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2 episodes with gotham chamber opera
4 episodes with gotham chamber opera
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/
Katie checks in with production manager (Signature Theatre, Aspen Opera Theater Center, Ensemble Studio Theatre, Gotham Chamber Opera), co-founder of Intuitive Production Management, and curator of the American Packard Museum, Rob Signom.
Soprano Jenna Siladie has earned warm acclaim, praised by the New York Times for her "endearing sweet voice", and hailed by the European press as having a “both warm and shimmering tone". The 2019/20 season has heralded in a string of successes, including the role debut as Marguerite in Faust, as well as Arianna in the Handel opera Giustino: "The soprano Jenna Siladie, who in the role of Arianna shows vocally, why she is the star of the young ensemble." In 2018 Jenna joined the prestigious ensemble at the Theater an der Wien in Vienna, Austria, singing the lead heroine of Élisabeth in Verdi's Don Carlos. Der Standard noted, “the most harmonious performance of the production goes to Jenna Siladie whose beautiful Élisabeth combines elegance, fullness, and vocal warmth and luminosity.” In the autumn of 2017, she made her Germany debut as a guest at Oper Wuppertal, singing Gutrune in Götterdämmerung, being praised for singing “with passion and sweet soprano sound which is seldom heard” (Die Deutsche Bühne). She saw the addition of two new roles in the spring of 2017 as Adina in L'elisir d'amore with St. Petersburg Opera Company and then Lauretta in Opera Company of Middlebury's production of Il trittico. Ms. Siladie's additional operatic credits include Micaela in Carmen, Iolanta in Iolanta (Tchaikovsky), Susanna in Le Nozze di Figaro. She made her NYC debut with Gotham Chamber Opera in 2014, performing the respective leading roles of Popelka and Armande in a double bill production of Bohuslav Martinů's operas Veselohra na mostě and Alexandre Bis. Other NYC highlights include the leading role of Léontine in the U.S premiere of the Chevalier de Saint-Georges' 1780 opera L'amant anonyme (March 2016). A frequent concert and recital soloist, Ms. Siladie made her Carnegie Hall debut in June 2017 as soloist in John Rutter's Mass of the Children and has been a favorite guest with Carolina Philharmonic. Further concert appearances throughout the United States have seen her in Santa Fe NM, New Haven CT, and Vero Beach Opera in Florida. She has also appeared in Lieder programs throughout Austria. Ms. Siladie earned her Master of Music from Yale University, where she "showed fine, round tone in the title role" of Tchaikovsky's final opera Iolanta, and was "particularly impressive and created a very memorable character out of Lucia" (Hartford Courant) in The Rape of Lucretia. Ms. Siladie also earned her Bachelor of Music from Stetson University, where she notably appeared as soprano soloist in Handel's Messiah with the Stetson University Orchestra and Choral Union. "Jenna Siladie, an EBULLIENT soprano with great stage presence SPARKLED" - Wall Street Journal Website: https://www.jennasiladie.com Facebook: Jenna Siladie, Soprano Instagram: @jennasiladie @upwardfacingsoprano In this episode we talk about: - Jenna's health and wellness journey during the pandemic - Being a professional musician / opera singer in Europe vs. US - Teaching Yoga in Ukraine - Performance Anxiety TW: exercise bulimia, disordered eating, performance anxiety, mental and physical health --- Send in a voice message: https://anchor.fm/thealignedmusician/message
https://www.catapultopera.org/visionNeal Goren was the founder and artistic director of Gotham Chamber Opera, which popularized and legitimized the formerly ignored genre of chamber opera. Goren's newest opera venture is Catapult Opera, a new company dedicated to communicating the power of opera through unique internet-based media and world-class live performance. As a recital accompanist, Goren has concertized extensively with Leontyne Price, among others. He is an associate professor at Mannes College, The New School for Music, and a frequent judge of national and international vocal competitions. His writings on opera and the arts have appeared in numerous books and periodicals. Beyond the Aria: Artistic Self-Empowerment for the Classical Singer: Why You Want It, Why You Have Been Denied It, and How to Achieve. (Rowman & Littlefield Publishing Group, Incorporated, 2020). Beyond the Aria provides singers with the tools to develop an inquisitive and analytical mindset about the artistic details found in scores. Neal Goren takes readers through a careful reading of clues provided by the librettist and composer, informed by performance practice, and empowers singers to make their own valid artistic choices. Sample analyses of six standard arias and songs are provided as a guide of characterization. https://beyondthearia.com
George investigates the death of Gotham Chamber Opera... Giovanna wonders if opera companies are finding new ways to tell old stories... Plus, George gets to ask the questions for Pop Quiz, and we compare an opera aria with a contemporary cover in our Instant Replay segment.
Gotham Chamber Opera is kaput...Hvorostovsky comes back big...Leving cancels Lulu. In part two of Oliver's Corner on The Magic Flute, Pamina wants to be sexy and sad, just like her mommy. This week features Michael, The OC and Doug Dodson.
The year 2013 saw plenty of headline-making moments in classical music. Protesters came to the opening night of the Met, while a stagehands strike cancelled the opening night at Carnegie Hall. There were heated debates over women conductors and some complicated celebrations for Richard Wagner. It was another tough year for some orchestras but a good one for Benjamin Britten fans. In this edition of Conducting Business, three experts talk about the past year: Anne Midgette, classical music critic of the Washington Post; Justin Davidson, classical music and architecture critic for New York magazine; and Heidi Waleson, a classical music critic for the Wall Street Journal. High Points: Anne: In the year that Van Cliburn died, Anne was particularly excited to hear the 22-year-old Russian pianist Daniil Trifonov: “Trifonov is a pianist whom I find totally exciting. I hear a lot of great concerts in the course of a year but I find that Trifonov has something really special and is a really interesting artist and somebody I look forward to hearing again and again.” Justin on Ivan Fischer and the Budapest Festival Orchestra's staging of Mozart’s Marriage of Figaro at the Mostly Mozart Festival: “One of things I really liked about it was it was one of these really portable productions. It was done in a concert hall with the orchestra on stage, no sets, minimal props, costumes that were taken off a clothes rack that was sitting on the stage…With minimal resources they produced one of the most effervescent and inventive productions I’ve seen of that opera. What it said to me is how much you can do with how little.” [Read more of Justin's picks at NYMag.com] Heidi: George Benjamin’s Written on Skin, given its U.S. premiere at Tanglewood in August: “So often you see these new operas and you think, ‘Why did they bother? Why did you turn this movie or this book into an opera?' This was a completely new piece of writing and it had a tension to it from beginning to end. It has a fantastically colorful and intricate orchestration, which includes a solo moment for the viola da gamba." Listen to Written on Skin on Q2 Music Low Point: The closing of New York City Opera in October after a last-ditch campaign to raise funds for its 2014 season fell through. Anne: “It is not a sign that New York can’t support two opera companies. It is a sign that, due to poor decisions on behalf of the board and a whole sequence of events, this particular thing happened that really didn’t need to happen.” Justin: "One thing that you can take away from that is it is really the product of a classical music and operatic infrastructure that, over the years, got overextended. While we have learned how to expand, trying to do planned shrinkage and figure out how to contract” is tougher for the classical music business. "If you have union contracts and have a season that establishes a kind of baseline, it’s very, very difficult to say ‘we need this to be smaller.’” Heidi: “It was unable to come up with a convincing audience strategy, opera house strategy or even artistic strategy. They did try a few things that I thought were quite interesting – doing for example A Quiet Place, a Leonard Bernstein opera that had never been done in New York… They were in fact trying to reestablish themselves as something that was alternative to the Met, that was a little more forward-looking, and I think it’s really a shame that they couldn’t.” Trends: Anne: The spotlight in 2013 turned to women – women conductors, women composers. “Classical music has proven to have a particularly thick glass ceiling. People are looking at the situation and saying, ‘It’s been years people, why do we still not have very many female conductors on the podium? And when we do, why is it such a big deal?’ There’s still that funny ambivalence about how far we should look at this as a phenomenon and how far we should pretend we’ve all been equal all along.” Justin: The lack of women on major podiums is “a sign of the difficulty that the whole establishment has in adapting at all. What happens is these institutions are very rigid and brittle and when they come up against an obstacle they know that they’re going to splinter and so they avoid the obstacles. It’s a very inflexible set of relationships… Heidi: “The New York Philharmonic seems to be about 50 percent women these days – so why not on the podium?” Justin on the arrival of alternative opera and non-traditional performance venues, as seen in events like the Prototype Festival: “With the cost of real estate in New York, companies are finding cheaper venues and the technology has matured enough so all that you really need is a pretty small room and a fairly minimal investment in machinery to be able to put on a pretty sophisticated multimedia event." Heidi: “There are other organizations doing similar kinds of things: The Gotham Chamber Opera put on a Cavalli opera [Eliogabalo] in a burlesque club... It attracts a different kind of audience. You can break through some of the formality of going to the opera house and sitting in the velvet seat and watching the gold curtain go up." Surprises: Justin: Caroline Shaw, a 30-year-old New York composer, violinist and singer (right), became the youngest ever winner of the Pulitzer Prize in music for her Partita for 8 Voices (heard at the start of this segment). “It has a quality that almost no contemporary music has, which is joy. It’s something that we’ve forgotten is part of the classical music tradition and an important one.” Anne: “It’s interesting in that [Shaw] doesn’t even self-identify as a composer but as a violinist. The Pulitzer has been very eager to expand its reach and get outside of the norm of what had been deemed Pulitzer-worthy over the years and I think this is a sign that this is happening.” Heidi on Jeanine Tesori and Lisa Kron’s musical of “Fun Home” at the Public Theater: "I see a lot of new operas, and so many of them are overblown, trying so hard that they feel stillborn. 'Fun Home,' based on Alison Bechdel’s graphic memoir, tells the story of a critical juncture in Alison’s life: she came out as a lesbian in college, and several months later, her father, whom she had just found out was a closeted gay man, killed himself by walking in front of a truck. The piece uses music in the way that you wish these new operas would – to deeply explore feelings in a raw, immediate way." (Note: this "bonus pick" did not make it into the podcast.) Listen to the full discussion above and tell us: what were your high and low points in classical music in 2013? Photo credits: Shutterstock; Caroline Shaw by Piotr Redliński, 2013
Librettist Stephen Karam discusses his libretto for DARK SISTERS, the collaboration process with composer Nico Muhly, and the relationship between music and words in the opera. DARK SISTERS is a new opera by Nico Muhly and Stephen Karam, and is co-commissioned and co-produced by Gotham Chamber Opera, Music-Theatre Group and Opera Company of Philadelphia. For more information, please visit http://www.darksistersopera.org
A conversation between composer Nico Muhly and historian and author Ken Verdoia about the themes surrounding Nico Muhly and Stephen Karam's new opera DARK SISTERS, to be premiered by Gotham Chamber Opera and Music-Theatre Group in November, 2011. Part 3 of this three-part series discusses polygamy, the plural marriage community, and the New England roots of LDS and FLDS. For more information about DARK SISTERS, please visit http://www.darksistersopera.org
A conversation between composer Nico Muhly and historian and author Ken Verdoia about the themes surrounding Nico Muhly and Stephen Karam's new opera DARK SISTERS, to be premiered by Gotham Chamber Opera and Music-Theatre Group in Novmeber, 2011. Part 2 of this three-part series explores the geography of early America in the time of Joseph Smith and Brigham Young, the idea of "This Is The Place", and religious education within the LDS community. For more information about DARK SISTERS, please visit http://www.darksistersopera.org
A conversation between composer Nico Muhly and historian and author Ken Verdoia about the themes surrounding Nico Muhly and Stephen Karam's new opera DARK SISTERS, to be premiered by Gotham Chamber Opera and Music-Theatre Group in Novmeber, 2011. Part 1 of this three-part series begins with a discussion on the ramifications of the 1953 Short Creek raid, the FLDS and the definition of family, and plural marriage in the context of the American experience. For more information about DARK SISTERS, please visit http://www.darksistersopera.org
Director, artistic director and playwright Moisés Kaufman discusses his newest project, the U.S. premiere of the 1940s opera "El Gato con Botas (Puss in Boots)", a collaboration between his Tectonic Theater Project, Gotham Chamber Opera and London's Blind Summit Theatre puppet troupe, debuting at The New Victory Theater -- whether it's an opera meant for children and why it fits into the Tectonic aesthetic. He also talks about his youth and schooling in Caracas, Venezuela and how an annual festival bringing in work by such artists as Peter Brook and Pina Bausch turned him on to theatre; why he felt he needed to come to the U.S. to become a director; why he was done with his schooling at NYU's Experimental Theater Wing but never actually finished; how and why he came to create the Tectonic Theater Project so quickly after leaving school; the development of "Gross Indecency", "The Laramie Project" (and its epilogue), "I Am My Own Wife" and "33 Variations", including his evolution as a writer; why, as someone who has had such success creating his own works, he also enjoys directing existing texts as well; and the reason he listed "Pixar" as his religion on Facebook. Original air date - September 15, 2010.
Director, artistic director and playwright Moisés Kaufman discusses his newest project, the U.S. premiere of the 1940s opera "El Gato con Botas (Puss in Boots)", a collaboration between his Tectonic Theater Project, Gotham Chamber Opera and London's Blind Summit Theatre puppet troupe, debuting at The New Victory Theater -- whether it's an opera meant for children and why it fits into the Tectonic aesthetic. He also talks about his youth and schooling in Caracas, Venezuela and how an annual festival bringing in work by such artists as Peter Brook and Pina Bausch turned him on to theatre; why he felt he needed to come to the U.S. to become a director; why he was done with his schooling at NYU's Experimental Theater Wing but never actually finished; how and why he came to create the Tectonic Theater Project so quickly after leaving school; the development of "Gross Indecency", "The Laramie Project" (and its epilogue), "I Am My Own Wife" and "33 Variations", including his evolution as a writer; why, as someone who has had such success creating his own works, he also enjoys directing existing texts as well; and the reason he listed "Pixar" as his religion on Facebook. Original air date - September 15, 2010.
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