Podcast appearances and mentions of Jake Heggie

In this conversation, we dive into the extraordinary creative partnership between two of the most celebrated figures in contemporary opera—librettist Gene Scheer and composer Jake Heggie. Together, Gene and Jake have brought to life some of the most powerful operatic works of our time, including Moby-Dick, Three Decembers, and It's a Wonderful Life. Their collaboration is not only rooted in artistic brilliance but also in a deep, long-standing friendship.Individually, their accomplishments are equally impressive. Gene Scheer has worked with a range of renowned composers, including Jennifer Higdon on Cold Mountain and Tobias Picker on An American Tragedy. He's also an accomplished composer in his own right—his song American Anthem was featured in Ken Burns' Emmy Award-winning documentary on World War II.Jake Heggie's groundbreaking first opera, Dead Man Walking, with a libretto by Terrence McNally, launched him into the spotlight. Since then, his work in art song and opera has made a lasting impact, earning him the title of Musical America's 2025 Composer of the Year. So who better to explore the dynamic between a librettist and a composer? In this two-part conversation, we unpack what makes a successful collaboration and how words and music come together to create something truly unforgettable.Part One's conversation took place during a particularly exciting time—Moby-Dick was being performed at the Metropolitan Opera. Throughout our discussion, the opera serves as a touchstone for understanding the creative process. We begin with a fundamental question: how do they do it? Specifically, how do hard work and patience shape their creative journey?We get into the nuts and bolts of collaboration—how they challenge and inspire each other to reach new heights. Gene shares insights into the stages of researching and writing a libretto, including the story of how saving $100 unexpectedly launched his career. And in his own words, Gene describes his role simply and powerfully: “My job is to write a libretto that inspires music.”[Subscriber Content]: In Part Two, we step back and learn more about Gene's early experiences—his time studying and singing in Vienna (including the month he saw 27 operas!). Jake opens up about the legendary Stephen Sondheim, a mentor and inspiration, and how Sweeney Todd changed his life. In fact, Jake dedicated Moby-Dick to Sondheim.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

This week, Larry Wolff immerses himself in a bold operatic vision of Melville's classic; and Travis Elborough on a boosterish attempt to rescue Croydon from its knockers.'Moby-Dick', composed by Jake Heggie, Metropolitan Opera House, New York, until March 29'Croydonopolis: A Journey to the Greatest City that Never Was', by Will NobleProduced by Charlotte Pardy Hosted on Acast. See acast.com/privacy for more information.

Das Theater Koblenz bringt nach der Produktion der Erfolgsoper „Dead Man Walking“ von Jake Heggie einen dreiteiligen Musiktheaterabend mit Werken des amerikanischen Komponisten auf die Bühne.

„Dead man walking“ ist der Ruf der Gefängniswärter, der ertönt, wenn ein zum Tode Verurteilter zu seinem Hinrichtungsort geführt wird. Die gleichnamige Oper von Jake Heggie, die im Landestheater Detmold am 17. Mai 2024 Premiere hatte, basiert wie schon der Film auf dem Buch von Schwester Helen Prejean, in das ihre Erlebnisse mit den Todeszellenkandidaten Elmo Patrick Sonnier und Robert Lee Willie, die Helen Prejean tatsächlich bis zu ihrer Hinrichtung auf dem elektrischen Stuhl begleitete, einflossen. Was wenn nicht dieses Stück ruft nach einem Vis-à-vis, nach einem Austausch zwischen Kirche und Theater, sagt Dramaturgin Anna Neudert. Und in der Tat, es geht um Themen wie Schuld und Strafe oder Sühne, Reue und Vergebung, Liebe und Tod. Dazu hat die Bibel in der Tat etwas zu sagen, angefangen von „Du sollst nicht töten“ (2. Mos. 20,13) über „Wenn dich der HERR, dein Gott, ins Land bringt, in das du kommen wirst, es einzunehmen, und er ausrottet viele Völker vor dir her, die Hetiter, …vor dir dahingibt, dass du sie schlägst, so sollst du an ihnen den Bann vollstrecken“ (= alle umbringen) (5.Mos 7, 1-3,5) bis zu „liebet eure Feinde“ (Mt. 5,44) und „wie oft muss ich denn meinem Bruder, der an mir sündigt, vergeben? Ist‘s genug siebenmal? Jesus sprach zu ihm: Ich sage dir: Nicht siebenmal, sondern siebzigmal siebenmal…“ (Mt. 18, 21.22) spannt die Bibel einen weiten Bogen. Die Oper wirft die Frage auf: Gibt es ein (staatlich) gerechtfertigtes Töten? Und wer bestimmt, was eine gerechte Strafe ist und was ungerecht, weil unverhältnismäßig oder unmoralisch? Was ist richtig und was falsch? Wahrscheinlich entlassen einen die Oper und der Gottesdienst mit mehr Fragen als Antworten, aber es lohnt sich, darüber nachzudenken, zumal nach einem Report von Amnesty International die Zahl der bekanntgegebenen Hinrichtungen weltweit im Jahre 2022 sprunghaft angestiegen ist. Christa Willwacher-Bahr

Content warning: This episode discusses gender based violence and the murder of a family member. We join baritone Joshua Hopkins as he guides us through his project, Songs for Murdered Sisters, a collaboration with Jake Heggie and Margaret Atwood. Songs For Murdered Sisters not only allowed Joshua to heal from the shock and numbness of such a tragedy, but also allowed him to transform his grief into a peaceful and hopeful experience.

Frederica von Stade has had a fabulous career as an opera singer, recitalist, and concert artist. In her long career, she has performed and recorded internationally, working with major conductors around the world (Karajan, Bernstein, Abbado, to name just a few.) In addition, she has championed the works of many contemporary composers, most notably Jake Heggie, with whom she has a strong friendship. Known as Flicka, she is both unassuming and gracious, and it was a highlight to have the opportunity to speak with her about her life and career.We begin our conversation by talking about her connection with composer Jake Heggie, how they met, how she was instantly attracted to his music, and how Heggie's first and most popular opera, Dead Man Walking, came into being. Using that as a springboard, I then ask how an opera is put together from a singer's point of view. She then talks about how to maintain a healthy voice, working with nerves, and we end Part 1 discussing two of her favorite composers - Mahler and Debussy.[Part 2 for Subscribers]: As a young girl, Frederica von Stade was first drawn to musicals and only later became involved in opera, and so she speaks of some of her early experiences with musical theater. I ask if she feels that she has been influenced as a singer by any instrument, and (no spoiler alert) her answer came as a total surprise! We end with a discussion of the charitable work she has done, specifically with the Young Musicians Choral Orchestra.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

From 2016- Opera composer Jake Heggie. (Heggie's most -often performed opera, "Dead Man Walking," received its long-awaited Metropolitan Opera premiere this past fall. It was a triumph.

Our guest today, Michael Brofman, was seriously injured during undergraduate school. He tried various teachers and received much medical advice - some of which included chain smoking! That's not a typo. Stay tuned for that outrageous story.Michael came across Taubman Approach expert Robert Durso. Through lessons with Robert Durso, Michael experienced physical healing and a level of artistic freedom that was almost unimaginable during his academic study.  Today's episode is a story of healing and freedom through the Taubman Approach. www.golandskyinsitute.org Pianist Michael Brofman has earned a reputation as one of the finest vocal accompanists of his generation. He has performed over one thousand songs, from Schubert's earliest lieder to premieres of new songs by today's most-recognized composers. He was hailed by the New York Times as an “excellent pianist” and Feast of Music recently praised his “elegant and refined playing… exhibiting excellent touch and clean technique.”  Parterre Box Blog called Mr. Brofman a “master communicator at the piano,” and Voix des Arts praised his “finesse and flexibility.”  Seen and Heard International recently wrote “Brofman got to the core of each song…delving into their emotional depths.”  Opera News stated “Michael Brofman provided exquisite piano accompaniment.”Highlights from Mr. Brofman's 2023-2024 season include performances of Arnold Schoenberg's Das Buch der Hängenden Gärten with Kate Maroney, Poulenc's Tel Jour, Telle Nuit with Michael Kelly, and repeat or premiere performances of works written for him by Daniel Felsenfeld, Libby Larsen, Jessica Meyer, and Reinaldo Moya.  Mr. Brofman also performs works by Benjamin Britten, Johannes Brahms, Michael Djupstrom, Shawn E. Okempolo, Caroline Shaw, Clara Schumann, Anton Webern, Kurt  Weill, and Hugo Wolf.Mr. Brofman has championed new works and has fostered relationships with many living composers, including Katherine Balch, Lembit Beecher, Tom Cipullo, Michael Djupstrom, Daniel Felsenfeld, Herschel Garfein, Mikhail Johnson, Daron Hagen, Jake Heggie, James Kallembach, Libby Larsen, Lowell Liebermann, David Ludwig, James Matheson, Reinaldo Moya, Harold Meltzer, Russell Platt, Kurt Rohde, Glen Roven, Andrew Staniland, Carlos Simon, and Scott Wheeler. In all, he has premiered over 100 songs, many of them dedicated to him. Mr. Brofman is the founder and artistic director of the Brooklyn Art Song Society, an organization dedicated to the vast repertoire of poetry set to music now in its 14th  season. His first CD New Voices on Roven Records includes four world-premiere recordings and was number one on Amazon's new releases for Opera/Vocal and debuted in the top 10 of the Traditional Classical Billboard Chart.  Since then he has recorded world premiere recordings of Kurt Rohde on Albany Records and Herschel Garfein for Acis Records. An eloquent and passionate advocate for art song, Mr. Brofman has been interviewed by Russell Platt for Opera News, for Caught In the Act on Brooklyn Public Television, on the WQXR radio show Soundcheck, on Seattle KING FM 98.1, and for the Linked Music blog. He also hosts his own internet show Song and Wine.  Mr. Brofman has a reputation as a gifted educator and has presented masterclasses at the University of Chicago, Cornell, Ithaca College, the University of Notre Dame and University of South Carolina. Mr. Brofman holds a bachelor of Music from Northwestern University where he studied with James Giles. There he was awarded the Frida A. Pick Award for Piano and featured on Chicago's classical radio station. Mr. Brofman spent several summers at the Aspen Music Festival as a student of Rita Sloan and continues his studies with Robert Durso. He resides in Windsor Terrace, Brooklyn with his wife

As a director and choreographer, Keturah Stickann's work has graced stages worldwide, from the U.S. and Canada to Chile, Japan, France, Hungary, and Australia. We dive into her experiences with opera giants like Jake Heggie & Gene Scheer, her passion for new American opera, and the creative process behind her mesmerizing productions. My gratitude goes out to Hannah Boissonneault who edits our Masterclass episodes and to Juanitos and Scott Holmes for the music featured in this episode. You can help support the creation of these episodes when you join the Sybaritic Camerata on Patreon. Get started at patreon.com/mezzoihnen. 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: Keturah Stickann.

[@ 2 min] After an injury sidelined Alex DeSocio from a college football career, the baritone turned to the most logical alternative: opera. His young career has already taken him to Pensacola Opera, Opera Birmingham, Fort Worth Opera, and now the world premiere of Jake Heggie and Gene Scheer's “Intelligence” at Houston Grand Opera… [@ 25 min] And then… it's the return of Friend of the Show Ryan Speedo Green. Speedo takes a ‘Free Throw' on how he scored the role of Emile Griffith in the high-profile Met debut of Terence Blanchard's “Champion”... [@ 35 min] Plus, in the ‘Two Minute Drill'… If you cancel yourself, does that count as Cancel Culture…? operaboxscore.com facebook.com/obschi1 @operaboxscore IG operaboxscore

SynopsisAmerican opera composer Jake Heggie and his librettist Terrence McNally decided to follow their Dead Man Walking – a successful but harrowing opera about capital punishment – with a lighter, more comic work, Great Scott.Now, McNally winced when people called Great Scott a “comic” opera, since it deals with a serious topic – for opera lovers, at least, namely, “Does opera still matter?”Great Scott is set in a large U.S. city with a respected – but struggling – opera company. The city also has a powerhouse professional football team. In Great Scott, international opera star Arden Scott returns to her hometown to save the opera company by staging the world premiere of a long-lost Italian bel canto work, Rosa Dolorosa, Figlia di Pompei. Unfortunately, the scheduled premiere falls on the same day as the home team's first Super Bowl.Does the diva save the opera company? And who wins the Super Bowl?Well, you'll just have to listen to the opera to find out!Fortunately, a Dallas Opera recording of Great Scott was made at its premiere on today's date in 2015 – featuring the powerhouse American mezzo-soprano Joyce DiDonato in the title role.Music Played in Today's ProgramJake Heggie (b. 1961) “Rosa Dolorosa” Overture, fr Great Scott - Joyce DiDonato, mezzo-soprano; Dallas Opera; Patrick Summers, conductor Erato 9029594078

On Thursday's show: We preview tonight's mayoral debate with Houston Public Media's Christina Yao Lee, who's moderating it. The debate airs at 7:30 on TV 8, News 88.7 FM, and houstonpublicmedia.org. Also this hour: We continue our series of interviews with candidates in some key races this November with a conversation with City Councilman Robert Gallegos, who's running for Houston Mayor. And we get a behind-the-scenes preview of a world premiere opera called Intelligence about spies during the Civil War. Its creator, Jake Heggie, is one of the big names in contemporary opera. The show runs at Houston Grand Opera Oct. 20 through Nov. 3.

SynopsisAs the 20th century drew to its close, some who followed the development of opera were struck by the number of new American operas on American themes.On today's date in 2000, one of these new operas debuted in San Francisco. Dead Man Walking, an opera in two acts, was based on a 1993 book by Sister Helen Prejean, a book also made into a successful movie. The libretto for the operatic version of Sister Prejean's book was crafted by Terrance McNally and set to music by American composer Jake Heggie.Now, an opera based on eyewitness accounts of American prisoners on death row might seem an unlikely topic for an opera, but Sister Prejean didn't think so.“I love the way the opera captures essential human conflicts: love or hate, compassion or vengeance, redemption or condemnation,” she said. “… From the beginning, I told McNally and Heggie that I'd trust them to compose the opera if they wove into its center the quest for redemption. They got it. And I could tell by the stillness in the auditorium and the tumultuous applause at the end that the audience also really gets it.”Music Played in Today's ProgramJake Heggie (b. 1961) Dead Man Walking - San Francisco Opera; Patrick Summers, cond. Erato 86238

What does redemption mean to a man sentenced to death? Is capital punishment justice or vengeance? Could anyone ever forgive a murderer?These are just some of the questions behind the true story of the nun who became a spiritual adviser to men on death row at the Louisiana State Penitentiary. Dead Man Walking was first a 1993 memoir by the Catholic nun and fervent death penalty abolitionist Sister Helen Prejean; later, it was adapted into an Oscar-winning movie. Sister Helen's story inspired a national conversation around the death penalty — and the opera duo Jake Heggie and Terrence McNally. Their adaptation of Sister Helen's story has become one of the most celebrated operas of the 21st century, and, with the last federal execution taking place as recently as 2021, feels as timely as ever.In her aria “This Journey,” Sister Helen's character reflects on her religious calling as she makes her way to the Angola prison for the first time. In this episode, host Rhiannon Giddens and her guests take us deeper into the true story that inspired the opera and the experiences that continue to inform Sister Helen Prejean's ministry.The GuestsThe Metropolitan Opera's 2023 production of Dead Man Walking marks the fifth time mezzo-soprano Joyce DiDonato has sung the role of Sister Helen. She describes the role as one that's impossible to emerge from without feeling changed. Having embodied Sister Helen so many times, DiDonato feels “much less comfortable turning a blind eye to things.”American composer Jake Heggie is best known for Dead Man Walking, the most widely performed new opera of the last 20 years. In addition to 10 other full-length operas and numerous one-acts, Heggie has composed more than 300 art songs, as well as concerti, chamber music, choral, and orchestral works. When librettist Terrence McNally proposed adapting Dead Man Walking into an opera, Heggie's “hair stood on end” and he immediately “felt and heard music.”Sister Helen Prejean is a Roman Catholic nun, the author of the memoir Dead Man Walking, and a leading voice in the effort to abolish the death penalty. She's served as a spiritual counselor to numerous convicted inmates on Death Row as well as to families of murder victims and survivors of violent crimes. Despite her wisdom, Sister Helen claims to know “boo-scat” about opera.

At last! After much anticipation, Aria Code returns! We're guiding listeners through highlights from the Metropolitan Opera's 2023-2024 season, pairing beloved classics with investigations into modern masterpieces. So get ready for a night at the opera — from the comfort of your own home. (Or wherever!) Arias from the likes of Jake Heggie's Dead Man Walking and Anthony Davis's X: The Life and Times of Malcolm X will tackle some of the most complex social and ethical questions head-on, while classics like Bizet's Carmen and Gounod's Roméo et Juliette plunge us into the thick of opera's favorite themes of desire, love, and longing. Hosted by Grammy Award-winner, MacArthur “Genius” Fellow, and (most recently) Pulitzer Prize-winning musician Rhiannon Giddens, each episode features a signature combination of music and riveting storytelling, paired with Met Opera performances by world-renowned opera stars, including Joyce DiDonato, Matthew Polenzani, Will Liverman, Clémentine Margaine, Diana Damrau, and Ailyn Pérez.    Aria Code is produced by WQXR in partnership with The Metropolitan Opera. This season, we'll be releasing episodes on a biweekly basis, starting October 4.

Learn more at TheCityLife.org --- Send in a voice message: https://podcasters.spotify.com/pod/show/citylifeorg/message Support this podcast: https://podcasters.spotify.com/pod/show/citylifeorg/support

Soprano Ann Moss is an acclaimed recording artist and champion of contemporary vocal music who performs and collaborates with a dynamic array of living composers. Often described as a "fearless performer” of some of the most challenging music of our time, her high, flexible voice has been singled out by Opera News for “beautifully pure floated high notes” and by San Francisco Classical Voice for “powerful expression” … “clear, silvery tones and passionate sweetness." Mike Telin of Cleveland Classical writes, her “long fluid lines are exquisite.” In addition to working closely with well-known composers such as Jake Heggie, John Harbison, Kaija Saariaho, Aaron Jay Kernis and David Conte, Ann seeks out and performs works by new and emerging voices at forums, festivals and concert series across the USA. She has released two portrait albums: Currents (Angels Share Records 2013) and Love Life (ASR 2016), both produced and recorded by multi-GRAMMY® award winner Leslie Ann Jones at Skywalker Sound. She can also be heard on releases from labels including Albany, Arsis Audio, Jaded Ibis Productions, Naxos, Navona Records, PARMA, and Ravello Records. Moss recently made her solo debut with the San Francisco Symphony singing the music of Mozart, Gershwin and Rogers under conductor Daniel Bartholomew-Poyser. Highlights of the 2022-23 season include performances of Samuel Barber's Knoxville: Summer of 1915 with the San Francisco Chamber Orchestra, Gérard Grisey's Quatre chants pour franchir le seuil with After Everything Ensemble, and a concert tour in support of her newly released album Lifeline, which features re-imagined chants by Medieval composer Hildegard von Bingen recorded remotely with instrumental collaborators around the United States.

En esta emisión del podcast Allegro con batuta, el director Iván López Reynoso nos platica sobre las coincidencias, casualidades y puntos en los que ha encontrado una sinergia especial, dos de las más importantes fuentes artísticas (expresiones artísticas) de nuestros días: la ópera y el cine. Con grandes ejemplos en los que se mezcla la herencia del enorme Verdi con el cine de grandes realizadores del celuloide como Luis Buñuel, David Lynch, Alfred Hitchcock, Ingmar Bergman, con las adaptaciones a la ópera de importantes compositores como Benjamin Britten, Jake Heggie, Nico Muhly, Sebastian Fagerlund, Thomas Adés, Gustavo Dudamel, Olga Neuwirth e incluso el importante compositor mexicano Daniel Catán, entre otros.

Synopsis In Costa Mesa, California, on today's date in 2014, the Pacific Chorale premiered a new choral opera. And what exactly is a “choral opera” you ask? Good question – and one that puzzled Jake Heggie as well, since he was the composer commissioned for that occasion. Heggie and his librettist Gene Sheer at first scratched their heads. As Heggie put it, “Operas require action, characters, conflicts, journeys, transformation movement. Choirs stand still and make beautiful sound.” They came up with a unique solution involving one character, Nora, a silent, on- stage actress, whose inner thoughts are sung by half of the choir, while the other half expresses the sounds and surroundings of the outside world Nora chooses to hear on a day in her life on which everything seems to go wrong – starting with a returned, unopened, handwritten letter she had sent, pouring out her heart, to her jerk of a boyfriend. Even Nora's apartment furniture gets in a word or two about her unhappy state. And where does Nora turn for comfort? Why, to the radio of course – hence the titled of the new choral opera: The Radio Hour. Spoiler alert: the opera ends on a hopeful note for poor Nora. Music Played in Today's Program Jake Heggie (b. 1961) The Radio Hour John Alexander Singers; Pacific Symphony members; John Alexander, conductor. Delos 3484

[@ 4 min] We go ‘Inside the Huddle' with American bass-baritone Ryan McKinny, who will reprise his role as Joseph De Rocher when “Dead Man Walking” finally makes its Met debut next season. Oliver talks to Ryan about that Jake Heggie opera, as well the Heggie piece he'll tour with “Music of Remembrance”… [@ 27 min] In ‘Free Throw'… Apple Classical. Weston. ‘Nuff said… [@ 35 min] Plus, in the ‘Two Minute Drill'… Is LA Opera finally rid of the nightmare that is Plácido Domingo…? We're back with an all-new show next week when George reports back from the 2023 Opera America conference in Pittsburgh. Join us…! SHOW NOTES https://ryanmckinny.com/ https://www.nytimes.com/2023/05/12/arts/music/los-angeles-opera-placido-domingo.html GET YOUR VOICE HEARD operaboxscore.com facebook.com/obschi1 @operaboxscore IG operaboxscore

[@ 2 min] In ‘Chalk Talk', Matt and Weston make you grateful that - whatever your issues are with your mother - at least she isn't Clytemnestra… [@ 34 min] Then, ‘Listener Mailbag' entries abound from NYC… [@ 38 min] Plus, in the ‘Two Minute Drill'… “Can we live without the phone for just one damn hour?”… We're back with an all-new show next week when we go ‘Inside the Huddle' with baritone Ryan McKinny, part of the US tour of Jake Heggie's “Music of Remembrance”. Join us…! SHOW NOTES https://www.inquirer.com/entertainment/classical/yannick-nezet-seguin-ryan-speedo-green-kimmel-center-20230507.html GET YOUR VOICE HEARD operaboxscore.com facebook.com/obschi1 @operaboxscore IG operaboxscore

Barton and Gabriel sit down to discuss the world of Opera, performance and Gabe's mindset of performing Internationally at the highest level.  Highlights from this podcast include: - Life lessons from his Voice Teacher Elizabeth Parham stating "that little voice in your head telling us we're not enough... that is the devil"- How Gabe thinks about performing for thousands of people- what type of things Gabe does to prepare himself for a big performance.- how the voice works and how he's able to create such powerful sound and sing professionally.  Gabriel's Bio: Multiple Grammy Award winning baritone Gabriel Manro has been called “a new kind of baritone: not lyric, not helden, not Kavalier, not Bariton-Martin — none of those. Rather, he's a knock-down baritone.” --San Francisco Classical Voice. Indeed, Manro regularly sings dramatic baritone roles such as Don Carlo di Vargas (La forza del destino), Andrei Shchelkalov (Boris Godunov), and Tonio (I Pagliacci) Opera News describes Manro as “Gifted with a striking, sinister baritone that remains strong, even and sonorous throughout the range, he tears into Verdi's music with a vengeance.” -- Opera News.Mr. Manro made his professional operatic debut as Third Inmate in Jake Heggie's ground-breaking opera Dead Man Walking for Opera Pacific with Frederica von Stade. He went on to perform the role of Inquisitor in Opera Pacific's Candide. Mr. Manro has appeared in numerous contemporary and world-premiere operas and musicals:As Muscovite Trader in John Corigliano's The Ghosts of Versailles (Pentatone Music: Grammy--Best Opera Recording), as the Mousling in the Los Angeles Philharmonic's Alice in Wonderland by Unsuk Chin, the Computer in Los Angeles Opera's The Fly by film composer Howard Shore (Lord of the Rings Trilogy); as The Chauffeur in Opera Santa Barbara's Séance on a Wet Afternoon by Stephen Schwartz (Wicked, Godspell); and as Angry Voter in Los Angeles Opera's Il Postino (Sony Classical DVD). Manro created the role of President Lincoln in Golden Gate Opera's world-premiere Civil War Epic: Lincoln and Booth. Off-Broadway, Mr. Manro led the original cast of Center for Contemporary Opera's production of Oration by Line Tjørnhøj. On television, Manro appeared as Joel Lynch and Father Jackson in the European premiere live telecast of William Mayer's: A Death in the Family at the Hungarian National Theater and Opéra Grand D'Avignon which was voted “audience favorite” opera.  Gabriel also played Jafar in Walt Disney Company's original stage production of Aladdin.Gabe's European operatic debut was as Doctor Bartolo (Il barbiere di Siviglia) with Corfu Opera in Greece. His extensive repertoire and engagements have also included the roles of Bluebeard (Bluebeard's Castle), Count Almaviva, Bartolo, Antonio (Le nozze di Figaro), Guglielmo, Don Alfonso (Cosí fan tutte), Don Giovanni (Don Giovanni). See Mr. Manro next as Osmund in the world-premiere stage production of Siegfried Wagner's Rainulf and Adelasia  during this summer's Bayreuth Festival in Germany.http://gabrielmanro.comhttp://instagram.com/g_manroBarton on Instagram https://www.instagram.com/bartonguybryan/Podcast Website is: https://www.podpage.com/the-mindset-forge-podcast/Join the Mindset Forge Premium membership for $3 / month (Donor Level) or $150 / month for Coaching: https://themindsetforge.supercast.com

The Apollo Chamber Players perform works by Jerod Impchchaachaaha' Tate, Jake Heggie, and Erberk Eryilmaz

Lara Feigel and Tom Shakespeare review Netflix's new adaptation of Lady Chatterley's Lover, starring Emma Corrin. The English National Opera stages an operatic reimagining of It's a Wonderful Life, the classic 1946 Christmas film, by the composer Jake Heggie and librettist Gene Scheer. Jake joins Samira. The casting of Ukrainian actors who have arrived here escaping the conflict, with actors Kateryna Hryhorenko and Yurii Radionov, and casting directors Olga Lyubarova and Rachel Sheridan. And the death has been announced of Dr Feelgood guitarist Wilko Johnson. We hear an extract from his memorable interview on Front Row following what he thought was a terminal diagnosis. Presenter: Samira Ahmed Producer: Sarah Johnson

Ahead of her concert next week with the LSO, Tom Service speaks to the pianist Alice Sara Ott who is also preparing to embark on a tour which features lighting and images alongside performances of Chopin's Op 28 preludes, and other contemporary works from her recent Echoes of Life album, to create a multi-media experience that extends the boundaries of what's possible in concert halls. As the 2022 United Nations Climate Change Conference concludes, Music Matters hears from Managing Director of the London Symphony Orchestra, Kathryn McDowell, Chief Executive of the Royal Liverpool Philharmonic Orchestra, Michael Eakin, Executive Chairman of Harrison Parrott, Jasper Parrott, and Professor of Geosystem Science and leader of the group responsible for climate modelling at the University of Oxford, Myles Allen, about the degree to which the classical music industry is delivering its own promises to reduce its impact on the environment. With all eyes on Qatar for the opening of the FIFA World Cup, Tom hears from the BBC's Series producer for Arabic Digital Investigative Documentaries, Rosie Garthwaite, about the construction she witnessed of Doha's opera house in the Katara Cultural Centre. He learns how the country has nurtured both Western art forms and cultural institutions, and the potential projection of soft power. Tom joins the soprano Danielle de Niese and tenor Frederick Ballentine during rehearsals for a new production, by English National Opera, of Jake Heggie's It's a Wonderful Life. The composer shares how he adapted the story behind Frank Capra's classic movie, and Tom speaks to the journalist, broadcaster, and author, Matthew Sweet, about the phenomenon of setting operas from film, as well as different roles music plays on both the screen and the stage.

For Video Edition, Please Click and Subscribe Here: https://youtu.be/wJMdcJGOgIQ I am joined by 5 artists who celebrate LIFE!. We talk about what is on ourminds! Join us! It's a Monday Pajama Party! I'll be in my Pajamas! Fasten Your Seat Belts, I promise it will not be a bumpy ride! Tune in LIVE today for a chance to win Sean Patrick Murtaugh's New CD Regina Zona is joining me today! Internationally Recognized, Award-Winning Vocalist, Regina Zona has maintained a highly diverse career for over three decades and there is no stopping her now! As a classical singer, Regina has performed on opera and concert stages all over the world in a variety of repertoire from Mozart to Strauss. An avid recitalist, she specializes in the performance of American art song and has recorded three song cycles by Jake Heggie for the Naxos American Classics Label. In 2018, she wrote and performed her first one-woman show to critical acclaim. And in 2019 she began a new chapter, entering the world of cabaret winning the 2020 MAC AWARD for Best NY Female Debut. Establishing herself as a recording artist, Regina has released two albums in the last two years – both of which can be heard on all streaming platforms and can be purchased on her website – https://reginazona.com Her latest CD, It Must Have Been the Mistletoe, is a Christmas album with world-renowned guitarist Sean Harkness. They will be celebrating the release of their new album on December 11th at the Triad Theater in NYC at 5:00pm. Tickets can be purchased here: https://bit.ly/reginaandsean EVENT: It Must Have been the Mistletoe Album Release Concert Regina Zona and Sean Harkness With Michael O'Brien on bass and Mike Lunoe on drums Directed by Lina Koutrakos December 11, 2022 @ 5:00pm Triad Theater – 158 W. 72nd Street, NYC $25 Cover + two drink minimum Tickets: https://bit.ly/reginaandsean

This week we're talking about the exciting opera and dance coming up in time for Christmas. Annilese Miskimmon, Artistic Director at ENO (English National Opera), tells us about re-imagining Frank Capra's enduring and much-loved 1946 Christmas movie ‘It's a Wonderful Life' as an opera, which opens on 25th November at the Coliseum. Adapted by Jake Heggie and Gene Scheer, George Bailey, the down-on-his-luck banker so memorably played by James Stewart in the film, is played by Frederick Ballentine but Clarence the Guardian Angel now becomes Clara, played by soprano Danielle de Niese. Other than the gender swap, the opera is otherwise remarkably faithful to the beloved film and is certain to be a festive treat. In the world of dance, Rambert is already wowing audiences with its adaptation of Peaky Blinders: The Redemption of Thomas Shelby, which opened at the Birmingham Hippodrome and is now on tour and in London at Troubador Wembley Park till 6th November. We're thrilled to be talking to the creator, writer and Executive Producer of Peaky Blinders, Steven Knight, alongside Helen Shute of Rambert. We find out that Steven's always loved ballet and so it was a natural progression to ask him to adapt his multi-award-winning series into a dance theatre show. Tune in to hear how the opera and dance worlds are bursting with innovation and new ideas, including the first-ever football opera Gods of the Game at the Theatre in the Woods at Grange Park Opera, complete with a chorus made up entirely of footy fans who've been trained to sing.

An opera singer with an impressively long and distinguished career, Cheryl Barker has sung some of the key roles in the repertoire, perhaps most famously playing Mimi in Baz Luhrmann's production of Puccini's La Bohème, her incredible performances of Tosca, and creating the role of Sarah Miles in Jake Heggie's The End of the Affair, in Houston. She and her husband, baritone Peter Coleman-Wright will be joining the Sydney Philharmonia Choirs under artistic director Brett Weymark for Glorious Puccini in the Concert Hall of the Sydney Opera House on October 29. In this conversation, Cheryl speaks about her love of Puccini, shares some wonderful tales from her impressive career, and fills us in about Pacific Opera, the emerging artists program for young opera singers of which she is co-artist director along with Peter Coleman-Wright.

NNAMDI K. NWANKWO / @nnamdinwankwo NNAMDI K. NWANKWO (man in orange) (he/him) is a Chicago-based actor, singer, director, and writer. As a versatile performer, he has performed in various genres of performance like opera, musical theatre, theatre, film, commercial, and voiceover. Recent engagements include “Once on this Island” at Town Hall Arts Center for which he received a Henry Award nomination for Outstanding Actor, and the world premiere of critically acclaimed “Elephant” at Benchmark Theatre as well as workshopping Intelligence, a new opera by American operatic composer/librettist duo, Jake Heggie and Gene Scheer, with Eklund Opera's New Opera Workshop.” Try a Free Trial of BFTS and work 1 on 1 with Coach Joe! https://builtforthestage.com/free-trial www.broadwaypodcastnetwork.com Learn more about your ad choices. Visit megaphone.fm/adchoices

NNAMDI K. NWANKWO / @nnamdinwankwo NNAMDI K. NWANKWO (man in orange) (he/him) is a Chicago-based actor, singer, director, and writer. As a versatile performer, he has performed in various genres of performance like opera, musical theatre, theatre, film, commercial, and voiceover. Recent engagements include “Once on this Island” at Town Hall Arts Center for which he received a Henry Award nomination for Outstanding Actor, and the world premiere of critically acclaimed “Elephant” at Benchmark Theatre as well as workshopping Intelligence, a new opera by American operatic composer/librettist duo, Jake Heggie and Gene Scheer, with Eklund Opera's New Opera Workshop.” Try a Free Trial of BFTS and work 1 on 1 with Coach Joe! https://builtforthestage.com/free-trial www.broadwaypodcastnetwork.com Learn more about your ad choices. Visit megaphone.fm/adchoices

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

The OBS team was off for Independence Day, but manages to bring back two stellar ‘Inside the Huddle' segments from past episodes… [@ 1 min] It's an interview with heart-throb American bass-baritone Kyle Ketelsen from November 2021... [@ 32 min] The OBS re-confirms that they did, in fact, interview composer Jake Heggie last March… The OBS is back with an all-new show on Thursday, July 14…! operaboxscore.com facebook.com/obschi1 @operaboxscore IG operaboxscore

Conductor Lidiya Yankovskaya joins me and speaks about her experience preparing for, conducting, and navigating a career thriving between concert halls and opera pits.Russian-American conductor Lidiya Yankovskaya is a fiercely committed advocate for Russianmasterpieces, operatic rarities, and contemporary works on the leading edge of classical music. She has conducted more than 40 world premieres, including 16 operas, and her strength as a visionary collaborator has guided new perspectives on staged and symphonic repertoire from Carmen and Queen of Spades to Price and Prokofiev. Yankovskaya has recently made major debuts with Chicago Symphony Orchestra and Dallas Symphony, and conducted the symphony orchestras of Omaha, Pasadena, and Fort Worth. As Music Director of Chicago Opera Theater, she has led the Chicago premieres of Jake Heggie's Moby-Dick, Rachmaninov's Aleko, Joby Talbot's Everest, Tchaikovsky's Iolanta, and Adamo's Becoming Santa Claus. Elsewhere, she has recently conducted Carmen at Houston Grand Opera, Don Giovanni at Seattle Opera, Pia de' Tolomei at Spoleto Festival USA, Il barbiere di Siviglia at Wolf Trap Opera, Ellen West at New York's Prototype Festival, and the world premiere of Taking Up Serpents at Washington National Opera.

In Part 2 of our conversation, I ask Jake about how he composes, his thoughts on composing, being in "the zone" while composing, orchestration, and being authentic as a composer and human being.

I ask Jake about the advice he would give his younger self, his heroes and influences, his piano playing, and how he tries to balance his schedule.

Jake Heggie is the composer of 9 operas, including Dead Man Walking and Moby Dick and has written nearly 300 art songs. In addition, he is a fine pianist who has worked with singers such as Joyce DiDonato, Renee Fleming, Frederica von Stade, and Jamie Barton, among others. In our conversation we talk about his life in opera, composing, the three ingredients of success, and even ... coffee and sleep!Jake Heggie's story is truly exceptional ... luck followed by exceptionally hard work and talent. So we begin by my asking him to recount how he came to write his first opera, Dead Man Walking, which has been called “the most celebrated opera of the 21st century,” with over 75 international productions, a truly exceptional story! We then use Dead Man Walking to talk about the process of getting an opera produced, beginning with the composition and collaboration with the librettist, followed by the numerous steps of workshopping and rehearsals.

Russian-American conductor Lidiya Yankovskaya is a fiercely committed advocate for Russian masterpieces, operatic rarities, and contemporary works on the leading edge of classical music. She has conducted more than 40 world premieres, including 16 operas, and her strength as a visionary collaborator has guided new perspectives on staged and symphonic repertoire from Carmen and Queen of Spades to Price and Prokofiev. As Music Director of Chicago Opera Theater, Ms. Yankovskaya has led the Chicago premieres of Jake Heggie's Moby-Dick, Rachmaninov's Aleko, Joby Talbot's Everest, Tchaikovsky's Iolanta, and the world premiere of Dan Shore's Freedom Ride. Her daring performances before and amid the pandemic earned recognition from the Chicago Tribune, which praised her as “the very model of how to survive adversity, and also how to thrive in it,” while naming her 2020 Chicagoan of the Year. In the 2021/22 season, Ms. Yankovskaya makes a trio of Texan debuts, leading performances of Carmen at Houston Grand Opera, a tribute to Ruth Bader Ginsburg at Dallas Symphony Orchestra, and concerts featuring works by Gershwin and Dawson at Fort Worth Symphony. Elsewhere, she debuts with Chicago Symphony Orchestra in Prokofiev's Peter and the Wolf, leads a program of Brahms and Wagner at Elgin Symphony, conducts Boulanger, Debussy, and Ravel at Omaha Symphony, and makes her Pasadena Symphony debut conducting works by Tchaikovsky, Rimsky-Korsakov, and Gabriela Lena Frank. At Chicago Opera Theater, she conducts the Chicago premiere of Mark Adamo's Becoming Santa Claus and a concert version of Carmen, starring Jamie Barton opposite Stephanie Blythe. Ms. Yankovskaya has recently conducted Don Giovanni at Seattle Opera, Pia de' Tolomei at Spoleto Festival USA, Il barbiere di Siviglia at Wolf Trap Opera, Ellen West at New York's Prototype Festival, and the world premiere of Taking Up Serpents at Washington National Opera. On the concert stage, she has been recently engaged with Chicago Philharmonic, Rhode Island Philharmonic, and the symphony orchestras of Hawaii and Oviedo, Spain. Ms. Yankovskaya is Founder and Artistic Director of the Refugee Orchestra Project, which proclaims the cultural and societal relevance of refugees through music, and has brought that message to hundreds of thousands of listeners around the world. In addition to a National Sawdust residency in Brooklyn, ROP has performed in London, Boston, Washington, D.C., and the United Nations. She has also served as Artistic Director of the Boston New Music Festival and Juventas New Music Ensemble, which was the recipient of multiple NEA grants and National Opera Association Awards under her leadership. As Music Director of Harvard's Lowell House Opera, Ms. Yankovskaya conducted sold-out performances of repertoire rarely heard in Boston, including Tchaikovsky's The Queen of Spades, Britten's A Midsummer Night's Dream, and the U.S. Russian-language premiere of Rimsky-Korsakov's The Snow Maiden. Her commitment to exploring the breadth of symphonic and operatic repertoire has also been demonstrated in performances of Rachmaninoff's Aleko and the American premieres of Donizetti's Pia de' Tolomei, Rubinshteyn's The Demon, and Rimsky-Korsakov's Kashchej The Immortal and Symphony No. 1. An alumna of the Dallas Opera's Hart Institute for Women Conductors and the Taki Alsop Conducting Fellowship, Ms. Yankovskaya has also served as assistant conductor to Lorin Maazel, chorus master of Boston Symphony Orchestra, and conductor of Boston Youth Symphony Orchestra. She has been featured in the League of American Orchestras Bruno Walter National Conductor Preview and Cabrillo Festival for Contemporary Music, and assisted Vladimir Jurowski via a London Philharmonic fellowship. Ms. Yankovskaya holds a B.A. in Music and Philosophy from Vassar College, with a focus on piano, voice, and conducting, and earned an M.M. in Conducting from Boston University. Her conducting teachers and mentors have included Lorin Maazel, Marin Alsop, Kenneth Kiesler, and Ann Howard Jones. Ms. Yankovskaya's belief in the importance of mentorship has fueled the establishment of Chicago Opera Theater's Vanguard Initiative, an investment in new opera that includes a two-year residency for emerging opera composers. Committed to developing the next generation of artistic leaders, she also volunteers with Turn The Spotlight, a foundation dedicated to identifying, nurturing, and empowering leaders – and in turn, to illuminating the path to a more equitable future in the arts. Recipient of Solti Foundation U.S. Career Assistance Awards in 2018 and 2021, Ms. Yankovskaya has been a featured speaker at the League of American Orchestras and Opera America conferences, and served as U.S. Representative to the 2018 World Opera Forum in Madrid.

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.

For several decades Israeli luthier Amnon Weinstein has been lovingly restoring violins with Holocaust histories, preserving their stories and those of their owners. These violins are known as the Violins of Hope, and they will be featured in concerts at the Stan Greenspon Center at UNC-Charlotte (UNCC). A new work written specifically for these instruments, "Intonations: Songs from the Violins of Hope," by renowned composer Jake Heggie will receive its East Coast premiere at these concerts. The music is based on stories from UNCC professor Heggie and Grymes' book "Violins of Hope: Instruments of Hope and Liberation in Mankind's Darkest Hour." Heggie and Grymes talk about the importance of capturing these histories in word and music for future generations.

[@ 4 min] This week… One of the original ‘Inside the Huddle' guests returns. And this time the OBS team has proof! It's Jake Heggie. For real. Jake Heggie. (Oliver, please make sure you are recording…) [@ 26 min] Then, in ‘Chalk Talk'… It's Week Two of March Madness 2022 when Ashlee and Weston fill out their portions of the bracket for the winningest composer of the past 400 years (minus Mozart, Verdi and Puccini…) [@ 41 min] Plus, in the ‘Two Minute Drill'… Don't ever, EVER heckle one of the OBS's ‘Inside the Huddle' guests. EV-ER… operaboxscore.com dallasopera.org/tdo_network_show/opera-box-score facebook.com/obschi1 @operaboxscore IG operaboxscore

Originally posted in March 2021, we sat down with Dr. Patricia Au, coach and pianist, to talk about all things repertoire! When it comes to putting your best foot forward in any audition or gig, it all comes back to how you prepare. From picking out your package and what is going to highlight your voice the best to how to prepare a role and how to navigate coachings during COVID, join us in our conversation! For more information, visit www.patriciaau.com / or on Instagram @au_patricia Resources from the episode: Learn Your Music the Right Way Join our Freebie Vault to get access to our Weekly Practice Log Practice Makes Perfect: An Ode to the Practice Log Let's Get Social: Modern Singer book club Follow us on social media Search our website Check out our Shop Follow Ellen Follow Alyssa Known for her vivacious energy, Dr. Patricia Au works versatilely as a collaborative pianist, music director, vocal coach, and teaching artist. She has held positions at Boston Conservatory at Berklee, New England Conservatory, and Boston University Tanglewood Institute, as well as conducted masterclasses at Bucknell University and New World School of the Arts. As music director, she has led productions at Boston Conservatory at Berklee, OperaHub, and Boston Opera Collaborative. A frequent interpreter of contemporary music, she has workshopped with living composers, including Sofia Gubaidulina and John Harbison. Dr. Au currently serves as Resident Teaching Artist and Education Pianist with The Boston Lyric Opera where she has a passion for introducing young people to opera as a storytelling art. She received her DMA in Collaborative Piano from the New England Conservatory of Music in 2017 and her dissertation, “A New Edition of the Piano-Vocal Score of Jake Heggie's To Hell and Back” is available through Bent Pen Music, Inc. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/modern-singer-llc/message Support this podcast: https://anchor.fm/modern-singer-llc/support

Jake Heggie is an American composer of opera, vocal, orchestral, and chamber music. He is best known for his operas and art songs as well as for his collaborations with internationally renowned performers and writers.Heggie's 2016 operatic adaptation of the 1946 film It's a Wonderful Life was commissioned by Houston Grand Opera with a libretto by Gene Scheer. Based on Philip Van Doren Stern's story "The Greatest Gift" and made famous by the 1946 Frank Capra film, the opera follows the journey of George Bailey, a troubled banker about to end his own life on Christmas Eve only to be saved when his guardian angel helps him realize how many lives he has touched. It's a Wonderful Life had its world premiere in December 2016 in the Wortham Theater Center's Cullen Theater.Purchase the music (without talk) at:Heggie: It's a Wonderful Life (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Katy Solomon from Morahana Arts and Media.

Today we bring back our very own Malinda Wagstaff to talk to us about how composer Jake Heggie and librettist Gene Scheer brought the classic holiday movie, "It's A Wonderful Life," to the operatic stage! --- Support this podcast: https://anchor.fm/whatisoperaanyway/support

Diana's website:  http://www.dianatash.com/Festival Opera:  https://www.festivalopera.org/Jake Heggie:   https://jakeheggie.com/Also, here's an excellent article about Camille Claudel to get you started:  https://mymodernmet.com/camille-claudel/

In 2015, Nathalie Warmerdam was murdered by her ex-partner. She was one of three victims that day; he also killed two other former partners, Anastasia Kuzyk and Carol Culleton. Basil Borutski was found guilty and sentenced to life in prison in 2017. Now as a way to deal with his grief, Nathalie's brother, opera singer Joshua Hopkins, has released a group of songs, known as a song cycle, in memory of his sister. With words by the writer Margaret Atwood and music by composer Jake Heggie, Joshua says he wants to use his voice to raise awareness about violence against women. To find out how to listen to the song cycle, you can visit: https://songsformurderedsisters.com Get in touch: outlook@bbc.com Presenter: Jo Fidgen Producer: Katy Takatsuki Picture: Joshua Hopkins with his sister Nathalie Warmerdam Credit: Joshua Hopkins

Join us as we head back to California to talk with the gifted composer, Jake Heggie, about finding his inspiration to compose during these turbulent times, the joy of collaborating, the gift of new projects, learning how to let go and the freedom it brings. https://jakeheggie.com/

Avshalom Weinstein, Jake Heggie and Rebecca Jackson in conversation with The Very Rev. Dr. Alan Jones

The American composer of the operas Dead Man Walking, Moby-Dick and It's A Wonderful Life on his new work

Season 2, Ep. 8 – Jake Heggie and Gene Sheer, acclaimed creators of the hit opera Moby-Dick, talk about Utah Opera's amazing, new production, and the inspiration behind turning this classic novel into an award-winning opera.

Kirsty Young's castaway is the mezzo-soprano Joyce DiDonato. Winner of two Grammy Awards, she is best known for her interpretations of Handel, Mozart and Rossini operas. Born into a Catholic family in Kansas, she was the second-youngest of seven children. Her love of music was awakened by watching her late father directing the local church choir. Her first ambition was to become a music teacher, but watching a televised performance of Don Giovanni during her third year at college ignited her interest in opera. After acceptance onto Houston Grand Opera's young artist programme, she overhauled her technique and went on to win second place in 1998's Operalia competition. Her first big role came in 2002 singing Rosina in The Barber of Seville in Paris and she made her debut at New York's Metropolitan Opera in 2005 at the age of 36. Since then her star has shone brightly and she has performed across the operatic spectrum, from contemporary works, such as Jake Heggie's Dead Man Walking to Strauss and Handel.Producer: Cathy Drysdale.