieve wide success, and is viewed as part of an instrumental group of performers who helped break down the barriers of racial prejudice in the opera world.Aida is an opera by Giuseppe Verdi.Dame Kiri Te Kanawa is a New Zealand soprano.The Māori are the indigenous Polynesian people of New Zealand.Nabucco is an Italian-language opera composed in 1841 by Giuseppe Verdi.Samuel Ramey is an American operatic bass.Andrea Gruber is an American dramatic soprano particularly admired for her interpretations of the works of Puccini, Verdi, and Wagner.James Levine is an American conductor and pianist. He is primarily known for his tenure as Music Director of the Metropolitan Opera, a position he held for 40 years.Alfred Walker is an American operatic bass-baritone.Michèle Crider is an American lirico spinto operatic soprano.Mark Rucker, baritone, serves as professor of voice at MSU's College of Music.Porgy and Bess is an English-language opera by the American composer George Gershwin.Fidelio is Ludwig van Beethoven's only opera.Marian Anderson was an American contralto singer, one of the most celebrated of the twentieth century.Elizabeth Taylor Greenfield, dubbed "The Black Swan" (a play on Jenny Lind's sobriquet, "The Swedish Nightingale”, was an African-American singer considered the best-known black concert artist of her time.James Alan Bland, also known as Jimmy Bland, was an African-American musician and song writer.Thomas Dartmouth Rice, known professionally as Daddy Rice, was an American performer and playwright who performed blackface and used African American vernacular speech, song and dance to become one of the most popular minstrel show entertainers of his time."Oh, Dem Golden Slippers" is a popular song commonly sung by blackface performers in the 19th century.Prada S.p.A. is an Italian luxury fashion house, specializing in leather handbags, travel accessories, shoes, ready-to-wear, perfumes and other fashion accessories, founded in 1913 by Mario Prada.Gucci is an Italian luxury brand of fashion and leather goods. Gucci was founded by Guccio Gucci in Florence, Tuscany, in 1921.Ralph Shearer Northam is an American politician and physician serving as the Governor of Virginia.Matilda Sissieretta Joyner Jones, known as Sissieretta Jones, was an American soprano. She sometimes was called "The Black Patti", a reference to Italian opera singer Adelina Patti.The Daughters of the American Revolution is a lineage-based membership service organization for women who are directly descended from a person involved in the United States' efforts towards independence.Eleanor Roosevelt was an American political figure, diplomat and activist, and served as First Lady of the United States.Rosa Parks was an American activist in the civil rights movement best known for her pivotal role in the Montgomery bus boycott.Mattiwilda Dobbs was an African-American coloratura soprano and one of the first black singers to enjoy a major international career in opera.Lillian Evanti was an African-American opera singer.Mary Lucinda Cardwell Dawson was an African-American musician and teacher and the founding director of the National Negro Opera Company.Theodore Drury, born in Kentucky, was a singer and music promoter.Dr. Kristen Turner’s work has been published in the Journal of the Society for American Music, and the Journal of Musicological Research. Her research interests are in 19th century opera, 19th and 20th century American musical culture, African American music, music and politics, and music and gender.Sir Rudolf Bing, KBE was an Austrian-born opera impresario who worked in Germany, the United Kingdom and the United States, most notably as General Manager of the Metropolitan Opera in New York City from 1950 to 1972.Ulrica is a character in the opera Un ballo in maschera, an opera by Giuseppe Verdi.RCA Studio B is a music recording studio in Nashville, Tennessee built in 1956. Originally known simply by the name “RCA Studios”, it became known in the 1960s for being an essential factor to the development of the production style and technique known as the Nashville Sound.“O don fatale” is an aria from the opera Les Troyens, a French grand opera by Hector Berlioz.Dom Sébastien, Roi de Portugal is a French grand opera by Gaetano Donizetti.Leontyne Price is an American soprano. She rose to international acclaim in the 1950s and 1960s, and was the first African American to become a leading performer, or prima donna, at the Metropolitan Opera, and one of the most popular American classical singers of her generation.The Julliard SchoolWilliam Warfield was an American concert bass-baritone singer and actor.Alice Ford is a character in the opera Falstaff.Donna Anna is a character in the opera Don Giovanni.Franco Corelli was an Italian tenor who had a major international opera career between 1951 and 1976.Il Trovatore is an opera by Giuseppe Verdi.Madame Butterfly is an opera by Giacomo Puccini.Liù is a character in the opera Turandot by Giacomo Puccini.The Messa da Requiem is a musical setting of the Catholic funeral mass (Requiem) for four soloists, double choir and orchestra by Giuseppe Verdi.Joe is a character in the musical Show Boat by Jerome Kern.La Scala is an opera house in Milan, Italy.Otello is an opera by Giuseppe Verdi.Atlanta Symphony OrchestraRussell Thomas is an American operatic tenor.Robert Spano is an American conductor and pianist.The Gershwin Initiative at the University of MichiganHouston Grand OperaLyric Opera of ChicagoFrancesca Zambello is an American opera and theatre director. She serves as General Director of The Glimmerglass Festival and Artistic Director of the Washington National Opera.The Neil Simon Theatre, formerly the Alvin Theatre, is a Broadway venue built in 1927.Götterdämmerung is the last in Richard Wagner's cycle of four music dramas titled Der Ring des Nibelungen.Treemonisha is an opera by African-American composer Scott Joplin, who is most noted for his ragtime piano works.Harry Lawrence Freeman was a United States opera composer, conductor, impresario and teacher. He was the first African-American to write an opera (Epthalia, 1891) that was successfully produced.Voodoo is an opera in three acts with music and libretto by Harry Lawrence Freeman.William Menefield is a Cincinnati-born composer. How work Fierce will be premiered by the Cincinnati Opera in 2020.Sheila Williams is the author of Dancing on the Edge of the Roof, On the Right Side of a Dream, The Shade of My Own Tree and Girls Most Likely.

The OBS lads go ‘Inside the Huddle’ with opera baritone and Hip-Hop producer and performer K. F. Jacques. He tells them about what it took to fuse two musical genres into something totally unique... In ‘Chalk Talk’, a closer listen to “Blue”, the opera by Jeanine Tesori and Tazewell Thompson premiering at the Glimmerglass Festival later this summer… In the ‘Two Minute Drill’, problems at Michigan Opera Theater, La Scala and New York City Opera, to name a few... operaboxscore.com/thisweeksshow @operaboxscore

On this week’s 51%, meet a female duo in a male dominated industry – furniture making; hear about Girls Right the World; and an opera director shares with us her craft. Audi Culver and Ivy Siosi own and operate Siosi Design, a premiere wooden furniture company based in Bloomington, Indiana. Like starting any business, the […]

We’ve spent four episodes talking about how new operatic shows are pushing the form forward. But is the invisible barrier keeping artists of color away from opera really broken or have we just made a crack in it? Paige gets Tazewell back in the studio to talk and we hear more from librettists and administrators from the Glimmerglass panels. Featuring: Naomi Andre, Associate Professor in Women’s Studies, Afroamerican and African Studies and the Residential College at University of Michigan Matthew Morrison, forum moderator and Assistant Professor in the Clive Davis Institute of Recorded Music at New York University’s Tisch School of the Arts Jeanine Tesori, composer of Blue Victor Simonson, composer of Stomping Grounds Find Us Online: Website: https://glimmerglass.org/breaking-glass/ Twitter: @GOpera Paige Hernandez: @PaigeInFull, http://paigehernandez.com/ Tazewell Thompson: http://tazewellthompson.com/ Naomi Andre: https://irwg.umich.edu/people/naomi-andre Matthew Morrison: https://tisch.nyu.edu/about/directory/clive-davis-institute/918859097 Jeanine Tesori: https://www.samuelfrench.com/a/103158/jeanine-tesori Victor Simonson: http://victorsimonson.com/victor-simonson/ About Us: Breaking Glass is produced by Stacia Brown and edited by Ali Post of Rise of Charm City LLC. Music and sound design by Elisheba Ittoop. Stacy Gerard is our production and distribution manager. Marketing and promotional support is provided by Multitude Productions. Christopher Powell and Heather McDougall are the executive producers. Our thanks to Francesca Zambello, Artistic & General Director and Joel Morain, Resident Sound Designer of the Glimmerglass Festival.  Additional thanks to Tony Macaluso, former director of the WFMT Radio Network. Breaking Glass and the development of Stomping Grounds and Blue are funded by a grant from the Andrew W. Mellon Foundation. Glimmerglass's commissioning fees for Blue are funded in part by an OPERA America Female Composers Grant. Further development of Blue is made possible by a Repertoire Development Grant from the Opera Fund. The Breaking Glass podcast is a co-production of The Glimmerglass Festival and the WFMT Radio Network, a Chicago-based producer and distributor of radio programs and podcasts about the arts. The podcast is made possible by an OPERA America Innovation Grant supported by the Ann and Gordon Getty Foundation. Breaking Glass is a five-episode podcast that explores social justice through the lens of opera. Produced by The Glimmerglass Festival and WFMT, this show challenges ideas of who opera is for and who should create it. Host Paige Hernandez and contributor Tazewell Thompson discuss, question, and challenge what stories are told in the world of opera and how they may look in the future. They engage creatives from across the opera community and draw from their own experiences as artists of color in a conversation steeped in creativity, humanity, honesty. Let’s raise our voices and break some glass.

In this episode, I speak with Jason Haaheim, principal timpanist with NY's Metropolitan Opera since 2013.   We discuss his fascinating journey, going from working full-time as an engineer to holding one of the most coveted position in the world.  He applied the principles of deliberate practice in his life in a way that will amaze and inspire you!  Jason's experience and insight on deliberate practice and music-making are eye opening!   We elaborate on: His unorthodox path – securing a position at the MET How he was exposed to deliberate practice What is “talent?” (Pssst!  It's not what you think!) How his playing soared once he figured out what type of practice works for him How deliberate practice is, in essence, applying the scientific method to instrumental learning How refining the technique in a scientific, methodical way, leads us to musicality and expression Why feedback is so crucial in learning and growing as an artist Why essential to be process-focused and how it impacts the end result Why it's up to you and the decision you make over the years Why it pays to be a tenacious loser What the things you can control are How the process never ends (and that's a good thing!) Why we should keep asking questions and how they make us better How his process continues in his career How results are a by-product of the process His audition preparation process – how he organized it and what it involved (have specific goals, a solid plan, record yourself, play mock auditions, get lots of feedback, etc.) How he uses Anders Ericsson's Mental Representation concept How recording ourselves transforms how we pay attention to our playing in real time How he prepares for the opera repertoire     ALL ABOUT JASON: Website: https://jasonhaaheim.com/ Instagram: https://www.instagram.com/jasonhaaheim/ Metropolitan Opera: https://www.metopera.org/ Artful Timpani Auditioning Seminar: https://steinhardt.nyu.edu/music/summer/percussionworkshops/artful_timpani_auditioning Talent is Overrated: What Really Separates World-Class Performers from Everybody Else by Geoff Colvin Peak: Secrets from the New Science of Expertise by Anders Ericsson     Jason Haaheim (pronounced HAW-heim) was appointed a Principal Timpanist of the Metropolitan Opera Orchestra in 2013. In addition to performances at New York's Lincoln Center and Carnegie Hall, Mr. Haaheim can be seen and heard performing with the MET Orchestra on television, international radio, and Live in HD movie theater broadcasts. Mr. Haaheim is on faculty at the NYU Steinhardt School of Music and the Bard Conservatory of Music. A sought-after clinician, Mr. Haaheim gives masterclasses both nationally and internationally, and is the founder of the Northland Timpani Summit. He is also a frequent coach for The Orchestra Now (TON), the Carnegie Hall National Youth Orchestra (NYO), and the New York Youth Symphony (NYYS). Mr. Haaheim's guest principal timpanist engagements have included the Seoul Philharmonic, the Mostly Mozart Festival Orchestra, and the Milwaukee Symphony. He has also been principal timpanist of the Lakes Area Music Festival, and a resident artist of the Twickenham Festival. Prior to the Met, Mr. Haaheim was principal timpanist of the Southwest Michigan Symphony and the Civic Orchestra of Chicago, and he performed regularly as timpanist with the Madison Symphony, Illinois Symphony, Peoria Symphony, and the Illinois Philharmonic. Mr. Haaheim has also been invited to perform as guest principal timpanist with the Chicago Symphony, the Detroit Symphony, the International Contemporary Ensemble (ICE), the Glimmerglass Festival, the Auckland Philharmonia, the Fort Wayne Philharmonic, and the Hong Kong Philharmonic. Mr. Haaheim began studying piano in 4th grade, adding percussion studies in 5th grade. He holds a bachelor of arts degree with a double major in honors-music-performance and physics from Gustavus Adolphus College (St. Peter, MN); he also holds a master's degree in electrical engineering from UC-Santa Barbara. Influential teachers have included John Tafoya (Indiana University, National Symphony), Dean Borghesani (Milwaukee Symphony), Jonathan Haas (Aspen Music Festival, NYU), and Robert Adney (Gustavus Adolphus College, MacPhail Music School). While auditioning and freelancing, Mr. Haaheim worked as “Senior Research and Development Engineer” at NanoInk, a Chicago-area tech company. In this capacity, he gave invited talks on nanotechnology, authored multiple peer-reviewed publications, and was granted numerous patents. In 2017, this dual-career path was highlighted in an interview with Melissa Block on NPR's Weekend Edition. Active in all musical areas, Mr. Haaheim has also performed extensively as a chamber musician and jazz drummer. He collaborated with Yo-Yo Ma in a Civic Orchestra / Silk Road Ensemble performance, and recorded the premiere of Augusta Read Thomas's “Terpsichore's Dream” with members of the Chicago Symphony. Mr. Haaheim has performed with Chicago's ensemble dal niente, and premiered Ryosuke Yagi's “Mirrors…for timpani” with the UCSB Ensemble of Contemporary Music. Other projects have included drumming for the jazz-fusion quartet “The J3 Intent” and the alt-country band “The Lost Cartographers.” At Gustavus, Mr. Haaheim was selected for the honors recital and won first place in the orchestra's concerto competition. Extra-musical interests include backpacking and hiking, rock climbing, and both downhill and cross-country skiing.     If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support! Visit www.mindoverfinger.com for information about past and future podcasts, and for more resources on mindful practice. THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a huge thank you to my producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.facebook.com/groups/mindoverfingertribe   (As an Amazon Associate I earn from qualifying purchases, which helps cover some of the costs associated with the production of the podcast.  Thank you for your support.)

Coming up in episode five of Breaking Glass, we take a trip to Cooperstown, NY for the annual Glimmerglass Festival to explore how to make social change a bigger part of opera’s ongoing mission. Look out for Episode 5 on Monday, December 3, 2018! Find Us Online: Website: https://glimmerglass.org/breaking-glass/ Twitter: @GOpera Paige Hernandez: @PaigeInFull, http://paigehernandez.com/ Tazewell Thompson: http://tazewellthompson.com/ About Us: Breaking Glass is produced by Stacia Brown and edited by Ali Post of Rise of Charm City LLC. Music and sound design by Elisheba Ittoop. Stacy Gerard is our production and distribution manager. Christopher Powell and Heather McDougall are the executive producers. Our thanks to Francesca Zambello, Artistic & General Director and Joel Morain, Resident Sound Designer of the Glimmerglass Festival.  Additional thanks to Tony Macaluso, former director of the WFMT Radio Network. Breaking Glass and the development of Stomping Grounds are funded by a grant from the Andrew W. Mellon Foundation. The Breaking Glass podcast is a co-production of The Glimmerglass Festival and the WFMT Radio Network, a Chicago-based producer and distributor of radio programs and podcasts about the arts. The podcast is made possible by an OPERA America Innovation Grant supported by the Ann and Gordon Getty Foundation. Breaking Glass is a five-episode podcast that explores social justice through the lens of opera. Produced by The Glimmerglass Festival and WFMT, this show challenges ideas of who opera is for and who should create it. Host Paige Hernandez and contributor Tazewell Thompson discuss, question, and challenge what stories are told in the world of opera and how they may look in the future. They engage creatives from across the opera community and draw from their own experiences as artists of color in a conversation steeped in creativity, humanity, honesty. Let’s raise our voices and break some glass.

The idea of home looms large in the arts, popping up as a central theme in our favorite stories. But where does it fit into opera? Paige looks at how her own work and new opera performances wrestle with what home looks like in the 21st century—whether it’s building home, losing home, or finding home in a new country Featuring: **Chaz'men Williams-Ali, tenor Aleks Romano, mezzo-soprano Lidiya Yankovskaya, music director and conductor, Chicago Opera Theater and conductor and artistic director, Refugee Orchestra Project Michael Mori, artistic director, Tapestry Opera Marc Bamuthi Joseph, librettist (of We Shall Not Be Moved) and Chief of Program and Pedagogy, YBCA Find Us Online: Website: https://glimmerglass.org/breaking-glass/ Twitter: @GOpera Paige Hernandez: @PaigeInFull, http://paigehernandez.com/ Chaz'men Williams-Ali: @chazwillmsali Aleks Romano: @AleksRomano Lidiya Yankovskaya: @LidiyaConductor, @ChicagoOpera, @RefugeeOrchProj Michael Mori: @michaelhmori, @TapestryOpera Marc Bamuthi Joseph: @bamuthi About Us: Breaking Glass is produced by Stacia Brown and edited by Ali Post of Rise of Charm City LLC. Music and sound design by Elisheba Ittoop. Stacy Gerard is our production and distribution manager. Marketing and promotional support is provided by Multitude Productions. Christopher Powell and Heather McDougall are the executive producers. Our thanks to Francesca Zambello, Artistic & General Director and Joel Morain, Resident Sound Designer of the Glimmerglass Festival.  Additional thanks to Tony Macaluso, former director of the WFMT Radio Network. Breaking Glass and the development of Stomping Grounds and Blue are funded by a grant from the Andrew W. Mellon Foundation. Glimmerglass's commissioning fees for Blue are funded in part by an OPERA America Female Composers Grant. Further development of Blue is made possible by a Repertoire Development Grant from the Opera Fund. The Breaking Glass podcast is a co-production of The Glimmerglass Festival and the WFMT Radio Network, a Chicago-based producer and distributor of radio programs and podcasts about the arts. The podcast is made possible by an OPERA America Innovation Grant supported by the Ann and Gordon Getty Foundation. Breaking Glass is a five-episode podcast that explores social justice through the lens of opera. Produced by The Glimmerglass Festival and WFMT, this show challenges ideas of who opera is for and who should create it. Host Paige Hernandez and contributor Tazewell Thompson discuss, question, and challenge what stories are told in the world of opera and how they may look in the future. They engage creatives from across the opera community and draw from their own experiences as artists of color in a conversation steeped in creativity, humanity, honesty. Let’s raise our voices and break some glass.

Coming up in episode four of Breaking Glass, we will look at how opera performers, composers, and innovators are creating works of art that grapple with, and respond to, the world around them. Look out for Episode 4 on Monday, November 5, 2018! Find Us Online: Website: https://glimmerglass.org/breaking-glass/ Twitter: @GOpera Paige Hernandez: @PaigeInFull, http://paigehernandez.com/ Tazewell Thompson: http://tazewellthompson.com/ About Us: Breaking Glass is produced by Stacia Brown and edited by Ali Post of Rise of Charm City LLC. Music and sound design by Elisheba Ittoop. Stacy Gerard is our production and distribution manager. Christopher Powell and Heather McDougall are the executive producers. Our thanks to Francesca Zambello, Artistic & General Director and Joel Morain, Resident Sound Designer of the Glimmerglass Festival.  Additional thanks to Tony Macaluso, former director of the WFMT Radio Network. Breaking Glass and the development of Stomping Grounds are funded by a grant from the Andrew W. Mellon Foundation. The Breaking Glass podcast is a co-production of The Glimmerglass Festival and the WFMT Radio Network, a Chicago-based producer and distributor of radio programs and podcasts about the arts. The podcast is made possible by an OPERA America Innovation Grant supported by the Ann and Gordon Getty Foundation. Breaking Glass is a five-episode podcast that explores social justice through the lens of opera. Produced by The Glimmerglass Festival and WFMT, this show challenges ideas of who opera is for and who should create it. Host Paige Hernandez and contributor Tazewell Thompson discuss, question, and challenge what stories are told in the world of opera and how they may look in the future. They engage creatives from across the opera community and draw from their own experiences as artists of color in a conversation steeped in creativity, humanity, honesty. Let’s raise our voices and break some glass.

The Glimmerglass Festival is presenting a series of public forums in nine cities around the country in 2018. From Atlanta to Seattle, New Orleans to Chicago, members of the Breaking Glass team, Glimmerglass artistic collaborators and guest speakers engaged with the public in a series of lively, honest and provocative discussions. They talked opera, race and social justice and how those ideas resonate in the communities in their respective cities. Paige dives into the forums to bring you the best of what emerged. Featuring: **Matthew Morrison, forum moderator and Assistant Professor in the Clive Davis Institute of Recorded Music at New York University’s Tisch School of the Arts **Naomi Andre, Associate Professor in Women’s Studies, Afroamerican and African Studies and the Residential College at University of Michigan. Find Us Online: Website: https://glimmerglass.org/breaking-glass/ Twitter: @GOpera Paige Hernandez: @PaigeInFull, http://paigehernandez.com/ Matthew Morrison: https://tisch.nyu.edu/about/directory/clive-davis-institute/918859097 Naomi Andre: https://irwg.umich.edu/people/naomi-andre About Us: Breaking Glass is produced by Stacia Brown and edited by Ali Post of Rise of Charm City LLC. Music and sound design by Elisheba Ittoop. Stacy Gerard is our production and distribution manager. Marketing and promotional support is provided by Multitude Productions. Christopher Powell and Heather McDougall are the executive producers. Our thanks to Francesca Zambello, Artistic & General Director and Joel Morain, Resident Sound Designer of the Glimmerglass Festival.  Additional thanks to Tony Macaluso, former director of the WFMT Radio Network. Breaking Glass and the development of Stomping Grounds and Blue are funded by a grant from the Andrew W. Mellon Foundation. Glimmerglass's commissioning fees for Blue are funded in part by an OPERA America Female Composers Grant. Further development of Blue is made possible by a Repertoire Development Grant from the Opera Fund. The Breaking Glass podcast is a co-production of The Glimmerglass Festival and the WFMT Radio Network, a Chicago-based producer and distributor of radio programs and podcasts about the arts. The podcast is made possible by an OPERA America Innovation Grant supported by the Ann and Gordon Getty Foundation. Breaking Glass is a five-episode podcast that explores social justice through the lens of opera. Produced by The Glimmerglass Festival and WFMT, this show challenges ideas of who opera is for and who should create it. Host Paige Hernandez and contributor Tazewell Thompson discuss, question, and challenge what stories are told in the world of opera and how they may look in the future. They engage creatives from across the opera community and draw from their own experiences as artists of color in a conversation steeped in creativity, humanity, honesty. Let’s raise our voices and break some glass.

Do you ever think of everyone behind the scenes of your favorite opera? Hear what they have to say from Breaking Glass forums around the country. Find Us Online: Website: https://glimmerglass.org/breaking-glass/ Twitter: @GOpera Paige Hernandez: @PaigeInFull, http://paigehernandez.com/ Tazewell Thompson: http://tazewellthompson.com/ About Us: Breaking Glass is produced by Stacia Brown and edited by Ali Post of Rise of Charm City LLC. Music and sound design by Elisheba Ittoop. Stacy Gerard is our production and distribution manager. Christopher Powell and Heather McDougall are the executive producers. Our thanks to Francesca Zambello, Artistic & General Director and Joel Morain, Resident Sound Designer of the Glimmerglass Festival.  Additional thanks to Tony Macaluso, former director of the WFMT Radio Network. Breaking Glass and the development of Stomping Grounds are funded by a grant from the Andrew W. Mellon Foundation. The Breaking Glass podcast is a co-production of The Glimmerglass Festival and the WFMT Radio Network, a Chicago-based producer and distributor of radio programs and podcasts about the arts. The podcast is made possible by an OPERA America Innovation Grant supported by the Ann and Gordon Getty Foundation. Breaking Glass is a five-episode podcast that explores social justice through the lens of opera. Produced by The Glimmerglass Festival and WFMT, this show challenges ideas of who opera is for and who should create it. Host Paige Hernandez and contributor Tazewell Thompson discuss, question, and challenge what stories are told in the world of opera and how they may look in the future. They engage creatives from across the opera community and draw from their own experiences as artists of color in a conversation steeped in creativity, humanity, honesty. Let’s raise our voices and break some glass.

Who will sing the roles, design the productions and tell the stories in opera in the 21st century? Paige and Tazewell crack open a ‘behind the scenes’ view of the opera business to explore who decides what we see and hear on stage. They describe the experience of being artists of color writing, composing, directing and performing on Glimmerglass stages.**** Featuring: **Francesca Zambello, General & Artistic Director of The Glimmerglass Festival **Christopher Powell, Director of Artistic Initiatives of The Glimmerglass Festival Naomi Andre, Associate Professor in Women’s Studies, Afroamerican and African Studies and the Residential College at University of Michigan **Helena Brown, soprano opera singer Find Us Online: Website: https://glimmerglass.org/breaking-glass/ Twitter: @GOpera Paige Hernandez: @PaigeInFull, http://paigehernandez.com/ Tazewell Thompson: http://tazewellthompson.com/ Francesca Zambello: http://www.francescazambello.com/ Naomi Andre: https://irwg.umich.edu/people/naomi-andre Helena Brown: https://www.helena-brown.com/ About Us: Breaking Glass is produced by Stacia Brown and edited by Ali Post of Rise of Charm City LLC. Music and sound design by Elisheba Ittoop. Stacy Gerard is our production and distribution manager. Marketing and promotional support is provided by Multitude Productions. Christopher Powell and Heather McDougall are the executive producers. Our thanks to Francesca Zambello, Artistic & General Director and Joel Morain, Resident Sound Designer of the Glimmerglass Festival.  Additional thanks to Tony Macaluso, former director of the WFMT Radio Network. Breaking Glass and the development of Stomping Grounds are funded by a grant from the Andrew W. Mellon Foundation. The Breaking Glass podcast is a co-production of The Glimmerglass Festival and the WFMT Radio Network, a Chicago-based producer and distributor of radio programs and podcasts about the arts. The podcast is made possible by an OPERA America Innovation Grant supported by the Ann and Gordon Getty Foundation. Breaking Glass is a five-episode podcast that explores social justice through the lens of opera. Produced by The Glimmerglass Festival and WFMT, this show challenges ideas of who opera is for and who should create it. Host Paige Hernandez and contributor Tazewell Thompson discuss, question, and challenge what stories are told in the world of opera and how they may look in the future. They engage creatives from across the opera community and draw from their own experiences as artists of color in a conversation steeped in creativity, humanity, honesty. Let’s raise our voices and break some glass.

Find Us Online: Website: https://glimmerglass.org/breaking-glass/ Twitter: @GOpera Paige Hernandez: @PaigeInFull, http://paigehernandez.com/ Tazewell Thompson: http://tazewellthompson.com/ About Us: Breaking Glass is produced by Stacia Brown and edited by Ali Post of Rise of Charm City LLC. Music and sound design by Elisheba Ittoop. Heather McDougall is our project manager and Stacy Gerard, our production and distribution manager. Marketing and promotional support is provided by Multitude Productions. Christopher Powell and Tony Macaluso are the executive producers. Thanks to Francesca Zambello, Artistic & General Director and Joel Morain, Resident Sound Designer of the Glimmerglass Festival. Breaking Glass and the development of Stomping Grounds are funded by a grant from the Andrew W. Mellon Foundation. The Breaking Glass podcast is a co-production of The Glimmerglass Festival and the WFMT Radio Network, a Chicago-based producer and distributor of radio programs and podcasts about the arts. The podcast is made possible by an OPERA America Innovation Grant supported by the Ann and Gordon Getty Foundation. Breaking Glass is a five-episode podcast that explores social justice through the lens of opera. Produced by The Glimmerglass Festival and WFMT, this show challenges ideas of who opera is for and who should create it. Host Paige Hernandez and contributor Tazewell Thompson discuss, question, and challenge what stories are told in the world of opera and how they may look in the future. They engage creatives from across the opera community and draw from their own experiences as artists of color in a conversation steeped in creativity, humanity, honesty. Let’s raise our voices and break some glass.

Once upon a time in America, the opera, like most things, wasn’t for everyone. But in the 21st century, some new shows are pushing the form forward to resonate more widely and deeply. Can opera rise out of its origins and touch communities of color with complex histories and relationships to those not of color? Host Paige Hernandez and contributor Tazewell Thompson tell their stories of encountering opera for the first time and their reflections on being recent first-time librettists. Find Us Online: Website: https://glimmerglass.org/breaking-glass/ Twitter: @GOpera Paige Hernandez: @PaigeInFull, http://paigehernandez.com/ Tazewell Thompson: http://tazewellthompson.com/ **We'd love to know more about you! Be an everyday hero and take our short listener survey: **https://bit.ly/2vdecft About Us: Breaking Glass is produced by Stacia Brown and edited by Ali Post of Rise of Charm City LLC. Music and sound design by Elisheba Ittoop. Heather McDougall is our project manager and Stacy Gerard, our production and distribution manager. Marketing and promotional support is provided by Multitude Productions. Christopher Powell and Tony Macaluso are the executive producers. Thanks to Francesca Zambello, Artistic & General Director and Joel Morain, Resident Sound Designer of the Glimmerglass Festival. Breaking Glass and the development of Stomping Grounds and Blue are funded by a grant from the Andrew W. Mellon Foundation. Glimmerglass's commissioning fees for Blue are funded in part by an OPERA America Female Composers Grant. Further development of Blue is made possible by a Repertoire Development Grant from the Opera Fund. The Breaking Glass podcast is a co-production of The Glimmerglass Festival and the WFMT Radio Network, a Chicago-based producer and distributor of radio programs and podcasts about the arts. The podcast is made possible by an OPERA America Innovation Grant supported by the Ann and Gordon Getty Foundation. Breaking Glass is a five-episode podcast that explores social justice through the lens of opera. Produced by The Glimmerglass Festival and WFMT, this show challenges ideas of who opera is for and who should create it. Host Paige Hernandez and contributor Tazewell Thompson discuss, question, and challenge what stories are told in the world of opera and how they may look in the future. They engage creatives from across the opera community and draw from their own experiences as artists of color in a conversation steeped in creativity, humanity, honesty. Let’s raise our voices and break some glass.

Find Us Online: Website: https://glimmerglass.org/breaking-glass/ Twitter: @GOpera Paige Hernandez: @PaigeInFull, http://paigehernandez.com/ Tazewell Thompson: http://tazewellthompson.com/ **We'd love to know more about you! Be an everyday hero and take our short listener survey: **https://bit.ly/2vdecft About Us: Breaking Glass is produced by Stacia Brown and edited by Ali Post of Rise of Charm City LLC. Music and sound design by Elisheba Ittoop. Heather McDougall is our project manager and Stacy Gerard, our production and distribution manager. Marketing and promotional support is provided by Multitude Productions. Christopher Powell and Tony Macaluso are the executive producers. Thanks to Francesca Zambello, Artistic & General Director and Joel Morain, Resident Sound Designer of the Glimmerglass Festival. Breaking Glass and the development of Stomping Grounds are funded by a grant from the Andrew W. Mellon Foundation. The Breaking Glass podcast is a co-production of the Glimmerglass Festival and the WFMT Radio Network, a Chicago-based producer and distributor of radio programs and podcasts about the arts. The podcast is made possible by an OPERA America Innovation Grant supported by the Ann and Gordon Getty Foundation. *Breaking Glass *is a five-episode podcast that explores social justice through the lens of opera. Produced by the Glimmerglass Opera Festival and WFMT, this show challenges ideas of who opera is for and who should create it. Host Paige Hernandez and contributor Tazewell Thompson discuss, question, and challenge what stories are told in the world of opera and how they may look in the future. They engage creatives from across the opera community and draw from their own experiences as artists of color in a conversation steeped in creativity, humanity, honesty. Let’s raise our voices and break some glass.

In the world of opera, there’s a powerful recurring image: someone sings a note so high that it literally breaks glass. Host Paige Hernandez and contributor Tazewell Thompson invite us to do some smashing of our own and deconstruct the world of opera. Let’s raise our voices to break some glass. Find Us Online: Website: https://glimmerglass.org/breaking-glass/ Twitter: @GOpera Paige Hernandez: @PaigeInFull, http://paigehernandez.com/ Tazewell Thompson: http://tazewellthompson.com/ **We'd love to know more about you! Be an everyday hero and take our short listener survey: **https://bit.ly/2vdecft About Us: Breaking Glass is produced by Stacia Brown and edited by Ali Post of Rise of Charm City LLC. Music and sound design by Elisheba Ittoop. Heather McDougall is our project manager and Stacy Gerard, our production and distribution manager. Marketing and promotional support is provided by Multitude Productions. Christopher Powell and Tony Macaluso are the executive producers. Thanks to Francesca Zambello, Artistic & General Director and Joel Morain, Resident Sound Designer of the Glimmerglass Festival. Breaking Glass and the development of Stomping Grounds are funded by a grant from the Andrew W. Mellon Foundation. The Breaking Glass podcast is a co-production of the Glimmerglass Festival and the WFMT Radio Network, a Chicago-based producer and distributor of radio programs and podcasts about the arts. The podcast is made possible by an OPERA America Innovation Grant supported by the Ann and Gordon Getty Foundation. *Breaking Glass *is a five-episode podcast that explores social justice through the lens of opera. Produced by the Glimmerglass Opera Festival and WFMT, this show challenges ideas of who opera is for and who should create it. Host Paige Hernandez and contributor Tazewell Thompson discuss, question, and challenge what stories are told in the world of opera and how they may look in the future. They engage creatives from across the opera community and draw from their own experiences as artists of color in a conversation steeped in creativity, humanity, honesty. Let’s raise our voices and break some glass.

Earlier this year, the Metropolitan Museum of Art said it will name its newly remodeled plaza and fountains for David H. Koch, the billionaire conservative activist who gave $65 million towards the renovation. Koch has his name on a few prominent buildings around town, including the former New York State Theater at Lincoln Center and the American Museum of Natural History's dinosaur wing. Koch presents one of the most visible examples of naming rights, a trend that some say is a necessary part of philanthropy. Yet others argue that giving should be a selfless, anonymous act. In this podcast, we consider what's driving the trend and what it signifies. "With the fall-off in giving from the government, corporations and foundations, the private sector is even more essential than it was in the past," said Robin Pogrebin, a culture reporter at the New York Times. "In the past there was perhaps a nobility in giving anonymously. But now if donors are interested in seeing their names on things then organizations do need to make the tradeoffs involved in making that available to them." Naming rights for major buildings generally go for about $100 million in New York, as seen in recent gifts by Stephen Schwarzman (to the New York Public Library), Koch (to the New York State Theater), Henry Kravis and Ronald Perelman (both to the Columbia University Business School). Smaller gifts may fund a hallway, a lobby or even a toilet. Joan Desens is the director of institutional advancement at the Glimmerglass Festival, a summer opera festival in Cooperstown, NY. She says that patrons were once reluctant to have their name associated with a gift, but society has become more open. "People are very blatant with Facebook exposure," she said. "We’re all out there. So I think that people are more comfortable with having their name out there. It’s increasingly becoming an attraction." Patricia Illingworth, an editor of Giving Well: The Ethics of Philanthropy, believes that naming rights are a mixed blessing from an ethical standpoint. To some degree, "the arts seem to be a place where people from all walks of life and all social classes can gather together in solidarity," she noted. "So if billionaires are branding institutions and organizations with their names," that can alienate some people. Nevertheless, Illingworth believes that named buildings can serve as an example and encourage increased giving from others. Does an arts institution risk alienating patrons by associating with a major donor who holds a controversial personal agenda? "The point is, [patrons] are going to walk in anyway," said Pogrebin. "They may object but it’s not going to keep them away. Time passes and people get used to things." A more complex picture emerges if a donor feels at liberty to dictate programming. According to a recent New Yorker piece, a documentary film was halted because of pressure applied on PBS from David H. Koch. Opinions differ as to whether this occurs within performing arts organizations. "We like to think that the democratic process is what determines the social agenda," said Illingworth. "And yet when philanthropists start acting like governments, in a sense they can determine the social agenda. Naming rights can exacerbate that."  But according to Pogrebin, "there is a pretty bright line when it comes to cultural organizations and artistic interference. That's the real cardinal sin. A donor cannot meddle in artistic choices and once you go down that road it's a slippery slope." Weigh in: How do you feel about naming rights in the arts?

Today's podcast is with Mark Tavern, an A&R administrator, mentor, speaker, blogger, and creator of strategies for the new music industry among other things. Mark has made a career out of helping musicians execute their creative vision. His industry experience spans more than 18 years, with positions at record labels and at performing arts organizations. Whether the music is hip-hop, rock, pop, jazz or classical, he's leveraged his education, creative sensibility, management skills, operations expertise, administrative experience and industry contacts to deliver artistic and commercial success. Mark has worked on a wide range of projects including Justin Bieber, The Roots, Mariah Carey, India.Arie, Whitney Houston, The Killers, Adam Lambert, Kelly Clarkson, Angie Stone, Maroon 5, Carrie Underwood, The Chieftains, Etta James, Jim Brickman, Andy Summers, Dave Douglas, Eliane Elias, Tom Harrell, Fourplay, Dominique Eade, Denyce Graves, Leontyne Price, a dozen Broadway cast albums including Urinetown, Avenue Q, Cabaret and Ragtime, and more than 15 opera productions at companies such as the Glimmerglass Festival, Glyndebourne (UK) and New York City Opera. In today's conversation we are going to be talking about the realities of the new music industry, finding the right studios and the right producers, artist development, the new rockstar dream, the value of music and "free" music, traits of successful artists, editing out the soul of a song, and whole lot more! I really enjoyed today's interview and I am sure you will too! It contains lots of insight for a career in today's new music industry. Aaron Bethune. Music Specialist. Creative Collaborator. http://www.playitloudmusic.com & http://www.abovethenoise.ca For More Information on Mark please visit his website: http://www.marktavern.com For a list of projects Mark has worked on please visit: http://www.artistdirect.com/artist/mark-tavern/2616237